Quiet on the set.
Scene one, take ten. Marker.
And action!
Joel Levison's office.
l'm sorry, he's not in yet. May l take a message?
- Mr. Levy, l'll tell him you called. - Never say that.
He's either in conference, in a meeting. He's always in.
- Who was that? - Larry Levy.
Was there anything in the trades this morning?
- l don't know. The mail's late. - Go get them. Now!
l want them back here before he arrives.
Griffin, hi. Adam Simon.
We weren't supposed to meet until next week, but--
- l didn't know we were. - l wanted to plant a seed in your head.
- l'm booked up. - Picture this.
lt's a planet in the far future with two suns.
- Who plays the sons? - No, suns. Large solar disks.
Run this idea by Bonnie Sherow.
The pictures they make these days are all MTV. Cut, cut, cut.
The opening shot of Touch of Evil was six and a half minutes long.
- Six and a half minutes? - Three or four, anyway.
He set up the whole picture with that one tracking shot.
My father was key grip on that shoot.
What about Absolute Beginners? That was an extraordinary shot.
- Never heard of it. - lt's an English film.
- A Peligrino, please. - l've got Calistoga.
- Buck, how are you? - Good. How you doin'?
- Good. What have you got for me? - Okay, here it is.
- The Graduate, Part ll. - Oh, good.
Listen, the three principals are still with us.
Dustin Hoffman, Anne Bancroft, Katharine Ross, 25 years later.
And so are the characters, Ben, Elaine and Mrs. Robinson.
Ben and Elaine are married, still.
They live in a big, spooky house up in northern California somewhere.
And Mrs. Robinson lives with them...
her aging mother who's had a stroke...
so she can't talk.
- Will it be funny? - lt'll be funny. Dark, weird and funny.
And with a stroke. Maybe it's not a stroke.
l don't know what it is. lt's a malady of some sort.
She's up in the bedroom listening to everything that happens.
They've got a daughter who's just graduated from college.
Twenty-two, twenty-three-year-old, like a Julia Roberts.
Excuse me. What should l do with these scripts?
They go to Bonnie. And find out from security how Adam Simon got on the lot.
- l want to know. - Adam Simon? Okay.
Julia Roberts comes home, their daughter, the graduate.
The new graduate.
Griffin loved it. He wanted me to run it by you.
- lt's a band of human survivors. - Write this down for me.
l can't process this. Write it down for me.
lt's not about words. You have to visualize.
Jimmy, are you okay? What happened?
- Are you all right? - My name's Jimmy Chase.
He came out of nowhere, ran right in front of the cart. l never saw him.
- That's Adam Simon. - How you doin', kid?
Rebecca DeMornay. Actually, you're better looking.
- No, l'm not Rebecca DeMornay. - You're a dead ringer.
Thank you very much.
Do you know where Joel Levison's office is?
The head of the studio?
lt's moving. lt'll rip your heart out.
This is the area where we make decisions to give a green light to a picture.
We're going to go 17 stories high. We'll continue to use all Sony products.
Domo arigato to the Sony products.
lf you need someone to eat sashimi with you, give me a ring.
The traffic from Malibu was impossible.
- Good morning, Joel. - Sandy, park the car, please.
Good morning Marty, Annie.
- What are the Japs doing here? - What's this talk about heads rolling?
The bank's putting screws to us. Goldman's son is coming out from Boston.
l don't like it.
Reggie Goldman's a pipsqueak. You can't be serious.
Some changes are going on here. That's always the way.
lt happened at Paramount three years ago.
Columbia's going through it now.
l hear we're looking to replace Griffin.
Griffin? l don't believe it. With whom?
Burke or Patrick. Maybe Larry Levy.
l want to know why the security is lax.
l'll talk to you later. l'm in the middle of a pitch.
Listen, go ahead.
- lt's a TV star who goes on a safari. - A TV star in a motion picture?
- A TV star played by a movie star. - A movie star playing a TV star.
- Michelle, Bette, Lily. - Dolly Parton would be good.
- l like Goldie. - Great, because we have a relationship.
Goldie goes to Africa.
- She's found by this tribe. - Of small people.
She's found and they worship her.
lt's like The Gods Must Be Crazy except the coke bottle is an actress.
Right. lt's Out of Africa meets Pretty Woman.
She has to decide whether to stay with the TV show...
or save the tribe.
- Where's Griffin Mill's office? - Right here.
- You're Martin Scorsese! - No, but l know Harvey Keitel.
l know you do. l loved Cape Fear.
My old man worked for Hitchcock.
Rope. lt was a masterpiece.
The story wasn't any good. He shot the whole thing without cuts.
l hate all this 'Cut, cut, cut!'
What about Bertolucci, the great shot with Winger in Sheltering Sky?
l didn't see it.
- l've been here since 8:00. - l took a chance getting you this job.
- Who were you with? - l was with Alan Rudolph.
- What were you doing with him? - He asked me to have coffee.
You're my assistant. You don't get involved with writers.
l wasn't getting involved. l was listening to this amazing idea he had.
That's interesting. What's your pitch?
- Does political scare you? - Political doesn't scare me.
Radical political scares me. Political political scares me.
This is politely politically radical, but it's funny.
- lt's a funny political thing. - And it's a thriller, too, all at once.
-What's the story? -l want Bruce Willis. l can talk to him.
lt's a story about a bad-guy senator.
He's traveling around the country on the country's dime, like Sununu did.
lt's a cynical, political thriller comedy.
But it's got heart in the right spot. Anyway, he has an accident.
And he becomes clairvoyant, like a psychic.
So it's a psychic, political, thriller comedy with a heart.
With a heart, not unlike Ghost meets Manchurian Candidate.
- Go on, l'm listening. - He starts reading people's minds.
And when he gets to the President's mind it's completely blank.
- Can l get you anything? - l'd like a beer, please.
- We don't have beer. - Red wine, please.
Someone gets killed at the end. They always do in political thrillers.
- Griffin Mill's office. - Can you put him on?
- May l ask who's calling? - l'd like to speak to Griffin Mill.
He's in a meeting right now. l can take your name and have him get back to you.
- Excuse me? - He'll get back to me?
- Do you know how often l've heard this? - Who is this?
- lf he doesn't get back to me-- - Who was that?
- l don't know. He didn't say. - What do you mean?
l don't know how you'll cast it. The lead is a 50-year-old circus performer.
Let me read the coverage.
Are we still having lunch with Aaron Camp?
- What time? - l made it for 1:00.
- Bad day? - He's having writer's block.
You have a meeting with Hutter and Frank South this afternoon at 3:00.
l'll be here. Put this morning's meetings on the computer. Thanks.
- Are you going now? - l'm going to see Levison.
Order me a Caesar salad and a Crystal Geyser.
About 5:00? Thanks, Sandy.
Hi, Sandy.
You can't go in there! He's in a meeting.
lt's all right, Celia.
l don't think you've met Reg Goldman. You know his father Harvey.
Yes, of course. Hi, Reg. From the bank in Boston.
- Reg is out here for a few weeks. - Great. Business or pleasure?
A little of both, l hope.
Reg is thinking of producing.
Really?
Yeah. Beats work, doesn't it, Griffin?
l'd like to play some tennis. Do you play tennis?
Tennis? No.
- l'm too busy. - l was asking Walter.
Do you know Meg Ryan?
ls she seeing somebody?
Yeah, Reg. She's married.
Shit.
What about Winona Ryder?
You know, actually, Walter is the guy to talk to.
Walter's got everybody's number.
- Was there anything? - No. You're real busy.
l want that number, goddamn it. l want that number.
Oh, boy. What about this one? Has she done anything?
Celia.
Griffin, don't ask.
Don't ask, you don't know? Or don't ask, l don't want to know?
Just don't ask.
lf it's Reggie Goldman you're concerned about, forget it.
But be nice to him. He represents a lot of money to this company.
lt's not Reggie Goldman l'm worried about.
- lt's Larry Levy. - Larry Levy?
Larry Levy's at Fox, isn't he?
Come on, Celia.
There's a call for Celia on line one.
- Should l be looking for a job? - Celia, are you there?
Joel Levison's office. Oh, Brad. Yeah.
What?
No, we couldn't sign Angelica Huston for that. She's booked for two years.
Like a ghost story, but it's not like Ghost.
lt's a supernatural thing.
Joel, Griffin Mill. A friend of Jennifer's.
No. You're Griffin Mill? Really?
Good to see you. l'm a big fan of yours.
- l have that tie. - You do?
Did you order for me?
Hi. Lunching with the enemy.
Oh, come on.
So what's this we hear about Larry Levy?
Larry Levy? lf he had half a brain, he'd be dangerous.
Aaron says he's coming to the studio.
Aaron says? Why would you believe anything he says?
He said it with authority.
He's over there with Angelica Huston and John Cusack.
He's in over his head. He's gonna drown over there.
He's the golden boy at Fox these days.
Did you see that thing on him in Variety last week?
Two pages.
Angelica, Griffin Mill. Good to see you. You're looking great.
Johnny, Griffin Mill. A big fan of yours.
- You gonna be in Telluride this year? - Probably in Park City.
Great. We'll see you there.
- What's happening with Glass Box? - Let's not talk about Hollywood.
We're educated people.
l'll call you later.
- Talk to somebody about this. - What?
- You've gotten 5 postcards in 2 weeks. - Seven, actually.
Why don't you talk to Studio Security?
l should call Walter Stuckel and say what?
'Someone's sending me poison letters and l would like for you to make me...
the object of more ridicule now that things are really shaky for me here.(
l don't think so.
l think they're coming from a writer.
- Which one? - Take your pick.
- ls there anything else? - Yes, your attorney phoned.
He wants you to attend a party at his house tonight.
- Tell him l'm at a screening. - Not that attorney. lt's Dick Mellen.
What time?
Cocktails at 7:30, dinner at 8:00. Bring a date.
And Bonnie Sherow is here to see you.
Send her in. Oh, here she is.
Can we go to the Springs this weekend?
l want to have a massage, a long soak in a hot tub...
and have Margaritas administered intravenously.
l have a party at Dick Mellen's. You want to come?
God, movie stars and power players.
- And Vodka. - Sure.
lt'll be an early dinner, and we'll go to my place afterwards.
- Can we? - Yeah.
Brokaw looks like he has absolutely no intensity.
Ted Koppel looks loose, and he goes after it...
and he digs in.
Hi. How are you?
Marlee, this is Bonnie Sherow.
She read Tales of Fury.
l loved it. l thought it was wonderful.
l think you're perfect for Ariel. You're perfect for the part.
We're going to make a couple changes in the third act.
You should set up a meeting.
Yeah, sure.
- You have my number? - Absolutely.
Excuse me. l'm going to say hello to those people.
Don't talk about script changes at parties.
lt was good of you to come. Don't you look beautiful!
- You know Bonnie Sherow. - Of course. How are you?
- Tri-Star, right? - She's at the studio.
That's what l meant. Bring Mr. Mill a martini. And, Bonnie?
- l'll take a Ramlosa. - l'll have a martini.
Rod Steiger's here.
Talk to him about the Rudolph project.
He's not that hot on it, but see if you can get him to read it.
You know who's here? Harry Belafonte. Harry?
Come and say hello, will you?
- Griffin Mill. - Hi. Good to see you.
Bonnie Sherow. She's gaga over you.
l'm a big fan of yours. l saw you accept the Nelson Mandela Courage Award.
Who was the villain in Ghostbusters?
You got me there.
l got this--
l got this postcard. Harassment kind of stuff.
What are you talking about?
lt's some writer l must've brushed off.
Get something to eat. There's lovely stuff over there.
We will in a few minutes.
Your hands are as cold as mine.
Would you like one of these?
l don't think l do.
Are you talking about threats?
No. Yes.
l don't know. He's pissed off.
l thought writers were your long suit. You're the writer's executive.
Are you pitching me a dream?
- You don't sound sincerely interested. - lt depends how good the dream is.
Levy's here.
- Dick, what's he doing here? - Goldblum? He's a friend.
- No, Larry Levy. - He came with Sally.
What's going on with my job?
Everywhere l look, Larry Levy is in my face.
Larry Levy is a comer. That's what comers do, they get in your face.
You're a comer, too. You can handle it. Stop worrying about him.
So the rumors are true?
Rumors are always true.
-l'm always the last to hear about them. -You're the last one to believe.
Am l out?
You're not out, but you'd better start thinking about a roommate.
Relax, you can handle this. You can make it work for you.
- Larry? - Dick. Sorry to crash your party.
- Do you know everybody? - l will before the night's out.
You will, indeed.
- Great party, Dick. - Good. Did you get some food?
Listen to this.
'He lifts her dress. She kisses him harder.
He puts his hands in her underpants. She grabs his shoulders.
He pulls her dress above her waist. He rubs against her wide, soft belly.
Slowly he pushes her panties down to her knees. She's faint with passion.
She arches her back and he lowers her down onto the buckboard.
The horses snort and whinny. They, too, feel her passion.
The camera moves in on the nostrils of the horse...
as the buckboard begins to shake.(
God! Do you believe that? Steve recommended that script.
He says they're hot for it at Universal. They're gonna have a bidding war.
l heard a pitch today. lt wasn't bad. Stuck on a story point, though.
- l'm a story editor. Go. - New York City, big advertising agency.
An account executive makes a presentation to a potential client.
The client promises to get back to him.
- Does it have to be advertising? - That's not the problem.
The account executive keeps waiting for the client to call him back...
to tell him what he thought of the idea, if he got the job or not.
But the client never calls.
The account executive gets so pissed off and frustrated, he becomes obsessive.
- He decides to drive the client crazy. - What does he do?
Sends him threatening postcards. lt's not important.
Here's the problem. How long do you think...
the account executive harasses the client...
before he becomes dangerous?
- Does it have to be advertising? - How long?
lf it were me--
One month?
Three months. No, more. Five months.
- To be dangerous, five months. - That's what l thought.
- Who's the writer? - l don't know.
You don't know the writer who pitched you the idea?
l don't know his name. lt's a couple kids.
TV writers.
Can we go to bed now? l'm starting to wrinkle.
- See you tomorrow afternoon. - Absolutely.
Burt, Larry Levy. l hope you don't remember me, and if you do...
l hope there are no hard feelings, l was working for Gassner then.
Take care.
- Who was that? - An exec over at Fox.
Was until breakfast, anyway.
- Good morning, Mr. Mill. - Hi, Susan. How are you?
l'm with Joel.
- Hi, Burt. Griffin Mill. - Good to see you.
Hi, Charles. How are you?
- Asshole. - One of a breed.
Actually, he's not. There's a whole breed of them. They're breeding them.
Joel, you're losing your touch, scheduling meetings so close together.
That guy didn't have time to finish his breakfast.
He'd already eaten. Gets up early.
- You went to Mellen's last night. - Take this away, please. Yes, l did.
- How is he? - l'd like a Vitelle water.
He's fine.
You left early. Why?
We had to work on the museum party.
l will not work for Larry Levy.
l'm not asking you to.
l report to you. lf l have to report to Larry Levy, l quit.
You can't quit. l won't let you quit.
You have a year and a half on your contract. l'll sue you for breach...
if you don't show up in the office every day, with a smile.
Why Levy?
Levy was available.
He's good on material, you're good with writers.
We're a team. He's a new member of the team, that's all.
He can make us all look good.
This is a wine glass. Can l have my water in a water glass, please?
Well?
l'll have to think about it.
l want an answer this afternoon.
l have to go out to Palmdale.
The director of Lonely Room is giving Lily a hard time.
- l'll be back around 5:00. - So call after 5:00.
l'll get back to you.
...you haven't died. See, he's still hanging on.
Griffin, Joel Levison on line 2. l'll put it through.
- l'll get back to him. - Tell Joel you'll get back to him?
Yeah. l want to hear what he's got to say.
- How did this get here? - The mail.
But this does not have a postmark. This was hand-delivered.
Not to me. lt came with the mail.
Jimmy?
Do you know anything about this? Who delivered it? Where it came from?
Mail room?
But l want to know how it got to the goddamn mail room.
- Find out and get back to me. - Okay, sure.
- You go with him. - You want me to go to the mail room?
l want you to go to the mail room. And while you're there...
l would like a copy of The Lonely Room rewrites...
in white pages, no color.
- Find out how this got in my mail. - Yes, sir.
- You'll get your own phones? - l can get my own phones.
Son of a bitch! Five months.
One, two, three, four, five.
Richard Fueller. David Lucas.
Cal Winstrom. David Kahane. Sammy Tettleton.
lncoming.
lncoming. Unreturned calls.
Bill Lyndstrom.
Nancy Franklin. Wouldn't be a woman.
David Kahane.
Lyndstrom.
Strategic Planning. Wouldn't be him.
What was that other guy's name?
Kahane.
Kaltrime. Kahane.
'Unproduced.' Gotcha!
- Hello. - Hello. ls David Kahane there?
David!
l'm sorry. l forgot. He's gone out. Who's this?
- This is Griffin Mill. - Oh, the dead man.
- What did you say? - Oh, nothing.
- About me being a dead man? - Just a nickname David has for you.
l see. That's a funny nickname.
l suppose your husband doesn't like me very much.
l don't have a husband.
l suppose David doesn't like me very much.
David's gone to the cinema.
- When will he be back? - When the film's over, l presume.
And you are?
- June. - June?
Here we go. You want to know my last name.
- No one can pronounce it. - Try me.
Gudmundsdottir.
- How's that? - Very good.
Thanks.
- What do people usually say? - Don't ask.
Anything from Good Dog's Water to Goulash Wallop.
- You English? - Yep.
Well, no, not really.
Where are you sort of not from?
Do you want the long story or the short one?
- The long one. - No, you'd never believe it.
- The short one's lceland. - lceland?
l didn't know anyone came from lceland. l thought it was just a block of ice.
lt's very green, actually.
Really? l thought that was Greenland.
No, Greenland's very icy. lceland's very green.
They switched names to fool the Vikings who tried to steal their women.
l see.
No. Blue sea.
Red sea.
- No red. - You're a painter.
How did you guess?
What movie did David go to see?
He went to the Rialto in Pasadena. He always goes there.
What's showing?
Bicycle Thief, l think.
lt's a good movie. Have you seen it?
l don't go to the movies.
Why not?
Life is too short.
l've got to hang up now.
David Kahane!
You have the wrong guy, man.
David Kahane. Griffin Mill.
Yeah?
Great movie, huh?
lt's refreshing to see something like this after all these cop movies...
and, you know, things we do.
- Maybe we'll do a remake of this. - You'd probably give it a happy ending.
No, we'd keep it pure.
Pure, right.
- You want to write it? - Don't fuck with me.
l'm not fucking with you. Didn't l say l'd get back to you?
Yeah, about six months ago. l thought you'd forgotten.
You were angry.
Maybe.
Do you want to talk about it?
- Okay, sure. - Great.
Let's let the studio buy us a drink.
lf you don't mind a place where you don't have any suck with the maitre d'.
- l know a bar down the street. - Let's go.
Have you ever been to Japan?
Yes. l was there once on a location scout with Steven Spielberg.
l lived there for a year.
Student year abroad.
l wish l'd done that.
l think about it a lot. l'll never forget it.
You should write about it.
l did. Don't you remember?
What?
My idea about the American student who goes to Japan.
That was my pitch, the one you were supposed to get back to me on.
- You don't remember, do you? - Of course l remember.
You never got back to me.
Listen.
l was an asshole, all right? lt comes with the job.
l'm really sorry.
l know how angry you must've been. l'll make it up to you.
That's why l'm here.
l'm gonna give you a deal, David.
l won't guarantee you l'll make the movie, but l will give you a shot.
Let's just stop all the postcard shit, all right?
l'm here to say that l would like...
to start over.
Friends.
Fuck you, man. You're a liar.
You're stepping over the line.
You didn't come here to see The Bicycle Thief.
You came in five minutes before the picture ended.
Nearly tripped over my feet.
Did you call my house?
Speak to the lce Queen?
You'd like her. She's a lot like you.
All heart.
You're on my list, pal. Nothing's gonna change that.
See you in the next reel, asshole.
lt's a nice boat you got there, movie exec.
lt's me, the writer. Still want to buy my story?
l told you l'd deal. Stop by the studio. We'll work something out.
And who will l ask for?
Larry Levy?
What's Larry Levy got to do with this?
- How do you know about Larry Levy? - Don't you read the trades?
New York Times business section? He's movin' in, you're movin' out.
You can't make a deal, they say. Yesterday's news.
Wait a minute.
Can l borrow your mobile phone?
Larry Levy. Larry, David Kahane here.
Guess who's making promises about getting pictures made...
to writers in parking lots?
Guess what dumb son of a bitch executive...
is trying to take advantage of me?
Do you realize how unstoppable this guy is?
You know, l cannot wait...
to tell the world that when Griffin Mill can't cut the pressure at work...
he drives out to Pasadena...
to pick fights with writers.
Tell Larry Levy to call me.
The word is out that he's going to start making meaningful pictures for a change.
Let's forget this. Just stop all the postcard shit!
l don't write postcards! l write scripts!
- We're both wrong. - No, you're wrong, buddy!
You're in over your head. That's why you're losing your job.
Then what are you gonna do?
l can write. What can you do?
l said, let's forget this.
Ah, shit.
Mill, you okay?
Keep it to yourself!
Kahane?
That's interesting. Who's writing this movie?
Who wrote the new ending to Fatal Attraction? The audience.
A million screenwriters from the audience wrote that.
Who's to say what it would have done if you had left the original ending?
You're right, but you can say that it's done almost 300 million worldwide...
with the new ending.
Larry Levy, l don't believe you've met my assistant, Whitney Gersh.
- No, l haven't. - lt's a pleasure to meet you.
How's your picture? lt just tested last week.
lt's doing well. lt was our first test.
Excuse me, Walter.
Joel, Griffin isn't in, but l think we really have to start this meeting.
Okay, Celia. Thank you.
Remember a movie called D.O.A.?
Sure l do. Eddie O'Brien and Pam Britton.
Disney did a remake in '87 or '88.
l think we've got pretty much the same situation here.
Keep our noses clean, Walter.
lt's a shame to waste a picture.
Who said we're wasting the picture? Where did that come from?
You know what's interesting? We're all too busy--
Griffin, you're really late. They're waiting inside.
To actually rub shoulders with the great unwashed?
We need to give them the kind of pictures they want...
not the kind writers want to give them.
- Hello. Sorry l'm late. - You certainly are.
A few minutes in the office would be fine.
Griffin, you missed the formal welcoming ceremony.
You know Larry Levy.
Of course. Hi, Larry.
Hi, Griffin.
Larry was able to leave Fox a week earlier than he thought...
and has come aboard as of this morning.
- Great. Let's start. - Larry was in the middle of something.
No, l wasn't. l was just killing time waiting for Griffin.
No, finish. What were you saying?
l was saying l've yet to meet a writer who could change water into wine...
and we have a tendency to treat them like that.
Not at this studio.
A million and a half of these scripts. lt's nuts.
And l think avoidable.
Let me ask you. When was the last time you bought a ticket to see a movie?
- You actually paid your own money? - Last night.
Pasadena. The Bicycle Thief.
- You saw The Bicycle Thief? - l love that. lt's a great film.
lt's an art movie. lt doesn't count. We're talking about movie movies.
Jesus, people.
l'm just saying there's time and money to be saved...
if we came up with these stories on our own.
- Where are these stories coming from? - Anywhere. lt doesn't matter.
The newspaper. Pick any story.
'lmmigrants protest budget cuts in literacy program.'
Human spirit overcoming human adversity. Sounds like Horatio Alger in the barrio.
Put Jimmy Smits in it and you've got a sexy Stand and Deliver.
- Next. Come on. - This isn't my field.
lt doesn't matter. Give it a shot. You can't lose here.
How about 'Mud slide kills 60 in slums of Chili'?
That's good. Triumph over tragedy. Sounds like a John Boorman picture.
Slap a happy ending on it, the script will write itself.
- Bonnie. Give me the paper. - l don't know, Larry.
Give it a shot.
'Further bond losses push Dow down 7.15.'
- l see Connery as Bond. - That's funny.
lt's a good thing Oliver Stone wasn't listening to you. Where would we be?
We would have been spared sitting through Wall Street.
- What did Wall Street do worldwide? - 70, 75, maybe 80.
$80 million, a couple Oscars.
l think Larry's point is well taken. Let's move on.
Can you give us an update on the Taylor-Hackford project?
Griffin?
Yeah.
l was thinking what an interesting concept it is...
to eliminate the writer from the artistic process.
lf we can get rid of the actors and directors, maybe we've got something.
Hello, Walter.
Make yourself at home.
Mr. Mill, l understand you were late coming in this morning.
You all right?
l'm fine.
l appreciate your concern.
What can l do for you?
Don't tell me you came here to pitch me a story?
That's exactly what l've come to do.
lt's a good one, too. lt's about a writer, sort of.
David Kahane.
Who's David Kahane?
- You met him. - l meet a lot of writers.
But this writer was murdered last night in back of the Rialto Theater.
Murdered?
Come to think of it, Pasadena's as good a place to die as any.
What's the story?
ln 25 words or less? Okay.
Movie exec calls writer. Girlfriend says he's at the movies.
Exec goes to movies, meets writer, drinks with writer.
Writer gets conked and dies in 4 inches of dirty water.
Movie exec is in deep shit.
What do you think?
That's more than 25 words. And it's bullshit.
Pasadena homicide doesn't think so. They've got a complete report.
You met Kahane at the Rialto, got drunk with him. He left before you.
That's the last time anyone saw him alive, except you, maybe.
Why are you denying this?
Well, what do the police think?
They think it's a botched robbery.
The window of his car was busted. He surprised someone taking the radio.
There was a fight, he was killed.
l didn't kill him, Walter.
But l went to see him. l know l said l didn't, but l did.
Why'd you lie to me?
Now's not a very good time for me.
Haven't you heard the rumors? l'm on my way out.
Just what l need, a little more controversy.
lt's not a good time.
Look.
l'm in charge of studio security in every definition of the word.
Which means it is my job to take care of a studio executive should he be...
under suspicion of murder at a time when profits are down...
and the company is vulnerable for a takeover.
lt is my job to keep this very, very quiet!
Do you want to help?
- Of course. - Then stop lying.
- How many times did you meet with him? - Once.
- Not counting last night. - Not counting last night.
Why'd you go all the way to Pasadena to meet him?
He had an idea l was interested in. l wanted to talk to him right away.
Was his girlfriend a friend, too? Think fast.
Jesus Christ, Walter. What is this?
The third degree. Wait until the police start asking questions.
l'll go to the police now. You come with me.
You're acting like someone who's guilty.
You're not guilty, are you?
l'm not a murderer.
Bad news?
What?
The fax. ls it bad news?
Business as usual.
The Hollywood system did not murder David Kahane.
Not the $98 million movie, not the $12 million actor.
Not even the million dollar deal that David Kahane never landed.
The most that we can pin on Hollywood...
is assault with intent to kill.
Because society is responsible for this particular murder.
lt is to society we must look...
if we are to have justice for that crime.
Because someone in the night...
killed David Kahane.
And that person will have to bear the guilt.
And if David were here now...
l know in my heart that he would say...
'Cut the shit, Phil.
What did you learn from this? Did you learn anything from this?(
And l'd say, 'Yeah, David, l've learned a lot.
We here will take it from here.
And the next time we sell a script for a million dollars...
and nail some shit-bag producer to the wall, we'll say...
That's another one for David Kahane.(
David was working on something the day he died. l'd like to share it with you.
'Blackness. A mangy dog barks.
Garbage can lids are lifted as derelicts in the street...
hunt for food.
Buzzing, as a cheap alarm clock goes off.
lnterior. Flophouse room. Early morning.
A tracking shot moves through the grimy room.
Light streams in through holes in yellowing window shades.
Moths dance in the beams of light.
Track down along the floor. The frayed rug.
Stop on an old shoe.
lt's empty.(
That's as far as he got.
That's the last thing he wrote.
So long, Dave.
Fade out.
Thank you.
Who are you? You're not a writer.
No, l'm Griffin Mill.
We spoke the night David--
Blue sea, white sea. Yes.
- lt turned out you were right. - What?
lt was a red sea.
Oh, yeah.
You're the only person l know here.
l'm really sorry about David.
He was a talent.
You really think so?
l always suspected he was...
uniquely untalented.
lt's nice of you to say that. lt was nice of you to come. You didn't have to.
l did.
You know, l was probably the last person to see him alive.
The police told me.
Not quite the last, surely.
l'm sure this is a terrible time for you.
ls there anything you need?
No, really. l don't feel bad.
lt's like when my parents died.
l didn't feel anything at all. They were just gone.
l'm sure it hasn't sunk in yet.
That was years ago.
No, l meant David.
Oh, God.
These people. l don't like it here.
They're all expecting me to grieve and mourn.
l can't talk to them.
David's gone and l'm somewhere else already.
- Will you take me home? - What?
Will you take me home?
Sure. l'm right here.
These are very interesting. l like them.
- Would you like a drink? - No, thanks.
Where do you show? What gallery? Who's your dealer?
l don't have a dealer.
l couldn't sell these. They're never finished. Biccy?
No, thanks. They're never finished?
No, they're just what l do for myself.
What l feel.
You ask lots of questions, Mr. Mill.
Just like the police. That's all they did, ask questions.
They asked me a lot about you.
Did they?
How long we'd known each other.
lf you'd ever been to the house before.
- They have to ask those questions. - l don't see why.
Because that's what police do.
- Can l ask you a question? - Sure.
Why was it so important to see David that night?
What was so urgent?
He pitched me a story a few months ago.
- The Japan story? - Yes, the Japan story.
l liked it but it needed work, especially the ending.
l was sitting in my office...
and it suddenly occurred to me how to make the ending work.
So what was it?
What?
Your idea for the ending.
Up.
Up? What does that mean?
As opposed to down. Moods.
You know, happy as opposed to sad. Hopeful as opposed to depressing.
- What did you think of his ending? - l never read it.
- You never read it? - Nope.
l don't like reading.
- Do you like books? - l like words and letters.
But l'm not crazy about complete sentences.
What did he think?
He walked out on me. l don't think David liked me.
l think he just didn't like happy endings.
Put your face here.
Great.
What are you doing? You aren't going to paint me, are you?
l might put you in one of my paintings.
There's one l want to do of an lcelandic hero.
He's a thief and he's made of fire.
- You might not like that. - Why not?
Because you're in the movies...
and in movies you can't have thieves as heroes, can you?
l don't know about that. We have a long tradition of gangsters in movies.
Yes, but they always have to suffer for their crimes, don't they?
We should pay for our crimes, shouldn't we?
l think knowing you've committed a crime is suffering enough.
lf you don't suffer...
maybe it wasn't a crime after all.
Anyway, what difference does it make?
lt has nothing to do with how things really are.
Do you really believe that?
l don't know what l believe, Mr. Mill.
lt's just what l feel.
You know what you are, June whatever-your-name-is?
A pragmatic anarchist.
ls that what l am?
l never was sure.
Can l just pick this up?
- Oh, it's heavy. - Thirty-seven ounces.
Really? Look.
l want to thank my mother, her mother and her father's mother who--
Hello.
- Meet Detective Susan Avery. - How do you do? My partner.
- Willa Broom. - My pleasure. Let's go in here.
This is the first real movie studio Detective Avery's been to.
- Really? - Aside from the Universal Tour.
l always take my family there when they come.
l've been there so often, l feel like l'm ready to direct.
You'd probably do better than the film grads these days.
l'm sorry l didn't call you when l heard Kahane was dead.
- Heard or read? - Read.
- Why didn't you? - Walter asked me the same question.
l wish l had a better answer. All l can say is l didn't think about it.
How did you know where he was gonna be?
- His wife told me-- - Girlfriend.
Girlfriend.
l didn't know either of them.
l was restless, thought l'd see the movie.
lf he was there, l'd talk to him about a job l thought he was good for.
You got to the theater, saw him and?
We had a drink at a Japanese place.
lt was a wild, incredible scene. lt was like Tokyo.
He left before you. Why didn't you leave together?
lt was an incredible scene. l was having a great time.
Why didn't you stay longer?
People stopped singing. Then it was just a bar and l don't drink.
- You drank with him. - When in Rome--
Did you know him socially? Been to his house?
Know anything about him personally?
We'll let you get back to work now.
What's bothering you?
Well, l just have to ask.
Did you see him in the parking lot after you left?
No, l parked on the street. l drive a Range Rover...
so l feel safer when it's visible.
Who's gonna smash a window if it's on the street?
lf you had a shitty car, you would've parked in the parking lot?
lf l had a shitty car, l might be a dead man.
Somehow l think you're too lucky for that.
Thank you.
Okay, 63, take three. Marker.
Now.
Action!
No, goddamn it, you listen to me! l've been around a while. l got a nose.
This situation stinks. lt stinks of the company.
That's right, Peterson, the fucking ClA. Ever heard of it?
lt's the kind of operation--
You don't understand what he's trying to go for here.
lt's hard to listen to your argument when you don't understand.
- Would you shut up, please? - Kiss my ass!
l have to cut. My robe cut on the drawer.
- For Christ's sakes! - l like this guy. He's great.
Waters? Can l have some Volvic, please?
Yeah, he's great.
l heard the police came to see you about this dead writer.
- Who was this guy? - His name was David Kahane.
l never heard of him. We ever hire him for anything?
l was thinking about it.
He pitched me a story. l went there to talk to him about it.
Jesus. Poor bastard. Just when his ship comes in, some bastard blasts him--
l don't want to criticize you...
but l'm supposed to be talking on the phone.
Are the cops still bothering you?
- No. No, l don't think so. - Let Stuckel handle it.
We'll give them passes to a screening. They can sit behind Michelle Pfeiffer.
They'll leave you alone.
A guy named Joe Gillis called.
He wants you to meet him at the St. James Club at 10:00 on the patio.
- Never heard of him. - He said you'd know him.
Anybody know who Joe Gillis is?
He's a character William Holden played in Sunset Boulevard.
- The writer killed by a movie star. - Gloria Swanson.
Oh, that guy. Last week he said he was Charles Foster Kane.
A week before that it was Rhett Butler.
Why would they think l would kill my own sister's husband?
l was in love with him.
- Griffin? Griffin. - Malcolm McDowell, good to see you.
Listen. The next time you want to badmouth me...
have the courage to do it to my face.
You guys are all the same.
- You love it there? - l love it. lt's wonderful.
You love your career, don't you? What is it?
lt was a complete disaster. Look what happened in Heaven's Gate.
We both are concerned...
about your career.
Where l live, l know how people think and feel.
Montana will end you. lt ended Cimino in Heaven's Gate.
- Griffin Mill, hi. Andy Civella. - Andy, how are you?
l've got Andie MacDowell sitting over here. You know her. She's so hot.
- Come over and meet her. - Still living in New York?
l couldn't live here. l'm allergic to happiness.
Andie, it's good to see you again. How are the kids?
Great, thanks. He's wonderful, thank you.
You geniuses know each other. Tom Oakley.
- Yes, Hi, Tom. - How are you?
- Funny. l just saw Malcolm McDowell. - Really?
Roddy McDowall is related to a cousin of my brother-in-law.
Well, l'm not related to either one of them.
lf l write it, l direct it.
The last three pictures you directed were bombs!
Thank you for the drink. l've got to go.
You've got to go?