Original subtitles

A nice looking kid, Fred MacMurray. - Yeah.

So was my boy, Pete. He can't even get registered at central casting.

It's kind of funny, ain't it? Down with the old and up with the new.

Why not? Blakeford had his chance at the gravy.

Maybe. But when they put the skids under you in this man's town, you're out.

What's it to you?

Nothing. He ain't been in lately. I wonder what he's doing.

That's easy. Like all the old-timers.

He's either out looking for a job or walking on Hollywood Boulevard.

Modern Productions Incorporated. Casting office.

Who is calling, please?

I'm sorry. Mr Strauss is busy.

Modern Productions Incorporated. Casting office.

I'm sorry, sir. I'm sorry. Mr Strauss is busy.

I'm sorry, Mr Blakeford. Mr Strauss is tied up.

Mind trying tomorrow? - Sure.

And now for you listeners, history is again being made.

At this beautiful and glorious Roman & Chinese center here in Hollywood.

Miss Eleanor Whitley, that petite and vivacious starlet.

Is having her hand-prints and footprints implanted in this world-famous spot.

And now, my dear.

You have left your immortal mark in Hollywood.

I wonder.

Mama, what does that mean ..

'Immortal mark in Hollywood'.

It means.

Hollywood has a new star.

Whose name will be known forever.

Just like these others.

Prints of their hands and feet written in cement.

Will remain there always.

Mama.

Who is 'John Blakeford 1929'?

He used to be a big star.

He must have been awful big to go with his feet.

That's John Blakeford over there now, honey.

Look.

Now you can tell Papa about it.

Mama, he's kinda old, isn't he?

Hey, extra! Paper. Read all about it.

They're all dead.

Paper? - Not today.

Your picture is in it, Mr Blakeford. - Alright.

Thanks.

She killed him because she loved him. Extra. Paper!

Hello, Steve. - Good afternoon, gentlemen.

Nice afternoon, Steve. - Hello.

Moran and Moran. Artists representatives.

Yes, Mr Blakeford.

No, Mr Blakeford. Mr Moran is not in.

You'll ask Pete to keep after that part at Superior?

Yes, Mr Blakeford.

No, Mr Blakeford.

Just one moment, Mr Blakeford. Mr Moran just came in the door.

Hello, Moran.

Twenty-five hundred a week?

Certainly. I'll consider it.

Uhuh. Top billing of course.

Say, what you talking about? Twenty-five hundred a week?

Keep after that part at Superior, please.

Sure. Sure, you know me.

You haven't a thing to worry about. Not a thing.

I wish that old has-been would get a new agent.

Hello, Frank. - Hello, John.

I hear you're remaking The Loves Of An Outlaw.

Since I was the star of the silent films.

That was 12 years ago.

I know, I know. But with you directing ..

I'd consider playing the part of the heavy.

Which is more interesting anyway.

Sorry John, but I believe the boss has someone in mind for that part.

Definitely? - No. But ..

I'll mention your name. Keep in touch with me.

Frank. When can I phone you?

Say .. a week or ten days.

Goodbye, John. - Goodbye.

Hello. How are you? - Hi, John.

Hello, boys. - Hello, Blakeford.

Ready to wrap a little drink?

How are you doing, John? - Magnificently, Jack.

Magnificently.

I'm practically set for that thing over at Superior.

Well.

I saw Frank Stepney.

He wants me to play the part of the heavy in Lovers Of An Outlaw.

I don't know if I can fit it in.

Hello Gus, my usual please. Champagne cocktail.

Yes, Mr Blakeford. - Don't forget now.

Just two drops of angostura bitters and a very small piece of lemon.

I know. A Clicquot.

I'll have to get a bottle out of the cooler. Excuse me.

You know, Jack. Champagne is the only thing that really sets me off.

Okay. Send him to my office. - Yes, sir.

Excuse me.

Boss.

There's one of our Hollywood sights for you.

John Blakeford. Down to his last drink.

He can't complain though.

He had plenty before he reached the last one.

I'll say he's had plenty. Plenty of everything.

Fame, fortune, romance.

All the razzle-dazzle.

Gus.

Some olives please. - Olives?

Yeah, you know the kind I like. The ripe ones.

By the way, Mr Sanford wants to see you in his office.

That is, when you get a minute.

I always say there's no time like the present.

That's right.

Gee, what a great story that guy could write.

From riches to rags in six reels.

And a fade out.

Hey, Martin.

Sometimes you surprise me. Not always, but sometimes.

Is that so, boss. How?

When you have an idea.

Hello Jerry. - Hello John. How goes it?

Magnificently.

Magnificently.

So long. - Good luck.

Thank you.

Hello, John. - Hello, Bill.

Gus said you wanted to see me. - Yes. Have a seat.

Thank you.

We've been friends a long time, John.

A long time.

You practically put this place on the map when it was opened.

You gave the first big party here.

Remember? We turned this place into a battleship that night.

I think I came as Admiral Dewey.

I confess I don't know how I left.

Yes, we owe you a debt of gratitude.

But ..

Alright, Bill. I'll make it easier for you.

You owe me a debt of gratitude.

But I owe you a debt of something more substantial, don't I?

I'm sorry, John. - How much is it?

Two hundred and twenty-one dollars.

Will a check in tomorrow's mail do?

That's what you told me a week ago.

This bill is paid, John.

But I'm going to ask you as my friend.

To let it go at this.

You mean, this closes my account here?

I'm afraid you're right.

I'm sorry.

John. I'd like to make a suggestion.

If you don't mind.

A lot of actors have had to take salary cuts.

Smaller parts. Good bits .. character.

Smaller parts, good bits, character?

Very well. My account here is closed. But I still owe you over 200 dollars.

I ..

I haven't the money with me at the moment.

I have this though. It's worth a good deal more.

Stuck. Soap will get it off.

I'll go into the wash-room.

I beg your pardon. Are you John Blakeford the picture actor?

I should like to be known as John Blakeford - the actor.

I'm glad to know you, Blakeford. My name is Winslow. Publishing business.

The Modern Truth magazine. Heard of it? - Yes, of course.

'The Ingrate Truth' I believe they call it.

Whatever you may call it, it's the fastest-growing magazine in New York.

Success is a pleasant thing.

You should know, Blakeford.

Yes.

Yes, I should know, shouldn't I.

I'd like to talk to you about that.

About ..?

About my success? - Exactly.

Your success. The story of your career.

Have you considered writing your memoirs, Blakeford?

Yes. Of course.

That's an occupation I had planned for my ..

Later years.

That's where you're wrong.

Now is the time, when the public is interested in you.

When your name is a byword in every home.

And an idol to every woman in the audience.

Now is the time they want to read about you.

I want to be your publisher.

You don't have to worry about the actual writing.

I have the best ghost-writers in the business.

I'm quite sure I'll be capable of the writing.

Of course. Of course.

All you have to do is open your mouth and let the past flow out.

All your successes.

Your struggles.

The beautiful women you've known.

No, that last ..

No, I don't know.

I'll give you, say ..

25 thousand for the series.

25 thousand dollars?

Five thousand at once to bind the deal.

I think we can do business, Mister ..? - Winslow.

Now, shall we settle the details over a little drink?

Yes, yes.

Excuse me.

My ring.

I came very near losing it. - Oh, yes.

Gus .. a champagne cocktail, please.

What will you have, Winslow? - The drinks are on me, Blakeford.

Two champagne cocktails please.

Hello Sanford.

Allow me. Mr Winslow - Mr Sanford. - How do you do?

How do you do, Mr Winslow? - Will you join us?

No thank you.

To Modern Truth and the life of John Blakeford.

The love life of John Blakeford.

My name is John Blakeford.

My name is John Wellington Blakeford.

My name is John Blakeford.

I was born in ..

On Park Avenue, New York city, New York state.

In 1880.

In the last decade of the last century.

"My name is John Blakeford."

"My name is John Wellington Blakeford."

"My name is John Blakeford. I was born in .."

"On Park Avenue, New York city, New York state."

"In 1880"

"In the last decade of the last century."

What are you doing?

What am I doing, Martha?

I'm writing my autobiography.

Your what?

The story of my life.

Why?

Why not?

Statesmen, philosophers, generals.

They all write the stories of their lives.

It strikes me they've got a little something more to write about.

Martha, you have no imagination.

I have been all of these things.

A statesman in my public relations.

A philosopher in order to survive.

I've certainly fought as many battles as most Generals.

Martha.

You are in at the birth of John Blakeford.

Author.

Now you are born, can I go?

Now, Martha.

I must talk to someone.

Do you realize I'm not forgotten?

There are hundreds of people.

Thousands of them.

Willing to buy magazines ..

Just to read about me.

It's like being born again.

I shall live over every moment of it again.

While I write.

The struggles .. the triumphs.

The people I've known.

The ladies?

Why not?

They're all part of it.

The pain.

The happiness.

After all, that's what Winslow is really paying me for.

And Martha. It can be handled with taste.

There's sure been enough of them to make tasty reading.

Now, now, Martha.

You and I know there have been only two.

The two women.

Who really held my heart in their hands.

You, Carlotta. Who guarded it so carefully.

An you Alice, who broke it so ruthlessly.

What do you think if the first chapter of Blakeford's memoirs?

It reads like the Rover Boys in Hollywood.

Do you know what he writes about mostly? His acting.

You hired him.

Haven't we the names of those women on file?

That he writes about with such chivalry.

Sure, we told him it was in the contract.

To protect all of us.

In case there might be some kickbacks.

That makes it simpler.

Put Hansen on this and tell him to pep it up. You know what to do.

Oh boy, will we go to town on this one?

Yes, but it may be dynamite.

That's our stock in trade. That's what we're selling: dynamite.

That could cause a lot of sleepless nights for a few dames.

Don't you think John Blakeford might kick at playing down his acting?

And building up his romances like that?

It might not be interesting.

We pay him twenty-five thousand dollars.

I guarantee that when we publish it, it will be interesting.

Hot stuff.

But it's so different from the way I wrote it.

It's been changed.

Things have been exaggerated, to say the least.

Simply editing, Blakeford. Simply editing.

Yes, I know, I know. But don't you think it sounds so ..

So, so cheap.

Cheap? At twenty-five thousand?

No, you don't understand. I mean the bit about the Countess Olga.

John, you're alarmed about nothing at all.

In our business, we have to write down to our public.

Yes I know. Down.

But must it be quite so far down?

John, you don't realize what this series is going to do for you.

How it's going to build you up.

This issue is breaking sales records all over the country.

Do you know what's doing it?

The magic of John Blakeford's name.

No.

No, we're not going to argue about details, are we.

Yes .. yes. That's fine.

I knew you'd see it our way, John.

Goodbye.

The love life of John Blakeford.

Chapter three.

What is it? - Telegram, Mrs Winslow.

Thank you.

Operator .. will you get me Mr Winslow in Hollywood.

Oxford .. 5.1.5.1.

Thank you.

I think you're unnecessarily worried, dear.

After all, your romance with Blakeford happened over ten years ago.

It's forgotten. Fini.

But I can't afford to take a chance.

The security of my whole future depends on it.

You don't know Jordan.

His whims, his jealousies.

So you're going to rush right out and give yourself up?

Don't be absurd.

Jordan doesn't know I ever knew Blakeford.

Blakeford doesn't know I'm now Mrs Winslow.

[ Telephone ]

Yes? I'll wait.

New York calling, Mr Winslow. - Thank you.

Hello?

Hello, darling.

How are you, dear?

Yes, I'm well.

I've been quite busy.

I'm awfully glad you've called.

Say .. I've got a great idea for both of us this summer.

Listen.

Malibu?

That's wonderful.

I am lonesome.

Yes, I'll take the plane tomorrow morning.

Goodbye, dear.

You don't think for a moment you'll get Jordan Winslow to stop those articles?

When I get out there, I'll find some way of handling it.

When I see it spread all over the tabloids ..

I'll say I knew her when she wasn't crazy.

Fifteen dollars as usual, Thomas? - Yes.

Alright. Put it on our account. - Yes.

Don't move.

Beautiful. Perfect.

Hair like the midnight sky.

Flowers the color of your eyes.

Ah, it's too good to be an accident.

You probably had this all figured out, didn't you?

Your new assistant, Thomas?

Yes.

Don't believe a word Thomas says. I'm a poet.

You believe in destiny. Take either side.

See you Thursday, Thomas. Goodbye. - Yes.

Shame. A coward who runs away from life.

My dear. If you'd learn life, you must live it.

Thomas, do you know what's wrong?

Yes.

Again, I must warn you against Thomas.

He's a yes-man.

I suppose you could fix it? - Yes. Yes, I could.

Will you then? And stop acting like an idiot.

My dear young woman, you're confused. Not an idiot.

A poet.

One and the same thing, apparently.

It would seem the gas line is plugged up.

Won't you help me?

On one condition.

That you tell a guy where he can find you evenings.

It's a deal.

I'm listening.

Name, telephone number, address?

Fix the car first.

Don't tell me you can't fix it. - I can't reach it.

I'd have to climb under the motor.

Of course, if you don't want my telephone number.

I see.

Something tells me I'm not very bright, but ..

Here goes.

I've got it. Mind stepping on it again?

Don't move.

Thanks so much and I'm awfully sorry. I haven't a telephone.

That's alright. There's always your license number.

Thomas .. you just saw the beginning of a beautiful romance.

Yes.

Flowers .. beautiful, beautiful.

And more flowers.

Hello. A cash customer has arrived.

It would have to be cash.

Four dozen roses. The largest you have with the longest stems.

Are these alright?

They're not good enough.

But if they're the best you have .. - That'll be ten dollars.

Ten dollars? Yes.

Shall I put them in a box?

These flowers? No.

Deliver these to Miss Patricia Blakeford.

Care of Carlotta's Flower Shop.

Santa Barbara. You know, my dear.

The License Registration Bureau is a great step ahead in human progress.

Don't you think?

I'm very sorry. This is not my day for whimsy.

You're completely off, aren't you? - Off?

Certainly not.

Just a man of courage and enterprise.

A man who sees a girl he likes and wastes no words.

No. Not many.

Alright, is this enough to the point?

How about dinner?

Mrs Blakeford.

I did a bit of gum-shoeing too.

Mother, this is Mister .. - Wallace.

Jay Wallace, the bard of Hollywood on a week's vacation. Without pay.

How do you do, Mr Wallace?

I saw you look down your nose at the mere mention of Hollywood. Don't do it.

Remember that Wallace is in Hollywood, but not of it.

Down there, I live the life of a monk.

Do I impress you?

I'm terribly impressed. - Good.

Now I have a question to put before you, Mrs Blakeford.

I'm hungry.

I'm also lonely.

To eat alone is bad for the digestion.

Now in the name of simple Christian charity ..

Should I be allowed to eat alone?

Are you inviting me to dinner, Mr Wallace?

Yes. I should be delighted.

I've had my dinner. - That's fine.

I mean .. that's too bad.

It's my turn now to keep shop.

Would you consider Patricia ..

As a substitute? - Patricia?

Patricia.

Yes. I might.

Why don't you then?

Why not? It will save money.

Thanks, Mrs Blakeford. You are a woman of discrimination.

You know, from stray remarks you made, I gather you're a writer.

A poet. A poet.

So what do the masterminds of Hollywood do to me?

I don't know. What do they do?

They put me in an office. A measly little office with cockroaches.

They give me a secretary. Yes.

Then they say: 'So you're a writer, huh'?

'Well .. write'.

Just like that? Write?

Just like that. A man who thinks like Gorky, like Ibsen, like Balzac.

Then they say: 'We need a horror story'.

Dish us up a script for a monster we've got under contract.

You know, Hollywood has to give me a chance to do something decent.

Something honest.

When my play is on Broadway. - You've written a play?

Well, I'm going to.

Any minute.

Venice .. the 17th century.

The Palace of the Doges.

Moonlight on the Adriatic.

Sounds beautiful.

Yes. Beautiful.

Turn a little bit that way.

A little bit more.

There.

I should know better, but you know, I'm a pushover for a lighting effect.

Don't let it worry you. I'm not.

A funny nose. But cute.

Funny words. Dull.

Are you trying to tell me I'm different?

Do you think you're not?

Do you know you'd knock the spots out from in front of Hollywood's eyes?

I've been in Hollywood. And I didn't like it.

Sure, I know. Passing through perhaps.

I don't think you really caught my name.

It's Blakeford. B-L-A-K-E-F-O-R-D.

You don't mean you're any relation to John Blakeford?

Slightly. By marriage, he's my father.

I'm sorry, I didn't know.

I know you didn't.

But I'm telling you.

I'll tell you something else. Just to save you time.

Until I was twelve years old.

I commuted back and forth between my mother here and my father in Hollywood.

By the time I was twelve, I knew I didn't want any part of Hollywood.

And I didn't like my Dad much.

I was a backward twelve at that.

I guess you're not interested in the story of my mixed-up life, are you?

I'm afraid I'm going to be mixed up in the story of your life from now on.

Several times during my apprenticeship with the Balthazar repertory company ..

I wanted to give up.

Never shall I forget the thankless parts, the constant study.

The hard benches in dirty rail-road stations ..

The cheap lodgings.

Enjoying yourself, darling? - You know the answer to that.

Certainly.

Jordan, slip into your suit and come for a dip.

That work can wait.

No my dear, it can't. Tomorrow is the deadline on Blakeford contract.

Honestly.

This Blakeford business gets worse and worse as it goes along.

What do you mean, worse? We sold a million copies last month.

I know.

But somehow it seems so vulgar.

A man selling his memories.

Vulgar, maybe.

But to the American public, the name 'Blakeford' spells romance and glamor.

Romance? Glamour?

I wonder how romantic and glamorous it is for the women he writes about?

Oh, ancient history.

Ancient, perhaps.

But still history.

You know dear, I didn't realize when I signed up Blakeford.

But there never has been a man like him on the screen.

He's never lost his hold on picture audiences.

Particularly women. - Women.

Yes, women.

That's the story of Blakeford's life in a word.

Isn't it funny? They're still interested in him.

We hope.

We? - Steinman and I.

Steinman?

Has he gone into the publishing business?

No. - Well then?

But I have gone into the picture-producing business.

Really?

Say .. the hummingbird's blessed event has evented.

The last time we were here they were eggs.

Well, the bard is due back at the sweatshop in the morning.

Are you going to miss me, wench? Or not?

Listen to this.

'Perhaps it was because I was John Blakeford'.

'Perhaps not'.

'But I prefer to believe the devotion given me by A&T was ..'

Can you imagine anyone signing his name to stuff like that in cold blood?

Maybe he needed the money.

He's got to live, you know. - Not necessarily.

You're pretty rough on him.

Maybe I am. Maybe I sound that way.

I'm only being honest.

Look Jay, you know mother.

You can see what kind of a swell person she is.

What do you think of a man who could leave her for a ..

For.

Well, for an English accent and a Paris dress.

I'd say he didn't have much .. taste.

But what do we do about us? That's the question.

It wouldn't work, Jay.

It's got to work. We can make it work.

We want different things.

Listen. You have me all mixed up with Hollywood. Down there ..

I live the life of a monk.

You've used that line before.

No, no. Seriously.

I'm going to make my pile. Then I'm getting out.

I'm going to get a little shack somewhere in the country.

Then I'm going to really write.

You aren't going to do any of those things.

You're going to stay in Hollywood just as long as it wants you.

Then you're going to stay longer.

You love it.

You love it because it's crazy and senseless and exciting.

Alright, suppose that's true. - I know it's true.

So maybe you'd better go back where you belong and ..

I'd better stay here where I belong.

That's just being sensible.

Sure.

That's being sensible.

Well .. I have to get back to work tomorrow.

But you're going to be seeing me next weekend.

When you do, you'd better have a Yes or a No ready.

None of this 'maybe' stuff.

Silence. - Quiet please.

Sound ready?

Sound when you're ready.

Ready.

Camera ready?

Okay.

Seventy-five, take two.

Action.

By this time tomorrow I'll be on my way to San Francisco.

Then you leave without the Orloff jewels?

The jewels will be delivered to me tonight at the Imperial Hotel.

But how?

Algy is flying with them from Darrien.

Unless anything goes wrong he'll to be at Yokohama by six o'clock.

Isn't that too dangerous?

Not for Holden.

Besides, he knows I'm willing to take any kind of chance.

When shall I meet you?

Unless they catch me, and I don't think they will.

The 14th September in San Francisco.

Cut. Very good.

I want to talk to you about the next scene, John.

Okay.

Well, Winslow. You're getting a role for your money.

This picture is going to put Blakeford right back in the running.

He's magnificent.

You understand, Steinman. I'm still a silent partner in this.

Very silent.

I'm going to take a close-up with the musicians. You can rest awhile.

Thank you.

Blakeford.

Hello, Winslow. What you doing here, slumming?

Don't forget, I'm just a tourist, John. By the way.

I got a message you want to see me. - Decent of you to come to me.

Will you step into my dressing room? - Yes, love to.

That guy Blakeford will get himself into a jam writing that magazine stuff.

He's leading with his chin.

How is it to be back in harness again?

To harness a script, an actor is like a fire-horse you know.

They say you're getting a great picture. - We hope so.

Your memoirs are sensational.

Sensational. Yes.

Winslow, that's what I want to talk to you about.

Now I'm making another picture.

I'm glad you called up. I want to show you this now.

What is it?

It's a rider to your contract.

We're giving you a bonus and another Ad campaign.

Another five thousand dollars, huh? - We believe in paying for what we get.

Look here, Winslow. - John, you're trying a comeback.

You know this extra publicity we're trying to give you ..

Isn't going to do your picture any harm.

Come.

They await you on the set, Mr Blakeford.

I'll be right out. - Yes, Mr Blakeford.

I don't know about this.

John, this Ad is five thousand dollars.

It's going to pay a lot of bills.

You were saying, John? - Nothing. Nothing at all.

I think we can get together, Winslow. - That's fine.

Pretty around here, isn't it.

Very.

Lots of trees and flowers.

There is trees.

Uhuh.

Yes.

What's this?

A wishing well. Where people wish.

Wish? How?

You close your eyes. Turn round three times to the right.

Show me.

Like this .. one.

Two.

Three.

Then three times to the left. Like this.

One.

Two.

Three.

Then you open your eyes.

Like this.

Then what?

Then you make your wish.

Did you make one?

Yes.

I guess we .. both made the same wish.

Darling, I've got all the words from all the books bottled up inside of me.

But I can't seem to make any of them .. go together.

We were going to be sensible.

This is sensible, Pat. It adds up.

I'm kind of a crazy guy.

I suppose I'll never have more the six cents in my pocket.

But if you'll have me.

Here I am.

I'm afraid, Jay.

Hollywood. Things don't last there.

Honest. I've seen it. I know.

But us. We'll last. We're different.

Are we?

Don't you know?

I don't care.

Ready?

Where's my cue for the gong?

Two wind-sheets will be enough.

Quiet please, quiet please. - Camera.

Action!

Scene A19.

Tonight we'll be in Timbuktu.

But darling, my husband. I'm afraid.

Afraid?

He who rides the desert with Ali Ben Yhota.

Rides with safety.

[ Gong! ]

He'll be here soon, Ali.

We'll be gone.

Yes.

Timbuktu and you .. my darling.

Timbuktu and ..

Did you hear that?

Timbuktu and you.

Sounds like a popular song.

Timbuktu and you.

Timbuktu and yoo-hoo-hoo.

Flora.

We have rehearsed this.

It is preposterous. It's fantastic.

This dialogue. An idiot couldn't read that line.

It's not the dialogue that's got her down.

Did you read Blakeford's last instalment?

I didn't want to do this picture.

I know it wouldn't be right for me, but you ..

You said:

'Anything you don't like, Flora. We'll fix it'.

You'll fix it?

This picture will fix my career.

I can't do it.

I can't go on.

Get a writer on the set right away.

The best we can get.

Right.

Scenario department?

Charlie Smith calling.

Send us a writer.

Huh?

Any writer.

Just so he can say yes.

Quiet, please.

Hello, Frank.

Flora.

May I present Jay Wallace.

One of the smartest writers in all .. - Yes, how do you do?

You know, it shouldn't have been made in the desert.

The picture, I mean. I see it in Russia.

A background of snow.

Chiming bells, samovars.

The Imperial court and me.

Me in one of those Russian things.

You know, a hat like this and a dress tight up here.

A full skirt and boots and ..

Maybe a Grand Duke. You see it like that, don't you?

It's fantastic to have it in the desert.

Look. It's him.

Would you go to Timbuktu with him?

No.

That's what we need on this story.

A fresh mind. We're all stale. Written out.

I'm so glad I found you. You know ..

It's like being alone in a strange land.

And suddenly finding someone you can talk to.

Someone .. who understands.

Flora. - Yes?

You take Shakespeare here and go off with yourself for a little.

Maybe you can work out a new angle.

I'm sure we can. Aren't you? - Sure. Sure.

Then run along, children, and ..

Create.

Come.

Come on, we'll do the ride.

Get everybody on their horses.

Right. Horses. Horses.

You know, I've been watching your work.

I think you're just about the most promising young author.

I didn't think that anybody round here even knew who I was.

Not know who you are?

That last script of yours ..

Such delicacy .. such beauty.

I've forgotten what the title was but it had such charm.

Charm? - Of course.

Utter charm. Now, what was the title?

The Blood Of The Bat.

You're just the actress I've been seeking for my play.

Play? - That I'm writing.

Oh.

Yes .. you're the only actress for it.

You'd be terrific. Terrific.

That's what I adore about you, Jay.

You are so honest.

Would you like to dance, Mrs Steinman? - Thank you. I would. Yes.

Why don't you get me a picture of Blakeford and Flora Moore together?

My paper could use it.

Her initials were in his last article.

Okay, Irwin .. I'll get them.

Oh dear, I'm worried.

Don't worry, Flora.

Because when you worry, you get wrinkles.

In the picture business, when you get wrinkles ..

You're out.

Did you read the last installment of Blakeford's memoir?

For what?

He mentioned me.

Congratulations.

Congratulations?

Ah, what's the matter, Flora?

Nothing.

Yes, there is something.

That actress he referred to as F.M.

Was me.

I hardly knew him.

He was my leading man in the silent picture we made in Havana.

Havana.

Not even a platonic friendship, huh?

No. I had my career to think of.

That's what makes me so jumpy and nervous.

I'll see that gent some time and when I do ..

I'll get this thing off my mind.

I'm sorry.

Did you see who that is? - Blakeford.

Take it easy, Flora. No fireworks.

I've had enough of this. - I'm very sorry, madam.

Sorry? He's sorry.

He ruined my life twice and he's sorry.

I never saw the woman before.

Now he doesn't know me. - No. Who are you?

Who am I? Of all the ..

I have to ask you to be quiet please.

Hey, there. - Gentlemen.

Don't shove me around. Wait a minute.

Wait for what, sweetheart?

This.

Gosh.

I didn't mean to hit him.

He will be my father-in-law.

What's that? I must talk to you, sonny. You're new.

Hey .. smile pretty, Mr Blakeford.

Isn't this nice?

Isn't this just dandy?

Look Pat.

It doesn't mean anything.

That's just it.

It doesn't mean anything.

I think I'd feel better if it did.

Patricia.

At least it would have dignity then anyway.

As it is, it's just two cheap men making fools of themselves.

But Pat, it's ..

It's just one of those things.

Yes.

Just one of those things Jay said couldn't happen to us.

'We are different', he said.

[ Telephone ]

Ten to one it's a sweet, kind friend calling to gloat.

Carlotta's for flowers.

Oh it's you.

Yes .. it's me.

How are you, sweet?

I'm just fine. How are your folks?

I see by the public prints, they let you out of your monastery last night.

I don't have to listen. I can read.

But you've got to listen.

It was all a mistake.

Yes.

A mistake.

I guess I made it.

Maybe we both made one.

Goodbye.

Well, I guess that is that.

You may be sorry, Pat.

You can be sure I'll be sorry.

In the end I'll be glad.

Mum, it isn't that I'm so noble or anything.

Or that this mess is important.

It's that I remember how it was with you and I don't want that kind of life.

That's nice, isn't it?

Well.

We might as well get used to it.

Mum.

This will die down.

Yes?

This will.

But if your father continues to write his memoirs ..

We're part of them.

He couldn't drag that out.

I didn't think so either.

But after this.

Any gas in the car?

Where are you going, Pat? - To Hollywood.

Pay a visit to John Blakeford, the great lover. Of publicity.

Don't get mixed up in it, Pat. Please stay out.

Not much.

It's time somebody got into this thing with both feet.

Pat .. Pat.

[ Buzzer ]

Yes?

Hello, Martha.

It's Pat.

Well, I haven't seen you since ..

I want to see my father.

He's pretty busy, but .. - It's terribly important.

I guess it's alright.

Go right in. - Thank you.

What is it, Martha?

My dear young lady.

You don't know me, do you.

No, I'm afraid I don't.

Should I?

That depends .. I'm your daughter.

Pat.

My dear child.

What are you doing here?

Why can't you leave Mum and me alone?

We've never asked you for anything have we?

You and your memoirs.

You're making my mother ridiculous.

You're making me ridiculous.

We've worked hard for what we've got and we're proud of it.

We've forgotten about you.

So, what happened?

So you have a brawl with somebody I ..

I just happen to know, and ..

Someone .. you just happen to know?

The young man wasn't to blame, my dear.

I don't care if I never see him again. I don't care.

If I ..

I do too.

Pat.

That's none of your business. - What can I do to help you?

Help? You can't help anyone.

You can only hurt them. It's what you've done all your life.

Walked over people to get to where you wanted to go.

You're very young, Patricia.

Only the young could be so bitter.

I'm sorry.

Don't worry about me. I'll get along.

But there's one thing I want to tell you. Leave my mother alone.

Don't ever mention her name in those filthy lies you're writing.

I've done this to you.

And .. I'm your father.

I'm ashamed you're my father.

Pat.

I'm beginning to be ashamed too.

In fact.

I have been for a long time.

There will be no more memoirs.

I give you my word of honor.

Your word of honor?

Occidental Studios?

I want to speak to Mr Jay Wallace, please.

Doing fifty in a school zone, Miss.

I don't think this old hack could do fifty.

Here is my driver's license.

Give me my ticket.

Thank you, officer.

Pat, I just talked to your father. I'd have chased you to Santa Barbara.

You'd have had quite a chase if she'd kept up the way she started.

Go ahead, please. Give me my ticket.

That's the first time I ever had them begging for them.

Well, see you in Traffic Court.

A busy guy.

Sorry, honey. You're not going anywhere. Come on. Grow up.

You and me, we have words to bandy about.

None that haven't been said. - Don't move.

I have a lot of them you haven't heard. Now start listening.

Hello Winslow. Sorry to bother you at home but it's important.

John, I'm glad to see you any time. Have a drink?

No thank you. - Let's sit down then.

I have finished my picture. - Yes.

I have also finished writing my memoirs.

Do you mind telling me why?

Because they're not my memoirs at all.

They're highly colored pieces of fiction.

They sell the magazines, John. - Exactly, they sell the magazines.

They sell magazines because the American public has an insatiable desire ..

To read about the private lives of public personalities.

Well, my private life.

At least your version of it.

Is no longer for sale.

Sorry Winslow, if you consider this a breach of faith.

A breach of contract, wouldn't you say?

An iron-clad contract, if I might point out.

I'll buy the contract.

It's on the market for a quarter of a million dollars.

Are you serious?

A quarter of a million dollars is always serious, John.

Then I'd be losing money.

I stand to make that on your picture alone.

On my picture?

Without the ballyhoo you receive on your memoirs ..

That picture will die in our hands.

And for your information ..

I am backing your picture.

I didn't know that.

Now you do know, you see how important your memoirs are to .. both of us.

I'm sorry, Winslow. But I'm still bowing out.

I'll take a chance.

You'll take a chance?

I'm the one who took a chance on a broke down actor who was washed up, finished.

I gambled money on you that turned out to be a paying investment.

I collect on my investments, John.

So the next installment of the life of John Blakeford appears as advertised.

As I write it.

As my readers like to read it.

And if I refuse?

I suggest you look at your contract.

And if you refuse, I'll tie up every cent you got.

And hold up the picture and put you back where I found you.

I'm sorry. I didn't know you were busy.

That's alright my dear. I'm finished.

Alice .. have you met John Blakeford?

Blakeford, this is Mrs Winslow.

Mrs Winslow.

How do you do?

How do you do.

That was my ultimatum, Blakeford.

So I expect your next installment on schedule.

Winslow, have you ever considered the vast harm these memoirs might do?

To the women who are mentioned?

Nonsense.

Nowadays people don't resent notoriety, they beg for it.

What do you think, Mrs Winslow?

As I told my husband .. - My dear, it's alright.

Then I'll expect more copy from you, Blakeford.

You leave me no choice.

I'm very glad to have seen you, Mrs Winslow.

Incidentally, I think you'll find the next installment good reading.

It won't need .. what is it you said?

Editing.

Well, that's the end of that.

Is it?

You'll be married in a bower of roses.

You're a good kid.

Once you know who's boss.

There it is, honey. Hollywood.

Just waiting for us to kick it around.

Or, waiting to kick us around.

Not us, no. We've got a hex on it.

It can't kick you around if you know what you're after.

It's the craziest mile in the world.

People walking the street tonight. Tomorrow, their name's up in lights.

Other guys, up in lights today.

Tomorrow, walking the Boulevard.

Hoping their shoe leather lasts until the end of it.

It can build you up and it can let you down.

And give you the world with a fence around it in no time.

And knock it out from under you twice as fast.

If I ever write a story about Hollywood, I've got the title right now.

'Too much .. too soon'.

'Too bad'.

Jay.

I've been thinking about my father.

I said a lot of things to him today.

Some were right.

But a lot were wrong.

I'm sorry about the wrong ones.

I was angry and hurt.

I acted childish and silly.

Yes. I'll never forget the way his voice sounded when he called me.

Jay.

If I went to tell my father that I'm sorry.

Would you think I was just being ..

Well .. childish again?

I'd say you'd be starting to grow up.

Check, please.

Let's find that bower of roses.

Only of course, humor runs more to a cactus.

Jay.

Hello Martha.

I thought you'd gone. - I was just leaving.

I locked the front door and I fixed the phone so it won't ring. Like you said.

Do you mind if I go out? - No, that's alright.

Goodnight. - Goodnight.

I now come to an episode in my life for which I offer no apology.

And no excuse.

It touched four people.

Two who were innocent.

The other two were guilty.

The guilty ones have paid nothing for their guilt.

Until now.

[ Buzzer ]

Good evening. Come in, won't you.

Well, Alice?

Well, John?

We don't seem to be getting anywhere, do we?

Sit down, won't you?

Again I say .. 'Well, Alice'?

This is a moment I promised myself I'd never have to endure.

I hate an anti-climax. - Yes.

Yes. That goodbye twelve years ago was pretty final, wasn't it?

But life is a very poor stage director, my dear.

You were very sure I'd come, weren't you?

Yes, yes.

John .. what happened to us all those years ago? It's dead, isn't it?

Let it stay decently dead and buried.

I am happy, John. I want to stay happy.

But my past is saleable now.

It sells magazines.

For the gentleman whom I just discovered is your husband.

Revenge is a pretty cheap emotion, John.

Not revenge.

Self-preservation. - Self-preservation?

This is the surest way to ruin yourself.

When Jordan reads what you'll write. - Yes.

If .. he ever reads it.

But you might convince him the world would be better off ..

Without the love life of John Blakeford.

How? I've tried.

That's your problem, my dear.

We never paid for the mistake we made.

I paid a little today.

I saw myself through my daughter's eyes.

It wasn't a pleasant sight.

But I'm willing to pay even more .. if I must.

I'm willing to face the entire destruction of my career.

The end of everything for me.

Now it's up to you.

There's another way to stop you, John.

You were always a bad actress, Alice. I see you haven't improved.

Give me that gun.

[ Gunshot! ]

Alice.

What are you doing here?

What happened? Did you fire that shot?

But Jordan, I didn't mean to do anything.

Now I understand why you wanted Blakeford's memoirs stopped.

You told me you didn't know him.

Why did you lie to me? - Jordan .. he's hurt.

I'll take care of this.

Does it occur to either of you we're acting like characters in a play?

And a very bad play.

The outraged husband, the erring wife.

And the villain.

Since this is my first appearance as a villain.

I'll try to give a consistent performance.

Blakeford .. what has happened?

Two things might have happened, Winslow.

Perhaps I wounded myself accidentally.

Or .. perhaps I was shot.

Not accidentally.

What are you getting at?

I said two things could have happened.

Which do you think would look better in the papers?

What do you want of me?

What I told you this afternoon.

My contract torn up.

I'm expecting my manager.

Will you stay?

How badly are you hurt?

That all depends.

I'll call you a physician.

I'll phone you at ten o'clock.

Winslow.

You know, this makes a very good second act curtain.

[ Buzzer ]

[ Buzzer ]

[ Buzzer ]

Hello. May I come in?

Of course.

Of course, my dear.

I wouldn't blame you if you didn't listen to me, but ..

I've got something to tell you.

Jay is waiting for me outside.

We're going to Houma to be married, and I thought ..

I thought since Mum wasn't here, maybe ..

You might wish us luck.

You make me very proud.

You make me ..

Very ashamed.

Of myself.

What's wrong?

Nothing. Nothing at all.

You shouldn't work so hard. You're tired.

Yes, my dear.

For twenty years I've been playing John Blakeford on and off.

And I am tired.

[ Car horn ]

That's Jay. He's afraid we'll miss the plane.

Goodbye, Dad.

Goodbye, my dear.

[ Car horn ]

We'll be back.

Looks like we go right in.

I wonder what he wanted.

He's been hurt.

That girl who was running outside. I'll bet she did it.

Hollywood police station? Hurry.

Calling all cars.

Calling all cars.

Pick up girl and man in Ford touring car.

Believed heading for Hollywood.

Sign on car reads: 'Carlotta's For Flowers'.

Girl wanted for questioning in Beverly Hills shooting.

That is all.

Not so good?

Hard to tell until we get this bullet out.

Here's hoping.

He has a lot to live for.

I've told you all I know. - But Miss Blakeford.

You just heard Mr Stevens and Mr Moran say you were running as you passed them.

That you got in the car and rode away quickly.

And they went inside and found your father shot. Now, Miss Blakeford.

I don't know what you're trying to get me to say. I've told you all I know.

I'm afraid it isn't enough.

Forget you're the law for a minute, can't you?

Blakeford will explain this whole mess when he comes out of it.

Suppose he shouldn't come out of it?

Don't cry, darling.

He'll be alright.

As you've decided we're a crime wave, do you mind if I call a lawyer?

Not at all.

Only, call a good one.

Now, Miss Blakeford. There's another question I want to ask.

Hello? Hello.

I don't care how long he'll be. I'll wait.

Yes.

Yes.

Okay.

[ Blakeford's recording: ] "But my past is saleable now."

"It sells magazines."

"For the gentleman whom I have just discovered is your husband."

"Now I understand why you wanted Blakeford's memoirs stopped."

"You told me you didn't know him."

"Two things might have happened, Winslow."

"Perhaps I was wounded accidentally."

So there it is, Mr Winslow.

I guess this paints a pretty clear picture, doesn't it?

Jordan .. if he dies ..?

I had no idea Blakeford was hurt so badly.

Or I wouldn't have left him. - But you did leave.

That doesn't look so good. - What you going to do about it?

I could have gone to that cop with this. But I'm giving you a chance.

Don't kid yourself, either of you. I'm not worrying about you.

I'm doing this for Pat.

It's all my fault.

I'll keep you out if it all I can, Jordan.

I'll face it myself.

We'll face it.

You can come in, Sergeant. You can talk to him in a minute or two.

Come in, Miss Blakeford.

Hello Pat.

This is no place for a wedding.

Blakeford.

Just answer my questions and save your strength.

Did your daughter shoot you?

No.

Who did?

What time is it?

Not quite ten, John.

The doctor said I shouldn't talk too much, Winslow.

What do you think?

He's right, John. Just rest.

You needn't worry about anything.

Who shot you?

Who shot me?

It was an accident.

I'll tell you more about it when I'm stronger.

He's getting tired.

Pat.

Your old man is still a pretty good actor.

Huh?

..s-d..

..s-d..