All language subtitles for Gomer Pyle U S M C S05E08 A Star is Not Born 1080p BluRay FLAC2 0 H 264-BTN_track5_[eng]

[marching band plays]

[male announcer] Gomer Pyle - USMC.

Starring Jim Nabors as Gomer Pyle.

Also starring Frank Sutton
as Sergeant Carter.

She sells seashells by the seashore.

- [knock at door]
- Come in.

- She sells seashells by the seashore.
- Hey, Sergeant.

- Pyle.
- Are you about ready?

The studio car will be here
in a few minutes to pick us up.

May, me, my, mo, moo.

- What are you doing, Sergeant?
- I'm loosening up.

Today's the day we shoot the big scene,
so I'm loosening up.

Those are exercises
actors use when they loosen up.

Peter Piper
picked a peck of pickled peppers.

Gosh, that's good, Sergeant.
That's real good.

Nice and loud and clear,
just like a professional actor.

But don't you think
you'd better be practicing the line

- you're going to do in the picture?
- Oh, I got that down perfect.

These difficult lines
are just to get me warmed up.

What is the line
you're going to do, Sergeant?

You want to hear it? Listen to this.

Okay. Let's hear it for Henshaw!

Of course, that's just the line.

I don't know what the director is going
to want me to do while I'm saying it.

He might want me
climbing up a flagpole saying it.

Or he might want me crawling on my belly.

Yeah.

I'm all prepared. I got the line.
All I need is some stuff to do.

I'm sure glad I don't have to do
any lines. I'd be too nervous.

I'm just happy that all I have to do
in the picture is sing.

To each his own.

Okay. Let's hear it for Henshaw!

Okay. Let's hear it for Henshaw!

What are you doing now, Sergeant?

I'm trying to figure out
which is my best side.

When I say my line,
I want him to shoot my best side.

Okay. Let's hear it for Henshaw!

Yeah.

I sure hope the director shoots me
full face. That's my best side.

- Here are the papers you ordered, sir.
- Oh, thanks. How much are they?

Dime a piece. That's $0.20.

You got change for a quarter?

- No, sir.
- That's okay. Keep it.

- Thank you, sir.
- [chuckles]

What kind of newspapers are those,
Sergeant? They're so little.

Well, this is the Daily Variety
and this is the Hollywood Reporter.

They tell you everything
that's going on in show business.

Well, ain't that interesting.
Look at that headline.

"B.O. Gross Tops at Marathon."

- What's that mean?
- What does it mean?

It means exactly what it says.

The top executive at Marathon Studios
is Mr. B.O. Gross.

Really?

Well, further on down here, it says,

"Box office gross receipts
sets a new high."

Yeah. Okay. B.O. Gross.

That's his nickname. Box Office Gross.

I could have never figured that out.
Hey, look, Sergeant.

Here's something about our picture.

"Leathernecks of the Air
starts shooting today."

Let me see that.

Yeah.

"Leathernecks of the Air,
produced by John Fenton.

Directed by Norman Miles.
Starring Dick Link and Larry Fitzgerald.

And filmed with the cooperation
of the United States Marine Corps."

That's us, Pyle. You, me, and the guys.
We're in the papers!

- Golly!
- [phone rings]

Hello. Sergeant Carter here.

Okay. I'll be right down.

Yeah. Pyle is with me.

Come on. Car's out front.

Peter Piper picked a peck
of pickled peppers.

[chatter]

All right. Knock it off, you people.
Try to act a little professional.

Pyle. Gomer Pyle.

- Hi. You're doing the song, right?
- Yes, sir.

Mr. Miles wants Rudy
to make you up personally.

So you go down to makeup room A.
That's right down there.

And the rest you fellas go to
makeup room B, which is right over there.

- Eh, fella.
- Yeah?

I'm Sergeant Carter.
The one with the line.

Yeah, I know.
You go to room B with the others.

Don't you think I need special makeup?

Sergeant, if Mr. Miles had wanted
special makeup, he would have ordered it.

Now, would you please hurry?
We're on a very tight schedule.

He's ready, Mr. Miles,
if you'd like to check him over.

Oh, yeah.
Get the rest of them on the set, will you?

Yes, sir. Okay, people, let's go.

Morning. Yeah. He Looks fine.
Just a little shiny.

Mop him down, huh?

I sure hope
I don't disappoint you, Mr. Miles.

Oh, I've heard you sing.
You're going to be fine.

Join the rest of the fellas, would you?

Okay, everybody.

Let me give you a rundown
on what the action is.

When I start this...

- You, Carter.
- Yes, sir?

You never had a mustache, did you?

No, sir.

Then what is that?

Well, I had the makeup man put it on.

Oh? Why?

Oh, I figured I was the sergeant.

I should have something
to make me stand out.

Uh-huh, yeah.
Well, those stripes will do that.

Yeah. Yeah, I guess they will.

Now, why don't you go
have the makeup man take it off.

And hurry it up, will you?
Time costs money around here.

Mm-hmm.

Yeah. All right.
Let me give you a rundown on the action.

You fellas are all here
in the air cadets club.

And you're waiting for Henshaw.

Now, Henshaw, as you know, is a fella

that you've hated
all through flight training

because he's been behaving
like a spoiled rich kid.

So you've been giving him
the silent treatment.

You've made him feel like an outsider.

But today Henshaw redeemed himself.

He pulled one of your buddies
out of a flaming airplane

and saved his life.

Now, he has just been released
from the hospital.

And so you are waiting here
to give him a surprise party.

Now, as soon as he comes
through the door, when I say "Action",

all you balloon people up there
and the cork-poppers

and the streamer-throwers,
you all go into action.

And everybody give a good cheer
for Henshaw, okay?

Now, Sergeant,
when I throw you the cue like this...

you say your line.

You look at Henshaw and you say,
"Okay. Let's hear it for Henshaw!"

- Got it?
- Yes, sir.

Gomer. As soon as you hear that,
you start to sing.

All the rest of the people
join in with you.

- Yes sir.
- Gloria.

- [Gloria] Yeah?
- When you hear the sergeant's line,

you come popping out of the cake.
You got it?

- [Gloria] Okay, Mr. Miles.
- Right.

Now, fellas,
this is a complicated production number.

So let's shoot the rehearsal.
We might get lucky. Okay?

All right. Let's make it.
And places, everybody!

It's a picture.

- And now the bell, Ronnie.
- [bell rings]

[under his breath] Let's hear it for Henshaw.

Roll 'em! Special effects ready?

Ready.

Scene six, take one.

Now remember, Sergeant.
You watch for my cue.

- Right?
- Yes, sir.

- And... action!
- [clapper snaps]

[cheering]

[balloons popping]

[Miles] Cut, cut, cut!

All right. Clean it up.
Let's get ready for the next take.

What's the matter, Sarge?

When I threw you the cue,
did you forget the line?

No, sir. I remembered it.

But, well, with the camera rolling
and all them people watching, I guess...

- I'm sorry, sir. I'll get it this time.
- Okay. Just relax.

Happens to everybody the first time.
Take it easy.

Take deep breaths.

Yes, sir. [breathes deeply]

You know another real good way, Sergeant?

You just kind of slump over
and let your whole body go limp.

And wiggle your fingers.

I read in Movie Journal Magazine

that that's what Troy Donahue does
right before he does a big dramatic scene.

- [Miles] You ready, Sergeant?
- Yes, sir. I'm fine, Mr. Miles. I'm fine.

[Miles] All right, good.
Just a minute. Makeup.

Come in and mop him down, will you?

It's the lights. They make me sweat.

You want to get my palms
while you're at it?

[Miles] And now watch for my cue, Sergeant.

- And come right in with your line.
- Yes, sir.

And soon as he throws the line, Gloria,
you pop up out of the cake.

- [Gloria] Right.
- [Miles] Okay. Let's try it.

Quiet, please.

[bell rings]

[Miles] Roll 'em! All right, here we go.

- Special effects ready?
- Ready.

Scene six, take two.

All right. Everybody stand by. And...

[frenetically] Okay!
Let's hear it for Henshaw!

Surprise!

- Cut, cut, cut, cut.
- [bell rings]

I guess I was a little too fast
that time, huh?

Yeah. You jumped the cue.
Don't be so eager.

Yeah, I was overanxious. I know that.

- All right.
- Okay. Let's do it again.

Wait until I throw you the cue.
And then you come in with the line.

- Yes, sir.
- Makeup!

Do you want to give me a mop?

Don't worry, Sergeant.
You'll get it right next time.

Just don't be nervous.

Just block it out of your mind that the
whole scene depends on your one line.

Just forget it's the most important line
in the show.

Pyle, will you knock it off!

Chuck, I think this guy's a stiff.

He'll be all right, Mr. Miles.
Just give him a little time.

- After all, he's no pro.
- I know that, but what is he?

All right. Let's go.

- Okay, quiet, please.
- [bell rings]

Roll' em!

All right, Sergeant.
Now, is everything clear?

- Yes, sir.
- [Miles] Special effects ready?

- Ready.
- Scene six, take three.

- Remember, I'll give you the cue.
- Yes, sir!

Action!

[cheering]

[balloons popping]

Okay! Let's hear it for Peter Piper!

Peter Henshaw!

Makeup!

Surprise!

Did you say the line right?

- Cut, cut, cut.
- [bell rings]

Oh, man, Chuck.
It's gonna be one of those days.

Just one of those days.

- Why don't we replace him, Mr. Miles?
- We can't.

The producer picked him for the line
when he made the deal with the Marines.

We're stuck with him.

Okay. Let's try it again.

Quiet, please.

[bell rings]

Scene six, take 14.

Now, try to remember, Sergeant.
Your line is,

"Okay. Let's hear it for Henshaw!"

Surprise!

Oh, no! Not when I say it.
When he says it!

How do you expect me to hear who says it?
It's dark in there.

It'll be a lot brighter
at the unemployment office.

- Harry, put her back in the cake, will ya?
- Still rolling, Mr. Miles.

- Well cut it, cut it!
- [bell rings]

It's too bad all that happened, Mr. Miles.
I was ready that time.

Scene six, take 15.

All right.

Now, Sergeant, you come in on cue
and the line is...

You know what the line is.

Cover her up. Let's go.

- [bell rings]
- Special effects ready?

- Ready.
- All right.

Here we go. Action!

[cheering]

[balloons popping]

You know what the line is!

Scene six, take 32.

Special effects ready?

- No, sir.
- What?

We're out of champagne.

We used more balloons
than a New Year's Eve party.

Okay. That's it for the day.

- Make it a wrap.
- Okay, fellas, that's a wrap.

- We'll pick it up tomorrow. Same scene.
- [bell rings]

You'll get your calls.

Gee, it didn't seem to go too good today.

No.

No, it didn't.

Well, don't worry about it, Sergeant.

In movies, they never do expect
to get it right the first day.

I read in Photo Gossip Magazine

that when they were shooting
Gone With the Wind,

they had to burn Atlanta eight times
before they got it right.

Yeah. I guess it's a lot harder
than people think.

It's sure tough to know
how you're doing in front of the camera.

And things can go wrong behind the camera.

Well, I thought you did that line
real good that one time.

Something must have got fouled up
on their end.

Yeah.
I did feel good the one time I did say,

"Okay. Let's hear it for Henshaw!"

Well, look how good you did it then.

Why, if they hadn't run out
of champagne and stuff,

why, they could have their scene
right then and there.

That's right.
I guess it's just a tough break, huh?

Oh, sure.

- Good night, Mr. Miles.
- Good night Mr. Miles.

We'll get them in the morning, huh?

Huh!

Look, I don't care
who picked him for the part.

I want a new man tomorrow.

When you give out the calls tomorrow,
don't call Sergeant Carter.

Gotcha.

[Carter] Okay. Let's hear it for Henshaw!

Okay. Let's hear it for Henshaw.

Okay. Let's hear it...

[yawning] ...for Henshaw.

Okay. Let's hear it for Henshaw.

Okay. Let's hear it for Henshaw.

Okay. Let's hear it for Henshaw.

Okay. Let's hear it for Henshaw.

Okay. Let's hear it for Henshaw.

Okay. Let's hear it for Henshaw...

Okay. Let's hear it for Henshaw.

- [dreamy music]
- Okay!

Let's hear it for Mr. Miles!

Surprise!

Makeup! Makeup!

Huh!

Oh, boy.

Hmph!

Okay. Let's hear it for Henshaw.

- Okay. Let's hear it for Henshaw.
- [knock at door]

Come in.

Okay. Let's hear for Henshaw.

- Okay. Let's hear it for Henshaw.
- Hey, Sergeant.

Pyle. Okay. Let's hear it for Henshaw.

- Okay. Let's hear it for Henshaw.
- You got that line down real good now.

- Are you ready to go?
- No.

- Okay. Let's hear it for Henshaw.
- Why not?

- Let's hear it...
- What are we waiting for?

I didn't get my call yet.
Okay. Let's hear it for Henshaw.

Well, that's strange.
We all got our calls.

We're supposed to be at studio at 9:00.

Really? I wonder why they didn't call me.

Maybe there's something wrong
with my phone.

Hello? Hello? Hello?

Oh. Hello, operator.
I was just checking the phone.

It works, huh?

Say, were there any calls for me,
Sergeant Carter?

I'm here making the Marine movie.

Oh.

Well, thanks.

There were no calls.
I wonder what's going on.

Wait a minute. I know what it is.

What, Pyle, what?

Well, you're the leading character
in the scene.

You're the one that's got the line.
Ain't that right?

- Yeah.
- Well,

they probably want
to get everything set up.

And then they'll call you.

You know, let you relax a little longer.

I don't know, Pyle.
Are you sure that's it?

Well, of course.
It couldn't be anything else.

They do that
with important actors all the time.

Maybe you're right. I don't go for
that privileged character treatment.

But I guess
you can't fight the system, huh?

And I think it's very thoughtful
of that director.

Yeah. He'll probably send a car for me
in an hour or so.

Oh, sure he will.

Well, I better be getting on downstairs.
You just relax, you hear?

All right.

Okay. Let's hear it for Henshaw.

Okay, fellas, let's move it along.
We want to get started.

Let's see if we can get the scene
in one take today.

Excuse me. Are you going to shoot
the scene right now?

Right.

Excuse me, Mr. Miles.

Oh, Pyle, good. I wanted to talk to you.

The assistant director said
you're fixing to shoot that scene now.

- Yeah.
- But Sergeant Carter ain't here yet.

He's still at the hotel
waiting on his call.

Yes, I know.
Okay. Same scene as yesterday, fellas.

- Let's get started.
- Now, Pyle...

But how can we do the scene
without Sergeant Carter?

He's the one that's got the line,
"Okay. Let's hear it for Henshaw!"

No. He was the one. Now you say it.

- Sir?
- You say the line.

Okay. Let's hear it for Henshaw.

Hey, good.
Just like that. You take the line.

- Okay, Chuck. Let's get started.
- [Chuck] Yes, sir. Places, everybody.

What do you mean, Mr. Miles,
that's my line?

- That's Sergeant Carter's line.
- No.

- It was his line. You ready, Chuck?
- Yes, sir.

You mean you're not gonna use him?
You ain't even gonna call him?

- That's right.
- But it means so much to him.

And, gosh, he's practiced so hard.

Last night when we went out to dinner,
he was saying the line.

And this morning I seen him
and he was saying it, and...

Probably still hasn't got it right.

But he does.

Look, Pyle, we took 32 takes
on that line yesterday.

We're way behind schedule.
I just can't waste any more time.

But he's told everybody back at the base
he's going to be in this picture.

And, well,
they're expecting to see him in it.

And, well, he'll feel so awful,
he won't be able to look them in the eye.

Look, Pyle, the last thing
I want to do is to hurt anybody.

But I've got a picture to make.

And I got to do it the best way
I know how. So, come on.

Get in the set and let's get started, huh?

- Golly, Mr. Miles.
- Don't worry about a thing.

Just wait for me to give you this cue.

What gives, Gome? Where's Sergeant Carter?

They're not going to use him in the scene.
They told me to take the line.

- No kidding.
- It just ain't right.

- Quiet, please.
- [bell rings]

- Roll 'em!
- Special effects ready?

Ready.

Scene six, take 33.

Okay, let's get it the first time
this time, fellas.

Action.

[cheering]

[balloons popping]

Okay. Let's hear it for Henshaw.

[Gloria] Surprise!

- It's all right.
- ♪♪

[all] ♪ For he's a jolly good fellow

♪ For he's a jolly good fellow

♪ Which nobody can deny! ♪

♪ Let all the good fellows
Come join in the song

[chorus] ♪ Vive la compagnie! ♪

- Now, cut it. Cut it.
- [bell rings]

Okay. Everybody back for a fresh start.
Save the lights.

The line wasn't too good, Mr. Miles.

You think we ought to replace him
with an actor?

We can replace him
with an actor for the line,

but how do I replace the singing?

Hey, Pyle! Come here.

Hey, what's the problem, fella?
I mean, Henshaw's back.

You're supposed to be full of life,
full of energy.

Yes, sir.

I heard you rehearse this song.
You were just great in it.

Let's get the same spirit, eh?

I'll try, Mr. Miles.

Good fella.
Okay, once again from the top, fellas.

Hit the lights.

Okay. Quiet, please.

[bell rings]

Roll 'em!

Scene six, take 34.

Okay. This is gonna be the one, fellas.

All right. And... action.

[cheering]

Okay. Let's hear it for Henshaw.

Surprise!

♪♪

♪ For he's a jolly good fellow

♪ Which nobody can deny! ♪

♪ Let all the good fellows
Come join in the song

- [chorus] ♪ Vive la compagnie! ♪
- [stagehand] Cut, cut.

- Take five, everybody.
- [bell rings]

What do you think's wrong, Mr. Miles?

I think he misses his sergeant.

What do we do? Bring him back?

And go for 32 more takes?

If we're lucky.

No, I think there's another way.

Okay. Let's hear it for Henshaw.

- Okay...
- [phone rings]

Hello!

Hello, Mr. Miles.
I thought you'd never call.

Huh?

Oh, sure. I can be down
in front of the hotel in five minutes.

Thank you Mr. Henshaw... Uh, Miles!

Okay. Let's hear it for Henshaw.

- Hello, Pyle.
- Hey, Sergeant.

You were right.
They didn't call me the last minute

so I could have more time to relax.

Boy, that was darn decent
of that director.

You know, when this movie's over,
I think I'll buy him something.

That sure would be nice, Sergeant.

Yeah. I'd better get to makeup.

Okay. Let's hear it for Henshaw.
Okay. Let's...

- Oh, oh, Sergeant. Glad to see you.
- Hello, Mr. Miles.

I was just on my way to makeup.

I got the line down perfect.
You don't have to worry.

Oh, yeah, well, I've been thinking
about that, Sergeant.

I get the feeling that we have not been
utilizing your talents to the fullest.

- You haven't?
- No.

I get the feeling that we're wasting you
in that small part.

- You should have something much bigger.
- Golly.

Did you hear that, Sergeant?
A bigger part!

What kind of part is that, Mr. Miles?

Well, what I got in mind
is the pivotal character.

You see, the whole picture
revolves around you.

- It does?
- Mm-hmm.

Why don't you come to makeup with me.
I'll fill you in on the way.

Go-o-Olly!

It's just like in stories you read about.

A star is born!

Let's have it quiet, please.

[bell rings]

- Roll 'em.
- [stagehand] Scene six, take 35.

[Miles] Action.

[cheering]

[balloons popping]

Okay! Let's hear it for Henshaw!

Surprise!

And let's drink a toast
to the man who Henshaw saved!

- ♪♪
- [cheering]

♪ For he's a jolly good fellow

♪ Which nobody can deny! ♪

♪ A friend on the left
And a friend on the right

[chorus] ♪ Vive la compagnie!

♪ In love and good fellowship
Let us unite

♪ Vive la compagnie!

♪ Vive la, Vive la, Vive l'amour
Vive la, Vive la, Vive l'amour

♪ Vive l'amour
Vive l'amour

♪ Vive la compagnie!

♪ Viva la compagnie! ♪

Wasn't it nice of Mr. Miles

to let us see the films of that scene
we did yesterday?

Yeah. But I sure didn't have much to do.

And you could hardly recognize me
with all them bandages on my face.

But you did a real good job, Sergeant.

Even though you didn't say nothing,

it was all there
in the expression on your face.

Your little eyes
just squinched up with pain.

That's what I call real acting.

Who are you kidding, Pyle?
I was like a fish out of water.

Show business definitely ain't for me.

Well, none of us are real performers.

We was just doing it
'cause they asked us to.

Yeah, and I don't mind telling you,
I'm sure glad it's all over.

- Can we have your autographs?
- Are you actors?

- No, son, we ain't.
- Don't let him fool you none.

He's a real fine actor.

Matter of fact, he just finished
a big part in Leathernecks of the Air.

Really? What's his name?

Vince Carter. You remember that name.

Because you're going to be hearing
all about him.

Really?
Can I have your autograph, Mr. Carter?

Sure, kid.

But that's Sergeant Carter.

Sergeant Vincent Carter...

United States Marine Corps.