l'll be waiting for you there...
in about one hour.
You can trust me.
Ah, signora.
Grazie.
Che cosa?
Go on. Go on!
The end is too gory.
Cut out one roll of the table.
Okay.
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.
Right.
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.
Shh.
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.
Oh...
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?
Mmm.
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.
Mmm.
How did it go?
Oh, that's good.
Mmm...
When are you coming home?
Oh... good.
Beautiful baby.
And you want me to meet you?
Mmm.
Next time l'll be coming with you.
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.
Want me to go?
Yes!
No.
Cut!
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!
Makeup!
That was really very good indeed.
Makeup!
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.
What?
Didi...
trust me.
Thank you.
l'm ready.
Chief?
Let's do it again.
We're going to do it again.
Bitch.
Get it quiet now, damn it!
All right, bring it down.
Quiet! Quiet, damn it!
Good night, Frank.
Good night, Brian.
Yo.
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 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, l'm just Daddy's little daughter.
Uh-huh.
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.
Here.
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?
Stahr!
Brady!
Hello?
Yeah?
Are you all right?
What happened?
Geez, yeah.
We had an earthquake.
Monroe, pick up the phone, will you?
Yeah.
Yeah, l'll be right down.
Robbie!
Yeah!
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 17 and 24.
See the gates are shut tight.
French village is flooded, too.
We'll get the pumps from the tanks on stage nine.
Okay.
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!
Whoa...
All right, hold it, right...
Whoa.
l'm sorry.
We just followed the trucks in.
Good evening, sir.
Good evening, Kino.
ls everything all right at the studio, sir?
Yes.
Would you like some tea?
No, thank you.
Shall l turn off the lights?
Yes.
Darling, l've come home.
Yes.
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.
Right.
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.
Stage 24,
take five.
Action!
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, l don't think so.
l might just come in late.
Oh?
So...
Uh...
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.
What?
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.
What?
Nothing.
Yeah?
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?
Yes.
Of course not.
But you will dance with me at the ball.
Sure l will.
Hello, Monroe.
Hello!
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 37,000 in Chicago last week.
l know.
That's a tragedy.
l'm in a tragic mess.
lt's...
Well, what are you talking about?
lt's Esther and me.
Mm-hmm?
l love her.
She's my wife.
Yeah?
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 25,000 in Des Moines
and broke all records in St. Louis
and did 27,000 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.
Ah.
Yeah... nothing.
Nothing.
So, l... so l came to you.
Yes, you did, l see.
Ah...
l mean, we both came from nowhere, from nothing, right?
Right.
What were you, a messenger boy?
That's right.
l delivered groceries.
Yeah.
This is America.
Look where we are now.
l mean, look at this office, look at you.
Yeah.
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.
500 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!
Mm.
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.
Yeah.
Oh, yes, l see.
Just play the part the way l said.
All right then
Thanks, Monroe.
Thanks.
The doctor's here.
Ah.
Hi, Doc.
Come on in.
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, l'm fine.
Any... pain?
Some.
They'll never get writers unionized.
You know why?
Hello, Monroe.
Gentlemen.
Monroe.
Gentlemen.
Everything all right?
Fine.
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?
Brimmer.
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, too.
There are other aspects, of course.
Well...
l'll find out next week.
Better find out.
The last thing we need is a writers' strike.
We got 16 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 $27 million profit.
lt'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.
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 $2 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 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.
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.
Yes.
Hello, Robin.
Uh-huh.
Good.
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.
Okay.
lt'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.
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.
Uh-huh.
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?
How have l distorted the damn girl?
l'm not interested in your fantasies.
Eddie.
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 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.
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.
Mr. Stahr.
How do you know?
Because l paid 50,000 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?
Perfect.
Mm-hmm.
Gee.
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.
When?
Tonight.
Where?
At your house?
No.
Somewhere outside.
l'll meet you somewhere at 9:00.
l'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 l wear the silver belt?
Yes.
Hello, Monroe.
How's it going?
Geez, l'm glad you came down.
She's too old for me.
See who it is.
Hello.
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?
No.
l'm putting Daditch on it.
Oh.
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.
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.
Yes?
lt's Mr. Brady.
Yeah.
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 l need is... - Not now.
Hi.
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?
Mm-hmm.
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?
Westwood.
l'm an actress.
Hmm.
l'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 l'd like to stop here a minute, please.
Could you wait a second?
Kathleen?
Edna?
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.
Oh...
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?
Yes.
l came out here a few months ago.
Was it me you wanted to see, or Edna?
Uh...
l made a silly mistake.
l thought you were wearing the silver belt.
Oh.
But l wasn't.
No, but it was you who l wanted to see.
Yes?
Why?
You reminded me of someone.
So you're Mr. Stahr, the producer?
Mm-hmm.
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?
No.
Good.
l feel as if l had my foot in the door.
Like a collector.
l'm sorry, l can't ask you in.
Well...
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?
No.
Shall l turn off the lights?
Yes.
Sit down, Mr. Boxley.
l can't go on. lt's a waste of time.
Why?
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.
Talk?
Mm-hmm.
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?
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?
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.
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.
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.
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.
Lights.
Needs about 20 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?
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, l didn't... l didn't hear anything.
Did you hear anything?
Not a thing.
Eddie...
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.
Hmm.
How do you know her?
Oh.
l met her...
recently.
Are you married?
No.
l must go back now.
l promised this dance.
Can we have lunch or dinner?
No.
lt's impossible.
l must go back.
Thank you for the dance.
Monroe?
Hi, Rod.
Hello, Esther.
Hello, Monroe.
Monroe, come here.
lsn't she wonderful?
lsn'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?
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.
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?
l think so, too.
You know, uh...
l saw Highway to Tomorrow.
You're right.
You take 20 minutes out of it,
you got a fine movie.
Possibly.
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.
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.
Oh!
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 35, 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."
Ah...
Where's your car?
Listen, where will we meet tomorrow?
l'll come by, and l'll pick you up at 2:00.
Hmm?
No...
No.
l'll meet you here, the same spot.
Have you been here all night?
Yes.
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?
Nothing.
What'll you have?
Two teas.
Right.
Shake?
See?
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.
Seat.
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?
Right?
Right!
Here.
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?
Sure.
ls it from a film set?
No.
Can l walk on it?
Walk.
l'll watch you.
Will you live here alone?
Yes.
Alone with your movie projector?
Mm-hmm.
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?