I Love Lucy (1951–1957): Season 4, Episode 18 - Lucy Gets Into Pictures - full transcript
Lucy gets a bit part in a movie, but has a problem with the costume.
Honey, I'm going downstairs
to get the New York papers.
Can I get you anything?
Oh, will you mail
my postcards for me?
Are you still writing postcards?
You must have written a hundred
of those since we got out here.
Well, I want to share
our trip with everybody.
We're having so much fun, I
want our friends in New York
to have sort of a
secondhand thrill.
Well, that's nice, dear.
Uh, honey?
Yeah?
Do you feel all right?
Sure. Why?
Come here. Let me look at you.
I'm afraid maybe
you're getting a cold.
Stick out your tongue.
What's the big idea?
Well, I've stamped so
many cards, I'm all out of lick.
Here you are.
Okay.
Now, remember, don't read them.
Why not?
Because it's not nice
to read other
people's postcards.
Well, you and Ethel do
it at home all the time.
Not until after they're mailed.
It's illegal to read them
before they're postmarked.
Oh, I see.
All right, I won't read them.
Okay.
The rules you two have.
Ay-ay-ay-ay-ay.
Lucy. What?
What do you mean by
writing this to Lillian Appleby?
You read them.
Yes, and it's a
good thing I did.
What do you mean
telling Lillian Appleby
that you're going
to be in a movie?
I can't get over it.
You stood right here and
said you wouldn't read them.
You walked out in the
hall and you read them.
Lucy...
Honestly, you just don't know
who you can trust anymore.
For heaven's sake, a man
who will read a postcard
after he said he
won't will do anything.
Never mind all that.
I want to know all
about this movie
you're gonna be in.
I refuse to discuss
anything with a sneak.
A snick?
All right, a snick.
Why did you told Lillian Appleby
that you were going
to be in a movie?
Because I had to told her.
Or she'd be mad if I
told Marian Strong first.
Did you tell all these people
that you were going
to be in a movie?
No. I didn't mention
it to little Ricky.
Ay-ay-ay.
I don't understand it.
I don't see how you can
say something that is not true.
How do you know it isn't true?
It's true until it's untrue.
After all, Hollywood's
looking for new faces.
Well, your face is not new.
It is to them.
They've never seen it before.
Well, it finally happened.
Ever since we've
been out in Hollywood,
I've been waiting for you
to try to get into the movies.
What took you so long?
I was lulling you into a
false sense of security.
Yeah. Well, now that
you brought the subject up,
let me tell you something.
Wait a minute. Wait a minute.
Is this gonna be the one
about how I'm a wife and mother
and my place is in the home? No.
Is it about one
member of the family
in show business being enough?
No.
Oh, well, don't tell me
you're gonna use
that ridiculous one
about my not having any talent.
No.
Oh, you have a new
one? Well, go ahead.
Here you are.
Here you are in
pretty, sunny California.
Hundreds of people
all over the world
would give their right arm
just for the
opportunity to visit here.
And what do you want to do?
You want to go to a studio
and work from morning till night
six days a week.
Well, I...
It's a beautiful climate.
There's hundreds
of things to do.
Hundreds of places to go.
You got your best pals,
the Mertzes, here with you
to go wherever you want to go.
You got a brand-new, beautiful
Pontiac to take you there.
This could be one of the
most wonderful and exciting
experiences of your whole life.
Well, gee, I...
But what do you want to do?
You want to go to work.
I wished you'd used the one
about my not having any talent.
This one's tough to fight.
Why, sure, honey.
Why don't you forget all
about being in the movies
and have fun, enjoy yourself?
Well... Ethel and I did want
to go to Catalina next week.
Sure!
And maybe Pismo Beach.
Yes?
And then there's
always Palm Springs.
Palm springs! Even the
president vacations there.
That's true.
Hi. Come in.
Hi. Hi.
Hey. Are we gonna have fun?
I was just planning
some big trips for us.
I'm afraid they'll
have to wait a while.
Yeah. Why?
Tell them, Ethel.
Well, we were just
down in the coffee shop
and we ran into a fella
who used to be in vaudeville
with us, Jimmy O'Connor.
And he's a producer at
your studio now, Ricky,
and guess what.
What?
He gave us parts
in his new picture.
And we start tomorrow.
Isn't that exciting?!
That's great!
Whee.
What's the matter with you?
I thought you'd be happy for us.
I am.
Well, you don't sound happy.
Now, look, honey, this
won't change anything.
The Mertzes would probably
only be in the
picture a day or two.
Oh, no. It's for
two whole weeks.
Yeah.
Congratulations.
What's the matter with her?
Well, just before you came in,
I talked her out of wanting
to get into the movies
and convinced her that
she could have a lot more fun
just taking trips with you two.
Oh, dear.
Oh, now, don't you worry.
Lucy, we'll take
lots of trips together.
Just as soon as we wrap up
our picture commitments.
Oh, sure. We'll still
want to see those places.
Well, we got to go over
to wardrobe and get
fitted for our costumes.
Hey, listen, I got to go
over to the studio, too.
I'll drop you off.
Oh, fine. Fine.
Aw, honey, don't be blue.
Come on.
See you later, huh?
Well, see you later.
So long, Lucy.
Bye, dear.
Imagine us in the movies.
Yeah.
Come in.
Hi, Mrs. Ricardo.
Oh, hello, Bobby.
I brought up your cleaning.
Would you hang it
in the bedroom for me, please?
Yes, ma'am.
Enjoying your stay in Hollywood?
Yech.
Hey, you, uh, you got the
red eight on the red nine.
Yeah. I thought it
might spice up the game
if I cheated a little.
Uh, Mrs. Ricardo,
you won't be seeing
me for a few days.
Oh, you going on a trip?
No, I got a part in a picture.
You have?
Yeah.
Remember last time
I was only a stooge?
Uh-huh.
This time I got a line to read.
A whole line!
Yeah. Oh, it's a
very dramatic scene.
See, I play a hospital orderly.
Now, this woman
comes rushing in.
Her hair is messed up
'cause she's very upset
'cause her husband's
been in an accident.
Now, she sees me and she says,
"What room is my husband in?"
Then I say, "423."
Sort of gets you
right here, doesn't it?
423.
Boy, I got more
talent than I thought.
No, you don't understand, Bobby.
You see, my husband
is starring in a picture,
and today my best
friends, the Mertzes, told me
that they got parts in a picture
and now you tell
me you got a part.
I just feel left out.
I feel like an ugly duckling.
Well, that's ridiculous!
You're prettier than any of us.
And talented, too!
Oh, can-can you act?
Can I act?
Can I act?!
What room is my husband in?
423.
Thank you!
See?
Hey, you're great.
Yeah, well, thanks a lot.
I'm afraid my light's always
gonna be hidden under a bushel.
What about your husband?
Can he help you get in pictures?
You mean, Ricky
Ricardo, the Cuban bushel?
Well, you'll just have to go out
and let somebody
else discover you.
How?
Oh, a lot of people
get discovered.
Why, there was...
there was Champ Butler.
He was discovered parking cars.
And then there was
Dorothy Lamour.
She was discovered
running an elevator.
And then there was Lana Turner.
She was discovered at a
soda fountain, sitting on a stool.
Well, I don't think
I'd be very good
at parking cars, and
elevators make me dizzy,
but I do know how to sit.
Well, great. Why
don't you give it a whirl?
What soda fountain was it?
The one at Schwab's Drugstore
up on Sunset Boulevard.
Schwab's?
Schwab's.
Schwab's. Thanks a lot.
Come in.
Hi. Oh, hi!
How did everything go?
Oh, Ricky, it was
just wonderful.
We got the cutest gay
'90s costumes you ever saw.
The funniest thing
happened in Wardrobe.
Oh, now, Fred, I didn't
think that was very funny.
It was pretty funny.
What happened, Fred?
Well, we had tried
on our costumes
and were all rest up in our
own clothes ready to leave.
Now, Fred.
And the head of
Wardrobe accused Ethel
of trying to sneak out
with one of his bustles.
Oh, that's very funny.
How's Lucy?
I don't know.
She wasn't home when I got here,
and I'm beginning to worry
about her a little bit, you know.
She was so blue when I left.
Oh, she's probably
just gone sightseeing.
Sure. Oh, here she is.
Oh, here she is.
Hi, Lucy.
Hiya, honey.
Hi. Where you been?
I was beginning
to worry about you.
Well, I've been out not
getting in the movies.
What are you talking about?
Well, after you three
abandoned me today,
I went and sat in
Schwab's Drugstore
so I could be discovered
like Lana Turner.
Oh, no.
Yeah, I sat there all afternoon.
Well, what happened?
You look kind of funny.
Yeah, well, you'd
look kind of funny, too,
if you'd just had
three chocolate malts,
two hot fudge sundaes,
a pineapple soda
and a banana split.
You ate all that?
I had to.
It was the only way I could
keep my place at the counter.
They have a rule:
"No eat, no seat."
Aw... and nobody
did any discovering?
Well, only me.
About an hour ago, I
discovered I was getting green.
Well, at least she's
not blue anymore.
Oh, Fred.
Oh, dear.
Why don't I give up?
The only way I'll ever get in
the movies is to buy a ticket.
Oh, now, honey.
I just can't go back to New
York and face my friends.
As soon as I get to
feeling a little better,
I'm gonna kill myself.
Now, look, don't
you talk like that.
Listen, if it means
that much to you,
well, maybe there's
something that I can do.
What?
Well, if you just want to say
that you were in a picture,
maybe I can call one of
the directors at Metro...
I got a couple
friends in there...
And see if they can give you
a little part or
something, you know.
Ricky, would you?
Well, I can't promise
you anything, but I can try.
Oh, thank you, honey.
I'll call tomorrow morning
and see what they say.
Thank you.
Hey, Frank.
Oh, hi, Ricky.
Where's your wife?
Oh, she's just coming
out of Wardrobe.
She'll be here in a
minute. She is so excited
about doing this
part in this picture,
you wouldn't believe it,
and when she found out
that she gets to die in
the scene, she almost did.
Oh, well, it really
isn't anything.
Well, she thinks
she's playing Camille.
She's been practicing
how to die all day long.
Oh, here she is.
Come over here, honey.
Come on, I want you
to meet your director.
Oh.
Frank, this is my wife, Lucy.
Frank Williams, the director.
How do you do? How
do you do, Mrs. Ricardo?
How do you do? I'm
glad to have you with us.
Well, thank you. It
certainly is nice to be here.
I sure hope I do a
good job for you, sir.
Oh, I'm sure you will.
Now, here's what
I'd like you to do.
You're the star of this
nightclub sequence.
The star?
Now, as our scene opens,
you're discovered at the top
of the steps with
these four girls.
On the cue music, you
come about halfway down,
a shot rings out, you clutch
your heart and you drop.
Yeah. Yes, sir.
Yes, sir, I'm pretty excited,
but I'm sure I can do it.
That's how simple, honey, huh?
Yeah. You can handle that.
I'm sure I can.
Now, just be calm,
and good luck to you.
Okay, dear, bye.
I got a date with Mr. Minnelli,
so I got to go. See you later.
Good-bye, honey. See you, Frank.
Good-bye. Don't worry, now.
You'll be all right. Uh, Nick...
Nick, would you get that
headdress on her, please?
Oh, boys, no! That spot... no.
I don't want that there.
Here you are, Mrs. Ricardo.
Is that for me?
Uh-huh. I'm afraid
it's kind of heavy.
Oh, well, that's all right.
I'll be able to manage it.
Can I let go now?
Yeah, that's all right.
Thank you.
Well, just a minute.
Just a minute.
Oh, dear.
Yeah, well.
There. All right now?
There we are. Yes, sir.
Thank you.
Have you ever worn
one of these before?
Well, no, sir, but I-I'm
sure that I can handle it.
It's quite a trick. It's just
getting used to balancing it.
How's that?
Just getting used
to balancing it.
Oh, yes, I'll be
able to! Thanks.
All right.
All right, places, girls!
Get into positions!
Line up at the top
of the steps, please.
Mrs. Ricardo, would you like...
What?
Take your position at the top
of the steps,
please, Mrs. Ricardo.
Oh... yes, sir!
Thank you.
Don't go up too far. That's it.
Now, Would you mind
turning around, please,
coming towards the center?
A little more to your...
A little more to
your left, please.
Your left.
Your left, Mrs. Ricardo.
That's it. Thank you very much.
Now, would you tilt
your head a little bit?
How's that?
Tilt your head a
little bit, please.
That's fine, that's
fine. Yes, that way.
Now, would you drop your
arms very grace... gracefully.
That's it. Kind of put
your foot out a little bit,
like on your toe...
Fine. Do you feel comfortable?
No, sir... yes, sir.
That's it. Now smile, everybody.
All right.
Hit the music, Harry.
Mrs. Ricardo, what
seems to be the trouble?
Well, sir, the headdress
was just a little heavy
and it sort of tilted forward.
I'm-I'm sorry, sir.
I'll be able to manage it.
Well, I-I don't want
you to be uncomfortable.
Perhaps I'd better
give it to a bigger girl.
Oh, no, sir. I'm big
enough. Thank you.
I can do it.
All right, all right,
let's try it once again.
Now let's rehearse it this time.
All right, fine. Now, that's it.
Now, same positions now.
Remember, smile.
The hands... see?
That's right. Tilt the
head a little bit, girls.
Lots of life.
All right, music.
It's all right.
Mrs. Ricardo!
Now, what seems
to be the problem?
Well, my train is caught, sir.
It's a nail.
I'll get it.
Yes, sir.
There, that's clear.
All right.
Okay.
Here we are.
You know, I...
I'm afraid perhaps
this headdress is a
little too much for you.
Oh, no, sir, no, sir.
Now, Mr. Williams,
my train just got caught.
That could happen
to anyone, sir.
Well, I-I'd feel much
better if it was handled
by a girl who could
really handle it.
Oh, I can, I can handle it, sir.
I'm sure I can.
Annette, would you kindly
switch headdresses, please?
Oh, no, sir, Mr. Williams!
Mr. Williams!
Yes?
Isn't the girl who wears
that the one who gets killed?
Yes, that's right.
Would you put this on, please?
Well, I... I don't
really think that
that's very fair, Mr. Williams.
I... I didn't really get
a chance, you know.
Mr. Williams...
All right, all right, now, look,
now you take Mrs.
Ricardo's place in the center.
You'll be the lead
girl now. Thank you.
Mrs. Ricardo, would you mind
standing over there by the rail?
Thank you very much.
You're doing very well.
Very well, very well.
Now let's have a nice
walk-through this time, girls.
No stops, like go
all the way through,
right up by the rail,
please. Thank you.
I'd like to try another
run-through now,
only this time I'd like you
to come down the
stairs a little faster.
Music.
Ah!
Mrs. Ricardo, just what
do you think you're doing?
Well, you said you wanted
us to come down a little faster.
I'm sorry I tripped on my train.
It was sort of a train trip.
You like to try it
once more, please?
Mr. Williams, are you sure
you don't want me to be
the girl who gets killed?
Please, Mrs. Ricardo.
Wouldn't you like to see me die?
Don't tempt me.
Well, I-I certainly wish
I could be the girl
who dies, Mr. Williams,
because it means so
much to me, you know. I...
Mrs. Ricardo...
I have rehearsed it
a lot. I know what...
Mrs. Ricardo...
I'm sure that if you
could see me do it,
Mrs. Ricardo... you'd
appreciate that I'd
probably do it better
than any of the girls.
Would you please let me
get a word in edgewise?
Yes, sir. I just felt that
you should know how I
feel about it, you know.
Yes, I certainly do.
Mrs. Ricardo, would you please
get up to the top
of the stairs there?
We'll try it once more.
Just once more, please.
I'd like to rehearse it.
Please.
Thank you very much.
You're doing very, very well.
Doing beautifully.
Yes. Uh, could
we hurry it a little?
You see, we're a little
behind on schedule.
Thank you very much.
All right. Are we all set now?
All right, remember,
girls, now, smile.
Smile pretty.
That's it. Music.
Mrs. Ricardo, just...
just what do you
think you're doing?
That shot was supposed
to be for the other girl.
Well, he missed.
Look, Mrs. Ricardo, you
just don't seem to understand.
You see, I-I-I'm the
director on this picture.
Yes, sir, I know that.
See, I make all the decisions.
I say what happens on this set.
I understand that, sir.
You understand that.
You know, one
more thing like this,
and you won't be
in this picture at all.
Oh, well, look, Mr. Williams,
I-I just feel that I just
have to be the girl who dies.
You see, you don't understand.
I-I couldn't go back to New York
and face my friends.
I've told them that I'm
going to be in a picture,
and I, and I can't just let it
be walk-on-and-off, you know.
This is my big chance.
Yeah, so I understand.
Yeah, well, you see,
all right, Mrs. Ricardo.
I've told them for months
and months and months,
you know, and I...
Yes, Mrs. Ricardo...
and then when I got this,
I figured it was going to be
a really big thing, you know.
I really understand...
Believe me, I feel for you...
But you've got to
understand my situation, too.
Well, you know how friends
back home are, you know.
Yes. Oh, yes, I
know how friends are,
but, you see, I
have a problem, too.
I know, but the problem is...
I'd like to get
this picture done
before the end of this year.
I understand that.
Thank you.
I understand that.
So, you can be
the girl who dies.
Oh!
Oh, thank you, sir. Thank you.
I'd like that headdress, please.
Oh, hold it! No, no, wait.
Wait, wait, wait, wait.
I-I-I've got an entirely
new concept for this scene.
Much more dramatic.
Oh?
Yes. You are going
to be discovered dead
as the scene opens.
I'm already dead?
Already dead.
Oh, uh, but...
Oh, no, no, no, no... no buts.
You just lie down
here, Mrs. Ricardo.
Just lie down.
Thank you very much.
Just lie down.
Uh... face down.
Face down?!
Face down.
But Mr. Williams, I've
seen lots of pictures,
and when people die, they
don't usually die face down.
They die face up
into the camera.
Okay, okay, we'll
do it another way.
Oh, thank you.
Yeah. Uh, boys, will you
bring in the stretcher, please?
This will work very, very well.
It's very dramatic, too.
Would you lie down
on the stretcher, please?
Thank you very much.
Face up?
Face up.
Yes, sir.
All set?
All set.
There we are.
All right, now, girls, as
we start this scene now...
Mr. Williams...
how will my friends
know it's me?
Your feet will be showing.
Oh, swell.
All right, now, boys, will
you change the setup now?
I'll be right back.
And, girls, I'd like...
Where are you going now?
I'm going to powder my feet.
All right, girls, will you
gather round here, please?
In this setup here...
Hi!
Oh, hi, Ricky.
How's Lucy?
Oh, she's fine.
I'm a nervous wreck.
What happened?
Something went wrong?
Oh, no, no, no,
everything's fine.
Oh, good.
Okay, sir, we're ready to go.
Are the attendants ready?
Yes, sir.
All right, well, where's
the dead woman?
Here I am.
Oh, Mrs. Ricardo.
Fine. Would you excuse
me a moment, Ricky?
Sure.
We'll get on with this scene.
Will you just lie
down here, please?
Yes. Thank you very much.
Pick up the sheet, please.
Yes. I'll just put your
dress up here nicely.
There we are.
All right, there.
Could you cover her?
Oh, that's beautiful.
Now, remember,
this is a very dramatic scene.
You're very sad. You're
very upset. Lots of emotion.
Let's get this scene
done this time.
Not a word from
anyone. Ready? Roll 'em.
Action!
Cut! Print it! Thanks!
That's beautiful! All right,
boys, you can take it away now.
Oh, girls, that
was just wonderful.
Just wonderful. Just wonderful.
Lucy, what happened?
Nothing.
Well, that's not the way that
they explained the scene to me,
nobody will know who you are.
Oh, well, I'm not too unhappy.
That's show business,
you know, darling.
I'm sorry, Ricky, but...
Well, that's all right. At
least you got in the picture.
That's right. Sure.
Excuse me, sir, but, uh...
What?
Mrs. Ricardo...
Yeah, well, let's go, Ricky.
May I see your feet, please?
Certainly.
You know what I mean.
The director was Lou Krugman,
the bellboy was Bobby Jellison,
Dick was Louie Nicoletti and
the showgirl was Onna Conners.
I Love Lucy is a
Desilu Production.
Lucille Ball and Desi Arnaz
will be back next
week at this same time.
to get the New York papers.
Can I get you anything?
Oh, will you mail
my postcards for me?
Are you still writing postcards?
You must have written a hundred
of those since we got out here.
Well, I want to share
our trip with everybody.
We're having so much fun, I
want our friends in New York
to have sort of a
secondhand thrill.
Well, that's nice, dear.
Uh, honey?
Yeah?
Do you feel all right?
Sure. Why?
Come here. Let me look at you.
I'm afraid maybe
you're getting a cold.
Stick out your tongue.
What's the big idea?
Well, I've stamped so
many cards, I'm all out of lick.
Here you are.
Okay.
Now, remember, don't read them.
Why not?
Because it's not nice
to read other
people's postcards.
Well, you and Ethel do
it at home all the time.
Not until after they're mailed.
It's illegal to read them
before they're postmarked.
Oh, I see.
All right, I won't read them.
Okay.
The rules you two have.
Ay-ay-ay-ay-ay.
Lucy. What?
What do you mean by
writing this to Lillian Appleby?
You read them.
Yes, and it's a
good thing I did.
What do you mean
telling Lillian Appleby
that you're going
to be in a movie?
I can't get over it.
You stood right here and
said you wouldn't read them.
You walked out in the
hall and you read them.
Lucy...
Honestly, you just don't know
who you can trust anymore.
For heaven's sake, a man
who will read a postcard
after he said he
won't will do anything.
Never mind all that.
I want to know all
about this movie
you're gonna be in.
I refuse to discuss
anything with a sneak.
A snick?
All right, a snick.
Why did you told Lillian Appleby
that you were going
to be in a movie?
Because I had to told her.
Or she'd be mad if I
told Marian Strong first.
Did you tell all these people
that you were going
to be in a movie?
No. I didn't mention
it to little Ricky.
Ay-ay-ay.
I don't understand it.
I don't see how you can
say something that is not true.
How do you know it isn't true?
It's true until it's untrue.
After all, Hollywood's
looking for new faces.
Well, your face is not new.
It is to them.
They've never seen it before.
Well, it finally happened.
Ever since we've
been out in Hollywood,
I've been waiting for you
to try to get into the movies.
What took you so long?
I was lulling you into a
false sense of security.
Yeah. Well, now that
you brought the subject up,
let me tell you something.
Wait a minute. Wait a minute.
Is this gonna be the one
about how I'm a wife and mother
and my place is in the home? No.
Is it about one
member of the family
in show business being enough?
No.
Oh, well, don't tell me
you're gonna use
that ridiculous one
about my not having any talent.
No.
Oh, you have a new
one? Well, go ahead.
Here you are.
Here you are in
pretty, sunny California.
Hundreds of people
all over the world
would give their right arm
just for the
opportunity to visit here.
And what do you want to do?
You want to go to a studio
and work from morning till night
six days a week.
Well, I...
It's a beautiful climate.
There's hundreds
of things to do.
Hundreds of places to go.
You got your best pals,
the Mertzes, here with you
to go wherever you want to go.
You got a brand-new, beautiful
Pontiac to take you there.
This could be one of the
most wonderful and exciting
experiences of your whole life.
Well, gee, I...
But what do you want to do?
You want to go to work.
I wished you'd used the one
about my not having any talent.
This one's tough to fight.
Why, sure, honey.
Why don't you forget all
about being in the movies
and have fun, enjoy yourself?
Well... Ethel and I did want
to go to Catalina next week.
Sure!
And maybe Pismo Beach.
Yes?
And then there's
always Palm Springs.
Palm springs! Even the
president vacations there.
That's true.
Hi. Come in.
Hi. Hi.
Hey. Are we gonna have fun?
I was just planning
some big trips for us.
I'm afraid they'll
have to wait a while.
Yeah. Why?
Tell them, Ethel.
Well, we were just
down in the coffee shop
and we ran into a fella
who used to be in vaudeville
with us, Jimmy O'Connor.
And he's a producer at
your studio now, Ricky,
and guess what.
What?
He gave us parts
in his new picture.
And we start tomorrow.
Isn't that exciting?!
That's great!
Whee.
What's the matter with you?
I thought you'd be happy for us.
I am.
Well, you don't sound happy.
Now, look, honey, this
won't change anything.
The Mertzes would probably
only be in the
picture a day or two.
Oh, no. It's for
two whole weeks.
Yeah.
Congratulations.
What's the matter with her?
Well, just before you came in,
I talked her out of wanting
to get into the movies
and convinced her that
she could have a lot more fun
just taking trips with you two.
Oh, dear.
Oh, now, don't you worry.
Lucy, we'll take
lots of trips together.
Just as soon as we wrap up
our picture commitments.
Oh, sure. We'll still
want to see those places.
Well, we got to go over
to wardrobe and get
fitted for our costumes.
Hey, listen, I got to go
over to the studio, too.
I'll drop you off.
Oh, fine. Fine.
Aw, honey, don't be blue.
Come on.
See you later, huh?
Well, see you later.
So long, Lucy.
Bye, dear.
Imagine us in the movies.
Yeah.
Come in.
Hi, Mrs. Ricardo.
Oh, hello, Bobby.
I brought up your cleaning.
Would you hang it
in the bedroom for me, please?
Yes, ma'am.
Enjoying your stay in Hollywood?
Yech.
Hey, you, uh, you got the
red eight on the red nine.
Yeah. I thought it
might spice up the game
if I cheated a little.
Uh, Mrs. Ricardo,
you won't be seeing
me for a few days.
Oh, you going on a trip?
No, I got a part in a picture.
You have?
Yeah.
Remember last time
I was only a stooge?
Uh-huh.
This time I got a line to read.
A whole line!
Yeah. Oh, it's a
very dramatic scene.
See, I play a hospital orderly.
Now, this woman
comes rushing in.
Her hair is messed up
'cause she's very upset
'cause her husband's
been in an accident.
Now, she sees me and she says,
"What room is my husband in?"
Then I say, "423."
Sort of gets you
right here, doesn't it?
423.
Boy, I got more
talent than I thought.
No, you don't understand, Bobby.
You see, my husband
is starring in a picture,
and today my best
friends, the Mertzes, told me
that they got parts in a picture
and now you tell
me you got a part.
I just feel left out.
I feel like an ugly duckling.
Well, that's ridiculous!
You're prettier than any of us.
And talented, too!
Oh, can-can you act?
Can I act?
Can I act?!
What room is my husband in?
423.
Thank you!
See?
Hey, you're great.
Yeah, well, thanks a lot.
I'm afraid my light's always
gonna be hidden under a bushel.
What about your husband?
Can he help you get in pictures?
You mean, Ricky
Ricardo, the Cuban bushel?
Well, you'll just have to go out
and let somebody
else discover you.
How?
Oh, a lot of people
get discovered.
Why, there was...
there was Champ Butler.
He was discovered parking cars.
And then there was
Dorothy Lamour.
She was discovered
running an elevator.
And then there was Lana Turner.
She was discovered at a
soda fountain, sitting on a stool.
Well, I don't think
I'd be very good
at parking cars, and
elevators make me dizzy,
but I do know how to sit.
Well, great. Why
don't you give it a whirl?
What soda fountain was it?
The one at Schwab's Drugstore
up on Sunset Boulevard.
Schwab's?
Schwab's.
Schwab's. Thanks a lot.
Come in.
Hi. Oh, hi!
How did everything go?
Oh, Ricky, it was
just wonderful.
We got the cutest gay
'90s costumes you ever saw.
The funniest thing
happened in Wardrobe.
Oh, now, Fred, I didn't
think that was very funny.
It was pretty funny.
What happened, Fred?
Well, we had tried
on our costumes
and were all rest up in our
own clothes ready to leave.
Now, Fred.
And the head of
Wardrobe accused Ethel
of trying to sneak out
with one of his bustles.
Oh, that's very funny.
How's Lucy?
I don't know.
She wasn't home when I got here,
and I'm beginning to worry
about her a little bit, you know.
She was so blue when I left.
Oh, she's probably
just gone sightseeing.
Sure. Oh, here she is.
Oh, here she is.
Hi, Lucy.
Hiya, honey.
Hi. Where you been?
I was beginning
to worry about you.
Well, I've been out not
getting in the movies.
What are you talking about?
Well, after you three
abandoned me today,
I went and sat in
Schwab's Drugstore
so I could be discovered
like Lana Turner.
Oh, no.
Yeah, I sat there all afternoon.
Well, what happened?
You look kind of funny.
Yeah, well, you'd
look kind of funny, too,
if you'd just had
three chocolate malts,
two hot fudge sundaes,
a pineapple soda
and a banana split.
You ate all that?
I had to.
It was the only way I could
keep my place at the counter.
They have a rule:
"No eat, no seat."
Aw... and nobody
did any discovering?
Well, only me.
About an hour ago, I
discovered I was getting green.
Well, at least she's
not blue anymore.
Oh, Fred.
Oh, dear.
Why don't I give up?
The only way I'll ever get in
the movies is to buy a ticket.
Oh, now, honey.
I just can't go back to New
York and face my friends.
As soon as I get to
feeling a little better,
I'm gonna kill myself.
Now, look, don't
you talk like that.
Listen, if it means
that much to you,
well, maybe there's
something that I can do.
What?
Well, if you just want to say
that you were in a picture,
maybe I can call one of
the directors at Metro...
I got a couple
friends in there...
And see if they can give you
a little part or
something, you know.
Ricky, would you?
Well, I can't promise
you anything, but I can try.
Oh, thank you, honey.
I'll call tomorrow morning
and see what they say.
Thank you.
Hey, Frank.
Oh, hi, Ricky.
Where's your wife?
Oh, she's just coming
out of Wardrobe.
She'll be here in a
minute. She is so excited
about doing this
part in this picture,
you wouldn't believe it,
and when she found out
that she gets to die in
the scene, she almost did.
Oh, well, it really
isn't anything.
Well, she thinks
she's playing Camille.
She's been practicing
how to die all day long.
Oh, here she is.
Come over here, honey.
Come on, I want you
to meet your director.
Oh.
Frank, this is my wife, Lucy.
Frank Williams, the director.
How do you do? How
do you do, Mrs. Ricardo?
How do you do? I'm
glad to have you with us.
Well, thank you. It
certainly is nice to be here.
I sure hope I do a
good job for you, sir.
Oh, I'm sure you will.
Now, here's what
I'd like you to do.
You're the star of this
nightclub sequence.
The star?
Now, as our scene opens,
you're discovered at the top
of the steps with
these four girls.
On the cue music, you
come about halfway down,
a shot rings out, you clutch
your heart and you drop.
Yeah. Yes, sir.
Yes, sir, I'm pretty excited,
but I'm sure I can do it.
That's how simple, honey, huh?
Yeah. You can handle that.
I'm sure I can.
Now, just be calm,
and good luck to you.
Okay, dear, bye.
I got a date with Mr. Minnelli,
so I got to go. See you later.
Good-bye, honey. See you, Frank.
Good-bye. Don't worry, now.
You'll be all right. Uh, Nick...
Nick, would you get that
headdress on her, please?
Oh, boys, no! That spot... no.
I don't want that there.
Here you are, Mrs. Ricardo.
Is that for me?
Uh-huh. I'm afraid
it's kind of heavy.
Oh, well, that's all right.
I'll be able to manage it.
Can I let go now?
Yeah, that's all right.
Thank you.
Well, just a minute.
Just a minute.
Oh, dear.
Yeah, well.
There. All right now?
There we are. Yes, sir.
Thank you.
Have you ever worn
one of these before?
Well, no, sir, but I-I'm
sure that I can handle it.
It's quite a trick. It's just
getting used to balancing it.
How's that?
Just getting used
to balancing it.
Oh, yes, I'll be
able to! Thanks.
All right.
All right, places, girls!
Get into positions!
Line up at the top
of the steps, please.
Mrs. Ricardo, would you like...
What?
Take your position at the top
of the steps,
please, Mrs. Ricardo.
Oh... yes, sir!
Thank you.
Don't go up too far. That's it.
Now, Would you mind
turning around, please,
coming towards the center?
A little more to your...
A little more to
your left, please.
Your left.
Your left, Mrs. Ricardo.
That's it. Thank you very much.
Now, would you tilt
your head a little bit?
How's that?
Tilt your head a
little bit, please.
That's fine, that's
fine. Yes, that way.
Now, would you drop your
arms very grace... gracefully.
That's it. Kind of put
your foot out a little bit,
like on your toe...
Fine. Do you feel comfortable?
No, sir... yes, sir.
That's it. Now smile, everybody.
All right.
Hit the music, Harry.
Mrs. Ricardo, what
seems to be the trouble?
Well, sir, the headdress
was just a little heavy
and it sort of tilted forward.
I'm-I'm sorry, sir.
I'll be able to manage it.
Well, I-I don't want
you to be uncomfortable.
Perhaps I'd better
give it to a bigger girl.
Oh, no, sir. I'm big
enough. Thank you.
I can do it.
All right, all right,
let's try it once again.
Now let's rehearse it this time.
All right, fine. Now, that's it.
Now, same positions now.
Remember, smile.
The hands... see?
That's right. Tilt the
head a little bit, girls.
Lots of life.
All right, music.
It's all right.
Mrs. Ricardo!
Now, what seems
to be the problem?
Well, my train is caught, sir.
It's a nail.
I'll get it.
Yes, sir.
There, that's clear.
All right.
Okay.
Here we are.
You know, I...
I'm afraid perhaps
this headdress is a
little too much for you.
Oh, no, sir, no, sir.
Now, Mr. Williams,
my train just got caught.
That could happen
to anyone, sir.
Well, I-I'd feel much
better if it was handled
by a girl who could
really handle it.
Oh, I can, I can handle it, sir.
I'm sure I can.
Annette, would you kindly
switch headdresses, please?
Oh, no, sir, Mr. Williams!
Mr. Williams!
Yes?
Isn't the girl who wears
that the one who gets killed?
Yes, that's right.
Would you put this on, please?
Well, I... I don't
really think that
that's very fair, Mr. Williams.
I... I didn't really get
a chance, you know.
Mr. Williams...
All right, all right, now, look,
now you take Mrs.
Ricardo's place in the center.
You'll be the lead
girl now. Thank you.
Mrs. Ricardo, would you mind
standing over there by the rail?
Thank you very much.
You're doing very well.
Very well, very well.
Now let's have a nice
walk-through this time, girls.
No stops, like go
all the way through,
right up by the rail,
please. Thank you.
I'd like to try another
run-through now,
only this time I'd like you
to come down the
stairs a little faster.
Music.
Ah!
Mrs. Ricardo, just what
do you think you're doing?
Well, you said you wanted
us to come down a little faster.
I'm sorry I tripped on my train.
It was sort of a train trip.
You like to try it
once more, please?
Mr. Williams, are you sure
you don't want me to be
the girl who gets killed?
Please, Mrs. Ricardo.
Wouldn't you like to see me die?
Don't tempt me.
Well, I-I certainly wish
I could be the girl
who dies, Mr. Williams,
because it means so
much to me, you know. I...
Mrs. Ricardo...
I have rehearsed it
a lot. I know what...
Mrs. Ricardo...
I'm sure that if you
could see me do it,
Mrs. Ricardo... you'd
appreciate that I'd
probably do it better
than any of the girls.
Would you please let me
get a word in edgewise?
Yes, sir. I just felt that
you should know how I
feel about it, you know.
Yes, I certainly do.
Mrs. Ricardo, would you please
get up to the top
of the stairs there?
We'll try it once more.
Just once more, please.
I'd like to rehearse it.
Please.
Thank you very much.
You're doing very, very well.
Doing beautifully.
Yes. Uh, could
we hurry it a little?
You see, we're a little
behind on schedule.
Thank you very much.
All right. Are we all set now?
All right, remember,
girls, now, smile.
Smile pretty.
That's it. Music.
Mrs. Ricardo, just...
just what do you
think you're doing?
That shot was supposed
to be for the other girl.
Well, he missed.
Look, Mrs. Ricardo, you
just don't seem to understand.
You see, I-I-I'm the
director on this picture.
Yes, sir, I know that.
See, I make all the decisions.
I say what happens on this set.
I understand that, sir.
You understand that.
You know, one
more thing like this,
and you won't be
in this picture at all.
Oh, well, look, Mr. Williams,
I-I just feel that I just
have to be the girl who dies.
You see, you don't understand.
I-I couldn't go back to New York
and face my friends.
I've told them that I'm
going to be in a picture,
and I, and I can't just let it
be walk-on-and-off, you know.
This is my big chance.
Yeah, so I understand.
Yeah, well, you see,
all right, Mrs. Ricardo.
I've told them for months
and months and months,
you know, and I...
Yes, Mrs. Ricardo...
and then when I got this,
I figured it was going to be
a really big thing, you know.
I really understand...
Believe me, I feel for you...
But you've got to
understand my situation, too.
Well, you know how friends
back home are, you know.
Yes. Oh, yes, I
know how friends are,
but, you see, I
have a problem, too.
I know, but the problem is...
I'd like to get
this picture done
before the end of this year.
I understand that.
Thank you.
I understand that.
So, you can be
the girl who dies.
Oh!
Oh, thank you, sir. Thank you.
I'd like that headdress, please.
Oh, hold it! No, no, wait.
Wait, wait, wait, wait.
I-I-I've got an entirely
new concept for this scene.
Much more dramatic.
Oh?
Yes. You are going
to be discovered dead
as the scene opens.
I'm already dead?
Already dead.
Oh, uh, but...
Oh, no, no, no, no... no buts.
You just lie down
here, Mrs. Ricardo.
Just lie down.
Thank you very much.
Just lie down.
Uh... face down.
Face down?!
Face down.
But Mr. Williams, I've
seen lots of pictures,
and when people die, they
don't usually die face down.
They die face up
into the camera.
Okay, okay, we'll
do it another way.
Oh, thank you.
Yeah. Uh, boys, will you
bring in the stretcher, please?
This will work very, very well.
It's very dramatic, too.
Would you lie down
on the stretcher, please?
Thank you very much.
Face up?
Face up.
Yes, sir.
All set?
All set.
There we are.
All right, now, girls, as
we start this scene now...
Mr. Williams...
how will my friends
know it's me?
Your feet will be showing.
Oh, swell.
All right, now, boys, will
you change the setup now?
I'll be right back.
And, girls, I'd like...
Where are you going now?
I'm going to powder my feet.
All right, girls, will you
gather round here, please?
In this setup here...
Hi!
Oh, hi, Ricky.
How's Lucy?
Oh, she's fine.
I'm a nervous wreck.
What happened?
Something went wrong?
Oh, no, no, no,
everything's fine.
Oh, good.
Okay, sir, we're ready to go.
Are the attendants ready?
Yes, sir.
All right, well, where's
the dead woman?
Here I am.
Oh, Mrs. Ricardo.
Fine. Would you excuse
me a moment, Ricky?
Sure.
We'll get on with this scene.
Will you just lie
down here, please?
Yes. Thank you very much.
Pick up the sheet, please.
Yes. I'll just put your
dress up here nicely.
There we are.
All right, there.
Could you cover her?
Oh, that's beautiful.
Now, remember,
this is a very dramatic scene.
You're very sad. You're
very upset. Lots of emotion.
Let's get this scene
done this time.
Not a word from
anyone. Ready? Roll 'em.
Action!
Cut! Print it! Thanks!
That's beautiful! All right,
boys, you can take it away now.
Oh, girls, that
was just wonderful.
Just wonderful. Just wonderful.
Lucy, what happened?
Nothing.
Well, that's not the way that
they explained the scene to me,
nobody will know who you are.
Oh, well, I'm not too unhappy.
That's show business,
you know, darling.
I'm sorry, Ricky, but...
Well, that's all right. At
least you got in the picture.
That's right. Sure.
Excuse me, sir, but, uh...
What?
Mrs. Ricardo...
Yeah, well, let's go, Ricky.
May I see your feet, please?
Certainly.
You know what I mean.
The director was Lou Krugman,
the bellboy was Bobby Jellison,
Dick was Louie Nicoletti and
the showgirl was Onna Conners.
I Love Lucy is a
Desilu Production.
Lucille Ball and Desi Arnaz
will be back next
week at this same time.