Original subtitles

Chapman. Chapman? Very good.

Now, in closing, I'd like to quote Frank Capra.

Don't compromise, for only the valiant can create.

Only the daring should make films, and only the artistically incorrupt will

earn and keep the people's trust.

Good luck, and goodbye.

Thank you, thank you, and thank you, Penny.

And thank you, Frank Capra, for those words of wisdom.

Now, before I announce the nominees and the winner of the National Film

Institute's 10th Annual Student Film Awards, keep in mind that these films

were made by students without any outside assistance of any kind.

In many cases, it meant reaching into their own back pockets.

Now, the first to...

Nominee is... Carl Manknick for The Trial of Janet Casey.

And isn't it true that you were with him at the motel on July the 3rd?

I have no idea what you're saying. I have never seen that man before in my

life.

Oh.

You know what I think, Mrs. Kingsley? I think you are a liar! No!

A liar!

No! Liar! No!

Liar! No! You nasty man!

Order. Your Honor, I object.

This is a travesty.

I motion... I motion for a mistrial.

Order.

Order in the court.

Ladies and gentlemen, Paul Manknick.

Go on. Go on, Dad. Take a bow.

Take a... Ladies and gentlemen, Frank Manknick.

My agent for 20 years and the president of the Manknick Talent Agency.

Now, nominee number two.

Jonathan Tristan Bennett for Cross Savers of Truth.

On June 3rd, 1817, 10,000 men... the field of battle at

avignon by the noon hour only two were left to tell the tale

My humble thanks for this belated yet welcome recognition.

I reserve my special thanks for one Jimmy DelVecchio, special effects man

extraordinaire, regrettably killed during the filming of Cross Sabers of

Truth.

Thanks should also be voiced to the Tristan Bennett Family Trust Fund for

their intuition and good faith.

Thank you.

And now...

Nominee number three... Lydia Johnson.

Oh, my God!

Lydia Johnson for... After Birth of a Notion?

Roll.

Our final nominee is Nick Chapman for First Date.

You

must

be Joey.

Yes, sir.

I suppose you have come for my daughter.

Yes, sir.

Do you play chess?

A little.

It's your move.

I just moved.

Move it, yeah.

What are you trying to pull?

Hi, Billy.

Are you ready? Yeah.

Where the hell do you think you're going?

We're going on a date, sir.

You're not going anywhere!

Why did you get this thing open?

Oh, here we are. Here we are.

Nick Chapman for first date.

First of all, I would like to thank the Institute for this great honor.

I'd like to thank my mom and dad for buying me my first camera when I was

four years old.

I'd like to thank the cast and crew, most of whom were made up of my fellow

students.

I'd like to thank Emmett Sumner, my friend and cinematographer, for his

great images. He couldn't be here tonight because he's at a Lamaze class.

Most of all, I want to thank Susan for being there when I needed her.

Thanks.

I like that dance you did a lot.

Well, you must be very proud of your son. Yes, we are.

Nick,

can I see you for a second, please?

Yep.

Hello, my name is Alan Haigle. Hi.

This is Lydia Johnson.

Yes.

Oh, OK. So congratulations, sweetie.

Come on.

See you.

May I call you Nick?

Yeah.

Brilliance.

Absolute brilliance.

Thanks. I thought your film had a very special quality, very unique.

Thank you.

I think we can work together.

Great.

You know, I'm completely available.

Well, may I call you next week?

Yeah, great. All week, any day.

Perfect.

Call my secretary.

Uh-huh, uh-huh.

I'll call you back.

Okay.

Brilliance.

Brilliance. Okay.

Who was that guy?

Uh, he's from one of the studios.

Speech for Mr. Chappell. Speech.

Speech.

Speech. Speech.

I would like to propose a toast to Emmett Sumner for his brilliant

cinematography.

Well. Yeah.

Emmett, you tell Nick about your movie.

What movie?

No, it's just this low-budget movie this guy wants me to shoot.

What is it?

It's this stupid movie.

It's called Coffins from Hell.

What is it about?

Coffins from Hell.

That's great, Armand.

And it'll finally get him into the union.

Yeah.

So you don't seem so excited about it.

Well, it's this piece of shit.

I mean, there's no story, and...

It's incredibly violent, and I wouldn't want my kid to see it.

So don't do it. Why compromise?

Yeah, well, you make that sound easy.

Well, sure it is easy. You just got to do the kind of work that you want to do

and stand by it.

Well, yeah, I know you're right.

Nick, we don't have the luxury to make that kind of choice.

Mammoth's been trying to get in that union for six years now.

Well, that's no problem. Get into the union when he does mine.

Yeah, that'd be great.

Hi, Nick. Congratulations.

This is Gail Murphy with the IPF Talent Agency. I saw your film. It's marvelous.

Nick, Hurt Bevis. Congratulations on the award.

I love the film. Please give me a call regarding representation. Thank you.

Hello, Nick. This is Shauna at the Cleanser Agency.

Can you please give us a call tomorrow or at your earliest convenience?

Thank you.

Ken Friedlander, Friedlander Morris Talent Agency. Listen, I didn't get a

chance to see the film, but...

Well, I've just heard it's sensational, just terrific, just fabulous. And, well,

we ought to talk.

Yes, party of two.

One moment. Yes, sir. I'm meeting Mr. Sussman.

Yes, he's right there, sir.

Mr.

Sussman?

Mr.

Sussman is my father, and he lives in Miami Beach.

It's Neil. Please sit.

Now, my wife and I come here all the time, and I will tell you that the

gaucho steak is wonderful.

Okay, sounds good.

Are those contacts?

No.

I would kill for that color.

I've always been stuck with hazel.

Look, Nick, I'm not going to bullshit you.

I don't know you.

I don't know your work.

But I think that you are a very, very talented young man, and I'm never wrong

about these things. Excuse me.

Keith.

Yes.

Could I have another Cointreau and Soty?

And could you send an almond torte over to the gentleman in the white suit in

the corner?

Certainly. Look, Nick, I'm not going to bullshit you.

Because it's a waste of time, and then it becomes like that thing.

I'm not talking to you.

I'll call you.

I'm very, very aware that you are seeing other agents.

And I think it's good that you are.

Finally, I mean, it's healthy.

But this is the thing. If you decide to sign with me, you're gonna get more than

an agent.

You're gonna get three people.

You're gonna get an agent, a mother, a father, a shoulder to cry on,

someone who knows this business inside and out.

And if anyone ever tries to cross you, I'll grab them by the balls and squeeze

till they're dead.

Excuse me.

Did you send over the tart? Yes, sir. And what was his reaction?

Well, he seemed pleased.

But beneath the surface, I detected a certain sadness.

Hmm.

So, think about what I've been saying to you.

Because I would hate to see you walk into Alan Habel's office with your pants

down.

Yes. Mm-hmm.

Mr. Habel, we'll see you now.

Thank you.

Are we in or out?

Uh-huh.

Uh-huh.

Well, just tell me, are we in or out?

Yeah, yeah, well, because I can call Jerry right now.

I mean, I don't want to call Jerry right now, but I will if I have to.

Uh-huh.

Look, Elliot, please do not make this a nightmare for me, OK?

Huh?

Huh?

Uh-huh?

You like thimbles, Nick?

Well, yeah.

I guess I do.

Thimbles have a very long history.

All the way back to the Greeks.

Maybe even before that.

Huh.

Can I get you anything to drink?

Uh, coffee?

Charlotte, will you have some coffee, please?

Would you tell Todd to come in, please?

Yes, sir.

So, did you grow up out here, Nick?

No, I'm from Ohio.

Oh, really? My first wife is from Illinois.

How long have you been out here?

Almost two years.

Incredible.

I'll just put her right down here.

Nick Chapman. This is Todd Marvin, my assistant.

Nice to meet you. Nice to meet you. Heard great things about your movie. Ah,

thanks.

Is anybody warm?

Uh, a little.

Cheryl, would you turn up the air conditioner? Yes, sir.

And hold all my calls.

Yes.

So?

So.

What's next?

Well, I'd like to make a film.

Well, you've come to the right place.

Tell me your movie, Nick.

Okay.

Okay, well, it's a love story.

Uh-huh.

It's a triangle, really.

Oh, it's even better.

It's about how people change for all kinds of reasons, but no two people do

it at exactly the same time or for exactly the same kinds of reasons.

I'm not sure I follow exactly yet. I think it'll be more clear when you hear

the story.

Oh, shoot.

OK.

The whole thing takes place during a week spent in a country house in the

middle of winter during a snowstorm.

The three characters are Sharon, George, and Charlie.

Now, while they're warming themselves by the fire, it comes out that Sharon had

an affair with George in the same house the previous summer.

Why didn't you tell me about this before, Sharon?

I wanted to.

I really wanted to.

Hi.

Hello?

Uh-huh.

Uh-huh.

Just be a second.

Well, if he's making that kind of trouble, do we really need him?

Uh-huh.

Well, then get rid of him. Are we still on for Saturday?

Uh-huh. OK.

Sorry, we're making a picture in London, and everybody is just flipping out.

Continue.

Charlie can't believe what he's hearing.

Charlie.

Charlie, I wanted to tell you.

I just couldn't. I... Nick, can I interrupt?

Sure. Do you think it would be possible to have two women?

Two women?

Oh, it's really blowing up.

You mean two couples?

No, no, no. I mean two girls and a guy.

Huh. Oh, okay.

Okay. Okay, so that would mean that Sharon and Charlie have the affair?

No, no, no, no. The two women would be having the affair.

Oh.

Well, I... Yeah, I don't know.

I really, I don't know.

Well, I think you should think about it.

I mean, there is something about two women together.

You know?

It's true.

Yeah, well, I... I don't know.

I guess it's possible. I mean, I know it's possible.

But, uh, I just... Well, think about it.

Could be a real interesting twist.

Excuse me, Mr. Habel.

Mr. Fleckman is here.

Oh, tell him I'll see him right away.

I really have to take this meeting. I'm sorry. Oh, yeah. Well, I think we're off

to a good start. Great.

Welcome. Thanks.

Oh, by the way, my wife and I are having a party this Saturday. We'd love for you

to come. Great.

You know, I really think it has to be one woman and two men.

I think you're right. Because with two women, it's a completely different

movie.

I agree. You should tell him that.

I will. I'll tell him that.

Do you think it would be possible to have two women?

Two women?

Two women.

Nick. Honey.

Nick.

Hi.

Honey.

This is my wife, Polo. This is Nick Chapman. Hi.

Hi. And, um, Susan Rawlings.

Hi. How do you do?

Hi.

Mindy, Kwan.

Come on, kids. Your father's talking to you.

This is my daughter, Mindy, and my adopted Vietnamese son, Quan Da.

Hi.

Hi.

Okay.

Good kids.

So, Nick, tell me, what do you do?

Oh, Nick is a very promising director.

Oh, nice.

Nice, huh?

Can I get you something to drink?

Sure. Oh, yeah, yeah. Come on, Sue.

Tell me, what do you do?

I'm a homemaker.

She's an architect.

Oh, I would love you to look at my house. I'm having the whole thing

completely redone.

Again.

Wow.

We'll have a drink.

Uh, Spritzers?

Yeah, yeah.

Yeah, yeah. Tuesday.

Andres. Andres Vargiak, Nick Chapman.

Oh, wow.

It's... I'm a big fan of your work.

I've seen every film you've ever shot.

Maybe you can get Andres to shoot your movie.

That would be... That would be great.

Nice to see you.

Nice to meet you.

Excuse me.

Yeah, it's a pleasure.

Andres Vartiac, okay? I'm just saying.

Gretchen!

What?

Um, I'll be back in a minute.

Hi.

Everybody, this is Gretchen.

Uh, Susan Polo, you know, of course. Welcome.

This is Nick.

Hi. Hi.

Nick is a very promising young director.

Oh, really?

Yeah, well, come on, Sue.

Come upstairs. Let me show you what I did there.

Come on, Sue.

I'll see you guys later.

So are you an actress?

Yes.

I'm on a series, but I'd really rather be doing movies.

Are you making a movie for Ellen?

Well, we're talking about it.

That's great.

Can you tell me about it?

You really want to hear about it?

Yeah.

Okay.

The whole thing takes place in this country house in the middle of winter

during a snowstorm.

And when I say snowstorm, I don't mean a snowstorm in my book.

And, of course, his carpeting's going.

Alan's ex put it in. You know, Miss No-Taste herself.

I started collecting fine art.

I put in a bit of Christie's from Marc Chagall's David and Bathsheba.

If it comes in, I'm going to hang it right there.

Mind if I tell you how much this house costs?

No.

4.6 mil.

Really? Mm-hmm.

And change.

Hello. Oh, hi, Ma.

Yeah, we're having a party.

No, just business people.

Okay, so then Sharon and Charlie decide to go out into the snow and build a

snowman. Wait a second. I'm confused.

So you have two couples, then?

No, actually, Sharon and the other woman would be having the affair.

Maybe. That must have been Alan's idea.

How did you know?

Oh, that's Alan's thing.

He just, um, likes that.

What do you like?

Have you thought about anyone for Sharon yet?

For Sharon, no.

Not really.

What's wrong?

Nothing.

I really liked your idea about having it become two women, you

know, and I thought about it, and I think it would be a challenge to make a

true love story between two women really, really work.

Good.

But...

I really feel it has to be two men and one woman.

I really do.

Well, it's not that your idea wouldn't work. I mean, it's a great idea. It

would definitely, definitely work. It's just that for this movie, I mean, the

way I feel about the characters is... Nick, you can stop drilling. You struck

oil.

Oh.

Okay. Great.

Terrific.

But I do have a problem.

What's that?

Snow. Well, what about it?

It's always snowing in your story.

Well, it doesn't have to always be snow.

Well, I don't mean the snow.

I mean, the winter. It's depressing.

Oh.

What if... it took place...

in

the summer at the beach?

Interesting.

Well...

It changes the whole concept of the film.

Well, I don't think so, not really.

The interaction among the characters remains the same.

The only thing different is the location.

Look what I found.

Where? In the attic.

Didn't even know there was an attic.

We've rented this house for 15 summers. How come none of us knew there was an

attic? Isn't that weird?

Yeah.

Let's open it.

Hey, whoa, whoa. Time out here.

Nick, how old are these people?

Early 40s.

Oh, boy.

What's wrong?

Well, that is a bad age, Nick.

I mean, the people who buy movie tickets...

fortunately or unfortunately, are between the ages of... 14 and 24.

So?

So if kids want to see people in their 40s, they don't go to the movies.

They go home, look at their parents.

It's true.

I'm a little confused.

No. No, no.

You're not confused.

It's nervous energy. You're excited.

Really?

Yeah.

Damn straight.

Now, I want you to get out of my office and go write me a movie.

OK. Great.

Thanks.

Gretchen? Hi, it's Nick. Nick Chapman. We met at Alan Havel's party.

Oh, of course.

Are you on the love?

Oh, actually, it looks like I'm going to be. I just made a deal.

They're going to let me write a movie.

Congratulations.

That's great.

Thanks. I'm really, really excited about it.

Let's see.

I've been playing an undercover agent in Switzerland this week. Oh, oh.

Would you like to come in my trailer while I take off my makeup?

You know,

that's very nice, but I should probably get going.

That's too bad.

Well, it was really nice seeing you. Yeah, it was great to see you, too.

I'll, uh, see you around the lot.

See you around.

Nick.

Would you like to come to a party with me on Saturday night?

Uh, you mean Saturday night?

Uh-huh.

How about it?

Take this with you. Mm-hmm.

This is all right. Yeah, it's good.

It needs, uh, something.

One of those herby things.

How about Saturday?

What about Saturday?

Are we on for bowling?

Saturday, Saturday, Saturday. I'm working Saturday.

Night? Well...

Yeah, it's a party, but it's for work. See, there's this actress that I met at

this party, and she asked me to go with another party, and she might be right

for the part of Sharon, but I don't even know if I'm gonna go yet. I haven't told

Susan yet.

Well, Susan is not invited.

No. No, no, no, because it's work, but it's a party. It's like a work party

type thing.

What?

What?

What would you do?

What would I do? Or what would Jenny do to me if she found out?

Found out what?

Come on, Nick. Aren't you asking me if I think you ought to get your oil changed?

What? I'm not gonna make the beast with two backs.

Park the pink Mustang up a side street.

What?

No, that's it. I'm out of colorful phrases.

No, wait.

What? That, that... I can't believe you're saying that.

It's just a party.

Oh, shit.

It's a party, for Christ's sake. She definitely pisses me off. You know, it's

really sexist.

Well, I'm sorry.

My mistake.

What are you boys up to?

Great

car.

You can live it with someone.

Help me!

Hi. Are you a friend of Toby?

No, actually, I'm a friend of a friend of Toby.

Excuse me, I'm just gonna...

Is

that Chapman?

I thought so.

Jonathan, hi.

What are you doing here?

Friend of Toby's?

Well, no, actually, I'm a friend of a friend of Toby's.

How nice.

What have you been doing with your time?

Well, you know, just in that.

Nothing concrete, huh?

Well, actually, I just made a deal.

With? Alan Habel.

Welcome to the club.

You have a deal with Alan?

I have three deals, Chapman, at three different studios.

Two to direct, one to executive produce.

Oh, I'm also halfway through my novel.

Huh. How's that cancer cure coming?

Oh, don't be bitter, Chapman.

I was at another party down the beach.

So, um, what do you want to do now?

Well, I... I got to get home.

Oh, come on.

I want you to meet my friends.

I got to get home.

Okay.

Want to drive my car?

Where were you?

I went out.

I know you went out. That was five hours ago.

I went to a party.

With Gretchen Gorman.

Who's Gretchen Gorman?

Susan.

Don't come any closer, Nick, unless you want to walk funny for the rest of your

life.

She's just an actress, baby.

She's a bimbo. She's an actress.

Okay. A bimbo actress.

A no-talent bimbo actress.

A big, fat, no-talent bimbo actress with hair on her back and bad gums.

I forgive you, Nick.

I get jealous.

Girls get that way.

I...

I love you, you big lug.

You should have told me, Nick.

Told you what?

I just went to a party. It's not like I slept with her.

Do you want to?

This is stupid.

It was an industry party, okay?

Do you know what that means?

Obviously you don't.

Obviously.

So where'd you leave it?

We left it a mess.

I don't know.

Everything's changing.

People he barely knew in film school are calling him up and asking him for jobs.

They're all telling him how talented he is.

It's as if he feels he has to change to become the person that they're talking

about.

Have you tried beaning him with a rolling pin?

No.

Works with bandit.

Come on, let's buy you lunch. Okay.

Why are you looking at me that way?

What way?

You know what way.

I don't know what you're talking about.

You know, maybe I need to

think about things.

What things?

Things. I don't know. Things, you know. Things like maybe we should be seeing

other people.

No, this isn't about we, Nick.

This is about you.

And I'm not interested in seeing anybody else.

So when you've decided to do what you want to do, just let me know, okay? But

let me know before you do it.

I'm going out.

Knocking on your door Cause this feeling that I'm feeling I ain't never felt

before If my brain was working right I'd run the other way

But your hungry kiss is begging me to stay You're driving

me crazy You're driving me crazy

It tears me up inside.

I hear your lips begin to whisper. Feel my will begin to slide.

I try to reel it all back in, but it's just a waste of time. You know I've got

to have you more than on my mind.

You're driving me crazy.

You're driving me crazy.

Holding you here, talking sweet love in your ear.

I want you.

Over and then, over and over.

Is Gretchen here?

No, she's not here.

Do you know where she is?

She went someplace with her boyfriend.

Look, I've been thinking.

And, uh, I just... I don't think I can... do this anymore.

So... I'm leaving.

Well, that's incredible, because I was just... just thinking the same thing. I

mean, we can't... we can't keep living like this. It's...

But I think that I should be the one to leave.

Fine.

Leave.

What do you do?

I'm a director.

You ever see Rocky Mountain Serenade?

No.

I directed it.

That was Red Raiden's first picture. Oh.

I made him a star.

A big star.

Then he turned around and crapped in my face.

Literally.

Mm-hmm.

It's $1,200 a month.

Our first class and a non-refundable plane fee.

Can I take this carpet up?

I just put it down. Oh.

Do you know who used to live here?

No, I don't.

Take a guess.

Very famous.

Um... Clark Gable?

Nope. Guess again.

I really... Ah! Take a guess!

Marilyn Monroe?

Nope.

Errol Flynn?

You give up? I give up, yeah.

Chuck Tarras.

The gun show guy.

Oh.

I've done a breakdown, and I see the whole film being shot in about eight

weeks. That sounds right.

Mm-hmm.

I think you should put in a scene near the end where they all throw clam

shells.

I think that would be great.

Yeah?

I'm wondering, though, about... The lighthouse scene?

I am wondering about the lighthouse scene, but I was referring to... The

scene on the catamaran.

That's my favorite.

No, but I love the catamaran scene. I think that should be shot right at

sunset, so you get that golden, orangey... Miller time look.

Yeah.

Exactly. Yeah, except it's gonna be in black and white.

What's gonna be in black and white?

The movie. It's in black and white.

The whole movie? Every scene? Yeah. Well, Nick, if you shoot it in black and

white, they're just going to colorize it anyway, so what's the point?

A lot of theaters don't even show black and white movies anymore.

They don't have the right projectors.

All the projectors are in color.

That's true.

That's not... How do you see music fitting in, Nick?

Well, I was thinking no music.

No music where?

No music at all. What do you mean? You gotta have music, Nick.

Well, you know, maybe some music here and there. Just not wall-to-wall music.

Oh, who's talking about wall-to-wall music? No, what we're talking about are

15 or 20 good pop hits here and there, you know, at most. Isn't that right?

Right. Exactly.

Well, maybe a couple of songs.

Well, good.

Now you think about these changes, Nick, and get right into the rewrites.

I think we have a movie.

Oh, right.

It is so good, Nick.

Thanks.

God, I'm sorry I was late, but the traffic was just murder.

Hey, it's good to see you, man. Yeah. I'm sorry I haven't gotten over it, but

things have been really crazy with the, you know, this. It's the same thing at

our house. Yeah. With the baby and everything.

Right, right? How's she doing?

Oh, she's just incredible.

We even got a nickname for her already. We call her Moochie.

Oh, you're kidding. No. That's great. Listen to this. Check this out.

Yeah.

That's great.

You believe that, Donovan?

Where'd you get this car?

I'm leasing it.

Oh, did I tell you I'm looking at a house?

No. Don't laugh. Don't you laugh.

It's in Beverly Hills.

I don't know if I can afford it, but I don't know if I can afford it, if you

know what I mean.

So what do you feel like doing? Oh, I don't know. I thought maybe we'd just

drive around and talk if you wanted. Whatever you want to do. We could get a

burger. We could grab a burger or whatever.

Absolutely. Whatever you want. I just thought maybe we could talk.

Sorry.

Yeah.

Okay, hold on a sec.

I'm sorry, I gotta take this.

Go ahead.

I'm sorry.

I'm sorry about that, Al.

So, how's your rewrite coming?

Rewrite? You start shooting in six weeks.

Really?

I fought for you, Emmett. I wanted you to shoot this picture.

Nick, you don't have to explain anything. You were the only one. You

were the only one on my list.

Nick, Nick, really, it's all right.

They're making me use Andres Varzyak.

Well, he's good.

I know.

He's great. But I wanted you.

Well, here we are.

So we are.

I'll see you.

Okay, I'll call you. Yeah.

Ciao.

i thought you guys were having lunch no i guess not do you want to go see daddy

yeah what about the film i don't think it's gonna work out

oh lucy let's go make daddy's sandwich

Look, Nick, I am not gonna dick you around.

Because I have way too much respect for you.

And I'm saying that not as your agent.

Although, God, that has given me an insane amount of pleasure.

And I don't mean that as just some sort of showbiz bullshit, you know, where you

actually hear talk on the street and then it becomes like that thing.

What are you saying?

I'm saying that your project is dead.

What are you talking about?

Anything that Alan was involved with is dead.

Because whoever takes over the studio doesn't want blood on their hands. They

want, with all due respect, to distance themselves from the stench.

So just let it blow over, and then in a couple of months, you know, you'll come

in, you'll sit down, and we'll have a really good talk.

A couple of months? Neil, I don't have any money!

I'm sorry. I'm sorry. Please, just... If you could just... get me a meeting with

the new studio head.

If I could just talk to him... I'm sure I could convince him.

So, I'm convinced that all the commercial elements are all there, and

the potential product is a definite demographic viability in a cross-profile

package for the youth market. And beyond.

Way beyond.

Nick, I've always had major reservations about this.

I know. I know. Me too.

Exactly. Laurie, that is very perceptive. But what if... Well, what

if... What if we were to leave it at the beach, right? Only now...

It's a bunch of college guys who are living in the house. They've rented it

for the summer, and they're having this party, and suddenly, without anybody

even realizing it, three stewardesses show up on their doorstep.

What?

The three stewardesses are actually ghosts, and they've been living in the

attic. Ghosts by night, stews by day, and they can be naked in the room, and

the guys can't even see them, and, like, the bikinis are bouncing around without

even bodies in them.

I watched him do this to you.

Just not.

I made a promise to love you no matter what.

I want to be with you.

And I want to hold you and comfort you.

Until they see what I saw in you on that first night we met.

Oh,

that must be my agent.

Was it better that time?

Better, yeah.

I was thinking you could... No, if I get this part, it's because of you. What

about my movie? How's my mascara? Is it okay?

Well, it's... Never mind.

Hi. Hi.

I'll just be a sec.

Oh, Nick, I want you to meet my new agent, Carl.

Yeah, we've met.

Hi, Carl.

Nick, I thought that was you.

By the way, I heard about your deal falling apart.

Well, it's not definite yet.

Oh, really? Well, that's not what I heard.

Um, Nick, Carl and I, we have to talk.

Yeah, uh, privately.

You don't mind?

Do you think we could, um, I don't know, see a movie or something later?

Um, uh, no. I think I might be doing something.

But it doesn't have to take place at the beach. I mean, it really doesn't even

have to be three stewardesses. It could be two stewardesses. It could be four

stewardesses. And they don't necessarily have to even be ghosts if you're unhappy

with that metaphysical thing. It's really... Nick, what does the public,

the general public, want to see?

I don't know.

I do.

Here at Brown Entertainment, we take the scientific approach to moviemaking.

Market research.

Buddy pictures.

They want to see buddy pictures.

Now, who do you think are the two most beloved figures in American history?

Beats me.

Babe Ruth and Abe Lincoln.

How's that bat coming?

I want to hit me some baseballs.

It's all done, babe.

Huh?

Oh, she's a beaut.

Thanks, kid.

Just make sure the Yankees win.

That's the babe for you.

What do you think?

Well, you know, that's a good idea.

Good.

Now, how much money have you got to invest?

All right, Nick, looks good.

I see you're a director.

Jimmy, our busboy's a director.

I could start, uh, today after 4 p.m.

You could start today if I needed a waiter today.

I got 70 people on a waiting list.

I'll tell you what.

You give me a call in about, uh, about six weeks.

Okay, Nick.

Thanks.

Shit, you're knocking off all my magnets.

Sorry.

Jerk. Hole.

Hello?

Is this Mrs. Stein?

Hi, I'm calling to tell you about a brand new service which is available in

your neighborhood.

Mrs. Stein, how many times have you said to yourself, gee, my phone smells, but

what can I do about it? A revolutionary phone cleaning service.

We'll solve this problem for you.

Mrs. Stein? Hello?

Hello?

I love you, Suze.

I love you, too.

Hi, sweetie.

How are you?

Hi, Mom. How you doing?

How's the movie going?

Uh, we had a little delay.

We haven't actually started shooting yet.

Well, everybody around here wants to know when it's coming out.

Yeah. Well, um, tell them next Christmas.

Oh, at Radio City?

Yeah. Yeah, Mom, Radio City.

Mom, listen, I'm just on my way out the door. I've got a, uh... a production

meeting. Could you just tell Dad that I said hi?

Wait! Are you and Susan coming home for Christmas?

No, we, um... I don't think I'm gonna be able to make it for Christmas.

But tell Dad I said hi, and I'll talk to you soon.

Frankie.

Another one.

I can't serve you no more, Mr. Chapman. It ain't good for you. It's eating up

your insides.

Please, Frankie.

Please.

Just one more, just a taste.

For old time's sake.

I can't, Mr. C.

You could when I was on top.

I used to come in here...

With a broad on each arm and a bankroll that could choke a hippo.

You were my friend then.

Everyone was my friend then.

Whatever happened to that nice girl he used to bring in here? You know, the

blonde. She was a nice...

Here you go, Mr. C.

Dear

father

in heaven.

That's better.

There's a sign right there.

Thank you.

Is Susan Rawlings around?

And your name?

Nick Chapman.

Yes. Will you tell Miss Rawlings there's a Mr.

Chapman to see her?

Her office is down at the end of the hall.

My, my, look what the cat dragged in.

Hello, Nick.

I almost didn't recognize you without that starlet sitting on your face.

Careful, you're tracking in failure all over my carpet.

Hi. Hi.

Come in. Thanks.

Nice office.

I share it with a couple of people.

Wow.

Yeah, I, uh... I finally got some windows.

Well, if they don't open them, that's my next promotion.

Sit down.

Thanks.

So, how have you been?

Well, I'm a messenger this week. I was, uh... I'm making a delivery in the

building, so I thought I'd come in and see how you're doing.

So, how you doing?

Um, good.

Yeah. Things are going well.

Have you seen Emmett and Jenny?

Yeah, yeah. I saw them, um, last night.

Lucy. Oh, she's so cute.

She's... She looks like Emmett.

Without the beard.

You should give him a call.

Well, I wouldn't, uh... I wouldn't know what to say.

Well, I think he'd like to hear from you.

Yeah.

So, you seen anyone?

No.

No?

You?

No.

You look great.

I do?

Mm-hmm.

Really? Yes.

So do you.

Thanks.

Well, I should probably hit the road.

You want to see a movie or something sometime?

Well, don't. You know, you can think about it. I mean, do think about it.

You should think about it. I don't.

I don't think I'm ready yet.

Well, I understand.

That's only... That's... You know. Yeah.

Okay, well... It was, uh... It was great to see you.

It was great to see you, too.

I better get that.

Maybe we can... Yeah.

Sorry, I'm a dick.

So how have you been?

How have I been? Ah, how have I been?

Well, it all started about nine months ago.

Young man was graduating from film school.

So that's how I've been.

Oh, Nick.

That's the saddest story I ever heard.

You should really feel sorry for yourself.

Oh, I do. I do.

So what moral may we extract from all of this?

Gee, Miss Crabtree, if I ever get another chance, maybe I'll do things a

little differently.

Bill won't be such an asshole again.

You think that's possible?

Thank you.

You're welcome.

You want something to drink?

Beer? Yes.

So how long have you had this place?

I got it right after school.

It used to be an old mannequin factory.

I fixed it up.

A lot.

Good job.

Boy, Nick.

Hasn't your agent been able to do anything for you?

Oh, sure. He squeezed my balls until I was dead.

Thanks.

So you working?

Yes.

I have a night job.

I round up those shopping carts that are left out on the sidewalks, you know?

I was thinking about doing a documentary about it. You know, the people that

leave them there?

Why do they leave them there are they making a statement about the supermarket

or about?

Society you know I am I interviewed a couple of them and the whole thing

became so fucking Boring that I am gave up

But you know I I'm not depressed that I'm 26 and have no

idea what I'm gonna do with my life

Yeah.

Why don't you direct it?

No, I gave up video.

I'm into ham radio performance art now.

They got any money?

No. I'll do it.

What are they called?

In the chill of the morning, they strike without warning, they found you.

With a crash and a cry of seagile and bonsai, they surround you.

You don't have powder to burn, make every shot count.

Listen good, it's time you learn, never to fire till you...

You see the weight of their eyes In the

market the vendor the thieves and pretenders are waiting

And they know every type and they know when you're right for

the baiting

If you're not on your toes, they'll skin you alive.

People lurks, the shadow knows.

Under the glint and the boughs and the whites of bear.

Crap at every turn.

It's murder out there. Listen good, it's time you learn.

Never do fire till you see the whites of their...

The whites of their eyes.

That was Pez People, a hot new band from L.A. doing the whites of their eyes. It

was directed by Nick Chapman.

Our next video features a group that calls themselves By The We. They're from

Rhode Island, that little tiny state, you know, in New England?

Rhode Island? Yeah.

Hi, Em.

Well, hello.

Hey, Luce.

Hi, Lucy.

Look what I got.

Ow! Hello there. Hello there.

Okay, okay.

She's beautiful.

You ought to get one.

Oh, yeah.

The timing is perfect.

No girlfriend, no job, no future.

I

didn't

fight for you.

Yeah, I know.

I want you to be my friend again.

Nick, I was always your friend.

No, I know.

I mean... I want to be your friend again.

I'll charge it for you.

Oh, yeah, here it is, right here.

Hi.

How was your trip?

Shit.

Snowed.

Here's your mail.

Is everything certified?

No.

How was your weekend?

I went to Santa Barbara, read 15 scripts.

Uh-huh.

I saw an interesting music video last night.

Uh-huh. It was directed by Nick Chapman.

Really?

Was it any good?

It had a quality. It was interesting.

I mean, for a video.

What group was it?

I don't know.

You don't know?

I don't remember.

I can find out. Do you want me to try and get you a copy of the tape?

No. See if you can get him on the phone.

You sure I can't help with anything?

No, no.

Everything's out of control.

So what time do you have to be back at the office?

Don't worry about it.

When did you start cooking?

Well, you know, I can't afford to eat out anymore, and about, uh, about a

month ago.

I heard this rumor that you could actually buy food in a store, uncooked,

take it home, and cook it yourself.

Yeah, I think I saw an article about that somewhere.

Oh, you saw that?

Mm-hmm.

So have you seen the Pez People video?

Uh-uh.

I've been watching. I guess I keep missing it. Well, it's only been on

once. Oh.

But, you know, Lydia has a copy of it if you want to borrow the cassette.

Oh.

Is this Nick Chapman? Yeah.

This is Todd Marvin. I'm calling for Alan Havel.

Yeah.

Uh, hi, Todd.

Uh, listen, could I... Can I call you back? Because I'm, uh... I'm kind of in

the middle of something.

Sure. Thanks. Bye.

Bye.

What'd he say?

He said he couldn't talk. He was in the middle of something.

Was he, uh, talking on another line?

I don't know.

Huh.

I wonder if he's already made a deal with somebody else.

I could find out.

Make some calls.

See if you can find out who he's talking with.

Sandwich okay?

Mm-hmm.

You want more of that?

No, thanks. All right.

See, my secret is that I take the plastic off the individual slices before

I put them into the toaster oven. Oh. Mm-hmm.

And that's where you get that kind of special taste.

OK. You want some more soup?

You sure? There's plenty. There's a ton here.

Mm-mm.

So what time do you say you have to be back at work?

Don't worry about it.

You want to take a drive?

Sure.

Where to?

France.

Hey, Nick.

How's it going? This is Todd again.

Listen, Alan needs to talk with you as soon as possible, so please get back to

us.

I discovered him at film school. Now I can't even get him on the fucking phone.

That's difficult.

What's his name?

Nick Chapman.

I never even heard of him.

He was a genius.

So I recommended Dick Chapman for the picture, but I hear he's incredibly

unavailable. Isn't it Nick Chapman? Thought it was Dick. Could be Nick.

You should see his new video. The latest one? It's the best one yet.

And I've seen them all.

Nick! Hi, it's your agent Neil.

Listen, there is an enormous amount of activity happening, so it's imperative

that I talk to you.

Like, immediately.

So, please return this call the second you get in, okay?

Thank you.

Nick, Todd again.

Third message, you can reach me at any of the numbers I've left. Bye.

Nick, this is your agent Neil. Please give me a call.

Donka!

Yes, I can tell you what Nick wants or doesn't want because I happen to speak

to the son of a bitch three times a day.

Why am I yelling, Stan?

Because nobody calls me a douchebag, okay?

Okay, forgive it. But I only hope that you remember, young man, that you are

not the only person in this town who's interested in making a deal with Nick

Chapman. The kid happens to be a genius.

So just take a number, sit back, relax your crack, and I'll be in touch.

Douchebag.

Corky, try Nick again.

Yes? Get me a reservation on the 12 o'clock flight to New York Friday.

Okay.

Call Rod at home and tell him not to use the shower in the bedroom until the

plumber comes.

Call Nick Chapman regarding beach nuts.

And get me a pot of decaf.

I think we may be too late.

From what I hear, he's probably booked for the next two years.

People are calling me asking how they can get in touch with him.

It's incredible.

I want to talk to him.

Nick, Alan Habel.

I've instructed my secretary to give you my home number.

Call me tonight.

Nick. This is Lori. Would you please call me as soon as you pick this up?

Hi, Nick. It's Gretchen.

I've missed you. Where are you?

Call me, okay?

Bye.

Nick, don't even ask me how.

The important thing is, I did it.

Now, I have here before me five movie scripts, three TV pilots, a miniseries,

and an opera.

Now, we can take our pick.

Now, I read almost all of them, almost all the way through, and frankly, I

think the best one is the TV show about the black kid and the cop.

It is very heartwarming and funny, and yet it has an edge, which is very

intriguing. I'd like to do my script.

Well, uh, Nick, I have to go on record and say that I...

think that you are making a huge mistake.

Well, I want to do my script.

Nick, do you hate me?

Why do you hurt me like this?

I have something perfect for you, and you slap me across the face with a dead

fish.

I'm gonna make my movie, Neil.

I'm sorry, but, uh... You're making a huge mistake.

Yeah, well, at least it'll be my mistake.

Refresh my memory.

The whole thing takes place at a country house in the middle of winter.

It's no good for you? Let's do it.

All right. Roll sound.

Wait. Wait.

What? And action.