Get Shorty (2017) s01e06 Episode Script

MILES: Previously on Get Shorty Sad excuse for a half-assed writer.
Let me handle it.
Okay? I'll make sure he does what you want.
And I'm a little curious.
About what? About how the writing thing works.
Help! (SCREAMING) You talk to Mexico? They wanna keep business smooth.
But you got the Feds watching you.
So? I'll handle the territory north of Indian Springs.
It's best for everyone.
Josias's men.
They talk to you? They said shit.
I didn't listen.
- (GUNSHOTS) - AMARA: It's good you told me.
And now, you call him back.
(LYLE BREATHING HEAVILY) You little bitch.
LOUIS: No, no, no! - (SCREAMING) No! - What the fuck? (BREATHING HEAVILY) I dreamed Amara was here.
She wanted to see the movie that we made.
What do you mean? AMARA: I'm here, Ricky.
And so far I like it.
1x06 "Epinephren" (INDISTINCT CHATTER) - DHAR: You look rested.
- HUGHS: Do I? DHAR: Take it you were asleep when this happened.
Josias was second from the right.
Chatter suggested he was gonna move on Amara De Escalones, so maybe this is her getting to him first.
Not our best day.
DHAR: Yeah, better than his.
KATIE: Mmm.
Smells good.
Got eggs, there's sausage, tomato, juice.
(CHUCKLES) - Fresh coffee.
- Yes.
I even sent Louis out for pastries.
- Oh.
Impressive hosting.
- Good morning.
I'm sure you agree.
It's, um, it's better if Emma doesn't know about last night.
Did something happen last night? (SCOFFS) Well, you don't remember.
That's your loss.
- Oh, you mean the sex? - Mmm.
I mean, as a rule, I don't usually tell Emma when we have sex.
Do you do that? No.
I mean, only when it's really good.
Oh.
EMMA: Where's my hair thingy? I don't have 'em! We have no idea what we're doing and I don't wanna confuse her.
It's not fair.
(EXHALES) It's not fair on anyone.
EMMA: What are these? MILES: Hey.
Uh, those are actors that we're looking at.
EMMA: So, who's gonna be my mom? - (CHUCKLES) - I'm being replaced? Right now, we're just setting up auditions.
So people come in and meet us, or they send in videos of themselves doing the, you know, scenes and what not.
If you want, I can show you some when you come into the office.
Yeah, definitely.
Also, you're gonna meet the director, and the lovely lady from Gravity Pictures.
Ah.
Well, we don't want to get in the way.
I'm executive producer.
If anyone says they have a problem with it, I can have them water boarded.
(CHUCKLES) We'll swing by Charlene's and get dressed first.
(CELL PHONE RINGING) - Oh, this girl was good.
- Hi, hold on.
- EMMA: She's good? - MILES: Yes Morning.
It's fine.
We're just having breakfast.
JEFFREY: Are you getting beach weather? (SIGHS) It's cloudy in the mornings here.
They call it a marine layer.
(CHUCKLES) Right.
When I lived in San Diego with my brother, we were Jeff, I I slept with Miles last night.
Really? (STAMMERS) Was it an accident? - KATIE: Accident? - Yeah, were you sober? Well, uh, sober enough.
Then you made a decision.
Well, I mean, I wouldn't call it a decision.
We just (SIGHS) I'm sorry.
You're sorry, like, it won't happen again? Yes.
No, I mean (STAMMERS) You know I got to, I got to figure that out.
(SIGHS) That would be good to know.
Jesus.
You know, I shot three under par for the first time in a month.
I leave the course, this is the first phone call that I make.
- (HORN HONKING) - Go around, you fucking idiot! - Go around! - MAN: Get off the phone, douchebag.
KATIE: Look, I'm sorry that it happened, and I'm sorry to spring it on you like this.
I just I didn't want to lie.
You know what? I think It's for the best.
Why? Um, I didn't want to say this, but I just I feel like there's something toxic about this situation.
Our situation.
And it's affecting me, personally.
(STAMMERS) But if this is what gets you off To rekindle a toxic relationship Look, I'll be back Tuesday, we can talk about all this.
Tuesday.
(SIGHS) Nah, you know what? Fuck this.
(LINE DISCONNECTS) Hello? (COFFEE ORDERS) - Oh, thank you.
- Yeah.
WOMAN: Large Americano and decaf coffee.
MAN: order's ready.
WOMAN: Caramel Latte.
Order's ready.
YAGO: We can't sit around here in LA.
When are we back in Nevada? ED: Too much heat.
YAGO: Josias had business from Indian Springs all the way to fucking Reno.
Time to lock that shit down, man.
(CELL PHONE RINGING) - ED: Yeah? - CLIPPER: We're set up.
How is he? - CLIPPER: Been better.
- LYLE: Hey.
Hey, who's that? CLIPPER: Had the doctor give him antibiotic.
LYLE: Hey, man.
Please.
Don't know how long he's gonna last though.
Tell 'em I work with you.
I just I need to get to a hospital.
Look, I promise I can help you out with whatever you need.
ED: At least he's talking.
CLIPPER: Yeah, he's either passed out, or won't shut up.
ED: Amara says, "Do whatever you have to do to keep him alive, "at least until he tells us what we need to know.
" - They're ready.
- Mmm.
Like you said, everything north of Indian Springs is ours.
Damn right.
ED: But we don't know who was kicking up.
So we got Josias' boy, Lyle, here in a safe house in LA.
He's the only one left that knows Josias' operation.
YAGO: Okay.
ED: She wants you to go over, get all the names and payoff amounts out of Lyle while he's still alive.
Shouldn't I be in Nevada, running shit from the ground? Run it from LA.
Whatever you find out, just tell the guys back home.
You're basically the command center for the whole expansion.
I mean, yeah.
If that's what you want.
Such a good boy.
RECEPTIONIST: No, I'm gonna need you to get back to me.
Bear claw? I got bear claws.
Come on.
Bear claw? They're good.
Now we gonna push in as debris and bodies keep flying past camera.
And I'm gonna tilt up like this and slowly come back.
Yes.
Daly.
D-A-L-Y.
Yeah, I'm calling about an actress that she represents, uh, Becca Morgan.
- LOUIS: Bear claw? - Yeah, I can hold.
I don't know if it's just the coffee shop on Tujunga, or if it's all of LA.
But everyone in there Every Everyone, I mean, everyone is writing a screenplay.
So, I mean, do writers just work in coffee shops or Is everyone in LA a fuckin' writer? MILES: Hey.
She is? That's great.
I mean, of course she is, it's a beautiful role.
I can get her a meeting but she'll have to be quick, there's an awful lot of interest.
Okay, well, let me find the time and I'll call you back later.
- Did you hear that? - Hmm? That is textbook.
Sell the sizzle and not the steak.
Well, my sizzle got sold.
- Where is Hafdis? - GLADYS: I don't know.
- He was just there - What do you got? GLADYS: On a scout.
Rick.
Becca Morgan, she's interested in the role of Margaret.
Okay, well, well, who's that? Could you get April Quinn on the line? Also, can I get one of those headset things for my phone, like that lady has, there? Becca Morgan, she was a breakout role in Flashing Lights.
RICK: Which is? A film out of New Zealand, winning loads of awards.
- According to who? - Her agent.
Ah.
Now, see.
You gotta watch out.
That's what the agents do.
They talk GLADYS: I have April.
Oh, all right.
Put her on speaker.
- Hello, Miss Quinn.
- APRIL: This about Becca Morgan? - You heard.
- Unbelievable.
Kisbye, now Morgan.
I don't know what they see in this project or why they'd want to work with you.
But it's a good cast.
Brandon likes her? APRIL: He saw Flashing Lights at Telluride, he's been killing himself trying to put her in something.
Yeah, she was great in that.
We love her.
Becca wants to come in and discuss the role.
I was thinking we could use that big white room that you brought us to, the one with the With the trees.
Make sure Hafdis can come.
Yeah.
And, uh, Julian Pynter.
She's gonna want to meet the writer.
- APRIL: No, he quit.
- What? APRIL: Yeah.
Stopped returning calls, really weird.
But don't bring Louis Darnell.
He's a train wreck.
Yeah, no problem.
- How's 1:00 pm? - How's it look? Yeah, should be good.
Line producer interview is at 10:00 and the investor comes in a noon.
- What investor? - Amara De Escalones.
- Amara's coming where? - Here.
To this office? Yeah, yeah, yeah.
She called last night.
Said she's coming by this afternoon.
I thought you knew that.
Hello? You know, 1:00 pm, great.
APRIL: All righty, then.
Brandon's gonna be ecstatic.
Could we step into your office? She called me.
I didn't call her, so Talked about the project, that's all.
Our project.
It's not like I said, "Hey, come to LA.
" Why didn't we hear about it till now? I didn't know myself till last night.
Get a hold of Ed, find out why they're here.
Oh, shit.
I better tell Katie not to come.
LOUIS: What are you gonna tell her? MILES: I don't know.
I'll text her something vague.
All right.
I know, I know the rough stuff happened in Nevada.
The stuff with your face.
And okay, that's It's unacceptable.
But she's not gonna try that stuff outside the casino, right? It's This is what investors do.
They want the glitz and the glamour.
She picks up a souvenir, she goes home.
You don't want her picking up souvenirs.
What does that mean? Ed's not answering.
(LOUIS SIGHS) You're not gonna be available to meet Becca Morgan today.
Why's that? You're gonna be too busy showing Amara the beautiful sights of Los Angeles.
Like, uh, the Chinese Mann Theatre.
- MILES: The Hollywood sign.
- LOUIS: Or the wax museum.
Whatever it takes to get her fill, so she can drive back to Pahrump.
I don't know why this is on me.
But fine, I'll deal with her.
Just want to point out, she's your investor.
Should we use the round table for the appetizers? No, I know, we'll set out stuff for the bar.
WAITRESS: Yes, ma'am.
- Hey! - Morning.
I thought you were in the guest house but then Jenna said, "No one's in there.
" - Oh, we stayed at my dad's.
- Okay.
We're going to visit Miles at the studio.
But I will be back to help you get ready for the party.
- All right.
Get changed, we'll go.
- Yes! - You slept at his place.
- Yeah.
Just sleep? Not just sleep.
- What's the deal? - (SIGHS) I don't know.
He just (SIGHS) He just makes it so easy.
It's like an addiction.
I don't know.
- Want to invite him tonight? - No, no, bad idea.
You sure? Look.
It's Indian Springs.
CHARLENE: (SIGHS) I saw that.
No offense, but I do not miss Nevada.
How long they been on us? Since the hotel.
Could be Feds, or LAPD.
Let 'em follow.
Fuck 'em.
Thank you.
Here you are now.
You want to take a left, and then the next right past the water tower.
- Appreciate it.
- CLANCY: Yeah.
Morning, Mr.
Palmer.
CLANCY: Licenses, and who you're here to see? Special Agents Ware and Carmadelle, FBI.
Okay but, uh, you have a drive-on pass? We're running an active investigation.
CLANCY: Sir, in order for me to let you on, you're gonna need a drive-on pass.
We don't have time for that.
CLANCY: Well, I'm authorized to let you on with a warrant, or if you're coordinating with the police department on the studio lot.
Otherwise, you're gonna want to make a U-turn and use that exit.
Thanks.
This is the safe house? CLIPPER: Yeah.
And why does it smell like this? Fuckin' reeks (SIGHS) Hey, buddy? Heard you're not feeling too good.
Hmm? Sleeping beauty? He's out, man.
So how we gonna do this? - Get epinephrine.
- Okay.
Well, whatever you gotta do.
(PHONE DIALING) - BLIZ: (OVER PHONE) Yo.
- What's up, dog? Hey, yo.
It's, like, the wild, wild west up in this shit.
I mean, we ride in and we just take.
YAGO: Really? I mean, niggas be handing it over, man.
Cash, candy and pussy.
Yo, took down a stash house Josias had in Beatty? (CHUCKLES) Walked out with some serious powder, yo.
I'm I'm saying a fuckin' key.
- Yo, you tell anyone? - Ah.
Keeping it for you and me, man.
Okay.
How's Hollywood? You living it up? Yeah.
I'm in charge of the expansion.
Uh, it's a lot of responsibility.
BLIZ: Yeah, I know.
Ed told me.
Uh, you got any questions for our friend? BLIZ: Oh, yeah, yeah.
Hold up.
Yo, ask him what Josias was getting out the dope house from Beatty Avenue C.
(GROANS) Oh, shit.
Oh, shit.
(LAUGHS) (SIGHS) I need to get to a hospital, man.
Please.
I need a doctor.
Dope house in Beatty on Avenue C.
What are they kicking up? Twenty-five.
He says they're kicking up twenty-five.
BLIZ: Find out who Josias was working with in Ely.
You get me to a hospital, man.
I swear to God I'll help you out with all this shit.
Who you working with in Ely? What's his name? LYLE: My boys there hook you up.
YAGO: Who's your man in Ely? Hey.
Hey! (SCREAMING) Tell me he didn't just fuckin' die.
Still breathing.
Keep pushing on his wound like that and he'll keep passing out.
Well, then, give him another injection.
Don't know if he can take it.
Don't tell me what he'll take, just shoot this bitch up and let's get this fucking show on the road.
(ELEVATOR BELL DINGS) (INDISTINCT CHATTER) MILES: Amara.
Rick just told us you were coming, what a lovely surprise.
LOUIS: Welcome to Hollywood.
Hmm.
This all you guys? MILES: All us, yeah.
Hmm.
It's just an office Oh.
Hey, there.
Hi.
Oh, sorry I couldn't go out last night.
Where's my movie? Oh, we haven't started filming yet.
This is what they call a "pre-production.
" - Hmm.
- Pre-production? Let me give you a tour.
This here is the bullpen.
And that's the, uh, supervisor's desk.
And back there is, uh - That's accounting.
- Accounting.
Yeah.
Not flashy, but, you know, important.
Set design, right here.
It's hard to get a sense from the little drawings but it'll This is where the director works.
Right in there.
(COUGHS) That's Miles, that's me in the corner.
This is you? Uh, yeah.
Not much to see in there, really.
Do I have a room? Not currently.
No.
Can, uh, get you something to drink? Uh, bottle of water? Snacks? ED: What kind? Oh.
(STAMMERS) We got cheese sticks and granola, power Why don't you show Ed the kitchen? Yeah.
RICK: Oh, yeah.
Take whatever you want.
LOUIS: You got to see this.
MILES: (CLEARS THROAT) Can I ask what brings you to LA.
? I'm here to see my movie.
Okay, great.
And how long are you in town? Don't know.
Well, I hope you have, uh, time to see the city while you're here.
The Walk of Fame and, uh, tar pits.
Walk of Fame? Oh, yeah.
It's this great side-walk with loads of names on it.
- (CELL PHONE RINGING) - Big stars.
And stars on it.
Oh, I have to take this.
Excuse me.
Hey, sweetheart.
Did you get my text? KATIE: Don't think so.
I said don't come yet.
There's, uh, been a change of plan.
- KATIE: Well, we're here.
- MILES: Where? We parked and we're headed over.
On, um, "Cary Grant Avenue.
" Could you just stay there and I'll come meet you? Well, why don't we TOUR GUIDE: If you look at the left here, they're setting up for a shot right now.
(KATIE AND EMMA CHUCKLE) Deluxe studio tour.
Exclusive access for VIP's only.
- Ah! You got your own cart? - Uh-huh.
Can I drive? You cannot.
Grab ahold of something, ladies.
We're pulling out, giddy up! EMMA: Oh, no.
(CHUCKLES) - Pretty fun.
(LAUGHS) - Yeah.
(CHUCKLES) 'Course your mother's no stranger to riding around in golf carts.
But they're little more enjoyable on a studio lot though, right? Ah, that's the spot there where Paul Newman locked himself out of his car EMMA: (CHUCKLES) So these are all fake houses? - KATIE: Where's your office? - MILES: Oh, we're not gonna make it there today.
EMMA: Wait, why not? MILES: Uh, had some meetings come up with business affairs.
You know, like the suits.
Can't really bring a family there.
You can see the office another day.
Ah.
And here is the real studio tour.
Tickets are inside.
You're ditching us? Uh But tonight I'm gonna bring you to a classic LA hangout.
But we have the party tonight.
It's Charlene's husband's birthday.
I told you last week.
- Ah.
- You can go.
Mom? Charlene invited you.
I just didn't know if you'd want to.
I'd love to see Charlene.
And to meet these LA friends you keep talking about.
- EMMA: Okay.
- So I'll see you later.
- MILES: Enjoy.
- EMMA: I will.
All right.
(CLEARS THROAT) I'd reschedule the fuckin' meeting if I could No, I get it.
Hey, hold on.
Could you meet me tonight before the party? Just you.
- Well, I'm I'm helping Charlene.
- Five minutes.
For what? I'll text you the address.
It's a surprise.
Well, thank you for the VIP tour.
TOUR GUIDE: All right folks, welcome to the Gravity Studio's tour! (SIGHS) It ain't pretty.
MILES: Let's hear it.
Ed said that they took out Josias Ramos and his crew.
His crew.
How many men? Dozen.
Holy shit.
LOUIS: So, Amara split Nevada before it went down, she decided this is as good a place to go as any.
And then Yago came up to join her.
So she'll have Feds watching.
Safe bet.
Which means they'll be watching us too.
Holy shit.
Everything was peachy and she brings the circus to town.
Be careful, she might hear us.
Just - The fuck? - LOUIS: What? Nothing, just This memo.
It says I missed a call from your agent.
(CHUCKLES) He might have called.
- Your agent? - Yeah.
You have an agent.
Matt Solo.
Yeah, I met him at church.
- Did you? - LOUIS: Mmm-hmm.
Why's he calling me? I'm not totally sure but could be to discuss my fee for the screenplay.
Your fee That you didn't write.
We know that.
Just to be clear.
We may be implicated in a mass murder and you're trying to gouge me for fuckin' script money? He said that the studio would pay for it.
- Oh, shit.
- Oh, they're leaving.
So, Rick's taking you to see the sights, is he? Yeah.
Can't go wrong with the Walk of Fame, right? - MILES: No.
- It's a side-walk with names.
(CHUCKLES) I wish we could come.
Uh, send some pictures.
Hmm.
Let's go.
Good luck with that actress, huh? Crossed fingers.
Who? What actress? RICK: No.
I've never even heard of her.
(STAMMERS) I'm not even going.
I'm gonna let Miles handle it.
You meet here? Oh, no, no.
Way over at the studio.
We've got so many actor meetings coming up, don't we? I mean, if down the line you want to sit in on one, that would be I come to this one.
There's really no need.
You don't want me to go? But you go.
(CHUCKLES) I have to.
It's my job.
Your job is what I say it is.
The more the merrier.
Good idea.
Ed called.
Amara wants me in Nevada.
No, there's no way you're going down there and I'm staying here.
We were supposed to get an update two hours ago.
My ass hurts from sitting in this fucking chair.
It'll come by.
All right, he said to keep an eye on Lyle.
Just don't let him die.
Ed can go fuck himself.
Change the IV every six hours.
If the EPI stops workin', give Ed a call, he'll get a doctor.
Fuck! All right, microwave there.
Soup and tortillas.
Yeah, yeah, that's great.
Thank you.
It's like Nevada fuckin' correctional.
(BLOWS RASPBERRY) (BREATHING HEAVILY) Yo.
Hey.
Hey.
Wake the fuck up.
- (LYLE GROANS) - (SIGHS) (LYLE GROANS) Fuck! I take this tiny movie out of New Zealand, I mean, it paid nothing but I liked the script.
Next thing I know, it's winning awards and I'm having a meeting with Hafdis Snaebjornsson about an amazing new project.
(APRIL CHUCKLES) Well, we're just lucky to have you here.
Mmm-hmm.
Right.
I watched your film on a flight to Reykjavik.
Your performance was absolutely stunning.
It was haunting in its honesty.
Mmm.
I thought so.
- That's very kind.
- APRIL: Mmm.
And congratulations on the reviews.
Thank you.
What happened to your face? Slipped on a squash court.
BECCA: Oh.
Hmm.
What's the movie called? That I did? Flashing Lights.
Eh, I didn't see.
He say you play prostitute.
Yeah.
You lived in New Zealand, right? Right.
Still catch myself driving on the left side, now and then.
(CHUCKLES) (ALL CHUCKLE) BECCA: I learned so much, living there.
About New Zealand, but also She don't look like Margaret.
(MILES GULPS) AMARA: You wanna play Margaret, right? But you don't look right.
And that's what's so amazing about actors, innit? - How they can transform themselves.
- RICK: Yeah Mmm-hmm.
(GASPS) Sorry, I should go.
I'm, um, I'm meeting friends of mine tonight, who own an organic winery in New Zealand.
You should come, if you want and we can talk about the movie? - Sounds nice.
- BECCA: My agent has my number.
(APRIL CHUCKLES) Oh, um, does this mean you're gonna take the role? I'm definitely interested.
- So exciting! - BECCA: Lovely to meet you all.
RICK: Yeah, you too.
- Becca, I'll see you out.
- BECCA: Okay.
- HAFDIS: Okay.
- MILES: Cheers.
HAFDIS: Thank you.
- Mmm-hmm.
- Sounds like we got our Margaret.
- RICK: Yeah.
- APRIL: It's a huge get.
Brandon will be over the moon when he hears.
- Oh, yeah.
This'll be good.
- We find someone else.
I think she's perfect.
No.
She, she has the dignity I envisioned and the quality of someone who knows suffering.
No, no, no.
Someone else.
Amara, right? I told Rick I was happy to have you join for this meeting.
But this studio also has a stake in this film.
A very large stake.
So this just really isn't your call.
(EXHALES) I just tell you what I see.
And we appreciate that.
- I came here in a golf cart.
- Ah.
- Anyone needs a ride? - Oh.
- We need to talk.
- Yeah.
RICK: Yeah.
Tonight we go to dinner.
Where we gonna go? Oh.
You know what? I can't do dinner tonight.
I've got too much work on of a productorial nature, maybe Rick will take you to the Bel-Air Lounge.
You're gonna love this place.
Got loads of Hollywood history and celebrities.
Yeah, okay.
(CHUCKLES) But you're too busy? I'm afraid so.
'Cause you're a movie producer.
I see.
Feds, huh? What makes you think they were Feds? ED: What do you mean? Well, you said they were in the car behind you at the gate.
Don't know if they were Feds.
Just know that they were tailing us.
Emma asked where I was going and I said, "Your dad won't tell me.
" She wanted to come and I said she couldn't, even though I don't why - Is your hair different? - Balayage.
What now? It's fancy highlights.
I had it done at Charlene's.
Don't ask what it cost.
- It looks beautiful.
- Thank you.
(SIGHS) You wanna, maybe tell me why we're here? You like this place? Who lives here? You, maybe.
I didn't buy it, I just I rented it.
But if you come to LA we could stay here.
Miles.
I had to give 'em three months in advance.
But don't let that influence you.
Come on, have a look inside.
Okay.
"Beautiful period home with charming original features.
" Bit like myself.
"Ebony floors, subway tiles in the master bath.
" It's got three bed, in case Emma insists on living with us.
What if I say no? It's fine.
I'll have to burn the place to the ground.
But it's fine.
It's a beautiful house.
(SIGHS) It's perfect.
But I, uh, I need a few days to think about it.
Sure.
(CHUCKLES) Come on.
Let's go party.
(YAGO SLURPING) YAGO: Hey.
You left him alone? I had to get some real food.
I said if you needed anything, to call me.
It's not like he's going anywhere.
You got the key? (YAGO SIGHS) He keeps passing out.
He's dead.
No shit? What? I walked two blocks so I can get a sub, okay? I was starving.
I gotta call Amara.
YAGO: You know what? Call Amara.
Tell her I was sitting here all day in this fucking garage that reeks of this puta.
She said I would run the expansion.
Not sit waiting all day, like some fuckin' secretary for some phone calls.
And you know what? And tell her that if it wasn't for me, she wouldn't even have had this new territory.
You don't want me to tell her that.
You know what? Get somebody else to clean this shit, 'cause I'm fucking out of here.
KATIE: (CHUCKLES) Oh, Bruce.
Miles.
This is Charlene's husband.
- MILES: Oh, hey.
- BRUCE: Hello, Miles.
You look dapper and manly.
- Thank you, same.
- Well, I was fishing for that.
- (ALL CHUCKLING) - Beautiful house, by the way.
Oh, thank you.
Dad, Charlene said we could go upstairs and watch T.
V.
Why would you do that when there's a party down here? The Voice finale is on and you have to vote in real time.
So Oh, The Voice finale is on and you have to vote in real That's bloody brilliant, that.
Okay, go on.
(ALL CHUCKLING) I was gonna go to the bar, can I fetch you a glass of your own booze? Oh, I'm fine.
Thank you.
All right.
So, what does your husband do? Uh, he's a, uh, a movie producer.
Really? Yeah.
He's making a film at Gravity Pictures with Max Kisbye.
- No kidding.
I love Kisbye.
- (CHUCKLES) Yeah.
RICK: So, what happens then is, uh, there's a table read, and that's The studio comes to that.
And if that goes well, which there's no reason it shouldn't, uh Then, um What? Call Miles.
- Me and Sammy can - AMARA: I want Miles to do it.
I'm fine if you want your, uh Your guys to come and eat with us rather than wait in the car.
No.
It's good, you and me.
We get to know each other.
Yeah.
Yeah, it's great.
There's a new chef here.
I'm not familiar with the menu.
(SIGHS) Oh, hi.
(CHUCKLES) Hi.
I'm Katie.
That's weird.
I married a Katie.
Lovely girl.
She's got highlights.
Did she pay a lot for them? Oh.
With Katie, no expense is spared.
- (CHUCKLES) - (PHONE RINGING) You like Charlene's friends? I mean, I like them, but maybe you think they're stuck up.
(SIGHS) I hung out with some unsavory people in Nevada.
My bar is pretty low.
Imagine living in this house.
We'd have parties like this, if we lived in LA.
(CHUCKLES) Hire a bartender.
Pull out the tiki torches.
KATIE: Tiki torches.
Is that the secret? - MILES: It's basically all you need.
- (KATIE CHUCKLES) (GASPS) Have you seen their screening room? MILES: Ah, you've seen one private screen room, you've seen them all.
KATIE: Come here.
(MUSIC PLAYING ON SCREEN) Yeah, okay.
Right? - I mean, a popcorn machine is a bit tacky.
- (CHUCKLES) I think in our screening room, we'd have couches.
With a rising curtain.
And none of this digital shit.
We'll have a real projector up there.
With a full time projectionist.
Larry.
- Larry, the projection guy.
- Hmm.
He has a little cot in his room for late night showings.
I've done a lot of, uh, lot of fun, spooky movies that people enjoy.
But The Admiral's Mistress, people are actually gonna see this in the theater.
- That's good.
- Yeah, this could be a great film.
Really.
And that, that scares the shit out of me, you know? But we're gonna We're gonna go for it.
'Cause you gotta aim high.
If you want that arrow to To go high.
Right? (CHUCKLES) Ooh! It's a good thing I'm not driving.
Okay, uh, we'll take the check, please.
Thank you.
Have another.
No, no.
I'm cutting myself off.
I sound like Peter O'Toole here.
Have a drink, then come to my hotel.
Oh, uh I I think I better get home.
You know, but this has been fun.
- Really.
- You don't take me serious.
I No.
Of course I do.
Of course.
You're a very important part of this whole thing.
I live in Nevada.
Come to LA.
You think, "She don't understand.
" But when I look at people, I see who they are.
That's a good quality to have in this town, right? - I see you.
- Uh-oh.
You want people to like you.
But you're all alone.
Maybe you have a girlfriend but it don't matter.
'Cause you're alone.
And you're so sad.
This is getting heavy.
(CHUCKLES) Some people don't treat you good, eh? But you're better than those fuckin' people.
And you don't gotta feel alone, 'cause Ricky, you get any lady you want.
Thank you.
All you need is love.
Someone to show you what kinda man you are.
And sweetheart You never had nothing like me.
WAITER: Can I get you anything else? Get me another one of these.
(BOTH MOANING) (BOTH BREATHING HEAVILY) (MOANING) You know, I'm actually starting to think the popcorn machine is a nice touch.
(LAUGHS) (BOTH SIGH) KATIE: Yeah.
(LAUGHING) Oh If you don't mind me asking.
Have you been, uh You been keeping in touch with Jeffrey? I told him I slept with you.
How'd he feel about that? Me and Jeffrey are done.
Oh.
(PHONE RINGING) Ah, shit.
Yeah, hold on.
Uh, Rick needs to talk to me about an actor.
I'll be upstairs.
Yeah.
- Yeah? - ED: Dishwasher broke down.
- Need you to take it out.
- Get a handyman.
She wants you.
It's too risky.
I don't know what to tell you, man.
She wants you.
Well, it doesn't sound like I have much of a choice, does it? Call from the other line.
I'll get you the address.
MILES: Mmm-hmm.
Drain's over there.
(SIGHS) - Ready? - MILES: Ready.
I could have handled this better.
- (SIGHS) - What do you mean? I tried to talk Amara outta not meeting with that actress, right? All I managed to do was fuckin' piss her off.
Gloves? Here.
And then she wanted to have dinner.
But I give her to Rick.
Like I was too fuckin' good for her.
Well, you can beat yourself up but, the truth is, we could win fucking Oscars and she'd still have us doing these shit jobs.
(SIGHS) (SIGHS) Is she going back to Nevada this week? We can only hope.
Look, I'm sorry I sic'd that agent on you.
You got bigger shit to worry about.
I'm impressed you got an agent.
I didn't think he'd call.
But here's an idea.
Look, you get the studio to pay me for my script - No, no.
- No! Hear me out now.
Yeah.
You pay me and I take care of additional re-writes at no extra cost.
- Oh, that's a great idea.
- Yeah.
Except, you can't spell your own name.
No, but I'll find someone who can.
I don't follow.
(COUGHS) LA is so full of desperate writers that you can't find a seat in a coffee shop.
I mean, I could so easily, just pay someone to help me out.
Is that what this This is about money? Look, I go to the production office every day and I I don't really have a job.
You're an associate producer, Lou.
Everybody knows that's bullshit.
(SIREN WAILS) Oh, fuck! Fuck.
Ah.
You think they were watching us? It's a black and white, the Feds would be unmarked.
- Roll up your sleeve.
- What? - There's blood on your fuckin' sleeve.
- Oh, shit.
(INDISTINCT RADIO CHATTER) License and registration.
POLICE OFFICER: No right turn back there.
Oh.
I didn't realize.
- How much you had to drink tonight? - Nothing.
You live in Nevada? Live here.
Working here now.
- POLICE OFFICER: Doing what? - Producing a movie.
- POLICE OFFICER: Oh yeah? Where? - Gravity Pictures.
Are you a fan of Max Kisbye, by any chance? - Who? - Here's the registration.
Sit tight, I'll be right back.
- We're all right.
- Uh-huh.
Amara.
Oh Ricky.
Yeah.
I didn't want to leave without saying, uh - That was nice.
- I know.
Okay, well, I'm gonna head out.
Uh I get us breakfast.
No, no, no.
I mean, I would love to, but, uh, I should really run by and you got a lot - What you wanna eat? - (SIGHS) Maybe pancakes.
(AMARA SIGHS) Hafdis, wakey-wakey.
(GRUNTS) Huh? So, is Becca Morgan doing our movie? I don't know.
I thought you had drinks with her last night? Yeah.
We had a flight of wines from New Zealand.
Marlborough, Gisborne, Hawke's Bay and Nelson, Northland, Botago.
I'm a bit vague on what happened after Botago.
Okay.
Gladys, can you call Miss Morgan's agent, find out if she's doing our movie.
GLADYS: Mmm-hmm.
I'm gonna get some more coffee.
Want some? - AMARA: Hmm.
- RICK: Yeah.
I'll get you some.
Two sugars, right? - AMARA: Yeah.
- (CHUCKLES) - MILES: Morning.
- Oh, hey.
How long is she staying in town? (SIGHS) Amara? Who the fuck else would I be talking about? (CHUCKLES) Right.
Uh, I, I don't know if she's decided for sure yet, I don't know.
What did she say? She said she wants to stick around till we're done shooting.
- Done shooting? - Yeah.
Becca Morgan is confirmed! That's great.
- That's great news, right? - Yeah.
All right.
Let me, uh, I'm gonna get some - So she's gonna, what? Get a place here? - I don't know.
I mean, that's worse than Pahrump.
I mean, at least then she wasn't breathing down our necks I mean, neither of us in our wildest dreams thought that fucking woman was coming to LA.
Hi.
Thought I'd surprise you.
If I'm interrupting No, no, no.
Now's good.
Come in.
What is that? Tiki torch.
-I'll be back in a few.
- No, don't leave on my account.
Yes.
Better if you leave.
(SIGHS) It's been six months.
Telling myself that, for Emma's sake we had to move on.
Because I couldn't imagine how our situation was ever gonna change.
Then I came out here.
And I see this life you're making for yourself, it's amazing.
- And I find myself thinking - Katie, uh, we should talk.
What do you mean? Let me close the door.
'Sup, son? Makin' the scene, living the dream? Yo, you need to get out here.
- You would really like this.
- Seriously? YAGO: Why not? Boy, I'd love to get up there.
I mean, I got cousins in Reseda.
I used to get there as a kid Hey, you still got that flake? You should bring that shit with you.
We'll get a little business going.
Think Amara's gonna roll with that? This shit is between you and me, right? A little business on the side, Amara doesn't have to hear about that.
I mean, if that's how you want to play it.
Well, then get your ass out here.
Bring that fuckin' flake and let's do Hollywood in style.
Well, at least now I get it.
How it's possible you could suddenly be making a movie.
(SIGHS) If Amara is behind it Not behind it, just paying for it.
So the movie comes out she'll let you go on with your life? That's the plan.
What did she actually say? - You haven't talked about it.
- No, we have.
She's just invested in one movie.
She agreed that I could live here and honestly, I didn't know she was gonna stay in LA until five bloody minutes ago.
- Is she here, in the office? - Yes.
- Oh, Katie - I should go get Emma.
We're driving back right after lunch.
- Back to Nevada.
- Mmm.
MILES: So is that it, then? 'Cause if we're done, can you just tell me? Put me out of my fuckin' misery.
- I'll call you.
- Oh, okay.
I don't mean it like that, I mean I'll call you.
What's that? I tried to balance coffee and a stack of binders And see? It's almost gone.
- (CHUCKLES) - That's handy.
Is that ketchup? Yeah, yeah.
- Hold still.
- Uh You, uh, smell, um, nice.
Well, there.
I can still see it, but it's better.
Okay.
Thank you.
(INAUDIBLE) AGENT WARE: Mr.
Snaebjornsson.
HAFDIS: This is ridiculous.
Then tell me what I've done.
If you can't tell me, you gotta let me go Calm down.
Sir, where's your car? - My what? - Can you tell me where your car is? HAFDIS: My DETECTIVE FADDEN: If I told you it was in the swimming pool of the Wilshire Hotel, would you be surprised? Somewhat surprised, yeah.
DETECTIVE FADDEN: You're going downtown.