01x08 - An Enemy Among Us

[bunniefuu]

(projector clicking)

♪ ♪

♪ ♪

♪ ♪

(door closes, footfalls approach)

♪ ♪

(bulb sizzles)

Nietzschean Übermensch.

Any comments you wanted me

to pass along to Mr. Stahr?

Yes.

Tell him I think his director is a putz.

I know you don't know what that means,

- but he will.
- I know what it means.

Will that be all?

Yes. Thank you, Felicity.

Mr. Brady?

Yes?

Martin Ringler.

Your board sent me

to look at your books.

Why would they do that?

Well, not to put too
fine a point on it, sir,

but they claim you've put
the studio in arrears.

Is that right?

A loan from Mr. Mayer,

paid back with interest pre-term.

Salaries cut, then restored.

How much do you weigh?

- Sir?
- You like numbers, give me one.

pounds.

Soaking wet. Now get out of
here before I snap you in two.

Mr. Brady, I have a letter
here from your board

ordering you to furnish
said investigator

with any records or
files he might require.

"Investigator"?

Yes, sir.

I'm a forensic accountant.

I review your books,
then present the board

with my recommendations.

I don't need any recommendations.

We have a cash flow problem at present.

So we spend less.

Where shall I set myself up, sir?

♪ ♪

You know, you can stop staring at it.

- (chuckles)
- It won't disappear.

Brought you some cheaters.

Oh.

You're going to be bathed in jewels.

Maybe a car, too.

Oh, and, of course, your
luggage-hauling days are over.

It's strictly porters and
staff from here on out.

So I'm royalty now?

At Brady-American, you are.

A marriage contract?

Of sorts.

Your seven-picture deal.

Pat's idea.

Seven? Oh, my goodness.

How sexy. (Chuckles)

Which page do I sign?

You might want to read it first.

With your lawyer.

- I don't have a lawyer.
- I'll get you one.

And we shouldn't discuss this
again until he's weighed in.

You and I are now adversaries
in a business negotiation.

Technically.

You saying I can't trust you?

Look, it's my job to exploit you.

Okay, movie man...

exploit me.

(Kathleen moans softly)

CHOIR: ♪ Christmas is here ♪

(choir holds final note)

What a picture.

Wonderful.

Charming.

Leslie Reeves was an inspired choice.

What made you think of him?

Well, ask Pat. This was his baby.

- HOPPER: Is that so?
- It sure was.

I didn't even see any rushes.

We're glad you liked the picture, Hedda.

But it's an underdog, like we are.

The same three studios getting
all the nominations every year.

Angels needs a champion.

That's sweet.

The little studio that could.

So,

I write a column fawning all over it,

saying that it's my favorite
picture of the year...

...infuriating Louis Mayer,
Jack Warner, and Harry Cohn.

And I get... what?

Well, the satisfaction
of praising a picture

that actually deserves it.

Mm.

Or, maybe, the story behind the walkout

that your employees just staged?

That... that was no walkout.

A payroll guy lost some salary checks.

It created a minor stir,
but we fixed it in a jiffy

and everybody went back to work.

Hmm.

Except for the payroll guy, I assume.

(chuckles): No, no, we kept him on, too.

Everyone's entitled to a mistake.

Ah.

Well, then you and I are...

- one exclusive shy of a deal.
- BRADY: Oh...

Monroe...

what about your fiancée?

An unknown offered a lead

in your next picture?

Who is she? What was her childhood like?

- Her family?
- I'd kind of like to know that, too.

HOPPER: I want to profile her,
with pictures, of course.

Go back to her hometown in Ireland,

the house she grew up in, her parents.

My readers love all that,
especially if it's... humble.

Humble does sell.

- HOPPER: Yes.
- Her father passed away.

And her mother?

Good.

Can I count on the studio

to arrange it all for me?

And when I say "arrange,"
I do mean "pay for."

(chuckles): Yeah.

Then consider Angels plugged.

Hmm.

(Brady clears throat)

You know, new rule:

Let's stop with the false humility bit.

"It was Pat's baby."

It's irritating as hell.

My intention was to give you the credit.

See what it cost us,

this little stunt your writers
pulled by walking out?

An embarrassment to the whole studio.

It wasn't little, and it wasn't a stunt.

And then they blab it all over town.

I am happy to indulge this
as soon as you tell me

how that'll get us closer to an Oscar.

You giving me dialogue notes now?

CELIA: Where is Mr. Lang?

Fritz, it's the speech
you asked for yesterday.

Mm, mm, mm, mm, mm, mm, mm,
mm, mm, I asked you for life.

You give me words.

- CELIA: Fritz, is there...
- Don't interrupt me!

This scheisse might be
good enough for Monroe,

but it's not cinema!

Is there a reason our art director

- just drove off our lot?
- Yes, there is a reason.

Because I fired him

after he defiled me on the
look for the staircase.

It's "defied."

And you can't, he's under contract.

Oh, I can't? I can't? Really?

Then please, by all means,
please, bring him back.

And I will just put a title
card in front of every scene

in the picture saying, "This
offensive and lifeless set"

was not approved by the
picture's director."

This is what I get for
having someone's daughter

as my producer.

If you tell me when
something's troubling you,

- I can fix it, but I can't...
- You know what you can fix for me?

Coffee, black, no sugar.

♪ ♪

WOMAN: Yes sir, I'm on my way!

How's the set looking, Celia?

Hi, Monroe.

Lang living up to his reputation?

He's all bark.

You want me to talk to him?

No, no, I'm taking care of it.

Anything at all I can do?

Yes.

You can find a new art director.

This one was subpar.

Attagirl.

(car engine idling)

(car door closes)

(car drives off)

Rupert?

VAJNA: I'm up here.

(scoffs)

You said it was an emergency.

It is. I got you something.

I didn't want to die
without giving it to you.

It's my apology.

I don't want one.

I don't want anything from you.

You won't even open it?

Rupert, you hit me.

I know. I'm sorry.

It'll never happen again.

I got jealous, kiddo, of you and him.

Dumb, right?

I guess...

somewhere deep down I
always hoped we'd...

I don't know.

Please?

Just open it?

'Member? Your first week here?

I pointed to that sign and I said,

"If you do like I ask,

one day, you'll have all
Hollywood in your hands."

And now you do.

Seven pictures.

I know, I know, you love him.

I just don't want you to hate me.

This should be the fun part.

♪ ♪

Yeah.

Fun.

Right on time.

Actually, I need a few more weeks.

Mister, we were robbed.

That's rough, but that's not my problem.

Tramp jumped me, took every penny.

And I get stiffed?

Swell?

I'm prepared...

for any consequences that
you want to give me.

Give me a little credit.

I'm a businessman, I'm not an animal.

I'll tell you what, I give
you a little more time,

if you do me a favor.

My brother-in-law, big pictures fan.

Maybe you sneak him on the lot,

show him around a little bit,

let him take some pictures.

Uh... I don't know, uh...

Th-They got rules about that.

minutes, then he's gone,
and I'll give you a month

to get back on your feet,
with interest, of course.

Now, I ask you,

would an animal make you
an offer that fair?

Good evening, John.

- I appreciated the extra day.
- That's fine, fine.

- You keep working hard.
- Sure will.

LANG: Wir zeigen wie
echtes Bier schmek, neh?

Hier pissen sie in eine Flasche
und hangen eine Schleife drum!

Oh. Heil, Fritz.

Hi, Hannah.

Aubrey, I just dropped by to
see how you were coming along

with the notes I had given you.

Swell. I understand almost half of them.

And then we found this deck of cards,

and one thing led to another.

Another what?

It's a wonderful game. I can show you.

Yeah, many tricks to it.

It's very Bavarian in that way.

It's called Schapfkopf.

Why is it that every German
word winds up sounding like

a new means of k*lling someone?

Well, I will take my leave.

Perhaps we will finish our game
another time, Hannah, yeah?

(pop music playing on radio)

(sighs)

Maybe he didn't come here to
talk about notes after all.

That was very embarrassing.

Look, Hannah, you're beautiful.

And I expect men to flirt with you.

But, please, anybody but him.

He's just lonely. I understand that.

He's a monster. And he's my boss.

Is that why I came all this way?

To be told who not to talk to?

Look, this... this lot is
teeming with German émigrés.

Ju-Just pick another one.

You're being ridiculous.

Then let me be ridiculous,

just about this one thing... please.

It was just a friendly card game.

Not the way he plays it.

This is the back lot.

Now, this New York Street,

this used to be a, uh, a Hooverville.

- Homes everywhere.
- JAMEY: Huh. Whoa!

Take your life in your hands
walking around this place.

My... my.

(exhales)

- The don't make 'em like that in Missouri.
- Yeah.

You a fan of Margo Taft?
She's sh**ting on Stage ,

and if you're lucky, you
might see her walking

from the stage to her trailer.

Sure.

Say, is there a john nearby?

Yes, it's right over there.

Hey, listen, if anybody stops you,

asks what you're doing here, just say

you were making a delivery,
and you got lost

on your way out, okay?

Delivery. Got lost.

Check.

- (bicycle bell ringing)
- BIRDY: Max!

Where have you been?

I've been looking all
over the lot for you.

Mr. Brady wants to see you.

Uh... yeah, I was just, uh...

What was this about?

What difference does it make?

He wants to see you.

Now.

Yeah, yeah. I'll be right along.

I just, uh... uh, I had
to deliver a message

for Mr. Stahr, so, uh...

I'll get back to the office
as soon as it's done, okay?

Make sure you do.

Hey!

MAN: Slow it down. Turn now.

What the hell is this?

It's for Kitty.

Hospital's releasing her tomorrow.

So she's staying here, in our parlor?

I want her right outside the bedroom

in case of an emergency.

If there's an emergency, she
should be somewhere else.

Pat, they were gonna send her
to the west side shelter.

Because she's sick, isn't she?

I want to take care of her.

She needs looking after.

But this is where I do
my crossword puzzle.

(Rose sighs)

Oh, the hell with it.

I'll do my crossword on the john.

Mm. Thank you, darling.

- That's heroic of you.
- Mm-hmm.

(Rose humming)

(waves crashing)

Three, four. Uh-oh.

- Getting closer to "Home."
- (Kathleen laughs)

- Oh.
- What?

- Sorry.
- Ah...

- (Kathleen chuckles)
- You don't look it.

- Boop.
- No...

Back to "Start."

You know, I think you'd
be a wonderful actor.

- Me?
- Yeah.

They're all so afraid of you on the lot.

Here, you're like a lamb.

One side must be pretend.

A person can't be more than one thing?

I suppose.

(sighs): Sometimes, I'm afraid, too.

Of what?

The movie.

Success.

I'm worried that, uh, something
might come between us.

That could never happen.

I'm going to make some tea.

Would you like some?

No. Tea is the past.

I want a hamburger.

(laughs)

I almost forgot.

Hedda Hopper wants an
exclusive with you.

- Oh...
- And your mother.

She's flying a whole team to Ireland

for photos of your hometown, all of it.

Wait, you didn't say yes, did you?

We love the idea.

No.

No, you have to k*ll it.

Why?

Because it can't happen.

They're my family.

They don't belong to a
bunch of grubby-nosed

movie fans.

All stars have to do this kind of thing.

It's just part of the job.

- It could be good for you.
- No. No.

It would be terrible for me, Monroe.

You wouldn't like what you saw.

What would I see?

(sighs)

I don't know how to...

How ugly do you want it?

The drunk mother?

The hoodlum cousins?

The uncle that's in jail?

I mean, I don't talk to them.

Any of them.

It's part of the reason
I was running away.

Please, Monroe, don't make me do this.

I'm begging you.

Okay.

I'll k*ll it.

(sighs)

Thank you.

You could have told me all this.

There shouldn't be any
secrets between us.

I don't know, I guess it was just shame,

or something.

(sniffles)

I think I will take that cup of tea now.

Okay.

(sighs)

Thought this was your day off.

It is.

I've come to take her home.

Where is she?

Darned if I know.

Desk said she left last night.

What do you mean left?

Took her things and went.

Well, how can they let her do that?

I don't know.

I'll check her chart.

If you need any more
files, please be sure

to see me about it.

When things don't go through my desk,

they often get fouled up.

It's so interesting, what you do.

Most people don't think so.

That's crazy.

You're like King Solomon.

Oh?

You pore over every cost, every dollar,

and then you just decide

who stays and who goes.

I don't decide, I just recommend.

I have some recommendations, too.

You do?

I hate to say it,

but not everyone pulls
their weight on this ship.

Why don't you get another cup, Birdy?

We'll talk.

(choir holds final note)

(applause)

(projector clicking)

Thank you.

It's great, Monroe, but why are we here?

Well, you're here
because you're the five

most important directors in town.

- (chuckles): Oh.
- And because you all know

that it's not good for the business

to have the same three
companies gobbling up

all the Oscars every year.

The public loved this picture,

but we can't compete
for votes with Metro,

Columbia, and Warners.

We're not the machine they are.

But imagine a world where we could.

A world where all movies were equal.

It'd be better for all
of us, don't you think?

Not bad for you either.

(laughter)

No... no, it wouldn't be.

But one day you may want to
break from Columbia, Frank.

Start your own studio.

When that day comes,
wouldn't you want your films

to compete with Louis Mayer's
films solely on merit?

We're just five people, Monroe.

But between you, you know
every member in the Academy.

You might call them, encourage
them to support us.

For the sake of competitive balance.

If you think the film is worthy.

- My God, you are good.
- (laughter)

If I were that good, the five of you

would all be making pictures here.

Will you help us?

Please.

(choir holds final note)

(applause)

Thank you.

Thank you, gentlemen.

You're here because you're the five

most important directors in town.

Hey, Sternberg!

Hedda Hopper's column says
that her favorite picture

of the year is Anthony Adverse.

Anthony Adverse!

Not one word about Angels.

So I call her to lay into her
about welching on our deal.

She says you're the one who welched.

Stopped her from going to Ireland.

That's true. I k*lled it.

Why the hell would you do that?

It would have caused someone pain.

Instead, I'm the one in pain.
Is that better?

I love her, Pat.

Fine.

But I own her. For seven pictures worth,

and she's gonna do whatever
the hell I please!

MARY: Mr. Stahr,

Miss Moore is here to sign her contract.

Thank you, Mary. Send her in.

Hedda Hopper isn't the
only arbiter of taste

in this town, you know.

We were just talking about you.

I heard.

Mr. Brady, I don't know
whether to be flattered

- or terrified.
- (chuckles): Well,

you hang on to a bit of both,

- we'll get along just fine.
- (laughs)

Thought we might get a
picture of the big moment.

Swell.

- BRADY: Thank you, Mary.
- Mm-hmm.

Allow me.

There we are.

There you are, sir.

My promise to work hard
for Brady-American.

Well, that's just fine. (Chuckles)

Promises are precious things.

- MAN: Over here, please.
- (Kathleen clears throat)

Big smiles now.

- Oh.
- (laughs)

This lighting scheme will be all wrong.

Entirely.

Since when are we making
a romantic comedy?

You said you wanted shadows and light.

I said I wanted terror.

CELIA: It's lunchtime, Fritz.

LANG: We will work through lunch today.

I will say when it is time to eat.

Thank you, everybody. That's lunch.

See you in an hour.

(door opens)

What the hell do you think you're doing?

Nobody gives orders on my set but me.

But this isn't your set.

It's mine.

Is that so?

Mm-hmm.

You're just angry at me, aren't you,

for my little presumption with you.

(laughs)

That?

That was a hundred years ago.

I barely remember it.

Would you come with me, please?

What?

Something I'd like to show you.

LANG: You wanted to
show me a men's toilet?

CELIA: I grew up on this lot.

Saw all kinds of things here.

You know what used to happen
right behind that bathroom door?

I can't imagine.

It's where Fred Astaire would go

before sh**ting every
dance number he ever did.

To throw up.

Yes. How charming.

It was, actually.

In its own way.

See, he was terrified
that he would fail.

Just like you're terrified.

Only difference is, you tend
to throw up on other people,

which seems ungenerous to me.

He'd walk out of that
bathroom, and onto the stage,

and give the world the finest
dance numbers it will ever see.

Just like you're going to direct

the best picture this
studio has ever made.

Not despite your fear,
but because of it.

Is it the language that's unnerving you?

I'd certainly hate to have to
direct a picture in German.

- But Fritz, you...
- days.

Hmm?

He gave me days to direct a film

that in Germany, I would
have got days to make.

- How can I do it?
- You can.

And you will.

We'll do it together.

You are a child.

Maybe so.

But you don't see me throwing
tantrums around the crew.

(car door closes)

Miner.

I was just looking for you.

Oh?

You know this man?

(muffled grunting)

He stole a struck from us.

No. No, I don't.

He says you do.

He says you let him on the lot.

MINER: Sir.

You have to believe me, I didn't...

You didn't what?

Think about the job Mr.
Brady had given you?

Hmm?

Think about your little
brother and sister,

and where they might live if you
were sent off to some tiny cell?

Please. Please, I didn't...
I didn't know...

You let a stranger inside
our gate, did you not?

(sniffles) Yeah, I, uh...

Stop it, Miner.

Now, listen.

I'm not gonna squeal.

I'm just gonna put you to work.

I mean, real work.

W-What does that mean?

It means you're no longer an office boy.

(exhales)

Mm?

Mary.

What is it?

Mr. Brady's on hold with the Academy.

The nominations.

They don't announce until : .

It's Mr. Capra himself.

All right.

Uh-huh.

Yes. Thanks.

Capra?

It was.

(exhales sharply)

Angels got six nominations.

- Including Best Picture.
- (laughs)

And Minna got one, too,
for Downing Street.

Oh, my God.

Pat.

I can't decide who gets my
first "go f*ck yourself" call,

Mayer or Hedda Hopper.

(Brady laughs)

But it is momentous.

One day, when I'm less angry at you,

we'll drink a toast or something.

We rise and fall together.

There you go again: False humility.

You ever gonna stop being Monroe Stahr?

- You invented me, remember?
- How can I forget?

It'll probably be the first
line in my obituary.

Saved me from a life in the circus.

Okay, give me a second.

I'm imagining you being eaten by lions.

I look forward to that drink.

BIRDY: Mr. Brady's office.

(phones ringing)

FELICITY: Mr. Stahr's office.

Mr. Brady's office.

(phones continue ringing)

MARY: The whole world is calling

to congratulate you, Mr. Stahr.

(exhales)

- Send them through.
- Yes, sir.

I was just...

...thinking about when I started here.

Seven years ago.

You sat me down and you told me

what you wanted this place to be.

The kind of pictures you wanted to make,

what you wanted people
to say about them.

And you did it.

Everything that you planned.

Not everything.

Not yet.

Mr. Stahr.

There are too many bad
days in this business

not to celebrate the good ones.

You did it.

Thank you, Mary.

(knocking at door)

Es tut mir leid.

Is that German for "I find
jealousy unattractive"?

It's German for "I am sorry."

I should not have allowed that.

Good night, you two.

(door closes)

And you?

Where's my "es tut"?

I don't apologize.

It's not in my nature.

Oh, Fritz.

Now I'm going to have to learn
the German word for "assh*le."

By the way, I looked it up.

Fred Astaire never sh*t
a picture on this lot.

Hmm.

(phone rings)

This is Celia.

I'll be right there, Daddy.

(big band music playing)

(laughs)

(cork pops) Ooh!

(all cheering)

I'd like to thank you, all of you,

for your loyalty, your hard work and...
your forgiveness.

Last week, Hedda Hopper said

that we were the little
studio that could.

Well, we could.

And today we did!

- (whooping)
- Hear, hear!

And here's to Monroe,
Master of the Reshoot.

Thank God.

♪ ♪

Can I see you, Mr. Brady?

Kind of busy, Ringler.

Can it wait?

No, I don't think so.

The board is awaiting my report, sir.

♪ A little jitterbug looking
for a place to jive. ♪

So, how does it feel to be nominated?

For a script I didn't write? Wonderful.

Now, George.

I left a lot of what you
wrote in there. (Laughs)

And you know, Monroe never makes
a movie from start to finish

with just one writer.

Oh, God. That mean I have to
start looking over my shoulder?

It is hell working for a guy
who's smarter than his writers.

Monroe doesn't think he's
smarter than we are,

he just thinks our brains belong to him,

because only he knows how to use them.

I would be lost without you.

I know that.

HACKETT: Jesus.

Maybe he will start a revolution.

"Ned.

"George Boxley.

Felicity."

You don't think this is a bit draconian?

I think it's generous.

You got me f*ring over people

and selling off my back lot.

Real estate in this city is
beginning to show actual value.

It's not real estate, it's my
lot, where I make my movies.

It's an asset, and you're in debt.

So you sh**t everything on stages.

Some of the people on this list

are in that very room, celebrating.

Didn't you slash their
salaries just last week?

It's not the same thing as f*ring them.

Just leave your g*dd*mn list and
get the hell out of my office.

("King Conga" by Dennis Farnon playing)

(laughs)

I almost forgot.

I got you something today.

(gasps)

I should be getting you something.

No. Open it.

Oh...

Oh!

Oh, it's beautiful.

Next time you feel like all this

is too much, or... you're scared

about anything at all, you just...

- (laughs)
- ...and I'll come running.

Aw.

KAY: I think I'm gonna go home
and sock my husband in the nose.

(woman squeals, laughs)

No, thanks, Felicity. You have it.

Still want me to find

another business, Daddy? (Chuckles)

Daddy?

More than ever.

♪ ♪

Ah!

Rose?

I see our parlor is
almost a parlor again.

Yep. Everything back to normal.

Thank you.

I appreciate you coming
around on this one.

Hmm.

I started thinking about the
sacrifice you'd be making,

the, uh, crossword and all, and
I just couldn't do it to you.

Got two huge pieces of news today.

She just left the hospital.

Just... walked out.

She's a grown woman; It's her right.

Don't you want to hear about my day?

It was a big one.

God, you don't see me at all.

Do you?

I see you have all this.

And it's still not enough for you.

Would it be enough for you?

No, but I'm a man.

Not that it matters, but I got
seven Oscar nominations today.

And I was told I have to fire people

and sell off my back lot.

Congratulations.

And I'm sorry.

May you get all of the praise,
and none of the blame.

That's it?

(sighs)

Do you need more?

I thought you were a man.

♪ ♪

♪ ♪

(sighs)

(knocks)

Congratulations, Monroe.

Thanks, Tom.

Off to celebrate with your fiancée?

Not that it's any of your concern.

Oh, it is my concern.

Now that she belongs to this studio,

it's even very much my concern.

Hmm.

For instance, when she
gets a bruise on her face

and I know it didn't come from

a piece of falling luggage,

I have to investigate, you know?

Want a laugh? (Chuckles)

For a second, I thought
maybe you hit her.

Huh.

But then I started having her followed.

Which turned out to be a good idea.
Know why?

Maybe you should just get to the point.

'Cause she's with Rupert Vajna.

In his house.

My deputy just saw her go in.

Well, your deputy is wrong.

She doesn't even know Vajna.

I'm afraid she does.

I don't understand.

I wanted to be generous with you.

It's...

it's too generous.

My commission on your first
month's salary should be...

Rupert, it is my first month's salary.

I asked for an advance.

It's also good-bye.

If you want another month, if
you want another six months,

you can have that, too.

But you and I are never going
to see one another again.

Do you understand?

Good-bye, huh?

I'm sorry.

I love him.

I can't continue to live a lie.

You... had nothing.

And I gave you... everything.

I know.

Just take the money.

The money's not the point!

Don't you have any feelings at all?

Of course I do.

Or-or were you just conning me,

- like you conned him?
- No, no...

I was useful for a while, then it's,

- "So long, sucker."
- Rupert, please.

- Please, try to understand...
- Oh, no, no.

- Of course not!
- No, no, please!

- (yells) Ow!
- Would you listen to me?

- Aren't you listening to me?
- Get off me!

VAJNA: Where you going?

(grunts)

(necklace clatters)

(Vajna grunts, Kathleen screams)

(Kathleen groaning)

- (choking) -What are you
so scared of, kiddo?

I would never let you go.

(chuckles) But maybe I should.

(Vajna groans)

- (Kathleen yells)
- Ah!

Oh.

(panting)

♪ ♪

Kathleen!

(with Irish accent): Monroe?

STAHR: What the hell are you doing here?

He att*cked me.

Monroe, I'm gonna tell you everything.

But first, do you know that I love you?

Do you know?

Yes.

Okay. (Panting and sniffling)

Imagine a girl getting off a bus.

She wants to be an actress.

She meets a guy, a manager.

What...?

He used to work for
Minna Davis, he says.

- Why are you talking like that?
- He has an idea.

He says if she can do it,

says if she can do an Irish accent...

(with American accent):...he'll
find her a job

near Brady-American Studios, and...

and she'll catch the ear
of the guy who runs it.

And he'll cast her.

(mumbles indistinctly)

- And she'll survive.
- I need you to stop talking for a second.

It wasn't a very good plan, because...

Enough! Enough.

...I fell in love with you.

It was all a lie.

No! No, just the voice.

Monroe, I came here tonight
to tell him good-bye!

Oh, I'm sorry.

- Don't. Don't.
- Sorry.

Thank you for telling me.

- I'll see you on the set.
- No, please.

- Don't go. Monroe!
- What's there to stay for?

I love you!

- I love you.
- Let him go.

- Monroe. Monroe.
- She's mine. See?

Good.

Good, you two deserve each other.

No, I don't want him, I want you!

You cost me Minna! You're not
gonna do it to me twice.

Well, congratulations.

Hell of a con.

- No, no.
- (chuckles)

It was easy.

I just taught her an
accent, you did the rest,

as I knew you would.

I tried to warn you,
honey, he didn't love you.

- He can't love anything.
- That's not true.

The nearest he ever came to it
was Minna, and he k*lled her.

You son of a bitch!

(Kathleen gasps)

(both grunting)

Monroe, he's crazy!

KATHLEEN: No!

- Oh!
- (Kathleen screams)

STAHR: No!

(both panting)

And you are actually from?

(softly): Wisconsin.

I have to make a phone call.

(Kathleen crying)

(whimpers)

(door opens, closes)

(footfalls approaching)

This never happened.

Neither of you were ever here.

Now let me do my work.

(bag drops on floor)

No one can know, Tom.

No one.

SZEP: As I said, it never happened.

He will disappear tonight.

Now go, both of you.

Separately.

♪ ♪

(door opens)

(door closes)

Go.

(door opens, closes)

♪ ♪