Original subtitles

You're right, Moxie. The kid's great.

Where'd he learn all them fancy steps?

Dancing on the streets for nickels and dimes

when he was a kid.

And he can do more than dance.

You gotta see him fight.

Nobody gets tough with Georgie. Nobody.

How much does he make here?

Oh, $10 a solo, and prize if it's a contest

whatever the dames shell out to teach them.

A gigolo, huh?

Give me your coat, Sheila.

- I'll be right back. - Okay, Biggie.

I was waiting for Biggie.

Well, you forget him. You got me.

That's a laugh.

Oh, I've been busy.

- Who with? - Stop it.

Sure. Just like you stopped picking me up after the show.

Your show closed.

Oh, but my apartment didn't.

My phone's still connected.

- Georgie... - Hmm.

I come here night after night just hoping--

I've been hoping you'd come here, baby.

I've been wanting to see you.

How about Saturday night?

- Oh, Georgie. - Yeah.

I'm booked for a dance contest over at Palisades Park.

With you as my partner, I'm telling you--

You can forget it. I'm going with Biggie.

That big blister?

You need me, baby. We'll kill 'em.

I told you not to cut in on my time.

Now you're going to get it.

I'm going to make that face of yours

look like a road map.

Leave him alone. I got him.

Get him out of here. Go on.

Well, what did I tell you?

You're a good boy, Moxie.

- I think I can use him. - Yeah.

- Tell him I want to see him. - Sure.

Oh, you know, I don't think Biggie's going to be in shape

for the dance Saturday night.

I'll pick you up at 8:30.

- Ta-da! - Georgie!

- Mamma, how are you? - Georgie. Oh, Georgie!

- What happened? - I had a little accident.

Now, let me look at you. Let me look at you!

Oh, you look wonderful, mamma, wonderful.

I knew my best boy was coming to see me tonight

if he remembered.

I wouldn't forget you, mamma.

I've just been busy, that's all.

- You got a job? - I got lots of jobs.

- Dancing? - Dancing, mamma.

Oh, no! Ha-ha!

Hey, mamma, mamma, look, look.

- What? - Look what I got for you, huh?

- For me? - Mm-hmm.

Oh! Mmm! Georgie!

Oh! Oh, but, but perfume is expensive.

- I got a discount. - Georgie!

I-I got the best contacts, mamma.

Give me your coat.

I-I hope you're dancing in nice places.

I'm dancing in nothing but the best places, mamma, sometimes.

I dance in this one place where all the big shots hang out.

And if you hang around the money long enough, mamma

some of it's going to stick to you, believe me.

Money. That's all some people think about.

Without money, mamma, you're nothing.

And-and with it, you're going places.

Where are you going, Georgie?

To the top, mamma. To the top of show business. Where else?

A dancer like me can make plenty.

Yeah, but, but there are other ways.

For suckers, mamma, for suckers, and I'm not one.

But for your coffee cake, I'm a sucker.

It's homemade.

Hello, papa. How are you?

Hello, Georgie.

What's, uh, what's new with you, papa?

- Papa's got a new job! - Oh.

Yeah, watchman in a warehouse.

Good. Good, papa. Good.

More dough?

What happened to your ear?

Oh, I fell on it, papa.

I-I was dancing. I fell on it.

People still throw money at you?

Yeah, papa, but, uh, but not enough.

What else could we expect?

So little time in school.

Then you wouldn't go anymore.

Georgie, what shall I say to my friends

when they ask me about my son?

Tell them I'm sick of being poor, papa.

You tell them I'm sick of having rich guys roust me around

that I'm-that I'm-I'm through with that. I'm on my way up.

Hold on, mamma.

Better ask who it is.

Yeah.

- Who is it, please? - 'Police.'

- George Raft? - That's me.

- I'd like to talk to you. - What about?

That fight at the Dreamland Casino.

Oh, come on. 50 people saw that muzzler

nearly cut my ear off. Are there any marks on him?

You better come with us.

Don't worry about it, mamma. It'll all be straightened out.

Papa, if I get my name in the papers

I'll send you a clipping.

You can start a scrapbook.

The coppers didn't have any reason to hold me

so I went to work for Frenchie DeMange

nightclub owner and racketeer.

Oh, hiya, twinkle toes.

You know, I've seen the way you handled yourself

the other night at that dance hall.

- Not bad. - Hey, thanks.

Not bad at all.

How'd you like to make yourself a little extra dough?

Doing what?

Well, I'm delivering a load of beer

for Frankie Donatella tonight.

I need a driver for my convoy car.

I'd do it myself, but my wing is out of commission.

Do you think you can handle it?

What's in it for me?

- Hundred bucks. - I can handle it.

Now you better fall back

and check to see if they're all back there.

Okay, you can get up front again.

And watch them torn-up tracks at 110th Street.

And remember, them guys will tail you

no matter where you go. Come on.

Hijackers.

Okay?

Okay.

This job showed me there could be a lot of money in it for me

if I stayed close to the mob.

I don't boast about it

and I certainly don't recommend it as a way of life.

My next date was at a hot spot in Coney Island.

♪ Ooh oh hoo hoo hoo ♪

♪ Ooh ho ♪

- Want a drink, baby? - Yeah.

A Scotch for her and a glass of milk for me.

Milk?

Milk.

You danced with me tonight like you really loved me.

Why not? You're a great dancer.

Proper phrase, proper look

and I got the proper kick out of it.

You know, Georgie, you have to give before you can get.

Oh, I give. You got any complaints?

I was, um, speaking about love.

That's a big word.

Well, affection, if the word love scares you.

Nothing scares me.

Oh, yes, it does.

You're afraid to smile

because somebody might think you're soft

or tell a girl you love her

because she might want to share things with you.

What's to share?

Oh, I don't know.

Headline act, maybe

like, uh, Dixon and Highson, Moss and Fontanne.

You know, now that I'm singing

we could get better bookings than they get.

Yeah, maybe.

Let's talk about it some other time, huh?

♪ It's great to be back in the city ♪

♪ It's great to be back once again ♪

♪ It's nice to escape the sun and the rain ♪

♪ The California weather that gives us a pain ♪

Ye Olde College Inn, ladies and gentlemen.

I want to tell you it's certainly been wonderful.

And for our foist number--

- "Foist?" - Foist.

Foist? First is the woid.

How far in school did you go, anyway?

I went all the way inside.

No, no, no, no. What did you take out?

Nothin'. They had everything nailed down.

Oh, forget it. How do you like it here in Coney Island?

- I love it in Coney Island. - Great--

- But you lied to me. - I lied?

You said in Coney Island there's five girls to every man.

- That's right. - Well, somebody's got ten.

I want to tell you about my train trip in

coming in, ladies and gentlemen.

He always takes the train.

- I take the new airplanes. - That's right.

- I love the new airplanes. - I hate aeroplanes. I'm afraid.

- You think trains are safer? - That's right.

You didn't hear about the train wreck yesterday?

What train wreck?

Train going down the tracks 80 miles an hour

all of a sudden, crash!

- What happened? - A plane fell on it.

You're pushing a fellow from Texas, buddy.

And when you push somebody from Texas

it only leads up to one thing...

- What? - A shoot-out.

You got it, brother.

You mean, you really want to do it?

You asked for it.

- I'm going for my gun. - Go ahead.

- I'll only be a minute. - Come on.

I have a very special request...

What is this?

This may not mean much to you.

In ten minutes, this whole place will be full of Vikings.

Come on. Are you kidding? Vikings? Are you kidding?

- Hey, doc. - What?

Are you sure the tooth's got to come out?

Yeah, the tooth has got to come out.

- Can't we use braces? - No, no, no. No braces.

I can't get my sweater off.

Well, you got a problem, eh?

Doc, when the air hits this thing, it's murder.

- I'm sure it is. - I got a million of them.

- Jimmy Durante! - No. Texas Guinan.

See, I miss it every time.

- Stick 'em up. - Ho!

- Put the money in there. - Get out of here.

I have a very special request to do my song.

- Who requested it? - I did, and I hope I like it.

- Yeah, I hope so too. - Yeah.

What am I going to do while you're singing?

- What do you usually do? - Suffer.

- Come on. Come on. What? - I got an idea.

You sing, and I'll accompany you at the piano.

You play piano?

No, but the way you sing, it'll be perfect.

- Good luck! - Good luck!

- Go ahead, buddy. - I'll be at the piano, folks.

Alright, alright. They know you'll be at the piano.

Come on, what are you doing?

Wait till I find the clutch.

♪ Mi mi-mi-mi-mi mi ♪

♪ Me too too-too-too ♪

- Very good. Hit it, pal. Yeah. - Ready?

Go ahead, jump in there.

Come on. I passed you twice already.

- Go ahead. - Alright.

A little louder. I can't hear you back here.

Alright. Alright.

You better sing something else.

You don't know this song too well.

It isn't working. Give me this.

Give me this. Now, now, now.

Hey, and away we go.

Oh, ho, ho. What are you doing?

- Rearranging my shorts. - Get out of here.

Are you kidding?

If I've told you once, I've told you a lot of times

don't hit a guy who used to be a fighter.

- You, a fighter? - I was a fighter.

Yeah? Whom did you fight?

I fight a lot of whoms.

Yeah, yeah, well, uh, namely?

I fight Namely. I don't think he was a great fighter.

- He was fair. - No, no, no, no, no.

Le-let's be more specific.

No, no, no, I never fought in this Pacific.

Only on the East Coast, I fight a lot.

I see. Alright, then, uh

tell us about your East Coast triumphs.

Well, most of them are married now.

No, no, no.

- Look. Look. What's the matter? - Uh-oh!

- You got a cold? - Have little trouble breathing.

- Yeah, fighters do, eh? - I just had my nose fixed.

- What was wrong? - It was over here.

Good Lord! What do you usually do after a fight?

- Uh, bleed. - Very good.

♪ Yes it's great to be back ♪

Hold it! Where are we?

- Coney Island. - Oh!

♪ In Coney Island ♪

♪ Once again ♪

'Thank you! Thank you very much!'

And now, ladies and gentlemen

we'd like to bring back one of our guests

a lovely young lady with a fabulous voice.

She's worked in New York, Chicago Cincinnati, Omaha

and Hollywood.

Yeah. She couldn't hold a job.

Always with the jokes, huh?

She's really great, and I know you're going to love her

Ms. Sheila Patton!

Sheila, I love you.

♪ I don't know why ♪

♪ I made you cry ♪

♪ I'm sorry sweetheart ♪

♪ And yet ♪

♪ Though you shouldn't be ♪

♪ Lenient with me ♪

♪ I hope you'll forgive ♪

♪ And forget ♪

♪ What can I say dear ♪

♪ After I say I'm sorry? ♪

♪ What can I do ♪

♪ To prove it to you? ♪

♪ I'm sorry ♪

♪ I didn't mean ♪

♪ To ever be mean ♪

♪ To you-u-u ♪

♪ If I didn't care ♪

♪ I wouldn't feel like I do-o-o ♪

♪ I was all wrong ♪

♪ But right or wrong ♪

♪ I don't blame you ♪

♪ Why should I take ♪

♪ Somebody like you ♪

♪ And chain you? ♪

♪ I know that I ♪

♪ Made you cry ♪

♪ And I'm so sorry dear ♪

♪ What can I say dear ♪

♪ After I say I'm sorry? ♪

♪ I'm so sorry ♪

♪ For me and for you ♪

♪ I'm so sorry ♪

♪ What can I do? ♪

♪ I made you cry ♪

♪ And I'm so sorry dear ♪

♪ What can I say dear ♪

♪ After I say ♪

♪ I'm sorry? ♪

Nice number. See you in a minute.

- Hello, Georgie. - Moxie boy, huh?

George. Frank, this is the kid I was telling you about.

- Hello, Georgie. - Mr. Donatella.

- Pull up a chair. - Yes, sir.

- You want a drink? - No. I don't, I don't drink.

I've been hearing some good things about you, Georgie.

I can use you.

But what's in it for me?

I like that.

He doesn't want to know how I can use him

only what it pays.

What does it pay?

Plenty. Plenty, kid. Plenty.

There was never a dull moment

but I never forgot I was a dancer

and I used my connections to get better dancing jobs.

The mobs discovered that they could get away with murder

if they supplied liquor to the right people.

The El Fey Club, owned by Larry Fay

was a popular filling station.

Here I was a featured dancer, and Texas Guinan entertained.

♪ I never knew I could love anybody ♪

♪ Honey like I'm loving you ♪

♪ I never realized ♪

♪ What a pair of eyes ♪

♪ And a great big smile could do ♪

♪ I can't eat ♪

♪ I can't sleep ♪

♪ I never knew a single man could be so sweet ♪

♪ I never knew I could love anybody ♪

♪ Honey like I'm loving you ♪

♪ Honey ♪

♪ Like I'm loving you ♪

Good evening, sir.

The name's Markham. I have a reservation here.

'Yes, sir. Your table is ready, Mr. Markham.'

'Follow me, please.'

I don't think I'm going to like this job.

Why not, Ruth?

Nearly every night, somebody pinches me.

They do? Where?

In there.

You should see me. I'm practically black-and-blue.

What can I do about it?

Well, you, uh, you can pinch them back.

Oh, I'm no prude, but I just can't understand

why I've got to practically undress

just to sell cigarettes and check hats--

Honey, it's not selling cigarettes that you're doing.

It's personality that you're selling

and you got the kind everybody wants to play with.

You get me?

Of course I do. I'm particular, but not dumb.

I had you spotted for a small town doll

the first time I saw you.

I warned you the going could get rough around here, didn't I?

Well, yes, but I was out of a job--

That's why I took you to see Larry Fay.

Has he been messing around you?

No.

Don't kid yourself. He will.

How about the rest of the guys in this rattrap?

Nobody's been bothering me, not even you.

Don't kid yourself about that either

so watch yourself in the clinches, huh?

Have any trouble going home nights?

- Not yet. - Yeah, well, you will soon.

Look, from now on

I'm going to take you home every night, okay?

Hey, wh-where do you live?

A furnished room or something?

No. An apartment.

Yeah? Well, you better not let me in.

Go on. Peddle your cigarettes.

What the hell happened to you?

'Hello, suckers!'

Hey, Tex!

Hello, sucker!

How's the mob treating you?

'How about buying the lady some champagne?'

Okay, handsome, let's give the suckers what they want.

Hit it!

♪ Daddy dear listen here ♪

♪ Mamma's feeling blue ♪

♪ She don't see much of you ♪

♪ And that will never do ♪

♪ Twice a week mamma's cheek ♪

♪ Gets a kiss or two ♪

♪ I'm not showing you the door ♪

♪ But I must lay down the law ♪

♪ You got to see your mamma every night ♪

♪ Or you can't see your mamma at all ♪

♪ You got to kiss your mamma treat her right ♪

♪ Or she won't be home when you call ♪

♪ If you want my company ♪

♪ You can't fifty-fifty me ♪

♪ You got to see your mamma every night ♪

♪ Or you can't see your mamma at all ♪

♪ I don't want the kind of man ♪

♪ Who works on the installment plan ♪

♪ You got to see your mamma every night ♪

♪ Or you won't see your mamma ♪

♪ And papa loves mamma ♪

♪ So papa better see his mamma right now ♪

♪ Or you won't see your mamma ♪

♪ He won't see his mamma ♪

♪ He won't see his mamma at all ♪

Georgie.

Oh, hello, Sheila. Where's the boyfriend?

Upstairs at the crap table.

Well, imagine ditching someone like you

for a pair of dice, huh?

I'd like to talk about what you ditched me for.

Oh, Sheila, I didn't ditch you.

I just eased you out.

You had me heading for the "Wedding March"

and I don't do those steps.

What about you and the, uh, cigarette girl?

You mean Ruth Harris?

You're off your rocker. She's a nice kid.

- And I'm not? - I didn't mean that, Sheila.

It's just that... Well, you know all the answers.

Well, she'll learn them from you.

Hey, that's for the Brooklyn mob

not the Broadway crowd.

Georgie... I'm sorry.

I guess I really am off my rocker.

No, no. It's alright.

Go on and fix your face, huh?

Take care of yourself.

- Excuse me. Georgie. - Oh, hiya, Frankie.

- Hi, Georgie. - Boys!

I want you to meet an old friend of mine.

Jerry Fitzpatrick, George Raft.

Hiya.

Jerry's been out of circulation.

Yeah, I, uh, I heard about it.

Well, he's going to be working for me

so you'll be seeing a lot of him, Georgie.

Take him to our table.

We're going upstairs for a minute.

Okay.

That's pretty nice.

Well, that's not the show.

The show's in the club room.

Yeah, I could use that. Fix it for me.

Me? I work here, but I'm no pin-setter.

Get your own girls. Come on.

I walked Ruth home every night.

I enjoyed being with her

and I was sure she felt the same way about me.

But back at the club

Fitzpatrick had become a permanent fixture.

He had a one-track mind leading to just one stop

Ruth Harris.

Hey.

Yes?

How much for the whole tray?

I don't sell the whole tray.

When I want something, I want all of it.

- Sit down. - I don't sit with the patrons.

I said sit down!

I'm not going to hurt you.

Just don't give me no brush.

For you, that won't be good. What do you want?

There's a gentleman over there.

- He's dying for a cigarette. - Tell him to drop dead.

Oh, we don't talk that way to our customers.

Go on. Beat it.

Let her go, Jerry.

Draw that, I'll break your arm.

Punk. I'll fix you for keeps.

Don't do it in here.

It's liable to give the joint a bad name.

George, what's the matter?

You haven't said a word for blocks.

I'm worried. I put it up to Frankie and Larry Fay

but they're not going to do a thing about Fitzpatrick.

They keep saying, "Georgie, we need the guy. Lay off him."

Ruth...

...you better go back home for a little while.

Just-just a little while, please.

- Oh, I can handle him. - No, you can't.

And neither can I.

But, George, I don't want to go home.

Don't you know why?

It doesn't matter why. Home is where you belong.

Georgie, you don't have to go home.

Oh, yes, I do, baby.

Hello...

- They were shooting at you. - Yes!

Now will you go back home?

It's either that, or give Fitzpatrick what he wants.

- What about you? - I can take care of myself.

But you're getting packed. Go on home. Come on.

Hurry up!

I still don't want to go.

Did you call a cab?

They're standing on the next block.

Go out the back way. I'll meet you at Grand Central.

- But-- - Now don't argue.

Ooh! Ow!

Aah! Aah!

Goodbye, George.

Goodbye, baby.

Coming! Coming!

- Georgie! Oh, it's Georgie! - Hello, mamma.

- Lock the door, please. - Yes.

Georgie, I've been so worried about you.

When I didn't hear from you

I called your hotel, and they told me you moved away.

I had to move, mamma. I'm laying low for a little while.

What is it? The police are after you again?

No, no, no, not the-not the police, mamma.

Well, who is it? Your gangster friends?

Yeah, mamma, only they ain't friends no more.

- They're kind of mad at me. - Oh, Georgie.

You could have phoned me.

I didn't want to drag you into it, mamma.

I wouldn't have come here tonight

only I know you're worried.

Georgie.

Mamma, you go in the bedroom

and you don't come out for anything, do you hear me?

Go on.

Alright.

- Who is it? - 'It's me, Moxie.'

Hello, Georgie.

Well, what are you looking for? There's nobody there.

I came by myself.

Come on. I'm not going to cross you up.

You ought to know that by now.

Listen, I've been watching the place

hoping you'd come back. That's how I knew you were here.

- Frankie wants to see you. - What for?

So that creep Fitzpatrick can put an ice pick in me?

I straightened the whole thing out with Frankie.

You-you straightened the whole thing out with Frankie, huh?

Yeah. Yeah, I did.

You can trust me, Georgie.

I'm the one guy you can trust.

You better be.

Well, if working for you means I got to hustle dames

for that creep Fitzpatrick

then I ain't working for you no more!

Nobody's asking you to hustle dames, Georgie.

What am I getting measured for a wooden box for, huh?

You should have kept your hands off the babe.

- Jerry liked her. - Well, she don't like him.

And neither do I.

You're scared of him, Georgie.

Well, who wouldn't be scared of him?

A daffy guy like that on my back.

Why don't you call him off?

I can't now, Georgie. Not now.

Well, who's the boss around here?

What do you want me to do?

Now, look, Georgie, I like you.

I'm going to tell you what to do.

You're in the wrong setup. Get out of it.

Texas Guinan is going to Hollywood to make a movie.

You go along with her.

'You're a good-looking guy. You're a dancer.'

'That's your racket. Stick to it.'

Here. You can probably use this.

There.

You don't want me around here no more, right?

You're no good to me dead, Georgie.

Sure, I want you around, but I also want Jerry around.

He'll do jobs for me that you won't do.

Now, use your head. Take the money and blow.

Now you're being smart.

You go straight, and you'll do alright.

I'll see you in the movies.

Come on.

Yeah.

I made it to Hollywood, alright

not that anyone noticed.

I did a part in the Texas Guinan film

but as far as movie work went, it looked like that was it.

George Raft slept here...

...and nobody cared.

'Hey, this key. I can't get in my room.'

'It won't open the door.'

You've been locked out, my friend.

- Locked out? - That's right.

But you...

Look, Mac, I got a job starting tonight, you see?

And I'll lose it unless I get to my room

and get my tuxedo out.

Try paying your bill.

Oh, come on. Let me get my tuxedo, will you?

Hey, hey, are, uh, are you-are you a waiter?

No. I'm a dress extra.

But you need a tuxedo, right?

Yeah. Yeah, I need a tuxedo.

Well, I've got two. I'll lend you one.

Hey, no fooling?

Come on.

Well, this is wonderful, Mr. Raft.

I won't forget you for this.

Well, just don't forget the tuxedo.

Oh, don't worry. I won't.

- Good luck on the job. - Thanks.

- Goodnight. - Goodnight.

Hi, fellas.

Uh, pardon me, miss. Did you, did you drop this?

Keep it. I've read it.

Thanks a lot.

Uh, sure is hot, isn't it?

No matter how hot it gets in Hollywood

always sleep at night under a blanket.

Well, that makes it nice.

Look, my name is Raft, George Raft.

My name is Tyler, June Tyler.

Well, it's certainly nice to meet you, Ms. Tyler.

Uh, are, uh, are you connected with show business, huh?

- Sort of. - Oh, what do you mean sort of?

I was elected Plum Blossom Queen in my hometown.

I won a trip to Hollywood

and a contract for a small part in a movie.

No kidding?

Well, the contract wasn't renewed.

I stayed on, and I work as an extra.

It's a living, and who knows?

Right. Who knows?

Mr. Raft, you're photogenic.

I'm what?

It means you photograph well.

Oh, oh, oh.

You're the Valentino type.

Well, thanks.

Can you dance?

Well, I'm no Vernon Castle

but I won a couple of big dance contests--

I'm working tomorrow

and I heard them say they're looking for

the Valentino type that can dance.

You want to go with me to see the director?

- Are you kidding me? - No, no.

We have to report to the studio

at 8 o'clock in the morning.

Well, that's swell with me.

7:30 here?

Yeah, 7:30 right here.

Let's step out.

Okay, cut! Cut! Very good, kids.

Alright, let's try it again

and this time, uh, no solos, if you don't mind.

Yeah, well, I'm sorry, sir.

Alright, places, everybody. Let's go. Come on.

Okay, turn it over. Alright, roll 'em.

Let me see your pass.

Good afternoon, Mr. Rodin.

Roy.

Okay, start the fight.

What'd you call me?

I said you were a double-crossing rat.

Why, you jerk!

Cut! Cut! Cut! Cut!

What kind of a phony fight is this?

You're supposed to win this brannigan.

All you're doing is throwing a lot of wild swings.

I had to. This guy doesn't know what he's doing.

What do you mean I don't know what I'm doing?

You don't even follow the routine.

I don't want a routine. I want a real slugfest.

- Hey, you. - Who, me?

Come here. What's your name?

Raft, George Raft.

Can you fight as well as you dance?

Maybe. Well, what's in it for me?

A $50 stunt check besides your regular day's pay.

For that, I'll fight the two of them.

I don't want you to fight two of 'em.

- Just one guy. - Which one?

- This one over here. - Okay.

Alright, now listen to me. I'll give you a direct cue.

When I give you the direct cue

you say, "What did you call me?"

- "What did you call me?" - He'll read his line.

The camera dollies in. You upset the table.

You start the fight. I want a real good fight, okay?

- You want a rehearsal? - I don't need no rehearsal.

- No rehearsal? - No.

Good. Maybe we'll get it in one take.

Okay, right over here. Sit down over here.

Get this table up, will you?

'Okay, come on, boys.'

"What did you call me?" I say, right?

Just sit down, huh?

What-what did you, what did you call me?

What did you call me? That's the line.

Go back and sit down at that table. That's right.

'Alright, places, everybody.'

- Alright, roll 'em. - 'Take!'

Scene 121, take 6.

Playback.

Okay, start the fight.

What did you call me?

I said you're a dirty

double-crossing heel.

- Is that alright? - Cut! That was fine.

- 'Hey, he's out cold!' - Good. That's a print.

No, he's alright.

And so are you. What's your name again?

Uh, Raft, George Raft.

- I'll use you again, Raft. - Thanks.

- Maybe, maybe not. - Who let you in?

This. Police officers.

We're looking for Mr. Raft.

Well, what's the beef?

We'll tell you downtown.

Well, thanks for the job, Mr. Milton.

You're welcome.

Alright, captain, maybe you can straighten this thing out.

Now what gas station am I supposed to have held up

and what did I get out of it, huh?

Is this your tux?

Yeah, yeah, yeah. Sure, that's my tux.

It has my name right in the inside pocket.

Well, the man who stuck up the station

was wearing this jacket.

Dressy affair, huh?

Don't be so flip.

The station attendant knocked the gun out of his hand

then grabbed him.

He slipped out of the coat and got away.

Fortunately for you, this young lady

states that she was with you last night.

Through her information

we got the man who committed the robbery

but he had a room in your hotel.

Did he steal the tux from you?

No, he didn't steal nothing from me.

I'm, I'm kind of a soft touch.

I loaned it to him, but-but not to rob

no gas station with.

I guess that clears you.

Well, thanks a lot.

Just a minute, Raft.

We've got your New York record. We don't like it.

Well, what about my LA record?

My LA record's clean. It's going to stay clean.

I'm an actor.

So I've been told.

I asked the captain to call the studio and he did.

Mr. Milton wants you back on the set tomorrow.

Just keep on being an actor, Mr. Raft. A good one.

This department is going to be your most severe critic.

Thanks, but you got the wrong night.

It wasn't last night I was with you. It's tonight.

Maybe that's why I fibbed a little.

Hollywood's a lonely place.

It was a lonely place.

Before long, better parts started coming my way.

In Hollywood, to make people think you're a success

you put on a show all the time

and you make sure you're seen in the right places

where the big-shot producers, agents

and columnists hang out.

You do anything to get their attention.

'Call for Mr. George Raft!'

'Call for Mr. George Raft!'

George Raft, right over here.

George, are you having yourself paged again?

Yeah.

Hello. Hello, Bill. How are you, baby?

'No. I don't think there's enough money in it for me.'

No, I'm playing bigger parts today. Yeah.

And you move into a plush apartment.

I couldn't afford it, but I loved it.

The magic of Hollywood was in my blood

and I even began to think like an actor.

I'll never forget the first Hollywood party I gave.

Now let me get you another drink.

I'd like to talk to you about your work.

How are you, sweetheart?

How are you, sweetheart?

Great party, huh? Great.

Hey, Benny! Benny boy!

Hey, I'm glad you could make it! Come here!

Hey, Georgie, how are you?

How do you like this place?

Beautiful, beautiful. Gee, you look great.

I feel good.

By the way, Big Frenchie and the boys

told me to give you their best.

Swell, swell.

Get out of here!

Wait a second.

Ah, it's nothing, Georgie. Just a fight.

These guys, they're gonna wreck my joint, break up my party.

Now, come on, come on, without a fight

it wouldn't be a successful party.

What's gotten into you?

Back in New York, you used to love a good fight.

Remember, huh?

You even went around looking for them.

In New York, you had to fight just to stay alive.

Yeah, that's right.

Here, you gotta fight to keep from being bored to death, huh?

Ever miss New York, Benny?

Yeah, at least there was never a dull moment, huh, Georgie?

Kind of hard to get life insurance though, isn't it?

Well, it's not as hard as getting a drink at this party.

- Look at those amateurs. - Let's forget about them, huh?

Why don't you be a host and get me a drink?

Sure. What do you want? What do you want?

Scotch and water.

Scotch and water for Mr. Siegel.

June, June, baby.

I want you to meet a good friend of mine

Benny Siegel, this is June Tyler.

You heard me talk about Benny, didn't you?

Yeah. I've read about him in the newspapers.

Well, of course you have, honey.

According to the cops

I'm the original big, bad wolf, huh, Georgie?

Hey, by the way, the boys told me

you're doing just great.

Oh, I've been lucky, Benny. Just lucky.

Don't you believe it, Mr. Siegel.

Luck has nothing to do with it, has it, Mr. Milton?

Hmm? Oh, I don't know what you're talking about

but if you say it hasn't, it hasn't.

How are you, sweetheart?

- Benny, good to see you. - Hi, Milti.

Georgie, very interesting party.

June has been singing Georgie's praises.

Rule number one, honey, never tell an actor he's good.

Oh, George, George, I sent you a script this afternoon.

I'd like you to read it tonight.

- Oh, what's it about? - It's called "Scarface."

- About a gangster. Great. - Okay, I'll read it.

I'll tell you what I think about it

because I got some ideas about gang--

- You see what I mean-- - We should all--

Georgie, will you please listen to me?

Just read the script and see me in my office tomorrow.

Okay, okay, sure.

And, uh, let me do the talking.

Okay. Terrific guy.

- Oh, hiya, Sam. - Oh, Milt.

- Benny. Oh, Benny, Benny. - How are you, Sam?

- Oh, fine. - Good to see you.

- How are you, Benny? - Great. Just great.

- How are things in New York? - Wonderful.

Hey, where does one get a drink in this joint?

Well, I'm just a guest.

Hey, meet the host. George Raft, Sam Rodin.

Well, Sam, what are you drinking?

- Scotch. - Okay, a Scotch.

I'll see you, Sam. Have a good time.

Okay. You too, baby.

How are you?

I'm a little high.

Well, you're honest anyway.

That's me, honest Sam. Can you take it?

- What? What? - A little honesty about you.

Look, I got a big party going here.

- You can't take it. - Here's a drink.

Enjoy yourself. There's a lot of action--

Okay, I'll tell you. You know, I've been watching you.

You've got a frustration complex.

- You know what that means? - Alright, I've got a frustra--

No, no, you keep trying to prove you're somebody.

You know what I mean? You keep playing it tough all the time.

Alright, I'm playing tough all the time.

No, no, no. That's funny. That's funny. You know why?

Because you're nothing.

You're nothing but a small-time hoodlum who will never...

Oh!

George, that wasn't smart.

- And why not? - Sam's a big man in this town.

- What does he do? - He manages a lot of stars.

- Yeah? - Yeah.

Look, Mr. Rodin, I'm sorry. I didn't mean to hurt you.

Aah!

Ooh.

You don't want to fight anymore with that eye.

- Where? - Your eye.

Your mouth is just cut wide open.

- Your jawbone. - Where? Where?

On the other side.

This was the beginning.

Sam became my manager and my best friend.

'Alright, quiet, everybody.'

'Scene 149, take 15.'

'Action.'

You...

You're the guy...

The one guy in all the world I thought I could trust.

Look, Al, you've gotta give me a break.

I would never double-cross you.

'Alright, alright, cut!'

I'm sorry. I'm sorry.

- George. - I'm sorry.

- George! Come over here. - We're running late.

Will you take it easy?

I'm-I'm sorry.

Wh-what is it now? What's wrong? What's the matter?

It's the lines. The lines... I can't say these lines!

Rio would never talk like that!

Georgie, a thousand guys would give their eye-teeth

to play this part, you should--

I can't help it if I can't say the lines!

- Can I? - Sam, please.

I'll handle it if you don't mind.

- Georgie. - What?

What's the problem?

A real hood would never talk like this. Never!

- He wouldn't? - No.

Alright, how would he talk?

- What? Here? - Yes. Wh-wh-what would he say?

Well, he'd, uh, say, uh...

Well, why wouldn't you trust me?

If it hadn't been for me, you'd have been dead years ago.

And now when some stoolie

tries to cross me with a phony tip-off, you fall for it.

Georgie, this is where you get killed.

This is where you die.

Have you ever seen a gangster die?

Yeah, I've seen 'em die.

They don't die no different from anybody else.

They just die. That's all.

And they don't seem to like it very much.

- George? - Hmm? What?

Uh, let's try it again, huh?

Yeah, sure.

And, uh, keep doing what you're doing.

- I'm sorry. - What?

Uh, keep... flipping the coin.

- The coin? - Yeah.

- Flip the coin? - Yeah, flip it.

- Milt, please. - Look, I got enough problems.

Okay...

Alright, quiet on the set, everybody. Quiet!

- Turn 'em over. - Alright, roll 'em.

Scene 149, take 16.

Action.

You... you're the guy...

The one guy in all the world I thought I could trust.

Why wouldn't you trust me?

You'd have been dead long ago if it hadn't been for me.

Now when some stoolie crosses me

with a phony tip-off, you fall for it.

Uh!

- Cut! Print it! - Did you get it?

That was great, George, great.

That was a beautiful job, George.

George? George, you alright?

George, are you hurt?

George?

I better get a doctor.

- What happened? - How do you like that?

He hit the back of his head when he fell.

"Scarface"made me a star overnight

and changed my whole life.

While I was making a personal appearance

at the Oriental Theatre in Chicago

one night after the show, I had a visitor.

- George Raft? - Yeah. What do you want?

The big fellow wants to see ya.

Capone? When?

Right now. Get in.

Yeah, sure.

22nd and State.

They're waiting for you.

Um... nice place you boys got here.

Go in.

Sure.

Well, Georgie. Sit down, George.

So you're an actor now, huh?

Uh, an actor, yeah. That's what they call me, Al.

Oh, you've been, uh, taking off here on my bodyguard

in this, uh, moving picture, huh?

An actor has to do just what he's told, Al.

Yeah.

Oh, uh, this is "Machine Gun" Jack McGurk.

That's what my bodyguard looks like, Georgie.

This joker takes care of anything that bothers me.

Now, Georgie...

I got friends out in Hollywood... ...and they tell me

that it was your idea to make this picture.

Oh, no, Al. It wasn't my idea.

It was you, it was you who gave them the idea.

Yeah, but you told them how I dress

about my gray hats, how I walk, and what kind of guns I use.

Yeah, Al, I...

Well, I was kind of the technical adviser

on the picture.

W-well, you see, you shoot an operation

you bring in a surgeon.

You shoot an execution, you bring...

But I'm different, George.

For an execution, I don't need advisers.

I've got experts.

Now, whose idea was it to bump me off?

It was, it was Hays. It was the Hays Office.

Hays Office.. Who's that?

Well, it, it's the big boss at the motion-picture industry, Al.

See, they got a criminal code.

In every picture, the criminal's got to get

sent to jail or get bumped off before the end--

Well, the Hays Office don't know me.

Nobody's bumping me off.

Now, George...

I'm going to give you my best.

My old pal, Jack McGurk.

Jack, you take good care of him while he's in town.

Now that he, uh, made this picture

he's one of the boys.

And I don't want any crazy hood snatching him

and holding him for ransom

like they did some of those other actors.

Those kind of things give me a bad name.

Al...

...you mean you liked the picture?

Yeah, I liked it, and if I didn't

I couldn't stop 'em anyway.

They blame me for everything, but the Chicago fire.

That's all, George. So long.

Oh, George!

One other thing.

The next time, you play me, okay?

Okay, Al.

Soon after "Scarface," I was under contract to a studio

and I was to do a picture for a producer

who found me a little difficult.

We'll call him...

Harvey, why must I play another gangster, huh?

Why? Why, three of the biggest hits that were ever made--

"Little Caesar," "Underworld," and"Scarface."

I hear that till I'm sick of it.

Yeah, but the public isn't.

The people who buy tickets want you in gangster roles.

They think they're seeing the real thing.

But they're not.

Oh, sure, I knew some of the big guys in New York

but I was never a hood, I was a dancer.

Now, why can't I be a dancer in this picture?

But this guy's a two-fisted casanova--

Don't you think casanova could dance?

How do you think he made out with all those broads?

Look, I got a great idea. I'll show it to you.

'Now, hold on, George, stop trying to be a producer.'

Come on in, kids.

This is June Tyler. You saw her in my last picture.

- 'Yes, but--' - Well, no.

If you blinked, you missed me.

Now what is this, a fashion show?

Not exactly. Have you heard the bolero?

If you mean Ravel's, it's a fine piece of music.

- Oh, I mean the dance. Jose-- - Now wait a minute.

Jose is one of the great piano players west of the Mississippi.

There's only one little trouble with him.

When he gets angry, he tries to kill people.

He's out on parole.

Well, I'm glad you mentioned it. I was about to throw him out.

Good thinking. Here, come on. Sit down.

- Yeah. - Make yourself at home.

Jose, give us the first eight, huh?

Well... I see what you mean.

Yeah. I thought you would.

We made"Bolero," and it was a hit.

The day an old friend from out of the past showed up

I was starring in another picture

and I was having my usual trouble.

Look, I don't care what it's costing.

I'm not going to say the line, that's all.

It's one lousy line of dialogue.

What are you holding up production for?

That's what I mean, it's a lousy line of dialogue.

Now go tell Harvey that, huh?

Hey, Georgie?

Hey, Moxie, how are you?

- Great. How are you doing? - Get the pass I left for you?

Yeah, yeah, yeah. It's been a long time, huh?

Hey, you've been doing just great.

Your picture's plastered all over the place

you got your own dressing room, huh?

Feel kind of funny about coming to see you, Georgie

but Frankie asked me to.

Oh, how is Frankie?

Oh, he's great. He's, uh...

- He's in the fight game now. - Yeah, I heard.

Yeah, he's got a couple of boys back East.

He, uh, wants to get a few setups out here in the West.

That's, that's why he sent you to see me, huh?

Well, he figures you're pretty big out here and everything, uh

you wouldn't have to worry about a thing

I'd do all the fronting for you.

Name your own ticket. Anything you want.

- Look, Moxie... - What?

Friday night is fight night here in Hollywood

it's kind of an institution now.

- I enjoy the fights. - Yeah?

And I don't want to see them get crooked.

T-take my advice, and you lay off, huh?

What will I tell Frankie?

Just tell him I ain't got what it takes.

Now, if you need a job, I'll give you one.

- Doing what? - Doing what?

I got a million things for you to do, a bright guy like you.

Listen, I need someone around here I can trust.

- Serious? - Yeah. I'm serious.

Sit down. That's some producer I gotta talk to. Sit down.

Oh, hello, Mike, if you're looking for a story

get it from Harvey, will you?

No, no, wait a minute, George, there's a news I want.

You see, the studio just signed up a new actress from New York.

And we'd like a picture of you welcoming her to the lot.

Yeah, well, tell her to stick around.

You'll get a picture of me saying goodbye.

Something's eating him, Ms. Lang.

Sure. A swollen ego. Bring him over to my set.

You can get a picture of me spitting in his eye.

Yeah, but he didn't even see you.

If he had, he'd have broken his neck

trying to pose with you.

That's no excuse for rudeness.

He's a stubborn hooker, and his brains are in his feet.

Oh, excuse me, Ms. Lang. Now, how's it going?

Well, it was going fine until they dragged me over here

to get my picture taken with that joker.

Is he giving you trouble too?

I told you something was eating him.

This I want to see.

Oh, you got here quick enough.

Naturally. This is costing the studio money.

Why won't you read this speech?

Listen, well, I'll read it for you right now

and you'll see why I won't read...

Look, it says, "I take an oath on my dead mother's grave."

- Now for one thing, it's corn. - That's what you think.

In the second place, it ain't true

my mother's still alive.

You mean your mother in the picture?

No. My mother in New York.

Georgie. Georgie, you're not playing yourself.

These scenes are just part of a story.

They gotta be a story I can believe, don't they?

Can you believe your own story?

George Raft, a kid out of Hell's Kitchen

playing a leading role in a major feature

with a lovely star and a great director.

You think that's a good story?

Why, you're nothing but a cheap, egotistical--

Ow!

You alright, Harvey?

Yeah.

I'll... I'll, I'll see you in my office.

We'll settle this thing once and for all.

Are you crazy? You can't hit a producer--

I just did, didn't I?

Read your contract, the morals clause.

Not moral to hit a producer?

Okay, baby. You've done it.

Will you go on and try and make your peace with him?

Tell him you're sorry. Tell him anything!

If you don't, you're all washed up.

Then I'm all washed up.

Alright, folks, go on back to work.

Floor show's over.

Always a floor show when Raft's around, right?

So this is the great George Raft.

What are you trying to prove? How tough you are?

Who let you on my set?

Your publicity men. I work here.

Oh, you-you must be Lisa Lang. Look, Ms. Lang, I'm sorry--

Save the apologies for your producer. You owe them to him.

He oughta ram them right down your throat, but he won't.

He's a gentleman.

Uh, Moxie, you wait here.

I got a little business to take care of.

Mike, the next time you bring

something like that on the set, will you bring it up front

where I can see it?

- Who let you on my set? - The doorman. I work here.

- Have you checked lately? - That's a good idea.

Go do it, and I hope he throws you back in the gutter.

Now wait a second. Wait a second. I said I was sorry.

I didn't know that it was you I was supposed to welcome.

- What difference did it make? - Makes a lot of difference.

Take a look at yourself in the mirror.

Get out. You've welcomed me.

Not properly.

- Not the way I'd like to. - I said get out!

Oh, hey...

You're not very hospitable, are you?

Why should I be? Harvey was right about you.

You'll never amount to anything.

You argue with your fists, not because you're brave

but because you're afraid somebody will show you up.

I never hit a woman in my life.

Would you like me to start now?

Somehow, I straightened things out with Harvey and Sam

and continued to make successful movies.

The money rolled in and flowed away like water under a bridge.

I bought a beautiful house in Beverly Hills.

It was more than a house.

It was a dream come true.

Isn't it, Sam? Huh?

Should be for the price you paid.

What do you want him to do? Live in a shack?

No. Just stay out of the poorhouse.

Well, when you're a big star, you should live like one.

You owe it to your fans to have a good address.

Come on, this is no address. It's a county seat.

What do you need all this room for?

His friends have to have some place to sleep.

Hey, there champ. How are you?

Hi, George.

Who's that?

That's one of Georgie's pals from New York.

He's out here for his health.

What's the matter, don't you read the papers?

Just the trades. That's all an agent has time for.

You see, there's a gang war back East

and he likes to read his racing form in peace.

Makes it easier to pick a winner

if you don't have somebody shooting at you.

Alright, lay off him, will ya?

He was broke, he needed a place to sleep.

He'll clear out as soon as he gets his nerve back.

Somebody had to help him out.

Who else, but old soft-touch Georgie?

I'd rather have him around

than a lot of guys I know in Hollywood.

Come on, I'll show you the rest of the house.

Hey, Moxie, there's something wrong with the lawn

it's kind of dry or something. Why don't you water it?

You got it, boss.

Yeah, and set some rat traps.

You...

Well, if worst come to worst

you can always open up a lending library.

Man has to have something to spend his nights with.

Yeah, nothing like a good book to go to bed with.

- Yeah. - These come with the house?

- No, I bought 'em. - Sure, by the yard.

George isn't interested in the contents

just the jackets for the right colors to match the decor.

Decor, that's a new word.

You've been at the dictionary again.

Now, listen, Sam knows I never finished school.

You don't have to rub it in

and someday you're gonna go too far with that needling.

Guess I was wrong, Sam, he bought the books to throw at me.

Look, I got to leave you kids, I got an appointment

with the head of the studio.

'Ask him for more money.'

The rate you're going, you're gonna need it.

He's worth a lot more than he's getting.

That's my girl.

Yeah, but let him stop worrying about his income

and watch his outgo.

You know, he just bought a racing stable?

- So it's good publicity. - Improves the breed.

And flattens the wallet.

How long do you think this is gonna last?

Why should it stop?

Your clothes wear out, don't they?

- Yeah, sure. - Your cars?

Yeah.

Your youth?

So does your name, Georgie.

Where are the stars of yesterday, and who cares?

You worry about your ten percent, and not about George.

What's ten percent of nothing?

See you, kids.

So long, Sam. Don't pay him any mind.

He isn't happy unless he's crying in his beer.

You-you're a funny kid.

One minute, you're out there swinging at me

the next minute, you're in my corner.

So, George, what's all this about you buying race horses?

Well, all my life I've been putting money on their noses.

I thought just once I'd like to own the whole horse.

Think about all the nice people you meet around race tracks.

Who talked you into it? Benny Siegal?

Well, you, uh, you got something against Benny Siegal?

Yes, I sure do. So do a lot of other people.

Well, if you don't like my friends

you know what you can do about it, don't you?

George, I'm thinking of your own good.

Listen, all my life I've been taking care of myself

ever since I was old enough to make this hand into a fist

and I don't need you to tell me how to act.

Tough guy, huh?

Yeah, pretty tough. You wanna see how tough?

Yes, like this.

'Hold it!'

Beautiful.

Hey, w-wait a second, Benny.

Hey, wait a second. Where're you goin'?

- I'm gonna dress. - Well, that's Benny.

Don't you wanna say hello to Benny?

I know it's Benny.

- Here, George, put it on. - Thanks, Moxie, thanks.

Hey, Benny, how are you?

- Georgie. Moxie boy. - Benny.

Say, by the way, Georgie, uh, what's the matter with the doll?

Ooh, you caught her in that pose and she was embarrassed.

Lisa. That will be the day.

Alright, you guys, alright. Just get some more coffee, will ya?

- Alright, alright. - Thank you, Moxie.

Hey, how'd you make out with the DA?

You know, they are accusing me of book making.

No.

Yeah, you know, we were only betting on the horses.

Sure.

Incidentally, uh, my lawyer tells me

the DA is gonna call you as a witness.

Yeah?

Well, uh, I'll just tell 'em we made a couple of bets

on some horses long-distance.

You know, I'm building that hotel in Las Vegas, and, uh...

Well, with the grease and everything, it's gonna cost me

ten times more than I thought it would.

I got a big payment to make on the 15th.

How're you fixed, Georgie?

What do you need?

A 100 grand. Cash if possible.

The bank's closed now, but you meet me here

at 10 o'clock in the morning, and I'll arrange it.

I'll be here.

Oh, by the way

give my regards to the, uh, doll, huh?

Sure.

- Don't come in here. - Why not?

I paid for the joint, didn't I?

For a minute I forgot. Thanks for reminding me.

Now, let me remind you of something else.

Benny Siegel is a friend of mine.

Now, don't you ever walk out on him again.

I take you, I've got to take him. Is that it?

That's right, like a suit with two pair of pants.

I don't need two pair.

Look, you think so much of him

go hold his hand, let me finish dressing.

Okay, get out of here... Hey, what are you trying to do?

Let me go, George! Put me down!

Down! Put me down.

No! Not in this...

- Hello, Lisa. - Hi, Moxie.

When are those newspaper guys

are gonna stop calling him that, huh?

When will your fans gonna stop calling you a star?

I don't see nothing to worry about.

It's not every day Georgie gets his name in the front page.

Who asked you?

Look if you don't like the company

why don't you get out of here?

Why, I don't like it.

Look, I came up from nothing too

just like you did, but I don't

intend to go back to nothing.

Lisa, get out of here. Go home.

- And stay there? - Suit yourself.

I got it. I got it.

Hello. Yeah, Sam.

Yeah. Alright.

Okay, okay, tell him I'll be right down there.

- Studio. - Yeah.

Go on. Say, I told you so

and then get out of here, will you?

Good morning, George, Sam. Sit down.

- I'm not tired. - Cup of coffee?

- I've had my breakfast. - I'll have one. Thanks.

Uh, George, I'm disturbed by what I hear

what I read in the papers this morning.

"George Raft to appear as a witness for Bugsy Siegel."

- Is this true? - Yes.

- You implicated with Siegel? - No.

Still, you're going to appear as a witness for him?

That's right.

If you'll appear in court as a witness

for this gangster, you'll cut your own throat.

So I'll cut my own throat.

Now, look, Benny is a friend of mine. He wasn't makin' book.

You don't want me to lie, do you?

That's a very worthy attitude, George.

Personally, I admire your stand

but if you go through with this thing

let me warn you, we'll cancel your contract.

You don't have to cancel the contract.

I'm fed up with you telling me who my friends should be.

If my testifying for Benny

is gonna embarrass you, you can have the contract.

Well, now, if that's what you want, that's what you'll get.

We've had enough of your wild outbursts of temper.

Now, go back to your filthy gangs and stay there.

- Why you... - Are you nuts?

Would you have thrown that at me?

Just the coffee.

- Yes? - 'There's a call for Mr. Raft.'

'They say it's an emergency.'

No, thanks. I'll take it outside.

What a mixed-up guy.

Yeah.

Yeah, Moxie, what is it?

When?

Alright, grab two seats on the first plane.

I'll be right there.

Raft's mother isn't expected to live.

Since your father died, I've been coming in here regular

as you said I should.

Oh...

Will she get well?

It's hard to tell.

She's not too old, but she's tired.

She's got to live.

Perhaps she doesn't want to.

She is lonely.

Mamma.

Mamma.

Georgie.

Oh...

- Oh, it's a dream. - No, no, no, mamma.

It's me. I'm home.

Georgie.

Oh, Georgie.

D-did they fire you?

No, mamma.

I'm still fooling them.

Oh...

How long are you going to stay?

I'm going to stay as long as you want me to, mamma.

Oh...

Get that.

- Oh, Georgie. - Mamma.

- Mamma, when you get well... - Yes?

I'm gonna take you back to Hollywood with me, you see

and you'll like it there

because I got a, I got a beautiful home

and a swimming pool, and you can just sit there

and watch all the, all the good-looking guys

and all the good-looking dolls lying to each other.

Oh...

Oh, but you'll like them, mamma.

They're good people, show people. They...

They're always up.

They-they're never down.

They, they got a lot of heart, mamma.

- Lisa Lang. - Huh?

- Lisa Lang. - Uh.. What? Long distance?

No. She's staying at the Waldorf.

She wants to see you, Georgie, real bad.

You'll be staying at the Waldorf, Georgie?

No, no, no. I'm gonna stay right here, doctor.

You think she'll sleep for a little while?

Look, Moxie, will you, will you stick around here?

Yeah, sure.

- Call me when she wakes up? - Yeah.

At least you could have called me.

You left without a word.

I told you we had to scramble for seats on the plane.

I had this girl call you from Chicago.

- What girl? - The hostess on the plane!

- I had her call you. - Nobody called me.

- How'd you know I was here? - I called the police.

I was sure they would know. Why'd you leave in such a hurry?

You just spoke to Moxie. Didn't he tell you?

Moxie's told me quite a few things

at one time or another to cover up for you!

Well, now I'm telling you.

I'm here because my mother's sick.

Where do you think you're going?

I'm going to be with my mother.

Do you understand that, or don't you have a mother?

I don't believe you.

'You don't think I'd lie about a thing like that, do you?'

You'd lie about the time of day. You don't know what truth is.

You used to be nothing but a cheap crook.

You told me so yourself and you still are!

- I ought to belt you one. - Go ahead!

It might knock some sense into me...

Hello. Yeah, yeah, Moxie. Yeah, she, she awake now?

You're one habit I'm going to kick!

Then kick it.

Don't ever call me again.

I don't ever want to see you again.

My mother's dead.

You know, I'm getting a little tired of handing you scripts

and you turning them down.

Well, I'm getting a little tired of playing nothing

but gangster parts. I'm...

I'm not in the mood for 'em anymore.

You're gonna have to get out of that mood

or you're gonna go broke.

Yeah.

Oh, Sam, I'd like you to do me a little favor.

That racing stable of mine, I'd like to sell it.

Can you handle it?

I'll try.

What about Benny Siegel?

What about the 100 grand he owes you?

Oh, Benny's good for it anytime.

Yeah.

- 'Hello.' - Hello, Benny. George.

- 'I wake you up?' - Nah. I was in the shower.

Hey, by the way, pally

aren't you gonna wish me a happy birthday?

Uh, happy birthday. I didn't know.

If I'd known, I would have sent you flowers.

You don't look a day older.

I don't feel a day older.

As a matter of fact, I feel swell.

'Yeah.'

'Look, uh, Benny, when can I see you?'

Any time.

- What's on your mind? - Money.

I've been losing pretty bad at the track

and now Uncle Sam has put the bite on me for some back taxes.

How much do I owe you, Georgie?

A hundred grand, even.

- What are the chances? - 'Good.'

Say, by the way, why don't you have dinner with me tonight

at that, uh, new joint on the strip, uh, Jacques'.

Yeah, I'd love to, Benny, but I got to have dinner

with my agent tonight.

You know those guys, you got to keep after 'em every minute

or they forget you're alive.

Okay, Georgie.

I'm going to my girlfriend's house for a while.

On my way home, I'll drop by your place.

Good. Swell. See you then.

- That cold is killing me. - These cards are killing me.

Why don't you go home and take some aspirin?

- Not while I'm ahead. - Funny...

That's Benny.

Benny with the 100 grand he owes me.

Play a card, play a card.

You can pay the 50 bucks you owe me.

I'm not gonna lose it.

Here's something you can't use.

You're right.

You can't touch this.

Why do you always play into my hand?

How can you use that card? What kind of game do you play?

Hello, Benny. How are you?

It's not Benny, George.

From the DA's office.

Benny's dead.

'Somebody shot him.'

'Maybe you can tell us who shot him, Georgie.'

'That's why we're here.'

Don't forget to stick around town, Georgie.

We may want to talk to you again.

I told you all I know.

Sure, Bugsy Siegel was a nice guy--

Benny Siegel!

And in my book, he was a nice guy.

Well, that's not gonna help us find out who killed him.

And I wish I knew more

but Benny never confided in anybody.

He knew better.

Did he?

Don't forget to stick around.

Yeah, sure, sure.

Sure.

I'm sorry about Benny, George.

Oh, yeah.

I bet you are.

Well, you can't say you didn't ask for it.

Anybody lose an umbrella in this town

they're gonna come looking for George Raft.

- Shut up. - You don't need a manager.

- You need a parole officer. - Just shut up!

You wouldn't listen to me when I told you to stay away

from Benny and those other friends of yours.

Those other friends of mine took me out

of the cheap dance halls, long before I ever saw you.

You got more important friends

to think about here in Hollywood--

Here?

I give a cheap party here

I can't see the walls for the freeloaders

but at my mother's funeral, there's two people.

Two!

Where were my Hollywood friends, huh? Where were you?

- Out of town, like I told you. - You're lying!

- Look, I don't have to listen-- - You'll listen.

- You'll listen. - No, let me go.

Fifteen years I've listened to you.

- And you told me what to do. - Just let me--

- And what to say and-- - Just shut up!

You're no better than the rest! You're a cheap...

Georgie!

Come on. Come on.

So long, George.

You're gonna be a lonely guy.

Well, what's the matter with you, Georgie?

You're not even fair.

Sam's always had your best interest at heart.

- You need him. - I don't need him.

I don't need anybody. Not even you.

Get out.

Go on! Get out!

Okay, George. I'll get out.

I gave up my big house

and moved to a small apartment in Beverly Hills.

Moxie went back to New York.

The years flew by.

Jobs were few and far between.

And tonight, I'm alone as always.

I need sleep.

I hate these sleeping pills.

When I take one, they knock me out.

When I wake up, my nerves are all shot.

Perhaps the whole bottle might do the trick.

"George Raft found dead," and who cares?

Yeah, yeah, yeah.

Georgie! Guess who?

Frankie.

Hey, Frankie!

'That's right. Frankie Donatella.'

Well, Frankie, it's been a long time.

- What's up? - Something good.

How would you like to spend the winter in Havana?

All expenses paid and a piece of the action?

Yeah, I'd like that, Frankie, if it's legit.

I got a surprise for you. It is legit.

A man I know wants to use your name on his casino.

How about it?

When do I leave?

Nobody was on hand to wave goodbye when I left LA.

Raft was only a word meaning something to float down rivers.

But it was different in Havana.

Here, my name still meant something.

- Mr. Raft? - Yeah. Yeah.

- Joel Creelman of the casino. - How are you?

Fine. I'd say you won't have to bother with customs or luggage.

It's all taken care of.

They must throw a lot of weight around here.

No, but you do. Car's outside...

Thanks very much. There you are.

Here's alright to you.

Okay, thanks a lot.

Some people can't get a decent...

Put another table in, baby. Use your head. Huh?

What do I do, hang it on the wall?

I don't care... Yes, yes.

Oh, oh, you're my very favorite.

Oh, I can't believe it. Will you sign your autograph?

Yes, certainly, certainly, certainly.

Here you are.

Take care of yourself. Have a good time.

- Have a good play. - Thank you.

Good luck. Take this, will you?

And talk to that bartender...

I've always wanted to meet you, Mr. Raft.

A fan, huh?

- Are you doing a picture here? - No, honey.

I'm just enjoying myself, just enjoying myself.

- Do you mind? - Oh, of course not.

- See you later. - Thank you.

- Georgie! Georgie! Wake up! - Who can sleep?

What's going on down there?

Castro's troops are moving into town.

There's all hell to pay.

Mobs of vandals were roaming the streets looting.

They had already wrecked three places like ours

and had stolen or destroyed $15 million worth of property.

Ten days later, our food was just about gone

and so were the customers.

Tell them there's no more, will you?

- Esta es todo. Esta es todo. - Gracias.

- Esta es todo. Bye. - Gracias.

Okay, boys. That's it. Get some rest.

Empty as Old Mother Hubbard's cupboard.

Georgie.

What now?

Well, as the sun sets over the beautiful Caribbean

I suggest we get out of beautiful Havana.

Come on.

So, here I was in Hollywood again

flatter than last year's wisecrack.

The town looked the same.

They still made pictures

but they didn't want George Raft.

Hiya, Georgie.

You never met me, but I've been around.

Johnny Fuller. The fight promoter?

I put some dough in some pictures.

Haven't done so bad.

Can I come in?

What's on your mind?

Say, so this is where you've been hiding out, huh?

You must have had a couple of bucks stashed away someplace.

How about a drink? Bourbon and water.

The bar's right behind you.

You know, Georgie

I, I've always liked you on the screen.

You know, if I had my way

you'd be right up there where you belong.

'Up on the top.'

Maybe you can stay up there when I fix it for you.

What's the deal?

You know Mike Novak? He's in the fight game.

Yeah. Yeah, I've heard of him.

Yeah. Well, Mike's been makin' a lot of trouble.

He's in my hair, and I want him out.

- Mm-hmm. - Yeah.

Well, Georgie, you got a lot of connections

so you're gonna fix it for me.

What's in it for me?

- Ten grand. - Oh!

I want a nice clean job, see, with no flaws, and an...

Ow!

Jesus.

I may be tapped out, but I don't have to work no setups

for a cheap punk like you!

- Alright. - Now, get out of here!

Yeah!

- Friend of yours? - That's Johnny Fuller.

A big fight promoter.

Looks like he promoted one fight too many.

Yeah.

How are you?

Okay.

What's the matter with your phone?

Nothing. Just never rings, that's all.

I thought maybe when you got back into town

you might give me a call.

But I should live so long.

I tried to get you on the phone all day.

It's dead.

Funny thing, they just, uh raised the rates too.

How about a drink, hm?

No. No, thanks, George.

George, I had dinner at Romanoff's tonight

and I ran into Billy Wilder.

- Oh. - He wants you for a picture.

Uh, "George Raft in.."

"With George Raft and others."

But it's a great script, George, and a great part.

It may be your chance for a comeback.

Well, Sam, I'd have to give it a little thought.

You know, I'd, uh, I'd like to know

something about the script, and a little bit about the part.

- Sure. It's a comedy. - Hmm.

It's got Marilyn Monroe, Jack Lemmon, Tony Curtis.

Lemmon and Curtis, they, uh, witness a shooting

so they've got to hideout

so they dress up like women, you see.

What do you think he wants you to play?

A gangster.

Well, you, you go back and tell him that, uh

that I'm not interested, that I wouldn't play another gangster

if I never make another picture, Sam, that's it.

Oh, Georgie, Georgie, Georgie.

Always tilting at windmills.

All your life, you've been playing it tough on the outside

but inside, you were just a pushover.

You paid your friends for what they did for you.

You paid with your loyalty, your money, your life

and every hoodlum is taking advantage of you.

Don't you see, Georgie?

You stick with them, you won't have a future.

You, you won't even be a memory.

Don't you think it's time you got smart?

Sam.

Sam.

You know, I ought to belt you one.

The first time we met.

- Remember? - Yeah.

I was very young.

- A long time ago. - You had all your hair.

Yeah.

Hey. Hey, look. Look at that.

Remember, hmm?

A gangster, huh?

Well, that's the story of my life.

'Look, Sam, if I should play this gangster, you see'

I've got some ideas about making

a mature character out of it, not an ordinary gangster.

Forget about Billy Wilder...