Original subtitles

Captioning sponsored by PARAMOUNT PICTURES

I'll be waiting for you there...

in about one hour.

( man on phonograph singing melancholy Italian aria)

You can trust me.

Ah, signora.

Grazie.

( car engine racing)

( tires squealing)

Che cosa?

Go on. Go on!

( machine-gun fire begins)

( gunfire stops; plate rattles on floor)

( car engines race away)

( man on phonograph continues singing opera)

MAN: The end is too gory.

Cut out one roll of the table.

Okay.

The signal was much too obvious.

It kills the surprise. Make it shorter.

Okay, Monroe.

What else?

You wanted to see the beach scene from Dark Moonlight.

Right.

Okay, Jack.

MONROE: No, no, don't go to him at all, stay on her.

MONROE: You don't need him. Stay on her

all the way down to the edge of the sea.

She's the one we're interested in.

TOUR GUIDE: Remember that scene from Reaching for the Moon,

when Bebe Daniels ran out of the house, down to the lake?

This is where we shot it.

No, of course you wouldn't remember,

you're too young.

I've been here since the silent days.

I knew them all.

Did you know the Keystone Kops?

All of them!

TOUR GUIDE: What a bunch of guys.

( tour group laughs)

Shh.

This was Minna Davis' dressing room.

( group murmurs)

She was taken ill for the last time...

in this room.

( tour group gasps)

That's her.

YOUNG WOMAN: She was beautiful.

She was a great friend of mine.

I remember we had to call her husband.

I called him myself.

I remember that call well.

I said, "Mr. Stahr...

I'm afraid your wife has been taken ill."

He said, "I'll be right over."

And this is where it all happened.

This is where Mr. Stahr was when I called him.

The administration building.

( softly): That's where he still is.

That's his office up there.

Oh...

YOUNG WOMAN: Gee, it's so big!

TOUR GUIDE: It's big, all right.

They don't have anything bigger in the whole world.

How did they do the earthquake in San Francisco?

The earthquake?

Well, there are various ways you can do an earthquake.

What you can do first is rock the camera.

You see?

Or if you're in a room, you can rock the set.

I mean, you can rock the room.

Then you throw in a lot of dust...

No, I wasn't asleep.

When are you coming home?

Mmm.

Oh, I'm all right.

I miss you, that's all.

Oh, she's with her grandmother.

She's fine.

She has a new tooth.

Mmm.

How did it go?

Oh, that's good.

Mmm...

When are you coming home?

Oh... good.

( whispering): Beautiful baby.

And you want me to meet you?

Mmm.

Next time I'll be coming with you.

( whispering): Come on, come on.

They owe me a little time off at the club anyway.

Oh...

Couldn't be more boring than being without you.

Yes, me too.

Bye, darling.

( clicks tongue)

Want me to go?

Yes!

No.

( moans softly)

DIRECTOR: Cut!

MAN: Kill the arc.

DIRECTOR: That's a print.

That was really good.

( bell ringing)

I mean, very good.

Give me a finder.

All right, take it up.

Your aspirin, sir.

MAN: Strike the sofa!

MAN 2: Pick up the phone, Harry.

( indistinct stagehand conversations continue)

MAN: Pull the phone back, Fred.

And watch that cable!

MAN 2: Makeup!

That was really very good indeed.

MAN 2: Makeup!

ACTRESS: You think so?

It was absolutely terrific.

It was really wonderful.

It was shit.

( stage falls silent)

( softly): Here we go again, Billy.

DIRECTOR: Listen, Didi,

I have to tell you it was exquisite.

DIDI: It was fake.

It was false.

Didn't you notice?!

( sighing)

I want to do it again.

You'll never do it better.

I know I can play that scene.

I want to do it again.

It was good for me.

What?

Didi...

trust me.

Thank you.

I'm ready.

Chief?

Let's do it again.

( crew calling instructions)

MAN: We're going to do it again.

ACTOR ( softly): Bitch.

MAN: Get it quiet now, damn it!

MAN 2: All right, bring it down.

Quiet! Quiet, damn it!

( bell ringing)

Good night, Frank.

Good night, Brian.

Yo.

( car horn honks outside)

WOMAN ( faintly): Harry, I'm waiting!

Good night, boys.

Good night. See you tomorrow, Hank.

Goodnight. Bye. See you tomorrow.

( sighs)

MAN: I love him.

He's a genius.

I've always wanted him to get every credit.

But what about me?

New York has forgotten me.

No, no...

New York has forgotten me.

You want to know why?

Because I'm too generous.

It's my nature.

I make life too easy for them.

You know what I am?

I am the strong base upon which Monroe Stahr rests.

I'm loyal to him,

and I'm loyal to New York.

New York knows you're loyal...

and New York respects you for it.

Well, New York should be loyal, too.

New York is loyal.

To who?

To you.

All I want is recognition.

You've got it.

I want to see it.

I want to see it right here on this desk.

I want to feel it.

( woman laughing outside)

( playfully): Just cut it out, would you?

You see that bastard touch my daughter?

Who is he?

Some goddamn writer.

You know, I went down to the writers' building this morning.

I stood there and watched them for 15 minutes.

There were two of them there didn't write a line.

You can go right in.

Thanks.

Hi.

Are you an actress?

No, I'm just Daddy's little daughter.

Uh-huh.

What are you?

Oh, I'm just a lawyer

from New York.

She's too intelligent to be an actress.

She's graduating from Bennington next June,

with honors.

I love actors, though.

I don't need all this.

Oh, sure you do.

What's the matter, don't you feel well?

I don't feel so good.

You want some bicarbonate?

( distant rumbling begins)

I feel so shaky.

Here.

BRADY: What were you doing with that writer?

CECILIA: He's all right.

BRADY: Don't get too close to writers.

( rumbling grows louder)

( loud cracking)

( glass shattering)

( creaking)

( rumbling, plaster crashing)

( shrieks)

Jesus Christ!

( buzzing)

( glass shattering, tires squealing)

Cecilia, are you all right?

Stahr!

( rumbling grows fainter)

FLEISHACKER: Brady!

Brady!

( rumbling stops, glass continues shattering)

( phone rings)

Hello?

BRADY: Yeah?

Are you all right?

What happened?

BRADY: Geez, yeah.

We had an earthquake.

Monroe, pick up the phone, will you?

( sirens wailing in distance)

Yeah.

Yeah, I'll be right down.

Robbie!

( sirens continue wailing)

( bells clanging)

Yeah!

MAN: It's split!

It's split all the way down...

ROBBIE: Help with that spot!

Go on!

Is that where it's coming from?

Yeah, that's it.

Look at the water tower.

MONROE: Get a light on it.

ROBBIE: Get a light on that pipe break!

MAN: Where's the valve, Robbie?

You know where the valve is?

MAN 2: Robbie, they're shooting on 17 and 24.

See the gates are shut tight.

( cracking)

ROBBIE: French village is flooded, too.

We'll get the pumps from the tanks on stage nine.

ROBBIE: Okay.

MAN: Robbie, we need more men.

MONROE: Oh, Christ,

we need that head next week.

ROBBIE: Bring in the pumps from stage nine!

MAN: Stage nine.

( bells clanging, sirens wailing)

MAN: Watch those cables!

MAN 2: Get the cables out of the water!

( bells and sirens stop; wind rushing)

Whoa...

All right, hold it, right...

MAN: Whoa.

I'm sorry.

We just followed the trucks in.

( siren wailing in distance)

Good evening, sir.

Good evening, Kino.

Is everything all right at the studio, sir?

Yes.

Would you like some tea?

No, thank you.

Shall I turn off the lights?

Yes.

Darling, I've come home.

Yes.

Yes.

I told you, one of them wore a silver belt.

How dare you ask me that question?

( chuckles)

No, I don't know which one wore it.

Right.

DIRECTOR: Cut!

Well, find a cop on duty.

Mm-hmm.

And tell Robinson to call me as soon as he wakes up.

Which one, Monroe?

Take six.

No, wait, let's see it again.

Roll it again, Jack.

MAN: Stage 24,

take five.

DIRECTOR: Action!

( intercom buzzes)

Yeah?

You found the name?

Oh, good work, good work.

Uh-huh.

Well, no, divide the name between yourselves

and try every one in the book.

Okay?

Good work.

Hi.

Will you go to the ball with me tomorrow night?

What ball?

Screenwriters' Ball...

down at the Ambassador.

Oh, yeah.

No, I don't think so.

I might just come in late.

Oh?

So...

Uh...

So, when do you go back to college?

I've just got home.

You get the whole summer off.

( chuckles)

I'm sorry.

I'll go back as soon as I can.

Well, don't you want to?

Well, I don't know.

I'm pretty well educated.

Maybe I should get married.

Well, I'd marry you.

I'm lonely, but...

I'm too old and tired to undertake anything.

Undertake me.

What?

Undertake me.

Oh, no, Cecilia.

I've known you so long.

I've never thought of you that way.

( laughs)

You don't use that line this year.

What?

Nothing.

( intercom buzzes)

Yeah?

WOMAN ( over intercom): Mr. Stahr, Mr. Rodriguez

is still waiting to see you.

Oh, yeah. Send him in.

I'm sorry.

These actors...

Did you press that buzzer with your foot?

Yes.

Of course not.

But you will dance with me at the ball.

Sure I will.

Hello, Monroe.

Hello!

How are you?

Wonderful, really great.

You look just wonderful.

Thank you.

I had to see you in your office.

Sit down.

So... what's the trouble?

I'm through.

You're through?

What do you mean, you're through?

Have you seen Variety?

Your picture's held over at the Roxy.

It did 37,000 in Chicago last week.

I know.

That's a tragedy.

I'm in a tragic mess.

It's...

Well, what are you talking about?

It's Esther and me.

Mm-hmm?

I love her.

She's my wife.

Yeah?

But I'm through.

I'm washed up.

( whispering): It's gone.

What's gone?

I've gone.

I'm ashamed to go to bed with my wife.

I know Rainy Day grossed 25,000 in Des Moines

and broke all records in St. Louis

and did 27,000 in Kansas City?

Kansas City.

But here I am,

afraid to go to bed with my own wife,

the woman I love.

So I came to you, Monroe.

I've been to a doctor.

I've been to a cathouse.

Ah.

Yeah... nothing.

Nothing.

So, I... so I came to you.

Yes, you did, I see.

( sighs nervously)

Ah...

I mean, we both came from nowhere, from nothing, right?

Right.

What were you, a messenger boy?

That's right.

I delivered groceries.

Yeah.

This is America.

Look where we are now.

I mean, look at this office, look at you.

Yeah.

We both came from nothing.

That's why I can talk to you.

I understand.

So, how is Esther?

She's the greatest girl in the world.

She's my wife.

Well, I know that.

I mean, she loves me.

Oh, I know, I know.

500 girls marched up to my house

from the high school.

I stood behind the curtains and I watched them.

I couldn't go out.

I mean, if they knew...

( whispering): If my family knew...

I watch myself on the screen

and I want to puke!

Mm.

Look at me.

All right, I'm a big star,

but what's really profound about me

is that I'm a big star with a big fan club

Yeah, I-I know. who actually loves his wife,

so why would anyone want to play these lousy tricks on me?

You see what I mean?

Sure, sure.

So I came to you.

Yeah.

Oh, yes, I see.

Just play the part the way I said.

All right then.

Thanks, Monroe.

Thanks.

WOMAN: The doctor's here.

MONROE: Ah.

MONROE: Hi, Doc.

Come on in.

( car horn beeps)

( imitates gunshot)

( engine starts, tires squeal)

When are you going to take that vacation?

Soon.

When?

Oh, sometime in five or six weeks.

Getting any sleep?

About five hours.

Do you need any more pills?

No, I'm fine.

Any... pain?

Some.

They'll never get writers unionized.

You know why?

Hello, Monroe.

Gentlemen.

OTHERS: Monroe.

Gentlemen.

BRADY: Everything all right?

Fine.

I was just saying

they'll never get the writers unionized.

You know why?

Because they hate each other's guts.

They'd sell each other out for a nickel.

This man from New York seems pretty set on doing it...

The one who's coming out to see me.

What's his name?

Brimmer.

Brimmer.

Communist, yeah.

You mean a real Communist?

Yeah, sure, a real one.

I mean,

some of these guys are just jokers

that call themselves Communists.

And mostly they are fairies, too.

There are other aspects, of course.

Well...

I'll find out next week.

Better find out.

The last thing we need is a writers' strike.

We got 16 pictures going into production.

I'll handle him.

Monroe can handle him.

POPOLOS: Anyway, mostly they are fairies.

( laughs)

EXECUTIVE: There are other aspects, of course.

POPOLOS: Monroe, tell me, what do you think of the idea

to make Manon with a happy ending, huh?

It's been making money without a happy ending

for a century and a half.

What about the South American picture?

We're going ahead with that.

With the same budget?

It's out of proportion.

With that budget, we have no chance.

( loudly): What do you think, Mr. Marcus?

Monroe is our production genius.

I count upon him

and lean heavily upon him.

The balance sheet last year showed a $27 million profit.

It's all due to him.

You know who first told him you were a genius?

Guess.

You.

Right.

Damn good of you, Pat.

No, no.

I admire a man, I say so.

I want the whole world to know.

Perhaps that's because I'm Irish.

The Irish are a very warm-hearted people.

POPOLOS: The Greeks are warm, too.

I mean, try to find me a Greek Communist.

You couldn't find one.

But there's not a $2 million gross in the country right now.

Don't forget, we're in the middle of a depression.

I know that.

I think we can count on a million and a quarter

from the road show,

perhaps a million and a half,

and a quarter of a million abroad.

But you have a budget of a million, seven-five-o,

and you say you expect less than that in grosses?

What about prints and advertising?

Distribution costs.

FLEISHACKER: Interest on the money... and some profits.

STEWARD: Yes, he's here.

I'm not even sure we'll gross a million.

It's for you, Mr. Stahr.

MONROE: Thank you.

Yes.

Hello, Robin.

Uh-huh.

Good.

Yes, leave the number with Miss Doolin.

I'll call later.

You know, I'm fairly new out here.

Do I understand you to say that you expect to gross

a half a million short of your budget?

It's a quality picture.

"Quality picture."

What the hell are we...?

We've played safe for two years now.

It's time we made a picture that isn't meant to make money.

Pat Brady is always saying at Academy dinners

that we have a certain duty to the public.

Okay.

It's a good thing for the company

to slip in a picture that'll lose money...

Write it off as good will.

Gentlemen.

Thank you.

Boy.

WYLIE: Mr. Stahr!

MAN 2: Hey, that's a good spiral you got there.

Hello, Monroe. Hi, Dan.

Sir. Yes, Wylie.

Hello, Mr. Stahr.

You going somewhere?

Stage four.

Listen, have you read my script?

Uh, yes, I have.

Well, what do you think of it?

I think it's an interesting script.

Uh-huh.

How come you have two other writers on it?

WORKER: Take it away! Who told you that?

They're friends of mine.

They didn't know I was doing it.

I didn't know they were doing it.

We all found out this morning.

I'm sorry. What can you do?

That's the system.

MAN: We're back!

You invented that system.

You've distorted the girl.

By distorting the girl, you've distorted the story.

MAN: We're back.

How?

How have I distorted the damn girl?

I'm not interested in your fantasies.

Eddie.

( louder): Eddie!

Hello, Monroe.

Hi.

Listen, two people at the sneak preview

complained that Morgan's fly was open for half the picture.

What?

Oh, it's probably just a couple of seconds, but I want you

to run the picture until you find the footage.

Have some people with you. Someone will spot it.

Sure, I'll take care of it.

Okay.

Hi, Cooke.

You've given her a secret life.

She doesn't have a secret life.

You've made her a melancholic.

She's not a melancholic.

DOOLIN: Mr. Stahr.

How do you know?

Because I paid 50,000 bucks for that book,

and because that's the way I see it.

Mr. Stahr. Thank you.

If I want to do a Eugene O'Neill play, I'll buy one.

The girl stands for health, vitality, love.

You've made her a whore.

Now, you can work with Beth and Charlie on this,

or I'll take you off the subject.

It's up to you.

So how do you want the girl?

Perfect.

Mm-hmm.

Gee.

And I always have admired you.

Were you wearing a silver belt last night?

WOMAN ( on phone): Yes, I was.

I'm glad we got you.

We didn't have much to go on.

Oh, really?

Who are you?

My name is Monroe Stahr.

I'd like to see you.

There's a reason.

What reason?

( people talking and laughing)

Well, I'd like to talk to you for a few minutes.

To put me in the movies?

No, that wasn't my idea.

When?

Tonight.

Where?

At your house?

No.

Somewhere outside.

I'll meet you somewhere at 9:00.

I'm afraid that's impossible.

Oh.

Uh...

What about tomorrow?

No, no, no.

Okay, tonight, 9:00.

On the corner of Webster and Park?

Okay.

Should I wear the silver belt?

Yes.

Hello, Monroe.

How's it going?

Geez, I'm glad you came down.

( knocking on door)

She's too old for me.

( women talking behind door)

( knocking)

( whispering): See who it is.

( knocking on door)

MONROE: Hello.

DIDI: Oh, get these photographers away from me!

MONROE: May I?

DIDI: No, let's go.

These publicity men.

How are you?

I've got the damn curse,

and I'm having all these troubles

with my frigging hair.

Well, don't worry about it.

It's like seaweed.

They're using the wrong shampoo.

They're trying to screw me, these bitches.

On my word of...

We're using her favorite shampoo!

Oh, darling, forgive me.

Nobody likes me, or something.

I love you, Didi.

How do you think I look?

How do you think I look on the screen?

You're going to be beautiful.

You're a great actress.

Isn't she a terrible bitch?

You can't handle her.

We'll have to call it off, Red.

The picture?

No.

I'm putting Daditch on it.

Oh.

We'll try some other time.

RED: Shall I finish this scene?

It's being done now. Daditch is in there.

Well, what the hell is he...?

He went in when we came out.

He read the script last night.

Listen, you haven't touched

what she's able to do.

How about my coat?

I left it on the set.

Here it is.

Okay, that's it.

( intercom buzzes)

Yes?

It's Mr. Brady.

Yeah.

BRADY ( on phone): Monroe,

we've just had a call from New York... urgent.

Do you have a minute?

No, it'll have to wait till morning.

We can come in to you.

All I need is... Not now.

( car engine starts)

( car drives away)

( brake lever creaks)

Hi.

Where are we going?

I don't know.

What about a hotel?

No, I'll run you home. Where do you live?

Run me home?

Mm-hmm.

It's no hurry.

What's the matter?

Don't you like me?

I thought you liked me.

I've been stupid.

Last night I had an idea

you were the exact double of someone I knew.

It was dark, and the light was in my eyes.

Really? Mm-hmm.

That's funny.

Which way?

( starts engine)

Westwood.

I'm an actress.

Hmm.

I'm going to be an actress.

Mm-hmm.

Listen, could you stop here

a minute, please?

You said the end of the street.

Yes, but I'd like to stop here

a minute, please.

EDNA: Could you wait a second?

( brake lever creaks)

( shuts off engine)

Kathleen?

KATHLEEN: Edna?

( softly): See him? There he is.

( car door closes)

Who is he?

I think it was you

he wanted to see.

He telephoned me.

I'm afraid we were rude at the studio.

Oh...

We had no business there.

Well, I hope you'll both come and make a real tour...

Of the studio.

Who are you?

EDNA: He's a producer.

He got us mixed up.

Phone me, will you?

Good night, Mr. Stahr.

Oh, good night.

You're Irish.

I've lived in London a long time.

I didn't think you could tell.

Oh, yes.

( dog barking in distance)

( footsteps passing)

You've lived in London?

Yes.

I came out here a few months ago.

Was it me you wanted to see, or Edna?

Uh...

I made a silly mistake.

I thought you were wearing the silver belt.

Oh.

But I wasn't.

No, but it was you who I wanted to see.

Yes?

Why?

You reminded me of someone.

So you're Mr. Stahr, the producer?

Mm-hmm.

I suppose the girls are all after you

to put them on the screen.

They've given up.

You didn't want to put me in the pictures?

No.

Good.

I feel as if I had my foot in the door.

Like a collector.

I'm sorry, I can't ask you in.

Well...

Is this all?

Well, I do hope we'll meet again.

I'd be sorry if we didn't.

Good evening, sir.

Good evening.

Will you be running a movie tonight?

No.

Shall I turn off the lights?

Yes.

MONROE: Sit down, Mr. Boxley.

Why?

You've stuck me with two hacks.

They can't write.

And they... bugger up

everything I write.

Well, why don't you just write it yourself?

I have. I sent you some.

That was just talk. We'd lose the audience.

Talk?

Mm-hmm.

I don't think you people read things.

The men...

The men are dueling...

when this conversation takes place.

At the end, one of them falls into a well

and has to be hauled up...

in a bucket.

Would you write that in a book of your own?

Of course I wouldn't.

I inherited this absurd situation.

MONROE: Let me ask you,

do you ever go to the movies?

Rarely.

Because people are always dueling

and falling down wells?

And talking a load of rubbish!

Listen...

has your office got a stove in it

that lights with a match?

I think so.

Suppose you're in your office.

You've been fighting duels all day.

You're exhausted.

This is you.

A girl comes in.

( door slams)

( whispering): She doesn't see you.

She takes off her gloves.

She opens her purse.

She dumps it out on the table.

You watch her.

This is you.

Now...

She has two dimes, a matchbox and a nickel.

She leaves the nickel on the table.

She puts the two dimes back into her purse.

She takes the gloves... They're black.

Puts them into the stove.

Lights a match.

Suddenly, the telephone rings.

( blows out)

She picks it up.

She listens.

She says:

"I've never owned a pair of black gloves in my life."

Hangs up.

Kneels by the stove.

Lights another match.

Suddenly,

you notice...

there's another man in the room...

watching every move the girl makes.

( tapping fingers on desk)

What happens?

I don't know.

I was just making pictures.

What was the nickel for?

Jane, what was the nickel for?

The nickel was for the movies.

What do you pay me for?

I don't understand the damn stuff.

Yes, you do...

or you wouldn't have asked about the nickel.

BRADY: Well, Monroe's right.

Lights.

Needs about 20 minutes out of it.

Twice it just lays there and goes to sleep.

Well, I've got to go to that damn writers' ball.

I'll talk to you tomorrow, Eddie.

What's Eddie, asleep?

Jesus.

Goddamn movie

even puts the editor to sleep.

He's not asleep,

Mr. Brady.

What do you mean, he's not asleep?

He's dead, Mr. Brady.

Dead?!

What do you mean, he's dead?

He-he must have died during the...

How can he be dead?

We were just watching the rough cut!

Jesus, I didn't... I didn't hear anything.

Did you hear anything?

FLEISHACKER: Not a thing.

Eddie...

he probably didn't want

to disturb the screening, Mr. Brady.

( orchestra playing foxtrot music)

Good evening, Mr. Stahr.

( orchestra continues playing)

What are you doing here?

I'm with Martha Dodd's party.

What's your name?

Kathleen Moore.

Kathleen Moore.

Hmm.

How do you know her?

Oh.

I met her...

recently.

Are you married?

No.

I must go back now.

I promised this dance.

Can we have lunch or dinner?

No.

It's impossible.

I must go back.

Thank you for the dance.

Monroe?

Monroe?

Hi, Rod.

Hello, Esther.

Hello, Monroe.

Monroe, come here.

Isn't she wonderful?

Isn't she beautiful?

Stop.

How are you, Esther?

Great. Really great.

This is the greatest country in the world...

Everybody stands a chance in this country.

There's not going to be no revolution.

The only people who want a revolution are the Communists.

And the fairies.

What kind of a revolution

do the fairies want? A Communist one.

What else?

Do you think Stalin likes homosexuals?

POPOLOS: Homosexuals, eh?

Let me tell you something.

You know, "homo" is a Greek word.

I come from Europe. I'm Greek.

That's why he knows so much about Stalin.

FLEISHACKER: But Stalin ain't Greek.

POPOLOS: You're damn right he ain't.

BRADY: He's a fairy.

POPOLOS: He's a bastard, Communist,

Russian fairy... That's what he is!

Calm down.

Fleishacker,

let me tell you something.

After the revolution,

you'll be the only safe one.

You know why?

Because they always need lawyers

after a revolution

to straighten out the legal end.

What do you think, Monroe?

I think so, too.

You know, uh...

I saw Highway to Tomorrow.

You're right.

You take 20 minutes out of it,

you got a fine movie.

Possibly.

MONROE: The shape's not too bad.

BRADY: The shape is good.

You know why?

Because Eddie is one of the best cutters

in the business.

Where are you going?

It's early.

It's late.

They talked as if I'd been dancing

with the Prince of Wales.

Meet me tomorrow.

MAN: Mr. Stahr?

I've said I can't. Isn't that enough?

Not now. Can I talk to you for one minute?

Look, tomorrow is Sunday.

Why don't you come to the studio.

I'll show you around the studio.

No, I wouldn't like to see the studio.

You wouldn't?

Monroe, we have that...

Excuse me.

MAN 2: I say, Mr. Stahr...

Look.

Look, where would you like to go?

( sighs)

I'm a weak woman.

If I meet you tomorrow...

will you leave me in peace?

No, you won't, will you?

So I'll say no...

and thank you.

MAN: Going down.

Oh!

WOMAN ( whispering): What does it take to get you to leave a party?

MAN ( whispering): You're the one who wanted to come.

( whispering): I only agreed to come

because you said we wouldn't stay so long.

( whispering): Not in the elevator.

ELEVATOR OPERATOR: Main floor.

They looked so strange when I came in,

as if they were furious at me

for not being somebody famous.

I know another way out.

MAN: Back up, back up, let them through.

How old are you?

I've lost track.

About 35, I think.

Where are you from?

I was born on the East Side of New York.

They said at the table you were the "boy wonder."

Ah...

Where's your car?

Listen, where will we meet tomorrow?

I'll come by and I'll pick you up at 2:00.

Hmm?

No...

No.

( starts engine)

I'll meet you here, the same spot.

( church bells ringing)

KATHLEEN: Have you been here all night?

Yes.

I'd like some tea,

if it's a place you're not known.

There's a place on the coast

where they have a trained seal;

he knows me pretty well.

He bit me once.

But he won't say a word

unless you're rude to him.

What are you hiding?

Nothing.

( seagull screeching)

MAN: What'll you have?

Two teas.

Right.

( seal barks)

Shake?

See?

He remembers you.

This seal has the memory of an elephant.

TRAINER: He likes him...

'cause he's such a charming guy.

He responds to fish.

This seal's got taste.

Come on out.

Seat.

How long have you known him?

TRAINER: Oh, I've known him

for years.

His father's an old friend of mine.

But the family history ain't too good.

His mother ran off with another seal.

Is he good to you?

Well, he's good to me on the whole.

Only got one problem.

He won't ride in the backseat.

TRAINER: That's right...

Climbs over the back and rides in front.

Now, I know he's a good driver...

( seal barks)

But who owns the car?

Right?

Right!

Here.

Give him this.

Whoa. Thanks.

Well, this is it.

I don't know why I'm building it.

Maybe it's for you.

Well, I think it's great of you

to build a big house for me

without even knowing what I look like.

I didn't know what kind of a roof you wanted.

I don't need a roof.

What's that for?

The projector.

The what?

The movie projector.

I gave a luncheon out here last week,

so I had some props and grass brought out

to see how the place felt.

Is that real grass?

Sure.

Is it from a film set?

No.

Can I walk on it?

Walk.

I'll watch you.

( seagull squawking)

Will you live here alone?

Yes.

Alone with your movie projector?

Mm-hmm.

Where do you live now?

I live in my old house.

What's this?

Oh, the, uh, swimming pool.

Or it will be a swimming pool.

Well, you need a constant supply of Nereids to...

plunge and gambol.

Nereids, what's that?

Sea nymphs.

Oh, no.

I'll just come out here to read scripts.

No distractions.

I lived with a man for a long time.

Too long.

I wanted to leave,

but he couldn't let me go.

So finally I ran away.

I must go now.

I have an appointment; I didn't tell you.

That's not true, but it's all right.

Thank you, I must go now.

We'll do it again?

No, I'm sorry,

I'll... write you a letter.

Wait, wait, wait, wait.

Do you ever go to the movies?

Oh.

Not much.

Why not?

Should I?

Millions of people do.

Why?

Because movies are necessary to them.

They give them what they need.

What you need.

It's my life.

Have you got them?

Yes.

( laughs)

( sighs)

This wasn't my idea.

Let's go back.

To your house on the beach.

( breathing passionately)

( waves crashing)

( whispering): Watch your head.

Comfortable?

I wonder when it's settled.

What?

I mean, there's a moment when you needn't,

and then there's another moment

when you know that nothing in the world

can keep it from happening.

Hmm.

I know why you liked me at first.

Edna told me.

What did she tell you?

That I look like Minna Davis.

Hmm.

You were happy with her?

I don't remember.

You don't remember?

No.

I remember what she looked like,

but I don't remember what we were like.

She became very professional.

She was very, very successful.

She answered all her fan letters.

Everyone loved her.

I was closest to her when she was dying.

I'm warm now.

( giggles)

Does the maid live here or just come for your breakfast?

There'd be a lots for a maid to do, looking after Mr. Stahr.

( laughs)

Are you going to stay in California?

Are you?

Huh?

Can't you tell me?

What's the mystery?

Not now.

It's not worth telling.

Come here then.

You're tired.

No, I'm not.

I mean, you work too hard.

Don't be a mother.

What shall I be?

I'll show you.

You've taken off my apron.

It's here I look like Minna Davis...

isn't it?

No.

It's here.

( waves crashing)

MONROE: What was he like?

He was a very learned man.

He could have taught all sorts of subjects.

He taught me.

We traveled.

He was very attractive.

And he was also...

well, he was a king.

I mean, he really was a real one,

but he was out of a job.

That's what he used to say.

I went everywhere with him.

I belonged to him.

We were too close.

We should probably have had children to stand between us.

He wasn't really much like a king,

not nearly as much as you,

but then none of them were.

Then he started to drink.

He tried to force me to sleep with all his friends.

And I...

I want a quiet life.

I can't stop looking at you.

I don't want to lose you.

I want a quiet life.

Have you lost something?

It might have fallen out.

What?

An envelope.

Is it important?

No, it doesn't matter.

I'll call you?

I haven't got a phone.

What's your real address?

It's just Bel Air, there's no number.

Bel Air.

Well, Mr. Stahr, good night.

"Mr. Stahr"?

Stahr.

Is that better?

If you like.

This fell out of the car.

Oh, thank you.

Did any of these people want to speak to me urgently?

All of them.

Oh, yes?

Would you get me a glass of water?

Yes, sir.

Thank you.

Yes, sir.

Make sure you wake me up at 11:30.

Yes, sir.

( waves crashing)

THLEEN: "In half an hour, I will be seeing you.

"When we say good-bye, I will hand you this letter.

"It is to tell you that I am to be married soon,

"and that I won't be able to see you after today.

"I should have told you last night,

"but it didn't seem to concern you,

"and it would seem silly to spend this beautiful afternoon

"telling you about it and watching your interest fade.

"Let it fade all at once, now.

"I am very flattered that anyone who sees so many lovely women...

"I can't finish the sentence,

"and I'll be late if I don't go to meet you straight away.

With all good wishes, Kathleen Moore."

WYLIE: George!

( knocking on door) Come on!

Open up!

BOXLEY ( shouting): You're all mad!

I know that.

But why don't you open up?

Because you're... you're all mad.

Let's get you out of there.

We'll go and have a drink.

I don't drink in the middle of the day.

Hello, Mr. Stahr.

Mr. Stahr.

Cheers.

Hello, Mr. Boxley.

What's the trouble?

I am... dangerous... when I'm drunk.

BOXLEY: Watch your step.

I heard you were writing a script.

Mmm.

That's right.

Here it is.

And, uh...

here's the nickel.

It's...

for the movies.

Get him home.

Stahr!

Stahr, I want copyright protection

for the scene I just wrote

about a drunken writer and a producer!

( people laughing)

BOXLEY: Stahr!

( people applauding)

SECRETARY: Oh, Mr. Stahr.

Hello.

What's the matter?

Nothing. Drunks. How are you?

I have a terrible grudge.

What's that?

You forgot to dance with me at the ball.

The ball.

Oh, God.

One moment you were there and the next moment you were gone

and you never came back.

I'm sorry.

I just... stepped out for some air

and then I met a man...

A man I hadn't seen for years.

Then we went for a drive.

I hadn't realized

how that part of Hollywood had changed.

You can see it very clearly at night.

( door closes)

Mm.

Then it was late,

you know, so I went home to bed.

So that part of Hollywood has changed, has it?

Yeah, unrecognizable.

What about the man?

What about him?

Did he think that part of Hollywood had changed?

Yes, he thought so, too.

Well, that must have been a real nice drive...

Both of you just driving around, thinking the same thing.

Yeah.

Listen, I want

to ask you a question.

What is it?

Had the man changed?

No.

He was exactly the same.

Old Gus.

( crying)

Cecilia.

Your father's in conference.

Your father is in a conference.

BRADY: Hi, honey.

God, it's like a steam room in here.

Why don't you open up some windows?

I am.

I don't know how you can stand it.

Hey, are you all right?

Your shirt is soaked.

I'm fine, honey.

Just fine.

I'm just bothered, that's all.

What is it?

Oh, it's Monroe Stahr,

that goddamn Vine Street Jesus.

He's in my hair day and night.

Oh?

What are you talking about?

Oh, he sits there like a goddamn priest or rabbi,

telling me what he's going to do,

what he's not going to do.

He's got me half crazy.

Look, um, why don't you go on outside, honey.

I got some thinking to do.

You're coming with me.

You're going to wash your face

and put on a clean shirt

and come and do your thinking outside.

It's beautiful out.

Do you know how long it's been since...

( exhales)

we had lunch together?

Have you been drinking?

Okay, honey, I'll come with you.

You go on ahead and get some air,

and I'll be with you in a minute.

You go out and get some air, honey!

I'll be with you in just a minute!

( faint rattling)

( faint rattling)

( rattling)

( gasps)

Cover her up.

( laughing)

( door opens)

( door slams)

( playing haunting melody)

Can I buy you a drink?

I don't usually, uh, drink with the talent.

I don't usually drink with the boss.

One before you go.

I'll get it.

Bourbon.

One cube of ice.

You're quite a girl, Lucienne.

Yes, everybody likes Lucienne.

Here's to you, kid.

( starts playing slow piece)

♪ You have the choice, brown sugar or white ♪

♪ You have the choice ♪

♪ My ghost by day, my heart by night ♪

♪ Love's dear delay ♪

♪ Love's dread delight. ♪

It's too bad.

I thought you were coming away with me.

I can't.

You know I can't.

I owe it to him.

I must go to him.

Don't you owe me something, too?

He's my husband.

♪ You had the choice today ♪

♪ But you would never say, no, you would never say ♪

♪ You had the choice today. ♪

RODRIGUEZ: I'll never forget you, kid.

Nor I you.

Remember me to your husband.

Tell him he'll never know you

the way I know you.

I lied.

I will forget you.

I'll forget you by tonight.

( sobbing)

( people clearing throats, coughing)

Makeup and hair here?

Yes, Mr. Stahr. Yes, Mr. Stahr.

You made her look like an angel.

I don't know how you've done it.

Congratulations.

Thank you, Mr. Stahr. Thank you, Mr. Stahr.

Those, uh, French girls,

they really, uh, they've really got depth.

They really know what it's all about.

Yes, I think they have depth.

Who wrote that scene?

The English writer, Monroe.

Boxley.

It's the last thing he wrote before... before he left.

What a great going-away present.

Who ever heard anyone say, "Nor I you."

Has anyone ever said, "Nor I you," to you?

"Nor I you."

Hmm.

"Nor I you."

We'll have to rewrite the scene and reshoot it.

It's absolute crap.

People don't speak like that.

Do I have any writers around here

who understand the way people talk?

Norman.

Yes, Monroe.

Put four writers on that scene tonight,

and I want to see the rewrites before they shoot it.

Sure, Monroe.

How much is it going to cost to reshoot the scene?

MAN: Well, the set's already been struck.

So how much is it going to cost?

Oh, about $50,000.

And we have a preview next week.

I don't care what it costs.

Make it.

( door closes)

I don't know what's wrong with the scene.

I thought that was a pretty touching scene.

( intercom buzzes)

( intercom buzzes again)

( intercom buzzes)

( intercom buzzes)

SECRETARY: Do you know a Miss Kathleen Moore?

What do you mean?

A Miss Kathleen Moore is on the line.

She said you asked her to call.

Hello.

Who is he?

He's an American.

He took me away.

He brought me here.

I live in his house.

Where is he?

He's away.

He's an engineer.

He'll be back...

next week.

We're getting married.

Are you in love with him?

Oh, yes.

It's all arranged.

He saved my life.

I just wanted to see you once more.

It's all arranged.

Stop walking.

Come back.

Closer.

Open your cape.

Close your eyes.

I can never get used to the way

night falls here so fast.

There's no twilight, is there?

Not really, no.

It's so sudden.

I suppose some parts of America are...

gentle.

Are you leaving California?

We might.

I might.

Listen.

What?

Nothing.

Can you drop me here at this corner?

( brakes squeak)

Good-bye.

( dog barking in distance)

Is Mr. Stahr...

She just flew in from New York.

Well, Christ, she's a very important actress!

SECRETARY: I'm sorry, there's nothing I can do about it.

WOMAN: We have an appointment!

SECRETARY: I'm sorry, there's nothing I can...

( murmuring)

WOMAN: Mr. Robinson, please...

MAN: We've got to get this set approved by 2:00.

Otherwise, we're way behind.

SECRETARY: I understand,

but there's nothing I can do for you today.

Now, please go.

( phone rings)

You have to make arrangements for the preview on Friday.

He's escorting me.

I'll do it.

We have to make arrangements for the preview.

What time shall I pick you up?

Don't say you're not going... because you must go.

You're the head of the studio.

You've no alternative.

What time shall I pick you up?

Any time.

I'll be here at 7:00.

Okay.

MAN: They're waiting for you, Mr. Rodriguez.

They're waiting for you on the mike.

Excuse me!

WOMAN: Didi!

Didi, this is Mr. Fleishacker.

How do you do?

Mrs. Fleishacker.

Yeah.

Excuse me.

Excuse me.

Are you happy?

It went very well.

A really great performance.

You really think so?

Yes.

BRADY: No kidding,

you were terrific.

Oh... thanks to you...

to you all.

And to you, for changing

that fucking director.

They're waiting for you, Miss Didi.

I'm coming.

WOMAN: She really looks good!

Let's go to the beach.

What about the party?

They're expecting you at the party.

Drive me to the beach.

( waves crashing)

Do you think you'll ever finish it,

so you can live in it?

I think you like it as it is.

I think you like it without a roof.

You think it needs a roof?

If you don't want one, it doesn't need one.

It's your house.

When are you going back to college?

( car door closes)

Any time.

( phone rings)

KINO: Yes?

Will you hold one moment, please?

Miss Kathleen Moore.

Hello.

I got your letter.

Yes?

Listen, I must see you.

It's very difficult.

It's essential. You know that.

Look, we have the weekend.

Come away for the weekend.

( whispering): I can't.

You must.

We must have time to talk.

I'll tell you tomorrow.

No, you must say yes now.

Say yes.

( mantle clock ticking)

Yes.

( light music playing in film)

I'll be going away this afternoon for the weekend.

Cancel all my appointments.

I'll be unreachable.

You're meeting with Mr. Brimmer

at Miss Brady's tonight for drinks.

Cancel it... I'll see him on Monday.

Fine.

This just came for you.

( silly noises on film, audience laughing)

( opening envelope)

( men continue laughing at film)

Monroe?

Keep going.

Sugar, Mr. Brimmer?

No, thank you, Miss Brady.

Sugar, Monroe?

No, thank you.

MONROE: Who designed these rooms...

Your father?

My father asked a designer

to design it.

Well, he designed them, all right.

Thank you.

Thank you.

I thought it would be a nice quiet place

for you two to meet.

Oh, it is.

It's a very nice room.

Know California well, Mr. Brimmer?

No... I spend most of my time in New York.

Busy?

Oh, yes.

Your name's well-known here.

And yours is well-known in New York, Mr. Stahr.

You have done well by water...

and you by land.

What?

CECILIA: Anthony and Cleopatra...

Didn't you recognize it?

Shakespeare?

No, I didn't get any Shakespeare at school.

How about you, Mr. Brimmer?

Oh, a bit.

Where do you come from?

Tennessee.

Baptist.

I'm New York. Jewish.

I know.

Oh, at least we're all Americans.

We sure are, Mr. Stahr.

Well...

Well, I'm glad you came out here.

I wanted to talk to you.

You've got my writers all upset.

Keeps them from going to sleep,

doesn't it?

I want them awake, but I don't want them crazy.

Well...

we're simply concerned

that they have the proper protection.

That's all.

Who from, me?

You're a very good employer, Mr. Stahr, but, uh...

we still think that the position can be...

rationalized.

I'll tell you three things:

all writers are children;

50% are drunks; and up till very recently,

writers in Hollywood were gag men.

Most of them still are gag men,

but we call them writers.

Uh-huh.

But, uh... they're still the farmers in this business.

They grow the grain, but they're not in at the feast.

It looks to me like a try for power, Mr. Brimmer,

and I will not give them power.

I'll give them money;

I won't give them power.

Anyway, they're not equipped for authority.

( chuckling)

More coffee, Mr. Brimmer?

No, thank you.

Monroe?

No.

I don't get to meet Reds very often.

Are you a real Red?

A real one.

CECILIA: Please do.

Well, I guess some of you believe in it.

Quite a few.

Not you.

Oh, yes.

Oh, no.

Oh, yes.

Monroe!

WOMAN: Monroe!

All the stars come here to eat.

Oh, really?

Is, uh... Greta Garbo here?

No.

BRIMMER: A pity.

Mr. Stahr...

Good evening, Mr. Stahr.

May I have a picture, please?

Mr. Stahr...

please?

Brimmer.

Want your photograph taken?

If you don't mind, I'd prefer not.

Wouldn't they have liked that photograph back in New York?

Same again.

Yes, sir.

Two of us happy and smiling?

Why, they'd have been tickled pink.

Three of us happy and smiling.

Oh, of course, with the beautiful boss's daughter.

Well, they'd have liked her.

Did I say

"the beautiful boss's daughter"?

I meant "the boss's beautiful daughter."

Isn't Mr. Brady your boss?

No, he's not my boss.

And he's not beautiful either.

What's not beautiful about him?

Same again.

Listen.

I like writers.

I understand writers.

Sure you do.

I mean, I...

I don't think that...

I have more brains than a writer,

I just think that his brains belong to me.

I know how to use them.

Well, you know yourself very well, Mr. Stahr.

Here you are, sir.

Thank you.

Now I know you've been disappointed in love.

What?

That's your fourth scotch.

MONROE: Oh, come on,

don't be silly, I never drink.

CECILIA: I know you don't,

but that's your fourth scotch.

Well, I haven't tasted any of them.

Well, this is the first drink I had in a week.

Did my drinking

in the navy.

You hear that?

This soapbox son of a bitch

has been working on the navy.

Well, uh...

thanks for the dinner and the meeting, but I must go.

I have to talk to some people.

You mean, you have friends out here?

Dessert, sir?

( laughing): That's right.

No, thank you.

Oh, no, wait.

You've got time.

We're going to go back to your house.

We're going to have one game of Ping-Pong,

one more drink...

and then I'm going to tell you what I really think.

You play Ping-Pong well, Mr. Stahr?

( Ping-Pong ball bouncing)

Is this Ping-Pong?

He can't play.

Saturday is a... a night to relax.

BRIMMER: Hey, you're pretty good.

CECILIA: You're not so bad yourself.

( groans)

( giggling)

( Ping-Pong ball bouncing)

I'm going to beat up Brimmer.

I'm going to handle this thing personally.

Can't you pay somebody to do it?

No, I do my own dirty work.

Mm-hmm.

I'm going to beat the hell out of you,

and I'm going to put you on a train, Mr. Brimmer.

Now, stop this.

Now, stop it!

This man has an influence on you.

He has an influence on all you young people.

You don't know what you're doing.

CECILIA: Please, go home.

( grunts)

I always wanted to hit $10 million.

Please... go home.

Can I do anything?

Well, uh... thanks.

Thanks for the game.

( dog barking in distance)

What happened?

He's gone.

( groans)

Did I hit him?

Oh, yes, quite badly.

( retching)

( groans)

I didn't want to hurt him.

I just... I just wanted to chase him out, like...

I didn't want to hurt him.

I just wanted to chase him out.

I guess he got scared and he hit me.

Do you hold it against him?

Oh, no, I... no, I'm drunk.

( chuckles)

( groans)

I'm drunk.

How would you like to go out to Doug Fairbanks' ranch with me

and spend the night?

I know he would love to have you.

( shushing)

There you go.

( water pouring)

( groans softly)

Sleep.

( bird singing)

Monroe.

Monroe, I've called an emergency meeting of the board at 12:00...

My office at the studio.

We'd be glad if you could come.

Morning, darling.

Your Monroe was in great form last night.

See you later.

( brakes squeal)

Ah, Monroe.

Come in.

Sit down.

BRADY: I've just been speaking with New York.

They've asked me to tell you

that they no longer consider you competent

to negotiate with the writers.

They've asked me to be the spokesman

of this board in all further discussions.

They don't consider that, uh,

trying to beat up the writers' representative

is in the company's best interest.

I just want to say that this board endorses these views.

We also recommend that you go away for a long rest.

Take a break.

Go to Tahiti or somewhere.

This studio will fall without me.

Take a break, Monroe.

This is a waste of time.

I'll be talking to New York.

They'll be glad to speak with you,

anytime.

Oh...

and they said, "Be sure and see a doctor about that eye."

FLEISHACKER: Mr. Stahr.

We'll see the studio doesn't fall.

KATHLEEN: I'm sorry.

I can't ask you in.

( waves crashing)

WYLIE: So how do you want the girl?

KATHLEEN: I want a quiet life.

( waves crashing)

DOCTOR: Any... pain?

Suppose you're in your office...

You've been fighting duels all day, you're exhausted.

This is you.

The girl comes in.

She doesn't see you.

She takes off her gloves, opens her purse,

dumps it out on the table.

You watch her.

This is you.

She has two dimes, a matchbox and a nickel.

She leaves the nickel on the table,

puts the two dimes back into her purse,

takes the gloves to the stove, opens it, puts them inside.

She lights a match.

Suddenly, the telephone rings.

( blows)

She picks it up.

She listens.

She says, "I've never owned a pair of black gloves

in my life."

Hangs up, kneels by the stove, lights another match.

Suddenly, you notice...

there's another man in the room

watching every move the girl makes.

BOXLEY: What happens?

I don't know.

I was just making pictures.

( clock ticking)

I don't want to lose you.

( car engine starts)

( car door closes)

MONROE: I don't want to lose you.

Captioning sponsored by PARAMOUNT PICTURES

Captioned by Media Access Group at WGBH access.wgbh.org