Original subtitles

♪

TWENTY YEARS AGO WHEN THERE WERE FEW CELL PHONES,

FEWER PERSONAL COMPUTERS, NO EMAIL,

INTERNET OR SOCIAL NETWORKING.

NO REALITY TV STARS, NO IPODS, NO HYBRID CARS.

WHEN A MAN COULD LIGHT UP A CIGAR IN A RESTAURANT AFTER

DINNER, OR SMOKE A CIGARETTE ON AN AIRPLANE.

WHEN OUR FATHERS WERE STILL YOUNG AND PROVED IT BY NOT ONLY

THE ABSENCE OF GREY HAIRS OR WRINKLES,

BUT BY THE FIGHTS THEY HAD OVER THE WOMEN THEY LOVED,

JACK HUSSAR, LEGENDARY FILM DIRECTOR,

GAMBLER, SEDUCER ARRIVED IN LOS ANGELES

AFTER AN ABSENCE OF SEVERAL YEARS.

EXCUSE ME, THIS MIGHT BE AN ODD QUESTION,

AH, ARE YOU JACK HUSSAR?

YES, I AM.

I I I'M BRAD.

BRAD PERRY.

HI BRAD.

I I AM I I'M SUCH A HUGE FAN OF YOUR FILMS.

I AM JUST, AH.

THIS IS AMAZING, THIS IS AMAZING.

YOU'RE THE REASON I CAME TO HOLLYWOOD T BECOME A FILMMAKER.

OH REALLY.

YEAH YEAH YEAH.

NO, I I I REMEMBER WATCHING YOUR FILMS WHEN I WAS REALLY,

I WASN'T THAT YOUNG, BUT, YOU KNOW.

AH, AH, LAST WINTER, HAUNTED SPEAR.

I MEAN ALL THAT ALL THAT STUFF.

IT'S SO, SO VERY NICE TO MEET YOU.

YOU WERE THE REASON I KIND OF PACKED UP THE WAGON AND CAME TO

HOLLYWOOD AND STARTED MAKING FILMS.

BUT, BUT, BUT YOU KNOW, WE HA D A TIME WHEN WE MET BEFORE,

BRIEFLY.

OH REALLY?

WE WERE WE WERE IN CANNES AND I WAS RUNNING DOWN THE QUORZET,

IT WAS LATE AT NIGHT, IT WAS AFTER A PARTY.

I DIDN'T HAVE ANY PANTS ON SO I WAS,

I WAS LIKE, AH, YOU KNOW.

IT WAS LIKE, AH, BUT BUT, AH, WE RAN INTO EACH OTHER AND AH AH AH

I PROBABLY WASN'T AS COHERENT BUT AH,

BUT I THINK I TOLD YOU THE SAME THING.

NO, I DON'T RECALL THAT I DON'T.

WOW! WOW!

BUT AH, SO, SO YOU'RE HERE MAKING YOUR AH NEXT MOVIE?

YEAH.

ARE YOU..

LIMO PICKING YOU UP OR...

I DON'T WHAT HAPPENED.

I'M WAITING FOR SOMEONE TO PICK ME UP AND SOMEHOW

THEY DIDN'T TURN UP.

YOU NEED A RIDE?

WOULD THAT BE POSSIBLE?

OH ABSOLUTELY!

ARE YOU KIDDING ME?

OH I'D APPRECIATE THAT GREATLY.

WHAT'S YOUR NAME AGAIN?

BRAD BRAD! BRAD BRAD PERRY.

OH, I'D REALLY APPRECIATE THAT BRAD.

OH, IT WOULD BE MY PLEASURE TO AH,

SERVE AT THE ALTER OF A GENIUS LIKE JACK HUSSAR.

OH OH, YOU'RE, YOU'RE TOO FLATTERING.

-THIS IS YOUR BAG? -YES.

NO DON'T DON'T.

I GOT IT. I GOT IT. I GOT IT.

THANK YOU.

NO, LET'S LET'S AH, LET'S GET A CAB.

WELCOME TO LA.

WHERE YOU GUYS GOING?

WE'RE AH, GOING TO HOLLYWOOD.

TO THE CARGO FIRST.

CARGO.

AH RIGHT CARGO.

CARGO FIRST.

ALRIGHT, CARGO AREA.

HEADING OUT.

JACK HUSSAR SO WHAT WAS HIS MOVIES AGAIN?

AH, LAST WINTER, HAUNTED SPEAR.

THAT WAS, THAT WAS A GOOD ONE.

ADVENTURE CLASSIC.

HE'S GOT A DOG.

IT'S A LARGE - YEAH.

I DON'T LOVE DOGS.

GET IN, UP!

GOOD BOY!

WHERE TO?

TAKE US TO THE CHAMBERLAIN HOTEL PLEASE.

COME ON ORSO.

GOOD BOY.

BRAD, THANK YOU VERY MUCH.

$35.50 OH, AH, ALRIGHT. $35.50

THERE YOU GO.

THAT'S EXACT CHANGE.

THANKS A LOT!

WELL HELLO AGAIN.

YEAH, NO I AH, YOU KNOW I FIGURE I'LL I'LL COME IN AND AH AH,

AH MAKE SURE YOU GET SETTLED, AH.

THANKS. ALRIGHT.

MR. HUSSAR!

AHHHH...

IT'S BEEN SUCH A LONG TIME.

DIMITRI.

HAVE YOU CHECKED IN?

YOU HAVE A RESERVATION TONIGHT AT EIGHT.

OH NO, I DO FOR DINNER?

YES.

OH GOOD OH GOOD. GOOD!

AH I'D LIKE A ROOM PLEASE.

YES, NAME PLEASE.

JACK HUSSAR.

MR. HOOSAR.

HUSSAR.

HUSSAR.

AH.

AH, COULD YOU, COULD YOU HOLD ON ONE SECOND PLEASE?

SURE, SURE, YEAH.

SO GOOD TO SEE YOU.

AND THE FAMILY'S GOOD?

FAMILY'S GREAT, YES.

THANK YOU.

WE'VE SO MISSED YOU.

GOOD GOOD GOOD DIMITRI.

HAPPY TO BE BACK.

SO GOOD TO SEE YOU.

MR. HUSSAR.

YES.

WHAT A DELIGHT TO SEE YOU AGAIN.

GOOD TO SEE YOU AGAIN.

HOW CAN I HELP YOU?

I'D LIKE A ROOM PLEASE.

BEFORE WE DO THAT, THERE IS A LITTLE MATTER OF YOUR BILL FROM

THE LAST TIME YOU STAYED WITH US.

OH NO!

YES, YOU HAVE A $2,700 OUTSTANDING BALANCE.

OH DEAR LORD.

WHY I'M SO SORRY ABOUT THAT.

WE'D LIKE TO GET THAT TAKEN CARE OF

BEFORE WE DO ANYTHING ELSE, SIR.

AH, BRAD.

YOU WOULDN'T HAPPEN TO HAVE SOME SPARE CHANGE?

YOU SURE IT'S NOT SOME KIND OF MISTAKE?

OH, AHH...

HERE.

OK, WHY DON'T YOU GO AHEAD AND RUN THAT.

THERE YOU GO.

I'M SO SORRY ABOUT THIS.

NO, IT'S FINE.

I THINK IT WAS THAT NIGHT WHEN WE ORDERED ALL THAT CHAMPAGNE.

THAT WAS A GOOD NIGHT.

OH THAT WAS A BEAUTIFUL NIGHT.

THIS IS, AH...

RIGHT HERE.

YEAH.

IF YOU WOULDN'T MIND.

YEAH.

THERE WE GO!

ALRIGHT MR. HUSSAR, A ROOM?

A SUITE ACTUALLY.

YEAH.

A SUITE.

I'M SORRY SIR, IT WOULD APPEAR THAT WE'RE ALL BOOKED UP.

WE HAVE NO SUITES AVAILABLE.

WELL I'D LIKE A ROOM PLEASE.

I UNDERSTAND THAT SIR, BUT WE ARE FULL UP.

WE HAVE NO ROOMS.

BUT THIS IS A VERY SPECIAL GUEST OF OURS.

YEAH.

WELL, WHAT WAS ALL THAT ABOUT?

I'M SORRY, WE NEEDED TO GET THE OUTSTANDING BALANCE TAKEN CARE

OF FIRST, AND I WOULD LIKE NOTHING MORE THAN TO ACCOMMODATE

YOU, BUT THERE ARE NO ROOMS OR SUITES AVAILABLE IN THE HOTEL.

I'M SO SORRY.

WELL THAT WAS JUST A LOAD OF NONSENSE THEN.

WHAT WAS THAT?

IT'S A WASTE OF TIME.

A WEEK? REALLY?

I'M SORRY SIR, I CAN SUGGEST A COUPLE OF OTHER HOTELS THAT CAN

ACCOMMODATE YOU.

NO YOU CANNOT SUGGEST A COUPLE OF OTHER HOTELS.

SIR, IT'S FULL.

LISTEN TO ME YOU LITTLE PIPSQUEAK.

I WANNA STAY HERE.

I UNDERSTAND THAT SIR, THERE ARE NO ROOMS.

HEY! HEY!

SECURITY! SECURITY!

I'M SO SORRY, SIR.

THAT'S ALRIGHT DIMITRI.

HEY!

STOP IT!

PLEASE, WILL YOU PLEASE ESCORT MR. HUSSAR...

YOU WANNA FIGHT?

FIGHT LIKE A MAN.

SIR... COME ON!

SIR, CAN YOU TAKE IT OUTSIDE PLEASE?

COME ON!

MR. HUSSAR...

SIR.

WOAH WOAH WOAH!

SIR, DO NOT MAKE THIS DIFFICULT.

FIGHT LIKE A MAN!

GOD DAMN IT!

SIR, SIR, WE'LL GET THIS CLEANED UP.

I'LL SEE YOU LATER.

YES, PLEASE.

DON'T WORRY ABOUT IT DIMITRI, IT'S FINE.

OK. OK.

KNOW WHERE THERE'S A CARD GAME IN TOWN?

YEAH.

OVER AT, AH, BAR LUBICH.

LORENZO DECONCHEE.

THAT'S THE HIGH STAKES POKER GAME.

YEAH.

THAT'S THE ONE IF YOU WANT TO GO TO,

LIKE HIGH STAKES...

WELL I FUCKED HIS GIRLFRIEND IN PARIS.

HE RECUT MY MOVIE.

ASSHOLE.

WOW.

WOW!

OK.

MAYBE, MAYBE THAT ONE'S OUT.

I KNOW THIS PLACE.

HELLO?

[INTERCOM VOICE] GOOD EVENING.

I'M HERE WITH JACK HUSSAR.

LET ME CHECK.

ORSO, NO.

ORSO, COME OUT.

ORSO!

ORSO COME HERE.

COME HERE.

SIT! HEY! SIT ORSO.

SIT! SIT! SIT!

DOWN. DOWN. DOWN.

NOW WAIT THERE.

OK?

GOOD BOY. GOOD BOY.

YOU LEAD THE WAY BRAD.

SO, ARE YOU EXCITED?

YEAH!

OF COURSE.

I'M, AH, LOVING LA., SO IT'S...

GOOD GOOD.

GREAT.

I THINK LA'S GONNA LOVE YOU. SOON AS THIS FILM'S RELEASED.

YEAH, I THINK SO.

I ALREADY LOVE YOU.

IT'S A GREAT ENDING.

I LOVED YOUR IDEAS.

YOUR LAST FILM JUST KNOCKED ME OUT,

IT JUST - WELL LOOKS WHO'S HERE.

JACK HUSSAR.

HOW YOU DOING.

I'M GOOD LORENZO, HOW ARE YOU?

I THOUGHT I GOT RID OF YOU?

WHAT ARE YOU DOING BACK?

-YOU MISS ME? -I JUST MISS YOU.

YEAH.

WELL I DIDN'T MISS YOU JACK.

HA!

HEY, LISTEN, WHY DON'T YOU JOIN US.

SIT DOWN.

I WON'T JOIN YOU.

I'LL JUST, AH...

SIT TO ONE SIDE AND JUST WATCH HOW THE GAME PROGRESSES.

IF YOU DON'T MIND.

I DON'T MIND AT ALL JACK.

SUIT YOURSELF.

BUT IT'S UNLIKE YOU.

THAT'S ALRIGHT KID. YOU STAY RIGHT THERE.

IT'S COLLIN. IT'S REALLY NICE TO MEET YOU.

HI COLLIN.

COLLIN OLDMAN, JACK.

THIS KID IS THE NEW SPIELBERG.

WELL, YOU KNOW, I DON'T KNOW... IS HE.

HIS MOVIES MAKE MONEY.

THEY'RE NOTHING LIKE YOUR MOVIES.

UNLIKE YOURS.

THANK YOU.

YOURS ARE, YOURS ARE ART MOVIES.

HOW MUCH DID THAT LAST MOVIE OF YOURS COST ME?

I DON'T KNOW, YOU RECUT IT, YOU KNOW HOW YOU DID IT.

HOW MUCH DID THAT COST ME?

COST ME A LOT OF MONEY.

HOW MANY TIMES DID YOU RECUT IT?

I WASN'T HAPPY JACK.

GOD DAMNED TEST AUDIENCE.

DON'T GET ME WRONG. YOU HAVE MADE SOME GOOD MOVIES.

THANK YOU.

NO ONE GOES TO SEE THEM.

BUT THEY'RE GOOD FILMS.

YOU'RE UP, BUD.

LET'S MAKE IT ANOTHER SIX.

WHAT DO YOU THINK?

15 THOUSAND.

15 COLLIN.

WHAT?

HERE WE GO.

DON'T LOOK SO WORRIED, COLLIN.

IT'S ONLY MONEY.

WHY DON'T YOU, AH, PROTECT YOUR CARDS.

JACK. WE'RE PLAYING CARDS.

JACK.

JACK!

DO YOU HAVE A PROBLEM?

I'M SORRY, LORENZO.

DO YOU MIND IF I JUST HAVE A WORD?

A QUICK WORD?

YES, I WOULD MIND.

WE'RE IN THE MIDDLE OF A GAME.

THIS IS EMBARRASSING.

WE'RE PLAYING CARDS COLLIN.

LORENZO, I'LL JUST BE...

DON'T YOU TOUCH MY CARDS.

I WASN'T GONNA TOUCH YOUR CARDS.

KID, HE'S TAKING YOU.

HE'S TAKING YOU FOR ALL YOU'RE WORTH.

WHAT ARE YOU TALKING ABOUT?

I'VE GOT A WINNING HAND.

HE'S GOING TO CONTROL YOU, HE'S GOING TO RECUT YOUR MOVIES.

HE'LL SUCK YOU DRY, KID.

WHAT ARE YOU TALKING ABOUT?

I KNOW, I'VE BEEN HERE.

I'VE BEEN HERE, KID.

OK. YOU KNOW WHAT, WE'RE NOT THE SAME PERSON.

MR. HUSSAR...

I CAN'T WATCH THIS, I CAN'T WATCH IT.

IT BREAKS MY HEART, KID. COME ON.

LET ME JUST PLAY THIS ONE HAND.

JUST PLAY, JUST PLAY THE HAND.

BUT DON'T GO ALL IN, OK?

OK?

JUST PLAY THE HAND AND GET THE FUCK OUT OF HERE.

I'LL MAKE THE RULES YOU WANT.

OK, OK. LET ME JUST...

-ALRIGHT? -ALRIGHT. JUST...

OK KID.

A LOT OF MONEY.

AH.

I'M BACK.

MAKE SURE HE DIDN'T TOUCH MY CARDS.

AH.

WHO'S BET?

TO YOU.

YOUR BET.

ALL IN.

NO.

YOU'RE BREAKING MY HEART.

NO.

ALRIGHT, LET'S GO BRAD!

HEY JACK.

WHAT?

JACK!

YES.

I WANTED TO LET YOU KNOW SOMETHING.

YOU ARE THROUGH IN THIS TOWN.

YOU WILL NEVER WORK HERE AGAIN.

YOU ARE YESTERDAY'S NEWS.

YOU ARE OLD NEWS.

YOU ARE FINISHED.

ALRIGHT. BYE GIRLS!

I DON'T BELIEVE THIS GUY.

MY PLACE IS KINDA SMALL, BUT YOU CAN STAY AS LONG AS YOU WANT.

THERE'S PLENTY, PLENTY OF ROOM.

THERE WAS JUST KISMET THAT BROUGHT US TOGETHER.

YOU KNOW, LIKE, AH, AH...

LIKE, FATE.

I THINK THAT, WITH YOUR NEXT IDEA,

WITH YOUR NEXT BIG PICTURE, WITH MY PRODUCING SKILLS...

BRAD, DO YOU HAVE HOT WATER?

OH, AH.

OF COURSE, NO.

I'M SURE THERE'S HOT WATER.

THERE'S HOT WATER?

GOOD WATER PRESSURE.

GOOD HOT WATER.

EVERYTHING.

YOU NEED, UM, UM.

I CAN GET YOU SOMETHING ELSE.

DO YOU WANT A SANDWICH, AH, AH.

SURE. SURE.

OH, OK. GREAT.

FANTASTIC.

LET ME, LET ME SEE WHAT I CAN RUSTLE UP.

YEAH, IT, IT.

IT LOOKS LIKE THE LUNCH MEAT'S GONE OFF.

I...

UM...

YOU KNOW, THERE MIGHT BE SOMETHING ELSE.

YEAH, SO, YOU KNOW WHO'S GOING TO BE AT THIS PARTY TONIGHT.

WE'RE GOING TO BE PITCHING THIS FILM,

AND WE COULD BE LIKE RAISING THE MONEY.

THERE'S GOING TO BE SOME EXCELLENT PEOPLE THERE.

I MEAN, RICH MILLER'S GONNA BE THERE.

HE'S ONE OF THOSE GUYS THAT IT'S LIKE...

HE'S A KIND OF A...

AAGH! THESE ARE STALE.

I, I, I'M SORRY.

I'VE BEEN AWAY.

OH GOD.

I JUST, UM, I HAVEN'T HAD A CHANCE TO REALLY,

I WAS GONE FOR A WEEK.

I'LL GET YOU ANOTHER SCOTCH.

THANK YOU.

THAT, THAT, THAT I CAN DO.

RICH, RICH MILLER'S GONNA BE THERE.

ALSO, TED, TED FABERGASTY.

IS, IS THAT THE WAY YOU PRONOUCE HIS NAME? FA-BER-GAS-TY?

HE'S HE'S ONE OF THOSE PRODUCERS HE'S LIKE A TIMELESS GUY.

HE OWES ME A FAVOR.

I DID I DID THE BEST THING FOR HIM.

HE, AH, HAD A CAST MEMBER.

LIKE, I THINK HE WAS IN REHAB AT THE LAST SECOND OR SOMETHING

LIKE THAT.

I, I CAME THROUGH FOR HIM.

I CAME THROUGH FOR HIM.

AND IF THERE'S ONE THING YOU CAN DEPEND ON ME IS TO WORK MAGIC.

I WORKED MAGIC AT THE LAST SECOND.

THAT'S, THAT'S ONE THING THAT, ONE OF THE THINGS

I'M SPECTACULAR AT.

[TAXI] HEY!

OH. SORRY.

[TAXI] $10.50. -SORRY.

HERE IT IS, KEEP IT. THANKS.

THOSE GUYS ALWAYS HAVE MONEY.

THEY ALWAYS GOT MONEY.

I GOT A GOOD FEELING ABOUT THIS.

THIS IS GOING TO BE, LIKE A DEAL,

I'M GOING TO CLOSE A DEAL TONIGHT.

TONIGHT! TONIGHT!

WELL, THAT'S OUR DEADLINE.

BRADLEY.

WHAT'S THAT?

THAT IS OUR DEADLINE.

YEAH.

WELL, WE'RE GONNA MAKE IT.

WE'RE GONNA MAKE IT.

WHO'S THAT?

JACK HUSSAR.

HI! WHAT A LOVELY SURPRISE.

WHEN DID YOU GET INTO TOWN.

HELLO.

OH, I JUST GOT INTO TOWN YESTERDAY.

GOOD TO SEE YOU LOUANN.

WELCOME. VERY GOOD TO SEE YOU.

GOOD TO SEE YOU.

A LOT OF PEOPLE HERE WILL BE EITHER SURPRISED

OR HORRIFIED.

THIS IS EVA.

HELLO EVA.

WHO'S ONE OF OUR NEW STARS.

-GOOD TO MEET YOU. -GOOD TO MEET YOU.

ARE YOU, ARE YOU DOING ANOTHER PICTURE?

AH, YES, I'M GOING TO GET FINANCING FOR IT.

AH. WELL DARLING...

MAYBE YOU CAN HELP.

LET'S INTRODUCE YOU TO OUR NEW FINANCIER.

WHAT'S GOING ON HERE?

THIS IS PETER HOFFMAN. FROM SEVERANCE.

OH, HELLO.

-GOOD TO SEE YOU. -GOOD TO SEE YOU.

HI!

NICE TO MEET YOU.

BRAD PERRY. I'M PRODUCING, AH, JACK'S NEXT PICTURE.

WHERE ARE YOU SHOOTING?

AFRICA.

AFRICA?

YEAH.

THERE'S NO TAX CREDITS IN AFRICA.

OH.

AFRICA'S A BIG PLACE, TOO.

WHERE IN AFRICA?

WELL.

WE'RE TALKING ABOUT THE BELGIAN CONGO.

IT'S A VERY DANGEROUS PLACE.

OH.

DO YOU HAVE THINGS, LIKE INSURANCE?

OH, OF COURSE WE'LL HAVE INSURANCE,

I MEAN, I THOUGHT IT WAS...

CONSIDER THIS AS THE NEXT, HUGE, PINNACLE JACK HUSSAR PICTURE.

IT SOUNDS LIKE A REALLY HARD SELL.

THAT'S WHAT YOU'RE TELLING ME, HUH? -YEAH EXACTLY.

THAT'S RIGHT?

IT'S DIFFICULT TO SELL, I MEAN, WE WE,

REALLY NEED TO, AH, WE SHOULD TALK!

WE SHOULD HAVE A MEETING.

WE SHOULD, AH, SURE.

CALL.

ABSOLUTELY. I WILL DEFINITELY GIVE YOU A CALL.

I'LL DEFINITELY GIVE YOU A CALL.

ALRIGHT, GOOD.

JACK OLD BOY, HOW THE HELL ARE YOU?

I'M GOOD MAX, HOW ARE YOU?

WELL, YOU'RE A SIGHT FOR SORE EYES.

JESUS.

WE'RE THE REAL MEN IN THIS TOWN.

OH, I KNOW IT.

-WHERE YOU BEEN HIDING? -AFRICA.

WHAT ARE YOU DOING THERE?

HUNTING, HUNTING.

YEAH.

HUNTING, HUNTING NO LESS.

HUNTING WHAT?

WELL, I BEEN MAKING A MOVIE.

WELL, THAT'S FANTASTIC.

UM.

WHY AREN'T I IN IT?

WELL, I RAN OUT OF FINANCING.

WHAT DO YOU NEED? WHAT DO YOU NEED?

I'D LOVE TO DO YOUR MOVIE!

OF COURSE I'LL DO YOUR MOVIE.

NO.

NOT YOU.

NOT FOR YOU TO DO.

NO I JUST.

OH WELL, THANK YOU.

THANK YOU.

JACK, DO YOU KNOW EVA?

EVA, JACK.

JACK.

HELLO?

I'M STANDING RIGHT HERE.

JACK'S DOING MY NEXT FILM. AREN'T YA.

LISTEN, CALL ME. SERIOUSLY.

CAUSE I MISS YOU.

I NEED YOU.

I WANT YA.

THANK YOU OLD BOY.

JACK. JACK. JACK.

YES?

-HOW ARE YOU MAN? -I'M GOOD THANK YOU.

-GOOD, GOOD TO SEE YOU. -GOOD TO SEE YOU.

JACK! CAN I TALK...

YOU KNOW WHAT JACK? YOU KNOW WHAT?

WE'VE ALWAYS BEEN A HUGE FAN OF YOURS AND WE WANT YOU BACK.

WE REALLY REALLY WANT.

YOU WANT ANY ACTOR, I WILL GET THE SCRIPT TO THEM

IN TWO SECONDS.

WE'D LOVE TO GET YOU BACK.

WE REALLY WANT YOU BACK, JACK.

I, UM, I WANT TO INVEST IN YOUR FILM.

OH, I'M HAPPY TO HEAR THAT.

OH WELL THAT'S GOOD!

...HOW MUCH HE LOVES YOUR FILMS.

HE'S SEEN EVERYTHING.

I HAVE A REALLY GREAT IDEA IT'S GATSBY.

[INDECIPHERABLE] AMAZING, MOVIE EVER.

OH, REALLY! HE'S ALMOST YOUR BIGGEST FAN.

EXCEPT FOR ME.

PUT MONEY IN IT!

OPENING NIGHT AT SUNDANCE.

OPENING NIGHT AT SUNDANCE.

NEXT YEAR. -ALRIGHT. NEXT YEAR.

...I'M CALLING GILMORE ABOUT THE,

AH, FINANCING.

-HI! -HI.

-I'M MARY JANE. -GOOD TO MEET YOU.

YEAH!

...WELL THERE'S SOMETHING WE GOT TO FIGURE OUT FIRST.

DO YOU DANCE?

NEVER.

TANGO?

THAT'S YOUR SISTER?

THAT'S MY SISTER.

CHEERS.

I'M READY TO GO HOME.

-WOULD YOU LIKE A... -LET'S GO HOME.

WOULD YOU LIKE A DRINK?

I THINK I'M GONNA HAVE A DRINK.

EXCUSE ME.

YOU'VE HAD TOO MUCH TO DRINK, LET'S GO HOME.

PLEASE LET'S NOT DO THIS.

OK? WE'RE GOING HOME.

THERE WAS A DEAL ABOUT POSSESSIVENESS AND YOU'RE OVER

STEPPING THAT MARK.

PLEASE LEAVE.

BRAD?

LISTEN. DO WHAT YOU NEED TO DO, I'M GOING HOME.

I JUST NEED TO TALK TO BRAD.

DO WHAT YOU WANNA DO, I'M GOING HOME.

I'LL DO WHATEVER I, THANK YOU SO MUCH,

-LIKE I NEED YOUR PERMISSION. -YEAH.

BRAD, CAN I TALK TO YOU FOR A MINUTE PLEASE?

YEAH. WHAT?

JESUS.

WHAT JUST HAPPENED?

NOTHING. IT'S HOWARD BEING POSSESSIVE.

HE UNDERSTANDS ABSOLUTELY THE SCORE AND HE'S FREAKING OUT.

I NEEDED YOUR HELP BECAUSE EVERYBODY WAS LOOKING.

NO, THAT'S OK.

WHO IS HE?

YOU MEAN, JACK?

HE'S JACK HUSSAR.

YOU DON'T KNOW JACK HUSSAR?

NO.

I KNOW JACK HUSSAR.

WELL, HE'S HE'S HE'S A GENIUS FILMMAKER.

THERE'S EVEN MORE TO IT THAN THAT.

I MEAN.

WE'LL BE OUT IN A MINUTE.

OH, I SEE, I SEE, SOMETHING'S GOING ON HERE.

YEAH.

BRAD, WHY DON'T YOU...

I'M GOING TO PRODUCE HIS NEXT MOVIE.

THE AFRICA PICTURE?

I'M PRODUCING IT!

AGH, BRAD!

NO, NO, NO!

NO, NO, NO, NO!

COME ON!

OF ALL THE PEOPLE TO PROMISE THAT TO.

IT'S NOT, IT'S NOT A PROMISE.

JACK HUSSAR?

WE'RE JUST IN BUSINESS RIGHT NOW.

YOU THINK THAT...

YOU'RE NOT IN BUSINESS!

WITH WHAT FUNDING?

HOW COULD YOU POSSIBLY...

LOOK, HERE'S THE THING.

HE'S RIGHT NOW, JUST A LITTLE BIT CASH POOR.

AND SO, I'VE BEEN DOLING OUT...

HE'S CASH POOR?

YEAH, WELL HE'S BEEN...

WHAT ABOUT YOU?

WELL I'VE BEEN GIVING WHAT LITTLE MONEY I CAN BECAUSE I

BELIEVE IN HIS PROJECT, I BELIEVE IN ME,

I BELIEVE IN JACK, I BELIEVE IN ALL OF US THAT WE'RE GOING TO

MAKE SOMETHING FANTASTIC.

THIS IS GOING TO BE IT.

THIS IS LIKE THE OPPORTUNITY THAT I'VE BEEN WAITING FOR.

ANYWAY.

HE'S UTTERLY CHARMING AND DEVINE AND NOW I HAVE THE SMALL PROBLEM

OF HOWARD, WHICH I MIGHT NEED YOU TO NEGOTIATE.

BUT CAN WE DO THIS TOGETHER?

IT'LL BE A PROJECT TOGETHER.

THIS IS MY COMEBACK THING.

THIS IS MY OPPORTUNITY.

TO DO WHAT?

DO WHAT TOGETHER?

IF YOU CAN FUND THIS MOVIE.

HELP ME OUT, HELP JACK.

AH HA.

SO YOU CAN BE IN BUSINESS WITH US.

THIS AH ISN'T GOING TO BE LIKE THE OTHER ONES.

IT'S NOT, I SWEAR.

IT'S NOT GOING TO BE LIKE THE OTHER ONES.

IT'S GOING TO BE DIFFERENT.

DO ME A FAVOUR AND TALK TO HOWARD.

WHILE I GO AND TALK TO JACK.

ALRIGHT?

ALRIGHT.

DEE DEE. DEE DEE.

I LOVE YOU.

OOPS.

DEAL WITH HOWARD.

THANK YOU VERY MUCH.

YOU'RE A [INDECIPHERABLE] YOU'RE A WILD DESERT FLOWER.

I'M DIANA.

DIANA, MY NAME IS JACK.

I HEARD.

BRAD IS MY BROTHER.

AND HE SAID HE WAS PRODUCING YOUR FILM.

AND I WANTED TO LET YOU KNOW, BETWEEN YOU AND I,

THAT HE HAS NO MEANS OF DOING THAT.

AND BEING A FAN OF YOUR WORK.

BUT, MORE IMPORTANTLY I WOULD LIKE TO OFFER TO HELP.

YOU KNOW, UM, WHEN A MAN INSULTS ANOTHER MAN,

USUALLY THEY FIGHT.

I DIDN'T MEAN TO INSULT YOU.

I'M SORRY.

WHAT HAPPENS WHEN A WOMAN INSULTS A MAN.

THEY KISS.

IN PUBLIC.

MAY I KISS YOUR HAND?

NOT HERE.

WHERE?

WHEN?

YOU'LL HAVE TO FIND A WAY.

YOU HAVING FUN JACK?

-YEAH, I'M HAVING FUN. -THANK YOU.

-YEAH? -YEAH.

YOU KNOW YOU'RE OLD ENOUGH TO BE HER FUCKING FATHER,

YEAH? YOU KNOW THAT.

SHE CAME WITH ME.

I DON'T KNOW WHERE SHE'S BEEN FOR THE LAST HALF AN HOUR.

SHE'S BEEN HANGING WITH YOU?

SO WHAT DO YOU WANT TO DO? SO WHAT DO YOU ..

WHAT DO I WANT TO DO?

YEAH, WHAT DO YOU WANT TO DO ABOUT IT?

SHE'S WITH ME, JACK.

WANNA FIGHT ABOUT IT?

LET'S FIGHT.

-OH REALLY. -YEAH.

-REALLY. -YEAH.

YOU WANT TO GO OLD SCHOOL ON ME, JACK?

SURE. LET'S FIGHT.

I'LL FUCKING FIGHT YOU. I DON'T GIVE A FUCK.

I SWEAR TO GOD I DON'T GIVE A FUCK.

FUCK YOU JACK!

PANSY!

HE WANTS TO FIGHT, LET HIM FIGHT.

LET GO OF ME!

IT'S OK.

DON'T HURT THAT BOY.

DON'T HURT THAT BOY, COME ON.

AND IF YOU'RE GOING TO FIGHT HIM,

GIVE HIM A PROPER HIT.

WHAT IS THIS MESS?

-OH GO FUCK IT - -WHERE IS SHE JACK?

HUH?

WHERE IS SHE, NAKED BY THE FUCKING POOL?

-HUH? -IS SHE?

-IT'S OK, IT'S OK! -WANNA FIGHT? WE CAN FIGHT!

WHY ARE YOU ACTING LIKE SUCH A JEALOUS FUCKING BOYFRIEND. YOU'RE NOT EVEN MY BOYFRIEND.

-WHERE THE FUCK HAVE YOU BEEN? -YOU'RE EMBARRASSING ME.

-I'M LEAVING. -AH, YOU'RE EMBARRASSING ME. HELLO HELLO.

NICE JACK.

THANKS A LOT.

DON'T GO IN THERE.

THANK YOU MAXY.

SEE YOU IN 10 YEARS.

JACK.

-BYE LOUANNE. -YOU HAVEN'T CHANGED DARLING. TAKE CARE OF YOURSELF.

-JACK! -WHAT?

WHERE YOU GOING? NO NO NO NO DON'T GO DON'T GO DON'T GO.

I'VE GOT TO GO NOW.

NO NO! WE'RE RED HOT! I GOTTA GO NOW.

WE CAN'T LEAVE NOW. WAIT WAIT WAIT WAIT.

THERE'S AN AFTER PARTY. THERE'S GOING TO BE MORE PEOPLE THERE,

MORE AGENTS, MORE PEOPLE I KNOW. WE'RE ON FIRE RIGHT NOW.

WE CAN CLOSE THIS.

HERE, GO TO THIS ADDRESS.

-OK. THANK YOU. -YES.

-BE THERE LATER. -BYE BRADLEY.

BE THERE!

[SPEAKS SPANISH].

YOU WANT TO GET IN THE LADY'S CAR?

SI.

OK.

THAT'S OK?

THANK YOU.

SHHHH...

MY DAUGHTER'S SLEEPING.

OH.

YOU HAVE CHILDREN.

ONE.

ONE GIRL.

LILY.

HUSBAND?

DO YOU HAVE A HUSBAND?

HE DIED.

OH.

LET'S NOT TALK ABOUT THAT.

I WILL DO ANYTHING FOR YOU.

I WILL WALK THROUGH FIRE.

I WOULD KILL MYSELF.

ON COMMAND.

OUTPOST?

IT'S A GOD DAMN MAZE.

WHOOPS.

COP.

OH GOD.

HEY, HOW'S IT GOING TONIGHT?

HI, GOOD EVENING SIR.

YOU KNOW YOU ROLLED THAT STOP SIGN?

YES I DID.

I'M JUST I'M, STILL, LOST.

I JUST DON'T KNOW WHERE, THESE HILLS ARE JUST SO CONFUSING.

IF YOU COULD HELP ME, I'D BE REALLY GRATEFUL.

THIS IS THE ADDRESS.

IT'S SOUTH BEVERLY, SOUTH BEVERLY,

AVENUE?

I JUST KEEP GETTING STUCK ON THESE HILLS,

I JUST KEEP GOING AROUND AND AROUND IN CIRCLES.

MMHM.

AH, THIS A FRIEND'S HOUSE, OR...

YEAH.

BEEN DRINKING TONIGHT?

AH NO JUST A DRINK OR TWO.

HOW LONG AGO?

TWO HOURS AGO.

-SURE? -YEAH.

-POSITIVE? -YEAH, NO I'M OK TO DRIVE.

STRIKE NUMBER TWO.

GOT YOU'RE LICENSE WITH YOU?

LOOK I DON'T.

I JUST ARRIVED FROM AFRICA.

STRIKE NUMBER THREE.

UM, I'M SORRY.

WHAT'S YOUR NAME.

JACK HUSSAR.

THE MOVIE DIRECTOR?

YES, YES.

REALLY?

THAT'S RIGHT.

MYSTIC SPHERE.

YES.

-YOU KNOW IT? -I LIKE THAT FILM.

-OH, THANK YOU! GOOD TO MEET YOU. GOOD TO MEET YOU.

I'M SORRY ABOUT THIS.

I JUST, I JUST, CAN'T SEEM TO FIND MY WAY AROUND.

YOU'VE KIND OF PUT ME IN A PICKLE HERE.

ALRIGHT.

YOU'RE NOT GOING TO HIT ANYTHING OR HIT ANYBODY?

NO.

I ASSURE YOU I WON'T.

BEVERLY AVENUE IS THREE BLOCKS UP. YEAH?

-MAKE A LEFT. -OH GREAT.

-ALRIGHT? -OH THANK YOU.

GO RIGHT THERE.

DON'T MAKE ANY STOPS.

STAY THERE.

NICE FUCKING FERRARI.

-JACK! -HI!

-HOW ARE YOU? -I'M GOOD. GREAT TO SEE YOU!

-LOOK AT YOU! -LOOK AT YOU!

THANK YOU!

FANTASTIC, ALL SHIMMERY. BEAUTIFUL! WOW!

THANK YOU!

VERY GOOD TO SEE YOU.

-BYE DARLING. -BYE SWEETIE.

THAT'S WHAT I WAS GONNA SAY.

I WAS GONNA SAY I THINK, BECAUSE I THOUGHT NO NO NO.

THIS IS, LIKE, HOLLYWOOD.

THIS IS LIKE, THIS IS LIKE A FACE FROM THE 20S,

LIKE A CLASSIC, A CLASSIC BEAUTY,

A CLASSIC ACTRESS.

LIKE, LIKE A 20S MOVIE STAR.

IT'S NOT JUST THE OUTFIT, I MEAN IT'S LIKE YOUR FACE,

YOUR BONE STRUCTURE. EVERYTHING ABOUT IT.

YOU JUST HAVE THIS LIKE CLASSIC BEAUTY.

YOU'RE JUST A FLATTERER.

MAYBE.

I'M PRODUCING JACK HUSSAR'S NEXT MOVIE.

NO WAY.

PRODUCING HIS NEW ONE.

AND THIS IS, THIS IS GONNA BE THE PINNACLE.

THIS WILL BE REMEMBERED AS THE PINNACLE OF HIS WORK.

IT'S LIKE THE GENIUS.

HE'S GOING TO SUPERNOVA.

SO LET'S, I MEAN, LET'S DOING SOMETHING ABOUT THIS.

I MEAN, I'VE DONE, YOU KNOW, A COUPLE COMMERCIALS AND AUDITIONS

HERE AND THERE.

THIS LOOKS LIKE A WASTE OF TIME.

OH WELL.

I THINK THAT WHAT THESE PEOPLE DO,

I MEAN, LOOK, LOOK, LOOK.

YOU SEE, SOME PEOPLE SAY THE EYES ARE THE WINDOW TO THE SOUL,

BUT I THINK IT'S THE HANDS.

AND YOU SEE ALL THE FACT THAT THERE'S ALL THE LITTLE LINES...

SEE YOU BRAD.

JACK! JACK!

HOW'S IT GOING BUDDY?

WE ALMOST GAVE UP ON YOU.

WHAT?

WHY THE FUCK ARE YOU TELLING PEOPLE YOU'RE LENDING ME MONEY.

COME ON. COME ON.

WHAT THE FUCK. WHAT THE FUCK ARE YOU THINKING?

YOU SHOULD BE RAISING MONEY.

YOU SHOULD BE GETTING INVESTORS.

NOT TELLING PEOPLE YOU'RE LENDING ME

YOUR OWN FUCKING MONEY.

WELL WE'RE PARTNERS NOW.

WHAT KIND OF A FUCKING ASSHOLE ARE YOU?

ALRIGHT I'LL, I'LL FIX IT.

BULLSHIT.

I'LL FIX IT.

JACK? I'M ERIK BUMBLE.

YOU'RE WHAT?

ERIK BUMBLE.

BUMBLE?

-YEAH, ERIK BUMBLE. -ERIK, ERIK BUMBLE.

YEAH. FRENCH.

-YOU'RE FRENCH? -YEAH. -REALLY?

I HEARD FROM BRAD.

-OH, SORRY! -THAT'S OK.

THIS IS MY LOVE. I'M ANGEL.

THIS IS ANGEL. ANGEL'S A FAN.

I'M A HUGE FAN OF YOUR WORK. I REALLY AM.

EVERYTHING. THE SEDITION FILM, EVERYTHING, I LOVED IT.

I THOUGHT IT WAS GENIUS.

TELL HIM. TELL HIM. WHAT ABOUT THE LITTLE GIRL.

THAT LITTLE GIRL GETS RAPED IN THE BACK OF THE CAR.

-THAT'S A FANTASTIC ONE! -YOU LIKE THAT?

-YEAH! -YEAH?

-I LOVE IT WHEN, YOU KNOW... -YOU LIKE THAT?

-JACK! -HONEY! -YEAH.

TELL ME WHY YOU LIKE IT. TELL ME WHY YOU LIKE IT. TELL ME WHY YOU LIKE IT.

I MEAN, COME ON. YOU!

YOU ARE THE MAN!

YEAH. I GOT THE MONEY FOR YOUR PICTURE.

YOU SAY A NUMBER, MAN.

I GET IT FOR YOU.

AND I'M TALKING ABOUT TO DO WHAT EVER YOU WANT.

THE ONLY THING YOU GOT TO DO FOR ME IS PUT THIS...

-IN YOUR MOVIE. -OH HONEY.

-THAT'S ALL I GOTTA DO? -THAT'S ALL YOU GOTTA DO.

IS CAST HER IN MY MOVIE?

CAST HER IN YOUR MOVIE. JACK, SHE'S A GREAT ACTRESS.

IS SHE NOW.

SHE'S A FANTASTIC ACTRESS.

LOOK, I'M HAPPY TO CAST HER IN MY MOVIE.

-GOOD. -SHE'S BEAUTIFUL. -GOOD.

BUT IF I HAVE TO. IF I HAVE TO CAST HER IN MY MOVIE,

IT'S A DEAL BREAKER. FORGET IT.

NO NO! WAIT WAIT WAIT! JACK JACK JACK!

WAIT A MINUTE. WAIT A MINUTE.

I KNOW ABOUT YOUR ACTIVITIES.

I KNOW YOUR WHIMS AND I KNOW ALL OF THIS.

BUT!

YOU NEED I NEED TO MAKE YOU MOVIES.

I CAN GET YOU THE MONEY!

[SINGING IN FOREIGN LANGUAGE]

WHERE HAVE YOU BEEN JACK?

AFRICA.

THAT'S FOR LEAVING ME AT THE TRAIN STATION.

WE WERE GOING TO RUN AWAY AND JOIN THE CIRCUS.

WE CAN DO THAT NOW.

-JACK! -HEY JACK!

...THE DOUGH, BRAD.

JACK, IT WAS A $20 CIGAR!

I'M SO...

I'M SORRY BOBO.

IS HE ALRIGHT?

I DON'T KNOW.

LET'S JUST GO, LET'S JUST GO.

YEAH.

OH, YOU'VE GOT DIANA'S CAR.

ARE YOU, ARE YOU SURE YOU SHOULD DRIVE?

OFF WE GO!

HELLO HOLLYWOOD!

AFRICA!

-YEAH! -LET'S GO RIGHT NOW!

LIONS, TIGERS, BEARS OH MY!

I WANT TO FLY JACK!

FOUR, THREE, TWO, ONE.

-YOU LOST HER! -OH SHIT. -ARE YOU ALRIGHT?

-LUCKY CARDS BRAD! -NO! WAIT!

JACK! STOP!

DAMN YOU, JACK! DAMN YOU!

GOOD EVENING.

IT'S JACK HUSSAR!

THE GAME IS OVER.

NO, THE GAME ISN'T OVER. LET ME IN. IT'S JACK HUSSAR.

COME ON.

-HEY KID. -WHAT?

-COME. -JESUS.

WHAT DO YOU WANT?

HE CLEANED YOU OUT, RIGHT?

YEAH, HE GOT EVERYTHING. WHAT'S IT TO YOU?

AND NOW HE RECUT YOUR MOVIE.

I HAVEN'T GOT A MOVIE.

I'M BANNED FROM THE LOT. IT'S OVER, OKAY?

KID. STOP BEING A GIRL.

-WHAT? -STOP BEING A GIRL.

WE'VE ALL BEEN THERE.

FUCK IT. I'LL GET YOUR PICTURE BACK, KID.

-HOW? -WAIT HERE.

WHAT ARE YOU DOING HERE, JACK?

LET'S PLAY A HAND.

NOT NOW JACK. I'M TIRED.

I GOT A BIG DAY TOMORROW.

YEAH.

YOU HAVE NOTHING I WANT, JACK.

YOU'RE SMALL POTATOES.

YOU'LL FINANCE MY MOVIE.

YOU DIRECT IT THE WAY I WANT YOU TO.

FRANK!

FRANK!

I NEED YOU TO DEAL A HAND OF TEXAS HOLDUM.

STOP.

I GET TO CUT THE MOVIE THE WAY I WANT TO.

MY CUT, MY BUDGET.

AND GIVE THE KID HIS MONEY BACK.

I OWN THE KID.

WHATCHA GOT LOENZO?

FLUSH.

TWO JACKS.

FULL HOUSE.

YOU FUCKING SNAKE.

THIS IS NOT OVER, JACK!

I'LL SEE YOU NEXT TIME LORENZO!

KID, I GOT YOUR PICTURE BACK.

WHAT?

THANK YOU!

NO, I'M TELLING YOU, WHEN WE GET TO AFRICA...

I THINK I PROBABLY HAVE TO GET SHOTS.

I DON'T KNOW IF I DO..

DO YOU GET SHOTS THERE OR DO YOU GET THEM BEFORE YOU LEAVE?

WHAT I, WHAT I THINK WE'LL DO, IS,

WE'LL GET THE STORY GOING FIRST.

SO, YOU'LL TELL ME MORE ABOUT THE STORY,

THEN WE CAN COME UP WITH A SCHEDULE.

WE CAN DO SOME OF THE CASTING JUST THINK OF THIS MAX FARADAY

AS THE STAR OF YOUR NEXT PICTURE THAT WOULD WORK.

I SAW HOW FRIENDLY YOU WERE WITH HIM.

WITH US TOGETHER, WITH THIS KIND OF LUCK,

I MEAN, WE CAN DO ANYTHING.

THIS IS THE MOMENT I WAS MEANT TO HAVE.

MEETING JACK HUSSAR.

UH, OH OH OH.

OH MY GOD.

OH NO!

OH NO!

ORSO OLD BOY! WHAT HAVE YOU DONE ORSO?

I'M JUST GONNA, I'M JUST GOING TO LET IT ALL GO.

I'M JUST GONNA LET IT ALL GO.

LET'S GO.

I'LL BE OUT IN A SECOND, I'M JUST GOING TO THROW A FEW THINGS IN A BAG.

BRAD.

YEAH, I'M HURRYING.

COME HERE.

YEAH.

WHAT IS IT?

GOOD BYE BRAD.

NO, NO, NO, NO. NO, NO, NO. COME ON, COME ON. YOU'RE STAYING HERE.

YOU'RE STAYING HERE, BRAD. NO, NO, NO. I CAN'T STAY HERE.

NO. NO. JACK. DON'T LEAVE. YOU CAN'T, YOU CAN'T DO THIS.

THIS IS MY CHANCE. THIS IS, I'M YOUR GUY!

I TOLD YOU, I'M GOING TO DO EVERYTHING! I'M GOING TO DO EVERYTHING!

I'M GOING TO MAKE EVERYTHING BETTER!

BRAD, PULL YOURSELF TOGETHER. YOU'RE NOT COMING. I GOTTA COME.

JACK, DON'T GO. LOOK AT THIS.

YOU'RE JUST LEAVING ME HERE WITH THIS PILE OF SHIT!

I HAVE TO GO, THIS IS OUR MOVIE! PULL YOURSELF TOGETHER, BRAD.

NO, JACK!

JACK, I'LL WORK FOR FREE.

JACK COME BACK!

THANK YOU FOR EVERYTHING, BRAD.

THIS IS OUR MOVIE.

ONE MORE STOP, ORSO.

THANK YOU.

JACK HUSSAR, WITH NO FURTHER DELAY,

WITHOUT A THOUGHT FOR LORENZO, FOR BRAD,

FOR DIANA, BUT ONLY FOR WHAT WAS IN STORE FOR HIM IN AFRICA,

LEFT HOLLYWOOD FOREVER.

MANY YEARS HAD PASSED.

MUCH WATER HAD FLOWED UNDER THE BRIDGE.

MANY HAD DIED.

MANY HAD BEEN BORN.

MANY HAD GROWN UP OR BECOME OLD.

EVEN MORE IDEAS THAN PEOPLE HAD BEEN BORN AND HAD DIED.

JACK HUSSAR HAD DIED LONG AGO.

DIANA WAS NOW SO FAR FROM YOUNG, THAT SHE NO LONGER LOOKED UPON

HERSELF AS SUCH.

LIVING WITH DIANA WHERE HER DAUGHTER LILY,

AND HER BROTHER BRAD, WHO HAVING LOST ANY MONEY HE EVER MADE ON

MOVIES, FOUND REFUGE IN HIS OLD AGE AT DIANA'S.

NOW WHY IS IT THAT NOWADAYS VIDEO GAMES

ARE CONSIDERED ENTERTAINMENT?

IT'S, IT'S A GAME.

IT'S NOT ENTERTAINMENT.

AND JUST BECAUSE YOU WATCH IT DOESN'T MEAN IT'S SOMETHING THAT

FALLS INTO THE CATEGORY OF ENTERTAINMENT JUST BECAUSE IT'S

SOMETHING YOU WATCH.

IF YOU WATCH IT AND IT'S ENTERTAINING THEN IT'S

ENTERTAINMENT.

FRUIT.

WHAT'S, OH, OH, OH, THANK YOU SO MUCH.

AND NOTE. THAT FOR EGGS.

NOW WHAT IF I TREAT THIS KIND OF LIKE A DESSERT?

-AND I HAVE A BAGEL FIRST. -VERY NAUGHTY.

WHY DID YOU SHOW ME THAT PHOTO?

DOES IT REMIND YOU OF ANYONE?

AH, NOPE.

NOPE.

JACK HUSSAR'S SON.

JACK JR.

WOW, YOU'RE KIDDING.

DOES HE LOOK LIKE HIS DAD?

WELL, MAYBE A LITTLE.

HE'S CUTE.

HE IS A CHIP OFF THE OLD BLOCK.

I WONDER.

GOD.

WHAT, TELL ME ABOUT HIS DAD.

WELL, HE WAS.

HE WAS UM...

HE WAS A MAN.

HE WAS THE LAST OF THE OLD BREED, THAT'S WHAT HE WAS. CAN I TASTE IT?

HE WAS ONE OF A KIND.

LAST OF, LIKE THE OLD HOLLYWOOD DIRECTORS.

HE WAS WHAT?

HE WAS ONE OF A KIND.

HE WAS CLASS.

HE WAS THE ARTISANSHIP THAT'S MISSING FROM THE BUSINESS TODAY.

I'D LOVE TO MEET HIM.

-WHO JACK? -MMMMM.

-JACK JR.? -JACK JR. WOULDN'T IT BE FUN?

I DON'T KNOW HIM.

WELL, WHO SENT YOU THE PICTURE?

ANNE. SHE MET HIM IN NEW YORK.

-OH. ANNE. -I'VE NEVER MET HIM.

WELL GET ANNE TO BRING HIM OVER.

WHY DID SHE SEND, I MEAN, IS HE, HE'S COMING HERE?

HE'S COMING TO LOS ANGELES TO DIRECT A FILM.

IT'S HIS FIRST FILM.

HE'S DIRECTING.

THEN HE MUST HAVE SOME OF HIS DAD'S TALENT. HE MUST.

MOM, I DON'T EVEN KNOW HIM.

HE HAS NO IDEA THAT I EXIST AND, WE DON'T,

WE DON'T EVEN KNOW THAT HE EVEN HEARD OF YOU.

WELL HE MENTIONED ME, BY NAME.

-FROM THE PODIUM. -FROM THE PODIUM.

ON AWARDS NIGHT.

WHICH MEANS THAT HIS SON WOULD HAVE SEEN THE FOOTAGE

AND HE WOULD KNOW YOU.

OK.

I'LL CALL ANNE.

WELL, WAIT.

I'LL TELL YOU SOMETHING.

IF HE'S ANYTHING LIKE HIS DAD, I WANT YOU TO BE CAREFUL.

HE'S NOT GOING TO LIKE ME.

NO, LEAVE THEM, IT'S OK.

YOU KNOW I HAVEN'T BEEN TO THIS HOTEL SINCE I WAS A CHILD.

MY DAD USED TO STAY HERE A LOT, SO.

HERE YOU GO SIR.

AND, SEE A BALCONY.

BATHROOM, OVER THERE TO THE LEFT.

IT DOESN'T SEEM BIG ENOUGH.

THIS IS A SUITE?

AND, IF I HAVE PEOPLE OVER HERE THEY'RE GOING TO BE STANDING

RIGHT IN THE MIDDLE OF MY BEDROOM,

IT DOESN'T MAKE ANY SENSE.

THIS IS ONE OF OUR JUNIOR SUITES.

-JUNIOR SUITES - EXACTLY. -YES.

I THOUGHT I WAS GOING TO GET A SENIOR SUITE AT LEAST.

THE BED ISN'T EVEN FUCKING MADE.

THIS IS RIDI... I COULDN'T FIT IN THAT BATHTUB!

THIS CAN'T BE A SUITE.

NO, THIS IS RIDICULOUS. I CAN'T STAY HERE.

AT LEAST LAY ON THE BED.

-NO. I'M OK. -TRY IT OUT.

OH, BOY.

-HI. -HI.

WHAT'S YOUR NAME?

-LOLITA. -LOLITA.

HI, NICE TO MEET YOU LOLITA.

I'M SORRY, I JUST GOT SHOWN TO MY ROOM,

BUT I THINK I WAS MEANT TO HAVE A SUITE.

I DON'T THINK THAT'S A SUITE.

OH, OK. WHAT'S THE LAST NAME?

IT'S HUSSAR.

OK

JACK HUSSAR.

K, UM, I'M SHOWING HERE THERE'S ONLY A JUNIOR SUITE.

STUDIO PAID FOR ONLY A JUNIOR SUITE.

WELL, SHOULDN'T A JUNIOR SUITE HAVE TWO ROOMS NORMALLY?

LIKE A LIVING ROOM AND A BEDROOM?

NO, NO, NO. IT'S JUST THE ONE ROOM. SO, UM.

I'M HERE FOR LIKE THREE MONTHS.

I DON'T THINK I CAN STAY IN THE ROOM FOR THREE MOTHS.

I'LL PROBABLY GO OUT OF MY MIND.

OK, UM.

HAVE YOU ANYTHING BIGGER?

WELL, YEAH.

I DO. BUT, AH, UM, IT'S GONNA BE, ABOUT,

$250?

-THAT I HAVE TO PAY? -THAT'S, THAT'S RIGHT.

I MEAN... BUT THE STUDIO, YOU HAVE A CREDIT CARD ON FILE

WHICH THE STUDIO GAVE YOU.

WE DON'T HAVE A CREDIT CARD ON FILE ACTUALLY. WELL, YOU MUST DO.

THE STUDIO GAVE YOU A CREDIT CARD

BECAUSE I DIDN'T BOOK THE ROOM.

THE STUDIO BOOKED THE ROOM FOR ME.

WELL, THEY DID GIVE ME A CREDIT CARD,

BUT WE DON'T KEEP THAT ON FILE FOR SECURITY PURPOSES.

OK, LISTEN TO ME I'M TELLING YOU. I CAN'T PAY FOR THIS ROOM.

I'M HERE FOR THREE MONTHS.

I'M SHOOTING A MOVIE.

IF I'M IN THAT ROOM FOR THREE MONTHS I WILL GO OUT OF MY MIND.

I WILL GET CABIN FEVER.

I'M MEANT TO BE MAKING AND DIRECTING A MOVIE.

THAT MEANS NORMALLY YOU HAVE TO BE INSPIRED.

I'M LOOKING OUT ONTO A BACK STREET.

I DON'T EVEN HAVE A GARDEN VIEW.

MY FATHER USED TO STAY HERE FOR MANY YEARS,

HIS NAME'S JACK HUSSAR AS WELL.

YOU'RE RIGHT. YEAH.

NORMALLY THEY MIGHT BE ABLE TO DO SOMETHING FOR THE FAMILY?

LIKE MAYBE THEY'D, THEY'D GIVE ME AN

UPGRADE IF THAT WAS POSSIBLE?

I UNDERSTAND UM.

YOU KNOW WHAT.

CAN YOU JUST GIVE ME A SECOND?

AND I'LL MAKE A FEW PHONE CALLS AND THEN,

WHY DON'T YOU JUST RELAX.

OF COURSE.

I'M SORRY, I KNOW, I KNOW IT'S NOT YOUR FAULT. GRAB YOURSELF A CUP OF TEA.

I DON'T MEAN TO GET ANGRY WITH YOU I KNOW I KNOW, I UNDERSTAND.

YOU'RE VERY SWEET. I'M SORRY.

BUT WHY DON'T YOU JUST HAVE A SEAT.

I'M SORRY. WE'LL BE, AH.

HAVE A CUP OF TEA AND I'LL TRY TO FIGURE OUT WHAT'S GOING ON.

THANK YOU. THANK YOU VERY MUCH.

I KNOW I'M SORRY.

I NEVER KNOW I NEVER REMEMBER, JUST, YEAH.

HI!

GOOD TO SEE YOU DARLIN'.

THANKS FOR COMING AND MEETING US.

GOOD!

THIS IS LILY.

HEY LILY. HI. I'M JACK.

JACK HUSSAR, IT'S NICE TO MEET YOU.

YOU REMEMBER PAUL, FROM NEW YORK?

RIGHT, PAUL, YES.

PAUL, LILY.

LILY. LIKE A FLOWER. LILY.

YEAH, EXACTLY. HERE, SIT DOWN.

-OH, YOU ALL RIGHT? -SORRY.

RIGHT ON HIS TOE. PERFECT. GOOD.

NO IT'S GOOD. I STEP ON HIS TOES QUITE OFTEN TOO.

-YOU GUYS WANT A DRINK? -YES, PLEASE.

WHAT DO YOU WANT.

AH, VODKA SODA.

VODKA SODA.

DOUBLE.

-UM, COSMOPOLITAN? -COSMO? -GOOD CHOICE.

WELL, I'M REALLY SORRY THAT IT'S, SO WET.

AH, NO IT'S OK.

I MEAN, ONE ALWAYS EXPECTS SOCAL TO BE SUNNY SO IT'S ACTUALLY A

SURPRISE AND I LIKE SURPRISES.

YOU'RE A SURPRISE.

UM, AND AH WHAT DO YOU DO.

DO YOU MIND ME ASKING?

UM, I'VE DONE SOME ACTING CLASSES, AND...

I THINK, HER, YOUR DRINK IS HERE.

I WANT TO WRITE.

YOU WANT TO BE A WRITER?

DID YOU SAY YOU WANT TO BE A WRITER?

OR AN ACTRESS, OR...

-I'M A WRITER. -YOU ARE?

I JUST WROTE THE MOVIE.

JACK IS GOING TO DIRECT.

OH, OF COURSE, YOU'RE HERE TO DO A MOVIE. YES. WE'RE HERE TO DO A FILM.

I MEAN, THAT'S GREAT.

-OH. -OH. CHEERS!

OH MY GOD, CHEERS. [ALL] CHEERS!

TO A LITTLE FUN IN LOS ANGELES.

YES, FUN. THE CALM BEFORE THE STORM.

-ABSOLUTELY. -GET WASTED!

I'M JUST GOING TO NIP TO THE BATHROOM VERY QUICKLY.

EXCUSE ME.

SORRY.

OH YOU'RE YOU'RE GOING?

OH YOU ARE. OK.

HEY.

NOW I CAN STEAL THE COUCH.

SO, TELL ME, YOU LIKE TO WRITE.

I OVERHEARD YOU.

OH, I MEAN, I'M JUST STARTING, I,

I, NOBODY'S READ MY WRITING.

I'D LOVE TO READ WHATEVER YOU'VE DONE.

YOU KNOW, MAYBE I COULD, IF YOU DON'T MIND.

I'M WRITING...

SORRY.

I'M WRITING A BIOGRAPHY.

EVERYBODY'S ON THEIR PHONE. ARE YOU WRITING ON YOUR PHONE?

IS THAT WHAT YOU'RE DOING? YOU WRITE YOU NOVELS ON YOUR PHONE?

CAN WE GET SOME BLOW?

-ANNE. -WHAT?

CAN YOU JUST KEEP YOUR VOICE DOWN? SORRY.

IT'S A LOBBY. WE DON'T...

-I'M SORRY. -IT'S FINE. -I'M SORRY.

SHE GETS REALLY LOUD.

DO YOU LIKE POETRY?

PAUL, CAN YOU PLEASE SCOOT DOWN.

-HEY! -HEY.

OH GOSH.

YOU WANNA SIT HERE? WHERE YOU WANNA SIT.

NO THAT'S OK. I'LL SIT HERE WITH YOU. YOU PICK.

WHAT I WAS SAYING ABOUT THE POETRY THAT IT,

IT REALLY IMPROVE MY PROSE WRITING.

THIS IS A BIG DEAL.

NO, IT IS A BIG DEAL.

IT'S A VERY BIG DEAL.

BUT LIKE I SAID, ONE CAN ALWAYS MIX A LITTLE BIT OF WORK

WITH PLAY.

NO.

OF COURSE.

ALL WORK AND NO PLAY MAKES JACK A DULL BOY.

SO THEN WE'RE GONNA GO OUT AND GET FUCKED UP AND THEN IT WILL BE FUN.

YEAH.

-THEY SUIT EACH OTHER. -WHO?

I MEAN THEY REALLY SUIT EACH OTHER.

-DON'T THEY? -DO YOU THINK?

-THESE TWO. -NO SERIOUSLY. WE SHOULD FUCK.

ANNE. ANNE!

REMEMBER HALLOWEEN?

YEAH. WHAT ABOUT IT?

EXACTLY.

-OK. SORRY. -THAT'S ALRIGHT.

AH, BUT YOU KNOW WHAT? THIS HOTEL IS REVOLTING.

I HAVE TO BE HONEST. I'M SORRY, BUT I CAME HERE WHEN I WAS 7 YEARS OLD,

MY FATHER USED TO STAY HERE ALL HIS LIFE.

I GOT HERE THEY GAVE ME A ROOM. I'M MEANT TO BE IN A SUITE.

THE ROOM IS LIKE, I CAN'T EVEN STAND UP IN IT.

NO YOU SHOULD COME STAY AT MY HOUSE.

-YEAH. -STAY WITH YOU?

YEAH, WE'VE GOT A GUEST HOUSE.

-YOU DO? -YEAH.

NO, NO, NO NO NO. WE WE.. NO.

-NO, JACK, JACK. NO, NO. -HEY HANG ON A SECOND.

NO I'LL TELL YOU WHAT. THIS IS ACTUALLY A GOOD POINT.

NOW SAYING THAT, ACTUALLY THAT'S WHAT WE'RE TAUGHT IN LONDON.

THE BEST PLACES TO STAY ARE AT PEOPLE HOMES.

-MY MOM WOULD LOVE TO MEET YOU. -REALLY? -SHE KNEW YOUR DAD.

-OH, HOW SWEET. -I DON'T THINK WE SHOULD DO THAT.

WOULD YOUR MOM BE OK WITH US COMING TO STAY?

-SHE'D BE DELIGHTED. -WE'RE FINE.

JACK, CAN WE. LET'S GO AND HAVE A CIGARETTE.

CAN I GO AND SPEAK WITH YOU OUTSIDE AND HAVE A SMOKE.

-YOU DON'T SMOKE. -I'LL CALL MY MUM.

-WHAT? -YOU DON'T SMOKE. -SO WHAT.

I'VE GOT YOUR LIGHTER AND I NEED TO GIVE IT TO...

CAN WE PLEASE JUST GO OUTSIDE AND SMOKE?

GOD, SHE'S A DITCH, LILY, HUH?

NO, NO, NO!

LOOK WE, WE CAN'T GO AND STAY THERE, OK?

DON'T BE SUCH A PRUDE. SHE JUST OFFERED US.

WHY'D YOU HAVE TO SAY YES TO EVERYTHING?

I'M NOT SAYING YES TO EVERYTHING?

WHAT ARE YOU PLANNING TO DO?

A BEAUTIFUL GIRL JUST OFFERED US TO STAY IN HER HOUSE.

YES. WHAT IS THAT.

AND WE HAVE A NICE PLACE TO STAY THE STUDIO HAS PUT US UP, AND WE SHOULD STAY HERE.

I DON'T LIKE MY ROOM. YOU LIKE YOUR ROOM. I DON'T LIKE MINE.

I'D MUST PREFER TO STAY IN A HOUSE WITH A BEAUTIFUL WOMAN.

WHAT ARE YOU PLANNING ON DOING? HUH?

I'M NOT, AH, IT'S NONE OF YOUR BUSINESS.

WHAT DO YOU MEAN IT'S NONE OF MY BUSINESS IF WE'RE BOTH GOING TO STAY IN HER HOUSE.

SHE'S A NICE GIRL, JACK.

SHE'S A NICE GIRL AND I KNOW WHAT YOU'RE LIKE.

OK, HURRY UP PAUL.

IN FAST!

OH MY GOD.

YOU WANT MY CARDIGAN?

NO I'M GOOD.

DON'T FALL IN THE POOL.

WATCH THE POOL.

IT'S SO WET OUTSIDE.

I'M SORRY. I'M SORRY.

-COME ON IN. -HI.

JACK JR. JACK JR. HOW ARE YOU?

-WHAT'S YOUR NAME? -I'M BRAD.

-VERY NICE TO MEET YOU BRAD. -OH YOU KNEW MY FATHER.

I DID KNOW YOUR DAD. YOU ARE SO MUCH LIKE YOUR FATHER.

OH REALLY. YEAH NO, I GET THAT A LOT THESE DAYS.

I PRODUCED THE GOLDEN LION WITH YOUR DAD, YEAH. -OH, YOU'RE KIDDING ME.

HI, IT'S A GREAT PLACE.

I'M JACK.

HI, HI.

NICE TO MEET YOU. PLEASURE. HOW ARE YOU?

-NICE TO MEET YOU. -VERY WELL.

THANK YOU SO MUCH FOR HAVING US IN YOUR HOME.

DID YOU REMEMBER TO PUT SALT?

MOM, I PUT SALT IN IT.

-YOU DID? -I DID.

YOU GO WASH THE STRAWBERRIES.

OK. NO.

I DON'T WANT TO WASH THE STRAWBERRIES.

OH, OK, I'LL WASH THE STRAWBERRIES.

WELL IF YOU'RE NOT GONNA, STOP IT! STOP IT!

-JUST A LITTLE, ALRIGHT... -NO!

-TAKE HIM AWAY. -YOU ALWAYS CONVERGE IN THE KITCHEN.

EVERY TIME THERE'S A DINNER PARTY EVERYONE ALWAYS ENDS UP IN

THE KITCHEN.

MOVE.

WOULD YOU LIKE SOME SPACE LILY, BECAUSE WE CAN,

WE DON'T ALL HAVE TO BE.

NEED ANYTHING?

WELL, HOW LONG IS IT GOING TO BE NOW?

UM, 45? 45 MINUTES?

45?

WHAT DO YOU FEEL LIKE? A GAME?

SHOULD WE PLAY A GAME? DO YOU PLAY CARDS?

OH. WELL I HAVE PLAYED IN MY LIFE. I'M NOT REALLY GOOD.

THAT'S PUTTING IT MILDLY, BUT...

UM, HAVE YOU PLAYED BRIDGE BEFORE?

YEAH, I HAVE PLAYED BRIDGE.

BRIDGE IS A GOOD OLD ENGLISH GAME THAT WE CAN - WE HAVE 45

MINUTES, GIVES US ENOUGH TIME TO HAVE AT LEAST ONE.

ALRIGHT. WELL, I'VE GOT SOME CARDS SOMEWHERE.

UM, NO BUT I DO BELIEVE THAT THERE'S CERTAIN GAMES THAT WHEN

THERE'S NO MONEY THERE'S NO REASON TO PLAY.

SO I DO THINK WE SHOULD PLAY WITH SOME MONEY.

MATCHES ARE SOMETHING TO PLAY WITH,

I MEAN, THAT'S FINE.

THERE'S NO REASON WE HAVE TO PLAY FOR MONEY.

FIVE DOLLARS A TRICK THAT'S NOT BAD,

-THAT'S A VERY SMALL SUM. A -BOX OF MATCHES IS FINE.

IF YOU DON'T WANT, OBVIOUSLY AS HOSTESS.

WHATEVER YOU THINK, BUT UM...

JACK.

I ALWAYS BELIEVE THAT WHEN PLAYING,

AS MY FATHER WOULD SAY, YOU KNOW.

THERE'S NO POINT IN PLAYING A GAME IF IT'S NOT PLAYING FOR MONEY.

[CHUCKLES] YES, YES.

FIVE OF DIAMONDS.

EIGHT TO EIGHT.

ARE YOU JOKING?

YOU CAN'T JUST FUCKING SAY THAT ACROSS THE TABLE?

-WHY CAN'T I? -EIGHT OF DIAMONDS.

-YES. -WELL YOU CAN'T JUST SIT THERE.

-WHY NOT? -WELL, YOU CAN'T -IT'S STILL FRIENDLY.

IT'S FRIENDLY, IT'S FRIENDLY, BUT.

I DON'T BELIEVE IN PLAYING CARDS UNLESS YOU PLAY SERIOUSLY.

I - YOU CAN'T DO THAT AGAIN.

MY FATHER SAW YOU PICKING, LIKE, HINTING TO SOMEONE YOU'D GET A

FUCKING FIST IN THE FACE.

-NO, NO, NO, HE WOULD HAVE -WOULDN'T HE NOT?

THAT HE WOULD. THAT HE WOULD DO. YES YES.

WELL, IT SEEMS EVERYTHING COMES BACK TO YOUR FATHER.

YOU REMIND ME OF SOMEONE OTHER THAN YOUR FATHER.

HOPEFULLY A FRIEND. OR SOMEONE YOU LIKE.

-I'M NOT SURE. -YOU'RE NOT SURE.

HMM...

BOOM.

WE'LL TAKE THAT.

OH MY GOD, NICELY PLAYED.

NICELY PLAYED.

-WAIT A MINUTE. -AND THAT'S US.

WELL WE JUST GOT OUR SIX SO THAT MEANS YOU CAN'T GET YOUR NINE.

AND THAT'S OUR GAME.

HAVE YOU WON?

PLAY THE ACE OF HEARTS.

HERE WE GO.

THAT'S OK AND I'LL JUST DO THAT.

AND PERFECT. THANK YOU. THANK YOU.

TAKE THAT. TAKE IT DOWN AND WE WIN.

GOODNIGHT.

THAT'S ANOTHER ONE. THE CARDS ARE JUST.

I KNOW. I GET IT.

HOW MUCH DO I OWE YOU?

-I THINK, UM, I THINK, OH ACTUALLY $180. -COME ON.

$180. HOW DID WE GET THERE?

THIS IS WHAT WE SHOULD PLAY WITH.

-WITH MATCHES. -I TOLD YOU THAT.

-YES. -WE CAN.

I'M, REALLY SORRY, I'M NOT GONNA TAKE ANYTHING.

I THOUGHT WE WERE PLAYING IT'S JUST A GAME. I'M GONNG GO CHECK ON LILLY.

-OK, DINNER. -THAT'S OK. I'M GOING TO CHECK ON HER.

HOW'S IT GOING IN HERE?

-HEY! -HI.

OH GOD.

CAN I HELP?

I'M VERY GOOD WITH MY HANDS. AS I SAID BEFORE, PUN INTENDED.

YOU'RE FUNNY.

-WELL. -I'M HUNGRY. I MUST ADMIT. -ME TOO.

VERY HUNGRY.

HAVE YOU TASTED THESE?

I HAVEN'T YET.

YOU HAVEN'T?

GOOD STRAWBERRY.

YEAH, THAT'S PRETTY GOOD.

IF, IF YOU'LL EXCUSE ME.

MAYBE THEY NEED SOME HELP.

OR SOMETHING LIKE THAT.

-WHAT ARE YOU GUYS DOING? -HEY PAUL.

-HEY. -CHOPPING THE STRAWBERRIES.

RIGHT.

SO...

THAT'S LOOKS DELICIOUS.

EVERYONE.

AH, RAISE A GLASS.

TO THE CHEF AND TO A WONDERFUL, GRACIOUS HOSTESS.

I HAVE TO SAY TO BOTH OF YOU.

WHAT A PLEASURE BEING IN YOUR HOME.

-THANK YOU. -CHEERS.

-WELCOME. -IT'S DELICIOUS, IN EVERY WAY.

THANK YOU. THANK YOU.

THANK YOU SO MUCH FOR YOUR HOSPITALITY.

SEE YOU IN THE MORNING.

AH, BRAD.

-GOOD TO SEE YOU. -THANK YOU SO MUCH.

AH, LILY.

THANK YOU SO MUCH THAT WAS WONDERFUL.

-BRAD, PLEASURE. -ABSOLUTELY.

-GOOD NIGHT. -GOOD NIGHT.

I DON'T AGREE WITH IT. THAT'S ALL.

YOU UNDERSTAND?

IT'S NOT THAT I'M UPSET. I JUST DON'T AGREE WITH WHAT YOU WERE DOING.

IT WAS QUITE FUNNY, THOUGH HUH.

IT WAS NOT FUNNY. IT WAS, IT WAS WRONG.

-IT WASN'T WRONG. -IT WAS KIND OF AN ASSHOLE MOVE IF YOU ASK ME.

SHE DIDN'T TAKE LOSING WELL AT ALL.

LA IS MEANT TO BE HOT.

I BET SHE WAS GOOD LOOKING IN HER DAY, WASN'T SHE.

THE OLD GIRL.

HER MOM, YEAH.

I'LL BET SHE WAS.

I MEAN, LILY, SHE'S...

SHE'S BEAUTIFUL, ISN'T SHE.

-YEAH SHE'S BEAUTIFUL. -NOT THE BEST COOK IN THE WORLD.

YOU KNOW THIS WHOLE LILY THING, YEAH.

YOU SHOULD REALLY SLOW IT DOWN.

YOU'RE COMING ON A LIT,

WELL, YOU'RE COMING ON A LITTLE STRONG.

WHAT ARE YOU DOING?

WHO ARE YOU TEXTING?

I WASN'T TEXTING ANYONE.

I'M GOING TO GO SMOKE.

YOU WHAT?

JACK?

JACK!

THERE YOU GO, PUSSY CAT.

OH, HOW PEOPLE'VE CHANGED.

KITTY?

HIS FATHER.

OH.

HIS FATHER. HE WENT DOWN ON HIS KNEES.

AND DECLARED HIMSELF.

WHAT WOULD YOU HAVE ME DO?

KILL MYSELF.

ON YOUR COMMAND.

I'LL DO ANYTHING YOU COMMAND.

-HEY. -HEY.

YOU FELL ASLEEP.

I'VE BEEN WATCHING YOU ALL DAY.

YOU HAVE THIS SWEETNESS.

YOU'RE CHARMING AND YOU'RE BEAUTIFUL.

BUT I THINK THERE MIGHT BE A DARKER SIDE TO YOU.

AND IT COULD BE VERY GOOD FOR MY PICTURE.

YOU ARE THE PART, BASICALLY.

YOU JUST HAVE TO FIND YOUR DARK SIDE.

WHY DO YOU THINK THERE'S A DARK SIDE?

WELL, I THINK, NO ONE CAN BE AS BEAUTIFUL AND AS SWEET AND AS

INNOCENT AS YOU PLAY.

I'M NONE OF THOSE THINGS.

WE'LL SHOOT A SCREEN TEST.

DO YOU KNOW WHAT A SCREEN TEST IS?

-YES. -YEAH.

SO WE'LL SHOOT A SCREEN TEST.

AT THE STUDIO.

AND I CAN SHOW THEM.

ANYWAY, I, AH, I HAVE DIRECTOR'S APPROVAL FOR THE ACTORS.

IF I DON'T GET YOU, I WON'T DO THE PICTURE.

I CAN'T BELIEVE YOU'RE SAYING THAT.

NO. I'M ONLY SAYING IT BECAUSE I MEAN IT.

REALLY?

YES.

SOMETIMES YOU'RE JUST STRUCK BY SOMEONE.

SOMETIMES SOMEONE JUST COMES RIGHT OUT AT YOU AND YOU SAY OH

WOW, THAT'S IT, THAT'S EXACTLY WHAT I'VE BEEN LOOKING FOR.

WOW.

ARE YOU SURE?

YEAH, I'M DEFINITE.

WHAT IS THAT? WHY DO YOU WEAR THAT?

-IT WAS MY DAD'S. -REALLY?

YEAH.

YEAH, I GOT IT WHEN HE DIED.

AND HE GOT IT FROM HIS FATHER.

IT'S A LAPUS.

SUCH A PRETTY COLOR.

YEAH. IT'S BEAUTIFUL.

AH.

I'M SORRY, MY PHONE KEEPS VIBRATING IN MY POCKET.

AH. IT'S PAUL.

I THINK HE'S A LITTLE JEALOUS.

I THINK HE MIGHT LIKE YOU TOO.

NO.

I THINK HE DOES.

HEY JACK.

JACK.

WHAT IS IT?

JA - OH HEY.

WHAT THE HELL ARE YOU DOING?

YOU NEED TO COME DOWN NOW.

KEEP YOUR VOICE DOWN. YOU'RE GOING TO WAKE HER MOTHER.

LORENZO HAS CALLED ME. OK.

HE'S BEEN TRYING TO GET A HOLD OF YOU,

BUT HE COULDN'T GET A HOLD OF YOU SO HE CALLED ME.

-HE'S AT. -WHY?

HE WANTS TO SEE YOU NOW.

-GET DOWN HERE. -IT'S 11 O'CLOCK AT NIGHT.

I DON'T CARE WHAT TIME IT IS.

-WHERE IS HE? -HE'S AT THE LUBICH. THE BAR. COME ON.

OH MY GOD. I'M SO SORRY.

HEY LILY.

WHAT'S GOING ON?

HE'S THE PRODUCER OF THE FILM.

-NOTHING. WHAT? -IT'S OK.

ACTUALLY I CAN TALK TO HIM ABOUT YOU TONIGHT.

OK.

WILL YOU STAY AWAKE FOR ME? I'LL BE BACK IN TWO HOURS AT THE MOST.

-HEY JACK. COME ON. -I'M COMING. KEEP YOUR VOICE DOWN.

WE GOTTA GET A MOVE ON.

JESUS CHRIST.

-HE'LL WAKE MY MOM. -I'LL BE BACK.

WANNA TAKE MY CAR?

CAN I?

-I'LL BE BACK IN A COUPLE OF HOURS, OK? -OK.

GOOD EVENING.

IT'S HUSSAR. JACK HUSSAR.

WELCOME.

NOT A BAD NIGHT, HA BEN?

NOT BAD AT ALL.

HERE YOU GO MY FRIEND.

THAT'S FOR YOU.

DON'T SPEND IT ALL IN ONE PLACE.

THANK YOU SIR.

LOOK WHO'S HERE.

JACK HUSSAR, HOW YOU DOING KID.

IT'S GREAT TO FINALLY MEET YOU.

SAME HERE.

I KNEW YOUR FATHER. I KNOW YOU DID.

YOU DID SOME GREAT MOVIES TOGETHER YEAH.

NOW YOU AND I ARE GOING TO MAKE A GREAT MOVIE.

RIGHT?

I HOPE SO. YEAH, SURE.

WHY DON'T YOU SIT DOWN.

LET'S PLAY A LITTLE TEXAS HOLD 'EM.

YOUR DAD LIKED THAT GAME.

YEAH, UM.

OH, I DON'T HAVE ANY CASH.

I WOULDN'T WORRY ABOUT THAT.

I'LL TAKE YOUR MARKER.

HERE YOU GO.

AND, THIS WILL MAKE IT 25 THOUSAND DOLLARS.

TWENTY FIVE THOUSAND?

IT'S NOT TOO RICH FOR YOUR BLOOD, IS IT?

AH, NOPE. $25,000.

EXCELLENT. BEN?

SO YOU HAVE A GOOD FLIGHT, JACK?

AH, YEAH. IT WAS, UM, FINE FROM NEW YORK.

JACK, TELL ME.

HAVE YOU CHOSEN THE GIRL YOU WANT FOR THE LEAD YET?

AH, NO, I, I, I, WAS ACTUALLY GOING

TO SPEAK TO YOU ABOUT THAT.

BECAUSE THERE'S SOMEONE THAT I LIKE. I THINK SHE'S TERRIFIC.

I'VE BEEN FOLLOWING THIS KID FOR A LONG TIME.

FUCKING GREAT, HUH, JACK?

YEAH, BEAUTIFUL.

BEAUTIFUL IS RIGHT.

COME HERE BABY.

KISS.

LAURA, THIS IS MY NEW DIRECTOR JACK.

-HI LAURA, THAT WAS UNBELIEVABLE. -THANK YOU.

SO JACK.

WANT YOU TO UNDERSTAND SOMETHING.

NOW YOU'RE A GOOD LOOKING KID, BUT LAURA BELONGS TO ME.

CAPISCE?

YOU CAN LOOK, BUT DON'T TOUCH.

NO, OF COURSE.

JACK, I'D LOVE TO MEET UP AND TALK ABOUT THE ROLE.

BENNY, COME HERE FOR A SECOND.

IF YOU HAVE A SECOND.

SURE.

WHAT'S YOUR PHONE NUMBER?

IT'S, AH, 9873647527.

-CAN YOU REMEMBER THAT? -YES.

SHIT.

HEY THERE.

THANKS FOR COMING.

IT'S NOT A GOOD IDEA ME BEING HERE.

WHY?

DO YOU WANT A DRINK?

CAN I GET A VODKA MARTINI PLEASE,

WITH A TWIST?

THANK YOU.

I CAN ONLY BE HERE FOR ONE DRINK. I'M SORRY.

I HAVE TO GO HOME.

YOU CAN HAVE TWO. IT'S EARLY STILL.

I JUST MET A GIRL LILY.

WHO I LIKE.

SHE'S A NICE GIRL.

I DON'T WANT TO KEEP HER WAITING TOO LONG.

SHE CAN KEEP WAITING FOR A BIT LONGER.

CHEERS.

THAT WAS ONE OF THE MOST AMAZING DANCES I'VE EVER SEEN.

THANK YOU.

IT'S UM, A LITTLE UNCOMFORTABLE WHENEVER HE'S THERE.

BECAUSE I'M CONSTANTLY WATCHED, BY,

WHO I SPEAK TO, WHAT I DO. SO.

YEAH. OF COURSE.

IT MIGHT HAVE BEEN A LITTLE TAMED DOWN.

THIS ISN'T A GOOD IDEA.

WE'RE NOT DOING ANYTHING WRONG.

JUST BEING HERE'S NOT A GOOD IDEA.

IF HE EVER FOUND OUT ABOUT THIS, THIS WOULD AH...,

END VERY BADLY FOR BOTH OF US.

HE'S A VERY POWERFUL MAN.

I KNOW.

I JUST DON'T THINK WE SHOULD ELIMINATE ANYTHING THAT COULD BE

COMPLICATED AND COMPLICATED IN A FUN WAY.

YOU KNOW?

WHAT'S WRONG?

YEAH.

I'M NOT TOO DRUNK.

YOU'RE FINE.

DON'T BE SCARED.

I'M JUST DRIVING RIGHT NOW.

I DON'T KNOW WHY I'M DRIVING.

I'M FUCKING TOO DRUNK FOR DRIVING.

I CAN'T FUCKING SEE ANYTHING.

HI THERE.

YOU DO REALIZE THIS IS A PUBLIC STREET. RIGHT?

I'M SORRY.

WE WERE LOST AND WE WERE LOOKING FOR SOME DIRECTIONS.

DO YOU HAVE A DRIVER'S LICENSE.

UM, I DON'T HAVE MY WALLET WITH ME.

I'M FROM ENGLAND.

OK.

MA'AM.

DO YOU HAVE ANY IDENTIFICATION?

NO.

NOT ON ME.

OK, WELL WHY DON'T YOU DO ME A FAVOR AND STEP OUT HERE FOR ME.

YOU HAVE NO WEAPONS ON YOU, RIGHT?

NO.

TURN AROUND REAL QUICK.

ALRIGHT, STEP BACK AROUND HERE TO THE BACK OF THE CAR.

UP ON THE SIDEWALK.

ARE THESE ALL PHOTOGRAPHERS?

I DON'T KNOW WHO THESE GUYS ARE.

OK, I NEED YOU TO STEP OVER HERE THOUGH.

OK.

ALRIGHT, TURN AROUND AND LOOK AT ME.

HOW MUCH HAVE YOU HAD TO DRINK TONIGHT?

TWO DRINKS.

OK. YOU REALIZE THAT YOU REEK OF ALCOHOL.

OK, IT'S MY PROFESSIONAL OPINION RIGHT NOW THAT YOU'VE HAD A FEW

MORE THAN JUST TWO DRINKS.

I MIGHT HAVE HAD, AH, MAYBE THREE OR FOUR.

OK.

WHAT I'M GOING TO DO IS I'M GOING TO GIVE YOU SOME,

FIELD SOBRIETY TESTS RIGHT NOW.

OFFICER IS THERE ANYTHING I CAN DO TO GET OUT OF THIS?

I'M SORRY, I'M SHOOTING A MOVIE AT THE MOMENT

AND I'M BEING PHOTOGRAPHED.

OK, LISTEN UP. OK.

AT THIS POINT THERE IS NOTHING YOU CAN DO,

OTHER THAN FOLLOW MY INSTRUCTIONS.

ARE WE CLEAR ON THAT?

WHAT I NEED YOU TO DO IS TURN AROUND.

TURN AROUND. PUT YOUR HANDS BEHIND YOUR BACK.

COME ON, GIVE US A SMILE, MAN!

COME ON JACK. TURN AROUND!

OVER HERE!

DROP YOUR HEAD AND SIT DOWN.

DO YOU UNDERSTAND WHY YOU'RE BEING ARRESTED?

NO, I DO NOT.

OK. YOU THINK THAT WHAT YOU WERE DOING IN THE CAR WAS LEGAL?

WE WEREN'T DOING ANYTHING.

OK, THAT'S NOT WHAT I SAW.

WHAT DID YOU SEE?

JACK!

YA, COME IN. COME IN.

HI. HEY.

HEY.

I UM.

IS IT JACK?

JACK IS IN JAIL.

WHAT?

IS HE OK?

-YES, HE JUST... -WHAT HAPPENED?

HE WAS ARRESTED LAST NIGHT FOR A DUI,

IN YOUR CAR WITH LAURA.

WHO'S LAURA.

I DON'T KNOW, BUT APPARENTLY SHE WAS

GOING TO BE THE LEAD IN MY FILM.

SIT DOWN.

JACK.

JACK, WHAT, JACK IS, IS IN, IS IN JAIL?

IT'S EVERYWHERE, LILY.

IT'S ON, THE, THE, THE, GOSSIP SITES,

THE, THE, THE, CELEBRITY BLOGS, IT'S EVERY...

LORENZO KNOWS.

HE'S GONE MAD AND - YOU KNOW, HE'S ALREADY,

HE'S ALREADY SAID THAT, THAT, JACK'S NOT GOING TO BE ON THE

FILM, HE'S FIRED AND I DON'T KNOW WHERE

THAT PUTS ME NOW, BUT...

I'M SUCH AN IDIOT.

WHO'S LAURA?

I DON'T KNOW.

THIS IS WHAT JACK DOES.

HE MEETS A GIRL, HE MAKES PROMISES,

AND, AND, AND, AND HE CAN'T KEEP THEM,

AND, AND THIS IS WHAT HAPPENS.

I'M SORRY LILY.

SORRY I'M GETTING SNOT EVERYWHERE.

IT'S OK.

I JUST, I REALLY THOUGHT THAT HE LIKED ME.

I REALLY THOUGHT HE LIKED ME.

I'M SURE HE DID. YOU'RE BEAUTIFUL.

-AND YOU'RE... -NO I'M NOT.

YOU ARE, YOU'RE AMAZING.

-I'M NOT. -YOU'RE NOT LIKE...

COME HERE.

YOU DESERVE BETTER.

OK?

THANK YOU PAUL.