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|---|---|---|---|
This programme contains very strong language. | 0:00:08 | 0:00:12 | |
'Gus Delario - the invisible man is Gus. | 0:00:14 | 0:00:18 | |
'He's one of those guys | 0:00:18 | 0:00:20 | |
'who you feel like you know them really well, | 0:00:20 | 0:00:22 | |
'but when you think about it | 0:00:22 | 0:00:24 | |
'you don't know them at all, you know what I mean? | 0:00:24 | 0:00:27 | |
'And, you know, obviously | 0:00:27 | 0:00:28 | |
'you look at all the movies he's done - | 0:00:28 | 0:00:30 | |
'he's been very successful. Almost every actor in town | 0:00:30 | 0:00:33 | |
'wants to work in, you know, one of Gus' movies.' | 0:00:33 | 0:00:37 | |
'I've done some mean things in my life. | 0:00:38 | 0:00:40 | |
'Yeah. And sometimes, the... | 0:00:40 | 0:00:45 | |
'the worst part is is that sometimes... | 0:00:45 | 0:00:48 | |
'it doesn't bother me. | 0:00:48 | 0:00:49 | |
'I just say, "Well, yeah, this is mean. | 0:00:49 | 0:00:51 | |
'"I wanted to be mean, and I was mean. | 0:00:51 | 0:00:54 | |
'"Period."' | 0:00:54 | 0:00:56 | |
'Well, I have to be somewhat judgmental, | 0:00:58 | 0:01:01 | |
'because of what I do, you know... | 0:01:01 | 0:01:03 | |
'so I don't think that it's such a bad thing to be judgmental. | 0:01:03 | 0:01:07 | |
'I think that's how you get through life. | 0:01:07 | 0:01:11 | |
'You have to assess things... | 0:01:11 | 0:01:13 | |
'and people do it about you all the time, | 0:01:13 | 0:01:16 | |
'and that's life, and it's too bad.' | 0:01:16 | 0:01:19 | |
'I think there is no amount of money | 0:01:20 | 0:01:22 | |
'I could have been paid, | 0:01:22 | 0:01:24 | |
'There is no deal that I could have made | 0:01:24 | 0:01:26 | |
'that she would not have felt that I had been too passive | 0:01:26 | 0:01:30 | |
'and that... I think that her opinion of me on that level | 0:01:30 | 0:01:36 | |
'was formed before the movie was ever sold. | 0:01:36 | 0:01:39 | |
'I think it has nothing to do with the movie, frankly.' | 0:01:39 | 0:01:42 | |
'It's frightening. It's monstrous. | 0:01:44 | 0:01:47 | |
'It's evil to not have feelings. | 0:01:47 | 0:01:49 | |
'So I spoke to Carl about it, and we discussed it | 0:01:49 | 0:01:52 | |
'and we went immediately | 0:01:52 | 0:01:54 | |
'to the most monstrous character we could think of in history - | 0:01:54 | 0:01:57 | |
'you know, Hitler himself.' | 0:01:57 | 0:01:59 | |
'Yeah, they're always trying to set me up... | 0:01:59 | 0:02:02 | |
'Lee and Carl. They... | 0:02:02 | 0:02:04 | |
'They never have introduced me to anyone, | 0:02:04 | 0:02:06 | |
'but they always talk about how I should be dating. | 0:02:06 | 0:02:09 | |
'But they're trying to set me up now | 0:02:09 | 0:02:11 | |
'with this producer friend of theirs - a guy named Gus. | 0:02:11 | 0:02:15 | |
'Uh...we'll see. I don't think | 0:02:15 | 0:02:19 | |
'a film producer's going to go for me, but I don't know.' | 0:02:19 | 0:02:22 | |
- Catherine? - Nicholas. | 0:04:10 | 0:04:12 | |
Yes. | 0:04:12 | 0:04:14 | |
- How are you? - I'm good. How are you? | 0:04:14 | 0:04:16 | |
Excellent. Thank you. Thank you for having me. | 0:04:16 | 0:04:19 | |
- Sure. - Mind if we get started? | 0:04:19 | 0:04:22 | |
So, I play his partner. | 0:04:22 | 0:04:24 | |
An equal partner? | 0:04:24 | 0:04:26 | |
No, I'm his flunky... | 0:04:26 | 0:04:29 | |
if that's what you want to hear. Is that what you want to write? | 0:04:29 | 0:04:32 | |
Is that what you want me to write? | 0:04:32 | 0:04:34 | |
No. No, you can write sidekick. That's fine. | 0:04:34 | 0:04:38 | |
See, the thing is, I've done a lot of TV. | 0:04:38 | 0:04:41 | |
He's an established star, a big star. | 0:04:41 | 0:04:43 | |
I figure it doesn't make me any less talented. | 0:04:43 | 0:04:46 | |
So, no, I don't have a problem with it. | 0:04:46 | 0:04:49 | |
If I'm going to make the leap to the big screen | 0:04:49 | 0:04:51 | |
I expect to work for it. Make sense? | 0:04:51 | 0:04:53 | |
Don't you think most black actors... | 0:04:53 | 0:04:55 | |
expect to have to work to make that leap? | 0:04:55 | 0:04:57 | |
It doesn't seem to happen as often with white actors. | 0:04:57 | 0:05:00 | |
- Jesus. - Don't you find that the case? | 0:05:00 | 0:05:02 | |
A couple of movies... | 0:05:02 | 0:05:03 | |
15, 20-million dollar pay cheques, magazine covers. | 0:05:03 | 0:05:05 | |
OK, is this the kind of story you want to write? We can go there. | 0:05:05 | 0:05:09 | |
Trust me, I've got plenty of opinions on the subject. | 0:05:09 | 0:05:11 | |
Jesus. | 0:05:49 | 0:05:50 | |
Carl, I've reached the point... | 0:06:16 | 0:06:19 | |
where I can't continue in this marriage. | 0:06:19 | 0:06:21 | |
I'm writing because I can't take any more | 0:06:21 | 0:06:24 | |
emotional confrontations about it. | 0:06:24 | 0:06:26 | |
I'm out of ideas, and I want to make a change. | 0:06:26 | 0:06:28 | |
When I get home tonight, we can discuss | 0:06:29 | 0:06:32 | |
the practical issues of how to separate. | 0:06:32 | 0:06:34 | |
Please don't call me. I'm sorry. | 0:06:34 | 0:06:37 | |
Fifth robbery in two weeks at a pornographic bookstore. | 0:06:51 | 0:06:56 | |
- Oh. - They say it's a woman. - Jesus. | 0:06:56 | 0:07:00 | |
Did you have bad dreams last night? | 0:07:00 | 0:07:03 | |
No. | 0:07:03 | 0:07:05 | |
Well, I did. | 0:07:05 | 0:07:07 | |
Well, I had a weird dream. | 0:07:07 | 0:07:09 | |
I dreamt that my job | 0:07:09 | 0:07:13 | |
was that every day I would go into work | 0:07:13 | 0:07:17 | |
and narrate a documentary about some guy's life | 0:07:17 | 0:07:22 | |
and go home from work and have dinner | 0:07:22 | 0:07:25 | |
and go to bed and go back to work in the morning. | 0:07:25 | 0:07:28 | |
It's like I have no effect on...anyone. | 0:07:28 | 0:07:35 | |
So, what's on for today? | 0:07:36 | 0:07:38 | |
More bloodshed. | 0:07:38 | 0:07:40 | |
God. How do you stand it? | 0:07:42 | 0:07:46 | |
Hey, listen, don't forget to make the brownies | 0:07:48 | 0:07:51 | |
- for Gus tonight, OK? - Right. | 0:07:51 | 0:07:55 | |
Bye. | 0:07:55 | 0:07:56 | |
'Nobody I know is in any kind of long-term relationship | 0:08:03 | 0:08:07 | |
'with anybody they've met on the internet | 0:08:07 | 0:08:09 | |
'but the short-term stuff have been pretty exciting. | 0:08:09 | 0:08:12 | |
'I don't know what I'm gonna do when I meet her. | 0:08:12 | 0:08:15 | |
'She thinks I'm 22 years old, and I'm not. | 0:08:15 | 0:08:19 | |
I'm not a painter, although I'd like to paint. | 0:08:19 | 0:08:24 | |
So, it could be anything. | 0:08:24 | 0:08:26 | |
'I mean, the imagination could take you anywhere. | 0:08:26 | 0:08:29 | |
'I find that really, really exciting. | 0:08:29 | 0:08:32 | |
'And it's one of those places where I can lie.' | 0:08:32 | 0:08:36 | |
I'm happy with meeting men on the computer... | 0:08:38 | 0:08:42 | |
'on the internet, in the chat rooms. | 0:08:42 | 0:08:44 | |
'And, you know, people disappoint | 0:08:44 | 0:08:47 | |
'and these people don't so much, so... | 0:08:47 | 0:08:49 | |
'I really connected with somebody. | 0:08:49 | 0:08:52 | |
'So... And he's a painter | 0:08:52 | 0:08:54 | |
'and, you know, gosh... | 0:08:54 | 0:08:57 | |
'five years from now, I'd like to be living there with him. | 0:08:57 | 0:09:00 | |
'I've told him I'm a massage therapist... | 0:09:00 | 0:09:04 | |
'and I didn't lie. | 0:09:04 | 0:09:06 | |
'I lied a little about my age - | 0:09:07 | 0:09:10 | |
'just a little - because he's so young. | 0:09:10 | 0:09:12 | |
'So, I just knocked a few years off of that. | 0:09:12 | 0:09:15 | |
She said, No, baby, you're bored, | 0:09:39 | 0:09:43 | |
but why are you taking that out on us? | 0:09:43 | 0:09:47 | |
It was that kind of thing. | 0:09:47 | 0:09:49 | |
It just, you know, everything clicked...for me. | 0:09:49 | 0:09:53 | |
Oh. Sorry. | 0:09:56 | 0:09:58 | |
You transcribe those yourself? | 0:10:00 | 0:10:02 | |
Someone at work. | 0:10:02 | 0:10:05 | |
- Like an intern? - Mm-hmm. | 0:10:05 | 0:10:07 | |
Male or female? | 0:10:07 | 0:10:10 | |
What do you think? | 0:10:10 | 0:10:14 | |
Male. | 0:10:14 | 0:10:16 | |
Yeah. So, which is it? | 0:10:18 | 0:10:21 | |
And don't tell me you're not gonna say. | 0:10:21 | 0:10:25 | |
Male. | 0:10:25 | 0:10:26 | |
Do you want to know if he's straight? | 0:10:28 | 0:10:30 | |
Oh, no, I know he's straight. | 0:10:30 | 0:10:32 | |
TELEPHONE RINGS Oh, shit. | 0:10:32 | 0:10:34 | |
Yeah, I'm coming, I'm coming. | 0:10:34 | 0:10:38 | |
Wait. | 0:10:39 | 0:10:40 | |
Django, go, go, go, go, go. | 0:10:44 | 0:10:46 | |
Hey, Frank! | 0:10:53 | 0:10:54 | |
I'll tell you, I'll tell you what it's like. | 0:10:57 | 0:11:00 | |
OK, you know, I work at this magazine. | 0:11:00 | 0:11:02 | |
This magazine is great. It's very good. | 0:11:02 | 0:11:05 | |
It has very high standards, I think. | 0:11:05 | 0:11:07 | |
I think they can do really good work. | 0:11:07 | 0:11:09 | |
But I think the guy who runs the thing | 0:11:09 | 0:11:11 | |
is just not very smart. | 0:11:11 | 0:11:13 | |
I mean, you know, this is between us | 0:11:13 | 0:11:15 | |
but I just don't think he's very smart. | 0:11:15 | 0:11:17 | |
I think his instincts are all wrong | 0:11:17 | 0:11:20 | |
and I think he's, you know, a big butt. | 0:11:20 | 0:11:23 | |
Yeah, you know, I've lost my temper in traffic. | 0:11:23 | 0:11:26 | |
I have. I've lost my temper. | 0:11:26 | 0:11:28 | |
I wouldn't call it road rage | 0:11:28 | 0:11:30 | |
but I have gotten pissed driving | 0:11:30 | 0:11:34 | |
because people, you know, | 0:11:34 | 0:11:38 | |
they drive cars that are ridiculous, | 0:11:38 | 0:11:41 | |
you know, wrong for them. | 0:11:41 | 0:11:46 | |
I don't really like my job. | 0:11:55 | 0:11:57 | |
I've thought about doing something else. | 0:11:57 | 0:11:58 | |
I like the money. | 0:11:58 | 0:12:01 | |
I don't even like that that much. | 0:12:01 | 0:12:03 | |
I could get a better job. | 0:12:03 | 0:12:07 | |
Lee is ambitious and smart and beautiful | 0:12:07 | 0:12:09 | |
and she always has been all of those things | 0:12:09 | 0:12:11 | |
and she's always done really well, you know? | 0:12:11 | 0:12:13 | |
So, maybe she is completely in control. | 0:12:13 | 0:12:15 | |
- Hey. - Hey | 0:12:24 | 0:12:25 | |
- Coffee. - Herr director. | 0:12:25 | 0:12:27 | |
- How are you? - What's up, man? | 0:12:27 | 0:12:29 | |
Rehearsing something for ten days sucks. | 0:12:29 | 0:12:32 | |
And I know how tough it's been. | 0:12:32 | 0:12:35 | |
Oh, no, no. Listen, I think I know where you're going, man. | 0:12:35 | 0:12:39 | |
First of all, I got to apologise. | 0:12:39 | 0:12:40 | |
I know I've been all over the map | 0:12:40 | 0:12:42 | |
and that's my process, and I've kind of been crazy. | 0:12:42 | 0:12:45 | |
I really feel bad about what I said to your friend. | 0:12:45 | 0:12:47 | |
I know he's Jewish | 0:12:47 | 0:12:48 | |
and I went way too far with that whole oven thing. | 0:12:48 | 0:12:51 | |
But believe me, I was going over | 0:12:51 | 0:12:52 | |
some of my anger management stuff last night | 0:12:52 | 0:12:54 | |
and I feel like I had another breakthrough. | 0:12:54 | 0:12:56 | |
- That's great. That's great. - But I just... Oh, I felt so bad. | 0:12:56 | 0:12:59 | |
You know what, Carl and I wrote this for you. | 0:12:59 | 0:13:01 | |
You are our Hitler. Don't you ever forget that, OK? | 0:13:01 | 0:13:04 | |
That means a lot, but I know this is | 0:13:04 | 0:13:06 | |
your and Carl's vision, I mean, you wrote this. | 0:13:06 | 0:13:08 | |
But, yeah, it's funny, I was talking to Tom Sizemore | 0:13:08 | 0:13:12 | |
and he was saying the only way to learn how to act is to act. | 0:13:12 | 0:13:16 | |
And I know you're concerned | 0:13:16 | 0:13:17 | |
because I haven't really memorized anything | 0:13:17 | 0:13:19 | |
and I've been all over the place, but believe me | 0:13:19 | 0:13:21 | |
on the day... Well, you know, tonight... | 0:13:21 | 0:13:23 | |
Yeah, I really think it's gonna be salty. | 0:13:23 | 0:13:25 | |
I just want to make sure you're all right. | 0:13:25 | 0:13:28 | |
- I'm good. - All right. | 0:13:28 | 0:13:29 | |
I don't take cream, could you, just, black? | 0:13:29 | 0:13:33 | |
# Bad boys, bad boys, what you gonna do? | 0:13:34 | 0:13:38 | |
# What you gonna do when they come for you...? # | 0:13:38 | 0:13:41 | |
Well, no, not married. | 0:13:41 | 0:13:44 | |
This guy that I was seeing, | 0:13:44 | 0:13:46 | |
this guy Tom that I was seeing last year at this time | 0:13:46 | 0:13:50 | |
said when he broke up with me, he said he was | 0:13:50 | 0:13:54 | |
getting back together with an ex-girlfriend | 0:13:54 | 0:13:56 | |
but I don't know if that's true or not. | 0:13:56 | 0:13:58 | |
I heard he's I heard it's not true. | 0:13:58 | 0:14:00 | |
But that's what he said at the time. | 0:14:00 | 0:14:02 | |
- Hey! - Hey, how are you? | 0:14:02 | 0:14:03 | |
Good, good. | 0:14:03 | 0:14:05 | |
It's funny. | 0:14:07 | 0:14:08 | |
Yeah, what are the odds, right? | 0:14:08 | 0:14:10 | |
Well, uh, have a good day. See you. | 0:14:10 | 0:14:15 | |
I like Carl. | 0:14:17 | 0:14:18 | |
Uh, have you ever been in therapy? | 0:14:21 | 0:14:24 | |
Who? | 0:14:24 | 0:14:27 | |
No. I don't even get that. | 0:14:27 | 0:14:30 | |
I don't even get that. It's like... | 0:14:30 | 0:14:33 | |
they're just selling you back to yourself. | 0:14:33 | 0:14:35 | |
What is that? | 0:14:35 | 0:14:37 | |
Hmm. I never thought of it that way. | 0:14:37 | 0:14:43 | |
Your appetite is certainly worth noting. | 0:14:43 | 0:14:46 | |
I'm hungry. | 0:14:46 | 0:14:48 | |
Oh, don't tell me you're one of those... | 0:14:48 | 0:14:51 | |
- You don't eat? - Oh, no, I eat. | 0:14:51 | 0:14:53 | |
I just don't eat airplane food. | 0:14:53 | 0:14:56 | |
Why not? It's first class. | 0:14:56 | 0:14:58 | |
They cook the shit on the premises. | 0:14:58 | 0:15:00 | |
What's the problem? | 0:15:00 | 0:15:01 | |
I'll wait for the cookies. | 0:15:01 | 0:15:03 | |
Man, how corrupt was your father? | 0:15:03 | 0:15:06 | |
And milk. | 0:15:06 | 0:15:08 | |
Did he kill people? | 0:15:08 | 0:15:10 | |
He killed their spirits. | 0:15:10 | 0:15:13 | |
Did he threaten their identities? | 0:15:13 | 0:15:15 | |
Something like that. | 0:15:15 | 0:15:16 | |
So, what about you? | 0:15:18 | 0:15:20 | |
He, um... | 0:15:22 | 0:15:25 | |
No, no, that's all right. Sorry. | 0:15:25 | 0:15:27 | |
- No. - OK. | 0:15:27 | 0:15:30 | |
No, he didn't. He, he adored me, actually. | 0:15:30 | 0:15:34 | |
- Adored? - Mm-hmm. | 0:15:34 | 0:15:37 | |
Wow. I don't think I've ever been adored. | 0:15:37 | 0:15:40 | |
You can get paid to have sex by a company. | 0:15:41 | 0:15:45 | |
I mean, acting in an adult film. | 0:15:45 | 0:15:48 | |
But if some guy pays you five hundred bucks | 0:15:48 | 0:15:50 | |
to have sex with him, that's illegal. | 0:15:50 | 0:15:53 | |
So, you're in porn. | 0:15:53 | 0:15:56 | |
Why are you in porn? Two reasons. | 0:15:56 | 0:15:58 | |
Either you need the money, or you're an exhibitionist. | 0:15:58 | 0:16:02 | |
- What do you think is exhibitionism? - Porn. | 0:16:02 | 0:16:06 | |
What... Well, no, OK. That's a good question. | 0:16:06 | 0:16:10 | |
I think it goes way beyond just wanting to perform. | 0:16:10 | 0:16:15 | |
You can't pretend that you're having sex with someone | 0:16:15 | 0:16:19 | |
when you are actually having sex with them. | 0:16:19 | 0:16:22 | |
Well, I think it's easier to think | 0:16:22 | 0:16:26 | |
that they're enjoying themselves. Or maybe they want you to enjoy yourselves. | 0:16:26 | 0:16:29 | |
Why would you want to think about it so much? | 0:16:29 | 0:16:31 | |
It's been made to turn you on. It's nothing deeper than that. | 0:16:31 | 0:16:34 | |
Yes, I do. | 0:16:34 | 0:16:35 | |
Sorry. I thought you said this didn't bother you. | 0:16:35 | 0:16:38 | |
Carl, I can't have conversations like this anymore. | 0:16:38 | 0:16:42 | |
You can't? | 0:16:42 | 0:16:43 | |
I've met someone. | 0:16:45 | 0:16:46 | |
- Oh. - It's not appropriate anymore. | 0:16:49 | 0:16:52 | |
- Oh, I understand. - Sorry. | 0:16:52 | 0:16:55 | |
Don't be...sorry? Hey, you are showing absolute respect | 0:16:55 | 0:16:58 | |
by being honest with me and not being weird or, you know | 0:16:58 | 0:17:02 | |
protracted about it. Thank you. | 0:17:02 | 0:17:04 | |
I just... Hey, I like to know where I stand. | 0:17:04 | 0:17:07 | |
-Otherwise, -I -feel like an asshole. | 0:17:07 | 0:17:09 | |
Are you all right? | 0:17:12 | 0:17:14 | |
Yep. | 0:17:14 | 0:17:16 | |
Yeah, I was just thinking of the rest of my day. | 0:17:16 | 0:17:21 | |
Jerry wants to meet with me. | 0:17:21 | 0:17:23 | |
- Really? - Yes. | 0:17:23 | 0:17:26 | |
He's never liked me, you know, from day one. | 0:17:26 | 0:17:28 | |
Just...nothing I can do about that. | 0:17:28 | 0:17:32 | |
I'm sure you'll do just fine. | 0:17:32 | 0:17:34 | |
You are aware of the recent layoffs, correct? | 0:17:36 | 0:17:40 | |
Well, yes. | 0:17:40 | 0:17:42 | |
We're making some changes, rearranging our priorities | 0:17:42 | 0:17:46 | |
getting things straight, that sort of thing. | 0:17:46 | 0:17:49 | |
Are you a smoker, Brian? | 0:17:53 | 0:17:56 | |
I participate when it's available. | 0:17:56 | 0:18:00 | |
- Are you a smoker? - No, but I smoke. | 0:18:00 | 0:18:03 | |
Have you ever been caught driving under the influence? | 0:18:03 | 0:18:07 | |
Under the influence of what? | 0:18:07 | 0:18:09 | |
- DUI - you're familiar with the term. - Yeah. | 0:18:11 | 0:18:15 | |
- Correct? - Yeah. No. I mean, what does this have to do with... | 0:18:15 | 0:18:19 | |
Do you vote Democrat or Republican? | 0:18:19 | 0:18:22 | |
Neither. Either. I vote for the best person. | 0:18:22 | 0:18:26 | |
- And how do you judge that? Do you know in an instant? - Yes. | 0:18:26 | 0:18:32 | |
Right. | 0:18:33 | 0:18:34 | |
Oh, come on, kitten, the water works? | 0:18:51 | 0:18:53 | |
You know, we've talked about this. | 0:18:54 | 0:18:56 | |
nothing's changed... | 0:18:56 | 0:18:57 | |
since the last time we had this discussion. | 0:18:57 | 0:19:01 | |
I'm just... I'm too committed to my work | 0:19:01 | 0:19:04 | |
to sustain a serious relationship right now. | 0:19:04 | 0:19:07 | |
You know, I bring work home with me. I'm distracted. | 0:19:07 | 0:19:10 | |
I'm taking a swim in lake me, you know? | 0:19:10 | 0:19:14 | |
And, you...hey, you deserve better, believe you me. | 0:19:14 | 0:19:18 | |
I would only cause you pain. | 0:19:18 | 0:19:20 | |
Remember how I let you twirl my key chain? | 0:19:20 | 0:19:23 | |
Nice, right? Hugging, kissing, all nice. | 0:19:23 | 0:19:27 | |
Now, go on, sweetie. Go on, split. Come on, come on. | 0:19:27 | 0:19:31 | |
I'll call you. | 0:19:31 | 0:19:33 | |
If the phone doesn't ring, it's probably me. | 0:19:39 | 0:19:42 | |
Oh, man. PHONE RINGS | 0:19:42 | 0:19:44 | |
Fucking Goebbels - he thinks it's a toy. | 0:19:46 | 0:19:49 | |
Gone to get haircut. | 0:19:51 | 0:19:54 | |
What an asshole. | 0:19:54 | 0:19:56 | |
I don't know why, I just started that. | 0:19:58 | 0:20:00 | |
I just don't want them knowing me, you know? | 0:20:00 | 0:20:02 | |
I don't want them knowing me. | 0:20:02 | 0:20:04 | |
I give the name Ann all the time | 0:20:04 | 0:20:09 | |
because it seems like Ann is | 0:20:09 | 0:20:10 | |
one. | 0:20:10 | 0:20:12 | |
And it's less invasive. | 0:20:12 | 0:20:14 | |
I'm more anonymous, you know? | 0:20:14 | 0:20:17 | |
And more invisible. If they know me as Ann | 0:20:17 | 0:20:19 | |
they don't know who really is in the room with them. | 0:20:19 | 0:20:21 | |
And for some reason, that feels good to me. | 0:20:23 | 0:20:25 | |
Nicholas. I will begin simply. | 0:20:46 | 0:20:50 | |
I love you. | 0:20:50 | 0:20:51 | |
Have always loved you | 0:20:51 | 0:20:54 | |
and will always love you. | 0:20:54 | 0:20:57 | |
ever since the moment I met you | 0:20:57 | 0:20:59 | |
the love I feel for you is overwhelming. | 0:20:59 | 0:21:02 | |
When we are apart, you are all I think about | 0:21:02 | 0:21:05 | |
and can't wait until | 0:21:05 | 0:21:07 | |
we are just even in the same room again. | 0:21:07 | 0:21:11 | |
Until then. | 0:21:11 | 0:21:13 | |
I've been away a lot. | 0:21:20 | 0:21:22 | |
- Hey, Mike? - Yes? | 0:22:00 | 0:22:03 | |
- Can I ask you a question? - Yes. | 0:22:03 | 0:22:06 | |
- It's kind of personal. - Shoot. | 0:22:06 | 0:22:10 | |
Is that your real hair? | 0:22:10 | 0:22:13 | |
Absolutely. | 0:22:13 | 0:22:14 | |
I'm thinking of getting some more. | 0:22:16 | 0:22:19 | |
Don't do that. | 0:22:19 | 0:22:21 | |
- Why not? - You'll have doll head. | 0:22:21 | 0:22:24 | |
I don't care. I want more hair. | 0:22:24 | 0:22:25 | |
Low-level, free-floating anxiety about it, you know? | 0:22:25 | 0:22:31 | |
I have anxiety about it. I see homeless guys | 0:22:31 | 0:22:34 | |
with a full head of hair, and I think, What the fuck? | 0:22:34 | 0:22:36 | |
You know, Kirk Douglas, what the fuck... | 0:22:36 | 0:22:38 | |
Does Lee mind? | 0:22:39 | 0:22:41 | |
Uh, she says no. | 0:22:42 | 0:22:44 | |
Well, that's a lie. | 0:22:44 | 0:22:45 | |
She doesn't say anything, and I assume that's a no. | 0:22:46 | 0:22:50 | |
We sit in the same room, we live in the same house | 0:22:50 | 0:22:55 | |
- but, uh... - And. - What? | 0:22:55 | 0:23:00 | |
Try changing your buts to ands. See what happens. | 0:23:00 | 0:23:04 | |
We live in the same house, and... | 0:23:04 | 0:23:07 | |
Now you got it. | 0:23:07 | 0:23:09 | |
Yes, I would say that. | 0:23:13 | 0:23:15 | |
How often? | 0:23:15 | 0:23:16 | |
Once a week, once a month, once a year, once... | 0:23:16 | 0:23:20 | |
- This is kind of... - I'll come back to that. | 0:23:20 | 0:23:23 | |
God. Do you believe in him? | 0:23:23 | 0:23:26 | |
Well, you know, not like a bearded guy... | 0:23:26 | 0:23:27 | |
- It's a yes or no question, David. - Yes, then. | 0:23:27 | 0:23:31 | |
Listen, I'm sorry, I just thought... | 0:23:31 | 0:23:33 | |
I'm going to be straight with you, David, OK? - OK. | 0:23:33 | 0:23:36 | |
In three years, you haven't impressed | 0:23:36 | 0:23:38 | |
a single person at this agency. | 0:23:38 | 0:23:41 | |
You'll be notified officially through the mail. | 0:23:41 | 0:23:46 | |
- I'll watch for it. - OK. Do you have a girlfriend? | 0:23:46 | 0:23:48 | |
What? Are you involved? | 0:23:49 | 0:23:52 | |
Are you... Are you... What...what are you doing? | 0:23:52 | 0:23:57 | |
Put that chair against the door. | 0:23:57 | 0:23:59 | |
Ms Bright? Yeah. | 0:24:01 | 0:24:04 | |
Is this a joke? 'cause I'm a good sport. | 0:24:04 | 0:24:05 | |
This is a test of skill of sorts. | 0:24:05 | 0:24:07 | |
I like you, David. I'll tell you that right now. | 0:24:07 | 0:24:12 | |
- OK. - OK? | 0:24:12 | 0:24:14 | |
Yeah. | 0:24:14 | 0:24:16 | |
On one leg - balanced. | 0:24:16 | 0:24:18 | |
You are a piece of work, do you know that? | 0:24:19 | 0:24:24 | |
- OK. - Good! | 0:24:24 | 0:24:27 | |
- All righty. - OK. | 0:24:27 | 0:24:29 | |
Now, name all the countries in Africa in one minute. | 0:24:29 | 0:24:35 | |
There's this guy I met on the internet. | 0:24:35 | 0:24:38 | |
Ooh, are we doing this now? | 0:24:38 | 0:24:40 | |
Mm-hmm. He wants me to meet him in Tucson for the weekend. | 0:24:40 | 0:24:43 | |
- He's a kid. - In Tucson? | 0:24:43 | 0:24:46 | |
- You have to try these. - Do they have sugar? | 0:24:46 | 0:24:48 | |
- No, sugar-free. Why Tucson? - He lives near there. | 0:24:48 | 0:24:52 | |
Does he live in the desert? | 0:24:52 | 0:24:54 | |
But we're staying at a Holiday Inn. | 0:24:54 | 0:24:56 | |
I'm intrigued. | 0:24:56 | 0:24:59 | |
- In Tucson? - These are good. | 0:24:59 | 0:25:01 | |
I know. They're sweetened with fruit juice. | 0:25:01 | 0:25:03 | |
I could eat this whole damn tray. | 0:25:03 | 0:25:05 | |
I bought new underwear. | 0:25:05 | 0:25:08 | |
- Have you seen a photo? - No. | 0:25:08 | 0:25:11 | |
That Holiday Inn part, that's kind of a little sad. | 0:25:11 | 0:25:14 | |
- Why is that sad? - Because, Tucson? | 0:25:14 | 0:25:17 | |
- So what? He knows a good one. - All right. | 0:25:17 | 0:25:20 | |
Seems like you put a lot of thought into this. | 0:25:20 | 0:25:22 | |
- Planned - we both have. - Mm-hmm. | 0:25:22 | 0:25:23 | |
- Kind of like a wedding? - Sort of. | 0:25:23 | 0:25:25 | |
OK, I think that was good, but I really, really think... | 0:25:25 | 0:25:29 | |
you guys shouldn't make eye contact. | 0:25:29 | 0:25:30 | |
Hold on, hold on. | 0:25:30 | 0:25:32 | |
That whole thing of you guys being an extension of me - | 0:25:32 | 0:25:33 | |
hold on. Stop giving them directions. | 0:25:33 | 0:25:36 | |
Just let me work this out, OK? One second. | 0:25:36 | 0:25:38 | |
You know when we do that first scene where I'm exercising | 0:25:38 | 0:25:41 | |
You guys gotta have athletic supporters. | 0:25:41 | 0:25:43 | |
You know what, stop. Stop. | 0:25:43 | 0:25:45 | |
Hey, pal, guess who the world doesn't revolve around? | 0:25:45 | 0:25:48 | |
You. OK? I'm trying. | 0:25:48 | 0:25:49 | |
Maybe you want to come out here and look at it. | 0:25:49 | 0:25:51 | |
- Give me the jacket... - Can I talk to you for a second? | 0:25:51 | 0:25:55 | |
- I'm fucking giving my all here. - I know, I know. | 0:25:55 | 0:25:58 | |
I'm giving my all, and I'm really fucking worried, OK? | 0:25:58 | 0:26:00 | |
Because last week you tell me | 0:26:00 | 0:26:02 | |
you want me to play it like Danny Kaye, right? | 0:26:02 | 0:26:04 | |
This morning, you come in, and you say... | 0:26:04 | 0:26:06 | |
Hey, why don't you play it like Alan Alda? | 0:26:06 | 0:26:08 | |
What am I, fucking Danny Alda? | 0:26:08 | 0:26:09 | |
OK, I think you're really distracted. | 0:26:09 | 0:26:11 | |
You've been on the fucking laptop... | 0:26:11 | 0:26:12 | |
like a little crack monkey, logging onto Expedia | 0:26:12 | 0:26:15 | |
for this fucking chick in Tucson? | 0:26:15 | 0:26:17 | |
Let me tell you something, man. This is art. | 0:26:17 | 0:26:19 | |
I dumped my girlfriend the day we started rehearsals. | 0:26:19 | 0:26:22 | |
You're not here, man. You're not present. | 0:26:22 | 0:26:24 | |
I am here. I am here. | 0:26:24 | 0:26:25 | |
You're not, OK? And I'm starting to question | 0:26:25 | 0:26:28 | |
whether you and Carl know what the fuck you're talking about. | 0:26:28 | 0:26:30 | |
Peter Ustinov said, to act is difficult... | 0:26:30 | 0:26:34 | |
but it's more difficult to write a bad play | 0:26:34 | 0:26:36 | |
than to give a bad performance. | 0:26:36 | 0:26:38 | |
You know what? You know what? | 0:26:38 | 0:26:40 | |
What a great fucking idea, watching me squirm. | 0:26:40 | 0:26:43 | |
What are you talking about? | 0:26:43 | 0:26:45 | |
- Catherine. - What are you talking about? | 0:26:45 | 0:26:49 | |
- The letter. - What letter? | 0:26:49 | 0:26:51 | |
The letter. | 0:26:51 | 0:26:53 | |
- May I? - Oh, yeah. | 0:26:55 | 0:26:57 | |
You're acting crazy. | 0:26:58 | 0:27:02 | |
Wow. Well. | 0:27:06 | 0:27:08 | |
Pretty extraordinary. | 0:27:12 | 0:27:14 | |
Really? | 0:27:14 | 0:27:16 | |
This is a prank, right? | 0:27:19 | 0:27:21 | |
I mean, that's cool. You can tell me. | 0:27:21 | 0:27:24 | |
I don't think it's a prank, no. | 0:27:24 | 0:27:26 | |
You didn't write this? | 0:27:26 | 0:27:28 | |
Is it your fantasy that I wrote it? | 0:27:28 | 0:27:30 | |
Oh, don't. Don't do that. | 0:27:30 | 0:27:32 | |
I don't know what to tell you. | 0:27:32 | 0:27:34 | |
OK, here's the deal. | 0:27:34 | 0:27:35 | |
This right here, you can't write about. | 0:27:35 | 0:27:37 | |
- I can't? - No, you cannot. It's not fair. | 0:27:37 | 0:27:40 | |
They really do have ovens back there. | 0:27:40 | 0:27:41 | |
I am onto you, girl. | 0:27:41 | 0:27:43 | |
Well, I think I'm onto you, all right? | 0:27:43 | 0:27:45 | |
Look at me. | 0:27:45 | 0:27:47 | |
- Look at me. - Oh, my. | 0:27:47 | 0:27:50 | |
Come on, did you write the letter? | 0:27:50 | 0:27:52 | |
It's OK. | 0:27:54 | 0:28:00 | |
See? | 0:28:01 | 0:28:02 | |
I'm just not gonna play this game with you anymore. | 0:28:06 | 0:28:09 | |
I ain't even thinking about you. Look. | 0:28:09 | 0:28:11 | |
You missed a piece. | 0:28:21 | 0:28:23 | |
So, Tracy... Is that your given name? | 0:28:26 | 0:28:29 | |
Yes. | 0:28:29 | 0:28:31 | |
And what's your porn name? | 0:28:31 | 0:28:34 | |
I'm... | 0:28:34 | 0:28:35 | |
Do you know about porn names? | 0:28:35 | 0:28:37 | |
- No. - OK. | 0:28:37 | 0:28:38 | |
Your porn name is your middle name... | 0:28:38 | 0:28:40 | |
and the name of the first street you grew up on. | 0:28:40 | 0:28:45 | |
OK. | 0:28:45 | 0:28:46 | |
So, like, my porn name is Andrew Highland. | 0:28:46 | 0:28:50 | |
It's terrible. It's not very sexy. | 0:28:50 | 0:28:53 | |
So, you're Tracy... | 0:28:53 | 0:28:56 | |
I don't have a middle name. | 0:28:56 | 0:28:58 | |
Oh, well, you can... | 0:28:58 | 0:29:00 | |
Yeah, well, you can also use the name of your first pet. | 0:29:00 | 0:29:04 | |
We weren't allowed to have pets. | 0:29:04 | 0:29:08 | |
Ivory Coast, Senegal, Sierra Leone... | 0:29:08 | 0:29:10 | |
Mm-hmm. Good. | 0:29:10 | 0:29:12 | |
Ghana, Mali. | 0:29:12 | 0:29:15 | |
Have you ever...been tested lately for the HIV Virus? | 0:29:15 | 0:29:17 | |
No. Yes. Morocco, Mozambique, Angola... | 0:29:17 | 0:29:21 | |
- Cameroon... - Stay there. | 0:29:21 | 0:29:23 | |
- Congo... - God, you are good. | 0:29:23 | 0:29:25 | |
Gabon, Angola. | 0:29:25 | 0:29:27 | |
- Go east. - Kenya, Somalia Republic... | 0:29:27 | 0:29:30 | |
- Jesus. - Ethiopia. | 0:29:30 | 0:29:31 | |
Time. You are very impressive. | 0:29:31 | 0:29:35 | |
I don't think you're allowed to do this. | 0:29:36 | 0:29:39 | |
Of course I am. | 0:29:41 | 0:29:43 | |
Get down from there. | 0:29:43 | 0:29:45 | |
Just meet me in the lobby, please. | 0:29:47 | 0:29:49 | |
You'll have a great time. I know you'll love Gus. | 0:29:49 | 0:29:52 | |
I can't go to a party like that. I have nothing to wear. | 0:29:52 | 0:29:55 | |
Wear the green dress. You look great in it. | 0:29:55 | 0:29:57 | |
It's too tight. It doesn't fit me anymore... | 0:29:57 | 0:29:59 | |
- And it has a stain that's... - You always have an excuse. | 0:29:59 | 0:30:01 | |
It's not an excuse. Lee, that's a reason. | 0:30:01 | 0:30:03 | |
There's a difference. Look, are we still having lunch today? | 0:30:03 | 0:30:06 | |
Because I have a birthday present for you. | 0:30:06 | 0:30:09 | |
It's tomorrow. | 0:30:09 | 0:30:11 | |
You know what? I know when your birthday is, OK? | 0:30:11 | 0:30:13 | |
I'm not here tomorrow. | 0:30:13 | 0:30:15 | |
Hey, Linda... | 0:30:15 | 0:30:17 | |
Hello? | 0:30:17 | 0:30:19 | |
You're breaking up. Call me back. | 0:30:19 | 0:30:21 | |
Hello? Listen, if you can hear me, call me back. | 0:30:21 | 0:30:23 | |
- Call me back. - Fuck. | 0:30:23 | 0:30:24 | |
Yeah, I think about him a lot. | 0:30:24 | 0:30:26 | |
You know? It's hard. I found him in the basement. | 0:30:26 | 0:30:31 | |
And then I found Lee... | 0:30:31 | 0:30:35 | |
who was outside, I think, or somewhere else in the house. | 0:30:35 | 0:30:37 | |
I remember screaming, and then I remember her appearing. | 0:30:37 | 0:30:41 | |
Uh, and then, you know, no one else was home | 0:30:41 | 0:30:44 | |
so she ran to a neighbour's... | 0:30:44 | 0:30:47 | |
and I stayed with him. | 0:30:47 | 0:30:52 | |
And then neighbours came, and... | 0:30:52 | 0:30:56 | |
and then my mom was home. | 0:30:56 | 0:30:57 | |
They found my mom, and so... | 0:30:57 | 0:31:01 | |
It's pretty surprising | 0:31:02 | 0:31:03 | |
when you see somebody you know... | 0:31:03 | 0:31:06 | |
like your dad, you know, in that state, you know? | 0:31:06 | 0:31:11 | |
So, it was surprising, | 0:31:11 | 0:31:12 | |
but I think that, you know, in retrospect, he... | 0:31:12 | 0:31:17 | |
He was pretty unhappy | 0:31:21 | 0:31:25 | |
most of the time. | 0:31:25 | 0:31:27 | |
My friend Gus says that people - the straight world - | 0:31:27 | 0:31:30 | |
will always be fascinated by gangster sagas... | 0:31:30 | 0:31:33 | |
because, here are these guys, they say | 0:31:33 | 0:31:37 | |
we're not gonna live by some unspoken rule | 0:31:37 | 0:31:39 | |
that we don't take you to the cleaners | 0:31:39 | 0:31:40 | |
when you're not looking. We don't have any agreement | 0:31:40 | 0:31:43 | |
not to take advantage of you. | 0:31:43 | 0:31:45 | |
And these people, they're in the minority, fortunately | 0:31:45 | 0:31:48 | |
otherwise, there would be chaos. | 0:31:48 | 0:31:49 | |
But we love watching them, because, because... | 0:31:49 | 0:31:55 | |
it's a walk on the wild side | 0:31:55 | 0:31:58 | |
without any real risk of corruption. | 0:31:58 | 0:32:00 | |
It's two-dimensional, you know? | 0:32:00 | 0:32:02 | |
And it's always gonna be compelling. | 0:32:02 | 0:32:04 | |
Sometimes, we can't look away. | 0:32:04 | 0:32:07 | |
But...and we should. | 0:32:07 | 0:32:09 | |
- Hey, Carl, how you doing, pal? - Good to see you. | 0:32:09 | 0:32:13 | |
- You look great. - Thanks. Uh... | 0:32:13 | 0:32:16 | |
You know, that's amazing that you called today | 0:32:16 | 0:32:18 | |
because I needed to see you. | 0:32:18 | 0:32:21 | |
I have an idea. I have an idea. I think it's a cover. | 0:32:21 | 0:32:24 | |
You got slobber all up on you. | 0:32:36 | 0:32:38 | |
What time is it? | 0:32:41 | 0:32:43 | |
Oh, I feel... I feel nauseous. | 0:32:43 | 0:32:46 | |
Are you ready to talk about this? | 0:32:46 | 0:32:48 | |
Nicholas... | 0:32:50 | 0:32:52 | |
Look, I think that you're very talented | 0:32:52 | 0:32:54 | |
and I'll probably write a very nice piece about you | 0:32:54 | 0:32:58 | |
but you're really annoying about this whole letter thing. | 0:32:58 | 0:33:01 | |
No. You're annoying. | 0:33:01 | 0:33:05 | |
Mm-hmm. OK. | 0:33:05 | 0:33:06 | |
You see, I think that is worth discussing. I really do. | 0:33:06 | 0:33:10 | |
Well, Carl, I'll discuss anything with you anytime... | 0:33:10 | 0:33:13 | |
because every time you've come into my office... | 0:33:13 | 0:33:16 | |
every time I've asked to see you... | 0:33:16 | 0:33:18 | |
or you've come to see me with an idea | 0:33:18 | 0:33:20 | |
about a cover or a feature story or anything you want to do | 0:33:20 | 0:33:24 | |
it always has validity. It always has... | 0:33:24 | 0:33:27 | |
It's important to me to hear your ideas, you know? | 0:33:27 | 0:33:30 | |
Thank you, thank you. | 0:33:30 | 0:33:31 | |
Let me ask you a question. | 0:33:31 | 0:33:32 | |
The reason I called you in today, actually... | 0:33:32 | 0:33:34 | |
Yeah. Sorry. | 0:33:34 | 0:33:36 | |
I have a question for you... | 0:33:36 | 0:33:38 | |
and it's kind of important to me to hear the answer. | 0:33:38 | 0:33:42 | |
And the question is... | 0:33:42 | 0:33:43 | |
when you go to your refrigerator in your home | 0:33:43 | 0:33:47 | |
and you open the door, and you see a bottle of beer, | 0:33:47 | 0:33:51 | |
do you take that bottle of beer | 0:33:51 | 0:33:53 | |
and pour it into a glass and drink it | 0:33:53 | 0:33:55 | |
or do you drink it from the bottle? | 0:33:55 | 0:33:57 | |
Well, I drink it from a glass. | 0:34:01 | 0:34:03 | |
Ah, you see? | 0:34:03 | 0:34:05 | |
That's the problem. | 0:34:06 | 0:34:08 | |
You see, I want this magazine to drink from the bottle. | 0:34:08 | 0:34:14 | |
In talks? What the fuck, Alex? | 0:34:19 | 0:34:22 | |
All right, in talks. | 0:34:22 | 0:34:24 | |
I need this. | 0:34:25 | 0:34:27 | |
All right, all right. | 0:34:28 | 0:34:30 | |
HE RAPS I suppose we've come a ways since Sambo, Mr Bojangles. | 0:34:30 | 0:34:35 | |
Step and fetch it, boy. | 0:34:35 | 0:34:37 | |
What? Man, call me Mr Tibbs, | 0:34:37 | 0:34:41 | |
we've heard Poitier say. | 0:34:41 | 0:34:42 | |
It's a new day, some say. | 0:34:42 | 0:34:44 | |
Because every now and then, black men are even in. | 0:34:44 | 0:34:48 | |
Motion picture heroes. It's the American way, Wesley. | 0:34:48 | 0:34:52 | |
Be cute and still save the world. | 0:34:52 | 0:34:54 | |
Yes, we will, Will. | 0:34:54 | 0:34:56 | |
Go from boy in the hood to man of honour. | 0:34:56 | 0:34:58 | |
Show 'em the money now, Cuba. | 0:34:58 | 0:35:00 | |
Give 'em funnies like Chris Rock or Tucker. | 0:35:00 | 0:35:02 | |
Or just cool it, be anybody, like Denzel. | 0:35:02 | 0:35:04 | |
But wait. He ain't even really getting no loving | 0:35:04 | 0:35:09 | |
like Sidney before him and whoever after him. | 0:35:09 | 0:35:12 | |
Romancin' and dancin' with amore's passion... | 0:35:12 | 0:35:15 | |
ain't in the script's equation. | 0:35:15 | 0:35:17 | |
But can even Mr Washington | 0:35:17 | 0:35:19 | |
briefly be seen kissing a pretty woman | 0:35:19 | 0:35:21 | |
underneath a pelican moon? | 0:35:21 | 0:35:23 | |
Can even he be a romantic lead? | 0:35:23 | 0:35:25 | |
Check it. From Sambo to Sidney to Denzel to me. | 0:35:25 | 0:35:28 | |
Brothers ain't getting nor giving no love now. | 0:35:28 | 0:35:31 | |
I don't want to complain, but my doctor says I'm suffering | 0:35:31 | 0:35:35 | |
from underloved syndrome. | 0:35:35 | 0:35:38 | |
Maybe it is a conspiracy. But do folks still fear | 0:35:38 | 0:35:41 | |
the black man's sexuality like that? | 0:35:41 | 0:35:45 | |
A fear that could be wiped out just by seeing us love | 0:35:45 | 0:35:49 | |
not by race, but by heart. | 0:35:49 | 0:35:51 | |
And can't a brother get some love? | 0:35:51 | 0:35:53 | |
Now, that, Catherine... | 0:35:53 | 0:35:55 | |
is a question for the screen pages | 0:35:55 | 0:35:58 | |
written by folks who rarely look like me | 0:35:58 | 0:36:00 | |
but want to see me run and jump and shoot, | 0:36:00 | 0:36:04 | |
but don't care to see me kiss a woman with my skin tone | 0:36:04 | 0:36:08 | |
and would shoot me if I were kissing a woman of their hue. | 0:36:08 | 0:36:11 | |
Who are you? | 0:36:11 | 0:36:14 | |
Who are you? Who are we? | 0:36:14 | 0:36:16 | |
We are human, too... | 0:36:16 | 0:36:19 | |
and we love loving, and... | 0:36:19 | 0:36:23 | |
Can't a brother get some love? | 0:36:23 | 0:36:26 | |
That's the state of being | 0:36:26 | 0:36:28 | |
a chocolate leading man in Hollywood today. | 0:36:28 | 0:36:30 | |
I keep bringing it up | 0:36:30 | 0:36:31 | |
because I don't want you to think I forgot. | 0:36:31 | 0:36:32 | |
Just pay me back when you have all of it. | 0:36:32 | 0:36:34 | |
- I have half now, so... - Keep it. I don't want... | 0:36:34 | 0:36:36 | |
- It just feels awkward. - Please. | 0:36:36 | 0:36:38 | |
- Hi. - Right this way. | 0:36:38 | 0:36:41 | |
- Thank you. - Thanks. | 0:36:41 | 0:36:43 | |
What would you like to start with? | 0:36:43 | 0:36:44 | |
Some Evian or Pellegrino? | 0:36:44 | 0:36:46 | |
- Thank you. - You're welcome. | 0:36:46 | 0:36:48 | |
You still going on your weekend with that guy from the internet? | 0:36:48 | 0:36:51 | |
Mm-hmm. No, I haven't cancelled. | 0:36:51 | 0:36:52 | |
I'm putting myself out there. I'm going. | 0:36:52 | 0:36:54 | |
Good. You need money for that. | 0:36:54 | 0:36:56 | |
You want me to meet men, and I'm meeting men. | 0:36:56 | 0:36:57 | |
You could meet men there. There'll be plenty. | 0:36:57 | 0:36:59 | |
I can't come tonight. I can't. | 0:36:59 | 0:37:01 | |
On the internet? How is that meeting? | 0:37:01 | 0:37:03 | |
It's encountering. | 0:37:03 | 0:37:04 | |
What airline are you flying? | 0:37:06 | 0:37:08 | |
Southwest. | 0:37:08 | 0:37:09 | |
- Southwest? - Yeah. | 0:37:09 | 0:37:11 | |
That's a good airline. Southwest, younger man... | 0:37:11 | 0:37:15 | |
new underwear, Tucson, Holiday Inn. | 0:37:15 | 0:37:18 | |
What is your point? | 0:37:18 | 0:37:19 | |
Have you ever stayed at a Holiday Inn? | 0:37:19 | 0:37:20 | |
No. Have you? | 0:37:20 | 0:37:22 | |
I think that's what's really bothering me. | 0:37:22 | 0:37:23 | |
You know what, Lee? He's paying for it. | 0:37:23 | 0:37:25 | |
So if that's what's really bothering you... | 0:37:25 | 0:37:26 | |
- What does he do? - He's an artist. | 0:37:26 | 0:37:28 | |
- An actor. - A painter. | 0:37:28 | 0:37:30 | |
In Tucson? | 0:37:30 | 0:37:31 | |
Yeah. He says the desert inspires him. | 0:37:31 | 0:37:33 | |
- Lend me what? - What is wrong with you? | 0:37:33 | 0:37:36 | |
Seriously, what is wrong with you right now? | 0:37:36 | 0:37:40 | |
Friday. Fridays are good. TGIF - Fridays are good, Lee. | 0:37:40 | 0:37:43 | |
You're acting insane. | 0:37:43 | 0:37:45 | |
I'm going to have the squash. | 0:37:46 | 0:37:49 | |
But this is a boundary issue, man! | 0:37:49 | 0:37:52 | |
What I do off-stage is my process and my business, OK? | 0:37:52 | 0:37:57 | |
And I don't care what anybody thinks. | 0:37:57 | 0:37:58 | |
And it's my business to put on a play. | 0:37:58 | 0:38:00 | |
And now I've got three hours to find a new Eva Braun. | 0:38:00 | 0:38:03 | |
Oh, OK. You know what? Fuck her. | 0:38:03 | 0:38:05 | |
And here's why. Number one - | 0:38:05 | 0:38:07 | |
anyone who's offended by drinking blood... | 0:38:07 | 0:38:10 | |
obviously doesn't drink blood. | 0:38:10 | 0:38:12 | |
Number two - anybody who drinks as much blood as I do | 0:38:12 | 0:38:15 | |
knows it has no effect. | 0:38:15 | 0:38:17 | |
Number three - | 0:38:17 | 0:38:18 | |
there is absolutely no scientific connection | 0:38:18 | 0:38:21 | |
between drinking a shot of blood a day | 0:38:21 | 0:38:23 | |
and being an extraordinary actor. | 0:38:23 | 0:38:25 | |
And number 4 - it is impossible to prove number 3. | 0:38:25 | 0:38:29 | |
You know, do the words "masai" mean anything to you? | 0:38:29 | 0:38:31 | |
Do you know who that is? | 0:38:31 | 0:38:33 | |
Yeah. Herzog made a documentary about them. | 0:38:33 | 0:38:35 | |
The herdsmen of fire, warriors of Africa. | 0:38:35 | 0:38:37 | |
They drank blood. | 0:38:37 | 0:38:38 | |
Jack fucking Lalanne drank blood in the fifties. | 0:38:38 | 0:38:41 | |
Yeah, granted, his wife wouldn't kiss him, | 0:38:41 | 0:38:43 | |
but this is bullshit, man. | 0:38:43 | 0:38:44 | |
I don't care what you do outside of this theatre. | 0:38:44 | 0:38:46 | |
I don't give a shit. You could eat the ass out of a dead wolf. | 0:38:46 | 0:38:49 | |
I don't care. Just keep it to yourself, OK? | 0:38:49 | 0:38:52 | |
Just keep it to yourself. | 0:38:52 | 0:38:53 | |
I think it's fucking hysterical that she walked. | 0:38:53 | 0:38:55 | |
And I know comedy. | 0:38:55 | 0:38:58 | |
I don't understand. | 0:38:58 | 0:38:59 | |
I don't understand what's wrong. I mean, birthdays are fun. | 0:38:59 | 0:39:02 | |
Well, OK, this is Mom when I was four | 0:39:02 | 0:39:06 | |
at my birthday introducing me to people. | 0:39:06 | 0:39:08 | |
And this is Lee. She ruined my body, didn't you, dear? | 0:39:08 | 0:39:13 | |
- There. - Thanks. | 0:39:13 | 0:39:15 | |
I won't be here tomorrow, so happy birthday. | 0:39:15 | 0:39:17 | |
Oh. It's smaller than the gift you gave me last year | 0:39:17 | 0:39:20 | |
for my fortieth birthday. | 0:39:20 | 0:39:22 | |
You know what, Lee, you make forty a bigger deal than it is. | 0:39:22 | 0:39:24 | |
- You have no idea about forty. - I'll be forty. | 0:39:24 | 0:39:27 | |
What did I give you last year? I don't even remember. | 0:39:27 | 0:39:30 | |
You know, that - that thing. That... | 0:39:30 | 0:39:35 | |
- Oh. You didn't like it? - No. | 0:39:35 | 0:39:39 | |
Well, honestly, I would have rather had... | 0:39:39 | 0:39:41 | |
just, like, a card or something. | 0:39:41 | 0:39:43 | |
OK. God. | 0:39:43 | 0:39:44 | |
It's just a weird gift to give your sister - | 0:39:44 | 0:39:46 | |
who's married - on her fortieth birthday. | 0:39:46 | 0:39:48 | |
You know what Gus gave me last year for my birthday? | 0:39:48 | 0:39:50 | |
First edition of Bernard Shaw's the Sanity Of Art. | 0:39:50 | 0:39:52 | |
Did you get anything out of it? | 0:39:52 | 0:39:55 | |
- Which? - The gift I gave you. | 0:39:55 | 0:39:57 | |
Are you kidding? | 0:39:57 | 0:40:00 | |
No. I mean, yes or no. | 0:40:00 | 0:40:03 | |
But for my fortieth birthday? | 0:40:03 | 0:40:05 | |
Well, I have one, so... | 0:40:05 | 0:40:08 | |
I used it once. | 0:40:08 | 0:40:10 | |
OK. All right. Well, what happened? | 0:40:10 | 0:40:13 | |
I got stuck in the chair. | 0:40:13 | 0:40:15 | |
You used it in a chair? | 0:40:17 | 0:40:21 | |
Well, yeah, that's what's on the box. | 0:40:21 | 0:40:24 | |
Different ways. I've never... | 0:40:24 | 0:40:26 | |
Not in a chair. I've never... | 0:40:26 | 0:40:29 | |
Well... | 0:40:29 | 0:40:31 | |
Gift-giving, you know, it's an art. | 0:40:31 | 0:40:33 | |
You should have the person in mind - | 0:40:33 | 0:40:36 | |
OK, I'm sorry. I thought you'd like it. I like it - | 0:40:36 | 0:40:38 | |
Well, that's - but you should give people... | 0:40:38 | 0:40:40 | |
What you think they would want - you know, something personal. | 0:40:40 | 0:40:43 | |
How much more personal could that be? | 0:40:43 | 0:40:45 | |
But then, you and that guy - what was his name? | 0:40:45 | 0:40:48 | |
- Tom. - Tom. | 0:40:48 | 0:40:49 | |
Yeah. You sat at the other end of the table... | 0:40:49 | 0:40:52 | |
and just stared at each other the whole time. | 0:40:52 | 0:40:53 | |
You didn't even really socialize. | 0:40:53 | 0:40:55 | |
Oh, my god. Oh, my god. Lee, forgive me, OK? | 0:40:55 | 0:40:57 | |
I happened to be in love for a brief period of time. | 0:40:57 | 0:41:00 | |
Once - which happened to include... | 0:41:00 | 0:41:02 | |
the week of your birthday. | 0:41:02 | 0:41:03 | |
- This is all a year later. - You don't get it. | 0:41:03 | 0:41:05 | |
Christ! | 0:41:05 | 0:41:06 | |
You know what? Gift - it's a gift. | 0:41:06 | 0:41:08 | |
A gift is a gift. Don't question it. | 0:41:08 | 0:41:09 | |
At least not to the giver and out loud a whole year later. | 0:41:09 | 0:41:12 | |
- OK, now I know. - What? | 0:41:16 | 0:41:18 | |
Well, that it meant something to you. | 0:41:18 | 0:41:20 | |
What? | 0:41:20 | 0:41:22 | |
Just the whole thing, that you put thought into it. | 0:41:22 | 0:41:25 | |
You know, it's for your small change. | 0:41:30 | 0:41:33 | |
So he gives me this injection, and I become invisible. | 0:41:35 | 0:41:40 | |
And I can do anything, right? | 0:41:40 | 0:41:42 | |
Because, you know, I'm invisible. | 0:41:42 | 0:41:43 | |
What do I do? I go to one of my colleagues - Carl... | 0:41:43 | 0:41:48 | |
and I make him sign a confession... | 0:41:48 | 0:41:51 | |
while I hold a knife to his neck. | 0:41:51 | 0:41:54 | |
Now, it's just weird, because I really like Carl. | 0:41:54 | 0:41:58 | |
He's a brilliant, talented man... | 0:41:58 | 0:42:00 | |
completely misunderstood by his boss. | 0:42:00 | 0:42:04 | |
Well, you know, I'm not surprised he was in my dream... | 0:42:04 | 0:42:07 | |
really, because I think of him a lot. | 0:42:07 | 0:42:12 | |
I think I'm actually - | 0:42:13 | 0:42:16 | |
Wheel in Nicholas. We're ready for him. | 0:42:16 | 0:42:17 | |
It's funny, because he's one of these guys - | 0:42:17 | 0:42:19 | |
You know what? I want to tell you... | 0:42:19 | 0:42:20 | |
what I think about that, but I gotta go do this. | 0:42:20 | 0:42:23 | |
OK. I'll be here - listening. | 0:42:23 | 0:42:27 | |
Hey, Pitty. | 0:42:29 | 0:42:30 | |
Hey, man. What's going on? | 0:42:32 | 0:42:33 | |
OK, exactly the same thing. We're starting from over here. | 0:42:33 | 0:42:36 | |
It took me a little bit - | 0:42:36 | 0:42:38 | |
I needed to do this with track instead of just the walk-up... | 0:42:38 | 0:42:40 | |
so we're gonna do a little bit of a push-in. | 0:42:40 | 0:42:41 | |
There's probably going to be some focus stuff... | 0:42:41 | 0:42:43 | |
so we're gonna shoot a few. | 0:42:43 | 0:42:45 | |
But just split the extras as they come through - | 0:42:45 | 0:42:47 | |
don't be precious about it. | 0:42:47 | 0:42:49 | |
- Tell them we're coming through. - I will, I will. | 0:42:49 | 0:42:52 | |
R-139, take one. | 0:42:52 | 0:42:55 | |
And background action - action! | 0:42:59 | 0:43:01 | |
Move! Move! | 0:43:01 | 0:43:03 | |
- Out of the way! - Goddamn it. | 0:43:03 | 0:43:05 | |
Looks like we're late. | 0:43:07 | 0:43:08 | |
Looks like. | 0:43:08 | 0:43:10 | |
Back to square one. | 0:43:10 | 0:43:12 | |
That's what he thinks. | 0:43:12 | 0:43:14 | |
You think different? | 0:43:14 | 0:43:17 | |
Like the back of my big ten-inch. | 0:43:17 | 0:43:19 | |
- Oh. - Come on. | 0:43:19 | 0:43:21 | |
One minute I'm drinking a beer, and the next minute... | 0:43:24 | 0:43:26 | |
I'm unemployed. How does that happen? | 0:43:26 | 0:43:29 | |
He said I have confused... | 0:43:39 | 0:43:40 | |
my personality quirks with standards. | 0:43:40 | 0:43:44 | |
What the fuck? | 0:43:45 | 0:43:47 | |
You have no idea what I have lost just now. | 0:43:47 | 0:43:51 | |
This goes way beyond this job. I could lose everything. | 0:43:51 | 0:43:56 | |
The ripple effect. It's the ripple effect. | 0:43:56 | 0:43:59 | |
It's like, "oh, yeah, by the way, you're fired." | 0:43:59 | 0:44:01 | |
Oh, yeah, honey, by the way, you don't think I'm so great. | 0:44:01 | 0:44:05 | |
Guess what? They don't think I'm so great at work. | 0:44:05 | 0:44:07 | |
Hey, maybe I'm not so great. Hey, that's simple. | 0:44:07 | 0:44:10 | |
Well, there, I can write that. I can write, "I'm not so great." | 0:44:10 | 0:44:12 | |
Maybe I can write it... | 0:44:12 | 0:44:13 | |
a hundred-fucking-thousand times on a blackboard - | 0:44:13 | 0:44:15 | |
I can teach. I used to teach. I love teaching. | 0:44:15 | 0:44:17 | |
I do love teaching. | 0:44:17 | 0:44:18 | |
R-139, take 49, mark! | 0:44:18 | 0:44:22 | |
OK, here we go! And background! Action! | 0:44:22 | 0:44:27 | |
Move! | 0:44:27 | 0:44:29 | |
- Out of the way! - Move! | 0:44:29 | 0:44:30 | |
- Move! - Out of the way! | 0:44:30 | 0:44:32 | |
Looks like we're late. | 0:44:33 | 0:44:35 | |
Looks like. | 0:44:35 | 0:44:37 | |
Back to square one. | 0:44:37 | 0:44:39 | |
That's what he thinks. | 0:44:39 | 0:44:41 | |
You think different? | 0:44:41 | 0:44:43 | |
I know different. | 0:44:46 | 0:44:48 | |
Come on. | 0:44:48 | 0:44:49 | |
- Cut it! - OK, we got. | 0:44:52 | 0:44:54 | |
Nice one. | 0:44:57 | 0:44:59 | |
Very nice, very nice. | 0:44:59 | 0:45:00 | |
Check the gate. Check the gate. | 0:45:00 | 0:45:01 | |
Lunch? | 0:45:01 | 0:45:03 | |
OK. | 0:45:03 | 0:45:05 | |
So, David, David. You need me for anything? | 0:45:05 | 0:45:09 | |
No, no. Absolutely. Lunch - go ahead. | 0:45:09 | 0:45:11 | |
- Nice scene, man. - Yeah, thanks, Brad. | 0:45:11 | 0:45:13 | |
Thanks. | 0:45:20 | 0:45:22 | |
Would you not take a role if you felt... | 0:45:22 | 0:45:24 | |
the people of the black community wouldn't like it? | 0:45:24 | 0:45:27 | |
This guy that lives in my neighbourhood - | 0:45:30 | 0:45:32 | |
lives right across the street from me. | 0:45:32 | 0:45:34 | |
and he dresses like - Yeah, yeah. | 0:45:34 | 0:45:36 | |
..he dresses like a vampire 24 hours a day. | 0:45:36 | 0:45:39 | |
I don't know if he's got a job. I don't know what he does... | 0:45:39 | 0:45:41 | |
but I know he dresses like a vampire... | 0:45:41 | 0:45:43 | |
like Dracula all the damn time. You want to go? | 0:45:43 | 0:45:47 | |
I mean, look, I see this guy at Pavilion's... | 0:45:47 | 0:45:49 | |
buying romaine lettuce dressed as Dracula... | 0:45:49 | 0:45:51 | |
so you got to figure... | 0:45:51 | 0:45:53 | |
he's an actor, right? He's got to be. | 0:45:53 | 0:45:56 | |
Well, you could find out. | 0:45:56 | 0:45:57 | |
Yeah. The point is, the answer to your question is... | 0:45:57 | 0:46:01 | |
If I needed the money, abso-fucking-lutely. | 0:46:01 | 0:46:04 | |
Absolutely. Now, am I proud of that? | 0:46:04 | 0:46:06 | |
No. But, yeah, I'd take it... | 0:46:06 | 0:46:08 | |
Cos, look, a brother's got to eat. | 0:46:08 | 0:46:10 | |
- OK. Are they gonna say cut? - I don't know. | 0:46:16 | 0:46:20 | |
OK, what's going on? | 0:46:23 | 0:46:24 | |
- OK, can somebody... - Did they call cut? | 0:46:27 | 0:46:30 | |
Well, can somebody communicate - OK. | 0:46:30 | 0:46:32 | |
Bonnie, Bonnie, this is itching me so bad today. | 0:46:32 | 0:46:35 | |
Fran, listen, listen. Hey, after lunch... | 0:46:35 | 0:46:37 | |
next time we do this, could you give me... | 0:46:37 | 0:46:38 | |
more to work with on this whole attraction - | 0:46:38 | 0:46:39 | |
What do you mean? That was good, huh? | 0:46:39 | 0:46:41 | |
We can't hear in there, though. We can't hear anything. | 0:46:41 | 0:46:44 | |
No, cos I'm not feeling the whole sexual chemistry. | 0:46:44 | 0:46:46 | |
No, no, but remember... | 0:46:46 | 0:46:47 | |
You gotta leave yourself somewhere to go... | 0:46:47 | 0:46:49 | |
for the second letter at the airport. | 0:46:49 | 0:46:51 | |
All right. Oh! All right, all right. | 0:46:51 | 0:46:54 | |
Right? | 0:46:54 | 0:46:56 | |
In the way it's got to build... | 0:46:56 | 0:46:57 | |
you gotta give me something to go on. | 0:46:57 | 0:46:58 | |
- We had it going before. - Did he call? | 0:46:58 | 0:47:00 | |
- Yeah. - It's not working for me. | 0:47:00 | 0:47:03 | |
OK, well, if you're going to stay for lunch... | 0:47:03 | 0:47:04 | |
let's talk about whatever it is - | 0:47:04 | 0:47:06 | |
No. I gotta run an errand, so next time - and maybe it's me. | 0:47:06 | 0:47:08 | |
All right. | 0:47:08 | 0:47:09 | |
We'll figure it out. Don't worry about it. | 0:47:09 | 0:47:11 | |
All right. I think it was good! Oh, thanks. | 0:47:11 | 0:47:13 | |
No, it's the movie. This is the only movie. | 0:47:13 | 0:47:15 | |
As far as he's concerned, it's the only movie. | 0:47:15 | 0:47:18 | |
Hey, can you hold that door for me? | 0:47:26 | 0:47:28 | |
- Sure. - Thank you. | 0:47:28 | 0:47:29 | |
Got it? | 0:47:29 | 0:47:30 | |
Excuse me. | 0:47:37 | 0:47:38 | |
'Oh, the film. Well, the film - | 0:47:45 | 0:47:47 | |
'Arty and I wrote this. | 0:47:47 | 0:47:49 | |
'We started working together - | 0:47:49 | 0:47:50 | |
'really writing together, about a year ago. | 0:47:50 | 0:47:52 | |
'we tossed around a couple of ideas. | 0:47:52 | 0:47:54 | |
'And Arty's a pretty good playwright in his own right. | 0:47:54 | 0:47:57 | |
'And we thought, you know, maybe this - | 0:47:57 | 0:48:00 | |
'sort of my understanding of Hollywood and everything... | 0:48:00 | 0:48:04 | |
'and his ability to actually write... | 0:48:04 | 0:48:06 | |
'would be a good combination... | 0:48:06 | 0:48:08 | |
'and so we came up with this idea... | 0:48:08 | 0:48:10 | |
'for what is now Rendezvous, the movie. | 0:48:10 | 0:48:13 | |
'It's almost like a spy film in the intrigue... | 0:48:13 | 0:48:16 | |
'of this romantic encounter... | 0:48:16 | 0:48:19 | |
'between this guy that Calvin plays... | 0:48:19 | 0:48:23 | |
I'm sorry, there's a... | 0:48:23 | 0:48:26 | |
..uh, and this woman. | 0:48:27 | 0:48:29 | |
And anyway, I think it's a neat story. | 0:48:29 | 0:48:31 | |
And I think it's a great cast. | 0:48:31 | 0:48:35 | |
But... | 0:48:38 | 0:48:39 | |
Yeah. I'm sorry, I have some - it's weird. | 0:48:41 | 0:48:43 | |
I'm really happy about the project. I really am. | 0:48:43 | 0:48:46 | |
I got - you know, there's - I've got issues with some of - | 0:48:46 | 0:48:49 | |
Actually, Calvin. Calvin is, I think, I don't know - | 0:48:49 | 0:48:52 | |
You know, other people get more excited about him than I do. | 0:48:52 | 0:48:56 | |
It's not to say I'm not happy having him on the movie. | 0:48:56 | 0:49:00 | |
I think that's great, and I'm sure he's very good in it. | 0:49:00 | 0:49:02 | |
I just don't get what the big thing is with Calvin. | 0:49:02 | 0:49:08 | |
I think - you know, you picture a role in a certain way... | 0:49:08 | 0:49:12 | |
and sometimes it's - I'm not always right, either. | 0:49:12 | 0:49:15 | |
I know, you know, certainly my wife thinks he's great. | 0:49:15 | 0:49:18 | |
I'm starving to death. | 0:49:25 | 0:49:27 | |
- Well, I've got it right here. - I might actually faint. | 0:49:27 | 0:49:29 | |
OK, tuna. No celery. | 0:49:29 | 0:49:32 | |
No celery and no... | 0:49:32 | 0:49:33 | |
- Onion. - Right. | 0:49:33 | 0:49:35 | |
Uh, so listen... | 0:49:35 | 0:49:39 | |
You know that thing that we were talking about? | 0:49:39 | 0:49:41 | |
Um, I can't keep - | 0:49:41 | 0:49:45 | |
OK, I mean - | 0:49:45 | 0:49:46 | |
- Come on, come on. - OK, OK. | 0:49:46 | 0:49:49 | |
I'm uncomfortable dealing with this aspect of your life. | 0:49:49 | 0:49:53 | |
I don't want to talk to them. | 0:49:53 | 0:49:55 | |
Well, I don't want to talk to them, either. | 0:49:55 | 0:49:57 | |
I don't even want to talk to the guys I'm dating. | 0:49:57 | 0:50:00 | |
Uh-huh. Well, I'm not dating anyone. | 0:50:02 | 0:50:06 | |
A date is not dating. | 0:50:06 | 0:50:08 | |
Well, you know, someone buys you dinner... | 0:50:08 | 0:50:11 | |
you owe them a phone call, in my opinion. | 0:50:11 | 0:50:13 | |
see, dinner - that's where I fucked up. | 0:50:13 | 0:50:15 | |
it should have been lunch, because lunch is meaningless. | 0:50:15 | 0:50:17 | |
They all seem pretty nice to me. | 0:50:19 | 0:50:21 | |
Well, they don't strike you as, like, networky, freaky... | 0:50:21 | 0:50:24 | |
actress-dating executive types... | 0:50:24 | 0:50:26 | |
with their water bottles in, like, a mesh tote bag? | 0:50:26 | 0:50:29 | |
This is really - this is disgusting. | 0:50:29 | 0:50:32 | |
I can't eat this. That arugula is so bitter. | 0:50:32 | 0:50:34 | |
It's like my algebra teacher on bread. | 0:50:34 | 0:50:36 | |
OK. | 0:50:36 | 0:50:37 | |
I'm truly, I'm - look at me. | 0:50:37 | 0:50:40 | |
I'm gonna faint. I might actually faint. | 0:50:40 | 0:50:42 | |
We all know how you get when your blood sugar's low. | 0:50:42 | 0:50:44 | |
- All right. I'll be right back. - OK. Thank you. | 0:50:44 | 0:50:48 | |
- You're welcome. - I need some wet naps, too. | 0:50:48 | 0:50:50 | |
- OK. - Tuna fingers. | 0:50:50 | 0:50:53 | |
- Don't want tuna fingers. - No, we don't. | 0:50:53 | 0:50:56 | |
- You're an angel. Thank you. - Oh, you're welcome. | 0:50:56 | 0:50:59 | |
Oh, Post-its! | 0:50:59 | 0:51:00 | |
See, I knew something was wrong, I just - | 0:51:02 | 0:51:04 | |
I didn't know it was that. | 0:51:04 | 0:51:06 | |
I had that one this morning. | 0:51:12 | 0:51:14 | |
Hey... | 0:51:16 | 0:51:17 | |
I need to talk to you about something. | 0:51:20 | 0:51:23 | |
- Lee - - Don't. | 0:51:23 | 0:51:25 | |
MOBILE PHONE RINGS | 0:51:25 | 0:51:28 | |
Why did you even pursue this? | 0:51:36 | 0:51:38 | |
What? Wait a minute. You came over and spoke to me. | 0:51:38 | 0:51:42 | |
Now, all of this began because of you. | 0:51:42 | 0:51:44 | |
Are you saying you weren't attracted to me? | 0:51:44 | 0:51:46 | |
No - | 0:51:46 | 0:51:47 | |
Gus told me to watch out for you. | 0:51:47 | 0:51:50 | |
Gus told me to watch out for you. | 0:51:50 | 0:51:52 | |
I'm forty-one tomorrow, Calvin - | 0:51:55 | 0:51:57 | |
the age where I could have a stroke... | 0:51:57 | 0:51:58 | |
in the middle of the night. | 0:51:58 | 0:52:00 | |
If you think I'm not going to Gus', you're... | 0:52:01 | 0:52:03 | |
OK, I have a meeting. Go fuck somebody else. | 0:52:05 | 0:52:10 | |
- Hey. - Hi. | 0:52:20 | 0:52:22 | |
- You're still here? - Yeah, I was just upstairs. | 0:52:22 | 0:52:25 | |
I was shopping for my friend Gus. | 0:52:25 | 0:52:27 | |
- Oh. - Yeah. | 0:52:27 | 0:52:28 | |
- Are you OK? - Oh, yeah, I'm good. | 0:52:28 | 0:52:32 | |
I've just had really some sad cases today, so I'm just - | 0:52:32 | 0:52:36 | |
- I'm sorry. - I'm emotional. | 0:52:36 | 0:52:38 | |
Yeah. What did you get him? | 0:52:38 | 0:52:41 | |
- Who? - What did you get Gus? | 0:52:43 | 0:52:46 | |
Oh. They didn't have it. | 0:52:46 | 0:52:49 | |
- What was it? - Yeah. | 0:52:49 | 0:52:51 | |
- Are you... - It was a thing. | 0:52:53 | 0:52:56 | |
He's - he's, er... | 0:52:56 | 0:52:59 | |
It was - they didn't - you know, cos he's forty today... | 0:52:59 | 0:53:02 | |
and I was just gonna get him some, I don't know, this - | 0:53:02 | 0:53:05 | |
- Are you OK? - Yeah. | 0:53:05 | 0:53:06 | |
I just have to go. I'm really late, so - | 0:53:06 | 0:53:08 | |
- Are you sure? - Yeah. | 0:53:08 | 0:53:10 | |
I'll call you later. | 0:53:14 | 0:53:16 | |
Oh, OK. | 0:53:16 | 0:53:17 | |
Thank you. | 0:53:17 | 0:53:19 | |
Um, you need to find him. | 0:53:23 | 0:53:25 | |
I don't know if he knows I'm here at the office... | 0:53:25 | 0:53:27 | |
so I have to have a contact name in order to transfer you. | 0:53:27 | 0:53:30 | |
Um, Harvey's not here at the office right now. | 0:53:30 | 0:53:33 | |
He sees on the TV a murder... | 0:53:33 | 0:53:36 | |
and as he listens to the murder, he just goes white. | 0:53:36 | 0:53:40 | |
His whole face just goes white, and he bolts from his apartment. | 0:53:40 | 0:53:43 | |
Now, we follow him. | 0:53:43 | 0:53:44 | |
The murders - they deviate at this key point... | 0:53:44 | 0:53:47 | |
For reasons nobody can understand, because - | 0:53:47 | 0:53:49 | |
Tell Trevors I'm not gonna do it. I'm not gonna do it. | 0:53:49 | 0:53:52 | |
Good, good. Go. Sorry. Go ahead. | 0:53:52 | 0:53:54 | |
My brother Bob should look at this. | 0:53:56 | 0:53:58 | |
Yeah. Good. Good! | 0:53:58 | 0:54:01 | |
- Great. - Good. | 0:54:01 | 0:54:02 | |
Motherfuckers. | 0:54:02 | 0:54:05 | |
Did you see their faces looking at us? | 0:54:05 | 0:54:07 | |
Yes. | 0:54:07 | 0:54:08 | |
It was like a Labrador staring at a Picasso. | 0:54:08 | 0:54:10 | |
Right. | 0:54:10 | 0:54:11 | |
Ed, we walked in there with a china cup. | 0:54:11 | 0:54:13 | |
- They want beer mugs. - Yeah, right? | 0:54:13 | 0:54:16 | |
I could so see myself in that part. | 0:54:16 | 0:54:18 | |
Right? | 0:54:18 | 0:54:20 | |
Fuck! | 0:54:20 | 0:54:22 | |
- It's all right. - All right, I gotta go. | 0:54:22 | 0:54:24 | |
- See you later. - See you. | 0:54:24 | 0:54:25 | |
Hey, Ed, keep the faith. | 0:54:28 | 0:54:30 | |
It was good. It was good. | 0:54:30 | 0:54:32 | |
- Mr Liveright. - Hey, hey. Bill. | 0:54:32 | 0:54:35 | |
- Come on in. - Thanks. | 0:54:35 | 0:54:37 | |
- Ann? - Yeah. | 0:54:37 | 0:54:38 | |
My massage is here. I'll call you back in an hour. | 0:54:38 | 0:54:41 | |
- How about in back? Good? - OK, sure. | 0:54:41 | 0:54:44 | |
Um, what do you think about the lighting? | 0:54:44 | 0:54:48 | |
A little light - too bright? | 0:54:48 | 0:54:50 | |
Whatever you're comfortable with is fine. Yeah. | 0:54:50 | 0:54:52 | |
I think a little darker. | 0:54:52 | 0:54:55 | |
- Like so. - Sure. | 0:54:55 | 0:54:57 | |
- Need some help? - No. | 0:54:57 | 0:54:59 | |
Done it before, huh? | 0:54:59 | 0:55:01 | |
Bill Liveright - great name. | 0:55:01 | 0:55:05 | |
Well, a name with a message is a good name, right? | 0:55:05 | 0:55:08 | |
I don't know. It just always eluded me. | 0:55:08 | 0:55:10 | |
Money is just feminine energy. | 0:55:12 | 0:55:14 | |
It always seems so male. I don't get it. | 0:55:15 | 0:55:19 | |
Money - Mater. The Latin. | 0:55:19 | 0:55:22 | |
You connect with that, and you're golden. | 0:55:22 | 0:55:24 | |
You make it sound pretty simple. | 0:55:24 | 0:55:26 | |
- It is. - Just connecting with it. | 0:55:26 | 0:55:28 | |
You're catching on, Ann. | 0:55:28 | 0:55:30 | |
Look, don't be one of the confused people. | 0:55:30 | 0:55:33 | |
If you have purpose, you can just wade right through. | 0:55:33 | 0:55:37 | |
It's like running past people who are asleep. | 0:55:37 | 0:55:40 | |
OK... | 0:55:43 | 0:55:45 | |
You can turn over now. | 0:55:46 | 0:55:48 | |
I think I kind of drooled a little bit. | 0:55:48 | 0:55:51 | |
Just scoot your head down, so you're not in the hole. | 0:55:51 | 0:55:55 | |
OK. | 0:56:04 | 0:56:05 | |
You're from LA? | 0:56:10 | 0:56:12 | |
No. Miami, actually. You? | 0:56:12 | 0:56:14 | |
New York. | 0:56:14 | 0:56:16 | |
Do you find me attractive? | 0:56:21 | 0:56:23 | |
What? | 0:56:23 | 0:56:25 | |
Yes. | 0:56:29 | 0:56:30 | |
In what sort of way? | 0:56:32 | 0:56:35 | |
In a human sort of way. | 0:56:35 | 0:56:37 | |
- Ann. - Bill. | 0:56:41 | 0:56:43 | |
It's my birthday, Ann. | 0:56:43 | 0:56:45 | |
- Really? - Yeah. | 0:56:45 | 0:56:46 | |
Happy birthday. | 0:56:46 | 0:56:48 | |
What's your philosophy on release? | 0:56:50 | 0:56:52 | |
You know what, Bill, I know where you're going with this... | 0:56:52 | 0:56:55 | |
and the thing is, I don't do it, so... | 0:56:55 | 0:56:57 | |
Right. Not even for a little extra money? | 0:56:57 | 0:56:59 | |
Mm-mmm. It's not the kind of massage I do. | 0:56:59 | 0:57:02 | |
Right. | 0:57:02 | 0:57:03 | |
I offer a release of tension and toxins... | 0:57:03 | 0:57:05 | |
and sometimes emotion, but... | 0:57:05 | 0:57:07 | |
Yes, well, that's what I'm talking about. | 0:57:07 | 0:57:09 | |
- Well, I don't do it, so - - It would take thirty seconds. | 0:57:09 | 0:57:11 | |
Oh, yeah. You can come in thirty seconds? | 0:57:11 | 0:57:12 | |
- Do you have a second hand? - Look, I can't do it. | 0:57:12 | 0:57:14 | |
You could stop after thirty seconds. | 0:57:14 | 0:57:15 | |
Five hundred dollars. When was the last time... | 0:57:15 | 0:57:17 | |
you made five hundred dollars for thirty seconds of work? | 0:57:17 | 0:57:19 | |
- You're cruel. - I'm not cruel, I'm practical. | 0:57:19 | 0:57:21 | |
You need the cash, I need the release. | 0:57:21 | 0:57:23 | |
This is crazy. | 0:57:23 | 0:57:25 | |
Five hundred dollars, Ann. | 0:57:25 | 0:57:27 | |
You can't make any noise. | 0:57:32 | 0:57:34 | |
- The place is noisy. - No. You can audibly exhale. | 0:57:34 | 0:57:37 | |
You can't moan or grunt or sigh. | 0:57:37 | 0:57:38 | |
I can't moan or grunt or sigh, just audible exhale only? | 0:57:38 | 0:57:40 | |
Yes. HE SIGHS | 0:57:40 | 0:57:42 | |
No. Too loud. And if you do it - it's too much. | 0:57:42 | 0:57:45 | |
I'll be quiet. OK, Ann, I'll be quiet. | 0:57:45 | 0:57:49 | |
Are you ready? | 0:57:49 | 0:57:50 | |
Fuck. | 0:57:50 | 0:57:52 | |
Are you ready? | 0:57:52 | 0:57:54 | |
Will you just hand me that plastic bag right there? | 0:57:54 | 0:57:57 | |
Well, why? | 0:57:57 | 0:57:59 | |
No reason. | 0:57:59 | 0:58:01 | |
Oh, my God. | 0:58:26 | 0:58:28 | |
- Here. - Thank you. | 0:58:42 | 0:58:45 | |
Shit. | 0:58:52 | 0:58:54 | |
- Hey, Ann? - What? | 0:58:54 | 0:58:56 | |
I'm sorry. I thought I had more cash on me. | 0:58:56 | 0:58:58 | |
- That's OK, Bill. - I saw an ATM in the lobby. | 0:58:58 | 0:59:00 | |
You know what? There's a limit. | 0:59:00 | 0:59:02 | |
There's a limit. | 0:59:02 | 0:59:05 | |
To the machine. You can only get three hundred dollars out. | 0:59:05 | 0:59:07 | |
Could you move that, please? That bag. | 0:59:07 | 0:59:10 | |
- You're kidding. - No, I'm not kidding. | 0:59:10 | 0:59:13 | |
- I feel bad. - You should. | 0:59:13 | 0:59:15 | |
You should feel really bad and ashamed. | 0:59:15 | 0:59:17 | |
It's... | 0:59:17 | 0:59:19 | |
- Hold on. - Forget it. | 0:59:24 | 0:59:26 | |
- Just hold on a second. - You know what? Forget it. | 0:59:26 | 0:59:28 | |
It's pathetic. | 0:59:28 | 0:59:31 | |
Mater equals money. I mean, give me a fucking break. | 0:59:31 | 0:59:35 | |
All the world loves a winner. | 0:59:38 | 0:59:41 | |
You know why they love the winner? | 0:59:42 | 0:59:44 | |
Because they think he knows something. | 0:59:46 | 0:59:49 | |
I mean, he had to know something in order to win. | 0:59:49 | 0:59:52 | |
So, we admire him. | 0:59:54 | 0:59:57 | |
But the winner doesn't learn anything from winning. | 0:59:57 | 1:00:02 | |
No, the loser - the loser learns something about himself. | 1:00:05 | 1:00:09 | |
Losing teaches you about yourself. | 1:00:09 | 1:00:11 | |
So, the loser's the winner. | 1:00:11 | 1:00:13 | |
I don't know. I mean, it's not in actual terms. | 1:00:13 | 1:00:15 | |
I'm speaking figuratively. | 1:00:15 | 1:00:17 | |
Sorry. Excuse me. | 1:00:21 | 1:00:24 | |
- Good night, Denny. - Ann, can I see you, please? | 1:00:27 | 1:00:30 | |
The gentleman in 205 left this for you. | 1:00:32 | 1:00:35 | |
Wow. That was nice. | 1:00:41 | 1:00:43 | |
"Ann, thanks for the happy ending. Bill." | 1:00:50 | 1:00:54 | |
Nice card. | 1:00:58 | 1:00:59 | |
Django? | 1:02:02 | 1:02:03 | |
Django? Hey, hey, hey! | 1:02:05 | 1:02:07 | |
Sweetie-pie? | 1:02:07 | 1:02:09 | |
I know what they say. | 1:02:13 | 1:02:15 | |
I know what they say about me - | 1:02:15 | 1:02:17 | |
my colleagues... | 1:02:17 | 1:02:20 | |
and my family. | 1:02:20 | 1:02:22 | |
I don't... Fucking movies. | 1:02:22 | 1:02:25 | |
OK, let's fucking go. | 1:02:25 | 1:02:28 | |
Fucking movies! | 1:02:28 | 1:02:30 | |
Fucking overpaid, fucking unhappy childhood fuckers. | 1:02:30 | 1:02:34 | |
Fucking movie fucking fuckers. | 1:02:34 | 1:02:37 | |
Let's go! Somebody - Jesus, buddy! | 1:02:37 | 1:02:39 | |
Er, do you think somebody else could go? | 1:02:39 | 1:02:42 | |
Maybe one of us could fucking cross the street? | 1:02:42 | 1:02:45 | |
Fucking movie cop! | 1:02:45 | 1:02:47 | |
Hey, fucking movie cop! | 1:02:47 | 1:02:49 | |
Could I maybe fucking cross the street? | 1:02:49 | 1:02:52 | |
Francesca Davis. Fuck. | 1:02:52 | 1:02:56 | |
Yes. He's gonna get - what? Dehydrated? OK. | 1:02:56 | 1:02:59 | |
Yes. Yeah, I understand. Thank you. | 1:02:59 | 1:03:04 | |
Hello. Yeah, hi. | 1:03:11 | 1:03:14 | |
I did that, and - and I gave him some water, yeah... | 1:03:14 | 1:03:17 | |
and I was just hoping that Dr Green could come by... | 1:03:17 | 1:03:20 | |
and, er, and give him a quick look. | 1:03:20 | 1:03:23 | |
Oh, he is? | 1:03:25 | 1:03:27 | |
Oh, I see. | 1:03:27 | 1:03:30 | |
Yeah? | 1:03:30 | 1:03:32 | |
Well, if - you know, I just, er... | 1:03:32 | 1:03:35 | |
want to make sure he's not gonna die... | 1:03:35 | 1:03:37 | |
you know, or anything. | 1:03:37 | 1:03:38 | |
Um, so if you could, that would be great. | 1:03:38 | 1:03:41 | |
Right. Yeah. | 1:03:42 | 1:03:44 | |
That's fantastic. | 1:03:44 | 1:03:46 | |
Yes, I will see you then. | 1:03:46 | 1:03:48 | |
Yes. What? The address? | 1:03:48 | 1:03:52 | |
Oh, my address. Oh, yeah. | 1:03:52 | 1:03:53 | |
I guess you'd need that, wouldn't you? | 1:03:53 | 1:03:55 | |
MOBILE PHONE RINGS | 1:04:02 | 1:04:04 | |
Hi. | 1:04:08 | 1:04:10 | |
I know. You know, I can't really talk. | 1:04:10 | 1:04:12 | |
I'm going into a store. Can I call you back? | 1:04:12 | 1:04:15 | |
OK. | 1:04:17 | 1:04:19 | |
Oh, really? | 1:04:19 | 1:04:22 | |
Oh that'd be - that's - that's great. | 1:04:22 | 1:04:24 | |
I'm - I'm glad. | 1:04:24 | 1:04:27 | |
You met Gus? | 1:04:27 | 1:04:28 | |
Where? Wow. Yeah, well, there's a guy... | 1:04:28 | 1:04:32 | |
who could change your life, you know? | 1:04:32 | 1:04:34 | |
So, I'm gonna get the dress. | 1:04:40 | 1:04:41 | |
- Oh, good. Great. - Yeah. | 1:04:41 | 1:04:42 | |
Mm-hmm. Sure. | 1:04:42 | 1:04:44 | |
Yeah. I was, um, fat... | 1:04:44 | 1:04:48 | |
overweight, and very short... | 1:04:48 | 1:04:51 | |
and I hadn't gone through puberty. | 1:04:51 | 1:04:54 | |
So, yeah, I mean, I looked, you know - I did not look... | 1:04:54 | 1:04:58 | |
like I would've liked to have looked in high school. | 1:04:58 | 1:05:00 | |
Yeah, surely I would've changed my social status. | 1:05:00 | 1:05:02 | |
I still would. Yeah. | 1:05:02 | 1:05:04 | |
Treat myself. | 1:05:04 | 1:05:06 | |
So, that's five there. | 1:05:06 | 1:05:08 | |
Oh, great. Thank you very much. | 1:05:08 | 1:05:10 | |
- OK. - Excellent. Thank you. | 1:05:11 | 1:05:12 | |
Hey, you came. I thought you were coming later. | 1:05:51 | 1:05:54 | |
No. | 1:05:54 | 1:05:55 | |
Hey. How are you, man? Good to see you. | 1:05:55 | 1:05:58 | |
The house is open, guys, if you want to... | 1:05:58 | 1:06:02 | |
- Oh. Hi, Dee. - It's good to see you. | 1:06:02 | 1:06:05 | |
Good to see you. Thank you for coming. | 1:06:05 | 1:06:08 | |
Good. | 1:06:09 | 1:06:11 | |
That guy didn't pay. | 1:06:11 | 1:06:14 | |
Did you pay, sir? | 1:06:14 | 1:06:15 | |
I did, yes. Would you like... | 1:06:15 | 1:06:16 | |
No, no. I just - I saw you come the other way... | 1:06:16 | 1:06:19 | |
and most people were coming... I'm sorry. | 1:06:19 | 1:06:21 | |
Right in here. Right there on the sofa. | 1:06:21 | 1:06:25 | |
Oh, boy. | 1:06:25 | 1:06:27 | |
What else was in the brownies besides chocolate? | 1:06:33 | 1:06:36 | |
Um... | 1:06:36 | 1:06:37 | |
- Hash? - Yeah. | 1:06:37 | 1:06:39 | |
Aw, come on, man. | 1:06:39 | 1:06:40 | |
No. My wife brought it back from London. | 1:06:40 | 1:06:42 | |
We made the brownies for my friend's 40th. | 1:06:42 | 1:06:45 | |
So, what'd you do, leave it out for him to eat? | 1:06:45 | 1:06:47 | |
No, no. When I left it, it was right here on this counter. | 1:06:47 | 1:06:50 | |
I didn't think he could jump that high. | 1:06:50 | 1:06:52 | |
He's got little legs like a... | 1:06:52 | 1:06:55 | |
All this - he ate all this. | 1:06:55 | 1:06:58 | |
It's so much better than pot, right? | 1:06:58 | 1:07:00 | |
Aw, no, no, no. | 1:07:00 | 1:07:02 | |
You don't understand, you don't understand. | 1:07:02 | 1:07:03 | |
I haven't smoked that in years, so, you know what I'm saying? | 1:07:03 | 1:07:07 | |
Goddamn. | 1:07:07 | 1:07:08 | |
When I was in my 20s, this guitar player and I | 1:07:08 | 1:07:11 | |
would make up all these lyrics while he played... | 1:07:11 | 1:07:13 | |
and our songs would end up... | 1:07:13 | 1:07:15 | |
with all these fucked-up rhyme schemes. | 1:07:15 | 1:07:18 | |
Heather. Heather, I'm sorry. Is he going to be all right? | 1:07:18 | 1:07:21 | |
Oh, he's going to be fine. He's going to be fine. | 1:07:21 | 1:07:23 | |
So, er... | 1:07:23 | 1:07:26 | |
You going to throw that out? | 1:07:26 | 1:07:27 | |
Look, you liked it... | 1:07:34 | 1:07:35 | |
and you've told me you haven't liked things. | 1:07:35 | 1:07:37 | |
You liked it. Man, listen. I don't want you telling me | 1:07:37 | 1:07:39 | |
you're not going to pursue any more meetings... | 1:07:39 | 1:07:40 | |
because this is what I want to do. I'm serious, OK? | 1:07:40 | 1:07:44 | |
Hey, listen. Could you, like... | 1:07:44 | 1:07:48 | |
It's better now. It's a lot better now. | 1:07:49 | 1:07:51 | |
Ed and I, we've been working on it, beefing up the scenes. | 1:07:51 | 1:07:53 | |
And that whole thing you mentioned... | 1:07:53 | 1:07:54 | |
I agree with you - about me being in it. | 1:07:54 | 1:07:56 | |
I'm not going to do it. Even if they ask about it... | 1:07:56 | 1:07:59 | |
we're not going to build it in. | 1:07:59 | 1:08:01 | |
I figure, you know, in the long run... | 1:08:01 | 1:08:03 | |
it's probably a good thing... | 1:08:03 | 1:08:05 | |
me trying to establish myself as a writer instead of an actor. | 1:08:05 | 1:08:09 | |
Like Pinter. You know, Pinter, he was an actor. | 1:08:09 | 1:08:11 | |
He started off as an actor. | 1:08:11 | 1:08:14 | |
He still acts, occasionally. | 1:08:14 | 1:08:16 | |
All right, this shit is cyclical, you know that? | 1:08:20 | 1:08:22 | |
All right, don't. Don't, don't, don't. | 1:08:27 | 1:08:31 | |
I got it. | 1:08:31 | 1:08:32 | |
OK. Thank you. | 1:08:32 | 1:08:34 | |
PHONE RINGS | 1:08:34 | 1:08:38 | |
If you stop telling me that that letter makes sense... | 1:08:45 | 1:08:47 | |
you can throw up all you want. How about that? | 1:08:47 | 1:08:49 | |
Do you know her? | 1:08:51 | 1:08:52 | |
- Who? - Carl's wife. | 1:08:52 | 1:08:55 | |
Nuh-uh. | 1:08:55 | 1:08:57 | |
That's kind of funny, because I've heard things, actually. | 1:08:57 | 1:08:59 | |
Yeah. Yeah. A couple of them. | 1:08:59 | 1:09:01 | |
Hey, how are you doing? | 1:09:01 | 1:09:04 | |
Hey, Fran, listen, I want you to meet... | 1:09:04 | 1:09:05 | |
Frannie. It's Lucy Morgan. LA Magazine. | 1:09:05 | 1:09:08 | |
- I'm sorry. I... - The Sedona piece. | 1:09:08 | 1:09:10 | |
Oh, my God. Yes. Oh, wow. | 1:09:10 | 1:09:12 | |
Wow. You changed your hair or something? | 1:09:12 | 1:09:14 | |
Yeah. How do you know Cal? | 1:09:14 | 1:09:17 | |
- Uh, we... - It was a dinner. | 1:09:17 | 1:09:19 | |
Yeah. | 1:09:19 | 1:09:21 | |
Excuse me. | 1:09:21 | 1:09:23 | |
Hey. | 1:09:25 | 1:09:27 | |
Hi. | 1:09:28 | 1:09:29 | |
Is it - is it upstairs, or is it in there? | 1:09:29 | 1:09:33 | |
God. | 1:09:33 | 1:09:34 | |
- Oh, this is wrong. - No. | 1:09:34 | 1:09:36 | |
- I'm overdressed. - You look... | 1:09:36 | 1:09:38 | |
- I wasn't sure what... - It's on the roof. | 1:09:38 | 1:09:41 | |
Where's Carl? | 1:09:41 | 1:09:42 | |
He's not here yet. I just, um... | 1:09:42 | 1:09:44 | |
- We should go up and... - OK. | 1:09:44 | 1:09:46 | |
- Wow. - You OK? | 1:09:46 | 1:09:47 | |
Yeah. | 1:09:47 | 1:09:48 | |
- I wish I didn't have this on. - No. You look great. | 1:09:48 | 1:09:52 | |
Well... | 1:09:52 | 1:09:54 | |
I have to admire you for your belief in this project... | 1:09:54 | 1:09:57 | |
but the reality is a whole different thing altogether. | 1:09:57 | 1:10:00 | |
It's all marketplace shit, and I don't think | 1:10:00 | 1:10:01 | |
this is a good role for you, so don't even push that. | 1:10:01 | 1:10:03 | |
When does this article come out? | 1:10:03 | 1:10:05 | |
In a couple of months. | 1:10:05 | 1:10:07 | |
Well, you call me... | 1:10:07 | 1:10:09 | |
..if you can't get any answers out of this guy. | 1:10:10 | 1:10:13 | |
Thank you. | 1:10:13 | 1:10:15 | |
Nice to meet you. | 1:10:15 | 1:10:16 | |
Nice seeing you. | 1:10:16 | 1:10:18 | |
Meltzin. | 1:10:27 | 1:10:29 | |
Name kind of suits him. Oh, Nicholas. | 1:10:29 | 1:10:32 | |
No, it looks good. Where'd you get that dress? | 1:10:34 | 1:10:37 | |
- Seaver. - Where? | 1:10:37 | 1:10:39 | |
On third. Do you know it? | 1:10:39 | 1:10:41 | |
- Is it good? - Yeah. | 1:10:41 | 1:10:42 | |
- It was on sale. I like it. - No, it's... | 1:10:42 | 1:10:46 | |
God. | 1:10:56 | 1:10:57 | |
All chromium is not bad, though... | 1:11:01 | 1:11:04 | |
because I get Fitness magazine... | 1:11:04 | 1:11:06 | |
I need a drink. | 1:11:06 | 1:11:07 | |
No. I'm saying there's a lot of good chromiums. | 1:11:13 | 1:11:15 | |
- I read it in a magazine. - Hey. | 1:11:15 | 1:11:17 | |
Hey. I wouldn't go to the lengths | 1:11:17 | 1:11:19 | |
of bathing in bottled water, that's all I'm saying. | 1:11:19 | 1:11:21 | |
I believe what you're saying. | 1:11:21 | 1:11:22 | |
- Franny Davis? - Yeah. | 1:11:22 | 1:11:24 | |
Sam Osborne. | 1:11:24 | 1:11:26 | |
- I'm sorry. - The Duchess of Malfi. | 1:11:27 | 1:11:30 | |
- Birchers. - Yeah. | 1:11:30 | 1:11:32 | |
I was the lighting guy. | 1:11:32 | 1:11:34 | |
Oh, my God. Oh, OK. Yeah. | 1:11:36 | 1:11:38 | |
- Sam Osborne. - Osborne. | 1:11:38 | 1:11:40 | |
- How are you? - Nice to see you again. | 1:11:40 | 1:11:41 | |
Oh, you, too. Wow. That's funny. | 1:11:41 | 1:11:43 | |
- Yeah. - That's... | 1:11:43 | 1:11:44 | |
Do you remember when you said... | 1:11:44 | 1:11:48 | |
I feel like a waitress on vacation? | 1:11:48 | 1:11:51 | |
oh, God. | 1:11:51 | 1:11:52 | |
It was, like, just the cutest thing I've ever heard, and... | 1:11:52 | 1:11:55 | |
I don't know why that just stuck out. | 1:11:55 | 1:11:57 | |
Yeah. I just - um, well... | 1:11:57 | 1:11:59 | |
- I was going to go... - OK. | 1:11:59 | 1:12:01 | |
Jesus. You remember that? | 1:12:01 | 1:12:04 | |
Yeah. | 1:12:04 | 1:12:05 | |
Yeah, I do. I got a funny memory that way. | 1:12:05 | 1:12:10 | |
Anyway, hey, I don't want to bug you. | 1:12:10 | 1:12:12 | |
I know you got lots of people to see. | 1:12:12 | 1:12:13 | |
I just wanted to say how happy I am for you, and... | 1:12:13 | 1:12:15 | |
Oh, thanks. Thank you. | 1:12:15 | 1:12:16 | |
It's... I always thought you had something special. | 1:12:16 | 1:12:19 | |
This... | 1:12:19 | 1:12:20 | |
You know, it's just amazing what you've been able to do... | 1:12:20 | 1:12:24 | |
- Well, from... - From nothing. | 1:12:24 | 1:12:28 | |
Or, well...yeah. | 1:12:28 | 1:12:29 | |
No. I'm just - I'm - thank you. Thank you. | 1:12:29 | 1:12:32 | |
Right. Good. Well, hey... | 1:12:32 | 1:12:34 | |
- Cheers. Good to see you. - Thank you. Cheers. | 1:12:34 | 1:12:36 | |
I couldn't cheers you. I don't have a drink, but... | 1:12:36 | 1:12:38 | |
Well, shit, Sam Osborne... | 1:12:38 | 1:12:41 | |
Birchers lighting guy. | 1:12:41 | 1:12:43 | |
Birchers. | 1:12:43 | 1:12:44 | |
Get me a... Why don't you come with me? | 1:12:44 | 1:12:47 | |
- Yeah. OK. - OK. | 1:12:48 | 1:12:50 | |
- Nicholas. Oh, my goodness. - Oh, God. | 1:12:50 | 1:12:53 | |
Let's get you on the sofa. | 1:12:53 | 1:12:55 | |
- Oh, God, did I just...? - Yes, you did. | 1:12:55 | 1:12:57 | |
Go slowly. | 1:12:57 | 1:12:59 | |
Ah, Catherine, I'm sorry. | 1:12:59 | 1:13:01 | |
Are you all right? | 1:13:01 | 1:13:02 | |
- Here's some water. - Oh, thank you so much. | 1:13:02 | 1:13:04 | |
- I feel a little light-headed. - Here, have some water. | 1:13:04 | 1:13:07 | |
- Yeah. - Drink it. | 1:13:07 | 1:13:09 | |
Yeah? Are you sure you're all right? | 1:13:10 | 1:13:12 | |
- Mm-hmm. - Thank goodness. | 1:13:12 | 1:13:15 | |
- I need to ask you something. - What? | 1:13:15 | 1:13:18 | |
I need you to come back to New York with me. | 1:13:19 | 1:13:22 | |
- Nicholas, I can't... - No. It's the letter. | 1:13:22 | 1:13:25 | |
Catherine, it's that letter. I can't get it out of my head. | 1:13:25 | 1:13:28 | |
Well, but that was... | 1:13:28 | 1:13:29 | |
I've never had anybody write me a love letter. | 1:13:29 | 1:13:32 | |
- Never. - But I just... | 1:13:32 | 1:13:33 | |
No, listen. You come back to New York. | 1:13:33 | 1:13:36 | |
You're here. You there just makes sense. | 1:13:36 | 1:13:39 | |
You write the article, and...and we go from there. | 1:13:39 | 1:13:44 | |
Nicholas, these kind of things... | 1:13:44 | 1:13:46 | |
A moment of inspiration... | 1:13:48 | 1:13:51 | |
That's all anybody ever really wants. | 1:13:52 | 1:13:55 | |
To have an original idea... | 1:14:00 | 1:14:02 | |
to fall in love. | 1:14:02 | 1:14:04 | |
It takes courage... | 1:14:04 | 1:14:07 | |
to surrender these things. | 1:14:07 | 1:14:10 | |
Especially when you have control issues. | 1:14:10 | 1:14:13 | |
I get that a lot. | 1:14:13 | 1:14:15 | |
I know what they're going to talk about... | 1:14:24 | 1:14:26 | |
when they talk about me. | 1:14:26 | 1:14:28 | |
They're going to talk about the moustache. | 1:14:29 | 1:14:32 | |
People are so fucking petty. | 1:14:32 | 1:14:36 | |
People say, God, what's up with that? | 1:14:36 | 1:14:37 | |
Like, didn't you know that Chaplin had it first? | 1:14:37 | 1:14:39 | |
Yeah! I knew, OK? | 1:14:39 | 1:14:43 | |
It's either the name of your first pet... | 1:14:47 | 1:14:49 | |
and the first street that you ever lived on... | 1:14:49 | 1:14:52 | |
or it's your middle name... | 1:14:52 | 1:14:54 | |
and the first street that you lived on. | 1:14:54 | 1:14:57 | |
Well, which is it? I think... Is it pet? | 1:14:57 | 1:14:59 | |
- Pet. - It's pet. | 1:14:59 | 1:15:00 | |
So, if it's pet...all right. | 1:15:00 | 1:15:02 | |
I'm Daisy Bufane. | 1:15:02 | 1:15:04 | |
Daisy Bufane? | 1:15:04 | 1:15:06 | |
Jo Jo Mountainview. | 1:15:06 | 1:15:08 | |
LAUGHTER | 1:15:08 | 1:15:10 | |
I would be Peavey Meander. | 1:15:11 | 1:15:14 | |
- What? - Peavey Meander. | 1:15:14 | 1:15:17 | |
Meander. | 1:15:17 | 1:15:19 | |
Thurston Craddock. | 1:15:19 | 1:15:21 | |
Er, Baron Von Huge Cock. | 1:15:21 | 1:15:23 | |
LAUGHTER | 1:15:23 | 1:15:26 | |
What? That's...that was my street. | 1:15:26 | 1:15:28 | |
I lived on Van Huge Cock Avenue. | 1:15:28 | 1:15:30 | |
The little kid who lives on Van Huge Cock. | 1:15:32 | 1:15:34 | |
Oh, God, where is Gus? | 1:15:34 | 1:15:36 | |
Save us from this misery. | 1:15:36 | 1:15:39 | |
So, it's your middle name first. | 1:15:39 | 1:15:42 | |
- Right. - And then...and then... | 1:15:42 | 1:15:45 | |
the name of the street that you grew up on. | 1:15:45 | 1:15:49 | |
OK. | 1:15:49 | 1:15:51 | |
Lolita... | 1:15:53 | 1:15:56 | |
Honeysuckle. | 1:15:56 | 1:15:58 | |
HE LAUGHS | 1:15:58 | 1:16:01 | |
PHONE RINGS | 1:16:05 | 1:16:08 | |
All right, I'll open it. | 1:16:09 | 1:16:10 | |
Obviously, everybody, Gus is not here... | 1:16:10 | 1:16:13 | |
So I was thinking... | 1:16:13 | 1:16:16 | |
to pass the time, why don't we all just kind of... | 1:16:16 | 1:16:19 | |
whoever wants to, stand up and give our little Gus stories. | 1:16:19 | 1:16:22 | |
Er, so, let me start off. | 1:16:22 | 1:16:24 | |
I think my favourite Gus moment | 1:16:24 | 1:16:27 | |
was when he called me at 1:20 in the morning | 1:16:27 | 1:16:30 | |
to ask what I really thought about him. | 1:16:30 | 1:16:32 | |
What'd you say? | 1:16:32 | 1:16:34 | |
What did I say? What did I say? I said, well, "Gus, | 1:16:34 | 1:16:36 | |
"whatever I think about you, | 1:16:36 | 1:16:38 | |
"I'm gonna think the same thing at 10:00 in the morning." | 1:16:38 | 1:16:41 | |
Then I hung up. | 1:16:41 | 1:16:43 | |
- Whatever. - Calvin. | 1:16:43 | 1:16:45 | |
APPLAUSE | 1:16:45 | 1:16:46 | |
It's all right. It's all right. | 1:16:46 | 1:16:48 | |
Listen, let's get down to business. | 1:16:48 | 1:16:51 | |
If someone wants to stand up, please, feel free. | 1:16:51 | 1:16:53 | |
The floor is open. | 1:16:53 | 1:16:54 | |
All right. I got one, Calvin. | 1:16:54 | 1:16:56 | |
Yes, that's right, that's right. | 1:16:56 | 1:16:58 | |
So, Gus and I - some of you may not know this - | 1:16:58 | 1:17:00 | |
Gus and I used to hunt together, all right? | 1:17:00 | 1:17:03 | |
And this one time, we're waiting up in this deer stand | 1:17:03 | 1:17:06 | |
and Gus climbs down | 1:17:06 | 1:17:09 | |
to relieve himself in the bushes, OK? | 1:17:09 | 1:17:12 | |
And, er...it gets funnier. It gets funnier. | 1:17:12 | 1:17:15 | |
So, er... | 1:17:15 | 1:17:17 | |
Wow. Thank you, man. | 1:17:26 | 1:17:27 | |
I can't tell you how much that means to me. | 1:17:27 | 1:17:28 | |
I really appreciate that, you know? | 1:17:28 | 1:17:30 | |
Especially coming from someone like you | 1:17:30 | 1:17:31 | |
who writes and acts and directs and plays the sax. | 1:17:31 | 1:17:36 | |
Originally, I kind of felt like it was really coming after me. | 1:17:36 | 1:17:38 | |
Now I feel like I'm coming after it. | 1:17:38 | 1:17:40 | |
Perfect. | 1:17:40 | 1:17:41 | |
It's not coming after me. I'm going to get it. | 1:17:41 | 1:17:43 | |
- Can you grab that sword? - I'm already on it, man. | 1:17:43 | 1:17:46 | |
It's weird. I was watching this interview with Al. | 1:17:46 | 1:17:50 | |
- Pacino? - Yeah. | 1:17:50 | 1:17:51 | |
And he was talking about the differences | 1:17:51 | 1:17:52 | |
between stage acting and film acting | 1:17:52 | 1:17:54 | |
and he was talking about how being on stage | 1:17:54 | 1:17:55 | |
is like being on this high wire, like, a hundred feet up. | 1:17:55 | 1:17:57 | |
And if you fall, you're fucked... | 1:17:57 | 1:17:59 | |
But acting in film is like having the wire on the... | 1:17:59 | 1:18:01 | |
- Ground. - On the ground. | 1:18:01 | 1:18:02 | |
Oh, OK, you've heard that. | 1:18:02 | 1:18:04 | |
Yeah, man, working for guys like you and Carl. | 1:18:04 | 1:18:06 | |
- The writing, just everything... - Aw, come on, man. | 1:18:06 | 1:18:08 | |
Where is Carl, by the way? Is he... | 1:18:08 | 1:18:10 | |
He had a party to go to. | 1:18:10 | 1:18:11 | |
Oh, that's right. Is that that producer guy? | 1:18:11 | 1:18:13 | |
- Gus Delario. - Oh, OK. | 1:18:13 | 1:18:14 | |
That's not too shabby. Carl owns a tux, huh? | 1:18:14 | 1:18:17 | |
Not just one of those shirts with the design on it? | 1:18:17 | 1:18:20 | |
You know, he says good luck and break a leg. | 1:18:20 | 1:18:22 | |
Thank you. Thank you. | 1:18:22 | 1:18:24 | |
Did I tell you about tomorrow? | 1:18:24 | 1:18:25 | |
Yeah. Fuck, man. Good luck, you know? | 1:18:25 | 1:18:27 | |
That should go really good. Ann? Is that her name? | 1:18:27 | 1:18:29 | |
Yeah. It's a nice name. | 1:18:29 | 1:18:30 | |
I hope so, man. I've been looking a long time. | 1:18:30 | 1:18:32 | |
Yeah. I hear you. It's hard. I don't know. | 1:18:32 | 1:18:34 | |
You want to go for a beer or something? | 1:18:34 | 1:18:35 | |
No, I got to teach a pilates class, but thank you. | 1:18:35 | 1:18:37 | |
Shouldn't we all say grace? | 1:18:37 | 1:18:39 | |
I think you're right. | 1:18:39 | 1:18:42 | |
Listen, it's been 45 minutes, and Gus is still not here... | 1:18:42 | 1:18:46 | |
So let's eat. Everybody dig in. | 1:18:46 | 1:18:50 | |
Thank you. | 1:18:50 | 1:18:51 | |
Even at a party - bossy, bossy. | 1:18:51 | 1:18:53 | |
You know you love it. You love it. You know you do. | 1:18:53 | 1:18:57 | |
What are you doing? Shit. | 1:19:03 | 1:19:06 | |
C-C-Calvin | 1:19:07 | 1:19:11 | |
I'll get my ball. | 1:19:11 | 1:19:13 | |
Er, everybody, this is Lee Bright, Carl's wife. | 1:19:13 | 1:19:17 | |
Our writer. Gave us a beautiful script. | 1:19:17 | 1:19:20 | |
Hi. Thank you. | 1:19:22 | 1:19:24 | |
Lee, Lucy Morgan. LA Magazine. I've worked with Carl. | 1:19:24 | 1:19:28 | |
Oh, yeah. That's right. Hi. How are you? Nice to meet you. | 1:19:28 | 1:19:31 | |
Hi. I'm Lee. | 1:19:31 | 1:19:33 | |
Yeah. Hi, hi. | 1:19:33 | 1:19:36 | |
Hey, can you name all the countries in Africa, Calvin? | 1:19:36 | 1:19:40 | |
What do you want from me? | 1:19:40 | 1:19:43 | |
- I'm not drunk. - OK. Let's go. | 1:19:43 | 1:19:45 | |
I'm just... you know, fuck you, man. | 1:19:45 | 1:19:48 | |
- Yeah, let's go. - He needs to sober up. | 1:19:48 | 1:19:49 | |
All right. Sorry. Sit down. Sit down. | 1:19:49 | 1:19:53 | |
He needs to fucking sober up. I mean, come on. | 1:19:53 | 1:19:56 | |
You know what? Enough. No more. | 1:19:56 | 1:19:58 | |
No more drinks, all right? I'm sorry. I'm sorry. | 1:19:58 | 1:20:01 | |
No more. Do not drink anything. Carl's on his way, all right? | 1:20:01 | 1:20:04 | |
- Where are you going? - I'll be right back. | 1:20:04 | 1:20:06 | |
Don't drink and don't talk to anybody. | 1:20:06 | 1:20:08 | |
No-one! | 1:20:08 | 1:20:10 | |
Hey, Soledad. Do me a favour. | 1:20:18 | 1:20:21 | |
- You're beautiful. - Oh, thank you. | 1:20:21 | 1:20:23 | |
- You working? - No, I'm not. | 1:20:23 | 1:20:25 | |
You know, I left something in here today. | 1:20:25 | 1:20:27 | |
Could you just let me in for a second? | 1:20:27 | 1:20:29 | |
Of course. | 1:20:29 | 1:20:30 | |
Yeah. Thank you. | 1:20:30 | 1:20:32 | |
Thanks. Gus? | 1:20:32 | 1:20:36 | |
Hello? | 1:20:36 | 1:20:38 | |
Hello? | 1:20:40 | 1:20:41 | |
Oh, my God. | 1:20:48 | 1:20:50 | |
Oh, my God. | 1:20:51 | 1:20:53 | |
I mean, I'm wearing a linen suit, for God's sake | 1:20:58 | 1:21:00 | |
and mascara's running all over my face | 1:21:00 | 1:21:04 | |
and I'm the only fucking car in the parking lot. | 1:21:04 | 1:21:06 | |
It's... | 1:21:06 | 1:21:07 | |
PHONE RINGS | 1:21:07 | 1:21:09 | |
..late... | 1:21:09 | 1:21:11 | |
Hey, where did you go? | 1:21:11 | 1:21:14 | |
Why? | 1:21:14 | 1:21:16 | |
He's what? | 1:21:20 | 1:21:22 | |
OK, look, look, look, we gotta call somebody, OK? | 1:21:22 | 1:21:25 | |
We'll call down, and I'll say I left something in here | 1:21:25 | 1:21:27 | |
and I came up and I knocked and he didn't answer, OK? | 1:21:27 | 1:21:30 | |
what? What? Lee, I don't know what! | 1:21:30 | 1:21:32 | |
- Just wait. - Fuck! | 1:21:32 | 1:21:33 | |
Wait for what? Oh, my God! | 1:21:33 | 1:21:36 | |
A few hours ago he was alive, OK? He was really alive! | 1:21:36 | 1:21:39 | |
- Oh, man! - Gus? | 1:21:39 | 1:21:41 | |
- Fuck, fuck! Do not touch him! - He's cold. | 1:21:41 | 1:21:43 | |
- Jesus Christ! - Oh, my God! | 1:21:43 | 1:21:45 | |
Of course he's cold! | 1:21:45 | 1:21:46 | |
'I don't know if you can calculate. | 1:21:46 | 1:21:48 | |
'I don't know if you can quantify... | 1:21:48 | 1:21:52 | |
'the effect that would have on a ten-year-old girl. | 1:21:52 | 1:21:56 | |
'I think Lee is like... | 1:21:56 | 1:21:59 | |
'Have you ever seen a dog get hit by a car... | 1:21:59 | 1:22:03 | |
'but walk away? | 1:22:03 | 1:22:06 | |
'And...there's this impact... | 1:22:06 | 1:22:09 | |
'and you know something terrible | 1:22:09 | 1:22:11 | |
'has happened to that dog | 1:22:11 | 1:22:14 | |
'but it walks away | 1:22:14 | 1:22:16 | |
'and it doesn't seem to even realise the implications | 1:22:16 | 1:22:20 | |
'cos it just goes on. | 1:22:20 | 1:22:21 | |
'But you know that something terrible | 1:22:21 | 1:22:25 | |
'has happened inside this dog.' | 1:22:25 | 1:22:27 | |
Why do you think he did it? | 1:22:27 | 1:22:29 | |
Oh, God, I don't know. | 1:22:29 | 1:22:33 | |
It's some weird sex thing. I don't know. | 1:22:33 | 1:22:38 | |
No. Not this. | 1:22:38 | 1:22:41 | |
'That's, I think, what happened to Lee. | 1:22:46 | 1:22:48 | |
'It's like - it's like - | 1:22:48 | 1:22:50 | |
'she's a dog that got hit by a car, and she walked away... | 1:22:50 | 1:22:52 | |
'and she's still walking, but...' | 1:22:52 | 1:22:56 | |
I don't know. I guess he was really sad. | 1:22:56 | 1:22:58 | |
'..some very, very important things inside her are damaged.' | 1:22:58 | 1:23:03 | |
Jesus. | 1:23:10 | 1:23:12 | |
So...my wife and I were having trouble | 1:23:16 | 1:23:20 | |
and I said I thought maybe we were in a rut | 1:23:20 | 1:23:23 | |
and that maybe we should try something | 1:23:23 | 1:23:25 | |
to liven things up, and she said, like what? | 1:23:25 | 1:23:29 | |
And I said like maybe we should tape ourselves doing it. | 1:23:29 | 1:23:35 | |
And she was completely shocked by this | 1:23:35 | 1:23:37 | |
and she thought it was beyond disgusting | 1:23:37 | 1:23:39 | |
and that was that for, like, four months. | 1:23:39 | 1:23:42 | |
And then one night, out of the blue | 1:23:42 | 1:23:44 | |
she says, let's do it. | 1:23:44 | 1:23:48 | |
So, we get it all set up, and I'm ready and she's ready... | 1:23:51 | 1:23:56 | |
and she has gone out and bought herself | 1:23:56 | 1:24:00 | |
a little toy to use in the video. | 1:24:00 | 1:24:04 | |
Really? | 1:24:04 | 1:24:05 | |
Well, it's not a little toy. It's a - it's a huge... | 1:24:05 | 1:24:10 | |
Fucking... I mean, it was... | 1:24:12 | 1:24:14 | |
No-one has a...you know, OK. | 1:24:14 | 1:24:16 | |
Well, anyway, I took one look at this thing... | 1:24:16 | 1:24:17 | |
And I knew I would not be able to... | 1:24:17 | 1:24:21 | |
I mean, it - I just couldn't - I couldn't... | 1:24:21 | 1:24:25 | |
I couldn't. | 1:24:28 | 1:24:30 | |
So we haven't. | 1:24:33 | 1:24:36 | |
And, you know... | 1:24:36 | 1:24:40 | |
You can't come back from something like that. | 1:24:40 | 1:24:44 | |
I don't know whether she lost respect for me... | 1:24:44 | 1:24:48 | |
Or I lost respect for myself, but something was lost. | 1:24:48 | 1:24:53 | |
What are you going to do? | 1:24:55 | 1:24:57 | |
I have no idea. | 1:24:57 | 1:25:00 | |
I mean, I know professionally, I'm gonna go back to teaching. | 1:25:00 | 1:25:03 | |
I always loved teaching. | 1:25:03 | 1:25:05 | |
- Really? - Yeah. | 1:25:05 | 1:25:06 | |
Never learned a thing in my life, but I love teaching. | 1:25:06 | 1:25:09 | |
The legacy of higher education. | 1:25:09 | 1:25:13 | |
What about your wife? | 1:25:13 | 1:25:15 | |
I... | 1:25:18 | 1:25:21 | |
will hope that we get over this. | 1:25:21 | 1:25:24 | |
Aside from loving her, I just really like her. | 1:25:26 | 1:25:30 | |
A lot. | 1:25:30 | 1:25:33 | |
But... | 1:25:33 | 1:25:36 | |
I guess she thinks everyone and everything is against her. | 1:25:36 | 1:25:41 | |
Somehow I just think... | 1:25:41 | 1:25:45 | |
it keeps her from being happy. | 1:25:45 | 1:25:47 | |
Is that your wife? | 1:25:53 | 1:25:55 | |
- Hey! - Hi. | 1:25:57 | 1:25:58 | |
- I'm with Dr Green. - This is...Heather, this is Lee. | 1:25:58 | 1:26:03 | |
- Django, he was sick. - Django ate the brownies. | 1:26:03 | 1:26:06 | |
- Yeah. - He's OK. | 1:26:06 | 1:26:08 | |
- He's fine now. - We put him to bed. | 1:26:08 | 1:26:10 | |
Are you OK? | 1:26:10 | 1:26:11 | |
Um, the... | 1:26:13 | 1:26:16 | |
They found Gus in his hotel room. | 1:26:16 | 1:26:20 | |
He's...he's dead. | 1:26:20 | 1:26:22 | |
He's... | 1:26:22 | 1:26:24 | |
I should go. | 1:26:25 | 1:26:27 | |
OK, OK. Thank you. Thank you. Thank you for that. | 1:26:27 | 1:26:30 | |
Yeah. | 1:26:30 | 1:26:32 | |
He's dead. | 1:26:42 | 1:26:44 | |
Oh, sweetie pie. OK. | 1:26:46 | 1:26:48 | |
Well... | 1:26:55 | 1:26:57 | |
If you ever left me, I would die. | 1:27:03 | 1:27:06 | |
I would die. Please don't. | 1:27:06 | 1:27:10 | |
OK. | 1:27:13 | 1:27:14 | |
I just want this day to be over. | 1:27:34 | 1:27:37 | |
Yeah. Let it out. | 1:27:56 | 1:27:57 | |
- Happy birthday. - Thanks. | 1:28:15 | 1:28:18 | |
Hi. | 1:28:24 | 1:28:27 | |
Did you have any interesting dreams last night? | 1:28:27 | 1:28:29 | |
um...no. Back to normal. | 1:28:29 | 1:28:32 | |
I had an Afro. | 1:28:34 | 1:28:37 | |
LEE: 'I really don't know what you should do... | 1:28:43 | 1:28:46 | |
'when you're in love with someone. | 1:28:46 | 1:28:47 | |
'I know that you're thinking about them all the time. | 1:28:47 | 1:28:50 | |
'You want to be with them and see things with them. | 1:28:50 | 1:28:53 | |
'I think it's impossible. It's an ideal to just think... | 1:28:53 | 1:28:56 | |
'that you can actually be kind all the time | 1:28:56 | 1:29:00 | |
'and never be disappointed in them or by them. | 1:29:00 | 1:29:03 | |
'It's hard. I mean, it's like the dream is short-lived.' | 1:29:03 | 1:29:09 | |
CARL: 'You've got to keep hoping that... | 1:29:09 | 1:29:15 | |
'that there's more.' | 1:29:19 | 1:29:21 | |
FRANCESCA: 'You know, you always... | 1:29:23 | 1:29:26 | |
'It's when you least expect it | 1:29:26 | 1:29:27 | |
'that something kind of pops up, literally. | 1:29:27 | 1:29:30 | |
'He just was... appeared, kind of. | 1:29:30 | 1:29:32 | |
'Um, so... | 1:29:32 | 1:29:34 | |
'And nice that it's somebody that I knew a really long time ago. | 1:29:34 | 1:29:40 | |
'And, clearly, you know, paid attention to me... | 1:29:40 | 1:29:44 | |
'before I was, you know, blonde. | 1:29:44 | 1:29:46 | |
'So, that makes it nice... | 1:29:48 | 1:29:50 | |
'but I think that it's just fate, and it's kind of, um... | 1:29:50 | 1:29:54 | |
'I don't know. And today, just negative ions in the air... | 1:29:54 | 1:29:56 | |
'bringing good fortune and...and, yeah. | 1:29:56 | 1:30:00 | |
'Yeah. | 1:30:00 | 1:30:02 | |
'Sam Osborne.' | 1:30:02 | 1:30:05 | |
CALVIN: 'I think, you know, with Lucy... | 1:30:18 | 1:30:20 | |
'She's a good listener, like I said, | 1:30:20 | 1:30:22 | |
'but she's also, you know, she's teaching me stuff. | 1:30:22 | 1:30:27 | |
'She comes from a nice family. Her parents are still together. | 1:30:27 | 1:30:30 | |
'She got three-four brothers and sisters | 1:30:30 | 1:30:32 | |
'and they're a real close-knit family. | 1:30:32 | 1:30:34 | |
'It's just the opposite of where I had come from. | 1:30:34 | 1:30:37 | |
'I don't know. Honestly, I don't know what it is. | 1:30:37 | 1:30:40 | |
'I mean, I gotta just kinda go off my gut right now... | 1:30:40 | 1:30:43 | |
'and just see what feels right. And right now... | 1:30:43 | 1:30:46 | |
'when I'm with Lucy, man, it just feels right.' | 1:30:46 | 1:30:49 | |
Catherine. | 1:31:26 | 1:31:29 | |
Nicholas. | 1:31:29 | 1:31:31 | |
You're here. | 1:31:31 | 1:31:33 | |
I am. | 1:31:33 | 1:31:35 | |
I wasn't sure. | 1:31:35 | 1:31:36 | |
Neither was I... | 1:31:36 | 1:31:39 | |
Until now. | 1:31:40 | 1:31:43 | |
- Did you get that? - The announcement? No. | 1:32:28 | 1:32:31 | |
- Where you going? - Oh, Tucson. | 1:32:35 | 1:32:37 | |
- I'm going to Tucson. - Oh, yeah? | 1:32:37 | 1:32:39 | |
- Yeah. - You ever been? | 1:32:39 | 1:32:40 | |
No. It's supposed to be beautiful. | 1:32:40 | 1:32:43 | |
That's what I hear. I've never been, either. | 1:32:43 | 1:32:44 | |
- I'll see you on the plane. - All right. | 1:32:46 | 1:32:48 | |
- Oh, are you Russian? - No. | 1:32:48 | 1:32:50 | |
No, you're supposed to say, am I rushin' where? | 1:32:50 | 1:32:54 | |
- That's funny. - Thanks. | 1:32:58 | 1:33:01 | |
Hi. I'm sorry. Is this seat taken? | 1:33:09 | 1:33:11 | |
- No, no. - Great. | 1:33:11 | 1:33:13 | |
Sorry. I hope this isn't a full flight. | 1:33:15 | 1:33:18 | |
- Yeah, I hope so, too. - Sorry. | 1:33:18 | 1:33:20 | |
'You know, I was ready to go. I was at the airport... | 1:33:20 | 1:33:22 | |
'and I met... | 1:33:22 | 1:33:24 | |
'like, in the food court, I met this guy | 1:33:24 | 1:33:27 | |
'and then he sat next to me on the plane | 1:33:27 | 1:33:30 | |
'and we just hit it off. | 1:33:30 | 1:33:32 | |
'His name's Arty, and we just... | 1:33:32 | 1:33:34 | |
'He just made me laugh. He's really funny and sweet | 1:33:34 | 1:33:38 | |
'and sort of open. | 1:33:38 | 1:33:41 | |
'We just talked the whole time, the whole flight.' | 1:33:41 | 1:33:44 | |
'She laughed in a way that made me feel like she saw me. | 1:33:44 | 1:33:50 | |
'I blew off meeting...meeting Ann, | 1:33:50 | 1:33:54 | |
'but we ended up spending the weekend together. | 1:33:54 | 1:33:57 | |
'And she's terrific.' | 1:34:00 | 1:34:03 | |
LINDA: 'It was amazing. We just had an amazing time. | 1:34:03 | 1:34:05 | |
'It was definitely... | 1:34:05 | 1:34:08 | |
'It was like out of a movie.' | 1:34:08 | 1:34:10 | |
This is, like, the apex of the drama. | 1:36:19 | 1:36:24 | |
When we know who the killer is... | 1:36:24 | 1:36:27 | |
I know. The audience doesn't know yet. | 1:36:27 | 1:36:29 | |
But I know. | 1:36:29 | 1:36:30 | |
And this is where you see me put the pieces together. | 1:36:32 | 1:36:34 |