To see more script samples please email Larry at larryweiner@rrca.com or call 201-712-0019   The following copyrighted script is the story of tragic actress Gail Russell.  It is currently being considered by a number of production companies.  Your E-mail feedback (positive, hopefully) will help immensely in moving the project forward.   I reformatted the script to make it easier to read.                             DARK ANGEL: THE GAIL RUSSELL STORY   by   Larry M. Weiner                                                 © 2000, Larry M. Weiner       INT. APARTMENT - DAY   The time is August 1961. 35 year old GAIL RUSSELL is in her modest West Los Angeles apartment. She is looking at a painting. Resting on a table near her easel is a glass with vodka in it. A man is with her. He is dressed in a light suit. We never see the man's face until the end. In the background, we can hear the song, Stella By Starlight. The song was written for the movie, The Uninvited, Gail's first leading role. In that movie, Gail played the part of Stella Meredith, the character for whom the song was written in the movie.   GAIL              I loved to paint. When I was younger, I always had a paint brush  in my hands.   MAN (looking at a painting) Looks like you were pretty good.   GAIL I actually sold a few recently.   She looks at a couple of other paintings, then stops by a painting of herself. She looks closely at it.   GAIL (continuing; reading) Dark Angel.   She chuckles lightly.   MAN What's so funny?   GAIL Dark Angel. How appropriate.   MAN (reading) You think so?   GAIL I guess it describes my life. When they wrote about my screen work, it was always, 'Gail Russell, angelic beauty,' but my life was a whole different story... DISSOLVE TO:   INT. RUSSELL HOME -- NIGHT   We flashback to 1943. The scene takes place in the dining room of a typical middle class home in Van Nuys, California. GLADYS and GEORGE RUSSELL are in the middle of eating dinner. Also at the table is the Russell son, GEORGE, JR, who is five years Gail's senior. He is wearing a war uniform, so the audience can now place the date. The Gail Russell we saw in the opening scene speaks over the video action.   GAIL (V.O.)                    If they'd only have left me alone, everything could have been different.   The voice-over fades out.   GEORGE Gladys, where's Gail?   GLADYS She's upstairs eating.   GEORGE Again?...That girl should be eating down here at the table with her family.   GLADYS If she doesn't want to eat with us, she doesn't have to.   GEORGE There's something wrong with her.   GLADYS What do you want me to do about it, George? I can't help it if she hates us.   GEORGE, JR. She doesn't hate us. She's just shy.   GEORGE Shy? Shy is when you're afraid to be around strangers. We're her God damn family. What the hell does she do up there, anyway? GEORGE, JR. She's either painting or reading.   CUT TO:   Gail Russell's room. We see 17 year old GAIL RUSSELL sitting on her bed, doing a fashion sketch. We can see that she is an extremely beautiful young girl, whose beauty is more angelic than earthly. A tray of food stands near the bed, and occasionally Gail picks something from the plate. All around the room are paintings that Gail herself has painted. There are also movie posters on the wall. In the background, we can hear the argument going on downstairs.   EXT. STREET - DAY   Paramount Pictures executive WILLIAM MEIKLEJOHN is driving in his car, when he notices two boys, ROGER and JIMMY DONALDSON, walking home from school. He pulls over.   MEIKLEJOHN Hey boys...need a ride?   BOYS (together) Sure. Thanks, Mr. Meiklejohn.   They hop into the car.   CUT TO:   Inside the car.   MEIKLEJOHN So, how's school?   ROGER It's all right.   MEIKLEJOHN You should be done pretty soon, shouldn't you?   JIMMY Three weeks.   MEIKLEJOHN You know, I just sent your parents an invitation to come to my barbecue next week. You boys should come, too. They'll be some people from Paramount there. JIMMY Any actresses?   MEIKLEJOHN (smiling) Probably.   ROGER (to Jimmy) Hey, Jim. We should tell him about Gail Russell.   JIMMY Yeah.   MEIKLEJOHN Who's Gail Russell?   JIMMY She's this senior we know. Everyone calls her Hedy Lamaar cause she looks a little like her. MEIKLEJOHN Really!   ROGER She's the most beautiful girl in the school.   JIMMY She's real shy though. She likes to keep to herself.   MEIKLEJOHN Gail Russell, you said.   EXT. OUTSIDE SANTA MONICA HIGH SCHOOL - DAY   Gail is walking home from school. Her walk is somewhat pigeon toed, and her shoulders stoop forward. Her entire carriage gives the nonverbal message she is extremely shy and insecure. William Meiklejohn comes up from behind her. He surprises her.   MEIKLEJOHN Excuse me. Are you Gail Russell?   GAIL (almost inadibly;nervous) Yes...?   MEIKLEJOHN My name is William Meiklejohn. I work at Paramount Pictures. I see the boys were right. You're a very beautiful young lady. Gail begins to twist her hands nervously. This nervous twitch will stay with her throughout the story.   GAIL Thank you.   MEIKLEJOHN I'd like you to come down to the studio for a screen test, if you don't mind.   GAIL Thank you, but I'd rather not.   MEIKLEJOHN Miss Russell, you have a very rare beauty. You could have a career as an actress.   GAIL I don't want to be an actress, thank you.   MEIKLEJOHN You'd be wasting those great looks.   GAIL With all due respect, Mr. Meiklejohn, I didn't ask anyone to give me my looks. Now, if you don't mind, I'd like to go home. Meiklejohn takes a card out of his pocket and gives it to her.   MEIKLEJOHN Well, if you change your mind, give me a call...please.   He leaves. As Gail passes a waste basket, she pauses and then drops the card in it.   INT. RUSSELL HOME - LATER THE SAME DAY   Gladys Russell is sitting on the couch with a neighbor, DORIS DONALDSON. They are drinking coffee and listening to the radio.   DORIS I love this show, Gladys.   GLADYS You know, Doris, I auditioned for a radio show years ago.   DORIS No kidding!   GLADYS They were very interested in me, but I was engaged to George at the time.   At that moment, Gail enters the house.   DORIS Hello, Gail.   GAIL Hello, Mrs. Donaldson. Hello mother.   Gail proceeds upstairs. Doris watches her go up.   DORIS Your daughter is so sweet, Gladys. You must be very proud of the way she turned out. GLADYS Yeah, well...where was I? Oh, I remember. I could have had a career, but I married George. And then the kids came along, and that was the end of that. DORIS Speaking of acting, did you know the boys spoke to Bill Meiklejohn about Gail?   GLADYS No, I didn't. When?   DORIS The other day.   GLADYS Really? Gail didn't tell me anything about it. Of course, she never tells me anything. Do you know what about? DORIS Come on, Gladys. In case you haven't noticed, your daughter is very beautiful.   GLADYS Of course I've noticed. It's just that I never thought of Gail as an actress. She's such a loner. DORIS (joking) Well, then maybe you should go see Meiklejohn.   CUT TO:   Gail's room a little later. Gail is reading a poetry book when Gladys enters.   GLADYS Did William Meiklejohn see you?   GAIL Today.   GLADYS What about?   GAIL He wanted me to take a screen test.   GLADYS (very excited) You're kidding! Oh, Gail. That's wonderful. When are you going?   GAIL I'm not. I told him 'no.'   GLADYS You what?   GAIL Mother, I don't want to be an actress.   GLADYS That's ridiculous. I don't know who in their right mind wouldn't want to be a famous Hollywood actress. GAIL Mother, I've told you a hundred times. I'm going to be an artist.   GLADYS Stop being a dreamer, Gail. You'll starve to death. A big shot Hollywood executive wants you to be a star, and you tell him 'no,' you want to be a painter. Well, young lady, you're going to go down to that studio tomorrow, and tell Mr. Meiklejohn you'll take the screen test. GAIL                        I'm not, mother. Now, will you please leave. I have to finish my homework.   As Gail tries to hide in her book, Gladys pulls it away from her.   GLADYS You're going to the studio right after school tomorrow.   GAIL I'm not going...now, please give me my book back.   GLADYS (sensing she's losing Gail; softening) Gail, can't you see I know what's best for you? You can be an actress and paint in your spare time. GAIL I don't want to go, mother.   INT. PARAMOUNT PICTURES - DAY   Gladys Russell enters the office of William Meiklejohn and approaches the receptionist. She has her best dress on and is wearing heavy makeup.   RECEPTIONIST May I help you?   GLADYS (hesitatingly) Is Mr. Meiklejohn in?   RECEPTIONIST Do you have an appointment?   GLADYS It's about my daughter, Gail. You see, Mr. Meiklejohn wanted her to take a screen test, and she refused. But, she's just a child. What does she know? I'd like to talk to him about scheduling one. RECEPTIONIST For her or for you?   GLADYS (laughing) For her of course.   RECEPTIONIST Hold on a minute.   The receptionist picks up the phone.   RECEPTIONIST Mr. Meiklejohn. I have a Mrs. Russell here who wants to talk to you about her daughter, Gail... Okay. The receptionist hangs up the phone.   RECEPTIONIST He'll see you.   GLADYS Thank you.   Gladys goes into Meiklejohn's office.                                                      CUT TO:   Inside Meiklejohn's office. WILLIAM MEIKLEJOHN gets up from his chair and goes to meet Gladys.   MEIKLEJOHN Mrs. Russell. I'm William Meiklejohn.   GLADYS Thank you for seeing me.   MEIKLEJOHN I can see where Gail gets her good looks.   GLADYS Well...I did have a...modest acting career when I was younger...   MEIKLEJOHN How can I help you, Mrs. Russell?   GLADYS I just wanted to let you know that my daughter's decided to take the screen test.   MEIKLEJOHN She told me in no uncertain terms that she has absolutely no desire to be an actress. GLADYS She's very shy, that's all. After I talked to her, she changed her mind. So, if you still want to give her a test, I'll get her here. MEIKLEJOHN In that case, I'll set it up for Friday, okay?   GLADYS She's very excited about this, Mr. Meiklejohn.   MEIKLEJOHN You have a very beautiful daughter, Mrs. Russell. I think she could be a star.   GLADYS I've always thought that, Mr. Meiklejohn.   EXT. PARAMOUNT PICTURES - DAY   Friday has arrived and Gail and her mother, in light coats, are about to enter the studio. Gail notices a street vendor, an old man sitting on the corner working on a painting. Around him are a number of paintings. As Gail looks at him, Gladys redirects her into the studio.   INT. PARAMOUNT PICTURES - LATER   Gail and Gladys have just entered the Paramount studio. Gail is in a dress, and it is obvious she has never walked in the highheels she's wearing. She can barely move. She is obviously miserable. Gladys is dressed equally as well. Meiklejohn approaches.   GLADYS (in Gail's ear) Will you smile, damn it. Try to act as though you're excited.   MEIKLEJOHN Hello, Mrs. Russell. Gail, you look beautiful.   GLADYS (to Gail, pushing her shoulders back) Stand straight, Gail.   CUT TO:   A director approaches Gail.   DIRECTOR Miss Russell, we're all ready for you. Gail looks at her mother.   MEIKLEJOHN (sensing Gail's nervousness) Don't worry, Gail. This is very painless. You just stand over there, say some lines, and we'll do the rest. GAIL All right.   Gail rises from her set and is led to the set. She looks nervously around at all the people. She looks back at her mother with a "call for help" look, but Gladys gestures for her to get going.   GLADYS (talking to anyone you'll hear her) That's my daughter. She's going to be a star.   CUT TO:   INT. SCREENING ROOM - DAY   A number of Paramount executives are sitting in a screening room watching Gail's screen test. Meiklejohn is sitting with them.   EXECUTIVE #1 Girl needs a lot of work. Look at the posture.   EXECUTIVE #2 Voice is a little thin.   EXECUTIVE #3 She's going to need an awful lot of work.   MEIKLEJOHN But, gentlemen, look at that face. That's the face of an angel.   EXECUTIVE #3                   All right. Let's give her a minimum contract and see what    happens.   INT. RUSSELL HOME - NIGHT   The Russells are sitting in the living room listening to the radio, when the phone rings. Gladys picks it up.   GLADYS Hello... (sudden change in attitude) Oh, hello, Mr. Meiklejohn. They did? That's wonderful. Thank you so much. Yes, we're very happy. She'll be there. Thank you again. Bye, bye. Gladys hangs up the phone.   GEORGE Who was that?   GLADYS Bill Meiklejohn. Paramount is going to offer Gail a contract. (matter of factly) George, our daughter is going to be a star.   GEORGE (incredulous) Gail, our daughter, is going to be a star? You're joking?   GLADYS I'm not joking. They really want her.   GEORGE How does Gail feel about this?   GLADYS What are you talking about? She's thrilled, of course.   GEORGE Is she?   GLADYS Of course she is. They already got a small part for her in the new Henry Aldrich movie. GEORGE Gladys...who are you doing this for? Gail or you?   GLADYS Don't be a fool, George. Her of course. I'll go tell her. She'll be very excited.   CUT TO:   Gail's room. Gail is doing some painting, when her mother enters. She doesn't hear her mother enter.   GLADYS Gail...   GAIL (surprised) Oh! Mother.   GLADYS Mr. Meiklejohn called. They want to give you a contract. You're gonna get fifty dollars a week. Gail turns back to her painting.   GLADYS You're going to be in the new Henry Aldrich movie.   Gladys comes over and hugs Gail.   GLADYS I know you're nervous, Gail, but don't worry. I'll be with you the whole way. We'll be a team...the Russell team. And we'll go to the top together. How does that sound? GAIL (emotionless) Wonderful, mother.   INT. SET FOR HENRY ALDRICH GETS GLAMOUR - DAY   There is a beehive of activity on the set. Director HUGH BENNETT is in the center of activity.   BENNETT What's our next scene?   ASSISTANT Henry and Virginia Lowry.   BENNETT That's the Russell girl, isn't it?   ASSISTANT Yeah.   BENNETT Where is she?   ASSISTANT (calling out) GAIL RUSSELL!   GLADYS (O.S.) Coming.   Gladys shows up with Gail, who is wearing a transparent raincoat with a bathing suit underneath.   BENNETT Which one of you is Gail Russell?   GLADYS She is.   BENNETT Then who are you?   GLADYS Her mother -- Gladys.   BENNETT I'm glad to meet you, Gladys. Now, will you please wait in the back?   GLADYS Yes, thank you, Mr. Bennett. (to Gail) Stand up straight now.   Gladys walks off.   BENNETT Now, Miss Russell, take your place over there.   GAIL (shyly) All right...   Gail walks diffidently over to the set and stands there. She is twisting her hands nervously.   BENNETT Miss Russell. You're supposed to be a vamp. Can you look sexy?   GAIL I'll try.   As Gail looks around the set, she sees the cameras, lights, and the many production people. The room begins to spin, going around faster and faster. The room spinning stops when we hear a production assistant's voice.   PA Ready on the set.   As the cameras get ready to roll, Gail makes a weak attempt at looking sexy. She persists in twisting her hands.   BENNETT Cut! Miss Russell, what are you doing with your hands?   GAIL Nothing.   Gladys comes rushing up.   GLADYS It's just a nervous twitch, Mr. Bennett. I can't tell you how many times I've told her to stop that. (to Gail) Gail, how many times have I told you to stop that?   BENNETT Mrs. Russell, there's one director here, and that's me. Now, if you don't stand in the back, I'm going to have to throw you off the set. GLADYS I'm sorry.   She slinks back into the background.   BENNETT Now, Gail, will you stop doing that business with your hands?   GAIL I'll try.   BENNETT Thank you. Now, let's try it again.   As the cameras begin to roll, Gail's hands slowly come together again, and she begins to twist them.   BENNETT CUT! Miss Russell, how do you expect audiences to look at your face when you're contorting your hands like that? (to his assistant) Fred, get me a couple of handkerchiefs, will you?   ASSISTANT What do you wanna do with those?   BENNETT I'm going to tie her hands down.   CUT TO:   A few moments later, Gail is seen on the set. Her hands are at her waist. The camera reveals that, from behind, the handkerchiefs are tied together, pinning her hands to her side.   EXT. PARAMOUNT PICTURES - LATER   Gail and Gladys are leaving the studio when Gail notices the painter. This time, he sees her and smiles broadly. She returns the smile.   GLADYS Gail, you've got to get out of that habit of twisting your hands. Gail is too busy looking at the old man.   GLADYS Gail? Are you listening to me?   GAIL Hmm?...Oh yes, mother. Mother, can I go look at that man's paintings?   GLADYS We have to get home.   INT. RESTAURANT - NIGHT   Gail and her family are at a restaurant. William Meiklejohn is with them. Gladys is at the head of the table. Meiklejohn has a copy of the Hollywood Reporter.   MEIKLEJOHN (reading) And a flash that will count is registerd by Gail Russell as the town belle most impressed by Henry's Hollywood conquest. As Meiklejohn is singing Gail's praises, Gladys's smile becomes more forced. She seems jealous of her daughter's acclaim.   GEORGE I guess she gets those acting genes from you, Gladys.   MEIKLEJOHN I'd like to propose a toast to Gail.   Everyone picks up their glass.   MEIKLEJOHN                     Are we ready? Good. Let's drink to Gail Russell, the next Hedy Lamar.   They toast. Gail doesn't drink.   MEIKLEJOHN Gail, that's the best champagne in the restaurant. It would be a sacrilege not to drink it. GAIL I'm sorry, Mr. Meiklejohn. It's just that I've never had a drink.   GLADYS One sip of champagne is not going to turn you into an alcoholic.   GAIL All right.   She gingerly takes a sip and makes a face.   MEIKLEJOHN Now, shall we eat?   Everyone sits down to begin eating.   MEIKLEJOHN (continuing; to Gladys) I've already got another film lined up for Gail.   Gail perks up.   GLADYS Already?   MEIKLEJOHN We like to get our money's worth. It's a small role, but Gail will actually have some lines. GAIL Lines? Really?   MEIKLEJOHN That's right. You're going to have a small scene with Ginger Rogers. What do you think of that? GAIL (excited) Ginger Rogers!   GLADYS As soon as we get the script, I can coach her on her lines.   MEIKLEJOHN There are people at the studio for that. We have a few weeks before the film starts production, and we're going to spend that time polishing you up a bit. GAIL Polish me up? I sound like an apple.   INT. PARAMOUNT PICTURES - DAY   Gail is walking back and forth in a room. Another woman is watching her. Gladys is in the corner watching them.   WOMAN                                   Oh dear. How did you ever get this far in life with a carriage like that?   GAIL I think I did pretty well.   GLADYS Gail...don't be fresh.   WOMAN First, of all, your toes shouldn't point in. You're not a pigeon. They should point straight out. Try walking that way. Gail attempts it, but soon falls back into the pidgin toed walk.   GLADYS She's doing it again.   WOMAN Thank you, Mrs. Russell. I can see that.   GAIL Why can't I just walk the way I always walk?   WOMAN                        We want to make you as perfect as possible, and that includes the way you walk...   The woman moves in behind Gail and pulls her shoulders back.   WOMAN ...and stand. The shoulders have to be back like this.   GAIL It hurts that way.   GLADYS Gail, why do you have to be so difficult?   GAIL Because I like who I am, mother.   GLADYS Evidently who you are isn't good enough.   WOMAN You'll get used to it, my dear. And, the head is up. We don't look at the ground. We look straight ahead. Now, let me see you walk. Gail attempts to remember all the things just told to her.   WOMAN Hold your head up, Gail. Watch the feet. Toes out. Shoulders back. We'll keep doing it until you get it right. Gladys seems to be getting some satisfaction out of Gail's travails.   INT. PARAMOUNT PICTURES - DAY   It is another day. Gail is in a small room with a man. Again, Gladys is there.   GAIL (reading from a book) The quality of mercy is not strained. It droppeth...   MAN I've heard enough. Where did you get that voice?   GAIL I was born with it.   MAN It simply will not do.   GAIL It's the only voice I have.   MAN Well, if you want to make it in this business, young lady, you're going to need a different voice. A better voice. GAIL Who's voice are you going to give me?   MAN Of course it'll be your voice, but we're going to have to darken it and work on your diction day and night. Now, let's try it again. GAIL (reading) The quality of mercy...   MAN No, no...darker...   CUT TO:   We can see that Gladys is losing patience with her daughter.   INT. RUSSELL HOME - LATER THE SAME EVENING   Gail and Gladys arrive home that day.   GLADYS These people are trying to make you a star, Gail. Why do you have to make things so difficult? GAIL I can't be who I'm not.   Gail storms upstairs. George approaches.   GEORGE What's going on?   GLADYS It's like trying to turn a sow's ear into a silk purse. I'm trying to help her become an actress, and she's fighting with everyone. GEORGE If they wanted her so badly, why are they trying to change her?   GLADYS Because she's not good enough.   CUT TO:   Gail enters her room and falls on the bed, crying.   GAIL (V.O.) If I had any strength at all, I could have stopped it right there. But, I wasn't strong enough. God, I'm not even strong enough now. I didn't have a chance when I was 18. The voice-over fades, and there is a knock at the door.   GLADYS (O.S.) Gail, honey. Can I come in?   The door opens. Gladys walks in and sits on the bed. Gail tries to wipe her tears.   GLADYS I know you're upset, honey, but these are the things you have to do to become a star. I'm sure every actress has to go through the same thing. GAIL I'm just not good enough, mother.   GLADYS                   But, you will be. You just need some help, that's all. And that's  what all these people are trying to do. They're trying to help you.   GAIL I don't know if I can do it.   She cries.   GLADYS Gail, I want this so badly for you. Please don't disappoint me again.   INT. SET OF LADY IN THE DARK - DAY   Gail is sitting in a chair, while the production is in progress. Gladys is sitting with her.   GLADYS So, when are we going to meet Ginger Rogers?   GAIL I don't know. Soon, I guess.   GLADYS Do you know your lines?   GAIL Yes, I told you.   The director, MITCHELL LEISEN, approaches.   GAIL Mother, this is Mr. Leisen, the director.   LEISEN Mrs. Russell. It's nice to meet you.   GLADYS (coquettishly) The pleasure is all mine.   LEISEN Gail, we'll be doing your scene this afternoon...   GLADYS Is that when we'll meet Ginger Rogers?   LEISEN Yes. Gail, can you do the Charleston?   GAIL No.   GLADYS I know the Charleston. I could teach her.   LEISEN That's all right. We have a professional who will do just nicely. (calling out) JOHN! Take Gail over to Miss Rogers.   Gail rises quickly.   GAIL Wait here for me, mother.   CUT TO:   Ginger Rogers' dressing room near the set. John and Gail go in.   JOHN Miss Rogers will be right here.   John leaves. Gail looks around the room. She sits in the chair at the makeup table and looks in the mirror. At that moment, the door opens and GINGER ROGERS enters. Gail clumsily gets up. She is in awe of the woman.   ROGERS I can see we have some work to do.   GAIL Miss Rogers...   ROGERS You must be Gail Russell.   GAIL Yes.   ROGERS So, how many films have you done, Gail?   GAIL This is my second. My first with lines.   ROGERS Well, you're a very beautiful young woman. And I'm sure you'll have a very successful career. Now, we better get started. We've only got about two hours to teach you the Charleston. GAIL All right, Miss Rogers.   CUT TO:   Later that day. We are now on the set. It's a high school dance setting. Gail is in her place. Leisen is ready to roll film.   LEISEN Gail, when the music starts, you go over to the boy, say your lines, and then begin the dance. All right? Quiet on the set everybody...and...action. Gail is cued and she walks over to the actor. But when she is about to speak her lines, her mind goes blank. She stands there, mouth open, terror in her eyes. She looks around the set and sees everyone waiting for her to speak. We can see the terror in her eyes.   CUT TO:   Gladys Russell. She hides her face in embarrassment.   CUT TO: Leisen.   LEISEN Cut! Is there a problem, Miss Russell?   GAIL I...I can't remember my lines.   LEISEN You were supposed to have them memorized.   GAIL I did. I worked on them all the time.   LEISEN Let's try it again. Places everyone. And, action.   Gail moves back to her place, and as directed, walks over to the actor. As Gail looks at the lights, camera, and crew, she takes on a deer in the headlights look. She is frozen.   LEISEN Cut! Miss Russell...I'm giving you ten minutes to get yourself together, or else I'm going to have to get someone else. Gail is beginning to lose control.   GAIL But, I did know them. I did.   LEISEN Well, you don't now.   Gail rushes off the set. Ginger Rogers intercepts her, and Gail falls into her arms, sobbing. Gladys tries to get Gail, but Rogers begins to walk away with Gail in her arms.   GLADYS She's my daughter.   There is an awkward moment of silence.   GAIL (to Rogers) Could we get out of here?   Rogers and Gail walk off. Gladys is mortified and storms off the set.   INT. GAIL RUSSELL'S DRESSING ROOM - LATER   Gail is sitting in her dressing room, crying. Rogers is sitting next to her.   ROGERS How old are you, Gail?   GAIL Eighteen.   ROGERS Eighteen. My God. So young. You know I was scared to death when I did my first role. GAIL Really?   ROGERS Absolutely petrified. My knees were shaking so badly, everyone thought I was doing the Charleston. The two laugh lightly.   GAIL I was so scared out there my mind went completely blank. My mother must be so ashamed of me. ROGERS Gail, I'm sure your mother loves you, but right now you have to get control of your own feelings.   GAIL I don't think I can do it.   ROGERS Sure you could. There's nothing difficult about it. You go out there. You look good, and you say some lines. What's so hard about that? GAIL It's all those people staring at me. I wonder what they're thinking now.   ROGERS They're thinking that a beautiful young woman is nervous about her first part. Gail, you'll be fine, and remember I'm on your side. GAIL Thank you, Miss Rogers.   ROGERS Please, call me Ginger.   INT. RUSSELL HOME - DAY   Gail is in her room, working on a painting. It is a pasture scene. As we watch her at work, we can see how blissfully happy she is. Unlike being on the set, Gail has a big smile on her face as she works. Gladys enters the room.   GLADYS Gail, we have a lunch meeting. Did you forget?   GAIL I'm sorry. I got caught up in my painting.   GLADYS Get dressed. We're going to be late.   Gladys walks out. Gail's mood has changed.   INT. RESTAURANT - DAY   Gail and Gladys are having lunch. A waiter comes over to clean up some dishes.   WAITRESS (to Gail) Excuse me, but I can't help thinking I've seen you before.   Gail doesn't respond.   WAITRESS Sure...I remember now. You were in that movie with Ginger Rogers, weren't you? You're Gail Russell, aren't you? GLADYS That's right.   WAITRESS (calling out to another waitress) HEY, GERT. GAIL RUSSELL'S HERE!   The whole restaurant has heard, and a murmur rises from the people there. People begin coming over to her. Gail is overwhelmed.   FIRST PERSON I loved you in that movie. Can I get your autograph?   GAIL I...I don't have a pen.   SECOND PERSON I've got a pen. Could you sign one for me, also, Miss Russell?   GAIL All right.   She signs the autograph. A couple approaches the table.   MAN (to Gladys) Could you take a picture of my wife and me with Miss Russell?   Gladys tries to interject a comment, but the man continues.   GLADYS But...   MAN (ignoring Gladys and handing her the camera) Honey, you get on one side of Miss Russell. I'll stand here.   Put off by the man's brusqueness toward her, Gladys, nonetheless snaps a photo. The waitress cuts in.   WAITRESS I loved you in that movie. Can I get your autograph also?   GAIL I...I don't have a pen.   WAITRESS (handing Gail her pen) Thank you so much. My name's Vivian.   A man comes over to them. It is HARRY EDINGTON.   HARRY Miss Russell?   GAIL Mother, let's get out of here. I can't take this.   HARRY My name is Harry Edington. I believe Bill Meiklejohn called you about  me.   GLADYS You're the agent.   HARRY May I sit?   GAIL Please.   HARRY Gail, I also thought you were terrific in Lady in the Dark.   A patron approaches.   PATRON Excuse me, Miss Russell...could I get...   HARRY Beat it.   The man walks away.   GAIL Thank you.   GLADYS So, Mr. Edington. Your job is to make my daughter a star?   HARRY The biggest female star in Hollywood.   GLADYS Do you think she's got the potential?   HARRY Absolutely.   GAIL Why do I need an agent?   GLADYS                  Don't be silly. You need someone to represent you. Represent your best interests.   GAIL Do you know what my best interests are, Mr. Edington?   GLADYS What kind of question is that?   HARRY Actually, it's a good question. (to Gail) I'm assuming that you want to become the biggest and most popular star in Hollywood. Am I right? GLADYS Absolutely. So, Mr. Edington, do you have a lot of experience?   HARRY No, but I'm going to be the best agent in Hollywood. It'll be you and me, Gail...all the way to the top. CUT TO:   Gladys, who has just realized she has been cut from the equation.   INT. PARAMOUNT PICTURES - DAY   William Meiklejohn is in a meeting with Harry Edington and two Paramount executives.   EXECUTIVE #1 I just don't think Gail Russell is ready for a leading role.   MEIKLEJOHN We've been sitting on this script, The Uninvited, because we haven't cast the role of Stella Meredith yet. Gail's perfect for it. EXECUTIVE #2 That's the ghost story, isn't it?   HARRY That's right. Ray Milland, Ruth Hussey, and Cornelia Otis Skinner are already signed. So, you don't need an established star for the Stella role. EXECUTIVE #1 I heard she froze on her lines in the last production.   MEIKLEJOHN It was her first speaking role. She was nervous. Come on, Ben. she's ready. You know it. EXECUTIVE #2 (reluctantly) All right.   INT. RUSSELL HOME - DAY   Gail is preparing to leave for her first day of shooting for The Uninvited. Gladys is lying on the couch.   GAIL Mother, I thought you were coming to the set.   GLADYS I'm not feeling well. You go without me.   GAIL But, it's my first day.   GLADYS                            My head is killing me. I can't even get off the couch. You go. You'll be fine.   GAIL (tentatively) All right. Good bye mother.   She waits a moment for her mother to say something, but Gladys is silent. Gail then leaves. Once Gladys is sure Gail has gone, she gets up from the couch.   EXT. PARAMOUNT PICTURES - LATER   Gail arrives at the studio, but before she goes in, she notices the old man setting up his paintings on the corner. The man notices her and beckons her to come over. As she is about to cross the street, a production assistant opens the door.   PA Miss Russell, there you are. They're waiting for you. Let's go. Gail gives the man a look and then goes into the studio.   INT. UNINVITED SET - DAY   The crew is about to film a scene from The Uninvited. Director LEWIS ALLEN is preparing to shoot a scene where a seance is taking place. It is the seance scene in which Gail has to speak Spanish. RAY MILLAND, RUTH HUSSEY, and ALAN NAPIER are sitting around a table. Not only are the production people in attendance, but a great number of sightseers are watching. We can see that Gail is getting increasingly panicked at the beehive of activity.   ALLEN Can we have some quiet on the set please? Thank you. Now...places...and action.   As Gail begins to speak, she looks around, and the panic begins to set in. Not only can she not speak, she begins to hyperventilate and faints.   INT. GAIL'S DRESSING ROOM - LATER   When Gail wakes up, she is in her dressing room. LEWIS ALLEN and ROGER JOHNSON, an assistant director, are also there. Lewis is speaking with Johnson. Gail can hear what they're saying.   LEWIS If I knew she was like this, I wouldn't have cast her.   JOHNSON It's her first lead, Lou. Cut her a little slack, will you?   LEWIS Roger, I'm working on a tight budget. I can't afford to have any more moments like this. JOHNSON She'll be fine. Trust me.   Allen goes to Gail.   ALLEN Are you ready to go, Gail?   GAIL I'm all right. I just felt a little weak, that's all...all those people.   ALLEN If I closed the set, do you think that would help?   GAIL Yes, I think so.   ALLEN That's it. We're going to close the set from now on.   Lewis Allen leaves. Roger Johnson lingers. He kneels down next to her.   GAIL Thank you for supporting me, Mr. Johnson.   Johnson takes a flask from his pocket.   GAIL (continuing; notices the flask) What is that?   JOHNSON It's vodka. For your nerves.   GAIL But, I thought you're not supposed to drink on the set.   JOHNSON That's why you can't tell anybody. Go on, drink it. Believe me, it'll help you.   GAIL But...I don't drink.   JOHNSON There's a first time for everything.   GAIL I don't know...   JOHNSON Listen. If you can't get through this, you'll never be anything in this business. A little vodka will loosen you right up. Trust me. She takes a small sip and makes a face.   JOHNSON Come on. Take a drink.   Gail takes a bigger swig and comes up coughing.   JOHNSON (continuing; laughing) Good girl.   He takes a candy from his pocket and hands it to her.   JOHNSON For your breath. Now, how do you feel?   GAIL Better, I think.   JOHNSON Good. Now, we'd better get back.   INT. UNINVITED SET - LATER THAT DAY   Gail walks onto the set. Aside from a bare bones crew and the actors, no one else is in the studio, except for the four actors in the scene, Ray MILLAND, RUTH HUSSEY, and ALLEN NAPIER. Gail takes her place.   MILLAND                        My dear, when you're a star, you can make anything happen. Presto, no people.   ALLEN You ready, Gail?   GAIL Yes, I am. Thank you.   ALLEN Places please...and...action.   The scene begins. At this point, the video turns black and white. The four actors are seated at a table. They are performing a seance, using a ouija board. Tiles are arranged around the table, and the four are using a wine glass turned upside down to move to and from the various tiles. All of a sudden, the glass goes flying off the table and smashes on the floor. The three actors rise, Gail, as STELLA MEREDITH, stays seated.   MILLAND (RODERICK) That's enough!   NAPIER (DR. SCOTT) 'Tis indeed.   The three notice that Stella is in a trance.   RODERICK Stella, are you all right?   HUSSEY (PAMELA) Are you ill, Stella?   SCOTT Leave her alone.   At that moment, Stella begins to speak. Her voice is dark, and she speaks in Spanish.   GAIL (STELLA) No es ella. No es ella. No le crea. Nada ella esta minteindo.   RODERICK Stop her, Scott.   SCOTT Ssh, she's in a trance. I saw this happen once before at a seance. I thought it was a fake. PAMELA But, this isn't.   SCOTT I know. It's dangerous.   PAMELA May I ask her a question?   RODERICK No, no...   SCOTT                           You can try to reach her mind. Now, keep your voice quiet and reassuring.   PAMELA Are you Mary Meredith, Stella's mother   EXTREME CLOSE UP on Stella. Here we see her incredible angelic beauty.   STELLA Son ladronas. Ladronas de mi carino.   RODERICK Don't ask her anymore.   The doorbell rings.   PAMELA That's the doorbell. Shall I answer it? Lizzie's at the Jessups.   STELLA Son ladronus. Ladronus de mi carino.   RODERICK Spanish, isn't it, Scott?   SCOTT I don't know.   PAMELA Rick, the mimosa scent.   Scott, Roderick, and Pamela rise.   PAMELA The air's full of it. Mary Meredith's in here, too.   At that moment, Stella gasps and faints. The three go to her.   ALLEN (O.S.) CUT! CUT EVERYONE!   The video goes to color again.   MILLAND (to Gail) Wonderful, Gail. Just superb.   HUSSEY It was quite excellent, my dear.   CUT TO:   Later. The seance scene is finished without a hitch.   ALLEN That's a wrap everyone. Gail?   GAIL Yes?   ALLEN Nice job.   GAIL Thank you.   As Gail prepares to leave, Johnson approaches her.   JOHNSON I told you the stuff works.   INT. GAIL RUSSELL'S APARTMENT - DAY   Flash forward to the time when the story began. Gail is straightening out a painting.   GAIL That's how it started. One little drink. One innocent little drink. But, it was like magic. When I walked back to the set after having taken that drink, I was a different person. The fear of performing just melted away. CUT TO:   Headlines in newspapers proclaiming the movie a hit and Gail Russell the next Paramount star.   INT. BEAUTY SHOP - DAY   Gladys is in a beauty shop having her hair done. A number of women are around her.   WOMAN 1 Gladys, did you see this article about your daughter? She's a big star now.   GLADYS Yes, I saw it.   WOMAN 2 I wonder if you can get me an autographed picture for my wall.   WOMAN 3 Do you think she can get us onto the set of her next movie?   WOMAN 4 I'd love to meet Ray Milland. Gladys, do you think Gail can introduce me to Ray Milland? GLADYS (irritated by all the attention Gail is getting) No, Dotty. She can't.   EXT. LA GUARDIA AIRPORT - DAY   Gail is getting off a plane with Harry Edington.   GAIL (V.O.) After the Uninvited opened, I was put on a merry go-round that never seemed to stop. As much as I wanted to get off, I couldn't. There were so many people who relied on me. What could I do? A taxi arrives at the curb of the Daily News. Gail and Harry get out. Scores of reporters and photographers surround the two. Gail looks at the mass of people crowding all around. It is unnerving to her.   INT. NEWSROOM - DAY   Gail is being interviewed by a reporter. A photographer is taking pictures while this is happening. Harry is with her.   REPORTER Now that you're a star, Miss Russell, your fans would like to know a little bit about Gail Russell. GAIL There really isn't much to tell.   CUT TO:   INT. ANOTHER PHOTO SHOOT - DAY   Gail is dressed in a gown. A make-up artist is putting the last touches of make-up on her. All around Gail is activity. Lighting people are all around, trying to set lights. Gail looks nervous. A photo stylist attempts to rearrage Gail's dress.   INT. ANOTHER NEWSROOM - DAY   Gail and Harry are sitting with a reporter.   HARRY Gail's very modest. That's one of her most endearing qualities. She doesn't like to talk about herself a lot. I have a bio here. Harry hands the bio to the reporter.   INT. A DRESSING ROOM - DAY   Gail is wearing a stylish dress. A make-up person is combing her hair. A photo assistant knocks on the door and opens it a little.   ASSISTANT They're waiting for you, Miss Russell.   GAIL Thank you. (to make-up person) Could you please leave?   MAKE-UP PERSON Sure.   She walks out. Gail then reaches for her purse and takes a small flask out. She takes a long drink. She then puts the flask back and leaves the dressing room.   INT. ANOTHER NEWSROOM - DAY   Gail and Harry are being interviewed by another reporter.   THIRD REPORTER (reading) Five feet four and a half inches tall, raven black hair and vivid blue eyes. (reading down some more) Gail likes to paint in oils, sketch, or work on clay models. In her spare time, Gail likes to go horseback riding and gets out to the archery range as often as she can. That's very interesting. Are you good? GAIL No, not really. But, I keep trying to improve.   HARRY There's that modesty again.   INT. DRESSING ROOM - DAY   Gail is in her dressing room, reading her script.   GAIL (V.O.) I was then signed to play the part of Cornelia Otis Skinner in Our Hearts Were Young and Gay. That's when I met Diana Lynn. The voice-over fades out. There is a slight knock on the door.   GAIL Come in.   DIANA LYNN enters.   DIANA Hi. I'm Diana Lynn.   GAIL Oh. Hi. Gail Russell.   DIANA Miss Skinner, I'm Emily Kimbrough.   They shake hands.   GAIL I know. I'm glad to meet you.   DIANA I thought you were great in the Uninvited.   GAIL Thank you. I've seen your work, too. You're a great actress.   Diana sits close to Gail.   DIANA This is gonna be great fun, you know.   GAIL You think so?   DIANA Sure. I can tell right now we'll become best friends.   GAIL I hope so.   DIANA You wanna rehearse some lines?   GAIL Sure.   DIANA What page do you wanna start on?   GAIL Can we go through our first scene?   DIANA Okay.   GAIL Diana, can I ask you a question?   DIANA You can call me Missy.   GAIL Missy, do you get nervous in front of the cameras?   DIANA A little bit. How about you?   GAIL                           I don't know. Sometimes I feel panic. I forget my lines sometimes.   DIANA I think that's natural. You've got all those people staring at you. All those lights. I guess it can get pretty crazy. GAIL Yeah.   DIANA Don't worry, you'll get used to it.   INT. SET FOR OUR HEARTS WERE YOUNG AND GAY - DAY   The setting is a Paris apartment. Gail and Diana are in costume. We are some time before filming begins. There is the typical beehive of activity. Various production personnel, lighting people, and sound technicians are getting ready. Gail, normally afraid of such goings on, glances over to Diana, who is surrounded by a group of admiring crew people. She seems to be in her glory. This is in direct contradiction to Gail's fear. A costume person goes over to Diana and hands her a new blouse to put on. Without skipping a beat, Diana takes her blouse off in front of everyone and takes the new blouse. The costumer person then comes over to Gail.   COSTUME PERSON Gail, the color of your blouse clashes with the set. Put this one on.   Gail is hesitant.   GAIL Now?   COSTUME PERSON Sure. Why not?   GAIL I guess it's okay.   As Gail begins to slowly unbutton her blouse, a number of crew people begin egging her on.   CREW MEMBER Come on, Gail. Take it off.   ANOTHER CREW PERSON Let's see what you've got, Gail.   Gail looks around and sees a growing number of male crew members whistling at her.   COSTUME PERSON All right. Go to your dressing room and change. Gail runs off to her dressing room.   CUT TO:   INT. GAIL'S DRESSING ROOM - LATER   Gail rushes into her dressing room. She takes her blouse off and puts the new one on. She pauses a moment and then reaches into her purse and pulls out a small flask. She takes a deep drink.   CUT TO:   INT. SET FOR OUR HEARTS WERE YOUNG AND GAY - LATER   The crew, along with Diana Lynn, are waiting for Gail.   DIRECTOR Where's Gail Russell?   PA She's coming.   DIRECTOR What the hell's she doing? Didn't she get the call?   PA She's changing her blouse.   At that moment, Gail comes running onto the set and takes her place near Diana.   GAIL I'm sorry I'm late. I'm not feeling well.   As Gail speaks, Diana can smell the alcohol on Gail's breath.   DIANA   (quietly; to Gail) Are you drinking?   GAIL Of course not. Don't be silly.   DIRECTOR Quiet on the set. Places everyone.   INT. BAR - NIGHT   Gail and Diana are in a small, obscure bar, drinking and having a grand time. Two men are with them. A reporter, JIM HINTON, is sitting at a bar. All of a sudden, he turns and watches the two actresses.   HINTON Well, well. Gail Russell and Diana Lynn. What a couple of bad little girls you are. My readers are going to love this. INT. RUSSELL HOME - NIGHT   Gladys and George are eating supper. Each is reading a different section of a newspaper.   CUT TO:   CLOSE UP of article. The headline reads: STARLETS SEEN PARTYING AT LOCAL BAR. Next to the article is a picture of the two.   CUT TO:   Gladys.   GLADYS George, did you see this story in the paper?   GEORGE                        So what? She was just out with a friend having a good time. It's no big deal.   GLADYS She's gonna lose her contract if she's not careful.   GEORGE I'm sure Gail knows how to be careful.   GLADYS Well, she left home because she wanted to be out on her own. I told her she wouldn't be able to survive without me. GEORGE Sounds like you want her to fail.   GLADYS I'm just trying to tell you that that girl is too insecure to be by herself. She got my looks, but she didn't get my strength. I could have made it. I don't think she can. I tell you, George, Hollywood's gonna eat her up. GEORGE I get it. You're jealous.   GLADYS I don't know what you're talking about.   GEORGE Sure you do. You're jealous of her success.   GLADYS If I'm jealous of her, then why did I drag her down to Paramount Pictures for her screen test. Why did I go with her every day for speech lessons and acting lessons, and... GEORGE That was before she became a star. You're jealous because she's famous and you're not. GLADYS Go to hell George.   INT. SALTY O'ROURKE SET - DAY   Gail is seen filming a scene her next film, Salty O'Rourke.   GAIL (V.O.) After a while, taking a drink from a small flask wasn't enough. I began to need more and more alcohol to dull my fear of being in front of cameras. It also allowed me to forget how miserable I was about the whole business. WALSH: (yelling) CUT! Let's take lunch.   The crew disperses to the cafeteria. Gail, however, heads toward the door. One of the production assistants spots her.   PA Where are you going, Miss Russell?   GAIL I need to get out.   She exits.   PA (calling after her) Be back in an hour.   INT. BAR - LATER THAT DAY   Gail enters the tavern near and hesitatingly heads for the bar. She sits.   BARTENDER What'll it be?   GAIL A glass of vodka, please.   BARTENDER Vodka it is.   The bartender pours the glass in front of her. Gail takes a look at the drink and after pondering it for a brief moment, drinks it down.   GAIL Let me have another, please.   The bartender refills the glass and watches Gail finish it off.   BARTENDER Another?   GAIL No...thank you.   She takes some money out of her purse, puts it on the counter and leaves.   EXT. STREET - LATER   Gail is walking back to the set. She has a bottle in a brown paper bag, which is sticking out of her purse. All of a sudden, she notices the street painter selling paintings on the corner. She stops to look at them.   MAN (pointing to one) You finally made it.   GAIL These are nice...nice brushstroke.   She picks up one and notices that the pasture scene is the same as the one she had been painting in her room. This painting, however, shows a white horse running free in a bright, sun covered meadow. A tear falls from her cheek as she admires it.   GAIL (continuing; almost a whisper) It's so free...   MAN Why are you so sad, young lady?   GAIL I'm not sad. It's just that this painting's so beautiful. Is it for sale?   MAN I'm not done with it yet.   GAIL Oh. Well, you're very good. Don't ever stop painting, please.   She walks away. After a beat, the man takes a similar painting and runs after Gail.   MAN Here, lady. Take this one.   GAIL No, I couldn't.   MAN I want you to.   GAIL Are you sure?   MAN Never surer.   GAIL Thank you.   Gail smiles.   DISSOLVE TO:   EXT. RURAL SETTING - DAY   Gail and Diana Lynn are horseback riding. Gail seems to be truly enjoying herself. Diana is struggling to keep up.   DIANA Gail, hold up.... Can we stop now? I think I've got saddle sore.   GAIL (laughing) Sure.   The two get down from their horses.   DIANA You're really a good rider, Gail.   GAIL I love it out here. It's so peaceful.   DIANA You know, I don't think I've ever seen you happier.   GAIL There are no lights or cameras out here. There's no people, no pressure. This is one of the few places were I can be myself. DIANA Do you really hate it so much?   GAIL Diana, I wish I had the courage to just run away from it all.   DIANA Then, why don't you?   GAIL But, so many people depend on me. I can't let them down.   DIANA You can't make yourself sick trying to please others.   GAIL I guess you love acting. You're so free on the set.   DIANA Ever since I was little I wanted to act. I'm living a dream.   GAIL Well, I'm living a nightmare.   DIANA Well, maybe some day, when you're rich and famous, you'll just run away from it all. GAIL Maybe I'll become one of those recluses, and I'll stay in my apartment painting all day long, and no one will ever see me. And everyone will wonder about the strange lady living alone in her apartment. DIANA Listen, how'd you like to go on a double date with me and Henry?   GAIL I don't know...   DIANA Come on. He wants you to meet an actor named Guy Madison.   GAIL Is he nice?   DIANA I've never met him, but Henry says he's very handsome.   GAIL I guess it would be okay.   DIANA He's coming home from the war soon. I'll tell Henry to set it up.   EXT. MOVIE THEATER - NIGHT   We can see a movie marquee advertising the Unseen. Below the picture we see the names of the stars: Joel McCrea & Gail Russell. Gail is seen getting out of a limousine with Harry Edington and William Meiklejohn. The crowd is huge, and there is a great deal of noise. Gail seems frightened by it all. She tries to hide behind the men, but Meiklejohn pushes her in front of him.   MEIKLEJOHN It's you they want to see.   The three disappear in the crowd.   INT. RUSSELL HOME - NIGHT   Gladys and George are sitting down in the living room.   GLADYS Give me the paper. I want to read Gail's review.   GEORGE I'm trying to find it.   GLADYS (impatiently) Let me have the damn paper.   She snatches it away from George and rifles through the pages until she finds the review. She reads it and a small smirk comes over her face.   GEORGE Well, read it aloud so I can hear it.   GLADYS All right. (reading) Gail Russell is a serious flaw in the film. Her constant...   DISSOLVE TO:   INT. RESTAURANT - NIGHT   Gail can be seen reading the same newspaper as Harry Edington and William Meiklejohn are sitting with her listening.   GAIL (reading) ...Her constant hang dog look and attitude is scarcely convincing as the governess conquering the eerie unwholesome situation. She is near tears.   HARRY It's just one review, Gail. I thought you did a great job.   GAIL Excuse me. I have to go to the ladies' room.   She gets up and leaves the room.   HARRY Everyone gets a bad review once in a while, Bill. You know that.   MEIKLEJOHN I know, but I don't think she'll ever have much range as an actress. She just seems too inhibited. HARRY Bill, it's only her fifth picture.   MEIKLEJOHN I know, but it's enough to spot a trend. We're thinking we may start lending her out. CUT TO:   INT. LADIES' ROOM   Gail is sobbing in the bathroom.   GAIL (V.O.) It was the first bad review of my career. It confirmed something I had felt about myself all along -- that I wasn't a very good actress. And thanks to that review, the whole world now knew it. I was devastated. INT. OUR HEARTS WERE GROWING UP - DAY`   A delivery man, carrying a box, appears on the set. We can see a sign: OUR HEARTS WERE GROWING UP. He goes through the door and makes his way to Gail Russell's dressing room. He opens the door and places a box on her table, then leaves.   CUT TO:   CLOSE UP on a box filled with bottles of liquor.   GAIL (V.O.) After Our Hearts Were Growing Up, Paramount made it known around town that I was available for loan out. So, I went to United Artists to do a film called The Bachelor's Daughters. When a studio loaned someone out, it was their not so subtle way of letting it be known that you were a major disappointment to them... CUT TO:   INT. HARRY EDINGTON'S OFFICE - DAY   Harry is sitting with Gail on a couch. He is handing her a script.   GAIL ...Yet, when the chance came to go to Republic to do a picture called The Angel and the Badman with John Wayne, I jumped at it. I mean, who wouldn't love to act with the number one leading man in Hollywood. INT. GAIL RUSSELL'S DRESSING ROOM ON SET FOR ANGEL AND THE BADMAN - DAY   Gail is getting dressed as Penelope Worth, the Quaker girl in the movie, when she hears a knock on the door.   GAIL Who is it?   WAYNE (O.S.) It's John Wayne.   GAIL (excited) Come in.   Wayne enters. The attraction is immediate.   WAYNE Miss Russell...I just wanted to welcome you aboard.   GAIL It's an honor to be working with you, Mr. Wayne.   WAYNE It's John. I've admired your work.   GAIL You've seen my pictures?   WAYNE Everything since The Uninvited. I'm a fan. That's why I asked for you.   GAIL (flattered) Thank you.   At this point, we can see an attraction growing.   WAYNE Well, I'll see you on the set.   GAIL All right.   EXT. SET FOR ANGEL AND THE BADMAN - DAY   In this scene, Quert Evans(John Wayne) and Penelope Worth(Gail) have just gone over a cliff in a horse drawn wagon. The wagon dives into a river. Stunt doubles have done the action to this point. JAMES EDWARD GRANT, the director, stops the action.   GRANT Cut! Good job everyone. Okay, John and Gail. Let's get into the water over there. Wayne dives into the water. Gail, however, is tentative. The whole idea of this type of activity is new to her. She slowly wades into the water.   GRANT (continuing; to Gail) Let's go, Gail.   Gail looks around at all the production people waiting impatiently for her.   GRANT Gail, this isn't the beach. Get the hell in the water. We've only got a couple of hours of sunlight, and I want to get this scene in. Gail wades into the water to where Wayne is.   GRANT John, dunk her.   WAYNE (to Gail) Hold your breath.   GAIL Please, don't...   Wayne dunks her under the water. She comes up sputtering. The crew has a good laugh about the scene.   GRANT That's better. Let's get ready to roll film. And...action.   CAMERAMAN Hang on a second, Mr. Grant. We're out of film.   GRANT All right. Go get it. A PA dashes off for film. CUT TO: CLOSE-UP on Gail. She is shivering.   DISSOLVE TO:   The camera is now loaded.   CAMERAMAN We're all set, Mr. Grant.   GRANT (to the actors in the water) You guys all set?   CUT TO:   Wayne and Gail. He waves. Gail is freezing. Her lips are blue. She simply nods her head.   GRANT Let's roll...Action.   As the cameras roll, Quert has pulled Penelope through the water, but the current is a little too strong for her, and as she reaches for him, she falls back into the water and has trouble getting up.   CUT TO:   Grant. He throws his hands up.   GAIL I'm sorry.   GRANT Let's do it again.   Gail gets into position.   GRANT Everybody ready? Okay. And...action.   The scene repeats. Gail is having trouble with the current. As she attempts to stand up in the water so Wayne can grab her, she slips under.   GRANT Cut! Cut! Is this too tough for you, Miss Russell?   GAIL I'm having trouble with the current.   GRANT You know, Miss Russell, if you want to be an actress, every once in a while, you're gonna be asked to do things that might be a little uncomfortable. Now, we got a whole crew that's been working since seven o'clock this morning, and they'd like to go home. Now, can we do this? The lighting man comes over to Grant.   LIGHTING PERSON I need to put a light on them.   GRANT All right. Let's see if we can go in a half-hour. We're only going to have time for one more take, so, Miss Russell, I suggest you get it right. CUT TO:   Gail. She gets out of the water. She looks like a forlorn looking dog with its tail between its legs. Soaking wet, hair in her face, shivering uncontrollably, she is miserable.   INT. HOTEL ROOM - NIGHT   Gail enters her hotel room, extremely upset, her hair still wet. She looks like she's been through the mill. She is breathing heavily as though she has just run a marathon. She goes into the bedroom and begins to undress. She then sits on the bed shivering. It's obvious Gail is extremely unnerved by the events of the day. The water scene from earlier replays in her head a couple of times. Then, she hears Grant's voice play in her head. It gets faster, ultimately overlapping, until the sound is almost unbearable.   GRANT (V.O.) If you want to be an actress, every once in a while you're gonna be asked to do things that might be a little uncomfortable. If you want to be an actress, you're gonna be asked to do things that might be a little uncomfortable. GAIL STOP IT!   She races into the living room and finds a bottle of vodka. Grant's words keep echoing in her head. As she drinks more, the voice begins to fade. Finally, she collapses on the couch. The voice has stopped. She falls asleep.   CUT TO:   The next morning, Gail wakes up on the living room couch. She is hungover and struggles to get up.   EXT. SET FOR ANGEL AND THE BADMAN - DAY   Wayne and Gail are preparing to do one of the love scenes in the movie. It takes place in a barn. A bare bones crew is ready to roll. Grant is giving directions.   GRANT Pick it up where Gail enters the barn. John, follow in about ten feet behind her and stand near this stall. Got it? Grant goes to his chair and sits.   GRANT All right. Speed...and action.   The action goes to black and white. We see Gail entering the barn. Wayne follows behind her and goes to the indicated spot. We hear the bleating of a young lamb. Gail goes over to a pen, grabs a bottle of milk, and then reaches in and picks up a baby sheep. She gives it milk for a few moments and then puts the lamb back. She rises hesitatingly.   GAIL (PENELOPE) Quert...   She rushes over close to him.   PENELOPE I wish my hair was...hers was like cornsilk, you said.   Wayne grabs Penelope and kisses her passionately.   INT. MOVIE THEATER - NIGHT   The theater is showing newsreel footage of Gail Russell.   NARRATOR (V.O.) ...beautiful Gail Russell, named one of the Stars of Tomorrow, after her stellar performances as Penelope Worth in Angel and the Badman; and Virginia Moore, the beautiful murdereress in Calcutta. Gail watches as her star goes down on Hollywood Boulevard. Here she is mobbed by her growing legions of fans following the premier of her most recent film, Calcutta, also starring Alan Ladd. INT. LIMOUSINE - NIGHT   Gail and Diana are dressed up and are on their way to the double date.   DIANA You don't seem very excited.   GAIL I am. Really.   DIANA Wait'll Guy sees how beautiful you are.   GAIL You think he'll like me?   DIANA You're kidding! He won't be able to take his eyes off you.   INT. RESTAURANT - NIGHT   Gail and Diana enter the restaurant, and Diana looks around. Diana spots someone.   DIANA There they are.   The two approach the table where GUY MADISON and HENRY WILSON are seated. When the men see the ladies, they rise. Diana kisses Henry lightly.   DIANA (continuing; to Guy) You must be Guy.   GUY That's me.   DIANA (to Guy) This is Gail Russell.   GUY It's a great pleasure to meet you, Gail.   GAIL Thank you. It's a pleasure to meet you, too.   DIANA Gail, this is my boyfriend, Henry.   HENRY Hi, Gail. Why don't order some drinks.   The four sit down. Henry gestures for a waiter.   HENRY Gail, what are you drinking?   GAIL Vodka on the rocks.   GUY Can I get a glass of milk?   HENRY Milk?   GUY Milk. I don't drink.   HENRY Gail, I have to apologize for sticking you with someone who drinks milk.   GAIL I think it's sweet.   DIANA Henry, if you order milk, I'll think you're sweet.   HENRY There's a limit to my love for you, Diana. I'll have a martini.   GUY (to Gail) I hear you just did a movie with John Wayne.   GAIL Yes, the angel and the badman. I play a Quaker girl. John's the badman.   GUY Looks like typecasting to me.   GAIL You mean John Wayne looks like an outlaw?   GUY No, you look like an angel.   GAIL (embarrassed) Would you like to dance?   GUY Sure.   The two get up and go to the dance floor.   GUY I forgot to tell you. I can't dance.   GAIL I'll teach you. Just follow my steps.   GUY If I do that, I won't be able to look at you.   GAIL It'll only be for a little while. You'll get the hang of it pretty fast.   As they begin to dance, Guy is looking at the floor, trying to mimic Gail's steps.   CUT TO:   Later. Guy has the hang of it. They are both looking intently at each other.   GUY You know, I have to say you don't seem like a typical movie star.   GAIL Is that good or bad?   GUY It's very good.   GAIL And I don't think other actors go around ordering milk in a night club...are you getting any work? GUY I just got home from the service. I have a couple of things lined up. Nothing big...yet. GAIL I'm sure that'll come.   DISSOLVE TO:   Later. Most of the patrons have gone home. Guy and Gail are still dancing. Diana and Henry are still a the table.   HENRY Those two make a great looking couple.   DIANA I hope it works out. Gail needs somebody.   INT. LIMOUSINE - LATER THAT NIGHT   Gail and Diana are driving home from the date.   DIANA You like him, huh?   GAIL He's very nice.   DIANA Are you going to see him again?   GAIL I think so.   QUICK CUTS OF GAIL AND GUY ON VARIOUS DATES   GAIL (V.O.) Guy was unlike most of the actors in Hollywood. He was so down to earth, and he seemed to genuinely care for me. INT. MOVIE SET - DAY   Guy Madison is in the middle of filming a movie.   PA Cut! That's a wrap. Thank you everyone. See you here bright and early tomorrow morning. Guy leaves the set and heads straight for a phone. He dials a number.   GUY Hi Gail. It's Guy. Listen, I know we were supposed to play cards tonight, but I just got invited to the director's birthday party. Let's go, all right? What do you mean? Are you feeling okay? Do you want me to come over? Well, okay, if that's what you want...I'll call you tomorrow. An actor and actress walk up to him.   ACTOR We gonna see you and Gail at the party tonight?   GUY You'll see me. Gail's not feeling well.   ACTRESS Guy, you can do better than Gail Russell. She's probably home drinking. Everyone knows she prefers booze to men. GUY Go to hell.   He storms off.   ACTOR (to actress) Was that really necessary?   ACTRESS                         The sooner he learns what kind of girl he's dating, the better off he'll be.   CUT TO:   INT. GAIL RUSSELL'S APARTMENT - LATER THAT NIGHT   Gail is sitting in her living room doing a crossword puzzle. On the coffee stand is a bottle of vodka and a glass. She takes a drink. There is a knock on the door. Gail goes to answer it. She opens it, and it's John Wayne. He's carrying a bottle.   GAIL Hi.   WAYNE Hi.   As Wayne approaches, the scene fades.   INT. GAIL RUSSELL'S APARTMENT - DAY   Flash forward to 1961. Gail is looking out the window of her apartment. The man is nearby.   GAIL It was Duke who I really loved. But since he was married and had no intention of divorcing his wife, there was no way we could ever be together. With Guy, I saw a chance to get married and get out of the business. Being a wife and a mother were things I desperately wanted...or needed. So, I pursued Guy as hard as I could. Not that he needed pursuing. He adored me. EXT. ARCHERY RANGE - DAY   Gail and Guy are at an archery range. It's obvious Guy is not very experienced, and Gail is enjoying his futility. Gail, however, is an expert. He is amazed at her prowess.   GUY Maybe it's your bow. Let me try it.   Gail hands him her bow. He's having trouble with it, and she's enjoying his futility.   GUY I can barely pull the string. You must be strong.   GAIL (noting the irony) I'm not as strong as you think.   GUY Sure you are. You just don't know it.   He gives up. He can't pull the string far enough.   GUY I surrender.   GAIL Let's get something to eat.   CUT TO:   An outdoor cafe at the range. Guy notices how happy Gail seems.   GUY You're in a good mood.   GAIL I love coming here. I could do this every day.   GUY You know, being with you has been the greatest thing that's ever happened to me.   GAIL Guy, let's get married.   GUY (hesitatingly) Gail, I...can't.   GAIL (devastated) You can't?   GUY The contract I have with Selznick forbids me to get married.   GAIL What?   GUY He thinks being married is bad for my leading man image.   GAIL Oh no. Guy, how could you sign a contract like that?   GUY It was before I met you. He notices how upset she is.   GUY Nothing has to change. We could still be together.   GAIL It's not enough. I want to be married.   GUY I'll talk to Mister Selznick. I'm sure we can work it out.   GAIL Then, you don't know Mr. Selznick. You can't make him change his mind.   GUY I will. I'll move mountains to marry you, Gail.   GAIL But you won't be able to move Mr. Selznick. Gail grabs Guy's car keys and walks away.   GUY Gail! Wait up!   He races to find her but she has already driven off.   EXT. CAR - LATER   Gail is driving home from her date. She spots a bar and pulls the car over. She gets out and is about to enter the bar when she notices the street painter nearby. She goes to him instead. He is working on a painting, but when Gail approaches, he covers it.   MAN I remember you. The horse lady.   GAIL You didn't sell it, did you?   MAN Nope. Still working on it. Wanna see it?   He pulls out the painting. As Gail looks at it, she notices that the sky seems darker, and on the far off hillside, she can see what seems to be a number of riders.   GAIL It's not as happy a scene as it was before.   MAN That's because you're not happy.   GAIL (a bit confused) Why do you think I'm unhappy?   MAN I just know. Gail puts down the painting and continues to the bar.   MAN That's how I know you're unhappy.   Gail pauses and then continues to the bar.   CUT TO:   INT. BAR - LATER   Gail is finishing a drink. She drops some coins on the bar and heads out the door.   EXT. STREET - LATER   The painter has gone. She begins to walk up the street in the direction of her car, when she passes the painter set up around the corner. He's working on a painting. Curiousity gets the better of her and she goes to the man. When she approaches, he quickly covers it up.   GAIL What are you working on?   MAN I don't show anybody my work until it's done.   GAIL That's how I am.   MAN You're a painter, too. I knew it.   GAIL You seem to know a lot about me, don't you?   The man smiles.   GAIL (continuing; looking at the paintings) I used to love to paint. When I was a kid, I dreamed about being a painter. I guess things change, don't they? I haven't picked up a paintbrush in over a year. MAN Why didn't you become one?   GAIL You can't make a living painting. Look at you.   MAN But, I'm happy.   GAIL I better get going.   She begins to leave.   MAN (calling after her) I hope you'll let me see some of your paintings one of these days.   EXT. SET FOR MOONRISE - EVENING   In this concluding scene in the movie, Gail is to walk down a pathway and meet DANE CLARK. The director is FRANK BORZAGE, who is giving direction to Gail. When the scene opens, Gail is leaning against a tree.   GAIL (V.O.) When Guy told me he couldn't marry me, I felt trapped. As I saw it, marriage was my only chance to get out, and now that seemed gone. The thought of making movies now became unbearable. The only way to dull my fear and loathing was to drink more. It began to affect my work. EXT. SET FOR MOONRISE - DAY   In this concluding scene in the movie, Gail is to walk down a pathway and meet DANE CLARK. The director is FRANK BORZAGE, who is giving direction to Gail. When the scene opens, Gail is leaning against a tree.   BORZAGE When we begin rolling, Gail, you walk down the path, meet Dane over here, and hug him. Very simple. Okay? GAIL Sure.   Borzage moves out of camera range.   BORZAGE Okay, let's roll film...and, action.   Gail begins to walk, but it's obvious now, she is drunk. She cannot walk the proverbial straight line.   BORZAGE CUT! Damn it, Gail. I can't have you coming to the set drunk. Now, what am I supposed to do? Give everyone the rest of the day off because you can barely stand up. GAIL Please let me try again, Frank.   BORZAGE And why should this time be any different?   GAIL Please let me try.   BORZAGE (contemplating) ...all right. Let's try it again. Places...and, action.   Gail tries desparately to walk straight, but after a few steps, she staggers off line again.   BORZAGE CUT! All right, everyone, take the day off. You can thank Miss Russell for being drunk again. INT. SET FOR NIGHT HAS A THOUSAND EYES - DAY   The cameras are filming a scene from the movie. Gail and a number of actors, including EDWARD G. ROBINSON, are in the scene. This lasts a few moments and then the director, JOHN FARROW, interrupts the action. There are some people watching the filming.   FARROW (looking at his watch) That's enough for today, everyone. Good job. Get home and get a good night's sleep. PA Call's seven o'clock everyone. Some of the onlookers near the actors.   PERSON Mr. Robinson, may I get your autograph? Another person approaches Gail.   PERSON 2 Miss Russell, could you sign this for me please.   Gail tries to duck out, but she is trapped. She relents. The director, John Farrow, approaches the group of people.   ANOTHER PERSON There's John Farrow.   A couple of people go to Farrow and hound him for an autograph. He plows through and grabs Gail's arm.   FARROW Miss Russell, can we speak, privately?   GAIL Let's go to my dressing room.   CUT TO:   INT. GAIL RUSSELL'S DRESSING ROOM - LATER   Gail and Farrow enter. Farrow closes the door, and the two begin kissing.   INT. BEAUTY SHOP - DAY   Gladys is sitting under a dryer. Near her are three women in chairs speaking to one another. Hairdressers are working on each of the women's hair.   WOMAN 1 Did you read the review about Gail Russell's new movie?   WOMAN 2 The one with Edward G. Robinson? Yeah. They say she was terrible.   WOMAN 1 I heard she's having an affair with the director.   WOMAN 2 Are you sure? 'Cause I read she's having an affair with John Wayne.   WOMAN 3 Maybe she's doing it with both men.   WOMAN 1 You mean three men. She's been dating Guy Madison.   WOMAN 3 Wow.   WOMAN 2 That's not all. They say she drinks.   WOMAN 3 You're kidding? Where'd you hear that?   WOMAN 1 It's all over town. She's a drunk.   WOMAN 3 Poor girl.   All of a sudden, Gladys pushes the hair dryer off her and leaves.   WOMAN 1 What's with her?   HAIRDRESSER That's Gail Russell's mother.   EXT. SET OF WAKE OF THE RED WITCH   We are watching the scene where Gail Russell is sitting at a piano playing a classical piece, while Wayne is standing in the doorway. The two are staring at each other. The scene is in black and white.   GAIL (V.O.) Paramount willingly loaned me out, again to Republic, to star with John Wayne again, this time in Wake of the Red Witch. Guy kept trying to call me, but as long as I knew we couldn't get married, I saw no future in our relationship. Of course, being with John Wayne again was a wonderful consolation prize. The on camera audio FADES UP.   CUT TO:   EXT. ANOTHER WAKE OF THE RED WITCH SET - DAY   We are in the middle of the scene after John Wayne has come up from under water after having killed a giant squid. In this scene, he is lying on the floor of a tent. Gail, in costume, is supposed to enter the tent, go to him, and the two kiss. The director, EDWARD LUDWIG, is ready to call for action.   LUDWIG Gail, after he leaves, you enter the tent, and then go to John. All right?   GAIL All right.   PA Quiet on the set...and, action.   Gail enters very unsteadily. She is obviously drunk. As she's about to speak, she realizes she's forgotten her lines.   GAIL (giggling) I seem to have forgotten my line.   CUT TO:   Ludwig.   LUDWIG (to himself) Remind me never to work with her again.   INT. CAST PARTY - NIGHT   Gail arrives at a cast party. Wayne greets her.   WAYNE Gail, I didn't think you'd make it. You never come to cast parties.   GAIL I only came because of you.   WAYNE The bar's over there. I'll see you later.   Gail makes her way to the bar, greeting cast members.   BARTENDER What'll you have?   GAIL Vodka straight up.   BARTENDER Comin' right up.   He pours her a drink. She takes a drink and stands by the bar.   DISSOLVE TO:   Some time later. Gail is still at the bar. However, now she is obviously high. She checks her watch. A waiter walks by.   GAIL (stopping him) Excuse me. Have you seen Mister Wayne?   WAITER I believe he's upstairs on the phone.   Gail goes upstairs and looks for Wayne. She finds him on the phone in the restaurant office. She waits by the door and listens in, taking an occasional sip on her drink.   WAYNE Chata, how many times do I have to say this? Gail Russell isn't here. She hates going to parties. Now, I don't want to hear it any more. I'll be home later. He hangs up. He stands with his back to the door as Gail sneaks up to him.   GAIL Boo.   WAYNE Jesus, Gail.   GAIL Do you want me to go?   WAYNE (sighing) Of course not. Looks like you need a refill.   Wayne pours a couple of drinks.   WAYNE Shut the door.   Coyly, Gail shuts the door.   CUT TO:   Outside the door later. The door opens and Gail comes out, looking disheveled and completely drunk. She walks downstairs and falls down the last few steps. Wayne comes to her aid. Her fall has grabbed everyone's attention.   GAIL I think my legs turned into rubber. I don't think I can stand.   She tries to walk, but falls down again.   GAIL Woops.   Those in the crowd begin to whisper among themselves. Wayne picks Gail up.   WAYNE I'd better get you home.   INT. GAIL RUSSELL'S APARTMENT - LATER THAT NIGHT   The door opens and John Wayne enters carrying Gail in his arms. He takes her into the bedroom and puts her on the bed.   GAIL Make love to me.   WAYNE Listen, we'd better cool it for a while. Esperanza is beginning to suspect.   GAIL That didn't stop you before.   WAYNE It's late. I better get home.   GAIL Please, stay tonight.   WAYNE I'll call you in the morning.   He leaves.   GAIL Party pooper.   Gail struggles to her feet and reaches for a bottle of vodka in her night table. She drinks it down. After the bottle is empty, she tries to get up, but falls down on her face. Slowly, she crawls to her knees and tries to rise, but cannot. She gets sick and throws up. She collapses in her own vomit.   CUT TO:   The next morning. Gail awakens in the same position. Sick and suffering, she gets slowly to her feet and looks at herself in the mirror. It is a horrible sight. She makes it to the bathroom and starts the shower. She undresses and gets in. Inside the shower, she breaks down.   INT. SET FOR LAWLESS - DAY   We see a number of actors, production equipment and personnel ready to film. A slate board rests on a chair. CLOSE-UP on the board says: THE LAWLESS-- DIRECTOR: JOSEPH LOSEY. In a chair near a camera is director JOSEPH LOSEY. They are sitting waiting.   LOSEY She's late.   PA Should I try to call her again?   LOSEY Even if you got in touch with her, what kind of shape is she gonna be in? All right, everybody, let's break for lunch. Danny, see if you can get a hold of Miss Russell. I'm gonna call Meiklejohn. INT. GAIL RUSSELL'S APARTMENT - THE SAME DAY   Gail is asleep, fully dressed, and sprawled out on her bed. We can see by the bottles on the night table by the bed that she has been drinking. The phone rings, but Gail is too unconscious to even be awakened by the ringing.   EXT. GAIL RUSSELL'S APARTMENT - LATER THAT DAY   A car pulls up to Gail's apartment, and William Meiklejohn gets out. He goes to the door and rings the bell. Gail eventually answers it.   GAIL Hi, Bill.   MEIKLEJOHN Where were you?   GAIL Here. Why?   MEIKLEJOHN You were supposed to be on the set today.   GAIL I know, but I couldn't get up.   MEIKLEJOHN Let me come in. What I have to say to you I don't want anyone to hear.   CUT TO:   Inside the house. The place is a mess.   GAIL I'm sorry. I haven't had the chance to clean yet.   MEIKLEJOHN That's because you spend all your time drinking. Gail, you're destroying your career. GAIL I know.   MEIKLEJOHN I've put up with a lot from you Gail, but I can't take it anymore. If you can't pull yourself together and finish this film, you're through. GAIL Bill, I promise I'll be there tomorrow.   MEIKLEJOHN Paramount doesn't want a drunk under contract. Now, you clean yourself up and be on time tomorrow. All right? He stalks out.   EXT. MOVIE THEATER - NIGHT   We can see Joseph Losey being interviewed. A marquee behind him reads: THE LAWLESS. Underneath that, the sign says: MACDONALD CAREY & GAIL RUSSELL. Actors MACDONALD CAREY and JOHN SAND are seen getting out of cars.   ANNOUNCER (V.O.) And there's stars MacDonald Carey and John Sand arriving. Everyone's hoping to get a glance of the glamorous Gail Russell.   REPORTER                       Mr. Losey, don't you think this is the best performance of Gail Russell's career?   LOSEY Without a doubt. Those tragic eyes of hers were a great asset to the film.   CUT TO:   INT. GAIL RUSSELL'S APARTMENT - NIGHT   Gail is asleep. There is a hard pounding on her door. It doesn't wake her at first. The pounding keeps on. Finally, she wakes up and slowly staggers to her feet and goes to the door.   GUY (O.S.) Gail. It's me. Guy.   Gail finally makes it to the door and opens it.   GUY Mr. Selznick gave in. We can be married.   INT. CHURCH WEDDING - DAY   Guy and Gail are getting married. We can see Diana Lynn and Henry Wilson close by.   GAIL (V.O.) The timing of our wedding couldn't be any better. The word was out that I was nothing but trouble. That was okay with me, because I had a new career as a wife and mother. INT. DOCTOR'S OFFICE - DAY   Gail is in the doctor's office. The doctor enters.   DOCTOR Hello, Gail. Please sit down.   GAIL Why can't I have a child?   DOCTOR (hesitating) While I can't point my finger on a specific cause, I'd have to believe...it's your drinking. There are signs of incipient liver damage. And, those stomach pains you told me about are a small ulcer. Alcohol can make men impotent. It can do the same, for different reasons, to women. GAIL If I stopped drinking...?   DOCTOR That might help. The body might be able to repair the damage. Gail, even if you can't have a baby, you need to stop drinking for your own health. GAIL I know.   DOCTOR Have you thought about adoption?   GAIL I wanted my own child.   DOCTOR Let's take things one step at a time. You're young. Cut out the alcohol, and let me see you again in six months. All right? GAIL Yes, thank you, doctor.   INT. MADISON HOME - DAY   Gail is at home cleaning the house. Guy walks in, surprised to see her cleaning.   GUY What's going on? Why are you cleaning?   GAIL I got rid of the servants.   GUY You what?   GAIL I couldn't stand it, Guy. They were always looking at me. Staring, just waiting for me to fall down and make a fool of myself. GUY That's crazy. They wouldn't do that. I can't believe you did this.   GAIL Besides, there's only the two of us. I can clean.   GUY I don't want you cleaning.   GAIL                    What else do I have? No children, no film offers...what else do I have, Guy?   GUY We have each other.   GAIL It's not enough.   EXT. CAFE - DAY   Gladys is sitting at a table, waiting. A drink is in front of her. Gail comes over and sits.   GAIL Hello, mother.   GLADYS Hi, Gail. You look terrible.   GAIL Maybe I should leave...if that's all you have to say.   GLADYS I'm sorry. Do you want to eat?   GAIL Just a salad.   Gladys beckons for a waiter, who approaches.   GLADYS Two garden salads, please.   GAIL Get me a vodka on the rocks.   Gladys is devastated.   GLADYS Ice tea.   The waiter leaves.   GLADYS How are you, Gail? I haven't seen you in over a year.   GAIL I'm fine.   GLADYS How's Guy?   GAIL He's all right. How's father?   GLADYS Your father's your father. He'll never change.   GAIL What do you want, mother?   GLADYS I want to apologize.   GAIL There's nothing to apologize for.   GLADYS Somewhere along the line I went wrong with you, Gail. And, I want to come back into your life and help you. GAIL Help me...Help me do what?   GLADYS Help you get control of your life.   GAIL I'm married, mother. Remember? Guy and I are very happy. I don't need you in my life. GLADYS Gail, I want to try and make a fresh start.   GAIL Why? So, we can do it all over again? So you can tell me again how inferior I was. How I wasn't good enough... GLADYS I was a horrible mother. I admit it. But, I want to do it right this time.   GAIL Is that how it works, Mother? You destroy my life so you want to try it again. Maybe you'll get it right this time. Or, maybe you won't. You must be feeling guilty. GLADYS Please, Gail. Let's not have an argument.   GAIL Do you hear me arguing? I'm simply telling you the truth.   GLADYS You're trying to torture me, aren't you? I deserve it...Gail, I love you. I've always loved you. GAIL Mother, I don't need your love. Gail gets up and leaves.   GLADYS (calling after her) I told you you would never survive on your own.   Gail is walking away from the cafe when she sees the painter on one of the corners. He is still working on the painting, which he covers as she gets closer.   MAN Haven't seen you in a long time.   GAIL I've been busy. Still working on that painting?   MAN It's almost done.   GAIL You won't tell me what it is?   MAN You'll find out soon enough. You forgot your painting. You promised me, remember. GAIL I'm sorry. I haven't had the time to work on any.   MAN It's too bad. Painting makes you happy.   GAIL Sometimes you can't always do what makes you happy...did you finish the horse painting? MAN I'm still tinkering with it.   Gail takes out the painting. The sky is darker, and the riders are much closer to the horse.   GAIL I don't like this. I liked the first version better.   She hands it back to him.   GAIL I'm not going to want to buy this.   She walks off.   INT. PARAMOUNT PICTURES   Harry Edington is seen entering William Meiklejohn's office.   GAIL (V.O.) Like an abused woman who keeps going back to the man who beats her, I realized that without a child, without a family, and with no one I could confide in, the only thing I had left was my acting career. That's if I had any career left. I called Harry Edington and asked him to try to resurrect my career. The voice-over fades.   MEIKLEJOHN Harry, how are you?   HARRY I'm doing all right.   MEIKLEJOHN Sit. How's the family?   HARRY Bleeding me dry. What else?   MEIKLEJOHN Drink?   HARRY Scotch...little ice.   MEIKLEJOHN What'd you want to see me about?   HARRY Gail Russell wants to work again. I know her contract's coming up for renewal. We're not looking for much. MEIKLEJOHN It's funny you mentioned Russell. We had a meeting about her this morning.   HARRY No kidding?   MEIKLEJOHN We're not renewing her contract.   HARRY Why?   MEIKLEJOHN Come on, Harry. You know the answer to that.   HARRY But, she hasn't had a drink in months.   MEIKLEJOHN Months? What the hell is that? And the minute someone gives her a little bad news, she'll be right off the wagon again. HARRY You can't give her another chance?   MEIKLEJOHN Another chance? Harry, Hollywood Boulevard is paved with all the chances we've given her. She's through. HARRY                       She's going through a tough time, Bill. She's not going to take this too well.   MEIKLEJOHN Who's fault is that? Look, I've got a lot of young actresses that don't cause me near the grief that she's caused us. I just don't have time for her anymore. HARRY (finishing his drink)                  You better give me one straight up. I'm gonna need it to break the news to her.   MEIKLEJOHN Harry, you don't need her either. You've made your name. What are you hanging on to her for? HARRY                         Without a contract, I don't know where she's ever gonna get work.   MEIKLEJOHN Then, don't trouble yourself with her. There's a lot of other good looking young women out there. Harry picks up his hat.   HARRY I'll take a raincheck on that second drink.   He starts to leave, then stops.   HARRY It doesn't bother you at all that it looks like we've used her up, and now we're throwing her out like a piece of trash because she's become a little trouble for us. MEIKLEJOHN                    I've already spent enough time feeling sorry for her. It's time to move on, Harry.   HARRY We can't get her help?   MEIKLEJOHN                  We're in the movie business. We're not the Save-A-Soul Mission.   HARRY Well, if you want to know, I feel like crap.   He walks out.   INT. MADISON HOME - DAY   Gail is out by the pool of her house. She is drinking water. Harry Edington stops by.   GAIL Hi, Harry. Want some water?   HARRY No thanks.   GAIL The doctors tell me I have to drink a gallon a day to flush all the poisons from my body. So, what did Bill say? Harry gets up and moves away.   GAIL Harry, what?   HARRY                          I've got some bad news. Paramount is not picking up your contract.       Gail is speechless.       HARRY Come on. It's not the end of the world, Gail. So, you're an independent. Lot's of people work that way. They don't like being tied to a contract. I'll call all the studios. You don't think they'll want to work with Gail Russell if they know she's available? GAIL It's no good, Harry. No one wants me.   HARRY Let me see what I can do. All right?   He kisses her on the cheek.   HARRY I'll be in touch.   He leaves. Gail picks up her glass of water and ponders it. Then, she throws it to the ground. She goes inside and after some indecision, begins looking for liquor. Not finding any, she throws on a robe, grabs her car keys and leaves the house.   CUT TO:   Outside the house. Gail goes to the car and drives off.   EXT. CAR - DAY   Gail speeds off in her car. She pulls up in front of a tavern. She looks around for the painter and, relieved not to see him, goes into the bar.   INT. BAR - LATER THAT DAY   Gail is in a bar drinking. She is already drunk when a male patron comes up.   PATRON Say, aren't you Gail Russell?   GAIL Yeah, I'm Gail Russell.   PATRON Wow! I can't believe it. The one and only Gail Russell. Isn't that something?   GAIL Isn't it?   PATRON I'm a big fan of yours. Say, how 'bout I buy you a drink?   GAIL                    Sure. Why not? I'll have another one of these -- vodka straight up.   PATRON I'll have one, too.   The bartender pours two drinks. Gail and the patron down them.   PATRON How 'bout another?   GAIL One more and then I've got to go.   PATRON Fill 'er up one more time, Joe. You know, I saw that film you did...the Lawless. Man, you were fantastic. GAIL                 You know, that's the first compliment I've gotten in...let's see...about five years.   CUT TO:   It is sometime later. There are a number of glasses in front of Gail and the patron. They are both laughing.   PATRON You're kidding! I didn't know he was that short.   GAIL He really is! Even I'm taller than him.   All of a sudden the man leans over and kisses Gail on the lips. She is confused. She pushes him away.   GAIL I'd better go.   PATRON Come on, Gail. Stay. We were just getting to know each other.   Gail walks out the door.   PATRON (continuing; to bartender) That is one sick woman.   EXT. STREET - LATER   Gail is running down the street and when she comes to a corner she sees the painter and his display.   MAN Well, if it isn't my dark lady.   GAIL Why are you always here?   MAN I'm trying to make a living.   GAIL                                  No, why are you always near a bar, a bar where I happen to be drinking?   The man smiles.   MAN Do you want to see the horse painting?   GAIL I don't think so.   The man digs through a pile of paintings and pulls out the work. He hands it to her. The sky is even darker and the cowboys are nearly upon the horse. There is now fear in the horse's eyes. Gail emits a small shriek.   GAIL                       They're going to catch it. They're going to take its freedom, aren't they?   MAN Could be.   It finally dawns on Gail.   GAIL It's me, isn't it?   The man gives her a cryptic look.   GAIL This is my life, isn't it?   MAN I just paint what the spirit tells me to paint.   GAIL Tell me.   MAN What do you think?   GAIL No, I won't accept it.   She runs off.    INT. CAR - LATER   Gail is driving home from the bar. She crashes her car into a telephone pole.   INT. MADISON HOME - LATER THAT DAY   Madison arrives home. He puts his luggage down and looks around and spies no one.   GUY Anyone home? Gail?   He looks around the house and sees it a mess. Looking around the house he finds Gail on the patio painting. She has been drinking, which he doesn't see at first.   GUY Gail. Didn't you hear me come in?   GAIL I'm sorry. I was preoccupied.   GUY (noticing the bottle on the table) You've been drinking? What happened to your face?   GAIL I cracked up the car.   GUY You what?   GAIL I had a couple of drinks, and I lost control of the car.   GUY (frustrated)                    I thought you were going to clean yourself up so you could have kids.   Gail breaks down.   GAIL I tried, Guy. I really did. But, I couldn't stop myself.   Guy takes Gail in his arms.   GUY It's all right, honey. I'm going to be home for a few weeks, and we'll lick this thing together. I didn't know you painted. INT. MADISON HOME - NIGHT   Here, we see a number of quick scenes in which Gail and Guy are doing things around the house. They are cleaning together, cooking, gardening, playing with pets, etc. Then, there are a couple of evening shots that show them watching television, or sitting close together and reading.   GAIL (V.O.) And so Guy and I tried to be like a normal couple, even trying again to have a baby. But the more time we spent together, the more confined I felt. When I found out there was never going to be a baby, I began to get the feeling that I would be happier alone. But, by this time in my life, I was so thoroughly mixed up, I didn't even know what I wanted anymore. INT. MADISON HOME - NIGHT   Guy is getting dressed to go to a party. Gail, however, is still dressed casually and is sitting on the couch reading a book.   GUY Come on, Gail. We're going to be late.   GAIL I don't want to go.   GUY                              Gail, you said you were going to go. Come on. Get dressed.   GAIL I'm not going.   GUY Gail, all we do lately is stay at home.   He notices her reaction and goes to her.   GUY Look, hon, I love being with you, you know that, but I'd like to get out once in a while. GAIL You go.   GUY (studying her) I know you've been depressed. You need a good party to get your mind off it.   GAIL I'm not depressed.   GUY        All right. But, we're going to talk about this when I get home.   GAIL There's nothing to talk about. I'm fine. Have a good time.   Guy gets up and leaves. After a few moments, Gail turns on the television and watches a news report.   DISSOLVE TO:   Guy at various parties.   CUT TO:   INT. MADISON HOME - NIGHT   CU a television. We see cameras following Guy around at a party.   REPORTER (V.O.) The newest leading man in Hollywood is handsome Guy Madison. Guy has been seen at all the best parties. And while Guy has been having a grand time, one has to wonder where his wife Gail Russell is. CUT TO:   Gail. She clicks off the television and looks around at her dark and empty house. The image of the horse being lassoed flashes in her head.   CUT TO:   Later that night. Guy comes home to a dark home.   GUY Gail? Gail, where are you?   Guy goes into the bedroom and doesn't see her on the bed. He goes to the other side of the bed and sees her out cold on the floor.   GUY GAIL!   INT. HOSPITAL - NIGHT   Guy is kneeling over Gail, who is asleep in a hospital bed. A doctor is standing nearby.   GUY                         I don't know what to do, doctor. I just can't get her to stop drinking.   DOCTOR She's got signs of liver damage.   GUY What does that mean?   DOCTOR                           It means if you don't do something, she'll be dead in a few years.   GUY What do you want me to do?   DOCTOR                       I can't make you do anything. I can only suggest something, something drastic.   GUY What's that?   DOCTOR Commit her.   GUY Commit her? Where?   DOCTOR Get her into a controlled environment where everything she does can be monitored. We'll dry her out. GUY You mean a sanitarium? I can't do that.   DOCTOR If you love her, you've got to do something.   GUY There's no other way?   DOCTOR                       Well, there's Alcoholic's Anonymous, but I think we need to dry her out first.   GUY (after a beat) She's going to hate me.   DOCTOR                      When she realizes you're doing this to save her life, she'll thank you.   GUY I hope you're right.   INT. SANITARIUM - DAY   Madison and Gail are in a room in the sanitarium. Gail is looking out the window while Guy is unpacking her things.   GUY It'll only be for a couple of months, Gail.   Gail is silent. Guy goes to her.   GUY Please don't hate me. I'm doing this because I love you. I don't want to see you kill yourself. GAIL You love me, so you're having me committed. You're doing this because you're ashamed of me. GUY You don't know how wrong you are, Gail.   GAIL Please, go already.   GUY I love you, Gail.   She doesn't respond.   GUY                               I'll come see you as soon as I get back from filming next month.   EXT. SANITARIUM - DAY   Gail is sitting down on the large spacious lawn, working on a painting.   GAIL (V.O.) Actually, in a crazy way, I was grateful to Guy for getting me out of the whole thing. For the months I was committed, I was able to get a little rest. I even got the chance to paint. It was funny, though. Nobody came to see me. Not John, Diana, or Guy. It was as though everyone was ashamed of being connected to me. EXT. OUTSIDE SANITARIUM - DAY   Gail and Guy are leaving the hospital. He escorts her to a car, and they get in.   GUY I missed you.   Gail just looks out the window. Guy leans over and kisses her. Gail doesn't react.   GUY Gail, now that you're better, everything's going to be fine.   INT. ALAN LADD HOME - NIGHT   Gail and Guy arrive at a party at Alan Ladd's home. Gail seems a little unnerved by the mass of people there. ALAN LADD and his wife SUE approach. Sue kisses Gail.   SUE Gail. It's so good to see you. How are you feeling?   GAIL I feel fine, Sue. Thank you.   LADD (hugging Gail) Hi, Gail. You look wonderful. Guy, good to see you.   GUY Alan.   GAIL Where are the kids?   SUE Upstairs in the nursery.   GAIL Can I see them?   SUE Sure, they'll be happy to see you. I'll take Guy around and introduce him to some people. CUT TO:   The children's bedroom. Gail is sitting in a rocking chair, holding a baby. In the background, we can hear the din of the party.   CUT TO:   The party. Madison is with Sue. He glances at his watch.   GUY                         She's been up there a long time. Maybe I should get her.   SUE               Leave her alone. I'm sure she's still a little nervous                        around people.  Madison doesn't seem to understand why, but he shrugs his shoulders.   GUY Sometimes, I just can't figure her out.   INT. MADISON HOME - LATER THAT NIGHT   Gail and Guy arrive home. Gail is very quiet. Guy notices.   GUY You were upstairs the whole party. Why?...Gail, I'm talking to you. What's the matter? GAIL Nothing.   GUY                             I don't think being with those kids tonight was a great idea. I mean...   GAIL I love kids.   GUY                         You know, you've been clean for a couple of months now. You wanna try again?   GAIL And be disappointed again. I'm sorry. I don't want to go through that again. I want out. GUY Honey, you don't know what you're saying.   GAIL                         I do know what I'm saying, and if you don't leave, I will. I need a change.   GUY What kind of change?   GAIL I don't know what I want. But, I know I need to be by myself for awhile. Please leave. Guy looks at her angrily and stalks out of the house.   INT. DIANA LYNN'S APARTMENT - NIGHT   There is a party going on at Diana Lynn's apartment. There is a knock at the door. The servant opens it, and we see Gail Russell.   SERVANT Yes?   GAIL I need to see Diana.   SERVANT Do you have an invitation?   GAIL I'm her friend, Gail.   Diana is walking by and sees Gail.   DIANA GAIL!   Diana pulls Gail into the house.   DIANA How are you? I haven't seen you since the wedding.   GAIL Can we talk, privately?   DIANA (hesitatingly) Okay, but just for a few minutes. This is an important party for me, and I need to be seen. Gail begins to walk through the living room, where all the guests are, but Diana stops her.   DIANA Let's go through here.   Diana leads Gail into the kitchen.   DIANA So, how are you?   GAIL I just threw Guy out...for good.   DIANA                                Gail, what happened? I thought you guys were crazy in love with each other.   GAIL He was cruel to me.   DIANA I can't believe Guy would be cruel.   GAIL                        He was. Either he was never home, or he was never happy with anything I did.   DIANA I'm sorry, Gail. What do you want me to do?   GAIL I...I don't know.   DIANA (checks her watch)                         Listen, I have to go check on my guests for a few minutes. I'll be right back. Okay?   GAIL Okay.   Diana leaves.   CUT TO:   Later. Gail checks her watch. It is over an hour later. Assuming Diana has forgotten about her, Gail leaves through the kitchen door. A moment after she leaves, Diana comes back.   DIANA (looking around) Gail?   INT. BATJAC OFFICE - DAY   We see Gail walking through the offices of Batjac productions on her way to seeing John Wayne.   GAIL (V.O.) I never saw Diana Lynn again. Turned out she was just like the others. When my drinking problems became known, she didn't want to know me anymore. There was one person, however, I thought could still turn to. CUT TO:   John Wayne's office. He is doing paperwork.   WAYNE (answering it) What is it?   SECRETARY (O.S.) Gail Russell is here to see you.   WAYNE (tentative) Send her in.   Gail Russell enters the office. She shuts the door and attempts to kiss Wayne. He pushes her away and opens the door.   GAIL What's going on?   WAYNE You don't even say hello.   GAIL Why did you push me away?   WAYNE                              I didn't push you away. This is an office, Gail. I do business here.   GAIL                                 It never stopped you before. John, tell me what's going on.   WAYNE Esperanza wants a divorce.   GAIL I'm