-[fire crackling] -[crickets chirping]
[Avis] Hancock 54533.
[line rings]
I need you to come to the house.
I've made a decision.
-Would anyone like a canape? -No, Gertie, it's 2:00 in the morning.
I would like a drink, though.
Thank you all for coming.
I couldn't sleep,
and since I'm the boss now, that means you can't sleep either.
I've thought a lot about what the right thing to do is regarding this picture.
And I refuse to let anybody say a woman bankrupted her studio
on a bad bet because she followed her heart.
We are not casting Camille Washington.
The picture we're making is Peg,
and we're casting my daughter.
-[Lon] It's the prudent move, Mrs. Amberg. -No it isn't, it's wrong.
Avis, the fact that you are the first female in history
to run a studio is exactly why you should cast Camille.
Look at what's out there.
Walt Disney? What did he put out last year?
Song of the South, a movie where slaves were so happy,
they didn't even want to leave the plantation.
People are sick of this shit, Avis.
Look at all the folks that came out and picketed.
[Avis] I was one of them. I hated that movie.
-It's a racist piece of trash. -Then you understand that this town
needs a swift kick in the pants.
Maybe it takes a woman to show there are other ways to make movies.
Let's cut to the chase here. What are you risking, really?
The studio going under, for one.
Yes, Lon, we all get that.
No, I'm serious. What are you risking personally?
Ace is clearly not in good health.
If he wakes up, finds out what you did, divorces you, you still get half.
Either way, Avis, you're fine.
Look, that is a Gauguin, right?
You could just sell that and live comfortably until the day you die.
And when that day comes,
you could look back on your life knowing you did the right thing.
But if you don't do it,
how many more years is it going to take
before a colored actress gets a goddamn lead in a movie?
You're both right.
-Okay, we're doing it. -[Lon] Mrs. Amberg,
-before you go and take-- -You're fired.
I don't know if I can fire you, but if I can, you're fired.
We're making Meg.
Now, everyone, go home before I change my mind.
We'll put out a press release first thing in the morning.
Tell Camille Washington she has the role.
Well, this is rather thrilling.
Avis, I'm very proud of you.
-You're good. -No, I'm just fed up.
[big band music playing]
[bell dings]
["There's No Business Like Show Business" by Ethel Merman playing]
♪ There's no business... ♪
-Whoo! -♪ Like show business... ♪
Beautiful, beautiful. This is the expensive stuff, baby.
[hooting]
♪ Everything about it is appealing... ♪
Raymond, what? What are you doing?
-What... Oh, my-- -Give me your hands.
You got the part.
-Are you serious? -You got the part!
[screaming and laughing]
You got the part!
You're a movie star!
♪ Yesterday they told you You would not go far ♪
♪ That night you open And there you are ♪
[Raymond] I got good news, pally.
So they're changing the title to Meg, but...
-your name is staying on the picture. -Meg?
[chuckling]
I'll take it! Yes, sir!
Yes!
-Rock. -Rock!
-What are you doing here? -They're keeping my name on the picture.
That's great.
What about me? Did I get the part?
Uh...
[door opens]
[woman] Mrs. Amberg will see you now.
What is it that couldn't possibly have waited until dinner time?
Well, it's about Peg. Or I guess now it's Meg.
I'm sorry, Claire, to have disappointed you once again,
but I'm not just your mother anymore. I have a studio to run.
I came... to say I think you made the right decision.
Camille's right for the part.
But still, it couldn't have been an...
easy decision to make, choosing to...
make the film, knowing how hard it's going to be. I'm, um...
I'm, uh...
[clears throat] I'm proud of you.
[softly] Thank you, darling.
[stuttering] Oh. Oh, all right.
[voice breaking] You don't know what it means to hear you say that.
[inhales sharply]
I have to tell you, after watching your screen test,
I realized something.
You're a better actress than I ever was.
Oh... [scoffs]
-Please, you're just saying that. -Claire, it's the God's honest truth.
And that's why I've decided to put you in the picture.
-What? Really? -[chuckles]
-Yes. -[Claire] Really?
It's a good part.
[stuttering] It's Meg's best friend,
and when she finds out that she's cut from the film,
you're there to tell her everything's going to be okay.
Oh, Mother. Thank you! [chuckling]
Thank you.
[music playing]
Your breakfast is ready.
Morning, sunshine.
[Hattie] Mm!
Well, I will never get tired of someone making breakfast for me.
[Troy] Mm.
[kisses]
That's nice.
I had a great time with the both of you, Ms. McDaniel.
I thought you was naughty,
but that Tallulah, something else.
[Tallulah] My ears are buzzing.
What are you saying about me, Tony, my dear?
[scoffs] The name is Troy.
[laughing]
I'm sorry.
I've always been terrible with names.
I once introduced a friend as Martini.
Her name's actually Olive.
-Mm. -Ooh.
All right, now you two cut that out.
I would've thought y'all had your fill with all that lovin' we did last night.
[Troy] Mm!
-[door opens] -[Tallulah] Mmm.
See you next weekend?
Yeah, sugar.
[door closes]
[Hattie] Well, I'll be damned.
[Camille] I don't see what the big deal is. It's just a few photos.
[Raymond] I don't think you understand.
Hurrell only photographs actors who are about to make
that big star move in their career. It's a big deal.
[phone rings]
Hello.
-[Hattie] Hi, is this Camille Washington? -[Camille] Speaking.
You don't know me, but my name is Hattie McDaniel.
[whispering] It's Hattie McDaniel!
Uh, yes, of course I know who you are, Ms. McDaniel.
Well, look, I've been reading about you in the trades,
and my heart just about jumped out of my chest.
I never thought we'd make the leap in this country, but here we are.
Now, am I to understand that you are playing the lead role in a studio picture?
That is correct.
So she's the romantic lead, not a fucking maid.
No, ma'am, it's the lead role. [chuckling]
Well...
motherfucker, praise be!
I'm so proud of you,
but you should know, it is going to be rough.
I've been through it. Hollywood.
So if you need anything, darling, just ask me.
-All right? -Yes, ma'am.
That is very generous of you,
and I will be sure to give you a call.
Bye now.
Bye.
-[giggling] -What did she say?
[phone rings]
-Hello? -Who's that?
Uh, yeah, of course I know his work.
I'm very excited.
All right.
All right, thank you.
George Hurrell wants to photograph me.
Me and Camille.
-The guy who does all those glamour shots? -Yeah.
Yeah, he's about as famous as they come, huh?
Boy, Ace Pictures must really believe in me.
This is a big day for us, baby.
A big day for our family.
[chuckling] I'm going to be a movie star.
[unenthused] Couldn't be happier for you, Jack.
Yeah.
-[door opens] -Yeah.
["Double Dare You" playing]
[George] Good.
Junior, bring the exposure back a bit, please.
Yes.
Excellent.
Take a smoke.
Glamorous!
Good.
-What are you putting on me? -Mostly baby oil with a bit of lanolin.
Makes the light stick to your face.
You will break out tomorrow, but it will be worth it.
Nice and relaxed. Head back a bit more. Terrific.
Mr. Hurrell, I've heard about actors having a good side and a bad side.
I'm just wondering, do I have a good side?
[George] Don't talk, please.
Yes!
How do you feel about being photographed in the nude?
Excuse me?
It's art. It'll be tasteful, nothing salacious, I promise.
Also, tends to boost an actor's profile.
-Mr. Hurrell, whatever you want. -Good answer.
[Dick] So we're doing this picture, but we're doing it on a budget.
Mrs. Amberg is really sticking her neck out here
and we're already seeing pushback.
In retaliation for Meg,
our movie All Hands on Deck is being picketed in several cities in Georgia.
So this picture carries a significant risk to the studio, financial and otherwise,
so it is imperative... is imperative that we stay on budget.
-There's no exceptions. -[Ellen] Just to underscore that, Richard,
three of our contract players are refusing to work on any film
while Meg is in production.
-Who? -Lawson, Daniels, McHadden.
We can sue for breach of contract.
We'll fire them first, then we sue.
-Who are we firing? -Lawson, Daniels, and McHadden.
No surprise there.
Andy McHadden is practically in the Klan.
I just got off the phone with the lawyers.
Every theater owner in the state of Alabama...
has now pulled All Hands on Deck.
The picture will not recoup its budget, though it might not have anyway.
It's a terrible picture.
I should probably take this time to mention that
Camille and I received two very interesting telephone calls.
The first was from Hattie McDaniel saying congratulations.
The second was...
well, it was not so nice.
[phone rings]
You get on a bus to Los Angeles,
you come to my house, and you say that to my face.
Now fuck off!
[slams receiver]
[crying]
Who was that? What happened?
-I presume he called her-- -Yes.
He did.
We'll move you onto the lot while we're filming.
You can take one of the bungalows.
You will have full-time security.
-Thank you, Mrs. Amberg. -[Avis] We're moving forward.
I will not be bullied.
However, it is now clear that Meg will not run in every theater.
If we're to break even on this movie, we have to do it on the cheap,
all across the board.
So, as we fill out the cast, we use homegrown talent.
Now, what roles still need to be filled?
-Here she comes. -She's gonna be...
Here she is.
-Hello, Jeanne, dear. -Hello.
-So nice to see you. -Let's sit.
Yes. Thank you, Avis, for inviting me here.
[Avis] Jeanne.
-Well... -Well, is it good news or bad news?
[chuckles]
I-- I had heard through the grapevine that I might be up for a nice part in Peg
and that now it's Meg.
Jeanne, you know I think the world of you,
which is why I wanted to tell you this personally.
Oh, God, yes, it's-- it's bad news.
We were considering you for a role in Meg,
but we're going in a different direction.
You're just not right for that particular role.
All right.
Well... I appreciate you letting me know.
All right. That's it? You're not gonna put up a fight?
What would you have me say? Avis, cast me or I'll kill myself?
I mean, this is your studio.
You can cast whoever you want, I'm just lucky to still be on contract.
[Avis] Well, that's my point.
Please sit down, you're making me nervous.
Avis and I have thought a lot about you, Jeanne.
I know you feel neglected.
You're a great actress.
You're respected all across town, but you've never really broken through,
and here you are under contract, just spinning your wheels.
So you're going to fire me?
No.
I'm giving you a picture.
A role that will finally do you justice and take you to that next level.
A juicy role that could win you the Oscar.
I-- Is this is some kind of trick?
No.
It's not? But...
-Is it Helen Keller? -No.
How would you like to play Lee Miller in the Lee Miller biography?
-Yes. -[chuckling]
I-- I actually don't know who she is.
-Well, she was one of Man Ray's models. -Then she became a war photographer.
Thank you.
I'm so moved that you would do such a thing for me.
That you would see me...
and what I might be able to do.
Thank you.
-Wonderful, Jeanne. -[Jeanne chuckles]
[door jingling]
Don't let Henry Willson see you eating that.
What's going on?
I told myself if I got the part in your movie I'd treat myself to some ice cream.
I felt so down today, I thought,
what the hell, I should treat myself for trying, you know?
I did the best I could.
Maybe if I just treat myself every time I do that,
-something will come of it. -I'm glad you're treating yourself, Rock.
Because you got a part in the movie.
What?
Now, it ain't much, it's just a couple lines.
You're gonna be a gas station attendant, which...
-Wha--? -...is ironic.
But you come back in a dream sequence, too.
-You ain't pulling my leg, are you? -No!
Congratulations, Rock.
-[chuckles] -Thank you so much, Archie.
It's all coming true, just like we had said.
Yeah, I guess so.
[chuckling]
[man] What's the damage?
Well, um, you've gone up two trouser sizes,
and your biceps are two inches smaller.
-Jesus Christ. -[man] That can't be right.
I've been watching what I eat, Henry. Just like we talked about.
Uh-huh. And what exactly have you been eating?
Well, I live right down the street from Pink's Hot Dogs, right?
-Protein! -Fuck me in the ass.
You've got to be kidding. All that fat? Do you know what, Guy Madison?
If I had a gun, I would take it out right now and blow my head off.
Wait, but since we talked about me trimming down a bit...
I don't get those anymore.
I just get milkshakes.
How many milkshakes do you drink in a day, Guy?
I don't know. Maybe three?
Phyllis, go down the street and buy me a gun
so I can stick it in my mouth and end it all right now.
-I'll trim down, I promise! -You bet your ass
you're gonna trim down. Now get the fuck out of my office
and go eat a fucking cobb salad for once in your life.
[Guy] I'm very sorry, sir.
How is this my fucking life, Phyllis?
Why is it that every one of my clients, I got to be their fucking daddy?
I gotta spoon-feed every one of these thick fucking meatheads.
They can't wipe their shitty asses without me.
Why is that?
[Henry exhales]
Well, sir...
I think with these good-looking boys, they get infantilized at an early age.
Their parents don't raise them right.
That's very astute, Miss Gates.
That'll be all.
Yes, sir.
Oh, um...
Rock Hudson is here to see you, Mr. Willson.
[under breath] Oh, God.
-Yeah, send him in. -Okay.
Mmm.
[knock at door]
Why are you smiling like that? It's four lines.
Well, yeah, but it's four lines in a major motion picture, Henry!
-Uh, you know what, Rock? -[chuckling]
Let me pull you back down to the surface of planet Earth for a moment, okay?
Your screen test was a fucking embarrassment,
and the only reason they gave you a part was because they felt sorry for you.
Yeah, but... but it's got to mean something, Henry.
We still have a major problem, Rock, and the problem is twofold.
One: you cannot act,
which would be fine if you could just stand quietly in front of the camera
and smile.
But you can't because, number two, your teeth are crooked.
The spacing? That haunts my dreams.
Those are not movie star teeth.
Really?
Yeah.
So you know what you and me are gonna do right now? Hm?
I am gonna walk you down to the dentist,
I am going to sit you in his chair,
and I am gonna hold you by the hand while he makes your teeth perfect, got it?
We're gonna take the leap into leading-man territory.
Henry, I'm-- I'm afraid of dentists.
No shit.
Henry!
[elevator dings]
[man] Dan Seeley, transportation.
[man 2] Gregory Hall, lead gaffer.
Carl Williams, grip department.
And I'm Raymond Ainsley, the director.
Let's make a picture called Meg.
I don't know why you're all applauding,
I've asked for budgets from all departments,
and every one of you is over.
One hundred thousand dollars over, to be specific.
Until you all come in on budget, this film is not going to get made,
so I would hold the applause if I were you.
I think that number might reflect what we may need
to make this picture the way I want to make it.
With all due respect, Mr. Ainsley, you don't know what you need.
Greens department, $30,000.
Do you think plants waving in the background warrants 10% of the budget?
No, um, Mr. Samuels... I can get that down.
[Dick] Hair.
I mean, what the fuck, Sharon?
Well, okay, yes, that number reflects four stylists most days.
How about just one? What's that number?
Yes, that's...
That's a much smaller number.
-I'll get into it. -[Dick] Good.
Before I forget, let's have a working dinner. I want to go over the script.
Sure. I thought you said the script was in good shape.
It is. "Good" can always be "better."
All right?
He just never ceases to dazzle, that Richard.
Such a natural leader.
So exacting, you know?
This is a man who believes that greatness comes from refinement.
-You're in love with him, aren't you? -No.
There's nothing wrong with that.
Ask him out on a date. See what he says.
Avis, I-- I've forgotten how.
You know, the last man I went on a date with was Lon Chaney.
Lon Chaney? Jesus, Ellen.
Besides, you know, I... I just love my studio life.
I love it.
I work my tail off and I leave here every evening... satisfied.
I am content to spend my evenings reading scripts
and munching on stupid Ritz crackers by the fireside.
Listen to you!
Wouldn't it be nice to cuddle up at night to someone you love?
Well, of course it would be, but...
Is Richard the one?
You know...
he is the subject of occasional rumors.
Yes, I've heard that he's a certain way, but I've never seen it.
-No. -After all these years, wouldn't we know?
Yes, I mean, you'd think we would.
How about this...
-The Lee Miller script... -Mm-hmm.
You tell him you want to talk through some casting ideas.
-Mm-hmm. -Make him dinner,
and after a few drinks, make your move.
Oh, God.
Oh, what if he were just horrified?
No. I-- I really, I...
I, honestly-- I don't think I would survive the embarrassment.
Ellen, the last thing I want is for you to get hurt,
but you've been standing on the precipice forever.
[laughing]
Oh, God. Don't laugh.
Stop it.
Oh, my God.
I'm Claire Wood, I play Sarah Wadsworth.
Hi, Jack Castello. I play Sam Harrington, the romantic lead.
Hi, I am Camille Washington and I play Meg Ennis.
I am Anna May Wong.
Thank you.
I also never believed I would be sitting at one of these tables again.
I am very happy to be playing the role of Caroline.
And I'm Archie Coleman, screenwriter.
All right, that's everyone. Let's dive right in, shall we? "Meg...
screenplay by Archie Coleman."
"Interior, Broadway theater, night.
The curtain opens on the Broadway play.
In the audience, we see a young woman of color, Meg,
seated in the front row.
Applause as Caroline Lee walks on stage.
She takes a bow and locks eyes with the girl in the front row.
A moment, then the play begins as camera holds on Meg's face.
A stage actress speaks to Caroline."
How long have you been here?
I just came in.
-What do you want? -I don't want anything.
I was told to wait at this place.
"The audience laughing all around her,
[fading] Meg just stares as we cut to exterior, stage door, night...
The crazed look now absent from her eyes, Meg stares up in awe
at the Hollywoodland sign in front of her, struck by its majesty."
[Camille] There you are, old friend.
Somehow I always knew it would end up this way.
[Archie] "Dissolve to:
Meg's hands grasp the scaffolding
as she climbs up the backside of the enormous H.
As she reaches the top, wind whipping her hair,
her eyes welling with tears, she spots Sam
emerging from the shadows below."
Sam, what are you doing here?
Leave me alone, this is my destiny, mine and mine alone.
[Jack] Meg, I won't let you do it.
You know I love you and you know I won't let you throw it all away.
I can't, Sam. I can't! I can't do it anymore.
[Archie] "Close on Meg's foot as it slips. She catches herself."
[Jack] What did you tell me about killing yourself?
When all those Wall Street so-and-so's lost their fortunes and ended it all,
you said, "Sam, they picked a long-term solution to a short-term problem."
Well, that's what you're doing now, Meg.
Goodbye, Sam.
Goodbye to it all.
I'm so sorry.
"Meg jumps from the sign. As she falls--"
-No! -"Sam falls to his knees, weeping."
[Jack] Meg! Meg, why! Why?
Why couldn't I save you?
[Archie] "Close on Meg, her body twisted and lifeless at the foot of the H.
Her eyes open,
staring up at the moonless night full of stars,
camera cranes up and pans out to the city lights of Hollywood below
as the wail of a distant police siren echos into the night
as we cut to black.
The end."
Bravo, everybody. How about that, huh?
Um, thank you very much.
Wonderful work.
Let's take five, and then we'll start rehearsing.
Camille, that was...
-That was fantastic. -[Camille] Thank you.
So were you, I mean, it's actually-- it's a really good part.
That ending, though. It breaks your heart, doesn't it?
I just wonder, aren't people going to know ahead of time how it ends, though?
That she kills herself?
Fill her up, ma'am?
Of course I'd give directions to a pretty gal like you.
Just head up to Franklin Avenue, take a left, and shoot up Beachwood Drive.
You'll see the Hollywoodland sign at the top of the hill, big as anything.
-Hey. Hey, Rock. -Big as anything!
You-- you look different. You get a haircut or something?
-No. -Looks great, whatever it is.
Listen, I wanted to tell you, boy, are you terrific!
You really think so? I wasn't overacting?
No, no. It was great. Very natural sounding.
Well, thanks, Jack.
You, too. You're gonna be a real star, you know.
[Jack scoffs]
No, you are. I'm just happy to feel like a part of something.
Like I got a family, you know?
Yeah, I know what you mean.
It's nice, ain't it?
Yeah. That ending, though, it's...
It's real sad.
You know, I keep whispering under my breath,
"Don't do it, Meg.
Don't do it."
Yeah, but...
you know, that's what happened, so, that sort of...
No way around it, you know?
-Yeah. -[Raymond] I mean...
-[Archie] Camille. -[Raymond] Wonderful.
-And Anna May Wong, she was fantastic. -[Dick] Mm-hmm.
She's only in a couple of scenes, but it just kind of worked.
Good. Good.
All right, let's just do a page turn, and I'll tell you my thoughts as we go.
First thing, page three.
Meg meets Caroline Lee at stage door.
Why? What's this scene saying?
Well, uh, she's meeting this Broadway star who becomes her idol.
Mm-hmm.
That's very important. I don't want to change that.
I've gone page by page with writers through hundreds of scripts,
and the instinct, especially for a young writer,
is to get defensive. When I have a question about something,
it means that there's something that's not there,
something that you might do well to flesh out.
Yes?
As for the scene on page three...
Uh, Caroline has just finished the play, and she's alcoholic, yes?
Which means that she's probably had a drink.
And Meg, when she meets her,
might smell it on her breath, wouldn't she?
Yeah. Yeah, it's--
Yeah. That's actually a really good idea.
[Dick] Okay, scene in the gas station.
Let's put this in the bar, make Rock the bartender.
He still tells her how to get up to the sign...
Okay. Final scene.
This girl that we've spent the whole movie rooting for
jumps off the Hollywoodland sign.
Kills herself. Credits roll.
-[Raymond] Right. -[Archie] Yeah.
What are we saying here?
[Archie] Um...
Well...
it's...
To me, it's like...
It's as if she was...
[Archie grunts]
-It's sad. -It's sad.
[Archie] That's kind of the point.
-You know, like Meg is a stand-in... -[Dick] Mm-hmm.
...for all of the thousands and thousands of people that come to this town.
Now, they come here with their dreams, and those dreams are dashed.
-They come-- -Okay, so she's a stand-in
for countless other girls. It's a trope, really.
She's this troubled white girl who's so beaten down
that she decides to end it all, right?
-But... she isn't white anymore. -Exactly.
So it's no longer a trope.
Instead, it's a new story about a colored girl who...
worked and worked and worked, and she never got the career she deserved,
so she decides to stop fighting and end it all.
That's-- that's troubling to me.
This picture starts with a young Meg looking up at a stage.
Well, what are we saying to a young colored girl looking up at Meg,
up there on the screen?
Oh, fight for a while, but then give up.
Mmm.
What if she doesn't jump?
What if she climbs back down?
She takes her boyfriend's hand...
and we know she's gone to the brink, but...
she survived it.
-She gonna be all right. -[Raymond] That's a...
that's a very different movie.
It's a better movie.
[Ellen] Is he in? I just need a word.
Uh, sorry to interrupt, Dick.
Have you got anything on the books for Friday night?
I don't think so, why?
Well, Avis is pounding on the Lee Miller script for Jeanne Crandall.
I know you're working with the writer, but that picture has about 100 characters.
Come over to the house Friday.
I'll cook us up something, and we can steal a march on the casting.
-Okay. What time? -Say, 8:00?
-Good. -Good.
Um... Avis needs to see you both.
She said it's urgent.
[Ellen] Mm.
[Dick] Well, this isn't good.
So, we're sure Tattletale Magazine has this.
Yes, Ellen, I just got off the phone with them.
They're running it on Friday.
And what exactly are they running?
I was, uh...
arrested for...
[voice trembling] ...um, solicitation.
I was working at the gas station, and I didn't know she was vice squad.
[Ellen] Oh, dear.
[shuddered breathing] I'm sorry, I just...
I knew it was wrong, and now it's ruining everything, and...
You all took a chance on me.
-Hush now, come on. -No, I'm so sorry, Mrs. Amberg.
You must hate me.
Please stop crying.
I don't hate you.
I myself have...
Well, you know, I've been known to frequent that station.
I'm surprised I never saw you there.
Well, it's out there now.
[Avis] Why does anyone even care?
[shouts] This fucking town!
I think we know who we have to call.
-I already did. -Sorry I'm late.
Should have taken Fountain. So, what are we looking at here?
Mugshot is on the table.
Vice squad picked him up for solicitation.
Jack?
Jack Castello.
-Henry Willson. -Hi.
We met at George's party. George Cukor?
Yeah, I remember.
[Henry] Oh, yeah. We had a long talk about morality.
So, this is... [chuckles]
This is ironic.
I know who did this.
Dean Wharton, freelance reporter.
How do you know that?
Honey, I got a finger in every stink hole in town.
You see, Dean Wharton has something in common with the publisher of Tattletale.
They don't like Jews and they don't like women.
So, probably not big fans of you running this studio.
Look, I'll quit. I'll move back home, you can recast the picture.
Shut up.
Leave it to Uncle Henry.
I'll need a week.
They're going to print on Friday.
Well, then, you'll owe me big, won't you?
[Raymond] Oh boy, what do you know about that? Hey, fellas.
[Sam] So, what do you think?
It's fantastic.
Is that what it looked like?
Yeah. In '24 the sign was a little weathered, but, uh, still new,
nothing like it is now. We couldn't build the whole thing, so...
this'll pretty much play when she's standing up at the top
and then the reverse of Sam screaming, "No!"
and falling to his knees crying,
and then the tilt up to the city lights.
Yeah, I like that.
I got a location right in front of Griffith Observatory.
Great, great views of the city.
[Raymond] Uh-huh. And, uh...
Wait, hang on...
Uh, how does she climb up?
[Sam] Well, Peg Entwistle used a ladder.
I mean, the script says she climbs up the scaffolding.
-That's right, so where's the scaffolding? -[Sam] Well...
But she used a ladder.
I just figured budget, as it is,
you get a tight shot of a hand grabbing a rung,
-then cut to her standing up at the top. -[Raymond] Yeah.
Uh, that's not exactly the most dramatic choice, is it?
And-- and how's she supposed to climb down?
-Doesn't she jump? -[Raymond] No.
No, she doesn't jump. We're changing that.
She decides not to jump, and then she climbs down,
and I didn't think that'd be an issue, because I thought there'd be scaffolding.
How's she supposed to climb down now? What am I supposed to do?
How am I supposed to shoot that?
What? She went up there, and she throws a rope ladder off
-and climbs down the front of the sign? -Yeah, that'll work.
No, it won't work, Sam, 'cause she went up there to kill herself.
She didn't just bring a goddamn rope ladder with her in her purse!
We need to shoot both sides of the sign,
and there needs to be scaffolding that she can both climb up
and climb down safely.
And the camera cannot point at this bare section of the sound stage.
Somebody's gotta dress this.
-No, but see, Mr. Ainsley... -[Raymond sighs]
Look, building this sign took every penny in my budget.
I mean, you're talking about, I don't know,
$25,000 to change it.
Fine.
We don't really have a choice.
Just fix it! You two, come on.
Hello.
Mickey, I am so sorry I'm late.
Hi, how are you doing?
I tell you,
one of my clients...
he finds a wart on his knob. Turns out he's got syphilis.
I had to take him to the doctor.
You know, they say you got to get penicillin for that.
-[Henry] That's what I hear. -I had the drip once.
-That right? -After a while, it went away.
Oh, that'd be nice.
What can I get you gentlemen?
Can we get two bowls of spaghetti, a Creme de Menthe for myself
and a glass of Lambrusco for the gentleman.
I get that right?
-You got a good memory. -Yeah.
Listen, Henry, before you even ask, whatever you want, it's done.
Well, Mickey, there is a certain reporter over at Tattletale Magazine
who is making life very difficult for a dear friend of mine.
["Friendship" playing] ♪ If you're ever in a jam ♪
♪ Here I am... ♪
Hey, is your name Dean Wharton?
Yeah, why?
[Dean grunting and groaning]
As far as my wife's concerned, because of you, I walk on water.
-Stop. Yeah. -Meeting Betty Grable at that premiere...
-I mean, that was like meeting royalty. -Yeah.
[Dean grunting]
And the pony for my daughter? Henry, she named him Peppermint.
-Aw, the sweet little girl. -Yeah, he's a pain in the ass.
-Stinks to high heaven. -Mm-hmm.
-Shits every 30 seconds. -[laughing]
-[grunting] -[Dean groans]
-Stashed him up on Old Ranch Road. -Smart.
♪ Ours will still be hot ♪
♪ A-lottle-dottle-dottle-dig-dig-dig ♪
♪ If you're ever down a well Ring my bell ♪
Oh, Dean...
-[door slams] -[Henry] Look at you.
God.
[Dean grunting]
I am so sorry. Jesus Christ.
Animals.
[Dean grunting]
[groans]
So, spill the beans. What is it you need?
Well, Mickey, I just...
I admire you so much.
What you do, I...
You're a part of the Hollywood family too, as far as I'm concerned.
No! [pants]
[screams]
Let's talk friend-to-friend, all right?
I think there might be a story you're sitting on
that some powerful people might prefer you bury.
That good leg of yours? I think that was their warning.
If you run that story, they'll break that leg, too.
You put them up to this?
It's because of you they jumped me?
-[scoffs] Fag. -Ooh, ooh. That's "Mr. Fag" to you.
Leave Ace Pictures alone.
You slimy piece of shit.
-I'm gonna rip your fucking head off! -Hey-ho! Now, now, no hard feelings.
Look, as soon as you bury that story and your bones stitch back together,
I'll keep funneling you all the best dish,
but if you ever breathe a word of this to anyone,
I'll watch them break that one good leg of yours,
and then... I'll rip your dick off.
Got it?
♪ Ours will still be slick ♪
♪ Good evening, friend ♪
-[Dick] We have to change that. -[Avis] I think we can--
I come bearing good news.
You're safe.
The story about how your film's leading man is a male gigolo has been killed.
Furthermore, the story they have on you, Mrs. Amberg,
replete with photos of you with said prostitute,
has also been killed.
Oh, Henry, how can we ever repay you?
Are you asking rhetorically, or is that a genuine question?
Because you absolutely do need to repay me.
Look at you, Avis.
Your life has purpose.
Making controversial pictures, you're doing something with your life.
And what am I doing with mine?
I think I'm in the middle of what they call a midlife crisis.
I'm bored.
I'm bored with the talent, I'm just bored.
-Bored, bored, bored. -Here it comes. He wants to direct.
Oh, God, no, directing's hard. I have no interest in that.
I want to make the jump from manager to producer.
That would be a big leap of faith on your part,
-but I want it. -You're out of your mind.
[Henry] Uh-uh, wasn't finished.
I want to produce this picture.
Meg, or whatever it's called.
You're having trouble with a certain segment of the population
who's disgusted by what you're doing,
and my contacts, particularly if my name were to appear on said picture,
might be able to make some of those protests go away
in several cities,
if not states or even regions.
However, I want my name...
above Dick's.
-Fuck you. -Fine. Agreed.
Avis!
It's the mafia you're talking about, just to be clear?
That's who helped you bury the story?
Fine, I don't care.
I'll take all the help I can get.
This picture is just the beginning for this studio.
Equality, progress, that's what we should stand for.
Congratulations, Henry. You're a producer.
[Dick] This is unbelievable.
Fraud.
Homo.
What's going on here, Sam?
Hey, Dick.
So, yeah, just adding scaffolding to the back of the sign
so we can shoot her climbing up.
We also had to move it.
Who approved that?
-Raymond. Said to just go ahead. -[Dick sighs]
-I assumed-- -Mm-hmm.
And how much are you over now?
Twenty-five.
Stop the work!
I want everyone off this stage now.
You're fired.
What the fuck?
I went out on a limb for you.
This studio is risking everything for you,
and you go behind my back
and fuck around with the budget. Who do you think you are?
-Uh, Mr. Samuels-- -Answer the fucking question!
I'm-- I'm sorry, Mr. Samuels, but I...
You want to go $25,000 over,
-you fucking pay for it. -How?
Don't you ever fucking pull this shit with me again.
How am I gonna find that kind of money?
[door closes]
I think I have an idea.
We all in?
I am.
[stuttering] I just...
Look, are you sure that there's some tricks that don't involve...
having sex? 'Cause whatever I do, I gotta tell Camille.
Raymond, we'll try to funnel all the tame stuff to you.
Jack, what do you say?
Fellas, I can't.
I can't go back to that. I gave that up.
I made a promise to myself,
for my family, that I wouldn't do it anymore. So...
I'm sorry.
-[Henrietta giggling] -What the hell?
Henrietta?
Sweetheart, what are you doing here?
Just catching up with some old friends.
-Oh, You were going to eat dinner here? -No.
Okay.
-Should we go? -Yeah, let's get outta here.
Fellas, I'm sorry. I'll see you around.
All right, man.
[Ellen] I just think, for those SS guards,
we actually shouldn't cast with named actors.
I-- I think that, uh, it's a little odd in the midst of all that horror
for the audience to suddenly say,
"Oh, look, there's that darling Claude Rains."
[chuckles] Yes, I think you're right.
-Dinner was delicious, by the way. -Oh, I'm glad to hear it.
He does look like a Nazi, though, doesn't he? Claude Rains?
[chuckling] He does.
Which begs the question: who plays Hitler?
You know, I've been thinking about that.
It's just the one scene, but God, it's good.
And it's Hitler for Pete's sake!
Any actor worth his salt should give anything to come in and test.
-You know what we should do? -Hm?
Test everybody in town,
no matter how ridiculously wrong they are for it,
just to see what their Hitler looks like.
Yes, you know I'd love to see little Mickey Rooney have a crack at it.
[laughing] W.C. Fields.
-[laughing] -No! Edmund Gwenn.
-He just played Santa. -Well, that's what I'll tell him, you see.
I'll say, "Edmund, darling Edmund,
you've already given the world your Santa Claus.
I think it's high time you gave us your Hitler!"
[both laughing]
[chuckles]
[sniffles]
Ellen...
[Dick clears throat]
Let's drink.
You know...
after my husband died,
twenty years ago,
if I had made a pass at a man and he rejected me, I...
I think I would have been shattered.
I'm sorry, I-- I think that was clumsy.
Dick,
we're both single, we're best of friends,
we work so well together.
We're a great match.
Why-- why can't we, you and I, just give it a shot?
-Meaning? -Well, Jesus, Dick...
I mean, pretty much what we already have.
We're-- we're very rarely apart.
But this... this...
[exhales sharply]
Having dinner at home.
This is nice.
And we would live together?
Well...
Yeah, I mean...
We're both getting up there. I'm well ahead of you.
I confess, I... I...
I do want passionate love in my life.
Ellen, I think the world of you.
Richard...
Are you...
Because I don't give a fig if you are.
I just can't be with anyone.
Fair enough.
Well, back to casting.
Listen, um, this has just been so helpful,
uh, you know, getting the ball rolling, so--
so thank you.
I'm-- I'm so grateful, thank you.
Actually...
would you mind? I'm feeling tired. Let's continue this tomorrow.
Oh, of course.
[thunder rumbling]
Richard...
[voice breaking] Have I just ruined what we have?
Oh, Ellen.
[kisses]
Never.
[crying] I'm so...
[sniffles]
[door opens and closes]
[sobbing]
["As Time Goes By" by Frank Sinatra plays] ♪ You must remember this ♪
♪ A kiss is still a kiss ♪
♪ A sigh is just a sigh ♪
♪ The fundamental things apply ♪
♪ As time goes by ♪
♪ And when two lovers woo ♪
♪ They still say "I love you" ♪
♪ On that you can rely ♪
♪ No matter what the future brings... ♪
What can I get you?
Bourbon. Double, please.
♪ Moonlight and love songs ♪
♪ Never out of date ♪
♪ Hearts full of passion ♪
♪ Jealousy and hate ♪
♪ Woman needs man And man must have his mate ♪
♪ That no one can deny ♪
You look like you've had a rough night.
[chuckling] Yes.
Just a difficult conversation with a friend.
I'm John, by the way.
Dick.
Nice to meet you, Dick.
Can I buy you a drink?
Thank you.
[clears throat]
It's your first time?
Place like this?
Yes.
I've stood out there looking into this place
many, many...
many times.
I've come close before, but...
I just never made it inside.
Congratulations, Dick.
You made it.
[scoffs]
[Dick exhales]
[sighs]
[thunder rumbling]
-Jack, I need to talk to you. -I need to talk to you.
What is it with you and that guy at Schwab's?
I always see you talking, laughing together.
Who-- who is this twerp?
His name's Erwin Kaye, Jack, and he's not a twerp.
He's a lovely person.
He's from Evansville, Indiana, and his family owns a hardware store.
I don't think you mean to, Jack,
but you make me feel bad about myself,
and he makes me feel good.
[inhales shakily] So a couple of months of me working at Schwab's,
while you were waiting in line at the studios
or spending the day at the movies or doing whatever you do,
he and I became very close and...
I have to tell you this:
the babies are his.
[sniffs]
What do you mean, they're his?
How do-- how do you know?
[shakily] Because I got pregnant in February,
and you didn't make love to me that month.
Erwin did.
And you and I didn't make love again until March 13th,
and I was already late by then.
[Henrietta sniffling]
[breath shuddering]
Why didn't you tell me?
Jesus Christ, Jack,
I thought I did.
I thought the second I told you I was pregnant,
you would do the arithmetic, but it didn't even cross your mind.
You were too self-centered to even have noticed.
This can't be right.
Do twins run in your family, Jack?
Because Erwin's got a twin brother back home
and both of his uncles are twins.
Not everyone's dream works out the way yours did.
Erwin's going back to Indiana, and I'm going with him.
We're gonna take over the family hardware store.
[sniffling]
['You're Nobody 'Til Somebody Loves You" playing]
[knocking on door]
Can I sleep on your couch?
What's wrong?
♪ You're nobody 'til ♪
♪ Somebody loves you ♪
♪ So find yourself ♪
♪ Somebody to love ♪
[big band music playing]