We'll walk you to the car.
No, it's okay. Don't worry about it.
We'd like to buy you a drink.
l can't. l'm meeting someone. Business.
-We should tell him about Habeas Corpus. -Of course, but he's a busy man.
- ls there anyone waiting for me? - No one's asked.
l'm expecting someone. l'll be out by the pool.
But he'll get back to us. Right, Griffin?
Oh, sorry.
- Jesus, Andy, it's you. - Of course it's me.
l can't ask you to join me. l told you. l'm meeting somebody.
Yeah. You're meeting me. We got some big business.
You? You?
- Why not me? - You think this is fucking funny?
What are you talking about?
Wouldn't she make a great Nora? l'd love to write another Doll's House for her.
Did you meet Tom Oakley?
- Yes. You mean you didn't call me? - No, l didn't call you.
l'm sorry. l'm really sorry.
Listen, l really am meeting somebody.
There's no way l can hear a pitch right now. Call me tomorrow.
No, l can't do it tomorrow. l've got a meeting at Paramount and Universal.
Congratulations.
- lf you don't hear it now, you'll lose. - Then l lose it.
lt'll take 20 seconds. When your friend gets here--
- What friend? - Whoever you're gonna meet.
Twenty-five words or less.
Absolutely. You sit here, Tom. Go.
- The D.A. is at a moral crossroads. - Tom! Jesus Christ.
We open outside the largest penitentiary in California.
lt's night. lt's raining. A limousine comes through the gate...
past demonstrators holding a candlelight vigil.
The candles under the umbrellas glow like Japanese lanterns.
That's nice. l haven't seen that before. That's good.
A lone demonstrator, a black woman, steps in front of the limousine.
The lights illuminate her like a spirit.
Her eyes fix upon those of the sole passenger.
The moment is devastating between them.
He's the D.A. She's the mother of the person being executed.
You're good! l told you he's good.
Go on.
The D.A. believes in the death penalty.
And the execution is a hard case. Black, 19, and definitely guilty.
The greatest democracy in the world, and 36% of people on death row are black.
Poor, disadvantaged black.
He swears the next person he sees to die...
will be smart, rich and white.
- You, me, whoever. - What a hook! Beauty hook.
Cut to the chase.
Cut from the D.A. to an up-market suburban neighborhood.
A couple have a fight. He leaves in a fit, gets in a car.
lt's the same rainy night.
The car spins out and goes into a ravine.
The body is swept away.
When the police examine the car, they find the brakes have been tampered with.
lt's murder, and the D.A. decides to go for the big one.
He's going to put the wife in the gas chamber.
But the D.A. falls in love with the wife.
Of course! But he puts her in the gas chamber anyway.
Then he finds that the husband is alive.
That he faked his death.
The D.A. breaks into the prison, runs down death row...
but he gets there too late.
The gas pellets have been dropped.
She's dead.
l tell you, there's not a dry eye in the house.
She's dead?
She's dead. She's dead because that's the reality.
The innocent die.
- Who's the D.A.? - No one.
No one?
No stars on this project. We're going out on a limb on one.
Like unknown stage actors...
or maybe somebody English like what's-his-name.
- Why? - Why?
This story is too damned important to risk being overwhelmed by personality.
That's fine for action pictures, but this is special.
We want real people.
We don't want people coming with any preconceived notions.
-We want 'em to see a district attorney. -Bruce Willis.
Not Bruce Willis or Kevin Costner.
This is an innocent woman fighting for her life.
- Julia Roberts. - lf we can get her.
We can!
lf l'm perfectly honest, this isn't even an American film.
- lt's not? - No. There are no stars.
No pat happy endings, no Schwarzenegger, no stickups...
no terrorists.
This is a tough story, a tragedy in which an innocent woman dies.
Why? Because that happens!
Habeas Corpus.
That's what we're calling it. 'Produce the Corpse.' What do you say?
-That pitch was more than 25 words. -But it's brilliant! What's the verdict?
- Mr. Mill, for you. - Who gave this to you?
- l received it at the front desk. - What is it?
lt's from the person l was meeting.
He's not coming.
Do we have a shot?
lt's an intriguing idea. Give me a call at the studio tomorrow.
There's a scene in Throne of Blood that has exactly the texture--
- Tom, just say thank you. - She has to die! No Hollywood ending.
Tom, say thank you!
Fuck! You fucking dog-shit writer! You fucking tried to kill me!
Oh, God, you gave me such a scare!
What are you doing here?
You gave me such a fright. Come in.
Come on in.
What's the matter? You look terrible.
What's up?
Sit down. l'll get you a drink.
Something happened.
- ls it too late? - No, it's not too late.
l don't even know what time it is.
What's wrong?
- What are you painting? ls that me? - Yes, it's you.
See?
Do you have snakes in lceland?
Snakes? No, l don't think so.
Are you afraid of snakes?
l don't know. l've never come close to a real one.
They scare the shit out of me.
Have another.
l don't usually drink.
Something happened tonight.
Yes, but...
there's something else l have to tell you.
This isn't easy for me.
Yes?
How about if l just get on with my work...
and you talk to me when you feel like it, okay?
l came very close to dying tonight.
All l could think about was you.
l don't even know you...
but you came into my mind.
l couldn't think of anything else.
Remember that first night we spoke on the phone?
l was outside these windows watching you and--
lt was so exciting.
So new.
Strange.
l can't get you out of my mind.
Are you making love to me?
Yes, l guess l am.
l guess l am.
l want to make love to you.
lt's too soon.
lt's too soon, isn't it?
lt's so strange how things happen.
David was here...
then he left.
You arrived.
Maybe it's just the timing, but l feel like...
l would go anywhere with you...
if you asked.
But we mustn't hurry things.
We can't hurry things...
any more than we can stop them.
l think you better go now.
l think l'm going to cry now.
You better go quick.
l'm sorry.
No, no, don't be sorry. Just go home...
and get some sleep.
Call me...
tomorrow.
lnvite me on a proper date.
l'd like that.
Jan? Jan! Get me Larry Levy on the phone.
- l don't think he's on the lot. - Try his car.
- lsn't he at Fox? - He used to be. Not anymore.
l pitched him something a few months ago. He hated it.
- That Griffin? - Yeah.
Larry, Tom Oakley and Andy Civella are here. l wouldn't bother you...
but you should hear their idea now.
- Hi, guys - Hi, Larry.
The voice you'll hear has an English accent. Tom Oakley. l'm Andy Civella.
Hi, Andy. l know Tom. How are you?
Very well, Larry. And yourself?
Fine. What's your story?
We open outside San Quentin. lt's night.
lt's raining.
A limousine enters through the gate, past demonstrators...
holding a candlelight vigil.
The candles flicker under umbrellas glowing like Japanese lanterns.
A lone demonstrator, a black woman, steps in front of the limousine.
Her eyes connect with the lone passenger.
lt's a devastating moment.
lncredibly potent.
No stars. No Schwarzenegger. No pat Hollywood endings.
No car chases. This is an American tragedy...
in which an innocent woman dies.
Because that happens. That's reality.
Take me off the speaker phone.
l don't know. lt's a really hot story. But what is this bullshit, no stars?
Let me give you a little tip. Levison came to power on two movies.
He made $300 million with no stars in them.
He will love this idea. lt'll remind him of his youth.
His motto used to be 'No stars, just talent.'
- Has anyone else heard this? - l don't think so.
Make a deal now.
Tomorrow may be too late. Can we get ahold of Levison?
Yeah, l'll get Levison. When can you be back?
After my AA meeting.
l didn't realize you had a drinking problem.
l don't really, but that's where all the deals are being made these days. See ya.
Tom, that was a hell of a pitch.
Good work. l think you sold Larry.
Great! When will we hear?
Go home, put some champagne on ice. l'll give you an answer by tonight.
Jan, come here.
You move in mysterious ways, but l like it.
Did Levy understand? No stars.
Yes, he was particularly attracted to that notion.
- No Hollywood ending? - No Hollywood ending.
They looked happy.
They have a completely fucked-up idea that has no second act.
lf l hadn't heard it myself, l never would've believed it.
Larry Levy liked it because he's a dickbrain.
Levy will sell the idea to Levison.
Then l will let Levison have the brilliant idea...
of letting Larry take over the project from me.
You will?
Levison can't wait to get in bed with Levy.
This piece-of-shit idea will blow up in both their faces.
And then l will step in and save the day.
Yes!
Three points.
Great shot!
She's receiving the last rites.
The D.A. discovers that the husband faked his own death.
She's innocent. He races to the penitentiary, but it's too late.
The pellets have dropped. She's dead.
He helped kill the woman he loved.
- Who are the stars? - No stars, just talent.
No stars?
What the fuck kind of ending do you call that? lt's depressing.
Depressing? Terms of Endearment, Love Story, Steel Magnolias?
E.T. grossed $319 million worldwide...
and there wasn't a dry eye in the house.
- Depressing? l don't think so. - Yeah, but--
Normally l'd agree with you, but this is an entirely different kind of deal.
lt is a matter of taking the risk, rolling the dice.
But if they come up 7, bingo!
lt's Oscar time.
- Do they screw? - Who?
The D.A. and the woman. Do they screw?
lf l'm going to be looking at jail cells and gas chambers, you need some sex.
Sure, of course. We'll get it there. No problem.
Who's gonna shepherd this thing?
Larry, you seem to have a good feel for this. You want to run with it?
- This project originated with Griffin. - Bonnie.
l don't want to dance at somebody else's wedding.
lf it's Griffin's project, it's Griffin's.
- We should-- - Bonnie, this will have to be my call.
lt's fine with me.
My plate is full anyway.
Larry, it's yours. Hit a home run, win an Oscar for the home team.
Griffin, l've got something else for you. New York tomorrow.
Tom Wolfe's new book will be in a room at the hotel. Read it and make your bid.
Send Bonnie. She'll know if it's a movie. lf it is, the bid's a million.
- Me? - A million! That's high, isn't it?
lt's Tom Wolfe. Why not you?
l'm a story editor. That's a vice president's job.
- You don't want to be a vice president? - Bonnie, pack your bags.
Congratulations. That was the most amazing piece l've ever heard.
- lf you don't want the responsibility-- - No, l'm going.
l really want to be one of your soldiers.
- l'm glad you're on the team. - Bonnie will be gone. l'm here for you.
Whitney, now!
Frank, Marty, come in.
- May l have a word with you? - l have a meeting.
- Find the time. What is going on? - What do you mean?
Handing Larry Levy your project.
l thought Larry had...
a firm grasp on the style of the piece.
The only thing Larry Levy has a firm grasp on is his dick!
l'm not Oz, l can't do everything.
Why shouldn't l use Larry if l think he has what it takes to get a picture made?
- That way everybody wins. - Why are you bullshitting me?
- l'm not! - You never used to bullshit me.
l know you. You've been stringing me along.
- Habeas Corpus, Griff. - Habeas Corpus.
You've been stringing me along like one of your goddamn writers.
Why get Levison to send me to New York? Are you trying to get rid of me?
Get rid of you? l'm trying to help you.
lf you score in New York, Levison has to make you a vice president.
Jesus, are you afraid of success?
Are you seeing someone else?
- That's what this is about? - Not just this. lt's a lot of things.
lt's the way you've been acting. Something is going on.
Jesus Christ.
You're not even looking at me when you're talking to me.
Please look me in the eyes and just tell me.
No bullshit. ls there someone else?
Have a good trip.
Our top story this evening involves Hollywood's three favorite G's.
A glamourous, glitzy, gala night on the town.
lt is a who's who of stars.
No l.D.s necessary, household names one and all.
Leeza Gibbons reporting here.
Right this minute you could fire a cannon down Sunset Boulevard...
and not come close to hitting a celebrity.
Everybody who is anybody is right here rubbing elbows...
and making big talk in this ballroom.
All the movers, the shakers, behind the scenes and on the screens.
Leave it to Cher to wear red...
when the impossible-to-come-by invitations...
call for 'black and white only, please.'
Hi, Terry, nice to see you.
June Gudmundsdottir, Teri Garr, Buck Henry.
The occasion this evening, as big and important as the all-star turnout.
The studio, world-famous for the slogan 'Movies, now more than ever'...
is donating prints of 25 of its classic black-and-white films to the museum.
Now they'll be able to say, 'Movies, now more than ever forever.'
Thank you.
lt's wonderful to see so many familiar and friendly faces around.
As you know, the L.A. County Museum has always been close to our hearts...
and especially the motion department.
Motion picture department!
We're happy to make possible this donation.
l'd like to introduce a man whose idea this all was.
Griffin Mill, please.
Thank you, Joel.
Grab another drink.
l'd like to extend my thanks...
to the patrons of the Los Angeles County Museum.
You have long fostered the art of motion pictures...
as a serious and valuable art form in this community.
Many people across the country and around the world...
have for too long thought of movies as a popular entertainment...
more than serious art.
l'm afraid a large majority of the press supports this attitude.
We want great films with long shelf lives.
We want the films of the new John Hustons...
Orson Welles, Frank Capras.
We and the other major film studios have a responsibility to the public...
to maintain the art of motion pictures...
as our primary mandate.
Movies are art, now...
more than ever.
Thank you.
Griffin, that was a hell of a job. Couldn't have done it better myself.
l'll know all of your lines soon.
- Well, are we having fun yet? - l'm having a great time.
'Griffin Mill, the writer's enemy. l'll get back to you'
ls this a friend of a friend?
- Sorry? - How did you meet?
We met at a funeral.
- lsn't that right? - Absolutely. Excuse us.
Don't make a scene.
That's what l call a real date.
Should l come in?
- Well-- - Well?
Not tonight, but soon.
Very soon.
- How about Mexico? - Mexico?
Neutral territory. Acapulco.
- l've never been there. - We'll go.
- ls that the thing to do? - That's a thing to do.
- Let's do it then. - We'll go this weekend.
- Really? - Yeah.
- Do l need a passport? - Yes.
Mr. Mill, l'm Detective DeLongpre, Pasadena police.
Yes, l recognize you.
Did you have a good time at the party last night?
No, l didn't. l'm not supposed to have a good time when l'm on duty.
Great. What do you want?
- Come down to the station. - Why?
- To look at some pictures. - Pictures?
Mug shots, like in the movies.
Ah, mug shots! All right.
- Will you follow me to Pasadena? - Pasadena.
Will you fasten your safety belt, please?
No! Take your hands off of her!
- l want my baby. - Where's her baby?
- Mr. Mill! - Hello, how are you?
Good to see you. Everybody, this is Mr. Mill. He makes movies.
Have a seat.
Where the fuck is he going? Excuse me. Mr. Mill?
Not in here. This is my lieutenant's office. Have a seat here.
All right.
Willa, could you? Your desk? Thank you.
Sorry. Have a seat, Mr. Mill.
Before we start, Paul saw a movie last night.
He raved about it.
- What was the name of that movie? - Freaks.
- Have you seen this? - Tod Browning. Yes.
One of us, one of us.
He came in doing that. He was raving about it.
He loved it. lt was thrilling for me. Willa?
Did you see where the tampons went? l can't find them.
- l didn't take them. - Did he take them?
- l don't know. - Who did?
You see this? Damn!
- Do you have a break in the case? - What makes you say that?
Well, why else would you bring me here?
Why else, indeed. Paul?
Paul, why have we brought Mr. Mill in here today?
To look at some pictures.
Pictures.
Could you, if you remember, what were you wearing that night?
l was wearing a double-breasted suit, l believe.
Just-- lt's all right.
What's the matter? You're so jumpy. Sit down.
- l'll get it. - No, that's what she's here for.
- Have a seat. - Sorry.
Will you take a look at this?
Where were they? She found them. You're right.
Wait a minute. No, these aren't mine.
These are slender regular. These are yours.
- l guess you have jumbo. - l use jumbo. These aren't mine.
God, just trying to help you out.
Did you see this guy the night of the murder?
Sorry.
No, l, l-- You're putting me in a terrible position here.
l would hate to get the wrong person arrested.
Please! This is Pasadena. We do not arrest the wrong person. That's L.A.
ln L.A. they kick your ass and then they arrest you. We don't do that here.
Remember last year? What was that guy's name they put on tape?
- What was that? - King.
He was the wrong guy.
- Do you have a witness? - l can't answer that.
Either you have a witness or these are suspects in similar murders.
Have you been going to detective school?
No, actually we're doing a movie called Lonely Room.
Scott Glenn plays a detective like yourself.
ls he a black woman? Don't give me turkey.
Actually l was drawing the comparison not based on race or gender.
Speaking of which, did you go out with June--
- What is that woman's name? - Gudmundsdottir.
What is it?
Who-- Spell it for me.
- G-U-D-M-U-N-D-S-D-O-T-T-l-R. - That really helps.
- Did you go out with June-- - Gudmundsdottir.
- Yeah, her, last night? - Yes, l did.
Have you known each other long?
No. l spoke to her for the first time the night Kahane was killed.
- Wow. So you didn't know her before. - No, l didn't.
We met over the phone. We got to talking and one thing led to another.
Did you fuck her?
- What kind of question is that? - l think it's pretty direct.
Did you fuck her?
l wouldn't answer that without a lawyer in the room...
and then l probably wouldn't even answer that question.
Why don't you ask your friend? He's followed me. He'll probably know.
All right.
- Did Mr. Mill fuck June 'Hutmahuter'? - l didn't see him.
- See? You got away with it. - What are you implying?
l'm not implying anything. l asked you a direct question. Did you fuck her?
l said l wouldn't answer without a lawyer.
- Why are you getting angry? - Because you're being rude.
Excuse me. But l think it's soon for her to be gallivanting with you.
l'm there for her as a friend.
Why don't you call her? l'm sure she'd be happy to pick over this horror...
and tell you how we became friends.
What is this, fucking lran? Since when does the State...
tell us how long and with whom we can share our grief?
Or do you hold June Gudmundsdottir...
to a special code reserved for women?
- What the fuck are you laughing at? - lt's just--
l'd like to talk to my lawyer.
One of us, one of us.
lt's time to get a good lawyer.
l had a drink with the guy, Walter. That's all.
lf you went to Pasadena with intent to kill, you could go to the gas chamber.
l went to Pasadena with the intent to hire.
So you say.
The Schecter brothers are here.
Griffin, don't make us wait.
- Who is this man? - The travel agent called.
- You're confirmed. - Travel agent?
l'm going to Puerto Vallarta.
- You're leaving the country. - For the weekend.
- lt's a risk. - Why?
Because Larry Levy could have my office in three days.
- That's what Walter thinks. - You know something l don't know?
- You're pretty smooth. - l sleep at night.
- You really should run a studio. - Tell a friend.
Walter, it's been real.
We're tired of shuffling things around. We want to go exclusive to one studio.
- How much have our last pictures made? - $105 million.
- Some do better but we're under budget. - He's not listening. Go to Columbia.
- We already went to Columbia. - Oh, yeah. What did they say?
Hey, l got the Tom Wolfe book.
Congratulations.
Bonnie, make him give us a deal. We want a home.
We're tired of shopping everything around.
l thought that's how you guys liked to do business.
We changed our minds.
l'll talk to you later.
Levison says you're going out of town tomorrow.
For the weekend.
Are you going with someone named June something?
Yes.
You took her to a party with several hundred of my best friends.
She's recently widowed.
You weren't in town so l took her.
And now you're taking her to Mexico for the weekend.
- Let's leave. Mom and Dad are fighting. - Guys.
Have your lawyer give me a call. You've got a deal.
-Let's leave before he changes his mind. -We have witnesses.
Have a good trip.
''M' The worst crime of all'
Did you bring your passport?
- Wanna hear something funny? l forgot. - We'll have to go back and get it.
So stupid of me. We'll never be able to make another plane. Damn it!
lt's all right. Anyway, l got a better idea. Do you like the desert?
- l've never been. - l know this great hideaway.
We'll go there. lt's a two hour drive. l know the people. We'll call ahead.
Are we hiding?
Yes, we're hiding from everybody.
You'll like it there. lt'll remind you of lceland.
Good evening, Mr. M. You're checked in. Capone Villa. You know where it is.
Yes. Thanks.
Look! The water looks like it's steaming.
Comes out of the ground that way.
There aren't many people around.
They're fully booked, actually.
- There's 50 rooms, 100 people. - Where are they all?
Hiding.
- Sir? - Two Banning Springs waters, please.
Right away.
Do places like this really exist?
Only in the movies.
Tell me about the movies you make.
Why?
Because l want to know what you do.
l listen to stories and decide if they'll make good movies or not.
l get 125 phone calls a day...
and if l let that slip to 100...
l know l'm not doing my job.
Everyone who calls wants to know one thing.
They want me to say yes to them and make their movie.
lf l say yes, they think that come New Year's...
it will be just them and Jack Nicholson on the slopes of Aspen.
That's what they think.
The problem is l can only say yes...
my studio can only say yes 12 times a year.
And collectively we hear about 50,000 stories a year.
So it's hard.
And l guess sometimes l'm not nice...
and make enemies.
That's what l was to David.
Enemy.
- Was his story one of the 12? - No, it wasn't.
Why?
lt lacked certain elements that we need to market a film successfully.
What elements?
Suspense, laughter, violence...
hope, heart...
nudity, sex...
happy endings.
Mainly happy endings.
What about reality?
You're not from lceland, are you?
Did l say that?
Why don't you put me in the hot springs and see if l melt?
l love you.
l know.
There's something you have to know, something l have to tell you.
That's all right. Nothing can change that.
- June, David's death. - lt's in the past.
Don't. lt's another life.
There's something you have to know.
Don't say any more. Don't.
- l was responsible. - l love you. Don't!
- lt was my fault. - Don't say that.
Don't, don't. l love you.
Mr. M., l'm sorry disturb you. There's a phone call and it sounds important.
- Who is it? - Dick Mellen. He says he's your lawyer.
Dick, how'd you find me?
Come on, who the hell do you think you're talking to?
Yeah. What's going on?
- Levison's out. - Out?
- He's cleaning out his office. - Who's taking over?
Nothing's been decided. We only know Reggie Goldman went home with the clap.
Am l in a position to--
No studio politics. Why didn't you tell me about this Kahane business?
Kahane? l tried to, but--
You didn't try hard enough.
You better be at the Pasadena police station in four hours.
Pasadena? What for?
For a fucking lineup. They got a witness evidently.
l found you a guy. His name is Gar Girard.
He's a topflight criminal lawyer. He's tough, hard-nosed.
Don't talk to anybody else. Just get there.
- l'll be there. - This is a tough one. Good luck.
Mr. Mill, the studio's very upset about the publicity this might generate.
l'll handle the press, police, judge and the witness.
Thank you for coming without a fight. lt's in your best interest.
- Did you sleep in that suit? - Get away from her. She's the enemy.
- Susan, l had a lovely time. - l can't believe you remembered.
Mr. Mill, Gar Girard. l'm here to represent you.
Dick Mellen called me in on this. Here's the situation.
They've got a witness and want you to do a lineup.
lf you say no, they'll arrest you.
Even if you get identified, l'll get you off on bail.
This witness lives across the street from the parking lot.
Even if she makes an identification...
a positive l.D., it was very late at night.
By the time l'm finished with her, we'll have a new legal standard for blindness.
This is like they do on TV.
Don't worry. You can see them, but they can't see you.
Just tell the truth.
l saw him clearly.
Fire it up.
Number one, step forward. Make a quarter turn to the right.
- Are those prescription glasses? - You can't ask her that.
- lt's very hard, you know. - Yeah, l know.
- l wouldn't want to pick the wrong one. - No. God forbid.
- Just take your time. - Anybody look...
vaguely familiar?
Well, you know--
Take your time.
- This is not easy. - lt never is.
- l am trying. - Yes, just take your time.
And l did see him clearly.
- l don't-- - Look hard. Take a good look.
l did. l am.
Um, could l see number three again?
- Call number three. - Wait.
- Could l-- - Could she call her own numbers?
- Excuse me, excuse me. - Thank you.
Which number? Number five.
Susan, l think she can call who she's interested in.
- You're right. - No, the other one.
That one.
Which one?
- lt's not number six. - Not number six.
- Three. - What do you mean number three?
l think she can request who she wants to see.
- Wait. You want to see what number? - Him.
That's him! l'd swear on my mother's grave.
Number three.
- Number three? - Number three.
Number three on her mother's grave.
We heard what she said.
Yeah, l would say so.
- Take them out. - Number three. Thank you.
Ma'am, may l be personal? Where the fuck is your mother buried?
Let's get out of here.
l don't know who got to that witness. She wrapped up my case picking that cop.
You're a lucky man, Mr. Mill. Goddamn, no ramp again!
Witnesses can't be relied on. Remember Witness for the Prosecution?
Marlene Dietrich and Tyrone Power?
You're free as a bird. No witness, no crime.
That Avery woman thinks you got away with murder.
Everybody does, Mr. Mill.
Our Father who art in heaven...
hallowed be Thy name.
Thy kingdom come, Thy will be done...
on earth as it is in heaven.
Give us this day our daily bread...
and forgive us our trespasses--
You have made a wonderful movie. lt's perfect.
lt's Oscar time, Larry.
What?
Too late. Come on.
Get back!
- What took you so long? - Traffic was a bitch.
- lt's outstanding. - The audience will love it.
You sold it out!
How could you let him sell you out? What about truth? Reality?
What about the way the old ending tested in Canoga Park?
Everybody hated it. We reshot it, now everybody loves it.
- That's reality. - But you had an ending which was true.
Who is this person?
Doesn't she know anything about working with grown-ups?
Bonnie, goddamn it. This is a hit. This is what we're here for.
lt didn't have to end this way.
- l want you out of here. - Good thinking, Larry.
l'm going over your head, Larry.
Bonnie, you're fired.
Fuck you!
lt takes more to make it in this business than a dirty mouth.
The campaign.
lt's very important. l must talk to him.
- He's very busy. - Please?
lt's me, Bonnie. We're friends.
You don't understand. l am not just me, l'm also the job.
Please? Please?
All right. l'll try. Okay?
Walter, stop that nonsense!
Griffin, it's Bonnie.
She's here.
- Did Levy fire her? - Yes, sir, l guess he did.
l can't see her now.
l promised l'd be home early.
Tell her l'll get back to her.
- Get your foot off the fucking couch. - Tell her yourself.
Yes. Could you hold, please? Griffin, it's Larry Levy's--
Please! Griffin, please, can we talk about it?
Bonnie, l know you'll land on your feet.
lt's Larry Levy's office. He says it's very important.
Give it a minute, then transfer it to the car phone.
- Yeah? - l have Larry Levy on the line.
How did the screening go? How's my new ending?
Fantastic! Worked like gangbusters. That's why you get the big bucks.
Yeah. Stop kissing my ass. What do you want? Can't this wait?
l don't think it should. This is hot. You should hear this writer's pitch.
- We should go for this great idea. - Who's the writer?
l'll put him on the speaker. Hold on.
Hi, Griff. Remember me? l'm the asshole who was in the postcard business.
- You. - The king of suspense. You remember me.
l haven't heard from you for a while.
- l've been busy writing a script. - Give him the pitch.
You'll love this. lt's great!
lt's a Hollywood story, a real thriller.
lt's about a shit-bag producer, studio exec...
who murders a writer he thinks is harassing him.
The problem is, he kills the wrong writer.
Now he's got to deal with blackmail and the cops.
But, here's the switch. The son of a bitch gets away with it.
Larry, get off the speaker. l want to talk to him privately.
Sure. This is a winner.
- He gets away with it? - Absolutely.
A Hollywood ending.
He marries the dead writer's girl and they live happily ever after.
- Can you guarantee that ending? - lf the price is right, you got it.
- Guarantee that ending, you got a deal. - l guarantee it.
- What do you call this thing? - The Player.
The Player.
l like that.
What took you so long?
Traffic was a bitch.
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