Original subtitles

[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]