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Auctioneer: I've got $15, folks. $15 has been offered.
Do I hear $20? Do I hear $20?
$15 once, $15 twice.
Going, going, gone.
[ Gavel pounds ]
And now, ladies and gentlemen, this beautiful onyx vase.
What am I offered?
Man: $1.
$1? You don't seem to realize, mister,
that this stuff didn't just belong to a nobody.
It belonged to Margaret Elliot,
one of the most glamorous, exciting actresses
that ever hit the silver screen.
She was your favorite movie star.
You stood in line to see her latest picture.
She made you laugh. She made you cry.
You were secretly in love with her.
Show Margaret Elliot you haven't forgotten her.
And now, ladies and gentlemen, what am I offered?
Man: $2.
Going, going, gone.
Maggie, you shouldn't be here.
What are you doing with that?
Oh. Phyllis always thought it was so beautiful,
and someone was going to buy it.
Do you mind?
Why should I mind?
Buy out the whole place if you want.
Be a scavenger. Pick my bones.
Maggie, take it easy --
don't touch me with your 10% hands.
Always reaching and grasping,
playing cozy with all the producers.
You can do anything
but get me a picture, can't you?
Harry stone, the great big star-maker,
the gentleman agent, my friend.
I am your friend.
I know.
Come on, let's get a cup of coffee.
Auctioneer: You're robbing this lady, but going, going, gone!
Well, folks, what will it be?
Maggie?
Oh, just coffee.
Make it two, please.
All righty.
I saw in Louella’s column that Joe Morrison
is going to produce "the fatal winter."
Yeah, so did I.
Well?
Oh, sure. You had an option on that once, didn't you?
I love that book.
It could have been written for me.
Of course, the ending is horrible,
but I could give him my ideas.
Oh, Harry, go to Joe.
One good picture is all I need.
Maggie, I hate to say this,
but you're going to have to face a few facts.
I've faced the facts for three years,
and they're not pretty.
Telephoning directors that I put in this business,
and they're not phoning back.
Walking into restaurants, they say, "hi, Maggie"
and keep right on talking.
Drink your coffee, Maggie.
They can't put me out to pasture, not me.
I was a star, Harry.
That's right. And you won an academy award.
Maggie, I've been your friend for a long, long time,
and I love you,
but there's no denying that fresh, dewy quality --
well, something else takes its place.
Perhaps you could suggest how one keeps
that dewy quality in this town.
I know it's tough,
but that's what the public wants.
That new kid of mine's got it. Barbara Lawrence.
Barbara Lawrence?
Joe Morrison signed her last week,
and he's certainly got his finger
on the box office pulse.
Look, Harry, would you go to Joe Morrison,
tell him how much I love "the fatal winter"?
Perhaps that would impress him.
One good part
would put me back just where I was.
More coffee, Maggie?
Besides, Harry, I -- I'm desperate for money.
I won't get anything from the auction.
That'll all go to the creditors,
and I was wondering --
I don't know how I could explain it to the company
if I advanced you any more money.
You're into US now for thousands.
Perhaps the company's bookkeeper
could refresh your memory as to the total amount
of the 10% to the company.
$40,000 a year alone.
I've tried to help you, but it hasn't done any good.
Sooner or later, we're right back where we started,
saying the same things to each other.
Will that be all, folks?
Just the check, please.
Say, aren't you Margaret Elliot?
Yes, I am.
That's what I told bill back there.
I said, "bill, that looks like Margaret Elliot,"
and he bet me you wasn't.
Well, you tell him he lost.
You see? The public remembers.
Well, thanks for nothing.
Maggie, John Morgan must have cost you plenty
when you were married to him.
Now that those westerns of his are cleaning up...
You mean ask John for money?
Haven't you heard he's putting his savings
into a trust fund for the wife and kiddies?
[ Starts engine ]
Just a suggestion.
Don't you think I have any pride?
Hello, Anita.
Why, good evening, miss Elliot.
I know it's late, but I must see Mr. Morgan.
Oh, mother! Mother!
Ohh, Gretchen.
Why, Gretchen, you're still awake?
That's all right, Anita.
I'll see that she gets back to bed.
My, you look beautiful.
I have the most beautiful mother in the whole world.
And I love the way you're doing your hair.
I bet you had a fight with your boyfriend.
I -- I did not. I fell out of a tree.
But darling, girls don't climb trees.
Well, I won't anymore.
My 6 months with daddy was up on the 17th.
I was wondering when you'd come for me.
But you're happy here, aren't you, darling?
Oh, I like it all right.
Of course, Ronnie and Jennifer get in my hair.
They're such babies.
You -- you did come for me, didn't you?
It'll only take a minute to get dressed and pack.
Where are we living now?
That's it. Mother has a tiny apartment.
Oh, I don't care. I just want to be with you.
But mother's gone most of the day.
Well, where are you most of the day?
At mother's studio.
Mother, I've got to ask you something.
Darling, not right now.
Wait until I've had a chance to talk to your father.
But he's on location,
and it's something very important.
Margaret, won't you come down?
Hello, Peggy.
If you go down, can I go down, too?
Look, monkey, you should be asleep.
But I'm not a bit sleepy,
and I won't go to sleep for hours. Please.
No, no, no, darling.
You go up, and I'll come and tuck you in later.
All right.
What brings you here this time, Margaret?
Can I get you anything? A drink, anything?
No. No, thank you.
If it's about Gretchen,
she can stay on with US indefinitely.
She's a delightful child.
Our kids adore her.
Thanks.
John calls me every day from Arizona.
I could tell him anything.
No. No, thank you.
Is it money? Do you want more from John?
More money?
I never asked Johnny for money.
He's given you $2,500 over the past 2 years.
Well, I gave him $25,000 when I divorced him
so he could marry you.
I dare say you didn't know that.
He has no secrets from me.
He kept plenty of secrets from me.
That's a crack, I suppose.
You threw yourself at him.
You batted those eyes and told him
what a great big wonderful man he was.
You told him how bad I was for him,
that I was too busy with my career,
that what he needed was a real wife.
Ugh. Pure soap opera. And he fell for it.
Because it happened to be the truth.
His name was Morgan.
He didn't like being Mr. Elliot,
living in miss Elliot's house,
entertaining miss Elliot's guests.
Why, he wasn't even miss Elliot's husband.
He was her lover by appointment
when she wasn't too tired or afraid to muss her hair.
Well, I think we've had our talk. Forgive me.
You deserved to lose him, Margaret.
I've made him happy because I've let him be Mr. Morgan.
Oh, thank you very much for the inside story.
Mother, you promised.
I can only stay a minute, dear.
Shh. We'll catch it
if we wake up Ronnie and Jennifer.
All right. Jump in.
You remember.
There's something I have to ask you.
Oh, yes, sweetie. What is it?
You, um...
You are a big movie star, aren't you?
Why?
Well, the kids at day camp --
they say you don't make pictures anymore,
and Janie marks -- her father's a writer --
and she says he told her mother that you were, uh...
Washed up.
So I beat up on her.
That's how I got this scratch.
You tell this Janie marks your mother is a star.
I know you were, but are you now?
Well, if you're a star, you don't stop being a star.
But -- well, they say you'll never make another picture.
I'm going to begin a new picture in...
In three weeks.
Oh. Well, when you're making this picture,
can I do my six months with you?
Yes. Yes, darling.
Oh, am I glad.
I love you. You're so beautiful,
and you always smell so good.
I wanted to put on some of the perfume you like,
but there wasn't any.
Why are you crying?
Haven't you ever cried because you're happy?
No.
Well, you see,
some people cry when they're happy
and laugh when they're mad.
That's funny.
Isn't it funny?
Now lie down.
Good night, you darling.
Get some sleep.
[ Crying ]
[ Front door closes ]
Good evening, miss Elliot.
Oh. Good evening, Mrs. Adams.
I think the door's unlocked.
Your sister and her husband stopped by.
I let them in as usual.
Oh, is that all? Thank you.
I wish that were all.
Mrs. Adams, you'll have to give me one more day.
I'd love to give you all the time you need,
but Jones and company
had me on the carpet again this morning.
If you could see your way clear
to letting me have just one month's --
don't they know who I am?
Didn't you tell them that there's a contract
on my agent's desk right now
with just a few minor details to iron out?
I told them, but they're an impersonal organization.
You're not miss Elliot to them.
You're merely the tenant of number 1257.
But sometimes families are different.
Couldn't you perhaps ask your relatives...
My goodness, Margaret, where you been?
Roy and I got to get started for Alhambra.
Well, I didn't know you were coming, faith.
It's the first of the month.
Miss Elliot, don't let it worry you tonight.
We'll talk tomorrow.
You been to some glamour party?
Yeah. Had a ball.
[ Clears throat ]
Oh, hello, Margaret. I was hungry.
Roy.
Well, my goodness, you seem to have
plenty of time to do everything
except get out to Alhambra.
Mama's been asking after you. Her hip still hasn't mended.
She's in bed most of the day.
Of course, I'm not complaining,
but, well, with the twins on my hands...
Aw, you ought to see those twins, Margaret.
Such great big boys, growing out of everything.
I haven't bought a stitch for myself lately.
Not a stitch.
The cost of shoes alone for those boys --
I'm afraid I haven't any shoes
for 14-year-old boys.
For heaven's sakes, who was asking?
I was just telling you the family news.
Aren't you interested?
I have some
rather interesting family news, too.
I've just come from my auction.
You mean you're selling all those nice things?
I'm not. My creditors are.
I'm bankrupt. Broke. Get it? Understand?
Well...
Well, my goodness,
I always knew you were extravagant and all.
Whoever needed two Cadillacs
and all those servants and secretaries
and always redecorating the house...And such?
But I never said anything
because you would have gotten mad if I did.
But you were making all that money.
I still don't see where it all went.
I'll explain it to you.
I bought the house you're living in.
You promised to pay me back, remember?
And I paid for the birth of the twins,
their clothes, their saxophone lessons,
and Roy's four operations.
[ Roy clears throat ]
Can I help it if Roy enjoys poor health?
And you know what mother cost me.
Mama is living with US now.
And I set Roy up in business
after he'd been fired from the job I got him
in the purchasing department at the studio.
But it was your idea that he should have an antique shop.
Roy didn't know anything about antiques, did you, Roy?
And he didn't know anything
about the laundry business, either.
That was his idea.
Was it his fault everybody started buying whirlpools?
Now, now, girls, let's not have a ruckus.
If you'll just give US the monthly check, Margaret,
we'll be shoving along.
Can't you get it through your thick skull
that I'm broke? Dead, flat, stony broke?
See? I've got $3.85 in my purse.
Do you want that, Roy?
Margaret didn't mean that --
I have given you over $50,000!
You must have some of it stashed away.
Could I have $200 on account tonight, Roy?
[ Clears throat ] What?
Margaret, for heaven's sakes,
where would we get money like that?
Well, you could print it if I'd only thought
to give Roy a printing press!
You're tired.
You wouldn't say things like that unless --
yes! I'm sick and I'm tired.
Now leave me alone! Leave me alone!
Well, if that's the way you feel --
that is the way I feel about it!
Now I want you both to get out of here.
Get out!
Come on, Oscar,
let's you and me get drunk.
To absent friends.
On your right, ladies and gentlemen,
is the home of Mitzi Gaynor, rising young movie star.
How young can you be?
And on your left
is the home of Mr. and Mrs. Brinkman,
better known to you tourists as Jeanne Crain.
Oscar, that looks like the kind of monstrosity
that Barbara Lawrence would choose.
Ladies and gentlemen, the home of Barbara...
Lawrence.
And that, Oscar,
was the home of the wealthy,
exciting, glamorous...
Margaret Elliot.
I remember the day you came home.
That was the day.
Going...
Gone.
[ Sobbing ]
Wonder where I am now.
[ Horn honks ]
[ Tires screech ]
[ Honk honk ]
Why don't you watch where you're going, bud?
[ Honk honk ]
Ha. Ha!
Ha ha.
[ Honk honk ]
Ha ha ha ha.
Ha ha. Ha ha ha.
[ Siren wailing ]
[ Tires screech ]
Where am I at?
[ Siren wailing ]
[ Tires screech ]
Aah!
Take your hands off me!
Okay, sister, have it your way.
There's your bed. Sleep it off.
You don't seem to know who I am!
Woman: What are you in for, honey?
As if I didn't know.
Please forgive the matron
for failing to introduce US formally.
She's never read Emily post.
Who do you think you are?
Everybody knows who I am. I'm Margaret Elliot.
What a coincidence. I'm snow white.
Charmed to know you, miss --
but I am Margaret Elliot!
Woman: I guess she's alive.
Woman: How can you tell?
I'm a dirty name. It is Margaret Elliot.
Hey, wake up. We got royalty.
We got a real live movie star.
Man: $250.
Here's your receipt, Mr. Johansen.
Why did you do it?
You were in trouble, so I bailed you out.
Why you of all people?
Well, why not me?
Sometimes it's good to talk about it.
I made a picture once.
I played a girl who was arrested.
It was called "night court."
Critics said it was great.
I guess they'd never spent a night in jail.
Next time you'll know better.
Ha. "Next time."
I still want to know why you did it.
You did a swell thing for me once.
I go out to repair your bathhouse,
and 10 days later
I'm playing opposite Margaret Elliot
in "faithless."
And with a brand-new name -- Barry Lester.
How I hated that name.
Well, there's never been a movie star
named Jim Johansen.
Barry Lester, either.
Well, the name had nothing to do with it.
You're so right.
I saw "faithless" two years later
on board a ship out in the pacific.
We were anchored in the harbor
of Kwajalein at the time.
Man, was it hot.
"Faithless" wasn't so bad.
It wasn't so bad.
It was only the worst picture ever made, that's all.
It even bored those poor guys
who hadn't had any entertainment
in six months.
When it was over,
the gunnery officer came up to me
and he said, real suspicious like,
"hey, chief,
"you any relation to that jerk?
You kind of look like him."
I'm sure glad I was wearing a beard in those days.
Why, if they'd ever found --
go ahead. Eat.
I don't want anything.
So you spent a night in the clink.
Eat your breakfast. It's paid for.
[ Rattles key ]
Here, give it to me.
There was nothing I could do.
After they read the papers, they changed the lock.
Don't tell anyone,
but I managed to get out some of your clothes.
Thank you. You're very kind.
I'm not kind,
but I like to think I'm a human being.
Thank you.
Where to?
Isn't this the end of the line?
You must have plenty of friends.
Oh, sure. I'm the perfect guest.
Who wouldn't be happy to have me?
Get in.
[ Ship horn blows ]
This is it.
Right after the war, I got title to this place
with the help of a G.I. Loan.
Always wanted my own business.
Better than getting up in the morning
and having some character slap makeup on your puss.
This used to be a sail loft before I fixed it up.
That's one thing about having a shipyard --
you can do these things for free.
I picked up a lot of these things
while I was going to sea.
Oh.
Oh, what am I going to do?
Get any sleep last night?
With all that howling?
One of them was full of hop,
and two of them got into a brawl.
Get yourself some sleep.
I'll have my lawyer square things at court.
I've got a lot of things to do,
but I can't think.
I can't think.
Of course you can't.
I shouldn't be here.
There's something I've got to do.
I can't remember.
I'll be out in the yard if you need anything.
[ Ship whistle blows ]
Hello, Peggy.
Peggy, did Gretchen read the paper?
Oh, well, thanks.
Yeah, thanks. That was very nice of you.
Well, I --
oh, those nasty kids.
But you told her, didn't you?
Y-You told her it wasn't true.
Oh, well -- well, thanks.
Thanks for trying.
I'm all right.
I-I'd like to speak to her, Peggy.
I promise I won't upset her.
I want to talk to her, Peggy.
You've got to let me talk to her.
All right.
H-Hello, darling.
This is mother.
How are you?
Oh, sweetie -- sweetie, you didn't fall
for what those kids said, did you?
Oh, no. It was just a publicity stunt.
Mother -- mother was at the jail
getting atmosphere for a new picture.
Oh, yes. I know what the paper said,
but the reporters were all wrong.
You know how reporters are.
Of course it isn't true, Gretchen.
You know how policemen love me.
Remember that nice patrolman at Bel Air
who used to come and see me every Christmas Eve,
and I let you give him a present?
Well, why don't you play hookey from camp
for a few days and let them gossip all they want to?
You know gossip doesn't hurt US.
Goodbye, darling.
All right. See you soon.
You shouldn't talk to anybody
until you've had a little rest.
Are you a doctor or something?
Or something.
You're going to stay here a few days
until this blows over.
Then we'll decide where you're going.
Hmm. Going, going, gone.
Come on, Margaret. Snap out of it.
Why don't you grab yourself a shower and get cleaned up?
Then come on down and get some fresh air.
I don't see why you're so kind to me.
I'll tell you one day.
Now this is a sweet little motor,
but it's in here for repairs at least once a week.
Guy that owns it can't just let it purr like it's made to.
He's got to keep her going wide open all the time.
Oh, would you hand me that wrench?
Right there beside you -- the wrench.
Thanks.
Remember that scene in "vacation for a lady"
where I was snowed in in the forest ranger's cabin?
So?
Well, so this reminds me of it.
I was running away from the ski resort
because I didn't want to marry Ralph bellows.
Ralph always played the rich stuffy second lead.
So I was lost in the blizzard
and stumbled into this cabin half dead.
Oh, it was a terrible-looking place --
untidy, the dishes unwashed.
Thanks.
Oh, I didn't mean that. I meant the mood.
The lady -- that was me --
and the poor young man.
Who's me.
No, no. Clark Spencer. Are you sure you never saw it?
I've seen it a thousand times.
It made $4 1/2 million.
[ Whistles ]
You know all I ever got out of it?
What?
$150,000.
I feel very, very sorry for you.
Would you hold this for me?
What for?
I've only got two hands.
Just lift up on it.
Do you mind?
Why should I mind?
You know something I always remembered about you?
What?
Your perfume. What was it?
"Desire me" --
the most expensive perfume in the world.
The names they think up.
Maybe that's where some of it went.
What?
Your dough.
I'll tell you exactly where it went.
I was on top. My name on the marquee of any theater
and there'd be a line around the block,
but I was sick of the tripe they were forcing me to play.
I read how you hollered about that.
So I put my own money into three wonderful pictures.
The big companies wouldn't give me a decent release,
so I lost everything.
They said I was box office poison.
You wouldn't be bitter or anything?
Wouldn't you?
Maybe, maybe not.
Margaret...
Did you ever figure it might be you
who gave yourself a dirty deal?
What kind of double-talk is that?
It just doesn't add up.
If your name on the marquee
makes people shovel in their quarters,
then why isn't it there now?
They juggled the books.
They said all my independent pictures were flops.
Of course, they lied.
I got tremendous fan mail,
and believe me, you don't win an academy award for nothing.
All right. Skip it.
I just don't understand the picture business.
I've told you they won't give me a chance anymore.
You're confusing what was with what is.
That's why you got drunk last night
and tried to kill yourself.
Me? Kill myself?
If I were to kill myself,
I'd rip the lid off this town first.
Look at it this way, Margaret.
You've had a sleigh ride.
It was swell while it lasted,
and now it's over.
It's not over. It'll never be over.
Radio announcer: And now for a five minute summary
of the latest headlines.
Beverly Hills, California --
Margaret Elliot, famed Hollywood motion picture star
who was arrested last night for drunk driving,
gave the arresting officer --
...says she was released on bail.
Efforts to locate miss Elliot have been without avail.
Where she is, nobody knows.
Reporters are at present checking a report
that she is visiting a --
I think I'll tell that announcer the real story.
Margaret Elliot is the guest of Jim Johansen,
wet-nurse to sick boats,
spending a glamorous holiday with a mechanic
who bought her for $250 bail.
What did you say?
You know, I've just figured it out.
What?
Why you bailed me out.
If that's what you figured out, Margaret,
you've got it wrong.
Well, that's why the heavy bailed me out
in a very successful film called "night court."
Can't you ever think beyond a script?
The truth makes the man mad.
Margaret, don't go on.
Or perhaps you were always in love with me.
Is that it?
Lots of men have been, and you're a man.
I once thought you were a woman.
I was wrong.
You're nothing but a career,
and when you've said that, you've said it all.
Then you were in love with me.
I suppose I was.
I thought you were the greatest.
And now?
You wouldn't want to hear that.
Just listen to your ego. It's all you have left.
[ Footsteps fade ]
Good evening.
Good evening. Could I have some sleeping pills?
Your prescription, please?
I'm afraid I haven't any prescription.
I can't sell you sleeping pills
without a doctor's prescription, lady.
What a bore. When all I need is a good night's sleep --
[ telephone rings ]
Excuse me.
[ Ring ]
[ Footsteps approach ]
Jim, I stole this.
I never stole anything before in my life.
Jim, what's gotten into me?
You're all mixed up.
I don't need perfume. Nobody needs perfume.
Forget it. I'll pay for it tomorrow.
What's the matter with me?
That's a mighty good question.
Going...going...gone.
No. No, you're not.
You know something is the matter,
and believe me, that's the first step.
Oh, what am I going to do, Jim?
Tell me what to do.
Well, I think we'll go sailing tomorrow.
You've got time to go sailing
and take your kid.
What's she like now -- your kid, I mean?
Well, how can you tell what a kid's like?
[ Sobbing ]
Here.
Blow.
I'm sorry about the things I said.
Forget it.
I'm sorry about a lot of things.
Who isn't?
You thought I was doing you a favor when I forced them
to give you the lead in "faithless," didn't you?
You were.
I'm going to be perfectly honest with you.
I wanted to show Charles Humphrey.
Humphrey? What's he got to do with it?
Well, I wanted him for the picture,
and he balked.
I heard that he said he wouldn't play horse
to my Godiva, and it made me mad,
and I swore I'd pick out the very first man I saw
and make him a bigger star than Charlie ever was.
And I was the first man?
Next day I was down by the pool,
and I heard someone yell, and I looked up on the roof,
and there you were with a hammer in your hand,
cursing your head off.
Well, I'd just banged my finger.
And I called, "hey, mister, come down here a minute."
Remember?
Yeah.
You were really something in that blue outfit.
Really?
I'd never seen anybody like you in my life.
So you see, you don't owe me a thing.
An eye for an eye, a tooth for a tooth,
bail for a favor...
Margaret, that's not the way real people live.
It isn't?
Here. You might as well use it.
Oh, Jim, couldn't you take it back to the man?
Tell him I picked it up by mistake, and tell him that --
that's funny.
It hasn't any odor.
Where did this come from?
From a little drugstore near the theater,
on top of the counter.
It must have been a display bottle.
It's nothing but colored water.
Colored water?
Well, when you grabbed it you thought it was real.
That's the story of your life, isn't it?
Jim, look at the big fish.
It's jumping out of the water!
That's an old friend of mine. I call him rover.
Rover? What a name for a fish.
Be careful, Gretchen.
If you fell over...
She won't. She's a good sailor.
Am I?
Mother, did you hear what Jim said?
Jim said I was a good sailor.
If I am a good sailor, can I steer?
Why, sure. Man the tiller.
We're going to change course now.
When we do, the first thing we yell is "coming about."
Jam the tiller way over there.
That's it.
Watch your head, Margaret.
Gee, that was fun.
Can we do it again, and can I say it?
Why not?
Now?
All right, now.
That's it, way over.
Coming about!
You forgot to say "duck."
[ Ship whistle blows ]
You know what?
What?
I haven't heard the word "Hollywood" all day.
You see that horizon?
Beyond it there's 6,000 miles of open ocean.
It's got a life all its own.
Back here in the city, you've got a million men
fighting to make a buck so they can eat
and get the strength to fight some more.
Aren't you fighting like the rest of them to make a buck?
We've all got to eat.
You know, it's funny. I was just thinking.
Sailors are a lot like actors.
With them it's always the next ship and the next voyage,
and with an actor, it's always the next part
and the next picture.
Always chasing rainbows.
Aren't you chasing rainbows?
I used to chase them all around the world.
You're still chasing them all over Hollywood.
Margaret, if you can forget that rat race for one day...
You mean give up my career?
It's no disgrace to be through in pictures.
You've got a whole lifetime ahead of you.
What are you going to do with it?
But what else is there for me?
Well, you could go in the real estate business
or start a little restaurant or even be a saleslady.
But Jim, I've never done anything but act.
All right, act. Play it like another part at first.
Give a performance.
Oh, I wouldn't know where to begin.
What are the names of some of those
fancy department stores up in Beverly Hills?
Oh, not Magnin's... Not saks.
Have everybody gloat over me?
Have everybody say "there is Margaret Elliot"?
Oh, no, thanks.
Well, then get out of Beverly Hills.
That's not the world. Long beach has stores --
Glendale, Pasadena --
and, it may surprise you -- people, too.
It's wonderful to hear you laugh again.
It's chilly. I'll wake Gretchen up.
Wake up, darling.
We're in.
All right, let's try it again.
What's your name?
Margaret Morgan.
I suppose that's my real name, too.
Miss or missus?
Well, which do you think is best?
I think missus -- husband deceased.
Experience?
Um, 4 1/2 years at Marshall field's in lingerie.
Margaret.
You're okay.
And if you get the job, we'll celebrate.
I'll bet I know a place you've never been.
Fine. Won't you come in, please?
Name, please?
Margaret Morgan.
That's funny.
Your voice.
You look like her, too.
She's a movie star.
Um, Margaret Elliot.
Oh, I -- I get that all the time.
People have even come up and asked me for her autograph.
Married or single?
Widowed.
My husband was killed in the war at Anzio.
I'm sorry.
Thank you.
Experience?
Well, I've had 4 1/2 years at Marshall field's...
In lingerie.
Hmm. I think I'd like to have you talk
to our Mr. Cartwright in lingerie.
Marshall field's.
That's a good background.
Yes, I thought you would think so.
The young lady will show you to Mr. Cartwright's office.
Thank you.
Here you are.
Jim, look.
See that little sad-faced one?
That's our Mr. Cartwright.
I did have one bad moment,
when he said he had once worked at Marshall field's.
Have you ever been in Marshall field's?
Well, what else is there to do in Chicago between trains,
except take a bath at the Blackstone
or go to Marshall field's?
He didn't ask to see references?
Oh, I had the most wonderful references.
After my husband was killed
I had to sell the car,
and they were left in the glove compartment
and the people who bought it just disappeared
from the face of the earth.
I gave one of my best performances
for that little baboon.
[ Seal barks ]
Listen to that seal.
Sounds like my brother-in-law.
[ Seal barks ]
What do you suppose they think about?
I wonder where people live who work at May's Crenshaw?
One thing at a time. You might get fired.
As a saleslady?
No such luck.
You sure you don't want a hot dog,
popcorn, anything like that?
If you like.
[ Bell rings ]
Thank you, madame.
Oh, dear.
I used to be able to wear things like this.
Let's take a little vow to lose 10 pounds by labor day.
If we could do it together...
Misery loves company.
Uh, miss.
Yes, madame?
How much is this negligee?
$39.95. Isn't it lovely?
Let me see that.
The black one?
Please.
Yes, madame.
Oh, what in the world do you want with that?
Annie, that's Margaret Elliot.
Oh, it couldn't be. She's in jail.
No. Some mystery man got her out.
I read all about it.
Well, if it is Margaret Elliot,
I think it's a disgrace for a respectable store
like this to hire a jailbird.
It's Margaret Elliot, all right.
You can't fool me.
She was my favorite movie star.
Oh, I can't believe it.
Besides, Margaret was much better looking than her.
Take a good look, ladies,
so there's no doubt.
It is Margaret Elliot, and it is a disgrace.
Margaret Elliot --
waiting on a couple of old bags like you.
You can't talk to US this way.
I'll call the manager.
Call the manager. Call the president.
Call the fire department. I won't be here.
I'm going back where I belong.
I am Margaret Elliot,
and I intend to stay Margaret Elliot!
Well!
Why, miss Elliot.
Mr. Stone has been combing the town for you.
Tell him I'm here.
Miss Elliot is here.
Why, Maggie. Maggie.
I didn't know whether you were dead or alive.
I went down to the jail and they said
some character had bailed you out.
Then you were at the jail?
Why, of course. Didn't you know I'd come running?
No.
Now, Maggie, remember me? I'm your friend.
Then get me that part in "the fatal winter"!
Slow down. Now where were you?
You had US running around in circles.
I've been running around in circles,
but not Margaret Elliot circles.
I want you to take me straight to Joe Morrison.
This might not be quite the right time.
Harry, you're stalling.
Those stories in the paper -- that's not good.
Joe Morrison is mad about publicity.
It's an angle. I'll think it over.
You're always thinking things over. We're going now!
All right, all right.
Maggie, you wait here.
When you go in, I want you to go in right. No begging.
Maggie...
One more thing.
Promise me. Don't give Joe any of your ideas.
He has the ideas.
Joe.
Well, Harry.
You want to see me?
How's the picture going?
Well, it may not make any money,
but it's a beautiful picture.
Come on up.
Well, my boy,
which one of your unhappy clients
wants more money from me today?
Well, Joe...
I'm going to let you off easy.
I came to talk to you about Margaret Elliot.
Oh, a terrible thing. Poor girl.
The competition, the pressure.
You and I go through it every day,
but we're tough.
We don't see our faces enlarged a thousand times in close-ups.
A good thing, too.
They forget they're people.
They get up at the top, begin to slip,
and they get panicky. I hate to see it.
If you'd give her a part now,
it would be one of the finest things anyone has done.
Great publicity for you.
No, no. I like to see my name in the papers.
Besides, it sells tickets to my pictures,
but I won't trade on the weaknesses
and misfortunes of these poor people.
If I gave Margaret Elliot a part,
it would be only because she was right for it.
She asked me to talk to you about "the fatal winter."
But Harry, the girl in the story is 18.
Barbara Lawrence is going to play it.
Margaret had an option on that book once.
It's very important to her.
Everything is very important to stars.
They're so naughty, like children.
At the same time, they're so appealing,
also like children.
Wouldn't you just see her?
I haven't anything for her.
She's out there in the car.
Just to be inside of a studio would buck her up.
Wait a minute.
Do you suppose she'd play the part of the older sister?
It's not a big part, but it's strong.
Well, she ought to. You can sell her on the idea.
Isn't it terrible you have to sell somebody
something that's good for them?
Well, I'm used to it.
Yes, Mr. Morrison?
Miss Elliot is out front in Mr. Stone's car.
Will you send for her, please?
Yes, sir.
Just a minute. Ask Mrs. Morrison to come in, will you?
Yes, sir.
My wife and Margaret Elliot were very good friends.
Besides, my wife is more diplomatic than I am.
Hello, miss Elliot. Go right in.
Mr. and Mrs. Morrison are waiting for you.
Thanks.
How good to see you, Maggie.
Hello, Ruth.
And Joe.
Margaret, you're looking wonderful.
Well, thanks. I never felt better in my life.
How's that lovely little daughter of yours?
Oh, she's very well, thank you.
Well, the story editor is on his way in
with the test scene.
Test?
My dear, I know you've not found it necessary
to make a test for a long time,
but if we all agree on this role,
it will be a departure for you.
Oh, she wants to make a test.
Don't you, Margaret?
Oh, of course I'll make a test.
Ruth, how old do you see the girl?
Oh, fortyish.
Oh, I see.
You want me to play the older sister.
Yes. And if we like the test,
we're going to build that part
to take advantage of your talent.
I -- I see. Well, that will be quite a challenge.
Very interesting experiment.
I'm a strange sort of recluse, see?
Oh, I suppose she's had a tragic love affair,
but that's no reason why she can't
look attractive, as I see it.
Anyhow, I've rented this small chicken farm
from some people named Garfield, and I run it alone.
There's been a murder and I've seen it.
The Garfield family is mixed up in it and I know it,
and one of the Garfield men comes to tell me
that I didn't see it.
And that's the test scene.
Cue me, would you, Jim?
Oh, wait a minute.
I'm supposed to be scrubbing the floor.
There. Ready?
Uh, it says here, "he knocks on the door."
Knock, knock, knock.
Who is it?
"He enters, stands looking down at Sarah."
"Aren't you going to ask me to sit down?"
You can do as you like.
Margaret, it says here she speaks in a sullen manner.
Oh, Jim, disregard the stage directions.
That's one of the first things a real actress learns.
Who's directing "the fatal winter"?
Oh, a character named Keith Barkley, from the stage.
Thinks he's slumming out here.
If I were you, Margaret, I'd play along with him.
Jim, will you admit I know more about Hollywood than you do?
Mm-hmm.
But directors are like anybody else in the driver's seat.
They want to drive.
Oh, I've been managing directors for years.
Margaret, I don't want to see you hurt again
like those two old bats hurt you at the store.
Oh, but Jim, that was this morning,
and I wasn't hurt. I was just plain mad.
You don't get mad unless you're hurt.
Jim, no lecture tonight.
Come on, let's start from the beginning.
Yeah, I'll take care of that. Sure, yeah.
You can depend on it. Thank you.
This way, miss Elliot.
Would you bring me a glass of water, please?
Yes, ma'am.
Oh, miss Elliot?
Yes?
Your glass of water.
Oh.
Thank you.
[ Knock on door ]
Yes?
Man: We're ready on the set, miss Elliot.
I'll be there in just a moment.
Hello, Mr. Barkley.
Well, good morning, miss Elliot.
George, how nice.
Oh, stu. Stu, how's the family?
Fine, thank you.
Hello.
Um, miss Elliot?
Miss Elliot, you look a little young for this part.
Really?
Well, women of 42 these days don't have to look ready
for the old ladies' home.
Well, not the women we know,
but this is a special case.
She hasn't bothered to keep up her appearance,
she avoids people --
I've read the book, Mr. Barkley.
Oh, J.M.
How sweet of you to come down and see me.
Good luck, Margaret, dear.
Now you two be nice to each other.
Oh, I always get along with my directors.
Oh, sure. Sure.
Are you going to watch the test, Mr. Morrison?
Oh, no. I just came down to wish you both good luck.
I never interfere on the set.
Bless you.
Now you and I know this is just a formality, don't you?
Of course.
Good. Good.
Good luck.
Goodbye, J.M.
Goodbye, dear.
Well?
Thank you.
Shall we rehearse?
Miss Elliot, Mr. Bailey is going
to play the part of Jed.
How do you do?
Miss Elliot, Mr. Bailey's a very good actor.
He's worked for me in New York.
Oh, how, nice. We can use good actors.
All right. Let's run through it.
You enter this door. You look around.
Just make yourself at home, as if you own the place.
All right, quiet, please. This is a rehearsal.
[ Bell rings ]
Settle down, boys.
Action.
[ Knock on door ]
Who is it?
Aren't you going to ask me to sit down?
Well, you can do anything you like.
It isn't like you to pay a social visit, Jed Garfield.
Cut.
[ Bell rings ]
Anything wrong?
Miss Elliot, you're too light.
This woman is sullen.
She's not flirting with Jed. He's her enemy.
Well, if she wants to win her point, she's got to use sex.
But this woman has no sex.
Every woman has sex.
But you're playing it like a young girl.
Oh, do you really think so?
Look, we've got to get this one point straight.
Mr. Barkley, I've been in this business a long time,
and I know what I'm doing.
I'm sure you do --
George, Ernie Lazlo use to play the key light
from this side of my face.
He used to say if I got bored being a star,
I could run the camera.
Would you bring me the mirror?
Move that key light over there, will you?
George, you see how much better that is, don't you?
I see, miss Elliot.
Thank you.
Well, shall we go on rehearsing?
No. We might as well shoot it.
All right, settle down, boys. This is a take.
[ Bell rings ]
You ready, boys?
Roll 'em!
Man: Speed.
Test, Margaret Elliot -- take one.
Action.
[ Knock on door ]
[ Coyly ] Who is it?
Aren't you going to ask me to sit down?
You can do anything you like.
It isn't like you to pay a social visit, Jed Garfield.
What are you doing here?
You've got it fixed real nice, Sarah. Real nice.
I like things nice. What do you want?
You used to be quite a girl.
You still think you are, don't you?
I still know what's right from wrong.
Do you think it right to go telling folks
you seen him in the Lane the night of the murder
when you know he wasn't within 30 miles of there?
I was there, Jed Garfield. You know I was there.
But if you was there, what was you doing there?
None of your business what I was doing there.
Oh, it's my business
if you're trying to ruin my brother.
Maybe I was thinking of what he tried to do to me.
You don't know Lance when he's crossed.
I know Lance Garfield pretty well.
You don't know how well I know your brother.
Barkley: Cut. Print.
[ Bell rings ]
You mean I got it in one take?
Was it all right?
Fine, fine. Your fans would love it.
Bless you. George, how did I look?
You looked good through the finder, miss Elliot.
Oh, thank you. Thank you.
Thank you, all. Thank you.
Thank you, Mr. Bailey.
See you soon.
I wish I could come and tell you all about it.
Oh, fine.
Oh, yes. He said it was fine.
Oh, the cameraman said I looked great!
Harry, I may have a surprise for you.
When the Morrisons see this test,
it might very well be that I would play the girl
I've always wanted to play in "the fatal winter."
Well, stranger things have happened.
Harry, Harry, I can't talk now.
I've got a million and one things to do.
Oh, stop worrying.
See you tomorrow.
Bye.
Jim! Jim!
Oh, Jim! I've had the most wonderful day!
You struck oil?
They let me have a Cadillac on approval.
Oh, and I found the most wonderful house
with a divine pool.
Oh, and you should see the clothes I ordered.
This...
This is nothing.
It looks like plenty of nothing.
Oh, it's so wonderful
to dare to go in and charge things again.
You wouldn't be a little charged yourself, would you?
Oh, and luckily, my old publicity girl is available.
We've just mapped out a sensational campaign.
Oh, I'm very good with publicity ideas, you know.
Tonight we're going to Romanoff's to celebrate
my return to the screen.
Then you got the part?
We see the test tomorrow.
Then you haven't got the part.
Well, as Joe Morrison says,
"it's a mere formality."
Oh, you don't know what it means
to stand in front of the camera again.
You're going to have a little brother.
Well, are you going to take me out,
or do I have to get myself a new boy?
Well, I know a quiet little place over in long beach.
Quiet little place!
We're going to Romanoff's and then dancing at Mocambo.
Margaret.
Don't you want to go out on the town with me?
It isn't --
Jim, don't make me beg.
I've begged so much.
All right, Margaret.
Oh, you can't go looking like that.
Haven't you anything to wear?
I have a very nice suit.
Well, put it on... while I freshen up.
[ Humming ]
Margaret?
[ Knocking on door ]
Margaret?
Jim.
Jim, wake up.
It's 1:00. Why did you let me sleep?
I only meant to close my eyes for five minutes.
You passed out on high spirits.
Oh, but you promised to take me out tonight.
Take it easy, Margaret.
If you'd gone out, you'd only have run into a lot of people.
What's wrong with people? I like people!
Wait until tomorrow night. Then things will be definite.
Everything is definite.
I've told the papers.
I've ordered clothes --
are you trying to tell me I won't get this picture?
Who are you? What do you know?
This will put me right back where I was.
But why couldn't you have waited one more day?
What impelled you?
Impelled?
Why --
why, I --
was I impelled?
You went out on a limb.
Yes, I did, didn't I?
It's probably all right.
I don't know.
Maybe I thought if I -- if I made those promises,
if I got myself involved,
if I went out on that limb,
it would be so because I'd said it was so.
And then god couldn't be so cruel as to saw me down.
Do you suppose that was it?
Margaret...
Why do you keep torturing yourself with all this?
You must know by now you could stay here with me.
Man: Mr. Stone?
Yes?
Mr. Morrison wants to see you in his office right away.
Oh, thanks.
Well, you heard what the man said.
Can't keep Joe waiting.
I'll have them run it for you later.
Aren't you going to wait for me?
I'll want to see it again anyway.
All right.
Operator?
Yes, miss Elliot.
Is my test ready?
Yes, miss Elliot.
You can go ahead.
Barkley: Action.
[ Knock on door ]
Who is it?
Aren't you going to ask me to sit down?
You can do anything you like.
It isn't like you to pay a social visit, Jed Garfield.
What are you doing here?
You got it fixed real nice, Sarah.
Real nice.
I like things nice. What do you want?
You used to be quite a girl.
You still think you are, don't you?
I still know what's right from wrong.
Do you think it right to go telling folks
you seen him in the Lane the night of the murder?
You know I was there.
Run it again, will you?
Yes, miss Elliot.
I like things nice. What do you want?
You used to be quite a girl.
You still think you are, don't you?
I still know what's right from wrong.
Do you think it right to go telling folks
you seen him in the Lane the night of the murder
when you know he wasn't within 30 miles of there?
I was there, Jed Garfield. You know I was there.
Oh, it's horrible! It's horrible!
If you was there, what was you doing there?
None of your business what I was doing there.
[ Crying ] Disregard stage directions.
Disregard everything. Jim told you!
Maybe I was thinking of what he tried to do to me.
Well, he let you keep this little piece of land.
He could take it away.
No, Lance wouldn't do that to me.
Shut up!
You don't know anything!
You don't know how well I know your brother.
Phyl!
Yes, Harry?
Phyllis, Maggie isn't feeling well.
Would you put her to bed and tell Robert to bring her a tray?
Hey, I'm sorry, Maggie.
Let's see. I'll put her in Judy's room.
She's out in Palos Verdes for the weekend.
Well, what's wrong with the guest room?
I think she'll be quieter in Judy's room.
Do you know where Mrs. Stone is, sir?
She's upstairs.
Well, the caterers would like to know
approximately when we'll start serving.
Huh? Good grief!
I'll be with you in a minute, Annie.
The party? It went straight out of my mind.
No problem. She'll be all right up there.
I gave her a sleeping pill.
You didn't leave any around?
What happened?
Well...
She was testing for the part of the older sister,
and somehow she got it into her head
that if she played it sexy and tried to look young,
they'd give her the other part.
Joe said that she was hopeless. Just bad. Bad.
[ Piano plays ]
[ Party guests chatting ]
Come on inside and meet her.
No, really, I shouldn't.
Excuse me, please.
Thank you.
I'm glad you came down.
Phyl, I've got to go.
Oh, stay for the party.
I couldn't. I just couldn't.
It'll do you good.
Who knows? It might.
We've got a lot of Hollywood brass here tonight.
Here's an old friend of yours.
Didn't Dave write a song for you once?
Hi, Margaret.
Remember?
Do I.
Sure.
We did this for "nightclub."
You know, I can still see it --
you standing there in that black sequin dress,
your heart breaking because the mob had your guy.
Hi, Margaret.
Hi.
Hey, how are you feeling?
Fine. Fine.
Congratulations, Ethel, if it's true.
What did you hear?
That you got the part in "the fatal winter."
Morrison sent for me late this afternoon,
right out of the blue.
Now I can get that tired old diamond clip out of hock again.
Man: How wonderful.
Well, Barbara Lawrence! How did the preview go?
Oh, terrific! Great! Wonderful!
The audience loved it.
I signed a million autographs by actual count.
They wouldn't let me go.
That's quite a face.
Who?
Margaret Elliot?
Margaret, my dear girl, it's so good to see you again.
Harry...
I own a wonderful screenplay that she'd be great in.
You do?
Well, that might save her life.
Do you realize he directed it all with only a megaphone?
Now, Margaret has faced some facts today.
Come on. Let's talk to her now.
...thousands of extras, and when the red sea parted --
hold the red sea, R.J. Excuse me.
Margaret, I don't think you know Richard Stanley.
No. Hello.
R.J., you know dick.
How do you do?
Margaret, Mr. Stanley would like to talk to you.
Let's find someplace
where we can hear ourselves, hmm?
Harry: Business, you know, R.J.
R.J.: Mmm.
I wanted to talk to you about a script I have
I thought you might be interested in.
Oh.
It's a Hollywood story,
but it might have happened anywhere.
The woman could be the head of a department store
or the publisher of a newspaper, a politician --
anything that generates drive.
Now, in my script, she happens to be a movie star,
so we can take advantage of the bizarre atmosphere.
Now, she's been on a sleigh ride,
but she can't face the fact that it's over,
like half the people in this town.
How do you mean that?
Well, I'm not talking about your dedicated artists.
Theirs is another problem.
This is your Simon-pure movie star,
like the ones that play it 24 hours-a-day,
thinking of themselves and what they look like,
what kind of an impression they're making.
Demanding, driving, ambitious.
For what?
Power.
To stay on top.
And, like all climbers that have reached
such a precarious pinnacle, they can't look down...
Lest they fall.
So they stand, clutching what they have,
with fear, their lonely companion.
That's the character of the heroine,
if you can call her that, of "falling star."
How do you get any sympathy for her?
Not sympathy, miss Elliot. Pity.
Profound pity, worthy of the gods.
This is a great tragedy.
Why, my character is denied her birthright --
the privilege and the glory of just being a woman.
[ Softly ] Gretchen. Hurry.
Jim!
Come on.
Jim!
Oh, Jim.