The Last Tycoon Page #5

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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.

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