All language subtitles for Highway.To.Heaven.S02E04.Cindy.1080p.WEB-DL.AAC2.0.H.264-squalor (1)_track3_[eng]

[theme music]

Mark, come on.

When are you going to
admit you got stiffed?

I was not stiffed.

I paid $5 for that map.

Kid swore it was the latest
map of all the in spots.

You were stiffed.

Come on, Jonathan.

Yokels get stiffed,
not former cops, not

people with a
professionally trained eye.

Yeah, well, so far with
us up-to-date list of all

the in spots in Hollywood,
we've seen three parking lots,

two supermarkets and a
coin operated laundry.

We don't have time for this.

We got work to do.

Oh, come on, Jonathan.

We're in Hollywood.

We at least have to see
a couple of sites, huh?

Excuse me, pal.

Could you tell us how
to get to the Mocambo?

The Mocambo?

Yeah, yeah.

It says on the map it's one
of them real big nightclubs.

Gone.

How about the Crescendo?

Long gone.

What about the Romanovs
or the Brown Derby?

You've got to be kidding.

Schwab's Drugstore
or the Trocadero?

Hey, wait a minute.

You're Allen Funt.

I recognize you behind that
phony beard and that big nose.

[laughs]

Hey, where's the camera, huh?

You know, I seen that thing
with the talking mailbox.

[chuckles] This is great.

I am not Allen Funt!

We're from out of
town, all right.

From out of town, huh?

Sounds to me like you
bought one of them maps.

All right, don't say anything.

All right, just
don't say a word.

I'll tell you one
place that's still there.

MARK: Yeah, where's that?

The Hollywood Grill,
number 54 on your map,

right between the Moulin
Rouge and Rin Tin Tin's house.

What's so special
about that place?

It's where you're
going to be working.

Where I'm going to be
working, what about you?

Jonathan?

Jonathan!

Oh, I really hate it
when he does that.

[growls]

Look, Mr. Harris, you've
got to give this guy a break.

He has a wonderful act.

Death.

What death, who death?

What are you talking death?

The guy's act is death.

I saw it 30 years
ago, 40 years ago.

Cory--

MR. HARRIS AND VINCENT:
Klein and his Canine Clowns.

It's death.

Mr. Harris, that
was 30 years ago.

It's what I just said.

But he's changed the
act totally, completely.

With all those K sounds,
nobody likes K sounds.

There's no warmth in K sounds.

Cory, Klein, canine-- corpses.

You were right.

It was death, but
that's all history.

So how did he change it?

Oh, you're going to love it.

Manny Mumford's and his
Marvelous Mutts, M sounds.

There's warmth there, heart.

This will do it.

Mhm, mhm, mhm.

Mhm, mhm.

VINCENT: Sounds like mother.

Vinny, you're a good agent.

No, I take that back.

You're a lousy agent, but--
but you're a good person.

But Mumford's Marvelous
Mutts is death.

It's wholesome,
and you got to have

a spot for something wholesome.

The only thing that I got open
is-- is an elk's convention.

That's perfect.

Elks, mutts-- what
could be more natural?

A 100 bucks and you got the act.

- I can't do it.
- 50 bucks.

50 bucks, and I'll leave
the Dobermann at home.

No way!

20 bucks!

I told you, no!

All right, I'll
pay you to take him.

You'll pay me?

I'll pay you your
usual commission,

and I'll slip you 30 bucks
for Manny and the mutts.

Vinny, Vinny.

Vinny, you're crazy.

You know that, don't you?

VINCENT: Mr. Harris, Manny's
been with me for 30 years

since before he was Cory Klein.

I'm all he's got.

Is it a deal?

[chuckles] They don't make
them any more like you, Vinny,

[chuckles] maybe they never did.

All right, it's a deal.

Yeah!

But you don't breathe a
word of this to Manny.

My lips are sealed.

Thanks.

Vinny, you're a good man.

Well, I try to be.

Try to be what?

Never mind, I thought
you said something.

Mr. DeGeralimo?

[groans] Don't hurt me.

I've got a few dollars
in my jacket pocket.

No, no, no, sir.

I'm not here to rob you.

You're not?

No.

I usually don't tell people
this right off the bat,

but I'm in kind of a rush
so I'll get right to it.

I am an angel.

[chuckles] Go
on, you're kidding.

No, sir, I'm not kidding.

You're really an angel?

That's right.

Well, you've come
to the right place.

Come on in.

I got a show for you that'll
bring back vaudeville.

- Mr. DeGeralimo.
- Vinny!

Call me Vinny.

Hey, can I get you
something, a glass

of water, a cup of coffee?

Hey, I'm trying to
cut down on caffeine.

A soda?

Actually, all I got is water.

Look, Vinny, if you'd just
let me tell you why I'm here.

I know just why you're here.

I don't know how you found
me, but believe you me,

you're a godsend.

Well, actually, that's truth.

You want to talk acts?

I got acts.

Here, Marvin Mandrake
and his Musical Saw.

Look, Vinny, that's
not exactly why--

VINCENT: I know, you're going
to say he's not highbrow enough,

but let me tell you something.

Marvin Mandrake can play "Flight
of the Bumblebee" on that thing

and cut through a 2
by 4 at the same time.

I'd like to see Jascha
Heifetz try that.

Vinny, try to understand.

I'm not that kind of an
angel, I don't back shows.

What kind of angel is there?

The kind you were
just talking about,

the kind that's heaven-sent.

I don't know what
you're talking about.

[exhales] All right, look.

I don't usually show people my
powers just for the fun of it.

But if it's going to help
you to believe, goodbye.

Look what happened.

Where'd he go?

Vinny.

My gosh, it's the most
amazing thing I've ever seen.

I got to sit down.

JONATHAN: Now do you believe me?

I sure do.

You could have knocked
me over with a feather.

What's your name?

Jonathan, Jonathan Smith.

Look, Vinny, I know you've
got a daughter named Cindy,

and I know the two of you
haven't spoken to each other

for over a year except maybe a
couple of times on the phone.

That's amazing.

[PHONE CRADLE CRACKLING, AND
KEYPAD SOUNDING]

JONATHAN: Wait.
What are you doing?

I got to make a quick call.

I'll be right with you.

Hello, Mr. Harris,
Vinny DeGeralimo.

I got an act that's
going to knock

you on your ear, Johnny Angel.

Vinny!

What does he do?

He appears.

He disappears.

He does an act-- he
does a psychic act

that makes The Amazing Kreskin
look like Mickey the Dunce.

Wait a second, I'll ask.

Johnny, if you can make
Queen Elizabeth disappear,

I can get you a spot
on the "Carson Show".

Vinny, will you-- will you
try to understand, please.

I'm not a magician.

I'm an angel sent from heaven.

Do you understand?

VINCENT: I sure do.

Harris, are you listening?

Now look, you're not going
to stiff me on this one

because this kid is
sent from heaven.

He's an angel,
he's a sweetie pie.

He's a pussycat so you've
got to play straight with us.

Vinny, I'm not a sweetie
pie, I'm not a pussycat,

I'm not a magician.

I am an angel sent from
heaven on a mission for God.

Hold on, Harris, the
kid's freaking out on me.

I'll call you right back.

Look, let me see if
I got this straight.

You are an angel--

That's right.

--sent from heaven?

You got it.

Kid, I got to tell you.

You got a lot of talent,
but I don't handle druggies.

Out!
- Look, Vinny.

If you'll just
listen to me, please.

Look, call me old
fashioned, call me a kook,

but it's not my bad.

You're a good kid.

Come see me when you get
yourself straightened out.

I'll be back.

Dear God, what's
the matter with people

burning out their brains?

Well, Mark, you look
very nice in your uniform.

Very nice, indeed.

Thank you, Mrs. Stepmutter.

Schtepmutter.

And now I'd like you
to meet my daughters,

Hortense and Clarice.

Oh, hi.

I'm Mark Gordon.

Charmed.

Likewise.

They both work here?

Oh, no, no, [chuckles] no.

Au contraire, contraire.

No, my daughters are
artists, actresses.

Bright, new stars ready
to add their luster

to the Hollywood firmament.

Ah, good luck, you guys.

Guys, guys?

Momzie, he's so
coarse, he's so common.

Of course, he is dear.

He's the help.

Now then, come along,
I'll show you the kitchen.

Cindy, this is Mark--

Cindy!

Oh, that girl.

Cindy!

Hey, hey, hey.

You don't have to shout.

I ain't deaf, you know.

Ain't deaf?

You should be flogged at
high noon in a public square

for the crimes you commit
against the language

of the Immortal Bard.

This is Mark Gordon,
our new executive chef.

Hi.

Hi, welcome to
hog heaven there.

I'm sure you two
will get on famously.

Uh, Mrs. Stepmutter, ah--

Schtepmutter, with an umlaut.

Right.

Uh, do you think that
I could knock off

early today so I could
go to that audition

over at the Music Box?

Audition at the Music Box?

Why, my daughters
are auditioning

for that production.

It doesn't look
like we're too busy.

I can handle this place
if she wants to take off.

Well, thanks, Mack.

You're a real stand up guy.

So is that OK and everything?

It's really important to me.

Well, Cindy, you
just finish your chores

and, uh, yes, that'll be fine.

Oh, jeez, thanks, Mrs. S. I
mean, I really appreciate it.

[scoffs] That's quite
all right, my child.

You just finish chopping
those vegetables

and scrub down the grill.

Clean the grease
pits, mop the floors,

hose down the garbage bin
and wash all the windows.

Clean the ovens and
launder the tablecloths.

Uh, clean the slicer and
polish the silverware.

Peel those two bags of potatoes
and that sack of onions,

then you're free to go.

[chuckles]

All right, kid, maybe
I said the wrong thing.

Hey, don't sweat it.

There is no way in the world
she would ever let me go.

Why?

I mean, what does
she got against you?

Nothing, just
that her daughters

are up for the same part.

To tell you the truth, I
kind of respect her for that.

You're kidding.

I mean, that woman just dumped
all over you to make sure you

couldn't get your audition.

Mhm, she was mean to me, but
she sure stands by your kids.

Got to give her
credit for that, huh?

Right.

Hey, you don't
need to do that.

You're the executive chef.

Well, Cinderella had
those mice helping her.

I figure you could
have a former cop.

Cinderella, huh?

That is a laugh.

I don't exactly have a fairy
godmother, let me tell you.

The closest I ever came to
that was a meter maid who let

me slide on a parking ticket.

Yeah, maybe not, but you might
just have a guardian angel.

Hey, pal, hold it.

Where'd you think you're going?

I don't know, he
hasn't told me yet.

Um, who hasn't told you?

My boss.

Look, this is
private property.

So unless you have
legitimate business--

No, no, I have business here.

I'm with, uh--

I'm with Heavenly Productions.

What's your name?

Jonathan Smith.

Smith.

There is no Smith on my list.

Uh, I'm here to
see Mr. Prince.

I'm sure my name
must be on the list

if you could just
check it one more time.

Oh, I'm sorry, I must
have skipped it before.

Office is right--
- I know.

Thank you.

Sergio.

Yes, Mr. Prince.

Look at this.
Look at this!

I've been through
both trades twice,

cover to cover, there's not one
word about my film in there,

not one word.

I

Don't exactly have
a strong deal here.

King's expecting
action on this thing.

We're going to have to
generate some, Sergio.

Yes, Mr. Prince.

[knock]

Excuse me.

I'm working the mailroom today
and your secretary wasn't in.

We have nothing
to pick up yet.

We need a gimmick, something
to stir the press up.

Why don't you have a ball?

Why don't you take a hike?

No, no.

Now wait a minute.

What is this about a ball?

He's trying to sell
us some kind of tickets

to a ball or something.

No, I'm not.

I'm just saying,
why don't you hold

the ball, a fancy
dress ball where

you pick your next actress?

Have a ball, how
tacky can you get?

Hey, I don't see
anything tacky about it.

It'd be a modern day
Cinderella story.

I think you'd get
a lot of publicity.

It's stupid.

It's brilliant.

Yes, I think you're right.

We have a fancy dress ball,
invite every starlet in town.

And that night,
right at the ball,

we choose the one to
star in my next picture.

You've done it
again, Mr. Prince.

This guy's good.

What's your name?

Smith, Jonathan Smith.

I can't believe it.

You really got in
to see Maxim Prince?

That's right.

The man doesn't
know it yet, but you

got the girl he's
looking forward

to star in his next picture.

I do?

That's right.

Ida Washkikovksy.

Oh, Vinny.

The contortionist contralto.

I knew she'd catch
on one of these days.

Just like I always said,
the body of a pretzel

and the soul of a Pavarotti.

Vinny, it's not Ida.

Then who?

You'll see.

Can I tell you something?

You're going to find out she's
going to be the most important

client you've ever had.

Why are you doing
all this to me?

What's the angle?

What's in it for you?

It's like I
said, I'm an angel.

OK, Johnny.

If the chick, whoever
she is, gets the part,

you got a piece of the action.

Oh, Vinny, Vinny.

When are you going
to understand?

OK, OK, OK.

You drive a hard
bargain, but you got it.

We'll figure out a way to work
your magic act into the show.

Anything you say, Vinny.

Here we are.

Wait a second.

This is where we're going
to find a future star

of Maxim Prince's next picture?

Hey, Vinny, if they
could discover Lana Turner

in a drugstore, you could
certainly discover Cinderella

in a Hollywood Grill.

Let's go.

I guess we're early, huh?

That's OK, we'll wait for her.

I'll be right with you.

Daddy?

Cindy?

So much for introductions.

Daddy, why didn't you
tell me you were coming by?

I would have gotten
some time off.

What are you doing here?

That's what I'd like to know.

Vinny, the only way I
could get you two together

was to talk show business.

That's all you
want to talk about.

Besides, I think she's
just what he's looking for.

Just what who's looking for?

Johnny, you're
a good magician,

but you've got a lot
to learn about people.

This will never do.
- What won't do?

- You won't do.
- I think she'll do.

- What I do?
- You do.

- She won't do!
- Says who?

Says you?

Yeah, me, that's who.

And you won't do.

Yeah, well, maybe
I don't want to.

Oh, you'd want to.

Want to what?

Want to do, but you won't do.

And even if you could
do, I wouldn't do.

So there's nothing to do
and that's the end of it.

It's done, and there's
nothing more to talk about.

Daddy, I have not seen
you in a whole year.

And instead of coming
in here and saying,

hey, Cindy, how you doing?

You'd lay into me
with the who would,

what do voodoo with
some clown I've

never seen before in my life.

And then you say there's
nothing more to talk about.

JONATHAN: She's right, Vinny.

Thank you.

Who are you anyway?

I'm a friend of Mark's.

VINCENT: Who's Mark?

Fry cook.

VINCENT: So you think some
kook magician and a fry cook

know better than your father?

I never said any such thing.

Did I say any such thing?

VINCENT: Well,
what do you think?

CINDY: I think I know
what's best for me.

VINCENT: Then are you ready
to wash that paint out

of your hair and move back
home, and go to college,

and look like a
normal human being?

No, I don't think so.

VINCENT: Like I said, there's
nothing more to talk about.

[exhales] Why--

why can't he just accept me?

[groans] Most parents
have two children,

the real one and the
one they dream about--

the one who isn't going to make
the same mistakes they did.

I just wish I
could do something

to make them proud of me.

Oh, come on, Cindy.

That's not your job in life.

Try telling that to him.

[loud bang]

Holy cow, what was that?

I don't know.

I'll take a look.

[sighs] My father.

How you doing, Mr. Prince?

Who?

[chuckles] The genius
from the mailroom.

Yeah.

Yeah, it looks like
it's not your day, huh?

Tell me about
it, women and cars.

First my girlfriend, now this.

It's all your fault.

What do you mean my fault?

Well, I told my girlfriend
about your brilliant idea

about the ball, pick the
actress for my next film, right.

She dumps me.

Why?

MR. PRINCE: That's
what I said, you know.

She says, what do you
think I was going with you

for in the first place?

She thought we had an
understanding, right.

She was going with
me to get a part.

Hey, look.

Why don't you come on
inside, have a cup of coffee?

Later on, I'll come out and
take a look at this thing.

I used to be pretty
good with these.

Yeah?

Yeah.

Yeah, thanks.

Women, they're all
alike in this town.

Get them a part, that's
all they care about.

What will it be?

Ah, just some coffee.

I hate to disagree
with you, Mr. Prince,

but I really don't
think they're all alike.

Oh, sure they are.

You know, watch this.

Ah, what's your name?

Cindy DeGeralimo.

You want to be an actress?

How'd you know?

- See what I mean.
- Oh, come on.

Just because she wants to
be an actress don't mean--

Do you mind?

My name is Maxim Prince.

I'm producing a new
movie for King Studios.

Are you kidding?

No.

No, I'm not kidding.

And I think you would be
perfect for one of the parts.

I'm going to faint.

Do you think that maybe
I could audition for you?

Maybe, but I got to
know you better, you know.

Tonight, maybe we'll--
we'll go out for dinner,

we'll talk about it.

Um, listen, I don't want to
be rude or anything, but if--

if you think I might
be right for the part,

why not let me read first
and then leave it at that?

Wait a minute, wait a minute.

Are you saying you're not
going to go out with me?

- Yeah, that's what I'm saying.
- What?

You don't understand.

No date, honey, no part.

Tough tomatoes.

MR. PRINCE: Hey,
what is it with you?

What is it with me?

What is it with you?

I'm a producer.

Yeah, well, I'm a person,
and I don't know you,

and you're trying to
put the make on me.

So goodbye.

How about that?

What a dame.

All right, go ahead.

Give it a try.

[engine revving]

Yeah, right.

You're a regular magician.

You know, a lot of
people tell me that.

Listen, uh, that girl,
Cindy, I'm going to send

her an invitation to the ball.

Just tell her it's an
audition, no strings attached.

Don't worry, I'll tell her.

Thanks.

What a dame.

[chuckles]

What a Prince.

[music playing]

Mark, do you really
think he's going to get

me an invitation to that ball?

If Jonathan said
he would, he will.

How can you be so sure?

Because-- because.

MRS. SCHTEPMUTTER: Cindy,
we have a customer.

VINCENT: Hiya, kid.

Two days in a row,
it's more than I've

seen you in a whole year.

Yeah, and whose fault is that?

I don't want to go
into that right now.

Listen, kid.

I want to apologize for
what I said and everything.

What?

Look, Johnny
told me that Maxim

Prince guy thinks you
might be right for a part

in his picture.

Oh, it's probably just
talk, I wouldn't count on it.

I don't know.

That Johnny Angel seems to
be pretty well connected.

What I'm trying to say is
if you do get that invite,

maybe I can help you.

You want to help
me try to get a part?

Nothing would make
me happier, kid.

Well, what about me going
to college and-- and looking

like what you call normal?

I know, I know, I know.

But Johnny came by to see
me and he got to talking--

and he's quite a
talker that guy.

And what it boils
down to is everybody's

got their dreams in this life.

And if being an actress is your
dream, then from here on out,

it's my dream too.

You mean that?

What do you think?

I think you're the best
dad in the whole world.

CLARICE: This
invitation is mine!

HORTENSE: Get you hands
off it, chubby, it's mine!

Chubby?

It came to me, you gargoyle.

It came addressed to girl
from the Hollywood Grill.

He could only have meant me!

MRS. SCHTEPMUTTER: Girls,
girls, where are our manners?

Look, Momzie.

Lardo here, is trying
to steal my invitation

to Maxim Prince's ball.

Let me see that.

It's not a masked ball,
deary, and that's the only kind

you'd be welcomed at.

MRS. SCHTEPMUTTER: Stop
that bickering this minute.

And there are three
invitations to the ball.

We're all going to that ball.

[chuckling]

Excuse me.

I believe those
invitations are for Cindy.

Who are you?

My name's Jonathan Smith.

I'm a friend of Mr. Prince's,
and he wanted me to make

sure Cindy got the invitations.

Ugh, don't be absurd.

Why, Cindy doesn't even
want to go to that ball.

Not if she wants to keep
her job, she doesn't.

Well, Cindy?

Well, if you put it that way--

That's exactly
the way I put it.

Then, no, I guess I
didn't really want to go.

But, Cindy.

It's OK, Pop.

MRS. SCHTEPMUTTER: Well,
come along, darlings.

Momzie's going to take you
both to Mr. Ritchie of Laguna

to be outfitted for
new gowns for the ball.

Oh, Mommy, you're the sweetest
Mommy in the whole world.

[chuckles]

MRS. SCHTEPMUTTER:
Yes, isn't that true?

Well, Cindy, don't forget
to clean up before you leave.

Come along, girls.

[chuckles]

Well, so much for that.

JONATHAN: Ah, not necessarily.

What do you mean?

Well, what's
good as a magician

if he can't come up with a
few tricks like, uh, four

more invitations to the ball?

Holy cow!

How'd you do that?

Ah, magicians never tell.

This is it.

As soon as you close up
today, we go to work.

On what?

On how to act like an actress.

CINDY: Dad, it's
3:30 in the morning.

Can we knock off?

VINCENT: No way!

You're almost there, kid.

Now let's try it one more time.

CINDY: OK, OK.

MRS. SCHTEPMUTTER:
Now if somebody

says they saw a picture that
they liked, what do you say?

(SPOKEN IN FRENCH
ACCENT) I thought

it was marvelous, the textures,
the layers, the ambience.

And if they didn't like it?

(SPOKEN IN FRENCH ACCENT)
I thought it was a travesty.

No texture, no layers,
no depth and so

manipulative and, uh,
pretentious really,

don't you think?

Bingo, the kids got it.

Yeah, in just
eight short hours,

I sound like a real phony.

Hey, kid, it's part
of the game, you know.

Yeah, well, if
you say so, I guess.

I mean, I want
this for you as much

as you want it for yourself.

But face it kid, you sound
like me when you talk.

And who's going to hire
somebody what sounds like me?

I know you got talent, but all
they want is glamour, you know.

Do you mean that?

VINCENT: Of course, I do.

Glam is the name of the game.

No, no.

I mean, about-- about
me having talent.

You bet I do.

Hey, you got me convinced
you're some hoity toity lady

and I'm your old man.

I've seen them come and go, kid.

But you are the real
thing, you're special.

Daddy, that means
more to me than getting

any part in the whole world.

Hey, anybody hungry?

I found an all
night pizza place.

Hey, good.

I'll go and wash up.

Well, how's it going?

Oh, great.

Great, then it's not
so great. (SIGHS)

What do you mean?

What's wrong?

I just wish that I
didn't have to put on all

this phony accent and stuff.

I just wish I could
go there as me.

Well, what's stopping you?

Well, Jonathan, come on.

Look at my Dad.

I mean, he's so happy
to be helping me.

He walked that extra mile just
coming around to the idea of me

being an actress.

The least I can do
is take his advice.

He could be wrong, you
know, even with the best

intentions in the world.

Nah, he's probably right.

Don't sell yourself
short, Cindy.

VINCENT: Hey, Johnny!

The kid's doing great!

Yeah, so she's
been telling me.

Oh, um, Daddy.

Yeah.

I just want to
tell you how much

I appreciate all you're trying
to do, but it's just that I--

Forget it.

I got to tell you, kid.

I never knew how happy helping
you, working with you instead

of against you could make me.

I mean, I feel like we're
partners or something,

you know.
- Yeah, I know.

Hey, I got you something.

I knew you couldn't
go to that ball

with your hair looking like
the end of the rainbow, and--

and I know you
don't want to change

it so I figured this would
be a happy compromise, huh.

What do you think?

Well, it's super, Daddy.

I just, uh--

VINCENT: I know what
you're going to say.

I shouldn't have
spent the money, huh?

Hey, so what if
it cost a bundle?

You deserve the best.

What do you think, huh?

It's beautiful.

Thank you, Daddy.

VINCENT: [exhales loudly]

Cindy, yo!

Cindy, come on.

Yo, Cindy!

How do I look?

You look beautiful.

How'd you get that dress?

Oh, I, uh--

I made it from some of
Mrs. S's good tablecloths.

After tonight, it goes
back in the linen closet.

You made it?

Yeah.

Yeah, I like to sew.

Just like your mother.

I never realized how much you
looked like her until now.

I guess that's
because she didn't

have blue and orange hair, huh?

[chuckles]

What do you think?

Cindy, you're a knockout.

You look lovely.

Hey.

[chuckles] Well, shall we?

Let's go get them.

[MUSIC PLAYING AND BACKGROUND
CHATTER]

Oh, Maxim.

May I call you, Maxim?

Call me Mr. Prince.

Oh, I understand.

There has to be a professional
distance between an artist

and his actress.

Yeah, right.

Well, Monsieur Prince, I
saw your last film five times,

tres tragic.

Tres, tres, tres tragic.

[chuckles] It was, um--

oh, what is that
word in English?

A bomb.

Director was a stiff.

I wouldn't hire that clown again
to direct it in the men's room.

Isn't that tres amazing?

That's exactly what I
thought when I saw it, stiff.

Yes, stiff.

I said, a marvelous
premise, but stiff.

[chuckles]

Mm-hmm.

But-- but there is
another word in English

that I'm searching for.

Crud.

Crud?

Yeah, the movie was crud.

Oh, um, I'm terribly sorry.

I'm-- I'm afraid I'm not
very light on my feet.

[chuckles]

You're not very
light on mine either.

Look at that.

[music continues playing]

Good evening.

Hiya.

It is you.

Yeah, it's me.

What do you think?

Big difference, huh?

Yeah, big difference.

ARTHUR KING: Prince.

Oh, my.

Why didn't you tell me about
this latest find of yours?

Haven't had a chance to, sir.

Well, my dear,
I'm Arthur King.

I own the studio.

It is a pleasure to
meet you, Mr. King.

And you are?

Your mystery guest.

For right now, why don't you
just call her Cinderella?

Well, I like that.

I like your flair, my man.

Cinderella.

Well, my dear, may I have
the pleasure of this dance?

That was good, Johnny,
that Cinderella gimmick.

I do my best.

Look around.

I'm going to get some meats.

OK.

There's Mr. King.

Who is that girl?

I heard she's some
sort of European starlet,

Roger Vadim's latest find.

Well, she's nothing
but skin and bone.

Oh, that's all right, dear.

You have enough meat and
potatoes to go around

for everyone in the room.

Well, at least I
danced with Maxim.

He wouldn't even look at you.

You make me sick,
you know that?

Oh, shut up, the both of you.

It would do you both
some good to watch how

a real lady carries herself.

You see Godard's last picture?

Yes.

Uh, what did you think of it?

Mhm, not much.

But what's interesting
is what you thought.

Uh, I thought
it was a travesty.

Really?

Why?

Uh, no, uh, depth, uh,
no texture, no layers.

And, uh, so manipulative
and pretentious really,

don't you think?

Precisely, that's
exactly what I thought.

And what did you think
of Fellini's last film?

Oh, well, uh, what
can one say, huh?

Fellini is Fellini, either
you like him or you don't.

But, uh, in the end,
he remains Fellini.

[chuckles]

Oh, yes.

Can I help you, Mr. Prince.

No.

Mr. King, may I cut in?

Well, I'll allow it,
but only on your promise

you won't monopolize this
lovely creature for too long.

Don't worry, I won't.

I'll see you in a few minutes.

Ciao.

Ciao.

Ciao, what is with the
voice and this getup?

I don't know what
you mean, Monsieur.

I mean, I met
someone the other day

who wasn't phony like all the
rest, that's who I invited.

Well, you got to understand,
it was not my idea.

Hey, hey, it's OK.

King likes you.

You'll probably get the part.

That's what you're
after anyway, right?

I was just dumb enough to
think you were different.

If you'd just let me explain.

You don't have to explain when
you got what you wanted, right?

That's all that counts.

I-- I don't want to waste
any more time, you know.

I'm just small potatoes
compared to King.

He owns the joint.

Don't let him get away.

Hey, baby.

Hey, where you going?

I want to go home.

I want to get out of here.

But why?

Because I'm tired of
being a phony, that's why.

Honey, you're doing great.

Daddy, I'm not doing great.

Cinderella's doing great.

I'm-- I'm glad you helped me.

I've never been so happy knowing
that you were backing me up,

but I got to go.

Cindy.

Cindy, honey.

What's wrong with that kid?

Everything was working out.

Look, see that
she gets home, OK.

I'm going to try to straighten
things out with King.

Hi.

Hi.

Don't I know you?

I don't think so.

Oh, we've met somewhere.

Your name is, uh--

Mark.

Mark, of course.

You're Mark Sloan, the director.

[chuckles] No,
no, I'm Mark Gordon.

Mark Gordon, of course,
the producer from Australia.

No, I'm Mark Gordon,
ex-cop from Oakland.

Oh, then you're nobody.

You didn't have
to put it like that.

- Well, have you seen her?
- No, sir.

I don't know where she went.

Mr. King, if you're
looking for Cinderella,

I thought you should know.

She ran off.

Ran off?

Yeah, it's about 12, you know?

[chuckles] Vinny,
I like your style.

Cinderella runs out of
the ball at midnight,

leaving the King wondering why.

[chuckles] I love it.

I love it.

Prince, you delivered
exactly what

I ordered, bright,
beautiful, European starlet

and the publicity gimmick
to go along with it.

[chuckles]

Thank you, sir.

Well, all right.

We'll sign her up tomorrow.

I want to spread the
word to the press.

I love it!

[chuckles]

See you, Mr. King.

We went by Cindy's
place, she wasn't there.

What's going on, where is she?

She's in the
ladies room crying.

Crying, is she crazy?

King wants to sign her.

It all worked like a charm.

She's in!

Vinny, she doesn't
care about that now?

Why?

Because she thinks you're
ashamed of who she really is.

What are you talking about?

Well, she tried
to tell you tonight,

but you wouldn't listen.

That wasn't your
daughter tonight.

She doesn't want
to be that person.

She doesn't want
to be Cinderella.

She just wants to be Cindy, but
that's not good enough for you.

I just want her to be happy.

Then tell her you love
her, not some character

out of a fairy tale.

Hey, Cindy.

Cindy, honey.

Cindy, look.

I want you to try to understand
something if you can.

You see, you and me, we're
kind of alike, you know.

I mean, I see a
lot of me in you.

Well, I never made
nothing of myself.

And I'm a nobody, a nobody
who handles nobodies.

And maybe I was trying to
make you into somebody else

because I didn't want
you to be like me.

I didn't mean to
hurt you by doing it.

I love you more than anything.

[door opens]

What do you mean
you're a nobody?

You know another agent
in this town that

could get work for Cory Klein
in his, uh, Canine Clowns

or for Marvin Mandrake
and his Musical Saw, mhm?

Daddy, these people, they're
not just your clients, [sobbing]

you care about them and
they care about you.

The nicest thing
you ever said to me

was that I reminded you of you.

[continues sobbing]

Look, uh.

Why did we have to
come down to this dump?

Mr. King, like I told
you, it's the only place

I know to find her.

All right, let's go.

Look at this.

All they write about is
mystery girl snags leading

King Studio's new flick.

I wonder which one she was.

ARTHUR KING: This better not
be a wild goose chase, Prince.

Mr. King, Mr.
Prince, what an honor.

I'm sure.

All right, my
boy, where is she?

Where is my mystery girl?

You mean the girl you
want for the part is here?

Then it can only be
one of my daughters.

CLARICE: Oh, it's me!

I danced with him.

You danced on him, you mean.

It's definitely
not your daughters.

Where is she, Prince?

She's over there.

Cindy?

Well, that's the most ridiculous
thing I've ever heard.

Oh, but I thought
it was a travesty.

No texture, no layers, no depth.

And so manipulative
and pretentious really,

don't you think?

Wow, it is you.

But it can't be you.

This is me, Mr. King,
not some phony, baloney

you met last night.

You said she was an
actress, an European actress.

No, no, you said it.

I am an actress and
I'm a darn good one.

And I would like the
chance to audition for you,

but as me, Cindy.

I don't like being
made a fool of.

You'll never get
that part, not if you

were the last actress on Earth.

And I want an explanation
from you, Prince, that's

if you want to keep your job.

Oh, he didn't
know nothing, sir.

I fooled him too, and he was a
lot harder to trick than you.

MR. PRINCE: No, I wasn't.

What's that?

Mr. King, she's right
for the part, not the way

she was the other
night, the way she

is right now, gutsy and honest.

Well, she's definitely not
going to be in my picture.

Now if you keep this up--

No, no.

Mr. King, it's not your
picture, it's mine.

It's my script, I wrote it.

And I know who should play
the part, somebody special.

And that somebody is standing
next to you right now.

You are through at my studio.

Then I'll go to
another studio.

See Mr. King, I'm
very good at what

I do and I don't need your money
to do it, but I do need her.

[scoffs] You're a fool!

Mr. King-- go after
him girls, after him.

He owns a studio.

[indistinct speech]

ARTHUR KING: Stop, no!

Get away from me.

What'd you do that for?

Like I said, because
you're special.

So are you.

That makes two of us.

Yeah.

[music playing]

Do you want a cup of coffee?

No.

Me neither.

[music playing]

[theme song]