The Last Tycoon (2016) s01e02 Episode Script
Nobody Recasts Like Monroe
1 (projector clicking) ROSE: Monroe? Monroe? (thunder rumbles) Maybe I should have brought you a sofa instead.
Did Celia get on her train? Yep.
On her way to freshman year.
It was kind of her to stay for the funeral.
Oh, she loved Minna.
We all did.
(sighs) Dumb question: how are you? Okay.
Honesty's good.
I know everything seems scary now.
That'll change.
You'll even love again.
(Stahr scoffs) (quietly): I promise.
I'm no good with plants.
I'll drop by now and then, see that it's tended to.
I need something to take care of at the moment.
I'm sure Pat would disagree.
I'm sure Pat wouldn't notice.
(thunder rumbles) (thunder rumbles) (indistinct chatter and laughter) (clears throat) Well, she seemed pleasant enough.
She is, I suppose.
And not a bad roommate.
But the next sentence she starts without the word "I" will be the first.
(chuckles) "I'm getting a part in this.
I'm getting the lead in that.
" Can't blame her for being aspirational.
We're all aspirational, Mr.
Stahr.
Thing about actresses is: they think you're as interested in their lives as they are.
It's bop-bop-bop, like a metronome.
You could be on screen.
Oh.
Turn into that? Rather drown.
Well, then, why'd you come here? All the way from Rathgar.
To be an actress.
Perfect.
(laughs) Took me about a month before I started hating the person I was becoming.
(scoffs) So I quit.
Self-respect still counts for something, doesn't it? Quite a bit.
I hated auditioning.
Funny.
I'm not minding it at all.
(chuckles) Kathleen Moore.
(laughs) BRADY: I heard a joke today.
ROSE: Oh, yeah? - You're on an elevator.
- (shower turns off) The doors open.
Suddenly, in walks Hitler, Mussolini, and Louis B.
Mayer.
You've got a gun with two bullets in it.
What do you do? I don't know, what? Easy.
(laughs): You shoot Mayer twice.
I hope that dinner wasn't completely intolerable for you tonight, dear.
Thought the ladies had a couple of fine suggestions for you: bridge, mahjongg.
Maybe join one of the charities in town, organize one of those dinners.
- Jack Warner's wife - (sighs) seems to find that very fulfilling.
Hmm, Jack Warner's wife is a cunt.
They all are.
It should be illegal to be that smug.
(sighs) I wish I could write.
Or paint.
I'm glad to hell you can't.
HACKETT: He's got a twisted sense of humor, that Monroe.
It was the only office available.
HACKETT: You shouldn't be in an office.
You should be in a dormitory, - reading Shakespeare.
- (sighs) Lucky for you I'm not.
I did come up with a title tonight: An Enemy Among Us.
Titles are easy.
Let's not forget, I handed you the whole story.
You gave me a plot.
They're not the same thing.
- No? - No.
Plot: the queen died and the king died.
Story: the queen died and the king died of grief.
See, I don't blame you for being a kid, Celia, but you ought at least fess up to how little you know.
I know plenty.
I grew up in the pictures.
You grew up at premieres, also not the same thing.
Aubrey, I'm practically producing this one.
That makes me your boss, technically.
Oh, my God.
For a second there, I saw my future flashing before my eyes.
And the name "Brady" was still on the gates, - but you were the "Brady.
" - Well, when that happens, do you want to be the writer I owe it all to? Or the one who kept saying I didn't know anything? Pretty picture.
Are you seeing anyone else at the moment? Uh, no.
Why? Self-preservation.
Does anyone out there think she's seeing you? No.
Are you seeing anyone? - No.
- Were you seeing Dex? My goodness, he was married.
Mm, just the way he looked at you.
I (scoffs) disloyal people don't appeal top me.
There was one night, around closing, I thought he might kiss me.
Well, it seemed like he wanted to.
What you're doing right now is called a cliffhanger.
- Please stop.
- (laughs) He said, "I like you too much to inflict myself on you.
" Kathleen, - I wonder if I - Yes, you big Hollywood phony.
(both laugh) I'd like to kiss you at some point.
In a picture, if a girl let a boy kiss her on the first date, you'd think she was easy.
Or in love.
Well, I'm neither.
Hmm.
But you could come in and try your luck with my roommate, the actress.
She'd kiss you.
And I doubt she'd stop there.
No good.
Has to be you.
Oh, that's lovely, thank you.
What was that you were saying about cliffhangers? Good night, Monroe.
Good night.
(door creaks open, closes) It's 9:05.
- And? - Tuesdays at 9:00? Good to see you thinking Oscar, Pat.
What color is it? (sighs) Gold.
Thought it was green.
Is it true you gave Celia an office? Would you prefer she sit on Aubrey's lap? I prefer she not be there.
I prefer Brinel went away.
- (spoon clinks) - Nice try, Pat.
- Hmm.
- But you already gave me that blank check, remember? Guess I did, softie that I am.
(footfalls approaching) Hello, boys.
Conquering the known world? That's Celia's job.
We're just trying to make a living.
That's sweet.
You will look after her, won't you, Monroe? See that she's not corrupted? I have a feeling she'll be fine.
Let's hope so.
So, is the studio doing anything for Minna? Two years ago next week.
Might be nice to have an official remembrance.
I guess we will.
Good.
You two have fun now.
She'll be there tonight? Not likely.
She hates previews.
- Next.
- Next.
Mayer.
He's not gonna loan you Bess Burrows for another picture without a good reason.
Why not? I'm an affable guy.
(chuckles) You have to tell him why only Bess can play the role, and why the picture matters to you.
Pretentious prick.
He'll try to unsettle you by complimenting me.
For some reason, people around town think you hate that.
People around town can kiss my ass.
(laughs) Let's not mythologize him, Monroe.
I bluffed him into the ground with a pair of sevens in our game last week.
In the end, he's still just the Yid from Minsk the bigger kids picked on.
That doesn't go away, you watch.
He doesn't think you're a movie man, Pat.
When Bells comes out, he'll know better.
Everybody will.
Even you.
Must be killing you, having a picture come out of here without your fingerprints on it.
The Bells of Boston, produced by me, movie man.
Without my boy genius even seeing a single daily.
You ought to compliment his horse.
Mayer.
His filly just won a stakes race at Saratoga.
He fancies himself a breeder now.
I know about his stupid horse.
And I don't need your help with Mayer.
MAN: Quiet on rehearsal.
Props, we need props, please.
SUSAN: Mr.
Mayer apologizes for the wait, Mr.
Brady.
You know how involved he gets with screen tests.
Oh, that's quite all right, Susan.
It's good to see you again.
How you been? Just fine, Mr.
Brady.
Mr.
Mayer been treating you okay? Like a lady.
How's that poodle of yours? The one with the funny name.
Pancakes? Muffin.
Yeah.
He died.
- MAN: Go.
Get out of there.
- Huh.
Sorry to hear that.
(stage bell rings) Morning, L.
B.
Shh! MAN: Could you grab me an ashtray, doll? MAN 2: Final touches! MAN 3: Bring it down another six inches.
MAN: That's perfect, thank you.
Oh, that, there.
That's perfect.
Let's bring in Gable.
We'll shoot the test now.
(stage bell rings) ASSISTANT: First team on set, please.
Oh, finally.
Fifth goddamn actress that we have tested for this part.
Looks like a real find.
- Oh, yeah.
How's Monroe? - Fine.
Impressive piece of manpower you got there.
(chuckles) Expensive piece of manpower, - but what am I gonna do, huh? - (chuckles) Ars gratia artis, right? It's a shame we couldn't meet in my office.
I would love for you to see it.
Is it true you had it all done in white? Yeah.
White drapes, white phone, even white carpet.
White carpet.
My, my.
(chuckles): You got a lot of faith in your guests.
Well, most of them come in on their knees, so what do I care what they got on the bottom of their shoes? Am I right? To what do I owe the pleasure, Pat? I need a favor.
I want you to give me Bess Burrows for another picture.
Our agreement was for two: Bells of Boston and your Minna Davis picture.
I really need her for my new musical, L.
B.
I want her to play Sally Sweet's aunt.
Wish I could help you, but she's not available.
Her agent says you got nothing special lined up for her.
Well, her agent is an idiot.
Got her whole career mapped out, starting with a picture called Boys Town.
Shoots next month.
- Boys Town? - Mm-hmm.
What's she playing? Oh, she's playing a nun.
Perfect nun.
So, you see, I got to be very careful with her image.
I don't even let her date, Pat.
I didn't realize it was personal for you.
- Yeah.
- Truth is it's kind of personal for me, too, Louis.
Oh? How? She's desperate to play this part, the sweet kid.
And I gave her my word that you'd let it happen.
- (chuckles) - And then then I fucked her lights out on my carpet, twice.
Lucky for me, it isn't white.
Ah, I see.
Guess I did you a favor when you think about it.
'Cause I got to tell you, that girl is no nun.
Thanks, Louis.
(bicycle bell dings) Oh.
Beg your pardon.
Clumsy me.
SZEP: Nice entrance.
Sorry.
(sighs) Do you know where I could find a, uh a M-Mr.
Szep? Mr.
Brady sent me about a job.
- My name's Max Miner.
- Yeah.
The Okie.
I'm Szep.
That your only suit? Of course it is.
Go see Mr.
Greeves in Traffic.
Uh, sir? I'd like to get my brother and sister out of the park we been in.
Are there any salary lenders around here? How in hell should I know? KAY: What's wrong, Landon? HACKETT: Don't ask.
Stahr put him on The Swords of Alsace-Lorraine.
Oh.
- Sorry.
- (paper crumples) Aubrey says I'm the eighth writer on it.
That's true.
I was the third.
Also the sixth.
(scoffs) Oh, God.
Stahr approaching! (typing) Oh, taking another break, Aubrey? Thinking is writing, too, Monroe.
Typing is writing.
Without this picture, we're gonna be "the studio that brought you Sally Sweet.
" Is that what you want? It's formulating in my brain.
It is, Monroe.
Well, put your brain aside.
This picture's about rage.
You (softly): You have to write it with your prick.
Right? Wouldn't he have more typos that way? Crack the whip on him, Celia.
Please.
Such a hurry.
Well, I can't shoot a blank page, pal.
(typing continues) How's it coming, Landon? Beautifully, thanks.
Is that right? Huh.
I guess typing isn't always writing.
How'd you know? Even from outside, you can hear if someone never hits the space bar.
Jesus.
(door opens) (typing continues) MAN: This way.
CELIA: Monroe.
Wherefore art thou? Do you think I belong here? I think you'll be running the place before long.
Well, I think I'll do my job more effectively if everyone stops treating me like a kid, especially you.
Being a kid is a wonderful thing, Celia.
Second it's over, you start wishing you could have it back again.
But kids don't get their movies made, do they? And they aren't taken seriously by their writers.
That's true.
I apologize.
Thank you.
How's Kathleen? Sort of question a kid would ask, don't you think? (softly): "How's Kathleen?" "A nun," he says.
(chuckles) "A perfect nun.
" Poor little prick.
I almost felt sorry for him.
Almost.
(laughs) Yeah, you know, if I'd actually slept with her, I'm not sure I could have pulled it off.
My guess is you could have.
My guess is you're right.
- (both chuckle) - (knock on door) Beg your pardon, Mr.
Brady.
Yes, Mary? Mr.
Stahr's off the lot and Corny Riddle's office just called.
Well? He's flying in this evening, has asked to meet with you and Mr.
Stahr at 10:30 tonight, after the preview.
Just him? Nobody else from the board? No, sir.
That'll be fine, Mary, of course.
Thank you.
Find out what you can.
Good evening, Mr.
Stahr.
- Thanks, Ned.
- My pleasure.
Well, it does have its perks.
The parking space alone.
Yeah, well, the ones who are in it for the perks don't last very long.
(chuckles): Oh CALDY: This poster, Monroe.
I am the picture's producer and my name is so small.
I'll get marketing right on that.
Good to see you, too, Caldy.
Break a leg tonight, E.
B.
There he is.
Evening, Pat.
Monroe.
This is Kathleen Moore.
- Miss Moore.
- Mr.
Brady.
- Hello.
- Hello.
Evening, Monroe.
Rose.
Miss Moore, have I seen you in something recently? Yes, I once played a waitress who handed you a tuna fish sandwich.
(chuckles) Miss Moore's not an actress, Pat.
Oh? Why the hell not? It's been done.
(laughs) I am glad he found you, Miss Moore.
I've missed the sound of Ireland around here.
Oh, we all have.
(laughs): Well Rose, dear, would you please show Miss Moore to her seat? Something I have to discuss - with Monroe.
- ROSE: Of course.
Your first preview? Yes.
You're in for a treat.
It's like surgery, but without the anesthetic.
Corny Riddle wants to see us in my office at 10:30 tonight.
He's flying in.
Why? I don't know.
Maybe we should ask that pinheaded son of his.
CLINT: I love it, I love it, I love it.
STAHR: Hello, Clint.
Hello, Bess.
- Hey, Monroe.
- Monroe.
- Mr.
Brady.
- Mm-hmm.
After tonight, you're gonna have two new stars, Monroe.
Pat, how did you ever talk Mayer into letting her go? I just charmed the pants off him.
(gasps) Lucky me.
- (giggles) - Caldy, may we speak with you for a moment? Yeah, sure.
I'll see you inside, you two.
Yeah.
Look, you louse, why is your father flying here? Uh There's a lot he doesn't discuss with me.
What does he discuss with you? That these are troubled times and banks are fickle things.
What the hell does that mean? It means you two should really be nicer to me.
I could wind up owning this place.
And sooner than you think.
Are you ready, Mr.
Brady? Yeah.
We're coming, thanks.
Let's just enjoy the show.
So, what are we seeing? The Bells of Boston.
Gonna be the biggest hit we've ever had.
How can you know? Because it has to be.
(projector clicking) (instrumental theme music playing) Hal, what happened? HAL: Just some brass knuckles on two of Harry Cohn's thugs last night.
Celia, close the door.
Ah, Jesus! All the drivers are meeting tonight.
I was just leaving you the address.
- Hey, I'll be there.
- Aubrey, what's all this about? Oh, this is Hal Sykes.
Drives trucks.
And this is what happens when a guys says "union" too loudly at a studio.
Studios don't do that.
(scoffs) This is Celia Brady.
She'll be there, too.
BESS (on screen): Can we take a streetcar? I wish we could, Madge.
Maybe they'd let us on for free.
It is almost Christmas.
Streetcars don't know what time of year it is, honey.
- Oh - And it's just a few more blocks.
- CLINT: Mr.
Carter? - (man coughs) (woman clears throat) Winfield Carter? I'm I'm Bell.
(woman clears throat) - William Bell.
- (woman laughs) I used to work in your factory.
(yawns) Madge, it's Mr.
Carter.
MAN: No, I'm afraid I'm just someone who used to be Winfield Carter.
It's not so bad.
Yes, it is.
CLINT: I would know that generous countenance anywhere.
Do you remember my daughter Madge? You were always so kind to her Imbecile fucking director.
I should have fired you.
I'll be right back.
Gosh, Mr.
Carter, you are about the nicest factory owner CELIA: I'm not sure I should be here, Aubrey.
I mean, I promised my father I'd go to his preview tonight.
Celia, without the people you're about to meet, your father wouldn't have any previews.
(overlapping chatter) Let's get started.
Jesus Christ, Dell.
It's got no life at all.
I know.
Is that a continuity? That close-up of Clint in the dinner scene.
Look Didn't you have any takes where he wasn't so awful? That was his best, by a mile.
Well, couldn't you play the scene off of Bess? Or Carter? Could play the scene off the ashtray if you'd like, but Clint's doing the talking.
We'd have to cut to him eventually.
He just Monroe? I'm considering the ashtray idea.
CLINT: Wow.
This ought to fit the bill.
Madge, you could take it in a little bit, can't you? (gags) The sleeves look a little long.
BESS: I sure could.
CARTER: For whom? CLINT: For you.
BESS: You look to be a 42 regular, Mr.
Carter.
Is that about right? CARTER: Hmm.
I'm afraid I don't understand.
Why would you give me a new suit? CLINT: How else are we to reclaim your empire? CLUB BUTLER: Welcome back to the Harvard Club, Mr.
Carter.
CARTER: Thank you, Jasper.
Hello, gents.
Good to see you all.
MAN: Carter.
Carter! Is that you? Where the devil have you been? CARTER: South America, mostly.
It's a wonder what some raw materials can do to reclaim a lost fortune.
Why? 'Cause in America, the rich only care about one thing: getting richer.
- MAN: He's right.
- Crazy me, I figured a guy as rich as Harry Cohn yeah, I will say it out loud would be decent enough to help his injured employees.
- MAN: Yeah.
- MAN 2: Yeah.
SYKES: And I said the word the bigwigs all hate - "union.
" - MAN: Yeah.
Here we go.
So, he sent his goons out to rearrange my face a little.
'Cause he figures that'll scare us all off.
Bastards.
(glass shatters) Son of a bitch.
(men grunting) (glass shatters) MAN: Let's go, let's go! Come on, let's go! MAN 2: You heard him, let's go! Get a move on! Come on, come on, come on.
(yells) (overlapping chatter) MAN: Hey, get us out of here.
Let's go.
Let's go.
(yells) You got something against peaceable meetings, buddy? For filthy Reds, yeah.
- MAN: There you go! - MAN 2: Yeah! MAN: That'll teach him! (yells) (gasps) MAN: Give him one more.
MAN 2: Yeah! Good.
(dramatic theme music plays) (audience applauds) (audience murmuring) MAN: Good job.
They didn't cry, did they? They will.
Played fine, didn't you think, Monroe? I mean, some trims here and there.
Trims? Yeah.
- (flips page) - Right.
Kay? Yes, Monroe? Take out your machete.
Oh.
I'm off the script? Afraid so.
- (sighs) - Dell? E.
B.
, thanks for your fine work.
We'll find something else for you.
Excuse me.
KAY: Where do you want me to start, Monroe? (sighs) Bell.
Every line.
Can't feel him.
My office, tomorrow? - Sure.
- (scribbling) I want a scene where he goes to confession, to let go of all the frustration he's feeling.
But, he's not Catholic.
That's why he can tell the truth in there.
And change the goddamn title.
The Bells of Boston is too provincial.
This picture's now called Angels on the Avenue.
MAN: Maestro? (speaks Italian) Bravo, bravo.
(speaks Italian) (speaks Italian) (speaks Italian) Maestro (speaks Italian) Grazie, grazie.
Ah And you're Italian? Si.
That mean you weren't born Aubrey Hackett? (sighs) Enzo Resteghini.
Came over when I was four.
(sniffs) Why'd you change it? You know any famous screenwriters named Enzo Resteghini? (siren approaching) (siren grows louder) Pretty bad, huh? Seemed fine to me.
Eh, you'll get used to it: the way he kills the ones who disappoint him.
It's just what he does.
(lipstick closes) Someone's good enough until they're not.
That's his talent.
Nobody recasts like Monroe.
STAHR: It won't just be the script, Pat.
We have to recast Clint, too.
What is Corny flying out here at 10:30 to tell us? We'll know by 10:31.
Right now, let's just fix our movie.
Clint is awful.
Worse, it looks like he wants to sleep with Bess, which is slightly undercutting the Christmas feel of the thing, since she's playing his daughter.
Leslie Reeves should be our Bell.
Bell's the lead.
We'd have to reshoot the whole movie.
No.
Just under half, if you go by the continuity.
Half.
This could be our biggest hit ever.
Your movie.
But in this shape, it'll die.
It won't be mine anymore, will it? What, the movie? The studio.
Says Brady-American on those gates, right? Do it.
Replace him.
We're business as usual until we're not business as usual.
Fine picture, Mr.
Brady.
BRADY: Uh-huh.
(Kathleen sighs) It's like being God, isn't it? If I were God, it would only take me six days.
I guess if someone is ordinary in your business, they don't stay in your business very long.
You just watched two hours of ordinary.
Didn't you feel a bit cheated? Ordinary is the enemy.
Oh.
(scoffs) Must be a frightening way to live.
(car engine idling) (engine turns off) Can I see you tomorrow? No.
I don't think I should.
Well, another night, then.
No.
Uh, I know this wasn't a perfect date.
I'm sorry.
Good night, Monroe.
Kathleen Kathleen? Is it something I said? (sighs) Something I did? No.
It's just (chuckles) I'd rather not be one of those things you decide to reshoot one day.
It looks like it would hurt.
Tonight was work, all right? A picture that's in trouble.
Our whole studio may be in trouble.
But, that's not how I feel about I know you "miss the sound or Ireland," Monroe.
I can't be a stand-in for Minna.
I'm not her.
I never will be.
I'm actually more of a Plain Jane.
When people disappoint you, you, um well why don't we just see each other at the restaurant now and then.
It's safer that way.
Good luck with the picture.
(door opens, closes) (sighs) (door opens) He'll be out in a minute.
Mother, nobody at Bennington was talking about this at all.
Well, that's because everyone at Bennington is an idiot, darling.
Oh.
Thank you.
I wish my father could've seen you tonight, standing up for justice.
Well, justice had nothing to do with it.
I'm just very fond of my car.
I hope you tell him about this.
Better for Celia if I don't.
I'll bet.
My son talks too much.
We just need to know what he meant.
Well, the bank's failing.
Uh, they're likely to call in the note on the studio.
Failing? Could be next week, maybe sooner.
Barring a miracle.
That's all our operating capital.
As a member of the board, it was your fiduciary duty to alert us about any changes in the financial health of our lender.
We're alerting you now.
I wish you looked more upset, Corny.
BRADY: Why should he? All our assets are now devalued and suddenly available for pennies on the dollar, should some particularly film-savvy East Coast cocksucker wish to buy up the whole thing.
Maybe hand the reigns to his numbskull son, huh? Pat, this changes nothing.
You'll keep your office and your job.
It's just that you'll be reporting to me.
I'll find another lender.
(laughs): In this economy? At least I'm the devil you know.
But you're not a movie man.
Meaning what? Well, meaning tomorrow, you might decide this lot would be worth more as an airfield or a factory.
And you'd do it, wouldn't you? I'll find another lender.
Let's go, son.
Glove salesman.
You know somebody who can spare $2 million? I can turn Angels into a smash, Pat.
We rush it into theaters, could buy us some time.
No, we don't have time.
Or a bank.
Ah, what do you care? Every studio in town will be calling you by morning, trying to steal you away.
And what'll you say when that offer from Mayer finally comes? Your invitation to Valhalla.
I go where you go.
You know that.
What about your, uh? Don't you want to spend your last years on easy street, in first place? I fully intend to.
At Brady-American.
(voice breaking): Brady-American.
(Brady sighing) Goodness, am I glad to see you.
(sighs) All previews are terrible.
You taught me that.
Two months from now, when it's a big smash, no one will remember the rough cut.
You know, I had a fine life before this.
Could've stayed in the glove trade or bought into oil.
There were opportunities.
But I had to come here.
To make pictures.
Be a movie man.
You are a movie man.
Daddy you wouldn't fire someone just for getting hurt, would you? Of course not, princess.
Why? Some studios do.
Listen to me, please please find another business.
There is no other business.
I know.
(chuckles) (sighs) (door opens) (door closes) (footfalls approaching) ROSE: It's funny.
Not that long ago, you and I turned to each other to forget our troubles.
Now, you are my trouble.
And I'm yours.
Please, please go.
Rose, I can't.
- Sure you can.
- No.
I can't.
I bet you could for that waitress.
Kathleen.
Okay.
Then maybe we, uh let's try something more exotic.
Do you want to sodomize me? Or you could Get dressed, Rose.
Should I try it with an Irish accent? That seems to work great with you.
Don't.
Don't what?! Rose (sighs) Jesus.
It was a mistake, right? A moment of weakness? It was never supposed to be for the rest of our lives.
That's right.
PHOEBE (whispering): Yellow leather.
Red leather.
Yellow leather.
Red leather.
- (knocks on door) - Yellow leather.
Mr.
Stahr (sighs) You lonely or something? Handsome guy like you? Yes.
For too long.
What was that? You're not a stand-in for anybody, Kathleen.
And you're not something that I would just reshoot one day.
- Let me tell you about Minna.
- Oh, no, I don't She could be jealous and petty and impossible.
And I stayed anyway.
I loved her.
See? I don't like disloyal people either.
Can we try? Yes.
Yes.
Hello.
The other night, at the meeting I don't want any trouble.
I'm not going to make any.
You're the boss' daughter.
May I? I know that was dangerous for you, being there.
But you went anyway.
I want to know why.
I don't like to say.
What happens when someone gets hurt here? Are they cared for or just replaced? Well, that's easy.
Just don't get hurt.
Why do you come in so early? It takes me a couple of extra hours, but I like to keep up.
Can I help you? (chuckling): It's not yours to do, honey.
Can I help? - (door opens) - WOMAN: Good morning.
WOMAN 2: Good morning.
(women chatting indistinctly) I think I should work here for a while.
You do? Not for pay.
I-I wouldn't want to take a job away from anyone, I just I just need the education.
Excuse me.
Oh.
Yes? I just started, in Traffic.
My name's Max Miner.
They said I need to get a set of clean clothes from here first.
Docked from my pay.
They give you a ticket? Yes, ma'am.
It goes to the desk.
This is Celia.
She can show you.
That's swell, thank you.
- I'm Max.
- Nice to meet you, Max.
It's my first day.
Don't have the hang of everything yet.
You'd never know it.
Seemed like you were born here.
(chuckles softly) Right this way.
Yeah.
(indistinct chatter) Good Lord.
Does this mean you're gonna be twice as slow now? Oh, but half as miserable, see? No one ever had a better time breaking a few metacarpals.
I hear you're in love.
- Vicious rumor.
- Oh, careful.
Might turn you back into a human being.
Oh, thank you.
Well, how do I look? Successful.
Yeah? It's official? The bank's calling in the note? Then we're broke.
All right, uh, other banks? There aren't any.
- Private lenders? - I tried.
The whole world's tapped.
Except Germany.
Got a call from our friend, Dr.
Gyssling.
Pat He has offered his help.
Well, maybe pass the hat at the next Nuremberg rally.
Says Germany's full of capitalists: IG Farben, Krupp, Thyssen.
He's made the calls, the money's there.
Along with an eagerness to invest.
And you said? (crew member speaks indistinctly) (bell rings) (crew member speaks indistinctly) I was sorry to hear about Muffin, Susan.
That's very kind of you, Mr.
Stahr.
MAYER: Monroe? Is everything all right? It sounded urgent on the phone.
Uh, it is.
Well, good.
You finally leaving him? (chuckles) Running bet I have with Zukor.
When will Monroe finally get tired of being the best player in the minor leagues and walk through my door? And if it happens before Christmas I win a hundred bucks.
Is today the day? No.
Nothing like that.
Oh, well, damn.
So what is it? Mr.
Mayer, the timing's not great for this, but Pat and I are in trouble.
We need to borrow a couple million dollars.
(grunts) Fantastic.
- (bell rings) - MAN: Quiet on set.
- (chuckles) - Rolling.
Smile Though your heart is aching Smile Even though it's breaking When there are clouds In the sky You'll get by If you smile Through your fear and sorrow Smile And maybe tomorrow You'll see the sun Come shining through For you Light up your face With gladness Hide Every trace of sadness Although a tear May be Ever so near That's the time You must keep on trying Smile What's the use of crying You'll find that life Is still worthwhile If you just smile You'll find that life Is still worthwhile If you just Smile.
Did Celia get on her train? Yep.
On her way to freshman year.
It was kind of her to stay for the funeral.
Oh, she loved Minna.
We all did.
(sighs) Dumb question: how are you? Okay.
Honesty's good.
I know everything seems scary now.
That'll change.
You'll even love again.
(Stahr scoffs) (quietly): I promise.
I'm no good with plants.
I'll drop by now and then, see that it's tended to.
I need something to take care of at the moment.
I'm sure Pat would disagree.
I'm sure Pat wouldn't notice.
(thunder rumbles) (thunder rumbles) (indistinct chatter and laughter) (clears throat) Well, she seemed pleasant enough.
She is, I suppose.
And not a bad roommate.
But the next sentence she starts without the word "I" will be the first.
(chuckles) "I'm getting a part in this.
I'm getting the lead in that.
" Can't blame her for being aspirational.
We're all aspirational, Mr.
Stahr.
Thing about actresses is: they think you're as interested in their lives as they are.
It's bop-bop-bop, like a metronome.
You could be on screen.
Oh.
Turn into that? Rather drown.
Well, then, why'd you come here? All the way from Rathgar.
To be an actress.
Perfect.
(laughs) Took me about a month before I started hating the person I was becoming.
(scoffs) So I quit.
Self-respect still counts for something, doesn't it? Quite a bit.
I hated auditioning.
Funny.
I'm not minding it at all.
(chuckles) Kathleen Moore.
(laughs) BRADY: I heard a joke today.
ROSE: Oh, yeah? - You're on an elevator.
- (shower turns off) The doors open.
Suddenly, in walks Hitler, Mussolini, and Louis B.
Mayer.
You've got a gun with two bullets in it.
What do you do? I don't know, what? Easy.
(laughs): You shoot Mayer twice.
I hope that dinner wasn't completely intolerable for you tonight, dear.
Thought the ladies had a couple of fine suggestions for you: bridge, mahjongg.
Maybe join one of the charities in town, organize one of those dinners.
- Jack Warner's wife - (sighs) seems to find that very fulfilling.
Hmm, Jack Warner's wife is a cunt.
They all are.
It should be illegal to be that smug.
(sighs) I wish I could write.
Or paint.
I'm glad to hell you can't.
HACKETT: He's got a twisted sense of humor, that Monroe.
It was the only office available.
HACKETT: You shouldn't be in an office.
You should be in a dormitory, - reading Shakespeare.
- (sighs) Lucky for you I'm not.
I did come up with a title tonight: An Enemy Among Us.
Titles are easy.
Let's not forget, I handed you the whole story.
You gave me a plot.
They're not the same thing.
- No? - No.
Plot: the queen died and the king died.
Story: the queen died and the king died of grief.
See, I don't blame you for being a kid, Celia, but you ought at least fess up to how little you know.
I know plenty.
I grew up in the pictures.
You grew up at premieres, also not the same thing.
Aubrey, I'm practically producing this one.
That makes me your boss, technically.
Oh, my God.
For a second there, I saw my future flashing before my eyes.
And the name "Brady" was still on the gates, - but you were the "Brady.
" - Well, when that happens, do you want to be the writer I owe it all to? Or the one who kept saying I didn't know anything? Pretty picture.
Are you seeing anyone else at the moment? Uh, no.
Why? Self-preservation.
Does anyone out there think she's seeing you? No.
Are you seeing anyone? - No.
- Were you seeing Dex? My goodness, he was married.
Mm, just the way he looked at you.
I (scoffs) disloyal people don't appeal top me.
There was one night, around closing, I thought he might kiss me.
Well, it seemed like he wanted to.
What you're doing right now is called a cliffhanger.
- Please stop.
- (laughs) He said, "I like you too much to inflict myself on you.
" Kathleen, - I wonder if I - Yes, you big Hollywood phony.
(both laugh) I'd like to kiss you at some point.
In a picture, if a girl let a boy kiss her on the first date, you'd think she was easy.
Or in love.
Well, I'm neither.
Hmm.
But you could come in and try your luck with my roommate, the actress.
She'd kiss you.
And I doubt she'd stop there.
No good.
Has to be you.
Oh, that's lovely, thank you.
What was that you were saying about cliffhangers? Good night, Monroe.
Good night.
(door creaks open, closes) It's 9:05.
- And? - Tuesdays at 9:00? Good to see you thinking Oscar, Pat.
What color is it? (sighs) Gold.
Thought it was green.
Is it true you gave Celia an office? Would you prefer she sit on Aubrey's lap? I prefer she not be there.
I prefer Brinel went away.
- (spoon clinks) - Nice try, Pat.
- Hmm.
- But you already gave me that blank check, remember? Guess I did, softie that I am.
(footfalls approaching) Hello, boys.
Conquering the known world? That's Celia's job.
We're just trying to make a living.
That's sweet.
You will look after her, won't you, Monroe? See that she's not corrupted? I have a feeling she'll be fine.
Let's hope so.
So, is the studio doing anything for Minna? Two years ago next week.
Might be nice to have an official remembrance.
I guess we will.
Good.
You two have fun now.
She'll be there tonight? Not likely.
She hates previews.
- Next.
- Next.
Mayer.
He's not gonna loan you Bess Burrows for another picture without a good reason.
Why not? I'm an affable guy.
(chuckles) You have to tell him why only Bess can play the role, and why the picture matters to you.
Pretentious prick.
He'll try to unsettle you by complimenting me.
For some reason, people around town think you hate that.
People around town can kiss my ass.
(laughs) Let's not mythologize him, Monroe.
I bluffed him into the ground with a pair of sevens in our game last week.
In the end, he's still just the Yid from Minsk the bigger kids picked on.
That doesn't go away, you watch.
He doesn't think you're a movie man, Pat.
When Bells comes out, he'll know better.
Everybody will.
Even you.
Must be killing you, having a picture come out of here without your fingerprints on it.
The Bells of Boston, produced by me, movie man.
Without my boy genius even seeing a single daily.
You ought to compliment his horse.
Mayer.
His filly just won a stakes race at Saratoga.
He fancies himself a breeder now.
I know about his stupid horse.
And I don't need your help with Mayer.
MAN: Quiet on rehearsal.
Props, we need props, please.
SUSAN: Mr.
Mayer apologizes for the wait, Mr.
Brady.
You know how involved he gets with screen tests.
Oh, that's quite all right, Susan.
It's good to see you again.
How you been? Just fine, Mr.
Brady.
Mr.
Mayer been treating you okay? Like a lady.
How's that poodle of yours? The one with the funny name.
Pancakes? Muffin.
Yeah.
He died.
- MAN: Go.
Get out of there.
- Huh.
Sorry to hear that.
(stage bell rings) Morning, L.
B.
Shh! MAN: Could you grab me an ashtray, doll? MAN 2: Final touches! MAN 3: Bring it down another six inches.
MAN: That's perfect, thank you.
Oh, that, there.
That's perfect.
Let's bring in Gable.
We'll shoot the test now.
(stage bell rings) ASSISTANT: First team on set, please.
Oh, finally.
Fifth goddamn actress that we have tested for this part.
Looks like a real find.
- Oh, yeah.
How's Monroe? - Fine.
Impressive piece of manpower you got there.
(chuckles) Expensive piece of manpower, - but what am I gonna do, huh? - (chuckles) Ars gratia artis, right? It's a shame we couldn't meet in my office.
I would love for you to see it.
Is it true you had it all done in white? Yeah.
White drapes, white phone, even white carpet.
White carpet.
My, my.
(chuckles): You got a lot of faith in your guests.
Well, most of them come in on their knees, so what do I care what they got on the bottom of their shoes? Am I right? To what do I owe the pleasure, Pat? I need a favor.
I want you to give me Bess Burrows for another picture.
Our agreement was for two: Bells of Boston and your Minna Davis picture.
I really need her for my new musical, L.
B.
I want her to play Sally Sweet's aunt.
Wish I could help you, but she's not available.
Her agent says you got nothing special lined up for her.
Well, her agent is an idiot.
Got her whole career mapped out, starting with a picture called Boys Town.
Shoots next month.
- Boys Town? - Mm-hmm.
What's she playing? Oh, she's playing a nun.
Perfect nun.
So, you see, I got to be very careful with her image.
I don't even let her date, Pat.
I didn't realize it was personal for you.
- Yeah.
- Truth is it's kind of personal for me, too, Louis.
Oh? How? She's desperate to play this part, the sweet kid.
And I gave her my word that you'd let it happen.
- (chuckles) - And then then I fucked her lights out on my carpet, twice.
Lucky for me, it isn't white.
Ah, I see.
Guess I did you a favor when you think about it.
'Cause I got to tell you, that girl is no nun.
Thanks, Louis.
(bicycle bell dings) Oh.
Beg your pardon.
Clumsy me.
SZEP: Nice entrance.
Sorry.
(sighs) Do you know where I could find a, uh a M-Mr.
Szep? Mr.
Brady sent me about a job.
- My name's Max Miner.
- Yeah.
The Okie.
I'm Szep.
That your only suit? Of course it is.
Go see Mr.
Greeves in Traffic.
Uh, sir? I'd like to get my brother and sister out of the park we been in.
Are there any salary lenders around here? How in hell should I know? KAY: What's wrong, Landon? HACKETT: Don't ask.
Stahr put him on The Swords of Alsace-Lorraine.
Oh.
- Sorry.
- (paper crumples) Aubrey says I'm the eighth writer on it.
That's true.
I was the third.
Also the sixth.
(scoffs) Oh, God.
Stahr approaching! (typing) Oh, taking another break, Aubrey? Thinking is writing, too, Monroe.
Typing is writing.
Without this picture, we're gonna be "the studio that brought you Sally Sweet.
" Is that what you want? It's formulating in my brain.
It is, Monroe.
Well, put your brain aside.
This picture's about rage.
You (softly): You have to write it with your prick.
Right? Wouldn't he have more typos that way? Crack the whip on him, Celia.
Please.
Such a hurry.
Well, I can't shoot a blank page, pal.
(typing continues) How's it coming, Landon? Beautifully, thanks.
Is that right? Huh.
I guess typing isn't always writing.
How'd you know? Even from outside, you can hear if someone never hits the space bar.
Jesus.
(door opens) (typing continues) MAN: This way.
CELIA: Monroe.
Wherefore art thou? Do you think I belong here? I think you'll be running the place before long.
Well, I think I'll do my job more effectively if everyone stops treating me like a kid, especially you.
Being a kid is a wonderful thing, Celia.
Second it's over, you start wishing you could have it back again.
But kids don't get their movies made, do they? And they aren't taken seriously by their writers.
That's true.
I apologize.
Thank you.
How's Kathleen? Sort of question a kid would ask, don't you think? (softly): "How's Kathleen?" "A nun," he says.
(chuckles) "A perfect nun.
" Poor little prick.
I almost felt sorry for him.
Almost.
(laughs) Yeah, you know, if I'd actually slept with her, I'm not sure I could have pulled it off.
My guess is you could have.
My guess is you're right.
- (both chuckle) - (knock on door) Beg your pardon, Mr.
Brady.
Yes, Mary? Mr.
Stahr's off the lot and Corny Riddle's office just called.
Well? He's flying in this evening, has asked to meet with you and Mr.
Stahr at 10:30 tonight, after the preview.
Just him? Nobody else from the board? No, sir.
That'll be fine, Mary, of course.
Thank you.
Find out what you can.
Good evening, Mr.
Stahr.
- Thanks, Ned.
- My pleasure.
Well, it does have its perks.
The parking space alone.
Yeah, well, the ones who are in it for the perks don't last very long.
(chuckles): Oh CALDY: This poster, Monroe.
I am the picture's producer and my name is so small.
I'll get marketing right on that.
Good to see you, too, Caldy.
Break a leg tonight, E.
B.
There he is.
Evening, Pat.
Monroe.
This is Kathleen Moore.
- Miss Moore.
- Mr.
Brady.
- Hello.
- Hello.
Evening, Monroe.
Rose.
Miss Moore, have I seen you in something recently? Yes, I once played a waitress who handed you a tuna fish sandwich.
(chuckles) Miss Moore's not an actress, Pat.
Oh? Why the hell not? It's been done.
(laughs) I am glad he found you, Miss Moore.
I've missed the sound of Ireland around here.
Oh, we all have.
(laughs): Well Rose, dear, would you please show Miss Moore to her seat? Something I have to discuss - with Monroe.
- ROSE: Of course.
Your first preview? Yes.
You're in for a treat.
It's like surgery, but without the anesthetic.
Corny Riddle wants to see us in my office at 10:30 tonight.
He's flying in.
Why? I don't know.
Maybe we should ask that pinheaded son of his.
CLINT: I love it, I love it, I love it.
STAHR: Hello, Clint.
Hello, Bess.
- Hey, Monroe.
- Monroe.
- Mr.
Brady.
- Mm-hmm.
After tonight, you're gonna have two new stars, Monroe.
Pat, how did you ever talk Mayer into letting her go? I just charmed the pants off him.
(gasps) Lucky me.
- (giggles) - Caldy, may we speak with you for a moment? Yeah, sure.
I'll see you inside, you two.
Yeah.
Look, you louse, why is your father flying here? Uh There's a lot he doesn't discuss with me.
What does he discuss with you? That these are troubled times and banks are fickle things.
What the hell does that mean? It means you two should really be nicer to me.
I could wind up owning this place.
And sooner than you think.
Are you ready, Mr.
Brady? Yeah.
We're coming, thanks.
Let's just enjoy the show.
So, what are we seeing? The Bells of Boston.
Gonna be the biggest hit we've ever had.
How can you know? Because it has to be.
(projector clicking) (instrumental theme music playing) Hal, what happened? HAL: Just some brass knuckles on two of Harry Cohn's thugs last night.
Celia, close the door.
Ah, Jesus! All the drivers are meeting tonight.
I was just leaving you the address.
- Hey, I'll be there.
- Aubrey, what's all this about? Oh, this is Hal Sykes.
Drives trucks.
And this is what happens when a guys says "union" too loudly at a studio.
Studios don't do that.
(scoffs) This is Celia Brady.
She'll be there, too.
BESS (on screen): Can we take a streetcar? I wish we could, Madge.
Maybe they'd let us on for free.
It is almost Christmas.
Streetcars don't know what time of year it is, honey.
- Oh - And it's just a few more blocks.
- CLINT: Mr.
Carter? - (man coughs) (woman clears throat) Winfield Carter? I'm I'm Bell.
(woman clears throat) - William Bell.
- (woman laughs) I used to work in your factory.
(yawns) Madge, it's Mr.
Carter.
MAN: No, I'm afraid I'm just someone who used to be Winfield Carter.
It's not so bad.
Yes, it is.
CLINT: I would know that generous countenance anywhere.
Do you remember my daughter Madge? You were always so kind to her Imbecile fucking director.
I should have fired you.
I'll be right back.
Gosh, Mr.
Carter, you are about the nicest factory owner CELIA: I'm not sure I should be here, Aubrey.
I mean, I promised my father I'd go to his preview tonight.
Celia, without the people you're about to meet, your father wouldn't have any previews.
(overlapping chatter) Let's get started.
Jesus Christ, Dell.
It's got no life at all.
I know.
Is that a continuity? That close-up of Clint in the dinner scene.
Look Didn't you have any takes where he wasn't so awful? That was his best, by a mile.
Well, couldn't you play the scene off of Bess? Or Carter? Could play the scene off the ashtray if you'd like, but Clint's doing the talking.
We'd have to cut to him eventually.
He just Monroe? I'm considering the ashtray idea.
CLINT: Wow.
This ought to fit the bill.
Madge, you could take it in a little bit, can't you? (gags) The sleeves look a little long.
BESS: I sure could.
CARTER: For whom? CLINT: For you.
BESS: You look to be a 42 regular, Mr.
Carter.
Is that about right? CARTER: Hmm.
I'm afraid I don't understand.
Why would you give me a new suit? CLINT: How else are we to reclaim your empire? CLUB BUTLER: Welcome back to the Harvard Club, Mr.
Carter.
CARTER: Thank you, Jasper.
Hello, gents.
Good to see you all.
MAN: Carter.
Carter! Is that you? Where the devil have you been? CARTER: South America, mostly.
It's a wonder what some raw materials can do to reclaim a lost fortune.
Why? 'Cause in America, the rich only care about one thing: getting richer.
- MAN: He's right.
- Crazy me, I figured a guy as rich as Harry Cohn yeah, I will say it out loud would be decent enough to help his injured employees.
- MAN: Yeah.
- MAN 2: Yeah.
SYKES: And I said the word the bigwigs all hate - "union.
" - MAN: Yeah.
Here we go.
So, he sent his goons out to rearrange my face a little.
'Cause he figures that'll scare us all off.
Bastards.
(glass shatters) Son of a bitch.
(men grunting) (glass shatters) MAN: Let's go, let's go! Come on, let's go! MAN 2: You heard him, let's go! Get a move on! Come on, come on, come on.
(yells) (overlapping chatter) MAN: Hey, get us out of here.
Let's go.
Let's go.
(yells) You got something against peaceable meetings, buddy? For filthy Reds, yeah.
- MAN: There you go! - MAN 2: Yeah! MAN: That'll teach him! (yells) (gasps) MAN: Give him one more.
MAN 2: Yeah! Good.
(dramatic theme music plays) (audience applauds) (audience murmuring) MAN: Good job.
They didn't cry, did they? They will.
Played fine, didn't you think, Monroe? I mean, some trims here and there.
Trims? Yeah.
- (flips page) - Right.
Kay? Yes, Monroe? Take out your machete.
Oh.
I'm off the script? Afraid so.
- (sighs) - Dell? E.
B.
, thanks for your fine work.
We'll find something else for you.
Excuse me.
KAY: Where do you want me to start, Monroe? (sighs) Bell.
Every line.
Can't feel him.
My office, tomorrow? - Sure.
- (scribbling) I want a scene where he goes to confession, to let go of all the frustration he's feeling.
But, he's not Catholic.
That's why he can tell the truth in there.
And change the goddamn title.
The Bells of Boston is too provincial.
This picture's now called Angels on the Avenue.
MAN: Maestro? (speaks Italian) Bravo, bravo.
(speaks Italian) (speaks Italian) (speaks Italian) Maestro (speaks Italian) Grazie, grazie.
Ah And you're Italian? Si.
That mean you weren't born Aubrey Hackett? (sighs) Enzo Resteghini.
Came over when I was four.
(sniffs) Why'd you change it? You know any famous screenwriters named Enzo Resteghini? (siren approaching) (siren grows louder) Pretty bad, huh? Seemed fine to me.
Eh, you'll get used to it: the way he kills the ones who disappoint him.
It's just what he does.
(lipstick closes) Someone's good enough until they're not.
That's his talent.
Nobody recasts like Monroe.
STAHR: It won't just be the script, Pat.
We have to recast Clint, too.
What is Corny flying out here at 10:30 to tell us? We'll know by 10:31.
Right now, let's just fix our movie.
Clint is awful.
Worse, it looks like he wants to sleep with Bess, which is slightly undercutting the Christmas feel of the thing, since she's playing his daughter.
Leslie Reeves should be our Bell.
Bell's the lead.
We'd have to reshoot the whole movie.
No.
Just under half, if you go by the continuity.
Half.
This could be our biggest hit ever.
Your movie.
But in this shape, it'll die.
It won't be mine anymore, will it? What, the movie? The studio.
Says Brady-American on those gates, right? Do it.
Replace him.
We're business as usual until we're not business as usual.
Fine picture, Mr.
Brady.
BRADY: Uh-huh.
(Kathleen sighs) It's like being God, isn't it? If I were God, it would only take me six days.
I guess if someone is ordinary in your business, they don't stay in your business very long.
You just watched two hours of ordinary.
Didn't you feel a bit cheated? Ordinary is the enemy.
Oh.
(scoffs) Must be a frightening way to live.
(car engine idling) (engine turns off) Can I see you tomorrow? No.
I don't think I should.
Well, another night, then.
No.
Uh, I know this wasn't a perfect date.
I'm sorry.
Good night, Monroe.
Kathleen Kathleen? Is it something I said? (sighs) Something I did? No.
It's just (chuckles) I'd rather not be one of those things you decide to reshoot one day.
It looks like it would hurt.
Tonight was work, all right? A picture that's in trouble.
Our whole studio may be in trouble.
But, that's not how I feel about I know you "miss the sound or Ireland," Monroe.
I can't be a stand-in for Minna.
I'm not her.
I never will be.
I'm actually more of a Plain Jane.
When people disappoint you, you, um well why don't we just see each other at the restaurant now and then.
It's safer that way.
Good luck with the picture.
(door opens, closes) (sighs) (door opens) He'll be out in a minute.
Mother, nobody at Bennington was talking about this at all.
Well, that's because everyone at Bennington is an idiot, darling.
Oh.
Thank you.
I wish my father could've seen you tonight, standing up for justice.
Well, justice had nothing to do with it.
I'm just very fond of my car.
I hope you tell him about this.
Better for Celia if I don't.
I'll bet.
My son talks too much.
We just need to know what he meant.
Well, the bank's failing.
Uh, they're likely to call in the note on the studio.
Failing? Could be next week, maybe sooner.
Barring a miracle.
That's all our operating capital.
As a member of the board, it was your fiduciary duty to alert us about any changes in the financial health of our lender.
We're alerting you now.
I wish you looked more upset, Corny.
BRADY: Why should he? All our assets are now devalued and suddenly available for pennies on the dollar, should some particularly film-savvy East Coast cocksucker wish to buy up the whole thing.
Maybe hand the reigns to his numbskull son, huh? Pat, this changes nothing.
You'll keep your office and your job.
It's just that you'll be reporting to me.
I'll find another lender.
(laughs): In this economy? At least I'm the devil you know.
But you're not a movie man.
Meaning what? Well, meaning tomorrow, you might decide this lot would be worth more as an airfield or a factory.
And you'd do it, wouldn't you? I'll find another lender.
Let's go, son.
Glove salesman.
You know somebody who can spare $2 million? I can turn Angels into a smash, Pat.
We rush it into theaters, could buy us some time.
No, we don't have time.
Or a bank.
Ah, what do you care? Every studio in town will be calling you by morning, trying to steal you away.
And what'll you say when that offer from Mayer finally comes? Your invitation to Valhalla.
I go where you go.
You know that.
What about your, uh? Don't you want to spend your last years on easy street, in first place? I fully intend to.
At Brady-American.
(voice breaking): Brady-American.
(Brady sighing) Goodness, am I glad to see you.
(sighs) All previews are terrible.
You taught me that.
Two months from now, when it's a big smash, no one will remember the rough cut.
You know, I had a fine life before this.
Could've stayed in the glove trade or bought into oil.
There were opportunities.
But I had to come here.
To make pictures.
Be a movie man.
You are a movie man.
Daddy you wouldn't fire someone just for getting hurt, would you? Of course not, princess.
Why? Some studios do.
Listen to me, please please find another business.
There is no other business.
I know.
(chuckles) (sighs) (door opens) (door closes) (footfalls approaching) ROSE: It's funny.
Not that long ago, you and I turned to each other to forget our troubles.
Now, you are my trouble.
And I'm yours.
Please, please go.
Rose, I can't.
- Sure you can.
- No.
I can't.
I bet you could for that waitress.
Kathleen.
Okay.
Then maybe we, uh let's try something more exotic.
Do you want to sodomize me? Or you could Get dressed, Rose.
Should I try it with an Irish accent? That seems to work great with you.
Don't.
Don't what?! Rose (sighs) Jesus.
It was a mistake, right? A moment of weakness? It was never supposed to be for the rest of our lives.
That's right.
PHOEBE (whispering): Yellow leather.
Red leather.
Yellow leather.
Red leather.
- (knocks on door) - Yellow leather.
Mr.
Stahr (sighs) You lonely or something? Handsome guy like you? Yes.
For too long.
What was that? You're not a stand-in for anybody, Kathleen.
And you're not something that I would just reshoot one day.
- Let me tell you about Minna.
- Oh, no, I don't She could be jealous and petty and impossible.
And I stayed anyway.
I loved her.
See? I don't like disloyal people either.
Can we try? Yes.
Yes.
Hello.
The other night, at the meeting I don't want any trouble.
I'm not going to make any.
You're the boss' daughter.
May I? I know that was dangerous for you, being there.
But you went anyway.
I want to know why.
I don't like to say.
What happens when someone gets hurt here? Are they cared for or just replaced? Well, that's easy.
Just don't get hurt.
Why do you come in so early? It takes me a couple of extra hours, but I like to keep up.
Can I help you? (chuckling): It's not yours to do, honey.
Can I help? - (door opens) - WOMAN: Good morning.
WOMAN 2: Good morning.
(women chatting indistinctly) I think I should work here for a while.
You do? Not for pay.
I-I wouldn't want to take a job away from anyone, I just I just need the education.
Excuse me.
Oh.
Yes? I just started, in Traffic.
My name's Max Miner.
They said I need to get a set of clean clothes from here first.
Docked from my pay.
They give you a ticket? Yes, ma'am.
It goes to the desk.
This is Celia.
She can show you.
That's swell, thank you.
- I'm Max.
- Nice to meet you, Max.
It's my first day.
Don't have the hang of everything yet.
You'd never know it.
Seemed like you were born here.
(chuckles softly) Right this way.
Yeah.
(indistinct chatter) Good Lord.
Does this mean you're gonna be twice as slow now? Oh, but half as miserable, see? No one ever had a better time breaking a few metacarpals.
I hear you're in love.
- Vicious rumor.
- Oh, careful.
Might turn you back into a human being.
Oh, thank you.
Well, how do I look? Successful.
Yeah? It's official? The bank's calling in the note? Then we're broke.
All right, uh, other banks? There aren't any.
- Private lenders? - I tried.
The whole world's tapped.
Except Germany.
Got a call from our friend, Dr.
Gyssling.
Pat He has offered his help.
Well, maybe pass the hat at the next Nuremberg rally.
Says Germany's full of capitalists: IG Farben, Krupp, Thyssen.
He's made the calls, the money's there.
Along with an eagerness to invest.
And you said? (crew member speaks indistinctly) (bell rings) (crew member speaks indistinctly) I was sorry to hear about Muffin, Susan.
That's very kind of you, Mr.
Stahr.
MAYER: Monroe? Is everything all right? It sounded urgent on the phone.
Uh, it is.
Well, good.
You finally leaving him? (chuckles) Running bet I have with Zukor.
When will Monroe finally get tired of being the best player in the minor leagues and walk through my door? And if it happens before Christmas I win a hundred bucks.
Is today the day? No.
Nothing like that.
Oh, well, damn.
So what is it? Mr.
Mayer, the timing's not great for this, but Pat and I are in trouble.
We need to borrow a couple million dollars.
(grunts) Fantastic.
- (bell rings) - MAN: Quiet on set.
- (chuckles) - Rolling.
Smile Though your heart is aching Smile Even though it's breaking When there are clouds In the sky You'll get by If you smile Through your fear and sorrow Smile And maybe tomorrow You'll see the sun Come shining through For you Light up your face With gladness Hide Every trace of sadness Although a tear May be Ever so near That's the time You must keep on trying Smile What's the use of crying You'll find that life Is still worthwhile If you just smile You'll find that life Is still worthwhile If you just Smile.