1
[projector whirring]
[soft vocal and string music]
II
- Sunk.
- K5.
[soft music]
II
- [sighs]
[low dramatic music]
II
[breathing heavily]
[music intensifies]
II
[door opens]
- [speaking in foreign language]
[jazz music]
II
[women screaming]
[indistinct chatter]
- Are you coming to the show?
Who do you like better,
me or Miles Davis?
- We're proud
to present the man
who's been voted number one
in the nation
for both trumpet and vocals.
All the way from the sunny
shores of California,
the James Dean of jazz,
the Prince of Cool,
the man "Time" magazine credits
with inventing West Coast Swing.
[cheers and applause]
That's right, folks.
And he's here
playing a double bill
with our very own Miles Davis
and Dizzy Gillespie.
Making his Birdland debut,
Chet Baker
and his quartet!
[cheers and applause]
- It's gonna be great.
It's gonna be great.
- How do I look?
- Perfect.
[cheers and applause]
[jazz music]
[audience cheering]
II
[lively trumpet melody]
II
II
II
II
[cheers and applause]
- Yeah, baby!
Yeah!
- Thank you.
Thank you very much.
- We love you, Chet!
[frantic jazz music]
II
II
[indistinct chatter]
- Shh!
Elaine? Honey?
[music continues]
II
[both laugh]
Yeah!
II
- And then you wait
till it melts.
I can't believe
you never tried before.
You're so square.
- I hate needles.
Will you do it for me?
- Yeah.
Hello, fear.
- Hello, fear.
Aah!
- Get it tight.
Hello, death.
- Hello, death.
- Fuck you.
- Fuck you.
II
[door opens]
Oh, hey, babe.
Hey, hey.
- Get out.
Get out!
Take your shit with you!
And you too!
I should have known.
Stop it!
God damn it!
- I'm so sorry.
- It was, like, a week.
That is your child.
- [indistinct mumbling]
- What is this shit?
What is this shit?
[breathing heavily]
You did this
because of Miles?
Chet, say something!
- Shh.
Shh!
See, once you're here,
it's like you're crawling back
inside your mama's womb
clinking and clanging.
It all melts away,
and you can hear.
- This is the scene
where you're meant
to do heroin
for the first time.
- I know what scene it is.
- Those are not the lines.
- Well, he told me
to make up lines.
He said he wanted it
to be improve.
- But that's way off script.
Come on.
- Well, the whole thing
is fake.
I mean, if you want it
to be real,
there should just be puke
everywhere.
It wasn't like this at all.
I was 22, for fuck's sake.
- That's going way, way off
script, Chet.
- I don't know
what the fuck I'm doing.
Can we just
do the make-out part again?
- I lost a nail.
- All right, guys.
- Yeah.
[telephone ringing]
- Do you want
to rehearse the scene,
or do you want to pick up
on Monday?
- We'll pick up on Monday.
- All right, folks, that's
a wrap. See you next week.
- That's unprofessional, Chet.
- Jane?
- Yeah.
- Jane, that was great.
- I don't think so.
- Keep doing what you're doing.
- Okay, you sure?
- Yeah, just keep improvising.
You'll be okay.
- All right.
Appreciate it.
Oh, thanks, Ellie.
[indistinct chatter]
- What I'm doing is trying to
make him look like a nice guy.
- No, no, what you're doing
is making me look
like a clown.
- Oh, are you Dick Bock?
- Yeah, yeah, I-
Chettie!
- Hey, Dick.
- Why didn't you tell me
you were back in the US
and now you're shooting
a movie?
- Well, I...
- I thought you had
another couple of years in jail.
- Well, I-I was supposed to,
you know,
but then this director, he's
like, he's super talented-
- Oh, and he offered you
a lot of money?
- Well, he paid somebody;
that's for sure.
- Oh, I could've
played myself, Chet.
- Dick, you're not-
you're not an actor.
- Neither are you.
- Well, that's true.
[laughs]
Don't tell anyone.
- A let's, uh-
a let's changed since you left.
- Yeah, I see.
- Jazz is dying.
Dylan went electric.
- You sold Pacific, Dick.
- No, I built it up.
You tore it down.
- We built it up-
- I built it up.
- We built it up.
- You tore it down.
- And-and you sold it out.
- I sold-yeah, at least
I didn't abandon my wife and kid
and become the world's
biggest junkie.
- I did fuck everything up,
didn't I?
- Yeah.
- I miss you, Dick.
I really do.
- Chet!
- I just wish
you would have called.
- Two-two seconds, okay?
I should've called.
I'm-I'm sorry.
- Yeah.
- [chuckles]
You remember that old
daft pharmacist at Jerry's
that give us the prescriptions
for those morphine
suppositories?
- Yeah, yeah, yeah.
Oh, you liked him.
- Well, I had to be high
before I could get my finger
out of my ass.
- Chet!
- Yeah, two-two seconds.
What happened to him?
- Yeah, he's in jail.
Aren't you on the-aren't you
on the straight and narrow?
- Oh, yeah.
- Yeah?
- Yeah.
Clean as a hound's tooth.
- Great.
All right,
let's get together.
All right? Let's talk
about doing another record.
- I would like that
very much, Dick.
- We're grown-ups now.
Let's do another record.
- Let's do it.
That'd be great.
- All right.
- Hey, Nick,
is everything okay?
- It's going great.
It's gonna be great.
Look, tomorrow the studio booked
another press conference.
- Another press?
- In the afternoon.
- In the afternoon? What time?
- 1:00.
- Hi, Chet.
- 1:00, okay.
- Listen, how's it going
with you and Jane?
Everything okay?
- I don't know.
I mean, you tell me.
- I think it's great.
I trust what you're doing,
let you play your music.
This movie is going to re-launch
your career, Chettie.
Jane.
- Hey, Nick.
- What's wrong?
- I don't know. I mean,
do you think it's working?
- I think it's great
what the two of you are doing.
The improvisation
is fantastic.
- L-I need to know more
than just
that I'm playing the women
of Chet Baker.
- And you're doing it
brilliantly.
It's-look, ask him.
It's his story.
- All I know is
that they have big tits.
It's like-it's not a lot
to go off of.
- Well, it's-it's his story.
Ask him.
- Nick, you coming?
- They did have big tits.
- Hang on a second.
- We'll talk about
this Monday, okay?
- Okay. Sounds good.
- Okay?
- All right.
- Okay, big scenes.
Europe next week. Ciao.
- Don't be insecure
about your tits.
Your tits are great.
- Okay, so the script.
Uh, I don't understand why
these women would stay with you.
- You don't understand that?
- No, don't get it.
- Well, maybe we should go out
to dinner
and get some real food
and talk-
- What, are you saying
that I ain't real, mister?
- I'm saying that maybe you need
to get deeper into character.
- Yeah, I don't date actors
I'm working with, Chet.
I already told you that.
- Yeah, but I'm not an actor.
- Yeah, that's for sure.
- No, we can get together,
and we can do
those Kazoon exercises.
- It's Kazan, you dummy.
- Hey, listen, I don't care.
We'll just rehearse
while we eat.
You know, we could order in
if we want.
You know everything about me,
and I don't even know
your last name.
- It's on the call sheet
every day.
- It is'?
- Mm-hmm.
- Were you-
can I wipe this thing?
- What, I got food on my face?
- Beauty mark.
No, you're prettier
without it.
Come on; let's go out,
have some laughs.
- You don't strike me
as funny.
- I'm funny.
What's heavier,
a full moon or half moon?
A full moon,
because it's lighter.
- Not so good.
- That's not funny?
- No.
- I have better material.
Top-shelf stuff.
- Azuka.
- What's that mean?
- It's my last name.
It's African,
and it means "past glory."
[upbeat music]
- I Belle ami, belle ami I
I Come over here by me I
II
- No.
- You're not following through.
Now just-all right,
all right, all right.
Just lay it out there.
Okay, well, that's
another goose egg for you.
- Come on!
You are really competitive.
- I guess they didn't teach you
about bowling
back there at acting school?
- Very funny.
I was supposed
to be an academic, actually,
like my parents
and my brothers.
- But then what happened?
- Oh, i fell in love
with musicals on Broadway.
I studied jazz.
- Did you?
What instrument?
- Piano, voice.
- I've never been
with a woman
who knew anything at all
about music.
- So what did Elaine
like to do?
- Elaine?
Mostly, she liked to fuck. Yeah.
She liked to fuck,
and I liked fuckin' her.
What? What?
- I don't know.
Your songs are so romantic.
But I guess you never
wrote them, right?
- Mm-mm.
One time, we did it
seven times in two hours.
What do you think about that?
- Sounds like
you fuck too fast.
- Uh, I do better
when I'm high.
- So you're really a junkie?
Huh?
- I got some habits.
- So what, your parents didn't
love you enough or something?
- No, it's nobody's fault.
- So why are you
such a fuck-up, then?
Huh?
- You want to know?
You want to know the truth?
- Yeah,
I want to know the truth.
- It makes me happy.
I love to get high.
- Well, at least you're honest.
- What about you, huh?
Why are you such a fuck-up?
- I'm not a fuck-up.
- Oh, yeah, you are.
Yeah, you're an actress,
aren't you?
- All actresses
are fuck-ups?
- Yeah, well..
What is they say
about Hollywood?
They'll pay you 2 grand
for a kiss
and 2 bucks for your soul.
You know who said that?
- No.
- Marilyn Monroe.
- Closing time, folks.
- We sing.
You know that song?
I I've never been in love I
I Before I
I Now all at once I
I It's you I
You know that, right?
I It's you I
I Forever more I
I I've never I
I Been in love I
I Before I
I I thought my heart I
I Was safe I
I I thought I- I
Why don't you come back with me
to my place and we can sing?
- That's not a good idea.
Listen, I know all about you.
- What do you know?
- I know you're trouble.
- Trouble's good for you.
[jazz music]
- That's why your playing
touches people.
- Mm-hmm.
- It's like what Chekhov said
when his patients
were fevering
on what kind of food
they liked to eat:
"Something sour."
And my dad read me
all the philosophers
before I was a teenager,
but Chekhov?
He thought that the feelings
that we experience
when we're in love
are our normal state,
that being in love
shows a person
who he should really be.
I love-
- Remember me, Chettie'?
Fuck him up!
- Oh, Chet!
Chet!
- Come here!
You forget
what you owe us, Chet?
Fucking junkie.
' [groans]
- [gasps]
- Come here.
- Stop it!
[grunting]
- Help! Stop!
- No more jazz, motherfucker!
[laughs]
- Oh, my God!
Oh, my God!
Help!
Help!
[gentle instrumental music]
II
- He's got severe trauma
to the neck...
possible fracture
of the cheek.
He's lost all his front teeth.
- Chet, it's Jane.
You look like shit.
You're gonna be okay.
- You know What
an embouchure is?
Like a piano player
not having any hands.
28 eight years
of practice, gone.
You'll never play again.
- And from the Hollywood,
a dramatic U-turn.
The studio is now shelving
the Chet Baker movie,
which was meant to launch
the recently paroled
jazz legends comeback.
- They haven't called me.
They can't shelve the movie
that quickly.
- That was no stranger.
That was Chefs dealer.
Do you think
the studio's gonna have
anything to do with this?
Just wake up.
- Okay, wait,
somebody must be able to help.
I mean, somehow-
- How many people have called?
How many people
have come to visit?
We're all here.
This is everybody.
And I'm leaving.
I've looked after you
for 13 years, Chet.
But I'm-I'm done.
- This is such a mess.
- How long have you known him?
- Five weeks.
. Okay"
Get clean, Chet.
- [sighs]
[waves crashing]
[gentle instrumental music]
II
' [groans]
- I spoke to your
parole officer,
who says you'll be starting
methadone treatment,
so unfortunately I can't
prescribe any pain medication.
Just hang in there.
And avoid any stress
to your mouth, okay?
[blowing trumpet]
[audience applauding]
[whistles and applause]
- How'd we do? Good?
- You were brilliant, Chettie.
Sensational!
- It was pretty fucking good.
Where's Elaine, huh?
- Amazing!
Ah, Elaine,
did you hear that? Huh?
- Come on.
Miles asked to see you.
Come on. Come on. Come on.
Chettie, Miles!
- Go on.
- Uh, Chetjust Wanted to
say hi before your set, Miles.
- This is Elaine.
- How you doing?
- Hi.
- You dig the show?
- It was nice. Yeah.
A lot of pretty faces.
It was, um, sweet...
like candy.
Must be real hard posing
for all these pretty pictures.
- I'm just trying
to sell records, right'?
- Right.
Let me tell you something.
I never trust a cat...
let loot or love
affect his art.
You think them silly
white girls out there
understand a lick about jazz'?
- He's number one
in the polls, Miles.
- [laughs]
Is this your great white hope,
sweetheart?
Standing right here?
Is this it?
You want some advice, Baker?
Go back home to the beach, man.
This ain't the place for you.
Come back
when you've lived a little.
[breathes deeply]
[exhales]
[jazzy bass music]
II
[violin music]
- Hello, fear.
- Hello, fear.
- Hello, death.
- Hello, death.
- Fuck you.
- Fuck you.
[lively jazz music]
II
II
[music slows]
[violin music]
[slowing jazz music]
II
[footsteps approaching]
[door opens]
- Hey, Chet. You home?
You left the door open.
I didn't get the job,
so don't ask.
What did you do?
Oh, oh.
Oh, what did you do?
Come on, Chet.
Wake up. Wake up.
Come on, Chet.
[sobs]
Come on. Come on.
[banging]
- Why did you wake me up?
- [breathing heavily]
Hey, hey.
What?
- So you're gonna kill yourself
because you can't
play trumpet anymore?
- Yes.
- Am I supposed
to feel sorry for you?
Play something else.
Sing.
- Maybe we haven't
been introduced.
My name is Chet Baker.
I'm one of the greatest trumpet
players of my generation.
One of the best jazz
improvisationalists.
- So it's trumpet or nothing?
- Yes.
- So maybe I should
kill myself too,
because I don't look
like Vivien Leigh.
- You should find one thing
and be better at it.
- No, that's easy
for you to say,
the one blessed
with a rare gift.
Have some humility.
It's love.
- You're missing the point.
- You ever been in love,
Chet, huh?
- I've been married, twice.
- Yeah, I played those women.
I didn't feel real love.
- You want to feel real love?
You want to?
Want to...
- No, I don't want
to get high with you, Chet.
- I was just kidding.
- How did you
get into it anyway?
- When I was released
from the army,
a little while later,
I came home one day...
and there was a note
on my door.
It said, "Auditions
with Charlie Parker
at the Tiffany Club,
3:00 p.m."
I saw it.
I grabbed my horn,
and I went over there.
I could see 30 or 40 trumpet
players all sitting there,
and every trumpet player
in LA was there.
And there he was,
biggest ass,
but he was somebody, right?
And then after a while,
he says,
"ls Chet Baker here?"
Somebody must've told him
about me, right?
And I said, "Yeah.
Yeah, Bird, l-Im here."
And so I came up,
and we played "Toot Toots."
We played "Cheryl"
and "The Song ls You."
He took the microphone.
He said, "Thanks
for coming, everybody.
This audition is over."
- He gave you the job
just like that?
- Just like that.
He said I was "bixellated."
- He was a big, fatjunkie
by then, right?
- Don't talk shit about Bird.
It was an honor
to score for him.
- Some role model.
- Yeah, he was.
He was.
He never hurt anybody
but himself.
Just like me.
- If anyone's gonna hurt you...
it's gonna be me.
- No. No, no.
[slow jazz music on radio]
f.
- I don't date zombies, Chet.
You want me to stick around,
you have to promise me
you'll stay clean
on the methadone.
- I love methadone.
Methadone is amazing-
- No, I'm serious.
- I am too.
I mean, methadone-
- No, I see you scratching
your face like that again,
then I'll know
you're not clean.
- I'm clean.
It's a new me.
I had my teeth done
just for you.
[both chuckle]
[both laugh]
- Now I miss
your missing tooth.
- Mm-hmm'?
- Mm-hmm.
How did you lose it, anyway?
- Oh, come on.
You read the script, right?
I was 12 years old.
I threw the rock on the side,
and it ricocheted
and broke my tooth.
- You're your own worst enemy.
- Mm-hmm.
Well, you need to better prepare
for your roles, ma'am.
No, I couldn't play
for more than a year.
I had to hole up
inside that stupid barn
and practice every day.
- Yeah, but you managed,
right?
- Yeah, but that was
one tooth.
I mean,
what are you saying?
You-you think
I should go back down there?
- Well, you need
to recover, Chet,
not just your jaw.
- But I love this apartment.
- You're losing this
at the end of the month.
- Oh, that's true.
Would you come with me?
Hmm?
- I'm not dropping my life
for you.
[lively jazz music]
II
- Wha-what a surprise,
Chettie!
- Hi, Mama.
- Hey, give me a hug.
- Yeah.
- Aw!
- Give me back my hat.
- Ah!
Oh, you need a haircut, boy.
In that jacket,
you're gonna freeze to death.
How are your teeth?
Are they healing?
Let me see.
- [chuckles]
- This is Jane. Hmm?
- Ah, you look like
Chettie's ex-wife.
- Mom, I told you-
- Well, I-l played Elaine
in a movie.
- Yeah.
- Nice to meet you, Mrs. Baker.
- I never did like her.
- We were thinking about, uh,
visiting a little bit,
if that's okay.
- Yeah, that would be
wonderful.
You can stay
as long as you want.
Stay until after Christmas.
[dog barking]
- Hiya, Dad.
- Hey, Junior.
- He's gonna stay with us.
- Yeah.
I can hear, Vera.
You trying to dry out again?
- That's a lovely farmhouse
that you have, Mr. Baker.
- Well, thank you.
You know, you look like
a nice colored gal.
If I was you,
I'd get in that car and I'd...
[imitates car vrooming]
- Uh, you-you can have
your old room, all right?
- Hey, Chesney!
Filling station
up the road's hiring!
[bird calling]
- Must have been lonely
out here.
No brothers or sisters.
- I had my trumpet...
and the radio.
- That's all you need now.
- Hmm.
- And some time.
- And you.
Right?
[pigs snorting]
[halting trumpet music]
- Don't stop, honey.
It sounds good.
- I got no chops, Ma.
- It's real progress.
It is!
- Yeah,
time to hang it up, son.
- Mr. Baker,
my name is Officer Reid.
I'm taking over
as your parole officer.
You should have received
a letter to that effect.
I understand
you've agreed to try
this new treatment
called methadone.
- Oh, yeah, officer,
I-l just love it.
Just as addictive as heroin,
without the high.
- Hey, it's legal,
and it's keeping you clean.
- There is that.
- You got to find a steady job
and be patient, Mr. Baker.
I'll see you
when you get back to LA.
- That's me, Mr. Patient.
Hey, Miles.
Hey, Dizzy.
There's a white cat
on the West Coast
gonna eat you up.
Hey.
- Forget about Birdland.
[weak trumpet music]
II
- I think I need to get
better glue for these bastards.
- [chuckles]
[water running]
- Checkmate!
- I need to see this.
Nonsense. Checkmate?
- Victory is mine.
- Hmm.
I let you win.
- You're such
a sore loser.
Yeah, but I still get
my prize.
- Yeah, you'll get your prize.
- [chuckles]
[soft jazz music]
[tenuous trumpet music]
F.
- Horn's not the only thing
that tongue's good for.
- Have you been
with other trumpet players?
- Trombone, yeah.
Alto sax, yeah.
- Yeah? You had
the whole brass section?
- Drop it! No!
- Shh!
Shh, shh!
My mother. Shh.
F.
[panting]
- Easy, Chet, easy.
Easy, Chet.
Just slow down.
Slow down, okay?
F.
Pretend you're playing me.
Okay?
Just relax, okay'?
Just breathe.
Just breathe.
Yeah.
That's better.
That's better.
F.
Okay, now hold that note
all night.
II
[blows trumpet]
[door opens]
[music fades]
- Chettie, uh,
why don't you stay longer?
- I wish we could, Ma.
- No, he got to run back
to the big city.
- Gonna stay clean this time.
[quietly] Do it.
" Hey, Dad?
I got this for you.
I know
it's your favorite.
You remember you used to play it
for me on the banjo?
It's got that tune we love,
"Born To Be Blue."
- Oh, my goodness.
- Yeah, right?
That's a pretty tune.
- Well, thank you.
- Well...
I based my recording off
the way you used to play it.
- [chuckles]
But why did you have
to sing it like a girl?
- Well...
I sold a lot of that record.
- Hmm.
- How many records
did you sell?
Oh, that's right.
You-you quit, right?
I didn't quit.
- Yeah.
But I never embarrassed
my family.
I never dragged the Baker name
through the mud.
- Good-bye, Dad.
[light jazz music]
II
- You all right, Chet?
- Would it be okay if, uh...
you know,
I moved in with you?
- I Go down, sunshine I
I See what tomorrow brings I
II
I Go down, sunshine I
I See what tomorrow brings I
- Chet, I'm trying to sleep!
- I Well, it may bring
sunshine I
I And again it may bring rain I
II
[indistinct chatter]
[jazz music playing]
II
- Are you pizza 14, Henry?
- That's us. Thank you.
II
[women screaming]
[music continues]
[applause]
[indistinct chatter]
[jazz music]
II
II
[trumpet falters]
II
[indistinct chatter]
II
- Nice.
- Hey, thanks a lot.
You guys are here every Sunday?
- Uh, yeah. You might want to
practice more on your own first.
- You know that's Chet Baker,
right?
- That's Chet Baker?
Holy fuck, that's Chet Baker.
- Let's fucking call him.
[gentle trumpet melody]
II
- Whenever you're ready,
Ms. Azuka.
- Heaven gave us friendship
that we may open our hearts
and escape the secrets
that weigh upon us.
II
Or I could try it
a different way.
I've got-Ive got lot of ideas.
- No, I think, uh-
I dont-I don't think
it's gonna work out.
II
[knocking "Shave and A Haircut,
Two Bits"]
' Yes?
- Hey, yeah,
is-is Dick around?
- I'll see.
[sprinklers sputtering]
You'll never guess
who's at the door.
- Chet?
- Hey, Dick.
Am I getting you at a bad time?
You-you meditating
or something?
- You should try some.
- No, it's-it's corny, man.
- So I heard you were clean.
- I am. I'm clean.
Ever since the accident.
- Accident? How much you need?
Dick...
I just need a session, man.
- I heard you were playing
some pizza parlor.
- Yeah, yeah.
- I didn't even think
that that would be possible.
- You know,
it hurts a little bit,
but, uh, you know...
I'm blowing pretty-
pretty well, Dick, pretty well.
Good enough for a solo record,
you know, like old times.
- Not gonna happen, Chet.
- No, I-l got
a probation officer
breathing down my neck.
If I fall this time,
I'm gonna do
some-some real time,
you know.
I mean, I got-
Jane's pregnant.
I mean, I'm-
- You and Jane are together?
- Oh, yeah. Yeah.
- No, I can't help you
this time. Uh...
- Dick, you haven't even
heard me play.
- Good to see you, Chet.
Take care.
- [sighs]
[door opens]
Chet!
Give me the plant.
Give me the plant.
Jane really pregnant?
That's a start.
I'm sorry, Chet.
It's not like the old days.
Stay clean.
[door closes]
[soft music]
[bird screeches]
II
[waves crashing]
[upbeat jazz music]
II
II
II
[cheers and applause]
[indistinct chatter]
- Could you sign this for me?
- Oh, yeah, sure.
- I'll get you a beer, okay?
- Yeah, yeah, great.
What's your name?
- Sarah.
- Sarah?
- Sarah with an H.
- Yeah, okay.
And what's this here?
- It's just, um, a little gift
to help you relax up there.
- Oh, wow.
And you look like
such a good girl.
- I am a good girl.
Are you with her?
- Uh...
Yeah, you know.
- Yeah.
You should call me
if you ever want to explore
other instruments.
. Okay"
Well, thank you,
Sarah with an H.
Here's your record.
- Thank you.
- And here's your pen.
- Thank you.
- Hey, thanks.
- What was that about?
- Oh, nothing-
we were talking about Miles
and how he likes
to piss everybody off.
- Yeah, so do you, Chet.
- Yeah.
- What did she give you?
- Uh, some pamphlet.
- What did she give you, Chet?
- She gave me dope, okay?
I didn't ask for it.
She just gave it to me.
- Baker, Baker, Baker.
I'm Officer Reid.
We spoke on the phone
about your parole, yeah?
This isn't gonna cut it.
- Well, you don't like
the music, hmm?
You got any requests?
- [chuckles]
Yeah, I got a request.
How about you get a real job?
- "A Real Job?"
Is that Cole Porter?
I don't know "A Real Job."
- You know something?
When I was a boy, my dad,
he used to say to me
that if a man sits
in a barber's chair long enough,
eventually he's gonna
get a haircut.
- Wow, that's-
that's very meaningful.
It's, uh-it's wisdom like that
that really-
- Keeps you out of prison.
You do want to stay out
of prison, don't you?
- Yes, sir.
- Well, then, why don't you
do us both a favor
and get a real job
by the end of the week?
- What am I gonna do?
- You'll think of something.
- You think maybe we could get
some, like, proper gigs?
- You're not ready.
What are you gonna do
with that?
- Just go throw it away.
I didn't ask for it.
Dumb chick just gave it to me.
- No, no. I trust you.
- I O-o-oh I
I Who-o-o I
I Who-o-o, who-o-o I
I Who-o-o I
I Who-o-o I
I Whoo-o 'noo 'noo 'noo I
I Whoo! I
- You went and saw Dick, right?
What did he say?
- Told you.
He said no.
I mean, you know,
I'm not gonna beg him.
[sighs]
At this point,
I'd do anything.
[slow mariachi music]
II
- Thanks for changing
your mind, Dick.
- I'm glad you called.
You know, it's almost worth it
to see Chet in a sombrero.
II
[upbeat guitar melody]
- How is he doing?
- Oh, he's, uh, struggling.
- You said
he'd never play again.
- I don't know what's worse,
Chet not playing
or Chet playing mediocre.
- Well, it's gonna take
time, Dick. You know that.
II
- How are you doing?
- I'm still here.
Give him a contract
over the summer.
- What are you?
His new manager?
- You jealous?
- No.
Uh, time here costs money.
- So put him in the back.
Mix him out.
- Oh, right, and of course
keep paying him.
- Listen, we need to eat.
So get us to do stuff.
We can paint walls, fix things,
whatever you need.
- Chet Baker, handyman.
II
- He pumped gas in Oklahoma.
- You serious?
You know, this is the first time
I've seen him sweat.
Everything came so easily
for him musically.
I think that was
one of the problems.
- You think he'll ever play
high-level again?
II
- Kill it.
- Somebody's out of tune.
It's not me.
Somebody's out of tune.
[mouthing]
[indistinct murmuring]
- Next.
[birds squawking]
[waves crashing]
- I mean, did you do the-
the line about the vegetables
like we talked about?
I mean, that was funny.
They didn't-
they didn't like that?
- This isn't
what I came here for.
- Hey, come on. People don't
know anything about talent.
Nothing at all.
I mean, think about it.
Most musicians today-
I mean, their playing
is 100 years ahead
of where the listeners'
ears are.
- I'm not talking
about talent.
I just want to get a job.
- You will. I promise.
- It was easier in New York.
Can we just be blue tonight?
- But I don't want to be blue.
I We'll have a blue room I
I For two, room, a new room I
I Where every day's a holiday I
I Because you're married to me I
I Not like a ballroom I
[lively trumpet melody]
[jazz music]
II
- Chefs been showing up
every day?
- You-you read my report.
I mean, he's been
playing sessions,
and, uh, he's been helping out
around here.
- We painted those walls
over there.
- Okay, 'cause he's got
this probation review
coming up tomorrow, and
he's still short of hours, so...
- You guys take a break.
Chet?
Can you come up here
for a second?
- He's in trouble now.
- Hey, Mr. Baker.
- Hey, Officer Reid.
- I was just saying that you've
got this review tomorrow
and you're still shy
a few hours,
so I'm not sure how
we're gonna work that out.
- Uh, he can do
some work later.
I mean,
there's some drywalling to do.
I mean, if that helps.
- Yeah, yeah, that helps.
Can I stick around,
make sure that happens?
- Sure.
- I can't drywall tonight.
Your parents are flying in.
- Doesn't matter
who's flying in.
- But I don't want to break
my promise to Jane.
- I'm not gonna stand up
in front of Judge Hays
tomorrow and tell him
you're shy of hours.
- L-I have
to tell you something.
Do you realize
that it's people like you,
okay, that killed
Billie Holliday?
- What?
- You realize that?
No, it's-it's true-
- What does that have
to do with anything?
- No, it's true.
- Heroin...
- No.
- Just do the hours.
- Cops harassing her
day and night.
- Nobody harassed her
day and night.
- Dick, can I go back
to work, please?
- She was a junkie and-
- It's not worth it.
- That went pretty well,
I thought.
- All right, round two.
Here we go.
All right, we set?
Hit it.
[lively trumpet melody]
- You know, I've been working
with junkie musicians
for over 20 years,
and I have never seen anyone
work this hard before.
- Yeah.
- Well, he's stayed clean
this long, right?
- Yeah, that's a miracle.
- Must be love.
II
- That's why you give him
the hours.
- Write it out.
Give him a tick.
- Give him a tick.
You gotta promise me
one thing first.
Get him some half decent clothes
to meet your parents.
- It's a deal.
- Nice!
[romantic jazz music]
- I bought our boat
about 12 years ago.
I love being out on the water.
- Yeah, me too.
I used to have
a Pacific Cat.
It was a 19-foot catamaran.
- Wow.
- Yeah.
- And now you're squatting
in the back
of my daughter's van?
- Yeah, that's true.
- Some of my colleagues
found out
Junebug was living
with Chet Baker,
and all they could talk about
was wasted talent.
- Oh, they must be
critics, huh?
- Real talent-Chamberlain,
Bird-always flourishes.
But then there's the type
that promises
more than they can fulfill.
I listen to your records.
I see you here today,
Mr. Baker.
And I wonder
if that's all there is:
a white man's promise.
- I'm gonna be a good husband
to your daughter, sir.
- Are you asking
for her hand?
- Uh, yeah, yeah.
I-l guess so, yeah.
- Elsie told me you've asked
for Junebugs hand
twice already.
But you never bothered
to call me.
- Well, we don't really
have a phone.
Uh, hey, so your father
has some colleagues at work
that know everything
there is to know
about Chet Baker, huh?
I mean, here's the deal,
all right?
I don't mind if you want
to give me a lecture
about being responsible
or anything like that,
but if you start talking to me
about music
or talent or Bird...
you know, uh,
I might have to say,
"Fuck you."
- Let's cut the crap.
You were a drug addict, right?
- Yeah.
- Would you want your daughter
to marry a man like you?
~ Dad!
- You know, why don't we
head back, get some ice cream?
- I'm gonna go for a swim.
- Where are you going?
Chet!
Chet!
Chet! What are you doing?
Huh?
[slowjazz version
of "Somewhere Over the Rainbow"]
II
II
II
II
- What'd I tell you?
- Surprise, surprise, man.
- Maybe poor technique will
actually give his sound
a character like the old Chet
but deeper.
- Nick!
It's so good to see you.
- Good to see you.
Chefs so amazing.
II
II
- You should get him a gig.
- Hmm.
II
[soft piano music]
II
[music stops]
- This is, uh, Danny Friedman.
- Hey, Chet.
- Hey, D.
- Been a while.
- Dizzy's a promoter.
- Yeah, I know who he is.
- That was something else,
man.
- He's doing this,
uh, West Coast tour.
He might be able
to help you get a gig.
- That'd be okay.
- Wow!
You know, this is the first
place I saw you recording.
- Right?
- That's it.
You and Mulligan trading solos.
- Mm-hmm.
- Wow, this was the birth
of West Coast swing, baby.
- That's what they say.
- I got-l got an idea.
Bear with me.
Why don't-why don't
we do a gig here?
- Yeah, yeah,
that could be nice.
- A couple more execs
and promoters.
- He dims the lights.
- Make a night of it.
- It's kind of fun.
We play some tunes.
- Now, Dick, Dick,
what did I tell you?
I'm only in the area
till Monday.
- Okay, well...
- Well, we could do Birdland,
if you want.
In a couple of weeks, you know?
- [laughs] I wish.
- You're out Monday.
ls Sunday good for you?
- Uh, yeah, after 4:00.
- After 4:00?
- Yeah, so...
- What are you thinking?
It'll be fun.
8:00.
- That'd be good.
That'd be good. All right.
Chet, it's good
to see you, man.
- We'll have a good time.
- See you Sunday.
- All right, see you, D.
- It'll be fun.
- Yeah, it'll be nice.
I'll see you guys Sunday.
- Hey, say hi to Dizzy.
- I will, brother.
- Did you just do that?
- You did that.
- Now I see why I pay you
the big bucks, Dick.
- You make some big bucks,
then you pay me.
- All right, I mean, you're not
half as bad as everyone says.
Hey, Jane!
Jane!
- She left.
- She left?
- Yeah.
- Where did she go?
- Um, with that, uh -
- What, she left
with that director, Nick?
- Yeah.
Look, how's she supposed
to get an acting gig
if she never leaves the studio?
Come on, Chet;
try to be happy
for more than 'IO seconds
at a time, all right'?
Forget about that movie.
You've got a big show
to think about.
[gentle music]
II
- He's just jealous, Chettie.
- What a jerk!
- Now don't let him get
to your head.
- Why the fuck would you
bring up the polls?
- Honey, calm down.
- Don't touch me.
Get off me!
- Good night.
We'll be there all night.
See you later.
- He's married with kids.
- Yeah, so that means he
doesn't like to have sex, huh?
Did he hit on you?
- Yeah, but that doesn't mean
I'm gonna go for it.
I mean, he knows that!
Come on;
all guys do the same thing.
They play games, right?
Well, just remember
I haven't had a job
since you screwed up
the last one.
- All right.
But what, you-you-
so you two went off
and you rehearsed together?
- Yeah, that's exactly
what I did.
- But I was helping you
with that audition.
- Okay, Chet, just calm down.
He-he's the director.
He can get me the job.
- Oh, so he's the big-shot?
So he's important?
- Come on.
I can't do this all the time.
- You're leaving me, huh?
Is that what you're doing?
Is that what's happening?
- Don't be silly, Chet.
- [indistinct]
- Hey... .
I'm pregnant.
So why don't you ask me again?
- Two seconds.
- [chuckles]
- Here, hold this, okay?
And hold this.
There. All right.
Go right back. Okay.
Will you marry me?
- What is that?
- This is extremely valuable,
all right?
This is a valve ring.
- Yeah, I will.
- This is the valve ring to the
first trumpet my dad gave me.
You can put it
on a chain, you know.
Huh? That way..
You won't lose it.
You're not gonna lose it,
are you?
- No, I won't.
Beautiful.
[slow jazz music]
II
I love you.
- I love you too.
II
[indistinct chatter]
- Settle, people.
We are recording
tonight's performance, so...
be quiet.
And if you could hold
your applause
until after every song,
it'd be much appreciated.
- Chet, ready?
- Yeah, I'm ready.
[exhales]
[bass plays]
Uh, I'm not ready.
I wasn't ready.
Can we try it again? It's okay.
- This is a waste
of time, man.
[indistinct chatter]
- Okay, quiet again,
everyone, please.
This will be take two.
[band plays slow jazz music]
[trumpet joins]
II
I My funny valentine I
II
I Sweet comic valentine I
II
I You make me smile I
I With my heart I
II
I Your looks are laughable I
II
I Unphotographable I
II
I Yet you're my I
I Favorite work of art I
II
I ls your figure I
I Less than Greek'? I
I ls your mouth I
I A little weak? I
I When you open it to speak I
I Are you smart'? I
II
I But do! change a 'nah I
I For me
II
I Not W you care for me I
II
I Stay, little Valentine I
I Stay I
II
I Each day is I
I Valentine's I
Day
II
[music stops]
[applause]
- Bob, Leonard...
- Leonard.
- And Bill.
- Bill.
- Well, Bob, thanks
for saying that.
I really, really
appreciate that, you know'?
What?
- Dizzy and Danny
are over there.
- Oh, shit. So I see.
Excuse me for a second,
will you?
- Hi, Mr. Baker.
- Hey, please don't harass me
right now.
Dizzy Gillespie's
right over there.
- Dizzy Gillespie?
Get out of here. That is him.
Listen,
Jane told me the good news.
I just wanted to say
congratulations.
- Well, thanks, thanks.
When's the big day?
- As soon as possible.
- Okay, I see you want to go.
- Okay, all right.
Well, thanks-thanks
for coming, all right?
- Hey, man. Excellent show.
Excellent show.
Beautiful, beautiful stuff.
- Thank you.
- Listen.
You're not
going clean, are you?
'Cause I'm having
a little party...
[indistinct conversation]
- Okay.
- Please, can we do it?
- Yeah, yeah.
Jane.
- Oh, baby!
You were so good.
- Chettie.
- Oh, hey, Danny.
- Look who's here, my friend.
- Oh, wow. Hey, Dizzy.
- It's been a long time,
Chettie.
- Yeah, it sure has. Wow.
- Danny boy said
I ought to come by.
- Well, thanks for coming.
What did you think?
- Well, you really
pared it down, man.
A little bit under the center.
- Yeah. Always been like that.
- It's almost flat.
Somehow, it's still nice.
- Why, thanks.
- But you know, hey,
you really shouldn't sing.
You know that, right?
- Yeah.
Danny was saying
he's thinking about Birdland.
- Look, Chet, you've come
a long way, but, uh-
- But what?
- Well, they only do
special events now.
- Dizzy, come on.
You've still got pull there.
Everybody respects you.
You got the-the key
to the gate, you know?
- You ain't ready
for Birdland, man.
- I'm ready.
Miles said come back once
you've lived a little, you know.
[both laugh]
- Miles, yeah, that sounds
like something
he would have said
back in the day.
- I lived a little.
- Look, you've done
your me, Chews.
Makes for some ragged phrases,
but your playing is-
- Honest. It's honest.
- You got a sound
that's all your own.
Ain't no denying that.
- And I'm ready
to play Birdland.
- It's not your playing
that I'm worried about.
All things be ready
if your mind be so.
Are you sure
you're ready to come back?
- I've learned three different
embouchures, all right?
I got a left, I got a center,
and I got a right,
and if you let me sing, okay,
I can play two full sets
before my teeth fall out, okay?
- Eyes on the prize.
God, you are a glutton beggar.
I'll get you Birdland.
But don't say I didn't warn you.
- That's amazing!
New York City!
- We fly out tomorrow.
- Yeah, but I've got
my callback, right?
You know that.
- Yeah, well, you're
gonna miss that.
This is a big deal, baby.
- Well, no, it's a big deal
for me too.
- I know, I know, but I can't
play Birdland without you.
- Yeah, you can.
- No, no, come on.
It'll be so much fun.
- You can do it.
- Come on.
We'll get a fancy hotel.
It'll be fun.
We can fuck,
a little drinking,
a little dancing,
a little nightlife.
- That sounds all great,
but you know
l got to get this job;
This is important to me.
And besides, I think it'll be
really good for you too.
You know, to go alone.
- That wouldn't be good
for me at all.
I don't want to go alone.
- But I'm always there
for you, Chet.
I got to do this for me,
right?
- What, I got to
spell it out for you?
- You know, you've got to have
more faith in yourself, Chet.
Your best music
was when you were clean,
before all the drugs.
- Yeah, not with the methadone.
Man, that shit's worse
than a condom.
- Oh, my God,
you're such a joker.
- Come on. Dick says
if this show goes well,
I'll be able to take care
of everything.
I mean, fuck that audition.
We could be on tour
in Europe, you know?
- Fuck that audition?
- Well, you know, what I mean.
- No, I don't know
what you mean.
- Come on.
- What if it doesn't go well?
- Why would you say that, huh?
Come on; you're the one person
who believes in me.
Why would you say that?
- Do you believe in me?
- Yeah, I believe in you.
That's not the point.
- No, that's exactly
the point.
- Oh, please don't do this.
Please don't do this.
Please, please, please
come with me.
- It-it's just a few days.
I think you can go alone.
- Are you serious?
- I'm not some groupie, Chet.
- I'll go alone.
[glass shattering]
[soft instrumental music]
II
' [blows]
[sighs]
II
[indistinct chatter]
- Chet. Where were you, man?
- Well, I'm here now,
all right?
Oh, shit.
Miles is here too?
- Why, everybody's here.
I Lost, lost I
I Lost in each other's arms I
I Let's defrost I
I Let 'em send out alarms I
- You want that done
all the way up?
- Yeah, I like it tight.
I And though they'll think us
rather rude I
- You want that tight
or you want that-
- Yeah, tight.
Both: I Crazy I
. HEY-
- [retching]
- Little bit nervous.
That's-that's good.
Here, rinse.
Rinse your mouth.
Miles and, uh,
Dizzy out there?
You have every reason to be.
- I'm not nervous.
I'm sick.
- Well, if you need an aspirin,
if you're getting a cold
or something like that-
- I'm not getting a cold.
Iran out of methadone,
you know.
- What did you say?
- Two days ago,
Iran out of methadone.
- You-you stopped
taking your medicine?
- Don't-
- You-Chet, come on!
You've got every cat
on the East Coast out there
waiting for you to play
the biggest gig
of your career,
and then you-
- I don't want
a career, Dick.
I told you that.
If I wanted a career,
I'd get a fucking job.
- Okay, okay.
- Okay? I wanna play.
All I want to do is play.
- Hey, hey, hey.
Where's Jane?
Where's Jane?
- She's in LA.
She has an audition.
okay, okay.
Look at me.
It's gonna be all right.
Jazz cats
from all over the world.
Someone out there
has some methadone.
- You think?
- Yeah, just relax.
You good?
- Yeah.
- I Let's get lost I
- Sit down.
- Don't make me be all nervous.
You'll be fine.
You look good.
- Thanks, Dick.
[indistinct chatter]
- Dick, where the fuck is Chet?
- He, uh...
We need a little
more time, okay?
- Dick? Where the fuck-
Fuck me.
All right, let's go.
Let's go. Let's go.
[applause]
[door opens]
- Chettie, I found
some methadone.
I didn't take no for an answer.
Remember Johnny Red?
He was holding-
Fuck.
It's all gonna start again.
Jane will leave you.
- I don't think
I can play otherwise.
- Don't risk it.
. I'm playing.
- Or..
Take the methadone.
I mean, you've been playing
great on it.
Yeah, it sounded great.
- You said that if I really
nail this show,
there'll be lots of gigs, right?
Maybe a European tour?
- Look, I thought
you didn't want a career.
- I want my life back.
Dick, come on.
I want to play music
the way that I want to play it.
You know,
this is my last chance.
- No.
- Yes.
- No.
- Yes.
- But it is a chance,
but if you-
If you sing
with the tongue of angels
but you have no love,
then you're a clanging cymbal.
- What-what does that mean?
- I don't want you
to be empty out there.
- It gives me confidence.
It does.
Time gets wider, you know.
[chuckles]
Not just longer.
And-and I can just-
oh, I can get inside every note.
I can.
- Every pretty note?
- Yeah.
- But that's you.
That's all you.
It's always been you.
Your choice.
[footsteps receding]
[indistinct chatter]
- Come on, cat.
- I didn't think
you were coming.
- They changed my dates.
- Nice.
- How's he doing?
- Great.
- Is he coming out soon?
- I ain't got time.
This dude can't play anyhow.
- Hey, hey, hey, hey.
Cool it.
It's my fault.
Just sit.
- Hello, Dizzy.
Hello, Miles.
There's a little white cat
on the West Coast.
It's gonna eat you up.
[chuckles]
[soft, ominous
instrumental music]
II
[applause]
I I've never been I
I In love before I
I Now all at once I
I It's you I
[soft piano music]
I It's you forevermore I
II
[band playing softjazz music]
I I've never been I
I In love before I
I I thought my heart was safe I
II
I I thought I knew the score I
II
I But this is why I
I That's all too strange I
I And strong I
I I'm full of foolish song I
I And out my song I
I Must pour I
I So please forgive I
I This helpless haze I'm in I
I I've really never been I
I In love I
I Before I
II
II
II
II
II
II
- Will you give this to Chet?
rm sorry-
- Don't be sorry for me.
II
[music slows]
II
[one person applauding]
[scattered applause]
[cheers and applause]
- Thanks.
"Born To Be Blue."
[soft music]
II