The Last Tycoon (2016) s01e08 Episode Script
An Enemy Among Us
1 (projector clicking) (door closes, footfalls approach) (bulb sizzles) Nietzschean Ãbermensch.
Any comments you wanted me to pass along to Mr.
Stahr? Yes.
Tell him I think his director is a putz.
I know you don't know what that means, - but he will.
- I know what it means.
Will that be all? Yes.
Thank you, Felicity.
Mr.
Brady? Yes? Martin Ringler.
Your board sent me to look at your books.
Why would they do that? Well, not to put too fine a point on it, sir, but they claim you've put the studio in arrears.
Is that right? A loan from Mr.
Mayer, paid back with interest pre-term.
Salaries cut, then restored.
How much do you weigh? - Sir? - You like numbers, give me one.
140 pounds.
Soaking wet.
Now get out of here before I snap you in two.
Mr.
Brady, I have a letter here from your board ordering you to furnish said investigator with any records or files he might require.
"Investigator"? Yes, sir.
I'm a forensic accountant.
I review your books, then present the board with my recommendations.
I don't need any recommendations.
We have a cash flow problem at present.
So we spend less.
Where shall I set myself up, sir? You know, you can stop staring at it.
- (chuckles) - It won't disappear.
Brought you some cheaters.
Oh.
You're going to be bathed in jewels.
Maybe a car, too.
Oh, and, of course, your luggage-hauling days are over.
It's strictly porters and staff from here on out.
So I'm royalty now? At Brady-American, you are.
A marriage contract? Of sorts.
Your seven-picture deal.
Pat's idea.
Seven? Oh, my goodness.
How sexy.
(Chuckles) Which page do I sign? You might want to read it first.
With your lawyer.
- I don't have a lawyer.
- I'll get you one.
And we shouldn't discuss this again until he's weighed in.
You and I are now adversaries in a business negotiation.
Technically.
You saying I can't trust you? Look, it's my job to exploit you.
Okay, movie man exploit me.
(Kathleen moans softly) CHOIR: Christmas is here (choir holds final note) What a picture.
Wonderful.
Charming.
Leslie Reeves was an inspired choice.
What made you think of him? Well, ask Pat.
This was his baby.
- HOPPER: Is that so? - It sure was.
I didn't even see any rushes.
We're glad you liked the picture, Hedda.
But it's an underdog, like we are.
The same three studios getting all the nominations every year.
Angels needs a champion.
That's sweet.
The little studio that could.
So, I write a column fawning all over it, saying that it's my favorite picture of the year infuriating Louis Mayer, Jack Warner, and Harry Cohn.
And I get what? Well, the satisfaction of praising a picture that actually deserves it.
Mm.
Or, maybe, the story behind the walkout that your employees just staged? That that was no walkout.
A payroll guy lost some salary checks.
It created a minor stir, but we fixed it in a jiffy and everybody went back to work.
Hmm.
Except for the payroll guy, I assume.
(chuckles): No, no, we kept him on, too.
Everyone's entitled to a mistake.
Ah.
Well, then you and I are - one exclusive shy of a deal.
- BRADY: Oh Monroe what about your fiancée? An unknown offered a lead in your next picture? Who is she? What was her childhood like? - Her family? - I'd kind of like to know that, too.
HOPPER: I want to profile her, with pictures, of course.
Go back to her hometown in Ireland, the house she grew up in, her parents.
My readers love all that, especially if it's humble.
Humble does sell.
- HOPPER: Yes.
- Her father passed away.
And her mother? Good.
Can I count on the studio to arrange it all for me? And when I say "arrange," I do mean "pay for.
" (chuckles): Yeah.
Then consider Angels plugged.
Hmm.
(Brady clears throat) You know, new rule: Let's stop with the false humility bit.
"It was Pat's baby.
" It's irritating as hell.
My intention was to give you the credit.
See what it cost us, this little stunt your writers pulled by walking out? An embarrassment to the whole studio.
It wasn't little, and it wasn't a stunt.
And then they blab it all over town.
I am happy to indulge this as soon as you tell me how that'll get us closer to an Oscar.
You giving me dialogue notes now? CELIA: Where is Mr.
Lang? Fritz, it's the speech you asked for yesterday.
Mm, mm, mm, mm, mm, mm, mm, mm, mm, I asked you for life.
You give me words.
- CELIA: Fritz, is there - Don't interrupt me! This scheisse might be good enough for Monroe, but it's not cinema! Is there a reason our art director - just drove off our lot? - Yes, there is a reason.
Because I fired him after he defiled me on the look for the staircase.
It's "defied.
" And you can't, he's under contract.
Oh, I can't? I can't? Really? Then please, by all means, please, bring him back.
And I will just put a title card in front of every scene in the picture saying, "This offensive and lifeless set" was not approved by the picture's director.
" This is what I get for having someone's daughter as my producer.
If you tell me when something's troubling you, - I can fix it, but I can't - You know what you can fix for me? Coffee, black, no sugar.
WOMAN: Yes sir, I'm on my way! How's the set looking, Celia? Hi, Monroe.
Lang living up to his reputation? He's all bark.
You want me to talk to him? No, no, I'm taking care of it.
Anything at all I can do? Yes.
You can find a new art director.
This one was subpar.
Attagirl.
(car engine idling) (car door closes) (car drives off) Rupert? VAJNA: I'm up here.
(scoffs) You said it was an emergency.
It is.
I got you something.
I didn't want to die without giving it to you.
It's my apology.
I don't want one.
I don't want anything from you.
You won't even open it? Rupert, you hit me.
I know.
I'm sorry.
It'll never happen again.
I got jealous, kiddo, of you and him.
Dumb, right? I guess somewhere deep down I always hoped we'd I don't know.
Please? Just open it? 'Member? Your first week here? I pointed to that sign and I said, "If you do like I ask, one day, you'll have all Hollywood in your hands.
" And now you do.
Seven pictures.
I know, I know, you love him.
I just don't want you to hate me.
This should be the fun part.
Yeah.
Fun.
Right on time.
Actually, I need a few more weeks.
Mister, we were robbed.
That's rough, but that's not my problem.
Tramp jumped me, took every penny.
And I get stiffed? Swell? I'm prepared for any consequences that you want to give me.
Give me a little credit.
I'm a businessman, I'm not an animal.
I'll tell you what, I give you a little more time, if you do me a favor.
My brother-in-law, big pictures fan.
Maybe you sneak him on the lot, show him around a little bit, let him take some pictures.
Uh I don't know, uh Th-They got rules about that.
30 minutes, then he's gone, and I'll give you a month to get back on your feet, with interest, of course.
Now, I ask you, would an animal make you an offer that fair? Good evening, John.
- I appreciated the extra day.
- That's fine, fine.
- You keep working hard.
- Sure will.
LANG: Wir zeigen wie echtes Bier schmek, neh? Hier pissen sie in eine Flasche und hangen eine Schleife drum! Oh.
Heil, Fritz.
Hi, Hannah.
Aubrey, I just dropped by to see how you were coming along with the notes I had given you.
Swell.
I understand almost half of them.
And then we found this deck of cards, and one thing led to another.
Another what? It's a wonderful game.
I can show you.
Yeah, many tricks to it.
It's very Bavarian in that way.
It's called Schapfkopf.
Why is it that every German word winds up sounding like a new means of killing someone? Well, I will take my leave.
Perhaps we will finish our game another time, Hannah, yeah? (pop music playing on radio) (sighs) Maybe he didn't come here to talk about notes after all.
That was very embarrassing.
Look, Hannah, you're beautiful.
And I expect men to flirt with you.
But, please, anybody but him.
He's just lonely.
I understand that.
He's a monster.
And he's my boss.
Is that why I came all this way? To be told who not to talk to? Look, this this lot is teeming with German émigrés.
Ju-Just pick another one.
You're being ridiculous.
Then let me be ridiculous, just about this one thing please.
It was just a friendly card game.
Not the way he plays it.
This is the back lot.
Now, this New York Street, this used to be a, uh, a Hooverville.
- Homes everywhere.
- JAMEY: Huh.
Whoa! Take your life in your hands walking around this place.
My my.
(exhales) - The don't make 'em like that in Missouri.
- Yeah.
You a fan of Margo Taft? She's shooting on Stage 6, and if you're lucky, you might see her walking from the stage to her trailer.
Sure.
Say, is there a john nearby? Yes, it's right over there.
Hey, listen, if anybody stops you, asks what you're doing here, just say you were making a delivery, and you got lost on your way out, okay? Delivery.
Got lost.
Check.
- (bicycle bell ringing) - BIRDY: Max! Where have you been? I've been looking all over the lot for you.
Mr.
Brady wants to see you.
Uh yeah, I was just, uh What was this about? What difference does it make? He wants to see you.
Now.
Yeah, yeah.
I'll be right along.
I just, uh uh, I had to deliver a message for Mr.
Stahr, so, uh I'll get back to the office as soon as it's done, okay? Make sure you do.
Hey! MAN: Slow it down.
Turn now.
What the hell is this? It's for Kitty.
Hospital's releasing her tomorrow.
So she's staying here, in our parlor? I want her right outside the bedroom in case of an emergency.
If there's an emergency, she should be somewhere else.
Pat, they were gonna send her to the west side shelter.
Because she's sick, isn't she? I want to take care of her.
She needs looking after.
But this is where I do my crossword puzzle.
(Rose sighs) Oh, the hell with it.
I'll do my crossword on the john.
Mm.
Thank you, darling.
- That's heroic of you.
- Mm-hmm.
(Rose humming) (waves crashing) Three, four.
Uh-oh.
- Getting closer to "Home.
" - (Kathleen laughs) - Oh.
- What? - Sorry.
- Ah - (Kathleen chuckles) - You don't look it.
- Boop.
- No Back to "Start.
" You know, I think you'd be a wonderful actor.
- Me? - Yeah.
They're all so afraid of you on the lot.
Here, you're like a lamb.
One side must be pretend.
A person can't be more than one thing? I suppose.
(sighs): Sometimes, I'm afraid, too.
Of what? The movie.
Success.
I'm worried that, uh, something might come between us.
That could never happen.
I'm going to make some tea.
Would you like some? No.
Tea is the past.
I want a hamburger.
(laughs) I almost forgot.
Hedda Hopper wants an exclusive with you.
- Oh - And your mother.
She's flying a whole team to Ireland for photos of your hometown, all of it.
Wait, you didn't say yes, did you? We love the idea.
No.
No, you have to kill it.
Why? Because it can't happen.
They're my family.
They don't belong to a bunch of grubby-nosed movie fans.
All stars have to do this kind of thing.
It's just part of the job.
- It could be good for you.
- No.
No.
It would be terrible for me, Monroe.
You wouldn't like what you saw.
What would I see? (sighs) I don't know how to How ugly do you want it? The drunk mother? The hoodlum cousins? The uncle that's in jail? I mean, I don't talk to them.
Any of them.
It's part of the reason I was running away.
Please, Monroe, don't make me do this.
I'm begging you.
Okay.
I'll kill it.
(sighs) Thank you.
You could have told me all this.
There shouldn't be any secrets between us.
I don't know, I guess it was just shame, or something.
(sniffles) I think I will take that cup of tea now.
Okay.
(sighs) Thought this was your day off.
It is.
I've come to take her home.
Where is she? Darned if I know.
Desk said she left last night.
What do you mean left? Took her things and went.
Well, how can they let her do that? I don't know.
I'll check her chart.
If you need any more files, please be sure to see me about it.
When things don't go through my desk, they often get fouled up.
It's so interesting, what you do.
Most people don't think so.
That's crazy.
You're like King Solomon.
Oh? You pore over every cost, every dollar, and then you just decide who stays and who goes.
I don't decide, I just recommend.
I have some recommendations, too.
You do? I hate to say it, but not everyone pulls their weight on this ship.
Why don't you get another cup, Birdy? We'll talk.
(choir holds final note) (applause) (projector clicking) Thank you.
It's great, Monroe, but why are we here? Well, you're here because you're the five most important directors in town.
- (chuckles): Oh.
- And because you all know that it's not good for the business to have the same three companies gobbling up all the Oscars every year.
The public loved this picture, but we can't compete for votes with Metro, Columbia, and Warners.
We're not the machine they are.
But imagine a world where we could.
A world where all movies were equal.
It'd be better for all of us, don't you think? Not bad for you either.
(laughter) No no, it wouldn't be.
But one day you may want to break from Columbia, Frank.
Start your own studio.
When that day comes, wouldn't you want your films to compete with Louis Mayer's films solely on merit? We're just five people, Monroe.
But between you, you know every member in the Academy.
You might call them, encourage them to support us.
For the sake of competitive balance.
If you think the film is worthy.
- My God, you are good.
- (laughter) If I were that good, the five of you would all be making pictures here.
Will you help us? Please.
(choir holds final note) (applause) Thank you.
Thank you, gentlemen.
You're here because you're the five most important directors in town.
Hey, Sternberg! Hedda Hopper's column says that her favorite picture of the year is Anthony Adverse.
Anthony Adverse! Not one word about Angels.
So I call her to lay into her about welching on our deal.
She says you're the one who welched.
Stopped her from going to Ireland.
That's true.
I killed it.
Why the hell would you do that? It would have caused someone pain.
Instead, I'm the one in pain.
Is that better? I love her, Pat.
Fine.
But I own her.
For seven pictures worth, and she's gonna do whatever the hell I please! MARY: Mr.
Stahr, Miss Moore is here to sign her contract.
Thank you, Mary.
Send her in.
Hedda Hopper isn't the only arbiter of taste in this town, you know.
We were just talking about you.
I heard.
Mr.
Brady, I don't know whether to be flattered - or terrified.
- (chuckles): Well, you hang on to a bit of both, - we'll get along just fine.
- (laughs) Thought we might get a picture of the big moment.
Swell.
- BRADY: Thank you, Mary.
- Mm-hmm.
Allow me.
There we are.
There you are, sir.
My promise to work hard for Brady-American.
Well, that's just fine.
(Chuckles) Promises are precious things.
- MAN: Over here, please.
- (Kathleen clears throat) Big smiles now.
- Oh.
- (laughs) This lighting scheme will be all wrong.
Entirely.
Since when are we making a romantic comedy? You said you wanted shadows and light.
I said I wanted terror.
CELIA: It's lunchtime, Fritz.
LANG: We will work through lunch today.
I will say when it is time to eat.
Thank you, everybody.
That's lunch.
See you in an hour.
(door opens) What the hell do you think you're doing? Nobody gives orders on my set but me.
But this isn't your set.
It's mine.
Is that so? Mm-hmm.
You're just angry at me, aren't you, for my little presumption with you.
(laughs) That? That was a hundred years ago.
I barely remember it.
Would you come with me, please? What? Something I'd like to show you.
LANG: You wanted to show me a men's toilet? CELIA: I grew up on this lot.
Saw all kinds of things here.
You know what used to happen right behind that bathroom door? I can't imagine.
It's where Fred Astaire would go before shooting every dance number he ever did.
To throw up.
Yes.
How charming.
It was, actually.
In its own way.
See, he was terrified that he would fail.
Just like you're terrified.
Only difference is, you tend to throw up on other people, which seems ungenerous to me.
He'd walk out of that bathroom, and onto the stage, and give the world the finest dance numbers it will ever see.
Just like you're going to direct the best picture this studio has ever made.
Not despite your fear, but because of it.
Is it the language that's unnerving you? I'd certainly hate to have to direct a picture in German.
- But Fritz, you - 40 days.
Hmm? He gave me 40 days to direct a film that in Germany, I would have got 80 days to make.
- How can I do it? - You can.
And you will.
We'll do it together.
You are a child.
Maybe so.
But you don't see me throwing tantrums around the crew.
(car door closes) Miner.
I was just looking for you.
Oh? You know this man? (muffled grunting) He stole a struck from us.
No.
No, I don't.
He says you do.
He says you let him on the lot.
MINER: Sir.
You have to believe me, I didn't You didn't what? Think about the job Mr.
Brady had given you? Hmm? Think about your little brother and sister, and where they might live if you were sent off to some tiny cell? Please.
Please, I didn't I didn't know You let a stranger inside our gate, did you not? (sniffles) Yeah, I, uh Stop it, Miner.
Now, listen.
I'm not gonna squeal.
I'm just gonna put you to work.
I mean, real work.
W-What does that mean? It means you're no longer an office boy.
(exhales) Mm? Mary.
What is it? Mr.
Brady's on hold with the Academy.
The nominations.
They don't announce until 4:00.
It's Mr.
Capra himself.
All right.
Uh-huh.
Yes.
Thanks.
Capra? It was.
(exhales sharply) Angels got six nominations.
- Including Best Picture.
- (laughs) And Minna got one, too, for Downing Street.
Oh, my God.
Pat.
I can't decide who gets my first "go fuck yourself" call, Mayer or Hedda Hopper.
(Brady laughs) But it is momentous.
One day, when I'm less angry at you, we'll drink a toast or something.
We rise and fall together.
There you go again: False humility.
You ever gonna stop being Monroe Stahr? - You invented me, remember? - How can I forget? It'll probably be the first line in my obituary.
Saved me from a life in the circus.
Okay, give me a second.
I'm imagining you being eaten by lions.
I look forward to that drink.
BIRDY: Mr.
Brady's office.
(phones ringing) FELICITY: Mr.
Stahr's office.
Mr.
Brady's office.
(phones continue ringing) MARY: The whole world is calling to congratulate you, Mr.
Stahr.
(exhales) - Send them through.
- Yes, sir.
I was just thinking about when I started here.
Seven years ago.
You sat me down and you told me what you wanted this place to be.
The kind of pictures you wanted to make, what you wanted people to say about them.
And you did it.
Everything that you planned.
Not everything.
Not yet.
Mr.
Stahr.
There are too many bad days in this business not to celebrate the good ones.
You did it.
Thank you, Mary.
(knocking at door) Es tut mir leid.
Is that German for "I find jealousy unattractive"? It's German for "I am sorry.
" I should not have allowed that.
Good night, you two.
(door closes) And you? Where's my "es tut"? I don't apologize.
It's not in my nature.
Oh, Fritz.
Now I'm going to have to learn the German word for "asshole.
" By the way, I looked it up.
Fred Astaire never shot a picture on this lot.
Hmm.
(phone rings) This is Celia.
I'll be right there, Daddy.
(big band music playing) (laughs) (cork pops) Ooh! (all cheering) I'd like to thank you, all of you, for your loyalty, your hard work and your forgiveness.
Last week, Hedda Hopper said that we were the little studio that could.
Well, we could.
And today we did! - (whooping) - Hear, hear! And here's to Monroe, Master of the Reshoot.
Thank God.
Can I see you, Mr.
Brady? Kind of busy, Ringler.
Can it wait? No, I don't think so.
The board is awaiting my report, sir.
A little jitterbug looking for a place to jive.
So, how does it feel to be nominated? For a script I didn't write? Wonderful.
Now, George.
I left a lot of what you wrote in there.
(Laughs) And you know, Monroe never makes a movie from start to finish with just one writer.
Oh, God.
That mean I have to start looking over my shoulder? It is hell working for a guy who's smarter than his writers.
Monroe doesn't think he's smarter than we are, he just thinks our brains belong to him, because only he knows how to use them.
I would be lost without you.
I know that.
HACKETT: Jesus.
Maybe he will start a revolution.
"Ned.
"George Boxley.
Felicity.
" You don't think this is a bit draconian? I think it's generous.
You got me firing over 300 people and selling off my back lot.
Real estate in this city is beginning to show actual value.
It's not real estate, it's my lot, where I make my movies.
It's an asset, and you're in debt.
So you shoot everything on stages.
Some of the people on this list are in that very room, celebrating.
Didn't you slash their salaries just last week? It's not the same thing as firing them.
Just leave your goddamn list and get the hell out of my office.
("King Conga" by Dennis Farnon playing) (laughs) I almost forgot.
I got you something today.
(gasps) I should be getting you something.
No.
Open it.
Oh Oh! Oh, it's beautiful.
Next time you feel like all this is too much, or you're scared about anything at all, you just - (laughs) - and I'll come running.
Aw.
KAY: I think I'm gonna go home and sock my husband in the nose.
(woman squeals, laughs) No, thanks, Felicity.
You have it.
Still want me to find another business, Daddy? (Chuckles) Daddy? More than ever.
Ah! Rose? I see our parlor is almost a parlor again.
Yep.
Everything back to normal.
Thank you.
I appreciate you coming around on this one.
Hmm.
I started thinking about the sacrifice you'd be making, the, uh, crossword and all, and I just couldn't do it to you.
Got two huge pieces of news today.
She just left the hospital.
Just walked out.
She's a grown woman; It's her right.
Don't you want to hear about my day? It was a big one.
God, you don't see me at all.
Do you? I see you have all this.
And it's still not enough for you.
Would it be enough for you? No, but I'm a man.
Not that it matters, but I got seven Oscar nominations today.
And I was told I have to fire 300 people and sell off my back lot.
Congratulations.
And I'm sorry.
May you get all of the praise, and none of the blame.
That's it? (sighs) Do you need more? I thought you were a man.
(sighs) (knocks) Congratulations, Monroe.
Thanks, Tom.
Off to celebrate with your fiancée? Not that it's any of your concern.
Oh, it is my concern.
Now that she belongs to this studio, it's even very much my concern.
Hmm.
For instance, when she gets a bruise on her face and I know it didn't come from a piece of falling luggage, I have to investigate, you know? Want a laugh? (Chuckles) For a second, I thought maybe you hit her.
Huh.
But then I started having her followed.
Which turned out to be a good idea.
Know why? Maybe you should just get to the point.
'Cause she's with Rupert Vajna.
In his house.
My deputy just saw her go in.
Well, your deputy is wrong.
She doesn't even know Vajna.
I'm afraid she does.
I don't understand.
I wanted to be generous with you.
It's it's too generous.
My commission on your first month's salary should be Rupert, it is my first month's salary.
I asked for an advance.
It's also good-bye.
If you want another month, if you want another six months, you can have that, too.
But you and I are never going to see one another again.
Do you understand? Good-bye, huh? I'm sorry.
I love him.
I can't continue to live a lie.
You had nothing.
And I gave you everything.
I know.
Just take the money.
The money's not the point! Don't you have any feelings at all? Of course I do.
Or-or were you just conning me, - like you conned him? - No, no I was useful for a while, then it's, - "So long, sucker.
" - Rupert, please.
- Please, try to understand - Oh, no, no.
- Of course not! - No, no, please! - (yells) Ow! - Would you listen to me? - Aren't you listening to me? - Get off me! VAJNA: Where you going? (grunts) (necklace clatters) (Vajna grunts, Kathleen screams) (Kathleen groaning) - (choking) -What are you so scared of, kiddo? I would never let you go.
(chuckles) But maybe I should.
(Vajna groans) - (Kathleen yells) - Ah! Oh.
(panting) Kathleen! (with Irish accent): Monroe? STAHR: What the hell are you doing here? He attacked me.
Monroe, I'm gonna tell you everything.
But first, do you know that I love you? Do you know? Yes.
Okay.
(Panting and sniffling) Imagine a girl getting off a bus.
She wants to be an actress.
She meets a guy, a manager.
What? He used to work for Minna Davis, he says.
- Why are you talking like that? - He has an idea.
He says if she can do it, says if she can do an Irish accent (with American accent):he'll find her a job near Brady-American Studios, and and she'll catch the ear of the guy who runs it.
And he'll cast her.
(mumbles indistinctly) - And she'll survive.
- I need you to stop talking for a second.
It wasn't a very good plan, because Enough! Enough.
I fell in love with you.
It was all a lie.
No! No, just the voice.
Monroe, I came here tonight to tell him good-bye! Oh, I'm sorry.
- Don't.
Don't.
- Sorry.
Thank you for telling me.
- I'll see you on the set.
- No, please.
- Don't go.
Monroe! - What's there to stay for? I love you! - I love you.
- Let him go.
- Monroe.
Monroe.
- She's mine.
See? Good.
Good, you two deserve each other.
No, I don't want him, I want you! You cost me Minna! You're not gonna do it to me twice.
Well, congratulations.
Hell of a con.
- No, no.
- (chuckles) It was easy.
I just taught her an accent, you did the rest, as I knew you would.
I tried to warn you, honey, he didn't love you.
- He can't love anything.
- That's not true.
The nearest he ever came to it was Minna, and he killed her.
You son of a bitch! (Kathleen gasps) (both grunting) Monroe, he's crazy! KATHLEEN: No! - Oh! - (Kathleen screams) STAHR: No! (both panting) And you are actually from? (softly): Wisconsin.
I have to make a phone call.
(Kathleen crying) (whimpers) (door opens, closes) (footfalls approaching) This never happened.
Neither of you were ever here.
Now let me do my work.
(bag drops on floor) No one can know, Tom.
No one.
SZEP: As I said, it never happened.
He will disappear tonight.
Now go, both of you.
Separately.
(door opens) (door closes) Go.
(door opens, closes)
Any comments you wanted me to pass along to Mr.
Stahr? Yes.
Tell him I think his director is a putz.
I know you don't know what that means, - but he will.
- I know what it means.
Will that be all? Yes.
Thank you, Felicity.
Mr.
Brady? Yes? Martin Ringler.
Your board sent me to look at your books.
Why would they do that? Well, not to put too fine a point on it, sir, but they claim you've put the studio in arrears.
Is that right? A loan from Mr.
Mayer, paid back with interest pre-term.
Salaries cut, then restored.
How much do you weigh? - Sir? - You like numbers, give me one.
140 pounds.
Soaking wet.
Now get out of here before I snap you in two.
Mr.
Brady, I have a letter here from your board ordering you to furnish said investigator with any records or files he might require.
"Investigator"? Yes, sir.
I'm a forensic accountant.
I review your books, then present the board with my recommendations.
I don't need any recommendations.
We have a cash flow problem at present.
So we spend less.
Where shall I set myself up, sir? You know, you can stop staring at it.
- (chuckles) - It won't disappear.
Brought you some cheaters.
Oh.
You're going to be bathed in jewels.
Maybe a car, too.
Oh, and, of course, your luggage-hauling days are over.
It's strictly porters and staff from here on out.
So I'm royalty now? At Brady-American, you are.
A marriage contract? Of sorts.
Your seven-picture deal.
Pat's idea.
Seven? Oh, my goodness.
How sexy.
(Chuckles) Which page do I sign? You might want to read it first.
With your lawyer.
- I don't have a lawyer.
- I'll get you one.
And we shouldn't discuss this again until he's weighed in.
You and I are now adversaries in a business negotiation.
Technically.
You saying I can't trust you? Look, it's my job to exploit you.
Okay, movie man exploit me.
(Kathleen moans softly) CHOIR: Christmas is here (choir holds final note) What a picture.
Wonderful.
Charming.
Leslie Reeves was an inspired choice.
What made you think of him? Well, ask Pat.
This was his baby.
- HOPPER: Is that so? - It sure was.
I didn't even see any rushes.
We're glad you liked the picture, Hedda.
But it's an underdog, like we are.
The same three studios getting all the nominations every year.
Angels needs a champion.
That's sweet.
The little studio that could.
So, I write a column fawning all over it, saying that it's my favorite picture of the year infuriating Louis Mayer, Jack Warner, and Harry Cohn.
And I get what? Well, the satisfaction of praising a picture that actually deserves it.
Mm.
Or, maybe, the story behind the walkout that your employees just staged? That that was no walkout.
A payroll guy lost some salary checks.
It created a minor stir, but we fixed it in a jiffy and everybody went back to work.
Hmm.
Except for the payroll guy, I assume.
(chuckles): No, no, we kept him on, too.
Everyone's entitled to a mistake.
Ah.
Well, then you and I are - one exclusive shy of a deal.
- BRADY: Oh Monroe what about your fiancée? An unknown offered a lead in your next picture? Who is she? What was her childhood like? - Her family? - I'd kind of like to know that, too.
HOPPER: I want to profile her, with pictures, of course.
Go back to her hometown in Ireland, the house she grew up in, her parents.
My readers love all that, especially if it's humble.
Humble does sell.
- HOPPER: Yes.
- Her father passed away.
And her mother? Good.
Can I count on the studio to arrange it all for me? And when I say "arrange," I do mean "pay for.
" (chuckles): Yeah.
Then consider Angels plugged.
Hmm.
(Brady clears throat) You know, new rule: Let's stop with the false humility bit.
"It was Pat's baby.
" It's irritating as hell.
My intention was to give you the credit.
See what it cost us, this little stunt your writers pulled by walking out? An embarrassment to the whole studio.
It wasn't little, and it wasn't a stunt.
And then they blab it all over town.
I am happy to indulge this as soon as you tell me how that'll get us closer to an Oscar.
You giving me dialogue notes now? CELIA: Where is Mr.
Lang? Fritz, it's the speech you asked for yesterday.
Mm, mm, mm, mm, mm, mm, mm, mm, mm, I asked you for life.
You give me words.
- CELIA: Fritz, is there - Don't interrupt me! This scheisse might be good enough for Monroe, but it's not cinema! Is there a reason our art director - just drove off our lot? - Yes, there is a reason.
Because I fired him after he defiled me on the look for the staircase.
It's "defied.
" And you can't, he's under contract.
Oh, I can't? I can't? Really? Then please, by all means, please, bring him back.
And I will just put a title card in front of every scene in the picture saying, "This offensive and lifeless set" was not approved by the picture's director.
" This is what I get for having someone's daughter as my producer.
If you tell me when something's troubling you, - I can fix it, but I can't - You know what you can fix for me? Coffee, black, no sugar.
WOMAN: Yes sir, I'm on my way! How's the set looking, Celia? Hi, Monroe.
Lang living up to his reputation? He's all bark.
You want me to talk to him? No, no, I'm taking care of it.
Anything at all I can do? Yes.
You can find a new art director.
This one was subpar.
Attagirl.
(car engine idling) (car door closes) (car drives off) Rupert? VAJNA: I'm up here.
(scoffs) You said it was an emergency.
It is.
I got you something.
I didn't want to die without giving it to you.
It's my apology.
I don't want one.
I don't want anything from you.
You won't even open it? Rupert, you hit me.
I know.
I'm sorry.
It'll never happen again.
I got jealous, kiddo, of you and him.
Dumb, right? I guess somewhere deep down I always hoped we'd I don't know.
Please? Just open it? 'Member? Your first week here? I pointed to that sign and I said, "If you do like I ask, one day, you'll have all Hollywood in your hands.
" And now you do.
Seven pictures.
I know, I know, you love him.
I just don't want you to hate me.
This should be the fun part.
Yeah.
Fun.
Right on time.
Actually, I need a few more weeks.
Mister, we were robbed.
That's rough, but that's not my problem.
Tramp jumped me, took every penny.
And I get stiffed? Swell? I'm prepared for any consequences that you want to give me.
Give me a little credit.
I'm a businessman, I'm not an animal.
I'll tell you what, I give you a little more time, if you do me a favor.
My brother-in-law, big pictures fan.
Maybe you sneak him on the lot, show him around a little bit, let him take some pictures.
Uh I don't know, uh Th-They got rules about that.
30 minutes, then he's gone, and I'll give you a month to get back on your feet, with interest, of course.
Now, I ask you, would an animal make you an offer that fair? Good evening, John.
- I appreciated the extra day.
- That's fine, fine.
- You keep working hard.
- Sure will.
LANG: Wir zeigen wie echtes Bier schmek, neh? Hier pissen sie in eine Flasche und hangen eine Schleife drum! Oh.
Heil, Fritz.
Hi, Hannah.
Aubrey, I just dropped by to see how you were coming along with the notes I had given you.
Swell.
I understand almost half of them.
And then we found this deck of cards, and one thing led to another.
Another what? It's a wonderful game.
I can show you.
Yeah, many tricks to it.
It's very Bavarian in that way.
It's called Schapfkopf.
Why is it that every German word winds up sounding like a new means of killing someone? Well, I will take my leave.
Perhaps we will finish our game another time, Hannah, yeah? (pop music playing on radio) (sighs) Maybe he didn't come here to talk about notes after all.
That was very embarrassing.
Look, Hannah, you're beautiful.
And I expect men to flirt with you.
But, please, anybody but him.
He's just lonely.
I understand that.
He's a monster.
And he's my boss.
Is that why I came all this way? To be told who not to talk to? Look, this this lot is teeming with German émigrés.
Ju-Just pick another one.
You're being ridiculous.
Then let me be ridiculous, just about this one thing please.
It was just a friendly card game.
Not the way he plays it.
This is the back lot.
Now, this New York Street, this used to be a, uh, a Hooverville.
- Homes everywhere.
- JAMEY: Huh.
Whoa! Take your life in your hands walking around this place.
My my.
(exhales) - The don't make 'em like that in Missouri.
- Yeah.
You a fan of Margo Taft? She's shooting on Stage 6, and if you're lucky, you might see her walking from the stage to her trailer.
Sure.
Say, is there a john nearby? Yes, it's right over there.
Hey, listen, if anybody stops you, asks what you're doing here, just say you were making a delivery, and you got lost on your way out, okay? Delivery.
Got lost.
Check.
- (bicycle bell ringing) - BIRDY: Max! Where have you been? I've been looking all over the lot for you.
Mr.
Brady wants to see you.
Uh yeah, I was just, uh What was this about? What difference does it make? He wants to see you.
Now.
Yeah, yeah.
I'll be right along.
I just, uh uh, I had to deliver a message for Mr.
Stahr, so, uh I'll get back to the office as soon as it's done, okay? Make sure you do.
Hey! MAN: Slow it down.
Turn now.
What the hell is this? It's for Kitty.
Hospital's releasing her tomorrow.
So she's staying here, in our parlor? I want her right outside the bedroom in case of an emergency.
If there's an emergency, she should be somewhere else.
Pat, they were gonna send her to the west side shelter.
Because she's sick, isn't she? I want to take care of her.
She needs looking after.
But this is where I do my crossword puzzle.
(Rose sighs) Oh, the hell with it.
I'll do my crossword on the john.
Mm.
Thank you, darling.
- That's heroic of you.
- Mm-hmm.
(Rose humming) (waves crashing) Three, four.
Uh-oh.
- Getting closer to "Home.
" - (Kathleen laughs) - Oh.
- What? - Sorry.
- Ah - (Kathleen chuckles) - You don't look it.
- Boop.
- No Back to "Start.
" You know, I think you'd be a wonderful actor.
- Me? - Yeah.
They're all so afraid of you on the lot.
Here, you're like a lamb.
One side must be pretend.
A person can't be more than one thing? I suppose.
(sighs): Sometimes, I'm afraid, too.
Of what? The movie.
Success.
I'm worried that, uh, something might come between us.
That could never happen.
I'm going to make some tea.
Would you like some? No.
Tea is the past.
I want a hamburger.
(laughs) I almost forgot.
Hedda Hopper wants an exclusive with you.
- Oh - And your mother.
She's flying a whole team to Ireland for photos of your hometown, all of it.
Wait, you didn't say yes, did you? We love the idea.
No.
No, you have to kill it.
Why? Because it can't happen.
They're my family.
They don't belong to a bunch of grubby-nosed movie fans.
All stars have to do this kind of thing.
It's just part of the job.
- It could be good for you.
- No.
No.
It would be terrible for me, Monroe.
You wouldn't like what you saw.
What would I see? (sighs) I don't know how to How ugly do you want it? The drunk mother? The hoodlum cousins? The uncle that's in jail? I mean, I don't talk to them.
Any of them.
It's part of the reason I was running away.
Please, Monroe, don't make me do this.
I'm begging you.
Okay.
I'll kill it.
(sighs) Thank you.
You could have told me all this.
There shouldn't be any secrets between us.
I don't know, I guess it was just shame, or something.
(sniffles) I think I will take that cup of tea now.
Okay.
(sighs) Thought this was your day off.
It is.
I've come to take her home.
Where is she? Darned if I know.
Desk said she left last night.
What do you mean left? Took her things and went.
Well, how can they let her do that? I don't know.
I'll check her chart.
If you need any more files, please be sure to see me about it.
When things don't go through my desk, they often get fouled up.
It's so interesting, what you do.
Most people don't think so.
That's crazy.
You're like King Solomon.
Oh? You pore over every cost, every dollar, and then you just decide who stays and who goes.
I don't decide, I just recommend.
I have some recommendations, too.
You do? I hate to say it, but not everyone pulls their weight on this ship.
Why don't you get another cup, Birdy? We'll talk.
(choir holds final note) (applause) (projector clicking) Thank you.
It's great, Monroe, but why are we here? Well, you're here because you're the five most important directors in town.
- (chuckles): Oh.
- And because you all know that it's not good for the business to have the same three companies gobbling up all the Oscars every year.
The public loved this picture, but we can't compete for votes with Metro, Columbia, and Warners.
We're not the machine they are.
But imagine a world where we could.
A world where all movies were equal.
It'd be better for all of us, don't you think? Not bad for you either.
(laughter) No no, it wouldn't be.
But one day you may want to break from Columbia, Frank.
Start your own studio.
When that day comes, wouldn't you want your films to compete with Louis Mayer's films solely on merit? We're just five people, Monroe.
But between you, you know every member in the Academy.
You might call them, encourage them to support us.
For the sake of competitive balance.
If you think the film is worthy.
- My God, you are good.
- (laughter) If I were that good, the five of you would all be making pictures here.
Will you help us? Please.
(choir holds final note) (applause) Thank you.
Thank you, gentlemen.
You're here because you're the five most important directors in town.
Hey, Sternberg! Hedda Hopper's column says that her favorite picture of the year is Anthony Adverse.
Anthony Adverse! Not one word about Angels.
So I call her to lay into her about welching on our deal.
She says you're the one who welched.
Stopped her from going to Ireland.
That's true.
I killed it.
Why the hell would you do that? It would have caused someone pain.
Instead, I'm the one in pain.
Is that better? I love her, Pat.
Fine.
But I own her.
For seven pictures worth, and she's gonna do whatever the hell I please! MARY: Mr.
Stahr, Miss Moore is here to sign her contract.
Thank you, Mary.
Send her in.
Hedda Hopper isn't the only arbiter of taste in this town, you know.
We were just talking about you.
I heard.
Mr.
Brady, I don't know whether to be flattered - or terrified.
- (chuckles): Well, you hang on to a bit of both, - we'll get along just fine.
- (laughs) Thought we might get a picture of the big moment.
Swell.
- BRADY: Thank you, Mary.
- Mm-hmm.
Allow me.
There we are.
There you are, sir.
My promise to work hard for Brady-American.
Well, that's just fine.
(Chuckles) Promises are precious things.
- MAN: Over here, please.
- (Kathleen clears throat) Big smiles now.
- Oh.
- (laughs) This lighting scheme will be all wrong.
Entirely.
Since when are we making a romantic comedy? You said you wanted shadows and light.
I said I wanted terror.
CELIA: It's lunchtime, Fritz.
LANG: We will work through lunch today.
I will say when it is time to eat.
Thank you, everybody.
That's lunch.
See you in an hour.
(door opens) What the hell do you think you're doing? Nobody gives orders on my set but me.
But this isn't your set.
It's mine.
Is that so? Mm-hmm.
You're just angry at me, aren't you, for my little presumption with you.
(laughs) That? That was a hundred years ago.
I barely remember it.
Would you come with me, please? What? Something I'd like to show you.
LANG: You wanted to show me a men's toilet? CELIA: I grew up on this lot.
Saw all kinds of things here.
You know what used to happen right behind that bathroom door? I can't imagine.
It's where Fred Astaire would go before shooting every dance number he ever did.
To throw up.
Yes.
How charming.
It was, actually.
In its own way.
See, he was terrified that he would fail.
Just like you're terrified.
Only difference is, you tend to throw up on other people, which seems ungenerous to me.
He'd walk out of that bathroom, and onto the stage, and give the world the finest dance numbers it will ever see.
Just like you're going to direct the best picture this studio has ever made.
Not despite your fear, but because of it.
Is it the language that's unnerving you? I'd certainly hate to have to direct a picture in German.
- But Fritz, you - 40 days.
Hmm? He gave me 40 days to direct a film that in Germany, I would have got 80 days to make.
- How can I do it? - You can.
And you will.
We'll do it together.
You are a child.
Maybe so.
But you don't see me throwing tantrums around the crew.
(car door closes) Miner.
I was just looking for you.
Oh? You know this man? (muffled grunting) He stole a struck from us.
No.
No, I don't.
He says you do.
He says you let him on the lot.
MINER: Sir.
You have to believe me, I didn't You didn't what? Think about the job Mr.
Brady had given you? Hmm? Think about your little brother and sister, and where they might live if you were sent off to some tiny cell? Please.
Please, I didn't I didn't know You let a stranger inside our gate, did you not? (sniffles) Yeah, I, uh Stop it, Miner.
Now, listen.
I'm not gonna squeal.
I'm just gonna put you to work.
I mean, real work.
W-What does that mean? It means you're no longer an office boy.
(exhales) Mm? Mary.
What is it? Mr.
Brady's on hold with the Academy.
The nominations.
They don't announce until 4:00.
It's Mr.
Capra himself.
All right.
Uh-huh.
Yes.
Thanks.
Capra? It was.
(exhales sharply) Angels got six nominations.
- Including Best Picture.
- (laughs) And Minna got one, too, for Downing Street.
Oh, my God.
Pat.
I can't decide who gets my first "go fuck yourself" call, Mayer or Hedda Hopper.
(Brady laughs) But it is momentous.
One day, when I'm less angry at you, we'll drink a toast or something.
We rise and fall together.
There you go again: False humility.
You ever gonna stop being Monroe Stahr? - You invented me, remember? - How can I forget? It'll probably be the first line in my obituary.
Saved me from a life in the circus.
Okay, give me a second.
I'm imagining you being eaten by lions.
I look forward to that drink.
BIRDY: Mr.
Brady's office.
(phones ringing) FELICITY: Mr.
Stahr's office.
Mr.
Brady's office.
(phones continue ringing) MARY: The whole world is calling to congratulate you, Mr.
Stahr.
(exhales) - Send them through.
- Yes, sir.
I was just thinking about when I started here.
Seven years ago.
You sat me down and you told me what you wanted this place to be.
The kind of pictures you wanted to make, what you wanted people to say about them.
And you did it.
Everything that you planned.
Not everything.
Not yet.
Mr.
Stahr.
There are too many bad days in this business not to celebrate the good ones.
You did it.
Thank you, Mary.
(knocking at door) Es tut mir leid.
Is that German for "I find jealousy unattractive"? It's German for "I am sorry.
" I should not have allowed that.
Good night, you two.
(door closes) And you? Where's my "es tut"? I don't apologize.
It's not in my nature.
Oh, Fritz.
Now I'm going to have to learn the German word for "asshole.
" By the way, I looked it up.
Fred Astaire never shot a picture on this lot.
Hmm.
(phone rings) This is Celia.
I'll be right there, Daddy.
(big band music playing) (laughs) (cork pops) Ooh! (all cheering) I'd like to thank you, all of you, for your loyalty, your hard work and your forgiveness.
Last week, Hedda Hopper said that we were the little studio that could.
Well, we could.
And today we did! - (whooping) - Hear, hear! And here's to Monroe, Master of the Reshoot.
Thank God.
Can I see you, Mr.
Brady? Kind of busy, Ringler.
Can it wait? No, I don't think so.
The board is awaiting my report, sir.
A little jitterbug looking for a place to jive.
So, how does it feel to be nominated? For a script I didn't write? Wonderful.
Now, George.
I left a lot of what you wrote in there.
(Laughs) And you know, Monroe never makes a movie from start to finish with just one writer.
Oh, God.
That mean I have to start looking over my shoulder? It is hell working for a guy who's smarter than his writers.
Monroe doesn't think he's smarter than we are, he just thinks our brains belong to him, because only he knows how to use them.
I would be lost without you.
I know that.
HACKETT: Jesus.
Maybe he will start a revolution.
"Ned.
"George Boxley.
Felicity.
" You don't think this is a bit draconian? I think it's generous.
You got me firing over 300 people and selling off my back lot.
Real estate in this city is beginning to show actual value.
It's not real estate, it's my lot, where I make my movies.
It's an asset, and you're in debt.
So you shoot everything on stages.
Some of the people on this list are in that very room, celebrating.
Didn't you slash their salaries just last week? It's not the same thing as firing them.
Just leave your goddamn list and get the hell out of my office.
("King Conga" by Dennis Farnon playing) (laughs) I almost forgot.
I got you something today.
(gasps) I should be getting you something.
No.
Open it.
Oh Oh! Oh, it's beautiful.
Next time you feel like all this is too much, or you're scared about anything at all, you just - (laughs) - and I'll come running.
Aw.
KAY: I think I'm gonna go home and sock my husband in the nose.
(woman squeals, laughs) No, thanks, Felicity.
You have it.
Still want me to find another business, Daddy? (Chuckles) Daddy? More than ever.
Ah! Rose? I see our parlor is almost a parlor again.
Yep.
Everything back to normal.
Thank you.
I appreciate you coming around on this one.
Hmm.
I started thinking about the sacrifice you'd be making, the, uh, crossword and all, and I just couldn't do it to you.
Got two huge pieces of news today.
She just left the hospital.
Just walked out.
She's a grown woman; It's her right.
Don't you want to hear about my day? It was a big one.
God, you don't see me at all.
Do you? I see you have all this.
And it's still not enough for you.
Would it be enough for you? No, but I'm a man.
Not that it matters, but I got seven Oscar nominations today.
And I was told I have to fire 300 people and sell off my back lot.
Congratulations.
And I'm sorry.
May you get all of the praise, and none of the blame.
That's it? (sighs) Do you need more? I thought you were a man.
(sighs) (knocks) Congratulations, Monroe.
Thanks, Tom.
Off to celebrate with your fiancée? Not that it's any of your concern.
Oh, it is my concern.
Now that she belongs to this studio, it's even very much my concern.
Hmm.
For instance, when she gets a bruise on her face and I know it didn't come from a piece of falling luggage, I have to investigate, you know? Want a laugh? (Chuckles) For a second, I thought maybe you hit her.
Huh.
But then I started having her followed.
Which turned out to be a good idea.
Know why? Maybe you should just get to the point.
'Cause she's with Rupert Vajna.
In his house.
My deputy just saw her go in.
Well, your deputy is wrong.
She doesn't even know Vajna.
I'm afraid she does.
I don't understand.
I wanted to be generous with you.
It's it's too generous.
My commission on your first month's salary should be Rupert, it is my first month's salary.
I asked for an advance.
It's also good-bye.
If you want another month, if you want another six months, you can have that, too.
But you and I are never going to see one another again.
Do you understand? Good-bye, huh? I'm sorry.
I love him.
I can't continue to live a lie.
You had nothing.
And I gave you everything.
I know.
Just take the money.
The money's not the point! Don't you have any feelings at all? Of course I do.
Or-or were you just conning me, - like you conned him? - No, no I was useful for a while, then it's, - "So long, sucker.
" - Rupert, please.
- Please, try to understand - Oh, no, no.
- Of course not! - No, no, please! - (yells) Ow! - Would you listen to me? - Aren't you listening to me? - Get off me! VAJNA: Where you going? (grunts) (necklace clatters) (Vajna grunts, Kathleen screams) (Kathleen groaning) - (choking) -What are you so scared of, kiddo? I would never let you go.
(chuckles) But maybe I should.
(Vajna groans) - (Kathleen yells) - Ah! Oh.
(panting) Kathleen! (with Irish accent): Monroe? STAHR: What the hell are you doing here? He attacked me.
Monroe, I'm gonna tell you everything.
But first, do you know that I love you? Do you know? Yes.
Okay.
(Panting and sniffling) Imagine a girl getting off a bus.
She wants to be an actress.
She meets a guy, a manager.
What? He used to work for Minna Davis, he says.
- Why are you talking like that? - He has an idea.
He says if she can do it, says if she can do an Irish accent (with American accent):he'll find her a job near Brady-American Studios, and and she'll catch the ear of the guy who runs it.
And he'll cast her.
(mumbles indistinctly) - And she'll survive.
- I need you to stop talking for a second.
It wasn't a very good plan, because Enough! Enough.
I fell in love with you.
It was all a lie.
No! No, just the voice.
Monroe, I came here tonight to tell him good-bye! Oh, I'm sorry.
- Don't.
Don't.
- Sorry.
Thank you for telling me.
- I'll see you on the set.
- No, please.
- Don't go.
Monroe! - What's there to stay for? I love you! - I love you.
- Let him go.
- Monroe.
Monroe.
- She's mine.
See? Good.
Good, you two deserve each other.
No, I don't want him, I want you! You cost me Minna! You're not gonna do it to me twice.
Well, congratulations.
Hell of a con.
- No, no.
- (chuckles) It was easy.
I just taught her an accent, you did the rest, as I knew you would.
I tried to warn you, honey, he didn't love you.
- He can't love anything.
- That's not true.
The nearest he ever came to it was Minna, and he killed her.
You son of a bitch! (Kathleen gasps) (both grunting) Monroe, he's crazy! KATHLEEN: No! - Oh! - (Kathleen screams) STAHR: No! (both panting) And you are actually from? (softly): Wisconsin.
I have to make a phone call.
(Kathleen crying) (whimpers) (door opens, closes) (footfalls approaching) This never happened.
Neither of you were ever here.
Now let me do my work.
(bag drops on floor) No one can know, Tom.
No one.
SZEP: As I said, it never happened.
He will disappear tonight.
Now go, both of you.
Separately.
(door opens) (door closes) Go.
(door opens, closes)