Original subtitles

(coffee pouring)

(bright music) (typewriter clacking)

(bright music continues)

(typewriter clacking)

(bright music continues)

(typewriter clacking)

(bright music continues)

(drum rolling)

- Ladies and gentlemen.

(typewriter clacking)

And thank you for coming out today.

The play is called "Our Town."

The name of the town is

Governor's Corner Square, New Hampshire.

Well, I best show you how our town lies.

(bright music)

(upbeat music)

(typewriter clacking)

(upbeat music)

- Really, George, you look, well,

honestly, I'm shocked at how well you're holding up.

(frantic music) (typewriter clacking)

- Call me a Pinocchio 'cause I got no strings on me.

- You mean you're really over it?

- My wife thinks she's wounding me,

but in fact she's making me stronger than ever before.

- A tribute to the modern man.

I was gonna drink that.

- George, you're not turning in, are you?

I just wanted to say goodnight if you're headed to bed.

- Well, I'm heading to bed.

- Then goodnight.

- Afternoon ladies.

- [Sylvia] Bonsoir, petite fouine.

- I can't believe our family's committed such a sin.

- [Sylvia] Mother's affair?

- Mother's party. I'm aggrieved.

- [Sylvia] Didn't you plan this thing?

- Yes, but the guests are entirely hers.

Utterly boring. Utterly sinful.

- [Sylvia] Feel free to see a priest,

if you're so banged up about it.

- Can you confess on behalf of your family?

- [Sylvia] I should hope so or you are going to hell.

- Ugh!

- Where's she going?

- To break something, I'm sure.

She's been in a worse way

ever since mother started screwing Jimmy.

- Hm, she'll get over it.

- Mother? No.

Jimmy's a real John, if you know what I mean.

- Annette.

- Over it.

Oh, come on now, Jack.

I would've thought you knew us better by now.

- You too?

- Family habit.

(bright music)

(glass crashing)

- [Jack] Whoa.

Where'd you get all these?

- [Annette] Mrs. Baldwin next door.

- Ah, don't you think she'll miss them?

- She hasn't yet.

(bright music)

- Well, hi-de-do.

Who's this?

- Good afternoon.

I'm looking for the man of the house.

- George or Jimmy?

- Ooh. Is this multiple choice?

- Should I call the police?

- Madam?

You would call the cops on the evening's entertainment?

- Entertainment?

No one said anything about entertainment.

And I planned this thing!

- [Jack] Wait, weren't you just complaining

about the party being boring?

- [Annette] I was complaining

about the party-goers being boring.

(typewriter clacking)

Entertainment, you said?

- So I did.

- Well, well, well, this party's getting less dull

by the minute.

Do I know you?

- Find yourself in the back alleys often?

- [Sylvia] You aren't homeless?

- Unhoused is how you say it now.

- What's with the goggles? - Well, we had to do something

while we waited for the entertainment.

- So you've been expecting me?

- I always expect to be entertained.

- Must be nice.

- It's dreadful, actually.

From pleasure to pleasure without a trace

of melancholic recess

to look inside one's soul for reflection.

You must know yourself very well.

- Melancholia is as much a distraction.

- Oh, he's good.

(speaking foreign language)

- Wow.

What all this food for?

- Oh, well, it's juicy news, Norman.

My parents have been married for 30 years,

maybe not happily, but married, you know.

And the craziest thing happened only two nights ago.

Jimmy, who my mother's been sleeping with

for quite some time, father's assistant,

former assistant, moved in.

- Can you believe this?

After all this time. Love.

(typewriter clacking)

- So it's a housewarming party for your mother's lover

at your father's house?

- Well, it's as much her house as it is his, Norman.

As much as it is my house or Sylvia's.

Don't get caveman about it.

Speak of the devil.

- Now, who's this?

- [Annette] This is Norman.

- You haven't seen your sister?

I know she went running off somewhere.

- I haven't seen her since Norman appeared.

- Annette, be civil.

Enjoy the party, Norman.

I'm gonna go powder my nose.

- Where's she really going?

- To screw Jimmy on the front lawn for all I know.

Hard to keep up.

- Well, see it wasn't money you were after, after all.

Silly of me to ignore a man's first need.

- Here's an idea, Sylvia,

why don't you shove a meatball in the pretty little mouth

and shut the hell up.

- No food for you, Annette?

Don't wanna throw it up in front of your new boy toy?

- Who's that?

- You.

- No, no.

Who is that?

(typewriter clacking)

- Not the Tims.

Daddy's partners.

(typewriter clacking)

- Where's George?

- I don't know if you've noticed,

but we're having a bit of a get together.

- Ah, we have noticed.

And what's with the no invite?

- No party worth going to has invites.

- We just want a word with George.

- Well, he's unavailable right now,

so you'll have to take it up with his assistant.

- Jimmy?

- Different assistant.

New assistant.

Norman.

- Yes.

- This is your father's assistant?

- That's right.

- Kind of dirty for George's taste.

- He just did a scene from a play.

You wouldn't get it.

- Hey, we love the theater.

- Well then make with the theatrics already.

- All right.

You think you're pretty clever, eh,

Norman, was it?

- Was it?

- Anything you can say to my father, you can say to him.

You know what to do, Norman.

- Oh, and you tell George we know what he did.

- And we are not happy about it.

- Tim.

- Um.

Hey, hey, hey. Wait, wait.

- You tell George, next time we crash more than his party.

- Don't leave.

You really add something to this party.

- What's that? Humanity?

- I don't think you've treated me fairly, Norman.

- Oh. Well, excuse me.

- I agree.

The behaviors of others was circumspect.

Mine was spot on.

- Yeah, and what behaviors are those?

- Genuine intrigue.

So what if I'm a little spoiled?

I'm rich, can't help that.

I offered you an invitation to a party

on friendliness alone.

- Agreed.

And I can assure you,

I can be quite mad at a group of people

and myself at the same time.

- I don't want you to be upset with yourself.

- Yes, you do.

- Goodbye. - For long?

- Forever.

- Oh, what's your address?

- 2020 Alley Way.

- I'll write!

(bright music)

(typewriter clacking)

- Oh, you gotta be kidding me.

- Hello Norman.

- This could have been anybody's tent.

- But it wasn't. It was yours.

2020 Alley Way, was it?

This is the first tent I've been in, you know.

I mean, street tent.

I've seen them everywhere, but this is the first.

I was just so curious, I couldn't help myself.

- Sure.

- Here's the thing, Norman.

I feel awful.

I mean, truly awful.

And I can't have our first fight ending

with you walking away that.

- First fight?

Listen Annette.

- I just love the way you say my name.

I could just melt.

- Wish you would.

- Let me ask you something.

- Okay? Then you'll leave my tent?

- No promises.

- Okay?

- Why do you live here?

How does this happen?

- This whole climate thing, you know?

I wanted to go green though, I'm here doing my part.

- Oh, quite sensible.

- Quite.

- You see, Norman,

we're going to be seeing quite a lot of each other.

- How do you figure?

- Well...

- [George] Annette, this is your father.

I'm recording myself on this machine

instead of asking you in person

because I've told your mother I was going to bed

and it's very important I keep up

the appearance of hostility.

At any rate, that friend of yours who the Tims hit,

tell him I'm hiring him as my personal assistant.

- He was very impressed.

- With what? How I took a punch?

- Apparently! You're hired!

You're daddy's new assistant.

- I don't believe I applied for it.

- Well, if you change your mind,

you'll also wanna change your clothes.

And I do hope that you do.

Change your mind, that is.

Norman?

Do you believe in love at first sight?

(music building)

- [Norman] No.

- Me either.

I'll see you tomorrow, Norman.

(heels clicking)

(bright music)

(typewriter clacking)

(door knocking)

(clock ticking)

- Hello?

(lively music)

(person snoring)

(lively music)

- I Just had the greatest idea ever.

Pen. Pen.

Do you have a pen sweet bean?

- Good morning, Norman. - Oh.

Good morning.

- (giggles) So you came after all.

- So I did.

- For me?

- For the job, of course.

- Of course.

- The assistant job.

- You're not taking Jimmy's place.

- Your father hiring me.

- I do vaguely remember something like that.

- Vaguely?

- You're absolutely the most attractive man

I've ever seen, Norman.

- Um, excuse me?

- Don't you wanna talk, get to know each other?

- Maybe later.

I have just started the job.

- Norman, you may not very well believe

in love at first sight.

- That's what you remember from last night?

- You see, I have a confession to make.

You're in love with me.

In fact, you're crazy about me.

- Am not.

- Didn't you come in here for a pen?

- Hey...

You...

Well?

- Well.

- Say I was to agree to this indecent proposal of yours.

- There's nothing indecent about love, Norman.

- Something very indecent about a hostage situation.

- Not in Stockholm there isn't.

- We're non Stockholm.

What would a relationship of this nature entail?

- I suspect there's something happening here.

- Between us?

Okay, you're right.

So there is.

- I knew it.

- A business agreement.

- A contract.

- A verbal contract that I will entertain the idea

of being your lover on the terms that I keep my job.

- It's a start.

- Your pen.

- Who the fuck are you?

- Be a dear, Sylvia, and do call the police.

We seem to have a strange assistant in our home.

- Where do I know your face from?

- Probably from a wanted poster.

He's probably doing this bit in every house in the hills.

You know they're desperate to work.

- You were at the party last night.

- So George's new assistant.

Well, there you go, Jimmy, he finally got over you.

- Well, so long as you never do.

- Jimmy.

- I see you have a new scheme.

- Isn't Norman great?

- I'm sorry? Is he not your father?

- Who? Jimmy?

Mother's lover?

- Oh my God.

(all laughing)

- You're the lover?

- Look at him.

Little nugget's getting it.

- He just moved in with me, dear.

- Daddy's office is up the stairs from the living room.

Nice of you to stop in on breakfast though.

Looks like you've helped the whole family.

- Don't be late for work, Norman.

He's a very demanding employer.

(intense music)

- Norman, you wasteful sod.

You ungrateful, meandering time-wasting sonufabitch.

Haul it in, son.

We gonna do business or we gonna do business?

(typewriter clacking)

What the hell is this?

You work in the movies now, Norm.

Doesn't mean you're at the movies.

You want popcorn, Norm?

Want me to grab some Goobers while I'm at it?

Did you think this would be the job,

sitting around looking at my hard work?

- What would you like me to do?

- What do I want you to do?

- For God's sake, Norm,

you are a personal assistant in Hollywood.

Everything. I want you to do everything.

This is the nature of your job.

Do you have any idea the kind of nonsense

these saps put me through, Norm?

Any idea?

- Enlighten me.

- Look at this.

Take a peek.

I get two screenplays a day, every day of the year.

You know why they do it, Norman?

Do you know why?

To piss me off, that's why.

Sure, they could email them but look,

see how it bulges in the middle?

They only put brads in two holes,

but they punched three holes.

It's every script, Norman.

It's like Chinese water torture.

I want you to fix things, Norman.

I want you to fix things.

That's what I want from you.

Starting with my headache.

I take a martini every three hours.

And as you may have noticed,

I've been up for longer than three hours.

And yet, (chuckles) no martini.

- You want a martini?

- No.

I'd like a perfect martini.

Bring me the perfect martini.

Or don't you ever show your face here again.

No. Scratch that.

God, just do the martini.

I need it.

I need it, Norman.

I'm stressed and I need it.

- Then Mr. Moffett, you shall have it.

(lively music)

- [Annette] I planned to be there

when daddy inevitably sent you to make the perfect martini,

but Sylvia wanted to try on some wigs

and she really does need help putting them on,

so here we are!

Here we go, the recipe for a perfect martini:

One jigger of gin.

Not one and a half, not two, just one.

Half a jigger sweet vermouth.

Half an ounce of olive juice.

This recipe is of course built upon the assumption

you know what a jigger is?

Funny word, jigger. I can't put my finger on it,

but there's something about that word I don't much like.

And then, you know, ice, stir, serve, olive.

- [Sylvia] Annette, wigs, now!

- [Annette] Good luck, Norman!

- About time, isn't it, Norm?

What the hell, Norman?

I told you to make a double.

- You wanted two martinis?

- Come on, Norm.

One for me, one for Jack.

I'm not an alcoholic.

Terribly sorry about this.

New hire.

(lively music)

- Thanks, Norman. - Mm-hm.

- Could have made yourself one, Norman.

- It's better for everyone if I don't drink.

- You're always welcome to, just remember that.

No shame in a little dependency.

Some folks have God, we have vodka.

- I believe this is yours.

- Where in the world did you come across this?

- Your daughter.

- You've spent time with both of my daughters.

What do you think of them?

Honest opinion.

- They're lovely.

- Ah. Both of them?

- Mm-hm, in a strictly professional sense.

- You bet your ass, strictly in a professional sense.

You listen to me and close,

there is nothing but the professional sense

between you and any of the women in my family.

Do you understand?

- George is still reeling from the loss of his wife.

- Yeah. Loss.

It's Jimmy who'll lose.

But I've made my point, haven't I, Norm?

The most important thing that you and I are of one mind.

- All right, shut the fuck up about your wife.

Look, last night at the party,

you told me you had my next job for me.

- Be my guest.

- "Piss Jug" by Jake Donahue.

- "River Runs East," written by Gregory Pinkerton.

(phone ringing)

Look George, I thought you had some things

ready to go into production.

Okay, I could use the money sooner rather than later.

- We could all use the money, Jack.

I could use $21 million if you happen

to have it lying around.

- Don't tell me the wells run dry.

(phone ringing)

- I wonder, Norman, do you think of a ringing office phone

falls under the purview of an office assistant?

Or is it a boss kind of thing?

Maybe I can answer it.

- Honolulu Lullaby, by Pinky Dinkler.

- Listen here, you monstrously insignificant

embryo of a man.

If this deal sinks, we all sink.

But you'll sink further.

You understand?

You'll sink so far, the titanic will look like the surface

from where you are.

- Please hold.

- [Jack] How hard is it to get a picture made these days?

- I'm not made of money. Jack.

- You practically shit money, George.

- Then let me finish my coffee

and you can pick the gold for my droppings.

- Excuse me, sir.

- What is it, Norman?

- I believe it's for you.

- Of course it's for me.

They're all for me.

It's my office.

What did they say?

That's the job, telling me what they said.

Not that they're all for me.

- Listen, here, you monstrously insignificant

embryo of a man.

- Damn, Norm, I didn't mean anything by it.

- Verbatim, sir.

- I see.

- Start.

If this sinks, we all sink,

but you'll sink even further.

You understand?

You'll sink so far the Titanic will look like the surface

from where you are.

End.

- Some Humphrey Bogart stuff right there.

What do you think it means?

Yeah, yeah, yeah, we'll call 'em back, Norm.

- I'll take anything, George.

Even a commercial. - Thank you,

Mr. Moffett will call you back at his earliest convenience.

- [Tim] Wait, wait, wait.

- I'm laying low for a few months.

(phone ringing) And when that's done,

you'll be the first one I call.

- You sodden, salty, crusted old...

Who is that? That breathing?

You tell me if you're recording this, George.

- [Girl Tim] Stupid little pigeon man.

- Who was it?

- Pigeon salesman.

- We don't need any more.

- Am I to assume these are the Tims?

- One of 'em.

Who's this?

- Norman.

- Norman.

- Hang it up Norman. We got business.

Look, go through this mountain for me Jack.

And by the time you're through,

we'll have enough money for three pictures.

- You owe me, George.

(typewriter clacking)

Believe that's for you.

Clean it up.

(phone ringing)

- The rights, Norman.

We know about the rights.

- Poor sap.

Wins one South by South West

and thinks I owe him a swing at the Oscars.

Who was on the phone?

- The Tims.

They know about the rights.

- Goddammit, Norman, we're in a pickle.

Hell of a first day.

- Well, loop me in, sir, I'm here to help.

- Tell me, and and tell me truthfully,

given your situation, I mean your previous situation

as you were... - Homeless?

- Well, Annette says I have to say unhoused.

What do you know about larceny?

- What do I know about theft because I was homeless?

- Grand theft, sabotage.

Strictly white collar stuff.

- Oh, my collar hasn't been white for some time, sir.

- Yeah. Yeah.

You've met my wife.

And her lover.

- Jimmy. Yeah.

I met him over breakfast.

He called me Nugget.

- He's such a...

You were late because you had breakfast with Jimmy?

- What does this have to do with larceny, sir?

- Ah, I knew you knew more than you were letting on.

- Ha-ha, on accident, I can assure you.

- My wife, Norm.

She's stolen from me.

- How much?

- $21 Million.

- Oh my.

- No, mine.

And it couldn't come at the worst time.

- Is there a good time for $21 million to vanish?

- Well, I'll tell you an especially bad time,

when I've been given that money by my business partners

in order to buy a certain intellectual property.

- The rights.

- It's all the Tims' money.

Every gleaming peso.

It was meant to purchase "The Humans."

- Which humans?

- The play, you nimrod.

The award-winning play.

Have you ever heard of the theater?

- Okay, so Rosemary stole it from under you,

that's the idea.

- Bank confirmed, she initiated a transfer

from my business account to an offshore account

in Sydney, Australia.

- Well, you should have gone to the authorities, sir.

- She's my wife, Norman.

Well sure, she made a cuckhold of me.

She's still the love of my goddamn life, Norman.

And if she feels she has to steal 21 million from me,

whatever the reason, then she's gonna steal 21 million

from me and not a penny less.

- That's oddly moving.

- I've not been a good husband.

That doesn't mean I'm gonna send my wife to the slammer.

- Sure.

- Now what the hell are you still doing here?

- I'm, I'm sorry?

- You're supposed to be cross town meeting

with Warren Gabel.

- The actor?

- You know him?

(typewriter clacking)

- [Waiter] Can I get you guys anything else?

- No.

- Well, this is strange, I'll admit it.

- Not exactly how I planned my morning either.

- What the hell are you doing, Sam?

(typewriter clacking)

- I think I'm supposed to convince you

to star in George Moffett's movie.

- No, I know why we are here.

But the specificities of your engagement with the Moffett's,

it's beyond me.

- Warren, it's nothing too strange.

Actually, the whole thing is beyond strange.

- Man, last time I saw you was closing night of our play.

Which one was it?

- "Norman."

- Right, "Norman."

Yeah.

Week later you divorced Catherine.

(somber music)

- Other way around.

- God, how long has it been, Sam?

- Warren, I'm homeless.

- You mean unhoused?

- Yes.

- Does Catherine know?

- Mm-mm.

And it seems you and I are gonna be working

in the same circles and I prefer your discretion.

- About your condition, you mean.

- I'm not going by Sam these days.

- [Warren] You got an actor's alias.

- I go by Norman.

- Jesus Christ. - [Norman] It's just a favor.

- Not a healthy favor.

What does George Moffett wanna do with me?

- You were in "The Humans" a year ago.

He's filming an adaptation of the piece

and he wants you to reprise Richard.

- No shit? - [Norman] It's a good role.

- Sure it is.

The Goldheart Sisters offered it to me last week.

- The who?

- George couldn't possibly have the rights to it.

- We're working on it.

- Well, you've been beat to the punch.

I've already been cast.

- The Goldhearts?

You're sure he said the Goldhearts?

- [Norman] I'm quite sure.

- Well, that's bad news, Norm.

You don't know these young women,

real Jane Fonda types, if you catch my drift,

after my masculine pride.

(dramatic music)

- I'm sure you'll heal.

- I want you to follow that paper trail

and see what putz bought those rights out from under me.

- Here you go, sir.

- Didn't the Goldhearts buy the rights?

- You are a real Jesus Christ, you know that?

- Thank you?

- Find those rights now.

- Yes, sir.

- [George] And don't let the Tims find out this time.

- Tell me something, Sylvia.

- Must we always talk?

- Why do you think we're supposed to say unhoused

instead of homeless?

- Here I was hoping for something a little more bechdian.

- I think unhoused puts the blame on others

because unhoused is something that happens to a person

as opposed to homelessness,

which happens because of a person.

- I don't wanna talk about this.

- Only because you have a house.

- No, only because one of them is in the next room.

- This isn't about Norman.

- Oh, no?

- No! It's about his neighbors.

- Greater than you have cashed in a bleeding heart

for a pass at responsibility.

We're just lucky your little product isn't mentally ill.

- Well, we don't know that yet.

- What?

- Well, I can't just say one way or the other,

whether or not he is in fact not mentally ill.

- And you didn't think that little detail was important?

- People have called us mentally ill.

- And yet I have learned to live with myself.

- I'm glad someone has.

- While I have to live with myself,

I do not have to live with him.

- Do I get to choose between the two of you?

- Would you like to choose

between your inheritance and a tent?

Do you ever think we need more friends?

(typewriter clacking)

- There's some business for you.

- Oh, that doesn't sound right.

Jimmy.

- Just an appointment coming through, I think on Friday.

- Let me see that.

- It's strictly for Rosemary.

- Oh, let him. Norman.

It's only Jimmy, he signs for everything.

- It's your mail.

- Oh. And Normy, you'll put out some sandwiches

for this afternoon?

- You know, not to be a nag...

- Oh, nag away.

- That seems outside the scope of my job.

- Really? A few finger sandwiches.

I know the twins will be starving after their ordeal.

- Ordeal?

- Oh, something to do in the Congo.

I'll let them explain it.

- Sure.

One last thing.

- Shoot.

- Do we like the twins?

(Tabitha laughing) (typewriter clacking)

- You really must go.

There isn't a place quite like

the Democratic Republic of Congo.

- Somehow neither Democratic or a Republic.

- But all Congo.

But the boeuf bourguignon, practically from Paris itself.

- One of the help had slipped something in her food.

- Ended up just being a bad case of food poisoning.

- There's this great restaurant there.

- Well, not so much restaurant.

- More in internment camp.

More indentured prisoner war than chef,

but you get the idea.

They take tourism very seriously in the DRC.

And you don't even notice the Malaria.

- Unless you get it. (laughing)

Anyway, he was shot the day after.

Remember that time I thought I had malaria,

but it ended up just being food poisoning.

But the best part, and I can't even begin to make this up.

- I had malaria that whole time.

(Both laughing)

- How exciting.

- [Sylvia] Norman, Norman, Norman.

- Sylvia.

- So what's the plan?

Are you going to kill us in our sleep?

- Well, I hadn't thought of it, but it's a good backup

just in case the job doesn't go well.

- I'm just trying to determine how worried I should be.

- That's funny, I was doing the same thing.

- Well, fortunately for you,

you aren't going to last long enough for that to matter.

- [Norman] Any advice?

- Stay on my good side.

- I'm not sure I've seen one.

- One word from me and you are back on the street.

Où vous appartenez.

- I heard you scheming.

- I heard you breathing.

- Norman isn't going anywhere.

- Is this one of those...

- Mm, no, you know what? Nevermind.

I think I'm gonna watch this one play out.

- You're going to leave Norman alone

is what you're going to do.

- And you're gonna be one to make me, tough little sister?

- A kick to the teeth will make you.

- Oh, aren't you quite the brute these days?

- I'm the boss about this, got it?

About Norman.

- You've fallen in love with a stray,

but you know we're gonna have to take him

to the pound eventually.

And what about when father finds out

that you've been trying to screw his assistant?

- Daddy isn't going to find out

unless you also want him to find out

about the actual reason you were forced

to take a gap year off of college.

- Well, if he ever finds that out

it's your own teeth I'd be worried about.

(Annette shrieks)

(coffee pouring)

(typewriter clacking)

(bright music)

(clock ticking)

- Good morning, Norman.

- Good morning, Annette.

Sorry to say I won't have time for our usual fencing match.

- [Annette] En guard. - Pret.

Why in the world do you know so much about fencing?

- Private school.

What's your excuse?

- Homelessness isn't as peaceful as it seems.

- The Tims?

- Sounds like it.

- When you're done enjoying your job, feel free to enjoy me.

We do have a deal after all.

You forgot the Martinis.

- Come on.

I've been busy with other things.

You know, Rosemary and Jimmy have been sleeping together

and I've been very distracted about it.

- Oh, please.

Everyone knows Rosemary and Jimmy

have been boinking since that Shakespeare flick.

(intense music)

- Sex is sex.

George, you'll do it.

She'll do it.

We all do it.

We don't all, however, string our colleagues out to dry.

$21 million and no rights?

- I'm working on it.

- I'm gonna give it to you straight.

George, we took a vote.

Kidnapping.

Blackmail.

I don't know, we're not used to this kind of thing,

but we had to do something.

- Landed on the physical option.

- Either you find a way outta this mess

or we break your legs.

- Well, you don't mean both of them.

- Well, we we don't want to half-ass anything.

- Put it to a vote, yeah?

- (sniffs) Quicker.

(suspenseful music)

- Martinis?

- Right on time, Norman,

I was just telling the Tims

how you landed the rights to "The Humans."

- Really?

- [George] Oh yes.

- [Norman] Well, good for me.

- Yes.

Just secure them.

- Well, then I guess that means I deserve a raise.

- Yes. I suppose you do.

- Good for you, Norman.

I do enjoy classic Hollywood success stories.

- Yes. Yes.

We're all very impressed with Norman's ability

to climb a ladder.

But I wanna see "The Humans" on the big screen.

- Are you even listening to me?

I said I'm taking care of it.

- You better hope so, George.

(typewriter clacking)

(video camera whirring)

- Can I help you?

- Just keep going, I'm recording.

- Keep going with what?

- I think he wants raw footage of the bitch in the wild.

Like a National Geographic kind of thing.

- Yes, exactly.

Just give me some real sister talk.

- My god, Jimmy, you know Father

won't let you stay here forever.

- Jimmy, dear.

Oh, whoa, whoa, whoa, whoa, whoa.

I can't stand to watch myself on film.

- Well, then I won't show it to you, darling.

- Well, let's not be extreme.

Did you choose a movie for tonight?

- We are right here.

Your children are right here.

If you wanna cheat on Father, go right ahead.

But can you at least hide it a little bit better?

- (laughs) Hide what? True love.

Your father wouldn't know it

if it was right in front of 'em anyways.

Jimmy, what's the movie about?

- It's a retelling of the "Song of Solomon"

as told through the eyes of a desperate up

and coming on Broadway.

I hear there's a Can Can line at the end.

- Oh, like Paris!

- Just like Paris.

- (laughs) Oh, look at my sweet little daughters hanging.

Isn't that nice? Huh?

- How's the move coming, Jimbo?

Settling in nicely?

- Don't worry, George.

Rosemary and I will be outta your hair lickety split.

You don't mind if we dive into a little family discussion,

do you, Jimmy?

- Oh, let me get it from the wide.

- Just like Lawrence of Arabia!

This isn't gonna be one of those long movie meetings, is it?

- As a matter of fact, it is, dear wife.

I produce movies.

I do not produce the want and desires

of your black little hearts.

- Not this again, Daddy.

- Yes. Yes.

This again.

- Well, maybe we don't have to talk about movies.

- Oh, you'd like that, wouldn't you?

- Yeah!

- Ugh, George.

Why is it always movies with you?

It's either bounce checks or false profits.

- Now you've upset Jimmy.

Why do you do that?

He was such a good assistant.

- He slept with my wife.

- I am not your property, George.

- God.

- You're just drunk.

- I have had only three martinis today

and I'm entirely coherent.

- What's this family meeting for?

- For a family enterprise.

We're gonna make a movie together,

a real Moffett family picture.

We're doing "The Humans," with Sylvia and Annette to star,

Jack to direct and me to produce.

- You don't own the rights to "The Humans" though, George.

- How the hell do you know that?

- [Jimmy] Because I was your goddamn assistant.

- George, please.

You're upsetting Jimmy.

- Throw Jimmy off a cliff for all I care.

- Well, I never.

- How much does it pay?

- You're family, you'll do it for back-end points.

- Ugh!

- La vie cruelle d'une actrice.

- Besides, who needs rights?

We'll sell it in, on the internet, in Thailand.

In Times Square for all I care.

Anywhere where infringement is a proud tradition.

- Don't mind me.

- Daddy was just giving us the rundown

on his mildly Producers-esq plan.

- It's nothing like The Producers.

- No, it's half as funny and twice as desperate.

- Oh, fuck off, Jimmy.

- We should get paid up front.

- There is no money.

That's why I'm hiring you.

- Independent film, so '90s.

If I'm to be honest...

- We've got no choice.

It's a movie together or the streets together.

- I know some prime real estate if you guys are looking.

- If cutting money would help,

how about this business of employing the homeless?

I think we would all prefer not to be shanked in the night.

- Shanked?

What's that?

What does shanked mean?

- No one's getting shanked.

- I can nearly guarantee it.

- Oh, nearly, he says.

- Norman, you wouldn't shank me, would you?

- Would you come into my tent, try to steal my food?

- Never.

- No, I won't shank you.

- Context tells me shanked is like a form of self-defense.

- Am I the only one who's going to acknowledge

that he still lives in a tent?

- Oh, Sylvia, many people live in tents.

- Look, all I'm saying is that we don't know anything

about some people.

That may be a background check might be in order?

Did you know we still don't know if he's mentally ill?

- [Annette] Shut your mouth!

- Sorry, if I value my going-on-living.

- You won't go on living talking like that.

- Jimmy?

Would you like to get a snack before we leave?

I know you hate those concession prices.

- Jimmy, I'm gonna murder you one day.

I want you to be able to look back

and realize that this is the moment I told you so.

- I dunno why Father couldn't have hired a professional

to replace Jimmy.

(Annette crying)

- Oh honey.

George, now you're doing it to your own daughter.

- Not this again.

- Norman only just got here.

- It's nothing personal, little sis.

It's just that father here is looking to save money

and we've got a bum on the payroll.

Easy math.

- [Rosemary] George, don't get between Annette and Norman.

- I've said nothing about firing Norman.

- [Rosemary] Can't you see she's fond of him?

The two are already best friends.

- Annette. Annette.

- [Rosemary] I'm sure your father

will make the right choice, Annette, don't panic.

- No! Oh, oh!

- I'm going to kill myself.

- I knew it.

I knew you were gonna fucking do this, Annette.

Goddammit, just do it!

- George, do something.

She's gonna shoot herself!

- That's a prop gun.

- I'll do it. I'll really do it.

- Oh, no, no, no, honey.

Put the gun away.

Sh, sh, sh, come, come.

(suspenseful music)

- There you go, just...

- Don't take my gun.

- Oh, honey, nobody's gonna take your gun.

You keep your gun, okay, honey?

You just relax.

- This act is getting old, sis.

Do you wanna have a Coke?

Do you want me to put on a movie?

- I only wanna die.

- Aww.

- To forget how to feel.

- Well, I can have Norman go and get you a Coke,

would that help?

- Oh, Norman.

- [Sylvia] Oh that's it, I'm out.

- Um, I, how about I make everyone Martinis?

- Read the room, Norm.

Everybody's doing the movie, no matter what.

You too, Norm.

Hope you can act.

- Is Sylvia still over there?

- No, she left, honey.

But Norman's here, will that cheer you up?

Jimmy, get my coat, honey, and my shoes.

I don't wanna miss the previews.

(bright music)

- (giggling) They're gonna keep you after all, Norman.

Oh, it's only a prop.

Still a pretty good actor. (laughs)

We're gonna be in a movie together, Norman.

On the silver screen, Norman.

- We should have some very strict rules, Catherine.

- Who the hell is Catherine?

- Oh my God, I'm sorry, I'm...

I'm sorry, I'm sorry.

- I can be a Catherine.

- No, you can't come in here. - It's my house.

- It's your parents' house.

- And mine one day, but it's besides the point.

I just wanted to talk some more.

- Later, not in here.

- You would kiss me and then demand I leave?

- I would kiss you, you say?

- This is a quick moving romance, isn't it?

To think, before I hardly even knew you,

and yet here we are.

Bathrooms are for private things,

we could be doing anything in here.

- Yes, and yet here you are.

- Don't you seen Norman?

Now that you're here to stay,

we don't have to keep this a secret anymore.

- I can assure you, I spoke to your father about such things

and coming out as his daughter's lover

is counter productive.

Just ask his last assistant.

Excuse me. - Well, that's fine.

We can keep it secret.

All the great loves are kept secret.

- Haven't you heard of professionalism?

If you had my job, would you be your lover?

- I've never had a job before, Norman.

There's no telling how I'd behave.

- You do want me to stay in this house with you,

right Annette, as long as I can?

- More than anything.

- Then I need to keep my job.

- And I'll be very secret.

- You're very handsome, Norman.

- I won't be your lover.

- Wait, you won't?

- I think I'd prefer our relationship to be professional.

- You mean you don't like

that I followed you into the restroom?

- No, I can't say that I cared for it.

- It's this Catherine person, isn't it?

- I'll see you when I come in for work and when I leave,

and at parties and things I'll know you'll be at.

But I think for me, that's enough.

- But what about our kiss?

- It was only your kiss.

- Oh, Norman. - Annette.

- Norman. - Annette, I...

(door slamming)

(gentle music)

(typewriter clacking)

You've mastered the classes they gave

As fall turns to winter

You lost track of your center

Refuse to remember

You choose to surrender

Thoughts and memories

You'll retain these

To look back at moments you've saved

The math that they're using

Is often confusing

The truth is amusing and rife for abusing

Day turns night and your feelings that were spoken

Turn to spite, and the writings on the wall

You've been mended, you've presented the lie

Say what you'll say

Just don't be what they say you'll be

And you're trying, but you're dying

We're all dying

You're not he same

Just don't die till you c'est la vie

That's just platitudes and I don't like your attitude

Day turns night

And your feelings never spoken turn to spite

And the writing on the wall you still hide

And you've mended and you've broken

You pretend you've been mended

You presented the lie

In a meadow, I will lead you

To the other side

(bright music)

- Who's ready for a movie?

- When do I...

- No, no, think classy.

Think Hollywood.

If all goes well, we get a movie,

and Moffett keeps his knees.

(uplifting music)

- What's with the get up?

- It matches my soul.

- Well, I like it, you look beautiful.

- I meant look distracting.

- Why not be beautifully distracting?

Well, that's my cue.

Can't say it's been a pleasure. Annette.

- Jack, you've met The twins.

- Hello. - Evening.

- Hey, Norm. - What?

- Ready?

- Norman.

- Tabitha!

- Ricky!

- [Tabitha And Ricky] Congo! (laughs)

- Oh.

- I can't believe you got the girls to act.

- Your daughter's coming out of retirement

before you make it to your own?

It writes itself.

- They've both had time to process their resentment

towards their mother and me for making them act so young.

- That's a big deal.

- How resentful can they be after being handed a career?

(dramatic music)

That resentful?

- That's why there's a prop gun in the house, Norm.

- I'm sure they're as talented as ever.

And Jack to direct.

- He's hot.

- He's young.

- An auteur in the making.

- Great idea.

- Truly brilliant.

- And he'll be sitting next to you during the film.

- Actually- - Brilliant!

- Jack, tell me, what is your experience

with Ethiopian cheeses?

- We haven't been completely honest with each other.

- I have been nothing but honest with you.

- I just don't mean you.

- We aren't talking.

- I'd like to share something with you if you'd let me.

- I don't talk to men who broke my heart.

- Enough with the theatrics already.

- Theatrics. Theatrics.

It's all theatrics when it's a woman's heart.

It's all, she's a little unstable,

when really she's just a little in love.

What do you wanna talk about?

- Unstable. A little unstable?

You're a woman with the proclivity to kill herself

if the means weren't padded as props.

- Perhaps we shouldn't be honest with each other.

- Psst, Norman.

We've got trouble in paradise.

The Goldhearts are here.

- Start with cocktails?

- [George] So the infamous Goldheart sisters are suing me.

- [Heather] You stole our movie.

- You stole my movie.

- [Annette] Be fair, it's kind of our movie.

- [Friday] Well we have an investor, a rights holder,

and a production that says it's our movie.

You don't got Jack.

- Yes we do, Jack was directing.

- [George] We'll cut the baby in half.

- [Heather] Absolutely not.

(typewriter clacking)

- What's going on George?

What are all those papers?

- What the hell are you winking at her for?

- How would I know, George?

- Listen, Heather, Friday, we go into business together.

- You're gonna lose everything you got

when this gets settled in court.

If a single human being sees this movie,

we're coming for everything you own.

- Got it, so no humans can see "The Humans."

- Lawyer up, asshole.

- They're all making a Judas out of me.

- George.

- I'm nothing but a Judas for you to betray.

- [Sylvia] He means Julius.

- Dad made a movie combining the characters

of the passion and Julius Caesar.

But he's never been to church,

so he gets the characters mixed.

- It was a confusing movie.

- And one of you is the Brutas.

- [Sylvia] He means Judas.

- One of you told the Goldhearts

we were doing our little production.

We're the only ones who knew.

- I think that's not entirely true.

I think I might have mentioned to Warren Gabel

that we were pursuing the film,

and he might have told the Goldhearts.

- Et tu Norman.

Take your 20 pieces of silver and leave.

(dramatic music)

Great Julius Caesar!

- What are you doing?

(George screaming)

(all screaming)

(clock ticking)

- What do you think I'm gonna say to you now, Norman?

- That you could really use a drink?

- You're fired, Norman.

- Daddy!

- We ever gonna talk about why you're so good at acting?

- I just deliver my lines, everything after that is luck.

- How about a drink?

- It's really best if I don't.

Goodbye, Sylvia.

- Do you really think I don't know?

I clocked it nearly the moment we first met.

I know who you really are, Norman.

- I'd be forever indebted to you if you could tell me who.

- You are a man who knows better

than to turn down the good stuff.

(typewriter clacking)

Sam Leonard.

Oh, that's a real name.

Good golden age name.

An actor's name.

And if I recall, a good one too.

I've seen two of your plays, you know.

Must have left an impression.

- You wouldn't like Sam Leonard.

- To be fair, I don't much like Norman Leonard.

- Sam was a coward.

- Mm, and now you're a master of courage?

- No, I'm saying, there's no reason that I'm homeless.

I mean, I'm successful, I was well off.

There's people in the city who have no choice,

and I hid behind them.

- You were only a stage actor.

How long were you in the tent?

- I spent three years in that lonely little tent.

- No family? No nothing?

- An ex-wife somewhere.

- Ugh.

So your ex-wife is why we aren't civil to each other?

- Am I not civil?

- Why don't you like me?

We're alike, you and I.

- We're not alike.

We're just alone.

- That we are, Sam.

That we are.

- Norman.

- No, Sam is better.

- Unhoused is better than homeless.

Sam is better than Norman.

Is there any idea you don't have

about how I should present myself?

- I only want you to be real.

- Real.

- Real.

- Ah.

You didn't have glasses?

- Oh, bougie actor too good for the bottle?

- Oh, okay.

Let's be real then.

All right.

Yeah. Let's get real.

Tell me, please tell me about your childhood.

Let's talk about your past.

- Someone's been hearing rumors, I see.

- I'm gonna kill myself.

Would you look at that?

- No one seems to care.

- Ah, no one ever has.

- So what, what do you think about me?

- Oh, well as Sam or as Norman?

- Dealer's choice.

- I think maybe I was wrong.

Yeah, maybe we are alike.

- No. I'm an original.

(typewriter clacking)

- Your sister

(Sylvia speaking in foreign language)

- Bye, Norman.

(dramatic music)

(dramatic music continues)

(typewriter clacking)

I fucked your boyfriend last night.

I frenched your boyfriend last night.

(coffee pouring)

- Take it easy, tiger.

All that caffeine.

- I really shouldn't drink.

- So, Norman.

- Sam's fine.

- Do you think I wouldn't have helped you out

if you had called?

- Sure you'd have.

There are dozens of people who would've.

- Because Catherine divorced you?

- Catherine isn't who bothers me anymore.

I love Annette Moffett.

I've loved her from the first moment she told me that I did.

- Look, you don't love her.

- I do too.

- Then why aren't you with her?

- Aren't you listening? I'm nuts.

- She's nuts.

- I was fired.

- Then you don't have to quit them after all.

- I was fired because you told the Goldhearts

we had a production.

- Me? No, I would never in a million years.

- Good. I'm just making sure.

- You're really guns blazing today, aren't you?

What's that?

- This is Mrs. Moffett's mail.

I picked it up when I was drunk last night.

- You really shouldn't drink.

- How's about I pay you 500 to turn a trick for me?

- What kind?

- Guns blazing kind.

(knuckles cracking)

(lively music)

(typewriter clacking)

(lively music)

(typewriter clacking)

(lively music)

(typewriter clacking)

- Who's the cowboy?

- Where's the gun?

- [Annette] It's just a prop.

- He didn't know that.

- What seems to be the trouble?

Warren?

- No.

Goldhearts don't like that you're helping Moffett

get this picture up.

They don't like it one bit, Jimmy.

- I'm not.

I'm not. I'm not.

I'm their business partner, I promise.

- We both know that Rosemary is their business partner.

- You've been in bed with dad's assistant

and his competition?

- Is that why the Goldhearts were winking at you last night?

- [Sylvia] Really, this family is too much.

- Let me clear a few things.

(typewriter clacking)

- Oh, that makes sense. - Oh, I get it!

- One thing is abundantly clear.

Jimmy has been playing you all the whole time.

- I pitched that to you five years ago.

I wanted to do "The Humans."

We were meant to be partners. - Doesn't a ring a bell.

- And then you, you went and pitched to the Tims without me.

- You made a cuckhold of me, you fool.

It was retribution.

- You stole from me, George, so I stole from you.

I stole your wife.

I stole your money.

I ratted you out to the Goldhearts.

"The Humans" is my movie.

- You should really read your mail.

- That's your job.

- [Norman] It was my job. - Is your job.

Obviously you're rehired.

- So what do you say we drop the suit and keep on.

- So should we sign papers?

- [Friday] So it was all just a big misunderstanding.

- [Heather] I can't believe it was you we were working with

this whole time.

- [Friday] We just thought you were cutting

your husband out of the deal. - Are you okay?

- [Rosemary] Who knew I was so good at business?

- Love makes me sick.

- [Rosemary] He may be an idiot

and he may lose his priorities easily at times,

but he's my husband. - Yeah.

- [Rosemary] And I love him. - Yeah, me too.

(typewriter clacking)

- Why can't love be real, Sylvia?

- Who says it isn't?

- Life says it isn't.

Real life.

- You really like him?

Then just throw yourself in the man's arms

and get it over with.

- You're the one he kissed.

- If Norman walked in this room right now

do you think he would even notice I was here?

(both gasping)

- I love you.

I love you.

Not Annette, come with me!

Come with me.

I'm sorry.

I'm sorry.

I'm sorry.

(typewriter clacking)

- If Norman walked in here right now,

do you think he would even notice I was here?

(bright music)

Go on.

Tell him how you feel.

Love is as real as you make it, Annie.

(dramatic music)

- Where is everyone?

- Stepped out for a bit, celebrating.

- But you stayed behind?

- Someone has to read all these contracts.

There's something I should tell you.

- Okay, me first.

You look cute in the big chair.

- (laughs) Thank you.

That's what I was going for.

That or Hollywood mogul.

- Now you.

- My real name is Sam Leonard.

- Oh.

I like it.

That's all you had to say?

- Yeah.

Is that all you had to say?

- Well, pleased to meet you, Sam Leonard.

- You and I are about to make a lot of money, Norm.

- Have fun with the business stuff.

- What's wrong with her?

- You wouldn't get it, George.

- Norman.

- Yes?

- Norman, there is something we need to talk about.

- I can't imagine what about.

- I told Annette about us.

(dramatic music)

- It was the right thing to do.

- God, you're always so upstanding.

- (laughs) Well, someone has to be around here.

- I liked you better when you were drunk.

- I like me better when I'm drunk.

That's one of the things I'm working on.

- [Annette] Norman, could you come here a minute?

- Just a second.

- [Annette] Okay, but don't forget.

- Is there something else?

- Why are you keeping my sister waiting?

- Right.

- Bye, Norman.

- Sam.

- Okay.

(bright music)

- We've already been through this, Annette.

- You drove me to this Norman.

You drove me to this.

- It's Sam.

- Okay, fine, Sam.

You drove me to this. - So what, you do this what?

Once a month?

- I do not.

Admit you love me right now.

- Or what, you're gonna shoot yourself?

- Why not?

- Well, for one, this isn't a real gun and this is crazy.

- So, I'm crazy about you.

- Well, what do you want me to do?

You want me to tell you how I feel?

You want to pry it from my lips?

- If that what it takes. - Did I miss the commercials?

I've seen this film so many times before.

- I'm holding Norman emotionally hostage.

- Ah, please continue.

- Don't you think this would be better as a private moment?

I've tried it in private, Norman.

Just say it.

It isn't a big deal.

- [Annette] Just say it. - [Sylvia] Just say it Norman.

- [Annette] Please just say it.

- [Sylvia] Just say it.

- This is a, it's a private...

- Say it Norman, just say it, please.

- Just say it Norman.

- I'm trying to think, I'm trying.

- [Annette] I want you to say it.

- I'm trying, okay!

Okay! Okay! Okay!

You wanna know how I feel?

Yes, yes I believe in love at first sight.

Obviously I believe in love at first sight.

But I must have poor vision because it's the second time

it struck me and doesn't always end great.

- You do believe in love.

- I love you, Annette.

I've loved you since the moment you shared a drink

in my crummy little tent.

I don't want to be in love. I don't like being in love.

It's not fun for me.

- Fun's besides the point.

It's love, Norman.

If you love someone, you tell them.

- Not when you barely made it through the last one.

- What's this?

- I love her.

- I just hired you back, Norman.

- Don't you dare fire him.

- [George] Give me that.

- Oh, George.

Not you too.

We were just figuring things out.

- Norman loves me, Mommy.

- Oh good.

I love that journey for you two.

See, things are working out.

- For you twats.

- What the hell are you doing?

- It's really getting pathetic, Jimmy.

- Norman loves me. (giggles)

- Oh, does he?

That's fantastic. Great.

Why don't you go Juliette yourself over thing?

- You mean kill myself?

- Yeah!

All of you are so goddamn suicidal.

How are none of you dead yet?

- If only this thing were real.

(gun blasting) (Jimmy screaming)

- What the fuck?

You shot me.

Mother fucker!

- It was real?

- Ah, you bitch! (screaming)

- George?

We've had a real gun in the house the whole time?

- I could have sworn it was a prop.

- We shot a whole movie with that thing.

- [Sylvia] And Here we were dangerously close

to breaking Chekhov's gun rule

- It really does make all our moments

with the gun more impactful.

- [Sylvia] Well, you certainly impacted his leg

quite nicely.

(Jimmy moaning)

(typewriter clacking)

(bright music)

- There you are.

- Why are you here?

Shouldn't you be calling an ambulance?

- It's only Jimmy.

- Why are you so desperate to love me?

- You really have it all backwards.

- I'm better on my own, much better.

- I don't think I'm being too harsh when I say

you were an alcoholic de-housed person on your own.

- Will you just...

- Yes?

- Just...

- Yes?

- Let's be done with this.

(dramatic music)

(music ends)

(door closing)

(bright music)

(bright music continues)

(light clicking off)