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Full Frontal (2002)
CALVIN: Gus Delario... | the invisible man is Gus.
He's one of those guys... who you feel like | you know them really well... but when | you think about it... you don't really know them | at all, you know what I mean? And, you know, obviously... you look at his track record | of all the movies he's done... He's been very successful. | Almost every actor in town... wants to work in, you know, | one of Gus's movies. FRANCESCA: I've done | some mean things in my life. Yeah. And sometimes, | the... ahem, ahem... the worst part is | is that sometimes... it doesn't bother me. I just say, well, | yeah, this is mean. I wanted to be mean, | and I was mean. Period. LEE: Well, I have to be | somewhat judgmental... because of what I do, | you know... so I don't think | that it's such a bad thing... to be judgmental. I think that's | how you get through life. You have to assess things... and people do it | about you all the time... and that's life, | and it's too bad. CARL: I think there is | no amount of money... I could have been paid... there is no deal | that I could have made... that she would not have felt | that I had been too passive... and that... I think that... her opinion of me | on that level... was formed before | the movie was ever sold. I think it has nothing to do | with the movie, frankly. ARTHUR: It's frightening. | It's monstrous. It's evil | to not have feelings. So I spoke to Carl about it, | and we discussed it... and we went immediately... to the most monstrous | character... we could think of in history... you know, Hitler himself. LINDA: Yeah, they're always | trying to set me up... Lee and Carl. They... Well, they never have | introduced me to anyone... but they always talk about | how I should be dating. But they're | trying to set me up now... with this producer friend | of theirs... a guy named Gus. Uh... we'll see. | I don't think... a film producer's going to go | for me, but I don't know. - Catherine? | - Nicholas, Yes, - How are you? | - I'm good, How are you? Excellent, Thank you, | Thank you for having me, - Sure, | - Mind if we get started? So, I play his partner, An equal partner? No, I'm his flunky, if that's what you want to hear, Is that what you want to write? Is that what | you want me to write? No, | No, you can write "sidekick," That's fine, See, the thing is, | I've done a lot of TV, He's an established star, I figure it doesn't make me | any less talented, So, no, Look, if I'm going to make | the leap to the big screen, I expect to work for it, Don't that make sense? Don't you think | most black actors, expect to have to work | to make that leap? It doesn't seem to happen | as often with white actors, - Jesus, | - Don't you find that the case? A couple of movies, 15,20 million dollar paychecks, | magazine covers, OK, is this the kind of story | you want to write? We can go there, Trust me, I've got plenty | of opinions on the subject, Jesus, LEE: Carl, | I've reached the point... where I can't continue | in this marriage. I'm writing because | I can't take any more... emotional confrontations | about it. I'm out of ideas, | and I want to make a change. When I get home tonight, | we can discuss... the practical issues | of how to separate. Please don't call me. | I'm sorry. "Fifth robbery in two weeks | at a pornographic bookstore," CARL: Oh. LEE: | They say it's a woman. Jesus, Did you have | bad dreams last night? LEE: No. Well, I did, Well, I had a weird dream, I dreamt that my job, was that every day | I would go into work, and narrate a documentary | about some guy's life, and go home from work | and have dinner, and go to bed and go back | to work in the morning, It's like | I have no effect on anyone, So, what's on for today? More bloodshed, God. | How do you stand it? Hey, listen, don't | forget to make the brownies, for Gus tonight, OK? Right. Bye, ARTHUR: Nobody I know... is in any kind | of long-term relationship... with anybody they've met | on the internet... but the short-term stuff | have been pretty exciting. I don't know what | I'm gonna do when I meet her. She thinks I'm twenty-two | years old, and I'm not. I'm not a painter, | although I'd like to paint. So, it could be anything. I mean, the imagination | could take you anywhere. I find that | really, really exciting. And it's one of those places | where I can lie. LINDA: I'm happy with | meeting men on the computer... on the internet, | in the chat rooms. And, you know, | people disappoint... and these people | don't so much, so... I really connected | with somebody. So... and he's a painter... and, you know, gosh... five years from now, I'd like | to be living there with him. I've told him | I'm a massage therapist... and I didn't lie. Um... I lied a little about my age... just a little... | because he's so young. So, I just knocked | a few years off of that. CAL VIN: She said, | "No, baby, you're bored... "but why are you | taking that out on us?" It was that kind of thing, It just... you know, | everything clicked, for me, Oh, Sorry, You transcribe those yourself? Someone at work, - Like an intern? | - Mm-hmm, Male or female? What do you think? Male, Yeah, So, which is it? And don't tell me | you're not gonna say, Male, - Ah, | - Mm-hmm, Do you want to know | if he's straight? Oh, no, I know he's straight, Oh, shit, Yeah, I'm coming, I'm coming, Wait, Wait, I... Django, go, go, go, go, go, Hey, Frank! CARL: I'll tell you... | I'll tell you what it's like. OK, you know, | I work at this magazine. This magazine is great. | It's very good. It has very high standards, | I think. I think they can do | really good work. But I think the guy | who runs the thing... is just not very smart. I mean, you know, | this is between us... but I just don't think | he's very smart. I think his instincts | are all wrong... and I think | he's, you know, the big butt. LEE: Yeah, you know, | I've lost my temper in traffic. I have. I've lost my temper. I wouldn't call it road rage... but I have gotten pissed | driving... because people, you know... they drive cars | that are ridiculous... you know, wrong for them. I don't really like my job. I've thought about | doing something else. I like the money. I don't even | like that that much. I could get a betterjob. LINDA: Lee is ambitious | and smart and beautiful... and she always has been | all of those things... and she's always done | really well, you know? So, maybe she is | completely in control. - Hey, | - Hey, - Coffee, | - Herr director, - How are you? | - What's up, man? Rehearsing something | for ten days sucks, And I know how tough it's been, Oh, no, no, no. | Listen, listen... I think I know | where you're going, man. First of all, I know I've been | all over the map, and that's my process, | and I've kind of been crazy, Listen, I really feel bad | about what I said, to your friend, | I know he's Jewish, and I went way too far | with that whole oven thing, But believe me, some of my anger management | stuff last night, and I really feel like | I had another breakthrough, That's great. That's great. But I just... oh, I felt so bad, You know what, You are our Hitler, | Don't you ever forget that, OK? That means a lot, your and Carl's vision... | I mean, you wrote this, But, yeah, it's funny, | I was talking to Tom Sizemore, and he was saying the only way | to learn how to act is to act, - Right, Yes, | - And I know you're concerned, because I haven't really | memorized anything, and I've been | all over the place, but believe me, on the day... | well, you know, tonight... yeah, I really think | it's gonna be salty, You're gonna be OK. I just want to make sure | you're all right, - I'm good, | - OK, All right, - See you later, | - Oh, hey, Um, I don't take cream, - Sure, | - Thanks, pal, All right. " Bad boys, bad boys, | what you gonna do?" " What you gonna do | when they come for you?" LINDA: | Well, no, not married. This guy that I was seeing... This guy Tom that I was seeing | last year at this time... said when he broke up with me, | he said he was... getting back together | with an ex-girlfriend... but I don't know | if that's true or not. I heard he's... | I heard it's not true. But that's what he said | at the time. - Hey! | - Hey, how are you? - I'm OK, how are you? | - Good, good, It's funny, Yeah, what are the odds, right? Well, uh, have a good day, | See you, LINDA: I like Carl. Uh, have you ever been | in therapy? Who? No, I don't even get that, I don't even get that, | It's like, they're just selling you | back to yourself, What is that? Hmm, | I never thought of it that way, - Mm-hmm, | - Um, your appetite | is certainly worth noting, - I'm hungry, | - Mm-hmm, Oh, don't tell me - You don't eat? | - Oh, no, I eat, I just don't eat airplane food, Why not? It's first class, They cook the shit | on the premises, What's the problem? I'll wait for the cookies, Man, how corrupt | was your father? And milk, Did he kill people? He killed their spirits, Did he threaten | their identities? Something like that, So, what about you? He, um, No, no, that's all right, | Sorry, - No, | - OK, No, he didn't, - "Adored"? | - Mm-hmm, Wow, I don't think | I've ever been adored, CARL: You can get paid | to have sex by a company... I mean, | acting in an adult film... but if some guy pays you | five hundred bucks... to have sex with him, | that's illegal. So, you're in porn. Why are you in porn? | Two reasons. Either you need the money, | or you're an exhibitionist. WOMAN: What do you think | is exhibitionism? CARL: Porn. What... well, no, OK. | That's a good question. I think it goes way beyond | just wanting to perform. You can't pretend that you're | having sex with someone... when you are actually | having sex with them. Well, I think that they're | enjoying themselves, Or maybe they want you | to enjoy yourselves, Why would you want | to think about it so much? It's been made to turn you on, | It's nothing deeper than that, Yes, I do, Sorry, I thought you said | this didn't bother you, Carl, I can't have You can't? I've met someone, - Oh, | - It's not appropriate anymore, Oh, I understand, Don't be... sorry? Hey, you are | showing absolute respect, by being honest with me and not | being weird or, you know, protracted about it, | Thank you, I just... hey, I like to know | where I stand, Otherwise, Are you all right? Yep, Yeah, I was just thinking | of the rest of my day, Jerry wants to meet with me, - Really? | - Yes, He's never liked me, Just... nothing I can do | about that, I just, uh... I'm sure you'll do just fine. LEE: You are aware | of the recent layoffs, correct? MAN: Well, yes. LEE: We're making some changes, | rearranging our priorities... getting things straight, | that sort of thing. Mmm, Are you a smoker, Brian? I participate | when it's available, - Are you a smoker? | - No, but I smoke, Have you ever been caught | driving under the influence? Under the influence of what? "DUl"... | you're familiar with the term, Yeah, - Correct? | - Yeah, No, I mean, Do you vote | democrat or republican? Neither, Either, | I... I vote for the best person, - And how do you judge that? | - Uh, - Do you know in an instant? | - Yes, Right, Hmm, Oh, come on, kitten... You know, Nothing's changed, since the last time | we had this discussion, No, I'm just... | I'm too committed to my work, to sustain a serious | relationship right now, You know, I bring work | home with me, I'm distracted, I'm taking a swim in Lake Me, | you know? And, you... hey, you deserve | better, believe you me, I would only cause you pain, Remember how I let you | twirl my key chain? Nice, right? | Hugging, kissing, all nice, Now, go on, sweetie, | Go on, split, Come on, come on, I'll call you, If the phone doesn't ring, | it's probably me, Oh, man, Fucking Goebbels... | he thinks it's a toy, "Gone to get haircut," What an asshole, LINDA: I don't know why, | I just started that. I don't... I just don't want | them knowing me, you know? I don't want them knowing me. I give... I give the name "Ann" | all the time... because it seems like Ann is... One, And it's less invasive. It's less... | or more anonymous, you know? More invisible. | If they know me as Ann... they don't know who really | is in the room with them. And for some reason, | that feels good to me. CAL VIN:"Nicholas. | I will begin simply. "I love you, "Have always loved you, "and will always love you, "Ever since the moment | I met you, "the love I feel for you | is overwhelming, "When we are apart, | you are all I think about, "and can't wait until, "we are just even | in the same room again, "Until then," I've been away a lot, Ahem, - Hi, | - Hi, - Hey, Mike? | - Yes? - Can I ask you a question? | - Yes, - It's kind of personal, | - Shoot, Is that your real hair? Absolutely. Hmm, I'm thinking of | getting some more, Don't do that. - Why not? | - You'll have doll head, I don't care, I want more hair, Low-level, free-floating | anxiety about it, you know? I have anxiety about it, I see homeless guys | with a full head of hair, and I think,"What the fuck?" You know, Kirk Douglas, | what the fuck... Does Lee mind? Uh, she says no, Well, that's a lie, She doesn't say anything, | and I assume that's a no, We sit in the same room, but, uh, - "And," | - What? Try changing your "but"s | to "and"s, See what happens, We live in the same house, Now you got it, Yes, I would say that, - How often? | - Um, Once a week, once a month, - This is kind of... | - I'll come back to that, God, Do you believe in him? Well, you know, | not like a bearded guy... It's a yes or no question, | David, Yes, then, Listen, I'm sorry, | I just thought... I'm going to be straight | with you, David, OK? OK, In three years, | you haven't impressed, a single person at this agency, You'll be notified officially | through the mail, - I'll watch for it, | - OK, Do you have a girlfriend? - What? | - Are you involved? Are you... are you... | What... what are you doing? Put that chair | against the door. - Ms, Bright? | - Yeah, Is this a joke? | 'Cause I'm a good sport. This is a test of skill | of sorts, I like you, David, | I'll tell you that right now, - OK, | - OK? Yeah. On one leg... balanced, You... you are a piece of work, | do you know that? - OK, | - Good! - All righty, | - OK, Now, name all the countries | in Africa. - Oh! | - One minute, LINDA: There's this guy I met | on the internet. WOMAN: | Ooh, are we doing this now? LINDA: Mm-hmm. He wants me | to meet him in Tucson... for the weekend. He's a kid. - In Tucson? | - Mmm. - You have to try these. | - Do they have sugar? - No, sugar free. Why Tucson? | - Mmm. He lives near there. WOMAN: | Does he live in the desert? LINDA: But we're staying | at a Holiday Inn. - Uhh. | - I'm intrigued. - In Tucson? | - These are good, I know, They're sweetened | with fruit juice, I could eat | this whole damn tray, I bought new underwear, - Have you seen a photo? | - No, That Holiday Inn part... | that's kind of a little sad, - Why is that sad? | - Because, Tucson? - So what? He knows a good one, | - All right, Seems like you put | a lot of thought into this, - Planned... we both have, | - Mm-hmm, - Kind of like a wedding? | - Sort of, OK, I think that was good, | but I really, really think, you guys shouldn't make | eye contact, Hold on, hold on, That whole thing of you guys | being an extension of me... Hold on, | Stop giving them directions, One second, | Just let me work this out, OK? One second, | You know when we do, that first scene | where I'm exercising, you guys gotta have | athletic supporters, You know what, stop. Stop. Hey, guess who the world | doesn't revolve around? You. OK? I'm trying... Maybe you want to come out here | and look at it, Give me the jacket... Can I talk to you for a second? I'm fucking giving my all here, I know, I know, I'm giving my all, and | I'm really fucking worried, OK? Because last week you tell me, you want me to play it | like Danny Kaye, right? This morning, | you come in, and you say, "Hey, why don't you play it | like Alan Alda," What am I, fucking Danny Alda? OK, I think You've been | on the fucking laptop, like a little crack monkey, | logging onto Expedia, for this fucking chick | in Tucson? Let me tell you something, man, | This is art, I dumped my girlfriend | the day we started rehearsals, You're not here, man, I am here, I am here, You're not, OK? whether you and Carl know what | the fuck you're talking about, Because let me tell you | something, Peter Ustinov said, "but it's more difficult | to write a bad play, "than to give | a bad performance," You know what? You know what? What a great fucking idea, | watching me squirm, What are you talking about? - Catherine, | - What are you talking about? - The letter, | - What letter? Uh, the letter, - May I? | - Oh, yeah, You're acting crazy, Hmm, Wow, Well, Pretty extraordinary, Really? This is a prank, right? I mean, that's cool, I don't think it's a prank, no, You didn't write this? Is it your fantasy | that I wrote it? Oh, don't, Don't do that, I don't know what to tell you, OK, here's the deal, This right here, | you can't write about, - I can't? | - No, you cannot, It's not fair, You know, they really do | have ovens back there, I am onto you, girl, Well, I think I'm onto you, | all right? Look at me, - Look at me, | - Oh, my, Come on, It's OK, See? Ahem, I'm just not gonna play | this game with you anymore, I ain't even thinking about you, | Look, You missed a piece, CARL: So, Tracy... | is that your given name? - Yes, | - Mm-hmm, And what's your porn name? I'm... Do you know about porn names? - No, | - OK, Your porn name | is your middle name... and the name of the first | street you grew up on. OK, So, like, my porn name | is Andrew Highland. It's terrible. | It's not very sexy. So, you're Tracy... I don't have a middle name, Oh, well, you can... Yeah, well, you can also use | the name of your first pet. We weren't allowed to have pets, Ivory Coast, Senegal, | Sierra Leone, LEE: Mm-hmm. Good. Ghana, Mali, Have you ever... been tested | lately for the H, I, V, virus? No, Yes, | Morocco, Mozambique, Angola, Good, My goodness, - Cameroon, | - Stay there, - Congo, | - God, you are good, Gabon, Angola, - Go east, | - Kenya, Somalia Republic, - Jesus, | - Ethiopia, Time, | You are very impressive, I don't think | you're allowed to do this, Of course I am. Get down from there. LEE: Just meet me | in the lobby, please. You'll have a great time. | I know you'll love Gus. I can't go to a party like that, | I have nothing to wear, LEE: Wear the green dress. | You look great in it. It's too tight, | It doesn't fit me anymore, and it has a stain that's... LEE: | You always have an excuse. It's not an excuse, | Lee, that's a reason, There's a difference, Look, are we still Because I have | a birthday present for you, LEE: It's tomorrow. You know what? I know | when your birthday is, OK? I'm not here tomorrow, LEE: Hey, Linda... Hello? LEE: You're breaking up. | Call me back. Hello? Listen, if you can | hear me, call me back, LEE: Call me back. Fuck, LINDA: | Yeah, I think about him a lot. You know? It's hard. | I found him in the basement. And then I found Lee... who was outside, I think, | or somewhere else in the house. I mean, I remember screaming... and then I remember her | appearing. Uh, and then, you know, | no one else was home... so she ran to a neighbor's... and, uh, I stayed with him. And then neighbors came, and... and then my mom was home. They found my mom, and so... LEE: | It's pretty surprising... when you see | somebody you know... like your dad, you know, | in that state, you know? So, it was surprising... but I think that, you know, | in retrospect, he... He was pretty unhappy... most of the time. My friend Gus says that people... | the straight world... will always be fascinated | by gangster sagas, because, here are these guys, they say, | "We're not going to live, "by some unspoken rule, "that we don't take you | to the cleaners, "when you're not looking, "We don't have any agreement | not to take advantage of you," And these people, they're | in the minority, fortunately, otherwise, there would be chaos, But we love watching them, | because... because, it's a walk on the wild side, without any real risk | of corruption, It's two-dimensional, you know? And it's always | going to be compelling, Uh, you know, sometimes, | we can't look away, But... and we should, - Hey, Carl, how you doing, pal? | - Good to see you, - You look great, | - Thanks, Uh, you know, that's amazing | that you called today, because I... ahem... | I needed to see you, I have an idea, I have an idea, | I think it's a cover, You got slobber | all up on your, Mmm, What time is it? Oh, I feel... I feel nauseous, Are you ready to talk | about this? Ohh, Nicholas, look, I think and I'll probably write | a very nice piece about you, but you're really annoying | about this whole letter thing, No, You're annoying, Mm-hmm, OK, CARL: You see, I think that is | worth discussing. I really do. Well, Carl, I'll discuss because every time | you've come into my office, every time | I've asked to see you, or you've come to see me | with an idea, about a cover | or a feature story, or anything you want to do, it always has validity, | It always has, it's important to me | to hear your ideas, you know? Thank you, thank you. Let me ask you a question. The reason I called you in | today, actually... Yeah, Sorry, Ahem, I have a question for you... and it's kind of important | to me to hear the answer, And the question is, when you go to your | refrigerator in your home, and you open the door, | and you see a bottle of beer, do you take | that bottle of beer, and pour it into a glass | and drink it, or do you drink it | from the bottle? Um, I... I... | well, I drink it from a glass. Ah, you see? Ohh, That's the problem, You see, I want this magazine | to drink from the bottle, In talks? What the fuck, Alex? Tch, All right, in talks, I need this, All right, all right, NICHOLAS: | I suppose we've come a ways... since Sambo, Mr. Bojangles. "Step and fetch it, boy. " "What? | Man, call me Mr. Tibbs... " we've heard Poitier say. It's a new day, some say. Because every now and then, | black men are even in. Motion picture heroes. | It's the American way, Wesley. Be cute | and still save the world. Yes, we will, Will. Go from Boy in the Hood | to Man of Honor. Show 'em the money now, Cuba. Give 'em funnies | like Chris Rock or Tucker, Or just cool it, | be anybody, like Denzel, But wait, He ain't even really | getting no loving, like Sidney before him | and whoever after him, Romancin' and dancin' | with amore's passion, ain't in the script's equation, But can even Mr, Washington, briefly be seen kissing | a Pretty Woman, underneath a Pelican Moon? Can even he be a romantic lead? Check it, From Sambo to Sidney | to Denzel to me, Brothers ain't getting | nor giving no love now, I don't want to complain, but | my doctor says I'm suffering, from underloved syndrome, Maybe it is a conspiracy, | But do folks still fear, the black man's sexuality | like that? A fear that could be wiped out | just by seeing us love, not by race, but by heart, And can't a brother | get some love? Now, that, Catherine, is a question | for the screen pages, written by folks | who rarely look like me, but want to see me | run and jump and shoot, but don't care to see me kiss | a woman with my skin tone, and would shoot me if I were | kissing a woman of their hue, Who are you? Who are you? Who are we? We are human, too, and we love loving, and, can't a brother get some love? That's the state of being, a chocolate leading man | in Hollywood today, I keep bringing it up, because I don't want you | to think I forgot, Look, you just pay me back | when you have all of it, I have half now, so... - It just feels awkward, | - Please, - Hi, | - Right this way, - Thank you, | - Thanks, What would you like | to start with? Some evian or pellegrino? - Thank you, | - You're welcome, You still going on your weekend | with that guy from the internet? Mm-hmm, | No, I haven't cancelled, I'm putting myself out there, | I'm going, Good, | You need money for that, You want me to meet men, You could meet men there, | There'll be plenty, I can't come tonight, | I can't, On the internet? | How is that meeting? It's encountering, What airline are you flying? Southwest. - Southwest? | - Yeah, That's a good airline, Southwest, younger man, new underwear, Tucson, What is your point? Have you ever stayed | at a Holiday Inn? No, Have you? I think that's what's | really bothering me. You know what, Lee? So if that's what's | really bothering you... - What does he do? | - He's an artist, - An actor, | - A painter, In Tucson? Yeah, He says the desert | inspires him, - Lend me what? | - What is wrong with you? Seriously, what is wrong | with you right now? Friday. Fridays are good. | T. G. I. F. Fridays are good, Lee. You're acting insane. I'm going to have the squash, But this is | a boundary issue, man! What I do off-stage is | my process and my business, OK? And I don't care | what anybody thinks. And it's my business | to put on a play, And now I've got three hours | to find a new Eva Braun, Oh, OK, You know what? And here's why, Number one... anyone who's offended | by drinking blood, obviously doesn't drink blood, Number two... anybody who drinks | as much blood as I do, knows it has no effect, Number three... there is absolutely | no scientific connection, between drinking | a shot of blood a day, and being | an extraordinary actor, And number 4... it is impossible | to prove number 3, You know, do the words Masai Do you know who that is? Yeah, Herzog made | a documentary about them, The herdsmen of fire, | warriors of Africa. They drank blood. Jack fucking LaLanne | drank blood in the fifties. Yeah, granted, | his wife wouldn't kiss him... but this is bullshit, man. I don't care what you do | outside of this theater, I don't give a shit, You could | eat the ass out of a dead wolf, I don't care, Just keep it to yourself, OK? Just keep it to yourself, I think it's fucking hysterical | that she walked, And I know comedy, LINDA: I don't understand. I don't understand | what's wrong. I mean, birthdays are fun. Well, OK, this is mom at my birthday | introducing me to people, "And this is Lee, She ruined | my body, didn't you, dear?" - There, | - Thanks, I won't be here tomorrow, | so happy birthday. Oh, It's smaller than the gift | you gave me last year, for my fortieth birthday, You know what, Lee, you make | forty a bigger deal than it is. You have no idea about forty, I'll be forty. What did I give you last year? | I don't even remember. You know, that... that thing, | That, - Oh, You didn't like it? | - No, Well, honestly, | I would have rather had... just, like, | a card or something. OK, God, It's just a weird gift | to give your sister... who's married, | on her fortieth birthday. You know what Gus gave me | last year for my birthday? First edition of Bernard Shaw's | The Sanity of Art. Did you get anything out of it? - Which? | - The gift I gave you, Are you kidding? No, I mean, yes or no, But for my fortieth birthday? Well, I have one, so, I used it once. OK, All right, | Well, what happened? Um, I got stuck in the chair, You used it in a chair? Well, yeah, | that's what's on the box, Different ways. I've never... Not in a chair. I've never... Well, gift-giving... | you know, it's an art, You should have | the person in mind... OK, I'm sorry, I thought | you'd like it, I like it... Well, that's... | but you should give people... what you think | they would want... you know, something personal. How much more personal | could that be? But then, you and that guy... | what was his name? - Tom, | - Tom, Yeah. You sat at | the other end of the table... and just stared | at each other the whole time. You didn't even | really socialize. Oh, my God, Oh, my God, | Lee, forgive me, OK? I happened to be in love... | for a brief period of time, Once... which happened | to include, the week of your birthday, - This is all a year later, | - You don't get it, Christ! You know what? | Gift... it's a gift, A gift is a gift, | Don't question it, At least not to the giver | and out loud a whole year later, Chr... OK, now I know, Well, that it meant something | to you, What? Just the whole thing, | that you put thought into it, You know, | it's for your small change. FRANCESCA: So he gives me | this injection... and I become invisible. And I can do anything, right? Because, you know, | I'm invisible. What do I do? I go to | one of my colleagues, Carl... and I make him | sign a confession... while I hold a knife | to his neck. Now, it's just weird, | because I really like Carl. He's a brilliant, completely misunderstood | by his boss, Well, you know, I'm not | surprised he was in my dream, really, because | I think of him a lot, I think I'm actually... MAN: Wheel in Nicholas. | We're ready for him. It's funny, because | he's one of these guys... You know what? | I want to tell you, what I think about that, OK, I'll be here... listening, Hey, Pitty, Hey, man, What's going on? OK, exactly the same thing, | We're starting from over here, It took me a little bit... I needed to do this | with track, instead of just the walk-up, so we're gonna do | a little bit of a push-in, There's probably | going to be some focus stuff, so we're gonna shoot a few, OK, But just split the extras | as they come through... don't be precious about it, Tell them we're coming through, I will, I will, R-139, take one, And background action... action! Move! Move! - Out of the way! | - Goddamn it, Uh, looks like we're late, Looks like, Back to square one, That's what he thinks, You think different? Like the back | of my big ten-inch, - Oh, | - Come on, CARL: One minute | I'm drinking a beer... and the next minute | I'm unemployed. How does that happen? He said I have confused, my personality quirks | with standards, What the fuck? CARL: You have no idea | what I have lost just now. This goes way beyond this job. | I could lose everything. The ripple effect. | It's the ripple effect. It's like,"Oh, yeah, | by the way, you're fired. " "Oh, yeah, honey, by the way... "uh, you don't think | I'm so great. "Guess what? They don't think | I'm so great at work. "Hey, maybe I'm not so great. " Hey, that's simple. | Well, there, I can write that. I can write, | "I'm not so great. " Maybe I can write it... a hundred-fucking-thousand | times on a blackboard... Oh, I can teach. | I used to teach. I love teaching. | I do love teaching. R-139, take 49, mark! MAN: OK, here we go! | And background! Action! BRAD., Move! - Out of the way! | - Move! - Move! | - Out of the way! Ohh, Looks like we're late, Looks like, Back to square one, That's what he thinks, You think different? I know different, Come on, - Cut it! | - OK, we got. Nice one. Very nice, very nice, Check the gate, Check the gate, BRAD., Lunch? OK, So, David, David, No, no, Absolutely, | Lunch... go ahead, Nice scene, man, Thanks, Would you not take a role | if you felt, the people of the black | community wouldn't like it? Hmm, This guy that lives | in my neighborhood... lives right across the street | from me, And he dresses like... | yeah, yeah, He dresses like a vampire | twenty-four hours a day, I don't know if he's got a job, | I don't know what he does, but I know | he dresses like a vampire, like Dracula all the damn time, - You want to go? | - Mm, I mean, look, buying romaine lettuce | dressed as Dracula, so you got to figure, he's an actor, right? | He's got to be, Well, you could find out, Yeah, The point is, the answer | to your question is, if I needed the money, | abso-fucking-lutely, Absolutely, | Now, am I proud of that? No, | But, yeah, I'd take it, 'cause, look, - OK, Are they gonna say cut? | - I don't know, OK, what's going on? - OK, can somebody... | - Did they call cut? Well, can somebody | communicate... OK, Bonnie, Bonnie, this is Fran, listen, listen, next time we do this, | could you give me... more to work with | on this whole attraction... What do you mean? | That was good, huh? We can't hear in there, though, | We can't hear anything, No, 'cause I'm not feeling | the whole sexual chemistry, No, no, but remember, you gotta leave yourself | somewhere to go, for the second letter | at the airport, All right, Oh! | All right, all right, Right? In the way it's got to build, you got to give me | something to go on, - We had it going before, | - Did he call? - Yeah, | - It's not working for me, OK, well, if you're | going to stay for lunch, let's talk about | whatever it is... No, I gotta run an errand, | so next time... and maybe it's me, All right, We'll figure it out, | Don't worry about it, All right. I think it was good! | Oh, thanks. No, it's the movie, As far as he's concerned, CALVIN: Hey, can you | hold that door for me? - Sure, | - Thank you, Got it? Excuse me, CARL: Oh, the film. | Well, the film... Artie and I wrote this. We started working together... really writing together, | about a year ago. We tossed around | a couple of ideas. And Artie's a pretty good | playwright in his own right. And we thought, | you know, maybe this... sort of my understanding | of Hollywood and everything... and his ability | to actually write... would be a good combination... and so we came up | with this idea... for what is now | Rendezvous, the movie. It's almost like a spy film | in the intrigue... of this romantic encounter... between this guy | that Calvin plays... I'm sorry, there's a... Uh, and this woman. And anyway, | I think it's a neat story. And I think it's a great cast. Um, uh, but, uh... Yeah. I'm sorry, | I have some... it's weird. I'm really happy about | the project. I really am. I got... you know, there's... | I've got issues with some of... Actually, Calvin. Calvin is, | I think, I don't know... You know, other people... get more excited about him | than I do. It's not to say I'm not happy | having him on the movie. I think that's great, and | I'm sure he's very good in it. I just don't get what | the big thing is with Calvin. I think... you know, you picture | a role in a certain way... And sometimes it's... | I'm not always right, either. I know, you know, certainly | my wife thinks he's great. FRANCESCA: | I'm starving to death. - Well, I've got it right here, | - I might actually faint, OK, tuna, No celery, No celery and no, - Onion, | - Right, Uh, so listen... you know that thing | that we were talking about? Um, I can't keep... OK, I mean... Come on, come on, I'm uncomfortable dealing | with this aspect of your life. I don't want to talk to them, Well, I don't want | to talk to them, either. I don't even want to talk | to the guys I'm dating, Uh-huh. | Well, I'm not dating anyone. A date is not dating. Well, you know, | someone buys you dinner, you owe them a phone call, | in my opinion, See, dinner... | that's where I fucked up. It should have been lunch, They all seem pretty nice | to me. Well, they don't strike you as, | like, networky, freaky, actress-dating | executive types, with their water bottles | in, like, a mesh tote bag? This is really... | this is disgusting, I can't eat this, | That arugula is so bitter, It's like | my algebra teacher on bread, - OK, | - Ugh, I'm truly, I'm... look at me, I'm gonna faint, | I might actually faint, We all know how you get | when your blood sugar's low. All right. I'll be right back. OK. Thank you. - You're welcome, | - I need some wet naps, too, - OK, | - Tuna fingers, - Don't want tuna fingers, | - No, we don't, - You're an angel, Thank you, | - Oh, you're welcome, Oh, post-its! LEE: See, I knew | something was wrong, I just... I didn't know it was that. I had that one this morning, CALVIN: Hey, I need to talk to you | about something, - Lee... | - Don't, Why did you even pursue this? What? Wait a minute. | You came over and spoke to me. Now, all of this began | because of you, Are you saying | you weren't attracted to me? No... Gus told me | to watch out for you, I'm forty-one tomorrow, | Calvin... the age where | I could have a stroke, in the middle of the night, If you think I'm not going | to Gus', you're, OK, I have a meeting, | Go fuck somebody else, - Hey, | - Hi, - You're still here? | - Yeah, I was just upstairs, I was shopping | for my friend Gus, - Oh, | - Yeah, - Are you OK? | - Oh, yeah, I'm good, I've just had really some | sad cases today, so I'm just... - I'm sorry, | - I'm emotional, Yeah. | What did you get him? - Who? | - What did you get Gus? Oh, They didn't have it, - What was it? | - Yeah, - Are you, | - It was a thing, He's... he's, uh, It was... they didn't... you know, | 'cause he's forty today, and I was just gonna get him | some, I don't know, this... - Are you OK? | - Yeah, I just have to go, | I'm really late, so... - Are you sure? | - Yeah, I'll call you later. Oh, OK, Thank you. Um, you need to find him, I don't know if he knows | I'm here at the office, so I have to have a contact | name in order to transfer you. Um, Harvey's not here | at the office right now. He sees on the TV a murder, and as he listens to the murder, His whole face | just goes white... and he bolts | from his apartment. Now, we follow him. The murders... they deviate | at this key point... for reasons nobody can | understand, because... T ell Trevors I'm not gonna | do it, I'm not gonna do it, Good, good, Go, Sorry, Go ahead, Aah, My brother Bob | should look at this, Yeah, Good, Good! - Great, | - Good, CALVIN: Motherfuckers, Did you see their faces | looking at us? Yes, It was like a labrador | staring at a Picasso, Right, Ed, we walked in there - They want beer mugs, | - Yeah, right? I could so see myself | in that part, Right? Fuck! - It's all right, | - All right, I gotta go, - See you later, | - See you, Hey, Ed, keep the faith, It was good. It was good. - Mr, Liveright, | - Hey, hey, Bill, - Come on in, | - Thanks, - Ann? | - Yeah, My massage is here, | I'll call you back in an hour, - How about in back? Good? | - OK, sure, Um, what do you think | about the lighting? A little light... too bright? Whatever you're comfortable | with is fine, Yeah, I think a little darker, - Like so, | - Sure, - Need some help? | - No, Done it before, huh? "Bill Liveright"... great name, Well, a name with a message | is a good name, right? I don't know, | It just always eluded me, Mmm, | Money is just feminine energy, Huh, It always seems so male, | I don't get it, Money: Mater, The Latin, You connect with that, You make it sound pretty simple, - It is, | - Just connecting with it, You're catching on, Ann, Look, don't be If you have purpose, | you can just wade right through, It's like running past | people who are asleep, OK, you can turn over now, I think I kind of drooled | a little bit, Just scoot your head down, | so you're not in the hole. OK, You're from L, A,? No, Miami, actually, You? - New York, | - Oh, Do you find me attractive? What? Yes, In what sort of way? In a human sort of way, - Ann, | - Bill, It's my birthday, Ann, - Really? | - Yeah, Happy birthday, What's your philosophy | on release? You know what, Bill, I know and the thing is, | I don't do it, so, Right, Not even | for a little extra money? Mm-mmm, It's not | the kind of massage I do, Right, I offer a release | of tension and toxins, and sometimes emotion, but, Yes, well, Well, I don't do it, so... Oh, yeah, | You can come in thirty seconds? - Do you have a second-hand? | - Look, I can't do it, You could stop | after thirty seconds, Five hundred dollars, | When was the last time, you made five hundred dollars | for thirty seconds of work? - You're cruel, | - I'm not cruel, I'm practical, You need the cash, This is crazy, Five hundred dollars, Ann, You can't make any noise, - The place is noisy, | - No, You can audibly exhale, You can't moan or grunt or sigh, I can't moan or grunt or sigh, | just audible exhale only? - Yes, | - Ahh! No, Too loud, And if | you do it... it's too much, I'll be quiet, | OK, Ann, I'll be quiet, Are you ready? Fuck. Are you ready? Will you just hand me | that plastic bag right there? Well, why? No reason, Oh, Oh, my God, Ahem, - Here, | - Thank you, GUS: Shit. - Hey, Ann? | - What? I'm sorry, | I thought I had more cash on me, That's OK, Bill, You know what? There's a limit. There's a limit. To the machine, You can only | get three hundred dollars out, Could you move that, please? | That bag, - You're kidding, | - No, I'm not kidding, - I feel bad, | - You should, You should feel | really bad and ashamed, It's, - Hold on, | - Forget it, - Just hold on a second, | - You know what? Forget it, It's pathetic. "Mater equals money. " I mean, | give me a fucking break. All the world loves a winner, You know why | they love the winner? Because they think | he knows something, I mean, he had to know So, we admire him, But the winner doesn't | learn anything from winning, No, the loser... the loser Losing teaches you | about yourself. So, the loser's the winner. I don't know. I mean, | it's not in actual terms. I'm speaking figuratively. Sorry, Excuse me, - Good night, Denny, | - May I see you, please? The gentleman in 205 | left this for you, Oh, Huh, Wow, That was nice, GUS: Ann, thanks | for the happy ending. Bill. Nice card, Django? Django? Hey, hey, hey! Sweetie-pie? Dja... LEE: | I know what they say. I know what they say | about me... my colleagues... and my family. I don't... fucking movies. OK, let's fucking go, Fucking movies! Fucking overpaid, fucking | unhappy childhood fuckers, Fucking movie fucking fuckers, Let's go! Somebody... | Jesus, buddy! Uh, do you think somebody else | could go? Maybe one of us could | fucking cross the street? Fucking movie cop! Hey, fucking movie cop! Could I maybe | fucking cross the street? Francesca Davis, Fuck, Yes, He's gonna get... what? | Dehydrated? OK, Yes, Yeah, I understand, Hello, Yeah, hi, I did that, and... and I gave him | some water, yeah, and I was just hoping | that Dr, Green could come by, and, uh, and give him | a quick look, Oh, he is? Oh, I see, Uh, Yeah? Well, if... you know, | I just... I just, uh, want to make sure | he's not gonna die, you know, or anything, Um, so if you could, | that would be great, Right, heh heh, Yeah, Uh, that's fantastic, Yes, I will see you then, Yes, What? The address? Oh, Oh, my address, Oh, yeah, I guess you'd need that, | wouldn't you? Heh heh, Hi, I know, | You know, I can't really talk, I'm going into a store, | Can I call you back? OK, Oh, really? Oh that'd be... | that's... that's great, I'm... I'm glad, You met Gus? Where? Wow, | Yeah, well, there's a guy, who could change your life, | you know? So, I'm gonna get the dress, - Oh, good, Great, | - Yeah, LINDA: Mm-hmm. Sure. Yeah. I was, um, fat... overweight, and very short... and, um, I hadn't | gone through puberty. So, yeah, I mean, I looked, | you know... I did not look... like I would've liked | to have looked in high school. Yeah, surely I would've | changed my social status. I still would. Heh heh. Yeah. Treat myself, So, that's five there, Oh, great, Thank you very much, - OK, | - Excellent, Thank you, Hey, you came, I thought | you were coming later, No, Hey, How are you, man? | Good to see you, The house is open, guys, | if you want to, Oh, Hi, Dee, Good to see you, | Thank you for coming, Good, That guy didn't pay, Did you pay, sir? MAN: I did, yes. | Would you like... No, no, I just... I saw you | come the other way, and most people were coming, | I'm sorry, Right in here, | Right there on the sofa, Oh, boy, What else was in the brownies | besides chocolate? Um, - Hash? | - Yeah, Aw, come on, man, No, My wife | brought it back from London, We made the brownies | for my friend's fortieth... So, what'd you do, | leave it out for him to eat? No, no, I know, it was right here | on this counter, I didn't think | he could jump that high, He's got little legs like a, All this... he ate all this, It's so much better than pot, | right? - Uh... | - Aw, no, no, no, You don't understand, I haven't smoked that in years, | so, you know what I'm saying? Goddamn, When I was in my twenties, | this guitar player and I, would make up all these lyrics | while he played, and our songs would end up, with all these fucked-up | rhyme schemes, Heather, Heather, I'm sorry, | Is he going to be all right? Oh, he's going to be fine, | He's going to be fine, So, uh, you going to throw that out? Look, you liked it, and you've told me | you haven't liked things, You liked it, Man, listen, you're not going to pursue | any more meetings... because | this is what I want to do. I'm serious, OK? Hey, listen. Could you, like... It's better now, | It's a lot better now, Ed and I, We've been | beefing up the scenes, And that whole thing | you mentioned... I agree with you... | about me being in it. I'm not going to do it. Even if they ask about it, | we're not going to build it in. I figure, you know, | in the long run... it's probably a good thing, me trying to establish myself | as a writer instead of an actor, Like Pinter. You know, Pinter, | he was an actor. He started off as an actor, He still acts, occasionally. All right, this shit | is cyclical, you know that? All right, don't. | Don't, don't, don't. I got it, OK, Thank you, If you stop telling me | that that letter makes sense, you can throw up all you want, | How about that? Tch, Yeah, Aw, Do you know her? - Ahem, Who? | - Carl's wife, Nuh-uh, That's kind of funny, because | I've heard things, actually, Yeah. Yeah. | A couple of them. - Hey, how are you doing? | - Uhh, Hey, Fran, listen, | I want you to meet... Frannie, It's Lucy Morgan, | L, A, Magazine, - I'm sorry, I... | - The Sedona piece, Oh, my God, Yes, Oh, wow, Wow, You changed your hair | or something? Yeah, How do you know Cal? - Uh, we... | - It was a dinner. Yeah. Excuse me, Hey, Hi, Is it... is it upstairs, | or is it in there? God, - Oh, this is wrong, | - No, - I'm overdressed, | - You look, - I wasn't sure what, | - It's on the roof, Where's Carl? He's not here yet, | I just, um, - We should go up and, | - OK, - Wow, | - You OK? Yeah, You know, No, You look great, Well, You know, I have to admire you | for your belief, in this project, | but the reality... is a whole different thing | altogether. It's all marketplace shit, And I don't think that | this is a good role for you... so don't even push that. When does this article | come out? In a couple of months, Well, you call me, if you can't get any answers | out of this guy, Thank you. Nice to meet you, Nice seeing you, Huh? "Meltzin. " Name kind of suits him, | Oh, Nicholas, No, it looks good, | Where'd you get that dress? - Seaver, | - Where? On Third, Do you know it? - Is it good? | - Yeah, - It was on sale, I like it, | - No, it's, Oh, God, All chromium is not bad, because | I get Fitness magazine, I need a drink, No, I'm saying there's | a lot of good chromiums, - I read it in a magazine, | - Hey, Hey, I wouldn't go | to the lengths, of bathing in bottled water, | that's all I'm saying, I believe what you're saying, - Franny Davis? | - Yeah, Sam Osborne. - I'm sorry, | - The Duchess of Malfi, - Birchers, | - Yeah, I was the lighting guy, Mmm, Oh, my God, Oh, OK, Yeah, - Sam Osborne, | - Osborne, - How are you? | - Nice to see you again, Oh, you, too, Wow, That's funny, - Yeah, | - That's... Do you remember when you said, "I feel like a waitress | on vacation"? Oh, God, It was, like, just the cutest | thing I've ever heard, and, I don't know why | that just stuck out, I don't... yeah, | I just... um, well, - I was going to go, | - OK, Jesus, You remember that? Yeah, Yeah, I do, - I got a funny memory that way, | - Oh, Anyway, hey, | I... I don't want to bug you, I know you got | lots of people to see, I just wanted to say | how happy I am for you, and, Oh, thanks, Thank you, It's... I always thought | you had something special, This, You know, it's just amazing | what you've been able to do, well, from, Or, well, yeah, No, I'm just... I'm... thank you, | Thank you, Right, Good, Well, hey, - Cheers, Good to see you, | - Thank you, Cheers, I couldn't "Cheers" you, | I don't have a drink, but, well, shit, Ha ha! | Birchers lighting guy, Birchers, Get me a... | why don't you come with me? - Yeah, OK, | - OK, - Nicholas, Oh, my goodness, | - Oh, God, - Uhh, | - Let's get you on the sofa, - Oh, God, did I just... | - Yes, you did, - Ohh, | - Go slowly, Ah, Catherine, I'm sorry, Are you all right? - Here's some water, | - Oh, thank you so much, - I feel a little light headed, | - Here, have some water, - Yeah, | - Drink it, Yeah? | Are you sure you're all right? - Mm-hmm, | - Thank goodness, - I need to ask you something, | - What? I need you to come back | to New York with me, Nicholas, I can't... Catherine, it's that letter, Well, but that was... I've never had anybody | write me a love letter, - Never, | - But I just... No, listen, You're here, | You there just makes sense, You write the article, Nicholas, these kind of things... A moment of inspiration, that's all | anybody ever really wants, Mmm, To have an original idea, to fall in love, It takes courage, to surrender these things, Especially when you have | control issues, I get that a lot, I know what | they're going to talk about, when they talk about me, They're going to talk | about the mustache, People are so fucking petty, People say, | "God, what's up with that? "Like, didn't you know | that Chaplin had it first?" Yeah! I knew, OK? It's either the name | of your first pet, and the first street | that you ever lived on, or it's your middle name, and the first street | that you lived on, Well, which is it? | I think... is it pet? - Pet, | - It's pet, So, if it's pet... | all right. WOMAN: I'm Daisy Bufane. Daisy Bufane? Jo Jo Mountainview, I would be Peavey Meander. - What? | - Peavey Meander, Meander, - Thurston Craddock. | - Hmm. Uh, Baron Von Hugecock, What? | That's... that was my street, I lived on | Van Hugecock Avenue, MAN: The little kid | who lives on Van Hugecock. FRANCESCA: | Oh, God, where is Gus? - Save us from this misery. | - Uhh. CARL: | So, it's your middle name... - Right. | - first. CARL: And then... and then... the name of the street | that you grew up on, HEA THER: OK. Lolita... Honeysuckle. CALVIN: | All right, I'll open it. Obviously, everybody, | Gus is not here... so I was thinking, to pass the time, | why don't we all just kind of, whoever wants to, stand up | and give our little Gus stories, Uh, so, let me start off, I think | my favorite Gus moment, was when he called me | at 1:20 in the morning... to ask what | I really thought about him. WOMAN: What'd you say? What did I say? | What did I say? I said,"Well, Gus, "I'm going to think the same | thing at 10. 00 in the morning," Then I hung up, - Whatever. | - Calvin. Aw, It's all right, It's all right, Listen, | let's get down to business. If someone wants to stand up, | please, feel free. The floor is open. MAN, TAPPING GLASS: | All right. I got one, Calvin. Yes, | that's right, that's right. So, Gus and I... some of you | may not know this... Gus and I used | to hunt together, all right? And this one time, we're and, uh, Gus climbs down, to relieve himself | in the bushes, OK? And, uh... it gets funnier. | It gets funnier. So, uh... Wow. Thank you, man. I can't tell you | how much that means to me. I really appreciate that, | you know? Especially coming | from someone like you, who writes and acts and directs | and plays the sax, Originally, | I kind of felt like, it was really coming after me, | you know? Now I feel like | I'm coming after it, Perfect, It's not coming after me, | I'm going to get it, - Can you grab that sword? | - I'm already on it, man, It's weird, I was watching | this interview with Al, - Pacino? | - Yeah, And he was talking | about the differences, between stage acting | and film acting, and he was talking about | how being on stage, is like being on this high wire, | like, a hundred feet up, And if you fall, | you're fucked, but acting in film is like | having the wire on the, - Ground, | - On the Ground, Oh, OK, you've heard that, Yeah, man, working for guys | like you and Carl, - the writing, just everything... | - Aw, come on, man, Where is Carl, by the way? | Is he, He had a party to go to, Oh, that's right, | Is that that producer guy? - Gus Delario, | - Oh, OK, That's not too shabby, | Carl owns a tux, huh? Mm-hmm, Huh, Not just one of those | shirts with the design on it? You know, he says | good luck and break a leg, Thank you, Thank you, Did I tell you about tomorrow? Yeah, Fuck, man, That should go really good, | Ann? Is that her name? Yeah, It's a nice name, I hope so, man, | I've been looking a long time, Yeah, I hear you, | It's hard, I don't know, You want to go for a beer | or something? No, I got to teach a pilates | class, but thank you, FRANCESCA: | Shouldn't we all say grace? I think you're right, Listen, it's been 45 minutes, so let's eat, | Everybody dig in, MAN: Thank you. FRANCESCA: | Even at a party... bossy, bossy. CALVIN: You know you love it. | You love it. You know you do. - Oh! | - Oh! FRANCESCA: | What are you doing? Shit. " C-C-C-Calvin " I'll get my ball, CALVIN: Uh, everybody, this is | Lee Bright, Carl's wife. Hi! Our writer, | Gave us a beautiful script, - Hi, | - Hi, Hi, Thank you, Lee, Lucy Morgan, L, A, Magazine, | I've worked with Carl, Oh, yeah, That's right, Hi, | How are you? Nice to meet you, Hi, I'm Lee, Yeah, Hi, hi, Hey, can you name all | the countries in Africa, Calvin? What do you want from me? - I'm not drunk, | - OK, Let's go, I'm just... | you know, fuck you, man, - Yeah, let's go, | - He needs to sober up, All right, Sorry, | Sit down, Sit down, He needs to fucking sober up, | I mean, come on, LINDA: | You know what? Enough, No more, No more drinks, all right? | I'm sorry, I'm sorry, No more, Do not drink anything, | Carl's on his way, all right? - Where are you going? | - I'll be right back, Don't drink | and don't talk to anybody, No one! Tch, Hey, Soledad, Do me a favor, - You're beautiful, | - Oh, thank you, - You working? | - No, I'm not, You know, | I left something in here today. Could you just let me in | for a second? Of course, Yeah, Thank you, Thanks, Gus? Hello? Hello? Oh, my God, Oh, my God. LEE: I mean, I'm wearing | a linen suit, for God's sake... and mascara's | running all over my face... And I'm the only fucking car | in the parking lot. It's, late, Hey, where did you go? Why? He's what? OK, OK, look, look, look, We'll call down, and I'll say | I left something in here, and I came up and I knocked | and he didn't answer, OK? What? What? | Lee, I don't know what! - Just wait, | - Fuck! Wait for what? Oh, my God! A few hours ago he was alive, | OK? He was really alive! Oh, man! Fuck, fuck! Do not touch him! - Jesus Christ! | - Oh, my God! Of course he's cold! CARL: I don't know | ifyou can calculate... I don't know | if you can quantify... the effect that would have | on a ten-year-old girl. I think Lee is like... Have you ever seen | a dog get hit by a car... but walk away? And... there's this impact... and you know | something terrible... has happened to that dog... but it walks away... and it doesn't seem to even | realize the implications... 'cause it just goes on. But you know | that something terrible... has happened inside this dog. LEE: | Why do you think he did it? Oh, God, I don't know, It's some weird sex thing, | I don't know, LEE: No. Not this. Ohh, CARL: That's, I think, | what happened to Lee. It's like... it's like... She's a dog that got hit by | a car, and she walked away... and she's still walking, but... LINDA: I don't know. | I guess he was really sad. CARL: Some very, very | important things... inside her are damaged. LEE: Oh. Jesus. CARL: So... my wife and I | were having trouble... and I said I thought | maybe we were in a rut... and that maybe | we should try something... to liven things up, | and she said,"Like what?" And I said like maybe we should | tape ourselves doing it. And she was | completely shocked by this... and she thought | it was beyond disgusting... and that was that | for, like, four months. And then one night, | out of the blue... she says,"Let's do it. " Ohh, So, we get it all set up, and | I'm ready and she's ready, and, uh, and she has gone out | and bought herself, a little toy to use | in the video, Really? Well, it's not a little toy, | It's a... it's a huge, Fucking, I mean, it was... No one has a... you know, OK, Well, anyway, I took one look | at this thing, and I knew | I would not be able to... I mean, it... I just couldn't... | I couldn't, I couldn't, So we haven't, And, you know, you can't come back | from something like that, I don't know whether | she lost respect for me, or I lost respect for myself, | but something was lost, HEATHER: | What are you going to do? CARL: I have no idea. I mean, I know professionally, | I'm gonna go back to teaching. I always loved teaching. - Really? | - Yeah. CARL: Never learned a thing in | my life, but I love teaching. The legacy of higher education. HEATHER: What about your wife? CARL: Tsk. I... will hope | that we get over this. HEATHER: Hmm, CARL: Aside from loving her, | I just really like her. A lot. But... I guess she thinks... everyone and everything | is against her. Somehow I just think... it keeps her from being happy. Is that your wife? - Hey! | - Hi, HEATHER: I'm with Dr, Green, CARL: | This is... Heather, this is Lee, - Django, he was sick, | - Django ate the brownies, - Yeah, | - He's OK, - He's fine now, | - We put him to bed, CARL: Are you OK? Um, the, they found Gus | in his hotel room, He's... he's dead, He's... HEATHER: I should go. CARL: OK, OK, Thank you, | Thank you, Thank you for that, HEATHER: Yeah. Hey, OK? OK, OK, He... he's dead, Oh, Oh, sweetie pie, OK, Um, Well, If you ever left me, | I would die, I would die, Please don't, OK, I just want this day to be over, Mmm, Yeah, Let it out, OK, - Happy birthday, | - Thanks, CARL: Mmm, LEE: Hi, Did you have any | interesting dreams last night? CARL: | Um, no, Back to normal, LEE: Oh, CARL: I had an afro, LEE: Huh? LEE: I really don't know | what you should do... when you're in love | with someone. I know that you're thinking | about them all the time. You want to be with them | and see things with them. I think it's impossible. | It's an ideal to just think... that you can actually | be kind all the time... and never be disappointed | in them or by them. It's hard. I mean, it's like | the dream is short-lived. CARL: You've got | to keep hoping that... that there's more. FRANCESCA: | You know, you always... It's when | you least expect it... that something | kind of pops up, literally. He just was... | appeared, kind of... Um, so... And nice that it's somebody... that I knew | a really long time ago. And, clearly, you know, | paid attention to me... before I was, you know, blond. So, that makes it nice... but I think | that it's just fate... and it's kind of, um... I don't know. And today, just | negative ions in the air... bringing good fortune | and... and, yeah. Yeah. Sam Osborne. CAL VIN: I think, | you know, with Lucy... she's a good listener, | like I said... but she's also, you know, | she's teaching me stuff. She comes from a nice family. | Her parents are still together. She got three-four | brothers and sisters... and they're | a real close-knit family. It's just the opposite | of where I had come from. I don't know. Honestly, | I don't know what it is. I mean, I gotta just kinda go | off my gut right now... and just see what feels right. And right now, | when I'm with Lucy... man, it just feels right. Catherine, Nicholas, You're here, I am, I wasn't sure, Neither was I... until now, Mmm, - Mmm, | - Mmm, - Did you get that? | - The announcement? No, - Where you going? | - Oh, Tucson, Mmm! I'm going to Tucson, - Oh, yeah? | - Yeah, - You ever been? | - No, It's supposed to be beautiful, That's what I hear, | I've never been, either, - I'll see you on the plane, | - All right, - Oh, are you Russian? | - No, No, you're supposed to say, | "Am I rushin' where?" - That's funny, | - Thanks, Hi, I'm sorry, | Is this seat taken? No, no, Ohh, Sorry, | I hope this isn't a full flight, - Yeah, I hope so, too, | - Sorry, LINDA: | You know, I was ready to go. I was at the airport, | and I met... like, in the food court, | I met this guy, um... and then he sat next to me | on the plane... and we just hit it off. His name's Arty, and we just... He just made me laugh. | He's really funny and sweet... and, um, sort of open. We just talked the whole time, | the whole flight. ARTY: | She laughed in a way... that made me feel like | she saw me. I blew off | meeting... meeting Ann... but we ended up spending | the weekend together. And she's terrific. LINDA: It was amazing. | We just had an amazing time. It was definitely... It was like out of a movie. " Do something real " " Sidewalks chasing, | citizens racing " " Do something real " " Bloodhounds closing in | on opposing men " " Do something real " " Do something real " " Crows like rats | like cats on vacation " " Do something real " " You've been scrapped, | I'm trapped at the station " " Small claims courts, | community snorts " " It's fine | when it's so concealed " " Do something real " " Extra special happiness " " Defined | by an endless field " " Of nothing real " " Do something real " " Crap stripe exits, | examiners expect it " " Do something real " " Plot of rockets, | holy ghost markets " " Do something real " " Small claims courts, | community snorts " " It's fine | when it's so concealed " " Extra special happiness " " Defined | by an endless field " " Of nothing real " This is, like, When we know | who the killer is, I know, | The audience doesn't know yet, But I know, And this is where you see me | put the pieces together. |
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