Get Shorty (2017–…): Season 1, Episode 4 - From Stamos with Love - full transcript

MILES: Previously
on Get Shorty...

(MUFFLED CRYING) Fucking Christ.

What? He was talkin' shit!

My wife's boyfriend!

That's your wife's boyfriend?

Get in your car.
I'll move him out.

(CHUCKLES)

I think its best you don't
tell anyone about this.

Not even Katie.

This is a beautiful story.

It's honest and it's real and
I promise when you read it,



you'll realize you would've
wanted to make this movie anyway.

If you don't, I'll ruin you.
I'll ruin your fuckin' life.

You think you walk over
me because I am a woman?

You little dick maricon.

Go back up north

or I cut your fucking legs off.

(BREATHING HEAVILY)

Still alive?

I thought you wanted
to speak to him.

(BREATHES HEAVILY)

If you don't,
I'll, I'll finish up.

I come in.

(MILES COUGHS)

(MILES GROANS)



(YAGO SPEAKING SPANISH)

Someone's here to see you.

(GROANS)

(SOOTHING SPANISH SONG PLAYING)

(SONG CONTINUES)

(CELL PHONE RINGING)

Oh, shit.

Amara. Hi.

I love.

What's that?

Script for my movie.

(SPEAKING SPANISH)

MILES: (ON PHONE)
Oh, you read the script.

That's great. Isn't it,
uh, it's, it's terrific, isn't it?

I mean, I mean,
I, I really think...

How is John Stamos?

Uh, we haven't started casting,

so I haven't had the chance
to meet Mr. Stamos just yet.

I want a photo.

Okay...

Stamos. Autografo. Should say,

"Amara, que bella.
With love, John Stamos."

"With love." No problemo.

Um, soon as I meet Mr. Stamos,
I'll have him do that for you.

Stay in touch. MILES:
Absolutely, we will.

And let us know the
moment that... Hello?

Every fucking time.

What'd she want?
Oh, man. She's happy.

Yeah? Very happy investor, man.

She read the
script, she loves it.

She says it's "muy romantico."

Ah! And that's the
beauty of a story like this.

You know, even if you're a
psychopath, it touches your heart.

I mean, sh... She read it?

I haven't even read
it. And I wrote it.

What's up, bro?

What's up? Not him.

Oh, no, he, he's cool.

Ain't about being cool, bro.

Man...

(KNOCK ON THE DOOR)

(BUZZER BEEPING) (DOOR OPENS)

Yo. Everyone so on edge,
dog. It's, like, freakin' me out.

That's how it's gotta be.

Yeah, for how long?

If you heard what
Amara told Josias?

She was like,
"This shit is war."

(SCOFFS)

If anyone should be
on the lookout, it's me.

Why?

I'm a lieutenant.

If they cap you, no offense,
but that's not headline news.

They cap me? That's
some serious shit.

Yeah.

Oh, the sign looks good.

And professional, yeah.

(LIFT BELL DINGS)

Oh, uh, put the plant
over by the window,

it'll die slower. Yes, ma'am.

Hey-hey. Pretty cool, huh?

This is all us? GLADYS: All us.

I can't find the coffee
machine though?

Please, if somebody
finds it, let me know.

You and Rick have
a 2:00 p.m. with April.

(SIGHS) Is it just
them, or should I...

Far as I know,
it's just producers.

And we need your headshot for
the announcement in the trades.

The trades, right.

Trade what?

Industry magazines, websites.

Wait. His picture's
going in a magazine?

Yeah, this is what
they always do

when you have a "Go" picture.

I don't have a headshot, though.

Not one that's, um,
that's appropriate.

That's fine. The studio
will set up a photo shoot.

Oh.

RICK: Gladys,
what the hell is this?

What, I leave here for one
minute and this fucking thing?

What movie is that?

The biggest disaster of my
career. Like I want it on the wall.

GLADYS: Uh, well, must
have been in your old closet.

Okay. Get it off.

The guy left.

What guy?

Facilities. Well, well...

(SIGHS) Fuck. Come on.

God damn it.

Oh, they must've
screwed it in when they did.

Except, I don't see any screws.

How did they do it?
I'll have him come back.

Please. (KNOCK ON THE DOOR)

We interrupting?

No. What's up, guys?

Amara was hoping to get a
signed photo of John Stamos.

It's a souvenir
for the investor.

You think that can be arranged?

Yeah, yeah, yeah. Yeah.
Probably get one on eBay.

Did you see your office?

I have an office?

(CHUCKLES) Next one over.

I'll be in my office.

Coffee. Yeah, get the guy.

So, uh, so my office is, is...

What, you need one?

You already wrote the script.

Can I, uh, use your bathroom?

HEIDI: So you must be
psyched. Owen sold his script.

What?

Wasn't he working on a script
called The Admiral's Mistress?

A project with that title
got set up at Gravity.

HEIDI: Oh, cute! That's so cute.

I'm actually not in
touch with Owen.

He basically ghosted me.

I'm sorry.

Yeah, no, it's fine.

I mean, it's fucked, but
whatever. He sold his script.

Maybe not. Maybe it
just has the same title...

Can you get me a copy
of it? I can see if it's his.

Totally.

RICK: We're here!

You can imagine how I've
been looking forward to this.

MARCIA: Anyone
like water or coffee?

Um, that'd be... Can I get both?

Coming right up.

I'm, I'm fine. Thanks.

These are the invites to
Brandon's charity gala tomorrow.

Parking passes inside.

You might want to check with me
before you go around handing those out.

Brandon said... Thanks, Marcia.

What's "Cocktail attire"?

Means free valet and open bar.

A suit. Just wear a suit. Oh.

Come on.

Ms. Quinn, can I say
how excited I am...

APRIL: No, you can't.

RICK: All right. Okay.
Look, I just wanted to say,

off the record, I don't care
what went on between you two.

Sooner we get through this,
the sooner you can leave.

I'm prepping Lethal Limit Four,

a project that actually matters.

So, Gravity
Pictures is on board.

Only Brandon won't
greenlight this unless he thinks

there's an audience for it.

More people than would attend, say, a
high school production of The Crucible.

The script needs
work, obviously.

Does it?

I'll set up a meeting
with this writer,

"Louis Darnell,"
whoever that is.

You want Louis to
rewrite the script?

I'm putting together a
list of prestigious directors

who will want
nothing to do with us.

But call them and beg,

or this won't get
off the ground.

Finally, there's cast.

Oh. We have some ideas.

Do you?

Well, the investor weighed in.

Well, since we're
buying out your investor

that shouldn't be
an issue. Right?

What's this?

It's the first I've heard of it.

Lawyer stuff, I'm not
really up on details.

But I do know Brandon is not
interested in a co-production.

RICK: Okay, wait, wait, wait.

They're gonna buy out Amara's
distribution rights at a profit?

Correct. Healthy profit?

Lawyer stuff, blah-blah.

I just know your investor's
no longer an issue.

(SIGHS) No, it's good news.

Yeah? Yeah.

So we're still making
the film, but Amara...

She's, she's made a
profit already, yeah.

So now she's out. It's good.

Amara's out. Hmm.

MARCIA: Coffee
and water, there ya go!

Thank you.

Now that you have your
beverages, should we keep going?

MILES: This was always the plan,

it's just happening way
sooner than I hoped.

I mean, we can move
forward with the movie

and Amara's not involved.

She doesn't know
she's not involved.

Right.

When she finds out, she's gonna
want us back in Pahrump. Right?

No, no, no, no, no. Yeah,
yeah, yeah, yeah, yeah.

No. We told her that we were gonna
make her a profit on her investment.

Apart from that, we can,
you know, do our own thing.

Okay. Okay. That part?

The, uh, "We can do
our own thing" part?

I don't remember you
running that by Amara.

I'll talk to Amara.

And I'll say, uh...
Okay. What'll you say?

I'll say, um...

Well, I don't
know what I'll say.

But she's not
expecting to get paid

until the movie's in the
theaters, which is, what,

like, a year from now.

So maybe, in the meantime, we...

We just don't mention it.

No. You want to
hide it from her?

She's gonna get
paid, Lou... Uh-uh.

She's gonna get paid. In full.

Every penny. Just,
you know, eventually.

Can you just be
fucking happy for me?

What? I'm doing it.

Man, I'm doing it. Maybe
I feel like I belong here.

You know, I'm obviously
doing something right, aren't I?

People are taking notice.

This was supposed
to be low-profile.

Now you're getting your
picture in a magazine.

I mean, that could
bite you in the ass.

You coming in? I need to get some cocktail
attire for Brandon's little shindig.

Right.

What?

What, now, you have a
problem with me buying clothes?

I'm gonna wait outside.

Look, I know why
you're pissed off,

and if it were up to me, trust me,
you'd be coming to the dinner too.

That's why you
think I'm pissed off?

Well?

Well... Why don't you
go buy your $1,000 suit,

and then you can, uh, roll up to
your big fancy party in that busted rig.

That'll make an impression.

Aw, shit.

No. No, I'm just
messing with you.

No, you're right. No,
I'm messing with you.

That car, that's, that's
a classic. It's a classic.

Maybe I can lease
one. Will you stop?

What up? What do you mean?

So what?

Yeah, bro. I gotta
go. Right. See you.

Hmm. Oh, yeah.

You know, it occurs to me.

Emma's gonna need to
do an accent for this role.

She's got natural talent but there's
a technique to that sort of thing.

Just have her use yours.

Oh, yeah. No, I would.

Only I'm Irish and
the character's British,

which is a completely
different fuckin' thing.

Uh, is it? Mm...
Black or Burgundy?

Burgundy.

I actually picked up
a flyer in the lobby.

A guy who, uh,
does acting lessons.

"A safe place for kids to
connect with their inner artist.

"Study character development and
work with an experienced dialect coach."

Yeah. Well, I mean, if you
think she needs that kind of thing.

If Katie agrees, I suppose she'll have
to drive Emma up here for a few days.

Ah. I see what you're
doing. MILES: Huh?

Now I know what this is about.

"Acting lessons." Right?

Oh! Fuck. I nearly forgot.

You have a meeting
tomorrow with April Quinn.

Of what?

She wants to have a
little chat about the script.

It's not a big deal.

"It's not a big deal?" What's
does, what does that mean?

The script's
already good, right?

So, if she wants you to make some
changes, I'm sure she'll tell you what.

I haven't read the thing!

Here you go.

(SIGHS)

This is, like, 100 pages.

It's double-spaced.

I have to read this
whole thing? Fuck me.

(INDISTINCT CONVERSATIONS)

Yo. You talk to her?

And?

She said she can't do anything.

What do you mean?

She said the kid
didn't work for her.

Yeah, but he worked
for me, and I work for her.

So that's it?

We just let it go?

(SCOFFS)

Mmm. Bro, that is fucked up.

We don't even
know if Josias did it.

Who else? Man, they
put a hole in his chest!

Man, Amara needs to
look after her people, bro!

I bet Josias looked after
his crew better than this shit.

What did you say?

(SIGHS)

What the fuck did you say?

Listen. Just chill
out, all right?

Don't fucking talk like that.

Yo, bro, I'm with
you all the way.

Amara, too. You know that.

Glasses Kid, he
was my boy, that's all.

(SCRATCHING UTENSILS)

What are you doing?

Oh. Hey, I'm just, uh...
(CLEARS THROAT)

I'm just washing
the roasting pan.

I feel like it's
soaked long enough.

At 4:00 a.m.?

I couldn't sleep.

So I thought, I'd
make myself useful.

I didn't, I didn't
wake you up, did I?

No, I just... The
Xanax isn't helping?

I feel more calm,

but I can't sleep. I think that's
what's killing my golf game.

EMMA: Mom?

Emma, go to sleep.

What, what's happening?

Nothing, Jeffery's just...

I'm just cleaning up,
sweetheart. That's all.

Now?

Yeah, we'll both go to bed.

Are you sure there
isn't anything I...

No. You go. I'm good. Really.

KATIE: Okay.

Hey. Nice view?

The actor from Ant-Man
just went into that porta-potty.

Took a picture for my daughter.

Ah. The glamour
of Hollywood, right?

Listen. You got a second?

Sure. Yeah. Just, sit down.

(SNIFFLES, GRUNTS)

Look, right now, we got buzz.

We're, we're in the
trades, people are talking.

Mm-hmm.

This is the time to
set up our next film.

Yeah. So when Admiral's
Mistress comes out,

you know, maybe, despite all
our best efforts, it's not so great...

Why is it not so great?

Or you like it but
the critics shit on it.

The world moves
on, you get left behind.

That's a sunny prediction.

What we do now is,
we go now to Amara

and we say, "Congratulations,
you made a profit on this last film!

"You know, 10, 20
percent, whatever it is.

"Why not put some of that
money into another film?"

No.

You know, "Given your,
your, your passion for cinema,"

etcetera, etcetera.

We're not asking
Amara for more money.

Why not? It's a bad idea.

Because...

Listen, you want to
set up another movie?

Great, we'll find
another investor.

I mean, if you know
people, and more...

It's, it's okay for me
to bring you an investor

but you don't wanna share Amara?

Rick, I'm better
off without Amara

and so are you.

Is that right?

That's right.

All right. Think about it.

And, Rick.

Let me be the one to tell her
about this business with the studio.

Yeah, yeah, you handle it.

All right. See you
in April's office.

Yeah, I'll see you there.

First of all, Louis, it's such
an honor to have you here.

And to realize the man behind
The Admiral's Mistress isn't British!

(CHUCKLES) No. No, not British.

You must have
done a lot of research.

So, my biggest note

and I do know
writers hate this word.

But in the second half, when
Felton becomes the Admiral...

Is there a way to make that
character more sympathetic?

Uh, the, uh, character,
the Admiral character.

Right, right, right. Right.

So you're thinking...

More sympathetic.

The Admiral.

Emphasize his courage,
the innocence he's retained.

I know he becomes
a war profiteer,

but maybe he was forced into it?

Uh... (CLEARS
THROAT) So, forced.

No?

The reason he's a puppeteer...

Profiteer. He's a profiteer.

I think the important
thing to remember

is where he's coming
from, emotionally.

Right, Louis? Mm-hmm. Mm-hmm.

I mean, he's obviously
doing it for love.

Yeah, no, I get that. But I'm sensing
that Louis has a different take on this.

Oh, yeah? APRIL: Yeah.

How do you see it?

Um... (SIGHS)

Well, that was during the war.

So, I mean, right there.

I mean, the flip
side of that coin...

The flip side of war is peace.

It's peace.

Um, so, basically, when, when
you're looking at the Admiral,

you, um...

What was the question?

(TELEPHONE RINGING)

Moreweather Productions.

CAROLINE: Is Owen there?

GLADYS: (ON TELEPHONE)
Who? CAROLINE: Owen Eidler.

He wrote the movie you're
making. The Admiral's Mistress.

GLADYS: Our script was
written by Louis Darnell.

(SCOFFS) No, it was not.

Who is this? Owen's
girlfriend, Caroline.

Or ex-girlfriend, I'm not sure.

Caroline, I'd be happy to forward
your information to our attorney.

CAROLINE: I have both copies.

Owen's and the one
that says, "Louis Darnell".

And they're the same
script. I mean word for word.

So, either Owen's
using a pen name

or you guys bought
the script and...

You know what? I don't
care what happened.

I just need to find Owen.

I don't know who that is.

Well, somebody knows.

And they better call
me back like today.

What was that number?

CAROLINE: It's four-one-five...

Thanks so much
for coming in Louis.

We're all really excited
about this project.

Me, too.

Everybody wins! Take care.

Thanks, buddy. Good job.

I'll see you in a bit.

I have a relationship with
Julian Pynter. Any objections?

Oh. Julian who?

Pynter. Yeah. He's a big deal.

Did uncredited work
on Lethal Limit Three.

Wrote Consequence,
Braithwaite Park...

Hey. Fine by me.

Hold on, are w...

Are we talking
about firing Louis?

It's a bit rash, isn't
this? Just 'cause he's...

Yeah, all right.

Gladys.

GLADYS: Yes. Poster.

I left a message
with facilities.

Wait, wait, wait. Look
at this. Look at this.

I can hang from it.
I'm hanging. See this?

Yeah, I think they
welded it to the wall.

When did you make that movie?

20 years ago. Ambitious
film, cost a fortune.

Everybody hated it.

But I learned something from it.

I realized, what the
hell am I trying to prove?

With age comes wisdom, Gladys.

It's good to know.

What's that?

List of potential directors
from the studio. I can roll calls.

No, no. No, no.

I got another call I
want you to make.

(TELEPHONE RINGING)

AMARA: Yeah?

GLADYS: (ON PHONE) I have producer
Rick Moreweather calling for Amara.

AMARA: This is Amara.

Amara, hi. Hi, it's Rick.

Yes, we, we, uh, we
met a few days ago.

Listen, I know you're
in touch with Miles.

I just thought I
would reach out.

Okay, Ricky.

Yeah, well, so, uh, I have a
number of projects that I'm producing.

And given how well we
did the first time around,

and your passion for cinema,

maybe you want to
produce another movie?

Yes.

Yes, okay. Okay, great.

I have a script. Uh,
it's, um, Gates of Dawn.

Oh. This, it's a true story.

It, it's set in Hanoi...

We do this after we
finish the first movie, yes?

Uh, well, did Miles tell you Gravity
Pictures acquired Admiral's Mistress?

Gravity Pictures...

Yes, you know. They're,
they're buying you out.

They what?

They're buying out your,
your distribution rights,

which, it means you've
already made a profit.

We just don't know how much yet.

I'm out?

Which is why I'm calling, so
we can set up our next thing.

Why am I out?

Well, it's, it's complicated.

It's... A studio came in, and
it became a bigger picture.

And, and they don't
want to co-produce, so...

Does Miles know?

RICK: Does he know
that they bought you out?

Yes. Yeah, he knows.

He... I'm sure he
was gonna call you,

and... Hello? Uh...
(CALL DISCONNECTS)

I didn't have time to
prepare. If you'd let me know.

If you'd give me
some heads-up, I'd...

Lulu, Lulu. Look here, this
is how it works, all right?

Somebody writes the script and then
they get somebody else to do the rewrite.

Why do you care?

You could have stuck up for me.

Well, I did think about it.

But then I remembered,
you're not a fucking writer.

How are you gonna do a rewrite?

Oh, look at that.
That is a beautiful car.

You know, even if you do lease,

I don't know see how
you can afford that.

And I would not go electric.

What happens if
the battery runs out?

You fucking charge it.

What if there's no charger?

Seriously, I mean you got to...

You know, you got the
suit and the car and the...

I think you're trying too hard.

Well, no one's gonna
accuse you of that.

What's that mean?

Look, you don't like
the whole LA thing. Fine.

But if this is gonna work at least
one of us needs to raise our game.

Okay, well, I said
that I'd come out here

until you were on your feet.

And clearly you are.

I'm not even the writer anymore,

so maybe I'll head back
to Pahrump tomorrow.

Ah, no. Hold on. Hold on. Louis.

Mercedes makes a jeep?
Now that's a fucking car!

Good afternoon. Hey. Thank you.

(CELL PHONE RINGING)

Amara! Hi.

AMARA: I call to see what's
happening with my movie.

Oh. You want an
update, uh, of course.

Um, let me think, we
brought on a new writer.

Yeah, I mean, the script was solid but
there's always room for improvement.

And I thought it would be a good
idea to make that Felton character

a little more sympathetic.

That got me thinking
of Julian Pynter,

I don't know if you're
familiar with his work.

He's a big, award-winning writer

and, uh, Julian said yes.

So that's exciting.

And, um...

That's pretty much it.

That's it?

MILES: For now, yeah.

Thank you for telling me.

MILES: Sure. Sure.

Hello?

(BEEPS)

(INDISTINCT CONVERSATIONS)

Hi. I'm Miles.

Hi, Miles. Nice to
meet you. I'm Sarah.

Sarah? I feel like
we've met before, no?

You seen the bathroom here?
The urinal is an actual waterfall.

Wait. Don't... Why would you...

Oh. Was I interrupting? Yeah.

She's not your type.
Look at this. Here you go.

From Stamos, with love.

Wait. This is,
this is great. Mm.

Ah, thanks for doing...
It's not fucking real, is it?

Like Amara's gonna
know the difference.

Did you at least go online
and see if that's his autograph?

You're over-thinking it. Come on,
let me introduce you to a few folks.

I can't give this to her.

Your forgery standards are
much higher than mine, I guess.

How about this place,
huh? Fucking crazy.

When did men get so pretty?

RICK: Oh, the...
Let me get rid of this.

Thank you, guys.

Hey, who's the, who's
the bald guy over there?

He looks important.

That guy... Yeah, he used
to run Warner Brothers.

We don't get along, me and him.

Come on.

Oh, this woman
here in the blue...

MILES: Yeah? She's the,
uh, VP of Fox Searchlight.

MILES: No shit. RICK:
She slapped me once.

(MILES CHUCKLES)

Listen, I overheard two
conversations about our movie,

and someone's already
threatened to sue us.

This is how you know
it's hot. It's hot now.

Someone want to sue us?

Yeah, some, uh... Thank you.

Whacko called the office.

You know, "Boyfriend
wrote the script

"and you're
stealing it from us."

Did she leave a name?

The boyfriend's
name? I don't know.

Owen, or something.
Gladys took the call.

MILES: That's funny.
And that happened today?

RICK: Before. When we
were... APRIL: They're here!

The creative dream team!

Ms. Quinn. Enjoying yourself?

Oh, celebrating
the week I've had.

Maybe you heard, Brandon
took me off Lethal Limit Four.

No. Why?

Well, to focus on The
Admiral's Mistress, silly!

Since that's where my
passion lies. (CHUCKLES)

And he doesn't want me
spreading myself too thin.

Shit. April, I'm
sorry. No, you're not.

You have a
schadenfreude hard-on.

That sounds painful.

Excuse me, guys. I gotta see
what it feels like to piss in a waterfall.

You're indispensable
to that company.

In another week, you're
gonna have a big film.

Yes, I will.

And you'll still be a sad, washed-up
hack living in your father's shadow.

Do you want another
martini? I'm gonna get one.

Was that necessary?

Wait. Does she think
Owen wrote the script

or can she prove it?

No, she seems pretty sure.

You wanna handle it? I
think Gladys has her number.

Hey, asshole. You want
to conduct business?

I think you should
go somewhere else.

Fuck off.

Yeah. Give Gladys a call
and get right back to me, okay?

Problem, old man?

I come here to look at the
ocean, now I'm looking at you.

You stand before me
talking on the phone,

like I need to hear
that kind of bullshit.

Well, I'm off it now.

Yeah, so why don't
you move along?

If you want to get a
better look at the ocean,

I could always pitch
you over the fuckin' cliff.

Yeah?

That's your house?

No, I'm at a party.

I hate parties.

Well, you seem like
such a people person.

Yeah. I am. Hafdis.

Miles.

I'm sorry. My hands are a
little clammy. You know, so...

You from around here, Hafdis?

Yeah. That way.

That way?

HAFDIS: Yeah.

Okay.

And, you, you're
entertainment business, right?

I'm pretending to
be a movie producer.

Yeah?

How about you? I was in
New Zealand for quite a while.

Now I'm here, trying to
outwit the hounds of folly.

How's that going?

How's the movie-producing going?

I don't have a fucking
clue what I'm doing.

But it doesn't seem
to be a problem.

(HAFDIS LAUGHS)

You want a smoke?

I got these.

But he's not a bad doctor, he's just
behind the curve. JEFFREY: Mm-hmm.

And the Gummy Bear
option is more cohesive.

It's form-stable.

But Consadine goes with
the traditional implants, always.

You know, like there's one answer
for all the different women who come in.

(CRIES)

What?

(GRUNTS) No, I'm good. I'm good.

No. Stop saying you're
good. You are not good.

I'm fine.

(SIGHS) Jeffrey...

Something happened.

What?

When I went to Miles' place...

Fuck. What did he do?
He didn't do anything.

Be honest. And Miles is
the one who saved me.

He had this, um,
like, a neighbor.

And I blocked the
guy in with my car...

(DEEP BREATH)
And he went insane.

Like, he pulled out
a gun. And then...

Shit.

The TK-five-oh-nine.

What? That's my golf club.

He jammed the
grip into my mouth...

(SNIFFLES)

I can still taste the Gore-Tex.

(SIGHS)

It's about how we all carry around
this image of a, of a better person.

You know what we think, "If I
can be that person, I'll be happy."

But all it does is fucking
drive us crazy. You know?

The Admiral's...

Mistress. Sorry if
this is boring you.

(CELL PHONE RINGING)

Oh, shit. I better take this.

Yeah, please do.

Hey. KATIE: (ON
PHONE) I can't do it, Miles.

What?

KATIE: This, I
can't do it. I can't.

It seems like every time
I get this far, we're back...

All right. Slow down, Katie.
KATIE: I talked with Jeffrey.

I know what happened
with the golf club.

And don't tell me
it was a neighbor.

Miles... It was Yago. Okay.

It was Yago. But I stopped
it as soon as I could.

I know that you're trying.

I know it. But I...

I can't have this in my
life and neither can Emma.

Okay. All right. Well,
um, let's, let's talk about it.

KATIE: We have.

And we've tried
the separation thing,

but maybe it's time for lawyers.

No, no. No, no, no,
no. Hold, hold on.

Hold on, Katie.

We'll get into it later, but
that's what I called to say.

MILES: All right.
Just wait. I'm sorry.

Katie? Katie?

Fuck. (CELL PHONE BEEPING)

(LINE RINGING)

(VOICEMAIL MESSAGE)
Hi, this is Katie...

Fuck.

It was, uh... Nice
meeting you, too.

(DOOR OPENS)

Got an address
for the girlfriend.

Great.

We should head
over before it gets late,

or she's not gonna
answer the door.

Yeah. Uh, Lulu...

What?

Uh, maybe we don't drop
another body right now.

You know? Could make
things trickier down the line.

Fuck yeah, it could.

Believe me, if we
had a choice, I...

Listen, the girlfriend didn't
call the cops, did she?

She called the
fucking movie studio.

Which is not usually how
you behave when you think

someone's killed your boyfriend.

Mm. I don't know.

MILES: She thinks that
somebody stole his script.

So all we need to do is come up with a
reasonable explanation for what happened.

Okay, you're making
this more complicated.

So we tell her, um...

No, I can't come with you.

Come on. I can't,
I've to drive to Nevada.

Now? For fuck's sake!

It...

It's all gone to
shit with Katie,

and I feel like if I don't...

If I wait, I don't know
what's gonna happen.

Yeah. That's fine. That's...

You go take care of Katie,

and I'll handle the girlfriend.

I'm sorry for that nonsense
at the car dealership.

That was, you don't
need to up your game.

Your game is up.

Don't worry about
it. You should go.

Yeah. Four hours.

And it's bullshit that they
brought on another writer. It is.

Just stick around, Lou.
We'll find something else

for you to do on
the movie, okay?

It's up to you.

So, wait, wait, wait, now...

What am I telling this woman?

You're the writer.

(DOOR OPENS AND CLOSES)

(KEYPAD BEEPING)

(LINE RINGING)

Just had dinner at Molly's.

Guess who I'm
lookin' at right now?

WOMAN: (ON TV)
My question is to you,

is how do you find
your inspiration?

(KNOCK ON DOOR)

Who is it?

LOUIS: Louis. Uh,
you don't know me.

I, I'm a friend of Owen's.

Caroline?

Yeah.

I know that you're
looking for Owen,

and I owe you an explanation.

How'd you get my address?

Well, from your phone
number. I tried to call you...

How'd you get my phone number?

You gave it to the
production office.

That Louis. Your name
is on the screenplay.

You know where Owen is?

Uh, can I come
inside and we'll talk?

Mm, no.

Well, so I'm, I'm
a screenwriter.

Uh-huh. And Owen
was a friend of mine.

And I used to give
him all my screenplays

so that he could read them and
just tell me what he thought, and...

(SIGHS) I found
out that Owen was...

He was taking my scripts,
and he was giving them to girls.

You know, to get laid...

What?

So when you called
the production office,

I just figured I
should tell you.

Okay, then. All right,
sorry. Take care.

Wait. You came here
to give me that story?

I mean, that is
fucking ridiculous.

I'm just telling you
what happened.

Well, then I have questions.

(KNOCKING)

(WHISPERS) Come outside. No.

I drove from LA.

What the fuck?

I didn't wanna wake Emma.

Jeffrey is here.

He's in the bed?

Yes, in bed. He's sleeping.

I didn't see his car.

Come outside and
talk to me, will ya?

No.

Well, I'm not going
anywhere until you do.

Whose car is this? I leased it.

(SCOFFS)

Call this, seemed like
a good idea at the time.

And the suit?

I was at a
fund-raiser in Malibu.

And tomorrow, I have a photoshoot
for the Trades which is like with...

Miles. I'm sorry about Jeffrey.

He's traumatized. Yeah.

Takes him two milligrams
of Xanax just to fall asleep.

And that's terrible. Yes.

Which is why you and
Emma should come to LA,

to get away from
lunatics like Yago.

It's not about
Nevada. It's about you.

(KATIE SIGHS)

I always thought we'd make it.

You know, even when I moved
out I thought, "No, they'll be...

"It'll all fuckin'..."

You want me to stay
out of your way, I'll do it.

I promise, I will.

But just know that
everything I'm doing,

all I'm going through right now
is so that you can tell people

what Emma's dad
does for a living.

And I'm sorry
about Jeffrey, I am.

I don't know what to do.

Maybe I could send
him a gift basket.

A gift basket would
be nice. (CHUCKLES)

If you're in love with this guy

then I don't wanna be
the one who fucks it up.

In love? (SCOFFS)

Aren't you?

I'm just trying to get over you.

So, you're not over me?

Should we make out now?

Or is it a bit strange with
your boyfriend in bed?

Hold on, Katie?
Katie? Goodnight.

Can you just give
this to Emma, will you?

What is it?

Acting lessons.

Thought it would, you know, help
her confidence before the movie.

It's in LA.

Acting lessons are a bit
limited around here, so...

We'll talk about it later.

I think when he found out that
my movie was getting made,

he knew the jig was up.

And that you were gonna
find out the truth. So he split.

When did he start showing
your scripts around, do you know?

Oh. Yeah. It's been
happening for years. Years.

I mean, there'd be a, a
different script for a different girl.

You know. Oh,
God. I'm... I'm sorry.

I didn't mean to offend you.

I'm sure that whatever was between
you and him that was really special.

What a psychopath.

I mean, if you'd seen him
talking about character arcs

and research. So creepy.

I blame myself.

Why?

Because I knew
what was happening,

and I called him on it. But
I just thought, you know,

as long as he's just giving
the scripts to these girls,

eh, you know, I
mean... What's it matter?

But I see now that it was
really causing damage.

Real damage.

I just hope you can forgive me.

Okay.

Well, I'm glad you came by.

I still don't know where my
car is, if you can believe that.

But, um... Thank you.

Okay. (CHUCKLES)

All right. Be well, Caroline.

Okay. Okay, you too.

(SIGHS)

Hey.

My grandmother used to say,

"Choices are like the
branches of an oak tree."

Ah, that's nice.

Yeah, it's in the script.

I mean, Owen got that
from me. So, like, how did it...

(DOGS BARKING)

(GROANS, SIGHS)

(GRUNTS)

(BREATHING HEAVILY)

Still alive?

I thought you wanted
to speak to him.

If you don't,
I'll, I'll finish up.

I come in.

(GRUNTS)

(YAGO SPEAKS SPANISH)

(COUGHS)

YAGO: Someone's here to see you.

I tell you I love the script.

Muy romantico.

And what did you do?

You push me out.

No.

But Rick tell me...

She's the first to put money
into your movie, stupid.

Before the studio.

No. I, I didn't know it
myself until recently.

I don't think that they sorted
out the details yet, Amara.

George?

We verified with Business
Affairs at Gravity Pictures,

the budget is now 30 million.

They're planning a full buyout of
Amara's distribution rights at 16 percent

above her initial investment.

You made money.

But I don't want to be out.

You did it behind my back.

I didn't. I just, I
didn't have a say.

AMARA: George?

GEORGE: As executive producers,

you and your partner formed
an LLC. It's your decision.

Well, I wasn't aware
of that George.

I'm pretty new
to this, you know?

YAGO: Are we done?

We're done.

(YAGO CHUCKLES) No.

Amara?

(YAGO SCATTING)

Stamos! I got a
photograph of John Stamos.

He, he, he signed it
for you and everything.

Amara?

Nah. Give me the knife.

AMARA: You got a photo?

Yeah. In my pocket.

(COUGHS)

Autografo.

"Amara, can't wait to meet you.

"Rick..." What's this?

"Sings your praises."
Sing your praises.

"Rick sings
praises. All my love,

"John Stamos."

I like this.

(SIGHS) I'm glad.

(COUGHS)

Movie is 30 million now.

How come I only
can put in two million?

I don't follow.

I want to put in four.

YAGO: Tia, you joking? Shh!

Yes or no?

Bigger budget, you
could lose money.

I don't lose money.

All right, then.

Yeah. I mean, if it's
up to me like you say

then I'll just call the studio
and I'll say Amara's back on,

and now she's in for
four million. No problem.

YAGO: Seriously, you gonna
throw away your money like that, Tia?

(SPEAKS SPANISH)

(SPEAKS SPANISH)

(SPEAKS SPANISH)

John Stamos is a nice man.

He's a sweetheart.

Morning. You looking for Rick?

Mm.

Rick!

RICK: Huh? What?

Oh, hey! Okay.

Well, look, you
don't gotta apologize.

We've all been there.
APRIL: Apologize for what?

You don't remember?

What little I
remember is plenty.

Yeah, well... Uh,
oh. Uh, the poster?

Yeah, yeah, in that office.
Right there. MAN: Okay.

Guy holding a rooster.
Get it the hell outta there.

Okay... Hafdis Snaejornsson.

What? Director Snaejornsson?

Uh, no one says it right.

He hasn't made a
movie in 10 years,

but the last one he did it got
a standing ovation at Cannes

and won the Palme d'Or.

Okay. Well, from the
sound of it I don't think he...

He asked for the script.

No kidding. Hmm.

Miles pitched it to him yesterday
on the beach according to CAA.

Hafdis thinks it's
something he might direct.

Can you follow up?

Okay. Ah, thanks.

Hmm.

Oh. Good. Good. Good.

Should we call CAA?

No. Oh, not now. Not now.

You're working on pitches
for movies that aren't set up

and this director could move on.

No, he's never
gonna do our movie.

He won the Palme d'Or.

So? So, so I have work to do.

Call CAA.

No.

Don't hit me in
front of the guy.

Albert, would you excuse us?

No. Don't, I want that down.

And would you
please close the door?

Come on.

You made an ambitious movie
100 years ago and it shit the bed.

So what?

You should be
proud that you tried.

Now call the famous director
and stop being a pussy.

Hey. Hey, hey, hey. You
work for me. You got that?

So don't talk to me like that.

Pussy. Don't. Stop that.

Stop. Stop! All right, stop it!

I'll call!

I'll call, okay? I'm
calling. I'm dialing. See?

Yeah. Good.

You can stop with the
guidance counselor bullshit.

Get the guy.

Albert!

Please, continue.

Hello. This is Rick
Moreweather for Manny Yablonz.

Uh-huh, I'll hold.

Hey, yeah, yeah. You
know what, just leave it.

Leave it. It's okay.

Yeah, yeah. Let's just, let's
just leave it there. Thank you.

(DOOR OPENS AND CLOSES)

Food's good here.

What do you like,
uh, the cabeza tacos?

Probably exactly
why you came, ain't it?

I wanna make a deal.

You wanna make a deal?

You know last time we sat down,

Amara was talking about
cutting all of our legs off.

So far, so good, though, right?

Except for your boy.

You know, the one down
there slingin' on Oakridge.

He ain't doing too good, is he?

I'll give you Amara.

If she's gone, most
of her men will flip.

I hand over business
and the crew.

But I need a sit
down with Josias.

Work out my side of this.

I can't sit here all day.

What's it gonna be?

(INAUDIBLE CONVERSATION)

Mr. Daly, have a seat.

PHOTOGRAPHER: I should
see the other guy, right?

I was tied up. The
other guy's fine.

PHOTOGRAPHER:
Let's try those glasses.

Move that light
over a little bit.

(CAMERA SHUTTER CLICKING)

PHOTOGRAPHER: Movie
sounds great, by the way.

Yeah? PHOTOGRAPHER:
Congratulations.

♪ Trouble in mind I'm blue

♪ But I won't be blue always

♪ Cause the sun's gonna shine

♪ In my backdoor someday

♪ I'm all alone at midnight

♪ And my lamp is burning low

♪ I never had so much trouble

♪ In my life before

♪ I'm gonna lay my head

♪ On some lonesome railroad line

♪ And let the two-nineteen

♪ Pacify my mind ♪

(GUITAR PLAYING)

Quality!