You Light Up My Life (1977) - full transcript
Laurie has been in show business since she was a child. Her dream is to be a singer, songwriter and actress. Her father wants her to be a comedian like him and Laurie only tries because it pleases her father. But she is a lousy comedian. She auditions for everything and is engaged to Ken, but Ken does not understand her needs. She has a one night stand with Chris, only to later find that he is a director. She has many emotions that have not yet been addressed and she must face them before she can get on with her life.
[audience applauding]
HOW ABOUT THIS KID?
ISN'T HE SOMETHIN'?
A 50-YEAR-OLD MIDGET.
[audience laughing]
DON'T APPLAUD TOO LOUD,
OR HE'LL START ASKIN' ME
FOR FOOD.
[audience laughing]
[Si whispering]
HE LOVES YOU.
HE LOVES YOU.
HE'D BE SMILING NOW,
BUT LAST WEEK WE WERE
A LITTLE SHORT OF CASH,
AND I HAD TO SELL HIS TEETH.
[audience laughing]
KID'S SO BRIGHT, HE FINISHED
NURSERY SCHOOL IN 2 TERMS,
TRUMAN'S AND EISENHOWER'S.
[audience laughing]
TRUMAN'S AND EISENHOWER'S,
HUH?
OH, THE HELL WITH IT. OK.
[whispering]
KIDDING ASIDE.
JOKING ASIDE,
LADIES AND GENTLEMEN,
I USE MY DUMMY IN MY ACT
FOR ONE OVERWHELMING,
COMPELLING REASON:
HE WORKS CHEAP.
IT'S ALL RIGHT, HONEY.
YOU DID FINE.
YOU REALLY DID.
IT'S ALL RIGHT.
WHAT'S THE MATTER, BABY?
DID YOU GET NERVOUS
OUT THERE TONIGHT?
NO.
YOU DIDN'T SEEM TO BE HAVING
A GOOD TIME AT ALL.
DID YOU NOTICE ME
OUT THERE TONIGHT?
DID YOU SEE THE WAY I WAS--
THE WAY I WAS
REALLY GOIN'?
I MEAN, I WAS REALLY
ROLLIN' TONIGHT.
BUT I WAS WATCHING YOU.
YOU SEEMED-- I DON'T KNOW.
YOU SEEMED SCARED THERE.
WEREN'T YOU HAVIN'
A GOOD TIME?
YEAH.
DON'T YOU WANT
TO MAKE THOSE PEOPLE LAUGH?
YEAH.
GEE, I'VE TOLD YOU
A HUNDRED TIMES, LAURA.
I MEAN, YOUR TIMING IS OFF.
YOU JUST-- YOU KNOW
THAT JOKE YOU DO
ABOUT THE--THE KID--
THE 10 YEAR OLD KID?
DO THAT,
DO THAT FOR ME.
HE'S A BRIGHT KID.
HE'S ONLY 10 YEARS OLD,
BUT HE HAS THE BRAIN
OF A 30-YEAR-OLD MONKEY.
THAT'S WHAT I MEAN.
I TOLD YOU
A THOUSAND TIMES, SWEETIE.
YOU DON'T TIME IT RIGHT.
YOU CAN'T RUSH THROUGH
THOSE LINES.
YOU CAN'T GIVE 'EM
LIKE A WHOLE LOAF OF BREAD
AT ONE TIME.
YOU GOTTA GIVE 'EM
A SLICE AT A TIME,
YOU KNOW?
I THOUGHT I HAD IT RIGHT.
LISTEN TO ME.
UM, HE'S A BRIGHT KID.
WE HAD HIM TESTED.
HE'S ONLY 10 YEARS OLD,
BUT HE'S GOT THE BRAIN
OF A 30-YEAR-OLD...
MONKEY.
SEE THE DIFFERENCE?
YEAH.
TRY IT. TRY IT.
HE'S ONLY 10 YEARS OLD,
BUT HE HAS THE BRAIN
OF A 30-YEAR-OLD...
MONKEY.
THAT'S IT.
THAT'S THE IDEA.
SEE HOW EASY IT IS?
YOU GOTTA JUST TAKE IT EASY.
TIMING. TIMING IS EVERYTHING.
I THOUGHT OF A LINE TODAY.
UM, LADIES AND GENTLEMEN,
YOU'VE HEARD OF CHOPIN.
WELL, MY DAUGHTER WORKED
WITH HIS BROTHER BEDPAN.
HUH?
I DON'T LIKE IT.
KIND OF A FUNNY IDEA,
THOUGH, ISN'T IT?
FUNNY SOUND?
CHOPIN, BEDPAN?
NO? OK.
WHAT'S THE MATTER, HONEY?
YOU'RE SWEATIN'.
WHAT ARE YOU
SWEATIN' FOR?
I'M DOIN' ALL THE WORK
AND YOU SWEAT?
YOU MAKE ME SWEAT.
I MAKE YOU SWEAT?
HOW DO I MAKE YOU SWEAT?
I DON'T KNOW.
THAT'S RIDICULOUS, LAURIE.
YOU'RE RIDICULOUS.
IF YOU WANT ME,
I'LL BE INSIDE.
[door closing]
♪ CALIFORNIA DAYDREAMS ♪
♪ YOU CAN HARDLY BEAT 'EM ♪
♪ SUN POURS THROUGH THE CITY ♪
♪ AND ANOTHER STAR
IS BORN TODAY ♪
♪ ANYONE WILL TELL YOU ♪
♪ IT'S FOR CERTAIN ♪
♪ HE'S GONNA MAKE IT,
SHE'S GONNA MAKE IT ♪
♪ CAN'T YOU JUST SEE ♪
♪ CAN'T YOU JUST FEEL IT ♪
♪ IN THE AIR? ♪
♪ EVERYBODY'S LOOKING ♪
♪ LIKE A WINNER ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
GO REAL FAR ♪
♪ EVERYBODY'S SHININ'
LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪♪♪
[buzzer beeping]
LAURIE ROBINSON.
CONWAY AGENCY.
"FENWICK HENS
ARE HAPPY HENS.
"THAT'S THE REASON
FENWICK FARMS
HAS MAINTAINED
"ITS HIGH QUALITY OF EGGS
DAY AFTER DAY,
"WEEK AFTER WEEK,
MONTH AFTER MONTH.
"FINER EGGS
FOR FLUFFIER OMELETS.
WE SEND OUR HENS
HIGH INTO THE HILLS."
CUT. TOO MUCH EMOTION.
OH, UH, JIM, EXCUSE ME.
IT JUST STARTED.
GIVE ME A CHANCE.
OK.
NO. IF I CAN WORK WITH HER,
I'LL GET IT.
WELL, UNLESS IT'S JUST
REALLY ALL WRONG,
UM, MAYBE I CAN HELP
IF I CAN JUST GIVE YOU
A SUGGESTION.
SEE, I THINK THE PROBLEM
IS THAT--THAT YOU SEE IT
AS THE END PRODUCT.
I THINK THAT YOU SEE IT
AS THE OMELET.
I SEE IT AS THE EGG.
HE'S RIGHT.
IT'S THE EGG.
WELL, I-I-I'M SORRY.
I--I DON'T KNOW WHAT THE HELL
YOU GUYS ARE TALKING ABOUT.
UM, UH, LOOK. WHAT--
[man]
I'M TALKING ABOUT EGGS.
[Laurie]
WHAT?
I'M TALKING ABOUT EGGS.
LOOK, UM...
YOU MEAN TO TELL ME
THAT I--I WANT
TO HELP THESE PEOPLE?
NO. NO, YOU WANT
TO HELP THEIR OMELETS.
OH, I WANT TO HELP
THEIR OMELETS.
RIGHT. OK?
TRY IT. TRY IT. JUST GO ON.
YOU DON'T HAVE TO GO BACK.
OK. UM, OK.
"THIS IS A FENWICK EGG--"
[woman]
CUT.
WAIT. YOU DIDN'T GIVE HIM
A SLATE.
I GAVE IT TO HIM BEFORE.
BETTER GIVE HIM ANOTHER.
LAURIE ROBINSON.
CONWAY AGENCY.
CONTINUING TAKE ONE.
"THIS IS A FENWICK EGG.
"THIS IS A REGULAR EGG.
"N-NOTICE THE DIFFERENCE.
"AFTER YOU'VE TRIED
A FENWICK EGG, YOU'LL SAY:
'NO WONDER
YOU'RE HAVING TROUBLE
MAKING FLUFFY OMELETS.'"
CUT. NO. ALMOST, HONEY,
BUT, UM...
[man]
UH, JIM, IF I COULD INTERRUPT
FOR JUST A MOMENT.
UM, LAURIE,
TH-TH-THE ENTIRE CAMPAIGN
IS--IS BASED ON THE FACT
THAT FENWICK HENS
ARE HAPPY HENS.
AND HAPPY HENS
LAY BIGGER EGGS.
AND BIGGER EGGS
MAKE FLUFFIER OMELETS.
YOU KNOW, IT'S, UM,
IT'S NOT REALLY THE EGG
THAT MAKES THE OMELET FLUFFY.
IT'S THE MILK.
WHAT?
IT'S THE MILK.
UH, I THINK WE'VE SEEN ENOUGH.
THANK YOU. VERY NICE READING.
THANK YOU FOR COMING IN.
♪ CALIFORNIA DAYDREAMS ♪
♪ EVERYBODY HAS ONE ♪
♪ ANYTIME TOMORROW ♪
♪ THE PHONE WILL RING ♪
♪ AND YOU'LL BE ON YOUR WAY ♪
♪ THEY'LL CALL IN OHIO ♪
♪ THEY WON'T BELIEVE YOU ♪
♪ BUT YOU'RE GONNA MAKE IT,
YOU'RE GONNA MAKE IT ♪
♪ CAN'T THEY JUST FEEL IT
IN THE AIR ♪
[phone ringing]
♪ EVERYBODY'S LOOKING
LIKE A WINNER ♪
[phone continues ringing]
HI, I'M LAURIE ROBINSON.
CAN YOU WAIT JUST A MINUTE,
PLEASE?
♪ EVERYBODY'S GONNA GO
REAL FAR ♪
HI.
♪ EVERYBODY'S SHINING ♪
♪ LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪♪♪
HI.
WHAT'S WRONG WITH YOU?
ARE YOU UP FOR THIS?
YEAH.
OH, GOD.
IT IS THE CIRCUS.
THAT BAD?
OH, MY KNEES.
[exclaims]
LISTEN. IT CAN'T BE
ANY WORSE THAN THE ZOO
I JUST CAME FROM.
OH.
WELL, WAIT FOR ME, OK?
I GOTTA SIGN IN.
OH, I CAN'T. I HAVE
A CALLBACK AT WAINFORD.
FENWICK FARMS?
YEAH.
THAT'S THE ZOO.
OH, NO.
OH, LISTEN.
IF THE DIRECTOR
OFFERS YOU HIS WATCH,
YEAH.
...KEEP IT.
WHAT?
[typewriter clicking]
[phone ringing]
IT'S AS IF I GIVE YOU
THIS WATCH,
AND I SAY TO YOU,
"THANK YOU.
THANK YOU, ANNIE GERRARD,
FOR TELLING ME
ABOUT FENWICK FARMS."
WELL, THANK YOU.
EXCUSE ME.
MAY I HELP YOU?
OH, YEAH. UM,
UH, YES.
I AM LAURIE ROBINSON,
AND I'M HERE TO SEE
ED McMORGAN.
OK. IT'S GONNA BE
A FEW MINUTES.
WHY DON'T YOU HAVE A SEAT?
OK. WANT ME
TO WALK YOU OUT?
YEAH.
OK.
[phone ringing]
SO HOW DID THE SHOW GO?
IT SUCKED.
OH, THAT BAD?
YEAH.
ANNIE. I THINK THEY'RE GONNA
GIVE ME THE AXE.
YOU'RE KIDDING.
NO.
WELL, MAYBE IT'LL BE
A BLESSING IN DISGUISE.
WHAT ARE YOU TALKING ABOUT?
I SAW IT LAST WEEK.
IT MADE ME LAUGH.
YOU AND MY FATHER
WERE THE ONLY ONES.
UH, THEY HAD TO GET CANNED
LAUGHTER FOR THE CHILDREN.
OH, REALLY?
YEAH.
I DON'T KNOW.
MAYBE I'M JUST NOT FUNNY.
[elevator bell dings]
NO, STOP IT.
YOU'RE A GENIUS.
DO ME A FAVOR.
TELL THAT TO
THE FENWICK FARMS DIRECTOR.
[chuckles]
♪ HEY ♪
♪♪♪[harmonizing]
♪ DO YOU KNOW SOME
GOOD BACKGROUND SINGERS ♪
♪ YOU BETTER FIND
SOME REALLY GOOD ♪
♪ BACKGROUND SINGERS ♪
♪ TO SING IN A GROOVE
IN ANY KEY ♪
♪ IN 2, 3, 4-PART HARMONY ♪
♪ OOH ♪
♪ NOW YOU'RE READY
TO RECORD A SONG ♪
♪ ABOUT LOVE ♪
[all]
♪ YOU CAN TURN THE WORLD ON ♪
♪ WITH YOUR MUSIC ♪
♪ YOU CAN TURN THE WORLD ON ♪
♪ WITH YOUR SONG ♪
♪ YOU CAN SAY YOUR OWN THING ♪
♪ IN YOUR OWN WAY ♪
♪ YOU'LL BE ON THE RADIO ♪
♪ BEFORE LONG ♪
♪ HEY ♪
♪ DO YOU HAVE A PIANO? ♪
♪ HEY ♪
♪ DO YOU HAVE A PIANO? ♪
♪ I SAID, HEY ♪
♪ DO YOU HAVE A PIANO? ♪
♪ THEN YOU CAN
WRITE YOURSELF ♪
♪ A SONG ABOUT LOVE ♪♪♪
IT SOUNDED GOOD
IN THE PHONES.
HOW DID IT FEEL?
IT FELT GOOD.
[man]
I NEED MORE DRUMS.
THAT'S A GOOD SONG.
THANKS, CASEY.
[Casey]
THESE GUYS HAD
A GOOD GROOVE GOIN'.
YEAH. YOU GUYS WERE DYNAMITE.
YOU GUYS WEREN'T
TOO BAD YOURSELVES.
[man]
YOU THINK WE SHOULD
DO IT PROFESSIONALLY?
NO.
[laughing]
COME ON. LET'S GO LISTEN
TO IT BACK.
♪♪♪[piano playing]
[Casey]
WHAT TIME IS THE TAPING?
RIGHT AFTER THIS.
OH, IT'S GONNA BE
A DISASTER.
WELL, WHY DON'T YOU TELL SI
YOU DON'T WANT TO DO IT?
I CAN'T, ANNIE. I MEAN,
HE DOESN'T HEAR ME.
I TELL HIM OVER
AND OVER AGAIN
I'M NOT A COMEDIAN.
I WANT TO-- I WANT TO SING
MY SONGS. I WANT TO ACT.
I WANT TO RECORD.
[bell ringing]LISTEN, YOU DON'T HAVE
TO CONVINCE ME.
I'M ON YOUR SIDE.
MAYBE THE KIDS
WILL LAUGH THIS TIME.
YEAH, MAYBE. COME ON.
[tape rewinding]
LAURIE, THERE'S A CALL
FOR YOU.
OH, OK.
HOLD THIS FOR ME? HERE?
HELLO?
OH, HI.
WHAT?
OH. OH, OK, WAIT.
HOLD ON A SECOND.
IT'S SI. CAN I HAVE
A PENCIL, PLEASE, MATT?
THANKS.
YEAH. SHOOT.
UH-HUH.
[boy]
SHARE A CAB WITH YOU?
[girl]
OK.
SI,
I DIDN'T KNOW THAT PABULUM
HAS VALIUM IN IT THESE DAYS?
SI, THE KIDS ARE TOO YOUNG
TO KNOW WHAT VALIUM IS.
YEAH, I--I--I KNOW. I KNOW.
I KNOW IT'S A PUT-DOWN
IN CASE
THEY DON'T LAUGH, YEAH.
OK. OK, I'LL TRY IT.
I-I'LL BE THERE
IN A FEW MINUTES. I'M JUST
FINISHING UP A SESSION HERE.
OK, BYE.
[Casey]
ANOTHER JOKE?
OH, NO. UH, IT'S A PUT-DOWN
IN CASE THEY DON'T WORK.
JUST FORGET ABOUT IT,
YOU KNOW?
THINGS COULD BE WORSE.
OH, YEAH?
YOU GO FACE THOSE KIDS.
NOT ME.
CAN WE HEAR THAT BACK,
PLEASE, MATT?
[children chattering]
[man]
OK, SCOOT OVER TO YOUR LEFT.
HOLY TOLEDO!
I DISCOVERED WAX!
[girl]
STOP IT.
YOU KNOW, YOU GOT ENOUGH
IN THERE TO RECORD OKLAHOMA.
HEY, I'M A HIT. HUH.
YOU KNOW,
HE'S A VERY SMART KID.
UM, WE HAD HIM TESTED.
HE'S ONLY 10 YEARS OLD,
AND HE HAS THE BRAIN
OF A 30-YEAR-OLD...
MONKEY.
[girl]
I WANNA SIT THERE.
[whispering]
I DIDN'T KNOW PABULUM
HAS VALIUM IN IT.
HEY, YOU KIDS
ARE WRECKIN' MY CAREER.
DIDN'T KNOW THAT PABULUM
HAD VALIUM IN IT THESE DAYS.
[child]
STOP IT.
[children chattering]
OH. UH, ALL RIGHT.
WELL, ANYWAY, MY AGENT
TOLD ME THAT THIS DUMMY ACT
WAS A REAL SLEEPER.
[laughing]
EVERYONE WHO SEES IT
GOES TO SLEEP.
[sighing]
THAT'S IT, FOLKS.
SWEETIE, IT WAS TERRIFIC,
BUT YOU MISSED IT
BY JUST THAT MUCH.
WOULD YOU BELIEVE
THAT MUCH?
LISTEN, POP.
I THINK IT'S A BIG MISTAKE.
WHY, YOU'RE DOING GREAT.
NO. I THINK THE KIDS ARE
TOO YOUNG FOR MY MATERIAL.
AW.
THEY'RE GETTING YOUNGER
ON ME.
HEY, TOM. TERRIFIC, HUH?
WELL, IT NEEDS WORK.
YEAH, WELL,
WE'RE WORKIN' ON IT.
WE'LL GET IT.
WE'LL GET IT.
I HOPE SO.
SURE.
SEE? SEE THERE?
HE LOVES THE ACT.
HE THINKS YOU'RE GREAT.
HE'S JUST
A FRIEND OF YOURS.
THAT'S GOT NOTHING
TO DO WITH IT.
LOOK, POP. I APPRECIATE
YOUR RECOMMENDING ME
TO TOM.
I--I JUST DON'T LIKE
REPLACING SOMEBODY
TO BEGIN WITH.
AH.
AND CAROLINE
WAS VERY FUNNY.
I DON'T SEEM
TO BE DOING TOO WELL.
YOU ARE DOING TERRIFIC.
WHEN CAROLINE DROPPED OUT
OF THE SHOW, IT WAS
A BIG BREAK FOR YOU.
BUT, I MEAN, YOU GOTTA
WORK ON YOUR TIMING,
'CAUSE TIMING IS EVERYTHING.
[man]
KILL THE KLIEGS
AND THAT'LL BE A WRAP.
ALL RIGHT, POP.
LOOK, LET ME, UH, GO.
I GOT ANOTHER SESSION
THIS AFTERNOON.
THANKS.
OK.
TIMING, HONEY.
♪ EVERYBODY'S SHININ'
LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪
♪ EVERYBODY'S SHINING ♪
♪ LIKE THE WINNER ♪
♪ EVERYBODY'S GONNA GO ♪
♪ REAL FAR ♪♪♪
NOW LET ME ASK YOU
ONE THING.
WHAT?
HOW DID YOU
SAY THAT LINE?
YOU KNOW, THE ONE THAT,
UM, CAME AT THE END.
"NO WONDER
YOU'RE HAVING TROUBLE
MAKING FLUFFIER OMELETS."
I SAID IT LIKE,
"NO WONDER
YOU'RE HAVING TROUBLE
MAKING FLUFFIER OMELETS."
YOU SAID IT LIKE THAT?
YEAH, EXACTLY LIKE THAT.
WHY DO I LISTEN
TO THOSE SCHMUCKS?
OH, HEY, I NEVER DO.
I NEVER LISTEN TO ANY OF 'EM.
I JUST DO IT
THE WAY I WANNA DO IT.
SOONER OR LATER, THEY THINK
I'M DOIN' IT THEIR WAY.
OH, MAN.
[people laughing]
[people chattering]
♪♪♪[music playing]
[pay phone dinging]
MARK, I DON'T MIND IT,
BUT IT SEEMS TO ME
LIKE WE'RE STUCK.
[man]
YOU LOOK MORE LIKE
A STEWARDESS THAN A SECRETARY.
CHANGE FOR A QUARTER, PLEASE?
I'LL SEE YOU TOMORROW.
YOU, TOO. THANKS.
IT'S ALL YOURS.
LISTEN. EXCUSE ME.
I GOTTA MAKE ONE FAST,
VERY URGENT CALL.
YOU DON'T MIND,
DO YOU?
WELL, I DID HAVE
TO MAKE A CALL.
[coins clinking]
OH, WAIT, WAIT, WAIT. REALLY.
IT'S JUST GONNA TAKE A MINUTE.
YEAH, BUT MY DINNER'S
GETTING COLD.
IT'S A VERY IMPORTANT CALL,
AND YOU'RE A VERY IMPORTANT
PART OF THIS CALL.
OPERATOR.
I WANNA PLACE
A PERSON-TO-PERSON
COLLECT CALL
TO A MR. JEROME BENNETTE
IN NEW YORK CITY.
AREA CODE 212-759-8720.
AND MY NAME IS CRIS NOLAN.
AND WHAT'S YOUR NAME?
LAURIE.
AND LAURIE.
[man]
BAGELS AND LOX.
LOOK. I HAVEN'T EATEN
ALL DAY, OK?
AND--AND I'M REALLY
VERY HUNGRY.
WE'RE WAITIN'
ON DESTINY.
OH, DESTINY.
YEAH, YEAH. HE ACCEPTS IT.
JERRY.
HOW MUCH?
I'M REALLY HUNGRY.
MY MOZZARELLA'S
GETTING COLD.
I'LL COME BACK LATER
AND SEE HOW IT ALL PANS OUT.
TAKE IT.
YES, YES, TAKE IT FOR...
IN FACT, CALL MARK
AND--AND TELL HIM
THAT I TALKED TO YOU.
HOW SOON
DO WE GET A DEPOSIT?
48 HOURS.
THAT'S TERRIFIC.
GREAT.
LAURIE THINKS IT'S TERRIFIC.
NEVER MIND.
THANK YOU, JERRY.
YOU MADE ME
A VERY HAPPY MAN,
AND LAURIE
A VERY HAPPY WOMAN.
ALL RIGHT. THANK YOU.
GOOD NIGHT.
THAT'S IT.
GOOD. THANKS.
CONGRATULATE ME.
CONGRATULATIONS.
CONGRATULATIONS.
♪ DANCE, DANCE ♪
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
THAT WAS A TERRIFIC KISS.
THAT WAS A TERRIFIC KISS.
CAN I BUY YOU A DRINK?
[sighing]
I--I HAVE A--A PHONE CALL
TO MAKE.
I'LL WAIT.
A-AND I HAVE FRIENDS
AND--AND DINNER
WAITING OVER THERE.
GOOD. NOW YOU GOT ME
WAITIN' FOR YOU.
HELLO?
YES, THIS IS LAURIE.
ANY MESSAGES?
♪ DANCE, DANCE ♪
OK.
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
THANKS.
ANY CALLS?
NO.
GOOD. I DON'T REALLY
WANT TO BUY YOU A DRINK.
OH, OK.
WHAT I REALLY WANT
IS FOR YOU
TO COME HOME WITH ME.
OH. UM...
I CAN'T, REALLY.
I HAVE FRIENDS WAITIN' FOR ME.
LAURIE.
I'M GONNA SIT THERE
ON THE BAR STOOL,
AND I'M GONNA WAIT.
I'M GONNA WAIT FOREVER
TILL YOU COME BACK.
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
NO, I--I CAN'T. REALLY.
YES, YOU CAN.
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
I--I CAN'T.
YES, YOU CAN.
YOU KNOW,
YOU'RE VERY PRETTY.
I'M NOT, REALLY.
OH, YES, YOU ARE.
YOU DON'T HAVE TO SAY THAT.
I WOULDN'T SAY IT
IF I DIDN'T MEAN IT.
YOU'RE VERY PRETTY, TOO.
UM, DO YOU MIND
TURNING THE LIGHT OFF?
I'M KIND OF SHY.
SURE.
WILL YOU TURN THE OTHER ONE
OFF, TOO, PLEASE?
I GUESS I'M REALLY SHY.
SURE.
I DON'T MIND.
OH, WHAT DO YOU TAKE
IN YOUR COFFEE?
OH, I--I DON'T TAKE
ANY COFFEE. THANK YOU.
WHY NOT?
UH, WELL, CAFFEINE IN IT
MAKES ME CRAZY.
I'M SURE
IT'S VERY GOOD.
OK, YOU WANT SOME TEA?
NO, THANKS.
WHAT TIME IS IT?
10 AFTER 9:00.
HMM. I BETTER HURRY.
WHERE ARE YOU GOIN'?
UH, I HAVE A REALLY
BUSY DAY TODAY.
OH?
I HAVE A COMMERCIAL,
A RECORDING SESSION.
LATER ON,
I HAVE A--A--A REHEARSAL.
WHAT KIND OF REHEARSAL?
OH, UM,
WEDDING REHEARSAL.
OH. WHOSE WEDDING?
MINE.
YOURS?
HMM. YEP. MINE.
YOU'RE KIDDIN'.
UH-UH.
NO, I'M NOT KIDDING.
I WISH I WAS KIDDING.
LISTEN, UM,
YOU DO THIS KIND
OF THING OFTEN?
NO.
DO YOU?
NOW AND THEN. ARE YOU
REALLY GETTING MARRIED?
MMM-HMM.
YEAH, ABSOLUTELY.
OK.
ARE YOU MARRIED?
SEPARATED.
OH, THERE YOU GO.
[car horn honks]
LET ME ASK YOU SOMETHING.
WHAT?
WHAT WAS THIS, JUST KIND OF
LIKE A LAST FLING BEFORE
YOU GOT MARRIED OR WHAT?
I DON'T KNOW. I GUESS SO.
I MEAN, IT JUST HAPPENED,
YOU KNOW.
HEY, YOU DON'T HAVE
TO APOLOGIZE.
I KNOW I DON'T.
SO, UH, YOU KNOW, HOW LONG
HAVE YOU BEEN ENGAGED?
6 MONTHS.
YEAH? YOU LIVE WITH HIM?
NOPE.
WHY NOT?
JUST DON'T.
JUST ASKING.
HAVE YOU KNOWN HIM LONG?
YEAH. WE WENT
TO COLLEGE TOGETHER.
OH.
THANKS. WHY YOU KEEP
ASKING ME
ALL THESE QUESTIONS?
IT GETS ME HOT.
OH. WELL,
I'D BETTER GO.
WELL,
THANKS FOR BREAKFAST.
YOU'RE VERY WELCOME.
I'M SORRY, CRIS.
I REALLY DO HAVE TO GO.
OK.
[engine starting]
HEY, YOU WANNA COME BACK
LATER TONIGHT?
NO, I CAN'T. REALLY.
OK. BYE-BYE.
GOODBYE.
HEY, LAURIE.
WHAT?
I DON'T EVEN KNOW
YOUR LAST NAME.
I WANT TO CALL YOU.
OH, IT'S OK, CRIS.
GOODBYE.
♪♪♪[piano playing]
♪ ROAST 'EM, TOAST 'EM ♪
♪ PUT 'EM IN YOUR OVEN ♪
♪ EAT MRS. FRANKLIN'S WAFFLES
EVERY MORNIN' ♪
♪ EAT MRS. FRANKLIN'S WAFFLES
EVERY MORNIN' ♪♪♪
FREEZE.
[bell rings]
NO.
THERE'S SOMETHING WRONG.
REMEMBER, WE'RE LOOKING
FOR ETHEL MERMAN.
NO, NO. REALLY.
NOW BE SERIOUS.
WELL, I DON'T MEAN TO,
LIKE, START AN ARGUMENT
OR ANYTHING,
BUT SINCE WE'RE SUPPOSED
TO BE LIKE ETHEL MERMAN,
THEN HOW COME
WE'RE DRESSED LIKE THIS?
I DON'T KNOW. MAX.
[Max]
IT'S AMERICANA.
DON'T YOU PEOPLE
UNDERSTAND AMERICANA?
YOU'RE SUPPOSED TO BE
MRS. BEN FRANKLIN.
YEAH.
[snickers]
WHERE WERE WE?
I GOT A NEW IDEA.
UH, WOULD YOU ALL GO DOWN
ON YOUR KNEES, PLEASE?
WHAT?
WOULD YOU KNEEL?
YOU KNOW, WE DON'T NEED
ETHEL MERMAN HERE.
WHAT WE NEED HERE
IS AL JOLSON.
BUT, RICHMOND, THE CLIENT
EXPECTS ETHEL MERMAN.
WELL, WE'VE GOT
AN ETHEL MERMAN
VERSION ON FILM.
NOW LET'S PUT
AN AL JOLSON ONE ON FILM.
IT WON'T COST ANY MORE.
WELL, AS LONG AS
IT DOESN'T COST ANY MORE,
IT'S ALL RIGHT.
OK. THEY'RE HERE
FOR THE DAY.
CAN WE GET UP NOW,
PLEASE?
NO. I WANT YOU TO DO AL JOLSON
RIGHT WHERE YOU ARE
ON YOUR KNEES.
NOW, FORGET EVERYTHING
I TOLD YOU
AND JUST IMPROVISE.
ALL OF US?
YES, I WANT YOU ALL
TO THINK AL JOLSON.
OH, WAIT A MINUTE.
YOU WANT ME
TO SING LIKE AL JOLSON,
BUT YOU WANT BONNIE AND ANNIE
TO MAINTAIN THE ATTITUDE
OF AL JOLSON.
NO.
I WANT LAURIE
TO SING LIKE AL JOLSON,
AND YOU TWO GUYS MAINTAIN
THE ATTITUDE
OF SOMEONE
WHO LIKES WAFFLES.
OK, READY?
LET'S GO.
[man]
QUIET, PLEASE.
ROLL SOUND.
[bell rings]
SPEED.
CAMERA. MARK IT.
X-58, TAKE 42.
MRS. FRANKLIN'S WAFFLES.
ACTION.
♪♪♪[piano playing]
♪ ROAST 'EM, TOAST 'EM ♪
♪ PUT 'EM IN YOUR OVEN ♪
♪ EAT MRS. FRANKLIN'S
WAFFLES ♪
♪ EVERY MORNIN' ♪♪♪
[Laurie]
EXCUSE ME, PLEASE.
HEY, KENNY.
HMM.
SORRY I'M LATE.
HOW ARE YOU DOIN'?
STEAK SANDWICH. PLAIN.
NOTHIN' ON IT,
ALL RIGHT.
I JUST ORDERED YOU
A STEAK SANDWICH.
HOW COME?
THE OTHER STUFF
MAKES ME SICK.
OH, OH, OH,
LISTEN, FRED.
I'D RATHER HAVE
THE, UH, USUAL, OK?
WITH AN ORANGE.
HMM.
MICHAEL AND CONNIE
INVITED US OVER
TO DINNER TOMORROW NIGHT.
WELL, I CAN'T GO.
WHY NOT?
WELL, BECAUSE I--I...
OH, THANKS.
I'VE--I'VE GOT A SESSION
TOMORROW NIGHT.
I THOUGHT
YOU HAD ONE TODAY.
I DID.
BUT I HAVE ANOTHER ONE
TOMORROW NIGHT.
COULDN'T YOU
CANCEL IT?
NO, KENNY, I CAN'T CANCEL IT.
I'VE ALREADY
BOOKED THE MUSICIANS.
AND--AND I GAVE THEM A DEPOSIT
AT THE STUDIO.
OH, COME ON.
CANCEL IT.
I'LL PAY FOR IT.
I DON'T UNDERSTAND
WHY YOU WON'T LET ME PAY
FOR THAT STUFF ANYWAY.
IT'S NOT STUFF, KENNY.
WHY DO YOU KEEP
CALLING IT STUFF?
WHATEVER IT IS.
I DIDN'T EVEN KNOW
YOU HAD TO PAY FOR IT.
WHO DO YOU THINK PAYS FOR IT,
THE SALVATION ARMY?
YOU KNOW, I EARN MONEY, TOO.
ALL RIGHT, ALL RIGHT,
CALM DOWN, HUH?
WELL, WHAT ABOUT
TOMORROW NIGHT, HUH?
[horn blaring]
KENNETH, I AM GONNA BE
RECORDING TOMORROW NIGHT.
OK.
LOOK, KENNY.
I'M REALLY CLOSE.
I--I MEAN, I CAN SENSE IT.
I MEAN, IT'S RIGHT THERE
WAITING FOR ME.
I'M GOING TO THE PARTY.
GOOD. OK.
WELL, HAVE A GOOD TIME.
YOU ALWAYS HAVE FUN
WITH, UH, WITH CONNIE
AND MICHAEL ANYWAY.
I DON'T UNDERSTAND
WHAT'S SO IMPORTANT
ABOUT SOME ROTTEN SESSION.
LET'S DROP IT, ALL RIGHT?
OK, HOW WAS YOUR DAY?
BORING.
IT'S ALWAYS BORING.
I GOTTA TEACH BEGINNERS.
YOU KNOW WHAT I'M DOIN'
THIS AFTERNOON?
I'M GONNA RALLY
WITH HAMPTON COOKE.
HE CAME IN THE QUARTERFINALS
AT SOUTH HAMPTON, HUH, HUH?
YOU'RE GONNA HAVE A REALLY
GOOD DAY THIS AFTERNOON.
YOU'LL GET A GOOD WORKOUT.
I'M LOOKING FORWARD
TO THAT, I TELL YOU.
YEAH, THAT'S GREAT.
OH, MY GOD. KENNY.
OH, LOOK WHAT TIME IT IS.
I'M GONNA BE LATE.
WELL, GOOD LUCK.
KENNY, HAVE A GOOD AFTERNOON.
OK. ALL RIGHT,
I'LL SEE YOU LATER THEN.
OH, TELL ME.
[people chattering]
COME ON.
TELL YOU WHAT?
BREAK A LEG.
OH, YEAH, YEAH.
BREAK A LEG,
BREAK A LEG.
OK, BYE.
YEAH.
[chuckles]
BREAK A LEG.
♪♪♪[playing piano]
♪ ROLLING THE CHORDS
ON THIS OLD PIANO ♪
♪ HELPS ME GET
THROUGH THE NIGHT ♪
♪ DOWN HOME GUITAR LICKS
I'LL DO JUST ONE MORE MIX ♪
♪ AND EVERYTHING
WILL TURN OUT RIGHT ♪
♪ DOWN ON THE BACK ROADS
OF HOLLYWOOD ♪
♪ WHERE LIFE SPEAKS
OF ANOTHER TIME ♪
♪ I SPEND MY NIGHTS
RECORDING MY SONGS ♪
♪ AND WATCHING
THE WORLD PASS ♪
♪ THROUGH ROSE-COLORED WINE ♪
♪ A STEEL GUITAR CAN
MAKE ME FEEL HAPPY ♪
♪ EVERY TIME I HEAR IT PLAY ♪
♪ A COUNTRY FIDDLE,
A HARP IN THE MIDDLE ♪
♪ IS BOUND TO
BRIGHTEN UP MY DAY ♪
♪ DOWN ON THE BACK ROADS
OF HOLLYWOOD ♪
♪ WHERE LIFE SPEAKS
OF ANOTHER TIME ♪
♪ I SPEND MY NIGHTS
RECORDING MY SONGS ♪
♪ AND WATCHING
THE WORLD PASS ♪
♪ THROUGH ROSE-COLORED WINE ♪♪♪
[inaudible]
♪♪♪[harmonizing]
♪ DOWN ON THE BACK ROADS
OF HOLLYWOOD ♪
♪ WHERE LIFE SPEAKS
OF ANOTHER TIME ♪
♪ I SPEND MY NIGHTS
RECORDING MY SONGS ♪
♪ AND WATCHING
THE WORLD PASS ♪
♪ THROUGH ROSE-COLORED WINE ♪
♪ AND ALL MY TOMORROWS ♪
♪ ARE GONNA BE FINE ♪♪♪
♪♪♪[organ playing]
LEFT TOGETHER, TA-TUM.
RIGHT TOGETHER, TA-TUM.
LEFT. THAT'S RIGHT.
VERY GOOD. VERY, VERY NICE.
GOOD. THINK OF IT AS A LOVE
ARCHWAY FOR THE SEASHELL.
LIKE THE SEA MEETS THE SKY.
RIGHT. GOOD, GOOD.
VERY PRETTY.
USHERS, DELICATELY.
YOU'RE LIKE CREATURES
OF THE SEA.
YOU'RE LIKE SEA URCHINS.
DID THAT GUY
JUST CALL ME AN URCHIN?
YEAH.
UM, LET 'EM OUT NOW, POP?
"LET 'EM OUT NOW, POP."
NO, YOU IDIOT.
JUST GET THE LIGHTS READY.
[Nussbaum]
COME. YES. YES.
VERY NICE.
OK, START FORMING
YOUR SHELL ON THE ALTAR.
THAT'S RIGHT. VERY GOOD.
START FORMING YOUR SHELL.
GOOD.
USHERS, DELICATELY.
DELICATELY.
THAT'S RIGHT. STEP LEFT.
RIGHT, RIGHT.
WONDERFUL, WONDERFUL.
PRETTY, PRETTY.
PRESS THE BUTTON.
♪ OH, PROMISE ME
THAT SOMEDAY YOU AND I ♪
♪ WILL TAKE OUR LOVE
TOGETHER ♪♪♪
KEN, YOU PROMISED.
I KNOW I PROMISED,
BUT I AM NOT GETTING MARRIED
IN A GIANT CLAM.
WHAT'S THE MATTER?
HAVE YOU EVER RIDDEN
IN THIS CLAM?
ALL THE TIME.
MR. NUSSBAUM,
THAT IS A NOISY CLAM.
IT'S MOTORIZED.
EXCUSE ME.
[Nussbaum]
USHERS, BRIDESMAIDS,
TAKE 5.
♪♪♪[woman singing operatically]
SI, CAN I, UH, SEE YOU
FOR A MINUTE, PLEASE?
CAN I TALK TO YOU A MINUTE?
SIT DOWN.
WHAT'S THE MATTER, HUH?
[people laughing]
I DON'T KNOW
HOW TO SAY THIS, UH...
WELL, JUST SAY IT.
WHAT IS IT?
I HATE THAT CLAM.
WHAT DO YOU MEAN
YOU HATE THE CLAM?
I HATE THE CLAM.
I HATE THE OPENING.
I HATE THE CLAM.
POP.
COULD YOU-- COULD YOU
TELL MR. NUSSBAUM
WE DON'T WANT THE CLAM?
OH, SWEETIE, COME ON.
HE'S MY OLDEST FRIEND.
IT WOULD BREAK HIS HEART.
HEY, ARNOLD.
UH, HAROLD.
[birds cooing]WHAT ARE--
WHAT ARE THOSE FOR?
OH, WE--WE LET THEM LOOSE
WHEN YOU SAY YOUR VOWS.
OH, MY GOD.
YOU GOTTA
BE KIDDING, POP.
SWEETIE, NUSSBAUM HAD THOSE
BROUGHT IN FROM GREECE.
PLEASE, POP. COME ON.
GIVE US A BREAK, WILL YA?
[Nussbaum]
KENNETH, I NEED YOU
FOR A MINUTE, PLEASE.
WHAT NOW, MR. NUSSBAUM?
I WANNA WORK ON THE CLAM.
NO, NOT YOU, LAURIE, HONEY.
IT'S GONNA BE BEAUTIFUL.
COME ON.
LOOK, SI, PLEASE.
[sighs]
GOD.
POP.
YOU LOOK TIRED.
WHAT'S THE MATTER?
YOU HAVEN'T BEEN SLEEPING?
I'M SLEEPING FINE.
JUST FINE.
LISTEN, I NEED JOKES.
CARPET JOKES, RUG JOKES.
OK. WHAT ARE YOU DOING,
A ROAST?
YEAH.
OK, WHAT ARE YOU ROASTING?
KING MOOSE.
OK, OK. KING MOOSE.
YEAH.
ONLY YOU'D BE ROASTING
A KING MOOSE.
OK. WHERE IS IT?
LODGE HALL.
LODGE HALL. OK, OK.
THAT'S A BIG ROOM.
YOU BET.
ALL RIGHT.
UH, WHAT DOES HE DO
FOR A LIVING?
UH, HE'S--HE'S GOT A CHAIN
OF DISCOUNT CARPET STORES.
OK. DISCOUNT JOKES.
CHEAP JOKES.
YEAH, CHEAP.
I GOT A JOKE.
HE'S SO CHEAP, UH,
HIS KIDS WEREN'T BORN.
THEY WERE MADE IN JAPAN.
HUH?
THAT'S VERY GOOD. OK.
COME ON.
OK, SO, UM,
WHAT ABOUT HIS FRIENDS?
HE HASN'T GOT ANY FRIENDS.
HE DOESN'T HAVE ANY--
I LOVE IT.
WHAT?
OK, UM...
HE LAYS CARPET,
BUT HE SCREWS HIS FRIENDS.
GOOD.
[Laurie chuckling]
HOLD IT. LAYS CARPET...
MORE, MORE, MORE.
[Laurie]
OK, OK.
COME ON.
[Nussbaum]
SI, LAURIE, I NEED YOU.
LATER.
OK. I'M THINKIN'.
LAYS CARPET,
SCREWS HIS FRIENDS.
F-F-FIRST POSITION.
[Nussbaum]
NO, 4TH POSITION.
[audience laughing]
YOU WANNA--
YOU WANNA KNOW
WHERE I GOT THIS MATERIAL?
WELL, I M.C. AT FUNERALS.
[audience laughing]
THIS IS ONE OF 'EM.
[audience laughing]
YEAH, I'VE HEARD--
I'VE HEARD OF COMICS
GOING INTO THE GROUND,
BUT THIS IS THE FIRST TIME
THE AUDIENCE IS GONNA
BE THERE WAITING FOR ME.
RIGHT, MR. GRANEK, HUH?
YOU'RE BEAUTIFUL,
WHAT ARE YOU LAUGHING AT?
YOU'RE BEAUTIFUL!
AH, YOU'RE A WONDERFUL--
WONDERFUL MAN, REALLY.
YOU'RE A WONDERFUL MAN.
YOU KNOW,
HE COMES BY THIS BUSINESS...
OH, YOU SHOULD REALLY
APPLAUD LOUDER,
BECAUSE HE'S A LITTLE DEAF,
YOU KNOW.
YEAH. YEAH, THOSE OF--
THOSE OF YOU--
[audience applauds]
YOU HEAR THAT? YEAH.
THOSE OF YOU, THOSE OF YOU
WHO HAVE ANY COMPLAINTS
KNOW THAT HE'S DEAF.
BUT HE REALLY, HE COMES BY
THIS BUSINESS VERY HONESTLY,
BECAUSE HIS GREAT GRANDFATHER
BACK IN EUROPE,
HE RAN A STRING OF DUNGEONS
BACK THERE.
[audience laughing]
YOU KNOW, I'M--I'M REALLY,
I'M REALLY, I'M PROUD TO SAY
THAT I KNOW YOU.
TO THINK THAT YOU BROUGHT
THIS PLACE FROM WHAT IT WAS,
A NOTHING A FEW YEARS AGO,
AND JUST BY YOUR OWN WORK,
YOU BROUGHT IT TO
WHAT IT IS TODAY.
A REAL TOILET, HUH?
[audience laughing]
♪ EVERYBODY'S SHINING
LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪♪♪
HELLO?
HI.
HI. UH, I-I'M LAURIE ROBINSON
TO SEE CHARLEY NELSON.
UH, YEAH.
HI, I'M BARBARA CLAYBOURNE,
HIS ASSISTANT.
WE'VE BEEN EXPECTING YOU.
YOU ARE A LITTLE EARLY,
BUT I'M SURE IT'S OK.
OH, LISTEN. I CAN WAIT.
NO, NO. I'LL TAKE YOU IN.
OK.
UH, THEY'RE IN STUDIO A-1.
WANNA COME THIS WAY?
OK.
[man]
2, 3, AND...
♪♪♪[orchestra playing]
NO, JUST THE TRUMPET.
JACK, CAN YOU DO
A 7:00 TO 10:00 TONIGHT?
JOAN WANTS TO KNOW.
IF WE'RE DONE HERE,
WE CAN.
YEAH, WE'LL BE DONE.
OK, GREAT.
OH, CHARLEY,
THIS IS LAURIE ROBINSON.
CHARLEY NELSON.
HELLO. NICE TO MEET YOU.
HI, LAURIE.
HEY, I LIKED YOUR TAPE.
JESSE SENT IT OVER.
WELL, THANK YOU.
I GUESS YOU'VE HEARD
WE'RE HAVING A PROBLEM
WITH THE LEAD IN THIS MOVIE,
AND WE NEED SOMEONE
TO, UH, TO DUB HER VOICE IN.
SO, UH, YOU DON'T MIND,
DO YOU?
OH, NO, NOT AT ALL.
FINE.
LET'S MEET THE DIRECTOR.
[man]
2, 3, AND...
♪♪♪[orchestra playing]
[Roy]
HOLD IT! PSST! PSST!
[Chris]
THERE'S SOMETHING
REALLY WRONG WITH THIS.
THAT STRING LINE
IS SO, SO BUSY.
WE'VE GOTTA WORK ON IT.
HEY, WAIT, WAIT, WAIT.
HOLD IT, YOU GUYS. SHH.
[Roy]
ALL RIGHT.
[all chattering]
WE GOTTA WORK ON THAT.
YEAH. "B". "B". OK.
ALL RIGHT. WE'LL MUTE.
UH, STRINGS MUTE AT "B"
THE 2ND TIME YOU COME IN,
PLAY IT NICE AND EASY.
WHAT'S THE MATTER?
AND LET'S TRY IT AGAIN.
[Laurie]
OH, NOTHING.
CRIS? CRIS.
[Chris]
WAIT A MINUTE.
WAIT A MINUTE. WHAT?
[Charley]
YOU DON'T MIND
IF WE INTERRUPT?
NO. WHAT?
THIS IS LAURIE ROBINSON.
LAURIE, CRIS NOLAN,
THE DIRECTOR.
JESUS.
OH, NICE TO MEET YOU.
WHAT ARE YOU DOING HERE?
THIS IS THE SINGER
I WAS TELLING YOU ABOUT.
[sighs]
I DIDN'T KNOW
YOU WERE A SINGER.
YEAH.
UH, YOU TWO
HAVE WORKED TOGETHER?
ONCE BEFORE.
YEAH, ONCE BEFORE.
I DIDN'T KNOW
YOU WERE DIRECTING THIS MOVIE.
WELL, LISTEN.
YOU'RE A LITTLE EARLY,
BECAUSE WE'RE WORKIN'
ON--ON SOMETHIN' RIGHT NOW.
OH, GOOD.
OK. I--I CAN...
WAIT A MINUTE, UH,
DID YOU BRING SOMETHING FOR--
TO SING?
SURE.
UH, IF YOU WANT ME
TO WAIT, YOU KNOW--
NO, NO, THAT'S ALL RIGHT.
LET ME TAKE A LOOK AT IT.
IS THIS IT?
YEAH.
IT'S A SONG I WROTE.
[Charley]
I'LL, UH, I'LL BE INSIDE.
I DIDN'T KNOW YOU...
OK, CHARLEY.
I DIDN'T KNOW YOU WROTE SONGS.
YEAH.
WHAT'S ALL THIS?
OH, I HAD
SOME ARRANGEMENTS MADE...
♪♪♪[flute playing]
OH.
...BY A GUY
NAMED JOHN BELSON.
BELSON.
HMM.
YOU KNOW HIM?
YEAH. HE'S VERY GOOD.
UH--
WAIT A MINUTE.
UM, HEY, ROY,
TAKE A LOOK AT THESE.
YOU THINK THE GUYS
COULD DO THIS?
DO WHAT?
WAIT A MINUTE.
UM...
YEAH, YEAH, WE CAN.
THERE'S NOT ENOUGH PARTS,
BUT WE'LL DOUBLE
ON SOME PARTS.
OK. WHY DON'T YOU
PASS THEM OUT? FINE.
WILL IT THROW YOU IF YOU
DO YOUR AUDITION
WITH A FULL ORCHESTRA?
NO, IT WOULDN'T THROW ME.
I'VE JUST-- I'VE NEVER HEARD
THESE CHARTS BEFORE.
I MEAN--
NEITHER HAVE I.
WE'LL JUST HEAR 'EM TOGETHER.
THEY'RE PROBABLY GREAT.
SO JUST RELAX, OK?
YEAH.
IT'S REALLY OK.
I MEAN, I COULD DO IT
WITH MY GUITAR.
I DON'T BELIEVE THIS.
I DON'T BELIEVE IT EITHER.
LISTEN. COME ON.
LET'S RUN ONE DOWN.
UM, ROY...
HEY, LISTEN. EXCUSE ME.
ROY, THIS IS LAURIE.
LAURIE, THIS IS ROY.
WHERE WOULD YOU LIKE HER
TO SIT? OR STAND?
LET'S PUT HER RIGHT THERE.
YOU WANT A STOOL?
OK.
UH, COULD WE HAVE A STOOL
AND A U-46? THANK YOU.
OK, SO ROY WILL
TAKE CARE OF YOU.
WE'RE ALL BALANCED INSIDE.
AND I'LL BE IN THE BOOTH.
ENJOY YOURSELF. OK.
OH, HERE.
EXCUSE ME.
LET ME GET YOUR GUITAR.
I'LL GET IT
OUT OF THE WAY HERE.
THANKS, UM, ROY?
I GUESS I WON'T
BE NEEDING MY GUITAR, HUH?
[chuckling]
YOU WON'T NEED A GUITAR, NO.
IT'S REALLY OK.
I MEAN, I DON'T MIND.
NO, IT'S FINE. IT'S FINE.
RELAX. IT'S GONNA BE GOOD.
I'VE NEVER BEEN
IN THIS SITUATION BEFORE.
I MEAN, PLAYING MY SONG
WITH AN ORCHESTRA.
THEY'RE THE BEST.
THERE'S 50 OF THE BEST
MUSICIANS IN L.A. OUT THERE.
THEY'RE GONNA MAKE YOU
SOUND GREAT. SO YOU JUST...
LOOK, THEY'RE READY.
JUST SIT DOWN THERE,
AND WE'RE READY TO GO.
THANKS, ROY.
SURE.
OK. YOU GUYS READY?
GOT YOUR PARTS?
IS IT OK TO LEAVE MY--
SURE. JUST
PUT IT RIGHT THERE.
THANK YOU.
♪♪♪[flute playing]
[Roy]
OK. UH, STRINGS, YOU DON'T--
[Cris]
LET ME KNOW WHEN YOU GUYS
ARE READY OUT THERE.
ALMOST READY.
STRINGS DON'T COME IN
UNTIL "B" THE 2ND TIME.
OH, OH, AHEM...
EXCUSE ME.
YES.
TALKING ABOUT
THE STRINGS, UH,
JOHN BELSON, THE MAN
WHO--WHO ARRANGED THIS
FOR ME,
DIDN'T HAVE TIME
TO CHANGE IT,
BUT THE VIOLINS
ARE TO BE AN OCTAVE HIGHER.
OK. UP AN OCTAVE
WHEN YOU COME IN, STRINGS.
I REALLY DON'T WANT
TO CAUSE ANY TROUBLE.
[chuckles]
IT'S ALL RIGHT. NO, IT'S OK.
IT'S ALL RIGHT. RELAX.
YOU'LL ENJOY IT.
YOU'LL HAVE FUN.
OK,
ANYBODY GOT ANY QUESTIONS?
EVERYTHING LOOK OK?
OK.
OH, UH,
IT'S IN 3-QUARTER TIME.
YEAH, WE SAW THAT. YEAH.
IT'S IN 3-4, GUYS. OK.
WHENEVER YOU'RE READY.
OK. ALL RIGHT.
UH, YOU WON'T NEED.
IT'S--IT'S LIVE. YOU WON'T--
WHAT?
YOU DON'T NEED THE EARPHONES
BECAUSE YOU'RE GONNA
SING LIVE.
OH. OH, YEAH. OF COURSE.
OK.
OK, DRUMS, THERE'S A HIT
AT "C" COMING IN.
WATCH THAT.
LET'S HOLD EVERYTHING DOWN
FIRST TIME THROUGH.
OK, EVERYBODY GET A GOOD LOOK,
AND WE'LL GO.
[Cris]
OK, WHAT'S THE NAME
OF THE SONG?
YOU LIGHT UP MY LIFE.
[Roy]
YOU LIGHT UP MY LIFE.
[Cris]
RIGHT. YOU LIGHT UP MY LIFE.
TAKE ONE.
OK. I'LL GIVE YOU 2.
1, 2, 3.
2, 2, AND...
♪♪♪[music playing]
♪ SO MANY NIGHTS ♪
♪ I'D SIT BY MY WINDOW ♪
♪ WAITING FOR SOMEONE ♪
♪ TO SING ME HIS SONG ♪
♪ SO MANY DREAMS ♪
♪ I'VE KEPT DEEP INSIDE ME ♪
♪ ALONE IN THE DARK ♪
♪ BUT NOW YOU'VE COME ALONG ♪
♪ AND YOU ♪
♪ LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ ROLLIN' AT SEA ♪
♪ ADRIFT ON THE WATERS ♪
♪ COULD IT BE FINALLY ♪
♪ I'M TURNING FOR HOME ♪
♪ FINALLY, A CHANCE ♪
♪ TO SAY, HEY, I LOVE YOU ♪
♪ NEVER AGAIN ♪
♪ TO BE ALL ALONE ♪
♪ AND YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ IT CAN'T BE WRONG ♪
♪ WHEN IT FEELS SO RIGHT ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT ♪
♪ UP ♪
♪ MY ♪
♪ LIFE ♪♪♪
[orchestra stops playing]
[all clapping]
[Roy]
SUPER, SUPER.
OH, LISTEN.
I REALLY COULD HAVE DONE IT
BETTER IF WE REHEARSED.
NO, YOU COULDN'T HAVE
DONE IT MUCH BETTER.
THAT WAS A GOOD JOB.
SHE'S FANTASTIC.
YES, SHE IS.
LET ME ASK YOU SOMETHING.
CAN YOU ACT?
I'M AN ACTRESS,
IF THAT'S WHAT YOU MEAN.
UH-HUH.
HOW ARE YOU AT COLD READINGS?
ABOUT AS GOOD AS I AM
AT COLD SINGINGS.
THAT'S WHAT I WAS HOPING
YOU'D SAY. COME WITH ME.
I WANT YOU TO READ SOMETHING.
GIVE THE MEN 5.
[Roy]
YOU GOT IT.
[Charley]
HEY, LAURIE.
YOU WERE GREAT. DYNAMITE.
JERRY, I WANNA USE
THIS MIXING ROOM
FOR A MINUTE.
[Jerry]
OK.
OK? THANK YOU.
COME ON, GUYS.
LET'S GO GET SOME COFFEE.
[Laurie sighs]
[Cris]
HEY, CHARLEY, TELL ROY
THAT I'LL BE ON
IN ABOUT 15 MINUTES.
WE'LL START AT THE TOP
OF THE LOVE SCENE, OK?
YEAH.
ALL RIGHT.
OK.
YEAH.
I WANT YOU TO LOOK
RIGHT FROM HERE DOWN TO HERE.
OK?
OK.
SIT DOWN.
YOU REALLY ARE
DIRECTING THIS MOVIE,
AREN'T YOU?
WELL, UNLESS I'VE BEEN FIRED
IN THE LAST HALF HOUR, I AM.
HOW DO YOU KNOW
SO MUCH ABOUT MUSIC?
I USED TO PRODUCE RECORDS.
TAKE A LOOK AT THAT.
JUST THIS--
JUST THIS SPEECH RIGHT HERE.
OK. AND YOU'RE
GONNA READ WITH ME?
I'M GONNA-- I'LL CUE YOU
IN RIGHT HERE, OK?
OK, FINE.
WELL, MAYBE WE SHOULD
JUST READ IT TOGETHER.
ARE YOU--
WILL THAT THROW YOU?
NO, NOT AT ALL.
OK.
SO YOU JUST TELL ME
WHEN YOU'RE READY,
AND I'LL CUE YOU IN.
OK.
"I LIKE THE SOUND OF TRAINS."
"I NEVER LIKED TRAINS.
"THEY ALWAYS REMIND ME
THAT SOMEONE IS LEAVING.
"YOU KNOW, TRAINS
"ALWAYS MAKE ME THINK
OF PEOPLE WHO ARE LEAVING,
"PEOPLE WHO ARE NEVER
COMING BACK.
"I DON'T MIND PLANES.
[Laurie chuckles]
"I DON'T KNOW WHY I SAID THAT.
I'VE NEVER EVEN BEEN
ON A PLANE.
"BUT, UH, IF I-- IF I
WERE GONNA BE ON A PLANE,
"I'D PROBABLY BE
GOING SOMEPLACE
WHERE THE SUN IS WARM,
"AND PEOPLE ARE HAPPY,
"AND I'D PROBABLY
BE COMING BACK.
"I GUESS YOU COULD SAY
I'M NOT TOO CRAZY
ABOUT TRAINS.
HEY, CAN I
HAVE ANOTHER BEER?"
YOU'RE HOLDING THURSDAY?
IS THAT A DEFINITE?
SOMEBODY ELSE
WANTS THE STUDIO.
OH, BOY.
I THINK WE'LL NEED IT,
CHARLEY, HUH?
IT'S BEEN GOING WELL.
I THINK IT'S TIME
WE'LL NEED.
HOLD IT.
DON'T GIVE IT AWAY.
OK, YOU GOT IT.
KEEP IT GOING.
YOU'LL NEED
THE SAME INSTRUMENTATION?
YEAH, ESPECIALLY
OVER HERE.
THANK YOU.
SHE WAS FABULOUS.
I ONLY BRING
TALENTED PEOPLE IN.
WELL,
DESTINY KEEPS
BRINGING US TOGETHER.
I THOUGHT
I BROUGHT YOU TOGETHER.
[chuckles]
HEY.
[all laugh]
SHALL I SEE YOU OUT?
THAT'S ALL RIGHT.
I'LL SEE HER TO HER CAR.
THANK YOU, BARBARA.
[Roy]
LAURIE, WE'VE GOT
YOUR PARTS HERE.
[Laurie]
OH.
OK.
[Laurie]
THANKS, ROY.
[Cris]
ROY, I'LL BE BACK
IN A MINUTE.
[Roy]
OK.
YOU READY?
YEAH.
[Charley]
BYE. THANKS AGAIN.
GOODBYE.
THANK YOU.
COME ON.
LISTEN. UH,
WHY DON'T YOU WAIT FOR ME?
WE'LL HAVE LUNCH TOGETHER.
OH.
I CAN'T, UH,
I HAVE-- I HAVE A LOT
OF ERRANDS TO RUN TODAY.
I'LL RUN 'EM WITH YOU.
WAIT FOR ME.
I CAN'T. REALLY.
COME ON.
I'LL ONLY BE A HALF AN HOUR.
NO, I--I REALLY GOTTA GO.
HOW'S IT GONNA LOOK IF I KEEP
FOLLOWIN' YOU AROUND
TILL YOU SAY YES?
I CAN'T HAVE LUNCH
WITH YOU, CRIS.
OK. WE'LL FORGET ABOUT LUNCH.
IT WAS A BAD IDEA ANYWAY,
RIGHT?
RIGHT.
SPEND THE NIGHT
WITH ME.
NO.
I'LL PICK YOU UP AT 7:00.
WHERE DO YOU LIVE?
I DON'T WANT
TO SEE YOU ANYMORE, CRIS.
I DON'T BELIEVE YOU.
WHAT'S YOUR ADDRESS?
LISTEN.
I AM GETTING MARRIED
IN A FEW DAYS.
YOU WERE GETTING MARRIED
IN A FEW DAYS
A FEW DAYS AGO.
LOOK.
WHAT HAPPENED HAPPENED.
DON'T START MAKING ME
FEEL GUILTY, OK?
IS THIS OUR FIRST FIGHT?
I'M SERIOUS.
ME, TOO.
OK, CAN WE TALK BUSINESS
FOR A MINUTE?
I WANT TO USE YOU
IN THE FILM.
I DEFINITELY WANT
TO USE YOUR VOICE.
REALLY?
IN FACT, I WOULD LIKE
TO USE YOUR SONG.
YOU LIGHT UP MY LIFE?
UH-HUH. IT'S PERFECT.
THE ONLY THING IS
WE GOTTA TONE IT DOWN
A LITTLE BIT.
OK.
HEY, WHY DON'T YOU COME
TO MY OFFICE TOMORROW?
AROUND 2:30.
I'M IN THE 9000 BUILDING.
WE'LL WORK ON IT.
OK, BUT I WANT YOU TO KNOW
I MEANT WHAT I SAID.
I UNDERSTAND.
WE'LL WORK TOGETHER,
I'LL KISS YOU GOODBYE,
WE'LL BE FRIENDS.
HOW ABOUT WE SHAKE HANDS
AND BE FRIENDS?
YOU GOT IT.
I CHEATED A LITTLE.
[people chattering]
IT IS SO LOVELY TO HAVE
A PARTY BEFORE THE WEDDING.
YEAH.
♪♪♪[music playing]
[laughing]
MURRAY AND JUDY JUST CAME.
I'M GONNA SAY HELLO.
KEN, IT LOOKS
LIKE YOUR FLORIST
EXPLODED IN THE POOL.
[laughing]
I'LL SEE YOU LATER.
I DON'T BELIEVE,
I DON'T BELIEVE ANY OF THIS.
THIS IS JUST...
OH, YOU'RE IN A GREAT MOOD,
AREN'T YOU?
OH, I HAD A DREAM LAST NIGHT.
I WANNA TELL YOU.
I KILLED EVERY MOOSE
IN THE LODGE. IT WAS
JUST SENSATIONAL. BEAUTIFUL.
IT WAS ONE OF THOSE NIGHTS.
I HAD THEM ROLLING
IN THE AISLE
UNTIL THE USHER CAME DOWN
AND TOOK THE DICE AWAY.
WHAT WORKED?
WELL, EVERYTHING WORKED.
EVERYTHING.
EVEN THE OLD STUFF WORKED.
YOU KNOW, UH,
"YOUR AUTOPSY IS NEGATIVE."
REALLY? WHAT ELSE?
THE WICK IN THE EAR,
THE ETERNAL LIGHT.
HOW ABOUT
"HE--HE--HE LAYS A CARPET
BUT HE SCREWS HIS FRIENDS"?
THE BIGGEST LAUGH
OF THE NIGHT.
HE LAYS HIS CARPET
BUT HE SCREWS HIS FRIENDS.
RIM SHOT.
IT WAS SENSATIONAL.
[people chattering]
YOU LOOKED TERRIFIC
OUT THERE.
YEAH, HAD A GOOD TIME.
HMM, NICE PARTY,
HUH?
OH, YEAH.
ARE YOU OK?
SURE, FINE.
HEY, YOU SORE AT ME?
AM I SORE?
YEAH.
NO. WHY?
YOU'RE NOT SORE ABOUT NUSSBAUM
AND THE DOVES AND THE SHELLS
AND ALL THAT?
OF COURSE NOT.
I'M NOT SORE AT YOU
OR MAD AT YOU.
I MEAN, WHY ARE YOU
ASKING ME THESE QUESTIONS?
'CAUSE I KNOW YOU.
WHEN YOU'RE NOT FEELING RIGHT,
YOU ACT FUNNY.
DO YOU LOVE HIM?
WHO?
GODZILLA WHO. KEN!
OF COURSE I LOVE HIM.
WHY DO YOU EVEN
HAVE TO ASK ME THAT?
'CAUSE YOU HAVEN'T DANCED
WITH HIM ALL AFTERNOON.
HE DOESN'T
LIKE TO DANCE.
YOU HAVEN'T EVEN TOUCHED HIM.
YOU KNOW,
THERE ARE PEOPLE AROUND.
OH, YEAH.
YOU KNOW, WHEN YOUR MOTHER
AND I WERE ENGAGED,
WE WERE SO CRAZY
ABOUT EACH OTHER,
WE COULDN'T KEEP OUR HANDS
OFF EACH OTHER.
THAT'S 'CAUSE
YOU'RE A LECH.
YEAH. WELL, MAYBE A LITTLE.
YOU STILL ARE, POP.
LAURA.
WHAT?
WHAT?
I DON'T WANT YOU
TO DO ANYTHING FOR ME.
I MEAN...
I MEAN,
THIS REALLY IS TERRIFIC,
BUT I KNOW
WE NEVER HAD A HOME
LIKE THIS.
WE TRAVELED
FROM ONE HOTEL TO ANOTHER.
I KNOW THAT.
IT WAS NEVER, NEVER GREAT,
BUT...
SI, IT WAS THE BEST.
THE BEST. IT WASN'T THE BEST.
IT WAS...
IT WAS THE BEST.
THE BEST.
THE THING IS,
IF I THOUGHT YOU WERE
DOING ANY OF THIS FOR ME,
IT WOULD BREAK MY HEART.
OH, POP.
I KNOW, I KNOW THAT ONE DAY
THE ROASTS WILL BE OVER
AND THE JOKES
WILL BE FINISHED.
BUT I--I DON'T
NEED ALL THIS.
SI.
SHH. I LOVE YOU,
BUT YOU'RE CRAZY.
♪♪♪[playing]
♪ IT'S THE MORNING
OF MY LIFE ♪
♪ I WANNA WRITE YOU A SONG ♪
♪ IT'S THE START
OF SOMETHING NICE ♪
♪ AND SO
I'LL WRITE YOU A SONG ♪
♪ OF PAINTED RAINBOWS
AND DREAMS ♪
♪ LOOKING FOR LOVE
IN THE CITY ♪
♪ AND MAKE-BELIEVING ♪
♪ THAT LIFE IS REAL ♪
♪ LOOKING FOR SOMEONE
WHO'S PRETTY ♪
♪ IT'S THE MORNING
OF MY LIFE ♪
♪ AND SO
I'LL WRITE YOU A SONG ♪♪♪
OK. ALL RIGHT NOW, KATHY.
JUST KEEP YOUR EYE
ON THE BALL, ALL RIGHT?
I'LL TRY.
JUST SWING EASY.
YOU'RE DOING GREAT.
YOU'RE DOING GREAT.
ALL RIGHT.
COULD YOU PLEASE PAGE
KENNY ROTHENBERG?
HE'S ON THE COURT
WITH A LESSON.
YEAH, I KNOW.
UH, IT'S IMPORTANT.
YOU'RE LAURIE,
RIGHT?
OK.
KEN ROTHENBERG,
PLEASE COME
TO THE FRONT DESK.
[Kenny]
LAURIE, WHAT ARE YOU
DOIN' HERE?
SORRY TO BOTHER YOU.
NO, NO, NO. IT'S OK.
WHAT'S UP?
OH, UH, I DON'T KNOW.
I'M, UH...
I DON'T KNOW. I FEEL
KIND OF DEPRESSED.
WHY?
WELL...
UM, I DON'T KNOW.
YOU'VE JUST GOT
PRE-WEDDING JITTERS.
OR YOU WANT ME
TO COME OVER TONIGHT?
WHAT I WANT YOU TO DO
IS--IS HUG ME.
OK.
NOW, WHAT'S ALL THIS, HUH?
I JUST WANT TO
HOLD ONTO YOU.
I'M NOT GOIN' ANYWHERE.
YEAH, I KNOW.
UH, SOME PRODUCER HEARD
MY INSURANCE COMMERCIAL,
AND HE WANTS ME
TO COME IN TOMORROW
TO MEET THE DIRECTOR.
THEY WANNA
HEAR ME SING.
THAT'S INCREDIBLE.
IS THAT WHAT YOU CAME
OVER HERE TO TELL ME?
UM, WELL...
[tennis balls bouncing]
DO YOU LOVE ME, KENNY?
WELL, OF COURSE
I LOVE YOU.
YEAH. I KNOW.
BUT DO YOU
REALLY LOVE ME?
LOOK, WH-WHAT'S THE MATTER
WITH YOU, HUH?
I DON'T KNOW.
LOOK, I, UH,
I GOTTA GET BACK.
SURE, OK. OK.
OH, YOU, UH, Y-YOU WANT ME
TO HUG YOU AGAIN?
[players chattering]
YEAH.
OK.
YOU HAVE A GOOD AUDITION, OK?
YEAH, OK. OK.
HEY, TELL ME.
TELL YOU WHAT?
OH, YOU KNOW.
BREAK A LEG.
BREAK A LEG, HUH.
OH. DO YOU HAVE ENOUGH GAS
IN THAT CAR OF YOURS?
YES.
I WANT YOU TO GET RID
OF THAT CAR.
I KNOW.
NO, I MEAN IT, NOW.
I WANT YOU TO START THINKING
OF A NEW CAR FOR YOURSELF.
OK. OK. I WILL.
YOU'D BETTER GO.
I'LL GO. GOODBYE.
GOOD NIGHT.
♪ FINALLY A CHANCE TO SAY ♪
♪ HEY, I LOVE YOU ♪
♪ NEVER AGAIN ♪
♪ TO BE ALL ALONE ♪♪♪
HOW'D YOU KNOW MY SONG
SO FAST?
THAT'S WHAT I DO.
BUT YOU--YOU SEE
WHAT I'M SAYIN'?
WHEN YOU-- IT'S--
YOU'RE TELLIN' SOMEBODY
THIS STORY, RIGHT?
IT'S NOT EVERY DAY
YOU GET A CHANCE TO SAY
"I LOVE YOU," RIGHT?
SO WHEN YOU SING THE WORDS,
"I LOVE YOU,"
I MEAN, IT'S LIKE
ALL THE HEARTACHE
IN THE WORLD'S GOTTA BE THERE.
YOU KNOW,
IT'S LIKE A RELEASE.
YOU KNOW
WHAT I'M SAYIN'?
I THINK SO.
[inaudible]
[birds chirping]
THANKS.
ANNIE,
I'M--I'M REALLY IN TROUBLE.
I THINK
I'M IN LOVE WITH HIM.
OH, NO.
YEAH.
WHAT AM I GONNA DO?
WHAT CAN YOU DO?
I COULD RUN.
COULD YOU?
NO.
IT ALL SEEMS SO FAST.
I KNOW. IT'S--IT'S LIKE
MY WILDEST FANTASY
IS COMING TO LIFE.
I THOUGHT
YOU WERE GETTING MARRIED
IN A FEW DAYS.
I GET IT.
I MEAN, YOU--
YOU WOULDN'T SEE HIM AGAIN
IF--IF YOU WERE ME, RIGHT?
WELL, I WOULDN'T.
I--I WOULD JUST CHALK IT UP
TO ONE LAST FLING
AND FORGET ABOUT IT.
BUT I KNOW YOU,
AND YOU'RE GONNA DO
WHAT YOU WANT.
WELL, I-IT'S JUST--
IT'S JUST NOT THAT EASY.
DO YOU KNOW THAT
ON--ON TOP OF EVERYTHING ELSE,
I THINK I MAY HAVE THE LEAD
IN THIS FILM.
YOU'RE KIDDING.
NO. I MEAN...
[sighing]
WELL,
D-DID HE TELL YOU
YOU--YOU HAD IT?
YEAH.
HE TOLD ME
THAT I HAVE IT.
"I GUESS YOU COULD SAY
I'M NOT TOO CRAZY
ABOUT TRAINS.
CAN I HAVE ANOTHER BEER?"
THAT WAS VERY GOOD.
SHE'S GOOD.
I ONLY BRING
TALENTED PEOPLE IN.
THE SCENE I JUST READ,
IT'S NEW, ISN'T IT?
HMM. THAT'S RIGHT.
I LIKE IT.
ME, TOO.
UH, CRIS,
I SAW LAURIE ROBINSON.
YOU DID SAY
I HAVE THE PART?
THAT'S WHAT I SAID.
I GUESS,
LIKE MOST ACTRESSES,
I GUESS
I'M A LITTLE INSECURE.
HEY, IF I SAID
YOU GOT THE PART,
YOU GOT THE PART.
LET'S GO BACK
TO WORK, HUH?
COME ON.
I'LL WALK YOU OUT.
A CUP OF COFFEE.
EVERYBODY JUST TAKE A BREAK.
I'VE GOT GREAT NEWS.
COME HERE.
NO CLAM, HUH.
I CONVINCED NUSSBAUM
NOT TO USE THE CLAMS.
ISN'T THAT GREAT?
NOW, WE GOTTA
GO OVER THERE.
HE'S--HE'S GONNA GIVE US
OUR NEW MOVES, RIGHT?
NO, KENNY.
I WANNA TALK TO YOU.
OK. WHAT? WHAT'S UP?
I CAN'T MARRY YOU, KENNY.
WHAT?
I CAN'T MARRY YOU.
WHAT ARE YOU TALKING ABOUT?
COME ON.
YOU'RE JUST VERY NERVOUS.
I DON'T LOVE YOU, KENNY.
IT'S JUST NOT THE WAY
IT SHOULD BE.
THINK ABOUT IT.
WHEN DID THIS HAPPEN?
I DON'T KNOW.
IT'S BEEN HAPPENING
FOR SOME TIME NOW.
[Nussbaum]
KEN, WOULD YOU GO FOR A GIANT
CHRYSANTHEMUM THAT OPENS?
MR. NUSSBAUM,
NOT NOW, HUH?
[Nussbaum]
WELL, PLEASE HURRY,
I WANNA GET--
ALL RIGHT,
MR. NUSSBAUM.
[Nussbaum]
PLEASE HURRY, KEN.
ALL RIGHT!
OH, LAURIE,
FOR GOD'S SAKE.
LOOK WHAT YOU'RE DOING.
BELIEVE ME, KENNY.
I HAVE LOOKED AT IT.
I'VE GIVEN IT
A LOT OF THOUGHT.
THEN WHY'D YOU SAY
YOU'D MARRY ME?
IS THERE
SOMEBODY ELSE?
THAT'S THE REASON?
THAT'S NOT THE REASON.
WHAT DO YOU WANT ME TO DO?
YOU WANT ME TO
JUST GO OVER THERE,
AND YOU WANT ME
TO TELL EVERYBODY
THE SHOW'S OFF, HUH?
DO YOU WANT ME
TO GO AND TELL THEM?
YOU CAN GET OUTTA HERE.
I'LL TELL EVERYBODY,
ALL RIGHT?
I'M SORRY, KENNY.
GET OUTTA HERE, OK?
[phone ringing]
HELLO?
[Charley]
LAURIE?
WHO IS THIS, PLEASE?
THIS IS CHARLEY NELSON.
CRIS NOLAN'S ASSOCIATE.
OH, YEAH, YEAH.
UH, HOW ARE YOU, CHARLEY?
UH, FINE.
CRIS ASKED ME TO CALL YOU.
UH, WELL,
I--I DON'T QUITE KNOW
HOW TO SAY THIS,
BUT WE'RE HAVIN' A PROBLEM
WITH THE MOVIE.
WHAT KIND OF PROBLEM?
AS A MATTER OF FACT,
THE, UH, STUDIO WANTS US
TO USE A BLONDE.
WHAT?
WELL, UH, WE'RE SORRY.
YOU KNOW,
CRIS WANTED YOU
FOR THE PART.
WELL, UH,
WHY DIDN'T HE FIGHT FOR ME?
I--I MEAN, IF HE FELT
THAT I SHOULD HAVE THE PART,
THEN WHY DIDN'T
HE JUST TELL THEM?
HE'S THE DIRECTOR.
LAURIE, I WASN'T THERE, OK?
WELL, WHERE IS CRIS, CHARLEY?
I MEAN, UH, HOW COME
HE DIDN'T CALL ME HIMSELF?
CRIS IS IN A MEETING
AT THE STUDIO.
BUT HE WANTED YOU TO KNOW
RIGHT AWAY.
OK. THANK YOU, CHARLEY.
YEAH.
GOODBYE.
[sniffling]
[dialing]
[phone ringing]
[female operator]
HELLO, 0-5-0-5.
HELLO? UH, UH,
CRIS NOLAN'S OFFICE, PLEASE.
JUST ONE MOMENT.
I'LL CONNECT YOU.
THANK YOU.
[Barbara]
CRIS NOLAN'S OFFICE.
YEAH, HI, BARBARA.
UH, THIS IS LAURIE ROBINSON.
IS CRIS THERE, PLEASE?
UH, NO, LAURIE.
I HAVEN'T SEEN HIM ALL DAY.
I THINK HE'S AT HOME.
WHY DON'T YOU TRY
TO REACH HIM THERE?
BUT, UH...
SORRY, BARBARA.
UH, H-HE'S NOT IN A MEETING
RIGHT NOW?
UH, NO. I DON'T SEE ANYTHING
IN THE BOOK TILL NEXT WEEK.
I SEE.
OK. THANK YOU, BARBARA.
BYE.
[sighing]
[doorbell buzzing]
[people chattering]
LAURIE.
[Charley]
OH, HI, LAURIE.
HI. OH, HI.
HI.
WHAT ARE YOU DOIN' HERE?
I JUST CAME
TO TALK TO YOU.
UM, I GUESS THIS IS--IS
A--A BAD TIME.
UH, WE WERE JUST
ON OUR WAY OUT.
I DON'T-- I DON'T WANT
TO KEEP YOU.
ARE YOU OK?
YEAH.
YEAH, I'M--I'M OK.
I, UH, I WANTED
T-T-TO TALK TO YOU.
YEAH?
UH, ABOUT THE ACT,
YOU KNOW.
OH, THE THING
IS TONIGHT, HUH?
OH, YEAH.
MY--MY--MY SHOW'S TONIGHT.
AND, UH, I'M TAPING--
I'M--I'M TAPING
MY--MY SHOW TONIGHT.
UH, LISTEN. WE WERE JUST
GONNA GET SOMETHING TO EAT.
DO YOU WANT TO COME WITH US?
OH, NO. NO.
NO, THANK YOU.
I--I DON'T WANNA--
IT'S--IT'S OK.
UH, LET ME-- LET ME
WALK YOU DOWN
TO YOUR CAR, OK?
UM, UH, WHY DON'T I MEET YOU
DOWN IN THE GARAGE?
WHY DON'T YOU
LOCK UP FOR ME?
OH, YEAH.
I'LL SEE YOU
IN A MINUTE.
COME ON.
I DON'T KNOW WHAT TO SAY.
I AM REALLY SORRY
ABOUT THE PART.
I WOULD HAVE CALLED YOU.
I SHOULD HAVE.
YOU CANNOT BELIEVE
WHAT A HECTIC DAY
IT'S BEEN.
I'VE HAD CALLS
FROM BOTH COASTS.
DO YOU HAVE ANY IDEA
WHAT IT'S LIKE WHEN YOU
GO INTO PREPRODUCTION?
IT'S MURDER.
YEAH, I'VE HEARD.
I KNOW
YOU'RE DISAPPOINTED.
BUT YOU HAVE GOT
EVERYTHING IN THE WORLD
AHEAD OF YOU.
YOU'VE GOT A GREAT CAREER
AHEAD OF YOU.
IN ANOTHER DAY,
YOU'LL BE A HAPPY,
MARRIED LADY.
THIS IS LIKE A BAD DREAM.
WHAT ARE YOU TALKIN' ABOUT?
IT'S A MOVIE.
I MEAN, IF NOT THIS MOVIE,
IT'LL BE ANOTHER MOVIE,
A BETTER ONE.
YEAH.
YOU'RE A VERY SPECIAL GIRL,
LAURIE.
BUT NOT TO YOU?
I TOLD YOU.
IT'S NOT MY DECISION.
I WASN'T TALKING
ABOUT THE FILM.
[car horn honking]
I'VE GOTTA RUN.
I'M SORRY YOU CAN'T JOIN US,
BUT LET'S, YOU KNOW,
KEEP THE CHANNELS OPEN,
KEEP IN TOUCH, HUH?
YEAH.
LAURIE. HEY.
FRIENDS?
YEAH.
OK. BYE-BYE.
[man]
OK, LAURIE. TAPE IS ROLLING.
THIS IS TAKE ONE.
HI, EVERYBODY.
UM, MY NAME IS LAURIE.
AND, UH...
AND THIS IS
MY FRIEND LARRY.
[sniffling]
HE'S SOMETHIN', HUH?
WHAT A KID, HUH?
DON'T--DON'T
APPLAUD TOO LOUD
OR HE'LL START ASKING ME
FOR FOOD.
SOME KID, HUH?
50-YEAR-OLD MIDGET.
[sniffling]
JOKING ASIDE,
LADIES AND GENTLEMEN,
I USE MY DUMMY IN MY ACT
FOR ONE OVERWHELMING,
COMPELLING REASON.
HE WORKS CHEAP.
GET IT?
[Si]
LET'S HAVE A BIG HAND NOW
FOR MY DAUGHTER,
LAURIE ROBINSON!
UH...
YOU KNOW,
THIS--THIS KID'S REALLY SMART.
WE HAD HIM TESTED.
HE'S ONLY 10 YEARS OLD,
BUT HE'S GOT THE BRAIN
OF A 30-YEAR-OLD MONKEY.
[audience laughing]
IT'S ALL RIGHT, HONEY.
IT DIDN'T WORK FOR ME, EITHER.
NEVER MIND.
[audience applauding]
[laughing]
OH, MY AGENT TOLD ME
THIS ACT I-IS A REAL SLEEPER.
HE SAID EVERYBODY WHO SEES IT
GOES TO SLEEP.
[laughing]
YOU GET IT?
HUH?
GOES TO SLEEP.
YOU KNOW, I WANT TO
DO SOMETHING RIGHT NOW
THAT I DON'T USUALLY DO
IN A CHEAP SHOW LIKE THIS.
I'M GONNA BRING OUT
MY PRIDE AND JOY,
MY DAUGHTER--
LAURIE ROBINSON!
COME OUT, SWEETIE.
LAURIE ROBINSON!
COME ON.
LET'S HEAR IT FOR HER.
COME ON, EVERYBODY.
COME ON. DO-DON'T,
DON'T, UH, MAKE ME LOOK BAD
IN FRONT OF MY KID, OK?
COME ON, LET ME HEAR IT.
OH, ISN'T SHE SOMETHING?
LOOK AT THAT PUNIM.
WHAT A FACE.
AH, ISN'T SHE BEAUTIFUL?
YOU KNOW,
WE--WE CALL HER BASEBALL.
I BET YOU CAN'T GUESS--
I BET YOU CAN'T
GUESS WHY
WE--WE CALL HER BASEBALL.
WE CALL HIM BASEBALL
'CAUSE WE'RE ALWAYS
THROWING HIM OUT AT HOME.
YOU KNOW WHAT ELSE?
SHE REALLY, REALLY
BRIGHTENS UP THE HOUSE.
I MEAN, SHE IS TERRIFIC.
SHE BRIGHTENS THE HOUSE,
'CAUSE SHE NEVER
TURNS OFF A LIGHT.
[Laurie laughing]
DON'T LAUGH TOO LOUD, GUESTS.
YOU KNOW, YOU MIGHT, UH,
SPLIT YOUR SEAMS OVER THERE.
SORRY.
I CAN'T GO ON ANYMORE
RIGHT NOW.
[crying]
[door opening]
LAURA?
LAURA.
HEY, COME ON. WHAT--
WHAT'S WITH THE CRYING, HONEY?
GET YOUR EYES ALL WET.
[continues crying]
ROUGH OUT THERE
TODAY, HUH?
HA, NEVER MIND.
YOU'LL GET THEM
NEXT TIME, OK?
I DON'T WANT TO GET 'EM.
SURE, YOU WANNA
GET 'EM.
YOU'RE ALL UPSET RIGHT NOW,
BUT YOU'LL GET OVER THAT.
THIS THING WITH KENNY
HAS PROBABLY
GOTTEN TO YOU.
YOU DON'T WANNA
TALK ABOUT IT NOW, OK.
TALK ABOUT IT
WHEN THE TIME'S RIGHT.
IT'S NOT THE RIGHT TIME, POP.
NOW, LISTEN. LISTEN.
I WAS OUT THERE WATCHING YOU.
YOU KNOW WHAT IT IS?
IT'S THE TIMING. YEAH.
YOU--YOU KNOW,
WITH THE BASEBALL JOKE,
FOR EXAMPLE.
GOD ALMIGHTY, WHEN ARE YOU
GONNA EVER LISTEN TO ME?
IT IS NOT THE TIMING.
YES, IT'S THE TIMING.
NO, IT'S NOT! I DON'T WANNA
DO THE ACT ANYMORE.
WHAT ARE YOU
TALKING ABOUT?
I HATE IT!
I-I-I-I'VE TRIED TO LIKE IT,
BUT I HATE IT,
AND I DON'T WANT
TO DO IT ANYMORE.
WHAT DO YOU MEAN
YOU DON'T WANNA DO IT ANYMORE?
THAT'S YOUR LIFE.
NO, POP. IT'S NOT MY LIFE.
THAT'S YOUR LIFE.
I'M--I'M A REALLY
GOOD SINGER.
AND A REALLY GOOD SONGWRITER.
I'M NOT FUNNY. YOU ARE.
I'M NOT.
LAURA.
I'M GOING TO NEW YORK.
YOU? WHY DO YOU
WANNA GO TO NEW YORK?
WELL, I FOUND OUT THAT, UH,
THAT COLUMBIA
IS INTERESTED
IN--IN SIGNING ME.
HEY.
AND, UH,
THEY WANT ME TO RECORD
IN ONE OF THEIR STUDIOS
WITH ONE OF
THEIR PRODUCERS.
TERRIFIC.
IT'S A SHOT, BUT, UH,
I'M GONNA TAKE IT.
THAT'S A TERRIFIC SHOT.
READY FOR THAT?
HAVE YOU-- HAVE YOU
EVER EVEN HEARD
ANY OF MY SONGS?
WELL, I'VE BEEN ON THE ROAD
A LOT, YOU KNOW.
THIS IS ME, POP.
AND I'M GOOD.
OK. TELL YOU WHAT.
WANNA GO BACK TO NEW YORK?
TERRIFIC.
WE'LL GO TOGETHER.
I'LL PLAY THE HILLS,
AND YOU'LL MAKE RECORDS,
OR WHATEVER, HUH?
I LOVE YOU.
BUT YOU GOTTA LET GO.
I DIDN'T KNOW
I WAS HOLDING ON.
I'VE GOTTA GO TO NEW YORK
BY MYSELF.
YEAH.
YOU SURE YOU CAN MAKE IT
BY YOURSELF?
[sighing]
YEAH.
I THINK I CAN MAKE IT.
GOD. I LEARNED SOMETHING
TODAY, POP.
IT WAS REALLY PAINFUL.
BUT I LEARNED SOMETHING.
I LEARNED
THAT I GOTTA DEPEND ON MYSELF.
I CAN'T DEPEND
ON ANYBODY ELSE,
AND THAT'S OK.
YOU KNOW WHY?
BECAUSE I'M
A REALLY GOOD PERSON
TO DEPEND ON.
I MEAN, MAYBE--MAYBE
I DON'T HAVE SOMEBODY
THAT I THOUGHT I LOVED A LOT,
BUT THAT'S OK
BECAUSE I'VE GOT ME.
AND I'VE GOT MY WORK
AND I'VE GOT MY MUSIC.
AND I LOVE THAT.
MORE THAN ANYTHING
ON THIS EARTH.
I HAD NO IDEA YOU FELT
SO STRONGLY ABOUT IT.
I'M SORRY, LAURA. I GUESS
I WASN'T PAYING ATTENTION.
HEY, IT'S OK.
IT REALLY IS,
BECAUSE YOU WERE
DOING YOUR THING.
AND THAT'S JUST THE POINT.
I GOTTA START DOING MY THING.
I REALLY LOVE YOU.
YOU WANNA HEAR
SOMETHING FUNNY?
WHAT?
I LOVE YOU.
OH, BOY.
IT'S GONNA BE TERRIFIC, HUH?
YOU HIT THE BIG TOWN.
LAURIE ROBINSON,
NUMBER ONE ON THE CHARTS.
BOOM-BOOM, HUH?
[both laughing]
THAT WOULD TAKE
A LITTLE LUCK.
HMM.
WOULDN'T THAT BE NICE?
THE BEST.
AH, LISTEN.
COME ON.
COME ON. NOW,
YOU GET YOUR STUFF TOGETHER,
AND CUT OUT, HUH?
[Laurie]
♪ SO MANY NIGHTS ♪
♪ I'D SIT BY MY WINDOW ♪
♪ WAITING FOR SOMEONE ♪
♪ TO SING ME HIS SONG ♪
♪ SO MANY DREAMS ♪
♪ I'VE KEPT DEEP INSIDE ME ♪
♪ ALONE IN THE DARK ♪
♪ BUT NOW YOU'VE COME ALONG ♪
♪ AND YOU ♪
♪ LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ ROLLIN' AT SEA ♪
♪ ADRIFT ON THE WATER ♪
♪ COULD IT BE FINALLY ♪
♪ I'M TURNING FOR HOME ♪
♪ FINALLY A CHANCE ♪
♪ TO SAY HEY, I LOVE YOU ♪
♪ NEVER AGAIN ♪
♪ TO BE ALL ALONE ♪
♪ AND YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ IT CAN'T BE WRONG ♪
♪ WHEN IT FEELS SO RIGHT ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT UP ♪
♪ MY ♪
♪ LIFE ♪♪♪
HOW ABOUT THIS KID?
ISN'T HE SOMETHIN'?
A 50-YEAR-OLD MIDGET.
[audience laughing]
DON'T APPLAUD TOO LOUD,
OR HE'LL START ASKIN' ME
FOR FOOD.
[audience laughing]
[Si whispering]
HE LOVES YOU.
HE LOVES YOU.
HE'D BE SMILING NOW,
BUT LAST WEEK WE WERE
A LITTLE SHORT OF CASH,
AND I HAD TO SELL HIS TEETH.
[audience laughing]
KID'S SO BRIGHT, HE FINISHED
NURSERY SCHOOL IN 2 TERMS,
TRUMAN'S AND EISENHOWER'S.
[audience laughing]
TRUMAN'S AND EISENHOWER'S,
HUH?
OH, THE HELL WITH IT. OK.
[whispering]
KIDDING ASIDE.
JOKING ASIDE,
LADIES AND GENTLEMEN,
I USE MY DUMMY IN MY ACT
FOR ONE OVERWHELMING,
COMPELLING REASON:
HE WORKS CHEAP.
IT'S ALL RIGHT, HONEY.
YOU DID FINE.
YOU REALLY DID.
IT'S ALL RIGHT.
WHAT'S THE MATTER, BABY?
DID YOU GET NERVOUS
OUT THERE TONIGHT?
NO.
YOU DIDN'T SEEM TO BE HAVING
A GOOD TIME AT ALL.
DID YOU NOTICE ME
OUT THERE TONIGHT?
DID YOU SEE THE WAY I WAS--
THE WAY I WAS
REALLY GOIN'?
I MEAN, I WAS REALLY
ROLLIN' TONIGHT.
BUT I WAS WATCHING YOU.
YOU SEEMED-- I DON'T KNOW.
YOU SEEMED SCARED THERE.
WEREN'T YOU HAVIN'
A GOOD TIME?
YEAH.
DON'T YOU WANT
TO MAKE THOSE PEOPLE LAUGH?
YEAH.
GEE, I'VE TOLD YOU
A HUNDRED TIMES, LAURA.
I MEAN, YOUR TIMING IS OFF.
YOU JUST-- YOU KNOW
THAT JOKE YOU DO
ABOUT THE--THE KID--
THE 10 YEAR OLD KID?
DO THAT,
DO THAT FOR ME.
HE'S A BRIGHT KID.
HE'S ONLY 10 YEARS OLD,
BUT HE HAS THE BRAIN
OF A 30-YEAR-OLD MONKEY.
THAT'S WHAT I MEAN.
I TOLD YOU
A THOUSAND TIMES, SWEETIE.
YOU DON'T TIME IT RIGHT.
YOU CAN'T RUSH THROUGH
THOSE LINES.
YOU CAN'T GIVE 'EM
LIKE A WHOLE LOAF OF BREAD
AT ONE TIME.
YOU GOTTA GIVE 'EM
A SLICE AT A TIME,
YOU KNOW?
I THOUGHT I HAD IT RIGHT.
LISTEN TO ME.
UM, HE'S A BRIGHT KID.
WE HAD HIM TESTED.
HE'S ONLY 10 YEARS OLD,
BUT HE'S GOT THE BRAIN
OF A 30-YEAR-OLD...
MONKEY.
SEE THE DIFFERENCE?
YEAH.
TRY IT. TRY IT.
HE'S ONLY 10 YEARS OLD,
BUT HE HAS THE BRAIN
OF A 30-YEAR-OLD...
MONKEY.
THAT'S IT.
THAT'S THE IDEA.
SEE HOW EASY IT IS?
YOU GOTTA JUST TAKE IT EASY.
TIMING. TIMING IS EVERYTHING.
I THOUGHT OF A LINE TODAY.
UM, LADIES AND GENTLEMEN,
YOU'VE HEARD OF CHOPIN.
WELL, MY DAUGHTER WORKED
WITH HIS BROTHER BEDPAN.
HUH?
I DON'T LIKE IT.
KIND OF A FUNNY IDEA,
THOUGH, ISN'T IT?
FUNNY SOUND?
CHOPIN, BEDPAN?
NO? OK.
WHAT'S THE MATTER, HONEY?
YOU'RE SWEATIN'.
WHAT ARE YOU
SWEATIN' FOR?
I'M DOIN' ALL THE WORK
AND YOU SWEAT?
YOU MAKE ME SWEAT.
I MAKE YOU SWEAT?
HOW DO I MAKE YOU SWEAT?
I DON'T KNOW.
THAT'S RIDICULOUS, LAURIE.
YOU'RE RIDICULOUS.
IF YOU WANT ME,
I'LL BE INSIDE.
[door closing]
♪ CALIFORNIA DAYDREAMS ♪
♪ YOU CAN HARDLY BEAT 'EM ♪
♪ SUN POURS THROUGH THE CITY ♪
♪ AND ANOTHER STAR
IS BORN TODAY ♪
♪ ANYONE WILL TELL YOU ♪
♪ IT'S FOR CERTAIN ♪
♪ HE'S GONNA MAKE IT,
SHE'S GONNA MAKE IT ♪
♪ CAN'T YOU JUST SEE ♪
♪ CAN'T YOU JUST FEEL IT ♪
♪ IN THE AIR? ♪
♪ EVERYBODY'S LOOKING ♪
♪ LIKE A WINNER ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
GO REAL FAR ♪
♪ EVERYBODY'S SHININ'
LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪♪♪
[buzzer beeping]
LAURIE ROBINSON.
CONWAY AGENCY.
"FENWICK HENS
ARE HAPPY HENS.
"THAT'S THE REASON
FENWICK FARMS
HAS MAINTAINED
"ITS HIGH QUALITY OF EGGS
DAY AFTER DAY,
"WEEK AFTER WEEK,
MONTH AFTER MONTH.
"FINER EGGS
FOR FLUFFIER OMELETS.
WE SEND OUR HENS
HIGH INTO THE HILLS."
CUT. TOO MUCH EMOTION.
OH, UH, JIM, EXCUSE ME.
IT JUST STARTED.
GIVE ME A CHANCE.
OK.
NO. IF I CAN WORK WITH HER,
I'LL GET IT.
WELL, UNLESS IT'S JUST
REALLY ALL WRONG,
UM, MAYBE I CAN HELP
IF I CAN JUST GIVE YOU
A SUGGESTION.
SEE, I THINK THE PROBLEM
IS THAT--THAT YOU SEE IT
AS THE END PRODUCT.
I THINK THAT YOU SEE IT
AS THE OMELET.
I SEE IT AS THE EGG.
HE'S RIGHT.
IT'S THE EGG.
WELL, I-I-I'M SORRY.
I--I DON'T KNOW WHAT THE HELL
YOU GUYS ARE TALKING ABOUT.
UM, UH, LOOK. WHAT--
[man]
I'M TALKING ABOUT EGGS.
[Laurie]
WHAT?
I'M TALKING ABOUT EGGS.
LOOK, UM...
YOU MEAN TO TELL ME
THAT I--I WANT
TO HELP THESE PEOPLE?
NO. NO, YOU WANT
TO HELP THEIR OMELETS.
OH, I WANT TO HELP
THEIR OMELETS.
RIGHT. OK?
TRY IT. TRY IT. JUST GO ON.
YOU DON'T HAVE TO GO BACK.
OK. UM, OK.
"THIS IS A FENWICK EGG--"
[woman]
CUT.
WAIT. YOU DIDN'T GIVE HIM
A SLATE.
I GAVE IT TO HIM BEFORE.
BETTER GIVE HIM ANOTHER.
LAURIE ROBINSON.
CONWAY AGENCY.
CONTINUING TAKE ONE.
"THIS IS A FENWICK EGG.
"THIS IS A REGULAR EGG.
"N-NOTICE THE DIFFERENCE.
"AFTER YOU'VE TRIED
A FENWICK EGG, YOU'LL SAY:
'NO WONDER
YOU'RE HAVING TROUBLE
MAKING FLUFFY OMELETS.'"
CUT. NO. ALMOST, HONEY,
BUT, UM...
[man]
UH, JIM, IF I COULD INTERRUPT
FOR JUST A MOMENT.
UM, LAURIE,
TH-TH-THE ENTIRE CAMPAIGN
IS--IS BASED ON THE FACT
THAT FENWICK HENS
ARE HAPPY HENS.
AND HAPPY HENS
LAY BIGGER EGGS.
AND BIGGER EGGS
MAKE FLUFFIER OMELETS.
YOU KNOW, IT'S, UM,
IT'S NOT REALLY THE EGG
THAT MAKES THE OMELET FLUFFY.
IT'S THE MILK.
WHAT?
IT'S THE MILK.
UH, I THINK WE'VE SEEN ENOUGH.
THANK YOU. VERY NICE READING.
THANK YOU FOR COMING IN.
♪ CALIFORNIA DAYDREAMS ♪
♪ EVERYBODY HAS ONE ♪
♪ ANYTIME TOMORROW ♪
♪ THE PHONE WILL RING ♪
♪ AND YOU'LL BE ON YOUR WAY ♪
♪ THEY'LL CALL IN OHIO ♪
♪ THEY WON'T BELIEVE YOU ♪
♪ BUT YOU'RE GONNA MAKE IT,
YOU'RE GONNA MAKE IT ♪
♪ CAN'T THEY JUST FEEL IT
IN THE AIR ♪
[phone ringing]
♪ EVERYBODY'S LOOKING
LIKE A WINNER ♪
[phone continues ringing]
HI, I'M LAURIE ROBINSON.
CAN YOU WAIT JUST A MINUTE,
PLEASE?
♪ EVERYBODY'S GONNA GO
REAL FAR ♪
HI.
♪ EVERYBODY'S SHINING ♪
♪ LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪♪♪
HI.
WHAT'S WRONG WITH YOU?
ARE YOU UP FOR THIS?
YEAH.
OH, GOD.
IT IS THE CIRCUS.
THAT BAD?
OH, MY KNEES.
[exclaims]
LISTEN. IT CAN'T BE
ANY WORSE THAN THE ZOO
I JUST CAME FROM.
OH.
WELL, WAIT FOR ME, OK?
I GOTTA SIGN IN.
OH, I CAN'T. I HAVE
A CALLBACK AT WAINFORD.
FENWICK FARMS?
YEAH.
THAT'S THE ZOO.
OH, NO.
OH, LISTEN.
IF THE DIRECTOR
OFFERS YOU HIS WATCH,
YEAH.
...KEEP IT.
WHAT?
[typewriter clicking]
[phone ringing]
IT'S AS IF I GIVE YOU
THIS WATCH,
AND I SAY TO YOU,
"THANK YOU.
THANK YOU, ANNIE GERRARD,
FOR TELLING ME
ABOUT FENWICK FARMS."
WELL, THANK YOU.
EXCUSE ME.
MAY I HELP YOU?
OH, YEAH. UM,
UH, YES.
I AM LAURIE ROBINSON,
AND I'M HERE TO SEE
ED McMORGAN.
OK. IT'S GONNA BE
A FEW MINUTES.
WHY DON'T YOU HAVE A SEAT?
OK. WANT ME
TO WALK YOU OUT?
YEAH.
OK.
[phone ringing]
SO HOW DID THE SHOW GO?
IT SUCKED.
OH, THAT BAD?
YEAH.
ANNIE. I THINK THEY'RE GONNA
GIVE ME THE AXE.
YOU'RE KIDDING.
NO.
WELL, MAYBE IT'LL BE
A BLESSING IN DISGUISE.
WHAT ARE YOU TALKING ABOUT?
I SAW IT LAST WEEK.
IT MADE ME LAUGH.
YOU AND MY FATHER
WERE THE ONLY ONES.
UH, THEY HAD TO GET CANNED
LAUGHTER FOR THE CHILDREN.
OH, REALLY?
YEAH.
I DON'T KNOW.
MAYBE I'M JUST NOT FUNNY.
[elevator bell dings]
NO, STOP IT.
YOU'RE A GENIUS.
DO ME A FAVOR.
TELL THAT TO
THE FENWICK FARMS DIRECTOR.
[chuckles]
♪ HEY ♪
♪♪♪[harmonizing]
♪ DO YOU KNOW SOME
GOOD BACKGROUND SINGERS ♪
♪ YOU BETTER FIND
SOME REALLY GOOD ♪
♪ BACKGROUND SINGERS ♪
♪ TO SING IN A GROOVE
IN ANY KEY ♪
♪ IN 2, 3, 4-PART HARMONY ♪
♪ OOH ♪
♪ NOW YOU'RE READY
TO RECORD A SONG ♪
♪ ABOUT LOVE ♪
[all]
♪ YOU CAN TURN THE WORLD ON ♪
♪ WITH YOUR MUSIC ♪
♪ YOU CAN TURN THE WORLD ON ♪
♪ WITH YOUR SONG ♪
♪ YOU CAN SAY YOUR OWN THING ♪
♪ IN YOUR OWN WAY ♪
♪ YOU'LL BE ON THE RADIO ♪
♪ BEFORE LONG ♪
♪ HEY ♪
♪ DO YOU HAVE A PIANO? ♪
♪ HEY ♪
♪ DO YOU HAVE A PIANO? ♪
♪ I SAID, HEY ♪
♪ DO YOU HAVE A PIANO? ♪
♪ THEN YOU CAN
WRITE YOURSELF ♪
♪ A SONG ABOUT LOVE ♪♪♪
IT SOUNDED GOOD
IN THE PHONES.
HOW DID IT FEEL?
IT FELT GOOD.
[man]
I NEED MORE DRUMS.
THAT'S A GOOD SONG.
THANKS, CASEY.
[Casey]
THESE GUYS HAD
A GOOD GROOVE GOIN'.
YEAH. YOU GUYS WERE DYNAMITE.
YOU GUYS WEREN'T
TOO BAD YOURSELVES.
[man]
YOU THINK WE SHOULD
DO IT PROFESSIONALLY?
NO.
[laughing]
COME ON. LET'S GO LISTEN
TO IT BACK.
♪♪♪[piano playing]
[Casey]
WHAT TIME IS THE TAPING?
RIGHT AFTER THIS.
OH, IT'S GONNA BE
A DISASTER.
WELL, WHY DON'T YOU TELL SI
YOU DON'T WANT TO DO IT?
I CAN'T, ANNIE. I MEAN,
HE DOESN'T HEAR ME.
I TELL HIM OVER
AND OVER AGAIN
I'M NOT A COMEDIAN.
I WANT TO-- I WANT TO SING
MY SONGS. I WANT TO ACT.
I WANT TO RECORD.
[bell ringing]LISTEN, YOU DON'T HAVE
TO CONVINCE ME.
I'M ON YOUR SIDE.
MAYBE THE KIDS
WILL LAUGH THIS TIME.
YEAH, MAYBE. COME ON.
[tape rewinding]
LAURIE, THERE'S A CALL
FOR YOU.
OH, OK.
HOLD THIS FOR ME? HERE?
HELLO?
OH, HI.
WHAT?
OH. OH, OK, WAIT.
HOLD ON A SECOND.
IT'S SI. CAN I HAVE
A PENCIL, PLEASE, MATT?
THANKS.
YEAH. SHOOT.
UH-HUH.
[boy]
SHARE A CAB WITH YOU?
[girl]
OK.
SI,
I DIDN'T KNOW THAT PABULUM
HAS VALIUM IN IT THESE DAYS?
SI, THE KIDS ARE TOO YOUNG
TO KNOW WHAT VALIUM IS.
YEAH, I--I--I KNOW. I KNOW.
I KNOW IT'S A PUT-DOWN
IN CASE
THEY DON'T LAUGH, YEAH.
OK. OK, I'LL TRY IT.
I-I'LL BE THERE
IN A FEW MINUTES. I'M JUST
FINISHING UP A SESSION HERE.
OK, BYE.
[Casey]
ANOTHER JOKE?
OH, NO. UH, IT'S A PUT-DOWN
IN CASE THEY DON'T WORK.
JUST FORGET ABOUT IT,
YOU KNOW?
THINGS COULD BE WORSE.
OH, YEAH?
YOU GO FACE THOSE KIDS.
NOT ME.
CAN WE HEAR THAT BACK,
PLEASE, MATT?
[children chattering]
[man]
OK, SCOOT OVER TO YOUR LEFT.
HOLY TOLEDO!
I DISCOVERED WAX!
[girl]
STOP IT.
YOU KNOW, YOU GOT ENOUGH
IN THERE TO RECORD OKLAHOMA.
HEY, I'M A HIT. HUH.
YOU KNOW,
HE'S A VERY SMART KID.
UM, WE HAD HIM TESTED.
HE'S ONLY 10 YEARS OLD,
AND HE HAS THE BRAIN
OF A 30-YEAR-OLD...
MONKEY.
[girl]
I WANNA SIT THERE.
[whispering]
I DIDN'T KNOW PABULUM
HAS VALIUM IN IT.
HEY, YOU KIDS
ARE WRECKIN' MY CAREER.
DIDN'T KNOW THAT PABULUM
HAD VALIUM IN IT THESE DAYS.
[child]
STOP IT.
[children chattering]
OH. UH, ALL RIGHT.
WELL, ANYWAY, MY AGENT
TOLD ME THAT THIS DUMMY ACT
WAS A REAL SLEEPER.
[laughing]
EVERYONE WHO SEES IT
GOES TO SLEEP.
[sighing]
THAT'S IT, FOLKS.
SWEETIE, IT WAS TERRIFIC,
BUT YOU MISSED IT
BY JUST THAT MUCH.
WOULD YOU BELIEVE
THAT MUCH?
LISTEN, POP.
I THINK IT'S A BIG MISTAKE.
WHY, YOU'RE DOING GREAT.
NO. I THINK THE KIDS ARE
TOO YOUNG FOR MY MATERIAL.
AW.
THEY'RE GETTING YOUNGER
ON ME.
HEY, TOM. TERRIFIC, HUH?
WELL, IT NEEDS WORK.
YEAH, WELL,
WE'RE WORKIN' ON IT.
WE'LL GET IT.
WE'LL GET IT.
I HOPE SO.
SURE.
SEE? SEE THERE?
HE LOVES THE ACT.
HE THINKS YOU'RE GREAT.
HE'S JUST
A FRIEND OF YOURS.
THAT'S GOT NOTHING
TO DO WITH IT.
LOOK, POP. I APPRECIATE
YOUR RECOMMENDING ME
TO TOM.
I--I JUST DON'T LIKE
REPLACING SOMEBODY
TO BEGIN WITH.
AH.
AND CAROLINE
WAS VERY FUNNY.
I DON'T SEEM
TO BE DOING TOO WELL.
YOU ARE DOING TERRIFIC.
WHEN CAROLINE DROPPED OUT
OF THE SHOW, IT WAS
A BIG BREAK FOR YOU.
BUT, I MEAN, YOU GOTTA
WORK ON YOUR TIMING,
'CAUSE TIMING IS EVERYTHING.
[man]
KILL THE KLIEGS
AND THAT'LL BE A WRAP.
ALL RIGHT, POP.
LOOK, LET ME, UH, GO.
I GOT ANOTHER SESSION
THIS AFTERNOON.
THANKS.
OK.
TIMING, HONEY.
♪ EVERYBODY'S SHININ'
LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪
♪ EVERYBODY'S SHINING ♪
♪ LIKE THE WINNER ♪
♪ EVERYBODY'S GONNA GO ♪
♪ REAL FAR ♪♪♪
NOW LET ME ASK YOU
ONE THING.
WHAT?
HOW DID YOU
SAY THAT LINE?
YOU KNOW, THE ONE THAT,
UM, CAME AT THE END.
"NO WONDER
YOU'RE HAVING TROUBLE
MAKING FLUFFIER OMELETS."
I SAID IT LIKE,
"NO WONDER
YOU'RE HAVING TROUBLE
MAKING FLUFFIER OMELETS."
YOU SAID IT LIKE THAT?
YEAH, EXACTLY LIKE THAT.
WHY DO I LISTEN
TO THOSE SCHMUCKS?
OH, HEY, I NEVER DO.
I NEVER LISTEN TO ANY OF 'EM.
I JUST DO IT
THE WAY I WANNA DO IT.
SOONER OR LATER, THEY THINK
I'M DOIN' IT THEIR WAY.
OH, MAN.
[people laughing]
[people chattering]
♪♪♪[music playing]
[pay phone dinging]
MARK, I DON'T MIND IT,
BUT IT SEEMS TO ME
LIKE WE'RE STUCK.
[man]
YOU LOOK MORE LIKE
A STEWARDESS THAN A SECRETARY.
CHANGE FOR A QUARTER, PLEASE?
I'LL SEE YOU TOMORROW.
YOU, TOO. THANKS.
IT'S ALL YOURS.
LISTEN. EXCUSE ME.
I GOTTA MAKE ONE FAST,
VERY URGENT CALL.
YOU DON'T MIND,
DO YOU?
WELL, I DID HAVE
TO MAKE A CALL.
[coins clinking]
OH, WAIT, WAIT, WAIT. REALLY.
IT'S JUST GONNA TAKE A MINUTE.
YEAH, BUT MY DINNER'S
GETTING COLD.
IT'S A VERY IMPORTANT CALL,
AND YOU'RE A VERY IMPORTANT
PART OF THIS CALL.
OPERATOR.
I WANNA PLACE
A PERSON-TO-PERSON
COLLECT CALL
TO A MR. JEROME BENNETTE
IN NEW YORK CITY.
AREA CODE 212-759-8720.
AND MY NAME IS CRIS NOLAN.
AND WHAT'S YOUR NAME?
LAURIE.
AND LAURIE.
[man]
BAGELS AND LOX.
LOOK. I HAVEN'T EATEN
ALL DAY, OK?
AND--AND I'M REALLY
VERY HUNGRY.
WE'RE WAITIN'
ON DESTINY.
OH, DESTINY.
YEAH, YEAH. HE ACCEPTS IT.
JERRY.
HOW MUCH?
I'M REALLY HUNGRY.
MY MOZZARELLA'S
GETTING COLD.
I'LL COME BACK LATER
AND SEE HOW IT ALL PANS OUT.
TAKE IT.
YES, YES, TAKE IT FOR...
IN FACT, CALL MARK
AND--AND TELL HIM
THAT I TALKED TO YOU.
HOW SOON
DO WE GET A DEPOSIT?
48 HOURS.
THAT'S TERRIFIC.
GREAT.
LAURIE THINKS IT'S TERRIFIC.
NEVER MIND.
THANK YOU, JERRY.
YOU MADE ME
A VERY HAPPY MAN,
AND LAURIE
A VERY HAPPY WOMAN.
ALL RIGHT. THANK YOU.
GOOD NIGHT.
THAT'S IT.
GOOD. THANKS.
CONGRATULATE ME.
CONGRATULATIONS.
CONGRATULATIONS.
♪ DANCE, DANCE ♪
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
THAT WAS A TERRIFIC KISS.
THAT WAS A TERRIFIC KISS.
CAN I BUY YOU A DRINK?
[sighing]
I--I HAVE A--A PHONE CALL
TO MAKE.
I'LL WAIT.
A-AND I HAVE FRIENDS
AND--AND DINNER
WAITING OVER THERE.
GOOD. NOW YOU GOT ME
WAITIN' FOR YOU.
HELLO?
YES, THIS IS LAURIE.
ANY MESSAGES?
♪ DANCE, DANCE ♪
OK.
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
THANKS.
ANY CALLS?
NO.
GOOD. I DON'T REALLY
WANT TO BUY YOU A DRINK.
OH, OK.
WHAT I REALLY WANT
IS FOR YOU
TO COME HOME WITH ME.
OH. UM...
I CAN'T, REALLY.
I HAVE FRIENDS WAITIN' FOR ME.
LAURIE.
I'M GONNA SIT THERE
ON THE BAR STOOL,
AND I'M GONNA WAIT.
I'M GONNA WAIT FOREVER
TILL YOU COME BACK.
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
NO, I--I CAN'T. REALLY.
YES, YOU CAN.
♪ DANCE, DANCE
TO THE ROCK 'N' ROLL MUSIC ♪
I--I CAN'T.
YES, YOU CAN.
YOU KNOW,
YOU'RE VERY PRETTY.
I'M NOT, REALLY.
OH, YES, YOU ARE.
YOU DON'T HAVE TO SAY THAT.
I WOULDN'T SAY IT
IF I DIDN'T MEAN IT.
YOU'RE VERY PRETTY, TOO.
UM, DO YOU MIND
TURNING THE LIGHT OFF?
I'M KIND OF SHY.
SURE.
WILL YOU TURN THE OTHER ONE
OFF, TOO, PLEASE?
I GUESS I'M REALLY SHY.
SURE.
I DON'T MIND.
OH, WHAT DO YOU TAKE
IN YOUR COFFEE?
OH, I--I DON'T TAKE
ANY COFFEE. THANK YOU.
WHY NOT?
UH, WELL, CAFFEINE IN IT
MAKES ME CRAZY.
I'M SURE
IT'S VERY GOOD.
OK, YOU WANT SOME TEA?
NO, THANKS.
WHAT TIME IS IT?
10 AFTER 9:00.
HMM. I BETTER HURRY.
WHERE ARE YOU GOIN'?
UH, I HAVE A REALLY
BUSY DAY TODAY.
OH?
I HAVE A COMMERCIAL,
A RECORDING SESSION.
LATER ON,
I HAVE A--A--A REHEARSAL.
WHAT KIND OF REHEARSAL?
OH, UM,
WEDDING REHEARSAL.
OH. WHOSE WEDDING?
MINE.
YOURS?
HMM. YEP. MINE.
YOU'RE KIDDIN'.
UH-UH.
NO, I'M NOT KIDDING.
I WISH I WAS KIDDING.
LISTEN, UM,
YOU DO THIS KIND
OF THING OFTEN?
NO.
DO YOU?
NOW AND THEN. ARE YOU
REALLY GETTING MARRIED?
MMM-HMM.
YEAH, ABSOLUTELY.
OK.
ARE YOU MARRIED?
SEPARATED.
OH, THERE YOU GO.
[car horn honks]
LET ME ASK YOU SOMETHING.
WHAT?
WHAT WAS THIS, JUST KIND OF
LIKE A LAST FLING BEFORE
YOU GOT MARRIED OR WHAT?
I DON'T KNOW. I GUESS SO.
I MEAN, IT JUST HAPPENED,
YOU KNOW.
HEY, YOU DON'T HAVE
TO APOLOGIZE.
I KNOW I DON'T.
SO, UH, YOU KNOW, HOW LONG
HAVE YOU BEEN ENGAGED?
6 MONTHS.
YEAH? YOU LIVE WITH HIM?
NOPE.
WHY NOT?
JUST DON'T.
JUST ASKING.
HAVE YOU KNOWN HIM LONG?
YEAH. WE WENT
TO COLLEGE TOGETHER.
OH.
THANKS. WHY YOU KEEP
ASKING ME
ALL THESE QUESTIONS?
IT GETS ME HOT.
OH. WELL,
I'D BETTER GO.
WELL,
THANKS FOR BREAKFAST.
YOU'RE VERY WELCOME.
I'M SORRY, CRIS.
I REALLY DO HAVE TO GO.
OK.
[engine starting]
HEY, YOU WANNA COME BACK
LATER TONIGHT?
NO, I CAN'T. REALLY.
OK. BYE-BYE.
GOODBYE.
HEY, LAURIE.
WHAT?
I DON'T EVEN KNOW
YOUR LAST NAME.
I WANT TO CALL YOU.
OH, IT'S OK, CRIS.
GOODBYE.
♪♪♪[piano playing]
♪ ROAST 'EM, TOAST 'EM ♪
♪ PUT 'EM IN YOUR OVEN ♪
♪ EAT MRS. FRANKLIN'S WAFFLES
EVERY MORNIN' ♪
♪ EAT MRS. FRANKLIN'S WAFFLES
EVERY MORNIN' ♪♪♪
FREEZE.
[bell rings]
NO.
THERE'S SOMETHING WRONG.
REMEMBER, WE'RE LOOKING
FOR ETHEL MERMAN.
NO, NO. REALLY.
NOW BE SERIOUS.
WELL, I DON'T MEAN TO,
LIKE, START AN ARGUMENT
OR ANYTHING,
BUT SINCE WE'RE SUPPOSED
TO BE LIKE ETHEL MERMAN,
THEN HOW COME
WE'RE DRESSED LIKE THIS?
I DON'T KNOW. MAX.
[Max]
IT'S AMERICANA.
DON'T YOU PEOPLE
UNDERSTAND AMERICANA?
YOU'RE SUPPOSED TO BE
MRS. BEN FRANKLIN.
YEAH.
[snickers]
WHERE WERE WE?
I GOT A NEW IDEA.
UH, WOULD YOU ALL GO DOWN
ON YOUR KNEES, PLEASE?
WHAT?
WOULD YOU KNEEL?
YOU KNOW, WE DON'T NEED
ETHEL MERMAN HERE.
WHAT WE NEED HERE
IS AL JOLSON.
BUT, RICHMOND, THE CLIENT
EXPECTS ETHEL MERMAN.
WELL, WE'VE GOT
AN ETHEL MERMAN
VERSION ON FILM.
NOW LET'S PUT
AN AL JOLSON ONE ON FILM.
IT WON'T COST ANY MORE.
WELL, AS LONG AS
IT DOESN'T COST ANY MORE,
IT'S ALL RIGHT.
OK. THEY'RE HERE
FOR THE DAY.
CAN WE GET UP NOW,
PLEASE?
NO. I WANT YOU TO DO AL JOLSON
RIGHT WHERE YOU ARE
ON YOUR KNEES.
NOW, FORGET EVERYTHING
I TOLD YOU
AND JUST IMPROVISE.
ALL OF US?
YES, I WANT YOU ALL
TO THINK AL JOLSON.
OH, WAIT A MINUTE.
YOU WANT ME
TO SING LIKE AL JOLSON,
BUT YOU WANT BONNIE AND ANNIE
TO MAINTAIN THE ATTITUDE
OF AL JOLSON.
NO.
I WANT LAURIE
TO SING LIKE AL JOLSON,
AND YOU TWO GUYS MAINTAIN
THE ATTITUDE
OF SOMEONE
WHO LIKES WAFFLES.
OK, READY?
LET'S GO.
[man]
QUIET, PLEASE.
ROLL SOUND.
[bell rings]
SPEED.
CAMERA. MARK IT.
X-58, TAKE 42.
MRS. FRANKLIN'S WAFFLES.
ACTION.
♪♪♪[piano playing]
♪ ROAST 'EM, TOAST 'EM ♪
♪ PUT 'EM IN YOUR OVEN ♪
♪ EAT MRS. FRANKLIN'S
WAFFLES ♪
♪ EVERY MORNIN' ♪♪♪
[Laurie]
EXCUSE ME, PLEASE.
HEY, KENNY.
HMM.
SORRY I'M LATE.
HOW ARE YOU DOIN'?
STEAK SANDWICH. PLAIN.
NOTHIN' ON IT,
ALL RIGHT.
I JUST ORDERED YOU
A STEAK SANDWICH.
HOW COME?
THE OTHER STUFF
MAKES ME SICK.
OH, OH, OH,
LISTEN, FRED.
I'D RATHER HAVE
THE, UH, USUAL, OK?
WITH AN ORANGE.
HMM.
MICHAEL AND CONNIE
INVITED US OVER
TO DINNER TOMORROW NIGHT.
WELL, I CAN'T GO.
WHY NOT?
WELL, BECAUSE I--I...
OH, THANKS.
I'VE--I'VE GOT A SESSION
TOMORROW NIGHT.
I THOUGHT
YOU HAD ONE TODAY.
I DID.
BUT I HAVE ANOTHER ONE
TOMORROW NIGHT.
COULDN'T YOU
CANCEL IT?
NO, KENNY, I CAN'T CANCEL IT.
I'VE ALREADY
BOOKED THE MUSICIANS.
AND--AND I GAVE THEM A DEPOSIT
AT THE STUDIO.
OH, COME ON.
CANCEL IT.
I'LL PAY FOR IT.
I DON'T UNDERSTAND
WHY YOU WON'T LET ME PAY
FOR THAT STUFF ANYWAY.
IT'S NOT STUFF, KENNY.
WHY DO YOU KEEP
CALLING IT STUFF?
WHATEVER IT IS.
I DIDN'T EVEN KNOW
YOU HAD TO PAY FOR IT.
WHO DO YOU THINK PAYS FOR IT,
THE SALVATION ARMY?
YOU KNOW, I EARN MONEY, TOO.
ALL RIGHT, ALL RIGHT,
CALM DOWN, HUH?
WELL, WHAT ABOUT
TOMORROW NIGHT, HUH?
[horn blaring]
KENNETH, I AM GONNA BE
RECORDING TOMORROW NIGHT.
OK.
LOOK, KENNY.
I'M REALLY CLOSE.
I--I MEAN, I CAN SENSE IT.
I MEAN, IT'S RIGHT THERE
WAITING FOR ME.
I'M GOING TO THE PARTY.
GOOD. OK.
WELL, HAVE A GOOD TIME.
YOU ALWAYS HAVE FUN
WITH, UH, WITH CONNIE
AND MICHAEL ANYWAY.
I DON'T UNDERSTAND
WHAT'S SO IMPORTANT
ABOUT SOME ROTTEN SESSION.
LET'S DROP IT, ALL RIGHT?
OK, HOW WAS YOUR DAY?
BORING.
IT'S ALWAYS BORING.
I GOTTA TEACH BEGINNERS.
YOU KNOW WHAT I'M DOIN'
THIS AFTERNOON?
I'M GONNA RALLY
WITH HAMPTON COOKE.
HE CAME IN THE QUARTERFINALS
AT SOUTH HAMPTON, HUH, HUH?
YOU'RE GONNA HAVE A REALLY
GOOD DAY THIS AFTERNOON.
YOU'LL GET A GOOD WORKOUT.
I'M LOOKING FORWARD
TO THAT, I TELL YOU.
YEAH, THAT'S GREAT.
OH, MY GOD. KENNY.
OH, LOOK WHAT TIME IT IS.
I'M GONNA BE LATE.
WELL, GOOD LUCK.
KENNY, HAVE A GOOD AFTERNOON.
OK. ALL RIGHT,
I'LL SEE YOU LATER THEN.
OH, TELL ME.
[people chattering]
COME ON.
TELL YOU WHAT?
BREAK A LEG.
OH, YEAH, YEAH.
BREAK A LEG,
BREAK A LEG.
OK, BYE.
YEAH.
[chuckles]
BREAK A LEG.
♪♪♪[playing piano]
♪ ROLLING THE CHORDS
ON THIS OLD PIANO ♪
♪ HELPS ME GET
THROUGH THE NIGHT ♪
♪ DOWN HOME GUITAR LICKS
I'LL DO JUST ONE MORE MIX ♪
♪ AND EVERYTHING
WILL TURN OUT RIGHT ♪
♪ DOWN ON THE BACK ROADS
OF HOLLYWOOD ♪
♪ WHERE LIFE SPEAKS
OF ANOTHER TIME ♪
♪ I SPEND MY NIGHTS
RECORDING MY SONGS ♪
♪ AND WATCHING
THE WORLD PASS ♪
♪ THROUGH ROSE-COLORED WINE ♪
♪ A STEEL GUITAR CAN
MAKE ME FEEL HAPPY ♪
♪ EVERY TIME I HEAR IT PLAY ♪
♪ A COUNTRY FIDDLE,
A HARP IN THE MIDDLE ♪
♪ IS BOUND TO
BRIGHTEN UP MY DAY ♪
♪ DOWN ON THE BACK ROADS
OF HOLLYWOOD ♪
♪ WHERE LIFE SPEAKS
OF ANOTHER TIME ♪
♪ I SPEND MY NIGHTS
RECORDING MY SONGS ♪
♪ AND WATCHING
THE WORLD PASS ♪
♪ THROUGH ROSE-COLORED WINE ♪♪♪
[inaudible]
♪♪♪[harmonizing]
♪ DOWN ON THE BACK ROADS
OF HOLLYWOOD ♪
♪ WHERE LIFE SPEAKS
OF ANOTHER TIME ♪
♪ I SPEND MY NIGHTS
RECORDING MY SONGS ♪
♪ AND WATCHING
THE WORLD PASS ♪
♪ THROUGH ROSE-COLORED WINE ♪
♪ AND ALL MY TOMORROWS ♪
♪ ARE GONNA BE FINE ♪♪♪
♪♪♪[organ playing]
LEFT TOGETHER, TA-TUM.
RIGHT TOGETHER, TA-TUM.
LEFT. THAT'S RIGHT.
VERY GOOD. VERY, VERY NICE.
GOOD. THINK OF IT AS A LOVE
ARCHWAY FOR THE SEASHELL.
LIKE THE SEA MEETS THE SKY.
RIGHT. GOOD, GOOD.
VERY PRETTY.
USHERS, DELICATELY.
YOU'RE LIKE CREATURES
OF THE SEA.
YOU'RE LIKE SEA URCHINS.
DID THAT GUY
JUST CALL ME AN URCHIN?
YEAH.
UM, LET 'EM OUT NOW, POP?
"LET 'EM OUT NOW, POP."
NO, YOU IDIOT.
JUST GET THE LIGHTS READY.
[Nussbaum]
COME. YES. YES.
VERY NICE.
OK, START FORMING
YOUR SHELL ON THE ALTAR.
THAT'S RIGHT. VERY GOOD.
START FORMING YOUR SHELL.
GOOD.
USHERS, DELICATELY.
DELICATELY.
THAT'S RIGHT. STEP LEFT.
RIGHT, RIGHT.
WONDERFUL, WONDERFUL.
PRETTY, PRETTY.
PRESS THE BUTTON.
♪ OH, PROMISE ME
THAT SOMEDAY YOU AND I ♪
♪ WILL TAKE OUR LOVE
TOGETHER ♪♪♪
KEN, YOU PROMISED.
I KNOW I PROMISED,
BUT I AM NOT GETTING MARRIED
IN A GIANT CLAM.
WHAT'S THE MATTER?
HAVE YOU EVER RIDDEN
IN THIS CLAM?
ALL THE TIME.
MR. NUSSBAUM,
THAT IS A NOISY CLAM.
IT'S MOTORIZED.
EXCUSE ME.
[Nussbaum]
USHERS, BRIDESMAIDS,
TAKE 5.
♪♪♪[woman singing operatically]
SI, CAN I, UH, SEE YOU
FOR A MINUTE, PLEASE?
CAN I TALK TO YOU A MINUTE?
SIT DOWN.
WHAT'S THE MATTER, HUH?
[people laughing]
I DON'T KNOW
HOW TO SAY THIS, UH...
WELL, JUST SAY IT.
WHAT IS IT?
I HATE THAT CLAM.
WHAT DO YOU MEAN
YOU HATE THE CLAM?
I HATE THE CLAM.
I HATE THE OPENING.
I HATE THE CLAM.
POP.
COULD YOU-- COULD YOU
TELL MR. NUSSBAUM
WE DON'T WANT THE CLAM?
OH, SWEETIE, COME ON.
HE'S MY OLDEST FRIEND.
IT WOULD BREAK HIS HEART.
HEY, ARNOLD.
UH, HAROLD.
[birds cooing]WHAT ARE--
WHAT ARE THOSE FOR?
OH, WE--WE LET THEM LOOSE
WHEN YOU SAY YOUR VOWS.
OH, MY GOD.
YOU GOTTA
BE KIDDING, POP.
SWEETIE, NUSSBAUM HAD THOSE
BROUGHT IN FROM GREECE.
PLEASE, POP. COME ON.
GIVE US A BREAK, WILL YA?
[Nussbaum]
KENNETH, I NEED YOU
FOR A MINUTE, PLEASE.
WHAT NOW, MR. NUSSBAUM?
I WANNA WORK ON THE CLAM.
NO, NOT YOU, LAURIE, HONEY.
IT'S GONNA BE BEAUTIFUL.
COME ON.
LOOK, SI, PLEASE.
[sighs]
GOD.
POP.
YOU LOOK TIRED.
WHAT'S THE MATTER?
YOU HAVEN'T BEEN SLEEPING?
I'M SLEEPING FINE.
JUST FINE.
LISTEN, I NEED JOKES.
CARPET JOKES, RUG JOKES.
OK. WHAT ARE YOU DOING,
A ROAST?
YEAH.
OK, WHAT ARE YOU ROASTING?
KING MOOSE.
OK, OK. KING MOOSE.
YEAH.
ONLY YOU'D BE ROASTING
A KING MOOSE.
OK. WHERE IS IT?
LODGE HALL.
LODGE HALL. OK, OK.
THAT'S A BIG ROOM.
YOU BET.
ALL RIGHT.
UH, WHAT DOES HE DO
FOR A LIVING?
UH, HE'S--HE'S GOT A CHAIN
OF DISCOUNT CARPET STORES.
OK. DISCOUNT JOKES.
CHEAP JOKES.
YEAH, CHEAP.
I GOT A JOKE.
HE'S SO CHEAP, UH,
HIS KIDS WEREN'T BORN.
THEY WERE MADE IN JAPAN.
HUH?
THAT'S VERY GOOD. OK.
COME ON.
OK, SO, UM,
WHAT ABOUT HIS FRIENDS?
HE HASN'T GOT ANY FRIENDS.
HE DOESN'T HAVE ANY--
I LOVE IT.
WHAT?
OK, UM...
HE LAYS CARPET,
BUT HE SCREWS HIS FRIENDS.
GOOD.
[Laurie chuckling]
HOLD IT. LAYS CARPET...
MORE, MORE, MORE.
[Laurie]
OK, OK.
COME ON.
[Nussbaum]
SI, LAURIE, I NEED YOU.
LATER.
OK. I'M THINKIN'.
LAYS CARPET,
SCREWS HIS FRIENDS.
F-F-FIRST POSITION.
[Nussbaum]
NO, 4TH POSITION.
[audience laughing]
YOU WANNA--
YOU WANNA KNOW
WHERE I GOT THIS MATERIAL?
WELL, I M.C. AT FUNERALS.
[audience laughing]
THIS IS ONE OF 'EM.
[audience laughing]
YEAH, I'VE HEARD--
I'VE HEARD OF COMICS
GOING INTO THE GROUND,
BUT THIS IS THE FIRST TIME
THE AUDIENCE IS GONNA
BE THERE WAITING FOR ME.
RIGHT, MR. GRANEK, HUH?
YOU'RE BEAUTIFUL,
WHAT ARE YOU LAUGHING AT?
YOU'RE BEAUTIFUL!
AH, YOU'RE A WONDERFUL--
WONDERFUL MAN, REALLY.
YOU'RE A WONDERFUL MAN.
YOU KNOW,
HE COMES BY THIS BUSINESS...
OH, YOU SHOULD REALLY
APPLAUD LOUDER,
BECAUSE HE'S A LITTLE DEAF,
YOU KNOW.
YEAH. YEAH, THOSE OF--
THOSE OF YOU--
[audience applauds]
YOU HEAR THAT? YEAH.
THOSE OF YOU, THOSE OF YOU
WHO HAVE ANY COMPLAINTS
KNOW THAT HE'S DEAF.
BUT HE REALLY, HE COMES BY
THIS BUSINESS VERY HONESTLY,
BECAUSE HIS GREAT GRANDFATHER
BACK IN EUROPE,
HE RAN A STRING OF DUNGEONS
BACK THERE.
[audience laughing]
YOU KNOW, I'M--I'M REALLY,
I'M REALLY, I'M PROUD TO SAY
THAT I KNOW YOU.
TO THINK THAT YOU BROUGHT
THIS PLACE FROM WHAT IT WAS,
A NOTHING A FEW YEARS AGO,
AND JUST BY YOUR OWN WORK,
YOU BROUGHT IT TO
WHAT IT IS TODAY.
A REAL TOILET, HUH?
[audience laughing]
♪ EVERYBODY'S SHINING
LIKE A HERO ♪
♪ MY, MY, YES ♪
♪ EVERYBODY'S GONNA
BE A STAR ♪♪♪
HELLO?
HI.
HI. UH, I-I'M LAURIE ROBINSON
TO SEE CHARLEY NELSON.
UH, YEAH.
HI, I'M BARBARA CLAYBOURNE,
HIS ASSISTANT.
WE'VE BEEN EXPECTING YOU.
YOU ARE A LITTLE EARLY,
BUT I'M SURE IT'S OK.
OH, LISTEN. I CAN WAIT.
NO, NO. I'LL TAKE YOU IN.
OK.
UH, THEY'RE IN STUDIO A-1.
WANNA COME THIS WAY?
OK.
[man]
2, 3, AND...
♪♪♪[orchestra playing]
NO, JUST THE TRUMPET.
JACK, CAN YOU DO
A 7:00 TO 10:00 TONIGHT?
JOAN WANTS TO KNOW.
IF WE'RE DONE HERE,
WE CAN.
YEAH, WE'LL BE DONE.
OK, GREAT.
OH, CHARLEY,
THIS IS LAURIE ROBINSON.
CHARLEY NELSON.
HELLO. NICE TO MEET YOU.
HI, LAURIE.
HEY, I LIKED YOUR TAPE.
JESSE SENT IT OVER.
WELL, THANK YOU.
I GUESS YOU'VE HEARD
WE'RE HAVING A PROBLEM
WITH THE LEAD IN THIS MOVIE,
AND WE NEED SOMEONE
TO, UH, TO DUB HER VOICE IN.
SO, UH, YOU DON'T MIND,
DO YOU?
OH, NO, NOT AT ALL.
FINE.
LET'S MEET THE DIRECTOR.
[man]
2, 3, AND...
♪♪♪[orchestra playing]
[Roy]
HOLD IT! PSST! PSST!
[Chris]
THERE'S SOMETHING
REALLY WRONG WITH THIS.
THAT STRING LINE
IS SO, SO BUSY.
WE'VE GOTTA WORK ON IT.
HEY, WAIT, WAIT, WAIT.
HOLD IT, YOU GUYS. SHH.
[Roy]
ALL RIGHT.
[all chattering]
WE GOTTA WORK ON THAT.
YEAH. "B". "B". OK.
ALL RIGHT. WE'LL MUTE.
UH, STRINGS MUTE AT "B"
THE 2ND TIME YOU COME IN,
PLAY IT NICE AND EASY.
WHAT'S THE MATTER?
AND LET'S TRY IT AGAIN.
[Laurie]
OH, NOTHING.
CRIS? CRIS.
[Chris]
WAIT A MINUTE.
WAIT A MINUTE. WHAT?
[Charley]
YOU DON'T MIND
IF WE INTERRUPT?
NO. WHAT?
THIS IS LAURIE ROBINSON.
LAURIE, CRIS NOLAN,
THE DIRECTOR.
JESUS.
OH, NICE TO MEET YOU.
WHAT ARE YOU DOING HERE?
THIS IS THE SINGER
I WAS TELLING YOU ABOUT.
[sighs]
I DIDN'T KNOW
YOU WERE A SINGER.
YEAH.
UH, YOU TWO
HAVE WORKED TOGETHER?
ONCE BEFORE.
YEAH, ONCE BEFORE.
I DIDN'T KNOW
YOU WERE DIRECTING THIS MOVIE.
WELL, LISTEN.
YOU'RE A LITTLE EARLY,
BECAUSE WE'RE WORKIN'
ON--ON SOMETHIN' RIGHT NOW.
OH, GOOD.
OK. I--I CAN...
WAIT A MINUTE, UH,
DID YOU BRING SOMETHING FOR--
TO SING?
SURE.
UH, IF YOU WANT ME
TO WAIT, YOU KNOW--
NO, NO, THAT'S ALL RIGHT.
LET ME TAKE A LOOK AT IT.
IS THIS IT?
YEAH.
IT'S A SONG I WROTE.
[Charley]
I'LL, UH, I'LL BE INSIDE.
I DIDN'T KNOW YOU...
OK, CHARLEY.
I DIDN'T KNOW YOU WROTE SONGS.
YEAH.
WHAT'S ALL THIS?
OH, I HAD
SOME ARRANGEMENTS MADE...
♪♪♪[flute playing]
OH.
...BY A GUY
NAMED JOHN BELSON.
BELSON.
HMM.
YOU KNOW HIM?
YEAH. HE'S VERY GOOD.
UH--
WAIT A MINUTE.
UM, HEY, ROY,
TAKE A LOOK AT THESE.
YOU THINK THE GUYS
COULD DO THIS?
DO WHAT?
WAIT A MINUTE.
UM...
YEAH, YEAH, WE CAN.
THERE'S NOT ENOUGH PARTS,
BUT WE'LL DOUBLE
ON SOME PARTS.
OK. WHY DON'T YOU
PASS THEM OUT? FINE.
WILL IT THROW YOU IF YOU
DO YOUR AUDITION
WITH A FULL ORCHESTRA?
NO, IT WOULDN'T THROW ME.
I'VE JUST-- I'VE NEVER HEARD
THESE CHARTS BEFORE.
I MEAN--
NEITHER HAVE I.
WE'LL JUST HEAR 'EM TOGETHER.
THEY'RE PROBABLY GREAT.
SO JUST RELAX, OK?
YEAH.
IT'S REALLY OK.
I MEAN, I COULD DO IT
WITH MY GUITAR.
I DON'T BELIEVE THIS.
I DON'T BELIEVE IT EITHER.
LISTEN. COME ON.
LET'S RUN ONE DOWN.
UM, ROY...
HEY, LISTEN. EXCUSE ME.
ROY, THIS IS LAURIE.
LAURIE, THIS IS ROY.
WHERE WOULD YOU LIKE HER
TO SIT? OR STAND?
LET'S PUT HER RIGHT THERE.
YOU WANT A STOOL?
OK.
UH, COULD WE HAVE A STOOL
AND A U-46? THANK YOU.
OK, SO ROY WILL
TAKE CARE OF YOU.
WE'RE ALL BALANCED INSIDE.
AND I'LL BE IN THE BOOTH.
ENJOY YOURSELF. OK.
OH, HERE.
EXCUSE ME.
LET ME GET YOUR GUITAR.
I'LL GET IT
OUT OF THE WAY HERE.
THANKS, UM, ROY?
I GUESS I WON'T
BE NEEDING MY GUITAR, HUH?
[chuckling]
YOU WON'T NEED A GUITAR, NO.
IT'S REALLY OK.
I MEAN, I DON'T MIND.
NO, IT'S FINE. IT'S FINE.
RELAX. IT'S GONNA BE GOOD.
I'VE NEVER BEEN
IN THIS SITUATION BEFORE.
I MEAN, PLAYING MY SONG
WITH AN ORCHESTRA.
THEY'RE THE BEST.
THERE'S 50 OF THE BEST
MUSICIANS IN L.A. OUT THERE.
THEY'RE GONNA MAKE YOU
SOUND GREAT. SO YOU JUST...
LOOK, THEY'RE READY.
JUST SIT DOWN THERE,
AND WE'RE READY TO GO.
THANKS, ROY.
SURE.
OK. YOU GUYS READY?
GOT YOUR PARTS?
IS IT OK TO LEAVE MY--
SURE. JUST
PUT IT RIGHT THERE.
THANK YOU.
♪♪♪[flute playing]
[Roy]
OK. UH, STRINGS, YOU DON'T--
[Cris]
LET ME KNOW WHEN YOU GUYS
ARE READY OUT THERE.
ALMOST READY.
STRINGS DON'T COME IN
UNTIL "B" THE 2ND TIME.
OH, OH, AHEM...
EXCUSE ME.
YES.
TALKING ABOUT
THE STRINGS, UH,
JOHN BELSON, THE MAN
WHO--WHO ARRANGED THIS
FOR ME,
DIDN'T HAVE TIME
TO CHANGE IT,
BUT THE VIOLINS
ARE TO BE AN OCTAVE HIGHER.
OK. UP AN OCTAVE
WHEN YOU COME IN, STRINGS.
I REALLY DON'T WANT
TO CAUSE ANY TROUBLE.
[chuckles]
IT'S ALL RIGHT. NO, IT'S OK.
IT'S ALL RIGHT. RELAX.
YOU'LL ENJOY IT.
YOU'LL HAVE FUN.
OK,
ANYBODY GOT ANY QUESTIONS?
EVERYTHING LOOK OK?
OK.
OH, UH,
IT'S IN 3-QUARTER TIME.
YEAH, WE SAW THAT. YEAH.
IT'S IN 3-4, GUYS. OK.
WHENEVER YOU'RE READY.
OK. ALL RIGHT.
UH, YOU WON'T NEED.
IT'S--IT'S LIVE. YOU WON'T--
WHAT?
YOU DON'T NEED THE EARPHONES
BECAUSE YOU'RE GONNA
SING LIVE.
OH. OH, YEAH. OF COURSE.
OK.
OK, DRUMS, THERE'S A HIT
AT "C" COMING IN.
WATCH THAT.
LET'S HOLD EVERYTHING DOWN
FIRST TIME THROUGH.
OK, EVERYBODY GET A GOOD LOOK,
AND WE'LL GO.
[Cris]
OK, WHAT'S THE NAME
OF THE SONG?
YOU LIGHT UP MY LIFE.
[Roy]
YOU LIGHT UP MY LIFE.
[Cris]
RIGHT. YOU LIGHT UP MY LIFE.
TAKE ONE.
OK. I'LL GIVE YOU 2.
1, 2, 3.
2, 2, AND...
♪♪♪[music playing]
♪ SO MANY NIGHTS ♪
♪ I'D SIT BY MY WINDOW ♪
♪ WAITING FOR SOMEONE ♪
♪ TO SING ME HIS SONG ♪
♪ SO MANY DREAMS ♪
♪ I'VE KEPT DEEP INSIDE ME ♪
♪ ALONE IN THE DARK ♪
♪ BUT NOW YOU'VE COME ALONG ♪
♪ AND YOU ♪
♪ LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ ROLLIN' AT SEA ♪
♪ ADRIFT ON THE WATERS ♪
♪ COULD IT BE FINALLY ♪
♪ I'M TURNING FOR HOME ♪
♪ FINALLY, A CHANCE ♪
♪ TO SAY, HEY, I LOVE YOU ♪
♪ NEVER AGAIN ♪
♪ TO BE ALL ALONE ♪
♪ AND YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ IT CAN'T BE WRONG ♪
♪ WHEN IT FEELS SO RIGHT ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT ♪
♪ UP ♪
♪ MY ♪
♪ LIFE ♪♪♪
[orchestra stops playing]
[all clapping]
[Roy]
SUPER, SUPER.
OH, LISTEN.
I REALLY COULD HAVE DONE IT
BETTER IF WE REHEARSED.
NO, YOU COULDN'T HAVE
DONE IT MUCH BETTER.
THAT WAS A GOOD JOB.
SHE'S FANTASTIC.
YES, SHE IS.
LET ME ASK YOU SOMETHING.
CAN YOU ACT?
I'M AN ACTRESS,
IF THAT'S WHAT YOU MEAN.
UH-HUH.
HOW ARE YOU AT COLD READINGS?
ABOUT AS GOOD AS I AM
AT COLD SINGINGS.
THAT'S WHAT I WAS HOPING
YOU'D SAY. COME WITH ME.
I WANT YOU TO READ SOMETHING.
GIVE THE MEN 5.
[Roy]
YOU GOT IT.
[Charley]
HEY, LAURIE.
YOU WERE GREAT. DYNAMITE.
JERRY, I WANNA USE
THIS MIXING ROOM
FOR A MINUTE.
[Jerry]
OK.
OK? THANK YOU.
COME ON, GUYS.
LET'S GO GET SOME COFFEE.
[Laurie sighs]
[Cris]
HEY, CHARLEY, TELL ROY
THAT I'LL BE ON
IN ABOUT 15 MINUTES.
WE'LL START AT THE TOP
OF THE LOVE SCENE, OK?
YEAH.
ALL RIGHT.
OK.
YEAH.
I WANT YOU TO LOOK
RIGHT FROM HERE DOWN TO HERE.
OK?
OK.
SIT DOWN.
YOU REALLY ARE
DIRECTING THIS MOVIE,
AREN'T YOU?
WELL, UNLESS I'VE BEEN FIRED
IN THE LAST HALF HOUR, I AM.
HOW DO YOU KNOW
SO MUCH ABOUT MUSIC?
I USED TO PRODUCE RECORDS.
TAKE A LOOK AT THAT.
JUST THIS--
JUST THIS SPEECH RIGHT HERE.
OK. AND YOU'RE
GONNA READ WITH ME?
I'M GONNA-- I'LL CUE YOU
IN RIGHT HERE, OK?
OK, FINE.
WELL, MAYBE WE SHOULD
JUST READ IT TOGETHER.
ARE YOU--
WILL THAT THROW YOU?
NO, NOT AT ALL.
OK.
SO YOU JUST TELL ME
WHEN YOU'RE READY,
AND I'LL CUE YOU IN.
OK.
"I LIKE THE SOUND OF TRAINS."
"I NEVER LIKED TRAINS.
"THEY ALWAYS REMIND ME
THAT SOMEONE IS LEAVING.
"YOU KNOW, TRAINS
"ALWAYS MAKE ME THINK
OF PEOPLE WHO ARE LEAVING,
"PEOPLE WHO ARE NEVER
COMING BACK.
"I DON'T MIND PLANES.
[Laurie chuckles]
"I DON'T KNOW WHY I SAID THAT.
I'VE NEVER EVEN BEEN
ON A PLANE.
"BUT, UH, IF I-- IF I
WERE GONNA BE ON A PLANE,
"I'D PROBABLY BE
GOING SOMEPLACE
WHERE THE SUN IS WARM,
"AND PEOPLE ARE HAPPY,
"AND I'D PROBABLY
BE COMING BACK.
"I GUESS YOU COULD SAY
I'M NOT TOO CRAZY
ABOUT TRAINS.
HEY, CAN I
HAVE ANOTHER BEER?"
YOU'RE HOLDING THURSDAY?
IS THAT A DEFINITE?
SOMEBODY ELSE
WANTS THE STUDIO.
OH, BOY.
I THINK WE'LL NEED IT,
CHARLEY, HUH?
IT'S BEEN GOING WELL.
I THINK IT'S TIME
WE'LL NEED.
HOLD IT.
DON'T GIVE IT AWAY.
OK, YOU GOT IT.
KEEP IT GOING.
YOU'LL NEED
THE SAME INSTRUMENTATION?
YEAH, ESPECIALLY
OVER HERE.
THANK YOU.
SHE WAS FABULOUS.
I ONLY BRING
TALENTED PEOPLE IN.
WELL,
DESTINY KEEPS
BRINGING US TOGETHER.
I THOUGHT
I BROUGHT YOU TOGETHER.
[chuckles]
HEY.
[all laugh]
SHALL I SEE YOU OUT?
THAT'S ALL RIGHT.
I'LL SEE HER TO HER CAR.
THANK YOU, BARBARA.
[Roy]
LAURIE, WE'VE GOT
YOUR PARTS HERE.
[Laurie]
OH.
OK.
[Laurie]
THANKS, ROY.
[Cris]
ROY, I'LL BE BACK
IN A MINUTE.
[Roy]
OK.
YOU READY?
YEAH.
[Charley]
BYE. THANKS AGAIN.
GOODBYE.
THANK YOU.
COME ON.
LISTEN. UH,
WHY DON'T YOU WAIT FOR ME?
WE'LL HAVE LUNCH TOGETHER.
OH.
I CAN'T, UH,
I HAVE-- I HAVE A LOT
OF ERRANDS TO RUN TODAY.
I'LL RUN 'EM WITH YOU.
WAIT FOR ME.
I CAN'T. REALLY.
COME ON.
I'LL ONLY BE A HALF AN HOUR.
NO, I--I REALLY GOTTA GO.
HOW'S IT GONNA LOOK IF I KEEP
FOLLOWIN' YOU AROUND
TILL YOU SAY YES?
I CAN'T HAVE LUNCH
WITH YOU, CRIS.
OK. WE'LL FORGET ABOUT LUNCH.
IT WAS A BAD IDEA ANYWAY,
RIGHT?
RIGHT.
SPEND THE NIGHT
WITH ME.
NO.
I'LL PICK YOU UP AT 7:00.
WHERE DO YOU LIVE?
I DON'T WANT
TO SEE YOU ANYMORE, CRIS.
I DON'T BELIEVE YOU.
WHAT'S YOUR ADDRESS?
LISTEN.
I AM GETTING MARRIED
IN A FEW DAYS.
YOU WERE GETTING MARRIED
IN A FEW DAYS
A FEW DAYS AGO.
LOOK.
WHAT HAPPENED HAPPENED.
DON'T START MAKING ME
FEEL GUILTY, OK?
IS THIS OUR FIRST FIGHT?
I'M SERIOUS.
ME, TOO.
OK, CAN WE TALK BUSINESS
FOR A MINUTE?
I WANT TO USE YOU
IN THE FILM.
I DEFINITELY WANT
TO USE YOUR VOICE.
REALLY?
IN FACT, I WOULD LIKE
TO USE YOUR SONG.
YOU LIGHT UP MY LIFE?
UH-HUH. IT'S PERFECT.
THE ONLY THING IS
WE GOTTA TONE IT DOWN
A LITTLE BIT.
OK.
HEY, WHY DON'T YOU COME
TO MY OFFICE TOMORROW?
AROUND 2:30.
I'M IN THE 9000 BUILDING.
WE'LL WORK ON IT.
OK, BUT I WANT YOU TO KNOW
I MEANT WHAT I SAID.
I UNDERSTAND.
WE'LL WORK TOGETHER,
I'LL KISS YOU GOODBYE,
WE'LL BE FRIENDS.
HOW ABOUT WE SHAKE HANDS
AND BE FRIENDS?
YOU GOT IT.
I CHEATED A LITTLE.
[people chattering]
IT IS SO LOVELY TO HAVE
A PARTY BEFORE THE WEDDING.
YEAH.
♪♪♪[music playing]
[laughing]
MURRAY AND JUDY JUST CAME.
I'M GONNA SAY HELLO.
KEN, IT LOOKS
LIKE YOUR FLORIST
EXPLODED IN THE POOL.
[laughing]
I'LL SEE YOU LATER.
I DON'T BELIEVE,
I DON'T BELIEVE ANY OF THIS.
THIS IS JUST...
OH, YOU'RE IN A GREAT MOOD,
AREN'T YOU?
OH, I HAD A DREAM LAST NIGHT.
I WANNA TELL YOU.
I KILLED EVERY MOOSE
IN THE LODGE. IT WAS
JUST SENSATIONAL. BEAUTIFUL.
IT WAS ONE OF THOSE NIGHTS.
I HAD THEM ROLLING
IN THE AISLE
UNTIL THE USHER CAME DOWN
AND TOOK THE DICE AWAY.
WHAT WORKED?
WELL, EVERYTHING WORKED.
EVERYTHING.
EVEN THE OLD STUFF WORKED.
YOU KNOW, UH,
"YOUR AUTOPSY IS NEGATIVE."
REALLY? WHAT ELSE?
THE WICK IN THE EAR,
THE ETERNAL LIGHT.
HOW ABOUT
"HE--HE--HE LAYS A CARPET
BUT HE SCREWS HIS FRIENDS"?
THE BIGGEST LAUGH
OF THE NIGHT.
HE LAYS HIS CARPET
BUT HE SCREWS HIS FRIENDS.
RIM SHOT.
IT WAS SENSATIONAL.
[people chattering]
YOU LOOKED TERRIFIC
OUT THERE.
YEAH, HAD A GOOD TIME.
HMM, NICE PARTY,
HUH?
OH, YEAH.
ARE YOU OK?
SURE, FINE.
HEY, YOU SORE AT ME?
AM I SORE?
YEAH.
NO. WHY?
YOU'RE NOT SORE ABOUT NUSSBAUM
AND THE DOVES AND THE SHELLS
AND ALL THAT?
OF COURSE NOT.
I'M NOT SORE AT YOU
OR MAD AT YOU.
I MEAN, WHY ARE YOU
ASKING ME THESE QUESTIONS?
'CAUSE I KNOW YOU.
WHEN YOU'RE NOT FEELING RIGHT,
YOU ACT FUNNY.
DO YOU LOVE HIM?
WHO?
GODZILLA WHO. KEN!
OF COURSE I LOVE HIM.
WHY DO YOU EVEN
HAVE TO ASK ME THAT?
'CAUSE YOU HAVEN'T DANCED
WITH HIM ALL AFTERNOON.
HE DOESN'T
LIKE TO DANCE.
YOU HAVEN'T EVEN TOUCHED HIM.
YOU KNOW,
THERE ARE PEOPLE AROUND.
OH, YEAH.
YOU KNOW, WHEN YOUR MOTHER
AND I WERE ENGAGED,
WE WERE SO CRAZY
ABOUT EACH OTHER,
WE COULDN'T KEEP OUR HANDS
OFF EACH OTHER.
THAT'S 'CAUSE
YOU'RE A LECH.
YEAH. WELL, MAYBE A LITTLE.
YOU STILL ARE, POP.
LAURA.
WHAT?
WHAT?
I DON'T WANT YOU
TO DO ANYTHING FOR ME.
I MEAN...
I MEAN,
THIS REALLY IS TERRIFIC,
BUT I KNOW
WE NEVER HAD A HOME
LIKE THIS.
WE TRAVELED
FROM ONE HOTEL TO ANOTHER.
I KNOW THAT.
IT WAS NEVER, NEVER GREAT,
BUT...
SI, IT WAS THE BEST.
THE BEST. IT WASN'T THE BEST.
IT WAS...
IT WAS THE BEST.
THE BEST.
THE THING IS,
IF I THOUGHT YOU WERE
DOING ANY OF THIS FOR ME,
IT WOULD BREAK MY HEART.
OH, POP.
I KNOW, I KNOW THAT ONE DAY
THE ROASTS WILL BE OVER
AND THE JOKES
WILL BE FINISHED.
BUT I--I DON'T
NEED ALL THIS.
SI.
SHH. I LOVE YOU,
BUT YOU'RE CRAZY.
♪♪♪[playing]
♪ IT'S THE MORNING
OF MY LIFE ♪
♪ I WANNA WRITE YOU A SONG ♪
♪ IT'S THE START
OF SOMETHING NICE ♪
♪ AND SO
I'LL WRITE YOU A SONG ♪
♪ OF PAINTED RAINBOWS
AND DREAMS ♪
♪ LOOKING FOR LOVE
IN THE CITY ♪
♪ AND MAKE-BELIEVING ♪
♪ THAT LIFE IS REAL ♪
♪ LOOKING FOR SOMEONE
WHO'S PRETTY ♪
♪ IT'S THE MORNING
OF MY LIFE ♪
♪ AND SO
I'LL WRITE YOU A SONG ♪♪♪
OK. ALL RIGHT NOW, KATHY.
JUST KEEP YOUR EYE
ON THE BALL, ALL RIGHT?
I'LL TRY.
JUST SWING EASY.
YOU'RE DOING GREAT.
YOU'RE DOING GREAT.
ALL RIGHT.
COULD YOU PLEASE PAGE
KENNY ROTHENBERG?
HE'S ON THE COURT
WITH A LESSON.
YEAH, I KNOW.
UH, IT'S IMPORTANT.
YOU'RE LAURIE,
RIGHT?
OK.
KEN ROTHENBERG,
PLEASE COME
TO THE FRONT DESK.
[Kenny]
LAURIE, WHAT ARE YOU
DOIN' HERE?
SORRY TO BOTHER YOU.
NO, NO, NO. IT'S OK.
WHAT'S UP?
OH, UH, I DON'T KNOW.
I'M, UH...
I DON'T KNOW. I FEEL
KIND OF DEPRESSED.
WHY?
WELL...
UM, I DON'T KNOW.
YOU'VE JUST GOT
PRE-WEDDING JITTERS.
OR YOU WANT ME
TO COME OVER TONIGHT?
WHAT I WANT YOU TO DO
IS--IS HUG ME.
OK.
NOW, WHAT'S ALL THIS, HUH?
I JUST WANT TO
HOLD ONTO YOU.
I'M NOT GOIN' ANYWHERE.
YEAH, I KNOW.
UH, SOME PRODUCER HEARD
MY INSURANCE COMMERCIAL,
AND HE WANTS ME
TO COME IN TOMORROW
TO MEET THE DIRECTOR.
THEY WANNA
HEAR ME SING.
THAT'S INCREDIBLE.
IS THAT WHAT YOU CAME
OVER HERE TO TELL ME?
UM, WELL...
[tennis balls bouncing]
DO YOU LOVE ME, KENNY?
WELL, OF COURSE
I LOVE YOU.
YEAH. I KNOW.
BUT DO YOU
REALLY LOVE ME?
LOOK, WH-WHAT'S THE MATTER
WITH YOU, HUH?
I DON'T KNOW.
LOOK, I, UH,
I GOTTA GET BACK.
SURE, OK. OK.
OH, YOU, UH, Y-YOU WANT ME
TO HUG YOU AGAIN?
[players chattering]
YEAH.
OK.
YOU HAVE A GOOD AUDITION, OK?
YEAH, OK. OK.
HEY, TELL ME.
TELL YOU WHAT?
OH, YOU KNOW.
BREAK A LEG.
BREAK A LEG, HUH.
OH. DO YOU HAVE ENOUGH GAS
IN THAT CAR OF YOURS?
YES.
I WANT YOU TO GET RID
OF THAT CAR.
I KNOW.
NO, I MEAN IT, NOW.
I WANT YOU TO START THINKING
OF A NEW CAR FOR YOURSELF.
OK. OK. I WILL.
YOU'D BETTER GO.
I'LL GO. GOODBYE.
GOOD NIGHT.
♪ FINALLY A CHANCE TO SAY ♪
♪ HEY, I LOVE YOU ♪
♪ NEVER AGAIN ♪
♪ TO BE ALL ALONE ♪♪♪
HOW'D YOU KNOW MY SONG
SO FAST?
THAT'S WHAT I DO.
BUT YOU--YOU SEE
WHAT I'M SAYIN'?
WHEN YOU-- IT'S--
YOU'RE TELLIN' SOMEBODY
THIS STORY, RIGHT?
IT'S NOT EVERY DAY
YOU GET A CHANCE TO SAY
"I LOVE YOU," RIGHT?
SO WHEN YOU SING THE WORDS,
"I LOVE YOU,"
I MEAN, IT'S LIKE
ALL THE HEARTACHE
IN THE WORLD'S GOTTA BE THERE.
YOU KNOW,
IT'S LIKE A RELEASE.
YOU KNOW
WHAT I'M SAYIN'?
I THINK SO.
[inaudible]
[birds chirping]
THANKS.
ANNIE,
I'M--I'M REALLY IN TROUBLE.
I THINK
I'M IN LOVE WITH HIM.
OH, NO.
YEAH.
WHAT AM I GONNA DO?
WHAT CAN YOU DO?
I COULD RUN.
COULD YOU?
NO.
IT ALL SEEMS SO FAST.
I KNOW. IT'S--IT'S LIKE
MY WILDEST FANTASY
IS COMING TO LIFE.
I THOUGHT
YOU WERE GETTING MARRIED
IN A FEW DAYS.
I GET IT.
I MEAN, YOU--
YOU WOULDN'T SEE HIM AGAIN
IF--IF YOU WERE ME, RIGHT?
WELL, I WOULDN'T.
I--I WOULD JUST CHALK IT UP
TO ONE LAST FLING
AND FORGET ABOUT IT.
BUT I KNOW YOU,
AND YOU'RE GONNA DO
WHAT YOU WANT.
WELL, I-IT'S JUST--
IT'S JUST NOT THAT EASY.
DO YOU KNOW THAT
ON--ON TOP OF EVERYTHING ELSE,
I THINK I MAY HAVE THE LEAD
IN THIS FILM.
YOU'RE KIDDING.
NO. I MEAN...
[sighing]
WELL,
D-DID HE TELL YOU
YOU--YOU HAD IT?
YEAH.
HE TOLD ME
THAT I HAVE IT.
"I GUESS YOU COULD SAY
I'M NOT TOO CRAZY
ABOUT TRAINS.
CAN I HAVE ANOTHER BEER?"
THAT WAS VERY GOOD.
SHE'S GOOD.
I ONLY BRING
TALENTED PEOPLE IN.
THE SCENE I JUST READ,
IT'S NEW, ISN'T IT?
HMM. THAT'S RIGHT.
I LIKE IT.
ME, TOO.
UH, CRIS,
I SAW LAURIE ROBINSON.
YOU DID SAY
I HAVE THE PART?
THAT'S WHAT I SAID.
I GUESS,
LIKE MOST ACTRESSES,
I GUESS
I'M A LITTLE INSECURE.
HEY, IF I SAID
YOU GOT THE PART,
YOU GOT THE PART.
LET'S GO BACK
TO WORK, HUH?
COME ON.
I'LL WALK YOU OUT.
A CUP OF COFFEE.
EVERYBODY JUST TAKE A BREAK.
I'VE GOT GREAT NEWS.
COME HERE.
NO CLAM, HUH.
I CONVINCED NUSSBAUM
NOT TO USE THE CLAMS.
ISN'T THAT GREAT?
NOW, WE GOTTA
GO OVER THERE.
HE'S--HE'S GONNA GIVE US
OUR NEW MOVES, RIGHT?
NO, KENNY.
I WANNA TALK TO YOU.
OK. WHAT? WHAT'S UP?
I CAN'T MARRY YOU, KENNY.
WHAT?
I CAN'T MARRY YOU.
WHAT ARE YOU TALKING ABOUT?
COME ON.
YOU'RE JUST VERY NERVOUS.
I DON'T LOVE YOU, KENNY.
IT'S JUST NOT THE WAY
IT SHOULD BE.
THINK ABOUT IT.
WHEN DID THIS HAPPEN?
I DON'T KNOW.
IT'S BEEN HAPPENING
FOR SOME TIME NOW.
[Nussbaum]
KEN, WOULD YOU GO FOR A GIANT
CHRYSANTHEMUM THAT OPENS?
MR. NUSSBAUM,
NOT NOW, HUH?
[Nussbaum]
WELL, PLEASE HURRY,
I WANNA GET--
ALL RIGHT,
MR. NUSSBAUM.
[Nussbaum]
PLEASE HURRY, KEN.
ALL RIGHT!
OH, LAURIE,
FOR GOD'S SAKE.
LOOK WHAT YOU'RE DOING.
BELIEVE ME, KENNY.
I HAVE LOOKED AT IT.
I'VE GIVEN IT
A LOT OF THOUGHT.
THEN WHY'D YOU SAY
YOU'D MARRY ME?
IS THERE
SOMEBODY ELSE?
THAT'S THE REASON?
THAT'S NOT THE REASON.
WHAT DO YOU WANT ME TO DO?
YOU WANT ME TO
JUST GO OVER THERE,
AND YOU WANT ME
TO TELL EVERYBODY
THE SHOW'S OFF, HUH?
DO YOU WANT ME
TO GO AND TELL THEM?
YOU CAN GET OUTTA HERE.
I'LL TELL EVERYBODY,
ALL RIGHT?
I'M SORRY, KENNY.
GET OUTTA HERE, OK?
[phone ringing]
HELLO?
[Charley]
LAURIE?
WHO IS THIS, PLEASE?
THIS IS CHARLEY NELSON.
CRIS NOLAN'S ASSOCIATE.
OH, YEAH, YEAH.
UH, HOW ARE YOU, CHARLEY?
UH, FINE.
CRIS ASKED ME TO CALL YOU.
UH, WELL,
I--I DON'T QUITE KNOW
HOW TO SAY THIS,
BUT WE'RE HAVIN' A PROBLEM
WITH THE MOVIE.
WHAT KIND OF PROBLEM?
AS A MATTER OF FACT,
THE, UH, STUDIO WANTS US
TO USE A BLONDE.
WHAT?
WELL, UH, WE'RE SORRY.
YOU KNOW,
CRIS WANTED YOU
FOR THE PART.
WELL, UH,
WHY DIDN'T HE FIGHT FOR ME?
I--I MEAN, IF HE FELT
THAT I SHOULD HAVE THE PART,
THEN WHY DIDN'T
HE JUST TELL THEM?
HE'S THE DIRECTOR.
LAURIE, I WASN'T THERE, OK?
WELL, WHERE IS CRIS, CHARLEY?
I MEAN, UH, HOW COME
HE DIDN'T CALL ME HIMSELF?
CRIS IS IN A MEETING
AT THE STUDIO.
BUT HE WANTED YOU TO KNOW
RIGHT AWAY.
OK. THANK YOU, CHARLEY.
YEAH.
GOODBYE.
[sniffling]
[dialing]
[phone ringing]
[female operator]
HELLO, 0-5-0-5.
HELLO? UH, UH,
CRIS NOLAN'S OFFICE, PLEASE.
JUST ONE MOMENT.
I'LL CONNECT YOU.
THANK YOU.
[Barbara]
CRIS NOLAN'S OFFICE.
YEAH, HI, BARBARA.
UH, THIS IS LAURIE ROBINSON.
IS CRIS THERE, PLEASE?
UH, NO, LAURIE.
I HAVEN'T SEEN HIM ALL DAY.
I THINK HE'S AT HOME.
WHY DON'T YOU TRY
TO REACH HIM THERE?
BUT, UH...
SORRY, BARBARA.
UH, H-HE'S NOT IN A MEETING
RIGHT NOW?
UH, NO. I DON'T SEE ANYTHING
IN THE BOOK TILL NEXT WEEK.
I SEE.
OK. THANK YOU, BARBARA.
BYE.
[sighing]
[doorbell buzzing]
[people chattering]
LAURIE.
[Charley]
OH, HI, LAURIE.
HI. OH, HI.
HI.
WHAT ARE YOU DOIN' HERE?
I JUST CAME
TO TALK TO YOU.
UM, I GUESS THIS IS--IS
A--A BAD TIME.
UH, WE WERE JUST
ON OUR WAY OUT.
I DON'T-- I DON'T WANT
TO KEEP YOU.
ARE YOU OK?
YEAH.
YEAH, I'M--I'M OK.
I, UH, I WANTED
T-T-TO TALK TO YOU.
YEAH?
UH, ABOUT THE ACT,
YOU KNOW.
OH, THE THING
IS TONIGHT, HUH?
OH, YEAH.
MY--MY--MY SHOW'S TONIGHT.
AND, UH, I'M TAPING--
I'M--I'M TAPING
MY--MY SHOW TONIGHT.
UH, LISTEN. WE WERE JUST
GONNA GET SOMETHING TO EAT.
DO YOU WANT TO COME WITH US?
OH, NO. NO.
NO, THANK YOU.
I--I DON'T WANNA--
IT'S--IT'S OK.
UH, LET ME-- LET ME
WALK YOU DOWN
TO YOUR CAR, OK?
UM, UH, WHY DON'T I MEET YOU
DOWN IN THE GARAGE?
WHY DON'T YOU
LOCK UP FOR ME?
OH, YEAH.
I'LL SEE YOU
IN A MINUTE.
COME ON.
I DON'T KNOW WHAT TO SAY.
I AM REALLY SORRY
ABOUT THE PART.
I WOULD HAVE CALLED YOU.
I SHOULD HAVE.
YOU CANNOT BELIEVE
WHAT A HECTIC DAY
IT'S BEEN.
I'VE HAD CALLS
FROM BOTH COASTS.
DO YOU HAVE ANY IDEA
WHAT IT'S LIKE WHEN YOU
GO INTO PREPRODUCTION?
IT'S MURDER.
YEAH, I'VE HEARD.
I KNOW
YOU'RE DISAPPOINTED.
BUT YOU HAVE GOT
EVERYTHING IN THE WORLD
AHEAD OF YOU.
YOU'VE GOT A GREAT CAREER
AHEAD OF YOU.
IN ANOTHER DAY,
YOU'LL BE A HAPPY,
MARRIED LADY.
THIS IS LIKE A BAD DREAM.
WHAT ARE YOU TALKIN' ABOUT?
IT'S A MOVIE.
I MEAN, IF NOT THIS MOVIE,
IT'LL BE ANOTHER MOVIE,
A BETTER ONE.
YEAH.
YOU'RE A VERY SPECIAL GIRL,
LAURIE.
BUT NOT TO YOU?
I TOLD YOU.
IT'S NOT MY DECISION.
I WASN'T TALKING
ABOUT THE FILM.
[car horn honking]
I'VE GOTTA RUN.
I'M SORRY YOU CAN'T JOIN US,
BUT LET'S, YOU KNOW,
KEEP THE CHANNELS OPEN,
KEEP IN TOUCH, HUH?
YEAH.
LAURIE. HEY.
FRIENDS?
YEAH.
OK. BYE-BYE.
[man]
OK, LAURIE. TAPE IS ROLLING.
THIS IS TAKE ONE.
HI, EVERYBODY.
UM, MY NAME IS LAURIE.
AND, UH...
AND THIS IS
MY FRIEND LARRY.
[sniffling]
HE'S SOMETHIN', HUH?
WHAT A KID, HUH?
DON'T--DON'T
APPLAUD TOO LOUD
OR HE'LL START ASKING ME
FOR FOOD.
SOME KID, HUH?
50-YEAR-OLD MIDGET.
[sniffling]
JOKING ASIDE,
LADIES AND GENTLEMEN,
I USE MY DUMMY IN MY ACT
FOR ONE OVERWHELMING,
COMPELLING REASON.
HE WORKS CHEAP.
GET IT?
[Si]
LET'S HAVE A BIG HAND NOW
FOR MY DAUGHTER,
LAURIE ROBINSON!
UH...
YOU KNOW,
THIS--THIS KID'S REALLY SMART.
WE HAD HIM TESTED.
HE'S ONLY 10 YEARS OLD,
BUT HE'S GOT THE BRAIN
OF A 30-YEAR-OLD MONKEY.
[audience laughing]
IT'S ALL RIGHT, HONEY.
IT DIDN'T WORK FOR ME, EITHER.
NEVER MIND.
[audience applauding]
[laughing]
OH, MY AGENT TOLD ME
THIS ACT I-IS A REAL SLEEPER.
HE SAID EVERYBODY WHO SEES IT
GOES TO SLEEP.
[laughing]
YOU GET IT?
HUH?
GOES TO SLEEP.
YOU KNOW, I WANT TO
DO SOMETHING RIGHT NOW
THAT I DON'T USUALLY DO
IN A CHEAP SHOW LIKE THIS.
I'M GONNA BRING OUT
MY PRIDE AND JOY,
MY DAUGHTER--
LAURIE ROBINSON!
COME OUT, SWEETIE.
LAURIE ROBINSON!
COME ON.
LET'S HEAR IT FOR HER.
COME ON, EVERYBODY.
COME ON. DO-DON'T,
DON'T, UH, MAKE ME LOOK BAD
IN FRONT OF MY KID, OK?
COME ON, LET ME HEAR IT.
OH, ISN'T SHE SOMETHING?
LOOK AT THAT PUNIM.
WHAT A FACE.
AH, ISN'T SHE BEAUTIFUL?
YOU KNOW,
WE--WE CALL HER BASEBALL.
I BET YOU CAN'T GUESS--
I BET YOU CAN'T
GUESS WHY
WE--WE CALL HER BASEBALL.
WE CALL HIM BASEBALL
'CAUSE WE'RE ALWAYS
THROWING HIM OUT AT HOME.
YOU KNOW WHAT ELSE?
SHE REALLY, REALLY
BRIGHTENS UP THE HOUSE.
I MEAN, SHE IS TERRIFIC.
SHE BRIGHTENS THE HOUSE,
'CAUSE SHE NEVER
TURNS OFF A LIGHT.
[Laurie laughing]
DON'T LAUGH TOO LOUD, GUESTS.
YOU KNOW, YOU MIGHT, UH,
SPLIT YOUR SEAMS OVER THERE.
SORRY.
I CAN'T GO ON ANYMORE
RIGHT NOW.
[crying]
[door opening]
LAURA?
LAURA.
HEY, COME ON. WHAT--
WHAT'S WITH THE CRYING, HONEY?
GET YOUR EYES ALL WET.
[continues crying]
ROUGH OUT THERE
TODAY, HUH?
HA, NEVER MIND.
YOU'LL GET THEM
NEXT TIME, OK?
I DON'T WANT TO GET 'EM.
SURE, YOU WANNA
GET 'EM.
YOU'RE ALL UPSET RIGHT NOW,
BUT YOU'LL GET OVER THAT.
THIS THING WITH KENNY
HAS PROBABLY
GOTTEN TO YOU.
YOU DON'T WANNA
TALK ABOUT IT NOW, OK.
TALK ABOUT IT
WHEN THE TIME'S RIGHT.
IT'S NOT THE RIGHT TIME, POP.
NOW, LISTEN. LISTEN.
I WAS OUT THERE WATCHING YOU.
YOU KNOW WHAT IT IS?
IT'S THE TIMING. YEAH.
YOU--YOU KNOW,
WITH THE BASEBALL JOKE,
FOR EXAMPLE.
GOD ALMIGHTY, WHEN ARE YOU
GONNA EVER LISTEN TO ME?
IT IS NOT THE TIMING.
YES, IT'S THE TIMING.
NO, IT'S NOT! I DON'T WANNA
DO THE ACT ANYMORE.
WHAT ARE YOU
TALKING ABOUT?
I HATE IT!
I-I-I-I'VE TRIED TO LIKE IT,
BUT I HATE IT,
AND I DON'T WANT
TO DO IT ANYMORE.
WHAT DO YOU MEAN
YOU DON'T WANNA DO IT ANYMORE?
THAT'S YOUR LIFE.
NO, POP. IT'S NOT MY LIFE.
THAT'S YOUR LIFE.
I'M--I'M A REALLY
GOOD SINGER.
AND A REALLY GOOD SONGWRITER.
I'M NOT FUNNY. YOU ARE.
I'M NOT.
LAURA.
I'M GOING TO NEW YORK.
YOU? WHY DO YOU
WANNA GO TO NEW YORK?
WELL, I FOUND OUT THAT, UH,
THAT COLUMBIA
IS INTERESTED
IN--IN SIGNING ME.
HEY.
AND, UH,
THEY WANT ME TO RECORD
IN ONE OF THEIR STUDIOS
WITH ONE OF
THEIR PRODUCERS.
TERRIFIC.
IT'S A SHOT, BUT, UH,
I'M GONNA TAKE IT.
THAT'S A TERRIFIC SHOT.
READY FOR THAT?
HAVE YOU-- HAVE YOU
EVER EVEN HEARD
ANY OF MY SONGS?
WELL, I'VE BEEN ON THE ROAD
A LOT, YOU KNOW.
THIS IS ME, POP.
AND I'M GOOD.
OK. TELL YOU WHAT.
WANNA GO BACK TO NEW YORK?
TERRIFIC.
WE'LL GO TOGETHER.
I'LL PLAY THE HILLS,
AND YOU'LL MAKE RECORDS,
OR WHATEVER, HUH?
I LOVE YOU.
BUT YOU GOTTA LET GO.
I DIDN'T KNOW
I WAS HOLDING ON.
I'VE GOTTA GO TO NEW YORK
BY MYSELF.
YEAH.
YOU SURE YOU CAN MAKE IT
BY YOURSELF?
[sighing]
YEAH.
I THINK I CAN MAKE IT.
GOD. I LEARNED SOMETHING
TODAY, POP.
IT WAS REALLY PAINFUL.
BUT I LEARNED SOMETHING.
I LEARNED
THAT I GOTTA DEPEND ON MYSELF.
I CAN'T DEPEND
ON ANYBODY ELSE,
AND THAT'S OK.
YOU KNOW WHY?
BECAUSE I'M
A REALLY GOOD PERSON
TO DEPEND ON.
I MEAN, MAYBE--MAYBE
I DON'T HAVE SOMEBODY
THAT I THOUGHT I LOVED A LOT,
BUT THAT'S OK
BECAUSE I'VE GOT ME.
AND I'VE GOT MY WORK
AND I'VE GOT MY MUSIC.
AND I LOVE THAT.
MORE THAN ANYTHING
ON THIS EARTH.
I HAD NO IDEA YOU FELT
SO STRONGLY ABOUT IT.
I'M SORRY, LAURA. I GUESS
I WASN'T PAYING ATTENTION.
HEY, IT'S OK.
IT REALLY IS,
BECAUSE YOU WERE
DOING YOUR THING.
AND THAT'S JUST THE POINT.
I GOTTA START DOING MY THING.
I REALLY LOVE YOU.
YOU WANNA HEAR
SOMETHING FUNNY?
WHAT?
I LOVE YOU.
OH, BOY.
IT'S GONNA BE TERRIFIC, HUH?
YOU HIT THE BIG TOWN.
LAURIE ROBINSON,
NUMBER ONE ON THE CHARTS.
BOOM-BOOM, HUH?
[both laughing]
THAT WOULD TAKE
A LITTLE LUCK.
HMM.
WOULDN'T THAT BE NICE?
THE BEST.
AH, LISTEN.
COME ON.
COME ON. NOW,
YOU GET YOUR STUFF TOGETHER,
AND CUT OUT, HUH?
[Laurie]
♪ SO MANY NIGHTS ♪
♪ I'D SIT BY MY WINDOW ♪
♪ WAITING FOR SOMEONE ♪
♪ TO SING ME HIS SONG ♪
♪ SO MANY DREAMS ♪
♪ I'VE KEPT DEEP INSIDE ME ♪
♪ ALONE IN THE DARK ♪
♪ BUT NOW YOU'VE COME ALONG ♪
♪ AND YOU ♪
♪ LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ ROLLIN' AT SEA ♪
♪ ADRIFT ON THE WATER ♪
♪ COULD IT BE FINALLY ♪
♪ I'M TURNING FOR HOME ♪
♪ FINALLY A CHANCE ♪
♪ TO SAY HEY, I LOVE YOU ♪
♪ NEVER AGAIN ♪
♪ TO BE ALL ALONE ♪
♪ AND YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT UP MY LIFE ♪
♪ YOU GIVE ME HOPE ♪
♪ TO CARRY ON ♪
♪ YOU LIGHT UP MY DAYS ♪
♪ AND FILL MY NIGHTS ♪
♪ WITH SONG ♪
♪ IT CAN'T BE WRONG ♪
♪ WHEN IT FEELS SO RIGHT ♪
♪ 'CAUSE YOU ♪
♪ YOU LIGHT UP ♪
♪ MY ♪
♪ LIFE ♪♪♪