Original subtitles

[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]