Original subtitles

Come here.

I conjure thee, oh evil and cursed serpent,

To appear at my wish and pleasure, in this place.

And within this circle.

Die, die!

You are dead!

Buried!

Never to return!

Oh no.

No.

No.

No.

No!

No, please.

No!

That's not how it happened.

Who said that?

Cut.

Cut it, I said.

What the hell are you doing up there?

You just blew my whole scene.

What about me?

My scene, blew.

I'm terribly sorry.

But it's just not the way Mrs. Beal committed suicide.

I know how she committed suicide,

So don't try to tell me how to shoot my picture.

I suggest you stay with the truth.

The story of the Beal family is more bizarre than anything

You can dream up.

Tell me about it.

I'll be happy to.

Now that Mr. Price, huh?

What's his first name, Vincent?

No.

Edgar.

Roll those cables.

Do you need this 10K now?

Wrap it up, Tom.

Eric, where do we go?

Where are our rooms?

On the third floor.

The third floor it is.

Oh.

Price, you just killed this whole scene for me.

You insulted my intelligence and embarrassed me

In front of the cast and crew.

Now none of that's gonna happen again, is that clear?

My apologies, Mr. Hartman.

But I only acted in interested of the truth.

An assumption, apparently, that does not interest you.

Everything about the Beals interests me.

But I don't discuss my films with caretakers.

Oh.

Why's he so mean to the old man?

Gotta keep the devil in his place.

David, be serious.

I am, I am.

Perhaps these portraits could help you select your story

Points a little more accurately.

For instance, Johnathan Anthony Beal, founding father,

The first Beal to live in this house.

The first one to die in here.

He fell off this balcony, right here where we're standing.

Fell?

Or was pushed?

Who knows?

The only one here when it happened was his housekeeper.

Just like you and Mrs. Beal, Hm?

Suzanne, drowned in her own bath.

Here we have Theodore.

Shot to death.

Another suicide?

He was shot five times.

In the back.

Determined bastard, wasn't he?

Allison.

I know, I know.

Allison Beal died by hanging.

Yes.

From the dorm, up there.

Don't ask me how she got there.

Here.

Charles.

Stabbed to death, wasn't he?

By his own wife.

Russell, my first employer.

Bludgeoned to death.

Yeah.

With a candle holder.

How did you know that?

I'm the one that found this mansion for you, remember?

What about those two?

This one will be a portrait of the late Mrs. Beal.

The other was placed there by her request.

Are there any Beals still alive?

Not that I know of.

And here are your rooms.

This way, please.

Hey, I really like this room.

Yeah.

Has a nice feel to it.

Not exactly the Beverly Hilton, is it?

This was Suzanne's bedroom.

Oh, yes.

The one who drowned.

As a matter of fact, yes.

This way.

The back stairs.

Another staircase?

For the servants' ghosts, I have no doubt.

No.

Just for the servants.

The bathroom.

Oh.

What a fantastic shower.

Ah.

Madame.

Does it work?

Very well.

Running water.

How chic.

Find a shot, Eric?

Maybe.

Might work.

Charming.

No lights.

There haven't been any lights in this house

Since Mrs. Beal passed away.

We've got generators for the film.

No end to this kid's knowledge.

And when we're not filming, how do

We find our rooms in the dark?

By candlelight.

If there's a bed in it, she'll find it.

David, look at this.

Gayle.

As you can see, this is... Was the master bedroom.

I know, I know.

Built by the original owner.

Will there be anything else?

No, Mr. Price.

I think you've done enough for one day.

Mr. Price.

Thank you for your tour.

I can understand why the old lady committed suicide

With that vampire around.

Well, Annie, you're safe.

You're wearing your cross.

Gayle, you have your wooden stake?

Well, well, well.

Look what I've found.

The proverbial hidden door.

Well open it, open it.

What are you waiting for, a stunt check?

Hm.

This is the room we shot the scene in.

Yeah, I know.

That must be the secret entrance.

What's that, Eric?

The old evil eye.

I'm using it in the film.

That's supposed to be bad luck.

Oh, come on.

You don't believe that stuff.

No.

I guess not.

I felt that cat's eyes on me all through the scene.

Imagine it.

Have a cat.

Oh!

Leon!

How dare you hit my cat!

Look, he scratched me.

I wish he'd bitten you.

If he did I'd break his neck.

You touch my cat again and I'll break your neck.

Stop it.

Enough.

I've had enough, too.

I'm going to bed.

May Morpheus take you swiftly to his arms, dear lady.

And should he fail, I am always at your service.

That'll be the day.

David.

What do you see?

These books.

"The Art of Witchcraft." "The Black Mass."

"Tibetan Book of the Dead."

Thauma... Thauma... na... tha...

Thaumaturgy.

Black magic.

"Tibetan Book of the Dead."

Just another one of those how-to books.

Hey, dig this.

Prince of Charmin, Majesty of Phlegethon, Belial, Elis,

Azazel, bleed my soul, Apollyon, Lord of Amenti, possess me.

I seek your kingdom.

Let me see this.

You think we can use it, Eric.

Well.

It may be garbage, but it's better garbage

Than what the writer gave us.

Here.

See if you can find some lines for the chant in it.

Oh, yeah.

I'll be happy to.

Why are you so interested?

I love this kind of stuff.

Like fairy tales, huh?

Sure.

Fairy tales can come true.

I only got 400 feet.

I hope that's enough.

Charlie, you gotta run in focus.

Don't forget.

I need a cup of coffee.

How about a beer?

Any kind of level.

What about the book?

Who's got the book?

I got it.

Someone run me some power.

Where are the candles?

Uh-uh.

You forgot one of the laugh lines.

Crow's feet.

Laugh lines, you clod.

Now cover it up.

I'm just a poor make up man, not a magician.

That joke went out With high-button shoes.

So did you, lady.

Oh, you...

Save it.

Save your passion for the camera.

Let's have a little restraint.

Scenes always go better when they're under control.

Anything for your, darling.

Ron, get a little of this red off her cheeks,

And fix her eyes.

She looks like a whore.

Do you want the drapes open or closed?

Anything, for you, darling.

Joe, don't forget

To rack focus when you're through with that.

OK, pinch the doors on that junior.

No, a little more.

I got no power.

Put the plug in, you dummy.

No, the one in the corner.

Give me a double on that bayb, will ya?

Eric.

Eric, I found some great lines in the book.

You want to check it over before we start?

All right.

OK, use that one.

Danny, that's fine.

Bring the girls in.

Come on, girls.

Now get that cable out of the way.

It's in the shot.

, in your high priestess voice.

Anne, get down on your knees.

Now you're supposed to be going into a trance.

All right.

All right, then.

Let's try one.

Roll it.

Speed.

Mark it.

24, take one.

Action.

Cut it.

Cut.

I said you were supposed to be going

Into a trance, not an orgasm.

I'm sorry.

Let's try it again, with a little more restraint

This time.

That's today's secret word.

Restraint.

All right, let's go.

Ron, a little hot on that.

Little more.

That's got it.

OK.

All right, roll.

Rolling.

And mark it.

Roll camera.

Slate it.

24, take two.

Action.

Lords of death, witness me in this...

Maria.

In God's name.

What are you doing?

Charles, you fool.

You should not have come!

Jesus, Maria.

I demand...

I say silence!

His Satanic majesty summons this man.

Slay him.

Slay him... Maria, what are you saying?

Maria.

Maria, for God's sake... no... no.

Maria, no... agh!

Cut.

That's good for me.

Very good for you, too.

Fine, that was good.

OK, let's move in for close-ups of the stabbing.

Do I have to get rigged?

You'll get rigged.

Come on, Ron.

You can do it.

Show us how you rig it.

Action.

Cut.

You're bleeding like a trooper.

All right, let's get this corpse cleaned up

And ready for the next scene.

You were great.

Thanks.

How's it feel to kill somebody?

I don't like it.

Yeah, you'll get used to it.

Now, for the fifth time, you are running down

The hall and down the stairs into camera.

You are running, not strolling or walking, but running.

And see if you can do it without falling.

All right, all right.

Save your sarcasm for Anna.

She's still impressionable.

Stand by to roll.

You ready?

I'm ready.

Mark it.

183 apple.

Take five.

Action.

Drop dead.

Cut.

You see what you can do when you have talent?

That was good for me.

Danny?

Print it and wrap.

A good day's work.

Good day's work.

At Metro that would have been a week's work.

Honey, you go on up.

I'll join you in a minute.

OK.

Danny, there's a lot of good moonlight outside.

Let's go shoot some of it.

Don't you ever sleep?

Would you sleep if it were your money?

No way.

Well get on your horse and let's grab some atmosphere.

OK.

You that film, I'll eat your aorta

To the multitudes assembled at my feet,

I regretfully bid fond adieu, to go and seek

Sleep, gentle sleep that knits up the ravelled sleeve of care.

Pfft.

Gentles, the chance you wonder at this show.

Then wonder on.

To the truth make all things plain.

This man... mm.

This man...

I gotta get out of this mausoleum.

David.

Hm?

Hey.

Brushing hair's boring.

Honey, you should read some of this stuff.

It's incredible.

I don't want to read it.

Listen to this.

To human blood, I give my soul, oh master of the dark.

David, please.

That makes me uncomfortable.

Ah, come on, honey.

Everybody else thinks it's phony, why don't you?

Why don't you ask Mr. Price?

What?

What are you talking about?

He's in the graveyard.

David, come here.

Look.

What's he doing?

Stopping at headstones, as though he's

Looking for something.

Easy, honey.

Easy.

I can't help it.

This place... it gives my the willies.

Annie.

You're imagining things.

I'm not imagining it.

I feel it.

I feel something's gonna happen.

Something terrible.

I'm sorry, David.

I'm just scared.

But just look at him.

OK, so he's a creep.

Maybe... maybe looking at headstones is his thing.

Come on.

We got our own thing.

David.

My darling, don't you see?

I can bring you pleasures you've only dreamed of until now.

You needn't fear.

You needn't fear.

Touch me.

Feel the power you can share.

Who is it?

Anyone there?

Is anyone there?

Cleon.

Damn.

Cleon?

Cleon?

Cleon?

Kitty, kitty.

Kitty, kitty.

Kitty.

Cleon?

Kitty?

Kitty, kitty, kitty, kitty.

Cleon?

Christopher!

Do not be alarmed,.

It is I, your Prince Charming.

You're drunk.

Perhaps.

But most assuredly not enough to forget how to treat a lady

Like yourself.

Look out for the lamp, I'll drop it.

Now, can we pass like nips in the slight...

I mean, ships in the...

Let me go!

No.

We must seize this moment.

Let me go!

Ah!

Don't you ever touch me, you drunken bum.

Mr. Millan.

Tonight is your business.

Tomorrow morning is mine, at 8:00 Am,

If you haven't already been told.

Eric, I'm so glad you came.

I'll bet you are.

What do you mean by that crack?

You don't think for one minute I...

Ladies and gentlemen, I bid you good evening.

As he exits, laughing.

If you didn't come by, that maniac would have raped me.

You're sure dressed for it.

Well, I was looking for Cleonn.

He got out of my room.

He's down here someplace.

He's a big kitty now.

He can take care of himself.

Eric, please.

Listen, baby.

We're gonna be shooting early in the morning.

And you've got to get some sleep.

Or there'll be bags under our bags.

And there isn't enough makeup in the world to cover that up.

You still want me to be beautiful, don't you?

I always want you to be beautiful.

Was I beautiful in the first movie you put me in?

Breathtaking.

Do you still think I'm beautiful?

To me, you'll always be beautiful.

Thank you, darling.

Come on.

I'll take you to your room.

Wait a minute.

What about Cleon?

Oh, Fritz the cat!

Eric.

Eric, we can look for him in the morning.

Eric!

David, please.

Don't leave me alone.

I'm too nervous.

Don't worry, Annie.

I'll only be gone a second.

I just want to check something out with Eric.

Check what?

Oh.

Eric, we, uh... well, we...

Well, what is it?

Eric, David's trying to tell you

That we saw Mr. Price in the graveyard.

Yeah, I know.

You know?

You saw it too?

Saw it?

I directed it.

What?

I was filming some of the graveyard stuff

When old princely Price arrived.

I asked him if he'd move through the tombstones for one

Of the shots, and surprisingly enough he agreed.

Do you mean you staged it?

That's right.

What about when he went into the grave?

What?

He lifted a tombstone and disappeared.

Did you stage that, too?

No.

Goodnight.

Come on.

I need a.

You got it.

, give me half an hour.

You got it, you got it.

How about a couple of sand bags?

Eric, it's the sixth take.

Can I please put on my double wardrobe now?

Double wardrobe, on my budget?

You've got to be kidding.

But I'm soaked.

We've been out here for hours.

We'd be inside if you'd get the damn scene right.

All you have to do is walk away from camera

As if you're in a hurry.

You don't care about the rain.

That's what you think.

Because you're going to meet your lover.

Now if you can manage to convey that and walk at the same time,

We'll all go inside.

Slate it.

Take seven.

Let's make one.

Hit the rain!

Mark it.

232 apple, take seven.

Roll it.

Action.

Can't you walk any faster?

Now go to the left.

What's she doing now?

Hey.

That's for real!

Cut the rain!

One of you bastards did this.

One of you!

That's all I need.

Another day's work shot.

Why would anyone do anything that awful?

Eric.

Look at that.

Where do you think that came from?

Piece of a headstone.

Price.

Yep.

Price!

If you're looking for the silver, it's in the main house.

Mr. Price.

This is the last time you'll interfere with my filming.

Are you mad?

I haven't been near your filming.

Stop playing games.

Why did you kill that cat?

What?

Sometime last night half of Ms. Dorian's cat

Was neatly deposited on the lawn.

You're accusing me of this vulgarity?

Part of a headstone was found nearby.

I took it to be your calling card.

Headstone?

Was there a name?

No.

You're sure?

No name on the headstone?

None.

I didn't expect you'd sign it.

You're insane.

Am I?

What are you doing with that chisel, baking a cake?

Obviously you'll give me no peace

Until you've ransacked my entire house.

Close the door.

Your own private elevator, huh, Price?

Bet it's wear and tear on the old back.

Don't scoff at things you know nothing about.

What's there to know about headstones, except death?

That's only part of it.

The other part is graves, Mr. Hartman.

Graves.

Now what are you talking about?

There are eight graves in the Beal family plot, Mr. Hartman.

Only seven headstones.

So make another one.

- Dear Billy, I am sending you this tape from Paris.

How are you?

How are things going?

I wonder what would we change

if we have the chance to start all over again.

Sometimes I'm playing our tapes

and then I feel that everything's just happening right now.

[rock music]

I was sayin' let me out of here before I was even born

It's such a gamble when you get a face

It's fascinatin' to observe what the mirror does

But when I dine it's for the wall that I set a place

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

Triangles were fallin' at the window as the doctor cursed

He was a cartoon long forsaken by the public eye

The nurse adjusted her garters as I breathed my first

The doctor grabbed my throat

And yelled, "God's consolation prize!"

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

Take it

- [Kellerman] What do you have for me today?

- [Jack] What I have for you

is a surefire investment, Kellerman.

Got it all figured out.

You can't lose on this one.

- [Kellerman] What is it?

Cars, horses, cocaine?

- [Jack] Come on, you know what I'm talking about.

- [Kellerman] I'm 45 years.

I'm tired.

Let me have a good time now.

- [Jack] Kellerman, this guy's gonna make it.

- [Kellerman] What do you want from me?

- [Jack] You and I will manage this guy.

- [Kellerman] I'm not interested

in this kind of music anymore.

- It's not disco crap.

This is something else.

Kellerman, instead of taking the overcoat to the porno,

why don't you spare 10 minutes and come down

and listen to this guy?

[rock music]

- Here comes.

You're in too deep you can't survive

Or can't be you past 25

A day's a week the monster dozes

Deep in passionate, in passionate, in passionate

In passionate, in passionate, in

New pleasure, baby, new pleasure

Whisper in my ear, we go away

New pleasure, new pleasure

- You wanna try another take?

- Let me have a smoke.

- Okay.

- May I ask you some more question?

- Can it wait?

- Yes, but I want to catch this atmosphere.

- What do you think?

- Who's the girl?

- She?

She's making an interview for French TV.

But I told you, he's ready to break.

- Can she sing?

- I understand you were a writer before a singer.

- I was about as much of a writer as I am a singer.

Who's kidding who?

We gotta go back to work.

- Ready?

Stand by.

Here we go.

[rock music]

Your mind's a wreck but that's fine

It corresponds to mine

We're in a room the door closes

Automatic automatic automatic automatic automatic auto

New pleasure, baby, new pleasure

Well, whisper in my ear, we go away

New pleasure, new pleasure

Too weak for life you have become

You can't get dressed you're too numb

But we assume sublime poses

Deep in true to life, in true to life, in true to life

In true to life, in true to life, in

New pleasure, baby, new pleasure

Well, whisper in my ear, we go away

New pleasure, new pleasure

You're in too deep you can't survive

Or can't be you past 25

A day's a week the monster dozes

Deep in passionate, in passionate, in passionate

In passionate, in passionate, in

New pleasure, baby, new pleasure

Well, whisper in my ear, we go away

New pleasure, new pleasure

- Do you want me to talk to him?

- I don't want to get involved in this.

- I knew you'd see it my way, Kellerman.

- [Nada] Billy and Nada.

- After two years of struggling, I finally got a contract.

- [Nada] Are you happy now?

- Gotta make a living.

- I thought you wanted [mumbles].

- That's right.

- So what happens if you become successful?

- I'll try something else.

- You will get covered like anyone else.

Okay, and now to satisfy.

[speaking in foreign language]

[moaning]

[shouts]

[shouts]

[laughs]

[gentle music]

Wake up, Billy.

Do I appear in your dreams?

- Yeah, always.

- Don't go back to sleep, tell me more.

- Nada, it's five o'clock in the morning.

I was dreaming we were getting in a fight.

- Who was winning?

- It was really a lot of fun.

[kisses]

You and me, we could conquer the world.

- Yeah.

Let's have some fun.

- Yeah, let's conquer the world.

Where do you want to go?

- Wherever you like.

- How about the beach?

- Yeah!

- East Hampton?

- What's wrong?

- Nothing.

I was just thinking.

- Why did you stop?

- Maybe we should go back.

- Why?

- I gotta make some phone calls.

- If you want to go back, we can go back.

- Yeah, let's go back.

New York City is a drag on Fridays.

Maybe we should go to the beach.

- I'll do whatever you like.

- There won't be anybody at the beach today.

- [Nada] That's wonderful!

- It might be a drag though.

- [Nada] Why?

- It's depressing.

It's so damn cold.

Sure you want to go there?

- I told you I don't care!

- Don't get excited.

- I'm not getting excited!

- Just because you want to go to the beach.

- I didn't want to go to the beach, it was your idea.

- I wanted to go back to New York.

- Let me out of here!

[tires squealing]

- Are you crazy or something?

- Get out of of here, get out!

Get out, get out!

- This is my car!

- From now on, it's mine.

[fast-paced music]

[calm music]

- Talk to me.

[slow music]

- Okay, start there.

[strumming guitar]

[percussion music]

[strumming guitar]

[rock music]

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

Look out liars and you highlife scum

Who gotta keep your victims poor and dumb

And dumb

And dumb

Your motives and your methods are not disguised ♪

By your silk, soap, sex, or your smiling lies

Your lies

Your lies

Look out here

You pompous jerk

Look out here

I'll go berserk

Well you got power, now there's competition

And your blind side's turned to the boys with a mission

- Billy needs money.

- Well, he's become a businessman.

Is that bad?

- No.

Billy's in love.

Look out here

You pompous jerk

Look out here

I'll go berserk

Well you got power, now there's competition

And your blind side's turned to the boys with a mission

Oh, oh, oh, oh, oh, oh, oh

They gave you power cause they knew your needs

Soprano boys get talent when you shoot your seeds

Your seeds

Your seeds

Well you laugh to hear what your best friends say

Old man they laugh when you walk away

Away

Away

Look out chief

Ridiculous creep

Look out thief

You'll lose your teeth

Oh, oh, oh, oh, oh, oh, oh

You were 65 when you wiggled out

Your mind all twisted and your mom all shout

All shout

All shout

I'm a man with his share of excess nice ♪

But it can't be spared for drooling lice ♪

For lice

For lice

Look out here you pompous jerk

I can't look at you ancient slut

Well you got power, now there's competition

And your blind side's turned to the boys with a mission

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

Oh, oh, oh, oh, oh, oh, oh, oh

[cheering]

- Five and four.

One, two, three, four, five.

Four.

Five.

I don't like...

- Wanna play this?

- Who do you think I am?

Push B13.

- Where have you been the last few days?

[rock music]

I mean you can't just disappear like that.

♪ Your mind's a wreck but that's fine ♪

- You pushed me out of my own car.

Can we have something special?

- Cognac?

- Sure, put it on my tab.

- It's on me.

♪ New pleasure, new pleasure

♪ Too weak for life you have become ♪

♪ You can't get dressed you're too numb ♪

- Don't you want to celebrate with us?

- Or did you want to put it on your tab again?

Didn't the company pay you?

- No, I don't care about money.

I'm just glad we could make the record.

Other groups have to struggle for years.

- Maybe you should do it yourself.

At least you know what's going on.

You don't even read your contracts now.

- We're together for five minutes and you start fighting.

- Why don't you find yourself a girl who always say yes

and how wonderful, how great you are.

Somebody who just doesn't care.

Gives a shit.

Sure that's what you need.

A little nice girl.

I have to go to the cutting room to work on the interview.

- Don't get angry.

- What are you going to do when you lose your good looks?

- Oh, good.

How about Friday?

- No, Friday he can't do it.

He's not available Friday.

Can't, no, no, no Friday.

Here, let me speak to him.

- Let me [mumbles].

- Yeah, no, he can't do it Friday.

Can't do it Friday at all.

Weekends, yeah.

Can we do the weekend?

- We can't do it on the weekends

because we're taking Billy to Osmond.

- Okay.

[rock music]

I was sayin' let me out of here before I was even born

It's such a gamble when you get a face

It's fascinatin' to observe what the mirror does

But when I dine it's for the wall that I set a place

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

Triangles were fallin' at the window as the doctor cursed

He was a cartoon long forsaken by the public eye

The nurse adjusted her garters as I breathed my first

The doctor grabbed my throat

And yelled, "God's consolation prize!"

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

To hold the T.V. to my lips, the air so packed with cash

Then carry it up flights of stairs

And drop it in the vacant lot

To lose my train of thought

And fall into your arms' tracks

And watch beneath the eyelids every passing dot

I belong to the blank genera--

[shouting]

- What, are you crazy or something?

You just can't walk out in the middle of a performance.

Gonna sue the asses off us.

- I don't care.

- Look, we'll work this one out.

Let me tell Kellerman that you've been working too hard

and under too much pressure.

But you gotta come back here tomorrow night

and play for this audience again.

This time for free.

- I'm not playing tomorrow night or any other night.

- Oh, come on, Billy, let's be serious.

- Okay, I'll be serious.

You're fired.

- Oh, shit, stop playing around, will ya?

- Listen, Jack, you know I'm no primadonna.

[coughs]

I just can't continue doing this.

I'm fed up.

- Billy.

Everybody likes a winner.

[slow music]

- [Billy] What are you doing?

- I want you out of here.

- Are you crazy?

- Yes, wasting all my time with you.

- How times do we--

- Just leave me alone.

- How many times do we have to go through this?

[doorbell buzzing]

- Why didn't you open the door?

- The bell doesn't work.

- [Man] Ready to roll.

- Okay, let's do it.

- [Man] Today, Nada Lumiere is on the lower east side

with former star football player Bobby "the Bear" Butler.

What's the matter?

- I want to make a phone call.

- [Man] You have to make another phone call?

We can't keep all these people waiting here.

Now please hurry up.

- Okay, I'll be right back.

I've been thinking about you.

Will you forgive me?

Maybe I was unhappy.

Why don't you come here?

I love you.

- You've got the choice.

A life with your French girl, platinum records.

I've also gotta remind you,

you signed a number of contracts.

- Because of your injury, Bobby,

you had three serious knee operations.

And it's been more than a year since your last game.

- [Bobby] That's right.

- And where were you living when you were playing pro ball?

- Well, I'm still a professional, you know.

But when I was in the money,

my wife and me had a nice apartment uptown.

- Has Coach Cassin been here to see you?

- Like I told you before, Mr. Cassin is a very busy man.

- [Nada] Okay.

What about your wife?

- Well, Roberta, she moved to LA.

I don't see her very much anymore.

But let's get back to football.

- Yes, Bobby.

But what have these people, I mean your friends, your wife,

Coach Cassin, what have they really done for you?

- [Bobby] They gave me a lot of hope and encouragement.

- You're lying.

- Come on, Pop.

- Who's paying?

This cost me a lot of money.

Now, what you gonna do?

Quit football or are you gonna keep on running around?

I don't like it.

I can't afford to feed you and work.

I ain't got no money.

Cost me a [mumbles] dollar to raise you.

What the man.

You know what you get?

You're tall enough like [mumbles].

Hello, Johnny Dean.

Well, you get too tall for me.

Go to heaven, follow the Son of God.

- Come on, don't listen to this guy.

Don't listen to him, he's crazy.

- [Bobby] What are you doing?

Go.

- [Bobby's Father] But this is good.

- [Bobby] Come on, Pop, now you been drinking.

- What are you doing here?

I can't work with you around.

- What do you mean?

You called me.

- Oh, who's sorry now?

Who's sorry now?

Let it be, let it be.

I'm going home to see my lady.

[fast-paced music]

[calm music]

- What are you going to do with all your stuff?

Why don't you put it back?

- I'll leave them there.

- Put your things away, please.

- Okay.

Each in its place.

[laughs]

[kisses]

- What did you do last night?

[slow music]

Billy and Nada.

- I was on stage in the middle of a song

and I realized that I'd never be able to create an audience

of feelings that inspire the songs.

They were drawn there like the crowd around a car wreck

and I'd never be able to make it in a different time.

I always felt that way but it just suddenly got intolerable.

I mean, the thing is, who'd even want to feel like me?

I don't.

- Did you get any money?

[laughs]

- That was all my rights and royalties, everything.

Are you happy now?

- Who do you love?

- You.

- Who do you hate?

- You.

- At least we got some publicity out of it.

- I don't think he will abandon his future.

The money is too good.

- Kellerman, that's the problem.

He hasn't seen any of the money so far.

[shouting]

[knocking]

What are you doing here?

- I've gotta talk to you.

- Okay, I'll be there in a minute.

So listen...

[slow music]

- I couldn't reach you but I knew you'd be on your way home.

- Yeah, big business.

Got plans.

Hurry up, the ferry arrives in 10 minutes.

- I only need a second.

- Listen, these guys, they're gonna sell you

from coast to coast, and man, I got you the inside track.

- They've been selling me for a year.

Now I want to sell.

My rights, royalties, everything, you can have them.

I'm trying to sell for 5,000.

- How are you going to do that?

- What do you mean?

- I mean you must be joking, selling everything for 5,000!

- Listen, Nada.

You told me I should find a stupid, uncomplicated girl.

Well, maybe you were talking to yourself.

Maybe you should find another man.

- An uncomplicated man.

You're absolutely right.

[calm music]

- Operator?

Could you give me 431-6053?

Thanks.

Hello?

Could I talk to Mr. Andy Warhol?

[knocking]

Come in, the door is open!

Tell him to call me back in the Westbury in room 705.

Thanks.

Nice to meet you.

- You don't remember?

[kisses]

- Five months is a long time.

You can't just disappear on me.

- French TV gave me a very good job in New York.

- Oh, more interesting?

- Why are you so mean to me?

Are you in love with somebody else?

- Of course.

- I missed you.

- Really?

- Come on out of there, Nada,

I want you to look at the mirror.

You'll really be surprised.

[slow music]

- Billy?

I'm leaving you now.

It's better for you and for me.

You're driving me crazy

and I'm not the right woman for you.

Don't forget this tape.

It shows the beginning and the end of an impossible dream.

- Jack Bleaker, please.

- You're a couple of nice friends.

This is your kind of atmosphere.

After a couple days, I'm sure you'll enjoy it.

Like I said, don't worry about it.

All free.

Company pays for everything.

What do you think?

Like it?

Hello, Eric.

- Hi.

- Here are the keys.

Call me later.

And don't forget, she's already forgotten you.

- Al!

- I got a call from Frankfurt.

- Please, not now.

- Mm-hm, they want me to come back.

- Don't be such a drag.

- If I don't make the Warhol interview,

they won't pay any longer the hotel.

- [laughs] Well, perhaps I can help you.

If you give me the number, can call it.

- Right now?

- Yes.

- Don't be such a drag.

- I got a secret recipe.

Like the recipe...

- And what works to make political statements

with their music?

- That's bullshit, that's dumb.

- What do you think other people should do?

- They can do whatever they want.

- Hello?

Mr. Warhol?

Oh, I can't wait any longer.

Can you tell him tomorrow to call me back in the Westbury?

He got my number.

And offer is from German television.

I wanted to make this interview with Mr. Warhol.

Well, you just called me!

Call me back in the Westbury.

Room 705.

Thanks.

- What is your occupation?

- Lying.

- Are you afraid of anything?

- No.

I know I'm gonna die one day, so who gives a shit?

[calm music]

- Operator?

I was looking for this nightclub.

Did you get the address for me?

I was a child who wanted a love so wild

Though tight as slow motion

But crazed with devotion

Babe, insane with devotion,

Just a whole other notion

I was 14 1/2 and it wasn't no laugh

Love comes in spurts

Love comes in spurts

Love comes in spurts

Love comes in spurts

I just can't get wise to those tragical lies

Though I now know the facts they still cut like an ax

Baby, love comes in spurts, in dangerous flirts ♪

And it murders your heart

They didn't tell you that part, baby

Love comes in spurts

Love comes in spurts

Love comes in spurts

Love comes in spurts

[laughs]

[mumbling]

I can't get you

Ain't nothing...

[slow music]

- Last drink, we are closing.

- A whiskey straight.

- Okay.

- Do you know a girl named Nada?

- Nada?

- First I come to New York and you ask me why I'm so cold

and then you don't show up for a week

and now I have to play the nursemaid again.

- Don't be so bourgeois, Alfred.

- What's wrong with your friend?

- Nothing.

- Nothing, nothing.

But weren't you complaining all the time?

- Please, all I want you to do is help me with my interview.

- You have a date with Marlowe and [mumbles] in the studio

and I know nothing about it.

- Well, he was a fame critic.

Did a movie himself.

And then disappeared to India for two years.

And now he's back in New York.

- Ready to roll.

Today, Nada Lumiere is with Jonathan B. Marlowe,

author of the book Escape To India.

10 seconds.

Five.

Okay.

- Mr. Marlowe, you went from cinema to India

and from India to school.

- To learn, you must go to school.

Less to the school of life than to the cinema as school.

- [Nada] What is the difference between cinema and school?

- You don't have to please the students in school

because attendance is obligatory.

- Do you still have the desire to escape?

- If you choose to escape,

it can become a full time profession,

leaving no room for growth, spiritual or intellectual.

I think escape is like a racetrack.

Once you have begun, no matter how fast or how long you go,

you always come back to the place where you begun.

- Mr. Marlowe, it is said that the cinema is a place

for crime and magic.

What do you think about it?

- The crime?

Film steals images from living beings.

The pleasure?

To show them to others.

- Why do people go to the cinema?

- The movie theater has its moment of glory.

One comes to sleep in a bed of images,

to get an eyeful, to blind oneself in the process.

To see too much and to see too badly.

- What are you doing?

- Sorry, I forgot to introduce myself.

I'm Lizzy Liebenfeld.

- Hi, Lizzy.

- I'm a filmmaker.

This is my first long film.

It's kind of an episodic film based on chance.

I start with a person and then I follow that person

until that person runs into the next person

and then when that person goes, I stay with the new person.

But that person is you now!

Wait a second.

I want to focus on you.

Shit.

- What's the matter?

- Gonna have to make that last shot again.

- Well, your lead needs a pass through makeup.

- Hi, I'm Lizzy.

Wanna be in my film?

- [All] Yeah.

- Can you be wild?

- [All] Sure.

- Okay, let's try.

- Want a ginger ale?

Take off your wig.

- No!

- [Billy] Take off your makeup.

- No.

- [Billy] Now take your hair down.

- Why?

- I'm writing a song called Young Girls In Funny Makeup.

- Could I talk to Mr. Warhol, please?

No, this Hoffritz from German television.

I was...

I'm trying to get ahold of Mr. Warhol since about a week.

I'm here in New York now.

Hello?

Yeah, I want to talk to Mr. Warhol, Andy Warhol?

Hoffritz, from German television.

- Everything you tell me about her sounds so strange.

- She wasn't that crazy, I guess.

- When she was really interested, she'd never say so.

- What would she do?

- An interview.

It was like it had nothing to do with us personally.

She'd make the most intimate moments look like business.

- Maybe she was just scared.

- When she finally left, she didn't talk to me.

She said goodbye on a tape, in closeup on herself,

and then just vanished.

- Imagine every family would have a video.

- Giving each family a video,

it's like giving each family a gun.

- How do you know she went back to Paris?

Maybe she's still in New York.

- If Warhol doesn't call tonight,

I'm gonna cancel the whole interview and go back to Germany.

- Mr. Kellerman, we're expecting a really important call,

so could you keep your conversation short?

[doorbell rings]

- You didn't expect me.

I called Harry at the TV studio to find out where you were.

This is Lizzy.

- Hi. - Hi.

- I brought you something.

- Oh, wonderful.

What's on it?

- Nada.

Happy birthday to you

Happy birthday to you

Happy birthday dear Nada

Happy birthday to you

- [Billy] Now blow out the candles.

- Look, Kellerman, I invited you to the party

and you spend all your time on the phone.

I told you we're expecting a real important call.

Where's your friend?

- I don't know.

- What do you think you're doing here?

- We do not think but thought.

We are fascinating possessed.

- That's fine, but you're supposed to be having fun here.

So get yourself under control.

- I never had any control.

People come and go whenever they feel like.

I'm only the manager.

- When I finish shooting it,

I'm gonna blow it up from eight to 35.

- I would never do that.

Once you're on 35, you're a stocking.

You've gotta engage more and more people,

you've gotta raise more and more money,

and in the end you have to do everything yourself.

- Did you get my message?

- You know, there's still some things of yours at the loft.

- I would have known you were moving out,

would have stayed at the loft.

- I could never stand that place.

When are you going back to Paris?

- I have to do one more interview.

- You know, I started playing again because I miss you.

- Did you really make five films in 35?

- Alright, that's it.

I want you out.

- But it was for you.

- For me?

Who was it?

- I don't remember.

- Well, can't you remember the name?

- It sounded like Factory.

- Factory?

- Alfred!

It's Warhol.

- Hello?

Yeah, that's Alfred's.

Yes, of course.

Yes, sure, Mr. Warhol.

Yeah.

Bye.

Harry.

We have to get the studio for tomorrow morning at seven.

- I've been married for 38 years.

I've never regretted it one moment.

- Yeah.

- Have I ever shown you some pictures of Alice?

- Sure, yeah, yeah.

- No, I have some brand new ones.

Here, look.

- Lovely.

She looks so happy.

- After 38 years and six children,

Alice said to me "Love is what you've been through

"with someone."

- Photograph retains all.

It's a cadaver to be worked on.

Cinema retains for a mere moment and is death at work.

Television retains nothing at all

and is the deadly procession that hemorrhages

all its majors.

- Where's Warhol?

- No answer.

- He was supposed to be here an hour ago.

- Maybe he's just leaving.

- Can you turn down those floods?

- What?

- Can you turn down those floods?

- John, could you turn off the scoots, please?

- Who's that?

[whirring]

[violin music]

- Who is this?

- I don't know.

I thought you sent them down.

- Ready for take one!

- Who are you?

- I'm Andy's assistant.

- That's fine, but where's Andy?

- Well, Andy was really busy

so he thought it would be a good idea

for me to come down and play in my goggles.

- They're very nice.

- Do like my goggles?

- It's a very good idea.

I like the goggles, I like the belts.

Maybe we can feature you on one of our next shows.

- Oh, oh, good.

Well, maybe I should come back.

- Come back, I really like the goggles.

- Come back probably tomorrow.

- That's fine, that's great.

- [Assistant] Do you think you could get some music

somehow I can play?

- [Man] Yeah.

- Who was he?

- Andy Warhol's assistant.

- Warhol's assistant?

And why was he playing violin?

- I don't know.

- Lizzy, do you have the keys to the car?

- They're in the pocket of my leather jacket.

- Bye, Lizzy.

- [Lizzy] See you later.

- Honestly?

But you're sure he's on his way?

Okay.

They just told me he's coming.

- I told you he was a serious person.

He wouldn't screw us.

- You know, this guy wasn't his assistant.

- Who was he?

- I don't know.

- Alfred.

- Harry.

- It's Warhol.

Someone has to go down there and talk to him.

- [Alfred] You speak much better English than I do.

- [Harry] It's your interview.

- [Alfred] Yes, but you are the American co-producer.

- [Harry] Hoffritz, go down there or else he'll leave.

- [Alfred] Alright, alright.

Where's my script, have you seen my script?

- [Harry] There was no script for this.

Stand by, camera one.

Stand by, camera two.

- Mr. Warhol, thank you for being our guest.

This is your show.

You can say and do whatever you like.

Our cameras will follow you.

- What the fuck is he doing?

Mr. Hoffritz, could you come to the control room?

What's he doing?

- Nothing.

- I'd like to know what you think

about sentence of [mumbles]

who says that cinema is a place for crime and magic.

- Well, I still don't understand what the crime part,

the question, but I always think about the magic part

of the question is when it really shows magic, you know.

And especially with people,

some people have that magic that when a camera goes on you

that there's an extra energy or something, you know,

for some people, it's, you know, beautiful people

and it makes such a difference

when they can get that extra magic on the screen.

I don't understand it but it happens.

Can I take a photograph of you?

- You can do it.

- Can I take another one?

[slow music]

[kisses]

- What's the matter?

- I've been thinking about us.

You and Lizzy, me I've got a friend I can work with.

There's no problem.

But is it happiness?

- [Billy] You wanna be happy?

- The only excitement I have is in my damn interviews.

What about your manager and the company?

- I try not to be a sucker.

You know, I sometimes still walk off stage.

But I've gotta cut that out, they like it too much.

Sometimes I really miss you.

- We can try to find a flat that we both like.

- Yeah.

- And I can find another job in New York and stay forever.

- Sure.

[rock music]

I was sayin' let me out of here before I was even born

It's such a gamble when you get a face

It's fascinatin' to observe what the mirror does

But when I dine it's for the wall that I set a place

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

Triangles were fallin' at the window as the doctor cursed

He was a cartoon long forsaken by the public eye

The nurse adjusted her garters as I breathed my first

The doctor grabbed my throat

And yelled, God's consolation prize!

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

Take it

To hold the T.V. to my lips, the air so packed with cash

Then carry it up flights of stairs

And drop it in the vacant lot

To lose my train of thought

And fall into your arms' tracks

And watch beneath the eyelids every passing dot

I belong to the blank generation

And I can take it--

[audience applauds]

- [Nada] Where's Billy?

- I think he went to the bathroom.

[slow music]

- I just came to say goodbye because I'm leaving to Paris.

Tomorrow.

And...

I'd like to tell you,

I just want--

- Don't tell me.

You want me to drive you to the airport?

- What do you mean you want to go alone?

- Don't get excited.

Of course I'm coming with you to Paris.

- You're coming with me to Paris?

I'm coming with you to Paris.

Because, because normally, normally I would have gone back

to Frankfurt.

- All I want to do is go alone with Billy to the airport.

- So I can carry everything myself, huh?

That's typical.

[gentle music]

[kisses]

- Nada forgot to give you this tape.

- We would have separated long ago except for the children.

- Who are the children?

- Me and Nada.

- I'm not going with you to Paris.

I want to stay here.

- What?

- I wish you good luck.

[slow music]

[rock music]

I was sayin' let me out of here before I was even born

It's such a gamble when you get a face

It's fascinatin' to observe what the mirror does

But when I dine it's for the wall that I set a place

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

Triangles were fallin' at the window as the doctor cursed

He was a cartoon long forsaken by the public eye

The nurse adjusted her garters as I breathed my first

The doctor grabbed my throat

And yelled, God's consolation prize!

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

Take it

To hold the T.V. to my lips, the air so packed with cash

Then carry it up flights of stairs

And drop it in the vacant lot

To lose my train of thought

And fall into your arms' tracks

And watch beneath the eyelids every passing dot

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time

I belong to the blank generation

And I can take it or leave it each time

Well, I belong to the generation

But I can take it or leave it each time