"This is the opening scene of Get Shorty." "This piece of music is by John Lurie." "We shot everything that's supposed to be in Miami in California, in Los Angeles." "This is on Wilshire Boulevard in Santa Monica." "The second-to-last day of shooting, even though it's the first scene of the movie." "It's supposed to be cold, which it wasn't, so we had gigantic Ritter fans outside blowing people's hair and coats and making too much noise, which was driving everyone crazy." "See the bald guy behind us?" "You'll see him again." "The skinny guy on the right." "His name actually is Chili Palmer, and the book was written about this guy." "This guy on the right." "So Elmore Leonard called us, who wrote the novel, and said, "Hey, can we get the real Chili Palmer into the movie?"" "Chili Palmer is actually the guy that Travolta's character is." "Travolta is Chili Palmer in the movie, but it was written about the skinny guy on the right." "I remember Travolta saying, "I'm glad I didn't know there was a real Chili Palmer," ""cos I would've flown to Miami, spent a couple of weeks with him" ""and probably ruined my performance if I had done that."" "Chili's not much of an actor, but he's a really nice guy." "For a while, he was Elmore Leonard's researcher." "I'm not sure what that means." "This scene was the actual last day of shooting on the movie." "Again, it was shot down in Santa Monica." "I remember Mark Gordon came to visit." "He was the producer of Broken Arrow, and he came just to hang out and watch Travolta work." "Kelly, John's wife, was there, and we were all in a great mood cos it was the last couple of days of the movie." "This scene was longer." "We cut it down by about half." "We all felt we were getting the right idea and it was time to move on." "Now, check out this shot." "This is shot with a Steadicam, and the Steadicam guy is sitting on the side of the car." "That's why there's this bouncing and flare, cos it's hard to get all that light out of the Steadicam." "But you'll notice, as Travolta opens the door, the camera will pull back and follow him all the way inside." "See?" "It's still the same shot as when they were driving." "We pan him around, go with him, and walk all the way inside." "That shot was done with a Steadicam with the Steadicam operator outside the car, sitting on a piece of wood that we had mounted to the side of the car." "This had to become an optical, cos it was hard to change the f-stop, the amount of light from inside the car to the outside." "This is Dennis Farina who just got punched in the nose." "We did about 30 takes of this." "Farina was a great guy to work with, he was really funny." "So, again, this is Los Angeles, shot as Miami." "This was on Abbot Kinney Boulevard in Venice Beach, California." "And this is a real barbershop that's used for a lot of Nike commercials." "But we shot it anyway." "This is the back room of that same barbershop." "This was one of the longest days of the shoot." "We worked until about 2, 3am." "It was a Friday night, and we just had to get out of there." "Yeah, that shot, this next shot, that was about two in the morning when we did that shot." "We just made it look like daytime." "This is in Marina del Rey." "And this guy, this actor, played Moe Greene in The Godfather, and he gets shot while being massaged in The Godfather, so I thought it would be a homage to that." "In fact, he even brought his Moe Greene glasses, which he has in his hand." "It's the same black-framed, thick glasses that he wore while getting shot right in the eye in the first Godfather." "So we had a little fun with that." "I don't think anyone noticed it." "This is Los Angeles for Brooklyn." "It was downtown Los Angeles." "This scene was also longer." "The funny thing is, when we were first editing the film, this beginning section of the movie was incredibly slow and boring, and for a long time was the worst part of the film." "We did a lot of cutting and had a lot of great music - this is Booker T  the MG's - and it really helped the opening a lot." "But for the first months of cutting, the first ten minutes of the movie were the worst." "This is still in a warehouse in downtown Los Angeles." "In the first version of the script, Momo got shot." "But I thought it would be funnier to do it this way, which you're about to see." "Watch when he falls." "All the confetti flies up from the stunt pad that he fell onto, cos all this confetti had fallen onto that." "Now we have two minutes of opening titles." "I just wanted it to feel sort of Miami-like and LA-like, cos the movie takes place in Miami and LA." "So we thought the sort of turquoise and pink would be good, but, depending on the screen you're looking at, these might be green, and the pink might be red." "I've seen it on an airplane where it went kind of a horrific yellow." "But the reality is it's turquoise and pink." "This piece of music was written by Us3." "For a long time, when we were screening the movie in its rough-cut form, we had "Cantaloop" by Us3." "We wanted an Us3 song in there, so I called them, reached them in London, sent them a tape, and they liked the movie and agreed to write this song." "John Lurie also wrote a really good opening song, but we decided to use it at the end instead, which is in about 90 minutes." "The reason I'm the executive producer on this movie was..." "What had happened was, I had been on a cruise and had read Get Shorty in paperback, and when I got back to New York, I called DeVito." "I knew Danny because I had shot Throw Momma from the Train with him." "I called him and said, "I've just read a book you should buy."" "Cos I imagined Danny would be a perfect Chili Palmer." "As it turned out I was wrong, and instead we went with Travolta, who was a perfect Chili Palmer." "But, anyway, Danny was on the car phone and said," ""I'll buy the book." "You direct it, I'll act in it and produce it." So that's what happened." "This conversation they're having about never going to bed so you won't die was a story DeVito told me about a friend of his that actually believed that as long as you didn't sleep in bed, you wouldn't die," "because most people die in their bed." "So we just incorporated it into the film." "This guy, his name's Big Daddy Wayne." "He's a really funny guy." "He's really enormous, and he's incredibly shy and kind and sweet." "He brought his mom to the premiere." "The way we hired Farina was interesting." "We had a read-through of the script two years before we made the movie." "We tried to make the movie for over three years." "Two years before, we had the script ready and wanted to hear what it sounded like, so we had a read-through at Danny's office." "Gene Hackman read Harry Zimm, and he eventually agreed to do the part." "Farina was there, Gary Busey played this guy, Bear," "DeVito played Chili Palmer," "Lesley Ann Warren played Karen Flores, a woman you'll see later." "The reading was great, but the funny thing was, Farina and Hackman stole the movie." "So we knew we wanted to hire those two guys in particular to be in the film." "The editor on this film, Jim Miller, who's edited all four movies I've directed, is a real filmmaker, and he always finds comedy where I didn't even know I had shot it." "There's a shot we just saw of Farina not figuring out how much interest $2700 is, and there's a shot of Tommy Carlo sitting there, staring up, trying to figure it out, which totally was created in the cutting room by Jim." "It was never my intention to do that." "This woman, Linda Hart, actually is a good friend of Bette Midler." "She was a Harlette, which were the backup singers for Bette's old singing group." "Again, this was shot in Los Angeles, in Culver City." "We added the foliage, painted the house turquoise, added the pink flamingos." "David Paymer and Linda Hart in that photograph." "This is a little set we built on the stage in California." "This guy's wife makes children's clothing, and he keeps sending me really great clothing for our three-year-old daughter, Chloe." "I think he's a great actor." "So, coming up is the longest day we had." "That plane wasn't actually in that shot." "We added that in postproduction optically." "This rain is all created with big rain towers." "This was a really long day." "We started the day in the airport on another scene, and this was a 17-hour day." "See this woman?" "Her real name is Carlease, her last name is Carlease." "So we decided we needed to hire her because her name went with what she did." "Anyway, this was a horrible, cold, rainy night." "It was about 3am, nothing was working properly." "The lighting took forever." "But now we're out of that scene." "This was a house in Malibu." "That's Hackman." "That's Rene Russo." "And we were in a house in Malibu for about two weeks." "This scene is very much like it was in the Elmore Leonard novel." "It's pretty much shot in one shot." "We wouldn't have cut into it at all, except Hackman is incredibly funny in his close-up, which you'll see in a minute." "Here it comes." "Here comes comedy." "You don't?" "What happened to Muffy?" "So let me talk to you about Gene Hackman's goatee." "When I first met Gene in preproduction, he said," ""I'm thinking about growing a goatee." "What do you think about that?"" "And I said, "Well..." Cos I needed to see what he looked like with facial hair," "I wanted to look at some of his older movies to see if I would like it or not, so I needed some stalling time, and I said," ""Why don't you grow the beard and then if we don't like it you can shave it off?"" "He said, "I'm not gonna waste my time growing a beard if you won't use it."" "So I said, "OK, fine, Gene." "I'm sorry."" "So we let Gene grow the beard, and I saw a picture of Robert Altman in Premiere and thought it looked great." "And Gene loved it cos he thought it made his character look like an artist." "Here's this really cheesy producer of movies like Grotesque and these sort of sexy horror movies, yet he still felt he needed to feel like he was an artist." "So we let Gene grow his beard." "We gave him capped teeth that were too white, which we loved." "And we gave him a little Jewish chai, which is a symbol around his neck." "You can't see it in this shot, but you'll see it in some others." "There it is, there's that chai." "This scene is very much like it was in the Elmore Leonard novel in terms of dialogue and setup and location." "It was incredibly hard finding this location, because we needed specific architectural things." "We needed a staircase that could then look down over a living room, which plays a role throughout the movie." "I wanted it to be open and feel like a part of California we hadn't seen in the movie." "We looked at a lot of houses in Malibu." "Looked at Senator Gene Tunney's house." "We thought we had that, and then they changed their mind." "This house is owned by another film director." "This scene was also much longer, but we cut it down." "The problem is there's so much exposition in some of these early scenes, to set up Leo Devoe, and what happened with the gambling, and Gene Hackman's gambling." "You needed to get through it quickly to get into some action." "So this was all much longer." "We cut down about four, five minutes out of this scene." "I love Gene's teeth, which were totally his idea." "Again, he felt it would be great if his character was very vain." "Here's Rene." "Rene was a joy to work with." "She's just a wonderful, special woman." "She's really funny." "She's incredibly normal." "She has a great husband, a great kid." "Great body." "So, again, this was all on location in Malibu, this wasn't a set." "It was all shot during the day and we just blacked out the windows and made it look like night." "This scene is also very much like it was in the novel, in that Elmore writes about it all taking place in flashback." "The guy in the middle is David Paymer." "The woman two rows back is my wife." "Can't really see her." "There she is for a second." "Now she's gone." "This was shot against bluescreen, on a stage, and then we added all the airplanes and that airplane crashing at the end, in postproduction." "The funny thing is, when it's shown on airplanes, instead of it being an airplane crash, it's a train crash." "And throughout the movie, every time we mention "plane", we change it to "train"." "This was shot at LAX." "That's supposed to be the outline of an airplane." "We had some really great inserts." "A burning book of Fear of Flying." "But, again, we just tried to shorten the film as much as possible." "That was done with a Technocrane, which lets you boom up very quickly." "We shot this twice." "We shot it once - that shot of her getting the cheque - once inside, which we used, and also outside with her surrounded by flamingos." "And I had those two guys on a swing, swinging back and forth." "But it was just too darn funny." "This was shot much later in the movie." "We felt we needed some more back story, so we actually went to Vegas and did that shot." "That actress who slapped Leo was great, but she was so afraid of actually slapping him that we had to do about 20, 25, 30 takes." "John's always dressed in these dark suits and wool shirts, and he just looks great." "We wanted him to look very specific, but didn't want him to look like a gangster, yet didn't want to give him, like, a tie." "So the costume designer, Betsy Haimann, came up with this idea with these dark shirts buttoned up to the top." "We have charcoal and purple." "He looks great in the film, Travolta does." "Here comes a little sexy music cue that John Lurie came up with on his own." "I didn't think we needed music here." "Here it comes." "But John said, "Come on, I'm a sax player." "Let me just have this little riff."" "I think it's really cute." "It also helps John." "John's character is supposed to be a great lover of movies, he knows all about them, and I thought it would feel more like a movie moment for him, for his character, if we just gave it a little music cue there." "One of my favourite shots, where it looks like the plane's upside down and then rights itself up again." "We shot this the day before the movie started, and it wasn't until I went out two days earlier with a video camera to design this shot and show the cameraman that I realised that doing a shot the way I wanted to" "meant that the plane would look upside down." "So everyone thinks I did it on purpose, but it was just a happy accident." "This actor is Delroy Lindo, who's really great." "He's been in a lot of Spike Lee movies." "He's in Broken Arrow." "He's doing a movie with Ron Howard called Ransom, where he plays an FBI agent." "This was all shot at LAX." "I could not believe how cooperative the city was," "Los Angeles Airport officials were, on this movie." "We shot here for eight days." "We owned the terminal, stopped announcements." "We did a lot of big Steadicam shots." "They were just great." "Delroy's got a great wardrobe." "Check out the bulge in his pants near his ankle." "We tried to make the ankle big enough to look like there was something there, but not so big that it looked ridiculous." "I'm not sure we pulled it off very well." "This was a really difficult shot." "It was incredibly dark." "It was raining." "It was dreary." "Yet we had to make it look like it was sunny." "Don't you think the guy in the back with the funny hat looks like Marty Feldman?" "He used to be on a TV show about 20 years ago." "It's not." "This is a Steadicam shot here, going down into Delroy in the car." "It was really noisy." "It was a horrible day." "Danny DeVito agreed to let us have him play Napoleon in this fake movie, Napoleon, which was just great." "So we had that billboard on Sunset for a couple of days, and people were calling DeVito and finding out who Martin Weir is, cos that's his name in the movie." "These, in many ways, were the worst two days of the shoot, the two days it took to do this scene." "John had recently been nominated for the Academy Award when we shot this, so people were screaming, "Hey, John." "John rules!" "John's great!"" "And ruining many, many, many takes." "Hackman used to joke that people were driving by and saying," ""Who's the old guy that's driving John around everywhere?"" "This was John's second Academy Award nomination, for Pulp Fiction, and I remember John saying to Gene," ""So, how many times have you been nominated?"" "And Gene said, "Well, I won twice." "I've been nominated six times."" "That sort of was a funny moment for John." "This is a restaurant called Café Med that we're about to look at." "DeVito, when we shot this, was about three weeks away from shooting his own movie that he was directing, called Matilda." "We'd call him and say, "We need you here in an hour." "Come down."" "And he'd race down here, because we got ahead of schedule on this day." "Raced down, sat down there, and I just would yell at him as we were shooting:" ""Look at that girl!" "Smile!" "Yell at the waiter!"" "And he was incredibly great." "But this was the most difficult shooting." "It was incredibly hot." "It's noisy." "You want to shoot as little of a movie on a moving car as possible." "It's always the worst part of any shoot." "You can't direct the actors, can't hear what they're saying." "You're on another car yelling, "Do it again."" ""Back up." "Don't go there." "Wait." "Give him that other line."" "Cos you never want to stop the camera and go back to the beginning, cos you've got to make a U-turn, the cops have gotta stop the traffic, the truck's too big to turn around." "See, we're pulling this car from another truck called the camera car." "It's just a horrible way of working." "There's Angelyne." "We thought about hiring her for a part in the movie and then decided, "Maybe not."" "These were all stills that we shot for the movie." "His office, Harry Zimm's office, is a set designed by a guy named Peter Larkin, who's a great production designer." "This is called the cover set." "You go to a cover set cos you're supposed to be shooting outside and it's raining." "So we actually shot this over two rainy days." "We were on the set, and it was rainy and cold, and the water was dripping cos it wasn't a real stage, it was a warehouse." "It was a horrible thing, except it was also Travolta's birthday, so we had a nice birthday cake for him." "This is one of my favourite scenes in the movie." "I really like all the camera angles we used." "It's very visual." "The guys coming in are Delroy and a guy named Jonathan Gries, who's very good." "Here they come." "I love this shot." "It just sets up Travolta's relationship with Delroy right away, that push-in on him." "The idea for Hackman's office was that" "I just thought that his character was a guy who never threw anything away, so it's incredibly cluttered." "It's got gaffer's tape everywhere, and props from old movies." "I remember I showed these dailies to Elmore Leonard, and he didn't like them, and I said, "Why not?"" "He said, "Well, the performances are great, but it's too messy."" "And the reason he said that was he was basing this character on a specific producer he had worked with once who didn't have a messy office." "But he came around to liking it." "There's that chai on Hackman's neck again." "For me, in many ways, this is where the movie begins." "It really sets Travolta's character up as a guy who doesn't talk more than he has to, has total self-confidence." "In fact, the reason I wanted to hire DeVito to play the role that Travolta played is because, for me, the movie isn't so much about Hollywood as it is an exploration of self-confidence." "And how, if you're self-confident, you can get whatever you want and be successful." "DeVito's the singular most self-confident person I've ever met." "That's why I wanted Danny to play him." "Watch Gene's reaction." "See, he shows us all his teeth." "Delroy said, "I've seen better film on teeth", and Gene gives us a big grin just to show us his teeth." "The editor didn't like this shot where I pull back to reveal this guy, Ronnie." "He felt it was too self-conscious." "But I made him put it back cos I liked it." "This was a last-minute idea, when I panned around, to continue panning and reveal Gene." "Most of the time I design the shots ahead of time." "The Sunday every week before that week's work" "I sit down and spend Sunday designing all the shots for the week." "But that's one shot that I just thought about on the set right then and there." "I think it ended up taking three days to shoot this whole scene." "Maybe two." "This scene coming up here was Rene's hardest scene." "But the idea of her being dressed as if she was in a B-movie was totally her idea." "Rene came to me in preproduction and said," ""What if I come in dressed like a real bimbo?"" "It was written for a different way of playing it, and I really liked the idea, and it was totally hers." "This scene was supposed to be half inside the house and half outside." "It was pouring with rain, so I redesigned it this way so that she would stay in the house instead of them going outside." "And it actually works much better." "When we did this shot, she was in a hurry to get out because the premiere for Outbreak was that evening, and you can see the sun setting in the background of the shot." "And she was doing this and desperately trying to get out, cos she had an hour to get changed, look glamorous, and be at the premiere of Outbreak in Westwood." "I like this, cos it feels like Romeo and Juliet." "So I got lucky." "Because it rained, I moved everything inside, and I think it really helps the romance to play it this way with her on the balcony." "This is, in many ways, the most controversial scene in the movie, because this guy, Ray Bones, hits Linda Hart." "Fay Devoe's her name." "Whenever we had previews, you would say," ""What's your least favourite scene?" and they'd say this scene." ""You have to take it out." "You shouldn't show someone hitting a woman."" "My feeling was, first of all, it's OK not to like this scene." "You're not supposed to hit a woman, but there'd been no action for 20 minutes, and I thought it would help to just wake up the audience." "So I thought, "Well, let him hit her."" "It also makes him a more horrible guy." "A real guy, and not just a clown." "Cos up till then he's just been beaten up time and time again by Travolta." "And later on in the movie he has to feel really threatening." "So I left this scene in, but it's not my intention to say that it's correct to hit women." "Hey, look." "This is me." "That's me being a doorman." "Although I also look like I could be on a bottle of gin." "I look like the gin label." "This was shot at the Century Plaza Hotel." "I love David Paymer, I think he's a great actor." "We shot this over two days in a real room at the Century Plaza in Los Angeles." "There's John in the background." "That insert was shot on a stage three months after we were done shooting." "We had many levels of performance from David Paymer, but the one that interested me the most was the most whiny." "So I kept asking David to be whinier and whinier." "He was afraid he was getting too whiny." "But we pretty much used all the whiny stuff." "This is my favourite part of the scene coming up." "I could've ended it here, but I had this funny idea when I was reading the script about doing this interesting thing with the camera, where I was pulling back further and further and further away from him," "as if it was John's back's point of view." "Then when John turns around... it frightens him and he runs inside." "It just sort of allows the camera to make John seem even more powerful." "So I just always liked this scene." "This is at Hollywood and Vine or something, in LA." "And now, that's the real exterior, but when we go inside we're back on that set we built." "You want to have Travolta walk in a movie as much as possible." "He has a very specific, wonderful walk in every movie he does." "We shot this whole scene in one night." "I really like this scene a lot." "It's the most sort of Hollywood scene, in a lot of ways, cos these two guys that know nothing about film are not only discussing film, but think they know how to fix films and write films." "Everyone thinks they can write a script." "Everyone's an expert." "I wonder, would that work?" "You know who I see for the part of Al Roxy?" " Harvey Keitel could play it in his sleep." " He was pretty good in "Fingers"." "There was just something about Harvey Keitel in Fingers." "Keep paying attention to Harvey Keitel, because he may show up later on in the movie - uncredited." "The problem with these kinds of scenes is you got two people in a room talking, and you better have good dialogue cos there's nothing going on with the camera." "Over singles, it's exactly the way I don't like to shoot movies." "But this movie was really talky." "I moved the camera less in this film than probably I have in any of the other films." "This is Touch of Evil." "When I first met John and tried to convince him to do this film, his initial reaction was to turn it down, and one reason was cos he didn't feel we really believe that Chili Palmer was a film buff, his character." "So we wrote this scene and put it in the movie to show that John's character was really legitimately in love with films, and not just a sycophant or someone who just talked about movies." "I love John's performance here." "There's a great moment coming up when he just laughs to himself." "It's also a great scene for the movie, because it lets Rene Russo's character see that Chili isn't just coming on to her, using this movie thing, but he really truly loves movies." "And I think she finds that really attractive, his sort of boyish innocence in this scene." "Here we go." "Now he's gonna laugh." "Basically, that's what I do when I watch Dr Strangelove." "I'm always saying the lines before Peter Sellers or Sterling Hayden say their lines." "I'm, like, one step ahead." "It's my favourite movie." "I drive everyone crazy when I watch Strangelove with them." "I love..." "Coming up you're gonna see John tapping this guy in front of him." "He's such a kid in this scene." "I love it." "There's the DeVito poster for Napoleon again." "This was a walk-and-talk we did on Wilshire Boulevard and about 14th street." "While we were lighting this whole scene, which took about three hours," "John was in his camper, meeting tailors from Armani, Hugo Boss, agnès b, cos he was getting a free tuxedo for his Academy Award appearance." "So he was in his camper, torturing various tailors, trying to decide which company to go with." "I don't know where he went." "He may have gone Hugo Boss, I'm not sure." "I like this location, because I was living two blocks away at the time." "I live back east, but we shot this in LA, so I brought my family out and we were living on 12th, then Carlyle, and this was 14th and Wilshire." "So it's why we picked that particular movie theatre for the exterior." "The interior was somewhere in Hollywood, but the exterior was in Santa Monica." "All right, there's a shot coming up called a dolly zoom." "This shot here." "You see how he stays the same size but the background changes?" "The way you do that is, you're on a dolly with a zoom lens, and you start the camera at 100mm, faraway, and then you dolly towards him and widen out the lens at the same time." "So at the end you're then on a 17 mm only a couple of feet away from him." "So his head remains the same size." "This was the very last shot we did." "The last night." "Those women are totally naked, but you wouldn't know it cos we're so far away." "That was shot in Santa Monica, and this shot was shot in the Hollywood Hills." "That actor back there, his name is Jacob Vargas." "He's really funny." "I think this was shot the actual night that the Academy Award nominations were announced at 5am, so John, in fact, wasn't here cos he was down on our other set, the Harry Zimm set, with Good Morning America," "waiting to see if he got nominated." "So he's on a little platform, Yayo is, about four feet above." "He's just falling down onto the floor." "And then that shot was done with a stunt man with something called the de-accelerator." "So he's on a cable and is actually free-falling until the last two feet, and then he slows down." "See this part of the scene?" "I took this out, I put it back in, I took it out." "I finally left it in and then we got a big laugh." "This was shot in Beverly Hills." "You'll notice something very important in this scene." "When the car pulls up, see the way it's heading?" "At the end of the scene, when they leave the house, the cars will both be pointed in the other direction, aimed downhill." "But I didn't think anyone would notice." "This was a Steadicam on a crane." "It started high and then as the crane gets to the bottom, the Steadicam operator, Steve St John, walks off the crane and then walks into the shot." "See, it's all one shot?" "That girl's name is Renee Props." "Which is a problem, cos you can't call her "Renee" cos of Rene Russo, and you can't call her "Props" because all the prop people show up." "So this is a Steadicam shot, sort of pushing down the staircase." "In the novel, this took place in the basement of a club, but, again, I wanted to show as much of Beverly Hills, Malibu..." "I wanted to show as much Hollywood as I could." "This is Danny DeVito playing Martin Weir." "Sort of a pompous, self-important actor." "Coming up is one of the biggest laughs in the movie, totally accidental." "You see how Danny has got his face sort of twisted right?" "Like that?" "We cut to this painting, which was done by the set dresser." "The painting was eight grand." "We thought, "OK." "We'll do it, but it's a lot of money."" "You put it in, next thing you know it's one of the biggest laughs, and everyone thinks you did it on purpose." "So when we shot this scene, it was one week from Danny starting Matilda." "He was a week from directing his own movie." "This was an eight-page scene, which you would normally do over four days." "And we did all of Danny's coverage in one day, and all of John and Rene's in one day." "We ended up doing it in two days." "I love Rene in this scene, because she doesn't do anything except react." "And all the big laughs are off of her reactions." "When were shooting this scene, Elmore Leonard, who wrote the novel, visited." "So that made me very nervous, because I was sitting there the whole time thinking, "What would Elmore do?"" ""Does Elmore feel that Danny's talking too fast, or should Rene stand up?"" "And, of course, he didn't care at all." "One of the secrets to directing is never to say "Cut", cos the only time a director actually has control over a scene is when the actors are actually talking and the film is rolling." "Once you say "Cut", everyone comes in with combs and brushes and starts playing with people's hair, and the cameraman puts a different light up." "Danny, because he's also a director, knows that, so whenever Danny would screw up a line, instead of me calling "Cut"," "Danny would say, "Sorry, I'm gonna back up."" ""John, give me that other line, because I'm gonna say..."'" "We would keep rolling and never call "Cut", and that's the reason we got through it all in a day on Danny's angles." "We have great outtakes from this scene of Danny doing all this stuff, playing his Shylock." "This is one of my favourite scenes." "I love working with Danny." "He's incredibly funny." "Because we were shooting in Beverly Hills, everyone would visit us cos it was near their offices." "When we were shooting this, Gabriel Byrne showed up." "Lots of agents would show up, Danny's agent, my agent." "Tom Laughlin, who played Billy Jack, showed up." "This was shot in a restaurant called Abiquiu on 5th and Santa Monica." "Which is also a great restaurant, by the way." "It's Santa Fe." "The secret here was we needed a restaurant with a long, public staircase, as you'll see later in the film." "(man) It's fucking cold outside." "The guy on the radio said it's gonna get down to 34." "It's 34." "That's freezing, for Chrissakes." "Yo, Chili." "What, are you spacing?" "They're closing down the Granville, that theatre down on Biscayne." " The guy owes Momo a couple of Gs." " I know." "I was thinking maybe Momo should buy it." "I could run it, show Cagney movies." "What's he gonna want with an old theatre that shows movies no one wants to see?" "Outside of maybe turning it into some kind of a porno house." " I'm gonna go talk to this Chili." " Besides, you've got a job." " Yeah." " Hey, Ray, how you doing?" " Good." "You?" " OK." "Hey, can you believe this weather?" "It's Miami Beach, for Chrissakes." "Chili Palmer." "It's chilly outside and it's Chili inside." "It's a regular fucking Chili-fest." "(laughter)" " How you doing, Ray?" " Obviously much better than you, Chili." " That was a good one." " (Ray) Yeah." "Yeah." "Hey, when you're done staring out the window, I'll meet you back at the office." "Hey!" " Where's my coat?" " It's not one of these?" "Do you see a black leather jacket like the one Pacino wore in Serpico?" " If you don't, you owe me $379." " But the sign..." "I didn't come to Florida to freeze my ass off, you got that?" "So you either find my coat, or give me the $379 my ex-wife paid for it at Alexander's." "(speaks Italian)" " Wait a minute." "Ray Bones took my coat?" " No, he didn't take it." "He borrow it." "Somebody took his coat, so Mr Barboni tried this other coat and it fit pretty good." " That was my coat." " He was wearing it to go home." " He's not gonna keep it." " My car keys are in that coat." "Mr Barboni is a good customer." "He works for Jimmy Capp." "I know who he works for." "Where's your phone?" " Are you sure Ray Bones took the coat?" " That's what the man said." "I see on the TV weather tomorrow's gonna be warm." "You don't need the coat." "This is it." "Hey, Chili." "Get the coat, just don't piss the guy off, OK?" "Then we're gonna have to call Momo to straighten it out." "Momo's gonna be pissed off for wasting' his time." "We don't need that." "Don't worry." "I'm not gonna say any more than I have to, if that." "(Ray) Yeah, yeah, yeah." "Just a minute." "What are you, fucking nuts?" "My nose." "My nose!" "(muffled yelling)" "Uh-oh... (old man clears throat)" "(old man clears throat loudly)" "Holy shit!" "Somebody call nine-fucking-one-one-one!" "Somebody call nine-fucking-one-one-one!" "What do you want me to do, Ray?" "Go to war over a fucking coat?" "You're lucky the guy didn't kill you." "The coat was a Christmas present, for Chrissakes." "Jimmy, you gotta do something about this guy." "He's running amok." " And he's got no fucking respect for us." " He's got no respect for you." "And I don't gotta do shit." "Chili Palmer don't work for me, he works for Momo up in Brooklyn." "So as long as Momo's around, nothing happens to Chili Palmer." "Do you understand?" "Over here." "(man #1) We're here, Momo." "I hope you guys checked this place out good, cos I'm goin' in alone, and I don't want no fuckin' surprises." "(man #2) Oh, yeah." "I checked everything, Momo." "(laboured breathing)" "(coughs)" "(panting)" " (man) Yeah, who is it?" " It's Momo." "Surprise!" "(~ "Chilli Hot" by Us3)" "(Chili) You're never gonna sleep again?" "No, I said I'm never going to bed." "There's a difference." "This article says most people die in bed." "I figure if I stay out of bed, I'm safe." "What?" "That's the dumbest thing I ever heard." "Where are you gonna sleep?" "In my recliner." "You know, the tan one in the TV room." "Or I'll go to the coffee shop, slide into a booth, pull my hat down." "How many people you know died in a coffee shop?" "You cut straight hair in here, or just fags?" "(laughs)" "Hey, Bones." "That's quite a scar you got on your head." "Why don't you have these guys fit you for a rug, cover it up?" "You two geezers, take your game to the park." "This man is the man." "Understand what I'm sayin', motherfucker?" "He's Mr Bones." " You speak to Mr Bones from now on." " Come on, you can do better than him." "Not these days." "Not unless you speak Spanish." "You got a miss." "Leo Devoe is six weeks over." " He's dead." " How do you know?" "Did he tell you?" " Yeah, he told me that he was dead." " Personally?" "Yeah, Ray, he personally told me he got killed in a jet crash last month." "Maybe he took out flight insurance." "Go check with his wife." "You check it out, it's your book now." "He owned some dry-cleaning store." "Let me explain something to you." "Momo is dead, which means that everything he had now belongs to Jimmy Capp, including you." "Which also means that I speak for Jimmy." "E.g., from now on, you start showing me the proper fucking respect." ""E.g." means "for example"." "I think you mean "i.e."" " Bullshit." "It's short for "ergo"." " Ask your man." "To the best of my knowledge, "e.g." means "for example"." "E.g., i.e., fuck you." "The point is that when I say jump, you say "OK", OK?" " Yeah, Ray, OK." " All right." "Now, you owe me the dry-cleaner's 15 Gs plus the juice, which is another... 2700." "You get it from his wife or out of your own pocket, I don't give a fuck, but you never hand me a book with a miss." "We'll see you, Ray." "Go see the dry-cleaner's wife." "You've got three days." " I told you not to piss him off..." " Don't say another fucking word, OK?" "I hate the dry-cleaning business." "I hate being inside all day around all those machines." " Must be hot." " You have no idea how hot it is." "You know, Fay, I was wondering." "Did Leo have life insurance?" "I don't know of any." "I trust you, Chili." "I think you're a decent type of man even if you are a crook." "Thank you." "Thank you, Fay." "I wish he really was dead." "He's a son of a bitch." "That's him." "Called himself "Larry De Mille"." "Hit on every showgirl in town." "He'd tell 'em he was the "Martinizing King of Miami"." "What a moron." "Anyway, he's in LA." "We put him on a plane after he spanked a cocktail girl." "Leo spanked a cocktail girl?" "He invites her to Santa Anita to play the ponies, she tells him what to do with that, he gives her one on the tush." "My guess, he's by his lonesome at the track right now." "Chil, if you decide to go to LA, this guy owes us $150,000, some movie producer." "Movie producer?" "Really?" " Yeah, why not?" " I appreciate that, man." "You're gonna love this guy, another fucking moron" " Harry Zimm." "(Chili) All right." "Thanks a bunch." " Where is it?" " Right there." " What is that?" " It's an Oldsmobile Silhouette." " I ordered a Cadillac." " That's the Cadillac of minivans." "Are you kidding me?" "La Tijera Car Rental is right over there, but I think all they've got is Rabbit convertibles." "I guess I'll take the Cadillac of minivans." "(chat show on TV)" "Harry." "Harry, goddammit." "Wake up." "Somebody's downstairs." " What's wrong?" " Somebody's downstairs." "Shh." "Be quiet." "Listen..." " I don't hear anything." " Right there." "(laughter/applause)" "That's the television." "When I came upstairs, I told you to turn off the television when you were through." "I also told you you could sleep in the maid's room." "Yeah, I did that." "I turned the television off with the remote, then I laid it on the floor." "You know what coulda happened?" "The dog came in, stepped on it and turned the television back on." "I don't have a dog, Harry." "You don't?" "What happened to Muffy?" "Are you gonna go down there, or do you want me to do it?" "No, I'll go." "Hurry." "Anybody skimming' the pool?" "It needs it." " Harry!" " I'm going, I'm going." " I gotta go to the bathroom." " Harry!" "I'm going." "Jesus!" " Do you get cable?" " Yeah." "Did you get one of those satellite dishes?" "Where I live..." "How many channels of TV do you get where you live?" "Probably 40, 50 channels." "Are you on the information superhighway?" "Where I live" " I get all the premium services" " I get 2800 different channels." " 2800 channels?" " 2800." "And if I wanted..." "Harry Zimm." "Jesus Christ!" "How ya doing?" "I'm Chili Palmer." "Jesus." "If I have a heart attack, I hope you know what to do." " Where you been, Harry?" " Have we met?" "I don't recall." "We just did." "I told you." "My name's Chili Palmer." "You're in pictures, right?" "What would happen if I had a heart attack?" " Look at me, Harry." " I'm looking at you." " Keep looking at me, right here." " That's what I'm doing." "You know Dick Allen, Mesa's Casino?" "That's what this is." "You're a collector for the fucking casino." "You come here in the middle of the night..." "I thought you were an actor auditioning, for Chrissakes." "We'll see about this." "Operator, let me have Las Vegas inform..." "Let me give you some advice." "Don't act like a hard-on when you're in your undies." "What you wanna do is sit down and talk to me." " Harry, a marker is like a cheque..." " I know what a marker is." "They don't wanna deposit yours and have it bounce." "That annoys them." "Dick Allen's been leaving messages and you haven't gotten back to him." "He asked me as a favour to look you up." "I follow you here, and I see you in the window with a woman." "Looks a lot like Karen Flores, the actress from Grotesque." " You're not looking at me." " Why do I have to keep looking?" " Because I want you to." " So now you gonna get rough?" " I make good or you break my legs?" " Come on, Harry." "Mesa's?" "You tell Dick Allen I'll cover those markers in 60 days at the most." "If he doesn't like it, that's his problem, the fucking prick." "So, you want me to call you a cab?" " So you make movies, huh?" " I produce feature motion pictures, no TV." "You mentioned Grotesque." "Karen Flores was actually in Grotesque Part II." "She also starred in three of my Slime Creatures releases." " You may have seen them." " I got an idea for a movie." "(Harry laughs)" "(Chili) What this guy looked like..." "You can't imagine what a pathetic little guy." "(Harry) Don't tell me." "Bermuda shorts and black socks?" "(Chili) No, wait for this." "Leo would wear plaid wool hats in Miami in the middle of the summer." "(both laugh)" "He doesn't want anyone to think he's bald, so he wears a fucking cap." "Karen." "Karen." "Say hello to Chili Palmer." "Chili, this is Karen Flores." " It's a pleasure to meet you." " How'd you get in the house?" "He just told me an idea for a movie." "It's not bad so far." "Sit down and have a drink." "Tell Karen." "See what she thinks." "Maybe you didn't hear me." " I came in the back door." " You broke in?" "It was open." "It wasn't locked." "Huh!" "Well, what if it were?" "You wanna hear this idea?" "A dry-cleaner scams an airline out of 300 grand." " Tell her." " It's simple." "Basically, this guy owes a shylock $15,000." "He's three weeks over on the vig." " That's the interest." " I know what vig is." "This dry-cleaner - let's call him Leo - he's scared." "He doesn't know any better." "He leaves town." "Leo gets on a plane, but it sits there, it doesn't move." "They announce over the PA there's some mechanical problem." "They'll be there maybe an hour, but "Keep your seats" in case they fix it sooner." "The guy's nervous and in no shape to sit and sweat it out, so he gets off the plane, goes into the cocktail lounge and starts throwing them down, one after another." "He's still in the lounge when the plane crashes on takeoff." "When the guy finds out it was his flight, he can't believe it." "If he'd stayed on the plane, he'd be dead." "He knows his luck has changed." "If everybody thinks he's dead, he won't have to pay back the 15 or the vig." "Keep going." "Leo's name is on the passenger list, so his wife is brought to the airport, where they're going through personal effects." "Leo's bags were on the plane, so she tells 'em what to look for, things that only she would know about." "Ohh!" "Oh, my Leo!" "My Leo!" "A couple of days go by, and people from the airline go to see his wife, tell her how sorry they are their plane exploded." "They offer a settlement based on what he would've earned the rest of his life." " How much is the wife offered?" " 300 grand." "So they take it." "Money in the hand, babe." "He gets his wife to cash the cheque, and takes off for Vegas with the dough." "He's supposed to call her, let her know when to come out." "She never hears from him again, but he's hot." "He runs the 300,000 up to 500,000." "It's driving him nuts, cos he's winning and he can't tell anybody who he is." "So we show in a back story his motivation, his desire to be famous." "He's got the dough to buy his way in, mix with the celebs, and he can't resist." "Then he comes to LA." "I dunno about the mixing with celebrities." "That was something that was just added, but, yeah, he comes to LA, and I don't know what happens after that." " That's it?" "That's your movie?" " I said I had an idea for a movie." "That's half a movie with holes in it." "There's maybe 40 minutes of screen time." "You don't have a girl, a female lead, and on top of that you don't have anybody to sympathise with, a good guy." " The shylock is a good guy." " The shylock's barely mentioned." "And the wife would never get a settlement that fast." "Harry doesn't realise it's a true story." "That Miami flight that went down?" "It was on the news every day for about a week." " That's where you got the idea?" " Part of it, yeah." "Wait a minute." "You're not the guy, are you?" "The dry-cleaner?" " No, you wouldn't be here if you were." " No, I'm not the guy." " But you do work for the casino?" " For God's sake." "He's the shylock." " Is that what you do for a living?" " That's what I did until recently." "But after I'm done here, I don't know what I'll do next." " Well, I got an early call." " No problemo." "Go on up to bed." "What I'm saying is I would like you and your new buddy to get out of my house." "Oh, yeah." "Well, sure." "It was absolutely a pleasure to meet you, Karen." "Hm." "I guess in your line of work there's times you have to get kinda rough," " if one of your customers don't pay." " They always pay." "You pack a gun?" " Not really." " You ever been arrested?" "I've been picked up for loansharking and racketeering, but never convicted." "I'm clean, Harry." "Racketeering." "Covers a lot of ground, doesn't it?" "Get to the point, Harry." "You want me to do something for you?" "That's us." "Good girl." "Don't say nothin' to me." "Sit down and act like you're waiting." "Nobody knows me here." "Give me the fuckin' money." "Sit down." "Now, be lookin'." "Man over to your right in the blue wool shirt, hangin' out." "The other way." "Derecho." "That's a federal officer." "Most likely DEA." "He moves his leg, you look for the bulge." "You savvy "bulge"?" "Good." "That's his backup piece." "Try it without lookin' right at him if you can." " What's your name?" " Yayo Portillo." "All right." "Just forget about him." "I'm gonna get up, as soon as I'm gone you sit in my seat." "What you feel under your ass is a key to a locker where your half million is." "And some product we're returning." "Been stepped on so many times it's baby food." " You need to give me the money yourself." " Try to be cool, Yahoo." "I told you where it is." "Do it just how I told you, and have a safe trip home." "What d'you have for breakfast, baby?" "How come you weigh so much?" "You have a burrito?" "Give it to the nice lady." "There you go." "You have chocolate all over you." "Say thank you." "Bye-bye." "Like fucking clockwork, huh, Bear?" " Hi, Bo." " Are you ready to go for a ride, sweetie?" "I told you to watch your mouth round my daughter." "These guys, my investors, they run a limo service." "They came to me originally, put some money in a few of my pictures, did OK, they're happy." "This was a few months ago when I was planning my next picture." "About a travelling band of killer circus freaks leaving bodies in their wake." "There's a 700lb fat lady who has a way of seducing guys..." "Look at me." "You're trying to tell me you fucked up without sounding stupid." "That's hard to do." "Let's talk about where you're at." "You blew 200 grand of these limo guys' money on a football game in Vegas, and you didn't tell 'em." "Why?" "They wouldn't have taken it with any understanding or restraint." " First thing they'd do is break my legs." " If you were so scared," " why take it to Vegas to begin with?" " I needed half a million to buy a script." " A movie script?" " A blockbuster, but quality." "No mutants or maniacs." "This is gonna be my Driving Miss Daisy." "Murray Saffrin, who wrote it, did all my Grotesque pictures." "Had it in his drawer for 20 years, shows it to me one day," " says he's got a major star interested." " Which star?" "Two-time Academy Award nominee, Martin Weir." "Martin Weir." "He's the one who played the mob guy turned snitch in Cyclone." "One of his best parts." "His best part was the crippled gay guy who climbed Mt Whitney." " Ride the Clouds." "Good picture." " The woman looks familiar." "She's a rock star." "Every day, same time, they come here and have breakfast." "He faces west, so he sees his billboard." "She faces east so she can wear shades." "Anyway, Murray's shrink happens to be Martin's personal trainer's shrink." "Murray's shrink gives the script to Martin's trainer, who reads it to Martin." " Martin loves it." "He flips." " So what's the problem?" "The problem is Murray." "Heart attack." "Doris, Murray's widow, finds out about this Martin Weir thing, and because we didn't have a contract, she wants half a million for the script." "So you want me to put you next to my dry-cleaner so he can invest in your movie." "That, or what if some tragic accident were to befall the widow Saffrin?" " No, Harry." "I'm not gonna pop her." " It was just a thought." "I'll meet the limo guys, tell 'em to leave you alone in a way they'll understand." " You don't know these guys." " I know 'em a lot better than you do." "(chuckles) I asked this literary agent what kind of writing paid the best." "He said ransom notes." "Here it is:" "Mr Lovejoy." ""Lovejoy sits behind the wheel, watching the bar across the street..."" " Is he following someone?" " Read it, it's a grabber." "Hm... (car door slams)" " Harry, I think your investors are here." " Oh, Jesus." "All right, this is the plan." "I want the limo guys to sit here on these chairs." " You got that?" " Yeah." "No, keep the blinds open." "I want the light in their eyes." "I'm gonna sit at the desk." "And don't introduce me, just start talking." "And stand behind them as they sit down." "Understand?" "They'll be looking at you, but they don't know who you are." "That's right." "They'll be saying, "Who is this guy?" But do not tell 'em who I am." " I gotta say something." " No, you don't." "Unless it's "Glad you assholes stopped by, now I can straighten you out."" " You're kidding, right?" " Just say the movie's been postponed." "And don't say anything about Mr Lovejoy." "You got that?" "All right, let's go." " Hey, Ronnie." " Harry." "Hi." "Wow." "Have we entered a time warp?" "I feel like I'm in Hollywood of yesteryear." "(Harry) Have a seat right there." "This is my associate, Chili Palmer." "He'll be working with me." "Just so there's no misunderstanding, despite any rumours you may have heard, your investment in Freaks is just as solid as the day you signed the agreement." "I can hear you, man, but where the fuck are you?" "Right here." "What I've been wondering is, where's he been?" "Yeah, where you been, Harry?" "We haven't heard from you lately." "New York." "I was interviewing actors, scouting locations." "The main thing is that Freaks is gonna be put off for a couple of months." "Just a couple of months." "We need more, um... um..." "Hey, Harry." "Bullshit, man." "We have an agreement with you." "No, we're gonna do this picture." "We are going to do it." "I just have another project to do first, one I promised this guy for years." "I wanna see your books." "Just show me where it is." "A two with five zeros after it, in black and white." "I wanna see your books, your fuckin' bank statements..." "Hey, Ronnie." "Look at me." "You have a piece of a movie, that's all." "Not a piece of Harry." "If he wants to do another movie this year, that's how it's gonna be." "Excuse me, bro, but who the fuck are you?" "I'm the one telling you how it is." "Cat..." " What is this other movie you're doing?" " Harry, let me answer this one." "First of all, who am I talking to?" "Am I talking to him, or to you?" " You can talk to me." " That's what I thought." "Let me put it this way: outside of Freaks, it's none of your business what we do." "Oh!" "Here it is, right here." "This is the project:" "Mr Lovejoy." "I don't want you to think I'm trying to put something over on you." " Mr Loveboy?" "What is it, a porno flick?" " It's fluff." "You wouldn't be interested." "You think we watch your movies?" "I've seen better film on teeth." "It makes no difference to me which one our money's in." "So how 'bout you take our 20 points out of Freaks, and put 'em in Mr Loverboy?" "No, I can't do that." " You're positive about that?" " It's a different kind of deal." "It's... structured..." "OK." "Then be good enough to hand us our money back." "Or you think about us coming in on this new deal." " Let us know." " By Friday, man, or you're fucking dead as disco, you hear me?" "You take your time." "We're not animals, are we, Ronnie?" "What?" "What?" "Maybe I wasn't clear, but I thought I told you to keep your mouth shut." "I had to tell 'em something." "Never say anything unless you have to." "You asked me to get them off your back." "Then you say, "Have a piece of Mr Lovejoy."" "I couldn't believe my fuckin' ears." "I told them I would think about it." "In this town, that means nothing." "That's the difference between you and me." "I say what I mean." "If I want something from someone, I ask him straight out." "If I want Martin Weir, I go get Martin Weir." "I don't fuck around with his trainer's shrink." " Shrink's trainer." " Take me back to my car." "(ringing tone)" " Yeah?" " Tommo." "Chili." "Hey, where you been?" "I been lookin' all over for you." "Ray Bones is looking for you." "Where the hell are you?" " I'm in LA now." " What are you doin' out there?" "I'm going into the movie business - producing." "What do you know about makin' movies?" " Producers don't have to know much." " I think you're full of shit." "(keys jangle)" "I gotta go." "Call me when you know more about Ray Bones." " Hey, Karen." "How you doin'?" " What are you doing here?" "Listen." "I wanted to come by and apologise for breaking in the way I did last night." "Let me get this straight." "You broke in again to apologise for breaking in before?" "Your patio door was open." "You shouldn't do that." "You got nice things in this house." "Well, make sure you lock it on the way out." " You had a bad day, huh?" " I spent all day crawling out of a grave." "The director said I couldn't reach the emotional core of the character." "Obviously he didn't see you in Bride of the Mutant." "You saw that one?" "When you turn to the camera, and you say to the alien mother that her time on earth is finished," "Joan Crawford on her best day wished that she'd had, in her day, the emotion, the intensity, you had in that scene." " It was a good scene, for a horror movie." " No, for any movie." "I know I'm better than what I've been doing, walking around in fuck-me pumps, waiting till it was time to scream." " Yeah, but what a scream." " Oh, yeah." "It's a real gift." "All I'm saying is, it would be nice to get the chance to say one great line." "Like Bette Davis in Cabin in the Cotton, where she walks up to the guy in the porch and says," " "I'd kiss you..." - "But I just washed my hair." Great line." "How come you don't do movies with Harry any more?" "Because being married to the great Martin Weir was a full-time job." " Have you read Harry's new script?" " No." " He says it's the best thing he's ever read." " He must mean after Slime Creatures III." "Is that why Harry came over here, to ask you to help him put Martin in a movie?" "Harry's dreaming of a $40 million production he'll never get off the ground, with a star he'll never sign with or without my help." " But he said Martin flipped over it." " Martin's known for his flipping." "He flips over a script, then when it's time to make a deal, he flips out." "Why don't I go to Harry's office, pick you up a script, and you can read it yourself?" " Don't go out of your way." " Nah, it's nothing." "Well, I better go have a talk with Leo, my runaway dry-cleaner." "Right." "See how your story ends." "That movie Touch Of Evil is playing near my hotel." "We can go check it out if you want." "Watch Charlton Heston be a Mexican." "That's all right." "Another time." "See you around." "Yeah..." "See you." "(~ "Are You Havin' Fun?" by Tony Bennett on car radio)" "Hi." "My name is Ray." "I'm a friend of Chili Palmer's." "Have you spoken with Mr Palmer since your husband blew up?" " Once or twice." " And what was it you talked about?" "Nothing really." "This and that." "This and that?" " (weeps)" " Fay?" "Fay, honey?" "I want us to be friends." "I really do." "And we all know that friends don't hit each other - unless they have to." "So what do you say we start all over again, and you tell me exactly what the fuck is goin' on?" "Huh?" "OK?" " Good evening, sir." " And a very good evening to you, too, sir." "Thank you." "Leo..." "Look at me." "I'd have never thought you'd be so dumb." "Leaving over 300 grand in a closet, under an extra blanket." "But I guess you are." "I didn't know where else to keep it." "Where would you?" " How about a bank?" " No." "They'd report it to the IRS." "You don't open an account." "You put it in a safe deposit box." " You dip into it whenever you want." " How did you know that I was here?" "Here's another tip: next time you write to your wife, don't use hotel stationery." "It was Fay who told you about the money." "Did she tell you my whole life history, for Chrissake?" " Leo, I'm here to save your ass." " How?" "By taking my money?" " No, the money you won today is yours." " It's all mine." "Leo, sit down." "I don't know how you got this far, you're so fuckin' dumb." "But you're through, and I'll explain why." "I hope you will understand." "Ray Bones is the man you are dealing with now." "And when he finds out what you did, he'll take everything, including that sporty little hat." "Then most likely he'll shoot you, so you won't tell on him." "Now, I'm not gonna do that." "I'm not gonna hurt you." "You've got 310,000 here." "I'm taking the 300 you scammed from the airlines, and the ten that's left over, I'll borrow from you and pay back another time." "Wait." "You take all my money, but you're borrowing part of it?" "At 18%." "Don't ask another fuckin' question." "I'm leaving now." "But you won't know where I am." "I don't even know where I'll be." "I'll find you, Leo." "You leave a trail like a fucking caterpillar." "Hey!" "Hey, wait a minute." "What's this 18% a year shit?" "You wanna borrow ten, the vig is three bills a week." "That's 15 for the vig, plus the ten, that's 25 big ones." "You go the whole year, buddy!" "Hey, you hear me?" "This is good, this Mr Lovejoy." "It needs a better ending, but yes, I can see why Harry wants to do it." "You understand, I knew he was lyin', sayin' this wasn't any good, but holding on to it, like you'd have to break his fingers to get it away from him." "That's funny." "I was thinking what I'd have to break of yours to get away from you." "I'm explaining why I'm here, in case you thought I came to rob the place or rip off any of this dusty old shit." "I wouldn't make you out to be a burglar in that outfit." "Harry called you his associate." "What does that mean?" "I mean, I never heard your name, or read it in Variety or anyplace." " That's what he said." "I'm his associate." " You must bring something heavy." "I do." "Me." "It says here you're getting Martin Weir to play Lovejoy." " That's right." "We're getting Martin." " Come on." "How you gonna do that?" "I'm gonna take a gun, put it to his head, and say," ""Sign the fuckin' papers, Martin, or you're dead." That's it." "I wonder, would that work?" "You know who I see for the part of Al Roxy?" " Harvey Keitel could play it in his sleep." " He was pretty good in Fingers." "I missed that one." "You know who else?" "Morgan Freeman." "Morgan Freeman." "Yeah, but he's a coloured guy, though." "So what?" "Where does it say in the script the man's got to be white?" "Colour's what the part needs." "You need somebody to do it with some style." "So what do you think of the script?" "The first thing that's gotta go is the title." "The name "Murray Saffrin" would be better than "Lovejoy"." "I'm with you on that one." "You know what I'm thinkin'?" "Why don't you and I, we sit down, we write the script over where it needs it?" " You could write one of these?" " Nothin' to it." "All you do, you get an idea, you set down what you wanna say on paper." "Then you hire somebody else to fill in the commas and shit where they belong, maybe fix up the spelling where you have tricky words." "Although I've seen scripts, I know words weren't spelt right." "There was hardly any commas in it at all." "So I don't think that's too important." "All right." "You get to the end." "You write in "Fade out"." "You done." "That's it?" "That's all there is to it?" "Then what the fuck do I need you for?" "Because I'm offering my services on this one, man." "I tell you what." "If I need a ride sometime, I'll let you know." "How could you arrest me here?" "This is my country." "This is where you're going to die." "That was no miss." "That was to turn you around." "I don't want to shoot you in the back." "Unless you'd rather try to run for it." "(gunshot)" "Is she there?" "Did you bring my wife?" "(man) She's in the car." "I've got it all on tape." " You sure you got enough?" " Go play it back, you'll see." " (man #2) How many did you frame?" " (man #3) You'd better give me the gun." "(gunshot)" " "The second bullet I stopped for you."" " The second bullet I stopped for you." "You're going down, Orson." " Isn't somebody going to take him away?" " (man) Yeah, in a few minutes." " You really liked him, didn't you?" " "The cop did."" " The cop did." "The one who killed him." " "He loved him."" " He loved him." " Well, Hank was a great detective." " "But a lousy cop." - (woman) But a lousy cop." "Is that all you have to say for him?" "(woman) He was some kind of a man." "What does it matter what you say about people?" "Goodbye, Tanya." " Adios." " Adios." "Wow, huh?" "(sighs contentedly)" " You've been here the whole time?" " No, I just caught the end." "You know, Welles didn't want to do this movie." "He couldn't get out of the contract." "But sometimes you do your best work when you got a gun to your head." " I brought you a copy of the script." " I already read it." " How did you like it?" " It's not horrible." "I don't like the title or some of the characters." " So you read it?" " Not yet." "But I will." " You and Harry make a great team." " Is that right?" " I'll make a deal with you." " Found a character you like?" "I want to produce it, especially if I help him get Martin." " Well, hey, that's fair." " Yeah." " So, what do you get out of it?" " Did you come here to ask me that?" "I wanna know." " Why would anyone wanna be in movies?" " Yesterday you were a loan shark." "I was never that into it, and especially that bullshit about having respect." "It was bad enough treating these guys like heroes, smiling at their stupid comments." "You think the movie business is any different?" "I like movies, and I figured if I help Harry make a movie," "I'll find out what to do outside of raising money and having an idea." "That doesn't sound so hard." "I was in the money business, and I have a lot of ideas in my head." "I'm gonna talk to Martin tomorrow morning." "I told Harry I'd meet you and him at the Abiquiu restaurant afterwards." "This might just work out." "You never know." "Sounds fine." "(Chili) Adios." "I spent eight hours at the airport looking at people's bulges." "I don't like that." "This is not the way we do business." "You don't know who you're messing with." "I don't want no key." "I want the money." "You gonna smoke, you get the hell off my $70-a-square-yard carpet." "I told you where the money is." "All you gotta do is go and get it." "No." "I'll tell you somethin'." "I go to the airport and they bust me, I tell them I come to get something for you." " That's all I know." " That's all you know, huh?" "You wait here, Yayo." "I'll be back directly." "Keep an eye on him for me." "That's the way you get things done." " What the fuck you gonna do with that?" " I'm taking you out, Yahoo." "Did you see that?" "The way the man just went right over?" "Maybe we could get Chili Palmer up here." "You could fix my railing to give way like they do in the movies." "I invite him up here to have a look at my view, get him to lean over..." "It's the dumbest idea I ever heard." "Here's the thing, Bear." "What's the point of living in LA unless you're in the movie business?" "And I mean high up in it." "That's the reason Harry's going to produce Mr Lovejoy with me, not Chili Palmer." "I can't believe this map is accurate." "I bought it for $10 from a kid on Sunset." " We were meeting at the restaurant." " I know, but look." "Martin Weir lives across the street from George Hamilton." "Chili?" " Nicole?" " Jesus!" "It is you." "It's Nicki now." "I don't believe this!" " I know her." " Hm." "Hi, Nicki." "Karen." "Shit, I didn't see you there." "How are you?" "Come in, baby!" "You gotta come in." "You gotta meet Martin." "(Nicki) Where have you been?" "What have you been doing?" "Chili was the only one at Momo's who didn't try to hit on me." " What a gentleman." " Do you like my hair black?" "Nice, yeah, especially under the arms." "Martin won't let me shave." "I guess I fill some need." "It takes him back to the '60s or something." "Speak of the devil." " Karen, look at you." " Hi, Martin." "You smell so good." "She always smells so good." "Neat." "Martin, this is Chili Palmer." " Chili, is it?" " Nice to meet you, Martin." "Chili's a gangster." "Ran a club I used to play at for another gangster in Miami." " How is Momo these days, anyway?" " Dead." "Bummer." "I'll let you get to your movie talk." "Chili, do not leave without saying goodbye to me." "So... (Martin) You know how beautiful you are?" "You really are beautiful." "I'm sitting here..." "looking at you and having flashbacks, memories of us." " Really?" " Yeah, and I'm wondering..." "How did it go wrong?" "How did it all slip away?" "It didn't slip away, Martin." "You did when you fucked Nicki at my birthday party." " Yeah." "That was a good party." " Marty, you were so good in The Cyclone." "Martin." "Yeah, it was a beautiful role." "All I had to do was find the character's centre." "The stem I used to wind him up and he'd just play." "But you had that down cold." "If I didn't know better," "I'd have thought you was a made guy." "No acting there, right?" "And the fink part..." "Jesus Christ." "I never met a fink and I hope to God I never do, but the way you played a fink, that's how it's gotta be, right?" "Two weeks before shooting, I went back to Bensonhurst just to hear you guys talk." "I'm Italian, but I grew up in Tarzana." "So I wanted to get the rhythms of your speech." " We speak differently?" " It's more your attitude, your tone." "Your speech patterns demonstrate confidence in your opinions, your indifference to conventional views." " Like we don't give a shit?" " Yeah, kinda." "Yeah." "Anyway, once I get the authentic sounds of speech, the rhythms, the patois," "I can actually get into their heads, think the way those guys do." " Get inside." " Really?" "I'm one of those guys." "What am I thinking?" "Well..." "Don't get me wrong, an actual metamorphosis doesn't take place, that wouldn't be acting." " So you don't know what I'm thinking?" " No, I don't." "But I'm curious." " Do you want to know what I'm thinking?" " Yeah, if you want to tell me." " I'm thinking about a movie." " One of mine?" " No." "One that we're producing." " With what?" "Wise-guy money?" "Maybe this wasn't such a good idea." "I'm not connected to that any more, not since I left that loansharking operation." " The pressure got too much for you?" " I'm the one who applied the pressure." "Oh, yeah?" "Martin, can I ask you a question?" "You're an actor." " Actors like to pretend, right?" " We've been known to make-believe." "Pretend this." "You're a shylock." "A guy owes you 15 grand." "He skips town, he takes off." "What do you do?" "Martin, for Christ's sake." "Just, you know..." "I'm doing Shylock instead of a shylock." "All right." "What's my motivation?" "The acquisition of money, to collect, to inflict pain if I have to." "Guy splits with 15 large of my money?" "I go after him, what d'you think I'd do?" " Martin, look at me." " I am looking at you." "Look at me the way I'm looking at you." "Put it in your eyes." ""You're mine, asshole", without saying it." "How 'bout this?" "What are you telling me, that you're sleepy, you want to go to bed?" "All right, wait, wait." "OK." "Now you're squinting like you need glasses." " What do you...?" " Look at me." "What I'm thinking is "You're mine." "I fuckin' own you."" "But what I'm not doing is feeling one way or another about it." "You see, you're not a person to me." "You're an entry in my book." "You're just a guy who owes me money." "All right." "How about this?" "Ooh!" "Wow." "Not bad." "Not bad." " No wonder you're Martin Weir." " Oh, yeah." "That's what I think of you, asshole." "Nothin'." "I believe it." "I believe it." "So, I turn this on when I confront the guy?" "You haven't found him yet, because he split for Las Vegas." " How do I know that?" " Because his wife told you." "His wife told me." "OK." "(laughter/chatter)" " Harry, how you doing?" " Oh, hi." "Great." "I'm expecting some people." "You must be doing big deals, doing lunch in a place like this." "Yeah, I'm working on a few things." "as you'll see later in the film." "This was also the first location where we shot with Rene." "She was very nervous the first couple of days." "You'll see." "She shows up in a little while." "We cut around to John's shoulder on this shot because I added the line," ""He wants to take you out on account of you broke his nose."" "Which was never in the script, but in post, I thought it would help the audience to realise that Chili's talking about his own story." "So by mentioning the broken nose part, I felt it would help people remember about Ray Bones getting his nose broken back in Miami." "All right." "Now, check this out." "You'll notice that as we see the car, it'll be facing exactly the opposite way that they drove in." "Here's the problem." "I needed the cars looking a certain way, because, as you're about to see, I needed that back door visible to the camera, that back sliding door, and that only works on one side." "The other side of the car, the driver's side, doesn't have the sliding door." "And when I designed the shot, I knew that they had to drive in from left to right because of this very reason." "But on the day, the cameraman said, "Isn't this angle better?"" "I said, "It is prettier." "Let's shoot that way."" "And I forgot why I needed the car facing the other direction until I got ready to do the second part of the scene." "I said, "Uh-oh."" "But I decided no one would care or notice it." "But, of course, the cameraman, script supervisor, producer were all very upset and nervous that everyone would realise that they drove in right to left but were leaving from left to right." "But I don't think most people noticed." "Besides, maybe Danny DeVito's character had a valet parker change the cars around while they were inside talking to him." "Earlier, I was talking about how you want John Travolta walking in as much of your movie as possible." "Coming up is an example of what I mean." "You see John walking up these stairs, and you hear this music, and you immediately think about Saturday Night Fever." "It usually gets a laugh, just seeing John walk, he has such a specific walk." "You'll see why we needed the staircase in a second." "John does a nice little stunt here with this actor." "James Gandolfini is his name." "Watch this." "Going down the steps was done by a stunt man." "I really like this scene." "John's so strong in it." "See, he never has to raise his voice." "So, it's very difficult shooting on staircases." "There's not a lot of room." "This was all done with a Steadicam." "Again, this is Rene's first day of shooting." "Again, the problem is you've got a bunch of guys sitting around, so you just need enough angles so it never gets boring in terms of visuals." "And then, of course, you need a lot of really good writing and really good acting." "John looks really good in this scene." "This was Gene Hackman's first scene of the movie also." "So both Rene and Gene were just starting." "We had been shooting for three or four weeks when we got to this part of the film." "That's one of my favourite moments in the movie, John's little speech about Momo." "This key dropping in the water was totally Gene's idea." "He did it on the set, so we went with it, then shot that little insert many months later to help finish the scene off." "Look who it is." "Bette Midler." "Bette was great in this scene." "It was great that she was willing to do this little cameo role." "She was really funny." "I kept telling her be more Jewish." "She said, "I don't know what you mean, 'more Jewish"'." "But she's just the right amount." "Her line there about "My favourite colour." "Putty" was totally ad-libbed by her." "I tried to make this apartment look as much like my parents' as possible, so it's all brown and orange and cluttered, and all the stereo equipment is too old and dreary." "Except this is much less cluttered than my parents'." "It was a mistake to let Gene wear that grey and white and black bathrobe, cos it's too much like what Bette's wearing." "But I didn't realise that until I was about two weeks into cutting the film." "We shot this in a day and half." "They liked working with each other, and it was fun." "In fact, after the scene, Gene asked me if we could put Bette in other scenes, and we ended up adding another scene with her, totally based on Gene's idea, which was really helpful." "You'll see it at the end of the movie, that she appears again." "This was the most nervous I had been on the movie." "I was dreading for weeks this scene, because both Gene and Bette are such big-time actors." "I was nervous about the scene, and Bette being in her underwear." "But it was two of the easiest days of shooting, and Bette was just really funny." "I'm a big Mona Lisa fan." "You'll see this book throughout the movie." "Everyone's reading that book, Danny DeVito's character's autobiography." "This was shot in an apartment in Marina del Rey." "When we shot this, we had the other actor on the phone giving the off-camera line." "Sometimes you have the script supervisor do it, but, for instance, when Dennis was saying that line, his coverage, we called Gene Hackman at home, and Gene fed him his lines and vice versa." "You notice how Gene holds the phone so you can see his mouth and never lets the mouthpiece cover his face." "The name of this music is "Green Onions" by Booker T  the MG's." "There's five different Booker T pieces in the film." "Again, try and get John walking." "That's always good." "That insert was done by John's stand-in." "I like this shot." "See, it starts on John, and then he looks over to the locker, and it goes from seeing John to seeing his point of view." "C18, which is the magic number." "And then back to John again." "Now, here's that book, Weir'd Tales That My Cousin Told Me." "You'll notice that everywhere you look are magazines with DeVito's face on it." "There's Newsweek, Forbes," "Esquire, Rolling Stone." "In that Playboy, there's an interview with Martin Weir, the Danny DeVito character." "Entertainment Weekly." "Premiere." "Cos you'll notice that whenever some big-time actor has a movie come out, he seems to be on the cover of everything." "So that was the plan." "Kind of works." "There's endless amounts of locker stuff and airport stuff." "It was a real challenge to make it look interesting." "So, the hard thing was making it look like the DEA guys couldn't see John switching the lockers, yet letting the audience understand what we were doing." "So that shot where it's real busy, then this, where we're inside all those people." "It was just really hard to do all this stuff, working with all the extras and stuff." "Now, coming up is a really difficult Steadicam shot." "The next shot after this one." "It reminds me of a bad Kmart commercial." "See, we're on them, then we reveal this little scene here." "Then they leave frame, and we learn about this part of the story." "I was trying to connect, in one shot, these three different elements of the story:" "the drug guys, Ray Barboni coming to LA, him getting arrested at the locker." "But I don't know if that shot works or not." "Some people like it, I think it looks like a Kmart commercial." "This was at the airport." "There were planes out there, but it was raining, so we put paper on the window and blew the window out so it just looked bright." "If we had opened the blinds any more, you'd see pouring rain." "I love this shot." "Check this out." "He leaves the room carrying that bag of stuff, but in the next shot he doesn't have it." "This was supposed to be a moving highway, but we were behind schedule, so what we did is put this car in a parking lot, got a bunch of trucks to make it look like they were stuck in a traffic jam," "cos it's so much faster shooting these shots just static than to actually have a car moving and have to rig it." "So it worked out pretty well." "See?" "No bag." "But you got John walking, so who cares?" "This is one of my favourite scenes, both in terms of acting and the way it was shot." "And the dialogue." "I really love this silhouette." "I almost shot the entire scene without any coverage." "I was planning playing the whole scene this way, but I shot the coverage anyway." "And John was so strong in this scene I decided to use it." "I also think that John's performance in this scene is just incredibly strong." "He's threatening and strong without being loud or anything but totally self-confident." "Gandolfini's funny in this scene too." "The other thing I like about this scene is it shows John's character loving movies even while beating this guy up." "In fact, I almost irised in on this scene and made it seem like they were sort of in love with each other." "Like an optical iris." "But I think people got the message anyway." "This is one of my favourite scenes in the movie." "This scene and the scene after, where Gene gets beaten up." "Gene's character is doing the same thing Chili did at the beginning, trying to keep the sun in his eyes." "But it's not working." "This was in a garage over on La Brea." "Get ready for a big boom down into black right there." "It's a nice little way to do a transition from one scene to the next." "This actor, Miguel, he's really funny." "Nice man." "Sent me a box of cigars at the end of the movie." "Whenever you have actors in cars, you gotta do everything you can to not let the car move." "Once the car is driving, it's a pain in the neck." "It's hard to light, it's hard to hear the actors, you're in a separate car." "So I rewrote this scene so they weren't driving anywhere, but just sitting in the car, just in the garage." "So here we go." "This is a great scene." "Dennis and Gene are both hilarious in this scene." "So that was a foam telephone, and then we had the table weighted so it could go over easily and make sure that it wouldn't hit Gene." "This is Gene's stunt man doing this, but it looks incredibly like him." "Gene actually offered to do one take himself." "Dennis didn't want Gene to do it, cos he was afraid of hurting Gene and then having Gene getting mad at him." "Farina said, "No, don't let Gene do it, because if Gene gets mad at me," ""he's a big guy and he might hurt me," ""and the only way I'd be able to stop him is to shoot."" ""I don't want to be known as the guy that killed Gene Hackman."" "So I didn't let Gene do a take himself." "I really like this shot, this wide shot." "Watch Jonathan die in this scene." "He's really good." "Right to the floor." "What I loved about this scene is these two guys having the most inane conversation, and then cutting to Gene having to listen to all of this with a foot on his face." "When we were shooting here, it was raining for ten straight days." "This is the same place we shot the interior of her house." "And one afternoon it became slightly overcast, but no rain." "We ran outside to shoot this scene, which is all this one shot without any coverage." "And we just put a lot of orange on the lens to make it look like sunset." "But it was probably three in the afternoon when we shot this." "It was nowhere near sunset." "We had to do a bunch of takes cos there was no coverage." "I didn't cut into their close-ups." "I really wanted to play it all out in silhouette." "We dubbed a little line there, cos John says, "Why don't we call it Get Shorty?"" "But he actually said, "Get Chili", so we put..." "No, Get Martin, sorry. "Get Martin", referring to Martin Weir." "But we changed it to Get Chili." "I'll have to explain that again later." "This shot, John was in a really good mood cos he got to be in bed with Rene." "So every time I said "Action" he would do it in a different language." "One take he did it as Elvis, he did it as a Japanese guy, a French guy, an Italian guy." "Anyway, going back to that silhouette shot," "John says, "Why don't we call it Get Shorty?"" "What he actually said, which was scripted, was "Get Martin", referring to Martin Weir." "But we decided it would be neat for him to say the name of the movie in the movie." "This actor's named Patrick Breen, who was in another movie I directed called For Love or Money." "Patrick flew in on the redeye, did this scene, then flew out on the redeye the next afternoon." "He came in just for the day." "I just find him really funny as an actor, and I asked him if he'd do me the favour." "This was Rene's idea, to talk to Gene's feet." "And Gene's idea to do that." "I love her little outfit." "That robe that Delroy is wearing is 1300 bucks." "Made by a company called Sulka." "It's a beautiful robe." "Silk." "I never thought "shot four times through the chest and once through the foot"" "would get a laugh - I didn't even realise it was funny." "But when we started to preview it, people had a big laugh, cos they realised that Hackman ends up shooting Ronnie in the foot." "This scene was substantially longer." "I cut a lot of it out." "I knew what the point I was trying to make was, and it just went on and on." "Again, we're in Malibu here." "This is a great restaurant in Beverly Hills called the lvy." "I never thought they'd give permission to shoot here, but they did, and they were incredibly great about it." "See that guy who just said, "Hey, killer"?" "That's Gene Hackman's stand-in, Greg, who used to play baseball for the New York Yankees." "And here's Martin Weir pulling up in the identical van to Chili's." "Again, that was an idea that wasn't in the book, but I wanted Travolta to have something, whether the way he dressed, or..." "Something that everyone by the end of the movie wanted to imitate." "And I thought about the idea of having a minivan, or some stupid car you wouldn't want unless it was driven by someone famous." "Sort of like the Humvee is." "We shot this in two days." "It was very difficult, cos there's a lot of traffic." "Gene's really funny in this scene." "Whenever DeVito touches him, he winces." "Danny just mentioned the name "Eddie Solomon"." "Ed Solomon is a writer who is Scott Frank's best friend." "Scott Frank wrote the screenplay for Get Shorty." "The funny thing is, Ed Solomon just wrote a screenplay for me for the next movie I'm directing, which is called Men in Black." "They always put the other fella's name into the movie." "So there's a line in Men in Black where someone refers to "that idiot, Scott Frank"." "This is very typical and very real, that actors and important people in Los Angeles never order from the menu." "They have to feel they're so important that they can make the chef create a special dish just for them." "I've eaten with Danny DeVito where he's actually done that." "We had an even dumber neck brace for Gene that even had things wired into his head." "But we felt it looked too ridiculous." "But we shot a screen test with it." "It's pretty funny." "Here comes the omelette." "This bit with Gene Hackman drinking from the raspberry frappé was totally ad-libbed by Gene and John." "Gets a nice little laugh, but the script never intended to go out on this." "But John's line, "Suck harder", is really funny." "John was in a good mood in this scene too, cos he got to be in bed with Rene." "So this shot right here, he did that same shot in Japanese, Italian, as a Hasidic Jew." "Again, I tried to duplicate the angles we did earlier in the movie with Gene Hackman coming down the stairs." "Here, John's supposed to turn the TV off, but when we were shooting it, we realised it would be funny if he actually got engrossed in the movie and started to watch the movie for a minute." "He's so cool he's not even worried about the noises, he gets caught up in the film." "Again, it was just something we discovered on the set." "The hard part about editing this scene is you wanted to be in three places at once." "You wanted to stay on Rene, to stay on the two of them, to see the gunshot." "We did this really rapid tracking on Rene as she was screaming." "But we felt it took too long, so we just used the static shot." "Here comes that DeVito book again." "See?" "Even Delroy Lindo's character's reading the Martin Weir book." "Plus he's got a pink toilet." "We shot this over a couple of nights." "It was really difficult, it was drizzling, it's late, we're tired." "This was the night that John was about to find out that he was nominated for an Academy Award for Pulp Fiction, so he was really nervous all night." "Take it, and leave the movie business to the rest of us who know what we're doing." "That's one of my favourite lines, "Leave the movie business to the rest of us" ""who know what we're doing." Like he knows what he's doing." "This was really annoying to shoot." "It was really difficult." "There wasn't any room on the set, the ceiling was too low, the carpet was white." "It took forever." "The floor was really slippery cos it was drizzling." "That's what I remember about this scene." "Then we had to do the slow-motion thing." "That was hard to do." "He had to make it look like..." "Delroy was supposed to be pushed over, but not John." " What the hell are you doin'?" " Karen, what the fuck are you doing?" "That line from John, "What the fuck are you doing?", was an ad-lib, which was really funny." "This shot of Delroy dead, we had to shoot that four times." "One time it was too dark, one time he looked too far away, one time, too near." "That inset of those bolts we shot one day, cos a lot of people didn't understand that Bear's character had loosened those bolts to get Delroy over the edge at some point." "So we shot that insert of the bolts." "This is on Sunset Boulevard." "And the interior is a set." "The interior was designed to look like the interior of a hotel called the Sunset Marquis." "But what happened was, after we built it, we found out that the Sunset Marquis wanted too much money for the exterior, so we found a different exterior." "But this interior very closely matches the Sunset Marquis." "When he pulls this key out, the audience usually laughs, because the audience is ahead of the movie, which is great." "The audience knows he's gonna get arrested at the locker, even though he doesn't know that yet." "They really like being ahead of the character in the movie and knowing what's gonna happen to him." "Cos Dennis plays him as such a jerk." "I asked Dennis to just ad-lib as many "fucks" in this scene as possible, cos by the time we were shooting this, near the end of the movie, we realised how funny Dennis was when he said the word "fuck"." "So we just kept adding "fucks" into the scene." "At the end of this scene, we had shot a scene where John then calls the DEA, and says there's a guy coming out with grey shoes and a pink jacket, and he's the guy who's gonna get the dope from the locker." "We realised we didn't need it, cos it made John look like a snitch." "And the audience is so far ahead." "Now watch how Dennis comes here and doesn't get into the cab, but makes the cab come forward that ten feet." "That was totally done on the spot, gets a big laugh, and it was totally an accident." "One of my favourite shots of the movie." "Again, it's so celebratory, the music." "We're all so glad that we know what's gonna happen to this guy." "I really like this score that John Lurie wrote." "Remember I told you pay attention to Harvey Keitel's name earlier in the movie?" "That woman next to Danny is married to Tony Scott, the film director." "Penny did it as a favour to Danny, who had been in Renaissance Man for her." "And I shot Big for Penny." "We wanted a big-time famous movie director, and Penny was willing to do it." "There's Bette Midler, which was totally Gene's idea to have her at the end." "This is a Steadicam shot, right from when Danny tries to shoot and the girl screams." "This is one continuous Steadicam shot." "It's now done 180 degrees." "It's now swinging around." "It's doing a 360." "The Steadicam guy's gonna walk back and get onto a crane." "He's now stepping onto the crane and the crane is starting to boom up." "And you'll start to see that everyone is driving the same minivan now." "This was the only shot we did on this day." "It took about six hours to light, and to rehearse, and then we started to shoot it after lunch." "Now we dissolve to a helicopter shot." "And now the movie's over." "It was a really big surprise to me that the movie did as well as it did." "And a really big surprise that we got some laughs where I didn't think we would." "The reveal of Penny Marshall at the end of the movie is a really gigantic laugh." "It was really great for her to do it." "Same with Harvey Keitel." "This used to be the MGM lot." "MGM produced this movie, and this is now Sony's movie lot, but it used to be owned by MGM." "Karyn Rachtman, the music supervisor, did a great job, and Lee Dichter." "Susan Ringo, the associate producer, is my wife." "She's an excellent person." "I see some interesting other people." "The script supervisor, Wilma Garscadden-Gahret, has a funny name, and we used to make her curse a lot." "She's very proper, but Danny and I would make her read all the "fucks" to us again to make her embarrassed." "We would laugh and laugh." "We edited the movie back on the east coast, where I live, and then did all the mixing in New York City." "I lost some money to Bobby Mackston, he was the music editor, because he bet me that the movie would make $68 million or more, and it made over 70." "But it was a good bet to lose, cos I was betting it would make 30." "See unit publicist Jane E Russell?" "I kept thinking her name was Janey Russell." "Those are my assistants, Lance Doty and Maggie Davis." "Excellent." "This piece of music was written by John Lurie." "I think he calls it "You Stink", which he dedicated to me because he was angry at me not using more of his music." "Postproduction is always fun, when you mix the movie, because most of the time, on the movies I've directed," "Jim Miller, the editor, who's edited all four of my movies, is always suggesting places where you could put farts to make the movie funnier." "Jim's that kind of guy." "Danny Gill was the special effects supervisor." "And there's the MGM logo." "Thanks for watching." "EN" "I hear you bagged Martin Weir for Mr Lovejoy." "This town." "Word gets around, doesn't it?" "Chili Palmer told me last night, when he called me to your office to talk about it." " Chili Palmer showed you my script?" " Yeah, I was wondering why he'd do that." "So the wife sues the airline?" "This is some gutsy babe." " Good-looking, too, like Karen." " So when do I give the husband the look?" "That's not so simple." "There's a mob guy, a real hard-on." "You owe him money." "He's after you, wants to take you out, because you broke his nose and shot him." "OK." "Go ahead." "Keep going." "At this point, basically, that's gotta be it." "That's all you're gonna tell me?" "The reason we came by was to talk about Mr Lovejoy." "We understand that you read the script, you loved it, you flipped." "Refresh my memory." "Listen, Harry." "How'd you like to get your hands on $500,000?" "You pay me back at your convenience, with no interest." "Are you serious?" "All I want in return is to work on this movie with you." "In fact, I've already got some strong ideas on how to fix it up." "Gentlemen, can I get you anything else?" "Let's get another one for Mr Zimm." "A double." "You're just gonna give me this 500 grand?" "We'll talk about that, but first I gotta know, how'd you hook up with Chili Palmer?" "Yeah, Mr Lovejoy was good." "I'll call Buddy and set up a meeting." " Who's Buddy?" " His agent." " Karen knows him." " But you are interested?" "I'm intrigued." "Take another look at The Cyclone." "The visual fabric is maintained while the metaphor plays on different levels." " Hey, Chili, is this your ride?" " I like to sit high, check everything out." "It is the Cadillac of mini-vans." "Check this out." "Wow." "You mind if I take it for a spin?" "He was watching Letterman, huh?" "Sneaky, that Chili Palmer." "Did he ever find that dry-cleaner with all that money?" "Leo?" "I don't know." "I bet he did, and he ain't giving you one penny of it to help you out, not the way I am." "Assuming I go along with this, when could I have the 500 grand?" "Whenever you want." "The money's in one of those jog bags in 100-dollar bills in a locker at the airport." "At the airport?" "It was waiting out there on a deal that didn't go through, Harry." "One you don't want to know about." "I don't know..." "All right." "It's not the kind of thing you'd do, so why not send your boy Chili Palmer?" "If he gets busted, hit on the head, you aren't out a thing, Harry." "C18." "Magic number." "Cat." "I'm positive it was Susan Hayward." "No, it was Rita Hayworth and Glenn Ford." "Excuse me, Harry." "Wait here." "I'd like you to meet my associate, Bear." "Movie stunt man, champion weightlifter, as you might have noticed." "Throws things out I don't want." " I think you ought to go back to Miami." " You're a stunt man, huh?" " Are you any good?" " Am I any good?" "Aaaagh!" "That's not bad for a guy his size." "I'll make you a deal." "If you can get out of here before I take my coat off," "I won't clean up the floor with you and mess up your pretty little costume." "You don't know me." "You only think you do." " That guy is a stunt man." " Yeah, he was in Creatures II." "Rough business, this movie business." "I may have to go back to loansharking just to take a rest." "What are you still doing with those guys?" "He happens to be loaning me $500,000." "No strings." "I can write any kind of agreement I want." " Cash or cheque?" " Cash." "It happens to be at the airport in a locker at this moment." "A locker at the airport." "Jesus Christ!" "Tell me you're not really that stupid." "You're being set up." "You pulled him out of Freaks." "He's paying you back." "Is that right?" "He's setting me up?" "Why is it that Catlett said I should send you to pick it up, since you haven't done a thing for me, except show Bo Catlett my script?" "You're right." "You're not the one being set up." " At least Bo's invested in my movies." " We spoke with Martin." " We?" " Mm-hm." "Chili and me." "Really?" "He asked us to call Buddy, set up a meeting." " A meeting." "You and Karen?" " Harry!" "Guy's been in town two days, and he thinks he's David O fucking Selznick." "OK, Mr Selznick." "Shall I make my deal with Bo, or are you finally going to talk with your dry-cleaner?" " I found him, but forget about his money." " Do you have it?" "If I gave you Leo's money, you'd have Ray Bones all over your ass," " and that's a whole new kind of trouble." " Who?" "Ray Barboni." "He lives in Miami." "He owns Leo now that Momo's dead." "Who the fuck is Momo?" "Jesus Christ." "Where do you get these names?" "I'll tell you what I'll do for you." "I'll go to the airport tomorrow." "If there's no problem, I'll get you your money." "But I wouldn't get my hopes up." "Maybe I should call this Ray Barboni and see if he wants to invest in my movie." "Don't waste your time." "He's not a movie fan." "Now give me the key." "(Karen) Oh, Harry." "Tell him he's got to be out there by five in the morning." " (knock at door)" " Because the actor'll only work one night." "I gotta go." "Yeah." "Coming!" " Who is it?" " (woman) Me." "Oh, fuck." "I heard that." " Hello, Doris." " Harry Zimm." "You look like a wet kiss." "Yum." "Well, aren't you gonna offer me whatever it is you taste like?" "Come in, Doris." "My favourite colour." "Putty." "I like it." "What do you want, Doris?" " I miss Murray, Harry." " I miss him, too." "Hell of a good writer." "I should know, I discovered him. made him what he was." "What he was was a hack." "He couldn't get a job writing for anybody but you." "I'm being honest." "He was a lousy writer, but he was a good husband." " I just didn't know till it was too late." " Yeah, well, 20-20 hindsight and all that." "I hate being alone." "The house is so quiet, so lonely." "It needs... a man's touch." "Nice necklace, Doris." "Doris..." " I don't know how I feel about this." " Mmm..." "You seem to feel fine about it." "I mean morally." "Murray was a friend." "Murray's dead." "Does this mean that you're going to reconsider our deal on Mr Lovejoy?" "No, but I did talk to a gorgeous young executive over at Paramount who just happened to get his hands on the script." "What'd he say?" "He said if Martin's interested, I can get half a million for it easy." "Don't worry, Harry." "I'm still gonna give you till Friday." "How honourable of you." "Harry..." "You want me to go... just say so." "What the hell." "(phone rings)" "Fuck." "Fuck, fuck, fuck, fuck, fuck, fuck!" "(ringing tone)" " What?" " Ray Barboni?" " Who is this?" " Is this the guy they call Ray Bones?" " It depends." "Who is this?" " Who is this?" "This is the one telling you the way it is." "OK, asshole?" " You want your 300 grand or don't you?" " What 300 grand are you talking about?" "The 300 grand a guy named Leo Devoe scammed off an airline." "The 300 grand that Chili Palmer now has in his possession." "Hello?" "Are you there?" "Yeah, I'm here." "I just don't like this anonymous crap." "It means you're either a chickenshit or you're not for real." "Trust me, I am very for real." " OK, then." "So who are you?" " I happen to work for Harry Zimm." " Who?" " Harry Zimm, a major Hollywood player." " I never heard of him." " You should leave fucking Miami, dipshit." "Maybe you ought to get on a plane, come out to LA, take a meeting with Mr Zimm." "OK." "So, this Zimm guy." "What is he asking for, a finder's fee or something?" "Hey, Zimm don't ask for dick." "Zimm tells you the way it is, or else." " Or else what?" " Or else Use your fucking imagination." "(hangs up)" "(~ "Green Onions" by Booker T and the MG's)" "Excuse me, could you help me?" "I got a surprise gift in here for my wife." "I was wondering if you could you put it in locker C17 for me." " Ten bucks." "Take you two minutes." " Yeah, OK." "All right." "And you'll need some of this." "Better make it quick, though." "She's in the john." "C17." "Good man." "Let's go, boys." "Excuse me, sir." "Agent Curtis, Drug Enforcement." "These are Agents Dunbar and Morgan." "Would you come with us, please?" " What's going on?" " Let's just behave ourselves." "Mr Barbone?" "Welcome to LA." "I'm Bobby, your driver." "Did you have a good flight?" "I hope you drive better than you fucking spell." "The name is Barboni, not Barbone, OK?" " Want to go to the hotel first, Mr Escobar?" " I want to get my fucking money." "You live in Miami?" "What are you doing in Los Angeles?" "I'm in the movie business." "I'm a producer." " You have a card in this?" " Not yet." "I just got started." "What is this all about?" "I got a search warrant says I could strip-search you." " Pat him down." " Put your hands on the wall." " Spread your legs." " What are you doing at the airport?" "I was meant to pick up my wife, but she wasn't on the plane." "You live in Miami." "Why is she coming in from Newark?" "We had a fight, and she left me, went back to Brooklyn." "I called her. "Come out West." "A change of scenery might get us back together."" "She said OK, but evidently she changed her mind." " Your wife a Lakers fan?" " I am." "I'm a fan of everything that's LA." " I love it out here." " He's clean." "You can go." "What are you looking for, anyway?" "A bomb or something?" " Something that shouldn't be here." " Is that right?" "Why not get an attendant to open all the lockers?" " I'll think about it." " I'd do that." "Then I'd get the right guy next time." "Mr Barbone, if you ever wanna go to the beach, this is the freeway you take." "On the weekend, there's no traffic." "I'm from Miami fucking Beach and you wanna show me the ocean." "Does the sun ever shine here, or is this smog around all the time?" "They say the smog's the reason we have such beautiful sunsets." "That's what they say, huh?" "What a bunch of fucking bullshit." "Gee, I don't know how I missed you in that shirt." "It's the same as the other one, except a different-coloured hibiscus." " What, you didn't have the key on you?" " You think I'd be here?" "If you're gonna set someone up and you want it to work, it's gotta be a surprise." "You spotted 'em, huh?" "What, did you see it work in some movie you got beat up in?" " I gotta ask you for that key back." " Wait a minute." "The setup didn't work, and you want the key back?" "Bo said if you didn't open the locker, the deal's off." "You're serious." "This is how you guys do business?" "I'm surprised you're not dead." "There's no fucking way you're getting that key unless you put a gun to my head." " Now move away from the fucking car." " I don't need a gun for you." "(gasps/groans)" "All right, all right." "All right, slow down." "Breathe through your mouth, slow." "Breathe." "Bear, look at me." "You tell your boss I don't ever wanna see him again." "A deal's a deal." "You got that?" "Get up." "What are you hanging around a guy like that for, anyway?" "You were in the movies." "You're a stunt man, right?" "What's he ever done that he can talk about?" " You OK?" " Not too bad." "How about when you fell down the stairs?" "I pulled my quadriceps." " So, how many movies you been in?" " About 60." "No shit?" "What were some of them?" " You'd have seen none of 'em." " What were some of them?" " You wouldn't know." " I know movies." "(knock on door)" "(Ray) Harry Zimm?" "(knocking)" "Who is it?" "I'm the dipshit who's never been out of Miami." "Mr Barboni, what a nice surprise." "(stammers)" "Have a seat." "Right here, right here." "Ray Bones..." "Barboni, sorry." "Oh, yes..." "They say the fucking smog is the reason you have such beautiful fucking sunsets." "Yeah..." " What do you mean, he faked them out?" " (Bear) He knew it was a setup." " So where's the money?" " I guess it's still in the locker." " You mean you don't know?" " I mean I don't care, Bo." "I really don't." "Bear, I'm gonna call you later." "Mr Escobar, what a surprise." "Welcome to LA." " Where's my nephew?" " Your who?" "Yayo." "Where is he?" "I haven't seen Yayo." "He's my sister's kid." "No father." "Personally, I think he's a retard." "I gave him the job as a favour to my sister." "You understand?" " Family." "I know how that goes." " He comes up here with our product." "He's supposed to come back home with the $500,000." "He never shows up." "Meanwhile, my sister's going crazy, calling me all the time." "Me, I just wanna know what happened to my fucking money." "I don't know." "I gave the man his money, I sent him on his way." "You gave him the money?" "I gave him the key to a locker that had the money in it." "Why would you put the money in a locker?" "There were a zillion DEA guys hanging around the terminal." "A zillion?" "That's a lot, huh?" "Maybe your nephew panicked and took off." "Why are you talking to me this bullshit?" "I think maybe I have Ramon and Cesar staple your tongue to your chin." " What do you think?" " I think you speak very good English." "We're gonna spend the weekend at the Universal Sheraton." "Take the tour, see the shark." "Check out that Miami Vice action spectacular." "Nice." "After, we're gonna come back here, get my money." "(speaks Spanish)" "Oh, yeah." "And Yayo, too." " His fucking nephew?" " (Bo) You go straight to the bank." "Raid the limo account." "We got dick in the bank." "We dumped it all into Harry's movie." "I'm talking about you, Ray Barboni, owning a piece of a major motion picture." "How much of a piece is entirely up to you." "What I'm saying is, you could invest part of the 300 grand that Palmer owes you, or all of it." "It's entirely up to you." "Where's Chili Palmer?" "Where's Leo Devoe?" " Where's my fucking money?" " Ray, look at me." " What?" " Look at me, Ray." " Did you just say look at you?" " Look at me, Ray." "I'll tell you what, Harry." "Why don't you take a fucking look at this?" "And have a peek at this." "You know, Harry, this is the exact fucking thing I needed." "A little fucking exercise... after that long fucking... plane ride." "You got a big problem, Harry." "Harry?" "Come on, Harry, don't pass out on me." "Look at me, Harry." "Where's my money?" "Where's my money?" "Harry, I'm gonna ask you one more time, then I gotta shoot you if you don't tell me what I wanna know." "Where's my money?" "Your money?" "Who the fuck are you?" "I'm Ray Barboni from Miami." "What's that supposed to mean?" "That man belongs to me and my partner." " This piece of shit owes me money." " Get in line." " I don't like waiting in lines." " Tough shit." "This ain't Miami." "You want something, you gotta talk to me." "No, no, no, no." "Fuck you, fuckball." "LA is an open city, and I don't have to get permission from nobody for nothing." "Oh, really?" "Well, I just closed it." "You must be what they call one of those quick-draw artists, the way you got your gun stuck way down in your belt." "What have you got there?" "Wop nine?" "Fucking Fiat of guns." "Always jamming on you at the wrong time." "Don't you puke on my shoes, Harry." "Hey, Harry." "I want you to do me a favour." "I want you to take this gun and put a pill in the bro over there." "I know what you're thinking." ""Why shoot him?" "He's already dead."" "But, you see, the police have tests to tell whether or not a guy fired a gun." "And I was never here." "Do you understand that, Harry?" "I was never here." "If you say I was, I'm gonna come back and throw you outta that fucking window." "All right, knock it off." "We haven't got a lot of time." "That's it." "That's it." " Not a worry in the world." " Your pool needs skimming." "Yeah." "That was Martin." "He wants to have lunch tomorrow." " It depends on who's paying." " Definitely not Martin." "Movie stars never pick up the bill." "They have no idea what things cost." "Most of them don't know their phone number or their zip code." "I just can't get used to the idea that the two of you were together." " You don't like Martin much, do you?" " No, I do." "I do." "I think he's..." " I think he's short." " (giggles)" "I know he's a good actor, but what was it exactly that you saw in him?" "Oh..." "Martin was different then." "He wasn't a movie star." "Anyway, what about your story?" "You thought of a title yet?" " Yeah." "How about Get Shorty?" " How about Chili's Hollywood Adventure?" "Ah, that's a different story." "I'm still working on that one." "I'm still getting the visual fabric together." "But I have added to it." " Yeah." "There's a girl in it now." " Really?" "Mm-hm." "She looks a lot like you." "Oh. (giggles)" "I think you could be an actor." "You act sometimes, but you don't show it." "You thought I was faking?" "No, not then." "I mean in general." "What, you don't mean a movie star?" "More like a character actor?" "Whichever." "I can see myself in the parts that Robert De Niro plays, or maybe an Al Pacino movie, playing a real hard-on." "I couldn't see myself in a movie where like the three guys get left with a baby, they don't know how to take care of it, so they act like assholes..." "Chili, look at me." "(phone rings)" "(answerphone) Leave a message. (beep)" "Karen, it's Doris." "You might wanna come by Cedars tonight and visit Harry in the emergency room." "(hangs up)" "Let's go." "I stopped by his office to see if he wanted to take me to Le Dôme for dinner." "I see Harry and some other man lying on the floor." "Goodnight, Todd." "Goodnight, Lewis." "Oh, man." " Jesus." " Harry, my God." " He can't talk." "He's full of Demerol." " What happened?" "According to Todd" " Sergeant Randall - a man named Ronnie came by Harry's office to collect on a debt." " He got rough and Harry shot him." " You shot Ronnie?" "(whimpers/mumbles)" "Hello, hello." "OK, here we go." "Looks like Mr Zimm here has a broken jaw and some neck trauma to go with these fractured hands." "Excuse us, folks." "Harry, Martin wanted to meet us for lunch tomorrow at the lvy, and I cancelled, but he's going to Cannes next week, so I think Chili and I should still go." "OK." "Who wants to take a crack at wiring Mr Zimm's jaw?" "(Harry groans)" " Son of a bitch." " Hi, Bo." "Hey, Farrah." "Little honey bunny." " You wipe your feet before you come in?" " Yeah." "That's my girl." "Keep Uncle Bo's carpet nice and white." " I've been calling you." "Where you been?" " See the paper?" "Yeah, I seen it." "I don't believe it." "It says Harry shot Ronnie five times: four through the chest, one through his foot." "His foot." "Jesus..." "Poor Ronnie." "Tonight I got one for you that doesn't involve no heavy work." "Go take a look around Chili Palmer's hotel room." "No, I can't." "I can't." "I gotta take Farrah over to her mother's in Costa Mesa..." "And that don't matter, cos I quit." "I don't work for you no more." "I came to tell you to your face, so we got no misunderstanding." "Bear, the Colombians are in LA, all upset about their money, and it turns out as a bonus that Yoyo was Escobar's nephew." "That's your problem." "You went and shot the guy." "Farrah?" "Hey, honey bunny." "Come here, Farrah Come here, honey bunny." "Come and see Uncle Bo." "Yeah!" "You know Uncle Bo hates being alone." "He hates it so much, if he takes a fall, he's not gonna fall by himself." "He's gonna plea-deal his way out, give up his ace stunt man, now one of the West Coast's dope kings, if they go easy on the Cat." "In federal joints, you get an extra five minutes with your daddy on Father's Day." "Just let her go, Bo." "After this one, I'm out." "You understand?" "This is the last time we talk to each other." "Remember Harry's story about the dry-cleaner who stole 300 grand from the airline?" "What about him?" "Look for it in Palmer's hotel room while I check out Karen Flores's place, see if he hasn't stashed it somewhere." "And you meet me back here at midnight." "So what kind of food they got at this lvy place?" "It's Continental, but Martin won't order from the menu anyway." "Movie stars can never order from the menu." "They have to think of something they have to have that isn't on the menu." "Harry, what are you doing here?" "You should be in the hospital." "Hey, Harry, you look like you ought to be in one of your own horror movies." "My project." " What'd he say?" " "My project."" "Mr Zimm." "Hey, Harry." "Attaboy, killer." "Right this way." "You're a celebrity." "You shoulda shot someone a long time ago." "(forced laugh)" "Hi." "Hi." "Excuse me." "How you doin'?" "Hello." "Hi." "How you doin'?" " Hey, Chili." " Good to see you." "Great to see you." "Harry..." "Oh, my goodness." " Hi, Martin." " Sweet face." "Honey, you look great." "You smell good, too." "Thanks." "So, Harry, I hear you had quite an experience." "Well, anyway, I'm glad you're OK." "I'm also glad you rejected me ten years ago, when I auditioned for the part of Eddie Solomon, the paedophile clown." "If I'd have gotten that part, I might have been typecast." "Have you guys ordered?" "I have something after this." "Can we order?" "Excuse me." "Could you...?" " Hi, what's your name?" " Stephanie." "I feel like an omelette." "Can you make an egg-white omelette with slightly brown shallots and no salt?" "Why don't you bring one for the table?" "We'll all pick on it." "How about having strawberry frappés, the drinks with little strawberries in 'em?" "And bring two straws for Harry." "Anyway, I think the romance angle in your story is critically important." "This shouldn't be just a hop in the sack." "These two should fall in love." "Which two?" "Then, later, when their lives are in danger and the mob guy's chasing 'em, it heightens the tension and adds a wistful element to their romance." "Mob guy?" "As the mob guy, it's another man's wife I'm sleeping with, so..." " And, after all, you have such morals." " (Harry) Mob guy?" "Look, I have to run, but what I would like to see is that they begin to have misgivings about wanting the money." "This becomes a moral dilemma for the two of them." "They rationalise taking it, but in the end, they can't." " What money?" " 300 large." "What other money is there?" "I know I should read the script first, but I have a such a good feeling about this." "I am that shylock." "Look at me, Harry." "(Chili) Not bad." "You're really getting it down." "It scares me how well I know this guy." "I could do this tomorrow, no further preparation." "Doll face." "You really should think about getting back into acting." " We could do something together." " I'll give it some heavy thought." "Take care of yourself." "Enjoy." "Here, let me help you out." "Go ahead." "Suck harder." "(rattling)" "Chili, wake up." "Somebody's downstairs." " It's Harry." " How do you know?" "He's doing what you did to him, playing Letterman on TV." "That's not Dave, that's a movie." "Hm." " You gonna go down?" " I don't know." " You don't know?" " I know, I'm going." "Karen, you got a gun?" "Any kinda gun'll do." "No." "Sounds like Rio Bravo." "Guess I'll take that drink now, Charlie." "I thought you would." "(gunshot on TV)" "(pistol falls to the floor)" "You want that gun, pick it up." "I wish you would." " I need the money." " What money?" "The 300 grand that you got from a dry-cleaner named Leo." "Let me get this straight." "You break into Karen Flores's house, and ask for 300 grand that doesn't belong to you?" "Just give me the money." "I can't believe how you guys do business, how fucked up your organisation is." "How about I count to three and organise your brain all over the wall?" " One..." " You're gonna shoot me now, huh?" " Two..." " I can't believe this..." "Karen!" "(Bo) She can't talk right now." "Nice scream." "They oughta give you more work." "I'll get you the money." "But it's not here." "I gotta go get it." "Fine." "In the meantime, I'll hold on to her for safekeeping." " You know Laurel Canyon?" " I'll find it." "I'm at 8150 Wonderland Avenue, right off Laurel." "I'll be there, Karen." " You get the money?" " No." "What is this?" "Plan B." "You make yourself comfortable." " Karen Flores is plan B?" " That's what I said." " She's a movie star!" " I don't care." " Oh, for Christ's sake." " I'm gonna make a little trade." " For money." " You get life for kidnapping." " Calm down." " You're talkin' about life in prison!" " Don't fade on me now." " You gonna shoot me now?" " Go ahead." "Put me out of my misery." " I said, calm the hell down." "Unless you wanna spend your life holding Farrah on your lap in a roomful of felons." "(door opens)" "So, this is one of them houses you see hanging off the side of the cliff." " Where's Karen?" " In my bathroom." "Where's the money?" " Let me see her." " Go ahead." "Karen!" "Are you OK?" "He's got a fucking pink toilet, for Christ's sake." "She's great." "Give me the money." "First, I'm gonna settle something between you and me." "I've been shot at before." "Once by accident, twice on purpose, and I'm still here." "I'm gonna be here as long as I want." "That means you gotta be somewhere else." "Nowhere near me, Karen or Harry." "Here's your money." "Take it, and leave the movie business to the rest of us who know what we're doing." "Come on, Karen." "(cocks pistol)" "(sighs)" "You broke in my house, and I have a witness to it." "Only it ain't John Wayne or Dean Martin shooting bad guys in El Dorado." "That was Rio Bravo." "Robert Mitchum played the drunk in El Dorado." "Dean Martin played the drunk in Rio Bravo." "Basically the same part." "John Wayne did the same on both." "He played John Wayne." " Man, I can't wait for you to be dead." " Are you gonna let him talk to me...?" "That's for the stairs, and that's for the airport." "Bear, get him off my carpet before he starts to bleed." "(Bear yells)" "You wanna take this guy out?" "You come out here, make it look like he came at us." "You shoot him: self-defence." "Shouldn't he have a weapon, a knife or something?" " I'll get it later." " Right, Bear, that's enough." "Enough!" "He's gonna look like somebody beat him up and then shot him." "No, he ain't." "(both scream)" "Hold on." "We gotta get the fuck outta here!" " What the hell are you doin'?" " Karen, what the fuck are you doing?" " Oh, shit." " She's shooting at us." "Come on." "I'm sorry." "I'm sorry." "Wow." "How do you think that happened?" "Beats the shit outta me." " (Karen) Were you scared up there?" " You bet." " You don't act like it." " I was scared then, not now." "How long do you want me to be scared?" "I'll be right back." " How'd you get in here?" " It was easy." "I told them I was you." " I acted real stupid and they believed me." " What brings you to LA, Bones?" "Please, don't insult me, just turn around." "Turn around!" "Do you know that you're the dumbest fuck I ever met?" "Let me take a look in these pockets." "You shoulda told me about Leo Devoe." "Why would I do that?" "Because the guy is a customer of mine, that's why, dummy." "He belongs to me." "Well, well, well, well, well." "What have we here?" "C18." "I wonder what this could be." "A locker key?" " But where's the locker?" " I checked the bag at the airport." "Which terminal?" " Which terminal?" " Sovereign." "You found Leo, huh?" "You found him, You took the poor bastard's money, you put it in a locker all ready to go." " Why haven't you left?" " I like it out here." "You know, I've been thinking." "There's no reason why you and I shouldn't get along." "Forget about that stuff before." "I don't even remember how all this started." "You took a swing at me for some fuckin' thing." "I say fuck it." "I say you owe me money." "I say fuck that." "I say you owe me the juice on the money." "I say fuck that, too." "I say live and let die." "But this... this is strictly between you and I." "You say nothing to nobody about this." "Understood?" " Whatever you say, Ray." " I think it's only fair, don't you?" "Then it's all settled." "I'll see you around." "Dumb fuck. (chuckles)" "Come here." "The fucking airport." "Bingo, boys." "Let's go." "(Martin) Hey, Bones." "Look at me." "Fuck you, fuckball." "Damn." "Cut." " I am pushing the right button." " You're not pushing the right button." "Every take I'm pushing the right button." " Bear, show him how to do it." " All right." "I don't really know." " What do you wanna do, Harry?" " We'll get it fixed." "It's a wrap." "Come back tomorrow." "Fuck." "You should've gone into overtime to get that shot." "This is only the second day, we're already two weeks behind." "And do me a favour." "Next time..." " Martin already told me that he loves it." " Buddy, I don't think Martin is right." " Why the hell not?" " Because he's too short." " Why does he keep pushing Martin?" " Packaging." "You can't make a Martin Weir into a Mel Gibson." "Where do you wanna go?" "Morton's or Dan Tana's?" "Subtitles by Visiontext" "ENHOH"