Original subtitles

( music playing )

Man: Relax. Good.

Just leave it like that. Yeah, just leave it there.

Maybe you could put your hands up on her legs?

Um... let's see.

We need to squeeze you in a little bit more.

You turn around. Yeah, turn around. That's really good.

That's fantastic.

Take a... Wilty. Hello?

You're dreaming about being on holiday, mate.

All right. Let's get set up.

Let's see, what else?

- If you just lift your head up just a little bit. - All right.

Okay, but not that much.

- Okay. - Like this?

- And smile. - Who was out last night?

- ( chatter, laughing ) - Who was out last night?

Huh? Just two of you.

Just two of you out last night.

- Really? - Woman: Yeah, we were in bed at nine.

Should I believe this? Do you think I should believe this?

What do you reckon, Wilty?

- Wilty is-- Wilty is-- - I wasn't listening.

Wilty's Mr. Party Man. He goes out to all the clubs.

- I was getting ready for this shoot. - ( models laughing )

- ( chatter ) - How was that one, Wilt?

- Get out of there! - Who's the brunette woman there?

- That's not Arrianne, is it? - No, no, no. That's Ashley.

- I think she's gonna join us for dinner. - Really?

Yeah, and then maybe a little something-something afterwards.

- Okay. - If you're good.

She must do yoga.

I didn't get you arrangements for the girls.

I did because you didn't.

- I did. - Is there a problem?

- No. - No problem. Relax.

What does any of this mean?

Don't you at least get a vodka bottle in your bag?

There was-- do you wanna do that?

- It would take up some more time. - Well, we don't have one.

We don't have one.

Oh, God.

All right. Listen, you hold the fort.

- I'm gonna go scream at somebody. - Yeah.

Make me feel better.

- We're at a campaign. - I know where--

- You're asking me for a-- - No one's gonna see this.

- You know that. I know it. - I don't want to hear "any minute" again.

- No, 15 minutes. - 15?

- We've got an exact time now. - Why is it that it's our job to get her here?

I'm sorry. That's not your job? It's your job.

- You booked her. - Excuse me. Excuse me.

How's everything going? Looks beautiful.

- Yeah, you like it? - Love them.

- It was your idea, right? - That's right. Whose else?

- I don't know. - Naked girls. What else do you think?

- Solves anything. - You guys really are beautiful.

- You don't like it? - So are you.

You're in the moment.

- Do you know what the term "zeitgeist" means? - Yes.

Do you? You are in the zeitgeist.

You are in the moment.

- What does that say to you? - That says...

Mercedes, vodka, Lego. Whatever you want.

- Just anything. - Doesn't make a difference.

Just put it right at the bottom.

You know what? Can you grab my cell phone?

- Yeah, sure. - Do you have it? Can I have it?

- Wow. - ( laughing )

- This is... - Why all the whispers?

- this is unique. - Um...

- I mean, you're not doing this, are you? - Don't worry, baby.

- It's not me. - Arrianne, oh, my goodness.

- Hi, it's nice to meet you. - Good to see you.

- This is Anthony Heywood, the photographer. - Anthony Heywood.

- How are you? - Good. Of course.

- How are you doing? - Good.

Listen, we're ready to go.

So, uh... you get comfortable

and take your time, but I'll get you in and out of here.

- Is this the shot? - Yeah, this is the shot.

- Did you meet Billy? - Hi, Billy. How are you?

- How you doing? - How are you?

- This is Oliver. - Hi, Oliver. How you doing?

So, listen. We'll get you anything you want and let's just--

- To be honest, I'm a little concerned. - Mm-hmm.

I don't really get it. The whole naked thing.

I wasn't told about that and...

- Oh. - You know what? I spoke to Allison just 10 minutes ago.

- About what? - You guys should talk about this.

- Hi, I'm Arrianne. - You guys should talk about it.

Nice to meet you. I'm so happy to meet you in person.

You know, we should have a little discussion about this.

- I'm a little concerned. - What seems to be the problem?

I wasn't quite sure that there was going to be the nudity.

- We can talk about this. - She's incredible.

- Hey, if there's any problems, you come get me. - Terrific. No worries.

- Thanks. - Arrianne, just a minute of your time.

- This is Phil and Russell. - Hi.

- I'm so sorry. - Arrianne, we are running just a bit late.

I'm Arrianne. Nice to meet you.

Let them-- these are the guys that are paying for everything.

Heywood: We'll be right out. Let's deal with this first.

So I'm thinking-- I'm having an idea.

I'm going, "What would make Lorenzo happy?"

And I think of my friend Melissa-- besides you, Guido.

I think of my friend Melissa.

I say, "Here is a girl who has been designing all her life,

creating very interesting things.

Perhaps, Lorenzo, you would be interested in hearing a bit

about what she does in an effort

- to maybe open the line a little bit. Maybe. - By all means.

- Melissa: If I could take a moment of your time. - By all mean.

Just to let you know what I have coming out into the future.

I have a new concept called

music underwear.

Now hear me out on this one.

What happens is-- a girl scenario.

A girl comes in. She's making love to her husband.

She's taking off her clothes.

The panties come down and all of a sudden you hear,

"Let's get it on."

It's a microchip. I can also put them in bras.

And I'm thinking about putting them in a line of dresses, too.

- Lorenzo: Aha. - You know, you don't have to go to the stereo.

It's already right there. Romantic, whatever.

- Sewn into the band. - Like the birthday card you open up

and they play "Happy Birthday" to you.

- Aren't those cool? - Right.

- Hello? It's great, huh? - Clever idea.

Into the 21st century. The kids-- the MTV generation's gonna love it.

Very inventive. No question about it.

Where do you keep the batteries? If you don't mind my asking.

She told us no pubic hair. That's what we agreed on.

- I-I-- - Okay, who's sitting in the chair

and who's working for you right now?

- Am I working with you? - You are indeed working with us.

- Do you want to work with me? - But the agent is the go-between.

- That's right. They're the go between. - Now, she's the one

- who's supposed to negotiate the contract. - I'm here right now.

I'm not gonna do it. Figure it out.

Arrianne, I'll tell you what.

I'm gonna get on the horn with Allison

- and see if we can't work this out, okay? - There's nothing to work out.

I don't understand what you're not quite getting about no.

- Does not sound good. - Manager: Get her out here.

- Do you understand-- - In front of the camera.

- In front of the camera. That's all I'm asking. - It's not gonna happen.

If I go in there, it will be like the third--

- you go in there and ask her, then Anthony-- - Just get her in front--

get her in front of the camera! Just get her in front of the camera.

- Just get her in front of the camera. - Back off, Jackie Brown.

What if I tell you that--

obviously won't see anything.

You'll be covered up. It'll be very tasteful.

- Are you still trying here? - I'm still...

- Trying. - Yeah.

You're not gonna get this.

You're not gonna get it.

It's a very

fast-moving cancer.

And there's no cure.

And there is no treatment.

None.

Only treatment to make you comfortable.

You'll either... ( sighs )

...find yourself ( sighs )

going into coma at the end

or pneumonia will take you.

You know, I was work on

a new suit for men.

Is different

because you have Armani-- you have the long jacket.

I have new idea.

I have to make little short

and cinching of the waist like the dirty movie star.

With the long, full trouser

going all the way to the floor.

And the hair-- you know the all cut-- shaved hair.

I don't like. I like the long thing.

He's walk the dog, you see?

I was not ready. Hey, you're never ready, eh?

For such thing.

It's funny that you see in the movie,

they say, "You are going to die."

"Oh, I'm out of the deal," you know?

I'm going to die.

Well, we all have to die.

- Take care of yourself. - Yes.

- You call me if you feel the slightest problem. - Yes, yes.

- Andrew, you get cab for doctor. - Of course.

Love you like always.

- Goodbye, my dear. - Guido.

- Harold. - Bye-bye.

- Well? - Is fine.

- Everything fine. - What did he say?

It's all negative. It's fine.

Everything fine.

I have to go upstairs and work. Everything fine.

Okay. Okay.

( music playing )

Anthony?

- Oh hey. - Hey.

I'm sorry. I didn't mean to wake you up.

- Mm-mm. I fell asleep. - Yeah.

- How are you? - What?

How are you?

( softly ) Good.

Okay, you know what? Here's an idea.

I got an idea. Why don't you do your job? How 'bout that?

I can talk to you any way I feel like.

- I cannot wait to tell Camille about this. - Hold on one second.

She is going to flip out.

- It's just the best thing that's happened. - Yeah, she is.

- You have that appointment at 3:00? - Hey, Ramon.

Who won the game last night? Anybody good?

I don't know. It's sort of like the obvious choice.

- Okay, I'll call 'em first thing in the morning. - If you're gonna to go with--

- Thanks. - I will write it down right now.

I can't wait to tell Camille. She's gonna be thrilled.

- Man: I got a call from Liam. - ( chatter )

Oh, that's excellent. Listen, I got a call from Liam.

- He's really sorry, but he has to put a hold on the orders. - Yes, definitely.

- Why is that? - He's not comfortable until he sees the show.

Well, that doesn't make sense.

- Hi, Blair. - Listen, there's something I need to talk to you about.

No, no, no, no. I'll have her come out. Just not now, okay?

We'll have a meeting. I'll take care of it. I promise.

- So we got a call from "Mademoiselle"... - Excuse me. Excuse me.

and "Enchanté" and they're not gonna be able to make it

until they hear from you first.

Okay, I'll call her. I don't think that should be a problem.

I don't either, but you should get on it.

Okay. I'll do that.

- Don't forget lunch tomorrow. - Check the board.

Oh, yeah. Thanks. Don't forget.

Also, schedule me that blow-dry for next week.

Man: What are you hiding, Simon?

- What's his damage? - Let's look at these.

Oh, I see what he's hiding here.

- Man: Oh, this is fun. - Okay.

Well, we thought that Corso

shouldn't be sitting next to Bornio because--

well, think about their past.

You know what I mean? They hate each other.

And if we put Corso across from Bornio, there'd be a little...

- All right, I'll move 'em back. - ...energy.

- All righty. - That's not gonna work.

- Why? - Why?

Why don't you just put Woody next to Mia? Man, they hate each other.

Like semaphore. They can tell each other to fuck off with flags.

- I like that. - It'd be perfect.

- That's what I was going for. - Nice language.

- Lunch today and tomorrow, don't be late. - Simon?

- Where did Janice-- we were getting lunch. - Are you all right?

She cancelled.

She phoned a couple hours ago to say that she wouldn't be able to make it.

Did she call or did an assistant call?

- I spoke to her. - Why is it so quiet in here?

Woman: I just need to make sure the skirt's right.

Hi, Alfred.

Why aren't you sewing?

It's not ready.

Blair. Blair, why are you doing the fitting?

What the hell does it look like I'm doing?

Nobody's here to do this.

- Chloe? - Mm-hmm.

- You're pinning, too? - I was pinning, but I'm now leaving.

- We had two models show up-- - Don't-- don't go.

and nobody's here to put these girls--

- they're anxious to leave. - Oh, gracious.

- All right-- - Where is Camille?

Ladies, we're obviously at an impasse.

I think maybe the thing to do is call it a day.

I need to talk to you and we just relax

and we'll come back-- we'll start fresh tomorrow, okay?

- This doesn't look right. - What is the point of staying?

- It's not you, but what is going on? - We need to regroup

- and do this tomorrow. - I'm not a clothing designer.

- Look, Roberta. I'm a shoe designer. - I know.

- You're doing a great job. - I have to go.

- I'm confused. - This is a good time to take a break.

- You're confused? - We're not getting anywhere.

Where are the rest of the dresses, though?

Woman: Hey, how are you?

- Good. - Hi, Penny.

Hi, Roberta. Hey, sorry I'm late. If I could just have a second.

I just wanted to let you know I'm not gonna have time to do the show this season.

I know this is really late notice.

- I have to get going. - No, no. Just stay, okay?

- Roberta, listen. I understand-- - I know that you're busy.

We'll help you-- what do you need? Do you need a car?

- Roberta, I don't need anything. - What do you need?

There comes a time

when you just move on.

- Roberta, I'm sorry. - Can you move on after the show?

- Roberta, no. I can't. - That's all I'm asking.

- I can't do the show. - Please, don't leave.

- Come on, Ro. - Denis.

- Listen, you are my friend. - I gotta go.

- Dennis, can you please talk-- - I gotta be outta here.

- Five minutes, all right? - Everybody, everybody--

I can see you've got your hands full.

Roberta, you've got your hands full. I'll come back tomorrow.

- We'll talk about it then, okay? Good luck. - Roberta: You can't leave.

- Dennis?! - Dennis: Yes, yes.

- Go get her! She's leaving! - Dennis: I'm going, I'm going.

Roberta: She's quitting the show! Jesus! Where's Camille?

( groans )

- ( giggles ) - Hey.

- Hi. - Hey.

- Hi. - Hi.

- Wow. - Do you have my dress over there?

- You're getting dressed? - Yeah, I just have to pee really bad.

- Oh, you do? - Mm-hmm.

I don't see it. Oh, here, here.

Look.

Jamie. Jamie.

Jamie...

Hey, do you like eggs? I got-- or pancakes.

- I'm starving. - Yeah--

I don't know about you, but I didn't eat anything at that party last night.

Yeah, I really-- I have so much stuff to do.

I didn't realize how late it was.

- What do you mean? You're heading out? - Yeah.

Now? ( stammers )

- The show's in three days, so I really have to go. - Oh, I know.

- But maybe we can-- I can give you my number-- - I was just gonna make--

Oh, too bad.

- I was gonna make a whole breakfast. - Yeah.

Oh.

Well, Camille.

- Hi. - Hi.

- Good morning. - Good morning.

Good morning.

- Good morning. - Good morning.

Gee, is it my eyes?

I hope you don't feel--

I'm not like that usually.

I don't know what you think about what happened last night-- was wonderful,

but that was kind of radical.

I don't--

I hope you-- in no way did you think that I was trying to--

as quick as possible get you--

get you or something like that because--

I'd love to very slowly get to know you.

So I hope in no way that you think--

this is what I do

or this was a game to me or something like that.

- Okay. - Okay.

- Are you headed off? - Yeah.

Let me walk you to the thing. Did I say something wrong?

No, no, no. That's good.

All right. I feel so sweet towards you.

Oh, my gosh. Oh, my gosh.

Look, you are a very nice person and everything,

but I am not some-- you know.

I know your thing that you do. I know your type and--

- I just said... - No, I just don't want you to think that I'm some person

who does this all the time either.

I know--

- I just-- I'm not that person. - Camille.

Camille, wow. This is really hurt--

- No, I don't want-- okay. - Jeez.

What do you do...

exactly?

You mean for Fantasia and the job?

You know, I, uh...

discover new talent. That's the job description.

The people that we work with-- I'm a facilitator.

- A facilitator? - Yes.

- Is that a funny word? - ( giggles )

I give you whatever you need to do what you need to do.

- Anything? - That's right.

That's right.

I have to go.

- You have to go? - I have some fittings.

They're gonna be crazy.

- I've been gone all day. - I know you have.

I know you have.

- What time's your plane? - Soon.

I hate that. I hate being late to the airport.

- Do you feel anxious? - We're not gonna be late.

- He decrees it. - You're the one who's late.

Oh, well,

I know we had a timetable, but I've been spending time

with her and I just don't know.

I don't know.

What?

You know?

No, I don't know.

- What? - Maybe not the one for us.

- She's not the one for us? - That's right.

Why's that?

Lots of reasons. She's not--

I don't think she'd fit in.

- I don't think she'd fit in. - Why not?

She's a sweet girl. Wants to do her thing.

Her past stuff is kind of far out.

I don't think it's the right idea.

Look at you. ( chuckles )

Just set up the meeting.

( mumbling )

- Hey. - Woman: Hey.

- How you doing? - Good.

- You? - What? Huh?

- You? - Good. I'm good, I'm good, I'm good.

What are you doing here?

- Day off. - You have the day off?

Wanted to, wanted to see you for a change.

Oh, yeah.

We should go away somewhere.

How many days holiday do you got?

- Let's go away somewhere. - Just through the weekend.

- Hmm? - Just through the weekend.

Right. Well, not this weekend.

It's going to be tough to go away this weekend.

No, we should plan a holiday.

We should plan and go away somewhere.

Why don't we just plan something today?

- Okay. - Are you too tired?

No, I'm fine. I'm wired, man.

I'm up.

What do you want to do?

I don't know. We could eat something.

Walk around. Talk maybe.

Okay. We could eat something here.

We could talk here.

- Do you wanna stay here? - I...

I just-- I'll--

I won't bring my work home...

- with me. - But that is you.

How can you not bring it home?

What, and then I don't bring my work home?

And then, what, we sit here and talk about what?

Things that really matter.

And what are they?

Your work really matters to you.

That world really matters to you.

When you say it like that, it just seems so stupid.

I love it, I hate it.

You know? I love it, I hate it.

I love it when I'm doing it.

When I'm not doing it, I hate it.

It drives me crazy.

I couldn't do a 9:00 to 5:00 job.

- It's crazy. - I'm not asking you to do a 9:00 to 5:00 job.

I'm not asking that of you.

I'm saying that you should do what you want to do

and I'm not here to lay in judgment of that.

Maybe you don't want to hear it anymore

because you left it.

Yeah, but we used to have a common denominator, right?

- And now we don't. - Right.

- And I think-- - Well, hang on.

Now that was a common denominator.

It wasn't the common denominator.

Wasn't it?

* Let's dance all night long... *

What you have done?

- What you have done? - ( cheering )

Happy birthday, Daddy.

- That is Peter. - Hi.

- Hello, nice to meet you. - My daddy, Lorenzo.

- These are cigars for you. - Thank you very much.

- Very kind. - Lorenzo.

Regina.

- I thought you were in Rome. - ( speaks Italian )

Look at that. How beautiful.

( speaking Italian )

- Happy birthday. - This is the best boy.

- You are best boy. - Surprise, darling.

( speaking Italian )

Where is Mario? Mario here?

- He'll be here. - Here?

Oh, my God, cómo estás?

- Divine. Not a year older. - What a beautiful thing to see all of you here.

What a surprise.

No picture. I don't want my picture taken.

Oh, right. Don't like pictures? Since when?

- Merci. Go on. - Yeah, because you will not change.

( chatter )

My dad-- trust me, my dad is cool.

- You sure? - T: All black niggas in the house.

- Mario: Dad! - T: Black time!

Happy birthday. Happy birthday.

- My name is T. I'll be your host for the evening. - Mario.

Yeah.

- My father Lorenzo Mancini. - How you doing, Mr. Mancini.

- Mr. Mancini, Mean Mitch. - Ah, Mr. Mean.

- J.B., where is he? - For the black brothers.

The man. This is the man, Dad.

- J.B., meet my father Lorenzo Mancini. - Hey, man.

- Nice to meet you. - Pleasure to meet you, Mr. Mancini.

Simone, was that LL Cool J

that walked in with the hat?

- No. LL Cool J. - Not him?

- That's J.B. That's my boyfriend. - Ah, J.B.

- Oh, really? - Yeah, yeah.

- How very nice. - Dad.

- Dad, what do you think of this? - See, but, Mario--

- What we can do with this-- - We talk in the office.

- This is what I was talking about. - We talk in the office.

My name is T. How you doing, man?

- Mr. T. - This is my nephew.

- That's my uncle right here. - He's a funny guy.

- Here's a great guy. - Come, come, come.

Can y'all tell me where the bar is? 'Cause I need a drink.

Don't play. Don't pout.

Don't pretend there's nothing wrong because is much wrong.

Because you have no focus.

You just do anything come into your head.

What did-- focus?!

I just brought these people here

in a concentrated interest to bring you and them together

and myself, so that I could do something. You say I don't have focus?

That's exactly why I brought them because I do have focus for the first time.

That's why I brought them here.

So that we can do something.

So that I can help you and help myself,

but you don't want to let me do that.

You just want to run it the way that you want to do it.

It's always the same thing.

Sending me off, sending me away.

( laughs ) My son, my son.

No, no, no. It doesn't work that way.

I'm trying to do something now...

to establish myself.

But you don't wanna let me do that.

Easy, tiger. Easy, tiger.

- We can talk here. - Don't tell me to take it easy.

Well, it's a party. You're supposed to be having a good time.

- Exactly. Exactly the point. - Well, listen.

It is a surprise party and you missed the surprise,

- so I think he has every-- - I didn't mean to miss the surprise.

Well, you did, okay. Let's cop to that.

You think it would have been any different if I had gotten here for the surprise?

- Do you honestly think so, Guido? - Yes.

Simple enough. Yes.

I don't think so. I don't think so.

Just get over it. You'll be all right.

- Place looks good, doesn't it? - Looks fine.

Oh, come on.

Meanwhile, are these new friends of yours?

They're not armed, are they?

- I'm just asking. - Don't you start on me now.

- Guido: God, your hair is so-- I want this hair. - Irene: Like it?

Look at Gabriella. Do you believe that?

- She's taller than I am. - Do you know what she's gonna do there?

Not much with that lunkhead, I hope.

Excuse me. Sorry.

- You're funny. - You look delightful.

- And beautiful. - Oh.

- And how is our husband doing? - And so do you as always.

I think you should spend some time with him.

- No, no, no. - It's up to you.

No, no, no. Guido finds out, he'd kill me.

- So did it change-- - Cut my head off not to say something else.

- Your head? - You cannot do that, my darling.

- No, no, no, no, no. - Looks so beautiful here.

- It's very beautiful. - I miss you, you know?

I miss, too.

- It's nice to return. - Yeah.

The old days. Life is short till the longest.

It make you think about, no?

- You don't think about? - I think a lot about.

- I think about. - Yeah.

- You look so worried. What is that? - I worry?

- I worry about the children. - Why?

Because they...

You know Gabriella, she's Gabriella,

- she does what the fuck she wants to do. - Same Gabriella.

Mario. He keeps trying to prove something to me.

I don't care what he do.

I care he find a place to sit down

and to sit there and look ahead and focus.

And I worry about...

You are such a good mother, aren't you?

- I am the best of the mother. - Always worried about the babies.

Your little babies.

You're so good.

Thank you for being so good to the babies.

You're good. You're a good heart.

I love you.

Oh, how are you doing to me?

- ( sighs ) - What is that?

Is there something wrong there?

Eh...

I am sick.

- You're sick? - Very sick.

Okay. We go to the doctor and...

Is no doctor.

I have been to Harold. He's the best in the world.

- You have AIDS, honey? - No, no, no.

- What is that? - I have the cancer.

I have cancer.

- Hi, Kelley. - Hi, how are you?

Fine, honey. Are you coming to the show next week?

- Yes, absolutely. - Good.

This place is full of fucking sharks today.

- No, it's gonna be fine. - Safer to do it.

You know what? It'll be fine.

- ( sighs ) - He's gonna be here any minute.

- Just cool your jets. - Penny?

- Darling. - Roberta: Hi, Janice.

- Hey, how are you, baby? - How are ya?

- Good to see you. - You and your beautiful team.

Hey, everybody. How you doing, Simon? Sarah?

You look gorgeous. Let me just take a look at this jacket.

- Thank you. - Girls, look at this jacket.

- Oh, that's gorgeous. - Is this not beautiful?

- Look at that. - Palmer Jones. They made it for me.

- It's stunning. I love it. - Leave it to you to be right on top.

Hey, listen. Can I talk to you for a minute?

- Sure. - Come on.

Okay.

- Simon: How you been, Darce? - Very well, thank you.

Okay. What am I doing?

You've cancelled lunch on me three times.

You haven't rescheduled. What is going on?

I'm sorry. I don't know if I've done anything.

- You haven't done anything. - Okay. All right. Really?

Really. You've just been totally lovely.

You would not believe the week. This is unreal.

People are acting weird. I don't know what-- is it a full moon?

What is it?

- Do you want me to tell you? - What? Yeah.

Is there something I don't know?

I don't want you to flip out, okay?

Are you okay? Are you okay?

That is so sweet of you. It's about you.

Am I okay?

I want you to be okay.

- What? - Camille is seeing Jamie from Fantasia.

- Oh, I knew that. - You knew that?

- Oh, completely. - You knew that?

- Oh, yeah. I knew that. - You knew that?

- Oh, sure. - Oh, my God.

- I thought it was part of the full moon thing. - I thought this was gonna be--

- Are you kidding? - No.

Oh, this is fantastic. I feel so much better.

You knew. You all knew.

- We weren't positive. - We didn't know.

Yes, you did. You knew.

Damn it.

- Shit! - It's done.

- Roberta: Let me just try something here. - Woman: Are you okay there?

Shit.

- This dress is hopeless, Roberta. - No, no. It's fine.

Maybe we should just do it asymmetrical.

Maybe we should just do it like it's supposed to be uneven.

Yeah. I think that's a great look.

- Look at that. - That's not bad.

- Let's make sure I'm covered, though. - Yeah. Okay.

Somebody have a cigarette?

Did you like the flowers, by the way?

- Flowers were lovely. - Oh, thank God.

Hi. Hi, Roberta.

- Roberta: Let me have the tape for a second. Hey. - Hey there.

- I need to talk with you. - Okay.

We need to discuss what we didn't get to talk about last night.

God, this is snagged now.

- What? - I've gotta get Alfred to run that through again.

- Oh, my God. - Don't worry, don't worry. It's okay.

But why would she be coming back now?

Are we trying to put it as if she's booted Camille out

or that Camille's left and it's a mutually--

I just don't have an answer for you on that.

Just put, "The unexpected absence of Camille

due to personal problems has left..."

I don't think we can put that

because we don't know that she has personal problems.

Well, then, what are you gonna put?

How are you gonna explain that she's not there?

- Don't-- - Would you write it down?

- Fantasia? - Yeah.

- ( car horn honks ) - Fantasia?!

- The Fantasia? - The. Yeah.

- What do you mean, "Yeah"? That's excellent. - I know.

- It's just so corporate and-- - Oh, please.

- Don't even give me that. - What do you mean?

Don't you think that's where we wanna be?

- No, what does that have to do with-- - The largest, most powerful

design firm in the whole country?

I mean, come on. That's what you do. You're a designer.

- Be happy about it. - I'm happy.

I just don't see what all of that has to do with

drawing and making--

I mean... ( stammering )

I'm scared.

It's big. It's a big thing and I don't--

there's a lot of pressure and I don't--

- you know, I-- - Camille, come here.

- I know. It's huge. - Yeah, it's huge.

- It's real huge. - Yeah.

But you should really embrace it.

I've decided that

I'm gonna take a job back in London.

Wow.

It shouldn't be that much of a surprise, really.

No, I mean-- look, look.

I-- I understand.

It's obviously not about you. You know, it's obviously--

It's been a rough week.

But, you know, it's not always like this.

Right through there.

I'm just really in a rush, you know?

I haven't got time for this.

I understand you guys are having problems,

- but this is my time. - It's so hard at this time.

- It gets so hectic. - Right, I know, but--

At the end of the day,

we're all doing what we need to do out of all this.

For ourselves.

Let's face it, we're all covering our own backs.

I mean, fuck, Camille is.

...mood is at the time, you know?

Uh-huh. I like how you--

I'm getting a sense of how you move around in the world.

It looks like this, but it's kind of--

- it's directed from you-- - Why are you always observing everything I do?

- What am I doing now? - You're on my height.

- And you're looking twinkly-eyed in my eyes. - ( moans )

And you're gurgling and gurgling.

Did you ever see that movie "Like Water for Chocolate"?

No, I didn't. Oh, wait a minute.

Yes, I did see that.

I like those Marquez novels that are like that.

- Why bring that up? Why do you ask? - Do you know how,

when she would cook food and she was sad

and people who ate the food after she cooked it

when she was sad, they felt very sad?

And then when she cooked with love, then they--

- Yes, yes? - they all fell in love with each other.

- Yes. - Well, that's kind of how I feel about--

you know, when I do my drawings.

It's whatever's inspiring me.

- Like you're inspiring me. - I am?

- Yes. - You're inspiring me, too.

I love what you just said, though. That's very interesting.

How I'm sure it translates your vibe--

what's going on in you as you create these things.

- Like, what was this person thinking? - Of course.

Thinking and feeling and who are they and what went into it?

As you put that on, you kind of--

- I'm not an airy-fairy guy or hocus-pocus guy, - You feel it.

but I think it's surely true.

- Right? - Yes. Yes.

- Camille. - Hey.

- How you doing? - Hey, what's up?

- How you been? - Good. How've you been?

Good. I was worried about you. I lost you the other night.

- I went for a drink, I turned around and you were gone. - I know, I was so tired.

- I should have called you. - I was worried. I called you-- what, three times?

- I left messages on your machine. - I know.

I've been so swamped. Your mom called me. What'd she want?

I talked to her and I told her that I was looking for you.

- I lost you at a party-- - You called your mom and told her?

I talk to my mom all the time. You know my mom. My gosh.

You could've come over and see I'm okay.

- I'm fine. Where are you going? - Maybe I should.

- I was just gonna do some shopping. - Yeah?

You're freezing. Why don't you have a jacket on?

- I'm fine. - You're all right?

- Yeah, it's warm. - Good, good.

This is Jamie. This is Paul.

- Jamie, how you doing? - Hello, Paul.

- Good, good. Good to see you. - Good to see you.

- What's your last name, Paul? - McMichaels.

Did I interrupt something?

- No, no. - No.

We were just-- we had to look at some things in here.

But we're gonna go. I'll call you later.

- Great. Please do. - Okay.

It's good to see you.

Wow. You look like you're in a walking race.

- No. - Racing away from me.

- Sorry to leave you on the street there. I went into-- - It's okay.

Hey, wait a minute. Where are you doing?

Just gonna go home.

- What? - What?

- What'd you get? - A present for you,

but you're walking away from me like that and you're going home?

- You're going home? - No--

Was that--

Did you want me to accompany you or was that goodbye? Was that it?

What sort of weird stuff has happened now?

- Nothing. I just feel a little-- - Well, not nothing.

- Something. - Okay, that is someone

who knows Roberta very well

and I feel a little strange right now

and... that's it.

Well, it feels awful to me.

- I'm sorry. - What's that mean?

He knows Roberta

and so you don't want Roberta--

oh, I see. To know that we're seeing each other,

but-- wow.

- Okay, but it feels personally-- - What don't you understand--

Well, I sort of understand that, but personally--

what don't you understand about the fact that

that personally feels awful to me?

You're creeping me out a little bit.

You just need to relax and just--

I'm perfectly relaxed and I'm sorry I'm creeping you out.

This is freaking me out, frankly.

- Are you playing some kind of game? - I'm not playing any games.

- That was-- - Where sometimes it's wonderful

and sometimes you go, "Fuck you, I'm going home,

- I'm being lost." - No, I'm just a little confused right now, okay?

I don't know what I'm doing. I'll meet your boss if you want--

It's not about meeting my boss, honey.

It's not just about meeting my boss.

I think I get the picture. I'll--

- Please. - I'm sure you do.

Roberta?

I'm back.

Roberta? Sweetie, sweetie.

- ( groans ) Such a bitch. - Sweetie.

I tried to get you on the cell phone and it didn't work.

I know.

There was no reception where I was.

- I'm sorry. - How was Bali?

Bali was Bali.

- Surf was good. - Yeah.

I saw a big shark.

I've seen a lot of sharks, too.

The show's in a couple of days. What are you gonna do?

I don't know.

When do you wanna do?

I don't know.

- This is just hard. - I know.

What do you think's going on?

I think Camille's bailing.

But why?

I think she's selling out.

I think she wants to go make some more money and...

Yeah, but that's--

if she wants to do that, it's her life.

She's gonna do it.

Yeah, but that's not the point.

- I know. - It's the way she's doing it.

Maybe this is an opportunity.

I mean, if you look at it in a different way.

Okay, so Camille-- who needs her?

- ( laughs ) Me. - No, I'm serious.

When you started out,

you were as good as Camille.

Come on. You were. You know it.

You know it.

- You thought so anyway. - I know so.

You know? And so do you.

Really, the bottom line is, sweetie, so do you.

And maybe it's time for you to get back into the driver's seat now.

( elevator dings )

- ( phone ringing ) - ( chatter )

Woman: They looked really uptight to me. I don't know.

Seems like it's supposed to make you really relax.

( continues conversing faintly )

- Excuse me. - Yeah, I'll be right with you.

She said it seems like the most stressful thing you could do.

( footsteps )

- Anthony? - Yeah.

- Hi. - Hi, how are you?

I'm Wilemina. It's okay. Have a seat.

Janice is still in a meeting right now.

- Okay. - She'll be with you in a little bit.

- Okay. - Um...

I've watched your work for a while.

- You have? - Yeah. I'm really, really into the heroin chic thing.

You are a heroin chic god.

- God. - I totally follow your stuff.

It's like an albatross around my neck.

- Really? - Yeah, because it's just been copied so many times.

Yeah, but you were the original. Everyone knows that.

- I was. - Everyone knows that. Trust me.

- Yeah, I really admire your work. - Thank you.

- You're welcome. - Thank you.

I hope your meeting with Janice goes well.

- I could get thinner models. - ( laughing )

It's cute that you're trying to make a joke.

You gotta reinvent yourself.

You've become a little bit of a Xerox copy

and every time it's been copied,

it's just gotten a little duller.

I don't think that's fair.

I'm not copying myself.

Are we arguing?

I'm speaking for myself, yes.

Is argumentation gonna get you success,

uniqueness, rebirth, and freshness?

- I think expressing myself-- - Yakity, yakity, blah, blah, blah, blah.

That's right. Reflect.

- Excuse me. - Yeah, hi.

Hi. Can you tell me where Janice Crawford's office is, please?

Mm-hmm. Janice Crawford's office is here. Can I help you?

Could you show me where it is?

Do you have an appointment?

No. Can you tell her that Halley's here?

Okay, Halley, but she's in an appointment right now

and she doesn't want to be disturbed.

I can call and see if she's available.

Can I tell her what this is regarding?

Would you just tell her that it's her daughter?

Um... her-- her daughter?

- Halley. - Okay. Sure.

Have a seat. I'll see what I can do for you.

- Okay, Halley? - Okay.

Yeah, hi. Wilemina?

There's a girl here. Her name's Halley.

She says she's Janice's daughter.

Can you come check it out for me?

All right. Okay. See you in a second. Bye-bye.

- Thank you. - Yeah, no problem.

- Janice's daughter? - Yeah.

- Her name's Halley. - Okay.

- Hi. I'm Wilemina. - Hi.

- Halley. - I'm Janice's assistant.

- Nice to meet you. - Uh... your mom's...

- Yeah. - ...assistant.

- Right? - Yeah.

Do--

- You wanna see her? What is-- - Is she here?

She's here. She's in a meeting, though.

I don't think now is a good time to disturb her.

- Can you hold all my calls? - Sure.

- We have an incident here. - An incident?

- I'm just gonna... - Yeah. This girl says she's Janice's daughter.

- Her name's Halley. - Honey?

- What? - Are you aware that Janice has a daughter?

No, Janice doesn't have a daughter.

This young lady behind us claims to be her daughter.

This a joke?

I-- I'm so happy.

I'm so excited. Really.

You keep it simple. You keep it clean. You keep it now.

- You keep it hip and edgy. - Janice.

- I gotta say this is gonna work out really well. - I like it.

Simple, now. I think it's great.

Anthony: Something hip. Something edgy. I think it's fantastic.

- Yeah, I can do it. - You've worked with celebrities before?

- Yes, I have. - I know you have.

- No problem. - You're gonna be brilliant. I love you.

- Thank you. - Oh, you're so gorgeous.

- Here's what I say. - Janice?

- I'll take you to the elevator. - Janice?

Janice: This way. That's right, angel.

- ( elevator door dings ) - Janice: Oh, my God.

That situation with Anthony is so--

- Janice. Janice. - you've got to promise me one thing.

Promise me one thing-- promise me, you both,

that we will not let this guy do any heroin chic.

- You promise? - Janice, there's somebody here to see you.

- There's always someone here to see me. - This is someone special.

I think someone special is here to see you.

- Why don't you turn around? - ( music playing )

- Hi. - Who's this?

I don't have a meeting with her.

- Um... she's-- - Halley.

Are you okay?

Okay. Um...

Why don't we give them a little privacy?

If you need anything, you call me.

Water. Would you like some water?

Janice? Halley?

Lunch with Gary Packer is right now.

Just keep that in mind.

Hi... Mom.

- You're busy. - No.

No. No.

No.

Um, can you meet her downtown?

Between some meetings she has down there?

- Sure. Yeah. - You can do that?

Okay, then what I'm gonna say is that you're gonna meet her downtown.

This is in Chelsea.

- Okay? - Okay. Can I--

You know where that is, right?

If you just give me the address, I can find it.

Okay, I will give you an address.

I'll write it down for you.

Hold on a second.

You can go meet her down there and she can--

I don't know-- have coffee with you.

How long do you think she'll have?

That really depends on her.

She's got these meetings

and if she stalls them, she stalls them.

I can't really tell you, though.

What's she like?

Your mom?

I love your mom.

I really-- I wanna be your mom.

I think she's a great lady.

How long has it been since you've seen her?

- 12 years. - 12 years?

- How old are you? - 19.

Do you mind if I ask--

it's none of my business, but what happened?

Darcy: I have to say in 12 years

I have done a lot of interviews

and I have never come here in my own city.

It's so beautiful. I thought, why does she want to go down there?

- It's such a great idea. Thank you. - No, it's nice.

Because otherwise you're gonna sit in a cafe

and I was gonna spill mustard on my shirt and you're gonna write...

- I won't write that. I'm glad you brought that up. - ...is such a slob.

I'm glad you brought that up because I want you to know

Janice and I have such different styles and I hope she didn't scare you off,

- but we were so excited-- - No, sweetie. She didn't scare me off.

I know. I saw that. I saw that.

- But she's really great. We're so thrilled to have you. - No, she's fine.

- She's fine. - And you're so normal.

I was expecting something so different out of you.

I've been such a fan, but you're so accessible

and easy and down to earth.

This business is so about--

you do one role that you do well

- or you get known for and that's all - Very well.

- anybody ever wants you to do. - Mm-hmm.

- It's easy to cry. Well, it's not easy. - Do you think--

Do you think that a lot of your comedy--

because you're so well-adjusted

and you're so present and down to earth.

- Do you think-- - You don't know me well, do you?

- I'm trying to get to know you. - Well-adjusted I am not, but that's okay.

Do you think a lot of it is because of what you've had to endure

in your personal life and dealing with trauma

and stress

and sort of births this comedian in you?

Is it new? Have you always been like that?

- The comedian in me? - Yeah.

Sweetie, I've always been--

no, to be honest, like everybody else

I watched "I Love Lucy." I'm like a freak.

I just wanted to be, like,

redhead crazy woman.

- Right. - Instead I'm a blond, crying, serious,

- heavy actress. - Bombshell, genius,

- Academy Award-nominated actress. Please. - Well, thank you.

I'm staring at you.

Besides looking at those gorgeous yellow diamonds, you must be freezing.

Hold this. I have to tell you one thing.

I can't help myself.

- Pashminas are so out. - I'm freezing.

- Oh, they're so out? - They're so out.

- I'm out? - I know that you're not out, but I wanted to say

if you're gonna do a pashmina, use it as a scarf, not like a throw.

Do you know what I mean? You can use it, you can cut them up

and make them into pillows or scarfs or whatever, but they're out.

- They're out? - They're a little bit out.

I was really happy when pashminas came in

because I thought there was a chance for me to be very cool and very warm.

I know. It's not like Europe, though. They're sort of a timeless piece.

Here, it's like they come and go. You know New York.

It's like fashion trends-- in or out-- snakeskin.

I'm so done with snakeskin. It's all about plaids.

- It's all about plaids for fall. - What is this?

- Is this real leather? - This is real leather.

Surprised you showed up.

Well, I don't know why you'd be surprised.

Of course I would come.

It's-- you're busy.

You're my daughter.

Yeah.

- I can't let go of your chin. - I know.

I have an idea.

Why don't you come to work at "A"?

We'll get rid of that Raggedy Ann look.

We'll fix your hair. We'll get you a makeover at Elizabeth Arden.

Get you new clothes. Take you over to Ralph.

Anything you want. You can work with me.

Mom, I hate magazines.

What did you just say?

I mean, I just hate that--

that they make you feel bad when you read them.

You know?

You just said you hate that--

first you said they--

No, I didn't--

not your--

not your magazine.

Just when you read a magazine, you--

I-- I just always feel bad

about myself.

Like, you know...

just not good enough for print.

You don't have to feel that way about yourself.

We can change you.

But I don't wanna change.

I don't wanna feel bad about myself.

I like-- I like

myself most of the time.

It's just the ideals of beauty in society.

- Oh, my goodness. - When you measure yourself up to that, you--

I'm sorry, sweetheart. I'm sorry.

I just remembered.

Oh, goodness.

To be here today, I had to cancel an appointment,

but in exchange for that,

I have to do a conference call.

Paris to New York and Milan.

Sweetie, call me up and Wilemina will schedule you for another time.

Just enjoy this. Stay relaxed.

This is my favorite place. Liz took me here the day I got an Elly.

I will be in touch with you

and we'll have another time together.

All right, baby?

You know, I have to go, too.

I've got a friend here in town.

- Promised I'd visit. - Can you--

You're okay. I'll pay the bill, okay?

So you know, I'm so excited that you're doing this.

I don't want you to feel like your hands are tied,

- but we really have a strict concept - Anthony: Yes.

that we're going for in the magazine...

on this one-- really wants to stay very close to that.

I know that I'm sort of pulling you away

from your heroin chic that you're the master at,

but we're really going very clean--

- little bit more commercial than you usually go. - Mm-hmm.

- Always really messy, graphic hair. Anthony? - 2-55-6.

- Yeah. - Let's-- you guys focus before she gets here.

- Just messy-- - We're ready to go.

I know, but I just want to be clear because this is big.

- It's big for everyone. - I know it is.

- Technical. - We're ready.

Yeah, and we're clear about the technical idea?

It's very techy. Messy, graphic, looking away.

Okay. Let's rock.

There she is. Hey, Leese. How are you?

- Good to see you. - I'm so glad that you're here.

This is Sandy.

- Hi. Nice to meet you. - Nice to meet you.

I've been wanting to meet you forever.

Relax.

I loved you in "The Applesauce Maker."

- Thank you very much. - Yes, you were great.

Maybe we can get a picture before this is all over?

- Absolutely. - And this is Anthony.

I want to introduce you to Anthony.

- Hello. How are you? - Hi. Nice to meet you.

- So exciting. - Yeah.

So I wanted to-- before we started,

talk to Mario about the clothes and how he wants to shoot.

Mario? What am I missing?

- Mario? - Mario.

Mario? Am I-- am I-- tell me. I'm sorry.

- Mario, he's actually-- - Mario! Oh!

- Sweetheart, this is-- is-- - Anthony.

Anthony Heywood. He'll be shooting you today.

- I'm sorry. - That's okay.

- They couldn't afford Mario. - I'm sorr--

- No worries. - I work a lot cheaper.

- Stop it. - Please, stop it.

- I'm just an idiot. I'm really bad with names. - No.

- That's all right. - What can I get you? Drink, coffee, water?

Water, but I would like to, at some point,

kind of go over the concept.

It kind of seemed a bit vampy to me.

- Vampy. - No, we're not going vampy at all.

- It's more Barbarella. - Are you happy with Barbarella?

We've got you in the most amazing Châtié outfit. You're gonna flip.

Why don't you show her the dresses 'cause I picked out a whole bunch for you.

You can see if there are any you're comfortable with.

- I'll let you guys get started. - Let me introduce you to Jacqueline,

our makeup artist who's amazing.

Why don't you grab a water for her?

All right. Thanks so much.

Leese, what kind of water?

- Evian? - Evian's fine.

- Or the Lalique. Get her the Lalique. - Okay.

No, I just think the film looked like it was from the '80s.

- It looked like from 1987. I was like-- what magazine - Darcy?

do they think they're shooting from?

- One second. - I think they're having a little problem.

No, no. We're gonna have to reshoot it.

- I think they're having a little problem. - Sweetie, hold on.

- I can't get into this now. - Wilemina: Tell her how hot she is.

- Let me call you right back. - I like that.

- Oh, my God. You look amazing! - No.

This is so silly.

Sounds like an express train coming at you.

He looks up and the grill is coming right at him.

It's charging, you know?

Leese: I don't like this. This isn't me.

- This isn't what we talked about. - Darcy: It's inspired.

- I've never seen anything like it. - Oh, hey.

- There's no reason to get upset. - Quiet.

I want a new outfit. I am so uncomfortable.

- I'll come in, we'll look around. - I look like a hooker.

Come on! What kind of cover is this?

Okay, let go of me before somebody loses their job.

Let Anthony handle it.

What your idea is?

- What's with the fringe? - Darcy, Darcy, Darcy.

If you touch me one more time,

I don't think "A" will ever work with your

- ridiculous-- - If she walks out, none of us will have a job.

- Get me Janice on the phone now. - Sorry about that.

Don't worry about it.

A little slice of heaven, that is.

Peace.

Could be nice.

They give me a headache, those guys.

The whole thing gives me a headache.

Where did we lose control of this business?

When did the suits take over?

It used to be fun.

Nobody listens anymore. That's what's weird.

No, they're all pushing their agendas.

They've all got things that they want to do.

Darcy: It's not with him. That's not the problem.

My God.

She's wearing cashmere.

So...

So perhaps without fringe.

Please. Without any of that ludicrous stuff.

That is just ridiculous.

Oh, my God.

Look,

we can do whatever you want.

If you don't want to do anything, we won't do anything.

If you still want to take a picture,

if you still want to do this,

I'll be happy to do it. I'd be happy to.

Calming her down.

I think-- no offense, Sandy, but I really do think we--

- Anthony: Morton? - We have a look that we're going for.

Could you guys leave? Take this outside?

- Morton, there's a change of plan. - I'm sorry?

Yeah, there's a change of plan. I think there's a change of photographer.

Could you guys go outside?

- That's a good idea, Anthony. - Let me ask you something.

- I'm not asking you, I'm telling you. - Do you want to shoot

- for "A" magazine? - Get out!

That's what I'm saying to you. Get out.

- The photographer has asked you to leave. - Excuse me.

- Get your bags. - Janice is gonna be--

Say goodbye to your career, pal. Say goodbye to your career.

Darcy: Willa, get my bag, please. Now.

When I was...

I don't even know how old I was.

- Hold that, hold that. - ( shutter clicks )

That's good. That's really good.

I developed this...

fascination with Mighty Mouse.

Um...

my mother came along. She sees me up on this balcony

and she freaked.

She said, "What are you doing up there?

Get down off the balcony."

I said, "No, no, no. I'm Mighty Mouse.

I can fly! I know I can fly."

So she says-- so her mind's racing.

She's trying to figure out a way to stop me from jumping off

because I was gonna jump.

She goes, "Wait, wait, wait.

Doesn't Mighty Mouse have a big M

on the back of his cape?

You don't have an M on the back of your cape."

I started kicking and punching and fighting.

"Let me go, let me go, let me go! I can fly! I know I can fly!"

I'm convinced to this day that--

that's great. That is great. Hang on.

That I would have flown if they'd let me go.

It's funny when you grow up

in a small place like that

and you have this kind of odd relationship

with one of your parents

like my mom and I had,

because I didn't know any different.

It's so weird when your childhood is--

that's your reality.

I really thought that

maybe all mothers sat in bed all day being sad

and you had to entertain them and make them happy.

Which is what I did.

- We used to put the Moody Blues on. - Hold that.

I'd put the Moody Blues on and I'd dance for her.

Do this really modern dance thing

and then I'd run to a keyboard--

we couldn't afford a piano.

I would run to this keyboard and do these extravagant--

sort of, like, fabulous--

I thought I was making really incredible music.

Sometimes my mother would be laughing so hard

or just loving it and then she would go completely...

silent.

- Mario: How you doing? - All right.

- Look it here. - Hey, "Mr. Wigger."

- What's up, J.B.? - How you doing?

- All right. - All right.

I would like to present my father Lorenzo Mancini.

- Mr. Mancini. - You know J.B.

Pleasure to meet you, J.B.

- Mr. J.B., Guido. - Guido, it's a pleasure.

- Just relax. - Is beautiful apartment.

- Very airy, very nice. - It's all right.

I don't really stay here too much, but they had nothing available.

- It's on the top floor, though. - Oh, I see.

Mario: I told you this guy knows living.

If there's one thing he knows, it's living. That's what I'm talking about.

Look at how these guys are decked out right now.

Look at this.

You could be taking such a piece of this market.

It's so potentially lucrative for you.

Instead you're giving it up to Christie Brothers...

Hilfiger. All of Polo.

- Fofo. Nike. - You gotta realize, right now,

the urban culture, man, this is where they want to be.

This is where your new direction should be.

We've been checking the charts.

The company's not doing too well over there,

you know what I mean?

You know what I'm saying? As far as adapting for the future, man.

These young kids right now, they got it locked. Hip hop got the world locked.

Lorenzo: I think I must tell you,

you are very gracious, very much gentleman.

But House of Mancini is completely different.

We would not be able to redesign and fabricate

in such a manner that we could really do something comfortable.

I myself are from a tradition.

When I start out, I was--

Dad, wait a second.

I thought that we had an understanding here

that this was pretty manageable.

I understand what you say,

but I see now

what you are asking me to do is impossible.

- Mario: You will make so much money. How is it impossible? - Let me say one thing.

You say you come from tradition.

Tradition is that tradition must change.

Right? You can't go on the same way you've been doing it.

You gotta adapt to the times.

I'm actually trying to give you an in.

Now, you can go with me

'cause it ain't gonna get no better than J.B.

Or you can go to one of these old roly-poly motherfuckers

and get it that way.

I'm just trying to give you an in and your son because he know what he talking about.

The kids in the street, the kids in the suburbs

is just gonna follow what they do.

You feel me? We put this shit down right there.

We've been wearing baggy clothes because, why?

- Because we didn't have no clothes. - Lorenzo: Is very nice.

- Because we had 10 brothers and sisters-- - I agree.

- Listen to what I am saying. - Mario: Listen, Dad.

This is what I'm saying. That's where the culture come from.

We made that a culture and now they gonna make it a fashion.

And they're gonna sell jeans for $100-150.

You right. Them kids can't afford that,

but that's the game they playin'.

So why wouldn't you play?

I see what you're saying.

You are very intelligent. Very wonderful person.

I can see it and my boy Mario

tried to do something wonderful

and you must please forgive me,

but is not something from business point of view

- or artistic point of view that I can accomplish. - You're lying.

- You're lying. - Why do you say that?

Artistically I know it interests you because--

- let's go back to when you first started. - I wish...

Did somebody give you a chance when you first started?

Did somebody look at you and say, "Oh, Mancini. Oh, that guy."

They've got Armani. They've got Versace.

They've got all of these guys that you came up with.

You made your bones.

- I should be outside. - No, you shouldn't.

- No, you shouldn't. - Yes, I should.

Absolutely not. You shouldn't.

- Who's the boss? - I--

Not you. Not me. You brought this idea to your father,

he's intrigued, and look where we are.

- Guido, listen. - Did you think in a million years we would ever end up

- in a place like this? - Obviously not.

- I appreciate it. Trust me. - Congratulations.

- Thank you, but I think-- - If you want his respect, respect him.

All right, let me talk in your language.

This is from "The Godfather."

All I'm saying is the don is slipping a little.

- You know what I mean? - Is gangster metaphor.

- Yeah, gangster metaphor. - This is gangster rap, eh?

- Gangster rap. I know what you're doing. - I like you, man.

- I like you a lot. - I like you, too.

- You are wonderful person. - Think about it.

That's your son.

I respect you as a man, I admire you as a businessman,

and I have a lot to learn from you.

I would love to be around you and pick your brain and learn.

But I'm saying give it a thought

and let it sit because I'm telling you we could be--

there is no failure. You'll lose nothing here.

One thing we must be is friends, eh?

- We can be friends? - Definitely.

- I'm good. - This is Guido.

- Simone. - Hello. Nice to meet you.

- Nice to meet you. - You have beautiful eyes.

Oh, thank you.

And who is this beautiful young lady?

This is my girlfriend Simone.

You just don't even know. I'm your biggest fan.

I was just in Milan and I went to some shows. I bought--

I have this gold medal outfit that you made.

- It's so beautiful. - Thank you. You are so sweet.

- You are the bomb. You are. - This is Roberta Colaredo.

- Not me. - Yes, how did you know?

Because I know. It's my business to know.

Beautiful figure. You remind me of young...

So, Dad, what did you guys talk about on the balcony?

Mario, uh...

you know, is question of, uh,

he want to-- I must metamorphose myself.

Impossible, but he will come over for lunch.

I will cook. We will have glass of wine.

Is nice fellow. Very intelligent, very positive.

Janice: Unadulterated. Provocative.

Inventive. Unique. Essential.

Essential.

Once in a lifetime. Rock 'n' roll.

Genius.

How you pulled it off, I'll never know.

- I just trusted my gut. - You had a fit and threw everybody out.

- They weren't listening. - Oh!

They weren't listening. It wasn't gonna happen.

- Mr. "Very big dick." - They were getting into a fight.

I did what I had to do to rescue the situation.

Mr. "Very big cock on the block."

You did it, though. You pulled it off.

I'm gonna take you to that Fantasia party tonight.

I'm gonna introduce you.

Phillip Brosco?

- That got your attention. - Yeah.

They're looking for a photographer for their campaign.

- Yes, they are. - I keep my ear to the ground.

I know what's going on.

- Would you like to come? - I'd love to. I mean, yes.

Man: I heard this is black tie.

Messy fucker.

Forget about black ties.

Forget about it.

You just let me know.

- Phil Brosco. - Bye now.

- Hi. - Daniel.

Camille, very nice to see you.

Thank you, Daniel.

Please, sit down.

Over here.

Here, let me help you.

Thank you. Sit back.

Arrange the pillows properly for you.

- So you have kind of a little throne. - Thanks.

Jamie, why don't you sit over here? You're so beautiful.

When you're there, I can't look at Camille and get distracted.

Sit over here, please.

Thanks.

So...

- Camille. - Hello.

Hello. Is that yours?

- No. - That's nice.

- Thank you. - That's good.

"Nothing is so sad as the man

who's doomed to mediocrity in the work he loves."

- You think so? - Mm-hmm.

It's true, isn't it? Did you ever think about it?

- No. - Who said it?

Well, it's either--

it's either--

is it Professor Irwin Corey?

He's pulling my leg.

He knows, but he won't say.

He wants to make me look foolish.

- No, that's not true. - He's trying to humiliate me.

- I know this. - I'm not--

- You see he's blushing? - No.

It was Henry James.

I read that, I was overwhelmed.

Overwhelmed.

Why? Why?

Well, because it was true.

I was doomed to mediocrity

in the thing that I loved.

What did I love? This. I loved this.

If I could do this. A creator.

See...

you could be the creator.

So you're by definition present.

I have to create a situation where I can be present

at the creation.

Therefore, I need you. You don't need me.

Isn't that so?

I'm-- I just draw

and I'm-- I'm not some big person that you think I am.

I'm just-- I don't know.

I'm just from Irvine

and I draw things and make clothes.

When I was young...

I went to camp when I was just bumming around Europe

and I went to a restaurant in Nice

because they said, "Picasso eats here."

So I went to this restaurant every night for a week.

- Finally, Picasso came in. - Mm-hmm.

I didn't even speak to him, but I heard him

at one point saying to somebody--

he was talking in English because a couple people were there.

Not so good English, but anyways, speaking in English.

He said, "I just draw."

"I just draw."

- Hmm. - Well, that's all you have to do.

Just draw. Everything else I do.

And I do it for the sake of you drawing, to allow you to draw.

Camille: I knew we were gonna be talking about this,

so I just wrote down

some things--

'cause my partner and I aren't really seeing

eye to eye for a while now.

I feel she's sort of limited.

I wanted to create a line

that's more clever and accessible

so that everyone can enjoy it.

She's not really there with me.

I feel like I'm constantly reinventing the wheel

in images that generate excitement.

Right now I have this idea--

Okay. Okay.

- I thought maybe-- - Do you wanna come with me?

We could create some sort of

growth strategy and maybe work together.

- Would you like to? - I think I would.

I think I would. What about you, Jamie?

Mm-hmm. Look at you.

You look like you've known each other for 100 years anyway.

You look cozy and it feels

like a partnership to me.

Will you sit here while I go out there?

- If you like. - Excuse me.

- He's incredible. - Yeah.

He's so sweet.

He's so warm and I had no idea.

I thought he was gonna be some sleazy guy.

- He's not at all. - Right.

- This sounds incredible-- - Yes.

for millions of people to be wearing my clothes.

- That's-- - That's a good thing, I suppose.

- I suppose, you're-- - Thank you.

You're welcome. I like to see you excited.

- You okay? - Yes.

- What? - I'm just thinking about you a little bit.

- Why? - And thinking that

you haven't done this so much before.

I didn't even warn you too much about this

or da, da, da.

This is when it seems exciting

and he puts his best foot forward and everything.

- Is he not-- - He's quite okay.

Well, I'm glad you're doing some talking.

I was talking so much before.

I know, sorry. I was a little out of it and-- this place.

That's all right. You're not out of it. Will you hand me those coats?

- Where are we going? - May I take you to dinner?

- Sure. That would be great. - We have some things to talk about, I think.

- Don't we? - Yes.

- Here we go. - Le Cirque? What do you think?

Ooh.

- Here we go. - Oh, the two of you are going?

- Yes. - Oh.

We're going to cement the deal.

- Jamie, thank you very much. - You're so welcome.

- Thank you. - Wonderfully done.

- We'll talk later. - Yeah. Are you okay?

- I'm fine. - I'll talk to you later.

- Okay. - Okay.

- Good night, Jamie. - Good night.

- Anthony: Hey. - Hey.

- Where are you? - I'm in here.

Champagne, huh? What's up--

- What are you doing here? - I live here.

You're kind of early, though.

Oh, I'm early.

- Did I forget something? - No, I'm just not ready.

I was gonna do some other stuff, but...

Oh.

How much time do you need?

- I can nip off for an hour and come back. - Come here.

- Hey. - Hey.

- I'm glad you're early. - You look great.

Mm-hmm.

- What did you have in mind? - I have such a night planned.

- You do? - Yes.

Really?

Oh, fuck.

I'm not letting you go till light comes up, mister.

- How are you? - Good.

Yeah?

What?

What?

We got invited to a party and I said we'd go.

We don't have to go. It doesn't matter.

Come here.

No, you know what? You should go.

- I don't wanna go. - I said we.

- If we're not going, then I'm not going. - No, you should go.

Come on. We're not going.

If we aren't going, we aren't going.

No, I think you should go. I want you to go.

Go.

- I'm not mad, okay? I just-- - Seems like it.

Why would that break this mood up?

- I don't understand. - Because I don't wanna go to a party.

- I don't wanna go out. - Fine. We're not gonna go.

But you wanna go.

I said we got invited to a party. It's a problem, there's no problem.

We're not gonna go.

Boy, you really don't listen to me, do you?

- Why would it be the end of the world-- - It's not the end of the world.

- I just-- - Then what--

You should go. I want you to go.

All right.

I'm gonna have to start this conversation?

I'm sorry that I haven't called. I've just been...

going through something and I--

I don't care.

I--

I can't believe this. I can't believe this.

I'm sorry. I don't want it to be this way. I really don't.

I'm not trying to--

I just don't--

I just don't feel like I'm 18 anymore

- and I don't want to do this anymore. - Well, then grow up.

Well, then grow up.

- You're-- - Grow up.

Stop yelling at me.

- Oh, I'm not allowed to yell at you? - No!

- You're not! - After what you put me through?

Okay. I'm sorry, but you can't--

you don't-- you just are too much.

I can't do this anymore.

I'm moving on.

If you think the pressure is too much now, Camille,

- what's it gonna be like when you go to work for Jamie? - I don't know!

- I don't know because-- - You're gonna be like every other designer

- that sells out to a big conglomerate - Maybe.

- and they can't even use their name anymore - Uh-huh.

because somebody else owns it.

That's what you're gonna get into.

There's not gonna be a Camille anymore.

There's gonna be an Inc.

A dot and an Inc or a dot and a com.

You're gonna cease to exist.

Yeah, maybe you'll have a great loft somewhere down in SoHo.

Or maybe you'll have a whole new group of friends.

I don't want it to be like this with you.

I don't want it to be like this.

I didn't choose this.

You made this happen.

I want you to have our thing.

I want you to have this.

( music playing )

( speaking French )

( chatter )

Could you keep it down?

- Wow. - Yeah?

- ( buzzes ) - Halley.

- Mom, I've got to go. I'm running late. - Wait a second.

- I wanna talk to you. Where are you going? - I got a train to catch.

Okay, but you got a second for me, don't you?

Why are you choosing now to run after me?

What did you come here for?

What do you think I came here for?

For my mom. For answers.

Can you give me that?

Can you give me an answer?

Can you tell me why you left?

Because I was scared of being nothing.

- So I was nothing? - No.

- So Dad was nothing? - No.

- So we were nothing? Oh, my God. - No. No.

No, you weren't nothing.

So it would have been nothing to be a mom?

I just didn't want to be "just."

I messed up. I was wrong.

I don't have anything to say to you.

Ray who does the staging,

he's gonna allow us to move our deposit over to the next show.

- Okay. - I figured by that time, we could be in Barbados

- where extradition is next to impossible. - Yeah, right.

I'll be going to Bali next time.

That's it. The lighting and the sound guys together--

we lost the deposit, but they--

everyone assumes that we're gonna do something again

- and they don't wanna lose our business down the road. - That's nice.

I've been playing that-- you know.

Hey, help us out this time. It happens.

We'll take care of you next time.

I guess it's onward.

That's nice. What's that?

Oh, it's just...

it's a perfume bottle,

but it's-- you know.

Nice. A lot of money in perfume.

- Is that our next gig? - Very funny.

Roberta: Oh, just Camille and this is--

this is just something that-- you know.

Just started out as a joke almost.

I can't remember who ended up with it first,

but it kept getting passed

back and forth between us.

Showing up in funny places

and strange places

at odd times.

It wasn't a traditional thing,

like, "Here's the gift I'm giving to you."

If you turn it this way, it looks like a teardrop.

Or a lamp.

Did I tell you what Phillip is gonna do?

What?

He is going to make a Camille perfume.

- Do you believe that? - Really?

Yeah, and it'll be everywhere.

He said he's gonna make it really urban

- and edgy and downtown. - Ooh.

You know, very fashion. Genius.

I hope that's the description of the bottle.

- What's a smell that's urban and edgy? - That's me.

Yeah, I know you are, but how's that translate into a smell?

- Urban and edgy smell. - I don't know. Good.

I'm not sure I want to smell that.

But it's gonna be good. Congratulations.

Look at this. I have to meet somebody.

I gotta go to a meeting.

- Who are you meeting? - I gotta go.

- Who are you meeting? - Oh, just some--

- Want me to walk you over there? - No, no, no.

I'm already late. I didn't know that you were gonna pop over.

You want me to call you? Maybe we can have dinner.

- Look at me. - Later.

- Okay? - Later.

What is it? What's wrong?

I don't know how to say that. I'm sorry.

You don't know how to say what?

Mom?

Oh, my God.

Listen up.

Your dad is sick.

Very sick.

- Hello. - Hi.

Gabby.

This is a surprise.

Mario.

Well, come on in.

Do you want to see...

Your dad's still up. Do you wanna...

- Yeah, yeah. - Yeah? He's in the music room.

( speaking Italian )

My darlings.

Lorenzo: What's the matter?

What's the matter?

What is the matter?

You're told.

My dears.

Have to come to everyone. Have to come to everyone.

- I know. - At least we have time to say goodbye.

Don't feel sad. I have a good life.

Good life.

( speaking Italian )

( music playing )

Papa.

Lorenzo: I make mistake.

I am never disappointed you.

You are a wonderful boy.

- Wonderful, wonderful boy. - ( crying )

You are never disappoint. You are wonderful boy.

- Ma'am, could you please spare some change? - Sorry.

- I'm not from here and my-- - Don't have anything for you.

Thank you. Have a good day.

( chatter )

Prepared this meal especially in your honor.

Prepared it himself...

( vocalizing )

- Mr. J.B. Come in. - Hey.

Why don't we all sit down?

That'll be great.

Guido: A little rubbery, but just like chicken.

Yes, yes.

Come. I make you wonderful lunch.

I think you like. Food that you are not accustomed to.

Simone: To clothes, clothes, and more clothes.

Loose construction. Not heavy.

And the full trouser go all the way to the floor.

Eh?

Not too straight a shoulder. I make like this.

And we can make...

ad campaign in this way.

Please call, um...

call, uh...

- Don't worry about it. - Call Fortunato.

He make the pattern for the men.

And call, uh... you call, uh...

Marietta for the women.

You overnight to Rome.

- Not to worry. - I am so cold.

Here. Here you go.

There you go.

That's a little better.

Don't you worry about a thing.

We'll get through this.

You do everything prepare

and...

you...

you are the company with the children.

Lorenzo, you're the company. You're not going anywhere.

Don't you worry about me.

- The children. - That's all I worry about.

I think Mario is gonna grow up to be the young man

that you always wanted him to be.

- I tried to make bridge. - You made a beautiful bridge.

- He believe me? - He believes you.

I don't want him to hate me.

He doesn't hate you. None of us hate you.

I do the best. I don't-- I make many mistake.

- You tired? - Very tired.

- I'm so tired. - Put your head on my shoulder.

- Just rest right here. - I so tired.

- Guido... - It's okay.

- I can't-- - Just rest.

- ( whispers ) - Take a little nap.

- Take a little nap. You'll be fine. - ( mumbles )

( moans )

- Hi. - Hi.

How do you feel?

Hmm?

Feeling okay?

Actually, um...

- What's the matter? - I have to pee.

( women singing opera )

* This could very well be

* The last time you open up your arms to me *

* Put these words on the wall for me *

* Horse riders and carriages *

* Ride through the night like savages after me *

* I beg of them to let you be *

* You should come by the ocean and pray for me *

* 'Cause my life won't be what it used to be... *

( women singing opera )

* My love for you will never die *

* I wipe my feet across the sky *

* A thousand times and whisper jingles *

* Of jasmine lullabies

* The rain is coming, can't you taste it? *

* The ground is shaking over me *

* Now promise me a place besides you *

* When heaven awaits for me. *

( women singing opera )