Original subtitles

DEVIL ON THE CAN--

DEVIL ON THE CANVAS, 12 APPLE, TAKE 1.

ACTION!

I WILL DESTROY HIM!

CUT! CUT! CUT! CUT!

DEVIL ON THE CANVAS, 12 APPLE, TAKE 2.

ACTION!

I WILL DESTROY HIM!

CUT! CUT!

ROLLING!

DEVIL ON THE CANVAS, 12 APPLE, TAKE 4.

ACTION!

I WILL DESTROY HIM!

CUT! CUT! CUT!

DEVIL ON THE CANVAS, 12 APPLE, TAKE 5.

I WILL DESTROY HIM!

12 APPLE, TAKE 6.

I WILL DESTROY HIM!

12 APPLE, TAKE 7.

I WILL DESTROY HIM!

12 BAKER, TAKE 1.

I WILL DESTROY HIM!

AAH!

AAH!

AAH!

AAH!

12 CHARLIE, TAKE 1.

AAH! AAH!

AAH! AAH!

TAKE 2.

AAH! AAH!

2...

TAKE 7.

AAH! AAH!

2...

AAH! AAH!

AAH! AAH!

AAH! AAH!

AAH! AAH!

AAH!

Subtitles downloaded from www.OpenSubtitles.org

ORPHAN.

DAME.

FRONT DESK.

HELLO, CHET?

THIS IS BARTON FINK IN ROOM 621.

COULD YOU TRY A NUMBER FOR ME IN HOLLYWOOD?

SLAUSON 6-4304.

RIGHT AWAY, SIR.

[RING]

PICK IT UP. PICK IT UP.

HELLO.

AUDREY, I NEED HELP.

I KNOW I SHOULDN'T BE CALLING YOU LIKE THIS.

I WOULDN'T HAVE IF I COULD SEE ANY ALTERNATIVE.

I'M SORRY. LISTEN, HOW ARE YOU?

YOU DOING OKAY?

WHO IS THIS?

BARTON! I'M SORRY. IT'S BARTON FINK.

BARTON, I'M AFRAID IT'S NOT A GOOD TIME.

I'M SORRY. I JUST FEEL LIKE I NEED--

I KNOW I SHOULDN'T ASK.

I JUST NEED SOME KIND OF HELP.

I HAVE A DEADLINE TOMORROW.

ALL RIGHT, BARTON.

I'LL SEE IF I CAN SLIP AWAY.

OH, IF YOU COULD--

IF I CAN.

HE--HE GETS JEALOUS.

I NEED HELP, AUDREY.

[MAYHEW SHOUTING]

I'LL TRY TO SLIP OUT

IF HE QUIETS DOWN, PASSES OUT.

I'M AFRAID HE THINKS...

WELL, HE SAID YOU WERE A BUFFOON, BARTON.

UH-HUH.

HE BECOMES IRRATIONAL.

[SHOUTING]

UH-HUH, UH-HUH.

I'LL TRY AND SLIP AWAY.

[MAYHEW] WHO IS THAT?

[KNOCK ON DOOR]

AUDREY, THANK YOU FOR COMING.

THANK YOU.

HELLO, BARTON.

I'M SORRY TO BE...

SUCH A...SUCH A...

THANK YOU.

THAT'S ALL RIGHT, BARTON.

EVERYTHING'S GOING TO BE ALL RIGHT.

YES. THANK YOU.

THANK YOU.

YES. THANK YOU.

HOW'S BILL?

OH, HE'S, UH...

HE DRIFTED OFF.

HE'LL SLEEP FOR A WHILE NOW.

WHAT IS IT YOU HAVE TO DO EXACTLY?

WELL, I HAVE TO COME UP WITH AN OUTLINE,

I GUESS YOU CALL IT,

THE WHOLE GODDAMN STORY, SOUP TO NUTS, THREE ACTS,

THE WHOLE GODDAMN--

THAT'S ALL RIGHT, BARTON.

YOU DON'T HAVE TO WRITE ACTUAL SCENES.

NO, BUT THE WHOLE GODDAMN...

AUDREY...

HAVE YOU EVER READ ANY OF BILL'S WRESTLING SCENARIOS?

YES, I'M AFRAID I HAVE.

WHAT ARE THEY LIKE? WHAT ARE THEY ABOUT?

WELL...

USUALLY THEY'RE SIMPLE MORALITY TALES.

THERE'S A GOOD WRESTLER AND A BAD WRESTLER,

WHOM HE CONFRONTS AT THE END.

IN BETWEEN, THE GOOD WRESTLER HAS A LOVE INTEREST

OR A SMALL CHILD HE HAS TO PROTECT.

BILL WOULD USUALLY MAKE THE GOOD WRESTLER

A BACKWARDS TYPE OR A CONVICT,

AND SOMETIMES, INSTEAD OF A WAIF,

HE'D HAVE THE WRESTLER PROTECTING AN IDIOT MAN-CHILD.

THE STUDIO ALWAYS HATED THAT.

SOME OF THE SCRIPTS WERE SO...

SPIRITED.

BARTON, LOOK, IT'S REALLY JUST A FORMULA.

YOU DON'T HAVE TO TYPE YOUR SOUL INTO IT.

WE'LL INVENT SOME NAMES AND A NEW SETTING.

I'LL HELP YOU. IT WON'T TAKE ANY TIME AT ALL.

I DID IT FOR BILL SO MANY TIMES.

YOU DID WHAT FOR BILL?

WELL...THIS.

YOU WROTE HIS SCRIPTS FOR HIM?

WELL, THE BASIC IDEAS WERE FREQUENTLY HIS.

YOU WROTE BILL'S SCRIPTS?

JESUS, YOU WROTE HIS...

WELL, WHAT ABOUT BEFORE THAT?

BEFORE WHAT?

BEFORE BILL CAME TO HOLLYWOOD.

BILL WAS ALWAYS THE AUTHOR, SO TO SPEAK.

WHAT DO YOU MEAN, "SO TO SPEAK"?

AUDREY, HOW LONG HAVE YOU BEEN HIS...

SECRETARY?

LET'S CONCENTRATE ON OUR LITTLE PROJECT.

I WANT TO KNOW HOW MANY OF BILL'S BOOKS YOU WROTE!

I WANT TO KNOW!

BARTON, HONESTLY...

ONLY THE LAST COUPLE.

HAH!

AND MY INPUT WAS MOSTLY EDITORIAL, REALLY,

AFTER HE HAD BEEN DRINKING.

I'LL BET.

JESUS, "THE GRAND PRODUCTIVE DAYS"!

WHAT A GODDAMN PHONY.

W.P. MAYHEW--

WILLIAM GODDAMN PHONY MAYHEW!

ALL HIS GUFF ABOUT ESCAPE!

I'LL SAY HE ESCAPED!

WE DON'T HAVE MUCH TIME.

IT'LL BE FINE.

DON'T JUDGE HIM, BARTON.

DON'T CONDESCEND TO HIM.

I HELP BILL MOST BY UNDERSTANDING HIM,

BY APPRECIATING HIM.

WE ALL NEED UNDERSTANDING, BARTON--

EVEN YOU TONIGHT.

IT'S ALL YOU REALLY NEED.

[MOANING]

[MOANING]

[MOANING]

[SCREAMING]

[MOSQUITO BUZZES]

[MOSQUITO BUZZES]

[BUZZING STOPS]

AAH!

AAH!

AAH!

[DOOR OPENS]

[FOOTSTEPS]

[DOOR CLOSES]

[FOOTSTEPS]

[KNOCK ON DOOR]

BARTON?

[KNOCK KNOCK]

[KNOCK KNOCK]

BARTON, ARE YOU ALL RIGHT?

I'M FINE, THANKS.

YOU SURE?

NO! NO.

[WHIMPERS]

[WHIMPERS]

[WHIMPERS]

[CART BELL RINGS]

[CART BELL RINGS]

BARTON. ARE YOU ALL RIGHT?

NO. CAN I COME IN?

LET'S GO TO YOUR ROOM.

CHARLIE, I'M IN TROUBLE. YOU GOT TO HELP ME.

GET A GRIP ON YOURSELF, BROTHER.

WHATEVER THE PROBLEM IS, WE CAN SORT IT OUT.

CHARLIE, I'M IN TROUBLE. SOMETHING HORRIBLE'S HAPPENED.

I GOT TO CALL THE POLICE.

WILL YOU STAY WITH ME TILL THEY GET HERE?

DON'T WORRY ABOUT IT. WE CAN WORK IT OUT.

BEFORE YOU GO IN... I DIDN'T DO THIS.

I DON'T KNOW HOW IT HAPPENED, BUT...

I DIDN'T.

I WANT YOU TO KNOW THAT.

OKAY.

OHHH!

OH...

[VOMITING]

[TOILET FLUSHES]

OH...

JESUS, BARTON, WHAT THE HELL IS THIS?

WHAT ARE WE GOING TO DO?

CALL THE POLICE.

HOLD ON.

I DIDN'T DO THIS.

I DID NOT DO THIS!

HOLD ON!

STOP.

TAKE A DEEP BREATH. TELL ME WHAT HAPPENED.

I PASSED OUT! I DON'T KNOW! WON'T THE POLICE--

STOP WITH THE POLICE! WAKE UP!

THIS LOOKS BAD! THEY HANG PEOPLE FOR THIS!

BUT I DIDN'T DO IT. DON'T YOU BELIEVE ME?

I BELIEVE YOU! I KNOW YOU! WHY SHOULD THE POLICE?

DID YOU...

BARTON, BETWEEN YOU AND ME,

DID YOU HAVE SEXUAL INTERCOURSE?

JESUS, THEY CAN TELL THAT.

GOT TO BELIEVE ME!

THEY GOT TO HAVE MERCY!

YOU'RE IN PICTURES, BARTON.

EVEN IF THEY CLEARED YOU EVENTUALLY,

THIS WOULD RUIN YOU.

Come on.

Wait in the bathroom.

[THUMPING AND BANGING]

[CHARLIE] OH, LORD. OH, LORDY. OH, MY LORD.

OH, MY LORD.

OOH!

YOU PASSED OUT.

WHERE'S AUDREY?

SHE'S DEAD, BARTON!

SHE'S DEAD, IF THAT WAS HER NAME!

YOU GOT TO ACT AS IF NOTHING HAS HAPPENED.

PUT THIS TOTALLY OUT OF YOUR HEAD.

YOUR PLAY IS TO GO ABOUT YOUR BUSINESS AS USUAL.

GIVE US SOME TIME TO SORT THIS OUT.

[TICKING]

BART! SO HAPPY TO SEE YA!

SIT. TALK. RELAX FOR A MINUTE.

THEN TALK.

DRINK?

UH...

YEAH.

RYE WHISKEY?

BOY, YOU WRITERS. WORK HARD, PLAY HARD.

THAT'S WHAT I HEAR, ANYWAY. LOU!

ANYWAY, BEN GEISLER TELLS ME THINGS ARE GOING ALONG GREAT.

SAYS WE GOT A REAL WINNER IN THIS ONE.

I'LL TELL YOU SOMETHING. I'M COUNTING ON IT.

I'VE TAKEN AN INTEREST. NOTHING TO FEAR, MIND YOU.

HARDLY SEEMS NECESSARY IN YOUR CASE--

A WRITER, A STORYTELLER OF YOUR STATURE.

GIVE IT TO ME IN BOLD STROKES, BART.

GIVE ME THE BROAD OUTLINES.

I'M IN THE AUDIENCE, THE LIGHTS GO DOWN,

CAPITOL LOGO COMES UP.

YOU'RE ON, HUH?

YEAH.

UH...OKAY.

HUH?

WELL, UH...

WE...WE FADE IN...

UH-HUH.

IT'S--IT'S A TENEMENT BUILDING ON THE LOWER EAST SIDE.

GREAT! HE'S POOR, THIS WRESTLER.

HE'S HAD TO STRUGGLE, HUH?

AND THEN...

UH-HUH?

WELL, UH...

CAN I BE HONEST, MR. LIPNICK?

CAN YOU? JESUS, YOU DAMN WELL BETTER BE!

IF I WASN'T HONEST IN MY BUSINESS DEALINGS--

WELL, YOU CAN'T ALWAYS BE HONEST,

NOT WITH THE SHARKS SWIMMING AROUND THIS TOWN.

IF I'D BEEN TOTALLY HONEST,

I WOULDN'T BE NEAR THIS POOL

UNLESS I WAS CLEANING IT.

BUT THAT'S NO REASON FOR YOU NOT TO BE.

HONEST, I MEAN. NOT CLEANING THE POOL.

OH.

UH-HUH.

TO BE HONEST, UH...

I'M NEVER REALLY COMFORTABLE

DISCUSSING WORK IN PROGRESS.

I GOT IT ALL WORKED OUT IN MY HEAD,

BUT SOMETIMES, IF YOU FORCE IT INTO WORDS...

PREMATURELY...

UH, THE WRONG WORDS...

WELL, YOUR MEANING CHANGES,

AND IT CHANGES IN YOUR OWN MIND, AND YOU NEVER GET IT BACK,

SO I'D... I'D JUST AS SOON NOT TALK ABOUT IT.

MR. FINK... NEVER MIND ME.

NEVER MIND HOW LONG I'VE BEEN IN PICTURES.

MR. LIPNICK'S BEEN IN PICTURES

ABOUT SINCE THEY WAS INVENTED.

HE PRACTICALLY INVENTED THEM.

I THINK IF HE'S INTERESTED

IN WHAT ONE OF HIS CONTRACT EMPLOYEES IS DOING,

THAT EMPLOYEE SHOULD BE ABLE TO TELL HIM

IF HE WANTS TO STAY AN EMPLOYEE.

RIGHT NOW, THE CONTENTS OF YOUR HEAD

ARE THE PROPERTY OF CAPITOL PICTURES.

IF I WAS YOU...

I WOULD SPEAK UP.

AND PRETTY GODDAMN FAST.

YOU LOUSY KIKE... SON OF A BITCH.

YOU'RE TELLING THIS MAN-- THIS ARTIST--

WHAT TO DO?

MR. LIPNICK, I--

HE CREATES FOR A LIVING!

THANK HIM, YOU SON OF A BITCH, OR YOU'RE FIRED!

MR. LIPNICK, THAT'S REALLY NOT NECESSARY.

GET DOWN ON YOUR KNEES, YOU SON OF A BITCH!

KISS THIS MAN'S FEET!

MR. LIPNICK, PLEASE.

KISS THIS MAN'S FEET!

[DOG BARKING]

GET OUT OF HERE! YOU UNDERSTAND ME?

YOU'RE OUT OF HERE. YOU'RE FIRED. GET OUT OF MY SIGHT.

I--

I APOLOGIZE, BARTON.

NO. MR. BREEZE ACTUALLY HAS BEEN A GREAT HELP.

YOU DON'T HAVE TO COVER FOR HIM. THAT'S VERY NOBLE.

I'D FEEL MUCH BETTER IF YOU'D JUST RECONSIDER.

IF THAT SON OF A BITCH WON'T APOLOGIZE TO YOU,

THEN GODDAMN IT, I WILL.

I RESPECT YOUR ARTISTRY AND YOUR METHODS.

IF YOU CAN'T FILL US IN YET,

HELL, WE SHOULD BE KISSING YOUR FEET FOR YOUR FINE EFFORTS.

YOU KNOW...

IN THE OLD COUNTRY, WE WERE TAUGHT AS YOUNG CHILDREN

THAT THERE'S NO SHAME IN SUPPLICATING YOURSELF

WHEN YOU RESPECT SOMEONE.

ON BEHALF OF CAPITOL PICTURES,

THE ADMINISTRATION, AND ALL OF THE STOCKHOLDERS,

PLEASE ACCEPT THIS

AS A SYMBOL OF OUR APOLOGY AND RESPECT.

[KNOCK ON DOOR]

BARTON, CAN I COME IN?

JESUS...YOU'RE LEAVING?

HAVE TO, OLD-TIMER, JUST FOR A LITTLE WHILE.

JESUS.

CHARLIE, I--

EVERYTHING'S OKAY, BELIEVE ME.

I KNOW IT'S ROUGH MENTALLY,

BUT EVERYTHING'S BEEN TAKEN CARE OF.

CHARLIE, I GOT NO ONE ELSE HERE.

YOU'RE THE ONLY PERSON I KNOW IN LOS ANGELES

THAT I... THAT I CAN TALK TO.

I FEEL LIKE I'M...

LIKE I'M LOSING MY MIND, LIKE I'M GOING CRAZY.

I DON'T KNOW WHAT TO DO.

I DIDN'T DO IT, BELIEVE ME.

I--I'M SURE OF THAT, CHARLIE.

YOU GOT TO GET A GRIP ON, BROTHER.

YOU GOT TO CARRY ON TILL I GET BACK.

TRY AND STAY HERE. DON'T TALK TO ANYONE.

WE GOT TO KEEP OUR HEADS,

AND WE'LL FIGURE IT OUT.

OKAY, BUT--

DON'T ARGUE.

YOU ASKED ME TO BELIEVE YOU AND I DO.

NOW, DON'T ARGUE WITH ME.

LOOK, PAL, CAN YOU DO SOMETHING FOR ME?

KEEP THAT FOR ME TILL I GET BACK.

IT'S JUST A LOT OF PERSONAL STUFF,

BUT I DON'T WANT TO DRAG IT WITH ME.

FUNNY, HUH?

WHEN EVERYTHING THAT'S IMPORTANT TO A GUY,

EVERYTHING HE WANTS TO KEEP FROM A LIFETIME,

AND HE CAN FIT IT ALL INTO A LITTLE BOX LIKE THAT.

I GUESS...

I GUESS IT'S PRETTY PATHETIC.

IT'S MORE THAN I'VE GOT.

WELL, KEEP IT FOR ME.

MAYBE IT'LL BRING YOU GOOD LUCK.

IT'LL HELP YOU FINISH YOUR SCRIPT.

YOU'LL THINK ABOUT ME. MAKE ME YOUR WRESTLER.

THEN YOU'LL LICK THAT STORY.

THANKS, CHARLIE.

YEAH, YEAH, SURE.

I'LL SEE YOU SOON, FRIEND. YOU'LL BE FINE.

AND YOU'LL BE BACK?

DON'T WORRY ABOUT THAT,COMPADRE.

I'LL BE BACK.

[DOG BARKS]

[TELEPHONE RINGS]

[RING]

YOU READ THE BIBLE, PETE?

HOLY BIBLE?

YEAH.

YEAH, I THINK SO.

ANYWAY, I'VE HEARD ABOUT IT.

FINK?

YEAH.

DETECTIVE MASTRIONOTTI.

DETECTIVE DEUTSCH.

L.A.P.D.

UH-HUH.

GOT SOME QUESTIONS WE WANT TO ASK YOU.

JUST ROUTINE. SIT DOWN.

WHAT DO YOU DO, FINK?

I--I WRITE.

OH, YEAH? WHAT KIND OF WRITING?

AS A MATTER OF FACT, I WRITE FOR THE PICTURES.

BIG FUCKING DEAL.

SHOULD MY PARTNER KISS YOUR ASS?

I DIDN'T MEAN TO SOUND--

WHAT DID YOU MEAN?

I GOT RESPECT FOR WORKING GUYS LIKE YOU.

JESUS, AIN'T THAT A LOAD OFF.

YOU LIVE IN 621?

YEAH.

HOW LONG?

A WEEK. EIGHT, NINE DAYS.

THIS MULTIPLE CHOICE?

YOU KNOW THIS SLOB?

YEAH, HE LIVES NEXT DOOR TO ME.

THAT'S RIGHT, FINK.

HE LIVES NEXT DOOR TO YOU.

YOU EVER TALK TO HIM?

ONCE OR TWICE.

HIS NAME IS CHARLIE MEADOWS.

YEAH, AND I'M BUCK ROGERS.

HIS NAME'S MUNDT. KARL MUNDT.

ALSO KNOWN AS MADMAN MUNDT.

A LITTLE FUNNY IN THE HEAD.

WHAT DID HE--

HE LIKES TO VENTILATE PEOPLE WITH A SHOTGUN

AND CUT THEIR HEADS OFF.

YEAH, HE'S FUNNY THAT WAY.

STARTED IN KANSAS CITY. COUPLE OF HOUSEWIVES.

WE GOT THE SAME M.O. IN LOS FELIZ.

DOCTOR. EAR, NOSE, AND THROAT MAN.

ALL OF WHICH IS MISSING.

WELL, SOME THROAT WAS THERE.

PHYSICIAN, HEAL THYSELF.

GOOD LUCK WITH NO FUCKING HEAD.

HOLLYWOOD PRECINCT FINDS ANOTHER STIFF YESTERDAY

NOT TOO FAR FROM HERE.

THIS ONE'S BETTER-LOOKING THAN THE DOC.

FEMALE CAUCASIAN, ABOUT 30 YEARS OLD,

NICE TITS, NO HEAD.

EVER SEE MUNDT WITH ANYONE FITS THAT DESCRIPTION?

BUT, YOU KNOW, WITH THE HEAD STILL ON.

NO, I NEVER SAW HIM WITH ANYONE ELSE.

SO YOU DID TALK TO MUNDT. WHAT ABOUT?

NOTHING, REALLY.

HE SAID HE WAS IN THE INSURANCE BUSINESS.

YEAH, AND HE'S BUCK ROGERS.

NO REPUTABLE COMPANY WOULD HIRE A GUY LIKE THAT.

THAT'S WHAT HE SAID.

WHAT ELSE?

I'M TRYING TO THINK.

NOTHING, REALLY. HE...

HE SAID HE LIKED JACK OAKIE PICTURES.

YOU KNOW, ORDINARILY WE SAY ANYTHING YOU MIGHT REMEMBER

COULD BE HELPFUL,

BUT I'LL BE FRANK WITH YOU, FINK.

THAT IS NOT HELPFUL.

NOTICE HOW HE'S NOT WRITING IT DOWN?

FINK.

THAT'S A...

A JEWISH NAME, ISN'T IT?

YEAH.

YEAH.

I DIDN'T THINK THIS DUMP WAS RESTRICTED.

MUNDT HAS DISAPPEARED.

I DON'T THINK HE'LL BE BACK,

BUT GIVE ME A CALL IF YOU SEE HIM...

OR IF YOU REMEMBER SOMETHING THAT ISN'T TOTALLY IDIOTIC.

[THUMP THUMP THUMP THUMP THUMP]

[TELEPHONE RINGS]

[RING]

[RING]

[RING]

[MUFFLED RING]

[MUFFLED RING]

"FADE IN.

"A YOUNG HUSSY OPENS THE DOOR...

"TO THE BURLYMAN'S...

"APARTMENT.

"IF YOU WERE A MAN,

"A REAL MAN,

YOU'D SLAP ME."

"I PUT MY MARK ON YOU FIRST...

IN...DELIBLY."

"BOARDINGHOUSE,

"PAINTED WOMEN,

AND THE BURLYMAN..."

"WHY'D YOU ARREST HIM?"

"WITH ONE LIGHTNING MOVE WITH HIS MIGHTY ARMS,

THE BURLYMAN..."

"SHE'S A GOOD WOMAN..."

"I DON'T CARE WHAT PEOPLE SAY..."

"SO, BURLYMAN, WE HAVE TO DEDUCT THOSE EXPENSES

FROM YOUR PERSONAL..."

"DON'T YOU CARE FOR ME AFTER ALL THESE YEARS?"

HOLD THE LINE, SIR. I HAVE YOUR CALL.

HELLO, OPERATOR! I CAN'T--

OH, GOD.

AHEM. HELLO?

GARLAND, IT'S ME.

BARTON?

WH-WHAT TIME IS IT?

ARE YOU ALL RIGHT?

YEAH, I'M--I'M FINE.

I HAVE TO TALK TO YOU, GARLAND.

I'M CALLING LONG DISTANCE.

WHAT IS IT, BARTON? ARE YOU OKAY?

YEAH, I'M FINE, GARLAND,

BUT WE HAVE TO TALK.

IT'S ABOUT WHAT I'M WRITING.

I THINK...

IT'S REALLY...

I THINK IT'S REALLY BIG.

WHAT DO YOU MEAN, BARTON?

NOT BIG IN THE SENSE OF LARGE,

ALTHOUGH IT'S THAT, TOO.

I--I MEAN IMPORTANT.

THIS MAY BE THE MOST IMPORTANT WORK

I'VE EVER DONE.

BARTON, IS EVERYTHING OKAY?

YOU SOUND A LITTLE, UM...

SOUND A LITTLE WHAT?

YOU SOUND A LITTLE, UM...

THANKS, GARLAND.

THANKS FOR ALL THE ENCOURAGEMENT.

NITWIT.

[TYPEWRITER CLACKING]

[WATER RUNNING]

[BIG BAND MUSIC PLAYS]

WHOO!

YOU'RE CUTE.

EXCUSE ME, BUDDY. MIND IF I CUT IN?

THIS IS MY DANCE, SAILOR.

HEY, COME ON, BUDDY. I'M SHIPPING OUT TOMORROW.

I'M A WRITER

CELEBRATING THE COMPLETION OF SOMETHING GOOD.

DO YOU UNDERSTAND THAT, SAILOR?

BEAT IT, CREEP.

COME ON, BUDDY, GIVE THE NAVY A DANCE.

LET SOMEBODY ELSE SPIN THE DAME.

STEP ASIDE, FOUR EYES!

4-F, TAKE A HIKE!

GO SIT ON A TOMATO.

I'M A WRITER, YOU MONSTERS!

I CREATE!

I CREATE FOR A LIVING!

I'M A CREATOR!

I AM A CREATOR!

SCREWY!

THIS IS MY UNIFORM.

THIS IS HOW I SERVE THE COMMON MAN!

THIS IS WHERE I--

GET 'EM, BOYS!

[VOICES IN BACKGROUND]

"HE LEFT THIS MORNING.

"SAID HE HAD A JOB TO DO.

"THERE WAS SOMETHING IN HIS EYES,

"SOMETHING NEW.

MOTHER--WHAT'S TO BECOME OF HIM?"

"FATHER--

"WE'LL BE HEARING FROM THAT CRAZY WRESTLER,

"AND I DON'T MEAN A POSTCARD.

"FADE OUT.

THE END."

I THOUGHT YOU SAID YOU WERE A WRITER.

I DON'T KNOW, DUKE. I KIND OF LIKED IT.

KEEP YOUR FILTHY EYES OFF OF THAT.

YOU MADE THE MORNING PAPERS, FINK.

SECOND ONE OF YOUR FRIENDS TO DIE.

YOU DO GET AROUND, DON'T YOU?

YOU DIDN'T TELL US YOU KNEW THE DAME.

SIXTH FLOOR TOO HIGH FOR YOU, FINK?

GIVE YOU NOSEBLEEDS?

JUST TELL ME ONE THING.

WHERE'D YOU PUT THE HEADS?

CHARLIE.

CHARLIE'S BACK.

NO KIDDING, BRIGHT BOY.

WE SMELLED MUNDT ALL OVER THIS.

WAS HE THE IDEA MAN?

TELL US WHERE THE HEADS ARE.

MAYBE THEY'LL GO EASY ON YOU.

ONLY FRY YOU ONCE.

COME BACK LATER. IT'S TOO HOT.

MY HEAD'S KILLING ME.

ALL RIGHT, FORGET THE HEADS.

WHERE'S MUNDT, FINK?

HE TEACH YOU HOW TO DO IT?

YOU TWO HAVE SOME SICK SEX THING?

SEX?

HE'S A MAN.

WE WRESTLED.

YOU'RE A SICK FUCK, FINK.

CHARLIE'S BACK.

IT'S HOT.

HE'S BACK.

[ELEVATOR BELL RINGS]

FRED.

SIT TIGHT, FINK.

WHY'S IT SO GODDAMN HOT OUT HERE?

DUKE.

MUNDT!

MUNDT!

SHOW YOURSELF.

THERE'S A BOY, MUNDT.

PUT THE POLICY CASE DOWN

AND YOUR MITTS IN THE AIR.

HE'S COMPLYING.

LOOK UPON ME!

I'LL SHOW YOU THE LIFE OF THE MIND!

AAH!

AAH!

AAH! LOOK UPON ME!

AAH! I'LL SHOW YOU THE LIFE OF THE MIND!

I'LL SHOW YOU THE LIFE OF THE MIND!

I'LL SHOW YOU THE LIFE OF THE MIND!

I WILL SHOW YOU THE LIFE OF THE MIND!

AAH!

HEIL,HITLER.

AAH!

[GUNSHOT]

BARTON.

[WHISTLES]

BROTHER, IS IT HOT.

HOW YOU BEEN, BUDDY?

WELL, DON'T LOOK AT ME LIKE THAT.

IT'S JUST ME--CHARLIE.

I HEAR IT'S MUNDT.

MADMAN MUNDT?

JESUS, PEOPLE CAN BE CRUEL.

IF IT'S NOT MY BUILD, IT'S MY PERSONALITY.

THEY SAY I'M A MADMAN, BART,

BUT I'M NOT MAD AT ANYONE.

HONEST, I'M NOT.

MOST GUYS I JUST FEEL SORRY FOR.

IT TEARS ME UP INSIDE

TO THINK ABOUT WHAT THEY'RE GOING THROUGH,

HOW TRAPPED THEY ARE.

I UNDERSTAND IT.

I FEEL FOR THEM.

SO I TRY AND HELP THEM OUT.

JESUS.

YEAH.

YEAH.

I KNOW WHAT IT FEELS LIKE

WHEN THINGS GET ALL BALLED UP

AT THE HEAD OFFICE.

THEY PUT YOU THROUGH HELL, BARTON.

SO I HELP PEOPLE OUT.

I JUST WISH SOMEONE WOULD DO AS MUCH FOR ME.

JESUS, IT'S HOT.

SOMETIMES IT GETS SO HOT

I WANT TO CRAWL RIGHT OUT OF MY SKIN.

BUT, CHARLIE, WHY ME?

WHY--

BECAUSE YOU DON'T LISTEN!

JESUS.

I'M DRIPPING AGAIN.

COME ON, BARTON,

YOU THINK YOU KNOW PAIN?

YOU THINK I MADE YOUR LIFE HELL?

LOOK AROUND THIS DUMP.

YOU'RE JUST A TOURIST WITH A TYPEWRITER.

I LIVE HERE. DON'T YOU UNDERSTAND THAT?

AND YOU COME INTO MY HOME...

AND YOU COMPLAIN

THAT I'M MAKING TOO MUCH NOISE.

I'M SORRY.

DON'T BE.

I'LL BE NEXT DOOR IF YOU NEED ME.

OH...

I DROPPED IN ON YOUR FOLKS IN NEW YORK.

AND UNCLE MAURY.

GOOD PEOPLE.

BY THE WAY, THAT PACKAGE I GAVE YOU--

I LIED.

IT ISN'T MINE.

FINK.

SAMUEL OR LILLIAN FINK.

85 FULTON STREET.

OR UNCLE MAURY.

I UNDERSTAND THAT, BUT THERE'S STILL NO ANSWER.

MR. FINK?

SHALL I CHECK FOR TROUBLE ON THE LINE?

FINK.

MR. LIPNICK.

COLONEL LIPNICK-- IF YOU DON'T MIND.

SIT DOWN.

I WAS COMMISSIONED YESTERDAY IN THE ARMY RESERVE.

HENRY MORGENTHAU ARRANGED IT. DEAR FRIEND.

CONGRATULATIONS.

IT HASN'T OFFICIALLY GONE THROUGH YET.

HAD WARDROBE WHIP THIS UP.

GOT TO PULL TEETH TO GET ANYTHING DONE.

CAN UNDERSTAND RED TAPE IN PEACETIME,

BUT NOW IT'S ALL-OUT WARFARE AGAINST THE JAPS.

THEY'D LOVE TO SEE ME SIT THIS ONE OUT.

YES, SIR. THEY, UH...

ANYWAY, I HAD LOU READ YOUR SCRIPT FOR ME.

I GOT TO TELL YOU, FINK...

IT WON'T WASH.

WITH ALL DUE RESPECT,

I THINK IT'S THE BEST WORK I'VE DONE.

DON'T GAS ME, FINK.

IF YOUR OPINION MATTERED, I'D LET YOU RUN THE STUDIO.

THE LUNATICS AREN'T GOING TO RUN THIS PARTICULAR ASYLUM.

LET'S PUT A STOP TO THAT RUMOR RIGHT NOW.

YES, SIR.

HAD TO CALL BEERY THIS MORNING,

TELL HIM WE WERE PUSHING THE PICTURE BACK.

AFTER ALL I TOLD HIM ABOUT QUALITY,

ABOUT THAT BARTON FINK FEELING,

HOW DISAPPOINTED WE WERE.

WALLY WAS HEARTBROKEN. THE MAN WAS DEVASTATED.

I DIDN'T ACTUALLY CALL HIM. LOU DID.

THAT'S A FAIR DESCRIPTION, ISN'T IT, LOU?

YES, COLONEL.

I COULD TAKE YOU THROUGH IT STEP BY STEP,

EXPLAINING WHY YOUR STORY STINKS,

BUT I WON'T INSULT YOUR INTELLIGENCE.

WELL, ALL RIGHT.

FIRST OF ALL, THIS IS A WRESTLING PICTURE.

THE AUDIENCE WANTS TO SEE ACTION, ADVENTURE, WRESTLING.

THEY DON'T WANT TO SEE A GUY WRESTLING WITH HIS SOUL.

ALL RIGHT, SOME FOR THE CRITICS.

YOU MAKE IT THE CARROT THAT WAGS THE DOG.

TOO MUCH, THEY HEAD FOR THE EXITS.

THERE'S PLENTY OF POETRY INSIDE THAT RING, FINK.

LOOK AT HELL 10 FEET SQUARE.

BLOOD, SWEAT, AND CANVAS.

BLOOD, SWEAT, AND CANVAS.

THESE ARE BIG MOVIES, FINK, ABOUT BIG MEN.

IN TIGHTS!

BOTH PHYSICALLY AND MENTALLY--

ESPECIALLY PHYSICALLY.

WE DON'T PUT WALLY BEERY IN A FRUITY MOVIE ABOUT SUFFERING.

I THOUGHT WE WERE TOGETHER ON THAT.

I'M SORRY IF I LET YOU DOWN.

YOU DIDN'T LET ME DOWN OR EVEN LOU.

WE DON'T LIVE OR DIE BY WHAT YOU SCRIBBLE.

YOU LET BEN GEISLER DOWN.

HE LIKED YOU, TRUSTED YOU.

THAT'S WHY HE'S GONE. HE'S FIRED.

THAT MAN HAD A BIG HEART.

YOU FUCKED HIM.

HE TRIED TO CONVINCE ME TO FIRE YOU, TOO,

BUT THAT'D BE TOO EASY.

YOU'RE UNDER CONTRACT. YOU'LL STAY THAT WAY.

ANYTHING YOU WRITE IS PROPERTY OF CAPITOL PICTURES.

CAPITOL PICTURES WON'T PRODUCE ANYTHING YOU WRITE--

NOT UNTIL YOU GROW UP A LITTLE.

YOU AIN'T NO WRITER, FINK.

YOU'RE A GODDAMN WRITE-OFF.

I--I TRIED TO SHOW YOU...

SOMETHING BEAUTIFUL.

SOMETHING ABOUT ALL OF US.

I...

YOU ARROGANT SON OF A BITCH.

YOU THINK YOU'RE THE ONLY WRITER

THAT CAN GIVE ME THAT BARTON FINK FEELING?

I GOT 20 WRITERS UNDER CONTRACT

I CAN ASK FOR A FINK-TYPE THING FROM!

YOU SWELL-HEADED HYPOCRITE.

YOU DON'T GET IT.

YOU THINK THE WHOLE WORLD

REVOLVES AROUND WHATEVER RATTLES

INSIDE THAT LITTLE KIKE HEAD OF YOURS.

GET HIM OUT OF MY SIGHT, LOU!

I WANT HIM IN TOWN, THOUGH.

HE'S STILL UNDER CONTRACT.

I WANT YOU IN TOWN AND OUT OF MY SIGHT.

NOW, GET LOST.

THERE'S A WAR ON.

IT'S A BEAUTIFUL DAY.

HUH?

I SAID IT'S A BEAUTIFUL DAY.

YES.

IT IS.

WHAT'S IN THE BOX?

I DON'T KNOW.

ISN'T IT YOURS?

I DON'T KNOW.

YOU'RE VERY BEAUTIFUL.

ARE YOU IN PICTURES?

DON'T BE SILLY.

Download Movie Subtitles Searcher from www.OpenSubtitles.org