All language subtitles for The.Player.1992.REMASTE

Quiet on the set.

Okay, everybody. Quiet on the set.

Scene one, take 10. Marker.

And action!

Joel Levison's office.

No, I'm sorry, he's not in yet.
May I take a message?

- Yes, Mr. Levy, I'll tell him you called.
- Sandy, never say that.

He's either in conference, in a meeting.
He's always in.

- Now, who was that?
- A Larry Levy?

Great.

I hope there was nothing
in the trades this morning. Was there?

- Well, I don't know. The mail's late.
- Well, go get 'em.

Now! I want them back here
before he arrives.

Griffin. Griffin, hi.

Griffin, hi. A-A-Adam Simon.

- We're not supposed to meet till next week, but —
- I didn't realize we were meeting next week.

Well, I just wanted to plant the seed
in your head just now so that —

I'm booked up.
I can't hear a pitch right now.

Picture this. It's a planet in the far,
far future, a planet with two suns.

- Who plays the sons?
- No, no. Suns. Large solar disks.

Listen, run this idea
by Bonnie Sherow.

Pictures they make these days
are all MTV. Cut, cut, cut, cut.

The opening shot of Welles' Touch of Evil
was six and a half minutes long.

- Six and a half minutes, Walter?
- Well, three or four.

He set up the whole picture
with that one tracking shot.

My father was the key grip on that shoot.

Hey, what about Absolute Beginners?
Man, that was an extraordinary shot.

What the hell was that?
Never heard of it.

It was Julian Temple.
It's an English film, Walter.

We're talking about American movies,
and Orson Welles was a master.

- Pellegrino, please.
- I've got Calistoga.

- Buck, how are ya?
- Good. How ya doin'?

Good.
What do you got for me?

Okay, here it is.

The Graduate Part Two.

- Oh, good. Good.
- Now, listen.

The three principals are still with us —

Dustin Hoffman, Anne Bancroft,
Katharine Ross.

Mm-hmm.

Twenty-five years later.
And so are the characters.

Ben, Elaine and Mrs. Robinson.

Ben and Elaine are married, still.

They live in a big, old, spooky house
up in Northern California somewhere.

- And Mrs. Robinson lives with them.
- Mmm.

Her aging mother, who's had a stroke —

Mrs. Robinson's had a stroke?

Mrs. Robinson's had a stroke,
so she can't talk.

- Is this gonna be funny?
- Yeah, it'll be funny. Dark.

- With a stroke?
- And weird and funny and with a stroke.

- Okay.
- Maybe it's not a stroke.

- Maybe it's — I don't know what it is.
- Anyway, go on.

- It's a malady of some sort.
- Okay.

She's up there in the bedroom upstairs,
listening to everything that happens.

They've got a daughter
who's just graduated from college.

That's good. Young blood.

Twenty-two, twenty-three-year-old.

- Like a Julia Roberts.
- Julia Roberts. Great, great, great.

Excuse me. What did you want me
to do with these scripts?

- That goes to Bonnie Sherow.
- Okay.

And, uh, find out from studio security how
Adam Simon got on the lot. I wanna know.

Okay. Adam Simon? Okay.

- Okay?
- Yes, go ahead.

Julia Roberts comes home.
Their daughter. The graduate.

Yes. The new graduate.

- Th-The new graduate.
- The postgraduate.

Griffin loved it.
He just wanted me to run it by you.

- It's a hardy band of human survivors.
- Listen, write this down for me. Okay?

They have no history, only mythology.
They've lost all technological knowledge.

I can't process any of this unless you
write it down. Could you write it down?

- It's not about words. You gotta visualize it.
- Whoa!

Oh, man.

Jimmy?

- Jimmy, are you okay? What happened?
- You gotta look where you're going.

- Twenty-five words or less?
- Are you all right?

I'd say. My name is Jimmy Chase.

- Are you all right? Open your eyes.
- Huh?

- Are you okay?
- He came outta nowhere, ran into the car.

- I never saw the guy coming.
- It's okay.

Yeah, it's okay.

Hey, that's Adam Simon.

How ya doin', kid?
I was just having a —

- You all right?
- Yeah, it was good.

You sure you're okay?

Rebecca De Mornay.
Actually, you're much better looking.

Um, no.
No, I'm not Rebecca De Mornay.

- Dead ringer.
- Thank you. Thank you very much.

Hey, do you know where
Joel Levison's office is?

The Mr. Levison?
Head of the studio? Yeah.

It's quite, quite moving.
It'll rip your heart out.

This is the area where we make decisions
to give a green light to a picture like that.

Right here. We're gonna go
about 17 stories high, if we can.

We're going to continue
using all the Sony products.

Domo arigato
to the Sony products, really.

In fact, if you need someone to eat sashimi
with you, you give me a ring, because —

Here's Levison, right here.

- Come with me to my office.
- I have to know that you're seeing it.

- Good girl.
- Traffic from Malibu was impossible.

- Morning, Joel.
- Morning, Celia.

- Sandy, park the car, please.
- Okay.

- Morning, Marty, Annie, Frank.
- Hi.

What are those Japs doing here?

What's all this talk going
around here about heads will roll?

The bank's putting the screws to us.

Harvey Goldman's son's coming out
from Boston and I don't like it.

Reggie Goldman's a pip-squeak.
It can't be serious.

- Quite an actor, though.
- Some changes are going on around here.

It's always the way. Happened
at Paramount three years ago.

Columbia's going through it now.

I hear we're looking to replace Griffin.

- Griffin?
- Mm-hmm.

- I don't believe it. With who?
- Berg. Kirkpatrick. Maybe Larry Levy.

Yeah.

Yeah, well, I want to know
why the security is so lax. That's why.

I'll talk to you about it later.
I'm in the middle of a pitch. Okay.

- Listen, go ahead.
- Yeah, okay, okay.

- A TV star goes on safari in Africa.
- Like a Donna Mills or a Joan Collins.

You're talking about a TV star
in a major motion picture?

No, not a real TV star.
It would be played by a movie star.

A movie star playing a television star
in a major motion picture.

- Goldie, Julia, Michelle, Bette, Lily, Dolly.
- Julia Roberts. Dolly Parton would be good.

You know, I — I like Goldie.
I like Goldie.

- Great. 'Cause we have a relationship.
- Goldie Goes to Africa.

That would be great.

- Goldie Goes to Africa.
- Goldie Goes to Africa.

- And she becomes worshipped.
- Worshipped?

- Well, she's found by this tribe —
- Yes?

Of small people. But then
she has to go back to her life.

She's found by this tribe
and they worship her.

Oh, I see. It's kind of like
a Gods Must Be Crazy,

except the Coke bottle's
now a television actress.

Yeah, it's exactly right.
It's Out of Africa meets Pretty Woman.

- Well, but you know what?
- She has to decide whether —

- You know what we could do?
- to stay with the TV show

- or save this entire African tribe.
- It could be a man.

- Hey, where's Griffin Mill's office?
- Right here.

- Hey, you're Martin Scorsese.
- No, but I know Harvey Keitel.

Yeah, I know you do.
Hey, I loved Cape Fear.

My old man worked for Hitchcock too.

- Yeah?
- Rope. It was a masterpiece.

Story wasn't any good.
He shot the whole thing without cuts.

I hate all this cut, cut, cut.

Oh, yeah, well, what about Bertolucci?

That great tracking shot with Winger
in Sheltering Sky?

I didn't see it.

Touch of Evil, that was the one.
Welles, Hitchcock —

- I've been here since 8:00.
- You were in the commissary, Whitney.

I stuck my neck out for you to get this job.
Who were you with?

- I-I was in there with, um, A-Alan Rudolph.
- What were you doing with Alan Rudolph?

He asked me to have coffee
and he was telling me this idea he had.

Whitney, you're my assistant.
You don't get involved with writers.

I wasn't getting involved. I was just
listening to this amazing idea he had.

- I told him he should give it to you.
- What's your pitch?

Well, does political scare you?

Political doesn't scare me.
Radical political scares me.

- This is —
- Political political scares me.

politely politically radical.

- Is it funny?
- It's funny.

- It's a funny political thing.
- And it's a thriller too.

- It's a thriller?
- And all at once.

- So, uh, what's the story?
- Well, I want Bruce Willis.

I think I can talk to him.

It's a story about a senator.
A bad-guy senator, at first.

He's traveling around the country
on the country's dime, you know,

like that Sununu guy used to.

I see. So it's sort of
a cynical, political thriller-comedy?

Yeah, but it's got a heart,
uh, in the right spot.

And, anyway, he has an accident.

- An accident?
- Yeah, and he becomes clairvoyant.

- Like a psychic.
- Oh, I see.

So it's kind of a psychic,
political thriller-comedy with a heart.

With a heart.

Not unlike Ghost
meets Manchurian Candidate.

- Go on, go on, I'm listening.
- Anyway, he can read people's minds.

And when he gets to the president's mind,
it's completely blank.

- Completely blank!
- Can I get you anything?

- I'd like a beer, please.
- We don't have beer.

Uh, okay, wine.
Red wine, please.

Of course someone gets killed at the end.
They always do in political thrillers.

- Griffin Mill's office.
- Yeah, I know that. Can you put him on?

- It's an intriguing idea, Jim.
- May I ask who's calling, please?

- Griffin Mill, please.
- We gotta get somebody really dangerous.

- Well, he's in a meeting right now.
- You know, Bruce Willis or Mel Gibson.

- Great. Let me get back to you.
- Thanks.

- Excuse me, sir.
- Bullshit, lady.

- He'll get back to me?
- Seen my Binaca anywhere?

Do you know how many times
I have heard that?

- Who is this?
- If he don't get back to me, tell him —

- Griffin, I read that script.
- Who was that?

- I don't know. He didn't say.
- It's a nice idea. Just maybe a little soft.

I don't know how you're
gonna cast it through.

The lead character is a 50-year-old
female circus performer. A fire-eater.

Let me read the coverage.

- Are we still having lunch with Aaron Camp?
- Yeah. What time?

I made it for 1:00.

- Bad day?
- He's having writer's block.

Griffin, you have a meeting with Harders
and Frank South this afternoon.

- What time?
- At 3:00.

I'll be here. Put this morning's
meetings in the computer.

- All right.
- Thanks.

- Are you going now?
- No. I'm going to see Levison.

I'll meet you there. Order me
a Caesar salad and Crystal Geyser.

Thanks.

- Okay, by 5:00?
- Mm-hmm.

- Thanks, Sandy.
- Bye.

- Hi, Sandy. Hi, Celia.
- Griffin, you can't go in there.

He's in a meeting.

So I think, you know,
dime-a-dozen out here, don't you?

- It's all right, Celia.
- You know this one?

I don't think you've met Reg Goldman.
You know his father, Harvey.

Yes, of course. Hi, Reg.
From the bank in Boston. Right.

Reg is out here
for a couple of weeks.

Great.

- Business or pleasure?
- A little of both, I hope.

Reg is thinking of getting
into production, Griffin.

Oh, really?

Yeah. Beats work.
Doesn't it, Griffin?

Like to play tennis though.
You play tennis?

Tennis? No, no, no, I, uh —
I'm too busy for —

See, I was just asking Walter here,
uh, do you know Meg Ryan?

You know if she's seeing somebody?

Um, yeah, Reg, she's married.

Shit.

What about Winona Ryder?

Um, well, uh, you know, actually,
Walter is the guy to talk to.

Walter's got everybody's number.

- Was there anything?
- Uh, no. You're real busy.

I want that number, goddamn it.
I want that number.

Oh, boy. What about this one here?
Has she done anything?

Celia.

Griffin, don't ask.

Don't ask, "You don't know,"
or don't ask, "I don't want to know"?

Just don't ask.

Look, if it's — If it's Reggie Goldman
you're concerned about, forget it.

But be nice to him. He represents
a lot of money for this company.

It's not Reggie Goldman
I'm worried about.

It's Larry Levy.

Larry Levy?

Larry Levy's at Fox, isn't he?

Oh, come on, Celia.

Sandy, there's a call for Celia on line one.

- Should I be looking for a job?
- Celia, are you there?

Joel Levison's office.

Oh, Brad. Yeah.

What?

No, we couldn't sign Anjelica Huston
for that project.

She's booked for the next two years.

Yeah, like a ghost story,

but that's not like Ghost.

- Well, not — No.
- Which may be —

We should be —
I understand what you're saying.

It'd be called Unnatural Lives.
It's a supernatural thing.

Joel. Griffin Mill.
Friend of Jennifer's.

No, no.

- You're Griffin Mill?
- Yes.

- Really?
- Good to see you. I'm a big fan of yours.

- I have that tie.
- You do?

- Mr. Mill, how are you today?
- Okay. How are you doing, Natalie?

- Did you order for me?
- Yes.

- Hey, Griffin.
- Hi, everybody.

- Hi.
- How are you?

- Lunching with the enemy, hmm?
- Ooh!

- Oh, come on.
- So, what's this we hear about Larry Levy?

Larry Levy?

If he had half a brain,
he'd be dangerous.

Aaron says
he's coming to the studio.

Aaron says, eh?

Why would you believe
anything he says?

Well, he said it.
It's the authority he said it with.

- He's over there.
- Who?

With Anjelica Huston and John Cusack.

- Levy?
- Yep.

He's in over his head.
He's gonna drown over there.

He's quite the golden boy
at Fox these days.

Did you see that thing on him
in Variety last week? It was two pages.

- Anjelica. Griffin Mill.
- Oh, hi.

- Good to see you. You're looking great.
- You too.

- Hey, Johnny. Griffin Mill. Big fan of yours.
- Yeah.

- You gonna be in Telluride this year?
- Probably gonna be in Park City.

- Oh, great. We'll see you there.
- Okay.

Ai-yi-yi.

What's happening with Glass Box?

Can we talk about something
other than Hollywood for a change?

- Yes.
- We're educated people.

- Sure.
- Sure, Griffin.

- I'll call you later.
- Okay.

Bye.

Shouldn't you
talk to somebody about this?

- What?
- These postcards.

- You've gotten five in two weeks.
- Seven, actually.

Griffin, why don't you just
talk to studio security?

I'm supposed to call Walter Stuckel
and say what?

"Walter, listen, someone's
sending me poison pen letters

and I would like for you to make me
the object of more ridicule and abuse,

now that things are really shaky
for me here."

- No, I don't think so, Jan.
- I think they're coming from a writer.

- Which one?
- Take your pick.

- Is there anything else?
- Yes. Your attorney phoned.

He wants you to come to a party
at his house tonight.

Get me out of it.
Tell him I'm in a screening.

- Not that attorney. It's Dick Mellen.
- Oh, Dick. What time?

Cocktails at 7:30.
Dinner at 8:00. Bring a date.

- If I have to read one more goddamn —
- Oh, and Bonnie Sherow is here to see you.

- sensitive male bonding script.
- Send her in.

Oh, here she is.

Griffin, can we go to the Springs
this weekend?

I want to have a massage.

I want to have a long soak
in a hot mineral tub.

And I want to have margaritas
administered intravenously.

I have a party tonight at Dick Mellen's.
You wanna come?

Oh, God.
Movie stars and power players.

- And vodka.
- Sure.

It'll be an early dinner
and we'll go to my place afterwards.

- Can we?
- Yeah.

And Brokaw looks like
he has absolutely no retention.

But Ted Koppel looks loose
and he goes after it and he digs in

and he doesn't get thrown very easily.

Oh.

- Hi. How are you?
- Hi, Griffin.

Marlee, this is Bonnie Sherow.

She read, um, Tales of Fury, and —

- Oh!
- I loved it.

- That's great.
- It was wonderful.

- And I think you're perfect for Ariel.
- Thank you. I think so too.

Yeah.

We were gonna make just
a couple of changes in the third act.

- You should set up a meeting.
- Yeah.

- Yeah, yeah. Don't you think?
- Yeah, sure. Y-Yes.

- 'Cause you have my number?
- Yeah, absolutely.

Excuse me. I'm gonna go say hello
to these people here.

You don't talk about
script changes at parties.

All right, I'm sorry.

It was good of you to come.
Don't you look beautiful, uh —

- You know Bonnie Sherow.
- B — Of course. How are you, dear?

- It's good to see you. TriStar, right?
- No, she's at, uh — she's at the studio.

Yeah, that's — that's what I meant.
And how about, uh —

Bring Mr. Mill a martini.
And, Bunny, how about —

- Actually, I'll take a Ramlösa.
- All right.

- I'll have a martini.
- Okay. One of each.

Rod Steiger's here.

Why don't you, uh — Why don't you
talk to him about the Rudolph project.

He's not that hot on it, but, uh, see if you
can get him to at least, you know, read it.

- Okay.
- You know who's here? Harry Belafonte.

- Harry!
- I love Harry Belafonte.

Come and say hello, will ya?

Harry, say hello
to a couple of people.

- Griffin Mill and Bunny.
- Hi, Harry. Good to see you.

- Hi. Bonnie Sherow.
- She's just gaga over you.

I'm a big fan of yours.

I saw you accept
the Nelson Mandela Courage Award.

Who was the guy in Ghostbusters?
Uh, you know, the villain in Ghostbusters.

I — I — You got me. That wasn't —

I got this, um —

This po — I got this postcard.

You know, harassment kind of stuff.
But you know.

I don't. Tell me.
What are you talking about?

Well, I — it's some writer
I must've brushed off.

Folks, get something to eat.
There's some lovely stuff over there.

- We're wasting away.
- We will, in a few minutes. Thank you.

- Your hands are as cold as mine.
- My hands are freezing.

- Would you like one of these?
- Um, I don't think I do.

That one, right there.

Not threats?
You talking about threats?

Well, no.

Y-Yes — I don't know.

He's pissed off.

I thought writers were your long suit.
You're the writer's executive, aren't you?

Are you pitching me a dream?

The way you say that, that's what makes me
think you're not really sincerely interested.

Well, it depends
how good the dream is, Jeff.

Levy's here.

- Check the people over there, okay?
- Dick. Dick. What's he doing here?

- Goldblum? He's a friend.
- No. Larry Levy.

- He came with Sally. He's a buddy —
- What's going on with my job?

I mean, you know, Larry Levy —
Everywhere I look, you know, he's in my face.

Larry Levy's a comer.
That's what comers do. They get in your face.

You're a comer too.
You can handle him. Stop worrying about it.

So the rumors are true?

Rumors are always true.
You know that.

- I'm always the last to hear about them.
- You're the last one to believe.

I've told you that before.

So am I out?

Not out. But you'd better start
thinking about a roommate.

Relax. You can handle this.
You can make him work for you.

- Excuse me.
- Larry?

Dick.
Sorry to crash your party.

- Do you know everybody?
- I will before the night's out.

You will. You will, indeed.
It's a good crowd of people.

- Great party, Dick.
- Good.

- Did you get some food?
- Actually, not yet.

Hmm. Listen to this.
Listen to this.

"He lifts her dress.
She kisses him harder.

He puts his hands in her underpants.
She grabs his shoulders.

He pulls her dress above her waist.
He rubs against her wide, soft belly.

Slowly, he pushes her panties
down to her knees.

She is faint with passion.

She arches her back
and he lowers her down onto the buckboard.

The horses snort and whinny.

They too seem to be
feeling her passion.

The camera moves in
on the nostrils of the horse

as the buckboard begins to shake."

Oh, my God.

Can you believe that?
Steve recommended that script.

He says they're really hot for it
over at Universal.

They're gonna have a bidding war.

I heard a pitch today. It wasn't bad.
I'm stuck on a story point though.

I'm a story editor. Go.

New York City. Madison Avenue.
Big advertising agency.

An account executive makes a presentation
to someone he wants as a client.

The client promises
to get back to him.

- Does it have to be advertising?
- That's not the problem.

The account executive keeps waiting
for the client to call him back,

to tell him what he thought of the idea,
to tell him if he got the job or not.

- But the client never calls.
- Mm-hmm.

So the account executive
gets so pissed off, so frustrated,

that he becomes obsessive

and he decides to drive the client crazy.

- What does he do?
- Sends him threatening postcards.

It's not important.

Here's the problem.

How long do you think
the account executive harasses the client

before he becomes dangerous?

- Does it have to be advertising?
- How long?

All right, if it were me —

- One month?
- Three months.

No, no, no. More. Five months.
I mean, to be dangerous, five months.

That's what I thought.
Five months.

- Who's the writer?
- I don't know.

You don't know the writer
who pitched you the idea?

Uh, his name — I don't know.
It's a couple kids, uh —

- TV writers.
- Mmm.

Can we go to bed now?
I'm starting to wrinkle.

All right.

- See you tomorrow afternoon.
- Absolutely.

Burt? Larry Levy.

I hope you don't remember me, and if you do,
I hope there are no hard feelings.

- I was only working for Kastner at the time.
- Yeah, right.

- Thank you.
- Take care.

- Who's that?
- Uh, an exec over at Fox.

Or was until this breakfast anyway.

Good morning, Mr. Mill.
Welcome to Geoffrey's.

Hi, Susan. How are you?
I'm with Joel.

- Hi, Burt. Griffin Mill.
- Oh, hi, Griffin. Good to see you.

- Griffin. Nice to see you this morning.
- Hi, Charles. How are you?

Asshole.

- One of a breed, yes.
- Mmm.

Hi, Kathy.

No, actually, he's not one of a breed.
There's a whole breed of them.

- They're breeding them actually.
- Yes.

Joel, you're losing your touch,
scheduling these meetings so close together.

The guy didn't have time
to finish his breakfast.

He'd already eaten.
Gets up early.

Yeah.

- You went to Mellen's last night, I hear.
- Could you take this away, please? Yes, I did.

- How is he?
- I'd like a Vittel water.

He's fine.

You left early. Why?

We had to work on the, uh —
on the museum party.

I will not work for Larry Levy.

I'm not asking you to.

I report to you.
If I have to report to Larry Levy, I quit.

You can't quit.

I won't let you quit.

You have a year and a half
on your contract,

and I will sue you for breach if you don't show up
in the office every day with a smile.

Why Levy?

Levy was available.

He's good on material.
You're good with writers.

We're a team.
He's a new member of the team. That's all.

He can make us all look good.

This is a red wine glass. Can I have
my water in a water glass, please?

Well?

I'll have to think about it, Joel.

I want an answer this afternoon.

Well, I have to go out to Palmdale.

The director of The Lonely Room
is giving Lily a hard time.

- I'll be back around 5:00.
- So call after 5:00.

I'll get back to you.

But I said, you haven't gone —
You haven't died enough.

So he's still hanging on.

Griffin.

- Yeah.
- Joel Levison on line two.

- I'll put him through?
- No, no. I'll get back to him.

You want me to tell Joel Levison
you'll get back to him?

- Yeah.
- Yes, sir.

I don't want to hear what he's got to say.

- How did this get here?
- The mail?

Yeah, but this does not have a postmark.
This was hand delivered.

Not to me.
It came with the mail.

Jimmy!

Huh?

You know anything about this?
Who delivered it? Where it came from?

Mail room?

Yeah, but I want to know
how it got to the goddamn mail room.

- Find out for me and get back to me.
- Okay. Sure.

You go with him.

- You want me to go to the mail room?
- Yes, I want you to go to the mail room.

And while you're there, I would like
a, uh, copy of The Lonely Room rewrites.

In white pages. No color.

- And find out how this got in my mail.
- Yes, sir.

- You'll get your own phones, I take it?
- Yes, I can get my own phone, Jan.

Son of a bitch.

Five months.
One, two, three, four, five.

April.

Pitches. Richard Fielder.
David Lucas.

Adam Silverstein.

Bill Lindstrom. David Kahane.

Sam Potenza.

Incoming.

Incoming.

Unreturned calls.

Bill Lindstrom again.

Nancy Franklin.
Wouldn't be a woman.

David Kahane.

Bill Lindstrom.

Oh, come on.
Sort, sort, sort, sort.

Come on.

Oh, come on, come on.
Kahane. Kahane. Kahane. Lindstrom.

Lindstrom.
White pages.

"Lindstrom.
Disney. Strategic planning."

Wouldn't be him.

What was that other guy's name?

Kahane. Kahane. "J." "K."

Kalchime.

Kahane.

"Unproduced."
Got ya!

- Hello?
- Yes, hello. Is David Kahane there, please?

David!

Dave!

Hello? I'm really sorry. I forgot.
He's gone out.

- Oh, I see.
- Who's this?

This is Griffin Mill.

Oh, the dead man.

- What did you just say?
- Hmm?

- Oh, nothing.
- About me being a dead man.

Just, uh, a nickname
David has for you.

Oh. I see.

That's a funny nickname.

So I suppose your husband
doesn't like me very much.

I don't have a husband.

I suppose David
doesn't like me very much.

David's, um, gone to the cinema.

When will he be back?

When the film's over, I presume.

And you are?

- June.
- June?

Here we go.
You want to know my last name.

Well, you won't be able to pronounce it.
No one can.

Try me.

Gudmundsdottir.

"Goodmanzdaughter."

- Gudmundsdottir.
- Gudmundsdottir.

- How's that?
- Hey, you're very good.

Thanks.

What do people usually say?

Oh, don't ask.

Anything from "Gooddogzwater"
to "Goulashwallop."

- You English?
- Yeah.

Well, no. No, not really.

Well, where are you
kind of sort of not from?

Well, do you want the long story
or the short one?

- The long one.
- No, you'd never believe it.

The short one's Iceland.

Iceland. I didn't know
anyone came from Iceland.

Thought it was just a block of ice.

- It's very green, actually.
- Really?

- Mm-hmm.
- I thought that was Greenland.

No. Greenland's very icy.

Iceland's very green.

They switched names to fool the Vikings,
who were trying to steal their women.

Oh, I see.

No. Blue sea.

- Red sea.
- No, no, no.

No red.

- You're a painter.
- How did you guess?

So, what movie did David go to see?

Um, he went to the Rialto in Pasadena.
He always goes there.

What's showing?

Urn, Bicycle Thief, I think.

It's a good movie.
Have you seen it?

No, I don't go to the movies.

You don't? Why not?

Oh...

Life is too short.

I've gotta hang up now.

David Kahane.

No, you have the wrong guy, man.

- Wow. You didn't like it?
- It's a foreign film.

David Kahane.

Griffin Mill.

Griffin Mill.

Yeah?

Great movie, huh?

So refreshing to see
something like this

after all these cop movies
and, you know, things we do.

Maybe we'll do a remake of this.

- You'd probably give it a happy ending.
- Oh, no, no. We'd keep it pure.

Pure, right.

You wanna write it?

- Don't fuck with me, Mill.
- I'm not fucking with you.

- I said I'd get back to you, didn't I?
- Yeah. About six months ago.

- I thought you'd forgotten.
- And you were angry.

Maybe.

Do you wanna talk about it?

- Okay, sure.
- Great.

Let's let the studio buy us a drink.

Well, if you don't mind a place where
you don't have any suck with the maître d',

I know a bar down the street.

Let's go.

Have you ever been to Japan?

Yes, uh, I was there once
on a location scout with Steven Spielberg.

I lived there for a year.

- Student year abroad.
- Great.

You know, I-I wish I'd done that.

Well, I think about it a lot.
I'll never forget it.

You should write about it.

I did. Don't you remember?

What?

Arigato.

My idea about the American student
that goes to Ja — Japan.

That was my pitch, the one you were
supposed to get back to me on.

You don't remember, do you?

Of course I remember.

- You never got back to me.
- Listen.

I was an asshole. All right?

It comes with the job.

I'm sorry. I really am.

I know how angry you must've been,
and I'll make it up to you.

That's what I'm here for.

I'm gonna give you a deal, David.

♪ Let's begin again ♪

I'm not gonna guarantee I'm gonna make
the movie, but I am going to give you a shot.

♪ Let's forget the time ♪

Let's just, um, stop
all the postcard shit, all right?

I'm here to say that I would like to start over.

Friends.

♪ Let's begin again ♪

Fuck you, Mill. You're a liar.

You're stepping over the line, David.

You didn't come out here
to see The Bicycle Thief.

You came in five minutes
before the picture ended.

Nearly tripped over my feet.

What'd you do, call my house? Huh?

Did you speak to the ice queen?

You'd like her, Mill.
She's a lot like you.

All heart.

You're on my list, pal.

Nothing's going to change that.

See you in the next reel, asshole.

♪ Let's start over from the start ♪

♪ Let's forget the time ♪

♪ That you nearly broke my heart ♪

♪ Go everywhere we've been again ♪

♪ Let's begin again ♪♪

♪ Let's begin again ♪

♪ Let's start over from the start ♪

That's a nice boat you got there,
movie exec.

It's me, the writer.

- You still wanna buy my story?
- I told you I'd give you a deal.

Stop by the studio first thing in the morning.
We'll work something out.

And who will I ask for?

Larry Levy?

What's Larry Levy got to do with this?
How do you know about Larry Levy?

Don't you read the trades?
New York Times business section?

He's moving in.
You're moving out.

You can't make a deal.
That's what they say. Yesterday's news.

Wait a minute. Wait a minute.

Can I borrow your mobile phone?
Huh?

Uh, Larry Levy.
Yeah, Larry, David Kahane here.

Listen, Larry, guess who's making promises
about getting pictures made

to writers in parking lots?

Guess what dumb
son of a bitch executive

is trying to take advantage of — of me?

I mean, do you realize
how unstoppable this guy is?

You know, I cannot wait
to tell the world

that when Griffin Mill
can't cut the pressure at work,

he drives out to Pasadena

to pick fights with writers!

You tell Larry Levy
to give me a call.

The word is out that he's gonna start making
meaningful pictures at the studio for a change.

All right, let's — let's forget this.
So just stop all the postcard shit!

I don't write postcards!
I write scripts!

- We're both wrong, okay?
- No, you're wrong, buddy!

You're in over your head.
That's why you're losing your job.

And then what are you gonna do. Huh?

I can write.
What can you do?

I said let's forget this.

Aw, shit.

Mill, you okay?

You all right?

Keep it to yourself!

Keep it to yourself!

Keep it to yourself.

Kahane?

You know what's interesting.

I mean, who —
who's writing this new ending?

Who wrote the new ending
of Fatal Attraction? The audience.

In that case —

A million-plus screenwriters,
and the audience wrote that ending.

Yes, but who's to say what it would
have done if you had left the original ending?

- You can't say.
- You're right. You can't say.

But you can say that it's done
almost 300 million worldwide

with the ending that was selected
from the test screening.

Larry Levy, I don't believe that you've
met my assistant, Whitney Gersh.

- No, I haven't.
- It's a great pleasure to meet you.

Nice to meet you, Whitney.

- What are you doing?
- Bonnie, how's your picture doing?

- It just tested last week.
- It's doing well.

- How well?
- It was our first test.

- Were you breathing hard?
- Excuse me, Walter.

Um, Joel, Griffin still isn't in, but I really
think we have to start this meeting.

Okay, Celia. Thank you.

You remember a movie called DOA?

Sure I do.
Eddie O'Brien and Pam Britton.

Disney did a remake in '87 or '88.

Yeah, well, I think we got pretty much
the same situation here.

Keep our noses clean, Walter.

I can see you're flush.

It's a shame to waste the picture.
It's a great picture.

Who said we're wasting the picture?
Where did that come from?

You know what's interesting.
We're all too busy to go see movies.

Griffin, you're really late.
They're, like, waiting inside.

- Here's your meeting agenda.
- You oughta try it sometime.

Actually rub shoulders
with the great unwashed.

We need to give them
the kind of pictures they want,

not the kind these writers
want to give them.

I know you guys spend
a lot of time with writers.

Believe me, you have
my deepest sympathy, but —

- Hello. Sorry I'm late.
- You certainly are.

- Jan, talk to you for a minute, please?
- Yeah.

- Just a couple minutes in your office is fine.
- Sure. How you doing?

Griffin, you missed the formal
welcoming ceremony this morning.

You know Larry Levy.

Of course.

- Hi, Larry.
- Hi, Griffin.

Larry was able to get out of Fox
a week earlier than he thought

and has come aboard
as of this morning.

Great. Let's, uh — Let's start.

In fact, Larry was just
in the middle of something.

Oh, no. I wasn't.
I was just killing time waiting for Griffin.

Oh. Well, no. Finish.

What were you saying?

I was just saying that I've yet to meet a writer
who could change water into wine,

and we have a tendency
to treat them like that.

Not at this studio.

A million, million and a half
for these scripts.

It's — It's nuts.

And I think avoidable.

Let me ask you something.

When was the last time
you bought a ticket to see a movie?

- You actually paid your own money to see it?
- Last night.

In Pasadena.
The Bicycle Thief.

- You went to see The Bicycle Thief?
- I love that film. It's a great film.

It's an art movie. It doesn't count.
We're talking about "movie" movies.

Jesus, people.

All I'm saying is, there's a lot
of time and money to be saved

if we came up
with these stories on our own.

Where are these stories
coming from, Larry?

Anywhere. Anywhere.
It doesn't matter. Anywhere.

The newspaper.
Pick a story. Any story.

All right.

"Immigrants Protest Budget Cuts
in Literacy Program."

Human spirit overcoming economic adversity.
Sounds like Horatio Alger in the barrio.

Put Jimmy Smits in it and you got
a sexy Stand and Deliver. Next.

- Come on.
- Larry, this isn't my field.

Marty, it doesn't matter.
Just give it a shot. You can't lose here.

Okay.

How about, uh,
"Mud Slide Kills 60 in Slums of Chile."

That's good. Triumph over tragedy.
Sounds like a John Boorman picture.

Slap a happy ending on it,
the script will write itself.

Bon. Here, give me the paper.

Gee, I don't know, Lar.

Give it a shot.

"Further Bond Losses
Push Dow Down 7.15."

I see Connery as Bond.

That's funny. It's a good thing
Oliver Stone wasn't listening to you.

Where would we have been?

Well, we all would have been
spared having to sit through Wall Street.

Marty, what did Wall Street do worldwide?

Seventy, 75, maybe 80.

Eighty million dollars,
a couple of Oscars — nothing to sneeze at.

I think Larry's point is well taken.
Let's move on now.

Griffin, uh, can you give us an update
on the Taylor Hackford project?

Griffin?

Yeah.

I was just thinking
what an interesting concept it is

to eliminate the writer
from the artistic process.

If we can just get rid of these actors
and directors, maybe we got something here.

Hello, Walter.

Make yourself at home.

Mr. Mill, I understand you were
kinda late coming in this morning.

You all right?

I'm fine.

Appreciate your concern.

What can I do for you, Walter?

Don't tell me you came here
to pitch me a story.

That's exactly what I've come to do.

It's a good one too.
It's about a writer. Sort of.

David Kahane.

David Kahane.
Who's David Kahane?

Oh, you met him.

- Well, I meet a lot of writers.
- Uh-huh.

But this particular writer that you met
was murdered last night

in back of the Rialto theater
in Pasadena.

Murdered?

Oh, come to think of it,
Pasadena's as good a place to die as any.

So, what's the story?

Twenty-five words or less?

Okay.

Movie exec calls writer.
Writer's girlfriend says he's at the movies.

Exec goes to the movies,
meets writer, drinks with writer.

Writer gets conked and dies
in four inches of dirty water.

Movie exec is in deep shit.

What do you think?

That's more than 25 words.

And it's bullshit.

Yeah, well, Pasadena homicide
doesn't think it's bullshit.

They got a complete report.

You met Kahane at the Rialto.
You got drunk with him at a Japanese restaurant.

He left before you did.
That's the last time anyone saw him alive.

Except you, maybe.

Why are you denying this?

What do the police think?

They think it's a botched robbery.

You know,
the window of his car was busted.

He surprised someone
trying to take the radio.

There was a fight.
He was killed.

I didn't kill him, Walter.

But I went to see him.

I know I said I didn't, but I did.

Why'd you lie to me?

Well... now's not
a very good time for me.

Haven't you heard the rumors?
I'm on my way out.

Just what I need —
a little more controversy.

This is not a good time, Walter.

Look, I am in charge of studio security
in every definition of the word,

which means it is my job
to take care of a studio executive,

should he be, uh, shall we say,
under suspicion of murder

at a time when profits are down
and the company is vulnerable for a takeover.

It is my job to keep this
very, very, very, very quiet!

Do you wanna help?

- Of course.
- Then stop lying.

- How many meetings you have with this guy?
- One.

- Not counting last night?
- Not counting last night.

Why'd you go all the way
to Pasadena to meet him?

He had an idea I was interested in.
I wanted to talk to him right away.

His girlfriend. I guess
she was a friend of yours too.

Think fast!

Jesus Christ, Walter,
what do you think? What is this?

It's the third degree. If you don't like it,
wait till the police start asking questions.

- They'll be a lot less polite than I am!
- I'll go to the police! You come with me!

Now you're acting
like someone's who's guilty.

You're not guilty, are you?

For the last time,
I'm not a murderer.

Bad news?

What?

The fax. Is it bad news?

No.

Business as usual.

The Hollywood system
did not murder David Kahane.

Not the 98-million-dollar movie.
Not the 12-million-dollar actor.

Not even the million-dollar deal
that David Kahane never landed.

No, the most that we can pin
on Hollywood

is assault with intent to kill.

Because society is responsible
for this particular murder,

and it is to society that we must look

if we are to have any justice
for that crime.

Because someone in the night

killed David Kahane,

and that person
will have to bear the guilt.

And if, uh, David were here right now,

I know in my heart that —
that he — h-he would say...

"Cut the shit, Phil.

What did you learn from all of this?
Did you learn anything from this?"

And I'd say, "Uh, yeah, David,
uh, I've learned a lot.

We here, uh, we'll take it from here."

And the next time we sell
a script for a million dollars,

the next time we nail some
shit-bag producer to the wall, we'll say,

"That's another one
for David Kahane!"

David was working on something
the day he died.

I'd like to share it with you.

"Blackness.

A mangy dog barks.

Garbage can lids are lifted
as derelicts in the streets hunt for food.

Buzzing,
as a cheap alarm clock goes off.

Interior. Flophouse room.
Early morning.

A tracking shot moves
through the grimy room.

Light streams in through holes
in the yellowing window shades.

Moths dance in the beams of light.

Track down along the floor.
The frayed rug.

Stop on an old shoe.

It's empty."

That's as far as he got.

That's the last thing he wrote.

So long, Dave.

Fade out.

Thank you.

Who are you?
You're not a writer.

No, I-I'm — I'm G —
I'm Griffin Mill.

- We spoke the night David wa —
- Oh.

Blue sea, white sea.

- It turned out you were right.
- What?

It was a red sea.

Oh. Yeah.

You're the only person
I know here.

Listen, I'm really sorry about David.

He was, uh... a talent.

You really think so?

I always suspected he was...

uniquely untalented.

But it's nice of you to say that.
It's nice of you to come.

- Really, you didn't have to.
- Well, I did.

You know, I was probably
the last person to see him alive.

Yeah. The police told me.

Well, not quite the last, surely.

No.

I'm sure this is a terrible time for you.

Is there anything you need or —

No, really. I —

I don't feel bad.

It's like when my parents died. I —

I didn't feel anything at all.

They were just gone.

Well, I'm sure it hasn't sunk in yet.

That was years ago.

- No, I meant David.
- Oh.

Oh, God.

These people.
I don't like it here.

They're all expecting me
to grieve and mourn, and...

I can't talk to them.

David's gone and...

I'm somewhere else already.

- Will you take me home?
- What?

Will you take me home?

Sure.

I'm right here.

These are very interesting.
I like them.

Would you like a drink?

No, thanks.

- Where do you show?
- Hmm?

Gallery. What gallery?
Who's your dealer?

I don't have a dealer.

I couldn't sell these.
They're never finished.

Biccy?

No, thanks.

They're never finished?

No, they're just what I do.

For myself.

What I feel.

You ask lots of questions, Mr. Mill.

Just like the police.

That's all they did.
Ask questions.

They asked me a lot about you.

- Did they?
- Mm-hmm.

How long we've known each other,
if you'd ever been to the house before.

Well, I suppose they have to
ask those questions.

I don't see why.

'Cause that's what police do.

- Can I ask you a question?
- Sure.

Why was it so important to see David
that night? What was so urgent?

Well, he pitched me a story
a few months ago and —

- The Japan story, right?
- Yes. The Japan story.

I liked it at the time, but it needed work,
especially the ending.

I was sitting in my office that day

and it suddenly occurred to me
how to make the ending work.

So, what was it?

- What?
- Your idea for the ending.

Up.

- Up?
- Up.

- What does that mean?
- As opposed to down. Moods.

- Oh.
- You know, happy as opposed to sad.

Hopeful as opposed to depressing.

- What did you think of his ending?
- I never read it.

- You never read it?
- Nope.

I don't like reading.

Do you like books?

I like words.

And letters.

But I'm not crazy
about complete sentences.

Hmm.

So, what did he think?

He walked out on me, actually.
I don't think David liked me very much.

I think he just didn't like
happy endings.

Put your face here.

Great.

What are you doing?
You're not going to paint me, are you?

I might put you
in one of my paintings.

There's one that I want to do
of an Icelandic hero.

He's a thief and he's made of fire.

- But you might not like that.
- Why not?

Because you're in the movies.

And in the movies you can't have
thieves as heroes, can you?

Oh, I don't know about that.

We have a long tradition
of gangsters in the movies.

Oh, yes, but they always have to
suffer for their crimes, don't they?

Well, we should pay for our crimes,
shouldn't we?

Oh, I don't know. I think knowing that
you've committed a crime is suffering enough.

If you don't suffer,
then maybe it wasn't a crime after all.

Anyway, what difference
does it make?

It has nothing to do
with how things really are.

You don't really believe that, do you?

I don't know what I believe, Mr. Mill.

It's just what I feel.

You know what you are,
June whatever your name is?

You're a pragmatic anarchist.

- Is that what I am?
- That's what you are.

I never was sure.

Could I just pick this up? Yeah?

Oh. It's heavy. Ooh.

- Thirty-seven ounces.
- Really? Oh, look, look.

I wanna thank my mother, and her mother,
and her father's mother, who was the —

Hello.

Hello.

- Meet Detective Susan Avery.
- How do you do?

- Hello, Detective.
- Sorry. My partner.

- Willa Broom.
- My pleasure.

Let's go in here.

This is the first real movie studio
Detective Avery's been to.

- Oh, really?
- Well, aside from the Universal Tour.

You know, when my family comes in,
I always take 'em out there.

Been out there so often I kinda
feel like I'm ready to direct.

Well, you'd probably
do better than most of the film grads

they're handing the cameras
out to nowadays.

I'm sorry I didn't call you
when I heard Kahane was dead.

- Heard or read?
- Read.

Why didn't you?

Walter asked me the same question
and I wish I had a better answer for it,

but all I can say
is that I didn't think about it.

Mmm.

How did you know
where he was gonna be?

His wife told me he was seeing
The Bicycle Thief.

His girlfriend.

Girlfriend.

Girlfriend.
I didn't know either of them.

I was feeling restless,
so I thought I'd go see the movie,

and if he was there I was gonna talk to him
about a job I thought he was good for.

So you got to the theater,
you saw him and —

We went and had a drink
at a Japanese place he knew about.

It was a wild, incredible scene.
It was like Tokyo.

But he left before you did.
Why didn't you leave together?

Like I said, it was an incredible scene.
I was having a great time.

Then why didn't you stay longer?

Well, the people stopped singing
and then it was just a bar, and I don't drink.

Drank with him.

Well, when in Rome.

- Did you know him socially?
- No.

- Been to his house?
- No.

Know anything about him personally?

- No.
- Griffin.

Guess we're gonna let you
get back to work now.

Something's bothering you.
What is it?

Well, I — I just have to ask you.

D-Did you see him
in the parking lot after you left?

No. I parked on the street.

I drive a Range Rover,
so I always feel safer when it's visible.

Out on the street,
who's gonna smash a window?

Mmm.

You mean, if you had a shitty car,
you would've been parked in the parking lot?

If I had a shitty car,
I might be a dead man.

Somehow I think you're a little
too lucky for that. Thank you.

Okay.

- Come on. Wait one second.
- Sixty-three, take three, mark.

Now.

Action!

No, goddamn it, Peterson,
you listen to me.

I been around a while. I got a nose.
This situation stinks.

It stinks of the Company.

That's right, Peterson, the fucking CIA.
You ever heard of it?

Lily understands what I'm talking about.

It's just the kind of operation
those whiz kid fucks —

- You don't understand what he's trying for here.
- I guess I don't.

I find it hard to listen to your argument when
you don't understand what he's going for.

- Would you shut up, please?
- Oh, kiss my ass.

I'd be surprised if anybody understood
because you can't even see anything.

I have to cut because my robe caught
on the drawer here. I couldn't help it.

- Oh, for Christ's sake.
- I'm sorry.

- I like this guy.
- Scotty Glenn? He's great.

- What kind of water is it?
- It's, um, Spa.

Can I have some Volvic, please?

Action!

No, goddamn it, Peterson.

I heard the police came
to see you about this dead writer.

Who was this guy?

His name was David Kahane.

I never heard of him.
Did we ever hire him for anything?

I was thinking about it.

He pitched me a story.
I went out there to talk to him about it.

Jesus. Poor bastard.

Just when his ship is about to come in,
some black kid steals his money for crack.

I don't want to criticize you, babe,

but I'm supposed to be having
a conversation on the phone.

- Are you talking to me?
- Are the cops bothering you?

No. No, I don't think so.

Let Stuckel handle it.

He'll give them passes
to a screening

where they can sit two rows
behind Michelle Pfeiffer.

They'll leave you alone.

- Griffin.
- Yeah?

Um, a guy named Joe Gillis called

and he said he wants you to meet him
at the Saint James Club

around 10:00 on the patio.

- Know who this is?
- Joe Gillis? Never heard of him.

He said you'd know.

Anybody know who Joe Gillis is?

He's the character
William Holden played in Sunset Blvd.

The writer who gets killed
by the movie star.

- Gloria Swanson.
- That is a fantastic movie.

All I know is we're doing this my way.

Oh, that guy.

Last week he said
he was Charles Foster Kane.

Week before that it was Rhett Butler.

Why would they think that
I'd kill my own sister's husband?

You wanna compare grosses, Bonnie?

I was in love with him.

- Griffin? Griffin.
- Malcolm McDowell.

- Hi. How are you?
- Good to see you.

Listen, the next time
you want to bad-mouth me,

have the courage
to do it to my face.

You guys are all the same.

- You love it there?
- I love it. It's just wonderful.

You love your career too, though, don't you?
What is it, Tom?

It was a complete disaster. I mean, look at
what happened in Heaven's Gate with Cimino.

- It just ended.
- We both are concerned about your ca —

I knew an actor.
I won't mention his name.

You know, where I live, I really know
how people think and how they feel.

- I mean, if you're —
- But it's Montana. My God.

Montana will end you. It ended —
It ended Cimino on Heaven's Gate.

Griffin Mill. Hi.

- Andy Civella.
- Hi, Andy. How are ya?

I've got Andie MacDowell
sitting over here.

You know her? She's so hot.
Come over and meet her.

- Still living in New York?
- Huh?

Oh, well, I couldn't live here.
I'm allergic to happiness.

- This is Andie. It's Griffin Mill.
- Hi, Andie. It's good to see you.

- She's my namesake.
- How are the kids doing?

- They're great. Thanks.
- She's the smart Andie and I'm the pretty one.

- Thank you.
- Uh, and you geniuses know each other.

- Tom Oakley.
- Course we do.

- Oh, yes. Hi, Tom.
- Hi. How are you?

It's funny. I just ran into
Malcolm McDowell out in the lobby.

Oh, really?

You know, Roddy McDowell is related
to a cousin of my brother-in-law.

Well, I'm not related
to either one of them.

- If I write it, I direct it.
- Hi.

The last three pictures you directed
were bombs.

- Look, one broke even.
- Bombs!

- Thank you so much for the drink, um —
- That was the worst one of the bunch.

- I really have to go.
- You gotta go, Andie?

- Come on, honey, let's go.
- We'll walk you to the car.

- No, it's okay. Don't worry about it.
- Oh, hang on. Griffin.

- We'd like to buy you a drink.
- I — I'm sorry.

- Have a drink.
- I can't. I'm meeting someone. Business.

- Uh-huh.
- We should have told him about Habeas Corpus.

Of course, of course, of course,
but he's a busy man.

- Is there anyone waiting for me?
- No one's asked.

Well, I'm expecting someone.
I'll, um, be out by the pool.

But he'll get back to us. Right, Griffin?

- Griffin.
- Andie!

- Ha! Oh, sorry. Sorry, Griffin.
- Oh, Jesus, Andy, it's you.

- Course, it's me.
- Listen, I can't ask you to join me.

- I told you, I'm meeting somebody.
- Yeah, you're meeting me.

- We got some big business.
- You? You?

- Why not me?
- Jesus Christ, Andy. You think this is funny?

- You think this is fucking funny?
- What are you talkin' about?

Wouldn't she make a great Nora?

God, I'd love to write
another Doll's House for her.

Oh, did you meet Tom Oakley?

Yes.

- You mean, you didn't call me?
- No, I didn't call you.

I'm sorry. I — I'm really sorry.

Listen, I really am meeting somebody.

There's no way
I can hear a pitch right now.

- You'll have to call me tomorrow.
- No, I can't do it tomorrow.

I got a meeting at Paramount in the morn —

I got a meeting at Universal, too,
in the morning.

Congratulations.

- If you don't hear it now, you're gonna lose it.
- Well, then I lose it, all right?

Take 20 seconds.
When your friend gets here, whatever.

What friend?
What are you talking about? Who?

Whoever you're gonna meet here.

Twenty-five words or less.

Absolutely. Tom, uh, you —
No, you sit here, Tom.

Go.

- District attorney's at a moral crossroads.
- Tom! Jesus Christ.

Okay. Okay. Okay. Uh —

We open outside
the largest penitentiary in California.

It's night. It's raining.

A limousine comes in through the front gate
past a tight knot of demonstrators

holding a candlelight vigil.

The candles under the umbrellas
make them glow like Japanese lanterns.

That's nice.
I haven't seen that before. That's good.

A lone demonstrator, a black woman,
steps in front of the limousine.

The lights illuminate her like a spirit.

Her eyes fix upon those
of the sole passenger.

The moment
is devastating between them.

He's the DA. She's the mother
of the person that's being executed.

You're good. See, I told you. He's good.

- Go on.
- Okay.

The DA believes in the death penalty.

And the execution is a hard case.

Black, 19 and definitely guilty.

We're in the greatest democracy
in the world,

and 36% of the people
on death row are black.

- Poor, disadvantaged black.
- More. More. More.

He swears that the next person he sees to die
is gonna be smart, rich and white.

- You. Me. Whoever.
- Oh, what a hook, huh?

- Beauty hook. Cut to the chase, Tom.
- Okay, okay.

Cut from the DA to an up-market
suburban neighborhood.

A couple have a fight.

He leaves in a fit, gets in a car.
It's the same rainy night.

The car spins out on a road,
goes into a ravine.

The body is swept away.

Now, when the police examine the car,
they find the brakes have been tampered with.

It's murder, and the DA decides
to go for the big one.

He's gonna put the wife
in the gas chamber.

But the DA falls in love with the wife.

But of course he falls in love with the wife,
but he puts her in the gas chamber anyway.

Then he finds that the husband is alive,
that he faked his death.

The DA breaks into the prison, runs down
death row, but he gets there too late.

The gas pellets have been dropped.

She's dead.

I tell you,
there's not a dry eye in the house.

She's dead?

She's dead. She's dead.

Because that's the reality.

The innocent die.

- Who's the DA?
- Ah.

- No one.
- No one?

No "stars" on this project.
We're going out on a limb on this one.

You know, uh,
like, unknowns, stage actors

or maybe somebody English,
like what's-his-name.

- Why?
- Why? Why?

Because this story is just too damned important
to risk being overwhelmed by personality.

You know, that's fine for action pictures,
but this is special.

We want real people here.

We don't want people coming
with any preconceived notions.

We want them to see a district attorney.

- Bruce Willis.
- No. Not Bruce Willis.

Not Kevin Costner.

This is an innocent woman
fighting for her life.

- Julia Roberts.
- If we can get her.

Of course we can get her.

If I'm perfectly honest,
if I think about this,

this isn't even an American film.

- It's not?
- No, no. There are no stars.

No pat happy endings.
No Schwarzenegger, no stickups.

No — No terrorists.

This is a tough story, a tragedy
in which an innocent woman dies.

Why? Because that happens.

Habeas Corpus.

That's what we're calling it.
"Produce the corpse."

What do you say? Yes or no?

That pitch was more than 25 words.

Yeah, but it's brilliant.
What's the verdict, Griffin?

Mr. Mill, for you.

- Who gave this to you?
- I received it at the front desk.

What is it?

It's, um — It's from the person
I was meeting.

He's not coming.

Well, do we have a shot? Griffin.

It's an intriguing idea.
Give me a call at the studio tomorrow.

- Yeah!
- Okay.

There's a scene in Throne of Blood
that has exactly the texture.

Tom. Tom. Tom. Just say thank you.

She has to die.
No fucking Hollywood ending.

- Tom, "thank you" say.
- God!

Fuck you!
You fucking dog-shit writer!

You fucking try to kill me? Fuck!

Oh, God.

You gave me such a scare.

What are you doing here?

You gave me such a fright. Come in.

Come on in.

What's the matter?

You look terrible.

What's up?

Sit down. I'll get you a drink.

Something happened?

- Is it too late? I — I'm sorry.
- No. No, no, no.

It's not too late. No.

I don't even know what time it is.

What's wrong?

What are you painting? Is that me?

Yeah.

It's you.

See?

Do you have snakes in Iceland?

Snakes? No, I don't think so, no.

Are you afraid of snakes?

I — I don't know.
I've never come close to a real one.

They scare the shit out of me.

- Here, have another.
- No, I don't usually drink.

I —

Something happened tonight.

Yes, but, um,

there's something else I have to tell you.

This isn't easy for me.

Yes?

How about if I just get on with my work,

and you talk to me
when you feel like it, okay?

I came very close to dying tonight.

All I could think about was you.

I don't even know you.

But you came into my mind, and —

I couldn't —
I couldn't think of anything else.

Remember that first night
we spoke on the phone?

I was outside these windows,

watching you, and, um —

It was so exciting and so... new

and, uh...

strange.

I can't get you out of my mind.

Are you making love to me?

Yes. I guess I am.

I guess I am.

I want to make love to you.

I want to make love to you.

It's too soon.

It's too soon, isn't it?

It's so strange how things happen.

David was here, then he left.

You arrived.

Maybe it's just the timing,
but I feel like

I would go anywhere with you

if you asked.

We mustn't hurry things.

You know, we can't hurry things

any more than we can stop them.

I think you better go now.

I think I'm going to cry now.

Better go, quick.

I'm sorry.

No, no, no. Don't be sorry.

Just go home and get some sleep

and... call me.

Tomorrow.

Invite me on a proper date.

I'd like that.

Jan? Jan!

- Yeah?
- Get me Larry Levy on the phone.

- I don't think he's on the lot.
- Try his car.

- Isn't he at Fox?
- He used to be. Not anymore.

Ah. I pitched him something
a few months ago, and he hated it.

Yeah, Griffin?

Yeah, yeah. Listen, Larry.
I've got Tom Oakley and Andy Civella here.

And I wouldn't be bothering you
if I didn't think they had an idea

that you should hear right away.

- Hi, guys.
- Hi, Larry.

Uh, listen, the next voice you're gonna hear
has got an English accent.

Tom Oakley. I'm Andy Civella.

Hi, Andy. I know Tom.
How are you, Tom?

Uh, very well, Larry. And yourself?

Fine. What's your story?

We open outside San Quentin.
It's night.

It's raining.

A limousine enters through the front gate,

past a tight knot of demonstrators
holding a candlelight vigil.

The candles are flickering
underneath the umbrellas,

making them glow
like Japanese lanterns.

A lone demonstrator, black woman,
steps in front of the limousine.

Her eyes connect with the lone passenger.

It's a devastating moment for both of them.

Incredibly potent.

No stars. No Schwarzenegger.

No pat Hollywood endings.
No car chases.

This is an American tragedy
in which an innocent woman dies.

Because that happens.
That's reality.

Take me off the speakerphone, Griffin.

- Yeah?
- I don't know.

It's a really hot story.
But what is this bullshit — no stars?

Let me give you a little tip, Larry.
Levison came to power on two movies.

They made $300 million
and had no stars in them.

He's gonna love this idea.
It'll remind him of his youth.

You know what his motto used to be?
"No stars, just talent."

- Has anyone else heard this?
- I don't think so, no.

We should make a deal now.
Tomorrow may be too late.

Can we get a hold of Levison?

Yeah, I'll get Levison.
Uh, when can you be back?

I'll be there right after my AA meeting.

Oh, Larry. I didn't realize
you, uh, had a drinking problem.

Well, I don't really,

but that's where all the deals
are being made these days.

See ya.

Tom, that was a hell of a pitch.

Good work. I think you sold Larry.

Great. When are we gonna hear?

I want you to go home,
I want you to put some champagne on ice,

and I'll give you an answer by tonight.

Jan, come in here!

Griffin, you move in mysterious ways,
but I like it.

I like it.

Okay, did Levy understand?
No stars.

Yes. He was particularly attracted
to that notion.

- No Hollywood endings?
- No Hollywood ending.

They looked happy.

They have a completely fucked-up idea
that has no second act.

If I hadn't heard it myself,
I never would have believed it.

Larry Levy liked it

because he's a dick-brain.

Levy will sell the idea to Levison,

and then I will let Levison
have the brilliant idea

of letting Larry
take over the project from me.

You will?

See, Levison can't wait
to get in bed with Levy.

This piece-of-shit idea will blow up
in both their faces.

And then I will step in
and save the day.

- Score!
- Yes!

Three points!

Great shot.

She's receiving the last rites.

The DA discovers that the husband
faked his own death.

She's innocent.

He races to the penitentiary,
but it's too late.

The pellets have dropped.
She's dead.

He helped kill the woman he loved.

- Who are the stars?
- No stars. Just talent.

No stars?

And what the fuck kind of ending
do you call that? It's depressing.

- It'll bring everybody down.
- Depressing?

Joel, what about Terms of Endearment,
Love Story, Steel Magnolias?

Joel, E.T. grossed what —
What, Marty?

$319 million worldwide, pre-cassette,
and there wasn't a dry eye in the house.

- Depressing? I don't think so.
- Yeah, but —

Listen, normally I'd agree with you, but this
is an entirely different kind of deal here.

It is a matter of taking a risk,
rolling the dice.

But if they come up seven, bingo.

It's Oscar time.

- Do they screw?
- Who?

The DA, whoever it is, and the woman.
Do they screw?

If I'm gonna be looking at jail cells
and gas chambers,

we're gonna have to have
a little sex in this picture.

Oh, yeah, sure. Of course.
We'll get it there. No problem.

Okay. Who's gonna
shepherd this thing?

Larry, you seem to have a good feel for this.
You wanna run with it?

Wait a minute, Joel.
This project originated with Griffin.

- Bonnie.
- No, no.

I don't wanna dance
in somebody else's wedding.

If it's Griffin's project,
it's Griffin's project.

- I just think we should write —
- Bonnie, this will have to be my call.

It's fine with me.

My plate is full anyway.

Larry, it's yours.

Hit a home run.
Win an Oscar for the home team.

- Griffin, I've got something else for you.
- Yeah?

- New York, tomorrow.
- Yeah.

Tom Wolfe's new book will be
in a room at the Sherry-Netherland.

- You go in, read it and make your bid.
- Send Bonnie. She'll know if it's a movie or not.

- If it is, we know the bid. A million.
- Me?

A million?
Oh, that's kind of high, isn't it?

It's Tom Wolfe. Why not you?

- Yeah? Who?
- I'm a story editor, Griffin.

- That's a vice president's job.
- You don't want to be a vice president?

Bonnie. Pack your bags.

- Congratulations.
- Yeah?

That was the most amazing pitch
I've ever heard.

Listen, if you don't want
the responsibility, it's fine.

- No, I'm going. I'm going.
- I really wanna be one of your soldiers.

Well, I'm glad you're on the team.
Believe me. Thank you for the support.

Really, and Bonnie's gonna be gone.
I'm here for you.

Whitney, now!

Frank, Marty. You want to come in?

- May I have a word with you, please?
- I have a meeting.

- Yeah, well, find the time. What is going on?
- What do you mean?

I mean, handing Larry Levy
your project like that.

Well, I just thought Larry had a firm grasp

on... the style of the piece.

- Oh.
- That's all.

The only thing Larry Levy has a firm grasp on
is his dick, and you know it.

Come on, Bonnie. I'm not Oz.
I can't do everything.

If I think Larry has what it takes to get
a picture made, why shouldn't I use him?

- That way, everybody wins.
- Why are you bullshitting me?

- I'm not bullshitting you.
- You never used to bullshit me. Yes, you are.

- I'm not bullshitting you.
- Griffin, I know you. Something —

- You've been stringing me along.
- Shh.

- Habeas Corpus, Griffin.
- Habeas Corpus.

Habeas Corpus.

You've been stringing me along
like one of your goddamn writers.

What is this, getting Levison
to send me to New York?

What is that about?
Are you trying to get rid of me?

Trying to get rid of you?
I'm trying to help you.

If you score in New York, you know,
Levison has to make you a vice president.

Jesus, Bonnie, what's the matter?
Are you afraid of success?

- Are you seeing someone else?
- Oh.

- That's what this is about? Jesus, come on.
- No. It's not just this.

It's a lot of things, Griffin.
It's the way you've been acting lately.

- Something is going on,
and I just want to know what it is.
- Jesus Christ, Bonnie.

You're not even looking at me
when you're talking to me, Griffin.

I want you to just look at me.

Please look at me right in the eyes
and just tell me. No bullshit.

Is there someone else?

No.

Have a good trip.

Our top story this evening
involves Hollywood's three favorite G's —

- a glamorous, glitzy gala night on the town.
- Cher! Cher!

It is a who's who of stars, no ID's necessary,
household names, one and all.

Leeza Gibbons reporting here.

And right this minute, you could fire
a cannon down Sunset Boulevard

and not come close to hitting a celebrity.

Everybody who is anybody is right here,

rubbing elbows and making big talk
in this ballroom.

All the movers, all the shakers
behind the scenes and on the screens.

Well, leave it to Cher
to wear fire-engine red

when the impossible-to-come-by invitations
call for "black and white only, please."

- Hello. Nice to see you.
- Hi, Teri. Nice to see you.

June Gudmundsdottir.
Teri Garr. Buck Henry.

And the occasion this evening,
just as big and important as the all-star turnout.

The studio world famous for the slogan,
"Movies, now more than ever,"

is donating prints of 25 of its classic
black-and-white films to the museum.

Now they'll be able to say,
"Movies, now more than ever" forever.

Thank you.

It's wonderful to see so many familiar
and friendly faces around.

As you know, the LA County Museum
has always been close to our hearts,

and especially the Motion Department —
uh, Motion Picture Department.

Uh, we're happy to make possible
this donation.

Uh, now, I'd-I'd like to introduce
the man whose idea this all was —

Griffin Mill. Please.

Thank you, Joel.

Why don't you grab another drink?

I'd like to extend my thanks

to the patrons of
the Los Angeles County Museum.

You have long fostered
the art of motion pictures

as a serious and valuable art form
in this community.

Many people across the country
and around the world

have for too long thought of movies

as a popular entertainment
more than serious art.

And I'm afraid a large majority of the press
supports this attitude.

We want great films with long shelf lives.

We want the films of the new John Hustons,
Orson Welles, Frank Capra.

We and the other major film studios
have a responsibility to the public

to maintain the art of motion pictures

as our primary mandate.

Movies are art

now more than ever.

Thank you.

Griffin, that was a hell of a job.
I couldn't have done it better myself.

I'll know all of your lines soon.

Well, are we having fun yet?

I'm having a great time.
I'm very glad we came.

Yes, I do!

I did too.

Is this a friend of a friend?

- Sorry.
- Well, how did you meet?

How did we meet?
Well, at a funeral.

Yes. Isn't that right? Funeral?

Absolutely. Excuse us.

Steve, Steve, whose daughter is he with?

Seriously, I —

- No, I think she's Marty's cousin.
- I nearly lost my dress.

No, he said
she was somebody's daughter.

- I wanted to know whose daughter she was.
- No. I don't know.

You would never have
chased me in Iceland.

- Don't make a scene.
- You're doing it all wrong.

- Here we go.
- Oops.

That was a good one.

Well, that's what I call a real date.

Should I come in?

Uh, well.

- "Mmm, well."
- Not tonight.

- Oh. Not tonight.
- But soon.

Mmm. Very soon.

- How 'bout Mexico?
- Mexico?

Neutral territory. Acapulco.

- I've never been to Acapulco.
- We'll go.

- Is that the thing to do?
- That's a thing to do.

- Let's do it then.
- We'll go this weekend.

- Really?
- Yeah.

- Do I need a passport?
- Yes.

Mr. Mill, I'm Detective DeLongpre,
Pasadena Police.

Yes, I recognize you.

Did you have a good time
at the party last night?

No, I didn't. I'm not supposed to
have a good time when I'm on duty.

Great. Well, what do you want,
Detective DeLongpre?

I'd like you to come down to the station.

- Why?
- To look at some pictures.

- Pictures?
- Mug shots.

You know, like in the movies.

Ah, mug shots.
Yes, well, all right.

- Will you follow me to Pasadena?
- Pasadena.

- Pasadena.
- Right.

Will you fasten your safety belt, please?

- Come, let's go.
- No!

- Take your hands off of her!
- Hush.

- I want my baby.
- Where's her baby at?

- Let me go!
- No! Let go of her!

- Ah, Mr. Mill.
- Hello. How are you?

Good to see you. Everybody, this is Mr. Mill.
You remember him. He makes movies.

- Good to see you again.
- Have a seat, Mr. Mill.

Where the fuck is he going?
Excuse me, sir. Mr. Mill.

Mr. Mill. Uh, not in here.
This is my lieutenant's office.

- You can have a seat in my seat right here.
- I'm sorry.

All right, now. Uh —

- Willa, could you —
- Sorry.

Your desk. Thank you.

Sorry. Have a seat, Mr. Mill.

Listen, um, before we start,
I just got —

Paul went to see a movie last night
he came in here raving about.

Paul, what was the name of that movie?

They changed the lady into a chicken
at the end. What did you say?

- Freaks.
- Freaks. Have you ever seen this?

- Tod Browning. Yes.
- Oh.

One of us. One of us.
One of us. One of us.

He came in doing th —
He was raving about it.

He loved it. He loved it.
It was thrilling for me.

Willa, excuse me. Did you happen to see
where the tampons went that were in here?

'Cause I can't seem to find 'em.

- I didn't take them.
- Who took 'em? Did he take 'em?

- I don't know. I didn't take 'em.
- Well, who did?

- I didn't take 'em.
- You see this? Damn.

Um, so do you have a break in the case?

What makes you say that?

Well, why else would you bring me here?

Why else, indeed?

Paul? Paul.

Why have we brought Mr. Mill in here today?

To look at some pictures.

Willa, pictures?

Listen, could you —

If you remember,
what were you, uh, wearing that night?

I was wearing, um,
a double-breasted suit, I believe.

Just put — Oh. It's all right.

What's the matter?
Mr. Mill, you're so jumpy. Sit down.

- I'll get it.
- No, that's what she's here for.

It's all right. Have a seat.

- Sorry.
- No problem.

Okay.

Can you take a look at this gentleman?

- Where were they?
- Right here.

She found them. Look. You're right.

Oh, wait a minute.
No, no. These aren't mine.

These are slender regular.
These are yours.

Yeah, I guess you have jumbo.

Well, I do use jumbo.
These are not mine.

God. Just trying to help you out.

Um, look, did — did you see this guy
the night of the murder?

Um — Sorry. Um, no.

I — You — I — You're putting me
in a terrible position here.

I would — I would hate to get
the wrong person arrested.

Oh, please. This is Pasadena.
We do not arrest the wrong person.

That's LA. See, LA, they kick your ass
and then they arrest you.

That's what they do.
We don't do that here.

Remember last year?
What was that guy's name?

They put him on the tape.
What was that?

- King.
- That's right, King.

- BLT.
- And he was the wrong guy.

- Do you have a witness?
- Now, I can't answer that.

Well, either you have a witness,
or these are suspects in similar murders.

Mr. Mill, have you been going
to detective school?

No, actually, we're doing a — a movie
right now called The Lonely Room,

and Scott Glenn plays a detective
much like yourself.

Is he a black woman?
Don't give me turkey.

Oh, Lily Tomlin's in that?
I heard about that.

No, actually I was — I was drawing
the comparison not based on race or gender.

Speaking of which,
did you go out with, uh, June, uh —

What is that woman's name?

Gudmundsdottir.

What is it? Who — Spell it for me.

G-U-D-M-U-N-D-S-D-O-T-T-I-R.

Oh, well, that really helps.
Could you, uh —

- Did you go out with June —
- Gudmundsdottir?

- Yeah. Her. Last night?
- Yes, I did.

Have you guys known each other
a long time?

No, I spoke to her for the first time
the night Kahane was killed.

Wow.

- So you didn't know her before this, huh?
- No, I didn't.

We met over the phone.

We got to talking,
and one thing led to another.

Did you fuck her?

- What kind of question is that?
- I think it's pretty direct.

Did you fuck her?

Well, I wouldn't answer that question
without a lawyer in the room.

And then I probably wouldn't
even answer that question.

- Hmm.
- Why don't you ask your friend here?

He's been following me all over the place.
He'll probably know.

All right. Paul, did Mr. Mill
fuck June "Hudmuuhunta"?

I didn't see him.

Well, see, you got away with it.
He didn't see you.

- What are you implying?
- I'm not implying anything.

I asked you a direct question.
Did you fuck her?

And I told you I wouldn't answer that question
without a lawyer in the room.

- Then why you getting hot under the collar?
- 'Cause you're being rude, Miss Avery.

Oh, well, excuse me.

But I think it's kinda soon for her
to be gallivanting in the streets with you.

I'm there for her as a friend,
Miss Avery.

- Mmm.
- Why don't you call her?

I'm sure she'd be happy to pick over
the horror of what's happened to her

and tell you how we became friends.

What is this, fucking Iran?

Since when does the state tell us how long,
and with whom, we can share our grief?

Or do you hold June Gudmundsdottir
to a special code of conduct

reserved for women?

What the fuck are you laughing at?

It's just — You just —

- I'd like to talk to my lawyer.
- Oh, right!

- Can't even say the bitch's name!
- One of us.

One of us. One of us.

One of us.

It's time for you to get yourself
a real good lawyer.

I had a drink with the guy, Walter.
That's all.

If you went to Pasadena with intent to kill,
you could go to the gas chamber.

I went to Pasadena
with the intent to hire.

- So you say.
- Griffin, the Schecter brothers are here.

- Griffin.
- Griffin. Don't make us wait.

- Who's this man?
- Oh, and the travel agent called.

- You're confirmed.
- Griffin, he grabbed the phone from me.

- Travel agent?
- I'm going to Puerto Vallarta.

You're leaving the country?

- For the weekend.
- It's a risk.

Why?

Because Larry Levy
could have my office in three days.

That's what Walter thinks.

You know something I don't know?

- You're pretty smooth.
- I sleep at night.

- You really should run the studio.
- Tell a friend.

Yeah, Walter, it's been real.

Griffin. We're tired
of shopping everything around.

We wanna go exclusive to one studio.

- How much have our last three pictures made?
- A hundred and five million dollars.

- That's not a lot.
- I know some people do better.

But we're consistent,
and we're always under budget.

- He's not listening. Let's go to Columbia.
- We already went to Columbia.

Oh, yeah. What did they say?

- Bonnie.
- Hey, Bon.

Hey. I got the Tom Wolfe book.

Congratulations.

Bonnie, make him give us a deal.
We want a home.

We're tired of shopping everything around.

Really? I thought that's how
you guys like to do business.

Well, we changed our minds.

I'll talk to you later.

Levison says you're going
out of town tomorrow.

For the weekend.

Are you going with someone
named June something?

Yes.

You took her to a party, Griffin,
with several hundred of my best friends.

She's recently widowed.

You weren't in town, so I took her.

And now you're taking her to Mexico
for the weekend.

Carl, uh, let's get out of here.
Mom and Dad are fighting.

Guys, have your lawyer give me a call.

- You've got a deal.
- Yes!

Come on, Carl, let's get out of here
before he changes his mind.

We have witnesses.

Have a good trip.

The white zone is for immediate
loading and unloading of passengers only.

No parking.

Do not leave your car unattended
due to the current security alert.

All unattended cars
may be towed away immediately.

- For your safety —
- Uh, did you bring your passport?

- Yeah.
- You wanna hear something funny?

I forgot mine.

Oh, does that mean
we have to go back and get it?

- So stupid of me. I mean, I —
- We'll miss the plane.

We'll never be able to make
another plane today. Damn it!

It's all right.
Anyway, I got a better idea.

- Do you like the desert?
- I've never been to the desert.

- You've never been to the desert?
- No.

I know this great hideaway,
Desert Hot Springs.

We'll go there. It's a two-hour drive.
I know the people. We'll call ahead.

Are we hiding?

Yeah, yeah. We're hiding.
We're hiding from everybody.

You'll like it there.
It'll remind you of Iceland.

Evening, Mr. M.
You're all checked in.

Capone Villa. You know where it is.

- Yep. Thanks, Walter.
- Have a good one.

Hey, look.
The water looks like it's steaming.

Comes out of the ground that way.

There aren't many people around.

Well, they're fully booked, actually.

There's 50 rooms, a hundred people.

Where are they all?

Hiding.

Sir?

A couple of Banning Springs water, please.

Right away, Mr. M.

Do places like this really exist?

Only in the movies.

Tell me about the movies you make.

Why?

Mmm, because I want to know what you do.

Well, I listen to stories and decide
if they'll make good movies or not.

I get 125 phone calls a day.

And if I let that slip to 100,

I know I'm not doing my job.

Oh.

And everyone that calls,
they wanna know one thing.

They want me to say yes to them
and make their movie.

If I say yes to them and make their movie,
they think that come New Year's

that it's gonna be them and Jack Nicholson
on the slopes of Aspen.

That's what they think.

Problem is, I can only say yes —

my studio can only say yes
12 times a year.

And, collectively, we hear
about 50,000 stories a year.

So it's hard.

And I guess sometimes I'm not nice

and... I make enemies.

And that's what I was to David.

An enemy.

Was his story one of the 12?

No, it wasn't.

Why?

It lacks certain elements that we need
to market a film successfully.

What elements?

Suspense, laughter, violence,

hope, heart,

nudity, sex,

happy endings.

Mainly happy endings.

What about reality?

You're not from Iceland, are you?

Did I say that?

Hmm.

Why don't you put me in the hot springs
and see if I melt?

I love you.

I love you.

I know.

I know.

I love you.

- There's something you have to know.
- Do I have to?

- I know I love you.
- Something I have to tell you.

That's all I need.

Nothing can change that.

- June.
- Hmm?

- David's death.
- Shh. It's in the past.

Don't. Don't. It's another life.

I have to tell you something.
Something you have to know.

Shh. Don't, don't, don't say any more.

- Don't.
- I was — I was responsible.

- I love you. Don't.
- It was my fault.

Shh. Don't say —

Don't, don't, don't. I love you.

Mmm.

Ah.

Mr. M? Mr. M?
Sorry to disturb you.

There's a telephone call,
and it sounds important.

- Who is it?
- A Mr. Dick Mellen.

He says he's your lawyer.

Dick, how'd you find me?

Come on, Griff. Who the hell
do you think you're talking to?

Yeah. What's going on?

- Levison's out.
- Out?

They gave him six hours
to clean out his office.

- Who's taking over?
- There's nothing been decided.

All we know for sure is Reggie Goldman
went home with the clap or something.

Listen, am I in a position to —

Listen, I don't want to talk
about studio politics.

Why the hell didn't you tell me
about this Kahane business?

Kahane?

- Well, I tried to, Dick, but —
- You didn't try hard enough.

You better be at the Pasadena Police Station
in about four hours.

Pasadena? What for?

For a fuckin' lineup, that's what for.

They got a witness, evidently.

Now, look, I found you a guy.
His name is Gar Girard.

He's a top-flight criminal lawyer.
He's tough. He's hard-nosed.

Don't you talk to anybody else.
Just get there.

- I'll be there.
- Griffin, this is a tough one.

Good luck.

Thanks.

Mr. Mill, the studio's very upset about
the publicity this might, uh, generate.

But I'll handle the press, the police,
the judge and the witness for you.

Mr. Mill. Thank you for
coming down without a fight.

You know, it's really in your best interest.
What, did you sleep in that suit?

Mr. Mill, get away from that woman.
She's the enemy.

- Follow me.
- Hi, Susan.

- Had a lovely time at the Mint the other night.
- I can't believe you remember it.

Mr. Mill, Gar Girard.
I'm here to represent you.

Dick Mellen called me in on this.
Here's the situation.

They've got a witness,
and they want you to do a lineup.

Now, if you say no, they'll arrest you,
I'm certain of that.

And even if you get identified,
I'll get you off on bail.

Now, this witness lives across
the street from the parking lot.

Even if she makes an identification,
a positive ID, right now,

even if that happens,
it was very late at night.

By the time I'm finished with her, the world will
have a whole new legal standard for blindness.

- Keep the faith and we'll do what we can.
- This is just like they do it on television.

Excuse me, Susan. Good luck.

You don't have to worry about a thing.
You can see them, but they can't see you.

- Fine. Fine.
- All you have to do is just tell the truth.

Oh, I will. Because I saw him clearly.
There's no problem.

All right, Allen. Fire it up.

Number one, step forward.

Make a quarter turn to the right.

- Face forward.
- Are those prescription glasses, Mrs. Bunny?

- You can't ask her that.
- Fine.

- It's very hard, you know.
- Oh, yeah. I know.

- Number two, take one step forward.
- Take your time.

I mean, I wouldn't want
to pick the wrong one.

No. God forbid.

- Now you just take your time.
- Oh, I know.

Anybody look, uh, vaguely familiar?

- Take a quarter turn to the left.
- Well, you know, uh —

- Face forward.
- Take your time.

Step back into position.
Number three, take one step forward.

- This is not easy.
- I know it isn't.

- It never is, Mrs. Bunny.
- I mean, I am trying.

- Yes. Just take your time.
- Take your time.

And I did see him clearly.

Make a quarter turn to the left.

No, no, no.

- Step back.
- No, no.

- I don't — Well —
- AVERY: Look hard. Look really —

- Take a good look.
- I did, I did. I — I am.

Um, could I —
Could I see, um —

- Well, number three again?
- Call number three for her, will you?

Wait a minute, wait a minute.
See number five again.

- Could I —
- GIRARD: Could she call her own numbers?

- Excuse me.
- She said she wants to see again. Thank you.

- Number five, take one step forward.
- Um —

- Which number? Number five again.
- Um — Excuse, uh, um —

Susan, I think she
can call who she's interested in.

- You're absolutely right.
- No, the — No, the other one.

That one.

- Which one?
- By the number.

- Oh, um —
- Number six, take one step forward.

- It's not number six.
- Not number six.

- That much I know.
- Bring back number five.

- Three.
- Three.

What do you mean, number three?

I think she can request
whoever she wants to see.

- You wanna see what number?
- She wants to see number three.

That's him.
I'd swear on my mother's grave.

Number three.
I think we're concluded here, Ms. Avery.

- Number three.
- Number three, on her mother's grave.

- Yes.
- Number three?

Number three.
I think we heard what she said.

- Yeah, I would — I would say so.
- Okay, Doug, take 'em out.

Number three, thank you. Okay, fine.

- Just relax. You're in a chair.
- I'm in a chair. Ooh.

- Ma'am, may I be personal?
- Yes.

Where the fuck is your mother buried?

- Everybody, let's get out of here.
- Let's get out of this sauna.

I don't know who got to that witness, but she
sure wrapped up my case, picking that cop.

You're a lucky man, Mr. Mill.
Goddamn it. No ramp again.

Witnesses can't be relied on.

Remember Witness for the Prosecution?
Marlene Dietrich and Tyrone Power?

That's it. You're free as a bird.
No witness, no crime.

Yeah, that Avery woman thinks
you just got away with murder.

Everybody does, Mr. Mill.

Our Father, who art in heaven,

hallowed be thy name.

Thy kingdom come, thy will be done,
on earth as it is in heaven.

Give us this day our daily bread

and forgive us our trespasses.

For thine is the kingdom

and the power and the glory forever.

Amen.

You've made a wonderful movie.

It's perfect.

It's Oscar time, Larry.

What?

We're too late. Come on.

Go on.

- Hey, hey!
- Get back!

Oh.

- What took you so long?
- Traffic was a bitch.

It's outstanding.
The audience is gonna love it.

You — You sold it out!
I can't believe it.

How could you let him sell you out?
What about truth? What about the reality?

What about the way the old ending
tested in Canoga Park?

Everybody hated it.

We reshot it.
Now everybody loves it.

That's reality.

But you had an ending which was true.
You didn't even give it a chance.

Larry, who is this person?

Doesn't she know anything
about working with grown-ups?

Bonnie, goddamn it, goddamn it.

This is a hit.
This is what we're here for.

Yeah, well, it didn't have to end this way.

- I want you out of here.
- Good thinkin', Larry.

I'm going over your head, Larry.

Bonnie, you're fired.

Fuck you.

Oh, it takes more to make it
in this business than a dirty mouth.

Gentlemen, the campaign.

Shit.

Two points!

Celia, it's very important.
I need to talk to him right now.

- No, Bonnie, he's very busy.
- Celia, please.

- Bonnie. Bonnie.
- Please, it's me, Bonnie. We're friends.

Bonnie, you don't understand.

I am not just me. I'm also the job.

Please. Please. Please.

Oh, honey. All right, all right.
I'll try, okay?

Three points.

- Take that!
- Oh, Walter, stop that nonsense.

Griffin, it's Bonnie.

She's here.

Great shot.

- Did Levy fire her?
- Yes, sir. I guess he did.

Well, I can't see her now.

I promised I'd be home early.

Tell her I'll get back to her.

Walter, get your foot off the fucking couch.

- Tell her yourself.
- Yes.

- Okay, well, could you hold, please?
- Griffin. I have to talk to you.

Griffin, it's Larry Levy's office.
He says it's very important.

- Griffin, please! Can we talk about it?
- Bonnie, you'll land on your feet.

- I know it. You're a survivor.
- Griffin, it's Larry Levy's office.

He says it's very important.
Oh, put it in the front seat.

Give it a minute
and transfer it to the car phone.

- Yeah?
- Griffin, I have Larry Levy on the line.

Larry, how'd the screening go?
How's my new ending?

Fantastic! Fantastic!
Worked like gangbusters.

- That's why you get the big bucks, Griff.
- Yeah, yeah, yeah.

Stop kissing my ass, Larry.
What do you want? Can't this wait?

I don't think it should. This is hot.

I got a writer in here who's got a pitch
I think you ought to hear.

I think it's something we should go for.
It's a great idea.

- Yeah, who's the writer?
- I'll put him on the speaker.

Hold on a minute.

Hiya, Griff. Remember me?

I'm the asshole who used to be
in the postcard business.

- You?
- Yeah, that's right.

The king of suspense himself.
You remember me.

I haven't heard from you for a while.

Well, I've been busy.
I've been writing a script. I got inspired.

Okay, okay. Tell him. Give him the pitch.
You'll love this, Griffin. It's great!

All right, it's a Hollywood story, Griff.
A real thriller.

It's about a shit-bag producer,
studio exec,

who murders a writer
he thinks is harassing him.

Problem is, he kills the wrong writer.

Now he's got to deal with blackmail
as well as the cops.

But here's the switch.

The son of bitch, he gets away with it.

Larry, get off the speaker.
I want to talk to him privately.

Sure thing.
This is a winner, Griffin. It's a winner.

- He gets away with it?
- Absolutely.

It's a Hollywood ending, Griff.

He marries the dead writer's girl,
and they live happily ever after.

Can you guarantee that ending?

If the price is right, you got it.

If you can guarantee me that ending,
you got a deal.

I guarantee it, Griff.

- What do you call this thing anyway?
- The Player.

The Player.

I like that.

What took you so long?

Traffic was a bitch.

♪ La-la la-la-la ♪

♪ La-la-la la-la-la ♪