All language subtitles for Cover Me Babe (1970)

Hello,

They call it total encounter.

I touch you, you touch me.

It's a form of therapy.

People are alone too much.

They don't reach out to each other.

This teaches them how to reach out.

The word is like the rest of them.

Part genius and part fake.

He doesn't know which part is which.

I'm talking like a loser.

That was a nice piece of photo.

I never saw it before.

I think it's tremendous.

It stinks.

You mean you don't like your own tone?

I used to think it was okay.

A little moldy around the edges now.

Maybe you should give back the prize.

Last year's prize, this year's joke,
Ronnie.

The whole

thing out in the desert, that whole
sequence.

Now, be honest with me, what do you think
that really, really meant?

Why don't you ask Tony?

Well, he says the whole point is that
there is no point.

So then what I want to know is
why did... I only photographed him.

Melissa, get away from him now.

He's contemptuous of blood.

He laughs at it.

He dirties it.

No.

I will wait for you outside.

Goodbye, Tony.

Good night.

I like the picture.

I enjoy being in it.

I never pretended to understand it.

Last year's prize.

Backwards.

I like it better that way.

Why do you always run your work down?

It needs it.

Student Film Committee called it a
statement of life.

A sensitive and imaginative
comment holding up

a distorted mirror to
love and sexual pursuit.

He memorized it.

I'm impressed.

You don't believe it, though?

They made the statement.

All I made was comedy.

Guy trying to take a girl's clothes off.

She built up a whole mishmash about sex.

A man going all out to get the girl's
clothes off.

Then at the end, all of a sudden,
switch.

There aren't any clothes.

There isn't a girl.

And the man doesn't give a damn.

Now, that's the part I don't understand.

Why don't you stop worrying about it?

Is that your ending?

Right with you.

Try the intercuts we talked about.

The MPI grants $3,000.

What makes you think I'd recommend it for
this?

My innate optimism.

Based on what?

You haven't even presented an idea.

All you've got is a title.

It's not a bad title.

That's a matter of opinion.

Yeah?

Is that why you're not going to back me?

You're going to judge me by the title?

I think it's possible.

The ventriloquist dummy labored and gave
birth to a ventriloquist.

What's it about?

I don't know.

I haven't shot it yet.

I'm familiar with the technique.

No script.

Just turn the camera and hope to God
something happens before the film runs out.

You don't like me, do you?

No.

But that's not why I'm shooting down your
grant.

I imagine there's a court of appeals.

You still have time to write a script.

Synopsis would do.

Give me a storyline.

Don't build fences around me.

Of course, I could
always write a storyline

and then shoot what I
damn pleased, couldn't I?

What are you shooting for?

Hollywood?

Documentaries?

Teaching maybe?

Not teaching.

Well, if it's Hollywood, that kind of
stuff will get you no place.

Would that upset you?

I finished the screenplay in original.

It's with an agent in Beverly Hills,
Paul Rogers.

Congratulations.

He hasn't been able to sell it.

He asked the other day if I knew any hot
young directing talent.

You'll probably be hearing from him.

I don't need a consolation prize.

I'll make the film with or without you.

I can't stop you from using the equipment.

Raw stock and developing is your own
problem.

That's all.

Why would you talk to an agent about me?

Because it's my goddamn job, whether I
like it or not.

Then I don't have to thank you,
do I?

I'd prefer it that way.

It's

an unadulterated lust.

Okay, coming up, you've got a guy in a
suit.

See what you can do.

Get this guy.

Get him.

Keep going, honey.

You're doing okay, honey.

Shut up!

You're sleeping with him, of course.

That's a damn stupid question.

It's not a question.

I made a statement.

Have you any idea what's been happening to
you the past few weeks?

If you mean I've changed, yes.

I'm not the same girl you knew him.

I'm nothing like her at all.

How did he manage that?

He shows me the way things are.

He makes me feel alive.

I was a child before I met him.

Yeah, it puts me in an interesting
position.

Could get 20 years for child molesting.

Would you enjoy being punished for it?

That's Tony talking.

I don't like that.

Will, would you do me a favor?

Would you do yourself a favor?

Just try to forget.

Forget what?

Me and everything that ever happened
between us.

I'm not sure I could manage that,
but I'll try to think of it as you seem to.

Year -long romp in the hay.

This is the whole story?

Who said anything about a story?

It's a cutting continuity.

The way I'm putting together this stuff
I've already shot.

I have to be honest.

I think it's pretty awful.

I'll kill myself.

I mean it.

All I see are a lot of unrelated scenes.

Where it's like a menu.

Nothing makes sense.

You may charge me with murder or want of
sense.

We are all of us weak at times.

But the slightest approach to a false
pretense was never among my crimes.

T.S.

Eliot.

Lewis Carroll.

Hunting of the snark.

A masterpiece of confusion which makes it
a masterpiece of logic.

Tony, would you say something once in a
while I could understand?

It would be very good for my ego.

The world is completely fussed up and you
insist on sense.

Does war make sense?

Does cancer?

How about a happy little freeway smash up?

This may not make sense, but there's no
pretense either.

It's true.

It happens.

Did you hear the news yet?

Will Ames just announced the MPI grant.

Guess who got it?

Steven Winston got it.

Bully for Steve.

We all thought it would be you.

With Uncle Will running the show?

I gave odds.

I lost five bucks.

I should have warned you, Ronnie.

I wasn't wearing blinkers.

Whatever the hell that means.

Well, I dropped my bombshell.

I guess it was a dud.

It could have been you.

The grant would have been laid in your
lap.

All you had to do was lift a finger.

I stole that from the TV track.

Tom.

It meant more than just lifting a finger.

What if I had to live by Uncle Willy's
rules?

I'm running to him with my film.

Do you like it, Uncle Willy?

Is it any good, Uncle Willy?

How about a big red star, Uncle Willy?

I wish you wouldn't call him Uncle Willy.

Do you mind?

Sorry, I forgot you used to bed down with
him.

Uncle Willy does sound a little
incestuous.

Tony, I know you've been hurt.

Please don't take it out on me.

Hello?

Yeah.

Tony Hall?

This is Paul Rogers.

I got your number from the film arts
department.

I'm an agent.

Are you still there?

Still here?

What is it?

Am I getting into a bad time or something?

I don't know yet.

What do you want?

I said I'm an agent in Beverly Hills.

I was wondering if we could have a talk
sometime.

Nothing important.

Just a little gag, you know?

It's not important.

Why bother?

Well, I didn't mean it quite like that.

I'm at a sort of get acquainted meeting,
okay?

I guess so.

How about next Monday?

Monday's out.

How about Thursday?

What happened on Tuesday and Wednesday?

Listen, if I got the wrong Tony Hall,
you're the kid who directs, right?

The kid who won a prize last year.

I direct.

I won a prize.

You looking for a kid, you got the wrong
Tony Hall.

What in hell is that?

Some friends dropped in.

Look, if you're not interested,
just say so now.

Did you say Thursday or Monday?

I said Monday.

You said Wednesday.

Five o'clock Monday, all right?

Fine, fine.

You know, I get the damn to stealing.

That kid's doing us a favor.

What don't you understand?

The whole thing.

Working without a script, without an idea.

I don't know where to begin.

Well, what about you, Jerry?

Are you comfortable?

I don't want you comfortable.

It's better if you hurt a little.

You want us to improvise, right?

Like the Committee of the Lark bit.

Actors make up the stories they go along.

What's the big mystery?

No mystery.

Except in this case, the director will be
a participant.

A guiding hand.

Guiding is toward what?

Sort of a dramatic blind date.

You don't know who's going to show up or
what.

Do you know Tony?

The director can't be passive.

He doesn't wait for something to happen.

He makes it happen.

He initiates the action.

He motivates.

Let's try it.

Could

we have an opening line?

Rockabye baby on the treetop.

When the wind blows, the cradle will rock.

I'm not inspired.

It doesn't matter where we start,
it's where we finish.

Okay.

Rockabye baby.

Rockabye.

Whose baby is it?

Whose would you like it to be?

Mine.

Jerry?

No, I don't think I'm ready for fatherhood
yet.

Melissa, how do you see yourself?

Urgent?

Whore?

Young, married?

Um, Sadie Sadie, married lady.

Jerry, are you ready for marriage?

To Melissa?

Yeah, that wouldn't be hard to take.

Not to Melissa, the character.

I'm ready.

What kind of a guy are you?

Bastard.

That always comes easy for me.

Melissa?

Try another opening.

Away birds away.

Take a little and leave a little.

But do not come again, for if you do,
I will shoot you through.

And that will be the end of you.

It's a bad night for birds.

It's always a bad night for birds.

Birds are for shooting.

It's their sole contribution to
civilization.

You don't agree?

Murdering a tiny handful of feathers.

What does a man think about when he pulls
the trigger?

His marksmanship, mostly.

Does he hit?

But not pain, not blood, never death.

Why are you so contemptuous all of a
sudden?

Contemptuous?

Of me.

Do you hunt?

You know damn well I hunt.

I like killing things.

You knew that before we were married.

Is this the scene?

Is it?

Did you know you used to hunt?

Yes.

But you never told him how you felt till
now.

No.

Why?

Maybe because things were different then.

Different how?

We were in love.

You don't love him now?

Yes, except...

No exceptions.

You love him.

Well, you don't.

He's been unfaithful.

An old-fashioned word.

A clue to your character.

Maybe.

Do you know the girl?

Yes.

What do you feel when you think of her and
him together?

Empty.

Sick.

Why this sudden holier-than-thou attitude
about hunting?

What brought that on?

Well, we aren't talking about hunting.

We're talking about you and me.

Oh, judging from that tone I'd lay odds,
we're going to torture each other.

Oh, well, torturing's
become a habit with us,

like eating and dressing
and bathing and praying.

How did praying get into this?

Give us this day our daily fight.

Oh, there's a hell of a prayer.

And forgive us our sins.

As we forgive those who sin against us,
don't forget that part.

As we forgive those.

How could I forget forgiving has become a
habit too?

What are you forgiving me for at the
moment?

I'm not sure that I am.

And what are you accusing me of?

I'm waiting.

What are you thinking?

What are you feeling?

I tell him I know about her, then
everything's over.

Is that what you want?

No.

What have I done?

I'd like to hear.

It's like slamming a door.

What does that mean?

If I tell you, I can never look at you
again.

If I tell you and forgive you,
then I can't look at myself.

So, just please don't make me slam the
door.

Remember this.

I have never loved anyone but you.

Jerry.

Jerry.

Jerry.

Jerry.

Jerry.

Stop.

Tony.

Tony.

Jerry.

Don't turn it on.

I need the dark.

A little stagey, isn't it?

How did it happen, Tony?

What happened, Tony?

Nothing happened.

If something had, would you have stopped
it?

I didn't have to.

The question's academic.

I let him touch me.

I let him put his hands on me.

You're a normal human being reacting to a
situation exactly as you were supposed to.

What situation?

A put-on?

Something we ad-libbed?

We never ad-libbed anything.

What you think was a put-on may be just as
real as living or dying.

Oh, don't tell me I lost myself in a
character.

I don't believe that.

Maybe lost between two characters.

The girl who was losing her husband and
the girl who was you.

No one can be two people at the same time.

Three people.

Four.

Every person we've ever known,
all in one instant.

We're like computers, being programmed by
other people from the day we're born.

They give, we take.

Then when a nerve is
touched, their data adds

up and we react, just
like you did tonight.

Not from any sense of right or wrong,
because you couldn't help yourself.

You were conditioned.

The computer doesn't know why it computes,
only that it does.

Congratulations, Tony.

Just got rid of sin.

God's on vacation.

Good and evil don't exist.

Tony, when I let him do that to me
tonight, who was I?

His wife?

When I fought him away, who was I then?

Melissa.

But also the wife.

An old-fashioned girl never allows herself
to be raped, even by her husband.

Tony, who are you?

Me?

Three people, four.

All at the same time.

How

far away is this place?

We called our job corner.

It's a hangout for the unemployed.

Any unemployable.

Get this.

My picture's ready.

We're gonna make you a star, Pop.

You know, if I had the money, I'd take me
to your picture.

Well, tell us all about it, Pop.

Then...

I walked out.

I kissed her off.

It was me who kissed her off.

Understand that?

She did not kiss me off.

I kissed her off.

What else could you do?

I was glad.

She was a... bitch.

Beautiful.

Beautiful woman.

Understand?

Yeah.

Bitch.

You never gave her any reason?

Reason what reason?

Nobody's perfect.

Suppose you turned around right now and
saw her.

This minute, suppose you walked up to you
and spoke to you.

What would you do?

What would I do?

You asked me what would I do?

A man must... hang on... to a self
-respect.

It's the most important thing in the
world.

How's the world look to you, Pop?

The world?

What world?

This world?

It's gonna be all right.

A good place.

This happiness in the world... still.

Even for an alcoholic?

The difference between an alcoholic and a
heavy social drinker...

is measured entirely by the size of their
investment portfolio.

Here you go, Pop.

Buy yourself a double shot of happiness.

Listen, you bastard.

I know what you're doing, so don't think
you're getting away with this.

Give me the camera.

Give me the camera and dump the film,
now, before I bust you wide open.

Officer.

This young lady is threatening me.

I hear you've been shooting some pretty
wild stuff.

Wild how?

Wild, good.

What's the chance of seeing it?

Remote.

Okay.

Incidentally, I haven't had a chance to
talk to you since they handed me the MPI

grant... but before they announced that I
told Will that they picked the wrong guy...

it should have been Mark Tony Hall.

I meant it.

But you don't think I'm sincere,
do you?

I do.

I'm touched.

Excuse me while I go throw up.

What do you got?

Huh?

Just a shot?

Forget you saw this.

When a man shoots film, he usually leaves
his mark on it.

This seems to be yours.

If it is, you've invaded my privacy.

You have?

Well, what's your opinion, Professor?

Do I get a passing grade?

I don't know what you get from me.

From a judge, you could get five years.

Speaking of invasion of privacy, which
is my primary concern, you stole that shot.

Maybe.

Or maybe I had permission.

You never can be sure these days.

Anyway, I doubt the performing artist
would testify.

If that gives you the right to degrade
them, I shoot what I see.

You shoot what you spy on.

I might just get you kicked off campus for
this.

Why don't you, Professor?

That might solve your whole problem.

Why do you want to know?

I just want to know if you ever saw it.

A telephoto shot.

A man and a woman on the front seat of a
car.

Tony ran it for me on the reveal.

I thought he might.

A quaint little scene, isn't it?

It happens every day, Will, all over the
world.

What do you think so moral about?

I'm not concerned about the people in the
car.

What they do is their own business.

I'm damn moral, though, about sneaking up
on them while they do it.

So he filmed two people in an act of love.

That doesn't make him an emotional case.

Doesn't it?

Think it over.

What are you trying to do, Will?

Frighten me?

I'd rather see you frightened than hurt.

Did you mention the car shot to Tony?

This afternoon.

What did he say?

I did most of the talking.

I told him I might have him kicked out of
school.

A list.

Leave him.

Get away from him now.

This isn't an affair.

It's a sickness.

I don't do this for a living.

I'd like you to know that.

I play parts.

Fits.

And pictures.

Maybe you've seen me.

Maybe.

What was your last job?

What?

I asked what was your last part.

Oh, Christ.

Ever run across a kid, Julianne?

Theirs?

I used to room with her.

About my age, a little older.

I met her in Oakland, the first time,
model.

She said it was a cinch down here for a
girl with a figure.

And I had a great one, she said.

I have, haven't I?

So I flew down.

Julianne.

You know in magazines, like...

like they're always telling about some
poor girl who's ruined by a man.

You know that's crap.

At least in my case.

After one year rooming with sweet Julie,
I had to prove to myself I was a real girl.

Oh, well.

I did have one part, though.

Guess what it was?

Tell me.

A hooker.

Is that a gas?

You didn't ask for my life history,
did you?

A lot of men do, you know.

What would you did ask for?

Is that all you want?

That's all.

Like they say, it takes all kinds.

You want me to smile?

Oh, yeah.

Aww.

Aww.

Yeah.

Yeah.

Oh, yeah.

Aww.

Aww.

At

this time, we're headed to our studio
commissary.

And if we're lucky, we'll see...
Let's tune in on a few things.

Numeru Uno, the man's a very smart picture
maker, about a hell of an egotist,

so don't wrap any picture the studio ever
made, particularly the stinkers,

and don't mention sex.

He's been impotent for 14 years,
the subject distresses him.

Now, the man has the hots for the
untalent.

He's ready to sign you
like yesterday, but he'll

make you like he doesn't
spit one way or the other.

Finally, he'll ask you, what have you
done?

That's your cue for the modesty act.

And don't bring up the prize, I'll tell
you.

Good Lord, Michael Annaberry.

Mike, hey.

Hi.

Oh, good to see you.

Michael Annaberry, Tony Hall.

Tony?

Tony's the director, first prize at the
student festival.

One of the young liars, huh?

Everything goes by the book.

We'll direct this first feature here.

You don't have any trouble, son.

Just listen to the actors, and the
writers, and the producers.

They'll tell you all about directing.

And the makeup man.

He's a whiz, too.

Anything I can do, knock up the door.

See you later.

Great guy.

A little over the hill now, but a hell of
a town on this day.

So, after 20 minutes' polite talk,
the man will give us the brush.

A week from today, he'll buzz me on a very
sentimental subject.

Money.

But with that nice young
Mr. Hall, expect for a

chance to work at a major
studio, learn the business.

This is a great opportunity, Tony.

I don't want to kill it by pricing you too
high.

So, just that we agree, what's your idea
of the figure?

What's he get?

At a very high.

I'll take 50%.

Hey, you've got to be out of your mind.

He's made 90, 100 pictures with big stars.

You've won a crummy college prize.

What makes you think you're in his class?

I'm not.

He's going down.

I'm coming up.

I'll meet him halfway.

Five minutes.

I wish I'd known sooner about your
schizophrenia.

If you don't want to keep the appointment,
it's all right with me.

Breaking an appointment with a man is
something no agent can afford.

Kid, don't make a damn fool out of me up
there.

Fellini will rehearse the scene for hours.

Changing dialogue.

Inventing business.

And then he'll shoot him.

Maybe 50 times, until he gets the effect
he wants.

By the time Fellini's satisfied, he
could wring the actors dry, not Fellini.

Doesn't the dialogue suffer?

Keep on repeating the same words over and
over.

Go stale.

Who cares?

Words are only symbols.

What counts is what an audience feels in
its gut, feeling the director puts there.

What are you trying to do, Tony?

Kill off the writers?

If possible, I'd like to knock off the
actors, too.

Hey, we could always fall back on
cartoons.

All-round people, plain, everyday people.

Never pretending, never fostering.

Just living and dying.

What do you do?

Shoot them while they're not looking?

Why not?

When nobody acts and
nobody writes, reality takes

over the ultimate in
theatrical entertainment.

Well, reality can be dull, too.

Suppose your plain folks just stand around
scratching themselves.

They'd have to be doing something
dramatic, wouldn't they?

Leave them alone long enough, they'll be
dramatic.

All the world's a movie screen.

Somehow I sense a note of familiarity.

Don't let it breed contempt.

Great as he never performed it.

No actors, no writer.

Yet it held 120 million people frozen in
their seats.

What picture?

No picture.

TV.

A man was being let out of a police
station, handcuffed between two guards.

A spectator in the crowd whipped out a
gun, slammed a bullet into his middle.

Prisoner had crunched, doubled over as if
he'd been punched, then fell.

Murder of Lee Harvey Oswald?

No actors, no writer.

Just life and death.

If that's what you mean
by theatrical entertainment,

it's good we don't
all share your taste.

Incidentally, along with writers,
you can also knock off the directors,

including yourself.

That scene was a news accident.

It wasn't directed.

Are you sure of that?

Might have been, you know.

Had the master's touch.

Anyway, it's an interesting thought,
directing reality.

Don't be polite, Ronnie.

Say good evening.

Obviously I'm being told to leave.

No rehearsal.

It was canceled.

The more purple Ronnie's character
becomes, the more pronounced his lisp.

What you're asking is
the more... I haven't asked.

What you'd like to ask,
but would rather not put into

words, is why the long wait
before I answered the door.

Frank there had to give Ronnie time to
compose himself.

He was being highly emotional.

Wouldn't you like to know about what?

Would you like to tell me?

Ronnie was being the complete homosexual.

He was weeping because he'll never be
pregnant.

That isn't funny.

It wasn't meant to be.

I think he's been dropping acid.

He's seen a little unstuck when he
arrived.

I'm surprised you let him in.

I had to.

I invited him.

Why, Tony?

I can't sleep.

It's an interesting thought.

What?

Directing reality.

No actors, no writers.

Just life and death.

Tony, what's wrong?

It's not unheard of.

Any number of queers have reformed
completely.

Led perfectly normal lives.

Trick is, you have to want to.

Since I'm definitely out of your pictures,
I explained you last night.

Since you are obviously
an unhappy creature,

why not take a shot at
the heterosexual life?

Understanding women might be just the
therapy you need.

You might surprise yourself.

I can't hear you, Ronnie.

I'm not sure that I could.

The human animal is a machine that does
what it's told.

All that is required is to feed it the
correct data.

Which comes from where?

Experience.

Whatever you see or hear or think or feel.

Whatever you are made to think or feel.

Take a look.

Director can't be passive.

He doesn't wait for something to happen.

He makes it happen.

He initiates the action.

He motivates.

He's a muscle.

He's a force.

I'll tell you that.

Turn off your mind.

Hi.

How was the beach?

I've been watching.

How did I miss you?

I wasn't there.

Hello?

Hey, Melissa.

Tony there, please.

It's Williams.

Yes, Professor.

I have a request to use the stage tonight.

About ten, yeah.

You didn't fill in the reason.

I'm writing my fill for a few people.

Maybe you'd like to come.

You've already had a private showing in
the cutting room.

Do you need the stage for a running?

Professor, you've tried to teach me how to
shoot film.

Don't tell me how to project it.

Have I got the stage or not?

You have it.

Is he coming?

How could he stay away?

I was beginning to worry about you.

Never worry about anybody.

Who else will be there?

Usual crowd.

I invited Sybil.

Who's our father?

Why should it?

My mistake.

Never did tell you about Sybil and me,
did I?

No, Tony, you never did tell me.

Why are you telling me now?

Well,

you turned around right now and saw her.

This minute, I suppose you walked up to
you and spoke to you.

What would you do?

What would I do?

You asked me what would I do.

Do you know the girl?

Yes.

What do you feel when you think of her and
him together?

Sick.

How's the world look to you, Pop?

It's going to be all right.

A good place.

There's happiness in the world.

Still...

I walked out, kissed her off.

Wish me kissed her off, understand that?

She did not kiss me off.

I kissed her off.

From that tone, we're going to torture
each other.

Well, torturing has become a habit with
us.

Like eating and dressing and bathing and
praying.

Give us this day our daily fight.

Tony, for God's sakes.

How did you get that sentimental finish?

I got lucky.

Some people might call it lucky.

Drink some of the other set, huh?

Drink I can use.

Tell me you've broken it off with her.

I have.

She doesn't seem to know.

Do you?

That's a strange question.

I wonder how strange the answer is.

How would I like to?

Unless it's something you want.

Is it something you want, Tony?

Let's go have a drink.

Oh, you're what?

I wonder if it's all up to you.

I can't leave you.

How would you get home?

I'll manage.

Well, this.

Why do you have to try?

It's just something about tonight.

You, not me.

What?

Tell me.

I wouldn't know where to begin.

It's just a feeling.

Not a good feeling.

It's like being in a charade without
knowing my part.

Stay around for a while.

Maybe the scene will play itself out.

It's only Ronnie.

See, the trunk, he's been undressing me
all evening.

If it was like that, does there are some
reward?

Kind of crazy, but...

Police!

Don't bother telling Uncle Will.

I'll make a change in the cast.

What do you want in this?

Tell him what you want, Tony, so then
we'll all know.

Well, until we see what happens,
let's just ad lib it.

We never ad lib, remember?

The words are always there waiting to be
spoken.

Who's speaking them?

Me.

Simple.

It's my character for the night.

Plain, ordinary, everyday, common.

Simple.

Common?

You should know.

And who are you, Ronnie?

Poor Ronnie.

He's really trying very hard.

Are you being your common self like me,
poor Ronnie?

Or has Tony created you in his own image?

If you're Tony, you don't have to worry.

After today on the beach, I'm easy.

It's all right, poor Ronnie.

No matter who you are, we'll make it easy
for you.

Welcome, Tony.

Closer, Ronnie.

I can't.

Do you want to?

Yes.

Then try, Ronnie.

Am I good, Tony?

It's what you wanted.

What took you so long, professor?

I thought you'd never get here.

No.

I'm not going to let you direct the end of
this scene.

I just did.

Yeah.

Tony?

Speaking Paul Rogers here.

What can I do for you, Mr. Rogers?

Well, I don't know how to break this to
you, but I guess it's best to...

Say it right out.

The man doesn't go for it, Tony.

In fact, he got mad as hell.

Hmm.

That's too bad.

It sure is.

For the man.

Well, you really are a prize.

I don't think you give a damn about it,
Joe.

You could be right.

Then maybe it's okay to ask you a
question.

I know it's a stinking time, but I've got
to move fast.

Go right ahead.

Well, the man's still burning up for young
blood.

What do you know about a guy out there
named Steven Winston?

The one who got the MPI grant.

You mean young Stevie?

Yeah.

He's your boy.

No trouble over script.

No problem about money.

In fact, he'll kiss both cheeks.

Will you please get the hell off that ride
you're on?

Tony, I still think you've got something.

I'd like to take you out to Warren's next
week.

This guy out there, fine producer.

Yeah, I'm listening.

Okay, so look, he's got a script that
needs work, but he's got a lot of promise.

Now, Pony A said he could be interested.

You couldn't do better than that.

Henry, I think we've got a collaboration
here.

Your brain and his scraping together,
we can find something pretty interesting.

So you say...

They can teach you, they can't hope to
reach you.

Who are they anyway?

Don't you say...

Don't you say...

Don't you say...