A Star Is Born (1954) - full transcript
Norman Maine, a movie star whose career is on the wane, meets showgirl Esther Blodgett when he drunkenly stumbles into her act one night. A friendship develops, then blossoms into romance before tensions increase as Esther's career takes off while Norman's continues to plummet.
This is a great night in
Hollywood, ladies and gentlemen.
I might even say a
fabulous Hollywood night.
This is the Shrine
Auditorium's great evening
for the Motion
Picture Relief Fund.
The benefit show called Night of
the Stars, for Hollywood's own.
The motion-picture stars
never forget their own.
And tonight, all the
proceeds will go
to the Motion Picture Relief Fund.
[SPEAKING INDISTINCTLY]
Wait a minute, folks.
I think I see...
Yes, it is, it is
Oliver Niles' car
is just driving up.
And waving to her
fans is Lola Lavery
Lola, nice to see
you. So wonderful.
Oliver Niles, the famous producer.
Ladies and gentlemen, may I
present lovely Lola Lavery.
Thank you, George, sweetie. It's
so divine being here tonight.
And I know you're
all looking forward
to seeing your favourite
star and mine.
And, of course, you know, Norman
Maine is the great attraction...
here at the Shrine
Auditorium tonight.
And of course, wherever
Norman Maine goes...
lovely little Lola
is sure to be there.
Joan, doesn't she look beautiful?
She looks gorgeous.
- Good to see you.
- How are you? Isn't she adorable?
You're looking divine.
What are you wearing?
She's wearing a black
sheath. Isn't it divine?
And a white fox. And the
diamonds in the hair.
Did you ever? It's adorable.
Joan.
Ladies and gentlemen,
we've had the pleasure...
of having lovely Lola
Lavery at our microphones.
Did you ever see anyone so sweet,
so unspoiled and down-to-earth?
- She's a darling girl.
- Definitely.
Lola, please, just one shot.
Thank you.
- Hello, Lola.
- Libby, darling.
- Norman's not here. Not a sign.
- Didn't you call for him?
That was the plan.
Wasn't there. I've
been all over town...
the usual places.
Not a sign of him.
Libby, Normie loves being late.
He's always late with me.
You're not exactly a public
performance, my dear.
- You know where I'm sitting.
- ♪ I'll ♪ check backstage.
- He's here.
- Good.
He's drunk.
- How bad?
- Very. What do you want me to do?
Keep him off.
Don't let him go on.
Is anything wrong?
Is Normie all right?
It's all right.
Norman Maine.
Probably drunk.
Let go, you're breaking my camera.
Norman.
Norman, we have our cue.
- Take it easy. Please.
- What? Oh, yes.
Where are you going, Norman?
Hey, grab him. Grab him quick.
A horse.
A horse for my kingdom.
- Hey.
- Get him here. Get him here.
Get him off the stage.
What are we gonna do, Libby?
What's the act that follows Maine?
The Glenn Williams' Orchestra.
- They here?
- Yes.
- Ready? All right.
- Yes.
On the stand, we're on next. Will
you help rush them up, please?
In your places, we're
on next. Snap it up.
Who didn't show?
Regular opening, verse and chorus?
Yeah, that's right.
Get a load of Norman
Maine, will you?
- Where?
- Look.
Mr Maine is feeling no pain.
Oh, how I hate benefits.
Better make it snappy, Esther.
Neil, is all the music out?
I'll get it now.
Hi, Norman.
Hello, Matt, old boy.
We seem to have missed each
other. Been searching for me?
That's all right. I
knew you'd turn up.
Touching, your faith
in me, Matt. Touching.
Mr Libby looks after
me like a fond
mother with a good sense of...
double entry bookkeeping.
Mr Libby, I should
explain, is in charge...
of the public relations at the
studio. How is the
AP and the UP...
Fine, fine. Norman, I
got some of the boys...
How many lies have you
told the public today?
A couple of hundred. I need you
for an interview and pictures.
I don't need more pictures, I
don't need more interviews...
- because the public loves me.
- Sure they do.
But just a few. I
promised the boys.
Take your hands off me.
And don't make any promises for me
for I will break them. A horse.
My kingdom for a horse.
- I'll tell you what, Libby.
- What?
I'm thirsty. I need a
drink before I go on.
If you get me a drink, I'll
let you take a picture.
- That's a deal.
- Two drinks, two pictures.
Three drinks, three pictures.
Three pictures.
You're not a bad fellow, Libby.
Why do you disgust me? Why
do I hate you so, Libby?
I wouldn't know
about that, Norman.
- Just one more.
- Smile.
- Let's have another one.
- That does it.
- Give us more.
- I said, that does it.
But you've got plenty of time. All
right, all right,
no more pictures.
Get your pencils out, boys.
I'm sorry, gentlemen, no time.
- You got plenty of time.
- Come on.
- Plenty of time.
- Are you trying to stop me?
You trying to stop
me from going on?
- Is that it?
- No.
- What a story this will make.
- This guy is stoned.
[SPEAKING INDISTINCTLY]
♪ What a spot this,
not so hot this ♪
♪ Hey, there, shy
one, come be my one ♪
♪ Please don't rush off,
want no brush-off ♪
♪ I can't compel you to
buy what I'd sell you ♪
♪ But I'd like to
tell you like so ♪
♪ You wanna have
bells that'll ring ♪
♪ You wanna have
songs that'll sing ♪
♪ You want your sky of baby blue ♪
♪ You gotta have me go with you ♪
♪ Hey, you fool, you
why so cool, you? ♪
♪ When I'm ready to go steady ♪
♪ You wanna have
eyes that'll shine ♪
♪ You wanna have
grapes on the vine ♪
♪ You want a love
that's truly true ♪
♪ You gotta have me go with you ♪
♪ You gotta have me ♪
♪ Why the hold out? ♪
♪ And me ♪
Have you sold out?
♪ Time you woke up ♪
♪ Time you spoke up ♪
♪ This line I'm handing you ♪
♪ Is not a handout ♪
♪ As a team, we'd be
a standout ba-dop ♪
♪ You wanna live high on a dime ♪
♪ You wanna have two
hearts in rhyme ♪
♪ Gotta have me go with you ♪
♪ Don't forget about baby ♪
♪ You gotta have me ♪
♪ Gotta have me ♪
♪ Gotta have me ♪
♪ All the time ♪
♪ Ba-ba-bah, ba-ba-bah ♪
♪ Ba-ba-ba-ba-ba-ba ba-ba-ba-ba ♪
♪ Ba-ba-ba-ba-ba-ba-ba
ba-ba-ba-ba-ba-bah ♪
♪ Bah ♪
♪ Ooh-ah boo-de-boo ♪
♪ Why the hold out? ♪
♪ Have you sold out? ♪
♪ Time you woke up ♪
♪ Time you spoke up ♪
♪ Want your sky of baby blue ♪
♪ You gotta have me go with you ♪
♪ Why the hold out? ♪
♪ Have you sold out? ♪
♪ Time you woke up ♪
♪ Time you spoke up ♪
♪ This line I'm handing you ♪
♪ Is not a handout ♪
♪ As a team, we'd be a standout ♪
♪ You wanna live high on a dime ♪
♪ You wanna have two
hearts in rhyme ♪
♪ Gotta have me go with you ♪
♪ All the time ♪
- Esther?
- Yes.
Hi, girls.
Esther, if you hurry
we can have coffee.
All right.
- Good night.
- Goodbye.
- Danny.
- Yeah?
Wait... Here, wait just a second.
Okay.
I think I must've chewed
my lips off wondering...
if he was gonna come
staggering back.
I've never been so frightened.
My knees were shaking...
- Was I on key? I couldn't hear.
- On pitch all the way.
It's a wonder.
And it's a wonder to me Mr Norman
Maine is still in pictures.
It is indeed.
In fact, I ask it myself every
morning when I'm shaving.
I say, "Mirror, mirror
on the wall, who
is the greatest star of them all?"
Do you know what the
mirror answers?
Norman Maine?
Absolutely correct, Miss...
Blodgett. Esther Blodgett.
You must've been born with that
name. Couldn't have made it up.
- I was born with it.
- Excuse me.
You wouldn't make up a
name like that, would you?
- Oh, it's a brand-new lipstick.
- To mark the occasion when...
Esther Blodgett...
saved Norman Maine...
from making even more of a
fool of himself than usual.
I thank you.
My studio thanks you. All
the legions and codes...
that watch over our industry will
be equally pleased, I'm sure.
- Would you take supper with me?
- Oh, I...
And all the people with you too.
I'm afraid we can't, Mr Maine. You
see, we're working at the Grove.
This is Danny
McGuire, our pianist.
Oh, bring your piano
along, Mr McGuire.
Nobody can object to a good,
clean-living American piano.
But I insist on your
taking supper with me.
Come on.
Don't you try to
stop me, Mr McGuire.
I know myself extremely well.
I'm just near the fighting
stage at the moment.
If I don't get my way,
I'll begin to break
up people and things
at this moment.
- You understand, don't you?
- Yes, I understand.
Why don't we have
supper sometime later?
Maybe tomorrow or the next night.
I'll tell you what I'll do.
I'll lay in a whole
supply of lipsticks
and we'll celebrate
all over the walls.
- Please, Miss Blodgett.
- Good night.
I think I see your friends,
Mr Maine. Let's hit the road.
Oh.
Pumpkin, you were
divine. Simply divine.
- Wonderful, Normie.
- You were swell.
Everyone around me was saying it.
You know, drunk or not, he's nice.
- He's awful nice.
- Just darling. Come on.
When he goes off like that, he's
good for the night, Mr Libby.
He'll smile in his
sleep in a minute.
Like a child.
Like a child with a blowtorch.
What, sir?
Nothing.
Mr Maine's charm escapes me.
It always has.
Now, you understand, 6:00 sharp.
Have him dressed and ready.
Yes. Yes, sir.
Here are his car keys.
Hide them, will you?
I've had enough of Mr
Maine for one night.
He's good for the night.
Six o'clock sharp.
He'll sure be surprised
when he finds
himself on location
in the morning.
- Good evening, Mr Maine.
- Hello, Bruno. How are you?
- All right.
- There's a little dark girl...
sings with the Glenn
Williams' Orchestra.
The Glenn Williams' Orchestra
finishes at 1:30, Mr Maine.
Then the rumba band takes over.
They finished about an hour ago.
Well, it doesn't
matter, Bruno. The
whole thing seems
rather silly now.
I'll tell you something, Mr Maine.
All the bands that play here,
the musicians, you know...
they go to a little
place on Sunset
Boulevard after they finish.
And maybe the girl could be there.
They're crazy people, you know.
They blow their heads
off here all night.
And instead of going to bed,
they go to this place...
and blow their heads off there
for themselves for nothing.
Would you like a table, sir?
Not unless you wish to
rumba with me, Bruno.
Is there anyone here that I know?
Well, now, let's see.
There's a new little
girl from Paramount.
That one there, yes.
She's very pretty, Mr Maine.
She's with someone, isn't she?
Only her agent.
He'll be glad to leave.
Too young. I had a very
young week last week.
She's not worth it.
Is there anyone else?
I...
Miss Sheldon.
She's very beautiful
tonight, Mr Maine.
No. She hit me over the
head with a bottle.
Yes, yes. I remember it.
Happened right here.
I thought everything
was all right by now.
Nope, they only hit me once.
Little girl in the green dress.
No, Mr Maine.
Pasadena.
Leave it alone.
Will you excuse me, please?
I'll be right back.
Go ahead.
Take it, honey. Come on.
Take it from the top.
- From the top?
- Yeah.
♪ Doo, doo-dee-dee ♪
♪ Huh-huh ♪
♪ Huh-huh ♪
♪ The night is bitter ♪
♪ The stars have
lost their glitter ♪
♪ The winds grow colder ♪
♪ Suddenly, you're older ♪
♪ And all because of the man ♪
♪ That got away ♪
♪ No more his eager call ♪
♪ The writing's on the wall ♪
♪ The dreams you've
dreamed have all ♪
♪ Gone astray ♪
♪ The man that won you ♪
♪ Has run off and undone you ♪
♪ That great beginning ♪
♪ Has seen a final inning ♪
♪ Don't know what happened ♪
♪ It's all a crazy game ♪
♪ No more that all-time thrill ♪
♪ For you've been
through the mill ♪
♪ And never a new love will ♪
♪ Be the same ♪
♪ Good riddance, goodbye ♪
♪ Every trick of his ♪
♪ You're on to ♪
♪ But fools will be fools ♪
♪ And where's he gone to? ♪
♪ The road gets rougher ♪
♪ It's lonelier and tougher ♪
♪ With hope you burn up ♪
♪ Tomorrow he will turn up ♪
♪ There's just no letup ♪
♪ The livelong night and day ♪
♪ Ever since this world began ♪
♪ There is nothing sadder than ♪
♪ A one-man woman looking for ♪
♪ The man that got away ♪
♪ The man that got ♪
♪ Away ♪
- Wonderful.
- That's great.
Pretty good, we
finished together...
Oh, no. No.
- Oh, no.
- What's the matter?
Your dancing partner has returned.
How do you suppose he
ever found us here?
- I'll get rid of him.
- No, I'll do it.
Hello, Mr Maine.
You turn up in the
strangest places.
Don't I, though?
And you're cold sober.
Well, you'd better make the most
of it. Sit down for a moment.
Do you always sing like that?
- Like what?
- The way you sang just now.
Why?
I never heard anybody
sing just the way you do.
What do you mean? Good or bad?
Yeah.
You ever go fishing?
Well, do you like prize...?
Ever watched a great fighter?
I...
I'm trying to tell
you how you sing.
Do you mean like a
prizefighter or a fish?
Look.
Here.
There are certain
pleasures that you get...
There are certain pleasures you
get, little jabs of pleasure.
When a swordfish
takes the hook, or
when you watch a great fighter...
getting ready for the kill, see?
You don't understand a
word I'm saying, do you?
No, not yet. Why don't
you try bullfights?
You're joking, but that's
exactly what I mean.
If you'd never seen a bullfight,
you'd know a great bullfighter...
the moment he stepped in the
ring from the way he stood...
from the way he moved.
Or a dancer. You don't
have to know about ballet.
That little bell rings
inside your head...
that little jolt of pleasure.
Well, that's what
happened to me just now.
You're a great singer.
Who, me?
Hasn't anyone ever
told you that before?
No, Mr Maine, no one's
ever told me that before.
Maybe you're not quite as sober
as we both thought you were...
but thank you.
I'm as sober as a judge and I
know exactly what I'm saying.
You've got that little something
extra that Ellen
Terry talked about.
Ellen Terry, great actress
long before you were born.
She said that's what star quality
was, that little something extra.
Well, you've got it.
Now, what are you doing wasting
your time singing with this band?
Wasting my time?
I'm not wasting my time.
You don't know how many years
it's taken me to get this far.
I'm doing fine, Mr
Maine. Just great.
You're wasting your time.
Now, tell me about yourself.
Where'd you come from?
- How did you start singing?
- Oh, I...
Have you got a
family? You married?
Esther.
- No.
- Esther.
We're breaking it up.
- Why, hello, Mr McGuire.
- Mr Maine.
Ready to go home?
- Yes.
- Good.
I'll see that Esther gets home.
Oh, you're k...
- All right, Esther?
- Yes.
In you go.
I'll see you at the bus
in the morning, Danny.
Yeah, at 6:00.
(Okay.
- Good night.
- Yeah, good night.
Yeah.
Well, go on. Go ahead.
Do you know the only thing
I can think of right now?
The only thought that comes into
my mind is the way I wash my hair.
You see, when anything happens
to me, good or bad...
I make straight for
the shampoo bottle.
Why would I have to
think of that now?
I understand that perfectly.
With me, it's golf balls.
If I'm happy or if
I'm miserable, I
putt golf balls around
the living room.
It makes perfect sense. Go ahead.
I'm afraid I'm no good at
talking about myself, Mr Maine.
Everything just runs together.
Runs together? How?
All over the place.
Washing out my gloves in
crummy hotel rooms...
and winning a contest on the
radio, singing in joints.
You see how my mind
works? It's all jumbled.
I can sort it out.
Can you?
I can't.
I can remember my first job
singing with the band.
And then, one-night stands
clear across country by bus.
Putting on nail polish in the
ladies' rooms of gas stations.
Waiting on tables...
Whoa, that was a low point.
I'll never forget it...
and I'll never, never
do that again.
No matter what.
But I had to sing.
I somehow feel most
alive when I'm singing.
It's like...
You don't wanna hear
all this, do you?
Do you mind?
Mind? No, I'm having
a wonderful time.
Here, we turn here. I
live on that street.
Is there anything more I should
know about your fascinating life?
There must be more.
Oh, there is. A whole
scrapbook full.
Oh.
Come in.
Well, have you had enough, as
the Republicans used to say?
You know about as much about
me now as I do of myself.
But you see how long it's
taken me to get this far.
Now, all I need is
just a little luck.
- What kind of luck?
- Oh...
The kind of luck that every girl
singer with a band dreams of.
One night a talent scout from a
big record company will come in.
And he'll let me make a record.
Yes, and then?
Oh, the record will become
number one on the hit parade.
Be played on the jukeboxes
all over the country.
And I'll be made.
End of dream.
There's only one thing
wrong with that.
I know. It won't happen.
No, it might happen very easily.
Only the dream isn't big enough.
How long will you be
playing at the Grove?
Well, tonight was
our last night. We
leave for San Francisco
in the morning.
Don't go.
What?
Quit. Leave the
band. Stay on here.
Let me see what I can
do for you at the
studio. I'll talk to
Niles right away.
It's just a chance, but take it.
A chance?
Do you realise I'd be giving up
everything I ever worked for?
That's right. But it's served its
purpose. Listen to me, Esther.
A career is a curious thing.
Talent isn't always enough.
You need a sense of timing, an eye
for seeing the turning point...
or recognising the big chance when
it comes along and grabbing it.
A career can rest
on a trifle like...
Like us sitting here tonight.
Or it can turn on
somebody's saying to you:
"You're better than that.
You're better than you know."
Don't settle for the little
dream. Go on to the big one.
Scared? Scared to take the plunge?
Yes.
Say, what makes you
so sure about me?
I heard you sing.
- Yeah, but that...
- I know, just my word.
But you know yourself, don't you?
You just needed
somebody to tell you.
Well, I'm certainly mixed up now.
- I thought I was doing just fine.
- Don't look so miserable.
You don't have make up your
mind now. Sleep on it.
I'll call you first
thing in the morning.
Sleep on it. You fixed
me for sleep, all right.
Whether you do it or not, don't
ever forget how good you are.
Hang on to that.
Because I'm right.
Good night, Esther.
Good night, Mr Maine. Thank you.
Hey.
I just wanna take
another look at you.
- Hello. Who is it?
- Oliver?
Who? Norman.
Oliver, just hold on a moment.
Are you in jail?
What have you done?
Yeah, yeah no.
No, no, I'm not.
This girl, it turns out,
she's a fabulous singer.
- You heard a girl sing.
- No this girl...
- Well, isn't that nice?
- No. Don't make me mad.
Do you know what time it is?
Wonderful talent.
Now, listen, please.
- Yes, yes, I hear you.
- All right.
Every word.
[NORMAN SPEAKING
INDISTINCTLY OVER PHONE]
You heard a girl sing. What do
you want me to do, applaud?
Yes.
Yes, I hear you. Yup.
Anything.
Anything.
Well, thanks, Oliver.
Now, you go on back to sleep...
because I want you
to be nice and fresh
in the morning when
I bring her around.
Who is it?
It's me.
Are you asleep, Danny?
Not any more. What's the matter?
I'm sorry, but I had to see you.
Something wrong?
Hand me a cigarette.
A cigarette. Over there.
Oh, sure.
I'm quitting the
band, Danny. I'm not
going on to Frisco in the morning.
- You crazy or something?
- Maybe.
Maybe, but I'm quitting.
Why? What happened?
Norman Maine is gonna
get me a screen test.
Go on back to bed,
will you, Esther?
Well, it's true.
You been drinking with him?
Of course not.
Okay, then when we
get to Frisco...
I'll take you to a doctor and
have your head examined.
What's the matter with
you, Esther? He was
making a conventional
pass, that's all.
No. No, it wasn't that, Danny.
What else is it? He follows bands
around and gives
singers screen tests?
What's got into you?
He gave me a look at myself
I've never had before.
He saw something in me
nobody else ever did.
And he made me see it too.
He made me believe it.
Believe what? It's taken
all these years for you...
to get with a big-name outfit. You
gonna toss it all in the ashcan?
And for what?
For a chance at being something...
something bigger than
I ever dreamed of.
And I'm not gonna turn back now.
Ever.
Coffee's almost ready.
I don't want any coffee.
I'm wide awake now.
Oh, Danny.
Don't be mad at me.
I...
I'll be up in time to see
you off in the morning.
I guess I'd better go.
How much money have
you got, Esther?
Money?
Oh. A little.
Enough to last for
a couple of weeks.
Oh, you'll be all signed up and
in front of the cameras by then.
Oh, you fool.
You fool.
You think so?
Then why do I feel like this?
- Goodbye, honey.
- Bye-bye.
Good luck to you.
- Wait a minute, Danny.
- Bye.
Wish me luck.
Luck? You silly...
All right, go ahead and say it.
No, no use. You're
going for the ride.
Okay. Good luck.
And don't forget who makes better
vocal arrangements for you...
better than anybody
else in the world.
In his usual wonderful shape, huh?
He'll sleep it off on the plane.
Any idea how long you'll be gone?
Oh, about five or
six weeks at least.
This one's being shot
mostly on location.
It's a big sea epic.
He won't see anything for a long
time but the stuff
he hates, water.
So long.
All right, cut.
That's the one. Wrap it up.
- All right.
- Bring us in.
They got it.
Bring them on in here.
Bring them straight on in.
Very nice.
- Thank you. Eddie. Eddie.
- Drink that coffee.
- Where's Eddie?
- Talk to Eddie later.
Oh, there you are, Eddie.
Any luck? Did you find it?
Mr Maine, there's about
300 bungalow courts...
around Sunset and Highland.
- Can't you remember the number?
- Just the neighbourhood.
Go ahead, take that telephone
book and ring all 300. Go on.
Norm, will you go
down and dry off?
- I need you in the cabin shot.
- Yeah, yeah.
What's with this
phone-book routine?
The usual, some dame.
Eddie. Hey, Eddie.
It has the name of a
flower on the side.
A poinsettia or
zinnia or something.
Get the studio to
have someone take
a car and cruise around there.
For two days if necessary.
But find that place.
Four days?
But you're behind
schedule now, Bob.
Is Maine drunk?
Tell me the truth. Don't cover
for him, Bob. I want to know.
Okay, we'll shoot around him.
Try and make up the time
as soon as he's up.
Cut some corners, Bob. You've
got to bring it in on time.
You know how tough
things are right now.
They're on my neck from
New York every day.
Okay, I understand.
What's so amusing?
Maine sick?
Bad case of flu, 103 temperature.
Kept him on the water
too long, I'll bet.
Water would have a
bad effect on him.
Oh, Esther, somebody
called you about a job.
Said to call right back. The
number's on the phone over there.
Thanks.
Mr Blake?
Yes.
Singing?
Yes. On the set at 9.
Thank you very much.
♪ It's very nice ♪
♪ It's a bargain at
double the price ♪
♪ Try it and find as
long as you live ♪
♪ Your crowning glory
will be most attractive ♪
♪ If you want to be a girl
that the men run to ♪
♪ Use Trinidad Coconut
Oil Shampoo ♪
♪ Take my advice ♪
♪ It's a bargain at
double the price ♪
I'm gonna talk quick. We took
a break, I've gotta get back.
Listen, I squared it with
Williams. He'll take you back.
I'll wire the dough for the
fare, join us in Cleveland.
Give me that address again.
I don't get it.
Do you know what the
odds are against you?
Danny, you're wasting
your breath. I haven't...
I don't think about him.
I forgot him weeks ago.
But he did show me the way and
that's what I'm sticking to.
I don't care if I have
to scrub floors...
Your order's ready. Pick it up.
Danny, I've gotta go. All
right. Goodbye. Thank you.
Here you go.
- Good evening.
- Well, what's good to eat today?
Cheeseburgers, nut burgers, banana
burgers, chicken burgers...
lobster burgers, tuna
burgers, chop-suey burgers...
and the super-duper super burger.
What's in that?
Everything in the
place. All burgered.
You haven't any idea? The faintest
idea where she might have gone?
I told you, sir. I
told you three times.
That when people can't
afford the moderate rates...
Yes, yes. Thank you.
Thank you so very much.
Oleander Arms.
Well, no wonder I couldn't
remember the name.
Why can't you call your
place something like...?
What?
Never mind.
I bet you've never seen
an oleander in your life.
Normie. Pumpkin.
Oh, pumpkin, now, really.
You just can't lie here on
a lovely day like this.
I can so just lie here on
a lovely day like this.
What's the matter, Normie,
have I offended you?
Well, if I have, darling,
I'm really terribly sorry.
All I did was remember
what you promised me.
What did I promise you? Was it
a blue mink or a white mink?
Or have they done
something else to
the poor minks while I was away?
Normie, darling,
it's not presents I
want. It's you, pumpkin, just you.
♪ It's a bargain at
double the price ♪
Don't you remember?
You said as soon as
you finished that
nasty old picture
we'd go to Honolulu.
Now what's the matter?
- That singing.
- Singing?
Yeah, on this television
while you were talking.
- Singing something.
- Television?
It's just an old
commercial, silly.
Normie?
For heaven's sake, Norman.
Miss Barker. Hey, Miss Barker.
Who do you think
just went upstairs?
Hey. Get away from that car.
Get away from that car.
Hey. Hey.
Hey.
- Hello.
- Oh.
Come on up.
All right.
Oh, I look so terrible.
Never mind how you look, listen to
me. I got shanghaied
away. Location.
I tried, believe me, I tried...
Get away from that car. I'm gonna
beat your brains out
when I get down.
Get away.
Oh, this is so awful.
You could stand a good dinner.
I could, and in a place
with tablecloths too.
What about a drive to the beach?
We could stop off
for a hamburger on
the way and then
have a late supper.
What's the matter?
What is it, Esther?
- What's the matter?
- Nothing.
It's the nose. The
nose is the problem.
Maybe a corrective in the nostril.
No.
Could I...?
Please, little lady, Mr
Ettinger's thinking.
It's 6:00 in the
morning. Just about
time for one of his miracles.
Do you think maybe...?
Do you think maybe the
Dietrich eyebrows?
No. The nose is still the problem.
Suppose we try the Crawford mouth.
Take attention away from the nose.
No. No.
Do you think maybe a hair job?
Yes.
I think that'd be fine.
Mr Maine.
Sorry, I'm late for
an appointment.
But...
Catch me in the commissary later.
Mr Maine.
Oh, no.
No.
What's the matter with it?
I don't think that's very nice.
Go ahead, laugh your head off.
I've been sitting in that chair
since 6:00 this morning.
You sat an hour too long, honey.
Come on.
Now, sit down in that chair.
Here?
Well, first things first.
Now, what else is there?
Is that you?
Off it comes.
Now, wait, don't...
Don't... Don't...
My nose is very bad.
Now, take every bit of
that junk off your face.
But my eyes are all wrong and
my ears are too big and...
I've got no chin.
I know.
Come on, take it off.
Then put on your eyebrows
and lipstick the
way you always do and
I'll do the rest.
Come on, you've gotta
be made up and
ready to shoot that test by 9:00.
But, Mr Maine...
I think at this critical moment...
you might call me Norman.
Norman, what difference
does it make how
well I sing if my
face is so awful?
Your face is just dandy.
Now, wipe it off.
Once more unto the
breach, dear friends.
Once more.
Hey, you're shivering. Let
me get you something to...
Here, put this around you.
Norman, I've got the willies.
I'm scared stiff.
I don't think I could sing a note.
Nothing would come out.
Of course you're
scared. We all are.
What makes you think
you wouldn't be?
Look, forget the camera.
It's the Downbeat Club at
3:00 in the morning...
and you're singing for
yourself and for the band.
Mainly for yourself,
the way I heard you.
Just keep that picture
in your mind.
And if that doesn't
do it, think of
a man in a car
eating a nut burger.
That did it. Come on.
- Miss Markham?
- Yes?
I was told to see you.
I'm Esther Blodgett.
Oh, yes? I expected a blond.
I don't know why.
You've just signed a
contract with us?
Yes, I have.
Good. Good. Glad to
have you with us.
Thank you.
We'll have to get what
you've done so far.
Where you came from and so forth.
I brought my scrapbook with me.
- And I thought that maybe...
- Thanks, dear. Very nice.
I'll have to turn you over to
Miss Fusselow of Fashions.
This layout has got to get
out to three magazines.
- Come along, dear. Come along.
- Yes, madam.
- Glad to have you with us.
- Thank you.
Nora?
Take care of this
for me, will you?
New contract player. Norman Maine.
Hello, honey, nice
to have you with us.
Hello.
Soon as I get some background on
you, I must do a fashion style.
- Well, I brought a scrapbook...
- Oh, not now, dear.
I've gotta get these dresses
right down to Photo.
Come along, honey.
All right.
I'll tell you what
to do, honey. Why
don't you go in and see Mr Libby?
- Mr Libby?
- His office is right over there.
He's head of the department.
- Glad to have you with us.
- Thank you.
Your hand a little
higher. That's good.
- Get out of the way.
- Oh, say...
- Would you get out of the way?
- Yes, I'm...
- Just get out of the way.
- Please excuse...
Leave them alone.
They're all right.
That's all right. Out of the way.
- Yes.
- Would you lie back?
Let's take this picture.
Raise your hand...
Mr Libby?
- I'm Esther Blodgett.
- Huh.
- Miss Fusselow...
- Glad to have you with us.
Well, it certainly is
a thrill to be here.
I brought my scrapbook
along in case...
Care to say hello to the big boss?
That's the usual procedure.
- Come, I'll take you to him.
- Fine.
May be the only chance
you get to meet him.
What's the matter? You
afraid of heights?
No, no. I...
- Mr Niles.
- Libby?
- I'm running a picture.
- You ought to meet this lady.
She just signed a contract.
The one that Mr Maine arranged
the test for, you remember?
Oh, yes. Yes, of course.
Nice to see you, dear.
Glad to have you with us.
Well, it's a thrill to be here.
Show Miss... How to
get out of here.
Good luck to you, dear.
Take care of yourself.
- Oh, Mr Libby?
- What?
What do I do next?
Well, the gate's right down there.
What did you say
your name was again?
Esther Blodgett.
- What?
- Esther Blodgett.
Well, we'll have to
do something about
that right away. Don't
worry about it.
We'll have a new name for
you by the end of the week.
Paul, will you swing your
arc over here, please?
That's good. Hold it.
- George.
- Can we make it?
All ready, sir.
- Get the girl.
- Yes, sir.
- George?
- Oh, Esther.
Pull that one down
a couple of turns.
Esther.
Esther. Waiting for
you on the set.
Okay, boys, let's go.
Everybody works.
- Right up there. Up the steps.
- Okay.
Stand by, everybody.
All right, sir.
- Now, you know what I want.
- Yes.
Put your arm out the window
like this and you wave goodbye.
- Give it everything you've got.
- All right.
- Okay, get over there.
- Okay.
All right, let's take a try at it.
Here we go. Hit your lights.
Hit your wind.
Hit your snow.
Hit your steam.
Roll them.
Speed. Action.
- We're getting her face.
- Cut.
- Hold it.
- We saw her face.
We saw your face.
- We saw her face.
- We saw your face.
- We saw your face.
- I'm sorry.
- Watch it, Esther.
- I will.
- Let's try it again.
- Watch it.
- I will.
- Now, be careful this time.
Just the arm and the hand.
- I don't want to see your face.
- I'm sorry.
- Let's try it again.
- Hit everything.
- Come on.
- Speed.
Action.
Esther Blodgett, please.
Go to L.
- What?
- Go to L.
- Now...
- Go to window marked L.
You're listed under L.
Oh. Thank you.
- Esther Blodgett, please.
- New here?
- Yes.
- Just a moment.
Okay. Your name is Vicki Lester.
- What?
- Your name is Vicki Lester.
Vicki Lester. V-I-C-K-I
L-E-S-T-E-R. Get it?
Move on, please.
Oh, yes. Thank you.
Vicki Lester?
Vicki Lester.
Vicki Lester.
Why couldn't you come over to
my office to see me, Norman?
What's so hush-hush that you
have to drag me down here?
Every time I lie down on this
sofa, I get stabbed in the back.
Well, what do you want?
That's what I wanna
talk to you about.
Come, I want you to sit in this
chair. The place
gives me the creeps.
What's with you?
Hasn't been decorated
in centuries. Sit.
Now, isn't that the most
uncomfortable chair
you ever sat in?
Don't I deserve a dressing room...
that's cheerful, modern, safe?
You got me down here
to talk about this?
When I give an interview,
I feel ashamed.
I have a whole
studio sitting on me
and you get me down here for this?
- Don't you feel ashamed?
- Don't you realise...
I have a production shut down
in the middle of shooting?
That's what you got me away from.
I'm being stabbed by a singer
in New York, not just a sofa.
You had to stop
because you couldn't
get her here. What
are you gonna do?
I don't know. I don't know what
I'm going to do except go crazy.
That woman, she swore her
contract was up for the show.
Our lawyers are talking about
it to New York this afternoon.
Why do they have to play
that stuff so loud?
You better leave it open,
Oliver, we'll be suffocated.
Crazy game.
What is it, anyway?
It's just somebody
running some tests.
I can hardly hear myself think.
I suppose there's
nobody around here.
What?
You'd think there'd
be somebody here...
you could take a
chance on, rather than
close down a picture,
things being tough.
Who, for instance? Name someone.
♪ Be the same ♪
I don't know, Oliver.
New actors.
You think all there is to running
a studio is pressing buttons.
It's not quite that
easy, believe me.
♪ Every trick of his ♪
Say, who is that singing, anyway?
It must be one of
the contract girls.
Not bad.
No.
♪ And where's he gone to? ♪
Not bad.
♪ The road gets rougher ♪
♪ It's lonelier and tougher ♪
Not bad at all.
♪ You burn up ♪
♪ Tomorrow he will turn up ♪
♪ There's just no letup ♪
A light begins to
break. Very dumb of me.
All right, I get it.
A little late, that's all.
Is she still around?
Indeed, indeed.
Esther?
Very good. Thanks, Esther. Except
right down here, I think...
I shouldn't go that far.
Well, use our hands. Fine,
let's all do it again. Ready?
I've been through this a
hundred times, Esther.
My own previews as well
as other people's.
And the thing to remember
about a preview...
is first and foremost, pay
absolutely no attention...
to the sights and sounds
going on around you.
If the picture before the
preview is a stinker...
then your picture gets off
to a good start, but...
Anyway, they always go
out for fresh popcorn...
so that the first few
reels always sound
like the Marines
landing on Iwo Jima.
- And the thing to do...
- Norman?
Yes?
Would you stop the car, please?
Are you all right?
Fine. I wish I was dead.
Come on.
We're in luck, Esther.
We're in luck.
Why? Did the theatre burn down?
That picture of mine
is so bad, anything
they see after will seem great.
You're starting lucky.
♪ Swanee, how I love ya ♪
♪ How I love ya my
dear old Swanee ♪
♪ The folks up north
will see me no more ♪
♪ When I get to
that Swanee shore ♪
Thank you. Thank you very much.
I can't express it any other way.
For, with this awful
trembling in my heart...
I just can't find
another thing to say.
I'm happy that you liked the show.
I'm grateful you liked me.
And I'm sure to you, the
tribute seemed quite right.
♪ But if you knew
of all the years ♪
♪ Of hopes and dreams and tears ♪
♪ You'd know it didn't happen ♪
♪ Overnight ♪
Overnight.
♪ I was born in a trunk ♪
♪ In the Princess Theatre ♪
♪ In Pocatello, Idaho ♪
♪ It was during the
matinee on Friday ♪
♪ And they used a make-up towel ♪
♪ For my didee ♪
♪ When I first saw the light ♪
♪ It was pink and amber ♪
♪ Corning from the footlights ♪
♪ On the stage ♪
♪ When my dad carried
me out there ♪
♪ To say hello ♪
♪ They tell me that I
stopped the show ♪
♪ So I grew up in a crazy
world of dressing rooms ♪
♪ And hotel rooms
and waiting rooms ♪
♪ And rooms behind the scenes ♪
♪ And I can't forget
the endless rows ♪
♪ Of sleepless nights
and eatless nights ♪
♪ And nights without a nickel ♪
♪ In my jeans ♪
♪ But it's all in the game ♪
♪ And the way you play it ♪
♪ And you've gotta play
the game, you know ♪
♪ When you're born in a trunk ♪
♪ At the Princess Theatre ♪
♪ In Pocatello ♪
♪ Idaho ♪
♪ At first I just stood and
watched from the wings ♪
♪ That's all my mum
and dad would allow ♪
♪ But as I got older I
got a little bolder ♪
♪ And snuck out for
their second bow ♪
♪ They kept me in the act because
they needed me to milk applause ♪
♪ Until one night they
did a crazy thing ♪
♪ They left me out
there all alone ♪
♪ Mama said, "You're
on your own" ♪
♪ And Papa shouted, "This
is it kid, sing" ♪
♪ I'll get by ♪
♪ As long as I ♪
♪ Have you ♪
♪ Though there be rain ♪
♪ And darkness too ♪
♪ I'll not complain ♪
♪ I'll see it through ♪
♪ I learned very quickly
the tricks of the trade ♪
♪ I practised after
everyone was gone ♪
♪ And with the tricks I
learned traditions ♪
♪ And the hardest one of all ♪
♪ Is no matter what ♪
♪ The show must go on ♪
♪ As time went by I
looked for jobs ♪
♪ And was kicked from
pillar to post ♪
♪ I haunted all the
agents' offices ♪
♪ And I almost ended up a ghost ♪
♪ I'm a sentimental
sap that's all ♪
♪ What's the use of
trying not to fall ♪
♪ I have no will you
made your kill ♪
♪ Because you took
advantage of me ♪
No.
♪ I'm just like an
apple on the bough ♪
♪ And you're gonna shake
me down somehow ♪
♪ So, what's the use
you cooked my goose ♪
♪ Because you took
advantage of me ♪
No.
♪ I'm so hot and bothered
that I don't know ♪
♪ My elbow from my ear ♪
♪ Suffer something awful
each time you go ♪
♪ But much worse
when you're near ♪
♪ Here am I with all
my bridges burned ♪
♪ Just a babe in arms
where you're concerned ♪
♪ So lock the doors
call me yours ♪
♪ Because you took
advantage of me ♪
Yes.
No.
♪ So I got into a tap show ♪
♪ All I did was kick my feet ♪
♪ You'd hardly call
it a chance to sing ♪
♪ But at least it was
a chance to eat ♪
♪ They call it black bottom ♪
♪ A new twister ♪
♪ But sure got him an old sister ♪
♪ They clap their hands
and do the raggedy trot ♪
♪ Hot ooh ♪
♪ Old fellows with lumbago ♪
♪ And young fellows,
away they go ♪
♪ They jump right in and give
it all that they've got ♪
Then one night something happened.
Dame fortune showed her face.
The star got sick and I was
told to go on in her place.
But she recovered.
Oh, Well.
♪ Black bottom a new rhythm ♪
♪ When you spot 'em
you go with 'em ♪
♪ And do that black, black,
black, black bottom ♪
♪ You won't be blue
when you have got 'em ♪
♪ If you do that black, black,
black, black bottom all day ♪
♪ But finally I got an offer
to sing in New York ♪
♪ And I wired, "I'm on my way" ♪
♪ I had visions that this would
be a fabulous, famous cafe ♪
♪ Filled with high society
elegance and spruce ♪
♪ And I pictured me the epitome ♪
♪ Of a very chic chanteuse ♪
♪ Peanuts ♪
♪ Through every city,
town and country lane ♪
♪ You'll hear him sing his
plaintive little strain ♪
♪ And as he goes by
to you he'll say ♪
Sing "Melancholy Baby."
♪ Peanuts ♪
♪ The little children
like to trail along ♪
♪ They like to hear the
peanut vendor's song ♪
♪ They all laugh with
glee when he will say ♪
- Sing "Melancholy Baby."
- "Melancholy Baby."
♪ Come to me ♪
♪ My melancholy ♪
♪ Baby ♪
♪ Cuddle up ♪
♪ And don't be blue ♪
♪ All your fears are
foolish fancy ♪
♪ Maybe ♪
♪ You know, dear ♪
♪ That I'm in love with you ♪
♪ Every cloud must have ♪
♪ A silver lining ♪
♪ Wait ♪
♪ Until the sun shines through ♪
♪ Smile, my honey dear ♪
♪ While I kiss away ♪
♪ Each tear ♪
♪ Or else I shall be ♪
♪ Melancholy ♪
♪ Too ♪
♪ My benefactor appeared
with his card ♪
♪ And at first, I
thought he was fresh ♪
♪ Fresh? ♪
♪ He was fresh from
heaven all right ♪
♪ He produced the show
that gave me the chance ♪
♪ To sing for you tonight ♪
♪ Swanee, how I love ya ♪
♪ How I love ya my
dear old Swanee ♪
♪ I'd give the world to be ♪
♪ Among the folks in ♪
♪ D-I-X-I-E even now my
mammy's waiting for me ♪
♪ Praying for me
down by the Swanee ♪
♪ The folks up north
will see me no more ♪
♪ When I get to
that Swanee shore ♪
♪ Swanee ♪
♪ Swanee ♪
♪ I'm coming back to Swanee ♪
♪ Mammy ♪
♪ Mammy ♪
♪ I love the old folks at home ♪
♪ I love ya, Swanee ♪
♪ How I love ya how I love ya ♪
♪ My dear old Swanee ♪
♪ I'd give the world
if I could only be ♪
♪ Sitting on my mammy's knee ♪
♪ I love the old folks I
love the young folks ♪
♪ Oh, my honey lamb you
love 'em all in Alabamy ♪
♪ Mammy ♪
♪ Mammy ♪
♪ My dear old mammy ♪
♪ Your wandering child
will wander no more ♪
♪ When I get to that Swanee ♪
♪ Shore ♪
♪ So I can't quite be called ♪
♪ Overnight sensation ♪
♪ For it started many years ago ♪
♪ When I was born in a trunk ♪
♪ In the Princess Theatre ♪
♪ In Pocatello ♪
♪ Idaho ♪
- Wait, wait.
- Oliver. Oliver.
What about Vicki for
the Morgan script?
Starts shooting next week.
Where's Norman?
Vicki, I want you to read
this script because...
- Vicki.
- Oliver...
Thank you.
Is nobody buying
anybody a drink on
the strength of all this success?
I heard a few comments
about my film
which makes me feel
the need of one.
Vicki, we'll see you
over at my house.
All right. All right, fine.
Ray. Hey, your score was out
of this world, the greatest.
Say, I've never seen preview
cards like this in my life.
I waited for the breakdown.
Ninety-seven percent say you
got yourself a new star.
Read these, gentlemen,
and enjoy yourselves.
I'll need a lot of
stuff on you, Vicki.
Be in my office tomorrow morning.
- That is, if you can make it.
- Now, here. Here, this is just...
Read this part.
This is what I was telling you
about. This is very interesting.
They all say her performance was
excellent. Get a
load of these. See?
Every one says the same thing.
It's all yours, Esther.
And I don't mean just the
Cadillacs and the swimming pools.
It's all yours.
In more ways than one.
I hope...
Yes, Norman, go ahead. Say
what you... Would you?
You're gonna be a
great star. Don't
let that change you too much.
Don't let it take over your life.
You're very dear.
Norman, you make this sound
like the end of something...
instead of the beginning. You
make it sound like goodbye.
I've done all I can for you.
You've come along the road
with me as far as you should.
Let's leave it that way.
Norman, don't you know
how I feel about you?
Yes. Yes, I do.
Don't you know nothing about
you could make any difference?
- It's too late.
- No, it isn't. It is not...
It is, I tell you.
Norman, there's nothing you can...
Listen to me...
I love you. I will not...
I destroy everything I
touch. I always have.
- No.
- Forget me, I'm a bad lot.
You've come too late.
I don't believe that.
It's not too late. Not
for you, not for me.
Don't say that, Esther.
I might begin to believe it.
Please, believe it. Believe it.
Believe it. Believe it.
- I think they're all rehearsed.
- Fine, Jeff.
- We're ready whenever you are.
- Okay.
♪ What am I here for? ♪
♪ It's time you knew ♪
♪ Here's what I'm here for ♪
♪ I'm here for you ♪
♪ Can you forgive me? ♪
♪ Am I too late? ♪
♪ All the years that I wandered ♪
♪ And pondered were squandered ♪
♪ My heart insisted ♪
♪ I seek you out ♪
♪ That you existed ♪
♪ My heart had no doubt ♪
♪ To share a journey ♪
♪ That leads to heaven's door ♪
♪ You'll find is what I'm here ♪
♪ For ♪
♪ What am I here for? ♪
♪ It's time you knew ♪
♪ Here's what I'm here for ♪
♪ I'm here for you ♪
♪ Can you forgive me? ♪
♪ Am I too late? ♪
♪ All the years that I wandered ♪
♪ And pondered were squandered ♪
♪ My heart insisted ♪
♪ I seek you out ♪
♪ That you existed ♪
♪ My heart had no doubt ♪
Cut. That's it. Wonderful.
Maestro, very good. Esther,
listen to this one.
Come on.
Okay, let's have the playback.
Just the last eight. I want
the chorus arrangement.
- Take a smoke, boys.
- My, it sounded really good.
Sounded real good.
♪ My heart had no doubt ♪
♪ To share a journey ♪
♪ That leads to heaven's door ♪
♪ You'll find is what I'm here ♪
♪ For ♪
♪ What am I here for? ♪
- How'd I sound?
- Just adequate.
Best-friend-severest-critic
department, huh?
What is this?
Listen to the
arrangement Danny made.
- Oh, come on.
- Turn it off.
I wasn't listening
I was thinking about another
kind of arrangement.
Another kind?
Huh. Domestic. Will you marry me?
No, thank you.
♪ And I wandered and pondered ♪
Why not?
Well, you're irresponsible.
Oh, I'm sorry.
- Go ahead. Stop that.
- Get out of here.
What else?
You drink too much.
Suppose I quit drinking?
Suppose I become absolutely
dependable on all occasions?
You wouldn't be Norman Maine.
I'd be marrying the wrong man.
- Quiet.
- Norman.
Yes?
Darling, would you do all that
for me if I said I'd marry you?
No. I've had a chance
to think it over
with all that humming and singing.
It's too much to ask.
You see?
Well, goodbye. Goodbye, everyone.
Oh, now, wait a minute, my boy.
That's much too
public a proposal...
for me to say no to. I accept.
- You do?
- Yes, I do.
Oliver, we're gonna get married.
I guess I didn't read that
line right. I'll try again.
We're going to get married.
Both of us.
To each other. What
do you think of that?
What's the matter?
He's trying to decide if
it's good for the studio.
Well, is it?
- It is. My blessings.
- Thank you.
A little unsteady, but thank you.
- Congratulations.
- Thank you, Libby.
How long a honeymoon are
you going to give us?
Now, let's see.
I'll want you back by the ninth.
No, make it the tenth.
Now, don't let your heart
run away with your head.
I'll have to call
Production and see how
long I can stall off
Vicki's wardrobe tests.
While you're settling
the details, is it all
right if I go out and
buy the lady a ring?
Sure, we want everything legal.
- Thank you.
- Bye.
Bye, Oliver.
- Goodbye, Libby.
- Bye. Bye, Libby.
- Congratulations.
- Thank you very much.
That was quite a decision
you made just now, Oliver.
Decision?
Letting that girl walk
into a booby trap.
Vicki's business is her own.
Is it?
She's the hottest piece of
property the studio has right now.
This might make the
difference to Norman.
This might be it.
Any bets?
Well, I better start
the wheels grinding.
A front-page splash on the wedding
would help his
slipping box office.
Hello, this is Matt
Libby. Get me my office.
- Mr Libby's office.
- Hello. Hello, Markham?
Yes, Mr Libby.
Lester and Maine are
getting married.
Yeah, yeah, yeah. Now, look,
I want all stops pulled.
Full coverage, every department.
The wedding to end all weddings.
Yes, sir.
All right. Now, see
if you can get...
the mayor to close school that
afternoon. I'll get you the date.
Get newsreel and television
coverage started right away.
Yeah. Get all traffic
routed out of Beverly
Hills for two miles each
side of the church.
Which one?
The big one. And
tell The Life, The
TIME, The AP and the UP boys...
that I'll set up
restricted coverage
with each one of them, personally.
Yeah. The bleachers and
everything. The full treatment.
Now, if any man can show
just cause why these two...
may not be lawfully
joined together,
let him now speak or
else hereafter...
forever hold his peace.
Do you, Ernest
Sidney Gubbins, take
this woman for your wedded wife?
I do.
Will you love, comfort, honour and
keep her in sickness
and in health...
as long as you both shall live?
I Will.
Do you, Esther Blodgett, take
this man for your wedded husband?
I do.
Will you obey, serve,
love, honour...
and keep him in
sickness and in health
as long as you both shall live?
I will.
Now, place the ring on her finger.
By virtue of the
powers vested in me...
as justice of peace of
San Verdo township...
county of Los Angeles, I
pronounce you man and wife.
- Good luck.
- Hooray.
I must exercise my
prerogatives of office.
I wish you all the
happiness, Miss.
Thank you so much.
Same to you.
And now, if you'll just sign this.
Oh, yes.
You know, I'd swear I'd seen
you before, Mrs Gubbins.
Oh, really?
Well, I think this is the first
time I've ever been in San Verdo.
You know, your face looks
familiar too, Mr Gubbins.
- Thank you very much.
- Thank you.
Thank you.
Here's your receipt.
- Goodbye.
- Oh, goodbye.
- Bye.
- Bye.
- Here.
- Thank you.
- I think we got by with it.
- It was close.
That J.P. was just
beginning to remember us.
At least we got away from Libby.
Libby doesn't even
know we left town.
All the luck.
Well, if you'll be kind enough to
glance between my
shoulder blades...
Mr and Mrs Gubbins...
you'll find there a knife, on
its handle are your initials.
- Oh, now, don't be angry.
- It's been delightful seeing you.
- Wait. Wait a minute.
- Goodbye.
- I've got...
- Bye.
Well, I wish them joy.
Wait till they see the
press. It won't be so funny.
They've a right to
get married quietly.
No, they haven't. He knows better.
Mr Public Nuisance
could stand some
decent publicity for a change.
I've spent ten years
covering up for him.
Killing bad stories, sucking up to
columnists to smooth
away his insults.
Who do you think
they'll blame for not
letting them cover this
today? Him? No. Me.
I'll look just like a fool.
Double-crossed by a cruddy actor.
Well, he needs this, believe
me, more than I do.
Okay.
Just wait your turn, I always say.
What do you always say, McGuire?
Ooh.
Well, the first thing
to do, I think...
is to go and wash your
face. It's quite dirty.
I know my face is
dirty. But you didn't
want anybody to
recognise us, did you?
No, that's right.
But you can unmask now.
I paid my $2, I wanna see
what I got. There it is.
Nice.
Oh. Heh.
And now, folks, Vicki Lester.
Singing the title song from her
new picture It's a New World.
This is the number one
tune of the hit parade.
And the number one
favourite on the
jukeboxes all over the country
Vicki Lester, "it's a New World."
Well, there it is, Esther.
You've got it, just the
way you dreamed it.
No, I've got more.
Much more.
Hey.
That's for ordinary folks who
have to turn on the radio...
and put a nickel in
the jukebox. I've
got a private copyright of my own.
Including the Scandinavian.
I've got the built-in
original right in
the house, every time
I want to hear it.
And I want it now.
No, you don't.
To kind of celebrate.
All right.
♪ How wonderful that
I'm beholding ♪
♪ A never-never land unfolding ♪
♪ Where we polish up the stars ♪
♪ And mountains we move ♪
♪ In a life where
all the pleasures ♪
♪ We will prove ♪
♪ It's a new world I see ♪
♪ A new world for me ♪
♪ The tears have
rolled off my cheek ♪
♪ And fears fade away ♪
♪ Every time you speak ♪
♪ A new world ♪
♪ Though we're in a tiny room ♪
♪ What a vision of joy ♪
♪ And blossom and bloom ♪
♪ A newfound promise ♪
♪ One that will last ♪
♪ So I'm holding on ♪
♪ And I'm holding fast ♪
♪ You've brought ♪
♪ A new world to me ♪
♪ And that it'll always ♪
♪ Always ♪
♪ Be ♪
Well, I've been preparing them.
You have? Do you want
to see your picture?
I'd like to.
Why don't you go and
get a good seat?
They want to see the
black and white.
Oh, all right, fine.
- Now, listen to this...
- Oh, hello.
- Would you like to see a movie?
- Wonderful.
We're going to run one. We feel
so classy with a projector.
You have to put up with
this sort of thing.
- Yeah, can I get you a drink?
- I'm fine, thanks.
All right.
Stunts and speed mark
the National Air Show.
Vampire jets of the Royal
Canadian Air Force flash overhead
Marilyn Rich, the helicopter
girl, does her stuff.
From one of the highest perches
ever used by an
acrobat. And no net.
Now US jets zoom overhead.
Watch them burst apart
like a fountain.
Red Grant is the outdoor type.
He prefers to do his flying on
the wing despite a 30-mile wind.
Traitor.
There's a fight on I
wanted to catch a
bit of. I've seen
the picture anyway.
Why didn't you say something?
We could've run something else.
That doesn't matter. It's a good
picture. You'll all enjoy it.
Go on back, Norman, I think
the newsreel's over.
Are you feeling all
right? You haven't
said a word the whole evening.
Sure, I'm all right. Just
one of my silent evenings.
Go ahead, you'll
miss the beginning.
There's no hurry. These
credits will run forever.
I thought you were
the one who never
took the studio home with you.
This is different.
I'm not at home.
Has this got anything to do with
me? What you're worrying about?
Well, has it?
I'll tell you all about it at the
studio on Monday.
Have lunch with me.
How about telling me now?
This isn't the time or the place,
Norman. You have guests inside...
Oliver, we've known
each other too long
to start playing games
with each other.
What's sticking in your throat
that you can't tell me?
The New York boys have been
out here for the past week.
They want me to take a salary cut?
No, Norman.
Well, I guess the only way
to say it, is to say it.
They've instructed me to buy
up the rest of your contract.
Pay you off.
Pay me off?
Why? My last two pictures haven't
grossed as big as they used to...
but neither has anybody else's.
- They know that.
- Well, what is it, then?
Can you take it?
Go ahead.
They can't afford you any more,
Norman. You're too big a risk.
Those big, fat lush
days when a star
could get drunk and disappear...
and hold up production
for two weeks are over.
Even if you hadn't
slipped a little,
they still wouldn't
take the chance.
Your record's too bad.
No one can afford it any
more. Things are too tough.
I tried, Norman.
I tried very hard.
I see.
Well, don't look so
miserable, Oliver.
There are other studios, you know.
Only bad thing is I shan't
be working for you any more.
Well, we had a long roll of
the dice, didn't we, Oliver?
Can't complain now.
Hey, by the way...
can you keep this under
wraps for a while?
I'd like to tell Esther
about it my own way.
Of course.
Have you seen this, Oliver?
Well, I've certainly
picked a fine time to
build myself a big
new house, didn't I?
You know, Oliver, I
sometimes think I was
born with a genius,
an absolute genius...
for doing the wrong thing.
"Since Mr Maine feels
that his career
will be benefited by a change...
we do not wish to stand
in his way," unquote.
When contacted, the
star said that he
would announce his future plans...
at a later date.
The wheel goes round and round...
and if you just
wait long enough...
it's finally your turn.
Don't take that down, Miss Wilier,
I was just talking to myself.
- Sorry.
- That's all right.
I'm in the mood where
you can make more
than your usual quota of mistakes.
Read that whole thing
back to me, will you?
"Oliver Niles Studio
announced this
morning that it has granted...
Norman Maine's request for a
cancellation of his contract.
"This step was taken
with deep regret",
said Mr Niles, "and
marks the end...
of a long and happy relationship."
"But since Mr Maine
feels that his career
will be benefited by a change..."
[MAN SPEAKING
INDISTINCTLY OVER PHONE]
Yes. This is Malibu 2-9010.
- Is Miss Lester there, please?
- No, she isn't.
- Who's this? The butler?
- No, this isn't the butler.
Oh, is that you, Norman? This
is Artie Carver. How are you?
Say, as long as I've got you on
the phone, anything new with you?
Have you made a deal at
any other studio yet?
No, nothing new with
me at all, Artie.
Say, Norman, is it true
that you're trying
to get Vicki to
leave the studio...
because you're sore at Niles
for settling your contract?
No, it isn't true. And don't
you start that rumour going.
Okay, Norman, don't get sore.
I was just trying to help.
Just trying to get your name
in the papers, that's all.
Anyway, what I called you for was
I've been trying to
get an interview
with Vicki for two weeks
and she's always busy.
How about you giving an old pal a
break and speaking to her for me?
Sure, I'll ask her, Artie.
Fine. Fine.
Norman, I'm gonna put a
squib in the column...
saying that you're cooking
up an independent deal.
Won't fool anybody, but let them
know you're alive. Bye, now.
Bye.
Hi.
- I'm sorry to be so late.
- It's all right.
You're here now.
Did you go fishing
with Captain Blythe?
No, I haven't been
out of the house.
No? Then let's go out
some place tonight.
- But you're tired.
- No.
Let's stay in. You must be tired.
I'm not a bit tired.
Really, I'm not.
- And anyway...
- What?
I see so little of you that I'd
rather have you to myself.
I didn't even get out
of my practise costume.
Oh, Norman, it's the
servants' night
out. I don't think we've got...
Oh, yes, we have. I fixed a little
snack with my own
lily-white hands.
What?
I'm learning to cook
in my spare time.
Well, then I think I'll marry you.
I get it. You wanna make
an honest cook of me.
My goodness.
How does it look?
- It looks wonderful.
- That's what I thought.
- Sit down, sit down.
- All right.
Don't be formal, just pitch in.
I don't think my
mouth is big enough.
I'll measure it. Make the
sandwiches to size next time.
I think I'll take the
measurements right now.
That's what I wait for all day.
That's why I rush home every night
without even changing my costume.
We're forgetting we're hungry.
- Milk?
- Yes, thank you.
Cheers.
Well, what went on at the studio
today, the old Alma mater?
Well, we started doing the
big production number today.
And this is the production number
to end all production numbers.
- An American In Paris?
- An American In Paris.
And in Spain and...
- Brazil?
- Brazil, yes.
- And Pakistan.
- Pakistan and Burma Road.
- It's got sex and schmaltz and...
- And patriotism.
Patriotism without end.
You should see the
things that come out
of the ground...
and that come down from
the ceiling. Never
seen anything like
it in your life.
Wait a minute. Wait.
Here, I'll put
the practise record
on and show you.
Lights.
Camera.
Action.
I'm discovered sitting on
a rather simple divan.
♪ Somewhere there's a someone ♪
♪ Who's the someone for me ♪
♪ Someday there will come one ♪
♪ And my lover he will be ♪
♪ Somehow I shall know him ♪
♪ From the moment he's in view ♪
♪ And he'll know affection ♪
♪ He's never known hitherto ♪
Now we have a stunning
shot with a clock.
♪ I pay no mind to the waiting ♪
♪ Let the clock tick-tock away ♪
♪ The dream I'm contemplating ♪
♪ Will be here to stay, oop ♪
♪ Oh, somewhere in the sometime ♪
♪ When the humdrum ♪
You know, I got pretty
girlish in this number.
♪ With that someone ♪
♪ I'll be someone at last ♪
Now here comes a
big, fat close-up.
♪ With my someone ♪
♪ I'll be someone ♪
♪ At last ♪
- Not a harp.
- There's always a harp...
in a dream sequence,
don't be silly.
- The heavenly choir?
- Yeah, 20 girls just came up...
out of the floor. And there's
smoke all over the room.
♪ Where there's a someone ♪
♪ Somewhere there's a someone ♪
♪ Somewhere, someone ♪
♪ Somewhere there's a someone ♪
I'm discovered on top
of the Eiffel Tower.
Of course.
This is the story
of a little girl.
Searching, searching, searching.
For she knows somewhere...
is a someone who is
a someone for her.
This is her story.
♪ Somewhere is a sometime ♪
♪ When the humdrum
days have passed ♪
♪ With my someone ♪
♪ I'll be someone at last ♪
♪ With my someone ♪
♪ I'll be someone ♪
♪ At last ♪
They discover me in China too.
♪ Somewhere she will
find him somewhere ♪
♪ Somewhere she will find him ♪
♪ Nowhere ♪
Africa.
♪ Someone ♪
♪ Somewhere ♪
♪ There's a someone somewhere ♪
♪ Someone, somewhere ♪
- Brazil, I told you.
- Right. Brazil it is.
Shoot.
Bing. Boom.
You're dead.
♪ Somewhere there's a someone ♪
♪ Somewhere there's a someone ♪
♪ There's a someone
waiting for me ♪
That's the doorbell.
Maybe they'll go away.
They never do at a time like this.
Don't answer it.
Darling, it's so good
to hear you laughing.
I know, I know.
I'd better. Might be a cable.
I sent one to Alex Korda
about a picture in England.
I've been expecting an answer.
Maybe things are looking up.
Vicki Lester live here? I
got a package for her.
- I'll sign for it.
- Who are you?
I'm her husband.
Sure. Sign right there, Mr Lester.
Thank you.
Package for you.
Oh?
By the way, I forgot to
tell you, they want you...
for the Motion Picture
Relief Fund benefit.
It's in April sometime. I
told them I'd ask you.
Now, darling...
No, no, no, let me
finish before I forget.
The Academy Award
secretary called...
and wanted to know how many
there'd be in your party.
And Art Carver called and wanted
me to use my influence with you...
to get him an interview.
I told him I'd try.
That's all.
Well, now that the
supper show is over,
let's have some supper, shall we?
I think I shall mix myself a
drink. I'm not very hungry.
No.
My young son asked me if these
Oscars were made of real gold.
I had to be truthful and
tell him, no, they weren't.
He was very disappointed.
And then the pride of
the household said:
"Daddy, why is it
called an Oscar?"
"Shut up," I explained.
And then my dear wife
entered the argument...
with a little lecture
on child psychology.
And it's rather lucky that
I'm here at all tonight.
You don't think anything's
happened, do you?
You know what the traffic's like.
He's been held up, that's all.
Oh, I wish I could've made
him understand that...
many of us feel that
to win one of them
is ample reward for
an entire career.
I know I do.
Thank you.
Now, to present this year's
award for the Best Actress...
Stop worrying. Think how nice that
statuette's gonna look
on your mantelpiece.
Last year's Academy Award
winner, Mr Nigel Peters.
Those nominated for the Best
Performance by an Actress are:
Jane Brandon, Those who Seek
Vicki Lester, A World For Two
Alice Tenny, The Great Chance.
Shirley Vander, Don't Cry My Love.
The winner is...
Miss Vicki Lester.
Oh, I wish Norman were here.
When something like
this happens to you...
I'm not gonna lie
to you and tell you
I didn't keep hoping
it would happen.
All the speeches
that you've made up
in your bedroom or
in the bathtub...
go out of your mind completely.
And you find that out of all
the words in the world...
just two stick in your mind:
Thank you.
And all I can do is to say them
to you from my heart and...
And...
Congratulations, my dear. I
made it just in time, didn't I?
May I borrow the end of your
speech to make a speech of my own?
My method for gaining
your attention may
seem a little
unconventional, but...
hard times call for
harsh measures.
My, I had my speech all
prepared, but I...
It's gone right out of my head.
Let me see.
Why, it's silly to be
so formal, isn't it?
I know most of you
sitting out there
by your first names, don't I?
I made a lot of money
for you, gentlemen,
in my time through the
years, haven't I?
Well, I need a job now.
Yeah, that's it, that's
the speech. That's the...
I need a job.
That's what I wanted to say. I...
I need a job.
It's as simple as that. I...
I need a job, that's all.
My talents, I may say, are not
confined to dramatic parts.
I can play comedy too.
Yes.
Well, play something, somebody.
Norman, darling.
Darling.
Let's sit down. Come on.
Come on.
Get me a drink, somebody.
Morning, Vicki.
- Hi, Frank.
- How are you?
Fine.
- Ready to go?
- Yeah, any time.
Hit the lights. Up
high. Six and eight.
Give us the scene. Lee?
Come over to 103, will you?
Now, drop that door down on main.
Quiet, now.
- Quiet.
- Roll them.
- Speed.
- Playback. Come on.
One, two.
♪ If, as, and when
you've got a long face ♪
♪ Rearrange it ♪
♪ Don't be contented
with the wrong face ♪
♪ There's a way to change it ♪
♪ Does the day look painful? ♪
♪ The future glum? ♪
♪ Does the sky look rainful? ♪
♪ Hey there Say there ♪
♪ Are you in a vacuum? ♪
♪ All this stuff and nonsense ♪
♪ You can overcome ♪
♪ A long face gets you nowhere ♪
♪ You lose that month of May ♪
♪ Like Peter Pan The sweeter pan ♪
♪ Wins the day ♪
♪ Go lose that long
face That long face ♪
♪ Go along and get
that long face lost ♪
♪ The blues black out
when they can see ♪
♪ A smile that says
"Move on. No vacancy" ♪
♪ This panacea idea ♪
♪ I'm handing you
without any cost ♪
♪ There isn't any tax on it ♪
♪ So just relax on it ♪
♪ If you want trouble
double-crossed ♪
♪ Don't give in to a frown ♪
♪ Turn that frown upside down ♪
♪ And get yourself
that long face lost ♪
♪ Hey ♪
♪ This panacea idea ♪
♪ I'm handing you
without any cost ♪
♪ There isn't any tax on it ♪
♪ So just relax on it ♪
♪ If you want trouble
double-crossed ♪
♪ Don't give in to a frown ♪
♪ Turn that frown upside down ♪
♪ And go and get your long face ♪
♪ Get your long face ♪
♪ Go, go, go and get
your long face ♪
♪ Lost ♪
Cut.
Cut. That's it.
Very good, everybody. Very
good. Fine, Vicki, fine.
Take it easy for a
bit. We've got to
move in for the
closer angle, okay?
- All right.
- All right, kids, take five.
- Back to school.
- New mark for the camera.
Come in.
- Oliver.
- Esther.
Hello. It's good to see you again.
Three months is a long time.
How was your trip?
Not exactly the pleasure
trip it used to be.
They want your pictures, Esther.
That's all I kept hearing
way across the country.
Thanks.
Look, would you mind stopping that
for just a minute? Excuse me.
- All right.
- Excuse me.
Tough day?
Oh, no, no tougher than usual.
Maybe you ought to get away after
this one. New York or Europe.
Just get completely
away. What about that?
How's Norman?
Is he all right?
Yes, he's fine. Want some coffee?
- Thanks.
- Here.
- Sit down, Oliver.
- Tell me, is he...?
He's in the sanatorium.
He really wants to
stop drinking, Oliver.
He's trying very
hard. I know he is.
But...
What is it?
What is it that makes him
wanna destroy himself?
You've known him longer
than anyone else.
Tell me what it is.
Please. I don't
care, just tell me.
Don't you think I've tried
through the years to know why?
To help him?
I don't know, Esther.
I don't know what the answer is.
Well, I've got to find the answer.
You don't know what it's like
to watch somebody you love...
just crumble away, bit by bit...
and day by day in
front of your eyes.
And stand there helpless.
Love isn't enough.
I thought it was.
I thought I was the
answer for Norman.
But love isn't enough for him.
And I'm afraid of what's
beginning to happen...
within me.
Because:
Sometimes I hate him.
I hate his promises to stop...
and then the watching and
waiting to see it begin again.
I hate to go home to him at night.
And listen to his lies.
Well, my heart goes out
to him because he tries.
He does try.
But I...
hate him for failing.
I hate me too.
I hate me...
because I've failed too.
I have.
I don't know what's going
to happen to us, Oliver.
No matter...
how much you love somebody...
how do you live out the days?
How?
Would it help any if
he went back to work?
Oliver, could you...?
Could you do that?
I'll try.
- Yeah, all right. I'll be there.
- Two minutes.
Yes, okay.
Oliver.
You will be careful when you
talk to him, won't you?
You know...
all he's got left is his
pride... Is his pride.
Quiet.
- Hurry it up.
- Set up for number six.
Playback.
Get ready, number six,
make that happen.
Quiet, everybody.
♪ There isn't any tax on it ♪
♪ So just relax on it ♪
♪ If you want trouble
double-crossed ♪
♪ Don't give in to a frown ♪
♪ Turn that frown upside down ♪
♪ Hey ♪
♪ And go and get your long face ♪
♪ Get your long face ♪
♪ Go, go, go and get
your long face ♪
♪ Lost ♪
- I'm Mr Niles.
- Oh, yes, come in.
Well, Mr Niles, we're expecting
you. My name is Harrison.
- How do you do?
- Come into the reception room...
make yourself comfortable.
Mr Maine will be down.
Thank you.
Hello, Oliver.
- Welcome to Liberty Hall.
- Hello, Norman.
Shall we...? Shall
we go through there?
Sit down.
You don't think someone'll
come strolling in...
and start telling us he's Napoleon
or Julius Caesar, do you?
No.
Nevertheless, I think we'd find it
a little cosier in the sun porch.
Now, Cuddles, Mr Niles isn't
slipping me a case of Scotch.
He's just gonna sit with me.
Oliver, this is Cuddles,
my social secretary.
We go everywhere together.
How are you feeling?
Oh, I'm coming along splendidly,
so Cuddles tells me.
He says you ought to
see some of the boys.
Well, let's sit down.
Cuddles, we really don't need you.
Touching, isn't it? He can't bear
to have me out of his sight.
Well, you comfortable here?
Comfortable? Why, it's
positively luxurious.
Why, we even have
steel mesh on the
windows to keep the drafts out.
How much longer do you
think you'll be here?
Well, I'm really cured now,
only I'm just staying on...
an extra week or two until I
get into really good shape.
After all, there isn't any great
hurry to return to the cameras.
That's what I wanna
talk to you about.
I have a script here.
It has a fine part for you in it.
Why, that's great, Oliver.
Who plays opposite me?
Well, it isn't exactly the lead,
Norman. Young
Pemberton's doing that.
But I'll tell you
frankly, I consider
your part better than the lead.
I see. Better than the lead.
Of course, it isn't
terribly long. It's one
of those parts that
make an impression.
They'll be thinking about you
all through the picture.
Well, the thing is,
Oliver, that I'm
pretty well set at another studio.
I'm not at liberty at the
moment to tell you which one.
You know yourself how those
things are, but it's big. Big.
It's... Cuddles, do
you have a quarter?
It's one of the biggest
pictures of the year.
As for the part, every
actor in Hollywood...
would give his
eyeteeth to play it.
That's fine, Norman. Just fine.
Naturally, that'll tie
you up for a while.
However, we're not getting
to this for some time.
Perhaps you'd consider
it for later on.
Better not count on me.
I've got several
pictures lined up.
They're talking to
me about England.
They're doing some
interesting things...
Hey.
What is it, Cuddles?
Speak right out. We all love you.
Your dinner.
Oh, yes.
We dine here at 5:30.
Makes the nights longer.
Well, I'll be toddling
along, Norman.
Supposing I just leave this.
Maybe you'll come
up with some ideas,
even if you don't play the part.
Oh, sure. Sure.
Nice to see you doing
so well, Norman.
Oh, I shall be out
of here in no time.
I shall have to introduce myself
all over again to a lot of people.
They won't know me
when I'm not drinking.
Goodbye, Oliver.
Thanks for dropping in.
All right, Cuddles.
Alone at last.
Your attention, please.
In this race, Number 5, La
Golondrina, three pounds over.
The total weight, 112 pounds.
Number 7, Royalty,
two pounds over.
The total weight, 114 pounds.
Well, hello, Bert.
Oh, hello, Norman.
- Marian, how are you?
- Fine, fine.
- Hi, Sammy.
- Hello, Norman. How are you?
I think this one.
Yes.
After all, he's never won
before. Give him a chance.
Well...
Your attention, please. The
horses are coming on the track.
Hello, Mr Maine. Haven't seen
you around in a long time.
No, I've been resting.
Ginger ale, please.
Yes, sir. Ginger ale and what?
Ginger ale and ginger ale.
- New leaf?
- A whole new book.
Thanks.
Scotch.
Hello, Libby. Haven't
seen you in a long time.
What do you like
in the third race?
Well, it's Mr America
of Yesteryear.
Do they let you wander
around now without a keeper?
Oh, I'm a trusty, now.
I suppose you'll be here all the
time now that you've retired...
from the hurly-burly of the
silver screen. Another Scotch.
We're staying down at Malibu now
and it gets pretty lonesome...
with Esther away working all day.
I wouldn't squawk if I were you.
It's nice having somebody in
the family making a living.
Hey, go a little
slow, Libby. I don't
wanna forget that we're friends.
Friends, my eye.
Listen, I got you
out of your jams...
because it was my job, not
because I was your friend.
I don't like you. I
never did like you.
Nothing made me
happier than to see
all those little
pranks of yours...
catch up with you and
land you on your face.
Pretty work, Libby. Always wait
till they're down, then kick them.
You got yourself fixed nice and
comfortable, you got no complaint.
You can live off your wife now.
Stand back, folks.
Stand back, folks. What's
the matter with him?
Are you hurt? Oh, he's all right.
- It's Norman Maine.
- Drunk again.
He's been drunk for
years. Come on,
honey, we'll miss the next race.
- How does Vicki stand him?
- She must feel sorry for him.
Let's not us get involved.
Scotch.
Double.
Esther, you'll make yourself ill.
Try and get a little sleep.
Four days. He's been gone for
four days now and not a word.
I can't.
I can't.
Hello?
No, this is Oliver Niles speaking.
What?
Oh, thank heaven.
He's all right. He's all
right, Esther. He isn't hurt.
Where?
In the night court? Thank you.
He's been arrested
on a drunk charge.
I'll go right down and
try and get him out.
I'm going with you.
That's no place for you. If the
newspapers get it, it'll be bad...
What do I care about that now?
Were you able to do anything?
The judge says he'll get as
fair treatment as anybody else.
And that's all he'd say.
Cigarettes out. Please rise.
Face the flag of our country.
Come on, keep moving.
Line up here.
Come on, come on, line up.
All right, fellows, let's go.
Come on. Right down there.
Hats off, cigarettes out.
Hurry it up, come on.
Come on, hurry up. Come
on, come on. Hurry
it up. Single file
line, face the judge.
Face the judge. Hurry it up.
Second line right down there.
Single file.
Hurry it up.
Take your hat off.
Hurry it up, fellows.
Take your hat off.
Come on, go. Hat off.
Come on. Hurry it up, fellows.
I want to advise you that you're
entitled to be represented
by counsel...
to be confronted by the
witnesses that testify...
to a public and speedy trial
by the court or by a jury...
and the right to be
admitted to bail.
- Do you understand that?
- Yes.
William Gregory.
Drunk. Picked up at Fifth and
Towne asleep in the gutter.
Fourteen similar offences
in the past six months.
How do you plead?
I don't feel so good.
I didn't ask you how you feel.
I said how do you plead?
Guilty, I guess.
When did you get
out the last time?
Just before Christmas.
You'll have to miss New
Year's, but you'll be out...
in time for Washington's
birthday. Sixty days.
Ernest Gubbins.
Gubbins.
Drunk and disorderly. Crashed car
into tree at Sunset and Coronado.
Evidently been drinking for days.
Resisted arrest and injured one
of the arresting officers.
How do you plead?
Guilty.
Were you Norman Maine, the actor?
Yes.
You've come pretty
low, haven't you?
There isn't a man here that's
had the advantages you've had.
And look what you've
done with them.
You're nothing but
an irresponsible
drunk driving around
the streets...
with the power to inflict death
and injury on innocent people.
I think we'd better
deny you that power for
a while. Ninety days
in the city jail.
I'm his wife.
I recognise you, Miss Lester.
Please, judge, I promise...
this will never,
never happen again.
I'll be responsible for him.
I Will.
If you'll just not send him there.
Do you realise that
this man, when drunk...
is obviously a menace
to the public's safety?
Do you realise, too,
the responsibility
you'll be assuming in
this, to the court...
and to the people of this city?
I do.
Sentence suspended. Prisoner
remanded to custody of wife.
Thank you.
Jose Rodriguez.
- I'm so tired, Esther.
- All right, folks, hold it.
Hold it.
- One more, please.
- Just a minute.
- He's asleep.
- Good.
He's been sleeping
most of the day.
- That's the best thing for him.
- Yes.
He looks so helpless lying there.
Smiling in his sleep,
just like a child.
Do you still love him, Esther?
Or do you feel sorry for him?
Sorry for him?
I don't know what
you're talking about.
I love him.
We'll take care of him together.
You are very fond of
him, aren't you, Oliver?
I'm very fond of both of you.
Then I know you'll understand
what I have to tell you.
You probably know already, after
what happened last night.
I can't do any more
pictures, Oliver.
I'm going away for good.
With Norman.
You're at the very height
of your career, Esther.
The very peak of your success.
There wouldn't be any
career without Norman.
I'm just giving back
the gift he gave me.
No one can give anyone a
career. You've made your own.
No, no.
He gave it to me...
by his faith and by his love.
And without him,
it's just nothing.
Not the way things are.
You've thought this through?
You're sure you're right?
What'll you do?
Well, we'll go away together.
I'll be with him every moment.
Maybe if I'd had a chance
to be with him more...
some of these things
wouldn't have happened.
I've got to hang onto that.
I've got to believe that.
And then when he gets better...
we can work in England or Italy.
Somewhere where they don't know
about him the way they do here.
And he can get a chance to start
again. That's all he needs.
That's what I'm
willing to fight for.
To give anything for.
Esther...
I have to tell you this.
I hate to, but I must.
There's nothing left any more.
It happened long before
last night. Long
before we let him
out of the studio.
Twenty years of steady and quiet
drinking do something to a man.
Long before it showed in his
face, it showed in his acting.
Little by little, more and
more, with each picture.
That's why he slipped.
It wasn't just bad
pictures, it was him.
And there's nothing left any more.
He's just the shell of what he
once was. It's gone, Esther.
No. No, Oliver, I don't believe
that. I won't and I can't.
Can you honestly tell me
I'm wrong to do this?
To try? To try?
No, my dear, I can't. I can't
honestly tell you that.
Well, then it's settled.
It's settled.
I'll arrange it.
Bye, Vicki Lester.
Good luck, Mrs Norman Maine.
Goodbye, Oliver. Thank you.
Darling.
You're up.
Well, if just being on
my feet creates such
a sensation, I shall
never lie down again.
- How do you feel?
- Great.
As fit as a fiddle
and ready for love.
Why being as fit as a
fiddle should make
one ready for love I
never understood.
How did they decide
that a fiddle was fit?
Norman, is there anything I can do
for you? Is there
anything you want?
Yes. A number of things.
Name them, what?
Well, brace yourself.
I've decided that
we're dreary people.
Us?
Yes, both of us. I should like to
see some changes around the house.
When did you decide all this?
Oh, never mind about
that. Just you listen.
In the first place, I'm going
in for the athletic stuff.
The swim before
breakfast, the swim
before dinner, the happy mind...
and a happy body. Beginning now.
Do you wanna come along?
Must I?
No. Your part begins
when I come out.
I shall want some hot
soup and sandwiches.
All right.
But the thing that I should
like more than anything else...
What?
I'd like some singing
around the house.
We used to have it all the time.
Do I still own the copyright?
Yes, including the Scandinavian.
What, do you want it now?
Huh.
Okay.
Oh, now, don't be silly.
You go for your swim.
I'll open the kitchen window.
You'll be able to hear me.
- Hey.
- What?
I just wanted to
look at you again.
♪ It's a new world I see ♪
♪ A new world for me ♪
♪ The tears have
rolled off my cheek ♪
♪ And fears fade away ♪
♪ Every time you speak ♪
♪ A new world ♪
♪ Though we're in a tiny room ♪
♪ What a vision of joy ♪
♪ And blossom and bloom ♪
♪ A newfound promise ♪
♪ One that will last ♪
♪ So I'm holding on ♪
♪ And I'm holding fast ♪
♪ You've brought ♪
♪ A new world ♪
♪ To me ♪
♪ And that it'll always ♪
♪ Always be ♪
Yes, it is tragic.
It's very tragic.
It was just an
accident, of course.
We had big plans for him.
- He was set for a comeback.
- I'll send this out.
- Right.
- It's for you.
Thank you.
Have Joe take it.
Yes?
Oh, yes, it was very sad. It was a
great personal loss to everybody.
Huh? No exclusive on Miss Lester.
She can't see anybody anyhow.
Is Maury back yet? Have him come
right in, will you, please?
The Herald Express
wants a front-page
spread. Get the old stills.
- London calling.
- Yes?
They insist on talking
to you personally.
Give it to Joe.
Yes. Yes, I can rush
you 1500 words.
- Oh, yes, of course it was.
- You want me, Matt?
Yeah. Hold the church
service until I tell you.
Here's all we've got on
the two of them together.
It was right outside the
house. Leave them there.
Okay, pictures of the beach
and the home? Right.
Well, yes.
Yes, it was quite sad.
Thank you very much.
All right, clear out, all of
you. I got a lot of work to do.
Miss Wilier, you stay here.
This is the way the world ends.
Not with a bang, with a whimper.
There she is.
There's Vicki Lester.
- Where'd she go?
- That's Vicki.
That's Vicki, the one in black.
Don't you care, Vicki.
You'll get over this.
Turn around, can't you, Vicki?
Yeah. Give us just one look.
Can't I send out anything on her?
Is she gonna start a new
picture? She going away?
Send out nothing.
That's an order, Libby.
Till we know.
Until we know what?
Until I can talk to her.
Till she'll see me.
She hasn't answered her phone,
even for me, this past week.
This gonna stay here?
As long as I'm head of the studio.
You know, Libby, you missed a
lot not knowing Norman Maine.
Not knowing him? I spent
my life knowing him.
I knew what he was gonna
do before he did it.
I knew him backwards.
You didn't know him at all.
He was quite a guy.
Is there anything I can do for
you, madam, before I go to bed?
No, thank you, Chuck.
Good night.
- Good evening.
- Hello. Where is she?
She's in the library.
May I have your coat?
No, that's all right. I've got it.
Hello, Danny.
You're not dressed.
Dressed?
You're due at that
benefit at the Shrine.
Come on, get dressed.
You told them you'd be there.
That was b...
That was before.
I know it was, but come
on and get dressed.
No.
You just gonna sit here forever?
Yes.
Tonight and tomorrow night
and for as long as I like.
I don't want any of your
home made remedies.
I know what you're trying.
And the best thing you can do for
me is to just leave me alone.
You and everybody else.
And thanks for the
sympathy. I don't want it.
Not from you or anybody.
Sympathy? That's not what
you're getting from me, baby.
You don't deserve it.
You're a great monument
to Norman Maine, you are.
He was a drunk and he wasted
his life, but he loved you.
And he took enormous
pride in the one thing
in his life that
wasn't a waste, you.
His love for you and your success.
That was the one thing in his life
that wasn't a waste.
And he knew it.
Maybe he was wrong to do
what he did, I don't know.
But he didn't want
to destroy that,
destroy the only thing
he took pride in.
And now you are doing
the one thing he
was terrified of,
you're wiping it out.
You're tossing aside the
one thing he had left.
You're tossing it right back
into the ocean after him.
You're the only thing
that remains of him now.
And if you just kick it away,
it's like he never existed...
like there never was a
Norman Maine at all.
Will you wait for me?
- Vicki.
- Hi, honey, how are you?
How are you? It's good to see you.
- You look wonderful.
- Thank you.
She looks great, doesn't she? You
too. Darling, we really gotta go.
The next star listed to appear on
your program is Miss Vicki Lester.
But we're all of us aware of
the tragic circumstances...
which prevent Vicki Lester's
appearance here tonight.
It's with the deepest sympathy...
Will you forgive me for a moment?
Vicki Lester will appear tonight.
Here she is, ladies
and gentlemen, a
star that shines bright and high.
As you know, this program is being
broadcast all over the world.
Before you sing for
us, I know that
your millions of
fans everywhere...
are hoping you'll say
a few words to them.
- Won't you?
- Yes.
Hello, everybody.
This is...
Mrs Norman Maine.
Hollywood, ladies and gentlemen.
I might even say a
fabulous Hollywood night.
This is the Shrine
Auditorium's great evening
for the Motion
Picture Relief Fund.
The benefit show called Night of
the Stars, for Hollywood's own.
The motion-picture stars
never forget their own.
And tonight, all the
proceeds will go
to the Motion Picture Relief Fund.
[SPEAKING INDISTINCTLY]
Wait a minute, folks.
I think I see...
Yes, it is, it is
Oliver Niles' car
is just driving up.
And waving to her
fans is Lola Lavery
Lola, nice to see
you. So wonderful.
Oliver Niles, the famous producer.
Ladies and gentlemen, may I
present lovely Lola Lavery.
Thank you, George, sweetie. It's
so divine being here tonight.
And I know you're
all looking forward
to seeing your favourite
star and mine.
And, of course, you know, Norman
Maine is the great attraction...
here at the Shrine
Auditorium tonight.
And of course, wherever
Norman Maine goes...
lovely little Lola
is sure to be there.
Joan, doesn't she look beautiful?
She looks gorgeous.
- Good to see you.
- How are you? Isn't she adorable?
You're looking divine.
What are you wearing?
She's wearing a black
sheath. Isn't it divine?
And a white fox. And the
diamonds in the hair.
Did you ever? It's adorable.
Joan.
Ladies and gentlemen,
we've had the pleasure...
of having lovely Lola
Lavery at our microphones.
Did you ever see anyone so sweet,
so unspoiled and down-to-earth?
- She's a darling girl.
- Definitely.
Lola, please, just one shot.
Thank you.
- Hello, Lola.
- Libby, darling.
- Norman's not here. Not a sign.
- Didn't you call for him?
That was the plan.
Wasn't there. I've
been all over town...
the usual places.
Not a sign of him.
Libby, Normie loves being late.
He's always late with me.
You're not exactly a public
performance, my dear.
- You know where I'm sitting.
- ♪ I'll ♪ check backstage.
- He's here.
- Good.
He's drunk.
- How bad?
- Very. What do you want me to do?
Keep him off.
Don't let him go on.
Is anything wrong?
Is Normie all right?
It's all right.
Norman Maine.
Probably drunk.
Let go, you're breaking my camera.
Norman.
Norman, we have our cue.
- Take it easy. Please.
- What? Oh, yes.
Where are you going, Norman?
Hey, grab him. Grab him quick.
A horse.
A horse for my kingdom.
- Hey.
- Get him here. Get him here.
Get him off the stage.
What are we gonna do, Libby?
What's the act that follows Maine?
The Glenn Williams' Orchestra.
- They here?
- Yes.
- Ready? All right.
- Yes.
On the stand, we're on next. Will
you help rush them up, please?
In your places, we're
on next. Snap it up.
Who didn't show?
Regular opening, verse and chorus?
Yeah, that's right.
Get a load of Norman
Maine, will you?
- Where?
- Look.
Mr Maine is feeling no pain.
Oh, how I hate benefits.
Better make it snappy, Esther.
Neil, is all the music out?
I'll get it now.
Hi, Norman.
Hello, Matt, old boy.
We seem to have missed each
other. Been searching for me?
That's all right. I
knew you'd turn up.
Touching, your faith
in me, Matt. Touching.
Mr Libby looks after
me like a fond
mother with a good sense of...
double entry bookkeeping.
Mr Libby, I should
explain, is in charge...
of the public relations at the
studio. How is the
AP and the UP...
Fine, fine. Norman, I
got some of the boys...
How many lies have you
told the public today?
A couple of hundred. I need you
for an interview and pictures.
I don't need more pictures, I
don't need more interviews...
- because the public loves me.
- Sure they do.
But just a few. I
promised the boys.
Take your hands off me.
And don't make any promises for me
for I will break them. A horse.
My kingdom for a horse.
- I'll tell you what, Libby.
- What?
I'm thirsty. I need a
drink before I go on.
If you get me a drink, I'll
let you take a picture.
- That's a deal.
- Two drinks, two pictures.
Three drinks, three pictures.
Three pictures.
You're not a bad fellow, Libby.
Why do you disgust me? Why
do I hate you so, Libby?
I wouldn't know
about that, Norman.
- Just one more.
- Smile.
- Let's have another one.
- That does it.
- Give us more.
- I said, that does it.
But you've got plenty of time. All
right, all right,
no more pictures.
Get your pencils out, boys.
I'm sorry, gentlemen, no time.
- You got plenty of time.
- Come on.
- Plenty of time.
- Are you trying to stop me?
You trying to stop
me from going on?
- Is that it?
- No.
- What a story this will make.
- This guy is stoned.
[SPEAKING INDISTINCTLY]
♪ What a spot this,
not so hot this ♪
♪ Hey, there, shy
one, come be my one ♪
♪ Please don't rush off,
want no brush-off ♪
♪ I can't compel you to
buy what I'd sell you ♪
♪ But I'd like to
tell you like so ♪
♪ You wanna have
bells that'll ring ♪
♪ You wanna have
songs that'll sing ♪
♪ You want your sky of baby blue ♪
♪ You gotta have me go with you ♪
♪ Hey, you fool, you
why so cool, you? ♪
♪ When I'm ready to go steady ♪
♪ You wanna have
eyes that'll shine ♪
♪ You wanna have
grapes on the vine ♪
♪ You want a love
that's truly true ♪
♪ You gotta have me go with you ♪
♪ You gotta have me ♪
♪ Why the hold out? ♪
♪ And me ♪
Have you sold out?
♪ Time you woke up ♪
♪ Time you spoke up ♪
♪ This line I'm handing you ♪
♪ Is not a handout ♪
♪ As a team, we'd be
a standout ba-dop ♪
♪ You wanna live high on a dime ♪
♪ You wanna have two
hearts in rhyme ♪
♪ Gotta have me go with you ♪
♪ Don't forget about baby ♪
♪ You gotta have me ♪
♪ Gotta have me ♪
♪ Gotta have me ♪
♪ All the time ♪
♪ Ba-ba-bah, ba-ba-bah ♪
♪ Ba-ba-ba-ba-ba-ba ba-ba-ba-ba ♪
♪ Ba-ba-ba-ba-ba-ba-ba
ba-ba-ba-ba-ba-bah ♪
♪ Bah ♪
♪ Ooh-ah boo-de-boo ♪
♪ Why the hold out? ♪
♪ Have you sold out? ♪
♪ Time you woke up ♪
♪ Time you spoke up ♪
♪ Want your sky of baby blue ♪
♪ You gotta have me go with you ♪
♪ Why the hold out? ♪
♪ Have you sold out? ♪
♪ Time you woke up ♪
♪ Time you spoke up ♪
♪ This line I'm handing you ♪
♪ Is not a handout ♪
♪ As a team, we'd be a standout ♪
♪ You wanna live high on a dime ♪
♪ You wanna have two
hearts in rhyme ♪
♪ Gotta have me go with you ♪
♪ All the time ♪
- Esther?
- Yes.
Hi, girls.
Esther, if you hurry
we can have coffee.
All right.
- Good night.
- Goodbye.
- Danny.
- Yeah?
Wait... Here, wait just a second.
Okay.
I think I must've chewed
my lips off wondering...
if he was gonna come
staggering back.
I've never been so frightened.
My knees were shaking...
- Was I on key? I couldn't hear.
- On pitch all the way.
It's a wonder.
And it's a wonder to me Mr Norman
Maine is still in pictures.
It is indeed.
In fact, I ask it myself every
morning when I'm shaving.
I say, "Mirror, mirror
on the wall, who
is the greatest star of them all?"
Do you know what the
mirror answers?
Norman Maine?
Absolutely correct, Miss...
Blodgett. Esther Blodgett.
You must've been born with that
name. Couldn't have made it up.
- I was born with it.
- Excuse me.
You wouldn't make up a
name like that, would you?
- Oh, it's a brand-new lipstick.
- To mark the occasion when...
Esther Blodgett...
saved Norman Maine...
from making even more of a
fool of himself than usual.
I thank you.
My studio thanks you. All
the legions and codes...
that watch over our industry will
be equally pleased, I'm sure.
- Would you take supper with me?
- Oh, I...
And all the people with you too.
I'm afraid we can't, Mr Maine. You
see, we're working at the Grove.
This is Danny
McGuire, our pianist.
Oh, bring your piano
along, Mr McGuire.
Nobody can object to a good,
clean-living American piano.
But I insist on your
taking supper with me.
Come on.
Don't you try to
stop me, Mr McGuire.
I know myself extremely well.
I'm just near the fighting
stage at the moment.
If I don't get my way,
I'll begin to break
up people and things
at this moment.
- You understand, don't you?
- Yes, I understand.
Why don't we have
supper sometime later?
Maybe tomorrow or the next night.
I'll tell you what I'll do.
I'll lay in a whole
supply of lipsticks
and we'll celebrate
all over the walls.
- Please, Miss Blodgett.
- Good night.
I think I see your friends,
Mr Maine. Let's hit the road.
Oh.
Pumpkin, you were
divine. Simply divine.
- Wonderful, Normie.
- You were swell.
Everyone around me was saying it.
You know, drunk or not, he's nice.
- He's awful nice.
- Just darling. Come on.
When he goes off like that, he's
good for the night, Mr Libby.
He'll smile in his
sleep in a minute.
Like a child.
Like a child with a blowtorch.
What, sir?
Nothing.
Mr Maine's charm escapes me.
It always has.
Now, you understand, 6:00 sharp.
Have him dressed and ready.
Yes. Yes, sir.
Here are his car keys.
Hide them, will you?
I've had enough of Mr
Maine for one night.
He's good for the night.
Six o'clock sharp.
He'll sure be surprised
when he finds
himself on location
in the morning.
- Good evening, Mr Maine.
- Hello, Bruno. How are you?
- All right.
- There's a little dark girl...
sings with the Glenn
Williams' Orchestra.
The Glenn Williams' Orchestra
finishes at 1:30, Mr Maine.
Then the rumba band takes over.
They finished about an hour ago.
Well, it doesn't
matter, Bruno. The
whole thing seems
rather silly now.
I'll tell you something, Mr Maine.
All the bands that play here,
the musicians, you know...
they go to a little
place on Sunset
Boulevard after they finish.
And maybe the girl could be there.
They're crazy people, you know.
They blow their heads
off here all night.
And instead of going to bed,
they go to this place...
and blow their heads off there
for themselves for nothing.
Would you like a table, sir?
Not unless you wish to
rumba with me, Bruno.
Is there anyone here that I know?
Well, now, let's see.
There's a new little
girl from Paramount.
That one there, yes.
She's very pretty, Mr Maine.
She's with someone, isn't she?
Only her agent.
He'll be glad to leave.
Too young. I had a very
young week last week.
She's not worth it.
Is there anyone else?
I...
Miss Sheldon.
She's very beautiful
tonight, Mr Maine.
No. She hit me over the
head with a bottle.
Yes, yes. I remember it.
Happened right here.
I thought everything
was all right by now.
Nope, they only hit me once.
Little girl in the green dress.
No, Mr Maine.
Pasadena.
Leave it alone.
Will you excuse me, please?
I'll be right back.
Go ahead.
Take it, honey. Come on.
Take it from the top.
- From the top?
- Yeah.
♪ Doo, doo-dee-dee ♪
♪ Huh-huh ♪
♪ Huh-huh ♪
♪ The night is bitter ♪
♪ The stars have
lost their glitter ♪
♪ The winds grow colder ♪
♪ Suddenly, you're older ♪
♪ And all because of the man ♪
♪ That got away ♪
♪ No more his eager call ♪
♪ The writing's on the wall ♪
♪ The dreams you've
dreamed have all ♪
♪ Gone astray ♪
♪ The man that won you ♪
♪ Has run off and undone you ♪
♪ That great beginning ♪
♪ Has seen a final inning ♪
♪ Don't know what happened ♪
♪ It's all a crazy game ♪
♪ No more that all-time thrill ♪
♪ For you've been
through the mill ♪
♪ And never a new love will ♪
♪ Be the same ♪
♪ Good riddance, goodbye ♪
♪ Every trick of his ♪
♪ You're on to ♪
♪ But fools will be fools ♪
♪ And where's he gone to? ♪
♪ The road gets rougher ♪
♪ It's lonelier and tougher ♪
♪ With hope you burn up ♪
♪ Tomorrow he will turn up ♪
♪ There's just no letup ♪
♪ The livelong night and day ♪
♪ Ever since this world began ♪
♪ There is nothing sadder than ♪
♪ A one-man woman looking for ♪
♪ The man that got away ♪
♪ The man that got ♪
♪ Away ♪
- Wonderful.
- That's great.
Pretty good, we
finished together...
Oh, no. No.
- Oh, no.
- What's the matter?
Your dancing partner has returned.
How do you suppose he
ever found us here?
- I'll get rid of him.
- No, I'll do it.
Hello, Mr Maine.
You turn up in the
strangest places.
Don't I, though?
And you're cold sober.
Well, you'd better make the most
of it. Sit down for a moment.
Do you always sing like that?
- Like what?
- The way you sang just now.
Why?
I never heard anybody
sing just the way you do.
What do you mean? Good or bad?
Yeah.
You ever go fishing?
Well, do you like prize...?
Ever watched a great fighter?
I...
I'm trying to tell
you how you sing.
Do you mean like a
prizefighter or a fish?
Look.
Here.
There are certain
pleasures that you get...
There are certain pleasures you
get, little jabs of pleasure.
When a swordfish
takes the hook, or
when you watch a great fighter...
getting ready for the kill, see?
You don't understand a
word I'm saying, do you?
No, not yet. Why don't
you try bullfights?
You're joking, but that's
exactly what I mean.
If you'd never seen a bullfight,
you'd know a great bullfighter...
the moment he stepped in the
ring from the way he stood...
from the way he moved.
Or a dancer. You don't
have to know about ballet.
That little bell rings
inside your head...
that little jolt of pleasure.
Well, that's what
happened to me just now.
You're a great singer.
Who, me?
Hasn't anyone ever
told you that before?
No, Mr Maine, no one's
ever told me that before.
Maybe you're not quite as sober
as we both thought you were...
but thank you.
I'm as sober as a judge and I
know exactly what I'm saying.
You've got that little something
extra that Ellen
Terry talked about.
Ellen Terry, great actress
long before you were born.
She said that's what star quality
was, that little something extra.
Well, you've got it.
Now, what are you doing wasting
your time singing with this band?
Wasting my time?
I'm not wasting my time.
You don't know how many years
it's taken me to get this far.
I'm doing fine, Mr
Maine. Just great.
You're wasting your time.
Now, tell me about yourself.
Where'd you come from?
- How did you start singing?
- Oh, I...
Have you got a
family? You married?
Esther.
- No.
- Esther.
We're breaking it up.
- Why, hello, Mr McGuire.
- Mr Maine.
Ready to go home?
- Yes.
- Good.
I'll see that Esther gets home.
Oh, you're k...
- All right, Esther?
- Yes.
In you go.
I'll see you at the bus
in the morning, Danny.
Yeah, at 6:00.
(Okay.
- Good night.
- Yeah, good night.
Yeah.
Well, go on. Go ahead.
Do you know the only thing
I can think of right now?
The only thought that comes into
my mind is the way I wash my hair.
You see, when anything happens
to me, good or bad...
I make straight for
the shampoo bottle.
Why would I have to
think of that now?
I understand that perfectly.
With me, it's golf balls.
If I'm happy or if
I'm miserable, I
putt golf balls around
the living room.
It makes perfect sense. Go ahead.
I'm afraid I'm no good at
talking about myself, Mr Maine.
Everything just runs together.
Runs together? How?
All over the place.
Washing out my gloves in
crummy hotel rooms...
and winning a contest on the
radio, singing in joints.
You see how my mind
works? It's all jumbled.
I can sort it out.
Can you?
I can't.
I can remember my first job
singing with the band.
And then, one-night stands
clear across country by bus.
Putting on nail polish in the
ladies' rooms of gas stations.
Waiting on tables...
Whoa, that was a low point.
I'll never forget it...
and I'll never, never
do that again.
No matter what.
But I had to sing.
I somehow feel most
alive when I'm singing.
It's like...
You don't wanna hear
all this, do you?
Do you mind?
Mind? No, I'm having
a wonderful time.
Here, we turn here. I
live on that street.
Is there anything more I should
know about your fascinating life?
There must be more.
Oh, there is. A whole
scrapbook full.
Oh.
Come in.
Well, have you had enough, as
the Republicans used to say?
You know about as much about
me now as I do of myself.
But you see how long it's
taken me to get this far.
Now, all I need is
just a little luck.
- What kind of luck?
- Oh...
The kind of luck that every girl
singer with a band dreams of.
One night a talent scout from a
big record company will come in.
And he'll let me make a record.
Yes, and then?
Oh, the record will become
number one on the hit parade.
Be played on the jukeboxes
all over the country.
And I'll be made.
End of dream.
There's only one thing
wrong with that.
I know. It won't happen.
No, it might happen very easily.
Only the dream isn't big enough.
How long will you be
playing at the Grove?
Well, tonight was
our last night. We
leave for San Francisco
in the morning.
Don't go.
What?
Quit. Leave the
band. Stay on here.
Let me see what I can
do for you at the
studio. I'll talk to
Niles right away.
It's just a chance, but take it.
A chance?
Do you realise I'd be giving up
everything I ever worked for?
That's right. But it's served its
purpose. Listen to me, Esther.
A career is a curious thing.
Talent isn't always enough.
You need a sense of timing, an eye
for seeing the turning point...
or recognising the big chance when
it comes along and grabbing it.
A career can rest
on a trifle like...
Like us sitting here tonight.
Or it can turn on
somebody's saying to you:
"You're better than that.
You're better than you know."
Don't settle for the little
dream. Go on to the big one.
Scared? Scared to take the plunge?
Yes.
Say, what makes you
so sure about me?
I heard you sing.
- Yeah, but that...
- I know, just my word.
But you know yourself, don't you?
You just needed
somebody to tell you.
Well, I'm certainly mixed up now.
- I thought I was doing just fine.
- Don't look so miserable.
You don't have make up your
mind now. Sleep on it.
I'll call you first
thing in the morning.
Sleep on it. You fixed
me for sleep, all right.
Whether you do it or not, don't
ever forget how good you are.
Hang on to that.
Because I'm right.
Good night, Esther.
Good night, Mr Maine. Thank you.
Hey.
I just wanna take
another look at you.
- Hello. Who is it?
- Oliver?
Who? Norman.
Oliver, just hold on a moment.
Are you in jail?
What have you done?
Yeah, yeah no.
No, no, I'm not.
This girl, it turns out,
she's a fabulous singer.
- You heard a girl sing.
- No this girl...
- Well, isn't that nice?
- No. Don't make me mad.
Do you know what time it is?
Wonderful talent.
Now, listen, please.
- Yes, yes, I hear you.
- All right.
Every word.
[NORMAN SPEAKING
INDISTINCTLY OVER PHONE]
You heard a girl sing. What do
you want me to do, applaud?
Yes.
Yes, I hear you. Yup.
Anything.
Anything.
Well, thanks, Oliver.
Now, you go on back to sleep...
because I want you
to be nice and fresh
in the morning when
I bring her around.
Who is it?
It's me.
Are you asleep, Danny?
Not any more. What's the matter?
I'm sorry, but I had to see you.
Something wrong?
Hand me a cigarette.
A cigarette. Over there.
Oh, sure.
I'm quitting the
band, Danny. I'm not
going on to Frisco in the morning.
- You crazy or something?
- Maybe.
Maybe, but I'm quitting.
Why? What happened?
Norman Maine is gonna
get me a screen test.
Go on back to bed,
will you, Esther?
Well, it's true.
You been drinking with him?
Of course not.
Okay, then when we
get to Frisco...
I'll take you to a doctor and
have your head examined.
What's the matter with
you, Esther? He was
making a conventional
pass, that's all.
No. No, it wasn't that, Danny.
What else is it? He follows bands
around and gives
singers screen tests?
What's got into you?
He gave me a look at myself
I've never had before.
He saw something in me
nobody else ever did.
And he made me see it too.
He made me believe it.
Believe what? It's taken
all these years for you...
to get with a big-name outfit. You
gonna toss it all in the ashcan?
And for what?
For a chance at being something...
something bigger than
I ever dreamed of.
And I'm not gonna turn back now.
Ever.
Coffee's almost ready.
I don't want any coffee.
I'm wide awake now.
Oh, Danny.
Don't be mad at me.
I...
I'll be up in time to see
you off in the morning.
I guess I'd better go.
How much money have
you got, Esther?
Money?
Oh. A little.
Enough to last for
a couple of weeks.
Oh, you'll be all signed up and
in front of the cameras by then.
Oh, you fool.
You fool.
You think so?
Then why do I feel like this?
- Goodbye, honey.
- Bye-bye.
Good luck to you.
- Wait a minute, Danny.
- Bye.
Wish me luck.
Luck? You silly...
All right, go ahead and say it.
No, no use. You're
going for the ride.
Okay. Good luck.
And don't forget who makes better
vocal arrangements for you...
better than anybody
else in the world.
In his usual wonderful shape, huh?
He'll sleep it off on the plane.
Any idea how long you'll be gone?
Oh, about five or
six weeks at least.
This one's being shot
mostly on location.
It's a big sea epic.
He won't see anything for a long
time but the stuff
he hates, water.
So long.
All right, cut.
That's the one. Wrap it up.
- All right.
- Bring us in.
They got it.
Bring them on in here.
Bring them straight on in.
Very nice.
- Thank you. Eddie. Eddie.
- Drink that coffee.
- Where's Eddie?
- Talk to Eddie later.
Oh, there you are, Eddie.
Any luck? Did you find it?
Mr Maine, there's about
300 bungalow courts...
around Sunset and Highland.
- Can't you remember the number?
- Just the neighbourhood.
Go ahead, take that telephone
book and ring all 300. Go on.
Norm, will you go
down and dry off?
- I need you in the cabin shot.
- Yeah, yeah.
What's with this
phone-book routine?
The usual, some dame.
Eddie. Hey, Eddie.
It has the name of a
flower on the side.
A poinsettia or
zinnia or something.
Get the studio to
have someone take
a car and cruise around there.
For two days if necessary.
But find that place.
Four days?
But you're behind
schedule now, Bob.
Is Maine drunk?
Tell me the truth. Don't cover
for him, Bob. I want to know.
Okay, we'll shoot around him.
Try and make up the time
as soon as he's up.
Cut some corners, Bob. You've
got to bring it in on time.
You know how tough
things are right now.
They're on my neck from
New York every day.
Okay, I understand.
What's so amusing?
Maine sick?
Bad case of flu, 103 temperature.
Kept him on the water
too long, I'll bet.
Water would have a
bad effect on him.
Oh, Esther, somebody
called you about a job.
Said to call right back. The
number's on the phone over there.
Thanks.
Mr Blake?
Yes.
Singing?
Yes. On the set at 9.
Thank you very much.
♪ It's very nice ♪
♪ It's a bargain at
double the price ♪
♪ Try it and find as
long as you live ♪
♪ Your crowning glory
will be most attractive ♪
♪ If you want to be a girl
that the men run to ♪
♪ Use Trinidad Coconut
Oil Shampoo ♪
♪ Take my advice ♪
♪ It's a bargain at
double the price ♪
I'm gonna talk quick. We took
a break, I've gotta get back.
Listen, I squared it with
Williams. He'll take you back.
I'll wire the dough for the
fare, join us in Cleveland.
Give me that address again.
I don't get it.
Do you know what the
odds are against you?
Danny, you're wasting
your breath. I haven't...
I don't think about him.
I forgot him weeks ago.
But he did show me the way and
that's what I'm sticking to.
I don't care if I have
to scrub floors...
Your order's ready. Pick it up.
Danny, I've gotta go. All
right. Goodbye. Thank you.
Here you go.
- Good evening.
- Well, what's good to eat today?
Cheeseburgers, nut burgers, banana
burgers, chicken burgers...
lobster burgers, tuna
burgers, chop-suey burgers...
and the super-duper super burger.
What's in that?
Everything in the
place. All burgered.
You haven't any idea? The faintest
idea where she might have gone?
I told you, sir. I
told you three times.
That when people can't
afford the moderate rates...
Yes, yes. Thank you.
Thank you so very much.
Oleander Arms.
Well, no wonder I couldn't
remember the name.
Why can't you call your
place something like...?
What?
Never mind.
I bet you've never seen
an oleander in your life.
Normie. Pumpkin.
Oh, pumpkin, now, really.
You just can't lie here on
a lovely day like this.
I can so just lie here on
a lovely day like this.
What's the matter, Normie,
have I offended you?
Well, if I have, darling,
I'm really terribly sorry.
All I did was remember
what you promised me.
What did I promise you? Was it
a blue mink or a white mink?
Or have they done
something else to
the poor minks while I was away?
Normie, darling,
it's not presents I
want. It's you, pumpkin, just you.
♪ It's a bargain at
double the price ♪
Don't you remember?
You said as soon as
you finished that
nasty old picture
we'd go to Honolulu.
Now what's the matter?
- That singing.
- Singing?
Yeah, on this television
while you were talking.
- Singing something.
- Television?
It's just an old
commercial, silly.
Normie?
For heaven's sake, Norman.
Miss Barker. Hey, Miss Barker.
Who do you think
just went upstairs?
Hey. Get away from that car.
Get away from that car.
Hey. Hey.
Hey.
- Hello.
- Oh.
Come on up.
All right.
Oh, I look so terrible.
Never mind how you look, listen to
me. I got shanghaied
away. Location.
I tried, believe me, I tried...
Get away from that car. I'm gonna
beat your brains out
when I get down.
Get away.
Oh, this is so awful.
You could stand a good dinner.
I could, and in a place
with tablecloths too.
What about a drive to the beach?
We could stop off
for a hamburger on
the way and then
have a late supper.
What's the matter?
What is it, Esther?
- What's the matter?
- Nothing.
It's the nose. The
nose is the problem.
Maybe a corrective in the nostril.
No.
Could I...?
Please, little lady, Mr
Ettinger's thinking.
It's 6:00 in the
morning. Just about
time for one of his miracles.
Do you think maybe...?
Do you think maybe the
Dietrich eyebrows?
No. The nose is still the problem.
Suppose we try the Crawford mouth.
Take attention away from the nose.
No. No.
Do you think maybe a hair job?
Yes.
I think that'd be fine.
Mr Maine.
Sorry, I'm late for
an appointment.
But...
Catch me in the commissary later.
Mr Maine.
Oh, no.
No.
What's the matter with it?
I don't think that's very nice.
Go ahead, laugh your head off.
I've been sitting in that chair
since 6:00 this morning.
You sat an hour too long, honey.
Come on.
Now, sit down in that chair.
Here?
Well, first things first.
Now, what else is there?
Is that you?
Off it comes.
Now, wait, don't...
Don't... Don't...
My nose is very bad.
Now, take every bit of
that junk off your face.
But my eyes are all wrong and
my ears are too big and...
I've got no chin.
I know.
Come on, take it off.
Then put on your eyebrows
and lipstick the
way you always do and
I'll do the rest.
Come on, you've gotta
be made up and
ready to shoot that test by 9:00.
But, Mr Maine...
I think at this critical moment...
you might call me Norman.
Norman, what difference
does it make how
well I sing if my
face is so awful?
Your face is just dandy.
Now, wipe it off.
Once more unto the
breach, dear friends.
Once more.
Hey, you're shivering. Let
me get you something to...
Here, put this around you.
Norman, I've got the willies.
I'm scared stiff.
I don't think I could sing a note.
Nothing would come out.
Of course you're
scared. We all are.
What makes you think
you wouldn't be?
Look, forget the camera.
It's the Downbeat Club at
3:00 in the morning...
and you're singing for
yourself and for the band.
Mainly for yourself,
the way I heard you.
Just keep that picture
in your mind.
And if that doesn't
do it, think of
a man in a car
eating a nut burger.
That did it. Come on.
- Miss Markham?
- Yes?
I was told to see you.
I'm Esther Blodgett.
Oh, yes? I expected a blond.
I don't know why.
You've just signed a
contract with us?
Yes, I have.
Good. Good. Glad to
have you with us.
Thank you.
We'll have to get what
you've done so far.
Where you came from and so forth.
I brought my scrapbook with me.
- And I thought that maybe...
- Thanks, dear. Very nice.
I'll have to turn you over to
Miss Fusselow of Fashions.
This layout has got to get
out to three magazines.
- Come along, dear. Come along.
- Yes, madam.
- Glad to have you with us.
- Thank you.
Nora?
Take care of this
for me, will you?
New contract player. Norman Maine.
Hello, honey, nice
to have you with us.
Hello.
Soon as I get some background on
you, I must do a fashion style.
- Well, I brought a scrapbook...
- Oh, not now, dear.
I've gotta get these dresses
right down to Photo.
Come along, honey.
All right.
I'll tell you what
to do, honey. Why
don't you go in and see Mr Libby?
- Mr Libby?
- His office is right over there.
He's head of the department.
- Glad to have you with us.
- Thank you.
Your hand a little
higher. That's good.
- Get out of the way.
- Oh, say...
- Would you get out of the way?
- Yes, I'm...
- Just get out of the way.
- Please excuse...
Leave them alone.
They're all right.
That's all right. Out of the way.
- Yes.
- Would you lie back?
Let's take this picture.
Raise your hand...
Mr Libby?
- I'm Esther Blodgett.
- Huh.
- Miss Fusselow...
- Glad to have you with us.
Well, it certainly is
a thrill to be here.
I brought my scrapbook
along in case...
Care to say hello to the big boss?
That's the usual procedure.
- Come, I'll take you to him.
- Fine.
May be the only chance
you get to meet him.
What's the matter? You
afraid of heights?
No, no. I...
- Mr Niles.
- Libby?
- I'm running a picture.
- You ought to meet this lady.
She just signed a contract.
The one that Mr Maine arranged
the test for, you remember?
Oh, yes. Yes, of course.
Nice to see you, dear.
Glad to have you with us.
Well, it's a thrill to be here.
Show Miss... How to
get out of here.
Good luck to you, dear.
Take care of yourself.
- Oh, Mr Libby?
- What?
What do I do next?
Well, the gate's right down there.
What did you say
your name was again?
Esther Blodgett.
- What?
- Esther Blodgett.
Well, we'll have to
do something about
that right away. Don't
worry about it.
We'll have a new name for
you by the end of the week.
Paul, will you swing your
arc over here, please?
That's good. Hold it.
- George.
- Can we make it?
All ready, sir.
- Get the girl.
- Yes, sir.
- George?
- Oh, Esther.
Pull that one down
a couple of turns.
Esther.
Esther. Waiting for
you on the set.
Okay, boys, let's go.
Everybody works.
- Right up there. Up the steps.
- Okay.
Stand by, everybody.
All right, sir.
- Now, you know what I want.
- Yes.
Put your arm out the window
like this and you wave goodbye.
- Give it everything you've got.
- All right.
- Okay, get over there.
- Okay.
All right, let's take a try at it.
Here we go. Hit your lights.
Hit your wind.
Hit your snow.
Hit your steam.
Roll them.
Speed. Action.
- We're getting her face.
- Cut.
- Hold it.
- We saw her face.
We saw your face.
- We saw her face.
- We saw your face.
- We saw your face.
- I'm sorry.
- Watch it, Esther.
- I will.
- Let's try it again.
- Watch it.
- I will.
- Now, be careful this time.
Just the arm and the hand.
- I don't want to see your face.
- I'm sorry.
- Let's try it again.
- Hit everything.
- Come on.
- Speed.
Action.
Esther Blodgett, please.
Go to L.
- What?
- Go to L.
- Now...
- Go to window marked L.
You're listed under L.
Oh. Thank you.
- Esther Blodgett, please.
- New here?
- Yes.
- Just a moment.
Okay. Your name is Vicki Lester.
- What?
- Your name is Vicki Lester.
Vicki Lester. V-I-C-K-I
L-E-S-T-E-R. Get it?
Move on, please.
Oh, yes. Thank you.
Vicki Lester?
Vicki Lester.
Vicki Lester.
Why couldn't you come over to
my office to see me, Norman?
What's so hush-hush that you
have to drag me down here?
Every time I lie down on this
sofa, I get stabbed in the back.
Well, what do you want?
That's what I wanna
talk to you about.
Come, I want you to sit in this
chair. The place
gives me the creeps.
What's with you?
Hasn't been decorated
in centuries. Sit.
Now, isn't that the most
uncomfortable chair
you ever sat in?
Don't I deserve a dressing room...
that's cheerful, modern, safe?
You got me down here
to talk about this?
When I give an interview,
I feel ashamed.
I have a whole
studio sitting on me
and you get me down here for this?
- Don't you feel ashamed?
- Don't you realise...
I have a production shut down
in the middle of shooting?
That's what you got me away from.
I'm being stabbed by a singer
in New York, not just a sofa.
You had to stop
because you couldn't
get her here. What
are you gonna do?
I don't know. I don't know what
I'm going to do except go crazy.
That woman, she swore her
contract was up for the show.
Our lawyers are talking about
it to New York this afternoon.
Why do they have to play
that stuff so loud?
You better leave it open,
Oliver, we'll be suffocated.
Crazy game.
What is it, anyway?
It's just somebody
running some tests.
I can hardly hear myself think.
I suppose there's
nobody around here.
What?
You'd think there'd
be somebody here...
you could take a
chance on, rather than
close down a picture,
things being tough.
Who, for instance? Name someone.
♪ Be the same ♪
I don't know, Oliver.
New actors.
You think all there is to running
a studio is pressing buttons.
It's not quite that
easy, believe me.
♪ Every trick of his ♪
Say, who is that singing, anyway?
It must be one of
the contract girls.
Not bad.
No.
♪ And where's he gone to? ♪
Not bad.
♪ The road gets rougher ♪
♪ It's lonelier and tougher ♪
Not bad at all.
♪ You burn up ♪
♪ Tomorrow he will turn up ♪
♪ There's just no letup ♪
A light begins to
break. Very dumb of me.
All right, I get it.
A little late, that's all.
Is she still around?
Indeed, indeed.
Esther?
Very good. Thanks, Esther. Except
right down here, I think...
I shouldn't go that far.
Well, use our hands. Fine,
let's all do it again. Ready?
I've been through this a
hundred times, Esther.
My own previews as well
as other people's.
And the thing to remember
about a preview...
is first and foremost, pay
absolutely no attention...
to the sights and sounds
going on around you.
If the picture before the
preview is a stinker...
then your picture gets off
to a good start, but...
Anyway, they always go
out for fresh popcorn...
so that the first few
reels always sound
like the Marines
landing on Iwo Jima.
- And the thing to do...
- Norman?
Yes?
Would you stop the car, please?
Are you all right?
Fine. I wish I was dead.
Come on.
We're in luck, Esther.
We're in luck.
Why? Did the theatre burn down?
That picture of mine
is so bad, anything
they see after will seem great.
You're starting lucky.
♪ Swanee, how I love ya ♪
♪ How I love ya my
dear old Swanee ♪
♪ The folks up north
will see me no more ♪
♪ When I get to
that Swanee shore ♪
Thank you. Thank you very much.
I can't express it any other way.
For, with this awful
trembling in my heart...
I just can't find
another thing to say.
I'm happy that you liked the show.
I'm grateful you liked me.
And I'm sure to you, the
tribute seemed quite right.
♪ But if you knew
of all the years ♪
♪ Of hopes and dreams and tears ♪
♪ You'd know it didn't happen ♪
♪ Overnight ♪
Overnight.
♪ I was born in a trunk ♪
♪ In the Princess Theatre ♪
♪ In Pocatello, Idaho ♪
♪ It was during the
matinee on Friday ♪
♪ And they used a make-up towel ♪
♪ For my didee ♪
♪ When I first saw the light ♪
♪ It was pink and amber ♪
♪ Corning from the footlights ♪
♪ On the stage ♪
♪ When my dad carried
me out there ♪
♪ To say hello ♪
♪ They tell me that I
stopped the show ♪
♪ So I grew up in a crazy
world of dressing rooms ♪
♪ And hotel rooms
and waiting rooms ♪
♪ And rooms behind the scenes ♪
♪ And I can't forget
the endless rows ♪
♪ Of sleepless nights
and eatless nights ♪
♪ And nights without a nickel ♪
♪ In my jeans ♪
♪ But it's all in the game ♪
♪ And the way you play it ♪
♪ And you've gotta play
the game, you know ♪
♪ When you're born in a trunk ♪
♪ At the Princess Theatre ♪
♪ In Pocatello ♪
♪ Idaho ♪
♪ At first I just stood and
watched from the wings ♪
♪ That's all my mum
and dad would allow ♪
♪ But as I got older I
got a little bolder ♪
♪ And snuck out for
their second bow ♪
♪ They kept me in the act because
they needed me to milk applause ♪
♪ Until one night they
did a crazy thing ♪
♪ They left me out
there all alone ♪
♪ Mama said, "You're
on your own" ♪
♪ And Papa shouted, "This
is it kid, sing" ♪
♪ I'll get by ♪
♪ As long as I ♪
♪ Have you ♪
♪ Though there be rain ♪
♪ And darkness too ♪
♪ I'll not complain ♪
♪ I'll see it through ♪
♪ I learned very quickly
the tricks of the trade ♪
♪ I practised after
everyone was gone ♪
♪ And with the tricks I
learned traditions ♪
♪ And the hardest one of all ♪
♪ Is no matter what ♪
♪ The show must go on ♪
♪ As time went by I
looked for jobs ♪
♪ And was kicked from
pillar to post ♪
♪ I haunted all the
agents' offices ♪
♪ And I almost ended up a ghost ♪
♪ I'm a sentimental
sap that's all ♪
♪ What's the use of
trying not to fall ♪
♪ I have no will you
made your kill ♪
♪ Because you took
advantage of me ♪
No.
♪ I'm just like an
apple on the bough ♪
♪ And you're gonna shake
me down somehow ♪
♪ So, what's the use
you cooked my goose ♪
♪ Because you took
advantage of me ♪
No.
♪ I'm so hot and bothered
that I don't know ♪
♪ My elbow from my ear ♪
♪ Suffer something awful
each time you go ♪
♪ But much worse
when you're near ♪
♪ Here am I with all
my bridges burned ♪
♪ Just a babe in arms
where you're concerned ♪
♪ So lock the doors
call me yours ♪
♪ Because you took
advantage of me ♪
Yes.
No.
♪ So I got into a tap show ♪
♪ All I did was kick my feet ♪
♪ You'd hardly call
it a chance to sing ♪
♪ But at least it was
a chance to eat ♪
♪ They call it black bottom ♪
♪ A new twister ♪
♪ But sure got him an old sister ♪
♪ They clap their hands
and do the raggedy trot ♪
♪ Hot ooh ♪
♪ Old fellows with lumbago ♪
♪ And young fellows,
away they go ♪
♪ They jump right in and give
it all that they've got ♪
Then one night something happened.
Dame fortune showed her face.
The star got sick and I was
told to go on in her place.
But she recovered.
Oh, Well.
♪ Black bottom a new rhythm ♪
♪ When you spot 'em
you go with 'em ♪
♪ And do that black, black,
black, black bottom ♪
♪ You won't be blue
when you have got 'em ♪
♪ If you do that black, black,
black, black bottom all day ♪
♪ But finally I got an offer
to sing in New York ♪
♪ And I wired, "I'm on my way" ♪
♪ I had visions that this would
be a fabulous, famous cafe ♪
♪ Filled with high society
elegance and spruce ♪
♪ And I pictured me the epitome ♪
♪ Of a very chic chanteuse ♪
♪ Peanuts ♪
♪ Through every city,
town and country lane ♪
♪ You'll hear him sing his
plaintive little strain ♪
♪ And as he goes by
to you he'll say ♪
Sing "Melancholy Baby."
♪ Peanuts ♪
♪ The little children
like to trail along ♪
♪ They like to hear the
peanut vendor's song ♪
♪ They all laugh with
glee when he will say ♪
- Sing "Melancholy Baby."
- "Melancholy Baby."
♪ Come to me ♪
♪ My melancholy ♪
♪ Baby ♪
♪ Cuddle up ♪
♪ And don't be blue ♪
♪ All your fears are
foolish fancy ♪
♪ Maybe ♪
♪ You know, dear ♪
♪ That I'm in love with you ♪
♪ Every cloud must have ♪
♪ A silver lining ♪
♪ Wait ♪
♪ Until the sun shines through ♪
♪ Smile, my honey dear ♪
♪ While I kiss away ♪
♪ Each tear ♪
♪ Or else I shall be ♪
♪ Melancholy ♪
♪ Too ♪
♪ My benefactor appeared
with his card ♪
♪ And at first, I
thought he was fresh ♪
♪ Fresh? ♪
♪ He was fresh from
heaven all right ♪
♪ He produced the show
that gave me the chance ♪
♪ To sing for you tonight ♪
♪ Swanee, how I love ya ♪
♪ How I love ya my
dear old Swanee ♪
♪ I'd give the world to be ♪
♪ Among the folks in ♪
♪ D-I-X-I-E even now my
mammy's waiting for me ♪
♪ Praying for me
down by the Swanee ♪
♪ The folks up north
will see me no more ♪
♪ When I get to
that Swanee shore ♪
♪ Swanee ♪
♪ Swanee ♪
♪ I'm coming back to Swanee ♪
♪ Mammy ♪
♪ Mammy ♪
♪ I love the old folks at home ♪
♪ I love ya, Swanee ♪
♪ How I love ya how I love ya ♪
♪ My dear old Swanee ♪
♪ I'd give the world
if I could only be ♪
♪ Sitting on my mammy's knee ♪
♪ I love the old folks I
love the young folks ♪
♪ Oh, my honey lamb you
love 'em all in Alabamy ♪
♪ Mammy ♪
♪ Mammy ♪
♪ My dear old mammy ♪
♪ Your wandering child
will wander no more ♪
♪ When I get to that Swanee ♪
♪ Shore ♪
♪ So I can't quite be called ♪
♪ Overnight sensation ♪
♪ For it started many years ago ♪
♪ When I was born in a trunk ♪
♪ In the Princess Theatre ♪
♪ In Pocatello ♪
♪ Idaho ♪
- Wait, wait.
- Oliver. Oliver.
What about Vicki for
the Morgan script?
Starts shooting next week.
Where's Norman?
Vicki, I want you to read
this script because...
- Vicki.
- Oliver...
Thank you.
Is nobody buying
anybody a drink on
the strength of all this success?
I heard a few comments
about my film
which makes me feel
the need of one.
Vicki, we'll see you
over at my house.
All right. All right, fine.
Ray. Hey, your score was out
of this world, the greatest.
Say, I've never seen preview
cards like this in my life.
I waited for the breakdown.
Ninety-seven percent say you
got yourself a new star.
Read these, gentlemen,
and enjoy yourselves.
I'll need a lot of
stuff on you, Vicki.
Be in my office tomorrow morning.
- That is, if you can make it.
- Now, here. Here, this is just...
Read this part.
This is what I was telling you
about. This is very interesting.
They all say her performance was
excellent. Get a
load of these. See?
Every one says the same thing.
It's all yours, Esther.
And I don't mean just the
Cadillacs and the swimming pools.
It's all yours.
In more ways than one.
I hope...
Yes, Norman, go ahead. Say
what you... Would you?
You're gonna be a
great star. Don't
let that change you too much.
Don't let it take over your life.
You're very dear.
Norman, you make this sound
like the end of something...
instead of the beginning. You
make it sound like goodbye.
I've done all I can for you.
You've come along the road
with me as far as you should.
Let's leave it that way.
Norman, don't you know
how I feel about you?
Yes. Yes, I do.
Don't you know nothing about
you could make any difference?
- It's too late.
- No, it isn't. It is not...
It is, I tell you.
Norman, there's nothing you can...
Listen to me...
I love you. I will not...
I destroy everything I
touch. I always have.
- No.
- Forget me, I'm a bad lot.
You've come too late.
I don't believe that.
It's not too late. Not
for you, not for me.
Don't say that, Esther.
I might begin to believe it.
Please, believe it. Believe it.
Believe it. Believe it.
- I think they're all rehearsed.
- Fine, Jeff.
- We're ready whenever you are.
- Okay.
♪ What am I here for? ♪
♪ It's time you knew ♪
♪ Here's what I'm here for ♪
♪ I'm here for you ♪
♪ Can you forgive me? ♪
♪ Am I too late? ♪
♪ All the years that I wandered ♪
♪ And pondered were squandered ♪
♪ My heart insisted ♪
♪ I seek you out ♪
♪ That you existed ♪
♪ My heart had no doubt ♪
♪ To share a journey ♪
♪ That leads to heaven's door ♪
♪ You'll find is what I'm here ♪
♪ For ♪
♪ What am I here for? ♪
♪ It's time you knew ♪
♪ Here's what I'm here for ♪
♪ I'm here for you ♪
♪ Can you forgive me? ♪
♪ Am I too late? ♪
♪ All the years that I wandered ♪
♪ And pondered were squandered ♪
♪ My heart insisted ♪
♪ I seek you out ♪
♪ That you existed ♪
♪ My heart had no doubt ♪
Cut. That's it. Wonderful.
Maestro, very good. Esther,
listen to this one.
Come on.
Okay, let's have the playback.
Just the last eight. I want
the chorus arrangement.
- Take a smoke, boys.
- My, it sounded really good.
Sounded real good.
♪ My heart had no doubt ♪
♪ To share a journey ♪
♪ That leads to heaven's door ♪
♪ You'll find is what I'm here ♪
♪ For ♪
♪ What am I here for? ♪
- How'd I sound?
- Just adequate.
Best-friend-severest-critic
department, huh?
What is this?
Listen to the
arrangement Danny made.
- Oh, come on.
- Turn it off.
I wasn't listening
I was thinking about another
kind of arrangement.
Another kind?
Huh. Domestic. Will you marry me?
No, thank you.
♪ And I wandered and pondered ♪
Why not?
Well, you're irresponsible.
Oh, I'm sorry.
- Go ahead. Stop that.
- Get out of here.
What else?
You drink too much.
Suppose I quit drinking?
Suppose I become absolutely
dependable on all occasions?
You wouldn't be Norman Maine.
I'd be marrying the wrong man.
- Quiet.
- Norman.
Yes?
Darling, would you do all that
for me if I said I'd marry you?
No. I've had a chance
to think it over
with all that humming and singing.
It's too much to ask.
You see?
Well, goodbye. Goodbye, everyone.
Oh, now, wait a minute, my boy.
That's much too
public a proposal...
for me to say no to. I accept.
- You do?
- Yes, I do.
Oliver, we're gonna get married.
I guess I didn't read that
line right. I'll try again.
We're going to get married.
Both of us.
To each other. What
do you think of that?
What's the matter?
He's trying to decide if
it's good for the studio.
Well, is it?
- It is. My blessings.
- Thank you.
A little unsteady, but thank you.
- Congratulations.
- Thank you, Libby.
How long a honeymoon are
you going to give us?
Now, let's see.
I'll want you back by the ninth.
No, make it the tenth.
Now, don't let your heart
run away with your head.
I'll have to call
Production and see how
long I can stall off
Vicki's wardrobe tests.
While you're settling
the details, is it all
right if I go out and
buy the lady a ring?
Sure, we want everything legal.
- Thank you.
- Bye.
Bye, Oliver.
- Goodbye, Libby.
- Bye. Bye, Libby.
- Congratulations.
- Thank you very much.
That was quite a decision
you made just now, Oliver.
Decision?
Letting that girl walk
into a booby trap.
Vicki's business is her own.
Is it?
She's the hottest piece of
property the studio has right now.
This might make the
difference to Norman.
This might be it.
Any bets?
Well, I better start
the wheels grinding.
A front-page splash on the wedding
would help his
slipping box office.
Hello, this is Matt
Libby. Get me my office.
- Mr Libby's office.
- Hello. Hello, Markham?
Yes, Mr Libby.
Lester and Maine are
getting married.
Yeah, yeah, yeah. Now, look,
I want all stops pulled.
Full coverage, every department.
The wedding to end all weddings.
Yes, sir.
All right. Now, see
if you can get...
the mayor to close school that
afternoon. I'll get you the date.
Get newsreel and television
coverage started right away.
Yeah. Get all traffic
routed out of Beverly
Hills for two miles each
side of the church.
Which one?
The big one. And
tell The Life, The
TIME, The AP and the UP boys...
that I'll set up
restricted coverage
with each one of them, personally.
Yeah. The bleachers and
everything. The full treatment.
Now, if any man can show
just cause why these two...
may not be lawfully
joined together,
let him now speak or
else hereafter...
forever hold his peace.
Do you, Ernest
Sidney Gubbins, take
this woman for your wedded wife?
I do.
Will you love, comfort, honour and
keep her in sickness
and in health...
as long as you both shall live?
I Will.
Do you, Esther Blodgett, take
this man for your wedded husband?
I do.
Will you obey, serve,
love, honour...
and keep him in
sickness and in health
as long as you both shall live?
I will.
Now, place the ring on her finger.
By virtue of the
powers vested in me...
as justice of peace of
San Verdo township...
county of Los Angeles, I
pronounce you man and wife.
- Good luck.
- Hooray.
I must exercise my
prerogatives of office.
I wish you all the
happiness, Miss.
Thank you so much.
Same to you.
And now, if you'll just sign this.
Oh, yes.
You know, I'd swear I'd seen
you before, Mrs Gubbins.
Oh, really?
Well, I think this is the first
time I've ever been in San Verdo.
You know, your face looks
familiar too, Mr Gubbins.
- Thank you very much.
- Thank you.
Thank you.
Here's your receipt.
- Goodbye.
- Oh, goodbye.
- Bye.
- Bye.
- Here.
- Thank you.
- I think we got by with it.
- It was close.
That J.P. was just
beginning to remember us.
At least we got away from Libby.
Libby doesn't even
know we left town.
All the luck.
Well, if you'll be kind enough to
glance between my
shoulder blades...
Mr and Mrs Gubbins...
you'll find there a knife, on
its handle are your initials.
- Oh, now, don't be angry.
- It's been delightful seeing you.
- Wait. Wait a minute.
- Goodbye.
- I've got...
- Bye.
Well, I wish them joy.
Wait till they see the
press. It won't be so funny.
They've a right to
get married quietly.
No, they haven't. He knows better.
Mr Public Nuisance
could stand some
decent publicity for a change.
I've spent ten years
covering up for him.
Killing bad stories, sucking up to
columnists to smooth
away his insults.
Who do you think
they'll blame for not
letting them cover this
today? Him? No. Me.
I'll look just like a fool.
Double-crossed by a cruddy actor.
Well, he needs this, believe
me, more than I do.
Okay.
Just wait your turn, I always say.
What do you always say, McGuire?
Ooh.
Well, the first thing
to do, I think...
is to go and wash your
face. It's quite dirty.
I know my face is
dirty. But you didn't
want anybody to
recognise us, did you?
No, that's right.
But you can unmask now.
I paid my $2, I wanna see
what I got. There it is.
Nice.
Oh. Heh.
And now, folks, Vicki Lester.
Singing the title song from her
new picture It's a New World.
This is the number one
tune of the hit parade.
And the number one
favourite on the
jukeboxes all over the country
Vicki Lester, "it's a New World."
Well, there it is, Esther.
You've got it, just the
way you dreamed it.
No, I've got more.
Much more.
Hey.
That's for ordinary folks who
have to turn on the radio...
and put a nickel in
the jukebox. I've
got a private copyright of my own.
Including the Scandinavian.
I've got the built-in
original right in
the house, every time
I want to hear it.
And I want it now.
No, you don't.
To kind of celebrate.
All right.
♪ How wonderful that
I'm beholding ♪
♪ A never-never land unfolding ♪
♪ Where we polish up the stars ♪
♪ And mountains we move ♪
♪ In a life where
all the pleasures ♪
♪ We will prove ♪
♪ It's a new world I see ♪
♪ A new world for me ♪
♪ The tears have
rolled off my cheek ♪
♪ And fears fade away ♪
♪ Every time you speak ♪
♪ A new world ♪
♪ Though we're in a tiny room ♪
♪ What a vision of joy ♪
♪ And blossom and bloom ♪
♪ A newfound promise ♪
♪ One that will last ♪
♪ So I'm holding on ♪
♪ And I'm holding fast ♪
♪ You've brought ♪
♪ A new world to me ♪
♪ And that it'll always ♪
♪ Always ♪
♪ Be ♪
Well, I've been preparing them.
You have? Do you want
to see your picture?
I'd like to.
Why don't you go and
get a good seat?
They want to see the
black and white.
Oh, all right, fine.
- Now, listen to this...
- Oh, hello.
- Would you like to see a movie?
- Wonderful.
We're going to run one. We feel
so classy with a projector.
You have to put up with
this sort of thing.
- Yeah, can I get you a drink?
- I'm fine, thanks.
All right.
Stunts and speed mark
the National Air Show.
Vampire jets of the Royal
Canadian Air Force flash overhead
Marilyn Rich, the helicopter
girl, does her stuff.
From one of the highest perches
ever used by an
acrobat. And no net.
Now US jets zoom overhead.
Watch them burst apart
like a fountain.
Red Grant is the outdoor type.
He prefers to do his flying on
the wing despite a 30-mile wind.
Traitor.
There's a fight on I
wanted to catch a
bit of. I've seen
the picture anyway.
Why didn't you say something?
We could've run something else.
That doesn't matter. It's a good
picture. You'll all enjoy it.
Go on back, Norman, I think
the newsreel's over.
Are you feeling all
right? You haven't
said a word the whole evening.
Sure, I'm all right. Just
one of my silent evenings.
Go ahead, you'll
miss the beginning.
There's no hurry. These
credits will run forever.
I thought you were
the one who never
took the studio home with you.
This is different.
I'm not at home.
Has this got anything to do with
me? What you're worrying about?
Well, has it?
I'll tell you all about it at the
studio on Monday.
Have lunch with me.
How about telling me now?
This isn't the time or the place,
Norman. You have guests inside...
Oliver, we've known
each other too long
to start playing games
with each other.
What's sticking in your throat
that you can't tell me?
The New York boys have been
out here for the past week.
They want me to take a salary cut?
No, Norman.
Well, I guess the only way
to say it, is to say it.
They've instructed me to buy
up the rest of your contract.
Pay you off.
Pay me off?
Why? My last two pictures haven't
grossed as big as they used to...
but neither has anybody else's.
- They know that.
- Well, what is it, then?
Can you take it?
Go ahead.
They can't afford you any more,
Norman. You're too big a risk.
Those big, fat lush
days when a star
could get drunk and disappear...
and hold up production
for two weeks are over.
Even if you hadn't
slipped a little,
they still wouldn't
take the chance.
Your record's too bad.
No one can afford it any
more. Things are too tough.
I tried, Norman.
I tried very hard.
I see.
Well, don't look so
miserable, Oliver.
There are other studios, you know.
Only bad thing is I shan't
be working for you any more.
Well, we had a long roll of
the dice, didn't we, Oliver?
Can't complain now.
Hey, by the way...
can you keep this under
wraps for a while?
I'd like to tell Esther
about it my own way.
Of course.
Have you seen this, Oliver?
Well, I've certainly
picked a fine time to
build myself a big
new house, didn't I?
You know, Oliver, I
sometimes think I was
born with a genius,
an absolute genius...
for doing the wrong thing.
"Since Mr Maine feels
that his career
will be benefited by a change...
we do not wish to stand
in his way," unquote.
When contacted, the
star said that he
would announce his future plans...
at a later date.
The wheel goes round and round...
and if you just
wait long enough...
it's finally your turn.
Don't take that down, Miss Wilier,
I was just talking to myself.
- Sorry.
- That's all right.
I'm in the mood where
you can make more
than your usual quota of mistakes.
Read that whole thing
back to me, will you?
"Oliver Niles Studio
announced this
morning that it has granted...
Norman Maine's request for a
cancellation of his contract.
"This step was taken
with deep regret",
said Mr Niles, "and
marks the end...
of a long and happy relationship."
"But since Mr Maine
feels that his career
will be benefited by a change..."
[MAN SPEAKING
INDISTINCTLY OVER PHONE]
Yes. This is Malibu 2-9010.
- Is Miss Lester there, please?
- No, she isn't.
- Who's this? The butler?
- No, this isn't the butler.
Oh, is that you, Norman? This
is Artie Carver. How are you?
Say, as long as I've got you on
the phone, anything new with you?
Have you made a deal at
any other studio yet?
No, nothing new with
me at all, Artie.
Say, Norman, is it true
that you're trying
to get Vicki to
leave the studio...
because you're sore at Niles
for settling your contract?
No, it isn't true. And don't
you start that rumour going.
Okay, Norman, don't get sore.
I was just trying to help.
Just trying to get your name
in the papers, that's all.
Anyway, what I called you for was
I've been trying to
get an interview
with Vicki for two weeks
and she's always busy.
How about you giving an old pal a
break and speaking to her for me?
Sure, I'll ask her, Artie.
Fine. Fine.
Norman, I'm gonna put a
squib in the column...
saying that you're cooking
up an independent deal.
Won't fool anybody, but let them
know you're alive. Bye, now.
Bye.
Hi.
- I'm sorry to be so late.
- It's all right.
You're here now.
Did you go fishing
with Captain Blythe?
No, I haven't been
out of the house.
No? Then let's go out
some place tonight.
- But you're tired.
- No.
Let's stay in. You must be tired.
I'm not a bit tired.
Really, I'm not.
- And anyway...
- What?
I see so little of you that I'd
rather have you to myself.
I didn't even get out
of my practise costume.
Oh, Norman, it's the
servants' night
out. I don't think we've got...
Oh, yes, we have. I fixed a little
snack with my own
lily-white hands.
What?
I'm learning to cook
in my spare time.
Well, then I think I'll marry you.
I get it. You wanna make
an honest cook of me.
My goodness.
How does it look?
- It looks wonderful.
- That's what I thought.
- Sit down, sit down.
- All right.
Don't be formal, just pitch in.
I don't think my
mouth is big enough.
I'll measure it. Make the
sandwiches to size next time.
I think I'll take the
measurements right now.
That's what I wait for all day.
That's why I rush home every night
without even changing my costume.
We're forgetting we're hungry.
- Milk?
- Yes, thank you.
Cheers.
Well, what went on at the studio
today, the old Alma mater?
Well, we started doing the
big production number today.
And this is the production number
to end all production numbers.
- An American In Paris?
- An American In Paris.
And in Spain and...
- Brazil?
- Brazil, yes.
- And Pakistan.
- Pakistan and Burma Road.
- It's got sex and schmaltz and...
- And patriotism.
Patriotism without end.
You should see the
things that come out
of the ground...
and that come down from
the ceiling. Never
seen anything like
it in your life.
Wait a minute. Wait.
Here, I'll put
the practise record
on and show you.
Lights.
Camera.
Action.
I'm discovered sitting on
a rather simple divan.
♪ Somewhere there's a someone ♪
♪ Who's the someone for me ♪
♪ Someday there will come one ♪
♪ And my lover he will be ♪
♪ Somehow I shall know him ♪
♪ From the moment he's in view ♪
♪ And he'll know affection ♪
♪ He's never known hitherto ♪
Now we have a stunning
shot with a clock.
♪ I pay no mind to the waiting ♪
♪ Let the clock tick-tock away ♪
♪ The dream I'm contemplating ♪
♪ Will be here to stay, oop ♪
♪ Oh, somewhere in the sometime ♪
♪ When the humdrum ♪
You know, I got pretty
girlish in this number.
♪ With that someone ♪
♪ I'll be someone at last ♪
Now here comes a
big, fat close-up.
♪ With my someone ♪
♪ I'll be someone ♪
♪ At last ♪
- Not a harp.
- There's always a harp...
in a dream sequence,
don't be silly.
- The heavenly choir?
- Yeah, 20 girls just came up...
out of the floor. And there's
smoke all over the room.
♪ Where there's a someone ♪
♪ Somewhere there's a someone ♪
♪ Somewhere, someone ♪
♪ Somewhere there's a someone ♪
I'm discovered on top
of the Eiffel Tower.
Of course.
This is the story
of a little girl.
Searching, searching, searching.
For she knows somewhere...
is a someone who is
a someone for her.
This is her story.
♪ Somewhere is a sometime ♪
♪ When the humdrum
days have passed ♪
♪ With my someone ♪
♪ I'll be someone at last ♪
♪ With my someone ♪
♪ I'll be someone ♪
♪ At last ♪
They discover me in China too.
♪ Somewhere she will
find him somewhere ♪
♪ Somewhere she will find him ♪
♪ Nowhere ♪
Africa.
♪ Someone ♪
♪ Somewhere ♪
♪ There's a someone somewhere ♪
♪ Someone, somewhere ♪
- Brazil, I told you.
- Right. Brazil it is.
Shoot.
Bing. Boom.
You're dead.
♪ Somewhere there's a someone ♪
♪ Somewhere there's a someone ♪
♪ There's a someone
waiting for me ♪
That's the doorbell.
Maybe they'll go away.
They never do at a time like this.
Don't answer it.
Darling, it's so good
to hear you laughing.
I know, I know.
I'd better. Might be a cable.
I sent one to Alex Korda
about a picture in England.
I've been expecting an answer.
Maybe things are looking up.
Vicki Lester live here? I
got a package for her.
- I'll sign for it.
- Who are you?
I'm her husband.
Sure. Sign right there, Mr Lester.
Thank you.
Package for you.
Oh?
By the way, I forgot to
tell you, they want you...
for the Motion Picture
Relief Fund benefit.
It's in April sometime. I
told them I'd ask you.
Now, darling...
No, no, no, let me
finish before I forget.
The Academy Award
secretary called...
and wanted to know how many
there'd be in your party.
And Art Carver called and wanted
me to use my influence with you...
to get him an interview.
I told him I'd try.
That's all.
Well, now that the
supper show is over,
let's have some supper, shall we?
I think I shall mix myself a
drink. I'm not very hungry.
No.
My young son asked me if these
Oscars were made of real gold.
I had to be truthful and
tell him, no, they weren't.
He was very disappointed.
And then the pride of
the household said:
"Daddy, why is it
called an Oscar?"
"Shut up," I explained.
And then my dear wife
entered the argument...
with a little lecture
on child psychology.
And it's rather lucky that
I'm here at all tonight.
You don't think anything's
happened, do you?
You know what the traffic's like.
He's been held up, that's all.
Oh, I wish I could've made
him understand that...
many of us feel that
to win one of them
is ample reward for
an entire career.
I know I do.
Thank you.
Now, to present this year's
award for the Best Actress...
Stop worrying. Think how nice that
statuette's gonna look
on your mantelpiece.
Last year's Academy Award
winner, Mr Nigel Peters.
Those nominated for the Best
Performance by an Actress are:
Jane Brandon, Those who Seek
Vicki Lester, A World For Two
Alice Tenny, The Great Chance.
Shirley Vander, Don't Cry My Love.
The winner is...
Miss Vicki Lester.
Oh, I wish Norman were here.
When something like
this happens to you...
I'm not gonna lie
to you and tell you
I didn't keep hoping
it would happen.
All the speeches
that you've made up
in your bedroom or
in the bathtub...
go out of your mind completely.
And you find that out of all
the words in the world...
just two stick in your mind:
Thank you.
And all I can do is to say them
to you from my heart and...
And...
Congratulations, my dear. I
made it just in time, didn't I?
May I borrow the end of your
speech to make a speech of my own?
My method for gaining
your attention may
seem a little
unconventional, but...
hard times call for
harsh measures.
My, I had my speech all
prepared, but I...
It's gone right out of my head.
Let me see.
Why, it's silly to be
so formal, isn't it?
I know most of you
sitting out there
by your first names, don't I?
I made a lot of money
for you, gentlemen,
in my time through the
years, haven't I?
Well, I need a job now.
Yeah, that's it, that's
the speech. That's the...
I need a job.
That's what I wanted to say. I...
I need a job.
It's as simple as that. I...
I need a job, that's all.
My talents, I may say, are not
confined to dramatic parts.
I can play comedy too.
Yes.
Well, play something, somebody.
Norman, darling.
Darling.
Let's sit down. Come on.
Come on.
Get me a drink, somebody.
Morning, Vicki.
- Hi, Frank.
- How are you?
Fine.
- Ready to go?
- Yeah, any time.
Hit the lights. Up
high. Six and eight.
Give us the scene. Lee?
Come over to 103, will you?
Now, drop that door down on main.
Quiet, now.
- Quiet.
- Roll them.
- Speed.
- Playback. Come on.
One, two.
♪ If, as, and when
you've got a long face ♪
♪ Rearrange it ♪
♪ Don't be contented
with the wrong face ♪
♪ There's a way to change it ♪
♪ Does the day look painful? ♪
♪ The future glum? ♪
♪ Does the sky look rainful? ♪
♪ Hey there Say there ♪
♪ Are you in a vacuum? ♪
♪ All this stuff and nonsense ♪
♪ You can overcome ♪
♪ A long face gets you nowhere ♪
♪ You lose that month of May ♪
♪ Like Peter Pan The sweeter pan ♪
♪ Wins the day ♪
♪ Go lose that long
face That long face ♪
♪ Go along and get
that long face lost ♪
♪ The blues black out
when they can see ♪
♪ A smile that says
"Move on. No vacancy" ♪
♪ This panacea idea ♪
♪ I'm handing you
without any cost ♪
♪ There isn't any tax on it ♪
♪ So just relax on it ♪
♪ If you want trouble
double-crossed ♪
♪ Don't give in to a frown ♪
♪ Turn that frown upside down ♪
♪ And get yourself
that long face lost ♪
♪ Hey ♪
♪ This panacea idea ♪
♪ I'm handing you
without any cost ♪
♪ There isn't any tax on it ♪
♪ So just relax on it ♪
♪ If you want trouble
double-crossed ♪
♪ Don't give in to a frown ♪
♪ Turn that frown upside down ♪
♪ And go and get your long face ♪
♪ Get your long face ♪
♪ Go, go, go and get
your long face ♪
♪ Lost ♪
Cut.
Cut. That's it.
Very good, everybody. Very
good. Fine, Vicki, fine.
Take it easy for a
bit. We've got to
move in for the
closer angle, okay?
- All right.
- All right, kids, take five.
- Back to school.
- New mark for the camera.
Come in.
- Oliver.
- Esther.
Hello. It's good to see you again.
Three months is a long time.
How was your trip?
Not exactly the pleasure
trip it used to be.
They want your pictures, Esther.
That's all I kept hearing
way across the country.
Thanks.
Look, would you mind stopping that
for just a minute? Excuse me.
- All right.
- Excuse me.
Tough day?
Oh, no, no tougher than usual.
Maybe you ought to get away after
this one. New York or Europe.
Just get completely
away. What about that?
How's Norman?
Is he all right?
Yes, he's fine. Want some coffee?
- Thanks.
- Here.
- Sit down, Oliver.
- Tell me, is he...?
He's in the sanatorium.
He really wants to
stop drinking, Oliver.
He's trying very
hard. I know he is.
But...
What is it?
What is it that makes him
wanna destroy himself?
You've known him longer
than anyone else.
Tell me what it is.
Please. I don't
care, just tell me.
Don't you think I've tried
through the years to know why?
To help him?
I don't know, Esther.
I don't know what the answer is.
Well, I've got to find the answer.
You don't know what it's like
to watch somebody you love...
just crumble away, bit by bit...
and day by day in
front of your eyes.
And stand there helpless.
Love isn't enough.
I thought it was.
I thought I was the
answer for Norman.
But love isn't enough for him.
And I'm afraid of what's
beginning to happen...
within me.
Because:
Sometimes I hate him.
I hate his promises to stop...
and then the watching and
waiting to see it begin again.
I hate to go home to him at night.
And listen to his lies.
Well, my heart goes out
to him because he tries.
He does try.
But I...
hate him for failing.
I hate me too.
I hate me...
because I've failed too.
I have.
I don't know what's going
to happen to us, Oliver.
No matter...
how much you love somebody...
how do you live out the days?
How?
Would it help any if
he went back to work?
Oliver, could you...?
Could you do that?
I'll try.
- Yeah, all right. I'll be there.
- Two minutes.
Yes, okay.
Oliver.
You will be careful when you
talk to him, won't you?
You know...
all he's got left is his
pride... Is his pride.
Quiet.
- Hurry it up.
- Set up for number six.
Playback.
Get ready, number six,
make that happen.
Quiet, everybody.
♪ There isn't any tax on it ♪
♪ So just relax on it ♪
♪ If you want trouble
double-crossed ♪
♪ Don't give in to a frown ♪
♪ Turn that frown upside down ♪
♪ Hey ♪
♪ And go and get your long face ♪
♪ Get your long face ♪
♪ Go, go, go and get
your long face ♪
♪ Lost ♪
- I'm Mr Niles.
- Oh, yes, come in.
Well, Mr Niles, we're expecting
you. My name is Harrison.
- How do you do?
- Come into the reception room...
make yourself comfortable.
Mr Maine will be down.
Thank you.
Hello, Oliver.
- Welcome to Liberty Hall.
- Hello, Norman.
Shall we...? Shall
we go through there?
Sit down.
You don't think someone'll
come strolling in...
and start telling us he's Napoleon
or Julius Caesar, do you?
No.
Nevertheless, I think we'd find it
a little cosier in the sun porch.
Now, Cuddles, Mr Niles isn't
slipping me a case of Scotch.
He's just gonna sit with me.
Oliver, this is Cuddles,
my social secretary.
We go everywhere together.
How are you feeling?
Oh, I'm coming along splendidly,
so Cuddles tells me.
He says you ought to
see some of the boys.
Well, let's sit down.
Cuddles, we really don't need you.
Touching, isn't it? He can't bear
to have me out of his sight.
Well, you comfortable here?
Comfortable? Why, it's
positively luxurious.
Why, we even have
steel mesh on the
windows to keep the drafts out.
How much longer do you
think you'll be here?
Well, I'm really cured now,
only I'm just staying on...
an extra week or two until I
get into really good shape.
After all, there isn't any great
hurry to return to the cameras.
That's what I wanna
talk to you about.
I have a script here.
It has a fine part for you in it.
Why, that's great, Oliver.
Who plays opposite me?
Well, it isn't exactly the lead,
Norman. Young
Pemberton's doing that.
But I'll tell you
frankly, I consider
your part better than the lead.
I see. Better than the lead.
Of course, it isn't
terribly long. It's one
of those parts that
make an impression.
They'll be thinking about you
all through the picture.
Well, the thing is,
Oliver, that I'm
pretty well set at another studio.
I'm not at liberty at the
moment to tell you which one.
You know yourself how those
things are, but it's big. Big.
It's... Cuddles, do
you have a quarter?
It's one of the biggest
pictures of the year.
As for the part, every
actor in Hollywood...
would give his
eyeteeth to play it.
That's fine, Norman. Just fine.
Naturally, that'll tie
you up for a while.
However, we're not getting
to this for some time.
Perhaps you'd consider
it for later on.
Better not count on me.
I've got several
pictures lined up.
They're talking to
me about England.
They're doing some
interesting things...
Hey.
What is it, Cuddles?
Speak right out. We all love you.
Your dinner.
Oh, yes.
We dine here at 5:30.
Makes the nights longer.
Well, I'll be toddling
along, Norman.
Supposing I just leave this.
Maybe you'll come
up with some ideas,
even if you don't play the part.
Oh, sure. Sure.
Nice to see you doing
so well, Norman.
Oh, I shall be out
of here in no time.
I shall have to introduce myself
all over again to a lot of people.
They won't know me
when I'm not drinking.
Goodbye, Oliver.
Thanks for dropping in.
All right, Cuddles.
Alone at last.
Your attention, please.
In this race, Number 5, La
Golondrina, three pounds over.
The total weight, 112 pounds.
Number 7, Royalty,
two pounds over.
The total weight, 114 pounds.
Well, hello, Bert.
Oh, hello, Norman.
- Marian, how are you?
- Fine, fine.
- Hi, Sammy.
- Hello, Norman. How are you?
I think this one.
Yes.
After all, he's never won
before. Give him a chance.
Well...
Your attention, please. The
horses are coming on the track.
Hello, Mr Maine. Haven't seen
you around in a long time.
No, I've been resting.
Ginger ale, please.
Yes, sir. Ginger ale and what?
Ginger ale and ginger ale.
- New leaf?
- A whole new book.
Thanks.
Scotch.
Hello, Libby. Haven't
seen you in a long time.
What do you like
in the third race?
Well, it's Mr America
of Yesteryear.
Do they let you wander
around now without a keeper?
Oh, I'm a trusty, now.
I suppose you'll be here all the
time now that you've retired...
from the hurly-burly of the
silver screen. Another Scotch.
We're staying down at Malibu now
and it gets pretty lonesome...
with Esther away working all day.
I wouldn't squawk if I were you.
It's nice having somebody in
the family making a living.
Hey, go a little
slow, Libby. I don't
wanna forget that we're friends.
Friends, my eye.
Listen, I got you
out of your jams...
because it was my job, not
because I was your friend.
I don't like you. I
never did like you.
Nothing made me
happier than to see
all those little
pranks of yours...
catch up with you and
land you on your face.
Pretty work, Libby. Always wait
till they're down, then kick them.
You got yourself fixed nice and
comfortable, you got no complaint.
You can live off your wife now.
Stand back, folks.
Stand back, folks. What's
the matter with him?
Are you hurt? Oh, he's all right.
- It's Norman Maine.
- Drunk again.
He's been drunk for
years. Come on,
honey, we'll miss the next race.
- How does Vicki stand him?
- She must feel sorry for him.
Let's not us get involved.
Scotch.
Double.
Esther, you'll make yourself ill.
Try and get a little sleep.
Four days. He's been gone for
four days now and not a word.
I can't.
I can't.
Hello?
No, this is Oliver Niles speaking.
What?
Oh, thank heaven.
He's all right. He's all
right, Esther. He isn't hurt.
Where?
In the night court? Thank you.
He's been arrested
on a drunk charge.
I'll go right down and
try and get him out.
I'm going with you.
That's no place for you. If the
newspapers get it, it'll be bad...
What do I care about that now?
Were you able to do anything?
The judge says he'll get as
fair treatment as anybody else.
And that's all he'd say.
Cigarettes out. Please rise.
Face the flag of our country.
Come on, keep moving.
Line up here.
Come on, come on, line up.
All right, fellows, let's go.
Come on. Right down there.
Hats off, cigarettes out.
Hurry it up, come on.
Come on, hurry up. Come
on, come on. Hurry
it up. Single file
line, face the judge.
Face the judge. Hurry it up.
Second line right down there.
Single file.
Hurry it up.
Take your hat off.
Hurry it up, fellows.
Take your hat off.
Come on, go. Hat off.
Come on. Hurry it up, fellows.
I want to advise you that you're
entitled to be represented
by counsel...
to be confronted by the
witnesses that testify...
to a public and speedy trial
by the court or by a jury...
and the right to be
admitted to bail.
- Do you understand that?
- Yes.
William Gregory.
Drunk. Picked up at Fifth and
Towne asleep in the gutter.
Fourteen similar offences
in the past six months.
How do you plead?
I don't feel so good.
I didn't ask you how you feel.
I said how do you plead?
Guilty, I guess.
When did you get
out the last time?
Just before Christmas.
You'll have to miss New
Year's, but you'll be out...
in time for Washington's
birthday. Sixty days.
Ernest Gubbins.
Gubbins.
Drunk and disorderly. Crashed car
into tree at Sunset and Coronado.
Evidently been drinking for days.
Resisted arrest and injured one
of the arresting officers.
How do you plead?
Guilty.
Were you Norman Maine, the actor?
Yes.
You've come pretty
low, haven't you?
There isn't a man here that's
had the advantages you've had.
And look what you've
done with them.
You're nothing but
an irresponsible
drunk driving around
the streets...
with the power to inflict death
and injury on innocent people.
I think we'd better
deny you that power for
a while. Ninety days
in the city jail.
I'm his wife.
I recognise you, Miss Lester.
Please, judge, I promise...
this will never,
never happen again.
I'll be responsible for him.
I Will.
If you'll just not send him there.
Do you realise that
this man, when drunk...
is obviously a menace
to the public's safety?
Do you realise, too,
the responsibility
you'll be assuming in
this, to the court...
and to the people of this city?
I do.
Sentence suspended. Prisoner
remanded to custody of wife.
Thank you.
Jose Rodriguez.
- I'm so tired, Esther.
- All right, folks, hold it.
Hold it.
- One more, please.
- Just a minute.
- He's asleep.
- Good.
He's been sleeping
most of the day.
- That's the best thing for him.
- Yes.
He looks so helpless lying there.
Smiling in his sleep,
just like a child.
Do you still love him, Esther?
Or do you feel sorry for him?
Sorry for him?
I don't know what
you're talking about.
I love him.
We'll take care of him together.
You are very fond of
him, aren't you, Oliver?
I'm very fond of both of you.
Then I know you'll understand
what I have to tell you.
You probably know already, after
what happened last night.
I can't do any more
pictures, Oliver.
I'm going away for good.
With Norman.
You're at the very height
of your career, Esther.
The very peak of your success.
There wouldn't be any
career without Norman.
I'm just giving back
the gift he gave me.
No one can give anyone a
career. You've made your own.
No, no.
He gave it to me...
by his faith and by his love.
And without him,
it's just nothing.
Not the way things are.
You've thought this through?
You're sure you're right?
What'll you do?
Well, we'll go away together.
I'll be with him every moment.
Maybe if I'd had a chance
to be with him more...
some of these things
wouldn't have happened.
I've got to hang onto that.
I've got to believe that.
And then when he gets better...
we can work in England or Italy.
Somewhere where they don't know
about him the way they do here.
And he can get a chance to start
again. That's all he needs.
That's what I'm
willing to fight for.
To give anything for.
Esther...
I have to tell you this.
I hate to, but I must.
There's nothing left any more.
It happened long before
last night. Long
before we let him
out of the studio.
Twenty years of steady and quiet
drinking do something to a man.
Long before it showed in his
face, it showed in his acting.
Little by little, more and
more, with each picture.
That's why he slipped.
It wasn't just bad
pictures, it was him.
And there's nothing left any more.
He's just the shell of what he
once was. It's gone, Esther.
No. No, Oliver, I don't believe
that. I won't and I can't.
Can you honestly tell me
I'm wrong to do this?
To try? To try?
No, my dear, I can't. I can't
honestly tell you that.
Well, then it's settled.
It's settled.
I'll arrange it.
Bye, Vicki Lester.
Good luck, Mrs Norman Maine.
Goodbye, Oliver. Thank you.
Darling.
You're up.
Well, if just being on
my feet creates such
a sensation, I shall
never lie down again.
- How do you feel?
- Great.
As fit as a fiddle
and ready for love.
Why being as fit as a
fiddle should make
one ready for love I
never understood.
How did they decide
that a fiddle was fit?
Norman, is there anything I can do
for you? Is there
anything you want?
Yes. A number of things.
Name them, what?
Well, brace yourself.
I've decided that
we're dreary people.
Us?
Yes, both of us. I should like to
see some changes around the house.
When did you decide all this?
Oh, never mind about
that. Just you listen.
In the first place, I'm going
in for the athletic stuff.
The swim before
breakfast, the swim
before dinner, the happy mind...
and a happy body. Beginning now.
Do you wanna come along?
Must I?
No. Your part begins
when I come out.
I shall want some hot
soup and sandwiches.
All right.
But the thing that I should
like more than anything else...
What?
I'd like some singing
around the house.
We used to have it all the time.
Do I still own the copyright?
Yes, including the Scandinavian.
What, do you want it now?
Huh.
Okay.
Oh, now, don't be silly.
You go for your swim.
I'll open the kitchen window.
You'll be able to hear me.
- Hey.
- What?
I just wanted to
look at you again.
♪ It's a new world I see ♪
♪ A new world for me ♪
♪ The tears have
rolled off my cheek ♪
♪ And fears fade away ♪
♪ Every time you speak ♪
♪ A new world ♪
♪ Though we're in a tiny room ♪
♪ What a vision of joy ♪
♪ And blossom and bloom ♪
♪ A newfound promise ♪
♪ One that will last ♪
♪ So I'm holding on ♪
♪ And I'm holding fast ♪
♪ You've brought ♪
♪ A new world ♪
♪ To me ♪
♪ And that it'll always ♪
♪ Always be ♪
Yes, it is tragic.
It's very tragic.
It was just an
accident, of course.
We had big plans for him.
- He was set for a comeback.
- I'll send this out.
- Right.
- It's for you.
Thank you.
Have Joe take it.
Yes?
Oh, yes, it was very sad. It was a
great personal loss to everybody.
Huh? No exclusive on Miss Lester.
She can't see anybody anyhow.
Is Maury back yet? Have him come
right in, will you, please?
The Herald Express
wants a front-page
spread. Get the old stills.
- London calling.
- Yes?
They insist on talking
to you personally.
Give it to Joe.
Yes. Yes, I can rush
you 1500 words.
- Oh, yes, of course it was.
- You want me, Matt?
Yeah. Hold the church
service until I tell you.
Here's all we've got on
the two of them together.
It was right outside the
house. Leave them there.
Okay, pictures of the beach
and the home? Right.
Well, yes.
Yes, it was quite sad.
Thank you very much.
All right, clear out, all of
you. I got a lot of work to do.
Miss Wilier, you stay here.
This is the way the world ends.
Not with a bang, with a whimper.
There she is.
There's Vicki Lester.
- Where'd she go?
- That's Vicki.
That's Vicki, the one in black.
Don't you care, Vicki.
You'll get over this.
Turn around, can't you, Vicki?
Yeah. Give us just one look.
Can't I send out anything on her?
Is she gonna start a new
picture? She going away?
Send out nothing.
That's an order, Libby.
Till we know.
Until we know what?
Until I can talk to her.
Till she'll see me.
She hasn't answered her phone,
even for me, this past week.
This gonna stay here?
As long as I'm head of the studio.
You know, Libby, you missed a
lot not knowing Norman Maine.
Not knowing him? I spent
my life knowing him.
I knew what he was gonna
do before he did it.
I knew him backwards.
You didn't know him at all.
He was quite a guy.
Is there anything I can do for
you, madam, before I go to bed?
No, thank you, Chuck.
Good night.
- Good evening.
- Hello. Where is she?
She's in the library.
May I have your coat?
No, that's all right. I've got it.
Hello, Danny.
You're not dressed.
Dressed?
You're due at that
benefit at the Shrine.
Come on, get dressed.
You told them you'd be there.
That was b...
That was before.
I know it was, but come
on and get dressed.
No.
You just gonna sit here forever?
Yes.
Tonight and tomorrow night
and for as long as I like.
I don't want any of your
home made remedies.
I know what you're trying.
And the best thing you can do for
me is to just leave me alone.
You and everybody else.
And thanks for the
sympathy. I don't want it.
Not from you or anybody.
Sympathy? That's not what
you're getting from me, baby.
You don't deserve it.
You're a great monument
to Norman Maine, you are.
He was a drunk and he wasted
his life, but he loved you.
And he took enormous
pride in the one thing
in his life that
wasn't a waste, you.
His love for you and your success.
That was the one thing in his life
that wasn't a waste.
And he knew it.
Maybe he was wrong to do
what he did, I don't know.
But he didn't want
to destroy that,
destroy the only thing
he took pride in.
And now you are doing
the one thing he
was terrified of,
you're wiping it out.
You're tossing aside the
one thing he had left.
You're tossing it right back
into the ocean after him.
You're the only thing
that remains of him now.
And if you just kick it away,
it's like he never existed...
like there never was a
Norman Maine at all.
Will you wait for me?
- Vicki.
- Hi, honey, how are you?
How are you? It's good to see you.
- You look wonderful.
- Thank you.
She looks great, doesn't she? You
too. Darling, we really gotta go.
The next star listed to appear on
your program is Miss Vicki Lester.
But we're all of us aware of
the tragic circumstances...
which prevent Vicki Lester's
appearance here tonight.
It's with the deepest sympathy...
Will you forgive me for a moment?
Vicki Lester will appear tonight.
Here she is, ladies
and gentlemen, a
star that shines bright and high.
As you know, this program is being
broadcast all over the world.
Before you sing for
us, I know that
your millions of
fans everywhere...
are hoping you'll say
a few words to them.
- Won't you?
- Yes.
Hello, everybody.
This is...
Mrs Norman Maine.