1 00:00:23,566 --> 00:00:25,068 MAN: Quiet on the set. 2 00:00:25,151 --> 00:00:27,070 - (bell rings) - WOMAN: Okay, everybody. Quiet on the set. 3 00:00:27,153 --> 00:00:28,822 MAN #2: Scene one, take 10. Marker. 4 00:00:32,242 --> 00:00:33,910 (phone ringing) 5 00:00:35,787 --> 00:00:38,581 MAN: And action! 6 00:00:39,916 --> 00:00:42,669 - (phone rings) - Joel Levison's office. 7 00:00:42,752 --> 00:00:45,547 No, I'm sorry, he's not in yet. May I take a message? 8 00:00:46,423 --> 00:00:49,342 - Yes, Mr. Levy, I'll tell him you called. - Sandy, never say that. 9 00:00:49,426 --> 00:00:52,637 He's either in conference, in a meeting. He's always in. 10 00:00:52,721 --> 00:00:55,056 - Now, who was that? - A Larry Levy? 11 00:00:55,140 --> 00:00:56,558 Great. 12 00:00:56,641 --> 00:00:58,935 I hope there was nothing in the trades this morning. Was there? 13 00:00:59,018 --> 00:01:01,396 - Well, I don't know. The mail's late. - Well, go get 'em. 14 00:01:01,479 --> 00:01:05,233 Now! I want them back here before he arrives. 15 00:01:20,498 --> 00:01:22,876 Griffin. Griffin, hi. 16 00:01:22,959 --> 00:01:24,669 Griffin, hi. A-A-Adam Simon. 17 00:01:24,753 --> 00:01:28,089 - We're not supposed to meet till next week, but — - I didn't realize we were meeting next week. 18 00:01:28,173 --> 00:01:31,050 Well, I just wanted to plant the seed in your head just now so that — 19 00:01:31,134 --> 00:01:33,094 I'm booked up. I can't hear a pitch right now. 20 00:01:33,178 --> 00:01:36,473 Picture this. It's a planet in the far, far future, a planet with two suns. 21 00:01:36,556 --> 00:01:39,017 - Who plays the sons? - No, no. Suns. Large solar disks. 22 00:01:39,100 --> 00:01:41,019 GRIFFIN: Listen, run this idea by Bonnie Sherow. 23 00:01:41,102 --> 00:01:44,272 Pictures they make these days are all MTV. Cut, cut, cut, cut. 24 00:01:44,355 --> 00:01:48,026 The opening shot of Welles' Touch of Evil was six and a half minutes long. 25 00:01:48,109 --> 00:01:50,320 - Six and a half minutes, Walter? - Well, three or four. 26 00:01:50,403 --> 00:01:53,656 He set up the whole picture with that one tracking shot. 27 00:01:53,740 --> 00:01:56,159 My father was the key grip on that shoot. 28 00:01:56,242 --> 00:02:00,205 Hey, what about Absolute Beginners? Man, that was an extraordinary shot. 29 00:02:00,288 --> 00:02:02,207 What the hell was that? Never heard of it. 30 00:02:02,290 --> 00:02:04,417 It was Julian Temple. It's an English film, Walter. 31 00:02:04,501 --> 00:02:08,213 WALTER: We're talking about American movies, and Orson Welles was a master. 32 00:02:08,296 --> 00:02:11,132 - Pellegrino, please. - I've got Calistoga. 33 00:02:11,216 --> 00:02:13,301 - Buck, how are ya? - Good. How ya doin'? 34 00:02:13,384 --> 00:02:15,595 Good. What do you got for me? 35 00:02:15,678 --> 00:02:17,847 Okay, here it is. 36 00:02:17,931 --> 00:02:19,974 The Graduate Part Two. 37 00:02:20,058 --> 00:02:21,601 - Oh, good. Good. - Now, listen. 38 00:02:21,684 --> 00:02:23,812 The three principals are still with us — 39 00:02:23,895 --> 00:02:26,773 Dustin Hoffman, Anne Bancroft, Katharine Ross. 40 00:02:26,856 --> 00:02:28,149 Mm-hmm. 41 00:02:28,233 --> 00:02:30,568 Twenty-five years later. And so are the characters. 42 00:02:30,652 --> 00:02:34,322 - (buzzing) - Ben, Elaine and Mrs. Robinson. 43 00:02:34,405 --> 00:02:36,407 Ben and Elaine are married, still. 44 00:02:36,491 --> 00:02:40,995 They live in a big, old, spooky house up in Northern California somewhere. 45 00:02:41,079 --> 00:02:44,290 - And Mrs. Robinson lives with them. - Mmm. 46 00:02:44,374 --> 00:02:47,669 Her aging mother, who's had a stroke — 47 00:02:47,752 --> 00:02:49,295 Mrs. Robinson's had a stroke? 48 00:02:49,379 --> 00:02:51,297 Mrs. Robinson's had a stroke, so she can't talk. 49 00:02:51,381 --> 00:02:53,299 - Is this gonna be funny? - Yeah, it'll be funny. Dark. 50 00:02:53,383 --> 00:02:55,623 - With a stroke? - And weird and funny and with a stroke. 51 00:02:55,677 --> 00:02:57,387 - Okay. - Maybe it's not a stroke. 52 00:02:57,470 --> 00:02:59,389 - Maybe it's — I don't know what it is. - Anyway, go on. 53 00:02:59,472 --> 00:03:00,849 - It's a malady of some sort. - Okay. 54 00:03:00,932 --> 00:03:04,352 She's up there in the bedroom upstairs, listening to everything that happens. 55 00:03:04,435 --> 00:03:06,521 They've got a daughter who's just graduated from college. 56 00:03:06,604 --> 00:03:08,106 That's good. Young blood. 57 00:03:08,189 --> 00:03:09,774 Twenty-two, twenty-three-year-old. 58 00:03:09,858 --> 00:03:11,776 - Like a Julia Roberts. - Julia Roberts. Great, great, great. 59 00:03:11,860 --> 00:03:14,279 Excuse me. What did you want me to do with these scripts? 60 00:03:14,362 --> 00:03:15,802 - That goes to Bonnie Sherow. - Okay. 61 00:03:15,864 --> 00:03:19,617 And, uh, find out from studio security how Adam Simon got on the lot. I wanna know. 62 00:03:19,701 --> 00:03:21,786 Okay. Adam Simon? Okay. 63 00:03:22,579 --> 00:03:23,997 - Okay? - Yes, go ahead. 64 00:03:24,080 --> 00:03:26,165 Julia Roberts comes home. Their daughter. The graduate. 65 00:03:26,249 --> 00:03:27,667 Yes. The new graduate. 66 00:03:27,750 --> 00:03:29,168 - BUCK: Th-The new graduate. - GRIFFIN: The postgraduate. 67 00:03:29,252 --> 00:03:31,379 Griffin loved it. He just wanted me to run it by you. 68 00:03:31,462 --> 00:03:34,591 - It's a hardy band of human survivors. - Listen, write this down for me. Okay? 69 00:03:34,674 --> 00:03:36,885 They have no history, only mythology. They've lost all technological knowledge. 70 00:03:36,968 --> 00:03:40,179 I can't process any of this unless you write it down. Could you write it down? 71 00:03:40,263 --> 00:03:42,423 - It's not about words. You gotta visualize it. - Whoa! 72 00:03:42,473 --> 00:03:44,809 - (crashing) - ADAM: Oh, man. 73 00:03:46,394 --> 00:03:48,104 Jimmy? 74 00:03:48,187 --> 00:03:50,565 - Jimmy, are you okay? What happened? - MAN: You gotta look where you're going. 75 00:03:50,648 --> 00:03:52,567 - JIMMY: Twenty-five words or less? - Are you all right? 76 00:03:52,650 --> 00:03:54,569 I'd say. My name is Jimmy Chase. 77 00:03:54,652 --> 00:03:56,571 - Are you all right? Open your eyes. - Huh? 78 00:03:56,654 --> 00:03:59,908 - Are you okay? - He came outta nowhere, ran into the car. 79 00:03:59,991 --> 00:04:02,160 - I never saw the guy coming. - It's okay. 80 00:04:03,786 --> 00:04:05,288 Yeah, it's okay. 81 00:04:05,371 --> 00:04:07,248 JIMMY (laughs): Hey, that's Adam Simon. 82 00:04:07,332 --> 00:04:09,459 How ya doin', kid? I was just having a — 83 00:04:09,542 --> 00:04:11,252 - You all right? - ADAM: Yeah, it was good. 84 00:04:11,336 --> 00:04:13,129 BONNIE: You sure you're okay? 85 00:04:17,800 --> 00:04:21,220 Rebecca De Mornay. Actually, you're much better looking. 86 00:04:21,304 --> 00:04:23,389 Um, no. No, I'm not Rebecca De Mornay. 87 00:04:23,473 --> 00:04:25,892 - Dead ringer. - Thank you. Thank you very much. 88 00:04:25,975 --> 00:04:28,811 Hey, do you know where Joel Levison's office is? 89 00:04:28,895 --> 00:04:31,773 The Mr. Levison? Head of the studio? Yeah. 90 00:04:31,856 --> 00:04:33,856 It's quite, quite moving. It'll rip your heart out. 91 00:04:33,900 --> 00:04:38,404 This is the area where we make decisions to give a green light to a picture like that. 92 00:04:38,488 --> 00:04:41,282 Right here. We're gonna go about 17 stories high, if we can. 93 00:04:41,366 --> 00:04:43,618 We're going to continue using all the Sony products. 94 00:04:43,701 --> 00:04:46,287 Domo arigato to the Sony products, really. 95 00:04:46,371 --> 00:04:50,792 In fact, if you need someone to eat sashimi with you, you give me a ring, because — 96 00:04:50,875 --> 00:04:52,293 Here's Levison, right here. 97 00:04:52,377 --> 00:04:55,296 - Come with me to my office. - I have to know that you're seeing it. 98 00:04:55,380 --> 00:04:56,839 (Bonnie, Adam continue, faint) 99 00:04:56,923 --> 00:04:59,509 - Good girl. - Traffic from Malibu was impossible. 100 00:04:59,592 --> 00:05:01,094 - Morning, Joel. - Morning, Celia. 101 00:05:01,177 --> 00:05:03,388 - Sandy, park the car, please. - Okay. 102 00:05:03,471 --> 00:05:06,224 - Morning, Marty, Annie, Frank. - Hi. 103 00:05:07,308 --> 00:05:08,810 MAN: What are those Japs doing here? 104 00:05:08,893 --> 00:05:11,813 ANNIE: What's all this talk going around here about heads will roll? 105 00:05:11,896 --> 00:05:13,564 The bank's putting the screws to us. 106 00:05:13,648 --> 00:05:16,734 Harvey Goldman's son's coming out from Boston and I don't like it. 107 00:05:16,818 --> 00:05:19,946 Reggie Goldman's a pip-squeak. It can't be serious. 108 00:05:20,029 --> 00:05:23,449 - Quite an actor, though. - Some changes are going on around here. 109 00:05:23,533 --> 00:05:27,453 It's always the way. Happened at Paramount three years ago. 110 00:05:27,537 --> 00:05:29,747 Columbia's going through it now. 111 00:05:29,831 --> 00:05:32,000 I hear we're looking to replace Griffin. 112 00:05:32,083 --> 00:05:33,334 - Griffin? - Mm-hmm. 113 00:05:33,418 --> 00:05:36,671 - I don't believe it. With who? - Berg. Kirkpatrick. Maybe Larry Levy. 114 00:05:36,754 --> 00:05:38,131 - Yeah. - (women chattering) 115 00:05:38,214 --> 00:05:41,759 Yeah, well, I want to know why the security is so lax. That's why. 116 00:05:41,843 --> 00:05:44,762 I'll talk to you about it later. I'm in the middle of a pitch. Okay. 117 00:05:44,846 --> 00:05:47,056 - Listen, go ahead. - Yeah, okay, okay. 118 00:05:47,140 --> 00:05:50,059 - A TV star goes on safari in Africa. - Like a Donna Mills or a Joan Collins. 119 00:05:50,143 --> 00:05:53,062 You're talking about a TV star in a major motion picture? 120 00:05:53,146 --> 00:05:55,189 No, not a real TV star. It would be played by a movie star. 121 00:05:55,273 --> 00:05:56,190 A movie star playing a television star in a major motion picture. 122 00:05:56,274 --> 00:06:00,862 - Goldie, Julia, Michelle, Bette, Lily, Dolly. - Julia Roberts. Dolly Parton would be good. 123 00:06:00,945 --> 00:06:03,531 You know, I — I like Goldie. I like Goldie. 124 00:06:03,614 --> 00:06:06,200 - Great. 'Cause we have a relationship. - Goldie Goes to Africa. 125 00:06:06,284 --> 00:06:07,201 That would be great. 126 00:06:07,285 --> 00:06:09,620 - Goldie Goes to Africa. - Goldie Goes to Africa. 127 00:06:09,704 --> 00:06:11,706 - And she becomes worshipped. - Worshipped? 128 00:06:11,789 --> 00:06:13,429 - Well, she's found by this tribe — - Yes? 129 00:06:13,499 --> 00:06:16,419 Of small people. But then she has to go back to her life. 130 00:06:16,502 --> 00:06:18,588 She's found by this tribe and they worship her. 131 00:06:18,671 --> 00:06:21,049 Oh, I see. It's kind of like a Gods Must Be Crazy, 132 00:06:21,132 --> 00:06:23,217 except the Coke bottle's now a television actress. 133 00:06:23,301 --> 00:06:25,636 Yeah, it's exactly right. It's Out of Africa meets Pretty Woman. 134 00:06:25,720 --> 00:06:28,056 - Well, but you know what? - She has to decide whether — 135 00:06:28,139 --> 00:06:30,058 - You know what we could do? - to stay with the TV show 136 00:06:30,141 --> 00:06:32,769 - or save this entire African tribe. - It could be a man. 137 00:06:32,852 --> 00:06:35,146 - Hey, where's Griffin Mill's office? - Right here. 138 00:06:35,229 --> 00:06:38,149 - Hey, you're Martin Scorsese. - No, but I know Harvey Keitel. 139 00:06:38,232 --> 00:06:41,736 Yeah, I know you do. Hey, I loved Cape Fear. 140 00:06:41,819 --> 00:06:43,613 WALTER: My old man worked for Hitchcock too. 141 00:06:43,696 --> 00:06:46,741 - Yeah? - Rope. It was a masterpiece. 142 00:06:46,824 --> 00:06:49,744 Story wasn't any good. He shot the whole thing without cuts. 143 00:06:49,827 --> 00:06:51,746 I hate all this cut, cut, cut. 144 00:06:51,829 --> 00:06:53,956 Oh, yeah, well, what about Bertolucci? 145 00:06:54,040 --> 00:06:56,918 That great tracking shot with Winger in Sheltering Sky? 146 00:06:57,001 --> 00:06:58,377 I didn't see it. 147 00:07:00,755 --> 00:07:02,840 Touch of Evil, that was the one. Welles, Hitchcock — 148 00:07:02,924 --> 00:07:05,218 - I've been here since 8:00. - You were in the commissary, Whitney. 149 00:07:05,301 --> 00:07:07,845 I stuck my neck out for you to get this job. Who were you with? 150 00:07:07,929 --> 00:07:12,600 - I-I was in there with, um, A-Alan Rudolph. - What were you doing with Alan Rudolph? 151 00:07:12,683 --> 00:07:15,937 He asked me to have coffee and he was telling me this idea he had. 152 00:07:16,020 --> 00:07:18,620 Whitney, you're my assistant. You don't get involved with writers. 153 00:07:18,648 --> 00:07:21,400 I wasn't getting involved. I was just listening to this amazing idea he had. 154 00:07:21,484 --> 00:07:24,164 - I told him he should give it to you. - GRIFFIN: What's your pitch? 155 00:07:24,195 --> 00:07:25,863 Well, does political scare you? 156 00:07:25,947 --> 00:07:29,117 Political doesn't scare me. Radical political scares me. 157 00:07:29,200 --> 00:07:31,077 - This is — - Political political scares me. 158 00:07:31,160 --> 00:07:32,411 politely politically radical. 159 00:07:32,495 --> 00:07:33,996 - Is it funny? - It's funny. 160 00:07:34,080 --> 00:07:36,457 - It's a funny political thing. - And it's a thriller too. 161 00:07:36,541 --> 00:07:38,417 - It's a thriller? - And all at once. 162 00:07:38,501 --> 00:07:41,129 - So, uh, what's the story? - Well, I want Bruce Willis. 163 00:07:41,212 --> 00:07:42,880 I think I can talk to him. 164 00:07:42,964 --> 00:07:46,092 It's a story about a senator. A bad-guy senator, at first. 165 00:07:46,175 --> 00:07:48,803 He's traveling around the country on the country's dime, you know, 166 00:07:48,886 --> 00:07:50,471 like that Sununu guy used to. 167 00:07:50,555 --> 00:07:53,099 I see. So it's sort of a cynical, political thriller-comedy? 168 00:07:53,182 --> 00:07:55,643 Yeah, but it's got a heart, uh, in the right spot. 169 00:07:55,726 --> 00:07:58,146 And, anyway, he has an accident. 170 00:07:58,229 --> 00:08:01,232 - An accident? - Yeah, and he becomes clairvoyant. 171 00:08:01,315 --> 00:08:03,359 - Like a psychic. - Oh, I see. 172 00:08:03,442 --> 00:08:06,529 So it's kind of a psychic, political thriller-comedy with a heart. 173 00:08:06,612 --> 00:08:08,072 With a heart. 174 00:08:08,156 --> 00:08:10,867 Not unlike Ghost meets Manchurian Candidate. 175 00:08:10,950 --> 00:08:14,453 - Go on, go on, I'm listening. - Anyway, he can read people's minds. 176 00:08:14,537 --> 00:08:17,832 And when he gets to the president's mind, it's completely blank. 177 00:08:17,915 --> 00:08:20,251 - Completely blank! - WOMAN: Can I get you anything? 178 00:08:20,334 --> 00:08:22,545 - I'd like a beer, please. - WOMAN: We don't have beer. 179 00:08:22,628 --> 00:08:24,964 Uh, okay, wine. Red wine, please. 180 00:08:26,549 --> 00:08:30,052 Of course someone gets killed at the end. They always do in political thrillers. 181 00:08:30,136 --> 00:08:31,637 (phone rings) 182 00:08:31,721 --> 00:08:34,640 - Griffin Mill's office. - MAN: Yeah, I know that. Can you put him on? 183 00:08:34,724 --> 00:08:37,476 - GRIFFIN: It's an intriguing idea, Jim. - May I ask who's calling, please? 184 00:08:37,560 --> 00:08:39,770 - MAN (on phone): Griffin Mill, please. - We gotta get somebody really dangerous. 185 00:08:39,854 --> 00:08:42,440 - Well, he's in a meeting right now. - You know, Bruce Willis or Mel Gibson. 186 00:08:42,523 --> 00:08:44,192 - Great. Let me get back to you. - Thanks. 187 00:08:44,275 --> 00:08:45,860 - Excuse me, sir. - MAN (on phone): Bullshit, lady. 188 00:08:45,943 --> 00:08:47,778 - He'll get back to me? - Seen my Binaca anywhere? 189 00:08:47,862 --> 00:08:50,198 Do you know how many times I have heard that? 190 00:08:50,281 --> 00:08:52,491 - WOMAN: Who is this? - If he don't get back to me, tell him — 191 00:08:52,575 --> 00:08:54,493 - Griffin, I read that script. - Who was that? 192 00:08:54,577 --> 00:08:57,163 - I don't know. He didn't say. - It's a nice idea. Just maybe a little soft. 193 00:08:57,246 --> 00:08:59,165 I don't know how you're gonna cast it through. 194 00:08:59,248 --> 00:09:02,710 The lead character is a 50-year-old female circus performer. A fire-eater. 195 00:09:02,793 --> 00:09:05,004 Let me read the coverage. 196 00:09:05,087 --> 00:09:07,965 - Are we still having lunch with Aaron Camp? - Yeah. What time? 197 00:09:08,049 --> 00:09:10,218 I made it for 1:00. 198 00:09:10,301 --> 00:09:13,137 - Bad day? - WOMAN: He's having writer's block. 199 00:09:15,097 --> 00:09:18,226 Griffin, you have a meeting with Harders and Frank South this afternoon. 200 00:09:18,309 --> 00:09:19,644 - What time? - At 3:00. 201 00:09:19,727 --> 00:09:22,021 I'll be here. Put this morning's meetings in the computer. 202 00:09:22,104 --> 00:09:24,106 - All right. - Thanks. 203 00:09:24,190 --> 00:09:26,609 - Are you going now? - No. I'm going to see Levison. 204 00:09:26,692 --> 00:09:30,154 I'll meet you there. Order me a Caesar salad and Crystal Geyser. 205 00:09:30,238 --> 00:09:33,241 - Thanks. - (Bonnie, Whitney chattering) 206 00:09:34,867 --> 00:09:36,994 (engine starts) 207 00:09:38,579 --> 00:09:39,914 - Okay, by 5:00? - Mm-hmm. 208 00:09:39,997 --> 00:09:41,749 - Thanks, Sandy. - Bye. 209 00:09:41,832 --> 00:09:44,293 - Hi, Sandy. Hi, Celia. - Griffin, you can't go in there. 210 00:09:44,377 --> 00:09:45,878 He's in a meeting. 211 00:09:45,962 --> 00:09:48,464 So I think, you know, dime-a-dozen out here, don't you? 212 00:09:48,547 --> 00:09:50,883 - It's all right, Celia. - You know this one? 213 00:09:50,967 --> 00:09:54,929 I don't think you've met Reg Goldman. You know his father, Harvey. 214 00:09:55,012 --> 00:09:58,516 Yes, of course. Hi, Reg. From the bank in Boston. Right. 215 00:09:58,599 --> 00:10:00,685 Reg is out here for a couple of weeks. 216 00:10:00,768 --> 00:10:02,270 Great. 217 00:10:02,353 --> 00:10:05,523 - Business or pleasure? - A little of both, I hope. 218 00:10:06,357 --> 00:10:08,693 Reg is thinking of getting into production, Griffin. 219 00:10:08,776 --> 00:10:10,528 Oh, really? 220 00:10:10,611 --> 00:10:13,114 Yeah. Beats work. Doesn't it, Griffin? 221 00:10:13,197 --> 00:10:15,574 Like to play tennis though. You play tennis? 222 00:10:15,658 --> 00:10:18,953 Tennis? No, no, no, I, uh — (chuckles) I'm too busy for — 223 00:10:19,036 --> 00:10:23,124 See, I was just asking Walter here, uh, do you know Meg Ryan? 224 00:10:23,207 --> 00:10:25,209 You know if she's seeing somebody? 225 00:10:26,502 --> 00:10:28,879 Um, yeah, Reg, she's married. 226 00:10:29,964 --> 00:10:31,465 Shit. 227 00:10:31,549 --> 00:10:34,218 What about Winona Ryder? 228 00:10:35,011 --> 00:10:39,140 Um, well, uh, you know, actually, Walter is the guy to talk to. 229 00:10:39,223 --> 00:10:40,975 Walter's got everybody's number. 230 00:10:41,058 --> 00:10:44,270 - Was there anything? - Uh, no. You're real busy. 231 00:10:45,688 --> 00:10:49,025 I want that number, goddamn it. I want that number. 232 00:10:49,108 --> 00:10:52,903 Oh, boy. What about this one here? Has she done anything? 233 00:10:53,904 --> 00:10:55,406 Celia. 234 00:10:56,699 --> 00:10:59,618 Griffin, don't ask. 235 00:10:59,702 --> 00:11:04,165 Don't ask, "You don't know," or don't ask, "I don't want to know"? 236 00:11:04,248 --> 00:11:06,334 Just don't ask. 237 00:11:07,793 --> 00:11:12,089 Look, if it's — If it's Reggie Goldman you're concerned about, forget it. 238 00:11:12,173 --> 00:11:15,092 But be nice to him. He represents a lot of money for this company. 239 00:11:15,176 --> 00:11:18,179 It's not Reggie Goldman I'm worried about. 240 00:11:18,262 --> 00:11:19,680 It's Larry Levy. 241 00:11:19,764 --> 00:11:21,640 Larry Levy? (chuckles) 242 00:11:21,724 --> 00:11:24,185 - Larry Levy's at Fox, isn't he? - (scoffs) 243 00:11:26,062 --> 00:11:27,813 Oh, come on, Celia. 244 00:11:27,897 --> 00:11:31,484 - (beeps) - Sandy, there's a call for Celia on line one. 245 00:11:31,567 --> 00:11:35,112 - Should I be looking for a job? - Celia, are you there? 246 00:11:35,196 --> 00:11:36,989 Joel Levison's office. 247 00:11:37,073 --> 00:11:39,575 Oh, Brad. Yeah. 248 00:11:39,658 --> 00:11:41,035 What? 249 00:11:41,118 --> 00:11:43,704 No, we couldn't sign Anjelica Huston for that project. 250 00:11:43,788 --> 00:11:45,748 She's booked for the next two years. 251 00:11:45,831 --> 00:11:47,750 Yeah, like a ghost story, 252 00:11:47,833 --> 00:11:50,044 but that's not like Ghost. 253 00:11:50,127 --> 00:11:51,712 - Well, not — No. - Which may be — 254 00:11:51,796 --> 00:11:53,672 We should be — I understand what you're saying. 255 00:11:53,756 --> 00:11:56,133 It'd be called Unnatural Lives. It's a supernatural thing. 256 00:11:58,302 --> 00:12:01,055 Joel. Griffin Mill. Friend of Jennifer's. 257 00:12:01,138 --> 00:12:02,515 No, no. 258 00:12:02,598 --> 00:12:04,225 - You're Griffin Mill? - Yes. 259 00:12:04,308 --> 00:12:06,060 - Really? - Good to see you. I'm a big fan of yours. 260 00:12:06,143 --> 00:12:07,895 - I have that tie. - You do? 261 00:12:07,978 --> 00:12:10,898 - Mr. Mill, how are you today? - Okay. How are you doing, Natalie? 262 00:12:10,981 --> 00:12:14,151 (customers chattering) 263 00:12:15,528 --> 00:12:17,530 - Did you order for me? - Yes. 264 00:12:18,531 --> 00:12:20,282 - Hey, Griffin. - Hi, everybody. 265 00:12:20,366 --> 00:12:21,492 - Hi. - How are you? 266 00:12:21,575 --> 00:12:23,911 - Lunching with the enemy, hmm? - Ooh! 267 00:12:23,994 --> 00:12:27,832 - Oh, come on. - So, what's this we hear about Larry Levy? 268 00:12:29,125 --> 00:12:30,668 Larry Levy? 269 00:12:30,751 --> 00:12:33,003 If he had half a brain, he'd be dangerous. 270 00:12:33,087 --> 00:12:34,630 (women laughing) 271 00:12:34,713 --> 00:12:37,133 Aaron says he's coming to the studio. 272 00:12:37,216 --> 00:12:39,093 GRIFFIN: Aaron says, eh? 273 00:12:39,176 --> 00:12:41,095 Why would you believe anything he says? 274 00:12:41,178 --> 00:12:44,306 Well, he said it. It's the authority he said it with. 275 00:12:44,390 --> 00:12:45,933 - He's over there. - Who? 276 00:12:46,016 --> 00:12:48,436 With Anjelica Huston and John Cusack. 277 00:12:48,519 --> 00:12:49,687 - Levy? - Yep. 278 00:12:49,770 --> 00:12:52,690 He's in over his head. He's gonna drown over there. 279 00:12:52,773 --> 00:12:54,191 (woman laughs) 280 00:12:54,275 --> 00:12:56,193 He's quite the golden boy at Fox these days. 281 00:12:56,277 --> 00:13:00,656 Did you see that thing on him in Variety last week? It was two pages. 282 00:13:00,739 --> 00:13:02,783 - Anjelica. Griffin Mill. - Oh, hi. 283 00:13:02,867 --> 00:13:04,952 - Good to see you. You're looking great. - You too. 284 00:13:05,035 --> 00:13:07,746 - Hey, Johnny. Griffin Mill. Big fan of yours. - Yeah. 285 00:13:07,830 --> 00:13:10,791 - You gonna be in Telluride this year? - Probably gonna be in Park City. 286 00:13:10,875 --> 00:13:13,294 - Oh, great. We'll see you there. - Okay. 287 00:13:13,377 --> 00:13:14,962 BONNIE: Ai-yi-yi. 288 00:13:15,045 --> 00:13:16,714 WOMAN: What's happening with Glass Box? 289 00:13:16,797 --> 00:13:19,884 Can we talk about something other than Hollywood for a change? 290 00:13:19,967 --> 00:13:21,510 - Yes. - We're educated people. 291 00:13:21,594 --> 00:13:23,762 - AARON: Sure. - Sure, Griffin. 292 00:13:24,889 --> 00:13:27,224 (all laughing) 293 00:13:28,225 --> 00:13:30,060 - I'll call you later. - Okay. 294 00:13:31,270 --> 00:13:32,771 Bye. 295 00:14:02,718 --> 00:14:04,638 WOMAN: Shouldn't you talk to somebody about this? 296 00:14:04,720 --> 00:14:06,138 - What? - These postcards. 297 00:14:06,222 --> 00:14:08,098 - You've gotten five in two weeks. - Seven, actually. 298 00:14:08,182 --> 00:14:10,768 Griffin, why don't you just talk to studio security? 299 00:14:10,851 --> 00:14:13,103 I'm supposed to call Walter Stuckel and say what? 300 00:14:13,187 --> 00:14:15,856 "Walter, listen, someone's sending me poison pen letters 301 00:14:15,940 --> 00:14:19,360 and I would like for you to make me the object of more ridicule and abuse, 302 00:14:19,443 --> 00:14:21,570 now that things are really shaky for me here." 303 00:14:21,654 --> 00:14:24,823 - No, I don't think so, Jan. - I think they're coming from a writer. 304 00:14:24,907 --> 00:14:27,117 - Which one? - Take your pick. 305 00:14:29,495 --> 00:14:31,997 - Is there anything else? - Yes. Your attorney phoned. 306 00:14:32,081 --> 00:14:34,161 He wants you to come to a party at his house tonight. 307 00:14:34,208 --> 00:14:36,008 Get me out of it. Tell him I'm in a screening. 308 00:14:36,085 --> 00:14:39,421 - Not that attorney. It's Dick Mellen. - Oh, Dick. What time? 309 00:14:39,505 --> 00:14:41,632 Cocktails at 7:30. Dinner at 8:00. Bring a date. 310 00:14:41,715 --> 00:14:44,009 - If I have to read one more goddamn — - Oh, and Bonnie Sherow is here to see you. 311 00:14:44,093 --> 00:14:46,470 - sensitive male bonding script. - Send her in. 312 00:14:46,554 --> 00:14:47,805 GRIFFIN: Oh, here she is. 313 00:14:47,888 --> 00:14:50,599 Griffin, can we go to the Springs this weekend? 314 00:14:50,683 --> 00:14:52,560 I want to have a massage. 315 00:14:52,643 --> 00:14:55,604 I want to have a long soak in a hot mineral tub. 316 00:14:55,688 --> 00:14:58,691 And I want to have margaritas administered intravenously. 317 00:14:58,774 --> 00:15:01,151 I have a party tonight at Dick Mellen's. You wanna come? 318 00:15:01,235 --> 00:15:03,612 Oh, God. Movie stars and power players. 319 00:15:03,696 --> 00:15:05,739 - And vodka. - Sure. 320 00:15:06,740 --> 00:15:09,994 It'll be an early dinner and we'll go to my place afterwards. 321 00:15:10,077 --> 00:15:11,579 - Can we? - Yeah. 322 00:15:12,037 --> 00:15:16,542 ♪♪ (piano) 323 00:15:19,670 --> 00:15:22,673 (guests chattering) 324 00:15:24,425 --> 00:15:28,470 MAN: And Brokaw looks like he has absolutely no retention. 325 00:15:28,554 --> 00:15:31,599 But Ted Koppel looks loose and he goes after it and he digs in 326 00:15:31,682 --> 00:15:33,642 and he doesn't get thrown very easily. 327 00:15:33,726 --> 00:15:35,644 (no audible dialogue) 328 00:15:35,728 --> 00:15:37,646 Oh. 329 00:15:37,730 --> 00:15:40,274 - Hi. How are you? (laughs) - Hi, Griffin. 330 00:15:40,357 --> 00:15:42,610 Marlee, this is Bonnie Sherow. 331 00:15:42,693 --> 00:15:46,530 She read, um, Tales of Fury, and — 332 00:15:46,614 --> 00:15:48,532 - Oh! - I loved it. 333 00:15:48,616 --> 00:15:50,034 - That's great. - It was wonderful. 334 00:15:50,117 --> 00:15:53,370 - And I think you're perfect for Ariel. - Thank you. I think so too. 335 00:15:53,454 --> 00:15:54,913 - Yeah. - (Griffin chuckles) 336 00:15:54,997 --> 00:15:58,083 We were gonna make just a couple of changes in the third act. 337 00:15:58,167 --> 00:16:00,169 - You should set up a meeting. - Yeah. 338 00:16:00,252 --> 00:16:03,005 - Yeah, yeah. Don't you think? - Yeah, sure. Y-Yes. 339 00:16:03,088 --> 00:16:05,758 - 'Cause you have my number? - Yeah, absolutely. 340 00:16:06,842 --> 00:16:09,845 Excuse me. I'm gonna go say hello to these people here. 341 00:16:09,928 --> 00:16:12,264 You don't talk about script changes at parties. 342 00:16:12,348 --> 00:16:13,557 All right, I'm sorry. 343 00:16:13,641 --> 00:16:17,311 It was good of you to come. Don't you look beautiful, uh — 344 00:16:17,394 --> 00:16:20,064 - You know Bonnie Sherow. - B — Of course. How are you, dear? 345 00:16:20,147 --> 00:16:23,484 - It's good to see you. TriStar, right? - No, she's at, uh — she's at the studio. 346 00:16:23,567 --> 00:16:26,153 Yeah, that's — that's what I meant. And how about, uh — 347 00:16:26,236 --> 00:16:28,822 Bring Mr. Mill a martini. And, Bunny, how about — 348 00:16:28,906 --> 00:16:30,666 - Actually, I'll take a Ramlösa. - All right. 349 00:16:30,741 --> 00:16:33,827 - I'll have a martini. - Okay. One of each. 350 00:16:33,911 --> 00:16:35,496 Rod Steiger's here. 351 00:16:35,579 --> 00:16:38,916 Why don't you, uh — Why don't you talk to him about the Rudolph project. 352 00:16:38,999 --> 00:16:43,504 He's not that hot on it, but, uh, see if you can get him to at least, you know, read it. 353 00:16:43,587 --> 00:16:45,756 - Okay. - You know who's here? Harry Belafonte. 354 00:16:45,839 --> 00:16:47,479 - Harry! - BONNIE: I love Harry Belafonte. 355 00:16:47,508 --> 00:16:49,301 MELLEN: Come and say hello, will ya? 356 00:16:49,385 --> 00:16:51,178 Harry, say hello to a couple of people. 357 00:16:51,261 --> 00:16:53,681 - Griffin Mill and Bunny. - Hi, Harry. Good to see you. 358 00:16:53,764 --> 00:16:56,225 - Hi. Bonnie Sherow. - She's just gaga over you. 359 00:16:56,308 --> 00:16:57,976 (giggles) I'm a big fan of yours. 360 00:16:58,060 --> 00:17:00,771 I saw you accept the Nelson Mandela Courage Award. 361 00:17:00,854 --> 00:17:02,022 ♪♪ (piano continues) 362 00:17:02,106 --> 00:17:06,860 Who was the guy in Ghostbusters? Uh, you know, the villain in Ghostbusters. 363 00:17:06,944 --> 00:17:08,737 I — I — You got me. That wasn't — 364 00:17:08,821 --> 00:17:10,906 I got this, um — 365 00:17:12,491 --> 00:17:15,244 This po — I got this postcard. 366 00:17:15,327 --> 00:17:17,371 You know, harassment kind of stuff. But you know. 367 00:17:17,454 --> 00:17:20,749 I don't. Tell me. What are you talking about? 368 00:17:20,833 --> 00:17:24,336 Well, I — it's some writer I must've brushed off. 369 00:17:24,420 --> 00:17:27,589 Folks, get something to eat. There's some lovely stuff over there. 370 00:17:27,673 --> 00:17:30,008 - We're wasting away. - We will, in a few minutes. Thank you. 371 00:17:30,092 --> 00:17:32,594 - Your hands are as cold as mine. - My hands are freezing. 372 00:17:32,678 --> 00:17:35,305 - Would you like one of these? - Um, I don't think I do. 373 00:17:35,389 --> 00:17:36,849 That one, right there. 374 00:17:36,932 --> 00:17:39,143 Not threats? You talking about threats? 375 00:17:39,226 --> 00:17:41,228 Well, no. 376 00:17:41,311 --> 00:17:43,188 Y-Yes — I don't know. 377 00:17:44,106 --> 00:17:45,649 He's pissed off. 378 00:17:45,733 --> 00:17:50,154 I thought writers were your long suit. You're the writer's executive, aren't you? 379 00:17:50,237 --> 00:17:52,239 LEVY: Are you pitching me a dream? 380 00:17:52,322 --> 00:17:55,242 The way you say that, that's what makes me think you're not really sincerely interested. 381 00:17:55,325 --> 00:17:57,085 Well, it depends how good the dream is, Jeff. 382 00:17:58,370 --> 00:17:59,955 Levy's here. 383 00:18:03,125 --> 00:18:06,754 - Check the people over there, okay? - Dick. Dick. What's he doing here? 384 00:18:06,837 --> 00:18:09,673 - Goldblum? He's a friend. - No. Larry Levy. 385 00:18:09,757 --> 00:18:12,926 - He came with Sally. He's a buddy — - What's going on with my job? 386 00:18:13,010 --> 00:18:16,555 I mean, you know, Larry Levy — Everywhere I look, you know, he's in my face. 387 00:18:16,638 --> 00:18:20,684 Larry Levy's a comer. That's what comers do. They get in your face. 388 00:18:20,768 --> 00:18:23,937 You're a comer too. You can handle him. Stop worrying about it. 389 00:18:24,021 --> 00:18:26,023 So the rumors are true? 390 00:18:26,106 --> 00:18:28,108 Rumors are always true. You know that. 391 00:18:28,192 --> 00:18:31,152 - I'm always the last to hear about them. - You're the last one to believe. 392 00:18:31,195 --> 00:18:33,113 I've told you that before. 393 00:18:33,197 --> 00:18:34,615 So am I out? 394 00:18:34,698 --> 00:18:37,701 Not out. But you'd better start thinking about a roommate. 395 00:18:37,785 --> 00:18:40,913 Relax. You can handle this. You can make him work for you. 396 00:18:40,996 --> 00:18:42,998 - Excuse me. - Larry? 397 00:18:43,081 --> 00:18:45,876 Dick. Sorry to crash your party. 398 00:18:45,959 --> 00:18:48,128 - Do you know everybody? - I will before the night's out. 399 00:18:48,212 --> 00:18:51,340 MELLEN: You will. You will, indeed. It's a good crowd of people. 400 00:18:52,424 --> 00:18:53,717 (sighs) 401 00:18:53,801 --> 00:18:55,636 - Great party, Dick. - Good. 402 00:18:55,719 --> 00:18:58,722 - Did you get some food? - Actually, not yet. 403 00:19:02,100 --> 00:19:04,228 Hmm. Listen to this. Listen to this. 404 00:19:04,311 --> 00:19:07,147 "He lifts her dress. She kisses him harder. 405 00:19:07,231 --> 00:19:10,984 He puts his hands in her underpants. She grabs his shoulders. 406 00:19:11,068 --> 00:19:15,823 He pulls her dress above her waist. He rubs against her wide, soft belly. 407 00:19:15,906 --> 00:19:18,992 Slowly, he pushes her panties down to her knees. 408 00:19:19,076 --> 00:19:20,619 She is faint with passion. 409 00:19:20,702 --> 00:19:23,664 She arches her back and he lowers her down onto the buckboard. 410 00:19:23,747 --> 00:19:25,833 The horses snort and whinny. 411 00:19:25,916 --> 00:19:28,460 They too seem to be feeling her passion. 412 00:19:28,544 --> 00:19:31,046 The camera moves in on the nostrils of the horse 413 00:19:31,129 --> 00:19:33,549 as the buckboard begins to shake." 414 00:19:33,632 --> 00:19:35,175 (laughs) Oh, my God. 415 00:19:35,259 --> 00:19:38,178 Can you believe that? Steve recommended that script. 416 00:19:38,262 --> 00:19:40,180 He says they're really hot for it over at Universal. 417 00:19:40,264 --> 00:19:42,349 They're gonna have a bidding war. 418 00:19:42,432 --> 00:19:46,019 I heard a pitch today. It wasn't bad. I'm stuck on a story point though. 419 00:19:46,103 --> 00:19:47,563 I'm a story editor. Go. 420 00:19:47,646 --> 00:19:50,649 New York City. Madison Avenue. Big advertising agency. 421 00:19:50,732 --> 00:19:53,861 An account executive makes a presentation to someone he wants as a client. 422 00:19:53,944 --> 00:19:56,321 The client promises to get back to him. 423 00:19:56,405 --> 00:19:58,907 - Does it have to be advertising? - That's not the problem. 424 00:19:58,991 --> 00:20:02,619 The account executive keeps waiting for the client to call him back, 425 00:20:02,703 --> 00:20:06,498 to tell him what he thought of the idea, to tell him if he got the job or not. 426 00:20:06,582 --> 00:20:09,001 - But the client never calls. - Mm-hmm. 427 00:20:09,084 --> 00:20:12,004 So the account executive gets so pissed off, so frustrated, 428 00:20:12,087 --> 00:20:13,881 that he becomes obsessive 429 00:20:13,964 --> 00:20:16,383 and he decides to drive the client crazy. 430 00:20:16,466 --> 00:20:19,803 - What does he do? - Sends him threatening postcards. 431 00:20:19,887 --> 00:20:21,805 It's not important. 432 00:20:21,889 --> 00:20:23,348 Here's the problem. 433 00:20:23,432 --> 00:20:28,645 How long do you think the account executive harasses the client 434 00:20:29,646 --> 00:20:31,940 before he becomes dangerous? 435 00:20:32,024 --> 00:20:35,068 - Does it have to be advertising? - How long? 436 00:20:35,152 --> 00:20:36,904 All right, if it were me — 437 00:20:37,821 --> 00:20:40,324 - One month? - Three months. 438 00:20:40,407 --> 00:20:43,702 No, no, no. More. Five months. I mean, to be dangerous, five months. 439 00:20:43,785 --> 00:20:45,078 That's what I thought. Five months. 440 00:20:45,162 --> 00:20:47,205 - Who's the writer? - I don't know. 441 00:20:47,289 --> 00:20:50,417 You don't know the writer who pitched you the idea? 442 00:20:50,500 --> 00:20:53,962 Uh, his name — I don't know. It's a couple kids, uh — 443 00:20:54,963 --> 00:20:57,257 - TV writers. - Mmm. 444 00:20:58,091 --> 00:21:01,845 Can we go to bed now? I'm starting to wrinkle. 445 00:21:07,017 --> 00:21:09,519 - All right. - (Reynolds chuckles) 446 00:21:09,603 --> 00:21:11,480 - LEVISON: See you tomorrow afternoon. - LEVY: Absolutely. 447 00:21:11,563 --> 00:21:12,940 Burt? Larry Levy. 448 00:21:13,023 --> 00:21:15,776 I hope you don't remember me, and if you do, I hope there are no hard feelings. 449 00:21:15,859 --> 00:21:18,904 - I was only working for Kastner at the time. - Yeah, right. 450 00:21:24,034 --> 00:21:25,869 - Thank you. - Take care. 451 00:21:25,953 --> 00:21:28,956 - Who's that? - Uh, an exec over at Fox. 452 00:21:29,039 --> 00:21:31,041 Or was until this breakfast anyway. 453 00:21:39,549 --> 00:21:41,468 Good morning, Mr. Mill. Welcome to Geoffrey's. 454 00:21:41,551 --> 00:21:43,804 Hi, Susan. How are you? I'm with Joel. 455 00:21:45,055 --> 00:21:48,141 - Hi, Burt. Griffin Mill. - Oh, hi, Griffin. Good to see you. 456 00:21:48,225 --> 00:21:50,268 - Griffin. Nice to see you this morning. - Hi, Charles. How are you? 457 00:21:50,352 --> 00:21:51,952 - REYNOLDS: Asshole. - (Charles chuckles) 458 00:21:51,979 --> 00:21:53,647 - One of a breed, yes. - Mmm. 459 00:21:53,730 --> 00:21:54,940 GRIFFIN: Hi, Kathy. 460 00:21:55,023 --> 00:21:58,151 No, actually, he's not one of a breed. There's a whole breed of them. 461 00:21:58,235 --> 00:21:59,611 - They're breeding them actually. - Yes. 462 00:21:59,695 --> 00:22:02,695 Joel, you're losing your touch, scheduling these meetings so close together. 463 00:22:02,739 --> 00:22:05,409 The guy didn't have time to finish his breakfast. 464 00:22:05,492 --> 00:22:07,411 He'd already eaten. Gets up early. 465 00:22:07,494 --> 00:22:08,787 Yeah. 466 00:22:08,870 --> 00:22:11,999 - You went to Mellen's last night, I hear. - Could you take this away, please? Yes, I did. 467 00:22:12,082 --> 00:22:14,251 - How is he? - I'd like a Vittel water. 468 00:22:15,544 --> 00:22:17,671 He's fine. 469 00:22:17,754 --> 00:22:20,090 You left early. Why? 470 00:22:20,173 --> 00:22:23,176 We had to work on the, uh — on the museum party. 471 00:22:24,261 --> 00:22:26,847 I will not work for Larry Levy. 472 00:22:26,930 --> 00:22:29,057 I'm not asking you to. 473 00:22:30,684 --> 00:22:34,187 I report to you. If I have to report to Larry Levy, I quit. 474 00:22:36,356 --> 00:22:38,025 You can't quit. 475 00:22:38,108 --> 00:22:39,860 I won't let you quit. 476 00:22:39,943 --> 00:22:41,862 You have a year and a half on your contract, 477 00:22:41,945 --> 00:22:46,408 and I will sue you for breach if you don't show up in the office every day with a smile. 478 00:22:47,409 --> 00:22:49,453 Why Levy? 479 00:22:49,536 --> 00:22:51,163 Levy was available. 480 00:22:52,289 --> 00:22:54,750 He's good on material. You're good with writers. 481 00:22:54,833 --> 00:22:57,544 We're a team. He's a new member of the team. That's all. 482 00:22:58,462 --> 00:23:00,630 He can make us all look good. 483 00:23:00,714 --> 00:23:03,800 This is a red wine glass. Can I have my water in a water glass, please? 484 00:23:05,010 --> 00:23:06,636 Well? 485 00:23:07,304 --> 00:23:09,723 I'll have to think about it, Joel. 486 00:23:09,806 --> 00:23:11,683 I want an answer this afternoon. 487 00:23:11,767 --> 00:23:14,394 Well, I have to go out to Palmdale. 488 00:23:14,478 --> 00:23:17,481 The director of The Lonely Room is giving Lily a hard time. 489 00:23:18,690 --> 00:23:22,235 - I'll be back around 5:00. - So call after 5:00. 490 00:23:22,319 --> 00:23:23,779 I'll get back to you. 491 00:23:23,862 --> 00:23:26,782 But I said, you haven't gone — You haven't died enough. 492 00:23:26,865 --> 00:23:29,034 So he's still hanging on. 493 00:23:29,868 --> 00:23:31,870 (phone rings) 494 00:23:40,337 --> 00:23:42,005 - (intercom beeps) - JAN: Griffin. 495 00:23:42,089 --> 00:23:44,091 - Yeah. - Joel Levison on line two. 496 00:23:44,174 --> 00:23:46,093 - I'll put him through? - No, no. I'll get back to him. 497 00:23:46,176 --> 00:23:48,095 You want me to tell Joel Levison you'll get back to him? 498 00:23:48,178 --> 00:23:49,429 - Yeah. - Yes, sir. 499 00:23:49,513 --> 00:23:52,015 I don't want to hear what he's got to say. 500 00:24:01,024 --> 00:24:04,152 - How did this get here? - The mail? 501 00:24:04,236 --> 00:24:07,114 Yeah, but this does not have a postmark. This was hand delivered. 502 00:24:07,197 --> 00:24:09,116 Not to me. It came with the mail. 503 00:24:09,199 --> 00:24:11,034 Jimmy! 504 00:24:11,118 --> 00:24:12,994 Huh? 505 00:24:13,078 --> 00:24:16,331 You know anything about this? Who delivered it? Where it came from? 506 00:24:16,873 --> 00:24:18,708 Mail room? 507 00:24:18,792 --> 00:24:21,294 Yeah, but I want to know how it got to the goddamn mail room. 508 00:24:21,378 --> 00:24:24,256 - Find out for me and get back to me. - Okay. Sure. 509 00:24:24,339 --> 00:24:26,174 You go with him. 510 00:24:26,258 --> 00:24:29,177 - You want me to go to the mail room? - Yes, I want you to go to the mail room. 511 00:24:29,261 --> 00:24:33,890 And while you're there, I would like a, uh, copy of The Lonely Room rewrites. 512 00:24:33,974 --> 00:24:35,684 In white pages. No color. 513 00:24:36,726 --> 00:24:39,271 - And find out how this got in my mail. - Yes, sir. 514 00:24:39,354 --> 00:24:43,150 - You'll get your own phones, I take it? - Yes, I can get my own phone, Jan. 515 00:24:49,614 --> 00:24:50,949 Son of a bitch. 516 00:24:51,032 --> 00:24:55,120 Five months. One, two, three, four, five. 517 00:24:55,203 --> 00:24:56,746 April. 518 00:24:58,415 --> 00:25:02,002 Pitches. Richard Fielder. David Lucas. 519 00:25:02,085 --> 00:25:03,712 Adam Silverstein. 520 00:25:04,880 --> 00:25:06,631 Bill Lindstrom. David Kahane. 521 00:25:06,715 --> 00:25:08,550 Sam Potenza. 522 00:25:13,930 --> 00:25:15,765 Incoming. 523 00:25:19,436 --> 00:25:21,021 Incoming. 524 00:25:21,104 --> 00:25:23,148 Unreturned calls. 525 00:25:23,231 --> 00:25:25,942 Bill Lindstrom again. 526 00:25:26,026 --> 00:25:28,528 Nancy Franklin. Wouldn't be a woman. 527 00:25:28,612 --> 00:25:30,530 David Kahane. 528 00:25:30,614 --> 00:25:32,157 Bill Lindstrom. 529 00:25:32,240 --> 00:25:34,951 Oh, come on. Sort, sort, sort, sort. 530 00:25:35,035 --> 00:25:36,620 Come on. 531 00:25:37,913 --> 00:25:40,957 Oh, come on, come on. Kahane. Kahane. Kahane. Lindstrom. 532 00:25:41,041 --> 00:25:43,168 Lindstrom. White pages. 533 00:25:44,211 --> 00:25:48,089 "Lindstrom. Disney. Strategic planning." 534 00:25:48,173 --> 00:25:49,466 Wouldn't be him. 535 00:25:49,549 --> 00:25:52,010 What was that other guy's name? 536 00:25:53,094 --> 00:25:56,681 Kahane. Kahane. "J." "K." 537 00:25:56,765 --> 00:25:58,558 Kalchime. 538 00:25:58,642 --> 00:26:00,352 Kahane. 539 00:26:00,435 --> 00:26:02,604 "Unproduced." Got ya! 540 00:26:24,376 --> 00:26:27,045 (shutter clicks) 541 00:26:27,128 --> 00:26:29,047 - (beeps) - (line: dial tone) 542 00:26:29,130 --> 00:26:32,133 (phone: beep dialing) 543 00:26:37,180 --> 00:26:39,599 (line ringing) 544 00:26:43,186 --> 00:26:45,605 (ringing continues) 545 00:26:49,150 --> 00:26:52,195 (phone inside: ringing) 546 00:26:54,823 --> 00:26:57,409 (ringing continues) 547 00:27:00,370 --> 00:27:03,415 - Hello? - Yes, hello. Is David Kahane there, please? 548 00:27:03,498 --> 00:27:04,749 David! 549 00:27:09,004 --> 00:27:10,672 Dave! 550 00:27:12,173 --> 00:27:15,051 Hello? I'm really sorry. I forgot. He's gone out. 551 00:27:15,135 --> 00:27:16,386 - Oh, I see. - Who's this? 552 00:27:16,469 --> 00:27:18,305 This is Griffin Mill. 553 00:27:18,388 --> 00:27:19,764 Oh, the dead man. 554 00:27:19,848 --> 00:27:22,225 - What did you just say? - Hmm? 555 00:27:22,309 --> 00:27:24,894 - Oh, nothing. - About me being a dead man. 556 00:27:24,978 --> 00:27:28,982 Just, uh, a nickname David has for you. 557 00:27:29,065 --> 00:27:30,650 Oh. I see. 558 00:27:30,734 --> 00:27:32,861 That's a funny nickname. 559 00:27:32,944 --> 00:27:36,823 So I suppose your husband doesn't like me very much. 560 00:27:36,906 --> 00:27:39,075 I don't have a husband. 561 00:27:39,159 --> 00:27:41,411 I suppose David doesn't like me very much. 562 00:27:41,494 --> 00:27:43,705 David's, um, gone to the cinema. 563 00:27:43,788 --> 00:27:45,540 When will he be back? 564 00:27:45,623 --> 00:27:47,876 When the film's over, I presume. 565 00:27:47,959 --> 00:27:50,503 And you are? 566 00:27:50,587 --> 00:27:52,756 - June. - June? 567 00:27:52,839 --> 00:27:55,675 (laughs) Here we go. You want to know my last name. 568 00:27:55,759 --> 00:27:58,219 Well, you won't be able to pronounce it. No one can. 569 00:27:58,303 --> 00:27:59,721 Try me. 570 00:27:59,804 --> 00:28:01,473 Gudmundsdottir. 571 00:28:01,556 --> 00:28:03,058 "Goodmanzdaughter." 572 00:28:03,141 --> 00:28:06,394 - Gudmundsdottir. - Gudmundsdottir. 573 00:28:06,478 --> 00:28:09,064 - How's that? - Hey, you're very good. 574 00:28:09,147 --> 00:28:10,607 Thanks. 575 00:28:12,067 --> 00:28:14,402 What do people usually say? 576 00:28:14,486 --> 00:28:15,653 Oh, don't ask. 577 00:28:15,737 --> 00:28:20,700 Anything from "Gooddogzwater" to "Goulashwallop." 578 00:28:20,784 --> 00:28:22,619 (laughs) 579 00:28:22,702 --> 00:28:25,038 - You English? - Yeah. 580 00:28:25,121 --> 00:28:27,290 Well, no. No, not really. 581 00:28:27,374 --> 00:28:30,543 Well, where are you kind of sort of not from? 582 00:28:30,627 --> 00:28:34,547 Well, do you want the long story or the short one? 583 00:28:34,631 --> 00:28:36,758 - The long one. - No, you'd never believe it. 584 00:28:36,841 --> 00:28:39,052 The short one's Iceland. 585 00:28:39,135 --> 00:28:42,055 Iceland. I didn't know anyone came from Iceland. 586 00:28:42,138 --> 00:28:44,474 Thought it was just a block of ice. 587 00:28:44,557 --> 00:28:46,893 - It's very green, actually. - Really? 588 00:28:46,976 --> 00:28:49,396 - Mm-hmm. - I thought that was Greenland. 589 00:28:49,479 --> 00:28:51,439 No. Greenland's very icy. 590 00:28:51,523 --> 00:28:54,109 Iceland's very green. 591 00:28:54,192 --> 00:28:58,071 They switched names to fool the Vikings, who were trying to steal their women. 592 00:28:58,154 --> 00:28:59,322 Oh, I see. 593 00:28:59,406 --> 00:29:02,325 No. Blue sea. 594 00:29:02,409 --> 00:29:04,369 - Red sea. - No, no, no. 595 00:29:04,452 --> 00:29:05,995 No red. 596 00:29:06,079 --> 00:29:09,207 - You're a painter. - How did you guess? 597 00:29:11,334 --> 00:29:13,628 So, what movie did David go to see? 598 00:29:13,711 --> 00:29:17,507 Um, he went to the Rialto in Pasadena. He always goes there. 599 00:29:17,590 --> 00:29:19,384 What's showing? 600 00:29:19,467 --> 00:29:22,345 Urn, Bicycle Thief, I think. 601 00:29:23,805 --> 00:29:26,182 It's a good movie. Have you seen it? 602 00:29:27,392 --> 00:29:29,686 No, I don't go to the movies. 603 00:29:29,769 --> 00:29:31,771 You don't? Why not? 604 00:29:32,814 --> 00:29:35,358 - (spritzing) - (sighs) Oh... 605 00:29:39,028 --> 00:29:40,655 Life is too short. 606 00:29:41,614 --> 00:29:43,324 I've gotta hang up now. 607 00:29:44,200 --> 00:29:45,869 (receiver hangs up) 608 00:29:47,328 --> 00:29:50,832 - ♪♪ (movie soundtrack: orchestra) - (movie soundtrack: crowd shouting) 609 00:29:54,377 --> 00:29:57,881 (movie soundtrack: bell tolling) 610 00:30:17,192 --> 00:30:19,903 (movie soundtrack: man speaking Italian) 611 00:30:41,341 --> 00:30:45,345 ♪♪ (movie soundtrack: orchestra continues) 612 00:31:09,118 --> 00:31:11,037 David Kahane. 613 00:31:11,120 --> 00:31:13,289 No, you have the wrong guy, man. 614 00:31:29,973 --> 00:31:32,517 - Wow. You didn't like it? - It's a foreign film. 615 00:31:34,477 --> 00:31:36,604 David Kahane. 616 00:31:36,688 --> 00:31:38,314 Griffin Mill. 617 00:31:39,065 --> 00:31:41,234 Griffin Mill. 618 00:31:41,317 --> 00:31:42,902 Yeah? 619 00:31:42,986 --> 00:31:44,988 Great movie, huh? 620 00:31:45,071 --> 00:31:46,990 So refreshing to see something like this 621 00:31:47,073 --> 00:31:51,995 after all these cop movies and, you know, things we do. 622 00:31:52,078 --> 00:31:53,663 (chuckles) 623 00:31:53,746 --> 00:31:55,498 Maybe we'll do a remake of this. 624 00:31:55,582 --> 00:31:58,918 - You'd probably give it a happy ending. - Oh, no, no. We'd keep it pure. 625 00:31:59,002 --> 00:32:00,920 Pure, right. 626 00:32:01,004 --> 00:32:02,589 You wanna write it? 627 00:32:03,506 --> 00:32:05,800 - Don't fuck with me, Mill. - I'm not fucking with you. 628 00:32:05,883 --> 00:32:09,554 - I said I'd get back to you, didn't I? - Yeah. About six months ago. 629 00:32:09,637 --> 00:32:12,056 - I thought you'd forgotten. - And you were angry. 630 00:32:13,766 --> 00:32:15,184 Maybe. 631 00:32:15,268 --> 00:32:16,644 Do you wanna talk about it? 632 00:32:17,520 --> 00:32:20,189 - Okay, sure. - Great. 633 00:32:20,940 --> 00:32:23,443 Let's let the studio buy us a drink. 634 00:32:23,526 --> 00:32:25,820 (both chuckling) 635 00:32:25,903 --> 00:32:29,782 Well, if you don't mind a place where you don't have any suck with the maître d', 636 00:32:29,866 --> 00:32:31,618 I know a bar down the street. 637 00:32:31,701 --> 00:32:33,119 Let's go. 638 00:32:33,202 --> 00:32:36,205 ♪♪ (man singing in Japanese) 639 00:32:39,167 --> 00:32:42,670 - ♪♪ (singing continues) - DAVID: Have you ever been to Japan? 640 00:32:42,754 --> 00:32:46,841 GRIFFIN: Yes, uh, I was there once on a location scout with Steven Spielberg. 641 00:32:46,924 --> 00:32:49,510 DAVID: I lived there for a year. 642 00:32:49,594 --> 00:32:51,804 - Student year abroad. - Great. 643 00:32:51,888 --> 00:32:54,474 You know, I-I wish I'd done that. 644 00:32:54,557 --> 00:32:57,977 Well, I think about it a lot. I'll never forget it. 645 00:32:58,061 --> 00:33:00,563 You should write about it. 646 00:33:00,647 --> 00:33:02,940 I did. Don't you remember? 647 00:33:04,400 --> 00:33:05,943 What? 648 00:33:07,028 --> 00:33:08,446 Arigato. 649 00:33:08,529 --> 00:33:12,241 My idea about the American student that goes to Ja — Japan. 650 00:33:13,409 --> 00:33:16,579 That was my pitch, the one you were supposed to get back to me on. 651 00:33:16,663 --> 00:33:18,831 - You don't remember, do you? - ♪♪ (ends) 652 00:33:18,915 --> 00:33:20,667 Of course I remember. 653 00:33:22,168 --> 00:33:25,296 - You never got back to me. - Listen. 654 00:33:26,547 --> 00:33:29,550 I was an asshole. All right? 655 00:33:29,634 --> 00:33:31,928 (scoffs) It comes with the job. 656 00:33:32,011 --> 00:33:34,013 I'm sorry. I really am. 657 00:33:36,265 --> 00:33:39,602 I know how angry you must've been, and I'll make it up to you. 658 00:33:39,686 --> 00:33:41,270 That's what I'm here for. 659 00:33:41,813 --> 00:33:43,606 I'm gonna give you a deal, David. 660 00:33:43,690 --> 00:33:44,899 MAN: ♪ Let's begin again ♪ 661 00:33:44,982 --> 00:33:49,028 I'm not gonna guarantee I'm gonna make the movie, but I am going to give you a shot. 662 00:33:49,112 --> 00:33:51,823 ♪ Let's forget the time ♪ 663 00:33:51,906 --> 00:33:56,160 Let's just, um, stop all the postcard shit, all right? 664 00:33:57,453 --> 00:34:01,666 I'm here to say that I would like to start over. 665 00:34:03,751 --> 00:34:05,044 Friends. 666 00:34:05,128 --> 00:34:07,004 ♪ Let's begin again ♪ 667 00:34:07,088 --> 00:34:10,049 Fuck you, Mill. You're a liar. 668 00:34:10,133 --> 00:34:11,884 You're stepping over the line, David. 669 00:34:11,968 --> 00:34:14,178 You didn't come out here to see The Bicycle Thief. 670 00:34:14,929 --> 00:34:17,390 You came in five minutes before the picture ended. 671 00:34:17,473 --> 00:34:19,475 Nearly tripped over my feet. 672 00:34:21,561 --> 00:34:25,106 What'd you do, call my house? Huh? 673 00:34:25,189 --> 00:34:27,108 Did you speak to the ice queen? 674 00:34:28,776 --> 00:34:32,029 You'd like her, Mill. She's a lot like you. 675 00:34:32,113 --> 00:34:33,906 All heart. 676 00:34:35,700 --> 00:34:39,579 ♪♪ (singing continues) 677 00:34:39,662 --> 00:34:41,789 You're on my list, pal. 678 00:34:41,873 --> 00:34:43,875 Nothing's going to change that. 679 00:34:47,754 --> 00:34:49,547 See you in the next reel, asshole. 680 00:34:49,630 --> 00:34:51,382 ♪ Let's start over from the start ♪ 681 00:34:51,466 --> 00:34:54,552 ♪ Let's forget the time ♪ 682 00:34:54,635 --> 00:34:57,388 ♪ That you nearly broke my heart ♪ 683 00:34:58,055 --> 00:35:02,143 ♪ Go everywhere we've been again ♪ 684 00:35:02,226 --> 00:35:06,939 ♪ Let's begin again ♪♪ 685 00:35:24,207 --> 00:35:27,460 - DAVID: ♪ Let's begin again ♪ - (urinating) 686 00:35:27,543 --> 00:35:30,546 ♪ Let's start over from the start ♪ 687 00:35:32,048 --> 00:35:34,050 ♪♪ (humming) 688 00:35:37,053 --> 00:35:39,055 (alarm chirps) 689 00:35:39,138 --> 00:35:41,974 That's a nice boat you got there, movie exec. 690 00:35:43,226 --> 00:35:44,936 It's me, the writer. 691 00:35:45,019 --> 00:35:47,480 - You still wanna buy my story? - I told you I'd give you a deal. 692 00:35:47,563 --> 00:35:50,403 Stop by the studio first thing in the morning. We'll work something out. 693 00:35:50,441 --> 00:35:52,985 And who will I ask for? 694 00:35:53,069 --> 00:35:54,612 Larry Levy? 695 00:35:56,697 --> 00:36:00,493 What's Larry Levy got to do with this? How do you know about Larry Levy? 696 00:36:00,576 --> 00:36:03,329 Don't you read the trades? New York Times business section? 697 00:36:03,412 --> 00:36:05,331 He's moving in. You're moving out. 698 00:36:05,414 --> 00:36:08,000 You can't make a deal. That's what they say. Yesterday's news. 699 00:36:08,084 --> 00:36:10,294 Wait a minute. Wait a minute. 700 00:36:11,420 --> 00:36:14,048 Can I borrow your mobile phone? Huh? 701 00:36:14,131 --> 00:36:17,552 Uh, Larry Levy. Yeah, Larry, David Kahane here. 702 00:36:17,635 --> 00:36:21,681 Listen, Larry, guess who's making promises about getting pictures made 703 00:36:21,764 --> 00:36:24,350 to writers in parking lots? 704 00:36:24,433 --> 00:36:27,436 Guess what dumb son of a bitch executive 705 00:36:27,520 --> 00:36:30,815 is trying to take advantage of — of me? 706 00:36:31,524 --> 00:36:34,443 I mean, do you realize how unstoppable this guy is? 707 00:36:35,444 --> 00:36:39,323 You know, I cannot wait to tell the world 708 00:36:39,407 --> 00:36:42,952 that when Griffin Mill can't cut the pressure at work, 709 00:36:43,035 --> 00:36:45,830 he drives out to Pasadena 710 00:36:45,913 --> 00:36:49,083 to pick fights with writers! 711 00:36:50,376 --> 00:36:52,461 You tell Larry Levy to give me a call. 712 00:36:52,545 --> 00:36:57,550 The word is out that he's gonna start making meaningful pictures at the studio for a change. 713 00:36:57,633 --> 00:37:00,887 All right, let's — let's forget this. So just stop all the postcard shit! 714 00:37:00,970 --> 00:37:03,306 I don't write postcards! I write scripts! 715 00:37:03,389 --> 00:37:06,767 - We're both wrong, okay? - No, you're wrong, buddy! 716 00:37:06,851 --> 00:37:09,478 You're in over your head. That's why you're losing your job. 717 00:37:09,562 --> 00:37:12,648 And then what are you gonna do. Huh? 718 00:37:12,732 --> 00:37:15,192 I can write. What can you do? 719 00:37:16,319 --> 00:37:17,862 (alarm chirps) 720 00:37:19,697 --> 00:37:21,699 I said let's forget this. 721 00:37:24,160 --> 00:37:25,912 (metallic clank) 722 00:37:26,829 --> 00:37:28,998 Aw, shit. 723 00:37:31,083 --> 00:37:33,085 Mill, you okay? 724 00:37:33,169 --> 00:37:34,754 You all right? 725 00:37:34,837 --> 00:37:37,214 (Griffin shouting) 726 00:37:41,719 --> 00:37:43,179 Keep it to yourself! 727 00:37:44,597 --> 00:37:46,766 Keep it to yourself! 728 00:37:47,266 --> 00:37:49,018 Keep it to yourself. 729 00:37:50,603 --> 00:37:52,605 (water gurgling) 730 00:38:12,875 --> 00:38:14,377 Kahane? 731 00:39:12,852 --> 00:39:14,854 (dog barking) 732 00:39:34,790 --> 00:39:36,751 LEVY: You know what's interesting. 733 00:39:36,834 --> 00:39:39,045 I mean, who — who's writing this new ending? 734 00:39:39,128 --> 00:39:41,547 Who wrote the new ending of Fatal Attraction? The audience. 735 00:39:41,630 --> 00:39:43,049 BONNIE: In that case — 736 00:39:43,132 --> 00:39:45,092 LEVY: A million-plus screenwriters, and the audience wrote that ending. 737 00:39:45,176 --> 00:39:49,013 BONNIE: Yes, but who's to say what it would have done if you had left the original ending? 738 00:39:49,096 --> 00:39:51,015 - You can't say. - LEVY: You're right. You can't say. 739 00:39:51,098 --> 00:39:53,642 But you can say that it's done almost 300 million worldwide 740 00:39:53,726 --> 00:39:56,145 with the ending that was selected from the test screening. 741 00:39:56,896 --> 00:39:59,940 Larry Levy, I don't believe that you've met my assistant, Whitney Gersh. 742 00:40:00,024 --> 00:40:02,193 - No, I haven't. - It's a great pleasure to meet you. 743 00:40:02,276 --> 00:40:04,695 Nice to meet you, Whitney. 744 00:40:04,779 --> 00:40:06,697 - What are you doing? - LEVY: Bonnie, how's your picture doing? 745 00:40:06,781 --> 00:40:08,699 - It just tested last week. - BONNIE: It's doing well. 746 00:40:08,783 --> 00:40:10,201 - How well? - It was our first test. 747 00:40:10,284 --> 00:40:12,828 - Were you breathing hard? - Excuse me, Walter. 748 00:40:12,912 --> 00:40:17,416 Um, Joel, Griffin still isn't in, but I really think we have to start this meeting. 749 00:40:17,500 --> 00:40:19,668 Okay, Celia. Thank you. 750 00:40:22,338 --> 00:40:24,673 You remember a movie called DOA? 751 00:40:24,757 --> 00:40:27,009 Sure I do. Eddie O'Brien and Pam Britton. 752 00:40:27,093 --> 00:40:30,262 Disney did a remake in '87 or '88. 753 00:40:30,346 --> 00:40:33,265 Yeah, well, I think we got pretty much the same situation here. 754 00:40:33,349 --> 00:40:35,559 Keep our noses clean, Walter. 755 00:40:36,185 --> 00:40:37,728 REG: I can see you're flush. 756 00:40:37,812 --> 00:40:39,730 (chattering) 757 00:40:39,814 --> 00:40:42,733 It's a shame to waste the picture. It's a great picture. 758 00:40:42,817 --> 00:40:46,195 Who said we're wasting the picture? Where did that come from? 759 00:40:46,278 --> 00:40:49,198 LEVY: You know what's interesting. We're all too busy to go see movies. 760 00:40:49,281 --> 00:40:52,118 Griffin, you're really late. They're, like, waiting inside. 761 00:40:52,201 --> 00:40:54,328 - Here's your meeting agenda. - LEVY: You oughta try it sometime. 762 00:40:54,411 --> 00:40:57,331 Actually rub shoulders with the great unwashed. 763 00:40:57,414 --> 00:41:00,793 We need to give them the kind of pictures they want, 764 00:41:00,876 --> 00:41:03,003 not the kind these writers want to give them. 765 00:41:03,087 --> 00:41:06,423 I know you guys spend a lot of time with writers. 766 00:41:06,507 --> 00:41:10,302 Believe me, you have my deepest sympathy, but — 767 00:41:10,386 --> 00:41:13,514 - Hello. Sorry I'm late. - CELIA: You certainly are. 768 00:41:14,849 --> 00:41:17,351 - Jan, talk to you for a minute, please? - Yeah. 769 00:41:17,434 --> 00:41:20,729 - Just a couple minutes in your office is fine. - Sure. How you doing? 770 00:41:20,813 --> 00:41:23,190 LEVISON: Griffin, you missed the formal welcoming ceremony this morning. 771 00:41:23,274 --> 00:41:25,025 You know Larry Levy. 772 00:41:26,193 --> 00:41:27,611 Of course. 773 00:41:27,695 --> 00:41:30,239 - Hi, Larry. - Hi, Griffin. 774 00:41:30,322 --> 00:41:32,992 Larry was able to get out of Fox a week earlier than he thought 775 00:41:33,075 --> 00:41:35,202 and has come aboard as of this morning. 776 00:41:35,286 --> 00:41:37,830 GRIFFIN: Great. Let's, uh — Let's start. 777 00:41:38,998 --> 00:41:41,250 In fact, Larry was just in the middle of something. 778 00:41:41,333 --> 00:41:43,502 Oh, no. I wasn't. I was just killing time waiting for Griffin. 779 00:41:43,586 --> 00:41:45,504 LEVISON: Oh. Well, no. Finish. 780 00:41:45,588 --> 00:41:47,506 What were you saying? 781 00:41:47,590 --> 00:41:51,343 I was just saying that I've yet to meet a writer who could change water into wine, 782 00:41:51,427 --> 00:41:54,388 and we have a tendency to treat them like that. 783 00:41:54,471 --> 00:41:56,932 - (whispering) - Not at this studio. 784 00:41:57,474 --> 00:41:59,602 A million, million and a half for these scripts. 785 00:41:59,685 --> 00:42:01,729 It's — It's nuts. 786 00:42:01,812 --> 00:42:04,148 And I think avoidable. 787 00:42:04,231 --> 00:42:05,649 Let me ask you something. 788 00:42:05,733 --> 00:42:07,902 When was the last time you bought a ticket to see a movie? 789 00:42:07,985 --> 00:42:10,988 - You actually paid your own money to see it? - Last night. 790 00:42:12,031 --> 00:42:14,116 In Pasadena. The Bicycle Thief. 791 00:42:14,200 --> 00:42:17,745 - You went to see The Bicycle Thief? - I love that film. It's a great film. 792 00:42:17,828 --> 00:42:20,908 LEVY: It's an art movie. It doesn't count. We're talking about "movie" movies. 793 00:42:21,457 --> 00:42:22,917 Jesus, people. 794 00:42:23,000 --> 00:42:25,461 All I'm saying is, there's a lot of time and money to be saved 795 00:42:25,544 --> 00:42:28,297 if we came up with these stories on our own. 796 00:42:28,380 --> 00:42:30,299 Where are these stories coming from, Larry? 797 00:42:30,382 --> 00:42:32,635 Anywhere. Anywhere. It doesn't matter. Anywhere. 798 00:42:32,718 --> 00:42:35,554 The newspaper. Pick a story. Any story. 799 00:42:35,638 --> 00:42:37,181 (clears throat) All right. 800 00:42:39,058 --> 00:42:42,228 "Immigrants Protest Budget Cuts in Literacy Program." 801 00:42:42,311 --> 00:42:45,773 Human spirit overcoming economic adversity. Sounds like Horatio Alger in the barrio. 802 00:42:45,856 --> 00:42:49,568 Put Jimmy Smits in it and you got a sexy Stand and Deliver. Next. 803 00:42:49,652 --> 00:42:52,029 - Come on. - Larry, this isn't my field. 804 00:42:52,112 --> 00:42:55,074 Marty, it doesn't matter. Just give it a shot. You can't lose here. 805 00:42:55,157 --> 00:42:57,743 Okay. 806 00:42:57,826 --> 00:43:01,997 How about, uh, "Mud Slide Kills 60 in Slums of Chile." 807 00:43:02,081 --> 00:43:05,876 That's good. Triumph over tragedy. Sounds like a John Boorman picture. 808 00:43:05,960 --> 00:43:08,963 Slap a happy ending on it, the script will write itself. 809 00:43:09,046 --> 00:43:10,673 Bon. Here, give me the paper. 810 00:43:10,756 --> 00:43:13,050 Gee, I don't know, Lar. 811 00:43:13,133 --> 00:43:14,843 Give it a shot. 812 00:43:14,927 --> 00:43:16,470 (Bonnie sighs) 813 00:43:16,553 --> 00:43:19,974 "Further Bond Losses Push Dow Down 7.15." 814 00:43:20,808 --> 00:43:22,768 BONNIE: I see Connery as Bond. 815 00:43:22,851 --> 00:43:25,811 LEVY: That's funny. It's a good thing Oliver Stone wasn't listening to you. 816 00:43:25,854 --> 00:43:27,356 Where would we have been? 817 00:43:27,439 --> 00:43:30,359 BONNIE: Well, we all would have been spared having to sit through Wall Street. 818 00:43:30,442 --> 00:43:32,778 LEVY: Marty, what did Wall Street do worldwide? 819 00:43:32,861 --> 00:43:35,281 MARTY: Seventy, 75, maybe 80. 820 00:43:35,364 --> 00:43:38,742 LEVY: Eighty million dollars, a couple of Oscars — nothing to sneeze at. 821 00:43:38,826 --> 00:43:41,870 I think Larry's point is well taken. Let's move on now. 822 00:43:41,954 --> 00:43:45,291 Griffin, uh, can you give us an update on the Taylor Hackford project? 823 00:43:46,375 --> 00:43:48,294 Griffin? 824 00:43:48,377 --> 00:43:49,920 Yeah. 825 00:43:50,921 --> 00:43:53,632 I was just thinking what an interesting concept it is 826 00:43:53,716 --> 00:43:57,886 to eliminate the writer from the artistic process. 827 00:43:58,971 --> 00:44:03,017 If we can just get rid of these actors and directors, maybe we got something here. 828 00:44:03,100 --> 00:44:05,436 (executives snickering) 829 00:44:09,231 --> 00:44:10,899 - Hello, Walter. - (door closes) 830 00:44:10,983 --> 00:44:12,985 Make yourself at home. 831 00:44:13,068 --> 00:44:17,072 Mr. Mill, I understand you were kinda late coming in this morning. 832 00:44:17,156 --> 00:44:19,158 You all right? 833 00:44:19,241 --> 00:44:20,868 I'm fine. 834 00:44:20,951 --> 00:44:22,745 Appreciate your concern. 835 00:44:24,580 --> 00:44:26,957 What can I do for you, Walter? 836 00:44:27,041 --> 00:44:30,252 Don't tell me you came here to pitch me a story. 837 00:44:30,336 --> 00:44:33,005 (chuckles) That's exactly what I've come to do. 838 00:44:33,088 --> 00:44:36,300 It's a good one too. It's about a writer. Sort of. 839 00:44:36,383 --> 00:44:38,052 David Kahane. 840 00:44:40,721 --> 00:44:42,973 David Kahane. Who's David Kahane? 841 00:44:43,057 --> 00:44:44,516 Oh, you met him. 842 00:44:45,434 --> 00:44:47,770 - Well, I meet a lot of writers. - Uh-huh. 843 00:44:47,853 --> 00:44:50,333 But this particular writer that you met was murdered last night 844 00:44:50,397 --> 00:44:52,483 in back of the Rialto theater in Pasadena. 845 00:44:52,566 --> 00:44:54,109 Murdered? 846 00:44:54,193 --> 00:44:58,280 Oh, come to think of it, Pasadena's as good a place to die as any. 847 00:44:59,823 --> 00:45:01,533 So, what's the story? 848 00:45:01,617 --> 00:45:03,619 Twenty-five words or less? 849 00:45:03,702 --> 00:45:05,579 Okay. 850 00:45:05,662 --> 00:45:08,582 Movie exec calls writer. Writer's girlfriend says he's at the movies. 851 00:45:08,665 --> 00:45:11,877 Exec goes to the movies, meets writer, drinks with writer. 852 00:45:11,960 --> 00:45:15,464 Writer gets conked and dies in four inches of dirty water. 853 00:45:15,547 --> 00:45:18,008 Movie exec is in deep shit. 854 00:45:19,134 --> 00:45:21,095 What do you think? 855 00:45:21,178 --> 00:45:22,888 That's more than 25 words. 856 00:45:22,971 --> 00:45:24,681 - And it's bullshit. - (Walter chuckles) 857 00:45:25,307 --> 00:45:27,434 Yeah, well, Pasadena homicide doesn't think it's bullshit. 858 00:45:27,518 --> 00:45:29,478 They got a complete report. 859 00:45:29,561 --> 00:45:32,731 You met Kahane at the Rialto. You got drunk with him at a Japanese restaurant. 860 00:45:32,815 --> 00:45:36,235 He left before you did. That's the last time anyone saw him alive. 861 00:45:36,318 --> 00:45:38,278 Except you, maybe. 862 00:45:38,362 --> 00:45:41,073 Why are you denying this? 863 00:45:41,156 --> 00:45:42,741 (stammers) 864 00:45:42,825 --> 00:45:44,827 - What do the police think? - (Walter sighs) 865 00:45:44,910 --> 00:45:47,663 They think it's a botched robbery. 866 00:45:47,746 --> 00:45:50,666 You know, the window of his car was busted. 867 00:45:50,749 --> 00:45:54,211 He surprised someone trying to take the radio. 868 00:45:54,294 --> 00:45:56,672 There was a fight. He was killed. 869 00:45:56,755 --> 00:45:58,757 I didn't kill him, Walter. 870 00:45:59,842 --> 00:46:02,386 But I went to see him. 871 00:46:02,469 --> 00:46:04,471 I know I said I didn't, but I did. 872 00:46:04,555 --> 00:46:06,598 Why'd you lie to me? 873 00:46:06,682 --> 00:46:10,477 Well... now's not a very good time for me. 874 00:46:10,561 --> 00:46:13,355 Haven't you heard the rumors? I'm on my way out. 875 00:46:14,273 --> 00:46:16,942 Just what I need — a little more controversy. 876 00:46:17,025 --> 00:46:19,027 This is not a good time, Walter. 877 00:46:20,320 --> 00:46:26,160 Look, I am in charge of studio security in every definition of the word, 878 00:46:26,243 --> 00:46:29,663 which means it is my job to take care of a studio executive, 879 00:46:29,746 --> 00:46:33,459 should he be, uh, shall we say, under suspicion of murder 880 00:46:33,542 --> 00:46:37,838 at a time when profits are down and the company is vulnerable for a takeover. 881 00:46:37,921 --> 00:46:41,091 It is my job to keep this very, very, very, very quiet! 882 00:46:42,426 --> 00:46:44,553 Do you wanna help? 883 00:46:44,636 --> 00:46:47,514 - Of course. - Then stop lying. 884 00:46:47,598 --> 00:46:50,225 - How many meetings you have with this guy? - One. 885 00:46:51,268 --> 00:46:53,395 - Not counting last night? - Not counting last night. 886 00:46:53,479 --> 00:46:56,273 Why'd you go all the way to Pasadena to meet him? 887 00:46:56,356 --> 00:46:59,276 He had an idea I was interested in. I wanted to talk to him right away. 888 00:46:59,359 --> 00:47:01,945 His girlfriend. I guess she was a friend of yours too. 889 00:47:02,029 --> 00:47:03,614 Think fast! 890 00:47:03,697 --> 00:47:06,825 (exhales) Jesus Christ, Walter, what do you think? What is this? 891 00:47:06,909 --> 00:47:10,078 It's the third degree. If you don't like it, wait till the police start asking questions. 892 00:47:10,162 --> 00:47:13,624 - They'll be a lot less polite than I am! - I'll go to the police! You come with me! 893 00:47:13,707 --> 00:47:16,001 Now you're acting like someone's who's guilty. 894 00:47:16,084 --> 00:47:18,045 You're not guilty, are you? 895 00:47:18,128 --> 00:47:20,339 For the last time, I'm not a murderer. 896 00:47:20,422 --> 00:47:22,591 (fax machine beeping, whirring) 897 00:47:36,188 --> 00:47:37,606 (beeps) 898 00:47:37,689 --> 00:47:39,441 WALTER: Bad news? 899 00:47:39,525 --> 00:47:41,109 What? 900 00:47:41,193 --> 00:47:43,779 The fax. Is it bad news? 901 00:47:43,862 --> 00:47:45,113 No. 902 00:47:46,532 --> 00:47:48,158 Business as usual. 903 00:47:49,785 --> 00:47:53,455 MAN: The Hollywood system did not murder David Kahane. 904 00:47:53,539 --> 00:47:56,667 Not the 98-million-dollar movie. Not the 12-million-dollar actor. 905 00:47:56,750 --> 00:48:01,755 Not even the million-dollar deal that David Kahane never landed. 906 00:48:02,589 --> 00:48:05,425 No, the most that we can pin on Hollywood 907 00:48:05,509 --> 00:48:08,178 is assault with intent to kill. 908 00:48:09,179 --> 00:48:14,017 Because society is responsible for this particular murder, 909 00:48:14,101 --> 00:48:16,311 and it is to society that we must look 910 00:48:16,395 --> 00:48:19,898 if we are to have any justice for that crime. 911 00:48:19,982 --> 00:48:22,901 Because someone in the night 912 00:48:22,985 --> 00:48:24,945 killed David Kahane, 913 00:48:25,028 --> 00:48:27,614 and that person will have to bear the guilt. 914 00:48:28,949 --> 00:48:31,618 And if, uh, David were here right now, 915 00:48:31,702 --> 00:48:34,246 I know in my heart that — that he — h-he would say... 916 00:48:35,622 --> 00:48:38,292 "Cut the shit, Phil. 917 00:48:38,375 --> 00:48:41,712 What did you learn from all of this? Did you learn anything from this?" 918 00:48:42,546 --> 00:48:45,591 And I'd say, "Uh, yeah, David, uh, I've learned a lot. 919 00:48:45,674 --> 00:48:48,760 We here, uh, we'll take it from here." 920 00:48:48,844 --> 00:48:52,306 And the next time we sell a script for a million dollars, 921 00:48:53,098 --> 00:48:56,560 the next time we nail some shit-bag producer to the wall, we'll say, 922 00:48:56,643 --> 00:48:58,645 "That's another one for David Kahane!" 923 00:49:02,566 --> 00:49:04,568 David was working on something the day he died. 924 00:49:04,651 --> 00:49:07,195 I'd like to share it with you. 925 00:49:07,946 --> 00:49:09,406 "Blackness. 926 00:49:09,489 --> 00:49:10,991 A mangy dog barks. 927 00:49:11,700 --> 00:49:16,038 Garbage can lids are lifted as derelicts in the streets hunt for food. 928 00:49:16,872 --> 00:49:19,374 Buzzing, as a cheap alarm clock goes off. 929 00:49:19,458 --> 00:49:22,961 Interior. Flophouse room. Early morning. 930 00:49:23,045 --> 00:49:26,173 A tracking shot moves through the grimy room. 931 00:49:26,256 --> 00:49:29,801 Light streams in through holes in the yellowing window shades. 932 00:49:29,885 --> 00:49:32,638 Moths dance in the beams of light. 933 00:49:32,721 --> 00:49:35,974 Track down along the floor. The frayed rug. 934 00:49:36,058 --> 00:49:38,852 Stop on an old shoe. 935 00:49:38,935 --> 00:49:40,937 It's empty." 936 00:49:45,275 --> 00:49:47,277 That's as far as he got. 937 00:49:48,403 --> 00:49:50,614 That's the last thing he wrote. 938 00:49:51,907 --> 00:49:54,159 So long, Dave. 939 00:49:54,242 --> 00:49:56,328 Fade out. 940 00:49:56,411 --> 00:49:57,954 Thank you. 941 00:49:58,038 --> 00:50:01,249 (mourners murmuring) 942 00:50:13,929 --> 00:50:16,932 Who are you? You're not a writer. 943 00:50:18,350 --> 00:50:20,727 No, I-I'm — I'm G — I'm Griffin Mill. 944 00:50:20,811 --> 00:50:22,521 - We spoke the night David wa — - Oh. 945 00:50:22,604 --> 00:50:25,524 Blue sea, white sea. 946 00:50:25,607 --> 00:50:27,984 - It turned out you were right. - What? 947 00:50:28,068 --> 00:50:30,404 It was a red sea. 948 00:50:30,487 --> 00:50:32,614 Oh. (sighs) Yeah. 949 00:50:34,574 --> 00:50:37,703 You're the only person I know here. 950 00:50:37,786 --> 00:50:40,789 Listen, I'm really sorry about David. 951 00:50:40,872 --> 00:50:44,209 He was, uh... a talent. 952 00:50:45,335 --> 00:50:47,546 You really think so? 953 00:50:47,629 --> 00:50:50,048 I always suspected he was... 954 00:50:50,882 --> 00:50:53,468 uniquely untalented. 955 00:50:55,011 --> 00:50:57,347 But it's nice of you to say that. It's nice of you to come. 956 00:50:57,431 --> 00:50:59,808 - Really, you didn't have to. - Well, I did. 957 00:50:59,891 --> 00:51:03,937 You know, I was probably the last person to see him alive. 958 00:51:04,020 --> 00:51:06,565 Yeah. The police told me. 959 00:51:06,648 --> 00:51:08,692 Well, not quite the last, surely. 960 00:51:08,775 --> 00:51:10,318 No. 961 00:51:12,070 --> 00:51:15,115 I'm sure this is a terrible time for you. 962 00:51:15,198 --> 00:51:17,576 Is there anything you need or — 963 00:51:17,659 --> 00:51:19,828 No, really. I — 964 00:51:19,911 --> 00:51:22,372 I don't feel bad. 965 00:51:22,456 --> 00:51:24,666 It's like when my parents died. I — 966 00:51:25,500 --> 00:51:27,586 I didn't feel anything at all. 967 00:51:27,669 --> 00:51:29,254 They were just gone. 968 00:51:30,630 --> 00:51:33,717 Well, I'm sure it hasn't sunk in yet. 969 00:51:33,800 --> 00:51:35,677 That was years ago. 970 00:51:35,761 --> 00:51:38,013 - No, I meant David. - Oh. 971 00:51:38,722 --> 00:51:40,432 Oh, God. 972 00:51:40,515 --> 00:51:42,934 These people. I don't like it here. 973 00:51:43,727 --> 00:51:46,605 They're all expecting me to grieve and mourn, and... 974 00:51:47,397 --> 00:51:49,274 I can't talk to them. 975 00:51:51,276 --> 00:51:52,861 David's gone and... 976 00:51:53,862 --> 00:51:56,406 I'm somewhere else already. 977 00:51:56,490 --> 00:51:58,658 - Will you take me home? - What? 978 00:51:59,451 --> 00:52:01,453 Will you take me home? 979 00:52:02,287 --> 00:52:03,622 Sure. 980 00:52:03,705 --> 00:52:05,248 I'm right here. 981 00:52:41,993 --> 00:52:44,663 These are very interesting. I like them. 982 00:52:44,746 --> 00:52:46,456 Would you like a drink? 983 00:52:46,540 --> 00:52:48,500 No, thanks. 984 00:52:48,583 --> 00:52:50,669 - Where do you show? - Hmm? 985 00:52:50,752 --> 00:52:52,504 Gallery. What gallery? Who's your dealer? 986 00:52:52,587 --> 00:52:54,840 I don't have a dealer. 987 00:52:54,923 --> 00:52:57,300 I couldn't sell these. They're never finished. 988 00:52:57,384 --> 00:52:59,553 Biccy? 989 00:52:59,636 --> 00:53:00,971 No, thanks. 990 00:53:01,054 --> 00:53:02,514 They're never finished? 991 00:53:02,597 --> 00:53:05,183 No, they're just what I do. 992 00:53:05,267 --> 00:53:07,018 For myself. 993 00:53:07,102 --> 00:53:08,645 What I feel. 994 00:53:09,813 --> 00:53:12,482 You ask lots of questions, Mr. Mill. 995 00:53:12,566 --> 00:53:14,025 Just like the police. 996 00:53:14,109 --> 00:53:16,486 That's all they did. Ask questions. 997 00:53:18,029 --> 00:53:19,823 They asked me a lot about you. 998 00:53:19,906 --> 00:53:21,783 - Did they? - Mm-hmm. 999 00:53:21,867 --> 00:53:25,704 How long we've known each other, if you'd ever been to the house before. 1000 00:53:25,787 --> 00:53:28,790 Well, I suppose they have to ask those questions. 1001 00:53:28,874 --> 00:53:30,750 I don't see why. 1002 00:53:30,834 --> 00:53:32,836 'Cause that's what police do. 1003 00:53:34,004 --> 00:53:36,131 - Can I ask you a question? - Sure. 1004 00:53:37,299 --> 00:53:41,177 Why was it so important to see David that night? What was so urgent? 1005 00:53:43,805 --> 00:53:46,474 Well, he pitched me a story a few months ago and — 1006 00:53:46,558 --> 00:53:49,019 - The Japan story, right? - Yes. The Japan story. 1007 00:53:49,102 --> 00:53:52,856 I liked it at the time, but it needed work, especially the ending. 1008 00:53:52,939 --> 00:53:55,525 I was sitting in my office that day 1009 00:53:55,609 --> 00:53:58,737 and it suddenly occurred to me how to make the ending work. 1010 00:53:58,820 --> 00:54:00,989 So, what was it? 1011 00:54:01,072 --> 00:54:04,075 - What? - Your idea for the ending. 1012 00:54:05,452 --> 00:54:07,621 - Up. - (shutter clicks, camera whirs) 1013 00:54:07,704 --> 00:54:09,080 - Up? - Up. 1014 00:54:09,164 --> 00:54:11,583 - What does that mean? - As opposed to down. Moods. 1015 00:54:11,666 --> 00:54:14,127 - Oh. - You know, happy as opposed to sad. 1016 00:54:14,210 --> 00:54:16,004 Hopeful as opposed to depressing. 1017 00:54:16,796 --> 00:54:19,716 - What did you think of his ending? - I never read it. 1018 00:54:21,468 --> 00:54:24,262 - You never read it? - Nope. 1019 00:54:24,346 --> 00:54:26,514 I don't like reading. 1020 00:54:26,598 --> 00:54:28,183 Do you like books? 1021 00:54:28,266 --> 00:54:29,935 I like words. 1022 00:54:30,018 --> 00:54:31,770 And letters. 1023 00:54:31,853 --> 00:54:34,356 But I'm not crazy about complete sentences. 1024 00:54:34,439 --> 00:54:36,066 Hmm. 1025 00:54:36,149 --> 00:54:37,692 So, what did he think? 1026 00:54:38,693 --> 00:54:42,447 He walked out on me, actually. I don't think David liked me very much. 1027 00:54:42,530 --> 00:54:46,534 I think he just didn't like happy endings. 1028 00:54:50,288 --> 00:54:52,040 Put your face here. 1029 00:54:53,750 --> 00:54:55,293 Great. 1030 00:54:57,462 --> 00:54:59,965 What are you doing? You're not going to paint me, are you? 1031 00:55:00,048 --> 00:55:03,426 I might put you in one of my paintings. 1032 00:55:03,510 --> 00:55:07,055 There's one that I want to do of an Icelandic hero. 1033 00:55:07,138 --> 00:55:10,225 He's a thief and he's made of fire. 1034 00:55:10,308 --> 00:55:12,894 - But you might not like that. - Why not? 1035 00:55:13,603 --> 00:55:15,522 Because you're in the movies. 1036 00:55:15,605 --> 00:55:19,651 And in the movies you can't have thieves as heroes, can you? 1037 00:55:19,734 --> 00:55:20,986 Oh, I don't know about that. 1038 00:55:21,069 --> 00:55:23,863 We have a long tradition of gangsters in the movies. 1039 00:55:23,947 --> 00:55:27,117 Oh, yes, but they always have to suffer for their crimes, don't they? 1040 00:55:28,576 --> 00:55:30,870 Well, we should pay for our crimes, shouldn't we? 1041 00:55:30,954 --> 00:55:35,041 Oh, I don't know. I think knowing that you've committed a crime is suffering enough. 1042 00:55:35,834 --> 00:55:40,005 If you don't suffer, then maybe it wasn't a crime after all. 1043 00:55:41,089 --> 00:55:43,717 Anyway, what difference does it make? 1044 00:55:43,800 --> 00:55:47,095 It has nothing to do with how things really are. 1045 00:55:51,182 --> 00:55:53,101 You don't really believe that, do you? 1046 00:55:53,184 --> 00:55:56,438 (laughs) I don't know what I believe, Mr. Mill. 1047 00:55:57,480 --> 00:56:00,442 It's just what I feel. 1048 00:56:01,943 --> 00:56:04,946 You know what you are, June whatever your name is? 1049 00:56:06,072 --> 00:56:07,615 You're a pragmatic anarchist. 1050 00:56:07,699 --> 00:56:08,825 (laughs) 1051 00:56:08,908 --> 00:56:11,036 - Is that what I am? - That's what you are. 1052 00:56:11,119 --> 00:56:13,246 I never was sure. 1053 00:56:17,709 --> 00:56:20,712 Could I just pick this up? Yeah? 1054 00:56:21,296 --> 00:56:22,881 Oh. It's heavy. Ooh. 1055 00:56:22,964 --> 00:56:26,551 - Thirty-seven ounces. - Really? Oh, look, look. 1056 00:56:26,634 --> 00:56:30,930 I wanna thank my mother, and her mother, and her father's mother, who was the — 1057 00:56:32,015 --> 00:56:33,683 - (chuckles) - Hello. 1058 00:56:33,767 --> 00:56:35,602 Hello. (laughs) 1059 00:56:35,685 --> 00:56:37,562 - Meet Detective Susan Avery. - How do you do? 1060 00:56:37,645 --> 00:56:39,205 - Hello, Detective. - Sorry. My partner. 1061 00:56:39,272 --> 00:56:40,899 - Willa Broom. - My pleasure. 1062 00:56:40,982 --> 00:56:42,400 Let's go in here. 1063 00:56:42,484 --> 00:56:45,403 This is the first real movie studio Detective Avery's been to. 1064 00:56:45,487 --> 00:56:48,031 - Oh, really? - Well, aside from the Universal Tour. 1065 00:56:48,114 --> 00:56:51,034 You know, when my family comes in, I always take 'em out there. 1066 00:56:51,117 --> 00:56:54,579 Been out there so often I kinda feel like I'm ready to direct. 1067 00:56:54,662 --> 00:56:57,415 WALTER: Well, you'd probably do better than most of the film grads 1068 00:56:57,499 --> 00:56:59,417 they're handing the cameras out to nowadays. 1069 00:56:59,501 --> 00:57:02,087 I'm sorry I didn't call you when I heard Kahane was dead. 1070 00:57:02,170 --> 00:57:03,713 - Heard or read? - Read. 1071 00:57:03,797 --> 00:57:05,548 Why didn't you? 1072 00:57:05,632 --> 00:57:08,718 Walter asked me the same question and I wish I had a better answer for it, 1073 00:57:08,802 --> 00:57:11,554 but all I can say is that I didn't think about it. 1074 00:57:11,638 --> 00:57:13,139 Mmm. 1075 00:57:13,932 --> 00:57:16,142 How did you know where he was gonna be? 1076 00:57:16,226 --> 00:57:18,520 His wife told me he was seeing The Bicycle Thief. 1077 00:57:18,603 --> 00:57:20,438 His girlfriend. 1078 00:57:20,522 --> 00:57:21,981 Girlfriend. 1079 00:57:22,065 --> 00:57:23,983 Girlfriend. I didn't know either of them. 1080 00:57:24,067 --> 00:57:26,694 I was feeling restless, so I thought I'd go see the movie, 1081 00:57:26,778 --> 00:57:29,948 and if he was there I was gonna talk to him about a job I thought he was good for. 1082 00:57:30,031 --> 00:57:32,492 So you got to the theater, you saw him and — 1083 00:57:32,575 --> 00:57:35,495 We went and had a drink at a Japanese place he knew about. 1084 00:57:35,578 --> 00:57:38,873 It was a wild, incredible scene. It was like Tokyo. 1085 00:57:38,957 --> 00:57:42,001 But he left before you did. Why didn't you leave together? 1086 00:57:42,085 --> 00:57:44,725 Like I said, it was an incredible scene. I was having a great time. 1087 00:57:44,796 --> 00:57:46,631 Then why didn't you stay longer? 1088 00:57:46,714 --> 00:57:50,927 Well, the people stopped singing and then it was just a bar, and I don't drink. 1089 00:57:51,010 --> 00:57:52,345 Drank with him. 1090 00:57:52,428 --> 00:57:53,930 Well, when in Rome. 1091 00:57:54,013 --> 00:57:56,474 - Did you know him socially? - No. 1092 00:57:56,558 --> 00:57:57,976 - Been to his house? - No. 1093 00:57:58,059 --> 00:58:00,103 Know anything about him personally? 1094 00:58:00,186 --> 00:58:01,938 - No. - Griffin. 1095 00:58:02,021 --> 00:58:05,024 Guess we're gonna let you get back to work now. 1096 00:58:07,402 --> 00:58:09,404 Something's bothering you. What is it? 1097 00:58:09,487 --> 00:58:12,240 Well, I — I just have to ask you. 1098 00:58:12,323 --> 00:58:16,327 D-Did you see him in the parking lot after you left? 1099 00:58:16,411 --> 00:58:18,246 No. I parked on the street. 1100 00:58:18,329 --> 00:58:21,541 I drive a Range Rover, so I always feel safer when it's visible. 1101 00:58:21,624 --> 00:58:24,043 Out on the street, who's gonna smash a window? 1102 00:58:24,127 --> 00:58:25,545 Mmm. 1103 00:58:25,628 --> 00:58:28,756 You mean, if you had a shitty car, you would've been parked in the parking lot? 1104 00:58:28,840 --> 00:58:31,759 If I had a shitty car, I might be a dead man. 1105 00:58:32,427 --> 00:58:36,097 Somehow I think you're a little too lucky for that. Thank you. 1106 00:58:36,181 --> 00:58:37,599 - (beeping) - MAN: Okay. 1107 00:58:37,682 --> 00:58:40,322 - WOMAN: Come on. Wait one second. - Sixty-three, take three, mark. 1108 00:58:40,810 --> 00:58:42,395 MAN: Now. 1109 00:58:43,062 --> 00:58:44,647 Action! 1110 00:58:44,731 --> 00:58:46,274 (clears throat) 1111 00:58:46,357 --> 00:58:48,693 No, goddamn it, Peterson, you listen to me. 1112 00:58:48,776 --> 00:58:52,197 I been around a while. I got a nose. This situation stinks. 1113 00:58:52,280 --> 00:58:54,282 It stinks of the Company. 1114 00:58:54,365 --> 00:58:57,285 That's right, Peterson, the fucking CIA. You ever heard of it? 1115 00:58:57,368 --> 00:58:58,786 LEVY: Lily understands what I'm talking about. 1116 00:58:58,870 --> 00:59:00,788 It's just the kind of operation those whiz kid fucks — 1117 00:59:00,872 --> 00:59:03,291 - You don't understand what he's trying for here. - I guess I don't. 1118 00:59:03,374 --> 00:59:06,961 I find it hard to listen to your argument when you don't understand what he's going for. 1119 00:59:07,045 --> 00:59:09,130 - Would you shut up, please? - Oh, kiss my ass. 1120 00:59:09,214 --> 00:59:11,674 LEVY: I'd be surprised if anybody understood because you can't even see anything. 1121 00:59:11,758 --> 00:59:14,886 I have to cut because my robe caught on the drawer here. I couldn't help it. 1122 00:59:14,969 --> 00:59:16,387 - MAN: Oh, for Christ's sake. - TOMLIN: I'm sorry. 1123 00:59:16,471 --> 00:59:18,306 - I like this guy. - Scotty Glenn? He's great. 1124 00:59:18,389 --> 00:59:21,226 - What kind of water is it? - It's, um, Spa. 1125 00:59:21,309 --> 00:59:23,269 Can I have some Volvic, please? 1126 00:59:23,353 --> 00:59:25,939 - MAN: Action! - (chattering in screening room) 1127 00:59:26,022 --> 00:59:27,440 No, goddamn it, Peterson. 1128 00:59:27,523 --> 00:59:29,817 LEVISON: I heard the police came to see you about this dead writer. 1129 00:59:29,901 --> 00:59:31,486 Who was this guy? 1130 00:59:31,569 --> 00:59:33,571 His name was David Kahane. 1131 00:59:33,655 --> 00:59:36,616 I never heard of him. Did we ever hire him for anything? 1132 00:59:36,699 --> 00:59:39,827 - I was thinking about it. - (dialogue on screen continues) 1133 00:59:39,911 --> 00:59:43,122 He pitched me a story. I went out there to talk to him about it. 1134 00:59:43,206 --> 00:59:45,333 LEVISON: Jesus. Poor bastard. 1135 00:59:45,416 --> 00:59:49,003 Just when his ship is about to come in, some black kid steals his money for crack. 1136 00:59:49,087 --> 00:59:51,673 I don't want to criticize you, babe, 1137 00:59:51,756 --> 00:59:53,967 but I'm supposed to be having a conversation on the phone. 1138 00:59:54,050 --> 00:59:56,928 - Are you talking to me? - Are the cops bothering you? 1139 00:59:57,011 --> 00:59:59,931 - No. No, I don't think so. - (dialogue on screen continues) 1140 01:00:00,014 --> 01:00:01,516 LEVISON: Let Stuckel handle it. 1141 01:00:01,599 --> 01:00:03,518 He'll give them passes to a screening 1142 01:00:03,601 --> 01:00:05,520 where they can sit two rows behind Michelle Pfeiffer. 1143 01:00:05,603 --> 01:00:07,480 They'll leave you alone. 1144 01:00:07,563 --> 01:00:08,982 - JAN: Griffin. - Yeah? 1145 01:00:09,065 --> 01:00:12,443 Um, a guy named Joe Gillis called 1146 01:00:12,527 --> 01:00:15,613 and he said he wants you to meet him at the Saint James Club 1147 01:00:15,697 --> 01:00:17,615 around 10:00 on the patio. 1148 01:00:17,699 --> 01:00:19,701 - Know who this is? - Joe Gillis? Never heard of him. 1149 01:00:19,784 --> 01:00:21,703 He said you'd know. 1150 01:00:21,786 --> 01:00:23,955 Anybody know who Joe Gillis is? 1151 01:00:24,038 --> 01:00:26,457 LEVISON: He's the character William Holden played in Sunset Blvd. 1152 01:00:26,541 --> 01:00:28,459 The writer who gets killed by the movie star. 1153 01:00:28,543 --> 01:00:31,023 - BONNIE: Gloria Swanson. - WHITNEY: That is a fantastic movie. 1154 01:00:31,087 --> 01:00:33,881 SCOTT GLENN: All I know is we're doing this my way. 1155 01:00:33,965 --> 01:00:36,467 (nervous laugh) Oh, that guy. 1156 01:00:36,551 --> 01:00:39,095 Last week he said he was Charles Foster Kane. 1157 01:00:39,178 --> 01:00:41,848 Week before that it was Rhett Butler. 1158 01:00:41,931 --> 01:00:44,851 Why would they think that I'd kill my own sister's husband? 1159 01:00:44,934 --> 01:00:46,978 LEVY: You wanna compare grosses, Bonnie? 1160 01:00:47,061 --> 01:00:49,230 I was in love with him. 1161 01:00:49,314 --> 01:00:51,816 (siren wailing) 1162 01:01:30,271 --> 01:01:32,815 - Griffin? Griffin. - Malcolm McDowell. 1163 01:01:32,899 --> 01:01:34,942 - Hi. How are you? - Good to see you. 1164 01:01:35,026 --> 01:01:38,529 Listen, the next time you want to bad-mouth me, 1165 01:01:38,613 --> 01:01:41,240 have the courage to do it to my face. 1166 01:01:41,324 --> 01:01:43,326 You guys are all the same. 1167 01:01:53,461 --> 01:01:56,214 - You love it there? - I love it. It's just wonderful. 1168 01:01:56,297 --> 01:01:58,925 You love your career too, though, don't you? What is it, Tom? 1169 01:01:59,008 --> 01:02:02,220 It was a complete disaster. I mean, look at what happened in Heaven's Gate with Cimino. 1170 01:02:02,303 --> 01:02:04,931 - It just ended. - We both are concerned about your ca — 1171 01:02:05,014 --> 01:02:06,654 I knew an actor. I won't mention his name. 1172 01:02:06,682 --> 01:02:09,394 You know, where I live, I really know how people think and how they feel. 1173 01:02:09,477 --> 01:02:11,062 - I mean, if you're — - But it's Montana. My God. 1174 01:02:11,145 --> 01:02:14,774 Montana will end you. It ended — It ended Cimino on Heaven's Gate. 1175 01:02:14,857 --> 01:02:16,943 Griffin Mill. Hi. 1176 01:02:17,026 --> 01:02:18,945 - Andy Civella. - Hi, Andy. How are ya? 1177 01:02:19,028 --> 01:02:20,863 I've got Andie MacDowell sitting over here. 1178 01:02:20,947 --> 01:02:23,199 You know her? She's so hot. Come over and meet her. 1179 01:02:23,282 --> 01:02:24,909 - Still living in New York? - Huh? 1180 01:02:24,992 --> 01:02:27,286 Oh, well, I couldn't live here. I'm allergic to happiness. 1181 01:02:27,370 --> 01:02:30,039 - (laughs) This is Andie. It's Griffin Mill. - Hi, Andie. It's good to see you. 1182 01:02:30,123 --> 01:02:32,083 - She's my namesake. - How are the kids doing? 1183 01:02:32,166 --> 01:02:34,460 - They're great. Thanks. - She's the smart Andie and I'm the pretty one. 1184 01:02:34,544 --> 01:02:36,921 - Thank you. - Uh, and you geniuses know each other. 1185 01:02:37,004 --> 01:02:38,506 - Tom Oakley. - Course we do. 1186 01:02:38,589 --> 01:02:40,425 - Oh, yes. Hi, Tom. - Hi. How are you? 1187 01:02:41,300 --> 01:02:43,761 It's funny. I just ran into Malcolm McDowell out in the lobby. 1188 01:02:43,845 --> 01:02:45,263 Oh, really? 1189 01:02:45,346 --> 01:02:47,932 You know, Roddy McDowell is related to a cousin of my brother-in-law. 1190 01:02:48,015 --> 01:02:50,768 Well, I'm not related to either one of them. 1191 01:02:50,852 --> 01:02:53,020 (awkward chuckling) 1192 01:03:00,903 --> 01:03:02,822 - If I write it, I direct it. - Hi. 1193 01:03:02,905 --> 01:03:05,199 The last three pictures you directed were bombs. 1194 01:03:05,283 --> 01:03:06,784 - Look, one broke even. - Bombs! 1195 01:03:06,868 --> 01:03:09,579 - Thank you so much for the drink, um — - That was the worst one of the bunch. 1196 01:03:09,662 --> 01:03:11,289 - I really have to go. - You gotta go, Andie? 1197 01:03:11,372 --> 01:03:13,249 - Come on, honey, let's go. - We'll walk you to the car. 1198 01:03:13,332 --> 01:03:16,669 - No, it's okay. Don't worry about it. - Oh, hang on. Griffin. 1199 01:03:16,752 --> 01:03:18,504 - We'd like to buy you a drink. - I — I'm sorry. 1200 01:03:18,588 --> 01:03:20,882 - Have a drink. - I can't. I'm meeting someone. Business. 1201 01:03:20,965 --> 01:03:22,884 - Uh-huh. - We should have told him about Habeas Corpus. 1202 01:03:22,967 --> 01:03:24,886 Of course, of course, of course, but he's a busy man. 1203 01:03:24,969 --> 01:03:27,889 - Is there anyone waiting for me? - No one's asked. 1204 01:03:27,972 --> 01:03:31,809 Well, I'm expecting someone. I'll, um, be out by the pool. 1205 01:03:31,893 --> 01:03:34,770 But he'll get back to us. Right, Griffin? 1206 01:03:34,854 --> 01:03:36,647 - Griffin. - Andie! 1207 01:03:36,731 --> 01:03:38,232 (whistles) 1208 01:03:50,870 --> 01:03:54,040 - (siren wailing in distance) - (helicopter whirring) 1209 01:04:10,264 --> 01:04:13,476 - Ha! Oh, sorry. Sorry, Griffin. - Oh, Jesus, Andy, it's you. 1210 01:04:13,559 --> 01:04:16,354 - Course, it's me. - Listen, I can't ask you to join me. 1211 01:04:16,437 --> 01:04:19,607 - I told you, I'm meeting somebody. - Yeah, you're meeting me. 1212 01:04:19,690 --> 01:04:22,652 - We got some big business. - You? You? 1213 01:04:22,735 --> 01:04:25,488 - Why not me? - Jesus Christ, Andy. You think this is funny? 1214 01:04:25,571 --> 01:04:28,324 - You think this is fucking funny? - What are you talkin' about? 1215 01:04:28,407 --> 01:04:30,535 Wouldn't she make a great Nora? 1216 01:04:30,618 --> 01:04:33,120 God, I'd love to write another Doll's House for her. 1217 01:04:33,204 --> 01:04:36,040 Oh, did you meet Tom Oakley? 1218 01:04:36,123 --> 01:04:37,625 Yes. 1219 01:04:37,708 --> 01:04:40,378 - You mean, you didn't call me? - No, I didn't call you. 1220 01:04:40,461 --> 01:04:43,047 I'm sorry. I — I'm really sorry. 1221 01:04:44,298 --> 01:04:47,677 Listen, I really am meeting somebody. 1222 01:04:47,760 --> 01:04:50,179 There's no way I can hear a pitch right now. 1223 01:04:50,263 --> 01:04:52,682 - You'll have to call me tomorrow. - No, I can't do it tomorrow. 1224 01:04:52,765 --> 01:04:55,268 - (pager beeping) - I got a meeting at Paramount in the morn — 1225 01:04:55,351 --> 01:04:57,228 I got a meeting at Universal, too, in the morning. 1226 01:04:57,311 --> 01:04:58,479 Congratulations. 1227 01:04:58,563 --> 01:05:01,399 - If you don't hear it now, you're gonna lose it. - Well, then I lose it, all right? 1228 01:05:01,482 --> 01:05:03,150 Take 20 seconds. When your friend gets here, whatever. 1229 01:05:03,234 --> 01:05:04,777 What friend? What are you talking about? Who? 1230 01:05:04,860 --> 01:05:07,196 Whoever you're gonna meet here. 1231 01:05:08,656 --> 01:05:10,491 Twenty-five words or less. 1232 01:05:10,575 --> 01:05:13,411 Absolutely. Tom, uh, you — No, you sit here, Tom. 1233 01:05:13,494 --> 01:05:15,246 Go. 1234 01:05:15,329 --> 01:05:17,999 - District attorney's at a moral crossroads. - Tom! Jesus Christ. 1235 01:05:18,082 --> 01:05:20,084 Okay. Okay. Okay. Uh — 1236 01:05:20,167 --> 01:05:23,129 We open outside the largest penitentiary in California. 1237 01:05:23,212 --> 01:05:24,922 It's night. It's raining. 1238 01:05:25,006 --> 01:05:28,259 A limousine comes in through the front gate past a tight knot of demonstrators 1239 01:05:28,342 --> 01:05:30,219 holding a candlelight vigil. 1240 01:05:30,303 --> 01:05:34,056 The candles under the umbrellas make them glow like Japanese lanterns. 1241 01:05:34,140 --> 01:05:37,059 That's nice. I haven't seen that before. That's good. 1242 01:05:37,143 --> 01:05:40,938 A lone demonstrator, a black woman, steps in front of the limousine. 1243 01:05:41,022 --> 01:05:43,316 The lights illuminate her like a spirit. 1244 01:05:43,399 --> 01:05:46,986 Her eyes fix upon those of the sole passenger. 1245 01:05:49,071 --> 01:05:51,115 The moment is devastating between them. 1246 01:05:51,198 --> 01:05:54,410 He's the DA. She's the mother of the person that's being executed. 1247 01:05:54,493 --> 01:05:56,996 You're good. See, I told you. He's good. 1248 01:05:57,079 --> 01:05:58,581 - Go on. - Okay. 1249 01:05:58,664 --> 01:06:01,125 The DA believes in the death penalty. 1250 01:06:01,208 --> 01:06:03,377 And the execution is a hard case. 1251 01:06:03,461 --> 01:06:05,838 Black, 19 and definitely guilty. 1252 01:06:05,921 --> 01:06:07,882 We're in the greatest democracy in the world, 1253 01:06:07,965 --> 01:06:10,635 and 36% of the people on death row are black. 1254 01:06:10,718 --> 01:06:12,637 - Poor, disadvantaged black. - More. More. More. 1255 01:06:12,720 --> 01:06:18,100 He swears that the next person he sees to die is gonna be smart, rich and white. 1256 01:06:18,184 --> 01:06:20,895 - You. Me. Whoever. - Oh, what a hook, huh? 1257 01:06:20,978 --> 01:06:24,065 - Beauty hook. Cut to the chase, Tom. - Okay, okay. 1258 01:06:24,148 --> 01:06:28,653 Cut from the DA to an up-market suburban neighborhood. 1259 01:06:28,736 --> 01:06:30,321 A couple have a fight. 1260 01:06:30,404 --> 01:06:34,241 He leaves in a fit, gets in a car. It's the same rainy night. 1261 01:06:34,325 --> 01:06:37,078 The car spins out on a road, goes into a ravine. 1262 01:06:37,161 --> 01:06:39,288 The body is swept away. 1263 01:06:39,372 --> 01:06:44,418 Now, when the police examine the car, they find the brakes have been tampered with. 1264 01:06:44,502 --> 01:06:47,880 It's murder, and the DA decides to go for the big one. 1265 01:06:47,963 --> 01:06:50,549 He's gonna put the wife in the gas chamber. 1266 01:06:50,633 --> 01:06:52,426 But the DA falls in love with the wife. 1267 01:06:52,510 --> 01:06:55,846 But of course he falls in love with the wife, but he puts her in the gas chamber anyway. 1268 01:06:55,930 --> 01:07:00,601 Then he finds that the husband is alive, that he faked his death. 1269 01:07:01,769 --> 01:07:06,607 The DA breaks into the prison, runs down death row, but he gets there too late. 1270 01:07:07,233 --> 01:07:09,694 The gas pellets have been dropped. 1271 01:07:09,777 --> 01:07:11,862 She's dead. 1272 01:07:11,946 --> 01:07:16,158 I tell you, there's not a dry eye in the house. 1273 01:07:16,242 --> 01:07:17,785 She's dead? 1274 01:07:17,868 --> 01:07:20,162 She's dead. She's dead. 1275 01:07:20,246 --> 01:07:22,707 Because that's the reality. 1276 01:07:22,790 --> 01:07:24,625 The innocent die. 1277 01:07:26,001 --> 01:07:28,212 - Who's the DA? - Ah. 1278 01:07:28,295 --> 01:07:30,131 - No one. - No one? 1279 01:07:30,214 --> 01:07:33,217 No "stars" on this project. We're going out on a limb on this one. 1280 01:07:33,300 --> 01:07:36,011 You know, uh, like, unknowns, stage actors 1281 01:07:36,095 --> 01:07:38,848 or maybe somebody English, like what's-his-name. 1282 01:07:40,933 --> 01:07:42,935 - Why? - Why? Why? 1283 01:07:43,018 --> 01:07:48,190 Because this story is just too damned important to risk being overwhelmed by personality. 1284 01:07:48,274 --> 01:07:50,985 You know, that's fine for action pictures, but this is special. 1285 01:07:51,068 --> 01:07:52,945 We want real people here. 1286 01:07:53,028 --> 01:07:55,906 We don't want people coming with any preconceived notions. 1287 01:07:55,990 --> 01:07:58,325 We want them to see a district attorney. 1288 01:07:58,409 --> 01:08:00,995 - Bruce Willis. - No. Not Bruce Willis. 1289 01:08:01,078 --> 01:08:02,580 Not Kevin Costner. 1290 01:08:02,663 --> 01:08:05,499 This is an innocent woman fighting for her life. 1291 01:08:05,583 --> 01:08:07,460 - Julia Roberts. - GRIFFIN: If we can get her. 1292 01:08:07,543 --> 01:08:09,044 Of course we can get her. 1293 01:08:09,128 --> 01:08:11,338 If I'm perfectly honest, if I think about this, 1294 01:08:11,422 --> 01:08:13,674 this isn't even an American film. 1295 01:08:15,718 --> 01:08:19,096 - It's not? - No, no. There are no stars. 1296 01:08:19,180 --> 01:08:22,808 No pat happy endings. No Schwarzenegger, no stickups. 1297 01:08:22,892 --> 01:08:24,894 No — No terrorists. 1298 01:08:24,977 --> 01:08:28,689 This is a tough story, a tragedy in which an innocent woman dies. 1299 01:08:28,773 --> 01:08:32,818 Why? Because that happens. 1300 01:08:32,902 --> 01:08:34,695 (pager beeping) 1301 01:08:34,779 --> 01:08:37,114 Habeas Corpus. 1302 01:08:37,198 --> 01:08:40,075 That's what we're calling it. "Produce the corpse." 1303 01:08:40,159 --> 01:08:41,869 What do you say? Yes or no? 1304 01:08:42,995 --> 01:08:44,789 That pitch was more than 25 words. 1305 01:08:44,872 --> 01:08:47,875 Yeah, but it's brilliant. What's the verdict, Griffin? 1306 01:08:47,958 --> 01:08:49,627 Mr. Mill, for you. 1307 01:08:50,628 --> 01:08:53,547 - Who gave this to you? - I received it at the front desk. 1308 01:08:53,631 --> 01:08:55,549 OAKLEY: What is it? 1309 01:08:58,511 --> 01:09:01,430 It's, um — It's from the person I was meeting. 1310 01:09:01,514 --> 01:09:03,390 He's not coming. 1311 01:09:03,474 --> 01:09:05,851 Well, do we have a shot? Griffin. 1312 01:09:05,935 --> 01:09:08,354 It's an intriguing idea. Give me a call at the studio tomorrow. 1313 01:09:08,437 --> 01:09:09,438 - Yeah! - Okay. 1314 01:09:09,522 --> 01:09:12,149 There's a scene in Throne of Blood that has exactly the texture. 1315 01:09:12,233 --> 01:09:14,819 Tom. Tom. Tom. Just say thank you. 1316 01:09:14,902 --> 01:09:16,737 She has to die. No fucking Hollywood ending. 1317 01:09:16,821 --> 01:09:18,781 - Tom, "thank you" say. - God! 1318 01:09:18,864 --> 01:09:19,865 (pager beeps) 1319 01:09:48,936 --> 01:09:51,021 (rings) 1320 01:09:51,939 --> 01:09:53,941 (beeping) 1321 01:09:59,280 --> 01:10:00,948 (fax machine whirring) 1322 01:10:28,475 --> 01:10:29,977 (rattling) 1323 01:10:30,728 --> 01:10:32,813 (tires screeching) 1324 01:10:38,110 --> 01:10:39,320 (horn honking) 1325 01:10:43,741 --> 01:10:45,743 (horn honks) 1326 01:10:51,498 --> 01:10:53,167 (horn honks) 1327 01:11:03,594 --> 01:11:06,889 (rattling) 1328 01:11:13,771 --> 01:11:16,815 Fuck you! You fucking dog-shit writer! 1329 01:11:16,899 --> 01:11:20,861 You fucking try to kill me? Fuck! 1330 01:11:41,340 --> 01:11:43,217 (gasps) Oh, God. 1331 01:11:43,300 --> 01:11:45,636 You gave me such a scare. 1332 01:11:45,719 --> 01:11:47,930 What are you doing here? 1333 01:11:48,013 --> 01:11:51,392 (chuckles) You gave me such a fright. Come in. 1334 01:11:52,685 --> 01:11:54,353 Come on in. 1335 01:11:55,896 --> 01:11:57,564 What's the matter? 1336 01:11:57,648 --> 01:11:59,984 You look terrible. 1337 01:12:00,067 --> 01:12:01,568 What's up? 1338 01:12:03,612 --> 01:12:05,906 Sit down. I'll get you a drink. 1339 01:12:11,161 --> 01:12:13,122 (liquid pouring) 1340 01:12:17,584 --> 01:12:19,503 Something happened? 1341 01:12:20,504 --> 01:12:23,257 - Is it too late? I — I'm sorry. - No. No, no, no. 1342 01:12:23,340 --> 01:12:25,175 It's not too late. No. 1343 01:12:25,259 --> 01:12:27,136 I don't even know what time it is. 1344 01:12:27,219 --> 01:12:28,721 What's wrong? 1345 01:12:33,892 --> 01:12:36,270 What are you painting? Is that me? 1346 01:12:36,353 --> 01:12:37,855 Yeah. 1347 01:12:37,938 --> 01:12:39,440 It's you. 1348 01:12:40,983 --> 01:12:42,484 See? 1349 01:12:42,568 --> 01:12:44,903 Do you have snakes in Iceland? 1350 01:12:44,987 --> 01:12:46,864 Snakes? No, I don't think so, no. 1351 01:12:46,947 --> 01:12:48,699 Are you afraid of snakes? 1352 01:12:48,782 --> 01:12:51,744 I — I don't know. I've never come close to a real one. 1353 01:12:51,827 --> 01:12:54,621 They scare the shit out of me. 1354 01:12:56,874 --> 01:12:58,542 (sets glass down) 1355 01:13:00,169 --> 01:13:02,671 - Here, have another. - No, I don't usually drink. 1356 01:13:02,755 --> 01:13:04,131 I — 1357 01:13:07,468 --> 01:13:09,636 Something happened tonight. 1358 01:13:10,679 --> 01:13:12,473 Yes, but, um, 1359 01:13:14,683 --> 01:13:17,019 there's something else I have to tell you. 1360 01:13:19,813 --> 01:13:21,982 This isn't easy for me. 1361 01:13:23,317 --> 01:13:24,651 Yes? 1362 01:13:31,325 --> 01:13:33,577 How about if I just get on with my work, 1363 01:13:33,660 --> 01:13:37,915 and you talk to me when you feel like it, okay? 1364 01:13:45,339 --> 01:13:48,008 I came very close to dying tonight. 1365 01:13:51,678 --> 01:13:53,847 All I could think about was you. 1366 01:13:55,015 --> 01:13:57,684 I don't even know you. 1367 01:13:57,768 --> 01:14:00,229 But you came into my mind, and — 1368 01:14:02,648 --> 01:14:06,235 I couldn't — I couldn't think of anything else. 1369 01:14:09,863 --> 01:14:12,825 Remember that first night we spoke on the phone? 1370 01:14:14,993 --> 01:14:16,995 I was outside these windows, 1371 01:14:18,539 --> 01:14:20,374 watching you, and, um — 1372 01:14:23,377 --> 01:14:28,215 It was so exciting and so... new 1373 01:14:28,298 --> 01:14:29,967 and, uh... 1374 01:14:31,969 --> 01:14:33,554 strange. 1375 01:14:36,974 --> 01:14:39,226 I can't get you out of my mind. 1376 01:14:42,729 --> 01:14:44,898 Are you making love to me? 1377 01:14:47,985 --> 01:14:49,987 Yes. I guess I am. 1378 01:14:51,947 --> 01:14:53,699 I guess I am. 1379 01:14:57,244 --> 01:14:59,246 I want to make love to you. 1380 01:15:03,750 --> 01:15:05,794 (quietly) I want to make love to you. 1381 01:15:07,296 --> 01:15:08,964 It's too soon. 1382 01:15:12,426 --> 01:15:14,887 It's too soon, isn't it? 1383 01:15:16,430 --> 01:15:19,433 (chuckles) It's so strange how things happen. 1384 01:15:21,268 --> 01:15:24,980 David was here, then he left. 1385 01:15:26,690 --> 01:15:28,525 You arrived. 1386 01:15:31,111 --> 01:15:34,031 Maybe it's just the timing, but I feel like 1387 01:15:34,114 --> 01:15:37,117 I would go anywhere with you 1388 01:15:39,036 --> 01:15:40,704 if you asked. 1389 01:15:44,875 --> 01:15:47,169 We mustn't hurry things. 1390 01:15:47,252 --> 01:15:50,464 You know, we can't hurry things 1391 01:15:50,547 --> 01:15:53,133 any more than we can stop them. 1392 01:15:55,260 --> 01:15:57,638 I think you better go now. 1393 01:15:57,721 --> 01:15:59,973 I think I'm going to cry now. 1394 01:16:04,770 --> 01:16:06,772 Better go, quick. 1395 01:16:13,612 --> 01:16:15,072 I'm sorry. 1396 01:16:15,155 --> 01:16:16,907 No, no, no. Don't be sorry. 1397 01:16:16,990 --> 01:16:19,993 Just go home and get some sleep 1398 01:16:20,077 --> 01:16:22,829 and... call me. 1399 01:16:24,498 --> 01:16:25,999 Tomorrow. 1400 01:16:27,376 --> 01:16:29,544 Invite me on a proper date. 1401 01:16:31,004 --> 01:16:32,673 I'd like that. 1402 01:16:47,980 --> 01:16:50,065 GRIFFIN (on speakerphone): Jan? Jan! 1403 01:16:50,148 --> 01:16:52,192 - Yeah? - Get me Larry Levy on the phone. 1404 01:16:52,276 --> 01:16:54,861 - I don't think he's on the lot. - Try his car. 1405 01:16:55,988 --> 01:16:58,740 - Isn't he at Fox? - He used to be. Not anymore. 1406 01:16:58,824 --> 01:17:02,619 Ah. I pitched him something a few months ago, and he hated it. 1407 01:17:02,703 --> 01:17:04,413 - (beeping) - Yeah, Griffin? 1408 01:17:04,496 --> 01:17:08,333 Yeah, yeah. Listen, Larry. I've got Tom Oakley and Andy Civella here. 1409 01:17:08,417 --> 01:17:11,017 And I wouldn't be bothering you if I didn't think they had an idea 1410 01:17:11,044 --> 01:17:12,504 that you should hear right away. 1411 01:17:12,587 --> 01:17:14,840 - Hi, guys. - CIVELLA: Hi, Larry. 1412 01:17:14,923 --> 01:17:17,723 Uh, listen, the next voice you're gonna hear has got an English accent. 1413 01:17:17,801 --> 01:17:19,886 Tom Oakley. I'm Andy Civella. 1414 01:17:19,970 --> 01:17:22,556 Hi, Andy. I know Tom. How are you, Tom? 1415 01:17:22,639 --> 01:17:24,766 Uh, very well, Larry. And yourself? 1416 01:17:24,850 --> 01:17:26,893 Fine. What's your story? 1417 01:17:27,978 --> 01:17:30,856 We open outside San Quentin. It's night. 1418 01:17:30,939 --> 01:17:33,275 (imitating rainfall) It's raining. 1419 01:17:33,358 --> 01:17:35,277 A limousine enters through the front gate, 1420 01:17:35,360 --> 01:17:38,780 past a tight knot of demonstrators holding a candlelight vigil. 1421 01:17:38,864 --> 01:17:40,824 The candles are flickering underneath the umbrellas, 1422 01:17:40,907 --> 01:17:42,951 making them glow like Japanese lanterns. 1423 01:17:43,035 --> 01:17:46,747 A lone demonstrator, black woman, steps in front of the limousine. 1424 01:17:46,830 --> 01:17:49,249 Her eyes connect with the lone passenger. 1425 01:17:49,333 --> 01:17:51,752 It's a devastating moment for both of them. 1426 01:17:51,835 --> 01:17:53,337 Incredibly potent. 1427 01:17:55,839 --> 01:17:57,883 No stars. No Schwarzenegger. 1428 01:17:57,966 --> 01:18:01,094 No pat Hollywood endings. No car chases. 1429 01:18:01,178 --> 01:18:04,931 This is an American tragedy in which an innocent woman dies. 1430 01:18:05,015 --> 01:18:08,185 Because that happens. That's reality. 1431 01:18:09,644 --> 01:18:11,438 Take me off the speakerphone, Griffin. 1432 01:18:13,357 --> 01:18:15,192 - Yeah? - I don't know. 1433 01:18:15,275 --> 01:18:19,321 It's a really hot story. But what is this bullshit — no stars? 1434 01:18:19,404 --> 01:18:23,283 Let me give you a little tip, Larry. Levison came to power on two movies. 1435 01:18:23,367 --> 01:18:25,786 They made $300 million and had no stars in them. 1436 01:18:25,869 --> 01:18:28,246 He's gonna love this idea. It'll remind him of his youth. 1437 01:18:28,330 --> 01:18:31,625 You know what his motto used to be? "No stars, just talent." 1438 01:18:31,708 --> 01:18:34,836 - Has anyone else heard this? - I don't think so, no. 1439 01:18:36,213 --> 01:18:38,799 We should make a deal now. Tomorrow may be too late. 1440 01:18:38,882 --> 01:18:40,801 Can we get a hold of Levison? 1441 01:18:40,884 --> 01:18:43,387 Yeah, I'll get Levison. Uh, when can you be back? 1442 01:18:43,470 --> 01:18:45,222 I'll be there right after my AA meeting. 1443 01:18:45,305 --> 01:18:48,642 Oh, Larry. I didn't realize you, uh, had a drinking problem. 1444 01:18:48,725 --> 01:18:50,727 Well, I don't really, 1445 01:18:50,811 --> 01:18:53,188 but that's where all the deals are being made these days. 1446 01:18:53,271 --> 01:18:54,773 See ya. 1447 01:18:56,483 --> 01:18:59,486 Tom, that was a hell of a pitch. 1448 01:19:00,487 --> 01:19:03,198 Good work. I think you sold Larry. 1449 01:19:03,281 --> 01:19:05,534 Great. When are we gonna hear? 1450 01:19:05,617 --> 01:19:08,286 I want you to go home, I want you to put some champagne on ice, 1451 01:19:08,370 --> 01:19:10,163 and I'll give you an answer by tonight. 1452 01:19:10,247 --> 01:19:11,748 Jan, come in here! 1453 01:19:11,832 --> 01:19:14,751 Griffin, you move in mysterious ways, but I like it. 1454 01:19:14,835 --> 01:19:16,336 I like it. 1455 01:19:16,420 --> 01:19:18,672 Okay, did Levy understand? No stars. 1456 01:19:18,755 --> 01:19:21,383 Yes. He was particularly attracted to that notion. 1457 01:19:21,466 --> 01:19:23,510 - No Hollywood endings? - No Hollywood ending. 1458 01:19:26,763 --> 01:19:28,432 They looked happy. 1459 01:19:29,182 --> 01:19:32,102 They have a completely fucked-up idea that has no second act. 1460 01:19:32,185 --> 01:19:34,813 If I hadn't heard it myself, I never would have believed it. 1461 01:19:34,896 --> 01:19:36,481 Larry Levy liked it 1462 01:19:36,565 --> 01:19:38,275 because he's a dick-brain. 1463 01:19:38,358 --> 01:19:40,610 Levy will sell the idea to Levison, 1464 01:19:40,694 --> 01:19:43,321 and then I will let Levison have the brilliant idea 1465 01:19:43,405 --> 01:19:46,658 of letting Larry take over the project from me. 1466 01:19:46,741 --> 01:19:48,243 You will? 1467 01:19:48,326 --> 01:19:50,996 See, Levison can't wait to get in bed with Levy. 1468 01:19:51,079 --> 01:19:55,333 This piece-of-shit idea will blow up in both their faces. 1469 01:19:55,417 --> 01:19:59,838 And then I will step in and save the day. 1470 01:20:01,965 --> 01:20:03,467 - MAN (on recording): Score! - Yes! 1471 01:20:04,551 --> 01:20:06,803 - Three points! - (crowd cheering) 1472 01:20:06,887 --> 01:20:08,638 Great shot. 1473 01:20:12,726 --> 01:20:14,603 She's receiving the last rites. 1474 01:20:14,686 --> 01:20:16,938 The DA discovers that the husband faked his own death. 1475 01:20:17,022 --> 01:20:18,482 She's innocent. 1476 01:20:18,565 --> 01:20:20,817 He races to the penitentiary, but it's too late. 1477 01:20:20,901 --> 01:20:23,320 The pellets have dropped. She's dead. 1478 01:20:23,403 --> 01:20:26,031 He helped kill the woman he loved. 1479 01:20:26,114 --> 01:20:29,534 - Who are the stars? - No stars. Just talent. 1480 01:20:29,618 --> 01:20:31,620 No stars? 1481 01:20:31,703 --> 01:20:34,343 And what the fuck kind of ending do you call that? It's depressing. 1482 01:20:34,414 --> 01:20:36,094 - It'll bring everybody down. - Depressing? 1483 01:20:36,166 --> 01:20:39,586 Joel, what about Terms of Endearment, Love Story, Steel Magnolias? 1484 01:20:39,669 --> 01:20:41,171 Joel, E.T. grossed what — What, Marty? 1485 01:20:41,254 --> 01:20:44,674 $319 million worldwide, pre-cassette, and there wasn't a dry eye in the house. 1486 01:20:44,758 --> 01:20:46,843 - Depressing? I don't think so. - Yeah, but — 1487 01:20:46,927 --> 01:20:50,180 Listen, normally I'd agree with you, but this is an entirely different kind of deal here. 1488 01:20:50,263 --> 01:20:54,100 It is a matter of taking a risk, rolling the dice. 1489 01:20:54,184 --> 01:20:57,270 But if they come up seven, bingo. 1490 01:20:58,104 --> 01:20:59,606 It's Oscar time. 1491 01:21:00,774 --> 01:21:03,193 - Do they screw? - Who? 1492 01:21:03,276 --> 01:21:05,654 The DA, whoever it is, and the woman. Do they screw? 1493 01:21:05,737 --> 01:21:08,031 If I'm gonna be looking at jail cells and gas chambers, 1494 01:21:08,114 --> 01:21:09,950 we're gonna have to have a little sex in this picture. 1495 01:21:10,033 --> 01:21:12,369 Oh, yeah, sure. Of course. We'll get it there. No problem. 1496 01:21:12,452 --> 01:21:15,413 Okay. Who's gonna shepherd this thing? 1497 01:21:17,791 --> 01:21:20,669 Larry, you seem to have a good feel for this. You wanna run with it? 1498 01:21:20,752 --> 01:21:22,796 Wait a minute, Joel. This project originated with Griffin. 1499 01:21:22,879 --> 01:21:24,381 - Bonnie. - No, no. 1500 01:21:24,464 --> 01:21:26,508 I don't wanna dance in somebody else's wedding. 1501 01:21:26,591 --> 01:21:28,760 If it's Griffin's project, it's Griffin's project. 1502 01:21:28,843 --> 01:21:32,305 - BONNIE: I just think we should write — - Bonnie, this will have to be my call. 1503 01:21:34,140 --> 01:21:36,142 It's fine with me. 1504 01:21:36,226 --> 01:21:38,645 My plate is full anyway. 1505 01:21:38,728 --> 01:21:40,397 Larry, it's yours. 1506 01:21:40,480 --> 01:21:43,191 Hit a home run. Win an Oscar for the home team. 1507 01:21:45,443 --> 01:21:47,237 - Griffin, I've got something else for you. - Yeah? 1508 01:21:47,320 --> 01:21:49,030 - New York, tomorrow. - Yeah. 1509 01:21:49,114 --> 01:21:51,575 Tom Wolfe's new book will be in a room at the Sherry-Netherland. 1510 01:21:51,658 --> 01:21:54,578 - You go in, read it and make your bid. - Send Bonnie. She'll know if it's a movie or not. 1511 01:21:54,661 --> 01:21:56,496 - If it is, we know the bid. A million. - Me? 1512 01:21:56,580 --> 01:21:58,873 A million? Oh, that's kind of high, isn't it? 1513 01:21:59,499 --> 01:22:01,084 - It's Tom Wolfe. Why not you? - (phone rings) 1514 01:22:01,167 --> 01:22:02,794 - LEVISON: Yeah? Who? - I'm a story editor, Griffin. 1515 01:22:02,877 --> 01:22:05,463 - That's a vice president's job. - You don't want to be a vice president? 1516 01:22:05,547 --> 01:22:07,382 LEVISON: Bonnie. Pack your bags. 1517 01:22:07,465 --> 01:22:09,551 - Congratulations. - LEVISON: Yeah? 1518 01:22:09,634 --> 01:22:12,095 That was the most amazing pitch I've ever heard. 1519 01:22:12,178 --> 01:22:14,139 Listen, if you don't want the responsibility, it's fine. 1520 01:22:14,222 --> 01:22:16,850 - No, I'm going. I'm going. - I really wanna be one of your soldiers. 1521 01:22:16,933 --> 01:22:19,686 Well, I'm glad you're on the team. Believe me. Thank you for the support. 1522 01:22:19,769 --> 01:22:22,439 Really, and Bonnie's gonna be gone. I'm here for you. 1523 01:22:23,023 --> 01:22:24,524 Whitney, now! 1524 01:22:25,775 --> 01:22:27,694 Frank, Marty. You want to come in? 1525 01:22:28,778 --> 01:22:30,947 - May I have a word with you, please? - I have a meeting. 1526 01:22:31,031 --> 01:22:33,631 - Yeah, well, find the time. What is going on? - What do you mean? 1527 01:22:33,700 --> 01:22:36,620 I mean, handing Larry Levy your project like that. 1528 01:22:36,703 --> 01:22:40,123 Well, I just thought Larry had a firm grasp 1529 01:22:40,206 --> 01:22:42,626 on... the style of the piece. 1530 01:22:42,709 --> 01:22:43,877 - Oh. - That's all. 1531 01:22:43,960 --> 01:22:46,838 The only thing Larry Levy has a firm grasp on is his dick, and you know it. 1532 01:22:46,921 --> 01:22:48,965 Come on, Bonnie. I'm not Oz. I can't do everything. 1533 01:22:49,049 --> 01:22:52,093 If I think Larry has what it takes to get a picture made, why shouldn't I use him? 1534 01:22:52,177 --> 01:22:54,137 - That way, everybody wins. - Why are you bullshitting me? 1535 01:22:54,220 --> 01:22:56,806 - I'm not bullshitting you. - You never used to bullshit me. Yes, you are. 1536 01:22:56,890 --> 01:22:58,850 - I'm not bullshitting you. - Griffin, I know you. Something — 1537 01:22:58,933 --> 01:23:00,493 - You've been stringing me along. - Shh. 1538 01:23:00,518 --> 01:23:02,228 - Habeas Corpus, Griffin. - Habeas Corpus. 1539 01:23:02,312 --> 01:23:03,813 Habeas Corpus. 1540 01:23:05,023 --> 01:23:07,317 You've been stringing me along like one of your goddamn writers. 1541 01:23:07,400 --> 01:23:09,569 What is this, getting Levison to send me to New York? 1542 01:23:09,653 --> 01:23:11,693 What is that about? Are you trying to get rid of me? 1543 01:23:11,738 --> 01:23:13,782 Trying to get rid of you? I'm trying to help you. 1544 01:23:13,865 --> 01:23:17,619 If you score in New York, you know, Levison has to make you a vice president. 1545 01:23:17,702 --> 01:23:20,830 Jesus, Bonnie, what's the matter? Are you afraid of success? 1546 01:23:20,914 --> 01:23:23,333 - Are you seeing someone else? - Oh. 1547 01:23:23,416 --> 01:23:26,294 - That's what this is about? Jesus, come on. - No. It's not just this. 1548 01:23:26,378 --> 01:23:28,546 It's a lot of things, Griffin. It's the way you've been acting lately. 1549 01:23:28,630 --> 01:23:31,508 - Something is going on, and I just want to know what it is. - Jesus Christ, Bonnie. 1550 01:23:31,591 --> 01:23:34,761 You're not even looking at me when you're talking to me, Griffin. 1551 01:23:34,844 --> 01:23:36,471 I want you to just look at me. 1552 01:23:36,554 --> 01:23:40,100 Please look at me right in the eyes and just tell me. No bullshit. 1553 01:23:40,183 --> 01:23:42,435 Is there someone else? 1554 01:23:42,519 --> 01:23:44,020 No. 1555 01:23:46,398 --> 01:23:48,066 Have a good trip. 1556 01:23:51,361 --> 01:23:54,572 ♪♪ (up-tempo show theme) 1557 01:23:54,656 --> 01:23:58,368 WOMAN: Our top story this evening involves Hollywood's three favorite G's — 1558 01:23:58,451 --> 01:24:01,621 - a glamorous, glitzy gala night on the town. - MAN: Cher! Cher! 1559 01:24:01,705 --> 01:24:07,377 It is a who's who of stars, no ID's necessary, household names, one and all. 1560 01:24:07,460 --> 01:24:09,504 Leeza Gibbons reporting here. 1561 01:24:09,587 --> 01:24:12,549 And right this minute, you could fire a cannon down Sunset Boulevard 1562 01:24:12,632 --> 01:24:14,843 and not come close to hitting a celebrity. 1563 01:24:14,926 --> 01:24:17,721 Everybody who is anybody is right here, 1564 01:24:17,804 --> 01:24:21,057 rubbing elbows and making big talk in this ballroom. 1565 01:24:21,141 --> 01:24:25,019 All the movers, all the shakers behind the scenes and on the screens. 1566 01:24:25,103 --> 01:24:28,064 Well, leave it to Cher to wear fire-engine red 1567 01:24:28,148 --> 01:24:32,902 when the impossible-to-come-by invitations call for "black and white only, please." 1568 01:24:32,986 --> 01:24:35,405 - Hello. Nice to see you. - Hi, Teri. Nice to see you. 1569 01:24:35,488 --> 01:24:38,450 June Gudmundsdottir. Teri Garr. Buck Henry. 1570 01:24:38,533 --> 01:24:42,579 GIBBONS: And the occasion this evening, just as big and important as the all-star turnout. 1571 01:24:42,662 --> 01:24:46,583 The studio world famous for the slogan, "Movies, now more than ever," 1572 01:24:46,666 --> 01:24:51,171 is donating prints of 25 of its classic black-and-white films to the museum. 1573 01:24:51,254 --> 01:24:55,508 Now they'll be able to say, "Movies, now more than ever" forever. 1574 01:24:55,592 --> 01:24:57,093 Thank you. 1575 01:24:57,177 --> 01:25:02,932 It's wonderful to see so many familiar and friendly faces around. 1576 01:25:03,016 --> 01:25:08,521 As you know, the LA County Museum has always been close to our hearts, 1577 01:25:08,605 --> 01:25:14,027 and especially the Motion Department — uh, Motion Picture Department. 1578 01:25:15,069 --> 01:25:18,072 Uh, we're happy to make possible this donation. 1579 01:25:19,282 --> 01:25:23,953 Uh, now, I'd-I'd like to introduce the man whose idea this all was — 1580 01:25:24,037 --> 01:25:25,663 Griffin Mill. Please. 1581 01:25:25,747 --> 01:25:28,374 (applauding) 1582 01:25:32,545 --> 01:25:34,255 Thank you, Joel. 1583 01:25:35,340 --> 01:25:38,885 - Why don't you grab another drink? - (laughter) 1584 01:25:41,221 --> 01:25:43,598 I'd like to extend my thanks 1585 01:25:43,681 --> 01:25:46,226 to the patrons of the Los Angeles County Museum. 1586 01:25:46,976 --> 01:25:50,271 You have long fostered the art of motion pictures 1587 01:25:50,355 --> 01:25:54,234 as a serious and valuable art form in this community. 1588 01:25:55,401 --> 01:25:58,279 Many people across the country and around the world 1589 01:25:58,363 --> 01:26:00,698 have for too long thought of movies 1590 01:26:00,782 --> 01:26:04,244 as a popular entertainment more than serious art. 1591 01:26:04,994 --> 01:26:09,249 And I'm afraid a large majority of the press supports this attitude. 1592 01:26:09,332 --> 01:26:13,169 We want great films with long shelf lives. 1593 01:26:13,253 --> 01:26:18,883 We want the films of the new John Hustons, Orson Welles, Frank Capra. 1594 01:26:18,967 --> 01:26:24,180 We and the other major film studios have a responsibility to the public 1595 01:26:24,264 --> 01:26:28,268 to maintain the art of motion pictures 1596 01:26:28,351 --> 01:26:31,271 as our primary mandate. 1597 01:26:31,354 --> 01:26:34,649 Movies are art 1598 01:26:34,732 --> 01:26:38,069 now more than ever. 1599 01:26:38,903 --> 01:26:40,446 Thank you. 1600 01:26:40,530 --> 01:26:42,156 - (man whoops) - (applause) 1601 01:26:48,079 --> 01:26:51,165 Griffin, that was a hell of a job. I couldn't have done it better myself. 1602 01:26:51,249 --> 01:26:53,459 I'll know all of your lines soon. 1603 01:26:55,962 --> 01:26:58,715 Well, are we having fun yet? 1604 01:26:58,798 --> 01:27:01,467 MAN: I'm having a great time. I'm very glad we came. 1605 01:27:01,551 --> 01:27:03,970 ♪♪ (big band: ballad) 1606 01:27:04,971 --> 01:27:06,723 CHER: Yes, I do! 1607 01:27:06,806 --> 01:27:08,516 I did too. 1608 01:27:14,439 --> 01:27:17,108 LEVISON: Is this a friend of a friend? 1609 01:27:17,191 --> 01:27:19,068 - JUNE: Sorry. - Well, how did you meet? 1610 01:27:19,152 --> 01:27:21,404 How did we meet? Well, at a funeral. 1611 01:27:21,487 --> 01:27:23,781 Yes. Isn't that right? Funeral? 1612 01:27:23,865 --> 01:27:25,533 Absolutely. Excuse us. 1613 01:27:25,617 --> 01:27:27,911 LEVISON: Steve, Steve, whose daughter is he with? 1614 01:27:27,994 --> 01:27:30,413 - (Steve laughs) - Seriously, I — 1615 01:27:31,664 --> 01:27:34,083 - No, I think she's Marty's cousin. - JUNE: I nearly lost my dress. 1616 01:27:34,167 --> 01:27:36,419 LEVISON: No, he said she was somebody's daughter. 1617 01:27:36,502 --> 01:27:39,589 - I wanted to know whose daughter she was. - No. I don't know. 1618 01:27:40,340 --> 01:27:42,842 JUNE: You would never have chased me in Iceland. 1619 01:27:56,147 --> 01:27:57,649 (engine off) 1620 01:28:00,735 --> 01:28:02,403 (June giggling) 1621 01:28:03,571 --> 01:28:07,575 - JUNE: Don't make a scene. - You're doing it all wrong. 1622 01:28:07,659 --> 01:28:09,911 - Here we go. - Oops. 1623 01:28:09,994 --> 01:28:11,829 JUNE: That was a good one. 1624 01:28:13,289 --> 01:28:16,292 Well, that's what I call a real date. 1625 01:28:21,714 --> 01:28:23,758 Should I come in? 1626 01:28:23,841 --> 01:28:26,135 Uh, well. 1627 01:28:26,219 --> 01:28:28,012 - "Mmm, well." - Not tonight. 1628 01:28:28,096 --> 01:28:30,473 - Oh. Not tonight. - But soon. 1629 01:28:31,349 --> 01:28:33,726 Mmm. Very soon. 1630 01:28:36,604 --> 01:28:39,107 - How 'bout Mexico? - Mexico? 1631 01:28:39,190 --> 01:28:41,109 Neutral territory. Acapulco. 1632 01:28:41,192 --> 01:28:43,945 - I've never been to Acapulco. - We'll go. 1633 01:28:44,028 --> 01:28:46,447 - Is that the thing to do? - That's a thing to do. 1634 01:28:46,531 --> 01:28:49,283 - Let's do it then. - We'll go this weekend. 1635 01:28:49,367 --> 01:28:51,202 - Really? - Yeah. 1636 01:28:53,663 --> 01:28:56,082 - Do I need a passport? - Yes. 1637 01:29:31,075 --> 01:29:32,994 (engine starts) 1638 01:29:45,173 --> 01:29:48,468 Mr. Mill, I'm Detective DeLongpre, Pasadena Police. 1639 01:29:48,551 --> 01:29:50,470 Yes, I recognize you. 1640 01:29:50,553 --> 01:29:52,847 Did you have a good time at the party last night? 1641 01:29:52,930 --> 01:29:56,726 No, I didn't. I'm not supposed to have a good time when I'm on duty. 1642 01:29:56,809 --> 01:29:59,228 Great. Well, what do you want, Detective DeLongpre? 1643 01:29:59,312 --> 01:30:01,314 I'd like you to come down to the station. 1644 01:30:01,397 --> 01:30:03,441 - Why? - To look at some pictures. 1645 01:30:03,524 --> 01:30:05,818 - Pictures? - Mug shots. 1646 01:30:05,902 --> 01:30:08,071 You know, like in the movies. 1647 01:30:08,154 --> 01:30:11,324 Ah, mug shots. Yes, well, all right. 1648 01:30:11,407 --> 01:30:13,451 - Will you follow me to Pasadena? - Pasadena. 1649 01:30:13,534 --> 01:30:15,286 - Pasadena. - Right. 1650 01:30:15,369 --> 01:30:17,705 Will you fasten your safety belt, please? 1651 01:30:22,085 --> 01:30:23,586 - Come, let's go. - No! 1652 01:30:23,669 --> 01:30:25,797 - Take your hands off of her! - Hush. 1653 01:30:25,880 --> 01:30:28,049 - I want my baby. - Where's her baby at? 1654 01:30:28,132 --> 01:30:30,051 - Let me go! - No! Let go of her! 1655 01:30:30,134 --> 01:30:32,428 - Ah, Mr. Mill. - Hello. How are you? 1656 01:30:32,512 --> 01:30:35,348 Good to see you. Everybody, this is Mr. Mill. You remember him. He makes movies. 1657 01:30:35,431 --> 01:30:38,434 - Good to see you again. - Have a seat, Mr. Mill. 1658 01:30:38,518 --> 01:30:41,104 Where the fuck is he going? Excuse me, sir. Mr. Mill. 1659 01:30:41,187 --> 01:30:43,898 Mr. Mill. Uh, not in here. This is my lieutenant's office. 1660 01:30:43,981 --> 01:30:47,318 - You can have a seat in my seat right here. - I'm sorry. 1661 01:30:47,401 --> 01:30:49,362 All right, now. Uh — 1662 01:30:49,445 --> 01:30:52,073 - Willa, could you — - Sorry. 1663 01:30:52,156 --> 01:30:54,283 Your desk. Thank you. 1664 01:30:54,367 --> 01:30:56,035 Sorry. Have a seat, Mr. Mill. 1665 01:30:56,119 --> 01:30:58,454 Listen, um, before we start, I just got — 1666 01:30:58,538 --> 01:31:01,457 Paul went to see a movie last night he came in here raving about. 1667 01:31:01,541 --> 01:31:03,584 Paul, what was the name of that movie? 1668 01:31:03,668 --> 01:31:06,129 They changed the lady into a chicken at the end. What did you say? 1669 01:31:06,212 --> 01:31:08,464 - Freaks. - Freaks. Have you ever seen this? 1670 01:31:08,548 --> 01:31:10,216 - Tod Browning. Yes. - Oh. 1671 01:31:10,299 --> 01:31:14,011 One of us. One of us. One of us. One of us. 1672 01:31:14,095 --> 01:31:16,472 He came in doing th — He was raving about it. 1673 01:31:16,556 --> 01:31:19,475 He loved it. He loved it. It was thrilling for me. 1674 01:31:19,559 --> 01:31:23,855 Willa, excuse me. Did you happen to see where the tampons went that were in here? 1675 01:31:23,938 --> 01:31:25,648 'Cause I can't seem to find 'em. 1676 01:31:25,731 --> 01:31:28,442 - I didn't take them. - Who took 'em? Did he take 'em? 1677 01:31:28,526 --> 01:31:30,403 - I don't know. I didn't take 'em. - Well, who did? 1678 01:31:30,486 --> 01:31:33,447 - I didn't take 'em. - You see this? Damn. 1679 01:31:34,574 --> 01:31:37,326 Um, so do you have a break in the case? 1680 01:31:37,410 --> 01:31:39,245 What makes you say that? 1681 01:31:39,328 --> 01:31:42,290 Well, why else would you bring me here? 1682 01:31:43,416 --> 01:31:45,585 Why else, indeed? (chuckles) 1683 01:31:45,668 --> 01:31:48,296 Paul? Paul. 1684 01:31:48,379 --> 01:31:51,507 Why have we brought Mr. Mill in here today? 1685 01:31:51,591 --> 01:31:53,384 To look at some pictures. 1686 01:31:53,467 --> 01:31:56,345 Willa, pictures? 1687 01:31:56,429 --> 01:31:58,139 Listen, could you — 1688 01:31:58,222 --> 01:32:00,975 If you remember, what were you, uh, wearing that night? 1689 01:32:01,058 --> 01:32:04,270 I was wearing, um, a double-breasted suit, I believe. 1690 01:32:05,188 --> 01:32:07,398 Just put — Oh. It's all right. 1691 01:32:07,481 --> 01:32:09,984 What's the matter? Mr. Mill, you're so jumpy. Sit down. 1692 01:32:10,067 --> 01:32:12,195 - I'll get it. - No, that's what she's here for. 1693 01:32:12,278 --> 01:32:14,405 It's all right. Have a seat. 1694 01:32:14,488 --> 01:32:16,115 - Sorry. - No problem. 1695 01:32:16,866 --> 01:32:18,159 Okay. 1696 01:32:18,242 --> 01:32:20,369 Can you take a look at this gentleman? 1697 01:32:20,453 --> 01:32:22,121 - Where were they? - Right here. 1698 01:32:22,205 --> 01:32:24,624 She found them. Look. You're right. (chuckles) 1699 01:32:24,707 --> 01:32:27,752 Oh, wait a minute. No, no. These aren't mine. 1700 01:32:27,835 --> 01:32:29,921 These are slender regular. These are yours. 1701 01:32:30,004 --> 01:32:31,964 - Yeah, I guess you have jumbo. - (insect buzzing) 1702 01:32:32,006 --> 01:32:34,717 Well, I do use jumbo. These are not mine. 1703 01:32:34,800 --> 01:32:37,720 God. Just trying to help you out. 1704 01:32:37,803 --> 01:32:41,098 Um, look, did — did you see this guy the night of the murder? 1705 01:32:42,600 --> 01:32:46,270 Um — Sorry. Um, no. (nervous chuckling) 1706 01:32:46,354 --> 01:32:48,898 I — You — I — You're putting me in a terrible position here. 1707 01:32:48,981 --> 01:32:52,068 I would — I would hate to get the wrong person arrested. 1708 01:32:52,151 --> 01:32:55,488 Oh, please. This is Pasadena. We do not arrest the wrong person. 1709 01:32:55,571 --> 01:32:58,574 That's LA. See, LA, they kick your ass and then they arrest you. 1710 01:32:58,658 --> 01:33:00,493 That's what they do. We don't do that here. 1711 01:33:00,576 --> 01:33:02,495 Remember last year? What was that guy's name? 1712 01:33:02,578 --> 01:33:04,288 They put him on the tape. What was that? 1713 01:33:04,372 --> 01:33:05,790 - King. - That's right, King. 1714 01:33:05,873 --> 01:33:07,833 - BLT. - And he was the wrong guy. 1715 01:33:11,337 --> 01:33:14,090 - Do you have a witness? - Now, I can't answer that. 1716 01:33:14,173 --> 01:33:18,427 Well, either you have a witness, or these are suspects in similar murders. 1717 01:33:18,511 --> 01:33:20,972 Mr. Mill, have you been going to detective school? 1718 01:33:21,055 --> 01:33:24,517 No, actually, we're doing a — a movie right now called The Lonely Room, 1719 01:33:24,600 --> 01:33:27,144 and Scott Glenn plays a detective much like yourself. 1720 01:33:27,228 --> 01:33:29,355 Is he a black woman? Don't give me turkey. 1721 01:33:29,438 --> 01:33:31,357 Oh, Lily Tomlin's in that? I heard about that. 1722 01:33:31,440 --> 01:33:36,195 No, actually I was — I was drawing the comparison not based on race or gender. 1723 01:33:36,279 --> 01:33:41,701 Speaking of which, did you go out with, uh, June, uh — 1724 01:33:41,784 --> 01:33:44,120 What is that woman's name? 1725 01:33:44,203 --> 01:33:45,705 Gudmundsdottir. 1726 01:33:45,788 --> 01:33:50,001 (laughs) What is it? Who — Spell it for me. 1727 01:33:50,084 --> 01:33:52,753 G-U-D-M-U-N-D-S-D-O-T-T-I-R. 1728 01:33:52,837 --> 01:33:55,423 Oh, well, that really helps. Could you, uh — 1729 01:33:55,506 --> 01:33:57,633 - Did you go out with June — - Gudmundsdottir? 1730 01:33:57,717 --> 01:34:00,219 - Yeah. Her. Last night? - Yes, I did. 1731 01:34:00,303 --> 01:34:02,221 Have you guys known each other a long time? 1732 01:34:02,305 --> 01:34:04,765 No, I spoke to her for the first time the night Kahane was killed. 1733 01:34:04,849 --> 01:34:06,684 - (phone ringing) - Wow. 1734 01:34:06,767 --> 01:34:09,048 - So you didn't know her before this, huh? - No, I didn't. 1735 01:34:09,103 --> 01:34:11,022 We met over the phone. 1736 01:34:11,105 --> 01:34:12,985 We got to talking, and one thing led to another. 1737 01:34:13,065 --> 01:34:15,609 Did you fuck her? 1738 01:34:15,693 --> 01:34:18,195 - What kind of question is that? - I think it's pretty direct. 1739 01:34:18,279 --> 01:34:19,905 Did you fuck her? 1740 01:34:20,448 --> 01:34:22,867 Well, I wouldn't answer that question without a lawyer in the room. 1741 01:34:22,950 --> 01:34:25,619 And then I probably wouldn't even answer that question. 1742 01:34:25,703 --> 01:34:27,330 - Hmm. - Why don't you ask your friend here? 1743 01:34:27,413 --> 01:34:29,832 He's been following me all over the place. He'll probably know. 1744 01:34:29,915 --> 01:34:36,005 All right. Paul, did Mr. Mill fuck June "Hudmuuhunta"? 1745 01:34:36,088 --> 01:34:37,590 I didn't see him. 1746 01:34:37,673 --> 01:34:39,842 Well, see, you got away with it. He didn't see you. 1747 01:34:39,925 --> 01:34:41,677 - What are you implying? - I'm not implying anything. 1748 01:34:41,761 --> 01:34:43,846 I asked you a direct question. Did you fuck her? 1749 01:34:43,929 --> 01:34:46,265 And I told you I wouldn't answer that question without a lawyer in the room. 1750 01:34:46,349 --> 01:34:49,310 - Then why you getting hot under the collar? - 'Cause you're being rude, Miss Avery. 1751 01:34:49,393 --> 01:34:50,811 Oh, well, excuse me. 1752 01:34:50,895 --> 01:34:54,857 But I think it's kinda soon for her to be gallivanting in the streets with you. 1753 01:34:54,940 --> 01:34:57,276 I'm there for her as a friend, Miss Avery. 1754 01:34:57,360 --> 01:34:59,612 - Mmm. - Why don't you call her? 1755 01:34:59,695 --> 01:35:03,074 I'm sure she'd be happy to pick over the horror of what's happened to her 1756 01:35:03,157 --> 01:35:05,159 and tell you how we became friends. 1757 01:35:06,702 --> 01:35:08,454 What is this, fucking Iran? 1758 01:35:08,537 --> 01:35:12,792 Since when does the state tell us how long, and with whom, we can share our grief? 1759 01:35:12,875 --> 01:35:14,210 (all laughing) 1760 01:35:14,293 --> 01:35:17,713 Or do you hold June Gudmundsdottir to a special code of conduct 1761 01:35:17,797 --> 01:35:19,799 reserved for women? 1762 01:35:19,882 --> 01:35:22,301 (laughing continues) 1763 01:35:26,138 --> 01:35:28,474 What the fuck are you laughing at? 1764 01:35:28,557 --> 01:35:30,518 It's just — You just — 1765 01:35:30,601 --> 01:35:33,187 - I'd like to talk to my lawyer. - Oh, right! 1766 01:35:34,230 --> 01:35:36,857 - AVERY: Can't even say the bitch's name! - DeLONGPRE: One of us. 1767 01:35:36,941 --> 01:35:39,652 - One of us. One of us. - (laughing continues) 1768 01:35:39,735 --> 01:35:42,196 One of us. 1769 01:35:50,037 --> 01:35:52,456 It's time for you to get yourself a real good lawyer. 1770 01:35:52,540 --> 01:35:55,876 I had a drink with the guy, Walter. That's all. 1771 01:35:55,960 --> 01:36:00,423 If you went to Pasadena with intent to kill, you could go to the gas chamber. 1772 01:36:01,841 --> 01:36:04,552 I went to Pasadena with the intent to hire. 1773 01:36:05,302 --> 01:36:08,180 - So you say. - Griffin, the Schecter brothers are here. 1774 01:36:08,264 --> 01:36:11,600 - Griffin. - Griffin. Don't make us wait. 1775 01:36:11,684 --> 01:36:14,478 - Who's this man? - Oh, and the travel agent called. 1776 01:36:14,562 --> 01:36:16,480 - You're confirmed. - Griffin, he grabbed the phone from me. 1777 01:36:16,564 --> 01:36:19,859 - Travel agent? - I'm going to Puerto Vallarta. 1778 01:36:19,942 --> 01:36:21,735 You're leaving the country? 1779 01:36:21,819 --> 01:36:24,238 - For the weekend. - It's a risk. 1780 01:36:24,321 --> 01:36:25,865 Why? 1781 01:36:25,948 --> 01:36:29,160 Because Larry Levy could have my office in three days. 1782 01:36:29,243 --> 01:36:31,328 That's what Walter thinks. 1783 01:36:31,412 --> 01:36:33,831 You know something I don't know? 1784 01:36:34,999 --> 01:36:37,960 - You're pretty smooth. - I sleep at night. 1785 01:36:40,045 --> 01:36:42,381 - You really should run the studio. - Tell a friend. 1786 01:36:42,465 --> 01:36:45,176 ERIC: Yeah, Walter, it's been real. 1787 01:36:45,259 --> 01:36:47,678 Griffin. We're tired of shopping everything around. 1788 01:36:47,761 --> 01:36:49,472 We wanna go exclusive to one studio. 1789 01:36:49,555 --> 01:36:51,932 - How much have our last three pictures made? - A hundred and five million dollars. 1790 01:36:52,016 --> 01:36:53,684 - That's not a lot. - I know some people do better. 1791 01:36:53,767 --> 01:36:55,728 But we're consistent, and we're always under budget. 1792 01:36:55,811 --> 01:36:58,481 - He's not listening. Let's go to Columbia. - We already went to Columbia. 1793 01:36:58,564 --> 01:37:00,107 Oh, yeah. What did they say? 1794 01:37:00,191 --> 01:37:01,859 - Bonnie. - Hey, Bon. 1795 01:37:01,942 --> 01:37:03,986 Hey. I got the Tom Wolfe book. 1796 01:37:04,069 --> 01:37:06,322 Congratulations. 1797 01:37:06,405 --> 01:37:09,241 Bonnie, make him give us a deal. We want a home. 1798 01:37:09,325 --> 01:37:11,327 We're tired of shopping everything around. 1799 01:37:11,410 --> 01:37:13,871 Really? I thought that's how you guys like to do business. 1800 01:37:13,954 --> 01:37:15,706 Well, we changed our minds. 1801 01:37:16,540 --> 01:37:18,042 I'll talk to you later. 1802 01:37:19,418 --> 01:37:21,712 Levison says you're going out of town tomorrow. 1803 01:37:21,795 --> 01:37:24,381 For the weekend. 1804 01:37:24,465 --> 01:37:28,093 Are you going with someone named June something? 1805 01:37:28,719 --> 01:37:29,762 Yes. 1806 01:37:30,721 --> 01:37:35,309 You took her to a party, Griffin, with several hundred of my best friends. 1807 01:37:35,392 --> 01:37:37,311 She's recently widowed. 1808 01:37:37,394 --> 01:37:39,939 You weren't in town, so I took her. 1809 01:37:41,106 --> 01:37:44,109 And now you're taking her to Mexico for the weekend. 1810 01:37:45,611 --> 01:37:47,905 Carl, uh, let's get out of here. Mom and Dad are fighting. 1811 01:37:47,988 --> 01:37:52,034 Guys, have your lawyer give me a call. 1812 01:37:52,117 --> 01:37:54,245 - You've got a deal. - Yes! 1813 01:37:54,328 --> 01:37:56,539 Come on, Carl, let's get out of here before he changes his mind. 1814 01:37:56,622 --> 01:37:58,123 We have witnesses. 1815 01:38:00,918 --> 01:38:02,419 (door closes) 1816 01:38:11,011 --> 01:38:12,680 Have a good trip. 1817 01:38:19,979 --> 01:38:25,276 MAN: The white zone is for immediate loading and unloading of passengers only. 1818 01:38:25,359 --> 01:38:26,944 No parking. 1819 01:38:27,027 --> 01:38:32,491 Do not leave your car unattended due to the current security alert. 1820 01:38:32,575 --> 01:38:37,079 All unattended cars may be towed away immediately. 1821 01:38:37,162 --> 01:38:40,416 - For your safety — - Uh, did you bring your passport? 1822 01:38:40,499 --> 01:38:42,126 - Yeah. - You wanna hear something funny? 1823 01:38:42,209 --> 01:38:43,752 I forgot mine. 1824 01:38:43,836 --> 01:38:46,213 Oh, does that mean we have to go back and get it? 1825 01:38:46,297 --> 01:38:48,215 - So stupid of me. I mean, I — - We'll miss the plane. 1826 01:38:48,299 --> 01:38:51,635 We'll never be able to make another plane today. Damn it! 1827 01:38:51,719 --> 01:38:54,513 It's all right. Anyway, I got a better idea. 1828 01:38:54,597 --> 01:38:57,016 - Do you like the desert? - I've never been to the desert. 1829 01:38:57,099 --> 01:38:58,659 - You've never been to the desert? - No. 1830 01:38:58,684 --> 01:39:00,936 I know this great hideaway, Desert Hot Springs. 1831 01:39:01,020 --> 01:39:04,356 We'll go there. It's a two-hour drive. I know the people. We'll call ahead. 1832 01:39:04,440 --> 01:39:06,650 Are we hiding? 1833 01:39:06,734 --> 01:39:09,945 Yeah, yeah. We're hiding. We're hiding from everybody. 1834 01:39:12,114 --> 01:39:14,575 You'll like it there. It'll remind you of Iceland. 1835 01:39:28,505 --> 01:39:32,051 (rattling) 1836 01:39:47,107 --> 01:39:49,610 Evening, Mr. M. You're all checked in. 1837 01:39:49,693 --> 01:39:51,403 Capone Villa. You know where it is. 1838 01:39:51,487 --> 01:39:53,489 - Yep. Thanks, Walter. - Have a good one. 1839 01:39:58,327 --> 01:40:02,831 ♪♪ (light jazz) 1840 01:40:12,591 --> 01:40:15,594 ♪♪ (woman singing in Portuguese) 1841 01:40:20,933 --> 01:40:23,686 Hey, look. The water looks like it's steaming. 1842 01:40:23,769 --> 01:40:26,188 Comes out of the ground that way. 1843 01:40:48,210 --> 01:40:50,212 There aren't many people around. 1844 01:40:51,130 --> 01:40:53,549 Well, they're fully booked, actually. 1845 01:40:53,632 --> 01:40:55,551 There's 50 rooms, a hundred people. 1846 01:40:55,634 --> 01:40:57,886 Where are they all? 1847 01:40:57,970 --> 01:40:59,888 Hiding. 1848 01:40:59,972 --> 01:41:02,307 (man clears throat) Sir? 1849 01:41:02,391 --> 01:41:04,727 A couple of Banning Springs water, please. 1850 01:41:04,810 --> 01:41:06,687 Right away, Mr. M. 1851 01:41:06,770 --> 01:41:09,231 ♪♪ (man singing in Portuguese) 1852 01:41:09,314 --> 01:41:11,817 Do places like this really exist? 1853 01:41:13,235 --> 01:41:14,987 Only in the movies. 1854 01:41:41,513 --> 01:41:45,434 ♪♪ (woman singing in Portuguese) 1855 01:41:45,517 --> 01:41:48,937 Tell me about the movies you make. 1856 01:41:49,021 --> 01:41:50,647 Why? 1857 01:41:50,731 --> 01:41:54,526 Mmm, because I want to know what you do. 1858 01:41:56,445 --> 01:42:02,409 Well, I listen to stories and decide if they'll make good movies or not. 1859 01:42:02,493 --> 01:42:04,745 I get 125 phone calls a day. 1860 01:42:04,828 --> 01:42:08,457 And if I let that slip to 100, 1861 01:42:08,540 --> 01:42:12,294 I know I'm not doing my job. 1862 01:42:12,377 --> 01:42:14,379 Oh. 1863 01:42:14,463 --> 01:42:16,799 And everyone that calls, they wanna know one thing. 1864 01:42:16,882 --> 01:42:21,011 They want me to say yes to them and make their movie. 1865 01:42:21,887 --> 01:42:24,848 If I say yes to them and make their movie, they think that come New Year's 1866 01:42:24,932 --> 01:42:29,228 that it's gonna be them and Jack Nicholson on the slopes of Aspen. 1867 01:42:30,479 --> 01:42:32,481 That's what they think. 1868 01:42:35,108 --> 01:42:38,070 Problem is, I can only say yes — 1869 01:42:38,153 --> 01:42:40,906 my studio can only say yes 12 times a year. 1870 01:42:40,989 --> 01:42:45,828 And, collectively, we hear about 50,000 stories a year. 1871 01:42:46,829 --> 01:42:49,248 So it's hard. 1872 01:42:49,331 --> 01:42:52,793 And I guess sometimes I'm not nice 1873 01:42:52,876 --> 01:42:56,755 and... I make enemies. 1874 01:42:58,757 --> 01:43:00,926 And that's what I was to David. 1875 01:43:02,219 --> 01:43:04,388 An enemy. 1876 01:43:04,471 --> 01:43:07,391 Was his story one of the 12? 1877 01:43:07,474 --> 01:43:09,768 No, it wasn't. 1878 01:43:09,852 --> 01:43:11,353 Why? 1879 01:43:11,436 --> 01:43:15,440 It lacks certain elements that we need to market a film successfully. 1880 01:43:16,567 --> 01:43:18,068 What elements? 1881 01:43:20,779 --> 01:43:24,992 Suspense, laughter, violence, 1882 01:43:27,494 --> 01:43:29,830 hope, heart, 1883 01:43:32,291 --> 01:43:33,876 nudity, sex, 1884 01:43:36,295 --> 01:43:37,963 happy endings. 1885 01:43:39,381 --> 01:43:41,300 Mainly happy endings. 1886 01:43:45,387 --> 01:43:47,306 What about reality? 1887 01:43:48,932 --> 01:43:50,934 You're not from Iceland, are you? 1888 01:43:52,811 --> 01:43:54,730 Did I say that? 1889 01:43:55,731 --> 01:43:57,149 Hmm. 1890 01:43:58,025 --> 01:44:01,486 Why don't you put me in the hot springs and see if I melt? 1891 01:44:03,238 --> 01:44:05,282 (moaning) 1892 01:44:05,365 --> 01:44:07,659 (panting) 1893 01:44:10,078 --> 01:44:11,580 (moans) 1894 01:44:30,933 --> 01:44:33,226 (moans) 1895 01:44:40,692 --> 01:44:42,361 I love you. 1896 01:44:50,410 --> 01:44:52,120 I love you. 1897 01:44:52,204 --> 01:44:54,206 I know. 1898 01:44:54,289 --> 01:44:55,791 I know. 1899 01:45:03,423 --> 01:45:04,925 I love you. 1900 01:45:06,259 --> 01:45:09,471 - There's something you have to know. - Do I have to? 1901 01:45:09,554 --> 01:45:11,390 - I know I love you. - Something I have to tell you. 1902 01:45:11,473 --> 01:45:13,392 That's all I need. 1903 01:45:13,475 --> 01:45:15,394 Nothing can change that. 1904 01:45:15,477 --> 01:45:16,812 - June. - Hmm? 1905 01:45:16,895 --> 01:45:20,691 - David's death. - Shh. It's in the past. 1906 01:45:20,774 --> 01:45:24,069 Don't. Don't. It's another life. 1907 01:45:24,152 --> 01:45:27,155 I have to tell you something. Something you have to know. 1908 01:45:27,239 --> 01:45:29,491 Shh. Don't, don't, don't say any more. 1909 01:45:29,574 --> 01:45:32,619 - Don't. - I was — I was responsible. 1910 01:45:32,703 --> 01:45:35,038 - I love you. Don't. - It was my fault. 1911 01:45:35,122 --> 01:45:37,165 Shh. Don't say — 1912 01:45:37,249 --> 01:45:40,335 Don't, don't, don't. I love you. 1913 01:45:40,419 --> 01:45:43,088 (moaning) 1914 01:45:55,809 --> 01:45:58,103 Mmm. 1915 01:45:58,186 --> 01:45:59,688 Ah. 1916 01:46:14,411 --> 01:46:15,912 (June sighs) 1917 01:46:59,623 --> 01:47:03,085 MAN: Mr. M? Mr. M? Sorry to disturb you. 1918 01:47:03,168 --> 01:47:05,337 There's a telephone call, and it sounds important. 1919 01:47:05,420 --> 01:47:07,422 - Who is it? - A Mr. Dick Mellen. 1920 01:47:07,506 --> 01:47:09,674 He says he's your lawyer. 1921 01:47:31,363 --> 01:47:33,156 Dick, how'd you find me? 1922 01:47:33,240 --> 01:47:36,409 Come on, Griff. Who the hell do you think you're talking to? 1923 01:47:36,493 --> 01:47:38,370 Yeah. What's going on? 1924 01:47:38,453 --> 01:47:41,164 - Levison's out. - Out? 1925 01:47:41,248 --> 01:47:44,334 They gave him six hours to clean out his office. 1926 01:47:44,417 --> 01:47:46,336 - Who's taking over? - There's nothing been decided. 1927 01:47:46,419 --> 01:47:50,006 All we know for sure is Reggie Goldman went home with the clap or something. 1928 01:47:50,841 --> 01:47:52,717 Listen, am I in a position to — 1929 01:47:52,801 --> 01:47:54,803 Listen, I don't want to talk about studio politics. 1930 01:47:54,886 --> 01:47:57,206 Why the hell didn't you tell me about this Kahane business? 1931 01:47:58,348 --> 01:48:00,058 Kahane? 1932 01:48:00,142 --> 01:48:03,520 - Well, I tried to, Dick, but — - You didn't try hard enough. 1933 01:48:03,603 --> 01:48:06,773 You better be at the Pasadena Police Station in about four hours. 1934 01:48:07,983 --> 01:48:10,527 Pasadena? What for? 1935 01:48:10,610 --> 01:48:13,613 For a fuckin' lineup, that's what for. 1936 01:48:13,697 --> 01:48:15,323 They got a witness, evidently. 1937 01:48:15,407 --> 01:48:17,993 Now, look, I found you a guy. His name is Gar Girard. 1938 01:48:18,076 --> 01:48:20,579 He's a top-flight criminal lawyer. He's tough. He's hard-nosed. 1939 01:48:20,662 --> 01:48:24,249 Don't you talk to anybody else. Just get there. 1940 01:48:24,332 --> 01:48:28,044 - I'll be there. - Griffin, this is a tough one. 1941 01:48:28,128 --> 01:48:30,964 - Good luck. - (dial tone) 1942 01:48:31,047 --> 01:48:32,549 Thanks. 1943 01:48:35,844 --> 01:48:37,387 (gate closes) 1944 01:48:39,055 --> 01:48:41,141 (gate slams) 1945 01:48:41,224 --> 01:48:45,854 Mr. Mill, the studio's very upset about the publicity this might, uh, generate. 1946 01:48:45,937 --> 01:48:48,899 But I'll handle the press, the police, the judge and the witness for you. 1947 01:48:48,982 --> 01:48:51,234 Mr. Mill. Thank you for coming down without a fight. 1948 01:48:51,318 --> 01:48:54,321 You know, it's really in your best interest. What, did you sleep in that suit? 1949 01:48:54,404 --> 01:48:56,156 Mr. Mill, get away from that woman. She's the enemy. 1950 01:48:56,239 --> 01:48:57,490 - Follow me. - Hi, Susan. 1951 01:48:57,574 --> 01:49:00,702 - Had a lovely time at the Mint the other night. - I can't believe you remember it. 1952 01:49:00,785 --> 01:49:03,163 Mr. Mill, Gar Girard. I'm here to represent you. 1953 01:49:03,246 --> 01:49:05,957 Dick Mellen called me in on this. Here's the situation. 1954 01:49:06,041 --> 01:49:08,376 They've got a witness, and they want you to do a lineup. 1955 01:49:08,460 --> 01:49:10,879 Now, if you say no, they'll arrest you, I'm certain of that. 1956 01:49:10,962 --> 01:49:14,007 And even if you get identified, I'll get you off on bail. 1957 01:49:14,090 --> 01:49:17,886 Now, this witness lives across the street from the parking lot. 1958 01:49:17,969 --> 01:49:20,805 Even if she makes an identification, a positive ID, right now, 1959 01:49:20,889 --> 01:49:23,975 even if that happens, it was very late at night. 1960 01:49:24,059 --> 01:49:28,146 By the time I'm finished with her, the world will have a whole new legal standard for blindness. 1961 01:49:28,230 --> 01:49:32,025 - Keep the faith and we'll do what we can. - This is just like they do it on television. 1962 01:49:32,108 --> 01:49:34,110 Excuse me, Susan. Good luck. 1963 01:49:34,194 --> 01:49:37,405 You don't have to worry about a thing. You can see them, but they can't see you. 1964 01:49:37,489 --> 01:49:39,908 - WITNESS: Fine. Fine. - All you have to do is just tell the truth. 1965 01:49:39,991 --> 01:49:43,662 Oh, I will. Because I saw him clearly. There's no problem. 1966 01:49:45,455 --> 01:49:46,957 AVERY: All right, Allen. Fire it up. 1967 01:49:47,791 --> 01:49:50,210 ALLEN: Number one, step forward. 1968 01:49:50,293 --> 01:49:52,504 Make a quarter turn to the right. 1969 01:49:53,672 --> 01:49:55,590 - Face forward. - Are those prescription glasses, Mrs. Bunny? 1970 01:49:55,674 --> 01:49:57,217 - You can't ask her that. - Fine. 1971 01:49:57,300 --> 01:49:59,140 - It's very hard, you know. - Oh, yeah. I know. 1972 01:49:59,219 --> 01:50:01,304 - Number two, take one step forward. - GIRARD: Take your time. 1973 01:50:01,388 --> 01:50:03,348 I mean, I wouldn't want to pick the wrong one. 1974 01:50:03,431 --> 01:50:05,183 No. God forbid. 1975 01:50:05,267 --> 01:50:07,435 - BROOM: Now you just take your time. - AVERY: Oh, I know. 1976 01:50:07,519 --> 01:50:09,771 Anybody look, uh, vaguely familiar? 1977 01:50:09,854 --> 01:50:13,149 - Take a quarter turn to the left. - Well, you know, uh — 1978 01:50:13,233 --> 01:50:14,793 - Face forward. - AVERY: Take your time. 1979 01:50:14,859 --> 01:50:16,987 Step back into position. Number three, take one step forward. 1980 01:50:17,070 --> 01:50:19,155 - This is not easy. - I know it isn't. 1981 01:50:19,239 --> 01:50:21,574 - GIRARD: It never is, Mrs. Bunny. - I mean, I am trying. 1982 01:50:21,658 --> 01:50:23,576 - AVERY: Yes. Just take your time. - GIRARD: Take your time. 1983 01:50:23,660 --> 01:50:26,121 And I did see him clearly. 1984 01:50:26,204 --> 01:50:29,374 - Make a quarter turn to the left. - (sighs) 1985 01:50:29,457 --> 01:50:31,001 - (Girard clears throat) - No, no, no. 1986 01:50:31,084 --> 01:50:33,003 - Step back. - No, no. 1987 01:50:33,086 --> 01:50:35,797 - I don't — Well — - AVERY: Look hard. Look really — 1988 01:50:35,880 --> 01:50:38,800 - Take a good look. - I did, I did. I — I am. 1989 01:50:38,883 --> 01:50:41,928 Um, could I — Could I see, um — 1990 01:50:42,012 --> 01:50:45,056 - Well, number three again? - Call number three for her, will you? 1991 01:50:45,140 --> 01:50:47,058 Wait a minute, wait a minute. See number five again. 1992 01:50:47,142 --> 01:50:49,477 - Could I — - GIRARD: Could she call her own numbers? 1993 01:50:49,561 --> 01:50:51,938 - Excuse me. - She said she wants to see again. Thank you. 1994 01:50:52,022 --> 01:50:53,742 - Number five, take one step forward. - Um — 1995 01:50:53,815 --> 01:50:56,401 - AVERY: Which number? Number five again. - BUNNY: Um — Excuse, uh, um — 1996 01:50:56,484 --> 01:50:59,154 GIRARD: Susan, I think she can call who she's interested in. 1997 01:50:59,237 --> 01:51:01,477 - You're absolutely right. - No, the — No, the other one. 1998 01:51:01,531 --> 01:51:03,033 That one. 1999 01:51:03,116 --> 01:51:04,617 - AVERY: Which one? - GIRARD: By the number. 2000 01:51:04,701 --> 01:51:06,244 - Oh, um — - Number six, take one step forward. 2001 01:51:06,328 --> 01:51:07,829 - It's not number six. - Not number six. 2002 01:51:07,912 --> 01:51:09,372 - That much I know. - Bring back number five. 2003 01:51:09,456 --> 01:51:10,999 - BUNNY: Three. - GIRARD: Three. 2004 01:51:11,082 --> 01:51:12,584 What do you mean, number three? 2005 01:51:12,667 --> 01:51:15,045 GIRARD: I think she can request whoever she wants to see. 2006 01:51:15,128 --> 01:51:17,672 - You wanna see what number? - She wants to see number three. 2007 01:51:17,756 --> 01:51:20,925 That's him. I'd swear on my mother's grave. 2008 01:51:21,009 --> 01:51:23,970 GIRARD: Number three. I think we're concluded here, Ms. Avery. 2009 01:51:24,054 --> 01:51:26,306 - Number three. - Number three, on her mother's grave. 2010 01:51:26,389 --> 01:51:27,849 - Yes. - AVERY: Number three? 2011 01:51:27,932 --> 01:51:30,268 Number three. I think we heard what she said. 2012 01:51:30,352 --> 01:51:32,937 - Yeah, I would — I would say so. - Okay, Doug, take 'em out. 2013 01:51:33,021 --> 01:51:35,148 GIRARD: Number three, thank you. Okay, fine. 2014 01:51:35,231 --> 01:51:37,567 - AVERY: Just relax. You're in a chair. - GIRARD: I'm in a chair. Ooh. 2015 01:51:37,650 --> 01:51:39,194 - Ma'am, may I be personal? - Yes. 2016 01:51:39,277 --> 01:51:41,905 - Where the fuck is your mother buried? - (laughing) 2017 01:51:41,988 --> 01:51:44,449 - AVERY: Everybody, let's get out of here. - Let's get out of this sauna. 2018 01:51:44,532 --> 01:51:46,659 (siren wailing) 2019 01:51:49,204 --> 01:51:53,166 I don't know who got to that witness, but she sure wrapped up my case, picking that cop. 2020 01:51:53,249 --> 01:51:56,211 You're a lucky man, Mr. Mill. Goddamn it. No ramp again. 2021 01:51:56,294 --> 01:51:58,338 Witnesses can't be relied on. 2022 01:51:58,421 --> 01:52:01,299 Remember Witness for the Prosecution? Marlene Dietrich and Tyrone Power? 2023 01:52:01,383 --> 01:52:04,135 That's it. You're free as a bird. No witness, no crime. 2024 01:52:04,219 --> 01:52:06,721 Yeah, that Avery woman thinks you just got away with murder. 2025 01:52:06,805 --> 01:52:08,890 Everybody does, Mr. Mill. 2026 01:52:17,315 --> 01:52:18,983 (siren wailing in distance) 2027 01:52:23,988 --> 01:52:25,990 (gate slams) 2028 01:52:56,688 --> 01:52:59,274 Our Father, who art in heaven, 2029 01:52:59,357 --> 01:53:01,568 hallowed be thy name. 2030 01:53:01,651 --> 01:53:05,864 Thy kingdom come, thy will be done, on earth as it is in heaven. 2031 01:53:06,865 --> 01:53:10,243 Give us this day our daily bread 2032 01:53:10,326 --> 01:53:12,829 and forgive us our trespasses. 2033 01:53:20,920 --> 01:53:23,173 For thine is the kingdom 2034 01:53:23,256 --> 01:53:26,342 and the power and the glory forever. 2035 01:53:26,426 --> 01:53:27,927 Amen. 2036 01:54:30,323 --> 01:54:32,075 (bubbling) 2037 01:54:32,158 --> 01:54:34,202 (hissing) 2038 01:54:51,928 --> 01:54:54,389 You've made a wonderful movie. 2039 01:54:54,472 --> 01:54:55,932 It's perfect. 2040 01:54:56,015 --> 01:54:58,268 It's Oscar time, Larry. 2041 01:55:03,898 --> 01:55:04,983 What? 2042 01:55:05,066 --> 01:55:06,734 We're too late. Come on. 2043 01:55:10,697 --> 01:55:12,198 Go on. 2044 01:55:15,618 --> 01:55:17,954 - Hey, hey! - Get back! 2045 01:55:19,789 --> 01:55:21,249 (gasping) 2046 01:55:21,332 --> 01:55:23,501 (alarm blaring) 2047 01:55:36,014 --> 01:55:37,932 Oh. 2048 01:55:38,016 --> 01:55:41,019 - What took you so long? - Traffic was a bitch. 2049 01:55:42,186 --> 01:55:44,897 (cheering, chattering) 2050 01:55:51,738 --> 01:55:54,907 It's outstanding. The audience is gonna love it. 2051 01:55:54,991 --> 01:55:57,035 You — You sold it out! I can't believe it. 2052 01:55:57,118 --> 01:56:00,204 How could you let him sell you out? What about truth? What about the reality? 2053 01:56:00,288 --> 01:56:03,207 What about the way the old ending tested in Canoga Park? 2054 01:56:03,291 --> 01:56:04,834 Everybody hated it. 2055 01:56:04,917 --> 01:56:06,836 We reshot it. Now everybody loves it. 2056 01:56:06,919 --> 01:56:08,421 That's reality. 2057 01:56:08,504 --> 01:56:11,049 But you had an ending which was true. You didn't even give it a chance. 2058 01:56:11,132 --> 01:56:12,884 Larry, who is this person? 2059 01:56:12,967 --> 01:56:14,719 Doesn't she know anything about working with grown-ups? 2060 01:56:14,802 --> 01:56:16,846 - Bonnie, goddamn it, goddamn it. - ♪♪ (end credit theme winds down) 2061 01:56:16,929 --> 01:56:19,974 This is a hit. This is what we're here for. 2062 01:56:20,058 --> 01:56:22,268 Yeah, well, it didn't have to end this way. 2063 01:56:22,352 --> 01:56:25,563 - I want you out of here. - Good thinkin', Larry. 2064 01:56:25,647 --> 01:56:27,982 I'm going over your head, Larry. 2065 01:56:28,066 --> 01:56:30,526 Bonnie, you're fired. 2066 01:56:31,986 --> 01:56:33,488 Fuck you. 2067 01:56:33,571 --> 01:56:36,616 Oh, it takes more to make it in this business than a dirty mouth. 2068 01:56:36,699 --> 01:56:38,701 Gentlemen, the campaign. 2069 01:56:44,916 --> 01:56:46,417 Shit. 2070 01:57:00,598 --> 01:57:02,058 MAN: Two points! 2071 01:57:07,146 --> 01:57:09,607 Celia, it's very important. I need to talk to him right now. 2072 01:57:09,691 --> 01:57:11,651 - No, Bonnie, he's very busy. - Celia, please. 2073 01:57:11,734 --> 01:57:14,112 - Bonnie. Bonnie. - Please, it's me, Bonnie. We're friends. 2074 01:57:14,195 --> 01:57:16,114 Bonnie, you don't understand. 2075 01:57:16,197 --> 01:57:18,324 I am not just me. I'm also the job. 2076 01:57:18,408 --> 01:57:21,202 Please. Please. Please. 2077 01:57:21,285 --> 01:57:25,748 Oh, honey. All right, all right. I'll try, okay? 2078 01:57:28,626 --> 01:57:30,712 - Three points. - (crowd cheering) 2079 01:57:30,795 --> 01:57:34,549 - Take that! - Oh, Walter, stop that nonsense. 2080 01:57:34,632 --> 01:57:37,552 Griffin, it's Bonnie. 2081 01:57:37,635 --> 01:57:39,137 She's here. 2082 01:57:42,140 --> 01:57:44,058 Great shot. 2083 01:57:44,142 --> 01:57:47,353 - Did Levy fire her? - Yes, sir. I guess he did. 2084 01:57:49,313 --> 01:57:51,733 Well, I can't see her now. 2085 01:57:51,816 --> 01:57:53,609 I promised I'd be home early. 2086 01:57:55,486 --> 01:57:57,238 - Tell her I'll get back to her. - (phone rings) 2087 01:57:57,321 --> 01:57:59,824 Walter, get your foot off the fucking couch. 2088 01:57:59,907 --> 01:58:01,784 - Tell her yourself. - Yes. 2089 01:58:01,868 --> 01:58:04,996 - Okay, well, could you hold, please? - Griffin. I have to talk to you. 2090 01:58:05,079 --> 01:58:07,081 Griffin, it's Larry Levy's office. He says it's very important. 2091 01:58:07,165 --> 01:58:10,293 - Griffin, please! Can we talk about it? - Bonnie, you'll land on your feet. 2092 01:58:10,376 --> 01:58:12,712 - I know it. You're a survivor. - Griffin, it's Larry Levy's office. 2093 01:58:12,795 --> 01:58:15,798 He says it's very important. Oh, put it in the front seat. 2094 01:58:16,507 --> 01:58:18,926 Give it a minute and transfer it to the car phone. 2095 01:58:19,010 --> 01:58:21,220 (crying) 2096 01:58:29,353 --> 01:58:31,522 (ringing) 2097 01:58:31,606 --> 01:58:34,817 - Yeah? - Griffin, I have Larry Levy on the line. 2098 01:58:34,901 --> 01:58:36,986 Larry, how'd the screening go? How's my new ending? 2099 01:58:37,069 --> 01:58:40,072 Fantastic! Fantastic! Worked like gangbusters. 2100 01:58:40,156 --> 01:58:42,325 - That's why you get the big bucks, Griff. - Yeah, yeah, yeah. 2101 01:58:42,408 --> 01:58:45,453 Stop kissing my ass, Larry. What do you want? Can't this wait? 2102 01:58:45,536 --> 01:58:47,163 I don't think it should. This is hot. 2103 01:58:47,246 --> 01:58:49,886 I got a writer in here who's got a pitch I think you ought to hear. 2104 01:58:49,957 --> 01:58:52,084 I think it's something we should go for. It's a great idea. 2105 01:58:52,168 --> 01:58:54,212 - Yeah, who's the writer? - I'll put him on the speaker. 2106 01:58:54,295 --> 01:58:55,963 Hold on a minute. 2107 01:58:56,047 --> 01:58:57,757 MAN: Hiya, Griff. Remember me? 2108 01:58:57,840 --> 01:59:01,177 I'm the asshole who used to be in the postcard business. 2109 01:59:01,260 --> 01:59:02,970 - You? - Yeah, that's right. 2110 01:59:03,054 --> 01:59:05,765 The king of suspense himself. You remember me. 2111 01:59:05,848 --> 01:59:07,809 I haven't heard from you for a while. 2112 01:59:07,892 --> 01:59:10,978 Well, I've been busy. I've been writing a script. I got inspired. 2113 01:59:11,062 --> 01:59:14,315 Okay, okay. Tell him. Give him the pitch. You'll love this, Griffin. It's great! 2114 01:59:14,398 --> 01:59:17,360 All right, it's a Hollywood story, Griff. A real thriller. 2115 01:59:17,443 --> 01:59:20,822 It's about a shit-bag producer, studio exec, 2116 01:59:20,905 --> 01:59:24,534 who murders a writer he thinks is harassing him. 2117 01:59:24,617 --> 01:59:27,662 Problem is, he kills the wrong writer. 2118 01:59:27,745 --> 01:59:30,998 Now he's got to deal with blackmail as well as the cops. 2119 01:59:31,082 --> 01:59:33,125 But here's the switch. 2120 01:59:33,209 --> 01:59:35,419 The son of bitch, he gets away with it. 2121 01:59:35,503 --> 01:59:37,713 Larry, get off the speaker. I want to talk to him privately. 2122 01:59:37,797 --> 01:59:40,842 LARRY: Sure thing. This is a winner, Griffin. It's a winner. 2123 01:59:40,925 --> 01:59:42,677 - He gets away with it? - Absolutely. 2124 01:59:42,760 --> 01:59:44,679 It's a Hollywood ending, Griff. 2125 01:59:44,762 --> 01:59:48,641 He marries the dead writer's girl, and they live happily ever after. 2126 01:59:48,724 --> 01:59:50,518 Can you guarantee that ending? 2127 01:59:50,601 --> 01:59:52,854 If the price is right, you got it. 2128 01:59:52,937 --> 01:59:54,897 If you can guarantee me that ending, you got a deal. 2129 01:59:54,981 --> 01:59:56,649 I guarantee it, Griff. 2130 01:59:56,732 --> 02:00:00,027 - What do you call this thing anyway? - The Player. 2131 02:00:00,111 --> 02:00:01,612 The Player. 2132 02:00:04,740 --> 02:00:06,242 I like that. 2133 02:00:09,453 --> 02:00:11,706 What took you so long? 2134 02:00:11,789 --> 02:00:13,708 Traffic was a bitch. 2135 02:00:16,085 --> 02:00:19,213 CHILD: ♪ La-la la-la-la ♪ 2136 02:00:19,297 --> 02:00:23,009 ♪ La-la-la la-la-la ♪