The Last Tycoon

We're all in this together.

You, me, Zukor, Cohn, pain in the ass Warner Brothers.

We're building something, together.

And I'm sure, if I were in your shoes and you were in my shoes,

you'd be generous with me.

It was an act of real friendship.

Irving here thinks I should tell the two of you

to go jump in the lake, and as we know,

boy geniuses are never wrong.

Oh, you'd be surprised.

So, yes to your Angels on the Avenue reshoot,

yes to the Brinel picture

and yes to Sally Sweet.

And we'll get you Harold Arlen and Yip Harburg

to help with the songs.

Right. But no,

to Bess Burrows playing Sally's aunt.

You don't want whores.

You want stars.

Like Minna, may she rest in peace.

L.B., that was actually, uh...

I never slept with her.

I just said that to get you to let her go.

You know, Pat,

despite appearances, this is a gentleman's business.

I apologize.

Well, then, yes to Bess Burrows.

Uh, Pat, the other titles.

Yes. Her Royal Shyness,

very funny comedy we developed for Minna.

I don't have a money tree out back.

Why don't you just take your three yeses,

you say thank you,

and if they're hits, we'll talk.

L.B., this is a hit...

Pat, Pat.

Do you freely accept that I'm now your Lord and Savior?

I mean, I parted the seas for you.

And I saved you from that prick, Corny Riddle.

Like God, no?

Well, this is God saying to you

if they are hits, then this bank will stay open.

And if not...

Uh, Louis?

The box.

Oh, thank you, Irving. Yes, Monroe.

Apparently, you've got a birthday coming up?

I suppose I do.

Many felicitations.

Do you mind if I apologize to Gyssling?

'Cause I think I'd rather borrow from Hitler.

This, too, shall pass.

Yeah. Easy for you to say.

All you got from him was a watch.

Look, he wants three hits,

let's give him his three hits.

We can release Her Royal Shyness in spring.

Yeah. I'll be dead by then.

Or he will.

Can't beat a yes out of him, Pat.

Oh, yeah?

Mr. Brady?

Yes.

Miss Taft is by the pool.

She asked me to bring you to her.

Thank you.

Clever.

And I do like clever.

Then you've read it?

I read my lines. They're fine.

Of course, some of the scenes need more work.

More depth, like a novel.

We'll take care of it.

Hmm.

Harry Cohn used to make promises like that.

And then he always went back to being Harry Cohn.

I know there were unkindnesses.

We have a love-hate relationship, Harry and I.

Mostly hate.

On my lot, you'd be a queen.

I'd need a dialect coach.

Odelle Dinton, naturally.

Naturally.

I don't shoot on Fridays.

Wouldn't ask you to.

And I'm presuming you know my director requirement.

It's not anything I can put in a contract,

but I won't show up unless he agrees to it.

Name it.

Oh. Well.

Right before we start shooting,

I always have the director come into my dressing room,

and show me his cock.

Are you shocked?

No, I'd heard. I just always thought it was apocryphal.

Margo.

Don't you think that might

undercut his authority on set a bit?

You catch on pretty fast.

Can you get Red Ridingwood?

He's awfully good.

Yes, I can get him.

Yes, he will drop his pants.

Good.

Let's talk about my deal.

Shouldn't I call your agent?

Oh, that milquetoast? No, no.

I want this to be an arrangement between us,

As partners.

Partners.

Hmm.

I need a percentage of the gross.

That's impossible.

Mary Pickford got it from Zukor

in '16.

I just can't, Margo,

it'd put me out of business.

Hmm.

Well, the way I hear it,

you're damn near out of business already.

You want me to be the pie in Louis Mayer's face,

this is what it'll cost you.

As I always say, Pat,

if you're looking for the girl next door,

go next door.

Feels good in here, doesn't it?

Yeah.

We've become pals, Monroe and I.

When he doesn't like you, he makes you wait out there.

Sometimes for hours.

Boxley once made us sit out there for three days.

Oh, my.

I love you, Bess.

And I love this picture for bringing us together.

Oh, Clint.

Hello, Clint. Hello, Bess.

Hi. Hi, Monroe.

Good to see you, Monroe.

Wanted to discuss the reshoots.

Good.

'Cause I got a funny idea.

I'm recasting your part, Clint.

Oh.

Uh...

Well, that's a good deal of a blow, Monroe.

You mind telling me why?

This picture has to work.

And they nearly clucked us out of the house

at a friends and family preview.

Bess,

I know how close you two have become.

I wanted to give you a chance to recuse yourself from the picture

as a gesture of solidarity.

Oh, no.

That's okay, Monroe.

The picture comes first, with me.

You know that.

Yeah...

I, uh...

I guess I got to go get my hat.

Here.

You can use the back if you like.

I thought we were pals.

We are.

That's why I'm telling you,

you can't drink your way through a performance.

Sooner or later, it shows.

That's sound advice, Monroe.

Bye, Bess.

Bye.

I really am sorry.

But it's the most important picture we've got.

If you were sorry, you would've cut to the ashtray.

All right, let's try it again, Sally.

"I et plenty, Pa.

You take the last one."

"I ate plenty, Pa.

You take the last one."

It's et, Sally.

Flat "E," remember?

I'm so tired.

How we doing, Odelle? We're coming along very nicely.

Mostly just vowel work now.

Oh, good. Good.

'Cause everyone's here to dance with you, Sally.

Are you deaf?

I'm too tired!

I can help with that, sweetie.

John, may we have a moment?

Yeah.

I want my mommy.

Well, your mommy wants you here.

Now take a big, deep breath of this,

and you'll feel much better.

Hello, John.

How's rehearsal coming?

Oh, fine. Fine.

Uh, what-what brings you here?

Are you kidding?

This is the most important picture we've got.