All language subtitles for Highway To Heaven s03e18 A Mother and a Daughter.eng

[theme music]

[chuckles] Imagine.

I mean, all these famous movie
stars putting their autograph

right here in this courtyard.

I mean, look at them, John
Wayne and Clark Gable.

Clark Gable, what a guy.

You know, I wonder if he
was anything like the parts

he played in the movies.

Oh, I think so.

Of course, I haven't spent
that much time with him.

You knew Clark Gable?

Knew?
No.

I know Clark.

How could you know him?

He's dead.

Well, so am I.
That's where I met him.

Oh yeah.

I keep forgetting.
- Look.

Why don't you grab
a few more shots?

We got to get going.

OK.

Yes.

Look, Edward G. Robinson.

Boy, it's really hard
to get a good picture

with everyone standing
all over the autograph.

I wish these tourists would
all get back on a bus.

You know what I mean?

I thought you were a tourist.

Jonathan, please.

I happen to be a student
of film, you know?

Oh, I see.

Boy.

Some tourists have no
consideration for anybody else.

Boy.

You said it.

Hey.

It's you I'm talking
about, buster.

You're hogging Burt Reynolds.

Move, you hippie.

Hippie?

I'm not a hippie.

Oh, then you're a bum.

Anybody with a beard is
either a hippie or a bum.

Oh, really?

Well, let me tell you
something, you little troll--

Hey, Mark.
Mark, come on.

Let's go.
We got an appointment.

OK.

Jonathan, look.
Phoebe Hall's square.

I got to get a picture of this.

It'll only take a second.

[camera snaps]

Oh, Phoebe Hall.

You know of all the movie
stars in this whole place

she's the one I'd like to meet.

I mean, she's a living legend.

Well, you're in luck.

She's our assignment.

You're kidding?

Mr. Clifford will see you now.

Oh, thank you very much.

Welcome, fellas.

Henry Clifford.

I'm Jonathan Smith.

This is Mark Gordon.

How are you?

Have a seat.

Thank you very much.

Can I get you some
coffee, tea, spring water?

No, no, no.
Nothing for me.

I'm fine.
Thank you.

Well, if you change your
mind, boys, don't be shy.

Now, where to begin?

Every so often, the
Hollywood Film Society

likes to honor a
distinguished actor or actress

with a really fine tribute.

And this year is going to be a
pip because we are honoring--

Phoebe Hall.

HENRY CLIFFORD: Right.

How did you guess?

We haven't even announced
it to the press yet.

Well, it's just a guess.

Oh, good.

Well, she's one in a million.

And we want her tribute to
be as special as she is.

Well, Mark and I'll do
anything we can to help.

HENRY CLIFFORD: Oh, good.

Good.

Now, let me outline
your jobs for you.

Mark, we want to show
some really great

clips from Miss Hall's movies.

And I'd like you to
gather the clips for us

from the University
of Film Library.

Oh, now that's
what I call a job.

Did I luck out,
or did I luck out?

HENRY CLIFFORD: Oh, I
like your enthusiasm.

And Jonathan, we want
you to contact the guests

and invite them to the tribute.

You're going to meet
all the movie stars.

Well, that's the way it goes.

HENRY CLIFFORD: And
now, if you don't mind,

I'd like you to start your
job by meeting Miss Hall.

[serene music]

Hi, I'm Jonathan Smith.

This is Mark Gordon.
We're here to see Miss Hall.

Oh, yes.

I'm Irene Casey, Miss
Hall's secretary.

She's out in the garden.

I'll take you to her.

Thank you very much.

IRENE CASEY: Miss Hall,
your visitors are here.

Mr. Smith and Mr. Gordon.

How nice of you
to come, Mr. Smith.

Pleased to meet
you, Miss Hall.

And how are you
today, Mr. Gordon?

Oh, I'm-- I'm great.

I'm just great.

I'm really happy to
meet me-- uh, you.

I'm one of your biggest fans.

I'm honored.

I'm sure these flowers
could like some water.

Shall I take them inside?

Thanks, Irene.

This is quite a
garden you've got here.

You do it all yourself?

Well, to tell you the
truth, the guy upstairs

does all the hard work.

I just help out a little.

I know what you mean.

Well, instead of baking
here in the hot sun,

why don't we talk
over in the gazebo?

Sounds good.

I'll bet that's the gazebo
your father built for you.

Oh, you really must be a fan
if you remember about that.

Yes, my father was very giving.

Oh, I don't mean
material things.

He was just always there for us.

I'm sorry he won't
see the tribute.

But I'll tell you I
was bowled over when

the festival decided to do it.

I couldn't think of
anyone more deserving.

Now, now.

You're going to make me blush.

Well, sit down, won't you?

Thank you.

Well, this a good time to
go over the invitation list?

Sure.
Fire away.

All right.

OK.

At the top we've got your
daughter and granddaughter.

Oh.

Is something wrong?

Well, uh, Mr. Smith--

Jonathan.

Jonathan.

I don't think my
daughter will be coming.

I hope she isn't
sick or anything.

No, it's not that.

We haven't been
very close lately.

Hey, well, this might be a
good excuse for the two of you

to get together.

No.

You see, [sighs] to
be blunt Gail and I

aren't speaking to each other.

I mean, at all.

Oh, I'm--

I'm sorry.

We cut off completely
about six months ago

when she started to write a
book about our relationship.

I don't think it's going to
be a very flattering portrayal

of our family life.

She's writing one of
those exposé books, huh?

I guess that's
what they're called.

IRENE CASEY: Miss Hall!

Excuse me for interrupting,
but you have a fitting

at Karlsson's at 2 o'clock.

Oh, my.

I forgot all about that.

I can't possibly go
like this, now can I?

Forgive me.

Will you please?

Oh, don't you think
a thing about it.

Look.

I'll just leave
the list with you.

You can go over it.

We can talk later.

Thanks.

The rest of the guest
list will be a lot easier.

I promise.

I can't believe it.

I met her in person.

Well, you did.

Now, let's go meet her daughter.

MARK GORDON: What for?

To invite her to the tribute.

What?

You--

My mother's right.

I won't be at her tribute.

Of course, there's
always a possibility

you might change your mind.

I don't what she said about
me, but one thing I am not

is a hypocrite.

And I am not going to stand up
in front of all those people

and pretend that Phoebe Hall
is some terrific person.

Now, I'm sorry if I'm
bursting your bubble,

but the Phoebe Hall that you've
met is the public Phoebe Hall.

The Phoebe Hall I lived
with and grew up with

is quite a different story.

And that's what the
book is going to be about?

GAIL MILLER: Yes.

About a woman totally wrapped
up in herself, in her career,

so wrapped up that
nobody else mattered,

not her child, not
her husband, nobody.

Kinda harsh
words, aren't they?

GAIL MILLER: Yes, they are.

And they're going to
shock a lot of people.

And a lot of people
are going to find out

that the only real parent
I had was my father.

He was a good guy,
but my sweet mother

threw him out of the house
when success went to her head.

Now these are some of
the things that you

don't know about Phoebe
Hall, but you will now.

Of course, some people
are going to say you're

just exploiting your mother.

Oh, they already have.

And I'll tell you
exactly what I told them.

That $100,000
advance on the book

isn't going to begin to make
up for what I've been through.

Although being a divorced
mother, I can sure use it.

Mommy, guess what.

I got an A on my spelling test.

Oh, good girl, Robin.

I'm so proud of you.
- Mommy.

What?

Do we have to
take the pictures

for the book on Saturday?

Yes, sweetheart.

We do.

But it's going to
be a lot of fun,

and you're going to
be in mommy's book.

But it's the same day as
Jennifer's birthday party.

Sweetheart, I know, and
we're going to go to the party

after we take the
pictures, I promise.

OK.

I guess work has to
come first sometimes.

Doesn't it?

I hope you're not
comparing me to Phoebe Hall.

Did I say that?

Gentlemen, I think we've run
the tribute into the ground.

I have to get back
to my typewriter.

So what more can I say?

I guess nothing.

We'll show ourselves out.

[chatter]

Boy, it beats me why any
daughter would write an exposé

book about her own mother.

I mean, for any amount of money.

She's a very angry young lady.

Yeah.

But to go public.

I mean, that's out and out war.

I don't know how
you're ever going

to get those two together.

I don't know how I'm going
to get them in the same room

together.

Maybe if it was an airplane
hangar or something like that.

Let's see.

As long we're on
an expense account,

I think I'm going to have
a triple banana split.

Oh, Mark, come on.

All right.

I'll have a little
chocolate sundae.

You happy now?

[chuckles]

Where are all the
waitresses around here?

Hey, there's Mr. Clifford.

Hi, fellas.

Mr. Clifford,
want to sit down?

I thought you'd never ask.

Well, good luck
if you want to eat.

I think all the waitresses
around here are out to lunch.

Oh, I think I might be
able to speed that up a bit.

What would you like?

Well, I was going to
have a banana split, but--

Mhm.

It's done.

[gasps]

How'd you do that?

I think I know.

That's right, Smith.

What's right?

He's an angel.

I figured that now might
be a good time to tell you.

You see, I'm an area
supervisor from upstairs.

Upstairs?

Wh-- you mean you're
over Jonathan?

That's right.

I've been sent down to
observe and evaluate

Jonathan's performance.

Oh.

Well, let me tell you.

He's the best.

I mean you take it
from one who knows.

I guess you can tell
he's a friend of mine.

I'm anxious to see
how you handle this one.

So am I.

So am I.

- Mommy, we have to leave.
- Shh.

Not yet, sweetheart.

Not yet.

Can we get a little
smile going there, Robin?

Just a few more.

But Mommy.

Just a few more, sweetheart.

Now, come on.

Let's get this done, and
then we'll go to the party.

OK?

I promise.

PHOTOGRAPHER: Come on, Robin.

Just a little smile, OK?

Come on, sweetheart.

Hello.

[gasps] Hello.

Don't tell me you, um, guys
have come here to see me.

No, no.

Mark's doing some work
at the library here.

Yeah.
On your mother's tribute.

Oh, terrific.

Well, I hope we
don't have to have

a fight over the card catalog.

I'm here doing my book research.

Mm.
Who knows?

Maybe you'll end up giving
Mark a helping hand.

Ha.

You're very funny.

ROBIN: Mommy, we have to leave.

The party's already started.

Shh.

Sweetheart, I am sorry.

The pictures are very important.

JONATHAN SMITH: Yes, it
must be pretty tough,

becoming a celebrity
in your own right.

Say again.

Well, I mean, so
many things you have

to give up for your career.

Jim, one second.

Sweetheart, why don't
you run on over there?

You don't know when to quit.

Do you, Mr. Smith?

This isn't exactly
something I do every day.

Oh, I know that.

I'm sure she won't resent it.

She'll probably forget the
whole thing ever happened.

You can't really believe that
she would hold this against me.

Oh?

I thought it was the little
things like this that

build up over a period of time.

Did you say your name
was Mr. Smith or Dr. Spock?

Oh, my name is Jonathan, and
I just see a very disappointed

little girl over there.

Well, Jonathan, I am not
going to make the same mistakes

my mother made, and
for your information,

my child's feelings are
very important to me.

If you'll excuse me.

Jim, whatever pictures
we've got, we've got.

Robin and I are
going to a party.

We are?

- You bet we are.
- All right.

Let's go.

Hi, fellas.

Didn't want you to
think I forgot you.

Oh, no.

We never did that.

Say, did you see
that, Mr. Clifford?

I mean, Jonathan really
turned that chick

around, getting her to take
her little girl to the party.

Now, that's what
I call angelling.

Mark, you don't
have to do that.

Seems like a step in
the right direction.

Well, let's hope
it helps anyway.

Look.
I got to be going.

I got a lot of work
to do on the tribute.

Go ahead.

We'll touch base later.

Right.

I'll see you this afternoon.

Right.

Hey, keep up the good work.

[chuckles] I mean,
isn't he something?

I mean, the man is amazing.

One time we were on this--

Mark, you seem
a little concerned

about Jonathan's evaluation.

Concerned?
Me?

Nah.

I want you to know I'm very
happy with Jonathan's work,

and so is the boss.

Well, that makes three of us.

Yes, indeed.

If this goes well,
he'll get his promotion.

He's going to be moved upstairs.

Wh-- upstairs?

Mm.

You mean he won't
be down here anymore?

That's right.

No more probation.

Heaven knows, he's earned it.

Got to fly.

[doorbell rings]

You sit.

I'll get it.

JONATHAN SMITH: Hi, Irene.

Miss Hall's in
the living room.

Thank you very much.

Hi, Phoebe.

Forgive me.

I'm just having a bad day.

[sniffles]

These are the galleys of--

of Gail's book.

My agent got a hold
of them for me.

Bless him.

It's even-- it's
worse than I expected.

I may not have been
a perfect mother.

I mean, there were a lot of
times I wasn't there a lot,

but I'm an actress.

I was working 14 hours a day.

I suppose I--

I didn't explain it to her very
well, but I wasn't a monster.

Oh, I know that.

Well, I don't think
the people reading

this are going to
be as easy on me.

They're not going
to know that it's

filled with distortions,
especially about my divorce

from Gail's father.

She was only seven
at the time, and she

was very angry about it.

And that angry seven-year-old
is still inside her.

I'm afraid so.

Phoebe, if only
you and your daughter

could get together and talk
about the way things were.

Oh, Jonathan, no.

It just won't happen.

I ran into her a few
months ago, and it

was an absolute disaster.

And now, I-- now, I think the
tribute may be a disaster.

Oh, of course, it won't.

Oh really?

Gail's publisher is
planning a full scale

publicity release for her book
on the same day of the tribute.

It'll be in all the newspapers,
the magazines, television,

everywhere.

It's amazing, isn't it?

The night of the
tribute everyone

is going to know how much
my daughter hates me.

[phone ringing]

[sighs]

Well, look who's here.

Oh, isn't this cozy?

A couple of members of the
Phoebe Hall Fan Club meeting

in the stacks.

Yeah.

To tell you the truth.

I'm not that big a
fan of your mother's.

Oh yeah?

Really I'm, you
know, just doing a job.

You know how it is.
- Hm.

In fact, if you
like maybe you could

use some help on your book.

What?

Yeah.

Well, I know all about
Phoebe's career, you know,

and I got a lot of info on her.

You know, dates, places,
people in her life.

And you want to help me?

MARK GORDON: Yeah.

See I was thinking maybe
the real Phoebe Hall

is not so great after all.

I mean, why shouldn't you
be allowed to write a book?

Express yourself.

That I can't disagree with.

MARK GORDON: Right.

Listen.

I don't know what your
game is, but I could use

some help with the research.

You got it.

Eh, the thing is, you know, just
don't tell my buddy Jonathan.

You know, he just
wouldn't understand.

[chuckles]

Really that's good.

Thank you, Mark.

Hey, glad I could
do it, you know.

Really.

Hey, how are you doing?

Jonathan, uh, what
are you doing here?

I mean, I-- I--

I thought you were
somewhere else.

Yeah.
Well, I was somewhere else.

And now I'm here.

Uh, I have to go out
and get something to eat.

They're going to be showing
some of my mother's films

in about an hour.

Well, maybe we'll bump
into each other again.

You never know.

[chuckles]

[whistling]

OK.

What's wrong?

Wrong?

What could be wrong?
- Oh, come on.

How many years we've
been traveling together.

Two?
Three?

Yeah.
About that.

And you're still going
to be lying to an angel?

- Well--
- Come on.

Out with it.

What's wrong?

What's going on?

(MUMBLING) I was helping
Gail with her book.

What?

I was helping
Gail with her book.

Why would you do
something like that?

You want to know why?

All right, I'll tell you why.

I talk to Mr. Clifford,
and for your information

that nice old angel is not
down here just to evaluate you.

He is down here because if you
do well on this assignment,

you are going to
get kicked upstairs.

I know that.

You do?

Yeah.

That's what I came
over here to tell you.

Look, I would have
told you sooner,

but I was having a hard time
working myself up to it.

I mean, it's not going
to be easy leaving you.

Yeah.

Look.

Maybe you won't have to.

Don't you see?

My helping Gail with the book
is kind of insurance for us.

I mean, she gets the
book out on time,

and she and Phoebe
don't get together,

the assignment is a bust.

You don't get the promotion,
and you stay right here.

Mark, we can't do that.

It's wrong.

Why?

I mean, it's not the
worst thing if they don't

get together and socialize.

I mean, they haven't gotten
along in years, right?

The world hasn't come to an end.

Mark, I can't blow an
assignment on purpose,

even if part of me wants to.

Now, go wait for
me at the hotel.

I'm going to stay here.

I'm going to talk to Gail.

Jonathan.

Mark, I'm sorry.

When the boss says
it's time, it's time.

Whoa.

We keep bumping
into each other.

- Yes.
- You seen Mark anywhere?

Uh, not since we
met you in the hall.

He's probably off running
an errand somewhere.

Hm.

He's a busy guy.

I'm sure you're both very
busy with the tribute.

There's a lot to do.

A lot of people are coming.

Mhm.

And they'll all be
gushing over Phoebe Hall.

Your mother has
a lot of friends.

I'm not impressed.

She wasn't my friend.

Oh, come on.

Now, I find it very
hard to believe.

Really.

You know, I can't count
the number of times

as a kid I just begged
her to spend some time

with me, go places with me.

Oh.

Are you telling me your
mother never took any place?

Never?

[sighs] The times were
so few they're hardly

worth remembering.

There was one time when
I was six or seven,

and I begged her to
take me to the movies

to see her latest picture.

And what do you know?

She got mad at me.

I did something to offend
her, and she dragged me out

of there so fast.

So much for spending
time with my mother.

Oh.

Well, you were awfully
young at the time.

Is it possible you
might not remember it

exactly the way it remembered.

I have a very good
memory, Jonathan.

JONATHAN SMITH: Oh,
I'm sure you do,

but when people are
angry at their parents,

the old mind has a way
of distorting the facts.

Not so in my case.

PROJECTIONIST: You guys here
to see "Love That Girl"?

I am.

Well, I got it threaded.

We're ready to rock and roll.
GAIL MILLER: Thanks.

I'll be there in a minute.

Phoebe Hall.

Boy, is she awesome.

Hey, look.

I know you consider me a
member of the enemy camp,

but would it be all right
if I sat down for a while

and watched it?

Suit yourself.

GIRL (ON FILM): Come in.

JACKY (ON FILM): Heya, kid.

Hey, come on.

What's wrong?

GIRL (ON FILM): Oh,
I'm sorry, Jacky.

I don't know what's
wrong with me.

JACKY (ON FILM): Here.

Wipe those tears.

That's it.

Now, come on.

Level with me.

GIRL (ON FILM): Well,
the show is a hit,

and we'll going
on the road soon.

JACKY (ON FILM): Well, hey,
then maybe Europe, Paris,

London, the Palladium.

GIRL (ON FILM): I know.

JACKY (ON FILM): Oh, come on.

What's going on here?

What's to cry about?

GIRL (ON FILM): Well,
you won't be going.

PROJECTIONIST: Uh, sorry.

It'll be just a minute.

I got a problem in here.

[chattering on screen]

[sighs]

How long till the
movie starts, Mommy?

Oh, just a few minutes, Gail.

I can't wait, Mommy.

Look.

There's Phoebe Hall.

Hey, Phoebe, how about
your autograph, huh?

No.
No autographs please.

Come on, Phoebe.

[interposing voices]

Just-- just a few.

I mean, I'm your fan.

[interposing voices]

PHOEBE (ON FILM): I'm on a
date with my little girl.

[interposing voices]

I'm spending the day
with my daughter.

AUTOGRAPH HOUND: What
are you talking about?

We paid to see your picture.

[interposing voices]

Come on.

What are you talking about?

[intense music]

Mommy.

Mommy.

Come on.

What are you talking about?

Come on.

Mommy.

PHOEBE (ON FILM):
It's all right, Gail.

Stop it!

No.

No!

PROJECTIONIST: Are
you all right, miss?

Yes.

Yes, I'm all-- right.

[stammers] Um.

I just fell asleep.

I-- I had a dream.

REPORTER: And now
"Focus on Hollywood"

brings you the story
everybody in this town

has been buzzing about.

Film legend Phoebe Hall,
who is being honored tonight

with a televised gala tribute by
the prestigious Hollywood Film

Festival will be getting a
very different kind of tribute

later this spring from
her only daughter, Gail

Miller, when Gail's
book about life with mom

hits the bookstores.

In fact, from the
excerpts we've read,

daughter Gail will make all
those other exposé books

by the children of
Hollywood stars seem like

Mother Goose nursery rhymes.

And when we return, another
famous star unties the knot.

It's on every channel.

Oh, I hate to see
you go through this.

But tonight the show
must go on, right?

Well, it is getting late.

Shouldn't you be
getting dressed?

[sighs] Irene, I'm not
going to the tribute.

Oh, Phoebe, don't say that.

[doorbell rings]

Jonathan said he'd
be dropping by.

Hey, Irene, what
a knockout dress.

You look lovely.

Oh, thank you.

How's the lady of the hour?

She want anything before
the limo gets here?

Well, there is a
problem, Jonathan.

She says she's not going.

I'll talk to her.

Irene told you?

Yeah, she told me.

I'm sorry, Jonathan.

[sighs] It's one thing to
know that the press release

on the book is coming out
today, but it's another

to find that it's--

I mean, it's actually happening.

I-- I can't face
all those people.

Look.

I understand how you feel, but
I've talked to all the people

that are coming tonight.

They love you, and
they want to see you.

That was before today.

Oh, Phoebe, you've known
these people for 40 years.

They're your friends.

You really think
they're going to change

the way they feel about
you because of some book

your daughter wrote?

Jonathan, I don't
think I can pull it off.

Phoebe, don't you see
what you're doing, huh?

You're letting your
daughter control your life.

[scoffs] I guess
in a way I am.

Well, you can't.

You can't back out of
this tribute because

of your daughter's anger.

The tribute has nothing
to do with that.

Look.

No matter what Gail
thinks about you,

you know the kind
of person you are.

You know how you are inside.

Well, I thought I did, but--

Hey, no buts.

Phoebe, I don't know
anybody who deserves

a tribute more than you
do, nobody in this town.

You know, you're very dear.

Does that mean you'll go?

Oh, Jonathan, I don't know.

Phoebe, you know, all of your
friends are going to be there

tonight waiting to see
you, because they love you.

Well, I--

I do have some
pretty good friends.

If I don't go, it--

it wouldn't be very
fair to them, would it?

No, it wouldn't.

OK.

I'm an actress.

I'll do it.

[typewriter clacking]

Still at it, huh?

Where'd you come from?

Your daughter let me in.

I'm just on my way
to the tribute.

And you're still
trying to get me to go.

I thought I'd give
it one more try, yeah.

You know, you are so
concerned about my being there.

You know who should
really be there?

My father.

But he won't be.

You know why?

Because she killed him.

[scoffs] Gail, you
know that's not true.

Yes, it is.

He loved my mother,
and he loved me.

But Phoebe forgot
all about that.

And when she threw him
out, she broke his heart.

It destroyed him.

He started drinking, and
two years later, that's what

killed him in a car accident.

So everything that happened
is all your mother's fault?

I was there the night
she threw him out.

I know what she said to him.

It was awful.

Now, I won't change my mind.

I am not going to
my mother's tribute.

But I will be watching a
Phoebe Hall movie tonight.

Ironic, isn't it?

Now, if you'll excuse me.

[somber music]

Jack, I love you,
but I don't know--

And I'll tell
you something else.

I am tired of being treated
like Mr. Phoebe Hall.

Well, maybe you
wouldn't feel that way

if you went back to work.
JACK (ON TV): Oh, what is that?

A joke?

Going back to selling furniture.

I could work 10
lifetimes and not

make what you make in a year.

But Jack, you are
spending all our money.

JACK (ON TV): Talk about
being tight-fisted.

Jack.

I have an endless stack of
bills for your new sports car,

your tons of liquor, plane
tickets to Las Vegas for you

and your gambling buddies.

JACK (ON TV): Hey, if I
didn't have my own friends,

who would I have, huh?

You think I'd be invited to all
those fancy Hollywood parties

if I wasn't married
to some celebrity?

Oh, Jack, I didn't plan
on becoming a celebrity.

It just happened that way.

Oh, Jack, this isn't
getting us anywhere.

Don't you see?

You're barely functioning.

Oh, come on.

I do what I'm supposed
to do, don't I?

Don't I take the kid out?

Don't I take her places?

I'm a good babysitter.

PHOEBE (ON TV): No, you're not.

The truth is I can't trust you
anymore to take care of Gail.

You've already had one
accident with her in the car

because of your damn drinking.

She didn't get hurt, did she?

I can't believe
you just said that.

Jack, I want you to
get yourself together.

JACK (ON TV): Well,
now, what is that?

A threat?

What if I don't?

Then I don't know
if I can continue.

You?

You talking about divorce?

Oh, oh, come on.

My dear, what about
that image of yours?

You know, I think
I'm finally getting it

through my thick head
nothing's going to change.

Jack, image or no image,
this marriage is over.

I want you out of the house.

Oh, sure, you do.

PHOEBE (ON TV): I mean it, Jack.

I want you out!

JACK (ON TV): Phoebe.

Phoebe, you don't
want to break up.

Jack, it's over between us.

I can't believe
you're just going

to throw me out like this.

I have had enough.

You're being so cool about it!

Phoebe, I'm your husband.

We had a kid together.

PHOEBE (ON TV): It's too late.

JACK (ON TV): Come on, Phoebe.

Come on.

Just give me another chance.

OK?

I mean, where am I going to go?

I'm sure one of your
friends will take you in.

Oh, that's nice.

That is really nice, Phoebe.

All right.
We'll play it your way.

OK?

Because I don't need
you or this big house.

You know what I need?

You know what I need?

I need a woman
who isn't a stone.

Just let me know
where you'll be,

and I'll send you your things.

Yeah.

You just do that.

I'm telling you something.

When word gets around that
you're the one who kicked me

out, I'm the one
that's going to end up

smelling like a rose, not you.

So long, Phoebe.

Having directed
Phoebe in 11 movies,

I'd say I know her pretty well.

Much better than some people,
who, hm, think they know her.

So I guess I have the
right to say that Phoebe

is one terrific human being.

[applause]

I directed her in
her first picture

when she was 10 years old.

Excuse me, Miss Hall.

You'll be introduced
in about five minutes.

Oh.

Thank you very much.

DIRECTOR: But there was nothing
little about her talent.

She had the instincts and
discipline of a mature actress.

Jonathan, where'd you go?

Where have you been?

I went to see Gail.

Make any headway?

I don't know.

I did what I could.

It's up to her now.

DIRECTOR: Little
Miss Phoebe Hall.

[applause]

[upbeat music]

Mother.

[applause in background]

I had to come.

I don't know how to say this.

All these years, it
never occurred to me

to even try to look at things
from your point of view.

[sniffles] I know this
is going to sound crazy--

[applause in background]

--but I'm wondering
now if maybe I

wasn't a little
mixed up about things

that happened when I was a kid.

What things?

Things about father.

Maybe he wasn't the perfect
person I wanted him to be.

Was he, Mother?

Mother, answer me.

Why talk about it now?

He's gone.

But he isn't.

[applause in background]

He's still between us.

Your father had
serious problems.

Why didn't you ever
talk to me about it?

Why?

I guess it had to do
with my own father.

I was lucky because
he was so good.

His memory has been
very important to me

through the years.

So I just couldn't bring
myself to tear apart

the memory of your father.

It meant too much to you.

DIRECTOR: Well,
there you have it.

From age 10--

Mother-- I--

STAGE MANAGER: Miss Hall.

DIRECTOR: An actress
for all seasons.

Miss Hall, you're on.

DIRECTOR: Please welcome her
now, ladies and gentlemen,

the one and only Phoebe Hall.

[introduction music]

[cheering and applause]

You are all so wonderful.

Thank you.

Ladies and gentlemen,
before I say another word,

I would like to share this
moment with two people who

are very special to
me, my daughter Gail

and my granddaughter Robin.

[weak applause]

[murmuring]

Can I say something?

Of course.

I'm sure you've all heard
or read that I've been

writing a book about my mother.

Well, I want you all to know
that I've called it off.

[murmuring]

Because I've realized
that there is no way

I can put into words how
much my mother means to me

and how proud I am of her.

[applause]

Would you please forgive me?

I love you so much.

And I love you.

[applause]

[tender music]

Well, you did it.

Can't do it any
better than that.

It was good to
see them together.

Yeah, it was.

I didn't realize
it'd be this quick.

I guess the boss
doesn't waste any time.

Look at us, will you?

The glum chums.

Well, you'd think we were never
going to see each other again.

I'm sure we'll see each
other again some day.

Yeah.

You'll probably be
happier up there.

I mean you won't have to
deal with all the nutsy

problems people have on Earth.

Boy, that's the truth.

I'll tell you that.

Jonathan, uh--

I'll be seeing you, OK.

I'm ready.

Jonathan, my boy,
how can I say this?

You're not going to
be moved upstairs.

I'm not?

MARK GORDON: He
doesn't have to go?

[claps] He doesn't have to go.

[chuckles]

I tell you.

I've been going back
and forth on this one,

and I keep coming to
the same conclusion.

You're too valuable down
here, too good at what you do.

But what-- what
about the boss?

HENRY CLIFFORD: Now, now.

It's my decision.

And I've been given the
authority to make it,

so don't try to
talk me out of it.

OK?

Yeah.

OK.

Thank you, Mr. Clifford.

On the contrary, Jonathan,
it is I who want to thank you.

You see, I'm Phoebe
Hall's father.

Home, Stanley.

Hey, whoever owns
this piece of junk,

do you want to get
it out of here?

I got news for you, pal.

That's the most beautiful
car in the world.

Well, come on.

What are you waiting for?

We got an assignment.

Right.

[triumphant music]

[theme music]

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