All language subtitles for mildred.pierce.part05.hdtv.xvid-fqm

RECEPTIONIST: (IN ITALIAN)
Don't forget, you have an

appointment at eleven
this morning...

You book a studio at nine o'clock.

- What do you mean, nine?
- Not nine-thirty,

(SPEAKING IN ITALIAN)
Don't forget.

- Not at ten...
- What do you mean, no?

- I don't understand.
- Ah...

RECEPTIONIST:
Okay, nine o'clock.

(RECEPTIONIST MUTTERING)

- MILDRED: Mr. Treviso?
- Yes? Do I know you?

I'm terribly sorry to startle you.
I'm Mrs. Pierce.

We met once before.

My daughter, Veda, I believe
is now studying with you, singing.

Uh-huh. Okay...

Well, um...

for reasons best known to herself,
Mr. Treviso,

Veda prefers her independence
from me at the moment.

Just the same, it was I who supported
her studies from the beginning and...

Even though she elects to
live apart from me now,

I still feel her music
is my responsibility.

So...

In the future, Mr. Treviso,

I'd like you to forward
your bills directly to me.

I'm very sorry, Madame,

but this is a subject which
I cannot discuss with you.

You excuse me.
I have important engagement.

Well, Mr. Treviso,
I'm very sorry too, but I'm afraid...

Veda is my daughter,
after all, and I feel

- that I have every right...
- Why do you want this girl back?

- Tell me that?
- What... Ugh...

You're mistaking my motives.

No mistake. No mistake at all.

I tell Veda, "Hey, you pretty lucky, kid,
somebody else pay a bill now."

And she... She got no idea who to call up,
say thanks.

"Sure is swell,
how you like to see me again, huh?"

(IN ITALIAN) Vincenzo,
come to get me with the car!

MILDRED: That wasn't
my intention, but

- certainly, if Veda did feel...
- VINCENZO: (IN ITALIAN) Yes, Sir, right away.

Listen, you.
You seem like a sensible lady, no?

You go to a zoo, huh?
See little snake?

Is from India, is all red, yellow, black.
Very pretty little snake.

You take home, huh?

Make little pet, like puppy dog?
No, you got more sense.

I tell you,
it is the same with this Veda.

You buy ticket, you look at the little snake,
but you no take home.

No.

What are you insinuating,
that my daughter is a snake?

No, is coloratura soprano...
Is much worse.

- Uh, what is a coloratura...
- Madame,

is special fancy breed,
like a blue Persian cat.

Come once in a lifetime.

sing all in the trill,

staccato, ha, ha, ha, cadenza,

a tough stuff.
Cost like hell.

If is real coloratura, brings more dough
to grand opera house than big wop tenor.

And this girl is coloratura.

Even her bones is coloratura.

You see the high nose,
the deep antrum sinus?

- You see Snack-O-Ham program?
- I did.

So. She is not good singer.
Is great singer.

She's a wonderful girl.

No, is wonderful singer.

The girl is something else.

Well, that's your surmise,
Mr. Treviso.

Is no surmise.
For last two weeks,

ever since
Snack-O-Ham program,

this little empress
have told me that

her poor, dumb mother
will try to get her back.

And first thing she do is come in here
offer pay for singing lessons.

- She...
- Yes! I tell you,

is snake, is bitch,
is coloratura.

And me,
I no enjoy a snake bite.

MR. TREVISO: You want to try and
keep her under mama's wing her whole life?

That is your business.

Me, I have nothing to
do with this intrigue.

Now, if you'll excuse me...

- Avanti.
- VINCENZO: Si, Maestro.

- Tommy, pull over the car.
- TOMMY: Yes, ma'am.

Monty? Is that you?

Mildred?

What are you doing here?

Uh, hot date with my creditors.

Sort of between
cars these days.

Well, hop in.
I'll give you a lift.

No, no, no. I've actually come
to enjoy the public pageantry,

but you're very kind.

Don't be silly, I insist.

I can't stand to
argue with a lady.

What a surprise.

Would you fill up table
thirteen's coffee?

Would you look who's here?

Well, you look wonderful.

Can't complain.

Rather, I could but I won't.

And you?
How's our dear Veda?

Oh...

Busy, very busy.
She, um,

- took an apartment by herself a few months ago.
- Mmm-hmm.

It bothered her to have the neighbors
listening while she vocalized.

She's singing, you know.

I heard. I heard.
She quite bowled me over, in fact.

You have quite a talented daughter, Mrs. Pierce.
Please pass on my regards.

Thank you. I shall.

Oh, who am I fooling, Monty?

I haven't talked to her in months.
She won't answer my calls.

She won't answer my letters.
I'm honestly at my wits' end.

Well, I'm sure it's just a
phase she's going through.

She'll be coming back sooner or later.
They always do.

How would you know?

No, I hope you're right.

I'm right. I'm always right.

Well, there is something you may have
been right about all along.

Oh?

It's Glendale.

I've simply gotta find a place
more centrally located.

(CHUCKLING)
I'm in the car all day.

Well, hallelujah.

- And I've been thinking Pasadena.
- Mmm-hmm.

Between the three restaurants,

it would really be
the most convenient.

Actually, I've been meaning to call you
to coerce you into showing me around a little.

Just to help me
get my bearings.

Nobody knows it
better than you.

Sounds like what you need
is a real estate agent.

No, that's exactly
what I want to avoid.

Well, perhaps something
could be arranged...

I'd have to check my schedule,
of course.

Would you?

On one condition.

I get this.

(LAUGHING)

MONTY: This side of Sierra Madre is...
It's less desirable,

though the price
tag drops considerably.

MILDRED: Oh. All right.

- MONTY: Eaton Drive is charming.
- MILDRED: Mmm-hmm.

MONTY: (LAUGHING)
McDonald Park, that's a laugh.

Went to school with Duncan,
when his father was busy

buying up the block
and renaming it.

This one off Lomora looks promising.
I don't know about the condition.

Oh, and this place,
the old Cunningham estate, is top-drawer.

- MILDRED: I like that.
- MONTY: This you can skip,

and this one.
I wouldn't even look at that.

And this old Tudor knockoff, it's...
It's a bit of a farce.

MILDRED: Oh, I don't like that at all.

MONTY: You're better off in Oak Knolls
or Gwinn Park, I think.

MILDRED: Uh-huh.

- MONTY: Here's 5441, not sure about the condition, but...
- MILDRED: Oh!

MONTY: Might as well have a look.

(DOG BARKING)

OLD WOMAN: Stop that!

Not quite what I had in mind.

MILDRED: Do we get the dog too?
(LAUGHING)

OLD WOMAN: Stop that!

(DOG CONTINUES BARKING)

MONTY: Well...

Beautiful.

This? Could be.
With a little money spent on it.

Come in, if you want.

MONTY: I don't
have much to offer.

MILDRED: Just for a peep.

Beautiful. Just beautiful.

What do they want for it?

Oh, uh, year before last,
seventy-five flat.

Last year, fifty thousand.
Now it's more like thirty...

MILDRED: When was it built?

MONTY: Uh, ground broke in '09.

So I can offer you tea,
or something stronger.

I'd love something stronger.

I'm out of ice and seltzer.

I prefer it straight.

Ha. Since when?

I do think that Oak Knoll property is
something to look into...

I'll see what I can
dig up on the owners.

Cheers.

(LAUGHS)

(COUGHS)

You haven't changed so much.

On liquor, I'd say you
were about the same.

Well, I prefer rye these days...

Oh, gosh, Monty.
It's such a wonderful place.

I'm tempted to stop
looking right now.

It does have its charms.
You haven't even seen the gardens.

You don't have to sell me.

And you don't have to stand there
yelling from across the room, either.

(CLEARS THROAT)

So how are you?
Honestly.

- I'm fine.
- I'm glad.

How are you?

- I'm fine.
- Well, I'm glad too.

You know, gentlemen in
my circumstances don't...

Don't have a great deal
of romance in their lives.

If you keep this up, you might find yourself
the victim of some ravening brute.

(LAUGHS)
Oh...

Being ravened isn't so bad.

Just the same, we should
try and stick to the house.

- One thing bothers me.
- What's that?

Well...

If I were to actually buy the place,
what would happen to you?

I mean, would there be a brute
ravening around somewhere,

or would I have
it all to myself?

All yours.
Lock, stock and barrel.

I see.

And I made a slight mistake before,
about the price.

To you, it's $29,580.

That'll square up a
little debt I owe you

that's been bothering
me for quite some time.

You owe me a debt?

If you try,
I think you can recall it.

Boo!

Oh damn it,
your legs are still immoral.

- You think they're bowed?
- Stop waving them around.

(LAUGHING)
I asked you.

No.

No.

Ohhh.

(HEAVY BREATHING)

(MOANING)

(GROANS)

Oh, Monty.

How could I ever live here without you?
I couldn't do it.

Well, I always said you'd
make some guy a fine wife.

If you didn't live in Glendale.

(LAUGHING)

Is that a proposal?

If you move to Pasadena, it is.

(LAUGHING)

- You mean if I buy this house.
- No.

No, it's about three times
as much house as you need

and there are plenty of other likely wiser choices.
But I won't live in Glendale.

Then all right.

Yes.

Yes!
(SNORTS)

(LAUGHING)

Mmm...

What do you say we ride to Laguna
to celebrate under the stars?

Mmm.

Not unless I can
go in a dinner coat.

That mockery of elegance
is about all I have left.

Then we'll skip Laguna.
I love you in a dinner jacket.

We'll step out properly
and pop champagne!

If it's true.
If we really are engaged...

VEDA ON RADIO: (IN ITALIAN)
♪ O luce di quest'anima... ♪

♪ Delizia, amore e vita... ♪

ARLINE: That's it. K-E-C-A, "The Aristocrat of the Air."
♪ Unita nostra sorte... ♪

- ARLINE: Told you she'd be on it.
- PANCHO: Mm-hmm.

(VEDA'S SINGING CONTINUES)

You know who that is,
don't you, on the radio?

That's Veda Pierce,
Mrs. Pierce's daughter.

- You don't say.
- I do say.

Give my regards
to Mr. Eckstein.

Yes, ma'am.
Thank you, ma'am.

- ARLINE: She's a comer, too. You watch!
- DELIVERY BOY: I sure will.

VEDA ON RADIO:
♪ O luce di quest'anima... ♪

MILDRED: Here.
And the receipt.

Also, Mrs. Jaeckel,
it appears I might be

looking at some extra expenses this month
and may need to adjust my compensation.

What is it right now, exactly?

MRS. JAECKEL: Seventy-five a week
from each of the corporation's parts:

The three restaurants
and the pie factory. That's...

Three hundred total.

Starting next week,
increase that to four.

MRS. JAECKEL:
Four hundred?

Yes.

(VEDA'S SINGING CONTINUES)

(PHONE RINGS)

We'll have to transfer funds from
the corporate reserve, ma'am.

Into current cash.
To cover the balance.

Whatever you think best,
Mrs. Jaeckel.

- It's just for the time being.
- Certainly, Mrs. Pierce.

Mrs. Pierce?
It's Mr. Beragon on the line.

Thank you, Sigrid.

Monty?

MONTY: Get over here.
Something to show you at the plantation.

- What, you mean, right now?
- Yes, right now.

Hello?

When the furniture came,
I couldn't resist any longer.

Oh, Monty!

It's wonderful.

I have a simple theory.

Whatever pertains to comfort,
shoot the works.

But with whatever pertains to show,
be a little modest.

People like you better if
you aren't so damned rich.

You're very wise.

Oh, you framed it.

MONTY: The dining room set arrives Thursday,
but have a look in here.

(LAUGHING)
Oh! Oh well,

I don't know about this.

You don't think it's...

Well, I don't know
what to think!

Sit down a minute,
and take a lesson in interior decorating.

I love lessons in decorating.

Do you know the best
room I was ever in?

No. Tell me.

That den of yours, or Bert's rather,
over in Glendale.

Everything in that room
meant something to that guy.

Those banquets, those foolish-looking blueprints
of houses that'll never be built.

They do things to you.

Because it's all part of him.
And that's why the room is good.

And do you know the
worst room I was ever in?

Go on, I'm learning.

It's that living room of yours
in the same house.

Not one thing in it, until that piano came,
ever meant a thing to you,

or him, or anybody else.

You see, a home isn't
meant to be a museum.

Filled with Picasso paintings, or Oriental rugs,
like this place used to be.

It's meant to be furnished with
things that actually matter.

Let's have this place
the way we want it.

And if you don't like the
Pie Wagon corner, I do.

I love it.

Then it stays.

(LAUGHS)
I love it.

- LUCY: Oh, look at you two!
- TOMMY: To the newlyweds!

LUCY: To the happy couple!

- LUCY: Congratulations, pumpkin.
- Sweetie.

- TOMMY: Congratulations, Mr. Beragon.
- Tommy. Thanks.

- BERT: He's a real thoroughbred, Mildred.
- MILDRED: Oh...

BERT: I couldn't
be happier for you.

Oh thank you, Bert.
That means a great deal to me.

Hi.

Where's Mrs. Beiderhof?
I'd love to say hello.

Well, funny story.

Maggie's husband struck
oil in Texas not long ago,

and Maggie decided
to go join him there.

These days I'm living
with Mom and Pop.

But what husband?
I thought she was a widow!

Well, there's the thing of it.
So did I.

IDA: It's enough to
take your breath away.

- Oh, Bert...
- IDA: Feels just like Ginger Rogers

coming down the stairs, don't it?

WEDDING GUEST:
Best wishes, Mrs. Beragon.

- Thank you. Thank you so much.
- IDA: Honestly, Mildred,

it just looks like heaven.

LUCY: It's the lap of luxury,
all right.

I tell you, it's all Monty.

LUCY: Oh, thank you.

Ya know, Mildred,

I've had a heck of a time getting you
on the phone this week.

Last month's books... I can't make
heads or tails of the balances.

If you've got just a minute tonight,
maybe you could clear something up for me?

Oh, please, Ida, can't we
leave business just for one day?

First thing tomorrow,
I promise.

Well, I suppose it
can wait one more day...

Still no sign of Mr. Beragon?

Oh, yes, ma'am, he just arrived.
With a young lady.

MAN: Oh, there she is.

MONTY: Hello, darling.

Back with the olives,
catastrophe averted.

Thank you, Arline.

MILDRED: They said you arrived with
a young lady and I... I just...

Oh...

- I thought I was doing so well.
- Oh, you're doing brilliantly.

I sent her that
invitation myself.

And I know she saw the
notices in the paper.

And I just...
I just hoped, that's all.

- I'm sure she got the message.
- Then that's even worse.

Don't be so sure.

VEDA: (SINGING IN GERMAN)
♪ Duftender Raum... ♪

♪ Zur Liebe geschmuckt... ♪

♪ Nahm euch nun auf, ♪

♪ dem Glanze entruckt... ♪

♪ Treulich bewacht... ♪

♪ Bleibet zuruck... ♪

♪ Wo euch der Segen
der Liebe bewahr'! ♪

♪ Siegreicher Mut... ♪

♪ Minne und Gluck... ♪

♪ Eint euch in Treue... ♪

♪ Zum seligsten Paar... ♪

♪ Zum seligsten... ♪

♪ Paar. ♪

(APPLAUSE)

MAN: Encore.

- Thank you.
- You're welcome.

MONTY: Well, God damn it,
how did you get to be a singer?

MONTY: Hmm?
When I discovered you, practically...

Pulled you out of the gutter,
you were strictly keyboard.

Darling.

I turn my back for one second and you...
You turn into some kind of yodeler!

(LAUGHING)

Well, God damn it,

- it was an accident.
- Well, then report.

- I was at the Philharmonic.
- Oh, yes, I've been there.

And it was the Schubert Unfinished.

And afterwards, I was walking
across the park to my car,

and I was humming it.

And that's when I saw him
walking ahead of me...

- MONTY: Who?
- Treviso.

Now, I had plenty of reason
for not wanting to meet

- the honorable signor.
- MONTY: Why so?

I'd played for him once before
and he wasn't at all appreciative.

But he stopped
and turned around

and said "Was that you
just now, singing?"

And I wasn't so proud of
my singing just about then

because I was singing full chest
and sounded exactly like a man.

Hannen used to call me the Glendale baritone.
(LAUGHING)

So I said it really wasn't any of his concern
whether I was singing or not.

And he grabbed me by the arm
and said it concerned him very much.

And insisted that I meet
him the very next day.

- And?
- GUEST: Thanks.

And I went.

How could I refuse?

And then for a solid week,

- he worked on me.
- Here you go.

Trying to get me to
sing like a woman.

And then finally, finally!

It just began to come.

And that's when
I got my revenge.

Do tell.

Well, he said I had the voice,
but if I wanted to be a real musician,

- I would have to master music, too.
- MONTY: Mmm-hmm.

So I asked him if there was any
sight reading he wanted done.

Oh, touche.

And he handed me
the Inflamatus

from Rossini's Stabat Mater.

Well, I went through that
like a hot knife through butter.

And then I showed him
my arranging, and all the

theory that Hannen
hammered into me.

(LAUGHING)
If the wop hit gold in Death Valley,

he couldn't have
acted more like a goof.

He started going over me with these
little wooden hammers,

and gadgets with lights that
went down my throat and...

- He even went digging up my, uh...
- He went for the dairy?

Now, Monty...

- MONTY: What?
- Believe it or not, yes!

Turns out it wasn't love he was looking for.
Just meat!

He said it enriches the tone!

(LAUGHING)

VEDA: (SINGING IN ITALIAN)
♪ Casta Diva... ♪

♪ Casta Diva che, ♪

♪ inargenti... ♪

♪ Queste sacre... ♪

♪ Queste sacre... ♪

♪ Queste sacre... ♪

♪ Antiche piante... ♪

♪ Spargi in terra ah... ♪

♪ Quella pace... ♪

♪ Spargi in terra... ♪

♪ Spargi in terra quella... ♪

♪ Pace... ♪

♪ Spargi in terra quella pace... ♪

♪ Che regnar...♪

♪ Regnar tu fai... ♪

♪ Tu fai nel ceil... ♪

♪ Tu... ♪

♪ Fai... ♪

♪ Regnar tu fai... ♪

♪ Nel... ♪

♪ Ciel. ♪

(VIOLINS PLAYING)

(APPLAUSE)

RADIO ANNOUNCER: You just heard
the Casta Diva aria from Bellini's Norma,

performed by Miss Veda Pierce.

TREVISO: In Milano? Or Cannes?

- When she lifted up her arm just so...
- TREVISO: Was it not?

I tell you, if I ever saw one right
out of the can, Mrs. Pierce,

she's it, your daughter.

There she is, there's Veda.

Thank you.

- VEDA: Well, you never know.
- Congratulations!

Now I'm not usually one to make
rash decisions, Miss Pierce.

But we're about to
start a promotion

- on a new vitamin bread. It's called "Sunbake."
- I handle Miss Pierce.

Moe Levinson.

Ted Hobey, president,
Consolidated Foods.

I'll cut right to the chase,
Mr. Levinson.

I'm prepared to offer your
client a two-year contract,

$2500 a week,
plus a guaranteed mention

in 25% of Consol's
national advertising,

if you come to New York
and sing for Sunbake Bread.

How does that strike you?

Sorry, pal, it strikes me fine,
but, uh, she's sewed.

She sings for "Pleasant,"
the mentholated cigarettes, so, uh,

it's out of the question.

But... New York!

Certainly there must
be something we could...

Sorry, kid,
a contract's a contract.

You signed on the dotted line.
Nothing to do about that.

- But...
- Well, I'm sorry to hear it.

But if anything changes,
the offer stands.

You keep us in mind.

Thank you, Mr. Hobey,
we certainly shall.

- I'm sorry, Ted.
- MR. HOBEY: That's all right.

Sewed?
To Pleasant Cigarettes?

For an entire year?

LEVINSON: Five hundred a
week is nothing to sneeze at.

MILDRED: It's true, dear. That...
That's still a great deal of money.

VEDA: Mother,
that's not the point!

There are levels
in this business,

and we just had the chance to move up,
and we missed it.

Do you have any idea what New York
means to a classical singer?

If Levinson had looked ahead
two minutes, and not...

jumped on the first boat
that came along...

- If he hadn't been so greedy...
- Hey, hey.

Now suppose ya take it back.

Suppose ya say you're sorry.

Why should I?
It's the truth, isn't it?

'Cause I got an offer for ya,
and this you're gonna want to hear.

What offer?

The Philharmonic.

Headliner.

The Philharmonic Auditorium?

- Why, that's marvelous!
- Big time.

Then accept.
If the terms are suitable.

Not so fast, baby.

It's kind of a double offer.
They'll take Pierce or they'll take Opie Lucas.

They leave it to me.

I handle ya both, and Opie,
she don't cuss me out.

She's nice.

A contralto's no draw.

Contralto gets it
if you don't apologize.

Okay...

Levy, I apologize.

Don't go startin' nothing
with Moe Levinson.

Maybe ya don't know
where you're comin' out...

Monty, go find Tommy, will you?
Tell him we'll be ready very soon.

- Yes dear.
- PHOTOGRAPHER: Say, Levy, how 'bout those snaps?

- Congratulations, kiddo!
- Thanks, Monty.

Oh, Veda.
The Philharmonic.

Do you remember the first concert
I took you to at the Philharmonic?

- It was a Young People's Concert...
- Picture time, doll.

Mustn't keep the boys waitin'.

- Excuse me, Mother.
- You go on.

LEVINSON: Here she is, fellas.
She's all yours.

REPORTER: Miss Pierce!

PHOTOGRAPHER: Over here,
Miss Pierce.

PHOTOGRAPHER: Yeah, Miss Pierce, here.
One for the Radio Times.

(BULBS FLASH)

LEVINSON: That's it,
that's it. Let's go.

- VEDA: And Qui La Voce would be the perfect finish.
- MILDRED: Mmm-hmm.

VEDA: It'll be no Opie Lucas repertoire,
I promise you that.

MILDRED: Mmm...
Then there's the dress to consider...

MILDRED: The color,
the fabric.

Not to mention, the little
matter of a publicity agent.

Thank you, Monty.

I saw a lovely pale peach
gown at Bullock's in satin.

This isn't the kind of
dress you shop for, Mother.

It's not?

This dress gets made.
And the hat.

The hat?
For the Philharmonic?

Just for the first interval.

To give a sense of progression,
a gain in intimacy.

(CHUCKLES)
The consummate showman.

We'll need to reserve seats.
A dozen at least.

- I'll talk to Levinson in the morning.
- Yes, do.

And some sort of supper following.
That needs planning as well.

Well, I'm done in.

You ladies are obviously
up for hours, scheming.

Don't go, Monty.

You might have heard
I have chores in the morning.

I think I'll stay in
the tack room tonight.

Oh, I don't want
to turn you out.

That's quite all right.

I guess we're truly middle-aged,
aren't we, Monty?

I guess that's it.

Good night, dear.

MILDRED: Sleep tight.

MILDRED: That's four pounds shrimp,
four pounds lobster,

- two pounds crab...
- MR. PETERS: Crab?

- MILDRED: Yes.
- MR. PETERS: And the caviar?

MILDRED: And one pound caviar,
that's correct.

MR. PETERS: Is this the
restaurant account?

MILDRED: No,
the second account.

- MILDRED: And it's July 20th.
- MR. PETERS: Ah, yes.

- MILDRED: Yes, the big night.
- MR. PETERS: Very big night indeed.

MILDRED: Yes. Thank you,
Mr. Peters.

MR. PETERS: A pleasure,
Mrs. Beragon.

Yes, Sigrid?

I have a pile of messages.

Mr. Eckstein called, says he still hasn't
received his May payment.

- I'll have to call him back.
- Also, your florist called.

- Plus Ida again...
- Oh, Ida! Shoot!

- Um, is that the florist's number?
- Yes.

- Oh, and Mr. Burgan called.
- Wally? What did he want?

He didn't say. Just that it was
important you call him back.

Take messages.
I'll get back to them as soon as I can.

Yes, Mrs. Pierce...
Yes, Mrs. Beragon.

ARLINE: Tell Miriam not to worry
about restocking tonight.

There'll be plenty
of time after the rush.

- FLORIST: Huntington Florist.
- MILDRED: Hello, this is Mrs. Beragon.

FLORIST: Ah, Mrs. Beragon,
how are you today?

Very good, thank you.

Now do you have
any white orchids?

(VEDA SINGING SCALES)

(PIANO PLAYS)

- FREDERICK: Take these two down to the cellar.
- DELIVERYMAN: All right.

MONTY: Ah, swell.

The delivery we've
all been waiting for.

FREDERICK: Yes, sir.

MONTY: Nothing broken,
I trust?

FREDERICK: All looks fine.

- I would put those on the top.
- Yes, sir.

Hello, dear.

I thought you were seeing
to the garden today.

Well, I was. But the liquor showed up,
so Frederick and I are stocking the galley.

Just checked the Chateau Lascombes, 1929.
A perfect year.

Taste?

Honestly, Monty. At this hour.

- VEDA: No!
- LEVINSON: Veda.

- VEDA: This is all wrong.
- LEVINSON: Veda.

Levy, no. None of this
"Pasadena Starlet" business...

It's got to be Glendale!
And radio!

And studied right
here in Los Angeles!

What do ya mean?
This is fantastic!

You couldn't have written
it better yourself!

VEDA: There are 2,000
seats in that place,

and they've all got to
feel like I'm one of them!

- Don't you see?
- LEVINSON: Well...

Okay, I guess you got a point.

Afternoon, Mrs. Beragon.

Never thought I'd hear
you rooting for Glendale.

There's a first time
for everything.

Are you ready, Mrs. Temple?

Voila!

Oh, Veda!
I think it's enchanting.

It's first class.

We added the bodice.

- You don't think it's too Vaudeville?
- Vaudeville?

I can't come out looking
like both Gish sisters.

Oh, don't be silly.

I'd skip the bodice.

All right, without the bodice.

But, with a matching parasol!

A parasol? By Saturday?
It'll have to be a rush.

Whatever she needs,
Mrs. Temple.

This is a very
special occasion.

Oh, Mother, the time!
I have rehearsal at three.

Come... I'll take ya.
I'm heading that way now.

Mrs. Beragon, Mr. Beragon.

You two run along.
There's still so much to do here.

The silver. The linens...

Look at you.

You'd think nothing was happening
around here in four days time!

You'd think everything
just happens by itself!

(HORNS HONKING)

(MILDRED SIGHS IMPATIENTLY)

MILDRED: The crowds.

- Tommy, I had no idea.
- It's a scene all right.

- I'm going to get out here.
- Sure thing, Mrs. Beragon.

TOMMY: And tell Veda break a leg!

Thank you, Tommy, I shall!

Mildred!

BERT: It's right down here.

- MILDRED: Have you seen her?
- BERT: Not yet.

BERT: I was waiting out front.

Monty drove her to rehearsal hours ago.
But the traffic was awful!

STAGE MANAGER: All right,
boys, that's enough.

PHOTOGRAPHER:
Big smile, right here.

- Come on, we got a show to do tonight.
- All right, all right.

STAGE MANAGER:
Let's go. Come on.

STAGE MANAGER: I'll let you
get back in here later, I promise, all right?

- Veda!
- Sorry, lady.

That's my daughter.

Oh, that's very nice,
but there just isn't time.

I'll make sure that she
gets your flowers, all right?

Veda!

STAGE MANAGER:
Orchestra to places!

(BUZZER SOUNDS)

STAGE MANAGER: Clear the
backstage area, please.

- Suppose we ought to go find our seats.
- Yes.

I'm telling you, Mildred,
this thing is a sellout.

Oh, just look at the place.

Mrs. Beragon.

BERT: Mr. Levinson.

You must be so proud.

And nervous. I'm nervous.

Hi.

- MRS. PIERCE: Dear.
- Mother. Pop.

How is she? Was she nervous?

Yeah. Like steel.

(ORCHESTRA MUSIC PLAYS)

♪ Caro nome che il mio cor... ♪

♪ Festi primo palpitar... ♪

♪ Le delizie... ♪

♪ Dell'amor... ♪

♪ Mi dei sempre rammentar... ♪

♪ Col pensiero il mio desir... ♪

♪ A te ognora volera... ♪

(CRESCENDO)

♪ E pur l'ultimo sospir, ♪

♪ caro nome tuo sara. ♪

(ARPEGGIOS)

♪ Alle Bande der Natur... ♪

♪ Wenn nicht durch dich... ♪

♪ Sarastro wird erblassen... ♪

♪ Hort... ♪

(CRESCENDO)

♪ Rachegotter... ♪

♪ Hort der Mutter Schwur. ♪

(ORCHESTRA MUSIC ENDS)

(APPLAUSE)

- BERT: Fantastic!
- MAN: Brava!

Brava!

BERT: Well it's none of my business,
but in my opinion,

after an applause like that,
Treviso should have let her sing an encore.

WOMAN: Absolutely divine,
didn't you think?

MONTY: I'm not much of an authority
in this field, myself, Bert, but

it's my impression that encores are
rarely sung in the first half of a program.

It's... It's all
reserved for the end.

I'm sure that's the case.

My mistake then.

All I know is
they're eating it up.

- Oh, they're eating it up all right.
- Oh, yes.

(SINGING ITALIAN ARIA)

(ORCHESTRA PLAYS)

(CRESCENDO)

(APPLAUSE)

MAN: Brava!

MONTY: Bravo!

MAN: Brava!

(APPLAUSE CONTINUES)

Even if...

Even if it's not a song that's

supposed to be sung
on a symphony program,

may I sing a song just
because I want to sing it?

(WHISPERING)
This one's just for you.

(MUSIC BEGINS)

♪ Some fellas look
and find the sunshine. ♪

♪ I always look
and find the rain. ♪

♪ Some fellas make
a winning some time. ♪

♪ I never even make a gain. ♪

♪ Believe me, ♪

♪ I'm always ♪

♪ chasing rainbows, ♪

♪ waiting to find
a little bluebird ♪

♪ in vain. ♪

WOMAN: Brava!

MAN: Brava!

(THUNDER RUMBLES)

Eckstein, Rossi, your market man
and your two grocers.

Listen, all they want
is some reassurance.

I spoke to Mr. Eckstein,

and I know for a fact that
payments went out on Monday.

WALLY: The payments did not all
go out on Monday, or the Monday before.

Listen, Mildred,
nobody here wants any trouble.

Believe me,
as council to your creditors,

it's in the interest of
everybody at that table

that you get yourself
back on your feet,

and become the A-number-one customer
you've been in the past.

MR. ROSSI: Well the bakery
must be doing all right.

I see your pies all over town!

No, the bakery is
doing just fine.

Thank you, Mr. Rossi.

As are the restaurants
in Glendale and Beverly.

But here in Laguna, since the opening
of the Victor Hugo down the street, we...

We have seen a dip in business.

Must be quite a dip.

- It's not as bad as all that.
- So where's the problem?

It's true this year I've had

personal expenses and
household debt that have been

a little more than anticipated.

And I've had to increase my salary
for several months to compensate.

Though I certainly
think it's fair,

considering my investment,
that uh,

- should the occasion arise that I would...
- ECKSTEIN: Hold on, hold on.

ECKSTEIN: Hold, hold, hold on.

So what you're telling us is

you'd be showing a profit if it wasn't
for your mansion in Pasadena?

To be honest, Mr. Eckstein,
it really isn't anyone's business.

WALLY: None of it's
anyone's business, Mildred.

If we just went by
what our business was,

we'd have gone to court already
and kept our questions to ourselves.

But we didn't do that.

We wanted to give you a break
and hear what you had to say.

So what do you want to know?

I want to know
what Veda pays in.

She's the big expense, isn't she?

I don't keep books
on my own daughter.

WALLY: Mildred,
Veda is making plenty.

Five hundred a week from Pleasant,
plus what I got her in the settlement.

I mean, why wouldn't
you be justified

in asking her for an amount

that could ease the
pressure all around?

Wally, neither you
nor anybody else

has a right to take
what belongs to me,

or what belongs to my child,
to pay the bills of this business!

Maybe you've forgotten,
Mr. Wally Burgan,

that it was you who told me
to incorporate for precisely this reason,

to keep my personal property
safe from any kind of creditor.

Maybe you've forgotten,
but I haven't!

WALLY: No, I haven't forgotten it.

WALLY: And you're right, no one here
can take a dime of your money or Veda's.

All they can do is go to court,
have you declared bankrupt,

take over. The court will appoint receivers.
You'll be out.

Fine! Then I'm out.

WALLY: You'll be out,
and Ida'll be in.

Who?

Ida?

That's a lie.

- She would never do it, never...
- Oh yeah, she would.

Sure, she cried at first,
said she wouldn't listen to such a thing

because she was such a good friend of yours.
But she couldn't get to you for weeks

just for a little talk.
You were too busy with the concert.

Maybe that hurt her feelings,
maybe it made her wonder. Anyway, now...

She'll listen to reason.

And we figure she can run this business
just as good as anybody can run it.

Maybe not as good as you,
when you had your mind on it,

but better than a
stage-struck dame

who'd rather go to concerts
than pay what she owes!

I'm telling you, Mildred,
you gotta do three things.

You gotta cut down on your overhead
so you can live off of what you make.

You gotta raise some money
from some place,

the place in Glendale, Veda,

so you can square these
bills and start over.

And you gotta cut out all this running around
and get down to work.

You show us some action
by a week from tonight

and you can forget about
what's been said here.

You don't...

Maybe we take a little
action ourselves.

BERT: Two sets of books...

And they...

I'll be.

- And the accountants, did they...
- MILDRED: It's all my doing, Bert.

All my fault...

The different ledgers were my idea.

But how'd you ever think
you'd pay it all back?

Uh...

Well...

If everything you
tell me is accurate...

Oh, it is. It is, Bert.

I've told you everything.

You're the only one I've told.

Well...

as far as I can tell, there's been no
actual violation of the law.

Not saying it wasn't
pretty damn foolish.

But the fact is Veda is
the one who's costing

you money, and she's
the one that's making it.

She's got to kick in.
That's all there is to it.

I never wanted her to know.

I never wanted her to know either,
but she found out

just the same
when I hit the deck.

If she'd had a little dough when
Pierce Homes began to wobble

and I'd taken it and Pierce
Homes was ours right now,

she'd be better off, right?

And who the hell put that
girl where she is today?

Who paid for all the music?
And...

That piano, and the car
and the clothes and...

Oh, you did your share.

(SCOFFS)
Mighty little.

You did a lot, Bert.

You did plenty.

We lived very well
before the Depression,

as well as any family
ever lived in this country.

And for a long time.

Veda was eleven when we broke up.

She's only twenty now.

I've carried on nine years,
but it was eleven for you.

Eleven years and eight months.

Oh!

(CHUCKLES)

All right.
Eleven years and eight months.

But you know what? I'm glad.

I'm glad it was eight months.

We didn't know I was pregnant
when we got married.

That proves I loved you, doesn't it?

Me too, Mildred.

Me too.

Bert, would you talk to her?

I can't ask her for money. I'm not Wally,
I wouldn't know how to begin.

Sure.

(WHISPERS)
Thank you.

(CRYING)

So, tomorrow sometime?

At the house?

Mildred, we can't
wait till tomorrow.

Why? What do you mean?

You've got to talk
to her tonight.

Tonight? It's too late,
she'll be asleep.

I can't help how late it is,
we've got to see her tonight.

Because you forgot
and I forgot and we both

forgot who we're
dealing with here.

Mildred,
you can't trust Wally Burgan,

not even till the sun comes up!

He was my pal,
and he crossed me!

He was your pal,
and he crossed you!

But he was Veda's pal too, Mildred.
And maybe he's getting ready to

cross her too and somehow
get his hands on her dough!

(STUTTERING)
He can't, not for corporate debts.

How do you know?

I know because...

He... He told me so!

- He helped me set up the corporation...
- That's it.

He told you!

Wally Burgan told you!

How can we believe
anything that guy says?

Maybe that meeting
today was just a phony.

Maybe he's getting ready to
compel you to take her money,

as her guardian,
so he can attack it!

She's still a minor, you know.

Mildred, you're seeing her tonight
and you're getting her out of that house

before any process
server can find you.

- BERT: You understand me?
- MILDRED: Yes.

You're meeting me
at the Brown Derby

in Hollywood for breakfast

and by that time I'll be busy.

There'll be four
of us at that table:

You, me, Veda...

And a lawyer.

(KNOCKS ON DOOR)

Veda?

(KNOCKS AGAIN)

Veda?

Veda?

Monty!

Monty!

MONTY: What?

(KNOCKS ON DOOR)

It's me. I have to see you.
Let me in.

MONTY: Why don't you go
back to bed and let me sleep?

It's about Veda!

Ugh, now what?

I need to find Veda and
she's not in her room.

She hasn't been
there all evening.

Oh, for God's sake,
is she an infant?

Maybe she went somewhere.
It's a free country.

She didn't go anywhere.

- How do you know?
- Her dress is there.

Well couldn't she
have changed it?

Her car is there.

Couldn't she have gone
with somebody else?

(BREATHES HEAVILY)

Why... Why are you?

Oh...

Oh...

Oh, God...

Mother.

Look, dear. You have a caller.

MONTY: She looks a bit
confounded, doesn't she?

For the life of me,
I don't know why.

(WHISPERING)
How could you?

How could I? How could I!

That's quite rich,
coming from you.

After so many years of using me for all your...
Your special purposes...

Expecting me to jump every
time you drop a bill

and begrudging me every cent.

You know, I... I thought it might be different
this time around. I thought...

But you can barely
even stand to look at me.

You don't think much of me,
do you, Mildred?

Does it make a difference
what she thinks?

Or what she pays for?

MONTY: You thought you held the strings
on everybody, didn't you?

You thought you could come around
and dress me up

and use me as bait to lure
your famous daughter back to the teat!

No.

MONTY: But it was
live bait, Mildred.

It was live bait!

And guess what? This time the quarry
and the bait fell in love! No kidding!

And for the first time in your life,
there's nothing,

you hear me,
nothing you can do about it!

VEDA: Darling, please.
All this screaming.

Get dressed now
and we'll clear out.

(GASPS)

MONTY: Mildred!
Mildred! Mildred!

(GAGGING)
Mildred!

Mildred! Let go!
Stop it! Mildred!

Mildred, Let go!

- Ahhh!
- Mildred!

(GASPING FOR AIR)

MONTY: Mildred,
leave her alone!

Mildred!

Mildred, stop it!
Stop this nonsense, right now!

Ugh!

Oh!

MONTY: Mildred!

(FOOTSTEPS DOWN STAIRS)

Mildred!

(GAGGING)

(CHOKING NOISES)

(SLAMS ON PIANO KEYS)

(TRYING TO SING)
Ahhh!

Ahhh! Ahhh...

(SCREAMS)

(CRYING)

(BREATHING HEAVILY)

(WHISPERING)
Came the dawn.

God, what a dawn.

(MUMBLES)

ALL: Surprise!

ALL: Congratulations!

To the newlyweds!

(LAUGHING)

- HANS: Cheers to that!
- Oh!

I know this was you.

Ma.

LUCY: Oh, Mildred,
let's get that out of your hair.

BERT: I can't believe it!
I thought it seemed too quiet in here.

I never would have thought.

Look at you.
You look terrific.

So you liked Reno all right?

- Oh, we liked it. We liked it just fine.
- I hear it's something.

It wasn't here anyway,
that's the main thing.

Once the divorce came through
and Bert arrived,

that's all I wanted.

Well, we're sure
glad to have you back.

You know,
I couldn't find the server.

- Oh, I'll get it.
- I'll come with you.

I mean...

- Pop. You said you were watering the lawn.
- I was.

- How's Laguna?
- Picking up.

Strange, though, working for Mildred Pierce,
Incorporated without you, baby.

Oh...

- And the new boss?
- Ida?

(LAUGHING)
I tell you, Mildred, I give her hell.

But we're still standing.

I thought she'd be here by now.

- Anyone else you're expecting?
- Nope.

And if it's Veda you're hinting at,
I did try calling. Didn't hear back.

Well. I wouldn't
have thought...

We did get a wonderful letter though,
congratulating us.

And her voice is nearly healed,
she said, which is...

Well, that's a load off.

It would be if Pleasant Cigarettes
hadn't canceled her contract.

I meant for you.

IDA: Mildred?

Ida! I'm so pleased you came.

- Thank you, they're beautiful.
- Oh, Mildred,

I just... I can't tell
you how sorry I am.

Ida,

you did what you had to do.

I just wish it could of
gone in a different way.

It's water under the bridge.

Well.

You know, Mildred,
Mr. Chris came in the other day.

I tell ya, he's just furious about the quality
of pies that he's been getting,

you know, ever since
we've been cutting back.

- Can't blame him.
- Ah...

So I told him what happened,
you know.

I explained to him
they ain't your pies no more.

And he says to me, "Why not,
she still got hands, doesn't she?"

Now, I know, I shouldn't be
drummin' up more competition but...

There ya go!

Right?

Oh.

Bert? What is it?

It's, uh... Veda's outside.

(STUTTERING)
Veda?

Well, let her in.

She wants to talk out there.

But why?

I don't know.

(CLEARS THROAT)

Veda!

Come inside. There's food.

I can't, Mother.
Hello, Father.

Veda.

But you've come all this way.

I'm actually on my way out.

I'm... I'm flying to
New York this afternoon.

New York?

Oh, we had no idea.

Well, we all know that L.A. is hopeless
for a classical singer and...

Now that my voice is better, uh,
New York is the only real option.

But I heard you two were back,
so I thought I'd stop by on my way.

So you're moving?

- To New York?
- That's the idea.

Alone?

No. Uh, Monty's there now.

Ah.

And you're...

I presume you have some
sort of job lined up?

As a matter of fact, I do.
Um...

I've been speaking with Mr. Hobey,
Father, at Consolidated Foods. And...

He's been very patient.
Very generous, and, uh,

I think everything's
gonna work out just fine.

They do a fine job.
I've said so myself.

I'm very pleased with
how it's all turned out.

How difficult it
must have been...

Playing your cards just so.

I have no idea what you mean,
Mother.

Consolidated Foods.

What was it?

Twenty-five hundred a week?
Not to mention, your ticket out of here, once and for all.

From everything you
hate and despise.

That's the idea, isn't it?

Now you're going to
make me miss my flight.

Goodbye, Father.

Then go. Go!

Was it even damaged,
your voice? Was it?

Don't make a scene, Mother.

(YELLING)
Go! Get out of my sight!

I don't need you, either!

Go to New York, for all I care!
And don't you ever come back!

Do you hear me?
Never again! I won't have it!

I won't have it!

(SOBBING)

Mildred.

(DOOR OPENS)

Thought I might find you here.

Mildred?

(CRYING)
What?

To hell with her.

I say to hell with her!

All right, Bert.

To hell with her!

God damn it.

That's what I wanna hear!

Come on...

We've got each other.

Haven't we?

Let's get stinko.

Yes.

Let's get stinko.