MAN 1 [OVER SPEAKER]: Isthis thing working?
Are we getting anything?
I can't tell if it's on or not.
MAN 2 [OVER SPEAKER]: It's on now.
MAN 1 [OVER SPEAKER]: Folks. You wanna listen for a minute, please.
Please sit down.
We don't wanna keep repeating...
but there are two or three of you assholes who don't listen.
We are asking you to take your seats.
We cannot begin the show until everyone is seated.
Thanks for your cooperation. We're sorry about the delay.
[CROWD YELLING AND CHEERING]
Rockwell, any sign of him?
Goddamn it, it's been two and a half hours. Where the fuck is he?
It sounds like the gunfight at the O.K. Corral out here.
I don't know. We may have to get the equipment.
He's not here in 15 minutes, I'm gonna put the group on.
MAN [ON PHONE]: Bobby, he's arrived at the gate.
Hold him.
BOBBY: Nanook of the north, let's go, buddy.
Let's go, let's go. We got a show to do. Out the car, watch your hands, dude.
- Come on, let's go. - John Norman, it's me.
You been out shopping or what?
Let's go, let's clear the stage, move out of here.
You people don't have backstage passes you're gonna find your asses out.
All right, you get the hell out of here.
Let's go, Security. Hey, where's my security?
You guys are hired to keep the people out.
You don't have backstage passes, get your asses out.
Keep on them chords, man, then turn the amps off.
Very good, my friend.
Little treat here for you, slick.
It will get you set.
I'll be up here.
Are you okay?
MAN 1 [OVER SPEAKER]: Thanks for your patience.
Would you welcome, please, the John Norman Howard Speedway!
You aren't using a new math, are you?
Old Logic, half the people walked out and half are comped.
Where was the promotion campaign? I didn't see any ads?
- It's jack shit! - Anybody see any ads?
I don't see the big attraction.
[ROCK MUSIC PLAYING]
JOHN: How's it go?
MAN 1: Don't be frightened, baby, come on in.
- I can't hear you. - Don't be frightened, baby, come on in.
- Isthat all there is? - That's all there is to it.
That ain't so goddamn much. Hey.
- I'm sorry, this booze'll blow your brains. MAN 2: Get a brain transplant.
I had temporary amnesia.
JOHN: Hey, listen, we did that song 3726 times...
MAN 3: We waited five fucking hours. Shit.
- Let's go! - Hey, if you feel that way about it...
go to hell.
[SlNGlNG]
Okay, let's get the show on the road. You go with Pete, you go with Nicky.
No, I know them all. Hey, honey, you get in this car.
We'll sort out who's with who later. Go in, don't worry.
Yeah. No, no. No, baby.
Hey, Security. Come here.
I know an intern who can get me some adrenaline.
I mean, pure adrenaline.
- He rips it off from emergency hospitals. BOBBY: Move it.
[TlRES SCREECHING]
[CROWD YELLING]
MAN 1: Because we need room for the...
MAN 2: How could they screw up a fella's face?
Tonight was shit.
It's gonna be shit tomorrow night...
if you don't go home and get some shuteye.
BOBBY: Everybody out.
Sweetheart, let me help you out.
If you don't have a key, see me at the desk.
- I can do you too. - I got all the adrenaline I need.
Let's go, Mo.
BOBBY: Sweetheart, excuse me. Excuse me.
Let's go up, roll one, get a good sleep, a sound check, make good music...
- what you say? JOHN: Not tonight.
- I can't sleep, Bobby, let's go boogie. - Boogie? Where're you gonna boogie to?
We got a gig tomorrow, it's pretty important.
[CLEARS THROAT]
You don't seem to understand, Jack.
We had to book four groups in here to get enough people to fill this place up.
Brian gave his word personally that you'd show up straight enough...
to remember the words to the song. There's 50,000 people coming...
- to see if you still got something. - Are you ready?
You horse's ass, it took a court order to get you back on-stage...
you understand? After Detroit, your ass is on the line.
- I'm not shitting you. - The hell with it. Come on, let's go.
Goddamn.
Hey, I don't want you to blow this deal.
Floor it.
MO: Where to?
Back about 10 years.
Yeah, but what about tonight?
[SlNGlNG]
MAN [OVER SPEAKER]: Will you welcome, please, the Oreos.
[APPLAUSE]
- Hey. - Shit.
- Hey. - I'm sorry.
What a thrill, I wanna shake your hand.
I love what you do. Hey, where are you playing? You playing in town?
- No. - Where are you playing now?
- Stop. - Hey, man, I'm not trying to bug you.
MAN: Hey, buy you a beer?
[WOMAN SPEAKING INDlSTINCTLY]
JOHN: No, ma'am, I'm going downstairs.
I'll sit back over here.
This table's reserved.
Got a nice table for you, Mr. John Norman.
I'll keep that chicken nice and hot for you.
Wine, beer or herbal tea?
- What? - Wine, beer or herbal tea?
- That's the options? - Right.
We don't have a license. What are you planning to do with that bottle?
Plan to open it.
You can't, we don't have a license.
I don't know, but you can't drink it.
JOHN: I won't tell. WAITRESS: Wine, beer or herbal tea.
JOHN: Bring me herbal iced tea. - Psst.
- Bring me some herbal iced tea. - Okay.
- Without the herbal tea. - Why don't you give me the bottle.
- We don't have a license. - Lf you don't tell, then I won't tell.
WAITRESS: Don't you think you've had enough?
JOHN: Of what?
WAITRESS: If you'd give me the liquor, this would be a lot easier.
JOHN: For whom? Not me. WAITRESS: I could lose my job this way.
Well, we don't want that to happen, do we?
JOHN: See, just turn your back....
Why don't I hold that for you until you leave.
What are you gonna do with my bottle?
[WOMEN CHUCKLING]
WOMAN: Right on.
You're blowing my act.
- Okay? - Okay.
Okay.
Hey, I'm sorry, really I am.
You don't mind, John, just one?
Okay, smile.
Oh, terrific.
Thanks, pal.
MAN: Come on.
- John Norman, how you doing? - Shining, man.
John Norman. Son of a bitch.
You ain't going dry while I'm around.
I'm Marty, this here's Sheila. She's a big fan of yours.
Saw you on TV. Sort of thought you was lousy...
but Sheila here, she really liked you, didn't you, Sheila?
I thought he was okay.
- Hey, listen to this song, man, it's great. MAN 1: That's shit.
Hey, John Norman, why don't you go on up there and sing us a song?
Hey, man, I can't, they're working.
Don't tell me about work, superstar, I work for a living.
JOHN: Shut up and let the lady sing. MAN 1: Shut up your goddamn self.
MAN 2: Shut up down there. - Sheila bought every album you made.
She paid for the clothes you're wearing. Now get up there, sing a song for Sheila.
Not tonight, Sheila.
- What the hell is that supposed to mean? - It means, this drink ain't worth it.
MAN 3: What the hell is going on here!
[YELLlNG INDlSTINCTLY]
Uh....
[GLASS SHATTERING]
MAN 3: Okay, everybody's out! Everybody out!
Pay your checks at the door. We're closed for the night.
Hey, Esther, don't forget your sweater.
See you, guys.
- Hey, through the back. JOHN: Hey, wait up.
- Hey, Mo! ESTHER: You better get out of here.
JOHN: Not without you. ESTHER: What are you talking about?
I don't know you. I know you but I don't know you.
- Talk to me. Come on, let's get inside. - I have to go home.
- We'll drive you home, get in the car. - Well, wait a minute here.
MAN 3: Come on, go on, get out of here. Get out.
- I'd like to go someplace without hassle. ESTHER: You're not responsible, right?
JOHN: I wish I was invisible. - You can really be invisible in this thing.
ESTHER: Oh, God, here they come.
- Hit it, Mo. Here come the posse. - Oh!
MAN: Get out of here, you shithead.
WOMAN: Come on back. MAN: We'll get you, man.
WOMAN: Can we go to the car now? MAN: Fucking star!
What am I doing in here? You're crazy.
You want everything, right? You're a hell of a singer.
How could you tell? You were talking through my song.
- Not me, other guy wouldn't shut up. - So you had to hit him, right?
What was I supposed to do, sit there, let him pop me?
All you did was make him a hero, gave him a story for years.
- Are you drunk? - Jesus, you talk a lot.
- I talk a lot when nervous. MO: Where are we heading?
JOHN: Back to the motel. - No, 211 Orchid Street, in Hollywood.
Aren't you embarrassed driving in a thing like this?
Isn't this the kind they use for funerals?
- You change the subject a lot. - What was the subject?
God, you've got incredible eyes.
Do you fish?
[LAUGHlNG] Do I what?
- What? - I was trying to tell you how you sing.
Like a fish?
There's a rush.
There's a little ball of fire inside you whenever you hook into a big marlin.
And you never forget it, and that's what it felt like.
Hearing you sing.
That's nice.
Sounded nice.
Check in the motel and call up Bobby.
- Well, thanks for the ride. - Wait a minute, are you married?
Not anymore, why?
Are you?
Oh, Esther, how ridiculous.
You read about it in the entertainment section.
Listen, I'm sorry, I'm not used to the rich and famous.
It makes me act stupid.
You're acting okay, I ain't done so hot.
Let's start clean.
- You got a beautiful mouth. - Even though I talk too much?
You have a great ass. You live alone?
- Uh-huh. - Terrific.
I wouldn't send up fireworks about it.
- Well, actually, I wanna come in. - Well, actually, no.
Why not?
Listen...
if you wanna come back for breakfast, I'll make beef and biscuits.
- I don't eat breakfast. - Oh.
- Okay, good night. - But I will, damn it.
And we'll have beef and breakfast, beef and biscuits.
What time is it? It's gotta be 4:00. Ln two hours, I'll be back here at 6:00.
Make it 7.
Come on, come on, wake up, wake up. It's five to 7.
Don't ever scare me like that again.
[KNOCKlNG ON DOOR]
ESTHER: Just a minute.
I'll be right there.
Okay, okay.
JOHN: Hi, it's me.
Breakfast.
- Sausage pizza for breakfast? - No, no it's pepperoni.
- Got the biscuits ready? - I never made biscuits.
- I was doing a number on you. - That's why I brought the pizza.
Got anything to drink? Anything to drink in here?
You mean like orange juice?
You trying to improve my character?
You could use it.
JOHN: Hello, brother. BOBBY [ON PHONE]: Where are you?
Beer, wine, anything?
Mo will get us to the airport.
You just save us a place on the chopper. I'm bringing someone with me, Bobby.
- What's your name? - Esther Hoffman.
Hoffman?
Jesus, I love that.
- Why? - The past year...
you're the only girl I met with a last name.
BOBBY [ON PHONE]: Are you gonna be there?
- You be there. - I'll be there.
- Be there. - I'll be there, Bobby.
- I'll be there. - Just be there, damn it.
What went wrong?
- With what? - It's "with whom." Your old man?
He put mayonnaise on his liver and onions.
He wouldn't fight.
There you go.
You like a fight.
Less tenderness. More of the wild side, huh?
I can take all the tenderness you got, as a matter of fact.
Eat your breakfast.
I told you, I don't eat breakfast.
What are you doing here, then?
I'm picking you up.
There's some raceway, we got a concert.
I'm not that kind of girl. First, we meet through mutual friends.
You call me in a week, then I think about it.
It's this afternoon.
But you didn't even ask me.
I swear, I got the manners of a hog.
Esther, it would mean a lot to me if you came.
Okay, I'll come.
[ROCK MUSIC PLAYING]
Tell me again how you like to be invisible.
Come on.
- Hey, hey! - This is Esther Hoffman.
How do you do? Bless your heart.
BOBBY: Let's go.
[SCREAMlNG]
- This could beat getting up. - Lots of a people, Bobby.
- What did I hire you for, goddamn it? - I'm sorry.
BOBBY: Here they are, here they are. MAN: Superstar...
Esther, that's good. And I'm Gary Danziger, John Norman's PR man.
- Bobby Ritchie told me about you. MAN: This is Pumpkin, everybody.
Isyour last name Pie?
[YELLlNG]
MAN 1: Let's go. Let's go. MAN 2: Over here, baby.
John... Oh, there you are.
How is it?
Smell the monsters in there.
MAN [OVER SPEAKER]: This was certainly worth waiting for.
Would you welcome John Norman Howard Speedway.
[CROWD CHEERING]
[SlNGlNG]
Come on out and see how it feels in the lights.
No, no. There aren't any lights.
You want lights? Hey give her lights.
John, the audience is gonna walk out, anyway, the sun's out.
Strike the sun and give her a pink spot.
You are crazy. You better go back there.
They're gonna get mad at you. Go back on the stage.
Hey, hey, hey. Where you going?
- Courting Miss Hoffman. That okay? - Go back on the stage.
- Oh, man, you're beautiful. JOHN: You're crazy.
- I love what you do. - Can't say much for your kissing...
- but I love your bike. - It's yours, man. I mean it. It's yours.
JOHN: You gotta be kidding me.
Hey, come on, John. Get back on the stage, come on.
Far-out.
- You're gonna kill yourself. JOHN: Just giving them what they want.
[CROWD CHEERING WILDLY]
Get off that motorcycle. John, get off that goddamn motorcycle.
BOBBY: Rockwell, get me an ambulance.
MAN [OVER SPEAKER]: Okay, folks, he's all right. Believe me, he is okay.
Please move away from the scene.
If anyone's hurt, go to the medical aid station. Please move back.
Let the stretcher through, right in front of you.
Let the stretcher through, please.
Please move back from the front of the stage.
Everything will be okay.
MAN 1: That's the third time he's done that.
MAN 2: Move it, move it, move it.
Hey, wait up. Hey!
MAN: This time, only 17 people were hurt.
WOMAN: Sweetheart, listen to me. Brian is trying to turn this disaster into a plus.
MAN: Yeah, dignity, give it dignity. You plant a story with TIME...
The New York Times, not just the rock creeps.
Something simple, "Nobody was killed."
I'm with John Norman Howard, what's doing?
Portside, that's where the action is. Oh, Bloody Mary.
You go by her house?
BOBBY: Who's that?
Esther.
Yeah, she wasn't home.
Son of a bitch. Why don't she call me?
What is all this fuss about this girl? Maybe she just doesn't like your style.
When Brian says he's canceling the tour, he doesn't mean it...
in a pejorative or a punitive way, sweetheart.
It'll be John Norman's decision. He'll announce it.
- Look, let's move it. JOHN: What? Cancel what out?
The tour is a disaster. The promoters won't take that shit.
Late starts and the legal hassles, damage to the halls.
Somebody has to be realistic. Yes.
MAN 1: Twenty-seven thousand dollars for vodka...
11,000 for orange juice.
MAN 2: The man likes screwdrivers. MAN 1: Why don't you go get laid.
MAN 1: It's been almost three hours. Then there's the tax lien.
He's got 50 percent going to taxes. By the time he pays agents' fees...
and the business management and the expenses and the dues....
What does the government want?
MAN 3: One hundred eight-six thousand, six hundred fifty-four dollars, and 32 cents.
Hey, watch this.
MAN 1: Come on, John. You're getting to be a cosmic joke.
- Come on, enough is enough. - John, I've had inexhaustible patience.
Come on, man, I've kept my temper.
I've left you alone to do exactly as you please.
Now, you've gotta help.
I can put you into the Indian Relief Benefit if you can get there on time.
The promoters don't give a shit. They'll forget anything to make a buck.
- Who the hell is that? MAN [OVER SPEAKER]: John.
An oldie but a goodie on KLAX.
Hey, John Norman, wait a minute. Bebe Jesus.
Bebe Jesus?
Hey, big John, why don't you come down and rap with us, man.
On our All-Time Top 40 Weekend.
Three of which are John Norman Howard's...
platinum platters played by Bebe Jesus.
Hey, it's 50,000 watts of KLAX power, man. John Norman, up here.
Don't shoot, big John. Hey, we're on your side.
MAN: Don't do it, John!
Do you see that? You crazy bastard.
Forty-eight straight hit-making hours. Not once have I ever mentioned your name.
Shit face.
Very funny. Very funny number.
BOBBY: Hello, police?
Uh, I need to report a sniper.
BOBBY: A sniper. Why, it's an unknown person who fires a gun.
Goddamn it, I don't know how many shots he fired.
He just fired at us, that's all.
Bobby Ritchie, John Norman Howard's road manager.
Jeez, I love it here in Hollywood. It's so much fun.
Honey. You, the one on the right?
- Which one? - The kinky-headed one. Yeah, you.
You're too strong anyway, pull it down.
Okay, listen, one more time, okay?
MAN 1: Okay. - Okay.
Look, honey, I know it's funny, but we need the money.
- Take seven. - Cut the first part, let's do a pickup.
MAN 1: Girls, we've already got the first part, so let's just pick it up from...
- "kittens have to chew." - Okay.
MAN 1: "Love to chew." MAN 2: "That kittens love to chew."
MAN 1: "That kittens love to chew."? MAN 2: Right.
- Yes, sir. MAN 1: Got it, all right.
Rolling.
MAN 1: Meow Chow cat food commercial take seven.
I'm hungry.
[SlNGlNG]
This is terrible, you can't... How do you think the old cats feel?
MAN 1 [OVER SPEAKER]: Okay, take 10. Pull yourselves together.
- Okay. MAN 2: We don't have time for this.
Get rid of her.
- What's the matter? What's wrong? - I always crack up when I'm sad.
MAN 1: Okay, girls, thank you. That's it.
I'm sorry. Well, I'm allergic to cats anyway.
- See you later. - Okay.
I got a phone in here. Man, I can have a cop in here in a minute.
- I'm sorry. - Who gives a rat's ass?
You took a shot at me, man. My lawyers are talking about it.
Okay, okay, what the hell is it?
KLAX with Bebe Jesus. You'd never guess who just...
walked in here with his hat in his hand.
I'm not even gonna mention his name on the air.
But his lawyers told him he better get on the right side of Bebe Jesus...
because Bebe don't take no jive...
from no burned-out superstar.
- Who needs him? - Hey, I said I'm sorry.
Oh, he says he's sorry.
Can't bite no more, but he still can lick.
Hey, hey, why don't you take this shit or whatever it is out of my office.
Because I don't take nothing from you, man. I don't take your bribe.
And I'll tell you why, because you are a rude, joyless...
burned-out, spoiled pain in the ass and we're bored by you.
Stop the son of a bitch. Get a cop down here, man.
This fucker's crazy. Get a cop down here.
You son of a bitch, fucker.
Send the bill to my business manager.
JESUS: You mother... This is....
WOMAN 1: Forget him, babe, he's a star. They're not like people.
He never had a woman he didn't send away screaming.
WOMAN 2: Who told you that? WOMAN 1: Nobody told me...
I read it at the checkstand at the supermarket.
WOMAN 1: Well, he's cute. - Look, guys, I'll see you later, okay?
WOMAN 1: Speak of the devil.
ESTHER: Excuse me. JOHN: Hey, where did you go?
Everywhere you go, fighting breaks out and things get broken.
- Have you noticed that? JOHN: I called you eight times.
- How come you never call back? ESTHER: Excuse me.
- How come you never call back? - I tried three times.
- Fourth time, got a disconnected number. - What do you mean?
Oh, Jesus. Hey, what's the date? Oh, God.
They change my phone every six weeks because I get all these wacko calls.
Listen, I'm really glad you're okay, and I'd like to wish you lots of luck...
- because you'll need it. - Hey, wait a minute.
It'll never work, I'm a nonviolent person.
- We've got things to talk about. - I don't think so.
Yeah, we do. I need to know some things.
I don't even know your social security number.
You could've reached me if you wanted to. I'm real easy to reach.
All you gotta do is call my public relations man. He calls my agent.
My agent calls my business manager, who calls my personal manager.
He calls the secretary, who makes a list of who called...
gives it to me in a alligator folder every other Tuesday.
- Which you never open. - I give it unopened...
- to my public relations man. - To handle.
- Hey, this is my birthday today. - What?
It's my birthday. I can't handle it, let's run away.
Or meet my mother, marry me.
Sure, maybe when you need a tambourine, I get to shake it.
Maybe.
Esther, I want you.
I don't wanna lose you again.
Is today really your birthday?
You just changed the subject again.
Where's the hearse?
Come on. I bought it because it looks so much like you.
- What do you mean? - Fast and out of my league.
ESTHER: One of the privileges of wealth?
- Hey, calm down, it's okay. - I ain't getting out.
- Hold them, Mo. - Hi. How are you?
Can't you guys be more friendly?
Don't be afraid. Come on, boys, we got company.
See how they listen to me? Don't be scared, they're harmless.
ESTHER: You like living like this? JOHN: Like what?
How many rooms you crammed into here?
I don't know exactly.
It's a funny place.
Yeah, I haven't got it all together yet.
ESTHER: Wow. Whoo!
What are you planning here, a skating rink or what?
It's gonna be a studio.
This is wild, you could throw your own block party indoors.
We're gonna record here, if we ever get the acoustics right.
Well, as long as you're having fun in it.
Otherwise, I'd get rid of it.
Yeah, that's what I do.
They tell me it's an investment.
When you wanna eat, you order at some deli?
Chinese takeout.
Mmm.
Are you an alcoholic?
Probably.
You could've used some vocational guidance.
Well, what did I do wrong?
You're living in a million-dollar slum, why do you do that?
What were you, rich or poor?
You're cute.
You are fucking cute.
Who are you, Esther Hoffman?
- Where did you come from? - There are so many rooms here.
This is a house for people who never wanna see each other.
Come on, I'll give you a tour.
Hey, where are the phones? No phones?
There's one out by the pool, if I need it.
ESTHER: I just happen to love it when the phone rings.
Well, you won't love it when it wakes you up at 4 in the morning.
Somebody you never heard of calling to tell you he's full of Quaaludes.
And he's got a gun.
And you're the only person in the world who can tell him...
why he shouldn't use it.
ESTHER: Aren't you gonna cross my T?
How clumsy of me.
Well, why do they call you?
They love my music. They think I got all the answers.
You mean you don't?
I don't even understand the questions, man.
ESTHER: Who cleans up around here? JOHN: I don't know.
- You don't know? - My manager takes care of it.
I'm always on a plane somewhere.
Too many takeoffs and too many landings...
too many places I didn't wanna go.
I've been on too many planes.
I've only been on two.
Oh, wait a minute, is a helicopter a plane?
I gotta teach you everything.
Been on two planes and you think you got the answer to....
For anyone who calls you up.
How many names you painted around this house?
One.
Jesus, that's pretty, what is it?
Oh, just a little piece I wrote.
Keep hoping it'll be a sonata when it grows up.
It'd make a hell of a song.
I can't imagine that, it goes so high, nobody could ever sing it.
Play it, play it again, just like you done it before, real sweet.
With them little allegros or whatever.
[LAUGHlNG]
Arpeggios, okay.
[SlNGlNG]
Oh, I'm sorry, I'm sorry.
- That was so good. I got lost. - Well, don't quit.
I forgot my own song. Can we continue?
Yeah.
- Um, okay. Right, I was going. - Pick it up right where you were.
Okay, okay. Ready?
No, no, no, I'm... I'm...
You gotta get past that word or you'll never forgive me, man.
- Come on, it gets prettier. - Okay.
I really did forget myself.
Wait. Ready, get set, go.
- It's a pretty song. - Okay.
- Family hour. - Ready, here we go.
God, that's wonderful.
That's your song.
But inside your head.
[LAUGHlNG]
- Oh, you're so pretty. - Kiss my ass.
JOHN: Let's do it again. ESTHER: I'm tired.
JOHN: Come on.
ESTHER: You wanna make me into a machine?
- I wanna make you a perfectionist. - I already am a perfectionist.
Running in and picking up the bathmat after every shower I take doesn't count.
- You noticed that, huh? - Do it.
[SlNGlNG]
Wait, wait, wait. Again.
Wait a minute. Again.
That's closer. You got a little righteous anger into it.
You reckon you can handle two lines?
- I reckon I can try. - Well, then play it for me.
I also wash out your hairbrush.
BOBBY: What am I supposed to tell Brian?
You're standing here, your album's three months overdue.
They got a beef and it's legitimate.
They said your... They said your tour was shit.
You're handing in old stuff...
you rejected from... Turn that down a minute.
You rejected from old albums. Where's your new stuff?
- And now you're recording a chick. - Hey, she's great.
I know she's great. I love her.
If you're gonna record her, record her right.
Get her with somebody who can complement her.
I don't think it's Speedway.
I wanted something to show somebody and I got who I know.
Shit, these guys are as good as you can get.
BOBBY: Don't pull that shit with me.
I know who they are, how good they are.
What they got that's special.
ESTHER: John Norman?
- I'm sorry. I don't mean to interrupt. - Certainly.
JOHN: How you doing, baby? - Look, you know...
I'm grateful and all that, right?
And they're really fantastic musicians, but...
What's wrong?
Well, they're just not like what's in my head?
JOHN: How do you hear it? - They have these guitar things going:
You know?
I love... I love this broad, don't you?
The piano also is going like this, they're going:
Chords like that. Instead of... What l hear is a kind of rolling thing, you know?
- Like classical. - Yeah, yes.
Oh, this is your move. This one's on you, slick.
I don't... I feel embarrassed. I don't know how to tell them.
Well, you're exactly right.
- And I'll tell them, slick. - Oh, great.
ESTHER: Oh, thank you, thank you. - Thank you, John.
I'm not bad for him.
BOBBY: Well, he ain't working. JOHN: Man, that was great. But....
He gets through the day without drinking and sleeps without downers.
- He ain't working. JOHN: We try again tomorrow.
Esther, rock 'n' roll.
MAN: It's your dime. JOHN: So tomorrow morning, 9:00...
- we record the song. BOBBY: Goddamn it, women.
[CROWD CHEERING]
MAN [OVER SPEAKER]: We are really happy...
to have with us for the American Indian Relief Fund...
the star of our show, John Norman Howard Speedway.
[ROCK MUSIC PLAYING]
[SlNGlNG]
Get ready for anything, now.
Wait, wait, wait, hear me out.
At ease, at ease, at ease, at ease.
Now, wait a minute. You all just think you wanna hear that same old shit.
This being a benefit performance for a good cause...
and just by being here, you all deserve more than you're getting.
So we're fixing to do y'all a favor.
Hold it. Me and the boys stumbled onto something real a little while back.
- And it's so good and right... - That crazy son of a bitch.
- We wanna share it with you. - This has something to do with you.
- She's a writer, sings her own songs. - Me? What are you talking about?
Well, keep it up, man. You got the corner on the ignorance market.
BOBBY: What's going on, huh?
- What are you doing, you bastard? JOHN: Trust me, please.
- Why should I trust you? - Why not?
- Shut up. - Time to sing high notes.
I'm not prepared. What are you doing?
Hey, you just recorded 10 songs with these guys.
- You motherfucker. JOHN: Charming.
ESTHER: What am I gonna sing?
All right, all right, that's real good and it's real good.
We've seen your act, now shut the fuck up.
Give the lady a chance, all right?
A friend of mine, Esther Hoffman.
WOMAN: I want my money back.
MAN: Rock 'n' roll.
MAN: Why don't you do "Woman in the Moon"?
ESTHER: Okay, okay, "Woman in the Moon," now...
MAN: What? - "Woman in the Moon."
MAN: "Woman in the Moon," okay, yeah.
[CROWD CLAPPING]
[SlNGlNG]
[CROWD CHEERING AND WHISTLING]
ESTHER: Oh, I love you.
- Hey, you got some more to do. - What?
Oh, no. Can you promise you won't go away?
Will you stay right here?
[SlNGlNG]
- Hold it. You don't remember me. - Where's John?
- I remember you. - I remember you. How's your Pumpkin?
MAN 1: Good. MAN 2: I want you to meet some people.
ESTHER: Where's John? MAN 1: There she is.
MAN 2: Esther. - Hello, I'm Freddie Lowenstein.
J.N.'s agent, J.N.'s agent.
- I want you to meet Brian Wexler. - It was extraordinary.
- John Norman's manager. - Oh, how do you do?
- Very nice to meet you. - Excuse me.
- Did you see John Norman? - Where is John Norman?
- I'll get him, I'll get him. - Would you please get him?
No, no, no, that ain't gonna happen.
I'll get back to you.
Would you get him and bring him back to me?
MAN 3: Isthere anything else you need?
- Easy, easy, fellas. - Oh, well, we'll get you something.
WOMAN: Hey, just a second, all right. Now, take it easy.
MAN 3: Turn off his light.
Esther, I want you to meet Ricky Wingo, KBSC, Seattle.
Okay, let's take it easy, all right.
Esther, what name are you performing under?
- What? - Ever think of changing the name?
Why? I'd have to get a new driver's license, new stationary...
new social security number. It really would be a bother.
- Excuse me, please, excuse me. - Esther, we love you!
- You're fabulous. - You're beautiful.
MAN 4: Out of the way, out of the way.
Okay.
Esther, you're dynamite, but get rid of the creep, huh?
What just happened?
You did it. It's all yours, baby.
Everything you want.
Your own personal piece of the American dream.
It's not everything I want. You know what I want?
You know what it means, don't you?
You're gonna be on the road.
That's every cliche you ever heard about it.
You got your junk food and your jailhouse tan and you...
Lots of crazy strangers.
- Full-tilt boogie from motel to motel. - I wanna marry you.
You got your basic meeting with your basic mayor.
You got the basic keys to the city, only you don't know what city.
I wanna marry you.
No you don't. I drink too much.
I throw my money away. I owe the government 180 grand.
- Don't you want to? - That's not the point.
So do l, so we should do it together.
I never thought I'd get married again. You'd be lucky to have me.
It's not my luck I'm worried about.
Hey, shut up, we're talking here.
I want you.
What do you know what you want? You been on two planes.
I really do want you, Johnnie.
Don't bullshit me, Esther.
I might start believing it.
WOMAN: John Norman Howard, do you take this woman...
as your husband...? Wife? Excuse me.
John Norman Howard, do you take this woman as your wife?
JOHN: I do.
All right, Esther Leona Hoffman, do you take this man as your husband?
Oh, wait a minute, no, no. That's it? That can't be.
- It's too short. - What about the "love, honor...
and obey till death do us part" part?
Honey, this is what they tell us to say.
If you want the long form you have to do in church.
Anyway, "obey" is out, you know, the dawn of a new century.
- Say "cherish." It's friendlier. - Yeah, that's nice.
I'm already stretching this, doing it out here instead of in my office.
- Are you going do it or not? - Oh, I'm gonna do it.
Me too. Me too.
Good. I now pronounce you man and wife.
[LAUGHlNG]
JOHN: It's insane. - I know. Finally.
All the people are looking. We're married. How's that?
This is a simple gift, courtesy of the city.
Let's get out of here before we get arrested.
What is this, a box of candy?
ESTHER: Pre-moistened hand-wipes...
fabric softener...
stain remover, strawberry douche.
- Everything for a perfect marriage kit. - Strawberry douche?
Unless you prefer apricot.
Over there? Wait.
[SCREAMlNG]
- How much further is it? - We're on it.
ESTHER: This is your farm? JOHN: Ranch, Esther.
This is your average 88,000-acre, non-working ranch.
You mean as far as I can see it, you own it?
You and I own it, babe, community property.
You and I and The First National Bank of Tucson...
and the Bankers Trust in Phoenix...
and I think Brian's got a second mortgage in there somewhere.
ESTHER: I bet he does. JOHN: Outright, I think you and l...
- own maybe a quarter of an acre. ESTHER: Oh, that's plenty.
Look at the clouds.
- Where's your ranch house? - This is it.
What do you mean, "this is it"?
- This is it. - Where?
Hold it. Let's do it right.
This is getting to be a habit.
I kind of like it.
- This is the stone entrance way. - Stone, huh?
Careful of those five steps.
Oh, thanks for telling me.
- You're in the kitchen. - The kitchen, huh?
- I thought you lived here? - I do.
It's just not finished yet.
How come you never finished it?
I guess I never had a reason to.
What do you think of it?
[SlGHS]
It's beautiful.
Where's the bedroom?
You're standing in it.
How convenient to put a kitchen in the bedroom.
JOHN: Watch out. Wait a minute and I'll get a blanket.
You're gonna get stickers in your ass.
ESTHER: I don't care.
JOHN: That's the spirit that built the West.
- I found a great place. - We don't even have any floors yet.
Look at this. Isn't that beautiful?
John, no. John!
[LAUGHlNG]
It's in my ear.
I can't hear anything!
I'm drowning. You have to do first aid.
- Hey, medic. - Mouth-to-mouth resuscitation.
I'm drowning, honey, I'm drowning.
ESTHER: Listen, I want you to always do what you want, okay?
You're so cute. You are fucking cute.
JOHN: Esther, I'm not cute. I told you not to call me cute.
ESTHER: Oh, you're cute, you're cute.
You sure like whipped cream.
Tastes much better that way, huh?
God, I love to watch you eat. I've never seen anything like it.
You put your whole heart and soul and back and everything else into it.
You just like me, don't you?
Well, yeah.
Hey, look what Brian gave us for a wedding present.
- What did Brian get us? - It appears to be...
Hey, look at this. We could do our whole tour in trash flash.
I'll get you a matching sequined guitar strap.
Your tour, baby, not ours.
A genuine leather-bound, hand-illustrated...
16th-century edition of The Kama Sutra.
We could've used a toaster.
What's that?
- Who the hell sent us an empty bottle? - Me.
You.
You like this? Look at this? How does this look?
It will never work under the lights.
I'm not gonna plan my life around the lights.
Well, you are right now. You haven't earned the right not to yet.
Oh, crap. You know how I hate that attitude.
Tell me how to do it and you won't do it yourself.
- I do not like this any more than you. - Johnnie, please do it with me.
Oh, please do the tour with me. It would mean so much to me.
Hey, you're a charmer...
and you got a sweet little ass, but I ain't going to.
Look, either you do this tour with me or goddamn it, I won't do it.
I'll stay home, bake bread, we'll get fat and our teeth will fall out.
That would be just great, Esther.
Because you're so good in the kitchen.
[WHlSPERlNG] Fucker.
ESTHER: Love and cherish, huh?
Hey, how are you gonna cherish me in traction, you dumb bastard?
You get paralyzed from the neck down, how are we ever gonna have a baby?
Stop it.
What are you doing?
Stop.
[ESTHER SCREAMING]
John Norman?
Johnnie?
Johnnie? Johnnie.
Oh, you son of a bitch.
What did you do that to me for? I thought you were dead.
Hey, I'm too pretty to die.
You pervert.
- Oh, bullshit, what's wrong with you? - What do you mean?
You feel alive when you're scaring yourself to death.
Who was scared? You were scared, I wasn't.
You asshole, you're such an asshole sometimes. Honestly.
- Quit that. - You knew that all the time.
Life is so lousy with me, you wanna leave it?
Hey, hold still, hold still.
No, I will not. I don't like hairy man.
Look what you did to me.
Well, then off it goes. How clumsy of me.
- Off what goes? - The beard. I'll cut it off.
ESTHER: What are you gonna do? JOHN: Cut it off.
ESTHER: What do you mean, cut what off? Come on back.
JOHN: You just keep wondering about it. ESTHER: Oh, stop being like a nut.
What are you gonna do now? How are you gonna top that one?
You're crazy, you're a damn fool.
Stop it. No, come on.
How would I recognize you? Look, I don't know what you'd look like.
Listen, I might be very superficial and not even like you anymore.
Don't scare me anymore, Johnnie.
Just hold me.
If you ever die, I'll kill you.
I ain't never gonna die.
- You promise? - Yeah, I promise.
Oh, hell, I'll go on your goddamn tour.
Oh, really?
I love you, I love you, I love you.
Do you realize how long it's been since you've seen anybody but me?
Yeah, and I love it.
It gives the day a focus, man.
I wake up looking at you and go to sleep looking at you.
It's simple and I can handle it.
ESTHER: Oh, no.
JOHN: Oh, shit.
[HORNS HONKING]
BRIAN: Esther looks great, looks happy. I'm happy for her and I'm happy for you.
Come on, Brian, what'd you bring me out here to say?
Well, you seem a little like somebody I knew a long time ago. It's nice.
You don't want me going out on the road with her, right?
John, remember, I'm talking to you as a man who loves you.
Esther's got her own music, her own public, they want her.
You, they're suing. Now, she shouldn't have to pick up on that.
Brian, don't beat around the bush.
Tell me what you feel about me going out on tour with that lady.
- Can you take it? - Certainly, I can take it.
You blew it, you blew it.
Your songs don't work. You're causing a lot of trouble.
- People are getting hurt. - I was wrong...
Her single is number six with a bullet.
She's up for a Grammy. She's ready to fly on her own.
Let her go, John.
You think I don't know? I've been trying to tell her that.
I know our music doesn't belong on the same stage...
but she don't wanna do it on her own.
Well, maybe you could produce her tour.
I can't even keep a bank account, man.
You might enjoy it.
Me and the boys are getting back together and we got some new stuff...
and it's gonna be better than anything you ever heard. You're gonna love it.
BRIAN: About Esther... JOHN: Yes, I'll tell her.
Don't worry about it, Brian, I'll tell her, I'll tell her.
- Great, great. - Wait a minute, I wanna laugh.
Don't laugh. That's great.
- Serious? - Yeah, perfect.
- More seedy. - Seedy? Now, I'm in trouble.
Esther sings. Oh, I'm tired. Can I get off this box?
WOMAN: Give me a chance to reload. ESTHER: Okay, just take a little break.
- Oh, how you doing down there? WOMAN: Fine.
Freddie, I want you to come outside and look at this goddamn view.
Brian, I already saw it, thanks a lot.
BRIAN: Out here, Freddie. You won't believe it, come.
- Like it? - Yeah, I love it.
Oh, I got a terrific idea for the middle of the set.
I wanted to talk to you about that.
WOMAN: Sorry I'm taking so long.
I was gonna have an assistant, afraid it'd spoil the mood.
- One more body around. - You changed your mind.
The first time, it's gotta be perfect. Now, we're almost there.
You're not gonna do the tour.
Honey, I've been thinking a lot about that. And....
I think it's right that you should go out and do it by yourself.
Honey, if I'm on the bill, they can say I'm carrying you.
Since when do you care what people say?
I care what they say about you.
Relax your face, my God, this light is fantastic.
I don't wanna do it alone. I'm scared of going public.
You're already gone, babe.
Esther, beautiful.
[SlNGlNG]
[CROWD CHEERING]
MAN: What do you think about the reviews on your new album?
- I never read them. WOMAN: They're selling like crazy.
Oh, good. I heard some are good...
so my manager tells me. Some are terrible.
I don't really care. I don't go into the studio and say:
"I'm gonna cut a hit record." I just cut songs I like.
She's able to handle it pretty good. Better than I would.
Okay, full now.
ESTHER: Johnnie, I wish I could go with you.
JOHN: Well, when you finish your TV thing, you can come on the road with us.
Listen, darling, you've never heard the Speedway when we're cooking.
You're gonna be proud of me.
ESTHER: I'm proud of you already, Johnnie.
What am I gonna do without you for six whole hours?
I'll write you.
- Okay, I gotta go. - Okay.
Give the guys a hug for me, okay?
I miss you already.
JOHN: Hey, Esther.
What?
- What's the matter? - I was just taking another look.
You're crazy.
[ROCK MUSIC PLAYING]
Hey, it's Amelia Earhart.
JOHN: What's all this?
Do you hear any of that?
- What is it? - Well, that's Freeway.
That's their new album, it's gonna be released in three weeks.
We're still cutting basic tracks.
Nothing changes but the changes, slick.
Freeway? Last I heard it was a Speedway.
BOBBY: Well, then I guess you haven't heard...
they're the hottest thing since Tabasco.
When did all this happen?
BOBBY: Survival. We thought you retired, slick.
Now that the old lady's working.
Can't expect these guys to sit on their butts...
while you're out lollygagging in the desert with Esther.
They got a single chasing her up the charts right now...
number five with a bullet.
Don't you ever listen to your radio?
I had my radio turned off for about a minute.
Gotta get some more of that.
Hey, come on outside with me.
Bring that up a little.
Your old lady on the road or what?
No, she had to stop the tour for that television thing.
Hey, man, you are not gonna believe this.
All the way over here I've been trying to think...
how I was gonna tell you all about this thing I got to do.
- What? Tell me. - But it's perfect now.
They want me to go out on the road, alone without the Speedway...
with some new material.
It's good, but it's different. It's a different sound, you see.
So I've been working with these....
A couple of young punks I found in a club out there in some canyon.
And they're hungry.
And they love my stuff, man, and it's exciting.
Well, that's good, I'm glad.
What time is it anyway?
Oh, I don't know. Hey, come in here and play with us.
- They're rehearsing. - No, come on.
Can't... Can't do it. Would you tell them...
- I like what they're doing? - Okay.
- And I love you, brother. - And I love you, man.
[SlNGlNG]
[PHONE RINGING]
Will somebody pick that up out there?
Hello?
This is 652-1652. No, she isn't in here now.
No, this isn't her secretary.
No, this isn't her answering service.
Yeah, fine.
[PHONE RINGING]
Goddamn it, pick up the phone out there.
WOMAN: Hoffman residence.
No, she isn't here yet.
All right, I'll tell her. Yes. You're welcome.
[SlNGlNG]
- John Norman? JOHN: Hey, over here.
Hi.
How did it go? Oh, God, it's dark in here.
How can you work in the dark?
Tell me, I can't wait to hear. What happened with the guys? Hm?
When are you going out with them?
I'll be your groupie if you'll be mine.
- Did you play your stuff for them? - No.
Why? Why not?
I don't know where their heads are at now.
They're into something new that I can't get next to.
I hope they know what they're doing.
You mean you're not gonna go out on tour with them?
I don't wanna talk about that.
I wanna talk about you. How'd it go today?
Oh, God. They hire me and then they want to change everything about me.
I'm too short for the costumes. I'm too tall for the men.
I'm too loud for the songs, too quiet for the jokes.
I don't know what they want.
Well, you just stick to your gun.
I'm sticking with you.
- Are you tired? - Yeah, I'm starving.
So am l, man. I want some beer and a pickle.
And I want some oysters and Greek olives.
Let's have a picnic in bed.
Good idea. I'll bring up some peanut butter and jelly and unfiltered honey.
[PHONE RINGING]
- Goddamn it. - Oh, forget it, darling. Forget it.
- Don't answer. - Probably for you.
I don't care. Just let it ring. Maybe they'll go away.
Which reminds me, Jamison wants you to do an interview show on the 12th.
You got a wardrobe fitting and insurance examination day after tomorrow.
- Johnnie, I don't wanna talk about it. - Let me finish before I forget.
You gotta have... They wanna know how many places you want at the...
table at the Grammy Awards.
And two hang-ups.
Who said that the booze and the dope would ruin your brain?
Your memory ain't in your liver anyway, is it?
I'm gonna make a drink, you want some?
What happened today, Johnnie?
Why don't we talk about it, huh?
Johnnie?
MAN [OVER SPEAKER]: To present this year's Grammy Award...
for best performance by a female artist...
here are Rita Coolidge and Tony Orlando.
TONY: Thank you, ladies and gentlemen.
This year the have-nots once again give it to the haves.
The winner's gonna have to fight me off to get this.
Spoons, forks, guns, knives, it makes no difference.
[CROWD LAUGHING]
Yes, indeed.
In fact, I wonder who the lucky person is. I hope they don't outweigh me.
- You're a shoo-in. - Brian, I gotta leave.
- Sit. - He's probably in traffic.
Bullshit, you know better. He probably forgot.
- Come on, I gotta go find him. - The winner for Best Female Artist is...
Esther Hoffman.
Thank you.
I tell you, this one caught me by surprise.
I really didn't plan on winning it.
But I did prepare a little something just in case, you know.
The problem is that I wrote it on the tablecloth over there.
So just read it to me or something.
No, to make this as brief as possible.
There are two people that I would really like to thank.
The first one is Abraham Burakowski, who...
MAN: Let's go outside and get some air...
- Hey, let go of my goddamn arm. - Johnnie.
JOHN: Hey, let go of my arm. Christ.
I'm sorry, I can't find my place.
They don't have a place for me here.
The second one is... Ishere with us tonight. John Norman Howard.
Hey. Hey, don't do that.
Hey, not to me anyway.
At least don't do it to me.
You did something all by yourself and it was good.
And you don't owe anybody a goddamn thing for that, not me and not them.
You don't have to thank them for the privilege of giving them something good.
I missed you all day, baby.
- You're blowing your act. - Come on. Who's...
Good night, everyone. Thank you.
Wait, wait, wait. You forgot your thing for best performance.
This is what it's all about, ain't it?
What about the one you got for the worst performance?
Y'all know I deserve it.
God knows I couldn't have done it without you.
MAN 1: Get him off the stage. JOHN: Anyway, I work hard for it.
And I want it. So where the fuck is it?
Let me see the worst you got to offer for the worst I got to offer.
MAN 2: Come on. - Would you like to rub salt in your ass?
MAN [OVER SPEAKER]: Grammy Awards will continue after this commercial.
- Who the hell is Burakowski? ESTHER: Tell you later.
[CHATTERlNG]
- I'm okay. Take him. MAN: John Norman Howard managed...
to upstage his Grammy Award-winning wife, Esther Hoffman.
Keep the lights on them. Out of the way. Out of the way.
Keep them in the shot. Let's go. Follow them. Put the lights on them.
Get her while she's down. Catching all the action.
The ex-Mr. Jesus-Christ-Superstar just belted out his new champion.
Hey, Tarzan, how does it feel to uncork on the old lady, huh?
- Johnnie! - Did you see it?
What are you doing? Shoot him. He's trying to kill me.
- Keep shooting. Put the light on him. - Stop it. Shut off your goddamn lights.
When is it ever enough, goddamn it?
Don't you ever have enough?
WOMAN: They could give an Emmy for these Grammies.
What are you gonna do for an encore, set yourself on fire?
What is it? What is it? Don't you know how good you are?
What is it? Isit me?
Am I doing something wrong?
I love you, Johnnie.
But it's not enough, is it?
[ESTHER SINGING]
I'm sorry, I can't.
It's ridiculous. Wait a minute, hold it.
Can you hold the playback, please? You know, in re... In re...
I can't walk while I'm singing down the steps. I mean, I'll kill myself.
Uh, could you please stop the playback? You know, in rehearsal, we...
In rehearsal, there was white tape on the floor.
It was supposed to be the steps...
Anyway, actually it comes at a very important part of my lyric.
Why don't I just stand there and sing... Sing the song.
Listen, I'm not trying to be difficult or anything, just trying to get it right.
Hello?
Anything. Anybody hear me? Hello?
MAN: Emmet, what's wrong? What's going on down there?
- I don't know. Let me check. - Hi.
Can we take a break, please?
- Roll it back. Five minutes, everyone. MAN 1 [OVER SPEAKER]: Fucking star.
MAN 2 [OVER SPEAKER]: The mike's on. MAN 1 [OVER SPEAKER]: Oh, sorry.
- You want a Valium? - Not yet.
- How's it going? - Ah, fine.
BRIAN: And how's he? ESTHER: Oh...
the same. I fly out to him on weekends.
And he pretends that it's...
okay, for a day or so...
- then I pretend... - Oh, Miss Hoffman? Miss Hoffman?
- Yes? Hoffman. - That's what I said, Hoffman.
Having a problem with your reflection.
Okay. In a moment, all right?
- All right. - I'll be with you shortly.
I just can't do it anymore, Brian. I just, I just...
I get on a plane, I lock myself in the bathroom.
And I scream all the way from Tucson to L.A.
Sometimes l... I look at him when he's sleeping, you know.
And he...
God, he has no pain in his face, no hurt.
He's so beautiful.
WOMAN: Can we see wardrobe right away?
And I wish I could just...
wake him up, you know. And have him stay that way.
Calm, peaceful.
MAN: We got some trouble up there. - He's been writing songs, you know.
- Has he talked to you about them? - He doesn't call me.
Call him, for chrissake. What are you waiting for?
You're supposed to be his oldest friend.
- What is it? - We have to check your lights.
When I finish with Mr. Wexler, I'll meet you over...
Thank you, thank you very much.
He is my friend, made me rich, turned my life around.
- There's nothing more I can do for him. - That sucks, Brian.
There's a lot you can do. Give him your time.
Give him your support, earn your 25 percent.
That's not justified. I'm as good a friend as you.
I'm not in love. I don't have to believe something that's not true.
Don't say that, don't... Don't say that, Brian.
MAN: We're ready, Miss Hoffman.
These... These songs that he's writing are really good.
They're not what you're used to hearing, you know, but they're really fine.
Well, let me go listen to them.
- And let me hear them and we'll see. - "We'll see, we'll see."
It makes me angry I have to pitch you like this.
- I have to sell you, make you go. - Come on.
- Why don't you go? - Don't have to pitch me, sell me...
don't have to ask me. I will go.
If they're good, I'll record them. I will record them, okay? Okay?
I would appreciate that, Brian.
MAN: We're all waiting, Miss Hoffman.
Thank you, John.
I like the songs.
You do, huh?
Yep.
Bull squash, Brian.
You've got a different sound there. You've got a different sound altogether.
I think we gotta give them some of your golden oldies.
Stuff that made you a household word.
I'll fix it. No favors. I'll make a mint.
Look, your new stuff is good and I'll record it if you want.
But I don't think they'll buy what they don't know.
I appreciate what you're doing.
But you can't have them songs. I wanna start my own label.
- That's good. - I'm getting too damn old for this road.
And I wanna be a mogul like you. And live off everybody else.
[ROCK MUSIC PLAYING ON RADIO]
Who are you?
Quentin.
Remember? I used to be with Gary Danziger.
Oh, that Quentin.
How'd you get in?
I came in with the pool man.
- Guess how long I've had this. - Since Gary Danziger, I bet.
- I was with him for a week. - Oh, it was a meaningful relationship.
Hey, listen, you can help me out.
- How about the same way you got in? - Listen, I'd like an interview.
I string for Rolling Stone and all the pop magazines.
An exclusive interview.
I bet you would.
This is far-out.
Out of sight.
Blows the mind.
Boy, you really have a way with words.
I can't wait to see what you write.
Hey, listen, I'd do anything for this interview.
You can ask Gary what I do.
I'm sure he'd tell me.
Gary says I'm terrific. He really gets off on me.
Gary's been known to say things like that.
I'd really like this interview.
Far-out.
- Exclusive. - Out of sight.
With Esther.
Perfect.
MAN: Hey, Charity.
He's home! Fantastic!
John Norman? You're back.
[ROCK MUSIC PLAYING]
John Norman?
Johnnie?
She wants an interview with you.
Yeah.
Far-out, I'll get my tape recorder.
This means so much to me.
Terrific. Wait a minute.
Let me get this tape recorder first.
Oh, this is amazing. I'm really excited.
Okay, now wait a minute.
Get the tape recorder on here.
Okay. Go.
What's the matter with her? Isshe gonna talk to me or what?
I did my part.
You dirty son of a bitch.
- Get out. QUENTIN: What do you mean?
- What the hell did I do? - I mean, get out.
The hell with you, man.
Hey, listen, he couldn't make it anyway.
Put it in the interview. Don't leave anything out.
I said, get out.
I've had it with you.
You can trash your life, but you're not gonna trash mine.
Esther, for God's sake.
Goddamn it, you're gonna hurt yourself.
You stupid bastard. I won't let you humiliate me.
Fight. Fight, you bastard. Protect yourself.
I'll kill you. I'll kill you.
I tried to tell you. It's not good with me.
It was good...
you stupid...
until you blew it.
With her?
You're crazy, she's nothing.
Don't insult me.
She has nothing to do with it.
I missed you.
Shut up.
What are you trying to do, make me hate you?
I'll let you go. Oh, God, how corny.
- Hey, Esther, listen... - Oh, shut up. Don't say anything to me.
I have to think. I have to think.
- Baby. - Don't touch me.
Don't touch me.
I don't like you anymore.
Where the hell are you running to now, you fucking coward?
I don't wanna do this to you anymore.
Well, then fight for me, goddamn it.
Because if you keep walking...
I'll hate you.
And I'll hate you forever.
I love you, Esther.
Well, I hate you.
I love you.
I hate you.
I love you.
I hate you.
- I love you. - I hate you.
I hate you.
I love you, I love you, I love you.
I love you.
ESTHER: Oh, Johnnie, I'm so happy we're going out together.
Yeah.
Oh, God, how great, no phones.
Did you call Brian about the tour?
No, not yet.
I figured I'd tell him when I pick him up at the airport.
I can't wait to see his face.
I hope it's not too late to change all those ads and promos, you know.
You know what I want you to do?
Tell me about the road again. Come on.
Tell me again how it's gonna be. Go ahead.
Everything's gonna be all right.
Remember that thing you told me just the other night?
I don't wanna talk about it. I'm tired of words.
About how you weren't gonna let me trash your life.
I don't even... I don't know what I said, I don't even remember.
Yeah, well, I do.
And I liked the way you said it. You were right.
Yeah, well, maybe I can teach you something too.
What I liked about it was that it sounded like you knew who you were.
I'm Esther Hoffman Howard.
That's right. And don't you ever forget it.
- Where are you going? - I gotta go pick up Brian.
Oh, I forgot.
But just wait... Wait a minute, okay? I'll get... I'll get dressed, okay?
It's so cold. Wish you could come back to bed with me.
Yeah, you go back to sleep, darling.
- I'll go get him. - He would have to take an early plane.
That's Brian.
- Well, you hurry up home, now, okay? - Okay.
I'll have breakfast waiting for you.
Like a good little wife.
- What? - Just looking, babe.
[MOUTHS] I love you.
Hey, boy, good morning. Yeah, that's a good dog.
[ROCK MUSIC PLAYING]
[ENGlNE REWING]
[ESTHER'S VOICE SINGING]
WOMAN [OVER RADIO]: Five-Victor, what's your status?
All right, I'm about 14 miles due east on the interstate on County 327.
POLICEMAN: I've got a single-vehicle fatality.
No secondary vehicle involvement.
The subject vehicle left the roadway...
approximately 160, one-six-oh miles per hour.
Crossed the shoulder, impact at 145 feet due east.
No roll bar. No subsequent fire damage.
The deceased will be transported by rescue ambulance.
WOMAN [OVER RADIO]: Ten-four. POLICEMAN: Ten-four, base.
ESTHER: I got it. POLICEMAN: Go on. Get out of here.
You too, man, hey.
No more. Okay.
Get out of here. Come on, beat it.
MAN 2: Officer, just one shot, please?
MAN 1: All over here. All over here.
He needs a blanket. Could you please...? Please?
Bring him a blanket, okay?
Thank you.
Could you please not stare at him now? Just, please....
I'm so scared, Johnnie.
I don't know what to do.
Hold me. Please hold me.
BRIAN: Gotta move him, Es.
- What? - We gotta move him, honey, come on.
No.
- Es, we gotta move him. Come on. - No.
No.
- No. BRIAN: Come on. Come on, baby.
No, please. No. No.
Well, be gentle with him, please.
- He'll be all right. Come on. - Don't hurt him.
- One...
two...
three.
BRIAN: Let me give you a hand.
POLICEMAN: Watch it right there.
- Head in. Get in. Easy. Straight in. POLICEMAN: Come on, lady, please.
I told you to get out of here.
You too, buddy, enough's enough. Come on.
MAN: Just one more. POLICEMAN: Come on.
JESUS [ON RADIO]: Well, he was like a brother to me.
I don't know what you boobies call him.
But Bebe Jesus calls him one of the greats.
One of the all-time greats.
John Norman Howard.
[GUlTAR PLAYING]
John Norman?
John Norman!
[PHONE RINGING]
[JOHN'S VOICE SINGING]
JOHN'S VOICE: Will somebody pick that up out there?
ESTHER: Johnnie?
- John? JOHN'S VOICE: Hello.
- Johnnie! JOHN'S VOICE: She isn't here now.
No, this isn't her secretary.
[JOHN'S VOICE SINGING]
Hey, lady. How do you turn this thing off?
You're a liar.
And you're a big talker.
Talk, talk, talk, talk, talk.
What the hell is wrong with you anyway?
You're selfish, that's what.
Shit. Oh, God.
You are a very selfish person.
And a liar.
Because you promised me, you son of a bitch.
You promised me.
You promised me and you lied.
You lied, you lied.
You lied. You lied to me. You lied to me.
[SNlFFS]
I'm sorry, Johnnie.
It's just that there are so many things I wanted to tell you.
MAN [OVER SPEAKER]: Ladies and gentlemen, Esther Hoffman Howard.
[APPLAUSE]
[English - US - SDH]