Previously on "Get Shorty"...
-I was hoping you might be able to help me out with a job.
-I'd love to help you.
Only we're not hiring anyone outside of assistants.
-Okay, then, I'll take it. -Honey?
-It's an audition for a "Tootsie" musical.
I'm not gonna get it because there are big names attached.
-Amara's life ended right there.
It's my job to tell Amara's story.
-I'm just excited...
to get out there and follow that dream.
-Where's the shit you took from Miles?
-I don't have it anymore, man.
♪♪
-♪ See that bird sitting on my windowsill? ♪
♪ Well, he's saying "whippoorwill" ♪
♪ All the night through
♪ I don't stand in the need of company ♪
♪ With everything I see
♪ Talking like you
♪ Up that tree, there's sort of a squirrel thing ♪
♪ Sounds like just we did when we were quarreling ♪
♪ You may think you left me all alone ♪
♪ But I can hear you talk without a telephone ♪
-And you're off work at what time?
-6:15.
I have to get a signature from my boss before I can leave,
then I take the 209 bus down Arlington to Inglewood.
Unless I'm running late.
If I'm running late, I just forget about the 209,
take the 111 and walk from the corner of Washington.
-What time did you get home?
You have the sign-in sheet there.
You say you got along with Thaddeus Foley, but --
-Who's that, now? -Thaddeus Foley.
"Track."
-Track's real name was Thaddeus?
[ Chuckles ]
-If it was me and someone planted a joint in my locker
and nearly got me sent back, I don't know what I'd do.
I'd be so damn angry, I'd -- -Sorry, are you...
are you saying that Track
is the one that planted the joint in my locker?
Because that's news to me. Yeah.
I mean, that would have pissed me off.
Did -- Did someone say that he did that?
-You told the house manager that --
-That it wasn't mine, which is all I know.
Personally, I never touch the stuff.
Now, I had an aunt used to take it for her glaucoma.
But she's long gone.
-That's it for now.
-Oh, okay.
Well, best of luck.
-Okay.
-Let's go.
-This is the living room, kitchen.
Bedroom's back there.
First month's rent is on us.
After that, it's up to you.
-Yeah.
This is a nice place.
It's in my name?
-Yep.
You got to build up that credit, homey.
Now...
The gun's clean.
Cash will get you started.
But this is no free ride.
You got to earn.
Back in Nevada, I pulled in 15K a week, easy.
-Collection is just a part of it.
Hmm. You're a junior lieutenant now.
You got to innovate, disrupt shit,
really build your business, hmm?
-Yeah, I won't let you down. -All right.
-Yo.
Ignacio, Maurice, Chewbacca.
This is Yago.
Y'all gonna work together.
-Who is she?
-You ain't been laid in a couple of years, eh?
Hmm?
You can't think straight when you got cojonera
like a motherfucker.
-Malea.
-Like Obama.
-Spelled different.
-Shit.
[ Rap music playing on radio ]
[ Laughs ]
-What you waiting for? Go ahead.
-What, you mean, like, in front of you?
-Uh-huh.
♪♪
-Okay.
[ Chuckles ]
[ Clears throat ]
-[ Laughs ] Dumbass.
He's just fucking with you, man.
[ Laughter ]
-I knew that shit.
-Man, get the fuck out of here.
Go get your dick wet.
-Let's go.
[ Laughter ]
-Hold that, please.
-Morning. -Morning.
-After you. -Oh, no, no. I insist.
[ Telephone rings ]
-That can be arranged.
-Hey, Shorty.
So I'm scheduled to have a day pass on Saturday.
We should grab a proper breakfast somewhere.
Um, it will be so good to see you.
I'm at this cool new job.
Things are great.
It's all coming together.
So call me back when you can.
Love you.
♪♪
Dark roast, oat milk, and two Splenda.
-Yeah. What's on deck?
-You got lunch with Miranda Appel at 1:00 p.m.,
you got a 3:00 p.m. notes call with the studio.
Oh, and the groomer was asking if 6:00 would work for Luna.
-No, it will not work.
Luna diarrhea'd all over the couch this morning.
-Okay.
Oh, I've also got that budget for the Jordan Parr film.
Is it normal for it to be $9 million over?
-Nine?!
Just kill me!
Every time I look, it gets worse.
-These directors.
-Laurence chewed me out on Thursday when it was just $8.2.
Said I needed to assert myself.
Really? Really?
Just assert myself to till I'm just blue in the face.
-You know, I could -- I could help if you want.
I've got a buddy over at Parr's company.
He's only mid-level, but I know that Jordan respects him,
so if you wanted to get the numbers down,
I could have a word.
-Hmm.
See, what worries me is that
you don't even realize how inappropriate it is
for an assistant to comment on this,
let alone make a call.
-I'm only trying to help. -Get messages.
That would be helpful.
Oh, and confirm the producers' "Wylderness 2" meeting tomorrow.
-Sorry, did you say "Wylderness 2"?
-Yeah, the sequel.
Did you see the first one?
It's better than it sounds.
-And you're making another one. Isn't that something.
Is there, um... is there a script?
-No, we're hearing pitches.
Can you get the door on your way out, please?
What's wrong?
Did he have diarrhea everywhere, or just on the bed?
-Avocado or orange?
Avocado. Mmm!
Tasty.
[ Cellphone rings ]
♪♪
Hello.
-Louis?
-Who's this?
-A phantom from your past.
♪♪
Hello?
-What do you want, Rick?
-You know, hearing your voice
doesn't exactly make me warm and fuzzy either.
-Then why are you calling? -Are you free Saturday?
It's better we talk in person.
-Oh, yeah, like I'd ever trust a private conversation with you.
-Come on. That's -- that's over.
The Feds aren't listening anymore.
-The Feds are -- shit, I'm hanging up!
-No, wait. It's about a -- a certain someone that, uh...
that we both know...
and you haven't seen in a while.
-You mean who I think you mean? -Yes.
I mean, I...
I can't read your mind, but...
I think we're on the same page.
So can we talk in person?
-So I was over the moon when Colson Whitehead
tweeted about it.
And then Joan Didion retweeted him and said,
"'The Girl in the Canyon' is luminous."
I couldn't believe it.
-It's so exciting.
-Right? -Yeah.
-So, where are we at on the movie?
-Annapurna and A24 are both ready to pull the trigger,
so that's great.
Of course, our option on your novel expires in a few days.
-You can just renew it. -Of course, yes.
I mean, your reps want 100 grand,
so I just need some time to get the money together.
-How much time? -Oh, the usual amount.
-Miles from Budd E. Boy.
-I'll return, thanks.
We are so excited about --
Wait, who from Budd E. Boy? -Miles.
-I'll take it.
Just one second.
Quick sec.
And, listen, don't let CAA wind you up, okay?
We are weeks, maybe days from a greenlight on this.
This is April. Hello? -Oh, hello there.
This is Miles Daly calling from Ali Egan's office.
-Seriously?
Gladys said you were working for Laurence.
I said it's not possible. -Well, turns out it is.
-He hired you as a producer -- after everything that happened?
-We were just wondering if we can rely on your company...
for tomorrow's "Wylderness 2" meeting.
-Oh, they're making a sequel. How weird is that?
But, wait, Miles, why are you working for him?
-So can I put you down as attending?
-Yeah, I'll be there, but-- -Thank you, Miss Quinn.
Have a wonderful day now.
-Why are you talking like that?
-Oh, my God. Oh, my God! -What?
-Oh, my God! -What happened?!
-I am shaking. -Are you all right?
-The producers of "Tootsie," they watched my tape.
They offered me a part! -They didn't!
-[ Laughs ]
Oh, my God, they saw hundreds of women,
and they couldn't cast it for two months,
and then they saw my tape, and they said, "She is exactly
what we pictured." -Oh!
Honey, they'd be crazy not to cast you.
-You are sweet.
April says it's fine because she's downsizing anyways.
Wait, is Wyatt down for a nap? -Oh, yeah.
I had to read that chicken book four times,
that's why my throat's so...
-God, I got to learn the score and -- and the choreography.
They want me in New York by Monday
so that I can meet the cast
and have a costume that-- -Hold on, hold on.
New York? -Yeah.
It's a New York production.
That's what makes it so exciting.
-Did I know that?
-It's gonna go by so fast.
We're gonna Skype every night
and I'll fly home every other weekend.
You're barely gonna notice that I'm gone.
-I'm pretty sure that Wyatt's gonna notice.
-No. No, you d--
You think that I shouldn't take it?
-Of course, you should take it!
You've been dreaming about this.
It's just, uh...
you know, uh...
I'm gonna miss you is all.
-Oh, hey...
I am gonna miss you, too.
So much.
Where is that big suitcase?
♪♪
-Hey, hey.
Can I help you?
-Hello, Rick.
-Oh, shit.
What happened to the SUV?
-Budget cuts.
-Oh.
Okay, you want to come inside?
-Worried someone will see us?
-Yeah, actually.
Plus, I got ice cream in here. Come on.
-But not too worried to write this.
-How'd you get that?
-Not your concern. -You read it?
Okay, all right.
You... You're angry that I saw Amara.
-That you went back to her after going to prison to avoid her.
Some would question the logic.
But at this point, it's irrelevant.
What is problematic is you sending out a screenplay
describing our investigation,
wearing a wire, other informants.
-But I -- I changed the names, right, I...
I wanted it to feel truthful.
-It's truthful enough to get people killed.
-Oh. Oh, man. -Yeah.
-I thought because it was all over...
It's hard enough to get read in this town.
I didn't think the cartel would bother --
-Rick.
How many copies you send out?
-I...I don't know, 12.
13 maybe.
I could try and remember them all.
-Please do.
After you.
♪♪
-No. The scene where Delroy gets attacked.
Yeah, I wanted a scary rusted metal look,
and they painted it brown. Yeah.
Like out of a Pottery Barn catalogue.
I know.
Okay.
So by tomorrow night?
All right. Thanks.
[ Door opens ]
Oh, fuck!
-Drive.
-Okay.
Okay.
♪♪
-Stop it right here.
♪♪
Back it in here.
♪♪
Unlock the doors, put your hands on the wheel.
-Okay, look, man, I got $600,000 --
-Put your fucking hands on the wheel!
-Would you -- look! Just take my car, man.
Take whatever you want. Just let me go!
Shit.
Oh, shit. Shit.
-So, Jordan, we got a problem.
-We do -- we do? -Yeah.
There are a few line items on the budget for your next film
that seem, to be honest, a little extravagant.
-What the...
Okay, like -- like what?
-Okay, well, first of all, you got $68,000 on puppeteers.
-I mean, if you want, man, I can take it out.
I don't -- I don't care. -Hold on, hold on.
Just tell me why you need that much.
-I mean, it's a monster movie.
I mean, practical effects are expensive.
-Well, you're $2 million over on locations.
-We're shutting down the Golden Gate Bridge --
-Turn the fuck around.
-We're shutting down the Golden Gate Bridge.
I mean, it's only the eighth time in history
they've agreed to do it.
-You can't find a less expensive bridge?
-Who are you? -Turn the fuck around!
Ask that question again, Jordan, either now or after we're gone,
my associate here with the knife
will ensure that you drop that line of inquiry.
Do you understand?
Now, let's get back to your budget.
-[ Breathes shakily ]
-So you're making movies again? -Not yet.
But I will.
-So what was that?
-Oh, I was just trying to make my boss look good.
She doesn't make it easy.
Oh, fuck, I'm gonna be late for curfew.
-I'll give you a ride. -Where are you staying?
-Apartment in East Hollywood.
Capotillo hooked me up.
-So you're a junior lieutenant and I'm the one
who's stuck in a fucking halfway house.
-Oh, when I was inside, I took the cosmetology course.
I got really good.
-So the parole board figured this man
is so good at cutting hair,
he couldn't possibly be a threat to society.
-Yeah. -All right.
-It's nice to see you back in the world.
Well, not here, specifically.
If you need anything, let us know.
-By us, you mean you and Philip.
Tell Philip that's very kind.
-I can't imagine what you've been through.
Emma says you've got a job, you're working hard.
-Well, quite motivated to get out of here,
as you might expect.
How do you think Emma's doing?
-Fine, when she's doing something she wants to do.
When I tell her, it's another story.
-Yes.
-Also, this involves you.
-What's that?
-She's been talking about you at school.
About your time in prison.
-It's not a secret.
-No, but she's actually using it to show off...
which is, I guess, her way of dealing with it.
-What's she telling them?
-She's got your mug shot on her phone as your caller ID photo.
All her friends have seen it.
And she's made you out to be the El Chapo
of Porterville Penitentiary. -Oh, God.
-I'm not saying she should be ashamed.
-No, no, no, I'm with you.
It's odd that she's bragging about it.
Which mug shot was it?
I look kind of cute in that one from the petty larceny,
wearing that button-down you got me for my birthday.
-This is your recent mug shot.
-Oh, well, we have to shut this shit down then.
[ Both chuckle ]
I'll talk to her.
-Thank you.
-Okay, wait, wait.
I'm having trouble absorbing this now.
-It's a lot. -Okay, he was murdered how?
-He was beaten with a plumber's wrench.
-A plumber's wrench?
And Miles is the main suspect? -Well, I said he was questioned.
-He's a suspect.
-Maybe. -Is he involved or not?
I mean, why are you telling me this?!
-The manager of the men's residence
said there was a dispute between Miles and the victim.
Miles was interviewed by the police,
but no one has been charged.
-Well, they'll just revoke his parole
while they're investigating. -Probably not.
-What, even though he's suspected of murder?!
I mean, come on, man. This is a gimme!
All right, you know what? I'm gonna take care of this.
I'm gonna call the Justice Department,
I'm gonna tell them that they released a guy
who likely beat his roommate to a bloody--
[ Knock on door ] Come in!
Linda, will you please send...
-I hope you're hungry, 'cause this looks delicious.
-Uh, Linda, never mind.
Where's, uh, Jayson?
-He had to step out. -Uh-huh.
And so you volunteered to bring me lunch?
-Yeah, Jayson and I...
cover for each other from time to time.
-Hmm. Considerate.
-The tomatoes are gorgeous. -Yeah, yeah, yeah.
Well, those are the...
the Green Zebras.
I -- I grow them myself. -Get out.
I never had you down as a gardener.
-Well, you know, when you have the time.
It's nice to get a little sunshine.
-Yes, it is. Napkin for you.
-Thank you.
-Steak knife, gonna need that.
Now, do you prefer A1 or hot sauce,
or shall I leave both?
-Both is good. -Of course.
-Well, I believe that's everything.
-Terrific. -Enjoy your lunch.
-Great.
Fuck!
[ Breathes sharply ]
Linda, will you please call James Rylerton
at the Justice Department?
-Trying him now.
-Hey, buddy!
-Mr. Darnell!
Can I get you anything before your meeting?
-This your office? -Nope, no,
that is my work station over there.
-You sit there all day? -Mm-hmm.
-It's one thing to hear that you're working for Budd E. Boy,
but to actually see it --
-If you don't require a beverage,
you can just wait in here.
-Got a call from an old friend of ours.
-Why don't you make yourself more comfortable.
-This is important. -Just fucking sit down, Lou?
Now...
What are you going on about?
-Rick wants us to meet at his place tomorrow.
-Moreweather?
You cozy with Rick these days? -He called out of the blue.
He wants you and me, and he wants you to call Yago.
-Why? -It's about Amara.
I mean, he didn't say her name,
but I'm pretty sure that's who he meant.
-Is she back? -He wouldn't say.
-Well, if there's nothing else you need, I'll leave you to it.
-Hello! -Oh!
[ Laughter ]
-Good morning. -Oh, my!
-Louis, I don't know if you remember me.
I'm Ali. -Of course I remember.
Of course, yeah. -Oh, nice.
Well, this is just something to kick things off.
-Would you look at that! -Okay.
I'm gonna need one and one for David.
-Okay, yeah.
It's got the release date, got the title.
-"W2."
Like the tax form.
It's catchy.
I like...
I'll get the other things.
-Hmm.
-Oh!
Hi. -Miss Quinn.
How nice to see you.
-What?
Cut it out.
-Just...
hello.
-You look good.
Very...
yourself.
-You look...
very yourself, also.
-Now explain why you're working here.
-I believe they're waiting for you inside.
-After this meeting, you and me are gonna talk.
-You know, with the built-in audience -- hi, April.
-Wow! Look at this.
-Pretty cool. -"W2."
Like the tax form.
-Coffee. -It's on your desk.
Oat milk, dark roast.
-I meant for them. -Of course.
Miss Quinn, could I get you anything?
-What? No, I'm fine.
Why would you...
-Do you have an iced mint tea?
-We have hot tea.
-You could pour it over ice.
-I could do that.
-In a real mug, if you've got one,
'cause the paper ones get squishy.
-Squishy. I'll see what I can do.
-I'm gonna put this away. -Yeah.
-Say goodbye for now. -Bye!
-Bye-bye.
Miles is a fucking assistant?
I can't even...
Why would he be...
-I don't know.
Seriously.
I'm just playing along.
-You sure it didn't come in, 'cause I --
I rewrote it, and it's -- it's way, way better than...
-I don't show it logged in. -Hmm.
How about that stack right over there.
You want to check that?
-I've made a note, and as soon as it comes in, we'll call you.
-All right, thank you.
-Reed Grass Media.
-I don't have her right now, but I can take a message
for you, if you'd like.
Excuse me. -Just checking these.
-Put those down. -I'm just checking them.
-Sir, would you please... -That's okay.
-...put those down. -Hey, okay, sorry, sorry.
So it's called "Love Under the Ceiba Trees,"
the working title.
-Get out.
-Call me if you see it.
Or just put it in the shredder.
Just take -- just take the whole thing and -- and...
All right.
Okay.
-Good night, Vicky. -Good night.
-I didn't mean for you to wait.
-Should we walk to parking?
-I catch my bus over there. -The bus.
Right.
I have a dinner at 8:00, but I can give you a lift.
-No, no, I have a big dinner as well.
The halfway house.
-Yes, you mentioned you have a full social calendar.
-It's really good to see you. -You, too.
Now, really...
why are you working here?
'Cause I can help you find another job.
-Uh, no, no.
This is where I need to be.
-What are you talking about?
After what Laurence did to you?
To the both of us?
You're an assistant for that perverted creep?
-Did I not just see you in a meeting up there?
I could have sworn that was you. -He stays away from me.
And I'm not exactly in a position
to turn down this project.
-Because it's such a good idea.
Wait a minute. There is no idea.
It's not even like the ending of the first film
suggested a sequel.
It's the last two people in the world.
Oh, hold on a minute.
Oh, they just met some friends!
-Miles...
I told you...
business has been shit.
"The Girl in the Canyon" is the only thing I've set up,
and the fucking writer wants 100 grand
or else I lose the option.
No one else will work with me. -Come on.
-'Cause my last two movies were financed with drug money!
-You're saying this is my fault.-Yes.
Or, I don't know, it's my fault for working with you.
I didn't mean that. I'm...
I'm stressed. -No, and I -- yeah.
Oh, shit. I catch hell if I miss the bus.
I'll see you around, okay? -Yeah.
Good night.
-Fuck! Who's there?
-Nice of your mother to bring your kid by yesterday.
A good-looking boy.
Quiet, isn't he?
Not like his dad.
-What's that mean? -You are a regular chatterbox.
-I didn't say shit.
-Well, it wasn't me.
And we know it wasn't Track, so...
-One of the other guys? -Oh, the other guys.
I see.
Tell the cops I had no beef with Track,
that you were a bit mixed up.
-No, I never said anything. -Give my love to your family.
You're a lucky man.
-And Philip is super into marching bands.
-Oh.
-He had me watch a DVD called "Marching Bands of the World,"
and I had to pretend to be interested.
It was painful.
-There are marching bands all over the world?
That is interesting.
-Dad! -Oh.
I'm just relieved I don't have to buy you a tuba.
[ Cellphone chimes ]
-My Lyft's almost here. -Ah.
Oh, hey, before, um...
Your mom was saying that you've been talking about me
with your friends, about my time in prison.
-They ask questions. -Like what?
-Um, about you working with the cartel,
using drug money to make a movie.
-Whoa, okay.
You shouldn't be talking about that stuff at school.
-That's how most of them know me.
I'm the girl whose dad was in prison.
-Well, I'm sorry for that. -It's not a big deal.
My friends think it's cool. -No, this -- it's not cool.
Shorty, it's...
[ Cellphone chimes ]
Oh, may-- maybe you could just tone it down a bit.
-Can we be done talking about this?
My Lyft is here.
[ Doorbell rings ]
-Yago. Come on in.
Come on. -Hey.
-Been a while, right? You seem good.
-Yeah, is she here? -Huh?
-Miles said you wanted to talk about Amara.
I don't know what that means. -Well...
Well, wait till the guys get here.
I'll explain everything.
Come on, in the meantime, grab a plate, get yourself a sandwich.
Got a platter of cold cuts here.
You want wine? -What is this?
-I got mortadella, provolone.
-No, no, no. Why is this food here?
-Let's wait till the guys. Okay, I'm a little behind,
so fix yourself a plate while I set up.
-Set up what?
-There's drinks, too, in the kitchen.
Booze, soda, white wine's in the fridge.
Tell them not to make too much noise.
My dad's in the bedroom.
-Rick!
You know Amara paid some pendejo to take me out, right?
-Man, that's...very uncool.
-Yeah, it is.
Miles told me to show up, but I need to know, is she here?
-No.
Not in the way you mean.
-What other way is there?
-I'll be back, okay?
The almond cake, that's --
that's from Martina's on Ventura.
The place is phenomenal.
-So Gladys will be gone three, maybe four months tops.
And we'll Skype every day.
And she'll fly in here and there.
So I'll manage. -You're starting a new job
and you're alone with the fucking kid.
-Not as bad as it sounds.
-Katie left Emma with me when she was a toddler once.
One weekend, and I was ready to drop her off at a firehouse.
-I'm trying to be okay with it. You're making me feel worse.
You see anybody? -No.
-There's no way Amara would stay at Rick's house.
That's crazy.
-You carrying?
-Yeah. I got my .38.
[ Doorbell rings ]
-Rick?
Rick?!
Oh. I'm glad you're here.
This shit is fucking weird.
-Where's Rick. -Said he's setting up.
-Setting what up?
What the fuck's all this?
-Provolone. -Rick?
-That's not for us, is it? Flowers.
-Said there's drinks in the kitchen.
Some soda and white wine.
-How long's it been since you guys last saw each other?
-Couple years. -Did you miss me?
I know that you helped Miles at Porterville.
So...
thank you.
-We helped each other out.
Things work out with that director?
-Which director?
-We'll talk later.
-Hey, all right.
If you guys want to have a private conversation, go ahead.
No, I'll just get out of your way.
-What's...What's that?
-Nothing.
He...
The director brought the budget down,
but we're gonna have to pay him another visit.
-Why? -Well, we scared him
into making cuts,
and now he's gone and ruined half the script.
You know the scene on the bridge, that emotional payoff?
-Mm-hmm. -He just fucking lifted it.
-Would your boss care?
-It would be a shame to ruin an interesting film.
-No. No, no, I'm not gonna ask
my crew to go back for some emotional payoff,
or whatever the fuck you're saying right now.
-Ah, look at this, huh?
Hey, Louis!
The gang's back together.
I don't mean gang like...
gang.
-Well, it's a lovely spread, Rick.
Why are we here? -Did you try the rolls,
the ones over on the side -- -What are we doing, Rick?!
-Okay.
Okay, could all of you just...
just follow me into the study?
Please. Hey, no, no, no, no, no.
Don't -- don't be paranoid. It's -- it's...
It's...
You'll see, you'll see. Come on.
Right down the hall.
Hold on, hold on.
[ Pop ballad playing ]
Let's sit. Why don't we sit?
-I don't think so. -What the fuck is this?
-Well, I asked you here to...
pay tribute to Amara, because...
she's not with us anymore.
-She's dead?
-No way.
-Yeah. It's --
I couldn't post it on Facebook, I mean...
she was a fugitive.
But I'll tell you what happened,
and then we can all just say something in her honor.
-Is this a memorial service? -Get the fuck out.
-Okay, I don't know if you know this, but before Amara left LA,
she and I were engaged.
-Ed said you bought her a ring. -130 grand.
-$130,000?
Why would you do that? -It's not important.
Okay.
Amara went to Guatemala, and I went there to join her.
And while I was away, the Federales,
they raided our camp, and -- and they...
♪♪
I didn't get to say goodbye.
♪♪
-You saw her dead?
-I was at her grave.
I know it's hard.
But, look, we're here to celebrate her life, and...
and honor her passing.
♪♪
You want to start?
You're family.
♪♪
-Fuck you.
♪♪
-Well, he's in shock.
-You spent 130 grand on a ring?
♪♪
-Rick, why don't you give the eulogy?
I'm guessing you have something prepared.
♪♪
-Okay.
All right, I'll start.
♪♪
[ Engine starts ]
-Fuck!
[ Tires squeal ]
-And that's when I knew that we would be together...
♪♪
I think I -- I think I said that one.
Here we go.
In closing,
she was a woman who knew what she wanted.
Wasn't afraid to ask for it.
But under that, she was a sensitive,
loving, beautiful soul.
We will...
We're never gonna forget.
♪♪
Never gonna forget.
♪♪
So, Amara, wherever you are...
I hope you find peace.
♪♪
-♪ Living in the moment
♪ Loving you as well
-This is real nice.
-Yeah.
Anything you want to add?
-I think you said it all, really, Rick.
Uh...
I mean, I am a little relieved that she's...
gone.
Sorry.
I did say this day was gonna come.
-It came.
Yeah, I never thought that we would go back
to working for her, but...
it's kind of weird, not to have the option.
What's in the Tupperware?
-Oh, that's her ashes. -Oh.
Kind of chunky.
-Well, there's dirt in there, too.
Sticks.
-Did you get your ring back?
-No. No.
The ring was a gift for Amara.
Plus, it was a mass grave.
I wouldn't even know where to start.
[ Exhales deeply ]
Whew.
-Well, then, we should...
-Yeah. -Shouldn't we?
-Mm-hmm. -You know, I mean, if you --
Okay. -Take care, Rick.
-All right.
One last thing.
It's sort of funny, really.
I been trying to write this story
about my relationship with Amara.
You know, as a screenplay.
That's how I came up with the idea for us to get closure.
-Screenplay? -Yeah.
-What exactly did you write down?
-Oh, nothing incriminating.
Not in the latest draft.
-Okay, now you're scaring me.
-But, I mean, the first pass did have a mention
of our relationship with the FBI, although...
I changed all the names.
-Jesus Christ.
-Please tell me that nobody's read it.
-No. No, no, no, no.
We're getting all those drafts back.
-Back from who, you fucking idiot?!
-I -- I just sent a few out.
The Feds are gonna get them back before they're even delivered.
And then I'm gonna go through the house, I'm gonna get rid
of all the old drafts, that's all.
-Oh. -I just -- I...
I want you to know so in case
the Feds do call you, you don't panic.
-Okay, if somebody does read it, just let us know.
-Unless it's our Mexican friends.
Then don't bother, because we'll already have been
tortured and dismembered.
Cheers, Rick.
-Hey, thanks for coming, guys.
[ Rap music playing on radio ]
♪♪
-Here. -Cheers.
-Salud.
♪♪
-I can help you get undressed.
-Yeah. -Hmm?
Mmm.
♪♪
-You know what? Just...
♪♪
Just give me a minute.
♪♪
It's been a fucked up day, you know?
-Yeah. -I just need to...
-Want me to dance? -Yeah.
That's good.
♪♪
My tia passed away.
♪♪
-Shit.
Were you close?
-No.
It's complicated, you know?
♪♪
I just wanted to see her one more time.
Say some shit to her face.
♪♪
Now she's gone. -Oh.
Let it out, baby.
-I just...just...
♪♪
[ Knock on door ]
[ Blues music playing on radio ]
♪♪
-Can I come in for a quick chat?
Unless you have company?
-No. I was just doing some spring cleaning.
Come on in.
♪♪
-You're a few months late for a spring clean.
You moving?
-No, just getting...
organized.
♪♪
-I feel bad.
I feel bad that your association with me
is hurting your business.
It's not fair, you not being able to option
that book about a cave.
-"The Girl in the Canyon." -Canyon, right.
♪♪
Look, I...
I'd like to offer you an interest-free loan.
There's no rush in getting it back to me.
Take it.
♪♪
-Very funny. -Not a joke.
-You're an assistant at Budd E. Boy,
and you have an extra 100 grand lying around?
-I live very frugally. -[ Laughs ]
Miles...
if this is real, where's the money from?
♪♪
-It's not gonna get you in trouble,
if that's what you're asking.
-It's part of what I'm asking.
♪♪
I can't.
-What about your book?
-I'll beg the writer for more time.
Please take it.
Take it.
Look, it's a very nice gesture
even if the source of the money is totally sketchy.
♪♪
Thank you.
♪♪
-Would you take it if somebody else was offering?
-Maybe. -Hmm.
♪♪
[ Door opens ]
♪♪
[ Door closes ]
-[ Sighs ]
[ Car alarm chirps ]
-What the fuck?!
Oh, my God, again?!
-I just want a conversation.
-Look, man, I already gave you everything you asked.
-I asked you to bring the budget down.
I didn't ask you to take the fucking best scene
out of the film.
-What?
You read the script? -Of course I read it!
You're Jordan fucking Parr!
-Look, I already told the locations manager
to drop the day on the bridge. -No, no, no, no.
The location isn't what made the scene special.
What made it special
was the relationship between Vic and Alison.
It's the last time that they see each other alive.
The audience know that. -Yeah, but the characters don't.
And that's exactly why I like it, too. It --
-Turn around!
-Man, who the hell are you?
-I asked you not to ask that.
-Shit. Sorry.
Okay, well, um...
It'll be tough to find another place for that scene
without pulling apart the schedule, so...
Um...
We could set it at the house.
-House. -Yeah.
-Nah, it's too similar to scene 39B.
That would be confusing. -Right.
-You okay with me pitching you a few ideas
and you can tell me what you think?
♪♪
-We -- We could come with you and just wave you off.
-That is sweet, but I don't want to make you late.
-Oh, I don't care.
-I'm sorry that I'm not gonna be here for your first day of work.
-Oh, it's -- I'm fine.
Just call me when you get in.
-I will.
We can start looking at plane tickets tonight.
-Yeah. -Yeah, yeah.
-Okay.
-Hey, hey, thank you...
for letting me do this.
[ Cellphone chimes ] Oh.
Oh, that's my car.
Oh. Okay!
-There we go. -Oh, my God.
I'm gonna miss you so much.
You want to walk Mama outside?
Yeah, cool. Yeah.
Let's go.
♪♪
-Good morning. -Yeah.
-Dark roast, oat milk, and two Splenda.
Oh, and congratulations. -Huh?
-Jordan Parr cut 8% from his budget.
-Since when? -Oh, I called my friend
at Parr's company, and he had a word.
And as of now, the production is on budget to the nearest penny.
-You made that call without me?
What the fuck is going on?
-I figured it would be w-- -You are days in,
and now you run the place?
Jordan finds out that my assistant
is back-channeling without my knowledge--
-Ali, part of my job is reading your e-mails.
And they piss me off.
-What?
-You get no acknowledgement or appreciation for your work.
You're the only one with expertise
overseeing this project, and yet...
Laurence hammers away at you.
I find his tone insulting.
I don't know, maybe you don't see it that way.
-No, I do.
-So, yes, I reached out to a friend, and I said,
"I am on Ali's team.
All she's asking for is for some financial prudence.
Is that too much to ask?"
So from now on, when Laurence has a go at you,
you just hand him this budget.
And you remind that man that the most important member
of his executive team is Ali fucking Egan.
-This is the current budget? -Mm-hmm.
These are the critical assumptions
along with some new pages.
More of those to come.
Jordan is restoring the emotional
through-line of the film.
His first pass wasn't up to your standards.
Again, congratulations, you.
-Okay.
Hold on.
Do not do this again...
with-- without telling me.
-I think we have an understanding.
♪♪
-So here we go.
♪♪
-Okay.
-We hope you like it.
I mean, if you have special furniture requirements
or office supplies...
-It's a nice desk.
-Do you want to take a minute to settle,
or should we jump right in?
[ Telephone rings ]
I can get that, if you want.
Or we just let it go to voicemail.
-Yeah, maybe... maybe let it go to voicemail.
What do you do? -Oh, sorry.
I'm your assistant. -Well, not just mine.
-Yeah, just yours.
-Okay.
Uh, so...
when you say, "jump in"...?
-Go through your call sheet,
the partners will stop in throughout the day.
But I thought maybe you want to set a lunch.
-Who are these people?
-Yeah, exactly.
Oh, I'm sorry. I thought you were kidding.
Those are you clients.
-These are actors?
That I manage?
Boy, there's a lot of them.
-Yeah. The sooner you meet with them, the better.
-Yeah. [ Telephone rings ]
-I can get that.
-Maybe -- maybe just let me settle in for a minute.
-I'll be at my desk.
-Hey, it's Gladys. Leave a message.
-Hey, baby.
I know you're in the air.
Just...
fly safe and call me when you get in.
I love you.
-Uh, close that door.
So...they've moved off him?
W-What does that mean?
-When the parolee was beaten,
Miles was nowhere near downtown.
There's security footage of him
getting on a 209 metro bus to Inglewood.
-Right, but he got someone else to do it for him.
-A key witness changed their story.
I don't have details.
LAPD wouldn't share the case file.
-Okay, so we're just giving up that whole line of inquiry, huh?
Good work. Good work, Clark. Well played.
Christ.
-For what it's worth, his rap sheet is largely non-violent.
-Oh, a ringing endorsement.
-He seems grateful for the opportunity,
he's working hard, he's telling employees that you're a mentor.
-Who? Who's he telling? Fucking Jayson?
-Several assistants.
-That I'm a mentor? -Yeah.
-Mm-hmm.
Well, I mean, on some level, I...
I suppose that's true.
He gets to observe my process.
What I've learned in my 30 years of filmmaking.
I'm not running a rehabilitation program for ex cons.
-No.
-But since he is already fucking working here,
maybe somebody with his background can be...
I don't know, useful.
[ Sighs ]
-Yeah, I have them here. I can bring them right over.
Okay.
[ Telephone rings ]
This is Ali Egan's office.
This is Miles.
-Is this a game to you?
-April?
-You have absolutely no idea how make-or-break
this was for me.
-What -- what are you talking about?
-I turned down the money you offered for the book option,
and the next day,
Laurence swoops in with an offer and walks away with my project.
What a coincidence. -No, okay.
I have no idea how Laurence learned about your book.
-You're exactly where you should be; working for him.
Two needy, twisted power-hungry douche bags.
-Look, look, look, this wasn't me.
Okay? This wasn't me, April.
He's a fucking devil.
-Well, I hope you got major brownie points, huh?
You guys can bro out together behind his two-way mirror.
Thank God I didn't take your money.
-April, what can I say that's gonna make you --
[ Sighs ]
♪♪
-Yeah?
-I got those new pages.
-Ah, come in.
-You want these?
-On the desk.
-Anything else? -Nah.
What the hell are we gonna do with you?
-Excuse me? -You're not assistant material.
You're too old, for one thing.
You steal focus, and assistants should fade into the woodwork.
Did you ever meet Jacob Dryer's assistant, Amy?
-I don't know if I have. -Exactly.
Scotch?
-The good stuff.
-You know what Warren Beatty...
once told me at 3:00 a.m. in the back room at the Ivy?
He said that every story he tells about his life...
he makes something up.
Only, he's not sure what.
-Huh. -Like you.
Creating a narrative for yourself,
convicted felon turns life around.
Hollywood loves that stuff.
-That's delicious.
-Laurence, your car is on the way.
-Ah. I'm heading out.
-Ah. -Mmm.
Walk with me.
You know what? You should tell people that you grew up
cold and hungry in Ireland.
No, raising goats. -Goats?
-Yeah, in a house made from damp stones and peat.
-Hmm.
-I'm only saying that the lower you start,
the more exciting when you ascend.
-It's hard to go lower than prison, don't you think?
-B2.
You have the ability to solve problems
in ways that are unorthodox.
Right?
So if you're gonna be useful here...
maybe we find something along those lines.
-That sounds interesting. -I'll take that as a yes.
[ Chuckles ]
-So what's your narrative?
I mean, the one you put out to the world?
-You tell me.
-You're a champion of artistic quality,
great instincts. -Where's my car?
-But if someone gets in your way,
boy, you can be ruthless.
Like that project that April Quinn was developing.
You took that just to fuck with her.
-You talk to April? -Oh, I'm not judging.
Being ruthless is something I aspire to.
-What floor did you press?
-You said B2.
-Car's never late.
-No?
-Nope. -Hmm.
-Hello?!
This isn't B2, is it?
-What do you mean?
[ Tires squeal ]
-Hey. [ Chuckles ]
Am I a creature of habit or what?
Two minutes late, I'm bitching.
-Thanks for the whiskey, boss.
-Oh, uh...
I haven't read the book I took from April.
I just know she's got good taste.
♪♪
-[ Shouting in Spanish ]
♪♪
-[ Singing in Spanish ]
♪♪
-Quality!