(PIANO ACCOMPANIMENT)
(CHILDREN CHATTERING)
(CHILDREN CHEERING)
(APPLAUSE)
(BOOING)
(WILD CHEERING)
(VIGOROUS BOOING)
(CHEERING)
(APPLAUSE)
Children, this is the first showing of Heroes of the West.
Mr Bart, world-famous actor,
has come all the way from Hollywood to let us see it.
I'm sure that we're all most grateful to you, Mr Bart.
(APPLAUSE)
Thank you. Thank you.
Well, if all the public was like you fellas,
I reckon I'd begin to think l was pretty good myself.
When you fellas get back on your pins, I want you all to come out to California
to my ranch and visit me for a spell. That is, if you'd like to.
-Sure! -Sure!
This is Jed Reed. He kinda runs things for me,
and he's got something mighty important to tell you.
Thank you, Tim.
Children, I'm here to present you with a charter
for the Tim Bart Cowboy Club, Fair Springs branch.
-Oh bo , y! -Gee!
lt's Tim's idea, so maybe he'd better tell you about it in his own way.
Oh, come on, Jed. Pass out the badges.
All right.
(EXCITED SQUEALING)
Give me one!
-Give me one! -Could you give me one?
I'm going to swear you all in as fellow members.
Raise up your right hand.
What's the matter, son?
I can't raise my right hand, and I want to be a cowboy.
Well, you raise your left hand. It's just as good, sure enough.
You know, the fastest man on the draw the world's ever known
was a southpaw? Wild Bill Hickok, friend of Buffalo Bill's.
Thanks, Tim.
-Mr Tim? -Yes?
Do you like Miss Gloria? I think she's beautiful.
Nobody could help liking her, sis, and she's just as good as she looks.
Excuse me, Mr Bart, would you come with me a moment?
A little boy we're taking to the surgery begged so hard to see you.
The doctor's delayed for a moment.
I've had people wait meals for me,
but I never had them put me ahead of an operation.
Gee.
Tim Bart.
-T|M: What's your name, son? -Bi||y. Billy the Kid.
Ah, he was Jesse James last week.
Jesse James and Billy the Kid.
My, you must be powerfully fast on the draw.
I reckon I'll have to make you a special sheriff.
A sheriff? Gee!
And can us fellas look you up in Hollywood, like you just said?
TIM: You sure can, son.
-Honest injun? -T|M: Honest injun.
Then I'm going to get well, just so I can come out to see you.
That's the stuff, Sheriff.
Toby and me will be down at the train to meet you.
It's time to go, Billy.
-So long, Tim. -T|M: Stick in your saddle, son.
I'll be seeing you, Tim.
(APPLAUSE)
(INAUDIBLE)
(CHEERING)
I could make headlines out of that hospital talk down at Fair Springs
if you'd let me.
Lay off it, Jed. I'm not going to use cripples and orphans
to get my name in the paper.
No, you're impossible. That would be great publicity.
Hey, what's this about a carload of ponies from Arizona?
-Oh, that should have been marked "personal". -Should have been marked "foolish".
It might be a good idea to finish the payments on that million-dollar ranch
before you turn it into a playground for children.
-|t'|| be paid for by Christmas. -Yeah, don't be so sure.
Nobody knows what talking pictures will do to you Western actors.
Oh, that don't worry me none.
Besides, I ain't an actor.
I figure I'm just someone that the kids would like to be.
Just a hero, huh?
Look at this, Jed.
From a kid in Massachusetts that saw my last picture 20 times.
-Must have been an usher. -STEWARD: Excuse me.
Plumb forgot to give you this telegram, Mr Reed.
"Dear Tim, you are my favourite actor.
"I think you are great. Please send me a picture of your horse."
-Hey, Tim. Tim. -Huh?
(MUSIC ONLY OVER MONTAGE)
ASSORTED VOICES: All right, kill that 49 up there.
Hey, Charlie, bring those over here, will you?
Careful over there.
Hey, you, wake up. Pull out this chandelier.
-Hey, Charlie? -More. A bit more.
That's good.
Hey, you gonna stand there all day? Get off of there!
Hey, you got that light plugged in?
-Tighten it down, will you? -Listen up, everyone.
Flood it out.
Come on, boys, get the lead out of your shoes
and let's get going here. A little pep.
Come on, Harry, bring that tree over here, will you?
Get that one in front of those cameras, Ed. Hit him with that light.
Hey, Larry, bring some make-up over here for Miss Gay, will you?
Let me take a look, Rudy. Great. Great, Rudy.
-Rembrandt lighting. Are you all set? -No, I'm fed up.
Every time I place a light, I get shadows from those microphones of theirs.
Yeah, these sound people think they own the place, but we'll show 'em.
-George? -What is it?
-Give me a level. -Okay.
One, two, three, four, five. Fifty-fifty, Mississippi.
-How do you get me now? -Okay.
No, no. Leave that side alone. There's one over here that needs fixing.
Annie, this dress is miles too big for me. See what you can do about it.
Do something.
Johnny, come here. Johnny, why did you change my make-up?
I don't know, Miss Gay. The talkies are changing everything.
-Well, I think it looks awful. -Well, I'll see what I can do.
Annie, have you got any...
You're getting kind of tangled up in your own rope there, ain't you, boss?
Sure enough.
I wonder how they expect a fellow to talk with his windpipe hog-tied.
Let me give you a hand here.
Ah, you don't know any more about it than I do.
Get one of the wardrobe men, will you, Pete?
Hey, Oscar, come here.
Eddie, Eddie, Eddie, what's holding us up?
I'm ready to rehearse. Bennett will be here any minute.
We're all set, Mr Howard.
Quiet! Everybody, quiet! Hold the hammers and close the doors.
Okay, Tim and Gloria, will you please come on the set?
-You look beautiful, Miss Gay. -Quiet!
We could find a better...
Thanks, Jimmy.
Why, Tim! I wouldn't recognise you.
Well, I don't blame you, honey. I wouldn't know myself in this outfit.
My, you look pretty, Gloria.
Mr Howard is waiting.
-Come on, Tim. -Don't be nervous.
Gloria, your gown is exquisite. It fits you like a glove.
You're right over here on the couch.
That's it. Reclining with your foot up here.
Fine.
Now, let me have your hand up here.
Say, where is that cigarette holder I asked for?
Props! Where's props? Props!
-Here you are, Mr Howard. -Cigarette?
Now, Tim, you're over there by the open window.
Eleanor, let me have that script.
Oh, yes. "Scene 101.
"The song of birds is heard in the garden."
Give me the bird, Chuck.
(IMITATION BIRDSONG)
That's not the kind of a bird that sings at night.
(DIFFERENT BIRDSONG)
That's grand. Just like a nightingale. Thanks, Chuck.
"The summer breeze is gently wafted in through the curtains."
(LOUD WHIRRING)
Hey, cut down that wind. I didn't ask for a hurricane.
That's better. Thanks, Whitey.
-Eddie? -Yes, sir.
-Carry on from here. -Okay, Mr Howard.
-George? Oh, George. -Yes, Don?
I’d like to hear a few lines from Mr Bart, please.
Okay. Tim, will you please speak a few lines into the mike?
-In that? -Yes.
I couldn't talk to that critter.
How am I doing, Don? How's the weather up there?
Okay for sound.
Sound department's ready.
All right, then we can shoot.
Here comes the big shot.
Al, this is Mr Forsythe, our dialogue director.
Hejust came from London to teach the actors how to talk.
How do you do, Mr Forsythe? Welcome to Hollywood.
Delighted, I'm sure.
I'm looking fonNard to collaborating with you, Mr Howard.
Well, don't let us hold you up, Al.
It costs me $1,000 an hour to make these talkies.
-L|oyd, bring in some chairs. Come on. -Yes, sir.
That's a stunning cane you have there, Mr Howard. A real malacca, isn't it?
-Oh, yes. I'm never without it. -Neither am I.
-That's what I thought. -Yes.
Thank you.
(WHISTLE)
Quiet. Let 'em roll.
Kill the general lights and hit that sun-arc.
HOWARD: Action!
(STILTED) What a night.
Or maybe I'm seeing it through different eyes.
Are you, darling?
I'm so happy.
Your hair is like moonlight, imprisoned in a gus...
in a gossamer web.
If I was... if I were... if I was to tell you...
-Cut. Cut it. -Cut!
You know, I don't reckon as how I'll ever get them was's and weres untangled.
Put on the work lights, boys.
Tim, this is Mr Forsythe. He's here to help you with your dialogue.
-Howdy. -How do you do?
If you don't mind, perhaps I can give you some assistance.
Of course he don't mind. That's what you're here for, ain't... aren't you?
If you'll just give me the script, Mr Howard.
If you don't mind, Mr Bennett, please.
And if you'll just relax, Mr Howard,
and let me have the stage for a few moments.
Thank you.
Now, then, my dear fellow.
You bend over this lovely creature.
No, no, no. You just take the script, and I'll show you.
You watch me.
The magic scent from her hair.
Pardon me, I'm Mr Forsythe.
You are ovenNhelmed with her exquisite beauty.
You cry out. It pains you.
Well, it don't pain me none to look at Gloria.
FORSYTHE: My dear Mr Bart, can't you imagine that you love this girl?
TIM: Well, that don't take no imagination.
I wouldn't tell her all these fancy words you've got here. I'd just say it.
I'd just tell her the first time I ever laid eyes on her
I knew I'd never be looking at another woman from then on.
Come on, come on, Tim.
I paid $25,000 for this play.
If it's good enough for Broadway, it's go... it certainly is.
Now, let's get on with it.
My dear chap, don't let them make you nervous.
As I was saying, you delve into your very soul.
Delve?
(TYPING)
Oh, hello.
-Hello. -Howdy.
Mr Bennett, can you see Miss Gay and Mr Bart now?
Mr Bennett wants to see you, Miss Gay.
Say a prayer, Tim.
Now, come along. Come along. Just take it easy.
You know, it ain't the end of the world even if he don't like your test.
No, but it'll be the end of me.
Well...
Now, ain't thatjust like a woman? Always expecting the worst.
Well, she hasn't anything to worry about.
Bennett's been doing nip-ups ever since he saw her test.
Do I understand you to say that he liked her test?
Like it? Why, the whole studio's raving about it.
Bennett says he's got a new star on his hands.
VVeH,lneveL What do you know about that?
She was worried sick about losing herjob.
I'm sorry, too, Gloria, but we all have our day.
Tim had his.
Now he's through.
The day of Westerns is over.
We have to make the pictures indoors from now on.
And you know if you take the horse and cowboy outfit away from Tim,
why, he couldn't get a job as an extra.
Mr Bennett,
do you mind if I tell him?
No, you go ahead and tell him.
I said, "Okay, Mr Bennett.
"If I'm no good for the talkies, I'd rather find out now than later."
You were mighty worried beforehand. How come you're not disappointed now?
But I would be, Tim.
I'd be sunk if I thought it was because I was too dumb for the job.
But, gosh, when they said you wouldn't do, either...
Well, just think of it. You, Tim Bart.
Why, you're an institution. I told him so.
Well, thank you, honey.
You know what you're trying to do
is just about the nicest thing that ever happened to me.
-I don't know what you're... -Oh yes, you do.
You're trying to pass up your biggest chance
just because they don't want me.
Well, you're going on, honey, and you're gonna climb to the top.
But, Tim, what about you?
Oh, don't you worry none about me. I'll be all right.
I'm going to be so busy rooting for you, I won't have time for anything else.
Why, I'll be your biggest fan, honey.
-Oh but Tim, I can't do it. -Oh yes, you can.
-Oh no, I can't. -Oh yes, you can.
I wanna stick right here in Hollywood and bust into pictures.
You're too civilised to be a cowpuncher.
You ain't civilised enough to be anything else.
Don't you reckon he could play the part of a high wind
in one of them sound pictures?
Hey, fellas.
-Hey, Slim, how do you spell Texas? -T-E-X-A-S.
Good thing you don't live in Albuquerque, Buck.
-Can I give you a hand, Pete? -No, thanks. I got it.
-Forget something, didn't you? -No. That's your mail.
This thing is feeling hard times, too. It sure looks skinny.
TIM: It's from that kid again.
Mr Bart, I'm from the mortgage company.
Now, you'll have to get all this junk out of here at once.
I have a party with me to look at the place.
Well, ain't you kind of fast on the trigger, stranger?
Listen, cowboy, your time's up. Now get going.
The man with the mortgage on the old home ranch!
Just like one of your horse operas, Tim.
Only we can't shoot him in the last reel. Ain't that too bad?
Funny,huh?
Well, if you're not out of here by tonight, the joke will be on you.
Nice kind of guy.
That face of his would scare a horse.
-Well, I'll see you in town, Tim. -You bet, Slim.
All right, Pete, let's get going.
-|'|| be seeing you, Tim. -So long, Shorty.
(CHATTERING)
-One more, please. -GLORIA: Oh no, that's enough, Hymie.
Now, Gloria, Jed told me to cover this party from every angle.
-You don't want me to lose myjob, do you? -All right, then.
Oh, there you are, Jose.
Buenas noches, seﬁorita!
These parties are killing me.
Come on, Professor, cut out the highbrow music,
and let's have a little jazz.
I want to dance with Gloria.
Now, don't pay any attention to him, Vassily. We love your composition.
Hello, Jed. Just got some swell pictures of Gloria and the crowd.
Fine. Fine. I got him for you, Gloria.
Tim, this is a surprise. How in the world did you ever get hold of him?
I had to tell him you were leaving for England
before I could drag him over here.
-Well, Jed always was a first-class liar. -My life is just one lie after another.
Well, I got to get back to the studio. I'll drop in again before the party breaks up.
-Good bye. -Good bye.
Well, Jed didn't tell me you had a crowd of people here.
Well, you know, this is Jed's idea.
He thinks I've got to do it to keep in the swim.
Well, he's probably right.
These people are mighty important to you, Gloria.
Come on, Tim.
He used to be an actor, didn't he?
Yeah. Tim Bart, the cowboy hero of the silent films.
I wonder what he's doing here. I thought he was all through.
He's through all right, but Gloria's still crazy about him.
-Oh, Tim, I hate all this. -You do?
My, it sure is a right swanky place you got here.
It's awful and you know it. Just like a stage set.
Tim, tell me the truth.
Why have you been avoiding me?
Why won't you let me do something for you?
Bless your heart, honey. That's mighty sweet of you.
Is that what you've been thinking?
Why, I was never better off in all my days.
-But you haven't worked. -Haven't worked?
I wish the boys could hear you say that. I've been going night and day.
-Well, I mean in pictures. -Oh, pictures.
I clean forgot about them. I've had so many things to think about.
You mean you've been working at the ranch?
You wouldn't know the place.
Remember that piece of prairie I was going to turn into a camp for city kids?
I reckon I'll have all the old Tim Bart fans living right there with me pretty soon.
Oh, Tim, that's great.
Only, I almost wish you needed work, so we could be together again.
Come on, Gloria, I got rid of your professor.
Jerry's hitting things up. You got to dance with me now.
Don't go away now. I'll be back in just a minute.
(LIVELY DANCE NUMBER)
Step on it, Hank, so I can get a bead on his tires.
Okay, Chief. We're doing sixty now.
Looks like I'm running out of gas. Hurry, I better turn in this ditch.
No!
All right, Butch, we nailed you.
Get your hands off of me if you know what's good for you.
Hey, fellas.
Hey, fellas, I'm treating. How about some soda pop, huh?
-Oh, boy! -Lead me to it!
(EXCITED CHATTERING)
How about yellow?
Hey, Pete, I want four soda pops for my little pals.
-Oh, boy! -Here you are. How's that?
Oh, boy!
-Oh, boy! -What do you know about this, huh?
Boy!
Howdy, cowboy.
Well, well, well, if it ain't old Tim himself.
Howdy, cowboy, howdy.
-T|M: You're looking pretty good yourself. -Why, you old horse wrangler.
Shorty, why the disguise?
Disguise nothing. This rig's on the level. I'm driving for Bill Delaney.
-Well, that's great. Great. -Dinner is served, madam.
Them's my lines in the picture.
-Say, this calls for a drink. -What'l| you have, coffee or soda pop?
No, the drinks are on me this time.
Come on, fellas, there's a joint across the street.
-Come on. -You fellas go ahead.
I'll follow you as soon as I close up shop.
-Fi|| them up again, Joe. -This one's on me.
-No, Shorty... -Hey, Joe,
tea for four, and make it strong.
Okay, but first we hear some music from the new piano.
-Swell. -Hey, Carlo.
Carlo, come here. Push a nickel in the piano, huh?
Sure.
Okay for sound.
The studio boys from the sound department, they teach him that.
Some bird!
Well, where are you putting up now, Tim?
I'm just hanging my hat
Holy smoke! I got to get back on the set.
Hey, I'll have to shove along, too. I got to pick up the boss at the club.
Well, any time you want to put on a little dog,
just let me know, and I'll sneak the car out for you.
If you ever need a butler, I'm at your service, milord.
-Well, so long. -So long.
-So long, Tim. -So long.
Say, I'm mighty glad you're doing so well, Pete.
Yeah. I'm doing all right.
You know, the other day, I was on location with the AI Howard Company
and I even fed the stars.
There was Jim Bagley and Gloria Gay and...
That reminds me, she was asking after you.
She was asking me where you've been keeping yourself
and why she hasn't seen you.
-How's she looking? -Sweller than ever.
She's got one of them pooches that's got hair growing down all over his eyes.
Pomegranates, I think they call 'em.
Well, Tim, you'll find me down at the parking lot,
the corner of Vine and Selma most any night.
-|'|| drop in to see you. -Fine.
-So long. -So long.
Give me another one.
Hello, Joe. You know what I want. Make it two of 'em.
Well, if it ain't the old horse-opera idol himself, and drinking.
Well, I see you ain't learned no better manners
since the last time I saw you.
Save all that highfalutin language for your pictures.
He ain't in pictures any more.
Oh, that's right. I forgot. You aren't in them any more, are you?
What's the matter? Can't you and your horse talk?
Hey, boys, please, please. No quarrel. Be nice.
-Carlo. Carlo. -Yeah. Yeah?
-Push another nickel in the piano. -Sure.
(LIVELY PIANO MUSIC)
Aren't you afraid your fans will object to your being seen in a joint of this kind?
They might if they saw the company I was sitting next to.
Well, it's just the right kind of company if you're looking for an argument, cowboy.
Now, I call that downright accommodating.
You do, huh?
Stop!
Stop! Stop! I'll call the police! Police! Police!
Stop! Stop! I'll call the police!
Looks like a fight over there.
(BIRD SQUAWKING)
Okay for sound.
CARLO: Stop! Stop! You're breaking my place!
Cut it out!
BIRD: Okay for sound.
I don't know. Sounds like a crazy idea to me,
but it's up to you, Al.
I can't see him in anything but cowboy parts.
Well, five will get you ten he can play this one all right.
Besides, it's going to help Gloria's work just to have him around. I'm sure of it.
Yeah, something better help her work.
One picture like her last one, and I won't be able to sell her for peanuts.
(INTERCOM BUZZES)
Yeah?
Tim's here with Jed.
Come on, Tim.
Oh, Tim, here's your mail. Pete hasn't called for it in a week.
Thanks,Bud.
-Howdy, Al. -Glad to see you, Tim.
-Hello, Mr Bennett. -How are you, Tim?
-| see you're still getting fan mail. -| just got it outside.
Guess somebody still thinks I work in pictures.
Oh, I almost forgot.
Thanks, Mr Bennett, for getting me out of the hoosegow.
-You'll have to thank Al for that. -Yeah?
Tim, I got a great part for you in my next picture.
-No fooling? -I saw the fight yesterday afternoon,
and you're just what I need.
-Yeah? -A lot of guys can fight,
but none of them can give me the expression you had when you socked that fellow.
What do you know about that?
It's right up your alley, Tim. It's got colour, drama. You'll be a wow.
This guy's a killer, a real one.
You mean you want me to play a gangster?
-Exactly. -A new Tim Bart.
-Well, I'm sorry fellas, but I can't do it. -You can't do it?
You don't understand, Tim. It's a great part, isn't it, Mr Bennett?
All the big actors play gangsters now.
Cagney, Robinson, even Gable.
Tim's afraid of disappointing his fans.
The kids have probably forgotten all about you by now.
Yeah, maybe you're right. I reckon I have one or two of them left.
(INTERCOM BUZZES)
-Miss Gay is here. -Send Miss Gay in.
Excuse me a minute, Mr Bennett, but does Gloria know about this?
No, but she's been pestering me for months to find you a part in one of her pictures.
Sure enough?
-Why, Tim. -Hello, Gloria.
We've been trying to talk Tim into playing a role.
-In my picture? -Yes.
Oh, Tim, I'm so glad.
Sam, by the way, those exhibitors outside want to take a look at Devil's Paradise.
Huh? Oh yes, yes, I almost forgot.
Well, Tim, I'll see you in the morning. We'll discuss wardrobe.
-|'|| get Chet to give you a script. -Everything's going to work out fine.
It'll be great, Tim. Great.
Say, Tim, isn't this just like old times?
Yep, except the part they want me to play isn't exactly like old times.
Well, I guess I'm being selfish,
but right now I'm so glad to have you back, I don't care what the picture is.
-Thank you, Gloria. -|'m the one to be thankful.
(BELL RINGING)
-Gee, I hope Tim makes good. -Yeah, he's a swell guy.
ASSISTANT: Oh Joe, come on over here with that number board.
Hey, you kids, get away from that.
Everybody on your toes and in your places. Quiet.
(BLOWS WHISTLE)
Swell, Rudy. Swell.
Now, Tim, we pick you up in this scene getting out of the car.
Be sure you talk to Slug in a low tone, but make it natural. Get me?
I reckon I do.
Okay.
-Okay for sound, Don? -Okay.
-Okay, turn 'em over. -S peed.
Now, get this, Slug, if everything don't go just right, honk that horn.
Okay, cut. That's fine. Print that one, Eleanor.
-Hold two. -Come on, guys...
We're moving inside the bank now. Let me know when you're ready.
-All right, take those in. -Let's go.
Get your hands off them.
Tim, come on, I'll buy you a drink of orange juice.
-Thanks, Al. -Come on, hats off and hair tied...
Orange juice for two, Doris.
Did I do all right, Mr Howard?
Fine. Anybody would think you'd been in pictures all your life.
Oh, Mr Howard, you're kidding me.
Tim, you played that scene fine. It looked natural.
Well, I can't exactly say that robbing a bank feels natural if that's what you mean.
Mr Howard, I thought you'd like to look over the next scene.
Thanks, Eleanor.
Now, Tim, in this next scene, you go to the depositor's desk.
You try a pen. It won't write.
You look a little sore, and you try another one.
HOWARD'S VOICE: Now, Tim, you’re robbing the bank.
Go to the depositor's desk. Pick up a pen.
It doesn’t write, so you pick up another one.
You look back at the manager. A lady is talking to him.
You see that she is about to leave,
so you get ready to go over and hold him up.
WOMAN: Thank you very much, Mr Barnes.
MANAGER: Not at all, Mrs Hale. What can I do for you?
I want to see about a loan.
Certainly. Step inside, won't you, please?
HOWARD: Cut! Tim that was fine. Just as natural as could be.
-Was it? -Yeah.
-Hey, Rudy. -Yes, sir.
Set up the cameras for a close shot back at the manager's desk.
Eleanor, what happens in the next scene?
-Here it is, Mr Howard. -Oh, yeah.
Go through the routine with the manager.
He gives you the money and you leave, and... what's this? Fade out?
Say, who wrote this junk anyway? This scene lays an egg right here.
You can't fade out without a topper.
-Eddie! -Yes, sir.
Get the supervisor down here right away.
Okay, Mr Howard. But it'll take him a half an hour to get here.
-All right, all right, I'll rewrite it myself. -Yes, sir.
-Eleanor. -Yes, sir.
Take down everything I say. Let me see.
Tim comes in... I've got it! Tim! Mike!
-Mike, Mike, Mike! -Quiet! Quiet! Quiet!
Quiet! Can't you see Mr Howard is thinking?
Now, here's what happens.
The manager gets suspicious and makes you wait in another room
while he phones for the cops.
He gives you the money and you leave, just as in the script.
Now, Tim, no sooner do you get to that door than you spot the cop.
This makes you suspicious. You can't afford to take any chances.
You pull out your gun and let him have it. Come on, boys! That's it!
Tim, Tim, Tim, come on, we're going to rehearse.
Well, that wasn't in the script that I read.
Well, that may be, but that's the way it's going to be played.
-Now, come on. -I don't like that kind of shooting, Al.
-It ain't my kind. -Oh, Tim, quit your kicking.
You were a killer in Westerns. Gunplay is the best thing you do.
What's the difference whether you shoot a cop or a horse thief?
Well, it makes a lot of difference to me, Al. And maybe to some other people.
-Oh, I see. Your great kid public, huh? -Well, maybe.
Oh, come on, they saw you play the Cisco Kid.
What was he but a yegg on horseback?
Sure, I played the Cisco Kid and Murrieta and a lot of the old-timers,
but at least they stood up man-to-man and shot it out.
Now, listen, Tim, we've got no time to argue.
The Iight's fading, and we're half a day behind schedule now.
You've got me wrong, Al. I ain't playing a yellow guy for no one.
-You can't walk out on me now! -|canT,huh?
Well, I ain't never played no low-down, sneaking, cop-shooting gutter rat,
-and what's more, I ain't going to start now. -|s that so?
Well, I'm sure sorry to let you down,
but if I'd have gone through with that shoot-and-run stuff,
I'd have felt as though I was letting every kid down
that ever saw me put up a sure enough scrap.
I reckon I disappointed Gloria, too.
I guess I know how you feel. You build yourself up as a hero,
and you hate to spoil the picture.
But can't you get it through your head that you're done and forgotten
as a hero on horseback?
-Times have changed, Tim. -Yeah, but kids ain't.
They'll always go for a guy that can ride and shoot.
-I mean, when it's a fair fight. -(CAR HORN HONKING)
That's Pete.
(HORN HONKING)
-Hi, Tim. Just picked up your mail. -Thanks. How's business?
Pretty good these days. I've been feeding a lot of companies on location.
Well, got to go pick up the groceries for tomorrow.
-So long, Pete. -So long.
Oh Tim, can I bother you a moment?
-How do you do, Mr Reed. How are you? -Fine, Miss Gordon. How are you?
What a question! Why, she's always fresh as a daisy.
And you're always saying things to make one feel good.
I wanted to ask you if you'd join us in a cup of tea this afternoon.
Nothing I'd like better.
Count on me, and I'll bring the cookies.
You're welcome, too, Mr Reed, only...
You don't think tea is quite strong enough for me, huh?
Well, I'll expect you at five o'clock then, Tim.
JED: She was once the greatest actress on the American stage.
Now look at her, a stand-in for Robeson.
That's what'll happen to you if you hang around Hollywood much longer.
"How do I look on a horse? Billy the Kid."
Looks like you got your whole kid public right in the palm of your hand.
-Well, what do you know? -"For sale or lease,
"luxurious western ranch house.
"Fully furnished."
"Let us take full charge of your parties. We supply everything.
"Best foods and wines and the finest butler service."
Well, Tim, you're still on a lot of mailing lists.
They must think you hung onto your dough.
-Have a cigarette? -No, thanks. I'll roll one.
Look here, Tim, you're not kidding anybody but yourself.
You won't take what you can get in pictures,
so why don't you go back to the cow country?
Why, Tim! Come on in!
Hurry up and finish that dog, Tim. This hamburger's done.
Hot dogs are elegant, Pete, but I can't eat no more.
I plumb forgot to let you taste the chili con carne.
It's just as hot as that stuff we used to get down in Texas.
It tastes like a torchlight procession all the way down.
Right.
Reminds me of the stuff we got down on the border.
Sure makes you homesick, don't it?
You ain't planning to pull out, are you, Tim?
Well, I can't sing and Toby can't dance.
I reckon Jed was right. Our time is up here.
You can always eat as long as I'm here.
I appreciate that, Pete, sure enough,
but Toby can't eat this hot stuff.
-Ain't no free grass for a horse in Hollywood. -You're right.
There ain't anything free here but the air, and they're liable to give you that anytime.
A man can't even make a raise here.
Not without a gun he can't.
When a cowboy can't feed his horse, Pete, it's time to move on.
I'm pulling out tonight.
-Where you going, Tim? -I don't know.
I'm just going to saddle up and go until I find free grass and water.
That sounds good to me, and when you get there, you let me know.
And if the Iizzie's still sparking, I'll take your trail.
I'll do that, boy, sure enough. Sure enough, Pete.
Well, hey. Ain't you going to say goodbye to Miss Gloria?
She was by here the other afternoon, and she asked after you.
Well, don't you even want me to tell her where you've gone?
I'd rather write her when I get back on my feet.
Well, goodbye, boy.
Thanks for everything.
(KNOCKING)
Gee, it's you.
Yeah, that's the name. What can I do for you, son?
I had a heck of a time finding you, but I just had to see you.
Well, that's right nice, and any other time I'd be tickled,
but I'm powerfully busy today.
But, gee, I came a long ways.
Well, I sure appreciate that, but I'm going away on a long trip myself.
I'm sorry. I ain't got no fire. I put it out 'cause I'm going away.
Now, you run along home and get yourself all dried out.
Don't you remember me?
You said I could come out to see you and Toby and Gloria Gay.
Don't you remember?
Here's an orange for you, Billy.
Everybody in Hollywood eats just oranges for breakfast.
That's so they don't get fat.
Yeah? But they eat something more than that at noon, don't they?
Sometimes they do and sometimes they don't.
I guess it's pretty tough being a movie star.
Well, it has its drawbacks.
I reckon you just pulled up stakes and left the hospital
without saying goodbye to anyone.
You said if I get well, I could come out and see you,
so I got well on purpose.
Ran away from the hospital, hitch-hiked and, well, here I am.
I was what they call a discharge case.
They were going to send me back to the welfare home in a couple of weeks.
The superintendent of the welfare home don't think much of movie stars.
He said you didn't mean it when you said I could come out to see you.
Well, he said actors always say things like that
to make a hit with people and get them to come and see their pictures.
I meant it all right.
Sure, I know that now, but he don't.
Well, he said you wouldn't waste time on any of us kids
even if he did let me come to Hollywood.
And he said you ain't a real cowboy, anyhow.
He said you was nothing but an actor.
Well, he's got that twisted, sure enough.
I'm a cowboy, or I'm nothing.
Say, do you know what he said about the fight you had
with the villain in Riders of the Trails?
Well, he said it wasn't even you doing the fighting,
when it was, the heavy didn't dare hit you very hard or he'd get fired.
-He did, huh? -Yeah.
(BREAKING GLASS)
Gee, I broke it.
That's all right, Billy.
You didn't hurt the picture none, and I can get another glass.
Say, you know that old superintendent
even walked out on one of your pictures once?
Well, maybe he just don't like pictures.
Oh, yes, he does, but he likes the kind with dames kicking and singing,
where nothing ever happens. You know, sappy pictures.
They say pictures talk now.
I'll bet it sounds swell to hear Toby's hoofs when you ride him over the prairies,
the thundering herd, the real sound of shooting, instead ofjust seeing it.
Sure enough, but nothing you've said so far
makes it seem right to me for your running away like you have.
You'd think it was right if that was all you got well for, like I did.
It was thinking about seeing you that made me keep on trying.
I had to come, Tim. You'd have done it, too.
Maybe I would've, son.
Anyway, it makes me feel pretty good that you wanted to see me.
Here's a telegram I got from the hospital.
I got to send you back.
You can't send me right back, Tim.
You promised me, if I got well, I could come out to see you,
and you'd show me Toby and Gloria.
My Ieg's well now. Look.
I can ride Toby double with you, honest I can.
I could ride him all alone if you'd let me.
You know, Tim,
when I was lying in that old hospital getting well,
I used to dream about riding Toby, riding Iickety-split the way you do,
jumping logs and ditches and chasing wild horses and everything.
I used to think about it all day, Tim, and dream about it nights.
You ain't going to go back on me like the superintendent said, are you, Tim?
I waited so long to see you. You can't send me right back.
Please don't, Tim.
If you knew what it's like being in a hospital all the time
and not having any fun like regular kids, you wouldn't do it.
You promised me, Tim.
Now, look here, son.
I don't want to send you back, but I gotta.
You see, Toby and me are hitting the trail, and...
Well, there just ain't nothing else I can do.
You even shook hands on it.
(BILLY SOBBING)
Now you see why I gotta keep my promise to that poor little kid?
Why, he got well just so he could come out here and see me.
That's marvellous.
Now he's got his heart set on a party.
I got a couple of days to put it over him, but the thing that's got me stuck
is that he wants to see a lot of the stars.
Holy smoke. Why didn't I think of it before?
What are you talking about?
Why, you're May Robeson's stand-in.
You're the spitting image of her. You could come as her double!
Yes, but don't you think he'd know the difference
between a double and a real star?
Shucks, no! And Hollywood's full of doubles.
Listen, Tim! I know Ginger Rogers' stand-in. They're exactly alike.
And Eddie Black's a dead ringer for WC Fields.
And Betty Rice. Well, everybody mistakes her for Garbo.
We've got it, Miss Gordon. We've got it. I'll even have an orchestra.
Why, Ramon and his Mexican gang ain't working. And food.
I've been getting letters from a caterer
who's just been on my neck, offering me credit long enough.
I've spent plenty with him, so he'll be ahead anyways.
It's marvellous!
Oh, I'm so excited!
-Miss Gordon? -Mm-hm?
You didn't tell him what's happened to me, did you?
I mean, that I haven't worked in pictures for a long time?
Don't worry, child. I've never breathed a word.
There.
Though I say it, Paris couldn't have done better.
-Now, now, try your hat. -All right.
MISS GORDON: Oh!
You look so beautiful.
-Thank you, darling. -And now I must run along.
I've got so much to do, and I'll see you at the party, Gloria.
You're an angel.
Miss Gordon, I don't know how I can ever thank you for all this.
You've nothing to thank me for at all.
Everybody thinks that what you're doing for that boy is marvellous.
-Hello, Tim. -Hello.
Well, so, this is the boy.
You must get Tim to bring you down to Malibu and visit me.
And you must come to my house first for tea.
-|'d be charmed to have you, too, Tim. -Thank you. I'd be delighted.
-Hello, Billy. -My, but you're strong.
I'll tell the cockeyed world I am.
-Says you. -Says me!
(HEARTY LAUGH)
Aha, my lad, my little chickadee, my little pigeon.
Ta-ta.
Well, well, Tim, some kid, some kid.
-Congratulations. -You got me wrong, Mae.
-This is my pal. -How are you, kiddo?
Charlie, meet Billy, my pal.
Hello, there. Hello, there.
Hello, there. Hello, hello.
By the sack lobe that holds my seedling brain,
I pondered by Shrewsbury's clock one hour,
hence my display of rib and forearm, mothernaked.
-But John... -Silence!
Come and get it! Come and get it! Come and get it!
Come and get it! Come and get it!
Look, Billy.
Forgive me, but I think I'm falling in love again.
I know, but you never wanted to.
But I can't help it.
You are Billy, ja?
-Yes'm. -How do you do?
I am so sorry I could not come sooner, and now I think I go home.
But you just came.
I know, but I want to be alone. Goodbye.
Eddy, my good friend, will favour us with a song, huh?
J‘ Let's fall in love
J‘ Why Shouldn’t we fall in love?
J‘ Our hearts are made of it
J‘ Let's take a chance Why be afraid of it? J‘
(WHISTLING)
J‘ Let's fall in love
J‘ Why Shouldn’t we fall in love?
J‘ Now is the time for it
J‘ While we are young Let's fall in love J‘
I was tipped off some monkey business was going on here,
and I'm going to break it up right now.
-Yeah, but you see... -Oh, hello, Shorty.
Good day, Miss. Tim was asking for you.
I'm sorry. I couldn't get away from the studio any sooner.
Say, what's going on here anyway?
Well, you see, Mr Bart's back on his feet again,
and he's throwing a big party for the stars.
Is that so?
Well, look here, what's the idea of him taking over this place without asking me?
Well, I'm sure he'll be able to explain. I'll get him for you.
Never mind. I'll get him myself.
(INAUDIBLE)
-Hello, big boy. -How do you do?
I guess I don't need an introduction. What's your name?
-|'m Joe Stevens. -Oh, Joe, I like yourface.
You fascinate me. What do you say we go find a quiet spot, Joe?
Sure.
Well, as I wasjust telling you, Joe, what my pictures need
is someone tall, dark and handsome, like you.
You aren't kidding, are you?
-Thank you. -You look fine, Mabel.
It was swell of you to come.
Say, that kid's having the time of his life.
Say, Gertie, we've been looking all over the joint for you.
Ijust heard a story that will kill you.
Say, how about an introduction to your boyfriend?
Wait, don't tell me. I got it. Frankenstein.
-What? -Let me guess again.
No, you were right the first time. I'm Frankenstein, all right.
Tall, dark and handsome, huh? So I fascinate you, do I?
Ah, just a bunch of fakers!
Here, Toby. Here, Toby.
Hiya, cowboy.
You don't seem very glad to see me.
Thought you could put one over on me, didn't you?
Well, get this. I'm going to take this up with the...
Say, Joe, will you get one of the cowhands to take Toby down to the corral?
He needs some exercise.
Why, it's Gloria Gay.
And you're even prettier than in your pictures.
And you're just like I'd pictured you, Billy.
Well, this sure is a swell surprise. Mighty fine of you to come, Gloria.
Here's Toby. Can I go along with him, Tim?
-Yeah, run along, run along. -Come on, Toby. Come on!
Well...
It's a beautiful party, Tim.
Come on in and have some ice cream, will you?
Oh, Tim, thank you. Notjust now. I'd kind of like to walk for a little bit.
Sure enough.
-Look at him go. -Yeah, he hates to be tied up.
-|'m going to stay here and watch him. -All right.
-Mmm-mmm! -You keep your mouth shut.
Miss Gordon told me all about your party. I think it's a lovely idea.
I'll bet Billy's thrilled.
He said the party wouldn't be complete without you.
Is that the only reason I was invited?
No. Of course not. We all wanted you.
All of you?
Well, mostly me, I reckon.
I had to work hard for that compliment.
Well, there just wasn't any sense in trying to get a double for you.
I mean, there just isn't anyone, anything, like it.
Thanks, Tim. You can say nice things when you want to.
Here, Toby. Here, Toby.
It's a pity to send him back.
But I guess you're too busy to keep him on here with you.
I'd sure like to.
Of course, I got my hands pretty full right now.
I don't suppose you could take him?
No, not with your picture work and all.
Well, I am pretty busy.
The sun shining on your hair like that reminds me of the lines in the talkie test.
"Your hair is like moonbeams imprisoned in some kind of a web or other."
Then I spoiled everything by saying it in my own way.
I always liked your way of saying things, Tim.
Shucks, I was just trying to tell you how I felt about you.
(TOBY NEIGHING)
Something's wrong.
BiIIy. BiIIy.
Get a doctor, Slim.
Doctor.
Dr Stanley agrees with me that it isn't serious.
All he needs is to be kept perfectly quiet.
He'll be all right in a week or so.
-He can't be moved, though. -Certainly not. That might prove fatal.
They said he'd be all right.
Don't worry, Tim.
Yeah, it ain't as easy as it sounds.
-Gloria, I guess I got to 'fess up. -What is it?
I'm in ajam. All this is a bluff.
I'm broke.
Busted. Have been ever since I was throwed out of pictures.
Why didn't you tell me?
Now with the kid getting hurt and doctors and things,
well, I'm in a pretty bad mess.
Gloria, could you let me have five hundred bucks?
I wish I could.
I'm sorry I mentioned it. Forget it.
It isn't that I don't want to. I can't. I haven't got it.
What?
Yes, all those publicity stories you've been reading about my being in demand
and turning down picture offers, well, they're all Jed's idea.
He said he had to do it to keep my name alive and give me a front.
Well, I haven't worked in pictures for months.
My not working hasn't been so bad, Tim.
It's never seeing you. That's the worst part.
Well, Ijust thought I'd be in your way, that's all.
In my way?
VVHhoutyou, I wasn't anything.
And when I tried to go on by myself,
well, I just couldn't.
But it doesn't matter now, because you asked me to help you.
And I know you wouldn't have unless...
Unless I loved you?
Well, lfigured you'd always known that.
I reckon I let you down something terrible
when I walked out on that picture of yours, huh?
You'd have let me down if you'd played it.
Why, I wouldn't want to see you playing gangsters and bank robbers
any more than little Billy would.
HOWARD'S VOICE: Now, Tim, you’re robbing the bank.
Go to the depositor's desk. Pick up a pen.
It doesn’t write, so you pick up another one.
(RUMBLING THUNDER)
Do as you're told and you won't get hurt.
You, too.
(HORN HONKING)
Open that door.
(GUNSHOT)
Now, here's a little dope that made the front page of every paper in the country.
Here are a few I picked this morning. They're coming in all the time.
-San Francisco, San Diego, Fort Worth. -Seattle, Portland.
-Tacoma. Holy smoke! -Did you get hold of him?
-Yeah, he's on his way up now. -(INTERCOM BUZZES)
-Yes? -Tim Bart’s here.
Send him in. It's Tim now.
Now, take it easy. You know how touchy he is.
He's liable to walk out on us again.
Okay. How about a little news for the press?
-Well, Tim, it's grand to see you again. -Hello, Tim.
-How are you, Tim? -I guess Jed told you the idea.
Sit down, Tim. Sit down.
You know how we've always felt about you around here.
Just like home, isn't it, Tim, huh?
The public's crying for outdoor pictures.
-We can start shooting in two weeks. -We'll beat all the studios to it.
-An epic. -Well, how about it, Tim?
You mean you want me to play Westerns again?
Sure, Tim.
-Why, I'll play a Western anytime. -Shake on it.
I'll have the lawyer draw up a contract.
Come on, Tim, say a few words to the press.
And just a minute, Mr Bennett, er...
-Could I speak to you privately? -Sure, sure, Tim.
Er...
Could you...
-Would you... -Oh, I know.
We're going to have Gloria with you.
Naturally, but, er...
Would you advance me 420 bucks on the contract?
Sure, Tim! Anything you want.
We'll start the story conference tonight!
Come on, Tim, I want to get a publicity...
(CHILDREN CHEERING)
Come on! Come on, ride him! Don't let him bump you.
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