All language subtitles for 1967_Valley_of_the_dolls_HD_VOSTEN.5.9

WOMAN (narrating): You've got to climb
Mount Everest to reach the Valley of the Dolls.

It's a brutal climb to reach that peak.

You stand there,
waiting for the rush of exhilaration,

but it doesn't come.

You're alone,

and the feeling of loneliness
is overpowering.

I never meant to start that climb.

I took the first step the day I left New England
and headed for New York.

It wasn't easy to leave
that wonderful old house.

My grandparents lived there
and their grandparents before them.

It was standing during the revolution.

George Washington didn't sleep there,
but he did dip a bucket of water from our well.

I can still see them
standing there, waving -

Aunt Amy, Mama and Willy.

Poor Willy. He didn't know
I was leaving his life forever.

I'll never forget the night
I told them I was going to New York.

They said it was
a dreadful place for a vacation.

I announced I was going to work there.

Willy took it very well.
He said he'd give me a month.

Then I'd run for home,
ready to settle down in Lawrenceville.

I remember the day Willy pinned me.

He said it meant
we were engaged to be engaged.

I wanted a marriage
like Mom and Dad's, but not yet.

First, I wanted new experiences,
new faces, new surroundings.

Lawrenceville would be there forever.

WOMAN: ♪ Gotta get off ♪

♪ Gonna get ♪

♪ Have to get off ♪

♪ All alone ♪

♪ Gotta find out ♪

♪ Gonna find ♪

♪ Need to find life on my own ♪

♪ When will I know? ♪

♪ Where will I ♪

♪ How will I know what I'll be? ♪

♪ If I don't go ♪

♪ If I can't ♪

♪ If I don't go where I'm free? ♪

♪ Somewhere ahead ♪

♪ Waits a hope ♪

♪ Waits a heart ♪

♪ That will know how I yearn ♪

♪ Know how I yearn ♪

♪ Yearn for a dream ♪

♪ For a face ♪

♪ With a smile ♪

♪ And a look of concern ♪

♪ What will I learn? ♪

♪ Tell me, when will I know? ♪

♪ What will I see? ♪

♪ When will I ♪

♪ Return? ♪♪

WOMAN (narrating): The cab driver
kept complaining about the sleet and slush.

I told him he should see
one of our New England blizzards.

He took me to the
Martha Washington Hotel for Women.

Aunt Amy had stayed there.

She said it was as safe as you could be
in a city like New York.

The desk clerk warned me
they didn't allow men in the rooms.

(chuckles)
I confessed I didn't know any.

Before my feet were dry, the agency
sent me out on my first interview.

Oh, I had butterfiies in my stomach,
but I acted like I'd done it all my life.

At least I thought I did.

WOMAN: I knew it. She had that look.

-I'm to see Miss Steinberg.
-I knew she was pregnant.

Well, certainly I should have kept
an eye on her, Doctor, but she sneaks out.

You know how she is.

I haven't any idea who the father is.

It could have been one of several.

(sighs) All right.
I'll start her on vitamins tomorrow.

Queenie's pregnant again.

My Siamese.

Cripes, I hope it isn't that
beat-up black tom with the one eye.

A black Siamese should be very pretty.

-I'm Anne Welles.
-Oh.

Oh, yes. The agency phoned about you.

BA at Radcliffe.
Mr. Bellamy will like that.

He'll think it gives the office tone.

-The agency said he's a lawyer.
-A theatrical lawyer. There's a difference.

He handles actors, writers and directors -
important ones.

He advises them and draws up
their contracts with no loopholes.

-Sounds fascinating.
-It isn't.

Would I work for Mr. Bellamy
or Mr. Bellows?

There is no Mr. Bellows anymore.
Only his nephew Lyon Burke.

You can tell when he's in the office
by the girls around that watercooler.

-How's your shorthand?
-Weak, but I type 60 words a minute.

Okay. I'll take you in to see the boss.

Mr. Bellamy, this is Miss Welles.
She's here about the job.

-She's too good-looking.
-Mr. Bellamy, that's not fair.

I'll just get her broken in
and some insurance salesman will marry her.

-I'm already engaged.
-There. See?

But I'm not going to marry him. Besides,
lots of secretaries are married, aren't they?

Not in this office.

Some days you'll have to work until midnight,
having dinner with me and a prospective client.

I'll drink too much and won't remember
a damn word next morning.

You'll have but one sherry
and will remember everything.

I have an excellent memory,
and I love sherry.

-Think you can handle it?
-I'm sure I can.

Could she start right away?
We're swamped.

Stop running my life, Steinberg.
I'm still not convinced.

Mr. Bellamy, couldn't you
please give me a trial?

All right.

I'll try you out for one week,
starting as of now.

Here.

Take these contracts over to Helen Lawson
at the rehearsal hall on 44th Street.

Take a cab.
See that she signs them.

-Iet's see if she can handle that.
-I'll be right back.

And, uh, don't give her that
"I loved you when I was little girl" routine,

or she'll stab you in the back.

Helen Lawson?
Mr. Bellamy, that was wicked.

Harry, what the -
Four bucks an hour for 80 people?

Are you kidding? Oh, come on -

-Excuse me.
-Just a minute. Yeah?

I have some contracts for Miss Lawson
from Mr. Bellamy, my employer.

Go down the hall to the balcony, turn left.
It's the first dressing room on your right.

If you're a Capricorn, watch your step.

Yeah, Harry. It's a good company. Come on.

-Why?
-Why?

-Why?
-That's it.

MAN: Five, six, seven, eight.

One, two, three, four,
five, six, seven, eight.

Two, two, three, four,
five, six, seven, eight. One, two -

WOMAN: ♪ Give a little more ♪

♪ Make tomorrow dance for you ♪

♪ Strike a brand-new pose ♪

♪ There's always
one more chance for you ♪

♪ Before the curtains close ♪

♪ Sure, that old inspired heart ♪

♪ Ain't all it was before ♪

-♪♪ (continues, faint)
-MAN: Here are the proofs from Friday's sitting.

-I'm sorry I couldn't get 'em any sooner.
-(chuckles) You're sorry?

No good. Sh - Lousy.

A beast.

Out. What kind of a press agent are you?

Why do they have to send me
some green kid fresh out of NYU?

Who in hell are you?

I'm Anne Welles, and I -

Look, I'm tired and I'm busy.
What do you want?

Mr. Bellamy sent
some contracts for you to sign.

You, out.

Come on.

Give me a fountain pen.
And not one of those lousy ballpoints.

Come on.

Sit down. You're making me nervous.

♪♪ (woman continues singing)

That-That girl who's singing out there,
she's very good, isn't she?

-♪ More and more ♪
-Yeah.

♪ And more ♪

How do you think the kid's song
works in the new spot? Great, huh?

-The song goes.
-What?

You heard me.
The song goes and the kid with it.

Oh, Helen, come on.
Neely O'Hara can't hurt you.

You bet your ass she can't,
because she isn't going to get the chance.

The only hit that comes out of
a Helen Lawson show is Helen Lawson.

And that's me, baby, remember?

That girl has a run-of-the-play contract.

I know all about
run-of-the-play contracts.

Helen, this isn't gonna help you
in the business.

Right. Nor you either.

So get Bellamy to do it.
He knows how. He's done it before.

You, go back to the office
and tell that son of a bitch

to get off his butt and earn his oats.

But, Miss Lawson, you haven't finished
signing the contracts.

And I don't intend to.

Not until Bellamy ties a can
to that little broad's tail.

-Mr. Bellamy.
-(hissing)

I've thought it over, and I don't think I -

-Oh.
-want this job.

Excuse me. You must be Mr. Burke,
the one with the watercooler.

-I mean -
-And you must be Miss Welles.

Mr. Bellamy told me all about you.

Tell me, why are you
dismissing us so soon?

Because I think show business is cruel.

You're quite right. Oh, have a seat.

-People do despicable things.
-Yes, they certainly do.

Like firing some poor girl because a crude
person like Miss Lawson resents her ability.

Please, have a seat.

Miss Welles, a raw recruit always
dives for the nearest foxhole

at the first burst of enemy fire.

But don't let that happen to you.

Don't you throw in the towel just yet.

Um, this is a rather cruel business.

It's also a great business
and a rewarding business.

For every Helen Lawson, there's always
a Helen Hayes or a Mary Martin.

Now, you think about that.

Well, uh, may I have the contracts?

Yes.

-Well, they are signed?
-Oh, um, well, one is.

Oh.

Yes, yes, one is.

And legibly too.

Oh, I almost forgot. Miss Lawson
gave me a message for Mr. Bellamy.

-Yes
-She said -

-Well, she said, "Tell that son of a -"
-Gun?

(chuckles)
Gun. "Tell him to get off his -"

Yes, I think I know that message.
I'll see to it that Mr. Bellamy gets it.

Thank you very much, Miss Welles.

-Bye.
-Bye.

Oh, Miss Welles, you forgot your purse.

Oh, thank you. Thank you.

-Oh, I'm sorry.
-That's all right.

I'm afraid I haven't made
a very good impression.

Oh, on the contrary.
You've made an indelible one.

-Bye.
-Bye.

(door closes)

(chuckles)

"Barely Pink."

-♪♪ (piano)
-(whistling, applause)

Hey, look at Jennifer.

Hey, Jennifer!

MAN: Wow!

♪♪ (ends)

600 bucks for a headdress,
and not a soul will see it.

(laughter)

-I feel a little top-heavy.
-Honey, you are a little top-heavy.

(all laughing)

All right. That's fine, dear.
Thank you.

-♪♪ (piano)
-(chattering)

♪ Try, my friends ♪

♪ To face yourself ♪

♪ With all you have in store ♪

♪ But if you can ♪

-♪ Then brace yourself ♪
-Hold it. Hold it!

-♪ And give... ♪
-♪♪ (ends)

-Cut the song?
-The show is a little long.

Wait a minute. That's the best
piece of music in the show.

Why don't you take out one
of Miss Lawson's songs? She's got five.

Sweetheart, Miss Lawson is the star.
The public pays to see her.

But if you take that song out, I've got
nothing but a few lines in the first act.

I'm sorry, Neely.
We have no alternative.

Don't listen to him, hon.

He's protecting Old Ironsides.

This was her idea.
She can't stand the competition.

Let's skip the personalities, hmm?

Don't worry, honey.
You've got a run-of-the-play contract.

You mean they'd pay me 200 bucks a week
just to sit in my dressing room?

They've got to, Miss O'Hara,
if that's the way you want it.

Personally, I'd walk away with dignity.

There'll always be another show
and a better part, providing you have talent.

Talent? You know damn well
she has talent.

Believe me, Miss O'Hara, by next week
every producer in town will be after you.

It gives you stature
to walk out on a Helen Lawson show.

Honey, don't listen to 'em. They want you to quit
so they can save 200 bucks a week.

-You better call your agent.
-I know her agent.

I can tell you exactly what he'll say.

"Take whatever crumbs are offered."

He's not about to give up his lousy 10%.

If she were my client, I'd advise her
to leave the show with dignity.

Well, he's not going to get his lousy 10%

'cause I won't settle for crumbs.

I'll leave this stinking show...

with dignity.

(bystanders murmuring)

You can call Helen Lawson.

Tell her the SOB earned his oats.

We could all use a little fresh air.
Come on.

I had such big plans.

I was gonna be a big star.

I was gonna take acting lessons
and dancing lessons.

Now I don't even have a job.

-All I have is my dignity.
-(knocking)

Gee, honey, I'm sorry.
That old witch ought to be boiled in oil.

Thanks, Jen.

Honey, listen.

It's a rotten business.

I know.

But I love it. (crying)

-That poor girl. And she was so good.
-I know.

As soon as she signs a release, the song
will go back in the show with the understudy.

Listen, go back to the office. On my desk
you'll find a musical arrangement.

See to it that Miss O'Hara
gets it as soon as possible.

Tell her to get up on the song fast,
because she's going to be singing it tonight.

Suppose she won't do it? I wouldn't.

Then make her.

MAN: Four, five, six, seven, eight! Good.

Ladies and gentlemen, one of the nice things
about doing this telethon -

I mean, in addition to raising money -
is helping discover new talent.

I think you're going to love
our next performer.

Let's have a nice, cordial reception,
if you will.

Lovely Neely O'Hara.
Everybody, let's hear it out there.

-(applause)
-Thank you very much.

♪♪ (intro)

♪ It's impossible
Tell you right now ♪

♪ If I tried it, I'd ever know how ♪

♪ Gee, lucky for me ♪

♪ Far as I know, far as I see ♪

♪ I'm the winner, boy ♪

♪ I'd make a mess ♪

♪ Baby, unless ♪

♪ You'd say so ♪

♪ It's impossible
It's not my style ♪

♪ If I tried it, I'd miss by a mile ♪

♪ I'm not worth a dime ♪

♪ Ain't got the stuff
Ain't got the time ♪

♪ I'm a loser ♪

♪ I ain't for success ♪

♪ Baby, unless ♪

♪ You say so ♪

♪ If you'd say ♪

-♪♪ (continues)
-You're right. It is an exciting business.

♪ Even though ♪

♪This rough world is a tough world ♪

♪ Well, if you say "go to it,"
baby, I'll do it ♪

♪ Could be possible
How would I know? ♪

♪ So I'll try it and give it a go ♪

♪ Hey, could be the day ♪

♪ Baby, when I turn out okay ♪

♪ Like a winner ♪

♪ But luck won't say yes ♪

♪ Baby, unless ♪

♪ You say so too ♪

♪♪ (continues)

♪ If you say I can do things ♪

♪ Lots of new things ♪

♪ Even though ♪

♪ This rough world is a tough world ♪

♪ Well, if you say "go to it,"
baby, I'll do it ♪

♪ Could be possible
How would I know? ♪

♪ So I'll try it and give it a go ♪

♪ Hey, could be the day ♪

♪ Maybe when I turn out okay ♪

♪ Like a winner ♪

♪ But luck won't say yes ♪

♪ Baby, unless ♪

♪ You say so too ♪

♪ If you say "go to it," I'll do it ♪

♪ I'll do it for ♪

♪ You ♪♪

-(applause, whistling)
-How about that? Wait. Wait a minute.

Where you going? You just keep singing.
You'll raise a lot of money for us.

Tell Frank, Dean and Sam
they're gonna have to wait.

-Thank you.
-(applause continues)

♪♪ (band: intro)

♪♪ (orchestra: up-tempo)

-Dom Perignon, 1959.
-Fine.

The closest I got to champagne was watching
a lady break it over a battleship in newsreels.

-Welcome, folks.
-Hello, Frank.

-Lyon.
-Hello.

-Miss O'Hara.
-Hello.

I caught the telethon.

You'll like Tony Polar.
We're doing great business with him.

So I see.

Excuse me.

Frank.

Hey, look. There's Jennifer
with one of her rich boyfriends.

-Boy, doesn't she look great?
-ANNE: She's lovely.

I bet a hundred beads pop out
every time she moves.

-Vodka and tonic.
-Same for me. Make it two.

Neely, I have some good news.
You're following Tony Polar in the club here.

-Oh, Lyon.
-Neely, how wonderful.

But you'll have to work fast,
build yourself an act.

Because I exaggerated a bit.
I told Frank you already had one.

-Oh, I will, I will.
-(applause)

♪♪ (timpani roll)

♪♪ (orchestra: intro)

♪♪ (mid-tempo pop)

♪ Come live with me ♪

♪ And be my love ♪

♪ If only for ♪

♪ Aday ♪

♪ Come live with me ♪

♪ And see my love ♪

♪ How fast it fades ♪

♪ Away ♪

♪ Love is the flower ♪

♪ That lives for an hour ♪

♪ Then withers and dies ♪

♪ Where is the prize? ♪

♪ Forgive me if I deride love ♪

♪ But, darling, I tried love ♪

♪ And so I say ♪

♪ Come live with me ♪

♪ For just a while ♪

♪ Who cares if love ♪

♪ Is long ♪

♪ If love is brief ♪

♪ As a song? ♪

♪♪ (continues)

Miriam's not gonna like that.

-Who's Miriam?
-His sister. Over there.

She manages him. She does very well.
He won't make a move without her.

He's making one now.

♪ Come live ♪

♪ With me ♪

♪ Come live ♪

♪ With ♪

♪ Me ♪♪

♪♪ (orchestra resumes)

♪♪ (ends)

-Friend of yours?
-I don't know. Never saw her before.

-But I'm going to see her again.
-Tony, how many times do I have to tell you?

At night, all cats are gray.

-You worry too much.
-♪♪ (orchestra resumes)

(applause continues)

Neely, you ought to be
ashamed of yourself.

I haven't snitched milk
since I was a kid in Pittsburgh.

There were six of us,
and I never got enough.

I can't stop thinking
about that audience tonight.

You don't know what it feels like, Mel,
when they're all applauding

and yelling and whistling.

-They did whistle, didn't they?
-Oh, yeah, they sure did.

I felt like they were all taking me
in their arms and holding me.

It's like when you put your hands on me,

only it was double-triple.

This place is too small.
I'm gonna get a bigger place.

Maybe two rooms and a kitchenette.

Mel, let's get married.

(chuckles)
I-I thought you'd never ask.

I'm not kidding.
I'll be making good money.

And with your 150 a week,
we can really live.

We can get a maid to clean up.

We can get a mink coat.

Yeah, well, right now,
you better get a good night's sleep.

So give me a double-triple, huh?

(phone ringing)

Hello?

Yes, I'll accept the call.

Hello, Mother.

Well, I just got in.
I thought it was too late to call you.

But I just sent you $50 last week, Mother.

Okay. I'll send you $50
as soon as I get my paycheck.

You told me Gran's been sick, Mother.
And I know about the oil burner.

Okay. I'll take the mink
to Uncle Ira's again.

He'll give me a couple hundred for it.

Mother, I know I don't have any talent,
and I know all I have is a body,

and I am doing my bust exercises.

Good-bye, Mother. I'll wire you the money
first thing in the morning. Good-bye.

(sighs)
Oh, to hell with them. Let 'em droop.

ANNE: Oh, look.
The models have goose bumps.

(chuckles) Yes.

And come July,
they'll be sweltering in mink.

You must be frozen.
Are you sure you want to walk?

Positive.

Oh, how beautiful.

Oh, no. Sorry. Jewelry's not for you.

Maybe one single strand of pearls.
But not creamy.

Pink, to match your skin.

And don't expect any flowers either,

because white lilacs
are the only ones that suit you

and they're very difficult
to come by in New York in February.

But make a note.
Remind me to send you some in May.

-Are you wooing me, Mr. Burke?
-If you wish to be wooed.

What about that fraternity pin you wear?
That's Sigma Chi, isn't it?

-Deke.
-Oh, Deke. Yes.

Yes. It can mean everything or nothing.

Then I'll settle for nothing.

Do you realize, Miss Welles,
that you are the most beautiful girl

that ever left her lipstick in my office?

You like women, don't you?

I like career girls. We're compatible.

There's a rumor they don't make
very good wives.

I'm not looking for a wife.

No, some men just don't pull well
in double harness.

You're fortunate you know yourself.

I don't know who I am or what I want.

I only know I have to find out.

WOMAN: ♪ When did I get ♪

♪ Where did I ♪

♪ Why am I lost ♪

♪ As a lamb? ♪

♪ When will I know? ♪

♪ Where will I ♪

♪ How will I learn ♪

♪ Who I am? ♪♪

♪♪ (orchestra: dramatic introduction)

♪♪ (continues)

♪ I'll plant my own tree ♪

♪ And I'll make it grow ♪

♪ My tree will not be ♪

♪ Just one in a row ♪

♪ My tree will offer shade ♪

♪ When strangers go by ♪

♪ If you're a stranger, brother ♪

♪ Well, so am I ♪

♪ Come tomorrow,
all that I see is my tree ♪

Offstage, I hate her,
but onstage I'm madly in love with her.

♪ Let someone stop me ♪

♪ And I will put up a fight ♪

♪ It's my yard, so I will try hard ♪

♪ To welcome friends I have yet to know ♪

♪ Oh, I'll plant my own tree ♪

♪ My own tree and ♪

♪ I'll make it grow ♪

♪ My tree will not be ♪

♪ Just one in a row ♪

♪ My tree will offer shade ♪

♪ When strangers go by ♪

♪ If you're a stranger, brother ♪

♪ Well, so am I ♪

♪ Come tomorrow ♪

♪ All that I see ♪

♪ Is my tree ♪

♪ Oh, Lord, what a sight ♪

♪ Let someone stop me ♪

♪ And I will put up a fight ♪

♪ It's my yard, so I will try hard ♪

♪ To welcome friends
l have yet to know ♪

♪ Oh, I'll plant ♪

♪ My own tree ♪

♪ And I'll make it grow ♪♪

-♪♪ (ends)
-(applause)

♪♪ (orchestra resumes)

-Do you think it's a hit?
-It is with me.

But we'll have to wait till 4:00 AM
until the reviews hit the street.

4:00 AM? Good heavens,
what do we do until then?

We could always go to Helen's hotel suite
and listen to four-letter words and wait.

I have a better idea.

ANNE: My father used to
come here when he was at Yale.

LYON:
Oh? Well, I'm an Oxford man, myself.

-ANNE: I know all about you.
-LYON: You do?

ANNE: I know your mother was English.
She was an ingenue at the Drury Lane Theater.

-And you look exactly like her.
-(chuckles)

LYON: Well, not exactly, I hope.

(bell tolls)

And when your uncle died,
you took over his business.

Oh, good old Steinberg.

-What would you like to have?
-Sherry, please.

Good. Two sherries.

Did she also tell you that
I once had the illusion that I could write?

I'm sure you could. You turn
a very neat phrase when you dictate.

Oh?

Actually, I'm beginning
to like the agency business.

Every man a potential "'Enry 'lggins"
waiting to discover his own Eliza Doolittle.

(chuckles) Thank you.

Thank you.

It's funny.

I used to come here weekends,
but tonight it's not the same.

No noisy students, no drinking songs.

It seems the two of us
are alone in the world.

We are. You know that.

I've known it for a long time.

(ringing)

Beautiful.

Mel, you call this acting?

♪♪ (vocalizing scales)

(no audible dialogue)

(applause)

Actually, this is a celebration.

I've been having conversations with the Coast.
They want to test you and Tony next week.

Oh!

I have the scenes here.
And a song, a really good one.

-(knocking)
-Yes

Excuse me.

-Telephone for you. It's your Aunt Amy.
-Tell her I'll call back.

She says it's very important
she speak to you.

Something must be wrong.
Um, excuse me.

ANNE: Mother's not been well.

Miriam, here's a copy for Tony.

Incidentally, where is Tony?

Well, I know who he's with,
but I don't know where. I can't reach him.

Well, find him.

I know you owe Miriam a lot, Tony,

but I wish we didn't have to meet
in such out-of-the-way places.

I'll bet I'm the only showgirl
who's ever been inside the Statue of Liberty.

Honey, it's just that Miriam
doesn't want me to get serious.

Are you serious, Tony?

You know I am, baby.

But Miriam's got
this thing about marriage.

She thinks it'll destroy
what she calls my image.

And there's something else.

I've never quite been able
to put my finger on it.

-Maybe she's jealous.
-No, not Miriam. She raised me.

Did without.

Worked like a dog
to give me my singing lessons.

Maybe that's why
she's so careful with money.

We always had so little.

Yeah. It was the same with us.

When my father died, my mother
and grandmother thought I was such a drain.

All I ever heard was how much I ate

and how much it cost to buy me shoes.

It got so I panicked when I thought
my shoes were getting too small.

Hey, it's -

it's freezing here.

-It certainly is.
-Iet's go up to your apartment.

We'll take the phone off the hook this time
so Miriam can't bother us.

Come on.

Oh.

My mother said I should have held out

and made you marry me.

Oh, baby.

When did I ever do anything
my mother told me to?

TONY: ♪ Live with me ♪

♪ And be my - ♪

(doorbell buzzes)

Uh, a telegram for a Miss Polar.

One second. You have to -
You have to sign this.

Thank you.

Dr. Eberhardt. Uh, this is Miriam Polar.

Yes. I called you because I'm worried.

Tony just got married.

No, I never told him.

I know I should have, but I couldn't.
I couldn't do that to him.

After all, it might not ever happen.

Well, the point is that, uh,

we'll be leaving for California next week

and, uh, you'd better give me
the name of a doctor there.

LYON: I wanted to come up
for your mother's funeral.

-Why didn't you let me?
-It was my own private grief.

I didn't want to put you through it.

-She must've been a wonderful woman.
-Yes, she was.

LYON: Anne, it's a dream town.

-I can almost hear Paul Revere's hoofbeats.
-ANNE: He passed us by.

There was a scandalous rumor going around
we were pro-British.

-(Lyon chuckles)
-I'm sorry you missed Aunt Amy.

She's gone to the cousins
in New Hampshire.

You know, everything is better here.
lt really is.

I don't know how you ever left.

-Oh! Hot.
-Be careful.

Hey, I have an idea. Why don't we leave
the rat race and move up here?

I could write my book, or at least try.

-Do you really think you'd be happy?
-Of course I would.

Woods to tramp, a river to fish,
and this wonderful old house.

And you beside me on that marvelous
old four-poster upstairs.

But it's a marriage bed, Lyon.

You were thinking of marriage?

You know how I feel about that.

When you fall in love,
you belong to someone else.

We've gone through this before.

How do you think I feel sneaking out
of your apartment at 4:00 in the morning?

-But you don't have to sneak.
-And don't tell me I knew what I was doing.

But you did. You knew.

But I loved you.

Does it make any difference
how or why it happened? It happened.

And for that I'm grateful.

Come on.

Do you think I could sleep with you
here in this house?

No. I guess you couldn't.

(scoffs) I guess I should have known.

You're afraid of ghosts. Well, I'm not.

And none of them ever loved each other
more than I love you.

-But not enough to marry me.
-But that's beside the point.

I'll get you a cab.
You can stay at the hotel.

All right. You do that.

-Lyon Burke, please.
-I'm sorry, Miss Welles. He checked out.

Oh. Uh, he left this for you.

Johnny was just going to bring it over.

LYON: Dear Anne, Thank you
for the moment of reckoning.

You once said I knew who I was
and what I wanted.

I've always wanted to write,
so I'm going back to England,

find the counterpart of Lawrenceville
and see if I can.

Somewhere in your wonderful New York
there is the right man

just waiting for you to find him.

Thank you
for the loveliest winter of my life.

Lyon.

-How was lunch?
-I wasn't very hungry.

-Mr. Bellamy wanted some cigarettes.
-Oh, not now, honey.

He's got a big, new account in there.

Say, I still have one of Queenie's kittens left.
Would you like to have it?

It's a male, honey.
It won't give you any trouble.

A male in the Martha Washington
Hotel for Women?

-(snickers) You could always move.
-(intercom buzzes)

-Yes, Mr. Bellamy.
-Send in Miss Welles with her notebook.

-Who's he with?
-Kevin Gillmore.

He made a mint with that new hair spray.

Miss Welles.

Take this down, please.

Point number one - the girl who'll introduce
our beauty products on our TV show

will be known as the Gillian girl.

Two - she must be beautiful,

but more important
she must be refined, cultured -

a girl like Miss Welles here.

That's not a girl. That's my secretary.

We don't want artificial beauty. We want
the kind that our audience can identify with.

A college girl, a young matron

who'll think she can look like Miss Welles
if she uses our product.

-I'm flattered, Mr. -
-Gillmore.

-Mr. Gillmore, but I'm not an actress.
-I don't want an actress.

I want an unknown, a girl to be identified
with Gillian products exclusively.

-I will start her off at $300 a week.
-Gillmore, that's sabotage.

It's also very tempting.

Why don't we have dinner and talk it over?

Okay. But bring the contract to me
before you sign it.

MAN (on TV): KNBC, Los Angeles.

♪♪ (TV: soft jazz)

Celebrating the second anniversary
of the Gillian girl,

Gillian Products offers
a Gillian girl's birthday special.

Gillian high-fashion makeup.

Gillian high-fashion lipstick.

Helps soothe natural curls
as it sets your hair.

After your shampoo, just comb, roll up,

then brush out.

Gillian makeup gives grace and elegance
to that high-fashion look.

Gillian makeup gives you just enough accent
to that flawless complexion.

(phone rings)

Hello.

(sighs) Yes. I'll accept the charges.

Hello, Mother? How are you?

Yes, I'm watching too.

ANNOUNCER: Remember,
the beautiful people use Gillian's.

She looks lovely.

She's coming to California next week.
I'll be seeing her.

♪♪ (TV: orchestral introduction)

I know she's making big money.

Mother, I can't send you
any more money this month.

Miriam has me on a strict budget.

Of course she's still living with us.
You know that.

If that's long distance, don't hang on the phone.
You know how much it costs.

Mom, I've got to go now.
I'll write you tomorrow.

Okay. Bye.

ANNOUNCER: Continuing our presentation
of the annual Grammy Awards,

coming to you from the grand ballroom
of the Hilton Hotel

in the heart of New York City.

Presently on the stage
about to present a major award

is the toastmaster general
of the United States,

Mr. George Jessel.

-(applause)
-And now -

And now a special award
for Miss Neely O'Hara.

Hey, Miriam, come and look.
It's old home week.

♪♪ (orchestra)

♪♪ (ends)

Neely -

Neely, just a few short years ago

you were an unknown little girl
singing for her supper.

And now, because of the warm, plush,
lush notes that emerge from your fair throat,

you've become the idol
of movie fans and record buyers

all over the United States of America.

(applause)

And with the same elation that I felt
when I shook the hands of the great Caruso -

(laughter)

I happily present to you this Grammy Award

for your warm contribution
to the recording industry.

(applause)

Thank you, Mr. Jessel.

I'd like to thank all of you here and all
of you out there who made this possible.

By the way, don't forget to see my new film,
Love and Let Love,

-opening at the Music Hall this week.
-(laughter)

-I sing some great new songs in it.
-Oh, good.

-Good-bye.
-Good-bye.

(applause)

(car horn honks)

(clicks: TV off)

-Neely.
-Annie.

-Neely, congratulations.
-Thank you.

-How long has it been?
-It's been too long.

I'd like you to meet Kevin Gillmore.

-This is Neely O'Hara. And her husband.
-How do you do? Congratulations.

-How do you do?
-We're coming to the Coast next week.

-Maybe we can get together.
-Great. Give me a call.

I'd like to see how Gillian's hair spray
reacts to smog.

-Good to see you, Anne. Mr. Gillmore.
-Nice to have met you.

Hey, you know something?

I've never carried you
across the threshold before.

Oh! (giggles)

Thanks. I need it.

-Hold that, honey.
-Oop.

-Did you have a hard day?
-A brute.

Sit down, will you?

I might as well give it to you
all at once.

The studio dropped my option.

So what? There are lots of other studios.

Should have never let them put you
in Westerns. You're a romantic lead.

Sure. Sure.

Look! You're a singer.
You can always go back to nightclubs.

I don't want to go back to nightclubs.

Will you do me a favor?
Will you just not worry about it?

He doesn't want to go back to nightclubs.
He wants to make pictures.

I'm gonna heat up the lasagna.

-TONY: Boy, could I go for a drink.
-JENNIFER: Me too.

ANNE: It's charming.

-Would you care for cocktails?
-Two martinis.

-Ma'am?
-Glass of red wine.

-KEVIN: And I'll have a Scotch and soda.
-Thank you.

Pardon me, Pat.

Hello, Anne. Welcome to California.

-Jennifer.
-Lyon.

-Tony. Good to see you.
-Nice to see you again, Lyon.

Lyon Burke. Kevin Gillmore.

-Hello.
-How do you do.

-Well, how long will you be in town?
-JENNIFER: Not half long enough.

GILLMORE: Just two days.
I'm taking Anne to Hawaii.

Wonderful. You'll love it.

Incidentally, Anne,
how did you like my book?

-I haven't read it.
-Oh, you should.

It's dedicated to you.
I'll send you a copy.

Well, I hope you enjoy your stay.

If there's anything I can do
while you're here, please let me know.

-You're too late, Lyon. We saw them first.
-(laughs)

-GILLMORE: Thanks just the same.
-Not at all.

Good-bye.

JENNIFER:
Well, I think I'll have a butterfly steak.

-Hi, Mel. The door was open.
-(typing)

Jenny, how are you?
Oh, it's good to see you.

-It's lovely to see you.
-Sit down.

-Neely's at the studio.
-Oh, I thought she had a few weeks off.

Uh, two weeks until she starts shooting.

And wardrobe fittings, makeup tests,
publicity stills, you know.

You don't suppose there's a part
for Tony in the picture, do you?

You can ask her, Jen,
but I wouldn't count on it.

She'll be home any minute. She's with
Ted Casablanca, trying on new clothes.

Only in Hollywood do women faint

because some queer
deigns to design their clothes.

Maybe you could put in
a good word for Tony.

Me? She doesn't listen to me.
I'm the last person to ask her.

She's changed, Jen. She -

She starts at 5:30 in the morning,
still punchy from last night's sleeping pills.

So she takes a red pill to pep herself up

and at midnight she's still flying.

I try to talk to her,
it's like a brick wall.

Well, I guess that's one
of the drawbacks of being a big star.

Hey, you know what these are?
One month's checks she has to sign.

All the dough she makes, we still
had to borrow to pay the income tax.

Attorneys, agents, managers, secretaries,

doctor, maid, masseuse,

voice coach -

she sings like a bird.

-Psychiatrist.
-Psychiatrist?

Oh, yeah. The studio wants her
to find out why she's so exhausted.

They say they think it must be
emotional conflicts.

Conflicts, my foot.

There aren't enough hours in the day.

The headshrinker says she's insecure,

that she needs mass love.

Maybe I'm lucky I don't have any talent.

Hi, Jen. Mel, get me
some skim milk, will you?

-Want something?
-I'll have a Coke.

Jen, I don't know what I'm gonna do
about Mel. He's changed so.

He just can't seem to get with it.

What do you mean, Neely?
He's gotten you lots of good publicity.

That was the studio.
They told him to butt out.

They don't even want him on the set.
They say he makes me self-conscious.

Ted Casablanca says
he's the joke of the town.

I wouldn't pay any attention to that.
You know how bitchy fags can be.

He's not even 30,
and he's made over a million bucks.

-Here we go.
-Mel, hand me my bag, will you?

Thank you.

Well, I've lost five pounds already.

These pills are really great, Jen.
They kill your appetite.

Only trouble is,
they pep me up so much, I can't sleep.

Well, what nice, fattening thing
did you tell Arlene to make tonight?

Arlene quit this morning.
She said you yelled at her.

That's three cooks in three months, Neely.

She was a louse anyway.

You said yourself she was
taking home all the booze.

Other people have loyal help.
Why can't we?

You don't know how to talk to 'em.

That's your job. You'd better start
running this house properly.

I'm not the butler, Neely.

You're not the breadwinner either.

I'm afraid I'd better be running along.

-See you soon.
-Bye, Jen.

That was a rotten thing
to say in front of Jenny.

Why?

She knows the facts of life.

You two sit around on your rumps all day,
while Tony and I slave.

Maybe I'd better get off my rump
and go back to New York.

-I can always get my old job back.
-Suit yourself.

I'm too tired to argue.

I'm gonna take a shower
and get back to Ted Casablanca's.

You know, you're spending a lot more time
than necessary with that fag.

Ted Casablanca is not a fag!

And I'm the dame who can prove it.

Thanks for making up my mind.
I should've left a long time ago.

But I kept remembering the old Neely.
She was quite a girl.

Now you're just like all the rest of 'em -
success is too big for you.

If you ask me,
my success is too big for you.

Yeah, sure. Sure it is.

I'll just take this.

It's the only thing around here
that belongs to me.

WOMAN: ♪ When will I learn? ♪

♪ How will I ♪

♪ Where will I find ♪

♪ What is real? ♪

♪ Long for one time ♪

♪ Long ago ♪

♪ When my heart ♪

♪ Knew how to feel ♪♪

I wrote about the things I knew,
my own experiences.

But I guess I only had one book in me.

Was I really that naive?

(laughs) Naive and wonderful.

I missed you, Anne.

Oh, I went back to
the agency business, and I like it.

Incidentally, Neely is one of my clients.

Really.

I don't know. England's changed.

Or I've changed.

The nightingales somehow
just sounded off-key.

-I used to pretend you'd gone bald and fat.
-(laughs)

I used to picture you with a sink full
of dishes and a baby tugging at your skirt.

Are you really going to marry Kevin?

I was, but now I realize it's impossible.

I'm glad.

You know, every girl I met
always washed out.

Just couldn't stand up to your image.

-(chattering)
-♪♪ (orchestra: up-tempo)

I am not taking you to a bistro.
I'm taking you home to bed.

-Please, darling.
-As in sleep, which you need.

-Miss O'Hara?
-Yes.

-Please, would you autograph my program?
-Of course.

Look, there's Neely over there
with that Casablanca.

-Where?
-Over there.

Let's try and catch up to them.

-Thank you.
-Oh, darling, let's get out of here.

Here comes Tony Polar.
He's gonna put the bite on me for a job.

I could've sworn Neely saw us.

Well, she's nearsighted, darling,
and she can't see 10 feet in front of her.

(chuckles) Yeah.

Tony! Are you okay?

I don't know.
My legs just seemed to give way.

Happened the other day on the set.
We had to retake the scene.

Well, I think you ought to see a doctor.

No, I'm all right. Come on.

-(groans)
-Tony!

-Jen!
-Tony!

Tony!

(whimpers) Tony!

There.

He'll sleep for a while.

He didn't know me.

He didn't know where he was.

Go out, Jen.
The doctor will explain it to you.

The disease is called Huntington's chorea.

It's relatively rare.

Unfortunately, there is no cure.

The symptoms of physical
and mental degeneration

first appear about age 30,
sometimes later.

There's an increasing loss
of muscular control.

Chances for inheritance
are extremely high, far above average.

Tony's father had it.
I kept hoping it wouldn't hit Tony.

Now you can see
why I was against his marrying.

Will he be able to walk again?

As soon as the sedation
I gave him wears off, but...

the motor disturbances will occur again,

and... there will be periods of blankness
and possible hallucination.

It may take a year before he reaches
the point of complete incapacity.

Are there any further questions?

No.

Good night, Mrs. Polar.

DOCTOR: If he becomes unmanageable,
we'll keep him under sedation.

He probably won't remember
any of this tomorrow.

Call me first thing in the morning.
Good night.

MIRIAM: Good night.

Jen?

Maybe you'll understand now
why I've been the way I've been

about money, for instance.

I've just been putting aside every cent
I could get my hands on.

We'll keep him at home as long as we can.

-What about you?
-Tony and I had different fathers.

I know how you love him. I'm not blind.

I thank you.

Miriam, I'm pregnant.

PHOTOGRAPHER:
Look this way, Miss O'Hara!

PHOTOGRAPHER #2:
This way, Miss O'Hara. This way, please.

-What about Ted Casablanca?
-Miss O'Hara has nothing to say.

(all clamoring)

-What about Ted Casablanca?
-You heard me! No comment!

Any marriage plans?

MAN: What about your new film?
l haven't heard about that.

JENNIFER: Tonydidn'trealize
where we were taking him.

The next day,
Miriam had arranged a meeting

with a quickie European movie producer.

Oh. Oh! (speaks French)

Monsieur Chardot,
this is my sister-in-law.

Monsieur Chardot is here from Paris.
He's out here looking for talent.

Enchante, mademoiselle.

Mademoiselle Polar
has shown me your photographie.

I am interested in a young lady
with your, uh - your, uh -

-How you say?
-Measurements.

The general French girl
is inclined to be flat in the bosom.

I see. Just what kind of pictures
do you make, Mr. Chardot?

-I make the art film.
-Yes, I've seen a few. They're pretty raw.

I mean, French subtitles over a bare bottom
doesn't necessarily make it art.

Evil is only in the eye
of the beholder, mademoiselle.

My films are shown right here
in your own country.

Jennifer.

You've posed undraped on the stage.

That was before I married Tony.

It's up to you.
Tony wouldn't know the difference.

Well, I would!

JENNIFER:
I realized I had to give in, take the job.

The sanitarium was very expensive.

All right, Sheriff, you win.

You ran my father out of town.
Now you're trying to run me out of town.

Well, the Dernies don't give up that easy.

-Oh, it's too hot!
-Cut!

-Stand by.
-Well, it's too hot. It's too damned hot!

The cameraman's frying me.

Neely.

-Neely.
-Shut up!

-She's full of sauce.
-It's not booze. It's pills.

Send for her husband. Look, Neely.

We've got to finish this take.

Get lost. I'm through for the day.

Get up off the floor.
You're making a spectacle of yourself!

-Zip up your dress.
-NEELY: I can't! You made it too tight!

CASABLANCA:
It's bloat from all those pills and booze.

I haven't had a drink all day.
It's the heat.

Nevertheless, you're going out there
and complete that scene.

Just how long do you think
you can get away with these antics?

Come on!

Give this to the hairdresser.
Miss O'Hara will be ready in a moment.

(doorbell buzzing)

-I want to see Mr. Burke.
-He not in, Miss O'Hara.

He's not in. He's not in.

That's all I've heard at his office
for three days. He's ducking me.

He's giving me the treatment,
just like all the others.

-Where's Miss Welles?
-He is in San Francisco, Neely.

Tell me something, Annie.

How come the boss of a big agency
spends three days in San Francisco

with a lousy nightclub singer?

He's working overtime.

Why doesn't he look after my interest?
I'm the one who pays the rent on this pad.

You're being obnoxious.

Oh, I'm sorry.

I want Lyon to talk to that director.

He's crucifying me. When's he due back?

I'm not sure.

When a man says he won't do a lousy scene,
that's called integrity.

When a woman says it, she's temperamental.

They say I'm difficult.
They say I'm drunk even when I'm not.

Sure, I take dolls.
I gotta get some sleep.

I gotta get up at 5:00 in the morning
and "sparkle, Neely, sparkle."

Neely, you know it's bad
to take liquor with those pills.

They work faster.

Here, Anne.

With that guy of yours in San Francisco,
you could use a few dolls. Here.

No, thanks.

Suit yourself.

You should make him marry you, honey.

-Have you heard from Jennifer?
-Yeah.

She called me about six months ago.

You know what she asked me?

She wanted to know
where she could get an abortion.

An abortion. How do you like that?

She was the one who wanted
all the kiddies and the vine-covered cottage.

Then I heard she went to Paris
to make art films.

(chuckles) Art films.

Nudies! That's all they are.

Nudies!

Well, that's her problem.

She doesn't care about me.
Why should I care about her?

-Nobody cares about me.
-Neely, that's not so.

Nobody cares if I live or die,
just so long as I write the checks,

just so long as they get
their cut of the action!

Neely, stop feeling sorry for yourself.
You're a big star. You have everything.

Oh, yeah.

Yeah, yeah. I'm a big star.

(inhales) I am a big star.

I tell myself that, Annie.

But I don't feel it.

I don't feel anything anymore.

I haven't slept with Ted in weeks.

And that psychiatrist, Dr. Mitchell.

Dr. Mitchell says
that I am self-destructive.

So what?

What do I do about it?

(sobs, sniffles)

Well, to hell with him.

To hell with all of 'em. Who needs 'em?
Let 'em say what they please.

Even the bad publicity helps
when you get to be as big as I am.

And, boy, am I getting the bad publicity.

-You've had enough of those.
-Oh!

-Now, try to calm down.
-Ieave me alone! (sobbing)

I can't even remember anymore
when somebody wasn't nagging at me

or pressuring me or beating me.

Neely, you're upset.
Why don't you lie down for a while, huh?

(sniffles) No.

Not alone.

Not anymore.

I need a man to hold me.

I need Mel.

(chuckles) I mean, Ted.

I'm going home, Annie.

I'm going home to Ted right now.

Thanks for listening.
I really got a lot off my chest.

Ted?

Honey, it's me.

(woman laughing)

(woman chattering, laughing)

-TED: It's not cold, huh?
-WOMAN: Uh-

(laughing) You think she can hear us?

Oh, relax, baby. By this time,
she's so full of pills and booze,

the San Francisco earthquake
couldn't rouse her.

(laughing)

(woman squealing)

(woman gasps)

Having fun, kiddies?

Don't mind me. Go right ahead.

I'll watch.

You'd better run, you little tramp.

How dare you contaminate my pool?

Here. Maybe this will disinfect it.

All right, faggot.

Start explaining.

You need glasses, Neely.
She's hardly built like a boy.

I could take that better.

I'm sure you could.

You know, you almost
made me feel I was queer.

-You're crazy!
-Am l?

Yes, you are.

You want me to fight your battles
at the studio, take you to openings.

As a man, you're always too tired
and too full of those damned dolls.

You've got guts!

I catch you red-handed with a naked broad
in my pool, and you sermonize me!

Not a sermon, Neely, just a few cold facts.

Ted, you know how hard I work.
When I come home, I'm exhausted.

-How can I think of sex?
-Then why'd you sign the new contract?

You don't have to work.
I make enough money for both of us.

Well, you've got your new deal,
and I've got my sanity back.

With that little whore?

That little whore
makes me feel nine feet tall.

Honey, please don't. I need you.

You're damn right, you do, Neely.

But not as a man.

You can go to hell.

(shrieks) Go to hell, you bastard!

WOMAN: I tried to wake her, Mr. Burke,
but she just wouldn't budge.

All right. Thank you.

Neely.

Neely!

Neely, wake up.

Come on, wake up!

You were due on the set three hours ago.

-What set?
-Why didn't you show up?

(chuckles)

I couldn't, Lyon. I had a rotten night.

I wanna tell you something,
and you're not gonna like it.

-Stop yelling at me.
-They're replacing you in the picture.

(clicks tongue) They can't do that.

Well, it so happens they can.

Lyon, my last picture grossed a fortune,
and it hasn't even played Europe yet.

But it cost more than it grossed,
and the reason was you.

Now, on this one, you've been out
six days because of sleeping pills.

You've been late on the set,
and you walked out in the middle of the day.

To top it all, you've been boozing
and eating all through the picture!

I'm still the biggest
box office draw there is.

Come on, Neely.
Get some sense in your head.

Stockholders are only
interested in one thing - profits.

Well, they're gonna replace you
with a younger girl.

-Younger? Lyon, I'm 26!
-That's right.

And you look 36.

Look at that face.
It's all puffy. Your eyes are bloodshot.

Thank you very much.

I'm sorry, Neely.

But I can't just stand by and watch
a talent like yours go down the drain.

(sobbing) You're my agent.
You're supposed to take care of me.

I'm trying to.
But you've got to cooperate with me.

(sobs) What do you want me to do?

I want you to go to a sanitarium...
and dry out.

-A sanitarium?
-I'm sorry. It's the only solution.

Look, honey, you have to beat this thing.

You just have to beat it.

(sniffles) All right.

All right. If you want me to go, I'll go.

Good.

Now, Anne and I will come by
and pick you up about 3:00.

(door closes)

United Airlines? (sniffles)

What time is your next flight
to San Francisco?

Yes, one. O'Hara.

-♪♪ (rock)
-(chattering, laughing)

-♪♪ (jukebox: Neely singing, ballad)
-Hey, have a drink.

♪ With all you have in store ♪

♪ But if you can't ♪

♪ Then brace yourself ♪

What do you say, baby, huh?
What do you say?

What do you mean, "baby"?

I'm Neely O'Hara, pal.

-That's me singin' on that jukebox.
-(laughing)

What are you, kidding?
Listen. That dame's great.

-♪ You can ignore ♪
-Now, you sound like a frog. (laughs)

-♪♪ (jukebox, continues)
-like a frog!

-(gasps, screams)
-Take it easy! She's stoned!

Who's stoned?

I'm merely traveling incognito.

Well, get out of here, will ya?
Go on. Get out of here.

♪♪ (continues)

-MAN: No problem here.
-MAN #2: Oh, what did you say to her?

-(chattering continues)
-Come on. I'll buy a round.

Come on, bartender.
Set 'em up for everybody.

-(man laughing)
-(horn honking)

♪♪ (rock)

Jennifer, shame on you.

Hey, you still got that mole
on your keister?

Nope.

They covered it up with makeup.

♪♪ (jazz)

Boobies, boobies, boobies.

Nothing but boobies.

Who needs 'em?

I did great without 'em.

♪♪ (man singing, indistinct)

Who the hell are you?

(shouts) Who are you?

Oh!

(door opens, closes)

LYON: Neely.

Neely?

How do you feel, honey?

Fine.

It's a hospital.

Lyon, what am I doing in a hospital?

-You took an overdose of pills.
-Oh, God.

-Did it get in the papers?
-Lyon told them it was accidental.

Well, it was!

-It was, honest.
-I know.

But the next time,
you might not be so lucky.

What am I gonna do?

Anne and I want you to go
to a sanitarium in Los Angeles.

-A nuthouse.
-ANNE: No.

It's the same place that Tony is in.

Anne, I'm not nutty.
I am just hooked on dolls!

It's not a nuthouse.

They say getting off them
is worse than booze or dope!

Oh, Lyon, I'm scared.

I've forgotten how to sleep without dolls.

I can't get through a day without a doll.

Please, Lyon. Don't send me there.

(sobs) I need a doll!

Lyon, don't leave me here!

Give me a doll. Just one!

(screams, sobs) Lyon!

(man speaking French)

(French continues)

Gauche.

(man speaking French continues)

(French continues)

(speaking French)

(French)

(man speaking French)

(speaking French)

Merci. Merci.

Well, this is by far the best we've made.

Fox would like to release the film
in the United States.

They have also offered
to buy your contract.

Does that mean I can go home?

Well, I'm not sure I wish to sell.

Oh, Claude, you'll make lots of money.

(chuckles)
True, but, uh, you will get half.

I just want to go back to America
and see Tony.

What use is a man
who is no longer a man, huh?

A vegetable.

Claude, please. Stop it!

I've hated this.
You can find yourself another girl.

Yes, I can - young girl, a real actress.
(chuckles)

For what will you settle?

Settle? I want my half!

Then I will not sell.

All right.

I'll settle for a third. Anything.
Just let me go home.

Anything, huh? (chuckles)

Well, perhaps we can make
some arrangement, huh?

We'll talk about it later...

at, uh, the apartment.

(door opens, closes)

Oh, I cursed you out at first.

Then I realized you did the right thing.

-It was the only thing.
-It wasn't easy. I couldn't sleep that night.

(chuckles) You should've taken a doll.

No. I'm really very grateful.

-Nobody else gave a damn.
-That's not true.

There was a flood of letters and telegrams
from all over the world.

We saved them for you.

Thanks.

At first, it was awful.

Like living in a zoo.

They stuck me
in this cheesy little bedroom,

and this big, ugly nurse
with orthopedic shoes never left my side.

-I asked for a cigarette.
-Give me a cigarette.

Two a day during social hour.

I told her I had no intention
of socializing with kooks.

I couldn't sleep. I needed a pill.

I started screaming. I figured
they'd give me something to calm me.

They sure did.

(angry muttering) Let go of me!

Let go of me!

Let go! (sobbing)

They ordered me to take off my nightgown.

I told them to drop dead.

-They took it off for me.
-No! (whimpering)

Then they stuck me in this big tub
and hooked a canvas around me.

And this young nurse sat there
and wrote down everything I said.

I used words that sure aren't
in medical books.

Ya stupid-ass nurse!

What are ya looking at?

Actually, the water felt great.

It kept coming in and going out.

I wanted to lie back and relax,

but that was what they wanted.

I spotted this small hole in the canvas,
and I started working at it with my big toe.

Pretty soon, I got half my foot through it,
then I yanked my knee up to my chest.

-(canvas ripping)
-Oh!

Oh, God! (crying)

-(alarm ringing)
-The nurse sounded the alarm.

In the afternoon, we had recreation hour.

You never saw
such a bunch of well-bred kooks.

They all acted as normal as apple pie.

I started playing checkers
with this real cute-looking little girl.

All of a sudden, she leans over
and gets a half-nelson on my hair

and accuses me of telling the rest of
the inmates that she's a latent homosexual.

(gasping)

You won't believe what happened next.

Once a week, we have a dance.

(chuckles) It's really camp.

-♪♪ (light jazz)
-I knew Tony was here.

He was under an assumed name,
but I'd never seen him.

-♪♪ (ends)
-Until one night -

Do you know a song
called "Come Live With Me"?

-Yes, I do.
-Would you play it, please?

Surely.

♪♪ (ballad intro)

♪ Come live with me ♪

♪ And be my love ♪

♪ If only for a day ♪

♪ Come live with me ♪

♪ And see my love ♪

-♪ How fast it fades ♪
-TONY: ♪ How fast it fades ♪

-♪ Away ♪
-♪ Away ♪

♪ Love is a flower
that lives for an hour ♪

♪ Then withers and dies ♪

♪ Where is the prize?
Forgive me if I deride love ♪

♪ But, darling, I tried love ♪

♪ And so I say ♪

-♪ Come live with me ♪
-♪ Come live with me ♪

♪ For just a while ♪

♪ Who cares if love ♪

♪ Is long? ♪

♪ If love is brief ♪

♪ As a song? ♪

♪ Darling, I never
would want you forever ♪

♪ To stay ♪

♪ But, darling, if you could love me ♪

♪ Come live with me ♪

♪ Just for ♪

♪ Today ♪♪

Tony?

Tony. Tony!

(applauding continues)

When I saw that poor guy
being led back to his cell,

I knew I was gonna make it.

You have made it, Neely,
and we're proud of you.

Now, for business -

How would you like to do
a Broadway musical for David Merrick?

-You think I could?
-You know you could.

Merrick believes in you, and so do I.

Lyon's checked with the doctors here,
and they say you can do it.

What about the bad publicity?

It'll create sympathy.
People love to forgive.

Lyon, I'm really in great shape.

I've changed.
I've learned a lot of things.

I used to work my heart out, kill myself.

Not anymore.

There are things I want, Lyon,
and I'm gonna get 'em.

You know something, Annie?

One of the first things I'd like to have
is this fellow of yours.

-You'd better watch out.
-(chuckles)

How soon could I see him?

Jennifer, why don't you
remember him as he was?

I want to see him, Miriam.

All right.

I've booked you into a hotel
near the studio.

And why did you write me
for an appointment with the doctor?

He's already told you everything he knows.

It's not about Tony. It's for me.

It must have been a shock
when you discovered it.

Lots of lumps mean nothing.
Some are only cysts, aren't they?

Yes. But this one wasn't.

The doctor took a biopsy,
and it was malignant.

Oh, Jen, I'm sorry.

It's pretty hard to take.

Tomorrow they have to
perform a mastectomy.

Doctor says it's not the end of the world.

He says lots of women live long and
happy lives after successful breast surgery.

-Point is to catch it in time.
-I'm sure they will, Jen.

Afterwards, you can come to the beach
with us and recuperate.

I'd love to.

You know?

It's funny.

All I've ever had was a body,
and now I won't even have that.

Oh, Jen, now, stop talking like that.

How am I gonna keep Tony
in the sanitarium?

When I saw him, he didn't even know me.

Well, Lyon will find you a job.
I know he will.

Anne, honey, let's face it.

All I know how to do
is take off my clothes.

-(phone ringing)
-Jen -

Hello?

Yes, I placed a call to Milwaukee.

Anne, I'm all right. Really, I am.
Run along.

I'll stay with you tomorrow.

And don't you worry.

-Bye.
-Bye.

Hello. Mother? I had to talk to you.

There's something I have to tell you.

I'm sorry Mrs. Gottlieb
was shocked at my pictures.

No, I won't be undressing
in public anymore.

What did I have to tell you?

Nothing.

JENNIFER:
Hello, Mother. Well, I just got in.

I thought it was too late to call you.

But I just sent you $50 last week, Mother.

Okay, I'll send you $50
as soon as I get my paycheck.

Tony!

-Jen!
-Tony!

Tony. Tony!

TONY: ♪ A while ♪

♪ Who cares if love is lost ♪

♪ If love is brief ♪

♪ As a song? ♪

Let's go.

TONY: ♪ Come live ♪

♪ With me ♪

♪ Come live ♪

♪ With me ♪♪

(chattering)

All right, folks.

MAN: Excuse me.

-WOMAN: What - What happened?
-WOMAN #2: Tell us what happened.

WOMAN #3:
Can you tell us what happened?

WOMAN: Who is that?

Miss Welles, you were
the last one to see her alive.

Do you know any reason
why she would take her own life?

-Was she depressed?
-No, she - she was in good spirits.

But do you know any reason
why she would take her own life?

None. She was excited
about her new contract.

-Then you think it was accidental.
-Yes, I'm sure of it.

-Could you give us her measurements?
-All right. That's enough!

-That enough!
-All right, break it up. Come on. Break it up.

Ah! (chuckles)

-Oh, a drink, a drink, a drink.
-Oh, I made one for you. Here.

Oh, thank you.

-What's that?
-Neely's.

Neely's? Well, get rid of them.

(sighs)

Darling, do you have to go
to New York with Neely?

Of course. You know I do.

-I have to do my best for her.
-Couldn't someone else go?

No. She wants me.

She's scared, Anne. She needs someone.

I know.

Darling.

-I'm worried.
-Why?

Neely spells trouble. She thrives on it.

Yes, but she deserves a comeback.

I just hate to think
of you getting involved.

(chuckles) Well, don't worry about that.

I can handle her.

I'm not so sure.

-(phone ringing)
-(water running)

(ringing continues)

Hello?

Annie! Hi. How are ya?

Lyon?

Gee, I'm sorry. He's in the shower.
I'll have him call you back.

♪♪ (organ)

Hmm! Where you goin'?

To a press party for Helen Lawson.
Her show's opening on Thursday.

A party without me?

Oh, definitely without you.

Merrick wants me to keep you
under wraps until your opening.

-How's my tie?
-Bend down.

I hear the Lawson show
laid a big egg in Philadelphia.

I wanna go to the party too.

You're the cutest and the cruelest.

Can you think of anybody else
who has a better right to gloat?

Baby, you may have a great talent,
but not for ties.

Okay.

Curl up with your favorite news analyst.
I'll be back early.

♪♪ (jazz)

-(camera shutter clicking)
-A little closer together, please.

MAN: Miss Lawson, have you made
many changes since Philadelphia?

Oh, yes, quite a few.

(applause)

Hello, Miss O'Hara.
How lovely you look tonight.

Thank you.

(applause continues)

-Who invited her?
-Nobody.

It's great to have you back in New York
again, Neely. You look marvelous.

Lyon, I thought you and Merrick
were keeping her out of sight.

-You should've kept her in a straitjacket.
-I'm very sorry, Helen.

I think I'll sit this one out.

MAN: What are your plans for films, Neely?

Oh, that depends on Lyon Burke.

I said, that depends on Lyon Burke.

He's the man
who takes care of all my affairs.

-Any truth to the rumor about you two?
-MAN: Any marriage plans?

Well, we're both available.

Good evening, Miss Lawson.

-Can I help you?
-No, thank you.

Who you hiding from, Helen?
The notices couldn't have been that bad.

-The show just needs a little doctoring.
-Don't worry, sweetheart.

If it flops, I can always get you a job
as understudy for my grandmother.

Thanks. I've already turned down
the part you're playing.

Bull! Merrick's not that crazy.

You should know, honey.
You just came out of the nuthouse.

It was not a nuthouse!

Look, they drummed you
right out of Hollywood,

so you come crawling back to Broadway.

Well, Broadway doesn't go
for booze and dope.

Now, you get out of my way,
'cause I've got a man waiting for me.

That's a switch from the fags
you're usually stuck with.

At least I never married one.

-You take that back, you old fag hag!
-Get your hands off me!

(gasps)

-Oh, my God. It's a wig!
-Give me back my hairpiece.

-Her hair's as phony as she is!
-Give me that.

-Dig me as a redhead!
-Give me that, damn you!

-What the hell are you doing in there?
-Giving it a shampoo.

Good-bye, pussycat.

-(meows)
-(toilet flushes)

God, she's throwing it in the can.
I'll kill her!

How do you like that?
lt won't even go down the john.

Give me that wig!

(kicking stall)

Okay. You want it back?

Here it comes, special delivery.

So long, granny.
I'll tell your boyfriend not to wait.

-How do I get out of here?
-(door closes)

Well, you can go through the kitchen.
It's right next door.

I'm sorry, Miss Lawson.

What an awful thing to do
to a great star like you.

I'll go out the way I came in.

I don't want to hear
another word about quitting.

When the going gets rough,
they all talk about retirement.

Not me.

I've had it rough before. I'm a barracuda.

I don't need pills like Neely.

Sure, I know you dried her out,
but it won't last.

Neely hasn't got that hard core like me.

She never learned
to roll with the punches.

And believe me, in this business,
they come left, right and below the belt.

Neely has no class,
no real down-to-the-gut class.

But she's talented, Henry.
She's really got it.

I knew that
when I kicked her out of my show.

She'd never believe it,
but I'm sorry for her.

Nothing can destroy her talent.

But she'll destroy herself.

And you, Lyon - you'd better watch it.

Oh, sure. Everything's rosy now.

You skip from one thing to another,
one dame to another.

But watch it, my friend.

Find yourself a good girl,

have kids,

or one day you'll wind up alone like me

and wonder what the hell happened.

Mmm.

WOMAN: ♪ Gotta get off ♪

♪ Gonna get ♪

♪ Have to get off from this ride ♪

♪ Gotta get hold ♪

♪ Gonna get ♪

♪ Need to get hold of my pride ♪

♪ When did I get ♪

♪ Where did I ♪

♪ How was I caught in this game? ♪

♪ When will I know ♪

♪ Where will I ♪

♪ How will I think of my name? ♪

♪ When did I stop ♪

♪ Feeling sure ♪

♪ Feeling safe ♪

♪ And start wondering why? ♪

♪ Wondering why? ♪

♪ ls this a dream? ♪

♪ Am I here? ♪

♪ Where are you? ♪

♪ What's in the back of the sky? ♪

♪ Why do we cry? ♪

♪ Gotta get off ♪

♪ Gonna get ♪

♪ Out of this merry-go-round ♪

♪ Gotta get off ♪

♪ Gonna get ♪

♪ Need to get on where I'm bound ♪

♪ Tell me, when will I know? ♪

♪ How will I know? ♪

♪ When will I know ♪

♪ Why? ♪♪

Allison's gotta go.
I will not let that girl steal the show.

She almost walked off with it
at dress rehearsal.

It's just too late. It can't be done.

Oh, Lyon, she hasn't got
a run-of-the-play contract.

She can be fired right now.
I want her out.

Oh, boy, the old star sickness
begins to appear.

No more gratitude. Just power.

Well, I'm not gonna do it, Neely.

You don't fool me. You're scared!

You just wanna stay in good with Merrick.

I should've known this was gonna happen.
Anne tried to warn me.

What the hell does Anne know?

I didn't have dough handed to me
because of my good cheekbones.

I had to work for it.

She's gone through life on a pass
because of her damn classy looks.

I wanna tell you something.
Everyone gets paid back.

Do you hear? Everyone!

I'm not everyone.

I don't have to live by stinking rules
set down for ordinary people!

I licked pills, booze and the funny farm.

I don't need anybody or anything.

Well, that's good, because I'm leaving.

Who needs you? I'm sick of you.
You're just an agent.

And you're just a Helen Lawson.

And not even that,
because she's a professional.

They love Helen Lawson,
and they love Neely O'Hara!

♪♪ (orchestra: intro)

Come on, guys! Move it, move it! Let's go.

Come on, girls. Come on, girls.
Where's Miss O'Hara?

She's in her dressing room. I'll get her.

Come on. Move it down. Move it down.

Curtain time, Miss O'Hara.

-Miss O'Hara?
-Well, where is she?

She won't open up the door.

Neely? Neely, open the door. You're on.

Neely!

Hi!

My God, you've got on your costume
for the second act.

So? I'll do the second act first.

Quick, call Mr. Merrick.
Get the understudy.

I'm ready, Mr. Hamilton.

You get lost, sister.
I'm fine. I am just dandy!

You let go of me, you big jerk!

It's getting late. I think we ought to go.

The understudy was great,
especially in the dream sequence.

-BARTENDER: Thank you.
-I wonder what happened to Neely O'Hara.

-MAN: Are you kidding?
-WOMAN: They said she had laryngitis.

-(man chuckles)
-Who had laryngitis?

-MAN: Anyway, that new girl was terrific.
-MAN #2: She sure was.

WOMAN:
It was a lovely evening nevertheless.

My beautiful little dolls.

Just one... and one more.

We're closing now, Miss O'Hara.

All right, Edward. All right.

Here.

Keep the change, huh?

Shall I call you a cab?

I don't need it.

I don't need anybody.

'Cause I got talent, Edward.

Big talent.

They love me.

Hey!

Where is everybody?

Hey, everybody, where are you?

Where are you?

Gone.

Everybody's gone.

To hell with them.

Who needs 'em?

The whole world loves me!

Where are you?

Lyon?

Anne.

Jennifer.

(screams) Ted!

(cries)

Mel.

Oh, God.

God.

God?

(cries) Oh, Neely.

Neely O'Hara!

(sobbing)

Oh, Neely.

Neely!

Neely. Neely.

-(sobbing continues)
-(bell tolling)

(bell continues tolling)

So many years, I -
I prayed for this moment.

Now that it's come, I don't feel a thing.

Does that mean you won't marry me?

It wouldn't work, Lyon.

Isn't there anything I can do
to change your mind?

No, Lyon. Not now.

Anne -

Perhaps someday, Lyon. I don't know.

Good-bye.

♪ Gotta be here ♪

♪ Gonna be ♪

♪ Have to be where I belong ♪

♪ Now that I know ♪

♪ Had to know ♪

♪ Came to know where I went wrong ♪

♪ It was all here ♪

♪ Here it was ♪

♪ Why was I blind to it then? ♪

♪ This is my world ♪

♪ Here it is ♪

♪ This is where I'll start again ♪

♪ Was it a dream? ♪

♪ Was it real? ♪

♪ Was I there? ♪

♪ Tell me, when will I know? ♪

♪ How will I know? ♪

♪ When will I know why? ♪♪