The Star Page #5

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.

Thank you, madam.

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.

- Miss?

- Yes, madam.

How much is this negligee?

$39.95. Isn't it lovely?

Let me see that.

- The black one?

- Please.

Yes, madam.

Well, what in the world

do you want with that?

- That's Margaret Elliot.

- It couldn't be. She's in jail.

No, some mystery man got her out.

I read all about it.

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.

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.

- Miss Elliot.

- Hello, Jane.

Mr. Stone's 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 to the jail.

Someone had bailed you out.

- Then you were at the jail.

- Yes. I had the money in hand.

- 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.

- Now, slow down.

Where were you?

You had us running in circles.

I've been running in circles,

but not my circles.

I want you to take me to Joe Morrison.

I don't know.

This may not be the right time.

- Right time. You're stalling.

- Those stories in the paper, that's not good.

Joe Morrison is mad about publicity.

Well, it's an angle. I'll think it over.

Think it over? You're always

thinking things over. We're going now.

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?

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...

...l'll let you off easy. I came

to talk to you about Margaret Elliot.

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.

- They forget they're people.

They get up there at the top, begin to slip,

and they get panicky.

Now Margaret Elliot. I hate to see it.

Joe, if you'd give her a part, it would be

one of the finest things anyone's ever done.

- Great publicity for you.

- No. No.

I like to see my name in the papers.

It sells tickets to my pictures.

I won't trade on the weaknesses

and misfortunes of these poor people.

If I give Margaret a part,

it's because she's 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 will do it.

- Margaret optioned that book.

- It's important to her.

- Everything is important to stars.

What do we do with them or without them?

They're so naughty, like children.

At the same time,

they're so appealing, like children.

- Won't you just see her?

- Why? I've nothing for her.

She's right 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 older sister?

It's not a big part, but it's strong.

Well, she ought to.

You can sell her on the idea.

Terrible to have to sell somebody something

that's good for them. 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.

Thanks.

How good to see you, Maggie.

Hello, Ruth.

- Joe.

- Margaret, you're looking wonderful.

- Well, thanks. Never felt better in my life.

- How's your lovely little daughter?

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 needed

to make a test for a long time...

...but this role will be a departure for you.

She wants to make a test.

Don't you, Margaret?

Of course I'll make a test.

Ruth, how old do you see the girl?

Oh, 40-ish.

I see.

You want me to play the older sister.

Yes. If we like the test,

we'll build that part to take advantage...

...of your talent.

I see.

Well, that will be quite a challenge.

A very interesting experiment.

I'm a strange sort of recluse, see?

I suppose she's had a tragic love affair, but

that doesn't mean she can't look attractive.

Anyhow, I rented a small chicken farm

from some people named Garfield.

And I run it alone.

And there's been a murder, and I've seen it.

And 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?

Wait a minute.

I'm supposed to be scrubbing the floor.

There. Ready?

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.

It says here she speaks in a sullen manner.

Jim, disregard the stage directions. That's

one of the first things a real actress learns.

Who's directing The Fatal Winter?

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?

Directors are like anybody

in the driver's seat. They wanna drive.

I've been managing directors for years.

Margaret, I don't wanna see you

hurt again...

...like those two old bats

hurt you at the store.

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.

This way, Miss Elliot.

Will you bring me a glass of water?

Yes, ma'am.

- Miss Elliot.

- Yes?

Your glass of water.

Thank you.

- Yes?

- We're ready on the set, Miss Elliot.

I'll be there in just a moment.

- Hello.

- Good morning.

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