Original subtitles

[ Woman ] You just threatened me with rape.

[Man ] Yeah. But I would/ft touch you W/th a /ong stick.

[ Woman ] Okay. Whafs divine?

[Man ] Divine is free.

[ Woman ] Thereis nobody here, and We 're bags of meal'.

- [Man ] You 're a bag 0f meal'. - And what are you?

- /am too, and something more. - [Woman ] Like what?

You wouldn't dare touch me.

[Man ] /'a' dare, but I Would/fl'.

- You're scared. - Huh?

[ Screaming ]

Why, you dirty little fucker!

You dirty goddamn son of a bitch! I think it's bleeding!

[ Gasps ] You tore my stocking!

You tore my stocking with your teeth!

You tore my stocking with your rotten teeth!

- Yeah, that's divine! - [Audience Chuckles]

You are being a cunt with that silly - [ indistinct]

Oh, my poor foot!

You are a crazy bastard, biting a woman's foot!

Look what you did to my stocking. I think there's some blood.

- God, there's gonna be blood. - Quit squeezing it.

- L'm gonna be sick. - The hell you are.

- Blood makes me sick. - Baloney! Quit squeezing it.

- Look at that tear! - Take your stockings off.

No telling where you'd bite me then.

- Come here and sit on my lap. - You crazy, crazy bastard!

I don't know why we have to be here.

- My God, there's blood! - Let me see.

What are you, a fucking vampire?

Get away from me, you son of a bitch, or l'll -

- Scream? - I wouldn't scream. I can take care of you!

Why wouldn't you scream? Because you want to be here?

- Fuck you! - [Audience Chuckles]

- Look. There's some blood. - Where?

- Right by the toe. - You like it?

- Are you kidding? - You squeezed it.

- My God, I can't stand blood. - You feel faint?

- You sadist! - Sit on my lap.

You're crazier than a hoot owl. You threw me down and bit my foot...

like some fucking Jack the Ripper maniac!

- You liked it. - You're full of shit. You like the blood?

Well, there! Take a good look at that!

/suppose biting a Woman...

on the fool' puts her in her place.

- Look a2' that ruined stocking! - Looks good.

L'm beginning...

to want you.

Isn't that ro-o-o-mantic?

- Get out of the light. - What do you see?

If you'd get out of the light, l'd see something besides your fucking shadow.

[Audience Chuckles]

I like your breasts.

So does everybody.

Is everybody divine?

Before you can pry any secrets from me, you must first find the real me.

[Woman Exclaims ]

[Men Chatter/ng ]

- Do you think everybody is divine? - How should I know?

- [ Woman ] Whaz' do you think? - Sure.

[ Woman ] Maybe We're divine.

[Man ] Thafs Whaz' /'m trying to tell you.

- [ l/l/oman ] By b/T/hg my foot until it bleeds f? - Take off yo ur stocking.

- Maybe you 'd like to see my tits I00. - Sure.

- You make me laugh. - Take i2' oflf then. Be divine.

[ Woman ] Look a2' that stocking. /z"s w/peo' out.

[Man ] Listen, baby, We 're divine!

Who's afraid to be divine?

If taking my stocking off is divine, then you're a creep!

- Divine to you, not me. - You're the one who'll get the kick.

- It'll be your act. - What do you mean?

- Your deed. - Taking off my stocking will be my divine deed?

Yeah.

O-O-Okay.

[ Scattered Chuck/mg ]

Look at that!

- [ Woman ] Star, star, star, star... - [Audience App/aud/ng ]

star!

[ Murmuring Conversations]

- [Man ] Lions. -[Man #2]L0ve.

- Lions. - Love.

- Lions. - Love.

[Man #7 ] By Mama Lion.

- [Man #3 ] Sound rolling. - [Man #4 ] Camera rolling.

- [ Woman jAcf/on. - [Man #5] Come. Come here, Har/oz'.

[ Whispering] Come here, Har/oz'.

Car /oz'. Parking I02'.

Come here, Harlot.

[Whispering ] You're full of love.

You're full of love!

[Whooshing Sound ]

How dare you touch me!

Don't you know l'm supposed to be divine?

We are all divine.

J' You are divine J'

[All ] J' When will you be mine J'

J' Saint Valentine J'

J' Take the laundry off the line J'

Oh, I hate The Beam'. I hate The Beam'.

- I love hair. - J' And everything's fine J'

- I hate plays. I love music. - J' Give me some wine J'

How old-fashioned. I was on the stage at two...

and quit at the age of six so I wouldn't get -

I hate every form of entertainment, including living.

- Sit down. Come here. - You're full of hate.

And besides, you're a vampire!

Get away! Get away!

“Before you can pry...

[ Both ] any secrets from me...

first you must find...

the real m-m-me.”

[ Chuckles ] “The real me.”

What secrets?

That Harlow was so vulgar.

So disgustingly vulgar. They should've done it on Garbo.

She didn't have to have scandals...

beatings, uremic poisoning...

bellhop screwing.

She was the star.

One thing - One thing about stars:

They have to tell you how they sleep at night.

- Let's go to bed. - You know...

my grandmother actually knew Billy the Kid.

- Let's go to bed. - He was the fastest draw in the West...

and he was shot in the back at age 21.

Is it true about the way that Jean Harlow died?

- Probably. - Some sex thing. God.

- It was a secret in high school. - Coke bottle.

The pressures here in Hollywood...

are so great from all the dead people.

- Clark Gable died too. - Pat O'Brien.

- Pat O'Brien. - I think their ghosts are cockroaches...

and that's why we have so many cockroaches in the kitchen.

They all died. I never saw a cockroach in California.

- [ Imitating Native War Whoop] - What a beautiful sound.

Neither did I, come to think of it.

- Sounds just like a lullaby. - Hey, you sack of meat, let's go to bed!

You're always calling me a sack of meat.

Jesus! You're just jealous of my beauty.

You filthy rat. You fucking sadist.

Oh! Oh, that embarrasses me, that word.

Embarrassing word. Embarrasses me.

There aren't many lines to go around these days.

It's a limited vocabulary.

A sharp mind is the death of love.

Ijust found out about this new religion called the Cosmic Climax.

[ Chortles ]

Mm, what about it?

Well, it's the last step...

- the Cosmic Climax. - How do you know?

Because love is a bore...

sex is a fucking bore, fucking is a fucking bore...

the word “fucking” is a fucking bore.

So let's quit fucking and just have the Cosmic Climax.

There's a difference between eroticism and the Cosmic Climax.

In fact, it all has to do with intake and outtake of air.

Like the Japanese pearl divers.

- L've had enough freedom-liberation. - Somebody told me they're the best fucks in the world...

- Tarot cards tells me I should be free. - because they know all about air.

I should be screwing this one here and that one there, and l'm so tired.

J' See, I have a guru J'

J' But he's not too good, though J'

J' He reads the tarot J'

J' And The New York Times ./'

I can show off too.

- [ Viva ] /'m a star! - [Man ] We are stars.

Can We be actors and be real?

[ Woman ] Can We be real and be in love?

[Man #7 ] Can We be in /0 ve and be actors ?

[Man #2] Can We be in love and be real?

[ Woman ] Can We be real-life, true live actors ?

[Man #7 ] Can We be Cole Po/Ter “True Love"?

[ With Woman ] ./' 'Cause I give f0 you ./'

[Afl] ./'And you give f0 me ./'

./' True love ./'

- ./' True love ./' - ./' Whaz' a piece of/0 ve ./'

./' For on and on ./'

[ Man #2] You have f0 pay royalties for using that song.

[Man #7 ] Agnes w/l/ cut fh/s because you have to pay royalties.

- [ Woman ] f True /0 ve f - [Man #7 ] Buz' Cole Po/Ter died.

[Man #2] Can We be actors and be real?

[Man #7 ] Are We real/y the jungle 0f lions, love, and lies?

[ Woman ] Can We be actors and be in love?

Star!

That word gets to me.

- We are stars. - [ Man, Woman ] Stars!

- Star. Ex-star. - We are stars.

Ex-star-sy!

- Ecstasy! - Ex-star-sy and me!

- Hedy. - Stars.

- Hedy! - L 'am0ur.

[ Men ] L 'am0ur.

[Snapping Fingers]

Star.

Star.

- Star! - Star!

Star!

[Winding Down ]

[Croaking Sound ]

./'./' [ Orchestral]

- [ Man ] ./' Jeanette ./' - [ Woman ] ./' Spencer ./'

- [Man j/'Anne J' - [ Woman ] ./' Bing ./'

[Man ] ./' Olivia J'

[ Woman ] ./' Doug/as ./'

[Man] IA/me J'

- [ Woman ] ./' Shar/ff - [ Man ] ./' Shirley J'

- [ Woman ] ./' Gregory Peck ./' - [ Man ] J' Marilyn J'

[ Woman ] f Bun' f

[Man ] ./' Rita ./'

[ Choir] ./' Sunset Bou/e vard ./'./'

In the dryness of the sky...

we should fly slowly.

“So though he's still so much of a gentleman...

he refuses to let anyone say a word against Mia.”

MGM is up 25 percent.

Paramount Pictures, 22 percent.

20th Century Fox, 30 percent. Andy Warhol, two percent.

There are no messages, only mistakes.

Columbia's up 70.

Warner Brothers down 61.

“Frank and Mia got married and went after their own Camelot...

- but - but - but - but - but - - Universal down 42.

But somewhere along the way...

they got lost from each other.

One comment by another friend appeared to sum up...

their problem in a nutshell:

'Frank married Mia to teach her...

in a way about the good things in life.”'

Walt Disney... [Chuckling Wickedly]

Is up 51.

Desilu... “desillusi0n”...

down, down, down, down, down, down, down.

How do you love me?

Let me count the ways.

Let me... count the waves.

How much do you love me?

- Like - - Like, uh -

- Like- - Like 12...

blueberry blue jays.

Like 10 little piggies.

Like 70 lift/e Ind/ans.

Like, uh, four “l adore you.”

Like 75 Romeos.

Like four Shakespeares.

Like 50 “Mary Had a Little Lambs.”

Like spaghetti for dinner tonight.

Like, uh, one butterscotch...

marshmallow vanilla hot-fudge sundae banana split.

Like...

two of me.

Like 5,000 sunglasses.

Like one thousand and one Arabian nights.

Like two thousand and one Arabian nights.

Like, uh, 12 buttercups.

Like 65 purple-yellow skies.

- Three pigeons. - Three thousand chocolate ants.

- Fourteen hills of Rome. - Like 3,000 roses.

- [ Chuckling] - [Cries Out]

Oh, Carlos. Thank God. You're late.

I thought no one was going to meet me.

- That's all I need. - l'm always late.

- Yeah, I know. - Have you seen this? J' Ta-da J'

- Undercover. - You know, that's really too funny.

- L'll get it. - Thank you.

The New York filmmakers think Langlois started the revolution.

He certainly did. I was there in Cannes only two weeks ago.

I can't believe it. lt's like another world.

- Is this the first time? - For me in Holly- yeah.

L've never been here before.

L'm so bored just lying at the Chelsea all the time, staring at television...

so I thought maybe moving or something would help me. l'd just get out.

I real/y don 'z' know how i2' happened. Some producer came in.

They seemed to think ifd be a funny idea. ..

If an underground 0r whafe ver New York filmmaker came...

and made a movie about Hollywood, so -

[ Car/as ] /z' would be fabulous.

[ Woman ] I have a hard time in New York dealing with producer types.

/'m n02' sure I can make i2'. Buz' the/re gonna pay. Lefs see.

/z"s funny - ldon'! like the sun in New York, but I l/ke i1' here.

[ Car/as ] /'m glad, because you 're gonna gez' a I02' 0f i2'.

[ Woman ] A I02' 0f sun ?

[ Car/as ] Now you know W/7 y the y came f0 make m0 vies in California -

because of the l/ghz'.

There 's a rumor going around that the lnd/lans. ..

Never settled in L.A. because the vibrations were so Wrong.

- [ l/l/oman Laughing ] - And i2' took the Spaniards, who weren '2' afraid 0f anything. ..

F0 real/y make a c/Ty ouz' 0f a nowhere land.

A/so, /'z"s going back to the sea in a few weeks ora few months.

E ve/y year there's a date. You better get out before the date comes along.

[ Woman ] When Hollywood goes down ?

[ Car/as ]/ want t0 be up on the h/l/s Watching i2'.

[ Woman ] Are We in Hollywood now?

[ Carlos ] Yeah, I guess this is Hollywood already.

l2' doesn 'z' look like a city, i2' looks like - exact/y like that.

You 're coming t0 a city, bu! the c/z'y's never there.

[Female Singer] ./'As the l/ghts begin to dim ./'

./'Ana' the colors me/z' and fade ./'

./'As you close your eyes and recognize ./'

./' The secrez' World you 've made ./'

[ Woman ] I asked the producers f0 get me a hotel room...

bu! with the McCa/Thy-Kennedy primaries, ifs impossible t0 get any place.

[ Car/as ] You '// gel' along Well with Viva.

[ Woman ] / don '2' know her a2' all.

Thafs the kind 0f thing //0 ve, having - /z"s What/ need.

/'ve seen her in Andyis films and sfufif and I love i2'.

[ Car/as ] You might even get a bit 0f a shock treatment there.

- [ Woman ] Whaz' do you mean? - Wa/z' and see.

[ Woman ] /z"s like her m0 vies ?

- [ Car/as ] Ve/y much so, yeah. - lmean, sheis real.

[ Car/as ] \/iva 's /ife is nothing buz' a m0 vie.

[ Woman ] That's happening with us all. /'m getting so I don 't know...

Whether /'m in a m0 vie 0r making a m0 vie.

Which comes first - the m0 vie or reality?

./' /f you Wam' to know ./'./'

- Hi, Viva. - Hi, Carlos.

How are you, darling? I brought you La Clarke.

- Ah, Viva. - Nice to see you.

Thank you so much for letting me stay here. Really beautiful of you.

L've heard so much about you and seen so many of your movies.

Everything's beautiful. l've never been to Hollywood before.

- Neither have I. - J' Welcome to Hollywood J'

Let's give her a guided tour of the Villa Fake.

- Okay. - This pillar wasn't here two days ago.

The director - lmean, the decorator puz' them in.

- One good kick, and... - [ Car/as ] Don 'z' kick 'em./

over they go. Sorry.

And don't eat that fruit either, Shirley. lt's plastic.

And that bird is stuffed...

- Everything is fake around here. - and that pineapple lamp is plastic.

Very plastic. A genuine plastic weeping willow.

There's a real one out there, but it belongs to Katharine Hepburn.

Katharine Hepburn, my favorite actress!

- I lookjust like her, don't I? - Imitation brick.

And real brick but imitation fireplace.

[Viva ] And a real flag...

that I use after the image goes off and they play “The Star-Spangled Banner.”

Perfect. Oh, look at the trees. They're beautiful.

- What's that, a palm tree? - Banana tree.

No, it's a bird of paradise.

The one next to it is a fake bird of paradise, but it's much prettier.

The only real thing in here is this coat.

- How much did it cost? -[Laughs]

- Is it leopard? - No, jaguar.

Like all the jaguars creeping out from behind the bushes here.

- It's a real Hollywood jungle. - I match!

Yeah, and Otto Preminger behind every bush.

Too bad he doesn't have a bush of his own.

Right.

I can't top that. Better split. Good-bye.

Carlos, thank you. Listen, let me know what's happening.

I will. Good-bye, my plastic Garbo.

Don't be such a stranger.

L'll catch up.

Viva, it's beautiful of you to let me stay here.

We've never used the guest room.

- “We”? - Yeah.

The eternal, traditional triangle.

- [ Chuckles ] - Only with us, it's something different.

We're looking for something else.

That's new?

For me, it is.

L'm tired of all this emancipation crap.

Oh, Viva, l'm so tired.

The plane, two months without any sleep -

Really, it's too much.

Please turn the camera off. I want to go to sleep now.

- Okay, l'll go read my book. - Okay.

[ Chorus ] ./' /n vento/y 0f a rented house ./'

./' One column ./'

./' Nine Waxed fru/z' ./'

./' One stuffed bird ./'

./' One pineapple lamp ./'

./' One plastic Weeping Willow!

./' One real p/ttosporum tree ./'

./' Se vera/ painted bricks Se vera/ real bricks f

./' One flag ./'

./' Two birds 0f paradise ./'

./' One plastic bird 0f paradise ./'

./' One paper jungle ./'

./' E2' cetera ./'./'

[ V/va ] 'i4 woman moved is like a fountain troubled...

muddy, ill-seeming, thick, bereft 0f beauty.

And while it is so, none so dry and thirsty...

will deign to sip or touch...

one drop of it.”

He's probably the only poet around with meat on his bones.

- Oh, Shirley, you're up. - I guess lrea/ly needed that.

Would you like a Dr Pepper? l'm Jerry.

- What's that? - ./' /z"s like strawberries ./'

./' When you were a //'z'z'/e girl ./'

[ Shirley] /'// 27y anything once.

ls it going to ruin your shot, Agnés...

- if I get in the way? - It tastes like liquid lollipops.

It's the “in” beverage in Beverly Hills.

Then I guess ljusz' can '2' be “in. "

Hmm-mm.

- L'm Jim. - Nice.

Are you from New York?

I was born there - me and seven mil/ion others.

What kind of movies you making?

You know how movie people are - superstitious.

But l'm supposed to be making a film...

using movie stars as if they were real people.

[Jerry] You should see me when l'm real.

She's supposed to be the best.

People are fantastic with her.

[ Shirley] /z"s ve/y simple. / just use rea/ people.

- You making lots of money? - Honey, it'll be something new if I do.

None of my films ever made a nickel before.

It may change my life. l'm not sure I like that.

Anyhow, l'm going to be meeting a lot of movie stars.

[Jim] D0 you Wam' a Harlow?

Tsk. Instant Harlow.

[ Shir/e y ] I can 'z' use people that are supposed f0 be dead.

[As Jean Harlow] I wish I had something wonderful to say...

but I don't.

Do I have too much muscle?

Not for me you don't, darling.

[ Jer/y ] “One woman is fair, yez' I am well.

Another is virtuous, yet I am well.

Another is wise, yet I am well.

But till all graces be in one woman...

one woman shall never come into my grace.”

[ Viva Clapping] Bra v0./

[Jim] Bravo, bravo. Oh, yes.

They're really overacting, Shirley.

They want to be in your movie.

A smile for my mother...

whom ljust imitated.

Have you heard my new record? l'm Top 10.

- N0, /ha ven'z'. - N0?

- Where's my record? - I gave it to the delivery boy.

- To who? - I gave it to the maid, the maid.

She threatened to quit if I didn't give it to her.

So I gave it to her, and she quit anyway.

Where's my record, god-

lt's a hit and still climbing.

“Oh, what a rogue and peasant slave am l!”

Goodness gracious.

L'll do it to you.

J' Sometimes J'

J' A plastic woman J'

Would you like something stronger, like milk?

J' Wanders in J'

J' And winds my mind up J'

J' Sometimes J'

J' A plastic woman J'

J' Wanders in J'

J' And wanders in J'

Aren't they terrible? But I love them anyway.

We love them.

I love you. I love you.

- I love you. - I love you.

We love - We love -

- We love you. - I love you.

- We love - - Television.

I love the test pattern.

In this kingdom, all the princes are sick.

We reject decadence.

We fight decadence with decadence.

- Sex with sex. - Fire with fire.

Oh, sweet mystery of love.

J' Number three the perfect number J'

The Holy Trinity.

I am the Father...

he is the Son...

and he is the Holy Ghost.

- Couldn't that be the daughter? - N0.

- You want to be the Holy Ghost? - All right.

Oh, I can be the Holy Ghost.

I can fly.

[Whooshing Sound ]

It's easy to fly.

One arm after the other.

If we gave up fucking...

and we wore burlap...

we could... hear voices.

Really? You think so?

- We three. - We are three.

- Three trees. - We are free.

- Three free trees. - We are trees.

- Three trees. - We are three...

- Three free trees. - free trees.

Three...

trees.

- Three - - Trees.

- Three... -./'./'[ Banjo On TV]

- [Man On TV] And they dream. - trees.

[ Chi/d Babbling ]

[Man ] Once back on Ea/Th, the people 0f the island...

k/l/ time as besz' the y can.

/'m going f0 fake your picture!

./'./'[ “TwisfA/vd Sh0uz"']

I got it/ /z' looks pretty gooo'./

- ./' Shake i2' up, baby, now! - f Shake if up, baby f

- ./' TW/sz' and shouz' ./' - ./' TW/sz' and shouz' ./'

- ./' Come on, come on, babyf - f Come 0n, baby N'

./'A// you need is love, love ./'

./' Love is all you need ./'./'

[ Woman ]A// they need is one person to do one thing...

and that gives them the r/ght t0 do whate ver they want.

[Man ] /f one person throws a bait/e...

that don 't mean everybody on the Who/e beach has t0 go home.

Thafs Whaz' the y were waiting for.

The y're trying to incite people f0 do things...

so that they'// have an excuse. The y're r0tten./

./'./' [ String Qua/Tel' ]

xx [ Ends ]

Oh, Los Angeles.

The angels. The Los Angeles angels are falling into the sea.

- The earthquake is coming. Quick! - [ Viva Groaning]

- Get up and make coffee before we die. - Who cares?

Make some Yuban coffee or Maxwell House coffee.

- Get up. Make some coffee. - Or Chase & Sanborn...

or Yucan or Yucatan coffee.

I have to keep the bed warm.

The woman's always supposed to get the coffee.

That was in the days before unisex.

Men were men, and women were -

Waitresses.

Call room service.

[ No Audible Dialogue]

Tro/s cafés au la/z'.

Tro/s pains ord/na/res franya/ls nature/s.

- Raisin toast. - Conf/Ture.

- Raisin toast. - Pain de raisin “toasfé. "

Le p/us chaud possible.

Auss/Iéz' que possible. Merci.

Hello, Mr. Ten Percent?

No, listen, Nat. No.

Listen, I can't do it. l'm not interested.

L've got to get my rest. Cancel Caesar's Palace.

No, my voice is changing.

You want to talk to Viva?

You want to talk to Mr. Ten Percent?

Nat...

do you think I should get an agent?

Do you really have to be Jewish to work in Hollywood?

What do you mean, I have no tits?

That's such a vulgar expression, “tits.” The word is “breasts,” Nat.

“Breasts.” B-R-E-A-S-T-S.

Cleopatra didn't have any either. She looked just like a boy.

In fact, that's why she was so successful.

At love and war. What else?

- You know - - Did you ever smell a coffee factory?

[ No Audible Dialogue]

They love coffee so much in Italy...

that they'll do anything for a cup of coffee.

Anything, I tell you.

- L'll get you - No, no. - There's so much sun out there.

What will you do for a cup of coffee?

I would give you $200 if you'd get me a cup of coffee.

Where's the money? Show me the money.

Call the Bank of America.

[ No Audible Dialogue]

Uh, this is account number...

19804...

4327.

The last three numbers? Okay.

227.

Yeah. I want $200 to go.

Yes, and make it...

“fee - coffee fee.”

No, just write on the top of the check...

“coffee fee.”

Right. Okay?

Oh. Uh, wh0's talking in the background?

- Who's talking? - l'm not talking.

You're having hallucinations.

I was necking.

Well, what are you making such a hell of a fuss...

about a fucking check for?

[ No Audible Dialogue]

Listen, Mr. Rosenbaum was so rude to me...

that I just couldn't believe it.

I just couldn't believe it.

Is he being gentle with you?

On your way up, will you bring me some coffee?

L'm the third one. Three cups of coffee.

Don't talk to her that way. We've decided to be faithful to one another.

Could you stop at House of Pancakes and pick up some blueberry pancakes?

- Blintzes. - And some blintzes.

Blintzes, yes.

[ No Audible Dialogue]

Order another phone. Order a new phone.

Then we'll call Rosenquist, okay?

Please let me call the phone company. Oh, I forgot.

- Hello? - The dial's on here.

- Rosenquist? Could you hold the line? - F-O-N-E: a four-letter word.

- That's right. - I can make it louder, quieter.

- St. Ives Drive. - Go.

Yes, my business representative.

- Mr. Rosenbaum - - Mr. Rosenquist...

make love, not coffee.

[ No Audible Dialogue]

You take care of the money, and l'll take care of the spending.

_ No _ - I don't want to talk to him.

It's the bank and the phone company.

They're talking it over. Don't fight too much, boys.

[ No Audible Dialogue]

Fair is fair.

Sorry, the number you have dialed is a nonunion number.

[ No Audible Dialogue]

- Hang up the phones. - No, silence.

- Two tones. - Silence, silence.

Shh, shh, shh. Listen to how beautiful.

[ Birds Twittering ]

[ lmitating Twittering ]

Somebody has to get out of bed to make the coffee...

and it's not going to be me.

[ Indistinct Conversation ]

No!

./'./' [ Psychedelic Rock]

Living together is ensemble theater.

[ Viva ] You said i2'. Oh, Wonder Bread.

I don't know if I can approve of these eggs.

These eggs are so good. Mmm./

Oh, and peanut butter.

- [ Overlapping Conversation ] - [Shirley] Good morning. lt's a beautiful day.

- Would you like some cauliflower? - Gee, you got a new outfit.

Some miso paste, Shirley?

No. l'm going to see the producers, so -

- You look white. - Thank you.

It's my Hollywood outfit.

I bought it in New York for Hollywood.

You're really looking forward to this, aren't you?

A little nervously.

Nervous?

Don't drink so much coffee.

- You're right. - Give her a glass of milk.

I don't have the time, dear.

- Isn 'z' she beautiful? - There's something in it. Wait.

What do you mean, “the time”? You make the time.

You arrive on your own time.

That's the first lesson to teach them out here. Always be late.

- L'm in love with the Morton girl, Viva. - Have some mi/k.

- She's beautiful, isn't she? - She is. Lefs gez' her ton/gm'.

“When it rains, it pours.”

- Really, on my way now. - Where are you going?

- Producers. - “Producers”?

Why go to a producer when you have us?

- Stupid-star. Superstar. - Stupid “shoopid shmar.”

- Super sucks. - We're what's happening, baby.

- Out there. - [ Viva ] We have everything.

[Jerry] Yes/ You goz' a free sez' here, Shir/e y.

[ Viva ] Swimming poo/, orange grove...

- geraniums, trees... - [ J/m ] Glamour.

- Skyscrapers. - [Jerry] You don't need any money.

- [Viva ] You don't need anything. - [Jerry] You got smog here...

- [ Viva, Jim Coughing] - and you got a lot of pain and suffering here.

[Jim ] Look at that beautiful pool. That really is beautiful.

[Viva ] If I were a kid, l'd really love it here.

- [Jim] Oh, my God. - lt'd be fantastic.

I think we should have kids. They'd be so happy here.

[Jim] lt's the only thing missing from our lives.

Oh, if we had children! An extension of us. Can you believe that?

Do you know, when I was a baby, I was so beautiful that the nurse -

I was sleeping on my mattress like this...

and the nurse took me around to show all the mothers in the maternity ward.

- Isn't that sadistic? - N0.

- I must've been a beautiful baby too. - Me too.

If we had kids - My God, they could entertain us...

they could support us in our old age, they could just - Oh.

Do you think I could go through nine months of it?

- I think it'd be a bit much. - To only come outwith one?

- Make us feel like adults. - Maybe you'd have triplets.

Oh, God. Triplets.

Wouldn't you think they'd have it...

speeded up by now, the process?

Someday, and in test tubes. You won't even have to carry it around.

- What do we do in the meantime? - Should we refuse to succumb...

- to the temptation of reproduction? -[Laughs]

Yes. We should refuse.

Why don't we go down to the Strip and pick up a couple kids?

- Right now? - No, let's do it tomorrow.

The idea of having the baby is really exciting if y0u've never done it.

But then what do you do?

I think we should just do it on a test basis, a trial family marriage.

- Okay, let's go right now. - Tomorrow.

We could get three of them. Not just one.

- Instant family? - Let's do it.

- What age should we get? - l'll take a ten-year-old.

[Viva ] I want a two-year-old boy.

[Jerry] I want a three. lt's the perfect number.

- What about seven? - lt's a magic number.

- [Viva ] Yeah, three, seven - - [Jim ] Ten.

[Viva] Ten. N0, six and nine.

[ Shir/e y ] S0 maybe I should have...

two cameras and two assistants...

one soundman with an assistant -

N0, waif. lcou/d have two soundmen...

one for each camera...

then two electricians -

N0, one good l/ght/ng personis enough.

One person to push things around, one person for the set.

Thaz' makes, /ez"s see, e/ghz'.

/'m supposed f0 have a crew 0f 22 people.

My God, fhafs too many.

They ne ver understand that you can do things cheaper.

lha ve to have a flexible crew. They have to be as few people -

three 0r four a2' the mosz'.

Maybe seven is possible.

/f there 's more, i2' doesn 'z' make i2' possible to Work.

Ana' I want the cameras t0 be ab/e t0 move a// the time.

/f we shoal' - /ez"s see -

/z"s an hour-and-a-ha/f fi/m.

Probably for something l/ke this, /'z"s goz' to be a2' leasz' a 70-7 rat/o.

Color, 35...

70, 000 feel' of negative.

/f the y stan' f0 ask me...

how much I think i2' will cosz'...

/'ve goz' to find a Wa y f0 feel...

what i2' is they Wam' to spend...

and then ljusz' can tell them fhafs Whaz' /'z"s going f0 be.

/f they give me $200, 000, / '// do i2' for 200.

Three hundred, 300. Four, five, s/X, whatever. ldon'! care.

S0 What I have to do is jusz' keep qu/ez'...

and if the y talk about money, / '// just smile...

0r nod, 'yes, ” whafe ver the y say, 'Tine. "

And then /'// see if we can 't get so that I can get the people I Want.

/f I don 'z' ha ve the r/ghz' cameraman, thereis no poi/n' in trying to shooz' a2' a//.

I can tell the/re afraid 0f me...

because We 're not talking about the same thing.

./'./' [ Rock /

[ Shirley [After such a meeting, lneed a movie.

- How about P/anez' of the Apes ? - I saw that in New York.

- How about The Pa/Ty? - N0.

How about a Rick Herold?

- What's that? - He's a painter.

./'./' [ Rock /

- [ Car/as ] He 's an a/T/sz' from ouz' here. - [ Shir/e y ] Oh.

[ Car/as ] He's ve/y interesting. He does b/owups...

0f what you could ca/l pornographic scenes...

scenes 0f /0 vemak/ng, bu! you real/y don 'z' realize Whaz' i2' is...

uni/l you real/y ha ve looked a2' them for quite some f/nve.

- [ Shir/e y ] l/Vhafs h/s point? - / guess to make the v/e wer feel like a voyeur.

[ Shirley] Thafs Whaz' /'ve been trying to do in my m0 vies.

I think thafs Whaz' m0 vies are.

N0, /'d rather go to a m0 vie.

[Growling, Snarling ]

Part one: lions.

- Part one: lions. - Part one: lies.

- Part two - - Grass!

The Wild West!

The Wild West!

We live again!

Grass!

- We love again! - [ Snarling ]

L'm always ready for a cartoon.

- Oh, Shirley. - Viva, hi.

Hi, Shirley.

- Hey, Jerry. - Hello.

Hello.

- Carlos, Jim, Jerry. - Hi.

- Who's Carlos? - He writes about movies.

[ Carlos ] l'm doing research for a book on Hollywood.

Oh, yeah?

Shirley, how was the meeting?

Absolutely ridiculous. I don't think they've seen one of my movies.

- Who are “they”? - The producers.

[ Tires Screech/ng ]

[ Womanis Voice ] This is a flashback.

All right, Max, we've now handled the production fee and budgetary items.

Let's go on into the distribution terms.

Well, let me recapitulate on that.

Out of the first gross, we take our cost of prints...

cost of advertising, in fact, all cash accounting -

Max, let's not go through all that.

We've been through that too many times.

I want to settle on a 2.2 negative cost.

We're getting the profits at 2.2.

In principle, 2.7 would be the figure.

Max, that's sky-high. Come on. You know that's too high.

Steve, this is a small production.

- From our point of view - - Can we save some time? Let's make it 2.4.

No, I don't think so. I think 2.7 is all right.

Now, if this was a big production...

that brings in millions of dollars, our share of distribution...

would help to amortize our studio.

On a small-budget production...

the return to us is so small...

it's only because we are anxious to go into such an experiment...

that we take on this film.

Max, still, profits are profits.

We know what the industry history is...

and we also know that 2.7 is just too high.

I realize you got a studio to run, but nonetheless...

2.7 is too much gravy for you.

Let's be realistic. 2.4, which Hal proposed -

Let's settle on 2 1/2, huh?

Max, let's not be silly over a point.

- Let's make it 2.4. - Okay, l'm in a good mood today.

Two and four. 2.4. All right.

[ Womanis Voice] This is the head 0f the stud/o.

Now, she's going to have to have the final cut on the picture.

I think that's fair enough - up to a point, of course.

We still have to find out if the audience likes the film.

- We have to preview it. - Mm-hmm.

- Of course. - And it may have to be revised...

but we will do it together.

As long as we're walking down the aisle hand in hand...

that's all the way down the line through.

I can't see that. Let's get into this...

so we can really settle a negotiation here...

instead of having it run for a couple months...

and find out we're not going to make a picture.

This girl is used to making a final cut.

When people give her the money, she honors that obligation.

And that's one of the reasons she's a talented person...

one of the reasons her name on a marquee means something.

We're trying to make a breakthrough here...

and she's got to have final cut.

I want you to think about this.

Hal, do you think it means so much to her?

We want her to be happy...

but on the other hand, it's our responsibility...

- to see that our money comes back. - You're right.

It is. You've got your financial investment...

but I just want to tell you that the area of creative control...

- specifically final cut, is important to her. - We'll think about that.

- We'll get together. - Very good.

[ L/I/ind Gusting]

Looks like fire instead of snow.

Viva.

Thanks.

B0b./ B0b./ L 00k a2' her face!

- [Jerry] These are the actors. - [ Viva] “Look a2' her face. "

Don 'z' gez' in the We y 0f her face. “L 00k at her face.

Look at her face.” Face.Face.

Reactions.

- [Jerry] Shirley, could you move back? - Yeah.

This is where we've come to on this planet. This is the height.

This was really shot in Tibet, you know.

This was really shot in Tibet.

- It's not a set. - [Jim] Can I please Watch this show?

[ Jer/y ] They Work hard.

- [ Jerry] Who is that actor? - Ronald Colman.

- ls he dead? -/1'h/hk so.

Close-up. Zoom in.

Zoom out.

[ Screaming ]

George! GeO/'ge/

./'./' [ Dramatic ]

[ Viva ] Freak out, Jer/y.

[Groans]

[Jim Howls]

[ Viva ] Long shoz'.

Why, hereis Ga/nsford now.

Ah.

- Well, good to see you back. - Good to see you.

[ Viva] /'ve seen i2' so many times now...

that I know the Who/e lines by hean'.

ls this finished? Should I stop now?

- It looks like - - lt's a map of the United States. This is California.

Think TV gives you cancer?

And final/y, he disappeared over that ve/y mountain pass.

[ Jim ] lth/nk onions give you cancer.

And that, gent/emen, was the last that any known -

“By Jove, that's fortitude.”

By Jove, fhafs Whaz' I ca/l fo/T/Iude.

Tell me something, Ga/nsfora'...

Whaz' do you think 0f this talk about Shangr/ La ?

D0 you believe i2'?

[ Jerry] You could see this in any home around here.

[Man On TV] / bel/le ve it. ..

- Because I want t0 bel/e ve it. - [Whispering ] “Want to believe it.”

That's the message: “l believe it because I want to believe it.”

- Toast. - Hereis my hope."

- [Jerry] Hope. - that Robe/T Conway...

will find his Shangr/ La.

[ Jerry, Along With TV] “Here is my hope: that we will...

[All ] all find our Shangri -”

Loud click. Loud click. Loud click.

“...La.”

./'./' [ Dramatic ]

[Jim Gasps ] Look!

[Jerry] How beautiful.

There it is. There's Shangri La.

[Jerry] All right, Shangri La. All right, dreams.

There's Shangri La. The message is “hope.”

Why do they always put “The End” at the end?

Why write “The End”?

I know when it's the end, but do you?

[Viva ] When you clap, it's the end. Clap. The end.

Mind if I turn on the news?

[Man On TV ]...z'raa'iz'i0ns 0f campaigning keep cropping up...

in Robe/T K ennedyis re vo/ut/on 0f new pol/tics.

Beginning toda y his thousand-mile journey in San Franoisoois Chinatown...

he was greeted by firecrackers.

[Firecrackers Popping]

- Firecrackers in Chinatown? - By appealing to ethnic minor/fies...

Sounds like guns.

Kennedy hopes to renew Frank/in Delano Roose ve/fs...

coalition 0f minor/ties.

I present my candidacy...

and I sa y to you that you have a clear choice...

in the quest/on 0f Whaz' direct/on you Wam' this count/y to go in.

I like him because he's good-looking.

- It's not enough. - [ Jerry] ljusz' look.

- I mean, in a sea of ugliness... - [Jim] /'m for McCa/Thy anyway.

A good-looking politician is not to be sneezed at.

.../'f we don 't ta/k about our prob/ems with candor and truth...

and then take act/on f0 deal with them.

Thatis What I intend t0 do if e/ected pres/dent 0f the United States.

[Man On TV] Expecting victo/y in California...

Kennedy hopes that McCa/Th y suppo/Ters...

will unite with him in Chicago.

He sl/l/ has time in his campa/gn to mock Republican governor Rona/d Reagan...

in a style that is more Bobby than Robe/t.

Somebody voted for him. D/o' you vote for him?

- [People ] N0./ - Yes, you did.

See, he goes, “Yes, you did.”

[ Jim ] “Yes, you did. "

Fantastic actor.

[ Jerry] He isn 'z' acting. He real/y means i2'.

[ Viva ] A/mosz' as good as Mayor Lindsay.

[Man On TV] During his Ira ve/ing seminar 0n pol/T/ba/ education...

he ls still a family man...

rewarding his campa/gn- Wea/y children with a v/s/z' t0 Disney/and

Even if he is corrupt, at least he does it with style.

[Jerry] Viva, you 're too much.

All politics are the same thing.

They're just better actors. Much better actors.

If you were as good an actor as Bobby Kennedy...

you'd be where Bobby Kennedy is - up on the podium.

[Jim] Who Wants to be up there? You could get k/l/eo'.

- Influencing the masses. - [ Sighs ]

[ Sneezes ]

[ Male Voice ] God bless you.

[ Viva ] Sweez' children!

Oh, baby!

- I want you to tell Viva what you eat. - Uh, health food.

[ Kissing ]

Can I be yourfriend?

I want Papa.

Feel it.

- Well, feel it. - Okay.

Pull it. Pull it some more.

[ Jim ] You made me bleed. Look.

[ Exclaims ]

- Nah! - Yeah!

" Nah! " Yes!

" No! _ Yes, Yes!

- [Child Exclaims] - Ow!

F Splash ]

Careful. D0n't let him fall in the water.

- He doesn't know how to swim. - [ Splashing]

Don't splash around the pool.

Children, don't splash the edge of the pool like that.

Make sure you don't get that nana wet.

- Put that on the side. - Get that nana out of there.

I don't want - You shouldn't be using that one.

- You can use the other pillow. - That one. Get it out.

Use the other one, not the nana. Take her out.

Don'tjump in by the stairs.

You might stub your toe.

- 'F voyfre going to jump... " f J/m ] Viva, shuz' up./

jump over there.

Shuz' up./ You 're getting on my nerves.

- [ Viva ] Shuz' up yourse/fl - Benjamin, come on.

Here, boy. [ Kissing Sounds]

[Jim] He has to go to the bathroom. Don 't /et h/n? pee in the water.

- Don't pee in the water. - Look.

- Stop it! - Now you fell down. Now, watch it.

Mother - [ Chuckles ]

I wonder if we can keep them happy...

without boring ourselves.

- More. - More? See?

He's gonna go -

[ Gasps ]

- More. - Wait. We get dressed first.

- Qkay? - Qkay_

[Jerry] Then We 're gonna puz' the pants 0n.

Dry your back and your arm.

What do you want? Lunch? lt's only 2:00.

Ask Viva. Ask her.

[Jerry] Now push that.

- And push up there. - [Whispering ] l'm hungry.

And stand up now. Stand up.

- Up straight. - You're hungry?

- Yeah. - Oh, no.

- Stand up straight. - Viva, give me that dry towel.

- Soon. - [Jerry Making Funny Noises]

Soon. We'll have lunch soon.

- We're gonna have you for lunch. - [ Ringing ]

We're gonna have you for lunch.

Hello?

[Jerry] Ice cream and cookies -

We're gonna have a party for lunch. Want to have a party for lunch?

Gee, that's too bad.

[Jerry] Here goes your head now.

- It's this afternoon? - Are you ready for your head?

Let's go. Here we go.

Shirley's big meeting is this afternoon.

- Jim? - Lefs gez' your arms in.

- Now push. - Oh!

[ Jim ] Mary Pickford over here.

[ Jer/y ] Minn/e Pearl.

Oh!

[Viva] Here's the ball.

Ooh!

[ Viva ] Oh./ Why don 'z' you kids go p/a y outside ?

[ Jerry] Lefs gez' him. Lefs cuz' his hair.

[ Viva ] Drink your milk...

like a good baby.

Want some Dr Pepper in it?

Get me the Dr Pepper off the mantel.

- Get me the Dr Pepper! - Give me the Dr Pepper.

Okay. You'll like...

some Dr Pepper in your milk.

Then you'll be able to drink it.

- There. - [ Jerry] Lefs do i2' f0 Viva.

Now I got you. Take your shin' off

[ Jim ] D0 you Wam' to sta y with us forever?

Could I ever be a mother?

- Could she be a mother? -[Ch/'/d]N0.

- Could I be a father? - N0.

- Could he be a father? - N0.

- [ Jerry] Kid, whafs your name? - That's it.

[Female Chorus ] IA chi/d is a chi/d J'

./' /s a chi/d is a Ierrorf

./' Regardless there was Jane Withers ./'

./'And Jackie Coogan and Jackie Cooperf

./'And Margaret OBr/en and Elizabeth Ta y/orf

./'As a //'z'z'/e girl ./'

./'And there was Shirley Temp/e ./'

./' Who made in 7 .936 more moneyf

f Than the pres/dent 0f the United States J'

./' N0 Wonder she Wenz' info pol/tics ./'./'

I gave them 20 bottles of Coca-Cola.

I couldn't even read my newspaper at the pool.

- Oh, my head. - Took them to pee 30 times.

[ Chuckles ] I know.

Fed them lunch...

made them a special fruit salad, fresh...

- which they didn't touch. - [ Jim ] Viva.

Baked bread. They didn't even look at it.

All they ate was ketchup and french-fried potatoes.

And they won't even take a nap.

- Ketchup and french-fried potatoes - - Jerry.

The worst thing to put in anybody's stomach. - Jerry, Viva.

Go to sleep!

- We've got to find another way... - Viva.

- I know. - to spiritual life.

- We've got to find another way... - Viva.

- Into adulthood. - I know.

- Viva. - Children just aren't our thing.

Shut up, Jim! l'm still talking.

- [Child Fussing] - He's crying for his -

Why don'twe, um...

give the, um, little red things...

and some candy because they've been so good.

The reward? The Coca-Cola and the little red candies that taste so good?

- You want to take a nap? - You want some candy, honey?

- You want some candy? - Let me give you some candy.

- You sit down here. - Good idea.

[ Viva ] Where is i2'?

- [ Jer/y] 8/2'. - [ Viva ] Gel' some candy.

Come on, sit down.

- [ Exclaiming] - Come over here. Stay right here.

Come on, sit down.

Here's some candy. Looky, Benjamin. Candy.

It's candy time.

- [Child ] He doesn't like it. - This one is for you.

- “Cokie-Cola.” - Open your mouth. Just take it.

No, wait. First you get candy.

[Jim] “l am St. Augustine.

I came to Carthage, where a cauldron of shameful love...

seethed and sounded about me on every side.

- N' [ Jerry, Viva Humming ] - I was not yet in love...

but I was in love with love...

for there was a hunger within me from a lack of that inner food...

which is yourself, my God.”

[Jerry] “l am St. John of the Cross.

Rhymes of the soul in an agony of longing...

to see God.

Living, and no life in me.

Upon a quest of love...

hope sturdy and steadfast...

I flew so high, so high...

I caught the prey at last.”

- “l am St. Teresa of Avila. - N' [ Jerry, Jim Humming]

I wish I could explain with the help of God...

wherein union differs from rapture...

or from transport, or from flight of the spirit as they speak...

or from a trance, which are all one.

But rapture, for the most part, is irresistible.

It comes in general as a shock, quick and sharp...

before you can collect your thoughts or help yourself in any way...

and you see and feel it as a cloud...

or a strong eagle rising upwards...

and carrying you away on its wings.

I repeat it -”

“Why then are you perverted...

and still following after your own flesh?

Let it follow you who have been converted.

There is no rest to be found where you seek it.

- Seek what you seek, but it lies not where you seek it. - [Viva Reading ]

You seek a happy life in the land of death, but it is not there.

How can you find a happy life where there is no life?”

[All Reading, Voices Overlapping ]

“...my eyes were dazzled, so I conquered in the dark.

I gave a blind, black surge for love, myself surpassed...

and went so high, so high...

I caught the prey at last.”

[Voices Overlapping ]

"'...seeing that we must be carried away, however painful it may be.

And so trying this...

that I would very often resist...

and exert all my strength.”

[Voices Overlapping ]

“Yet I went so high, I went so high...

so high I cried.

I caught the prey at last.

Then marvelous I made a thousand flights in one...

and I went so high, so high.”

Max, last time we worked it out pretty much.

We were well on the way.

Now you're coming back to us with a whole new twist and turn.

It's like old Hollywood, Max.

We're giving you something you don't have.

This is the new cinema. This is what's going on now in films...

and your studio doesn't have that at all.

And this gal has proven she can handle it.

She's done it before.

I don't know.

Artistic control is good and fine up to a point.

She can make her film, she can deliver it to us...

but then it has to be previewed.

We have to test the audience reaction...

and if the audience reaction so requires...

we have to be able to do something about it.

Max, I have a feeling something else is going on.

Are you not interested in this project anymore?

Listen, to a point, you're right. l'm not that hot about it.

This is at best...

a medium-size picture.

It could be a big hit, but chances are...

it will not gross as much as a big blockbuster would.

Max, wait. Just let me say something.

You know, you're right: lt's not a big picture.

- But sometimes we make investments - - [ Intercom Buzzes ]

Hold it one second.

All right. Yeah?

Well, that's okay.

Oh, no, nothing doing. Absolutely not.

Well, tell him to go - All right.

But no, under no circumstances. That's okay. Thank you.

- Max, you interrupted my best speech. - l'm sorry.

I want to tell you something.

Sometimes you make a little investment for the next step.

You know that, and I know that.

Now, the girl's got to have creative control.

Otherwise, there's no reason for her to be here.

She's a director. She's not an actress.

Max, she's got the track record.

You've seen her films. You know what she can do.

- And this is on the basis - - Steve...

- ls it a question of dollars? - Let me say this.

She can have creative control.

We won't stick our head into this...

during production, during editing.

Let her deliver the finished film.

And even when we preview it...

we will consult with her about making any cuts.

But in the end, it has to be our decision...

how the film goes out to the public.

And I won't yield on that.

This final say about how the fi/m goes out f0 the public...

has to remain with this company, and fhafs i2'.

[ V/vais Voice] You 've goz' a new outfit...

- a new outfit, a new outfit - [ JenJ/s Voice Whispering] You look White.

You look White.

[ Ha/'s Voice] /m'0 the area 0f creative contra/s -

[ Maxis Voice ] We have to have control 0f the final cuz'.

[Hal] Whaz' seems to be troubling you? Everything was jusz' sweetness and l/ghz' -

[ Jer/J/s Voice Whispering] /z"s the “in " be verage...

in Be ver/y H/l/s...

Be ver/y H/l/s...

Be ver/y H/l/s.

[ J/mis Voice ] You are real/y looking forward ..

to make the fi/m.

[ Sh/r/eyis Voice] Nervous/y, nervous/y, nervous/y.

[ V/vais Voice] They Wam' to be in your fi/m, Shir/e y.

- /n your fi/m, Shir/e y. - [ Jim 's Voice ] Shoot r/ghz' here.

You don '2' need anything, n02' even money!

N02' even money!

[ Ha/'s Voice ] Does Shirley Wam' to do a Hollywood picture...

at what, t0 her, is going to seem to be a2' a// costs ?

[ Sh/r/eyis Voice] Hollywood.

H-O-L -L - Y- W-O-O-D.

Hollywood. Hollywood.

[ Car/osis Voice ] A/so, /'z"s going back to the sea...

in a few weeks ora few months.

[ Viva 's Voice ] /z"s a fake bird of paradise, buz' i2' /ooks prettier.

/z' looks prettier.

[ Jer/yis Voice Whispering ] / don 'z' mind plastic flowers...

excepz' when the y are mixed with rea/ ones.

[ J/mis Voice] ./' Sometimes ./'

IA plastic woman ./'

IA plastic woman ./'

IA plastic woman ./'

[ V/vais Voice] She is fantastic.

She is the besz'...

the besz'... the besz'.

[ Sound 0f Camera Wh/rr/ng ]

[ V/vais Voice ] lth/nk /'m in a dream, buz' /'m n02' sure.

/'m either in a dream...

or /'m in love with my eyes open.

I think being in love...

is dreaming with your eyes open.

I don 'z' know where the dream begins...

or Where i2' ends.

/see the two that /'m in love with...

buz' I can 'z' seem to reach them.

[ Jer/J/s Voice Whispering] / fra ve/ed centuries ago...

0h, centuries ago...

miraculous/y through the sunrise...

s/fl/ng the sunset flower...

out/iv/ng hundreds 0f thousands of lives.

I don 'z' need anyone f0 z'e// me...

that I was bom...

that I am living, that I am going t0 die.

I used to piss in the rose garden...

in front 0f the //'tt/e girl across the street

[ J/n7's Voice Whispering] The man who says nothing...

who does nothing...

who goes nowhere...

who is nothing -

this is the man f0 be.

f D09 Barks ]

f D09 Barks ]

f D09 Barks ]

[ D09 Barks ]

[ DQg Barking ]

[Coughing 1

l'm sorry.

I just can't do it, Agnés. l'm sorry.

L'm not an actress...

and I wouldn't take pills anyway.

And, you know, this whole thing, it's not my style.

Imean, if-if-

if I was really gonna do something...

I certainly wouldn't kill myself about not being able to make any goddamn movie.

As far as l'm concerned, if I never make another movie...

it's all right with me.

The only thing that I really care about...

is if something awful happened to my daughter, Wendy.

Anything else is just absolutely - I don't care.

And if I was gonna kill myself about some goddamn fucking guy...

I wouldn't be here, and he'd be in New York.

L'd slash my wrists or something dramatic.

You'd see blood all over the place.

But...

I wouldn't do it here.

And -

I mean, no.

I can't.

I know I said I would, but I just can't.

L'm sorry. Not for any Hollywood producers.

[ A gnés ] Bu! you have fold me you Wanted t0 do it.

- [ll/Ian] Voulez-vous couper? -[Agnés] Non, ne coupe pas.

[Man ] Don 'z' cuz'.

[ Shirley] Bu! I d/dn '2' know it was gonna be l/ke fh/ls.

[Agnés ] /'m trying to make a m0 vie.

[ Shirley] / understand. /'m for you.

I wanted f0 help. Thatis W/7 y I said I would do i2'.

- [Agnés ] The show musz' go on. - l/mow. lheard that I00.

- /'m n02' an actress. lfee/ like a nuz'. - [Agnés ] /z' has to be done.

Bloody pills.

[ Shirley] You do i2'. Thafis Whaz' I told you to beg/n with.

- l'm trying to make a movie, and - - R/ghz'. You do i2'.

- /z"s your sto/y. You do i2'. - It has to be done.

You should have done it, really.

Agnés, /'// 27y. A// r/ghz'?

- Yes, do it. - /'m sor/y, real/y.

l'm sorry. You're right. Okay?

Ru try.

Yeah. I don't promise...

but let me... give it a try.

L'm so embarrassed about the whole thing.

Well, we cannot stop the movie...

because you have problems of being an actress.

Yeah, it's that. I mean...

it's vanity, it's all that kind of shit.

Look, here they are, right?

[Jerry] Let's go in and watch television.

[Jim] I don't know if I want to see any more of that.

[Jerry] The news really brought me down.

[ Jim ] The whole party came down.

[Jerry] But why Kennedy? Why do they always shoot Kennedys?

[ Jim ] Why do you always lose things?

Should we wake Shirley?

[Jerry] l'm sure she knows.

Somebody is sleeping in my bed.

Get out of my bed.

He)', lady, shoo!

[ Chuckles ] lt's Shirley.

What is Shirley doing in the bed?

- [Man On 7 V] This /s the scene at the Ambassador Hote/ - - Oh, my God.

Look at this. Viva, Jerry, look at this.

“Showing the mass confusion after Senator Kennedy...

- [ Jerry] We 've seen this already. - had jusz' completed his v/cto/y speech.

He had gone off to the kitchen area, and some shots rang out.

News cameraman James Wilson fi/mea' this picture...

of Senator Kennedy lying 0n the floor.

The crowd around him was panicked, screaming in disbelief

Some 0f them tried to talk to him as the y suppo/Ted his bleeding head.

- /t was reported that the senator was conscious at that t/'nve. - [ Jar/y ] I oan 't watch this.

He 's been transferred from Central Receiving Hospital...

- to Good Samar/Ian Hospital. - [ Jer/y ] Tum i2' offi

[ Jim ] N0, leave the picture. K/'// the sauna'.

We've got a bed visitor tonight.

Here.

[N0 Audio ]

[Phone Ringing]

[Ringing Continues ]

[Ringing Continues ]

Hello?

Who?

Yes, hold on a minute.

Viva?

- Yeah? - Viva, telephone.

Really? Oh, hell.

Hello?

Who is this? Who?

- New York? - ls Shirley still here?

Hi.

What? Are you kidding me?

You mean it's really true?

Is he dead?

[Jim] The TV/s sl/l/ on. Look a2' that.

They're showing it over again.

[ Viva ] Andy Warhol Was/us! shoz'.

- You're kidding. - N0.

- Look at this. What are these pills - - [ Viva] What'?

- These pills. - Hey, these are those pills.

- Look at this. - What hospital?

Wait a minute. l'm gonna get -

Shirley, Shirley.

L'm gonna get some coffee.

L'll call the ambulance.

I have to hang up. Bye.

Oh, what am I gonna do?

Shirley - Wait a minute.

Operator, will you gez' me the police emergency?

9076 St. Ives Drive.

Hurry up. Somebodyjust took an overdose of sleeping pills.

Bye.

[Groaning Sob] I can't stand it!

F Jef/y j Shh/

Shirley...

Kennedy, Andy -

E ve/ybod y's dying!

Wait a minute.

[Jerry] Call a doctor, Viva.

Id/d. The ambulance is coming.

Oh, e ve/ybody around me is just d/s/hfegrat/hg.

- My God. Put this on. - When is i2' our tum f0 go?

[ Jim ] /f We had taken her t0 that party, this Wou/dn 't have happened.

Jerry, help me. D0 something. God.

- / don 'z' know Whaz' to do. - Rub her hands. D0 something.

- [ Jerry] Viva, hold this a minute. Shirley - - Did you call somebody?

- Yeah. - Who 'd you call?

- The police. - Shirley?

- Shirley. - [Jim] Shirley, come 0n.

[ Viva ] Gel' her up.

- Get her up. - [ Jer/y ] Shirley?

- Hey, Shir/e y. - [ Jim ] Have her drink some coffee.

[ Viva ] Shir/e y, Wake up.

Wake up. Slap her.

[Jerry] She took a Who/e bait/e ofp/l/s.

- [ S/aPP/hg/ - Wake up. Wake up.

Here.

[Jerry] Look, the/re all over the bed.

[ Jim ] Shir/e y.

[Siren Wailing]

Senator K ennedyis breathing is good...

and unassisted.

His hean' is good.

He 's unconscious...

and the doctors describe his condition...

as ve/y critical.

[Man On TV] When World War // began, Ambassador K enned y's family...

[ Jim ] /f the/re showing this, he's dead.

...h/'s mother and two sisters...

Kathleen, who d/ed /n 7.948 in a plane crash, and Eunice, a2' lefz'.

[ Jerry ]And Teddy was in a terrible plane crash some years ago.

[Man On TV] .../'n 7 .943, before entering Harvard

He soon lefz' fojo/n the navy, having asked f0 serve...

aboard the destroyer named after his brother Joe...

who was killed in act/on the year before.

[ Jim ] /s their luck real/y lucky?

[Man On TV] Returning f0 Harvard in 7946...

Robe/t, with three fellow members 0f the football team...

posed on the steps 0f the Vars/zj/ Club.

He played end that year.

He graduated in 7.948 a2' 22...

and entered the Un/vers/zj/ 0f Virgin/a as a law student.

[Jim] /s that his wife?

[ Viva ] Yep, fhafs his wife, Ethel.

- Dark eyebrows. - [ Jim Laughs ]

You make l/ghz' 0f everything.

[Man On TV] Robe/T and Ethel sta/Ted to raise a family...

which now numbers 70 children.

[Jim] He 's deaa'.

- He is. He's dead. - I knew he was dead...

when I saw the first playback.

All that blood in the head?

[Jim] Mm.

- Kennedy res/gned the comm/flee in 7 .959 - - Give me the phone.

[ Jim ] Here i2' is.

After John Kennedy defeated former Vice President Nixon in 7 .960 - - [ Phone D/e/irlg ]

[ \/iva ] Mount Sinai? /'a' like to speak...

f0 the nurse in charge 0f Shir/e y Clarke.

[Man On TV] The younger K ennedyis pursuit 0f justice...

won him the confidence 0f the m/hor/Ty groups.

Robe/T Kennedy also was -

Thank you. Hello?

Yes, l'd like to know how Shirley Clarke is.

Viva.

Could I speak to her?

Sure. I understand.

Okay, thanks a lot. Bye.

She's much better, but they don't want anyone to talk to her...

because she's still nervous.

[ Scoffs ] But she's not in any danger?

- Did you ask if she's in any danger? - No, she's okay.

- Who are you calling? - New York.

Robe/T was greeted as a teenage idol in schools and factor/es.

[ Viva ] We can pick her up tomorrow if she 's better

Intensive care sect/on.

Yes, /'d like f0 speak to the F/l/p/no doctor.

Hello, Doctor. This is Viva.

Yes, mm-hmm. How is Andy?

SI/l/ 50-50?

Better? Okay.

Well, if he happens f0 - Any change, will you ca/l me col/eel'?

Thanks. Bye.

[Phone Hangs Up]

[ Viva ] He's eating with chopsticks!

Gee, he could do everything.

[Man On TV] . ..Kennedy stopped at Saigon 's a/rpon' for one hour.

Of course, in 7 .962, there were far feWerAmer/cans there...

than there are now.

On the island of Bali, the Kennedys were greeted...

- [ Viva ] He's in Hawaii now. - with tradifiona/ flowers.

I2' was a romantic stop in their political four 0f the war/a'.

- [ Jerry Thereis the pape/ - f VII/a l The pope.

- [Jim] He's dead I00. - [ Viva ] ls he dead?

- Don 'z' make fun. - Who's making fun? What else can you do?

- Don't say that. - I mean, “fun” -

- l'm gonna cry in a minute. - lt's a national pastime, televised death.

You have to make fun or you get crazy.

- I don't want to get as crazy as they are. - These parades!

There are more soldiers than people.

[Man #2 On TV] We interrupt this special...

with a prerecorded announcement by Press Secretary Mank/e w/cz.

lha ve a shon' announcement to read...

which I will read, uh...

a2' this time.

Senator Roben' Francis Kennedy...

died a2' 7:44 a. m. today...

June 6', 7.968.

I/l/ith Senator Kennedy at the time ofh/s death...

were his Wife, Ethel...

his sisters, Mrs. Stephen Smith...

and Mrs. Patric/a Lam/fora'...

his brofher-in-law, Mr. Stephen Smith...

and his s/lsfer-in-law, Mrs. John F. Kennedy.

He was 42 years 0/0'.

Thank you.

[Bell Tolls j

f! [ Man Singing “Dies lrae” ]

lam praying for your husband...

Whom /so much respect...

and I am praying for our count/y...

in this period ofgreaz' national tragedy and per/l.

You, your husband...

and your entire family have been mosz' comforting...

to my family in our times 0f gr/lef and d/ffibu/zy ..

and I am prepared to do anything...

which may be 0f some service...

or consolation to you now.

Sincere/y, Mrs. Ma/T/n Luther King Jr.

[Man On TV] The funeral co/Tege has jusz' arrived...

a2' L 0s Ange/es International A/rpon'...

where the presidential plane waits t0 franspon'...

Senator K ennedyis body to New York.

One fine man after another gets shutdown /'n public...

just standing there...

and Whafs happened?

.../'nz'0 the airplane.

The family members of the pa/Ty leave their cars -

[Foreign Accent ] /n this country a ve/y big misconception about freedom.

Because nobody needs a gun -

[Man ] Now the members 0f the family...

are surrounding Robe/T K ennedyis casket...

on the l/fz' truck...

and i2' begins f0 raise them up...

toward the from' door of the airplane.

Now a2' the proper /e vel...

m0 v/ng awkward/y around the main burden 0f the l/fz' truck...

the women enter the plane...

then the men //'ft up the casket'...

covered with the dark purple cloth.

I think Senator K ennedyis loss is a national loss.

Although man y Americans did n02' agree with him...

and did n02' Wam' f0 puz' him in the White House...

lbe/ie ve that We don 't Want these things decided...

by political assassination.

We feel We should be a count/y pol/T/ba/A/ mature enough...

that this kind 0f thing is entire/y unnecessa/y...

and in facz' disgraceful.

[Man ] Engines are sfa/T/ng -

lth/nk that violence begets violence...

and that Kennedy advocated a violent fore/gn policy...

and, uh, the people...

who he was advocating that policy against struck back violent/y.

Lez' us resolve before God...

and before each other...

that the purpose 0f progress and justice...

for which Robe/T F. Kennedy lived...

shall endure.

[Jerry] I think you two are in love with each other.

Your eyes are really blue.

The Whites of your eyes are real/y b/ue.

Your eyes are -

No, they're bloodshot.

Little red things...

- radially running - - [All Chuckling]

Running to the center, sort of like Washington, D.C.

[ Jerry 1 _ Your eyes are so blue, it's fantastlc.

Or Paris.

- Has he ever been to Paris? - Mm-hmm.

And your eyes are as green as -

What color are your eyes?

Look at me.

Look at his eyes.

The/re eve/y color. Lez' me see.

They're sort of gold around the pupil...

yellowish there, and then aquamarine.

Thereis a lift/e cha/Treuse in there too.

- Open your eyes. - Hmm-mm.

[Jerry Laughs]

He wouldn't open his eyes because -

- Look at the color of his teeth too. - Look at this landscape. lt's beautiful.

This is not a TV dinner.

This is a landscape dinner.

And we are watching a landscape, and you're watching a landscape.

But l'm in a movie, and you're not.

[Taunting Gibberish ]

That was such a childish thing to do.

We have to become mature if we're gonna be gods. I read that book.

Then be quiet and look at the view.

- [Jim] Taste the pudding. - [ Viva ] The pudding.

- Mmm! - lt's fantastic.

Now taste the rice.

Thank you, God, for this pudding.

- [Taunting Gibberish ] - [All Laughing]

[ Doorbell Rings]

Eddie! What are you doing here?

I got tired of watching television. I wanted to see somebody alive.

Well, l'm not very alive.

L've been watching television all day myself.

[Viva] Mm. Mm!

Mm! Mm!

Eddie -

Are you trying to get back into the old swing of things?

L'm living with these two fantastic boys, Eddie.

We're just getting to this fabulous stage...

of... of love...

and I tried it as an experiment...

but now I love the experiment.

- Yes, I knew that. - How did you know?

- I can't start all over again with you. - [Phone Ringing]

Telephone's ringing. Damn it. You should -

l'm sorry. Sorry.

Eddie, why don't you stay and have some coffee with us?

- Stay. Have some coffee. - Viva, telephone.

Viva, telephone.

./'./' [ Rock /

xx [ Ends ]

Viva, did you want some coffee?

[Jim ] Yeah. If I were him, I wouldn't go in there.

What do you think of my idea?

The assassinations - they're all a Ku Klux Klan mark.

KKK - Kennedy, King, Kennedy.

- [Jerry] Can't be. - I can't believe that kind of thing.

What a mess this place is. Will you help me clean it up?

Yes, anything to please you, madam.

You shouldn't have to do everything.

L'll get a broom, and you hang up the clothes.

I mean, ljust can't live like this anymore.

At your service, lady.

[Jim] l've been saying it for how many weeks? lt's disgusting.

[Jerry] If you think I may get involved emotionally...

about cleaning, l'm not.

[Viva ] You've been saying it for how many weeks?

- But you haven't done anything about it. - I can't. I tried...

but then everything just goes crazy.

[Viva ] You don't try very hard.

[Jim] I did try. I used to try. I gave up trying.

- Anybody drinking this coffee? - [Jerry] You can have it.

- I don't want it. - lt's cold.

[Viva 1 ru get rid of n.

Anyway, Jim's taking care of his face.

He won't help.

[Jerry] I tell you, how would you like to have your breakfast...

just some ashes and coffee?

There.

Put any more food you find on this tray.

Let me take it.

Have you got it?

These Kennedys are pretty courageous.

[Jerry ] That's the human level. That's the human scene.

[ Viva ] S0 sad.

Those poor kids.

1v I P/pe Organ /

[ Choir] J' Hallelujah ./'

J' Hallelujah ./'

J' Hallelujah, ha/le/ujah ./'

J' Hallelujah ./'

J' Hallelujah ./'

J' Hallelujah ./'

J' Hallelujah, ha/le/ujah ./'

J' Hallelujah ./'

./' For the Lord Goa' omn/pofenz' ./'

./' Re/gnefh J'

J' Hallelujah, ha/le/ujah ./'

./' Hallelujah, ha/le/ujah ./'./'

./'./'[ Fades ]

[Man On TV] And the flag is lowered in respect...

as the ZO-car train passes slow/y...

by Trenton 's Grand Central Stat/on.

Oh, it's so good to be home.

- L'm sleeping in the middle tonight. - Okay.

Alone at last.

[ Jim Groans ] Oh./ We forgot to puz' the qui/z' on the Window.

[ Jerry] l1' doesn 'z' matter. Lez' the sun shine in tomorrow

[ Viva ] Good n/ghz'.

[ Shir/e y ] Ah, Viva, the cowboy nurse. How nice.

I stole your vest. I hope you don't mind.

Of course not. This is beautiful.

- [ Kisses ] - And real flowers too...

but so much.

- Do you want anything else? - No, this is just marvelous.

Yes, my hat. My magic get-well hat.

- Where is it? - Right behind you on the table, please.

I have a magic: shooting hat, a magic: editing hat. M/ght as well ha ve a magic: ge t- well hat.

Why do you always wear a hat? Think fast. Catch.

I must be feeling better.

Why do you always wear one?

Just, you know, I like it.

Ah. Wonderful.

Everything on everything, huh?

It's too much, too much, too much.

Eat everything.

The picture of you is sweet.

[ Chuckles ]

Real/y, if I had appetite, / would eat the Who/e thing.

/z"s nectar and ambros/a compared f0 the hospital f00a'.

l'm keeping my left eye on you...

while I finish this puzzle.

- Loan'! even Watch television. - Who wants to?

I would like to see the shots. / guess they'// rerun them.

/z"s absolute/y ridiculous in the hospital. They wou/dn'! let me watch 7V

- [ Car/as ] Hello? - Hi, Carlos.

[ Shirley] Car/as, how nice. Our h/stor/lan has arrived.

- How are you, darling? - Divine.

- [ Kisses] Brought you this. - How sweet.

Would you put it on the David statue over there?

I looked for your picture in the paper this morning,

I cou/dn 'z' find it - n02' even the back page.

Competition is getting fierce in this town.

As they say, tantp/s.

I brought you this as well.

“Cataclysm: the Sins of Hollywood.”

That really is too funny. That's just the thing.

I bought a poster like that for the kids the other night.

The day she flipped out. Oh, I forgot we weren't going to talk about it.

- You said the wrong thing, buster. - Sorry. So silly of me.

[ Viva Thinking] N01' as si//y as this m0 vie you 're making, A gnés.

Carlos, do me a favor and put the tray over there, please.

Sure.

You should have never come to Hollywood, Shirley.

- Hmm? - You should have never come here.

You should've stayed in New York, at the Chelsea.

I could have brought you all kinds of stills...

photos, records, posters...

to make your fi/m on Hollywood there.

You could have made your mo vie in New York.

But it's not the same thing. This is the actual, physical place.

There never was such a place as Hollywood anyway.

It was always a mining camp with service from the Ritz.

You mean, I won't be able to be the new Greta Garbo...

the new Marlene Dietrich...

the new Theda Bara, the new Rudolph Valentino?

[ Car/as ] Hollywood 's a state of mind. Nostalgia.

./'./' [ Sentimental]

/f you listen to the people who were here then...

the y were plain folks doing their thing.

./'./' [ Jazz]

Buz' to the resz' 0f the World, i2' was real/y Sodom and Gomorrah...

Where stars fuck on an epic scale.

- [ Viva ] Don 'z' the y do i2' anymore ? - [ Shirley] Of course the y do.

Whaz' else is Hollywood buz' Bab y/on and sunshine ?

[ Car/as ] And also lemon groves...

which had f0 be pulled ouz' t0 bui/d the studios.

xx [ Ends ]

./'./' [ Honky-tank ]

[ Carlos ] Thereis no film museum in Hollywood...

unless you call a museum the Wax Works on Hollywood Boulevard

And thereis no c/nematheque either.

/1"s as if Hollywood were ashamed of its pasz'.

./'./'[ Continues ]

xx [ Ends ]

The rea/ museum 0f Hollywood may ve/y Well be Lar/y Edmunds Bookshop...

- If [ Tack Piano ] - Where all the memories 0f Hollywood...

are so/d in //'z'z'/e parcels 0f nostalgia...

to fans a// over the war/a'.

Between 7.925 and 7935...

more was Written about Hollywood than about any other pa/t of the hat/on.

Eventually, the intellectuals began t0 arrive."

Bernard Shaw, Aldous Huxley, S002'! F/Izgera/a'...

Faulkner, Somerset Maugham...

and also Andre' Ma/raux, then the leading communist Writer.

[Phone Ringing]

[ Woman ] Lar/y Edmunds Bookshop.

Jusz' a minute, please. Mel, /'z"s for you.

[Man ] He//0.

Yes, ifs true fhatAndré Ma/raux was here.

He was here in 7 .936, speaking for the Span/sh Republic.

The movie colony and the movie stars...

raised enough money for two ambulances...

and then, before he left, the ambulances were s/gned...

by all the stars that contributed

He was here at the same time with Ernest Hemingway.

You 're quite Welcome. Bye-bye.

./'./'[ Continues ]

[Man #2] D0 you have any sill/s on Lillian Miles ?

- [ Woman ] We should have. - Yeah, she was a young star.

- / Woman ] Offhe 130s ? - R/ghz'.

P/af/num- White hair. Looked like Jean Harlow.

She did only about four movies." Man and a Woman...

and Grand Hotel.

- D0 you remember Moonlight and Pretzels? - Moonlight and Pretzels?

[Man ] Yeah. She was in that.

[ Viva ] Car/as, you 're faking over with your stor/les.

[ Shir/e y ] /z"s jusz' like a travelogue.

[ Carlos ] Well, the doctor said you 're noz' supposed to Watch television toda y...

so /'m giving you your ve/y own Late, Late Show.

f! [ Mid-tempo B/g Band]

/n those days, all roads /ed to Hollywood.

xx [ Ends ]

Viva, you would have loved i2' then.

Those were the days. Pa/T/es eve/y night.

A2' P/ckfa/r, Mary Pickford and Doug/as Fairbanks...

enz'en'a/'ned Mar/e, queen 0f Romania, and the prince 0f Wales.

./'./' [ Sentimental]

But now a/l they te// you is, “Charlie Chap/in used to live here.

This used f0 be the home 0f Mar/on Da vies. "

A// you see are these empty houses, l/ke the one we live in...

waiting for the ea/Thquake.

./'./'[ Fades ]

[ Viva ] Okay, Whafs divine?

[Jerry] Divine is free.

D/v/h/ty is where you leasz' expect to find i2'.

But there's nobody here...

and we're bags of meat.

[Jerry] And you're a bag of fish!

[Blows Raspber/y ] Ugh./

[ Spits ]

Fish is health food.

Fish is nonviolent.

[ Screaming ]

You tore my tail with your teeth!

Your rotten buffalo teeth!

- Yeah. - Buffalo Bill!

That's divine. That's divine.

My God! My God!

There's going to be blood! My poor tail!

Fish don't have blood-blood.

Look at it! Blood!

- Stop squeezing it. - Oh, my God!

You crazy bastard.

All right, you asked for it. You asked for it.

I suppose you think...

by biting a woman's tail...

you can put her in her place!

My ruined tail, wiped out!

Look at that!

[Scattered Coughing, Giggling ]

Disgusting! Get away from me!

You're divine. You're divine...

in your sea of eternity...

with your blood on your tail...

and anger in your eyes.

L'll put an end to your misery.

- [ Imitates Gunshot] - [ Cries Out]

On! [Wailing]

[Audience App/aud/ng ]

[ Whistling ]

[Jerry] This - This was an aquatic remake 0f The Beard...

and a salute to Michael McClure...

who Wrote the or/g/na/ one.

You ha ve just witnessed the premiere in this natural amphitheater.

The role 0f Harlow was played by Viva Har/oz'...

and the ro/e of Bil/y the Kid...

by your humble servant.

We were honored f0 pe/form in from' 0f you...

- the up-an d- com/n g gen era lion, the new aud/ence. .. - [ Boy Booing ]

- The future, the space future... - [ Cheering ]

The space-children future.

- You. You. You. - Flush it down!

I drink to America.

I drink to her violence...

I drink to her wars...

I drink to her highway deaths...

I drink to her poverty...

I drink to her wars...

I drink to her cows...

I drink to her movies...

and I drink to you...

and I drink to me...

and I drink to hair, and I drink to, um, money...

I drink to fame...

I drink to all the movie stars...

I drink to my family...

I drink to the airplanes...

and I drink to, um -

I have a little bit left.

Who should I drink that to?

Hmm?

Mmm! lt's all gone, Mommy.

L'm, uh - l'm an actor...

and ljust go into a part...

but no matter what that part is, l'm myself...

because I think my self has all things in it...

and all people, and, um -

Let's see. I wonder what this is gonna look like.

Looks different.

Iam making this film...

because A -

I thought I would be given a script to read...

with lines to memorize...

and I thought it would be so easy.

I always wanted to do a really romantic, tragic...

soap-opera type love story movie...

with memorized lines such as...

“Oh, darling...

I didn't know you had cancer.

What are we going to do now?

Who will pay the hotel bill?”

But instead, I had to make up my own lines once again.

B - l'm so tired of being...

either-and-or...

naked-dash-raped in movies...

that I thought it would be great to wear some clothes for a change.

Not that I have anything against nudity.

If I had a body like Raquel Welch...

I would never put my clothes on.

But in fact, l'm even - C - so sick of doing monologues...

that I would like to just breathe for one minute.

[ Exhales Forcefully]

[Agnés ] How long was that? Lynne ?

' f Lynne] What now? - How long?

Two minutes 24 seconds.

[ A gnés ] How long, Lynne ?

[ Lynne ] Thi/Ty seconds more.

[Agnés ] How long is i2' now?

[ Lynne ] F/fleen seconds more.

[ A gnés ] Total?

[Man ] Total 0f about 3:20.

[ A gnés ] Thank you. Cuz'.