Movie
  • 6 months ago
Transcript
00:00Once upon a time, there were three little girls who went to the police academy.
00:16And they were each assigned very hazardous duties.
00:22But I took them away from all that, and now they work for me.
00:26My name is Charlie.
01:00And I'm going to take them to the police academy.
02:00I'm going to take them to the police academy.
02:31Oh, God! No!
02:35Oh, God!
02:38No!
02:40No, God!
03:01Charlie.
03:03This is Gloria Gibson.
03:06Thank heaven I found you.
03:09Charlie, I need your help.
03:12Gloria. Gloria.
03:14Please.
03:15Gloria, try to stay calm. I'll be right there.
03:21I hope you can help her, angels. I'm a long-time friend and fan.
03:25Gloria Gibson, huh?
03:27I saw every film she ever made. She's just incredible.
03:31Yeah, I saw one of her pictures on TV last week.
03:34A western.
03:35Right. The Sodbusters.
03:39Hey.
03:41I remember seeing that, too. She played a rancher's wife.
03:44She survived cholera, a gunshot wound, a cattle stampede.
03:48She's a very heavy lady.
03:50A very nice lady.
03:53Wait a minute, Charlie.
03:54Now, I remember one scene from that picture...
03:57where she looked out the window...
04:00and she saw her husband hanging from a tree.
04:03The hanging man in Gloria's garden.
04:06Like the scene from the picture.
04:08Charlie, you don't suppose she's flashing back on her old films, do you?
04:12Yes, that's a possibility.
04:14It's also possible someone wants us to reach that conclusion.
04:17You mean someone's doing a gaslight number on her?
04:20Exactly. And she'd be an easy victim.
04:23She's been under a lot of strain the past year since her husband died.
04:27Nicky Lohan, the gambler.
04:29She nursed him through a long illness.
04:31Then when she had recovered from her grief enough to go back to work...
04:35everyone had forgotten her.
04:37Maybe not quite everyone.
04:39If she isn't crazy, it looks like someone's trying to drive her there.
04:53Good night.
05:09Good night.
05:11Oh, yeah.
05:12Beautiful night.
05:17Hello.
05:18Yes?
05:19Charlie said you'd be expecting us.
05:22Oh.
05:24Oh, yes.
05:25Miss Gibson?
05:26I'm Sabrina Duncan.
05:28This is Joe Monroe.
05:29How are you?
05:30Kelly Garrett.
05:31Hi.
05:33Won't you come in, please?
05:35Thank you. Yes, thank you.
05:45It's really a wonderful house.
05:47Well, I'm sorry I can't offer you all a place to sit.
05:52But I'm planning to redecorate.
05:55You know, I imagine it would really look marvelous in something like Louis XV.
06:02That's exactly what I have planned.
06:06How perceptive of you.
06:08Well, thank you.
06:11It really is a lovely house.
06:13Well, Nicky built it for me when we were in Italy on our honeymoon.
06:18It's quite a wedding present.
06:20Nicky was quite a man.
06:25He had a special room where I best remember him.
06:33May I show it to you?
06:35Okay.
06:43Thank you.
07:01A Botticelli fresco?
07:03One of Nicky's finest reproductions.
07:07We were on our wedding trip in Italy when we saw the original.
07:12Nicky fell in love with it.
07:15So he brought over from the studio a fine art director to do the work.
07:22Art director?
07:24They are responsible for the decor and architecture of the set,
07:29sculpture and paintings.
07:32The best ones are fine artists themselves.
07:37Well, whoever did that work, Shirley, was.
07:41It's really marvelous.
07:43Nicky just loved to sit in this chair and study it.
07:48I joined him sometimes and we'd stay here for hours.
07:53I can understand why.
07:55PHONE RINGS
08:00Forgive me, Shirley.
08:03This is Gloria Gibson.
08:06Gloria.
08:07Oh, Frank.
08:08I'm at Mammoth Studios.
08:10I finally got that appointment for you with Jardine.
08:13Two o'clock Wednesday.
08:15Such short notice.
08:17Look, I'm willing to tell them at your convenience.
08:21That might shake them up a little bit.
08:23No, I don't want to risk that.
08:27Will they send a limousine?
08:29No.
08:32Yes.
08:34Goodbye.
08:45That was my agent, Frank Ross.
08:49My old studio is making an updated version of the heart of New York.
08:57That was one of my most successful pictures.
09:01I remember it.
09:02Of course.
09:03This time I'm up for the mother's role.
09:06It's much smaller.
09:10But I'll make something of it.
09:13I remember the role of the mother.
09:15That's a good part.
09:16You'll be terrific in it, Miss Gibson.
09:18Don't call me Gloria.
09:20Thank you.
09:21All of you call me Gloria.
09:24Okay.
09:25Thank you.
09:27Um, Gloria.
09:30Do you think you could show us where you saw the hanging man?
09:34Yes.
09:40This is the tree, isn't it?
09:43That isn't what I saw.
09:46It could have looked like a man in the dark.
09:48I saw a man hanging.
09:51Uh, Miss Gibson, Gloria.
09:55Do you remember a film you did called The Sodbuster?
09:58I know what you're thinking.
10:01There was a man hanging from a tree in a scene from The Sodbusters.
10:06There were two other stories I told Charlie.
10:09About a snarling dog.
10:11A child's severed hand.
10:14They were in scenes from my movies.
10:17But I did see them.
10:23I am not unbalanced.
10:25No one thinks you're unbalanced.
10:28Somebody's trying to drive me crazy.
10:35Or kill me.
10:36Why would anyone want to do that?
10:38You don't know Hollywood.
10:41You don't climb to the top.
10:45You claw your way there.
10:48And there are those you hurt.
10:50Who never forget.
10:52And never forgive.
10:55No doubt.
10:58They're quite pleased to hear that...
11:01I am broke.
11:05And...
11:08Very close to losing this house.
11:12When Nicky died, he left you in debt?
11:16It was my furniture.
11:18My paintings.
11:20They went.
11:23And everything of value that I owned.
11:28I lied about the redecorating.
11:33But you knew about that.
11:37Sure.
11:38Well, personally, I like a house that's...
11:41Decorated with understatement.
11:48Charlie suggested that I stay here with you.
11:51Can you cook?
11:56Uh...
11:57Can you?
11:59We can always send out.
12:02We may have to.
12:05What do you think?
12:06Are we talking to a lovely old lady with head problems?
12:08Or is someone really doing numbers on her?
12:11And if they are, why?
12:14She hasn't got any money, which leaves us with...
12:17Revenge?
12:21You know, what we've got here is a lack of information about our client.
12:25I mean, Bosley gave us a whole dossier full of facts.
12:28We need to take a more personal approach.
12:30Right.
12:31Like people who've worked with her.
12:33Or will work with her.
12:34Exactly.
12:35Gloria Gibson, past and present.
12:37Okay.
12:38I'll go over to the studio and see what the rank and file think about Gloria making a comeback.
12:42Now, somehow you could work on the picture.
12:45You just triggered one of my favorite fantasies.
12:48I'll see who's casting the bits and extras.
12:50Oh, the star is born.
13:04Huh?
13:34Huh?
14:05Huh?
14:26No!
14:29No!
14:32Oh, God.
14:34Sabrina!
14:36Sabrina!
14:38Please help me!
14:39Sabrina!
14:41God, let her hear me, please!
14:43Gloria!
14:44What's the matter?
14:46What's the matter?
14:48A man.
14:50A dead man in my bathtub.
14:53Gloria.
14:56All right, all right.
14:57You wait here now.
14:58We're here.
14:59It's all right.
15:02Oh.
15:28I saw it.
15:31I saw it.
15:33Oh, God.
15:35God, please.
15:37Please believe me.
15:39I saw it.
16:00I saw it.
16:15Excuse me.
16:18Pretty Pretty is in the next building.
16:20Pretty Pretty?
16:22Casting. You're looking for casting, right?
16:24Wrong.
16:26You're hungry.
16:27Never eat before lunch.
16:30You been here long?
16:32About ten minutes.
16:34No, I mean at the studio.
16:36Two hours.
16:38I mean, how long have you been working at the studio?
16:42I come up with the right answer.
16:44Do I get a prize?
16:45Definitely.
16:47Forty years.
16:49Been here forty years.
16:51Oh, jeez.
16:53You must have been here when Gloria Gibson was making pictures.
16:56Gloria? Sure.
16:58Did you know her?
17:00Intimately.
17:01Intimately?
17:03Every day at noon.
17:05Oh.
17:08Gee.
17:09I never would have thought.
17:11Liverwurst with horseradish.
17:13Every day.
17:14Liverwurst with horseradish.
17:16I'm not following you.
17:22That's all she ever ate.
17:24Liverwurst with horseradish sandwiches.
17:27I make them up special.
17:28You sell sandwiches.
17:33I don't give them away.
17:35Lunchies, munchies.
17:36That's inventive.
17:40What about Gloria's friends?
17:43Enemies?
17:44Lots of both.
17:46Anyone in particular come to mind?
17:49That'll take some thought.
17:51What'd you think of her?
17:53Loved the lady.
17:55Hated the sandwich.
17:59What's that?
18:00Your prize.
18:02I think I love you.
18:04Lunch?
18:06Sure.
18:07The Parthenon.
18:08One o'clock.
18:09That's in Greece.
18:10That's a long way to go for lunch.
18:12Stage 22.
18:13They're remaking Helen of Troy.
18:15Sounds good.
18:18You will give some thought to what I said, won't you?
18:21On one condition.
18:22I know.
18:23I won't order liverwurst with horseradish, okay?
18:26I ask so little.
18:27I'll even take enough.
18:29I trust you.
18:31I love you and I trust you.
18:34It's better that way.
18:44We may have a problem.
18:46What?
18:50Her.
18:51What do you mean?
18:52Who's she?
18:53I don't know.
18:54She's been asking questions about Gloria.
18:56What kind of questions?
18:58The kind that make me nervous.
19:01She might be a reporter or something.
19:04Maybe.
19:05Maybe not.
19:06Meanwhile, let's keep an eye, okay?
19:17Don't worry about it, Jack.
19:19I got the dancer, the singer.
19:21You want four dwarfs?
19:23Yeah.
19:24Right.
19:25Yeah.
19:26And one small boy.
19:28All right.
19:29Okay.
19:30What scale?
19:31You owe me one.
19:35You the sword swallower?
19:37Oh, no, no.
19:38Not really.
19:39I wanted to talk about representation.
19:41Make yourself comfortable.
19:52Well, what can I do for you?
19:55I understand you're casting the bits and extras for the Heart of New York.
20:00That's right.
20:01My cousin's the associate producer.
20:04Oh, wow.
20:06Gloria Gibson is one of my all-time favorite ladies.
20:10I'd love to work on that set.
20:12Got any experience?
20:14Well, I did plays in high school and college.
20:18And I never get speeding tickets.
20:20Speeding tickets?
20:22What's that got to do with anything?
20:24Well, when the police stopped me, I cried.
20:28Oh, yeah?
20:29Yeah.
20:30I wish I could do that.
20:32Oh, well, you ought to try it.
20:34It really works.
20:35Especially when you're a member of a minority group.
20:38Oh, now, I'm not a Samoan warrior.
20:41See, I'm on a lunch break.
20:42Well, you could've fooled me.
20:44Well, you see, besides my partner and I handling bit players, we also work as bit players.
20:51Hey, you know you're late.
20:52Well, the freeway was a mess.
20:54Yeah.
20:55All right, look, I gotta go.
20:56All right.
20:58Hold down the fort.
21:01What's funny?
21:03Asking you to hold down the fort.
21:05I mean, you're being an Indian and all.
21:08I'm a lawyer.
21:10Hey, what are you doing for dinner?
21:13I only eat nuts and berries.
21:15Oy, some of my relatives do that.
21:17Personally, I find it disgusting.
21:20Listen, do you think you could get me a union card to work on Gloria Gibson's picture?
21:26Oh, well, this is tricky.
21:31For an Indian lawyer?
21:34Thank you.
21:42Charlie says you can keep the rose as long as you need it, Gloria.
21:46Thank you.
21:49It's nice to see you again, Miss Gibson.
21:52It's nice to be back, George.
21:55You have a pass for us.
21:57Forget about the pass, Miss Gibson.
21:59If it weren't for you, this studio would still be a bean field.
22:02We'd just go right on in.
22:04George, that's very kind of you.
22:06Oh, I forgot.
22:08Mr. Boyd, one of our young executives, has got your old parking space.
22:12We just park in visitors.
22:14Thank you.
22:15Bye, George.
22:33Thank you.
22:43As George said, without me, this would still be a bean field.
22:51You know, Gloria, before we go inside, there's something that I really ought to tell you.
22:57I read that Mr. Ulan, the man who's directing the film...
23:00Yes, he doesn't want me in the picture.
23:03Well, you don't seem upset.
23:07Gloria.
23:11Frank, this is my new secretary, Miss Duncan.
23:16How do you do?
23:17Very nice to meet you.
23:19Gloria, when we get in there, if they talk money, we operate from strength.
23:24Otherwise, they walk all over us.
23:30Come on.
23:39Hello, Mr. Ross.
23:41Hello, Cathy.
23:43Would you tell Mr. Jardine Gloria Gibson is here?
23:47Of course.
23:50Mr. Jardine, Miss Gibson is here.
23:53Ever come in?
23:55Go right in.
23:56Thank you.
24:00Come in, Frank.
24:01Thank you, Hal.
24:06Hal Jardine, Miss Gloria Gibson.
24:09It's a great pleasure.
24:12Thank you.
24:13You know, this is kind of a big day for me.
24:16When you and I were younger, I saw every picture you ever made.
24:21And I loved every damn one of them.
24:23That's very kind of you.
24:26Excuse me.
24:27I'd like to introduce you to my secretary, Miss Duncan.
24:31How do you do?
24:32How do you do?
24:33Do you know our director, Joseph Ulan?
24:38I don't believe I've had the pleasure.
24:44I've heard lovely things about you.
24:47Thank you.
24:49You mustn't be nervous, you know.
24:52What?
24:53I understand.
24:54This is your first film.
24:57But I'm not nervous.
24:59And I understand Ethel Haley is also being considered for this role.
25:05Yes, I have directed her in a play.
25:09Well, you are showing a great deal of courage, Mr. Jardine.
25:15My dear, don't you agree?
25:18Oh, yes, I do.
25:20I don't think I'm following.
25:22But what I mean is, a stage director, a stage actress, both making their first film.
25:30And they are playing to the balcony with big gestures, big voice.
25:38There is no balcony in films.
25:44We play in whispers with our eyes.
25:50Our inner selves are visible.
25:53And with them, we overwhelm.
25:56We reduce you to your elements.
25:59And then we rebuild and return you to yourselves.
26:04And our audience is remade.
26:10They're exalted and loyal to the stars they love.
26:19And remember.
26:31Well, your point is well taken, Miss Gibson.
26:40It's been a great pleasure.
26:43Thank you so much.
26:50Yes, sir?
26:52Come in, please.
26:54Goodbye.
26:55That was a lovely performance, Miss Gibson.
26:58Well, there's acting and there's acting.
27:00I think we're going to get it. I really think we're going to get it.
27:03We've got it, Frank. We've got it.
27:06I think we're going to get it. I really think we're going to get it.
27:09We've got it, Frank. We've got it.
27:36She's liable to remember me. I don't want to risk stirring up old memories.
27:50I'll talk to you later.
28:07It's been a long time, hasn't it?
28:09A long time.
28:11Well, your name on the door, your old parking space back.
28:15Can't get much better than that.
28:17Not much.
28:21I must change.
28:23Yes, ma'am.
28:27Thank you.
28:31I'll speak to you later.
28:32Sure.
28:36Bye.
28:42Some fine lady, huh?
28:44Kelly?
28:46They just don't come any better.
28:48Come on, let's get some coffee.
28:50Okay.
29:07Oh, God!
29:19Please, somebody!
29:25Oh, God! You've got to help me!
29:31Help me!
29:36Oh, please, God!
29:38Help!
29:39Please, help!
29:40Get the fire extinguisher.
29:41Call the fire department!
29:42Hurry up!
29:43Hurry up!
29:44Get him!
29:45Get him!
29:46Let me through!
29:47Let me through!
29:48Get out of there!
29:49Let me through!
29:50Let me through!
29:51Get out, mate!
29:52Nobody!
29:53Oh, please!
29:54Oh, please!
29:55Oh!
29:56Oh!
29:57Come on, mate!
29:58Oh, God, help me!
29:59Get a doctor, somebody!
30:00I need water!
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30:28Oh, God!
30:29Lucky you had the crowbar handy.
30:31Yeah.
30:32She could have died in there.
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38:07Very quickly. Come on. Nobody touches him. Step back.
38:16Are you okay? Yeah. He was trying to kill you.
38:21I don't think it was a solo act either.
38:38Part 2
38:44Barkley moved along the catwalk to the lamp that was above Jill,
38:48and then he picked it up and deliberately dropped it down.
38:52But why, Jill? I don't know.
38:55I saw him on the set when he was talking to Galbraith, the prop man.
38:59Seemed like they were kind of watching me.
39:01And then I remembered I'd seen him at the studio
39:05the day I was questioning Munchy Munchy about Gloria.
39:09After Barkley fell, Galbraith took a look at Jill and did a very nervous exit.
39:14Bree, Galbraith still hasn't put me with Jill.
39:18Maybe I should go back to the studio and keep an eye on him.
39:21They won't finish shooting for a while tonight. It's a late call.
39:24What do you think? It's a good idea. Be careful.
39:27Okay. Bye. Bye.
39:29Bye.
39:34Jill, how long had Barkley been with the studio?
39:39Oh, he'd been an art director at the studio for a long time.
39:42Art director, yeah.
39:45Wait a minute.
39:47What?
39:48Gloria, look.
39:51I saw a news photo.
39:54Oh, yes.
39:57That was taken shipboard
40:00when Nicky and I left Italy to come home from our honeymoon.
40:04Look, these two men. Do you recognize these two men?
40:08That's Barkley and that's Galbraith.
40:11Are they...
40:13Oh, my eyes.
40:15They are. What are they doing there with you and Nicky?
40:18Well, I told you, dear, didn't I?
40:21Besides being on my honeymoon,
40:24I was also making a picture in Italy at the time.
40:27So Barkley and Galbraith were part of the picture company.
40:31Yes. As a matter of fact,
40:34now I remember,
40:36Nicky had them remain after the picture was finished
40:40and the rest of the crew had gone home.
40:43Why? Why did they stay behind?
40:46Well,
40:48it was this one.
40:50That's Barkley.
40:51Yes. He did the reproduction of the Botticelli fresco for Nicky.
40:56What about Galbraith, the prop man?
40:58Why did he stay behind?
41:00As I recall,
41:03he arranged for the reproduction of the fresco
41:06to be sent back here.
41:09Mm-hmm.
41:21You're smiling.
41:47I've got it.
41:49By George, I think I've got it.
41:53Come on. You gonna tell me?
41:55Oh, yeah.
42:14Hey, leave the work, my son.
42:17Okay. Good night.
42:28Listen, I just called the hospital. He's dead.
42:31What happened?
42:32I told you guys not to panic.
42:34You got nervous about the girl who was asking all the questions.
42:37You know, the one who was poking around in the burn trailer.
42:48Gloria?
42:50Yes, Kelly.
42:52Are Jill and Sabrina there?
42:54No, they left a few minutes ago.
42:56I think they're going there to see you.
42:59Thank you. I'll get back to you.
43:07Mobile operator.
43:10She was here.
43:14She was here.
43:16And he was up on the catwalk.
43:20Yeah, yeah. Go on, go on.
43:23Keep talking.
43:25Just pushed the lamp over,
43:27and the cable got caught around his leg, and...
43:38Hello? Kelly, we're on our way there now.
43:41Good. You'll never guess who joined Galbraith.
43:44Frank Ross.
43:46How'd you know it was Ross?
43:48Never mind. I'll tell you when we get there.
43:50In the meantime, you just stay out of their way, okay?
43:52Hang it up.
43:57Kelly?
43:58What's wrong?
43:59Are you there?
44:00I don't know. Let's get over there fast.
44:04Okay, you caught me, I confess.
44:06Guilty as charged.
44:08I know I was warned, but I figured just this once...
44:11What are you babbling about?
44:13Well, I know extras aren't supposed to make phone calls from here,
44:15but I was short of change.
44:17What's going on?
44:19Look, not going on...
44:23Coming in!
44:38Come on.
45:08Light! Give me some light!
45:38Come on!
46:08Come on!
46:39Ow!
46:44Hold it!
46:46This makes a very nasty hole.
46:55Can't be a beacon if your light don't shine, you know?
47:00Would you think I was pushy if I asked why you were shooting at me?
47:04I've got a theory. You want to hear it?
47:06Oh, I'd love to.
47:08You know the Botticelli reproduction in Nicky's room?
47:10What about it?
47:14It isn't.
47:16It isn't there?
47:18It isn't a reproduction.
47:37Well, Sabrina, what was the verdict?
47:40Well, Charlie, three Renaissance art experts all came to the same conclusion.
47:44The Botticelli fresco in Nicky's room's the real thing.
47:48Worth millions.
47:50Incredible.
47:52This may go down as the most notorious story in the art world
47:54since that fellow cut off his ear.
47:57Apparently, Nicky paid Galbraith and Barclay quite handsomely.
48:01Then when Nicky died,
48:03they decided they had a chance to really collect.
48:06Well, they couldn't kill Gloria
48:08because that would have put the house into probate,
48:10which would have kept them from tearing down the wall to get to the fresco.
48:13So they contacted Frank Ross,
48:15and he began his campaign to drive Gloria out of her mind,
48:17out of her house, out of the picture,
48:19and into bankruptcy,
48:21so she'd have to sell the house to him.
48:23The hanging man and the body in the tub?
48:26All movie magic, Charlie.
48:28Speaking of which, I understand the film was made
48:31Speaking of which, I understand the film is progressing nicely.
48:34Yeah, Eulen and Gloria formed a mutual admiration society.
48:38We're all invited to the premiere.
48:40Wonderful. I'll see you there.
48:42Oh, Charlie,
48:45you mean you'll come with us?
48:48I mean, I'll see you there.
48:50Yes, Charlie, but will we see you?
48:52You might. You know how I love the movies.
48:55Uh, Charlie, how will we know it's you?
48:59I'll be wearing a tuxedo.
49:01Charlie, all the men at the premiere will be wearing tuxedos.
49:05That's showbiz.
49:07Bye, angels.
49:09Goodbye, Charlie.
49:12Bye.
49:28© BF-WATCH TV 2021