All language subtitles for I Love Lucy S04E19 Lucy Gets in Pictures 1080p BluRay FLAC2 0 H 264-BTN_track4_[eng]

Honey, I'm going downstairs
to get the New York papers.

Can I get you anything?

Oh, will you mail my postcards for me?

Are you still writing postcards?

You must have written a hundred
of those since we got out here.

Well, I want to share our trip
with everybody.

We're having so much fun,
I want our friends in New York

to have sort of a secondhand thrill.

Well, that's nice, dear.

- Uh, honey?
- Yeah?

- Do you feel all right?
- Sure. Why?

Come here. Let me look at you.
I'm afraid maybe you're getting a cold.

Stick out your tongue.

What's the big idea?

Well, I've stamped so many cards,
I'm all out of lick.

- Here you are.
- Okay.

Now, remember, don't read them.

Why not?

Because it's not nice
to read other people's postcards.

Well, you and Ethel
do it at home all the time.

Not until after they're mailed.

It's illegal to read them
before they're postmarked.

Oh, I see.

- All right, I won't read them.
- Okay.

The rules you two have.

Ay-ay-ay-ay-ay.

- Lucy.
- What?

What do you mean by writing this
to Lillian Appleby?

You read them.

Yes, and it's a good thing I did.

What do you mean telling Lillian Appleby
that you're going to be in a movie?

I can't get over it.

You stood right here and said
you wouldn't read them.

You walked out in the hall
and you read them.

Lucy...

Honestly, you just don't know
who you can trust anymore.

For heaven's sake,
a man who will read a postcard

after he said he won't will do anything.

Never mind all that. I want to know
all about this movie you're gonna be in.

I refuse to discuss anything with a sneak.

A snick?

All right, a snick.

Why did you told Lillian Appleby
that you were going to be in a movie?

Because I had to told her.

Or she'd be mad if I told
Marian Strong first.

Did you tell all these people
that you were going to be in a movie?

No. I didn't mention it to Little Ricky.

Ay-ay-ay.

I don't understand it.

I don't see how you can say
something that is not true.

How do you know it isn't true?
It's true until it's untrue.

After all, Hollywood's
looking for new faces.

Well, your face is not new.

It is to them.
They've never seen it before.

Well, it finally happened.

Ever since we've been out in Hollywood,

I've been waiting for you
to try to get into the movies.

What took you so long?

I was lulling you into
a false sense of security.

Yeah. Well, now that you
brought the subject up,

let me tell you something.

Wait a minute. Wait a minute.

Is this gonna be the one about
how I'm a wife and mother

- and my place is in the home?
- No.

Is it about one member of the family

- in show business being enough?
- No.

Oh, well, don't tell me

you're gonna use that ridiculous one

about my not having any talent.

- No.
- Oh, you have a new one? Well, go ahead.

Here you are.

Here you are in pretty, sunny California.

Hundreds of people all over the world

would give their right arm
just for the opportunity to visit here.

And what do you want to do?

You want to go to a studio
and work from morning till night

six days a week.

- Well, I...
- It's a beautiful climate.

There's hundreds of things to do.

Hundreds of places to go.

You got your best pals,
the Mertzes, here with you

to go wherever you want to go.

You got a brand-new,
beautiful Pontiac to take you there.

This could be one of the most
wonderful and exciting

experiences of your whole life.

Well, gee, I ...

But what do you want to do?

You want to go to work.

I wished you'd used the one
about my not having any talent.

This one's tough to fight.

Why, sure, honey.

Why don't you forget
all about being in the movies

and have fun, enjoy yourself?

Well... Ethel and I did want
to go to Catalina next week.

Sure!

And maybe Pismo Beach.

Yes?

And then there's always Palm Springs.

Palm Springs! Even the president
vacations there.

- That's true.
-

[Ricky] Hi. Come in.

- Hi.
- Hi.

Hey. Are we gonna have fun?
I was just planning some big trips for us.

- I'm afraid they'll have to wait a while.
- Yeah.

- Why?
- Tell them, Ethel.

Well, we were just down in the coffee shop
and we ran into a fella

who used to be in vaudeville with us,
Jimmy O'Connor.

And he's a producer
at your studio now, Ricky,

- and guess what.
- What?

He gave us parts in his new picture.

[Fred] And we start tomorrow.

Isn't that exciting?

That's great!

Whee.

What's the matter with you?
I thought you'd be happy for us.

I am.

Well, you don't sound happy.

Now, look, honey,
this won't change anything.

The Mertzes would probably
only be in the picture a day or two.

Oh, no. It's for two whole weeks.

- Yeah.
- Congratulations.

[Ethel] What's the matter with her?

Well, just before you came in,

I talked her out of wanting to
get into the movies

and convinced her that
she could have a lot more fun

just taking trips with you two.

- Oh, dear.
- Oh, now, don't you worry.

Lucy, we'll take lots of trips together.

Just as soon as we wrap up
our picture commitments.

Oh, sure. We'll still
want to see those places.

Well, we got to go over to wardrobe
and get fitted for our costumes.

Hey, listen, I got to go over to
the studio, too. I'll drop you off.

- [Ethel] Oh, fine.
- [Fred] Fine.

Aw, honey, don't be blue. Come on.

See you later, huh?

- Well, see you later.
- So long, Lucy.

Bye, dear.

[Ethel] Imagine us in the movies.

- Yeah.
- My...

- Come in.
- Hi, Mrs. Ricardo.

- Oh, hello, Bobby.
- I brought up your cleaning.

Would you hang it
in the bedroom for me, please?

Yes, ma'am.

Enjoying your stay in Hollywood?

Yech.

Hey, you, uh, you got the red eight
on the red nine.

Yeah. I thought it might spice up the game
if I cheated a little.

Uh, Mrs. Ricardo,
you won't be seeing me for a few days.

Oh, you going on a trip?

No, I got a part in a picture.

- You have?
- Yeah.

- Remember last time I was only a stooge?
- Uh-huh.

This time, I got a line to read.

A whole line!

Yeah. Oh, it's a very dramatic scene.
See, I play a hospital orderly.

Now, this woman comes rushing in.

Her hair is messed up
'cause she's very upset

'cause her husband's been in an accident.

Now, she sees me and she says,
"What room is my husband in?"

Then I say, "423."

Sort of gets you right here, doesn't it?

423.

Boy, I got more talent than I thought.

No, you don't understand, Bobby.

You see, my husband
is starring in a picture,

and today my best friends, the Mertzes,

told me that they got parts in a picture,

and now you tell me you got a part.

I just feel left out.

I feel like an ugly duckling.

Well, that's ridiculous!
You're prettier than any of us.

And talented, too!

Oh, can-can you act?

Can I act?

Can I act?

What room is my husband in?

- 423.
- Thank you!

See?

Hey, you're great.

Yeah, well, thanks a lot.

I'm afraid my light's always
gonna be hidden under a bushel.

What about your husband?
Can he help you get in pictures?

You mean, Ricky Ricardo, the Cuban bushel?

Well, you'll just have to go out
and let somebody else discover you.

- How?
- Oh, a lot of people get discovered.

Why, there was... there was Champ Butler.

He was discovered parking cars.

And then there was Dorothy Lamour.

She was discovered running an elevator.

And then there was Lana Turner.

She was discovered at a soda fountain,
sitting on a stool.

Well, I don't think I'd be very good
at parking cars,

and elevators make me dizzy,

but I do know how to sit.

Well, great.
Why don't you give it a whirl?

What soda fountain was it?

The one at Schwab's Drugstore
up on Sunset Boulevard.

- Schwab's?
- Schwab's.

Schwab's. Thanks a lot.

-
- Come in.

- Hi.
- Oh, hi!

- How did everything go?
- Oh, Ricky, it was just wonderful.

We got the cutest gay '90s
costumes you ever saw.

The funniest thing happened in Wardrobe.

Oh, now, Fred,
I didn't think that was very funny.

It was pretty funny.

What happened, Fred?

Well, we had tried on our costumes

and were all rest up in
our own clothes ready to leave.

Now, Fred.

And the head of Wardrobe accused Ethel

of trying to sneak out
with one of his bustles.

Oh, that's very funny.

How's Lucy?

I don't know.

She wasn't home when I got here,

and I'm beginning to worry
about her a little bit, you know.

She was so blue when I left.

Oh, she's probably just gone sightseeing.

- Sure.
- Oh, here she is.

- Oh, here she is.
- Hi, Lucy.

Hiya, honey.

- Hi.
- Where you been?

I was beginning to worry about you.

Well, I've been out not
getting in the movies.

What are you talking about?

Well, after you three abandoned me today,
I went and sat in Schwab's Drugstore

so I could be discovered like Lana Turner.

Oh, no.

Yeah, I sat there all afternoon.

Well, what happened?
You look kind of funny.

Yeah, well, you'd look kind of funny, too,
if you'd just had three chocolate malts,

two hot fudge sundaes,
a pineapple soda and a banana split.

You ate all that?

I had to. It was the only way I could
keep my place at the counter.

They have a rule: "No eat, no seat."

Aw... and nobody did any discovering?

Well, only me.

About an hour ago, I discovered
I was getting green.

Well, at least she's not blue anymore.

Oh, Fred.

Oh, dear. Why don't I give up?

The only way I'll ever get in
the movies is to buy a ticket.

Oh, now, honey.

I just can't go back to New York
and face my friends.

As soon as I get
to feeling a little better,

I'm gonna kill myself.

Now, look, don't you talk like that.

Listen, if it means that much to you,

well, maybe there's something
that I can do.

What?

Well, if you just want to say
that you were in a picture,

maybe I can call one
of the directors at Metro--

I got a couple friends in there--

And see if they can give you
a little part or something, you know.

Ricky, would you?

Well, I can't promise you
anything, but I can try.

Oh, thank you, honey.

I'll call tomorrow morning
and see what they say.

Thank you.

I admit, I like doing nightclub sequences.

- Attendants ready?
- Yes, sir.

- Uh, how about the girls?
- Girls, on stage!

Bennett. Ray.

All right, fellas, stand right over there,
please. Thank you.

- Hey, Frank.
- Oh, hi, Ricky.

- Uh, where's your wife?
- Oh, she's just coming out of Wardrobe.

She'll be here in a minute.
She is so excited

about doing this part in this picture,

you wouldn't believe it,
and when she found out

that she gets to die in
the scene, she almost did.

Oh, well, it really isn't anything.

Well, she thinks she's playing Camille.

She's been practicing
how to die all day long.

[Ricky] Oh, here she is.

Come over here, honey.

Come on, I want you to meet your director.

- Oh.
- Frank, this is my wife, Lucy.

Frank Williams, the director.

- How do you do?
- How do you do, Mrs. Ricardo?

I'm glad to have you with us.

Well, thank you.
It certainly is nice to be here.

I-I sure hope I do
a good job for you, sir.

Oh, I'm sure you will.

Now, here's what I'd like you to do.

You're the star
of this nightclub sequence.

The star?

Now, as our scene opens,

you're discovered at the top
of the steps with these four girls.

On the cue music,
you come about halfway down,

a shot rings out, you clutch
your heart and you drop.

Yeah. Yes, sir.

Yes, sir, I'm pretty excited,
but I'm sure I can do it.

That sounds simple, honey, huh?

- Yeah.
- You can handle that.

- I'm sure I can.
- Now, just be calm, and good luck to you.

Okay, dear, bye.

I got a date with Mr. Minnelli,
so I got to go. See you later.

- Good-bye, honey.
- See you, Frank.

- Good-bye.
- Don't worry, now.

- You'll be all right.
- Uh, Nick...

Uh, Nick, would you get that
headdress on her, please?

Oh, boys, no! That spot-- no.
I don't want that there.

[Nick] Here you are, Mrs. Ricardo.

Is that for me?

Uh-huh. I'm afraid it's kind of heavy.

Oh, well, that's all right.

I'll be able to manage it.

Can I let go now?

Yeah, that's all right. Thank you.

Well, just a minute.

Just a minute.

Oh, dear.

Yeah, well.

- There.
- All right now?

There we are. Yes, sir.

Thank you.

Have you ever worn one of these before?

Well, no, sir, but I-I'm sure
that I can handle it.

It's quite a trick. It's just
getting used to balancing it.

- How's that?
- Just getting used to balancing it.

Oh, yes, I'll be able to! Thanks.

All right.

All right, places, girls!
Get into positions!

[Frank] Line up
at the top of the steps, please.

Mrs. Ricardo, would you like...

What?

Take your position at the top

of the steps, please, Mrs. Ricardo.

- Oh... yes, sir!
- Thank you.

Don't go up too far. That's it.

Now, would you mind turning around,
please, coming towards the center?

A little more to your...

A little more to your left, please.

No, your-your left.

Your left, Mrs. Ricardo.

That's it. Thank you very much.

Now, would you tilt
your head a little bit?

- How's that?
- Uh, tilt your head a little bit, please.

That's fine. That's fine. Yes, that way.

Now, would you drop your arms
very grace... gracefully.

That's it. Kind of put your foot
out a little bit,

like on your toe...

Fine. Do you feel comfortable?

No, sir-- yes, sir.

That's it. Now smile, everybody.

All right.

Hit the music, Harry.

Mrs. Ricardo, what seems
to be the trouble?

Well, sir, the headdress
was just a little heavy, uh,

and it sort of tilted forward.

I'm-I'm sorry, sir.

I'll be able to manage it.

Well, I-I don't want you
to be uncomfortable.

Perhaps I'd better give it
to a bigger girl.

Oh, no, sir. I'm big enough. Thank you.

I can do it.

All right, all right,
let's try it once again.

- Now let's rehearse it this time.
-

All right, fine. Now, that's it.

Now, same positions now.

Remember, smile.

The hands... see?

That's right. Tilt the head
a little bit, girls.

Lots of life.

All right, music.

It's all right.

Mrs. Ricardo! Uh--

- Now, what seems to be the problem?
- Well, my train is caught, sir.

It's a nail.

- I'll get it.
- Yes, sir.

-
- There, that's clear.

- All right.
- Okay.

Here we are.

You know, I... I'm afraid perhaps

this headdress is a little
too much for you.

Oh, no, sir, no, sir. Now, Mr. Williams,
my train just got caught.

That could happen to anyone, sir.

Well, I-I'd feel much better
if it was handled

by a girl who could really handle it.

- Oh, I can, I can handle it, sir.
- Uh, Onna.

I'm sure I can.

Annette, would you kindly
switch headdresses, please?

- Oh, no, sir, Mr. Williams!
- Yes, thank you.

- Mr. Williams!
- Here we are.

Yes?

Isn't the girl who wears that
the one who gets killed?

Yes, that's right.
Would you put this on, please?

- Well, I... I don't really think that...
- Here we are. Help you--

...that's very fair, Mr. Williams.

I... I didn't really get
a-a chance, you know.

Mr. Williams...

All right, all right, now, look,

now you take Mrs. Ricardo's
place in the center.

- You'll be the lead girl now.
- Thank you.

Mrs. Ricardo, would you mind
standing over there by the rail?

Thank you very much.
You're doing very well.

Very well, very well.

Now let's have a nice walk-through
this time, girls.

No stops, like go all the way through,
right up by the rail, please. Thank you.

All right,
I'd like to try another run-through now,

only this time I'd like you
to come down the stairs a little faster.

Music.

Mrs. Ricardo,
just what do you think you're doing?

Well, you said you wanted us
to come down a little faster.

I'm sorry I tripped on my train.

It was sort of a train trip.

You like to try it once more, please?

Mr. Williams,

are you sure you don't want me to be
the girl who gets killed?

Please, Mrs. Ricardo.

Wouldn't you like to see me die?

Don't tempt me.

Well, I-- I certainly wish I could be
the girl who dies, Mr. Williams,

because it means so much
to me, you know. I--

- Mrs. Ricardo...
- I have rehearsed it a lot. I know what--

- Mrs. Ricardo...
- I'm sure that if you could see me do it...

- Mrs. Ricardo...
- ...you'd appreciate that

I'd probably do it better
than any of the girls.

Would you please let me
get a word in edgewise?

Yes, sir. I just felt that you should know
how I feel about it, you know.

Yes, I certainly do.

Mrs. Ricardo, would you please
get up to the top of the stairs there?

We'll try it once more.
Just once more, please.

I'd like to rehearse it.

Please. Thank you very much.

You're doing very, very well.

Doing beautifully.

Yes. Uh, could we hurry it a little?

You see,
we're a little behind on schedule.

Thank you very much.

All right. Are we all set now?

All right, remember, girls, now, smile.
Smile pretty.

That's it. Music.

Mrs. Ricardo, just--

Just what do you think you're doing?

That shot was supposed
to be for the other girl.

Well, he missed.

Look, Mrs. Ricardo,
you just don't seem to understand.

You see,
I-I-I'm the director on this picture.

- Yes, sir, I know that.
- See, I make all the decisions.

I say what happens on this set.

- I understand that, sir.
- You understand that.

You know, one more thing like this,
and you won't be in this picture at all.

Oh, well, look, Mr. Williams,

I-- I just feel that
I just have to be the girl who dies.

You see, you don't understand.

I-- I couldn't go back to New York
and face my friends.

I've told them
that I'm going to be in a picture, and I--

And I can't just let it be
walk-on-and-off, you know.

- This is my big chance.
- Yes, I understand.

Yeah, well, you see,
all right, Mrs. Ricardo--

I've told them for months
and months and months.

- Yes, Mrs. Ricardo...
- And then when I got this,

I figured it was going to be
a really big thing, you know.

I really understand.
Believe me, I feel for you,

but you've got to understand
my situation too.

Well, you know how friends back home are.

Yes. Oh, yes, I know how friends are...

- But, you see, I have a problem too.
- I know, but the problem is--

I'd like to get this picture done
before the end of this year.

I understand that.

- Thank you.
- I understand that.

So, you can be the girl who dies.

Oh!

Oh, thank you, sir. Thank you.

I'd like that headpiece, please.

Oh, hold it! No, no, wait.

Wait, wait, wait, wait.

I-I-I've got an entirely new concept
for this scene.

- Much more dramatic.
- Oh?

Yes. You are going to be discovered dead
as the scene opens.

- I'm already dead?
- Already dead.

Oh, uh, but--

Oh, no, no, no. No "buts."

You just lie down here, Mrs. Ricardo.

Just lie down. Thank you very much.

Just lie down.

Uh, face down.

Face down?

Face down.

But Mr. Williams,
I've seen lots of pictures,

and when people die,
they don't usually die face down.

They die face up into the camera.

Okay, okay, we'll do it another way.

Oh, thank you.

Yes. Uh, boys,
would you bring in the stretcher, please?

Uh, this will work very, very well.
It's very dramatic too.

Would you lie down
on the stretcher, please?

Thank you very much.

- Face up?
- Face up.

Yes, sir.

- All set?
- All set.

There we are.

All right, now, girls,
as we start this scene now--

Mr. Williams,

how will my friends know it's me?

Your feet will be showing.

Oh, swell.

All right, now,
boys, will you change the setup now?

- I'll be right back.
- And, girls, I'd like you...

Where are you going now?

I'm going to powder my feet.

All right.

All right, girls,
will you gather round here, please?

Now, in this setup here...

Hi! Hi.

- Oh, hi, Ricky.
- How's Lucy?

Oh, she's fine.

I'm a nervous wreck.

What happened? Something went wrong?

- Oh, no, no, no, everything's fine.
- Oh, good.

Okay, sir, we're ready to go.

- Are the attendants ready?
- Yes, sir. Right there.

All right, well, where's the dead woman?

[Lucy] Here I am.

Oh, Mrs. Ricardo. Fine.

Would you excuse me a moment, Ricky?
We'll get on with this scene.

Will you just lie down here, please?

- Yes, sir.
- Thank you very much.

- Pick up the sheet, please.
- Yes.

- I'll just put your dress up here nicely.
- There we are.

There we are.

All right, there. Could you cover her?

Oh, that's beautiful.

Now, uh, remember,
this is a very dramatic scene.

You're very sad.
You're very upset. Lots of emotion.

Let's get this scene done this time.

Not a word from anyone. Ready? Roll 'em.

Action!

Cut! Print it! Thanks!

That's beautiful!
All right, boys, you can take it away now.

Oh, girls, that was just wonderful.
Just wonderful. Just wonderful.

- Lucy, what happened?
- Nothing.

Well, that's not the way
that they explained the scene to me.

Nobody will know who you are.

Oh, well, I'm not too unhappy.

That's show business, you know, darling.

I'm sorry, Ricky, but...

Well, that's all right.
At least you got in the picture.

- That's right.
- Sure.

Excuse me, sir, but, uh ...

What?

- Mrs. Ricardo...
- Yeah, well, let's go, Ricky.

May I see your feet, please?

Certainly.

You know what I mean.

The director was Lou Krugman.
The bellboy was Bobby Jellison.

Nick was Louis Nicoletti,
and the showgirl was Onna Conners.

I Love Lucy is a Desilu production.

Lucille Ball and Desi Arnaz
will be back next week at the same time.