town in new hampshire was small town america, too. forty thousand dollars a day, to shoot on the street. and then they kicked us out.
you told me that about the last town.
i'm bleeding, bill, i'm bleeding.
what, what, what, what do they got that can pass for the old mill?
"the waterford mill, built in 1825, and long a tourist attraction" wake up uberto
givvem a cigarette.
we can't lose the wind.
no, we're gonna stay here. this is what my people died for. the right to make a movie in this town.
i want to talk to the manager.
hello, tracy, we gotta new town. we're. where are we?
you got to get me that street for nothing.
waterford, vermont. where is it? that's where it is.
because, because. we don't have to build an old mill. they have an old mill. yeah. it's on a stream -- that's where you put a mill.
now: i'm looking at the.
i've got scene twelve.  shouldn't you be in school?
scene twelve. arrival at the mill.
"bring it in on time and there's more where these came from. marty. p.s. i want to talk to you about a product tie in"
somebody make a note. i want li, for the broad. what does she like? lilacs. okay. a truck of lilacs when the broad comes. and get something for bab barrenger, get him, what does he like?
that's cor.
put something in his room. what does he like?
well, get him something else and let's get out of here in one piece. get him a half of a 28-year old girl.
what? what is it?
aren't you ever in school?
izzat so?
what's his name?
mr. bailey. mr. bailey?
i have to tell you, i can not express to you how happy.
my golly, you know? all my life i grew up in the city, but every summer.  would you like a cigar?
why would they be illegal?
that's very kind of. as a matter-of fact, one, i hate to bother you with.
we need the shooting permit for main street.
the city council.
it is?
george, that is so kind of you.
are you kidding me? we would be delighted.
it's one of the great, great pleasures meeting you.
on the coast? of course he's on the coast, where's he gonna be, the hague?
what? marty?! hi. we're.  the new town is cheaper than the other town. we're going to save a for. because. because we don't have to rebuild the old mill, they've got an old mill. they've got a firehouse. they.
baby, baby, i want to save the money just as much as you do. no, no it's not coming out of my pocket. it's going into my pock. my. my and your pock. yeah? okay. a product placement - tell me ab. he's going through a tunnel. whoa, whoa, whoa, you wiped out the board. dinner with the mayor, tuesday night, write it in red. that's all we need, to miss dinner with.
wait a sec, marty. call us back. two minutes.
i just saw the mayor, he said anything we want.
you told me they had on old mill here.
does it have to be an old mill? where have you been?
we can't shoot the old mill.
we're out of money.
halo? marty? what would they have used instead of an old mill? we need it tonight. marty? yeah you were saying?
grace: get mr. white a typewriter.
i know the feeling.
grace.
grace. get mr. white a manual typewriter. it's not a lie, it's a gift for fiction. and somebody find me my lucky pillow.
how big is this horse?
what is that in fingers? just kidding, get me this horse.
tell the guy, get me the horse, i'll give him an associate producer credit.
what else?
come in.
hey, joe. good. you know b.
thanks, honey, but next time, bring two, save yourself a trip.
he's saying, what are you saying, bobby?
tell it with pictures.
we've got four days to.
she's a.
what.
hold on. what bob is saying, you don't need.
you can go.
bob, bob, stick to the business, will you?
and you go start with that stuff in this town.
claire, when did you.
claire, bob bar.
we're just talking about the.
no, no. please.
this is joe white.
joe's been having some thoughts about the old mill scene, claire.
yes, but, joe, joe's been, well, he's just been having a few, uh, "thoughts," about.
yeah.
yes, yes, but.
yeah. joe? would you, uh, tell claire the, uh, the "thoughts" you've been.
don't run off. don't run off, we need you. you know why? you're why we're here. your script is why we're here.  gimme that. big deal. we fight a little bit? you show me a family that doesn't. but we got something special. what is it? we're here to make a movie. can't use the old mill. well, that happens. what you got to do, you find the essence - what was it, that brought us here. it wasn't a building, joe, it was an idea. it was an essence - what is the essence of your story? joe?
then, you write that. and then this is our second chance. that's why we're here.
i know you do.
hey, it's with the g-ds. we don't have the money, we have to write it out. the best or not. and that's a lesson. you get your typewriter yet?
grace, get on the other phone. call that girl: well, call her, and have whatsername send up some nosh. what do you like to drink?
did my matzohs come? get some for everybody. thank you. lemme tell you about my first movie.
no, he doesn't want to work out with waterford huskies. because he's bob barrenger. call up his girl in aspen, have 'em ship his weight. yeah, well, fine, he's not gonna do the pond scene unless he can work out. call up his girl in aspen, and have her ship the weights out.
who designed these costumes? who designed these costumes? it looks like edith head puked and that puke designed these costumes. get madge.
i have no wife.
we need a new name for the movie. where's the writer?
why?
no you can't lose the shot. the meaning of the film is in that shot.
i don't care. fix it.
you show claire these sketches?
did she throw up?
oh, really, then why don't you sue me in the world court. did she like the costumes?
why not?
find out when marty rossen's arriving, get him a bunch of lilacs to send to the broad.
you go in her room, take the lilacs from the water, dry them. go buy some cellophane, wrap 'em up, and get a card from marty. what's her problem?
she doesn't want to bare her breasts. what, in the "nude scene?" what are we paying her three mil for?
her religion bars her from fulfilling her contr.
claire?. claire? just figure out how to take the shot. claire. claire? it's wally. may i come in?
what is it, pal?
what?
you can't do what?
forget the contract. claire. what is it?
i know that.
i know that, claire. i, we all know.
no, they don't.
now, look. claire: listen to me. i want to tell you a story.
fuck flowers, we aren't talking about flowers, we're talking about a human being.
who are these from?
well that's very thoughtful of him. elanora duse.
listen to me. elanora duse was playing hamlet in london in 1905, and royalty could not get a ticket. she said, "i'm not doing the seven shows a week i signed for." she said, "i cannot bare my soul seven times a week. i am an artist. i'll do four shows a week." the greatest actress of her time. you know what her producer said?
nothing. he held her and he wept. because he.
because he understood. that was her life's blood on the stage.
i know. i know.
no, she didn't claire. but i think you should do the scene.
i know, i know.
i know, it's the hardest thing in the world. and it seems everybody wants.
wants a piece.
and you know what?
and my heart goes out to you, because i know.
that, that's your life's blood on the st.
get mitch cohn on the phone in new york, tell him she's breaking her contract and we're very up.
we're very upset with her. get someone to double for her, her tits, the tits scene. call l.a. i want to see some pictures of the women's tits. of their tits.
you're very sorry, you passive aggressive, son-of-a-bitch! can we replace him?
marteleh, vos macht a yid?
i left that for you.
oh yeah, i'm really gonna eat carbohydrates.
how was your flight?
did you bring bob's weights
what's in all the bags?
i'm gonna bring it off.
that's what i said.
like dykes and dogs.
where have you been?
marty.
it's just a formality.
why?
why?
get a typist. get'im a typist. get outta here.
pay her.
find the money.
no no no no no no no no find me the money.
the finest people you could ever hope to work with.  you have the new old mill pages?
totally false. totally false. he is the, i would say the most responsible human being i have ever.
not now.
oh, that's great. let's bring more people into this overcrowded world.
take it off. take that stupid fucking shirt off right now. well, if i had to say one thing, i would say it's purity.
not now, i'm talking to the press. claire!
i, uh.  i've always thought so.  well, you just get an idea, and try to find the best way to express it in pictorial form. i've written a letter to the studio and to sag protesting.  bill: get a copy of that letter! i just wanted to tell you that i am past chagrined, i'm mortified at the way you were spoken to.
an artist of your caliber.
i know what you are, i am so sorry that you. when i read that script i said there's only one person to play that part.
i know.
yes.
i know, i'm so. because i said: yes, a woman who. the. the community respects her. please don't go. please don't go. what can i do but beseech you? trauma, toil. when are we free of them? when?
claire: as an interpretive artist to a creative artist: stay with me. i need you. we start to shoot tomorrow and then it belongs to us. stay. stay. tonight. when.  when they've gone. let's talk. let's really talk. we could, we'll have dinner, we'll. a bottle of some bad red wine, we'll get spaghetti, and we'll.
well, i've enjoyed it, too. any.  any. any time.  what does the woman want from life?
pay her off.
find it.
it's a computer company. it's a computer company - bazoomer-com?!
i can't put a computer in a movie shot in 1895. you wanna tell me how i'm gonna do that?
no no no no no, pay her off. did you hear me?!
she keeps her back to the camera?
know? they could draw them from memory. you're fantastic. what a find you are. get outta here. we need the dead horse scene.
i know you are. go you huskies.
is that one hell of a kid?
he's got a gift for fiction.
thank you.
are you okay?
bobby.
who is it?
no, hey, hey. al, she hid in the back of the car! happens all the.
she wasn't in. you were al.
no, just the. there's no witnesses, right?
joe, the writer?
yeah. hello, mr. mayor. walt price! no, no, sir, he's fine. well, he's right here! would you like to? you are not to see that girl again. do you.
he's right here, mr. mayor.
so you see what i'm saying. the movie is about purity.
we don't show her breasts, we just show your reaction.
well, joe said it, and he's right.
we're going to discuss the scr. you wanna come along?
marty.
would you, tell the guy, get the a.d., someone, somewhere where we can get away, something, i want, you know, last day before the shooting, get away, forget it, have some local food. you want.
he's got a date. he's got a date, is this guy fantastic? already he learned how to write a movie, and he found a girl to get his toes curled, what a guy, what a. what a literary find!
did you, where are we going tonight?
some, you were, you were going to make a reservation for us? where's my schedule? where are we booked tonight?
you what? is that on the call sheet, is that on the callsheet, or is that personal business? ah, christ. marty. are we paying you?
look, carla, this is a hard time for you. many young people go to hollywood. i did. and we all dream of it, and here, here hollywood has come to you.
here this dream world has come to you. now, you obviously have an active, a vivid imagination.
be quiet, bob. a fertile mind. now we can use that kind of people in our work. yes, we can. now, and this is what occurs to me.  there's a part in the film. isn't that right, marty?
that we could use you in and i think that's quite a fine trade-off all around and an ill wind that blows somebody good.
yes? hello, mr. mayor. nothing, just an, an unfortunate.  it's the mayor, he's saying.
so we just got lucky.
if your memory was as long as your dick, you'd be in good shape. how long since you almost went to jail for this shit?
can we try to keep our pants buttoned and get out of this town in one piece?
stay ready. stay by yourself in your room.
you do?
i tell you what, let's ditch these cockamamie locals. i need to get outta here. go to some roadhouse tonight, just us. claire, bob, siddown, have a bottle of wine. tell me where we're going, and let's go.
let's speak english. you've got to help the side.
to the contrary. i want you to tell the truth. the truth is, you can't tell me, to a certainty, that you saw the thing. you don't remember, a gun to your head, which glasses you have on. and you have a fertile imagination. imagination wants to fill in the blanks. now. if you aren't sure, then they have nothing. bob walks free. as he should. joe: wasn't long ago they buried actors at the crossroads with a stake through their heart, you know? the people who are talking to you about the way we live though we may praise them, we fear them. and they fear us. because we tell the truth. about our lives. now, this is a damn roost, and everyone knows it; the guy is looking for a case, he wants to make a name for himself. if we let him do that, if we let him do that, then we're being false to our community. to our community, you understand? to our world. cause you are a part of that world, now. you have to take off the steel rolex and put on the gold rolex. and be part of your world. i got a five picture deal with the studio. and you stick with me. you write one, two more, you stick with me, and you'll direct the third one. you are a part of this world. you have to do the right thing: we're out in the provinces, the sheriff, literally is at our door. you have to stand with the troops, joe. that's the bottom line. you have to. if you had the leisure to think it through, you'd see it for yourself. the girl wasn't in the car.
do something.
and i was just paying off my house in malibu.
thank g-d, it's up to you, pal. sup to you.
i don't getcha.
i treated you like a son or nephew.
no, what is it?
that's just so narrow.
then you're finished in show business.
and my company sues your ass for sixty million dollars.
i don't need a cause, just a lawyer.
what for?