1
00:00:07,607 --> 00:00:10,142
<i>(theme music playing)</i>

2
00:01:14,341 --> 00:01:16,452
Eric: I'M ASKING IF YOU THINK I
SHOULD WORK WITH THIS GIRL.

3
00:01:16,476 --> 00:01:19,155
I'M ASKING IF YOU THINK YOU COULD WORK
WITH HER WITHOUT TRYING TO BANG HER.

4
00:01:19,179 --> 00:01:21,224
- SHE HAS A BOYFRIEND.
- I DON'T THINK E COULD
WORK WITH HER

5
00:01:21,248 --> 00:01:23,426
- WITHOUT TRYING TO BANG HER.
- I NEVER SEEM TO BE ABLE TO.

6
00:01:23,450 --> 00:01:25,262
- (chuckles)
- YEAH, BUT THE GIRLS
YOU WORK WITH

7
00:01:25,286 --> 00:01:27,097
WANT TO BANG YOU, VIN.
SHE DOESN'T WANNA BANG<i> HIM.</i>

8
00:01:27,121 --> 00:01:29,933
- OR DO YOU STILL
THINK SHE DOES, E?
- SHE HAS A BOYFRIEND, TURTLE!

9
00:01:29,957 --> 00:01:31,756
SO? IT'S NOT A HUSBAND.

10
00:01:31,792 --> 00:01:33,203
AND IF YOU THINK SHE'D
WANT TO BANG YOU

11
00:01:33,227 --> 00:01:35,193
IF SHE DIDN'T HAVE A
BOYFRIEND, YOU'D LIE IN WAIT.

12
00:01:35,229 --> 00:01:36,428
EVENTUALLY THAT WOULD END.

13
00:01:36,463 --> 00:01:38,008
- YOU'D BE IN LIKE FLYNN.
- TOTALLY.

14
00:01:38,032 --> 00:01:39,809
Eric: IS THAT WHY YOU
GUYS NEVER GET LAID?

15
00:01:39,833 --> 00:01:42,012
- ALWAYS WAITING
FOR RELATIONSHIPS TO END?
- (Turtle chuckles)

16
00:01:42,036 --> 00:01:44,214
LOOK, E, LAST NIGHT YOU THOUGHT
YOU WERE ON A DATE WITH THE GIRL.

17
00:01:44,238 --> 00:01:46,582
I'M JUST NOT SURE YOU CAN LET
THAT GO AND BE PROFESSIONAL.

18
00:01:46,606 --> 00:01:48,551
- YEAH WELL, I AM SURE.
- SO WHY ARE YOU ASKING?

19
00:01:48,575 --> 00:01:51,321
- I'M JUST MAKING SURE
YOU'RE OKAY WITH IT.
- ARE<i> YOU</i> OKAY WITH IT?

20
00:01:51,345 --> 00:01:53,423
LOOK, NOT ALL CLIENTS
ARE AS EASY AS ME.

21
00:01:53,447 --> 00:01:55,058
AND ACTRESSES... FORGET IT.

22
00:01:55,082 --> 00:01:57,460
- OH YEAH.
- LOOK, THE GIRL'S
A TALENT, ALL RIGHT?

23
00:01:57,484 --> 00:01:59,651
IT'S A GREAT WAY TO
EXPAND OUR BUSINESS.

24
00:01:59,686 --> 00:02:01,686
- OUR BUSINESS?
- YEAH. I'VE BEEN THINKING...

25
00:02:01,721 --> 00:02:03,566
YOU AND I, 50/50 ON
EVERY CLIENT I HIT.

26
00:02:03,590 --> 00:02:05,068
- WHERE DO I FIT IN?
- YOU DON'T.

27
00:02:05,092 --> 00:02:07,103
YOU KNOW, THAT'S SWEET,
BUT NOT NECESSARY.

28
00:02:07,127 --> 00:02:09,406
COME ON, VINCE. LOOK, I KNOW
WHERE I'D BE WITHOUT YOU.

29
00:02:09,430 --> 00:02:10,840
- NOWHERE.
- (Turtle chuckles)

30
00:02:10,864 --> 00:02:12,409
DON'T YOU HAVE A
JOB TO GO TO, DRAMA?

31
00:02:12,433 --> 00:02:14,544
THAT'S THE BEAUTY
OF AN ENSEMBLE CAST...

32
00:02:14,568 --> 00:02:16,034
TWO-DAY WORK WEEKS.

33
00:02:16,070 --> 00:02:17,869
- VINCE.
- E, IT IS NOT NECESSARY.

34
00:02:17,904 --> 00:02:20,616
IT'S GREAT THAT OTHER PEOPLE ARE
RECOGNIZING WHAT YOU DO FOR ME,

35
00:02:20,640 --> 00:02:22,152
AND I WISH YOU
NOTHING BUT SUCCESS.

36
00:02:22,176 --> 00:02:23,753
I ONLY ASK THAT YOU MAKE SURE

37
00:02:23,777 --> 00:02:25,721
THAT MY CAREER
ATTENTION DOES NOT SUFFER.

38
00:02:25,745 --> 00:02:28,313
YEAH, E. LOOK OUT
FOR NUMERO UNO.

39
00:02:28,349 --> 00:02:30,682
YEAH. ALWAYS ALWAYS ALWAYS.

40
00:02:30,717 --> 00:02:32,317
All: OOH!

41
00:02:32,353 --> 00:02:34,386
<i>(phone ringing)</i>

42
00:02:34,421 --> 00:02:36,154
I HAVE DANA GORDON.

43
00:02:36,190 --> 00:02:38,668
WEIRD, I USED TO PUSH UP ON
TOP OF DANA GORDON LIKE THIS.

44
00:02:38,692 --> 00:02:40,558
TRUE STORY.

45
00:02:42,463 --> 00:02:44,496
DANA, I WAS JUST
THINKING ABOUT YOU.

46
00:02:44,531 --> 00:02:46,564
DID YOU READ BILLY
WALSH'S SCRIPT?

47
00:02:46,600 --> 00:02:49,734
- <i>Did I get</i>
Billy Walsh's script?
- I GOT IT THIS MORNING.

48
00:02:49,769 --> 00:02:52,004
LLOYD! DO I HAVE
BILLY WALSH'S SCRIPT?

49
00:02:52,039 --> 00:02:53,416
MIRIAM JUST BROUGHT IT UP.

50
00:02:53,440 --> 00:02:55,507
<i>CALL WALSH AND FIND OUT
WHY I DIDN'T GET A CHANCE</i>

51
00:02:55,542 --> 00:02:57,242
TO COMMENT ON IT
BEFORE HE TURNED IT IN.

52
00:02:57,277 --> 00:02:59,044
JUST GOT IT. HOW'S IT FEELING?

53
00:02:59,079 --> 00:03:02,914
I'M ON PAGE 12 AND I DO NOT
UNDERSTAND WHAT I'M READING.

54
00:03:02,949 --> 00:03:05,362
WELL, YOU DIDN'T UNDERSTAND
"TITANIC" AFTER 12 PAGES EITHER, DANA.

55
00:03:05,386 --> 00:03:07,685
ARI, THIS IS TOTALLY
FUCKED, OKAY?

56
00:03:07,721 --> 00:03:10,100
- THIS IS NOT WHAT
WE BOUGHT AND I DO...
- WHAT DO YOU MEAN?

57
00:03:10,124 --> 00:03:12,491
READ THE THING, ARI.

58
00:03:12,526 --> 00:03:14,993
- LLOYD!
- LEFT WORD FOR WALSH.

59
00:03:15,029 --> 00:03:18,397
KEEP TRYING HIM AND CALL E, AND MAKE
SURE THAT VINCE IS READING THIS AS WELL.

60
00:03:20,834 --> 00:03:22,678
I CAN'T HEAR YOU,
LLOYD. I'M IN THE HILLS.

61
00:03:22,702 --> 00:03:24,614
DID YOU GET THE
BILLY WALSH SCRIPT?

62
00:03:24,638 --> 00:03:26,771
LLOYD, I CAN'T HEAR YOU.

63
00:03:28,175 --> 00:03:30,042
(yelling) DID YOU GET...

64
00:03:30,077 --> 00:03:32,477
THE BILLY WALSH SCRIPT?

65
00:03:32,513 --> 00:03:35,080
SHUT THE FUCK UP, LLOYD!

66
00:03:35,115 --> 00:03:37,582
LLOYD? HELLO? HELLO HELLO HELLO?

67
00:03:37,617 --> 00:03:39,762
- THERE'S NO
CELL RECEPTION UP HERE.
- YEAH, I'M GETTING THAT.

68
00:03:39,786 --> 00:03:41,764
DO YOU GUYS HAVE A HARDLINE
AROUND HERE, BY CHANCE?

69
00:03:41,788 --> 00:03:43,500
- I DON'T... I DON'T KNOW.
- THANKS, MAN.

70
00:03:43,524 --> 00:03:45,424
- THERE'S MY GUY!
- HEY!

71
00:03:45,459 --> 00:03:46,802
- HEY.
- HOW ARE YOU?

72
00:03:46,826 --> 00:03:49,906
(chuckles) OH, SO VINCE
IS OKAY WITH THIS?

73
00:03:49,930 --> 00:03:51,841
- OH YEAH, HE WAS COOL. TOTALLY COOL.
- SMART MOVE.

74
00:03:51,865 --> 00:03:54,144
I WOULD'VE FOUGHT HIM FOR
YOU, AND I'M FREAKISHLY STRONG.

75
00:03:54,168 --> 00:03:56,246
- I'M GLAD IT
DIDN'T COME TO THAT.
- YEAH, ME TOO.

76
00:03:56,270 --> 00:03:58,381
SO I'M SORRY FOR PUTTING
YOU TO WORK DAY ONE.

77
00:03:58,405 --> 00:04:00,850
IT'S JUST I'VE GOT TO SUMMON UP MY INNER
SUPERMODEL AND I'VE GOT THESE PEOPLE

78
00:04:00,874 --> 00:04:04,020
COMING AT ME WITH CONCEPTS AND
INTERVIEWS AND WARDROBE AND...

79
00:04:04,044 --> 00:04:05,988
(sighs) I'M SO THANKFUL
YOU'RE HERE TO HELP.

80
00:04:06,012 --> 00:04:08,291
YEAH WELL, I'M GLAD TO DO IT, EVEN
THOUGH FASHION ISN'T MY THING.

81
00:04:08,315 --> 00:04:09,892
BUT IF YOU REALLY
WANT MY OPINION,

82
00:04:09,916 --> 00:04:11,961
I LIKE THE BLACK OUTFIT YOU
WORE IN THE FIRST "SCARY MOVIE."

83
00:04:11,985 --> 00:04:13,563
IT MADE YOU LOOK SMART,
BUT STILL KIND OF HOT.

84
00:04:13,587 --> 00:04:15,353
- YOU REMEMBER THAT?
- YEAH.

85
00:04:15,389 --> 00:04:18,656
IT WAS ON... CABLE
LIKE... LIKE A YEAR AGO.

86
00:04:18,692 --> 00:04:21,337
- AND I MIGHT HAVE
BOUGHT THE DVD.
- (chuckling)

87
00:04:21,361 --> 00:04:24,162
- I WAS JUST TRYING
TO CATCH UP, YOU KNOW?
- RIGHT. YEAH.

88
00:04:24,198 --> 00:04:27,765
RIGHT. OH, WE ARE GONNA
BE GREAT TOGETHER, E.

89
00:04:27,801 --> 00:04:30,521
- REALLY GREAT. I'M SO EXCITED.
- YEAH, ME TOO.

90
00:04:30,937 --> 00:04:33,271
- YO, WHAT UP, GIRL?
- HEY, DAVE!

91
00:04:33,307 --> 00:04:34,872
HEY, BABY.

92
00:04:34,908 --> 00:04:36,286
- MMM.
- OH.

93
00:04:36,310 --> 00:04:38,254
THIS IS THE GUY I WAS
TELLING YOU ABOUT... E.

94
00:04:38,278 --> 00:04:39,511
THIS IS MY BOYFRIEND DAVE.

95
00:04:39,546 --> 00:04:41,257
- HEY, DAVE, HOW ARE YOU?
- (chuckles)

96
00:04:41,281 --> 00:04:43,381
- YOU'RE THE NEW MANAGER, DAWG?
- YEAH.

97
00:04:43,417 --> 00:04:46,351
I JUST, YOU KNOW... I JUST
THOUGHT YOU'D BE A LITTLE OLDER.

98
00:04:46,386 --> 00:04:48,320
- I'M OLDER THAN I LOOK.
- Dave:<i> MMM.</i>

99
00:04:48,355 --> 00:04:50,222
A'IGHT... YEAH...

100
00:04:51,358 --> 00:04:53,458
- SO?
- SO...

101
00:04:53,494 --> 00:04:56,595
UH, SO, WHY DON'T YOU
ASK THE NEW MANAGER

102
00:04:56,630 --> 00:04:58,130
WHAT HE THINKS OF MY IDEA?

103
00:04:58,165 --> 00:04:59,731
DAVE, I... (groans)

104
00:04:59,766 --> 00:05:02,000
WHAT? YO YO, CHECK THIS, OKAY?

105
00:05:02,035 --> 00:05:05,670
I WANT THEM TO SHOOT ANNA IN
A SERIES OF ANIMAL POSES, OKAY?

106
00:05:05,705 --> 00:05:08,140
LIKE ONE WHERE SHE STICKS
HER NECK OUT LIKE THIS, A'IGHT?

107
00:05:08,175 --> 00:05:09,541
IT'S LIKE A GIRAFFE, ALL RIGHT?

108
00:05:09,576 --> 00:05:11,876
ANOTHER ONE WHERE WE MAKE
HER HAIR REALLY REALLY BIG...

109
00:05:11,911 --> 00:05:13,545
SHE'LL BE, LIKE, A LION, HUH?

110
00:05:13,580 --> 00:05:15,680
- WHAT DO YOU THINK?
- IT'S INTERESTING.

111
00:05:15,715 --> 00:05:17,715
WHAT DO YOU REALLY THINK?

112
00:05:17,751 --> 00:05:19,791
UH, I THINK IT'S A LITTLE WEIRD.

113
00:05:19,819 --> 00:05:21,264
AND NO OFFENSE, DAVE, BUT IT IS.

114
00:05:21,288 --> 00:05:23,366
- IT'S... A LITTLE WEIRD.
- IT IS A LITTLE WEIRD, BABE.

115
00:05:23,390 --> 00:05:25,401
OKAY. WELL, I THOUGHT
IT'D BE HOT, OKAY?

116
00:05:25,425 --> 00:05:28,493
YOU THINK EVERYTHING I DO IS
HOT AND THAT'S WHY I LOVE YOU.

117
00:05:28,529 --> 00:05:32,063
BUT THIS IS A LITTLE WEIRD,
SO LET'S LET IT GO, PLEASE.

118
00:05:32,098 --> 00:05:33,865
- OKAY, BABY.
- OKAY.

119
00:05:33,900 --> 00:05:36,034
I'M GONNA GO GET READY.

120
00:05:36,069 --> 00:05:38,170
UM... YO, DAWG,

121
00:05:38,205 --> 00:05:41,173
I'M GONNA GO WATCH
MY GIRL GET READY, OKAY?

122
00:05:41,208 --> 00:05:44,676
SO WHY DON'T YOU GRAB ME A COKE
AND BRING IT OVER TO THE TRAILER, A'IGHT?

123
00:05:44,711 --> 00:05:47,345
YEAH, THEY'RE, UM... THEY'RE
RIGHT THERE. THANKS, DAWG.

124
00:05:48,482 --> 00:05:50,215
BRING THAT RIGHT OVER.

125
00:05:51,285 --> 00:05:53,185
(both ringing)

126
00:05:56,823 --> 00:05:58,000
- YEAH?
- HELLO?

127
00:05:58,024 --> 00:05:59,369
- TURTLE?
- DRAMA?

128
00:05:59,393 --> 00:06:01,137
- HEY, ARI! WHAT'S UP?
- WHAT'S UP, LLOYD?

129
00:06:01,161 --> 00:06:03,072
- I'M LOOKING FOR VINCE.
- DO YOU KNOW WHERE VINCE IS?

130
00:06:03,096 --> 00:06:05,441
- AREN'T YOU SUPPOSED TO
GO THROUGH E FOR VINCE?
- DID YOU TRY E?

131
00:06:05,465 --> 00:06:07,377
IF HE'S THERE, PUT HIM ON
THE FUCKING PHONE, TURTLE.

132
00:06:07,401 --> 00:06:08,733
I CALLED E AND E-MAILED HIM TOO.

133
00:06:08,768 --> 00:06:09,779
LET ME SEE IF HE'S
HERE. HANG ON.

134
00:06:09,803 --> 00:06:11,548
I'LL SEE IF I CAN LOCATE HIM.

135
00:06:11,572 --> 00:06:13,449
- YO, VINCE,
YOU'RE HERE FOR ARI?
- WHY WOULDN'T I BE?

136
00:06:13,473 --> 00:06:14,850
LLOYD SAYS HE CAN'T FIND E.

137
00:06:14,874 --> 00:06:17,108
OH, IT'S FINE. HEY, LLOYD.

138
00:06:17,143 --> 00:06:18,788
- HEY, VINCE. HOLD FOR ARI.
- <i>Okay.</i>

139
00:06:18,812 --> 00:06:21,379
- I GOT ARI, VINCE.
- OH.

140
00:06:21,415 --> 00:06:22,458
- <i>Ari.</i>
- VINCE!

141
00:06:22,482 --> 00:06:23,615
I'VE GOT VINCE.

142
00:06:23,650 --> 00:06:25,550
I GOT FUCKING VINCE.

143
00:06:25,586 --> 00:06:26,929
- <i>Vince!</i>
- ARI?

144
00:06:26,953 --> 00:06:28,853
DID YOU READ WALSH'S SCRIPT?

145
00:06:28,888 --> 00:06:30,455
DID I GET WALSH'S SCRIPT?

146
00:06:30,490 --> 00:06:32,569
IT WAS DROPPED OFF TO ME
AND THE STUDIO THIS MORNING.

147
00:06:32,593 --> 00:06:34,003
ANY SCRIPTS COME
FOR US THIS MORNING?

148
00:06:34,027 --> 00:06:35,560
UH, YEAH, I PUT 'EM IN THE PILE.

149
00:06:35,596 --> 00:06:37,307
YEAH, I'VE GOT IT.
WHAT'S THE PROBLEM?

150
00:06:37,331 --> 00:06:40,210
<i>The problem is he took your
snow-on-a-mountain movie</i>

151
00:06:40,234 --> 00:06:42,212
<i>and turned it into
a futuristic thriller</i>

152
00:06:42,236 --> 00:06:45,704
SET ON A FARM, CIRCA 2075.

153
00:06:45,739 --> 00:06:48,640
- I DON'T UNDERSTAND.
- <i>He tossed the book away,</i>

154
00:06:48,675 --> 00:06:50,908
THE BOOK THEY PAID
HIM $3 MILLION TO WRITE,

155
00:06:50,944 --> 00:06:52,755
AND DECIDED JUST TO
MAKE UP HIS OWN STORY.

156
00:06:52,779 --> 00:06:55,380
HUH, THAT'S ODD. CALL WALSH.

157
00:06:55,415 --> 00:06:57,960
- DANA GORDON ON ONE.
- DID E KNOW ANYTHING
ABOUT THIS?

158
00:06:57,984 --> 00:07:00,084
- NO, OF COURSE NOT.
- THEN WHY IS HE IN HIDING?

159
00:07:00,120 --> 00:07:02,398
HE'S NOT IN HIDING. HE'S AT A
PHOTO SHOOT WITH HIS NEW CLIENT.

160
00:07:02,422 --> 00:07:04,989
- E'S GOT A NEW CLIENT?
- YEAH, ANNA FARIS.

161
00:07:06,226 --> 00:07:08,560
- COME ON!
- YEP.

162
00:07:08,595 --> 00:07:10,695
JESUS! THE WORLD
IS FALLING APART.

163
00:07:10,731 --> 00:07:12,808
IT'S ALWAYS DARKEST
BEFORE DAWN, ARI.

164
00:07:12,832 --> 00:07:14,098
I GOT BILLY'S VOICEMAIL.

165
00:07:14,134 --> 00:07:16,468
BILLY WALSH JUST SAID IN
RESPONSE TO YOUR QUESTION

166
00:07:16,503 --> 00:07:18,314
OF WHY DID HE GIVE THE
SCRIPT TO THE STUDIO

167
00:07:18,338 --> 00:07:20,283
BEFORE YOU HAD A
CHANCE TO COMMENT ON IT...

168
00:07:20,307 --> 00:07:23,253
AND I'M QUOTING HIM HERE... "'CAUSE
I DON'T GIVE A FUCK WHAT YOU THINK."

169
00:07:23,277 --> 00:07:24,809
GET HIS ADDRESS.

170
00:07:24,844 --> 00:07:28,346
VINNIE, SIT TIGHT. I WILL
GET RIGHT BACK TO YOU.

171
00:07:28,382 --> 00:07:29,914
OKAY. BYE, ARI.

172
00:07:29,949 --> 00:07:31,949
BOY, HE'S STRESSED.

173
00:07:31,985 --> 00:07:34,686
- DO YOU WANT ME TO CALL E?
- NO. I'M THE PRODUCER.

174
00:07:34,721 --> 00:07:37,922
I CAN HANDLE IT. LET'S JUST
SEE WHAT CRAZY BILLY DID, HUH?

175
00:07:37,957 --> 00:07:39,658
HEY, HOW ABOUT I READ E'S COPY?

176
00:07:39,693 --> 00:07:41,653
YEAH. I LIKE THE
INITIATIVE, TURTLE.

177
00:07:42,729 --> 00:07:46,164
- WHAT SHOULD I DO?
- WHY DON'T YOU MAKE US
A SNACK?

178
00:07:47,267 --> 00:07:49,801
I LIKE BEING E.

179
00:07:49,836 --> 00:07:51,536
<i>(chuckles) HUH.</i>

180
00:07:51,571 --> 00:07:53,738
<i>(pop music playing)</i>

181
00:07:53,773 --> 00:07:55,684
OH, THAT'S SO HOT. PERFECT.

182
00:07:55,708 --> 00:07:57,375
TURN INTO IT. TURN INTO IT.

183
00:08:00,713 --> 00:08:02,247
SHIT.

184
00:08:02,282 --> 00:08:04,627
HEY, YOU CAN GET A SIGNAL
RIGHT AT THE BOTTOM OF THE HILL.

185
00:08:04,651 --> 00:08:07,029
OR IF YOU WANT, WE HAVE A RUNNER
WE CAN SEND TO MAKE A CALL FOR YOU.

186
00:08:07,053 --> 00:08:08,964
NO, THANKS ANYWAY. I'LL GO
DOWN THERE AND MAKE THE CALL.

187
00:08:08,988 --> 00:08:11,708
- THANK YOU VERY MUCH. I APPRECIATE IT.
- NO PROBLEM.

188
00:08:12,592 --> 00:08:13,836
- SHE LOOKS GOOD, HUH?
- NO NO.

189
00:08:13,860 --> 00:08:15,760
I'M NOT FEELING THIS
SHIT AT ALL, OKAY?

190
00:08:15,795 --> 00:08:19,364
BABY, BABY, OKAY? DO
ONE LIKE A CAT, OKAY?

191
00:08:19,399 --> 00:08:21,399
A FIERCE CAT... SS-SS, MEOW...

192
00:08:21,434 --> 00:08:22,800
JUST JUMP OUT.

193
00:08:22,835 --> 00:08:25,181
BABY, TRUST ME ON THIS,
OKAY? PLEASE PLEASE?

194
00:08:25,205 --> 00:08:28,072
BIG EYES LIKE AN OWL AND
THIS SHIT IS GONNA POP!

195
00:08:28,107 --> 00:08:30,208
COME ON, DAVE. I...

196
00:08:30,243 --> 00:08:32,043
OKAY, AM I WRONG, DAWG?

197
00:08:32,078 --> 00:08:33,956
HUH? A LITTLE RECKLESS
ABANDONMENT HERE.

198
00:08:33,980 --> 00:08:35,090
IT WOULD STAMP
THIS THING UNIQUE.

199
00:08:35,114 --> 00:08:36,847
I THINK SHE LOOKS BEAUTIFUL.

200
00:08:38,951 --> 00:08:40,563
(whispers) FUCKING HACK.

201
00:08:40,587 --> 00:08:42,598
ANNA, ARE YOU COOL IF I RUN
DOWN TO THE BOTTOM OF THE HILL

202
00:08:42,622 --> 00:08:44,322
- TO MAKE A CALL?
- YEAH.

203
00:08:44,357 --> 00:08:46,191
OKAY. I'LL BE RIGHT BACK.

204
00:08:46,226 --> 00:08:48,546
ALL RIGHT, EVERYONE,
LET'S TAKE FIVE.

205
00:08:50,230 --> 00:08:52,508
- ALL RIGHT, SO... IT'S ERIC, RIGHT?
- YEAH.

206
00:08:52,532 --> 00:08:54,265
- LOOK, YOU CAN'T LEAVE NOW.
- WHY NOT?

207
00:08:54,301 --> 00:08:57,213
I'M NOT GETTING WHAT I NEED
OUT OF ANNA. SHE'S NOT FOCUSED.

208
00:08:57,237 --> 00:08:59,136
ALL RIGHT, I'LL TALK TO HER.

209
00:08:59,172 --> 00:09:01,717
NO NO NO, SHE'S NOT THE
PROBLEM. THE BOYFRIEND IS.

210
00:09:01,741 --> 00:09:03,653
AS LONG AS HE'S HANGING
AROUND CRITICIZING HER,

211
00:09:03,677 --> 00:09:04,853
SHE'S JUST NOT GONNA BRING IT.

212
00:09:04,877 --> 00:09:06,511
YOU DON'T WANT TO
SAY SOMETHING TO HIM?

213
00:09:06,546 --> 00:09:08,957
I TAKE PICTURES. I DON'T
INTERFERE WITH DOMESTICITY.

214
00:09:08,981 --> 00:09:10,648
ALL RIGHT, I'LL SAY
SOMETHING TO HIM.

215
00:09:12,219 --> 00:09:14,118
Anna: DON'T TOUCH THE CAMERA.

216
00:09:14,153 --> 00:09:15,598
- HEY, DAVE.
- YO, DAWG, WHAT'S UP?

217
00:09:15,622 --> 00:09:17,466
- CAN I TALK
TO YOU FOR A SECOND?
- YEAH.

218
00:09:17,490 --> 00:09:20,825
LISTEN, I THINK YOU'RE MAKING
ANNA A LITTLE UNCOMFORTABLE.

219
00:09:20,860 --> 00:09:23,194
(chuckles) WOW, YOU'VE
BEEN WORKING WITH HER,

220
00:09:23,230 --> 00:09:25,763
WHAT, ONE DAY? HOW DO YOU
KNOW WHAT I'M MAKING HER?

221
00:09:25,798 --> 00:09:27,876
MAYBE YOU'RE MAKING THE
PHOTOGRAPHER UNCOMFORTABLE.

222
00:09:27,900 --> 00:09:30,513
EITHER WAY, IF YOU'RE GONNA HANG
AROUND, TRY TO BE A LITTLE LESS CRITICAL.

223
00:09:30,537 --> 00:09:33,015
NO NO, THIS IS NOT GOOD,
OKAY? I'M NOT FEELING<i> THIS.</i>

224
00:09:33,039 --> 00:09:34,706
OKAY? ANNA, BABY?

225
00:09:34,741 --> 00:09:36,874
ANNA? OKAY, BABY?

226
00:09:36,909 --> 00:09:39,577
LOOK, I NEED TO TALK TO
YOU FOR A SECOND, OKAY?

227
00:09:39,613 --> 00:09:40,989
- IN THE TRAILER.
- OKAY.

228
00:09:41,013 --> 00:09:42,747
EXCUSE ME.

229
00:09:42,782 --> 00:09:45,250
<i>(rock music playing)</i>

230
00:10:01,534 --> 00:10:02,712
- HI.
- HI.

231
00:10:02,736 --> 00:10:03,779
IS BILLY WALSH HERE?

232
00:10:03,803 --> 00:10:05,803
OH, HEY, NO. BILLY'S NOT HERE.

233
00:10:07,006 --> 00:10:09,406
I SEE HIM SITTING
ON THE COUCH THERE.

234
00:10:10,477 --> 00:10:12,176
SHE MEANS I'M NOT
HERE FOR<i> YOU,</i> ARI.

235
00:10:12,211 --> 00:10:13,745
CAN I PLEASE COME IN?

236
00:10:13,780 --> 00:10:15,146
NOT IF YOU'RE
GONNA CRITICIZE ME.

237
00:10:15,181 --> 00:10:17,025
WHY WOULD I CRITICIZE YOU?

238
00:10:17,049 --> 00:10:19,016
LET HIM IN.

239
00:10:22,455 --> 00:10:24,333
SO EVERYONE HATES THE SCRIPT.

240
00:10:24,357 --> 00:10:27,525
YOU GOT PAID A HALF A MILLION
DOLLARS TO ADAPT A BOOK

241
00:10:27,560 --> 00:10:28,926
AND YOU DIDN'T DO IT.

242
00:10:28,961 --> 00:10:30,506
I DECIDED TO GO IN A
DIFFERENT DIRECTION.

243
00:10:30,530 --> 00:10:32,664
THEY DIDN'T PAY YOU
FOR THAT DIRECTION.

244
00:10:32,699 --> 00:10:35,767
HEY, THE SCRIPT THAT HE
WROTE IS REALLY HOT, MAN.

245
00:10:37,003 --> 00:10:38,536
AHEM!

246
00:10:38,571 --> 00:10:40,949
YOU DON'T WANT TO GIVE THE STUDIO
BACK THEIR MONEY, DO YOU, BILLY?

247
00:10:40,973 --> 00:10:42,652
- THE MONEY'S BEEN SPENT, ARI.
- ON WHAT?

248
00:10:42,676 --> 00:10:45,677
- HOME IMPROVEMENTS.
- WE PUT IN A STEAM SHOWER.

249
00:10:45,712 --> 00:10:48,346
HOW LONG WILL IT TAKE YOU TO
DO WHAT THEY PAID YOU TO DO?

250
00:10:48,381 --> 00:10:50,293
INFINITY, 'CAUSE
I'M NOT GONNA DO IT!

251
00:10:50,317 --> 00:10:53,584
- YOU HAVE TO DO IT!
- I'VE TRIED TO DO IT, ARI!

252
00:10:53,620 --> 00:10:55,986
I DID, BUT EVERY TIME I
STARTED TO WRITE A SCENE

253
00:10:56,022 --> 00:10:58,823
I GOT THESE TWO GUYS
LOCKED ALONE ON A MOUNTAIN

254
00:10:58,858 --> 00:11:00,891
AND IT FELT REALLY GAY.

255
00:11:00,927 --> 00:11:02,805
AND IT WAS MY IDEA
TO ADD THE CHICKS.

256
00:11:02,829 --> 00:11:05,797
- SEE, BILLY WRITES
CHICKS REALLY GOOD.
- THANKS, BABE.

257
00:11:05,832 --> 00:11:07,799
VINCE STUCK HIS NECK OUT FOR YOU

258
00:11:07,834 --> 00:11:10,234
AND NOW YOU ARE
FUCKING HIM AND THE STUDIO.

259
00:11:10,269 --> 00:11:12,337
THEY ARE GOING TO
FUCK YOU RIGHT BACK.

260
00:11:12,372 --> 00:11:14,839
- THEY CAN'T TOUCH ME.
- THEY CAN<i> SUE</i> YOU

261
00:11:14,874 --> 00:11:18,242
AND MAKE SURE THAT YOU NEVER
MAKE A MOVIE IN THIS TOWN AGAIN.

262
00:11:18,277 --> 00:11:20,357
WELL, GOOD THING I PAINT.

263
00:11:21,448 --> 00:11:23,314
YOU'RE NOT GONNA
DO THIS, ARE YOU?

264
00:11:23,350 --> 00:11:24,749
NO, I'M NOT.

265
00:11:24,784 --> 00:11:26,851
THEN I'VE GOT NOTHING
ELSE TO SAY TO YOU.

266
00:11:28,254 --> 00:11:31,556
YEAH WELL, I'VE GOT
SOMETHING TO SAY TO<i> YOU...</i>

267
00:11:31,591 --> 00:11:34,892
(yells) YOU ARE NO
LONGER MY AGENT!

268
00:11:34,927 --> 00:11:37,928
- (phone rings)
- YEAH, LLOYD?

269
00:11:37,964 --> 00:11:40,576
- IT'S YOUR WIFE. SHE SAYS IT'S URGENT.
- <i>Put her through, Lloyd.</i>

270
00:11:40,600 --> 00:11:42,600
- <i>Here she is.</i>
- WHAT'S WRONG, BABY?

271
00:11:42,635 --> 00:11:44,602
YOU'RE AVOIDING
MY FUCKING CALLS.

272
00:11:44,637 --> 00:11:47,705
(sighs) DOES THAT SOUND
LIKE MY WIFE, LLOYD?

273
00:11:47,741 --> 00:11:50,285
IT DID, YES. BUT NOW
IT DOESN'T. SORRY.

274
00:11:50,309 --> 00:11:53,222
- WHAT'S UP, DANA?
- I HAVEN'T WALKED
OUT OF MY OFFICE...

275
00:11:53,246 --> 00:11:55,713
NOT EVEN TO PEE...
IN THREE HOURS.

276
00:11:55,749 --> 00:11:57,025
WHAT ARE YOU, AGORAPHOBIC?

277
00:11:57,049 --> 00:11:58,889
NO, I'M SCARED TO SEE MY BOSS

278
00:11:58,918 --> 00:12:01,285
BECAUSE I HAVE NO
IDEA WHAT TO TELL HIM.

279
00:12:01,320 --> 00:12:03,098
<i>Well, that is the
beauty of me, Dana.</i>

280
00:12:03,122 --> 00:12:04,967
I TELL PEOPLE WHAT
TO TELL OTHER PEOPLE.

281
00:12:04,991 --> 00:12:07,458
- SO TELL ME SOMETHING!
- FIRE WALSH.

282
00:12:07,494 --> 00:12:09,394
<i>- Fire him?</i>
- <i>Yes.</i> I just did.

283
00:12:09,429 --> 00:12:12,341
SO HE HAS NO INTENTION OF WRITING
WHAT HE WAS SUPPOSED TO WRITE?

284
00:12:12,365 --> 00:12:14,565
<i>None, but I have
intentions of finding you</i>

285
00:12:14,601 --> 00:12:18,002
AN A-LIST WRITER/DIRECTOR
TO REPLACE HIM BY SUNDOWN.

286
00:12:18,037 --> 00:12:20,438
AND I WILL BRING HIM IN AT COST.

287
00:12:20,473 --> 00:12:22,973
<i>- Lloyd, get a list together.
- I can't believe this.</i>

288
00:12:23,009 --> 00:12:24,876
<i>Wake up, Dana. It's real.</i>

289
00:12:24,911 --> 00:12:27,322
THE FIRST BIG PROJECT YOU
BROUGHT INTO YOUR NEW STUDIO

290
00:12:27,346 --> 00:12:28,979
IS IN SHAMBLES.

291
00:12:29,015 --> 00:12:31,148
THANKS TO YOUR
WRITER/DIRECTOR, ASSHOLE!

292
00:12:31,183 --> 00:12:33,851
YOU KNOW, IF YOU THINK MY
LAST BOSS WAS VINDICTIVE,

293
00:12:33,887 --> 00:12:35,286
YOU HAVEN'T SEEN SHIT!

294
00:12:35,321 --> 00:12:37,422
<i>You'd better find me
someone approvable</i>

295
00:12:37,457 --> 00:12:39,167
AND YOU'D BETTER MAKE
SURE VINCE IS ONBOARD.

296
00:12:39,191 --> 00:12:41,859
BECAUSE IF I HAVE TO GO IN
AND TELL RICHARD WIMMER

297
00:12:41,895 --> 00:12:45,730
THAT WE LOST A SCRIPT, A
DIRECTOR<i> AND</i> A STAR TODAY...

298
00:12:45,765 --> 00:12:47,998
ALL OF WHOM ARE
<i>YOUR</i> FUCKING CLIENTS...

299
00:12:48,034 --> 00:12:51,201
YOU CAN BET YOUR ASS THAT
NOBODY WHO HAS EVER BEEN

300
00:12:51,237 --> 00:12:52,848
CLOSE ENOUGH TO
SMELL YOUR BREATH

301
00:12:52,872 --> 00:12:55,540
WILL EVER BE WELCOME
AT THIS STUDIO AGAIN!

302
00:12:56,776 --> 00:12:59,276
(phone ringing)

303
00:13:01,414 --> 00:13:03,881
VINCE, IT'S ARI.

304
00:13:03,917 --> 00:13:05,616
EH, I'LL CALL HIM
WHEN I'M FINISHED.

305
00:13:06,853 --> 00:13:08,986
HEY, SOME HELP THIS GUY IS.

306
00:13:09,021 --> 00:13:10,499
I'M NOT SLEEPING, JERK-OFF.

307
00:13:10,523 --> 00:13:11,923
I'M PACING MYSELF.

308
00:13:11,958 --> 00:13:13,469
YEAH? WERE YOU
ENJOYING IT, TURTLE?

309
00:13:13,493 --> 00:13:15,003
YEAH WELL, DON'T GET MAD, VIN,

310
00:13:15,027 --> 00:13:16,839
BUT I WAS KIND OF JUST
SCANNING IT FOR THE SEX SCENES.

311
00:13:16,863 --> 00:13:18,574
THERE ARE TWO GOOD
ONES, BY THE WAY.

312
00:13:18,598 --> 00:13:20,543
THERE'S A LOT OF
PARTS IN HERE, VINCE.

313
00:13:20,567 --> 00:13:23,167
BILLY LIKED WHAT I DID
IN "MEDELLIN," RIGHT?

314
00:13:23,202 --> 00:13:26,871
NO. I REALLY DO NEED
E. CALL HIM, TURTLE.

315
00:13:26,906 --> 00:13:28,806
- I COULD FINISH, MAN.
- CALL HIM.

316
00:13:28,842 --> 00:13:30,775
CALL HIM, TURTLE.

317
00:13:30,810 --> 00:13:32,677
(sighs)

318
00:13:35,114 --> 00:13:36,848
STRAIGHT TO VOICEMAIL.

319
00:13:37,884 --> 00:13:39,984
NICE. VERY NICE.

320
00:13:45,191 --> 00:13:47,436
EXCUSE ME, MISS. CAN YOU GET
THAT RUNNER TO MAKE A CALL FOR ME?

321
00:13:47,460 --> 00:13:48,793
SURE, WHO'S THE CALL TO?

322
00:13:48,828 --> 00:13:51,328
OKAY, THE CALL IS TO ARI GOLD
AT THE MILLER GOLD AGENCY.

323
00:13:51,364 --> 00:13:53,063
AND YOU'RE GOING
TO ASK FOR LLOYD

324
00:13:53,099 --> 00:13:55,065
AND SEE IF THERE'S ANYTHING
IMPORTANT GOING ON.

325
00:13:55,101 --> 00:13:56,445
ALL RIGHT, YOU GOT IT.

326
00:13:56,469 --> 00:13:58,629
- GREAT. THANK YOU VERY MUCH.
- MM-HMM.

327
00:13:59,005 --> 00:14:00,115
- HEY, GUY.
- YEAH?

328
00:14:00,139 --> 00:14:01,350
- YOU ANNA'S MANAGER?
- YEAH.

329
00:14:01,374 --> 00:14:03,051
CAN YOU MANAGE HER?
WE'RE READY TO SHOOT.

330
00:14:03,075 --> 00:14:04,152
SHE'S NOT COMING
OUT OF HER TRAILER.

331
00:14:04,176 --> 00:14:05,476
SHE'S TALKING TO HER BOYFRIEND.

332
00:14:05,512 --> 00:14:06,922
LOOK, ONCE THE SUN
IS OVER THAT TREE,

333
00:14:06,946 --> 00:14:08,813
WE'RE DONE. WE CAN'T SHOOT.

334
00:14:08,848 --> 00:14:10,381
OKAY. OKAY, I'LL
TAKE CARE OF IT.

335
00:14:10,416 --> 00:14:11,549
ALL RIGHT.

336
00:14:12,886 --> 00:14:14,585
(grunts)

337
00:14:14,621 --> 00:14:15,798
Dave: <i>NO, I'M HELPING YOU!</i>

338
00:14:15,822 --> 00:14:17,232
<i>WHY ARE YOU FIGHTING ME ON THIS?</i>

339
00:14:17,256 --> 00:14:19,067
<i>I'M TRYING TO HELP YOU.
THE CAT'S GONNA HELP.</i>

340
00:14:19,091 --> 00:14:20,791
Anna: <i>THEN MAYBE IT
WOULD BE APPROPRIATE.</i>

341
00:14:20,827 --> 00:14:23,238
Dave: <i>IT'S THE INNER ANIMAL!
IT'S YOUR INNER ANIMAL!</i>

342
00:14:23,262 --> 00:14:24,829
<i>(door opens)</i>

343
00:14:24,864 --> 00:14:27,498
WHAT DO YOU WANT, DAWG?

344
00:14:27,534 --> 00:14:29,478
SORRY TO BOTHER YOU, DAVE...
I DON'T MEAN TO INTERRUPT...

345
00:14:29,502 --> 00:14:31,580
BUT THEY'RE READY
FOR ANNA ON SET.

346
00:14:31,604 --> 00:14:33,616
- WE'RE IN THE
MIDDLE OF SOMETHING.
- I REALLY HAVE TO GO.

347
00:14:33,640 --> 00:14:35,951
- WE NEED TO TALK
ABOUT THIS LATER.
- WHAT'S MORE IMPORTANT TO YOU,

348
00:14:35,975 --> 00:14:37,386
THIS RELATIONSHIP
OR THIS PHOTO SHOOT?

349
00:14:37,410 --> 00:14:39,410
DON'T DO THAT! I HAVE TO WORK!

350
00:14:39,445 --> 00:14:41,078
OH, AND I'M SORRY I DON'T!

351
00:14:41,113 --> 00:14:43,247
(sighs) OH MY GOD.

352
00:14:43,282 --> 00:14:44,815
FUCK THIS.

353
00:14:44,851 --> 00:14:46,717
- DAVE!
- I'M OUT.

354
00:14:46,753 --> 00:14:49,020
<i>(sighs) I'M REALLY SORRY.</i>

355
00:14:49,055 --> 00:14:50,688
<i>HE NEVER USED TO BE LIKE THIS,</i>

356
00:14:50,723 --> 00:14:52,456
BUT SINCE THE CW
PASSED ON HIS PILOT,

357
00:14:52,491 --> 00:14:55,292
HE'S BEEN HANGING AROUND MY
WORK BEING ALL HYPERCRITICAL.

358
00:14:55,327 --> 00:14:57,628
- (tires screech)
- (engine roaring)

359
00:14:57,664 --> 00:14:59,196
GOD, YOU MUST THINK I'M A MESS.

360
00:14:59,231 --> 00:15:00,976
NO NO NO. LOOK,
RELATIONSHIPS ARE TOUGH.

361
00:15:01,000 --> 00:15:02,711
I'M SURE YOU GUYS
WILL GET THROUGH IT.

362
00:15:02,735 --> 00:15:04,713
- DOES THE CREW
TOTALLY HATE ME?
- NO, NOT AT ALL.

363
00:15:04,737 --> 00:15:06,481
EVERYTHING'S...
EVERYTHING'S FINE.

364
00:15:06,505 --> 00:15:08,417
- YOU'RE GOOD? YOU NEED A MINUTE?
- NO NO NO, I'M GOOD.

365
00:15:08,441 --> 00:15:10,385
- OKAY, HERE. COME ON.
- OKAY, THANK YOU.

366
00:15:10,409 --> 00:15:12,649
- HOW'S THAT DRESS FEEL?
- IT'S REALLY UNCOMFORTABLE.

367
00:15:12,679 --> 00:15:15,145
(chuckles) NOT GREAT, RIGHT?

368
00:15:15,181 --> 00:15:17,514
HEY, YOU NEEDED ME TO GO
MAKE A PHONE CALL FOR YOU.

369
00:15:17,550 --> 00:15:19,294
I'M JUST CONFIRMING, WHO
WAS I SUPPOSED TO CALL?

370
00:15:19,318 --> 00:15:21,229
YOU WANT TO TALK TO
LLOYD IN ARI GOLD'S OFFICE.

371
00:15:21,253 --> 00:15:23,365
ERIC, IF YOU NEED TO GO MAKE
SOME PHONE CALLS, THAT'S FINE.

372
00:15:23,389 --> 00:15:24,800
- YOU SURE?
- TOTALLY.

373
00:15:24,824 --> 00:15:26,368
- I'LL BE BACK
IN FIVE MINUTES.
- OKAY.

374
00:15:26,392 --> 00:15:28,325
- ALL RIGHT?
- HEY, AND E?

375
00:15:28,360 --> 00:15:31,462
- <i>YEAH?</i>
- I SWEAR I'M NOT AS HIGH
MAINTENANCE AS IT SEEMS.

376
00:15:31,497 --> 00:15:33,809
DON'T WORRY ABOUT IT. AS FAR AS
MY EASIEST CLIENTS ARE CONCERNED,

377
00:15:33,833 --> 00:15:35,299
YOU'RE IN THE TOP TWO. NOT BAD.

378
00:15:35,334 --> 00:15:37,735
- ALL RIGHT, BYE.
- <i>I'LL BE BACK IN TWO SECONDS.</i>

379
00:15:37,770 --> 00:15:38,948
- I'M SORRY.
- ALL RIGHT.

380
00:15:38,972 --> 00:15:40,182
- SO SORRY, GUYS.
- OKAY.

381
00:15:40,206 --> 00:15:42,873
- (doorbell rings)
- ARI, MAKING HOUSE CALLS.

382
00:15:42,909 --> 00:15:44,820
- I LOVE IT!
- HEH-HEH, TODAY
IS NOT THE DAY

383
00:15:44,844 --> 00:15:46,243
TO NOT PICK UP YOUR PHONE, VIN.

384
00:15:46,278 --> 00:15:48,445
I WAS READING. COME
ON, YOU SHOULD BE PROUD.

385
00:15:48,481 --> 00:15:50,081
NORMALLY YOU CAN'T
GET ME TO DO THAT.

386
00:15:50,116 --> 00:15:52,327
WELL, TODAY I ACTUALLY
<i>DON'T</i> NEED YOU TO DO THAT.

387
00:15:52,351 --> 00:15:54,763
I MADE SOME LAMB KEBABS,
ARI. YOU WANT SOME?

388
00:15:54,787 --> 00:15:56,164
- NO, THANK YOU.
- THEY'RE GOOD.

389
00:15:56,188 --> 00:15:58,455
NO, THANK YOU. YOU
KNOW RICHARD KELLY?

390
00:15:58,491 --> 00:16:00,936
- DIRECTOR?
- YEAH, THE GUY WHO DID
"DONNIE DARKO."

391
00:16:00,960 --> 00:16:02,760
I KNOW HIM. I LIKE HIM. WHY?

392
00:16:02,795 --> 00:16:04,907
I REPRESENT HIM. I CAN
GET HIM ON "CLOUDS."

393
00:16:04,931 --> 00:16:07,876
PLUS, I CAN GET THE STUDIO ONBOARD
SO WE CAN KEEP THIS TRAIN ROLLING.

394
00:16:07,900 --> 00:16:09,667
WHAT ABOUT BILLY?

395
00:16:09,702 --> 00:16:11,780
BILLY IS A DEAD
MAN. HE'S A CORPSE.

396
00:16:11,804 --> 00:16:15,339
YOU CAN'T PULL THAT KIND OF SHIT
WHEN YOU GET PAID THAT KIND OF MONEY.

397
00:16:15,374 --> 00:16:18,053
- DID YOU READ HIS SCRIPT?
- I UNDERSTAND THAT YOU'RE
LOYAL TO THE GUY.

398
00:16:18,077 --> 00:16:20,544
- BUT DID YOU READ IT?
- I READ THE FIRST 10 PAGES.

399
00:16:20,579 --> 00:16:23,014
THERE'S NO MOUNTAIN. WITHOUT
A MOUNTAIN, THERE'S NO MOVIE.

400
00:16:23,049 --> 00:16:25,415
NO, THERE IS A MOVIE,
A GREAT MOVIE...

401
00:16:25,451 --> 00:16:26,829
BETTER THAN "CLOUDS," I THINK.

402
00:16:26,853 --> 00:16:28,853
ARE YOU FUCKING WITH ME?

403
00:16:28,888 --> 00:16:30,354
WHY WOULD I DO THAT, ARI?

404
00:16:30,389 --> 00:16:32,556
IS HE FUCKING WITH ME?

405
00:16:32,591 --> 00:16:35,237
"CLOUDS" WAS LACKING IN TITS,
ARI. THIS ONE'S GOT AT LEAST FOUR.

406
00:16:35,261 --> 00:16:37,405
YEAH, THERE'S A COUPLE
THINGS IN THERE FOR ME TOO, ARI.

407
00:16:37,429 --> 00:16:39,141
SO YOU AND LLOYD
SHOULD GET ON IT ASAP.

408
00:16:39,165 --> 00:16:41,699
AHEM... WHERE THE HELL IS E?

409
00:16:41,734 --> 00:16:43,801
(exhales) M.I.A.

410
00:16:43,836 --> 00:16:47,237
WELL, WE NEED HIM. 'CAUSE
MAYBE THAT NEUROTIC LITTLE ELF

411
00:16:47,273 --> 00:16:49,974
NIPPING AT YOUR HEELS
WILL MAKE YOU UNDERSTAND

412
00:16:50,009 --> 00:16:52,910
THAT WE ARE IN A MAJOR
CRISIS SITUATION HERE.

413
00:16:52,945 --> 00:16:55,658
I THINK IF YOU READ THE SCRIPT,
ARI, YOU'D FIND THAT WE'RE NOT.

414
00:16:55,682 --> 00:16:59,050
COME ON, ARI. THE TIDE IS
TURNING FOR US, YOU KNOW THAT.

415
00:16:59,085 --> 00:17:01,786
AND THE HYPE OF "MEDELLIN" IS
GROWING AS CANNES APPROACHES.

416
00:17:01,821 --> 00:17:05,267
I LIKE THIS SCRIPT. I WANT TO
MAKE THIS MOVIE WITH BILLY.

417
00:17:05,291 --> 00:17:08,159
WE CAN'T DO THAT.
THERE IS NO WAY.

418
00:17:08,194 --> 00:17:11,162
THERE IS ALWAYS A WAY,
ARI. COME ON, BUBALA.

419
00:17:11,197 --> 00:17:12,663
MAKE IT HAPPEN, HUH?

420
00:17:14,600 --> 00:17:16,700
<i>(engine revving)</i>

421
00:17:19,172 --> 00:17:21,705
<i>(tires screech)</i>

422
00:17:21,740 --> 00:17:23,907
YOU FOLLOWING ME, DAWG?

423
00:17:23,942 --> 00:17:25,754
NO, I WAS TRYING TO
MAKE A PHONE CALL.

424
00:17:25,778 --> 00:17:27,411
THEN WHY ARE YOU
RIDING UP MY ASS?

425
00:17:27,446 --> 00:17:29,324
I'M NOT RIDING UP YOUR ASS. I
DIDN'T EVEN KNOW IT WAS YOU.

426
00:17:29,348 --> 00:17:30,814
OH, YOU DIDN'T. OKAY.

427
00:17:30,849 --> 00:17:32,383
YOU GOT A THING FOR MY GIRL?

428
00:17:32,418 --> 00:17:34,463
NO, DAVE, WE WORK TOGETHER.
WHAT ARE YOU TALKING ABOUT?

429
00:17:34,487 --> 00:17:35,897
- OKAY, YOU GOT A GIRLFRIEND?
- NO.

430
00:17:35,921 --> 00:17:37,132
- YOU GAY?
- NO!

431
00:17:37,156 --> 00:17:39,000
THEN HOW ARE YOU GONNA
LOOK AT ME IN MY FACE RIGHT NOW

432
00:17:39,024 --> 00:17:40,802
AND TELL ME YOU AIN'T
GOT A THING FOR MY GIRL?

433
00:17:40,826 --> 00:17:42,593
- DAVE, YOU'VE GOT TO CHILL.
- WHOA WHOA!

434
00:17:42,628 --> 00:17:44,662
DON'T TELL ME TO CHILL, OKAY?

435
00:17:44,697 --> 00:17:47,042
MY GIRLFRIEND, SHE COMES AND
TELLS ME SHE'S GOT A NEW MANAGER

436
00:17:47,066 --> 00:17:50,267
AND I'M THINKING IT'S GONNA BE SOME
GRAYBEARD BERNIE BRILLSTEIN-TYPE GUY.

437
00:17:50,303 --> 00:17:53,437
NOT SOME YOUNG NON-GAY
GUY WHO AIN'T GOT NO GIRL.

438
00:17:53,472 --> 00:17:56,084
LOOK, I PROMISE YOU THIS RELATIONSHIP
IS GONNA BE NOTHING BUT PROFESSIONAL.

439
00:17:56,108 --> 00:17:58,342
PROFESSIONAL? HOW ARE YOU
GONNA HELP HER PROFESSIONALLY?

440
00:17:58,377 --> 00:18:00,611
WHY DON'T YOU SELL ME
HOWEVER YOU SOLD HER?

441
00:18:00,646 --> 00:18:03,425
I DIDN'T SELL HER, OKAY? I TOLD HER I
DIDN'T LIKE A MOVIE SHE WAS GONNA DO

442
00:18:03,449 --> 00:18:05,260
AND SHE AGREED WITH
MY OPINION. THAT'S IT.

443
00:18:05,284 --> 00:18:07,050
OKAY.

444
00:18:07,086 --> 00:18:09,531
- SO YOU'RE THE REASON
SHE DIDN'T DO IT?
- YEAH.

445
00:18:09,555 --> 00:18:11,121
THAT'S FUNNY.
THAT'S REALLY FUNNY

446
00:18:11,156 --> 00:18:13,302
BECAUSE I WAS THE REASON SHE
WAS GONNA DO IT IN THE FIRST PLACE.

447
00:18:13,326 --> 00:18:16,271
WHAT CAN I SAY ABOUT THAT? I'M JUST
TRYING TO DO MY JOB. THAT'S WHAT I DO.

448
00:18:16,295 --> 00:18:18,229
YOUR JOB'S FUCKING
WITH MY LIFE, OKAY?

449
00:18:18,264 --> 00:18:21,332
- AND YOU NEVER
GOT ME THAT COKE!
- DAVE!

450
00:18:21,367 --> 00:18:23,834
<i>(funk music playing)</i>

451
00:18:23,869 --> 00:18:25,502
THIS IS NOT HAPPENING.

452
00:18:25,538 --> 00:18:27,458
- <i>(engine roaring)</i>
- (tires screeching)

453
00:18:32,010 --> 00:18:33,410
<i>DAVE!</i>

454
00:18:37,015 --> 00:18:39,182
ARE YOU OUT OF
YOUR FUCKING MIND?

455
00:18:39,218 --> 00:18:41,685
DID YOU EVEN READ
WALSH'S SCRIPT, DANA?

456
00:18:41,721 --> 00:18:44,622
I READ 15 PAGES AND I WILL
NOT READ ANOTHER PAGE,

457
00:18:44,657 --> 00:18:47,190
NOR ANOTHER PAGE OF
ANY CLIENT YOU EVER HAVE.

458
00:18:47,226 --> 00:18:49,037
I NEED TO GET YOU BEHIND THIS.

459
00:18:49,061 --> 00:18:50,905
I'M NOT BEHIND THIS
AND I NEVER WILL BE.

460
00:18:50,929 --> 00:18:54,197
WELL, LISTEN... YOU'D BETTER GET
BEHIND THIS IF YOU WANT TO SAVE YOUR ASS.

461
00:18:54,233 --> 00:18:56,367
<i>Save</i> my<i> ass? People
love "Clouds," Ari.</i>

462
00:18:56,402 --> 00:18:59,870
I WILL REPLACE YOU AND YOUR WHOLE
FUCKING CREW WITH THREE PHONE CALLS.

463
00:18:59,905 --> 00:19:02,784
<i>After this town hears how you
tried to bait and switch this studio,</i>

464
00:19:02,808 --> 00:19:05,208
IT WILL BE<i> YOUR</i> ASS
THAT NEEDS THE SAVING.

465
00:19:05,244 --> 00:19:07,456
- SO, DANA, YOU'RE NOT GONNA
TAKE THIS TO YOUR BOSS?
- <i>No!</i>

466
00:19:07,480 --> 00:19:09,913
- THEN I WILL.
- REALLY?

467
00:19:09,948 --> 00:19:12,394
HI. ARI GOLD TO SEE
RICHARD WIMMER. REALLY.

468
00:19:12,418 --> 00:19:15,719
YOU MOTHERFUCKING COCKSUCKER!

469
00:19:15,755 --> 00:19:17,621
HE'S LEAVING FOR NEW
YORK IN 30 MINUTES.

470
00:19:17,657 --> 00:19:19,990
- I'LL ONLY BE A MINUTE.
- <i>NO, HE'S IN THE SHOWER!</i>

471
00:19:21,427 --> 00:19:23,727
Dana: <i>ARI!</i> ARI!

472
00:19:33,773 --> 00:19:35,406
<i>(engine revs)</i>

473
00:19:37,610 --> 00:19:40,143
DAVE.

474
00:19:40,179 --> 00:19:42,879
- DAVE!
- I'M NOT A FIGHTER,
DAWG, OKAY?

475
00:19:42,915 --> 00:19:45,394
BUT WHEN IT COMES TO MY GIRL, I
WILL MAN UP. SO BACK OFF, OKAY?

476
00:19:45,418 --> 00:19:47,729
YOU'RE NOT FIGHTING ME, MAN.
YOU'RE FIGHTING YOURSELF HERE.

477
00:19:47,753 --> 00:19:49,798
DON'T USE THAT WEIRD
EXISTENTIAL SHIT WITH ME.

478
00:19:49,822 --> 00:19:51,566
DAVE, WILL YOU JUST TALK
TO ME FOR ONE SECOND

479
00:19:51,590 --> 00:19:53,123
BEFORE YOU GO BACK OVER TO HER?

480
00:19:53,158 --> 00:19:54,269
- ONE...
- LISTEN...

481
00:19:54,293 --> 00:19:55,470
- ONE...
- DAVE.

482
00:19:55,494 --> 00:19:56,938
ONE... THAT WAS
THREE SECONDS, DAWG.

483
00:19:56,962 --> 00:19:59,697
WHAT ARE YOU, SIX? LOOK, YOU
WANT TO LOSE YOUR GIRL, DAVE?

484
00:19:59,732 --> 00:20:02,177
I'M TELLING YOU RIGHT NOW, YOU GO
BACK OVER THERE WITH THAT ATTITUDE,

485
00:20:02,201 --> 00:20:04,846
- THAT'S EXACTLY
WHAT'S GONNA HAPPEN.
- YOU'D LIKE THAT, WOULDN'T YOU?

486
00:20:04,870 --> 00:20:07,282
WHAT THE FUCK, DAVE? YOU'VE
COME TO CAUSE MORE PROBLEMS?

487
00:20:07,306 --> 00:20:09,017
GIRL, I HAVEN'T CAUSED
SHIT, OKAY? IT'S THIS GUY.

488
00:20:09,041 --> 00:20:11,041
THE ONLY REASON HE'S
HERE IS TO TRY AND FUCK YOU.

489
00:20:11,076 --> 00:20:12,987
- WHAT?
- I'M JUST TRYING
TO DO MY JOB, DAVE.

490
00:20:13,011 --> 00:20:14,656
- YOU NEED TO GET RID
OF HIM, OKAY?
- DAVE!

491
00:20:14,680 --> 00:20:16,825
BABY, I'M JUST KEEPING IT REAL.
ASK HIM. ASK HIM RIGHT NOW.

492
00:20:16,849 --> 00:20:18,493
ASK HIM TO LOOK YOU IN
THE FACE AND SAY IT ISN'T SO.

493
00:20:18,517 --> 00:20:20,417
- DO IT, COME ON.
- DAVE, STOP IT.

494
00:20:20,453 --> 00:20:22,698
- MAYBE I SHOULD LEAVE.
- YEAH, DAWG, WHY DON'T YOU
DO THAT, PLEASE?

495
00:20:22,722 --> 00:20:24,199
NO,<i> DAWG,</i> WHY DON'T YOU?

496
00:20:24,223 --> 00:20:26,490
I CAN'T TAKE IT ANYMORE!

497
00:20:26,525 --> 00:20:28,525
- I'M DONE.
- THAT SHIT AIN'T RIGHT.

498
00:20:28,561 --> 00:20:30,961
STOP FUCKING TALKING
LIKE RANDY JACKSON!

499
00:20:32,898 --> 00:20:34,631
WHOA, OKAY.

500
00:20:34,667 --> 00:20:36,400
WHATEVER, MOVIE STAR.

501
00:20:36,435 --> 00:20:38,869
I HOPE YOU TWO ARE REALLY
HAPPY TOGETHER, ALL RIGHT?

502
00:20:38,904 --> 00:20:40,671
(sighs)

503
00:20:47,580 --> 00:20:50,381
WELL, THAT WAS AWKWARD.

504
00:20:50,416 --> 00:20:51,749
YEAH. YOU ALL RIGHT?

505
00:20:51,784 --> 00:20:53,584
NO, I MEANT FOR YOU.

506
00:20:53,619 --> 00:20:55,118
(laughs)

507
00:20:55,153 --> 00:20:58,789
OKAY, COME ON. LET'S
GET BACK TO WORK.

508
00:20:58,824 --> 00:21:00,384
- OKAY.
- JESUS.

509
00:21:01,494 --> 00:21:03,827
<i>(cell phone ringing)</i>

510
00:21:06,131 --> 00:21:09,266
- IT'S WALSH.
- FINALLY.

511
00:21:09,301 --> 00:21:11,668
YO, BILLY! WHERE'VE
YOU BEEN ALL DAY?

512
00:21:11,704 --> 00:21:13,415
IT'S NOT BILLY, VINCE. IT'S KAT.

513
00:21:13,439 --> 00:21:15,384
BILLY'S LOCKED HIMSELF
IN THE BATHROOM

514
00:21:15,408 --> 00:21:16,852
WITH A BOTTLE OF
WHISKEY AND A GUN.

515
00:21:16,876 --> 00:21:18,742
WHAT ARE YOU TALKING ABOUT?

516
00:21:18,778 --> 00:21:21,289
<i>He thinks he let you down,
Vince. He feels terrible.</i>

517
00:21:21,313 --> 00:21:22,924
NO NO NO, HE DIDN'T LET ME DOWN.

518
00:21:22,948 --> 00:21:25,248
- (cell phone ringing)
- VINCE, E.

519
00:21:25,284 --> 00:21:27,418
SHH-SHH! LET ME TALK TO HIM.

520
00:21:27,453 --> 00:21:30,654
BILLY? BABY, IT'S VINCE.
HE WANTS TO TALK TO YOU.

521
00:21:30,689 --> 00:21:33,123
WHAT'S TO SAY?
I'VE RUINED US ALL!

522
00:21:33,158 --> 00:21:35,203
NO, BABY, HE SAYS
THAT IT'S ALL GOOD.

523
00:21:35,227 --> 00:21:37,694
WHAT'S ALL GOOD?
HE LIKED THE SCRIPT?

524
00:21:37,730 --> 00:21:39,307
TELL HIM I<i> LOVED</i> THE SCRIPT.

525
00:21:39,331 --> 00:21:41,811
<i>HE LOVED THE SCRIPT!
BABY, HE LOVED IT.</i>

526
00:21:44,837 --> 00:21:46,837
- YOU LOVED IT?
- <i>It's unbelievable.</i>

527
00:21:46,872 --> 00:21:50,273
- DO YOU REALLY HAVE A GUN?
- YEAH, BUT THE BITCH HID
THE BULLETS, SO...

528
00:21:50,309 --> 00:21:53,610
JESUS, BILLY. THE SCRIPT IS
AMAZING. I WANT TO MAKE THIS MOVIE.

529
00:21:53,646 --> 00:21:55,123
- YOU DO?
- <i>Yes.</i>

530
00:21:55,147 --> 00:21:56,713
WE'RE<i> GOING</i> TO MAKE THIS MOVIE.

531
00:21:56,749 --> 00:21:58,982
- HOW?
- ARI'S TAKING CARE OF IT. DON'T WORRY.

532
00:21:59,017 --> 00:22:01,051
ARI? WHAT CAN HE DO?

533
00:22:01,086 --> 00:22:04,020
(ringing)

534
00:22:04,056 --> 00:22:06,222
WOW, IT'S LIKE FINDING
JIM MORRISON ALIVE.

535
00:22:06,258 --> 00:22:09,370
YEAH, I HAD NO CELL ALL DAY. I GOT,
LIKE, 25 MESSAGES. WHAT'S GOING ON?

536
00:22:09,394 --> 00:22:12,340
NOTHING THAT EXCITING. JUST HAVE AN
EMERGENCY MEETING WITH THE HEAD OF THE STUDIO

537
00:22:12,364 --> 00:22:14,342
<i>on the Billy Walsh/
Vinnie Chase project.</i>

538
00:22:14,366 --> 00:22:16,645
- WHY, WHAT'S THE PROBLEM?
- <i>Wouldn't you like to know?</i>

539
00:22:16,669 --> 00:22:18,480
- ARI?
- LISTEN, YOU SNOOZE,
YOU LOSE.

540
00:22:18,504 --> 00:22:20,303
- I'VE GOT TO GO.
- ARI?

541
00:22:24,343 --> 00:22:25,776
WHAT THE HELL IS GOING ON?

542
00:22:25,811 --> 00:22:27,878
DESPERATE TIMES CALL FOR
DESPERATE MEASURES HERE.

543
00:22:27,913 --> 00:22:29,580
THANK GOD I'M IN A ROBE.

544
00:22:29,615 --> 00:22:31,615
AND MAY I COMMENT ON WHAT
LOVELY ANKLES YOU HAVE?

545
00:22:31,650 --> 00:22:33,862
- TALK FAST, ARI.
- YOU DON'T HAVE
YOUR SUMMER MOVIE.

546
00:22:33,886 --> 00:22:36,687
- <i>COME AGAIN?</i>
- A TENT POLE... YOU DON'T HAVE ONE.

547
00:22:36,722 --> 00:22:40,256
- I HAVE "CLOUDS."
- BILLY WALSH AND VINNIE CHASE
DON'T WANNA DO IT.

548
00:22:40,292 --> 00:22:42,003
WHERE THE HELL IS DANA GORDON?

549
00:22:42,027 --> 00:22:43,872
I'M RIGHT OUTSIDE
THE DOOR, RICHARD!

550
00:22:43,896 --> 00:22:45,106
<i>ARI LOCKED ME OUT.</i>

551
00:22:45,130 --> 00:22:46,597
LET HER IN!

552
00:22:49,334 --> 00:22:51,101
- HEY, DANA.
- FUCK YOU, ARI.

553
00:22:51,136 --> 00:22:52,881
DANA, WHAT THE HELL IS
GOING ON WITH "CLOUDS"?

554
00:22:52,905 --> 00:22:55,083
I AM WORKING ON IT, RICHARD. AND
WHEN YOU RETURN FROM NEW YORK,

555
00:22:55,107 --> 00:22:56,874
I WILL HAVE A COMPLETELY
NEW TEAM IN PLACE.

556
00:22:56,909 --> 00:22:59,855
THAT'S IMPOSSIBLE. BILLY BURNED
SIX WEEKS WRITING THE WRONG SCRIPT.

557
00:22:59,879 --> 00:23:01,845
AND YOU DO NOT HAVE
ENOUGH TIME TO PUT "CLOUDS"

558
00:23:01,881 --> 00:23:03,914
BACK ONBOARD FOR
YOUR JULY RELEASE.

559
00:23:03,949 --> 00:23:06,517
YOU AND YOUR FRIEND
BILLY WALSH ARE DEAD, ARI!

560
00:23:06,552 --> 00:23:08,463
WE ARE NOT DEAD. WE
ARE VERY MUCH ALIVE.

561
00:23:08,487 --> 00:23:10,131
YOU WITH YOUR
FADING STOCK PRICES

562
00:23:10,155 --> 00:23:12,400
AND YOUR THREE STRAIGHT
QUARTERS IN THE RED ARE DEAD

563
00:23:12,424 --> 00:23:14,736
IF YOU HAVE TO GO TO YOUR
BOARD OF DIRECTORS AND TELL THEM

564
00:23:14,760 --> 00:23:16,638
THAT THIS SUMMER MAY BE
YOUR WORST QUARTER YET.

565
00:23:16,662 --> 00:23:18,239
I'M GONNA TEAR
YOUR HEAD OFF, ARI.

566
00:23:18,263 --> 00:23:20,909
PLEASE, DON'T, BECAUSE I
HAVE YOUR SUMMER MOVIE.

567
00:23:20,933 --> 00:23:23,600
FROM THE DIRECTOR OF "MEDELLIN"

568
00:23:23,636 --> 00:23:25,714
AND "QUEENS
BOULEVARD" COMES "SILO."

569
00:23:25,738 --> 00:23:29,372
IT IS A STORY OF A GROUP
OF NON-UNIONIZED FARMHANDS

570
00:23:29,408 --> 00:23:32,543
WHO BAND TOGETHER TO
SURVIVE A NUCLEAR ATTACK

571
00:23:32,578 --> 00:23:35,679
AFTER DISCOVERING AN
UNDERGROUND SOCIETY.

572
00:23:35,714 --> 00:23:38,314
IT IS READY TO SHOOT.
BILLY WALSH IS ONBOARD,

573
00:23:38,350 --> 00:23:40,228
<i>VINNIE CHASE IS ONBOARD,
AND IF YOU'RE NOT,</i>

574
00:23:40,252 --> 00:23:43,319
FOX, UNIVERSAL AND SONY ARE.

575
00:23:43,355 --> 00:23:45,199
- HE'S BLUFFING.
- WHAT DOES IT MATTER?

576
00:23:45,223 --> 00:23:46,601
THERE'S A SUMMER MOVIE IN THERE,

577
00:23:46,625 --> 00:23:48,036
OR WE PACK UP OUR
SHIT AND GO HOME.

578
00:23:48,060 --> 00:23:49,838
TELL HIM HOW GOOD IT IS, DANA.

579
00:23:49,862 --> 00:23:51,828
ALL PERSONAL BULLSHIT ASIDE.

580
00:23:51,864 --> 00:23:53,730
DANA?

581
00:23:55,267 --> 00:23:58,869
- IT'S AN EXCELLENT SCRIPT.
- CAN WE MARKET IT?!

582
00:23:58,904 --> 00:24:02,505
THINK "BLADE RUNNER"
MEETS "FIELD OF DREAMS."

583
00:24:02,541 --> 00:24:04,407
TWO CLASSICS... BOOM!

584
00:24:04,443 --> 00:24:06,543
YOU MAKE THIS GOOD, DANA.

585
00:24:06,579 --> 00:24:08,612
AND YOU, ARI, THIS I
DON'T SOON FORGET.

586
00:24:11,316 --> 00:24:14,084
THAT WAS UNBELIEVABLE... "BLADE
RUNNER" MEETS "FIELD OF DREAMS"?

587
00:24:14,119 --> 00:24:16,330
- NOT BAD, HUH?
- THAT WAS... DID YOU
ACTUALLY READ IT?

588
00:24:16,354 --> 00:24:18,700
WHAT DO I NEED TO READ IT FOR?
I HAVE A GO MOVIE, DOUCHEBAG.

589
00:24:18,724 --> 00:24:20,301
- <i>WE</i> HAVE A GO MOVIE.
- DIE, ARI.

590
00:24:20,325 --> 00:24:22,993
I TRULY HOPE YOU DIE.

591
00:24:23,028 --> 00:24:26,663
- DID I DO IT, VINNIE?
- YES, YOU DID, AND THANK YOU.

592
00:24:26,699 --> 00:24:29,210
Turtle: SO ANY POSSIBILITY
OF SHOOTING THIS ONE

593
00:24:29,234 --> 00:24:31,401
A LITTLE CLOSER TO
CIVILIZATION, BILL, PLEASE?

594
00:24:31,436 --> 00:24:33,904
IT TAKES PLACE ON A FARM
IN NOVA SCOTIA, TURTLE.

595
00:24:33,939 --> 00:24:36,372
IGNORE HIM, BILLY. HE
READ EVERY THIRD PAGE.

596
00:24:36,408 --> 00:24:38,374
I, ON THE OTHER
HAND, WAS RIVETED,

597
00:24:38,410 --> 00:24:41,478
ESPECIALLY BY THE CHARACTER
OF KELTON THE FARMHAND.

598
00:24:41,513 --> 00:24:44,547
- YEAH, I WAS THINKING
OF YOU WHEN I WROTE THAT.
- REALLY?

599
00:24:44,583 --> 00:24:46,182
- NO.
- (laughs)

600
00:24:46,218 --> 00:24:48,585
HOW ABOUT A TOAST TO
A GROUNDBREAKING DAY

601
00:24:48,621 --> 00:24:50,721
AND A POSSIBLY
GROUNDBREAKING MOVIE?

602
00:24:50,756 --> 00:24:53,189
ARE YOU KISSING MY
ASS NOW, SNAKE SUIT?

603
00:24:53,225 --> 00:24:54,803
OH, COME ON, BILLY.
HE CAME THROUGH.

604
00:24:54,827 --> 00:24:56,137
YOU CAN'T STAY MAD AT HIM.

605
00:24:56,161 --> 00:24:58,729
I'M NO LONGER PLANNING ON
USING YOUR CAR AS A TOILET,

606
00:24:58,764 --> 00:25:00,775
BUT I'LL GET BACK TO YOU
ABOUT BEING MY AGENT AGAIN.

607
00:25:00,799 --> 00:25:02,310
I WAIT WITH BATED BREATH, SIRE.

608
00:25:02,334 --> 00:25:03,967
- YEAH!
- (all laugh)

609
00:25:04,003 --> 00:25:05,647
WHY DOES NOBODY
ANSWER THEIR CELL PHONES?

610
00:25:05,671 --> 00:25:07,203
LOOK WHO'S TALKING!

611
00:25:07,239 --> 00:25:09,640
WHERE'VE YOU BEEN, E? TOO
BUSY BEING PROFESSIONAL

612
00:25:09,675 --> 00:25:11,285
WITH YOUR GIRLFRIEND
TO PICK UP THE PHONE?

613
00:25:11,309 --> 00:25:12,854
WILL SOMEBODY PLEASE
TELL ME WHAT'S GOING ON?

614
00:25:12,878 --> 00:25:14,889
DON'T STRESS YOUR
PRETTY LITTLE HEAD ABOUT IT.

615
00:25:14,913 --> 00:25:16,925
- IT'S ALL BEEN HANDLED.
- WHAT'S BEEN HANDLED?

616
00:25:16,949 --> 00:25:19,269
WE'RE MAKING BILLY'S MOVIE.

617
00:25:19,652 --> 00:25:21,551
"SILO"?

618
00:25:23,689 --> 00:25:28,224
- WHERE'S THE SNOW?
- (all laughing)

619
00:25:28,260 --> 00:25:30,861
(sighs)

620
00:25:32,064 --> 00:25:34,698
<i>(rock music playing)</i>