All language subtitles for A.Star.Is.Born.1954.720p.BluRay.x264.VPPV

MAN 1 [OVER SPEAKERS]: This is a great
night in Hollywood, ladies and gentlemen.

I might even say
a fabulous Hollywood night.

This is the Shrine Auditorium's
great evening...

...for the Motion Picture Relief Fund...

...the benefit show called
Night of the Stars, for Hollywood's own.

The motion-picture stars
never forget their own.

And tonight, all the proceeds will go
to the Motion Picture Relief Fund.

[CHATTERING]

[CROWD CHEERING]

[SPEAKING INDISTINCTLY]

Wait a minute, folks. I think I see--

Yes, it is, it is.

Oliver Niles' car is just driving up.

And waving to her fans is Lola Lavery.

Lola, nice to see you. So wonderful.
Oliver Niles, the famous producer.

Ladies and gentlemen,
may I present lovely Lola Lavery.

Thank you, George, sweetie.
It's so divine being here tonight.

And I know you're all looking forward
to seeing your favorite star and mine.

And, of course, you know,
Norman Maine is the great attraction...

...here at the Shrine Auditorium tonight.

And of course,
wherever Norman Maine goes...

...lovely little Lola is sure to be there.

- Joan, doesn't she look beautiful?
-She looks gorgeous.

- Good to see you.
-How are you? Isn't she adorable?

You're looking divine.
What are you wearing?

She's wearing a black sheath.
Isn't it divine?

And a white fox.
And the diamonds in the hair.

Did you ever? It's adorable.

MAN 2:
Joan!

Ladies and gentlemen,
we've had the pleasure...

...of having lovely Lola Lavery
at our microphones.

Did you ever see anyone so sweet,
so unspoiled and down-to-earth?

- She's a darling girl.
-Definitely.

MAN 3:
Lola, please, just one shot.

Thank you.

- Hello, Lola.
-Libby, darling.

- Norman's not here. Not a sign.
-Didn't you call for him?

- That was the plan.
-Wasn't there. I've been all over town...

...the usual places.
Not a sign of him.

Libby, Normie loves being late.
He's always late with me.

You're not exactly a public performance,
my dear.

- You know where I'm sitting.
- I'll check backstage.

[ORCHESTRA PLAYING]

LIBBY: He's here.
OLIVER: Good.

He's drunk.

- How bad?
-Very. What do you want me to do?

Keep him off.

- Don't let him go on.
-ls anything wrong? ls Normie all right?

It's all right.

MAN 1:
Norman Maine.

Probably drunk.

MAN 2:
Let go, you're breaking my camera.

[LAUGHING]

MAN 3:
Norman.

Norman, we have our cue.

- Take it easy. Please.
NORMAN: What? Oh, yes.

MAN 4:
Where are you going, Norman?

Hey, grab him. Grab him quick.

A horse!

A horse for my kingdom.

[WOMAN SCREAMS]

NORMAN: Hey!
MAN 4: Get him here. Get him here.

Get him off the stage.

What are we gonna do, Libby?

- What's the act that follows Maine'?
-The Glenn Williams' Orchestra.

- They here?
-Yes.

- Ready? All right.
-Yes.

On the stand, we're on next.
Will you help rush them up, please?

In your places, we're on next. Snap it up.

Who didn't show?

ESTHER:
Regular opening, verse and chorus?

Yeah, that's right.

Get a load of Norman Maine, will you?

- Where?
-Look.

Mr. Maine is feeling no pain.

Oh, how I hate benefits.

WILLIAMS: Better make it snappy, Esther.
Neil, is all the music out?

NEIL:
I'll get it now.

Hi, Norman.

Hello, Matt, old boy.

We seem to have missed each other.
Been searching for me?

That's all right. I knew you'd turn up.

Touching, your faith in me, Matt.
Touching.

Mr. Libby looks after me like a fond mother
with a good sense of...

...double-entry bookkeeping.

Mr. Libby, I should explain,
is in charge...

...of the public relations at the studio.
How is the AP and the UP--

Fine, fine.
Norman, I got some of the boys--

How many lies have you told
the public today?

A couple of hundred.
I need you for an interview and pictures.

I don't need more pictures,
I don't need more interviews...

...because the public loves me.
-Sure they do.

- But just a few. I promised the boys.
-Take your hands off me.

And don't make any promises for me
for I will break them. A horse!

My kingdom for a horse.

- I'll tell you what, Libby.
- What?

I'm thirsty. I need a drink before I go on.

If you get me a drink,
I'll let you take a picture.

- That's a deal.
-Two drinks, two pictures.

Three drinks, three pictures.

Three pictures.

You're not a bad fellow, Libby.

Why do you disgust me?
Why do I hate you so, Libby?

I wouldn't know about that, Norman.

MAN 1: Just one more.
MAN 2: Smile.

MAN 3: Let's have another one.
-That does it.

MAN 1: Give us more.
-I said, that does it.

But you've got plenty of time.
All right, all right, no more pictures.

Get your pencils out, boys.

I'm sorry, gentlemen, no time.

- You got plenty of time.
-Come on.

- Plenty of time.
-Are you trying to stop me?

You trying to stop me from going on?

- Is that it?
-No.

MAN 2: What a story this will make.
MAN 4: This guy is stoned.

[AUDIENCE APPLAUDING]

[ORCHESTRA PLAYING]

[SPEAKING INDISTINCTLY]

[SINGING] What a spot this
Not so hot this

Hey, there, shy one
Come be my one

Please don't rush off
Want no brush-off

I can't compel you to buy
What I'd sell you

But I'd like to tell you
Like so

You wanna have bells that'll ring

You wanna have songs that'll sing

You want your sky of baby blue

You gotta have me go with you

Hey, you fool, you
Why so cool, you?

When I'm ready
To go steady

You wanna have eyes that'll shine

You wanna have grapes on the vine

You want a love that's truly true

- You gotta have me go with you
- You gotta have me

- Why the hold out?
-And me

[WOMAN SCREAMING]

ESTHER".
Have you sold out?

Time you woke up

Time you spoke up

This line I'm handing you

Is not a handout

As a team, we'd be a standout
Ba-dop

You wanna live high on a dime

You wanna have two hearts in rhyme

- Gotta have me go with you
-Don't forget about baby

- You gotta have me
- Gotta have me

Gotta have me

All the time

- Ba-ba-bah
-Ba-ba-bah

ALL: Ba-ba-ba-ba-ba-ba
Ba-ba-ba-ba

Ba-ba-ba-ba
Ba-ba-ba-ba-ba-ba-ba-ba-bah

Bah

Ooh-ah
Boo-de-boo

Why the hold out?

Have you sold out?

Time you woke up

Time you spoke up

ESTHER".
Want your sky of baby blue

You gotta have me go with you

Why the hold out?

Have you sold out?

Time you woke up

Time you spoke up

This line I'm handing you

Is not a handout

As a team, we'd be a standout

You wanna live high on a dime

You wanna have two hearts in rhyme

Gotta have me go with you

All the time

- Esther?
ESTHER: Yes.

Hi, girls.

- Esther, if you hurry we can have coffee.
ESTHER: All right.

- Good night.
-Goodbye.

- Danny.
-Yeah?

- Wait-- Here, wait just a second.
-Okay.

I think I must've chewed
my lips off wondering...

...if he was gonna come
staggering back.

I've never been so frightened.
My knees were shaking--

- Was I on key? I couldn't hear.
-On pitch all the way.

It's a wonder.

And it's a wonder to me
Mr. Norman Maine is still in pictures.

NORMAN:
It is indeed.

In fact, I ask it myself every morning
when I'm shaving.

I say, "Mirror, mirror on the wall,
who is the greatest star of them all?"

Do you know what the mirror answers?

Norman Maine?

RAUGHS]

Absolutely correct, Miss...

Blodgett. Esther Blodgett.

[NORMAN LAUGHS]

You must've been born with that name.
Couldn't have made it up.

- I was born with it.
-Excuse me.

You wouldn't make up a name like that,
would you?

- Oh, it's a brand-new lipstick.
-To mark the occasion when...

...Esther Blodgett...

...saved Norman Maine...

...from making even more
of a fool of himself than usual.

I thank you.

My studio thanks you.
All the legions and codes...

...that watch over our industry
will be equally pleased, I'm sure.

- Would you take supper with me?
-Oh, I--

And all the people with you too.

I'm afraid we can't, Mr. Maine.
You see, we're working at the Grove.

- This is Danny McGuire, our pianist.
-Oh, bring your piano along, Mr. McGuire.

Nobody can object to a good,
clean-living American piano.

But I insist on your taking supper
with me.

Come on.

[GROWLS]

Don't you try to stop me, Mr. McGuire.
I know myself extremely well.

I'm just near the fighting stage
at the moment.

If I don't get my way, I'll begin to break up
people and things at this moment.

- You understand, don't you?
-Yes, I understand.

Why don't we have supper
sometime later?

Maybe tomorrow or the next night.
I'll tell you what I'll do.

I'll lay in a whole supply of lipsticks
and we'll celebrate all over the walls.

- Please, Miss Blodgett.
-Good night.

I think I see your friends, Mr. Maine.
Let's hit the road.

- Oh!
-Pumpkin, you were divine. Simply divine.

- Wonderful, Normie.
-You were swell.

LOLA:
Everyone around me was saying it.

You know, drunk or not, he's nice.

- He's awful nice.
-Just darling. Come on.

When he goes off like that,
he's good for the night, Mr. Libby.

He'll smile in his sleep in a minute.

Like a child.

Like a child with a blowtorch.

MAN:
What, sir'?

Nothing.

Mr. Maine's charm escapes me.

It always has.

Now, you understand, 6:00 sharp.
Have him dressed and ready.

Yes. Yes, sir.

Here are his car keys.
Hide them, will you?

I've had enough of Mr. Maine
for one night.

MAN:
He's good for the night.

LIBBY:
Six o'clock sharp.

MAN: He'll sure be surprised when he finds
himself on location in the morning.

[BAND PLAYING]

- Good evening, Mr. Maine.
-Hello, Bruno. How are you?

- All right.
-There's a little dark girl...

...sings with
the Glenn Williams' Orchestra.

The Glenn Williams' Orchestra
finishes at 1:30, Mr. Maine.

Then the rumba band takes over.
They finished about an hour ago.

Well, it doesn't matter, Bruno.
The whole thing seems rather silly now.

I'll tell you something, Mr. Maine.

All the bands that play here,
the musicians, you know...

...they go to a little place
on Sunset Boulevard after they finish.

And maybe the girl could be there.
They're crazy people, you know.

They blow their heads off here all night.

And instead of going to bed,
they go to this place...

...and blow their heads off there
for themselves for nothing.

Would you like a table, sir?

Not unless you wish
to rumba with me, Bruno.

Is there anyone here that I know?

Well, now, let's see.

There's a new little girl from Paramount.

That one there, yes.

She's very pretty, Mr. Maine.

She's with someone, isn't she?

Only her agent.

He'll be glad to leave.

Too young.
I had a very young week last week.

She's not worth it.

Is there anyone else?

BRUNO:
I, uh...

Miss Sheldon.

She's very beautiful tonight, Mr. Maine.

No. She hit me over the head
with a bottle.

Yes, yes. I remember it.
Happened right here.

- I thought everything was all right by now.
-Nope, they only hit me once.

Little girl in the green dress.

No, Mr. Maine.

Pasadena.

Leave it alone.

Will you excuse me, please?
I'll be right back.

Go ahead.

[JAZZY BAND PLAYING]

Take it, honey. Come on.

Take it from the top.

ESTHER: From the top?
DANNY: Yeah.

[SINGING]
D00, doo-dee-dee

Uh-huh-huh

Uh-huh-huh

The night is bitter

The stars have lost their glitter

The winds grow colder

Suddenly, you're older

And all because of the man

That got away

No more his eager call

The writing's on the wall

The dreams you've dreamed have all

Gone astray

The man that won you

Has run off and undone you

That great beginning

Has seen a final inning

Don't know what happened

It's all a crazy game

No more that all-time thrill

For you've been through the mill

And never a new love will

Be the same

Good riddance, goodbye

Every trick of his

You're on to

But fools will be fools

And where's he gone to?

The road gets rougher

It's lonelier and tougher

With hope you burn up

Tomorrow he will turn up

There's just no letup

The livelong night and day

Ever since this world began

There is nothing sadder than

A one-man woman looking for

The man that got away

The man that got

AwaY

[LAUGHING]

MAN 1: Wonderful.
MAN 2: That's great.

Pretty good, we finished together--

Oh, no. No.

- Oh, no.
ESTHER: What's the matter?

Your dancing partner has returned.

How do you suppose
he ever found us here?

- I'll get rid of him.
- No, I'll do it.

Hello, Mr. Maine.

You turn up in the strangest places.

Don't I, though?

And you're cold sober.

Well, you'd better make the most of it.
Sit down for a moment.

Do you always sing like that?

- Like what?
-The way you sang just now.

Why?

I never heard anybody sing
just the way you do.

What do you mean? Good or bad?

Yeah.

You ever go fishing?

Well, do you like prize--?
Ever watched a great fighter?

-L...
-I'm trying to tell you how you sing.

Do you mean like a prizefighter
or a fish?

Look.

Here.

[CLATTERING]

There are certain pleasures
that you get...

There are certain pleasures you get,
little jabs of pleasure.

When a swordfish takes the hook,
or when you watch a great fighter...

...getting ready for the kill, see?

You don't understand
a word I'm saying, do you?

No, not yet.
Why don't you try bullfights?

You're joking,
but that's exactly what I mean.

If you'd never seen a bullfight,
you'd know a great bullfighter...

...the moment he stepped in the ring
from the way he stood...

...from the way he moved.

Or a dancer.
You don't have to know about ballet.

That little bell rings inside your head...

...that little jolt of pleasure.

Well, that's what happened to me
just now.

You're a great singer.

Who, me?

Hasn't anyone ever told you that before?

No, Mr. Maine,
no one's ever told me that before.

Maybe you're not quite as sober
as we both thought you were...

...but thank you.

I'm as sober as a judge
and I know exactly what I'm saying.

You've got that little something extra
that Ellen Terry talked about.

Ellen Terry, great actress
long before you were born.

She said that's what star quality was,
that little something extra.

Well, you've got it.

Now, what are you doing wasting
your time singing with this band?

Wasting my time?

I'm not wasting my time.

You don't know how many years
it's taken me to get this far.

- I'm doing fine, Mr. Maine. Just great.
-You're wasting your time.

Now, tell me about yourself.
Where'd you come from?

- How did you start singing?
-Oh, I--

- Have you got a family? You married?
DANNY: Esther.

- No.
DANNY: Esther.

We're breaking it up.

- Why, hello, Mr. McGuire.
-Mr. Maine.

Ready to go home?

- Yes.
-Good.

- I'll see that Esther gets home.
- Oh, you're k--

- All right, Esther?
-Yes.

In you go.

I'll see you at the bus
in the morning, Danny.

Yeah, at 6:00.

0K8)'-

- Good night.
-Yeah, good night.

Yeah.

Well, go on. Go ahead.

Do you know the only thing
I can think of right now?

The only thought that comes into
my mind is the way I wash my hair.

You see, when anything happens to me,
good or bad...

...I make straight for the shampoo bottle.

Why would I have to think of that now?

I understand that perfectly.
With me, it's golf balls.

If I'm happy or if I'm miserable,
I putt golf balls around the living room.

It makes perfect sense. Go ahead.

I'm afraid I'm no good
at talking about myself, Mr. Maine.

Everything just runs together.

Runs together? How?

All over the place.

Washing out my gloves
in crummy hotel rooms...

...and winning a contest on the radio,
singing in joints.

You see how my mind works?
It's all jumbled.

I can sort it out.

Can you?

I can't.

I can remember my first job
singing with the band.

And then, one-night stands
clear across country by bus.

Putting on nail polish in the ladies'
rooms of gas stations.

Waiting on tables...

Whoa, that was a low point.

I'll never forget it...

...and I'll never, never do that again.

No matter what.

But I had to sing.

I somehow feel most alive
when I'm singing.

It's like...

You don't wanna hear all this, do you?

Do you mind?

Mind? No, I'm having a wonderful time.

Here, we turn here. I live on that street.

Is there anything more I should know
about your fascinating life?

There must be more.

Oh, there is. A whole scrapbook full.

Oh.

Come in.

Well, have you had enough,
as the Republicans used to say?

You know about as much about me now
as I do of myself.

But you see how long it's taken me
to get this far.

Now, all I need is just a little luck.

- What kind of luck?
-Oh...

The kind of luck that every girl singer
with a band dreams of.

One night a talent scout
from a big record company will come in.

And he'll let me make a record.

Yes, and then?

Oh, the record“ become number one
on the h“ parade.

Be played on the jukeboxes
all over the country.

And I'll be made.

End of dream.

- There's only one thing wrong with that.
-I know. It won't happen.

No, it might happen very easily.
Only the dream isn't big enough.

How long will you be playing
at the Grove?

Well, tonight was our last night.
We leave for San Francisco in the morning.

Don't go.

- What?
-Quit. Leave the band. Stay on here.

Let me see what I can do for you
at the studio. I'll talk to Niles right away.

It's just a chance, but take it.

A chance?

Do you realize I'd be giving up
everything I ever worked for?

That's right. But it's served its purpose.
Listen to me, Esther.

A career is a curious thing.
Talent isn't always enough.

You need a sense of timing,
an eye for seeing the turning point...

...or recognizing the big chance
when it comes along and grabbing it.

A career can rest on a trifle like...

Like us sitting here tonight.

Or it can turn on somebody's
saying to you:

"You're better than that.
You're better than you know."

Don't settle for the little dream.
Go on to the big one.

Scared? Scared to take the plunge?

Yes.

Say, what makes you so sure about me?

I heard you sing.

- Yeah, but that--
-I know, just my word.

But you know yourself, don't you?

You just needed somebody to tell you.

Well, I'm certainly mixed up now.

- I thought I was doing just fine.
-Don't look so miserable.

You don't have make up your mind now.
Sleep on it.

I'll call you first thing in the morning.

Sleep on it.
You fixed me for sleep, all right.

Whether you do it or not,
don't ever forget how good you are.

Hang on to that.

Because I'm right.

Good night, Esther.

Good night, Mr. Maine. Thank you.

_l_ley_
-Hm'?

I just wanna take another look at you.

[HUMMING]

[PHONE RINGING]

- Hello. Who is it?
NORMAN: Oliver?

Who? Norman.

Oliver, just hold on a moment.

- Are you in jail? What have you done?
- Yeah, yeah, no...

No, no, I'm not.

This girl, it turns out,
she's a fabulous singer.

- You heard a girl sing.
- No, this girl--

- Well, isn't that nice?
- No. Don't make me mad.

- Do you know what time it is?
- Wonderful talent. Now, listen, please.

- Yes, yes, I hear you.
-All right.

Every word.

[NORMAN SPEAKING INDISTINCTLY
OVER PHONE]

You heard a girl sing.
What do you want me to do, applaud?

Yes.

Yes, I hear you. Yup.

Anything-

Anything-

Well, thanks, Oliver.

Now, you go on back to sleep...

...because I want you to be nice and fresh
in the morning when I bring her around.

[HUMMING]

[KNOCKING]

DANNY:
Who is it?

ESTHER:
It's me.

Are you asleep, Danny'?

Not anymore. What's the matter?

I'm sorry, but I had to see you.

Something wrong? Hand me a cigarette.

A cigarette. Over there.

Oh, sure.

I'm quitting the band, Danny.
I'm not going on to Frisco in the morning.

- You crazy or something?
-Maybe.

Maybe, but I'm quitting.

Why'? What happened?

Norman Maine is gonna get me
a screen test.

Go on back to bed, will you, Esther?

Well, it's true.

You been drinking with him?

- Of course not.
-Okay, then when we get to Frisco...

...I'll take you to a doctor
and have your head examined.

What's the matter with you, Esther? He was
making a conventional pass, that's all.

No. No, it wasn't that, Danny.

What else is it? He follows bands
around and gives singers screen tests?

What's got into you?

He gave me a look at myself
I've never had before.

He saw something in me
nobody else ever did.

And he made me see it too.

He made me believe it.

Believe what?
It's taken all these years for you...

...to get with a big-name outfit.
You gonna toss it all in the ashcan?

And for what?

For a chance at being something...

...something bigger
than I ever dreamed of.

And I'm not gonna turn back now.

Ever.

Coffee's almost ready.

I don't want any coffee.
I'm wide awake now.

Oh, Danny.

Don't be mad at me.

"I"

I'll be up in time to see you off
in the morning.

I guess I'd better go.

How much money have you got, Esther?

Money?

Oh. A little.

Enough to last for a couple of weeks.

Oh, you'll be all signed up
and in front of the cameras by then.

Oh, you fool.

You fool.

ESTHER:
You think so?

Then why do I feel like this?

MAN: Goodbye, honey.
ESTHER: Bye-bye.

MAN:
Good luck to you.

ESTHER: Wait a minute, Danny.
DANNY: Bye.

ESTHER:
Wish me luck.

DANNY:
Luck'? You silly...

ESTHER:
All right, go ahead and say it.

DANNY:
No, no use. You're going for the ride.

Okay. Good luck.

And don't forget who makes
better vocal arrangements for you...

...better than anybody else in the world!

MAN 1:
In his usual wonderful shape, huh?

MAN 2: He'll sleep it off on the plane.
Any idea how long you'll be gone?

MAN 1: Oh, about five or six weeks at least.
This one's being shot mostly on location.

It's a big sea epic.

He won't see anything for a long time
but the stuff he hates, water.

Solong.

MAN 1:
All right, cut!

That's the one. Wrap it up.

MAN 2: All right.
MAN 1: Bring us in.

They got it.

Bring them on in here.
Bring them straight on in.

Very nice.

NORMAN: Thank you. Eddie. Eddie.
MAN 3: Drink that coffee.

NORMAN: Where's Eddie?
MAN 3: Talk to Eddie later.

NORMAN: Oh, there you are, Eddie.
Any luck? Did you find it?

EDDIE: Mr. Maine,
there's about 300 bungalow courts...

...around Sunset and Highland.

- Can't you remember the number?
NORMAN: Just the neighborhood.

Go ahead, take that telephone book
and ring all 300. Go on.

MAN 1: Norm, will you go down
and dry off?

- I need you in the cabin shot.
NORMAN: Yeah, yeah.

MAN 4:
What's with this phone-book routine?

MAN 1:
The usual, some dame.

NORMAN:
Eddie. Hey, Eddie.

It has the name of a flower on the side.
A poinsettia or zinnia or something.

Get the studio to have someone
take a car and cruise around there!

For two days if necessary!

But find that place!

OLIVER:
Four days?

But you're behind schedule now, Bob.

Is Maine drunk?

Tell me the truth. Don't cover for him, Bob.
I want to know.

Okay, we'll shoot around him.

Try and make up the time
as soon as he's up.

Cut some corners, Bob.
You've got to bring it in on time.

You know how tough things are
right now.

They're on my neck from New York
every day.

Okay, I understand.

What's so amusing?

LIBBY:
Maine sick?

OLIVER:
Bad case of flu, 103 temperature.

Kept him on the water too long, I'll bet.

LIBBY:
Water would have a bad effect on him.

WOMAN: Oh, Esther,
somebody called you about a job.

Said to call right back.
The number's on the phone over there.

ESTHER:
Thanks.

Mr. Blake?

Yes.

Singing?

Yes. On the set at 9.

Thank you very much.

[SINGING]
It's very nice

It's a bargain at double the price

Try it and find as long as you live

Your crowning glory
Will be most attractive

If you want to be a girl
That the men run to

Use Trinidad Coconut Oil Shampoo

Take my advice

It's a bargain at double the price

DANNY: I'm gonna talk quick.
We took a break, I've gotta get back.

Listen, I squared it with Williams.
He'll take you back.

I'll wire the dough for the fare,
join us in Cleveland.

Give me that address again.

I don't get it.

Do you know what the odds are
against you?

ESTHER: Danny, you're wasting
your breath. I haven't--

I don't think about him.
I forgot him weeks ago.

But he did show me the way
and that's what I'm sticking to.

- I don't care if I have to scrub floors--
WOMAN: Your order's ready. Pick it up.

ESTHER: Danny, I've gotta go.
All right. Goodbye. Thank you.

Here you go.

- Good evening.
-Well, what's good to eat today?

Cheeseburgers, nut burgers,
banana burgers, chicken burgers...

...lobster burgers, tuna burgers,
chop-suey burgers...

...and the super-duper super burger.

What's in that?

Everything in the place. All burgered.

NORMAN: You haven't any idea? The
faintest idea where she might have gone?

WOMAN:
I told you, sir. I told you three times.

That when people can't afford
the moderate rates--

NORMAN: Yes, yes. Thank you.
Thank you so very much.

Oleander Arms.

Well, no wonder
I couldn't remember the name.

Why can't you call
your place something like--?

WOMAN:
What?

NORMAN:
Never mind.

I bet you've never seen an oleander
in your life.

LOLA:
Normie. Pumpkin.

Oh, pumpkin, now, really.

You just can't lie here
on a lovely day like this.

NORMAN: I can so just lie here
on a lovely day like this.

LOLA: What's the matter, Normie,
have I offended you?

Well, if I have, darling,
I'm really terribly sorry.

All I did was remember
what you promised me.

NORMAN: What did I promise you?
Was it a blue mink or a white mink?

Or have they done something else
to the poor minks while I was away?

LOLA: Normie, darling, it's not presents
I want. It's you, pumpkin, just you.

ESTHER [SINGING ON TV]:
It's a bargain at double the price

LOLA:
Don't you remember?

You said as soon as you finished
that nasty old picture we'd go to Honolulu.

Now what's the matter?

NORMAN: That singing.
LOLA: Singing?

NORMAN: Yeah, on this television
while you were talking.

- Singing something.
LOLA: Television?

It's just an old commercial, silly.

Normie'?

For heaven's sake, Norman.

Miss Barker! Hey, Miss Barker!

Who do you think just went upstairs?

[KNOCKING]

[HORN HONKING]

NORMAN: Hey! Get away from that car!
Get away from that car!

ESTHER:
Hey! Hey!

Hey!

- Hello!
NORMAN: Oh!

ESTHER:
Come on up.

NORMAN:
All right.

ESTHER:
Oh, I look so terrible.

NORMAN: Never mind how you look, listen
to me. I got shanghaied away. Location.

I tried, believe me, I tried...

[CAR HORN HONKING]

Get away from that car! I'm gonna
beat your brains out when I get down!

Get away!

ESTHER:
Oh, this is so awful.

NORMAN:
You could stand a good dinner.

ESTHER: I could, and in a place
with tablecloths too.

NORMAN:
What about a drive to the beach?

We could stop off for a hamburger
on the way and then have a late supper.

[ESTHER LAUGHING]

What's the matter? What is it, Esther?

- What's the matter?
ESTHER: Nothing.

It's the nose. The nose is the problem.

- Maybe a corrective in the nostril.
-No.

- Could I--?
-Please, little lady, Mr. Ettinger's thinking.

It's 6:00 in the morning.
Just about time for one of his miracles.

[MEN CHATTERING]

Do you think maybe...?

Do you think maybe
the Dietrich eyebrows?

ETTINGER:
No. The nose is still the problem.

MAN 1: Suppose we try the Crawford
mouth. Take attention away from the nose.

ETTINGER:
No. No.

MAN 2:
Do you think maybe a hairjob?

ETTINGER:
Yes.

I think that'd be fine.

Mr. Maine.

- Sorry, I'm late for an appointment.
-But--

- Catch me in the commissary later.
-Mr. Maine.

Oh, no.

No.

What's the matter with it?

[LAUGHING]

I don't think that's very nice.
Go ahead, laugh your head off.

I've been sitting in that chair
since 6:00 this morning.

You sat an hour too long, honey.

Come on.

Now, sit down in that chair.

ESTHER:
Here?

Well, first things first.

Now, what else is there?

Is that you?

Off it comes.

Now, wait, don't-- Don't-- Don't...

My nose is very bad.

Now, take every bit of that junk
off your face.

But my eyes are all wrong
and my ears are too big and...

...I've got no chin.

I know.

Come on, take it off.

Then put on your eyebrows and lipstick
the way you always do and I'll do the rest.

Come on, you've gotta be made up
and ready to shoot that test by 9:00.

- But, Mr. Maine--
-I think at this critical moment...

...you might call me Norman.

Norman, what difference does it make
how well I sing if my face is so awful?

Your face is just dandy.

[LAUGHING]

Now, wipe it off.

Once more unto the breach, dear friends.

Once more.

Hey, you're shivering.
Let me get you something to...

Here, put this around you.

Norman, I've got the willies.

I'm scared stiff.

I don't think I could sing a note.

Nothing would come out.

Of course you're scared. We all are.
What makes you think you wouldn't be?

Look, forget the camera.

It's the Downbeat Club
at 3:00 in the morning...

...and you're singing for yourself
and for the band.

Mainly for yourself, the way I heard you.

Just keep that picture in your mind.

And if that doesn't do it, think of
a man in a car eating a nut burger.

[LAUGHING]

That did it. Come on.

- Miss Markham?
-Yes?

I was told to see you.
I'm Esther Blodgett.

Oh, yes? I expected a blond.

I don't know why.

- You've just signed a contract with us?
-Yes, I have.

- Good. Good. Glad to have you with us.
-Thank you.

We'll have to get
what you've done so far.

- Where you came from and so forth.
-I brought my scrapbook with me.

- And I thought that maybe--
-Thanks, dear. Very nice.

I'll have to turn you over
to Miss Fusselow of Fashions.

This layout has got to get out
to three magazines.

- Come along, dear. Come along.
-Yes, ma'am.

- Glad to have you with us.
ESTHER: Thank you.

MARKHAM:
Nora?

Take care of this for me, will you?
New contract player. Norman Maine.

- Hello, honey, nice to have you with us.
-Hello.

Soon as I get some background on you,
I must do a fashion style.

- Well, I brought a scrapbook--
-Oh, not now, dear.

I've gotta get these dresses
right down to Photo.

Come along, honey.

All right.

I'll tell you what to do, honey.
Why don't you go in and see Mr. Libby?

- Mr. Libby?
-His office is right over there.

He's head of the department.

- Glad to have you with us.
-Thank you.

MAN:
Your hand a little higher. That's good.

- Get out of the way.
-Oh, say--

- Would you get out of the way?
-Yes, I'm--

- Just get out of the way.
-Please excuse--

Leave them alone. They're all right.
That's all right. Out of the way.

- Yes.
MAN: Would you lie back?

Let's take this picture.
Raise your hand...

Mr. Libby?

- I'm Esther Blodgett.
-Uh-huh.

- Uh, Miss Fusselow--
-Glad to have you with us.

Well, it certainly is a thrill to be here.

I brought my scrapbook along in case--

Care to say hello to the big boss?
That's the usual procedure.

- Come, I'll take you to him.
-Fine.

May be the only chance
you get to meet him.

What's the matter?
You afraid of heights?

No, no. I--

[MUSIC PLAYING ON FILM]

[GUNFIRE ON FILM]

- Mr. Niles.
OLIVER: Libby'?

- I'm running a picture.
-You ought to meet this lady.

She just signed a contract.

The one that Mr. Maine
arranged the test for, you remember?

Oh, yes. Yes, of course.

Nice to see you, dear.

Glad to have you with us.

Well, it's a thrill to be here.

Show Miss... How to get out of here.

Good luck to you, dear.

Take care of yourself.

- Oh, Mr. Libby?
-What?

- What do I do next?
-Well, the gate's right down there.

- What did you say your name was again?
-Esther Blodgett.

- What?
-Esther Blodgett.

Well, we'll have to do something about
that right away. Don't worry about it.

We'll have a new name for you
by the end of the week.

MAN 1: Paul, will you swing your arc
over here, please?

That's good. Hold it.

- George.
-Can we make it?

MAN 2:
All ready, sir.

DIRECTOR: Get the girl.
-Yes, sir.

- George?
MAN 2: Oh, Esther.

- Pull that one down a couple of turns.
MAN 2: Esther.

Esther. Waiting for you on the set.

Okay, boys, let's go. Everybody works.

- Right up there. Up the steps.
-Okay.

Stand by, everybody.

All right, sir.

- Now, you know what I want.
-Yes.

Put your arm out the window like this
and you wave goodbye.

- Give it everything you've got.
-All right.

- Okay, get over there.
-Okay.

- All right, let's take a try at it.
MAN 1: Here we go. Hit your lights.

Hit your wind.

Hit your snow.

Hit your steam.

Roll them.

Speed. Action.

- We're getting her face.
-Cut.

- Hold it.
DIRECTOR: We saw her face.

MAN 2:
We saw your face.

- We saw her face.
-We saw your face.

- We saw your face.
-I'm sorry.

DIRECTOR: Watch it, Esther.
-I will.

DIRECTOR: Let's try it again.
MAN 2: Watch it.

- I will.
-Now, be careful this time.

Just the arm and the hand.

- I don't want to see your face.
-I'm sorry.

- Let's try it again.
MAN 2: Hit everything.

DIRECTOR: Come on.
MAN 3: Speed.

DIRECTOR:
Action.

Esther Blodgett, please.

Go to L.

- What?
-Go to L.

- Now--
-Go to window marked L.

You're listed under L.

Oh. Thank you.

- Esther Blodgett, please.
-New here?

- Yes.
-Just a moment.

Okay. Your name is Vicki Lester.

- What?
-Your name is Vicki Lester.

Vicki Lester. V-I-C-K-I L-E-S-T-E-R.
Get it?

Move on, please.

Oh, yes. Thank you.

Vicki Lester?

Vicki Lester.

Vicki Lester.

RAUGHS]

Why couldn't you come over to my office
to see me, Norman?

What's so hush-hush
that you have to drag me down here?

Every time I lie down on this sofa,
I get stabbed in the back.

- Well, what do you want?
-That's what I wanna talk to you about.

Come, I want you to sit in this chair.
The place gives me the creeps.

- What's with you?
-Hasn't been decorated in centuries. Sit.

Now, isn't that the most
uncomfortable chair you ever sat in?

Don't I deserve a dressing room...

...that's cheerful, modern, safe?
-You got me down here to talk about this?

[ESTHER SINGING IN DISTANCE]

When I give an interview,
I feel ashamed.

I have a whole studio sitting on me
and you get me down here for this?

- Don't you feel ashamed?
-Don't you realize...

...I have a production shut down
in the middle of shooting?

That's what you got me away from.

I'm being stabbed by a singer
in New York, not just a sofa.

You had to stop because you couldn't
get her here. What are you gonna do?

I don't know. I don't know
what I'm going to do except go crazy.

That woman, she swore
her contract was up for the show.

Our lawyers are talking about it
to New York this afternoon.

Why do they have to play that stuff
soloud?

You better leave it open, Oliver,
we'll be suffocated.

ESTHER [SINGING]:
--crazy game

What is it, anyway?

It's just somebody running some tests.

I can hardly hear myself think.

I suppose there's nobody around here.

- What?
-You'd think there'd be somebody here...

...you could take a chance on, rather than
close down a picture, things being tough.

Who, for instance? Name someone.

--Be the same

I don't know, Oliver.

New actors.

You think all there is to running a studio
is pressing buttons.

It's not quite that easy, believe me.

--Every trick of his

Say, who is that singing, anyway?

It must be one of the contract girls.

Not bad.

No.

And where's he gone to?

Not bad.

The road gets rougher

It's lonelier and tougher

Not bad at all.

--You burn up

Tomorrow he will turn up

There's just no letup

A light begins to break. Very dumb of me.

All right, I get it.

A little late, that's all.

Is she still around?

Indeed, indeed.

Esther?

[PIANO PLAYING]

Very good. Thanks, Esther.
Except right down here, I think--

I shouldn't go that far.

MAN: Well, use our hands.
Fine, let's all do it again. Ready?

NORMAN: I've been through this
a hundred times, Esther.

My own previews
as well as other people's.

And the thing to remember
about a preview...

...is first and foremost,
pay absolutely no attention...

...to the sights and sounds
going on around you.

If the picture before the preview
is a stinker...

...then your picture
gets off to a good start, but...

Anyway, they always go out
for fresh popcorn...

...so that the first few reels always sound
like the Marines landing on lwo Jima.

- And the thing to do--
ESTHER: Norman?

NORMAN:
Yes?

ESTHER:
Would you stop the car, please?

NORMAN:
Are you all right?

ESTHER:
Fine. I wish I was dead.

Come on.

- We're in luck, Esther. We're in luck.
-Why? Did the theater burn down?

NORMAN: That picture of mine is so bad,
anything they see after will seem great.

[ESTHER LAUGHS NERVOUSLY]

You're starting lucky.

ESTHER [SINGING ON FILM]:
Swanee, how I love ya

How I love ya
My dear old Swanee

The folks up north will see me no more

When I get to that Swanee shore

Thank you. Thank you very much.

I can't express it any other way.

For, with this awful trembling
in my heart...

...I just can't find another thing to say.

I'm happy that you liked the show.

I'm grateful you liked me.

And I'm sure to you,
the tribute seemed quite right.

But if you knew of all the years

Of hopes and dreams and tears

You'd know it didn't happen

Overnight

Overnight.

I was born in a trunk

In the Princess Theater

In Pocatello, Idaho

It was during the matinee on Friday

And they used a makeup towel

For my didee

When I first saw the light

It was pink and amber

Corning from the footlights

On the stage

When my dad carried me out there

To say hello

They tell me
That I stopped the show

So I grew up in a crazy world
Of dressing rooms

And hotel rooms and waiting rooms

And rooms behind the scenes

And I can't forget the endless rows

Of sleepless nights and eatless nights

And nights without a nickel

In my jeans

But it's all in the game

And the way you play it

And you've gotta play the game, you know

When you're born in a trunk

At the Princess Theater

In Pocatello

Idaho

At first I just stood
And watched from the wings

That's all my mom and dad would allow

But as I got older
I got a little bolder

And snuck out for their second bow

They kept me in the act
Because they needed me to milk applause

Until one night
They did a crazy thing

They left me out there all alone

Mama said,
"You're on your own"

And Papa shouted,
"This is it kid, sing"

I'll get by

As long as I

Have you

Though there be rain

And darkness too

I'll not complain

I'll see it through

I learned very quickly
The tricks of the trade

I practiced after everyone was gone

And with the tricks
I learned traditions

And the hardest one of all

ls no matter what

The show must go on

As time went by
I looked for jobs

And was kicked from pillar to post

I haunted all the agents' offices

And I almost ended up a ghost

I'm a sentimental sap
That's all

What's the use of trying not to fall

I have no will
You made your kill

'Cause you took advantage of me

No.

I'm just like an apple on the bough

And you're gonna
Shake me down somehow

So, what's the use
You cooked my goose

'Cause you took advantage of me

No.

I'm so hot and bothered
That I don't know

My elbow from my ear

Suffer something awful each time you go

But much worse when you're near

Here am I with all my bridges burned

Just a babe in arms
Where you're concerned

So lock the doors
Call me yours

'Cause you took advantage of me

Yes.

No.

So I got into a tap show

All I did was kick my feet

You'd hardly call it a chance to sing

But at least it was a chance to eat

They call it black bottom

A new twister

But sure got him
An old sister

They clap their hands
And do the raggedy trot

Hot
Ooh!

Old fellows with lumbago

And young fellows, away they go

They jump right in
And give it all that they've got

Then one night something happened.

Dame fortune showed her face.

The star got sick
and I was told to go on in her place.

But she recovered.

Oh, Well.

Black bottom
A new rhythm

When you spot 'em
You go with 'em

And do that
Black, black, black, black bottom

You won't be blue
When you have got 'em

If you do that
Black, black, black, black bottom all day

But finally I got an offer
To sing in New York

And I wired, "I'm on my way"

I had visions that this would be
A fabulous, famous cafe

Filled with high society
Elegance and spruce

And I pictured me
The epitome

Of a very chic chanteuse

Peanuts

Through every city, town
And country lane

You'll hear him sing
His plaintive little strain

And as he goes by
To you he'll say

Sing "Melancholy Baby."

Peanuts

The little children like to trail along

They like to hear
The peanut vendor's song

They all laugh with glee
When he will say

- Sing "Melancholy Baby."
-"Melancholy Baby."

Come to me

My melancholy

Baby

Cuddle up

And don't be blue

All your fears are foolish fancy

[CHATTERING]

Shh.

Maybe

You know, dear

That I'm in love with you

Every cloud must have

A silver lining

Wait

Until the sun shines through

Smile, my honey dear

While I kiss away

Each tear

Or else I shall be

Melancholy

Too

My benefactor appeared with his card.

And at first, I thought he was fresh.

Fresh?

He was fresh from heaven
All right

He produced the show
That gave me the chance

To sing for you tonight

Swanee, how I love ya

How I love ya
My dear old Swanee

I'd give the world to be

Among the folks in

D-I-X-I-Even now my mammy's
Waitin' for me

Prayin' for me
Down by the Swanee

The folks up north will see me no more

When I get to that Swanee shore

Swanee

Swanee

I'm coming back to Swanee

Mammy

Mammy

I love the old folks at home

I love ya, Swanee

How I love ya
How I love ya

My dear old Swanee

I'd give the world if I could only be

Sittin' on my mammy's knee

I love the old folks
I love the young folks

Oh, my honey lamb
You love 'em all in Alabamy

Mammy

Mammy

My dear old mammy

Your wanderin' child
Will wander no more

When I get to that Swanee

Shore

So I can't quite be called

Overnight sensation

For it started many years ago

When I was born in a trunk

In the Princess Theater

In Pocatello

Idaho

[CHATTERING]

- Wait, wait.
-Oliver. Oliver.

What about Vicki
for the Morgan script?

MAN 1:
Starts shooting next week.

Where's Norman?

MAN 2: Vicki, I want you to read
this script because...

- Vicki.
-Oliver...

Thank you.

Is nobody buying anybody a drink
on the strength of all this success?

I heard a few comments about my film
which makes me feel the need of one.

- Vicki, we'll see you over at my house.
-All right. All right, fine.

Ray. Hey, your score was
out of this world, the greatest.

Say, I've never seen preview cards
like this in my life.

I waited for the breakdown.

Ninety-seven percent say
you got yourself a new star.

Read these, gentlemen,
and enjoy yourselves.

I'll need a lot of stuff on you, Vicki.
Be in my office tomorrow morning.

- That is, if you can make it.
MAN 1: Now, here. Here, this is just...

MAN 2:
Read this part.

LIBBY: This is what I was telling you about.
This is very interesting.

They all say her performance was excellent.
Get a load of these. See?

Every one says the same thing.

It's all yours, Esther.

And I don't mean just the Cadillacs
and the swimming pools.

It's all yours.

In more ways than one.

Ihopenn

Yes, Norman, go ahead.
Say what you... Would you?

You're gonna be a great star.
Don't let that change you too much.

Don't let it take over your life.

You're very dear.

Norman, you make this sound
like the end of something...

...instead of the beginning.
You make it sound like goodbye.

I've done all I can for you.

You've come along the road with me
as far as you should.

Let's leave it that way.

Norman, don't you know
how I feel about you?

Yes. Yes, I do.

Don't you know nothing about you
could make any difference?

-It's too late.
-No, it isn't. It is not--

It is, I tell you.

- Norman, there's nothing you can--
-Listen to me--

- I love you. I will not--
-I destroy everything I touch. I always have.

- No.
-Forget me, I'm a bad lot.

You've come too late.

I don't believe that.

It's not too late.
Not for you, not for me.

Don't say that, Esther.

I might begin to believe it.

Please, believe it. Believe it.

Believe it. Believe it.

[ORCHESTRA TUNING]

- I think they're all rehearsed.
-Fine, Jeff.

- We're ready whenever you are.
MAN: Okay.

[SINGING]
What am I here for?

It's time you knew

Here's what I'm here for

I'm here for you

Can you forgive me?

Am I too late?

All the years that I wandered

And pondered were squandered

My heart insisted

I seek you out

That you existed

My heart had no doubt

To share a journey

That leads to heaven's door

You'll find is what I'm here

For

CHORUS".
What am I here for?

It's time you knew

Here's what I'm here for

I'm here for you

Can you forgive me?

Am I too late?

All the years that I wandered

And pondered were squandered

My heart insisted

I seek you out

That you existed

My heart had no doubt

MAN 1:
Cut. That's it. Wonderful.

MAN 2: Maestro, very good.
Esther, listen to this one.

Come on.

Okay, let's have the playback.

Just the last eight.
I want the chorus arrangement.

MAN 3: Take a smoke, boys.
MAN 1: My, it sounded really good.

Sounded real good.

ESTHER [SINGING ON RECORDING]: My heart had no doubt

To share a journey

That leads to heaven's door

You'll find is what I'm here

For

CHORUS".
What am I here for?

ESTHER: How'd I sound?
NORMAN: Just adequate.

ESTHER". Best-friend-severest-critic
department, huh?

What is this?

Listen to the arrangement Danny made.

- Oh, come on.
-Turn it off.

NORMAN:
I wasn't listening.

I was thinking about another kind
of arrangement.

ESTHER".
Another kind?

NORMAN:
Uh-huh. Domestic. Will you marry me?

ESTHER:
No, thank you.

[SINGING]
And I wandered and pondered--

NORMAN".
Why not?

ESTHER".
Well, you're irresponsible.

Oh, I'm sorry.

NORMAN". Go ahead. Stop that.
-Get out oi here.

What else?

ESTHER [SINGING]:
You drink too much

NORMAN".
Suppose I quit drinking?

Suppose I become absolutely
dependable on all occasions?

ESTHER". You wouldn't be Norman Maine.
I'd be marrying the wrong man.

MAN: Quiet.
ESTHER: Norman.

NORMAN:
Yes?

ESTHER". Darling, would you do all that
for me if I said I'd marry you?

NORMAN". No. I've had a chance to think it
over with all that humming and singing.

It's too much to ask.

You see?

Well, goodbye. Goodbye, everyone.

Oh, now, wait a minute, my boy.
That's much too public a proposal...

...for me to say no to. I accept.

- You do?
-Yes, I do.

NORMAN:
Oliver, we're gonna get married.

I guess I didn't read that line right.
I'll try again.

We're going to get married.

- Both of us.
-To each other. What do you think of that?

What's the matter?

He's trying to decide
if it's good for the studio.

Well, is it?

- It is. My blessings.
-Thank you.

A little unsteady, but thank you.

LIBBY: Congratulations.
-Thank you, Libby.

How long a honeymoon
are you going to give us?

OLIVER:
Now, let's see.

I'll want you back by the ninth.

No, make it the tenth.

Now, don't let your heart run away
with your head.

I'll have to call Production and see how
long I can stall off Vicki's wardrobe tests.

While you're settling the details, is it
all right if I go out and buy the lady a ring?

Sure, we want everything legal.

- Thank you.
-Bye.

Bye, Oliver.

ESTHER: Goodbye, Libby.
NORMAN: Bye. Bye, Libby.

- Congratulations.
-Thank you very much.

That was quite a decision
you made just now, Oliver.

Decision?

Letting that girl walk into a booby trap.

Vicki's business is her own.

Is it?

She's the hottest piece of property
the studio has right now.

This might make the difference
to Norman.

This might be it.

Any bets?

Well, I better start the wheels grinding.

A front-page splash on the wedding
would help his slipping box office.

Hello, this is Matt Libby.
Get me my office.

MARKHAM: Mr. Libby's office.
- Hello. Hello, Markham?

- Yes, Mr. Libby.
- Lester and Maine are getting married.

Yeah, yeah, yeah.
Now, look, I want all stops pulled.

Full coverage, every department.
The wedding to end all weddings.

- Yes, sir.
-All right. Now, see if you can get...

...the mayor to close school that afternoon.
I'll get you the date.

Get newsreel and television coverage
started right away.

Yeah. Get all traffic routed out of Beverly
Hills for two miles each side of the church.

Which one?

The big one. And tell the Life, the TIME,
the AP and the UP boys...

...that I'll set up restricted coverage
with each one of them, personally.

Yeah. The bleachers and everything.
The full treatment.

MAN: Now, if any man can show just cause
why these two...

...may not be lawfully joined together,
let him now speak or else hereafter...

...forever hold his peace.

Do you, Ernest Sidney Gubbins,
take this woman for your wedded wife?

I do.

MAN: Will you love, comfort, honor
and keep her in sickness and in health...

...as long as you both shall live?

I Will.

Do you, Esther Blodgett,
take this man for your wedded husband?

- I do.
MAN: Will you obey, serve, love, honor...

...and keep him in sickness and in health
as long as you both shall live?

- I will.
-Now, place the ring on her finger.

By virtue of the powers vested in me...

...as justice of peace
of San Verdo township...

...county of Los Angeles,
I pronounce you man and wife.

- Good luck.
-Hooray!

I must exercise my prerogatives of office.

I wish you all the happiness, miss.

Thank you so much.

Same to you.

- And now, if you'll just sign this.
-Oh, yes.

You know, I'd swear
I'd seen you before, Mrs. Gubbins.

Oh, really?

Well, I think this is the first time
I've ever been in San Verdo.

You know, your face looks familiar too,
Mr. Gubbins.

- Thank you very much.
-Thank you.

Thank you.

Here's your receipt.

- Goodbye.
-Oh, goodbye.

- Bye.
-Bye.

- Here.
-Thank you.

- I think we got by with it.
-It was close.

That J.P. was just beginning
to remember us.

At least we got away from Libby.

NORMAN:
Libby doesn't even know we left town.

DANNY:
All the luck.

Well, if you'll be kind enough to glance
between my shoulder blades...

...Mr. and Mrs. Gubbins...

...you'll find there a knife,
on its handle are your initials.

- Oh, now, don't be angry.
-it's been delightful seeing you.

LIBBY: Wait! Wait a minute!
ESTHER: Goodbye!

- I've got--
-Bye.

Well, I wish them joy.

Wait till they see the press.
It won't be so funny.

- They've a right to get married quietly.
-No, they haven't. He knows better.

Mr. Public Nuisance could stand
some decent publicity for a change.

I've spent ten years covering up for him.

Killing bad stories, sucking up
to columnists to smooth away his insults.

Who do you think they'll blame for not
letting them cover this today? Him? No. Me.

I'll lookjust like a fool.

Double-crossed by a cruddy actor.

Well, he needs this, believe me,
more than I do.

0K8)'-

Just wait your turn, I always say.

What do you always say, McGuire?

Ooh.

Well, the first thing to do, I think...

...is to go and wash your face.
It's quite dirty.

I know my face is dirty. But you didn't
want anybody to recognize us, did you?

NORMAN:
No, that's right.

But you can unmask now.

I paid my $2, I wanna see what I got.
There it is.

Nice.

Oh. Heh.

[MUSIC PLAYING]

MAN [ON RADIO]:
And now, folks, Vicki Lester...

...singing the title song
from her new picture It's a New World.

This is the number one tune
of the hit parade...

...and the number one favorite
on the jukeboxes all over the country.

Vicki Lester, "it's a New World."

Well, there it is, Esther.

You've got it,
just the way you dreamed it.

No, I've got more.

Much more.

H9)'-

That's for ordinary folks
who have to turn on the radio...

...and put a nickel in the jukebox.
I've got a private copyright of my own.

Including the Scandinavian.

I've got the built-in original right
in the house, every time I want to hear it.

And I want it now.

No, you don't.

To kind of celebrate.

All right.

[SINGING]
How wonderful that I'm beholding

A never-never land unfolding

Where we polish up the stars

And mountains we move

In a life where all the pleasures

We will prove

It's a new world I see

A new world for me

The tears have rolled off my cheek

And fears fade away

Every time you speak

A new world

Though we're in a tiny room

What a vision of joy

And blossom and bloom

A newfound promise

One that will last

So I'm holding on

And I'm holding fast

You've brought

A new world to me

And that it'll always

Always

Be

NORMAN:
Well, I've been preparing them.

You have?
Do you want to see your picture?

- I'd like to.
-Why don't you go and get a good seat?

- They want to see the black and white.
-Oh, all right, fine.

- Now, listen to this--
-Oh, hello.

- Would you like to see a movie?
-Wonderful.

We're going to run one.
We feel so classy with a projector.

NORMAN: You have to put up with
this sort of thing.

- Yeah, can I get you a drink?
-I'm fine, thanks.

All right.

[MUSIC PLAYING ON FILM]

MAN: Stunts and speed
mark the National Air Show.

Vampire jets of the Royal Canadian
Air Force flash overhead.

Marilyn Rich, the helicopter girl,
does her stuff...

...from one of the highest perches
ever used by an acrobat. And no net.

Now U.S. jets zoom overhead.

Watch them burst apart like a fountain.

Red Grant is the outdoor type.

He prefers to do his flying
on the wing despite a 30-mile wind...

Traitor.

There's a fight on I wanted to catch a bit of.
I've seen the picture anyway.

Why didn't you say something?
We could've run something else.

That doesn't matter.
It's a good picture. You'll all enjoy it.

Go on back, Norman,
I think the newsreel's over.

Are you feeling all right?
You haven't said a word the whole evening.

Sure, I'm all right.
Just one of my silent evenings.

Go ahead, you'll miss the beginning.

There's no hurry.
These credits will run forever.

I thought you were the one
who never took the studio home with you.

This is different. I'm not at home.

Has this got anything to do with me?
What you're worrying about?

Well, has it?

I'll tell you all about it at the studio
on Monday. Have lunch with me.

How about telling me now?

This isn't the time or the place, Norman.
You have guests inside--

Oliver, we've known each other too long
to start playing games with each other.

What's sticking in your throat
that you can't tell me?

The New York boys have been out here
for the past week.

- They want me to take a salary cut?
-No, Norman.

Well, I guess the only way to say it,
is to say it.

They've instructed me to buy up
the rest of your contract.

Pay you off.

Pay me off?

Why? My last two pictures haven't
grossed as big as they used to...

...but neither has anybody else's.

- They know that.
-Well, what is it, then?

Can you take it?

Go ahead.

They can't afford you anymore, Norman.
You're too big a risk.

Those big, fat lush days when a star
could get drunk and disappear...

...and hold up production
for two weeks are over.

Even if you hadn't slipped a little,
they still wouldn't take the chance.

Your record's too bad.

No one can afford it anymore.
Things are too tough.

I tried, Norman.

I tried very hard.

I see.

Well, don't look so miserable, Oliver.
There are other studios, you know.

Only bad thing is
I shan't be working for you anymore.

Well, we had a long roll of the dice,
didn't we, Oliver?

Can't complain now.

Hey, by the way...

...can you keep this under wraps
for a while?

- I'd like to tell Esther about it my own way.
-Of course.

Have you seen this, Oliver?

Well, I've certainly picked a fine time
to build myself a big new house, didn't I?

You know, Oliver, I sometimes think I was
born with a genius, an absolute genius...

...for doing the wrong thing.

"Since Mr. Maine feels that his career
will be benefited by a change...

...uh, we do not wish to stand
in his way," unquote.

When contacted, the star said that
he would announce his future plans...

...at a later date.

The wheel goes round and round...

...and if you just wait long enough...

...it's finally your turn.

Don't take that down, Miss Wilier,
I was just talking to myself.

- Sorry.
-That's all right.

I'm in the mood where you can make
more than your usual quota of mistakes.

Read that whole thing back to me,
will you?

WILLER: "Oliver Niles Studio announced
this morning that it has granted...

...Norman Maine's request
for a cancellation of his contract.

'This step was taken with deep regret,'
said Mr. Niles, 'and marks the end...

...of a long and happy relationship.'

But since Mr. Maine feels that his career
will be benefited by a change..."

[PHONE RINGING]

[MAN SPEAKING INDISTINCTLY
OVER PHONE]

Yes. This is Malibu 2-9010.

MAN: ls Miss Lester there, please?
- No, she isn't.

- Who's this? The but/er?
- No, this isn't the butler.

Oh, is that you, Norman?
This is Artie Carver. How are you?

Say, as long as I've got you on the phone,
anything new with you?

Have you made a deal
at any other studio yet?

No, nothing new with me at all, Artie.

Say, Norman, is it true that you're trying
to get Vicki to leave the studio...

...because you're sore at Niles
for settling your contract?

No, it isn't true.
And don't you start that rumor going.

Okay, Norman, don't get sore.
I was just trying to help.

Just trying to get your name
in the papers, that's all.

Anyway, what I called you for was
I've been trying to get an interview...

...with Vicki for two weeks
and she's always busy.

How about you giving an old pal a break
and speaking to her for me?

Sure, I'll ask her, Artie.

Fine. Fine.

Norman, I'm gonna put a squib
in the column...

...saying that you're cooking up
anindependentdeaL

Won't fool anybody, but let them
know you're alive. Bye, now.

Bye.

[CAR APPROACHING]

[CAR DOOR CLOSES]

Hi.

[LAUGHING]

- I'm sorry to be so late.
-it's all right.

You're here now.

- Did you go fishing with Captain Blythe?
-No, I haven't been out of the house.

- No? Then let's go out someplace tonight.
-But you're tired.

- No.
-Let's stay in. You must be tired.

I'm not a bit tired. Really, I'm not.

- And anyway...
-What?

I see so little of you
that I'd rather have you to myself.

I didn't even get out
of my practice costume.

Oh, Norman, it's the servants' night out.
I don't think we've got--

Oh, yes, we have. I fixed a little snack
with my own lily-white hands.

What?

I'm learning to cook in my spare time.

Well, then I think I'll marry you.

I get it. You wanna make
an honest cook of me.

My goodness.

How does it look?

- It looks wonderful.
-That's what I thought.

- Sit down, sit down.
-All right.

Don't be formal, just pitch in.

[ESTHER LAUGHING]

I don't think my mouth is big enough.

I'll measure it.
Make the sandwiches to size next time.

I think I'll take the measurements
right now.

That's what I wait for all day.

ESTHER: That's why I rush home every
night without even changing my costume.

We're forgetting we're hungry.

- Milk?
-Yes, thank you.

Cheers.

Well, what went on at the studio today,
the old alma mater?

Well, we started doing
the big production number today.

And this is the production number
to end all production numbers.

- An American In Paris?
-An American In Paris.

And in Spain and--

- Brazil?
-Brazil, yes.

- And Pakistan.
-Pakistan and Burma Road.

-It's got sex and schmaltz and--
-And patriotism.

Patriotism without end. You should see
the things that come out of the ground...

...and that come down from the ceiling.
Never seen anything like it in your life.

Wait a minute. Wait. Here, I'll put
the practice record on and show you.

[MUSIC PLAYING]

Lights.

Camera.

Action.

I'm discovered sitting
on a rather simple divan.

[SINGING]
Somewhere there's a someone

Who's the someone for me

Someday there will come one

And my lover he will be

Somehow I shall know him

From the moment he's in view

And he'll know affection

He's never known hitherto

Now we have a stunning shot
with a clock.

I pay no mind to the waiting

Let the clock ticktock away

The dream I'm contemplating

- Will be here to stay
- Oop!

Oh, somewhere in the sometime

When the humdrum--

You know,
I got pretty girlish in this number.

With that someone

I'll be someone at last

Now here comes a big, fat close-up.

With my someone

I'll be someone

At last

- Not a harp.
-There's always a harp...

...in a dream sequence, don't be silly.

[CHOIR SINGING ON RECORDING]

- The heavenly choir?
-Yeah, 20 girls just came up...

...out of the floor.
And there's smoke all over the room.

CHORUS:
Where there's a someone

Somewhere there's a someone

Somewhere, someone

Somewhere there's a someone

I'm discovered on top of the Eiffel Tower.

Of course.

[IN FRENCH ACCENT]
This is the story of a little girl.

Searching, searching, searching.

For she knows somewhere...

...is a someone who is a someone
for her.

This is her story.

Somewhere is a sometime

When the humdrum days have passed

With my someone

I'll be someone at last

With my someone

I'll be someone

At last

[IN NORMAL VOICE]
They discover me in China too.

Somewhere she will find him somewhere

Somewhere she will find him

Nowhere

Africa.

[MEN GRUNTING ON RECORDING]

Someone

Somewhere

There's a someone somewhere

Someone, somewhere

- Brazil, I told you.
-Right. Brazil it is.

Shoot.

Bing. Boom.

You're dead.

CHORUS:
Somewhere there's a someone

Somewhere there's a someone

There's a someone waiting for me

[DOORBELL BUZZING]

NORMAN:
That's the doorbell.

ESTHER:
Maybe they'll go away.

NORMAN:
They never do at a time like this.

[BUZZING CONTINUES]

ESTHER:
Don't answer it.

[BOTH LAUGHING]

Darling, it's so good
to hear you laughing.

NORMAN:
I know, I know.

I'd better. Might be a cable.

I sent one to Alex Korda
about a picture in England.

I've been expecting an answer.

Maybe things are looking up.

Vicki Lester live here?
I got a package for her.

- I'll sign for it.
- Who are you?

I'm her husband.

Sure. Sign right there, Mr. Lester.

Thank you.

Package for you.

Oh?

By the way,
I forgot to tell you, they want you...

...for the Motion Picture
Relief Fund benefit.

It's in April sometime.
I told them I'd ask you.

- Now, darling--
-No, no, no, let me finish before I forget.

The Academy Award secretary called...

...and wanted to know how many
there'd be in your party.

And Art Carver called and wanted me
to use my influence with you...

...to get him an interview.
I told him I'd try.

That's all.

Well, now that the supper show is over,
let's have some supper, shall we?

I think I shall mix myself a drink.
I'm not very hungry.

No.

[AUDIENCE APPLAUDING]

MAN: My young son asked me
if these Oscars were made of real gold.

I had to be truthful and tell him,
no, they weren't.

He was very disappointed.

And then the pride
of the household said:

"Daddy, why is it called an Oscar?"

"Shut up," I explained.

And then my dear wife
entered the argument...

...with a little lecture
on child psychology.

And it's rather lucky
that I'm here at all tonight.

You don't think anything's happened,
do you?

You know what the traffic's like.
He's been held up, that's all.

MAN: Oh, I wish I could've
made him understand that...

...many of us feel that to win one of them
is ample reward for an entire career.

I know I do.

Thank you.

Now, to present this year's award
for the Best Actress--

Stop worrying. Think how nice that
statuette's gonna look on your mantelpiece.

--last year's Academy Award winner,
Mr. Nigel Peters.

Those nominated for
the Best Performance by an Actress are:

Jane Brandon, Those Who Seek.

Vicki Lester, A World For Two.

AYmeTenny, The Great Chance.

Shirley Vander, Don't Cry, My Love.

[MURMURING]

The winner is...

...Miss Vicki Lester.

Oh, I wish Norman were here.

When something like this
happens to you--

I'm not gonna lie to you and tell you
I didn't keep hoping it would happen.

--All the speeches that you've made up
in your bedroom or in the bathtub...

...go out of your mind completely.

And you find that out of all the words
in the world...

...just two stick in your mind:

Thank you.

And all I can do is to say them to you
from my heart and--

[CLAPPING]

And--

PEOPLE:
Shh.

Congratulations, my dear.
I made it just in time, didn't I?

May I borrow the end of your speech
to make a speech of my own?

My method for gaining your attention
may seem a little unconventional, but...

...hard times call for harsh measures.

My, I had my speech all prepared, but l...

It's gone right out of my head.

Let me see.

Why, it's silly to be so formal, isn't it?

I know most of you sitting out there
by your first names, don't I?

I made a lot of money for you, gentlemen,
in my time through the years, haven't I?

Well, I need a job now.

Yeah, that's it, that's the speech.
That's the...

I need a job.

That's what I wanted to say. l...

I need a job.

It's as simple as that. l...

I need a job, that's all.

My talents, I may say,
are not confined to dramatic parts.

I can play comedy too.

Yes.

Well, play something, somebody.

[PEOPLE GASPING]

Norman, darling.

Darling.

Let's sit down. Come on.

Come on.

[BAND PLAYING]

Get me a drink, somebody.

FRANK:
Morning, Vicki.

ESTHER: Hi, Frank.
FRANK: How are you?

ESTHER:
Fine.

FRANK: Ready to go?
-Yeah, any time.

MAN 1:
Hit the lights. Up high. Six and eight.

MAN 2:
Give us the scene. Lee?

MAN 3:
Come over to 103, will you?

Now, drop that door down on main.

MAN 4:
Quiet, now!

- Quiet!
-Roll them!

- Speed!
-Playback! Come on.

MAN 5:
One, two.

[SINGING]
If, as, and when you've got a long face

Rearrange it

Don't be contented with the wrong face

There's a way to change it

[SIMULATED THUNDER CRASHING]

Does the day look painful?

The future glum?

Does the sky look rainful?

Hey there
Say there

Are you in a vacuum?

All this stuff and nonsense

You can overcome

A long face gets you nowhere

You lose that month of May

Like Peter Pan
The sweeter pan

Wins the day

Go lose that long face
That long face

Go along and get that long face lost

The blues black out when they can see

A smile that says
"Move on. No vacancy"

This panacea idea

I'm handing you without any cost

There isn't any tax on it

So just relax on it

If you want trouble double-crossed

Don't give in to a frown

Turn that frown upside down

And get yourself that long face lost

- Hey!
- This panacea idea

I'm handing you without any cost

There isn't any tax on it

So just relax on it

If you want trouble double-crossed

Don't give in to a frown

Turn that frown upside down

And go and get your long face

Get your long face

Go, go, go and get your long face

Lost

MAN 1:
Cut.

Cut. That's it.

Very good, everybody. Very good.
Fine, Vicki, fine.

Take it easy for a bit. We've got to
move in for the closer angle, okay?

- All right.
MAN 2: All right, kids, take five.

- Back to school.
MAN 3: New mark for the camera.

[KNOCKING]

Come in.

ESTHER: Oliver.
OLIVER: Esther.

Hello. It's good to see you again.

Three months is a long time.

- How was your trip?
-Not exactly the pleasure trip it used to be.

They want your pictures, Esther.

That's all I kept hearing
way across the country.

Thanks.

Look, would you mind stopping that
forjust a minute? Excuse me.

- All right.
-Excuse me.

Tough day?

Oh, no, no tougher than usual.

Maybe you ought to get away
after this one. New York or Europe.

Just get completely away.
What about that?

How's Norman?

Is he all right?

Yes, he's fine. Want some coffee?

- Thanks.
-Here.

- Sit down, Oliver.
-Tell me, is he...?

He's in the sanitarium.

He really wants to stop drinking, Oliver.

He's trying very hard. I know he is.

But...

What is it?

What is it that makes him
wanna destroy himself?

You've known him longer
than anyone else.

Tell me what it is.

Please. I don't care, just tell me.

Don't you think I've tried
through the years to know why?

To help him?

I don't know, Esther.

I don't know what the answer is.

Well, I've got to find the answer.

You don't know what it's like
to watch somebody you love...

...just crumble away, bit by bit...

...and day by day in front of your eyes.

And stand there helpless.

Love isn't enough.

I thought it was.

I thought I was the answer for Norman.

But love isn't enough for him.

And I'm afraid of what's beginning
to happen...

...within me.

Because“.

...sometimes I hate him.

I hate his promises to stop...

...and then the watching and waiting
to see it begin again.

I hate to go home to him at night.

And listen to his lies.

Well, my heart goes out to him
because he tries.

He does try.

But I...

...hate him for failing.

I hate me too.

I hate me...

...because I've failed too.

I have.

I don't know what's going
to happen to us, Oliver.

No matter...

...how much you love somebody...

...how do you live out the days?

How?

Would it help any
if he went back to work?

Oliver, could you--?

Could you do that?

I'll try.

[KNOCKING]

- Yeah, all right. I'll be there.
-Two minutes.

Yes, okay.

Oliver.

You will be careful when you talk to him,
won't you?

You know...

...all he's got left is his pride--
ls his pride.

MAN 1:
Quiet.

- Hurry it up.
MAN 2: Set up for number six.

MAN 3:
Playback.

MAN 2:
Get ready, number six, make that happen.

MAN 1:
Quiet, everybody.

ESTHER [SINGING ON RECORDING]:
--any tax on it

So just relax on it

If you want trouble double-crossed

Don't give in to a frown

- Turn that frown upside down
CHORUS: Hey

And go and get your long face

Get your long face

Go, go, go and get your long face

Lost

- I'm Mr. Niles.
-Oh, yes, come in.

Well, Mr. Niles, we're expecting you.
My name is Harrison.

- How do you do?
-Come into the reception room...

...make yourself comfortable.
Mr. Maine'll be down.

Thank you.

Hello, Oliver.

- Welcome to Liberty Hall.
-Hello, Norman.

Shall we...? Hm.
Shall we go through there?

Sit down.

You don't think someone'll come
strolling in...

...and start telling us he's Napoleon
or Julius Caesar, do you?

No.

Nevertheless, I think we'd find it
a little cozier in the sun porch.

Now, Cuddles, Mr. Niles isn't
slipping me a case of Scotch.

He's just gonna sit with me.

Oliver, this is Cuddles,
my social secretary.

We go everywhere together.

How are you feeling?

Oh, I'm coming along splendidly,
so Cuddles tells me.

He says you ought to see
some of the boys.

Well, let's sit down.

Cuddles, we really don't need you.

Touching, isn't it?
He can't bear to have me out of his sight.

Well, you comfortable here?

Comfortable?
Why, it's positively luxurious.

Why, we even have steel mesh
on the windows to keep the drafts out.

OLIVER: How much longer
do you think you'll be here?

Well, I'm really cured now,
only I'm just staying on...

...an extra week or two
until I get into really good shape.

After all, there isn't any great hurry
to return to the cameras.

That's what I wanna talk to you about.

I have a script here.

It has a fine part for you in it.

Why, that's great, Oliver.

Who plays opposite me?

Well, it isn't exactly the lead, Norman.
Young Pemberton's doing that.

But I'll tell you frankly,
I consider your part better than the lead.

I see. Better than the lead.

Of course, it isn't terribly long. It's one
of those parts that make an impression.

They'll be thinking about you
all through the picture.

Well, the thing is, Oliver,
that I'm pretty well set at another studio.

I'm not at liberty at the moment
to tell you which one.

You know yourself how those things are,
but it's big. Big.

It's-- Cuddles, do you have a quarter?

It's one of the biggest pictures of the year.
As for the part, every actor in Hollywood...

...would give his eyeteeth to play it.
-That's fine, Norman. Just fine.

Naturally, that'll tie you up for a while.

However, we're not getting to this
for some time.

- Perhaps you'd consider it for later on.
-Better not count on me.

I've got several pictures lined up.
They're talking to me about England.

- They're doing some interesting things--
-Hey.

What is it, Cuddles?

- Speak right out. We all love you.
-Your dinner.

Oh, yes.

We dine here at 5:30.
Makes the nights longer.

Well, I'll be toddling along, Norman.

Supposing I just leave this.

Maybe you'll come up with some ideas,
even if you don't play the part.

Oh, sure. Sure.

Nice to see you doing so well, Norman.

NORMAN:
Oh, I shall be out of here in no time.

I shall have to introduce myself
all over again to a lot of people.

They won't know me
when I'm not drinking.

Goodbye, Oliver.

Thanks for dropping in.

All right, Cuddles.

Alone at last.

[BUGLE PLAYING FANFARE]

MAN [OVER SPEAKERS]:
Your attention, please.

In this race, Number 5, La Golondrina,
three pounds over.

The total weight, 112 pounds.

Number 7, Royalty, two pounds over.

The total weight, 114 pounds.

Well, hello, Bert.

Oh, hello, Norman.

- Marian, how are you?
-Fine, fine.

- Hi, Sammy.
-Hello, Norman. How are you?

I think this one.

Yes.

After all, he's never won before.
Give him a chance.

Well...

Your attention, please.
The horses are coming on the track.

Hello, Mr. Maine.
Haven't seen you around in a long time.

No, I've been resting. Ginger ale, please.

Yes, sir. Ginger ale and what?

Ginger ale and ginger ale.

- New leaf?
-A whole new book.

Thanks.

Scotch.

Hello, Libby.
Haven't seen you in a long time.

- What do you like in the third race?
-Well, it's Mr. America of Yesteryear.

Do they let you wander around now
without a keeper?

Oh, I'm a trusty, now.

I suppose you'll be here all the time
now that you've retired...

...from the hurly-burly of the silver screen.
Another Scotch.

We're staying down at Malibu now
and it gets pretty lonesome...

...with Esther away working all day.
-I wouldn't squawk if I were you.

It's nice having somebody in the family
making a living.

Hey, go a little slow, Libby.
I don't wanna forget that we're friends.

Friends, my eye.

Listen, I got you out of your jams...

...because it was my job,
not because I was your friend.

I don't like you. I never did like you.

Nothing made me happier than to see
all those little pranks of yours...

...catch up with you
and land you on your face.

Pretty work, Libby. Always wait till
they're down, then kick them.

You got yourself fixed nice
and comfortable, you got no complaint.

You can live off your wife now.

[WOMAN SCREAMS]

MAN 1:
Stand back, folks.

Stand back, folks.
What's the matter with him?

MAN 2:
Are you hurt? Oh, he's all right.

-It's Norman Maine.
-Drunk again.

He's been drunk for years.
Come on, honey, we'll miss the next race.

WOMAN: How does Vicki stand him?
MAN 3: She must feel sorry for him.

MAN 4:
Let's not us get involved.

Scotch.

Double.

Esther, you'll make yourself ill.

Try and get a little sleep.

Four days. He's been gone
for four days now and not a word.

[PHONE RINGING]

I can't.

I can't.

[ESTHER SOBBING]

Hello?

No, this is Oliver Niles speaking.

What?

Oh, thank heaven.

He's all right. He's all right, Esther.
He isn't hurt.

Where?

In the night court? Thank you.

He's been arrested on a drunk charge.

I'll go right down
and try and get him out.

ESTHER:
I'm going with you.

That's no place for you.
If the newspapers get it, it'll be bad--

What do I care about that now?

Were you able to do anything?

The judge says he'll get as fair treatment
as anybody else.

And that's all he'd say.

Cigarettes out. Please rise.

Face the flag of our country.

MAN:
Come on, keep moving.

Line up here.

Come on, come on, line up.

All right, fellows, let's go.
Come on. Right down there.

Hats off, cigarettes out.
Hurry it up, come on.

Come on, hurry up. Come on, come on.
Hurry it up. Single file line, face the judge.

Face the judge. Hurry it up.

Second line right down there.

Single file.

Hurry it up.

Take your hat off.

Hurry it up, fellows.

Take your hat off. Come on, go. Hat off.

Come on. Hurry it up, fellows.

JUDGE: I want to advise you that you're
entitled to be represented by counsel...

...to be confronted
by the witnesses that testify...

...to a public and speedy trial
by the court or by a jury...

...and the right to be admitted to bail.

- Do you understand that?
-Yes.

William Gregory.

MAN: Drunk. Picked up at Fifth
and Towne asleep in the gutter.

Fourteen similar offenses
in the past six months.

How do you plead?

I don't feel so good.

I didn't ask you how you feel.
I said how do you plead?

Guilty, I guess.

When did you get out the last time?

Just before Christmas.

You'll have to miss New Year's,
but you'll be out...

...in time for Washington's birthday.
Sixty days.

Ernest Gubbins.

Gubbins.

MAN: Drunk and disorderly. Crashed car
into tree at Sunset and Coronado.

Evidently been drinking for days.

Resisted arrest and injured
one of the arresting officers.

How do you plead?

Guilty.

Were you Norman Maine, the actor?

Yes.

You've come pretty low, haven't you?

There isn't a man here
that's had the advantages you've had.

And look what you've done with them.

You're nothing but an irresponsible drunk
driving around the streets...

...with the power to inflict death
and injury on innocent people.

I think we'd better deny you that power
for a while. Ninety days in the city jail.

I'm his wife.

I recognize you, Miss Lester.

Please, judge, I promise...

...this will never, never happen again.

I'll be responsible for him.

I Will.

If you'll just not send him there.

JUDGE: Do you realize that this man,
when drunk...

...is obviously a menace
to the public's safety?

Do you realize, too, the responsibility
you'll be assuming in this, to the court...

...and to the people of this city?

I do.

Sentence suspended.
Prisoner remanded to custody of wife.

Thank you.

JUDGE:
Jose Rodriguez.

- I'm so tired, Esther.
MAN 1: All right, folks, hold it.

MAN 2:
Hold it.

MAN 3: One more, please.
-Just a minute.

- He's asleep.
-Good.

He's been sleeping most of the day.

- That's the best thing for him.
-Yes.

He looks so helpless lying there.

Smiling in his sleep, just like a child.

OLIVER: Do you still love him, Esther?
Or do you feel sorry for him?

ESTHER:
Sorry for him?

I don't know what you're talking about.

I love him.

OLIVER:
We'll take care of him together.

ESTHER: You are very fond of him,
aren't you, Oliver?

OLIVER:
I'm very fond of both of you.

ESTHER: Then I know you'll understand
what I have to tell you.

You probably know already,
after what happened last night.

I can't do any more pictures, Oliver.

I'm going away for good.

With Norman.

You're at the very height
of your career, Esther.

The very peak of your success.

There wouldn't be any career
without Norman.

I'm just giving back the gift he gave me.

OLIVER: No one can give anyone a career.
You've made your own.

ESTHER:
No, no.

He gave it to me...

...by his faith and by his love.

And without him, it's just nothing.

Not the way things are.

- You've thought this through?
-Mm-hm.

You're sure you're right?

What'll you do?

Well, we'll go away together.

I'll be with him every moment.

Maybe if I'd had a chance
to be with him more...

...some of these things
wouldn't have happened.

I've got to hang onto that.

I've got to believe that.

And then when he gets better...

...we can work in England or Italy.

Somewhere where they don't know
about him the way they do here.

And he can get a chance to start again.
That's all he needs.

That's what I'm willing to fight for.

To give anything for.

Esther...

...I have to tell you this.

I hate to, but I must.

There's nothing left anymore.

It happened long before last night.
Long before we let him out of the studio.

Twenty years of steady and quiet drinking
do something to a man.

Long before it showed in his face,
it showed in his acting.

Little by little, more and more,
with each picture.

That's why he slipped.

It wasn't just bad pictures, it was him.

And there's nothing left anymore.

He's just the shell of what he once was.
It's gone, Esther.

No. No, Oliver, I don't believe that.
I won't and I can't.

Can you honestly tell me
I'm wrong to do this?

To try? To try?

No, my dear, I can't.
I can't honestly tell you that.

Well, then it's settled.

OLIVER:
It's settled.

I'll arrange it.

Bye, Vicki Lester.

Good luck, Mrs. Norman Maine.

ESTHER:
Goodbye, Oliver. Thank you.

[SOBBING]

[KNOCKING]

Darling.

You're up.

Well, if just being on my feet creates such
a sensation, I shall never lie down again.

- How do you feel?
-Great.

As fit as a fiddle and ready for love.

Why being as fit as a fiddle should make
one ready for love I never understood.

How did they decide
that a fiddle was fit?

[LAUGHING]

Norman, is there anything I can do
for you? ls there anything you want?

Yes. A number of things.

Name them, what?

Well, brace yourself.

- I've decided that we're dreary people.
-Us?

Yes, both of us. I should like to see
some changes around the house.

- When did you decide all this?
-Oh, never mind about that. Just you listen.

In the first place,
I'm going in for the athletic stuff.

The swim before breakfast,
the swim before dinner, the happy mind...

...and a happy body. Beginning now.

Do you wanna come along?

- Must I?
-No. Your part begins when I come out.

I shall want some hot soup
and sandwiches.

All right.

But the thing that I should like more
than anything else...

What?

I'd like some singing around the house.
We used to have it all the time.

Do I still own the copyright?

Yes, including the Scandinavian.

What, do you want it now?

Uh-huh.

0K8)'-

Oh, now, don't be silly.
You go for your swim.

I'll open the kitchen window.
You'll be able to hear me.

- Hey.
-What?

I just wanted to look at you again.

ESTHER [SINGING]: It's a new world I see

A new world for me

The tears have rolled off my cheek

And fears fade away

Every time you speak

A new world

Though we're in a tiny room

What a vision of joy

And blossom and bloom

A newfound promise

One that will last

So I'm holding on

And I'm holding fast

You've brought

A new world

To me

And that it'll always

Always be

[PHONES RINGING]

LIBBY:
Yes, it is tragic. It's very tragic.

It was just an accident, of course.

We had big plans for him.

- He was set for a comeback.
- I'll send this out.

- Right.
-it's for you.

Thank you.

Have Joe take it.

Yes?

Oh, yes, it was very sad.
It was a great personal loss to everybody.

Huh? No exclusive on Miss Lester.
She can't see anybody anyhow.

Is Maury back yet?
Have him come right in, will you, please?

The Herald Express wants a front-page
spread. Get the old stills.

- London calling.
-Yes?

- They insist on talking to you personally.
-Give it to Joe.

Yes. Yes, I can rush you 1500 words.

- Oh, yes, of course it was.
-You want me, Matt?

Yeah. Hold the church service
until I tell you.

Here's all we've got
on the two of them together.

It was right outside the house.
Leave them there.

Okay, pictures of the beach
and the home? Right.

Well, yes.

Yes, it was quite sad.

Thank you very much.

All right, clear out, all of you.
I got a lot of work to do.

Miss Wilier, you stay here.

This is the way the world ends.

Not with a bang, with a whimper.

[ORGAN PLAYING]

WOMAN 1:
There she is!

There's Vicki Lester!

[PEOPLE YELLING INDISTINCTLY]

WOMAN 2: Where'd she go?
WOMAN 3: That's Vicki.

That's Vicki, the one in black.

WOMAN 4: Don't you care, Vicki.
You'll get over this.

MAN:
Turn around, can't you, Vicki?

WOMAN 5:
Yeah. Give us just one look.

[SCREAMS]

Can't I send out anything on her?

Is she gonna start a new picture?
She going away?

Send out nothing. That's an order, Libby.

Till we know.

Until we know what?

Until I can talk to her. Till she'll see me.

She hasn't answered her phone,
even for me, this past week.

- This gonna stay here?
-As long as I'm head of the studio.

You know, Libby, you missed a lot
not knowing Norman Maine.

Not knowing him?
I spent my life knowing him.

I knew what he was gonna do
before he did it.

I knew him backwards.

You didn't know him at all.

He was quite a guy.

Is there anything I can do for you,
madam, before I go to bed?

No, thank you, Chuck.

Good night.

[DOORBELL BUZZING]

CHARLES: Good evening.
DANNY: Hello. Where is she?

CHARLES:
She's in the library. May I have your coat?

DANNY:
No, that's all right. I've got it.

Hello, Danny.

You're not dressed.

- Dressed?
-You're due at that benefit at the Shrine.

Come on, get dressed.

You told them you'd be there.

That was b--

That was before.

I know it was,
but come on and get dressed.

No.

You just gonna sit here forever?

Yes!

Tonight and tomorrow night
and for as long as I like.

I don't want any
of your homemade remedies.

I know what you're trying.

And the best thing you can do for me
is to just leave me alone.

You and everybody else.

And thanks for the sympathy.
I don't want it.

Not from you or anybody.

Sympathy? That's not what you're getting
from me, baby.

You don't deserve it.

You're a great monument
to Norman Maine, you are.

He was a drunk and he wasted his life,
but he loved you.

And he took enormous pride in the one
thing in his life that wasn't a waste, you.

His love for you and your success.

That was the one thing in his life
that wasn't a waste. And he knew it.

Maybe he was wrong to do what he did,
I don't know.

But he didn't want to destroy that,
destroy the only thing he took pride in.

And now you are doing the one thing
he was terrified of, you're wiping it out.

You're tossing aside the one thing
he had left.

You're tossing it right back
into the ocean after him!

You're the only thing that remains
of him now.

And if you just kick it away,
it's like he never existed...

...like there never was a Norman Maine
at all.

Will you wait for me?

[LAUGHING]

WOMAN: Vicki.
-Hi, honey, how are you?

How are you? It's good to see you.

- You look wonderful.
-Thank you.

She looks great, doesn't she? You too.
Darling, we really gotta go.

The next star listed to appear
on your program is Miss Vicki Lester.

But we're all of us aware
of the tragic circumstances...

...which prevent
Vicki Lester's appearance here tonight.

It's with the deepest sympathy--

Will you forgive me for a moment?

Vicki Lester will appear tonight.

[CROWD MURMURING]

Here she is, ladies and gentlemen,
a star that shines bright and high.

As you know, this program is being
broadcast all over the world.

Before you sing for us, I know
that your millions of fans everywhere...

...are hoping you'll say a few words
to them.

- Won't you?
-Yes.

Hello, everybody.

This is...

...Mrs. Norman Maine.

[ENGLISH SDH]