He's in a sanitarium as Vicki is shoots her next musical. In her "Lose That Long Face" number, her emotional conflict is reflected in the costume and character. It's a peppy upbeat dance number. In real life, she's trying to balance the Vicki Lester stardom (red) with the married Esther Blodgett self (brown).
I wrote earlier the daytime rooftop reunion scene with Esther and Norman was some of the lost footage. The audio track was found but production stills were used to replace the footage when A Star Is Born was restored in the 1980s. To read about the history of Cukor's production, I highly recommend A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration by the late Ronald Haver.
Cukor liked Kulp. She had brief roles in Cukor's The Marrying Kind starring Judy Holliday and The Model and The Marriage Broker with stars Jeanne Crain and Thelma Ritter. Nancy Kulp was in that rooftop scene with Garland and Mason. You see Kulp in the "Norman finds Esther in a cheap rooming house" production still in Haver's book. She told me that the rooftop reunion was one of the early scenes in Cukor's long shoot schedule. He knew exactly what he wanted. The scene would visually set up the eventual star power shift in the love story of Norman Maine and Esther Blodgett. Maine will find the rooming house, stand on the sidewalk and look up. "Come on up!" she calls down. The sweet reunion would also foreshadow their career fates. She'll be above him in popularity. Together on the roof, Cukor would continue a theme established in Esther's big band number at the Shrine. Esther and Norman were a good team but they couldn't co-exist on the same stage or in public without showbiz-related interference. During the "Gotta Have Me Go With You" number, he's the interference. The Hotel Lancaster rooming house buzzes that Norman Maine is on the roof.
Cukor's film is a rare case. It's a Hollywood remake of a classic that's just as good, if not better, than the acclaimed original. Under his direction, screen great Judy Garland delivered on the dramatic promise she showed with director Vincente Minnelli (Meet Me in St. Louis and The Clock) during her famed MGM musical years.
To me, A Star Is Born is a Cukor masterpiece of bold and innovative creativity in storytelling. This was his first musical, his first film in color and his first time shooting a film in Cinemascope. It earned 6 Oscar nominations but didn't win anything. Besides Garland and Mason being nominated for their performances, "The Man That Got Away" brought Harold Arlen and Ira Gershwin an Oscar nomination for Best Song. It lost to "Three Coins in the Fountain" from the glossy 1950s romantic drama of the same name. A Star Is Born had the nominations for Best Actress, Best Actor, Best Song plus Best Costume Design, Best Musical Scoring and Best Art Direction/Set Decoration. Moss Hart should've been up for Best Screenplay Adaptation. Cukor broke new ground with this musical drama. He went to do musical comedies such as the under-appreciated, stylish 1957 Cole Porter musical, Les Girls. That starred Gene Kelly, Mitzi Gaynor and the marvelous, gone-too-soon British comic actress, elegant Kay Kendall. Cukor's fifth nomination for Best Director brought him the Oscar. He directed the 1964 box office champ, My Fair Lady. Rex Harrison took the Best Actor Oscar for recreating his famed Broadway triumph. (Harrison was married to the late Kay Kendall.) My Fair Lady won the Best Picture Academy Award. The 1954 story of three American secretaries hoping to find love in Rome, Three Coins in the Fountain, was a Best Picture contender. In its place, the Best Picture nominee should've been Cukor's A Star Is Born instead. How I wish a director's cut of Cukor's film existed. What does exist and what was restored enormously increased my passion for film preservation.