The Last Tycoon (2016) s01e09 Episode Script

1 (projector clicking) STAHR: The betrayal, all of it becomes too much for him.
He-he hits the man, sends him flying back against the wall.
The man recovers, lunges, and in a split second it's over.
He he stands at the top of the stairs with this woman he thought he knew who he was sure would save him.
He looks over the railing and, uh, on the floor, far below them the body lies motionless.
Dead.
So it's a tragedy.
What happens next? I don't know.
This script isn't finished yet.
What do you think should happen? You asking me for story advice? I guess I am.
Then I don't know.
You and I want different things.
You believe in drama.
I've seen too much of it.
I believe in forgiveness.
(grunting) Okay, now I'm warm.
You ready? All right, hit it, Chuck.
- (piano music playing) - Here we go.
One, two, three, four, and one, two double time.
And uh, uh, uh, uh, uh.
Yeah! - All right, hold it, Chuck.
- (music stops) Now, now, we're gonna do flap, okay.
Real simple, remember? Ah-ah, ah-ah.
Flap, flap, flap.
Twice as fast.
Ah-ah.
Yeah.
Yee-haw.
(laughs) Oh, yeah, oh, yeah.
Come on.
Smile.
It's all an illusion, but it's a good one.
Life ain't nothin' but a song and a dance.
I'm sorry.
I'm-I'm not a dancer.
Mr.
Brady, I'm not a dancer.
Neither was Ruby Keeler until Les here got ahold of her.
You're gonna be a movie star, Kathleen, just like she is.
My movie star.
Work her hard, Les, but not too hard.
She's got an engagement party tonight.
Yes, sir, Mr.
Brady.
Thanks, Mr.
Brady.
My pleasure.
Smile, Kathleen.
(Brady laughs) All right, here we go.
And five (knock at door) SZEP: Last night, it was an education, yes, Mr.
Miner? Yes.
Three people went into that house, only two came out.
I know you know why.
Good.
Silence is good.
Silence keeps you alive.
Now, movies and movie stars, they all require a certain illusion.
It's what I do.
An actress has too much to drink, gets in her car, drives on the wrong side of the road, killing two people.
Someone has to pay.
So an extra confesses to the crime.
In exchange, we provide for his family forever.
Hollywood.
Now that will be your work, too.
Just so you know, I made a mistake.
Trusting someone.
I didn't do anything wrong.
And that matters how? It matters to me.
I would never steal from Mr.
Brady.
You can ask Mr.
Dummit.
Hmm.
There is no more Mr.
Dummit.
You hobnobbing tonight, huh, Max? It's rented.
And that swanky new ring rented, too? I just bought it.
I've been saving up.
Oh, yeah? I've been saving, too.
A quarter a week.
For what? Headshots.
You gave me enough for photography, but got to pay for printing, too.
Keep your quarters.
I feel like I'm gonna be sick.
Are you never speaking to me again? I have things I need to say to you.
Can we just make our excuses, and We're not doing anything different today because nothing happened last night.
Remember? Which means no one has any reason to ask any questions.
That won't bring him back.
Kathleen.
I know how to behave.
(scoffs) (sighs) Can you help me, please? My earring, it's-it's-it's caught.
(whispering): I really do love you.
Please, Monroe.
You have to believe me.
From now on, it's easier for me to assume that everything is a lie.
Don't forget your accent.
(sighs) (jaunty music plays) (indistinct chatter, laughter) It was his mother's.
Oh, isn't that romantic? It was his mother's.
My jeweler is going to have a heart attack.
Everyone will be demanding a tiny diamond this year.
(women chuckle) Thank you.
Thank you very much.
MAN: And what do you do, sir? I work for Mr.
Stahr.
He's really Monroe's right hand, at this point.
Oh, good catch, Celia.
I'll be looking out for you, young man.
Well, thank you, sir.
So what made you decide against office boy - from Evening Shade, Oklahoma? - I don't know.
Call it intuition.
You want to meet Clark Gable? Jean Harlow.
Clark Gable.
Swell party, huh? Yeah.
I've been wracking my brain about what to get you for your engagement.
You're not an easy person to buy things for, the man who has everything he wants.
And then it hit me.
Rose, you don't have to g Be happy.
You, too.
KAY: He seems happy.
BOXLEY: That could be good for us.
- HACKETT: Mmm.
- Remember how pleasant it was after he first met Minna? Yeah, some mornings he wouldn't even come in before 7:00.
It was like Christmas every day.
There were a few months there where he actually liked what I wrote.
- (laughs) -I didn't get fired from a single project that entire summer.
- I started writing poetry.
- Oh To honeymoons.
May they last forever.
Amen.
Congratulations, Monroe.
- Oh, thank you.
- Oh It's lovely not wanting to slap you in the face anymore.
(both laugh) And you've been really kind to me these last few months.
And we're family, right? Yes.
What? (glasses clinking) If I may beg your indulgence, I'd like to say a few words.
For my wife, my daughter but also for myself.
If life had given me a son, I couldn't feel more love or pride than I do today.
Of course, Monroe is more than a son.
He's also my partner.
And if the fates are kind, in a couple of days, he and I will be holding an Oscar in our hands.
(laughs) - Hear, hear! - (applause) Sorry, Joe.
Sorry, Sam.
Today, all that Monroe holds is the hand of Kathleen Moore.
And that makes this a family affair, because Kathleen Moore is the future of our studio.
Rose, Celia and I love you both.
Thank you, Pat.
BRADY: To Kathleen and Monroe.
- Hear, hear! - (applause) - Speech! - Mmm.
Speech, come on.
Come on up here.
- Come on.
Come on, Monroe.
- ROSE: Speech! - BRADY: Speech! - (woman whoops) (murmuring quiets) Thank you.
Huh.
(Clears throat) Thank you.
Thank you, Pat.
And Rose.
Uh, first off, for giving us Celia.
Fair warning: All of us will be working for this young lady one day.
BRADY: You can say that again.
STAHR: Thank you for this evening and and for being like a family to me.
I love you all, very much.
As for my wife-to-be she knows how I feel about her.
(chuckles) So, instead of boring you with talk, I'll thank you all for celebrating with us and leave you to enjoy this wonderful party.
Please.
Hear, hear.
(all cheering) (upbeat piano music plays) (indistinct chatter) BRADY: Got something for you.
For you and Kathleen.
An early wedding gift, a crossing on the Queen Mary.
Then, two weeks cruising the Mediterranean.
(laughs): The works.
Pat, this is very generous, but we can't.
We have Enemy to shoot and after that You'll have time.
I don't understand.
These are also something of a consolation prize.
I've decided to pull the plug on Enemy.
No.
No.
You can't do that.
That's mine.
We're overextended.
Then kill Sally Sweet.
Sally Sweet is a gold mine.
Enemy is our most expensive picture and our biggest risk.
You gave me a blank check.
You.
Yes, I did.
And now, I'm tearing it up.
I got you everything you wanted.
I got you respect.
An Academy Award nomination, maybe even the award itself.
And I put my name on none of it! Why why would you turn on me now? I'm not turning on you, Monroe.
I'm just doing my job.
(scoffs) I have an offer from Mayer to take Thalberg's job.
I'm going to say yes.
I don't think so.
Maybe a couple of days ago, but not today.
I'm sorry? Two days ago, you were a killer, just like the rest of us.
Today (sighs) you're an actual murderer.
I don't think Mayer's gonna want any part of that.
Or any other studio, for that matter.
You do know you can't ever take this back.
My God, Pat.
My God.
(upbeat jazz music playing) STAHL (quietly): Excuse me.
We're leaving.
What happened? You can say your thank-yous another day.
Oh, excuse me.
CELIA: What's wrong? Ask your father.
- (song concludes) - (cheering) (door bursts open) CELIA: How could you do this to me? BRADY: I'm not doing this to you.
I'm doing it for the good of the studio.
We cannot afford this picture.
CELIA: All of a sudden? If you were any other producer on the lot, I'd be doing the same thing.
I do not make business decisions based on family.
Why not? Why not? Why doesn't it count that I'm your daughter? This movie means everything to me.
And it matters.
It-it actually matters.
They all matter.
What did Monroe say? He took it like an adult.
CELIA: I don't believe that.
Enemy was his baby.
And Kathleen's.
BRADY: You don't know everything.
You're 19 and you may think you do, but there are some things you do not know.
I know about you.
(sighs) What? You shouldn't have done that, Pat.
You're supposed to take care of your daughter.
And your partner.
And when the studio goes under? And you and our daughter and my partner are all out on the street And this was your only option? The only way to save the studio? BRADY: It was the best way.
Really? It wasn't just cruelty? Everything you have, everything I built.
I did.
Not him.
Not you.
Me.
I took the chances, I bore the risks.
Who ever said different, Pat? Who ever said different? Everybody! Every goddamn day.
Do you have any idea what it's like not being the hero of your own life story? Pat, I've known that my whole life.
Every woman has.
Don't you want better than that for our daughter? Never mind.
Forget it.
What is it you want from me? Respect! Tomorrow, she goes back to Bennington.
And you start acting like a magnate's wife.
No more creeping around hospitals looking for mercy cases.
There's nothing wrong with dinner parties and charity balls and country clubs! Or Mahjong! I want a wife! You want a wife? Yes.
Good.
Go find one.
What's that supposed to mean? It means I'm kicking you out.
(zipper opens) You can't do that.
Oh, yes, I can.
You're just upset about this woman walking out on you.
Kitty.
Her name is Kitty.
And she disappeared.
And I am disappearing.
I want you to pack your things and go.
KATHLEEN: I can do that.
You can stay at the house in town.
No one will ask questions.
I'll stop by periodically to make a show of it.
Hollywood's used to sham marriages.
They're good for business.
After a year or so, you'll have made a few pictures.
Not Enemy, but We can split without too much damage.
(cries) Tell the world the sad story of how we've grown apart.
Until then, I'd prefer not to see your face when I don't have to.
You have to listen to me.
I was starving.
I needed a job.
I didn't expect To what? To fall in love? No.
Of course not.
Only I was supposed to do that.
Say "Rathgar.
Do you know it?" In that brogue of yours.
Say it, Kathleen.
Say it! (softly): Rathgar.
Do you know it? What an actress.
I don't know what to do.
Monroe, I'll tear up my contract.
How do I make it better? I'll get on a bus, I'll go back to Wisconsin.
Pat is never going to let you go.
You're a commodity now.
We're shackled together.
You and me and Pat Brady, in a very small room.
It's windy tonight.
Make sure you shut the door when you leave.
(whispers): Yeah.
- Monroe.
- For God's sake, Kathleen.
He never wanted me to be a producer.
Never.
I think he was just jealous I was making a movie with Monroe.
I really hate him, I do.
- No, you don't - Yes.
I do.
Maybe talk to him in the morning.
Things are always better in the morning.
There's no point.
Nothing matters to him but business.
People don't matter.
Well, now, I know that that's not true.
I could tell you things.
Stories about people he's destroyed, or stolen from.
I always excused it because he came from nothing.
Everything he got he had to take for himself.
But that's my father.
Life is one endless battle for him.
If you're not winning, you're losing, if you're not killing something, it's killing you.
How can I help you? What can I do? Oh.
Let me stay with you? So I don't have to go back to that house? There'll be other pictures, Fritz.
HACKETT: Other pictures? Sure.
Fritz and I can always make the next Sally Sweet musical.
I should have known.
Hollywood is a fucking wasteland.
Snakes selling snakes to snakes.
Fritz.
He's right.
You see what's going on in Europe? Sally Sweet won't fix that.
I'm sorry, Aubrey.
Then the hell with Pat Brady.
Walk away.
You're a son of a bitch, but wherever you go, I, I would follow.
So would every writer on this lot.
Take us where we can make movies that matter.
Right.
(cello playing) What? Is something wrong? Nothing's wrong.
Will you marry me? - Pardon? - I can't control anything in my life.
Things disappear, and I'm powerless to do anything about it.
Look, everywhere in my life, I have to answer to someone, and it eats away at me.
But I would answer to you, happily, every single day.
You just met me.
I know.
But I can't afford to miss out any longer, so before life happens and we lose each other (inhales, exhales) (quietly): marry me.
I can't do that.
Sure you can.
- My chair? - Sorry.
You should go.
See that? I'm answering to you already.
- Hello, Florian.
- Hello.
HACKETT: Be brave.
Take a leap with me.
(whispers): Go.
It's fine.
Please.
No.
I have you for seven pictures, I intend to make use of you.
Use of me how? I'm putting you in my Sally Sweet picture.
As Sally's aunt.
You start next week.
That's Bess's part.
Mayer can have her back.
(Chuckles) I invested in you.
You are gonna sing and dance for me, Kathleen.
Those lessons.
Even before you killed Enemy, you were planning this.
Not half as long as you were planning, Miss Wisconsin.
I don't care where you're from, Kathleen.
Or what your act is, as long as it's a good one.
And you are very good.
Thank you.
Let dark clouds gather Thunder rock Let bill collectors dun and knock Though troubles lurk beyond that tree I have you and you have me Smile, Kathleen.
Remember you love her.
They can take the pillow 'neath my head Take the sheets right off my bed Take it all in bankruptcy But they can't take you from me That's the turn, perfect.
Exactly.
Okay, now lead her on through the backstage.
Let them break my piggy bank in two Take till we don't have a sou Do whatever they must do But they can't take me from you 'Cause we're together Right straight through No, they can't take me from you Give her a little kiss, and take your place backstage.
Yes, we're connected Permanently No, they can't take you From me This I promised to you at your birth Deep as oceans, wide as earth Remember: Step ball change, step ball change.
Got it? Nothing comes between us two So they can't take me No, they can't take me They can't take me from you Things may be as they may be Rocky road and stormy sea Still life is sweet as harmony As long as you and me Are we.
BROCA: And cut on rehearsal.
(bell ringing) BROCA: That's lunch.
30 minutes.
What, whatcha doing? Uh, I like to come outside during our breaks.
The winter weather still amazes me.
So.
I-I didn't want you to think that what I said before was just some whim in the middle of an afternoon.
I mean, spur of the moment, yes, but - Aubrey, I want to - I-I'm a serious person.
And I intend to do everything right by you.
(panting) Every step of the way.
Look, please don't say no.
Mr.
Hackett.
I am married.
What? For five years.
I see.
I see.
HANNAH: Freddie.
HACKETT: Freddie.
Two years ago, he was arrested by the Nazis, and sent to a work camp.
It's called Dachau.
Oh.
I tried to get word to him.
I wrote him every week.
I never missed a single one.
But for 18 months, I have heard nothing back.
I have no idea if he is alive or dead.
So I ran away.
I abandoned him.
To save myself.
It's terrible.
Why didn't you ever tell me anything? I I thought you might not be so interested in a married woman.
(exhales) - And you were kind.
- (laughs) And I needed a friend.
I still do.
If you would be one.
(exhales) Knock 'em dead, boss.
STAHR: I'll do my best.
Look at you, Mr.
Brady.
Cool as a cucumber, as always.
Feeling a little shaky tonight, Birdy.
I won't lie.
Celia's been delayed.
She asked that you not wait for her.
She'll take her own limousine.
Very good.
- Good luck, Mr.
Brady.
- Good luck, Mr.
Stahr.
STAHR: Thank you.
FRANCES: Is this new? It's someone I met.
Her name was Kitty.
Was? Is.
I'm sorry.
She, um, disappeared a few days ago.
She ran away.
(sighs) She had a hard life.
And, yes, I am taking it personally.
So sorry, Rose.
She's talented.
Is there more? Yes.
I assumed that you would be at the Biltmore for Pat's big night.
I kicked him out of the house.
Surely there are easier ways to get out of an evening.
(doorknob rattling) There you are.
MINER: Here I am.
Didn't they tell you no one works late on Oscar night? Shouldn't you be on your way? I wish you were going with me.
Me, too.
You'll sort it out with your father.
I'm not so sure.
This place is nothing like the way I imagined when I was a kid.
Me, neither.
We'll manage, right? Without it changing us too much, you and me.
Piece of cake.
I love you.
You know that, don't you? I had a feeling.
Okay.
I'm just checking.
(Celia chuckles) It fits.
Good.
(chuckles) Let's see.
Oh, good.
Well, come on over here.
Have a seat.
Ah.
(Clears throat) Turn to your left a bit.
Yeah, perfect.
An actress? DARLA: I hope so.
With that face, just a matter of time.
Who's your favorite? Minna Davis.
Ah, you and everyone else, including me.
Okay, smile for me.
Good.
Do this for me.
Pull your dress just off your shoulder and, uh, down in front a bit.
Do you want me to show you? No.
I can do it.
Attagirl.
And beautiful.
- (crowd cheering) -There you go.
Right here, right here.
NEWSMAN: It's Hollywood's biggest night, and film fans everywhere can flock to the swanky Biltmore Hotel NEWSMAN 2: And here's Pat Brady, owner and majordomo of Brady-American Pictures.
There's Margo Taft, reigning queen of the celluloid empire, holding court with her adoring fans So lovely to meet you.
NEWSMAN 3: Emerging from the next limo is the boy wonder who runs Brady-American, Monroe Stahr, with his fiancée Kathleen Moore on his arm.
(newsman continues indistinctly) NEWSMAN: Oscar, I hope you're ready for your close-up.
Because the world is watching.
(audience applauding) Welcome back, welcome back.
It is now my honor to present the award for Best Actress.
This year's nominees are: Irene Dunne for Theodora Goes Wild.
Margo Taft for Now That's A Woman.
Carole Lombard for My Man Godfrey.
Gladys George for Valiant Is the Word for Carrie.
And the late, wonderful Minna Davis for It Happened on Downing Street.
The winner is Margo Taft.
(audience whooping) Thank you to the Academy and to all of you here.
This is just marvelous.
I've dreamed of this moment (laughs) for so long.
Not alone, of course.
None of us makes that journey alone.
You need a great script, and direction and support.
I got all of those things from a single person who none of you would ever know.
But I owe it all (crying): I'm sorry.
I owe it all to a single person.
So, I would, I would like to dedicate this this most wonderful thing to my dearest friend Lucille Owen.
Thank you.
Excuse me.
I started to think you weren't coming.
MAYER: Monroe, you wanted to talk to me.
Yes, yes.
Now that we're all here.
All here? What does that mean? I have a picture for you, L.
B.
Suddenly became available.
An Enemy Among Us.
Lost your fucking mind? - MAYER: Great script.
- It's a script I paid for.
Fritz Lang, directing.
Celia Brady, producing.
- Oh, no.
- Margo's read it.
She wants to play Adelle.
There's a great part for Bess, too.
Monroe, you can't do this.
STAHR: I have the authority to sell any property we're not making.
BRADY: Not anymore.
Really? And how will you explain to the board why you refused to recoup our costs on a dead picture? You would do this to me? I agreed this afternoon.
Pat, thank you for the gift.
BRADY: It's not a gift.
You got to cover my costs, plus interest.
(Mayer chuckles) Well, I'll have my lawyers call you on Monday.
Monroe, Celia.
Now I might just have to kill you.
You, too.
Don't look at me like that, Daddy.
It's business.
- JESSEL: Ladies and gents, ladies and gents.
- Family has nothing to do with it.
You said so yourself.
JESSEL: It is time for the last award of the evening.
CELIA: The movie is the baby.
JESSEL: Best Picture.
The nominees are: Three Smart Girls, Universal.
- This is unforgivable.
- JESSEL: Libeled Lady, - Metro Goldwyn Mayer.
- No one's asking for your forgiveness.
I love being a producer.
JESSEL: Anthony Adverse, Warner Brothers.
- I'm your daughter in every way.
- JESSEL: San Francisco - And I didn't start this, you did.
- Metro Goldwyn Mayer.
- And Angels on the Avenue - I did this to save the movie.
- Brady-American.
- And Celia.
JESSEL: And the winner is Just like I always saved you.
Angels on the Avenue, - Brady-American Pictures.
- We won! (laughing): All right.
(Brady speaks indistinctly) (all sound slows) (Brady's speech echoes indistinctly) (speech continues indistinctly) RADIO ANNOUNCER: The stars are leaving the ballroom now.
There's Margo Taft, carrying her little golden man and chatting with Clark Gable.
Well done, Miss Taft.
You're America's new reigning queen of comedy.
And there's Pat Brady, receiving well-deserved handshakes from the likes of Adolph Zukor and (radio shuts off) The likes of Adolph Zukor, whom we do not like, and Jack Warner, whom we loathe.
(chuckles) I didn't know if you heard the news about Mr.
Brady? Annie Mae, would you whip up one of your home remedies? I want no hangover from tonight.
Oh, two, please.
Oh, coming right up, Miss Fran, and right away.
Oh, and, Annie Mae, in the morning, I want to clear out Mr.
Brady's billiards room.
I'm gonna turn it into an art gallery.
Exhibit Kitty's work, and maybe some other young artists who need my support.
Very good.
Very good.
It almost feels like tomorrow already.
Doesn't it? It almost is.
(fountain splashing) (Brady sighs) - You okay? - (laughs) I just won an Oscar only I don't have anyone to jump up and down on the bed with.
What do you do when you find the thing you wanted most in life isn't enough to make you happy? Why are you here alone? My wife threw me out.
Mm, with good reason, I'm sure.
Mm-hmm, most likely.
(Chuckles) But still - Margo - Pat.
- All that flirting we did - Mmm.
Was it just business to you? Do I look like a consolation prize, Pat? - No, you do not.
- Yes, well, you're gonna have a hell of a time dating if you go about it this clumsily.
Rose always considered that one of my charms.
Mm, I suppose it is.
Good night, Pat.
Good night, Margo.
Congratulations.
Cheers.
(Brady chuckles) Listen to me.
You can't win, for all your damn genius, because I always have the final say.
And what's more, I'm gonna outlive you.
Probably.
But I would have stayed loyal to you until the end.
- I don't believe you.
- I know.
Isn't that the tragedy? Doesn't seem like a tragedy to me.
You never did understand story, or character.
That's our car.
(crowd cheering) (cheering, whistling) I wish this were one of your pictures.
You'd forgive me in the end.
FANS (chanting): Kiss! Kiss! Kiss (cheering, whistling) Thank you.
(Chuckles) Thank you.
Monroe and I had so much fun making this picture.
(door opens) What are you doing here? I came by to clear a few things out of my office, and I saw your lights on.
Shouldn't you be at home with Kathleen? I I couldn't sleep, so Well, lucky for me.
I have something to return to you.
Oh What if Mayer makes you cry? Thank you, Monroe.
You'll want to compliment his horses He has two fillies running at Aqueduct this weekend.
Fancies himself a breeder.
I know.
When are you going to take me seriously, Celia? I can help you.
I have ideas.
I take you very seriously.
You made a great movie.
Maybe.
We won't know that for years and years.
Really? How can we know what will last until the end? I love you, Monroe.
Everybody does.
I wish it were enough for you.
Me, too.
(door shuts) (sighs) (pained groan) (grunts) Celia.
(clock ticking) Happy days Are here again The skies above Are clear again So let's sing a song Of cheer again Happy days are here Again Altogether Shout it now There's no one who Can doubt it now So let's tell the world About it now Happy days are here Again Your cares and troubles Are gone There'll be no more From now on Happy days Are here again The skies above Are clear again So let's sing a song Of cheer again Happy days Happy times Happy days are Here Again.