All language subtitles for Get.Shorty.S01E04.From.Stamos.with.Love.1080p.AMZN.WEB-DL.DDP5.1.H.264-monkee_track3_[eng].1

MILES:
Previously on Get Shorty...

-(MUFFLED CRYING)
-Fucking Christ.

What? He was talkin' shit!

My wife's boyfriend!

That's your wife's boyfriend?

Get in your car.
I'll move him out.

(CHUCKLES)

I think it's best
you don't tell anyone
about this.

Not even Katie.

This is a beautiful story.

It's honest and it's real
and I promise
when you read it,

you'll realize you would've
wanted to make this movie
anyway.

If you don't, I'll ruin you.
I'll ruin your fuckin' life.

You think you walk over me
because I am a woman?

You little dick maricon.

Go back up north

or I cut your
fucking legs off.

(BREATHING HEAVILY)

Still alive?

I thought you wanted to
speak to him.

(BREATHES HEAVILY)

If you don't, I'll,
I'll finish up.

I come in.

(MILES COUGHS)

(MILES GROANS)

(YAGO SPEAKING SPANISH)

Someone's here to see you.

(GROANS)

(CELL PHONE RINGING)

Oh, shit.

Amara. Hi.

I love.

What's that?

Script for my movie.

(SPEAKING SPANISH)

MILES: (ON PHONE)
Oh, you read the script.

That's great. Isn't it, uh,
it's, it's terrific, isn't it?

I mean, I mean, I,
I really think...

How is John Stamos?

Uh, we haven't
started casting,

so I haven't had the chance to
meet Mr. Stamos just yet.

I want a photo.

Okay...

Stamos. Autografo. Should say,

"Amara, que bella.
With love, John Stamos."

"With love." No problemo.

Um, soon as I meet Mr. Stamos,
I'll have him do that for you.

-Stay in touch.
-MILES: Absolutely, we will.

And let us know
the moment that... Hello?

Every fucking time.

-What'd she want?
-Oh, man. She's happy.

-Yeah?
-Very happy investor, man.

She read the script,
she loves it.

She says it's
"muy romantico."

-Ah!
-And that's the beauty
of a story like this.

You know, even if
you're a psychopath,
it touches your heart.

I mean, sh... She read it?

I haven't even read it.
And I wrote it.

What's up, bro?

What's up? Not him.

Oh, no, he, he's cool.

Ain't about being cool, bro.

Okay.

(KNOCK ON THE DOOR)

-(BUZZER BEEPING)
-(DOOR OPENS)

Yo. Everyone so on edge, dog.
It's like freakin' me out.

That's how it's gotta be.

Yeah, for how long?

If you heard
what Amara told Josias?

She was like,
"This shit is war."

(SCOFFS)

If anyone should be on
the lookout, it's me.

Why?

I'm a lieutenant.

If they cap you, no offense,
but that's not headline news.

They cap me?
That's some serious shit.

Yeah.

Oh, the sign looks good.

And professional, yeah.

(LIFT BELL DINGS)

Oh, uh, put the plant
over by the window,

-it'll die slower.
-Yes, ma'am.

Hey-hey. Pretty cool, huh?

-This is all us?
-GLADYS: All us.

I can't find
the coffee machine, though.

Please, if somebody finds it,
let me know.

You and Rick
have a 2:00 p.m. with April.

(SIGHS) Is it just them,
or should I...

Far as I know,
it's just producers.

And we need your headshot
for the announcement
in the trades.

The trades, right.

Trade what?

Industry magazines, websites.

Wait. His picture's going
in a magazine?

Yeah, this is what
they always do

when you have a "Go" picture.

I don't have
a headshot, though.

Not one that's, um,
that's appropriate.

That's fine. The studio will
set up a photo shoot.

Oh.

RICK: Gladys,
what the hell is this?

What, I leave here for
one minute
and this fucking thing?

What movie is that?

The biggest disaster
of my career.
Like I want it on the wall.

GLADYS: Uh, well, must have
been in your old closet.

Okay. Get it off.

The guy left.

What guy?

-Facilities.
-Well, well...

(SIGHS) Fuck. Come on.

God damn it.

Oh, they must've screwed it in
when they did.

Except, I don't see
any screws.

-How did they do it?
-I'll have them come back.

-Please.
-(KNOCK ON THE DOOR)

We interrupting?

No. What's up, guys?

Amara was hoping to get a
signed photo of John Stamos.

It's a souvenir
for the investor.

You think that
can be arranged?

Yeah, yeah, yeah. Yeah.
Probably get one on eBay.

Did you see your office?

I have an office?

(LIGHT CHUCKLES)
Next one over.

I'll be in my office.

-Coffee.
-Yeah, get the guy.

So, uh, so my office is, is...

What, you need one?

You already wrote the script.

Can I, uh, use your bathroom?

HEIDI: So you must be psyched.
Owen sold his script.

What?

Wasn't he working on a script
called The Admiral's Mistress?

A project with that title
got set up at Gravity.

HEIDI: Oh, cute!

That's so cute.

I'm actually not in touch
with Owen.

He basically ghosted me.

I'm sorry.

Yeah, no, it's fine.

I mean, it's fucked,
but whatever.
He sold his script.

Maybe not. Maybe it just
has the same title...

Can you get me a copy of it?
I can see if it's his.

Totally.

RICK: We're here!

You can imagine how I've been
looking forward to this.

MARCIA:
Anyone like water or coffee?

Um, that'd be...
Can I get both?

Coming right up.

RICK: I'm, I'm fine. Thanks.

These are the invites
to Brandon's charity
gala tomorrow.

Parking passes inside.

You might want to check with
me before you go around
handing those out.

-Brandon said...
-Thanks, Marcia.

What's "Cocktail attire"?

Means free valet and open bar.

-A suit. Just wear a suit.
-Oh.

Come on.

Ms. Quinn, can I say
how excited I am...

APRIL: No, you can't.

RICK: All right. Okay.
Look, I just wanted to say,

off the record, I don't care
what went on between you two.

Sooner we get through this,
the sooner you can leave.

I'm prepping
Lethal Limit Four,

a project that
actually matters.

So, Gravity Pictures
is on board.

Only Brandon won't greenlight
this unless he thinks

there's an audience for it.

More people than would attend,
say, a high school production
of The Crucible.

The script needs work,
obviously.

Does it?

I'll set up a meeting
with this writer,

"Louis Darnell,"
whoever that is.

You want Louis
to rewrite the script?

I'm putting together a list
of prestigious directors

who will want
nothing to do with us.

But call them and beg,

or this won't get off
the ground.

Finally, there's cast.

Oh. We have some ideas.

Do you?

Well, the investor weighed in.

Well, since we're buying out
your investor

that shouldn't be an issue.
Right?

What's this?

It's the first
I've heard of it.

Lawyer stuff, I'm not
really up on details.

But I do know Brandon is not
interested in a co-production.

RICK: Okay, wait, wait, wait.

They're gonna buy out
Amara's distribution rights
at a profit?

-Correct.
-Healthy profit?

Lawyer stuff, blah-blah.

I just know your investor's
no longer an issue.

(SIGHS) No, it's good news.

-Yeah?
-Yeah.

So we're still making
the film, but Amara...

She's, she's made
profit already, yeah.

So now she's out. It's good.

-Amara's out.
-Hmm.

MARCIA:
Coffee and water, there ya go!

Thank you.

Now that you have
your beverages,
should we keep going?

MILES: This was
always the plan,

it's just happening way sooner
than I hoped.

I mean, we can move forward
with the movie

and Amara's not involved.

She doesn't know
she's not involved.

Right.

When she finds out,
she's gonna want us back
in Pahrump. Right?

-No, no, no, no, no.
-Yeah, yeah, yeah, yeah, yeah.

No. We told her that we were
gonna make her a profit
on her investment.

Apart from that, we can,
you know, do our own thing.

Okay. Okay. That part?

The, uh, "We can do
our own thing" part?

I don't remember you running
that by Amara.

I'll talk to Amara.

-Okay. And I'll say, uh...
-What'll you say?

I'll say, um...

Well, I don't know
what I'll say.

But she's not expecting to
get paid

until the movie's in
the theaters, which is, what,

like, a year from now.

So maybe, in the meantime,
we...

We just don't mention it.

No. You want to
hide it from her?

-She's gonna get paid, Lou...
-Uh-uh.

She's gonna get paid. In full.

Every penny.
Just, you know, eventually.

Can you just be
fucking happy for me?

-What?
-I'm doing it.

Man, I'm doing it.
Maybe I feel like
I belong here.

You know, I'm obviously doing
something right, aren't I?

People are taking notice.

This was supposed
to be low-profile.

Now you're getting
your picture in a magazine.

I mean, that could bite you
in the ass.

You coming in? I need to get
some cocktail attire for
Brandon's little shindig.

Right.

What?

What, now, you have a problem
with me buying clothes?

I'm gonna wait outside.

Look, I know
why you're pissed off,

and if it were up to me,
trust me, you'd be coming to
the dinner too.

That's why you think
I'm pissed off?

Well?

Well... Why don't you go buy
your $1,000 suit,

and then you can, uh, roll up
to your big fancy party
in that busted rig.

That'll make an impression.

Aw, shit.

No. No, I'm just
messing with you.

-No, you're right.
-No, I'm messing with you.

That car, that's,
that's a classic.
It's a classic.

-Maybe I can lease one.
-Will you stop?

What up? What do you mean?

So what?

Yeah, bro. I gotta go.
Right. See you.

Hmm. Oh, yeah.

You know, it occurs to me.

Emma's gonna need to do
an accent for this role.

She's got natural talent
but there's a technique
to that sort of thing.

Just have her use yours.

Oh, yeah. No, I would.

Only I'm Irish
and the character's British,

which is a completely
different fuckin' thing.

-Uh, is it? Mm...
-Black or Burgundy?

Burgundy.

I actually picked up
a flyer in the lobby.

A guy who, uh,
does acting lessons.

"A safe place for kids
to connect
with their inner artist.

"Study character development
and work with
an experienced dialect coach."

Yeah. Well, I mean,
if you think she needs
that kind of thing.

If Katie agrees, I suppose
she'll have to drive Emma up
here for a few days.

-Ah. I see what you're doing.
-MILES: Huh?

Now I know what this is about.

"Acting lessons." Right?

Oh! Fuck. I nearly forgot.

You have a meeting tomorrow
with April Quinn.

Of what?

She wants to have a little
chat about the script.

It's not a big deal.

"It's not a big deal"?
What's does,
what does that mean?

The script's already good,
right?

So, if she wants you to make
some changes,
I'm sure she'll tell you what.

I haven't read the thing!

Here you go.

(SIGHS)

This is like 100 pages.

It's double-spaced.

I have to read this
whole thing? Fuck me.

(INDISTINCT CONVERSATIONS)

Yo. You talk to her?

And?

She said
she can't do anything.

What do you mean?

She said the kid
didn't work for her.

Yeah, but he worked for me,
and I work for her.

So that's it?

We just let it go?

(SCOFFS)

Mmm. Bro, that is fucked up.

We don't even know
if Josias did it.

Who else? Man, they put a hole
in his chest!

Man, Amara needs to look
after her people, bro!

I bet Josias looked after his
crew better than this shit.

What did you say?

(SIGHS)

What the fuck did you say?

Listen. Just chill out,
all right?

Don't fucking talk like that.

Yo, bro, I'm with you
all the way.

Amara, too. You know that.

Glasses Kid, he was my boy,
that's all.

(SCRATCHING UTENSILS)

What are you doing?

Oh. Hey, I'm just, uh...
(CLEARS THROAT)

I'm just washing
the roasting pan.

I feel like it's soaked
long enough.

At 4:00 a.m.?

I couldn't sleep.

So I thought,
I'd make myself useful.

I didn't, I didn't wake
you up, did I?

No, I just...
The Xanax isn't helping?

I feel more calm,

but I can't sleep.
I think that's what's killing
my golf game.

EMMA: Mom?

Emma, go to sleep.

What, what's happening?

Nothing, Jeffery's just...

I'm just cleaning up,
sweetheart. That's all.

Now?

Yeah, we'll both go to bed.

Are you sure there isn't
anything I...

No. You go. I'm good. Really.

KATIE: Okay.

Hey. Nice view?

The actor from Ant-Man just
went into that porta-potty.

Took a picture
for my daughter.

Ah. The glamour
of Hollywood, right?

Listen. You got a second?

-Sure.
-Yeah. Just, sit down.

(SNIFFLES, GRUNTS)

Look, right now, we got buzz.

We're, we're in the trades,
people are talking.

Mm-hmm.

This is the time
to set up our next film.

Yeah. So when
Admiral's Mistress comes out,

you know, maybe,
despite all our best efforts,
it's not so great...

Why is it not so great?

Or you like it
but the critics shit on it.

The world moves on,
you get left behind.

That's a sunny prediction.

What we do now is,
we go now to Amara

and we say, "Congratulations,
you made a profit
on this last film!

"You know, 10, 20 percent,
whatever it is.

"Why not put some of that
money into another film?"

No.

You know, "Given your, your,
your passion for cinema,"

etcetera, etcetera.

We're not asking Amara
for more money.

-Why not?
-It's a bad idea.

Because...

Listen, you want to set up
another movie?

Great, we'll find
another investor.

I mean, if you know people,
and more...

It's, it's okay for me
to bring you an investor

but you don't wanna
share Amara?

Rick, I'm better off
without Amara

and so are you.

Is that right?

That's right.

All right. Think about it.

And, Rick.

Let me be the one to tell
her about this business
with the studio.

Yeah, yeah, you handle it.

All right.
See you in April's office.

Yeah, I'll see you there.

First of all, Louis,
it's such an honor
to have you here.

And to realize the man behind
The Admiral's Mistress
isn't British!

(CHUCKLES) No.
No, not British.

You must have done
a lot of research.

So, my biggest note

and I do know writers
hate this word.

But in the second half,
when Felton becomes
the Admiral...

Is there a way to make that
character more sympathetic?

Uh, the, uh, character,
the Admiral character.

Right, right, right. Right.

So you're thinking...

More sympathetic.

The Admiral.

Emphasize his courage,
the innocence he's retained.

I know he becomes
a war profiteer,

but maybe he was
forced into it?

Uh... (CLEARS THROAT)
So, forced.

No?

The reason he's a puppeteer...

Profiteer. He's a profiteer.

I think the important thing
to remember

is where he's coming from,
emotionally.

-Right, Louis?
-Mm-hmm. Mm-hmm.

I mean, he's obviously
doing it for love.

Yeah, no, I get that.
But I'm sensing that Louis has
a different take on this.

-Oh, yeah?
-APRIL: Yeah.

How do you see it?

Um... (SIGHS)

Well, that was during the war.

So, I mean, right there.

I mean, the flip side
of that coin...

The flip side of war is peace.

It's peace.

Um, so, basically, when,
when you're looking
at the Admiral,

you, um...

What was the question?

(TELEPHONE RINGING)

Moreweather Productions.

CAROLINE: Is Owen there?

GLADYS: (ON TELEPHONE) Who?
CAROLINE: Owen Eidler.

He wrote the movie
you're making.
The Admiral's Mistress.

GLADYS: Our script was written
by Louis Darnell.

CAROLINE: No, it was not.

-Who is this?
-CAROLINE: Owen's girlfriend,
Caroline.

Or ex-girlfriend,
I'm not sure.

Caroline, I'd be happy to
forward your information
to our attorney.

CAROLINE: (ON PHONE)
I have both copies.

Owen's and the one that says
"Louis Darnell".

And they're the same script.
I mean word for word.

So, either Owen's using
a pen name

or you guys
bought the script and...

You know what?
I don't care what happened.

I just need to find Owen.

I don't know who that is.

Well, somebody knows.

And they better call me back
like today.

What was that number?

CAROLINE:
It's four-one-five...

Thanks so much
for coming in, Louis.

We're all really excited
about this project.

Me, too.

Everybody wins! Take care.

Thanks, buddy. Good job.

I'll see you in a bit.

I have a relationship with
Julian Pynter. Any objections?

-Oh.
-Julian who?

Pynter. Yeah. He's a big deal.

Did uncredited work
on Lethal Limit Three.

Wrote Consequence,
Braithwaite Park...

Hey. Fine by me.

Hold on, are w...

Are we talking
about firing Louis?

It's a bit rash, isn't this?
Just 'cause he's...

Yeah, all right.

Gladys.

-GLADYS: Yes.
-Poster.

I left a message
with facilities.

Wait, wait, wait.
Look at this. Look at this.

I can hang from it.
I'm hanging. See this?

Yeah, I think they welded
it to the wall.

When did you make that movie?

20 years ago. Ambitious film,
cost a fortune.

Everybody hated it.

But I learned
something from it.

I realized, what the hell
am I trying to prove?

With age comes wisdom, Gladys.

It's good to know.

What's that?

List of potential directors
from the studio.
I can roll calls.

No, no. No, no.

I got another call
I want you to make.

(PHONE RINGING)

AMARA: Yeah?

GLADYS: (ON PHONE) I have
producer Rick Moreweather
calling for Amara.

AMARA: This is Amara.

Amara, hi. Hi, it's Rick.

Yes, we, we, uh,
we met a few days ago.

Listen, I know
you're in touch with Miles.

I just thought
I would reach out.

Okay, Ricky.

Yeah, well, so, uh, I have
a number of projects
that I'm producing.

And given how well
we did the first time around,

and your passion for cinema,

maybe you want to produce
another movie?

Yes.

Yes, okay. Okay, great.

I have a script.
Uh, it's, um, Gates of Dawn.

Oh. This, it's a true story.

It, it's set in Hanoi...

We do this after we finish
the first movie, yes?

Uh, well, did Miles tell you
Gravity Pictures acquired
Admiral's Mistress?

Gravity Pictures...

Yes, you know. They're,
they're buying you out.

They what?

They're buying out your,
your distribution rights,

which, it means you've already
made a profit.

We just don't know
how much yet.

I'm out?

Which is why I'm calling,
so we can set up
our next thing.

Why am I out?

Well, it's, it's complicated.

It's... A studio came in,
and it became
a bigger picture.

And, and they don't want to
co-produce, so...

Does Miles know?

RICK: Does he know
that they bought you out?

Yes. Yeah, he knows.

He... I'm sure he was gonna
call you,

-and... Hello? Uh...
-(CALL DISCONNECTS)

I didn't have time to prepare.
If you'd let me know.

If you'd give me
some heads-up, I'd...

Lulu, Lulu. Look here,
this is how it works,
all right?

Somebody writes the script
and then they get somebody
else to do the rewrite.

Why do you care?

You could have
stuck up for me.

Well, I did think about it.

But then I remembered,
you're not a fucking writer.

How are you gonna do
a rewrite?

Oh, look at that.
That is a beautiful car.

You know,
even if you do lease,

I don't know see
how you can afford that.

And I would not go electric.

What happens
if the battery runs out?

You fucking charge it.

What if there's no charger?

Seriously, I mean,
you got to...

You know, you got the suit
and the car and the...

I think you're trying
too hard.

Well, no one's gonna
accuse you of that.

What's that mean?

Look, you don't like
the whole LA thing. Fine.

But if this is gonna work
at least one of us needs
to raise our game.

Okay, well, I said that
I'd come out here

until you were on your feet.

And clearly you are.

I'm not even
the writer anymore,

so maybe I'll head back
to Pahrump tomorrow.

Ah, no. Hold on.
Hold on. Louis.

Mercedes makes a jeep?
Now that's a fucking car!

-Good afternoon.
-Hey. Thank you.

(PHONE RINGING)

Amara! Hi.

AMARA: I call to see
what's happening
with my movie.

Oh. You want an update,
uh, of course.

Um, let me think,
we brought on a new writer.

Yeah, I mean, the script
was solid but there's always
room for improvement.

And I thought it would be
a good idea to make
that Felton character

a little more sympathetic.

That got me thinking of
Julian Pynter,

I don't know if
you're familiar with his work.

He's a big,
award-winning writer

and, uh, Julian said yes.

So that's exciting.

And, um...

That's pretty much it.

That's it?

MILES: For now, yeah.

Thank you for telling me.

MILES: Sure. Sure.

Hello?

(BEEPS)

(INDISTINCT CONVERSATIONS)

Hi. I'm Miles.

Hi, Miles. Nice to meet you.
I'm Sarah.

Sarah? I feel like
we've met before, no?

You seen the bathroom here?
The urinal is
an actual waterfall.

Wait. Don't...
Why would you...

-Oh. Was I interrupting?
-Yeah.

She's not your type.
Look at this. Here you go.

From Stamos, with love.

-Wait. This is, this is great.
-Mm.

Ah, thanks for doing,
it's not fucking real, is it?

Like Amara's gonna know
the difference.

Did you at least go online
and see if that's
his autograph?

You're over-thinking it.
Come on, let me introduce
you to a few folks.

I can't give this to her.

Your forgery standards are
much higher than mine,
I guess.

How about this place, huh?
Fucking crazy.

When did men get so pretty?

Oh, the,
let me get rid of this.

Thank you, guys.

Hey, who's the,
who's the bald guy over there?

He looks important.

That guy... Yeah, he used to
run Warner Brothers.

We don't get along,
me and him.

Come on.

Oh, this woman here
in the blue...

-Yeah?
-She's the, uh, VP
of Fox Searchlight.

MILES: No shit.
RICK: She slapped me once.

(MILES CHUCKLES)

Listen, I overheard two
conversations about our movie,

and someone's already
threatened to sue us.

This is how you know it's hot.
It's hot now.

Someone want to sue us?

Yeah, some, uh... Thank you.

Whacko called the office.

You know, "Boyfriend wrote
the script

"and you're stealing it
from us."

Did she leave a name?

The boyfriend's name?
I don't know.

Owen, or something.
Gladys took the call.

MILES: That's funny.
And that happened today?

RICK: Before. When we were...
APRIL: Look at here!

The creative dream team!

-Ms. Quinn.
-Enjoying yourself?

Oh, celebrating
the week I've had.

Maybe you heard, Brandon took
me off Lethal Limit Four.

No. Why?

Well, to focus on
The Admiral's Mistress, silly!

Since that's where
my passion lies. (CHUCKLES)

And he doesn't want me
spreading myself too thin.

-Shit. April, I'm sorry.
-No, you're not.

You have a
schadenfreude hard-on.

That sounds painful.

Excuse me, guys. I gotta
see what it feels like
to piss in a waterfall.

You're indispensable
to that company.

In another week,
you're gonna have a big film.

Yes, I will.

And you'll still be a sad,
washed-up hack living
in your father's shadow.

Do you want another martini?
I'm gonna get one.

Was that necessary?

Wait. Does she think
Owen wrote the script

or can she prove it?

No, she seems pretty sure.

You wanna handle it?
I think Gladys has her number.

Hey, asshole.
You want to conduct business?

I think you should go
somewhere else.

Fuck off.

Yeah. Give Gladys a call
and get right back to me,
okay?

Problem, old man?

I come here to look
at the ocean,
now I'm looking at you.

You stand before me
talking on the phone,

like I need to hear
that kind of bullshit.

Well, I'm off it now.

Yeah, so why don't you
move along?

If you want to get
a better look at the ocean,

I could always pitch you
over the fuckin' cliff.

Yeah?

That's your house?

No, I'm at a party.

I hate parties.

Well, you seem like
such a people person.

Yeah. I am. Hafdis.

Miles.

I'm sorry. My hands
are a little clammy.
You know, so...

You from around here, Hafdis?

Yeah. That way.

That way?

HAFDIS: Yeah.

Okay.

And, you, you're
entertainment business, right?

I'm pretending to be
a movie producer.

Yeah?

-How about you?
-I was in New Zealand
for quite a while.

Now I'm here, trying to
outwit the hounds of folly.

How's that going?

How's the
movie-producing going?

I don't have a fucking clue
what I'm doing.

But it doesn't seem
to be a problem.

(HAFDIS LAUGHS)

You want a smoke?

I got these.

-But he's not a bad doctor,
he's just behind the curve.
-Mm-hmm.

And the Gummy Bear option
is more cohesive.

It's form-stable.

But Consadine goes
with the traditional implants,
always.

You know, like there's one
answer for all the different
women who come in.

(CRIES)

What?

(GRUNTS) No, I'm good.
I'm good.

No. Stop saying you're good.
You are not good.

I'm fine.

(SIGHS) Jeffrey...

Something happened.

What?

When I went to Miles' place...

-Fuck. What did he do?
-He didn't do anything.

-Be honest.
-And Miles is the one
who saved me.

He had this, um,
like, a neighbor.

And I blocked the guy
in with my car...

(DEEP BREATH)
And he went insane.

Like, he pulled out a gun.
And then...

Shit.

The TK-five-oh-nine.

-What?
-That's my golf club.

He jammed the grip
into my mouth...

(SNIFFLES)

I can still taste the Gortex.

(SIGHS)

It's about how we all carry
around this image of a,
of a better person.

You know what we think,
"If I can be that person,
I'll be happy."

But all it does is fucking
drive us crazy. You know?

The Admiral's...

Mistress.
Sorry if this is boring you.

(CELL PHONE RINGING)

Oh, shit. I better take this.

Yeah, please do.

-Hey.
-KATIE: (ON PHONE)
I can't do it, Miles.

What?

KATIE: This,
I can't do it. I can't.

It seems like every time
I get this far, we're back...

-All right. Slow down, Katie.
-KATIE: I talked with Jeffrey.

I know what happened
with the golf club.

And don't tell me
it was a neighbor.

-Miles...
-It was Yago. Okay.

It was Yago. But I stopped it
as soon as I could.

I know that you're trying.

I know it. But I...

I can't have this in my life
and neither can Emma.

Okay. All right. Well, um,
let's, let's talk about it.

KATIE: We have.

And we've tried
the separation thing,

but maybe it's time
for lawyers.

No, no. No, no, no, no.
Hold, hold on.

Hold on, Katie.

We'll get into it later,
but that's what
I called to say.

-MILES: All right. Just wait.
-I'm sorry.

Katie? Katie?

-Fuck.
-(CELL PHONE BEEPING)

(LINE RINGING)

(VOICEMAIL MESSAGE)
Hi, this is Katie...

Fuck.

-It was, uh...
-Nice meeting you, too.

(DOOR OPENS)

Got an address
for the girlfriend.

Great.

We should head over
before it gets late,

or she's not gonna
answer the door.

Yeah. Uh, Lulu...

What?

Uh, maybe we don't drop
another body right now.

You know? Could make things
trickier down the line.

Fuck yeah, it could.

Believe me,
if we had a choice, I...

Listen, the girlfriend didn't
call the cops, did she?

She called the fucking
movie studio.

Which is not usually how you
behave when you think

someone's killed
your boyfriend.

Mm. I don't know.

She thinks that
somebody stole his script.

So all we need to do is come
up with a reasonable
explanation for what happened.

Okay, you're making
this more complicated.

So we tell her, um...

No, I can't come with you.

-Come on.
-I can't,
I've to drive to Nevada.

-Now?
-For fuck's sake!

It...

It's all gone to shit
with Katie,

and I feel like if I don't...

If I wait, I don't know
what's gonna happen.

Yeah. That's fine. That's...

You go take care of Katie,

and I'll handle
the girlfriend.

I'm sorry for that nonsense
at the car dealership.

That was, you don't need to
up your game.

Your game is up.

Don't worry about it.
You should go.

Yeah. Four hours.

And it's bullshit that they
brought on another writer.
It is.

Just stick around, Lou.
We'll find something else

for you to do on
the movie, okay?

It's up to you.

So, wait, wait, wait, now...

What am I telling this woman?

You're the writer.

(DOOR OPENS AND CLOSES)

(LINE RINGING)

Just had dinner at Molly's.

Guess who I'm lookin' at
right now?

WOMAN: (ON TV)
My question is to you,

is how do you find
your inspiration?

(KNOCK ON THE DOOR)

Who is it?

LOUIS: Louis.
Uh, you don't know me.

I, I'm a friend of Owen's.

Caroline?

Yeah.

I know that you're looking
for Owen,

and I owe you an explanation.

How'd you get my address?

Well, from your phone number.
I tried to call you...

How'd you get my phone number?

You gave it to
the production office.

That Louis. Your name is
on the screenplay.

You know where Owen is?

Uh, can I come inside
and we'll talk?

Mm, no.

Well, so I'm,
I'm a screenwriter.

-Uh-huh.
-And Owen was
a friend of mine.

And I used to give him all
my screenplays

so that he could read them
and just tell me
what he thought, and...

(SIGHS) I found out
that Owen was...

He was taking my scripts,
and he was giving
them to girls.

You know, to get laid...

What?

So when you called
the production office,

I just figured
I should tell you.

Okay, then. All right, sorry.
Take care.

Wait. You came here
to give me that story?

I mean, that is
fucking ridiculous.

I'm just telling you
what happened.

Well, then I have questions.

(KNOCKING)

-(WHISPERS) Come outside.
-No.

I drove from LA.

What the fuck?

I didn't wanna wake Emma.

Jeffrey is here.

He's in bed?

Yes, in bed. He's sleeping.

I didn't see his car.

Come outside and talk to me,
will ya?

No.

Well, I'm not going anywhere
until you do.

-Whose car is this?
-I leased it.

(SCOFFS)

Call this, seemed like
a good idea at the time.

And the suit?

I was at a fund-raiser
in Malibu.

And tomorrow, I have
a photoshoot for the Trades
which is like with...

-Miles.
-I'm sorry about Jeffrey.

-He's traumatized.
-Yeah.

Takes him two milligrams
of Xanax just to fall asleep.

-And that's terrible.
-Yes.

Which is why you and Emma
should come to LA,

to get away from lunatics
like Yago.

It's not about Nevada.
It's about you.

(KATIE SIGHS)

I always thought we'd make it.

You know, even when
I moved out I thought,
"No, they'll be...

"It'll all fuckin'..."

You want me to stay
out of your way, I'll do it.

I promise, I will.

But just know that
everything I'm doing,

all I'm going through
right now is so that
you can tell people

what Emma's dad
does for a living.

And I'm sorry about Jeffrey,
I am.

I don't know what to do.

Maybe I could send him
a gift basket.

-A gift basket would be nice.
-(CHUCKLES)

If you're in love
with this guy

then I don't wanna be the one
who fucks it up.

In love? (SCOFFS)

Aren't you?

I'm just trying
to get over you.

So, you're not over me?

Should we make out now?

Or is it a bit strange
with your boyfriend in bed?

-Hold on, Katie? Katie?
-Goodnight.

Can you just give this
to Emma, will you?

What is it?

Acting lessons.

Thought it would, you know,
help her confidence
before the movie.

It's in LA.

Acting lessons are a bit
limited around here, so...

We'll talk about it later.

I think when he found out
that my movie
was getting made,

he knew the jig was up.

And that you were gonna find
out the truth. So he split.

When did he start showing
your scripts around,
do you know?

Oh. Yeah. It's been happening
for years. Years.

I mean, there'd be a,
a different script
for a different girl.

You know. Oh, God.
I'm sor, I'm sorry.

I didn't mean to offend you.

I'm sure that whatever
was between you and him
that was really special.

What a psychopath.

I mean, if you'd seen him
talking about character arcs

and research. So creepy.

I blame myself.

Why?

Because I knew
what was happening,

and I called him on it.
But I just thought, you know,

as long as he's just giving
the scripts to these girls,

eh, you know, I mean...
What's it matter?

But I see now that it was
really causing damage.

Real damage.

I just hope you can
forgive me.

Okay.

Well, I'm glad you came by.

I still don't know where
my car is,
if you can believe that.

But, um... Thank you.

Okay. (CHUCKLES)

All right. Be well, Caroline.

Okay. Okay, you too.

(SIGHS)

Hey.

My grandmother used to say,

"Choices are like the branches
of an oak tree."

Ah, that's nice.

Yeah, it's in the script.

I mean, Owen got that from me.
So, like, how did it...

(DOGS BARKING)

(GROANS, SIGHS)

(GRUNTS)

(BREATHING HEAVILY)

Still alive?

I thought you wanted
to speak to him.

If you don't, I'll,
I'll finish up.

I come in.

(GRUNTS)

(YAGO SPEAKS SPANISH)

(COUGHS)

YAGO: Someone's here
to see you.

I tell you I love the script.

Muy romantico.

And what did you do?

You push me out.

No.

But Rick tell me...

She's the first to put money
into your movie, stupid.

Before the studio.

No. I, I didn't know it
myself until recently.

I don't think that
they sorted out
the details yet, Amara.

George?

We verified with Business
Affairs at Gravity Pictures,

the budget is now 30 million.

They're planning a full buyout
of Amara's distribution rights
at 16 percent

above her initial investment.

You made money.

But I don't want to be out.

You did it behind my back.

I didn't. I just,
I didn't have a say.

AMARA: George?

GEORGE:
As executive producers,

you and your partner formed
an LLC. It's your decision.

Well, I wasn't aware
of that, George.

I'm pretty new to this,
you know?

YAGO: Are we done?

We're done.

-(YAGO CHUCKLES)
-No.

Amara?

(SCATTING)

Fuck! Stamos! I got
a photograph of John Stamos.

He, he, he signed it for you
and everything.

Amara?

Huh. Give me the knife.

AMARA: You got a photo?

Yeah. In my pocket.

(COUGHS)

Autografo.

"Amara, can't wait
to meet you.

"Rick..." What's this?

-"Sings your praises."
-Sing your praises.

"Rick sings praises.
All my love,

"John Stamos."

I like this.

(SIGHS) I'm glad.

(COUGHS)

Movie is 30 million now.

How come I only can
put in two million?

I don't follow.

I want to put in four.

-YAGO: Tia, you joking?
-Shh!

Yes or no?

Bigger budget,
you could lose money.

I don't lose money.

All right, then.

Yeah. I mean, if it's up to me
like you say

then I'll just call the studio
and I'll say Amara's back on,

and now she's in
for four million. No problem.

Seriously, you gonna
throw away your money
like that, Tia?

(SPEAKS SPANISH)

(SPEAKS SPANISH)

(SPEAKS SPANISH)

John Stamos is a nice man.

He's a sweetheart.

Morning. You looking for Rick?

Mm.

Rick!

RICK: Huh? What?

Oh, hey! Okay.

Well, look, you don't
gotta apologize.

-We've all been there.
-APRIL: Apologize for what?

You don't remember?

What little I remember
is plenty.

Yeah, well... Uh, oh.
Uh, the poster?

-Yeah, yeah, in that office.
Right there.
-Okay.

Guy holding a rooster.
Get it the hell outta there.

-Okay...
-Hafdis Snaejornsson.

-What?
-Director Snaejornsson?

Uh, no one says it right.

He hasn't made
a movie in 10 years,

but the last one he did,
it got a standing ovation
at Cannes

and won the Palme d'Or.

Okay. Well, from the sound
of it I don't think he...

He asked for the script.

-No kidding.
-Hmm.

Miles pitched it to him
yesterday on the beach
according to CAA.

Hafdis thinks it's something
he might direct.

Can you follow up?

-Okay.
-Ah, thanks.

Hmm.

Oh. Good. Good. Good.

Should we call CAA?

No. Oh, not now. Not now.

You're working on pitches for
movies that aren't set up

and this director could
move on.

No, he's never gonna
do our movie.

He won the Palme d'Or.

-So?
-So, so I have work to do.

Call CAA.

No.

Don't hit me
in front of the guy.

Albert, would you excuse us?

No. Don't, I want that down.

And would you please
close the door?

Come on.

You made an ambitious movie
a hundred years ago
and it shit the bed.

So what?

You should be proud
that you tried.

Now call the famous director
and stop being a pussy.

Hey. Hey, hey, hey.
You work for me. You got that?

So don't talk to me like that.

-Pussy.
-Don't. Stop that.

Stop. Stop!
All right, stop it!

I'll call!

I'll call, okay? I'm calling.
I'm dialing. See?

Yeah. Good.

You can stop
with the guidance
counselor bullshit.

Get the guy.

Albert!

Please, continue.

Hello. This is
Rick Moreweather
for Manny Yablonz.

Uh-huh, I'll hold.

Hey, yeah, yeah.
You know what, just leave it.

Leave it. It's okay.

Yeah, yeah. Let's just,
let's just leave it there.
Thank you.

(DOOR OPENS AND CLOSES)

Food's good here.

What do you like, uh,
the cabeza tacos?

Probably exactly why you came,
ain't it?

I wanna make a deal.

You wanna make a deal?

You know last time
we sat down,

Amara was talking about
cutting all of our legs off.

So far, so good though, right?

Except for your boy.

You know, the one down there
slingin' on Oakridge.

He ain't doing too good,
is he?

I'll give you Amara.

If she's gone,
most of her men will flip.

I hand over business
and the crew.

But I need a sit down
with Josias.

Work out my side of this.

I can't sit here all day.

What's it gonna be?

Just do the best
you can with it.

Mr. Daly, have a seat.

PHOTOGRAPHER: I should see
the other guy, right?

I was tied up.
The other guy's fine.

PHOTOGRAPHER:
Let's try those glasses.

Move that light
over a little bit.

(CAMERA CLICKING)

PHOTOGRAPHER:
Movie sounds great,
by the way.

-Yeah?
-PHOTOGRAPHER:
Congratulations.