- 19 hours ago
The grim realities beneath the facade of the 1930s film industry, during the 'Golden Age' of Hollywood.
Glamorous young starlet Natica Jackson (Michelle Pfeiffer) claws her way up the Tinseltown ladder, while dodging industry sharks. But when Morris King throws serious obstacles in her path, she must navigate ruthless moves to avoid a career wipe-out.
Original title: Tales from the Hollywood Hills: Natica Jackson
Glamorous young starlet Natica Jackson (Michelle Pfeiffer) claws her way up the Tinseltown ladder, while dodging industry sharks. But when Morris King throws serious obstacles in her path, she must navigate ruthless moves to avoid a career wipe-out.
Original title: Tales from the Hollywood Hills: Natica Jackson
Category
🎥
Short filmTranscript
00:00:00Okay, everybody, let's break for lunch.
00:00:05Report to State Street in one hour.
00:00:30Let's go.
00:01:00Mr. N, here's the A-list on callbacks.
00:01:16The Bs can wait.
00:01:17Oh, hold them for me, Carly.
00:01:19I'm due in a projection room ten minutes ago.
00:01:27New York.
00:01:27Mr. Nathan's office.
00:01:30Hi, Carlotta. Phil Hudson. Is your boss there?
00:01:33Well, hello, Mr. Hudson.
00:01:35He wasn't expecting you to call until after the board meeting.
00:01:39I just wanted him to know going in so far so good.
00:01:42I'll put him on, Mr. Hudson.
00:01:44He sounds very up.
00:01:49Well, hello, Phil.
00:01:50How are things back there in the real world?
00:01:51But I'm saying it once.
00:01:53The studio should give her a new contract.
00:01:56I believe she has a perfectly good old one already.
00:01:59But Natica Jackson is ready for stardom and now.
00:02:03Maybe not Garbo's stardom, not Myrna Loy's stardom.
00:02:07But sure as hell, Joan Blondell stardom.
00:02:12And the right picture she could develop into another Jean Arthur.
00:02:15She can't carry a picture by herself.
00:02:18Not yet.
00:02:19Now, she walks away with every picture she's in and you know it.
00:02:23You agents.
00:02:25You got an answer for everything.
00:02:26Well, I know one thing, Bob.
00:02:31Out of the thousands of cute girls and beautiful women in this town,
00:02:34Natica Jackson is one the public likes.
00:02:37People leave the theater talking about how wonderful she is.
00:02:41She's everybody's favorite niece.
00:02:44You know, she's got legs as good as Ruby Keller.
00:02:47And for somebody's niece, she looks awfully damn good in black opera legs.
00:02:51It's a nice picture, Ernestine.
00:02:53But no go, not now.
00:02:54But Morris, that wife of yours, you'd make one hell of a manager.
00:02:58Okay, Ernestine.
00:02:59I'm selling you Natica's contract.
00:03:01You can go into business for yourself.
00:03:03I'm not having some say in her career.
00:03:05You certainly do.
00:03:07So you got it, Morris?
00:03:07No, no, okay.
00:03:08Ernestine?
00:03:09Oh, I'm sorry.
00:03:10It's my mistake.
00:03:10Oh, that's no mistake.
00:03:13That's the supreme compliment.
00:03:15Thank you, Phil.
00:03:16Thank you very much.
00:03:18Don't mention her name.
00:03:19It's always great to have you in my corner.
00:03:21My pleasure, pal.
00:03:22Yeah.
00:03:22Can we talk to you soon?
00:03:23Yeah, I'll talk to you right after the board meeting.
00:03:25Right, bye.
00:03:29What do you think?
00:03:30You'll get your budget.
00:03:32Most of it, anyway.
00:03:33Don't worry.
00:03:33Worry?
00:03:34Oh, Carly.
00:03:35I worry about the roles.
00:03:37Will it even be there when I'm ready to go home?
00:03:39The projection room, remember?
00:03:40Now you're 15 minutes late.
00:03:42Yes, yes, yes.
00:03:42I know.
00:03:46Mark out.
00:03:49Esther.
00:03:51Norman Nader's going to give me his green hat.
00:03:55Go back to bed, will you, Esther?
00:03:57Well, it's true.
00:04:01You been drinking with him?
00:04:02Of course not.
00:04:03Okay, then.
00:04:05I tell you what, when we get to Frisco, I'll take you to a doctor and you can get your head examined.
00:04:10Hey, what's the matter with you, Esther?
00:04:13He was making a conventional pact, that's all.
00:04:15No, it wasn't that young.
00:04:18Well, then what is it?
00:04:20Is it all like this?
00:04:21Well, she gets a little better, huh?
00:04:23Does she?
00:04:24Kill it.
00:04:24Kill it.
00:04:25Right, A.D.
00:04:26That's enough, Al.
00:04:27Look at me, I look at myself, I've never had before.
00:04:29That's a good try, Jack.
00:04:31The girl is pretty, and she's got a cute figure.
00:04:34But as an actress, let's face it, she's straight out of Hollywood High.
00:04:37I'm with you, A.D.
00:04:38The boy has something, though.
00:04:39Yeah, that's worth looking at.
00:04:41Again, go with a pro.
00:04:43Right.
00:04:43And we tell Robin, sorry, but she just doesn't have it.
00:04:46No, no, no, no.
00:04:47Go easy on her.
00:04:48No, let's not shut the door, Jack.
00:04:52I'm starting two pictures next week.
00:04:55There must be something that, what's the name of it?
00:04:57Jenny, Jenny Robinson.
00:04:58There's something that Jenny Robinson can do.
00:05:02Fit, walk on, something.
00:05:04See you to it, will you?
00:05:05Okay.
00:05:10Ben!
00:05:12Ben, listen to me.
00:05:15If I'd have wanted him for a husband, I'd have had him.
00:05:17But I wanted you and nobody else.
00:05:20I...
00:05:20Don't say anything.
00:05:24Okay.
00:05:32Move now.
00:05:34Come on, pick up your things.
00:05:35Come on.
00:05:36And out.
00:05:37Good, good.
00:05:38Now hit it with the fan.
00:05:39Terrific.
00:05:40Hold it there, Natica.
00:05:40Good.
00:05:41And cut.
00:05:43Terrific.
00:05:43Camera.
00:05:44Great sound.
00:05:45Fine, Reggie.
00:05:46We will print that.
00:05:47Hey, I'll have to play.
00:05:49Pick up the interior first thing in the morning, people.
00:05:52Thank you very much.
00:05:54And check that call sheet for tomorrow.
00:05:56The times are different, so we'll look at it carefully.
00:06:00If you don't have a call sheet, get them outside the stage.
00:06:02That was lovely, Nat.
00:06:04Yes, it was, and here's your next picture.
00:06:07Bud Loring just slipped it to me.
00:06:09It's based on...
00:06:10It's very loose.
00:06:11And based on the story your Alan here sold them.
00:06:17If this keeps up, Natica, in no time, I'll have you making a couple of hundredth hour a year.
00:06:22Still having no fun.
00:06:24Come on, now.
00:06:25The studio gives you a bonus for waving vacations.
00:06:27You know that.
00:06:28Well, I could use a vacation.
00:06:29Take a little holiday.
00:06:30You and Alan go spend a romantic weekend at the beach.
00:06:34That's a great idea.
00:06:35Terrific.
00:06:36Come here.
00:06:37What is this no fun stuff, Natica?
00:06:39Yes.
00:06:40In the mornings I do, I do the studio in my sleep.
00:06:42Because most mornings I still am asleep.
00:06:44I get pushed around all day.
00:06:46Then I go home too tired to think.
00:06:48I follow the same route.
00:06:49I see the same stop signs.
00:06:50I don't turn right.
00:06:51I don't turn left.
00:06:52That's my life.
00:06:53That's right.
00:06:54You're an actress.
00:06:55You want to go someplace.
00:06:56Alan can take you any place you want to go.
00:06:58Maybe sometimes I don't want to go out with Alan.
00:07:00Any place you should go, Alan can take you.
00:07:02You try to make me something I'm not.
00:07:08Doing a lot of business for a Saturday, boss.
00:07:11How's for putting the studio on a five-day week?
00:07:14Socialist.
00:07:15We worked six.
00:07:16And I wish it were seven.
00:07:17The only way I know how to turn off 50 pictures a year
00:07:19and try to slip in an American tragedy
00:07:21or war and peace did Mrs. Nathan call.
00:07:24When she was under contract here,
00:07:26she used to call all the time.
00:07:27But now?
00:07:28No, that she's not working.
00:07:29She's too busy, eh?
00:07:31The housekeeper called for her.
00:07:34She's playing doubles with Tony Montoya
00:07:36and lunching at Romanoff's.
00:07:44If Tony Montoya could act half as well as he plays tennis,
00:07:48we might have the next Rudy Valentino.
00:07:51If he could act one-fifth as good,
00:07:53we'd have the next George Raft.
00:07:54Yeah, that's right.
00:07:59Listen, Mr. N.
00:08:02I suppose you know people are talking about him and...
00:08:06Mrs. N.
00:08:09People ever stop talking out here?
00:08:12Out here in New York, you'd be better off without it.
00:08:15Maybe it's time to put your foot down.
00:08:23Lou Carteret?
00:08:24Fourth time this week.
00:08:26I wish you could find a spot for him again.
00:08:28The two of you made a great team.
00:08:30Before movies started talking and he started drinking.
00:08:33He swears he's off the sauce now.
00:08:35I'll think about it.
00:08:36I know his last picture was a flopper rule, but...
00:08:40You fall off the ladder in this town.
00:08:43And it takes a miracle to climb back on.
00:08:46What ever happened to D.W. Griffith?
00:08:48Where's he living?
00:08:49Do you know?
00:08:49Well, I heard...
00:08:51No.
00:08:53Buster Keaton?
00:08:56Clara.
00:08:56Clara Bow.
00:08:58They didn't keep up with the times.
00:09:00You do.
00:09:00Come on, Mr. N.
00:09:02Think positive.
00:09:03This could be your lucky day, no?
00:09:05Why not?
00:09:11Mr. Nathan's office.
00:09:13Hi, sweetheart.
00:09:13It's Larry.
00:09:14Hold it, Larry.
00:09:15I'll put him on, you bookie.
00:09:19Perfect timing.
00:09:22And Larry.
00:09:23Larry, I like a fireball in the 4th at Santa Anita.
00:09:29Yeah.
00:09:29Put five on the nose.
00:09:30Five minutes.
00:09:31Oh, hell.
00:09:31Make it ten.
00:09:32Ten thousand?
00:09:33Today's five lucky day.
00:09:36Right there.
00:09:53Fire.
00:10:24Hey, what the hell do you think you're doing?
00:10:33Oh, wait.
00:10:46Oh, will you look at my car, for Pete's sake?
00:10:50All right.
00:10:52Look at this.
00:10:53What the hell do you think you're doing?
00:10:55You pulled out.
00:10:56You didn't even look.
00:10:57Oh, no, lady.
00:10:58You smashed into me.
00:10:59What do you mean?
00:11:00I had the right of way.
00:11:01What?
00:11:02You didn't see my hand.
00:11:03I had my hand stuck out the window.
00:11:04Sorry, I didn't see your hand.
00:11:05Look, I'm covered with every kind of insurance.
00:11:07Let me see your driver's license.
00:11:09Look, don't start bossing me around.
00:11:12An insurance company will pay for your damages.
00:11:15Natica Jackson.
00:11:17Are you Natica Jackson, the actress?
00:11:19Yes, I am.
00:11:20And who are you?
00:11:21My name is Hal Graham, and I live right there.
00:11:23Let me see your driver's license.
00:11:25Don't try to pull any movie star stuff on me.
00:11:28Look, you are completely in the wrong.
00:11:30You smashed into me.
00:11:31You know, a lot of people try to get a whole new car out of this.
00:11:34I just want what I'm entitled to.
00:11:36Yeah, I'm big-hearted always.
00:11:38Oh, you movie people.
00:11:39You're a bunch of spoiled brats.
00:11:40All I did was wrinkle your fender.
00:11:42Oh, yeah?
00:11:43You know, if my window had been up, you could have blinded me with blind glass.
00:11:45Yeah, yeah, yeah.
00:11:46Just let me know next time you're gonna be around so that I can get my kids off the street.
00:11:49Go on home.
00:11:50And try to get there without killing anybody.
00:11:55Go on, beat it!
00:12:16You're sitting in the middle of the street, you know.
00:12:25Well, are you gonna move it or not?
00:12:31I can't.
00:12:32Well, your motor isn't running.
00:12:34Why don't you step on the starter?
00:12:37Are you hurt?
00:12:38No, I just don't want to drive.
00:12:42Would you mind calling me a taxi?
00:12:44Uh, suddenly I lost my nerve or something.
00:12:47Are you sure you didn't bang your head?
00:12:49Uh, no, I'm not hurt.
00:12:52If, please, just call me a taxi and I'll have somebody pick up my car.
00:12:58Look, you want me to get you some water or some brandy?
00:13:00How about that?
00:13:01Honestly, if you'll just call me a taxi, I'll be all right.
00:13:04Move over.
00:13:05I'll drive you home.
00:13:10Come on.
00:13:19Come on.
00:13:41Come on.
00:13:43I'll be back.
00:13:44I'll be back.
00:13:45I'll be back.
00:13:46I'll be back.
00:13:47I'll be back.
00:13:48I'll be back.
00:13:49Darling, you're home at last.
00:13:50Well, yeah, so it seems.
00:13:52How was tennis today?
00:13:53But terrific.
00:13:54I beat the pants off Carol Lombard.
00:13:55Really?
00:13:56That I'd like to see.
00:13:57Don't you ever stop working?
00:13:58Don't start on me, Lita.
00:13:59Can't you relax?
00:14:00Just for an hour.
00:14:01Have a little fun.
00:14:02I'll be back.
00:14:03I'll be back.
00:14:04I'll be back.
00:14:05I'll be back.
00:14:06I'll be back.
00:14:07I'll be back.
00:14:08I'll be back.
00:14:09I'll be back.
00:14:10I'll be back.
00:14:11Have a little fun.
00:14:13Used to when we were dating.
00:14:16Yes.
00:14:17Yes.
00:14:18We'll relax.
00:14:19Tonight.
00:14:20At Cyril's.
00:14:22Perfect.
00:14:41For you.
00:14:42I'll be back.
00:14:43to where is happened.
00:14:49Let the
00:15:07how are you doing?
00:15:09Really?
00:15:10Hello?
00:15:24Miss Robbins, A.D. Nathan.
00:15:30Mr. Nathan?
00:15:32Holy cow!
00:15:35I mean, what a lovely surprise.
00:15:38I was hoping to hear something from Paragon today, but golly, the head of the studio!
00:15:44It's my pleasure, Jenny.
00:15:47Well, did you like my screen test?
00:15:51Well, I found it very interesting.
00:15:53As a matter of fact, I'm keeping it to look out again after we've had a chance to talk about it a little more.
00:15:59Oh, sure, Mr. Nathan, any time.
00:16:02How about tonight? At Ciro's.
00:16:04At Ciro's.
00:16:07Ciro's?
00:16:09Oh, I can hardly believe it.
00:16:11What, just a little dinner party.
00:16:13A few friends who I thought might be able to help you and your career.
00:16:17My career?
00:16:18Here.
00:16:19Here comes!
00:16:20With A.D. Nathan, Mr. Paragon, he shows the star of the picture, your favorite and mine, Miss Jenny Robbins!
00:16:31This is only the beginning.
00:16:32I'll have somebody from the studio pick you up about eight. Would that be convenient?
00:16:33Well, I, I do have another engagement.
00:16:34I'll have somebody from the studio pick you up about eight. Would that be convenient?
00:16:38Well, I, I do have another engagement.
00:16:39Oh.
00:16:40Well, I am disappointed.
00:16:41Uh, some other time, perhaps.
00:16:42I'll have somebody from the studio pick you up about eight. Would that be convenient?
00:16:43Well, I, I do have another engagement.
00:16:44Oh.
00:16:45Well, I am disappointed.
00:16:46Uh, some other time, perhaps.
00:16:47Oh.
00:16:48Oh.
00:16:49Oh.
00:16:50Oh.
00:16:51Oh.
00:16:52Oh.
00:16:53Oh.
00:16:54Oh.
00:16:55Oh.
00:16:56Oh.
00:16:57Oh.
00:16:58Oh.
00:16:59Oh.
00:17:00Oh.
00:17:01Oh.
00:17:02Oh.
00:17:03Oh.
00:17:04Oh.
00:17:05Oh.
00:17:06Oh.
00:17:07Oh.
00:17:08Oh.
00:17:09Oh.
00:17:10Oh.
00:17:11Oh.
00:17:12Oh.
00:17:13Oh.
00:17:14Oh.
00:17:15Oh.
00:17:16Oh.
00:17:17Oh.
00:17:18Oh.
00:17:19Oh.
00:17:20Oh.
00:17:21Oh.
00:17:22Oh.
00:17:23Oh.
00:17:24Oh.
00:17:25Oh.
00:17:26Oh.
00:17:27Oh.
00:17:28Oh.
00:17:29Oh.
00:17:30Oh.
00:17:31Oh.
00:17:32Oh.
00:17:33Oh.
00:17:34Oh.
00:17:35Oh.
00:17:36Oh.
00:17:37Oh.
00:17:38Oh.
00:17:39Oh.
00:17:40Oh.
00:17:41Oh.
00:17:42Oh.
00:17:43Then she'll need an escort.
00:17:47Oh, that's right.
00:17:50Any ideas?
00:17:53You're the casting expert.
00:17:58Wait a minute.
00:18:00Now Tony Montoya might be free.
00:18:03My hairdresser told me that he got rid of that English tramp he was running around with.
00:18:12Tony Montoya?
00:18:13Oh, I don't think so, Lisa.
00:18:16No.
00:18:17He's much too dynamic.
00:18:21Nobody would even notice little Jenny.
00:18:24But A.D., some of that glomer might rub off on her.
00:18:27You know, the new Valentino.
00:18:32Oh, yes, yes, you could be right there.
00:18:34Yes, it could work that way.
00:18:35Yeah.
00:18:36Okay, Tony it is.
00:18:39I'll phone him right now.
00:18:40No, I will.
00:18:41We'll still need another couple, however.
00:18:45Who will?
00:18:46Yes.
00:18:47Of course, otherwise Tony will be spending the whole evening romancing Jenny and you will be stuck with me.
00:18:54No, really, A.D.
00:18:56I have an idea.
00:18:57The Carterets.
00:18:59The Carterets?
00:19:00Yeah, yeah.
00:19:01Lou and Mimi.
00:19:02Yes, I've been meaning to ask them out for a long time.
00:19:04What is this?
00:19:08Old home week?
00:19:09Yeah, Lou always was my good luck piece.
00:19:12Why don't you ask Theda Barra and Tom Nix?
00:19:14Because I want Lou and Mimi.
00:19:17Now, you call them, please, and you make them feel wanted.
00:19:19That will take my best acting.
00:19:26Which I have yet to see.
00:19:42Now I'll get you a taxi.
00:19:44Okay.
00:19:46Can I offer you a drink?
00:19:47You got any beer?
00:19:49Yeah.
00:19:49Okay.
00:19:54This is a big place you got.
00:19:56Oh, yeah, it's too big for me.
00:19:57Really?
00:19:58Aren't you married?
00:19:59No.
00:19:59Come on in.
00:20:13Come on in.
00:20:25Hello.
00:20:26Uh, yes, can you please send a taxi to 1194 Sprucewood Road?
00:20:31Mm-hmm.
00:20:34They'll be here in five minutes.
00:20:38Sorry I was such a dope back there.
00:20:40Oh, no, no.
00:20:41Come on.
00:20:41I mean, I was pretty rough on you.
00:20:48Shouldn't you tell your wife where you are?
00:20:51You can use the phone.
00:20:52No, she's away.
00:20:54She and the kids are up at our weekend place up at the lake.
00:20:57Oh, you probably were on your way out to dinner then when I bumped into you.
00:21:01Yeah, a little place in Westwood.
00:21:03I usually go when I'm batching it.
00:21:05Oh, you know, you can have a steak here.
00:21:09And I usually eat dinner by myself and go to bed early.
00:21:14Yeah.
00:21:15Yeah.
00:21:15Yeah.
00:21:23All alone with a movie star.
00:21:27You know, I've got a confession to make.
00:21:29I've never actually seen you on the screen.
00:21:31But I don't go to movies much.
00:21:32Oh, yeah?
00:21:33Well, what do you do?
00:21:34Maybe I don't buy what you sell either.
00:21:38I'm a chemist with Signal Oil.
00:21:41I buy oil.
00:21:42Well, my job isn't the kind of oil that you buy.
00:21:47I develop petroleum byproducts.
00:21:51Oh.
00:21:53Whatever that means.
00:21:54Oh, no, easy, easy.
00:22:06So what kind of name is it?
00:22:08Nebka?
00:22:10I, they made it up.
00:22:12I used to be Anna Jacobs.
00:22:18Are you making a pass at me?
00:22:21No, but...
00:22:22Why should I?
00:22:27Well, if you don't, I'm going to make a pass at you.
00:22:31I don't get it.
00:22:36Neither do I, but...
00:22:38I don't care.
00:22:39I'll never see you again, so it doesn't matter.
00:22:50Hmm.
00:22:52Are you sure you want to do this?
00:22:55Not if we start to talk about it.
00:22:57Hmm.
00:23:11Give him five dollars and tell him you don't need him.
00:23:14Hmm.
00:23:14Hmm.
00:23:15Hmm.
00:23:16Huh.
00:23:27You see, he did want to make a pass at me.
00:23:45Hmm.
00:23:45Ah! Ah, damn.
00:24:02You all right, Lou? I'm fine, I'm fine.
00:24:06You never guess who just called.
00:24:09President Roosevelt. Not even close.
00:24:12Louie B. Mayer.
00:24:13You're getting warmer, hot even.
00:24:17Mimi, are you trying to tell me it was A.D. Nathan?
00:24:21That snooty wife of his.
00:24:23She invited us to dinner tonight, Lou, at Ciro's.
00:24:27But I said, sorry, we're already booked up with Jack Warner.
00:24:31Mimi!
00:24:33Lou, how long is it since we've been to Ciro's?
00:24:37What's that for?
00:24:45They're getting me to call on him.
00:24:47I keep on calling him till it worked.
00:24:50If I know this town, he's getting ready to give you another chance.
00:24:54From your lips to his ears.
00:24:56You know, if I put it to him right, yeah, they're going to put me back on top again.
00:25:11Okay, guards.
00:25:12Howdy, boys.
00:25:30Ma'am.
00:25:37Reach for it.
00:25:39Grab the pot fillet.
00:25:41And everything they got on him.
00:25:45Okay, boys.
00:25:46Amp your pockets.
00:25:48Well, well.
00:25:53How about here?
00:26:01Where you keep your jewels.
00:26:05I mean, those little sparklies you keep way down there.
00:26:09Sure, cowboy.
00:26:11Anything you say.
00:26:14Right away.
00:26:15Ah!
00:26:18Cut!
00:26:19Hit!
00:26:20Perfecto!
00:26:23That's a wrap!
00:26:28Lou!
00:26:29Lou, we just got the weekend box office report south of the border.
00:26:33You've done it again, pal.
00:26:35The picture is such a smash that I'm raising you to 10,000 a week.
00:26:42You're going to have to watch it tonight, though.
00:26:45The bulls.
00:26:47Don't worry, baby.
00:26:49I won't blow it this time.
00:26:53You're going to have to watch it.
00:26:54I won't blow it.
00:26:55I won't blow it.
00:26:56You're going to have to watch it.
00:26:57Where are the koskiya?
00:26:59Koskiya?
00:27:00Koskiya?
00:27:01Koskiya, mi amor.
00:27:02Koskiya.
00:27:03Koskiya.
00:27:03Koskiya?
00:27:03Yes.
00:27:04Koskiya.
00:27:06Koskiya.
00:27:06Koskiya.
00:27:06Koskiya.
00:27:07Koskiya.
00:27:08Oh.
00:27:09For Christ's sake, answer it.
00:27:13Always let it ring four times, chica.
00:27:16That way they don't think you are anxious.
00:27:22Yes, please, ma'am.
00:27:31Well, Montoya here.
00:27:33Tony, has A.D. called you yet?
00:27:35No, Anita.
00:27:36Is he going to?
00:27:38Any minute.
00:27:39I need you for a beer.
00:27:41He's got himself a new protege.
00:27:44How does he do it?
00:27:45I only wish I had his energy.
00:27:48Tony, you do.
00:27:51You do.
00:27:53Are you free tonight?
00:27:55Oh, I'm sorry, dear.
00:27:57I'm afraid I've made other plans.
00:28:00I'd make them, dear.
00:28:02I'm afraid I can't, Anita.
00:28:04What a shame.
00:28:05Tonight was the perfect time for you to nail down that part you've been praying for.
00:28:11A.D.'s a much softer touch at Syrah's than in his office.
00:28:14And for men, I mean.
00:28:16Well, Tony, it's been fun knowing you.
00:28:20Wait a minute, amor.
00:28:21I was born to play that part.
00:28:23The Mexican ranchero who falls in with the Dalton gang.
00:28:27They steal the loot, but you steal the picture.
00:28:32That's right.
00:28:33This could be my breakthrough.
00:28:35No more silly Latin lovers.
00:28:38And the winner is...
00:28:41Tony Montoya for the Laramie Trail.
00:28:48Thank you, my friends.
00:28:49Thank you, please.
00:28:50I want to thank the man who gave me my big break.
00:28:54The genius of Paragon Pictures.
00:28:55A.D. Nathan.
00:28:56His lovely wife, Lita.
00:28:57My horse, Benito.
00:28:58And also, my 90-year-old grandmother in Guadalajara.
00:29:01Esto es para ti, un beso.
00:29:03Abuelita.
00:29:04Gracias.
00:29:05Gracias.
00:29:06Gracias, mis amigos.
00:29:07Gracias, por favor.
00:29:08I want to thank the man who gave me my big break.
00:29:11The genius of Paragon Pictures.
00:29:14A.D. Nathan.
00:29:16His lovely wife, Lita.
00:29:19My horse, Benito.
00:29:22And also, my 90-year-old grandmother in Guadalajara.
00:29:26Esto es para ti, un beso.
00:29:28Abuelita.
00:29:29Gracias.
00:29:31Gracias.
00:29:42Bueno, mi amor.
00:29:43Along with your beauty, you have mucho brains.
00:29:48No wonder I am loco for you.
00:29:51Me too, amor.
00:29:53I'll be wearing something new tonight just for you.
00:29:57Bye.
00:29:58Bye-bye.
00:30:01Bye-bye.
00:30:02Bye-bye.
00:30:03Bye-bye.
00:30:04Bye-bye.
00:30:05Bye-bye.
00:30:06Bye-bye.
00:30:07Bye-bye.
00:30:08Bye-bye.
00:30:09Bye-bye.
00:30:10Bye-bye.
00:30:11Bye-bye.
00:30:12Bye-bye.
00:30:13Bye-bye.
00:30:14Bye-bye.
00:30:15Bye-bye.
00:30:16Come on, what's more person?
00:30:39Is this anybody?
00:30:40Not anymore.
00:30:42Save your film.
00:30:46Hello, Sam.
00:30:50Nice to see you.
00:30:52My God, they look so old.
00:30:54Losers.
00:30:56Mimi, Lou.
00:30:58Lita.
00:31:00Hello.
00:31:02So good to see you again.
00:31:04Same here, Lita.
00:31:06Howdy, partner.
00:31:08I hope we didn't keep you waiting.
00:31:10But the strip these days,
00:31:12the traffic, unbelievable.
00:31:14Coming in from Beverly Hills.
00:31:16Well, not to worry.
00:31:18We're still waiting for another couple.
00:31:20Good, good.
00:31:22We didn't want us all over the wrong foot.
00:31:24Hey, Tony, who's the dish?
00:31:32Miss, can you get your name?
00:31:34We don't really need to get my toy.
00:31:36It's a real occasion for us.
00:31:37Yes, for us too, Lou.
00:31:38It's been far too long.
00:31:39Right, right.
00:31:40Here's Tony now, A.D.
00:31:42What's her name again?
00:31:44Jenny Robbins.
00:31:46Hello.
00:31:48Tony.
00:31:49Hey, dear.
00:31:50Hey, dear.
00:31:51I'm glad you could join us tonight.
00:31:52I don't believe you've met my wife, Lita.
00:31:54Well, no.
00:31:55I've only seen her in the fan magazines.
00:31:57But, uh, Mrs. Nathan, you're even more beautiful.
00:32:00A.D., she is a sweet child.
00:32:03Yes, Jenny.
00:32:04And this is Lou Carteret, one of the all-time great directors.
00:32:06And his wife, Mimi, still my favorite comedian, Jenny Robbins.
00:32:10Hi, Jenny.
00:32:11And I'm sure you've all seen Tony Montoya before, huh?
00:32:14Never up this close.
00:32:16Well, we...
00:32:17Delicious.
00:32:18I saw you in harvest time.
00:32:20You did a fine job.
00:32:21Oh, thank you.
00:32:22It's just a cameo.
00:32:23But I did with it what I could, you know.
00:32:25But maybe you'll do better next time.
00:32:26A.D. Andre's looking at us.
00:32:28Well, we all know what that look means.
00:32:30Your tablet is ready.
00:32:31Come, or I'll give it away.
00:32:33You're coming down to a tear, A.D.
00:32:35Bonsoir, madame.
00:32:36Monsieur.
00:32:37Monsieur.
00:32:38If it will please you to come with me.
00:32:40Will it please us to go with you?
00:32:42This house is so quiet.
00:32:49Is it always just quiet?
00:32:53Yeah.
00:32:56Must get lonesome.
00:33:01Or lonely.
00:33:03Maybe.
00:33:06Maybe.
00:33:07I never got so lonely that I wanted to marry the kind of guy who wanted to marry me.
00:33:12Hmm?
00:33:13Not even some good-looking actor?
00:33:16No.
00:33:17Especially not that.
00:33:18A director, maybe.
00:33:20They all have somebody, a wife or a girlfriend or both, or they're queer.
00:33:26Speak from experience.
00:33:33Don't start asking me about my experiences.
00:33:39By tomorrow morning you'll be one of them.
00:33:42I'll be one of yours.
00:33:45Except that from now on you'll be able to say that all those movie stars are just like anyone else.
00:33:54Listen, you know, if I thought of you as a movie star, I never would have even made a play for you.
00:33:59What?
00:34:00The movie star made a play for you.
00:34:01What?
00:34:02The movie star made a play for you.
00:34:03Hey, I've had other women make plays for me, so.
00:34:06But you didn't go to bed with them?
00:34:08Yeah, I did.
00:34:09Uh, yeah.
00:34:10In Houston, Texas.
00:34:11Once at a convention.
00:34:12I was a wife of a very good friend.
00:34:17And she said that we ought to make up for lost time.
00:34:22Geez.
00:34:23Was he your best friend?
00:34:26No.
00:34:27I don't have a best friend.
00:34:30For instance, there's no one I could ever tell about tonight.
00:34:36Even if I thought they'd believe me.
00:34:41You're the first person I ever told about the girl in Houston.
00:34:44Yeah?
00:34:45Yeah.
00:34:46Maybe I'm your best friend.
00:34:55At least temporarily.
00:35:06I have to be up at five.
00:35:13You probably want to phone your wife anyway.
00:35:19Yeah.
00:35:36What are you looking at?
00:35:37You.
00:35:40You know, in all the years I've been married, my wife has never ever looked at me naked.
00:35:43Not once.
00:35:44She doesn't know what she's missing.
00:35:50How do I look?
00:35:56Not bad.
00:36:06I'm so sorry.
00:36:15I haven't thought of.
00:36:17Till.
00:36:18I was the only one.
00:36:20Till.
00:36:22I was the only one.
00:36:25Till.
00:36:26My lady.
00:36:31Oh, my goodness, Walter.
00:36:32Well, my goodness, Walter, how are you? How was Vienna?
00:36:37Wonderful.
00:36:38Voilà, monsieur Nathan. You're proud to see me play.
00:36:44Well, just a minute, boys. I mean, what are we doing?
00:36:50This is not my table this far back.
00:36:52What are you trying to pull on me, Hunter?
00:36:54No, monsieur, no. People always expect to see A.D. Nathan at Rinside.
00:36:59But I regret those times will reserve.
00:37:02That one too?
00:37:03Oui, madame. Kelly Grant and his party. I expect them in a minute.
00:37:08Okay, okay, let's not stand around like a bunch of tourists.
00:37:10Sit down, sit down, everybody, sit down.
00:37:12Uh, Jenny, you sit over here beside me.
00:37:14Yes, that way the whole room will know that you're somebody special.
00:37:18Oh, Mr. Nathan, that gives me a good spot.
00:37:21So, uh, what, his new Tootsie?
00:37:24Probably just a one-nighter.
00:37:26That's all he has time for these days.
00:37:28Do you really think I am special?
00:37:30Cheers.
00:37:32Of course he does.
00:37:33Cheers.
00:37:35Tonight.
00:37:39Good dress.
00:37:42Magnifico.
00:37:43Gracias.
00:37:45Querido.
00:37:45I wish I could do something to accommodate you.
00:37:51Well, if you can't, you can't.
00:37:52I, uh, I never thought that I'd lose a table to Cary Grant so well.
00:37:59I created Cary Grant.
00:38:01I gave him his name.
00:38:02Yeah, Grant?
00:38:03But that is his name.
00:38:04No.
00:38:04When A.D. tested him, it was Archibald Leach.
00:38:08You're kidding.
00:38:09I directed the test.
00:38:12That's right, Louie, you did.
00:38:13That's right.
00:38:14And we'll drink for that in just a minute.
00:38:15Uh, Marco.
00:38:16Marco, make that a magnum of the Moet Chambon, 1934.
00:38:21Very good, sir.
00:38:22Hey, Dave, wasn't that when you took over for Paragon, 1935?
00:38:26That's right, Lou.
00:38:27That's right, it was.
00:38:29And don't think it hasn't been fun.
00:38:31Uh, between you and me and the fence post, it, uh, it has.
00:38:38It has.
00:38:39Right now, we'd like to pick up the pace a little bit.
00:38:41No, I see it.
00:38:42Lou, here's the treatment.
00:38:43Rumba-a-ba.
00:38:44Just a little joke, Lou.
00:38:46I've had a ball at Paragon, and I think New York is finally giving me the budgets
00:38:50to make the kind of pictures that I want to make.
00:38:53Like Lord Jim and the Laramie Trim.
00:38:57Yes, yes, if we can get the right director.
00:38:59When you fellas start talking sharp, that's my key to jump into a Rumba.
00:39:04Tony?
00:39:07Con permiso.
00:39:27Would you care to dance with you?
00:39:28Oh, yes, yes.
00:39:29I would love you.
00:39:32He has to start at least one new picture every week.
00:39:35Yeah, and try and make a Moby Dick or a War in Peace along with all the dreck.
00:39:39I'll tell you, Sid, you can have that job.
00:39:42It ain't easy.
00:39:44But, uh, think of all the French benefits, eh?
00:39:48Do you know how to Rumba?
00:39:52Do you know how to do my acting lessons?
00:39:54I teach Dr. Murray's.
00:39:54I teach Dr. Murray's.
00:39:56Oh, well, I'm enrolling immediately.
00:39:59In Slappy Joe's in Havana, I lingered, quenching my thirst.
00:40:07I saw a dancer there, that was really where I saw her first.
00:40:13Such graceful beauty and rhythm had never come to my sight.
00:40:18She made me want to stay, danced my heart away most every night.
00:40:24I'm a miner's.
00:40:26I'm a miner's.
00:40:28Why did I turn down your street today instead of last week when your wife was home?
00:40:34Because it's just the law of probability.
00:40:37I don't know what that means.
00:40:39Mathematics, chance.
00:40:41It's like it worked.
00:40:42I thought you were a chemist with test tubes full of petroleum oil.
00:40:47I run a research team.
00:40:50It's pretty good living.
00:40:51I mean, I don't make money like you.
00:40:54No, Shirley Temple makes more than me.
00:40:56She's just a kid.
00:40:56Yeah, but is that what you want most, money?
00:40:58Well, I don't damn well I never want to be without it.
00:41:05Love.
00:41:06Love.
00:41:07A home.
00:41:08Children.
00:41:11What about love?
00:41:14I picked a fine time to ask.
00:41:17You have a home.
00:41:18You have children.
00:41:20I suppose you love your wife.
00:41:22You're still not satisfied.
00:41:24So what is it you really want?
00:41:26I don't want money for its own sake.
00:41:29I want to do good work.
00:41:30I want to have a nice home.
00:41:31I want to be able to educate my children.
00:41:32Every once in a while on the side, someone like me.
00:41:34This is my number at my dressing room.
00:41:49It's the best place to reach me.
00:41:51If my secretary answers, tell her Mr. Marshall called.
00:41:58I don't know who it was.
00:42:00I'll give you my office, don't you?
00:42:01No, and if you want to see me, you call me.
00:42:04What's the best time to call?
00:42:07Lunch.
00:42:08But keep trying.
00:42:08You never know in this business.
00:42:10I'll sleep tonight.
00:42:18Yep.
00:42:20Me too.
00:42:21It'd be funny if all we got out of this was a good night's sleep.
00:42:24Marshall place.
00:42:38You know where that is?
00:42:39Yes, sir.
00:42:39Well, my friend.
00:42:42I'll be right back.
00:42:43I'll be right back.
00:42:44I'll be right back.
00:42:45Well, my dear, are you having fun?
00:43:11Oh, Mr. Nathan, I'm having an elegant time.
00:43:13Mr. Nathan, after we've rumped together, shouldn't we be calling each other by our first name?
00:43:19Oh, that's funny.
00:43:20You really get close to a person when you're rumped.
00:43:22It's an 80.
00:43:2480.
00:43:2480.
00:43:25I have that.
00:43:27But now this brand new bandango's got me like nothing's got me before.
00:43:33I'm on my hands.
00:43:35I'm on my hands.
00:43:37I'm on my hands.
00:44:07Your partner.
00:44:08Are you 18, Miss?
00:44:09Three months ago.
00:44:10Oh, I wish someone would ask me that sometime.
00:44:14Oh, no chance, Mimi.
00:44:16No, you'll always look 22 to me.
00:44:20Watch out, Lita.
00:44:21I love that man.
00:44:24Seriously, Mimi, how long have we known each other?
00:44:26Since they met in Bombay.
00:44:29That's right.
00:44:30You play the little street waif, the charcoal vendor.
00:44:33Yes.
00:44:35That was before she met you, Lou.
00:44:38Attention.
00:44:39Attention, everybody.
00:44:41I give you our gracious host and dear old friend, the paragon of Hollywood producers.
00:44:47Long may he reign.
00:44:48I'm singing in the rain.
00:44:51Salud, baby.
00:44:54Thank you very much.
00:44:56Would you like to have a picture tonight, Mr. Nathan?
00:44:59Why, sure, Rosie.
00:45:00Why not?
00:45:00I mean, this is a night to remember.
00:45:02Okay.
00:45:03Everybody squeeze in.
00:45:04All right.
00:45:06Good.
00:45:06Okay, everybody say cheese, all right?
00:45:10Cheese!
00:45:17Well, how's the wine?
00:45:19Was it all right?
00:45:20All right.
00:45:22I haven't tasted wine like this since, well, it's been a while.
00:45:31Excuse me.
00:45:32After that rumba, I've got to get some air.
00:45:36Well, Marco, it's more champagne, please.
00:45:41Thank me.
00:45:44Baby.
00:45:45Oh, no.
00:45:47You know, Lita, there is something a little bit extraño about A.D. tonight.
00:45:55I don't know.
00:45:57Strange.
00:45:58You should see him at home.
00:46:00Even host story conferences in his sleep.
00:46:03No.
00:46:04Well, you know.
00:46:06You know him better than I do.
00:46:09When do you think would be the right moment to ask him?
00:46:13After the coffee and brandy.
00:46:15When he lights the cigar.
00:46:17That's when his guard is down.
00:46:20The cigar is your cue, huh?
00:46:23Comprendo?
00:46:23A.D., there is so much about all this, I don't understand.
00:46:39Well, not about, uh, zero.
00:46:42No, making movies.
00:46:44Mm.
00:46:46Like my screen test.
00:46:47Why do you want to keep it?
00:46:50Well, can I be frank, Jenny?
00:46:54Perfectly frank.
00:46:56I guess so.
00:46:57Do you remember I said it was, uh, interesting?
00:47:00Yes.
00:47:00But it won't work.
00:47:02Well, it's a perfect example of a bad screen test.
00:47:05Oh, Mr. Nathan.
00:47:10Oh, no, no, Jenny.
00:47:11It's not you.
00:47:12No.
00:47:13No.
00:47:13It's the, uh, the scenery and the sound and the set and the lighting.
00:47:19Now, next time, when all those elements are, are in order, after you've had a little coaching,
00:47:27you'll be fine.
00:47:28Next time?
00:47:29When?
00:47:31Well, let's work that out together, shall we?
00:47:33Now, let's see.
00:47:34I have to go to the studio tonight and see the dailies where I thought I'd drop by the hotel
00:47:39Roosevelt.
00:47:40I keep a suite there, room 704.
00:47:43Perhaps you could join me there, 1130, 12 o'clock.
00:47:48Oh, golly.
00:47:50I don't, I don't know.
00:47:52I've never been to a hotel.
00:47:55You mean go straight to the elevator and...
00:48:00That's it.
00:48:01That's it.
00:48:02The uncertainty, that grown-up little girl quality.
00:48:05That's what I've been looking for.
00:48:06I don't know what you mean.
00:48:09Yeah.
00:48:11Yeah.
00:48:12Margaret Sullivan.
00:48:14Margaret Sullivan?
00:48:15Yeah.
00:48:15Oh, do you really think I have to...
00:48:18Yeah.
00:48:19Yeah, you know, with the right scene and a little coaching.
00:48:23Yeah.
00:48:24Well, let's think about it, shall we?
00:48:28Has it all been to your satisfaction so far, monsieur?
00:48:32Uh, yes, except where we're sitting.
00:48:34Trust Andre, he is working on it.
00:48:37Yeah.
00:48:39That phone call still hasn't come through, has it?
00:48:41Mais non, monsieur.
00:48:41But the moment he does, voilà.
00:48:44Andre, you are the only person I know who is not only bilingual, but you're able to speak two languages at once.
00:48:50Ha, ha, ha, ha, ha, ha, ha, ha.
00:48:52What a way with words.
00:49:02Ha, il entrait mysteriose mort.
00:49:05Doze lestabour.
00:49:07Et...
00:49:08Commandé un magnum de champagne tout suite.
00:49:14Still deserves job.
00:49:17Congratulations, Andre.
00:49:19I didn't think it possible but your new screenplay is even better than Confessions.
00:49:24Merci, eh.
00:49:30Merci, monsieur.
00:49:32Merci.
00:49:43This waiting is driving me crazy.
00:49:46Easy, love.
00:49:48Laramie Toro is still in pre-production. It's months away.
00:49:51I know, I know.
00:49:52But I would feel safer if I could get that part tonight.
00:49:55Relax, darling. It's coming on to brandy and cigars.
00:49:58Oh, Louie. It's going even better than I hoped.
00:50:19Yeah, it's warming up.
00:50:21Edgy's starting to remember the good things about me.
00:50:24Didn't you love it when he called you one of the all-time great directors?
00:50:30I mean, I still am.
00:50:32Well, he needs a chance to prove it.
00:50:35So, put it to him soon.
00:50:38Before the show.
00:50:54Sarah, is that your service?
00:50:59I have a call for A.D. Nathan, person to person from Phillip Hudson in New York.
00:51:04Oh, good, good. Hold on, please. I'll page him.
00:51:06He'll be in on a moment.
00:51:07Oh, on in a minute. Oh, hold on.
00:51:11Betty, I've got New York on the line.
00:51:13Yeah?
00:51:14Tell Andre.
00:51:15Oh, for Mr. Nathan?
00:51:16Would you hurry? This could be it for me.
00:51:18Okay.
00:51:24What's your name?
00:51:25The Scarlet.
00:51:26The Scarlet.
00:51:27The Scarlet.
00:51:28Somebody got lucky.
00:51:29Good book.
00:51:30Good book.
00:51:31I don't think it's going to do it.
00:51:32I like the sunscreen.
00:51:33No, no, no.
00:51:34I like the sunscreen.
00:51:35No, it's not.
00:51:36Never let it go.
00:51:37Your call, Mr. It waits for you now.
00:51:39Thank you, my Lord.
00:51:40Excuse me.
00:51:41Enjoy.
00:51:42Enjoy.
00:51:43Oh, man.
00:51:44I'll...
00:51:45You'll call this, sir.
00:51:46It waits for you now.
00:51:48Thank you, my Lord.
00:51:49Oh.
00:51:50Thank you. Excuse me. Enjoy.
00:52:06You have a phone call for me, miss?
00:52:08Oh, yes, Mr. Nathan, from New York.
00:52:11You can take it in the back, in the booth.
00:52:20Hmm, that's where I'll live.
00:52:30Bel Air.
00:52:32Next to Doug and Mary, maybe.
00:52:34Oh, and I'll have my own car.
00:52:37A Packard convertible.
00:52:39Painted white.
00:52:46Hey. Hey, Darlene.
00:52:49I'm talking to you. Come on, I'll snap out of it.
00:52:52Hmm?
00:52:53Oh, it's you, Betts.
00:52:55It sure ain't Betty Grable.
00:52:58Well, what happened? Did he notice you?
00:53:00She's still in there.
00:53:03Here he comes.
00:53:10I hope the connection was clear, Mr. Nathan.
00:53:12What?
00:53:13Oh, yes, very clear, yes.
00:53:15Anything else I can do for you? Anything?
00:53:17It would be a pleasure, I assure you.
00:53:22No, no, thank you, no.
00:53:24Not tonight, Josephine.
00:53:28Darlene, Mr. Nathan.
00:53:33Darlene.
00:53:43One more a little minute.
00:53:44And always working on it, huh?
00:53:45Oui, monsieur.
00:53:46Thank you, dear.
00:53:56A.D., is everything all right?
00:53:58Yes, yes, everything's fine.
00:54:01A.D., this evening has sure been like a tonic for us.
00:54:05And we'd both like to thank you.
00:54:08Yeah.
00:54:09Now, I know you didn't ask us here tonight to talk business, A.D.,
00:54:12but you always used to have faith in me.
00:54:14And vice versa, Lou.
00:54:16Yeah, that's what made us so great together.
00:54:18Here, let me get you a little splash of brandy there, just rolling on.
00:54:21Oh, thanks.
00:54:22No more drinking after dinner.
00:54:24A.D., now, what I'm trying to say is that I know.
00:54:28I know what you're trying to say.
00:54:31A.D.
00:54:32Twelve.
00:54:33What?
00:54:34I'll be there at twelve.
00:54:35A.D., when you do the big western,
00:54:39do you really want to talk about the Laramie Trail?
00:54:43Yes.
00:54:45The part of the rancher.
00:54:47Oh, it's beautifully written.
00:54:48See, he knows.
00:54:49He knows.
00:54:50You know who can play the hell out of that part, don't you?
00:54:53Yes, I do.
00:54:57Any Latin stud in Hollywood.
00:55:00Except you.
00:55:02What?
00:55:03A.D., that part was written for Tony.
00:55:05No, there's not a part of the studio that was written for Tony.
00:55:09The only reason he wasn't fired months ago, because of me.
00:55:15And now there isn't any me.
00:55:19It's funny.
00:55:20It's joking.
00:55:21John, what are you saying?
00:55:22I'm through.
00:55:23I'm finished.
00:55:24I'm fired.
00:55:25What happened?
00:55:26The board of directors of New York just voted to ask for my resignation.
00:55:32I don't believe it.
00:55:33Well, we...
00:55:34What are you going to do?
00:55:35I don't know, Lou.
00:55:36I don't know.
00:55:37I don't know.
00:55:38I don't know.
00:55:39Lou.
00:55:40I don't know.
00:55:41I don't know.
00:55:42What did you do?
00:55:43What did you do?
00:55:44What did I do?
00:55:45What did I do?
00:55:46Good news, monsieur.
00:55:47I have your top.
00:55:48I have your top.
00:55:49We're inside.
00:55:50And a great gal.
00:55:51And a wonderful singer.
00:55:52And a great gal.
00:55:53And a wonderful singer.
00:55:54What did you do?
00:55:55What did I do?
00:55:56What did I do?
00:55:57What did I do?
00:55:58What did I do?
00:56:05What did I do?
00:56:07Good news, monsieur.
00:56:08I have your top.
00:56:09We're inside.
00:56:11Andre has your top, monsieur.
00:56:12It is ready.
00:56:13Good things.
00:56:15Ah, ah.
00:56:16Oh.
00:56:17Oh.
00:56:18Ah, ah.
00:56:23It seems we stood and talked like this before
00:56:47We looked at each other in the same way then
00:56:52But I can't remember where or when
00:57:00The clothes you're wearing are the clothes you wore
00:57:07The smile you were smiling, you were smiling then
00:57:11But I can't remember where or when
00:57:16Some things that happen for the first time
00:57:24Seem to be happening again
00:57:31And so it seems that we have met before
00:57:39And laughed before
00:57:43And laughed before
00:57:46But who knows where or when
00:57:54What are we waiting for?
00:58:04I trust you have the right lens on that thing this time
00:58:07Oh no, no, no
00:58:09I don't like it
00:58:10Mike, eat it
00:58:11Mike, she looks like hell
00:58:13Fix her eyes
00:58:13They're fine, Reggie
00:58:14They better be
00:58:15We have the railroad station scene tomorrow
00:58:18We have hired 200 extras for the day
00:58:19And if we can't use them because of Natica's eyes
00:58:21Someone is in big trouble
00:58:23Thank you very much
00:58:24Edith?
00:58:25Yes, Wendy?
00:58:25Edith, I don't like that apron
00:58:27This is supposed to be a sexy scene
00:58:29She's nervous
00:58:30She's waiting for her boyfriend
00:58:31So let us see something, okay?
00:58:33Thank you
00:58:33Thank you
00:58:34Could we please get this before lunch?
00:58:36Too late, Mr. Broderick
00:58:37Okay
00:58:39Lunch
00:58:40Lunch!
00:58:41What an hour!
00:58:42Natica, Natica
00:58:43I have a table booked at the commissary
00:58:45Want to join me?
00:58:46Oh, I can't
00:58:46Sorry
00:58:47I love you
00:58:51Are you sure there were no other calls?
00:58:55Absolutely
00:58:55What's this?
00:58:57Your mother's rent
00:58:58It's gone up
00:59:00Hello?
00:59:05Oh, very good
00:59:08Terrific
00:59:09Thank you very much
00:59:11Can I have your new car already waiting in the parking lot, Natica?
00:59:14The yellow Packard?
00:59:16Mm-hmm
00:59:16Twelve cylinders, white walls
00:59:17Everything you wanted to bring
00:59:19Mike, Miss Jackson
00:59:20Come in
00:59:21Somebody didn't get enough sleep last night
00:59:24You're so clever
00:59:25Yeah, well, at least you're young
00:59:27Not like some of the hags I have to bring to life
00:59:29You have beautiful eyes, Miss Jackson
00:59:31But you gotta get your eight hours
00:59:33Always get your eight hours
00:59:35Yeah
00:59:35Hello?
00:59:38Hi, Phil, honey
00:59:38How's Rebecca?
00:59:40Do I have to handle this myself?
00:59:42Please, just tell her she has to
00:59:43Mary, I'm expecting a call
00:59:45I gotta go
00:59:45I'll call you later
00:59:46Ten minutes, Miss Jackson
00:59:49Okay
00:59:49Listen to me
00:59:53If I'd have wanted him as a husband
00:59:55I'd have had him
00:59:56I wanted you and nobody else
00:59:59Careful
00:59:59I'm sorry
01:00:00I like it
01:00:08I didn't think I was gonna like it
01:00:09I like it
01:00:10Okay, move now
01:00:15Come on, pick up your things
01:00:17Come on
01:00:17And now
01:00:18Good, good
01:00:19Now, give me the fan
01:00:20Terrific
01:00:21Call it there now
01:00:22Good
01:00:23Reggie
01:00:28What?
01:00:30No wonder you wanted the wind machine
01:00:32What, are you trying to change my image as America's niece?
01:00:35You can get that by the Hayes office
01:00:36Watch out, America
01:00:37When I first came here
01:00:42All I wanted was for every big star to know who I was
01:00:45Now they do
01:00:46Garbo spoke to me once
01:00:47Well, she didn't actually speak
01:00:49She just sort of nodded her head and smiled
01:00:52Very sophisticated
01:00:53Alan's isn't terribly unsophisticated
01:00:56A guy like Alan Hilton
01:00:58He could sophisticate you right out of the business
01:01:00Have you got a new fellow, Nana?
01:01:05Come on, let's go get over here
01:01:07Maybe, why?
01:01:11You look like you didn't get enough sleep last night
01:01:13Let's just pray that today's close-ups are on a total loss
01:01:16My eyes were that bad?
01:01:17Not only your eyes
01:01:18You went around with your buttons showing all day
01:01:20My buttons?
01:01:22Your nipples, dear
01:01:23Oh, gee
01:01:25You were a woman fulfilled today
01:01:27Stop it!
01:01:28It's all right, as long as you get your sleep
01:01:30I never even thought about them all day
01:01:32You never even thought about anything else all day
01:01:34Do all you women think about sex?
01:01:37What about you men?
01:01:39Sometimes we manage to rise supremely above it
01:01:41You like sex, don't you?
01:01:44I love it
01:01:45So does every man I ever slept with
01:01:47Except that son of a bitch who didn't call me today
01:01:50And you know why?
01:01:52Because I made the first pass
01:01:53Make a pass with me, dear heart
01:01:56I'll phone you
01:01:56Why don't you call him?
01:02:00No, it's up to him
01:02:01Married, huh?
01:02:02Maybe his wife came home unexpectedly
01:02:09Or maybe I'm just making excuses for him
01:02:14Don't lose any sleep over him, Natica
01:02:21You just don't want me to lose any sleep
01:02:25Right
01:02:26Then you can finish this picture for me
01:02:28And I'll marry you
01:02:29Have you discussed this with your wife?
01:02:33Where's your car?
01:02:36That's my car
01:02:36What do you think?
01:02:38Holy cow
01:02:39Yeah, I loved my old car
01:02:41But once I make up my mind to get rid of a thing
01:02:44I just don't care to see it anymore
01:02:46I wish I could be the same way about people
01:02:49Have a good weekend
01:02:51Say hello to the missus for me
01:03:08I've worked the studio for a $5,000 bonus
01:03:13And it's all yours
01:03:15I'm not taking my 10%
01:03:16Now, does that make you feel better?
01:03:19$500 better
01:03:20Good, my compliments? Enjoy
01:03:22Thank you
01:03:23Because after this next picture
01:03:24You're going on suspension
01:03:25I am?
01:03:28Why?
01:03:29Because we're going after a new contract
01:03:31Now, you work hard on this next one
01:03:33You give the studio no cause for complaint
01:03:35Then when they come around with a new picture to follow
01:03:36We turn it down flat
01:03:38But I owe the studio a couple more pictures
01:03:42In this business, you strike while the errand's hot
01:03:44I could lose a lot of money
01:03:46Which is nothing compared to what they'll lose
01:03:48If your suspension holds up the whole picture
01:03:50Because that's when New York calls up and says
01:03:52Hey, straighten out this Jackson contract
01:03:54Quit playing games
01:03:55Trust me
01:03:56Your whole life is going to be in pictures
01:03:58I don't want you to as much as step foot on a Broadway stage
01:04:02I don't want you monkeying around with Broadway
01:04:06Well, I'm not a stage actress, I know that
01:04:09You know it now
01:04:10Yeah, these Broadway managers come out here
01:04:13Try to put the con on picture people
01:04:14Art and the theater
01:04:17All they do is stir up trouble
01:04:18I don't want to see some Broadway critic take a crack at you
01:04:21Just because they don't like picture people
01:04:23Morris?
01:04:25What?
01:04:26Is somebody trying to get me for Broadway?
01:04:29Huh?
01:04:31What is it?
01:04:32A musical comedy or a play?
01:04:40It's a musical comedy
01:04:42They wanted to offer you about a thousand a week or so
01:04:44With no kind of guarantee whatsoever
01:04:45I told them to get lost
01:04:46You should have told me
01:04:48I had to do it, Natica
01:04:53I see you as big as Garbo or Gable
01:04:57I see the studio as your second home
01:04:58You may get married
01:05:00You may get discontented
01:05:01But no matter what else
01:05:02You're set for life
01:05:04If you have a permanent home lot
01:05:06You want me to marry the studio?
01:05:08Exactly
01:05:08Or the studio to marry you
01:05:09You're a working girl, Natica
01:05:11That's the only thing you said so far that makes any sense to me
01:05:14I am a working girl
01:05:16Ever since I was 18 and I first got into this business
01:05:19And it was a half a dozen pictures
01:05:22And this guy and that guy
01:05:23And my folks sponging off me
01:05:25And I get overcharged in all the stores
01:05:27And you know nearly all the girls I went to high school with
01:05:29You're married and starting families already
01:05:31All of a sudden I'm not a kid anymore
01:05:33Listen, I understand
01:05:34I know, I know
01:05:35Sixty million girls would love to trade places with me
01:05:37And I'd be one of them
01:05:38If I weren't Natica Jackson already
01:05:41I'm lucky and I know it
01:05:43But just don't be surprised
01:05:44If one of these days
01:05:45I go after something I want for a change
01:05:47All right, who is he?
01:05:53How did you hide this guy from us?
01:05:55Imagine that
01:05:56I slept with a fella
01:05:57And you and Ernestine didn't know about it
01:05:59Neither did the studio
01:05:59I get a kick out of this
01:06:01I got away with something
01:06:02There's a lot at stake here
01:06:04Don't do anything you're going to be sorry for
01:06:07I already have
01:06:09I didn't know how good it could feel
01:06:13It's the only thing I have felt lately
01:06:18Forget about it
01:06:24I'll probably never see him again
01:06:26Forget it
01:06:27I'll probably never see him again
01:06:28I'll probably never see him again
01:06:29I'll probably never see him again
01:06:30I'll probably never see him again
01:06:31I'll probably never see him again
01:06:32I'll probably never see him again
01:06:33I'll probably never see him again
01:06:34I'll probably never see him again
01:06:35I'll probably never see him again
01:06:36I'll probably never see him again
01:06:37I'll probably never see him again
01:06:38I'll probably never see him again
01:06:39I'll probably never see him again
01:06:40I'll probably never see him again
01:06:41I'll probably never see him again
01:06:42I'll probably never see him again
01:06:43I'll probably never see him
01:06:44I'll probably never see him
01:06:45I'll probably never see him
01:06:46I'll probably never see him
01:06:47I'll probably never see him
01:06:48I'll probably never see him
01:06:49I'll probably never see him
01:06:50I'll probably see him
01:06:51I'll probably never see him
01:06:52I'll probably see him
01:06:57Now turn around and look over your left shoulder to the camera, that's it, like that, over
01:07:12the right shoulder, please.
01:07:17Let's be good, everybody, this could be the rap shot!
01:07:34Would you be off camera for me, you don't mind, do you, Daniel?
01:07:37My pleasure.
01:07:38Thanks.
01:07:39We're rolling, F speed, Dark Voyage, scene one, two, eight, take one.
01:07:45Background action!
01:07:47Okay, Natica, he says to you, I've missed you so much.
01:07:52My life has been hell since you left.
01:07:55It's a little late in the day for all those fine words, isn't it, Frank?
01:07:59I never want to see you again, you disgust me.
01:08:06Cut!
01:08:08I'll take the camera, to rip down.
01:08:11This will run, baby.
01:08:14Thank you very much.
01:08:15The drums on the house, on our street.
01:08:17You're welcome.
01:08:19You're welcome.
01:08:21Thank you very much.
01:08:22The drums on the house, on our street.
01:08:23You're welcome.
01:08:26Here you are.
01:08:27Morris, I have it from on high that despite Natica's sense of humor, the studio is very pleased
01:08:33with you.
01:08:34You should be.
01:08:35They're getting great stuff.
01:08:36Cheers to the next one.
01:08:37That's good.
01:08:38You were wonderful.
01:08:39That was great.
01:08:40I don't know about that, but at least this one's over.
01:08:43Thanks, Mike.
01:08:44Anytime, Ms. Jackson.
01:08:45Bye-bye.
01:08:47Thank you, thank you, thank you.
01:08:48Ah, yes.
01:08:49So, what do we do now?
01:08:51Threaten the studio?
01:08:52RKO, you can threaten.
01:08:53Universal, you can threaten.
01:08:54If it's Republic, don't even answer your phone.
01:08:57And here, you don't threaten.
01:08:59All right?
01:09:00All right?
01:09:01Just leave it to me.
01:09:02Don't lose confidence in me.
01:09:03Don't lose confidence in yourself.
01:09:05I've never been so confident in my life.
01:09:08All right.
01:09:09Let's go, girl.
01:09:11What are you doing, you crazy?
01:09:39How do you like my new car?
01:09:46I thought you were some high school goon.
01:10:01Come on.
01:10:02How you been?
01:10:04Oh.
01:10:05Eating my heart out because you never called.
01:10:08You know, I've forgotten your name.
01:10:11Hal Graham.
01:10:12Hal Graham.
01:10:13You know, last time I saw you, what, three, four months ago?
01:10:17I believe your wife was away.
01:10:19Did she ever get back?
01:10:20Yeah, the next day.
01:10:22Little Howard took sick.
01:10:23Oh, I'm sorry.
01:10:25Why are you following me?
01:10:26I just wanted to talk to you.
01:10:28What do you want to talk about?
01:10:29Nothing if you're not more friendly.
01:10:30Don't expect me to be as friendly as I was the last time you learned my lesson.
01:10:34Look, okay, you're sore because they didn't phone you.
01:10:37I'm sorry, all right?
01:10:38Well, Howard got sick.
01:10:39Look, he didn't get sick.
01:10:43The fact is, I was afraid that if I had called you and seen you, I never would have stopped seeing you.
01:10:53You want to get in and sit down or you want to follow me home?
01:11:12Turn around, correct?
01:11:13I really was afraid of being that thing.
01:11:14This is awful.
01:11:15No.
01:11:16I do not know.
01:11:17Look, you're hurt what you did.
01:11:18You'll notice, sir.
01:11:19I never forget about that.
01:11:20I drove the room See where I am the man.
01:11:21How did heADE?
01:11:22Very tricky.
01:11:24I'm sorry.
01:11:26You had some research you were working.
01:11:28How did it turn out.
01:11:31I should have chosen some results.
01:11:33You went back to your job.
01:11:34And the wife and kitty's.
01:11:36Had any more kitties?
01:11:39Don't tell me.
01:11:40There's one on the way.
01:11:42I got a raise, and my wife decided that we could afford another child.
01:11:46Uh-huh.
01:11:48It wasn't that you had a guilty conscience, and you became more attentive to her?
01:11:55Oh, you're dumb enough to be an actor.
01:11:59You're almost good-looking and up to rate a screen test.
01:12:01You know you're good-looking, don't you?
01:12:02Yeah, so I've been told.
01:12:03Well, you are.
01:12:04Yeah, but what you went for wasn't my law.
01:12:05Is your wife pretty?
01:12:06Yeah.
01:12:06Is she a good figure?
01:12:07Yeah, terrific.
01:12:07Why don't you get in your new car, dash home, and jump right in the hay with her then?
01:12:12Well, because I never got over you.
01:12:14No, it's true.
01:12:17And you didn't get over me either, did you?
01:12:19You know, I remember every word you said that night.
01:12:23I remember the smell of your skin and your hair.
01:12:27I could throw you a sketch of the headboard over your bed.
01:12:31I may be dumb about some things, but I remember everything about you.
01:12:42You want me to refresh your memory?
01:12:53Look, look, if we do, Madica, we're starting something that may be very hard to stop.
01:12:57So if you don't believe me, send me home right now.
01:12:59Wild horses couldn't drag you away.
01:13:01My wife's going to catch on, you know.
01:13:12She is, and she's going to make trouble for both of us.
01:13:15I had trouble.
01:13:16What other kind is there?
01:13:17It wouldn't be so bad if I didn't love you, but I do.
01:13:20I love you.
01:13:22You do?
01:13:24I never even thought about that.
01:13:28Maybe I did a little.
01:13:29What's so funny?
01:13:31Something a director said about my buttons.
01:13:36I'll tell you later.
01:13:45Hello, Madica.
01:13:47Oh, hello, Maxine.
01:13:49How are you?
01:13:49Oh, fine, fine.
01:13:51You know, everybody back home always asks me, do I see you in here?
01:13:54We know each other.
01:13:56We went to high school together.
01:13:58Yeah, but what a difference.
01:14:00I ended up in an apron, and just look where she is.
01:14:06So she's cute.
01:14:08Yeah, you bet.
01:14:10She took a guy away from me, Joe Balsby, or maybe I'd have married him.
01:14:14She did.
01:14:14Oh, by being cute.
01:14:16So...
01:14:17What's on your mind?
01:14:30Well, Madica, tomorrow, Morris is going into the studio to hit them up for your new contract,
01:14:37and we, uh, he and I are very worried that anything might happen to endanger him.
01:14:44Listen, Ernestine, let's not beat about the bush.
01:14:47I have a new fella.
01:14:48He's married, and he has a family.
01:14:52Madica.
01:14:53The studio gets wise.
01:14:54You can take the studio and stick it.
01:14:56I'm crazy mad about this fella, and I never was that way about anybody.
01:15:00There's nothing you can do to change my mind.
01:15:06So butt out.
01:15:10Well, I did my duty.
01:15:14Good luck, Madica.
01:15:15I'm with you.
01:15:17Now let's eat.
01:15:19Maxine.
01:15:23Oh, lobster.
01:15:24Ben, listen to me.
01:15:29If I wanted him for a husband, I'd have him.
01:15:33I wanted you and nobody else.
01:15:35Cass, I...
01:15:35Don't say anything.
01:15:36Oh, boy.
01:16:00Oh, boy.
01:16:02Oh, it's gonna be a smash.
01:16:14I can feel it.
01:16:15Come on, it's only a snake.
01:16:17Do you have a light?
01:16:18Yeah, sure.
01:16:18The studio's playing you very smart.
01:16:20They're not gonna suspend you
01:16:21until you turn down the next picture.
01:16:23That's why they keep you on salary
01:16:24and not showing you a script.
01:16:26Okay.
01:16:27Now you stay out of trouble.
01:16:29All this will go up in smoke.
01:16:30Don't get into a scandal
01:16:31with this married fellow, Mr. Hal Graham.
01:16:43So you found out who he is?
01:16:45My detective did.
01:16:46What?
01:16:47You heard me.
01:16:47Your detective?
01:16:48That's right.
01:16:49I got everything on him
01:16:50from his license number to his shoe size.
01:16:53You son of a bitch.
01:16:57Don't you wanna see
01:16:58what his wife looks like, Nanika?
01:16:59She's a good-looking woman.
01:17:07She writes poems, Nanika.
01:17:10So people like her
01:17:10are not like people in our business.
01:17:13They take things big.
01:17:17You still think you wanna break up
01:17:18a home with three children?
01:17:21I'm in love with him
01:17:22and that's what I think about.
01:17:23I hope I do go on suspension
01:17:26so I can spend more time with him.
01:17:28She and I
01:17:54don't even sleep
01:17:55just in the same bedroom anymore.
01:17:58Beryl's
01:17:59not interested in me.
01:18:02I mean,
01:18:02you know,
01:18:05not really.
01:18:06Not like you are.
01:18:08but I'm, you know,
01:18:16with her,
01:18:18she,
01:18:21I don't know,
01:18:24maybe it's just that I'm in my world
01:18:25and she's in hers,
01:18:29but
01:18:29between us,
01:18:33we have very little.
01:19:35Yeah?
01:19:36Come on down.
01:19:37I have a surprise for you.
01:19:38You're not going to school today.
01:19:39Yeah!
01:19:40Wait for me!
01:19:42What took you so long?
01:19:43Yeah, how come I don't get a day off like you kids do?
01:19:45Got a nice new boat for you, Miss Graham.
01:19:48A lot of power here.
01:19:49But you're a pro.
01:19:50I know you'll handle it real easy.
01:19:53So, Mr. Jean, not coming down for the ride?
01:19:55No, I'll be down on the weekend.
01:19:56Hi-ha!
01:19:57Hi-ha!
01:19:58Hi-ha!
01:19:59Hi-ha!
01:20:00Hi-ha!
01:20:01Hi-ha!
01:20:02Hi-ha!
01:20:03Hi-ha!
01:20:04Hi-ha!
01:20:05Hi-ha!
01:20:06Hi-ha!
01:20:07Hi-ha!
01:20:08Hi-ha!
01:20:09Hi-ha!
01:20:10Hi-ha!
01:20:11Jeff!
01:20:12Hi-ha!
01:20:13Hi-ha!
01:20:16Hi-ha-ha!
01:20:17Hey, I'll be down on the weekend.
01:20:22Hi-ha!
01:20:23Hi-ha-ha-ha!
01:20:24Hi-ha-ha-ha!
01:20:26Hi-ha!
01:20:28Hi-ha-ha-ha-ha!
01:20:29Hi-ha-ha!
01:20:33descried the screen.
01:20:37Hi-ha!
01:20:38Let me get my messages.
01:21:08Let me get my messages.
01:21:38Not a good darling.
01:21:40Who else knows about you and Graham?
01:21:44No one, not even her, I don't think.
01:21:46There is someone, Morris, your little detective.
01:21:49He knows everything about Mr. and Mrs. Howe, Graham, and now we go.
01:21:53Hello.
01:21:54Oh, yes, just...
01:21:57It's him.
01:22:07Hello?
01:22:08That poor chump, Graham.
01:22:10Who cares about him?
01:22:12Chips are down for us too, Morris.
01:22:14That gumshoe blabs to the studio?
01:22:16I know.
01:22:16It's a matter of major money.
01:22:17They won't appreciate it.
01:22:18Look, I think we've got to keep him quiet.
01:22:20Put him on a big, fat expense account.
01:22:22Send him out of town on some kind of wild goose chase.
01:22:24Just get him out of here.
01:22:25Okay, don't worry about the thing.
01:22:26Yeah.
01:22:27The police talked to the man at the boat dock, and we've known him for years.
01:22:40What happened?
01:22:41What happened?
01:22:42Well, when she came back, he asked her, you know, where the kids were.
01:22:55And she just said that they're out there somewhere.
01:23:01I don't know.
01:23:05He said that she was as calm as if nothing had happened.
01:23:10And, um, that her dress wasn't wet, that her hair was dry, and she hadn't even been in the water at all.
01:23:24Hal, what can I do?
01:23:27Nothing.
01:23:27Just don't, you know, don't, don't call or don't get mixed up in it.
01:23:32Hal.
01:23:33No.
01:23:34Look, I have to go.
01:23:36Hal.
01:23:49He was crazy about those kids.
01:23:51God, I wish I could do something.
01:23:53The best thing you can do is to stay out of it.
01:24:00He was here, and now he's gone.
01:24:04Just like that.
01:24:08He was my best friend.
01:24:12I really wanted him.
01:24:17I never wanted anything more in my life.
01:24:20I would have done anything he wanted me to.
01:24:28Anywhere, anytime.
01:24:30I'll never see him again.
01:24:32And the terrible thing is, I'm afraid I don't want to see him again.
01:24:40I'm afraid that crazy woman will be looking over his shoulder at me.
01:24:47She really knew what she was doing.
01:24:54She really knew what she was doing.
01:24:55Just as if she called me on the phone and told me.
01:25:04She probably doesn't even know my name.
01:25:09But she's telling me.
01:25:15Telling me what?
01:25:16This is what you have to live with.
01:25:19Anna Jacobs or Natica Jackson.
01:25:21Or whatever you call yourself.
01:25:27This is what you have to remember for the rest of your life.
01:25:30This is what you do.
01:25:48On the gold course, I'm on the far.
01:26:05The troubled winds have asked me to starve.
01:26:11I've got a house, a show place.
01:26:15Still, I can't get no place with you.
01:26:22Because you're so supreme.
01:26:29Pterics I write of you.
01:26:33I dream, dream day and night of you.
01:26:39And I scheme, just for the sight of you.
01:26:46Baby, what good does it do?
01:26:50I've been consulted by Franklin D.
01:26:57The Red Hot Rapper has had me to kill.
01:27:02Still, I'm brokenhearted.
01:27:07Because I can't get started with you.
01:27:11I don't care.
01:27:15So, I'm sorry.
01:27:17I don't care.
01:27:18¶¶
01:27:48¶¶
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