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 ♪