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These are the user uploaded subtitles that are being translated: 1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:02:10,391 --> 00:02:12,567 IT'S CALLED DAYS GONE BY. 4 00:02:12,610 --> 00:02:14,090 DAYS GONE BY? 5 00:02:14,134 --> 00:02:16,005 WE MADE THAT YEARS AGO. 6 00:02:16,048 --> 00:02:17,224 YOU'RE KIDDING. 7 00:02:17,267 --> 00:02:18,442 NO, I'M NOT. 8 00:02:18,486 --> 00:02:21,837 IT WAS CALLED FLESH TONE. 9 00:02:22,620 --> 00:02:23,317 OH, YEAH. 10 00:02:23,360 --> 00:02:26,711 IT WAS A TERRIFIC FILM. 11 00:02:27,538 --> 00:02:29,323 THANK YOU. 12 00:02:32,761 --> 00:02:35,938 AH, LET'S SEE WHAT WE GOT HERE. 13 00:02:35,981 --> 00:02:37,635 O.K. 14 00:02:58,830 --> 00:03:00,180 I UNDERSTAND THAT. 15 00:03:00,223 --> 00:03:02,921 I'M TRYING TO GET A HOLD OF HIM. 16 00:03:02,965 --> 00:03:05,097 DOESN'T HE HAVE AN AGENT? 17 00:03:05,141 --> 00:03:06,186 AGENT? NO. 18 00:03:06,229 --> 00:03:08,623 WELL, HOW THE HELL DO YOU CONTACT HIM? 19 00:03:08,666 --> 00:03:10,059 WELL, WE DON'T CONTACT HIM. 20 00:03:10,102 --> 00:03:15,238 IT'S A CULT. WE'RE NOT ALLOWED TO CONTACT UP THERE. 21 00:03:15,282 --> 00:03:16,152 THANK YOU. 22 00:03:16,196 --> 00:03:17,240 YOU'RE WELCOME. 23 00:03:17,284 --> 00:03:18,154 I'M SORRY. 24 00:03:18,198 --> 00:03:20,330 IT'S ALL RIGHT. 25 00:03:59,108 --> 00:04:00,675 HELLO. 26 00:04:00,718 --> 00:04:01,502 HELLO? 27 00:04:01,545 --> 00:04:03,460 IS THIS MARVIN LANDISMAN? 28 00:04:03,504 --> 00:04:05,070 YES. 29 00:04:05,114 --> 00:04:07,943 MARVIN, THIS IS JACK ROTH. 30 00:04:08,291 --> 00:04:10,206 UH-HUH. 31 00:04:10,250 --> 00:04:11,338 YOU KNOW, MARVIN, 32 00:04:11,381 --> 00:04:13,165 STRANGE THINGS HAPPEN IN THIS BUSINESS. 33 00:04:13,209 --> 00:04:15,690 MAYBE THAT'S WHY I LOVE IT SO MUCH. 34 00:04:15,733 --> 00:04:18,127 I WAS CLEANING OUT MY FILES LAST NIGHT, 35 00:04:18,170 --> 00:04:20,912 AND I CAME ACROSS A SCRIPT OF YOURS. 36 00:04:20,956 --> 00:04:23,567 I REREAD IT, AND I LIKED IT. 37 00:04:23,611 --> 00:04:25,830 I REALLY LIKED IT. 38 00:04:28,746 --> 00:04:29,617 MARVIN? 39 00:04:29,660 --> 00:04:31,009 WHAT SCRIPT? 40 00:04:31,053 --> 00:04:35,318 IT'S CALLED THE DARKNESS AND THE LIGHT. 41 00:04:36,406 --> 00:04:39,931 I HAVEN'T GIVEN OUT THAT SCRIPT IN YEARS. 42 00:04:39,975 --> 00:04:41,106 WELL, YOU KNOW WHAT? 43 00:04:41,150 --> 00:04:44,240 IT'S MORE TIMELY THAN EVER. 44 00:04:45,110 --> 00:04:49,245 UM, WOULD YOU HOLD ON A SECOND, PLEASE? 45 00:04:49,289 --> 00:04:51,073 SURE. 46 00:05:00,038 --> 00:05:02,824 I'M SORRY, WHO ARE YOU AGAIN? 47 00:05:02,867 --> 00:05:04,216 JACK ROTH. 48 00:05:04,260 --> 00:05:08,438 DIDN'T I MEET YOU AT THE COMMISSARY AT UNIVERSAL? 49 00:05:08,482 --> 00:05:09,657 OH, YEAH. 50 00:05:09,700 --> 00:05:10,484 MARVIN, 51 00:05:10,527 --> 00:05:11,920 YOUR SCRIPT'S A KNOCKOUT. 52 00:05:11,963 --> 00:05:14,270 IN FACT, I THINK I KNOW 53 00:05:14,314 --> 00:05:16,577 WHERE WE CAN GET IT MADE. 54 00:05:16,620 --> 00:05:18,187 YOU INTERESTED? 55 00:05:20,276 --> 00:05:22,931 LOOK, I WROTE-- I WROTE THAT SCRIPT 56 00:05:22,974 --> 00:05:25,020 FOR ME TO DIRECT, SO... 57 00:05:25,063 --> 00:05:26,978 SURE. 58 00:05:27,327 --> 00:05:28,328 SURE. ALL THE BETTER. 59 00:05:28,371 --> 00:05:30,721 WHAT SAY WE GET TOGETHER TOMORROW 60 00:05:30,765 --> 00:05:32,157 AND TALK ABOUT IT. 61 00:05:32,201 --> 00:05:34,072 HOW ABOUT LUNCH? 62 00:05:35,683 --> 00:05:36,727 O.K. 63 00:05:36,771 --> 00:05:38,599 WOULD YOU MIND MEETING ME AT SHELBY'S? 64 00:05:38,642 --> 00:05:41,384 I KNOW IT'S NOT THE GREATEST FOOD, 65 00:05:41,428 --> 00:05:43,212 BUT IT'S CONVENIENT. 66 00:05:43,255 --> 00:05:44,169 WHICH ONE? 67 00:05:44,213 --> 00:05:46,520 THE ONE ON 3rd. HOW ABOUT 1:00? 68 00:05:54,092 --> 00:05:59,228 AND NOW WE LIGHT A MATCH... 69 00:06:00,316 --> 00:06:02,579 AND PRESTO. 70 00:06:04,494 --> 00:06:06,191 HOLD IT. HOLD IT. 71 00:06:06,235 --> 00:06:07,149 WHAT'S WRONG? 72 00:06:07,192 --> 00:06:08,411 THIS IS NO GOOD. 73 00:06:08,455 --> 00:06:09,325 WHAT ISN'T? 74 00:06:09,369 --> 00:06:10,979 YOU CAN SEE HERE. 75 00:06:11,022 --> 00:06:12,110 IT DIDN'T POOF. 76 00:06:12,154 --> 00:06:14,504 IT'S SUPPOSED TO POOF WITH A BIG FLAME. 77 00:06:14,548 --> 00:06:17,420 O.K., PUT SOME MORE BRANDY ON IT. 78 00:06:17,464 --> 00:06:18,595 NO, THERE'S-- 79 00:06:18,639 --> 00:06:20,728 OOH, THERE'S PLENTY OF BRANDY ON THIS ONE. 80 00:06:20,771 --> 00:06:24,209 I GOT TO BE OUT OF HERE BY 12:30. 81 00:06:24,253 --> 00:06:25,733 WHAT ABOUT LIGHTER FLUID? 82 00:06:25,776 --> 00:06:27,909 LIGHTER FLUID WILL RUIN THE PAN. 83 00:06:33,305 --> 00:06:34,089 O.K. O.K. 84 00:06:34,132 --> 00:06:35,438 HANS, ALL RIGHT. 85 00:06:35,482 --> 00:06:38,093 O.K. I'VE HAD IT. 86 00:06:48,016 --> 00:06:49,191 MARVIN? 87 00:06:49,234 --> 00:06:50,410 JACK. 88 00:06:50,453 --> 00:06:53,021 IT'S WONDERFUL TO SEE YOU. 89 00:06:53,064 --> 00:06:55,066 YOU HAVEN'T CHANGED A BIT. 90 00:06:55,110 --> 00:06:56,241 YOU LOOK GREAT. 91 00:06:56,285 --> 00:06:58,853 COME ON. I GOT A TABLE IN THE BACK. 92 00:06:58,896 --> 00:07:01,551 NORMALLY I LIKE TO MEET SOMEWHERE ELSE, 93 00:07:01,595 --> 00:07:03,771 BUT SINCE I WAS AT PARAMOUNT, 94 00:07:03,814 --> 00:07:05,773 I FIGURED WHAT THE HELL. 95 00:07:05,816 --> 00:07:07,296 THE FOOD'S NOT HALF BAD. 96 00:07:07,339 --> 00:07:09,559 THERE'S SOMEBODY HERE I'D LIKE YOU TO MEET. 97 00:07:09,603 --> 00:07:12,649 THIS IS STUART STRATLAND, A VERY TALENTED YOUNG WRITER. 98 00:07:12,693 --> 00:07:13,998 NICE TO MEET YOU, MARVIN. 99 00:07:14,042 --> 00:07:17,219 IF YOU DON'T MIND, I FIGURED STUART WOULD SIT IN. 100 00:07:17,262 --> 00:07:19,177 NO, THAT'S O.K. SURE. 101 00:07:19,221 --> 00:07:20,527 GOOD. 102 00:07:22,224 --> 00:07:26,184 SO, COME ON, GUYS. WHAT ARE YOU GOING TO HAVE? 103 00:07:26,228 --> 00:07:27,577 MARVIN, ORDER SOMETHING GOOD. 104 00:07:27,621 --> 00:07:29,231 THE STEAK SANDWICH ISN'T BAD. 105 00:07:29,274 --> 00:07:32,321 HONEY, WHAT'S GOOD? THESE MEN ARE VERY HUNGRY. 106 00:07:32,364 --> 00:07:33,757 SAME OLD THING. 107 00:07:33,801 --> 00:07:35,106 THE TURKEY'S ON SPECIAL. 108 00:07:35,150 --> 00:07:37,935 IS THAT GOOD? DO YOU LIKE TURKEY? 109 00:07:37,979 --> 00:07:39,154 TURKEY'S ALL RIGHT. 110 00:07:39,197 --> 00:07:41,286 FINE. I'LL HAVE THE TURKEY SANDWICH. 111 00:07:41,330 --> 00:07:44,376 I'LL HAVE A BACON CHEESEBURGER, ONION RINGS, 112 00:07:44,420 --> 00:07:45,508 AND A LARGE COKE. 113 00:07:45,552 --> 00:07:48,250 I'LL HAVE THE-- I HAD A LATE BREAKFAST. 114 00:07:48,293 --> 00:07:49,686 I'LL JUST HAVE A SALAD. 115 00:07:49,730 --> 00:07:52,254 THEY PUT A LOT OF SHRIMP ON IT? 116 00:07:52,297 --> 00:07:53,081 YEAH. 117 00:07:53,124 --> 00:07:54,299 TELL THE CHEF 118 00:07:54,343 --> 00:07:56,650 TO REALLY HEAP THE SHRIMP ON. 119 00:07:56,693 --> 00:07:57,564 O.K. 120 00:07:57,607 --> 00:07:59,217 THANKS. 121 00:07:59,261 --> 00:08:00,610 SO... 122 00:08:00,654 --> 00:08:03,744 I REMEMBER AT UNIVERSAL THERE WAS A LOT OF GOOD TALK 123 00:08:03,787 --> 00:08:05,746 ABOUT THAT PICTURE OF YOURS. 124 00:08:05,789 --> 00:08:07,138 TOO BAD ABOUT WHAT HAPPENED. 125 00:08:07,182 --> 00:08:11,012 YEAH, WELL, THAT WAS A LONG TIME AGO. 126 00:08:11,055 --> 00:08:14,189 SO, HAVE YOU DONE ANY DIRECTING SINCE? 127 00:08:14,232 --> 00:08:17,540 UH, LATELY I'VE BEEN WORKING IN VIDEO. 128 00:08:17,584 --> 00:08:18,454 MTV? 129 00:08:18,498 --> 00:08:19,673 NO, UH, 130 00:08:19,716 --> 00:08:22,719 INSTRUCTIONAL CASSETTES FOR THE HOME MARKET. 131 00:08:22,763 --> 00:08:25,505 OH. UH-HUH. 132 00:08:25,548 --> 00:08:27,332 YOU KNOW, THAT SCRIPT OF YOURS 133 00:08:27,376 --> 00:08:30,161 HAS ALL THE RIGHT ELEMENTS, I MEAN... 134 00:08:30,205 --> 00:08:33,034 IT'S GOT GOOD CHARACTERS AND A TERRIFIC STORY. 135 00:08:33,077 --> 00:08:35,079 I DON'T KNOW IF YOU AGREE WITH ME, 136 00:08:35,123 --> 00:08:37,473 BUT STORY IS THE MOST IMPORTANT SCRIPT ELEMENT. 137 00:08:37,517 --> 00:08:41,216 WELL, YEAH, I DO AGREE. STORY IS VERY IMPORTANT. 138 00:08:41,259 --> 00:08:43,435 YOU KNOW, I LIKED IT SO MUCH, 139 00:08:43,479 --> 00:08:46,177 I REREAD IT LAST NIGHT AFTER WE TALKED. 140 00:08:46,221 --> 00:08:48,179 IT WAS A REAL PLEASURE. 141 00:08:48,223 --> 00:08:50,225 IT'S GOT GREAT PARTS FOR ACTORS. 142 00:08:50,268 --> 00:08:52,096 IT'S--IT'S MODERN, IT'S TIMELY. 143 00:08:52,140 --> 00:08:54,185 WHAT THE HELL MORE COULD YOU ASK FOR? 144 00:08:54,229 --> 00:08:57,145 THANKS. I WORKED HARD TO GET THE RIGHT BALANCE. 145 00:08:57,188 --> 00:09:00,017 THAT'S A GOOD WAY TO PUT IT, MARVIN. 146 00:09:00,061 --> 00:09:01,410 IT IS BALANCED. 147 00:09:01,453 --> 00:09:05,109 YOU MAY NOT AGREE, BUT IT DOES GET HEAVY IN PLACES. 148 00:09:05,153 --> 00:09:07,024 WELL, THE PAINTER KILLS HIMSELF. 149 00:09:07,068 --> 00:09:10,419 THAT'S WHAT I MEAN. THE WHOLE THING IS VERY HEAVY. 150 00:09:10,462 --> 00:09:12,813 WELL, SUICIDE IS A DARK SUBJECT. 151 00:09:12,856 --> 00:09:15,206 DEPENDS ON HOW IT'S HANDLED. 152 00:09:15,250 --> 00:09:16,381 STUART HERE'S VERY TALENTED. 153 00:09:16,425 --> 00:09:18,601 HE WROTE A TERRIFIC SCIENCE FICTION THING. 154 00:09:18,645 --> 00:09:21,778 THE BACKER I'VE GOT WANTS TO DO A SMALLER FILM, 155 00:09:21,822 --> 00:09:23,171 SOMETHING MORE ARTISTIC. 156 00:09:23,214 --> 00:09:26,217 I'M NOT SURE THEY'LL GO FOR A SCRIPT ABOUT SUICIDE. 157 00:09:26,261 --> 00:09:27,392 IT'S NOT ABOUT SUICIDE. 158 00:09:27,436 --> 00:09:29,177 IT'S ABOUT AN ARTIST'S COURAGE. 159 00:09:29,220 --> 00:09:32,180 HE'S DRIVEN TO KILL HIMSELF. I WON'T CHANGE THAT. 160 00:09:32,223 --> 00:09:34,878 NATURALLY. I'M NOT ASKING YOU TO CHANGE THAT. 161 00:09:34,922 --> 00:09:37,098 IT'S AN IMPORTANT ELEMENT. I FIND IT VERY MOVING, 162 00:09:37,141 --> 00:09:40,667 BUT MAYBE IT COULD BE HANDLED A LITTLE DIFFERENTLY. 163 00:09:40,710 --> 00:09:42,494 DOES HE HAVE TO KILL HIMSELF? 164 00:09:42,538 --> 00:09:44,453 COULDN'T HE JUST LEAVE TOWN AT THE END? 165 00:09:44,496 --> 00:09:47,543 THE WHOLE POINT IS THAT HE'S DESTROYED BY SOCIETY. 166 00:09:47,587 --> 00:09:48,979 NO, HE CAN'T JUST LEAVE. 167 00:09:49,023 --> 00:09:52,156 WHAT IF HE WAS KILLED IN AN ACCIDENT? 168 00:09:52,200 --> 00:09:55,290 STUART HAD THE SAME TEACHERS AS SPIELBERG AT CAL STATE. 169 00:09:55,333 --> 00:09:57,422 MARVIN, YOU'RE IN THE DRIVER'S SEAT, 170 00:09:57,466 --> 00:10:00,556 BUT STUART HAS SOME VERY, VERY INTERESTING IDEAS. 171 00:10:00,600 --> 00:10:02,819 I FIGURED THAT YOU GUYS COULD, 172 00:10:02,863 --> 00:10:04,168 YOU KNOW, SIT DOWN, 173 00:10:04,212 --> 00:10:05,779 YOU KNOW, LOOK AT IT. 174 00:10:05,822 --> 00:10:07,868 I COULD HAVE MADE THIS FILM YEARS AGO 175 00:10:07,911 --> 00:10:10,174 IF I WANTED TO PLAY FOOTSIE-WOOTSIE. 176 00:10:10,218 --> 00:10:12,002 MARVIN, WE'RE JUST TALKING HERE. 177 00:10:12,046 --> 00:10:12,829 I KNEW IT. 178 00:10:12,873 --> 00:10:15,832 I'M NOT CHANGING ONE WORD! 179 00:10:15,876 --> 00:10:18,226 I DON'T NEED TO MAKE THIS FILM, 180 00:10:18,269 --> 00:10:20,271 AND I DON'T NEED YOUR SANDWICH. 181 00:10:20,315 --> 00:10:21,795 LET'S--LET'S JUST FORGET IT, O.K.? 182 00:10:21,838 --> 00:10:25,059 JESUS, I LOVE YOUR PASSION. IT'S SO REFRESHING. 183 00:10:25,102 --> 00:10:26,582 I WAS AT UNIVERSAL YEARS AGO 184 00:10:26,626 --> 00:10:29,933 WHEN NICK RAY THREW A PROJECTOR OUT OF A WINDOW. 185 00:10:29,977 --> 00:10:33,241 THIS IS WHAT A GOOD DIRECTOR HAS TO HAVE, STUART. 186 00:10:33,284 --> 00:10:35,547 I'M JUST HERE TO BE USED. 187 00:10:35,591 --> 00:10:37,071 CHEESEBURGER... 188 00:10:37,114 --> 00:10:39,116 OH, THAT'S UH... 189 00:10:39,160 --> 00:10:41,292 TURKEY... 190 00:10:41,815 --> 00:10:43,033 AND SHRIMP... 191 00:10:43,077 --> 00:10:44,208 AND THE KETCHUP, 192 00:10:44,252 --> 00:10:47,124 AND I'LL BRING YOUR COKE. 193 00:10:47,168 --> 00:10:50,040 MAYBE I AM A LITTLE TOO APPREHENSIVE, 194 00:10:50,084 --> 00:10:51,172 BUT IT'S BECAUSE 195 00:10:51,215 --> 00:10:54,044 I WANT TO GET THIS PICTURE MADE, MARVIN. 196 00:10:54,088 --> 00:10:57,091 MAYBE I'M BEING TOO CAUTIOUS. 197 00:10:58,092 --> 00:11:00,442 WHY DON'T YOU MEET MY MONEY GUY? 198 00:11:00,485 --> 00:11:04,576 MY GUT TELLS ME HE'LL LIKE YOU. 199 00:11:04,620 --> 00:11:06,100 HE'S GOING TO FINANCE THE FILM? 200 00:11:06,143 --> 00:11:08,363 VERY INTERESTING GUY. HE'S A REAL PLAYER, 201 00:11:08,406 --> 00:11:11,888 AND HE'S GOT THIS GIRL. I THINK SHE'S TERRIFIC. 202 00:11:11,932 --> 00:11:13,194 SHE REALLY HAS SOMETHING. 203 00:11:13,237 --> 00:11:16,371 SHE'S CUTE AS A BUTTON, BUT DECIDE FOR YOURSELF. 204 00:11:16,414 --> 00:11:17,241 DECIDE WHAT? 205 00:11:17,285 --> 00:11:19,243 HE WANTS HER IN THE MOVIE. 206 00:11:19,287 --> 00:11:22,246 I HAVE TO GIVE HER A ROLE? 207 00:11:22,290 --> 00:11:23,813 A ROLE? 208 00:11:23,857 --> 00:11:26,120 DEPENDS ON WHAT YOU MEAN BY A ROLE. 209 00:11:26,163 --> 00:11:31,168 HE WANTS A LITTLE SOMETHING TO GET HER CAREER GOING. 210 00:11:40,134 --> 00:11:41,178 PROBLEM? 211 00:11:41,222 --> 00:11:42,832 YEAH. THIS THING WITH THE GIRLFRIEND-- 212 00:11:42,876 --> 00:11:46,270 MARVIN, I NEED TO MAKE A GOOD PICTURE. 213 00:11:46,314 --> 00:11:49,099 IF SHE ISN'T RIGHT FOR THE PART, 214 00:11:49,143 --> 00:11:52,363 I WON'T LET YOU CAST HER. 215 00:12:08,118 --> 00:12:09,119 HELLO. 216 00:12:09,163 --> 00:12:10,730 MARVIN? 217 00:12:10,773 --> 00:12:11,818 OH, HI. RACHEL. 218 00:12:11,861 --> 00:12:13,297 YEAH. YOUR WIFE. REMEMBER? 219 00:12:13,341 --> 00:12:15,169 DIDN'T SOUND LIKE YOU. 220 00:12:15,212 --> 00:12:16,126 YOU'RE SO UP. 221 00:12:16,170 --> 00:12:18,215 I WAS JUST EATING A SANDWICH. 222 00:12:18,259 --> 00:12:20,391 I'M IN THE SUBWAY, SO WE'LL TALK FAST. 223 00:12:20,435 --> 00:12:23,655 I'M GOING TO THE LAWYERS TO CLINCH THIS DEAL 224 00:12:23,699 --> 00:12:26,267 BEFORE MR. MOMOLIO CHANGES HIS MIND. 225 00:12:26,310 --> 00:12:28,138 YOU PULLED IT OFF? 226 00:12:28,182 --> 00:12:29,574 I PULLED IT OFF. 227 00:12:29,618 --> 00:12:31,751 HE'LL LEASE US THE RESTAURANT SPACE INCREDIBLY CHEAP, 228 00:12:31,794 --> 00:12:34,492 AND HE'S COMING IN AS A PARTNER. 229 00:12:34,536 --> 00:12:35,798 SO IT'S HAPPENING. 230 00:12:35,842 --> 00:12:37,191 MARVIN, THE TRAIN'S COMING. 231 00:12:37,234 --> 00:12:40,107 THERE'S A POSITION OPENING IN THE DRAMA DEPARTMENT 232 00:12:40,150 --> 00:12:41,151 AT QUEENS COLLEGE. 233 00:12:41,195 --> 00:12:43,066 THEY'RE VERY INTERESTED IN YOU. 234 00:12:43,110 --> 00:12:45,634 I HEAR THEY HAVE A BEAUTIFUL THEATER THERE. 235 00:12:45,677 --> 00:12:48,115 WE'LL HAVE A GREAT TIME IN NEW YORK. 236 00:12:48,158 --> 00:12:50,987 HERE'S MY TRAIN. BYE. I LOVE YOU. 237 00:12:51,031 --> 00:12:53,033 I LOVE YOU, TOO, HONEY. 238 00:12:53,076 --> 00:12:54,425 HEY, CONGRATULATIONS. 239 00:13:11,181 --> 00:13:12,966 DARN IT. 240 00:13:26,370 --> 00:13:28,285 I DON'T SEE THE SOUP. 241 00:13:28,329 --> 00:13:29,852 THERE'S TOO MUCH KASHA. 242 00:13:29,896 --> 00:13:32,159 DID THEY PUT IN ANY SOUP? 243 00:13:32,202 --> 00:13:36,119 IT'S IN THERE IF YOU LOOK. 244 00:13:37,991 --> 00:13:40,907 YOU'RE LUCKY YOU GOT SERVED. 245 00:13:40,950 --> 00:13:42,256 SAME OLD PLACE. 246 00:13:42,299 --> 00:13:43,823 BEEN HERE FOREVER. FOREVER. 247 00:13:43,866 --> 00:13:46,738 I KNOW IT'S THE SAME OLD PLACE. 248 00:13:46,782 --> 00:13:49,829 YOU'RE NOT TELLING ME SOMETHING NEW. 249 00:13:51,265 --> 00:13:53,963 IT'S MARVIN, RIGHT? 250 00:13:54,007 --> 00:13:54,703 RIGHT. 251 00:13:54,746 --> 00:13:56,661 WHERE ARE YOU FROM? 252 00:13:56,705 --> 00:13:58,272 NEW YORK. 253 00:13:58,315 --> 00:13:59,534 NEW YORK. 254 00:13:59,577 --> 00:14:02,885 THEN YOU PROBABLY DON'T REMEMBER MY STORE. 255 00:14:02,929 --> 00:14:06,193 I HAD THE BIGGEST CLOCK STORE ON THE WEST COAST. 256 00:14:06,236 --> 00:14:08,238 EVERYBODY BOUGHT THEIR CLOCKS FROM ME-- 257 00:14:08,282 --> 00:14:10,371 PEOPLE IN THE BUSINESS, YOUR BUSINESS. 258 00:14:10,414 --> 00:14:13,156 SO I KNOW SOMETHING ABOUT THIS. 259 00:14:13,200 --> 00:14:15,637 WHAT DID YOU THINK OF THE SCRIPT? 260 00:14:15,680 --> 00:14:16,856 I DIDN'T READ IT. 261 00:14:16,899 --> 00:14:20,163 IT LOOKED PROFESSIONAL, AND PEGGY LIKES IT. 262 00:14:20,207 --> 00:14:21,295 IT'S A TERRIFIC SCRIPT. 263 00:14:21,338 --> 00:14:23,471 OF COURSE YOU THINK IT'S TERRIFIC. 264 00:14:23,514 --> 00:14:25,299 IT'S YOUR JOB TO SAY THAT. 265 00:14:25,342 --> 00:14:28,563 WHAT ARE YOU GOING TO SAY, THAT IT'S SHIT? 266 00:14:28,606 --> 00:14:30,130 GEORGE. LET THEM TALK. 267 00:14:30,173 --> 00:14:31,522 PEGGY, DARLING. 268 00:14:31,566 --> 00:14:32,523 BE QUIET. 269 00:14:32,567 --> 00:14:35,309 YOU MAKE THINGS HARD WHEN YOU TALK. 270 00:14:35,352 --> 00:14:38,312 A BUSINESSPERSON YOU'RE NOT. 271 00:14:44,405 --> 00:14:48,148 THERE'S NOT TOO MUCH CHICKEN FAT IN THIS SOUP. 272 00:14:48,191 --> 00:14:51,499 USUALLY, I DON'T GET A GOOD BOWL OF SOUP 273 00:14:51,542 --> 00:14:53,283 UNLESS I GO TO NEW YORK. 274 00:14:53,327 --> 00:14:57,026 THERE'S NO INTEGRITY IN THE RESTAURANT BUSINESS ANYMORE. 275 00:14:57,070 --> 00:14:59,072 MY FATHER SAYS THE SAME THING. 276 00:14:59,115 --> 00:15:01,030 YOUR FATHER IS A SMART MAN. 277 00:15:01,074 --> 00:15:04,207 SO, WHAT ARE YOU IN THIS TEAM? 278 00:15:04,251 --> 00:15:06,557 I'M SORT OF ASSOCIATED WITH THE PROJECT. 279 00:15:06,601 --> 00:15:09,473 STUART HAD THE SAME TEACHERS IN COLLEGE 280 00:15:09,517 --> 00:15:11,127 AS STEVEN SPIELBERG. 281 00:15:11,171 --> 00:15:14,348 SO HAVE A LOT OF OTHER PEOPLE. 282 00:15:15,653 --> 00:15:16,480 MARVIN. 283 00:15:16,524 --> 00:15:18,004 MARVIN. RIGHT? 284 00:15:18,047 --> 00:15:19,135 LISTEN. 285 00:15:19,179 --> 00:15:22,138 WHAT PART ARE YOU GOING TO GIVE MY PEGGY 286 00:15:22,182 --> 00:15:24,619 IN YOUR FILM? 287 00:15:25,489 --> 00:15:27,839 WELL, UH, I'M NOT SURE. 288 00:15:27,883 --> 00:15:29,972 I REALLY HAVEN'T THOUGHT ABOUT IT. 289 00:15:30,016 --> 00:15:31,713 I'D LIKE TO GET TO KNOW HER. 290 00:15:31,756 --> 00:15:34,934 THERE'S A PART IN YOUR SCRIPT THAT SHE WANTS. 291 00:15:34,977 --> 00:15:37,980 WHAT'S THE NAME OF THE PART, PEGGY? 292 00:15:38,024 --> 00:15:38,981 ZOEY. 293 00:15:39,025 --> 00:15:40,026 ZOEY. 294 00:15:40,069 --> 00:15:42,811 YEAH. THE GIRLFRIEND. SHE'S SO DEEP. 295 00:15:44,073 --> 00:15:46,162 YES. YES. IT'S A GREAT PART. 296 00:15:46,206 --> 00:15:47,337 IT'S A WONDERFUL PART. 297 00:15:47,381 --> 00:15:49,339 BUT THERE'S ANOTHER GREAT PART, 298 00:15:49,383 --> 00:15:52,647 THE PART OF THE PAINTER'S MODEL. 299 00:15:52,690 --> 00:15:54,954 THE PROSTITUTE? 300 00:15:55,215 --> 00:15:57,957 IT'S NOT AS BIG A PART, BUT... 301 00:15:58,000 --> 00:16:01,264 IT ISN'T THE SIZE OF THE ROLE THAT MATTERS. 302 00:16:01,308 --> 00:16:03,832 IT'S EASY FOR YOU TO SAY. 303 00:16:03,875 --> 00:16:05,138 BUT IT'S MY MONEY, 304 00:16:05,181 --> 00:16:07,140 AND SHE'LL PLAY A BIG PART. 305 00:16:07,183 --> 00:16:08,750 BUT IT'S MY MOVIE. 306 00:16:08,793 --> 00:16:10,230 I COULD HAVE DONE IT 307 00:16:10,273 --> 00:16:13,233 WITH A BIG TELEVISION STAR YEARS AGO, 308 00:16:13,276 --> 00:16:14,495 BUT I DIDN'T. 309 00:16:14,538 --> 00:16:18,151 SHE WAS WRONG FOR THE ROLE. 310 00:16:18,803 --> 00:16:22,285 MAYBE I DON'T HAVE TO PLAY THE GIRLFRIEND. 311 00:16:22,329 --> 00:16:23,330 WHAT? 312 00:16:23,373 --> 00:16:26,159 YOU KNOW, MARILYN BECAME A BIG STAR 313 00:16:26,202 --> 00:16:27,551 AFTER ASPHALT JUNGLE, 314 00:16:27,595 --> 00:16:30,424 AND SHE ONLY DID ONE SCENE. 315 00:16:30,467 --> 00:16:31,294 SURE. 316 00:16:31,338 --> 00:16:33,644 THE POINT IS TO BE NOTICED. 317 00:16:33,688 --> 00:16:34,819 LISTEN TO ME. 318 00:16:34,863 --> 00:16:38,084 PEGGY WILL DO ANYTHING TO GET INTO A MOVIE, 319 00:16:38,127 --> 00:16:39,215 BUT I'M HER PROMOTER. 320 00:16:39,259 --> 00:16:42,131 YOU DON'T GET ANY OF MY MONEY 321 00:16:42,175 --> 00:16:43,480 SO THAT SHE CAN PLAY 322 00:16:43,524 --> 00:16:47,093 WHAT YOU GUYS CALL AN IMPORTANT BUT TINY PART. 323 00:16:47,136 --> 00:16:48,746 I'M A SMART GUY, TOO. 324 00:16:48,790 --> 00:16:50,966 GEORGE, JUST LET THEM TALK ABOUT IT. 325 00:16:51,010 --> 00:16:54,100 SO MANY THINGS CAN HAPPEN BEFORE A MOVIE'S FINISHED. 326 00:16:54,143 --> 00:16:55,536 THERE'S REHEARSAL, CASTING, EDITING. 327 00:16:55,579 --> 00:16:59,235 THE PROSTITUTE COULD GO FROM 2 SCENES TO 20, 328 00:16:59,279 --> 00:17:00,497 STEALING THE ENTIRE FILM. 329 00:17:00,541 --> 00:17:03,196 IF THE PROSTITUTE IS THE BIGGEST PART, 330 00:17:03,239 --> 00:17:04,980 THEN THAT'S THE PART SHE'LL PLAY. 331 00:17:05,024 --> 00:17:08,810 I DON'T KNOW IF SHE CAN PLAY THAT PART OR ANY PART. 332 00:17:08,853 --> 00:17:10,725 LOOK, LOOK, LOOK. HE'S GETTING UPSET. 333 00:17:10,768 --> 00:17:13,423 I CAN'T DEAL WITH SOMEONE WHO GETS UPSET 334 00:17:13,467 --> 00:17:15,208 BECAUSE I SAY WHAT I WANT. 335 00:17:15,251 --> 00:17:16,948 TO ME, IT'S JUST BUSINESS. 336 00:17:16,992 --> 00:17:19,647 THE SCRIPT IS VERY IMPORTANT TO HIM. 337 00:17:19,690 --> 00:17:20,996 SPEAK FOR YOURSELF. 338 00:17:21,040 --> 00:17:22,258 GUYS, GET THIS TOGETHER. 339 00:17:22,302 --> 00:17:24,521 I LIKE TO COMMUNICATE WITH PEOPLE, 340 00:17:24,565 --> 00:17:27,698 BUT THE OTHER PERSON HAS TO BE SOMEPLACE 341 00:17:27,742 --> 00:17:30,005 FOR ME TO COMMUNICATE WITH THEM. 342 00:17:30,049 --> 00:17:33,530 PEGGY AND I TOOK THE FORM SEMINAR, YOU KNOW. 343 00:17:33,574 --> 00:17:37,143 WE WERE IN COMMUNICATOR CLASSES TOGETHER. 344 00:17:37,969 --> 00:17:40,972 DON'T CAST ME IF YOU DON'T LIKE ME. 345 00:17:41,016 --> 00:17:42,757 NO. I LIKE YOU. 346 00:17:42,800 --> 00:17:44,628 MARVIN. 347 00:17:45,020 --> 00:17:47,109 YOU LOOK LIKE A NICE BOY. 348 00:17:47,153 --> 00:17:49,372 YOU'RE PROBABLY VERY TALENTED, TOO, 349 00:17:49,416 --> 00:17:52,071 BUT IT'S MY MONEY, HUH? 350 00:17:52,114 --> 00:17:55,161 MAKE A DECISION AND GET BACK TO ME. 351 00:17:55,204 --> 00:17:57,119 ANDIAMO,PEGGY. 352 00:17:57,163 --> 00:17:58,425 LET'S GO. 353 00:17:58,468 --> 00:18:02,777 NO, NO. YOU DON'T HAVE TO GET UP. 354 00:18:03,169 --> 00:18:04,866 WHY DID YOU... 355 00:18:04,909 --> 00:18:06,824 ALL RIGHT. 356 00:18:12,352 --> 00:18:14,484 I'LL CALL YOU. 357 00:18:26,409 --> 00:18:29,151 WHO IS HE, SAYING THE SCRIPT ISN'T FINISHED? 358 00:18:29,195 --> 00:18:31,327 I'VE WORKED ON THAT SCRIPT FOR YEARS. 359 00:18:31,371 --> 00:18:33,024 WHO THE FUCK IS HE? 360 00:18:33,068 --> 00:18:35,201 HE'S A LITTLE GREEN. HE MADE A MISTAKE. 361 00:18:35,244 --> 00:18:36,811 WHO THE FUCK IS HE? 362 00:18:36,854 --> 00:18:40,858 WHAT DOES HE EVEN HAVE TO DO WITH THIS FILM? 363 00:18:40,902 --> 00:18:42,077 I THOUGHT YOU KNEW. 364 00:18:42,121 --> 00:18:44,819 NO. WHY WAS HE EVEN AT THIS MEETING? 365 00:18:44,862 --> 00:18:45,907 JACK, WHO IS HE? 366 00:18:45,950 --> 00:18:48,257 YOU'VE NEVER HEARD OF STUART STRATLAND? 367 00:18:48,301 --> 00:18:49,389 STUART STRATLAND? 368 00:18:49,432 --> 00:18:50,607 TWO ACADEMY AWARDS. 369 00:18:50,651 --> 00:18:52,696 HE WROTE SOUND IN THE RIVER, 370 00:18:52,740 --> 00:18:54,829 DEATH BY ANY OTHER NAME. 371 00:18:54,872 --> 00:18:57,658 YEAH. HOW... HE'S SO YOUNG. 372 00:18:57,701 --> 00:18:58,702 NOT HIM. 373 00:18:58,746 --> 00:19:00,182 THAT'S HIS SON, STUART STRATLAND JR. 374 00:19:00,226 --> 00:19:02,793 HE'S JUST OUT OF COLLEGE. 375 00:19:02,837 --> 00:19:03,751 HIS SON. 376 00:19:03,794 --> 00:19:06,014 WHAT ARE WE DOING WITH HIS SON? 377 00:19:06,057 --> 00:19:07,233 I KNOW HIS FATHER. 378 00:19:07,276 --> 00:19:08,408 HE LOVES THIS KID. 379 00:19:08,451 --> 00:19:11,889 IF WE GET IN TROUBLE WITH THE SCRIPT, 380 00:19:11,933 --> 00:19:13,195 HE'LL HELP US OUT. 381 00:19:13,239 --> 00:19:16,155 YOU KNOW HOW MUCH THE GUY GETS? 500,000 EASY. 382 00:19:16,198 --> 00:19:19,114 IT'S LIKE GETTING THE FATHER FOR FREE. 383 00:19:19,158 --> 00:19:20,289 BESIDES, THIS KID WROTE 384 00:19:20,333 --> 00:19:23,205 A VERY FUNNY SCI-FI THING ABOUT ALIENS. 385 00:19:23,249 --> 00:19:25,207 THIS FILM IS ABOUT PEOPLE, JACK. 386 00:19:25,251 --> 00:19:27,122 HE'S TROUBLE. I DON'T NEED HIM. 387 00:19:27,166 --> 00:19:29,864 DID YOU HEAR WHAT HE SAID TO GEORGE? 388 00:19:29,907 --> 00:19:31,387 YEAH. YOU'RE ABSOLUTELY RIGHT. 389 00:19:31,431 --> 00:19:33,215 HE WAS WAY OUT OF LINE. 390 00:19:33,259 --> 00:19:35,739 IF YOU WANT HIM OUT, HE'S OUT. 391 00:19:35,783 --> 00:19:38,220 BUT GEORGE SEEMED TO LIKE HIM A LOT, 392 00:19:38,264 --> 00:19:41,092 AND THAT COULD COME IN VERY HANDY 393 00:19:41,136 --> 00:19:42,529 WHEN WE CLOSE THE DEAL. 394 00:19:42,572 --> 00:19:46,533 I DON'T WANT TO BLOW THIS THING OVER SOMETHING MINOR. 395 00:19:46,576 --> 00:19:50,406 I DON'T LIKE THE WAY GEORGE TRIED TO BULLY ME. 396 00:19:50,450 --> 00:19:51,320 OH, THAT WAS TERRIBLE. 397 00:19:51,364 --> 00:19:53,931 I'M GLAD THE WAY YOU STOOD UP. 398 00:19:53,975 --> 00:19:55,672 HE DESERVED TO BE TOLD OFF. 399 00:19:55,716 --> 00:19:58,849 I WAS SEETHING JUST LISTENING TO HIM. 400 00:19:58,893 --> 00:20:01,461 DO YOU REALLY THINK HE'LL DO IT? 401 00:20:01,504 --> 00:20:02,810 HE'S A TOUGH NUT. 402 00:20:02,853 --> 00:20:06,596 HE'S TRYING TO PROVE WHAT A BIG SCHLONG HE'S GOT. 403 00:20:06,640 --> 00:20:08,032 IT'S ALL BULLSHIT. 404 00:20:08,076 --> 00:20:09,382 SHE'S GETTING RESTLESS. 405 00:20:09,425 --> 00:20:11,427 THAT'S WHY HE CAME TO ME. 406 00:20:11,471 --> 00:20:12,907 SHE LIKES YOUR SCRIPT. 407 00:20:12,950 --> 00:20:15,257 MAKE HER HAPPY, AND WE'RE IN. 408 00:20:15,301 --> 00:20:16,258 I CAN'T USE HER. 409 00:20:16,302 --> 00:20:18,652 WOULD IT HURT TO AUDITION HER? 410 00:20:18,695 --> 00:20:19,914 SHE'S NOT A DOG. 411 00:20:19,957 --> 00:20:22,830 I WOULDN'T MIND GETTING HER ALONE IN A ROOM. 412 00:20:22,873 --> 00:20:24,658 WHY CAN'T SHE PLAY THE PROSTITUTE? 413 00:20:24,701 --> 00:20:28,183 EVEN IF SHE COULD, GEORGE WON'T LET HER. 414 00:20:28,227 --> 00:20:31,055 WE LAND SOME SORT OF A NAME 415 00:20:31,099 --> 00:20:32,231 TO PLAY THE PAINTER, 416 00:20:32,274 --> 00:20:34,363 THE LITTLE GIRL FINDS OUT 417 00:20:34,407 --> 00:20:36,322 SHE'S PLAYING OPPOSITE A STAR, 418 00:20:36,365 --> 00:20:37,497 SHE'LL TAKE ANYTHING. 419 00:20:37,540 --> 00:20:39,803 GEORGE WILL ROLL OVER AND SPREAD-EAGLE. 420 00:20:39,847 --> 00:20:41,979 CAN I DO A SONG? 421 00:20:42,023 --> 00:20:42,937 A SONG? 422 00:20:42,980 --> 00:20:44,243 THERE'S NO SINGING IN YOUR FILM, 423 00:20:44,286 --> 00:20:47,289 BUT THERE'S A LOT OF ACTING IN SINGING. 424 00:20:47,333 --> 00:20:48,986 NO. THAT'S JUST FINE. 425 00:20:49,030 --> 00:20:50,336 GOOD. 426 00:20:51,598 --> 00:20:54,296 GREAT, 'CAUSE I'VE BEEN WORKING ON THIS SONG 427 00:20:54,340 --> 00:20:56,385 THAT I'M SUPPOSED TO PERFORM 428 00:20:56,429 --> 00:20:58,344 AT THIS CLUB IN VENTURA. 429 00:20:58,387 --> 00:20:59,954 ACTUALLY, GEORGE'S FRIEND'S THE OWNER. 430 00:20:59,997 --> 00:21:03,784 AND DON'T WORRY ABOUT WHAT GEORGE SAID THE OTHER DAY. 431 00:21:03,827 --> 00:21:06,569 HIS BITE'S A LOT WORSE THAN HIS BARK. 432 00:21:06,613 --> 00:21:08,005 HE REALLY LIKES YOU. 433 00:21:08,049 --> 00:21:09,529 HE REALLY LIKES YOU A LOT. 434 00:21:09,572 --> 00:21:12,314 HE JUST DOESN'T UNDERSTAND US PEOPLE IN ART. 435 00:21:12,358 --> 00:21:14,142 THIS SONG WORKS REALLY GREAT 436 00:21:14,185 --> 00:21:18,320 IF THE SPEAKERS ARE JUST THE RIGHT DISTANCE. 437 00:21:18,842 --> 00:21:21,758 SO, HAVE YOU DONE A LOT OF ACTING? 438 00:21:21,802 --> 00:21:22,803 OH, YEAH. 439 00:21:22,846 --> 00:21:25,022 I HAD ALL THE LEADS IN HIGH SCHOOL, 440 00:21:25,066 --> 00:21:28,330 BUT I REALLY DIDN'T LEARN ANYTHING UNTIL FULLERTON. 441 00:21:28,374 --> 00:21:30,332 WHAT'S FULLERTON? 442 00:21:30,376 --> 00:21:32,116 CAL STATE FULLERTON? 443 00:21:32,160 --> 00:21:34,902 I HAD A GREAT TEACHER-- MR. BROCKER. 444 00:21:34,945 --> 00:21:37,034 HE WAS FAMOUS AND ON BROADWAY. 445 00:21:37,078 --> 00:21:38,384 AND I DID BETRAYAL. 446 00:21:38,427 --> 00:21:40,299 HE SAID I WAS VERY GOOD. 447 00:21:40,342 --> 00:21:42,605 I DIDN'T MAKE ANY MONEY AS AN ACTRESS, 448 00:21:42,649 --> 00:21:45,478 SO I BECAME A WAITRESS AT THE LIGHTHOUSE. 449 00:21:45,521 --> 00:21:47,044 THAT'S WHERE YOU SING 450 00:21:47,088 --> 00:21:49,090 WHILE YOU WAIT ON TABLES. 451 00:21:49,133 --> 00:21:51,266 MY BOSS CAME ON TO ME, 452 00:21:51,310 --> 00:21:52,354 THEN I GOT FIRED, 453 00:21:52,398 --> 00:21:54,400 THEN MY HOUSE BURNED DOWN. 454 00:21:54,443 --> 00:21:57,272 THAT'S HOW I ENDED UP WITH GEORGE. 455 00:21:57,316 --> 00:21:58,360 I SEE. 456 00:21:58,404 --> 00:22:02,408 YOU WANT TO PUSH THAT BUTTON FOR ME? 457 00:22:05,236 --> 00:22:06,803 ♪ I'M A SEX GODDESS 458 00:22:06,847 --> 00:22:09,371 ♪ WE THINK THE SEX GODDESS HAS GOT US ♪ 459 00:22:09,415 --> 00:22:10,981 ♪ I'M A SEX GODDESS 460 00:22:11,025 --> 00:22:13,201 ♪ WE THINK THE SEX GODDESS HAS GOT US ♪ 461 00:22:13,244 --> 00:22:14,681 ♪ I'M A SEXPOT 462 00:22:14,724 --> 00:22:16,291 ♪ THE SEXPOT HAS GOT US ♪ 463 00:22:16,335 --> 00:22:18,815 ♪ DEFINITELY HAS GOT US HOT US ♪ 464 00:22:18,859 --> 00:22:22,384 ♪ WELL, I'M A LOVE GODDESS... ♪ 465 00:22:22,428 --> 00:22:23,429 I CAN'T USE HER, 466 00:22:23,472 --> 00:22:25,561 EVEN IF IT BLOWS THE DEAL. 467 00:22:25,605 --> 00:22:27,302 GO WITH YOUR INSTINCTS. 468 00:22:27,346 --> 00:22:28,347 YOU'RE THE DIRECTOR. 469 00:22:28,390 --> 00:22:30,305 I'LL NEVER FORCE ANYTHING ON YOU. 470 00:22:30,349 --> 00:22:33,221 BESIDES, SHE DOESN'T WANT TO DO IT. 471 00:22:33,264 --> 00:22:34,527 WHAT? 472 00:22:34,570 --> 00:22:37,660 GEORGE GOT HER A SCREEN TEST FOR A HORROR FILM. 473 00:22:37,704 --> 00:22:39,053 WHEN DID THIS HAPPEN? 474 00:22:39,096 --> 00:22:39,967 LAST NIGHT. 475 00:22:40,010 --> 00:22:42,404 SHE WAS ALL EXCITED ABOUT IT. 476 00:22:42,448 --> 00:22:45,015 HERE I AM GIVING HER A CHANCE 477 00:22:45,059 --> 00:22:46,930 TO BE IN A REAL FILM. 478 00:22:46,974 --> 00:22:48,323 IF IT'S RELEASED RIGHT, 479 00:22:48,367 --> 00:22:50,194 SHE'S GOT A FILM CAREER. 480 00:22:50,238 --> 00:22:52,893 WHAT IS SHE PLAYING IN THIS HORROR FILM? 481 00:22:52,936 --> 00:22:54,721 A HOOKER WHO GETS KNIFED. 482 00:22:54,764 --> 00:22:57,898 THAT'S REALLY GOING TO HELP HER. 483 00:22:57,941 --> 00:23:01,249 I TRIED TO TALK HER OUT OF IT. 484 00:23:01,292 --> 00:23:04,295 SWEET KID. 485 00:23:08,996 --> 00:23:11,346 SO, UM... 486 00:23:12,478 --> 00:23:15,350 I GUESS THIS IS IT. 487 00:23:15,829 --> 00:23:17,918 HEY. WE GOT A SCRIPT. 488 00:23:17,961 --> 00:23:19,093 IT NEEDS SOME WORK, 489 00:23:19,136 --> 00:23:21,312 BUT IT'S BASICALLY IN THE RIGHT DIRECTION. 490 00:23:21,356 --> 00:23:24,098 WE GOT A DIRECTOR WITH A HARD-ON OUT TO HERE. 491 00:23:24,141 --> 00:23:27,797 HOW MANY CLASSY PROJECTS ARE THERE OUT THERE? 492 00:23:27,841 --> 00:23:31,279 HONEY, WE'LL ORDER IN A COUPLE OF MINUTES. 493 00:23:31,322 --> 00:23:32,802 I COULDN'T SLEEP LAST NIGHT. 494 00:23:32,846 --> 00:23:37,024 I WAS GOING THROUGH THE INDEX CARD IN MY HEAD. 495 00:23:37,067 --> 00:23:38,112 I GOT SOMEONE. 496 00:23:38,155 --> 00:23:39,896 THERE'S NO QUESTION THAT HE'S HOLDING, 497 00:23:39,940 --> 00:23:42,333 NOT LIKE SOME PRICKS THAT'LL BREAK YOUR BALLS 498 00:23:42,377 --> 00:23:44,074 AND THERE'S NOTHING THERE. 499 00:23:44,118 --> 00:23:46,337 HE'S GOT A GIRL, TOO. 500 00:23:47,251 --> 00:23:49,384 MISTER RASSO... 501 00:23:49,428 --> 00:23:50,690 HEY, HOW ARE YOU? 502 00:23:50,733 --> 00:23:52,039 SO YOU'RE BACK, HUH? 503 00:23:52,082 --> 00:23:55,172 PARIS SEEMS TO AGREE WITH YOU. LOOK AT THAT TAN. 504 00:23:55,216 --> 00:23:56,696 HOW WAS HIALEAH? 505 00:23:56,739 --> 00:23:58,262 I MADE A FEW BUCKS. 506 00:23:58,306 --> 00:24:01,440 I'LL BET YOU DID. I LOVE THAT TRACK. IT'S FAST. 507 00:24:01,483 --> 00:24:04,138 WHO DO YOU LIKE IN THE FIFTH? 508 00:24:04,181 --> 00:24:05,922 THE FIFTH? DOLLS OF PLENTY. 509 00:24:05,966 --> 00:24:07,097 SO BE IT. 510 00:24:07,141 --> 00:24:08,664 HOW'S THAT STEWARDESS? STILL FLYING AROUND? 511 00:24:08,708 --> 00:24:12,973 SHE WORKS A COUPLE DAYS A WEEK, MOSTLY TO DENVER AND BACK. 512 00:24:13,016 --> 00:24:15,497 YOU'RE LUCKY YOU GOT TO HER FIRST, 513 00:24:15,541 --> 00:24:17,151 BECAUSE I REALLY LIKED HER. 514 00:24:17,194 --> 00:24:18,979 I GOT A FEELING ABOUT HER. 515 00:24:19,022 --> 00:24:21,068 I REALLY THINK SHE'S GOT SOMETHING. 516 00:24:21,111 --> 00:24:22,591 SHE BEEN DOING ANYTHING LATELY? 517 00:24:22,635 --> 00:24:26,943 SHE DID A COMMERCIAL FOR A FRIEND OF MINE FOUR MONTHS AGO. 518 00:24:26,987 --> 00:24:29,250 HARDWARE STORES? IT'S A TOUGH LIFE. 519 00:24:29,293 --> 00:24:30,338 IT SURE IS. 520 00:24:30,381 --> 00:24:34,560 GIVE ME 100 TO WIN ON 5 IN THE FOURTH. 521 00:24:34,603 --> 00:24:35,648 THANK YOU. 522 00:24:35,691 --> 00:24:38,955 5 ON 5 TO WIN. 523 00:24:39,216 --> 00:24:42,524 THAT GIRL'S REALLY CRAZY ABOUT YOU. I CAN TELL YOU THAT. 524 00:24:42,568 --> 00:24:44,134 SHE'S A REAL WINNER, CARMINE. 525 00:24:44,178 --> 00:24:47,050 I DON'T LIKE TO HEAR IT, JACK. 526 00:24:54,362 --> 00:24:57,931 SHE WANTS TO MARRY ME AND HAVE A BABY. 527 00:24:57,974 --> 00:24:59,454 CAN YOU IMAGINE? 528 00:24:59,498 --> 00:25:00,455 WONDERFUL! 529 00:25:00,499 --> 00:25:03,284 ARE YOU CRAZY? WITH MY BACKGROUND? 530 00:25:03,327 --> 00:25:04,459 JACK, I'M SO SICK. 531 00:25:04,503 --> 00:25:07,854 I FOUND MYSELF CHEATING ON HER LAST WEEK. 532 00:25:07,897 --> 00:25:08,985 REALLY? 533 00:25:09,029 --> 00:25:11,161 EVERY TIME SHE STARTS TALKING ABOUT IT, 534 00:25:11,205 --> 00:25:16,166 I FIND MYSELF HAVING TO CHEAT ON HER OR SOMETHING. 535 00:25:16,210 --> 00:25:17,777 CHRIST. 536 00:25:17,820 --> 00:25:20,214 I'M TOO SICK. I DON'T DESERVE HER. 537 00:25:20,257 --> 00:25:22,346 SHE'S BEEN SOBER FOR NINE MONTHS. 538 00:25:22,390 --> 00:25:23,652 HER A.A. CAKE'S COMING UP. 539 00:25:23,696 --> 00:25:27,569 I'LL NEVER FORGIVE MYSELF IF I BLOW IT FOR HER. 540 00:25:27,613 --> 00:25:30,964 I GOT TO GET A BEER. 541 00:25:31,007 --> 00:25:33,401 CARMINE... 542 00:26:01,211 --> 00:26:05,215 SUGAR, DON'T FORGET THE ONION RINGS AND THE GREAT SLAW. 543 00:26:05,259 --> 00:26:09,393 CAN YOU BRING US SOME ONION RINGS AND SLAW RIGHT AWAY? 544 00:26:09,437 --> 00:26:11,091 THANK YOU. 545 00:26:12,832 --> 00:26:14,747 MOVIES, HUH? 546 00:26:14,790 --> 00:26:16,052 I LIKE MOVIE PEOPLE. 547 00:26:16,096 --> 00:26:18,794 I USED TO PLAY TENNIS WITH SOME 548 00:26:18,838 --> 00:26:21,362 BEFORE I ALMOST CROAKED FROM A HEART ATTACK. 549 00:26:21,405 --> 00:26:23,930 MOVIE PEOPLE ARE FREER. THEY DO WHAT THEY WANT. 550 00:26:23,973 --> 00:26:26,410 THEY'RE NOT AFRAID TO USE THEIR HEADS. 551 00:26:26,454 --> 00:26:28,891 THEY DON'T PUT UP WITH THE BULLSHIT 552 00:26:28,935 --> 00:26:31,502 DISHED OUT BY THE ASSHOLES OF THE WORLD. 553 00:26:31,546 --> 00:26:32,895 THAT'S WHAT MY FATHER SAYS. 554 00:26:32,939 --> 00:26:35,811 I NEVER BEEN INVOLVED IN A MOVIE BEFORE. 555 00:26:35,855 --> 00:26:36,943 IT MIGHT BE FUN. 556 00:26:36,986 --> 00:26:38,858 SO MUCH BLOOD IN THE WORLD, 557 00:26:38,901 --> 00:26:41,425 MIGHT AS WELL HAVE A GOOD TIME. 558 00:26:41,469 --> 00:26:43,384 TOO MANY PEOPLE GETTING BLOWN APART 559 00:26:43,427 --> 00:26:44,951 BEFORE THEY HAVE A CHANCE. 560 00:26:44,994 --> 00:26:46,648 SOUNDS LIKE IT MIGHT BE FUN. 561 00:26:46,692 --> 00:26:52,828 I WAS IN SPECIAL FORCES. I SEEN A FEW THINGS. 562 00:26:52,872 --> 00:26:54,221 IN 'NAM? 563 00:26:54,264 --> 00:26:55,657 AND ALL AROUND IT. 564 00:26:55,701 --> 00:26:56,745 IT WAS TERRIBLE. 565 00:26:56,789 --> 00:26:58,094 DON'T LISTEN TO THE BULLSHIT 566 00:26:58,138 --> 00:27:00,488 ABOUT NOT GETTING A CHANCE TO WIN THAT WAR. 567 00:27:00,531 --> 00:27:02,969 WE DID EVERY DIRTY TRICK WE COULD THINK OF. 568 00:27:03,012 --> 00:27:06,146 THOSE LITTLE GUYS STILL BEAT THE SHIT OUT OF US. 569 00:27:06,189 --> 00:27:08,539 I CAN TELL YOU ABOUT THINGS THAT HAPPENED 570 00:27:08,583 --> 00:27:11,760 THAT WOULD MAKE YOUR HAIR STAND ON END. 571 00:27:11,804 --> 00:27:13,109 I HID IN A TREE 572 00:27:13,153 --> 00:27:17,766 WHILE I WATCHED MY BUDDY GET QUARTERED DOWN BELOW. 573 00:27:21,509 --> 00:27:22,771 ANYHOW... 574 00:27:22,815 --> 00:27:27,689 THE IDEA OF MAKING AN ENTERTAINING LITTLE FILM 575 00:27:27,733 --> 00:27:29,343 IS A GOOD ONE. 576 00:27:29,386 --> 00:27:32,259 WHAT'S IT ABOUT? 577 00:27:32,302 --> 00:27:34,435 YOU DIDN'T READ THE SCRIPT? 578 00:27:34,478 --> 00:27:39,396 NO. I'D RATHER GET IT FROM THE HORSE'S MOUTH. 579 00:27:41,529 --> 00:27:42,356 WELL, UM... 580 00:27:42,399 --> 00:27:47,013 IT'S A STORY ABOUT A PAINTER. 581 00:27:47,056 --> 00:27:48,754 A PAINTER. 582 00:27:48,797 --> 00:27:50,451 YEAH, A VERY SPECIAL ONE. 583 00:27:50,494 --> 00:27:54,411 HIS WORK HAS A VERY DEEP EFFECT ON PEOPLE. 584 00:27:54,455 --> 00:27:56,457 IT'S, UH, SORT OF MAGICAL. 585 00:27:56,500 --> 00:27:58,285 IT, UH, IT CHANGES THEM. 586 00:27:58,328 --> 00:28:01,027 HE CAN'T STOP HIMSELF FROM CRITICIZING THINGS 587 00:28:01,070 --> 00:28:02,245 THAT HE SEES ARE WRONG. 588 00:28:02,289 --> 00:28:03,551 HE'S COMMITTED TO THE TRUTH, 589 00:28:03,594 --> 00:28:08,556 AND, UH, THAT BRINGS HIM BOTH GREAT PAIN AND JOY. 590 00:28:08,599 --> 00:28:10,819 SOUNDS LIKE A MANIC-DEPRESSIVE. 591 00:28:10,863 --> 00:28:12,299 I KNOW GUYS LIKE THAT. 592 00:28:12,342 --> 00:28:14,431 IS THE WHOLE THING ABOUT HIM? 593 00:28:14,475 --> 00:28:17,957 NO, NO, THERE--THERE'S THE GALLERY OWNER. 594 00:28:18,000 --> 00:28:18,958 HE'S INTERESTING. 595 00:28:19,001 --> 00:28:20,263 HE'S FASCINATED BY THE PAINTER. 596 00:28:20,307 --> 00:28:27,488 HE TRIES TO HELP HIM, BUT THEN HE DESTROYS HIM. 597 00:28:27,531 --> 00:28:29,664 AREN'T THERE ANY WOMEN IN THIS FILM? 598 00:28:29,708 --> 00:28:34,190 WELL, SURE, SURE. THERE'S THE GALLERY OWNER'S GIRLFRIEND. 599 00:28:34,234 --> 00:28:36,671 UH, SHE'S A VERY SPECIAL GIRL. 600 00:28:36,715 --> 00:28:38,238 SHE'S DRAWN TO THE, UH... 601 00:28:38,281 --> 00:28:40,240 TO THE PAINTER AND HIS IDEAS, 602 00:28:40,283 --> 00:28:44,026 AND, UM, HE'S CHARMED BY HER. 603 00:28:44,070 --> 00:28:46,072 HE--HE, UH... 604 00:28:46,115 --> 00:28:48,552 HE TEACHES HER, BUT, UH... 605 00:28:48,596 --> 00:28:50,467 BUT THEN LOTS OF THINGS HAPPEN. 606 00:28:50,511 --> 00:28:53,732 IN THE END, SHE GOES BACK TO THE GALLERY OWNER. 607 00:28:53,775 --> 00:28:56,865 SOUNDS LIKE A GREAT PLOT, HUH? 608 00:28:56,909 --> 00:29:00,695 YES, BUT THERE'S ALSO ANOTHER GREAT WOMAN'S ROLE-- 609 00:29:00,739 --> 00:29:02,349 UH, THE MODEL. 610 00:29:02,392 --> 00:29:03,306 SHE'S, UH... 611 00:29:03,350 --> 00:29:05,569 SHE'S, UH... SHE'S A PROSTITUTE. 612 00:29:05,613 --> 00:29:06,788 BUT SHE'S, UH... 613 00:29:06,832 --> 00:29:10,313 ANYHOW, THE PAINTER PAINTS HER. 614 00:29:10,357 --> 00:29:11,532 AND THEN WHAT? 615 00:29:11,575 --> 00:29:15,797 AND THEN SHE TAKES HER MONEY AND LEAVES. 616 00:29:15,841 --> 00:29:17,843 SHE'S A WHORE? 617 00:29:17,886 --> 00:29:21,803 YOU MIND IF I SAY SOMETHING? 618 00:29:21,847 --> 00:29:22,673 PLEASE DO. 619 00:29:22,717 --> 00:29:24,023 THE PROSTITUTE'S THE ONLY ONE 620 00:29:24,066 --> 00:29:25,459 WHO CAN SEE THE PAINTER 621 00:29:25,502 --> 00:29:26,939 FOR WHO HE REALLY IS. 622 00:29:26,982 --> 00:29:29,245 SHE DOESN'T PUT UP WITH THE BULLSHIT 623 00:29:29,289 --> 00:29:32,335 DISHED OUT BY THE ASSHOLES OF THE WORLD. 624 00:29:32,379 --> 00:29:33,815 THE PROSTITUTE HAS NO ILLUSIONS. 625 00:29:33,859 --> 00:29:38,472 YET, IN A WAY, SHE IS MORE PURE 626 00:29:38,515 --> 00:29:39,908 THAN ANYONE IN THE FILM. 627 00:29:39,952 --> 00:29:43,869 THAT'S INTERESTING. IS HE WORKING ON THE SCRIPT, TOO? 628 00:29:43,912 --> 00:29:45,392 OH, YEAH. 629 00:29:45,435 --> 00:29:48,787 STUART HERE STUDIED WITH THE SAME TEACHERS AS SPIELBERG. 630 00:29:48,830 --> 00:29:49,875 AHA! OOH! 631 00:29:49,918 --> 00:29:50,876 WOW! 632 00:29:50,919 --> 00:29:52,878 ALL RIGHT, ALL RIGHT. O.K., UH... 633 00:29:52,921 --> 00:29:55,315 SO THE GALLERY OWNER IS, UH... 634 00:29:55,358 --> 00:29:58,622 ENDS UP WITH THE GIRLFRIEND. 635 00:29:58,666 --> 00:30:01,103 THIS IS FUN. 636 00:30:01,147 --> 00:30:04,498 NOW, WHAT HAPPENS TO THE PAINTER? 637 00:30:04,541 --> 00:30:08,328 DOES HE MARRY THE PROSTITUTE? 638 00:30:08,371 --> 00:30:11,331 UM...SOMETHING HAPPENS TO HIM. 639 00:30:11,374 --> 00:30:12,811 WHAT? 640 00:30:12,854 --> 00:30:14,856 HE... 641 00:30:14,900 --> 00:30:16,423 HE PASSES AWAY. 642 00:30:16,466 --> 00:30:17,380 HE DIES. 643 00:30:17,424 --> 00:30:19,078 OH, DEATH. 644 00:30:19,121 --> 00:30:20,166 THAT'S DEPRESSING. 645 00:30:20,209 --> 00:30:21,645 NO, IT'S NOT! 646 00:30:21,689 --> 00:30:23,560 YOU KNOW THE PHOENIX, CARMINE? 647 00:30:23,604 --> 00:30:24,387 A REBIRTH! 648 00:30:24,431 --> 00:30:25,867 NOT A DEPRESSING DEATH, NO. 649 00:30:25,911 --> 00:30:27,173 SEE, THE GALLERY OWNER 650 00:30:27,216 --> 00:30:29,262 TAKES OVER THE PAINTER'S PERSONA 651 00:30:29,305 --> 00:30:31,873 AND IS FINALLY ABLE TO FULFILL HIS OWN DREAMS. 652 00:30:31,917 --> 00:30:33,570 THE PAINTER BECOMES IMMORTAL, 653 00:30:33,614 --> 00:30:34,484 AND THE TWO LOVERS 654 00:30:34,528 --> 00:30:36,312 HAVE BEEN BROUGHT TOGETHER. 655 00:30:36,356 --> 00:30:38,314 WHAT A STORY! 656 00:30:43,102 --> 00:30:45,756 I SEE. 657 00:30:46,409 --> 00:30:47,454 I SEE! 658 00:30:47,497 --> 00:30:51,588 SO WHAT HAPPENS? HOW DOES THE GUY DIE? 659 00:30:54,287 --> 00:30:55,462 SUICIDE. 660 00:30:55,505 --> 00:30:57,943 OH, JESUS! 661 00:30:59,031 --> 00:31:01,642 IS THERE ANY HUMOR IN THE FILM? 662 00:31:01,685 --> 00:31:02,556 HUMOR? 663 00:31:02,599 --> 00:31:04,950 OH, YEAH, SURE. A LOT! 664 00:31:04,993 --> 00:31:05,646 IT... 665 00:31:05,689 --> 00:31:07,517 IT'S SAD, BUT FUNNY. 666 00:31:07,561 --> 00:31:11,391 YOU MEAN KIND OF LIKE TERMS OF ENDEARMENT? 667 00:31:12,000 --> 00:31:14,263 EXACTLY. TERMS OF ENDEARMENT. 668 00:31:14,307 --> 00:31:15,830 TERMS OF ENDEARMENT. 669 00:31:15,874 --> 00:31:17,484 BOY, WAS THAT A WINNER. 670 00:31:17,527 --> 00:31:19,225 YEAH, I LOVE COMEDY. 671 00:31:19,268 --> 00:31:21,270 SHE'S VERY GOOD AT IT. 672 00:31:21,314 --> 00:31:23,185 THAT'S WHAT I DO BEST. 673 00:31:23,229 --> 00:31:26,188 IN ITS OWN WAY, IT'S VERY FUNNY. 674 00:31:26,232 --> 00:31:29,017 SO, MARVIN, WHEN COULD WE READ THE SCRIPT? 675 00:31:29,061 --> 00:31:32,151 IMMINENTLY. 676 00:31:32,194 --> 00:31:34,240 WELL, LOOKS LIKE WE GOT A DEAL. 677 00:31:34,283 --> 00:31:37,373 ALL WE HAVE TO DO IS MAKE THE SCRIPT FUNNY. 678 00:31:37,417 --> 00:31:40,115 I SPENT FIVE YEARS WRITING THAT SCRIPT. 679 00:31:40,159 --> 00:31:42,683 I'M NOT SAYING THROW IT ALL AWAY, 680 00:31:42,726 --> 00:31:44,946 JUST LIGHTEN IT UP A BIT. 681 00:31:44,990 --> 00:31:46,382 LIGHTEN IT UP? 682 00:31:46,426 --> 00:31:49,342 IT'S ABOUT A PAINTER WHO'S FORCED TO JUMP FROM A ROOF. 683 00:31:49,385 --> 00:31:52,562 WHAT'S THE POINT OF THE FILM-- THE MAIN POINT? 684 00:31:52,606 --> 00:31:55,261 WELL, IT'S ABOUT A MAN WHO-- 685 00:31:55,304 --> 00:31:56,610 IT'S ABOUT AN ARTIST 686 00:31:56,653 --> 00:31:58,438 WHO'D RATHER KILL HIMSELF THAN COMPROMISE, RIGHT? 687 00:31:58,481 --> 00:32:00,222 NO, THAT'S NOT-- YEAH, BUT-- 688 00:32:00,266 --> 00:32:01,876 THERE'S OTHER STUFF ABOUT RELATIONSHIPS 689 00:32:01,920 --> 00:32:05,749 AND THE SYMBOL THING, WHERE THE BIRD FLIES OUT OF THE PAINTING. 690 00:32:05,793 --> 00:32:07,926 WANT TO MAKE YOUR STATEMENT? FINE. 691 00:32:07,969 --> 00:32:10,102 I'M JUST SAYING USE HUMOR. 692 00:32:10,145 --> 00:32:11,059 WHAT HUMOR? 693 00:32:11,103 --> 00:32:12,321 LIKE THE PAINTER. 694 00:32:12,365 --> 00:32:15,107 ALL HE DOES IS COMPLAIN THROUGHOUT THE SCRIPT. 695 00:32:15,150 --> 00:32:16,499 NO, HE DOESN'T. 696 00:32:16,543 --> 00:32:19,372 O.K., FOR INSTANCE, DOES HE HAVE TO BE A SAD DRUNK? 697 00:32:19,415 --> 00:32:21,591 WHY NOT MAKE HIM A HAPPY DRUNK? 698 00:32:21,635 --> 00:32:23,985 HE COULD BE FUNNY AND CRAZY AND WILD-- 699 00:32:24,029 --> 00:32:27,032 DESTRUCTIVE, BUT WITH A KIND OF IRREVERENT WIT, 700 00:32:27,075 --> 00:32:29,860 LIKE JACK NICHOLSON. 701 00:32:34,213 --> 00:32:36,519 WHAT DO I DO WITH THE PROSTITUTE? 702 00:32:36,563 --> 00:32:39,218 THAT'S THE ONLY PART SHE CAN PLAY. 703 00:32:39,261 --> 00:32:41,394 SHE GETS TWO SCENES, ONE LINE. 704 00:32:41,437 --> 00:32:42,743 SHE WON'T GO FOR THAT. 705 00:32:42,786 --> 00:32:45,050 HOW ABOUT IF WHEN HE FIRST MEETS THE PROSTITUTE, 706 00:32:45,093 --> 00:32:46,834 SHE DOESN'T WANT TO BE PAINTED? 707 00:32:46,877 --> 00:32:49,532 SHE'LL SLEEP WITH HIM BUT WON'T POSE NUDE. 708 00:32:49,576 --> 00:32:50,969 IT'S AGAINST HER ETHICS. 709 00:32:51,012 --> 00:32:52,796 THAT SOUNDS LIKE A JOKE. 710 00:32:52,840 --> 00:32:54,102 PEOPLE ARE COMPLEX, MARVIN. 711 00:32:54,146 --> 00:32:57,279 HE TRIES TO TEACH THE PROSTITUTE HOW TO PAINT. 712 00:32:57,323 --> 00:33:00,065 SHE REVEALS SHE ONCE TRIED TO KILL HERSELF. 713 00:33:00,108 --> 00:33:02,284 THAT WOULD FORESHADOW THE WHOLE THING. 714 00:33:02,328 --> 00:33:04,286 BUT THE PAINTER ISN'T A PROSTITUTE. 715 00:33:04,330 --> 00:33:06,375 DRAWING A PARALLEL BETWEEN SUICIDES-- 716 00:33:06,419 --> 00:33:07,768 BUT THAT'S THE POINT! 717 00:33:07,811 --> 00:33:09,509 SHE DOESN'T KILL HERSELF. SHE BECOMES A PROSTITUTE! 718 00:33:09,552 --> 00:33:13,339 AND THE PAINTER REFUSES TO PROSTITUTE HIMSELF AND DIES. 719 00:33:13,382 --> 00:33:14,731 RIGHT? 720 00:33:14,775 --> 00:33:17,343 SO THE ARTIST IS DIFFERENT FROM THE PROSTITUTE... 721 00:33:17,386 --> 00:33:20,215 BECAUSE? 722 00:33:20,259 --> 00:33:22,478 O.K., OUTLINE A FEW IDEAS, 723 00:33:22,522 --> 00:33:25,394 BUT NOTHING GOES INTO THE SCRIPT 724 00:33:25,438 --> 00:33:27,701 UNLESS I APPROVE IT. 725 00:33:27,744 --> 00:33:30,356 YOU GOT THAT? 726 00:33:30,399 --> 00:33:31,966 OH, I'M FROM ALL OVER. 727 00:33:32,010 --> 00:33:33,446 EIGHT STATES, THREE FOREIGN COUNTRIES. 728 00:33:33,489 --> 00:33:37,276 I WAS AN ARMY BRAT-- WELL, MAYBE JUST A BRAT. 729 00:33:37,319 --> 00:33:41,236 MY SENIOR YEAR I SPENT IN THE ALEUTIANS. 730 00:33:41,280 --> 00:33:43,369 REALLY? THAT MUST HAVE BEEN STRANGE. 731 00:33:43,412 --> 00:33:45,414 NO, NO, IT WAS INTERESTING. IT WAS FUN. 732 00:33:45,458 --> 00:33:49,462 I WENT TO AN ESKIMO SCHOOL, LISTENED TO THE RADIO A LOT. 733 00:33:49,505 --> 00:33:51,420 OF COURSE, IT'S COLD UP THERE. 734 00:33:51,464 --> 00:33:54,119 OH, YEAH, I CAN IMAGINE. 735 00:33:54,162 --> 00:33:55,685 BEFORE I WAS 10, 736 00:33:55,729 --> 00:33:58,471 I LIVED IN ONE PLACE ALL THE TIME-- WEIRTON, WEST VIRGINIA. 737 00:33:58,514 --> 00:34:03,258 I REMEMBER EVERYTHING WAS BROKEN DOWN THERE. 738 00:34:03,302 --> 00:34:04,912 IT WAS ALL GRIMY. 739 00:34:04,955 --> 00:34:08,481 THERE WAS BLACK SMOKE THAT USED TO COME OUT OF THE STEEL MILL 740 00:34:08,524 --> 00:34:10,526 IN THE MIDDLE OF THE TOWN. 741 00:34:10,570 --> 00:34:12,398 BUT I HAD LOTS OF DOLLS. 742 00:34:12,441 --> 00:34:16,358 I USED TO PLAY HOUSE A LOT. IT WAS FUN. 743 00:34:16,402 --> 00:34:18,317 WAS YOUR FATHER STATIONED THERE? 744 00:34:18,360 --> 00:34:20,449 NO, NO. 745 00:34:20,493 --> 00:34:24,540 MY OTHER FATHER-- MY REAL FATHER. 746 00:34:24,584 --> 00:34:27,717 OH, YEAH? WHAT WAS HE LIKE? 747 00:34:27,761 --> 00:34:28,849 HE'S HANDSOME. 748 00:34:28,892 --> 00:34:34,463 HE HAD A WONDERFUL SENSE OF HUMOR. 749 00:34:34,507 --> 00:34:36,030 DO YOU STILL SEE HIM? 750 00:34:36,074 --> 00:34:39,512 NO, NO, WE USED TO, YOU KNOW, 751 00:34:39,555 --> 00:34:43,385 BUT IT'S BETTER NOW THAT WE DON'T, 752 00:34:43,429 --> 00:34:44,299 YOU KNOW? 753 00:34:44,343 --> 00:34:48,695 HE LOVES ME A LOT. I KNOW THAT. 754 00:34:48,738 --> 00:34:50,827 I... 755 00:34:50,871 --> 00:34:53,395 HE...HE JUST HAS TROUBLE SHOWING IT. 756 00:34:53,439 --> 00:34:57,356 SOME...SOME PEOPLE ARE LIKE THAT. 757 00:34:57,399 --> 00:35:01,011 YOU KNOW, HE THINKS ABOUT ME A LOT. 758 00:35:01,055 --> 00:35:01,882 I...I... 759 00:35:01,925 --> 00:35:04,537 I CAN FEEL IT. 760 00:35:04,580 --> 00:35:06,843 AND SOMETIMES I JUST SIT, 761 00:35:06,887 --> 00:35:09,716 AND I CLOSE MY EYES, 762 00:35:09,759 --> 00:35:12,762 AND... 763 00:35:13,328 --> 00:35:16,636 JUST FEEL HIS LOVE... 764 00:35:17,550 --> 00:35:20,944 FLOATING TOWARDS ME. 765 00:35:27,995 --> 00:35:33,174 HE SENT ME A CARD A FEW YEARS AGO. 766 00:35:38,440 --> 00:35:41,400 I--I'M READY. 767 00:35:46,666 --> 00:35:48,972 BETSY! 768 00:35:49,016 --> 00:35:51,366 BETSY, WHERE ARE YOU? 769 00:35:51,410 --> 00:35:53,412 BETSY! 770 00:35:53,455 --> 00:35:56,154 CARMINE'S READY TO STRIKE A DEAL. 771 00:35:56,197 --> 00:35:58,286 SO THAT'S IT. I MEAN, WE'RE IN BUSINESS! 772 00:35:58,330 --> 00:36:01,724 WE'RE BETTER THAN IN BUSINESS. WE'RE ON A ROLL. 773 00:36:01,768 --> 00:36:03,335 THE FIRST MONEY'S THE HARDEST. 774 00:36:03,378 --> 00:36:06,076 FIRST MONEY? WHAT DO YOU MEAN? 775 00:36:06,120 --> 00:36:07,382 CARMINE'S PUTTING UP FIRST MONEY. 776 00:36:07,426 --> 00:36:09,819 WE'LL GET THE REST SOMEPLACE ELSE. 777 00:36:09,863 --> 00:36:11,908 NOT ALL THE MONEY? 778 00:36:11,952 --> 00:36:13,083 HE WENT FOR HALF. 779 00:36:13,127 --> 00:36:15,695 SO WE'RE BACK WHERE WE STARTED FROM! 780 00:36:15,738 --> 00:36:17,044 MARVIN, WILL YOU RELAX? 781 00:36:17,087 --> 00:36:18,393 THAT'S THE BEAUTY OF THE THING. 782 00:36:18,437 --> 00:36:21,440 CARMINE HAS THIS FRIEND WHO'S LOADED, 783 00:36:21,483 --> 00:36:22,963 REALLY LOADED. 784 00:36:23,006 --> 00:36:26,227 IT JUST SO HAPPENS HE HAS THIS GIRLFRIEND. 785 00:36:31,276 --> 00:36:33,495 WE'RE HERE TO SEE MR. WRIGHT. 786 00:36:33,539 --> 00:36:35,454 OUI. 787 00:36:37,717 --> 00:36:40,241 THANK YOU, SIR. 788 00:36:46,421 --> 00:36:48,554 MR. WRIGHT. 789 00:36:48,597 --> 00:36:50,730 THANK YOU, SIR. 790 00:36:52,122 --> 00:36:55,256 THE SCRIPT IS GOING TO NEED SOME CHANGES. 791 00:36:55,300 --> 00:36:57,389 CHANGES? WHAT KIND OF CHANGES? 792 00:36:57,432 --> 00:36:59,826 CARMINE DOESN'T CARE IF THIS FILM MAKES MONEY. 793 00:36:59,869 --> 00:37:02,394 YOU DON'T EITHER, BECAUSE YOU'RE AN ARTIST. 794 00:37:02,437 --> 00:37:05,353 BUT IF I'M INVESTING IN THIS FILM, 795 00:37:05,397 --> 00:37:06,833 IT WILL MAKE A PROFIT. 796 00:37:06,876 --> 00:37:08,008 WHAT YOU HAVE HERE 797 00:37:08,051 --> 00:37:10,184 IS A VERY, VERY DARK, MORBID SCRIPT. 798 00:37:10,228 --> 00:37:11,664 I ACTUALLY KIND OF LIKED IT, 799 00:37:11,707 --> 00:37:15,929 BUT IT'LL ROLL OVER AND DIE WHEN IT HITS THE MARKET. 800 00:37:15,972 --> 00:37:18,758 I'M LIGHTENING IT UP, PUTTING IN SOME HUMOR. 801 00:37:18,801 --> 00:37:21,978 YOU'LL HAVE A LIGHT MORBID SCRIPT WITH HUMOR THAT'LL BOMB. 802 00:37:22,022 --> 00:37:23,328 EITHER WAY, I LOSE MONEY. 803 00:37:23,371 --> 00:37:25,852 I THOUGHT YOU WANTED TO DO THIS MOVIE BECAUSE OF-- 804 00:37:25,895 --> 00:37:28,420 BEVERLY? THAT'S ONE REASON. I NEED MORE THAN ONE. 805 00:37:28,463 --> 00:37:31,510 IF I'M DOING IT, WE'RE DOING IT MY WAY. 806 00:37:31,553 --> 00:37:32,946 INPUT CAN BE HELPFUL. 807 00:37:32,989 --> 00:37:35,731 ARTY FILMS ARE MAKING MONEY THESE DAYS, 808 00:37:35,775 --> 00:37:37,124 BUT YOU NEED TO APPEAL 809 00:37:37,167 --> 00:37:40,301 TO AN AUDIENCE'S BASIC MOTIVE FOR GOING TO A MOVIE. 810 00:37:40,345 --> 00:37:41,520 TO BE ENTERTAINED. 811 00:37:41,563 --> 00:37:42,869 NO, TO BE TITILLATED-- 812 00:37:42,912 --> 00:37:45,915 TO GO TO THE MOVIES TO BE TITILLATED, TO SEE SEX. 813 00:37:45,959 --> 00:37:49,310 THERE'S NO SEX IN YOUR FILM. YOU NEED MORE SEX. 814 00:37:49,354 --> 00:37:52,270 THERE IS SOME. IT'S JUST NOT OBVI-- 815 00:37:55,838 --> 00:37:56,796 YES. 816 00:37:56,839 --> 00:37:58,058 I'VE CONFIRMED THOSE RESERVATIONS. 817 00:37:58,101 --> 00:38:00,974 MAKE SURE YOU GET ME THE ROOM WITH THE TERRACE. 818 00:38:01,017 --> 00:38:02,671 FIND OUT ABOUT THAT BOAT. 819 00:38:02,715 --> 00:38:03,759 YES, SIR. 820 00:38:03,803 --> 00:38:04,891 GOOD. 821 00:38:04,934 --> 00:38:07,633 ISN'T YOUR FILM ABOUT SELF-DESTRUCTION? 822 00:38:07,676 --> 00:38:10,462 WELL, SEX IS A FORM OF SELF-DESTRUCTION. 823 00:38:10,505 --> 00:38:12,768 AS THE PHOTOGRAPHER BECOMES MORE DISTURBED, 824 00:38:12,812 --> 00:38:13,943 HIS SEXUAL OBSESSIONS 825 00:38:13,987 --> 00:38:17,207 BEGIN TO DOMINATE AND DESTROY HIS LIFE. 826 00:38:17,251 --> 00:38:18,600 THE PHOTOGRAPHER? 827 00:38:18,644 --> 00:38:20,298 THE PAINTER'S A PHOTOGRAPHER. 828 00:38:20,341 --> 00:38:21,429 IT'S MUCH MORE CONTEMPORARY. 829 00:38:21,473 --> 00:38:23,692 HE SHOULD BE PHOTOGRAPHING NUDE WOMEN. 830 00:38:23,736 --> 00:38:25,477 HIS ART AND HIS SEXUALITY 831 00:38:25,520 --> 00:38:28,044 SHOULD BE FOREVER FIGHTING AND CHAINED TOGETHER, 832 00:38:28,088 --> 00:38:30,438 DISTORTING EACH OTHER'S EMOTIONS, AND-- 833 00:38:30,482 --> 00:38:32,875 THAT'S THE WAY I SEE IT. 834 00:38:32,919 --> 00:38:34,660 GREAT IDEA! 835 00:38:34,703 --> 00:38:36,096 I HEAR THE EDITING ROOM 836 00:38:36,139 --> 00:38:38,490 IS WHERE REAL DECISIONS ARE MADE, 837 00:38:38,533 --> 00:38:41,231 SO I OR SOMEBODY FROM MY OFFICE 838 00:38:41,275 --> 00:38:42,363 WILL SUPERVISE EDITING. 839 00:38:42,407 --> 00:38:43,973 YOU GOT TO BE KIDDING-- 840 00:38:44,017 --> 00:38:45,540 MARVIN, MARVIN-- 841 00:38:45,584 --> 00:38:47,455 MR. WRIGHT, I UNDERSTAND YOUR THOUGHTS. 842 00:38:47,499 --> 00:38:52,852 I WOULDN'T BE WHO I AM IF I DIDN'T BACK MY DIRECTOR 843 00:38:52,895 --> 00:38:54,201 ON CERTAIN MATTERS. 844 00:38:54,244 --> 00:38:56,812 ROTH, YOU'RE THREE MONTHS BEHIND ON YOUR MORTGAGE. 845 00:38:56,856 --> 00:38:57,900 YOUR LAST TWO PICTURES 846 00:38:57,944 --> 00:38:59,032 DESTROYED WHATEVER REPUTATION YOU HAD. 847 00:38:59,075 --> 00:39:01,513 THE ONLY DECENT PICTURE YOU EVER MADE 848 00:39:01,556 --> 00:39:03,471 IS CREDITED TO THE KID'S FATHER. 849 00:39:03,515 --> 00:39:06,822 DON'T BULLSHIT ME. I DON'T LIKE IT! 850 00:39:06,866 --> 00:39:10,260 WE RESPECT WHAT YOU'RE SAYING. JACK'S ONLY TRYING-- 851 00:39:10,304 --> 00:39:12,393 HOW OLD ARE YOU, SON? 852 00:39:12,437 --> 00:39:13,351 24. 853 00:39:13,394 --> 00:39:15,222 TALK TO ME IN FIVE YEARS. 854 00:39:15,265 --> 00:39:16,310 MARVIN, SAVE YOUR TEMPERAMENT 855 00:39:16,354 --> 00:39:17,616 FOR WHEN YOU CAN AFFORD IT. 856 00:39:17,659 --> 00:39:20,880 YOU HAVE MORE TO LOSE THAN EITHER OF THESE GUYS. 857 00:39:20,923 --> 00:39:22,490 BE HONEST. YOUR LIFE'S A DISASTER. 858 00:39:22,534 --> 00:39:25,319 YOUR LAST FILM FOLDED WHEN THAT ACTOR KILLED HIMSELF. 859 00:39:25,363 --> 00:39:26,886 YOU HAVEN'T DONE ANYTHING SINCE. 860 00:39:26,929 --> 00:39:29,367 YOU'RE 42, YOU LIVE IN A SHITHOLE, 861 00:39:29,410 --> 00:39:30,933 YOU DIRECT INSTRUCTIONAL TAPES. 862 00:39:30,977 --> 00:39:33,327 I'M WILLING TO GIVE YOU A CHANCE 863 00:39:33,371 --> 00:39:35,808 BECAUSE I THINK YOU MIGHT BE DESPERATE ENOUGH 864 00:39:35,851 --> 00:39:38,071 TO MAKE THIS FILM WORK. 865 00:39:38,114 --> 00:39:39,507 YOU THINK I'M AN ASSHOLE WITH MONEY. 866 00:39:39,551 --> 00:39:41,204 I'M ACTUALLY AN INTERESTING GUY. 867 00:39:41,248 --> 00:39:43,163 MAYBE ONE DAY YOU'LL KNOW ME. 868 00:39:43,206 --> 00:39:44,469 WE'RE NOT SO DIFFERENT, MARVIN. 869 00:39:44,512 --> 00:39:47,472 IT'S JUST THAT I CREATE MONEY, THAT'S MY ART. 870 00:39:47,515 --> 00:39:48,647 I'M VERY GOOD AT IT. 871 00:39:48,690 --> 00:39:52,694 ONCE I MAKE A DEAL, I'M A MAN OF MY WORD. 872 00:39:52,738 --> 00:39:54,957 THINK ABOUT IT. 873 00:39:56,437 --> 00:39:57,830 THANK YOU. 874 00:39:58,396 --> 00:40:02,095 SO, WHEN DO WE, UH, ALL GET TO MEET 875 00:40:02,138 --> 00:40:03,705 YOUR FABULOUS FRIEND BEVERLY? 876 00:40:03,749 --> 00:40:05,098 I'LL GIVE YOU HER NUMBER. 877 00:40:05,141 --> 00:40:08,449 WE'RE NOT SEEN IN PUBLIC. MY WIFE WOULDN'T LIKE IT. 878 00:40:08,493 --> 00:40:09,711 IT'S EXCELLENT. 879 00:40:09,755 --> 00:40:11,321 SHALL WE EAT, GENTLEMEN? 880 00:40:11,365 --> 00:40:12,453 I'M ON THE PRITIKIN DIET, 881 00:40:12,497 --> 00:40:15,543 BUT THE FROGS' LEGS ARE EXCELLENT. 882 00:40:17,502 --> 00:40:20,461 HE'S RIGHT ABOUT ONE THING-- 883 00:40:20,505 --> 00:40:22,245 I AM DESPERATE. 884 00:40:22,289 --> 00:40:24,465 HEY, NONE OF US ARE IN GREAT SHAPE. 885 00:40:24,509 --> 00:40:30,036 LISTEN, MARVIN, I GOT A HIDE LIKE A RHINOCEROS. 886 00:40:30,079 --> 00:40:32,342 I HAVE TO. I'M A PRODUCER. 887 00:40:32,386 --> 00:40:33,518 MONEY IS MONEY. 888 00:40:33,561 --> 00:40:36,346 TELL ME HOW MUCH YOU CAN TAKE, 889 00:40:36,390 --> 00:40:37,652 BECAUSE WHATEVER IT IS, 890 00:40:37,696 --> 00:40:40,133 UNCLE JACK IS BEHIND YOU. 891 00:40:42,875 --> 00:40:44,267 A NUDE PHOTOGRAPHER 892 00:40:44,311 --> 00:40:45,660 CHAINED TO HIS SEXUALITY? 893 00:40:45,704 --> 00:40:48,489 WHAT IS HE TALKING ABOUT? 894 00:40:50,143 --> 00:40:53,363 THERE'S ALWAYS A WAY. 895 00:40:54,060 --> 00:40:55,627 STUART'S A CLEVER KID. 896 00:40:55,670 --> 00:40:57,150 LET HIM PLAY WITH IT. 897 00:40:57,193 --> 00:41:01,328 MAYBE HE'LL MAKE IT WORK FOR EVERYBODY. 898 00:41:04,113 --> 00:41:07,421 AM I REALLY CONSIDERING THIS? 899 00:41:23,568 --> 00:41:24,830 I WANT THE LEAD ROLE. 900 00:41:24,873 --> 00:41:27,441 I DON'T CARE WHAT PART LITTLE MISS AIRLINES GETS, 901 00:41:27,485 --> 00:41:30,139 BUT IT BETTER BE SMALLER THAN MINE. 902 00:41:30,183 --> 00:41:31,532 I'LL COUNT THE LINES. 903 00:41:31,576 --> 00:41:33,621 I WANT A HEAVY, DRAMATIC ROLE. 904 00:41:33,665 --> 00:41:35,580 I WON'T DO ANY NUDE SCENES 905 00:41:35,623 --> 00:41:37,495 UNLESS ABSOLUTELY NECESSARY 906 00:41:37,538 --> 00:41:38,583 AND TASTEFULLY DONE. 907 00:41:38,626 --> 00:41:41,324 I'M NOT STRUTTING MY BLACK ASS AROUND 908 00:41:41,368 --> 00:41:43,022 TO GIVE THE GRIPS A THRILL. 909 00:41:43,065 --> 00:41:46,242 I WANT TO SIT DOWN ALONE WITH THE DIRECTOR 910 00:41:46,286 --> 00:41:47,417 AND CHECK HIM OUT. 911 00:41:47,461 --> 00:41:49,681 I'M NOT GOING TO GET JERKED AROUND. 912 00:41:49,724 --> 00:41:52,510 THE MOMENT I GET THE SLIGHTEST INDICATION 913 00:41:52,553 --> 00:41:55,251 YOU PEOPLE ARE NOT ON THE LEVEL, 914 00:41:55,295 --> 00:41:57,340 I WILL WIPE YOU OUT, 915 00:41:57,384 --> 00:41:58,646 AND I CAN DO IT. 916 00:41:58,690 --> 00:42:01,519 NOT ONLY AM I MAKING IT WITH MR. EVAN M. WRIGHT, 917 00:42:01,562 --> 00:42:04,739 BUT I ALSO HAPPEN TO BE SCREWING MR. CARMINE RASSO, 918 00:42:04,783 --> 00:42:08,526 WHO ALSO HAS AN INTEREST IN THIS PROJECT. 919 00:42:11,006 --> 00:42:12,921 THAT'S RIGHT. 920 00:42:12,965 --> 00:42:15,576 I'M FUCKING BOTH YOUR INVESTORS, 921 00:42:15,620 --> 00:42:19,537 SO DON'T FUCK WITH ME. 922 00:42:21,321 --> 00:42:24,150 ANY QUESTIONS? 923 00:42:25,630 --> 00:42:29,068 YOU KNOW, I'VE NEVER HAD SUSHI BEFORE. 924 00:42:32,114 --> 00:42:34,160 MY VOICES WERE RIGHT. 925 00:42:34,203 --> 00:42:37,337 YOU THINK THAT LIFE IS NOTHING 926 00:42:37,380 --> 00:42:40,079 BUT NOT BEING STONE DEAD. 927 00:42:40,122 --> 00:42:44,344 I COULD LET THE TRUMPETS AND BANNERS AND SOLDIERS 928 00:42:44,387 --> 00:42:45,650 PASS ME BY 929 00:42:45,693 --> 00:42:50,002 IF ONLY I COULD STILL HEAR THE WIND IN THE TREES, 930 00:42:50,045 --> 00:42:52,482 THE LARKS IN THE SUNSHINE, 931 00:42:52,526 --> 00:42:56,399 AND THE BLESSED, BLESSED CHURCH BELLS 932 00:42:56,443 --> 00:42:58,445 THAT SEND MY ANGELS' VOICES 933 00:42:58,488 --> 00:43:01,579 FLOATING TO ME ON THE WIND. 934 00:43:02,841 --> 00:43:06,366 WITHOUT THESE THINGS, 935 00:43:06,409 --> 00:43:08,455 I CANNOT LIVE. 936 00:43:08,498 --> 00:43:11,545 AND BY YOUR WANTING TO TAKE THEM AWAY FROM ME 937 00:43:11,589 --> 00:43:12,764 OR FROM ANY HUMAN CREATURE, 938 00:43:12,807 --> 00:43:16,594 I KNOW THAT YOUR COUNSEL IS THAT OF THE DEVIL 939 00:43:16,637 --> 00:43:20,249 AND THAT MINE... 940 00:43:21,076 --> 00:43:23,862 IS OF GOD. 941 00:43:24,645 --> 00:43:28,606 YOU'RE A VERY GOOD ACTRESS. 942 00:43:32,044 --> 00:43:33,741 MM-HMM. 943 00:43:33,785 --> 00:43:36,352 YOU KNOW, THAT WAS VERY GOOD. 944 00:43:36,396 --> 00:43:37,440 I WAS PUSHING. 945 00:43:37,484 --> 00:43:39,355 NO, I DIDN'T GET THAT. 946 00:43:39,399 --> 00:43:40,530 WELL, I WAS. 947 00:43:40,574 --> 00:43:43,403 WHAT ARE WE DOING HERE? I LIKED IT, O.K.? 948 00:43:43,446 --> 00:43:47,407 I'VE LOOKED INTO YOUR BACKGROUND. 949 00:43:47,450 --> 00:43:50,279 NOT MUCH THERE. 950 00:43:50,323 --> 00:43:52,804 WHAT DID YOU FIND OUT? ANYTHING GOOD? 951 00:43:52,847 --> 00:43:56,024 YOU DIRECTED SOME PRETTY SERIOUS STAGE STUFF 952 00:43:56,068 --> 00:43:57,069 IN NEW YORK. 953 00:43:57,112 --> 00:43:59,288 THEN YOU MADE A CLASSY LITTLE FILM. 954 00:43:59,332 --> 00:44:03,989 THE NEW YORK TIMES SAID YOU SHOWED PROMISE. 955 00:44:04,032 --> 00:44:07,035 I SUPPOSE I WAS DOING PRETTY GOOD. 956 00:44:07,079 --> 00:44:10,212 AND THEN YOU CAME TO HOLLYWOOD. 957 00:44:10,256 --> 00:44:12,867 YEAH, THEN I CAME TO HOLLYWOOD. 958 00:44:12,911 --> 00:44:14,608 ANYWAY, YOU, THOUGH-- 959 00:44:14,652 --> 00:44:17,089 YOU KNOW, YOU'RE-- 960 00:44:17,132 --> 00:44:20,222 OBVIOUSLY YOU MUST BE OFFERED ROLES. 961 00:44:20,266 --> 00:44:23,573 I WANT A MOVIE WHERE I GET TO USE MY TALENT. 962 00:44:23,617 --> 00:44:25,532 THE ONLY THINGS I GET OFFERED 963 00:44:25,575 --> 00:44:27,665 ARE EITHER PORNO OR HORROR FILMS. 964 00:44:27,708 --> 00:44:28,883 CARMINE LIKED YOU, 965 00:44:28,927 --> 00:44:32,582 THOUGHT IT MIGHT BE GOOD FOR ME. 966 00:44:32,626 --> 00:44:33,583 CARMINE'S... 967 00:44:33,627 --> 00:44:35,455 A G-GOOD FRIEND? 968 00:44:35,498 --> 00:44:38,937 YOU WANT TO ASK ME SOMETHING? ASK ME STRAIGHT OUT. 969 00:44:38,980 --> 00:44:40,982 I DON'T LIKE TO BE MANIPULATED. 970 00:44:41,026 --> 00:44:43,158 NOW, THIS IS WHERE IT'S AT-- 971 00:44:43,202 --> 00:44:47,336 EVAN TAUGHT CARMINE TENNIS WHEN HE WAS A TENNIS PRO. 972 00:44:47,380 --> 00:44:49,512 CARMINE BACKED HIS FIRST RACQUETBALL CLUB. 973 00:44:49,556 --> 00:44:51,819 WITHIN A YEAR, EVAN BOUGHT HIM OUT 974 00:44:51,863 --> 00:44:54,561 AND HAS BEEN AHEAD OF HIM EVER SINCE. 975 00:44:54,604 --> 00:44:57,433 WE MET ON A DOUBLE-DATE. 976 00:44:57,477 --> 00:45:00,785 DOES, UM, PATRICIA KNOW? 977 00:45:00,828 --> 00:45:02,264 THE GIRL'S BRAIN-DAMAGED. 978 00:45:02,308 --> 00:45:04,397 FLYING AROUND AT HIGH ALTITUDES. 979 00:45:04,440 --> 00:45:07,530 BESIDES, IT'S NO BIG DEAL. 980 00:45:07,574 --> 00:45:09,532 WHAT ABOUT YOU? 981 00:45:09,576 --> 00:45:11,578 I DO WHAT I WANT. 982 00:45:11,621 --> 00:45:15,103 NOBODY OWNS ME. 983 00:45:16,670 --> 00:45:18,541 HONEY, DON'T COME ON TO ME. 984 00:45:18,585 --> 00:45:20,892 IT GETS IN THE WAY OF THE WORK, 985 00:45:20,935 --> 00:45:23,024 AND I DON'T WANT ANY PROBLEMS. 986 00:45:23,068 --> 00:45:24,591 NOT THAT YOU'RE NOT CUTE, 987 00:45:24,634 --> 00:45:26,158 NOT IN YOUR OWN WAY. 988 00:45:26,201 --> 00:45:29,596 NO, BELIEVE ME, IT DIDN'T EVEN ENTER MY MIND. 989 00:45:29,639 --> 00:45:31,729 WELL, WHEN IT DOES, O.K.? 990 00:45:33,078 --> 00:45:36,168 SO DO I PASS THE AUDITION? 991 00:45:36,211 --> 00:45:40,433 YOU MADE THE CALL-BACKS. 992 00:45:41,216 --> 00:45:44,002 IT'S A FLOOR-THROUGH, TWO BLOCKS FROM CENTRAL PARK. 993 00:45:44,045 --> 00:45:47,396 HONEY, YOU GOT TO SEE THIS PLACE. 994 00:45:47,440 --> 00:45:48,528 WHY WON'T YOU COME? 995 00:45:48,571 --> 00:45:51,313 I WANT TO. I WANT TO, BUT I-- 996 00:45:51,357 --> 00:45:52,837 THERE ARE THESE VIDEOS. 997 00:45:52,880 --> 00:45:56,666 HOW LONG DO YOU THINK YOU'LL WANT TO STAY AT MY MOTHER'S 998 00:45:56,710 --> 00:45:58,277 WHEN YOU GET TO NEW YORK? 999 00:45:58,320 --> 00:46:01,802 IT SOUNDS GREAT! IT'S JUST THAT I CAN'T RIGHT NOW. 1000 00:46:01,846 --> 00:46:03,108 OH, THERE'S A CAB! 1001 00:46:03,151 --> 00:46:05,240 HONEY, IF YOU LIKE THE PLACE, 1002 00:46:05,284 --> 00:46:07,068 SEE WHAT THE DEPOSIT IS. 1003 00:46:07,112 --> 00:46:08,461 TAXI! 1004 00:46:08,504 --> 00:46:10,593 IT'S RIGHT ACROSS THE STREET FROM THE PLANETARIUM. 1005 00:46:10,637 --> 00:46:12,204 THAT'S WONDERFUL! WONDERFUL! 1006 00:46:12,247 --> 00:46:13,596 LOVE YOU. GET HERE! 1007 00:46:13,640 --> 00:46:16,556 BYE-BYE, HONEY. I MISS YOU! 1008 00:46:18,166 --> 00:46:20,603 I GOT TO KNOW WHAT I'M DOING. 1009 00:46:20,647 --> 00:46:22,692 MY WIFE'S WAITING FOR ME IN NEW YORK. 1010 00:46:22,736 --> 00:46:25,086 MARVIN, AFTER OUR MEETING WITH GEORGE AND PEGGY, 1011 00:46:25,130 --> 00:46:28,568 YOU CAN TELL YOUR WIFE YOU'LL BE DIRECTING, NOT TEACHING. 1012 00:46:28,611 --> 00:46:29,917 I THINK PEGGY'S WONDERFUL. 1013 00:46:29,961 --> 00:46:32,485 WELL, I NEED SOMEBODY WHO CAN DO MORE 1014 00:46:32,528 --> 00:46:34,443 THAN SING SHE'S A SEX GODDESS. 1015 00:46:34,487 --> 00:46:36,445 GEORGE BEHAVED NICER THAN HE DID AT CANTER'S. 1016 00:46:36,489 --> 00:46:40,667 HE'S IMPOSSIBLE. HE'LL WANT PEGGY TO HAVE THE BIGGEST PART. 1017 00:46:40,710 --> 00:46:43,191 HE'S IN NO POSITION TO ASK FOR SHIT 1018 00:46:43,235 --> 00:46:45,715 NOW THAT THE HORROR FILM'S FALLEN APART. 1019 00:46:45,759 --> 00:46:47,500 WITH THE MONEY HE'LL FORK OVER, 1020 00:46:47,543 --> 00:46:49,154 WE CAN MAKE THE FILM LOOK LIKE IT SHOULD. 1021 00:46:49,197 --> 00:46:53,593 YOU KNOW, THIS FILM IS ABOUT A GUY'S INVOLVEMENT WITH HIS ART. 1022 00:46:53,636 --> 00:46:55,725 HOW DOES HE HAVE TIME FOR THREE WOMEN? 1023 00:46:55,769 --> 00:46:58,467 YOU'RE ABSOLUTELY RIGHT. THAT'S WHY I WAS THINKING 1024 00:46:58,511 --> 00:47:01,427 WE OUGHT TO CHANGE HIM INTO A GIGOLO. 1025 00:47:01,470 --> 00:47:02,080 WHAT? 1026 00:47:02,123 --> 00:47:03,429 IT'S JUST AN IDEA. 1027 00:47:03,472 --> 00:47:05,083 DID YOU HEAR WHAT HE SAID? 1028 00:47:05,126 --> 00:47:08,390 YOU'RE THE DIRECTOR. WE'RE PULLING OVER. THE CAR'S OVERHEATING. 1029 00:47:08,434 --> 00:47:10,218 IT WAS JUST A THOUGHT. 1030 00:47:10,262 --> 00:47:11,567 COME ON, STOP IT. 1031 00:47:11,611 --> 00:47:15,397 I DON'T WANT TO HEAR ANYMORE. I'M TUNING YOU OUT. 1032 00:47:15,441 --> 00:47:18,574 COME ON. WE'RE A TEAM. 1033 00:47:21,447 --> 00:47:23,666 I'M GOING TO PISS. 1034 00:47:24,493 --> 00:47:29,020 LET'S JUST GO WITH THE OTHER GUYS AND GET THE DEAL SIGNED. 1035 00:47:29,063 --> 00:47:31,587 IF STUART'S TURNING THE PAINTER INTO A PHOTOGRAPHER, 1036 00:47:31,631 --> 00:47:34,634 WON'T YOU NEED A BIGGER BUDGET FOR MODELS AND STUFF? 1037 00:47:34,677 --> 00:47:38,768 HE WANTS TO TURN HIM INTO A GIGOLO, NOT A PHOTOGRAPHER. 1038 00:47:38,812 --> 00:47:42,468 IT'S JUST AN IDEA. CAN'T I EVEN TELL AN IDEA? 1039 00:47:42,511 --> 00:47:43,991 I'LL GO SCOUT UP AHEAD. 1040 00:47:44,035 --> 00:47:46,428 ARE YOU SERIOUSLY CONSIDERING TURNING HIM INTO A GIGOLO, 1041 00:47:46,472 --> 00:47:48,778 OR ARE YOU JUST OUT OF YOUR MIND? 1042 00:47:48,822 --> 00:47:51,607 TO HELL WITH YOU. YOU CAN WRITE IT YOURSELF. 1043 00:47:51,651 --> 00:47:54,654 WHERE ARE YOU GOING? WE'RE IN THE MIDDLE OF NOWHERE. 1044 00:47:54,697 --> 00:47:58,701 FUCK YOU. YOU'VE GOT SUCH GREAT IDEAS, YOU REWRITE THE SCRIPT. 1045 00:47:58,745 --> 00:48:02,531 YOU'RE THE GUY WHO KNOWS HOW TO BULLSHIT THESE GUYS. 1046 00:48:02,575 --> 00:48:03,924 WHY ARE YOU SO UPSET? 1047 00:48:03,968 --> 00:48:06,405 I LOVE HER. MARVIN, I LOVE HER. 1048 00:48:06,448 --> 00:48:10,452 IT'S EATING ME UP INSIDE, I LOVE HER SO MUCH. 1049 00:48:10,496 --> 00:48:11,627 WHO? WHAT? 1050 00:48:11,671 --> 00:48:14,239 PEGGY! FOR GOD'S SAKE--PEGGY! 1051 00:48:14,282 --> 00:48:15,718 ARE YOU CRAZY? 1052 00:48:15,762 --> 00:48:17,503 WHEN DID THIS HAPPEN? 1053 00:48:17,546 --> 00:48:20,549 I AMCRAZY--AN IDIOT WHO STABS HIMSELF LIKE A SCORPION. 1054 00:48:20,593 --> 00:48:22,551 I ADORE HER. I DON'T KNOW WHAT TO DO. 1055 00:48:22,595 --> 00:48:25,598 DO YOU REALIZE WHAT'LL HAPPEN IF GEORGE FINDS OUT? 1056 00:48:25,641 --> 00:48:28,993 CAN'T YOU THINK OF ANYTHING BUT YOURSELF? 1057 00:48:29,036 --> 00:48:30,690 CAN'T YOU? 1058 00:48:30,733 --> 00:48:32,866 I LIKE HIM. 1059 00:48:32,910 --> 00:48:34,259 HE'S REALLY SWEET, 1060 00:48:34,302 --> 00:48:37,088 AND HE'S CRAZY ABOUT ME. 1061 00:48:37,436 --> 00:48:40,874 BUT IF GEORGE FOUND OUT THAT I SAW HIM ALONE, 1062 00:48:40,918 --> 00:48:42,223 IT WOULD KILL HIM. 1063 00:48:42,267 --> 00:48:44,182 I OWE EVERYTHING TO GEORGE. 1064 00:48:44,225 --> 00:48:45,966 HE SAVED MY LIFE. 1065 00:48:46,010 --> 00:48:49,578 I OWE HIM EVERYTHING FOR THAT. 1066 00:48:51,929 --> 00:48:55,410 MAYBE WE COULD MEET AT YOUR PLACE. 1067 00:48:55,845 --> 00:48:57,282 WHAT? 1068 00:48:57,325 --> 00:49:00,198 GEORGE TRUSTS ME WITH YOU. HE DOESN'T THINK YOU LIKE ME. 1069 00:49:00,241 --> 00:49:01,590 THIS IS INSIGNIFICANT. 1070 00:49:01,634 --> 00:49:03,766 NOT FOR ME! THE GUY'S ALLOWED TO LOOK PRESENTABLE! 1071 00:49:03,810 --> 00:49:07,031 HOW AM I SUPPOSED TO SHOOT THIS WITH ONE BULB? 1072 00:49:07,074 --> 00:49:08,641 MR. BERTOLUCCI, I GOOFED. I'M SORRY. 1073 00:49:08,684 --> 00:49:11,949 THIS IS A BUSINESS. I GOT TO RUN THIS FUCKIN' PLACE, 1074 00:49:11,992 --> 00:49:15,474 AND YOU'RE GOING OFF ON ONE GOD DAMN LIGHT BULB! 1075 00:49:15,517 --> 00:49:16,562 YOU'RE OUT OF PERSPECTIVE. 1076 00:49:16,605 --> 00:49:18,520 DARLING, I LOVE YOU. CALM DOWN. 1077 00:49:18,564 --> 00:49:21,175 YOU'RE A GREAT ARTIST. YOU'RE VERY THOROUGH. 1078 00:49:21,219 --> 00:49:23,047 PLEASE. WE GOT TO FINISH THIS. 1079 00:49:23,090 --> 00:49:25,484 GOT EATING DISORDERS IN THE HALLWAY. 1080 00:49:25,527 --> 00:49:27,007 YOU WAITING FOR ME? 1081 00:49:27,051 --> 00:49:28,139 NO. MARVIN. 1082 00:49:28,182 --> 00:49:29,531 RIGHT. 1083 00:49:30,141 --> 00:49:32,926 HEY, KIDDO, THIS IS NOT A BAD LIFE. 1084 00:49:32,970 --> 00:49:34,449 WHAT'S THE MATTER? 1085 00:49:34,493 --> 00:49:35,668 NOTHING'S THE MATTER. 1086 00:49:35,711 --> 00:49:38,540 MUST I ALWAYS BE AN EMISSARY OF GLOOM? 1087 00:49:38,584 --> 00:49:40,238 SOMETHING'S WRONG, RIGHT? WHAT? 1088 00:49:40,281 --> 00:49:41,543 NO. EVERYTHING IS PERFECT. 1089 00:49:41,587 --> 00:49:45,069 AS A MATTER OF FACT, WE GOT TO START THINKING 1090 00:49:45,112 --> 00:49:47,027 ABOUT GETTING A PRODUCTION OFFICE. 1091 00:49:47,071 --> 00:49:49,856 NOW, THERE IS THIS THING WITH CARMINE-- 1092 00:49:49,899 --> 00:49:51,379 YOU SEE? I KNEW IT! 1093 00:49:51,423 --> 00:49:52,859 THANK GOD I DIDN'T TELL RACHEL! 1094 00:49:52,902 --> 00:49:56,515 IT'S NO BIG DEAL. HIS FATHER HAS TO COSIGN THE CHECK, 1095 00:49:56,558 --> 00:49:58,647 SO YOU'LL PITCH HIM THE STORY OR SOMETHING. 1096 00:49:58,691 --> 00:50:01,737 INTERESTING GUY. USED TO BE THE GARBAGE KING OF NEWARK. 1097 00:50:01,781 --> 00:50:02,738 SHE'S BEAUTIFUL. 1098 00:50:02,782 --> 00:50:04,827 SHE--SHE SEEMS TO LIFT HIS SPIRITS. 1099 00:50:04,871 --> 00:50:08,048 AND AS HE PAINTS HER, HE PHOTOGRAPHS HER. 1100 00:50:08,092 --> 00:50:11,051 IT--IT CAUSES HIM TO BE UPLIFTED. 1101 00:50:11,095 --> 00:50:11,791 HE'S, UH-- 1102 00:50:11,834 --> 00:50:13,706 AND AS HE-- HIS--HE-- 1103 00:50:13,749 --> 00:50:15,055 HIS PAINTINGS BECOME-- 1104 00:50:15,099 --> 00:50:17,536 PICTURES BECOME FURTHER WELL-KNOWN, 1105 00:50:17,579 --> 00:50:18,711 UH... 1106 00:50:18,754 --> 00:50:20,930 HE'S A WILD AND CRAZY BUT WONDERFUL GUY. 1107 00:50:20,974 --> 00:50:22,280 PEOPLE LOVE HIM. 1108 00:50:22,323 --> 00:50:23,672 HE'S LIKE JACK NICHOLSON 1109 00:50:23,716 --> 00:50:26,501 IN TERMS OF ENDEARMENT... 1110 00:50:26,545 --> 00:50:28,199 BUT NICER. 1111 00:50:38,948 --> 00:50:39,775 AAH! 1112 00:50:39,819 --> 00:50:41,342 WHO IS IT? 1113 00:50:41,386 --> 00:50:42,126 ME--MARVIN. 1114 00:50:42,169 --> 00:50:43,518 THANK GOD IT'S ONLY YOU. 1115 00:50:43,562 --> 00:50:46,565 LET ME IN. I'VE GOT A BUNCH OF GROCERIES. 1116 00:50:46,608 --> 00:50:47,653 I GOT TO GET DRESSED. 1117 00:50:47,696 --> 00:50:50,743 GIVE US A SECOND. WE'LL BE RIGHT OUT. 1118 00:50:50,786 --> 00:50:52,310 CESAR ROMERO. 1119 00:50:52,353 --> 00:50:53,615 JACK. 1120 00:50:53,659 --> 00:50:54,660 ED ASNER. 1121 00:50:54,703 --> 00:50:57,924 DENNIS HOPPER. WHY NOT DENNIS HOPPER? 1122 00:50:57,967 --> 00:51:00,622 HE'S HOT. MONEY. 1123 00:51:00,666 --> 00:51:01,928 ROBERT CULP. 1124 00:51:01,971 --> 00:51:04,235 WILL YOU STOP? THEY'RE ALL TOO OLD FOR THE PART. 1125 00:51:04,278 --> 00:51:06,541 WHAT ABOUT FOR THE GALLERY OWNER? 1126 00:51:06,585 --> 00:51:07,803 I KNOW. HE'S PERFECT-- 1127 00:51:07,847 --> 00:51:09,240 THE SINGER FROM MOTLEY CRUE. 1128 00:51:09,283 --> 00:51:12,504 STOP, STUART. WE NEED AN ACTOR. STAY OUT OF CASTING. 1129 00:51:12,547 --> 00:51:14,288 WHAT ABOUT KLAUS MARIA BRANDAUER? 1130 00:51:14,332 --> 00:51:16,377 HE'D BE BRILLIANT AS THE PAINTER. 1131 00:51:16,421 --> 00:51:17,335 HE'D LOVE THE SCRIPT. 1132 00:51:17,378 --> 00:51:19,467 HE'S A FOREIGNER. WE NEED A NAME 1133 00:51:19,511 --> 00:51:22,557 IF WE'RE GOING TO GET A GOOD DISTRIBUTOR. 1134 00:51:22,601 --> 00:51:23,993 HE ISA NAME! 1135 00:51:24,037 --> 00:51:25,821 YOU'RE SHORT 2 BUCKS. 1136 00:51:25,865 --> 00:51:27,649 GREG LOUGANIS. 1137 00:51:27,693 --> 00:51:28,607 THE DIVER? 1138 00:51:28,650 --> 00:51:30,217 YEAH. HE'S GOT A LOT OF PRESENCE. 1139 00:51:30,261 --> 00:51:32,567 YOU'RE GOOD WITH ACTORS. YOU'LL MAKE HIM LOOK GREAT. 1140 00:51:32,611 --> 00:51:35,918 JACK, DID YOU SEE MEPHISTO? BRANDAUER'S THE GUY! 1141 00:51:35,962 --> 00:51:36,963 ERNEST BORGNINE. 1142 00:51:37,006 --> 00:51:38,225 HE'S TOO OLD! 1143 00:51:38,269 --> 00:51:40,184 NO! HE'S RIGHT THERE! LOOK! 1144 00:51:40,227 --> 00:51:42,099 STUART, GET A SCRIPT, QUICK. 1145 00:51:42,142 --> 00:51:43,274 HE'S STILL TOO OLD. 1146 00:51:43,317 --> 00:51:45,232 HE WON AN ACADEMY AWARD! 1147 00:51:45,276 --> 00:51:46,755 JACK, WHAT ARE YOU DOING? 1148 00:51:46,799 --> 00:51:48,540 MR. BORGNINE! ERNEST! ERNEST! 1149 00:51:48,583 --> 00:51:49,932 JACK! 1150 00:51:49,976 --> 00:51:53,022 MR. BORGNINE! I WANT TO TALK TO YOU FOR A SECOND! 1151 00:51:53,066 --> 00:51:54,154 CAN I TALK-- 1152 00:51:54,198 --> 00:51:57,549 CAN I TALK TO YOU FOR A SECOND? 1153 00:51:57,592 --> 00:51:58,941 ERNEST, PLEASE! 1154 00:51:58,985 --> 00:52:00,421 WON'T YOU EVEN-- 1155 00:52:00,465 --> 00:52:03,642 THERE'S A REALLY GREAT PART IN THAT! SERIOUSLY! 1156 00:52:03,685 --> 00:52:04,599 ERNEST, I-- 1157 00:52:04,643 --> 00:52:07,428 WHAT'S YOUR FAX NUMBER? WE CAN-- 1158 00:52:13,434 --> 00:52:16,176 MAYBE HE ISTOO OLD FOR THE PART, 1159 00:52:16,220 --> 00:52:19,658 BUT HE'S A HELL OF AN ACTOR. 1160 00:52:29,102 --> 00:52:29,885 OH, JEEZ. 1161 00:52:31,060 --> 00:52:33,759 COME ON, STUART, YOU'RE OVERDOING IT. 1162 00:52:33,802 --> 00:52:35,500 MAN, ENOUGH IS ENOUGH. 1163 00:52:35,543 --> 00:52:38,851 IT'S STILL MY PLACE, YOU KNOW? 1164 00:52:38,894 --> 00:52:40,548 HURRY UP. 1165 00:52:41,201 --> 00:52:42,115 HI. 1166 00:52:42,159 --> 00:52:43,464 HELLO. 1167 00:52:46,728 --> 00:52:48,252 HI. 1168 00:52:48,643 --> 00:52:50,819 RACHEL? 1169 00:52:50,863 --> 00:52:52,473 WHAT ARE YOU DOING HERE? 1170 00:52:52,517 --> 00:52:55,868 WELL, I MISSED MY HUSBAND DESPERATELY... 1171 00:52:55,911 --> 00:52:59,350 AND THE AIR FARE WAS A GIVEAWAY. 1172 00:52:59,393 --> 00:53:00,699 SO. 1173 00:53:02,396 --> 00:53:04,224 WELL, WHAT HAVE YOU DONE WITH YOUR HAIR? 1174 00:53:04,268 --> 00:53:09,186 HEY, THIS IS HOW ALL HIP RESTAURATEURS LOOK. 1175 00:53:09,229 --> 00:53:12,450 WAIT TILL YOU SEE MY TATTOO. 1176 00:53:16,193 --> 00:53:18,151 OH... 1177 00:53:18,195 --> 00:53:21,154 OH, SO THAT'S WHAT SEX IS LIKE. I ALMOST FORGOT. 1178 00:53:21,198 --> 00:53:26,464 YOU GET IT MORE OFTEN WHEN YOU'RE IN THE SAME TIME ZONE. 1179 00:53:29,031 --> 00:53:30,424 WHAT'S THIS? 1180 00:53:30,468 --> 00:53:32,687 OH, YEAH. "THE FUN HAS JUST BEGUN." 1181 00:53:32,731 --> 00:53:37,518 I WASN'T AT MY BEST WHEN I GAVE YOU THIS, WAS I? 1182 00:53:37,562 --> 00:53:38,954 NO, NOT EXACTLY. 1183 00:53:38,998 --> 00:53:40,826 YOU KNOW--O.K. 1184 00:53:40,869 --> 00:53:41,783 ALL RIGHT. 1185 00:53:41,827 --> 00:53:43,176 WHAT? WHAT? 1186 00:53:43,220 --> 00:53:46,440 HERE. NOW, THIS IS SORT OF AN IDEA FOR THE WAITERS. 1187 00:53:46,484 --> 00:53:49,443 OH, WOW. THIS IS SORT OF TACKY. 1188 00:53:49,487 --> 00:53:50,444 TACKY? 1189 00:53:50,488 --> 00:53:51,532 GET-- 1190 00:53:51,576 --> 00:53:55,057 OH, HOW DARE YOU CALL LA DEE DA TACKY? 1191 00:53:55,101 --> 00:53:57,625 IT'S BEYOND TACKY. 1192 00:53:57,669 --> 00:54:00,628 NEW YORKERS LOVE TO HATE L.A., RIGHT? 1193 00:54:00,672 --> 00:54:03,065 SOON THEY CAN SATISFY THEIR SNOBBERY 1194 00:54:03,109 --> 00:54:04,806 AND THEIR STOMACHS SIMULTANEOUSLY. 1195 00:54:04,850 --> 00:54:07,156 WHERE? AT LA DEE DA. 1196 00:54:07,200 --> 00:54:08,288 AHA! 1197 00:54:08,332 --> 00:54:09,811 ZANILY DECORATED WITH PLASTIC PALM TREES 1198 00:54:09,855 --> 00:54:11,248 AND A FREEWAY MURAL, 1199 00:54:11,291 --> 00:54:14,860 LA DEE DA IS GOING TO BE A DELICIOUS CARTOON VERSION 1200 00:54:14,903 --> 00:54:16,862 OF THE BIG ORANGE. 1201 00:54:16,905 --> 00:54:19,517 FROM TURKEY CHILI 1202 00:54:19,560 --> 00:54:22,607 TO THE UNUSUAL DESIGNER PIZZAS-- 1203 00:54:22,650 --> 00:54:26,654 THE FOOD IS GOING TO BE SO MUCH BETTER THAN IT HAS TO. 1204 00:54:26,698 --> 00:54:30,571 OPENED BY THE YOUNG AND VIVACIOUS RACHEL LANDISMAN 1205 00:54:30,615 --> 00:54:32,617 AND HER PARTNER PAULA ROSE, 1206 00:54:32,660 --> 00:54:35,272 LA DEE DA IS GOING TO BE 1207 00:54:35,315 --> 00:54:37,448 NEW YORK'S NEW HOT SPOT. 1208 00:54:37,491 --> 00:54:38,666 YEAH. 1209 00:54:38,710 --> 00:54:41,278 BRING YOUR SUNGLASSES. 1210 00:54:44,672 --> 00:54:46,718 IS THAT HOW YOU PITCH IT? 1211 00:54:46,761 --> 00:54:48,546 IT DEPENDS WHO I'M TALKING TO, 1212 00:54:48,589 --> 00:54:51,723 BUT I CAN POUR IT ON, YEAH. 1213 00:54:52,376 --> 00:54:54,900 YOU KNOW WHAT WOULD BE REALLY GREAT? 1214 00:54:54,943 --> 00:54:57,119 IF WE COULD GO TO ROBATA'S. 1215 00:54:57,163 --> 00:54:58,686 ROBATA'S FOR DINNER? 1216 00:54:58,730 --> 00:54:59,644 YEAH. 1217 00:54:59,687 --> 00:55:00,645 TONIGHT? 1218 00:55:00,688 --> 00:55:01,776 WHO CAN AFFORD THAT? 1219 00:55:01,820 --> 00:55:04,257 WE CAN. I BRING GREAT NEWS. 1220 00:55:04,301 --> 00:55:06,781 WE ARE NOT GOING TO PRISON AFTER ALL. 1221 00:55:06,825 --> 00:55:13,484 I HAVE PAID OFF THE ENTIRE AMERICAN EXPRESS. 1222 00:55:14,572 --> 00:55:16,095 GREAT. 1223 00:55:16,487 --> 00:55:18,097 GREAT. 1224 00:55:20,229 --> 00:55:21,927 WE SHOULD'VE MADE A RESERVATION. 1225 00:55:21,970 --> 00:55:24,495 SURE YOU DON'T WANT TO WAIT IN THE BAR? 1226 00:55:24,538 --> 00:55:27,846 NO. LET'S TAKE A RIDE AND COME BACK LATER. 1227 00:55:27,889 --> 00:55:29,413 O.K. 1228 00:55:30,109 --> 00:55:31,415 MR. WRIGHT. HOW ARE YOU? 1229 00:55:31,458 --> 00:55:35,462 I DON'T KNOW YOU. YOU'RE MAKING A MISTAKE. 1230 00:55:36,376 --> 00:55:37,682 BOYS? 1231 00:55:38,639 --> 00:55:39,553 NOW, BOYS. 1232 00:55:39,597 --> 00:55:41,120 I LIKE THE FOOD HERE. 1233 00:55:41,163 --> 00:55:42,948 IT'S NICE TO SEE YOU. 1234 00:55:42,991 --> 00:55:44,253 WHO WAS THAT? 1235 00:55:44,297 --> 00:55:45,777 HE WAS RIGHT. MY MISTAKE. 1236 00:55:45,820 --> 00:55:48,475 HE LOOKED LIKE SOMEBODY ELSE. 1237 00:55:49,171 --> 00:55:50,651 I'M GLAD WE'RE LEAVING L.A. 1238 00:55:50,695 --> 00:55:53,567 I JUST FEEL SO MUCH HAPPIER IN NEW YORK, 1239 00:55:53,611 --> 00:55:57,136 AND--AND WE'RE SO MUCH BETTER IN THAT CITY. 1240 00:55:57,179 --> 00:55:57,963 YEAH. 1241 00:55:58,006 --> 00:55:59,617 THIS PLACE, I DON'T KNOW, 1242 00:55:59,660 --> 00:56:01,836 JUST...FEELS LIKE BAD LUCK. 1243 00:56:01,880 --> 00:56:04,709 BUT--OH, YOU LEARN FROM EVERYTHING... 1244 00:56:04,752 --> 00:56:06,363 I GUESS. 1245 00:56:06,754 --> 00:56:09,540 FRED THINKS YOU'LL GET THE JOB AT QUEENS COLLEGE, 1246 00:56:09,583 --> 00:56:14,414 BUT YOU HAVE TO FLY THERE NOW AND TALK TO THE CHAIRMAN. 1247 00:56:14,458 --> 00:56:16,677 IT'S A WONDERFUL JOB. 1248 00:56:16,721 --> 00:56:18,897 I CAN'T RIGHT NOW. I PROMISED BERNIE. 1249 00:56:18,940 --> 00:56:21,726 YEAH. I JUST DON'T WANT YOU TO LOSE IT... 1250 00:56:21,769 --> 00:56:25,860 SO MAYBE IF YOU CAME BACK WITH ME FOR TWO DAYS. 1251 00:56:25,904 --> 00:56:27,601 UH...THERE ARE THESE VIDEOS. 1252 00:56:27,645 --> 00:56:31,170 I'VE--I GOT TO FINISH THEM. 1253 00:56:34,565 --> 00:56:37,002 YOU'RE HAVING AN AFFAIR. 1254 00:56:37,045 --> 00:56:38,264 WHAT? 1255 00:56:38,307 --> 00:56:42,007 THERE ARE BOBBY PINS ALL OVER THE FLOOR. 1256 00:56:42,050 --> 00:56:43,574 AHEM. 1257 00:56:44,966 --> 00:56:46,446 NO, I'M NOT. I'M-- 1258 00:56:46,490 --> 00:56:47,491 THERE ARE THESE PEOPLE. 1259 00:56:47,534 --> 00:56:50,494 THEY'RE USING MY PLACE TO REHEARSE. 1260 00:56:50,537 --> 00:56:51,712 MARVIN-- 1261 00:56:51,756 --> 00:56:53,192 NO. UH... 1262 00:56:55,586 --> 00:56:58,676 RACHEL, I-- I GOT TO TELL YOU SOMETHING. UM... 1263 00:56:58,719 --> 00:57:00,112 YOU KNOW THAT CRAZY IDEA 1264 00:57:00,155 --> 00:57:02,897 THAT WHEN YOU REALLY WANT SOMETHING, IT WON'T HAPPEN, 1265 00:57:02,941 --> 00:57:06,988 BUT WHEN YOU FORGET ABOUT IT, THERE IT IS? 1266 00:57:07,032 --> 00:57:07,902 IT'S TRUE. 1267 00:57:07,946 --> 00:57:09,513 WHAT DO YOU MEAN? 1268 00:57:09,556 --> 00:57:10,601 GUESS. 1269 00:57:10,644 --> 00:57:11,863 I DON'T KNOW. GUESS. 1270 00:57:11,906 --> 00:57:15,170 I DON'T KNOW. I-- YOU WON THE LOTTERY. 1271 00:57:15,214 --> 00:57:18,652 THE DARKNESS AND THE LIGHT. 1272 00:57:19,261 --> 00:57:20,219 OH. 1273 00:57:20,262 --> 00:57:22,743 I SAID I HAD TO THINK ABOUT IT. 1274 00:57:22,787 --> 00:57:24,484 IT'S SO EASY THIS TIME. 1275 00:57:24,528 --> 00:57:26,530 WE'RE EITHER DOING IT OR NOT. 1276 00:57:26,573 --> 00:57:28,096 I'M JUST WAITING TO SIGN. 1277 00:57:28,140 --> 00:57:31,622 THAT'S WHY I DIDN'T TELL YOU SOONER. 1278 00:57:31,665 --> 00:57:33,711 SEE, THESE PEOPLE ARE QUITE REASONABLE. 1279 00:57:33,754 --> 00:57:36,801 THEY HAVE CONSTRUCTIVE CRITICISM. WE'RE MAKING IT MORE MODERN. 1280 00:57:36,844 --> 00:57:39,281 WE'RE TURNING THE PAINTER INTO A PHOTOGRAPHER, 1281 00:57:39,325 --> 00:57:44,678 BUT I'M GETTING TO TELL WARREN'S STORY, SUICIDE AND ALL. 1282 00:57:47,855 --> 00:57:48,987 YOU KNOW, I THOUGHT... 1283 00:57:49,030 --> 00:57:52,251 IF I SET THE LAST SCENE IN MICHAEL'S ROOM 1284 00:57:52,294 --> 00:57:53,687 RATHER THAN UP ON THE ROOF, 1285 00:57:53,731 --> 00:57:58,431 MAYBE I CAN USE THE REAL BUILDING IN THE BACKGROUND. 1286 00:57:58,475 --> 00:58:00,694 IT'LL BE OUR SECRET. 1287 00:58:01,652 --> 00:58:02,870 ZOEY AND DAVID 1288 00:58:02,914 --> 00:58:05,351 STAND FOR A MOMENT IN THE CENTER OF THE ROOM, 1289 00:58:05,394 --> 00:58:10,530 NOT KNOWING WHAT THEY WANT OR WHY THEY CAME THERE. 1290 00:58:10,574 --> 00:58:15,579 WE CUT TO THE FRAIL, HUMAN POSSESSIONS THAT INHABIT THE ROOM. 1291 00:58:15,622 --> 00:58:18,712 A PAIR OF SHOES NEAR THE BED. 1292 00:58:18,756 --> 00:58:21,585 A FEW PENNIES ON THE KITCHEN TABLE. 1293 00:58:21,628 --> 00:58:26,807 THEY TURN TO LOOK AT THE PHOTOGRAPHS THAT LINE THE WALLS. 1294 00:58:26,851 --> 00:58:29,941 PICTURES THAT GLOW WITH THE MARVELOUS RADIANCE 1295 00:58:29,984 --> 00:58:34,119 FROM THE PASSION THAT BURNED WITHIN HIM. 1296 00:58:36,338 --> 00:58:38,819 THERE SHOULD BE SOMETHING ALMOST EMBARRASSING 1297 00:58:38,863 --> 00:58:42,954 ABOUT THE BEAUTY AND INTIMACY OF THEM. 1298 00:58:44,608 --> 00:58:46,610 SUDDENLY DAVID... 1299 00:58:46,653 --> 00:58:49,656 IS DRAWN TOWARD THE BALCONY... 1300 00:58:52,877 --> 00:58:56,184 TRYING TO CONFRONT... 1301 00:58:56,620 --> 00:58:58,709 THE REALITY OF THE LEAP. 1302 00:58:58,752 --> 00:59:00,145 THE INSANITY OF IT. 1303 00:59:00,188 --> 00:59:04,018 AND AS HE LOOKS DOWN TO THE STREETS OF THE CITY BELOW, 1304 00:59:04,062 --> 00:59:08,588 HE UNDERSTANDS WHAT IT'S LIKE TO WANT SOMETHING SO MUCH 1305 00:59:08,632 --> 00:59:11,722 THAT IT CAN DESTROY YOU. 1306 00:59:11,765 --> 00:59:14,376 THE EMOTION'S SO STRONG THAT THEY-- 1307 00:59:14,420 --> 00:59:15,900 THEY PUSH IT OR REACH OUT 1308 00:59:15,943 --> 00:59:19,556 BEYOND EVERYTHING THAT HOLDS YOU TO THE EARTH. 1309 00:59:22,428 --> 00:59:23,821 MARVIN. 1310 00:59:28,956 --> 00:59:31,176 YOU'RE AN ASSHOLE. 1311 00:59:31,655 --> 00:59:34,309 ALL YOU EVER THINK OF IS YOU, YOU, YOU! 1312 00:59:34,353 --> 00:59:38,226 YOU NEVER BELIEVED IN ME! YOU'RE JUST LIKE MY FATHER! 1313 00:59:38,270 --> 00:59:39,576 OH! 1314 00:59:39,924 --> 00:59:42,622 BECAUSE HE HAD SUCH A SHITTY TIME IN RUSSIA, 1315 00:59:42,666 --> 00:59:45,712 HE THINKS NO ONE COULD HAVE ANY LUCK ANYWHERE! 1316 00:59:45,756 --> 00:59:48,062 I SAID, "POP, YOU'RE IN AMERICA NOW!" 1317 00:59:48,106 --> 00:59:50,630 RACHEL, YOU'RE THE ASSHOLE! 1318 00:59:53,720 --> 00:59:57,202 MARVIN, DON'T BE SELF-DESTRUCTIVE. 1319 00:59:57,245 --> 01:00:01,641 THE SEVEN YEARS THAT WE TRIED TO MAKE THAT FILM 1320 01:00:01,685 --> 01:00:03,338 WERE LIKE A HORRIBLE ACCIDENT. 1321 01:00:03,382 --> 01:00:07,125 WE'RE JUST NOW STARTING TO PICK UP THE PIECES. 1322 01:00:07,168 --> 01:00:11,172 I'M HAPPY FOR THE FIRST TIME IN YEARS. 1323 01:00:11,216 --> 01:00:12,609 MARVIN... 1324 01:00:12,652 --> 01:00:18,005 PLEASE DON'T TAKE THAT AWAY FROM ME. 1325 01:00:18,049 --> 01:00:20,094 PLEASE. 1326 01:00:20,138 --> 01:00:22,401 DON'T. 1327 01:00:23,358 --> 01:00:25,404 OH. PLEASE. 1328 01:00:25,447 --> 01:00:27,841 PLEASE DON'T. 1329 01:00:28,146 --> 01:00:29,408 IT WAS TERRIBLE. 1330 01:00:29,451 --> 01:00:35,849 SOMETIMES I DIDN'T KNOW IF I LOVED YOU ANYMORE. 1331 01:00:35,893 --> 01:00:38,504 OH, GOD, YOU'RE RIGHT. 1332 01:00:38,547 --> 01:00:39,810 YOU'RE RIGHT. 1333 01:00:39,853 --> 01:00:42,987 PLEASE DON'T SCARE ME AGAIN. 1334 01:00:43,030 --> 01:00:44,423 PLEASE. 1335 01:00:44,466 --> 01:00:47,687 FORGET ABOUT THE FILM. IT'S CRAZY. 1336 01:00:47,731 --> 01:00:49,167 IT'S NOT CRAZY, HONEY. 1337 01:00:49,210 --> 01:00:50,298 IT'S NOT CRAZY. 1338 01:00:50,342 --> 01:00:52,866 YOUR FILM COULD HAVE BEEN BEAUTIFUL, 1339 01:00:52,910 --> 01:00:56,740 BUT NO ONE WANTS TO SEE IT. 1340 01:01:00,395 --> 01:01:02,180 HOW CAN YOU SAY THAT? 1341 01:01:02,223 --> 01:01:06,097 NO ONE'S EVER HAD A CHANCE TO SEE IT. 1342 01:01:06,140 --> 01:01:07,446 YOU'RE RIGHT. 1343 01:01:07,489 --> 01:01:09,230 YOU'RE ABSOLUTELY RIGHT. 1344 01:01:09,274 --> 01:01:10,405 THEY SHOULD SEE IT. 1345 01:01:10,449 --> 01:01:12,016 THEY SHOULD SEE IT. 1346 01:01:12,059 --> 01:01:13,234 BUT TO THE MONEY PEOPLE, 1347 01:01:13,278 --> 01:01:16,890 A FILM ABOUT A FRAIL ARTIST AND HIS DEATH, 1348 01:01:16,934 --> 01:01:18,109 THAT'S A JOKE. 1349 01:01:18,152 --> 01:01:20,067 TO THEM, WARREN'S JUST SOME LOSER 1350 01:01:20,111 --> 01:01:22,243 WHO DESERVED WHAT HE GOT. 1351 01:01:22,287 --> 01:01:23,592 YOU'RE RIGHT, HONEY, 1352 01:01:23,636 --> 01:01:25,769 BUT THERE'S NOTHING WE CAN DO. 1353 01:01:25,812 --> 01:01:26,987 THAT'S THE BOTTOM LINE. 1354 01:01:27,031 --> 01:01:29,381 I'M SORRY. I'VE GOT TO GET SOMETHING TO EAT. 1355 01:01:29,424 --> 01:01:32,036 WHEN A SPIRIT LIKE WARREN'S IS SQUELCHED, 1356 01:01:32,079 --> 01:01:34,516 THE WORLD LOSES SOMETHING GREAT. 1357 01:01:34,560 --> 01:01:35,779 YOU KNOW THAT. 1358 01:01:35,822 --> 01:01:38,477 YES, MARVIN. WE KNOW THAT. 1359 01:01:38,520 --> 01:01:40,000 THEY DON'T CARE. 1360 01:01:40,044 --> 01:01:42,350 WHAT...WHAT IS THIS? 1361 01:01:42,394 --> 01:01:43,612 I CARE. 1362 01:01:43,656 --> 01:01:45,136 MARVIN, YOU WERE THE LAST THING 1363 01:01:45,179 --> 01:01:48,530 THAT WARREN COULDN'T COPE WITH BEFORE HE JUMPED. 1364 01:01:48,574 --> 01:01:50,837 WHAT YOU CARE ABOUT IS YOUR GUILT. 1365 01:01:50,881 --> 01:01:54,101 CAN YOU CLEAN OUT THE REFRIGERATOR ONCE IN A WHILE? 1366 01:01:54,145 --> 01:01:58,105 SHOULD I MAKE A FILM ABOUT SOMETHING I DON'T CARE ABOUT? 1367 01:01:58,149 --> 01:01:59,019 CAR RACING? 1368 01:01:59,063 --> 01:02:00,499 YOUR FILM IS ABOUT A MAN 1369 01:02:00,542 --> 01:02:03,937 WHO DIDN'T HAVE AN INCH OF TALENT FOR LIVING, 1370 01:02:03,981 --> 01:02:05,678 SO HE SOLVES ALL HIS PROBLEMS 1371 01:02:05,722 --> 01:02:07,636 BY THROWING HIMSELF OFF OF A ROOF. 1372 01:02:07,680 --> 01:02:10,248 YOU DIDN'T USED TO SEE IT THAT WAY. 1373 01:02:10,291 --> 01:02:13,860 BUT NOW THAT YOU CAN PAY OFF AMERICAN EXPRESS, 1374 01:02:13,904 --> 01:02:15,601 THAT'S HOW YOU SEE IT. 1375 01:02:15,644 --> 01:02:17,995 YEAH, 'CAUSE I'M A SELLOUT, RIGHT? 1376 01:02:18,038 --> 01:02:19,213 I'M A BIG SELLOUT. 1377 01:02:19,257 --> 01:02:22,260 AND YOU'RE... EVERYTHING YOU DO IS RIGHT. 1378 01:02:22,303 --> 01:02:24,218 THIS IS THE REAL WORLD. 1379 01:02:24,262 --> 01:02:26,917 BIRDS IN PAINTINGS DON'T FLY AWAY. 1380 01:02:26,960 --> 01:02:28,005 THEY JUST STAY THERE. 1381 01:02:28,048 --> 01:02:31,182 DON'T YOU DARE MAKE FUN OF THAT! 1382 01:02:31,225 --> 01:02:32,313 I'M NOT. 1383 01:02:32,357 --> 01:02:33,750 THAT'S THE THING. 1384 01:02:33,793 --> 01:02:35,577 I DON'T THINK YOU UNDERSTAND 1385 01:02:35,621 --> 01:02:37,318 THAT BIRDS IN PAINTINGS DON'T FLY. 1386 01:02:37,362 --> 01:02:40,104 PEOPLE CAN'T HAVE EVERYTHING THAT THEY WANT. 1387 01:02:40,147 --> 01:02:41,366 THEY CAN'T HAVE THAT. 1388 01:02:41,409 --> 01:02:44,151 YOU HAVE TO STOP DREAMING. 1389 01:02:44,761 --> 01:02:46,197 YOU ARE SUCH A TALENTED MAN, 1390 01:02:46,240 --> 01:02:50,679 AND YOU DON'T HAVE A SINGLE THING TO SHOW FOR IT. 1391 01:02:50,723 --> 01:02:52,551 YOU LIVE LIKE A HERMIT, 1392 01:02:52,594 --> 01:02:54,074 MY BROTHER IS YOUR ONLY FRIEND, 1393 01:02:54,118 --> 01:02:57,425 YOU MAKE VIDEOTAPES FOR SOME JERK THAT YOU HATE. 1394 01:02:57,469 --> 01:03:00,646 YOU LIVE LIKE A COLLEGE KID, MARVIN. 1395 01:03:00,689 --> 01:03:03,736 I--I--I CAN'T BELIEVE IT. 1396 01:03:13,659 --> 01:03:14,703 WELL... 1397 01:03:14,747 --> 01:03:18,011 BUT I AM GOING TO MAKE THIS FILM. 1398 01:03:18,055 --> 01:03:20,100 FINE. 1399 01:03:23,408 --> 01:03:25,279 THAT'S FINE. 1400 01:03:28,282 --> 01:03:32,156 BUT YOU'RE GOING TO DO IT WITHOUT ME. 1401 01:03:47,388 --> 01:03:49,216 YOU'RE RIGHT. 1402 01:03:49,260 --> 01:03:50,609 THE REAL MISTAKE IS 1403 01:03:50,652 --> 01:03:53,742 I DIDN'T LET YOU GO EARLIER. 1404 01:04:02,447 --> 01:04:05,232 WHAT ARE YOU SAYING? 1405 01:04:07,452 --> 01:04:09,236 I WANT YOU TO GO. 1406 01:04:09,280 --> 01:04:12,239 THERE'S NO WAY I'LL EVER BEAT THIS. 1407 01:04:12,283 --> 01:04:14,198 IT'S WHAT I AM, HONEY. 1408 01:04:14,241 --> 01:04:17,679 WHAT ELSE AM I HERE FOR? 1409 01:04:24,643 --> 01:04:26,645 WELL, MAYBE... 1410 01:04:26,688 --> 01:04:29,604 IF YOU--IF YOU REALLY THOUGHT THAT-- 1411 01:04:29,648 --> 01:04:30,867 DON'T GIVE IN. 1412 01:04:30,910 --> 01:04:32,999 I MEAN, WHO ARE WE KIDDING? 1413 01:04:33,043 --> 01:04:36,437 THIS MAY NOT COME TOGETHER, AND IF IT DOESN'T, 1414 01:04:36,481 --> 01:04:41,268 I DON'T WANT YOU TO BE AROUND ME THIS TIME. 1415 01:04:41,312 --> 01:04:43,009 I LOVE YOU. 1416 01:04:43,053 --> 01:04:47,666 I WANT YOU HAPPY AND FAR AWAY. 1417 01:05:10,819 --> 01:05:14,911 PLEASE LET ME TAKE YOU TO THE AIRPORT. 1418 01:05:17,826 --> 01:05:19,306 NO. 1419 01:05:35,453 --> 01:05:37,237 AH! 1420 01:05:44,897 --> 01:05:46,768 DAH! 1421 01:05:57,823 --> 01:05:59,346 AH! 1422 01:06:49,353 --> 01:06:51,094 MARVIN, MARVIN, MARVIN. 1423 01:06:51,137 --> 01:06:52,486 YOU'RE KILLING ME, MARVIN. 1424 01:06:52,530 --> 01:06:54,227 YOU'RE KILLING ME, MARVIN. 1425 01:06:54,271 --> 01:06:55,272 JUST DO IT. 1426 01:06:55,315 --> 01:06:58,231 THIS IS NOT THE SCRIPT WE AGREED TO. 1427 01:06:58,275 --> 01:06:59,928 JUST DO IT! 1428 01:06:59,972 --> 01:07:00,668 O.K., O.K. 1429 01:07:00,712 --> 01:07:02,670 LIFE IS TOO BEAUTIFUL. 1430 01:07:02,714 --> 01:07:06,500 THERE'S ALWAYS ANOTHER DAY. 1431 01:07:09,155 --> 01:07:10,722 IS THAT GOOD? 1432 01:07:10,765 --> 01:07:12,593 KEEP IT ROLLING. 1433 01:07:12,637 --> 01:07:14,204 WHAT ARE YOU DOING? 1434 01:07:14,247 --> 01:07:15,901 ROLLING. 1435 01:07:17,207 --> 01:07:20,166 JUST DO WHAT I TELL YOU TO DO. 1436 01:07:20,210 --> 01:07:22,386 GET BACK TO ONE. 1437 01:07:23,300 --> 01:07:25,128 BACK TO ONE. 1438 01:07:26,564 --> 01:07:28,131 250 FEET, CHIEF. 1439 01:07:28,174 --> 01:07:30,263 IN SIX. ACTION. 1440 01:07:32,613 --> 01:07:35,268 LIFE IS SO BEAUTIFUL. 1441 01:07:36,269 --> 01:07:39,055 THERE'S ALWAYS ANOTHER DAY. 1442 01:07:46,236 --> 01:07:48,107 GOOD FOR YOU? 1443 01:07:48,499 --> 01:07:52,024 OH, MY GOD!AAH!NO! 1444 01:08:14,655 --> 01:08:16,396 BASICALLY, I'M PLAYING WITH THE IDEA 1445 01:08:16,440 --> 01:08:20,270 THAT THERE'S LIKE, A HAPPENING IN THE UNIVERSE. 1446 01:08:20,313 --> 01:08:22,141 THE STORY FOCUSES ON FOUR PEOPLE 1447 01:08:22,185 --> 01:08:24,230 WHO LIVE NEAR ONE ANOTHER. 1448 01:08:24,274 --> 01:08:26,276 NOW, BECAUSE OF THIS ENERGY THING, 1449 01:08:26,319 --> 01:08:28,147 ONE OF THEM IS DESTINED TO DIE. 1450 01:08:28,191 --> 01:08:29,714 IT COULD BE PEGGY 1451 01:08:29,757 --> 01:08:32,108 WHO'S SO SENSUAL AND LOVELY. 1452 01:08:32,151 --> 01:08:35,241 OR MAYBE PATRICIA WHO'S LIGHT-HEARTED AND FUNNY. 1453 01:08:35,285 --> 01:08:38,505 BUT THE MAIN SUSPICION FALLS ON BEVERLY 1454 01:08:38,549 --> 01:08:39,637 WHO IS SO DRAMATIC 1455 01:08:39,680 --> 01:08:42,161 THAT YOU HAVE TO WONDER ABOUT HER PAST. 1456 01:08:42,205 --> 01:08:44,120 CERTAINLY NOT THE PHOTOGRAPHER 1457 01:08:44,163 --> 01:08:47,862 WHO SEEMS SO NORMAL AND SUCCESSFUL THAT... 1458 01:08:47,906 --> 01:08:48,950 THAT'S IT. 1459 01:08:48,994 --> 01:08:51,127 I'M GOING BACK TO THE ORIGINAL SCRIPT. 1460 01:08:51,170 --> 01:08:53,259 I'M NOT MAKING ANY CHANGES. 1461 01:08:53,303 --> 01:08:54,739 ANY CHANGES. 1462 01:08:54,782 --> 01:08:58,090 MARVIN. WHAT ARE YOU TALKING ABOUT? 1463 01:08:58,134 --> 01:09:01,006 THEY WON'T MAKE THE FILM. 1464 01:09:01,267 --> 01:09:04,183 DON'T BE SELF-DESTRUCTIVE. 1465 01:09:13,845 --> 01:09:16,152 HELP ME, STUART. 1466 01:09:17,240 --> 01:09:19,329 HELP ME, WILL YOU? 1467 01:09:20,721 --> 01:09:22,201 YOU'RE A SMART GUY. 1468 01:09:22,245 --> 01:09:23,333 IT'S A GREAT STORY. 1469 01:09:23,376 --> 01:09:27,641 JUST HELP ME USE THESE WOMEN TO TELL IT 1470 01:09:27,685 --> 01:09:28,860 AND GET IT MADE. 1471 01:09:28,903 --> 01:09:31,863 I NEVER TOLD YOU WHAT THIS ALL CAME OUT OF. 1472 01:09:31,906 --> 01:09:35,171 IT'S ABOUT THAT ACTOR COMMITTING SUICIDE ON YOUR FILM. 1473 01:09:35,214 --> 01:09:38,304 NO. IT'S ABOUT HOW I KILLED HIM. 1474 01:09:38,348 --> 01:09:40,698 WHAT? 1475 01:09:43,962 --> 01:09:45,703 BELIEVE IT OR NOT, STUART, 1476 01:09:45,746 --> 01:09:47,183 ONCE I WAS PRETTY HOT. 1477 01:09:47,226 --> 01:09:49,968 FROM AN OLD NOVEL, I WROTE A SCRIPT 1478 01:09:50,011 --> 01:09:51,230 ABOUT A RUTHLESS GAMBLER 1479 01:09:51,274 --> 01:09:53,450 WHO DESTROYS SOMEONE HE LOVES. 1480 01:09:53,493 --> 01:09:54,755 LIFE CHANGES FOR HIM, 1481 01:09:54,799 --> 01:09:57,236 AND THEN, ISOLATED AND DESPERATE, 1482 01:09:57,280 --> 01:10:01,936 HE REALIZES WHO HE IS AND KILLS HIMSELF. 1483 01:10:01,980 --> 01:10:05,157 PRETTY GRIM STUFF, BUT... 1484 01:10:05,201 --> 01:10:07,725 I GOT WARREN ZELL. 1485 01:10:10,249 --> 01:10:12,556 WARREN WAS A VERY SPECIAL ACTOR. 1486 01:10:12,599 --> 01:10:14,122 HE WAS AN ORIGINAL. 1487 01:10:14,166 --> 01:10:16,212 BUT HE'D BEEN THROUGH A LOT, 1488 01:10:16,255 --> 01:10:18,214 AND HE WASN'T ACTING ANYMORE. 1489 01:10:18,257 --> 01:10:21,956 SEE, I HAD BEEN HIS STUDENT. 1490 01:10:23,654 --> 01:10:26,483 HE TRUSTED AND LIKED ME... 1491 01:10:26,526 --> 01:10:27,788 AND I CONVINCED HIM 1492 01:10:27,832 --> 01:10:33,185 IT WOULD GIVE WHAT HE HAD BEEN THROUGH MEANING. 1493 01:10:36,536 --> 01:10:39,104 WARREN WAS AMAZING. 1494 01:10:39,974 --> 01:10:43,326 THE FILM SUDDENLY HAD A... 1495 01:10:43,369 --> 01:10:46,242 INCREDIBLE MYSTERY TO IT. 1496 01:10:49,332 --> 01:10:52,683 ACTUALLY, IT WAS TOO GOOD. 1497 01:10:53,292 --> 01:10:55,120 THE PRODUCERS LOVED THE RUSHES 1498 01:10:55,163 --> 01:10:58,254 AND THOUGHT IT MIGHT BE A CHRISTMAS RELEASE. 1499 01:10:58,297 --> 01:11:00,647 OH, THEY HAD ONE SMALL CHANGE-- 1500 01:11:00,691 --> 01:11:02,910 TAKE OUT THE SUICIDE. 1501 01:11:02,954 --> 01:11:05,783 INSTEAD, HAVE THE CHARACTER RECITE SOME SPEECH 1502 01:11:05,826 --> 01:11:09,787 LIKE, "THERE'S ALWAYS ANOTHER DAY." 1503 01:11:11,354 --> 01:11:15,967 IT WAS, UM...4:00 IN THE AFTERNOON. 1504 01:11:18,274 --> 01:11:20,928 I HAD A TERRIBLE HEADACHE. 1505 01:11:23,931 --> 01:11:26,978 I CAN STILL HEAR THE THUD. 1506 01:11:28,196 --> 01:11:30,111 GOD, THAT'S SICK. 1507 01:11:30,155 --> 01:11:31,461 HE WAS CRAZY. 1508 01:11:31,504 --> 01:11:35,073 OF COURSE HE WAS, OR HE WOULDN'T HAVE JUMPED. 1509 01:11:35,116 --> 01:11:39,120 BUT HE WAS TOO WEAK TO FIGHT US ANY OTHER WAY. 1510 01:11:39,164 --> 01:11:42,080 HE HAD TO REMAIN HONEST TO HIMSELF, 1511 01:11:42,123 --> 01:11:44,256 AND THE SUFFERING HE REPRESENTED. 1512 01:11:44,300 --> 01:11:49,000 I WAS BETRAYING HIM, TURNING THIS INTO AN INSANE FARCE. 1513 01:11:49,043 --> 01:11:50,175 DON'T YOU SEE, STUART? 1514 01:11:50,218 --> 01:11:53,526 THIS IS WHAT THE FILM NEEDS TO BE ABOUT-- 1515 01:11:53,570 --> 01:11:56,355 THE FACT THAT NOT EVERYTHING IS FOR SALE, 1516 01:11:56,399 --> 01:12:00,359 THAT SOME THINGS JUST HAVE TO BE LEFT AS THEY ARE. 1517 01:12:00,403 --> 01:12:02,361 HELP ME, STUART. 1518 01:12:02,405 --> 01:12:05,712 I WANT HIS DEATH TO MEAN SOMETHING. 1519 01:12:05,756 --> 01:12:06,887 MARVIN, 1520 01:12:06,931 --> 01:12:08,324 THEY'RE ONLY MAKING THIS 1521 01:12:08,367 --> 01:12:11,283 TO PUT THEIR GIRLFRIENDS IN IT. 1522 01:12:27,821 --> 01:12:29,170 TAKE OUT THE PAINTER. 1523 01:12:29,214 --> 01:12:32,348 HE'S A PHOTOGRAPHER. WE CAN'T TAKE HIM OUT. 1524 01:12:32,391 --> 01:12:35,742 THE WHOLE THING REVOLVES AROUND HIM! 1525 01:12:36,917 --> 01:12:39,659 O.K. LEAVE HIM IN, 1526 01:12:39,703 --> 01:12:42,140 BUT TAKE OUT THE SUICIDE. 1527 01:12:42,183 --> 01:12:43,446 WHAT, ARE YOU CRAZY? 1528 01:12:43,489 --> 01:12:45,273 AFTER THE TROUBLE WE WENT THROUGH TO SELL IT? 1529 01:12:45,317 --> 01:12:47,406 THAT'S THE ONLY ELEMENT EVERYONE AGREES ON. 1530 01:12:47,450 --> 01:12:50,409 I CAN'T BEAR HIM DYING AMIDST ALL THIS CRAP. 1531 01:12:50,453 --> 01:12:52,803 LET HIM GET HIT BY A CAR, LEAVE TOWN-- 1532 01:12:52,846 --> 01:12:56,807 IT'S A LITTLE LATE FOR THAT. MARVIN, THE SUICIDE STAYS. 1533 01:12:56,850 --> 01:12:57,982 YOU TAKE IT OUT. 1534 01:12:58,025 --> 01:13:00,245 I WON'T HAVE HIM TURN INTO A COMIC BOOK. 1535 01:13:00,288 --> 01:13:02,203 I WON'T MURDER HIM AGAIN! 1536 01:13:02,247 --> 01:13:04,162 I'LL KILL YOU. 1537 01:13:04,205 --> 01:13:05,555 DON'T TAKE IT SO PERSONALLY! 1538 01:13:05,598 --> 01:13:09,733 YOU'RE GOING TO MURDER HIM. I'M GOING TO KILL YOU! 1539 01:13:09,776 --> 01:13:10,995 HOLD IT! 1540 01:13:14,694 --> 01:13:17,175 SORRY, DAD. 1541 01:13:17,523 --> 01:13:20,308 I DON'T KNOW WHERE JUNIOR GETS THE IDEA 1542 01:13:20,352 --> 01:13:23,529 THAT THE WRITING GAME IS SOME FUCKING PICNIC. 1543 01:13:23,573 --> 01:13:24,791 AS FAR AS I KNOW, 1544 01:13:24,835 --> 01:13:28,142 YOU NOT ONLY NEED GRACIOUS AMOUNTS OF TALENT, 1545 01:13:28,186 --> 01:13:30,623 BUT BALLS OF STEEL. 1546 01:13:34,540 --> 01:13:36,412 IF I NEVER WROTE AGAIN, 1547 01:13:36,455 --> 01:13:40,503 IT WOULD BE TOO SOON FOR ME. 1548 01:13:42,418 --> 01:13:46,683 I REMEMBER 1962 IN THE HIGH SIERRAS. 1549 01:13:46,726 --> 01:13:50,643 I ALMOST SHOT PECKINPAH'S BIG TOE OFF 1550 01:13:50,687 --> 01:13:55,387 'CAUSE HE WANTED TO CUT A SCENE OF MINE. 1551 01:13:56,040 --> 01:13:58,521 THAT'S WHEN I GAVE A SHIT. 1552 01:13:58,564 --> 01:14:00,871 YOU WANT A DRINK? 1553 01:14:03,134 --> 01:14:06,137 WE WERE HUNTING BEAR. 1554 01:14:06,180 --> 01:14:07,791 BEAR. 1555 01:14:08,705 --> 01:14:10,837 THAT'S REAL. 1556 01:14:12,448 --> 01:14:17,844 JUNIOR, GO DOWN AND GET US SOME ICE, WILL YOU? 1557 01:14:21,326 --> 01:14:24,155 LET ME GIVE YOU SOME ADVICE, LANDISMAN. 1558 01:14:24,198 --> 01:14:27,071 I DON'T KNOW WHAT'S GOING ON WITH JUNIOR 1559 01:14:27,114 --> 01:14:28,464 AND THIS SCREENWRITING. 1560 01:14:28,507 --> 01:14:31,031 PROBABLY SOME PHASE HE'S GOING THROUGH OR SOMETHING. 1561 01:14:31,075 --> 01:14:34,208 BUT YOU'RE A LITTLE LONG IN THE TOOTH 1562 01:14:34,252 --> 01:14:38,561 TO BE PLAYING THE AUTEUR GAME, DON'T YOU THINK? 1563 01:14:38,604 --> 01:14:42,086 THERE'S A WEIRD KIND OF RESPECT THAT YOU GET 1564 01:14:42,129 --> 01:14:44,044 FOR MAKING ANYTHING... 1565 01:14:44,088 --> 01:14:46,482 EVEN A PIECE OF SHIT. 1566 01:14:47,570 --> 01:14:50,050 YOU'RE IN THE CLUB. 1567 01:14:50,094 --> 01:14:51,835 FROM WHERE I'M SITTING, 1568 01:14:51,878 --> 01:14:56,187 THAT LOOKS LIKE WHAT YOU NEED. 1569 01:14:57,841 --> 01:15:01,758 IT'S ALL A FUCKING CHARADE, ANYWAY. 1570 01:17:04,315 --> 01:17:06,970 MARVIN? 1571 01:17:11,061 --> 01:17:12,671 WHAT ABOUT MY TWO POINTS? 1572 01:17:12,715 --> 01:17:14,325 WILL THEY GIVE IN ON THEM? 1573 01:17:14,368 --> 01:17:17,371 THEY WON'T TAKE ANY POINTS FROM THEIR SHARE. 1574 01:17:17,415 --> 01:17:18,938 I FOUGHT LIKE CRAZY FOR IT. 1575 01:17:18,982 --> 01:17:23,203 WHY DON'T WE EACH GIVE STUART A POINT FROM OUR SHARE? 1576 01:17:23,247 --> 01:17:25,205 STUART, YOU'VE BEEN VERY HELPFUL, 1577 01:17:25,249 --> 01:17:26,554 BUT A POINT IS A POINT. 1578 01:17:26,598 --> 01:17:29,209 THEN PAY CASH. I'M KILLING MYSELF ON THIS SCRIPT. 1579 01:17:29,253 --> 01:17:31,211 IT'S SUPPOSED TO COME FROM THEM. 1580 01:17:31,255 --> 01:17:32,125 JACK. 1581 01:17:32,169 --> 01:17:33,692 ALL RIGHT. YOU GOT THE POINTS. 1582 01:17:33,736 --> 01:17:37,391 IF HE'S WILLING TO GIVE UP ONE OF HIS, 1583 01:17:37,435 --> 01:17:38,175 WHY NOT? 1584 01:17:38,218 --> 01:17:39,829 GOD KNOWS YOU DESERVE IT. 1585 01:17:39,872 --> 01:17:41,918 FINE. THAT'S IT. EVERYTHING AGREED? 1586 01:17:41,961 --> 01:17:43,920 YEAH. I'LL TAKE CARE OF IT. 1587 01:17:43,963 --> 01:17:45,661 I GOT TO DRAW UP THOSE PAPERS 1588 01:17:45,704 --> 01:17:48,098 BECAUSE GEORGE IS THROWING A PARTY TOMORROW 1589 01:17:48,141 --> 01:17:50,535 FOR PEGGY'S VOICE TEACHER, AND EVERYBODY'S INVITED. 1590 01:17:50,578 --> 01:17:53,930 HE THINKS IT'S A GOOD TIME TO SIGN THE CONTRACTS. 1591 01:17:53,973 --> 01:17:55,671 WILL THE SCRIPT BE FINISHED? 1592 01:17:55,714 --> 01:17:56,584 I THINK SO. 1593 01:17:56,628 --> 01:17:58,369 COME ON, GUYS. LET'S CELEBRATE. 1594 01:17:58,412 --> 01:18:00,676 ARE YOU STILL DOING THAT COMIC THING? 1595 01:18:00,719 --> 01:18:01,502 NO, BUT-- 1596 01:18:01,546 --> 01:18:04,331 DON'T TELL ME. JUST FINISH. 1597 01:18:05,681 --> 01:18:06,682 YOU KNOW, MARVIN, 1598 01:18:06,725 --> 01:18:08,335 WHEN THIS PICTURE HITS THE THEATERS, 1599 01:18:08,379 --> 01:18:11,208 THE ONLY THING WE'LL HAVE TO WORRY ABOUT 1600 01:18:11,251 --> 01:18:13,732 IS WHAT FLOOR OF THE BLACK TOWER 1601 01:18:13,776 --> 01:18:16,387 WE'RE GOING TO PISS OUT OF. 1602 01:18:17,954 --> 01:18:20,304 FROM YOUR MOUTH TO GOD'S EARS. 1603 01:18:20,347 --> 01:18:22,436 I'M TELLING YOU. 1604 01:18:23,089 --> 01:18:26,223 SO WHAT THE FUCK HAPPENED TO YOU, JACK? 1605 01:18:26,266 --> 01:18:29,748 YOU USED TO BE A BIG SHOT AT UNIVERSAL. 1606 01:18:29,792 --> 01:18:33,360 WHY ARE YOU COCKING AROUND WITH DEALS LIKE THIS? 1607 01:18:33,404 --> 01:18:34,666 YEAH, WELL. 1608 01:18:34,710 --> 01:18:37,669 YOU KNOW, I LOVED WORKING AT THE STUDIOS. 1609 01:18:37,713 --> 01:18:40,498 I'M NOT ONE OF THOSE GUYS WHO KNOCKS THEM. 1610 01:18:40,541 --> 01:18:44,197 IT WAS FRITZ BENINGS. HE SCREWED HIM. 1611 01:18:44,241 --> 01:18:45,633 NO. BULLSHIT. 1612 01:18:45,677 --> 01:18:48,375 I SCREWED MYSELF. 1613 01:18:48,419 --> 01:18:49,812 OH, GOD. 1614 01:18:49,855 --> 01:18:52,858 BENINGS WAS THE HEAD OF THE STUDIO 1615 01:18:52,902 --> 01:18:55,295 WHEN I DID THE STRADLER PICTURE. 1616 01:18:55,339 --> 01:18:56,296 CLASSIC ASSHOLE. 1617 01:18:56,340 --> 01:18:58,124 I HAD TO FIGHT HIM FOR EVERYTHING. 1618 01:18:58,168 --> 01:19:00,518 I HAD TO FIGHT HIM FOR...THE BUDGET, 1619 01:19:00,561 --> 01:19:01,780 THE STARS, THE DIRECTOR, 1620 01:19:01,824 --> 01:19:05,218 BUT DESPITE HIM, I GOT THE PICTURE MADE MY WAY. 1621 01:19:05,262 --> 01:19:07,830 IT'S THE BEST DAMN THING I EVER DID. 1622 01:19:07,873 --> 01:19:12,312 THEN WHEN IT LOOKED LIKE IT WAS GOING TO GO BIG, 1623 01:19:12,356 --> 01:19:13,618 HE SUDDENLY DECIDES 1624 01:19:13,661 --> 01:19:17,100 HE WANTS HIS NAME ON THE PICTURE AS CO-PRODUCER. 1625 01:19:17,143 --> 01:19:20,059 I SHOULD HAVE GIVEN IT TO THE PRICK, BUT... 1626 01:19:20,103 --> 01:19:25,151 THIS OLD STREET THING CAME UP, AND I HAD TO FUCK HIM. 1627 01:19:25,195 --> 01:19:26,849 I MEAN, IF IT HAD HIT, 1628 01:19:26,892 --> 01:19:30,200 I WOULD HAVE GOTTEN AWAY WITH IT. 1629 01:19:30,243 --> 01:19:31,767 BUT... 1630 01:19:32,855 --> 01:19:34,813 IT BOMBED. 1631 01:19:34,857 --> 01:19:38,338 THEN I WAS JUST ANOTHER LOUDMOUTH. 1632 01:19:38,861 --> 01:19:42,647 HAVEN'T WORKED FOR A STUDIO SINCE. 1633 01:19:42,690 --> 01:19:46,346 FOR 15 YEARS, I'VE DONE NOTHING. 1634 01:19:48,435 --> 01:19:50,611 WHAT A JERK I WAS. 1635 01:19:50,655 --> 01:19:53,266 YOU DID THAT SCUBA DIVER FILM. 1636 01:19:53,310 --> 01:19:55,268 THAT PIECE OF SHIT? 1637 01:19:55,312 --> 01:19:59,490 NOW I GOT TO CRAWL AROUND ON MY HANDS AND KNEES 1638 01:19:59,533 --> 01:20:02,580 TO GET A COUPLE OF BUCKS FOR SOMETHING. 1639 01:20:02,623 --> 01:20:06,366 JESUS, I DID IT TO MYSELF. 1640 01:20:06,410 --> 01:20:09,108 NOW I LOOK BACK... 1641 01:20:11,284 --> 01:20:13,504 ALL THOSE YEARS HAVE DISAPPEARED 1642 01:20:13,547 --> 01:20:17,421 LIKE A COIN SINKING IN THE SAND. 1643 01:20:21,512 --> 01:20:24,820 THIS LIFE...THIS ONE LIFE. 1644 01:20:31,609 --> 01:20:32,610 JACK... 1645 01:20:32,653 --> 01:20:36,309 THIS FILM WILL BE A NEW BEGINNING... 1646 01:20:38,398 --> 01:20:40,879 FOR ALL OF US. 1647 01:20:40,923 --> 01:20:44,100 TO NEW BEGINNINGS. 1648 01:20:50,323 --> 01:20:53,283 TO NEW BEGINNINGS. 1649 01:20:56,634 --> 01:20:58,984 DID YOU JUST GET OFF THE BOAT, BUDDY? 1650 01:20:59,028 --> 01:21:01,421 I'M TELLING YOU, I'M THE PRODUCER, JACK ROTH. 1651 01:21:01,465 --> 01:21:03,467 THEY DON'T HAVE OUR NAMES. 1652 01:21:03,510 --> 01:21:05,382 YOU HAVE STUART STRATLAND? 1653 01:21:05,425 --> 01:21:06,470 STRATLAND... 1654 01:21:06,513 --> 01:21:08,428 YEP. STRATLAND AND TWO GUESTS. 1655 01:21:08,472 --> 01:21:11,867 ALL RIGHT. YOU CAN GO ON UP. 1656 01:21:12,911 --> 01:21:14,478 I KNOW TEAK, EBONY. 1657 01:21:14,521 --> 01:21:16,741 I'M AN EXPERT ON WOOD. 1658 01:21:16,784 --> 01:21:19,178 I LOVE TREES. 1659 01:21:19,222 --> 01:21:20,266 OH! 1660 01:21:20,310 --> 01:21:21,354 OH, WHAT A DILEMMA 1661 01:21:21,398 --> 01:21:24,488 TO BE TORN BETWEEN TWO GORGEOUS WOMEN. 1662 01:21:24,531 --> 01:21:26,229 OH, JACK. 1663 01:21:26,272 --> 01:21:27,447 BELIEVE IT OR NOT, 1664 01:21:27,491 --> 01:21:31,190 THIS LITTLE FELLA IS A GENUINE HANS BROKER. 1665 01:21:31,234 --> 01:21:32,278 NO, DON'T TOUCH IT. 1666 01:21:32,322 --> 01:21:34,193 IT'S OVER 200 YEARS OLD. 1667 01:21:34,237 --> 01:21:35,891 THE MECHANISM IS MORE PRECISE 1668 01:21:35,934 --> 01:21:38,371 THAN ANYTHING THE JAPANESE EVER THOUGHT OF. 1669 01:21:38,415 --> 01:21:41,374 NEVER LOSES A SECOND. THAT'S SOMETHING, HUH? 1670 01:21:41,418 --> 01:21:43,507 I'D LIKE TO SEE THE CUCKOO. 1671 01:21:43,550 --> 01:21:46,075 WHEN DOES IT COME OUT? 1672 01:21:46,118 --> 01:21:48,294 IT'S BROKEN. 1673 01:21:48,338 --> 01:21:51,776 NOBODY KNOWS HOW TO FIX THE CUCKOO. 1674 01:21:53,909 --> 01:21:56,085 YOU KNOW, MITCH HAS TAUGHT EVERYONE. 1675 01:21:56,128 --> 01:22:00,089 JUST THIS MORNING, LIZA SENT HIM A BOWL OF FLOWERS. 1676 01:22:00,132 --> 01:22:01,917 GEORGE AND I ARE SO LUCKY 1677 01:22:01,960 --> 01:22:04,049 TO HAVE HIM LIVING HERE WITH US. 1678 01:22:04,093 --> 01:22:06,312 I ADORE TALENTED PEOPLE. 1679 01:22:07,009 --> 01:22:09,272 YOU PUT A SCRATCH ON THIS, 1680 01:22:09,315 --> 01:22:11,491 IT'LL BE YOUR ASS. 1681 01:22:13,363 --> 01:22:15,669 I USED TO DRINK. 1682 01:22:16,627 --> 01:22:18,237 OH, I FORGOT THE DIP! 1683 01:22:18,281 --> 01:22:20,587 WATERMELON AND JALAPEñO. 1684 01:22:20,631 --> 01:22:21,849 I'LL HELP. 1685 01:22:21,893 --> 01:22:23,460 AFTER ALL, WE'RE GOING TO BE WORKING TOGETHER. 1686 01:22:23,503 --> 01:22:25,288 YOU ARE SUCH A SWEETIE. 1687 01:22:25,331 --> 01:22:28,726 I CAN TELL WE'RE GOING TO BE BUDS. 1688 01:22:28,769 --> 01:22:29,857 I'LL HELP, TOO. 1689 01:22:29,901 --> 01:22:33,339 UH, NO, THANK YOU. IT'S GIRLS' WORK. 1690 01:22:33,383 --> 01:22:35,515 WHAT A TACKY PARTY. 1691 01:22:35,559 --> 01:22:37,387 WHAT A TERRIFIC PARTY. 1692 01:22:37,430 --> 01:22:38,431 HAVE A BURGER. 1693 01:22:38,475 --> 01:22:40,085 I WILL. I'VE HEARD ABOUT 1694 01:22:40,129 --> 01:22:41,391 YOUR FAMOUS BARBECUE SAUCE. 1695 01:22:41,434 --> 01:22:43,828 IT'S NOT THE SAUCE. MY HERBS MAKE IT DELICIOUS. 1696 01:22:43,871 --> 01:22:47,310 SO WESTMORELAND ASKS ALL THE OFFICERS IN THE ROOM 1697 01:22:47,353 --> 01:22:48,789 IF THEY HAVE ANY QUESTIONS, 1698 01:22:48,833 --> 01:22:51,792 AND I SAID, "YEAH, I GOT A FUCKING QUESTION, GENERAL." 1699 01:22:51,836 --> 01:22:52,750 WHERE'S EVAN? 1700 01:22:52,793 --> 01:22:54,882 HE'S FLYING IN FROM EUROPE. 1701 01:22:54,926 --> 01:22:56,362 HOW'S THE SCRIPT? 1702 01:22:56,406 --> 01:22:57,624 EUROPE? 1703 01:22:57,668 --> 01:23:00,236 DON'T WORRY. HE'S GOT TO BE IN TOKYO TOMORROW. 1704 01:23:00,279 --> 01:23:01,802 BUT WHAT IF-- 1705 01:23:01,846 --> 01:23:03,282 OH! 1706 01:23:03,326 --> 01:23:04,240 OH! 1707 01:23:04,283 --> 01:23:05,284 OH, NO, DON'T WORRY. 1708 01:23:05,328 --> 01:23:07,330 NO, NO, DON'T WORRY. DON'T WORRY. 1709 01:23:07,373 --> 01:23:10,724 MOST WATERMELON WILL COME RIGHT OUT. 1710 01:23:10,768 --> 01:23:12,248 OH, HI, BEVERLY. 1711 01:23:12,291 --> 01:23:13,162 HI. 1712 01:23:13,205 --> 01:23:14,598 BEVERLY, THIS IS PEGGY. 1713 01:23:14,641 --> 01:23:17,731 PEGGY, THIS IS BEVERLY. 1714 01:23:17,775 --> 01:23:19,168 HELLO. 1715 01:23:19,211 --> 01:23:22,171 MARVIN, SHE'S REALLY PRETTY. I MEAN, REALLY GORGEOUS. 1716 01:23:22,214 --> 01:23:24,782 BOY, I CAN'T WAIT TO WORK TOGETHER. 1717 01:23:24,825 --> 01:23:26,740 THIS IS GOING TO BE GREAT. 1718 01:23:26,784 --> 01:23:30,222 YOU'VE GOT DIP IN YOUR HAIR. 1719 01:23:30,266 --> 01:23:34,270 YOU KNOW, I THINK I'M GOING TO GO CHANGE. 1720 01:23:35,358 --> 01:23:37,534 YOU'D BETTER BE A GOOD DIRECTOR 1721 01:23:37,577 --> 01:23:38,796 WITH THOSE TWO YO-YOS. 1722 01:23:38,839 --> 01:23:41,494 GEORGE, PEGGY WANTS TO BRING THE GUESTS INSIDE. 1723 01:23:41,538 --> 01:23:44,149 WE'RE BRINGING OUT A BIRTHDAY CAKE FOR MITCH. 1724 01:23:44,193 --> 01:23:46,021 THANK YOU. EVERYBODY IN THE HOUSE! 1725 01:23:46,064 --> 01:23:49,154 YOU WANT TO COME INSIDE FOR SOME BIRTHDAY CAKE? 1726 01:23:49,198 --> 01:23:51,069 YOU DON'T KNOW HORRIBLE. 1727 01:23:51,113 --> 01:23:53,985 THE TILES? THE TILES IN THE BATHROOM 1728 01:23:54,029 --> 01:23:55,291 ARE FROM MACEDONIA. 1729 01:23:55,334 --> 01:23:56,292 WHERE'S MACEDONIA? 1730 01:23:56,335 --> 01:23:57,467 GREECE, DARLING. 1731 01:23:57,510 --> 01:23:59,338 GEORGE HAS DETECTIVES EVERYWHERE TONIGHT. 1732 01:23:59,382 --> 01:24:01,384 HE THINKS I'M HAVING AN AFFAIR 1733 01:24:01,427 --> 01:24:04,169 WITH SOMEBODY IN THE CLASS. 1734 01:24:04,213 --> 01:24:06,084 ARE YOU HAVING AN AFFAIR 1735 01:24:06,128 --> 01:24:08,956 WITH SOMEONE IN THE CLASS? 1736 01:24:09,696 --> 01:24:10,828 ZIP ME UP. 1737 01:24:10,871 --> 01:24:13,396 SO WHERE'S THE SCRIPT? I WANT TO READ IT. 1738 01:24:13,439 --> 01:24:15,267 JACK SAID YOU'D BRING ONE WITH YOU. 1739 01:24:15,311 --> 01:24:18,531 I CALLED FOR FOUR DAYS. WHERE HAVE YOU BEEN? 1740 01:24:18,575 --> 01:24:19,880 WHERE DO YOU SUPPOSE? 1741 01:24:19,924 --> 01:24:22,274 ALPHABETICALLY SCREWING EVERYONE IN MY BUILDING. 1742 01:24:22,318 --> 01:24:23,710 I'LL GO FIND JACK. 1743 01:24:23,754 --> 01:24:24,929 COME HERE. 1744 01:24:24,972 --> 01:24:28,367 DON'T YOU EVER LEAVE THE PHONE OFF THE HOOK 1745 01:24:28,411 --> 01:24:29,368 LIKE THAT AGAIN. 1746 01:24:29,412 --> 01:24:31,501 DON'T PLAY DONALD TRUMP WITH ME. 1747 01:24:31,544 --> 01:24:33,503 YOU KNOW YOU'LL BE SORRY LATER. 1748 01:24:33,546 --> 01:24:37,507 FINE. I'M GETTING ON A PLANE FOR TOKYO IN FIVE HOURS, 1749 01:24:37,550 --> 01:24:39,117 AND THAT'S IT. 1750 01:24:39,161 --> 01:24:40,466 BE MY GUEST. 1751 01:24:40,510 --> 01:24:42,338 THAT'S IT. 1752 01:24:42,381 --> 01:24:44,775 THAT'S IT. 1753 01:24:46,907 --> 01:24:48,344 AHEM. 1754 01:24:54,480 --> 01:24:57,135 I DID HAVE AN EXTRA TICKET, 1755 01:24:57,179 --> 01:25:00,617 BUT I GUESS I DON'T N-N-NEED IT! 1756 01:25:03,620 --> 01:25:06,231 THAT'S IT. THAT'S IT. 1757 01:25:06,275 --> 01:25:07,493 WHERE WERE YOU? 1758 01:25:07,537 --> 01:25:08,320 EVAN... 1759 01:25:08,364 --> 01:25:09,495 WHERE WERE YOU? 1760 01:25:09,539 --> 01:25:10,366 EVAN... 1761 01:25:10,409 --> 01:25:12,411 WHERE WERE YOU FOR FIVE DAYS? 1762 01:25:12,455 --> 01:25:13,325 WHAT? 1763 01:25:13,369 --> 01:25:15,197 EVAN AND BEVERLY ARE FIGHTING. 1764 01:25:15,240 --> 01:25:17,155 BECAUSE I DON'T HAVE AN AGREEMENT 1765 01:25:17,199 --> 01:25:18,330 TO TAKE YOU EVERYPLACE. 1766 01:25:18,374 --> 01:25:21,290 I DO HAVE TO TAKE MY WIFE NOW AND THEN. 1767 01:25:21,333 --> 01:25:22,291 LET'S GET THE CONTRACTS. 1768 01:25:22,334 --> 01:25:24,249 EH, HIYA, BUDDY. 1769 01:25:24,293 --> 01:25:25,381 HI, EVAN. 1770 01:25:25,424 --> 01:25:26,295 HI. 1771 01:25:26,338 --> 01:25:27,296 BEVERLY. 1772 01:25:27,339 --> 01:25:28,035 CARMINE. 1773 01:25:28,079 --> 01:25:29,994 I WAS JUST TELLING EVAN 1774 01:25:30,037 --> 01:25:32,431 WE REALLY SHOULD MEET MORE OFTEN. 1775 01:25:32,475 --> 01:25:35,608 I REALLY MISS OUR LITTLE GET-TOGETHERS. 1776 01:25:35,652 --> 01:25:38,524 HA HA HA HA. 1777 01:25:45,183 --> 01:25:46,445 SHE'S QUITE A GIRL. 1778 01:25:46,489 --> 01:25:49,622 YOU WANT HER? SHE'S YOURS. 1779 01:25:50,928 --> 01:25:53,365 NO, NO, NO. SHE'S YOURS. 1780 01:25:54,497 --> 01:25:56,586 LET'S GO INSIDE. 1781 01:25:58,153 --> 01:26:00,459 WHAT A NICE COUPLE! 1782 01:26:00,503 --> 01:26:02,896 YOU'RE PROBABLY SCREWING HIM, TOO. 1783 01:26:02,940 --> 01:26:05,072 OF COURSE. 1784 01:26:16,693 --> 01:26:20,784 THAT'S IT. THAT IS IT. 1785 01:26:32,883 --> 01:26:34,319 ♪ HAPPY BIRTHDAY 1786 01:26:34,363 --> 01:26:35,625 ♪ THIS IS YOUR PARTY 1787 01:26:35,668 --> 01:26:39,063 ♪ WE ALL EXTEND TO YOU A HEARTY ♪ 1788 01:26:39,106 --> 01:26:42,066 ♪ GREETING OF LOVE TO CELEBRATE YOU ♪ 1789 01:26:42,109 --> 01:26:45,591 ♪ WE CONGRATULATE YOU, MITCH, OUR MITCH ♪ 1790 01:26:45,635 --> 01:26:47,202 EVERYONE! IT'S EASY. 1791 01:26:47,245 --> 01:26:49,029 WHAT IS THIS? 1792 01:26:49,073 --> 01:26:50,509 ♪ HAPPY BIRTHDAY 1793 01:26:50,553 --> 01:26:51,815 ♪ THIS IS YOUR PARTY 1794 01:26:51,858 --> 01:26:55,340 ♪ WE ALL EXTEND TO YOU A HEARTY ♪ 1795 01:26:55,384 --> 01:26:58,343 ♪ GREETING OF LOVE TO CELEBRATE YOU ♪ 1796 01:26:58,387 --> 01:27:01,651 ♪ WE CONGRATULATE YOU, MITCH, OUR MITCH ♪ 1797 01:27:01,694 --> 01:27:03,522 SO WHERE'S THE SCRIPT? 1798 01:27:03,566 --> 01:27:04,871 HUH? 1799 01:27:16,492 --> 01:27:17,754 I GOT AN IDEA. 1800 01:27:17,797 --> 01:27:18,885 HOW ABOUT A SCENE 1801 01:27:18,929 --> 01:27:21,323 WHERE BEVERLY GETS CHAINED TO A BED 1802 01:27:21,366 --> 01:27:23,325 AND SOMEONE STABS HER TO DEATH? 1803 01:27:23,368 --> 01:27:26,371 YEAH, YEAH, SURE. WE CAN DO THAT. 1804 01:27:26,415 --> 01:27:27,720 I'M ONLY JOKING. 1805 01:27:27,764 --> 01:27:29,418 YOU GOT ME THERE. 1806 01:27:29,461 --> 01:27:30,680 UH, LOOK, UM, 1807 01:27:30,723 --> 01:27:33,291 JACK'S GOING TO HAVE THE PAPERS BY THE POOL-- 1808 01:27:33,335 --> 01:27:36,468 FINE. WHO CARES ABOUT THIS FAG'S BIRTHDAY? 1809 01:27:36,512 --> 01:27:38,427 ALL RIGHT, WHO WROTE THE SONG? 1810 01:27:38,470 --> 01:27:39,863 WE DID! WE DID! WE DID! 1811 01:27:39,906 --> 01:27:40,820 HA HA HA HA! 1812 01:27:40,864 --> 01:27:42,474 WELL, THANK YOU VERY MUCH. 1813 01:27:42,518 --> 01:27:44,868 IT'S NOT GERSHWIN, BUT THANK YOU. 1814 01:27:44,911 --> 01:27:45,912 SPEECH! SPEECH! 1815 01:27:45,956 --> 01:27:48,088 CARMINE? WE'RE MEETING AT THE POOL 1816 01:27:48,132 --> 01:27:49,742 TO GET THE PAPERS SIGNED. 1817 01:27:49,786 --> 01:27:51,831 IT'LL ONLY TAKE A MINUTE. 1818 01:27:51,875 --> 01:27:54,530 GREAT. GREAT. 1819 01:27:56,183 --> 01:27:57,315 WHAT'S THE MATTER? 1820 01:27:57,359 --> 01:27:59,535 YOU'RE LOOKING KIND OF DOWN. 1821 01:27:59,578 --> 01:28:00,666 I'M FINE. 1822 01:28:00,710 --> 01:28:02,277 YOU'RE NOT FINE. 1823 01:28:02,320 --> 01:28:03,278 I'M FINE. 1824 01:28:03,321 --> 01:28:06,629 I WOULD LIKE TO THANK OUR HOST... 1825 01:28:06,672 --> 01:28:07,543 GEORGE. 1826 01:28:07,586 --> 01:28:09,371 YAY! GEORGE! 1827 01:28:10,197 --> 01:28:13,592 SOON TO BE PRODUCER GEORGE. 1828 01:28:14,593 --> 01:28:16,769 GIVE ME A KISS, HUH? 1829 01:28:16,813 --> 01:28:18,684 BEEP BEEP BEEP BEEP BEEP BEEP BEEP. 1830 01:28:18,728 --> 01:28:20,773 O.K.? YOU GOING TO BE ALL RIGHT? 1831 01:28:20,817 --> 01:28:23,385 YOU'RE SURE? THERE'S NOTHING WRONG? 1832 01:28:23,428 --> 01:28:24,473 NO. 1833 01:28:24,516 --> 01:28:27,171 I WANT TO SEE MITCH OPEN HIS PRESENTS. 1834 01:28:27,214 --> 01:28:28,607 EVAN'S GOT TO GO. 1835 01:28:28,651 --> 01:28:31,001 PARTY POOPER. 1836 01:28:32,045 --> 01:28:33,917 GENTLEMEN. 1837 01:28:39,575 --> 01:28:40,924 SO, WE'RE PARTNERS AGAIN, CARMINE. 1838 01:28:40,967 --> 01:28:45,276 WE COULD HAVE MADE A KILLING TOGETHER IF ONLY, UH... 1839 01:28:45,320 --> 01:28:47,060 IF ONLY, UH... 1840 01:28:47,104 --> 01:28:48,453 IF ONLY WHAT? 1841 01:28:48,497 --> 01:28:51,500 IF ONLY YOU KNEW SOMETHING ABOUT BUSINESS. 1842 01:28:51,543 --> 01:28:54,459 YEAH, THAT'S TRUE TO FORM. 1843 01:28:54,503 --> 01:28:57,201 I'M--I'M JOKING. 1844 01:28:57,244 --> 01:29:00,422 HEY, YOU'RE STILL A GREAT TENNIS PLAYER. 1845 01:29:00,465 --> 01:29:01,727 NO, I'M KIDDING. 1846 01:29:01,771 --> 01:29:05,818 LISTEN, BEVERLY'S JUST DRIVING ME UP THE WALL. 1847 01:29:05,862 --> 01:29:08,517 SHE'S TROUBLE. 1848 01:29:09,648 --> 01:29:12,259 REAL TROUBLE. 1849 01:29:12,303 --> 01:29:15,132 YEAH, WHAT CAN I DO? 1850 01:29:15,524 --> 01:29:18,744 WHAT A FESTIVE EVENING THIS IS. 1851 01:29:18,788 --> 01:29:22,357 I WANT YOU TO TASTE THIS CAKE. 1852 01:29:22,400 --> 01:29:26,404 THE BAKER COMES FROM MY MOTHER'S HOMETOWN IN TARNOW. 1853 01:29:26,448 --> 01:29:27,362 WHERE? 1854 01:29:27,405 --> 01:29:28,493 POLAND. 1855 01:29:28,537 --> 01:29:30,408 EXCUSE ME. 1856 01:29:30,452 --> 01:29:31,844 THIS THE CONTRACT? 1857 01:29:31,888 --> 01:29:35,239 I CAN'T READ A CONTRACT IN THIS LIGHT. 1858 01:29:35,282 --> 01:29:36,458 I CAN'T, EITHER. 1859 01:29:36,501 --> 01:29:38,764 LET'S GO TO THE BILLIARD ROOM. 1860 01:29:38,808 --> 01:29:41,114 COME ON. COME ON. 1861 01:29:41,941 --> 01:29:44,422 POLAND, HUH? 1862 01:29:44,466 --> 01:29:46,032 POLAND. 1863 01:29:46,076 --> 01:29:47,556 WHAT ARE YOU DOING? 1864 01:29:47,599 --> 01:29:48,731 BEVERLY WANTS A SCRIPT. 1865 01:29:48,774 --> 01:29:52,909 GIVE IT TO ME. I'LL GIVE IT TO HER. 1866 01:29:59,611 --> 01:30:01,396 ♪ A KISS ♪ A KISS 1867 01:30:01,439 --> 01:30:02,440 ♪ A KISS ♪ A KISS 1868 01:30:02,484 --> 01:30:03,963 ♪ A KISS ♪ A KISS 1869 01:30:04,007 --> 01:30:05,400 ♪ YOU GAVE ♪ YOU GAVE 1870 01:30:05,443 --> 01:30:06,749 ♪ TO ME ♪ TO ME 1871 01:30:06,792 --> 01:30:08,359 ♪ LAST NIGHT ♪ LAST NIGHT 1872 01:30:08,403 --> 01:30:10,361 ♪ YOUR SLAVE ♪ MADE ME 1873 01:30:10,405 --> 01:30:13,233 ♪ I AM YOUR SLAVE 1874 01:30:19,457 --> 01:30:21,459 BLAH, BLAH, BLAH, BLAH, BLAH. 1875 01:30:21,503 --> 01:30:24,506 "...LIABILITY SHALL BE... 1876 01:30:25,115 --> 01:30:28,553 TERRITORIES NOW CONSIST OF..." 1877 01:30:41,087 --> 01:30:43,394 STUART SAID YOU WERE DOWN HERE. 1878 01:30:43,438 --> 01:30:44,787 OH, HI. 1879 01:30:44,830 --> 01:30:46,571 I WAS JUST CHECKING FOR TYPOS. 1880 01:30:46,615 --> 01:30:50,140 YOU DON'T KNOW HOW IMPORTANT THIS IS TO ME. 1881 01:30:50,183 --> 01:30:52,577 I NEED SOMETHING LIKE THIS. 1882 01:30:52,621 --> 01:30:54,449 I DO, TOO. 1883 01:30:54,492 --> 01:30:58,061 I'D LIKE TO BE ALONE. 1884 01:30:58,104 --> 01:30:59,758 SURE. 1885 01:31:23,826 --> 01:31:25,697 ARE YOU ALL RIGHT? 1886 01:31:25,741 --> 01:31:30,136 YOU THINK I'M SOME KIND OF WHORE, DON'T YOU? 1887 01:31:30,180 --> 01:31:31,224 I HAVE A JOB. 1888 01:31:31,268 --> 01:31:33,357 I HAVE MY OWN APARTMENT, 1889 01:31:33,400 --> 01:31:34,967 AND I PAY MY OWN WAY. 1890 01:31:35,011 --> 01:31:37,492 THE ONLY REASON I EVER THOUGHT ABOUT 1891 01:31:37,535 --> 01:31:39,450 GETTING INVOLVED IN THIS STUPID LITTLE FILM 1892 01:31:39,494 --> 01:31:43,498 WAS 'CAUSE I THOUGHT IT WOULD BRING ME AND CARMINE CLOSER. 1893 01:31:43,541 --> 01:31:48,024 ALL I EVER WANTED WAS TO MARRY HIM AND HAVE HIS CHILDREN, 1894 01:31:48,067 --> 01:31:50,548 BUT HE'S JUST LIKE THE REST OF YOU. 1895 01:31:50,592 --> 01:31:53,464 YOU'RE ALL A BUNCH OF LIARS! 1896 01:31:54,465 --> 01:31:55,814 MARVIN, BE HONEST WITH ME. 1897 01:31:55,858 --> 01:31:59,296 I WON'T GET UPSET. HE'S NOT WORTH IT, O.K.? 1898 01:31:59,339 --> 01:32:02,778 JUST TELL ME THE TRUTH. 1899 01:32:02,821 --> 01:32:05,563 IS CARMINE HAVING AN AFFAIR WITH BEVERLY? 1900 01:32:05,607 --> 01:32:08,610 GEE, I DON'T KNOW. I HARDLY-- 1901 01:32:08,653 --> 01:32:10,350 AAH, NO! GOD! 1902 01:32:10,394 --> 01:32:13,484 I CAN TELL BY YOUR VOICE HE'S CHEATING ON ME! 1903 01:32:13,528 --> 01:32:16,487 HOW COULD HE DO THIS TO ME? OH! 1904 01:32:16,531 --> 01:32:18,576 WELL, I--I-- 1905 01:32:18,620 --> 01:32:19,490 I'M SORRY. 1906 01:32:19,534 --> 01:32:23,494 I'M SORRY. IT'S NOT YOUR FAULT. 1907 01:32:23,538 --> 01:32:24,626 I FEEL. I JUST-- 1908 01:32:24,669 --> 01:32:27,324 IF IT WASN'T FOR YOUR STUPID LITTLE FILM, 1909 01:32:27,367 --> 01:32:29,500 I NEVER WOULD HAVE FOUND OUT! 1910 01:32:29,544 --> 01:32:30,893 I REALLY DON'T KNOW. 1911 01:32:30,936 --> 01:32:35,898 IF YOU SEE CARMINE, YOU TELL HIM I WENT FOR A WALK. 1912 01:32:39,031 --> 01:32:44,428 ♪ THESE ARE THE THINGS I CANNOT CHANGE ♪ 1913 01:32:44,471 --> 01:32:49,346 ♪ I CANNOT CHANGE THESE THINGS ♪ 1914 01:32:49,389 --> 01:32:53,785 ♪ LOVERS WHOSE LOVE TIME WILL ESTRANGE ♪ 1915 01:32:53,829 --> 01:32:58,877 ♪ THESE ARE THE THINGS I CANNOT CHANGE ♪ 1916 01:32:58,921 --> 01:33:03,621 ♪ I CANNOT CHANGE THESE THINGS ♪ 1917 01:33:03,665 --> 01:33:09,105 ♪ A LOG THAT'S ROTTING WITH MUSHROOM RINGS ♪ 1918 01:33:09,148 --> 01:33:11,411 ♪ A TWINE THAT'S KNOTTING 1919 01:33:11,455 --> 01:33:13,631 ♪ A BIRD THAT SINGS NO LONGER... ♪ 1920 01:33:13,675 --> 01:33:15,502 WHY ARE YOU IGNORING ME? 1921 01:33:15,546 --> 01:33:16,634 YOU'RE ACTING CRAZY. 1922 01:33:16,678 --> 01:33:20,812 WHAT IS THIS DEDUCTION FOR ITEM 3-B? 1923 01:33:20,856 --> 01:33:22,945 WHERE IS ITEM 3-B? 1924 01:33:22,988 --> 01:33:24,250 HERE IT IS. 1925 01:33:24,294 --> 01:33:26,644 ROTH BURIED IT WITH THE WORLD PREMIERE TICKETS. 1926 01:33:26,688 --> 01:33:29,386 IT'S HIS, UH, CONSULTING FEE? 1927 01:33:29,429 --> 01:33:31,562 IT'S A STANDARD CLAUSE. 1928 01:33:31,606 --> 01:33:32,694 CUT THE CRAP. 1929 01:33:32,737 --> 01:33:34,521 YOU'RE SKIMMING OFF POINTS FOR YOURSELF. 1930 01:33:34,565 --> 01:33:36,567 YOU'RE STEALING FROM US. 1931 01:33:36,611 --> 01:33:39,526 HEH HEH, ROTH. 1932 01:33:39,570 --> 01:33:40,832 THAT'S A LEGITIMATE COST. 1933 01:33:40,876 --> 01:33:43,052 YOU DON'T KNOW THE MOVIE BUSINESS. 1934 01:33:43,095 --> 01:33:44,662 I USE THAT IN MY OWN CONTRACTS. 1935 01:33:44,706 --> 01:33:47,491 ARE YOU TRYING TO BULLSHIT A BULLSHITTER? 1936 01:33:47,534 --> 01:33:49,014 MARVIN, DO ME A FAVOR. 1937 01:33:49,058 --> 01:33:50,973 SEE IF YOU CAN FIND PATRICIA AND ASK HER TO COME IN HERE. 1938 01:33:51,016 --> 01:33:54,585 I THINK SHE SAID SHE WAS GOING FOR A WALK. 1939 01:33:54,629 --> 01:33:55,717 FOR A WALK? 1940 01:33:55,760 --> 01:33:58,633 SHE DIDN'T FEEL WELL. 1941 01:33:58,676 --> 01:34:00,896 PATRICIA? 1942 01:34:00,939 --> 01:34:04,073 OH, GOD. 1943 01:34:04,116 --> 01:34:06,292 THE BOTTOM OF PAGE 8. 1944 01:34:06,336 --> 01:34:08,947 WHAT'S GOING ON? 1945 01:34:08,991 --> 01:34:10,688 YOU GOT IT? 1946 01:34:10,732 --> 01:34:12,690 THAT POINT'S GOING INTO YOUR POCKET. 1947 01:34:12,734 --> 01:34:14,213 IT'S FOR THE SCRIPT. 1948 01:34:14,257 --> 01:34:16,651 THE WRITER DESERVES TO BE PAID. 1949 01:34:16,694 --> 01:34:18,000 NOT OUT OF OUR SHARE! 1950 01:34:18,043 --> 01:34:20,437 THAT'S THE DEAL THAT WAS MADE WITH THE LAWYER. 1951 01:34:20,480 --> 01:34:22,047 WHAT ARE THEY TALKING ABOUT? 1952 01:34:22,091 --> 01:34:24,136 WE AGREED TO SPLIT IT. 1953 01:34:24,180 --> 01:34:26,399 I TOOK ONE OUT OF YOUR SHARE. 1954 01:34:26,443 --> 01:34:28,184 WHY CAN'T THEY TAKE THE OTHER ONE? 1955 01:34:28,227 --> 01:34:31,535 YOU THINK YOU'RE SELLING HERRING ON DELANCEY STREET? 1956 01:34:31,578 --> 01:34:33,450 WE'VE BEEN OVER THIS BEFORE. 1957 01:34:33,493 --> 01:34:34,973 TAKE THE POINTS FROM MY SHARE. 1958 01:34:35,017 --> 01:34:37,584 NO! THE WRITER'S NOT PAID THAT WAY! 1959 01:34:37,628 --> 01:34:39,021 ROTH'S NOT THAT FAR DOWN. 1960 01:34:39,064 --> 01:34:42,372 WHY BREAK OUR BALLS IF WE DON'T GET OUR FAIR SHARE? 1961 01:34:42,415 --> 01:34:44,461 I DON'T LIKE DISHONESTY. 1962 01:34:44,504 --> 01:34:45,897 THIS IS A SMALL THING. 1963 01:34:45,941 --> 01:34:48,508 IT'S NOT A SMALL THING, GOD DAMN IT! 1964 01:34:48,552 --> 01:34:51,033 ENOUGH OF THIS TAKING THE REAR CRAP! 1965 01:34:51,076 --> 01:34:53,688 THESE GUYS SHOULD SUCK MY COCK! 1966 01:34:53,731 --> 01:34:55,385 WATCH IT! WATCH IT! 1967 01:34:55,428 --> 01:34:56,560 SHUT UP! 1968 01:34:56,603 --> 01:34:57,779 I'M SICK OF THEM. 1969 01:34:57,822 --> 01:34:58,736 RELAX, RELAX. 1970 01:34:58,780 --> 01:35:00,216 ROTH, CALM DOWN. 1971 01:35:00,259 --> 01:35:03,175 IF MARVIN WANTS TO GIVE UP HIS POINTS, IT'S ALL RIGHT. 1972 01:35:03,219 --> 01:35:04,655 WHAT ARE YOU ARGUING ABOUT? 1973 01:35:04,699 --> 01:35:06,396 I'VE BEEN FLYING FOR 12 HOURS. 1974 01:35:06,439 --> 01:35:09,399 I'VE GOT ANOTHER FLIGHT FOR ANOTHER 12 HOURS. 1975 01:35:09,442 --> 01:35:10,792 DON'T WASTE MY TIME. 1976 01:35:12,794 --> 01:35:13,838 EXCUSE ME. 1977 01:35:16,493 --> 01:35:17,624 HELLO? 1978 01:35:17,668 --> 01:35:20,453 MARVIN, I'VE BEEN IN THIS GOD DAMN BUSINESS 1979 01:35:20,497 --> 01:35:21,585 FOR 30 SOME YEARS. 1980 01:35:21,628 --> 01:35:25,154 FUCKING LOSER! DON'T YOU DARE BLOW THIS! 1981 01:35:25,197 --> 01:35:27,591 NO, I CAN'T TAKE THE KIDS TO SCHOOL. 1982 01:35:27,634 --> 01:35:29,941 I'M GOING TO TOKYO TOMORROW MORNING. 1983 01:35:29,985 --> 01:35:30,986 TO TOKYO? 1984 01:35:31,029 --> 01:35:33,510 EVAN... 1985 01:35:33,553 --> 01:35:35,817 BEVERLY? 1986 01:35:38,950 --> 01:35:41,170 I HAVE NOTHING TO SAY TO YOU. 1987 01:35:41,213 --> 01:35:42,911 YOU DIDN'T LIKE THE SCRIPT? 1988 01:35:42,954 --> 01:35:45,478 THE PROSTITUTE'S ROOMMATE IS A BLACK GIRL 1989 01:35:45,522 --> 01:35:47,785 WHO'S IN EXACTLY THREE SCENES. 1990 01:35:47,829 --> 01:35:48,917 SHE'S NAKED IN TWO 1991 01:35:48,960 --> 01:35:51,397 AND GETS STABBED TO DEATH IN THE THIRD. 1992 01:35:51,441 --> 01:35:54,444 THERE IS AN ANGELIC BLONDE WHO'S IN EVERY SCENE 1993 01:35:54,487 --> 01:35:56,359 AND DOMINATES THE ENTIRE PICTURE. 1994 01:35:56,402 --> 01:35:59,014 I WONDER WHO GETS WHICH PART. 1995 01:36:01,407 --> 01:36:04,671 THE TRUTH IS I HAVEN'T READ THE SCRIPT. 1996 01:36:05,629 --> 01:36:07,587 YOU'VE GOT SOME SCAM, SAM. 1997 01:36:07,631 --> 01:36:11,983 I ACTUALLY THOUGHT THAT YOU MIGHT BE... 1998 01:36:12,027 --> 01:36:13,115 AN ARTIST, 1999 01:36:13,158 --> 01:36:14,594 BUT YOU'RE JUST ANOTHER PIMP. 2000 01:36:14,638 --> 01:36:19,077 DO YOU THINK I STUDIED SIX YEARS WITH STELLA ADLER 2001 01:36:19,121 --> 01:36:22,515 TO DO THIS EXPLOITATIVE BULLSHIT? 2002 01:36:23,081 --> 01:36:25,127 I HAVE SOMETHING VERY BEAUTIFUL 2003 01:36:25,170 --> 01:36:27,869 AND VALUABLE INSIDE OF ME, 2004 01:36:27,912 --> 01:36:30,132 AND ONE DAY... 2005 01:36:30,175 --> 01:36:32,395 I'M GOING TO GET TO SHOW IT. 2006 01:36:32,438 --> 01:36:35,572 LOOK, I NEVER MEANT FOR YOU TO DO THIS-- 2007 01:36:35,615 --> 01:36:38,488 GO FUCK YOURSELF, MARVIN. 2008 01:36:49,499 --> 01:36:51,457 THE BOTTOM OF PAGE 8. 2009 01:36:51,501 --> 01:36:53,459 PAGE 8, THE BOTTOM. 2010 01:36:54,373 --> 01:36:56,593 GUESS IT'S ONLY A POINT. 2011 01:36:56,636 --> 01:36:58,464 IT'S JUST A POINT. 2012 01:37:00,292 --> 01:37:03,905 YOU REALLY TRIED TO JEW US DOWN, DIDN'T YOU, ROTH? 2013 01:37:03,948 --> 01:37:04,862 I RESENT THAT. 2014 01:37:04,906 --> 01:37:06,646 I'M SORRY, BUT I'M DISAPPOINTED. 2015 01:37:06,690 --> 01:37:08,561 I THOUGHT YOU'D BE A BETTER THIEF. 2016 01:37:08,605 --> 01:37:12,478 YOU KNOW WHAT YOUR REPUTATION IS, YOU SON OF A BITCH! 2017 01:37:12,522 --> 01:37:13,392 SHUT UP! 2018 01:37:13,436 --> 01:37:15,264 THE WHOLE WORLD'S BLOWN APART, 2019 01:37:15,307 --> 01:37:16,743 AND YOU'RE TALKING ABOUT 2020 01:37:16,787 --> 01:37:19,834 A FEW STUPID DETAILS! 2021 01:37:19,877 --> 01:37:21,923 SHUT UP! 2022 01:37:27,667 --> 01:37:29,713 I'M SORRY. 2023 01:37:32,150 --> 01:37:35,240 I REALLY LIKE YOU GUYS. 2024 01:37:45,511 --> 01:37:48,601 YOU WORK IT OUT ANYWAY YOU WANT. 2025 01:37:48,645 --> 01:37:51,866 I GOT TO GO FIND PATRICIA. 2026 01:38:15,454 --> 01:38:20,459 YOU SHOULD TAKE THE FORM SEMINAR ON INTEGRITY. 2027 01:38:20,503 --> 01:38:21,983 I LOVE YOU SO MUCH. 2028 01:38:22,026 --> 01:38:24,637 YOU BRUISED MY ARM, YOU LITTLE FUCK. 2029 01:38:24,681 --> 01:38:25,638 IT'S OVER. 2030 01:38:25,682 --> 01:38:26,378 I'M SORRY. 2031 01:38:26,422 --> 01:38:28,293 I'M GOING TO KILL YOU. 2032 01:38:28,337 --> 01:38:30,469 I'M GOING TO KILL YOU. 2033 01:38:32,123 --> 01:38:35,692 DON'T BOTHER. I'LL KILL MYSELF. 2034 01:38:36,214 --> 01:38:38,173 NO, WAIT. MARVIN, STUART'S OUT OF CONTROL. 2035 01:38:38,216 --> 01:38:40,175 HE'LL BLOW THIS WHOLE THING. 2036 01:38:40,218 --> 01:38:42,003 IF GEORGE FINDS US IN HERE-- 2037 01:38:42,046 --> 01:38:43,961 SO THERE YOU ARE. 2038 01:38:44,005 --> 01:38:45,963 GET OUT OF MY HOUSE. 2039 01:38:46,007 --> 01:38:48,618 GEORGE, IT'S NOT WHAT YOU'RE THINKING. 2040 01:38:48,661 --> 01:38:49,836 YOU'RE BOTH DISGUSTING. 2041 01:38:49,880 --> 01:38:53,666 THAT'S WHY YOU KEEP GOING TO HIS APARTMENT? 2042 01:38:53,710 --> 01:38:56,539 NO. I DIDN'T DO ANYTHING. 2043 01:38:56,582 --> 01:38:59,890 I'M REALLY MAD AT YOU THIS TIME, PEGGY. 2044 01:38:59,934 --> 01:39:03,676 GO TO YOUR ROOM! 2045 01:39:07,245 --> 01:39:08,507 GET OUT OF MY HOUSE 2046 01:39:08,551 --> 01:39:11,510 AND TAKE YOUR GANGSTER PARTNER WITH YOU. 2047 01:39:11,554 --> 01:39:12,903 PEGGY! 2048 01:39:37,754 --> 01:39:41,453 MAKE THAT TWO TICKETS FOR TOKYO TOMORROW. 2049 01:39:41,497 --> 01:39:43,368 THANK YOU. 2050 01:39:52,508 --> 01:39:55,119 YOU'RE VERY SPECIAL. 2051 01:39:59,123 --> 01:40:01,386 I AM. 2052 01:40:10,830 --> 01:40:13,485 LET'S GET OUT OF HERE. 2053 01:40:25,715 --> 01:40:28,935 PATRICIA... YOU KNOW MY BACKGROUND. 2054 01:40:28,979 --> 01:40:31,329 YOU KNOW WHAT A JERK I'VE BEEN, 2055 01:40:31,373 --> 01:40:35,116 BUT IF YOU'RE WILLING TO TAKE A CHANCE... 2056 01:40:38,119 --> 01:40:39,642 CARMINE... 2057 01:40:40,556 --> 01:40:44,908 ARE YOU ASKING ME TO MARRY YOU? 2058 01:40:46,562 --> 01:40:48,520 YEAH? 2059 01:40:48,564 --> 01:40:50,870 OH... 2060 01:40:57,486 --> 01:41:01,490 DIDN'T GO AS WELL AS I HAD HOPED. 2061 01:41:07,583 --> 01:41:08,671 YOU O.K.? 2062 01:41:08,714 --> 01:41:11,587 I'M JUST A PUSSY-WHIPPED HACK, AREN'T I? 2063 01:41:11,630 --> 01:41:14,851 COME ON, KID. COME ON. 2064 01:41:14,894 --> 01:41:16,200 SHE'S A PRETTY GIRL. 2065 01:41:16,244 --> 01:41:19,116 IT HAPPENS TO THE BEST OF US. 2066 01:41:21,640 --> 01:41:26,515 WELL, MUSKETEERS, BLOODY, BUT NOT BOWED. 2067 01:41:27,124 --> 01:41:29,518 WHO THE HELL DO THEY THINK THEY ARE? 2068 01:41:29,561 --> 01:41:33,522 THREE ASSHOLES TRYING TO BUY THEIR WAY INTO HOLLYWOOD. 2069 01:41:33,565 --> 01:41:37,700 YOU KNOW, I ALWAYS BELIEVED IN THIS PICTURE, 2070 01:41:37,743 --> 01:41:41,095 AND I GO WITH MY HUNCHES. 2071 01:41:43,097 --> 01:41:46,535 I'M PUTTING EVERYTHING I GOT BEHIND IT. 2072 01:41:46,578 --> 01:41:48,493 WHAT DO YOU SAY? 2073 01:41:49,407 --> 01:41:52,106 WHAT DO YOU SAY, CHIEF? 2074 01:42:20,351 --> 01:42:24,442 DOES THAT MEAN HE DOESN'T WANT TO DO IT? 2075 01:42:26,705 --> 01:42:28,533 STAR WIZARD. 2076 01:42:28,577 --> 01:42:31,971 IN OCTOBER, THE PLANETS ARE FURTHER AWAY 2077 01:42:32,015 --> 01:42:33,582 THAN LAST YEAR. 2078 01:42:33,625 --> 01:42:36,019 THIS POSITIVE-- 2079 01:42:36,062 --> 01:42:37,238 THIS PROMISES 2080 01:42:37,281 --> 01:42:39,718 A GENERALLY POSITIVE PICTURE 2081 01:42:39,762 --> 01:42:41,894 IN THE UNIVERSE. 2082 01:42:42,547 --> 01:42:44,375 THE ASTROLOGICAL PROSPECTS... 2083 01:42:44,419 --> 01:42:45,594 PUSH IN. 2084 01:42:45,637 --> 01:42:48,205 ARE GOOD FOR THAT NEW ADDITION TO YOUR HOME 2085 01:42:48,249 --> 01:42:50,207 THAT YOU'VE BEEN PUTTING OFF 2086 01:42:50,251 --> 01:42:52,209 OR TO FURTHER YOUR COMMITMENT 2087 01:42:52,253 --> 01:42:55,517 TO THAT LOVING RELATIONSHIP. 2088 01:42:57,519 --> 01:42:59,521 PULL OUT. 2089 01:43:02,785 --> 01:43:04,482 STAR... 2090 01:43:04,526 --> 01:43:06,528 WIZARD. 2091 01:43:06,571 --> 01:43:10,053 HAVE A GOOD YEAR. 2092 01:44:02,540 --> 01:44:03,367 HELLO. 2093 01:44:03,411 --> 01:44:04,934 MARVIN... HOW'S EVERYTHING? 2094 01:44:04,977 --> 01:44:06,892 HOW'S YOUR LIFE? 2095 01:44:06,936 --> 01:44:08,677 WHAT YOU BEEN DOING? 2096 01:44:08,720 --> 01:44:10,592 WHO IS THIS? 2097 01:44:10,635 --> 01:44:13,725 OUT OF SIGHT, OUT OF MIND, HUH? 2098 01:44:13,769 --> 01:44:16,554 IT'S UNCLE JACK, JACK ROTH. 2099 01:44:17,729 --> 01:44:19,427 YEAH, I'M SORRY, JACK. 2100 01:44:19,470 --> 01:44:22,299 UM, HOW ARE YOU? 2101 01:44:22,343 --> 01:44:24,301 MARVIN, I CAN'T BLAME YOU 2102 01:44:24,345 --> 01:44:26,738 FOR TRYING TO FORGET ABOUT ME 2103 01:44:26,782 --> 01:44:28,436 AFTER THAT THING WITH THOSE SCHMUCKS. 2104 01:44:28,479 --> 01:44:32,527 IT SURE DIDN'T TURN OUT THE WAY I WANTED IT TO. 2105 01:44:33,745 --> 01:44:36,226 THAT'S O.K. YOU DID WHAT YOU COULD. 2106 01:44:36,270 --> 01:44:37,880 I PICKED UP YOUR SCRIPT AGAIN, 2107 01:44:37,923 --> 01:44:39,534 AND I COULDN'T PUT IT DOWN. 2108 01:44:39,577 --> 01:44:41,492 YOU SHOULD NEVER HAVE TOUCHED IT. 2109 01:44:41,536 --> 01:44:44,408 I HAD A FEELING ABOUT THAT SCRIPT, 2110 01:44:44,452 --> 01:44:46,149 AND I STILL DO. 2111 01:44:46,192 --> 01:44:47,498 JACK--JACK, LISTEN. 2112 01:44:47,542 --> 01:44:50,327 I DON'T WANT TO GET INVOLVED WITH THIS AGAIN. 2113 01:44:50,371 --> 01:44:52,286 I'VE GOT TO FACE THE FACT 2114 01:44:52,329 --> 01:44:54,592 THAT NOBODY'S WILL MAKE IT. 2115 01:44:54,636 --> 01:44:55,637 EVEN IF THEY DO, 2116 01:44:55,680 --> 01:44:58,553 THEY WON'T MAKE IT THE WAY I WANT IT. 2117 01:44:58,596 --> 01:44:59,728 IN THE REAL WORLD, 2118 01:44:59,771 --> 01:45:02,208 YOU DON'T GET YOUR DREAMS, AND THAT'S O.K. 2119 01:45:02,252 --> 01:45:04,210 THERE ARE OTHER THINGS IN LIFE, 2120 01:45:04,254 --> 01:45:06,604 AND I WANT TO GET ON WITH THEM. 2121 01:45:06,648 --> 01:45:09,694 I--I UNDERSTAND HOW YOU FEEL. 2122 01:45:09,738 --> 01:45:11,827 THE ONLY REASON I'M EVEN BOTHERING YOU 2123 01:45:11,870 --> 01:45:16,397 IS BECAUSE I MET A GUY AT THE FRIARS' CLUB TODAY 2124 01:45:16,440 --> 01:45:17,615 AND HE'S LOADED, 2125 01:45:17,659 --> 01:45:19,704 AND HE'S HOT TO GET INTO THE FILM BUSINESS. 2126 01:45:19,748 --> 01:45:22,098 I'M HAVING A MEETING WITH HIM TOMORROW, 2127 01:45:22,141 --> 01:45:27,190 AND I FIGURED I'D INVITE YOU ALONG. 2128 01:45:30,759 --> 01:45:32,543 WHAT TIME? 2129 01:45:40,508 --> 01:45:43,075 CAPTIONING MADE POSSIBLE BY LIVE HOME VIDEO INC. 2130 01:45:43,119 --> 01:45:46,427 CAPTIONING PERFORMED BY THE NATIONAL CAPTIONING INSTITUTE, INC. 2131 01:45:46,470 --> 01:45:48,733 CAPTIONS COPYRIGHT 1992 MISTRESS PRODUCTIONS, INC. 2132 01:45:48,777 --> 01:45:53,564 PUBLIC PERFORMANCE OF CAPTIONS PROHIBITED WITHOUT PERMISSION OF NATIONAL CAPTIONING INSTITUTE 137379