The Last Tycoon (2016) s01e03 Episode Script
More Stars Than There Are In Heaven
1 (projector clicking) We're all in this together.
You, me, Zukor, Cohn, pain in the ass Warner Brothers.
We're building something, together.
And I'm sure, if I were in your shoes and you were in my shoes, you'd be generous with me.
It was an act of real friendship.
Irving here thinks I should tell the two of you to go jump in the lake, and as we know, boy geniuses are never wrong.
Oh, you'd be surprised.
(laughs softly) So, yes to your Angels on the Avenue reshoot, yes to the Brinel picture and yes to Sally Sweet.
And we'll get you Harold Arlen and Yip Harburg to help with the songs.
MAYER: Right.
But no, to Bess Burrows playing Sally's aunt.
You don't want whores.
You want stars.
Like Minna, may she rest in peace.
L.
B.
, that was actually, uh I never slept with her.
I just said that to get you to let her go.
You know, Pat, despite appearances, this is a gentleman's business.
I apologize.
Well, then, yes to Bess Burrows.
Uh, Pat, the other titles.
Yes.
Her Royal Shyness, very funny comedy we developed for Minna.
I don't have a money tree out back.
Why don't you just take your three yeses, you say thank you, and if they're hits, we'll talk.
L.
B.
, this is a hit Pat, Pat.
(chuckles) Do you freely accept that I'm now your Lord and Savior? I mean, I parted the seas for you.
And I saved you from that prick, Corny Riddle.
Like God, no? Well, this is God saying to you if they are hits, then this bank will stay open.
And if not Uh, Louis? (clears throat) The box.
Oh, thank you, Irving.
Yes, Monroe.
Apparently, you've got a birthday coming up? STAHR: I suppose I do.
Many felicitations.
(laughs softly) BRADY: Do you mind if I apologize to Gyssling? 'Cause I think I'd rather borrow from Hitler.
This, too, shall pass.
Yeah.
Easy for you to say.
All you got from him was a watch.
Look, he wants three hits, let's give him his three hits.
We can release Her Royal Shyness in spring.
Yeah.
I'll be dead by then.
Or he will.
(sighs) Can't beat a yes out of him, Pat.
Oh, yeah? Mr.
Brady? Yes.
Miss Taft is by the pool.
She asked me to bring you to her.
Thank you.
MARGO: Clever.
And I do like clever.
BRADY: (laughs) Then you've read it? I read my lines.
They're fine.
Of course, some of the scenes need more work.
More depth, like a novel.
We'll take care of it.
Hmm.
Harry Cohn used to make promises like that.
And then he always went back to being Harry Cohn.
I know there were unkindnesses.
We have a love-hate relationship, Harry and I.
Mostly hate.
On my lot, you'd be a queen.
I'd need a dialect coach.
Odelle Dinton, naturally.
Naturally.
I don't shoot on Fridays.
Wouldn't ask you to.
And I'm presuming you know my director requirement.
It's not anything I can put in a contract, but I won't show up unless he agrees to it.
Name it.
Oh.
Well.
(clears throat) Right before we start shooting, I always have the director come into my dressing room, and show me his cock.
Are you shocked? No, I'd heard.
I just always thought it was apocryphal.
Margo.
Don't you think that might undercut his authority on set a bit? - (laughs) - (chuckles) You catch on pretty fast.
Can you get Red Ridingwood? He's awfully good.
Yes, I can get him.
Yes, he will drop his pants.
Good.
Let's talk about my deal.
Shouldn't I call your agent? Oh, that milquetoast? No, no.
I want this to be an arrangement between us, As partners.
Partners.
Hmm.
I need a percentage of the gross.
That's impossible.
Mary Pickford got it from Zukor in '16.
I just can't, Margo, it'd put me out of business.
Hmm.
Well, the way I hear it, you're damn near out of business already.
You want me to be the pie in Louis Mayer's face, this is what it'll cost you.
As I always say, Pat, if you're looking for the girl next door, go next door.
Feels good in here, doesn't it? Yeah.
We've become pals, Monroe and I.
When he doesn't like you, he makes you wait out there.
Sometimes for hours.
(laughs) Boxley once made us sit out there for three days.
Oh, my.
I love you, Bess.
And I love this picture for bringing us together.
Oh, Clint.
(door opens) Hello, Clint.
Hello, Bess.
BESS: Hi.
Hi, Monroe.
Good to see you, Monroe.
Wanted to discuss the reshoots.
Good.
(laughs) 'Cause I got a funny idea.
I'm recasting your part, Clint.
Oh.
Uh Well, that's a good deal of a blow, Monroe.
You mind telling me why? This picture has to work.
And they nearly clucked us out of the house at a friends and family preview.
Bess, I know how close you two have become.
I wanted to give you a chance to recuse yourself from the picture as a gesture of solidarity.
Oh, no.
(chuckles) That's okay, Monroe.
The picture comes first, with me.
You know that.
Yeah I, uh I guess I got to go get my hat.
Here.
You can use the back if you like.
I thought we were pals.
We are.
That's why I'm telling you, you can't drink your way through a performance.
Sooner or later, it shows.
That's sound advice, Monroe.
Bye, Bess.
Bye.
I really am sorry.
But it's the most important picture we've got.
If you were sorry, you would've cut to the ashtray.
ODELLE: All right, let's try it again, Sally.
(Texan accent): "I et plenty, Pa.
You take the last one.
" (Texan accent): "I ate plenty, Pa.
You take the last one.
" It's et, Sally.
Flat "E," remember? I'm so tired.
- How we doing, Odelle? - We're coming along very nicely.
Mostly just vowel work now.
BROCA: Oh, good.
Good.
'Cause everyone's here to dance with you, Sally.
Are you deaf? I'm too tired! CAROL: I can help with that, sweetie.
John, may we have a moment? Yeah.
I want my mommy.
Well, your mommy wants you here.
Now take a big, deep breath of this, and you'll feel much better.
(inhales sharply) (door opens) MONROE: Hello, John.
How's rehearsal coming? Oh, fine.
Fine.
Uh, what-what brings you here? Are you kidding? This is the most important picture we've got.
SALLY: I want another root beer float.
I want one every hour.
Sure.
(clicking) (footsteps) Well, well.
Monroe.
Come to see how the other half lives? I did.
Are any of them around? (laughs softly) Monroe, I feel like I spent a day in America today.
I'm proud of you.
(groans) Oh, how romantic.
(chuckles) But don't forget about Enemy.
It's the most important picture we've got.
Honestly, Monroe.
That old chestnut? It is hell being so transparent.
It really is the most important picture we've got, to me.
This is how you get people to work so hard.
No.
No, this is just for you.
Keep it.
Stay on Aubrey.
Hello, all.
So late.
How was work, darling? Yes, maybe you'd like to tell us how it feels to be humiliating your father by working in the wardrobe department? I'm not above paying my dues.
How else can I learn the business? Whoever wanted you to learn the business? You don't see Louis Mayer's daughters working in the sweatshop.
If it's the conditions in there that worry you, - Daddy, I can tell you how - Please, Celia.
I can't take one - of your Bolshevik diatribes just now.
- ROSE: Pat, I wait hours to hear about Celia's day.
Let's don't ruin it.
How was your day, Mother? Grand.
Excuse me, sir.
There's a messenger from the studio with a package.
Needs your signature.
Send him in.
- Malcolm? - Hmm? How many hours a week do you work here? Never counted, ma'am.
60, 70; whatever y'all need.
I'm sorry I never asked you before.
BRADY: Ahem! May we just get the messenger? Right away, sir.
Evening, Mr.
Brady.
Sorry it's so late.
Uh, ma'am.
Celia.
Oh, you're, uh The boss's daughter, yes.
And working as hard as her pa.
Uh, I'm Max Miner, sir, you remember? From Oklahoma.
They put me in Traffic.
I remember.
Max Miner.
You clean up fine.
- Hand it over.
- Yes, sir.
It's quite a home you have here.
(scribbling on paper) Thank you, sir.
Thanks again for the work.
Ma'am.
Miss Brady.
(exhales) What? Ever notice how drafty this house gets? I'm sick of it.
You're just upset about Mayer.
And Margo.
You should talk to Monroe.
I'm sure he could help.
Do your damn puzzle.
CELIA: Max? I'm not "Miss Brady" all of a sudden.
I'm still Celia from Wardrobe.
If you say so.
I'm trying to learn how the world works.
It won't happen if people treat me like the boss's kid.
Okay.
That's fine.
Can I be the boss's kid? FRANCES: She had a lot of time on her hands, - but she used it wisely.
- (women laugh) You know what I mean.
Well, and then, of course, there's Marion Davies.
- Right? - (laughter) And she had all the advantages, too, including two years in Florence.
- There you go, honey.
- Mm.
Where, despite heavy odds, she remained - the only virgin at the school.
- (women chuckle) Oh, and then there was that courtesy debut in Boston.
Yes, she was the jewel of that fine, old, cost-and-gross aristocracy.
(Laughs) - Mm.
- But then she marries him, despite his obvious unctuousness.
I mean, she does try to remain faithful, but, you know, by the spring she was up to her ass in stuntmen.
(women laugh) Rose.
Rose, is there is something wrong? (footsteps approaching) FRANCES: Oh, my, is it as bad as all that? We were just about to carve up Mary Astor and Georgie Kaufman.
We must love the lawns.
We put up with the boredom, the cheating, all of it, and what do we get? Big lawns.
Must be enough.
Don't ask me.
I've got a cash register where my heart should be.
Can you stomach just ten more minutes? All right.
FRANCES: Rose! (indistinct chatter) Her G.
P.
can take the stitches out in a week.
She's very lucky she was walking and not driving.
Doc, that wasn't walking.
Do you mind if I ask why a respectable woman like you was intoxicated at 1:00 in the afternoon? Probably because I didn't get to the restaurant until 12:30.
(laughs) May I go? Trouble at home? May I go? Come on, dear, let's go.
We're trying to find our daughter, the name is "Cole.
" Her school said she's here, she broke her leg.
DOCTOR: I'm not with admitting, I'm sorry.
Why don't you try the volunteer desk? - MAN: There's no one there.
- I see.
I'm sorry.
Oh, Irving.
Ah, and I thought I was the one he stayed open late for.
(chuckles) Didn't know you saw the doc.
Well, our jobs create a certain amount of stress, no? Love the watch.
I have to tell you, Monroe, I don't know how long I can survive under that kike's thumb.
No offense, of course.
Of course.
You're not a kike.
My grandparents would be thrilled to hear it.
But, Pat, you should've left Margo to me.
Eh.
Why? It's a picture he specifically said no to.
But it's my studio.
He doesn't think so.
And now everyone will know that you offered it to her personally and came up short.
It makes us look desperate.
I am desperate.
We haven't had a star under contract since we lost Minna.
I want Margo doing every one of the pictures Minna would've done.
Then I'm the bank, instead of living picture to picture.
That's from him, I assume.
Christ.
- Et tu, Monroe? - I wear his watch today, maybe he gives us an extra movie tomorrow.
Holy hell.
Do you play me like that? When necessary.
Like I said, Christ.
I can't give her a percentage.
Well, you don't have a choice anymore.
Now you have to sign her.
Ugh I hate movie stars.
Did you ever dream You loved me Well, you look blue.
Are you? Oh.
Bad couple of days.
Aw.
Lying, being lied to Did you ever dream and too much time missing you.
How have you been? Not great.
If your heart They cut my wages in half.
Just like that? The whole staff.
About me (sighs) When is there going to be a union for waitresses? Or immigrants? (chuckles) Can I get you some coffee? No.
(chuckles) Want to drive out to the beach for dinner? I know a place so far out on the water, a seal serves your meal.
Would I be eating dinner on my own? It is a weeknight, after all.
No.
Watch your step.
Oh (seagulls calling) Did you build it for her? No, she was gone by then.
I think I built it for you.
You're going to have to stop that, having an answer for everything.
It isn't fair.
I was lonely.
Building something made me mind a little less.
(sighs) What if you worked on the lot? What did you have in mind? Well, we need a new tour guide.
You could do that.
(sighs) Be the girl with the blue sailor hat, leading people around? Oh.
I couldn't shill for the pictures.
Afraid someone might find out you actually love them? Oh.
You move so fast, it's hard to keep up.
If we're to have any chance at all, I have to be the one person in your life that doesn't need anything from you.
What if I need something from you? You don't seem to need anything.
No.
Just love.
Success.
Ten pats on the head every day, more love, and amnesia.
Only ten pats? Depends on the day.
(giggles) - (chuckles) - You've ruined it for me, you know that.
Our script.
I can't see anyone playing the part but you anymore.
Oh, you're bad, you're so bad.
And you are a radiant woman, on screen and off.
Tell me, if I were to give you the choice of putting me in bed or putting me in this picture, and you couldn't have both, which would you choose? My God, are you giving me that choice? (giggles) - No.
- (laughs) But it's fun to speculate.
Ah.
You're wondering which answer will insult me less, aren't you? No, I'm wondering how I can wind up with both.
(laughs) Well, I can think of a sure-fire way to wind up with neither.
(laughs) (chuckles) What do you need, Kathleen? I, uh (laughs) I need to breathe.
Feels like I haven't since I got off the boat.
Don't people do that here? BRADY: You should meet Landon Aames.
Hmm, the novelist? Novelist turned screenwriter.
We just put him on this picture to give it a bit more depth.
You're quick.
Everyone always says that about you.
So encouraging not to be disappointed.
Margo, he writes wonderful women, very complex, like you.
Hmm, I'm sure he does.
And I would love to meet him just as soon as you say three little syllables.
Can you do that for me, Patty? Just those three.
Per centage.
You know I can't.
(groans) Well, I guess, then, old Landon Aames is gonna have his wonderful dialogue mangled by Jean Harlow.
Oh, and wouldn't that be novel? Margo, there are so many things I'd like to change in this crazy business, contracts, precedents Pat.
I love your shoulders.
Oh? And I love this part.
Good.
But you should know, when it comes to deals, I don't get fucked.
Lucille, please show Mr.
Brady out.
But Thanks for the visit.
Call me when you're ready to take me seriously.
(sighs) How about box office bonuses? $20,000 at $500,000 cash-break after recoupment, with $5,000 for every $100,000 after that, along with a nondisclosure agreement, enjoining you or your representatives from revealing this arrangement to anyone, public or private.
And an Auburn Speedster.
Swell.
Fine.
Jesus.
You must really want me.
Doesn't everyone? (sighs) (moaning) There you go again, moving too fast.
(moans) We'll go slow.
I know in a picture it'd be a bed of roses.
We'll just pretend.
(moaning) (sighs) (sighs) ("I Must Have That Man!" by Billie Holiday playing) Don't want my mammy I don't need a friend My heart is broken It won't ever mend I ain't much carin' Just where I will end I must have that man I'm like an oven That's crying for heat He treats me awful Each time that we meet It's just unlawful How that boy can cheat But I must have that man He's hot as Hades A lady's not safe in his arms When she's kissed But I'm afraid that he's cooled off And maybe I'm ruled off his list (moaning) I'll never be missed I need that person much worse 'n just bad I'm half alive and he's drivin' me mad He's only human.
You haven't been watching me, have you? - Sorry.
Couldn't help it.
- (chuckles) Well, stop.
You'll have me staring in mirrors before too long.
Then I'll turn into one of them.
(sighs) I wonder when it was settled that we would There's a moment when you needn't at all, and and then there's a moment when nothing in the world can keep it from happening.
I still don't know anything about you like who you were as a girl or five minutes before we met.
(chuckles) Well I wasn't a little girl for very long.
My father was killed by the Black and Tans when I was ten.
After that, the thing was to eat.
And there was a man.
Professor, would you believe? (sighs heavily) From King's College, spending the summer in Dublin.
He was kind to me.
Then he decided I owed him more than gratitude.
So? America? So America.
Monroe, I've been thinking me as a tour guide, in the blue sailor cap.
Yes? I don't think it would be a good fit.
I can't spend all day talking.
And I don't want to owe you anything.
Yeah.
(smooches) It's odd.
Everyone else in my life likes me because of what I can do for them.
You like me despite it.
Whoever said that I liked you? (chuckles) Something troubling you, dear? Yes.
Can't find Monroe.
Called him all night.
He's not in this morning, either.
Oh.
Pat (sighs) I'm thinking about volunteering.
Good, where? The hospital.
They're badly understaffed.
There's visitors wandering up and down the hallways with no one to tell them where to go.
Is that wise, exposing yourself to the diseases bouncing around those halls? Doesn't seem fitting.
Well, they need the help, Pat.
County cut their funding in half.
Celia in a sweatshop, you as Florence Nightingale.
Might be my next comedy.
Margo's coming to the studio today.
Maybe the tweed? Any of them will do.
Box office bonuses.
Directors with their peckers out.
Kristus.
It ain't the glove business, that's for sure.
Thank God.
Poor Red.
- Poor Red.
- Mm.
Monroe.
You have to protect me.
I'm the best gagman you have.
Make a Margo Taft picture, you'll be the best gagman in town.
I can't What if she laughs? It is a comedy, Red.
Leo McCarey did this.
John Ford did this.
Let's not dress it up, Monroe.
You'd ask Jesus to drop his pants if it meant signing a star.
(sighs) (inhales) (sighs) (inhales) (sighs) (knock at door) Um no.
Red.
(chuckles) A-Are they all gonna? No, no.
Everyone, shoo, shoo.
I like your fitting room, Margo.
(chuckles) Thank you.
- I'm told it was Minna's.
- Ah.
You know, they're usually so stuffy, but this one is Maybe we should just get on with it.
Oh.
- (Margo clears throat) - Yes.
(sighs) Uh, I just want to say, I adore all my actresses.
- Mm.
- Revere them.
I revere all women.
What a touching sentiment.
Huh.
Now your trousers.
Jodhpurs? Yes.
(groans softly) Red.
Stop.
Huh? You can stop.
I can? Yes.
But does that mean you won't be - in the picture, Margo? - (giggles) Of course I'll be in the picture.
(clicks tongue) Button up before something falls out of there.
- Oh.
- I'll tell you a secret.
(whispering): I never actually make any of them go through with it.
- You don't? - No.
The important thing is that they would.
And they all swear to the same oath that you're about to swear to, which is that they did as they were told.
And they keep the secret, too, because if they didn't, I would be very upset.
Do you think you would enjoy seeing me upset, Red? No.
(laughs) No.
Of course not.
(laughs) Good, good, good.
Now, you run along.
- Okay.
- Red we're going to make a great picture together.
(chuckles nervously) (laughing): Yeah.
Oh, thank you, Margo.
No, thank you.
- Oh.
- (clears throat) By the way, I just loved you in Race to Zanzibar.
- Oh - The spinning plates - (laughs) - wonderful! It was just - (beeping) - (laughs) - Go, go, go.
- I love that - Okay.
Uh-huh.
- Go.
(sighs) Oh, uh, Mr.
Stahr, don't think too bad of her.
She's had it so hard.
A-And by the way, I enjoy your pictures very much.
MARGO: Yes.
I just wanted to tell you, Margo: you won this one because we had to let you win.
But it wasn't what was best for the movie.
You know that.
Do I? (Lucille coughs) - (clears throat) - STAHR: You all right, ma'am? I'm fine, it's just dusty in here.
Maybe now would be a good time for your morning walk, Lucille.
(clicks tongue) Monroe (sighs) I like you.
And you matter, so I'll level with you.
Would you like to sit down? (sighs) I was brought out here at age 16 by a song-plugger.
The only thing he didn't let people put into my mouth was music.
That's why I do this.
For every girl stepping off that train in Pasadena, hoping to be Paulette Goddard.
(laughs) This is for her.
We are not just objects.
See? - I'm sorry that happened to you.
- Mm-hmm.
Tell me the guy's name and I'll go punch him in the nose.
But on our lot, artists are treated with respect.
(scoffs) You mean like the directors you keep waiting outside your office for days at a time? Or the writers you fire, who then end up flying off a catwalk? Or the actresses Pat bends over his desk? You mean that kind of respect? This is just a machine you're running.
And we're all just part of it.
Even Minna, as exalted as she was, was a cog to you.
And I am going to call your attention to that fact every fucking chance I get, until the people who make your movies begin to mean as much to you as the movies themselves.
After all, you'd be pretty hard-pressed to produce one without us.
Now get out of here before I tell you to drop your pants.
(knock at door) Excuse me, Mr.
Stahr, ma'am.
There seems to be a problem with Miss Sweet.
Mr.
Brady asked if you might, uh, investigate.
(clicks tongue) It was just one.
You can bully all the rest of 'em if you want to, but I'd be careful with that boy.
He's too smart, he gonna see right through you before long.
(drawer opens) It was just one.
(coin clinks) Stop asking me what the matter is! She's the matter! - Sally, you can't - She can't sing! (gasps) I'm doing every note right and she can't sing! I don't have to put up with this, - do I, Monroe? - Carol says you only get the parts because you let all the producers see you naked.
(gasps) (crying) Jesus, John, run your set.
Sally, Sally, you can't (screams) Sally, stop it.
Stop! No, don't! Don't push me! (squeals) Do you want to be a star, Sally? Big, like Margo Taft? Yes.
Then knock this shit off, or I'll fix it so you never work in this town again.
I can do that.
And stop with the fucking Benzedrine inhaler.
She's seven, for Christ's sake.
Think we'll get there? I don't know.
How many pictures do you suppose he has in production? How many dreams does he have to crush in an average day? He'll see you now, Mr.
Thalberg.
Will I be seeing you here again or will we have to run into each other at the Brown Derby like everyone else? (chuckles) My last appointment.
It's just a murmur.
You? Take care, Irving.
You too, Monroe.
This is Stage 3, where Minna Davis, Brady-American's greatest star ever, made so many of her films.
Now, come along.
Wait till you see what we have for you at Stage 4.
SALLY: Good-bye, little tree Good-bye, little stone Good-bye to my ma My pa And my home Good-bye, little town And the Iowan sky Don't know if I'll make it But I have to try (shoes tapping) There is a dream out there Just like a storybook page Just a shy little girl On a glamorous stage The girl is me, the dream is mine I may be scared But I'll be fine And so a wave, a hug And then, I'll see you soon Just don't know when Good-bye Good-bye Good-bye Parker, Parker Here he is.
Room 204.
It's right down the hall.
Would you like me to walk you? Yes, please.
(shoes tapping) You know how compound interest works? Yeah.
3.
5% is fine.
I just want to get my kin out of the park, mister.
On a glamorous stage The girl is me, the dream is mine I may be scared But I'll be fine And so a wave, a hug And then, I'll see you soon Just don't know when I hope you're not disappointed, Pat.
(chuckles) You got me in your movie.
But you didn't get me in your Got what I needed, Margo.
- Mm-hmm.
- (laughs) Good-bye Good-bye Good-bye.
(laughs) - Margo Taft.
- (chuckles) I've been trying to take her away from Cohn for years.
Well, Pat, okay, well played.
Go make the movie.
I mean, a surefire hit now.
I'll sign off on it.
Thanks, Louis, but there's no need.
This one, you can't have.
What what are you talking about? Decided to pay for it myself, off the books.
How you planning to manage that? You take a second mortgage out on your house? Not that it's any of your concern, but I sold off some horses I'd bought an interest in.
Oh.
You dumb bastard.
Why? Why? Ah Because I'm a movie man.
And you are not my Lord and Savior.
You're just a bank.
You, me, Zukor, Cohn, pain in the ass Warner Brothers.
We're building something, together.
And I'm sure, if I were in your shoes and you were in my shoes, you'd be generous with me.
It was an act of real friendship.
Irving here thinks I should tell the two of you to go jump in the lake, and as we know, boy geniuses are never wrong.
Oh, you'd be surprised.
(laughs softly) So, yes to your Angels on the Avenue reshoot, yes to the Brinel picture and yes to Sally Sweet.
And we'll get you Harold Arlen and Yip Harburg to help with the songs.
MAYER: Right.
But no, to Bess Burrows playing Sally's aunt.
You don't want whores.
You want stars.
Like Minna, may she rest in peace.
L.
B.
, that was actually, uh I never slept with her.
I just said that to get you to let her go.
You know, Pat, despite appearances, this is a gentleman's business.
I apologize.
Well, then, yes to Bess Burrows.
Uh, Pat, the other titles.
Yes.
Her Royal Shyness, very funny comedy we developed for Minna.
I don't have a money tree out back.
Why don't you just take your three yeses, you say thank you, and if they're hits, we'll talk.
L.
B.
, this is a hit Pat, Pat.
(chuckles) Do you freely accept that I'm now your Lord and Savior? I mean, I parted the seas for you.
And I saved you from that prick, Corny Riddle.
Like God, no? Well, this is God saying to you if they are hits, then this bank will stay open.
And if not Uh, Louis? (clears throat) The box.
Oh, thank you, Irving.
Yes, Monroe.
Apparently, you've got a birthday coming up? STAHR: I suppose I do.
Many felicitations.
(laughs softly) BRADY: Do you mind if I apologize to Gyssling? 'Cause I think I'd rather borrow from Hitler.
This, too, shall pass.
Yeah.
Easy for you to say.
All you got from him was a watch.
Look, he wants three hits, let's give him his three hits.
We can release Her Royal Shyness in spring.
Yeah.
I'll be dead by then.
Or he will.
(sighs) Can't beat a yes out of him, Pat.
Oh, yeah? Mr.
Brady? Yes.
Miss Taft is by the pool.
She asked me to bring you to her.
Thank you.
MARGO: Clever.
And I do like clever.
BRADY: (laughs) Then you've read it? I read my lines.
They're fine.
Of course, some of the scenes need more work.
More depth, like a novel.
We'll take care of it.
Hmm.
Harry Cohn used to make promises like that.
And then he always went back to being Harry Cohn.
I know there were unkindnesses.
We have a love-hate relationship, Harry and I.
Mostly hate.
On my lot, you'd be a queen.
I'd need a dialect coach.
Odelle Dinton, naturally.
Naturally.
I don't shoot on Fridays.
Wouldn't ask you to.
And I'm presuming you know my director requirement.
It's not anything I can put in a contract, but I won't show up unless he agrees to it.
Name it.
Oh.
Well.
(clears throat) Right before we start shooting, I always have the director come into my dressing room, and show me his cock.
Are you shocked? No, I'd heard.
I just always thought it was apocryphal.
Margo.
Don't you think that might undercut his authority on set a bit? - (laughs) - (chuckles) You catch on pretty fast.
Can you get Red Ridingwood? He's awfully good.
Yes, I can get him.
Yes, he will drop his pants.
Good.
Let's talk about my deal.
Shouldn't I call your agent? Oh, that milquetoast? No, no.
I want this to be an arrangement between us, As partners.
Partners.
Hmm.
I need a percentage of the gross.
That's impossible.
Mary Pickford got it from Zukor in '16.
I just can't, Margo, it'd put me out of business.
Hmm.
Well, the way I hear it, you're damn near out of business already.
You want me to be the pie in Louis Mayer's face, this is what it'll cost you.
As I always say, Pat, if you're looking for the girl next door, go next door.
Feels good in here, doesn't it? Yeah.
We've become pals, Monroe and I.
When he doesn't like you, he makes you wait out there.
Sometimes for hours.
(laughs) Boxley once made us sit out there for three days.
Oh, my.
I love you, Bess.
And I love this picture for bringing us together.
Oh, Clint.
(door opens) Hello, Clint.
Hello, Bess.
BESS: Hi.
Hi, Monroe.
Good to see you, Monroe.
Wanted to discuss the reshoots.
Good.
(laughs) 'Cause I got a funny idea.
I'm recasting your part, Clint.
Oh.
Uh Well, that's a good deal of a blow, Monroe.
You mind telling me why? This picture has to work.
And they nearly clucked us out of the house at a friends and family preview.
Bess, I know how close you two have become.
I wanted to give you a chance to recuse yourself from the picture as a gesture of solidarity.
Oh, no.
(chuckles) That's okay, Monroe.
The picture comes first, with me.
You know that.
Yeah I, uh I guess I got to go get my hat.
Here.
You can use the back if you like.
I thought we were pals.
We are.
That's why I'm telling you, you can't drink your way through a performance.
Sooner or later, it shows.
That's sound advice, Monroe.
Bye, Bess.
Bye.
I really am sorry.
But it's the most important picture we've got.
If you were sorry, you would've cut to the ashtray.
ODELLE: All right, let's try it again, Sally.
(Texan accent): "I et plenty, Pa.
You take the last one.
" (Texan accent): "I ate plenty, Pa.
You take the last one.
" It's et, Sally.
Flat "E," remember? I'm so tired.
- How we doing, Odelle? - We're coming along very nicely.
Mostly just vowel work now.
BROCA: Oh, good.
Good.
'Cause everyone's here to dance with you, Sally.
Are you deaf? I'm too tired! CAROL: I can help with that, sweetie.
John, may we have a moment? Yeah.
I want my mommy.
Well, your mommy wants you here.
Now take a big, deep breath of this, and you'll feel much better.
(inhales sharply) (door opens) MONROE: Hello, John.
How's rehearsal coming? Oh, fine.
Fine.
Uh, what-what brings you here? Are you kidding? This is the most important picture we've got.
SALLY: I want another root beer float.
I want one every hour.
Sure.
(clicking) (footsteps) Well, well.
Monroe.
Come to see how the other half lives? I did.
Are any of them around? (laughs softly) Monroe, I feel like I spent a day in America today.
I'm proud of you.
(groans) Oh, how romantic.
(chuckles) But don't forget about Enemy.
It's the most important picture we've got.
Honestly, Monroe.
That old chestnut? It is hell being so transparent.
It really is the most important picture we've got, to me.
This is how you get people to work so hard.
No.
No, this is just for you.
Keep it.
Stay on Aubrey.
Hello, all.
So late.
How was work, darling? Yes, maybe you'd like to tell us how it feels to be humiliating your father by working in the wardrobe department? I'm not above paying my dues.
How else can I learn the business? Whoever wanted you to learn the business? You don't see Louis Mayer's daughters working in the sweatshop.
If it's the conditions in there that worry you, - Daddy, I can tell you how - Please, Celia.
I can't take one - of your Bolshevik diatribes just now.
- ROSE: Pat, I wait hours to hear about Celia's day.
Let's don't ruin it.
How was your day, Mother? Grand.
Excuse me, sir.
There's a messenger from the studio with a package.
Needs your signature.
Send him in.
- Malcolm? - Hmm? How many hours a week do you work here? Never counted, ma'am.
60, 70; whatever y'all need.
I'm sorry I never asked you before.
BRADY: Ahem! May we just get the messenger? Right away, sir.
Evening, Mr.
Brady.
Sorry it's so late.
Uh, ma'am.
Celia.
Oh, you're, uh The boss's daughter, yes.
And working as hard as her pa.
Uh, I'm Max Miner, sir, you remember? From Oklahoma.
They put me in Traffic.
I remember.
Max Miner.
You clean up fine.
- Hand it over.
- Yes, sir.
It's quite a home you have here.
(scribbling on paper) Thank you, sir.
Thanks again for the work.
Ma'am.
Miss Brady.
(exhales) What? Ever notice how drafty this house gets? I'm sick of it.
You're just upset about Mayer.
And Margo.
You should talk to Monroe.
I'm sure he could help.
Do your damn puzzle.
CELIA: Max? I'm not "Miss Brady" all of a sudden.
I'm still Celia from Wardrobe.
If you say so.
I'm trying to learn how the world works.
It won't happen if people treat me like the boss's kid.
Okay.
That's fine.
Can I be the boss's kid? FRANCES: She had a lot of time on her hands, - but she used it wisely.
- (women laugh) You know what I mean.
Well, and then, of course, there's Marion Davies.
- Right? - (laughter) And she had all the advantages, too, including two years in Florence.
- There you go, honey.
- Mm.
Where, despite heavy odds, she remained - the only virgin at the school.
- (women chuckle) Oh, and then there was that courtesy debut in Boston.
Yes, she was the jewel of that fine, old, cost-and-gross aristocracy.
(Laughs) - Mm.
- But then she marries him, despite his obvious unctuousness.
I mean, she does try to remain faithful, but, you know, by the spring she was up to her ass in stuntmen.
(women laugh) Rose.
Rose, is there is something wrong? (footsteps approaching) FRANCES: Oh, my, is it as bad as all that? We were just about to carve up Mary Astor and Georgie Kaufman.
We must love the lawns.
We put up with the boredom, the cheating, all of it, and what do we get? Big lawns.
Must be enough.
Don't ask me.
I've got a cash register where my heart should be.
Can you stomach just ten more minutes? All right.
FRANCES: Rose! (indistinct chatter) Her G.
P.
can take the stitches out in a week.
She's very lucky she was walking and not driving.
Doc, that wasn't walking.
Do you mind if I ask why a respectable woman like you was intoxicated at 1:00 in the afternoon? Probably because I didn't get to the restaurant until 12:30.
(laughs) May I go? Trouble at home? May I go? Come on, dear, let's go.
We're trying to find our daughter, the name is "Cole.
" Her school said she's here, she broke her leg.
DOCTOR: I'm not with admitting, I'm sorry.
Why don't you try the volunteer desk? - MAN: There's no one there.
- I see.
I'm sorry.
Oh, Irving.
Ah, and I thought I was the one he stayed open late for.
(chuckles) Didn't know you saw the doc.
Well, our jobs create a certain amount of stress, no? Love the watch.
I have to tell you, Monroe, I don't know how long I can survive under that kike's thumb.
No offense, of course.
Of course.
You're not a kike.
My grandparents would be thrilled to hear it.
But, Pat, you should've left Margo to me.
Eh.
Why? It's a picture he specifically said no to.
But it's my studio.
He doesn't think so.
And now everyone will know that you offered it to her personally and came up short.
It makes us look desperate.
I am desperate.
We haven't had a star under contract since we lost Minna.
I want Margo doing every one of the pictures Minna would've done.
Then I'm the bank, instead of living picture to picture.
That's from him, I assume.
Christ.
- Et tu, Monroe? - I wear his watch today, maybe he gives us an extra movie tomorrow.
Holy hell.
Do you play me like that? When necessary.
Like I said, Christ.
I can't give her a percentage.
Well, you don't have a choice anymore.
Now you have to sign her.
Ugh I hate movie stars.
Did you ever dream You loved me Well, you look blue.
Are you? Oh.
Bad couple of days.
Aw.
Lying, being lied to Did you ever dream and too much time missing you.
How have you been? Not great.
If your heart They cut my wages in half.
Just like that? The whole staff.
About me (sighs) When is there going to be a union for waitresses? Or immigrants? (chuckles) Can I get you some coffee? No.
(chuckles) Want to drive out to the beach for dinner? I know a place so far out on the water, a seal serves your meal.
Would I be eating dinner on my own? It is a weeknight, after all.
No.
Watch your step.
Oh (seagulls calling) Did you build it for her? No, she was gone by then.
I think I built it for you.
You're going to have to stop that, having an answer for everything.
It isn't fair.
I was lonely.
Building something made me mind a little less.
(sighs) What if you worked on the lot? What did you have in mind? Well, we need a new tour guide.
You could do that.
(sighs) Be the girl with the blue sailor hat, leading people around? Oh.
I couldn't shill for the pictures.
Afraid someone might find out you actually love them? Oh.
You move so fast, it's hard to keep up.
If we're to have any chance at all, I have to be the one person in your life that doesn't need anything from you.
What if I need something from you? You don't seem to need anything.
No.
Just love.
Success.
Ten pats on the head every day, more love, and amnesia.
Only ten pats? Depends on the day.
(giggles) - (chuckles) - You've ruined it for me, you know that.
Our script.
I can't see anyone playing the part but you anymore.
Oh, you're bad, you're so bad.
And you are a radiant woman, on screen and off.
Tell me, if I were to give you the choice of putting me in bed or putting me in this picture, and you couldn't have both, which would you choose? My God, are you giving me that choice? (giggles) - No.
- (laughs) But it's fun to speculate.
Ah.
You're wondering which answer will insult me less, aren't you? No, I'm wondering how I can wind up with both.
(laughs) Well, I can think of a sure-fire way to wind up with neither.
(laughs) (chuckles) What do you need, Kathleen? I, uh (laughs) I need to breathe.
Feels like I haven't since I got off the boat.
Don't people do that here? BRADY: You should meet Landon Aames.
Hmm, the novelist? Novelist turned screenwriter.
We just put him on this picture to give it a bit more depth.
You're quick.
Everyone always says that about you.
So encouraging not to be disappointed.
Margo, he writes wonderful women, very complex, like you.
Hmm, I'm sure he does.
And I would love to meet him just as soon as you say three little syllables.
Can you do that for me, Patty? Just those three.
Per centage.
You know I can't.
(groans) Well, I guess, then, old Landon Aames is gonna have his wonderful dialogue mangled by Jean Harlow.
Oh, and wouldn't that be novel? Margo, there are so many things I'd like to change in this crazy business, contracts, precedents Pat.
I love your shoulders.
Oh? And I love this part.
Good.
But you should know, when it comes to deals, I don't get fucked.
Lucille, please show Mr.
Brady out.
But Thanks for the visit.
Call me when you're ready to take me seriously.
(sighs) How about box office bonuses? $20,000 at $500,000 cash-break after recoupment, with $5,000 for every $100,000 after that, along with a nondisclosure agreement, enjoining you or your representatives from revealing this arrangement to anyone, public or private.
And an Auburn Speedster.
Swell.
Fine.
Jesus.
You must really want me.
Doesn't everyone? (sighs) (moaning) There you go again, moving too fast.
(moans) We'll go slow.
I know in a picture it'd be a bed of roses.
We'll just pretend.
(moaning) (sighs) (sighs) ("I Must Have That Man!" by Billie Holiday playing) Don't want my mammy I don't need a friend My heart is broken It won't ever mend I ain't much carin' Just where I will end I must have that man I'm like an oven That's crying for heat He treats me awful Each time that we meet It's just unlawful How that boy can cheat But I must have that man He's hot as Hades A lady's not safe in his arms When she's kissed But I'm afraid that he's cooled off And maybe I'm ruled off his list (moaning) I'll never be missed I need that person much worse 'n just bad I'm half alive and he's drivin' me mad He's only human.
You haven't been watching me, have you? - Sorry.
Couldn't help it.
- (chuckles) Well, stop.
You'll have me staring in mirrors before too long.
Then I'll turn into one of them.
(sighs) I wonder when it was settled that we would There's a moment when you needn't at all, and and then there's a moment when nothing in the world can keep it from happening.
I still don't know anything about you like who you were as a girl or five minutes before we met.
(chuckles) Well I wasn't a little girl for very long.
My father was killed by the Black and Tans when I was ten.
After that, the thing was to eat.
And there was a man.
Professor, would you believe? (sighs heavily) From King's College, spending the summer in Dublin.
He was kind to me.
Then he decided I owed him more than gratitude.
So? America? So America.
Monroe, I've been thinking me as a tour guide, in the blue sailor cap.
Yes? I don't think it would be a good fit.
I can't spend all day talking.
And I don't want to owe you anything.
Yeah.
(smooches) It's odd.
Everyone else in my life likes me because of what I can do for them.
You like me despite it.
Whoever said that I liked you? (chuckles) Something troubling you, dear? Yes.
Can't find Monroe.
Called him all night.
He's not in this morning, either.
Oh.
Pat (sighs) I'm thinking about volunteering.
Good, where? The hospital.
They're badly understaffed.
There's visitors wandering up and down the hallways with no one to tell them where to go.
Is that wise, exposing yourself to the diseases bouncing around those halls? Doesn't seem fitting.
Well, they need the help, Pat.
County cut their funding in half.
Celia in a sweatshop, you as Florence Nightingale.
Might be my next comedy.
Margo's coming to the studio today.
Maybe the tweed? Any of them will do.
Box office bonuses.
Directors with their peckers out.
Kristus.
It ain't the glove business, that's for sure.
Thank God.
Poor Red.
- Poor Red.
- Mm.
Monroe.
You have to protect me.
I'm the best gagman you have.
Make a Margo Taft picture, you'll be the best gagman in town.
I can't What if she laughs? It is a comedy, Red.
Leo McCarey did this.
John Ford did this.
Let's not dress it up, Monroe.
You'd ask Jesus to drop his pants if it meant signing a star.
(sighs) (inhales) (sighs) (inhales) (sighs) (knock at door) Um no.
Red.
(chuckles) A-Are they all gonna? No, no.
Everyone, shoo, shoo.
I like your fitting room, Margo.
(chuckles) Thank you.
- I'm told it was Minna's.
- Ah.
You know, they're usually so stuffy, but this one is Maybe we should just get on with it.
Oh.
- (Margo clears throat) - Yes.
(sighs) Uh, I just want to say, I adore all my actresses.
- Mm.
- Revere them.
I revere all women.
What a touching sentiment.
Huh.
Now your trousers.
Jodhpurs? Yes.
(groans softly) Red.
Stop.
Huh? You can stop.
I can? Yes.
But does that mean you won't be - in the picture, Margo? - (giggles) Of course I'll be in the picture.
(clicks tongue) Button up before something falls out of there.
- Oh.
- I'll tell you a secret.
(whispering): I never actually make any of them go through with it.
- You don't? - No.
The important thing is that they would.
And they all swear to the same oath that you're about to swear to, which is that they did as they were told.
And they keep the secret, too, because if they didn't, I would be very upset.
Do you think you would enjoy seeing me upset, Red? No.
(laughs) No.
Of course not.
(laughs) Good, good, good.
Now, you run along.
- Okay.
- Red we're going to make a great picture together.
(chuckles nervously) (laughing): Yeah.
Oh, thank you, Margo.
No, thank you.
- Oh.
- (clears throat) By the way, I just loved you in Race to Zanzibar.
- Oh - The spinning plates - (laughs) - wonderful! It was just - (beeping) - (laughs) - Go, go, go.
- I love that - Okay.
Uh-huh.
- Go.
(sighs) Oh, uh, Mr.
Stahr, don't think too bad of her.
She's had it so hard.
A-And by the way, I enjoy your pictures very much.
MARGO: Yes.
I just wanted to tell you, Margo: you won this one because we had to let you win.
But it wasn't what was best for the movie.
You know that.
Do I? (Lucille coughs) - (clears throat) - STAHR: You all right, ma'am? I'm fine, it's just dusty in here.
Maybe now would be a good time for your morning walk, Lucille.
(clicks tongue) Monroe (sighs) I like you.
And you matter, so I'll level with you.
Would you like to sit down? (sighs) I was brought out here at age 16 by a song-plugger.
The only thing he didn't let people put into my mouth was music.
That's why I do this.
For every girl stepping off that train in Pasadena, hoping to be Paulette Goddard.
(laughs) This is for her.
We are not just objects.
See? - I'm sorry that happened to you.
- Mm-hmm.
Tell me the guy's name and I'll go punch him in the nose.
But on our lot, artists are treated with respect.
(scoffs) You mean like the directors you keep waiting outside your office for days at a time? Or the writers you fire, who then end up flying off a catwalk? Or the actresses Pat bends over his desk? You mean that kind of respect? This is just a machine you're running.
And we're all just part of it.
Even Minna, as exalted as she was, was a cog to you.
And I am going to call your attention to that fact every fucking chance I get, until the people who make your movies begin to mean as much to you as the movies themselves.
After all, you'd be pretty hard-pressed to produce one without us.
Now get out of here before I tell you to drop your pants.
(knock at door) Excuse me, Mr.
Stahr, ma'am.
There seems to be a problem with Miss Sweet.
Mr.
Brady asked if you might, uh, investigate.
(clicks tongue) It was just one.
You can bully all the rest of 'em if you want to, but I'd be careful with that boy.
He's too smart, he gonna see right through you before long.
(drawer opens) It was just one.
(coin clinks) Stop asking me what the matter is! She's the matter! - Sally, you can't - She can't sing! (gasps) I'm doing every note right and she can't sing! I don't have to put up with this, - do I, Monroe? - Carol says you only get the parts because you let all the producers see you naked.
(gasps) (crying) Jesus, John, run your set.
Sally, Sally, you can't (screams) Sally, stop it.
Stop! No, don't! Don't push me! (squeals) Do you want to be a star, Sally? Big, like Margo Taft? Yes.
Then knock this shit off, or I'll fix it so you never work in this town again.
I can do that.
And stop with the fucking Benzedrine inhaler.
She's seven, for Christ's sake.
Think we'll get there? I don't know.
How many pictures do you suppose he has in production? How many dreams does he have to crush in an average day? He'll see you now, Mr.
Thalberg.
Will I be seeing you here again or will we have to run into each other at the Brown Derby like everyone else? (chuckles) My last appointment.
It's just a murmur.
You? Take care, Irving.
You too, Monroe.
This is Stage 3, where Minna Davis, Brady-American's greatest star ever, made so many of her films.
Now, come along.
Wait till you see what we have for you at Stage 4.
SALLY: Good-bye, little tree Good-bye, little stone Good-bye to my ma My pa And my home Good-bye, little town And the Iowan sky Don't know if I'll make it But I have to try (shoes tapping) There is a dream out there Just like a storybook page Just a shy little girl On a glamorous stage The girl is me, the dream is mine I may be scared But I'll be fine And so a wave, a hug And then, I'll see you soon Just don't know when Good-bye Good-bye Good-bye Parker, Parker Here he is.
Room 204.
It's right down the hall.
Would you like me to walk you? Yes, please.
(shoes tapping) You know how compound interest works? Yeah.
3.
5% is fine.
I just want to get my kin out of the park, mister.
On a glamorous stage The girl is me, the dream is mine I may be scared But I'll be fine And so a wave, a hug And then, I'll see you soon Just don't know when I hope you're not disappointed, Pat.
(chuckles) You got me in your movie.
But you didn't get me in your Got what I needed, Margo.
- Mm-hmm.
- (laughs) Good-bye Good-bye Good-bye.
(laughs) - Margo Taft.
- (chuckles) I've been trying to take her away from Cohn for years.
Well, Pat, okay, well played.
Go make the movie.
I mean, a surefire hit now.
I'll sign off on it.
Thanks, Louis, but there's no need.
This one, you can't have.
What what are you talking about? Decided to pay for it myself, off the books.
How you planning to manage that? You take a second mortgage out on your house? Not that it's any of your concern, but I sold off some horses I'd bought an interest in.
Oh.
You dumb bastard.
Why? Why? Ah Because I'm a movie man.
And you are not my Lord and Savior.
You're just a bank.