2 Jacks (2012) - full transcript
Jack Hussar is a legendary Hollywood director, whose persona commands respect and adoration from his fans. Can his son, Jack Jr. maintain his legacy?
♪
TWENTY YEARS AGO WHEN
THERE WERE FEW CELL PHONES,
FEWER PERSONAL
COMPUTERS, NO EMAIL,
INTERNET OR SOCIAL NETWORKING.
NO REALITY TV STARS, NO
IPODS, NO HYBRID CARS.
WHEN A MAN COULD LIGHT UP A
CIGAR IN A RESTAURANT AFTER
DINNER, OR SMOKE A
CIGARETTE ON AN AIRPLANE.
WHEN OUR FATHERS WERE STILL
YOUNG AND PROVED IT BY NOT ONLY
THE ABSENCE OF GREY
HAIRS OR WRINKLES,
BUT BY THE FIGHTS THEY HAD
OVER THE WOMEN THEY LOVED,
JACK HUSSAR,
LEGENDARY FILM DIRECTOR,
GAMBLER, SEDUCER
ARRIVED IN LOS ANGELES
AFTER AN ABSENCE
OF SEVERAL YEARS.
EXCUSE ME, THIS MIGHT
BE AN ODD QUESTION,
AH, ARE YOU JACK HUSSAR?
YES, I AM.
I I I'M BRAD.
BRAD PERRY.
HI BRAD.
I I AM I I'M SUCH A
HUGE FAN OF YOUR FILMS.
I AM JUST, AH.
THIS IS AMAZING,
THIS IS AMAZING.
YOU'RE THE REASON I CAME TO
HOLLYWOOD T BECOME A FILMMAKER.
OH REALLY.
YEAH YEAH YEAH.
NO, I I I REMEMBER WATCHING
YOUR FILMS WHEN I WAS REALLY,
I WASN'T THAT
YOUNG, BUT, YOU KNOW.
AH, AH, LAST
WINTER, HAUNTED SPEAR.
I MEAN ALL THAT ALL THAT STUFF.
IT'S SO, SO VERY
NICE TO MEET YOU.
YOU WERE THE REASON I KIND OF
PACKED UP THE WAGON AND CAME TO
HOLLYWOOD AND
STARTED MAKING FILMS.
BUT, BUT, BUT YOU KNOW, WE
HA D A TIME WHEN WE MET BEFORE,
BRIEFLY.
OH REALLY?
WE WERE WE WERE IN CANNES AND I
WAS RUNNING DOWN THE QUORZET,
IT WAS LATE AT NIGHT,
IT WAS AFTER A PARTY.
I DIDN'T HAVE ANY
PANTS ON SO I WAS,
I WAS LIKE, AH, YOU KNOW.
IT WAS LIKE, AH, BUT BUT, AH, WE
RAN INTO EACH OTHER AND AH AH AH
I PROBABLY WASN'T
AS COHERENT BUT AH,
BUT I THINK I TOLD
YOU THE SAME THING.
NO, I DON'T RECALL THAT I DON'T.
WOW! WOW!
BUT AH, SO, SO YOU'RE HERE
MAKING YOUR AH NEXT MOVIE?
YEAH.
ARE YOU..
LIMO PICKING YOU UP OR...
I DON'T WHAT HAPPENED.
I'M WAITING FOR SOMEONE TO
PICK ME UP AND SOMEHOW
THEY DIDN'T TURN UP.
YOU NEED A RIDE?
WOULD THAT BE POSSIBLE?
OH ABSOLUTELY!
ARE YOU KIDDING ME?
OH I'D APPRECIATE THAT GREATLY.
WHAT'S YOUR NAME AGAIN?
BRAD BRAD! BRAD
BRAD PERRY.
OH, I'D REALLY
APPRECIATE THAT BRAD.
OH, IT WOULD BE
MY PLEASURE TO AH,
SERVE AT THE ALTER OF A
GENIUS LIKE JACK HUSSAR.
OH OH, YOU'RE,
YOU'RE TOO FLATTERING.
-THIS IS YOUR BAG?
-YES.
NO DON'T DON'T.
I GOT IT. I GOT IT.
I GOT IT.
THANK YOU.
NO, LET'S LET'S
AH, LET'S GET A CAB.
WELCOME TO LA.
WHERE YOU GUYS GOING?
WE'RE AH, GOING TO HOLLYWOOD.
TO THE CARGO FIRST.
CARGO.
AH RIGHT CARGO.
CARGO FIRST.
ALRIGHT, CARGO AREA.
HEADING OUT.
JACK HUSSAR SO WHAT
WAS HIS MOVIES AGAIN?
AH, LAST WINTER,
HAUNTED SPEAR.
THAT WAS, THAT WAS
A GOOD ONE.
ADVENTURE CLASSIC.
HE'S GOT A DOG.
IT'S A LARGE - YEAH.
I DON'T LOVE DOGS.
GET IN, UP!
GOOD BOY!
WHERE TO?
TAKE US TO THE
CHAMBERLAIN HOTEL PLEASE.
COME ON ORSO.
GOOD BOY.
BRAD, THANK YOU VERY MUCH.
$35.50 OH, AH,
ALRIGHT. $35.50
THERE YOU GO.
THAT'S EXACT CHANGE.
THANKS A LOT!
WELL HELLO AGAIN.
YEAH, NO I AH, YOU KNOW I FIGURE
I'LL I'LL COME IN AND AH AH,
AH MAKE SURE YOU
GET SETTLED, AH.
THANKS. ALRIGHT.
MR. HUSSAR!
AHHHH...
IT'S BEEN SUCH A LONG TIME.
DIMITRI.
HAVE YOU CHECKED IN?
YOU HAVE A
RESERVATION TONIGHT AT EIGHT.
OH NO, I DO FOR DINNER?
YES.
OH GOOD OH
GOOD. GOOD!
AH I'D LIKE A ROOM PLEASE.
YES, NAME PLEASE.
JACK HUSSAR.
MR. HOOSAR.
HUSSAR.
HUSSAR.
AH.
AH, COULD YOU, COULD YOU
HOLD ON ONE SECOND PLEASE?
SURE, SURE, YEAH.
SO GOOD TO SEE YOU.
AND THE FAMILY'S GOOD?
FAMILY'S GREAT, YES.
THANK YOU.
WE'VE SO MISSED YOU.
GOOD GOOD GOOD DIMITRI.
HAPPY TO BE BACK.
SO GOOD TO SEE YOU.
MR. HUSSAR.
YES.
WHAT A DELIGHT TO SEE YOU AGAIN.
GOOD TO SEE YOU AGAIN.
HOW CAN I HELP YOU?
I'D LIKE A ROOM PLEASE.
BEFORE WE DO THAT, THERE IS A
LITTLE MATTER OF YOUR BILL FROM
THE LAST TIME YOU
STAYED WITH US.
OH NO!
YES, YOU HAVE A $2,700
OUTSTANDING BALANCE.
OH DEAR LORD.
WHY I'M SO SORRY ABOUT THAT.
WE'D LIKE TO GET
THAT TAKEN CARE OF
BEFORE WE DO
ANYTHING ELSE, SIR.
AH, BRAD.
YOU WOULDN'T HAPPEN TO
HAVE SOME SPARE CHANGE?
YOU SURE IT'S NOT
SOME KIND OF MISTAKE?
OH, AHH...
HERE.
OK, WHY DON'T YOU GO
AHEAD AND RUN THAT.
THERE YOU GO.
I'M SO SORRY ABOUT THIS.
NO, IT'S FINE.
I THINK IT WAS THAT NIGHT WHEN
WE ORDERED ALL THAT CHAMPAGNE.
THAT WAS A GOOD NIGHT.
OH THAT WAS A BEAUTIFUL NIGHT.
THIS IS, AH...
RIGHT HERE.
YEAH.
IF YOU WOULDN'T MIND.
YEAH.
THERE WE GO!
ALRIGHT MR. HUSSAR, A ROOM?
A SUITE ACTUALLY.
YEAH.
A SUITE.
I'M SORRY SIR, IT WOULD
APPEAR THAT WE'RE ALL BOOKED UP.
WE HAVE NO SUITES AVAILABLE.
WELL I'D LIKE A ROOM PLEASE.
I UNDERSTAND THAT
SIR, BUT WE ARE FULL UP.
WE HAVE NO ROOMS.
BUT THIS IS A VERY
SPECIAL GUEST OF OURS.
YEAH.
WELL, WHAT WAS ALL THAT ABOUT?
I'M SORRY, WE NEEDED TO GET THE
OUTSTANDING BALANCE TAKEN CARE
OF FIRST, AND I WOULD LIKE
NOTHING MORE THAN TO ACCOMMODATE
YOU, BUT THERE ARE NO ROOMS OR
SUITES AVAILABLE IN THE HOTEL.
I'M SO SORRY.
WELL THAT WAS JUST A
LOAD OF NONSENSE THEN.
WHAT WAS THAT?
IT'S A WASTE OF TIME.
A WEEK? REALLY?
I'M SORRY SIR, I CAN SUGGEST A
COUPLE OF OTHER HOTELS THAT CAN
ACCOMMODATE YOU.
NO YOU CANNOT SUGGEST A
COUPLE OF OTHER HOTELS.
SIR, IT'S FULL.
LISTEN TO ME YOU
LITTLE PIPSQUEAK.
I WANNA STAY HERE.
I UNDERSTAND THAT
SIR, THERE ARE NO ROOMS.
HEY! HEY!
SECURITY! SECURITY!
I'M SO SORRY, SIR.
THAT'S ALRIGHT DIMITRI.
HEY!
STOP IT!
PLEASE, WILL YOU
PLEASE ESCORT MR. HUSSAR...
YOU WANNA FIGHT?
FIGHT LIKE A MAN.
SIR...
COME ON!
SIR, CAN YOU TAKE
IT OUTSIDE PLEASE?
COME ON!
MR. HUSSAR...
SIR.
WOAH WOAH WOAH!
SIR, DO NOT MAKE THIS DIFFICULT.
FIGHT LIKE A MAN!
GOD DAMN IT!
SIR, SIR, WE'LL
GET THIS CLEANED UP.
I'LL SEE YOU LATER.
YES, PLEASE.
DON'T WORRY ABOUT IT
DIMITRI, IT'S FINE.
OK. OK.
KNOW WHERE THERE'S A
CARD GAME IN TOWN?
YEAH.
OVER AT, AH, BAR LUBICH.
LORENZO DECONCHEE.
THAT'S THE HIGH
STAKES POKER GAME.
YEAH.
THAT'S THE ONE IF
YOU WANT TO GO TO,
LIKE HIGH STAKES...
WELL I FUCKED HIS
GIRLFRIEND IN PARIS.
HE RECUT MY MOVIE.
ASSHOLE.
WOW.
WOW!
OK.
MAYBE, MAYBE THAT ONE'S OUT.
I KNOW THIS PLACE.
HELLO?
[INTERCOM VOICE]
GOOD EVENING.
I'M HERE WITH JACK HUSSAR.
LET ME CHECK.
ORSO, NO.
ORSO, COME OUT.
ORSO!
ORSO COME HERE.
COME HERE.
SIT! HEY!
SIT ORSO.
SIT! SIT! SIT!
DOWN. DOWN. DOWN.
NOW WAIT THERE.
OK?
GOOD BOY. GOOD BOY.
YOU LEAD THE WAY BRAD.
SO, ARE YOU EXCITED?
YEAH!
OF COURSE.
I'M, AH, LOVING LA., SO IT'S...
GOOD GOOD.
GREAT.
I THINK LA'S GONNA LOVE YOU.
SOON AS THIS FILM'S RELEASED.
YEAH, I THINK SO.
I ALREADY LOVE YOU.
IT'S A GREAT ENDING.
I LOVED YOUR IDEAS.
YOUR LAST FILM
JUST KNOCKED ME OUT,
IT JUST - WELL LOOKS WHO'S HERE.
JACK HUSSAR.
HOW YOU DOING.
I'M GOOD LORENZO,
HOW ARE YOU?
I THOUGHT I GOT RID OF YOU?
WHAT ARE YOU DOING BACK?
-YOU MISS ME?
-I JUST MISS YOU.
YEAH.
WELL I DIDN'T MISS YOU JACK.
HA!
HEY, LISTEN, WHY
DON'T YOU JOIN US.
SIT DOWN.
I WON'T JOIN YOU.
I'LL JUST, AH...
SIT TO ONE SIDE AND JUST
WATCH HOW THE GAME PROGRESSES.
IF YOU DON'T MIND.
I DON'T MIND AT ALL JACK.
SUIT YOURSELF.
BUT IT'S UNLIKE YOU.
THAT'S ALRIGHT KID.
YOU STAY RIGHT THERE.
IT'S COLLIN. IT'S REALLY
NICE TO MEET YOU.
HI COLLIN.
COLLIN OLDMAN, JACK.
THIS KID IS THE NEW SPIELBERG.
WELL, YOU KNOW, I
DON'T KNOW... IS HE.
HIS MOVIES MAKE MONEY.
THEY'RE NOTHING
LIKE YOUR MOVIES.
UNLIKE YOURS.
THANK YOU.
YOURS ARE, YOURS ARE ART MOVIES.
HOW MUCH DID THAT LAST
MOVIE OF YOURS COST ME?
I DON'T KNOW, YOU RECUT
IT, YOU KNOW HOW YOU DID IT.
HOW MUCH DID THAT COST ME?
COST ME A LOT OF MONEY.
HOW MANY TIMES DID YOU RECUT IT?
I WASN'T HAPPY JACK.
GOD DAMNED TEST AUDIENCE.
DON'T GET ME WRONG. YOU HAVE
MADE SOME GOOD MOVIES.
THANK YOU.
NO ONE GOES TO SEE THEM.
BUT THEY'RE GOOD FILMS.
YOU'RE UP, BUD.
LET'S MAKE IT ANOTHER SIX.
WHAT DO YOU THINK?
15 THOUSAND.
15 COLLIN.
WHAT?
HERE WE GO.
DON'T LOOK SO WORRIED, COLLIN.
IT'S ONLY MONEY.
WHY DON'T YOU, AH,
PROTECT YOUR CARDS.
JACK. WE'RE PLAYING CARDS.
JACK.
JACK!
DO YOU HAVE A PROBLEM?
I'M SORRY, LORENZO.
DO YOU MIND IF I
JUST HAVE A WORD?
A QUICK WORD?
YES, I WOULD MIND.
WE'RE IN THE MIDDLE OF A GAME.
THIS IS EMBARRASSING.
WE'RE PLAYING CARDS COLLIN.
LORENZO, I'LL JUST BE...
DON'T YOU TOUCH
MY CARDS.
I WASN'T GONNA
TOUCH YOUR CARDS.
KID, HE'S TAKING YOU.
HE'S TAKING YOU FOR
ALL YOU'RE WORTH.
WHAT ARE YOU TALKING ABOUT?
I'VE GOT A WINNING HAND.
HE'S GOING TO CONTROL YOU,
HE'S GOING TO RECUT YOUR MOVIES.
HE'LL SUCK YOU DRY, KID.
WHAT ARE YOU TALKING ABOUT?
I KNOW, I'VE BEEN HERE.
I'VE BEEN HERE, KID.
OK. YOU KNOW WHAT, WE'RE
NOT THE SAME PERSON.
MR. HUSSAR...
I CAN'T WATCH THIS,
I CAN'T WATCH IT.
IT BREAKS MY HEART,
KID. COME ON.
LET ME JUST PLAY
THIS ONE HAND.
JUST PLAY, JUST PLAY THE HAND.
BUT DON'T GO
ALL IN, OK?
OK?
JUST PLAY THE HAND AND
GET THE FUCK OUT OF HERE.
I'LL MAKE THE
RULES YOU WANT.
OK, OK. LET ME JUST...
-ALRIGHT?
-ALRIGHT. JUST...
OK KID.
A LOT OF MONEY.
AH.
I'M BACK.
MAKE SURE HE
DIDN'T TOUCH MY CARDS.
AH.
WHO'S BET?
TO YOU.
YOUR BET.
ALL IN.
NO.
YOU'RE BREAKING MY HEART.
NO.
ALRIGHT, LET'S GO BRAD!
HEY JACK.
WHAT?
JACK!
YES.
I WANTED TO LET
YOU KNOW SOMETHING.
YOU ARE THROUGH IN THIS TOWN.
YOU WILL NEVER WORK HERE AGAIN.
YOU ARE YESTERDAY'S NEWS.
YOU ARE OLD NEWS.
YOU ARE FINISHED.
ALRIGHT. BYE GIRLS!
I DON'T BELIEVE THIS GUY.
MY PLACE IS KINDA SMALL, BUT YOU
CAN STAY AS LONG AS YOU WANT.
THERE'S PLENTY, PLENTY OF ROOM.
THERE WAS JUST KISMET
THAT BROUGHT US TOGETHER.
YOU KNOW, LIKE, AH, AH...
LIKE, FATE.
I THINK THAT,
WITH YOUR NEXT IDEA,
WITH YOUR NEXT BIG PICTURE,
WITH MY PRODUCING SKILLS...
BRAD, DO YOU HAVE HOT WATER?
OH, AH.
OF COURSE, NO.
I'M SURE THERE'S HOT WATER.
THERE'S HOT WATER?
GOOD WATER PRESSURE.
GOOD HOT WATER.
EVERYTHING.
YOU NEED, UM, UM.
I CAN GET YOU SOMETHING ELSE.
DO YOU WANT A SANDWICH, AH, AH.
SURE. SURE.
OH, OK. GREAT.
FANTASTIC.
LET ME, LET ME SEE
WHAT I CAN RUSTLE UP.
YEAH, IT, IT.
IT LOOKS LIKE THE
LUNCH MEAT'S GONE OFF.
I...
UM...
YOU KNOW, THERE
MIGHT BE SOMETHING ELSE.
YEAH, SO, YOU KNOW WHO'S GOING
TO BE AT THIS PARTY TONIGHT.
WE'RE GOING TO BE
PITCHING THIS FILM,
AND WE COULD BE LIKE
RAISING THE MONEY.
THERE'S GOING TO BE SOME
EXCELLENT PEOPLE THERE.
I MEAN, RICH
MILLER'S GONNA BE THERE.
HE'S ONE OF THOSE
GUYS THAT IT'S LIKE...
HE'S A KIND OF A...
AAGH! THESE ARE STALE.
I, I, I'M SORRY.
I'VE BEEN AWAY.
OH GOD.
I JUST, UM, I HAVEN'T
HAD A CHANCE TO REALLY,
I WAS GONE FOR A WEEK.
I'LL GET YOU ANOTHER SCOTCH.
THANK YOU.
THAT, THAT, THAT I CAN DO.
RICH, RICH
MILLER'S GONNA BE THERE.
ALSO, TED, TED FABERGASTY.
IS, IS THAT THE WAY YOU PRONOUCE
HIS NAME? FA-BER-GAS-TY?
HE'S HE'S ONE OF THOSE
PRODUCERS HE'S LIKE A TIMELESS GUY.
HE OWES ME A FAVOR.
I DID I DID THE
BEST THING FOR HIM.
HE, AH, HAD A CAST MEMBER.
LIKE, I THINK HE WAS IN REHAB
AT THE LAST SECOND OR SOMETHING
LIKE THAT.
I, I CAME THROUGH FOR HIM.
I CAME THROUGH FOR HIM.
AND IF THERE'S ONE THING YOU CAN
DEPEND ON ME IS TO WORK MAGIC.
I WORKED MAGIC AT
THE LAST SECOND.
THAT'S, THAT'S ONE THING
THAT, ONE OF THE THINGS
I'M SPECTACULAR AT.
[TAXI] HEY!
OH. SORRY.
[TAXI] $10.50.
-SORRY.
HERE IT IS, KEEP IT. THANKS.
THOSE GUYS ALWAYS HAVE MONEY.
THEY ALWAYS GOT MONEY.
I GOT A GOOD FEELING ABOUT THIS.
THIS IS GOING TO
BE, LIKE A DEAL,
I'M GOING TO
CLOSE A DEAL TONIGHT.
TONIGHT!
TONIGHT!
WELL, THAT'S OUR DEADLINE.
BRADLEY.
WHAT'S THAT?
THAT IS OUR DEADLINE.
YEAH.
WELL, WE'RE GONNA MAKE IT.
WE'RE GONNA MAKE IT.
WHO'S THAT?
JACK HUSSAR.
HI! WHAT A LOVELY SURPRISE.
WHEN DID YOU GET INTO TOWN.
HELLO.
OH, I JUST GOT
INTO TOWN YESTERDAY.
GOOD TO SEE YOU LOUANN.
WELCOME. VERY
GOOD TO SEE YOU.
GOOD TO SEE YOU.
A LOT OF PEOPLE HERE WILL
BE EITHER SURPRISED
OR HORRIFIED.
THIS IS EVA.
HELLO EVA.
WHO'S ONE OF OUR NEW STARS.
-GOOD TO MEET YOU.
-GOOD TO MEET YOU.
ARE YOU, ARE YOU
DOING ANOTHER PICTURE?
AH, YES, I'M GOING TO
GET FINANCING FOR IT.
AH. WELL DARLING...
MAYBE YOU CAN HELP.
LET'S INTRODUCE YOU
TO OUR NEW FINANCIER.
WHAT'S GOING ON HERE?
THIS IS PETER HOFFMAN.
FROM SEVERANCE.
OH, HELLO.
-GOOD TO SEE YOU.
-GOOD TO SEE YOU.
HI!
NICE TO MEET YOU.
BRAD PERRY. I'M PRODUCING,
AH, JACK'S NEXT PICTURE.
WHERE ARE YOU SHOOTING?
AFRICA.
AFRICA?
YEAH.
THERE'S NO TAX
CREDITS IN AFRICA.
OH.
AFRICA'S A BIG PLACE, TOO.
WHERE IN AFRICA?
WELL.
WE'RE TALKING ABOUT
THE BELGIAN CONGO.
IT'S A VERY DANGEROUS PLACE.
OH.
DO YOU HAVE
THINGS, LIKE INSURANCE?
OH, OF COURSE
WE'LL HAVE INSURANCE,
I MEAN, I THOUGHT IT WAS...
CONSIDER THIS AS THE NEXT, HUGE,
PINNACLE JACK HUSSAR PICTURE.
IT SOUNDS LIKE A
REALLY HARD SELL.
THAT'S WHAT YOU'RE TELLING ME, HUH?
-YEAH EXACTLY.
THAT'S RIGHT?
IT'S DIFFICULT TO
SELL, I MEAN, WE WE,
REALLY NEED TO,
AH, WE SHOULD TALK!
WE SHOULD HAVE A MEETING.
WE SHOULD, AH, SURE.
CALL.
ABSOLUTELY. I WILL
DEFINITELY GIVE YOU A CALL.
I'LL DEFINITELY GIVE YOU A CALL.
ALRIGHT, GOOD.
JACK OLD BOY, HOW
THE HELL ARE YOU?
I'M GOOD MAX, HOW ARE YOU?
WELL, YOU'RE A
SIGHT FOR SORE EYES.
JESUS.
WE'RE THE REAL MEN IN THIS TOWN.
OH, I KNOW IT.
-WHERE YOU BEEN HIDING?
-AFRICA.
WHAT ARE YOU DOING THERE?
HUNTING, HUNTING.
YEAH.
HUNTING, HUNTING NO LESS.
HUNTING WHAT?
WELL, I BEEN MAKING A MOVIE.
WELL, THAT'S FANTASTIC.
UM.
WHY AREN'T I IN IT?
WELL, I RAN OUT OF FINANCING.
WHAT DO YOU NEED?
WHAT DO YOU NEED?
I'D LOVE TO DO YOUR MOVIE!
OF COURSE I'LL DO YOUR MOVIE.
NO.
NOT YOU.
NOT FOR YOU TO DO.
NO I JUST.
OH WELL, THANK YOU.
THANK YOU.
JACK, DO YOU KNOW EVA?
EVA, JACK.
JACK.
HELLO?
I'M STANDING RIGHT HERE.
JACK'S DOING MY NEXT
FILM. AREN'T YA.
LISTEN, CALL ME.
SERIOUSLY.
CAUSE I MISS YOU.
I NEED YOU.
I WANT YA.
THANK YOU OLD BOY.
JACK. JACK. JACK.
YES?
-HOW ARE YOU MAN?
-I'M GOOD THANK YOU.
-GOOD, GOOD TO SEE YOU.
-GOOD TO SEE YOU.
JACK!
CAN I TALK...
YOU KNOW WHAT JACK?
YOU KNOW WHAT?
WE'VE ALWAYS BEEN A HUGE FAN
OF YOURS AND WE WANT YOU BACK.
WE REALLY REALLY WANT.
YOU WANT ANY ACTOR, I WILL
GET THE SCRIPT TO THEM
IN TWO SECONDS.
WE'D LOVE TO GET YOU BACK.
WE REALLY WANT YOU BACK, JACK.
I, UM, I WANT TO
INVEST IN YOUR FILM.
OH, I'M HAPPY TO HEAR THAT.
OH WELL THAT'S GOOD!
...HOW MUCH HE LOVES YOUR FILMS.
HE'S SEEN EVERYTHING.
I HAVE A REALLY
GREAT IDEA IT'S GATSBY.
[INDECIPHERABLE]
AMAZING, MOVIE EVER.
OH, REALLY! HE'S ALMOST
YOUR BIGGEST FAN.
EXCEPT FOR ME.
PUT MONEY IN IT!
OPENING NIGHT AT SUNDANCE.
OPENING NIGHT AT SUNDANCE.
NEXT YEAR.
-ALRIGHT. NEXT YEAR.
...I'M CALLING
GILMORE ABOUT THE,
AH, FINANCING.
-HI!
-HI.
-I'M MARY JANE.
-GOOD TO MEET YOU.
YEAH!
...WELL THERE'S SOMETHING
WE GOT TO FIGURE OUT FIRST.
DO YOU DANCE?
NEVER.
TANGO?
THAT'S YOUR SISTER?
THAT'S MY SISTER.
CHEERS.
I'M READY TO GO HOME.
-WOULD YOU LIKE A...
-LET'S GO HOME.
WOULD YOU LIKE A DRINK?
I THINK I'M GONNA HAVE A DRINK.
EXCUSE ME.
YOU'VE HAD TOO MUCH TO
DRINK, LET'S GO HOME.
PLEASE LET'S NOT DO THIS.
OK? WE'RE GOING HOME.
THERE WAS A DEAL ABOUT
POSSESSIVENESS AND YOU'RE OVER
STEPPING THAT MARK.
PLEASE LEAVE.
BRAD?
LISTEN.
DO WHAT YOU NEED TO DO, I'M GOING HOME.
I JUST NEED TO TALK TO BRAD.
DO WHAT YOU WANNA
DO, I'M GOING HOME.
I'LL DO WHATEVER I,
THANK YOU SO MUCH,
-LIKE I NEED YOUR PERMISSION.
-YEAH.
BRAD, CAN I TALK TO
YOU FOR A MINUTE PLEASE?
YEAH. WHAT?
JESUS.
WHAT JUST HAPPENED?
NOTHING.
IT'S HOWARD BEING POSSESSIVE.
HE UNDERSTANDS ABSOLUTELY THE
SCORE AND HE'S FREAKING OUT.
I NEEDED YOUR HELP
BECAUSE EVERYBODY WAS LOOKING.
NO, THAT'S OK.
WHO IS HE?
YOU MEAN, JACK?
HE'S JACK HUSSAR.
YOU DON'T KNOW JACK HUSSAR?
NO.
I KNOW JACK HUSSAR.
WELL, HE'S HE'S HE'S
A GENIUS FILMMAKER.
THERE'S EVEN MORE
TO IT THAN THAT.
I MEAN.
WE'LL BE OUT IN A MINUTE.
OH, I SEE, I SEE,
SOMETHING'S GOING ON HERE.
YEAH.
BRAD, WHY DON'T YOU...
I'M GOING TO
PRODUCE HIS NEXT MOVIE.
THE AFRICA PICTURE?
I'M PRODUCING IT!
AGH, BRAD!
NO, NO, NO!
NO, NO, NO, NO!
COME ON!
OF ALL THE PEOPLE
TO PROMISE THAT TO.
IT'S NOT, IT'S NOT A PROMISE.
JACK HUSSAR?
WE'RE JUST IN
BUSINESS RIGHT NOW.
YOU THINK THAT...
YOU'RE NOT IN BUSINESS!
WITH WHAT FUNDING?
HOW COULD YOU POSSIBLY...
LOOK, HERE'S THE THING.
HE'S RIGHT NOW, JUST A
LITTLE BIT CASH POOR.
AND SO, I'VE BEEN DOLING OUT...
HE'S CASH POOR?
YEAH, WELL HE'S BEEN...
WHAT ABOUT YOU?
WELL I'VE BEEN GIVING WHAT
LITTLE MONEY I CAN BECAUSE I
BELIEVE IN HIS
PROJECT, I BELIEVE IN ME,
I BELIEVE IN JACK, I BELIEVE IN
ALL OF US THAT WE'RE GOING TO
MAKE SOMETHING FANTASTIC.
THIS IS GOING TO BE IT.
THIS IS LIKE THE OPPORTUNITY
THAT I'VE BEEN WAITING FOR.
ANYWAY.
HE'S UTTERLY CHARMING AND DEVINE
AND NOW I HAVE THE SMALL PROBLEM
OF HOWARD, WHICH I
MIGHT NEED YOU TO NEGOTIATE.
BUT CAN WE DO THIS TOGETHER?
IT'LL BE A PROJECT TOGETHER.
THIS IS MY COMEBACK THING.
THIS IS MY OPPORTUNITY.
TO DO WHAT?
DO WHAT TOGETHER?
IF YOU CAN FUND THIS MOVIE.
HELP ME OUT, HELP JACK.
AH HA.
SO YOU CAN BE IN
BUSINESS WITH US.
THIS AH ISN'T GOING TO
BE LIKE THE OTHER ONES.
IT'S NOT, I SWEAR.
IT'S NOT GOING TO BE
LIKE THE OTHER ONES.
IT'S GOING TO BE DIFFERENT.
DO ME A FAVOUR
AND TALK TO HOWARD.
WHILE I GO AND TALK TO JACK.
ALRIGHT?
ALRIGHT.
DEE DEE.
DEE DEE.
I LOVE YOU.
OOPS.
DEAL WITH HOWARD.
THANK YOU VERY MUCH.
YOU'RE A [INDECIPHERABLE]
YOU'RE A WILD DESERT FLOWER.
I'M DIANA.
DIANA, MY NAME IS JACK.
I HEARD.
BRAD IS MY BROTHER.
AND HE SAID HE WAS
PRODUCING YOUR FILM.
AND I WANTED TO LET YOU
KNOW, BETWEEN YOU AND I,
THAT HE HAS NO
MEANS OF DOING THAT.
AND BEING A FAN OF YOUR WORK.
BUT, MORE IMPORTANTLY I
WOULD LIKE TO OFFER TO HELP.
YOU KNOW, UM, WHEN A
MAN INSULTS ANOTHER MAN,
USUALLY THEY FIGHT.
I DIDN'T MEAN TO INSULT YOU.
I'M SORRY.
WHAT HAPPENS WHEN A
WOMAN INSULTS A MAN.
THEY KISS.
IN PUBLIC.
MAY I KISS YOUR HAND?
NOT HERE.
WHERE?
WHEN?
YOU'LL HAVE TO FIND A WAY.
YOU HAVING FUN JACK?
-YEAH, I'M HAVING FUN.
-THANK YOU.
-YEAH?
-YEAH.
YOU KNOW YOU'RE OLD ENOUGH
TO BE HER FUCKING FATHER,
YEAH? YOU KNOW THAT.
SHE CAME WITH ME.
I DON'T KNOW WHERE SHE'S
BEEN FOR THE LAST HALF AN HOUR.
SHE'S BEEN HANGING WITH YOU?
SO WHAT DO YOU WANT TO DO?
SO WHAT DO YOU ..
WHAT DO I WANT TO DO?
YEAH, WHAT DO YOU
WANT TO DO ABOUT IT?
SHE'S WITH ME, JACK.
WANNA FIGHT ABOUT IT?
LET'S FIGHT.
-OH REALLY.
-YEAH.
-REALLY.
-YEAH.
YOU WANT TO GO OLD
SCHOOL ON ME, JACK?
SURE.
LET'S FIGHT.
I'LL FUCKING FIGHT YOU.
I DON'T GIVE A FUCK.
I SWEAR TO GOD I
DON'T GIVE A FUCK.
FUCK YOU JACK!
PANSY!
HE WANTS TO
FIGHT, LET HIM FIGHT.
LET GO OF ME!
IT'S OK.
DON'T HURT THAT BOY.
DON'T HURT THAT BOY, COME ON.
AND IF YOU'RE
GOING TO FIGHT HIM,
GIVE HIM A PROPER HIT.
WHAT IS THIS MESS?
-OH GO FUCK IT -
-WHERE IS SHE JACK?
HUH?
WHERE IS SHE, NAKED
BY THE FUCKING POOL?
-HUH?
-IS SHE?
-IT'S OK, IT'S OK!
-WANNA FIGHT? WE CAN FIGHT!
WHY ARE YOU ACTING LIKE SUCH A JEALOUS FUCKING
BOYFRIEND. YOU'RE NOT EVEN MY BOYFRIEND.
-WHERE THE FUCK HAVE YOU BEEN?
-YOU'RE EMBARRASSING ME.
-I'M LEAVING.
-AH, YOU'RE EMBARRASSING ME. HELLO HELLO.
NICE JACK.
THANKS A LOT.
DON'T GO IN THERE.
THANK YOU MAXY.
SEE YOU IN 10 YEARS.
JACK.
-BYE LOUANNE.
-YOU HAVEN'T CHANGED DARLING. TAKE CARE OF YOURSELF.
-JACK!
-WHAT?
WHERE YOU GOING?
NO NO NO NO DON'T GO DON'T GO DON'T GO.
I'VE GOT TO GO NOW.
NO NO! WE'RE RED HOT! I GOTTA GO NOW.
WE CAN'T LEAVE NOW.
WAIT WAIT WAIT WAIT.
THERE'S AN AFTER PARTY.
THERE'S GOING TO BE MORE PEOPLE THERE,
MORE AGENTS, MORE PEOPLE I KNOW.
WE'RE ON FIRE RIGHT NOW.
WE CAN CLOSE THIS.
HERE, GO TO THIS ADDRESS.
-OK. THANK YOU.
-YES.
-BE THERE LATER.
-BYE BRADLEY.
BE THERE!
[SPEAKS SPANISH].
YOU WANT TO GET
IN THE LADY'S CAR?
SI.
OK.
THAT'S OK?
THANK YOU.
SHHHH...
MY DAUGHTER'S SLEEPING.
OH.
YOU HAVE CHILDREN.
ONE.
ONE GIRL.
LILY.
HUSBAND?
DO YOU HAVE A HUSBAND?
HE DIED.
OH.
LET'S NOT TALK ABOUT THAT.
I WILL DO ANYTHING FOR YOU.
I WILL WALK THROUGH FIRE.
I WOULD KILL MYSELF.
ON COMMAND.
OUTPOST?
IT'S A GOD DAMN MAZE.
WHOOPS.
COP.
OH GOD.
HEY, HOW'S IT GOING TONIGHT?
HI, GOOD EVENING SIR.
YOU KNOW YOU
ROLLED THAT STOP SIGN?
YES I DID.
I'M JUST I'M, STILL, LOST.
I JUST DON'T KNOW WHERE, THESE
HILLS ARE JUST SO CONFUSING.
IF YOU COULD HELP ME,
I'D BE REALLY GRATEFUL.
THIS IS THE ADDRESS.
IT'S SOUTH
BEVERLY, SOUTH BEVERLY,
AVENUE?
I JUST KEEP GETTING
STUCK ON THESE HILLS,
I JUST KEEP GOING AROUND
AND AROUND IN CIRCLES.
MMHM.
AH, THIS A FRIEND'S HOUSE, OR...
YEAH.
BEEN DRINKING TONIGHT?
AH NO JUST A DRINK OR TWO.
HOW LONG AGO?
TWO HOURS AGO.
-SURE?
-YEAH.
-POSITIVE?
-YEAH, NO I'M OK TO DRIVE.
STRIKE NUMBER TWO.
GOT YOU'RE LICENSE WITH YOU?
LOOK I DON'T.
I JUST ARRIVED FROM AFRICA.
STRIKE NUMBER THREE.
UM, I'M SORRY.
WHAT'S YOUR NAME.
JACK HUSSAR.
THE MOVIE DIRECTOR?
YES, YES.
REALLY?
THAT'S RIGHT.
MYSTIC SPHERE.
YES.
-YOU KNOW IT?
-I LIKE THAT FILM.
-OH, THANK YOU! GOOD TO MEET YOU.
GOOD TO MEET YOU.
I'M SORRY ABOUT THIS.
I JUST, I JUST, CAN'T
SEEM TO FIND MY WAY AROUND.
YOU'VE KIND OF PUT
ME IN A PICKLE HERE.
ALRIGHT.
YOU'RE NOT GOING TO HIT
ANYTHING OR HIT ANYBODY?
NO.
I ASSURE YOU I WON'T.
BEVERLY AVENUE IS THREE BLOCKS UP. YEAH?
-MAKE A LEFT.
-OH GREAT.
-ALRIGHT?
-OH THANK YOU.
GO RIGHT THERE.
DON'T MAKE ANY STOPS.
STAY THERE.
NICE FUCKING FERRARI.
-JACK!
-HI!
-HOW ARE YOU?
-I'M GOOD. GREAT TO SEE YOU!
-LOOK AT YOU!
-LOOK AT YOU!
THANK YOU!
FANTASTIC, ALL SHIMMERY. BEAUTIFUL! WOW!
THANK YOU!
VERY GOOD TO SEE YOU.
-BYE DARLING.
-BYE SWEETIE.
THAT'S WHAT I WAS GONNA SAY.
I WAS GONNA SAY I THINK,
BECAUSE I THOUGHT NO NO NO.
THIS IS, LIKE, HOLLYWOOD.
THIS IS LIKE, THIS IS
LIKE A FACE FROM THE 20S,
LIKE A CLASSIC, A
CLASSIC BEAUTY,
A CLASSIC ACTRESS.
LIKE, LIKE A 20S MOVIE STAR.
IT'S NOT JUST THE OUTFIT, I
MEAN IT'S LIKE YOUR FACE,
YOUR BONE STRUCTURE.
EVERYTHING ABOUT IT.
YOU JUST HAVE THIS
LIKE CLASSIC BEAUTY.
YOU'RE JUST A FLATTERER.
MAYBE.
I'M PRODUCING JACK
HUSSAR'S NEXT MOVIE.
NO WAY.
PRODUCING HIS NEW ONE.
AND THIS IS, THIS IS
GONNA BE THE PINNACLE.
THIS WILL BE REMEMBERED AS
THE PINNACLE OF HIS WORK.
IT'S LIKE THE GENIUS.
HE'S GOING TO SUPERNOVA.
SO LET'S, I MEAN, LET'S
DOING SOMETHING ABOUT THIS.
I MEAN, I'VE DONE, YOU KNOW, A
COUPLE COMMERCIALS AND AUDITIONS
HERE AND THERE.
THIS LOOKS LIKE A WASTE OF TIME.
OH WELL.
I THINK THAT WHAT
THESE PEOPLE DO,
I MEAN, LOOK, LOOK, LOOK.
YOU SEE, SOME PEOPLE SAY THE
EYES ARE THE WINDOW TO THE SOUL,
BUT I THINK IT'S THE HANDS.
AND YOU SEE ALL THE FACT THAT
THERE'S ALL THE LITTLE LINES...
SEE YOU BRAD.
JACK!
JACK!
HOW'S IT GOING BUDDY?
WE ALMOST GAVE UP ON YOU.
WHAT?
WHY THE FUCK ARE YOU TELLING
PEOPLE YOU'RE LENDING ME MONEY.
COME ON.
COME ON.
WHAT THE FUCK.
WHAT THE FUCK ARE YOU THINKING?
YOU SHOULD BE RAISING MONEY.
YOU SHOULD BE GETTING INVESTORS.
NOT TELLING PEOPLE
YOU'RE LENDING ME
YOUR OWN FUCKING MONEY.
WELL WE'RE PARTNERS NOW.
WHAT KIND OF A
FUCKING ASSHOLE ARE YOU?
ALRIGHT I'LL, I'LL FIX IT.
BULLSHIT.
I'LL FIX IT.
JACK? I'M ERIK BUMBLE.
YOU'RE WHAT?
ERIK BUMBLE.
BUMBLE?
-YEAH, ERIK BUMBLE.
-ERIK, ERIK BUMBLE.
YEAH.
FRENCH.
-YOU'RE FRENCH? -YEAH.
-REALLY?
I HEARD FROM BRAD.
-OH, SORRY!
-THAT'S OK.
THIS IS MY LOVE.
I'M ANGEL.
THIS IS ANGEL.
ANGEL'S A FAN.
I'M A HUGE FAN OF YOUR WORK. I REALLY AM.
EVERYTHING.
THE SEDITION FILM, EVERYTHING, I LOVED IT.
I THOUGHT IT WAS GENIUS.
TELL HIM. TELL HIM. WHAT
ABOUT THE LITTLE GIRL.
THAT LITTLE GIRL GETS
RAPED IN THE BACK OF THE CAR.
-THAT'S A FANTASTIC ONE!
-YOU LIKE THAT?
-YEAH!
-YEAH?
-I LOVE IT WHEN, YOU KNOW...
-YOU LIKE THAT?
-JACK! -HONEY!
-YEAH.
TELL ME WHY YOU LIKE IT. TELL ME
WHY YOU LIKE IT. TELL ME WHY YOU LIKE IT.
I MEAN, COME ON.
YOU!
YOU ARE THE MAN!
YEAH. I GOT THE MONEY
FOR YOUR PICTURE.
YOU SAY A NUMBER, MAN.
I GET IT FOR YOU.
AND I'M TALKING ABOUT TO
DO WHAT EVER YOU WANT.
THE ONLY THING YOU GOT TO
DO FOR ME IS PUT THIS...
-IN YOUR MOVIE.
-OH HONEY.
-THAT'S ALL I GOTTA DO?
-THAT'S ALL YOU GOTTA DO.
IS CAST HER IN MY MOVIE?
CAST HER IN YOUR MOVIE.
JACK, SHE'S A GREAT ACTRESS.
IS SHE NOW.
SHE'S A FANTASTIC ACTRESS.
LOOK, I'M HAPPY TO
CAST HER IN MY MOVIE.
-GOOD. -SHE'S BEAUTIFUL.
-GOOD.
BUT IF I HAVE TO.
IF I HAVE TO CAST HER IN MY MOVIE,
IT'S A DEAL
BREAKER. FORGET IT.
NO NO! WAIT WAIT WAIT! JACK JACK JACK!
WAIT A MINUTE.
WAIT A MINUTE.
I KNOW ABOUT YOUR ACTIVITIES.
I KNOW YOUR WHIMS AND
I KNOW ALL OF THIS.
BUT!
YOU NEED I NEED TO
MAKE YOU MOVIES.
I CAN GET YOU THE MONEY!
[SINGING IN FOREIGN LANGUAGE]
WHERE HAVE YOU BEEN JACK?
AFRICA.
THAT'S FOR LEAVING
ME AT THE TRAIN STATION.
WE WERE GOING TO RUN
AWAY AND JOIN THE CIRCUS.
WE CAN DO THAT NOW.
-JACK!
-HEY JACK!
...THE DOUGH, BRAD.
JACK, IT WAS A $20 CIGAR!
I'M SO...
I'M SORRY BOBO.
IS HE ALRIGHT?
I DON'T KNOW.
LET'S JUST GO, LET'S JUST GO.
YEAH.
OH, YOU'VE GOT DIANA'S CAR.
ARE YOU, ARE YOU
SURE YOU SHOULD DRIVE?
OFF WE GO!
HELLO HOLLYWOOD!
AFRICA!
-YEAH!
-LET'S GO RIGHT NOW!
LIONS, TIGERS, BEARS OH MY!
I WANT TO FLY JACK!
FOUR, THREE, TWO, ONE.
-YOU LOST HER! -OH SHIT.
-ARE YOU ALRIGHT?
-LUCKY CARDS BRAD!
-NO! WAIT!
JACK!
STOP!
DAMN YOU, JACK!
DAMN YOU!
GOOD EVENING.
IT'S JACK HUSSAR!
THE GAME IS OVER.
NO, THE GAME ISN'T OVER.
LET ME IN. IT'S JACK HUSSAR.
COME ON.
-HEY KID.
-WHAT?
-COME.
-JESUS.
WHAT DO YOU WANT?
HE CLEANED YOU OUT, RIGHT?
YEAH, HE GOT EVERYTHING.
WHAT'S IT TO YOU?
AND NOW HE RECUT YOUR MOVIE.
I HAVEN'T GOT A MOVIE.
I'M BANNED FROM THE LOT.
IT'S OVER, OKAY?
KID. STOP BEING A GIRL.
-WHAT?
-STOP BEING A GIRL.
WE'VE ALL BEEN THERE.
FUCK IT.
I'LL GET YOUR PICTURE BACK, KID.
-HOW?
-WAIT HERE.
WHAT ARE YOU DOING HERE, JACK?
LET'S PLAY A HAND.
NOT NOW JACK.
I'M TIRED.
I GOT A BIG DAY TOMORROW.
YEAH.
YOU HAVE NOTHING I WANT, JACK.
YOU'RE SMALL POTATOES.
YOU'LL FINANCE MY MOVIE.
YOU DIRECT IT THE
WAY I WANT YOU TO.
FRANK!
FRANK!
I NEED YOU TO DEAL A
HAND OF TEXAS HOLDUM.
STOP.
I GET TO CUT THE
MOVIE THE WAY I WANT TO.
MY CUT, MY BUDGET.
AND GIVE THE KID HIS MONEY BACK.
I OWN THE KID.
WHATCHA GOT LOENZO?
FLUSH.
TWO JACKS.
FULL HOUSE.
YOU FUCKING SNAKE.
THIS IS NOT OVER, JACK!
I'LL SEE YOU NEXT
TIME LORENZO!
KID, I GOT YOUR PICTURE BACK.
WHAT?
THANK YOU!
NO, I'M TELLING YOU,
WHEN WE GET TO AFRICA...
I THINK I PROBABLY
HAVE TO GET SHOTS.
I DON'T KNOW IF I DO..
DO YOU GET SHOTS THERE OR DO
YOU GET THEM BEFORE YOU LEAVE?
WHAT I, WHAT I
THINK WE'LL DO, IS,
WE'LL GET THE STORY GOING FIRST.
SO, YOU'LL TELL ME
MORE ABOUT THE STORY,
THEN WE CAN COME
UP WITH A SCHEDULE.
WE CAN DO SOME OF THE CASTING
JUST THINK OF THIS MAX FARADAY
AS THE STAR OF YOUR NEXT
PICTURE THAT WOULD WORK.
I SAW HOW FRIENDLY
YOU WERE WITH HIM.
WITH US TOGETHER,
WITH THIS KIND OF LUCK,
I MEAN, WE CAN DO ANYTHING.
THIS IS THE MOMENT I
WAS MEANT TO HAVE.
MEETING JACK HUSSAR.
UH, OH OH OH.
OH MY GOD.
OH NO!
OH NO!
ORSO OLD BOY! WHAT
HAVE YOU DONE ORSO?
I'M JUST GONNA, I'M JUST
GOING TO LET IT ALL GO.
I'M JUST GONNA LET IT ALL GO.
LET'S GO.
I'LL BE OUT IN A SECOND, I'M JUST
GOING TO THROW A FEW THINGS IN A BAG.
BRAD.
YEAH, I'M HURRYING.
COME HERE.
YEAH.
WHAT IS IT?
GOOD BYE BRAD.
NO, NO, NO, NO. NO, NO, NO.
COME ON, COME ON. YOU'RE STAYING HERE.
YOU'RE STAYING HERE, BRAD.
NO, NO, NO. I CAN'T STAY HERE.
NO. NO. JACK. DON'T LEAVE.
YOU CAN'T, YOU CAN'T DO THIS.
THIS IS MY CHANCE.
THIS IS, I'M YOUR GUY!
I TOLD YOU, I'M GOING TO DO EVERYTHING!
I'M GOING TO DO EVERYTHING!
I'M GOING TO MAKE
EVERYTHING BETTER!
BRAD, PULL YOURSELF TOGETHER.
YOU'RE NOT COMING. I GOTTA COME.
JACK, DON'T GO.
LOOK AT THIS.
YOU'RE JUST LEAVING ME
HERE WITH THIS PILE OF SHIT!
I HAVE TO GO, THIS IS OUR MOVIE!
PULL YOURSELF TOGETHER, BRAD.
NO, JACK!
JACK, I'LL WORK FOR FREE.
JACK COME BACK!
THANK YOU FOR EVERYTHING, BRAD.
THIS IS OUR MOVIE.
ONE MORE STOP, ORSO.
THANK YOU.
JACK HUSSAR, WITH
NO FURTHER DELAY,
WITHOUT A THOUGHT
FOR LORENZO, FOR BRAD,
FOR DIANA, BUT ONLY FOR WHAT
WAS IN STORE FOR HIM IN AFRICA,
LEFT HOLLYWOOD FOREVER.
MANY YEARS HAD PASSED.
MUCH WATER HAD
FLOWED UNDER THE BRIDGE.
MANY HAD DIED.
MANY HAD BEEN BORN.
MANY HAD GROWN UP OR BECOME OLD.
EVEN MORE IDEAS THAN PEOPLE
HAD BEEN BORN AND HAD DIED.
JACK HUSSAR
HAD DIED LONG AGO.
DIANA WAS NOW SO FAR FROM YOUNG,
THAT SHE NO LONGER LOOKED UPON
HERSELF AS SUCH.
LIVING WITH DIANA
WHERE HER DAUGHTER LILY,
AND HER BROTHER BRAD, WHO HAVING
LOST ANY MONEY HE EVER MADE ON
MOVIES, FOUND REFUGE IN
HIS OLD AGE AT DIANA'S.
NOW WHY IS IT THAT
NOWADAYS VIDEO GAMES
ARE CONSIDERED
ENTERTAINMENT?
IT'S, IT'S A GAME.
IT'S NOT ENTERTAINMENT.
AND JUST BECAUSE YOU WATCH IT
DOESN'T MEAN IT'S SOMETHING THAT
FALLS INTO THE CATEGORY OF
ENTERTAINMENT JUST BECAUSE IT'S
SOMETHING YOU WATCH.
IF YOU WATCH IT AND IT'S
ENTERTAINING THEN IT'S
ENTERTAINMENT.
FRUIT.
WHAT'S, OH, OH, OH,
THANK YOU SO MUCH.
AND NOTE.
THAT FOR EGGS.
NOW WHAT IF I TREAT THIS
KIND OF LIKE A DESSERT?
-AND I HAVE A BAGEL FIRST.
-VERY NAUGHTY.
WHY DID YOU SHOW ME THAT PHOTO?
DOES IT REMIND YOU OF ANYONE?
AH, NOPE.
NOPE.
JACK HUSSAR'S SON.
JACK JR.
WOW, YOU'RE KIDDING.
DOES HE LOOK LIKE HIS DAD?
WELL, MAYBE A LITTLE.
HE'S CUTE.
HE IS A CHIP OFF THE OLD BLOCK.
I WONDER.
GOD.
WHAT, TELL ME ABOUT HIS DAD.
WELL, HE WAS.
HE WAS UM...
HE WAS A MAN.
HE WAS THE LAST OF THE OLD BREED,
THAT'S WHAT HE WAS. CAN I TASTE IT?
HE WAS ONE OF A KIND.
LAST OF, LIKE THE OLD
HOLLYWOOD DIRECTORS.
HE WAS WHAT?
HE WAS ONE OF A KIND.
HE WAS CLASS.
HE WAS THE ARTISANSHIP THAT'S
MISSING FROM THE BUSINESS TODAY.
I'D LOVE TO MEET HIM.
-WHO JACK?
-MMMMM.
-JACK JR.?
-JACK JR. WOULDN'T IT BE FUN?
I DON'T KNOW HIM.
WELL, WHO SENT YOU THE PICTURE?
ANNE.
SHE MET HIM IN NEW YORK.
-OH. ANNE.
-I'VE NEVER MET HIM.
WELL GET ANNE TO BRING HIM OVER.
WHY DID SHE SEND, I MEAN,
IS HE, HE'S COMING HERE?
HE'S COMING TO LOS
ANGELES TO DIRECT A FILM.
IT'S HIS FIRST FILM.
HE'S DIRECTING.
THEN HE MUST HAVE SOME
OF HIS DAD'S TALENT. HE MUST.
MOM, I DON'T EVEN
KNOW HIM.
HE HAS NO IDEA THAT I
EXIST AND, WE DON'T,
WE DON'T EVEN KNOW THAT
HE EVEN HEARD OF YOU.
WELL HE MENTIONED ME, BY NAME.
-FROM THE PODIUM.
-FROM THE PODIUM.
ON AWARDS NIGHT.
WHICH MEANS THAT HIS SON
WOULD HAVE SEEN THE FOOTAGE
AND HE WOULD KNOW YOU.
OK.
I'LL CALL ANNE.
WELL, WAIT.
I'LL TELL YOU SOMETHING.
IF HE'S ANYTHING LIKE HIS
DAD, I WANT YOU TO BE CAREFUL.
HE'S NOT GOING TO LIKE ME.
NO, LEAVE THEM, IT'S OK.
YOU KNOW I HAVEN'T BEEN TO
THIS HOTEL SINCE I WAS A CHILD.
MY DAD USED TO
STAY HERE A LOT, SO.
HERE YOU GO SIR.
AND, SEE A BALCONY.
BATHROOM, OVER
THERE TO THE LEFT.
IT DOESN'T SEEM BIG ENOUGH.
THIS IS A SUITE?
AND, IF I HAVE PEOPLE OVER HERE
THEY'RE GOING TO BE STANDING
RIGHT IN THE
MIDDLE OF MY BEDROOM,
IT DOESN'T MAKE
ANY SENSE.
THIS IS ONE OF
OUR JUNIOR SUITES.
-JUNIOR SUITES - EXACTLY.
-YES.
I THOUGHT I WAS GOING TO
GET A SENIOR SUITE AT LEAST.
THE BED ISN'T EVEN FUCKING MADE.
THIS IS RIDI... I COULDN'T
FIT IN THAT BATHTUB!
THIS CAN'T BE A SUITE.
NO, THIS IS RIDICULOUS.
I CAN'T STAY HERE.
AT LEAST LAY ON THE BED.
-NO. I'M OK.
-TRY IT OUT.
OH, BOY.
-HI.
-HI.
WHAT'S YOUR NAME?
-LOLITA.
-LOLITA.
HI, NICE TO MEET YOU LOLITA.
I'M SORRY, I JUST
GOT SHOWN TO MY ROOM,
BUT I THINK I WAS
MEANT TO HAVE A SUITE.
I DON'T THINK THAT'S A SUITE.
OH, OK.
WHAT'S THE LAST NAME?
IT'S HUSSAR.
OK
JACK HUSSAR.
K, UM, I'M SHOWING HERE
THERE'S ONLY A JUNIOR SUITE.
STUDIO PAID FOR
ONLY A JUNIOR SUITE.
WELL, SHOULDN'T A JUNIOR
SUITE HAVE TWO ROOMS NORMALLY?
LIKE A LIVING ROOM
AND A BEDROOM?
NO, NO, NO. IT'S JUST
THE ONE ROOM. SO, UM.
I'M HERE FOR LIKE THREE MONTHS.
I DON'T THINK I CAN STAY IN
THE ROOM FOR THREE MOTHS.
I'LL PROBABLY GO OUT OF MY MIND.
OK, UM.
HAVE YOU ANYTHING BIGGER?
WELL, YEAH.
I DO. BUT, AH, UM, IT'S GONNA BE, ABOUT,
$250?
-THAT I HAVE TO PAY?
-THAT'S, THAT'S RIGHT.
I MEAN... BUT THE STUDIO, YOU
HAVE A CREDIT CARD ON FILE
WHICH THE STUDIO GAVE YOU.
WE DON'T HAVE A CREDIT CARD ON
FILE ACTUALLY. WELL, YOU MUST DO.
THE STUDIO GAVE
YOU A CREDIT CARD
BECAUSE I DIDN'T
BOOK THE ROOM.
THE STUDIO BOOKED
THE ROOM FOR ME.
WELL, THEY DID GIVE
ME A CREDIT CARD,
BUT WE DON'T KEEP THAT ON
FILE FOR SECURITY PURPOSES.
OK, LISTEN TO ME I'M TELLING YOU.
I CAN'T PAY FOR THIS ROOM.
I'M HERE FOR THREE MONTHS.
I'M SHOOTING A MOVIE.
IF I'M IN THAT ROOM FOR THREE
MONTHS I WILL GO OUT OF MY MIND.
I WILL GET CABIN FEVER.
I'M MEANT TO BE MAKING
AND DIRECTING A MOVIE.
THAT MEANS NORMALLY
YOU HAVE TO BE INSPIRED.
I'M LOOKING OUT
ONTO A BACK STREET.
I DON'T EVEN HAVE A GARDEN VIEW.
MY FATHER USED TO STAY
HERE FOR MANY YEARS,
HIS NAME'S JACK
HUSSAR AS WELL.
YOU'RE RIGHT. YEAH.
NORMALLY THEY MIGHT BE ABLE TO
DO SOMETHING FOR THE FAMILY?
LIKE MAYBE THEY'D,
THEY'D GIVE ME AN
UPGRADE IF THAT
WAS POSSIBLE?
I UNDERSTAND UM.
YOU KNOW WHAT.
CAN YOU JUST GIVE ME A SECOND?
AND I'LL MAKE A FEW
PHONE CALLS AND THEN,
WHY DON'T YOU JUST RELAX.
OF COURSE.
I'M SORRY, I KNOW, I KNOW IT'S NOT
YOUR FAULT. GRAB YOURSELF A CUP OF TEA.
I DON'T MEAN TO GET ANGRY WITH
YOU I KNOW I KNOW, I UNDERSTAND.
YOU'RE VERY SWEET.
I'M SORRY.
BUT WHY DON'T YOU
JUST HAVE A SEAT.
I'M SORRY.
WE'LL BE, AH.
HAVE A CUP OF TEA AND I'LL TRY
TO FIGURE OUT WHAT'S GOING ON.
THANK YOU. THANK
YOU VERY MUCH.
I KNOW I'M SORRY.
I NEVER KNOW I NEVER
REMEMBER, JUST, YEAH.
HI!
GOOD TO SEE YOU DARLIN'.
THANKS FOR COMING
AND MEETING US.
GOOD!
THIS IS LILY.
HEY LILY. HI. I'M JACK.
JACK HUSSAR, IT'S
NICE TO MEET YOU.
YOU REMEMBER
PAUL, FROM NEW YORK?
RIGHT, PAUL, YES.
PAUL, LILY.
LILY. LIKE A FLOWER. LILY.
YEAH, EXACTLY.
HERE, SIT DOWN.
-OH, YOU ALL RIGHT?
-SORRY.
RIGHT ON HIS TOE.
PERFECT. GOOD.
NO IT'S GOOD.
I STEP ON HIS TOES QUITE OFTEN TOO.
-YOU GUYS WANT A DRINK?
-YES, PLEASE.
WHAT DO YOU WANT.
AH, VODKA SODA.
VODKA SODA.
DOUBLE.
-UM, COSMOPOLITAN? -COSMO?
-GOOD CHOICE.
WELL, I'M REALLY SORRY THAT IT'S, SO WET.
AH, NO IT'S OK.
I MEAN, ONE ALWAYS EXPECTS SOCAL
TO BE SUNNY SO IT'S ACTUALLY A
SURPRISE AND I LIKE SURPRISES.
YOU'RE A SURPRISE.
UM, AND AH WHAT DO YOU DO.
DO YOU MIND ME ASKING?
UM, I'VE DONE SOME
ACTING CLASSES, AND...
I THINK, HER,
YOUR DRINK IS HERE.
I WANT TO WRITE.
YOU WANT TO BE A WRITER?
DID YOU SAY YOU
WANT TO BE A WRITER?
OR AN ACTRESS, OR...
-I'M A WRITER.
-YOU ARE?
I JUST WROTE THE MOVIE.
JACK IS GOING TO DIRECT.
OH, OF COURSE, YOU'RE HERE TO DO A MOVIE.
YES. WE'RE HERE TO DO A FILM.
I MEAN, THAT'S GREAT.
-OH.
-OH. CHEERS!
OH MY GOD, CHEERS.
[ALL] CHEERS!
TO A LITTLE FUN
IN LOS ANGELES.
YES, FUN.
THE CALM BEFORE THE STORM.
-ABSOLUTELY.
-GET WASTED!
I'M JUST GOING TO NIP TO
THE BATHROOM VERY QUICKLY.
EXCUSE ME.
SORRY.
OH YOU'RE YOU'RE GOING?
OH YOU ARE. OK.
HEY.
NOW I CAN STEAL THE COUCH.
SO, TELL ME, YOU LIKE TO WRITE.
I OVERHEARD YOU.
OH, I MEAN, I'M
JUST STARTING, I,
I, NOBODY'S READ MY WRITING.
I'D LOVE TO READ
WHATEVER YOU'VE DONE.
YOU KNOW, MAYBE I
COULD, IF YOU DON'T MIND.
I'M WRITING...
SORRY.
I'M WRITING A BIOGRAPHY.
EVERYBODY'S ON THEIR PHONE.
ARE YOU WRITING ON YOUR PHONE?
IS THAT WHAT YOU'RE DOING?
YOU WRITE YOU NOVELS ON YOUR PHONE?
CAN WE GET SOME BLOW?
-ANNE.
-WHAT?
CAN YOU JUST KEEP YOUR VOICE DOWN? SORRY.
IT'S A LOBBY. WE DON'T...
-I'M SORRY. -IT'S FINE.
-I'M SORRY.
SHE GETS REALLY LOUD.
DO YOU LIKE POETRY?
PAUL, CAN YOU PLEASE SCOOT DOWN.
-HEY!
-HEY.
OH GOSH.
YOU WANNA SIT HERE?
WHERE YOU WANNA SIT.
NO THAT'S OK.
I'LL SIT HERE WITH YOU. YOU PICK.
WHAT I WAS SAYING
ABOUT THE POETRY THAT IT,
IT REALLY IMPROVE
MY PROSE WRITING.
THIS IS A BIG DEAL.
NO, IT IS A BIG DEAL.
IT'S A VERY BIG DEAL.
BUT LIKE I SAID, ONE CAN ALWAYS
MIX A LITTLE BIT OF WORK
WITH PLAY.
NO.
OF COURSE.
ALL WORK AND NO PLAY
MAKES JACK A DULL BOY.
SO THEN WE'RE GONNA GO OUT AND
GET FUCKED UP AND THEN IT WILL BE FUN.
YEAH.
-THEY SUIT EACH OTHER.
-WHO?
I MEAN THEY REALLY
SUIT EACH OTHER.
-DON'T THEY?
-DO YOU THINK?
-THESE TWO.
-NO SERIOUSLY. WE SHOULD FUCK.
ANNE. ANNE!
REMEMBER HALLOWEEN?
YEAH. WHAT ABOUT IT?
EXACTLY.
-OK. SORRY.
-THAT'S ALRIGHT.
AH, BUT YOU KNOW WHAT?
THIS HOTEL IS REVOLTING.
I HAVE TO BE HONEST. I'M SORRY, BUT
I CAME HERE WHEN I WAS 7 YEARS OLD,
MY FATHER USED TO
STAY HERE ALL HIS LIFE.
I GOT HERE THEY GAVE ME A ROOM.
I'M MEANT TO BE IN A SUITE.
THE ROOM IS LIKE, I
CAN'T EVEN STAND UP IN IT.
NO YOU SHOULD COME
STAY AT MY HOUSE.
-YEAH.
-STAY WITH YOU?
YEAH, WE'VE GOT A GUEST HOUSE.
-YOU DO?
-YEAH.
NO, NO, NO NO NO. WE WE.. NO.
-NO, JACK, JACK. NO, NO.
-HEY HANG ON A SECOND.
NO I'LL TELL YOU WHAT.
THIS IS ACTUALLY A GOOD POINT.
NOW SAYING THAT, ACTUALLY THAT'S
WHAT WE'RE TAUGHT IN LONDON.
THE BEST PLACES TO
STAY ARE AT PEOPLE HOMES.
-MY MOM WOULD LOVE TO MEET YOU.
-REALLY? -SHE KNEW YOUR DAD.
-OH, HOW SWEET.
-I DON'T THINK WE SHOULD DO THAT.
WOULD YOUR MOM BE OK
WITH US COMING TO STAY?
-SHE'D BE DELIGHTED.
-WE'RE FINE.
JACK, CAN WE.
LET'S GO AND HAVE A CIGARETTE.
CAN I GO AND SPEAK WITH YOU
OUTSIDE AND HAVE A SMOKE.
-YOU DON'T SMOKE.
-I'LL CALL MY MUM.
-WHAT? -YOU DON'T SMOKE.
-SO WHAT.
I'VE GOT YOUR LIGHTER AND
I NEED TO GIVE IT TO...
CAN WE PLEASE JUST
GO OUTSIDE AND SMOKE?
GOD, SHE'S A DITCH, LILY, HUH?
NO, NO, NO!
LOOK WE, WE CAN'T GO
AND STAY THERE, OK?
DON'T BE SUCH A PRUDE.
SHE JUST OFFERED US.
WHY'D YOU HAVE TO
SAY YES TO EVERYTHING?
I'M NOT SAYING
YES TO EVERYTHING?
WHAT ARE YOU PLANNING TO DO?
A BEAUTIFUL GIRL JUST
OFFERED US TO STAY IN HER HOUSE.
YES.
WHAT IS THAT.
AND WE HAVE A NICE PLACE TO STAY THE STUDIO
HAS PUT US UP, AND WE SHOULD STAY HERE.
I DON'T LIKE MY ROOM.
YOU LIKE YOUR ROOM. I DON'T LIKE MINE.
I'D MUST PREFER TO STAY IN A
HOUSE WITH A BEAUTIFUL WOMAN.
WHAT ARE YOU PLANNING ON DOING?
HUH?
I'M NOT, AH, IT'S
NONE OF YOUR BUSINESS.
WHAT DO YOU MEAN IT'S NONE OF MY BUSINESS
IF WE'RE BOTH GOING TO STAY IN HER HOUSE.
SHE'S A NICE GIRL, JACK.
SHE'S A NICE GIRL AND I
KNOW WHAT YOU'RE LIKE.
OK, HURRY UP PAUL.
IN FAST!
OH MY GOD.
YOU WANT MY CARDIGAN?
NO I'M GOOD.
DON'T FALL IN THE POOL.
WATCH THE POOL.
IT'S SO WET OUTSIDE.
I'M SORRY.
I'M SORRY.
-COME ON IN.
-HI.
JACK JR. JACK JR. HOW ARE YOU?
-WHAT'S YOUR NAME?
-I'M BRAD.
-VERY NICE TO MEET YOU BRAD.
-OH YOU KNEW MY FATHER.
I DID KNOW YOUR DAD.
YOU ARE SO MUCH LIKE YOUR FATHER.
OH REALLY.
YEAH NO, I GET THAT A LOT THESE DAYS.
I PRODUCED THE GOLDEN LION WITH YOUR DAD, YEAH.
-OH, YOU'RE KIDDING ME.
HI, IT'S A GREAT PLACE.
I'M JACK.
HI, HI.
NICE TO MEET YOU.
PLEASURE. HOW ARE YOU?
-NICE TO MEET YOU.
-VERY WELL.
THANK YOU SO MUCH FOR
HAVING US IN YOUR HOME.
DID YOU REMEMBER TO PUT SALT?
MOM, I PUT SALT IN IT.
-YOU DID?
-I DID.
YOU GO WASH THE STRAWBERRIES.
OK.
NO.
I DON'T WANT TO
WASH THE STRAWBERRIES.
OH, OK, I'LL WASH
THE STRAWBERRIES.
WELL IF YOU'RE NOT GONNA, STOP IT!
STOP IT!
-JUST A LITTLE, ALRIGHT...
-NO!
-TAKE HIM AWAY.
-YOU ALWAYS CONVERGE IN THE KITCHEN.
EVERY TIME THERE'S A DINNER
PARTY EVERYONE ALWAYS ENDS UP IN
THE KITCHEN.
MOVE.
WOULD YOU LIKE SOME
SPACE LILY, BECAUSE WE CAN,
WE DON'T ALL HAVE TO BE.
NEED ANYTHING?
WELL, HOW LONG IS
IT GOING TO BE NOW?
UM, 45? 45 MINUTES?
45?
WHAT DO YOU FEEL LIKE?
A GAME?
SHOULD WE PLAY A GAME?
DO YOU PLAY CARDS?
OH. WELL I HAVE PLAYED IN MY LIFE.
I'M NOT REALLY GOOD.
THAT'S PUTTING IT MILDLY, BUT...
UM, HAVE YOU
PLAYED BRIDGE BEFORE?
YEAH, I HAVE PLAYED BRIDGE.
BRIDGE IS A GOOD OLD ENGLISH
GAME THAT WE CAN - WE HAVE 45
MINUTES, GIVES US ENOUGH
TIME TO HAVE AT LEAST ONE.
ALRIGHT.
WELL, I'VE GOT SOME CARDS SOMEWHERE.
UM, NO BUT I DO BELIEVE THAT
THERE'S CERTAIN GAMES THAT WHEN
THERE'S NO MONEY
THERE'S NO REASON TO PLAY.
SO I DO THINK WE SHOULD
PLAY WITH SOME MONEY.
MATCHES ARE
SOMETHING TO PLAY WITH,
I MEAN, THAT'S FINE.
THERE'S NO REASON WE
HAVE TO PLAY FOR MONEY.
FIVE DOLLARS A
TRICK THAT'S NOT BAD,
-THAT'S A VERY SMALL SUM. A
-BOX OF MATCHES IS FINE.
IF YOU DON'T WANT,
OBVIOUSLY AS HOSTESS.
WHATEVER YOU THINK, BUT UM...
JACK.
I ALWAYS BELIEVE
THAT WHEN PLAYING,
AS MY FATHER
WOULD SAY, YOU KNOW.
THERE'S NO POINT IN PLAYING A
GAME IF IT'S NOT PLAYING FOR MONEY.
[CHUCKLES] YES, YES.
FIVE OF DIAMONDS.
EIGHT TO EIGHT.
ARE YOU JOKING?
YOU CAN'T JUST FUCKING SAY
THAT ACROSS THE TABLE?
-WHY CAN'T I?
-EIGHT OF DIAMONDS.
-YES.
-WELL YOU CAN'T JUST SIT THERE.
-WHY NOT?
-WELL, YOU CAN'T -IT'S STILL FRIENDLY.
IT'S FRIENDLY,
IT'S FRIENDLY, BUT.
I DON'T BELIEVE IN PLAYING
CARDS UNLESS YOU PLAY SERIOUSLY.
I - YOU CAN'T DO THAT AGAIN.
MY FATHER SAW YOU PICKING, LIKE,
HINTING TO SOMEONE YOU'D GET A
FUCKING FIST IN THE FACE.
-NO, NO, NO, HE WOULD HAVE
-WOULDN'T HE NOT?
THAT HE WOULD. THAT HE WOULD DO. YES YES.
WELL, IT SEEMS EVERYTHING
COMES BACK TO YOUR FATHER.
YOU REMIND ME OF SOMEONE
OTHER THAN YOUR FATHER.
HOPEFULLY A FRIEND.
OR SOMEONE YOU LIKE.
-I'M NOT SURE.
-YOU'RE NOT SURE.
HMM...
BOOM.
WE'LL TAKE THAT.
OH MY GOD, NICELY PLAYED.
NICELY PLAYED.
-WAIT A MINUTE.
-AND THAT'S US.
WELL WE JUST GOT OUR SIX SO THAT
MEANS YOU CAN'T GET YOUR NINE.
AND THAT'S OUR GAME.
HAVE YOU WON?
PLAY THE ACE OF HEARTS.
HERE WE GO.
THAT'S OK AND I'LL JUST DO THAT.
AND PERFECT. THANK YOU. THANK YOU.
TAKE THAT.
TAKE IT DOWN AND WE WIN.
GOODNIGHT.
THAT'S ANOTHER ONE.
THE CARDS ARE JUST.
I KNOW.
I GET IT.
HOW MUCH DO I OWE YOU?
-I THINK, UM, I THINK, OH ACTUALLY $180.
-COME ON.
$180. HOW DID
WE GET THERE?
THIS IS WHAT WE
SHOULD PLAY WITH.
-WITH MATCHES.
-I TOLD YOU THAT.
-YES.
-WE CAN.
I'M, REALLY SORRY, I'M
NOT GONNA TAKE ANYTHING.
I THOUGHT WE WERE PLAYING IT'S JUST
A GAME. I'M GONNG GO CHECK ON LILLY.
-OK, DINNER.
-THAT'S OK. I'M GOING TO CHECK ON HER.
HOW'S IT GOING IN HERE?
-HEY!
-HI.
OH GOD.
CAN I HELP?
I'M VERY GOOD WITH MY HANDS.
AS I SAID BEFORE, PUN INTENDED.
YOU'RE FUNNY.
-WELL. -I'M HUNGRY. I MUST ADMIT.
-ME TOO.
VERY HUNGRY.
HAVE YOU TASTED THESE?
I HAVEN'T YET.
YOU HAVEN'T?
GOOD STRAWBERRY.
YEAH, THAT'S PRETTY GOOD.
IF, IF YOU'LL EXCUSE ME.
MAYBE THEY NEED SOME HELP.
OR SOMETHING LIKE THAT.
-WHAT ARE YOU GUYS DOING?
-HEY PAUL.
-HEY.
-CHOPPING THE STRAWBERRIES.
RIGHT.
SO...
THAT'S LOOKS DELICIOUS.
EVERYONE.
AH, RAISE A GLASS.
TO THE CHEF AND TO A
WONDERFUL, GRACIOUS HOSTESS.
I HAVE TO SAY TO BOTH OF YOU.
WHAT A PLEASURE
BEING IN YOUR HOME.
-THANK YOU.
-CHEERS.
-WELCOME.
-IT'S DELICIOUS, IN EVERY WAY.
THANK YOU.
THANK YOU.
THANK YOU SO MUCH
FOR YOUR HOSPITALITY.
SEE YOU IN THE MORNING.
AH, BRAD.
-GOOD TO SEE YOU.
-THANK YOU SO MUCH.
AH, LILY.
THANK YOU SO MUCH
THAT WAS WONDERFUL.
-BRAD, PLEASURE.
-ABSOLUTELY.
-GOOD NIGHT.
-GOOD NIGHT.
I DON'T AGREE WITH IT.
THAT'S ALL.
YOU UNDERSTAND?
IT'S NOT THAT I'M UPSET. I JUST DON'T
AGREE WITH WHAT YOU WERE DOING.
IT WAS QUITE FUNNY, THOUGH HUH.
IT WAS NOT FUNNY. IT
WAS, IT WAS WRONG.
-IT WASN'T WRONG.
-IT WAS KIND OF AN ASSHOLE MOVE IF YOU ASK ME.
SHE DIDN'T TAKE
LOSING WELL AT ALL.
LA IS MEANT TO BE HOT.
I BET SHE WAS GOOD LOOKING
IN HER DAY, WASN'T SHE.
THE OLD GIRL.
HER MOM, YEAH.
I'LL BET SHE WAS.
I MEAN, LILY, SHE'S...
SHE'S BEAUTIFUL, ISN'T SHE.
-YEAH SHE'S BEAUTIFUL.
-NOT THE BEST COOK IN THE WORLD.
YOU KNOW THIS WHOLE
LILY THING, YEAH.
YOU SHOULD REALLY SLOW IT DOWN.
YOU'RE COMING ON A LIT,
WELL, YOU'RE COMING
ON A LITTLE STRONG.
WHAT ARE YOU DOING?
WHO ARE YOU TEXTING?
I WASN'T TEXTING ANYONE.
I'M GOING TO GO SMOKE.
YOU WHAT?
JACK?
JACK!
THERE YOU GO, PUSSY CAT.
OH, HOW PEOPLE'VE CHANGED.
KITTY?
HIS FATHER.
OH.
HIS FATHER.
HE WENT DOWN ON HIS KNEES.
AND DECLARED HIMSELF.
WHAT WOULD YOU HAVE ME DO?
KILL MYSELF.
ON YOUR COMMAND.
I'LL DO ANYTHING YOU COMMAND.
-HEY.
-HEY.
YOU FELL ASLEEP.
I'VE BEEN WATCHING YOU ALL DAY.
YOU HAVE THIS SWEETNESS.
YOU'RE CHARMING AND
YOU'RE BEAUTIFUL.
BUT I THINK THERE MIGHT
BE A DARKER SIDE TO YOU.
AND IT COULD BE VERY
GOOD FOR MY PICTURE.
YOU ARE THE PART, BASICALLY.
YOU JUST HAVE TO
FIND YOUR DARK SIDE.
WHY DO YOU THINK
THERE'S A DARK SIDE?
WELL, I THINK, NO ONE CAN BE AS
BEAUTIFUL AND AS SWEET AND AS
INNOCENT AS YOU PLAY.
I'M NONE OF THOSE THINGS.
WE'LL SHOOT A SCREEN TEST.
DO YOU KNOW WHAT
A SCREEN TEST IS?
-YES.
-YEAH.
SO WE'LL SHOOT A SCREEN TEST.
AT THE STUDIO.
AND I CAN SHOW THEM.
ANYWAY, I, AH, I HAVE DIRECTOR'S
APPROVAL FOR THE ACTORS.
IF I DON'T GET YOU, I
WON'T DO THE PICTURE.
I CAN'T BELIEVE
YOU'RE SAYING THAT.
NO. I'M ONLY SAYING IT BECAUSE I MEAN IT.
REALLY?
YES.
SOMETIMES YOU'RE
JUST STRUCK BY SOMEONE.
SOMETIMES SOMEONE JUST COMES
RIGHT OUT AT YOU AND YOU SAY OH
WOW, THAT'S IT, THAT'S EXACTLY
WHAT I'VE BEEN LOOKING FOR.
WOW.
ARE YOU SURE?
YEAH, I'M DEFINITE.
WHAT IS THAT?
WHY DO YOU WEAR THAT?
-IT WAS MY DAD'S.
-REALLY?
YEAH.
YEAH, I GOT IT WHEN HE DIED.
AND HE GOT IT FROM HIS FATHER.
IT'S A LAPUS.
SUCH A PRETTY COLOR.
YEAH. IT'S BEAUTIFUL.
AH.
I'M SORRY, MY PHONE KEEPS
VIBRATING IN MY POCKET.
AH. IT'S PAUL.
I THINK HE'S A LITTLE JEALOUS.
I THINK HE MIGHT LIKE YOU TOO.
NO.
I THINK HE DOES.
HEY JACK.
JACK.
WHAT IS IT?
JA - OH HEY.
WHAT THE HELL ARE YOU DOING?
YOU NEED TO COME DOWN NOW.
KEEP YOUR VOICE DOWN.
YOU'RE GOING TO WAKE HER MOTHER.
LORENZO HAS CALLED ME. OK.
HE'S BEEN TRYING TO
GET A HOLD OF YOU,
BUT HE COULDN'T GET A
HOLD OF YOU SO HE CALLED ME.
-HE'S AT.
-WHY?
HE WANTS TO SEE YOU NOW.
-GET DOWN HERE.
-IT'S 11 O'CLOCK AT NIGHT.
I DON'T CARE WHAT TIME IT IS.
-WHERE IS HE?
-HE'S AT THE LUBICH. THE BAR. COME ON.
OH MY GOD. I'M SO SORRY.
HEY LILY.
WHAT'S GOING ON?
HE'S THE PRODUCER OF THE FILM.
-NOTHING. WHAT?
-IT'S OK.
ACTUALLY I CAN TALK TO HIM
ABOUT YOU TONIGHT.
OK.
WILL YOU STAY AWAKE FOR ME?
I'LL BE BACK IN TWO HOURS AT THE MOST.
-HEY JACK. COME ON.
-I'M COMING. KEEP YOUR VOICE DOWN.
WE GOTTA GET A MOVE ON.
JESUS CHRIST.
-HE'LL WAKE MY MOM.
-I'LL BE BACK.
WANNA TAKE MY CAR?
CAN I?
-I'LL BE BACK IN A COUPLE OF HOURS, OK?
-OK.
GOOD EVENING.
IT'S HUSSAR.
JACK HUSSAR.
WELCOME.
NOT A BAD NIGHT, HA BEN?
NOT BAD AT ALL.
HERE YOU GO MY FRIEND.
THAT'S FOR YOU.
DON'T SPEND IT ALL IN ONE PLACE.
THANK YOU SIR.
LOOK WHO'S HERE.
JACK HUSSAR, HOW YOU DOING KID.
IT'S GREAT TO FINALLY MEET YOU.
SAME HERE.
I KNEW YOUR FATHER.
I KNOW YOU DID.
YOU DID SOME GREAT
MOVIES TOGETHER YEAH.
NOW YOU AND I ARE GOING
TO MAKE A GREAT MOVIE.
RIGHT?
I HOPE SO.
YEAH, SURE.
WHY DON'T YOU SIT DOWN.
LET'S PLAY A
LITTLE TEXAS HOLD 'EM.
YOUR DAD LIKED THAT GAME.
YEAH, UM.
OH, I DON'T HAVE ANY CASH.
I WOULDN'T WORRY ABOUT THAT.
I'LL TAKE YOUR MARKER.
HERE YOU GO.
AND, THIS WILL MAKE IT
25 THOUSAND DOLLARS.
TWENTY FIVE THOUSAND?
IT'S NOT TOO RICH FOR
YOUR BLOOD, IS IT?
AH, NOPE. $25,000.
EXCELLENT.
BEN?
SO YOU HAVE A GOOD FLIGHT, JACK?
AH, YEAH.
IT WAS, UM, FINE FROM NEW YORK.
JACK, TELL ME.
HAVE YOU CHOSEN THE GIRL
YOU WANT FOR THE LEAD YET?
AH, NO, I, I, I,
WAS ACTUALLY GOING
TO SPEAK TO YOU
ABOUT THAT.
BECAUSE THERE'S SOMEONE THAT I LIKE.
I THINK SHE'S TERRIFIC.
I'VE BEEN FOLLOWING
THIS KID FOR A LONG TIME.
FUCKING GREAT, HUH, JACK?
YEAH, BEAUTIFUL.
BEAUTIFUL IS RIGHT.
COME HERE BABY.
KISS.
LAURA, THIS IS MY
NEW DIRECTOR JACK.
-HI LAURA, THAT WAS UNBELIEVABLE.
-THANK YOU.
SO JACK.
WANT YOU TO
UNDERSTAND SOMETHING.
NOW YOU'RE A GOOD LOOKING
KID, BUT LAURA BELONGS TO ME.
CAPISCE?
YOU CAN LOOK, BUT DON'T TOUCH.
NO, OF COURSE.
JACK, I'D LOVE TO MEET UP
AND TALK ABOUT THE ROLE.
BENNY, COME HERE FOR A SECOND.
IF YOU HAVE A SECOND.
SURE.
WHAT'S YOUR PHONE NUMBER?
IT'S, AH, 9873647527.
-CAN YOU REMEMBER THAT?
-YES.
SHIT.
HEY THERE.
THANKS FOR COMING.
IT'S NOT A GOOD
IDEA ME BEING HERE.
WHY?
DO YOU WANT A DRINK?
CAN I GET A VODKA
MARTINI PLEASE,
WITH A TWIST?
THANK YOU.
I CAN ONLY BE HERE FOR ONE DRINK.
I'M SORRY.
I HAVE TO GO HOME.
YOU CAN HAVE TWO.
IT'S EARLY STILL.
I JUST MET A GIRL LILY.
WHO I LIKE.
SHE'S A NICE GIRL.
I DON'T WANT TO KEEP
HER WAITING TOO LONG.
SHE CAN KEEP
WAITING FOR A BIT LONGER.
CHEERS.
THAT WAS ONE OF THE MOST
AMAZING DANCES I'VE EVER SEEN.
THANK YOU.
IT'S UM, A LITTLE UNCOMFORTABLE
WHENEVER HE'S THERE.
BECAUSE I'M CONSTANTLY
WATCHED, BY,
WHO I SPEAK TO,
WHAT I DO. SO.
YEAH. OF COURSE.
IT MIGHT HAVE BEEN A
LITTLE TAMED DOWN.
THIS ISN'T A GOOD IDEA.
WE'RE NOT DOING ANYTHING WRONG.
JUST BEING HERE'S
NOT A GOOD IDEA.
IF HE EVER FOUND OUT
ABOUT THIS, THIS WOULD AH...,
END VERY BADLY FOR BOTH OF US.
HE'S A VERY POWERFUL MAN.
I KNOW.
I JUST DON'T THINK WE SHOULD
ELIMINATE ANYTHING THAT COULD BE
COMPLICATED AND
COMPLICATED IN A FUN WAY.
YOU KNOW?
WHAT'S WRONG?
YEAH.
I'M NOT TOO DRUNK.
YOU'RE FINE.
DON'T BE SCARED.
I'M JUST DRIVING RIGHT NOW.
I DON'T KNOW WHY I'M DRIVING.
I'M FUCKING TOO
DRUNK FOR DRIVING.
I CAN'T FUCKING SEE ANYTHING.
HI THERE.
YOU DO REALIZE THIS IS A
PUBLIC STREET. RIGHT?
I'M SORRY.
WE WERE LOST AND WE WERE
LOOKING FOR SOME DIRECTIONS.
DO YOU HAVE A DRIVER'S LICENSE.
UM, I DON'T HAVE
MY WALLET WITH ME.
I'M FROM ENGLAND.
OK.
MA'AM.
DO YOU HAVE ANY IDENTIFICATION?
NO.
NOT ON ME.
OK, WELL WHY DON'T YOU DO ME A
FAVOR AND STEP OUT HERE FOR ME.
YOU HAVE NO WEAPONS
ON YOU, RIGHT?
NO.
TURN AROUND REAL QUICK.
ALRIGHT, STEP BACK AROUND
HERE TO THE BACK OF THE CAR.
UP ON THE SIDEWALK.
ARE THESE ALL PHOTOGRAPHERS?
I DON'T KNOW WHO THESE GUYS ARE.
OK, I NEED YOU TO
STEP OVER HERE THOUGH.
OK.
ALRIGHT, TURN
AROUND AND LOOK AT ME.
HOW MUCH HAVE YOU
HAD TO DRINK TONIGHT?
TWO DRINKS.
OK. YOU REALIZE THAT
YOU REEK OF ALCOHOL.
OK, IT'S MY PROFESSIONAL OPINION
RIGHT NOW THAT YOU'VE HAD A FEW
MORE THAN JUST TWO DRINKS.
I MIGHT HAVE HAD, AH,
MAYBE THREE OR FOUR.
OK.
WHAT I'M GOING TO DO IS
I'M GOING TO GIVE YOU SOME,
FIELD SOBRIETY TESTS RIGHT NOW.
OFFICER IS THERE ANYTHING I
CAN DO TO GET OUT OF THIS?
I'M SORRY, I'M SHOOTING
A MOVIE AT THE MOMENT
AND I'M BEING
PHOTOGRAPHED.
OK, LISTEN UP.
OK.
AT THIS POINT THERE
IS NOTHING YOU CAN DO,
OTHER THAN FOLLOW
MY INSTRUCTIONS.
ARE WE CLEAR ON THAT?
WHAT I NEED YOU TO
DO IS TURN AROUND.
TURN AROUND. PUT YOUR
HANDS BEHIND YOUR BACK.
COME ON, GIVE US
A SMILE, MAN!
COME ON JACK.
TURN AROUND!
OVER HERE!
DROP YOUR HEAD AND SIT DOWN.
DO YOU UNDERSTAND WHY
YOU'RE BEING ARRESTED?
NO, I DO NOT.
OK. YOU THINK THAT WHAT YOU
WERE DOING IN THE CAR WAS LEGAL?
WE WEREN'T DOING ANYTHING.
OK, THAT'S NOT WHAT I SAW.
WHAT DID YOU SEE?
JACK!
YA, COME IN.
COME IN.
HI.
HEY.
HEY.
I UM.
IS IT JACK?
JACK IS IN JAIL.
WHAT?
IS HE OK?
-YES, HE JUST...
-WHAT HAPPENED?
HE WAS ARRESTED
LAST NIGHT FOR A DUI,
IN YOUR CAR WITH LAURA.
WHO'S LAURA.
I DON'T KNOW, BUT
APPARENTLY SHE WAS
GOING TO BE THE
LEAD IN MY FILM.
SIT DOWN.
JACK.
JACK, WHAT, JACK IS,
IS IN, IS IN JAIL?
IT'S EVERYWHERE, LILY.
IT'S ON, THE, THE,
THE, GOSSIP SITES,
THE, THE, THE,
CELEBRITY BLOGS, IT'S EVERY...
LORENZO KNOWS.
HE'S GONE MAD AND -
YOU KNOW, HE'S ALREADY,
HE'S ALREADY SAID THAT, THAT,
JACK'S NOT GOING TO BE ON THE
FILM, HE'S FIRED AND
I DON'T KNOW WHERE
THAT PUTS ME NOW, BUT...
I'M SUCH AN IDIOT.
WHO'S LAURA?
I DON'T KNOW.
THIS IS WHAT JACK DOES.
HE MEETS A GIRL,
HE MAKES PROMISES,
AND, AND, AND, AND
HE CAN'T KEEP THEM,
AND, AND THIS IS WHAT HAPPENS.
I'M SORRY LILY.
SORRY I'M GETTING
SNOT EVERYWHERE.
IT'S OK.
I JUST, I REALLY
THOUGHT THAT HE LIKED ME.
I REALLY THOUGHT HE LIKED ME.
I'M SURE HE DID.
YOU'RE BEAUTIFUL.
-AND YOU'RE...
-NO I'M NOT.
YOU ARE, YOU'RE AMAZING.
-I'M NOT.
-YOU'RE NOT LIKE...
COME HERE.
YOU DESERVE BETTER.
OK?
THANK YOU PAUL.
TWENTY YEARS AGO WHEN
THERE WERE FEW CELL PHONES,
FEWER PERSONAL
COMPUTERS, NO EMAIL,
INTERNET OR SOCIAL NETWORKING.
NO REALITY TV STARS, NO
IPODS, NO HYBRID CARS.
WHEN A MAN COULD LIGHT UP A
CIGAR IN A RESTAURANT AFTER
DINNER, OR SMOKE A
CIGARETTE ON AN AIRPLANE.
WHEN OUR FATHERS WERE STILL
YOUNG AND PROVED IT BY NOT ONLY
THE ABSENCE OF GREY
HAIRS OR WRINKLES,
BUT BY THE FIGHTS THEY HAD
OVER THE WOMEN THEY LOVED,
JACK HUSSAR,
LEGENDARY FILM DIRECTOR,
GAMBLER, SEDUCER
ARRIVED IN LOS ANGELES
AFTER AN ABSENCE
OF SEVERAL YEARS.
EXCUSE ME, THIS MIGHT
BE AN ODD QUESTION,
AH, ARE YOU JACK HUSSAR?
YES, I AM.
I I I'M BRAD.
BRAD PERRY.
HI BRAD.
I I AM I I'M SUCH A
HUGE FAN OF YOUR FILMS.
I AM JUST, AH.
THIS IS AMAZING,
THIS IS AMAZING.
YOU'RE THE REASON I CAME TO
HOLLYWOOD T BECOME A FILMMAKER.
OH REALLY.
YEAH YEAH YEAH.
NO, I I I REMEMBER WATCHING
YOUR FILMS WHEN I WAS REALLY,
I WASN'T THAT
YOUNG, BUT, YOU KNOW.
AH, AH, LAST
WINTER, HAUNTED SPEAR.
I MEAN ALL THAT ALL THAT STUFF.
IT'S SO, SO VERY
NICE TO MEET YOU.
YOU WERE THE REASON I KIND OF
PACKED UP THE WAGON AND CAME TO
HOLLYWOOD AND
STARTED MAKING FILMS.
BUT, BUT, BUT YOU KNOW, WE
HA D A TIME WHEN WE MET BEFORE,
BRIEFLY.
OH REALLY?
WE WERE WE WERE IN CANNES AND I
WAS RUNNING DOWN THE QUORZET,
IT WAS LATE AT NIGHT,
IT WAS AFTER A PARTY.
I DIDN'T HAVE ANY
PANTS ON SO I WAS,
I WAS LIKE, AH, YOU KNOW.
IT WAS LIKE, AH, BUT BUT, AH, WE
RAN INTO EACH OTHER AND AH AH AH
I PROBABLY WASN'T
AS COHERENT BUT AH,
BUT I THINK I TOLD
YOU THE SAME THING.
NO, I DON'T RECALL THAT I DON'T.
WOW! WOW!
BUT AH, SO, SO YOU'RE HERE
MAKING YOUR AH NEXT MOVIE?
YEAH.
ARE YOU..
LIMO PICKING YOU UP OR...
I DON'T WHAT HAPPENED.
I'M WAITING FOR SOMEONE TO
PICK ME UP AND SOMEHOW
THEY DIDN'T TURN UP.
YOU NEED A RIDE?
WOULD THAT BE POSSIBLE?
OH ABSOLUTELY!
ARE YOU KIDDING ME?
OH I'D APPRECIATE THAT GREATLY.
WHAT'S YOUR NAME AGAIN?
BRAD BRAD! BRAD
BRAD PERRY.
OH, I'D REALLY
APPRECIATE THAT BRAD.
OH, IT WOULD BE
MY PLEASURE TO AH,
SERVE AT THE ALTER OF A
GENIUS LIKE JACK HUSSAR.
OH OH, YOU'RE,
YOU'RE TOO FLATTERING.
-THIS IS YOUR BAG?
-YES.
NO DON'T DON'T.
I GOT IT. I GOT IT.
I GOT IT.
THANK YOU.
NO, LET'S LET'S
AH, LET'S GET A CAB.
WELCOME TO LA.
WHERE YOU GUYS GOING?
WE'RE AH, GOING TO HOLLYWOOD.
TO THE CARGO FIRST.
CARGO.
AH RIGHT CARGO.
CARGO FIRST.
ALRIGHT, CARGO AREA.
HEADING OUT.
JACK HUSSAR SO WHAT
WAS HIS MOVIES AGAIN?
AH, LAST WINTER,
HAUNTED SPEAR.
THAT WAS, THAT WAS
A GOOD ONE.
ADVENTURE CLASSIC.
HE'S GOT A DOG.
IT'S A LARGE - YEAH.
I DON'T LOVE DOGS.
GET IN, UP!
GOOD BOY!
WHERE TO?
TAKE US TO THE
CHAMBERLAIN HOTEL PLEASE.
COME ON ORSO.
GOOD BOY.
BRAD, THANK YOU VERY MUCH.
$35.50 OH, AH,
ALRIGHT. $35.50
THERE YOU GO.
THAT'S EXACT CHANGE.
THANKS A LOT!
WELL HELLO AGAIN.
YEAH, NO I AH, YOU KNOW I FIGURE
I'LL I'LL COME IN AND AH AH,
AH MAKE SURE YOU
GET SETTLED, AH.
THANKS. ALRIGHT.
MR. HUSSAR!
AHHHH...
IT'S BEEN SUCH A LONG TIME.
DIMITRI.
HAVE YOU CHECKED IN?
YOU HAVE A
RESERVATION TONIGHT AT EIGHT.
OH NO, I DO FOR DINNER?
YES.
OH GOOD OH
GOOD. GOOD!
AH I'D LIKE A ROOM PLEASE.
YES, NAME PLEASE.
JACK HUSSAR.
MR. HOOSAR.
HUSSAR.
HUSSAR.
AH.
AH, COULD YOU, COULD YOU
HOLD ON ONE SECOND PLEASE?
SURE, SURE, YEAH.
SO GOOD TO SEE YOU.
AND THE FAMILY'S GOOD?
FAMILY'S GREAT, YES.
THANK YOU.
WE'VE SO MISSED YOU.
GOOD GOOD GOOD DIMITRI.
HAPPY TO BE BACK.
SO GOOD TO SEE YOU.
MR. HUSSAR.
YES.
WHAT A DELIGHT TO SEE YOU AGAIN.
GOOD TO SEE YOU AGAIN.
HOW CAN I HELP YOU?
I'D LIKE A ROOM PLEASE.
BEFORE WE DO THAT, THERE IS A
LITTLE MATTER OF YOUR BILL FROM
THE LAST TIME YOU
STAYED WITH US.
OH NO!
YES, YOU HAVE A $2,700
OUTSTANDING BALANCE.
OH DEAR LORD.
WHY I'M SO SORRY ABOUT THAT.
WE'D LIKE TO GET
THAT TAKEN CARE OF
BEFORE WE DO
ANYTHING ELSE, SIR.
AH, BRAD.
YOU WOULDN'T HAPPEN TO
HAVE SOME SPARE CHANGE?
YOU SURE IT'S NOT
SOME KIND OF MISTAKE?
OH, AHH...
HERE.
OK, WHY DON'T YOU GO
AHEAD AND RUN THAT.
THERE YOU GO.
I'M SO SORRY ABOUT THIS.
NO, IT'S FINE.
I THINK IT WAS THAT NIGHT WHEN
WE ORDERED ALL THAT CHAMPAGNE.
THAT WAS A GOOD NIGHT.
OH THAT WAS A BEAUTIFUL NIGHT.
THIS IS, AH...
RIGHT HERE.
YEAH.
IF YOU WOULDN'T MIND.
YEAH.
THERE WE GO!
ALRIGHT MR. HUSSAR, A ROOM?
A SUITE ACTUALLY.
YEAH.
A SUITE.
I'M SORRY SIR, IT WOULD
APPEAR THAT WE'RE ALL BOOKED UP.
WE HAVE NO SUITES AVAILABLE.
WELL I'D LIKE A ROOM PLEASE.
I UNDERSTAND THAT
SIR, BUT WE ARE FULL UP.
WE HAVE NO ROOMS.
BUT THIS IS A VERY
SPECIAL GUEST OF OURS.
YEAH.
WELL, WHAT WAS ALL THAT ABOUT?
I'M SORRY, WE NEEDED TO GET THE
OUTSTANDING BALANCE TAKEN CARE
OF FIRST, AND I WOULD LIKE
NOTHING MORE THAN TO ACCOMMODATE
YOU, BUT THERE ARE NO ROOMS OR
SUITES AVAILABLE IN THE HOTEL.
I'M SO SORRY.
WELL THAT WAS JUST A
LOAD OF NONSENSE THEN.
WHAT WAS THAT?
IT'S A WASTE OF TIME.
A WEEK? REALLY?
I'M SORRY SIR, I CAN SUGGEST A
COUPLE OF OTHER HOTELS THAT CAN
ACCOMMODATE YOU.
NO YOU CANNOT SUGGEST A
COUPLE OF OTHER HOTELS.
SIR, IT'S FULL.
LISTEN TO ME YOU
LITTLE PIPSQUEAK.
I WANNA STAY HERE.
I UNDERSTAND THAT
SIR, THERE ARE NO ROOMS.
HEY! HEY!
SECURITY! SECURITY!
I'M SO SORRY, SIR.
THAT'S ALRIGHT DIMITRI.
HEY!
STOP IT!
PLEASE, WILL YOU
PLEASE ESCORT MR. HUSSAR...
YOU WANNA FIGHT?
FIGHT LIKE A MAN.
SIR...
COME ON!
SIR, CAN YOU TAKE
IT OUTSIDE PLEASE?
COME ON!
MR. HUSSAR...
SIR.
WOAH WOAH WOAH!
SIR, DO NOT MAKE THIS DIFFICULT.
FIGHT LIKE A MAN!
GOD DAMN IT!
SIR, SIR, WE'LL
GET THIS CLEANED UP.
I'LL SEE YOU LATER.
YES, PLEASE.
DON'T WORRY ABOUT IT
DIMITRI, IT'S FINE.
OK. OK.
KNOW WHERE THERE'S A
CARD GAME IN TOWN?
YEAH.
OVER AT, AH, BAR LUBICH.
LORENZO DECONCHEE.
THAT'S THE HIGH
STAKES POKER GAME.
YEAH.
THAT'S THE ONE IF
YOU WANT TO GO TO,
LIKE HIGH STAKES...
WELL I FUCKED HIS
GIRLFRIEND IN PARIS.
HE RECUT MY MOVIE.
ASSHOLE.
WOW.
WOW!
OK.
MAYBE, MAYBE THAT ONE'S OUT.
I KNOW THIS PLACE.
HELLO?
[INTERCOM VOICE]
GOOD EVENING.
I'M HERE WITH JACK HUSSAR.
LET ME CHECK.
ORSO, NO.
ORSO, COME OUT.
ORSO!
ORSO COME HERE.
COME HERE.
SIT! HEY!
SIT ORSO.
SIT! SIT! SIT!
DOWN. DOWN. DOWN.
NOW WAIT THERE.
OK?
GOOD BOY. GOOD BOY.
YOU LEAD THE WAY BRAD.
SO, ARE YOU EXCITED?
YEAH!
OF COURSE.
I'M, AH, LOVING LA., SO IT'S...
GOOD GOOD.
GREAT.
I THINK LA'S GONNA LOVE YOU.
SOON AS THIS FILM'S RELEASED.
YEAH, I THINK SO.
I ALREADY LOVE YOU.
IT'S A GREAT ENDING.
I LOVED YOUR IDEAS.
YOUR LAST FILM
JUST KNOCKED ME OUT,
IT JUST - WELL LOOKS WHO'S HERE.
JACK HUSSAR.
HOW YOU DOING.
I'M GOOD LORENZO,
HOW ARE YOU?
I THOUGHT I GOT RID OF YOU?
WHAT ARE YOU DOING BACK?
-YOU MISS ME?
-I JUST MISS YOU.
YEAH.
WELL I DIDN'T MISS YOU JACK.
HA!
HEY, LISTEN, WHY
DON'T YOU JOIN US.
SIT DOWN.
I WON'T JOIN YOU.
I'LL JUST, AH...
SIT TO ONE SIDE AND JUST
WATCH HOW THE GAME PROGRESSES.
IF YOU DON'T MIND.
I DON'T MIND AT ALL JACK.
SUIT YOURSELF.
BUT IT'S UNLIKE YOU.
THAT'S ALRIGHT KID.
YOU STAY RIGHT THERE.
IT'S COLLIN. IT'S REALLY
NICE TO MEET YOU.
HI COLLIN.
COLLIN OLDMAN, JACK.
THIS KID IS THE NEW SPIELBERG.
WELL, YOU KNOW, I
DON'T KNOW... IS HE.
HIS MOVIES MAKE MONEY.
THEY'RE NOTHING
LIKE YOUR MOVIES.
UNLIKE YOURS.
THANK YOU.
YOURS ARE, YOURS ARE ART MOVIES.
HOW MUCH DID THAT LAST
MOVIE OF YOURS COST ME?
I DON'T KNOW, YOU RECUT
IT, YOU KNOW HOW YOU DID IT.
HOW MUCH DID THAT COST ME?
COST ME A LOT OF MONEY.
HOW MANY TIMES DID YOU RECUT IT?
I WASN'T HAPPY JACK.
GOD DAMNED TEST AUDIENCE.
DON'T GET ME WRONG. YOU HAVE
MADE SOME GOOD MOVIES.
THANK YOU.
NO ONE GOES TO SEE THEM.
BUT THEY'RE GOOD FILMS.
YOU'RE UP, BUD.
LET'S MAKE IT ANOTHER SIX.
WHAT DO YOU THINK?
15 THOUSAND.
15 COLLIN.
WHAT?
HERE WE GO.
DON'T LOOK SO WORRIED, COLLIN.
IT'S ONLY MONEY.
WHY DON'T YOU, AH,
PROTECT YOUR CARDS.
JACK. WE'RE PLAYING CARDS.
JACK.
JACK!
DO YOU HAVE A PROBLEM?
I'M SORRY, LORENZO.
DO YOU MIND IF I
JUST HAVE A WORD?
A QUICK WORD?
YES, I WOULD MIND.
WE'RE IN THE MIDDLE OF A GAME.
THIS IS EMBARRASSING.
WE'RE PLAYING CARDS COLLIN.
LORENZO, I'LL JUST BE...
DON'T YOU TOUCH
MY CARDS.
I WASN'T GONNA
TOUCH YOUR CARDS.
KID, HE'S TAKING YOU.
HE'S TAKING YOU FOR
ALL YOU'RE WORTH.
WHAT ARE YOU TALKING ABOUT?
I'VE GOT A WINNING HAND.
HE'S GOING TO CONTROL YOU,
HE'S GOING TO RECUT YOUR MOVIES.
HE'LL SUCK YOU DRY, KID.
WHAT ARE YOU TALKING ABOUT?
I KNOW, I'VE BEEN HERE.
I'VE BEEN HERE, KID.
OK. YOU KNOW WHAT, WE'RE
NOT THE SAME PERSON.
MR. HUSSAR...
I CAN'T WATCH THIS,
I CAN'T WATCH IT.
IT BREAKS MY HEART,
KID. COME ON.
LET ME JUST PLAY
THIS ONE HAND.
JUST PLAY, JUST PLAY THE HAND.
BUT DON'T GO
ALL IN, OK?
OK?
JUST PLAY THE HAND AND
GET THE FUCK OUT OF HERE.
I'LL MAKE THE
RULES YOU WANT.
OK, OK. LET ME JUST...
-ALRIGHT?
-ALRIGHT. JUST...
OK KID.
A LOT OF MONEY.
AH.
I'M BACK.
MAKE SURE HE
DIDN'T TOUCH MY CARDS.
AH.
WHO'S BET?
TO YOU.
YOUR BET.
ALL IN.
NO.
YOU'RE BREAKING MY HEART.
NO.
ALRIGHT, LET'S GO BRAD!
HEY JACK.
WHAT?
JACK!
YES.
I WANTED TO LET
YOU KNOW SOMETHING.
YOU ARE THROUGH IN THIS TOWN.
YOU WILL NEVER WORK HERE AGAIN.
YOU ARE YESTERDAY'S NEWS.
YOU ARE OLD NEWS.
YOU ARE FINISHED.
ALRIGHT. BYE GIRLS!
I DON'T BELIEVE THIS GUY.
MY PLACE IS KINDA SMALL, BUT YOU
CAN STAY AS LONG AS YOU WANT.
THERE'S PLENTY, PLENTY OF ROOM.
THERE WAS JUST KISMET
THAT BROUGHT US TOGETHER.
YOU KNOW, LIKE, AH, AH...
LIKE, FATE.
I THINK THAT,
WITH YOUR NEXT IDEA,
WITH YOUR NEXT BIG PICTURE,
WITH MY PRODUCING SKILLS...
BRAD, DO YOU HAVE HOT WATER?
OH, AH.
OF COURSE, NO.
I'M SURE THERE'S HOT WATER.
THERE'S HOT WATER?
GOOD WATER PRESSURE.
GOOD HOT WATER.
EVERYTHING.
YOU NEED, UM, UM.
I CAN GET YOU SOMETHING ELSE.
DO YOU WANT A SANDWICH, AH, AH.
SURE. SURE.
OH, OK. GREAT.
FANTASTIC.
LET ME, LET ME SEE
WHAT I CAN RUSTLE UP.
YEAH, IT, IT.
IT LOOKS LIKE THE
LUNCH MEAT'S GONE OFF.
I...
UM...
YOU KNOW, THERE
MIGHT BE SOMETHING ELSE.
YEAH, SO, YOU KNOW WHO'S GOING
TO BE AT THIS PARTY TONIGHT.
WE'RE GOING TO BE
PITCHING THIS FILM,
AND WE COULD BE LIKE
RAISING THE MONEY.
THERE'S GOING TO BE SOME
EXCELLENT PEOPLE THERE.
I MEAN, RICH
MILLER'S GONNA BE THERE.
HE'S ONE OF THOSE
GUYS THAT IT'S LIKE...
HE'S A KIND OF A...
AAGH! THESE ARE STALE.
I, I, I'M SORRY.
I'VE BEEN AWAY.
OH GOD.
I JUST, UM, I HAVEN'T
HAD A CHANCE TO REALLY,
I WAS GONE FOR A WEEK.
I'LL GET YOU ANOTHER SCOTCH.
THANK YOU.
THAT, THAT, THAT I CAN DO.
RICH, RICH
MILLER'S GONNA BE THERE.
ALSO, TED, TED FABERGASTY.
IS, IS THAT THE WAY YOU PRONOUCE
HIS NAME? FA-BER-GAS-TY?
HE'S HE'S ONE OF THOSE
PRODUCERS HE'S LIKE A TIMELESS GUY.
HE OWES ME A FAVOR.
I DID I DID THE
BEST THING FOR HIM.
HE, AH, HAD A CAST MEMBER.
LIKE, I THINK HE WAS IN REHAB
AT THE LAST SECOND OR SOMETHING
LIKE THAT.
I, I CAME THROUGH FOR HIM.
I CAME THROUGH FOR HIM.
AND IF THERE'S ONE THING YOU CAN
DEPEND ON ME IS TO WORK MAGIC.
I WORKED MAGIC AT
THE LAST SECOND.
THAT'S, THAT'S ONE THING
THAT, ONE OF THE THINGS
I'M SPECTACULAR AT.
[TAXI] HEY!
OH. SORRY.
[TAXI] $10.50.
-SORRY.
HERE IT IS, KEEP IT. THANKS.
THOSE GUYS ALWAYS HAVE MONEY.
THEY ALWAYS GOT MONEY.
I GOT A GOOD FEELING ABOUT THIS.
THIS IS GOING TO
BE, LIKE A DEAL,
I'M GOING TO
CLOSE A DEAL TONIGHT.
TONIGHT!
TONIGHT!
WELL, THAT'S OUR DEADLINE.
BRADLEY.
WHAT'S THAT?
THAT IS OUR DEADLINE.
YEAH.
WELL, WE'RE GONNA MAKE IT.
WE'RE GONNA MAKE IT.
WHO'S THAT?
JACK HUSSAR.
HI! WHAT A LOVELY SURPRISE.
WHEN DID YOU GET INTO TOWN.
HELLO.
OH, I JUST GOT
INTO TOWN YESTERDAY.
GOOD TO SEE YOU LOUANN.
WELCOME. VERY
GOOD TO SEE YOU.
GOOD TO SEE YOU.
A LOT OF PEOPLE HERE WILL
BE EITHER SURPRISED
OR HORRIFIED.
THIS IS EVA.
HELLO EVA.
WHO'S ONE OF OUR NEW STARS.
-GOOD TO MEET YOU.
-GOOD TO MEET YOU.
ARE YOU, ARE YOU
DOING ANOTHER PICTURE?
AH, YES, I'M GOING TO
GET FINANCING FOR IT.
AH. WELL DARLING...
MAYBE YOU CAN HELP.
LET'S INTRODUCE YOU
TO OUR NEW FINANCIER.
WHAT'S GOING ON HERE?
THIS IS PETER HOFFMAN.
FROM SEVERANCE.
OH, HELLO.
-GOOD TO SEE YOU.
-GOOD TO SEE YOU.
HI!
NICE TO MEET YOU.
BRAD PERRY. I'M PRODUCING,
AH, JACK'S NEXT PICTURE.
WHERE ARE YOU SHOOTING?
AFRICA.
AFRICA?
YEAH.
THERE'S NO TAX
CREDITS IN AFRICA.
OH.
AFRICA'S A BIG PLACE, TOO.
WHERE IN AFRICA?
WELL.
WE'RE TALKING ABOUT
THE BELGIAN CONGO.
IT'S A VERY DANGEROUS PLACE.
OH.
DO YOU HAVE
THINGS, LIKE INSURANCE?
OH, OF COURSE
WE'LL HAVE INSURANCE,
I MEAN, I THOUGHT IT WAS...
CONSIDER THIS AS THE NEXT, HUGE,
PINNACLE JACK HUSSAR PICTURE.
IT SOUNDS LIKE A
REALLY HARD SELL.
THAT'S WHAT YOU'RE TELLING ME, HUH?
-YEAH EXACTLY.
THAT'S RIGHT?
IT'S DIFFICULT TO
SELL, I MEAN, WE WE,
REALLY NEED TO,
AH, WE SHOULD TALK!
WE SHOULD HAVE A MEETING.
WE SHOULD, AH, SURE.
CALL.
ABSOLUTELY. I WILL
DEFINITELY GIVE YOU A CALL.
I'LL DEFINITELY GIVE YOU A CALL.
ALRIGHT, GOOD.
JACK OLD BOY, HOW
THE HELL ARE YOU?
I'M GOOD MAX, HOW ARE YOU?
WELL, YOU'RE A
SIGHT FOR SORE EYES.
JESUS.
WE'RE THE REAL MEN IN THIS TOWN.
OH, I KNOW IT.
-WHERE YOU BEEN HIDING?
-AFRICA.
WHAT ARE YOU DOING THERE?
HUNTING, HUNTING.
YEAH.
HUNTING, HUNTING NO LESS.
HUNTING WHAT?
WELL, I BEEN MAKING A MOVIE.
WELL, THAT'S FANTASTIC.
UM.
WHY AREN'T I IN IT?
WELL, I RAN OUT OF FINANCING.
WHAT DO YOU NEED?
WHAT DO YOU NEED?
I'D LOVE TO DO YOUR MOVIE!
OF COURSE I'LL DO YOUR MOVIE.
NO.
NOT YOU.
NOT FOR YOU TO DO.
NO I JUST.
OH WELL, THANK YOU.
THANK YOU.
JACK, DO YOU KNOW EVA?
EVA, JACK.
JACK.
HELLO?
I'M STANDING RIGHT HERE.
JACK'S DOING MY NEXT
FILM. AREN'T YA.
LISTEN, CALL ME.
SERIOUSLY.
CAUSE I MISS YOU.
I NEED YOU.
I WANT YA.
THANK YOU OLD BOY.
JACK. JACK. JACK.
YES?
-HOW ARE YOU MAN?
-I'M GOOD THANK YOU.
-GOOD, GOOD TO SEE YOU.
-GOOD TO SEE YOU.
JACK!
CAN I TALK...
YOU KNOW WHAT JACK?
YOU KNOW WHAT?
WE'VE ALWAYS BEEN A HUGE FAN
OF YOURS AND WE WANT YOU BACK.
WE REALLY REALLY WANT.
YOU WANT ANY ACTOR, I WILL
GET THE SCRIPT TO THEM
IN TWO SECONDS.
WE'D LOVE TO GET YOU BACK.
WE REALLY WANT YOU BACK, JACK.
I, UM, I WANT TO
INVEST IN YOUR FILM.
OH, I'M HAPPY TO HEAR THAT.
OH WELL THAT'S GOOD!
...HOW MUCH HE LOVES YOUR FILMS.
HE'S SEEN EVERYTHING.
I HAVE A REALLY
GREAT IDEA IT'S GATSBY.
[INDECIPHERABLE]
AMAZING, MOVIE EVER.
OH, REALLY! HE'S ALMOST
YOUR BIGGEST FAN.
EXCEPT FOR ME.
PUT MONEY IN IT!
OPENING NIGHT AT SUNDANCE.
OPENING NIGHT AT SUNDANCE.
NEXT YEAR.
-ALRIGHT. NEXT YEAR.
...I'M CALLING
GILMORE ABOUT THE,
AH, FINANCING.
-HI!
-HI.
-I'M MARY JANE.
-GOOD TO MEET YOU.
YEAH!
...WELL THERE'S SOMETHING
WE GOT TO FIGURE OUT FIRST.
DO YOU DANCE?
NEVER.
TANGO?
THAT'S YOUR SISTER?
THAT'S MY SISTER.
CHEERS.
I'M READY TO GO HOME.
-WOULD YOU LIKE A...
-LET'S GO HOME.
WOULD YOU LIKE A DRINK?
I THINK I'M GONNA HAVE A DRINK.
EXCUSE ME.
YOU'VE HAD TOO MUCH TO
DRINK, LET'S GO HOME.
PLEASE LET'S NOT DO THIS.
OK? WE'RE GOING HOME.
THERE WAS A DEAL ABOUT
POSSESSIVENESS AND YOU'RE OVER
STEPPING THAT MARK.
PLEASE LEAVE.
BRAD?
LISTEN.
DO WHAT YOU NEED TO DO, I'M GOING HOME.
I JUST NEED TO TALK TO BRAD.
DO WHAT YOU WANNA
DO, I'M GOING HOME.
I'LL DO WHATEVER I,
THANK YOU SO MUCH,
-LIKE I NEED YOUR PERMISSION.
-YEAH.
BRAD, CAN I TALK TO
YOU FOR A MINUTE PLEASE?
YEAH. WHAT?
JESUS.
WHAT JUST HAPPENED?
NOTHING.
IT'S HOWARD BEING POSSESSIVE.
HE UNDERSTANDS ABSOLUTELY THE
SCORE AND HE'S FREAKING OUT.
I NEEDED YOUR HELP
BECAUSE EVERYBODY WAS LOOKING.
NO, THAT'S OK.
WHO IS HE?
YOU MEAN, JACK?
HE'S JACK HUSSAR.
YOU DON'T KNOW JACK HUSSAR?
NO.
I KNOW JACK HUSSAR.
WELL, HE'S HE'S HE'S
A GENIUS FILMMAKER.
THERE'S EVEN MORE
TO IT THAN THAT.
I MEAN.
WE'LL BE OUT IN A MINUTE.
OH, I SEE, I SEE,
SOMETHING'S GOING ON HERE.
YEAH.
BRAD, WHY DON'T YOU...
I'M GOING TO
PRODUCE HIS NEXT MOVIE.
THE AFRICA PICTURE?
I'M PRODUCING IT!
AGH, BRAD!
NO, NO, NO!
NO, NO, NO, NO!
COME ON!
OF ALL THE PEOPLE
TO PROMISE THAT TO.
IT'S NOT, IT'S NOT A PROMISE.
JACK HUSSAR?
WE'RE JUST IN
BUSINESS RIGHT NOW.
YOU THINK THAT...
YOU'RE NOT IN BUSINESS!
WITH WHAT FUNDING?
HOW COULD YOU POSSIBLY...
LOOK, HERE'S THE THING.
HE'S RIGHT NOW, JUST A
LITTLE BIT CASH POOR.
AND SO, I'VE BEEN DOLING OUT...
HE'S CASH POOR?
YEAH, WELL HE'S BEEN...
WHAT ABOUT YOU?
WELL I'VE BEEN GIVING WHAT
LITTLE MONEY I CAN BECAUSE I
BELIEVE IN HIS
PROJECT, I BELIEVE IN ME,
I BELIEVE IN JACK, I BELIEVE IN
ALL OF US THAT WE'RE GOING TO
MAKE SOMETHING FANTASTIC.
THIS IS GOING TO BE IT.
THIS IS LIKE THE OPPORTUNITY
THAT I'VE BEEN WAITING FOR.
ANYWAY.
HE'S UTTERLY CHARMING AND DEVINE
AND NOW I HAVE THE SMALL PROBLEM
OF HOWARD, WHICH I
MIGHT NEED YOU TO NEGOTIATE.
BUT CAN WE DO THIS TOGETHER?
IT'LL BE A PROJECT TOGETHER.
THIS IS MY COMEBACK THING.
THIS IS MY OPPORTUNITY.
TO DO WHAT?
DO WHAT TOGETHER?
IF YOU CAN FUND THIS MOVIE.
HELP ME OUT, HELP JACK.
AH HA.
SO YOU CAN BE IN
BUSINESS WITH US.
THIS AH ISN'T GOING TO
BE LIKE THE OTHER ONES.
IT'S NOT, I SWEAR.
IT'S NOT GOING TO BE
LIKE THE OTHER ONES.
IT'S GOING TO BE DIFFERENT.
DO ME A FAVOUR
AND TALK TO HOWARD.
WHILE I GO AND TALK TO JACK.
ALRIGHT?
ALRIGHT.
DEE DEE.
DEE DEE.
I LOVE YOU.
OOPS.
DEAL WITH HOWARD.
THANK YOU VERY MUCH.
YOU'RE A [INDECIPHERABLE]
YOU'RE A WILD DESERT FLOWER.
I'M DIANA.
DIANA, MY NAME IS JACK.
I HEARD.
BRAD IS MY BROTHER.
AND HE SAID HE WAS
PRODUCING YOUR FILM.
AND I WANTED TO LET YOU
KNOW, BETWEEN YOU AND I,
THAT HE HAS NO
MEANS OF DOING THAT.
AND BEING A FAN OF YOUR WORK.
BUT, MORE IMPORTANTLY I
WOULD LIKE TO OFFER TO HELP.
YOU KNOW, UM, WHEN A
MAN INSULTS ANOTHER MAN,
USUALLY THEY FIGHT.
I DIDN'T MEAN TO INSULT YOU.
I'M SORRY.
WHAT HAPPENS WHEN A
WOMAN INSULTS A MAN.
THEY KISS.
IN PUBLIC.
MAY I KISS YOUR HAND?
NOT HERE.
WHERE?
WHEN?
YOU'LL HAVE TO FIND A WAY.
YOU HAVING FUN JACK?
-YEAH, I'M HAVING FUN.
-THANK YOU.
-YEAH?
-YEAH.
YOU KNOW YOU'RE OLD ENOUGH
TO BE HER FUCKING FATHER,
YEAH? YOU KNOW THAT.
SHE CAME WITH ME.
I DON'T KNOW WHERE SHE'S
BEEN FOR THE LAST HALF AN HOUR.
SHE'S BEEN HANGING WITH YOU?
SO WHAT DO YOU WANT TO DO?
SO WHAT DO YOU ..
WHAT DO I WANT TO DO?
YEAH, WHAT DO YOU
WANT TO DO ABOUT IT?
SHE'S WITH ME, JACK.
WANNA FIGHT ABOUT IT?
LET'S FIGHT.
-OH REALLY.
-YEAH.
-REALLY.
-YEAH.
YOU WANT TO GO OLD
SCHOOL ON ME, JACK?
SURE.
LET'S FIGHT.
I'LL FUCKING FIGHT YOU.
I DON'T GIVE A FUCK.
I SWEAR TO GOD I
DON'T GIVE A FUCK.
FUCK YOU JACK!
PANSY!
HE WANTS TO
FIGHT, LET HIM FIGHT.
LET GO OF ME!
IT'S OK.
DON'T HURT THAT BOY.
DON'T HURT THAT BOY, COME ON.
AND IF YOU'RE
GOING TO FIGHT HIM,
GIVE HIM A PROPER HIT.
WHAT IS THIS MESS?
-OH GO FUCK IT -
-WHERE IS SHE JACK?
HUH?
WHERE IS SHE, NAKED
BY THE FUCKING POOL?
-HUH?
-IS SHE?
-IT'S OK, IT'S OK!
-WANNA FIGHT? WE CAN FIGHT!
WHY ARE YOU ACTING LIKE SUCH A JEALOUS FUCKING
BOYFRIEND. YOU'RE NOT EVEN MY BOYFRIEND.
-WHERE THE FUCK HAVE YOU BEEN?
-YOU'RE EMBARRASSING ME.
-I'M LEAVING.
-AH, YOU'RE EMBARRASSING ME. HELLO HELLO.
NICE JACK.
THANKS A LOT.
DON'T GO IN THERE.
THANK YOU MAXY.
SEE YOU IN 10 YEARS.
JACK.
-BYE LOUANNE.
-YOU HAVEN'T CHANGED DARLING. TAKE CARE OF YOURSELF.
-JACK!
-WHAT?
WHERE YOU GOING?
NO NO NO NO DON'T GO DON'T GO DON'T GO.
I'VE GOT TO GO NOW.
NO NO! WE'RE RED HOT! I GOTTA GO NOW.
WE CAN'T LEAVE NOW.
WAIT WAIT WAIT WAIT.
THERE'S AN AFTER PARTY.
THERE'S GOING TO BE MORE PEOPLE THERE,
MORE AGENTS, MORE PEOPLE I KNOW.
WE'RE ON FIRE RIGHT NOW.
WE CAN CLOSE THIS.
HERE, GO TO THIS ADDRESS.
-OK. THANK YOU.
-YES.
-BE THERE LATER.
-BYE BRADLEY.
BE THERE!
[SPEAKS SPANISH].
YOU WANT TO GET
IN THE LADY'S CAR?
SI.
OK.
THAT'S OK?
THANK YOU.
SHHHH...
MY DAUGHTER'S SLEEPING.
OH.
YOU HAVE CHILDREN.
ONE.
ONE GIRL.
LILY.
HUSBAND?
DO YOU HAVE A HUSBAND?
HE DIED.
OH.
LET'S NOT TALK ABOUT THAT.
I WILL DO ANYTHING FOR YOU.
I WILL WALK THROUGH FIRE.
I WOULD KILL MYSELF.
ON COMMAND.
OUTPOST?
IT'S A GOD DAMN MAZE.
WHOOPS.
COP.
OH GOD.
HEY, HOW'S IT GOING TONIGHT?
HI, GOOD EVENING SIR.
YOU KNOW YOU
ROLLED THAT STOP SIGN?
YES I DID.
I'M JUST I'M, STILL, LOST.
I JUST DON'T KNOW WHERE, THESE
HILLS ARE JUST SO CONFUSING.
IF YOU COULD HELP ME,
I'D BE REALLY GRATEFUL.
THIS IS THE ADDRESS.
IT'S SOUTH
BEVERLY, SOUTH BEVERLY,
AVENUE?
I JUST KEEP GETTING
STUCK ON THESE HILLS,
I JUST KEEP GOING AROUND
AND AROUND IN CIRCLES.
MMHM.
AH, THIS A FRIEND'S HOUSE, OR...
YEAH.
BEEN DRINKING TONIGHT?
AH NO JUST A DRINK OR TWO.
HOW LONG AGO?
TWO HOURS AGO.
-SURE?
-YEAH.
-POSITIVE?
-YEAH, NO I'M OK TO DRIVE.
STRIKE NUMBER TWO.
GOT YOU'RE LICENSE WITH YOU?
LOOK I DON'T.
I JUST ARRIVED FROM AFRICA.
STRIKE NUMBER THREE.
UM, I'M SORRY.
WHAT'S YOUR NAME.
JACK HUSSAR.
THE MOVIE DIRECTOR?
YES, YES.
REALLY?
THAT'S RIGHT.
MYSTIC SPHERE.
YES.
-YOU KNOW IT?
-I LIKE THAT FILM.
-OH, THANK YOU! GOOD TO MEET YOU.
GOOD TO MEET YOU.
I'M SORRY ABOUT THIS.
I JUST, I JUST, CAN'T
SEEM TO FIND MY WAY AROUND.
YOU'VE KIND OF PUT
ME IN A PICKLE HERE.
ALRIGHT.
YOU'RE NOT GOING TO HIT
ANYTHING OR HIT ANYBODY?
NO.
I ASSURE YOU I WON'T.
BEVERLY AVENUE IS THREE BLOCKS UP. YEAH?
-MAKE A LEFT.
-OH GREAT.
-ALRIGHT?
-OH THANK YOU.
GO RIGHT THERE.
DON'T MAKE ANY STOPS.
STAY THERE.
NICE FUCKING FERRARI.
-JACK!
-HI!
-HOW ARE YOU?
-I'M GOOD. GREAT TO SEE YOU!
-LOOK AT YOU!
-LOOK AT YOU!
THANK YOU!
FANTASTIC, ALL SHIMMERY. BEAUTIFUL! WOW!
THANK YOU!
VERY GOOD TO SEE YOU.
-BYE DARLING.
-BYE SWEETIE.
THAT'S WHAT I WAS GONNA SAY.
I WAS GONNA SAY I THINK,
BECAUSE I THOUGHT NO NO NO.
THIS IS, LIKE, HOLLYWOOD.
THIS IS LIKE, THIS IS
LIKE A FACE FROM THE 20S,
LIKE A CLASSIC, A
CLASSIC BEAUTY,
A CLASSIC ACTRESS.
LIKE, LIKE A 20S MOVIE STAR.
IT'S NOT JUST THE OUTFIT, I
MEAN IT'S LIKE YOUR FACE,
YOUR BONE STRUCTURE.
EVERYTHING ABOUT IT.
YOU JUST HAVE THIS
LIKE CLASSIC BEAUTY.
YOU'RE JUST A FLATTERER.
MAYBE.
I'M PRODUCING JACK
HUSSAR'S NEXT MOVIE.
NO WAY.
PRODUCING HIS NEW ONE.
AND THIS IS, THIS IS
GONNA BE THE PINNACLE.
THIS WILL BE REMEMBERED AS
THE PINNACLE OF HIS WORK.
IT'S LIKE THE GENIUS.
HE'S GOING TO SUPERNOVA.
SO LET'S, I MEAN, LET'S
DOING SOMETHING ABOUT THIS.
I MEAN, I'VE DONE, YOU KNOW, A
COUPLE COMMERCIALS AND AUDITIONS
HERE AND THERE.
THIS LOOKS LIKE A WASTE OF TIME.
OH WELL.
I THINK THAT WHAT
THESE PEOPLE DO,
I MEAN, LOOK, LOOK, LOOK.
YOU SEE, SOME PEOPLE SAY THE
EYES ARE THE WINDOW TO THE SOUL,
BUT I THINK IT'S THE HANDS.
AND YOU SEE ALL THE FACT THAT
THERE'S ALL THE LITTLE LINES...
SEE YOU BRAD.
JACK!
JACK!
HOW'S IT GOING BUDDY?
WE ALMOST GAVE UP ON YOU.
WHAT?
WHY THE FUCK ARE YOU TELLING
PEOPLE YOU'RE LENDING ME MONEY.
COME ON.
COME ON.
WHAT THE FUCK.
WHAT THE FUCK ARE YOU THINKING?
YOU SHOULD BE RAISING MONEY.
YOU SHOULD BE GETTING INVESTORS.
NOT TELLING PEOPLE
YOU'RE LENDING ME
YOUR OWN FUCKING MONEY.
WELL WE'RE PARTNERS NOW.
WHAT KIND OF A
FUCKING ASSHOLE ARE YOU?
ALRIGHT I'LL, I'LL FIX IT.
BULLSHIT.
I'LL FIX IT.
JACK? I'M ERIK BUMBLE.
YOU'RE WHAT?
ERIK BUMBLE.
BUMBLE?
-YEAH, ERIK BUMBLE.
-ERIK, ERIK BUMBLE.
YEAH.
FRENCH.
-YOU'RE FRENCH? -YEAH.
-REALLY?
I HEARD FROM BRAD.
-OH, SORRY!
-THAT'S OK.
THIS IS MY LOVE.
I'M ANGEL.
THIS IS ANGEL.
ANGEL'S A FAN.
I'M A HUGE FAN OF YOUR WORK. I REALLY AM.
EVERYTHING.
THE SEDITION FILM, EVERYTHING, I LOVED IT.
I THOUGHT IT WAS GENIUS.
TELL HIM. TELL HIM. WHAT
ABOUT THE LITTLE GIRL.
THAT LITTLE GIRL GETS
RAPED IN THE BACK OF THE CAR.
-THAT'S A FANTASTIC ONE!
-YOU LIKE THAT?
-YEAH!
-YEAH?
-I LOVE IT WHEN, YOU KNOW...
-YOU LIKE THAT?
-JACK! -HONEY!
-YEAH.
TELL ME WHY YOU LIKE IT. TELL ME
WHY YOU LIKE IT. TELL ME WHY YOU LIKE IT.
I MEAN, COME ON.
YOU!
YOU ARE THE MAN!
YEAH. I GOT THE MONEY
FOR YOUR PICTURE.
YOU SAY A NUMBER, MAN.
I GET IT FOR YOU.
AND I'M TALKING ABOUT TO
DO WHAT EVER YOU WANT.
THE ONLY THING YOU GOT TO
DO FOR ME IS PUT THIS...
-IN YOUR MOVIE.
-OH HONEY.
-THAT'S ALL I GOTTA DO?
-THAT'S ALL YOU GOTTA DO.
IS CAST HER IN MY MOVIE?
CAST HER IN YOUR MOVIE.
JACK, SHE'S A GREAT ACTRESS.
IS SHE NOW.
SHE'S A FANTASTIC ACTRESS.
LOOK, I'M HAPPY TO
CAST HER IN MY MOVIE.
-GOOD. -SHE'S BEAUTIFUL.
-GOOD.
BUT IF I HAVE TO.
IF I HAVE TO CAST HER IN MY MOVIE,
IT'S A DEAL
BREAKER. FORGET IT.
NO NO! WAIT WAIT WAIT! JACK JACK JACK!
WAIT A MINUTE.
WAIT A MINUTE.
I KNOW ABOUT YOUR ACTIVITIES.
I KNOW YOUR WHIMS AND
I KNOW ALL OF THIS.
BUT!
YOU NEED I NEED TO
MAKE YOU MOVIES.
I CAN GET YOU THE MONEY!
[SINGING IN FOREIGN LANGUAGE]
WHERE HAVE YOU BEEN JACK?
AFRICA.
THAT'S FOR LEAVING
ME AT THE TRAIN STATION.
WE WERE GOING TO RUN
AWAY AND JOIN THE CIRCUS.
WE CAN DO THAT NOW.
-JACK!
-HEY JACK!
...THE DOUGH, BRAD.
JACK, IT WAS A $20 CIGAR!
I'M SO...
I'M SORRY BOBO.
IS HE ALRIGHT?
I DON'T KNOW.
LET'S JUST GO, LET'S JUST GO.
YEAH.
OH, YOU'VE GOT DIANA'S CAR.
ARE YOU, ARE YOU
SURE YOU SHOULD DRIVE?
OFF WE GO!
HELLO HOLLYWOOD!
AFRICA!
-YEAH!
-LET'S GO RIGHT NOW!
LIONS, TIGERS, BEARS OH MY!
I WANT TO FLY JACK!
FOUR, THREE, TWO, ONE.
-YOU LOST HER! -OH SHIT.
-ARE YOU ALRIGHT?
-LUCKY CARDS BRAD!
-NO! WAIT!
JACK!
STOP!
DAMN YOU, JACK!
DAMN YOU!
GOOD EVENING.
IT'S JACK HUSSAR!
THE GAME IS OVER.
NO, THE GAME ISN'T OVER.
LET ME IN. IT'S JACK HUSSAR.
COME ON.
-HEY KID.
-WHAT?
-COME.
-JESUS.
WHAT DO YOU WANT?
HE CLEANED YOU OUT, RIGHT?
YEAH, HE GOT EVERYTHING.
WHAT'S IT TO YOU?
AND NOW HE RECUT YOUR MOVIE.
I HAVEN'T GOT A MOVIE.
I'M BANNED FROM THE LOT.
IT'S OVER, OKAY?
KID. STOP BEING A GIRL.
-WHAT?
-STOP BEING A GIRL.
WE'VE ALL BEEN THERE.
FUCK IT.
I'LL GET YOUR PICTURE BACK, KID.
-HOW?
-WAIT HERE.
WHAT ARE YOU DOING HERE, JACK?
LET'S PLAY A HAND.
NOT NOW JACK.
I'M TIRED.
I GOT A BIG DAY TOMORROW.
YEAH.
YOU HAVE NOTHING I WANT, JACK.
YOU'RE SMALL POTATOES.
YOU'LL FINANCE MY MOVIE.
YOU DIRECT IT THE
WAY I WANT YOU TO.
FRANK!
FRANK!
I NEED YOU TO DEAL A
HAND OF TEXAS HOLDUM.
STOP.
I GET TO CUT THE
MOVIE THE WAY I WANT TO.
MY CUT, MY BUDGET.
AND GIVE THE KID HIS MONEY BACK.
I OWN THE KID.
WHATCHA GOT LOENZO?
FLUSH.
TWO JACKS.
FULL HOUSE.
YOU FUCKING SNAKE.
THIS IS NOT OVER, JACK!
I'LL SEE YOU NEXT
TIME LORENZO!
KID, I GOT YOUR PICTURE BACK.
WHAT?
THANK YOU!
NO, I'M TELLING YOU,
WHEN WE GET TO AFRICA...
I THINK I PROBABLY
HAVE TO GET SHOTS.
I DON'T KNOW IF I DO..
DO YOU GET SHOTS THERE OR DO
YOU GET THEM BEFORE YOU LEAVE?
WHAT I, WHAT I
THINK WE'LL DO, IS,
WE'LL GET THE STORY GOING FIRST.
SO, YOU'LL TELL ME
MORE ABOUT THE STORY,
THEN WE CAN COME
UP WITH A SCHEDULE.
WE CAN DO SOME OF THE CASTING
JUST THINK OF THIS MAX FARADAY
AS THE STAR OF YOUR NEXT
PICTURE THAT WOULD WORK.
I SAW HOW FRIENDLY
YOU WERE WITH HIM.
WITH US TOGETHER,
WITH THIS KIND OF LUCK,
I MEAN, WE CAN DO ANYTHING.
THIS IS THE MOMENT I
WAS MEANT TO HAVE.
MEETING JACK HUSSAR.
UH, OH OH OH.
OH MY GOD.
OH NO!
OH NO!
ORSO OLD BOY! WHAT
HAVE YOU DONE ORSO?
I'M JUST GONNA, I'M JUST
GOING TO LET IT ALL GO.
I'M JUST GONNA LET IT ALL GO.
LET'S GO.
I'LL BE OUT IN A SECOND, I'M JUST
GOING TO THROW A FEW THINGS IN A BAG.
BRAD.
YEAH, I'M HURRYING.
COME HERE.
YEAH.
WHAT IS IT?
GOOD BYE BRAD.
NO, NO, NO, NO. NO, NO, NO.
COME ON, COME ON. YOU'RE STAYING HERE.
YOU'RE STAYING HERE, BRAD.
NO, NO, NO. I CAN'T STAY HERE.
NO. NO. JACK. DON'T LEAVE.
YOU CAN'T, YOU CAN'T DO THIS.
THIS IS MY CHANCE.
THIS IS, I'M YOUR GUY!
I TOLD YOU, I'M GOING TO DO EVERYTHING!
I'M GOING TO DO EVERYTHING!
I'M GOING TO MAKE
EVERYTHING BETTER!
BRAD, PULL YOURSELF TOGETHER.
YOU'RE NOT COMING. I GOTTA COME.
JACK, DON'T GO.
LOOK AT THIS.
YOU'RE JUST LEAVING ME
HERE WITH THIS PILE OF SHIT!
I HAVE TO GO, THIS IS OUR MOVIE!
PULL YOURSELF TOGETHER, BRAD.
NO, JACK!
JACK, I'LL WORK FOR FREE.
JACK COME BACK!
THANK YOU FOR EVERYTHING, BRAD.
THIS IS OUR MOVIE.
ONE MORE STOP, ORSO.
THANK YOU.
JACK HUSSAR, WITH
NO FURTHER DELAY,
WITHOUT A THOUGHT
FOR LORENZO, FOR BRAD,
FOR DIANA, BUT ONLY FOR WHAT
WAS IN STORE FOR HIM IN AFRICA,
LEFT HOLLYWOOD FOREVER.
MANY YEARS HAD PASSED.
MUCH WATER HAD
FLOWED UNDER THE BRIDGE.
MANY HAD DIED.
MANY HAD BEEN BORN.
MANY HAD GROWN UP OR BECOME OLD.
EVEN MORE IDEAS THAN PEOPLE
HAD BEEN BORN AND HAD DIED.
JACK HUSSAR
HAD DIED LONG AGO.
DIANA WAS NOW SO FAR FROM YOUNG,
THAT SHE NO LONGER LOOKED UPON
HERSELF AS SUCH.
LIVING WITH DIANA
WHERE HER DAUGHTER LILY,
AND HER BROTHER BRAD, WHO HAVING
LOST ANY MONEY HE EVER MADE ON
MOVIES, FOUND REFUGE IN
HIS OLD AGE AT DIANA'S.
NOW WHY IS IT THAT
NOWADAYS VIDEO GAMES
ARE CONSIDERED
ENTERTAINMENT?
IT'S, IT'S A GAME.
IT'S NOT ENTERTAINMENT.
AND JUST BECAUSE YOU WATCH IT
DOESN'T MEAN IT'S SOMETHING THAT
FALLS INTO THE CATEGORY OF
ENTERTAINMENT JUST BECAUSE IT'S
SOMETHING YOU WATCH.
IF YOU WATCH IT AND IT'S
ENTERTAINING THEN IT'S
ENTERTAINMENT.
FRUIT.
WHAT'S, OH, OH, OH,
THANK YOU SO MUCH.
AND NOTE.
THAT FOR EGGS.
NOW WHAT IF I TREAT THIS
KIND OF LIKE A DESSERT?
-AND I HAVE A BAGEL FIRST.
-VERY NAUGHTY.
WHY DID YOU SHOW ME THAT PHOTO?
DOES IT REMIND YOU OF ANYONE?
AH, NOPE.
NOPE.
JACK HUSSAR'S SON.
JACK JR.
WOW, YOU'RE KIDDING.
DOES HE LOOK LIKE HIS DAD?
WELL, MAYBE A LITTLE.
HE'S CUTE.
HE IS A CHIP OFF THE OLD BLOCK.
I WONDER.
GOD.
WHAT, TELL ME ABOUT HIS DAD.
WELL, HE WAS.
HE WAS UM...
HE WAS A MAN.
HE WAS THE LAST OF THE OLD BREED,
THAT'S WHAT HE WAS. CAN I TASTE IT?
HE WAS ONE OF A KIND.
LAST OF, LIKE THE OLD
HOLLYWOOD DIRECTORS.
HE WAS WHAT?
HE WAS ONE OF A KIND.
HE WAS CLASS.
HE WAS THE ARTISANSHIP THAT'S
MISSING FROM THE BUSINESS TODAY.
I'D LOVE TO MEET HIM.
-WHO JACK?
-MMMMM.
-JACK JR.?
-JACK JR. WOULDN'T IT BE FUN?
I DON'T KNOW HIM.
WELL, WHO SENT YOU THE PICTURE?
ANNE.
SHE MET HIM IN NEW YORK.
-OH. ANNE.
-I'VE NEVER MET HIM.
WELL GET ANNE TO BRING HIM OVER.
WHY DID SHE SEND, I MEAN,
IS HE, HE'S COMING HERE?
HE'S COMING TO LOS
ANGELES TO DIRECT A FILM.
IT'S HIS FIRST FILM.
HE'S DIRECTING.
THEN HE MUST HAVE SOME
OF HIS DAD'S TALENT. HE MUST.
MOM, I DON'T EVEN
KNOW HIM.
HE HAS NO IDEA THAT I
EXIST AND, WE DON'T,
WE DON'T EVEN KNOW THAT
HE EVEN HEARD OF YOU.
WELL HE MENTIONED ME, BY NAME.
-FROM THE PODIUM.
-FROM THE PODIUM.
ON AWARDS NIGHT.
WHICH MEANS THAT HIS SON
WOULD HAVE SEEN THE FOOTAGE
AND HE WOULD KNOW YOU.
OK.
I'LL CALL ANNE.
WELL, WAIT.
I'LL TELL YOU SOMETHING.
IF HE'S ANYTHING LIKE HIS
DAD, I WANT YOU TO BE CAREFUL.
HE'S NOT GOING TO LIKE ME.
NO, LEAVE THEM, IT'S OK.
YOU KNOW I HAVEN'T BEEN TO
THIS HOTEL SINCE I WAS A CHILD.
MY DAD USED TO
STAY HERE A LOT, SO.
HERE YOU GO SIR.
AND, SEE A BALCONY.
BATHROOM, OVER
THERE TO THE LEFT.
IT DOESN'T SEEM BIG ENOUGH.
THIS IS A SUITE?
AND, IF I HAVE PEOPLE OVER HERE
THEY'RE GOING TO BE STANDING
RIGHT IN THE
MIDDLE OF MY BEDROOM,
IT DOESN'T MAKE
ANY SENSE.
THIS IS ONE OF
OUR JUNIOR SUITES.
-JUNIOR SUITES - EXACTLY.
-YES.
I THOUGHT I WAS GOING TO
GET A SENIOR SUITE AT LEAST.
THE BED ISN'T EVEN FUCKING MADE.
THIS IS RIDI... I COULDN'T
FIT IN THAT BATHTUB!
THIS CAN'T BE A SUITE.
NO, THIS IS RIDICULOUS.
I CAN'T STAY HERE.
AT LEAST LAY ON THE BED.
-NO. I'M OK.
-TRY IT OUT.
OH, BOY.
-HI.
-HI.
WHAT'S YOUR NAME?
-LOLITA.
-LOLITA.
HI, NICE TO MEET YOU LOLITA.
I'M SORRY, I JUST
GOT SHOWN TO MY ROOM,
BUT I THINK I WAS
MEANT TO HAVE A SUITE.
I DON'T THINK THAT'S A SUITE.
OH, OK.
WHAT'S THE LAST NAME?
IT'S HUSSAR.
OK
JACK HUSSAR.
K, UM, I'M SHOWING HERE
THERE'S ONLY A JUNIOR SUITE.
STUDIO PAID FOR
ONLY A JUNIOR SUITE.
WELL, SHOULDN'T A JUNIOR
SUITE HAVE TWO ROOMS NORMALLY?
LIKE A LIVING ROOM
AND A BEDROOM?
NO, NO, NO. IT'S JUST
THE ONE ROOM. SO, UM.
I'M HERE FOR LIKE THREE MONTHS.
I DON'T THINK I CAN STAY IN
THE ROOM FOR THREE MOTHS.
I'LL PROBABLY GO OUT OF MY MIND.
OK, UM.
HAVE YOU ANYTHING BIGGER?
WELL, YEAH.
I DO. BUT, AH, UM, IT'S GONNA BE, ABOUT,
$250?
-THAT I HAVE TO PAY?
-THAT'S, THAT'S RIGHT.
I MEAN... BUT THE STUDIO, YOU
HAVE A CREDIT CARD ON FILE
WHICH THE STUDIO GAVE YOU.
WE DON'T HAVE A CREDIT CARD ON
FILE ACTUALLY. WELL, YOU MUST DO.
THE STUDIO GAVE
YOU A CREDIT CARD
BECAUSE I DIDN'T
BOOK THE ROOM.
THE STUDIO BOOKED
THE ROOM FOR ME.
WELL, THEY DID GIVE
ME A CREDIT CARD,
BUT WE DON'T KEEP THAT ON
FILE FOR SECURITY PURPOSES.
OK, LISTEN TO ME I'M TELLING YOU.
I CAN'T PAY FOR THIS ROOM.
I'M HERE FOR THREE MONTHS.
I'M SHOOTING A MOVIE.
IF I'M IN THAT ROOM FOR THREE
MONTHS I WILL GO OUT OF MY MIND.
I WILL GET CABIN FEVER.
I'M MEANT TO BE MAKING
AND DIRECTING A MOVIE.
THAT MEANS NORMALLY
YOU HAVE TO BE INSPIRED.
I'M LOOKING OUT
ONTO A BACK STREET.
I DON'T EVEN HAVE A GARDEN VIEW.
MY FATHER USED TO STAY
HERE FOR MANY YEARS,
HIS NAME'S JACK
HUSSAR AS WELL.
YOU'RE RIGHT. YEAH.
NORMALLY THEY MIGHT BE ABLE TO
DO SOMETHING FOR THE FAMILY?
LIKE MAYBE THEY'D,
THEY'D GIVE ME AN
UPGRADE IF THAT
WAS POSSIBLE?
I UNDERSTAND UM.
YOU KNOW WHAT.
CAN YOU JUST GIVE ME A SECOND?
AND I'LL MAKE A FEW
PHONE CALLS AND THEN,
WHY DON'T YOU JUST RELAX.
OF COURSE.
I'M SORRY, I KNOW, I KNOW IT'S NOT
YOUR FAULT. GRAB YOURSELF A CUP OF TEA.
I DON'T MEAN TO GET ANGRY WITH
YOU I KNOW I KNOW, I UNDERSTAND.
YOU'RE VERY SWEET.
I'M SORRY.
BUT WHY DON'T YOU
JUST HAVE A SEAT.
I'M SORRY.
WE'LL BE, AH.
HAVE A CUP OF TEA AND I'LL TRY
TO FIGURE OUT WHAT'S GOING ON.
THANK YOU. THANK
YOU VERY MUCH.
I KNOW I'M SORRY.
I NEVER KNOW I NEVER
REMEMBER, JUST, YEAH.
HI!
GOOD TO SEE YOU DARLIN'.
THANKS FOR COMING
AND MEETING US.
GOOD!
THIS IS LILY.
HEY LILY. HI. I'M JACK.
JACK HUSSAR, IT'S
NICE TO MEET YOU.
YOU REMEMBER
PAUL, FROM NEW YORK?
RIGHT, PAUL, YES.
PAUL, LILY.
LILY. LIKE A FLOWER. LILY.
YEAH, EXACTLY.
HERE, SIT DOWN.
-OH, YOU ALL RIGHT?
-SORRY.
RIGHT ON HIS TOE.
PERFECT. GOOD.
NO IT'S GOOD.
I STEP ON HIS TOES QUITE OFTEN TOO.
-YOU GUYS WANT A DRINK?
-YES, PLEASE.
WHAT DO YOU WANT.
AH, VODKA SODA.
VODKA SODA.
DOUBLE.
-UM, COSMOPOLITAN? -COSMO?
-GOOD CHOICE.
WELL, I'M REALLY SORRY THAT IT'S, SO WET.
AH, NO IT'S OK.
I MEAN, ONE ALWAYS EXPECTS SOCAL
TO BE SUNNY SO IT'S ACTUALLY A
SURPRISE AND I LIKE SURPRISES.
YOU'RE A SURPRISE.
UM, AND AH WHAT DO YOU DO.
DO YOU MIND ME ASKING?
UM, I'VE DONE SOME
ACTING CLASSES, AND...
I THINK, HER,
YOUR DRINK IS HERE.
I WANT TO WRITE.
YOU WANT TO BE A WRITER?
DID YOU SAY YOU
WANT TO BE A WRITER?
OR AN ACTRESS, OR...
-I'M A WRITER.
-YOU ARE?
I JUST WROTE THE MOVIE.
JACK IS GOING TO DIRECT.
OH, OF COURSE, YOU'RE HERE TO DO A MOVIE.
YES. WE'RE HERE TO DO A FILM.
I MEAN, THAT'S GREAT.
-OH.
-OH. CHEERS!
OH MY GOD, CHEERS.
[ALL] CHEERS!
TO A LITTLE FUN
IN LOS ANGELES.
YES, FUN.
THE CALM BEFORE THE STORM.
-ABSOLUTELY.
-GET WASTED!
I'M JUST GOING TO NIP TO
THE BATHROOM VERY QUICKLY.
EXCUSE ME.
SORRY.
OH YOU'RE YOU'RE GOING?
OH YOU ARE. OK.
HEY.
NOW I CAN STEAL THE COUCH.
SO, TELL ME, YOU LIKE TO WRITE.
I OVERHEARD YOU.
OH, I MEAN, I'M
JUST STARTING, I,
I, NOBODY'S READ MY WRITING.
I'D LOVE TO READ
WHATEVER YOU'VE DONE.
YOU KNOW, MAYBE I
COULD, IF YOU DON'T MIND.
I'M WRITING...
SORRY.
I'M WRITING A BIOGRAPHY.
EVERYBODY'S ON THEIR PHONE.
ARE YOU WRITING ON YOUR PHONE?
IS THAT WHAT YOU'RE DOING?
YOU WRITE YOU NOVELS ON YOUR PHONE?
CAN WE GET SOME BLOW?
-ANNE.
-WHAT?
CAN YOU JUST KEEP YOUR VOICE DOWN? SORRY.
IT'S A LOBBY. WE DON'T...
-I'M SORRY. -IT'S FINE.
-I'M SORRY.
SHE GETS REALLY LOUD.
DO YOU LIKE POETRY?
PAUL, CAN YOU PLEASE SCOOT DOWN.
-HEY!
-HEY.
OH GOSH.
YOU WANNA SIT HERE?
WHERE YOU WANNA SIT.
NO THAT'S OK.
I'LL SIT HERE WITH YOU. YOU PICK.
WHAT I WAS SAYING
ABOUT THE POETRY THAT IT,
IT REALLY IMPROVE
MY PROSE WRITING.
THIS IS A BIG DEAL.
NO, IT IS A BIG DEAL.
IT'S A VERY BIG DEAL.
BUT LIKE I SAID, ONE CAN ALWAYS
MIX A LITTLE BIT OF WORK
WITH PLAY.
NO.
OF COURSE.
ALL WORK AND NO PLAY
MAKES JACK A DULL BOY.
SO THEN WE'RE GONNA GO OUT AND
GET FUCKED UP AND THEN IT WILL BE FUN.
YEAH.
-THEY SUIT EACH OTHER.
-WHO?
I MEAN THEY REALLY
SUIT EACH OTHER.
-DON'T THEY?
-DO YOU THINK?
-THESE TWO.
-NO SERIOUSLY. WE SHOULD FUCK.
ANNE. ANNE!
REMEMBER HALLOWEEN?
YEAH. WHAT ABOUT IT?
EXACTLY.
-OK. SORRY.
-THAT'S ALRIGHT.
AH, BUT YOU KNOW WHAT?
THIS HOTEL IS REVOLTING.
I HAVE TO BE HONEST. I'M SORRY, BUT
I CAME HERE WHEN I WAS 7 YEARS OLD,
MY FATHER USED TO
STAY HERE ALL HIS LIFE.
I GOT HERE THEY GAVE ME A ROOM.
I'M MEANT TO BE IN A SUITE.
THE ROOM IS LIKE, I
CAN'T EVEN STAND UP IN IT.
NO YOU SHOULD COME
STAY AT MY HOUSE.
-YEAH.
-STAY WITH YOU?
YEAH, WE'VE GOT A GUEST HOUSE.
-YOU DO?
-YEAH.
NO, NO, NO NO NO. WE WE.. NO.
-NO, JACK, JACK. NO, NO.
-HEY HANG ON A SECOND.
NO I'LL TELL YOU WHAT.
THIS IS ACTUALLY A GOOD POINT.
NOW SAYING THAT, ACTUALLY THAT'S
WHAT WE'RE TAUGHT IN LONDON.
THE BEST PLACES TO
STAY ARE AT PEOPLE HOMES.
-MY MOM WOULD LOVE TO MEET YOU.
-REALLY? -SHE KNEW YOUR DAD.
-OH, HOW SWEET.
-I DON'T THINK WE SHOULD DO THAT.
WOULD YOUR MOM BE OK
WITH US COMING TO STAY?
-SHE'D BE DELIGHTED.
-WE'RE FINE.
JACK, CAN WE.
LET'S GO AND HAVE A CIGARETTE.
CAN I GO AND SPEAK WITH YOU
OUTSIDE AND HAVE A SMOKE.
-YOU DON'T SMOKE.
-I'LL CALL MY MUM.
-WHAT? -YOU DON'T SMOKE.
-SO WHAT.
I'VE GOT YOUR LIGHTER AND
I NEED TO GIVE IT TO...
CAN WE PLEASE JUST
GO OUTSIDE AND SMOKE?
GOD, SHE'S A DITCH, LILY, HUH?
NO, NO, NO!
LOOK WE, WE CAN'T GO
AND STAY THERE, OK?
DON'T BE SUCH A PRUDE.
SHE JUST OFFERED US.
WHY'D YOU HAVE TO
SAY YES TO EVERYTHING?
I'M NOT SAYING
YES TO EVERYTHING?
WHAT ARE YOU PLANNING TO DO?
A BEAUTIFUL GIRL JUST
OFFERED US TO STAY IN HER HOUSE.
YES.
WHAT IS THAT.
AND WE HAVE A NICE PLACE TO STAY THE STUDIO
HAS PUT US UP, AND WE SHOULD STAY HERE.
I DON'T LIKE MY ROOM.
YOU LIKE YOUR ROOM. I DON'T LIKE MINE.
I'D MUST PREFER TO STAY IN A
HOUSE WITH A BEAUTIFUL WOMAN.
WHAT ARE YOU PLANNING ON DOING?
HUH?
I'M NOT, AH, IT'S
NONE OF YOUR BUSINESS.
WHAT DO YOU MEAN IT'S NONE OF MY BUSINESS
IF WE'RE BOTH GOING TO STAY IN HER HOUSE.
SHE'S A NICE GIRL, JACK.
SHE'S A NICE GIRL AND I
KNOW WHAT YOU'RE LIKE.
OK, HURRY UP PAUL.
IN FAST!
OH MY GOD.
YOU WANT MY CARDIGAN?
NO I'M GOOD.
DON'T FALL IN THE POOL.
WATCH THE POOL.
IT'S SO WET OUTSIDE.
I'M SORRY.
I'M SORRY.
-COME ON IN.
-HI.
JACK JR. JACK JR. HOW ARE YOU?
-WHAT'S YOUR NAME?
-I'M BRAD.
-VERY NICE TO MEET YOU BRAD.
-OH YOU KNEW MY FATHER.
I DID KNOW YOUR DAD.
YOU ARE SO MUCH LIKE YOUR FATHER.
OH REALLY.
YEAH NO, I GET THAT A LOT THESE DAYS.
I PRODUCED THE GOLDEN LION WITH YOUR DAD, YEAH.
-OH, YOU'RE KIDDING ME.
HI, IT'S A GREAT PLACE.
I'M JACK.
HI, HI.
NICE TO MEET YOU.
PLEASURE. HOW ARE YOU?
-NICE TO MEET YOU.
-VERY WELL.
THANK YOU SO MUCH FOR
HAVING US IN YOUR HOME.
DID YOU REMEMBER TO PUT SALT?
MOM, I PUT SALT IN IT.
-YOU DID?
-I DID.
YOU GO WASH THE STRAWBERRIES.
OK.
NO.
I DON'T WANT TO
WASH THE STRAWBERRIES.
OH, OK, I'LL WASH
THE STRAWBERRIES.
WELL IF YOU'RE NOT GONNA, STOP IT!
STOP IT!
-JUST A LITTLE, ALRIGHT...
-NO!
-TAKE HIM AWAY.
-YOU ALWAYS CONVERGE IN THE KITCHEN.
EVERY TIME THERE'S A DINNER
PARTY EVERYONE ALWAYS ENDS UP IN
THE KITCHEN.
MOVE.
WOULD YOU LIKE SOME
SPACE LILY, BECAUSE WE CAN,
WE DON'T ALL HAVE TO BE.
NEED ANYTHING?
WELL, HOW LONG IS
IT GOING TO BE NOW?
UM, 45? 45 MINUTES?
45?
WHAT DO YOU FEEL LIKE?
A GAME?
SHOULD WE PLAY A GAME?
DO YOU PLAY CARDS?
OH. WELL I HAVE PLAYED IN MY LIFE.
I'M NOT REALLY GOOD.
THAT'S PUTTING IT MILDLY, BUT...
UM, HAVE YOU
PLAYED BRIDGE BEFORE?
YEAH, I HAVE PLAYED BRIDGE.
BRIDGE IS A GOOD OLD ENGLISH
GAME THAT WE CAN - WE HAVE 45
MINUTES, GIVES US ENOUGH
TIME TO HAVE AT LEAST ONE.
ALRIGHT.
WELL, I'VE GOT SOME CARDS SOMEWHERE.
UM, NO BUT I DO BELIEVE THAT
THERE'S CERTAIN GAMES THAT WHEN
THERE'S NO MONEY
THERE'S NO REASON TO PLAY.
SO I DO THINK WE SHOULD
PLAY WITH SOME MONEY.
MATCHES ARE
SOMETHING TO PLAY WITH,
I MEAN, THAT'S FINE.
THERE'S NO REASON WE
HAVE TO PLAY FOR MONEY.
FIVE DOLLARS A
TRICK THAT'S NOT BAD,
-THAT'S A VERY SMALL SUM. A
-BOX OF MATCHES IS FINE.
IF YOU DON'T WANT,
OBVIOUSLY AS HOSTESS.
WHATEVER YOU THINK, BUT UM...
JACK.
I ALWAYS BELIEVE
THAT WHEN PLAYING,
AS MY FATHER
WOULD SAY, YOU KNOW.
THERE'S NO POINT IN PLAYING A
GAME IF IT'S NOT PLAYING FOR MONEY.
[CHUCKLES] YES, YES.
FIVE OF DIAMONDS.
EIGHT TO EIGHT.
ARE YOU JOKING?
YOU CAN'T JUST FUCKING SAY
THAT ACROSS THE TABLE?
-WHY CAN'T I?
-EIGHT OF DIAMONDS.
-YES.
-WELL YOU CAN'T JUST SIT THERE.
-WHY NOT?
-WELL, YOU CAN'T -IT'S STILL FRIENDLY.
IT'S FRIENDLY,
IT'S FRIENDLY, BUT.
I DON'T BELIEVE IN PLAYING
CARDS UNLESS YOU PLAY SERIOUSLY.
I - YOU CAN'T DO THAT AGAIN.
MY FATHER SAW YOU PICKING, LIKE,
HINTING TO SOMEONE YOU'D GET A
FUCKING FIST IN THE FACE.
-NO, NO, NO, HE WOULD HAVE
-WOULDN'T HE NOT?
THAT HE WOULD. THAT HE WOULD DO. YES YES.
WELL, IT SEEMS EVERYTHING
COMES BACK TO YOUR FATHER.
YOU REMIND ME OF SOMEONE
OTHER THAN YOUR FATHER.
HOPEFULLY A FRIEND.
OR SOMEONE YOU LIKE.
-I'M NOT SURE.
-YOU'RE NOT SURE.
HMM...
BOOM.
WE'LL TAKE THAT.
OH MY GOD, NICELY PLAYED.
NICELY PLAYED.
-WAIT A MINUTE.
-AND THAT'S US.
WELL WE JUST GOT OUR SIX SO THAT
MEANS YOU CAN'T GET YOUR NINE.
AND THAT'S OUR GAME.
HAVE YOU WON?
PLAY THE ACE OF HEARTS.
HERE WE GO.
THAT'S OK AND I'LL JUST DO THAT.
AND PERFECT. THANK YOU. THANK YOU.
TAKE THAT.
TAKE IT DOWN AND WE WIN.
GOODNIGHT.
THAT'S ANOTHER ONE.
THE CARDS ARE JUST.
I KNOW.
I GET IT.
HOW MUCH DO I OWE YOU?
-I THINK, UM, I THINK, OH ACTUALLY $180.
-COME ON.
$180. HOW DID
WE GET THERE?
THIS IS WHAT WE
SHOULD PLAY WITH.
-WITH MATCHES.
-I TOLD YOU THAT.
-YES.
-WE CAN.
I'M, REALLY SORRY, I'M
NOT GONNA TAKE ANYTHING.
I THOUGHT WE WERE PLAYING IT'S JUST
A GAME. I'M GONNG GO CHECK ON LILLY.
-OK, DINNER.
-THAT'S OK. I'M GOING TO CHECK ON HER.
HOW'S IT GOING IN HERE?
-HEY!
-HI.
OH GOD.
CAN I HELP?
I'M VERY GOOD WITH MY HANDS.
AS I SAID BEFORE, PUN INTENDED.
YOU'RE FUNNY.
-WELL. -I'M HUNGRY. I MUST ADMIT.
-ME TOO.
VERY HUNGRY.
HAVE YOU TASTED THESE?
I HAVEN'T YET.
YOU HAVEN'T?
GOOD STRAWBERRY.
YEAH, THAT'S PRETTY GOOD.
IF, IF YOU'LL EXCUSE ME.
MAYBE THEY NEED SOME HELP.
OR SOMETHING LIKE THAT.
-WHAT ARE YOU GUYS DOING?
-HEY PAUL.
-HEY.
-CHOPPING THE STRAWBERRIES.
RIGHT.
SO...
THAT'S LOOKS DELICIOUS.
EVERYONE.
AH, RAISE A GLASS.
TO THE CHEF AND TO A
WONDERFUL, GRACIOUS HOSTESS.
I HAVE TO SAY TO BOTH OF YOU.
WHAT A PLEASURE
BEING IN YOUR HOME.
-THANK YOU.
-CHEERS.
-WELCOME.
-IT'S DELICIOUS, IN EVERY WAY.
THANK YOU.
THANK YOU.
THANK YOU SO MUCH
FOR YOUR HOSPITALITY.
SEE YOU IN THE MORNING.
AH, BRAD.
-GOOD TO SEE YOU.
-THANK YOU SO MUCH.
AH, LILY.
THANK YOU SO MUCH
THAT WAS WONDERFUL.
-BRAD, PLEASURE.
-ABSOLUTELY.
-GOOD NIGHT.
-GOOD NIGHT.
I DON'T AGREE WITH IT.
THAT'S ALL.
YOU UNDERSTAND?
IT'S NOT THAT I'M UPSET. I JUST DON'T
AGREE WITH WHAT YOU WERE DOING.
IT WAS QUITE FUNNY, THOUGH HUH.
IT WAS NOT FUNNY. IT
WAS, IT WAS WRONG.
-IT WASN'T WRONG.
-IT WAS KIND OF AN ASSHOLE MOVE IF YOU ASK ME.
SHE DIDN'T TAKE
LOSING WELL AT ALL.
LA IS MEANT TO BE HOT.
I BET SHE WAS GOOD LOOKING
IN HER DAY, WASN'T SHE.
THE OLD GIRL.
HER MOM, YEAH.
I'LL BET SHE WAS.
I MEAN, LILY, SHE'S...
SHE'S BEAUTIFUL, ISN'T SHE.
-YEAH SHE'S BEAUTIFUL.
-NOT THE BEST COOK IN THE WORLD.
YOU KNOW THIS WHOLE
LILY THING, YEAH.
YOU SHOULD REALLY SLOW IT DOWN.
YOU'RE COMING ON A LIT,
WELL, YOU'RE COMING
ON A LITTLE STRONG.
WHAT ARE YOU DOING?
WHO ARE YOU TEXTING?
I WASN'T TEXTING ANYONE.
I'M GOING TO GO SMOKE.
YOU WHAT?
JACK?
JACK!
THERE YOU GO, PUSSY CAT.
OH, HOW PEOPLE'VE CHANGED.
KITTY?
HIS FATHER.
OH.
HIS FATHER.
HE WENT DOWN ON HIS KNEES.
AND DECLARED HIMSELF.
WHAT WOULD YOU HAVE ME DO?
KILL MYSELF.
ON YOUR COMMAND.
I'LL DO ANYTHING YOU COMMAND.
-HEY.
-HEY.
YOU FELL ASLEEP.
I'VE BEEN WATCHING YOU ALL DAY.
YOU HAVE THIS SWEETNESS.
YOU'RE CHARMING AND
YOU'RE BEAUTIFUL.
BUT I THINK THERE MIGHT
BE A DARKER SIDE TO YOU.
AND IT COULD BE VERY
GOOD FOR MY PICTURE.
YOU ARE THE PART, BASICALLY.
YOU JUST HAVE TO
FIND YOUR DARK SIDE.
WHY DO YOU THINK
THERE'S A DARK SIDE?
WELL, I THINK, NO ONE CAN BE AS
BEAUTIFUL AND AS SWEET AND AS
INNOCENT AS YOU PLAY.
I'M NONE OF THOSE THINGS.
WE'LL SHOOT A SCREEN TEST.
DO YOU KNOW WHAT
A SCREEN TEST IS?
-YES.
-YEAH.
SO WE'LL SHOOT A SCREEN TEST.
AT THE STUDIO.
AND I CAN SHOW THEM.
ANYWAY, I, AH, I HAVE DIRECTOR'S
APPROVAL FOR THE ACTORS.
IF I DON'T GET YOU, I
WON'T DO THE PICTURE.
I CAN'T BELIEVE
YOU'RE SAYING THAT.
NO. I'M ONLY SAYING IT BECAUSE I MEAN IT.
REALLY?
YES.
SOMETIMES YOU'RE
JUST STRUCK BY SOMEONE.
SOMETIMES SOMEONE JUST COMES
RIGHT OUT AT YOU AND YOU SAY OH
WOW, THAT'S IT, THAT'S EXACTLY
WHAT I'VE BEEN LOOKING FOR.
WOW.
ARE YOU SURE?
YEAH, I'M DEFINITE.
WHAT IS THAT?
WHY DO YOU WEAR THAT?
-IT WAS MY DAD'S.
-REALLY?
YEAH.
YEAH, I GOT IT WHEN HE DIED.
AND HE GOT IT FROM HIS FATHER.
IT'S A LAPUS.
SUCH A PRETTY COLOR.
YEAH. IT'S BEAUTIFUL.
AH.
I'M SORRY, MY PHONE KEEPS
VIBRATING IN MY POCKET.
AH. IT'S PAUL.
I THINK HE'S A LITTLE JEALOUS.
I THINK HE MIGHT LIKE YOU TOO.
NO.
I THINK HE DOES.
HEY JACK.
JACK.
WHAT IS IT?
JA - OH HEY.
WHAT THE HELL ARE YOU DOING?
YOU NEED TO COME DOWN NOW.
KEEP YOUR VOICE DOWN.
YOU'RE GOING TO WAKE HER MOTHER.
LORENZO HAS CALLED ME. OK.
HE'S BEEN TRYING TO
GET A HOLD OF YOU,
BUT HE COULDN'T GET A
HOLD OF YOU SO HE CALLED ME.
-HE'S AT.
-WHY?
HE WANTS TO SEE YOU NOW.
-GET DOWN HERE.
-IT'S 11 O'CLOCK AT NIGHT.
I DON'T CARE WHAT TIME IT IS.
-WHERE IS HE?
-HE'S AT THE LUBICH. THE BAR. COME ON.
OH MY GOD. I'M SO SORRY.
HEY LILY.
WHAT'S GOING ON?
HE'S THE PRODUCER OF THE FILM.
-NOTHING. WHAT?
-IT'S OK.
ACTUALLY I CAN TALK TO HIM
ABOUT YOU TONIGHT.
OK.
WILL YOU STAY AWAKE FOR ME?
I'LL BE BACK IN TWO HOURS AT THE MOST.
-HEY JACK. COME ON.
-I'M COMING. KEEP YOUR VOICE DOWN.
WE GOTTA GET A MOVE ON.
JESUS CHRIST.
-HE'LL WAKE MY MOM.
-I'LL BE BACK.
WANNA TAKE MY CAR?
CAN I?
-I'LL BE BACK IN A COUPLE OF HOURS, OK?
-OK.
GOOD EVENING.
IT'S HUSSAR.
JACK HUSSAR.
WELCOME.
NOT A BAD NIGHT, HA BEN?
NOT BAD AT ALL.
HERE YOU GO MY FRIEND.
THAT'S FOR YOU.
DON'T SPEND IT ALL IN ONE PLACE.
THANK YOU SIR.
LOOK WHO'S HERE.
JACK HUSSAR, HOW YOU DOING KID.
IT'S GREAT TO FINALLY MEET YOU.
SAME HERE.
I KNEW YOUR FATHER.
I KNOW YOU DID.
YOU DID SOME GREAT
MOVIES TOGETHER YEAH.
NOW YOU AND I ARE GOING
TO MAKE A GREAT MOVIE.
RIGHT?
I HOPE SO.
YEAH, SURE.
WHY DON'T YOU SIT DOWN.
LET'S PLAY A
LITTLE TEXAS HOLD 'EM.
YOUR DAD LIKED THAT GAME.
YEAH, UM.
OH, I DON'T HAVE ANY CASH.
I WOULDN'T WORRY ABOUT THAT.
I'LL TAKE YOUR MARKER.
HERE YOU GO.
AND, THIS WILL MAKE IT
25 THOUSAND DOLLARS.
TWENTY FIVE THOUSAND?
IT'S NOT TOO RICH FOR
YOUR BLOOD, IS IT?
AH, NOPE. $25,000.
EXCELLENT.
BEN?
SO YOU HAVE A GOOD FLIGHT, JACK?
AH, YEAH.
IT WAS, UM, FINE FROM NEW YORK.
JACK, TELL ME.
HAVE YOU CHOSEN THE GIRL
YOU WANT FOR THE LEAD YET?
AH, NO, I, I, I,
WAS ACTUALLY GOING
TO SPEAK TO YOU
ABOUT THAT.
BECAUSE THERE'S SOMEONE THAT I LIKE.
I THINK SHE'S TERRIFIC.
I'VE BEEN FOLLOWING
THIS KID FOR A LONG TIME.
FUCKING GREAT, HUH, JACK?
YEAH, BEAUTIFUL.
BEAUTIFUL IS RIGHT.
COME HERE BABY.
KISS.
LAURA, THIS IS MY
NEW DIRECTOR JACK.
-HI LAURA, THAT WAS UNBELIEVABLE.
-THANK YOU.
SO JACK.
WANT YOU TO
UNDERSTAND SOMETHING.
NOW YOU'RE A GOOD LOOKING
KID, BUT LAURA BELONGS TO ME.
CAPISCE?
YOU CAN LOOK, BUT DON'T TOUCH.
NO, OF COURSE.
JACK, I'D LOVE TO MEET UP
AND TALK ABOUT THE ROLE.
BENNY, COME HERE FOR A SECOND.
IF YOU HAVE A SECOND.
SURE.
WHAT'S YOUR PHONE NUMBER?
IT'S, AH, 9873647527.
-CAN YOU REMEMBER THAT?
-YES.
SHIT.
HEY THERE.
THANKS FOR COMING.
IT'S NOT A GOOD
IDEA ME BEING HERE.
WHY?
DO YOU WANT A DRINK?
CAN I GET A VODKA
MARTINI PLEASE,
WITH A TWIST?
THANK YOU.
I CAN ONLY BE HERE FOR ONE DRINK.
I'M SORRY.
I HAVE TO GO HOME.
YOU CAN HAVE TWO.
IT'S EARLY STILL.
I JUST MET A GIRL LILY.
WHO I LIKE.
SHE'S A NICE GIRL.
I DON'T WANT TO KEEP
HER WAITING TOO LONG.
SHE CAN KEEP
WAITING FOR A BIT LONGER.
CHEERS.
THAT WAS ONE OF THE MOST
AMAZING DANCES I'VE EVER SEEN.
THANK YOU.
IT'S UM, A LITTLE UNCOMFORTABLE
WHENEVER HE'S THERE.
BECAUSE I'M CONSTANTLY
WATCHED, BY,
WHO I SPEAK TO,
WHAT I DO. SO.
YEAH. OF COURSE.
IT MIGHT HAVE BEEN A
LITTLE TAMED DOWN.
THIS ISN'T A GOOD IDEA.
WE'RE NOT DOING ANYTHING WRONG.
JUST BEING HERE'S
NOT A GOOD IDEA.
IF HE EVER FOUND OUT
ABOUT THIS, THIS WOULD AH...,
END VERY BADLY FOR BOTH OF US.
HE'S A VERY POWERFUL MAN.
I KNOW.
I JUST DON'T THINK WE SHOULD
ELIMINATE ANYTHING THAT COULD BE
COMPLICATED AND
COMPLICATED IN A FUN WAY.
YOU KNOW?
WHAT'S WRONG?
YEAH.
I'M NOT TOO DRUNK.
YOU'RE FINE.
DON'T BE SCARED.
I'M JUST DRIVING RIGHT NOW.
I DON'T KNOW WHY I'M DRIVING.
I'M FUCKING TOO
DRUNK FOR DRIVING.
I CAN'T FUCKING SEE ANYTHING.
HI THERE.
YOU DO REALIZE THIS IS A
PUBLIC STREET. RIGHT?
I'M SORRY.
WE WERE LOST AND WE WERE
LOOKING FOR SOME DIRECTIONS.
DO YOU HAVE A DRIVER'S LICENSE.
UM, I DON'T HAVE
MY WALLET WITH ME.
I'M FROM ENGLAND.
OK.
MA'AM.
DO YOU HAVE ANY IDENTIFICATION?
NO.
NOT ON ME.
OK, WELL WHY DON'T YOU DO ME A
FAVOR AND STEP OUT HERE FOR ME.
YOU HAVE NO WEAPONS
ON YOU, RIGHT?
NO.
TURN AROUND REAL QUICK.
ALRIGHT, STEP BACK AROUND
HERE TO THE BACK OF THE CAR.
UP ON THE SIDEWALK.
ARE THESE ALL PHOTOGRAPHERS?
I DON'T KNOW WHO THESE GUYS ARE.
OK, I NEED YOU TO
STEP OVER HERE THOUGH.
OK.
ALRIGHT, TURN
AROUND AND LOOK AT ME.
HOW MUCH HAVE YOU
HAD TO DRINK TONIGHT?
TWO DRINKS.
OK. YOU REALIZE THAT
YOU REEK OF ALCOHOL.
OK, IT'S MY PROFESSIONAL OPINION
RIGHT NOW THAT YOU'VE HAD A FEW
MORE THAN JUST TWO DRINKS.
I MIGHT HAVE HAD, AH,
MAYBE THREE OR FOUR.
OK.
WHAT I'M GOING TO DO IS
I'M GOING TO GIVE YOU SOME,
FIELD SOBRIETY TESTS RIGHT NOW.
OFFICER IS THERE ANYTHING I
CAN DO TO GET OUT OF THIS?
I'M SORRY, I'M SHOOTING
A MOVIE AT THE MOMENT
AND I'M BEING
PHOTOGRAPHED.
OK, LISTEN UP.
OK.
AT THIS POINT THERE
IS NOTHING YOU CAN DO,
OTHER THAN FOLLOW
MY INSTRUCTIONS.
ARE WE CLEAR ON THAT?
WHAT I NEED YOU TO
DO IS TURN AROUND.
TURN AROUND. PUT YOUR
HANDS BEHIND YOUR BACK.
COME ON, GIVE US
A SMILE, MAN!
COME ON JACK.
TURN AROUND!
OVER HERE!
DROP YOUR HEAD AND SIT DOWN.
DO YOU UNDERSTAND WHY
YOU'RE BEING ARRESTED?
NO, I DO NOT.
OK. YOU THINK THAT WHAT YOU
WERE DOING IN THE CAR WAS LEGAL?
WE WEREN'T DOING ANYTHING.
OK, THAT'S NOT WHAT I SAW.
WHAT DID YOU SEE?
JACK!
YA, COME IN.
COME IN.
HI.
HEY.
HEY.
I UM.
IS IT JACK?
JACK IS IN JAIL.
WHAT?
IS HE OK?
-YES, HE JUST...
-WHAT HAPPENED?
HE WAS ARRESTED
LAST NIGHT FOR A DUI,
IN YOUR CAR WITH LAURA.
WHO'S LAURA.
I DON'T KNOW, BUT
APPARENTLY SHE WAS
GOING TO BE THE
LEAD IN MY FILM.
SIT DOWN.
JACK.
JACK, WHAT, JACK IS,
IS IN, IS IN JAIL?
IT'S EVERYWHERE, LILY.
IT'S ON, THE, THE,
THE, GOSSIP SITES,
THE, THE, THE,
CELEBRITY BLOGS, IT'S EVERY...
LORENZO KNOWS.
HE'S GONE MAD AND -
YOU KNOW, HE'S ALREADY,
HE'S ALREADY SAID THAT, THAT,
JACK'S NOT GOING TO BE ON THE
FILM, HE'S FIRED AND
I DON'T KNOW WHERE
THAT PUTS ME NOW, BUT...
I'M SUCH AN IDIOT.
WHO'S LAURA?
I DON'T KNOW.
THIS IS WHAT JACK DOES.
HE MEETS A GIRL,
HE MAKES PROMISES,
AND, AND, AND, AND
HE CAN'T KEEP THEM,
AND, AND THIS IS WHAT HAPPENS.
I'M SORRY LILY.
SORRY I'M GETTING
SNOT EVERYWHERE.
IT'S OK.
I JUST, I REALLY
THOUGHT THAT HE LIKED ME.
I REALLY THOUGHT HE LIKED ME.
I'M SURE HE DID.
YOU'RE BEAUTIFUL.
-AND YOU'RE...
-NO I'M NOT.
YOU ARE, YOU'RE AMAZING.
-I'M NOT.
-YOU'RE NOT LIKE...
COME HERE.
YOU DESERVE BETTER.
OK?
THANK YOU PAUL.