Original subtitles

(waves crashing)

(mysterious piano music)

(phone rings)

(chuckles)

- No!

(chuckles)

Oh, Christ.

Oh, answer it.

(phone rings)

Damn it, answer.

(chuckling)

- Yeah.

Sidney, your timing is lousy.

- Listen.

We won the Film Critics Award.

Yeah, yeah, Hoodwink won for best picture,

and you got best director.

- We won the Film Critics Award.

- Oh God, no kidd--

- Yeah, yeah!

- Yay!

- Hey!

Sidney, did you get that new script I sent you?

- What, what, what?

Wait a minute, what?

- Look, look.

You just put it together, all right?

It should be easy now.

- Easy?

Hey, you're starting in already?

- I can't hear you.

- I can't hear a word you're saying.

Listen, I'll call you in a couple days.

Okay Peter, okay, goodbye.

(groans)

- Now, where we were?

- Oh, we were, um...

(romantic saxophone music)

- Melinda, I love the script,

and I'd like it to be my next movie.

Now I can get you 50,000 for the script,

and more if you do those rewrites.

What's the matter?

- I used to get that much in a week.

- Well, now that was different,

you were a star.

Now you're a first time screenwriter,

and 50,000 dollars for your first time out

is pretty darn good.

What'd you get for your first acting job?

- 400 dollars.

I'll take it.

Besides, no one else is offering me 50,000.

- All right, well I'll have Sidney

put together the financing,

and we'll start shooting in about four weeks.

(grand violin music)

You don't seem to be very happy about any of this.

- It's so erotic.

Everybody's gonna think that's me.

And I've had enough notoriety in my life, thank you.

- Don't worry so much, it's a terrific script.

If people want to wonder if it's your life, let 'em.

It's good for the box office.

Listen, listen.

I want to make this film

from a woman's point of view,

and I'd like you to be around.

- Maybe I'll write a part in for myself.

- Testing, one, two, one, two.

Right.

Now, which one of your leading men

did you like working with the best?

- Annie, we're not doing one of those

gossipy interviews, are we?

- Of course we are.

Well, what do you want to talk about?

Your sex life?

- Um, that would be a very short interview.

- Really?

- Now you print that and I'll kill you.

- Oh boy, you would pick this script to do.

- Sidney...

If I'm so hot, and you're such a great producer,

what's the problem?

- Look, if you win an Oscar you're hot.

If you win the Film Critics Award,

you're just prestigious.

Artistic maybe even.

But definitely not bankable.

Now listen, I'll give it to you straight.

I can get you all the money you want

from any studio, if you can just get Val to do the role.

- [Peter] Val?

- Yeah, Val.

With Val we're all set.

Otherwise we're talking low budget film, maybe.

- Oh, Sidney, no.

No, she's never done a film like this before.

- That's the point, that's what people will pay for.

Look, if we get Val, we go a step up.

Then nobody can accuse us of doing

an exploitation film.

Val is an actress.

Now look, the studio is really concerned

about all the nudity and sex,

and I'm worried too.

You get Val, I won't have to worry.

And the studio won't worry either. (chuckles)

- How do you feel about posing in the nude?

- [Val] What?

- Not for this magazine, for my book.

- No, I'm too shy.

- I already have 20 celebrities.

Half of them are Oscar winners.

And I would really love for you to be in it.

- I don't know, I've never done nudes before.

- I tell you what.

Why don't you try it?

We'll shoot them now,

and if you don't like them, I won't use them.

I promise.

- I'm telling you, we need Val.

She's box office.

Hey listen, two out of two hits.

That's money in the bank, kid.

- What if she won't do it?

- Well, then we gotta go low budget,

non-union, and I mortgage my house

for the fourth time.

- No, no, I don't want to go non-union with this.

Look, Sidney.

I'd love to work with Val,

and I think she'd like to work with me,

but maybe not on this script.

- Look, you're forgetting two very important things.

She is a very good actress,

and you're a gifted director.

And besides, she loves you.

Hey, that's three important things.

Look, why don't I go talk to her?

- No!

I'll ask her.

- Whatever comes into your head, use it.

(chuckles)

Use your shyness.

- Oh God.

I'm completely embarrassed.

- Good, be embarrassed.

Okay, let's see.

Take this down here.

- Oh...

- Okay, hold it like that, that's good.

Now, look at the camera.

Yeah.

- Now you two are a winning combination, believe me.

Now when are you gonna talk to Val?

- Give me 24 hours.

- Okay.

You got 24 hours.

I gotta make another call.

- Let's get seductive, okay?

- Yeah.

- You're very beautiful.

Imagine you making love, okay?

(chuckles)

Come on.

(laughs)

That's nice, lovely.

You look good.

How do you feel?

- [Val] Very naked.

- Well, let's get more naked.

- All right, okay.

Good, all right.

Okay, bye.

- Here, look these over.

- Ah, good.

I'll see you later.

- Sidney?

- Hm.

Oh, oh.

(chuckles)

- I'll have the proofs in a couple of days,

and if you're nice,

I'll let you read a copy

before I submit it.

- What have you two been up to?

- Your wife's a terrific model.

She's got a great imagination.

- Annie, are you available to do stills

in my next movie?

- I'll make myself available.

Just tell me where and when.

- All right, I'll let you know when I do.

- Cya.

- [Val] Bye.

- Bye.

- Hi, handsome.

- Hi.

- Wanna fool around?

- Hm...

- I want you right here, right now.

(chuckles)

- Hey, you two weren't...

(chuckles)

Well, you could always do a retake later, huh?

(chuckles)

(loud chopping)

(romantic saxophone music)

- Hello.

Well, either you want to make love

on the kitchen floor,

or you're about ready to ask me to do something.

Ask me whatever it is, and get it over with.

- How about a little bone?

- You better ask me what it is first,

because I'm getting very tired of interruptions.

- Okay.

How do you feel about playing the part of Catherine?

- Me? - You.

- Oh, well I couldn't.

- Why?

- Well...

It's a little too sexy, don't you think?

- And what's wrong with sexy?

You are sexy.

- I don't know, it's a little scary.

I think I have trouble seeing myself

naked on the screen.

(mysterious piano music)

- Val, it's a great role for you.

It's gutsy, it's sexy, it's controversial!

It's unlike anything you've ever done before.

- It's different for you.

You're behind the camera,

I'm up there on the screen, exposed.

- I can't hide, my name's up there too.

Baby, I think this can be

an important film for both of us.

Working together would be great,

we've always wanted to do that.

- Yeah.

But I--

- You're scared, I know you.

Don't let the part scare you.

- Is there something else you're not telling me?

- Yes.

And no, no because I'm going to do the film

no matter what,

and yes, if you can agree to do it,

I can get angry studio to finance it.

Together we are considered a hot team, kiddo.

You know, if I thought it was wrong for you,

I wouldn't ask you to do.

How'd the photo session go with Annie?

- Fine.

Annie even got me to do some nude photographs.

(water splashes)

- Nudes?

Then what are you arguing with me for?

- (chuckles) Because that's different.

They're shots for a celebrity book,

and she's a great photographer.

- So what am I, chopped liver?

- No, my agent would kill me.

She'd say you've lost your mind.

- Oh fuck, Olivia would put you in industrial films

if she thought you'd get her 10%.

(chuckles)

You have a beautiful body,

what's wrong with showing it?

- Scary.

- Not to me.

- It's unfair, you're very convincing

with no clothes on.

What if you're wrong?

- We'll kill ourselves.

(chuckles)

(police siren blaring)

- Forget about the ratings.

Listen, with Peter directing Val,

they'll line up for blocks.

Yeah, yeah, yeah.

Don't worry.

Okay, we start shooting next week.

Goodbye.

Listen, Peter, I'm really worried about the ratings.

What do you think?

- I think R.

- Hard R?

- Very.

- Well, what does Val think?

- About what?

- Nevermind, nevermind.

Listen, did you get Don

to play the part of Greg?

And who do you think we oughta use for Andre, eh?

- Don's set, I want Rick Norman.

- Rick Norman?

Rick Norman is an egotistical maniac.

Oh, but you're right.

The women are nuts about him, good idea.

Ah, hello Inga.

Yeah, it's me Sidney.

Listen, put on something real sexy,

be ready in about half an hour.

Okay, bye babe.

Well, I know one thing, he's gonna ask a bundle.

- He's worth it.

- [Sidney] Okay, I'll call his agent.

- Sidney, you mind making that phone call

in your office?

I'm working on the shooting schedule,

we're trying to produce a picture here.

- Okay, okay.

Hey, you're one pushy director.

- [Peter] Well, you're one successful producer.

- Mhm.

- Don.

What do you really think about the script?

- I think the script is terrific, so are the roles.

Come on, what's the big deal?

- What about all the flesh?

- Ah--

- It scares me.

- Come on, it's just acting.

I mean, sometimes we're gonna have our clothes on,

and sometimes we'll have them off, that's all.

Besides, I totally trust Peter's judgment.

He's gotten the best work out of me.

- He's not your husband.

- Now Val, would you tell me

what the hell that has to do with it?

- (chuckles) I'm not sure.

- Well, well, well.

No, that's all right.

Let's forget our personal relationship,

from now on I'm just your director.

- Oh God, Peter.

Please.

I've heard that one before,

do you know that he uses that

in every one of his movies?

- All right.

Let's see what we've got.

By the way, I'm signing Rick Norman for the part.

- Oh no.

Not that obnoxious, egotistical bastard.

- (chuckles) Can you imagine what she'd say

if she didn't like him?

Listen, I hate to admit it,

but he's got a lot to be egotistical about.

He's good looking, he's talented, he's successful.

The guy is sexy.

You're right, Val.

He's an obnoxious, egotistical bastard.

- And great for the part of Andre.

Let's read through it.

(somber piano music)

How'd you feel with Don today?

- [Val] He's great, I really like

working with him.

- [Peter] You two could be the next Gable and Lombard.

- [Val] You mean Lombard and Gable?

- [Peter] (chuckles) Right.

What about Rick Norman?

- [Val] Ugh, I can't stand the idea of him

putting his hands on me.

He comes onto every woman,

and every time I meet him, he leers at me.

- [Peter] Well, speaking as your director,

hold onto those feelings.

They'll work for you when we shoot.

- [Val] You better remember

that you're also my husband.

(chuckling) Ah, no!

I'll kill you!

Worse than that, I'll quit the movie.

(mysterious piano music)

(waves crash)

- [Peter] I'm really glad we're working together.

Maybe I don't say it often enough,

but you're my favorite actress.

- Wow.,

- Aren't they incredible?

- [val] I didn't know I look like that, that sexy.

- Are you kidding?

Don't you know how terrific you are?

How beautiful?

- Really?

Oh, come on.

- No, you come on.

Look at this.

You've got to let me use them.

- Annie...

Why is this making me feel so nervous?

- You know, this film is gonna be terrific for you.

It's gonna get rid of all your inhibitions.

- Oh, Melinda.

I've gotta meet with Melinda.

Do you think I need to lose weight

before we start shooting?

- Lose weight?

- Yeah.

- Come off it, skinny.

- (laughs) Bye.

Let's talk about Catherine.

She's quite a woman.

- Thank you.

- Is she you?

- Yes, and no.

She's part me.

- She touched things in me

I never knew were there before.

She seemed to be one kind of woman,

and then became another.

- Well, Catherine's like most

of the women we know.

Very clearly defined kind of life,

with all the rights and wrongs,

shoulds and shouldn'ts.

Routine life, routine husband, routine sex.

And then all of the sudden, something happened.

She went for it.

- She's happily married to Greg.

They know each other, they've been together.

And I think they love each other.

Would a woman leave all that

for sexual fulfillment?

- I think I'll let you answer that question

for yourself.

But, don't try to get any logic out of it,

just learn your lines.

Let the emotions motivate you.

Haven't you ever done anything illogical?

- (chuckles) Yes, but when Peter got the bill,

he made me take it back.

- (laughs) Well...

Here's to the movie.

- Val.

I think you know Rick.

- [Rick] Hello.

- Rick, hi.

(phone rings)

- Excuse me, that's gotta be Sidney.

- It's nice to see you again.

- [Val] Yeah.

- If we're gonna act like lovers

in a couple of days,

I thought it would be nice to get reacquainted.

You look beautiful, as usual.

- No, not at all.

- Should we talk about the script?

- Um, no.

I mean I can't.

- You know, I only took this picture because of you.

I thought it would be very nice to work with you.

You're a beautiful, and talented woman.

- No, not at all.

I have a fitting, really.

(mysterious piano music)

- You okay?

- Oh, I'm just nervous, you know,

the night before I start shooting.

Goodnight.

- That's it?

- I'm tired, that's all.

- You're not tired, you're just tense.

Relax.

- Peter, that's not gonna relax me.

- Fine, forget it.

I won't ask.

- I don't want to fight.

(mysterious piano music)

- I love you.

(chuckles)

(romantic instrumental music)

- Oh.

Yeah.

(groans and heavy breathing)

Oh yeah, yeah, yeah, yeah.

Yeah.

(groans)

(mysterious piano music)

- Did you cum?

- Uh huh.

- Good luck tomorrow.

- You too.

- Scene 14, take two.

And action.

- This was his earlier work,

and he painted this one in '81.

Oh, excuse me.

Hello, Mr. Blanchard.

You are Mr. Blanchard.

- Yes, please call me Andre.

- Okay, if you'll call me Catherine.

- Of course.

- These are the paintings we spoke about.

- Yes, I've been looking at them.

So this is your husband's work, he's very good.

- Yes.

- This country often takes too long

to appreciate its artists,

usually waits until they're very old, or dead.

- May I get you some coffee?

- Please.

Black.

- Oh shit.

- Cut, cut.

Let's do a pickup from Val's line

about the coffee, quickly please.

- [Worker] Scene 14A, take one.

- [Peter] Action.

- They usually wait until they're very old or dead.

- [Val] May I get you some coffee?

- [Rick] Please, black.

I hope I'm not making you nervous.

- Oh no, not at all.

You said you represent galleries

in Rome and Paris?

- Yes, and private collectors all of the world.

Tell me...

Has your husband done any erotic paintings,

some nudes perhaps?

With your looks, he must've painted you.

- Oh, well, yes.

Some portraits.

One nude.

- Well, if it's as good as the rest of his work,

I'll buy it, for a client.

Can I see it now?

Is it here?

- Yes.

In the back.

- Please.

- Cut, print it.

(knocks) Hi, how come you're reading alone?

- Oh, I just want to stay in character.

- Are you nervous?

- A little.

- All right, now I don't have to tell you

that this is the scene.

The rest of the picture depends on it.

Now, it's very, very important

that when Rick makes his move on you,

that it's exciting, it's dangerous,

new, it turns you on.

So you let him touch you for a while.

- How long is a while?

- You have to decide that.

All I can tell you is you have to

take it to the point where, one,

you have something to feel guilty about,

two, that you trigger something in Catherine,

and three, that you stop him

just at the point that it might go too far.

Now I can't tell you what point is,

you have to use your own intuition.

- What about me?

- Right, we're gonna use two cameras,

we're gonna try to get the thing in one shot,

and I'm gonna clear the set.

- No Peter, me, Val.

- Oh, you'll be fine, don't worry.

I'll see you on set.

You're on, kid.

- Bill, I want a closed set.

That means everyone, even you Sidney.

- Hey, wait a minute, I'm the producer.

- Go make some phone calls, Val's nervous.

- Oh Peter, what about me?

I've got a blimp, no noise.

- Right, no, I want you here,

but keep a low profile.

We're ready for you.

Oh, look...

Val's nervous, so go easy with her, okay?

- I'll be gentle. (chuckles)

- Hey, it's an important scene, okay?

- Okay.

- Peter, do you want me to leave?

- No, I want you here,

I want you to see how it plays.

- All right.

- And action.

- I...

Hope I can find it.

- I'm sure you know exactly where it is.

Ah, yes.

It's beautiful.

Your body glows, it...

Makes one want to reach out and touch it.

- Oh...

(light pleasured groans)

Oh.

(light moans)

Oh, oh.

Oh.

Oh my God.

God.

(heavy breathing)

- Cut.

Print it.

(loud commotion)

Jesus, are you all right?

(knocks)

Not now.

- It's all right.

- Val, I'm sorry.

I didn't mean to.

- Neither did I.

It's all right, Rick, really.

- Okay.

(mysterious piano music)

- Let's just take a look at the dailies

first thing in the morning.

It's closed screening.

Hey kiddo.

I think we've gotta talk about this thing,

because you're just making yourself miserable.

All right, look, let's just get

to the heart of the issue.

You had sex.

The script called for you to reject him,

and something else happened.

- I know.

- You know what I'm saying happened?

It happened.

Now we both have to face that reality,

and act like adults.

- The reality is, I got turned on.

- [Peter] I saw.

- No...

Really turned on.

I screwed Rick with everybody watching,

the whole damn crew.

I actually fucked someone like a God damned

porno star.

I can't believe I would do that to myself, to you.

- Hey, hey.

Hey.

Listen to me, I'm not a psychiatrist,

but I can understand how it happened.

- Peter...

I came.

Well?

What do you think about it?

- I don't know, I have to look at the footage.

- No, I'm talking personally!

You, me.

- Oh come on, look, I'm not gonna

get involved in crap.

Like, was he better than me, or you cheated on me.

Hey!

And I've always made you happy in that account, right?

- Yeah.

- How you feeling?

- All right, better.

- Did you take a Valium?

- Mhm.

Peter.

What are we gonna do?

- Well, let's wait for tomorrow,

and take a look at it.

- For God's sakes, Peter,

we're not gonna use that film.

- Yes, if it's good, why not?

Val, footage like this

just doesn't happen very often.

What's wrong?

- Well, somewhere inside me

there's something that wants you to be jealous,

or possessive, to feel something about what happened.

I want you to say,

I don't want 10 million people

to see my wife fucking Rick Norman.

- Oh, come on.

Do we have to go through that jealousy bullshit?

I think we're beyond that.

- Nevermind!

(mysterious piano music)

(loud moans)

- Oh my God.

(heavy breathing)

- [Peter] Cut.

Print it.

- Okay.

Look, we better talk about this right away.

- Yeah.

In a minute.

- Well?

How is she?

- I don't know.

- What are you gonna do?

- Well, that's what we have to discuss.

- What do you think, Susan?

Can we use the footage?

- It's hot.

But I think I can cool it down enough

so that we can use it.

- What's the discussion?

You can't use that footage.

- Relax.

- Listen, you better be careful how you cut it,

or we could have us a real rating problem.

- Rating problem?

Have you lost your minds?

You can't use that footage in this film.

It's wrong!

- What are you talking about?

A lot of it is good, with a little rewriting.

- Rewriting?

Peter, say something!

- We'll use the footage and rewrite.

- I gotta make a call.

- It's like it wasn't me.

I saw the rushes this morning,

and there I was, screwing Rick,

Rick Norman of all people on film.

It's unbelievable.

- Wow.,

If he's half as good as he looks--

- Annie!

- Come on, lighten up.

- But you don't understand.

- All right, then make me understand.

- I loved it.

I came.

- So?

- So?

I got off on Rick, on everything.

I've never been able to climax that way

before during intercourse.

I never have with Peter.

- [Annie] Does he know?

- I fake it.

- Mhm.

Bedroom theater, eh?

Well, you two better talk.

Be honest with him.

- He'd freak.

I've been faking it for almost five years, Annie.

Lying to him.

- And with Rick it felt good, huh?

- Well, there's something to say for orgasms, yes.

- Look at you.

You were once too embarrassed to take your clothes off.

- Isn't it crazy?

- No, not crazy.

Self discovery.

- Annie.

It was incredible.

(romantic saxophone music)

Hi.

- Hi.

Where have you been, I was worried about you.

- Oh, I was with Annie, talking.

I just needed a little space.

- Honey, the footage came out great.

- Peter, I need to talk about us.

- Honey, we've talked about it.

Let's just forget about it,

and get on with the movie, okay?

- No, it's not okay.

What happened to me yesterday was different with Rick--

- Of course it was different.

- Than it is with you and me.

Peter, I've never felt that way before,

and, well, when you and I make love,

you see I never--

- Honey.

I understand, let's close the issue.

Now listen.

The footage came out so great,

that I wanted to rewrite the movie.

- What?

- Rewrite the movie to accommodate the scene.

- Peter, you haven't been listening to a word--

- Honey, honey, I've listened, I've listened.

We've talked about it, we've discussed it,

what else is there to say?

- Nothing.

Nevermind.

- So, what do you think?

- I don't know what to think,

because I don't know what's going on here.

- Now wait a minute...

- Look, I wrote this.

- Melinda, the screenplay is just a plan

for the movie, it's not the movie.

Things change, let's change them together, all right?

We just have to rewrite the relationship

between Catherine and Greg, and Catherine and Andre.

- Oh, is that it?

- Oh no, we'll be fine.

Just work with me.

(knocks)

- Hi.

- Hi, how are you?

- [Val] I'm okay.

- I've got something for you.

Rewrites.

- Oh, thank you.

Can I ask you a question?

- Surely.

- When did you leave your husband?

- Which one?

- [Val] The one that made all the papers.

- Oh, him.

What do you really want to know about it?

- Did you really love him?

- Yes.

At least, I thought we were happy together.

Then someone else came along

and showed me another side of life

I really wanted to know about.

So I went for it.

- Did you ever regret it?

- No.

See, I think you have to go in things for life,

just go for what you want.

- [Worker] We're ready, Ms. Hanson.

- Okay.

- [Worker] Marker.

- Action.

- Here's to sharing the rest of my life, with you.

You're not drinking, is something wrong?

- Greg, something very unusual

happened to me today.

- You sold one of my paintings.

- [Val] Well, yes, I did.

- You're kidding?

(laughs) Really?

Terrific!

Well come on, let's celebrate.

- That's not all.

I had an affair.

- Oh, you had an affair,

now what does that mean?

- [Val] It means I made love with someone.

- What are you talking about, who?

- It doesn't really matter with who,

it was just someone I met.

- There's someone you just met,

what the hell are you saying to me, Catherine?

- I'm trying to tell you,

I'm trying to tell you how it happened.

- Who cares how, it shouldn't have.

- God, I shouldn't have told you.

- No, maybe you shouldn't have done it.

- Believe me, I didn't plan it,

I'm not trying to hurt you,

I'm not trying to hurt us, I love you.

I've never done anything like this before.

I don't know, maybe I'm learning some kind of

lesson about myself.

- I love you too.

I don't want to lose you, Catherine.

Let's try and work this out together.

- [Val] I need help too, and I'm scared.

- [Don] It'll be okay.

- And cut.

I like it, it's good, it's good.

It's not on the script, but it works.

- We may have a problem, Melinda.

- Oh, shit.

- Well, maybe she'll walk, then what?

- I'll write the damn thing.

- Terrific.

Now he's a writer, producer, director.

Hm.

- Melinda, what's the problem?

- We write a scene, and they act

an entirely different one.

New lines, new story,

now I don't know what the hell is going on,

I don't know why you even need me!

- Well, I don't understand what your objection is to.

They're taking your characters

and they're running with them.

I like what's happening.

- Well, I don't.

Now, I don't even know why you even bought my script.

- Because it's good, 1 still think it's good,

we're using your script to make this movie.

Melinda, this is how movies are made.

It happens all the time.

- Not when I was acting.

Or you just go right ahead

and do it your way, that's fine,

but I don't want anything to do with this film,

you're damn well ruining my script!

Peter.

You're playing God, what you're really doing is jerking off.

And I tell you something...

You better watch Val,

because that's about to blow up in your face.

(mysterious piano music)

- Val, what'd you think of the improv today?

- What do you think?

- I'm very excited about it,

I think it was terrific,

I think Peter liked it too.

- We've got some work to do in script.

And we've just lost our writer.

- Melinda?

- That's our only writer.

- I'll be right back.

- Oh boy.

Well, this picture certainly has its problems,

doesn't it?

- What in particular are you referring to?

- Pick any one, Peter.

Melinda, Val, Rick.

- Don, I like what's happening on film.

It's going better than I thought it would,

I'll rewrite the film, I'll make the movie,

with or without Melinda.

- Melinda, wait!

Oh, I'm glad I caught you.

You're leaving?

- There's no reason for me to stay.

- I, well, I mean, I'm sorry.

I wish you'd stay, I know we need you here, really.

- You just think I can write a happy ending,

well that's your husband's problem.

I'm sure he'll write you a good one.

Good luck.

I hope it all works out for you.

(mysterious piano music)

- And action!

- Oh.

- I had to see you.

- Oh yes, I'm preparing the shipment right now,

it can leave by the end of this week.

- No, no, I want you.

Yesterday was no accident.

I just wanted to flirt with you but...

- Please, not here.

- Much more happened.

Oh, your body's burning.

I have to leave tonight, come with me.

We'll work together, come with me.

Close the gallery, I'll show you things

you've never imagined.

I'll change your life.

Please come with me.

- Yes.

- Cut!

- You make this very easy for me, thanks.

- Okay, let's move on to the next setup.

- Was that all right?

- Yup, let's print.

- Want some water?

- Desperately.

- You're flushed, let me get some of this.

Pictures, I mean.

How do you feel?

- Golly, I was to turned on.

- Is everything under control?

- Button your top for Christ's sakes,

the whole crew is staring at your tits.

- I guess that kind of answers my question.

Is he all right?

- I don't know.

- I'll be home in a little while.

- When can I see the footage?

- Not for a while.

- Why?

- Because I think it's better.

Listen, I'm sorry I snapped at you

about your shirt being open,

but I didn't like it very much.

- Yeah.

- Now wait a minute.

- You sound like I did it on purpose!

- I'm sorry, okay?

I'm a little under the gun here,

I've got Sidney putting pressure on me,

Melinda walking off the picture,

I'm sorry, okay?

- I'm okay.

- What do you want from me?

I'm human, I can make a mistake.

- I don't want you taking it out on me,

accusing me of things.

- What are we fighting about?

- I'm not sure.

- I love you, you know that right?

That makes it a lot better, calm down.

- Peter.

You're my man, don't forget it.

- Sounds like a line from a movie.

(laughs)

- Don't be home late, you need sleep.

So you can be brilliant tomorrow.

(romantic saxophone music)

- [Peter] Action.

- Hi.

- [Don] Hey.

- What happened?

You didn't quit.

- No, I finished early,

I thought I'd come home.

- [Val] Oh.

- What's up Catherine, where are you going?

- I have a chance to set up a show for you

at a gallery, a very important gallery out of town.

I have to leave right away,

before they change their minds.

- It's awfully sudden, isn't it?

- Well, yes, but it's a fantastic opportunity,

we can't pass it by.

- Right.

- Look, if you came with me,

you'd lose the job,

and we're not certain about the show.

I'll call you as soon as we get a confirmation.

It'll be a quick trip.

I'll miss you.

Be good.

- Yeah, you too.

- And cut.

Okay, that's a wrap here.

Tomorrow morning we're on location.

(loud whistle)

- [Worker] 125, take one.

- Put this in the trunk.

What are you thinking?

- About my husband.

- You miss him?

- No.

I was thinking about how different it is

when you and I make love.

- You're not satisfied with your husband.

Does he know?

- [Val] No, I can't tell him, it would hurt him.

- [Rick] Oh, I feel sorry for him.

- [Val] But he makes me happy in other ways.

- There are no other ways.

- Well?

- Cuts together nicely.

- Want more of it in the car?

- No.

No, I don't think so, what do you think?

- I think you're too close to it.

I'll cut it both ways, and let you choose, okay?

- Mhm.

- Does it bother you to see your wife

on the screen with other men?

- This is a movie, Susan.

I know the difference between real and unreal.

- When I worked with that Italian director,

he couldn't watch any of the dailies

with his wife making love.

He'd send messages to me with the cameramen,

and I'd send them back.

He just couldn't watch any of it.

- Hello.

Hey, how's it look, how's it look, huh?

- Fine.

- Well, I hope it resembles the picture

I raised all that money for.

Listen, I gotta show the studio

something they can recognize.

- Sidney, with this footage of Val,

you've got nothing to worry about.

- Oh, terrific.

Listen, Peter, you think you can find

a little something for Inga

to do in the picture?

- Sure, put her in the party scene.

- That's terrific, thank you Peter.

That's just wonderful. (chuckles)

Inga's my sister's kid. (chuckles)

Hi, hello, Inga honey.

Hey, guess what?

Peter's gonna use you in one of the scenes, yeah.

With a couple of lines yet.

- Great!

Buh-bye, honey.

- Where you going?

- I already have a part in the movie.

- My sister's kid on my mother's side.

- Little?

I'm lying a lot.

I keep telling myself this is just a movie.

You want a night cap?

- I'd love one, but I can't.

Got a late date.

- Ah!

And may I ask with whom?

- Yes, you can ask, but I will never tell.

(chuckles)

- You're so bad.

Thank you for dinner.

- It was my pleasure.

Goodnight.

Good luck tomorrow.

(mysterious piano music)

- [Rick] Well.

- Hello.

- Were you coming to see me?

- Oh well, yes I was,

I wanted to discuss the script,

but you're busy--

- No, no, no I'm not.

Just finishing an interview.

Thanks, anytime.

Won't you come in?

Please, sit down.

- Oh, thank you.

- Would you like some wine?

- No thank you.

- Okay.

Now...

What would you like to talk about?

- Tomorrow's scenes...

Have you read the rewrite?

- [Rick] Yes.

- It's pretty erotic.

I think Peter has gone a little overboard

on the sex scenes.

Everything has changed since we did

the first love scene.

- Uh huh.

That's really why you came here, isn't it?

Because of what happened between us?

- What happened happened, it was--

- It was terrific.

And you know it.

I haven't stopped thinking about it,

and I don't think you have either.

- No.

I shouldn't have come here,

I'm very confused, and you're not the one to talk to.

- No, wait a minute.

I don't think you came here to talk.

- No.

Um, what about Peter?

- What about Peter?

This has nothing to do with Peter,

this is between you and me.

You want me, and I want you.

And that's why you're here.

(romantic saxophone music)

(passionate instrumental music)

(mysterious piano music)

(moans)

- (yells) Oh God, oh, you scared me.

- The water was running, I didn't want to yell.

- How was the footage?

- It was good.

So what did you do tonight?

- Had dinner with Don.

Why are you staring at me?

- [Peter] I'm not staring at you, I'm looking at you.

(mysterious piano music)

- Something wrong?

- Not with me.

So what about tomorrow's scene,

you want to discuss it?

- I already did.

- Who with?

- Rick Norman.

(dog barks)

Thank you.

(dog barks)

- We're the guests of my friend Count Orlando.

- The famous art collector?

- Yes, this is where we'll be staying.

As you can see, his taste is rather eclectic.

- Indeed.

Oh, this one is beautiful.

Worth a fortune.

- Yes.

- And where is the Count?

- He'll join us later.

- [Val] Andre, I don't think I like this.

- Don't be afraid.

- I don't like this.

- I promised you new experiences.

Relax.

I wouldn't do anything to hurt you.

(intense synth music)

(light moans)

(romantic instrumental music)

- Andre.

(intense synth music)

Oh.

Andre.

No, I don't like this.

Stop it.

No.

(intense synth music)

Oh God.

- Cut.

Check, please.

Don't we have something to talk about?

- Like what?

- Us.

Us, things aren't exactly going well between us.

- You mean the film, the performances?

- No, I don't mean the film,

I mean us, you and me.

- Peter, every time I try to talk to you,

you talk about the movie.

So I figure that's all we have

to talk about these days.

- It's a little difficult

to watch you make it with another man.

- Oh, is that what this is about?

- Yeah, yeah that's what this is about.

How would you like this turned around?

- No, I wouldn't.

- I'm so jealous.

- I don't know why.

This is just a movie, remember?

- Movie, right.

Did you fuck with Norman on the set today?

- (sobs) No I didn't and you know it.

Is that all you have to talk about?

- Oh, is there something else?

- Yes.

As a matter of fact, there is.

I'm not going to do anymore sex scenes after tomorrow.

Why are there so many?

You're the big writer of the script,

what are you trying to do, punish me?

After what happened with Rick?

- It's part of the movie.

- Well, it's not part of the movie

that we started.

- Well, it's a part of the movie now.

- I mean what I said.

There will be no more sex scenes after tomorrow.

Now if that's all we have to say,

I'm going back to the hotel.

- Yeah, I guess that's all there is.

- I guess that's all there is.

- [Worker] Take five.

- We'll get this other light here.

Oh, oh, oh, okay.

- [Peter] Action.

- We're about to meet a very

important client of mine,

with whom I hope to conclude a crucial deal.

- Good.

- We have to be nice to her.

I mean, really nice.

And I'm gonna need your help.

- What does that mean?

- Well, she prefers women.

And you're a very beautiful woman.

- What are you saying?

- I'm asking you for help.

- Andre, you're asking me to have sex with her.

- I'm asking you for help.

- I'll help, but not that way.

- Very well then, never mind.

I just thought you'd find the experience interesting.

- Are you kidding?

- I said never mind.

(laughs)

- Have you ever made love to a woman?

No, no, don't look at me.

Look away.

- With a question like that, no.

Have you?

- Yeah.

- Um, do you like men too?

- Sure. (laughs)

I'm not prejudiced.

Anyone who is kind, and gentle,

and adores me will do.

- Yeah, I guess something special

exists between women,

and it's a whole other level, yeah.

- What you're saying is that it's easier

for you to talk to me about Peter

than it is to talk to Peter.

- Yeah.

- Val, Annie, I'd like you to meet Elizabeth.

- Hi.

- [Annie] I'm just leaving.

- [Val] Hi.

- Hi.

- Welcome. - Thank you.

- [Val] Please sit down.

- Thanks.

- Did Peter talk to you about the scene?

- Yeah, he did.

- Good.

How do you feel about it?

- Oh...

It's all right, I feel fine.

- You're not nervous?

- No (laughs).

Not at all.

- Great, I'm happy for one of us.

(laughing)

- Sandra.

Hello.

- [Elizabeth] Hello.

- This is Catherine.

- [Elizabeth] Hello.

- How do you do?

- [Elizabeth] You're the gallery owner from Los Angeles.

- Yes.

- [Elizabeth] And are these the paintings?

- Yes.

- Good.

Well, let's have a drink first.

Andre, you know where it is.

- Ah yes, of course.

- You know...

Andre's told me so much about you.

And I must say, you're every bit

as beautiful as he said.

- Oh, why thank you very much.

How long have you known Andre?

- No, I haven't known him very long,

but I know him very well.

(chuckle)

- You have a magnificent gallery.

- Thank you.

- [Rick] Here we are.

- And thank you.

- For you.

A toast.

To the new edition to your collection.

- (laughs) Cheers.

- Come, let me show you the painting.

This is not what you ordered,

but I brought it anyway.

- [Elizabeth] No, you're right.

It's not what I wanted at all, Andre.

- Well, give me a week,

and I'll have the other one ready.

- No, I'm not gonna give you a week,

I've already given you two.

- Andre...

(mysterious piano music)

- Come with me.

I'll help you.

(drowned out speaking)

(mysterious piano music)

- Wait, Elizabeth, stop.

Cut.

We have to cut this.

This is too weird, Peter...

If you want more sex scenes in this film,

you'll have to hire somebody else.

- What do I do now?

- Improvise.

- Ah, when Sidney throws a party,

here, a little champagne.

A bit of the bubbly, oh, oh, it spilled a little.

Oh, you I remember from the last picture.

(laughs)

- Annie, I'm so glad I have you to talk to.

- Anytime.

As long as you're there when I need a friend.

It's a fair trade.

- Yeah.

You know, I had an affair with Rick.

- Everybody knows that.

- No, really.

- [Annie] So?

- So...

He's a great lover, he's a shitty person.

- Peter know about this yet?

- Of course not.

- Well, don't you want him?

Rick, I mean.

- Well, if I didn't have Peter,

I'd probably run away with him, but it's sex.

- Sex is very important.

- Well...

It's Sidney to throw a party at the location,

save some bucks.

- Well, at least we get free champagne.

- Uh huh.

Oh, there you are.

- Oh.

Excuse my style.

- Hi, Peter.

- To us.

- To the movie.

(loud commotion)

You drink it.

- Come on outside, let's talk.

- No.

- I mean it.

Just talk.

Why haven't I seen you?

- We've seen each other every day.

- Okay, let's play games.

(catchy music)

So let's go somewhere else and talk about it.

- Hi you guys!

- Hi.

- Hi.

I see your friend has rescued you from me.

See you later.

- Peter wasn't thrilled.

- Oh.

(catchy music)

- Oh, Inga.

Did you go for your costume fitting?

- Oh, I'm not wearing a costume.

- Oh, then you'll be a superstar.

(chuckles)

Oh, Val.

To my wonderful star.

- Thank you, Sidney.

(drowned out instrumental music)

- This is really an unexpected pleasure.

- Why?

- Well, my friend told me you were gay.

(laughs)

- That's interesting.

(drowned out instrumental music)

(heavy breathing)

- He's just rehearsing.

- You keep sneaking up on me!

- I'm not sneaking up on you,

you're just a little on edge, aren't you?

- Oh, stop telling me what I am.

- Well, you stop jerking off over Rick Norman.

- The only jerking off is your movie now, pal.

- Look, no one's jerking off to our movie

except maybe your little friend Annie.

- Oh, what are you accusing me of now?

- Come on, everyone can see that dyke

is all over you. (laughs)

Don't walk away from me

when I'm talking to you, damn it!

- I heard what you said.

Everyone heard what you said.

Are you happy?

Act like a man, damn it.

- I was drunk.

- Oh, is that supposed to mean

you didn't say anything?

- No.

- Or behave like an asshole?

- [Peter] No!

- Well, I'm glad this movie's almost over.

- [Peter] Why, aren't you having a good time?

- I'm great, I'm having a wonderful time,

aren't you?

- [Peter] Yeah, sure, watching you roll around

with another man everyday is a blast!

- What on earth is happening here?

Listen to what you're saying!

- I know.

Damn it, I know.

(mysterious piano music)

(heavy breathing)

- I'm cumming.

- I've cut it up to there,

how does it look to you?

- I don't know.

- I think it looks fine.

- I think you should do the rough cut without me,

I can't be a victim anymore.

- Okay.

- Maybe you shouldn't show me anything

with Val in it.

- [Susan] Are you Italian?

(loud commotion)

- What is going on here?

- Oh, the Count is having one

of his usual parties.

- Hi, Andre.

Come on in, the water's fine.

- [Rick] Mm, later.

- Okay, later.

- Who's that?

- An art lover, obviously.

- Andre.

I need to speak to you right now.

- My dear Count, why so serious?

This is a party.

- You owe me an explanation,

and I want it now.

Excuse me.

- Excuse me.

- Oh.

- Sorry.

Are you Catherine Haywood?

- Why?

- Could I speak with you in private?

- No!

- Yeah, right, right.

Sure.

Peter, Peter, wait.

Listen, everything under control?

- Yeah, what do you mean?

- Well, I mean, are we gonna finish this picture?

- Yeah.

- Well okay, cause I scheduled a press conference

right after the wrap party, is that all right?

- Yeah, fine.

Bill, get everyone, let's finish this up.

- Yeah.

- I have made the perfect martini.

(laughs)

How's the water?

- Wonderful.

- And now to our good health.

- Ah, yes. (laughs)

Greg!

What are you doing here?

- I'd like to talk to you.

- Andre, this is my husband, Greg.

- Yes, and you do very good work.

I also admire your taste.

- You don't mind if I ignore the compliment.

- No, not at all.

- Catherine, I want to talk to you, alone.

- Andre can hear whatever we have to say,

I'm sure Gregory that--

- No, no, no, it's quite all right.

- I...

I've been crazy without you.

I've became dependent on you.

But I learned something when you left.

I learned how to stand on my own two feet,

and I want to thank you for that.

You protected me too much, Catherine.

You let me think that everything was just fine

when it really wasn't true.

You wanted things that I wasn't giving you.

It's too bad that you didn't think

enough of me to tell me,

you know, just to be honest.

Who knows?

We might've even been able to work it out.

Anyway...

- I have never wanted to hurt you, Greg.

I just--

- Yeah I know, you just wanted more.

- For what it's worth,

I really love you.

- Yeah.

Well, enough of that Catherine.

Listen, that's not the only reason I came.

Your friend in there is a crook.

A well known sought after one,

the police have been following you for days.

- Oh don't--

- Oh Catherine, he has been using you

to carry the ship's stolen paintings.

The police are here, they're waiting outside.

Apparently there's a homicide

they want to discuss with him also.

- I don't believe you!

- No, I didn't expect you would.

- Andre.

- Yes?

- Is it true what they say?

What the, oh my God.

- Nobody move.

- Oh God.

- Okay, come on, come on.

- Okay.

- Well...

I guess there's nothing left for me to do, but leave.

You...

Take care of yourself.

- Thank you.

(loud clanging)

(sobs)

- [Peter] And cut!

That's a wrap.

- Beautiful.

What a hit, we've got a hit picture I tell ya.

Sidney loves every bit of it.

Here, for your kids. (laughs)

Have a little joke there.

Thank you very much.

- Hey Peter!

You were right.

- About what?

- That was the only way it could end.

- Hey, you were terrific.

Thanks.

- Thank you.

- For everything.

- Are you all right?

You don't look very good.

- The film's finished.

- Come on, you still got plenty of work to do.

Look, Peter...

I know it's none of my business,

but you're my friend,

so I'm gonna say it anyway.

Don't lose Val.

She's a very special woman.

I'll see you, old man.

- Are you all right?

- He makes me feel so shitty!

- Your husband?

- My husband.

- What happened?

- He got jealous, even of you.

- Of me?

- Yeah.

For some crazy reason,

he's taking all this out on you now.

- Have you two been able to talk?

- No.

Oh God, I don't know what I'm gonna do.

- Look.

The two of you went into this

with your eyes open,

you should be able to work it out.

- Yeah.

No.

(sobs) Oh God, I don't know what I'm gonna do.

- Oh...

- What the fuck are you two doing?

- What?

See.

- Hey you.

Move, out.

Come on, move!

- You asshole!

If you satisfied your wife,

none of this would ever have happened!

- Is that true?

- Get out of here.

Leave me alone.

- How was it directing your wife?

- Interesting.

- [Reporter] Difficult?

- Interesting, and you can quote me.

- Will the rating be R or X?

- Oh, it'll be an R, definitely.

- Is it true that there was

actual intercourse performed in the film?

- [Val] Of course not, this is only a movie, remember?

- What about the rumor that you'll be

leaving your husband for your co-star, Rick Norman?

- Well, that's an interesting rumor.

I think I'll let my husband answer that one.

Darling?

- I hope not.

- I'm afraid that's all the time we have.

Thank you so much for coming,

you've been just wonderful.

- Thank you very much.

- [Reporter] Thank you so much, goodbye, good night.

- Thank you so much.

Don't forget that picture, front page I wanna get.

Thank you so much.

Hang around, have a snack, come take a drink.

Thank you.

(mysterious piano music)

- Penny for your thoughts?

- It'll cost you more than that.

- Did you have an affair with Rick?

I mean, other than what happened on the set.

- Yes.

- And?

- And...

It was sex.

I was confused, he's not you.

- I...

I guess I have taken a lot of things for granted

about you being happy, huh?

- Peter?

- It's taken me a long time

to be able to talk.

I've been a self involved idiot.

How's that for a description?

- Not bad.

- Well I love you.

I never thought there was anything about

which we couldn't communicate.

What I'm trying to say is,

is that I love you.

And if you leave me...

I think I'm gonna be miserable.

Don't, please.

- You mean more miserable than usual?

- Infinitely.

- Peter, I don't want to leave you,

that's the movie.

This is us.

I want us to be together.

And I've never really been unhappy,

I've just been unconscious.

(laughs)

- Let's get the hell out of here and go home.

- Home or hotel.

- Home!

(laughs)

(mysterious piano music)

(romantic saxophone music)

(mysterious piano music)