"DIRECTOR:" "Quiet on the set." "[BELL RINGS]" "WOMAN:" "Okay, everybody, quiet on the set." "MAN:" "Scene 1, Take 10, marker." "[PHONE RINGING]" "DIRECTOR:" "And action." "Joel Levison's office." "No, I'm sorry, he's not in yet." "May I take a message?" " Yes, 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?" "I hope there was nothing in the trades." "Was there?" "I don't know." "The mail's late." " Well, go get them." "Now!" " Yes, ma'am." "I want them back here before he arrives." "ADAM:" "Griffin." "Griffin, hi." "Adam Simon." "I know we're not supposed to meet till next week but a lot of heat..." " Didn't realize we were meeting." "I wanted to plant the seed in your head just so that..." "I'm booked up." "I can't hear a pitch." "Picture this." "It's a planet in the far, far future with two suns." " Who plays the sons?" " No, suns." "Large solar disks." "You gotta 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." "Anyway, 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 was that?" "Never heard of it." " Julien Temple." "It's an English film." "GRIFFIN:" "Morning." " We're talking about American movies and Orson Welles was a master." "GRIFFIN:" "Can I have a Pellegrino, please?" "JAN:" "I've got Calistoga." "GRIFFIN:" "Hi, Buck, how are you?" " Good, how you doing?" "GRIFFIN:" "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." "GRIFFIN:" "Mm-hm." "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." "GRIFFIN:" "Mm." " Her aging mother, who's had a stroke..." " Mrs. Robinson's had a stroke?" " Had a stroke, so she can't talk." " Is this gonna be funny?" " Yeah, it'll be funny." "Dark, 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." " Young blood." " Twenty-two, 23-year-old." " Like a Julia Roberts." " Julia Roberts." "Great." "JAN:" "Excuse me." " Yes?" " What do I do with these scripts?" " Uh, that goes to Bonnie Sherow." "And, uh, find out from studio security how Adam Simon got on the lot." " I wanna know." " Okay." "Adam Simon?" "Okay." " Okay?" "Julia Roberts comes home." " Yes, go ahead." "Their daughter, the graduate." " And she brings her..." " The new graduate." "ADAM:" "Griffin loved it." "He wanted me to run it by you." "A band of human survivors, generations removed from the mother ship." "They have no history." "They've lost their technological knowledge." "I can't process this." "Could you write it down?" "It's not about words, it's about pictures." "[JIMMY YELLS]" "[CRASH]" " Oh, my God." " Oh, man." "Jimmy?" "Jimmy, are you okay?" " What happened?" "JIMMY:" "Twenty-five words or less?" "BONNIE:" "Are you all right?" "JIMMY:" "I'd like to say, my name is Jimmy Chase." "BONNIE:" "You all right?" "Open your eyes." "You okay?" "DRIVER:" "He just came out of nowhere, ran right into the car." "BONNIE:" "Take it slow." "ADAM:" "It's okay." "Yeah, it's okay." "JIMMY:" "Hey." "Hey, that's Adam Simon." "ADAM:" "How you doing, kid?" "I just had a meeting." "BONNIE:" "You all right?" "ADAM:" "It was good." "JIMMY:" "Yeah, yeah." "BONNIE:" "You sure you're okay?" "REG:" "Rebecca De Mornay." "Actually, you're much better looking." "STEVE:" "As a matter of fact, we..." "WOMAN:" "Um, no." " I'm not Rebecca De Mornay." "REG:" "Dead ringer." "Thank you." "Thank you very much." "REG:" "You know where Joel Levison's office is?" "WOMAN:" "The Mr. Levison, head of the studio?" "Yeah." "STEVE:" "But it's 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 gonna continue using Sony products." "Domo arigato to the Sony products, really." "In fact, if you need someone to eat some sashimi with you you give me a ring because..." " Levison's right here." "BONNIE:" "Write it down." "ADAM:" "I have to know that you're just seeing it." "CELIA:" "Good girl." "LEVISON:" "Traffic from Malibu was impossible." "CELIA:" "Morning, Joel." "LEVISON:" "Morning, Celia." " Sandy, park the car, please." "SANDY:" "Okay." "LEVISON:" "Morning, Marty." "MARTY:" "Morning, Joel." "CELIA:" "Hi." "MARTY:" "What are the Japs doing here?" " So, what's this talk about heads will roll?" "The bank's putting the screws to us." "Harvey Goldman's son's coming out, and I don't like it." "Reggie Goldman's a pipsqueak." "You can't be serious." "You know, 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?" "I don't believe it." "With who?" "MARTY:" "Berg, Kirkpatrick." "Maybe Larry Levy." "Yeah." "Yeah, well, I wanna 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." " Listen." "Go ahead." " Yeah, okay, okay." "It's a TV star and she goes on safari in Africa." "You're talking about a TV star in a motion picture?" "Not a real TV star." "It would be played by a movie star." " A movie star playing a television star." " Goldie, Julia, Michelle Bette, Lily." " Dolly Parton." "PARTICIA:" "Dolly." "JOAN:" "She would be very good." "GRIFFIN:" "I like Goldie." "JOAN:" "Goldie Goes to Africa." "Great." "We have a relationship." " That would be great." "Goldie Goes to Africa." " Goldie Goes to Africa." "JOAN:" "She becomes worshiped." "GRIFFIN:" "Worshiped?" " Well, she's found by this tribe..." "GRIFFIN:" "Yes?" "Of small people." "But then she has to..." "She's found by this tribe and they worship her." "But then..." "GRIFFIN:" "I see." "It's like a Gods Must Be Crazy except the Coke bottle's now a television actress." "Yeah, exactly right." "It's Out of Africa meets Pretty Woman." "And she has to decide whether to stay with the TV show or save this entire African tribe." "JOAN:" "It could be a man." "Hey, where's Griffin Mill's office?" "JIMMY:" "Right here." " Hey, you're Martin Scorsese." "ALAN:" "No, but I know Harvey Keitel." "Yeah, I know you do." "Hey, I loved Cape Fear." "Ha, ha." " My old man worked for Hitchcock too." " Yeah?" "Rope." "It was a masterpiece." "The story wasn't any good." "He shot the whole thing without cuts." "I hate all this cut, cut, cut." "Oh, yeah, well, what about, uh, Bertolucci, that great tracking shot with Winger in Sheltering Sky?" " I didn't see it." "Touch of Evil, that was the one." "Welles..." "WHITNEY:" "I been here since 8:00." "Honest I have." "I stuck my neck out for you to get this job." "Who were you with?" " I was there with, um, Alan Rudolph." " What were you doing with Alan Rudolph?" "Well, no, he asked me to have coffee." "He was telling me this idea." " What do I say?" " You're my assistant." " Don't get involved with writers." " I wasn't." "I was just listening to this idea." " I told him he should give it to you." "GRIFFIN:" "What's your pitch?" "Well, does political scare you?" "GRIFFIN:" "Political doesn't scare me." "Radical political scares me." " "Political" political scares me." " This is politely politically radical." " Is it funny?" " It's funny." " It's a funny political thing." " It's a thriller too." " It's a thriller?" " All at once." "So, uh, what's the story?" "Well, I want Bruce Willis." "I think I can talk to him." "Um, it's a story about a senator." "A bad-guy senator at first." "He's traveling around the country on the country's dime." " Like that Sununu guy used to do." " 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." "Yeah." " Oh, I see." "So it's kind of a psychic, political thriller-comedy with a heart." "With a heart." "And, uh, not unlike Ghost meets Manchurian Candidate." " Go on, I'm listening." " He can start to read people's minds and when he gets to the president's mind, it's completely blank." "Completely blank." "JAN:" "Can I get you anything?" "ALAN:" "I'd like a beer, please." "JAN:" "We don't have beer." "ALAN:" "Uh, wine." "Red wine, please." "Of course, someone gets killed at the end." "They always do in political thrillers." "[PHONE RINGS]" "Griffin Mill's office." "MAN [ON PHONE]:" "I know." "Can you put him on?" "GRIFFIN:" "It's an intriguing idea, Jim." " May I ask who's calling?" "MAN [ON PHONE]:" "I'd like to speak to Griffin Mill." "JAN:" "He's in a meeting." "I'll have him get back to you." "GRIFFIN:" "I'll get back to you." "JIM:" "Thanks." "JAN:" "Excuse me, sir?" "MAN [ON PHONE]:" "Bullshit." " He'll get back to me?" " Seen my Binaca?" "Do you know how many times I've heard that?" "JAN:" "Who is this?" "MAN:" "If he don't get back to me..." "BONNIE:" "I read that script." " Who was that?" "JAN:" "I don't know." "He didn't say." " What do you mean, he didn't say?" "BONNIE:" "How are you gonna cast it?" "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?" "GRIFFIN:" "Yeah, what time?" " I made it for 1:00." " Bad day?" "JAN:" "He's having writer's block." "You have a meeting with Harders and Frank South this afternoon." " What time?" "I'll be here." " At 3:00." "Okay." "Put the meetings on the computer." " All right." " Thanks." " You going now?" "I'll go with you." " I'm going to see Levison." "I'll meet you there." "Order me a salad and Crystal Geyser." " Okay." "Bye." " Thanks." "WOMAN:" "Bonnie, can I please...?" "BONNIE:" "We gotta have a time to meet." "I'm sorry." " Okay, by 5?" "Thanks, Sandy." " Bye." " Hi, Sandy." "Hi, Celia." " Oh, uh..." "You can't go in there." "He's in a meeting." "REG:" "I think, you know, dime a dozen out here, don't you?" " It's all right, Celia." " You know this one?" "Griffin, I don't think you've met Reg Goldman." " You know his father, Harvey." " Yes, of course." "Hi." "Hi, Reg." " Nice to meet you." " From the bank in Boston." " 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?" "REG:" "Yeah." "It beats work, doesn't it, Griffin?" "Like to play some tennis though." "You play tennis?" "Tennis?" "No, no, no." "I, uh, ha, ha..." " I'm too busy for..." " I was just asking Walter here." "Uh, do you know Meg Ryan?" "Do 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." "LEVISON:" "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 wanna 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." "It's not Reggie Goldman I'm worried about." " It's Larry Levy." " Larry Levy?" "Larry Levy's at Fox, isn't he?" "[GRIFFIN CHUCKLES]" "Oh, come on, Celia." "OPERATOR [OVER INTERCOM]:" "Sandy, there's a call for Celia on Line 1." " Should I be looking for a job?" "OPERATOR:" "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, now..." " Um, in which, maybe..." "We should be somewhere but I understand what you're saying." " Unnatural Lives." "It's a supernatural thing." "GRIFFIN:" "Joel." "Griffin Mill." " Friend of Jennifer's." " No, no." " You're Griffin Mill?" " Yes." " Really?" " Good to see you." " I'm a big fan." " I have that tie." " You do?" " Mr. Mill, how are you today?" " Okay." "How are you doing, Natalie?" " Fine." "Have a seat." "FEMALE EXEC:" "Where's Bonnie?" " Did you order for me?" "FEMALE EXEC:" "Oh, my gosh." "I'm shocked." "AARON:" "Hi, Griffin." "WOMAN:" "Hi." " Hi, buddy." " Hi." "How are you?" "Lunching with the enemy." "[BONNIE CHUCKLES]" "ELLEN:" "Oh, come on." "ELLEN:" "So, uh, what's this we hear about Larry Levy?" "Larry Levy?" "If he had half a brain, he'd be dangerous." "[ALL CHUCKLE]" "BONNIE:" "Aaron says he's coming to the studio." "GRIFFIN:" "Aaron says, eh?" "Why would you believe anything he says?" "I don't know." "The way he said it." "The authority he said it with." "He's over there with..." " Who?" " Anjelica Huston and John Cusack." " Levy?" "BONNIE:" "Yep." "GRIFFIN:" "He's in over his head." "They're gonna drown over there." "FEMALE EXEC:" "Quite the golden boy at Fox these days." "Did you see that thing on him in Variety?" " The big spread?" "ELLEN:" "Oh, two pages." "AARON:" "Sure." " Anjelica." "Griffin Mill." " Oh, hi." " Good to see you." " You too." " Looking great." "Hey, Johnny." "Griffin Mill, I'm a big fan of yours." " Gonna be in Telluride this year?" " I'm probably gonna be in Park City." " Oh, great." "We'll see you there." " Okay." "FEMALE EXEC:" "What's happening with Glass Box?" "Can we talk about something other than Hollywood for a change?" " Yes." " We're educated people." "AARON:" "Sure." "FEMALE EXEC:" "Sure, Griffin." "[ALL LAUGH]" " I'll call you later." " Okay." "JAN:" "Shouldn't you talk to somebody about this?" "GRIFFIN:" "What?" "JAN:" "These postcards." " You've gotten five in two weeks." " Seven." "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." No, I don't think so." "I think they're coming from a writer." " Which one?" " Take your pick." " Is there anything else?" " Yes, your attorney phoned." " Wants you to come to a party at his house." " Get me out of it." "I'm in a screening." "Not that attorney." "It's Dick Mellen." " Oh, Dick." "What time?" " Cocktails at 7:30." "Dinner at 8." "Bring a date." " And Bonnie Sherow is here to see you." " One more sensitive male-bonding script." "Send her in." "Oh, there she is." "Griffin, can we go to the springs this weekend?" "I wanna have a massage I wanna have a long soak in a hot mineral tub and I wanna have margaritas administered intravenously." "I have a party at Dick Mellen's." "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." "[PLAYING PIANO]" "BELAFONTE:" "Brokaw looks like he has absolutely no retention." "Ted Koppel looks loose, and he goes after it, and he digs in and he doesn't get thrown very easy." " You remember?" " Sure." "Hi." "How are you?" "Ha, ha." " Marlee, this is Bonnie Sherow." " Hi." " She read, um, Tales of Fury." " How are you?" " I loved it." "I loved it." "I read your script." " That's great." "It was wonderful." "And I think you're perfect for Ariel." " Thank you." " Perfect for the part." "Yeah." "We're gonna make just a couple of changes in the third act." " Just..." " You should set up a meeting." "Yeah." " Yeah, yeah." " Yeah, sure." " Yes." " You have my number?" " Yes, absolutely." " Yes, I'll speak to you next week." " Excuse me." " Yeah." "Go say hello to some people here." "You don't talk about script changes at parties." " I'm sorry." " Okay." "It was good of you to come." " Don't you look beautiful?" " Thank you." " You know Bonnie Sherow." " Of course." "How are you?" "Good to see you." "TriStar, right?" " Watch your step." "GRIFFIN:" "She's at the studio." "Yeah, that's what I meant." "How about...?" "Uh, bring Mr. Mill a martini." " Bunny, how about you?" "GRIFFIN:" "Actually, I'll take a Ramlösa." "BONNIE:" "I'll have a martini." " Okay." "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 is Harry Belafonte." " Harry?" "BONNIE:" "I love Harry Belafonte." " I love him." " Come and say hello." "Harry, say hello." " Griffin Mill and Bunny." " How are you?" " 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's the guy in Ghostbusters?" "Uh, you know, the villain in Ghostbusters." "Uh..." "I..." "You got me." "That wasn't..." "I got this, uh..." "This p..." "I got this postcard." "You know, harassment kind of..." "But you know." "I don't." "Tell me, what are you talking about?" "Well, it's some writer I must have brushed off." "MELLEN:" "Folks, get something to eat." " Good idea." " There's lovely stuff." " We will." "In a few minutes." " We're wasting away." "BONNIE:" "Your hands are as cold as mine." " Freezing." "I think..." "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?" "LEVY:" "Are you pitching me a dream?" "Ha, ha." "The way you say that, that makes me think you're not really interested." " It depends how good the dream is, Jeff." "Levy's here." " 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..." "GRIFFIN:" "What's going on with my job?" "I mean, you know, Larry Levy, everywhere I look." " 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 told you that before." "So am I out?" "MELLEN:" "Not out, but start thinking about a roommate." "Relax, you can handle this." "You know, you can make him work for it." "LEVY:" "Excuse me..." "MELLEN:" "Larry?" "Dick." "Sorry to crash your party." "MELLEN:" "Do you know everybody?" "LEVY:" "I will before the night's out." "MELLEN:" "You will." "You will indeed." "It's a good crowd of people." "[GRIFFIN SIGHS]" "REG:" "Great party, Dick." "MELLEN:" "Good." "Did you get some food?" " Actually, we're gonna..." "MELLEN:" "Not yet." "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 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 the story editor." "Go." "New York City, Madison Avenue." "Big advertising agency." "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, tell him if he got the job or not but the client never calls." "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." " To be dangerous, five months." " Five months." "That's what I thought." " Who's the writer?" " I don't know." "You don't know the writer who pitched you the idea?" "I don't know his name." "I don't know." "It's a couple of kids." "Uh..." " TV writers." " Hmm." "Can we go to bed now?" "I'm starting to wrinkle." "[REYNOLDS CHUCKLES]" "LEVISON:" "See you tomorrow afternoon." " Absolutely." "Burt." "Larry Levy." "I hope you don't remember me." "If you do, I hope there are no hard feelings." " I was only working for Kastner at the time." " Yeah, right." "CHAMPLIN:" "Bye." " Take care." " Who's that?" " Uh, an exec over at Fox." " Or was until this breakfast anyways." " Yeah." " Morning, Mr. Mill." "Welcome to Geoffrey's." " Hi, Susan." "How are you?" "I'm with Joel." "GRIFFIN:" "Hi, Burt." "Griffin Mill." " Good to see you." " Good to see you." "Griffin." "Nice to see you this morning." "Bye-bye." "REYNOLDS:" "Asshole." " Ha, ha." "One of a breed, yes." "Actually, he's not one of a breed." "There's a whole breed of them." " They're breeding them actually." "GRIFFIN:" "You're losing your touch." "Scheduling these meetings so close together." "Guy didn't have time to finish breakfast." "LEVISON:" "He'd already eaten." "Gets up early." "GRIFFIN:" "Yeah." "LEVISON:" "You went to Mellen's last night." " Would you take this away?" "Yes, I did." "LEVISON:" "How is he?" " I would 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." " So call after 5." " I'll get back to you." "REYNOLDS:" "But I said, "You know, you haven't gone..." "You haven't died enough."" "So he's still hanging on." "[INTERCOM BEEPS]" "JAN [OVER INTERCOM]:" "Griffin." " Yeah." " Joel Levison on Line 2." "Put him through?" " No." "I'll get back to him." "Tell Joel Levison you'll get back to him?" " Yeah." " Yes, sir." "I wanna hear what he's gotta say." "GRIFFIN:" "How did this get here?" " The mail." "But this does not have a postmark." "This was hand-delivered." "Not to me." "It came with the mail." "Jimmy?" "JIMMY:" "Huh?" "You know anything about this?" "Who delivered it, where it came from?" "Mailroom?" "But I wanna know how it got to the goddamn mailroom." "Find out for me and get back to me." " Okay, sure." " You go with him." " You want me to go to the mailroom?" " Yes." "I want you to go to the mailroom." "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..." "[DOOR CLOSES] ...Adam Silverstein Bill Lindstrom, David Kahane Sandra Potenza."" "Incoming." "Incoming." "Unreturned calls." "Bill Lindstrom again." "Nancy Franklin." "Wouldn't be a woman." "Wouldn't be a woman." "David Kahane." "Oh, come on." "Sort, sort, sort." "Come on." "Come on." "Kahane, Kahane, Kahane." "Lindstrom." "Lindstrom." "White pages." "Lindstrom." "Disney, strategic planning." "It wouldn't be him." "And what was that other guy's name?" "Kahane." "Kahane." "J-K." ""Kalchime." "Kahane."" "Unproduced." "Got you!" "[DIAL TONE]" "[DIALING]" "[PHONE RINGING]" "JUNE [ON PHONE]:" "Hello?" " Yes." "Is David Kahane there, please?" "JUNE:" "David?" "Dave?" "Hello?" "I'm really sorry, I forgot." "He's gone out." "GRIFFIN:" "Oh, I see." " Who's this?" "This is Griffin Mill." " Oh, the dead man." " What did you just say?" " About..." "About me being a dead man." " Oh, nothing." "Just 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, uh, 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." "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?" "Don't ask." "Like anything from Goodogzwater to Goulashwallop." "[GRIFFIN CHUCKLES]" "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." "I thought it was just a block of ice." "It's very green, actually." "Really?" "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?" "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." "[EERIE MUSIC PLAYING OVER THEATER SPEAKERS]" "[MAN SPEAKS IN ITALIAN ON-SCREEN]" "[SAD STRING MUSIC PLAYING OVER THEATER SPEAKERS]" "David Kahane." "No, you have the wrong guy, man." "MAN 1:" "You didn't like it?" "MAN 2:" "It's a foreign film." "David Kahane." "Griffin Mill." "Griffin Mill." "Yeah?" "Great movie, huh?" "It's 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." "Sure, right." "Do you wanna write it?" " Don't fuck with me." " I'm not fucking with you." " I said that I'd get back to you, didn't I?" " Yeah." "About six months ago." " I thought you'd forgotten." " You were angry." " Maybe." " Do you wanna talk about it?" " Okay, sure." " Great." "Let's let the studio buy us a drink." "[BOTH CHUCKLE]" "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." "[MAN SINGING IN JAPANESE]" "KAHANE:" "Have you ever been to Japan?" "GRIFFIN:" "Yes, I was there once on a location scout with Steven Spielberg." "KAHANE:" "I lived there for a year." " Student year abroad." " Great." "You know, 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?" "[SPEAKS IN JAPANESE]" "My idea about the American student who goes to Japan." "That was my pitch, the one you were supposed to get back to me on." "You don't remember, do you?" "[APPLAUSE]" "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." "I'll make it up to you." "That's what I'm here for." "I wanna give you a deal, David." "I'm not gonna guarantee I'm gonna make the movie, but I am gonna give you a shot." "[SINGING LYRICS ON MONITOR]" "Let's just, um, stop all the postcard shit, all right?" "I'm here to say that I would like to start over." "Friends." "SINGER:" "Let's begin again" " Fuck you, Mill." "You're a liar." " You're stepping over the line, David." "You didn't come here to see The Bicycle Thief." "You came in five minutes before the picture ended." "You 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." "SINGER:" "Before love had really taken hold" "You're on my list, pal." "Nothing's gonna change that." "See you in the next reel, asshole." "Let's start over from the start" "SINGER:" "Let's forget the time" "That you nearly broke my heart" "Go everywhere we've been again" "Let's begin again" "KAHANE [SINGING]:" "Let's begin again" "Let's start over from the start" "[KAHANE HUMS]" "[CAR ALARM BEEPS]" "KAHANE:" "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 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 you know about 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?" "Hi." "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 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." "Let's..." "Let's forget this." "Just stop all the postcard shit." " I don't write postcards!" " Let's forget this!" " 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." "Ah, shit." "Mill, you okay?" "Are you all right?" "[GRIFFIN YELLS]" "Keep it to yourself!" "Keep it to yourself." "[GURGLING]" "Kahane?" "[DOG BARKING NEARBY]" "LEVY:" "You know what's interesting?" "I mean, who's writing this new ending?" "Who wrote the new ending of Fatal Attraction?" " The audience." "BONNIE:" "In that case..." "LEVY:" "A million-plus screenwriters, the audience wrote that ending." "BONNIE:" "Who's to say what it would have done if you left the original ending?" " You can't say." "LEVY:" "You're right." "But you can say that it's done 300 million worldwide with the ending selected from the test screening." "Larry, I don't believe that you've met my assistant, Whitney Gersh." " No, I haven't." " It's a great pleasure to meet you." "[EXECS CHATTERING INDISTINCTLY]" "REG:" "What are you doing?" "LEVY:" "How's your picture?" " It just tested last week." "BONNIE:" "Doing well." "LEVY:" "How well?" "BONNIE:" "It was our first test." "Excuse me, Walter." "Um, Joel, Griffin still isn't in, but I really think we have to start this meeting." "Okay, Celia." "Thank you." "WALTER:" "You remember a movie called D.O.A.?" "Sure I do." "Eddie O'Brien and Pam Britton." "Disney did a remake in '87 or '88." "Yeah, well, I think we got, uh, pretty much the same situation." "Keep our noses clean, Walter." "LEVY:" "It's a shame to waste the picture." "It's a great picture." "EXEC:" "It's a great story." " Who said we're wasting it?" " Where did that come from?" "LEVY:" "You know what's interesting?" " We're all too busy to go see movies..." "JAN:" "Griffin, you're really late." " They're waiting inside." "LEVY:" "You ought to try it." "GRIFFIN:" "What's this?" "JAN:" "It's a script from Todd Smith." "LEVY:" "We need to give them the kind of pictures they want not the kind these writers wanna give them." "I know you guys spend a lot of time with writers." " Believe me, you have my deepest sympathy." "GRIFFIN:" "Excuse me." " Hello." "Sorry I'm late." "CELIA:" "You certainly are." "WALTER:" "Jan, can I talk to you, please?" "JAN:" "Yeah." "WALTER:" "Just a couple minutes in your office is fine." "LEVISON:" "Griffin, you missed the formal welcoming ceremony." "You know Larry Levy." "Of course." "Hi, Larry." " Hi." " Larry was able to get out of Fox earlier than he thought and has come aboard as of this morning." "GRIFFIN:" "Great." "Well, let's, uh..." "Let's start." " Larry was in the middle of something." " No." "I wasn't." "I was just killing time waiting for Griffin." "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." "CELIA:" "As soon as you're finished." " Not at this studio." "Million, million and a half for these scripts." "It's..." "It's nuts." "And I think avoidable." "When was the last time you actually bought a ticket to see a movie?" " Actually paid your own money to see it?" " Last night." "Pasadena." "The Bicycle Thief." " You went to see The Bicycle Thief?" " I love that film." "It's a great film." "LEVY:" "It's art movie." "Doesn't count." "We're talking about "movie" movies." "Jesus, people." "All I'm saying is I think a lot of time and money can be saved if we came up with these stories on our own." "Where are these stories coming from?" "Anywhere, anywhere." "It doesn't matter." "Anywhere." "Um..." "The newspaper." "Pick a story." "Any story." "[STEVE CLEARS THROAT]" "All right." ""Immigrants Protest Budget Cuts in Literacy Program."" "Human spirit overcoming adversity." "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." "LEVY:" "Marty, it doesn't matter." "Just give it a shot." "You can't lose here." "MARTY:" "Okay." "How about, uh, "Mudslide Kills 60 in Slums of Chili"?" "LEVY:" "That's good." "Triumph over tragedy." "Sounds like a John Boorman picture." "You slap a happy ending on it, the script will write itself." " Bon." "Here, give me the paper." "BONNIE:" "Gee, I don't know, Lar." "Give it a shot." "[BONNIE SIGHS]" "BONNIE: "Further Bond Losses Push Dow Down 7. 15."" "LEVY:" "Okay." "BONNIE:" "I see Connery as Bond." "LEVY:" "Funny." "A good thing Oliver Stone wasn't listening to you." " Where would we have been?" "BONNIE:" "We would have been spared having to sit through Wall Street." "LEVY:" "Marty, what did Wall Street do worldwide?" "MARTY:" "Seventy, 75, maybe 80." "LEVY:" "Eighty million dollars, a couple of Oscars." "Nothing to sneeze at." "Okay." "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." "[ALL CHUCKLE]" "GRIFFIN:" "Hello, Walter." " Make yourself at home." "WALTER:" "Mr. Mill." "I understand you were kind of 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." "Ha, ha." "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?" "Well, 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 got to the movies, meets writer drinks with writer." "Writer gets conked and dies in 4 inches of dirty water." "Movie exec is in deep shit." "What do you think?" "That's more than 25 words and it's bullshit." "[WALTER CHUCKLES]" "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 restaurant." "He left before you did." "That's the last time anyone saw him alive except you maybe." "Why are you denying this?" "Well, what do the police think?" "They think it's a botched robbery." "You know 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." "Just 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!" "You wanna help?" " Of course." " Then stop lying." " How many meetings did you have?" " One." " Not counting last night?" " Not counting last night." "Why'd you go all the way to Pasadena to meet?" "He had an idea I was interested in." "I wanted to talk to him." "His girlfriend." "I guess she was a friend of yours too." "Think fast!" "Jesus Christ, Walter, what do you think?" "What is this?" "The third degree." "If you don't like it, wait till the police start asking." " I'll go right now." " They'll be a lot less polite!" " You come with me!" " You're acting like someone's who's guilty." "You're not guilty, are you?" "For the last time, I'm not a murderer." "[FAX MACHINE BEEPS]" "WALTER:" "Bad news?" " What?" " The fax." "Is it bad news?" "No." "Business as usual." "PHIL:" "The Hollywood system did not murder David Kahane." "Not the $98-million movie, not the $12-million 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 David were here right now, I know in my heart that 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, uh, like to share it with you." ""Blackness." "A mangy dog barks." "Garbage can lids are lifted as derelicts in the street 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'm Griffin Mill." " We spoke the night David was..." " Blue sea, white sea." "Yes." "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." "It's nice of you to say that." " Nice of you to come." "You didn't have to." "GRIFFIN:" "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 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." "Bicky?" "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." "You're just like the police." "That's all they did, ask questions." "They asked me a lot about you." " Did they?" " Mm-hm." "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." "Because 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." "And 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." "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 gonna 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." " Hmm, 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?" "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?" "We should pay for our crimes, shouldn't we?" "I don't know." "Knowing that you've committed a crime is suffering enough." "If you don't suffer, 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?" "[JUNE CHUCKLES]" "I don't know what I believe, Mr. Mill." "That is 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." "AVERY:" "Could I just pick this up?" "Yeah?" " Ooh, it's heavy." "WALTER:" "Thirty-seven ounces." "Really?" "Oh, look, look." "I wanna thank my mother, and her mother and her father's mother, who was the..." "[GRIFFIN AND AVERY CHUCKLE]" " Hello." " Hello." "Ha, ha." "Meet Detective Susan Avery." " How do you do?" " Hello." " My partner." " Willa Broom." "My pleasure." "Let's go in here." "This is the first real movie studio Detective Avery's been to." "GRIFFIN:" "Oh, really?" "AVERY:" "Well, aside from the Universal tour." "When my family comes in, I always take them out there." "Been out there so often, I kind of feel like I'm ready to direct." "WALTER:" "You'll probably do better than 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." "I wish I had a better answer for it but all I can say is that I didn't think about it." "Hmm." " How did you know where he would be?" " His wife told me he was seeing The Bicycle Thief." " Girlfriend." "Girlfriend." "Girlfriend." "I didn't know either of them." "I was feeling restless." "I thought I'd go see the movie." "If he was there, I was gonna talk to him about a job he was good for." "AVERY:" "So you got to the theater, you saw him and...?" "GRIFFIN:" "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?" "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." " You 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, 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?" "Hmm." "If you had a shitty car, you would have 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." "ASSISTANT:" "Okay." "TOMLIN:" "Come on." "ASSISTANT:" "Sixty-three, Take 3, mark." "TOMLIN:" "Wait one second." "DIRECTOR:" "Now." "Action." "[GLENN CLEARS THROAT]" "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?" "LEVY:" "Lily understands." "It's the kind of operation those whiz-kid fucks..." "You don't understand what he's going for." " I guess I don't." " I find it hard to listen to you when you don't understand." " Would you shut up, please?" "Could you?" " Oh, kiss my ass." "LEVY:" "You can't even see anything." "I have to cut because my robe caught on the drawer." "DIRECTOR:" "Oh, for chrissakes." "TOMLIN:" "I couldn't help it." "EXEC 1:" "I like this guy." "He's great." "EXEC 2:" "Scotty Glenn?" " What kind of water is that?" "EXEC 1:" "A cowboy, an FBI, priest, lover." "Can I have some Volvic, please?" "DIRECTOR:" "Action." " No, goddamn..." "LEVISON:" "I heard the police came to see you about this dead writer." "Who was this guy?" "GRIFFIN:" "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 to talk to him about it." "TOMLIN:" "I don't have to endure your mouth." " Jesus." "Poor bastard." "His ship is about to come in, some black kid wants his money for crack." "I'm sorry." "I don't wanna criticize you, babe but I'm supposed to be having a conversation." "TOMLIN:" "Are you talking to me?" " Are the cops still bothering you?" "DIRECTOR:" "Action." "GRIFFIN:" "No." "No, I don't think so." "LEVISON:" "Let Stuckel handle it." "He'll give them a couple passes to a screening where they can sit two rows behind Michelle Pfeiffer." "They'll leave you alone." " Griffin?" " Yes." "Um, a guy named Joe Gillis called and he said he wants you to meet him at the St. James Club around 10:00 on the patio." " Know who this is?" " Never heard of him." " He said you'd know him." " Anybody know who Joe Gillis is?" "LEVISON:" "He's the character William Holden played in Sunset Boulevard." "The writer who gets killed by the movie star." "BONNIE:" "Gloria Swanson." "CELIA:" "That is a fantastic movie." "GLENN:" "All I know is we're doing this my way." "I happen to think..." "[GRIFFIN CHUCKLES]" "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?" "LEVY:" "You wanna compare grosses, Bonnie?" "I was in love with him." "[SIREN WAILING]" "Griffin?" " Griffin." " Malcolm McDowell." " Hi." "How are you?" " Hi." "Good to see you." "Listen, the next time you wanna badmouth me have the courage to do it to my face." "You guys are all the same." "CIVELLA:" "You love it there?" " I love it." "It's just wonderful." "You love your career too, don't you?" "What is it, Tom?" "A complete disaster." "Look at what happened in Heaven's Gate with Cimino." " It just ended." " We both are concerned about your ca..." "I knew an actor, won't mention his name." "MacDOWELL:" "Where I live, I know how people think and how they feel." " But it's Montana." " Montana will end you." " It ended Cimino on Heaven's Gate." " Excuse me." "Griffin Mill." " Hi." "Andy Civella." " Andy." "How are you?" "Hey, I've got Andie MacDowell sitting over here." "You know her?" "She's so hot." " Come over, meet her." " Still living in New York?" "Well, I couldn't live here." "I'm allergic to happiness." "Ha, ha." " Andie, Griffin Mill." " Hi, Andie." " How are you?" " She's my namesake." " How are the kids?" "CIVELLA:" "She's the smart Andie and I'm the pretty one." " He's wonderful." "Thank you." "You geniuses know each other." "Tom Oakley." " Of course we do." "Hi." "How are you?" " Oh, yes." "Hi, Tom." "Funny." "I just ran into Malcolm McDowell in the lobby." " Oh, really?" " Roddy McDowall is related to a cousin of my brother-in-law." "Well, I'm not related to either one of them." "[ALL CHUCKLE]" "If I write it, I direct it." "The last three pictures you directed were bombs." " One broke even." " Bombs!" " Thank you for the drink." " Worst of the bunch." " I really have to go." " You gotta go, Andie?" " Come on, let's go." " We'll walk you to the car." " No, it's okay." "Don't worry about it." " Hang on." "Griffin." "Griffin, we'd like to buy you a drink." " I am sorry." "I can't." " Have a drink." " I'm meeting someone." "Business." " Should've told him about Habeas Corpus." " Of course, but he's busy." " Is there anyone waiting for me?" " No one's asked." "Well, I'm expecting someone." "I'll, uh, be out by the pool." "But he'll get back to us, right, Griffin?" " Griffin." " Andie?" "[CIVELLA WHISTLES]" "[SIREN WAILING]" "[HELICOPTER SOARING ABOVE]" "CIVELLA:" "Oh, sorry." "Sorry, Griffin." "Ha, ha." " Jesus, Andy, it's you." " Of 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, Andy, you think this is funny?" " Think this is fucking funny?" " What are you talking 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'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." "[PAGER BEEPS]" "I've got a meeting at Paramount." " I've got a meeting at Universal." " Congratulations." "If you don't hear it now, you'll lose it." " Then I lose it, all right?" " It'll take 20 seconds." " When your friend gets here..." " What friend?" "Who?" "Whoever you're gonna meet here." "Twenty-five words or less." "Absolutely." "Tom, you..." "No, you sit here, Tom." "Go." "OAKLEY:" "District attorney's at a moral crossroads..." "CIVELLA:" "Tom." "Jesus Christ!" "OAKLEY:" "Okay." "Okay, okay." "Uh..." "We open outside the largest penitentiary in California." "It's night, it's raining." "A limousine comes in through the 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." "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." "GRIFFIN:" "Go on." "OAKLEY:" "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 percent of the people on death row are black." " Poor, disadvantaged black." " More." "More." "And he swears that the next person he sees to die is gonna be smart, rich and white." " You, me, whoever." " What a hook, huh?" " Beauty hook." "Cut to the chase, Tom." " Okay." "Okay, okay." "Cut from the DA to an upmarket 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." "Of course he falls in love, but he puts her in the gas chamber anyway." "Then he finds out 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'll tell you there's not a dry eye in the house." " She's dead?" "OAKLEY:" "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, like unknown stage actors or maybe somebody English like what's-his-name." "OAKLEY:" "Mm-hm." " Why?" "OAKLEY:" "Why?" "Why?" "Because this story is just too damned important to risk being overwhelmed by personality." "Yeah, that's fine for action pictures, but this is special." "We want real people here." "We don't want people coming in 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." "GRIFFIN:" "If we can get her." "CIVELLA:" "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?" "OAKLEY:" "No, no." "There are no stars." "No pat happy endings." "No Schwarzenegger, no stickups, no terrorists." "This is a tough story." "A tragedy in which an innocent woman dies." "Why?" "Because that happens." "[PAGER BEEPS]" "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?" "WAITER:" "Mr. Mill, for you." "GRIFFIN:" "Who gave this to you?" "WAITER:" "I received it at the front desk." "OAKLEY:" "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." "CIVELLA:" "Yeah!" " There's a scene in Throne of Blood that has exactly the texture." " Tom." "Just say "thank you."" " If you wanna..." "Okay." "She has to die." "No Hollywood ending." " Tom, "thank you," say." " God!" "[PAGER BEEPS]" "[CAR PHONE RINGS]" "[RATTLING]" "[TIRES SQUEAL AND HORNS HONKING]" "[HORN HONKS]" "Fuck you!" "You fucking dog-shit writer!" "You fucking try to kill me!" "Fuck." "[JUNE GASPS]" "Oh, God." "You gave me such a scare." "What are you doing here?" "[CHUCKLES]" "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..." " No, no, no." " Sorry." "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?" "Yep." "It's you." "See?" "GRIFFIN:" "Do you have snakes in Iceland?" "Snakes?" "No, I don't think so, no." "Are you afraid of snakes?" "I don't know." "I've never come close to a real one." "They scare the shit out of me." " Here, have another." " I don't usually drink." "Something happened tonight." "Yes, but, uh 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, okay?" "I came very close to dying tonight." "All I could think about was you." "[JUNE SIGHS]" "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 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 wanna 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." "But 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." "GRIFFIN [OVER INTERCOM]:" "Jan?" " Jan!" "JAN:" "Yeah?" "GRIFFIN:" "Get Larry Levy on the phone." "JAN:" "I don't think he's on the lot." "GRIFFIN:" "Try his car." "Isn't he at Fox?" "He used to be." "Not anymore." "I pitched him something a few months ago and he hated it." "LEVY [OVER SPEAKER]:" "Yeah, Griffin." " Yeah, yeah." "Listen, I've got Tom Oakley and Andy Civella." "I wouldn't be bothering you if I didn't think they had an idea you should hear." " Hi, guys." "CIVELLA:" "Hi, Larry." "Uh, 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." "[MIMICS RAIN]" "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, glowing 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." "LEVY [OVER SPEAKER]:" "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?" "GRIFFIN:" "I don't think so." "No." "We should make a deal now." "Tomorrow may be too late." "Can we get ahold 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." "LEVY:" "Well I don't really, but that's where all the deals are being made these days." "See you." "Tom, that was a hell of a pitch." "Good work." "I think you sold Larry." "CIVELLA:" "Great." "When are we gonna hear?" "I want you to go home, put some champagne on ice." "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 ending?" " 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 for 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." "GAME VOICE:" "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?" "What 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?" "E.T. Grossed what?" "What, Marty?" "Three hundred nineteen million dollars." "There wasn't a dry eye in the house." " Depressing?" "I don't think so." " Yeah, but..." "Normally I'd agree, but this is an entirely different deal." "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 looking at jail cells and gas chambers, we're gonna have sex in this picture." "Sure, of course." "We'll get it there." "No problem." "Okay." "Who's gonna shepherd this thing?" "Larry, you have a good feel for this." "You wanna run with it?" "Wait." "This project originated with Griffin." " Bonnie." " Oh, no." "I don't wanna dance in somebody else's wedding." "If it's Griffin's project, it's Griffin's project." "BONNIE:" "I just think we should write..." "LEVISON:" "Bonnie, this'll 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." " I've got something else for you." " Yeah?" " New York tomorrow." " Yeah?" "Tom Wolfe's book will be at the Sherry-Netherlands." " Read it, make your bid." " Send Bonnie." "She'll know if it's a movie." "If it is, bid a million." " Me?" " A million?" "Oh, that's kind of high, isn't it?" "[PHONE RINGS]" " It's Tom Wolfe." "Why not you?" "LEVISON:" "Yeah?" "I'm a story editor." "That's a vice president's job." " You don't wanna be vice president?" "LEVISON:" "Bonnie." "Pack your bags." " Congratulations." "LEVISON:" "Yeah?" "That was the most amazing pitch I've ever heard." " If you don't want the responsibility, fine." " No, I'm going." "I really wanna be one of your soldiers." "I'm glad you're on the team, believe me." " Thank you for the support." " Bonnie's gonna be gone." "I'm here." "Whitney, now." "Frank, Marty." "You wanna come in?" "BONNIE:" "May I have a word?" " I have a meeting." " 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." " The only thing Levy has a firm grasp on is his dick." "You know it." "I'm not Oz." "I can't do everything." "If Larry has what it takes to get a picture made, why not use him?" " Everybody wins." " Why bullshit me?" " I'm not bullshitting you." " Yes, you are." "Griffin, I know you." "I know you." "You've been stringing me along..." " Habeas Corpus, Griffin." " Habeas Corpus." "Habeas Corpus." "You've been stringing me along like one of your writers." "What is this, getting Levison to send me?" "What is that?" " Are you trying to get rid of me?" " Get rid of you?" "I'm trying to help you." "If you score in New York 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?" " It's not just this." " Jesus." "It's a lot of things." "The way you've been acting." "Something is going on." "I wanna know what it is." " Jesus Christ." " You're not even..." "You're not even looking at me when you're talking." "I want you to look at me." "Please look me right in the eyes and just tell me." "No bullshit." "Is there someone else?" "No." "Have a good trip." "LEEZA GIBBONS:" "Our top story this evening involves Hollywood's three favorite G's." "A glamorous, glitzy, gala night on the town." "It is a who's who of stars, no IDs 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." "We'll leave it to Cher to wear fire-engine red when the impossible-to-come-by invitations call for black and white only, please." "GARR:" "Hello, nice to see you." " Hi, Teri." "Nice to see you." " June Gudmundsdottir." " Hi." " Teri Garr." "Buck Henry." " Hello." "GIBBONS:" "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 L.A. 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." "Now I'd like to introduce the man whose idea this all was." "Griffin Mill." "Please." "[APPLAUSE]" "Thank you, Joel." "Grab another drink." "[AUDIENCE CHUCKLES]" "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 a 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." "[APPLAUSE]" "LEVY:" "Griffin, 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?" "LEVY:" "I'm having a great time." "[BAND PLAYING JAZZ MUSIC]" "[CHATTERING]" "WOMAN:" "Yes, I do." "I did too." "LEVISON:" "Is this a friend of a friend?" "JUNE:" "I'm sorry." "LEVISON:" "How did you meet?" "How did we meet?" "Well, at a funeral." "Yes." " Isn't that right?" "Funeral?" " Absolutely." "Excuse us." "LEVISON:" "Steve." "Steve, whose daughter is he with?" "Seriously, I..." "[LEVY CHUCKLES]" "STEVE:" "I think she's with his cousin..." "LEVISON:" "Said he was sure she was somebody's daughter." " I wanna know whose daughter she was." "LEVY:" "No." "I don't know." "[JUNE SPEAKS INDISTINCTLY]" "BOTH CHUCKLING]" "JUNE:" "Don't make a scene." "GRIFFIN:" "You're doing it all wrong." "Ha, ha." "Here we go." "JUNE:" "Oops." "That was a good one." "Well, that's what I call a real date." "GRIFFIN:" "Should I come in?" "Uh, well..." "GRIFFIN:" "Hmm, well..." " Not tonight." "GRIFFIN:" "No, not tonight." " But soon." "Very soon." " How about 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?" " 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." "MALE PRISONER:" "No!" " Take your hands off her!" "OFFICER:" "Hush." "WOMAN 1:" "I want my baby." "WOMAN 2:" "Where's her baby at?" "FEMALE PRISONER:" "Let me go!" "MALE PRISONER:" "No." "AVERY:" "Mr. Mill." " Hello." "How are you?" "Good to see you." "Everybody, this is Mr. Mill." " Good to see you again." " He makes movies." "Have a seat, Mr. Mill." "Where the fuck is he going?" "Excuse, me, sir." "Mr. Mill." "Mr. Mill." "Not in here." "This is my lieutenant's office." " 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..." "Paul went to see a movie last night he came in here raving about." "What was the name of that movie?" "Changed the lady into a chicken at the end." "What did you see?" " Freaks." " Freaks." " Have you seen this?" " Tod Browning." "Yes." ""One of us, one of us, one of us, one of us."" "He came in doing that." "He was raving about it." "He loved it." "He loved it." "It was thrilling for me." "Um, Willa." "Excuse me." "Did you happen to see where the tampons went that were in here?" " Because I can't seem to find them." " I didn't take them." "Who took them?" "Did he?" " I don't know." "I didn't." " Who did?" " I didn't take them." " You see this?" "Damn." "Um, so do you have a break in the case?" "Oh, what makes you say that?" "Well, why else would you bring me here?" "Why else, indeed." "[CHUCKLES]" "Paul." "Paul, why have you brought Mr. Mill in here today?" " To look at some pictures." "AVERY:" "Willa." "Pictures?" "Listen, could you...?" "If you remember, what were you, uh, wearing that night?" "I was wearing a double-breasted suit, I believe." "Oh, it's all right." "What's the matter?" " Mr. Mill, you're so jumpy." "Sit down." " I'll get it." "No, no, she..." "That's what she's here for." "It's all right." "Have a seat." "GRIFFIN:" "Sorry." "AVERY:" "No problem." "Okay." "Will you take a look at this gentle...?" " Where were they?" "BROOM:" "Right here." "She found them, look." "You're right." "Ha, ha." "Oh, wait a minute." "No, no." "These aren't mine." "These are slender regular." "These are yours." "BROOM:" "Yeah, I guess you have jumbo." "[FLY BUZZING]" "AVERY:" "Well, I do use jumbo." "These are not mine." "God." "Just trying to help you out." "Um, look, did you see this guy the night of the murder?" "Sorry, ha, ha." "Um..." "No." "Uh, you're putting me in a terrible position here." "I would hate to get the wrong person arrested." "Oh, please." "This is Pasadena." "We do not arrest the wrong person." "That's L.A. See, L.A., they kick your ass and then they arrest you." "That's what they do." "We don't do that." "Remember last year?" "What was that guy's name?" "They put him on the tape." " King." "AVERY:" "That's right, King." "DELIVERY MAN:" "BLT." " 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 movie right now called The Lonely Room." "Scott Glenn plays a detective like you." " Is he a black woman?" "GRIFFIN:" "No." " Don't give me turkey." " Lily Tomlin's in that?" "I heard about that." " Actually I was drawing a 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." "Ha." "What is it?" "Who?" "Spell it for me." "G-U-D-M-U-N-D-S-D-O-T-T-l-R." "AVERY:" "Well, that really helps." "Could you...?" "Uh, did you go out with June...?" "GRIFFIN:" "Gudmundsdottir." " Yeah." "Her." "Last night?" "Yes, I did." "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?" " No." "We met over the phone." "We got to talking, one thing led to another." "You fuck her?" " What kind of question is that?" " I think it's pretty direct." "Did you fuck her?" "I wouldn't answer that question without a lawyer in the room." "Then I probably wouldn't even answer that question." "Why don't you ask your friend?" "He's been following me." " He'll probably know." " All right." "Paul, did Mr. Mill fuck June Hudmuuhunta?" "I didn't see him." " Got away with it." "He didn't see you." " What are you implying?" "I'm not implying." "I asked a direct question." "Did you fuck her?" "I told you I wouldn't answer that without a lawyer." " Why you getting hot under the collar?" " You're being rude." "Oh, well, excuse me." "But I think it's kind of soon for her to be gallivanting in the streets with you." "I'm there for her as a friend, Miss Avery." " Mm." " Why don't you call her?" "I'm sure she'll be happy to pick over the horror of what's happened 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?" "[ALL CHUCKLE]" "Or do you hold June Gudmundsdottir to a special code of conduct reserved for women?" "[ALL LAUGHING]" "What the fuck are you laughing at?" "It's just, just..." " I'd like to talk to my lawyer." "AVERY:" "Oh, my God." "DeLONGPRE: "One of us." "One of us." AVERY:" "Can't even say the bitch's name!" "DeLONGPRE:" ""One of us." "One of us." "One of us."" "WALTER:" "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 the intent to kill, you could go to the gas chamber." "I went to Pasadena with the intent to hire." "So you say." "JAN:" "Griffin, the Schecter brothers are here." "ERIC:" "Griffin." "Griffin." "Griffin." "Don't make us wait." "Who is this man?" "ERIC:" "A travel agent called." "You're confirmed." "JAN:" "He grabbed the phone from me." " Travel agent?" " I'm going to Puerto Vallarta." " You're leaving the country?" "GRIFFIN:" "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." "GRIFFIN:" "Tell a friend." "ERIC:" "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 three pictures made?" "CARL: $105 million." "ERIC:" "I know some people do better." "We're consistent and under budget." "CARL:" "He's not listening." "Let's go to Columbia." "ERIC:" "We already went to Columbia." "CARL:" "Oh, yeah." "What did they say?" "ERIC:" "Bonnie." "CARL:" "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." "BONNIE:" "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." "GRIFFIN:" "She's recently widowed." "You weren't in town, so I took her." "And now you're taking her to Mexico for the weekend." "ERIC:" "Let's get out of here." "Mom and Dad are fighting." "Guys, have your lawyer give me a call." " You've got a deal." "ERIC  CARL:" "Yes!" "Let's get out before he changes his mind." "We have witnesses." "Have a good trip." "MAN [OVER LOUDSPEAKER]:" "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." " We have to go back and get it." "GRIFFIN:" "So stupid of me." " We'll miss the plane." " We'll never make another plane." "Damn it!" "It's all right." "Anyway, I got a better idea." " Do you like the desert?" " I've never been to the desert." "Never been to the desert?" "I know this hideaway in 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." "[RATTLES]" "Evening, Mr. M. You're all checked in." "Capone Villa." "You know where it is." "GRIFFIN:" "Yep." "Thanks, Walter." " You're welcome." "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, 100 people." "Where are they all?" "Hiding." "WAITER:" "Ahem." "Sir?" "Couple of Banning Springs water please." "WAITER:" "Right away, Mr. M." "Do places like this really exist?" "Only in the movies." "JUNE:" "Tell me about the movies you make." "GRIFFIN:" "Why?" "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." "JUNE:" "Oh." "Everyone that calls, they wanna know one thing." "They want me to say yes to them and make their movie." "If I say "Yes, I'll make the movie," they think come New Years it's just 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 make enemies." "And that's what I was to David." "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?" "[MOANING AND PANTING]" "GRIFFIN:" "I love you." "JUNE:" "I know." "I know." "I know." "There's something you have to know." " I love you." "I know I love you." " Something I have to tell you." "That's all I need." "Nothing can change that." "June." " David's death." " No." "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." "Don't, don't, don't say anymore." "Don't." " I was responsible." " I love you." "Don't." " It was my fault." " Don't say that." "Don't, don't, don't." "I love you." "MASSEUSE:" "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 fine me?" "MELLEN [ON PHONE]:" "Come on, Griff." "Who the hell do you think you're talking to?" "Yeah." "What's going on?" "MELLEN:" "Levison's out." " Out?" "They gave him six hours to clean out his office." "GRIFFIN:" "Who's taking over?" " Nothing's been decided." "All we know is Reggie Goldman went home with the clap or something." " Listen, am I in a position to...?" " I don't wanna talk about studio politics." "Why didn't you tell me about this Kahane business?" "Kahane." "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?" "A fucking 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, hard-nosed." "Don't you talk to anybody else." "Just get there." " I'll be there." " Griffin, this is a tough one." "Good luck." "[DIAL TONE]" "Thanks." "WALTER:" "Mr. Mill, the studio's very upset about the publicity this might generate." "But I'll handle the press, the police, the judge and the witness." "Mr. Mill." "Thank you for coming down without a fight." "It's in your best interest." "You sleep in that suit?" "GIRARD:" "Get away from that woman." "She's the enemy." " Follow me." " Susan, I had a lovely time at the Mint." "I can't believe you remembered 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." "They want you to do a lineup." "If you say no, they'll arrest you." "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 new legal standard for blindness." "Keep the faith..." "This is just like they do it on television." "Excuse me, Susan." "Good luck." "BROOM:" "You don't have to worry." "You can see them but they can't see you." "WITNESS:" "Fine." "Fine." "BROOM:" "Just tell the truth." "WITNESS:" "Oh, I will." "Because I saw him clearly." "There's no problem." "AVERY:" "All right, Allen." "Fire it up." "OFFICER:" "Number 1, step forward." "Make a quarter turn to the right." " Are those prescription glasses?" "AVERY:" "You can't ask her that." " Fine." " It's very hard, you know." " Oh, yeah." "I know." "OFFICER:" "Number 2, take one step forward." " I wouldn't wanna pick the wrong one." " No." "God forbid." "BROOM:" "You just take your time." "AVERY:" "Oh, I know." "Anybody look, uh, vaguely familiar?" "OFFICER:" "Take a quarter turn to the left." "[MUTTERS]" "OFFICER:" "Face forward." "AVERY:" "Take your time." "OFFICER:" "Step back into position." "Number 3, take one step." "WITNESS:" "This is not easy." "AVERY:" "I know." "GIRARD:" "It never is." "WITNESS:" "I mean, I am trying." "AVERY:" "Yes." "Just take your time." "WITNESS:" "And I did see him clearly." "OFFICER:" "Face forward." "Make a quarter turn to the left." "[WITNESS SIGHS]" "OFFICER:" "Step back as..." "WITNESS:" "No, no, no." "I don't know." "WITNESS:" "Well." "AVERY:" "Look hard." " Look really..." "Take a good look." "WITNESS:" "No." "I did, I did, I am." "Um..." "Could I see, um Number 3 again?" "GIRARD:" "Call Number 3." "AVERY:" "Wait a minute, wait a minute." " Um, could I...?" "GIRARD:" "Could she call her own numbers?" " Excuse me." "GIRARD:" "Maybe she wants to see again." "OFFICER:" "Number 5, take one step forward." "AVERY:" "Listen..." "WITNESS:" "Excuse me." "AVERY:" "Number 5." "GIRARD:" "Susan, I think she can call who she's interested in." "AVERY:" "You're absolutely right." " No, the other one." "That one." "GIRARD:" "By the number." "AVERY:" "Which one?" "WITNESS:" "Oh, um, uh, it's not Number 6." " Not Number 6." "AVERY:" "How about Number 5?" "WITNESS:" "Three." "GIRARD:" "Three." "AVERY:" "What do you mean, Number 3?" "GIRARD:" "She can request who she wants." "AVERY:" "Just a second." "You wanna see what number?" "WITNESS:" "Him!" "That's him." "I'd swear on my mother's grave." "GIRARD:" "Number 3." "I think we're concluded, Ms. Avery." " The one, Number 3." "GIRARD:" "Number 3." "On her mother's grave." "WITNESS:" "Yes." "AVERY:" "Number 3?" "Number 3." "I think we heard what she said." " Yeah, I would say so." "OFFICER:" "Okay, Doug, take them out." "GIRARD:" "Number 3, thank you." "AVERY:" "Just relax." "You're in a chair." " Ma'am, may I be personal?" " Yes." "Where the fuck is your mother buried?" "[CHUCKLES]" "AVERY:" "Let's get out of here." " Let's get out of this sauna." "[SIREN WAILING]" "I don't know who got to that witness, but she sure wrapped up my case." " 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." "That Avery woman thinks you just got away with murder." "Everybody does, Mr. Mill." "[PRISON CELL DOOR SLAMS]" "Our Father, who art in heaven, hallowed by 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..." "You've made a wonderful movie." "It's perfect." "It's Oscar time, Larry." " What?" " We're too late." "Come on." "I gotta get the door open." "Come on." " Hey, hey, hey!" " Get back!" "[ALARM BLARING]" "Oh." "What took you so long?" "Traffic was a bitch." "LEVY:" "It's outstanding." " The audience is gonna love it." " You sold it out." "How could you let him sell you out?" "What about truth?" "What about 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." "BONNIE:" "You had an ending which was true." "You didn't give it a chance." "Who is this person?" "Does 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." "LEVY:" "I want you out of here." "CIVELLA:" "Good thinking, Larry." "I'm going over your head, Larry." "Bonnie, you're fired." "Fuck you." "LEVY:" "It takes more to make it in this business than a dirty mouth." "The campaign." "GAME VOICE:" "Two points." "Celia, it's important." "I need to talk to him now." " No, Bonnie, he's very busy." " Please." " No, you..." "Bonnie." " Please, it's me, Bonnie." " We're friends." "CELIA:" "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?" "GAME VOICE:" "Three points." " Great shot." " Oh, Walter, stop that nonsense." "Griffin, it's Bonnie." "She's here." "GAME VOICE:" "Great shot." "Levy fired her?" "CELIA:" "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." "Griffin." "I have to talk to you." " Please!" "JAN:" "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." " It's Larry Levy's office." "It's important." "Oh, put it in the front seat." "Give it a minute and transfer it to the car phone." "[SOBBING]" "[CAR PHONE RINGS]" "GRIFFIN:" "Yeah?" "JAN:" "Griffin, I have Larry Levy on the line." "GRIFFIN:" "Larry, how'd the screening go?" "How's my new ending?" "LEVY [ON PHONE]:" "Fantastic." "Fantastic." "Worked like gangbusters." " That's why you get the big bucks, Griff." " Yeah, yeah." "Stop kissing my ass, Larry." " What?" "Can't this wait?" " I don't think it should." "This is hot." "I got a writer who's got a pitch you ought to hear." "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." "WRITER [ON PHONE]:" "Hi, 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 in a while." "Well, I've been busy." "I've been writing a script." " I got inspired." "LEVY:" "Give him the pitch." "You'll love this, Griffin." "It's great." "WRITER:" "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 a bitch, he gets away with it." "GRIFFIN:" "Larry, get off the speaker." "I wanna talk privately." "LEVY:" "Sure thing." "This is a winner, Griffin." "It's a winner." "GRIFFIN:" "He gets away with it?" "WRITER:" "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." "GRIFFIN:" "The Player." "I like that." "What took you so long?" "Traffic was a bitch." "[ENGLISH" " US" " SDH]"