All language subtitles for The.Oscar.1966.720p.BluRay.x264-x0r

...ladies and gentlemen
for the annual Academy Awards,

truly the big night
for the people in Hollywood.

- Frankie, over here, please.
- Hey, Johnny, how are you?

Fine, nice to see you
and, ladies and gentlemen,

here's a fella who needs
no introduction, Frankie Fane,

one of the five nominees

for this year's
Best Actor award.

Well, Frankie, how does it feel
to be up for your first Oscar?

Oh, like a ton of butterflies.

Well, it's no secret too
that the surveys and polls

reveal you as the favorite.

What do you have
to say about that?

I'm sure the Academy members
have voted for the performance

they believe to be the best.

We'll just have to wait
until the envelope is open

to see who that is.

Well, Frankie,
good luck inside.

- Thank you, Johnny.
- Thank you very much.

Ladies and gentlemen,
much excitement here.

The big night
for the people in Hollywood,

the annual Academy Awards
presentation.

Thank you very much.

Good evening,
ladies and gentlemen,

and welcome to
the annual Academy Awards Show.

This is Hollywood's big night,

so, naturally, we're holding it
in Santa Monica.

I'm emceeing the awards
because they wanted someone

who could lose
and keep smiling,

and I--and I've had
the most practice.

This night means a lot
to everyone

in the movie industry.

This is the night
war and politics are forgotten

and we find out
who we really hate.

You finally made it, Frankie.

Oscar night.

And here you sit
on top of a glass mountain

called Success.

You're one of the chosen five,

and the whole town
is holding its breath

to see who won it.

It's been quite a climb,
hasn't it, Frankie?

Down at the bottom
scuffling for dimes

in those smokers.

All the way to the top,
magic Hollywood.

Ever think about it?

I do, friend Frankie.

I do.

What am I talking about,
friends?

The good nights and the bad.

The cheap motels
and the postponed meals.

It was a rough way
to make a living,

but it was a living.

And it was all for one
and one for all.

You, me...

...the best thing
your watery eyes ever set up.

...and Laurel.

I'm talking about art,
that's A-R-T!

You were quite a spieler,
Frankie.

You had to keep those guys
under control.

Gentlemen, gentlemen,

what you're about to see
is a form of art,

art that comes to you
from way back

in the dawn of time,
from that first little bit

of art they called Eve.

The kind of round and warm art

that made that
old snake serpent,

that the blind stagger started
crawling around backwards.

I'm talking about
Helen of Troy, man,

about Cleopatra.

I'm talking about woman,
friends.

I'm talking about Miss Laurel,

the one and only
hip-switching,

nice walking
bunch of loveliness

you're gonna see right now.

Let's hear it for Miss Laurel!

Hey, we did all right out there.

- What's this?
- I'm sorry, boys,

I had some heavy expenses.

You're gonna have
some heavy trouble

unless you come up
with the rest

of the scratch you owe us,
mister.

There ain't gonna be no trouble.

You see, the sheriff
happens to be my partner.

You got a little egg
on your face.

Just don't stand around
and let it drip into your shoes.

- Now beat it.
- You fat honey-dripper.

Come up with the rest
of our money

or I'll strip the lard
off your ugly--

Pretty?

Pretty, pretty?

Pretty, pretty, pretty?

Blackmail.

Don't!

Frankie!

You know, it would've been nice
if I had time to change.

All right now, we've left
the Clinton city limits.

Would you mind telling me
what the rush was all about?

- We had some trouble.
- What kind of trouble?

I had to lay the landlord out.

He tried to stiff us
for the money.

Uh-oh, here it comes.

- Your name Fane?
- Yes, sir.

Uh-huh.

Resisting arrest.

Sheriff, you've got us
tuned in all wrong.

Ledbetter tried to cut us
out of our money.

What's T.C. got to do
with all of this?

I thought you picked us up
for--for knocking him around.

Are you kidding?

You're down in our books
for prostitution

and procuring.

For what?

You know, you're a dirty fella.

You're downright unclean.

Prostitution.

What have we got to do
with prostitution?

Hymie Kelly.

Where'd you get the name
Kelly, Hymie?

From my father, Michael Kelly,

and he got it from his father,
Timothy Kelly.

And my mother's name
was Sadie Rabinowitz.

- Any more questions?
- Don't let him bug ya, Hymie.

Picture is pretty clear.

They cover us with enough dirt,
then nobody can hear us yelling

that the sheriff here
has a nice business

going with Ledbetter.

Shut your mouth, fella.

I'm a duly elected official
of this city

and I take my job damn serious.

You stole our money
pretty damn serious too.

Shut up!

Now if you're itching for
a bruising, keep scratching.

Well, you really fixed
things up fine this time.

Now, tell me,
how are you gonna

get us out of this thing,
friend Fane?

Cool it, Laurel,
we're in enough trouble.

You're telling me!

Do you know what
they've got me booked for?

- We know.
- If you'll post

a hundred dollars bail apiece,

I might be able to get you
on the road again.

You took all our money!

There you go again, boy.

Money? What money
are you referring to?

I don't know nothing
about no money.

We'll have to sell your car.

My car? That's all I've got!

This isn't a game of potsie,
Laurel.

He's gonna keep us here
till we grow webbed feet.

All right, sell my car.

The price we got for the car

barely gave us enough
to post bail,

which we promptly jumped,
and a few bucks to spare.

Laurel wanted to take
a stab at New York,

so we headed for the big town
by bus and thumb.

We finally made it.

The girls work five sets
between 9:00 and 3:00 a.m.

Miss Laurel works
with special music.

Miss Laurel?

You her personal booker, huh?

Who's he, a chauffeur?

Frankie is the spieler.

I ain't hiring
a package deal here.

I don't make a dime
in this hole to begin with.

I got my own spieler, I don't
need no second-rate spieler.

She wants to work,
she works alone.

Now wait a minute, Mr. Grobard.

Frankie here is great.

He can hold any kind of
audience down or warm it up.

- Whatever you need.
- Sure.

This ain't some country barn.

- He gets scratched.
- Forget it, Hymie.

Like the man says,
this place is a hole.

- Who needs it?
- You got a pretty feisty mouth.

And you got a glass head,
I can see right through it.

That's how I know
you're stupid.

I don't want him around here.

He stays away
or she don't work.

- Now wait a minute...
- Don't say anything, Hymie,

don't say a word.

Mr. Grobard,
when do I start work?

Tonight. Be here 8:30.

Things haven't been going
so good for us

the past couple of months,
have they?

What you mean is
I'm not workin'.

So I'm a creep?

You could get a job, Frankie.

It wouldn't kill you.

Tell me all about it.

You twitch your hips
and you think

that's ten years
on the road gang.

Well, nobody ever gave me a dime
I didn't have to sweat for.

So knock off
of this lazy slob routine.

You hurt me, Frankie.

Send me a bill.

Well, you heard.

It's a small apartment,
Frankie.

I've got to go to work.

But when I come back,

you and me
are gonna have a talk.

Sure, if you like
talkin' to yourself.

I hate to leave you
by yourself, Frankie.

Supposed to be a swingin' party
in the village.

Lots of chicks.

Hymie, take me to the party
with you.

Sure, come on.

Cool.

Man, what a scene. Forget it!

You're entitled to all
the spaghetti and chili

you can scarf.

Which way?

Through here.

You a tourist or a native?

Take one from Column A
and two from Column B,

you get an egg roll either way.

I have a feeling I'm not going
to get anywhere with you.

All depends where
you'd like to get.

Mostly, I'd like to get alone
with you somewhere.

Get to know you better.

"Get to know you better"
usually means

"I'd like to make a pass
at you." Huh?

Anything wrong with that?

You're wasting your time.

I'm not the kind of woman
who uses sex as a release

or--or even as a weapon.

- You always talk like that?
- I try.

Do me a favor, will ya?
Try droppin' it with me.

I'm not that smart.

You free thinkers confuse me.

Let me put it this way.

I think I have more to offer
than just my body.

Now I understand.

I am the end result of
everything I've ever learned,

all I ever hope to be,

and all the experiences
I've ever had.

Uh-huh.

How many experiences
have you had?

None. But when
the right time comes

I'll be special for some man.

So it's worth waiting for.

Most of us have to keep
grabbin' what's handy.

Well, I'm not up for grabs.

If a woman doesn't
treasure herself,

how can a man treasure her?

You make my head hurt
with all that poetry.

I think you try awfully hard
not to understand people.

I'm tryin' to understand you.

No, you're not.

You're trying to seduce me.

Thank you.

You're welcome.

Have a nice time
after the party?

Bamboo shoots
under the fingernails

-were too much for you, huh?
- Hold it!

Come on, you're not gonna
start on me, are you?

- I'm beat!
- From what?

We've been down
this road before.

Why don't we quit arguing
and have a cup of coffee?

No, Hymie. It's time
to get this talked out

-once and for all.
- What's there to talk out?

You got yourself a beef
that's makin' a hole

in the back of my head
listening to you whine about it.

But you're gonna listen
to me, Frankie,

because I'm gonna
spell it out for you A-B-C

so you don't misunderstand.

Right here in front of Hymie
and God and everyone.

Ever since we hit this town
you've been living off me.

If you think
I'm gonna work my tail off

so you can run around
with the village chicks...

Oh, stop spreading the pollen
around, Frankie, or else!

Or else what?

You'll chop my allowance,

you'll turn me out
of your warm bed.

You're nothin', that's what.

So can that "or else" crap.

Oh, come on, Frankie,
all she wants you to do

is to stop cattin' around,
she's got that much right.

Everybody's got the knife
out tonight, right, Kemosabe?

Now, you just shut your face,

'cause we been together too long
and you owe me too much, man!

You started payin' me
back right now,

you wouldn't get even before
this stupid, round-heeled broad

come back into style,
which figures to be never!

Oh, that's it!

That tears it!

This is one stupid,
round-heeled broad

who is finished, done,
D-O-N-E, done!

Get the hell out of here,
Frankie, right now.

Out!

You heard me, freeloader.

And don't let the door
hit you in the backside.

Out!

Out!

To hell with him!

What does he think I am? Dirt?

Every morning I get the feeling
he was gonna leave

two dollars on the dresser
for me.

I am no slut, and nobody,

nobody is gonna
treat me like one!

I never knew him to be
any other way with a woman.

To Frankie, no woman is
any better than his mother.

She didn't care
who she slept with.

He wanted his father
to break away,

so one night he took his father
to this guy's house.

When Frankie and his father
walked in,

his mother was busy with...

Well, anyway, the old man
actually blew his brains out.

Frankie felt responsible.

Try packin' around
that much guilt.

Oh, you should have seen Frankie
at that funeral.

He almost killed her.

Frankie and me,
we hit the road together.

That's a long time
before we ran into you.

But the way he sees it,

no woman is any better
than his mother.

Hymie...

Why did you let Frankie
take me away from you?

Well, I knew
that's what you wanted.

Anyhow, I know Frankie.

He won't be back.

Oh.

Oh, that's lovely.

Oh, that's just lovely.

All these years

knocking around
looking for a way out,

not even wanting
very much of anything.

Just a little rest,
some peace and quiet.

I just wanted to be happy.

I see other people,
they get happy.

I want mine.

Is that asking a lot?

And I wanted a kid.

I always wanted a kid.

And what rotten, stinking luck

that it's gonna be
Frankie's kid.

Listen, Kay, I got
a front table at the Waldorf.

Old man Kleinmetz stuck me
with some out-of-town buyers.

Good food and good music
and we'll dance a little bit,

and have a few laughs.
How about it?

I'm sorry, Sid, I can't.

- I have a date.
-"I can't!"

It's always "I can't."

Ever since that Fane guy
came on the job.

What is with you and him?

I don't think my private life
is of any concern of yours.

- Okay, Sid?
- I'm not concerned.

I'm just confused.

What do you see in him anyway?

He's just a 65-buck-a-week
nothing.

A waste of time.

Do you mind, Sid?

Please.

That Fane guy is nothing!

Turning me down for nothing.
She's crazy.

Well, some broads just
ain't got no sense at all.

Hi.

I can't offer you a front table
at the Waldorf,

but I'll show you the big town.

We'll have Manhattan,
the Bronx,

and Staten Island too.

How very lyrical.

Sidney told Mr. Kleinmetz
what you did,

and I had all I could do
to keep him from firing you.

Why did you bother?

Look, Frankie,
I think it is best

we don't see each other tonight.

Besides I have to get
these costumes

down to the theater.

The theater?

Frankie, I'll be late.

These are my new designs
for the show.

Look, Frankie, please.

These dresses
are getting heavy.

I'll carry them for you.

I said no.

And we're not going out
together tonight.

Which subway?

IRT or BMT?

Slowly, that's it.

Okay, Frankie,
I delivered the costumes.

Let's go.

- That's good.
- Let's go. Come on.

Terrible.

Since when have you become
an authority on acting?

I don't know anything
about acting.

Keep your voice down,
you're embarrassing me.

Those two jokers don't know
how to handle a knife.

Jab, thrust, that's it.

If they ever get into a rumble,

they'd wind up looking
like cheesecloth.

Look at 'em, will ya?
A couple of clowns.

Who the devil out there
is making all that noise?

Oh, I'm...

I'm sorry about this,
Miss Cantaro.

- It's all right, Bert.
- All right, whoever you are,

we're trying to rehearse
up here.

If you don't know how to keep
your mouth shut, then get out.

Bert, he's a friend of mine.

I must apologize.

All right, Kay.
Get that creep out of here

before I throw him out.

Frankie.

- Frankie.
- What do you think you're doing?

What are you doing?

You got a busy mouth on you,
friend.

Wanna throw this creep out?

Start throwin'.

Now I'm gonna show you
what a knife is for.

No!

That's how it's done.

Let's get out of here.

You lunatic!

Ya damned kook!

Don't you understand
how you embarrassed me in there?

Who do you think you are,
Frankie,

just who do you think you are?

I'm me.

And that's plenty good enough.

I'm just as good as that
creep salesman at Kleinmetz,

or your phony actor friends.

Sometimes I get the feeling,
Frankie, you ought to be

chained up with a ring
in your nose.

Now, here, I've worked so hard
to get these costumes accepted

and this is the first group
that has given me a chance.

You're incorrigible,
you're absolutely incorr--

- Oh.
- May I sit down?

Oh, please do.

Miss Sophie Cantaro,
Mr. Frankie Fane.

Hi.

Now, um, about Frankie.

I've already had one lecture
on my bad manners.

What you did on that stage
was very realistic.

Once you've been
on the noisy end of a knife

you don't forget what that guy
looked like comin' at you.

Very impressive.

An actor has to draw
from all his experience.

Oh, Miss Cantaro,
Frankie isn't an actor.

He doesn't belong to our group.

And the opinions expressed
were strictly my own,

and not necessarily those
of the director, the designer,

or the so-called actors.

I see.

What do you do?

I push a dress cart
in the garment center.

Strong back, weak mind.

Do you think you could
tear yourself away long enough

for a little stage experience?

Frankie, Miss Cantaro
is from Hollywood.

Swingin'.

And I'm from Ohio.

How many Green Stamps is that?

Frankie, please.

I'll just charge that up

to Frankie's
youthful exuberance.

You can call me Mr. Fane.

Frankie, stop being rude
and listen, please.

All right, I'll listen.

What's on your mind?

I'm in New York trying to find
young talent for my studio.

What studio?

An important studio.

Important enough,
even for you, Mr. Fane.

And you want to make me a star,
is that right?

Haven't we got this
all backwards?

Isn't it me that's supposed
to be hustlin' you?

Frankie, you are rude and nasty
and impossible.

Absolutely impossible.

Will you stop beating
on my ears!

I'm up to here with
all this bring-down.

I'm me. You don't like
what you see,

then change the scenery. Go.

That's right, go!

I'm not good enough, take off.

Wait, Kay!

Don't! Come back, please.

I didn't mean that.

Why--why do I...

Why do I always try to destroy
the people I love?

I've lost her.

I lost the only one in the world
who means anything to me.

I can't make it without her,
I can't!

Ah, Mr. Fane.

Mr. Fane.

You can call me Frankie.

That's twice in one night
you've impressed me.

Oh, I think you'd like
to become an actor.

If that's all it takes.

Oh, it takes a lot more.

But if you're willing to learn.

I'm willing to learn.

It means you do
exactly as I say.

I don't like wasting my time.

That makes two of us...

Sophie.

After the night Frankie left
Laurel, I didn't see him.

And word went through
the coffee houses

that Sophie Cantaro was trying
to make an actor out of him.

Frankie was looking
for something,

something that made him
hungrier and hungrier.

Sophie got him a part
in an off-Broadway show.

We went to see the show,
Laurel and I.

We sat in the back.

He was good.

Don't try to stop me.

I'll start. Stay here!

How about a nightcap?

You know I don't touch
the stuff.

Besides, you didn't
bring me up here

just for a nightcap.

All right, Kappy.

- What did you think of him?
- Sophie, my love,

it was a genuine stinker
of a play.

Oh, I know the play is a loser,
but it's the boy.

He has all the right instincts

and he's learning faster
than I can teach him.

Any day now,
he's going to make the big leap

and he's going to need an agent
he can trust.

I'm arranging with the coast
for a screen test.

How about it,
will you handle him?

Is there something more
to this boy

than just his talent?

Alfred Kapstetter,
I'm 42 years old.

Don't be ludicrous.

And me? I'm almost 60

and a certain percent
of my money

goes to pay
ladies of the evening,

not to reserve me a place in
the senior citizen's column.

You, you're 42,

there are many good minutes
left for you.

All right, I have
a full client list right now

but I'll take him on.

Good!

Oh, I haven't found anyone
as exciting as this

in years, Kappy.

I want him to be my discovery.

It's very important to me.

Is it--is it possible
he's too important?

Kenneth, you ran Frankie's
screen test three times.

Why can't you give us an answer?

Note to the Budget Department:
I have not yet received

the cost breakdown sheets
for the second unit in Rome.

I want those figures
immediately.

I think his basic strength
came through

quite effectively, Kenneth.

What do you think about it?

Note to Art Department:

The sets for "Timbuktu"
are still standing.

Why can't they be revamped
for "The Mongol Horde?"

Kenneth, what is your decision?

No.

That's what my sense
tells me, no.

Something is not right with him.

If Kappy walks out of here
without a contract

and signs him up at Metro...

Why you pushing me, Sophie?

Very, very simple,
he's a new talent,

and Sophie brought him to you,
that makes our first obligation.

You, you want your dollar,
it rides with Fane,

so you bow and murmur to me
all the words

you think I want to hear:

vitality, dynamic personality,

good box office.

And you sense time passes,
no stars have come your way.

I just hope you're telling me
a little truth.

I never know with either of you.

Kenneth, this is
all foolishness.

Yes, foolishness.

Once in a while
when the weather is cooler,

and you move a little faster,

you bring me meat
like this meat.

It all has different names,
Prime Rib of Gloria,

Shoulder Cut of Johnny,
Filet Fane Meat.

I've been with the studio
a lot of years, Kenneth,

and I know what I'm doing.

Frankie is the best potential
I have ever uncovered for you.

There is something I miss
in Fane's performance.

I can't identify it.
It disturbs me.

All right, I'll pick up
the option on him.

I'll notify
the Legal Department.

No rush, Kenneth.

Your word is good enough for me.

Note to Regan:
Nice meeting you.

We'll have to get together
again sometime.

It was quite a while
since I'd seen Frankie,

but the telegram he sent
was as if it were yesterday.

He had no doubt
that I would come, and I did.

As tight as he was
with some people out here,

he was still alone.

He had called me
because he needed me,

as simple as that.

It was a new world

and he needed a friend
alongside.

He was living in a posh place
just off the strip.

It was a far cry
from the motels

we used to crawl into.

It had hot and cold
running everything.

He introduced me to the troops

as his public relations man
from New York.

Out here, nobody walks around
without a title,

so that was mine.

I came, I saw,
and he conquered.

It was the same Frankie.

A little more tanned,
more assured, better dressed,

but the same Frankie.

Wow! What a pad!

This is the place, Hymie.

It's like Hollywood
was waitin' for me.

You'll bunk here
on the duo-bed.

Hang your stuff in there.

Hey, are there always
that many broads around?

Wait till the weekend!

Hey, I'm gonna like it here.

Speakin' of broads,
whatever happened to Laurel?

I married her.

Oh yeah?

How is she?

She died.

What'd you say?

I said she died.

Hey, get into some trunks,
then we'll go pick ourselves

a couple of goodies
from poolside.

You're late!

Mr. Fane.

You're late!

- What's this?
- It's usually called a camera.

Full length.

All right, Mr. Fane.

Let's get a few things straight

before we're seen
on the street together.

Now, in as much as this date
was set up through the studio

by our respective
publicity managers,

you can put your suave
masculine charm in escrow

for the night.

We either do it
by the ground rules

or we don't do it.

Ground rules?

One.

When they ask for autographs,
this is my scene.

You play straight man.

Two.

You keep your mouth shut

when the columnists
ask questions.

Oh, I'll spell Fane properly,

but I don't like grabbers
so don't volunteer any remarks.

Can I bark once in a while

so as they'll know
I haven't stopped breathing?

Oh, it's terrible!

All wrong.

Oh.

Ground rule number three.

I photograph best
from my left side,

so stay on my right
at all times.

Four. Don't try
to drop any hints

about our big romance
to the fan magazines.

One pinkie on my thigh
and they'll be mailing you

back to Pocatello,
or wherever you come from,

in an envelope.

Is that all?

You're the one
who needs to be seen.

Take it or leave it.

Ah, perfect, just perfect!

My wrap is on the chair.

That's your car?

About twelve more payments.

Call William.

Tell him to bring
the Continental around.

Miss Barker?

Thank you.

Miss Barker, anything to say
about your next picture?

Oh, the studio is
just pleading with me

to do a picture
with Jack Lemmon,

but I really haven't
made up my mind yet.

Who's the gentleman
you're with, Miss Barker?

Oh, don't get me wrong,
I respect Mr. Lemmon,

I think he's a marvelous actor.

It's just that I feel
I should wait

until the right script
comes along.

The gentleman you're with,
Miss Barker.

What's his name?

My last picture was
so terribly exhausting

I really feel I need a rest,

but the studio is spending
a million dollars

to exploit it
so I have agreed to travel

to several of the openings.

This way, Miss Barker, please!

Hold it, Miss Barker.

Excuse us, fellas,
but Miss Barker has to go

rest her mouth a while,
she's been talking all evening.

Frankie wanted the town
to be aware he was alive

and he knew how to do it.

Man, he wanted
to swallow Hollywood

like a cat with a canary.

And he did it.

The parts got bigger,
and Frankie was hooked.

Like a junkie
shooting pure quicksilver

into his veins.

Frankie got turned
on the wildest narcotic

known to mortal man: Success.

And he needed larger
and larger doses.

As the years went by,

it became part of his life
like air.

The attention, the recognition.

Now he was somebody.

He was always too hungry.

Too much and too far
ahead of himself.

He bought a Rolls
before he could afford it.

He bought the mansion
in Bel Air.

He went the route.

The interiors were
from the best shops

on Decorators Row.

Even Sam the houseboy
was imported.

Frankie played the part
for real, the whole image.

He had arrived.

Tell Hymie to make me a drink.

- Bwana wants a drink.
- I heard.

He's in a funky mood today.

Well, you know the pattern.

Every time he starts
a new picture,

Snarly Fane,
the Boy-Faced Dog.

Fane residence.

Miss Cheryl Barker.

Butter would melt
in her mouth.

Why not?
She's got a hot mouth.

It's Cheryl Barker.
What should I tell her?

Tell her I've got
my own ground rules.

Hi, Cheryl?

Frankie says he has
his own ground rules.

Okay, I'll tell him.

What'd she say?

She musta found it written
in the ladies' room somewhere

Come on, let's go.

Regan may have
another coronary.

Yes, sir, Mr. Fane.

Wally!

Mr. Fane, I've just been
assigned to your picture.

Fine, Wally, hop in.
The wardrobe's in the back.

We're taking it over
to my dressing room.

Kay Bergdahl, sketch artist.

Studio brought her
out from New York

to work for Edith Head.

Okay? Let's go.

Let's go inside, Frankie.

Cool it.

This way, Mr. Fane, please.

Thank you.

Oh, Frankie,
isn't that Hedda Hopper?

Would you care for
something from the bar?

Yes, I'd like
a double vodka gimlet,

and a huge, I mean huge
Green Goddess salad.

I just love
Green Goddess salad.

You will make it
that special way for me,

won't you, Pierre?

Scotch and water for me.

And tone it down to
a 20 decibel war hoop.

Hedda can hear you.

You know, that's getting to be
a lousy habit of yours.

Leaving me standing alone and
not paying any attention to me.

You know, I really--oh...

Really, Frankie, I just love
going out with you.

And look who's here!

Hello, Hedda.

- Hello. Hello, Frankie!
- Hello, Hedda.

Anything going between you two
I should have for the column?

Oh really, Hedda,
you're embarrassing us.

If there's anything at all,

you'll be the first to know it.

Thank you.

There's nothing.

Frankie and I are just
inseparable good friends,

that's all.

We're nothing.

Once you've gone out
with Frankie,

why, there's just
nobody else in Hollywood.

I just think Frankie is
the most dynamic man

I've ever dated.

She's nothing.

Excuse me, Hedda.

Frankie has the most marvelous
sense of humor.

Darling,
your laughter is showing.

Bye!

You've got your own date,
Frankie.

Listen, buster.

When somebody dates me,

they better know
that I require

a lot of attention.

That oughta get you
some attention.

How long have you
been out here?

A few months.

Don't you call your friends?

I called my friends,
Frankie.

I want to talk to you, Kay.

It's important.

I'll make a deal with you.

One hour,
cup of coffee,

and I'll show you
the most unusual restaurant

you've ever seen.

Look, Frankie,
I'm tired, and I--

Come on.

Please.

Please?

Why are we stopping here?

You said coffee,
or a restaurant.

Come on aboard.

Come on.

It's a beautiful boat,
Frankie.

Remember me when
I was pushing a rack

through the snow
on 28th Street?

I remember many things,
Frankie.

I'd like to get you
to forget some of them.

Listen, Kay.

I was a punk
without a subway token.

It couldn't have gone
anywhere with us.

It's different now.

What are you talking about?

I'm talking about us.

Us.

There's no us.

There's you
and there's me.

There's no us.

That's not true.

There is something
between us, Kay.

It may not have been right
in New York,

but there were things
happening between us always.

You can't deny that.

Well, you're not exactly
the kind of man

any woman could call
a passing fancy.

There's nothing happening
between us,

now any more than before.

It was the Princess
and the Pauper then.

I didn't have anything
to offer you.

But now it's different.

Don't con me, Frankie.

Offer me.

What were you ever
going to offer me?

The chance to fight you off
every time we got together?

So, fine,
now you got the yacht

and you got cars, and...

they save the best table for you
at the best restaurants.

So what?

You haven't changed.

It's that seed of rot
inside of you

which makes you
what you are,

that you can't change.

You just dress it better.

Now I get it.

I think I understand.

Maybe it's that
thing inside me,

that rot, that evil
you think you see.

Maybe that's
what turns you on.

Take me home, Frankie.

You slapped my face
the first time

I made a pass at you.

But you got me a job
that kept me near you.

Every time
I tried to get close,

you pushed me away,
but not too far.

Oh, that Middle European

peasant upbringing
of yours, baby.

They told you so often

that playing house
with a guy was dirty,

you got all knotted up inside.

But you like to play.

So you can't get turned on
by a guy who treats you nice,

a schlep like the one
you were out with tonight.

But a guy
who wipes his feet on you?

That, you dig.

Shut up!

You just want me
because I won't let you use me

like all the others.

Because I'm not like
all the others.

You represent
everything I loathe, Frankie.

You mean everything you love.

Take me home.

Take me home!

Right away.

Well.

Hello, stranger.

Stop! Just stop.

What is this all about?

Is there something
eating you, lady?

What should be eating me?

That I haven't seen you
in almost two months?

That Sam or Hymie tell me
you've gone to Tierra del Fuego

when I call?

That you should appear
suddenly out of the night

and expect me to play
Lady Bountiful

to your world-weary carcass?

Oh, should I be disturbed?

Heaven forbid,
Frankie Fane, sir.

I don't know what the hell
your problem is,

but whatever it is,
just forget it.

I mean, I feel lousy,
I'm drivin' around,

I find myself here,

so I come in for a drink
and a cigarette.

You're jumpin' salty all over me
before I get my shoes off.

Exactly the point, Frankie,

before you get your shoes off.

Didn't you ever think to ask?

Just once,
say please or may I?

Oh, Frankie, Frankie,

you really don't understand,
do you?

I don't know why
I keep expecting you

to act like other men
when you're not.

You're another kind of machine
entirely.

Do you bleed?

Do you cry?

No, Sophie, I don't care
about anything that much.

Don't go.

We'll talk.

Don't break a leg
getting out of here.

What's that supposed to mean?

I didn't know we considered
meanings, Frankie.

I thought you and I went
strictly by instinct.

You got a bug again.

No bug, just a middle-aged
woman's rosary,

a bead for each year,

six with your name on them.

You know, I think you go
a little soft in the gourd

early in the morning.

Look at me when you talk to me!

I'm not some sort of garbage
pail you can slam a lid on

and walk away.

- What the hell is all this?
- Let me tell you about hell,

about being a silly woman
who needs to feel

she belongs to someone,

even someone as empty
as you are, Frankie.

'Cause you're not real,
you're some sort of dream,

some sort of fog that comes
drifting in here at night

and out again in the morning.

You get as good as you give,
Sophie.

Nobody breaks your arm.

Oh, no, nobody breaks my arm.

That's the pathetic thing
about me.

But you, Frankie, oh,
you're something else again,

you're really something else.

You go after what you want--
and in some men it's admirable--

in you, it's unclean!

I don't know what the hell
you're gibbering about.

No, no, I know you don't.

Oh, go on.

Go on and get out of here.

That's what you want to do
anyway'

you want get out of here
without having to look at me.

So, go on, go on!

I'm going, old lady.

But let's make this
the last stand.

Let's make this the one
that wraps it up.

Fade out.

Bye, Frankie.

Close the door behind you.

Let me get some sleep.

- Steve Marks, how are you?
- How are you, Frankie?

Haven't seen you since we did
that thing together at Metro.

Yeah, it's good
seeing you again.

Haven't seen Kappy Kapstetter,

I'm supposed to meet him here.

Yes, he's in a booth
in the back.

Kappy.

Hi, Frank.

I'd ask you to join us, Steve,

but we have some business
to discuss.

Would you care for a drink
before dinner?

Ah, no, thanks, Steve.

Majtre d'.

What happened?
He was a good actor.

Made more pictures than I have.

This is a chancy business,
Frankie.

You never know
you're on the way out

till you suddenly realize
it would take a ticket

to get back in.

Would you care
to order dinner now?

Oh.

Frankie.

Frankie!

You want to order dinner now?

Squab and wild rice.

I'll have the same, thanks.

Well, what brings you
to the valley

to see me over
squab and wild rice?

I want you to do something
for me.

The studio brought out a girl
named Kay Bergdahl.

- Is she an actress?
- No, they brought her out

to work under Edith Head
as a sketch artist.

I'd like her to be a designer.

See to it, will you?

"See to it"?

What am I, a genie in a bottle?

Poof, you're a designer?

I mean, what right have I got
to go in to Regan

and say
make this girl a designer.

Would you mind breakin' that
two-buck violin you're playin'?

What is this sincere bit?

The fact is
my ten percent before taxes

is paying your office overhead.

And you'll stop earning it

when you stop giving me
what I want.

Tell Regan.

How quickly you forget
the beginnings.

I just remembered
I'll have to skip dinner.

I have a doctor's appointment
in the morning.

Kappy!

Do it!

Then I suppose I'm to make sure

Miss Bergdahl knows it was you
who got her the job?

All in due time, Kappy.

All in due time.

Cancel those orders.

Where can I find Steve Marks?

Oh, through that door
in the back.

You're gonna have
the soul of a ribbon clerk.

Inventory.

Now, Marks, I can't promise
a big part--

I don't have that much to say
about casting--

but a small part, something
with a little juice in it.

No, no thanks,
I don't want any part.

You've got
to understand something.

I made the money, I blew it.

My time passed.

New kids were coming in
on every bus,

so I died.

I got used to it.

I don't want to be dug up
like some corpse.

I don't want to have to die
all over again.

No thanks.

How did it happen so fast?

Fast?

Like being stunned by a hammer.

Am I bitter?

Sure I am.

I don't want you to think
this is charity.

There is nothing wrong
with charity,

I'm not Charlie Noble,
I can use the money.

I paid my dues in this town.

Hey, don't fool yourself.

You didn't give me this
out of friendship or charity

or even pity.

It's fear, Frankie.

It's going to help
bury your fear.

Hi, Kappy.

- Hello, Hymie.
- Sit down, Kappy.

Hymie, fix Kappy
a plate of huevos rancheros.

Eggs rancheros coming up in
honor of our Mexican friends

below the border.

Eggs made with chopped
green tomatoes, some chilies,

and a couple of squirts
of tequila guaranteed to cement

inter-American relations.

Just orange juice.

What are you, a guest?

I revolted when
they said I had to make

a terrible meal like that.

Icch!

Sunday isn't my idea of a time
for business, Frankie,

but I wanted to catch you
before you left for Tijuana.

I have a waiver for you to sign.

What kind of waiver?

One of the attorneys at
the studio's legal department

failed to notify us officially

that they were picking up
your option.

It's a technicality,
but Regan wants a waiver signed.

So what does it mean that
they didn't notify us on time,

I mean legally?

Well, legally it means
if we wanted to take advantage,

we could get
out of the contract.

Sign right here.

No.

What no?

Why no?

Sign, Frankie.

I want you to negotiate
a new contract.

You can't do this.

We've operated by a handshake.

Regan trusts me.

Good faith.

You can't sandbag him like this.

- That lawyer might lose his job.
- Who are you agenting for,

me or some kid
out of Harvard Law?

I said I want Regan's back
up against the wall.

Hey, Frankie, take it easy.

Listen to Kappy.

- Maybe--
- Shut up!

Now?

Remember the day
I sat in that man's office

and he talked about me
like I was meat,

like I wasn't even there.

Well, now comes payback time.

He has big plans for you,
Frankie.

Please don't do this
to Regan, please!

Well, it just breaks my heart
to think of poor Regan unhappy.

Do it, Kappy!

Tell him I want a better deal
or I walk!

Snake Pit.

Hymie Kelly speaking.

Oh, hi.

Wait a minute,
I'll see if he's up yet.

It's Kay Bergdahl.

I'll take it inside.

Yeah?

Frankie, um, I called
to tell you two things.

The first is to thank you.

For what?

For getting me
that designing job.

I was at a party at Mr. Regan's
last night and he told me

how I got the break.

Thank you, Frankie.

It was a very kind thing to do.

What's the second thing?

Oh, I'm--I'm sorry
for what I said on the boat.

Look, uh, how would you like
to go down to Tijuana

for the bullfights with me
this afternoon?

Well, I don't know,
Frankie, I...

I'm not about
to hassle with you.

I'm sorry about what I said.

You're sorry
about what you said.

Let's make up.

You either trust me
or you don't.

You either want to go
or you don't.

Yes or no.

No hassle?

No hassle.

I'd like to go very much,
Frankie.

Pick you up in an hour.

Attención!

Señoras, señoritas,
y caballeros,

it is my great pleasure

to introduce our
special guest of honor,

Señor Frank Fane!

Matador Ruiz Losada...

...will dedicate this bull
to Señor Fane

and his lovely señorita.

What does it mean
"dedicate the bull" to you?

It means they cut the ears
of the dead carcass

and give them to me.

That sounds charming.

Olé!

The minute I saw you,
I told little darling,

I said, that's Frankie Fane.

I couldn't believe my eyes.

Frankie Fane
sittin' right next to me.

Yeah, Honey Bunny here
recognized you right away,

Mr. Fane.

Olé!

Trina here is
one of your biggest fans!

She sees
every one of your shows.

Isn't that right, doll?

Oh, yeah.

Nice to know you, Trina.
This is Miss Bergdahl.

- How are you?
- Hi.

I just adore your pictures.

I saw that one, you know,

where you play the private eye
three times.

Honey Bunny here
is a private eye,

I guess that's why.

Name is Barney Yale.

I got my own agency in L.A.

Olé!

Hey, what are you doin'
after the corrida?

Goddess and me got
big things planned.

Thanks, Barney,
but we got plans.

Olé!

Look, we been together now
for three years

and we finally made
the big decision.

Oh, come on, we'd be honored
if you'd be our witnesses.

What d'ya say, Miss Bergdahl?

Oh, it'd be a thrill to have you
and a big celebrity

like Frank Fane
as our witnesses.

Golly!

Please?

Frankie, what do you think?

Let's go, huh?
I love weddings.

Weddings?

Who said anything
about weddings?

We came down here
to get a divorce!

And so now with
the power invested in me

I pronounce you divorced.

Okay, sign the papers.

That is fifteen dollars, please.

Thank you, señor.

Fifteen dollars, señor, please.
Por favor.

- Barney Yale!
- Si, Barney, fifteen dollars.

Baby!

It was miserable
being married to you!

Honey, it was hell!

Son locos!

Hey, don't you want
to kiss the ex-bride?

Go ahead.

- Come on!
- Frankie, oh!

Mmm!

(speaking Spanish)

Hey!

The witnesses have to sign
a decree.

Hey, no, come on.

Have to sign a decree,
makes it very legal.

Twenty-five dollars, señor.

Twenty-five?
I thought you said fifteen!

No, I don't say fifteen.
It's twenty-five dollars.

You have a lot of papers
to sign, man.

Barney, pay the man.

Oh, all right, okay,
all right, here you go,

go on, it was worth it.

Muchas gracias, señor.

Listen, lady, I have
some nice watch for you.

Come on, very nice.

Come on, come on,
the small one.

- Come on.
- No I've got one.

Okay, listen,
I have a very good deal.

Pasaporte fotografias.

I make you a package deal.

You guys, four for five dollars!

You and Kay are just right
for each other.

Why, it's like an "Alice
in Wonderland" kind of thing,

with you and her
as the prince and princess.

There wasn't
any prince and princess

in "Alice in Wonderland."

There wasn't any in my marriage
to that stinko Barney either.

Too bad.

Oh, there's always
Chester Tumwater.

Chester Tumwater,
man of my dreams.

And you know, Barney doesn't
even know I know him.

You're a pretty busy girl.

He has lots and lots of money
stashed away

in lots and lots of banks.

And he is going to provide me
with comfort and luxury

in my declining years.

Oh-ho, that Chester
is an operator.

Right now he's operating
on your girlfriend.

Oh, you mean Barney?

Everybody sees Barney,
but I...I see Chester.

You know,

I admire you.

You admire me.

'Cause you're
a movin' picture star.

That's what I was gonna be.

That's why I married
old Chester.

Oh, sugar!

I mean Barney.

Hey Frankie, go ahead!

Take her!

It's too hot in here.

And too crowded.

And the music's loud.

Too loud.

I don't like this music, anyhow.

And, uh, Barney might come back
any minute.

There's one or two places
where I'm not black and blue.

And we haven't been alone
all day.

No, we haven't.

It's been a lovely day, Frankie.

Pretty good for me too.

I can't relax this much
around most people.

Sometimes we do go well
together, don't we?

I go better with you
than any other girl I know.

Woman I know.

Which are you, Kay?

Girl or woman?

I'd like to think
that I'm a woman, Frankie.

Woman.

Spend the night with me
at Rosarita Beach.

I think I'm in love with you.

Frankie, I want to go with you
to Rosarita,

I want to, I do.

Marry me, Kay.

Marry me, tonight.

And now I pronounce you
man and wife.

Thirty-five dollars please,
thank you very much.

Thirty-five?

You only charged me 25
for a divorce.

Señor, this is a deluxe service.

My wife Consuela is going
to sing "Carmen Carmela."

Yeah, right, sing, sing.
Go ahead.

Consuela, sing
"Carmen Carmela."

Oh no, come on,
let's get out of here!

I'm so happy, darling.

- Love me?
- Mm-hm.

As much as last night?

Of course.

Oh, it feels so good.

I wish we could stay down here
forever.

It's almost noon.

We should've started back
hours ago.

But can't we stay
just for a few days?

Nope.

Is there anything wrong,
Frankie?

Nothing's wrong.

I just don't have
the time to spend here.

Well, can't you make the time?

It's our honeymoon.

I have to get back to town.

I'm involved in contract trouble
at the studio.

Is that so difficult
to understand?

Now, will you please
get dressed?

Frankie, look at me
when you talk to me.

I'll pay the bill.

See you downstairs.

Frankie found himself married

but he still couldn't change
his feelings about women,

so his only avenue was escape.

He employed the slimy services

of the Hymie Kelly
Broad Procuring Agency.

I was running out of numbers.

He used them like Kleenex,
once and threw 'em away.

I was having trouble
rationalizing

what I was becoming
working for Frankie.

A garbage collector applies
for a credit card,

calls himself
a Sanitation Disposal Expert.

What could I call myself?

Kay wouldn't have any trouble
giving it a name.

Hymie, deep thinker,
explain to me

the ethical structure
of the universe.

Oh, there's nothing wrong
with building a dream castle

unless you try to move into it.

Kay, why don't you go to bed?

It's almost three a.m.

Because my bed is empty
of husband.

You know what I do, Hymie?

I count nights.

I found a Freudian substitute
for counting sheep.

I count empty nights.

Where is he, Hymie?

Well, there was a late call
on the set

and he said he'd have a sandwich
and be home right away.

You're lying.

You're lying, Hymie.

Why does everybody lie for him?

You, Sam, Kappy, all of you.

Frankie's company
finished at 9:15.

I called the studio.

You see, you turned me
into something I always hated,

a sneaking kind of woman,
a jealous woman,

a checking-up-on-him
kind of woman.

Well, he may have stopped off
for a couple of belts

with the troops.

You know Frankie, he needs
to unlax after a work day.

Oh, I am sorry, sir,
but you will have to go.

My husband is expected back from
the Punic Wars any moment now

and he's insanely jealous.

Sam, go run me
a tub of hot water, huh?

- Want something to eat?
- No, I've eaten.

I don't see very much of you
these days, Frankie.

They're keeping me hopping
at the studio.

No, no, I mean after work.

You seem to be able to keep
hopping right through the night.

Hymie, get me an aspirin,
my head's splitting.

And so is our marriage.

Finding excuses not to come home
at night until I'm asleep

and leaving in the morning
before I get up,

no matter how early I get up.

I am married to you, Frankie.

It means that you come home
after work

and that we go out together,

and that we raise babies
and make a marriage.

Whatever you have inside you,
Frankie, doesn't apply to me.

I am your wife.

There are different kinds
of women.

What do you mean,
whatever I have inside me?

Uh-oh, this time
I'm not in the middle.

I have nothin' to do with it.

I'm splittin',
I'll see you tomorrow.

Frankie, it is like heat
lightning just before a storm.

I can smell the rain in the air.

Terrible things will happen,
Frankie.

Please listen to me now, please.

I'm beat.

We'll talk about it tomorrow.

But we're running out
of tomorrows.

I'm going to take a bath
and get some sleep.

I'll talk to you tomorrow.

I'll phone for an appointment,
my love.

Why does it take me years
to learn a lesson?

Why do I continue
to put money into actors

whose films simply
don't sell tickets?

I thought the rushes were very,
very good, Kenneth.

These are exhibitors' reports.

They speak very clearly
and very loudly.

They say, "Do not send any more
Frank Fane product.

Send botulism or typhus.

Don't send Fane."

Some of Frankie's pictures
have been your biggest grossers.

Certainly.

Which ones?

I'll tell you which ones.

This one costarring John Wayne,
this one with Jack Lemmon

and Shirley MacLaine,
this one with Kirk Douglas.

He did a great job
in "Breakthrough."

The critics gave him raves.

It will be the most artistic
financial flop I ever made.

I'm not saying
Fane isn't a good actor,

he's just not good box office.

Yes, Kappy, Kenneth is right.

It's the magic the camera
catches that makes a star.

I thought Frankie had it
but I was wrong.

And I say he does have it.
I've seen it.

I've seen him walk into a room.

I've watched women react.

It's happened before, Kappy.

We've seen it, you and I.

What happens in a room

just doesn't come across
on the screen.

That personal magnetism wears
off on film like hypnosis.

Kenneth perceived it
from the beginning.

I admit I was fooled.

And his demands.

If I had a dime for every dollar
he cost in lost production.

The fights, arguments.

He's a trouble, Kappy,
you know that's the truth.

And not to make a dime
from a trouble.

So...

we take off
the clown's happy face

and see tears underneath.

Don't, Kappy.

You leave a man's career
like a bag of broken glass

and you say, "Don't, Kappy"?

Once a long time ago,
Sophie, you came to me,

you asked me a favor.

I wondered
if I was making a mistake,

but I did the favor
because you were who you were.

I'm someone else now.

He changed me.

No one changes anyone else.

They merely open the doors.

You have to walk through
those doors yourself.

You know what the sadness is,
Sophie?

That you couldn't possibly
do the hurt to him

that he did to you.

I'm beginning to think
you're telepathic.

I was gonna call you,
I need some money.

There isn't any more money,
Frankie.

Working on the set all day
has apparently dulled

my sense of humor.

I don't get the joke.

You have back taxes to pay,

not to mention
commissions owing me.

The money you keep overdrawing
for the boat,

household expenses,
it's no joke, Frankie.

I'm not in a joking mood.

Regan isn't picking up
your option.

Figures from the exhibitors,
trouble with your pictures.

Eh, who cares?

I don't need Regan.

What about that spy thing
at Warners?

They signed Dean Martin.

Dean Martin?

That part was right for me.

Yeah, but they wanted
Dean Martin.

Look, I'm not trying
to hurt you,

I'm just trying to clear away
the fog between you and reality.

There's
a short-scheduled picture

that I've been working on
for you.

It means a trick deal,
a cut in salary.

It's a nice script,
one of those horror shticks

with a couple of big name
older actresses.

Kappy, you've gotta be
shuckin' me.

Cut in salary?
Trick deal? Old bags?

Here's your money, Frankie,

and I think
it's for the last time.

Face facts.

In a few days,
the word goes out,

it always does.

You're runnin' scared.

A little trouble
and it's Chicken Licken,

the sky is falling.

If that's the kind of faith
in me ten percent buys,

maybe I need a fresh agent.

I'll pretend that wasn't said.

But Frankie
couldn't face reality

because he had
lost touch with it.

And Kappy, he was busy
trying to save the pieces

of Frankie's career.

But the word was out,
he was box office poison.

It was like trying
to save Humpty Dumpty.

All the king's horses and all
the king's men couldn't do it.

Neither could Kappy.

Did you have a good day?

Tell it like it is.

Well, they talk James Garner
or Rod Taylor or somebody else.

They won't talk you.

When you tell it straight,
you don't do any polka, do you?

Put Regan's back against
the wall, you told me,

and I told you he'd remember.

The figures on your picture
are all over town.

That crumb.

I broke my back for him
in "Breakthrough."

It was a great picture.

I checked it out, it's all true.

It's like tryin'
to hatch an ostrich egg.

The picture sits there.

Things can't be as bad
as you're makin' 'em, Kappy.

Not so fast, not just like that.

It's as bad as you can make it,
Frankie.

I've got a home, a wife,
a yacht, cars.

I've got things I worked
a long time to get.

It's a nightmare, Kappy.

You've gotta do something,
you've got to pull me out.

If you only saved a little,
Frankie, but you always spent.

God, how you spent.

That's all past.
This is now.

Don't lecture me,
you've got to save me, Kappy.

What am I, the second coming
of the Messiah?

I'm an agent,
there's just so much I can do.

All right, there's
a television pilot deal,

an adventure series.

A television pilot?

I figured you'd feel
that way about it.

Pilot films
are a dollar a six-pack.

If it doesn't sell,
I'm really through.

This town is full
of ex-actors

who were in unsold
television pilots.

They're selling used cars
or real estate.

I know, or working
as head waiters.

But there's
no other way to go.

- Forget it.
- Frankie.

Winter is coming.

Be smart.

Get in out of the cold.

I thought you were sleeping.

Why bother?

I don't need
the night for sleep.

I've got all kinds
of time on my hands.

Morning time,
night time, noon time.

I'm alone, just me and Sam,
my shadow.

Please, Kay,
not tonight.

You wouldn't believe
the kind of day I've had.

Oh, you should put
that speech on tape.

It's gotten to be
a fireproof, gold-plated,

diamond-encrusted excuse
for never talking to me.

And we're gonna fight again.

Machiavelli would have
loved your technique.

In no time at all
I've been typecast

as the nagging,
shrewish haus frau.

Kay, you're getting more, more
I don't know what every day.

If you're groping for a verb
to explain my condition,

try "frustrated," huh?

What is happening
to us, Frankie?

Nothing's happening to us.

It's just that things
are going badly.

I talked to Kappy today.

The bottom is dropping out
of everything.

Don't.

You know how to strip
the slaughtered animal clean,

don't you?

Well, there isn't much left
when you say,

"No, thank you,
maybe some other time

when I can stomach you!"

Speaking for the network,
gentlemen,

we think
it's a beautiful package.

I think this meeting today
will go a long way

towards reassuring
Mr. Quentin

that Frank Fane
is just right

for the pilot script.

I'm a businessman.

I deal in tile, paint,

and things that become
part of your home,

so that anybody stands up there
on that television screen says,

"I used QuentiPlak
in my rumpus room,

that man has to stand
for something."

Excuse me, gentlemen,
what has this got to do

with Mr. Fane as an actor?

Mr. Fane,
as star of the series,

is required to do
Quentin Tile commercials.

Part of the contract,
clause six.

Yeah, of course.

That man has to stand
for Quentin products.

He has to be acceptable

to two and a half
million American people

who will be saying, "Come in,
be a guest in my house."

Well, I think Frank Fane
would be a welcome guest

in any house.

Well, now I'm not much
of a movie-goer,

but Mrs. Quentin, my wife,

she's very big
on that sort of thing,

You know, theater.

And she has very good taste.

You see, gentlemen,
Mrs. Quentin

has a very highly defined sense
of what is saleable over TV.

It was her idea
to market QuentiPlak

-in pastel colors, you recall.
- I asked her, I said,

"Phyllis, would you want
this Fane fellow

in our home
for a Saturday night party?"

"It'd be a pleasure,"
she said.

And I agree.

Now, Mr. Fane
looks clean-cut to me.

He isn't one of those
snotty little punks

with too much hair that
they have on those other shows.

We need a man of this sort
for promotion,

a man that men
will look at and say,

"He's a man,"
that's a necessity.

A Mr. Kelly for Mr. Fane.

Tell him to leave a number,
we're in conference.

He says it's urgent,
extremely urgent.

I'll take it
in the outer office.

You go ahead,
I'll catch up.

I don't think we need to worry
about Fane being a man.

He looks like a real man.

Hell, he's a man all right.

You can take it
right over there, Mr. Fane.

- Hymie?
- You've just been nominated

-for an Oscar.
- What?

- I can't hear you.
- I'm at the Academy,

and they just released
the Oscar nominations.

Frankie, do you hear me?

I said they just nominated you
for the Best Actor,

"Breakthrough," you
and Burton and Lancaster and...

Hymie, if this is a gag
I'll kill ya.

Hey, Frankie,
congratulations!

So help me, Frankie,
it's no gag.

It's the emmes, the truth,
you've been nominated.

Frankie!

Frankie!

Talk to you later.

Frankie, they're getting
impatient.

I don't think I can make it.

What are you talking about?

I'm not doing
that nitwit series.

Wait a minute, Frankie, this
is one of the major networks.

They've already put money
into the project,

they've brought out
an important sponsor.

That's their problem.

No one told them to go ahead.

I told 'em to go ahead.

Then it's your problem.
I never authorized it.

You didn't sit there
in the Polo Lounge and say,

"Go ahead, Kappy.
Save my life, Kappy.

Let me keep my car,
my home, my yacht."

You didn't do this?

One phone call
and I'm not dogmeat

like I was
in Regan's office,

like I was in there
a minute ago.

One phone call.

So just go sliding back
in there and tell 'em,

"Game called
on account of Oscar."

That's right, Oscar.

That phone call from Hymie.

Academy nominations
were announced.

I was nominated
for "Breakthrough."

So go tell old OuentiPlak
and his wife Phyllis

I won't be able to come to their
house party Saturday night.

Congratulations, boss.

Yeah, sure, baby,
thanks, bye.

Where have you been?
They told me you left

the network
three hours ago.

I took a drive.

Well, the phones
haven't stopped.

While you were out playing
the wandering gentile,

everyone who wouldn't
look our way last week

is calling
to proclaim buddyhood.

It's a hell of a thing, Hymie.

Yeah, it is a hell
of a thing, all right.

I've been driving around
thinking.

All the way back
to the smokers.

You won't believe
what it was like

in that office
this morning.

I was nothing
all over again.

Fane residence.

I was sitting
on my hands sweating

while they had me
on the counter.

It's the wife, she called
a couple times before.

170 pounds of meat again,
sold to the highest bidder.

- Hi.
- Frankie!

Congratulations, Frankie.

Everyone here
is so excited for you,

you just don't know.

It was wonderful news.

Edith says
you simply have to win

because everybody at the studio
here is rooting for you.

Thanks, Kay,
and thank Edith for me.

Aren't you thrilled?

Haven't come in
for a landing yet.

Save some Champagne
for me, eh?

- Right.
- Okay, darling.

See you later. Bye.

We've got a lot of work ahead.

The other nominees have probably
started their campaigns already.

We'll lead off with ads
in the trade papers,

-thanking the--
- Oh, later, Hymie, I'm beat.

Like somebody pulled the plug
and let the juice out of me.

This morning I saw
what the bottom of the bucket

looks like again.

And now an Oscar nomination.

This is a chancy business,
Frankie.

It can happen.

You never know
you're on the way out

till you suddenly realize
it would take a ticket

-to get back in.
- It can happen so fast

it's like being stunned
by a hammer.

You heard me, freeloader.

Don't let the door
hit you in the backside.

That Fane guy's nothing.

You bring me meat,
Filet Fane.

Meat.

It's fear, Frankie.

Is this going to help you
bury your fear?

- Meat.
- It's fear.

- Freeloader!
- I don't need any

second-rate spieler!

That Fane guy's nothing.

- It's fear.
- It can happen.

- Meat.
- Freeloader!

- Second-rate spieler!
- Nothing!

It can happen,
it can happen,

it can happen fast.

Fear, fear, fear, fear,
fear, fear, fear, fear.

When it hits,
I want it to hit big.

You think you can do it?

Sure I can.

I can get it on the front page
of every major newspaper

in the country
within 48 hours.

What happens when
they ask who hired you?

Now you know
better than that.

It's built in the deal.

I'm a private detective.

It's privileged communication.

But if I reveal
just the name of one client,

I'm out of business.

There's $2,000 in it for you.

A thousand now and a thousand
after I do it, okay?

It's all there,
$2,000.

Now we don't have
to see each other again.

Okay.

Now, you want it leaked
just this way:

that you were arrested
for prostitution and procuring

and jumped bail,
you and this fella,

Hymie Kelly, and a girl by
the name of Laurel Scott, right?

Hey, Mr. Fane,
you're a pretty chilly item.

I can't figure you out.

Yeah.

How about that?

Early papers.
Everything hit the fan.

Some crud dug up what happened
to us in Clinton,

how we got put in jail
on morals charges.

- Ooh-wee! That ain't good.
- Don't bother to read.

They've got all of the facts,
right down to the bail jump

and the spelling
of the sheriff's name.

Give me a gallon of coffee, Sam.

What's the talk around town?

That you're an ex-pimp
and I'm a child molester.

I've heard of dirty politics
but this is the lowest.

Putting myself aside
for the moment, Frankie,

it's an even lousier break
for you.

They're saying that too?
That it's a tough break?

Well, sure,
almost everybody in this town

lives with the big worry
of scandal,

so when something
like this hits,

everybody wonders
what if it happened to him.

Hey!

You know somethin'?

This doesn't seem to grab you
like I expected.

You don't seem to realize

we're hand-in-hand
into the sewer together!

Frankie!

Now keep your mouth shut,
and listen.

Nobody knows who broke this.

But who has reason to shaft me?

One of the other
four nominees, right?

But which one?

So in sympathy,
the Academy votes for me.

Pull one plug and I drown
all the opposition.

Sweeps the boards against me.

I blew the whistle on myself.

You must be suffering
from oxygen starvation!

I'm fighting for my life!

And I'll use a spiked boot
on anybody who gets in my way.

Oh, Hymie, I was goin'
down for the third time

when I got that nomination.

But you got a nomination!

Losers are a dime a dozen.

Who were the nominees last year?

Or the year before?

Can't remember, right?

Only get remembered
when you win.

And I'm gonna win.

I need that Oscar, Hymie,
more than anybody.

That Oscar can give me
the kind of pictures

that can keep me
from drowning.

I can't rig the votes,

but I can rig the emotions
of the voters.

I'm not exactly Guy Kibble,
world's most beloved actor,

so I had to find another way
to reach them.

But if it goes wrong
it could be suicide.

Not just the Oscar, but the
whole town, completely snap!

I'm on the edge right now.

You think I like admitting
this is where it ends?

You think I like putting
my head on a block like this?

You don't care
who else it smears, do you?

Can't make an omelet
without breakin' eggs.

Ya lie down with pigs,

ya come up
smellin' like garbage!

So now it's my turn,
huh, Frankie?

One after another
you finally get to all of us.

That's a custom made cashmere,

a lot better than
the scuffed-around threads

you wore in the village.

Or have you forgotten
New York already?

You've got me on the hook,
haven't you, Frankie?

It's your hook!

Jump free whenever you want!

Now, call a press conference.

Wha--

How else will I get a big play
when I confess?

Set it up in the Private
Dining Room at Chasen's.

You start balkin',

I start cuttin'
the hired help.

And you ain't got a union, baby.

No, but I've got a patron saint.

Saint Judas.

I just heard about it
at the studio.

I'm sorry, truly sorry.

It was a terrible thing
to do to you.

Here he comes!

Frankie, you gonna sue
for libel, and for how much?

My paper checked
Clinton records

and they do have you
on the books down there

for prostitution
and for procuring.

Yeah, how are you going
to explain that, Frankie?

That's not easy to explain.

Quiet, boys, quiet!

Hold it down, please!

I explain it by telling you
to go three days

without anything to eat.

By workin' the road
for a handful of bucks

so you can get a bunk
for the night.

Sure we were arrested.

We were short-changed
by a crook,

and when we put up a beef,

we were booked
on those charges,

but we were just trying
to make a decent living.

In smokers
with a stripper?

Yeah, Tiger.

With a stripper,
in smokers.

Because that was all we knew
how to do.

We were flat broke,
we didn't have any skills,

so we made out
the best way we could.

And we're about as guilty
of those charges as you are.

And nobody's going to be asking
the girl, Laurel Scott,

about it because she isn't here
to defend herself.

She's dead.

Frankie, there's talk around
town this was a smear tactic

by one of the other
Oscar nominees

to put you out of the running.

I flatly reject the idea.

These are four
of the most highly respected

members of our community.

I can't believe one of them
would do such a thing.

Then who's behind it?

I don't know,
probably some crank,

some very sick person.

Do you think this will hurt
your chances for the Oscar?

Only the voters
can answer that.

I can only tell you what is
a lie and what is the truth.

I've always tried
to level with you before,

and I'm leveling with you now.

I hope you believe me.

Frankie should
have won the Oscar

right then and there
for the performance he gave.

He set his scene
and sold his case.

He wrapped up the package
of being the maligned underdog

and every newspaper man
left there believing it.

Didn't matter to Frankie
that he had dug a girl

out of her grave
to sell his point.

Frankie used them whether
they were living or dead.

Frankie had stacked the deck,

and was ready for the hand
to be played.

And the game at Regan's party
was showdown.

It was Frankie's
first public outing

since the press conference.

He was facing a black-tie jury
of his peers.

The scene to be played:
humble but proud.

Color it sincere.

Lights.

Camera.

Action.

Frankie, congratulations
on your nomination!

Congratulations!

Good to see you!

Kay, how nice of you to come.

Edith is right over there
at the bar.

Why don't you join her
for a drink?

I will.
Thank you very much.

Hi, Edith!

Thank you.
Thank you very much.

I want to thank you
for this party, Kenneth.

It isn't really necessary
for me to listen

to this slice of humility,
is it, Frankie?

You don't think my attitude
toward you has changed, do you?

I still consider you
one of the most despicable men

- I ever encountered.
- Then why go to so much trouble

for a bitter enemy?

I'm not at all certain I can put
it in terms you'd grasp.

Then tell it
like a giant golden book.

I think I can cut it.

Well, it has to do
with pride in craft, Frankie.

With identification
and the industry.

I didn't know this
was a testimonial dinner.

Easy enough to be flippant,

but I've been in
the motion picture business

for 37 years,

and this smear
that's being aimed at you,

it's throwing mud
on the Academy Awards as well.

And despite your sneers, Fane,

the Oscars mean
a great deal to me,

to many of us
in the industry.

They're a symbol, we don't like
to see them tarnished.

I find myself
repelled and repulsed by you,

but you're getting
a severely raw deal,

and this party is meant to say
we won't stand for it.

I think my line is,
"Thanks for nothing."

I'm sure you think
that's your line.

Frankie, I've seen men back away
from things this nasty.

It takes guts to stand up to it
the way you're doing.

- Thank you.
- My name is Pereira,

I'm in art direction.
Just wanted to say hello.

Thank you very much, sir.

Welcome home.
Nice party?

Oh, a very nice party, Sam.

Thank you.

What are you doing up?

I'm playing gin rummy
with Hymie.

Knock with five points.

You lose.

Advertising campaign trouble

is very dull, very dry,
but very important.

Got a few minutes to talk?

Well, then, good night.

See you in the morning, Bwana.

You like sleepin' too much
to come out at this hour

just about the campaign.

It's the village locksmith,

he sounds like he wants
to turn a key on you.

Barney Yale.

You'd better go see him.

How did you get in here?

Thought you understood I didn't
want to see you again, ever.

Well, I'm sorry, Frankie,
but a situation came up.

I thought you'd better
talk about it.

You picked some dumb stupid time
to want to chew the fat.

Our deal was
I wouldn't tell

who hired me
to dig into your past.

I'm not goin' back on that.

But a couple
of public relations guys

called to feel me out.

They work for
two of the other nominees.

They wanted to know
how much it would cost for me

to let the newspapers know
that it wasn't their clients

who hired me.

This is starting to smell, Yale.

Put a little chlorophyll
in the conversation.

Listen, Frankie, this could
mean as much as twenty grand.

There are four other nominees.

I need that money, Frankie.

With the divorce and all,
I can use it.

Now you win that Oscar,
you stand to make millions.

Why shouldn't I get a few bucks?

It only seems fair.

You know I got a good reputation
in this town,

everybody knows
I can be trusted,

I don't reveal a client.

I'm not tellin' who hired me,
just who didn't.

Ah, but just to stay tight
with you, Frankie,

I'd settle for fifteen grand.

Now, I'm voluntarily cuttin'
myself out of five big ones.

Barney, I hope
you're gonna believe this

because it's the truth.

I haven't got it.

Look, I don't care
if you think I'm dumb,

but just don't talk me dumb.

Frankie, you live
in a Bel Air mansion,

this is 65 feet
of yacht,

and you drive around
in those cars...

All in hock, up to the ears.
I haven't got a dime.

I come up empty, empty!

Now, this ain't right, Frankie.

I didn't have to come up here
to offer you this chance.

The least you can do
is deal me straight!

Now, look, 15 grand to you
is like a drop in the bucket.

I know how you guys live,
that's walkin'-around money.

What the hell's the matter
with you, Barney?

Are you deaf?
I said I haven't got it!

Stop shuckin' me, Fane.

I want that 15
or I tell those PR guys

I'm takin' 'em up
on their offer.

Now the ballots
are in the mail.

In a few days
they'll have voted.

My word won't be worth a dollar.

You got 48 hours.

That's what they gave me.
That's what I'm givin' you.

Don't threaten me, Yale.

I can't afford to let you
do me out of that money.

I expected better
from a guy like you.

I figured
you'd treat me square.

You must be nuts!

You blackmail me!

And you're insulted
I don't want to pay.

You got 48 hours.

Don't waste a minute of it.

Please.

Out of town?
Where out of town?

Well, what's he doing
in Baltimore?

- Where in Baltimore?
- Benzie? Hymie.

Listen, I'm trying to locate
a chick named Trina Yale.

She used to me married to--
yeah, right, that's the one.

Have him call me the minute
he gets in, understand?

- The minute he gets in!
- Okay, do it!

Listen, I'll make it up to you,
just call me back!

Kappy's housekeeper
says he's in Baltimore,

won't be back until morning.

He say anything to you
about going to Baltimore?

Uh-uh. Benzie's gonna check
the independent's extra list,

but he doesn't think
Trina Yale's in it.

He thinks she's listed
with Central Casting.

When I need him,
what's he doing in Baltimore?

Look, there's nothing else
I can do tonight.

First thing in the morning
I'll call every agent in town,

all the studio
casting departments,

see if anybody
can put a trace on her.

I'll find her, Frankie.

There's no time, Hymie.
Don't you understand?

No time!

The nutcracker closes, chomp,
we're outta business.

Take it easy.

It's not gonna help
if you get a thrombo.

Go home, get some sleep!

There's nothing else
you can do tonight.

I told you,
you lie down with pigs,

you come up
smellin' like garbage!

Eh!

Phone call for you, Bwana.

Kappy.

Kappy, where the hell
have you been?

Why didn't you stay in touch?

I need $15,000,
I need it now.

I'm really desperate.

Don't move,
I'll be right over.

Thanks, Kappy.

You don't know how much.

That's--that's not the money,
Frankie.

That's your agency release.

I'm no longer your agent.

One of us is losing his mind.
What are you trying to do to me?

Like the snake that sheds
his skin, Frankie Fane,

I'm getting rid of you.

What are you talking about,
Kappy?

I'm the hottest now
I've ever been.

Now I'll start getting
what I'm worth,

the real big money.

I'm gonna win that Oscar!

Perhaps you will.

But do you want me to tell you
why you won that nomination?

Because you played the role
of a man without morals,

a man without ethics
or decency.

You played the part of you,
yourself, Frankie Fane.

What you really are.

That's why you have
your release, Frankie.

I have no more time
left for you.

No more time to let you hurt me
and degrade me and use me.

Have you ever seen a moth
smashed against a window?

Leaves the dust of its wings.

You're like that, Frankie.

You leave a powder of dirt
everywhere you touch.

I'm no different from anybody
else in this damn town.

Oh, oh, that's not true,
Frankie, that's not true.

Oh, if it becomes a matter
of life or death,

we have no other choice
then we hurt others,

but reluctantly.

I suppose you were
an unpleasant child,

even more unpleasant
young man.

Now you're a vicious,
bitter adult.

I don't feel pity for you.

I don't need your pity!

But you need my money.

Let me have $15,000, Kappy.

Stinkin' creep!

Hey, the sun is warm today.

Miserable flesh peddler!

I think I'll take
a nice rock steam bath.

Drop dead, damn you!

No agent in town handles her.

Studio casting offices
haven't used her in years.

My chick at the Extras Guild
never heard of Trina Yale.

Either she couldn't
afford a listing

in the Players Directory,

or she never made it
out of the extras league.

The only thing I could do
was leave a message

with Central Casting.

She's gotta check in there
if she's out hustling work,

otherwise we're stopped.

Nothing.

Well, you started it, Frankie.

What do you expect?

I know, I know.
Your favorite dumb line:

Lie down with pigs,
get up smellin' like garbage.

Well, can't you reason
with Yale?

Sure I can reason with him,

but it will take
15,000 green reasons.

You tell me where I'm gonna
dig up that much logic.

Oh, damn, I'm scared.

Hymie, you're the one guy
who can understand. I'm scared.

If there was anything
I could do, I would do it,

I would, Frankie,
I would.

We've got to stop him,
we've got to.

Hymie, help me.

Help me, Hymie.

Frankie, don't!

Hymie, I'm scared.

I'm scared out of my mind.

You're the one guy
who can understand why.

You were with me way back
when it all started.

We're gonna lose everything.

Frankie!

After all those years,

after everything
we've been through.

Oh, help me, Hymie.

You're my friend.

He waited till
we were locked in,

till we had nowhere to go
if he pulled a thing like this.

I'd like to see him dead.

I'd like to see his grinning
kisser pounded to jelly,

break his arms,
bust him up good.

We can't let him
roll over us like this.

Hymie, we've got to stop him,
we've got to do it!

Frankie, you don't know
what you're talking about!

We can stop him.

We can stop the bastard.

We get some guys to do it.
You know some guys.

Frankie, you don't know
what you're sayin'!

Hymie, it's gotta be like that.
Don't ya see, it's him or us.

You said you wanted to help.
All the years we been together.

Well, now it comes down to it:

In for a penny
is in for a pound.

Don't back out on me, Hymie.
I've got no one else to turn to.

Frankie, you're not
making any sense!

Otherwise we lose everything!
Where do we go from here?

Where do you go?
What does he matter to us?

You're movin' too fast.
Let me think, let me think!

There's no time to think.
There's no time to think.

Hymie, it's just the two of us,
you and me.

We trust each other, Hymie.

I don't know, Frankie,
I don't know.

Oh, Hymie,
don't cop out on me now.

- We've got to stop Yale!
- I don't know, Frankie.

Do it, Hymie, do it!

- Do it!
- No, damn it, Frankie!

No, I said no!

Hymie! Hymie!

Hymie, help me!

Bwana, who stomped you?

Shut up.

Get me a drink.

There was a phone call for you,
a Miss Brightly.

Who?

Trina Brightly's
my show biz name.

They put two and two together
in Central Casting.

Only one other Trina's
registered.

We had such a good time
in Tijuana,

I thought we'd pick it up
from here.

Figured we'd get
hammered together

and wrestle around on the couch
for a while?

How about that?

So, Barney pulled
the plug on you, huh?

I don't know what you mean.

Okay, we'll play it like
I'm the jerk you think I am.

Tell me a little story.

All right, you know the story,
it's been in all the papers.

Your ex sprang
a rotten lie on me

and got me clobbered
for the Oscar.

Now he's got something else
that's an even bigger lie

and he's threatenin' to open it
up if I don't pay off.

Finished with the fairy tales?

Fairy tales?

I'm tryin' to tell you your pal
Barney is crucifyin' me.

You're a beautiful liar.

Don't forget
I lived with Barney.

Oh, you're not the first one.

Sure, Barney never
reveals his clients.

If he did
he'd be killing the goose

that lays
his golden rotten eggs.

Because when Barney
pulls off a job

that's "under the counter,"

he waits until it's all done.

Then he springs
for more loot.

So, they pay off.

Barney never has
to reveal a client.

Now, when I saw it
in the papers about you,

I figured
like everybody else

it might be any one
of the other four nominees

who hired Barney.

But now that your curly
little head shows up here

and you say that Barney's
springing on you too,

I get a hot flash that, maybe,

now just maybe,
you are the client.

Uh, I, uh...

You look so silly with your
mouth wide open, sweetness,

I haven't got the heart
to turn you down.

Save the booze,
let's talk business.

Inside that chorus girl head,
you've got a guillotine.

Inside that chorus girl head,
I've got a lot of sad.

I, ah, married Barney

because he said
he'd get me in pictures.

But all I got was Barney,
and I'm still an extra.

Now, I don't trust you
any more than I do Barney.

On the other hand,
what have I got to lose?

There's nobody breaking down
my door to make me a star.

If you win that Oscar,

you're going to be
a very important man

in this town.

I scratch your back,
you scratch mine.

You can call your shots
with me, Trina.

Anything you say.

Barney has six
safety deposit boxes,

six different names.

All the shakedown money
he's made,

and there is a pile, baby,

none of which he's reported

to the Internal
Revenue Department.

I learned about this scam
a long time ago.

Barney didn't know.

I was saving it
for a rainy day.

How's the weather, Lover?

First of all,
there's Chester Tumwater.

Chester Tumwater.

You made your point.

Ya know, Frankie.

No wonder you're
gonna win that Oscar.

You've got to
with a mind like yours.

It'd be a travesty of justice
if you didn't.

Where's my lord and master?

In having dinner.

Hey, seen the newspaper polls?

They're pickin' me to win.

You're no man.

You're some kind of poison.

You're lushed.

Hymie, let Sam take you inside
to lie down for a few minutes.

Tell me, old buddy,
what happened?

No, wait a minute,
let me guess.

Let me see, you got two
side boys from Kansas City

to dump old Barney Yale
in a cement mixer

and he's currently a mile
and a half of new freeway

-in Pasadena.
- What the hell's

your story, Hymie?

What's wrong with you?

What's wrong with me?

You're wrong with me!

And for one split second
I almost went for it.

I almost went for it
all the way,

ready to cream Barney Yale!

I never said anything
about creamin' Barney Yale.

Birdseed, Daddy!
That's exactly what you said!

You wanted him dead,
you wanted him killed,

you wanted him murdered.

And for one tiny moment
I almost went for it.

What is he talking about,
Frankie?

He's smashed!
He's out of his mind.

Yeah, I been out of my mind
all the years I been followin'

behind you, walkin'
the same mud holes you do.

I think I better
throw you out of here

and let you dry out
on the front lawn!

You're not gonna
have to throw me out.

I'm gonna walk.
But first you're gonna listen

because I've got somethin'
to square away.

Everything you did for me
in exchange for Laurel.

What the hell has Laurel
got to do with this?

I married her, remember?

She was what you call a wife.

She was also
what you call a mother...

-almost a mother.
- Stop talkin' around it!

If you got something
on your weak mind,

spit it out.

She died on the table,
ya bastard!

She died under the knife,
she miscarried.

What's that got to do with me?

It was your baby!

- Oh, I'm sorry.
- Yeah, you're sorry.

You're so sorry
you pull her out of the grave

and made her a whore in
every newspaper in the world.

So don't say you're sorry,
or so help me,

I swear I'll tear
your throat out!

You know what I did when I ran
out this morning, Frankie?

I ran and I ran and I didn't
even know where I was going.

And after a while
my face grew cold

and I started ballin'.

You know what I was cryin' for,
Frankie?

For all the years
that I haven't been me.

For all the years
that I've been sittin'

like an extra nose
on your face.

What happened to me?
When did I die?

When did I get buried
inside you?

I'm so much a part of you,
Frankie,

that when I shave
in the morning

I see your face
in the mirror.

I ran, Frankie,
I ran into an alley.

Down at the end of it
I fell behind some crates.

I don't know for how long,

but I was just twitchin'
just like a spastic.

I couldn't stop.

Frankie,
I'm nothing but a parasite.

I've never had the guts
to tear myself away from you.

I've let you castrate me
inch by inch.

I'm weak!
I'm a leech!

He's the one
who hired Barney Yale!

You shut up, Hymie!

I don't want to have
to bust you up!

Don't listen to that drunk.
He's talkin' out of a bottle.

He doesn't know
what he's saying.

If there’s one thing
that somebody can learn

from a guy like you, Frankie,

it's what I've learned:

Don't be afraid
to fight dirty.

Look at you, Frankie.

Look at what's left of you.

There isn't even enough
to feel sorry for.

And now I know
there isn't enough to love.

How could I think
there was hope for us,

or anything between us?

Maybe it takes a terrible thing
like this tonight,

this senseless evil.

Do you at least know that's
what it is, Frankie, do you?

Maybe it takes
something this strong

to cure a woman like me.

Whatever there was
between us, Frankie,

you could never
call it love,

because to love means to commit
yourself and to belong.

And you never belonged to
anybody but yourself, Frankie!

And when you don't belong,
nothing belongs to you.

So you may have your Oscar,
and you may have everything,

and you'll have nothing.

Hymie, please, I--

please take me out of here.

Just anywhere, please?

Bye, Frankie.

And I do hope the Oscar
keeps you warm on cold nights.

Go on and run.

Who the hell needs you!

Too stupid to understand.

This damn town wasn't tryin'
to pull your guts out.

Nobody was trying
to shove you into a sewer.

Look around,
go ahead, look around!

How does anybody win?

Oh, you're too stupid
to know that.

I'm going to win,
and that's what counts.

I'm gonna win!

Go on and run,
you freeloaders.

Go on, run.

Who needs ya!
Who needs ya!

Freeloaders.

Freeloaders!

And you!

You too, ya creep!

What are you lookin' at?

I suppose you want out too.

Well go on,
get the hell outta here.

Pack your stuff and split!

Go on.

Go!

The award
for the Best Actor of the Year

will be presented
by the elegant and beautiful

Miss Merle Oberon.

The nominees
for the Best Actor Award

are Richard Burton,
"Grapes in Winter,"

Paramount Pictures;

Burt Lancaster,
"The Spanish Armada,"

United Artists;

Frank Fane, "Breakthrough,"
Galaxy Pictures.

So here you sit, Frankie,

on top of the glass mountain
where you wanted to be,

looking down
at the rest of us.

I hate to admit it
but you proved your point.

It looks like it is the only
way to climb that high.

The envelope, please.

Thank you.

And the winner is...

Frank Sinatra!

Thank you.

Thank you very much.