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This film contains very strong language. | 0:00:02 | 0:00:07 | |
(CHATTER) | 0:00:56 | 0:00:58 | |
-Did he call anyone? -How the hell should I know? | 0:01:05 | 0:01:07 | |
-You said he was distraught. -I didn't say I knew why. | 0:01:07 | 0:01:10 | |
You don't look too happy either. | 0:01:10 | 0:01:13 | |
-Excuse me. -That's the fiancee of the deceased, Miss Leonore Lemmon. | 0:01:14 | 0:01:19 | |
The one on the end's a house guest, Robert Condon. | 0:01:20 | 0:01:23 | |
The other two are friends, Carol Van Ronkel and Bill Bliss. | 0:01:23 | 0:01:26 | |
-Bliss found the body. -What time did the party start? -Just after midnight. | 0:01:26 | 0:01:30 | |
He woke up, came downstairs, | 0:01:30 | 0:01:32 | |
20 minutes, half an hour, said good night and went back to bed. | 0:01:32 | 0:01:36 | |
The coroner's ruling indicated suicide. | 0:01:36 | 0:01:39 | |
Paterson. | 0:01:42 | 0:01:45 | |
-(SHUTTER CLICKS) -Captain. | 0:01:45 | 0:01:47 | |
The fiancee said he was depressed. | 0:01:58 | 0:02:02 | |
Also predicted he would do it. | 0:02:02 | 0:02:05 | |
He went upstairs, she told her pals he was gonna shoot himself. | 0:02:05 | 0:02:09 | |
So why didn't she stop him? | 0:02:10 | 0:02:13 | |
Maybe she believed what she saw on TV. | 0:02:13 | 0:02:15 | |
On TV? | 0:02:16 | 0:02:18 | |
Who, him? | 0:02:22 | 0:02:24 | |
Faster than a speeding bullet. | 0:02:24 | 0:02:27 | |
Hmm. | 0:02:28 | 0:02:30 | |
'(DOG BARKS)' | 0:03:00 | 0:03:02 | |
'# "Lonely Boy - Paul Anka' | 0:03:10 | 0:03:14 | |
(KNOCK AT DOOR) '(PANTING / GRUNTING)' | 0:03:18 | 0:03:21 | |
'(COUGHING)' '(DOG BARKS)' | 0:03:21 | 0:03:25 | |
'# I'm just a lonely boy' | 0:03:27 | 0:03:29 | |
'# Lonely and blue #' '(MUSIC STOPS)' | 0:03:31 | 0:03:33 | |
Oh, hi. | 0:03:35 | 0:03:37 | |
I have new information. | 0:03:39 | 0:03:41 | |
(CLEARS THROAT) Good. | 0:03:45 | 0:03:47 | |
I went to the office on Rossmore. | 0:03:49 | 0:03:51 | |
The office is occupied by an orthodontist. | 0:03:51 | 0:03:54 | |
You can imagine my... consternation. | 0:03:55 | 0:03:58 | |
We're setting up in a better location. | 0:03:58 | 0:04:01 | |
It's right off Wilshire, adding an operative. | 0:04:01 | 0:04:04 | |
But delays, phone lines, so, time being... | 0:04:04 | 0:04:09 | |
We believe that my wife continues to engage in illicit... | 0:04:09 | 0:04:13 | |
..carnal relations. | 0:04:14 | 0:04:16 | |
-I'm gonna take care of the mail. -Good. | 0:04:18 | 0:04:21 | |
Um, Mr Sinclair, | 0:04:26 | 0:04:28 | |
we did check into that and, um,... | 0:04:28 | 0:04:31 | |
..there was nothin' we came up with. | 0:04:31 | 0:04:33 | |
Yes, well, in that regard, I blame myself. | 0:04:33 | 0:04:36 | |
(CLEARS THROAT) How's that? | 0:04:36 | 0:04:38 | |
My wife became aware of a... change in my demeanour | 0:04:41 | 0:04:45 | |
and curtailed her activities accordingly. | 0:04:45 | 0:04:47 | |
(CLEARS THROAT) She still at Western Costume? | 0:04:51 | 0:04:53 | |
I drop her off there every morning. What transpires after that... | 0:04:53 | 0:04:57 | |
-I have fees. -For 50 a day. Three-day minimum. In advance. | 0:04:57 | 0:05:01 | |
We'll do everything we can. | 0:05:08 | 0:05:10 | |
It's not right, you know. | 0:05:22 | 0:05:24 | |
-His money. -He's nuts. -'(DOG BARKS)' | 0:05:24 | 0:05:28 | |
Don't give me grief, OK? Nobody said you had to stay in Van Nuys. | 0:05:35 | 0:05:39 | |
You're the one that wanted a backyard. | 0:05:39 | 0:05:42 | |
What did I say? | 0:05:44 | 0:05:47 | |
Disneyland. | 0:05:53 | 0:05:55 | |
Hmm. He like it? | 0:05:55 | 0:05:57 | |
Russ took him on a canoe, the Indian Village. | 0:05:57 | 0:06:01 | |
-It seemed to go alright. -Russ. | 0:06:01 | 0:06:03 | |
Russell. | 0:06:04 | 0:06:06 | |
Rusty. | 0:06:06 | 0:06:09 | |
Am I supposed to ask your permission? | 0:06:09 | 0:06:11 | |
I just wanna make sure his intentions are honourable. | 0:06:11 | 0:06:15 | |
-Keeping busy? -Yeah. Maybe somethin' big. | 0:06:16 | 0:06:20 | |
-Don't believe me? -Oh, I always believed you. | 0:06:20 | 0:06:24 | |
Every time. | 0:06:24 | 0:06:27 | |
Where's Evan? | 0:06:28 | 0:06:30 | |
-What's goin' on? -That actor who shot himself, the one who plays Superman. | 0:06:40 | 0:06:44 | |
-What about him? -It's made him very upset. | 0:06:45 | 0:06:49 | |
-He told you that? -(SCOFFS) | 0:06:50 | 0:06:52 | |
Every kid on the block is upset. | 0:06:52 | 0:06:55 | |
Scout. Come on. Your old pops is taking you to school. | 0:06:58 | 0:07:02 | |
What's on your mind, Scout? | 0:07:04 | 0:07:06 | |
Nothing. | 0:07:06 | 0:07:09 | |
-Nothing? -Nothing. | 0:07:10 | 0:07:13 | |
You know, things you see on TV, you know, someone's a cowboy, or... | 0:07:16 | 0:07:21 | |
..or a spaceman,... it's just pretend, right? | 0:07:21 | 0:07:24 | |
-I know. -You remember we talked about that? | 0:07:24 | 0:07:27 | |
I remember. | 0:07:27 | 0:07:30 | |
OK. | 0:07:30 | 0:07:32 | |
-Hey, what's this? -I don't know. -Well, why don't you find out? | 0:07:33 | 0:07:38 | |
-You like that? -Kind of. | 0:07:44 | 0:07:48 | |
Come on, turn the knobs. | 0:07:48 | 0:07:51 | |
(WHISTLES) | 0:08:31 | 0:08:33 | |
I'm thinkin', "Maybe I ain't the best DI in California, | 0:08:47 | 0:08:51 | |
but if I can't spot a one-eyed Negro Jew | 0:08:51 | 0:08:53 | |
sneakin' into a house, it's time to pack it in." (LAUGHS) | 0:08:53 | 0:08:57 | |
Davis is a very talented performer. (LAUGHS) | 0:08:57 | 0:09:00 | |
What did Rick do? | 0:09:00 | 0:09:02 | |
What's the matter, Alpha Beta not hiring any more parking-lot guards? | 0:09:02 | 0:09:06 | |
Not with you moonlighting, Chuck. | 0:09:06 | 0:09:08 | |
Study this gentleman. | 0:09:08 | 0:09:11 | |
Observe him closely, the haircut, the get-up. | 0:09:11 | 0:09:13 | |
Nobody told him the world don't need two Ralph Meekers. | 0:09:13 | 0:09:17 | |
Listen to him, kid. And don't start smokin', either. Filthy habit. | 0:09:17 | 0:09:21 | |
This isn't show business, pal,... it's just a job. | 0:09:21 | 0:09:25 | |
Punch in every day. Let's get outta here. | 0:09:25 | 0:09:29 | |
I'm still eatin', Chuck. | 0:09:29 | 0:09:31 | |
Come on. | 0:09:32 | 0:09:34 | |
'Sweetheart, cheque please.' | 0:09:40 | 0:09:42 | |
Hey, Del. | 0:09:45 | 0:09:47 | |
-Rick working you hard? -Payroll scam at Warner's. | 0:09:49 | 0:09:53 | |
-Wow. That's real detective work. -I'm a real detective. | 0:09:53 | 0:09:57 | |
-Anything you guys throwing away? -Jesus, Lou. | 0:10:00 | 0:10:03 | |
-Look, I'm askin'. The shit you won't touch. Come on. -You will? | 0:10:03 | 0:10:07 | |
If it puts me in a Fleetwood bigger than Ricky Harris's, yeah. | 0:10:08 | 0:10:11 | |
-He drives a Lincoln. -Come on, Del, feed me somethin'. -Why should I? | 0:10:11 | 0:10:15 | |
Cos you owe me, partner. | 0:10:15 | 0:10:18 | |
What? | 0:10:26 | 0:10:28 | |
What? The guy used to play Superman, he shot himself. What? | 0:10:30 | 0:10:33 | |
-Someone thinks he didn't. -Oh, yeah? Who? | 0:10:33 | 0:10:37 | |
-His mother. -His mother! | 0:10:39 | 0:10:42 | |
-How do you know what she thinks? -She tried to hire us this morning. | 0:10:42 | 0:10:47 | |
-What does she have the cops don't? -Look. | 0:10:47 | 0:10:49 | |
You like a headline, there's a headline. | 0:10:49 | 0:10:52 | |
-What did Rick say? -Maybe you forgot. | 0:10:56 | 0:11:00 | |
We're paid to keep things out of the newspaper. | 0:11:00 | 0:11:03 | |
Helen Bessolo, she's in from Illinois at the Ambassador. | 0:11:06 | 0:11:10 | |
-And you don't work for Rick Harris. -What? | 0:11:10 | 0:11:13 | |
When you pitch her,... you're not an associate, you're not a stringer. | 0:11:13 | 0:11:17 | |
Who said I'm pitchin' her? | 0:11:17 | 0:11:20 | |
I'm done eating. | 0:11:20 | 0:11:23 | |
Oh, I forgot. Have one. | 0:11:25 | 0:11:28 | |
-Guess who's a daddy. -It's a boy. | 0:11:30 | 0:11:33 | |
(KNOCK AT DOOR) | 0:11:46 | 0:11:48 | |
Mrs Bessolo, I'm Louis Simo. I called. | 0:11:51 | 0:11:54 | |
Our children, yes. | 0:12:06 | 0:12:09 | |
-They'll always be our babies. -You work for Mr Harris? | 0:12:09 | 0:12:13 | |
I was an operative at the agency. I... branched out on my own. | 0:12:14 | 0:12:19 | |
May I? | 0:12:20 | 0:12:22 | |
There are certain situations the agency is... | 0:12:22 | 0:12:27 | |
..not prepared to handle. They come to me. | 0:12:28 | 0:12:31 | |
-A house full of strangers. -How's that? | 0:12:34 | 0:12:37 | |
The ones there that night, | 0:12:37 | 0:12:39 | |
Van Ronkel, Bliss and that woman. | 0:12:39 | 0:12:43 | |
This is Leonore, the fiancee? | 0:12:43 | 0:12:46 | |
Leonore. | 0:12:46 | 0:12:49 | |
How could you trust anything they say? | 0:12:49 | 0:12:51 | |
Did he give any indication to you? | 0:12:54 | 0:12:57 | |
-About what? -Being, ya know,... | 0:12:58 | 0:13:02 | |
-..despondent. -Why would he be? | 0:13:03 | 0:13:06 | |
When was, um,... if I may, the last time you spoke with your son? | 0:13:12 | 0:13:17 | |
Do you know... a Herbert Spirakis? | 0:13:22 | 0:13:25 | |
-Um, no. -He's also an investigator here. Very professional. | 0:13:27 | 0:13:31 | |
He says I have a case. | 0:13:32 | 0:13:35 | |
Mrs Bessolo, I'm gonna level with you, alright? | 0:13:35 | 0:13:38 | |
LAPD, Los Angeles Police Department, they don't like to be shown up. | 0:13:38 | 0:13:42 | |
OK? They've closed the door on your son. It's a suicide, end of story. | 0:13:43 | 0:13:47 | |
You want that door open again? | 0:13:47 | 0:13:49 | |
You wanna make the cops and the DA pay attention? | 0:13:49 | 0:13:53 | |
You need a headline this big,... only with the truth, | 0:13:53 | 0:13:58 | |
so that everybody knows. OK? You gotta shove it in their faces. | 0:13:58 | 0:14:02 | |
Did Herbert Spirakis tell you that? | 0:14:02 | 0:14:05 | |
I have to pay by cheque. | 0:14:07 | 0:14:10 | |
Five minutes. I didn't let you in. | 0:14:10 | 0:14:12 | |
Hey. The 20? | 0:14:17 | 0:14:19 | |
Right. | 0:14:20 | 0:14:22 | |
Sorry. | 0:14:23 | 0:14:25 | |
Say, you know who people wanted to see? | 0:14:35 | 0:14:37 | |
Lana Turner's guy, um,... Stompanato. | 0:14:37 | 0:14:40 | |
No kidding. | 0:14:40 | 0:14:43 | |
I tell ya, that kid of hers, | 0:14:43 | 0:14:45 | |
the knife was practically sticking out of his ass. Think about - | 0:14:45 | 0:14:48 | |
-What are these? -Huh? | 0:14:48 | 0:14:51 | |
These marks. What did he do, beat himself up before he shot himself? | 0:14:53 | 0:14:58 | |
Um,... I don't know. | 0:14:58 | 0:15:00 | |
Don't do that. Hey. I didn't say you could touch anything. | 0:15:07 | 0:15:11 | |
-Don't worry about it. -Put it down. The coroner's gonna be back. | 0:15:11 | 0:15:15 | |
-'(DOOR OPENS)' -Ya hear? | 0:15:15 | 0:15:17 | |
OK, that's it. You gotta go. | 0:15:17 | 0:15:19 | |
(CHATTER) | 0:15:19 | 0:15:22 | |
So, pal,... who's TM? | 0:15:22 | 0:15:25 | |
Come on, what do you say? You help me, I'll help you. | 0:15:28 | 0:15:32 | |
'George. George.' | 0:15:33 | 0:15:36 | |
-Yes? -Don't order any more drinks. I can't afford it. | 0:15:36 | 0:15:39 | |
You couldn't afford the cover. Hello, Billy Wilder. Hire me, please. | 0:15:39 | 0:15:44 | |
We're two steps from the men's room. They'll think we're queer. | 0:15:44 | 0:15:48 | |
You do look fetching tonight. (CHUCKLES) | 0:15:48 | 0:15:51 | |
-OK, I'm leaving. -No, you're not. | 0:15:51 | 0:15:53 | |
You're gonna stay right here and work the casting guy from Fox. | 0:15:53 | 0:15:57 | |
You and I will practise being noticed without looking like you're trying. | 0:15:57 | 0:16:01 | |
Fred Zinnemann. | 0:16:01 | 0:16:03 | |
-Who? -He's a director. Pictures. | 0:16:03 | 0:16:06 | |
-He hires people. -No-one's gonna hire me, anyway. -(SAW WHIRS) | 0:16:06 | 0:16:11 | |
(APPLAUSE) | 0:16:13 | 0:16:15 | |
That's Rita Hayworth. | 0:16:15 | 0:16:18 | |
George. | 0:16:19 | 0:16:21 | |
That's Rita Hayworth. | 0:16:22 | 0:16:24 | |
-You look absolutely ravishing, Rita! -(CHATTER) | 0:16:26 | 0:16:32 | |
Miss Hayworth, this way. Thank you. | 0:16:33 | 0:16:36 | |
-Just made it. -I beg your pardon? | 0:16:38 | 0:16:41 | |
-Into the picture. -Was someone taking a picture? I hadn't noticed. | 0:16:41 | 0:16:45 | |
(LAUGHS) Mmm. | 0:16:45 | 0:16:49 | |
My, we're awfully well trained, Mr...? | 0:16:49 | 0:16:51 | |
-George Reeves. -(LAUGHS) -Was it the line or the delivery? | 0:16:51 | 0:16:56 | |
-I laugh when I'm happy. -I see. Well, who is it I'm making so happy? | 0:16:56 | 0:17:00 | |
-I'm Toni. -Just a poor girl with no last name. | 0:17:00 | 0:17:04 | |
-(LAUGHS) -I had no idea I could spread this much joy. | 0:17:04 | 0:17:08 | |
Well, who knows what you might be spreading. | 0:17:08 | 0:17:12 | |
-Your turn. -I'm afraid you've got me. | 0:17:12 | 0:17:14 | |
This way, please. Thank you. | 0:17:14 | 0:17:17 | |
For you, sir. | 0:17:22 | 0:17:24 | |
(SIGHS) George, George, George. | 0:17:26 | 0:17:28 | |
(INSTRUMENTAL BIG BAND MUSIC) | 0:17:28 | 0:17:30 | |
That was your first picture? | 0:17:30 | 0:17:32 | |
That was my very first paid acting role. | 0:17:32 | 0:17:35 | |
Your very first paid acting role was in Gone With The Wind? | 0:17:35 | 0:17:38 | |
-That's right. -And yet I don't remember you. | 0:17:38 | 0:17:41 | |
You don't? How's this? "We want all your waltzes." | 0:17:41 | 0:17:45 | |
-"First Brent, then me." -You were a Tarleton! -I was. | 0:17:45 | 0:17:48 | |
-You hair was orange. -It was tangerine. | 0:17:48 | 0:17:50 | |
-Ah, well. Alright, then, that was your first. -Mmm-hmm. | 0:17:50 | 0:17:54 | |
-What was your last? -That I'm certain you didn't see. -Ha! Try me. | 0:17:54 | 0:17:59 | |
The Adventures of Sir Galahad. | 0:18:00 | 0:18:02 | |
Saturday-morning serial, very cheap, we all rode the same horse. | 0:18:02 | 0:18:05 | |
Well, I'm sure you did a wonderful job and the children loved you. | 0:18:05 | 0:18:09 | |
I don't know. It's a lot of waiting, a lot of wanting | 0:18:09 | 0:18:14 | |
and, somehow, that's your life. | 0:18:14 | 0:18:17 | |
-How dare you? -What? | 0:18:17 | 0:18:19 | |
How dare you permit me to talk about myself | 0:18:19 | 0:18:22 | |
-when I am standing next to the most beautiful woman? -(LAUGHS) | 0:18:22 | 0:18:25 | |
-Well, you're an actor. -(LAUGHS) | 0:18:25 | 0:18:28 | |
And how about you? Hmm? | 0:18:28 | 0:18:30 | |
Are those friends of yours over at Ciro's? | 0:18:30 | 0:18:34 | |
I know some of them. | 0:18:34 | 0:18:36 | |
Good people to know? | 0:18:36 | 0:18:38 | |
-Not if you know them. (LAUGHS) -Really? | 0:18:38 | 0:18:41 | |
-Well, that sounded sad. -Oh! I was aiming for mysterious. | 0:18:41 | 0:18:45 | |
No, no, no, mysterious is like this... | 0:18:45 | 0:18:47 | |
-Oh, that's good! Do another one! -Alright. | 0:18:47 | 0:18:51 | |
Noble. Stoic. | 0:18:52 | 0:18:55 | |
Heroic. | 0:18:55 | 0:18:57 | |
-Bad shellfish. -(BOTH LAUGH) | 0:18:57 | 0:19:00 | |
-Very good. Exactly. -(LAUGHS) | 0:19:00 | 0:19:03 | |
-Well, you don't seem sad. -What if I were? | 0:19:03 | 0:19:07 | |
I won't allow it. | 0:19:08 | 0:19:10 | |
I'm much too old for you, you know. | 0:19:22 | 0:19:24 | |
(LAUGHS) | 0:19:26 | 0:19:28 | |
We don't give out that information. | 0:19:32 | 0:19:34 | |
Here's the thing, though. | 0:19:34 | 0:19:37 | |
Mr Tra... The person I work for, he, um... | 0:19:37 | 0:19:40 | |
I come back empty-handed, I lose my job. | 0:19:41 | 0:19:45 | |
-"Get me that watch that George had," he told me. -George? | 0:19:45 | 0:19:49 | |
-George Reeves. -Oh, Mr Reeves! -Yeah. | 0:19:49 | 0:19:52 | |
They were very close, like brothers. | 0:19:52 | 0:19:55 | |
You know, they spoke every week until... | 0:19:55 | 0:19:59 | |
Who do you work for? | 0:19:59 | 0:20:01 | |
No, I can't. I can't. I just do what I'm told. | 0:20:03 | 0:20:07 | |
The rest of the world knew what these stars are really like... | 0:20:07 | 0:20:11 | |
-Well, we got some stories, right? -(CHUCKLES) | 0:20:12 | 0:20:15 | |
Hold on. | 0:20:15 | 0:20:17 | |
A gold Chopard Quattro. | 0:20:24 | 0:20:27 | |
-Unfortunately, no longer made. -Uh-oh. | 0:20:27 | 0:20:30 | |
-He was a good customer? -Oh, no, these are Mrs Mannix's account. | 0:20:32 | 0:20:36 | |
She, um,... she bought him a lotta things, you know? | 0:20:36 | 0:20:39 | |
Of course. Say no more. | 0:20:39 | 0:20:42 | |
Maybe there's some old stock. | 0:20:42 | 0:20:45 | |
I'd be grateful. | 0:20:45 | 0:20:48 | |
No luck, huh? | 0:20:57 | 0:21:00 | |
God. I better go break the bad news. | 0:21:00 | 0:21:03 | |
-If I showed you something else? -No, I don't think that's gonna help. | 0:21:03 | 0:21:07 | |
Spencer Tracy. | 0:21:08 | 0:21:10 | |
-Now, how the heck did...? -I'd heard he can be difficult. | 0:21:11 | 0:21:14 | |
Oh. Between you and me,... a complete prick. | 0:21:14 | 0:21:19 | |
(SIGHS) | 0:21:59 | 0:22:01 | |
Good morning. | 0:22:34 | 0:22:36 | |
Good morning,... | 0:22:36 | 0:22:38 | |
..Mrs Mannix. | 0:22:39 | 0:22:42 | |
I don't have a problem with a man drinking before breakfast, but... | 0:22:59 | 0:23:03 | |
..it is impolite not to offer me any. | 0:23:03 | 0:23:06 | |
Your husband... is the general manager of MGM. | 0:23:14 | 0:23:18 | |
He gives the word, I'm stuck doing serials for the rest of my life. | 0:23:19 | 0:23:23 | |
-He would never do that. -No? Why not? | 0:23:23 | 0:23:26 | |
-Because it would hurt me. -What about me? | 0:23:27 | 0:23:31 | |
It would hurt both of us. | 0:23:31 | 0:23:34 | |
-Look, whatever I said last night... -It sounded true. | 0:23:36 | 0:23:40 | |
Was it, or were you acting? | 0:23:41 | 0:23:45 | |
It was true. | 0:23:47 | 0:23:49 | |
Listen,... Eddie's got a mistress, | 0:23:50 | 0:23:54 | |
a Japanese girl, very sweet. | 0:23:54 | 0:23:57 | |
An apartment in Brentwood, a cabin up in Big Bear. | 0:23:57 | 0:24:00 | |
And what do you have? | 0:24:01 | 0:24:03 | |
I have another seven good years, | 0:24:05 | 0:24:08 | |
then my ass drops like a duffel bag. | 0:24:08 | 0:24:11 | |
Well, it seems alright now. | 0:24:11 | 0:24:13 | |
Thank you for noticing. | 0:24:13 | 0:24:16 | |
Tell me the truth. | 0:24:18 | 0:24:21 | |
Did you think I could help you? | 0:24:21 | 0:24:23 | |
I thought that you were the most beautiful girl in the room. | 0:24:24 | 0:24:28 | |
-And, yes, I did. -(SIGHS) | 0:24:29 | 0:24:32 | |
-Do you know who you looked like? -Hmm? | 0:24:33 | 0:24:35 | |
Sir Galahad. | 0:24:35 | 0:24:38 | |
(GROANS) | 0:24:38 | 0:24:39 | |
George, nobody ever asks to be happy later. | 0:24:41 | 0:24:45 | |
Tell me what you want. | 0:24:47 | 0:24:49 | |
You can have it. | 0:24:49 | 0:24:51 | |
Should I leave? | 0:24:58 | 0:25:01 | |
No,... you should stay. | 0:25:01 | 0:25:04 | |
I got a fiancee, a mistress. A former mistress. | 0:25:15 | 0:25:18 | |
I'm not really sure on that yet, but I got bruises on the body... What? | 0:25:18 | 0:25:22 | |
After you dropped her off, she, um, never left the building. | 0:25:27 | 0:25:31 | |
I can't swear that nothin' went on in there, but she never left. | 0:25:32 | 0:25:36 | |
-There's an entrance in the rear. -OK. | 0:25:36 | 0:25:39 | |
And a loading dock. | 0:25:39 | 0:25:41 | |
Neither would be visible from your vantage point. | 0:25:41 | 0:25:44 | |
Look, Mr Sinclair, maybe,... you know, you and your wife | 0:25:48 | 0:25:52 | |
need to sit down and have a conversation and - | 0:25:52 | 0:25:55 | |
-This man. Here. -He works there. -No, I've seen him before. | 0:25:55 | 0:26:00 | |
Mr Simo, I have utter faith in your abilities, | 0:26:01 | 0:26:05 | |
but you might wish to entertain the notion | 0:26:05 | 0:26:07 | |
there is more going on than you realise. | 0:26:07 | 0:26:09 | |
"I, George Bessolo Reeves, | 0:26:12 | 0:26:14 | |
being of sound and disposing mind and memory, | 0:26:14 | 0:26:17 | |
do declare this my last will and testament." | 0:26:17 | 0:26:19 | |
"I hereby give, devise and bequeath all monies and personal property | 0:26:19 | 0:26:23 | |
owned by me at the time of my death to Toni Lanier Mannix." | 0:26:23 | 0:26:27 | |
What?! | 0:26:27 | 0:26:29 | |
-Maybe there's another will. -There goddamn better be. | 0:26:29 | 0:26:33 | |
Miss Lemmon, can I talk to you? | 0:26:33 | 0:26:35 | |
I'm Louis Simo, I'm a private investigator. | 0:26:35 | 0:26:37 | |
I've been retained by Helen, the bereaved mother of your... | 0:26:37 | 0:26:41 | |
-Bitch! -I agree. -..of your late fiance. | 0:26:41 | 0:26:44 | |
-Could I ask a few questions? -You're not an investigator. | 0:26:44 | 0:26:47 | |
Yes, I am, ma'am. I am licensed by the state of California. | 0:26:47 | 0:26:50 | |
-You know what he is? A catfish. -Mmm-hmm. | 0:26:50 | 0:26:53 | |
Go clean the mud outta your whiskers. | 0:26:53 | 0:26:56 | |
A catfish? | 0:26:59 | 0:27:01 | |
-Sir, can you look this way? -Excuse me. | 0:27:06 | 0:27:09 | |
-Are you the Times? -I'm the Times. | 0:27:09 | 0:27:12 | |
You're the Times? What do you think about Superman offing himself | 0:27:13 | 0:27:17 | |
and cutting his fiancee outta the picture? | 0:27:17 | 0:27:19 | |
Leaving the green to Eddie Mannix's wife? Huh? Like she needs the dough. | 0:27:19 | 0:27:23 | |
-Hell hath no fury, huh? -(LAUGHS) | 0:27:23 | 0:27:26 | |
People get killed for less than that. | 0:27:26 | 0:27:28 | |
-You saying Reeves was murdered? -That's a heck of a question. | 0:27:28 | 0:27:32 | |
-What's your name? -Louis Simo. | 0:27:32 | 0:27:35 | |
S-I-M-O. | 0:27:35 | 0:27:38 | |
# "Cheek to Cheek" - Irving Berlin | 0:27:38 | 0:27:40 | |
(CLEARS THROAT) | 0:27:52 | 0:27:55 | |
-Did you go to the doctor? -I went. | 0:27:55 | 0:27:58 | |
-What did he say? -Those guys, they're all frauds. | 0:27:58 | 0:28:02 | |
Not a very helpful attitude. | 0:28:02 | 0:28:05 | |
Well, somethin' has to kill ya. Don't it? | 0:28:05 | 0:28:08 | |
-Oh, I guess so. -You under contract? | 0:28:10 | 0:28:13 | |
-I was, at Warner's. -But now you're not? | 0:28:13 | 0:28:16 | |
-Now, no. No. -Tough game. | 0:28:16 | 0:28:19 | |
Well, I'm always ready to play. | 0:28:20 | 0:28:22 | |
George was in Gone With The Wind. | 0:28:27 | 0:28:29 | |
That picture made money. | 0:28:29 | 0:28:31 | |
-So what brought you to Los Angeles, Miss Yoshida? -Don't talk to her. | 0:28:36 | 0:28:40 | |
-I'm sorry? -She doesn't speak English. | 0:28:40 | 0:28:43 | |
Oh. Oh. Yes. | 0:28:43 | 0:28:47 | |
(CLEARS THROAT) | 0:28:49 | 0:28:52 | |
-Eddie, I've found a darling place up on Benedict. -Uh-huh. | 0:28:53 | 0:28:56 | |
It's about 12,000. I'd like to buy it. | 0:28:56 | 0:29:00 | |
Well,... it's a good investment. | 0:29:02 | 0:29:05 | |
-Right? -Well, you know what they say about land. They... | 0:29:05 | 0:29:09 | |
They're not making any more of it. | 0:29:09 | 0:29:12 | |
-What's not on the menu? -We have some very nice Blue Points set aside. | 0:29:12 | 0:29:16 | |
-How's the flank steak? -Very good. | 0:29:16 | 0:29:19 | |
-Bring me that, the Cobb salad, dressing on the side. -(LAUGHS) | 0:29:19 | 0:29:22 | |
-Baked... -(LAUGHS) I'm sorry. | 0:29:22 | 0:29:25 | |
My wife will take another Gibson. | 0:29:27 | 0:29:30 | |
Well, what do you think? | 0:29:33 | 0:29:35 | |
The most I got from a girlfriend was a tie. | 0:29:35 | 0:29:38 | |
-Just how Toni does things, I guess. -You should be happy, George. | 0:29:38 | 0:29:41 | |
-Wouldn't mind a job. -Well, maybe she can put in a word with her... | 0:29:41 | 0:29:46 | |
Hmm. Hey, um,... take it. | 0:29:46 | 0:29:49 | |
-What's this? -It's a coupla hundred. -Why are you giving it to me? | 0:29:50 | 0:29:55 | |
Cos I got it and you need it. Go ahead, kid, make your first million. | 0:29:55 | 0:29:59 | |
-Your talent is required! -Alright. | 0:29:59 | 0:30:01 | |
(GUITAR MUSIC) (MEN SING IN SPANISH) | 0:30:01 | 0:30:05 | |
(CHATTER) | 0:30:33 | 0:30:36 | |
'Lois and Jimmy, what have you done with them?!' | 0:30:43 | 0:30:45 | |
'They're safe, Superman, | 0:30:45 | 0:30:47 | |
but don't get any big ideas about stopping the robbery.' | 0:30:47 | 0:30:51 | |
'Alright, you win this time, but if something happens to them, | 0:30:51 | 0:30:54 | |
I promise, you'll wish this day never arrived!' | 0:30:54 | 0:30:58 | |
Whenever you're ready, George. | 0:30:59 | 0:31:02 | |
Alright. | 0:31:02 | 0:31:04 | |
They're safe for now, Superman, | 0:31:05 | 0:31:07 | |
but don't get any big ideas about stopping the robbery. | 0:31:07 | 0:31:11 | |
Actually, George, you're reading the other role. | 0:31:11 | 0:31:14 | |
-Oh, um,... Superman? -Yeah. | 0:31:14 | 0:31:17 | |
He's, you know, the hero. | 0:31:17 | 0:31:20 | |
-I suppose I've always felt more the criminal type. -(SIGHS) | 0:31:20 | 0:31:24 | |
We're looking for a new take here, George, | 0:31:24 | 0:31:26 | |
someone the kids will buy, but adults, too. It needs a real actor. | 0:31:26 | 0:31:30 | |
What's the worst that could happen? We offer you the part. | 0:31:31 | 0:31:35 | |
Well,... OK. (CLEARS THROAT) | 0:31:38 | 0:31:41 | |
Alright, Mr Prince, I got your message. What is it you want? | 0:31:44 | 0:31:47 | |
It's not what I want, it's what you want. | 0:31:47 | 0:31:49 | |
Listen, I'm not in the mood for games, | 0:31:49 | 0:31:52 | |
but I promise you this, if anything happens to Lois or to Jimmy... | 0:31:52 | 0:31:56 | |
(GROANS) | 0:31:56 | 0:31:59 | |
An actor can't always act. Sometimes he has to work. | 0:32:00 | 0:32:05 | |
You're talking to a man who defended Camelot with a cardboard sword. | 0:32:05 | 0:32:09 | |
-I enjoyed you in that. -You were the oldest boy in the theatre, Art. | 0:32:09 | 0:32:13 | |
Look, it's a dirt-cheap kiddie show. It doesn't even have a sponsor. | 0:32:13 | 0:32:17 | |
-Odds are no-one's ever gonna see it. -It's sounding better and better(!) | 0:32:17 | 0:32:20 | |
And you need the money. | 0:32:20 | 0:32:23 | |
-There's money. -I mean, money of your own. | 0:32:23 | 0:32:27 | |
Aw, come on, George. | 0:32:30 | 0:32:33 | |
-What do you want from life? -Oh, I dunno. | 0:32:33 | 0:32:37 | |
I'd settle for Clark Gable's career. | 0:32:37 | 0:32:40 | |
Take the job. Cash the cheque. | 0:32:40 | 0:32:42 | |
Can I tell you something, Art, seriously? | 0:32:45 | 0:32:48 | |
-Of course. -You're beautiful when you take your glasses off. | 0:32:48 | 0:32:51 | |
-(LAUGHS) -(CHUCKLES) -So does this mean we're saying yes? | 0:32:51 | 0:32:55 | |
Why is it so drab? Superman was blue and red. | 0:32:58 | 0:33:01 | |
Not on TV, not enough contrast. | 0:33:01 | 0:33:04 | |
But maybe if the show flies, they might film in colour | 0:33:04 | 0:33:08 | |
for when the colour sets... come out. | 0:33:08 | 0:33:10 | |
Then I'll get to wear the blue and red. | 0:33:10 | 0:33:13 | |
(SIGHS) I look like a damn fool. | 0:33:21 | 0:33:24 | |
-Nice car. -That's my baby. Lou? | 0:33:49 | 0:33:54 | |
-Yeah. -Hey, I'm Russ Taylor. | 0:33:54 | 0:33:56 | |
-We're... -Yeah, Goofy. | 0:33:56 | 0:33:59 | |
-I'm sorry? -You went to Disneyland. | 0:33:59 | 0:34:02 | |
-Oh, yeah, that's right. Last week. -Hmm. | 0:34:02 | 0:34:05 | |
Um,... she's a little upset. | 0:34:05 | 0:34:08 | |
I happened to be in the neighbourhood, so... | 0:34:08 | 0:34:11 | |
That's convenient. | 0:34:11 | 0:34:13 | |
Hey, he's a good kid. | 0:34:14 | 0:34:17 | |
I saw that right off. | 0:34:17 | 0:34:20 | |
Well, you would know, huh, Russ? | 0:34:20 | 0:34:24 | |
The policy will cover it, that's not a problem, | 0:34:33 | 0:34:35 | |
-but she's concerned. -He took the charcoal fluid, | 0:34:35 | 0:34:39 | |
-poured it all over it and put it on the couch. -Put what on the couch? | 0:34:39 | 0:34:43 | |
(KNOCK AT DOOR) | 0:34:46 | 0:34:49 | |
What's the deal, Scout? | 0:34:51 | 0:34:54 | |
Your mom is very upset with you. | 0:35:02 | 0:35:05 | |
(SIGHS) | 0:35:09 | 0:35:11 | |
What if you burnt the house down? Huh? | 0:35:12 | 0:35:16 | |
You wouldn't have a place to live. You know people get killed in fires? | 0:35:16 | 0:35:20 | |
Huh? Use your noggin. | 0:35:20 | 0:35:22 | |
-It was just to get rid of it. -What, the costume? | 0:35:23 | 0:35:28 | |
Scout, you begged me for that thing. | 0:35:28 | 0:35:31 | |
You wanted it so bad, you remember? | 0:35:31 | 0:35:33 | |
Not any more. | 0:35:33 | 0:35:35 | |
Why? | 0:35:35 | 0:35:38 | |
He shot himself in the head with a Luger. | 0:35:38 | 0:35:41 | |
That's a Nazi pistol. | 0:35:41 | 0:35:43 | |
So, you know this man? He was an actor | 0:35:51 | 0:35:55 | |
and if he did shoot,... whatever he did, | 0:35:55 | 0:35:58 | |
you can still watch him on TV, can't you? Hmm? | 0:35:58 | 0:36:02 | |
Scout, I asked a question. | 0:36:03 | 0:36:05 | |
-(SIGHS) Evan, you hear what I'm saying? -Alright. | 0:36:07 | 0:36:10 | |
Evan, you answer when I talk. | 0:36:10 | 0:36:13 | |
Evan! Put it down. Come on. What are you doin'? | 0:36:13 | 0:36:16 | |
-Let's leave it. -Put it down. Evan, put it down. -Louis! | 0:36:16 | 0:36:20 | |
Stop it, OK?! God damn it! | 0:36:20 | 0:36:22 | |
(SIGHS) Ah, this kid! | 0:36:24 | 0:36:28 | |
-Why do you bother calling me? -I don't know. | 0:36:31 | 0:36:33 | |
-Possibly you might care your son - -Maybe you should take a breath. | 0:36:33 | 0:36:36 | |
I do care. I care very much. Just cos I don't have every minute... | 0:36:36 | 0:36:41 | |
-No, you have so much going on(!) -Is that what this is? Huh? | 0:36:41 | 0:36:44 | |
-Cos I've heard it already. -The actor, this gimmick you're pulling. | 0:36:44 | 0:36:48 | |
-We noticed the item in the paper. -What? I was hired! | 0:36:48 | 0:36:51 | |
-Can't you see what these tricks...? -It's how I make my fucking living! | 0:36:51 | 0:36:55 | |
-Lou, that kinda language... -I'm sorry, is this his business? | 0:36:55 | 0:36:59 | |
-I'm trying to keep things civil. -Russ, this is between Louis and me. | 0:36:59 | 0:37:02 | |
Listen, Lou, he asked for you. I wasn't gonna call you. | 0:37:03 | 0:37:07 | |
He asked. | 0:37:09 | 0:37:11 | |
I'm sorry I couldn't be more help, but, after all, I'm not Superman. | 0:37:16 | 0:37:20 | |
-Jeepers, no, Mr Kent. -I suppose that would be too much to ask. | 0:37:20 | 0:37:24 | |
I suppose it would, Lois. I suppose it would. | 0:37:24 | 0:37:28 | |
-Sorry, that's me. -Keep rolling. | 0:37:31 | 0:37:34 | |
-Take it back a line. -Alright, Tommy. | 0:37:34 | 0:37:36 | |
Lois, would you like to see the real Man of Steel? | 0:37:36 | 0:37:39 | |
Well, sure I would. | 0:37:39 | 0:37:41 | |
Well, alright, then. Here he is! (ALL LAUGH) | 0:37:41 | 0:37:45 | |
-You're next, Jimmy! Leave the bow tie on! -Oh! | 0:37:45 | 0:37:48 | |
-Great Caesar's ghost! -More powerful than a locomotive! | 0:37:48 | 0:37:51 | |
No-one is safe! (ALL LAUGH) | 0:37:51 | 0:37:55 | |
What did you think? | 0:37:55 | 0:37:58 | |
The scripts are awful. | 0:37:58 | 0:38:00 | |
-Hmm. -And everything looks cheap. | 0:38:00 | 0:38:03 | |
-You're charming. -Well, that's all that matters. | 0:38:03 | 0:38:06 | |
-Oh! -She's a lesbian, you know. | 0:38:08 | 0:38:10 | |
-Who? -The one playing Lois. | 0:38:10 | 0:38:14 | |
-(KNOCK AT DOOR) -'Mr Reeves?' -Y-ello. | 0:38:14 | 0:38:16 | |
-'Whenever you're ready.' -Alright. | 0:38:16 | 0:38:19 | |
-Phyllis? Is she really? -No. | 0:38:19 | 0:38:22 | |
She is now, as far as you're concerned. | 0:38:22 | 0:38:25 | |
Well,... there it is. | 0:38:27 | 0:38:29 | |
Cue fans! | 0:38:31 | 0:38:34 | |
Action, George! One! | 0:38:35 | 0:38:37 | |
-Two! -(LAUGHS) | 0:38:37 | 0:38:40 | |
Three! | 0:38:40 | 0:38:43 | |
(CLUNKING) (SCREAMS) | 0:38:51 | 0:38:54 | |
-Oh! -Cut it! Cut the camera! Unhook him! | 0:38:54 | 0:38:58 | |
-You alright? -Leave him alone! -Alright, alright, alright! | 0:38:59 | 0:39:03 | |
(GROANS) | 0:39:03 | 0:39:06 | |
I'd like to thank the Academy... (GRUNTS) | 0:39:06 | 0:39:10 | |
..and all the good people of Galesburg, Illinois, | 0:39:10 | 0:39:13 | |
for making me who I am today. (CLAPPING) | 0:39:13 | 0:39:16 | |
OK, everybody, let's take ten. | 0:39:17 | 0:39:19 | |
# "Fannie Mae" - Buster Brown | 0:39:19 | 0:39:22 | |
# Well, I want somebody | 0:39:25 | 0:39:27 | |
# To tell me what's wrong with me | 0:39:29 | 0:39:31 | |
# I want somebody (CHATTER) | 0:39:33 | 0:39:36 | |
# To tell me what's wrong with me | 0:39:36 | 0:39:39 | |
# Oh, I ain't in any trouble | 0:39:40 | 0:39:43 | |
# And so much misery # | 0:39:43 | 0:39:45 | |
(INSTRUMENTAL ROMANTIC MUSIC) Who was that next to you when I came in? | 0:39:45 | 0:39:50 | |
-Chad. He's in my acting class. -Yeah? | 0:39:50 | 0:39:54 | |
Hmm. | 0:39:54 | 0:39:56 | |
-He any good? -He's OK, I guess. | 0:39:56 | 0:39:59 | |
You shouldn't hang around people who are less talented than you. | 0:40:01 | 0:40:04 | |
You've never seen me act. | 0:40:06 | 0:40:09 | |
-So? -So you don't know if I'm talented. | 0:40:09 | 0:40:13 | |
You don't know what I could do. | 0:40:16 | 0:40:19 | |
You don't know a thing about me, do you? | 0:40:21 | 0:40:24 | |
(SIGHS) | 0:40:31 | 0:40:33 | |
-Ever gonna tell me how you got that? -What? | 0:40:45 | 0:40:48 | |
Under your armpit. | 0:40:48 | 0:40:50 | |
-Somethin' stupid. -A fight? | 0:40:51 | 0:40:55 | |
My pop, he, um,... he was on the gate at Warner's. | 0:40:57 | 0:41:01 | |
-A guard? -He used to go to work in this uniform with, ya know, | 0:41:01 | 0:41:06 | |
the crease in the pants like a knife. | 0:41:06 | 0:41:09 | |
I used to think he was the chief of police. | 0:41:10 | 0:41:13 | |
He... he did that? | 0:41:14 | 0:41:17 | |
I was a month outta the army. (CLEARS THROAT) | 0:41:17 | 0:41:21 | |
It was 1946, so no job and, you know, Pop got me set up. | 0:41:21 | 0:41:25 | |
And there was a strike at the studio, so keep the union guys off the lot. | 0:41:25 | 0:41:30 | |
And,... you know, platoon around the gate, me and 40 other saps. | 0:41:32 | 0:41:36 | |
You know, bats and billy clubs, and it got outta hand, so... | 0:41:37 | 0:41:41 | |
A little Teamster shit came at me with a razor and... | 0:41:43 | 0:41:46 | |
Two years in North Africa all I get are crabs. Six days in Burbank and... | 0:41:46 | 0:41:50 | |
I, um... | 0:41:50 | 0:41:54 | |
(INHALES DEEPLY / SIGHS) | 0:41:54 | 0:41:56 | |
And my pop apologised. | 0:41:56 | 0:41:59 | |
To you? | 0:41:59 | 0:42:01 | |
To the studio... for his son screwin' up. | 0:42:03 | 0:42:07 | |
Like the chickenshit peasant he was. | 0:42:09 | 0:42:12 | |
-What's that look? -I'm just watching you. | 0:42:19 | 0:42:22 | |
-Mrs Bessolo. -I don't need this. | 0:42:27 | 0:42:31 | |
-I do. Sit down, please. -Mrs Bessolo? | 0:42:31 | 0:42:34 | |
-Right here, miss. -Mrs Bessolo. | 0:42:37 | 0:42:40 | |
-Mrs Bessolo, I'm James Engelmann from RKO-Pathe Studios. -What? | 0:42:40 | 0:42:44 | |
Superman was filmed on our lot. | 0:42:44 | 0:42:46 | |
I'm here to express how saddened we are over your loss. | 0:42:46 | 0:42:49 | |
My son was not lost, Mr Engelmann, he was taken. | 0:42:49 | 0:42:54 | |
One more! One more! Thank you. | 0:42:54 | 0:42:58 | |
-What did you drag them here for? -Freedom of the press, right? | 0:42:58 | 0:43:02 | |
-These in the report? -They weren't there then. | 0:43:16 | 0:43:19 | |
Hang on there, Mrs Bessolo. Hang on, hang on. Come on. | 0:43:21 | 0:43:24 | |
-Just let me sit a minute. -Grab a chair. | 0:43:26 | 0:43:30 | |
-Excuse me. -Let's get outta here. | 0:43:30 | 0:43:33 | |
-There you go. There you go. -There you go. | 0:43:33 | 0:43:37 | |
OK? There we go. There we go. | 0:43:39 | 0:43:43 | |
OK, good. Here. | 0:43:43 | 0:43:45 | |
OK? I'm gonna go handle this. You just relax. | 0:43:45 | 0:43:49 | |
-Is she alright? -That's her boy's blood. You tell me. | 0:43:51 | 0:43:55 | |
(SIGHS) | 0:43:55 | 0:43:57 | |
The deceased woke up, | 0:43:57 | 0:43:59 | |
joined his guests for approximately half an hour, returned to bed. | 0:43:59 | 0:44:03 | |
No sign of forced entry or physical struggle. | 0:44:03 | 0:44:06 | |
The Luger, found there on the floor, heavily oiled, no prints. | 0:44:06 | 0:44:11 | |
He kept it in the nightstand. | 0:44:11 | 0:44:14 | |
The slug... there, | 0:44:14 | 0:44:17 | |
and the casing on the bed underneath the body. | 0:44:17 | 0:44:21 | |
You wanna explain to me how a man can shoot himself | 0:44:21 | 0:44:24 | |
-and end up on top of the shell? -Is this your strategy, | 0:44:24 | 0:44:27 | |
-to impugn the laws of physics? -No prints on the gun. | 0:44:27 | 0:44:29 | |
What, did he wipe it clean? | 0:44:29 | 0:44:32 | |
-Prints aren't automatic. -Did you question the people in the house? | 0:44:32 | 0:44:36 | |
-They signed sworn statements. -45 minutes to call the cops, | 0:44:36 | 0:44:39 | |
plenty of time to come up with some story. | 0:44:39 | 0:44:41 | |
-But you got sworn statements. -You accusing me of something? | 0:44:41 | 0:44:44 | |
Was Reeves checked for powder burns? It's a suicide shot to the temple. | 0:44:44 | 0:44:47 | |
-Where's the burn? -When a gun is discharged... | 0:44:47 | 0:44:50 | |
The coroner never checked. He didn't notice bruises on the body either, | 0:44:50 | 0:44:54 | |
which, by the way, aren't automatic, OK? | 0:44:54 | 0:44:56 | |
Certain conditions have to be present, | 0:44:56 | 0:44:58 | |
like maybe a fight with a guy that's about to fu... | 0:44:58 | 0:45:02 | |
..cause your expiration. | 0:45:03 | 0:45:05 | |
He won't be buried in that cape. | 0:45:19 | 0:45:21 | |
Mrs Bessolo, RKO Pathe would be honoured | 0:45:21 | 0:45:24 | |
to help you pay for any sort of floral tribute | 0:45:24 | 0:45:27 | |
that you might deem appropriate for your son. | 0:45:27 | 0:45:31 | |
Since when do suicides miss twice, lay down a rug and start over? | 0:45:36 | 0:45:41 | |
Is that normal? I'm just asking. | 0:45:42 | 0:45:44 | |
That cost this studio 15 grand. | 0:45:44 | 0:45:49 | |
-You think you're worth that? -We were just... | 0:45:49 | 0:45:53 | |
This farmer's daughter picture, what is it? | 0:45:53 | 0:45:55 | |
-The Mating Game. -A million-dollar investment. | 0:45:55 | 0:45:59 | |
You think I'll let you fuck with that? You think you'll be a star? | 0:45:59 | 0:46:03 | |
-Our concern here is - -You're a face. Faces change. | 0:46:03 | 0:46:07 | |
-What Mr Mannix means - -He knows what I mean. | 0:46:07 | 0:46:10 | |
Outta my sight. | 0:46:10 | 0:46:12 | |
Set somethin' up, him and... some starlet. | 0:46:19 | 0:46:25 | |
Picnic,... soda pop. | 0:46:26 | 0:46:29 | |
-Already arranged. -They treat their contract like shit, Howard. | 0:46:29 | 0:46:34 | |
Whatever the fuck they want. | 0:46:35 | 0:46:38 | |
-The business is changing. -Yeah. Fags and television. | 0:46:39 | 0:46:44 | |
(SIGHS) | 0:46:44 | 0:46:46 | |
And what are we? Huh? | 0:46:46 | 0:46:49 | |
The last of the Mohicans. | 0:46:49 | 0:46:52 | |
That was a UA picture, Eddie. | 0:46:52 | 0:46:55 | |
That, um,... spic,... | 0:46:57 | 0:47:00 | |
-..or wop, prick detective? -I sent Jim Engelmann over. | 0:47:01 | 0:47:05 | |
He used to work for us. I'm sure you don't want MGM coming into it. | 0:47:05 | 0:47:09 | |
-And? -Louis Simo. Two years with Rick Harris. | 0:47:09 | 0:47:13 | |
He shot his mouth off about Susan Humphries | 0:47:13 | 0:47:16 | |
to Confidential for 5,000. Harris fired him. | 0:47:16 | 0:47:19 | |
-Susan Humphries? -Jennifer Jones type. Under contract at Fox. | 0:47:19 | 0:47:23 | |
Heroin addict. | 0:47:23 | 0:47:25 | |
-Drove off Topanga doin' 90. -You have a good memory, Eddie. | 0:47:25 | 0:47:29 | |
Hmm. What's the prick want? | 0:47:29 | 0:47:31 | |
Money, press, whatever he can grab. | 0:47:31 | 0:47:34 | |
What's he got? | 0:47:35 | 0:47:37 | |
Some questions. | 0:47:37 | 0:47:39 | |
Hmm. | 0:47:42 | 0:47:43 | |
My wife won't get outta bed. | 0:47:53 | 0:47:56 | |
It's been almost a week. | 0:47:56 | 0:47:59 | |
-She won't get out. -I'll stop by and see her. -Do that. | 0:47:59 | 0:48:03 | |
Cheer her up. | 0:48:03 | 0:48:05 | |
She always liked you. | 0:48:05 | 0:48:07 | |
-Eddie? -Yeah? | 0:48:09 | 0:48:11 | |
-You don't have anything to tell me? -About what? | 0:48:11 | 0:48:15 | |
Anything... I need to have a story ready for. | 0:48:15 | 0:48:19 | |
-She's not here. -Miss Lemmon? | 0:48:28 | 0:48:31 | |
-That's interesting. -What is? | 0:48:31 | 0:48:33 | |
That you thought I wanted to talk to her since this is your house. | 0:48:33 | 0:48:37 | |
Is that your father? | 0:48:44 | 0:48:46 | |
-My husband. -(CHUCKLES) Oh. Sorry. | 0:48:47 | 0:48:50 | |
He's a screenwriter. | 0:48:51 | 0:48:54 | |
No-one could blame you for wanting to hang around people your own age. | 0:48:54 | 0:48:58 | |
What was his name again, Robert Condon? | 0:48:58 | 0:49:01 | |
I'm sure you're just friends. | 0:49:01 | 0:49:03 | |
Around back. | 0:49:05 | 0:49:07 | |
Nuh-uh. | 0:49:07 | 0:49:09 | |
Really oughta prune these. | 0:49:18 | 0:49:21 | |
My husband does the garden, it takes his mind off his writing. | 0:49:21 | 0:49:25 | |
Uh-huh. What do you do, Mrs Van Ronkel? | 0:49:26 | 0:49:29 | |
-I don't try to get my picture in the paper. -You saw that, huh? | 0:49:30 | 0:49:34 | |
What are you gonna do when this blows up in your face? | 0:49:34 | 0:49:38 | |
There are two holes in the bedroom floor. What do you know about that? | 0:49:39 | 0:49:42 | |
-Leonore made them. -Yeah? -Months ago. | 0:49:42 | 0:49:45 | |
-Why? -I asked her to. | 0:49:45 | 0:49:48 | |
You asked her to shoot a gun in the floor? | 0:49:48 | 0:49:51 | |
When you're drunk, everything's funny. | 0:49:51 | 0:49:54 | |
Yeah. He shoots himself, you all wait 45 minutes to call the police. | 0:49:54 | 0:49:59 | |
-That's unusual. -Ever been to a party where a man blows his head off? | 0:49:59 | 0:50:03 | |
-No. -Then how do you know what's unusual? | 0:50:03 | 0:50:07 | |
-So, how do I find Miss Lemmon? -She's not the way you think she is. | 0:50:09 | 0:50:13 | |
Yeah? What way is she? | 0:50:13 | 0:50:16 | |
She was only looking for love. | 0:50:17 | 0:50:20 | |
Just wanna remember that one. That's... that's good. | 0:50:22 | 0:50:26 | |
(SCOFFS) | 0:50:26 | 0:50:28 | |
That's nice. It's, um, very futuristic. | 0:50:29 | 0:50:33 | |
-(LAUGHS) Hey, you're a detective, right? -Um, yeah. | 0:50:33 | 0:50:38 | |
Men hire you to find out what their wives are up to, that sort of thing? | 0:50:38 | 0:50:42 | |
-Yeah, they do that. -Does the truth make 'em happier? | 0:50:42 | 0:50:46 | |
-Hardly ever. -Hmm. | 0:50:47 | 0:50:50 | |
-You know, he wasn't gonna marry her. -Reeves? | 0:50:51 | 0:50:56 | |
-Mmm-hmm. -How do you know? | 0:50:56 | 0:50:58 | |
Well, she ran over here when he told her. I heard every word. | 0:50:58 | 0:51:03 | |
And how did Miss Lemmon react? | 0:51:06 | 0:51:08 | |
Like a longshoreman on a bender. | 0:51:09 | 0:51:13 | |
(SINGS IN SPANISH) | 0:51:30 | 0:51:33 | |
# "The Girl Can't Help It" - Little Richard | 0:51:48 | 0:51:51 | |
-Christ! -Fuck you. Nobody wants to hear your mopey singing. | 0:51:51 | 0:51:55 | |
This is my house. I'm tired of you treating it like a bus station. | 0:51:55 | 0:51:59 | |
Woe-is-fucking-me. | 0:51:59 | 0:52:02 | |
# If she winks an eye, | 0:52:02 | 0:52:03 | |
# The bread slice turn to toast | 0:52:03 | 0:52:05 | |
# She can't help it, the girl can't help it | 0:52:05 | 0:52:06 | |
-You goddamn miserable son of a bitch. -Christ! | 0:52:06 | 0:52:09 | |
-Don't walk away from me! -Shut up! | 0:52:09 | 0:52:11 | |
I haul myself out to this shit hole burg for you | 0:52:11 | 0:52:14 | |
-and you don't have the balls to tell me it's off? -God damn it! | 0:52:14 | 0:52:17 | |
Listen. What are you doing? Put that... (GUNSHOT) | 0:52:17 | 0:52:20 | |
I'm the fucking man in this room! | 0:52:20 | 0:52:23 | |
-(GUNSHOT) You're a fool! Gimme this gun! -You has-been! | 0:52:23 | 0:52:25 | |
-Give it to me! God damn it! -Sad! -Agh! (GUNSHOT) Ugh! | 0:52:25 | 0:52:29 | |
(GASPS) | 0:52:30 | 0:52:32 | |
Georgie. | 0:52:34 | 0:52:35 | |
'(THUD)' | 0:53:21 | 0:53:23 | |
(FLOORBOARDS CREAK) | 0:53:34 | 0:53:36 | |
'(DOOR CLOSES)' | 0:53:36 | 0:53:37 | |
-(TUTS) -(GASPS) | 0:53:54 | 0:53:56 | |
I had to take a leak. What's your excuse? | 0:54:00 | 0:54:04 | |
This is a sealed crime scene. | 0:54:04 | 0:54:06 | |
Then I guess we both deserve to get our bottoms spanked. | 0:54:06 | 0:54:09 | |
-What's that? -Last I looked, it was 4,000 in traveller's cheques. | 0:54:17 | 0:54:22 | |
Georgie put it aside for our honeymoon. | 0:54:23 | 0:54:26 | |
-That's off the plate now, isn't it? -That why you killed him? | 0:54:26 | 0:54:29 | |
You think he was rich? That Superman gig paid shit. | 0:54:29 | 0:54:34 | |
Oh, yeah? Well, maybe you found out a little too late. | 0:54:34 | 0:54:38 | |
He was fun. Knocked back the booze like nobody's business. | 0:54:41 | 0:54:45 | |
-Pretty good in the sack. Yeah. -Yeah? | 0:54:47 | 0:54:51 | |
Lady, I could nail you with this. | 0:54:52 | 0:54:55 | |
D'Artagnan, you couldn't nail me with roses and a trip to Vegas. | 0:54:55 | 0:55:00 | |
And you're not a cop,... so what the hell are you doing | 0:55:01 | 0:55:05 | |
following me into my dead fiance's bedroom? | 0:55:05 | 0:55:08 | |
"And then... Mr Simo showed me his member, Your Honour,... | 0:55:08 | 0:55:13 | |
..and I became frightened." | 0:55:14 | 0:55:17 | |
You're in my way. | 0:55:19 | 0:55:22 | |
-I'm gonna be on you, Miss Lemmon. -Not unless you dope me first. | 0:55:24 | 0:55:28 | |
(CHUCKLES) See how I got us in the paper? Look at this. | 0:55:35 | 0:55:39 | |
Guaranteed, LAPD's gonna sweat this. Now, the more heat they feel, | 0:55:41 | 0:55:45 | |
the more pressure they're under to reopen the case. | 0:55:45 | 0:55:48 | |
-The police reopened the case? -No. They will if I keep it up, | 0:55:48 | 0:55:53 | |
which requires a financial commitment from you so I can go on hammering. | 0:55:53 | 0:55:58 | |
I did get a copy of the police report. | 0:56:01 | 0:56:03 | |
Lots of holes. And I'm not talking about the ones in the floor. | 0:56:03 | 0:56:06 | |
Plus, your son called the wedding off. | 0:56:06 | 0:56:09 | |
That's a new motive for Miss Lemmon, OK? I intend to go - | 0:56:09 | 0:56:13 | |
-She was never going to be his wife. -You knew that he didn't plan...? | 0:56:13 | 0:56:18 | |
Do you think my own son would get married without telling me? | 0:56:18 | 0:56:21 | |
And to a greedy slut like that? | 0:56:21 | 0:56:24 | |
(SCOFFS) All these people. | 0:56:27 | 0:56:30 | |
-What about 'em? -Sitting around like they're so big. (CHUCKLES) | 0:56:34 | 0:56:38 | |
I don't know who they are. | 0:56:38 | 0:56:41 | |
George starred with Sinatra, with Gable. | 0:56:42 | 0:56:47 | |
He was an important film actor. | 0:56:47 | 0:56:50 | |
(WATER LAPS) | 3:00:00 | 3:00:02 | |
-Someone else can do that, you know. -Well, now, it's a beautiful car. | 3:00:04 | 3:00:08 | |
Oughta keep it clean. | 3:00:08 | 3:00:11 | |
Why? Does this offend your delicate sensibilities? | 3:00:11 | 3:00:14 | |
-Yes. -(CHUCKLES) -But you're new on the job, so I'll let it pass. | 3:00:14 | 3:00:17 | |
(CHUCKLES) | 3:00:17 | 3:00:19 | |
Art got a call. | 3:00:21 | 3:00:23 | |
-They're picking up Superman. -They're what?! | 3:00:23 | 3:00:26 | |
-Kellogg's, they bought it. -After two years?! | 3:00:27 | 3:00:31 | |
That's right. I will be on television in a month... | 3:00:31 | 3:00:34 | |
..wearing brown and grey underpants. | 3:00:35 | 3:00:38 | |
Well,... hooray! | 3:00:38 | 3:00:41 | |
Christ! | 3:00:41 | 3:00:43 | |
-It wasn't your proudest moment... -No, I'm quite sure it wasn't. | 3:00:44 | 3:00:47 | |
..but you did create a very likeable, very attractive, | 3:00:47 | 3:00:51 | |
-very heroic character. -Is that right? | 3:00:51 | 3:00:54 | |
Mmm. I'd fuck you in a second. (CHUCKLES) | 3:00:54 | 3:00:58 | |
Well, one thing we can be sure of, | 3:00:58 | 3:01:00 | |
no-one with a lick of sense would watch that show. | 3:01:00 | 3:01:03 | |
(SUPERMAN THEME MUSIC) | 3:01:03 | 3:01:07 | |
-(TV) -"Faster than a speeding bullet." | 3:01:12 | 3:01:14 | |
"More powerful than a locomotive." | 3:01:15 | 3:01:17 | |
"Able to leap tall buildings in a single bound." | 3:01:17 | 3:01:21 | |
-"Look, up in the sky! It's a bird!" -"It's a plane!" | 3:01:21 | 3:01:24 | |
"It's Superman! Yes, it's Superman, strange visitor from another planet, | 3:01:24 | 3:01:28 | |
who can change the course of mighty rivers, | 3:01:28 | 3:01:30 | |
bend steel in his bare hands, | 3:01:30 | 3:01:32 | |
and who, disguised as Clark Kent, | 3:01:32 | 3:01:35 | |
fights a never-ending battle for truth, | 3:01:35 | 3:01:37 | |
justice and the American way." | 3:01:37 | 3:01:40 | |
Homes with children, Adventures of Superman,... | 3:01:41 | 3:01:45 | |
..91 rating. | 3:01:45 | 3:01:48 | |
What does that mean, no adults are watching? | 3:01:48 | 3:01:50 | |
They're watching with the kids, George. Families. | 3:01:50 | 3:01:54 | |
Kellogg's has ordered 26 more. They wanna film in colour. | 3:01:54 | 3:01:57 | |
Well, I'll get to wear the blue and red. | 3:01:57 | 3:02:01 | |
(ALL SHOUT EXCITEDLY) | 3:02:03 | 3:02:06 | |
-Maybe you oughta put that out. -What for? | 3:02:06 | 3:02:09 | |
(ALL SHOUT EXCITEDLY) | 3:02:12 | 3:02:16 | |
Superman doesn't smoke. | 3:02:16 | 3:02:18 | |
-Sir. -Thank you. | 3:02:26 | 3:02:28 | |
Art, I'm coming right back. | 3:02:42 | 3:02:45 | |
-Keep your mitts off my grub. -(CHUCKLES) Alright. | 3:02:45 | 3:02:49 | |
(ALL SHOUT EXCITEDLY) | 3:02:51 | 3:02:54 | |
(ALL SCREAM) | 3:02:59 | 3:03:02 | |
George Reeves? | 3:03:08 | 3:03:10 | |
Excuse me, Mr Zinnemann. | 3:03:19 | 3:03:21 | |
George Reeves will be reading for the role of Maylon Stark. | 3:03:21 | 3:03:24 | |
Good morning, one and all. | 3:03:25 | 3:03:28 | |
Superman was on pain pills. | 3:03:29 | 3:03:31 | |
So he crashed his car a couple of months back, almost got killed. | 3:03:34 | 3:03:38 | |
-Drunk? -There wasn't any brake fluid. | 3:03:38 | 3:03:40 | |
How do you know that? | 3:03:41 | 3:03:43 | |
I went down to the Esso station at the bottom of Benedict, | 3:03:43 | 3:03:47 | |
said I was from the insurance company. | 3:03:47 | 3:03:49 | |
I spoke to a Mr Phelps. He was very friendly. | 3:03:49 | 3:03:53 | |
-Leak in the lining? -Mr Phelps couldn't find one. Not bad, huh? | 3:03:53 | 3:03:58 | |
But they were still getting married then, as far as she knew. | 3:03:58 | 3:04:01 | |
-Well, wouldn't that be why? -Why Leonore drains his brake fluid? | 3:04:01 | 3:04:06 | |
Why Mrs Mannix does. He leaves her, right, for this younger woman. | 3:04:06 | 3:04:10 | |
-She can't bear it and... -And Toni wants him dead. | 3:04:10 | 3:04:14 | |
Well, wouldn't that be better? | 3:04:14 | 3:04:17 | |
-(GUNSHOTS) -Help! Help! They've robbed the Docville Bank! | 3:04:17 | 3:04:21 | |
(SCREAMS) | 3:04:21 | 3:04:23 | |
-Yeah! (CACKLES) -(GUNSHOTS) -Whoo-hoo! | 3:04:23 | 3:04:27 | |
(ALL BOO) | 3:04:27 | 3:04:29 | |
(SUPERMAN THEME MUSIC) | 3:04:29 | 3:04:32 | |
(ALL CHEER) | 3:04:32 | 3:04:35 | |
-Superman! -(SUPERMAN THEME MUSIC BLARES) | 3:04:35 | 3:04:39 | |
(PA) "Stop right there!" | 3:04:39 | 3:04:41 | |
What's that? | 3:04:42 | 3:04:44 | |
-Someone's in need. -(LAUGHS) | 3:04:44 | 3:04:48 | |
(BOTH LAUGH) | 3:04:49 | 3:04:51 | |
You can't see my penis, can you? (BOTH LAUGH) | 3:04:56 | 3:04:59 | |
(ALL CHEER) | 3:05:02 | 3:05:04 | |
(GUNSHOTS) | 3:05:13 | 3:05:15 | |
Oh! | 3:05:20 | 3:05:22 | |
(ALL CHEER) | 3:05:27 | 3:05:29 | |
Go! | 3:05:29 | 3:05:32 | |
(ALL CHEER) | 3:05:36 | 3:05:40 | |
Hey, Superman! Hey, Superman! | 3:05:44 | 3:05:48 | |
-Well, hello, there, young man. What's your name? -Kenneth Giles. | 3:05:48 | 3:05:53 | |
Can I shoot you? | 3:05:53 | 3:05:55 | |
Kenneth,... why would you wanna do something like that? | 3:06:05 | 3:06:08 | |
So the bullet bounces off. Can I? | 3:06:08 | 3:06:11 | |
Well,... if you did shoot me... | 3:06:14 | 3:06:17 | |
..and the bullet bounced off, | 3:06:17 | 3:06:19 | |
it might accidentally hit someone else. | 3:06:19 | 3:06:22 | |
-We don't want that to happen, do we? -No. | 3:06:22 | 3:06:25 | |
Well, why don't you just, you and I... Here we go, partner. | 3:06:26 | 3:06:30 | |
Why don't you just give me that? | 3:06:30 | 3:06:33 | |
Just hand me that for one minute. | 3:06:33 | 3:06:36 | |
-(HORN HONKS) -You think I don't see what you're doing? | 3:06:36 | 3:06:40 | |
-I'm sorry? -Day after day taking pictures. | 3:06:40 | 3:06:43 | |
I'm just waiting for the traffic to... | 3:06:43 | 3:06:45 | |
He leaves those where I can see them | 3:06:45 | 3:06:47 | |
and then he pretends he doesn't know what I'm talking about. | 3:06:47 | 3:06:51 | |
-Um, Miss Sinclair, I'm... -What is he paying you? | 3:06:51 | 3:06:54 | |
-That's confidential. -He's been out of work for seven months. | 3:06:54 | 3:06:57 | |
I don't know what he does all day, he won't tell me. | 3:06:57 | 3:07:01 | |
-Why don't you investigate that?! -(SIGHS) | 3:07:01 | 3:07:05 | |
Ma'am,... I'm just trying to turn a buck here, | 3:07:05 | 3:07:08 | |
so if there's a problem between you two, | 3:07:08 | 3:07:11 | |
maybe you should talk to a priest or whatever. Hash it out. | 3:07:11 | 3:07:16 | |
I can't fix your marriage, ma'am. (SIGHS) | 3:07:18 | 3:07:23 | |
-I thought you might put in a word. -What do you suggest I say? | 3:07:24 | 3:07:28 | |
He drops a hint to Zinnemann. You know, it was a very solid audition. | 3:07:28 | 3:07:32 | |
It's Harry Cohn's picture. Eddie's at MGM. | 3:07:33 | 3:07:35 | |
Whatever happened to honour among thieves? | 3:07:35 | 3:07:38 | |
Let's save it for something important. | 3:07:38 | 3:07:41 | |
Oh, I see, this isn't important at all. Well... | 3:07:41 | 3:07:45 | |
Here. Because you've had a rough week. | 3:07:50 | 3:07:53 | |
Wow. Who needs another watch? | 3:07:58 | 3:08:01 | |
I just don't want some drunk finishing what that child started. | 3:08:01 | 3:08:05 | |
-I don't know that a gun's the answer. -It'd make me feel more comfortable. | 3:08:05 | 3:08:08 | |
What'd make me feel safe is not prancing around in a monkey suit | 3:08:08 | 3:08:11 | |
-in front of 8,000 screaming... -You'd be gone, George! Alright?! | 3:08:11 | 3:08:16 | |
And then what happens to me?! | 3:08:16 | 3:08:18 | |
-Hi. Mrs Mannix, please. -Who shall I say is calling? | 3:08:26 | 3:08:29 | |
Lawrence Farmer from the St Jude's Foundation. | 3:08:29 | 3:08:33 | |
-To thank her for her generosity. -One moment, please. | 3:08:33 | 3:08:37 | |
Mr Simo. | 3:09:01 | 3:09:04 | |
-Do I know you? -No, but I'm familiar with you. | 3:09:07 | 3:09:12 | |
Everybody reads the Times, huh? | 3:09:12 | 3:09:14 | |
-I'm Howard Strickling. I handle publicity at MGM. -How do you do? | 3:09:14 | 3:09:19 | |
I'm wondering why you would be trying to approach Mrs Mannix | 3:09:19 | 3:09:23 | |
-under false pretences. -Are you speaking professionally? | 3:09:23 | 3:09:26 | |
-I'm speaking as a friend of Mannixes. -Can I see Mrs Mannix? | 3:09:26 | 3:09:29 | |
She's not well. Neither she nor her husband appreciate | 3:09:29 | 3:09:32 | |
-being dragged into this business. -What business is that? | 3:09:32 | 3:09:35 | |
-Your business, Mr Simo. -"(POLICE RADIO CHATTER)" Oh. | 3:09:35 | 3:09:40 | |
You didn't have to go and do that. | 3:09:42 | 3:09:44 | |
You seem to have an inflated sense of your importance. | 3:09:44 | 3:09:48 | |
They're on routine patrol. | 3:09:48 | 3:09:50 | |
(CLEARS THROAT) | 3:09:57 | 3:09:59 | |
Could you, um, pass along a message to Mrs Mannix? | 3:09:59 | 3:10:04 | |
And what would that be? | 3:10:04 | 3:10:06 | |
Hope to see her at the funeral. | 3:10:08 | 3:10:10 | |
(PEPPY INSTRUMENTAL MUSIC) | 3:10:10 | 3:10:13 | |
Art! Where's the boy? I've been hunting all over. | 3:10:25 | 3:10:30 | |
-He's over there. -Oh. | 3:10:30 | 3:10:33 | |
Zinnemann sure did keep us hanging long enough, | 3:10:33 | 3:10:36 | |
-but I knew it would pan out. -How did you know that? | 3:10:36 | 3:10:40 | |
What choice did I have? | 3:10:40 | 3:10:42 | |
-And, Toni,... -Cheese! There you go. | 3:10:42 | 3:10:45 | |
-..thank you. -For what? | 3:10:45 | 3:10:48 | |
Whatever you did to help. | 3:10:49 | 3:10:53 | |
You know how much he needed this. | 3:10:53 | 3:10:55 | |
-Hi, George. -Hello. -This is my friend, Delores. | 3:10:59 | 3:11:03 | |
-Hi. -(CHATTER) | 3:11:03 | 3:11:05 | |
'(CHURCH BELL RINGS)' | 3:11:05 | 3:11:08 | |
Mr Weissman? I don't wanna disturb you, but... | 3:11:10 | 3:11:14 | |
You knew George? | 3:11:14 | 3:11:17 | |
No. Um,... I'm Louis Simo. I'm... | 3:11:17 | 3:11:20 | |
I'm no speechmaker. | 3:11:20 | 3:11:22 | |
Saying what you really feel,... it's hard. | 3:11:22 | 3:11:26 | |
Thank you for coming. | 3:11:27 | 3:11:29 | |
(CHURCH BELL RINGS) Mr Weissman, I was just wondering if you... | 3:11:29 | 3:11:33 | |
Seeing me off the grounds again? | 3:11:36 | 3:11:39 | |
Mrs Mannix was unable to attend for reasons I'm sure you can understand. | 3:11:39 | 3:11:43 | |
You do a lot for your friends. | 3:11:43 | 3:11:46 | |
And you're just doing your job, but I am concerned. | 3:11:47 | 3:11:51 | |
-Yeah? About what? -Your history. | 3:11:51 | 3:11:54 | |
People are rarely afforded the chance to make a same mistake twice. | 3:11:54 | 3:11:57 | |
-Are you threatening me? -I'm offering you an opportunity. | 3:11:57 | 3:12:01 | |
There's a place for you at Metro if you'd like. Pay can be generous. | 3:12:01 | 3:12:04 | |
-I'd rather talk to Mrs Mannix. -There's nothing there for you. | 3:12:04 | 3:12:07 | |
Yeah? Then, why you pitching me? | 3:12:07 | 3:12:10 | |
When it comes to publicity, what's true or false really doesn't matter. | 3:12:10 | 3:12:14 | |
If it hurts the studio, if it stops one person from buying a ticket,... | 3:12:14 | 3:12:17 | |
..I have to fix it. | 3:12:17 | 3:12:20 | |
That's my job. The offer's sincere. | 3:12:20 | 3:12:23 | |
Don't let pride stand in the way, it won't get you what you want. | 3:12:23 | 3:12:27 | |
Sad day, huh, boys? Tell you what's sadder. | 3:12:30 | 3:12:34 | |
Calling it suicide when it's really murder. | 3:12:34 | 3:12:36 | |
-Why would the cops do that? -Sing us a new song, Simo. | 3:12:36 | 3:12:39 | |
What, you don't love me any more? | 3:12:39 | 3:12:42 | |
Two months ago somebody drained all the fluid out of Reeves's brake line. | 3:12:42 | 3:12:46 | |
Almost bought it right then. Coincidence, right? | 3:12:46 | 3:12:50 | |
(CHUCKLES) I mean, LAPD don't make mistakes. Hmm, Paterson? | 3:12:50 | 3:12:53 | |
What's the truth, huh, boys? Who wanted him dead? | 3:12:53 | 3:12:57 | |
You might be lazy but nobody said you're dumb. Gimme that. | 3:12:57 | 3:13:00 | |
-Name some names. -Want me to write it for you, too? -Hey! | 3:13:00 | 3:13:02 | |
-You got a story or not? -You want names? Ask this guy. | 3:13:02 | 3:13:07 | |
He's got the names. The names, pictures. | 3:13:07 | 3:13:10 | |
What's he doing here when MGM never cut Reeves a cheque in his life? Huh? | 3:13:10 | 3:13:14 | |
Come on, do some work, will ya? Capa, lift the fuckin' camera, will ya? | 3:13:14 | 3:13:18 | |
There you go. Say cheese. | 3:13:20 | 3:13:22 | |
-Excuse me. -Excuse me. -Hi, Bobby. | 3:13:33 | 3:13:36 | |
-Hi, Bobby. -Good luck. -Thank you so much. | 3:13:36 | 3:13:39 | |
-Hey, George. Good luck. -Good to see ya. | 3:13:39 | 3:13:41 | |
(SIGHS) | 3:13:46 | 3:13:48 | |
(INTRO MUSIC) (APPLAUSE) | 3:13:48 | 3:13:52 | |
-Well, Buddy, they love it so far. -(CHUCKLES) | 3:14:03 | 3:14:07 | |
-(MOVIE) -"You got any prejudices against girls?" | 3:14:09 | 3:14:12 | |
"That's what I thought." | 3:14:14 | 3:14:17 | |
"Well, now, it looks like you're all primed for a big night." | 3:14:17 | 3:14:20 | |
-"Hello, Stark." -"Want some company?" -"No, thanks, all tied up." | 3:14:20 | 3:14:23 | |
-"Leva tells me you've been eyeing the captain's wife." -"He has, huh?" | 3:14:23 | 3:14:27 | |
-It's Superman. -"What else did this character tell ya?" -(CHATTER) | 3:14:27 | 3:14:31 | |
-'Great Caesar's ghost!' -"This ain't no story." | 3:14:31 | 3:14:35 | |
-'Look, up on the screen!' -(LAUGHTER) "..you know?" | 3:14:35 | 3:14:38 | |
-"There's something strange..." -'More powerful than a locomotive!' | 3:14:38 | 3:14:41 | |
-(ALL LAUGH) -(People can see you.) | 3:14:41 | 3:14:45 | |
(CHATTER / LAUGHTER) | 3:14:45 | 3:14:48 | |
-'Hey, where's Lois Lane?!' -"Hello." | 3:14:48 | 3:14:51 | |
-"I didn't think you were coming." -"Why not?" | 3:14:52 | 3:14:55 | |
(JAZZ MUSIC) | 3:14:59 | 3:15:01 | |
I'll always take care of my boy. | 3:15:14 | 3:15:16 | |
Nice shot, Lou. | 3:15:32 | 3:15:35 | |
"(TV CHATTER)" | 3:15:37 | 3:15:40 | |
(LIGHT SWITCH CLICKS) | 3:15:45 | 3:15:48 | |
Kit? (GASPS) | 3:15:48 | 3:15:50 | |
(GROANS) | 3:15:50 | 3:15:53 | |
Oh! (COUGHS) | 3:15:53 | 3:15:56 | |
-(GROANS) -You listening? | 3:15:57 | 3:16:00 | |
(GROANS) Get the fuck out of my house. Oh! (COUGHS) | 3:16:00 | 3:16:03 | |
Are you listening? Nod your head. | 3:16:03 | 3:16:06 | |
Be smart. Let it go. | 3:16:14 | 3:16:17 | |
(PANTS) What, your mother's snatch? She won't let me. | 3:16:17 | 3:16:21 | |
Here's what I mean. | 3:16:21 | 3:16:24 | |
(GROANS) | 3:16:25 | 3:16:26 | |
(SPUTTERS) | 3:16:28 | 3:16:31 | |
'Louis? Louis?' | 3:16:35 | 3:16:37 | |
Louis, can you hear me? Louis? | 3:16:39 | 3:16:42 | |
-Oh! -I'm calling a doctor. | 3:16:44 | 3:16:47 | |
-Alright? -I don't wanna go to the doctor. | 3:16:47 | 3:16:50 | |
-Well, at least some ice. -There's no ice in the... | 3:16:50 | 3:16:55 | |
-Stop being stubborn, alright? You were unconscious. -(GROANS) | 3:16:55 | 3:16:59 | |
-There's no ice. -(GROANS) -What did you say? | 3:16:59 | 3:17:02 | |
There's no ice. | 3:17:02 | 3:17:04 | |
Ow! | 3:17:08 | 3:17:10 | |
-Sit down. -(GROANS) | 3:17:10 | 3:17:12 | |
What's this about? | 3:17:18 | 3:17:20 | |
Ow. | 3:17:20 | 3:17:22 | |
This murder bullshit I've been slingin', I think it might be true. | 3:17:25 | 3:17:31 | |
I can help. Oh, come on, you know I can! | 3:17:32 | 3:17:35 | |
-Kit, let's call it a day, alright? -What? | 3:17:35 | 3:17:38 | |
You shouldn't be around me. This isn't some TV show you wanna be in, | 3:17:38 | 3:17:43 | |
this is just a fucked up little business. | 3:17:43 | 3:17:46 | |
Makes you go around and you find out how shitty people are | 3:17:46 | 3:17:50 | |
-to make the rent. -You don't really believe that. | 3:17:50 | 3:17:53 | |
-You care about what you do. -You know what I care about? | 3:17:53 | 3:17:56 | |
You're ballin' this Chad kid and you don't got the guts to tell me. | 3:17:56 | 3:18:00 | |
-Well, I was... -Going to, yeah. So now you don't have to. | 3:18:05 | 3:18:09 | |
(SIGHS) | 3:18:13 | 3:18:15 | |
Do you want me here today? | 3:18:15 | 3:18:17 | |
No, I don't think I do. | 3:18:17 | 3:18:20 | |
Let's go outside. | 3:19:07 | 3:19:09 | |
-You packin'? -Not when I cross the street for lunch. | 3:19:13 | 3:19:17 | |
Lou, I do what I'm told. | 3:19:17 | 3:19:19 | |
-(GROANS) -You took the cash from that rag same as me! | 3:19:19 | 3:19:23 | |
2,500 for ratting on some hop-head actress and I never said a word | 3:19:23 | 3:19:26 | |
cos I'm loyal to my fuckin' partner! Huh?! | 3:19:26 | 3:19:31 | |
-Rick! -Why?! -He didn't say! Just take care of him. -You tell me why, huh?! | 3:19:31 | 3:19:35 | |
Look, when I helped you out with the old lady, | 3:19:36 | 3:19:40 | |
I shoulda kept my mouth shut. I had to make good. | 3:19:40 | 3:19:44 | |
You would have done the same thing. It's how the mortgage gets paid. | 3:19:44 | 3:19:47 | |
(GROANS) | 3:19:47 | 3:19:49 | |
(SIGHS) | 3:20:36 | 3:20:38 | |
"(PHONE RINGS)" | 3:20:42 | 3:20:44 | |
(GROANS) | 3:20:44 | 3:20:46 | |
Argh! What? | 3:20:50 | 3:20:52 | |
-(PHONE) -"Mr Simo." -Mr Sinclair? | 3:20:52 | 3:20:55 | |
-You have to stop, OK? I'm not gonna - -"I need your help." | 3:20:56 | 3:21:00 | |
"Things are... (SIGHS)" | 3:21:01 | 3:21:04 | |
"They're not what they seem." | 3:21:05 | 3:21:07 | |
-What are you saying? -"I've misjudged terribly." | 3:21:09 | 3:21:12 | |
"(SIGHS) And I..." | 3:21:12 | 3:21:14 | |
"Can you meet with me, Mr Simo?" | 3:21:14 | 3:21:17 | |
"I won't bother you again." | 3:21:17 | 3:21:19 | |
-"Please!" -Meet you where? | 3:21:21 | 3:21:24 | |
"(POLICE RADIO CHATTER)" | 3:21:29 | 3:21:31 | |
(ALL CHATTER) | 3:21:35 | 3:21:38 | |
(ALL CHATTER) | 3:21:44 | 3:21:47 | |
'(CHATTER)' | 3:22:12 | 3:22:14 | |
Yeah, that's all of it. | 3:22:24 | 3:22:27 | |
What are you doing here? | 3:22:30 | 3:22:32 | |
-I, um... My client, um... -She was your client? | 3:22:32 | 3:22:36 | |
Shot her in the throat, the heart,... | 3:22:41 | 3:22:45 | |
-..and then the vagina. -Mr Simo. | 3:22:46 | 3:22:50 | |
-Oh, Jesus Christ! -I do wish you'd been prompt. | 3:22:51 | 3:22:54 | |
The fault is mine for failing to see | 3:22:54 | 3:22:56 | |
that you and your whore were not aiding me, | 3:22:56 | 3:22:58 | |
but guarding the rampant fornications of my wife. | 3:22:58 | 3:23:02 | |
-I hope you learn the meaning of justice. -Come on. | 3:23:02 | 3:23:06 | |
Alright. | 3:23:11 | 3:23:13 | |
This one's easier... | 3:23:15 | 3:23:17 | |
..than your other murder. | 3:23:18 | 3:23:20 | |
So, what's the emergency? | 3:23:35 | 3:23:38 | |
-Better have a drink, Art. -It's 10:30 in the morning. | 3:23:39 | 3:23:43 | |
-What? -It's pretty bad. | 3:23:43 | 3:23:46 | |
What is? | 3:23:46 | 3:23:49 | |
Enough! George, let's deal with it. | 3:23:49 | 3:23:51 | |
We're cancelled. (LAUGHS) | 3:23:53 | 3:23:56 | |
-I just don't see the point. -The point is it's my production company. | 3:24:01 | 3:24:06 | |
-If I don't sell myself, who will? -The business is here, George. | 3:24:06 | 3:24:10 | |
Yes, but the money's in New York. I can get in the papers there. | 3:24:10 | 3:24:13 | |
-It's a lot of bother. -I wanna do this. | 3:24:13 | 3:24:17 | |
-I'm looking forward to it. I'm taking charge of my own life. -I see. | 3:24:17 | 3:24:21 | |
No,... you don't. | 3:24:21 | 3:24:23 | |
-You think I should just sit around while both of us... -Yes?! | 3:24:23 | 3:24:27 | |
-While both of us what? -My love,... this makes sense to me. | 3:24:27 | 3:24:33 | |
I can set up my own projects, direct and produce. | 3:24:33 | 3:24:37 | |
We'll get some other sap to jump around in coloured underwear. | 3:24:37 | 3:24:41 | |
Who knows, maybe I'll direct a picture for MGM. Hmm? | 3:24:41 | 3:24:45 | |
I'll be back in two weeks. | 3:24:47 | 3:24:49 | |
-Kiss me. -Let me close this. | 3:24:51 | 3:24:54 | |
You have to. | 3:24:54 | 3:24:56 | |
Kiss me. Mmm! Mmm! | 3:24:59 | 3:25:02 | |
-I have to go. Toni. -George, kiss me. -Alright. | 3:25:02 | 3:25:05 | |
Mmm. | 3:25:05 | 3:25:08 | |
Alright. "(PHONE RINGS)" | 3:25:08 | 3:25:11 | |
"(PHONE RINGS)" | 3:25:13 | 3:25:15 | |
(SIGHS) | 3:25:22 | 3:25:24 | |
-Shit! (PHONE) -"That bitch who hired you, you think she loved Georgie?" | 3:25:29 | 3:25:32 | |
-Who is this? -"He grew up without a father." | 3:25:32 | 3:25:35 | |
"When he's old enough, she finally tells him what happened to Daddy." | 3:25:35 | 3:25:39 | |
Miss Lemmon... | 3:25:39 | 3:25:40 | |
Suicide. Pistol in the mouth. George never stopped thinkin' about it. | 3:25:40 | 3:25:44 | |
"15 years later, he gets a visitor, his father, alive." | 3:25:44 | 3:25:48 | |
All he'd done was dump the bitch for another woman. Left George, too. | 3:25:48 | 3:25:52 | |
"So Mommy tells baby Daddy killed himself." | 3:25:52 | 3:25:55 | |
"She tells her own son. George swore he'd never speak to her again." | 3:25:55 | 3:26:00 | |
This lets you off the hook. | 3:26:01 | 3:26:03 | |
I didn't screw his head on backwards, she did. | 3:26:03 | 3:26:07 | |
(PHONE) "Why are you telling me now?" | 3:26:07 | 3:26:09 | |
I'm, um,... I'm just a little blotto, sugar. | 3:26:12 | 3:26:16 | |
Kinda horny,... | 3:26:18 | 3:26:21 | |
..and pretty goddamn all alone. | 3:26:21 | 3:26:23 | |
-So? -"I don't know." | 3:26:23 | 3:26:25 | |
I thought maybe we had something in common. | 3:26:26 | 3:26:30 | |
"(LINE DROPS)" | 3:26:34 | 3:26:36 | |
(KNOCK AT DOOR) | 3:26:49 | 3:26:51 | |
Mrs Bessolo? | 3:27:00 | 3:27:02 | |
Mrs Bessolo? | 3:27:12 | 3:27:14 | |
Mrs Bessolo. | 3:27:15 | 3:27:18 | |
I won't be needing your services any longer, Mr Simo. | 3:27:20 | 3:27:23 | |
When were you gonna tell me? | 3:27:23 | 3:27:25 | |
-I intend to mail you a cheque. -A cheque? That's it? | 3:27:25 | 3:27:29 | |
-I don't owe you anything else. -How about an explanation? | 3:27:29 | 3:27:33 | |
Your son wouldn't give you the time of day. | 3:27:33 | 3:27:36 | |
Don't you use that tone with me! | 3:27:36 | 3:27:38 | |
-Mr Strickling gave me his word. -Strickling? | 3:27:39 | 3:27:42 | |
-Oh. -A statue would be erected in my son's honour... -A what? | 3:27:42 | 3:27:46 | |
..outside the Chinese Theatre. | 3:27:46 | 3:27:48 | |
-(LAUGHS) You never gave a shit, did ya? -You'll be paid. | 3:27:48 | 3:27:54 | |
Keep your goddamn cheque. | 3:27:55 | 3:27:57 | |
My son was a great star. He deserves a statue. | 3:27:57 | 3:28:02 | |
(JAZZ MUSIC) | 3:28:07 | 3:28:11 | |
# "Blue Skies" - Irving Berlin | 3:28:11 | 3:28:12 | |
-Can I take your picture? -Sure. | 3:28:12 | 3:28:14 | |
-Wait. I blinked. Take another one. -Sorry, no retakes. | 3:28:14 | 3:28:17 | |
My goddamn eyes were closed! | 3:28:17 | 3:28:20 | |
-You know who that is? -Can I take your picture? -Superman. | 3:28:22 | 3:28:26 | |
-Right. -He's gotta be loaded. Me and my cousins are glued to that show. | 3:28:28 | 3:28:33 | |
# Never saw the sun shining so bright | 3:28:33 | 3:28:35 | |
# Never saw things going so right | 3:28:35 | 3:28:38 | |
-Ow! -Look at her ass. Lem, look. | 3:28:38 | 3:28:40 | |
# When you're in love, | 3:28:40 | 3:28:42 | |
# My, how they fly # | 3:28:42 | 3:28:44 | |
(CHUCKLES) | 3:28:44 | 3:28:45 | |
-What's exciting to me is that I've been thinking about - -Earl Wilson. | 3:28:45 | 3:28:49 | |
Look at you all dressed up. | 3:28:49 | 3:28:51 | |
-I haven't seen you since... -You punched a waiter at Sardi's. | 3:28:51 | 3:28:55 | |
-I left a nice tip. -(LAUGHS) | 3:28:55 | 3:28:58 | |
-Find something funny, junior? -No, no, no. | 3:28:58 | 3:29:01 | |
-I know when I'm outta my league. -Don't sell yourself short. | 3:29:01 | 3:29:04 | |
I got a big heart. I'll bet you've got a big one, too. | 3:29:04 | 3:29:09 | |
(CHUCKLES) Oh, well,... very nice of you to say, Miss...? | 3:29:09 | 3:29:13 | |
-Leonore Lemmon. -Miss Lemmon. | 3:29:14 | 3:29:17 | |
So, how about an autograph for my poor crippled nephew? | 3:29:17 | 3:29:22 | |
-Is he in an iron lung? -He's in Yonkers. | 3:29:22 | 3:29:25 | |
# Blue skies | 3:29:27 | 3:29:29 | |
# Smiling at me | 3:29:29 | 3:29:31 | |
# Nothing but blue skies # | 3:29:31 | 3:29:32 | |
Superman wants to get laid. | 3:29:32 | 3:29:35 | |
-(GASPS) -(GRUNTS) | 3:29:35 | 3:29:38 | |
-(GASPS) -(GRUNTS) | 3:29:41 | 3:29:45 | |
(BOTH SIGH) | 3:29:45 | 3:29:48 | |
Goddamn! | 3:29:48 | 3:29:50 | |
-Make room for fuckin' Daddy. -(CHUCKLES) -(SIGHS) -Ah. | 3:29:50 | 3:29:54 | |
-You know what, stallion? -What? | 3:29:54 | 3:29:56 | |
-You're starting to get the hang of this. -(LAUGHS) -Ah. | 3:29:56 | 3:30:00 | |
(SIGHS) Let's do it again. | 3:30:01 | 3:30:03 | |
(CHUCKLES) Scout. | 3:30:19 | 3:30:22 | |
-Mom's picking me up. -I know that, I just wanted to... | 3:30:22 | 3:30:26 | |
I got you something. | 3:30:27 | 3:30:30 | |
I left it in the car. I'll give it to you when we go home. Come on. | 3:30:34 | 3:30:38 | |
Let's go. Let's go home. Let's go home. | 3:30:38 | 3:30:40 | |
How come you're not at work? | 3:30:40 | 3:30:43 | |
Cos I don't sit in an office. OK? That's for suckers. | 3:30:44 | 3:30:47 | |
Your pop's an investigator. | 3:30:47 | 3:30:50 | |
Alright? Come on, let's go. | 3:30:50 | 3:30:53 | |
I'm supposed to wait for Mom. | 3:30:53 | 3:30:56 | |
-What? -I'm supposed to wait for Mom. | 3:30:56 | 3:31:00 | |
(SIGHS) | 3:31:02 | 3:31:04 | |
Your mom and me, we... Come home. | 3:31:06 | 3:31:09 | |
Evan. | 3:31:12 | 3:31:14 | |
Evan. Evan. | 3:31:16 | 3:31:18 | |
Nobody has magic powers. You gotta be tough. | 3:31:18 | 3:31:23 | |
You gotta show 'em what you're made of, you know? | 3:31:25 | 3:31:29 | |
My father never taught me that. | 3:31:29 | 3:31:31 | |
OK, here we go. Come on. (KEYS JANGLE) | 3:31:33 | 3:31:37 | |
I'm fine. | 3:31:41 | 3:31:43 | |
I'm his son. He's my son. He is. | 3:31:48 | 3:31:51 | |
Tell him, Scout. Tell him. Evan, tell him, please. Come on. | 3:31:52 | 3:31:56 | |
Evan. Evan. | 3:31:56 | 3:31:59 | |
Evan. Honey, what's the matter? | 3:32:01 | 3:32:04 | |
Aw, jeez! | 3:32:04 | 3:32:06 | |
-Would you take him? Just in there. -Sure. | 3:32:07 | 3:32:10 | |
Whatever you wanna say, you know... | 3:32:28 | 3:32:31 | |
Are you gonna fight everybody? | 3:32:31 | 3:32:34 | |
I thought you liked tough guys. | 3:32:35 | 3:32:37 | |
-You're saying this why? -I wanna be honest with you. | 3:32:52 | 3:32:56 | |
My, that's noble! (LAUGHS) | 3:32:56 | 3:32:58 | |
What is that, from some script you auditioned for in the '40s? | 3:32:58 | 3:33:01 | |
No, it's just me talking to you. | 3:33:01 | 3:33:04 | |
I'm so grateful! Straight-arrow George. | 3:33:04 | 3:33:08 | |
You go to New York, fuck some whore and you run back to tell me. | 3:33:08 | 3:33:11 | |
-She's not a whore. -Oh. She's an actress? | 3:33:11 | 3:33:14 | |
A singer? Does she blow smoke rings with her cunt?! | 3:33:14 | 3:33:18 | |
-Is it a fling you want? -It's not a fling. | 3:33:21 | 3:33:23 | |
Oh, you're in love?! Two weeks in a hotel room?! | 3:33:23 | 3:33:27 | |
She makes me feel young. | 3:33:27 | 3:33:29 | |
(SIGHS) Have you seen yourself, George? | 3:33:31 | 3:33:34 | |
-Your face is going. -Don't do this. | 3:33:35 | 3:33:37 | |
-Here. -Stop it. -Your eyes, your hair, your stomach. | 3:33:37 | 3:33:40 | |
-You think no-one notices?! -Toni, don't. -But you've got your projects. | 3:33:40 | 3:33:43 | |
You'll be a director. You'll sit in your chair, polishing your balls. | 3:33:43 | 3:33:48 | |
"Thank God I'm rid of that hag. What was her name?" | 3:33:48 | 3:33:51 | |
-"The one who bought me a fucking house!" -For God's sake! | 3:33:51 | 3:33:54 | |
You want publicity? You'll get it. I'll say you're a Red. | 3:33:54 | 3:33:58 | |
-A faggot. A lush. Nobody can call that a lie! -You never helped me. | 3:33:58 | 3:34:02 | |
You never helped me! You coulda gotten me something but you didn't | 3:34:02 | 3:34:05 | |
because you liked me where I was, in a fuckin' red suit! | 3:34:05 | 3:34:09 | |
Well, that's not who I am! You understand?! God damn you! | 3:34:09 | 3:34:13 | |
But that's all you were good for, ten-year-olds and shut-ins. | 3:34:13 | 3:34:17 | |
That was the best you were ever going to be. I knew that. | 3:34:17 | 3:34:22 | |
Why didn't you? | 3:34:22 | 3:34:25 | |
They rushed it and closed the case. I didn't like it from the start. | 3:34:28 | 3:34:32 | |
Why? | 3:34:32 | 3:34:34 | |
-There was pressure. -Yeah? From who? | 3:34:37 | 3:34:41 | |
Look, I can't do what you can do. Understand? | 3:34:41 | 3:34:44 | |
I got a wife, kids,... car payments. | 3:34:44 | 3:34:49 | |
-I'm in for 20 and a pension. -But I got nothin' to lose? | 3:34:49 | 3:34:52 | |
Look, think it through. MGM buys off the mother. | 3:34:52 | 3:34:55 | |
-I'm not gettin' paid, pal. -That's all it's about for you. | 3:34:55 | 3:34:59 | |
Hey! | 3:34:59 | 3:35:01 | |
(SIGHS) | 3:35:01 | 3:35:03 | |
I got that woman killed for nothin', OK? | 3:35:03 | 3:35:06 | |
50 bucks a day I'm stringin' her husband along like I'm runnin' him | 3:35:06 | 3:35:10 | |
cos I can't see straight in front of me. No,... I'm done. | 3:35:10 | 3:35:13 | |
Look, this is how they work. It just gets buried. | 3:35:13 | 3:35:16 | |
Don't you wanna know about this guy? Why don't you get on the right side | 3:35:16 | 3:35:20 | |
-of something for once? -Where do you come off tellin' me what I should do? | 3:35:20 | 3:35:25 | |
Well, I'm not the one with the guilty conscience, am I? | 3:35:25 | 3:35:28 | |
(SIGHS) | 3:35:34 | 3:35:36 | |
(MUSIC BLARES) Who wants me to wrestle? | 3:37:09 | 3:37:13 | |
Professional circuit. They're serious. | 3:37:13 | 3:37:16 | |
-(PHONE) -"You might get a kick out of it." | 3:37:16 | 3:37:18 | |
Whaddya got, a party? | 3:37:18 | 3:37:20 | |
No, just a few friends of Leonore's. (DOORBELL CHIMES) | 3:37:20 | 3:37:24 | |
So now when that old bitch calls, this gizmo records it so... | 3:37:24 | 3:37:27 | |
-I got a delivery for Mr Reeves. -Hey! In there. | 3:37:27 | 3:37:30 | |
Sorry. | 3:37:30 | 3:37:32 | |
Put that on the table, hon. | 3:37:34 | 3:37:36 | |
-Georgie, why don't you show this boy how much we love him? -Alright. | 3:37:36 | 3:37:40 | |
Why don't we take it easy on this batch, Lem? | 3:37:40 | 3:37:43 | |
Alright, kid, here's a hundred. Go make your first million. | 3:37:46 | 3:37:50 | |
Georgie, you are directing your own movie in a month. Live a little. OK? | 3:37:50 | 3:37:54 | |
-Don't ruin the party. -Alright. -Give me a kiss. | 3:37:54 | 3:37:58 | |
-Go. Come on. -Alright, alright. -I'll fix you a drink, alright? | 3:37:58 | 3:38:02 | |
# "It's Only Make Believe" - Conway Twitty | 3:38:02 | 3:38:05 | |
(SOBS) | 3:38:27 | 3:38:29 | |
(SCREAMS) | 3:38:31 | 3:38:33 | |
(CONTINUES TO SCREAM / SOB) | 3:38:35 | 3:38:39 | |
-"(PHONE RINGS)" -Yeah? | 3:38:42 | 3:38:45 | |
-(PHONE) -"That actor...?" -Eddie. (SIGHS) | 3:38:45 | 3:38:48 | |
It's very late. | 3:38:48 | 3:38:51 | |
What's he plan to do with the rest of his life? | 3:38:51 | 3:38:54 | |
He has some spaceman script | 3:38:54 | 3:38:57 | |
set up with Wasserman to direct. | 3:38:57 | 3:39:00 | |
-"If you offered some kind of -" -Yeah, yeah, I know how to handle it. | 3:39:00 | 3:39:04 | |
(SINGS IN SPANISH) | 3:39:08 | 3:39:11 | |
(CLAPS) | 3:39:14 | 3:39:17 | |
Well, alright. | 3:39:18 | 3:39:20 | |
Very nice. | 3:39:20 | 3:39:23 | |
Thank you. You're very kind. What did you think, my sweetest dream? | 3:39:23 | 3:39:28 | |
-Moved to tears? -I thought you sounded like a goddamn beaner. (CHUCKLES) | 3:39:28 | 3:39:33 | |
Well, and so good night. | 3:39:33 | 3:39:36 | |
Buenas noches, Jorge. | 3:39:36 | 3:39:38 | |
# "The Girl Can't Help It" - Little Richard | 3:39:38 | 3:39:42 | |
# She can't help it, the girl can't help it | 3:39:42 | 3:39:45 | |
# She can't help it, the girl can't help it | 3:39:45 | 3:39:47 | |
# If she walks by | 3:39:47 | 3:39:49 | |
-# The men folks get engrossed -(SIGHS) | 3:39:49 | 3:39:50 | |
# She can't help it, the girl can't help it | 3:39:50 | 3:39:52 | |
# If she... # | 3:39:52 | 3:39:54 | |
Hey! (GUNSHOT) | 3:39:54 | 3:39:56 | |
Universal is not the only studio. Get him in the door someplace else. | 3:40:15 | 3:40:19 | |
-I already tried. -Try harder. He's your only client. | 3:40:19 | 3:40:22 | |
-What kind of agent are you?! -Leonore. | 3:40:22 | 3:40:24 | |
-You come here, dragging around like a wet dog! -Leonore, stop it! | 3:40:24 | 3:40:28 | |
Art, we talked about this. | 3:40:30 | 3:40:33 | |
This picture's important. | 3:40:33 | 3:40:35 | |
Or it was. These people don't want me. | 3:40:35 | 3:40:38 | |
They don't know what I can do. We gotta show it to 'em, | 3:40:38 | 3:40:41 | |
show 'em I can do something different. | 3:40:41 | 3:40:43 | |
We gotta cook something up for me now. | 3:40:43 | 3:40:46 | |
The wrestling offer? | 3:40:46 | 3:40:49 | |
-Does it pay? -Their only concern, | 3:40:51 | 3:40:54 | |
are you up to it... physically? | 3:40:54 | 3:40:58 | |
Well,... you can film me, so they can see. | 3:41:00 | 3:41:05 | |
Why don't you just join the goddamn circus? | 3:41:05 | 3:41:09 | |
-Keep an eye on the car, huh, boys? -OK. | 3:41:24 | 3:41:27 | |
(CHATTER) | 3:41:42 | 3:41:45 | |
How ya doin'? | 3:41:49 | 3:41:51 | |
-(KNOCK AT DOOR) -Mrs Mannix? | 3:42:20 | 3:42:23 | |
I'll just put it on the bed for you. | 3:42:23 | 3:42:26 | |
(KNOCKS ON DOOR) (Mrs Mannix?) | 3:42:49 | 3:42:52 | |
(SOBBING) | 3:42:55 | 3:42:57 | |
Mrs Mannix, can I talk to you? It's about George. | 3:42:58 | 3:43:02 | |
George... shot himself. | 3:43:06 | 3:43:11 | |
He was... shot. | 3:43:11 | 3:43:13 | |
Someone shot him, is that what you mean? Who did that? | 3:43:13 | 3:43:17 | |
-(SOBS) -Mrs Mannix,... | 3:43:18 | 3:43:22 | |
..can you help me understand? Will you please help me? | 3:43:23 | 3:43:28 | |
Did you know George? | 3:43:28 | 3:43:30 | |
Why don't you tell me about him? | 3:43:32 | 3:43:35 | |
He really was... the most beautiful boy. | 3:43:35 | 3:43:39 | |
-Mrs Mannix, please, if I could just come in. -You're not invited, Simo. | 3:43:39 | 3:43:43 | |
-Were you? -(SIGHS) We're workin'. Come on. | 3:43:46 | 3:43:50 | |
Why don't you lay off? | 3:43:55 | 3:43:57 | |
-Mr Harris. -Hello, Louis. | 3:43:59 | 3:44:03 | |
You come up from Palos Verdes just to see me? | 3:44:03 | 3:44:06 | |
I came here to celebrate my friends' anniversary. | 3:44:06 | 3:44:09 | |
-You've met Mr Mannix? -Nah, but we got people in common. | 3:44:09 | 3:44:13 | |
-Ain't that right, Eddie? -I've got nothin' in common with you. | 3:44:14 | 3:44:19 | |
Well,... | 3:44:19 | 3:44:21 | |
..Bernice, the first missus. | 3:44:21 | 3:44:24 | |
-You like that car-crash gimmick, huh? -Rick. | 3:44:24 | 3:44:28 | |
Riva Watson. | 3:44:28 | 3:44:30 | |
Huh? She get all clingy? | 3:44:30 | 3:44:32 | |
How'd it feel poundin' her face in? Happy times, huh, Ed? | 3:44:32 | 3:44:36 | |
-Richard, please. -George Reeves. -That's enough. | 3:44:36 | 3:44:39 | |
Am I being indiscreet? Bad for business? | 3:44:39 | 3:44:42 | |
-Your problems are your own. -How can you cover for this prick?! | 3:44:42 | 3:44:45 | |
-Whatever you're pursuing - -You had a bullet put in Reeves's head! | 3:44:45 | 3:44:49 | |
-..will not alter - -You used the studio and the cops to do...! Oof! | 3:44:49 | 3:44:53 | |
Argh! You're gonna burn in hell, you son of a bitch. (CHOKES) | 3:44:54 | 3:44:58 | |
Come here. | 3:45:02 | 3:45:04 | |
You don't know me. | 3:45:07 | 3:45:09 | |
You don't know what I think, what I do. I don't let you. | 3:45:09 | 3:45:15 | |
You're an old man, Eddie. Who's gonna wipe the blood off your hands? | 3:45:15 | 3:45:19 | |
My hands? I'm in the picture business. | 3:45:19 | 3:45:23 | |
No, you're a murderer. | 3:45:23 | 3:45:26 | |
Prove it. You hear me? | 3:45:26 | 3:45:29 | |
Go on. I'm ready. Prove one fuckin' thing! | 3:45:29 | 3:45:35 | |
Oh, God! (GROANS) | 3:45:45 | 3:45:47 | |
(INSTRUMENTAL JAZZ MUSIC) | 3:45:50 | 3:45:53 | |
(CHATTER) | 3:45:53 | 3:45:56 | |
People are waitin'. You comin' down? | 3:46:18 | 3:46:21 | |
-Help with the dress. -Yeah. | 3:46:23 | 3:46:25 | |
OK? | 3:46:32 | 3:46:35 | |
I'm gonna let some light in. | 3:46:37 | 3:46:39 | |
I wanna tell you somethin'. | 3:46:52 | 3:46:55 | |
You know I'll always take care of you. | 3:46:56 | 3:46:59 | |
Whatever's happened,... | 3:47:00 | 3:47:02 | |
..whatever might have been done, it doesn't matter. | 3:47:02 | 3:47:07 | |
Nobody's gonna hurt you. | 3:47:08 | 3:47:11 | |
Nobody gets to ask. I won't allow it. | 3:47:12 | 3:47:16 | |
You're safe with me,... with your husband. | 3:47:17 | 3:47:21 | |
Let me see what you look like. | 3:47:23 | 3:47:26 | |
You're beautiful. | 3:47:39 | 3:47:41 | |
You always will be. | 3:47:44 | 3:47:47 | |
I see the pieces,... | 3:47:52 | 3:47:55 | |
..how they should fit,... | 3:47:55 | 3:47:58 | |
..how I want 'em to fit,... | 3:47:59 | 3:48:01 | |
..but I can't... | 3:48:03 | 3:48:05 | |
(SIGHS) | 3:48:07 | 3:48:09 | |
I looked in his face. | 3:48:13 | 3:48:16 | |
I know he could do it. Wouldn't think about it twice. | 3:48:16 | 3:48:19 | |
-Eddie Mannix? -Yeah. | 3:48:19 | 3:48:22 | |
No, I would never say it wasn't possible. | 3:48:22 | 3:48:26 | |
-What about Mrs Mannix? -You had to like her. | 3:48:27 | 3:48:31 | |
Such brightness. Could she have done what you're saying? | 3:48:31 | 3:48:35 | |
I don't wanna think that. | 3:48:37 | 3:48:40 | |
-And Leonore? -We never got along. Leave it there. | 3:48:40 | 3:48:45 | |
-Mr Reeves? -A charming man. | 3:48:52 | 3:48:56 | |
Funny. Handsome. | 3:48:58 | 3:49:01 | |
Not like the ones today, all the squinting and the mumbling. | 3:49:01 | 3:49:05 | |
A movie-star face. | 3:49:05 | 3:49:07 | |
Why wasn't he one? | 3:49:09 | 3:49:12 | |
Where he wound up,... | 3:49:14 | 3:49:16 | |
..it should have been enough, right? | 3:49:16 | 3:49:19 | |
Enough for a life. | 3:49:19 | 3:49:22 | |
But George... | 3:49:23 | 3:49:25 | |
Yeah? | 3:49:28 | 3:49:30 | |
I never showed this. I knew it wouldn't help. | 3:49:38 | 3:49:41 | |
You watch it. | 3:49:44 | 3:49:46 | |
Tell me what you see. | 3:49:49 | 3:49:51 | |
'(SINGS IN SPANISH)' | 3:51:00 | 3:51:04 | |
(CONTINUES TO SING IN SPANISH) | 3:51:06 | 3:51:09 | |
(CONTINUES TO SING IN SPANISH) | 3:52:12 | 3:52:15 | |
Good night. | 3:52:25 | 3:52:27 | |
(CLOCK TICKS) | 3:53:18 | 3:53:21 | |
'(GUNSHOT)' | 3:54:11 | 3:54:13 | |
(INSTRUMENTAL JAZZ MUSIC) | 3:55:05 | 3:55:08 |