The Last Tycoon Script - Dialogue Transcript

Voila! Finally, the The Last Tycoon script is here for all you quotes spouting fans of the Elia Kazan movie starring Robert De Niro and Robert Mitchum.  This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of The Last Tycoon. I know, I know, I still need to get the cast names in there and I'll be eternally tweaking it, so if you have any corrections, feel free to drop me a line. You won't hurt my feelings. Honest.

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The Last Tycoon Script



l'll be waiting for you there...



in about one hour.



You can trust me.



Ah, signora.






Che cosa?



Go on.

Go on!



The end is too gory.



Cut out one roll of the table.






The signal was much too obvious.



lt kills the surprise.

Make it shorter.



Okay, Monroe.



What else?



You wanted to see the beach

scene from Dark Moonlight.






Okay, Jack.



No, no, don't go to him at all,

stay on her.



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.



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.



l've been here

since the silent days.



l knew them all.



Did you know the Keystone Kops?



All of them!



What a bunch of guys.






This was Minna Davis'

dressing room.



She was taken ill

for the last time...



in this room.



That's her.



She was beautiful.



She was a great friend of mine.



l remember we had

to call her husband.



l called him myself.



l remember that call well.



l said, "Mr. Stahr...



l'm afraid your wife

has been taken ill."



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



And this is where

it all happened.



This is where Mr. Stahr was

when l called him.



The administration building.



That's where he still is.



That's his office up there.






Gee, it's so big!



lt'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.



l mean, you can rock the room.



Then you throw in

a lot of dust...



No, l wasn't asleep.



When are you coming home?






Oh, l'm all right.



l miss you, that's all.



Oh, she's with her grandmother.



She's fine.



She has a new tooth.






How did it go?



Oh, that's good.






When are you coming home?



Oh... good.



Beautiful baby.



And you want me to meet you?






Next time

l'll be coming with you.



Come on, come on.



They owe me a little time off

at the club anyway.






Couldn't be more boring

than being without you.



Yes, me too.



Bye, darling.



Want me to go?












Kill the arc.



That's a print.



That was really good.



l mean, very good.



Give me a finder.



All right, take it up.



Your aspirin, sir.



Strike the sofa!



Pick up the phone, Harry.



Pull the phone back, Fred.



And watch

that cable!






That was really

very good indeed.






You think so?



lt was absolutely terrific.



lt was really wonderful.



lt was shit.



Here we go again, Billy.



Listen, Didi,



l have to tell you

it was exquisite.



lt was fake.



lt was false.



Didn't you notice?!



l want to do it again.



You'll never do it better.



l know l can play

that scene.



l want to do it again.



lt was good for me.









trust me.



Thank you.



l'm ready.






Let's do it again.



We're going to do it again.






Get it quiet now, damn it!



All right, bring it down.



Quiet! Quiet, damn it!



Good night, Frank.



Good night, Brian.






Harry, l'm waiting!



Night, boys.



Night. See you tomorrow, Hank.



- Goodnight. Bye.

- See you tomorrow.



l love him.



He's a genius.



l've always wanted him to get

every credit.



You know that.



But what about me?



New York has forgotten me.



No, no...



New York has forgotten me.



You want to know why?



Because l'm too generous.



lt's my nature.



l make life too easy

for them.



You know what l am?



l am the strong base upon which

Monroe Stahr rests.



l'm loyal to him,



and l'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 l want is recognition.



You've got it.



l want to see it.



l want to see it right here

on this desk.



l want to feel it.



Just cut it out, would you?



You see that bastard

touch my daughter?



Who is he?



Some goddamn writer.



You know, l went down to the

writers' building this morning.



l stood there and watched them

for    minutes.



There were two of them there

didn't write a line.



You can go right in.









Are you an actress?



No, l'm just

Daddy's little daughter.






What are you?



Oh, l'm just a lawyer



from New York.



She's too intelligent

to be an actress.



She's graduating

from Bennington next June,



with honors.



l love actors, though.



l don't need all this.



Oh, sure you do.



What's the matter,

don't you feel well?



l don't feel so good.



You want some bicarbonate?



l feel so shaky.






What were you doing

with that writer?



He's all right.



Don't get too close

to writers.



Jesus Christ!



Cecilia, are you all right?


















Are you all right?



What happened?



Geez, yeah.



We had an earthquake.



Monroe, pick up the phone,

will you?






Yeah, l'll be right down.









lt's split!



lt's split all the way down...



Help with that spot!



Go on!



ls that where

it's coming from?



Yeah, that's it.



Look at the water tower.



Get a light on it.



Get a light on

that pipe break!



Where's the valve, Robbie?



You know where the valve is?



Robbie, they're shooting

on    and   .



See the gates are shut tight.



French village is flooded, too.



We'll get the pumps from

the tanks on stage nine.






Robbie, we need more men.



Oh, Christ,



we need that head next week.



Bring in the pumps

from stage nine!



Stage nine.



Watch those cables!



Get the cables

out of the water!






All right, hold it, right...






l'm sorry.



We just followed the trucks in.



Good evening, sir.



Good evening, Kino.



ls everything all right

at the studio, sir?






Would you like some tea?



No, thank you.



Shall l turn off the lights?






Darling, l've come home.









l told you, one of them

wore a silver belt.



How dare you ask me

that question?



No, l don't know which one

wore it.









Well, find a cop on duty.






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.






take five.









You found the name?



Oh, good work, good work.






Well, no, divide the name

between yourselves



and try every one in the book.






Good work.






Will you go to the ball

with me tomorrow night?



What ball?



Screenwriters' Ball...



down at the Ambassador.



Oh, yeah.



No, l don't think so.



l might just come in late.












So, when do you go

back to college?



l've just got home.



You get the whole summer off.



l'm sorry.



l'll go back as soon as l can.



Well, don't you want to?



Well, l don't know.



l'm pretty well educated.



Maybe l should get married.



Well, l'd marry you.



l'm lonely, but...



l'm too old and tired

to undertake anything.



Undertake me.






Undertake me.



Oh, no, Cecilia.



l've known you so long.



l've never thought of you

that way.



You don't use that line

this year.












Mr. Stahr, Mr. Rodriguez



is still waiting to see you.



Oh, yeah. Send him in.



l'm sorry.



These actors...



Did you press that buzzer

with your foot?






Of course not.



But you will dance with me

at the ball.



Sure l will.



Hello, Monroe.






How are you?



Wonderful, really great.



You look just wonderful.



Thank you.



l had to see you

in your office.



Sit down.



So... what's the trouble?



l'm through.



You're through?



What do you mean,

you're through?



Have you seen Variety?



Your picture's held over

at the Roxy.



lt did       in Chicago

last week.



l know.



That's a tragedy.



l'm in a tragic mess.






Well, what are you

talking about?



lt's Esther and me.






l love her.



She's my wife.






But l'm through.



l'm washed up.



lt's gone.



What's gone?



l've gone.



l'm ashamed to go to bed

with my wife.



l know Rainy Day grossed

      in Des Moines



and broke all records

in St. Louis



and did       in Kansas City?



Kansas City.



But here l am,



afraid to go to bed

with my own wife,



the woman l love.



So l came to you, Monroe.



l've been to a doctor.



l've been to a cathouse.






Yeah... nothing.






So, l... so l came to you.



Yes, you did, l see.






l mean, we both came from

nowhere, from nothing, right?






What were you,

a messenger boy?



That's right.



l delivered groceries.






This is America.



Look where we are now.



l mean, look at this

office, look at you.






We both came from nothing.



That's why l can talk to you.



l understand.



So, how is Esther?



She's the greatest girl

in the world.



She's my wife.



Well, l know that.



l mean, she loves me.



Oh, l know, l know.



    girls marched

up to my house



from the high school.



l stood behind the curtains

and l watched them.



l couldn't go out.



l mean, if they knew...



lf my family knew...



l watch myself on the screen



and l want to puke!






Look at me.



All right, l'm a big star,



but what's really

profound about me



is that l'm a big star

with a big fan club



- Yeah, l-l know.

- who actually loves his wife,



so why would anyone want to play

these lousy tricks on me?



You see what l mean?



Sure, sure.



So l came to you.






Oh, yes,

l see.



Just play the part

the way l said.



All right then



Thanks, Monroe.






The doctor's here.






Hi, Doc.



Come on in.



When are you going

to take that vacation?









Oh, sometime

in five or six weeks.



Getting any sleep?



About five hours.



Do you need any more pills?



No, l'm fine.



Any... pain?






They'll never get

writers unionized.



You know why?



Hello, Monroe.












Everything all right?






l 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?









Communist, yeah.



You mean a real Communist?



Yeah, sure, a real one.



l mean,



some of these guys

are just jokers



that call themselves Communists.



And mostly they are fairies,




There are other aspects,

of course.






l'll find out next week.



Better find out.



The last thing we need

is a writers' strike.



We got    pictures

going into production.



l'll handle him.



Monroe can handle him.



Monroe can handle anybody.



Anyway, mostly they are fairies.



There are other aspects,

of course.



Monroe, tell me, what do

you think of the idea



to make Manon with

a happy ending, huh?



lt'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?



lt's out of proportion.



With that budget,

we have no chance.



What do you think, Mr. Marcus?



Monroe is our

production genius.



l count upon him



and lean heavily

upon him.



The balance sheet last year

showed a $   million profit.



lt's all due to him.



You know who first told him

you were a genius?












Damn good of you, Pat.



No, no.



l admire a man, l say so.



l want the whole world to know.



Perhaps that's

because l'm lrish.



The lrish are a very

warm-hearted people.



The Greeks are warm, too.



l mean, try to find me

a Greek Communist.



You couldn't find one.



But there's not a $  million

gross in the country right now.



Don't forget, we're in

the middle of a depression.



l know that.



l 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




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.



lnterest on the money...

and some profits.



Yes, he's here.



l'm not even sure

we'll gross a million.



lt's for you, Mr. Stahr.



Thank you.






Hello, Robin.









Yes, leave the number

with Miss Doolin.



l'll call later.



You know, l'm fairly new

out here.



Do l understand you to say that

you expect to gross



a half a million short

of your budget?



lt's a quality picture.



"Quality picture."



What the hell are we...?



We've played safe

for two years now.



lt'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.






lt's a good thing

for the company



to slip in a picture

that'll lose money...



write it off as good will.






Thank you.






Mr. Stahr!



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, l have.



Well, what do you think of it?



l think it's

an interesting script.






How come you have

two other writers on it?



- Take it away!

- Who told you that?



They're friends of mine.



They didn't know l was doing it.



l didn't know

they were doing it.



We all found out this morning.



l'm sorry.

What can you do?



That's the system.



We're back!



You invented that system.



You've distorted the girl.



By distorting the girl,

you've distorted the story.



We're back.






How have l distorted

the damn girl?



l'm not interested

in your fantasies.









Hello, Monroe.






Listen, two people

at the sneak preview



complained that Morgan's fly

was open for half the picture.






Oh, it's probably just a couple

of seconds, but l want you



to run the picture

until you find the footage.



Have some people with you.

Someone will spot it.



Sure, l'll take care of it.






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.



Mr. Stahr.



How do you know?



Because l paid       bucks

for that book,



and because that's

the way l see it.



- Mr. Stahr.

- Thank you.



lf l want to do a Eugene O'Neill

play, l'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 l'll take you off

the subject.



lt's up to you.



So how do you want the girl?












And l always have admired you.



Were you wearing a silver belt

last night?



Yes, l was.



l'm glad we got you.



We didn't have much to go on.



Oh, really?



Who are you?



My name is Monroe Stahr.



l'd like to see you.



There's a reason.



What reason?



Well, l'd like to talk

to you for a few minutes.



To put me in the movies?



No, that wasn't my idea.












At your house?






Somewhere outside.



l'll meet you

somewhere at  :  .



l'm afraid that's impossible.









What about tomorrow?



No, no, no.



Okay, tonight,  :  .



On the corner

of Webster and Park?






Should l wear

the silver belt?






Hello, Monroe.



How's it going?



Geez, l'm glad you came down.



She's too old for me.



See who it is.






Oh, get these photographers

away from me!



May l?



No, let's go.



These publicity men.



How are you?



l've got the damn curse,



and l'm having

all these troubles



with my frigging hair.



Well, don't worry about it.



lt'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.



l love you, Didi.



How do you think l look?



How do you think l look

on the screen?



You're going to be beautiful.



You're a great actress.



lsn't she a terrible bitch?



You can't handle her.



We'll have to call it off, Red.



The picture?






l'm putting Daditch on it.






We'll try some other time.



Shall l finish this scene?



lt'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.



You bastard.



You bastard.



Listen, you haven't touched



what she's able to do.



How about my coat?



l left it on the set.



Here it is.



Okay, that's it.






lt's Mr. Brady.









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 l need is...

- Not now.






Where are we going?



l don't know.



What about a hotel?



No, l'll run you home.

Where do you live?



Run me home?






lt's no hurry.



What's the matter?



Don't you like me?



l thought you liked me.



l've been stupid.



Last night l had an idea



you were the exact double

of someone l knew.



lt was dark, and the light

was in my eyes.



- Really?

- Mm-hmm.



That's funny.



Which way?






l'm an actress.






l'm going to be an actress.






Listen, could you stop here

a minute, please?



You said the end of the street.



Yes, but l'd like to stop here

a minute, please.



Could you wait a second?









See him? There he is.



Who is he?



l think it was you



he wanted to see.



He telephoned me.



l'm afraid we were rude

at the studio.






We had no business there.



Well, l hope you'll both come

and make a real tour...



of the studio.



Who are you?



He's a producer.



He got us mixed up.



Phone me, will you?



Good night, Mr. Stahr.



Oh, good night.



You're lrish.



l've lived in London

a long time.



l didn't think you could tell.



Oh, yes.



You've lived in London?






l came out here

a few months ago.



Was it me you wanted to see,

or Edna?






l made a silly mistake.



l thought you were wearing

the silver belt.






But l wasn't.



No, but it was you

who l wanted to see.









You reminded me of someone.



So you're Mr. Stahr,

the producer?






l 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?









l feel as if

l had my foot in the door.



Like a collector.



l'm sorry,

l can't ask you in.






ls this all?



Well, l do hope

we'll meet again.



l'd be sorry if we didn't.



Good evening, sir.



Good evening.



Will you be running

a movie tonight?






Shall l turn off the lights?






Sit down, Mr. Boxley.



l can't go on.

lt's a waste of time.



l can't go on.

lt's a waste of time.






You've stuck me with two hacks.



They can't write.



And they... bugger up



everything l write.



Well, why don't you just

write it yourself?



l have.

l sent you some.



That was just talk.

We'd lose the audience.









l 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 l wouldn't.



l inherited

this absurd situation.



Let me ask you,



do you ever go to the movies?






Because people are always




and falling down wells?



And talking a load of rubbish!






has your office got

a stove in it



that lights with a match?



l 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.



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.






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.



She picks it up.



She listens.



She says, "l've never owned

a pair of black gloves



in my life."



Hangs up.



Kneels by the stove.



Lights another match.






you notice...



...there's another man

in the room...



watching every move

the girl makes.



What happens?



l don't know.



l 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?



l don't understand

the damn stuff.



Yes, you do...



or you wouldn't have asked

about the nickel.



Well, Monroe's right.






Needs about    minutes

out of it.



Twice it just lays there

and goes to sleep.



Well, l've got to go to

that damn writers' ball.



l'll talk to you

tomorrow, Eddie.



What's Eddie, asleep?






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.






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, l didn't...

l didn't hear anything.



Did you hear anything?



Not a thing.






he probably didn't want

to disturb the screening,



Mr. Brady.



Good evening, Mr. Stahr.



What are you doing here?



l'm with Martha Dodd's party.



What's your name?



Kathleen Moore.



Kathleen Moore.






How do you know her?






l met her...






Are you married?






l must go back now.



l promised this dance.



Can we have lunch

or dinner?






lt's impossible.



l must go back.



Thank you for the dance.









Hi, Rod.



Hello, Esther.



Hello, Monroe.



Monroe, come here.



lsn't she wonderful?



lsn't she beautiful?






How are you, Esther?




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?



Homosexuals, eh?



Let me tell you something.



You know, "homo" is

a Greek word.



l come from Europe,

l'm Greek.



That's why he knows so much

about Stalin.



But Stalin ain't Greek.



You're damn right he ain't.



He's a fairy.



He's a bastard, Communist,



Russian fairy...

that's what he is!



Calm down.






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?



l think so, too.



You know, uh...



l saw Highway to Tomorrow.



You're right.



You take    minutes

out of it,



you got a fine movie.






The shape's not too bad.



The shape is good.



You know why?



Because Eddie is

one of the best cutters



in the business.



Where are you going?



lt's early.



lt's late.



They talked as if

l'd been dancing



with the Prince of Wales.



Meet me tomorrow.



Mr. Stahr?



l've said l can't.

lsn't that enough?



Not now.



Can l talk to you

for one minute?



Look, tomorrow is Sunday.



Why don't you come

to the studio.



l'll show you

around the studio.



No, l wouldn't like

to see the studio.



You wouldn't?



Monroe, we have that...



Excuse me.



l say, Mr. Stahr...






Look, where would

you like to go?



l'm a weak woman.



lf l meet you tomorrow...



will you leave me in peace?



No, you won't, will you?



So l'll say no...



and thank you.



Going down.






What does it take to get

you to leave a party?



You're the one

who wanted to come.



l only agreed to come



because you said

we wouldn't stay so long.



Not in the elevator.



Main floor.



They looked so strange

when l came in,



as if they were furious at me

for not being somebody famous.



l know another way out.



Back up, back up,

let them through.



How old are you?



l've lost track.



About    l think.



Where are you from?



l was born on the East Side

of New York.



They said at the table

you were the "boy wonder."






Where's your car?



Listen, where will we

meet tomorrow?



l'll come by,

and l'll pick you up at  :  .












l'll meet you here,

the same spot.



Have you been here all night?






l'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?






What'll you have?



Two teas.












He remembers you.



This seal has the memory

of an elephant.



He likes him...



'cause he's such a charming guy.



Does he respond to affection?



He responds to fish.



This seal's got taste.



Come on out.






How long have you known him?



Oh, l'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.



ls he good to you?



Well, he's good to me

on the whole.



Only got one problem.



He won't ride in the backseat.



That's right...



climbs over the back

and rides in front.



Now, l know

he's a good driver...



But who owns the car?












Give him this.



Whoa. Thanks.



Well, this is it.



l don't know

why l'm building it.



Maybe it's for you.



Well, l think

it's great of you



to build a big house for me



without even knowing

what l look like.



l didn't know what kind

of a roof you wanted.



l don't need a roof.



What's that for?



The projector.



The what?



The movie projector.



l gave a luncheon

out here last week,



so l had some props

and grass brought out



to see how the place felt.



ls that real grass?






ls it from a film set?






Can l walk on it?






l'll watch you.



Will you live here alone?






Alone with your movie projector?






Where do you live now?



l 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.



l'll just come out here

to read scripts.



No distractions.



l lived with a man

for a long time.



Too long.



l wanted to leave,



but he couldn't let me go.



So finally l ran away.



l must go now.



l have an appointment.

l didn't tell you.



That's not true,

but it's all right.



Thank you, l must go now.



We'll do it again?



No, l'm sorry,



l'll... write you a letter.



Wait, wait, wait, wait.



Do you ever go to the movies?






Not much.



Why not?



Should l?



Millions of people do.






Because movies are necessary

to them.



They give them what they need.



What you need.



lt's my life.



Have you got them?






This wasn't my idea.



Let's go back.



To your house on the beach.



Watch your head.






l wonder when it's settled.






l 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.






l know why you liked me

at first.



Edna told me.



What did she tell you?



That l look like Minna Davis.






You were happy with her?



l don't remember.



You don't remember?






l remember what

she looked like,



but l 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.



l was closest to her

when she was dying.



l'm warm now.



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.



Are you going to stay

in California?



Are you?






Can't you tell me?



What's the mystery?



Not now.



lt's not worth telling.



Come here then.



You're tired.



No, l'm not.



l mean, you work too hard.



Don't be a mother.



What shall l be?



l'll show you.



You've taken off my apron.



lt's here l look

like Minna Davis...



isn't it?






lt's here.



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.



l mean, he really

was a real one,



but he was out of a job.



That's what he used to say.



l went everywhere with him.



l 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 l...



l want a quiet life.



l can't stop looking at you.



l don't want to lose you.



l want a quiet life.



Have you lost something?



lt might have fallen out.






An envelope.



ls it important?



No, it doesn't matter.



l'll call you?



l haven't got a phone.



What's your real address?



lt's just Bel Air,

there's no number.



Bel Air.



Well, Mr. Stahr, good night.



"Mr. Stahr"?






ls that better?



lf 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   :  .



Yes, sir.



"ln half an hour,

l will be seeing you.



"When we say good-bye,

l will hand you this letter.



"lt is to tell you that

l am to be married soon,



"and that l won't be able

to see you after today.



"l 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.



"l am very flattered that anyone

who sees so many lovely women...



"l can't finish the sentence,



"and l'll be late if l don't go

to meet you straight away.



With all good wishes,

Kathleen Moore."






Come on!



Open up!



You're all mad!



l 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.



l don't drink in

the middle of the day.



Hello, Mr. Stahr.



Mr. Stahr.






Hello, Mr. Boxley.



What's the trouble?



l am... dangerous...

when l'm drunk.



Watch your step.



l heard you were writing

a script.






That's right.



Here it is.



And, uh...



here's the nickel.






for the movies.



Get him home.






Stahr, l want

copyright protection



for the scene l just wrote



about a drunken writer

and a producer!






Oh, Mr. Stahr.






What's the matter?



Nothing. Drunks.

How are you?



l 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.



l'm sorry.



l just... stepped out

for some air,



and then l met a man...

a man l hadn't seen for years.



Then we went for a drive.



l hadn't realized



how that part of Hollywood

had changed.



You can see it very clearly

at night.






Then it was late,



you know,

so l 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.






Listen, l want



to ask you

a question.



What is it?



Had the man changed?






He was exactly the same.



Old Gus.






Your father's in conference.



Your father is in

a conference.



Hi, honey.



God, it's like

a steam room in here.



Why don't you open up

some windows?



l am.



l don't know how you

can stand it.



Hey, are you all right?



Your shirt is soaked.



l'm fine, honey.



Just fine.



l'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.






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.



l 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.



lt's beautiful out.



Do you know how long

it's been since...



...we had lunch together?



Have you been drinking?



Okay, honey,

l'll come with you.



You go on ahead

and get some air,



and l'll be with you

in a minute.



You go out and get

some air, honey!



l'll be with you

in just a minute!



Cover her up.



Can l buy you a drink?



l don't usually, uh, drink

with the talent.



l don't usually drink

with the boss.



One before you go.



l'll get it.






One cube of ice.



You're quite a girl,




Yes, everybody likes Lucienne.



Here's to you, kid.



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.



lt's too bad.



l thought you

were coming away with me.



l can't.



You know l can't.



l owe it to him.



l 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.



l'll never forget you, kid.



Nor l you.



Remember me to your husband.



Tell him he'll never know you



the way l know you.



l lied.



l will forget you.



l'll forget you by tonight.



Makeup and hair here?



- Yes, Mr. Stahr.

- Yes, Mr. Stahr.



You made her look

like an angel.



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






- 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, l think they have depth.



Who wrote that scene?



The English writer,







lt's the last thing he wrote

before... before he left.



What a great

going-away present.



Who ever heard anyone say,

"Nor l you."



Has anyone ever said,

"Nor l you," to you?



"Nor l you."






"Nor l you."



We'll have to rewrite the scene

and reshoot it.



lt's absolute crap.



People don't speak like that.



Do l have any writers

around here



who understand the

way people talk?






Yes, Monroe.



Put four writers

on that scene tonight,



and l want to see the rewrites

before they shoot it.



Sure, Monroe.



How much is it going to cost

to reshoot the scene?



Well, the set's

already been struck.



So how much is it going to cost?



Oh, about $     .



And we have a preview next week.



l don't care what it costs.



Make it.



l don't know what's wrong

with the scene.



l thought that was

a pretty touching scene.



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.






Who is he?



He's an American.



He took me away.



He brought me here.



l 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.



lt's all arranged.



He saved my life.



l just wanted

to see you once more.



lt's all arranged.



Stop walking.



Come back.






Open your cape.



Close your eyes.



l can never get used to the way

night falls here so fast.



There's no twilight, is there?



Not really, no.



lt's so sudden.



l suppose some parts

of America are...






Are you leaving California?



We might.



l might.












Can you drop me here

at this corner?






ls Mr. Stahr...



She just flew in from New York.



Well, Christ,

she's a very important actress!



l'm sorry, there's nothing

l can do about it.



We have an appointment!



l'm sorry,

there's nothing l can...



Mr. Robinson, please...



We've got to get this set

approved by  :  .




we're way behind.



l understand,



but there's nothing

l can do for you today.



Now, please go.



You have to make arrangements

for the preview on Friday.



He's escorting me.



l'll do it.



We have to make arrangements

for the preview.



What time shall

l 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 l pick you up?



Any time.



l'll be here at  :  .






They're waiting for you,

Mr. Rodriguez.



They're waiting for you

on the mike.



Excuse me!






Didi, this is Mr. Fleishacker.



How do you do?



Mrs. Fleishacker.






Excuse me.



Here comes Didi.



Excuse me.



Are you happy?



lt went very well.



A really great performance.



You really think so?






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.



l'm coming.



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.



Do you think

you'll ever finish it,



so you can live in it?



l think you like it as it is.



l think you like it

without a roof.



You think it needs a roof?



lf you don't want one,

it doesn't need one.



lt's your house.



When are you going

back to college?



Any time.






Will you hold one moment,




Miss Kathleen Moore.






l got your letter.






Listen, l must see you.



lt's very difficult.



lt's essential. You know that.



Look, we have the weekend.



Come away for the weekend.



l can't.



You must.



We must have time to talk.



l'll tell you tomorrow.



No, you must say yes now.



Say yes.






l'll be going away

this afternoon for the weekend.



Cancel all my appointments.



l'll be unreachable.



You're meeting

with Mr. Brimmer



at Miss Brady's tonight

for drinks.



Cancel it...

l'll see him on Monday.






This just came for you.






Keep going.



Sugar, Mr. Brimmer?



No, thank you, Miss Brady.



Sugar, Monroe?



No, thank you.



Who designed these rooms...



your father?



My father asked a designer



to design it.



Well, he designed them,

all right.



Thank you.



Thank you.



l thought it would be

a nice quiet place



for you two to meet.



Oh, it is.



lt's a very

nice room.



Know California well,

Mr. Brimmer?



No... l spend most of

my time in New York.






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.






Anthony and Cleopatra...



didn't you recognize it?






No, l didn't get any

Shakespeare at school.



How about you, Mr. Brimmer?



Oh, a bit.



Where do you come from?









l'm New York. Jewish.



l know.



Oh, at least

we're all Americans.



We sure are, Mr. Stahr.






Well, l'm glad

you came out here.



l wanted to talk to you.



You've got my writers

all upset.



Keeps them from going to sleep,



doesn't it?



l want them awake,

but l don't want them crazy.






...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...






l'll tell you three things:



all writers are children;



  % 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.






But, uh... they're still

the farmers in this business.



They grow the grain,

but they're not in at the feast.



lt looks to me like

a try for power, Mr. Brimmer,



and l will not give them power.



l'll give them money;



l won't give them power.



Anyway, they're not equipped

for authority.



More coffee, Mr. Brimmer?



No, thank you.









l don't get to meet

Reds very often.



Are you a real Red?



A real one.



Please do.



Well, l guess some of you

believe in it.



Quite a few.



Not you.



Oh, yes.



Oh, no.



Oh, yes.









All the stars

come here to eat.



Oh, really?



ls, uh... Greta Garbo here?






A pity.



Mr. Stahr...



Good evening, Mr. Stahr.



May l have a picture, please?



Mr. Stahr...









Want your photograph taken?



lf you don't mind,

l'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 l say



"the beautiful boss's daughter"?



l meant "the boss's

beautiful daughter."



lsn'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.






l like writers.



l understand writers.



Sure you do.



l mean, l...



l don't think that...



l have more brains

than a writer,



l just think that

his brains belong to me.



l know how to use them.



Well, you know yourself

very well, Mr. Stahr.



Here you are, sir.



Thank you.



Now l know you've been

disappointed in love.






That's your fourth scotch.



Oh, come on,



don't be silly, l never drink.



l know you don't,



but that's your fourth scotch.



Well, l haven't tasted

any of them.



Well, this is the first drink

l 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 l must go.



l have to talk to some people.



You mean, you have friends

out here?



Dessert, sir?



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 l'm going to tell you

what l really think.



You play Ping-Pong well,

Mr. Stahr?



ls this Ping-Pong?



He can't play.



Saturday is a...

a night to relax.



Hey, you're pretty good.



You're not so bad yourself.



l'm going to beat up Brimmer.



l'm going to handle this thing




Can't you pay

somebody to do it?



No, l do my own dirty work.






l'm going to beat

the hell out of you,



and l'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.



Please, go home.



l always wanted

to hit $   million.



Please... go home.



Can l do anything?



No, really.



Well, uh... thanks.



Thanks for the game.



What happened?



He's gone.



Did l hit him?



Oh, yes, quite badly.



l didn't want to hurt him.



l just... l just wanted

to chase him out, like...



l didn't want to hurt him.



l just wanted

to chase him out.



l guess he got scared

and he hit me.



Do you hold it against him?



Oh, no, l... no, l'm drunk.



l'm drunk.



How would you like to go out

to Doug Fairbanks' ranch with me



and spend the night?



l know he would love

to have you.



There you go.









Monroe, l've called an emergency

meeting of the board at   :  ...



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.



Ah, Monroe.



Come in.



Sit down.



l'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.



l 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.



l'll be talking to New York.



They'll be glad

to speak with you,









and they said, "Be sure and see

a doctor about that eye."



Mr. Stahr.



We'll see the studio

doesn't fall.



l'm sorry.



l can't ask you in.



So how do you want the girl?



l want a quiet life.



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.



She picks it up.



She listens.



She says, "l'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.



What happens?



l don't know.



l was just making pictures.



l don't want to lose you.



l don't want to lose you.



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