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?
Oh.
Not much.
Why not?
Should l?
Millions of people do.
Why?
Because movies are necessary to them.
They give them what they need.
What you need.
lt's my life.
Have you got them?
Yes.
This wasn't my idea.
Let's go back.
To your house on the beach.
Watch your head.
Comfortable?
l wonder when it's settled.
What?
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.
Hmm.
l know why you liked me at first.
Edna told me.
What did she tell you?
That l look like Minna Davis.
Hmm.
You were happy with her?
l don't remember.
You don't remember?
No.
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?
Huh?
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?
No.
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.
What?
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"?
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 11:30.
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."
George!
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.
Cheers.
Hello, Mr. Boxley.
What's the trouble?
l am... dangerous... when l'm drunk.
Watch your step.
l heard you were writing a script.
Mmm.
That's right.
Here it is.
And, uh...
here's the nickel.
lt's...
for the movies.
Get him home.
Stahr!
Stahr, l want copyright protection
for the scene l just wrote
about a drunken writer and a producer!
Stahr!
Oh, Mr. Stahr.
Hello.
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.
Mm.
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.
Yeah.
Listen, l want
to ask you a question.
What is it?
Had the man changed?
No.
He was exactly the same.
Old Gus.
Cecilia.
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.
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.
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.
Bourbon.
One cube of ice.
You're quite a girl, Lucienne.
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.
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, l think they have depth.
Who wrote that scene?
The English writer, Monroe.
Boxley.
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."
Hmm.
"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?
Norman.
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 $50,000.
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.
Hello.
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.
Closer.
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...
gentle.
Are you leaving California?
We might.
l might.
Listen.
What?
Nothing.
Can you drop me here at this corner?
Good-bye.
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 2:00.
Otherwise, 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 7:00.
Okay.
They're waiting for you, Mr. Rodriguez.
They're waiting for you on the mike.
Excuse me!
Didi!
Didi, this is Mr. Fleishacker.
How do you do?
Mrs. Fleishacker.
Yeah.
Excuse me.
Here comes Didi.
Excuse me.
Are you happy?
lt went very well.
A really great performance.
You really think so?
Yes.
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.
Yes?
Will you hold one moment, please?
Miss Kathleen Moore.
Hello.
l got your letter.
Yes?
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.
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.
Fine.
This just came for you.
Monroe?
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.
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.
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?
Anthony and Cleopatra...
didn't you recognize it?
Shakespeare?
No, l didn't get any Shakespeare at school.
How about you, Mr. Brimmer?
Oh, a bit.
Where do you come from?
Tennessee.
Baptist.
l'm New York. Jewish.
l know.
Oh, at least we're all Americans.
We sure are, Mr. Stahr.
Well...
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.
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.
l'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.
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.
Monroe?
No.
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.
Monroe!
All the stars come here to eat.
Oh, really?
ls, uh... Greta Garbo here?
No.
A pity.
Mr. Stahr...
Good evening, Mr. Stahr.
May l have a picture, please?
Mr. Stahr...
please?
Brimmer.
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.
Listen.
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.
What?
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 personally.
Can't you pay somebody to do it?
No, l do my own dirty work.
Mm-hmm.
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 $10 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.
Sleep.
Monroe.
Monroe, l'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.
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,
anytime.
Oh...
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.