All language subtitles for Symbiopsychotaxiplasm.Take.One.1968.1080p.BluRay.x264-ORBS

- Alice.
- No.

- Alice, wait a minute.
- No.

- Wait a minute.
- Don't touch me.

What's the matter with you?

Just how stupid
do you think I am?

What are you talking about?

You know perfectly well
what I'm talking about.

- You've really got me foxed. Really.
- Just look into what you've been doing.

- Okay. Cut out all the double-talk.
- Ha!

- What's so funny?
- You're funny, Freddie.

You're a very funny man.

You've got me foxed. Really.

Why don't you just... go away.

Why don't you just get
out of my life permanently.

-Oh, stop acting, will ya? I
mean, cut - -Don't touch me.

Come on, Alice. Stop acting.

No. I said don't touch me. Please.
Don't ever touch me ever again. Ever.

You know, you're really
acting quite impossible.

- I'm not a mind reader, sport.
- I wish I were.

I wish I knew what goes on in
that screwy little brain of yours.

How come you think that everybody
in the world is stupid except for you?

Boy, you're really
talking in circles.

How much of a phony can you be?

Listen. I don't have to stay here
and listen to all these hysterics.

You don't even have the courtesy
to tell me what this is all about.

I'm a woman.

- And?
- I'm a woman... and not a fool, Freddie.

I know what goes on around me.

I watched you.
And I watched him.

- Him?
- Him. Yes. Him.

Some little... faggot boy that
half the world knows about.

What are you, some
kind of nut or something?

- Alice, just believe in me.
- Believe you? You haven't changed.

You just had me conned. Believe in
you? How the hell can I believe in you?

You've been killing my
babies one right after the other.

- Look. I said that I want children too.
- Ever since we've been married,

I've had abortion
after abortion.

My -

Look. I want babies too.
Can't you believe that?

I just want to have a child when
things are right between us. That's all.

- Right between us.
- Yes. Right between us.

Right between us. Right.
Yeah. Mm-hmm. Sure.

All right. Then why
don't we have a baby?

Hmm? Let's have a baby.

Well, uh -

- You can - You mean just like that?
- Yeah. Yeah. Let's have a baby.

Well, uh, it's not the time.

That is a cop-out, you faggot.

You - Do you - Do you
know what you're doing?

You keep - You keep
saying these things to me.

All right? About faggot?
You're projecting, Alice,

because you're trying to - to see
things in me that you see in your own self.

- Bullshit.
- Ah.

You're just turning everything
around to suit yourself.

You just don't want any
responsibilities. You don't want any wife.

- That's all part of your fantasy.
- You don't want marriage.

- You don't want children.
- It's part of your fantasy that -

You just want the
gay world, Freddie.

G-A-Y! Right? Huh?

- The going gets a little tough...
- Shh! Look, you -

- a little too tough, and you run off.
- Shh!

Fuck you!

-If you're gonna talk that
way - -Speaking of "fuck."

How we've been making love lately,
we're never gonna have any babies.

- That's the way you want it.
- Fuck you!

But, uh, let me hear your - your
- your - Let me hear the sound.

- That's dreadful.
- What?

- This is terrible.
- Let's see.

Is that what we've
been getting all the time?

- That's dreadful.
- Let me hear it.

Here we go. That's it.

-This one goes - -What-What
- Maria, what are you doing?

- Okay.
- No. This one - Where does this one go?

Uh, what -

- Maria is, if I may use the
expression - -5.6 now. Yeah.

- Is, uh, plugging me in.
- Yeah. So I see.

- Why don't you people get to work?
- Roland, where does this one go?

Put my hair right up.

Okay. Now then.

You were telling me the
name of the game is sexuality.

Uh, yeah. Uh, the
important thing is

that I wanted to make sure that, uh,
everything that happens on the set -

I mean, whether it's off - off camera,
or whether it's among the crew,

or whether it's, uh,
being shot, it has -

Thematically, I mean, we should be
constantly relating to, uh, sexuality.

And sexuality -

- But anyway, the point is
that, um - -What'd you say?

Oh, here's that woman
with the tits. Hey. Hey.

- There's - Right down there. Get her.
- She's a little too far away.

Yeah. No. She's
coming. She's coming.

All right. All right. She's there
now. They're bouncing, chaps.

Oh.

Oh, Greaves, you're
a dirty old man.

No. I was just kidding. I -

No. Don't take me seriously.

Um, but anyway, uh, Terry,

your - your job is that
you're the, um... the, um,

the person that is
in charge of filming

this film being filmed.

Okay? Hey. Where's the
switch on this goddamn thing?

If sometimes we - you see us in
trouble, then you come and help us out.

- You know what I mean?
- Right.

Uh, but otherwise, uh, like
the - If you see cars going by,

you can integrate that into
the general action if you want to.

Or if you see an old lady walking a
dog. Here's an old lady. Right over here.

Who's supposed to be in
charge of filming the actors?

You and I are gonna
be filming the actors.

- The two of us...
- Don't come into my shot.

Are gonna be filming the
actors, uh, continuously.

You're gonna be filming me and the actors,
and I'm gonna be filming the actors.

And Terry is gonna be in charge
of filming the whole thing. You see?

Um, and I'm saying to him that if
he sees the two of us in trouble,

then he'll come and help us.

We're gonna start in another two
minutes. We're just waiting for Pat.

Wanna make sure we
start with a fresh magazine.

The cameras should
start with fresh magazines.

- Fine. That's a good idea.
- I'm gonna short-end this.

- What's your exposure here?
- You're - In the shade here, wide open.

No. I'm sorry. What's your -
How much footage have you -

I don't know. The footage
counter's busted on this.

The footage counter's -
How long you been shooting?

I'm not out of film, but I'm not
sure how much more I have.

- So I want to start with a fresh magazine.
- Right.

- Uh, Bob.
- Yeah.

Can he have another magazine?

- We got one. My trusty
assistant - -I have it here.

- You changing magazines?
- Another magazine.

- I gotta change magazines.
- Where are the people?

We got three guys standing
here. You gotta pick it up.

If he wants another magazine,
somebody's gotta get it.

- That's one of mine.
- He's got one.

- He's got one?
- He's camera "B."

He's gonna do a big scene.

He wants another magazine
because he's already -

Another magazine for Larner.

- I got a magazine, you blooming idiot.
- I have it.

- You got a new magazine?
- Here it is.

- Oh. Never mind!
- Never mind. It's here.

- Are we ready?
- Who says this isn't an efficient crew?

Wave!

Right. Hold it.
Hold it, hold it!

Really. I know you're looking
for a new star, a new face -

Let me introduce myself.

All right. All right.

I am so cute. Oh! I got
it all. Really. Oh, wow.

Okay. All right.
Let's - Let's go.

Um...

Ladies and gentlemen,
uh, can we ask you to be -

- Ladies, uh-uh-uh...
- Shh! Shut up.

Look. Uh, we don't mind you
watching, but, please, you have to -

you have to cooperate with us
and be very, very quiet, okay?

- Okay.
- Because otherwise, you know,

the sound system
doesn't hear the actors.

So if you would just - We
don't mind you watching,

and we've already got you on film,
so you're gonna be famous, but, uh...

- What picture?
- So we can watch it.

- Huh?
- What picture?

It - It, uh - It's a picture that's
coming out, uh, next year sometime.

- Aw, I'll be dead by then.
- No. You won't be dead.

-But anyway - -What's the name?

Well, the name right
now is Over the Cliff

Over the Cliff.

The name of the picture right now is
Over the Cliff, but it may be changed.

- Lady gonna jump off a cliff?
- No. No. We're jumping off a cliff.

Uh, anyway, the
point is this, that, uh -

Be very, very quiet, and you
can watch from over there. Okay?

- Thank you.
- Okay.

- All right.
- Relax, Bob.

Bob, relax. Relax.

All right. But wait a
second. You want to start -

Bob, there's a policeman there.

- Yeah?
- Can I see it, please?

- The permit. Permit.
- Permit. Who has the permit?

Wait a second. I gotta get it.

Um, where's, uh, Don Fellows?

Get up.

It's not there.

Oh. Oh, I see.

- Okay?
- Yeah. Let me just -

Take One Productions. Take the
number, and I'll show you the location.

Yeah. We're gonna be shooting in
the park during weekdays all next week.

Yeah. Just so we have, uh -

All right. The number
of the permit is, uh -

Damn. You get up there.

- Hey. Do you mind being on camera?
- No. Not at all.

Okay. And here's the location
that we're shooting on right now.

68th Street off Central
Park West. 8/2, right?

- So we have it on the - on the schedule.
- Just so I got that information.

Sure. Fine. Thanks a lot.

What kind of movie -
picture you making?

What kind? Um,
well, it's a feature.

It's a feature-length, uh - It's a
feature-length, uh, we don't know.

- You don't know.
- It's a feature-length "we don't know."

Yeah. Right. We'll find
out after we develop it.

The tentative title
of it is Over the Cliff

- You gotta find that cliff now, huh?
- We've got it. This is the cliff.

- This is the cliff?
- This is the cliff.

Who named it? I think
Terry - Where's Terry?

- You're the one that named it.
- Right.

- Did you say Over the Cliff?
- Yeah. Right.

- All right.
- Good-bye.

Bye, governor.

"Bye, governor." You fucking
idiot. He says, "Bye, governor."

Um,

could you go down in there and
get a shot of her sitting on the statue?

And - And Don will
come up and, uh...

- Terry's still shooting, huh?
- Start the scene from there.

Follow me? Okay. So
go - You go down there.

This statue here. The Civil War.

Where do you want me to stand?

Go with you, Terry?

- Terry, are you running?
- Yeah.

So this is how
we're gonna take it.

- Cold turkey. Gonna get this cold turkey.
- You want Don?

- Don stays there?
- Don stays there.

This is, uh, 13.

- Did you slate it?
- Yes.

Okay. Action!

All right. Clear out of the
way here. Clear out of the way.

- Nicky, you come back this way.
- I got you.

- Behind me.
- All right. We got it.

Alice.

- Alice. Wait - Alice. Here.
- No.

Now wait a minute. No. Come
on. Wait a minute. Wait. What?

- No.
- Come on. Come on. Please.

- Look.
- Get your hands off me.

Will you - Will you please
tell me what's bugging you?

- Hmm?
- Just how stupid do you think I am?

Look, Alice. What
are you talking about?

Stop here.

Come on, fellas.

No. Please tell me,
uh, what the problem is.

Wh-Why are you acting so funny?

Jonathan, you've
gotta come on this side.

- You're funny. You're funny, Freddie.
- Stop. Stop.

You're really a very funny man.

Let's get the crew out, please.

You know, you - you
really have me foxed.

Why don't you just get
out of my life, Freddie, huh?

Just get out permanently,
once and for all and forever.

Oh. Oh, now, come on.

- Look. Will you stop acting?
- Take your hands off me.

- Well, stop acting.
- Take your hands off me.

You know, you're acting absolutely
impossible. I'm not a mind reader.

Boy, I wish I were. I sure as
hell wish I were a mind reader.

It'd actually be nice if we could
have a little more time to walk into it.

- This is what I'd like to do.
- I don't want you to get into -

No. If we're
going to look as if -

as if I've been following her
in the park for 20 minutes...

- Right.
- I'd get about 20 feet beyond her...

- Sure. Fine.
- And then run up and catch up with her.

So on my first "Alice" it's,
like, the first conversation

- I've had with her in half an hour.
- Right.

So it just depends on
about where you want, uh -

That to commence, that
dialogue to commence.

- By the edge of the grass?
- I - I would - Somewhere in here. Okay?

Um, what's
happening is that, uh,

we're getting too much of a
clutter, you know, of people -

- Am I walking too fast?
- Yes. I think you are.

Don't get, uh, behind them.

You know, don't get - Stay -
But stay - stay behind the camera.

If you could, uh - If you could
take it - If you could take it slower -

-See, I have a feeling - -I
mean, pull away from him.

I have the feeling, you
see, that she is going home.

- Right.
- And that's it. She's going home.

- And she's, like - You know, she's moving.
- All right. Then look, uh -

So what I'll try to do is walk
slow but look like I'm walking fast.

I don't know how
to do that, but -

You know, you've
really gotta stop her.

I hate to tell you guys, but you're
shooting in such a black thing

that you're not
gonna get anything.

What have we got?

I can see it. You're
either f/1 .5 or 1 .2.

- F/2?
- I.2. And you have a 2.8 lens. So -

Yeah. Um...

I think it'll be rather - rather
- rather underexposed.

All right. Um...

Camera "B" and "C" are both rolling,
but, uh, there are no slates for this.

Personal note from Mr. Rosen
to the assistant editor.

Uh, the reason why all
these slates are so fucked up

is because they're not sure
whether or not the action

counts more or the
slates count more.

And so sometimes you get the slates
and sometimes you get the action.

So have fun, bubbe.

This is embarrassing.

All right. We just had a
jam in a magazine. Cut.

- First marker.
- Speed.

Second stock.

You think it's the stock?

- I'm just worried, you
know - -How's yours?

- Roll jam.
- Are you rolling?

- Yeah.
- Rolling. Go ahead.

- Roll "X" 1.
- This is the third slate.

Right.

What were you
saying, Bob, on all this?

Well, we're just sitting
around here and, um,

we're just gonna rap a
little bit about the film.

- Um - -All right. Well,
maybe we should -

And we'll - You
know, we'll get into it.

And when we get into it, you know,
uh, the people out there will understand.

You know, they'll catch on. And, um,
you know, we'll explain it as we go along.

Okay. But I think maybe we should
say just exactly how it occurred to us

to be here this way,

- uh, without the director...
- Right.

Uh, without the actors, um,

and in something which, uh,

we know is not a part of the
film, at least not as far as we know.

We were sitting around the other night,
and we - and in talking, a few of us -

we realized that here is a -
here is an open-ended film

with no plot that we can see,
with no end that we can see,

with an action
that we can't follow.

We're all intelligent people.

The obvious thing
is to fill in the blanks,

to create for each
of our own selves

a - a film that we understand.

And if we try to think about
the reasoning of the director

for allowing us the
opportunity to do this,

giving us the circumstances that
enable us to be able to sit here,

we can only conclude - at least we did
last night - that he wanted it like this.

Terry, why don't
you cut? I'm holding -

- What?
- Don't run two cameras.

- 'Cause you can't get it.
- Please. Let one person run it.

Give me a tail slate
then, please. Thank you.

- Please. Run one camera at a time.
- Okay. Now the thing is,

we were sitting around, and we were
talking about this, and it just happened.

You know, just like that. Because
there we were, and we were talking.

Just - There were, like, five of us.
Five of the members of the crew.

That's all the people. All the
people who are sitting here right now,

you know, are
members of the crew.

You know, the director does not know
that we are photographing this scene.

We're doing it on our own.

And we were sitting
there, and it occurred to us,

while we were trying to figure out
what the film was about, you know,

that we should be filming this.

- Yeah, he wants us to help him.
- Right.

Because we're really the only
people who are in a position, so far,

to be able to comment,
you know, about the film.

Because the director, Bill
Greaves, he is so far into,

you know, making the film
that he has no perspective.

And if you ask him, "What
is the film about?" you know,

he just gives you some answer
that's just vaguer than the question.

I mean, that just is so vague
that you - that it, you know - that

it'd be better if you hadn't asked
the question in the first place.

And if you ask the actors
what they think the film is about,

all they can tell you is what they thought
of the lines that they were reading.

They're just plugged
into just one line.

If there's a line like "Come on,
sport," you know, "Give me a chance" -

you know, some
banal piece like that,

they can say, "Well, I didn't
think that line was good.

I mean, I would have, you
know - I would have liked to -

to have read it differently
with a different line."

So they really don't know
what's happening either.

Now we've been working on
this thing for, like, four days.

And we've all been, you
know, more or less, uh,

near where the action
was taking place.

So we are the only people who can really
sort of function like a chorus, you know,

to figure out what we're
actually doing here.

I think it's our
obligation to function.

I think that this point has
been well established now.

Right.

Um, uh, the question was asked to
me this morning, as a matter of fact -

I believe, uh, Phil, uh, you
asked me something about

what did I think about what
was gonna happen tonight?

- When we stood outside over by the truck?
- Tonight?

Yeah. And I told you to save it
till tonight. You had some opinions.

What were your opinions
about Bill Greaves?

Well, number one, I don't -

Uh, he doesn't know how
to direct. He's into blocking.

That's all he does. He sits
down, and he gives movement.

Um, after reading about something
about what his film is based on,

he's not doing anything which
he - he has put down on paper.

There's no communication
between him and the actor -

Have you read the
presentation plus the script?

- Uh, yes.
- Oh, so you know

- more about what's in his mind than I do.
- Maybe. Yes.

- From a technical point.
- Has he talked with you?

- No, he hasn't.
- Huh.

What is - instead of
looking at it this way,

instead of, uh, commenting on the
goodness or badness of Bill's direction...

maybe it would be more useful
to talk about how interesting

the non-direction is.

Because it doesn't make
any difference at this point

whether Bill's
direction is good or bad.

Bill's direction has enabled
us to sit here and talk like this,

has compelled us even
to be interested this way.

And so it's really his
non-direction that interests us.

Right. Let's make one thing clear.
I mean, before we go any further.

I mean, this is a note,
you know, sort of to Bill -

you know, when
you watch this, Bill -

and to anybody else out there
who may be watching it too

if he decides to
put this into the film.

Um, we are not trying to take
the film away from Bill Greaves.

- No. Just for two hours.
- I disagree.

Well, for two hours. All right. But
he's got the choice to, you know,

uh, to edit any - this
stuff any way he wants.

So, uh, so we're not, you know -

It's not like we got
together to rape the director.

Right.

- All right?
- I disagree.

- You think we are doing that?
- No. I think the basic premise is wrong,

because I think that a director's film is
- is his mind, photographing the world.

And I think if you say

that you're gonna show him what's in
his mind or what ought to be in his mind,

then - then you're - you're taking
away a director's film from the director.

- He doesn't have to use any of this.
- No, he doesn't.

But to clarify the action.

The word used was "rape."

I think the thing in our
minds is we wonder

if the director knows
what's in his own mind.

We don't know.

We have to allow
him that privilege.

Or I would say that, if I were a director,
I would like to be allowed the privilege.

We are not trying to tell the
director what's in his own mind.

I think the director
had this in mind.

Don't you see? This is a movie
where the director plays a different role,

it seems to me,
than in other movies.

Here's a director who sets up a situation,
brings a crew of people who can think

and doesn't tell them what's gonna
happen and does exactly what Phil says.

Let's take that for what it is and say
that it leads to our participation in it.

Right.

In this sense we're not raping
Bill or telling him what's in his mind.

We are doing our function.

- Our function in the film.
- That's right.

- Which is what?
- Do what we're doing. This here.

That it must have
taken, you know,

some real great inner need,

whether or not Bill is capable or cares
to articulate it consciously, all right?

That nobody would come up
with such a crazy idea for a film.

All right. Barbara, you
want to move out of there?

What's the situation with, uh,
Roland? I mean, will he always be over -

- He's doing the job of three people.
- That's what I want to know, because I -

- He can't do it all.
- No.

But if Roland is gonna
do the job of three people -

All the magazines - All the magazines
should have a piece of tape on them.

Every magazine. And three magazines
should be assigned to each camera.

- Yeah. Fine.
- All right?

And on the piece of gaffer
tape on the magazine,

- you write what roll number you're at.
- Right.

If it goes back to Roland and lies around,
he'll always know which one it belongs to.

Yeah. But what I'm suggesting now is that
Roland be put in charge of all equipment.

-And not - -And not,
uh - Well, wait a minute.

- Who's gonna do your thing?
- Um - No. All right.

What we'll have to do is have Roland in
charge of the equipment in the mornings.

Before we come and see
that everything's sorted out.

- Once we get everything - Today.
- Yeah. No. I'm just -

First day. When we get everything
sorted out, you won't have any problems.

- We're exploring the problems.
- The magazines haven't been marked yet.

When they get marked,
you won't have any difficulty.

- Uh, I don't understand
your - -All right.

I mean, I understand
your unwillingness...

We can go over here. Let's
take these chairs over here.

To change the tape every
time you change a magazine.

You got a lot of empty reels.

We have established that as a
convention for the editing. So -

- Doesn't matter.
- Otherwise we'll lose time like mad.

- He has to run all that off.
- Unless - Unless

there's something happening
that is fantastic, you know,

where you do a 10-second magazine
change, and you must have that sound guy -

- I can do that fast.
- All right?

Unless something like that is
happening, then - and only then -

you know, run on - you know, run a
second magazine onto the same tape roll.

- Otherwise, keep them separate. Okay?
- All right. Very good.

What are you
doing? Want a slate?

- I'm slated.
- Huh? It is. You want - Hmm?

We don't need you, Bob
Rosen. We don't need you.

I don't know where
you are, mister,

but I do know I - I just want
you to get right out of my life.

You have been killing my
babies one right after the other,

and you want me
to believe in you?

All right. Now - Now don't you
think that I want to have children too?

All right? But I, uh -
But I want us to, uh -

-uh, to be right before we start having
- -Bullshit! That's a lot of bullshit!

All I've known is I have had
abortion after abortion after abortion

ever since we've been married.

And I'm - I'm just putting
an end to all of that.

I mean, you've ruined my
health because you're sick.

Okay. All right. Fine. But
you're not gonna destroy me.

Now, Alice -

Every time you've had sex with
me, it's as though you've raped me.

You know, I'm not some kind of a whore
that you just go and get your kicks in.

I mean, who wouldn't
be cold and frigid

with somebody coming on like a
goddamn fucking little Nazi storm trooper?

Lookit, I -

All right. Uh, okay.

This is a pretty
long scene, isn't it?

No kiddin', dad.

Wow. You're gonna have to have
movement in sections too unless -

- I guess not when you shoot like this.
- Well, yeah. No, uh -

'Cause I was thinking in terms of
light setups and everything else.

The important thing - The
important thing is that you -

And you can do
anything you want.

I mean, because, see, we're
absolutely disconnected from everything.

This is the beauty of
this kind of shooting.

You don't have to
worry about a thing.

You just do your thing. All of
these guys are absolutely geared

to function in terms of the reality
that's happening at that moment.

They're not - They're
not in any way, um, uh,

dependent, you know, on
something being lined up properly.

They'll - They'll get
it. Don't worry about it.

You just go ahead and do, you know,
whatever it is that is organic to you

and organic to the
moment for you.

You know what I mean?

Well, we'll just do
it section by section.

But by the end of the
day, what I would like to do,

really, is run the whole
thing nonstop, you know.

'Cause you will have committed
it. Don't you think so, Pat?

Right.

If we do it section by section,
we'll kill two birds with one stone.

On the one hand, we'll be able to
make sure that we've got each sequence

to, in a sense,
our satisfaction.

Then at the end of the day,
we'll run the whole thing,

uh, completely nonstop.

You know, with all the cameras,
everything going at once.

And then we'll see
what happens? Okay.

Alice.

- Alice, wait a minute.
- No.

- Alice, come on. Come on.
- No.

- Come on.
- Don't touch me.

Alice, for Christ's sake,
what is eating you?

Boy, just how stupid
do you think I am?

What are you talking about?

You know perfectly well
what I'm talking about.

I wish - I -

I wish you would just tell
me what is... bothering you.

Ha!

- What's so funny?
- You're so funny.

That's what's so funny.
You're really a very funny man.

Alice, uh, you really have
me foxed. You know that?

Why don't you just...
get out of my life, huh?

Just once and for all,
permanently. Just get out of my life.

Oh, come on.

Look. Will you stop
acting? Come on.

Look. For the last time, will you
please tell me what is bugging you?

No. You tell me what is -

or better yet, who
is bugging you.

You're certainly
talking in circles.

Am I really? Am I really?

Well, just how much
of a phony can you be?

Look. I don't have to stay here and
listen to these hysterics, you know.

You could at least have the
courtesy to tell me what is going on.

You know, I've really just put up
with your escapades long enough.

I really have. I've
just about had it.

You - You don't even have the - the
courtesy to tell me what's going on.

I am a woman.

And?

I am a woman,
Freddie. I am not a fool.

And if you think I'm gonna
stand around like some idiot

with egg on my face while
you play your friggin' games,

you've got another thing coming.

What? I -

I saw you. I saw you looking at
him... and I saw him looking at you.

- I saw that whole thing.
- H-Him? What-What -

That's right. Him.
That's right. Him. Him.

A little faggot that
everybody knows all about.

Alice, what are you,
some kind of nut?

Look now. I have put up

with your escapades long enough.

- I mean, I saw you
two just - -Cut. Sorry.

Uh, we - we ran
out of film there.

Uh, do you want to, uh - Well.

- Um, what we'll do is pick it up again.
- All right.

- We ran out of film there.
- All right.

-And then you got the squad car. You got -
-We got the squad car, which is all right.

- There's nothing wrong with that.
- Uh -

- So we'll, uh, pick this up from here.
- Okay.

Um, how do you,
uh - How do you, uh -

How do you feel about
the scene since you've, uh,

you know, done it the last time?

I mean, have any
thoughts come to mind?

Anything about that -

- I feel I want to - I want her lower.
- Huh?

- I want her lower.
- Lower?

Yeah. I want her, uh - I felt there was - I
was doing too much overacting last time.

And, you know.

- You felt it was too broad.
- I need more - I need more time.

- Yeah.
- I need lots of time.

-And that's why I'm trying to -
-Yeah. Take your time. Okay.

- Just - And I have a tendency to rush.
- Mm-hmm.

- I've always had that.
- Mm-hmm.

- Plain old insecurity. That's all, baby.
- Oh, listen, honey.

Well, you're also
conscious of film going. See?

That's the - When you rehearse
there's no film, and you suddenly hear

the clickety, clickety,
clickety, clickety, clickety click.

- I don't.
- I do. I sure as hell do.

- How do you feel, uh, Don?
- I'd just like to act better. That's all.

That's my problem.

Well, uh -

Do you feel that you're
more, uh, in just the short -

- Yeah. I feel better. I feel much better.
- Do you feel more comfortable about it?

- Uh-huh.
- You feel more involved in the -

- Mm-hmm.
- Um...

I don't feel more involved.
I feel more comfortable.

I would like to
get more involved.

It'd be nice to start all
over again if we could,

because that was kind
of rehearsal time, I think.

- Yeah. Okay.
- And it was -

Want to run it from the top?

I was trying to space it and figure
where I'd catch her here. And, uh...

I would basically
play it in this direction.

Is there any danger of stuff
being up there but nobody there?

How about bringing the tripod in closer
so we can get a closer look on them?

But nobody's
watching, I don't think.

I know what you got. I saw - I
saw how close you could get.

- I get more than a full head.
- Yeah. I know.

- Yeah.
- But if you came a little closer -

There's no mike on Bill,
man. Where's that mike?

No, but it's kind of -

It was kind of funny. I - She kept
wanting to get together and rehearse.

And I kept - And
so I'd say, "Okay."

And then we'd have some time,
and then she would change it.

So I finally said - "Well," I said,
"Thursday morning we'll get together

and we'll run lines the way you
do when you're on a soap opera."

And Pat said, "I
don't do soap operas."

So, it's a good thing to be independently
wealthy. That's all I got to say.

A good thing.

- Slate me. All right.
- Yeah. Please.

Here we go. Go on, Don.

- What?
- You are being used.

Oh. As what?

- A slate.
- As a slate?

Okay. Now what are we -
What'll I do? What'll I say?

- Why? Are you taping that?
- Sure.

- You dirty rat.
- We tape everything.

Oh, Jesus Christ.
Don't you dare.

Oh, that would be unbelievable.

The thing is that it's not
like Edward Albee, you know.

- Just hold it one second.
- What?

- Four, roll two. Go on.
- Right.

It's not like Edward Albee.

I mean, Edward Albee writes, you
know, Who's Afraid of Virginia Woolf?

And George and Martha
are superdramatic people

who are given lines
that are brilliant lines.

- That's good writing.
- Fantastically brilliant. That's right.

- This is not good writing.
- This is bad writing.

This script is not good writing, and I
think that has everything to do with it.

Exactly. We're not in a dramatic
bag here. We're somewhere else.

On the other hand, human life isn't
necessarily well written, you know.

- Excuse me?
- Human life isn't well written.

Right. That's right. That's the
whole point. That's the whole point.

Here we're confronted with one
of the ultimate banalities of life.

And a pair of actors
says this ultimate banality.

And Bill has given them these
lines to play in the first place,

um, and then tells
them how to say it,

um, and the actors try
to find the meaning in it.

Now, I look at it this way.
I see every American man

at some time in his life, saying
these lines to every American woman.

Every American woman
says it to every American man.

And where are we? Nothing
changes. Nothing is revealed.

And it's as if these lines were planted
in their heads when they were born.

If they knew when they were three days
old that one day they'd say to their wives,

"You're cutting my balls off."

And then every woman knew, when
she was a little girl, that someday -

Here's this line
in her head, um -

You're, uh - You're - You're
ineffectual. Some variety of "ineffectual."

- You're a faggot, or - - "You
can't allow me to be a woman."

You're a faggot, you're weak, you're
this, you're that. It's doomed to happen.

Uh, so, h-h-here's Bill.

He's the director. And this is
the sense - He's the director.

He writes this dialogue and hands
it to poor Freddie and poor Alice.

But what - Yeah, but
what throws me is that

he's, in a sense, written
himself a part in the film,

and as soon as you turn
the camera on, he turns on.

- I think I said to
you - -Turns off?

Turns on. And he's like
a bad actor. He turns on.

And he doesn't turn off into his
natural self till the camera stops.

This throws me every time, because
there's Bill throwing lines away -

But Bill thinks of
himself as an actor.

Bill is an actor. He's
gonna protect his actors.

- I think Bill is a bad actor...
- That's immaterial.

And somehow he's trying to live
out his actors' lives through this film.

- But Bill acts off camera too.
- I know.

That's one of the strange
things about this film.

He's a better actor
off camera than on.

When he comes on to
people and he says, you know -

and he says, you
know, something like,

"Hello, my boy! How
are you doing? Hmm?

"Genius! Beautiful thing you
did there! Fantastic!" You know?

I mean, that's acting.
But this is the way -

Bill comes right through that!

But - But -

But that's the way he does
that, and he's acting even then.

It's like somewhere the
director is hiding. You know?

And I think he's making this film,
you know, to get it out into the open,

that he has, in some way,
some kind of need to find out

where the line of his acting and
everybody else's acting, you know -

I mean, where that drops off,

where it stops, you
know, being - doing -

doing things because - because -
because, um - because a certain -

you know, giving somebody a
certain reaction because it's called for,

because he needs to get
something out of them - you know,

where you pass beyond
that line of manipulation

to where you're
just being yourself.

When Bill is himself, he's very,
very quiet. He doesn't do that at all.

What does that have
to do with this film?

Well, I think this is one of the
reasons why he's making the film.

Come on! Come on! Come on!

Come on. We're gonna
have a picture, folks.

It's hard to believe,
but it's gonna happen.

Come along. Come along.
Actors, please. Places, please.

Jonathan. Mr. Larner, your
presence is desperately requested.

Uh, okay.

Listen, are we making
a movie, or are we not?

Did you get that?

No.

Incidentally, look - Listen.
My microphone didn't -

- This is camera "C," roll three.
- Nobody cares.

Sy's always in the fucking way.

This is the class picture here.

Sy's safari outfit.

Now, what is it you
want to know about me?

Well, you wanted to say a
few words for George Wallace.

- Yes?
- I'm -

- I was stamping.
- Listen, uh, Terry, incidentally,

this afternoon, uh, after lunch,

we have the camp
version of this picture

starring you and Jonathan
in the leading roles.

Steve, do you need a slate?

Camp version? I thought
that's what I was doing now.

Um -

Why don't you move
it. Move it closer.

- Where am I coming from?
- To my right.

-Yeah. If she says - -Now, wait
a minute. Don is gonna be here.

That's right. That's what always
happens to the man - back to the camera.

No, you know there'll
be a camera over there.

Isn't there somebody my size
who could just wear the jacket?

I'll phone the dialogue in.

- Oh, these super commercial stars, huh?
- Now, how can I say - That's right.

Now, where's the
product that I hold?

Gee, if I don't have a
product, I'm helpless.

That's what she's
complaining about.

Okay, now, um -

Every time I try and grab the
product, she says, "Don't touch me."

- Listen, I'm trying to direct a picture.
- I'm sorry. Okay.

You're quipping all the time,
you see? We're serious people.

- I know that.
- And you don't realize that.

- All right.
- Now?

- How now, brown cow?
- Speak up.

- Why? What's the matter?
- We're having trouble on her microphone.

- Are you?
- Oh. Well, then we'll change microphones.

- No, no.
- Is that the same mike that -

Same thing. This morning, I
thought it was gone, but it's not.

- Let me hear that.
- Is it taped properly?

Is - Is it taped on?

Had the same
problem this morning.

- How now, brown cow? Can you hear me?
- She has a rattling rib cage.

- Can you hear me?
- Yeah.

- Like that?
- Turn her off.

All right, let's hear
it. Talk to Don.

- How now, brown cow?
- How brown, now now?

This is the way the
world runs - ends.

This is the way the world ends -
not with a bang, but a whimper.

Now is the time for all good men
to come to the aid of their party.

I - I could play it kinda like this,
and then she could talk into my mike.

- Did you get that?
- Let me speak to you a moment.

I'm not sure I
wanna speak to you!

Listen, um, I think that, uh, that,
you know, you had the impulse

to use certain things in
relation to her that turn you off.

Do you know what I mean? You
started to move in that direction.

- I'm using her.
- All right, but let's explore it.

Take my cock out
and flog her with it.

- All right, but let's
- -You got that?

No, let's use it
much more fully.

Don't inhibit yourself in this area.
Just - Just explore physically what you -

You know the thing that kinda
bothers me, that I'm bugged,

and that is that I don't know
whether to play physically,

uh, a, you know,
bisexual, like or -

No, I'm being very serious.

- No, n-n-no names, please.
- Oh, I see.

I don't know whether
to be a little faggy...

- Yes. Right.
- Uh, or not.

I have explored
the kind of thing,

and I don't know whether this
is a faggy fag or a butch fag.

Yes.

Whether it's a guy that
goes around and says,

"All right, you sons of bitches,

all right, you cock -
you motherfuckers."

You know, and it
turns out he's a fag,

because he's playing the
masculinity thing to such an extreme.

- It's a joke.
- Yeah. Yeah.

So I don't know whether to come in
with the chain and the black boots,

or, uh - or to just
play it, uh, straight.

Which would you prefer
to play? What - What -

Well, in a way, I, um -

in a way, I'd like
to be a closet fag.

You know, the kind
that nobody ever says.

Like there are people that we know
who, since I now can't name names.

And you finally say, "What? Come on!"
And you finally discover that it was true.

Yeah. Right. Right.

Well, let's play that. Let's play
that kind of a fag, you know.

A closet fag. You know. Okay?

Well, then I'll just go ahead
and I'll just play it straight then.

Oh, that's too much.

- Okay. All right.
- Terry, I need another sync.

If it's not going well,
I'm going to stop it.

Do you know what I mean?

It was going well.
That's all I can tell you.

And I think you just
have to... believe,

uh, when I tell you
that it's going well.

Okay. All right, let's take
it on from this - this point.

Um, Terry?

Uh, we're gonna go on from, uh,
from the point where we were at.

All right, take the freedom to move
around in this general area here,

and let's take the
basic situation.

And, um - And, uh, improvise,
uh, on that basic situation.

Okay. Kinda the same
story line then, huh?

- I think so. And see what happens.
- Okay.

Oh, we're walking in?

- No, you're already in.
- We're in.

We're already in? I'm trying to get in!
That's the problem with the whole scene.

That's what clutters
up the park. Officer!

That's true. That's true.

- Where are they when you need them?
- Would you believe that?

And I'm talking about
those people throwing -

- Okay.
- You're absolutely right.

Okay, let's settle down.

- I gotta figure out something.
- Were you running -

All right, I'm gonna try
something differently.

Clap.

That discussion is a
discussion between Pat and Don.

Don, clap your hands.

We'll call action.

Are you going home?

- From here?
- Yeah.

- Are you rolling?
- Yeah.

Alice? Come on! Can't
you wait - Wait a minute.

- Wait a minute.
- I can't -

- What?
- Just leave me alone. Okay?

Just leave me alone.

Well, the least you can
do is have the courtesy

to tell me what's bugging you.

All right? Come on.

You know.

Jesus Christ, I thought
once we get married,

you know, you'd change and -

You know, I really don't have any idea
what you're talking about, Miss Balls.

Listen, you
skinny little faggot.

I am fed up - I am
absolutely fed up with this shit.

Half the time we go out,
wherever we're going,

- you're... trying to get with somebody.
- No - All right, give me an -

- Give me an example.
- Or on somebody.

- I don't know what you boys do.
- Give me an example then. All right?

You sure as hell don't
do anything with me.

No?

Oh! I what?

- You heard it.
- No, I just wanna hear it again.

- You heard it.
- And who stops me?

- I never stop you.
- I-I can't even get started!

-You stop every -
-That's your problem.

You go see the head shrinker.

- I-I have, haven't I? Right?
- Mmm. Three sessions.

Fine - Oh, no, more than
that. More than you know about.

- Five sessions.
- More than you know about.

And all I can say is, it's about
time you started, 'cause you need it.

Remember, the person who says the other
one is sick is always the sickest of all.

- Ah.
- Ha! You're the fag.

- I am not.
- The fuck you're not, boy.

That's something you keep
hanging me with, and I am not.

- The hell you're not.
- I am not. You can't give me one example.

- I just did.
- Oh, no. You said something about today.

I have no idea what
you're talking about.

I talked also about the
first year we were married.

I'm talking about today.

-Chuck, Tim - -You've
already talked about that.

- Oh! Oh! Oh! Oh! Oh! Oh!
- Tell me about today.

- We talked about that. That's over with.
- That's right.

Yesterday you were a
fag. Today you're not.

Tomorrow you're just going to
fuck the little rabbits or chipmunks

here in the park.

How about that, huh? Why
don't you try a mosquito next?

- You are really sick.
- You're damn right I'm sick.

I am sick of you!

- You have got to believe me.
- Okay, let's cut it here.

- See? I mean, this
is - -No, no, no, take -

- No, no, no, no.
- Take it easy. Take it easy.

- Why should I take it easy? Why?
- It's going very well.

It is not, and you know it!

No, I think she's upset,

'cause I think she was building toward
the big climactic shooting or something.

This is tail slate.

Uh, Pat has just
slightly flipped out.

Unfortunately, both cameras ran
out. They're changing magazines.

Bill is on. I'm gonna
stay with him till I run out.

I was saying that, in a way,

we are criticizing that he doesn't
know at times what he is doing.

But I think this is what he wants.
This is what he is looking for.

It's a certain experiment.

According to the synopsis,
or the idea of the film,

it's, uh, a conflict
between him and the actors

in a way that he is doing a test
screen, or he is doing just one dialogue.

Now, he is experimenting the different
ways of directing this same dialogue.

- But why film it?
- No, no, no -

-Well, because the only way
he is - -Why give them lines?

- Well, the only way - He is - Yeah?
- We're saying that -

We're saying that
giving them lines -

You give them the lines, and
then each one acts it out differently.

In that case, you shouldn't do
that. You should give them a story.

And then they bring out the lines.
Something else will come out of it.

Action is not the problem here.

So what if they're running up
a hill or sitting on the bench?

It can be anywhere.
It can be on the moon.

If he wanted to do this,
he could do it on a stage.

Or he could just simply do it.

He's actually making a film of
this. It's not merely an experiment.

It's an experiment that's
culminating in a film,

and that film is not designed
for Bill to keep in his basement.

It's a film that's
designed to play.

It's a film that's designed
to reveal something,

to be a work of art.
How, in that sense -

Well, first of all, he can do a
lot of work with these different -

with all this footage in the editing
room according to how the film is edited,

because it's the type of film that
you can edit in 300 different ways.

- Did you read the concept of it?
- No, I didn't read the concept of it.

And I don't know whether we
ought to bring the concept in,

because Bill hasn't
mentioned it yet.

I read the concept, and the concept
doesn't help you at all. Not one bit.

No, the point is, I don't see where
there's a beginning or a middle or an end.

I don't mean in a
conventional story fashion.

But everything we
shoot is the same.

Rather, let's be frank,
indifferent actors.

Sort of - Stage actors, not
film actors, so they're all -

Which, as I said, it would be great on
Sony videotape. You could do a critique.

But I don't see where there's
any build in the film at all.

Well, now you're getting
down to the nitty-gritty.

Every situation is new.

Not bloody much is
happening, if you ask me.

- I think there is!
- Tell me. What is happening?

I've gotta unload myself.

Why don't you think that
there's nothing happening?

- It seems to me - -You're
blasting your own parts.

That - Not having
read Bill's concept,

it seems to me there's some
exploration of the levels of reality,

um, and the
supra-levels of reality.

So this is even another level of
reality that we're establishing here.

It may be the biggest put-on of
all time that - that the celluloid -

Recognizing the reality or non-rea
- Trying to establish that is useless.

For all anybody knows, you know,

Bill is standing right outside the door
and he's directing this whole scene.

- That's what I'm saying.
- All right? It could be. Nobody knows.

Maybe we're all
acting. All right?

Maybe we're all acting. I mean,
I'm acting, you know, and that's it.

I mean, I was - Bill could have
stood outside of the door and told me,

"Now, Rosen, when
you get in there,

uh, tell them about this when
you get to a certain point."

Nobody out there knows
whether or not we're for real.

And what is being revealed?

My whole point is that
nothing is being revealed,

and that's the genius of
this film, if there is a genius.

I think the genius
of this film was that

it was provided that
somewhere during its filming,

the crew should decide to
act as an independent unit,

come into a room
and talk about this film,

and thereby, possibly,
to change the end of it.

That this was planned,
consciously or unconsciously, by Bill.

You believe in God after all.

Uh-uh-uh. Marvelous.

Okay, um...

You have been killing my
babies, one right after the other,

and you want me
to believe in you?

You come on like a goddamn
little Nazi storm trooper.

You just don't want
any responsibilities.

- You don't want any wife.
- That's all part of your fantasy.

You don't want marriage.
You don't want children.

The going gets a little tough,

- a little too tough, you run out.
- Shh!

Fuck you!

-If you're gonna talk that
way - -Speaking of "fuck," boy,

how we've been making love lately,
we're never gonna have any babies.

- That's the way you want it.
- Fuck you!

Alice.

I'm rolling.

See, that's the whole thing -
a faggot is not a homosexual.

A faggot is a certain
kind of mentality.

And Freddie happens
to be a faggot,

but not because he may
or may not be homosexual.

He's a faggot. He doesn't know
what he wants, and he's, like, a faggot.

This is a very strange thing,
because all I really know is myself,

and all I really know are
the people I really know.

And I don't know anybody here except
a few, but I really don't know them.

And having - And being forced, in a way,
to listen to this sordid conversation -

'Cause you haven't heard it.

You haven't been
here for eight days

and listened to this
sordid, horrible conversation

over and over and over again,

with black faces, white faces, tall
ones, old ones, young ones, skinny ones.

You know? Convincing
ones, unconvincing ones.

It's, you know - It really -
It does funny things to you.

All right, all right, all right.
So what else can we do?

We've got all this equipment
lying around here - Look.

Here's a tripod, there's
two still cameras.

There's three Éclairs, there's
an Arri S. We've got three Nagras.

We've got an awful
lot of equipment here.

It would be interesting - It
really would be, Jonathan -

It would be very interesting
to see you, uh, surface

with a better script.

A-A-And there's no
competitive thing -

What's a better script? Here's
a film and you're a director -

No, a better script as a
screen test for a pair of actors.

The way to make the script better is
to, first of all, drop the euphemisms.

- You talk real language.
- What euphemisms?

The euphemisms. Freddie
says to Alice - He says to -

Freddie has a cock.
Alice has a cunt.

Freddie likes or
doesn't like to fuck Alice.

Alice can't come. Alice
has difficulty coming.

Alice comes easily.

Freddie stays a long time.
Freddie stays a short time.

Freddie stays an
intermediate amount of time.

Freddie really
loves to fuck Alice.

You know what I mean.
That's the way to talk.

And that's the way people can liberate
themselves to talk about themselves.

Right. You have a line here, like,
"Come on, sport, give me a chance."

"Give me a chance." That
doesn't mean anything.

- A fuck? Is that what it means?
- "You never let me touch you."

What does that mean? "It's
unnatural." What does that mean?

"Don't you like me to eat you,
Alice?" That means something.

Or "Eat me, Freddie." That means
something. You understand? I'm serious.

That is the way the script is
transformed from a useless faggotry,

from a little semi-annual
conceit between two people,

to something that never
has to be repeated again.

There's another level of this, if
you recall, in the original concept.

Um, the, uh - This screen test,

which we are
supposed to be shooting,

um, is unsatisfactory.

You read the concept.

- I assume that you read the concept.
- I haven't read the concept.

Well, anyway, the point is this,

that the screen test
proves to be unsatisfactory

from the standpoint of
the actors and the director.

And then what happens is
that the director and the actors

undertake to improvise
something better

than that which has been
written in the screen test.

This sort of palace revolt

which is - no, no -
which is taking place,

um, uh, is not dissimilar to the
sort of revolution that's taking place,

let's say, in America today
in terms of the fact that,

you know, in a sense, I
represent the establishment,

and, uh, I've been trying to
get you to do certain things

which you've become, in a
sense, disenchanted with, you know.

Now, your - your problem is

to come up with
creative suggestions

which will make this into a better
production than we now have.

I don't understand that at all.

It doesn't matter whether
or not you understand it.

The important thing is that we
surface from this production experience

with something that is
entirely exciting and creative

as a result of our
collective efforts -

as a result of Marsha's efforts,
as a result of Audrey, Sy Mottel,

you, Jonathan, you, Bob,
Roland Mitchell, Nicky,

Frank Baker, Barbara Linden.

It's important that, as a result of
the totality of all of these efforts,

we, uh, arrive

at a creative...

piece of cinematic experience.

♪ I have been ♪

♪ In love but once ♪

♪ Each time as
painful as the last ♪

♪ I found out ♪

♪ So many times ♪

♪ How short forever is ♪

♪ How can you measure love ♪

- ♪ If not by pain? ♪
- Places!

- No, no, the microphone.
- The microphone. Okay.

♪ Lovers we could always be ♪

Can you read this?
Can you see this?

♪ But friends beneath
the spreading tree ♪

♪ Turn away ♪

♪ Don't follow me ♪

♪ Alice ♪

♪ No ♪

- ♪ Alice ♪
- ♪ No, no ♪

♪ Come on, sport ♪

Don't enjoy it so much.

All right, that's okay.
That's fine. It's coming along.

But, um, try to go into the,
uh, the situation as you sing.

- Yes. Yes.
- Okay? Go ahead.

- ♪ Alice ♪
- ♪ No ♪

- ♪ Alice ♪
- ♪ No, no ♪

♪ Come on, sport ♪

- ♪ Come on ♪
- ♪ Don't touch me ♪

♪ For heaven's sake ♪

♪ What's bugging you? ♪

♪ Why don't you tell me who -
Or rather, who's bugging you? ♪

No, I can't take that.

Can I ask you a question?

Is that really what they do at
the Actors Studio all the time?

Silence, boy!
No, that's not true.

That's fantastic.

What? Do you want a slate?

- No, that's all right.
- Okay.

That's -

Uh, hold on more
securely to the -

uh, to the basic
situation if you can.

Why are you ask - Why
are you asking them to sing?

Because I'd like
to have them sing.

N-No, I know, but I wonder why.

Um, I don't know.
Just, uh - Just an idea.

I mean, is it an experiment
in the musical comedy form?

It's an experiment in
the musical comedy form.

He just doesn't
want to answer you.

I'm trying to find out if
the scene can play with -

There is an acting exercise
that this can be very useful for,

which is what we started
doing, which is to sing

and therefore bring other
elements that your imagination

wouldn't have ordinarily
gone to. That's the value.

- But to sit here and try to do a
duet, I - -Right. I quite agree with you.

- It's like we should have an orchestra.
- Yeah, right. I quite agree.

Uh, does that answer
your question, Mr. Gordon?

I think we can use
this. I think, uh -

Uh, it will end - it will add a...
an interesting texture to the film.

Doesn't anybody think
so? Nobody thinks so?

- You want to call it a texture?
- Yeah.

Well, you can see the
comments right on their faces.

Just pan over and look at that.

I don't think it works.
Sounds terrible.

You're too kind.

There's no sense
of reality in this, uh -

There's no sense of reality. I mean,
who goes about singing to each other?

What is this thing?

I spoke with you yest -
You're from Canada, right?

Oh, it's a movie. So,
who's moving whom?

Mercibeaucoup. Oh,
you got a big lens in there.

- Isn't that French?
- You ain't got a cigarette?

- No, it's not. It's Jewish.
- "Mercibeaucoup"?

- I thought it was French.
- No, it's Jewish, darling.

- Really?
- Very Jewish.

I'm a Polack, and that's Jewish.

Hello there, darling. Let me see
how you look. You look pretty good.

- My name's Victor Vikowski, darling.
- Um, Bob -

What is this? ABC camera?

Hello. My name is
Victor. How do you do?

Pleasure to meet
you. I do watercolors.

Somebody get a
release for this gentleman.

But they threw my ass out nine weeks
ago. I've been living in the bushes.

Do you know why? Because
I couldn't pay two weeks' rent.

I was paying $45.70 a week,
and I couldn't make the scene.

Terrible! All my watercolors,
my paintings, my brushes

are more important
than them F-in' things -

You know what "F"
is? I coined that phrase.

- What is this?
- You know - "fuck."

- Yeah?
- That's why I want -

You never knew what that meant?

- I know.
- You don't know.

Are you such a virgin like I am?

We're not virgins, baby.

We're virgins in the brain,
if you wanna be that way.

Yeah, but why do we have to have
adaptation of words and symbols?

Can't we be ourselves?

You wanna go get fucked, get
fucked. That's all. That's the way I think.

Wanna suck? Suck, goddamn it!

Everybody sucks - What? I -

Didn't you suck your
mama's nipples first?

Well, I did the same thing, you know.
What, you're so different than I am?

No.

And then it goes on and goes on

as a prospectus
of life, you see.

It's -

You'd be tired here, nine
weeks in these bushes.

It's terrible. It's
a monstrosity.

Where are the
watercolors? In the bushes?

Honey, darling, they're
not in the bushes.

They're at Bretton Hall
Hotel on 86th Street, south -

Do you live here in the park?

What do you think? I made
a jerk out of myself there?

But that's all right. At least I
cleaned my mind a little bit.

'Cause I hate bullshit,
you know. I dislike it.

I'm sorry. I'm not
being vulgar. Not at all.

-That does not impress anything
upon - -You going home? Going -

You're a lady - But
you're still a lady.

I'm a lady too, and I'm
a man. Both the same.

Going around in the park, you've sort
of become a philosopher, haven't you?

No, I educated - I went
to Columbia for four years.

- Did you really?
- Damn right I did.

- What did you study there?
- Bachelor science, Bachelor art.

- I went to Parsons School of Design.
- Oh, I see.

- You're, what, a scene designer?
- Architectural designer.

- Architectural designer.
- Yes.

- I'm an alcoholic, by the way, too.
- Well, listen, uh -

Well, I am. I admit it.

I'm trying to make some
pints for myself for tonight.

-Well, let's see. Maybe -
-It gets cold out here, baby.

And when you live alone,
baby, you need something warm -

- You don't sleep here at night, do you?
- Sure I do. I get in the bush.

But the rain fuckin'
drove my ass outta there.

Are there many people who
sleep here at night in the park?

There's an enormous
amount of human beings here.

- Sleeping here in the park at night?
- Of course.

- Did anybody know this?
- No, I didn't know that at all.

- You're full of shit. You must have known.
- I never knew that.

I live off 70th
Street off the park.

I have never seen
anybody asleep in the park.

- Don't the police bother you?
- No.

Lindsay - Listen, let me
tell you what happened.

Lindsay made a speech today
- Mercibeaucoup, s'il vousplaît.

-Wait. He has to sign this, uh -
-Lindsay made a speech today.

I thought I'm going to Versailles
again, you know. 'Cause I've been there.

-Sir - -And he's
bullshitting the propaganda.

You know how politics work.

Do you, uh - Do you object
to being on Candid Camera?

I don't give a shit
where I am. I'm in life.

You'll have to sign the release.

This better not be Candid
Camera after all the work I did!

I got a fuckin' name
that's so long, goddamn it,

you'd better have a
paper long enough.

Write it as long as it takes.
As long as it takes. That's it.

Right.

- Wait, I'm not - I just thought of it.
- That's just the first one.

Okay. All right?

And I eliminated
the middle part.

Okay?

That's what you sign
on your paintings?

- Wow!
- Yes, I do.

- Yes?
- Fantastic. I see.

- And your address is where in the park?
- What?

- 69th Street. I love 69th Street.
- 69th Street in the park.

You're gonna put that
down as your address?

- Come on, baby! We'll go in the bushes!
- Is there a number on a bench or -

Sixty-nine, darling. No
number. Sixty-nine is enough.

- Sixty-nine is enough?
- What else you want?

- 86th? That's another number.
- Can we find you here anytime?

I mean, any night during
the summer at 69th Street?

I hope I'm out of here when
winter comes, when the leaves fall.

Oh, baby, I gotta move.

- Where do you move in the winter?
- Who the hell knows?

Are you saying that the hippies are
sort of confirmation of what you, uh -

What I was 20 years ago, and they
called me an asshole and everything.

Because we need changes.

We all need money, true,

but when you have to live off someone
else's fucking back to make that buck -

That's a penis of a dollar.
I call it a penis of a dollar.

What do you mean, living off of somebody
else's back? How do you mean that?

- All right, may I tell you one thing?
- Yeah.

I was born in Hampshire, New
York. This is the way I call it.

Now, when I see the Negroes and
the Puerto Ricans and the whites

pushing the wagons,

I made a canvas, just using
blank face, mannequins,

because they manipulate
in a business form.

I know the scene - big fat belly
with the cigar smoking, you know,

sitting back and - ha-ha
- playing his horses

and fucking a Puerto Rican
or a colored girl in the back.

I've seen the scenes, baby.

-So you think - -I gave up.
No, goddamn it, I give up.

Fuck it. With all the
intelligence I got, I fuckin' give up.

-You're - -I'm not the only one.

- There are many here have given up.
- Why are you giving up?

Why? I can't fight politicians.

I can't fight money
'cause I don't have money.

Rockefeller - how much money did he
spend for his last goddamn campaign?

- I can fight that?
- Well -

Yes, years ago.
Centuries ago, maybe.

Not today you can't. Even
with words, you can't fight.

Because they're gonna knock it
off - We have controlled press today.

Controlled press.

It's called controlled press.
I'm well aware of it. Yeah.

What average man could
buy a Fortune magazine

and learn what's happening?

Or what average man does?

- What about love, man?
- Love?

Love is a feeling of the penis
and the cunt. That's what love is.

- Oh, boy. On that searching thought...
- All right?

- We bid you good-bye.
- That's right.

- That's all, and there isn't any more.
- Okay. Bye-bye.

- And that's what love is.
- Bye-bye.

Love is a feeling of a
desire for one for the other.

I never like to say
good-bye. I say so long.

- I think you lost something.
- Yes, I did. Thank you very much, my dear.

Très bien. Mercibeaucoup.

- So long.
- So long.

- Victor!
- Yes, darling.

Keep on walking.
Keep on walking.

My friend, I wish I could
give those watercolors to you,

instead of being wasted
the way they were.

- Really?
- That's what I want.

You were a machine
gunner? Where?

- On the USS Alabama.
- I see.

- That was very famous.
- Right.

- What other wars were you in?
- What other wars?

Only one was enough for
me. I couldn't take any more.

- Ciao.
- Ciao.

- Good-bye.
- Bye - I never say good-bye.

- I like to say ciao.
- Then ciao.

Ciao.

Uh, yeah, what we're gonna do is,
uh, we're gonna do a line reading first.

-And then we'll, uh -
-What is the line reading?

Well, we just - I just wanna
hear you go back and forth

with the lines, make sure that
we've got them under control.

And then after we've done that,

we'll, um, we'll try to work
out some kind of action

for you to, uh - to
go through physically.

And, uh, then we'll see what the
problems - You'll play the scene.

Then we'll see what the
problems are. Then we'll get into it

increasingly more on a, uh...

what, an emotional and,
you know, personal level.

You know, more the
dramatics of the situation.

Okay. Um, Terry, I guess
you can - you can start rolling.

I'm gonna do a line
reading with them.

Um, who you gonna work with?

Yeah.

No. You'll - You'll work, uh -

You'll work against
another recorder actually.

You don't need to do any
recording of this, because, uh,

I'm just gonna do a line
reading with them, you know.

-And there's no need to - -Which
recorder am I going to work again?

The recorder - I mean,
uh, John here has -

- All right.
- Hey, I'm picking up the cops.

- You're picking up the cops?
- Yeah.

- Let me see.
- On your microphone. Occasionally.

Oh, no. No, no, no.

That's his, uh - That's his...
Turn off your, uh - your intercom.

- Turn off what?
- Your walkie-talkie.

- Oh, it's his?
- It's his walkie-talkie.

- I'm on her and on him.
- Okay, I-let's -

Let's go down here.

This is roll one in camera "C."

Do me a favor and
clap your hands.

Excuse me.

Oh, no, just do it
once. Just once.

Hold it. Fine. Thank you.

No, she didn't have to.