The Comeback Trail (2020) Movie Script

1
[cowboy whistles, horse neighing]
[ululations]
[Cowboy] Yee-haa!
[thunder rumbling]
[horse neighs]
[film rolling]
[Announcer] From
Miracle Motion Pictures
the studio that brought you
Cows from Beyond,
Bigfoot Was My Lover,
The Hackensack Blowtorch
Atrocities,
and the time-honored classic,
Mantula
comes a new movie that literally
tests the boundaries of cinema.
[ethereal music]
[Announcer] The Sister of
Eternal Sorrows take their vows
very, very seriously.
Fuck!
Madone! These are some
[bleep] hot nuns.
Say your prayers...
- [laughter]
- [rapid gunfire]
[Announcer] Killer Nuns.
They're cleaning up the streets
-in their own special way
-Ah, jeez.
This is a big score
for the orphanage.
The kids are gonna love this.
[shrieks]
[Announcer] Killer Nuns.
They're nuns with
a baaaaad habit.
[police siren wailing]
[Nun] Get these freaking cops
off of me.
Okay. Gun it!
[rapid gunfire]
[bullets ricocheting]
[car crashes]
[Announcer] They're sisters
on a mission.
That's the good shit, kid.
Enjoy it.
[Nun] Selling drugs to babies?
Hey, I'm... I'm a Catholic.
So are we...
[Announcer] They're tough.
They're mean.
Killer Nuns.
Stop
desecrating God's holy word!
One, two, three,
four.
God is what we're fighting for.
- This is not free speech.
- Five, six, seven, eight.
- The Bible is what makes us great.
- Boycott this movie.
[Leader] Make Hollywood
stop irreverent filmmaking.
God is love!
[distant siren wailing]
I mean, I've never seen
a line going down the block
in front of one
of our films before.
It's a picket line, Uncle Max.
Well, you know, maybe the film
is just ahead of its time.
You never know, Walter.
I mean, when Igor Stravinsky's
Rite of Spring first performed
at the Thtre
des Champs-lyses in Paris,
people were so overwhelmed
by its unique atonal qualities
that a fistfight erupted
amongst the patrons.
What does that
have to do with us?
Well, I'm just saying.
[cars honking]
"The movie's excruciatingly
bad taste can only be matched
by the ineptitude
of its execution.
Truly the only good thing
about this film is that
after 90 minutes, it's over."
I thought you said
we got a good review.
That is a good review.
They liked the end.
[Leader] Blasphemy!
You're the devil. The devil!
- Stop your exploitation.
- Five, six, seven, eight.
The Bible is what
makes us great.
Uncle Max, I've got
to ask you something.
We've been at this a long time
and
- So?
- I don't know...
-Do you think maybe we should...
Quit?
I'm gonna pretend I
didn't hear that, Walter.
Well, I...
Quit? Are you... are you
out of your fucking mind?
Quit, Walter? Bite your tongue.
We don't quit.
We're Miracle Motion Pictures.
What's our motto? What's our motto?
If it's good, it's...
- A miracle.
- A miracle. Exactly.
And why do we call ourselves
Miracle Motion Pictures?
Because miracles are out there.
They exist. They happen every day.
Not to us, but they're real.
All we have to do is keep our
eyes open and our hearts free,
so that when our miracle
presents itself,
we're there to recognize it
and seize it accordingly.
-Come on.
-All right.
Let's go find our miracle.
Great. Can you help me
with the check?
Sure.
[Protesters] One, two, three, four.
God is what we're fighting for.
-[Leader] Boycott movies made
by Miracle Motion Pictures.
They are not miracles.
They are blasphemy.
[indistinct protest]
[Crew] Avon used car.
Scene one. Take one.
Hi. I'm Duke Mon...
[clears throat, spits]
Sorry. We'll go again.
Keep it rolling.
It's fine. We're shooting
on videotape.
What?
[Director] It's the latest thing.
We're always rolling.
So ready whenever you are, Duke.
[whiskey pouring]
[soft gentle music]
[gear rolls]
-[gun clicks]
-Aah! Shit-
-[plane flying close]
-[car approaching]
[door close]
Hey, Reggie. Glad you're here.
You know, at first, I thought
I would put
a fucking bomb in your car
like that Mexican kid did
Orson Welles' Touch of Evil.
[Devin] That kid was shifty.
Then I thought, "No.
No. What I'll do is I'll
stab him to death"
like Tony Perkins did
to Janet Leigh in Psycho."
Now that motherfucker
really loved his mama.
Then I thought, "no, no, no,
no, no.
You know what I'll do?"
[laughter]
I'll push his ass
down the stairs
like Richard Widmark did to
that old bat in Kiss of Death
Remember Tommy Udo?
-[sniggers]
[Devin] ! didn't see that one.
Well, did you ever
consider letting me go,
like Claude rains did
to John Garfield
in They Made Me A Criminal ?
[Reggie] Shit.
I hated that movie.
Yeah, well,
that's bad luck for you.
I liked that movie.
Unfortunately for you, Max,
this is one time when life
will not imitate art.
[house rumbles]
All right, Reggie.
Reggie, listen.
I... I told you,
this is the movie business
and that there was always a
chance that we could take a loss.
- I told you that.
- A loss?
I just went by the theater.
You haven't sold
one goddamn ticket.
That's got to be some
sort of fucking record.
But that's not my fault.
I--I didn't do anything.
Those goddamn Catholics,
they all went crazy.
They won't let people
into the theaters.
But this is gonna blow over.
Wait and see.
And all this press
is great for us.
You can't buy
this kind of publicity.
Listen to me, Max.
This piece of shit
cost me $350,000.
I want my money back. All of it.
Yeah, but I don't have your money.
It--It's up on the screen.
"Sure hit."
That's what you said.
- I said that?
- Yeah.
- I said that?
- Guaranteed hit.
We all heard you
say that bullshit.
Well, Reggie, come on.
I'm a producer.
You can't always believe
every word I say
when I'm trying to raise money.
I mean, I get carried away.
That's normal.
Just give me time. Give me time
and I'll have your money.
I'll have all your money.
I promise.
- You're lying.
- I swear to you I'm not lying.
I'm not... well, I'm...
Okay, I'm lying a little bit.
But hear me out.
I'm a hustler. I'm a producer.
That's what I do.
And I will... I promise you,
I will look under every rock,
every nook, every cranny.
I will leave no stone unturned,
I will leave no resource untapped,
until I have your money
in full, I promise you.
- With vig.
- Yeah, with vig.
With vig, of course.
[house rumbling]
- All right. You got 72 hours.
- Seventy-two hours.
After that,
I choke you to death.
Like Tony Curtis
in The Boston Strangler?
- You bet.
- Okay.
I liked that movie.
[door open]
[car approaching]
["Rock The Boat" by The Hues
Corporation]
Said I'd like to
know where - you got the notion
To rock the boat.
(Don't rock the boat, baby)
Rock the boat.
(Don't tip the boat over)
Rock the boat.
(Don't rock the boat, baby)
[Frank] But he's so drunk - he
can't even stand up, right?
So, they throw me out there.
Thank God I'm a master
of improvisation, you know?
Then I thought to myself,
"Who gives a shit?
The French don't speak English."
[laughter]
Security. Security.
Who the fuck let this guy in here?
- Funny.
- Max Barber
Jimmy Moore.
I prefer James.
Well, I remember you
when you were just a kid.
That was a long time ago, Max.
Hmm. Things have changed.
Mm-hmm. Yeah.
Can we go somewhere
private to talk?
Sure thing.
So let me guess. You need money?
Is it that obvious?
No. I can't tell from your eyes.
I can't tell from your posture.
You've always concealed
your motives well.
That's one of the many things
I learned from working with you,
Max.
Never let them know what's really
going on inside of you.
Sit down.
It's all over the street, Max.
You owe $350,000 to Reggie
Fontaine
for your latest opus.
Look, Jimmy... uh, I mean James.
It's all short-term, believe me.
Huh? Oh.
What, you got a whole string
of hits you're putting together?
[laughter]
All right. Very funny.
I'm just messing with you.
I'm just messing with you, Max.
I'm happy to give it to you,
for old times' sake.
Thank you.
I'm just gonna need
one thing in return.
Terry Miller's script,
Paradise I want it.
I... no. I... uh, no, Jimmy.
No, no, no.
It's the best script
I've ever read.
It's a guaranteed Best Picture
for me, and I want it.
I... I... I can't. I can't.
Anything but that.
- You can't get it made, Max.
- Oh, come on.
It'll cost $10 million to make
that picture the right way.
I can get that kind
of money in a heartbeat.
You couldn't put
that kind of money
together in a dozen lifetimes.
Why are you being
so goddamn stubborn?
'Cause that script is my baby.
It's what keeps me going, Jimmy.
Jimmy. I can't do it.
Wait, you forget
who brought it to you?
Yeah. You did. So what?
And look who put
all the work into it.
Look who had
to fuck his widow
to get her to hand
over the rights.
You know what courage that took?
You had a chance to make it years
ago
when you were almost somebody.
Yeah. You wanted to make it with
Frank Pierce, for Christ's sake.
- Frank Pierce is a movie star!
- Frank Pierce is a bum.
He's wrong for the part.
He's dead wrong.
He'd have ruined it. Come on.
At least, it would
have been something to ruin.
But I, uh...
$350,000, Max.
the check right now.
I get that script,
once and for all,
and you avoid a shallow grave.
I can't do it. I can't do it.
$500,000, Max.
Absolutely not. ! can't.
Seven-fifty.
Uh, I can't. I can't.
All right.
A million dollars, Max.
A million?
No, no, no, no.
I... I can't. I can't.
No, no, no, no.
No fucking way am I ever gonna
let you have that script.
Every scene is perfect.
Every word is a gem.
You're beneath that script.
You don't deserve it.
I'm never gonna let you have it.
I'm never gonna let you have it.
You're just gonna ruin it.
You're gonna ruin it,
like with Frank Pierce, you...
You know what? Fine. Fine.
You can't just
give me the money?
You gotta put me through
this fucking humiliation?
I'll just make it with Walter
once you're dead.
- You know what?
- Same results and money.
I'll will that script to Ed Wood
before I let you
get your greasy fucking
hands on it.
- Fuck you.
- Yeah. Say hi to Reggie for me,
- you stubborn son of a bitch.
- You say hello.
You know what you make?
You make fucking garbage...
And I win Oscars.
[ominous orchestral music]
[crow squawking]
[thunder rumbling]
[jackhammer rattling]
[car door close]
- Morning.
- Good morning.
What's this?
It's a present from Jimmy Moore
but it's an odd one.
What does that card mean?
Somebody die?
- No idea.
- He also sent this.
Why the hell would he send you
a shovel and a bag of lye?
It's an inside joke
between the two of us.
You want to let me in on it?
Not really. Any messages?
Uh, yeah. Reggie Fontaine.
He just said'
"48 hours"
- What the hell does that mean?
- I don't know.
You don't know much
this morning, do you?
Walter. You're my nephew.
If anything, God forbid,
would happen to me,
all this would be yours.
So, I suppose you have the right
to know what's going on.
We both know that Jimmy Moore
has wanted Paradise for... forever.
- Yeah.
- And, well, last night...
He made me an offer
to buy the script.
How much?
- It was a lot.
- How much is a lot?
- A million dollars.
- Oh! [chuckles]
A million dollars.
What did you say?
- What do you think I said?
- I would imagine you said yes.
- I said no.
- What? Are you kid...
it's a million dollars!
Walter, what are we
if we don't have our dreams?
Rich.
Walter, no, no.
Walter, this script, Paradise'
is one of the greatest scripts
ever written.
We'd win academy awards.
Me and you up there
on the stage, taking bows.
Up at the podium,
thanking each other.
Thanking each other!
But a million dollars.
I mean...
I mean, with a million dollars,
we'd not only be out of hock,
we'd be living the good life.
With a million dollars, we could
make a dozen more movies.
I can't stand the thought
of him making this film.
After all the fucking work I
did,
why should he be doing this?
Why should he be taking bows,
receiving accolades
when I did all the fucking work?
It was me. Me. Me.
Don't you get that? Me.
I'm not an idiot.
- I know you're in trouble.
- I'm in trouble?
What--what do you mean?
What are you talking about?
Come on. The--the flowers
and--and--and the shovel
and the lye and someone
saying, "48 hours."
Come on. I'm not an idiot.
What exactly are you getting at?
I think you haven't painted
the most accurate
portrait of our investor,
Mr. Fontaine.
You know what?
Walter, sometimes you stun me
with your ability to connect
the dots.
That's amazing.
- Oh, don't patronize me.
- I'm not patronizing you.
Yes. You're being very
patronizing.
I'm not patronizing.
Yes you are.
You're talking down.
- I'm not patronizing you.
- You're talking down to me
- like I'm your nephew.
- I'm not patron...
- Yes, you are!
- All right.
All right. Yes.
All right, we're in trouble.
We've been in trouble before.
We're always in trouble.
We always find
a way out, Walter.
That's what we do.
We're Miracle Motion Pictures.
- What's our motto?
- Stop with the motto.
Okay. Look, you were talking
about miracles yesterday.
- Yeah?
- How they're out there.
All we have to do is
recognize them
when they present themselves.
I'll tell you what a miracle is.
It's a miracle that Jimmy Moore
wants to cut you a check
for a million dollars
over some stupid script.
Okay. How could you say
"stupid script"?
Don't you... how did you
say "stupid script"?
You take that back
right now, Walter.
You worked on this too. Walter!
For once in your life,
please, be practical.
Sell the script.
Take the money-
Let's--let's--let's look at
the... look at this place!
Let's turn our lives around.
Turn your life around
while you still got it, okay?
Please.
It's the adult thing to do.
[music builds up]
So, then we all agree?
A million two?
Yeah. Yeah.
Mm! I'm proud of you, Max.
It's the adult thing to do.
That's exactly
what I said, Jimmy.
James.
And, um, I'll have the
paperwork drawn up and over
to you by 6:00 tonight.
And in the spirit
of being adult,
here is a down payment
of $350,000,
so that you can take care
of your, uh, investor issues.
Come on. Take it, Max.
Again, it's
the adult thing to do.
[Max crying]
He's kidding, right?
No. He's not kidding.
You're not kidding, Max?
Hey, hey, hey. Stop it. Hey.
Hey, we're gonna find you
another great script.
Shh, shh, shh...
Hey, why don't you guys
come by the set, okay?
It's the first day of shooting.
Frank Pierce is gonna be there.
He's gonna perform
a terrific stunt.
Frank Pierce is
my favorite actor.
Oh. I'm gonna cast him
as the lead in Paradise'
- [cries louder]
- Ooh! That's exciting.
- No.
- We love Frank Pierce.
Let's go visit the set, huh?
See him do a stunt.
No. No.
I would... I would love
to meet Frank Pierce.
- Hey.
- You're not kidding?
- No. Let's go meet Frank Pierce.
- No.
[Staff] Frank, give me a second.
Let's get you strapped up, bud.
Here you go' darling.
Hey, did I tell you guys
I bought a new Oldsmobile 442?
- Yeah?
- Yeah-
It's got a rocket 455 in it.
Cops were chasing me
all over Mulholland last night.
Couldn't catch me.
- Wow! A real movie set.
- Come on.
Act like you've been
on a set before.
That's Frank Pierce.
Frank Pierce is right there.
- [Max] Yeah. I see him.
- [James] Certainly is.
You wanna go say hi?
Well, you think I could?
I don't wanna bother him.
It's no bother. I called ahead
and told him you were coming.
And he said as soon as you got
here
to just go right over to him.
Okay. I'll be right back.
You know Frank's wrong
for Paradise'
He's a movie star, Max.
One of the biggest in the world.
With him, the picture gets
an automatic green light.
But he doesn't have the gravitas
to play the lead character.
This is a story about dreams,
the stuff that lingers
in men's souls.
It's about a man who refuses to
conform, who goes on a quest.
Excuse me, Mr. Pierce?
I'm so sorry to bother you.
I'm Walter Creason.
- James said I could say hi.
- Ew.
Guys, can we lock it up?
Where is security?
- Oh, no. I'm--I'm--I'm--I'm--
- What's going on around here?
I'm James Moore's associate...
friend... uh, acquaintance.
Oh, that's right.
Jimmy's friend. Hey.
Yeah, yeah. Nice to meet you.
- You know what...
- Yeah, yeah, yeah, Max-
I know the goddamn story.
But- Jimmy... James
this is my letter to the world.
How many more movies can I make?
You remember when
I was starting this project.
Please, just consider.
We can't have someone like Frank.
Frank is totally wrong.
You need someone who's not happy
with the way things are.
You need someone who's
looking for a better world,
looking for a better life,
who's tortured and living
in an alternate universe
but ultimately is forced
to confront the demons
of his own reality.
You sound like you'd
be perfect for the part.
Yeah...What?
It's nice to meet you.
Hey, can I shake your hand?
I'm... I'm your biggest fan.
Please.
[Man] Frank--Frank, you're not
strapped in yet.
- You're not strapped in.
- Would you calm down, please?
Hey.
Not like I haven't done this
a million times before.
- Know what I mean?
- He's Frank Pierce.
I think he knows
what he's doing.
Please don't use him. Don't use
him. I'll do anything.
What happened to you, Max?
What happened to you,
Max, honestly?
Nothing.
Just please don't make...
The Max I used to know would
kill to get his movie made.
Respect my age, James.
- You worked for me.
- Don't let me down anymore.
- Just stand up for me.
- You're embarrassing me, Max.
- Stand up for me.
- This is sad.
Hey, can I get your autograph?
- Please.
- Uh, sure.
Just let it go, Max. Let it go.
This is my letter to the world.
Please. Please.
No. I'm giving it
to Frank Pierce.
Fuck you. Prick.
Here's a pen.
[Frank] Give me a fucking break.
-Whoa! Oh!
-Jesus!
[Walter shrieks]
[tense music]
[James] Frank!
[Frank screaming]
[loud crash, people panicking]
Frank!
[Pen clatters, echoing]
Looks like that's lunch.
[panicked chatter]
Such a wonderful day yes,
a wonderful day
I just saw
a movie star fall away
Ha! Walter? Walter?
Did you see
the look on his face?
Whose? Frank's?
How could you see the
look on Frank's face?
He was 20 stories down.
I'm talking about Jimmy,
watching his dreams implode
just like Frank's head
when he hit that bus.
I mean, that look was
fucking priceless! Priceless.
Oh, I loved it. I loved it.
I loved it. I loved it.
Oh! And I have you
to thank for that, Walter.
- What? Why me?
- Yeah.
Because if you hadn't twisted my
arm to go and sign this deal,
this never would have happened.
- Oh, God...
- You're right, Walter. Oh, God.
It's at times like this
that I actually believe
in the big guy upstairs.
- I believe in you!
- What you're saying
is so incredibly horrible.
Schadenfreude, Walter.
That's what it's called.
That's what the Germans call it.
Pleasure derived
from the misfortune of others.
Leave it to the krauts to come
up with an actual word for it.
I don't want this party to end.
I wanna go back to my place
and I wanna get drunk.
- I think I'm gonna throw up.
- You can do whatever you want.
I'm going back there and I am
going to get drunk
and celebrate!
- [Male Anchor] In other news...
- It's on. Come on. It's on.
Walter, come on.
- I don't wanna see it.
- Oh, come on. You have to.
It's part of the healing
process. Come on.
-Come on!
-[Anchor] In sad news today,
Hollywood is mourning the
loss of one of their own.
Frank Pierce, renowned for
doing all of his own stunts,
died today in a fall from
the Los Angeles courthouse.
Yeah. We're just, uh...
Just shocked, you know?
Do you believe this asshole
going on TV like this,
sucking up all
the glory for himself?
You're a dick. You're a dick,
you little shithead.
[James] At this time,
I would also like to say
the whole production...
You know, we're gonna
cancel it, uh, out of...
[Max] Look at this guy.
He's so fucking phony!
Like, "Oh." [mock sobbing]
Frank. I love you, Frank.
[bleep] Frank Pierce, man.
Can you just...
Did you hear that?
Guess whose movie fell
apart this time, jerk-off?
Yours did. It fell. Get it?
[Female Anchor] It is
worth noting, however,
that because Pierce did
all of his own stunts,
he was insured for
five million dollars,
a portion of which James
Moore is planning to donate
to a foundation
set up in Pierce's name.
Five million dollars. Oh, my
God. Five million dollars.
This scumbag walks away
with five million dollars.
He doesn't shoot a
frame of fucking film,
and he makes
five million dollars.
I mean, I'm beaten.
I'm done. He's the devil.
I--I don't have enough holy
water, crucifixes, garlic,
and wolf-bane to fight
this fucking son of a...
- You're a fucking crook!
- Okay.
- You little fucking shit!
- Okay.
This is a fucking crook.
This is crazy.
- Okay. Calm down.
- I'm fucking killing me.
You see where I live,
in this fucking shithole!
And you little fucking
fake fucking...
- You're gonna give...
- You little shithead!
You're gonna give
yourself a stroke.
[knock on door]
Oh, yeah. Please, God,
give me a fucking stroke.
Let me die. Let me go right now.
Let me die.
This is so fucking unjust.
There's somebody at the door.
- Can you please calm down?
- What more do I need?
- Hi.
- [Delivery Man] Hi.
Delivery for Mr. Barber
from James Moore.
Give us a second and, uh,
we'll get back to you, okay?
Thank you.
Ah. The final nail
in the coffin.
Give me a pen, Walter, so
I can stab myself to death
and put myself out
of my fucking misery.
You're thinking about
this the wrong way, Uncle Max.
[Max] I am?
You're not putting
yourself in James's shoes.
[Max] James's shoes?
Remember, um-- remember on
Killer Nuns when Bernadette's
habit caught on fire?
- Yeah.
- Well, how would you have felt
if she burned to death,
and all you had to show for it
was a lousy insurance check?
[airplane passing, rumbling]
You know what, Walter?
As always, you're right.
Thank you.
[Playful music]
All right.
Let's give this back to James.
You did it. You went through
with it. I gotta be honest,
I didn't think you were
gonna go through with it.
Of course, I'm gonna go
through with it.
Here you go. Wait, wait, wait.
Let's give the young
man a nice tip here
- for going out of his way.
- [Walter] Sure.
Here you go.
And that's for you.
- Thank you for waiting.
- [Delivery Man] Sure enough.
- [Walter] Thank you.
You did it! You signed it.
You went through with it.
I'm so proud of you.
How does it feel?
Surprisingly wonderful
and invigorating.
I feel very inspired
all of a sudden.
A whole new sense of purpose
is washing over me, Walter.
We're making our next movie,
and I wanna be in production
as soon as we can.
It'll be our greatest venture
into the world of cinema.
I love it when you get inspired.
What script do you wanna make?
- What?
- What script do you wanna make?
Uh, the blue one.
- The blue one?
- Yeah.
This is The Oldest Gun
in the West.
This is Uncle Eddie's script.
Yeah, may he rest in peace.
The Oldest Gun in the West.
It's perfect.
- You hate this script.
- Hated. Past tense.
- So you like it now?
- Like it? I love it.
I can't think of anything more
worthy
of being put on celluloid.
That's what
I've been saying forever.
I know.
I love this script.
How could you not love the story
of a--of a washed-up cowboy
finding out that he has
Indian blood
and then helping
his tribe drive out
all the bigoted members
of the town
that have settled on their land
after screwing them over
in a horrible land deal?
It's a...
It's a magnificent story.
Oh, my God.
All this time, I thought you
weren't even listening to me.
Of course, I've been listening.
Sometimes it takes a
little time for the words
to sink into this
skull of mine.
[Walter, laughter]
So what do you say, Walter?
How about it?
Are you kidding me?
I am so in, partner.
- Let's go find our star.
- Okay. Back at it.
[uplifting music]
[Walter] I don't know
about this, Uncle Max.
These people look really...
[Max] Talented?
- Old.
- Yeah. That's the point.
There's a lot
of dangerous stunts
- in this film.
- I know.
Walter, my dear nephew,
who doesn't love a comeback?
Think of what we're gonna do.
We're gonna give
one of these forgotten souls
one last shot at glory while
giving their adoring public,
our ticket buyers, the chance
to relive their childhoods.
I mean, that's beautiful,
isn't it?
It kind of is
when you put it that way.
Yes. Come on.
- [distant man cough]
- [snoring]
[Max] Morning.
- [Nurse] Good morning, gentlemen.
- [Max] Good morning.
Are you here
to tour the facility?
Well, not in the manner that
you're thinking.
We're producers. Film producers.
My name is Max Barber.
This is my partner,
Walter Creason.
And we're from
Miracle Motion Pictures.
We're looking to cast
our male lead
- in our new film.
- Oh.
[Old Man 1] Did you say
producers?
Yes, I did.
I lived in New York
for 35 years.
I did 16 Broadway musicals.
I'm a singer. I'm a dancer.
I did two shows with Bob Fosse.
[Old Man 2] Hack! What you need
is someone with
real acting chops.
Not some old hoofer.
I starred alongside
Laurence Olivier,
Ingrid Bergman and Orson Welles.
- Well, that's impressive.
- That's impressive.
Oh, you wanna see
impressive? Watch this.
[inhales deeply]
Oooh! Oooch!
Ooooh!
Oooh!
Oooh, My heart. Help!
[groans] Doctor!
I'm telling you, if
he's not actually dead,
that was pretty damn convincing.
[Old Woman] Who gives a shit
if he's alive or dead?
What you need is a
strong female character.
I think we'll probably go just
a little bit younger
- with the female...
- Oh, well...
- I was a child actor.
- Were you?
Maybe you saw me in
The Dead End Kids.
I was the kid on the end.
You gotta get me out of here.
Come on back to my
room and I'll show you
just how right I am
for the role.
Uncle Max, one of them's got me.
- I'm trying...
- No. I'll pay you.
Put me in the trunk of your car.
Just take me with you.
Just take your
fucking hands off me.
Take me with you.
Go. We'll talk to you later.
[overlapping chatter]
[Max] Quick. Walter, in here.
[door slams]
Uh, sorry to interrupt.
Oh, my God.
You -- You're Duke Montana.
The Man with the Golden Lasso.
Uh, you think you fellas can
give me a little privacy here?
- You're Duke Montana?
- Yeah. That's Duke Montana.
What are you doing, Duke Montana?
My daily game
of Russian roulette.
You could kill yourself
doing something like that.
- It's more like euthanasia.
- [Walter] But it's wrong.
Wrong?
I'm gonna kill
somebody, son.
-You reckon...
-Oh, wait, wait, wait.
...that you'd rather it be you?
Duke. Duke. Mr. Montana, you
can't kill us. We're producers.
I've always wanted
to kill producers.
Look, even ones that came here
to give you your next part?
- My next part?
- That's right, Duke.
Now, if you... if you... if you
put that gun down,
my partner here and I
would like to offer you
the leading role in our next film.
Shit.
Uh... can we... can we just
have a quick chat?
Yeah. Excuse us a moment.
- One moment.
- Yeah?
Him? You're offering
him the part?
Yeah. I'm offering him
the part. He's perfect.
- He's suicidal.
- He's a star, Walter.
He's worked with
John Ford, John Huston.
- He's perfect.
- That was 20 years ago.
So what? Think about all the
pain and hardship
and anguish that must have
brought him to this very moment
in his life where he's
ready to kill himself.
Imagine bringing that pain
to this character.
I mean, that's charisma.
That's depth. That's gravitas.
- That's insane.
- No, it's not.
[Duke] Let me save you
boys the trouble.
You don't know what
you're talking about.
[Duke] I'm not interested.
I'm totally washed up.
I have no desire whatsoever
to make any kind
of a goddamn comeback.
I just wanna die.
[Duke] Comprende, amigo?
Comprende, amigos?
Duke, I... I've got to tell you,
as an experienced producer,
you are perfect
for this particular part.
I can't think of
anybody better than you.
You know what?
Let's leave him alone.
I think he might be afraid.
Afraid? Duke Montana's not
afraid of a goddamn thing!
No, no. Duke,
I didn't mean afraid afraid.
You don't think
I can do this role?
No, no, no, no, no.
You're the one
who said that you were finished.
- I'll be the judge of that.
- That's right.
You let him
be the judge of that.
- He was the judge of that.
- He is the judge.
- And I'm the judge of it.
- You both judge...
[gun fired]
[Duke] Goddamn it.
[glass shatters]
[Duke groans]
[Duke] Oh...
[Duke groans]
[emotional music]
I'm in, fellers.
[Duke] I am... in.
Duke.
- Congratulations.
- [Duke] Yeah.
[doorbell rings]
What are we doing here?
Oh. Hey. Is Bess home?
No, Mr. Montana, she's not here.
Shit.
Will she be back later?
No, sir. She's out of town.
[Duke burps]
Are you drunk, Mr. Montana?
Hell yes. Do you know if she's
been getting my letters
I believe so.
Who are your friends?
Oh, they're producers.
I'm making another movie
He's gonna be great.
- Are you sure?
- Yeah, sure.
He's not gonna drink on the set,
though.
Yeah, well, if he does,
we'll try and... we'll try and
keep it under control.
Do you know if she's been
reading my letters or...
throwing them out?
Oh, hell. Never mind.
That's not a fair question.
Ah, just... just tell her
that I was here.
and please, can you tell her
that I came by.
- Sure.
- Right.
Here...
[playful music]
[Duke groans]
Duke!
-[Walter] Duke, Are you okay?
-[Max] Are you okay?
[Walter] Duke?
What do you want me
to do with these?
Put them in your room.
[car revving]
[tense music]
[rumbling]
Hey! You guys should pay rent.
I hope that's my money
you got in that bag, Max.
[Max] Well!...
I got Moo Goo Gai Pan, I
got ribs, egg rolls maybe.
Anything else, huh?
- All I want is my money.
- Oh.
Just give me my money, and me
and the boys will be on our way.
What, on an empty stomach?
Come on, Reggie.
Why don't you guys
grab some plates
over in the cupboard over there
and some silverware
over in this drawer over here,
and then I could tell you how
you can make some real money?
How about five times more
than your money?
Don't tell me you want me
to invest
in another goddamn movie, Max.
That's the exact same spiel
you used before.
But the difference is...
the difference is this time,
I can absolutely guarantee
that you're gonna make
a ton of money.
You guaranteed it the last time.
Same shit, different day, Max.
Then I'm guaranteeing it again
with a completely new guarantee.
How about that?
All right. That's enough.
Choke the fucking life
out of him.
No, no, no, no, no.
Please forgive me.
[clattering and clanking]
- [Max] Reggie.
-[Devin] What? What?
Don't you at least wanna
hear what I have to say?
About some goddamn movie? No.
All I want to hear is you
struggling to breathe.
But, Reggie, I'm telling you,
this can't fail.
Just listen.
You can crush my windpipe
in a minute, but just listen.
All right, Max. One minute.
you got one minute.
Okay. Ooh, oh, boy. Yeah.
Uh, well, look, I got a script.
I've got Duke Montana
- Duke Montana?
- Yeah. Duke Montana.
- He's alive?
- Yeah. Barely, but he's alive.
All I need to get
this payday going,
all I need to do to get this
absolute guaranteed payday
off the ground, just some money.
that's all, just a little money.
How much money, Max?
A million dollars?
Kill him.
[Choking] No, no, no.
That's just all the money
you said to give you, but this...
no, no, not done away like this
it's not a minute,
you said you'd give me a minute.
Cut me some slack.
because I'm not really gonna be
making a movie.
Were gonna make it look
like were shooting a movie.
It's a scam.
[Reggie] Whoa. Wait...
Let him go.
Come over here, Maxy.
Have a seat.
Now you're speaking my
language.
What do you mean a scam?
A scam. But we make it look like
we're actually gonna be
putting together a movie.
That we're serious about it,
the bigger, the better.
We'll make an entire movie.
We heavily insure the star,
who will do his own stunts,
which Duke Montana will do, and
and on the first day of shooting,
bang, we kill him in a stunt.
He's dead, and the
insurance companies,
they pay us all off.
And then, what?
We're rich. We're rich.
[airplane passing, rumbling]
- [Devin laughs]
- Huh?
- You say you got egg rolls?
- [Max] Yeah. Yeah.
[Reggie] Find the egg rolls.
[soft, upbeat music]
How is it a guy making
a million-dollar movie
don't have a better car?
Well, Duke, I don't believe
in ostentatious flamboyance.
I believe it corrupts and
corrodes the creative process.
Creative process?
Your last movie was about a
bunch of fucking nuns
slashing people to ribbons.
That ain't exactly Shakespeare.
Trying to hurt my feelings.
- That what you're doing?
- You got feelings now?
You told me you're a
motion picture producer.
Fine. Okay. Any other
sober insights
you'd like to get
off your chest?
Yeah. Who in the hell
would finance
a million-dollar movie with me,
a broke-down,
over-the-hill has-been?
That don't make any sense.
[Walter] Max is financing
it himself, Duke.
Yeah, he just came
into a bunch of money.
He's putting every
dime he has into it.
- You really did that?
- Yes, I did.
What are you? Stupid?
No. No, Duke.
I'm not stupid at all.
I believe in you.
I believe in Duke Montana and
I believe that your big comeback
is exactly what the world
wants to see right now.
- [Max] Go ahead, yeah?
-[Walter] Go ahead.
[Director 2] He is the oldest gun
in the west, correct?
Now, he's not what
he used to be. No.
Shaking hands, huh?
Failing eyesight.
So, I want to shoot
the whole movie
with a camera that is
always shaking, huh?
The camera, it's, like,
it has, uh, Parkinson's disease.
Parkinson [speaking foreign
language]
- Do you understand?
- Uh-huh.
And all of it should be...
should be out of focus, huh?
Just like his failing eyesight.
Yeah. The whole movie
should be...-
should be shaking
and out of focus, all of it.
[speaking foreign language]
Max] Yeah. That's a...
That's a way to go.
[Director 3] Oppression,
motherfuckers.
That's what this movie is about.
Indians ain't nothing
but niggas of the West
oppressed by whitey,
and the cavalry the man.
When this white cracker,
ofay motherfucker
finds out he's got Indian blood
coursing through his veins.
So, what does he do?
He embraces his own inner nigga
and takes over the goddamn
imperialist government machine.
Do you smell that?
- [Duke snores]
- [Director 3 inhales]
It smells like an Oscar.
[Megan] Well, I felt like I
really connected to the story,
and especially
the main character.
As a matter of fact,
my heart broke for him.
It seemed as if
he was living a lie.
It was as if all along he knew
that he was something else.
He just didn't know
how to express it.
I know this character.
I know this character very well.
And I know if you
give me a chance,
I can do a great job.
But you're a woman.
- So?
- No. No. It's, you know...
It's just kind of, like,
a guy's movie, right?
[Max] There's a lot of
gunfights, big stunts,
drinking, womanizing. It's--
But your movie is so
much more than just that.
- Oh, is it?
- Yes.
She'll do. Hire her.
Uh, but, Duke,
with all due respect,
it's sort of a guy's movie,
you know?
Yeah. Hire her.
Yeah. But, Duke, it's like a
rootin'-tootin' western.
You know? It's very masculine.
[gun fired]
Okay. Our star has spoken.
Congratulations.
Oh, my God. Oh, my God.
Thank you, guys. Thank you.
Thank you.
You won't be disappointed.
Thank you, Mr. Montana.
You know'
when I was a little girl,
my dad would
take me to the movies to see you.
When you'd appear on screen,
he'd say, "now, that is a hero.
That's what a real man
looks and sounds like."
Well, now, I know.
He was right.
Thank you. Thank you, guys.
[door opens, closes]
She'll do. [gulps]
[glass thuds]
[exciting action music]
[Walter] Sitting all alone?
[laughs]
Uncle Max, I don't know how
you did it, but once again,
you pulled it off.
Ah. well, thank you, Walter.
These people are
ready to die for you.
Not the best choice of
words, but again, thank you.
And... and the... and the
setting, they just did...
the atmosphere, it's perfect.
Uncle Eddie would
be very proud of us.
- May he rest in peace.
- [Walter] Amen.
By the way, the cherry on top,
did you see that old drive-in
we passed on the way up?
- No, I didn't.
- Well, it's pretty beat up.
But I asked around.
The projector still works.
We could screen our dailies
underneath the stars.
- How great would that be?
- Wonderful.
- We should do it.
- Yeah. That's... we will.
Definitely gonna do that.
You know, I'm just so happy.
I've... I've heard this
expression before,
but I never understood
it until this movie.
I know what they mean when
they say, "movie magic."
you said it.
I'm very proud
to be your partner.
- To success.
- In whatever form she may come.
[Mary Rose] Mr. Barber, the
animal trainer is here for you.
- Oh!
- Excuse me, Walter.
[Walter] Sure. That's exciting.
- Oh, hey, Mr. Barber.
- Hey. Hey there, Duke.
- Everything all right?
- Oh, sure, fine.
I'm just thinking
about having a drink.
Good. Good. Good. Good. Good.
Well, have a whole bunch.
Charge it all to me.
That's very kind of you,
Mr. Barber.
No problem. My pleasure.
Hey, Mr. Barber. You're paying
for everyone's drink?
No, not yours.
[Bob] Max Barber.
Bob Stillwater.
- Hey, Bob. Nice to meet you.
- Nice to meet you too, I guess.
- Yeah. Well, guess what?
- What?
Here he is. This is gonna be our
stunt horse, old butterscotch.
- Beautiful horse.
- Oh, he's not just a horse.
- He's not?
- No.
Butterscotch is a champion.
A giant.
Well, he's a legend
amongst legends.
Mm-hmm.
John Wayne says it's the
greatest horse he's ever ridden.
- He did?
- Yes, sir.
- Wow.
- Oh, yeah.
Tell him, Butterscotch.
Tell Mr. Barber how many movies
you made with John Wayne.
[horse snort]
See that will be one,
and that'll be two.
Wow. Boy, that's...
And that'll be three
and that'll be four.
Four?
Oh, now he's just lying.
You stop all that lying,
Butterscotch.
Well, sometimes he'll do that.
I got you. [laughing]
Oh, somebody was telling me
you wanna know everything
old Butterscotch here can do?
Well, I do, Bob.
Why don't we discuss it over
a couple of drinks inside?
Oh, you read my mind. [laughs]
Johnny Carson.
[horse neighs]
Where the hell is he going?
- Where's he going?
- Yeah.
Going back to the
trailer, settle in.
Take a nap.
Watch the Tonight Show.
- The Tonight Show?
- The Tonight Show
- Don Rickles is the guest.
- Okay-
That's got to be Butterscotch's
favorite.
Who doesn't like Don Rickles?
[Distant horse neighing]
[Max] That's quite the
impressive steed you got there,
Bob, I gotta say.
I mean, when I saw him take off
for his trailer to catch Carson,
I said, "Oh my God.
This is amazing."
Well, actually that's just
the tip of the iceberg.
Really?
Oh, yeah. You should
see everything he can do.
- Like what?
- Like what?
- Yeah.
- Well, like if you say the word
"pumpkin," he's gonna bow.
- He bows?
- Yeah.
And if you say... if you say the
word "mattress," he'll lay down.
- Nice.
- Yeah.
Hey, listen. If you...
If you say the word "rocket"...
- Then what?
- Pew!
He's gone, like a bat
out of hell.
Oh, yeah, right.
- Oh yeah, hey... "sassafras."
- What happens?
- He rears straight up.
- He rears up.
Straight up. [laughs]
- That's something.
- It is something.
I heard there was a word that
if you even suggest even the
beginning of it, somehow he
will just go....
- Oh, no, no, no.
- ... ape shit'
No, no, no. No, no. Mm-mmm.
You sure? You can just tell me.
I mean, I'm not gonna say
anything to anybody.
- Just tell me.
- No, no, no.
No, no. It's too dangerous.
You gonna get somebody hurt.
- I'll take my chances.
- [laughs] Are you sure?
I'll never say it in front
of him. I'm just curious.
Hey, listen, listen,
listen, listen.
Okay. If you're that stupid...
- Yeah.
- It's "rhubarb."
- Rhubarb?
- Rhubarb.
What happens?
No, no, no, no, no.
You don't wanna go there.
- Oh, no, no.
- Okay. That's crazy.
Oh, buddy. Hey, let me get a
light from you. Yeah.
Thank you, buddy. Oh.
Oh man. Thank you so much.
Look at you, man.
Yeah, we're down.
Very good for you, man.
Well... To Butterscotch.
Oh, yeah, to butterscotch, huh?
Aghh! Ooh! [laughs]
Amazing horse.
I just got to make a couple of
notes
about tomorrow's shoot, Bob.
Give me a second.
["Hot Shot" by Chris Ranallo
on stereo]
[Bob groans]
He's a hot shot
He's a hot shot
- I wanna thank you, sir.
- Oh, about what?
I'm no ingrate, Mr. Barber.
I think I've been a
little bit tough on you.
Oh...
I've found most producers
to be the lowest form
of human life imaginable,
you know.
People that would throw their
own mother out the window
just for a ham sandwich.
- You, sir, you're different.
- Thank you, Duke.
If it wasn't for you, I'd be six
foot under
up on boot hill right now.
- Uh-huh.
- Gonna use the bathroom...
["Long Haul" by Ron Wallace
on stereo]
Kalispell, just
outside of Whitefish.
You ever hear of it?
Uh, no, no, I didn't.
My dad raised me to be
a farmer, not a cowboy.
We raised wheat and barley,
lentils, garlic,
sugar beets
the size of pumpkins,
- homemade sarsaparilla.
- No kidding. Wow.
Listen, I have a very important
note I have to write here.
Okay. How can I help you?
Well, no, no, it's for my mother.
What I'm talking about
is the fragrances
of rhododendron- Mr. Barber.
- The rhododendrons?
- The lonesome cry of
the mischievous coyote.
Flathead Indians, Missouri breaks.
- That's nice.
- Wigwams.
I have no idea what you're
saying, but it sounds nice.
What I'm trying to say,
Mr. Barber, is that you are
a cool drink
of Cheyenne spring water
after a long gallop across
the golden, arid prairie.
Thank, thanks.
[glass thuds]
Shit. I am sorry
about that. Here...
- Big help. Thank you.
- Sure.
Oh, yeah. Thanks.
[Bob snores]
[insects chirping-
chicken cluck]
-Over there.
-Perfect, perfect.
Megan, are you sure
you wanna shoot that way?
You'll be shooting directly
into the sun.
I want my star back-lit.
I want him to look glorious.
Now put the camera right there.
Yes, perfect. Perfect.
Megan... hi.
All the wagons are brown.
Can we just please add a splash
of color in there somewhere?
No, Danny.
I want them to look real.
You know, dirty, like the
wagons that traveled
hundreds of miles
across the plains.
Got it. More brown.
Why am I even here?
All right, everyone.
We gotta get this film finished.
Let's go.
- This is our first shot.
- Yeah. That's what I said.
Finished, meaning one step
closer to the end. That's good.
Max, we need to
have a safety meeting.
Yeah, good idea.
- Like now.
- Hey, Duke.
- Yo!
- [Max] Yeah.
Uh, we're gonna
start filming now.
You mind hopping on
old Butterscotch here?
Be right there. Yeah. Okay.
[Duke strains]
Where's Bob?
Bob's not feeling
so great today.
But don't worry, he told me
everything we need to know.
Damn it. [Duke straining]
-[Duke] Goddamn.
- Are you sure? Is that safe?
[Max] Walter, Are you
questioning my professionalism,
my dedication to my craft,
which hasn't seen an accident
in over a year?
Our last film wrapped
a year and a half ago.
Irrelevant. And even if
something were to happen,
which it won't, we have the best
set medic in Hollywood
standing by right over there.
[laughter]
Mattress.
[horse neighing]
I'll ask you next time to get
all your facts straight
before you attempt to slander
my good name, Walter.
I'm sorry.
Are you sure you're gonna
be able to do this stunt, Duke?
[Max] Of course, he can do this
stunt. He's Duke Montana.
I'll be fine.
You know, you look pretty
handsome up there on that horse.
Let's make a movie.
[Indian Man] Oh, shit. Hold up!
- That's my horse!
-[Staff] Everybody set to one.'
Picture's up.
Megan, I have an idea,
if I may suggest something.
Sure, Max.
I was thinking instead
of just a simple jump,
why don't we make this
look really spectacular.
I'm listening.
Well, this being the
first shot of our movie
and our introduction to Duke,
instead of him just galloping
along and jumping into frame,
why don't we do it
through a wall of fire?
Let's set the wagons ablaze and
have Duke and his beloved steed
jump through the flames,
sail through the air
and land right into a close-up
to save the settlers.
- That sounds very dangerous.
- That sounds great.
- Get those wagons lit.
- Great. Set them ablaze.
That'll be some color.
You sure we shouldn't talk
to the trainers about this?
- It's very dangerous.
- No, we don't need to do that.
You know, usually you
rehearse...
Walter, Walter, Walter'
for the last time,
I know what I'm doing.
Stop fucking bothering me.
Ready and... action!
[action music]
[settlers screaming]
[rapid gunshots]
[encouraging music]
[rapid gunfire]
[horse neighs]
[Duke screaming]
[gasping]
Duke! Medic!
[Max] Awful hand of fate that
has dealt us these cards.
I can see it now in the
obituary in Variety,
"Duke Montana,
he died with his boots on."
If he were alive right now,
I know he would be saying...
Where's that damn horse at?
Duke? My... my God. you're alive.
[Duke] There you are.
If I come off you again,
me and you is fixin' to have
some fisticuffs.
Is that clear?
All right then,
let's do this again. Wardrobe!
- Try to stay handy, will you?
-[ Walter] Duke, Are you sure?
Oh, hell, yes, I'm sure.
I just need to talk
to my director.
Mm-hmm.
Oh, my God. That was so close.
Yeah. That was close.
That--that could've been
a big tragedy.
We could've had a big tragedy.
-We're so lucky.
-Yeah, we are lucky. Yeah
Reset. Let's go again.
- [Assistant D.] Back to one.
- And action!
[settlers screaming]
[rapid gunfire]
[horse neighs]
[horse neighing]
Cut! Perfect. Great. Moving on.
Sh--shouldn't we just get
one more for safety?
For protection?
And maybe we should set up an
even, a bigger, bigger, bigger fire
you know,
to make it more effective?
- We could at least try that.
- I like what I got.
We're moving.
You know, I'm really
starting to like her.
- She's very decisive.
- Hey, Duke.
Hey, Duke.
Duke, great job up there.
I like what youre doing.
Can I get you anything,
like, uh...
Like a root beer with sassafras?
[horse neighs]
No, sir, I don't care
for root beer.
How about something for lunch?
How about lentil soup?
Oh, that'd be swell.
I like lentil soup.
- Now, how about pumpkin?
- Oh.
[horse snort]
With lentils?
No, thank you, sir.
What do you look so happy about?
Rode... rodent?
Rhap... rhapsody?
Rotor, runner? Rhubarb?
[faint horse galloping,
crow squawking]
Jesus, uncle Max. Are you okay?
You took off like a rocket.
[horse neighing]
[Bob] My horse, my Butterscotch-
just like that, gone?
That horse looked up to me
like I was his father.
And I looked at him
like he was my son.
Oh, don't worry, Bob.
We're insured'
Insured? Did you realize
my horse is priceless?
And I'm gonna sue you,
and I'm gonna sue you,
and whoever else is responsible
in financing this debacle,
for every penny you're worth.
[door opens, closes]
What's his problem?
I don't know.
You know, on the bright side,
this is one of our
best first days ever.
Best? Best?
What are you talking about?
I mean, we lost our featured
horse, we're getting sued,
I got ejected from my own
feet, Duke Montana's still,
Still what?
Still as good as ever?
Because he was incredible today.
And Megan said she got
some fantastic stuff.
- What the hell does she know?
- I have no idea.
You're the one
that wanted to hire her...
[phone ringing]
I'm not talking to anybody.
You hear me? Nobody.
I don't care
if it's Christ on a cross.
- Nobody.
- I'll get it. I'll get it.
Hello.
- It's Reggie Fontaine.
- Give me the phone.
Hey, Reggie. How are you?
[Max] Thanks for calling.
So the cowboy... dead, right?
[Max] Yeah. Uh, no. Well, not.
[Reggie] Wait
What--what do you mean no?
You said, "dead."
You said, "dead by noon."
Dead. Like William Holden
in Sunset Boulevard.
Well, he's doing... he's doing
great actually today, yeah.
I mean, you should've seen him.
He was, like, amazing,
Jumping the horse
like he was only 50.
It was really...
Really something to see.
I don't wanna hear that shit!
I wanna hear that
he died tragically.
We're gonna make that happen,
Reggie. Wait and see.
Tomorrow, we're shooting this
fantastic rope bridge scene.
I mean, you've never seen
a chasm this deep.
I... I mean, it's... it's gonna be
a real killer.
Wait till you see.
It better be, because if not,
I'm gonna hunt you down.
I'll hunt you down like Lefors
did Newman and Redford
in Butch Cassidy
and the Sundance Kid.
Do you hear me?
Thank you, Reggie. Thank you.
And again, thanks for the call.
It was very nice of you.
Reggie, I told you I never
trusted that motherfucker.
What a sport.
[Walter] Why the hell is Reggie
Fontaine calling you?
What?
Why is Reggie Fontaine
calling you?
I dont think I like your tone.
Well, I'm sorry, but, I wanna
know why he's calling you.
- Well, what do you think?
- I have no idea.
That's why I'm asking.
I'll tell you why, because the
word must already be out there.
- What word?
- The word that every producer
wants to hear being said
about their movie
on the first day of production.
I have no idea.
- What's the friggin' word?
- Hit-
- [Walter] No.
-Yes, Walter. Hit.
- And that's what we've got.
- [Walter] Really?
A hit.
It's already on the street.
Already on the lips
of people in the know.
Being whispered like the wind
in every corner of tinsel town.
And it's obvious
that Mr. Fontaine
is trying to work his way
back into my good graces.
But you heard what I said.
I was nice to him,
but I really was telling him
to go fuck himself.
[laughs] Yes!
A hit. I knew it.
I--I--I was feeling it.
Oh, I'm so proud of you.
Oh, I have to be honest.
I thought you were up to
something shady again-
I'll forgive you
this time, Walter.
[Walter] Thank you.
[tense music]
[coyote howling]
[eagle screeching]
[Crew 2] Forest, Forest. How
much--what are we looking at?
[Assistant D.] We're just
waiting on the star talent.
So, you're gonna have
to hang in there,
but we're gonna get to you soon.
[Crew 1] all right.
[Walter] Great job on the
bridge.
[Danny] Sure. More brown.
[Walter] No. It's beautiful.
I'm sorry. I'm actually seeing
someone else right now.
[Duke] Hey, can I talk to you
fellas for a minute?
[Walter] Sure, Duke.
What can we do for you?
I'm not too sure
how to say this.
Duke, you can tell us anything,
so...
All right, then.
I really don't wanna
get out there on that bridge.
Oh, but, Duke, this is the scene
where you--you cross the gorge
into the sacred and forbidden
Indian burial ground,
where you awaken the spirit
of your great-grandfather,
therefore, revealing to your
character and the audience
that you're actually
one-eighth Indian.
I don't care why I'm crossing the
goddamn gorge.
I don't like heights.
The great Duke Montana
doesn't like heights? Oh.
That right there is the reason
I don't ever tell anybody
about it.
But, Duke, look.
If we're to get this incredibly
poignant and important scene,
the one that would win you your
Academy Award, if you want that,
and I know you do,
there's no way that you can't
cross that bridge.
- You have to cross that bridge.
- That's easy enough to say
from where you're standing.
I'll see you fellas when you
find a new way for me
to reach the burial ground.
Perhaps a little liquid
courage would help?
What do you think?
- No.
- You sure?
- No.
- Uh, you know what, Duke?
You're right. It is easy to say
from where we're standing,
but look.
Hey, Walter.
Walter, what are you doing?
Don't worry, Uncle Max.
Well, yeah.
But what are you doing?
- Don't worry.
- [Max] Walter, Walter,
See? Duke, it's perfectly safe.
Sure, when you're that
close to solid ground,
but what about
out in the middle?
- All right.
- [Max] Oh, no, no.
Is this...
is this really necessary?
It's okay. It's okay, Uncle Max.
[Max] Is this really necessary?
- It's... it's good. Look.
- I like a man who puts
his money where his mouth is.
- Well...
- [Walter] Are you convinced
it's safe now, Duke? Look.
[Duke] No, how about a little
bit further out?
Oh, okay.
No, no, no. Walter. Walter.
[Max] Walter.
Now?
No. Get further on out there.
Walter! Walter. Enough. Stop.
The scene is not worth it.
Come back.
It's okay, uncle Max.
It doesn't matter.
We can't shut down.
We're making the
greatest movie ever.
It's totally fine.
that is the kind of passion
and commitment to a project
that gets my blood rolling.
You have yourself a scene,
Mr. Barber.
[Walter] you got this, Duke
Okay. Okay.
[Walter] Let's shoot.
[Assistant D.] Rolling.
[Megan] And action!
[tense music]
[gun shots]
[ululations]
[gun shot]
[gun shots]
[Walter] This is gonna be great.
Watch this.
[Max] Oh, no.
What are you talking about?
This is great.
No, yeah. No, yeah, sure.
[tense music]
[Megan] And cut. Reset.
Lets go again.
[Assistant D.] Back to one.
- Hurry up, people.
- Listen to the lady director.
Mach Schnell. Come on.
Hey, I think I'm over
my fear of heights.
- Yeah, Duke.
- [Male Crew] That's great, Duke!
Duke Montana
is not afraid of heights.
Run!
-Roll the fucking camera.
-[Cameraman] Yes, yes, perfect'
[Megan] Everybody clear the
bridge.
[Duke screams]
[rattle of bridge collapsing]
[Megan] Oh, my God. Oh, my God.
Oh, my God.
[Walter] Duke!
[uplifting music]
Yeah!
- Yeah, Duke Montana!
- Cut it!
[applause and cheers]
I know. I know. Did you get it?
Tell me you got it.
You got it? You got it? Yes! Oh!
Duke Montana, everybody!
Duke Montana!
[cheering]
Good job, Duke.
[Duke] Hi, I'm Duke Montana and
I'm here to talk to you
about my good friend...
[phone rings]
[Duke] From the Rio Grande
to the Rocky Mountains...
is and always has...
Hello?
[Reggie] Who the fuck is
Butterscotch?
- What?
- Who the fuck is Butterscotch?
Uh, he's a horse.
I'm being sued
for a million dollars
because you lost a fucking
horse named Butterscotch?
No, no. No, we'll find him.
we'll find him.
[Reggie] You're goddamn right
you'll find him.
And what about the
fucking cowboy?
No, let me guess. Not dead.
No. No.
Max...
If you're fucking
around with me...
[Reggie] I swear before
God, Max,
I'm gonna throw
your ass off a roof.
Re--Reggie, I--I promise you'
I'm--I'm doing my best.
It's not that hard
to kill somebody!
Oh, no, but you
don't know this guy.
He's got, like,
nine lives, Reggie.
Shoot him.
Strangle him. Poison him.
I don't give a fuck how
you do it, but do it!
If not, I'm gonna come up
there and do it myself.
And when I'm done with him,
I'll be starting on you.
Yeah, yeah, yeah.
Yeah, yeah, yeah. Bye.
This motherfucker hung up on me.
[Host on TV] Don't
let it look like it
rained in your dining room.
Get Sparkled Water Spot Remover.
From Hollywood,
the Tonight Show...
[horse neighs]
Hey. Oh, look who's here.
Butterscotch.
So happy to see you.
Come on, come on.
You wanna watch the show?
Rodney Dangerfield, Dr.
Joyce Brothers, Anthony Newley.
What kind of fool am I?
It's okay, come on.
You can... come on...
What are you thinking?
[Host] Joey Bishop
Oh, he's good too.
You're gonna enjoy him. Come on.
- [Host] Here's... Joey!
- What?
Ah! Fuck you, Butterscotch.
[horse neighs]
[Max] There you go. Nice horse.
That's it.
That's it. That's it.
Good horsey.
[bull grunting]
Hey, thanks for coming back,
Bob.
I really appreciate it.
Oh, Yeah?
well, I'm still suing you.
Well, yeah.
Do what you got to do, okay.
So tell me about
old Mordecai here.
Mordecai come from a very long,
prestigious line of bulls.
[bull bellowing, crashing]
Do you realize who his
great-grandfather was?
- No.
- "El Jefe," Jose Gonzales.
- Oh.
- Oh, yeah.
and he's a bad son of a bitch.
- Really?
-Oh, yeah
Killed 14 of them damn matadors
in less than three weeks.
that's right.
So Mordecai charges whenever
he sees the color red?
[bull bellows angrily]
Jesus Christ! Come here.
Don't ever let me hear you say
that word around him again,
you understand me?
I'm the only one here that
can control that big bastard.
He goes ballistic and crazy
if he just sees that color.
And you need to tell
your crew, if you haven't.
Well, oh, yeah. I told everybody
to steer clear of mordecai here.
Well, that's good.
[Duke] What's the story
on this bull?
Excuse me. Excuse me.
Well, Duke, this is the scene
where the cowboys fight
the Indians over the bull
that they stole from you.
I know what the scene is about.
It just doesn't make any sense.
I'm sorry.
Why in the world would an
Indian steal a white man's bull
when there's three million
buffalo standing out there?
That's a good point. But let's
just focus on today's work.
- Can we do that?
- Okay, fine.
Tell me about the bull
that don't make any sense.
Well, no, he's a-- he's a--a
stunt bull.
He looks mean, but he's--
he wouldn't hurt a fly.
- Sounds hanky.
- Hanky?
As in ridiculous.
Uh, no, no,
it's the newest thing, Duke.
You've been out of the
business for a long time.
Believe me, Duke,
this is state-of-the-art.
By the way, where's
that big, beautiful,
bright red hat that I gave you?
I like my hat.
I gave the red one
to that little kid down there.
What? What kid?
-Walter. Walter. Walter.
-Yes.
what's with the kid?
Oh, Megan bad a great idea
this morning.
Instead of Duke just
facing off the bull,
first, he's gonna go rescue
that little boy named Lyle.
[bull bellows]
- What?
- Isn't that exciting?
No. It's...
Why didn't you tell me this?
Oh, it's gonna be great.
You're gonna love it.
[Assistant D.]
First positions.
Looking good, Lyle.
Rolling.
[camera rolling]
Ready and... action!
[gunfire]
[Megan] And action, Duke.
Get up there. Come on.
Hot dang-
what's the matter with you?
Dang. Heel.
Shit.
[rapid gunfire]
Harriet. No, no, no, no!
Harriet, no, no. no, no!
[bull bellows]
No, don't!
[bull bellows]
[Bob] Hey, look! Butterscotch.
Whoo!
[horse neighing]
[Duke whistles]
[horse snort]
[bull bellowing]
[exciting music]
[gun fired]
[bull bellows]
Stunt bull, my ass.
Get on out of here.
- And cut!
- Yeah! [loud cheering]
[Driver] Hey, Mr. Barber,
can I get you anything?
[bull bellowing]
- [loud clank]
- [Crew] Ooh!
Wow, Uncle Max, you sure
are light on your feet.
I gotta tell you,
you almost dodged that bull.
Yeah.
Lie down. Put your feet up.
Fucking thing looked like Satan.
On the bright side,
Butterscotch coming back
is something we never
could have planned.
And--and I was thinking,
it totally encapsulates
the heroic nature of Duke and
the Indians and the townspeople.
And even Megan said it's some
of the best stuff we've gotten.
Yeah. Fucking fabulous.
[indistinct chatter in
background]
Duke, whatever happened to you?
Oh, I don't know. I think
I'd rather not talk about it.
But you know what?
I'd... really like to know.
If all my years have taught me
anything it's that
you have to be what you are.
With no apology.
Even when there ain't no
role to play.
[chuckles] Hey, bartender!
[rooster crowing]
[banging on door]
[Max] Duke, Duke, come on!
[banging on door continues]
[door crashes]
[Max] Duke? Duke.
Stay back, Stay back.
[Max] He's not here
I bet you I know where he went.
Oh, hey. Bess home?
[Lori] No, sir, Mr. Montana.
That doesn't sound right to me,
darlin'.
I just don't believe that.
- Hey, Bessie.
- She doesn't want to see you.
You said she wasn't at home.
What you doing in my house?
Ah, Bessie.
You better get your ass out of
here before I call the police
I need to talk to you, Bessie.
D...
[horse neighs]
Did you ride that horse all the
way out here?
Uh, no. I brought him
in a trailer.
But I was hoping we could ride
off together.
You drove all the way here from
Lone Pine?
Ah-ha. You do care about me.
Gotcha.
Mom, should I call the police?
No. How'd you figure that?
well- how the hell else would
you know I was in Lone Pine?
Yeah? Well, it's kinda hard
not to.
You're in the newspaper every
other day.
Everybody's talking about you,
saying this is gonna be
your big comeback.
Duke Montana, hero of the
American West.
Ha!, If they only knew what a
coward you really are.
You're not gonna get any
argument from me, Bessie.
I am a coward.
A big, fat coward-
There, I've said it. Feel a lot
better about that too.
Well, good for you.
So, why don't you
just go on out there,
hop up on your big old horse
and gallop off into the sunset
on your way to fame and fortune,
like you did the last time.
That's the point.
I--I don't want any of it.
And I haven't finished
the movie.
- What?
- I haven't finished it.
I still have one crucial scene
left to go
and if I don't shoot it'
there is no movie.
And what's this got to do with
me, old man?
It's just--it was 20 years ago,
Bessie.
Thirty.
Seems like it was yesterday
to me.
If I do not finish this movie...
I will be absolutely,
completely, totally washed up.
They will certainly sue me.
I'll wind up in the Old Actors'
Home again or in jail or dead.
[Bessie exhales]
I think you've done better
than I have, Bess.
[dramatic music]
It...I don't care.
Well, I think
you do care, Bessie.
I--I think you've always cared.
I never stopped caring.
When I made my stupid mistakes
I was young, and...
I need you to forgive me.
Oh, you need me to forgive you?
Okay. I forgive you.
I forgive you, Duke Montana.
That's it? Okay, great.
Now, come on.
Come on. Because I want you to
just go on and be a big star.
This is where the cowboy rides
away... alone.
Shit.
[emotional music]
[birds chirping]
[playful music]
[gas hissing]
All I want to do is make movies.
[cat meowing]
Fuck you.
- Uncle Max.
- You should be dead now-
No matter what you think
you saw,
I was not talking to that horse.
What? Come here.
I gotta show you something
You're not gonna believe this.
Just come with me.
I got a surprise for you.
You gotta see this.
Come in.
Walter, I have absolutely no
interest whatsoever in seeing...
Start it up.
Just trust me. Start it up.
[The Oldest Gun in the West
clips playing]
- Oh, my God.
- I know, Uncle Max.
Walter, oh, my God.
- I know, Uncle Max.
- I mean...
- Did you just see what he...
- It's incredible.
- Oh, my God.
- I know, Uncle Max.
Walter!
I mean, it's a hit.
It's a bonafide hit.
- Yeah.
- It's wonderful.
It's breathtaking.
Duke Montana, he's... he's...
I've never seen him more
virile, more alive. My God...
- Oh, my God. Oh!
- What? What?
- Oh, my God. Oh, my God. Oh, my God.
- Duke! Duke!
Harriet, where's Duke?
Where's Duke?
I don't know, Mr. Barber. I
think he went to his trailer.
- Duke!
- What's going on?
Stay over there. Stay there.
Stay back. Stay back.
Duke? Oh, my God. Oh, my God.
Duke, where are you?
Duke? Duke!
[Duke] Yo.
Hey! There you are.
I wanted to ask you something.
[explosion]
[Max] Whoa!
[heart monitor beeping]
You've been trying
to kill Duke Montana.
- What?
- You heard me.
Who are you?
You don't have amnesia,
you lying son of a bitch.
Is that how you talk to your
own flesh and blood
who's just coming out of a coma?
A coma?
Ow!
You've only been
out three hours.
You never had any intention
of making a great movie.
You are incapable of
making a great movie.
You just wanted
to take the easy way out
and cash in on the insurance.
And that's why you invested
your own money.
Just the idea that you were
never even gonna tell me
any of this!
Well, I didn't think
you'd approve.
Of course, I don't approve.
You see? Keeping you in the dark
was the best thing
for all of us.
- Not Duke.
- Duke?
Duke had a gun in his mouth
when we met him.
He wanted to die. We gave him
the greatest gift of all...
the will to live again.
And besides, you know what?
This is really all your fault.
What?
You're the one who killed
Frank Pierce.
You're the one who
wanted to go on the set,
and you're the one that put
that idea in my head
in the first place.
Your ability to twist things
around is incredible.
How you can
just... you--you--you--you--you--
you cherry-pick information
and you just mold it
into whatever you want.
It's--it's--it's truly
incredible. How do you do it?
I got to know
because you make,
you make--you make greed
seem palatable.
you make murder seem just,
you know, it's swell.
What kind of a
human being are you?
Well, I'm a producer, Walter.
- That's my gift.
- You know what?
You're nothing more than
a garden-variety psychopath.
I mean, that--that--that
is--that is
finally becoming clear to me.
My God. Gambling on this
insanity with--
with your own money is the only
quasi-respectable thing
you've done this entire shoot.
You're not gambling
with your own money?
Oh, please tell me you didn't
get us into bed
with Reggie Fontaine again.
- Oh, my God!
- That's my line.
What happened to all
the money you got
from selling Paradise
to Jimmy Moore?
I never signed that contract.
I told him to go fuck himself.
- Why would you do that?
- Why would I do that?
He doesn't deserve that script.
He's beneath that script.
I'll never let him
have that script.
I'd take that script
to my grave before
I would let him have
that script.
- Are you kidding me?
- You are an insane person.
Fine, Walter, sticks and stones.
Call me whatever you want.
But we need to protect
our movie right now.
We are on the precipice of
greatness, of cinematic glory,
or dare I say it,
Academy Awards.
There's only one thing
stopping us now.
That Reggie Fontaine
is on his way
to kill Duke Montana himself.
And possibly you and me.
Help me find my shoes.
Where are they?
[dramatic music]
What are you doing there,
sheriff?
Afraid I can't let you into town.
[Duke] And, why is that?
Anyone siding with the Injuns
ain't welcome here.
That's where you got
things wrong, Sheriff.
I ain't on the side
of the Indians.
I'm on the side of right.
[thrilling music]
you know this is where
they shot Gunga Din?
- Who's Gunga Din?
- And why'd they shoot him?
Never mind.
[Devin] How you wanna do this,
boss?
[Reggie] Publicly.
[Duke] It's your move, Sheriff.
[car approaching]
Go get Duke and meet me
at the drive-in.
- Drive-in?
- Yeah, trust me.
[Duke] You don't want
any Indians in here,
you better be reaching for
that hogleg on your hip.
[Megan] Cut. Cut!
Who the hell are these guys?
Who cares?
At least it's in color.
- Rhubarb.
- Hmm?
Rhubarb! Rhubarb!
- Oh, no.
- Oh, shit!
[gun fired]
Aaahh'
[Devin] Motherfucker.
Duke, we gotta get out of here.
We gotta go. We gotta go.
We gotta get out of here.
Get the car. Get the car.
Get the car.
[whistles]
Hurry up!
[Bob] Butterscotch, no!
Come back! Come back!
[car revving, honking]
[suspenseful music]
[screeching to a halt]
[clatter]
[car crashes]
[Max grunts]
[horse neighs]
[soft, tense music]
I'm sorry, Mr. Montana,
but I'm gonna have to kill you.
- Kill me?
- Under different circumstances,
I might be telling you how
much I appreciated your work
in Silver Spurs
or Save Three for Papa .
You liked that fucking movie?
Oh, yeah. A lot.
But, well, I...
I got to kill you.
Reggie, Reggie, don't do
something you're gonna regret.
Please don't do it.
"Reggie"?
Do you know these guys?
[Reggie] I'm not gonna regret
any part of this.
Matter of fact, I think
I'll kill you first, Max.
[Max] Great job, Duke. Now what?
Now what? How about telling me
what the hell's going on here?
[music and yells
from screen]
[Reggie] Whoa.
[laughter]
[bull bellowing]
[gun fired]
[laughter]
[indistinct chatter]
[gunfire]
[laughter]
[Reggie] Oh, no. [laughing]
[Max] Duke.
[laughing hard]
[Reggie] Holy fucking shit.
Yes. Yes. Yes.
Maxy, goddamn.
I think you did it, partner.
- That's our movie?
- Yeah that's...
- You nut.
- That's it.
I would say this is
some of your best work, Max,
but that wouldn't be saying
a whole lot, would it?
But let me be the first
one to say it to you.
Oscar. Huh? Huh? Hee!
How much more you got to shoot?
- One day.
- One day?
I'll see you in LA. Yeah?
Uh, Mr. Mon... Duke?
Duke? Thank you.
- Uh-hmm.
- Okay-
Put them guns away.
We're not killing anybody.
Can I at least throw a bullet
at the motherfucker?
Like I said, would you mind
telling me what's going on here?
well, Duke, I--I--I, uh--I--I--I
just--
I don't want you to be
upset with--with
what I'm gonna tell you.
Oh, heck, Mr. Barber,
you can tell me anything.
We're friends.
[Duke groaning]
Duke! Duke, you can't.
Why the hell not?
you were trying to.
What the hell are you doing?
Ma--Max is sorry he was trying
to kill you, Duke.
- Ah, shit.
- Which Walter inspired me to do.
- No, I did not.
- Oh, yes, you did.
Oh, yes, you did.
I did not. The point is,
Duke, we all want you alive.
- Of course, I want him alive.
- Ah, damn it
This is not about me
living or dying.
- It's not?
- No.
[Max] Duke, you're not
making any sense.
I have been trying
to destroy myself
because I broke her heart,
the love of my life.
I can't let her go.
- Who, Duke?
- Bessie
Bess Jones.
When I was in New Orleans,
I wound up in a Black club.
Blues... they had
Willie Proudfoot playing.
She looked at me with those
big beautiful eyes and... she sang.
And I knew right then and there,
she was the one for me
and me for her.
I was about to sign a
million-dollar contract
and the studio boss says,
"Duke, you got to
make up your mind.
You wanna be a rich
Western movie star
or do you wanna run off
with your Black girlfriend?"
So you chose stardom?
Who the goddamn hell is
telling this fucking story?
A happy, well-adjusted man
with his soul mate at his side
or an angry, broke-down,
emptied-out, uh, suicidal drunk?
Hm.
Why don't you guys get out of
here so that I can kill myself?
- No. No. No, no, no. Duke.
- Don't do it. Duke. Duke!
- [gun fired]
- [Duke] Aah!
Now you listen to me,
you son of a bitch!
I'm sick and tired
of this shit.
I don't give a shit about you,
or your sad story,
or your fucking colored
Louisiana blues-singing
girlfriend.
I have bled through my ass
for this fucking moment,
and I am one scene away
from my fucking Oscar.
You're gonna stop with the
booze, stop with the gun,
and stop with the bullshit!
You're gonna get
a good night's sleep.
You're gonna have wonderful,
beautiful dreams of prairies
and mountain streams with deer
and antelope playing,
and in the morning,
you're gonna wake up refreshed,
drink a pot of fucking coffee,
you're gonna do
the goddamn scene,
and you're gonna
do it brilliantly,
and after that, when our
director yells "Cut,"
you can stick a bazooka
up your ass
and pull the fucking trigger
for all I care.
But you will be on that set
tomorrow morning at 7:00 a.m.'
And you will finish this movie!
[distant horse neighs]
That's the most honest
thing anybody has said
this entire shoot.
[serene music playing]
[Duke] Life is really just one
big mistake, isn't it?
I mean, it's so precious.
And we treat it like
it was meaningless.
I was playing poker one time
with this old Chinese feller
named Chen Liu.
Long, white, flowing hair,
boniest of hands,
far too many teeth.
And he was laughing and drinking
and having a good old time.
And I swear, he had the
biggest pile of poker chips
in front of him I had ever seen.
Thousands of dollars.
Thousands upon thousands.
Hell, he had so many poker
chips, he was giving them away.
And then his pile
of poker chips dwindled.
And it dwindled some more.
And as the evening went
on, Old Chen sobered up'
realized what he had done.
I wish I had been a little bit
more respectful
of the pile of poker chips
that God put in front
of me to get started on.
But, hell,
that's, life.
Mistakes and lost poker chips.
[Duke] One great, big, beautiful...
mistake.
- [Bob whimpering]
- [horse neighing]
[Megan] And cut.
That's a wrap.
[crew cheering and applauding]
We did it.
[horse neighing]
[cameras clicking,
chatter]
[Sophie] This is Sophie Renee.
it's a beautiful summer evening
in Los Angeles,
and we're all here
for the world premiere
of the Oldest Gun in the West.
We're waiting
for the stars to arrive.
We have some producers,
we have some of the actors,
and this is the big return
of Duke Montana,
one of the greatest
Hollywood icons ever
to grace the silver screen.
Excuse me, gentlemen. Hello.
Max Barber, Walter Creason,
you two are the producers
of Oldest Gun in the West,
which many are saying
is going to be the one
to beat on Oscar night.
How are you feeling?
Well, we're very honored and
humbled to be here,
and this is what happens when
a lot of talented individuals
all come together with
a singular vision and purpose.
It's quite special.
Let's just say that my uncle
and I believe in miracles.
- Yeah, that's for sure.
- Oh. That's lovely.
Oh, excuse me. Megan Albert.
I heard your work
is amazing in the picture.
You're one of the very few
female directors in Hollywood.
How does that feel?
Well, I really hope that I can
inspire more women
to become directors.
I really have Max Barber,
Walter Creason,
and, most of all, Duke Montana
to thank for believing in me.
- Aw.
- She's cool, huh?
We met at work together.
Oh. Uh, what's next for you all?
Well, actually, uh, now that
I'm the President of the studio,
I've signed Max, Walter and
Megan to a multi-picture deal.
In fact, my first project
out of the gate
is gonna be the epic Paradise.
And I will be co-financing
all future
Miracle Motion Picture pictures.
Right, you heard me.
Just like Humphrey Bogart
muscled out Jimmy Cagney
in the roaring twenties.
Do you remember that, huh?
- That's right. Yeah.
- Huh? Remember?
Like the brother just
said, we in the bidness!
You dig?
Were gonna be doing Black
movies too, with Black actors.
Right on.
Okay. So, Max and James, rumor
has it that over the years,
you two have had a very
contentious re!relationship-
you care to comment?
Well, Jimmy and I
have talked this over
and we both agree that
there's nothing as tenuous
as enemies in show business.
Yeah. I mean, you can't believe
everything you hear.
Max Barber is a great, great
grandfather figure for me,
Always has been.
[Sophie] [laughs]
Okay, gentlemen.
Well, thank you for stopping
and I wish you all the
best tonight.
- Thank you. Okay.
- Thank you.
[Max] What the fuck was the
"grandfather" thing?
I told you not
to call me Jimmy.
well, don't call Paradise
your movie, 'cause it, note
Can we at least agree
that it is ours?
No, it's not ours,
I never signed the...
- Max, come on. Max.
- Look who we have now.
Hey, come on. It's our movie.
Yeah. Yeah. Good enough.
[applauding and cheering]
[Sophie] Duke Montana. How does
it feel to be back on top?
Oh, I don't know.
I guess it's very nice
if you all came out
to see an old cowboy.
Aw. well, congratulations.
We wish you the best
of luck tonight.
[Walter] Duke? Come on, you're
gonna miss your big comeback.
Come on.
I'll be right with you,
partner.
[Max] Hey, Duke. Come on, Duke.
This is more your night
than anybody's.
I don't do very well
in crowds, Mr. Barber. I...
I think I do better
in, uh, wide-open spaces.
But we need you.
Come on, come on, come on.
Mr. Barber, I can't do it.
Hey. Thank you
for trying to kill me.
Thanks for not dying.
Okay.
[fans cheering]
I hope you find
what you're looking for.
[uplifting music]
[knocking]
[door creaks open]
Bess home?
[clink]
[horse neighs]
[orchestral music]