Perfume (2001) - full transcript

( music playing )

Man:
Relax. Good.

Just leave it like that.
Yeah, just leave it there.

Maybe you could put
your hands up on her legs?

Um... let's see.

We need to squeeze
you in a little bit more.

You turn around.
Yeah, turn around.
That's really good.

That's fantastic.

Take a... Wilty.
Hello?

You're dreaming about
being on holiday, mate.

All right.
Let's get set up.



Let's see,
what else?

- If you just lift your head up
just a little bit.
- All right.

Okay, but not that much.

- Okay.
- Like this?

- And smile.
- Who was out last night?

- ( chatter, laughing )
- Who was out last night?

Huh? Just two of you.

Just two of you
out last night.

- Really?
- Woman: Yeah, we were
in bed at nine.

Should I believe this?
Do you think I should
believe this?

What do you reckon, Wilty?

- Wilty is-- Wilty is--
- I wasn't listening.

Wilty's Mr. Party Man.
He goes out to all the clubs.

- I was getting
ready for this shoot.
- ( models laughing )



- ( chatter )
- How was that one, Wilt?

- Get out of there!
- Who's the brunette
woman there?

- That's not Arrianne, is it?
- No, no, no. That's Ashley.

- I think she's gonna
join us for dinner.
- Really?

Yeah, and then maybe
a little something-something
afterwards.

- Okay.
- If you're good.

She must do yoga.

I didn't get
you arrangements
for the girls.

I did
because you didn't.

- I did.
- Is there a problem?

- No.
- No problem. Relax.

What does
any of this mean?

Don't you at least
get a vodka bottle
in your bag?

There was--
do you wanna do that?

- It would take up
some more time.
- Well, we don't have one.

We don't have one.

Oh, God.

All right. Listen,
you hold the fort.

- I'm gonna go scream
at somebody.
- Yeah.

Make me feel better.

- We're at a campaign.
- I know where--

- You're asking me for a--
- No one's gonna see this.

- You know that. I know it.
- I don't want to hear
"any minute" again.

- No, 15 minutes.
- 15?

- We've got an exact time now.
- Why is it that it's our job
to get her here?

I'm sorry.
That's not your job?
It's your job.

- You booked her.
- Excuse me. Excuse me.

How's everything going?
Looks beautiful.

- Yeah, you like it?
- Love them.

- It was your idea, right?
- That's right. Whose else?

- I don't know.
- Naked girls. What else
do you think?

- Solves anything.
- You guys really
are beautiful.

- You don't like it?
- So are you.

You're in the moment.

- Do you know what the term
"zeitgeist" means?
- Yes.

Do you?
You are in
the zeitgeist.

You are in
the moment.

- What does that say to you?
- That says...

Mercedes, vodka, Lego.
Whatever you want.

- Just anything.
- Doesn't make a difference.

Just put it right
at the bottom.

You know what?
Can you grab my
cell phone?

- Yeah, sure.
- Do you have it?
Can I have it?

- Wow.
- ( laughing )

- This is...
- Why all the whispers?

- this is unique.
- Um...

- I mean, you're not
doing this, are you?
- Don't worry, baby.

- It's not me.
- Arrianne, oh, my goodness.

- Hi, it's nice to meet you.
- Good to see you.

- This is Anthony Heywood,
the photographer.
- Anthony Heywood.

- How are you?
- Good. Of course.

- How are you doing?
- Good.

Listen,
we're ready to go.

So, uh...
you get comfortable

and take your time, but I'll
get you in and out of here.

- Is this the shot?
- Yeah, this is the shot.

- Did you meet Billy?
- Hi, Billy. How are you?

- How you doing?
- How are you?

- This is Oliver.
- Hi, Oliver. How you doing?

So, listen.
We'll get you anything
you want and let's just--

- To be honest,
I'm a little concerned.
- Mm-hmm.

I don't really get it.
The whole naked thing.

I wasn't told
about that and...

- Oh.
- You know what? I spoke to
Allison just 10 minutes ago.

- About what?
- You guys should
talk about this.

- Hi, I'm Arrianne.
- You guys should
talk about it.

Nice to meet you.
I'm so happy to meet
you in person.

You know, we should
have a little discussion
about this.

- I'm a little concerned.
- What seems to be the problem?

I wasn't quite sure
that there was going
to be the nudity.

- We can talk about this.
- She's incredible.

- Hey, if there's any
problems, you come get me.
- Terrific. No worries.

- Thanks.
- Arrianne,
just a minute of your time.

- This is Phil and Russell.
- Hi.

- I'm so sorry.
- Arrianne, we are running
just a bit late.

I'm Arrianne.
Nice to meet you.

Let them-- these are the guys
that are paying for everything.

Heywood:
We'll be right out.
Let's deal with this first.

So I'm thinking--
I'm having an idea.

I'm going,
"What would make
Lorenzo happy?"

And I think of my friend
Melissa-- besides you, Guido.

I think of
my friend Melissa.

I say, "Here is a girl
who has been designing
all her life,

creating very
interesting things.

Perhaps, Lorenzo,
you would be interested
in hearing a bit

about what she does
in an effort

- to maybe open the line
a little bit. Maybe.
- By all means.

- Melissa: If I could take
a moment of your time.
- By all mean.

Just to let you know
what I have coming out
into the future.

I have a new concept called

music underwear.

Now hear me out
on this one.

What happens is--
a girl scenario.

A girl comes in.
She's making love
to her husband.

She's taking off
her clothes.

The panties come down
and all of a sudden you hear,

"Let's get it on."

It's a microchip.
I can also put them in bras.

And I'm thinking about
putting them in a line
of dresses, too.

- Lorenzo: Aha.
- You know, you don't have
to go to the stereo.

It's already right there.
Romantic, whatever.

- Sewn into the band.
- Like the birthday card
you open up

and they play
"Happy Birthday"
to you.

- Aren't those cool?
- Right.

- Hello? It's great, huh?
- Clever idea.

Into the 21st century.
The kids-- the MTV generation's
gonna love it.

Very inventive.
No question about it.

Where do you
keep the batteries?
If you don't mind my asking.

She told us no pubic hair.
That's what we agreed on.

- I-I--
- Okay, who's sitting
in the chair

and who's working
for you right now?

- Am I working with you?
- You are indeed working
with us.

- Do you want to work with me?
- But the agent is
the go-between.

- That's right.
They're the go between.
- Now, she's the one

- who's supposed to
negotiate the contract.
- I'm here right now.

I'm not gonna do it.
Figure it out.

Arrianne,
I'll tell you what.

I'm gonna get on
the horn with Allison

- and see if we can't
work this out, okay?
- There's nothing to work out.

I don't understand
what you're not quite
getting about no.

- Does not sound good.
- Manager: Get her out here.

- Do you understand--
- In front of the camera.

- In front of the camera.
That's all I'm asking.
- It's not gonna happen.

If I go in there,
it will be like
the third--

- you go in there
and ask her, then Anthony--
- Just get her in front--

get her in front of the camera!
Just get her in front
of the camera.

- Just get her
in front of the camera.
- Back off, Jackie Brown.

What if I tell you that--

obviously won't
see anything.

You'll be covered up.
It'll be very tasteful.

- Are you still trying here?
- I'm still...

- Trying.
- Yeah.

You're not
gonna get this.

You're not
gonna get it.

It's a very

fast-moving cancer.

And there's no cure.

And there is no treatment.

None.

Only treatment
to make you comfortable.

You'll either...
( sighs )

...find yourself
( sighs )

going into coma
at the end

or pneumonia
will take you.

You know,
I was work on

a new suit for men.

Is different

because you have Armani--
you have the long jacket.

I have new idea.

I have to make little short

and cinching of the waist
like the dirty movie star.

With the long,
full trouser

going all the way
to the floor.

And the hair--
you know the all cut--
shaved hair.

I don't like.
I like the long thing.

He's walk the dog,
you see?

I was not ready.
Hey, you're never ready, eh?

For such thing.

It's funny that you see
in the movie,

they say,
"You are going to die."

"Oh, I'm out of the deal,"
you know?

I'm going to die.

Well, we all have to die.

- Take care of yourself.
- Yes.

- You call me if you feel
the slightest problem.
- Yes, yes.

- Andrew, you get cab
for doctor.
- Of course.

Love you like always.

- Goodbye, my dear.
- Guido.

- Harold.
- Bye-bye.

- Well?
- Is fine.

- Everything fine.
- What did he say?

It's all negative.
It's fine.

Everything fine.

I have to go
upstairs and work.
Everything fine.

Okay. Okay.

( music playing )

Anthony?

- Oh hey.
- Hey.

I'm sorry.
I didn't mean
to wake you up.

- Mm-mm. I fell asleep.
- Yeah.

- How are you?
- What?

How are you?

( softly )
Good.

Okay, you know what?
Here's an idea.

I got an idea.
Why don't you do your job?
How 'bout that?

I can talk to you
any way I feel like.

- I cannot wait to tell
Camille about this.
- Hold on one second.

She is going to flip out.

- It's just the best thing
that's happened.
- Yeah, she is.

- You have that
appointment at 3:00?
- Hey, Ramon.

Who won the game last night?
Anybody good?

I don't know.
It's sort of like
the obvious choice.

- Okay, I'll call 'em
first thing in the morning.
- If you're gonna to go with--

- Thanks.
- I will write it
down right now.

I can't wait to tell Camille.
She's gonna be thrilled.

- Man: I got a call from Liam.
- ( chatter )

Oh, that's excellent.
Listen, I got a call
from Liam.

- He's really sorry, but he has
to put a hold on the orders.
- Yes, definitely.

- Why is that?
- He's not comfortable
until he sees the show.

Well, that doesn't
make sense.

- Hi, Blair.
- Listen, there's something
I need to talk to you about.

No, no, no, no.
I'll have her come out.
Just not now, okay?

We'll have a meeting.
I'll take care of it.
I promise.

- So we got a call
from "Mademoiselle"...
- Excuse me. Excuse me.

and "Enchanté"
and they're not gonna
be able to make it

until they hear
from you first.

Okay, I'll call her.
I don't think that should
be a problem.

I don't either,
but you should
get on it.

Okay.
I'll do that.

- Don't forget
lunch tomorrow.
- Check the board.

Oh, yeah. Thanks.
Don't forget.

Also, schedule me
that blow-dry for
next week.

Man:
What are you
hiding, Simon?

- What's his damage?
- Let's look at these.

Oh, I see what
he's hiding here.

- Man: Oh, this is fun.
- Okay.

Well, we thought
that Corso

shouldn't be sitting
next to Bornio because--

well, think about
their past.

You know what I mean?
They hate each other.

And if we put Corso
across from Bornio,
there'd be a little...

- All right,
I'll move 'em back.
- ...energy.

- All righty.
- That's not gonna work.

- Why?
- Why?

Why don't you just
put Woody next to Mia?
Man, they hate each other.

Like semaphore.
They can tell each other
to fuck off with flags.

- I like that.
- It'd be perfect.

- That's what I was going for.
- Nice language.

- Lunch today and tomorrow,
don't be late.
- Simon?

- Where did Janice--
we were getting lunch.
- Are you all right?

She cancelled.

She phoned a couple hours ago
to say that she wouldn't
be able to make it.

Did she call or did
an assistant call?

- I spoke to her.
- Why is it so quiet in here?

Woman:
I just need to make sure
the skirt's right.

Hi, Alfred.

Why aren't you sewing?

It's not ready.

Blair.
Blair, why are you
doing the fitting?

What the hell does it
look like I'm doing?

Nobody's here
to do this.

- Chloe?
- Mm-hmm.

- You're pinning, too?
- I was pinning, but I'm now
leaving.

- We had two models show up--
- Don't-- don't go.

and nobody's here
to put these girls--

- they're anxious to leave.
- Oh, gracious.

- All right--
- Where is Camille?

Ladies,
we're obviously
at an impasse.

I think maybe the thing
to do is call it a day.

I need to talk
to you and we just relax

and we'll come back--
we'll start fresh
tomorrow, okay?

- This doesn't look right.
- What is the point of staying?

- It's not you,
but what is going on?
- We need to regroup

- and do this tomorrow.
- I'm not a clothing designer.

- Look, Roberta.
I'm a shoe designer.
- I know.

- You're doing a great job.
- I have to go.

- I'm confused.
- This is a good time
to take a break.

- You're confused?
- We're not getting anywhere.

Where are the rest
of the dresses, though?

Woman:
Hey, how are you?

- Good.
- Hi, Penny.

Hi, Roberta.
Hey, sorry I'm late.
If I could just have a second.

I just wanted to let you know
I'm not gonna have time to do
the show this season.

I know this is
really late notice.

- I have to get going.
- No, no. Just stay, okay?

- Roberta, listen.
I understand--
- I know that you're busy.

We'll help you--
what do you need?
Do you need a car?

- Roberta,
I don't need anything.
- What do you need?

There comes a time

when you just move on.

- Roberta, I'm sorry.
- Can you move on
after the show?

- Roberta, no. I can't.
- That's all I'm asking.

- I can't do the show.
- Please, don't leave.

- Come on, Ro.
- Denis.

- Listen, you are my friend.
- I gotta go.

- Dennis, can you please talk--
- I gotta be outta here.

- Five minutes, all right?
- Everybody, everybody--

I can see you've
got your hands full.

Roberta, you've
got your hands full.
I'll come back tomorrow.

- We'll talk about it
then, okay? Good luck.
- Roberta: You can't leave.

- Dennis?!
- Dennis: Yes, yes.

- Go get her! She's leaving!
- Dennis: I'm going, I'm going.

Roberta:
She's quitting the show!
Jesus! Where's Camille?

( groans )

- ( giggles )
- Hey.

- Hi.
- Hey.

- Hi.
- Hi.

- Wow.
- Do you have my dress
over there?

- You're getting dressed?
- Yeah, I just have to
pee really bad.

- Oh, you do?
- Mm-hmm.

I don't see it.
Oh, here, here.

Look.

Jamie. Jamie.

Jamie...

Hey, do you like eggs?
I got-- or pancakes.

- I'm starving.
- Yeah--

I don't know about you,
but I didn't eat anything
at that party last night.

Yeah, I really--
I have so much
stuff to do.

I didn't realize
how late it was.

- What do you mean?
You're heading out?
- Yeah.

Now?
( stammers )

- The show's in three days,
so I really have to go.
- Oh, I know.

- But maybe we can--
I can give you my number--
- I was just gonna make--

Oh, too bad.

- I was gonna make
a whole breakfast.
- Yeah.

Oh.

Well, Camille.

- Hi.
- Hi.

- Good morning.
- Good morning.

Good morning.

- Good morning.
- Good morning.

Gee, is it
my eyes?

I hope you
don't feel--

I'm not like
that usually.

I don't know what
you think about what happened
last night-- was wonderful,

but that was
kind of radical.

I don't--

I hope you--
in no way did you think
that I was trying to--

as quick as possible
get you--

get you or something
like that because--

I'd love to very slowly
get to know you.

So I hope in no way
that you think--

this is what I do

or this was a game to me
or something like that.

- Okay.
- Okay.

- Are you headed off?
- Yeah.

Let me walk you to the thing.
Did I say something wrong?

No, no, no.
That's good.

All right.
I feel so sweet
towards you.

Oh, my gosh.
Oh, my gosh.

Look, you are
a very nice person
and everything,

but I am not some--
you know.

I know your thing that you do.
I know your type and--

- I just said...
- No, I just don't want you
to think that I'm some person

who does this all
the time either.

I know--

- I just-- I'm not
that person.
- Camille.

Camille, wow.
This is really hurt--

- No, I don't want-- okay.
- Jeez.

What do you do...

exactly?

You mean for Fantasia
and the job?

You know, I, uh...

discover new talent.
That's the job description.

The people
that we work with--
I'm a facilitator.

- A facilitator?
- Yes.

- Is that a funny word?
- ( giggles )

I give you whatever you need
to do what you need to do.

- Anything?
- That's right.

That's right.

I have to go.

- You have to go?
- I have some fittings.

They're gonna be crazy.

- I've been gone all day.
- I know you have.

I know you have.

- What time's your plane?
- Soon.

I hate that.
I hate being late
to the airport.

- Do you feel anxious?
- We're not gonna be late.

- He decrees it.
- You're the one who's late.

Oh, well,

I know we had a timetable,
but I've been spending time

with her
and I just don't know.

I don't know.

What?

You know?

No, I don't know.

- What?
- Maybe not the one for us.

- She's not the one for us?
- That's right.

Why's that?

Lots of reasons.
She's not--

I don't think
she'd fit in.

- I don't think
she'd fit in.
- Why not?

She's a sweet girl.
Wants to do her thing.

Her past stuff
is kind of far out.

I don't think
it's the right idea.

Look at you.
( chuckles )

Just set up the meeting.

( mumbling )

- Hey.
- Woman: Hey.

- How you doing?
- Good.

- You?
- What? Huh?

- You?
- Good. I'm good,
I'm good, I'm good.

What are you doing here?

- Day off.
- You have the day off?

Wanted to, wanted to see you
for a change.

Oh, yeah.

We should go away
somewhere.

How many days
holiday do you got?

- Let's go away somewhere.
- Just through the weekend.

- Hmm?
- Just through the weekend.

Right.
Well, not
this weekend.

It's going to be tough
to go away this weekend.

No, we should
plan a holiday.

We should plan
and go away somewhere.

Why don't we just
plan something today?

- Okay.
- Are you too tired?

No, I'm fine.
I'm wired, man.

I'm up.

What do you want to do?

I don't know.
We could eat something.

Walk around.
Talk maybe.

Okay. We could
eat something here.

We could talk here.

- Do you wanna stay here?
- I...

I just-- I'll--

I won't bring
my work home...

- with me.
- But that is you.

How can you not
bring it home?

What, and then
I don't bring
my work home?

And then, what,
we sit here and talk
about what?

Things that
really matter.

And what are they?

Your work
really matters to you.

That world
really matters to you.

When you say it like that,
it just seems so stupid.

I love it,
I hate it.

You know?
I love it,
I hate it.

I love it when
I'm doing it.

When I'm not doing it,
I hate it.

It drives me crazy.

I couldn't do
a 9:00 to 5:00 job.

- It's crazy.
- I'm not asking you to do
a 9:00 to 5:00 job.

I'm not asking
that of you.

I'm saying that you should
do what you want to do

and I'm not here
to lay in judgment of that.

Maybe you don't want
to hear it anymore

because you left it.

Yeah, but we used to have
a common denominator, right?

- And now we don't.
- Right.

- And I think--
- Well, hang on.

Now that was
a common denominator.

It wasn't
the common denominator.

Wasn't it?

* Let's dance
all night long... *

What you have done?

- What you have done?
- ( cheering )

Happy birthday,
Daddy.

- That is Peter.
- Hi.

- Hello, nice to meet you.
- My daddy, Lorenzo.

- These are cigars for you.
- Thank you very much.

- Very kind.
- Lorenzo.

Regina.

- I thought you were in Rome.
- ( speaks Italian )

Look at that.
How beautiful.

( speaking Italian )

- Happy birthday.
- This is the best boy.

- You are best boy.
- Surprise, darling.

( speaking Italian )

Where is Mario?
Mario here?

- He'll be here.
- Here?

Oh, my God,
cómo estás?

- Divine. Not a year older.
- What a beautiful thing
to see all of you here.

What a surprise.

No picture.
I don't want
my picture taken.

Oh, right.
Don't like pictures?
Since when?

- Merci. Go on.
- Yeah, because
you will not change.

( chatter )

My dad-- trust me,
my dad is cool.

- You sure?
- T: All black niggas
in the house.

- Mario: Dad!
- T: Black time!

Happy birthday.
Happy birthday.

- My name is T. I'll be
your host for the evening.
- Mario.

Yeah.

- My father Lorenzo Mancini.
- How you doing, Mr. Mancini.

- Mr. Mancini, Mean Mitch.
- Ah, Mr. Mean.

- J.B., where is he?
- For the black brothers.

The man.
This is the man, Dad.

- J.B., meet my father
Lorenzo Mancini.
- Hey, man.

- Nice to meet you.
- Pleasure to meet you,
Mr. Mancini.

Simone, was
that LL Cool J

that walked in
with the hat?

- No. LL Cool J.
- Not him?

- That's J.B.
That's my boyfriend.
- Ah, J.B.

- Oh, really?
- Yeah, yeah.

- How very nice.
- Dad.

- Dad, what do you
think of this?
- See, but, Mario--

- What we can do with this--
- We talk in the office.

- This is what
I was talking about.
- We talk in the office.

My name is T.
How you doing, man?

- Mr. T.
- This is my nephew.

- That's my uncle right here.
- He's a funny guy.

- Here's a great guy.
- Come, come, come.

Can y'all tell me
where the bar is?
'Cause I need a drink.

Don't play.
Don't pout.

Don't pretend
there's nothing wrong
because is much wrong.

Because you have
no focus.

You just do anything
come into your head.

What did-- focus?!

I just brought
these people here

in a concentrated interest
to bring you and them together

and myself,
so that I could do something.
You say I don't have focus?

That's exactly why I brought
them because I do have focus
for the first time.

That's why
I brought them here.

So that we can
do something.

So that I can help you
and help myself,

but you don't want
to let me do that.

You just want to run it
the way that you want
to do it.

It's always
the same thing.

Sending me off,
sending me away.

( laughs )
My son, my son.

No, no, no.
It doesn't work that way.

I'm trying to do
something now...

to establish myself.

But you don't wanna
let me do that.

Easy, tiger.
Easy, tiger.

- We can talk here.
- Don't tell me to take it easy.

Well, it's a party.
You're supposed to be
having a good time.

- Exactly.
Exactly the point.
- Well, listen.

It is a surprise party
and you missed the surprise,

- so I think he has every--
- I didn't mean to miss
the surprise.

Well, you did, okay.
Let's cop to that.

You think it would have been
any different if I had gotten
here for the surprise?

- Do you honestly
think so, Guido?
- Yes.

Simple enough.
Yes.

I don't think so.
I don't think so.

Just get over it.
You'll be all right.

- Place looks good,
doesn't it?
- Looks fine.

Oh, come on.

Meanwhile, are these
new friends of yours?

They're not armed,
are they?

- I'm just asking.
- Don't you start on me now.

- Guido: God, your hair is so--
I want this hair.
- Irene: Like it?

Look at Gabriella.
Do you believe that?

- She's taller than I am.
- Do you know what she's
gonna do there?

Not much with
that lunkhead,
I hope.

Excuse me. Sorry.

- You're funny.
- You look delightful.

- And beautiful.
- Oh.

- And how is our husband doing?
- And so do you as always.

I think you should
spend some time with him.

- No, no, no.
- It's up to you.

No, no, no.
Guido finds out,
he'd kill me.

- So did it change--
- Cut my head off not to say
something else.

- Your head?
- You cannot do that,
my darling.

- No, no, no, no, no.
- Looks so beautiful here.

- It's very beautiful.
- I miss you, you know?

I miss, too.

- It's nice to return.
- Yeah.

The old days.
Life is short
till the longest.

It make you
think about, no?

- You don't think about?
- I think a lot about.

- I think about.
- Yeah.

- You look so worried.
What is that?
- I worry?

- I worry about
the children.
- Why?

Because they...

You know Gabriella,
she's Gabriella,

- she does what the fuck
she wants to do.
- Same Gabriella.

Mario. He keeps trying
to prove something to me.

I don't care
what he do.

I care he find
a place to sit down

and to sit there
and look ahead and focus.

And I worry about...

You are such
a good mother,
aren't you?

- I am the best of the mother.
- Always worried about
the babies.

Your little babies.

You're so good.

Thank you for being
so good to the babies.

You're good.
You're a good heart.

I love you.

Oh, how are you
doing to me?

- ( sighs )
- What is that?

Is there something
wrong there?

Eh...

I am sick.

- You're sick?
- Very sick.

Okay. We go to
the doctor and...

Is no doctor.

I have been to Harold.
He's the best in the world.

- You have AIDS, honey?
- No, no, no.

- What is that?
- I have the cancer.

I have cancer.

- Hi, Kelley.
- Hi, how are you?

Fine, honey.
Are you coming to
the show next week?

- Yes, absolutely.
- Good.

This place is full
of fucking sharks today.

- No, it's gonna be fine.
- Safer to do it.

You know what?
It'll be fine.

- ( sighs )
- He's gonna be here
any minute.

- Just cool your jets.
- Penny?

- Darling.
- Roberta: Hi, Janice.

- Hey, how are you, baby?
- How are ya?

- Good to see you.
- You and your beautiful team.

Hey, everybody.
How you doing,
Simon? Sarah?

You look gorgeous.
Let me just take a look
at this jacket.

- Thank you.
- Girls, look at this jacket.

- Oh, that's gorgeous.
- Is this not beautiful?

- Look at that.
- Palmer Jones.
They made it for me.

- It's stunning. I love it.
- Leave it to you to be
right on top.

Hey, listen.
Can I talk to you
for a minute?

- Sure.
- Come on.

Okay.

- Simon: How you been, Darce?
- Very well, thank you.

Okay.
What am I doing?

You've cancelled lunch
on me three times.

You haven't rescheduled.
What is going on?

I'm sorry.
I don't know if
I've done anything.

- You haven't done anything.
- Okay. All right. Really?

Really. You've just been
totally lovely.

You would not
believe the week.
This is unreal.

People are acting weird.
I don't know what--
is it a full moon?

What is it?

- Do you want me to tell you?
- What? Yeah.

Is there something
I don't know?

I don't want you
to flip out, okay?

Are you okay?
Are you okay?

That is so sweet of you.
It's about you.

Am I okay?

I want you to be okay.

- What?
- Camille is seeing
Jamie from Fantasia.

- Oh, I knew that.
- You knew that?

- Oh, completely.
- You knew that?

- Oh, yeah.
I knew that.
- You knew that?

- Oh, sure.
- Oh, my God.

- I thought it was part
of the full moon thing.
- I thought this was gonna be--

- Are you kidding?
- No.

Oh, this is fantastic.
I feel so much better.

You knew.
You all knew.

- We weren't positive.
- We didn't know.

Yes, you did.
You knew.

Damn it.

- Shit!
- It's done.

- Roberta: Let me just
try something here.
- Woman: Are you okay there?

Shit.

- This dress is
hopeless, Roberta.
- No, no. It's fine.

Maybe we should
just do it asymmetrical.

Maybe we should just
do it like it's supposed
to be uneven.

Yeah. I think
that's a great look.

- Look at that.
- That's not bad.

- Let's make sure
I'm covered, though.
- Yeah. Okay.

Somebody have a cigarette?

Did you like the flowers,
by the way?

- Flowers were lovely.
- Oh, thank God.

Hi. Hi, Roberta.

- Roberta: Let me have the tape
for a second. Hey.
- Hey there.

- I need to talk with you.
- Okay.

We need to discuss
what we didn't get to
talk about last night.

God, this is snagged now.

- What?
- I've gotta get Alfred
to run that through again.

- Oh, my God.
- Don't worry,
don't worry. It's okay.

But why would she
be coming back now?

Are we trying to put it
as if she's booted
Camille out

or that Camille's left
and it's a mutually--

I just don't have
an answer for you
on that.

Just put,
"The unexpected
absence of Camille

due to personal problems
has left..."

I don't think
we can put that

because we don't
know that she has
personal problems.

Well, then,
what are you gonna put?

How are you gonna explain
that she's not there?

- Don't--
- Would you write it down?

- Fantasia?
- Yeah.

- ( car horn honks )
- Fantasia?!

- The Fantasia?
- The. Yeah.

- What do you mean, "Yeah"?
That's excellent.
- I know.

- It's just so corporate and--
- Oh, please.

- Don't even give me that.
- What do you mean?

Don't you think
that's where we
wanna be?

- No, what does that
have to do with--
- The largest, most powerful

design firm
in the whole
country?

I mean, come on.
That's what you do.
You're a designer.

- Be happy about it.
- I'm happy.

I just don't see
what all of that
has to do with

drawing
and making--

I mean...
( stammering )

I'm scared.

It's big.
It's a big thing
and I don't--

there's
a lot of pressure
and I don't--

- you know, I--
- Camille, come here.

- I know. It's huge.
- Yeah, it's huge.

- It's real huge.
- Yeah.

But you should
really embrace it.

I've decided that

I'm gonna take a job
back in London.

Wow.

It shouldn't be that much
of a surprise, really.

No, I mean--
look, look.

I-- I understand.

It's obviously not about you.
You know, it's obviously--

It's been a rough week.

But, you know, it's not
always like this.

Right through there.

I'm just really
in a rush,
you know?

I haven't got
time for this.

I understand you guys
are having problems,

- but this is my time.
- It's so hard at this time.

- It gets so hectic.
- Right, I know, but--

At the end of the day,

we're all doing what
we need to do out
of all this.

For ourselves.

Let's face it,
we're all covering
our own backs.

I mean,
fuck, Camille is.

...mood is
at the time,
you know?

Uh-huh.
I like how you--

I'm getting a sense
of how you move around
in the world.

It looks like this,
but it's kind of--

- it's directed from you--
- Why are you always observing
everything I do?

- What am I doing now?
- You're on my height.

- And you're looking
twinkly-eyed in my eyes.
- ( moans )

And you're gurgling
and gurgling.

Did you ever see that movie
"Like Water for Chocolate"?

No, I didn't.
Oh, wait a minute.

Yes, I did see that.

I like those Marquez novels
that are like that.

- Why bring that up?
Why do you ask?
- Do you know how,

when she would cook food
and she was sad

and people who ate
the food after
she cooked it

when she was sad,
they felt very sad?

And then when
she cooked with
love, then they--

- Yes, yes?
- they all fell in love
with each other.

- Yes.
- Well, that's kind of
how I feel about--

you know,
when I do my drawings.

It's whatever's
inspiring me.

- Like you're inspiring me.
- I am?

- Yes.
- You're inspiring me, too.

I love what
you just said, though.
That's very interesting.

How I'm sure it
translates your vibe--

what's going on in you
as you create these things.

- Like, what was
this person thinking?
- Of course.

Thinking and feeling
and who are they and
what went into it?

As you put that on,
you kind of--

- I'm not an airy-fairy guy
or hocus-pocus guy,
- You feel it.

but I think
it's surely true.

- Right?
- Yes. Yes.

- Camille.
- Hey.

- How you doing?
- Hey, what's up?

- How you been?
- Good. How've you been?

Good. I was worried
about you. I lost you
the other night.

- I went for a drink, I turned
around and you were gone.
- I know, I was so tired.

- I should have called you.
- I was worried. I called you--
what, three times?

- I left messages
on your machine.
- I know.

I've been so swamped.
Your mom called me.
What'd she want?

I talked to her
and I told her that
I was looking for you.

- I lost you at a party--
- You called your mom
and told her?

I talk to my mom all the time.
You know my mom. My gosh.

You could've come over
and see I'm okay.

- I'm fine.
Where are you going?
- Maybe I should.

- I was just gonna do
some shopping.
- Yeah?

You're freezing.
Why don't you have
a jacket on?

- I'm fine.
- You're all right?

- Yeah, it's warm.
- Good, good.

This is Jamie.
This is Paul.

- Jamie, how you doing?
- Hello, Paul.

- Good, good.
Good to see you.
- Good to see you.

- What's your
last name, Paul?
- McMichaels.

Did I interrupt
something?

- No, no.
- No.

We were just--
we had to look at
some things in here.

But we're gonna go.
I'll call you later.

- Great. Please do.
- Okay.

It's good to see you.

Wow. You look like
you're in a walking race.

- No.
- Racing away from me.

- Sorry to leave you on the
street there. I went into--
- It's okay.

Hey, wait a minute.
Where are you doing?

Just gonna go home.

- What?
- What?

- What'd you get?
- A present for you,

but you're walking
away from me like that
and you're going home?

- You're going home?
- No--

Was that--

Did you want me to accompany
you or was that goodbye?
Was that it?

What sort of weird stuff
has happened now?

- Nothing.
I just feel a little--
- Well, not nothing.

- Something.
- Okay, that is someone

who knows
Roberta very well

and I feel a little
strange right now

and... that's it.

Well, it feels
awful to me.

- I'm sorry.
- What's that mean?

He knows Roberta

and so you don't
want Roberta--

oh, I see.
To know that we're
seeing each other,

but-- wow.

- Okay, but it
feels personally--
- What don't you understand--

Well, I sort of
understand that,
but personally--

what don't you understand
about the fact that

that personally
feels awful to me?

You're creeping me
out a little bit.

You just need to
relax and just--

I'm perfectly
relaxed and I'm sorry
I'm creeping you out.

This is freaking
me out, frankly.

- Are you playing
some kind of game?
- I'm not playing any games.

- That was--
- Where sometimes
it's wonderful

and sometimes you go,
"Fuck you, I'm going home,

- I'm being lost."
- No, I'm just a little
confused right now, okay?

I don't know what
I'm doing. I'll meet
your boss if you want--

It's not about
meeting my boss,
honey.

It's not just
about meeting
my boss.

I think I get
the picture. I'll--

- Please.
- I'm sure you do.

Roberta?

I'm back.

Roberta?
Sweetie, sweetie.

- ( groans )
Such a bitch.
- Sweetie.

I tried to get you
on the cell phone
and it didn't work.

I know.

There was no reception
where I was.

- I'm sorry.
- How was Bali?

Bali was Bali.

- Surf was good.
- Yeah.

I saw a big shark.

I've seen a lot
of sharks, too.

The show's in
a couple of days.
What are you gonna do?

I don't know.

When do you wanna do?

I don't know.

- This is just hard.
- I know.

What do you
think's going on?

I think
Camille's bailing.

But why?

I think
she's selling out.

I think she wants to go
make some more money and...

Yeah,
but that's--

if she wants to do that,
it's her life.

She's gonna do it.

Yeah, but that's
not the point.

- I know.
- It's the way
she's doing it.

Maybe this is
an opportunity.

I mean, if you look
at it in a different way.

Okay, so Camille--
who needs her?

- ( laughs ) Me.
- No, I'm serious.

When you started out,

you were as good
as Camille.

Come on. You were.
You know it.

You know it.

- You thought so anyway.
- I know so.

You know?
And so do you.

Really, the bottom line is,
sweetie, so do you.

And maybe it's time
for you to get back
into the driver's seat now.

( elevator dings )

- ( phone ringing )
- ( chatter )

Woman:
They looked really uptight
to me. I don't know.

Seems like
it's supposed to
make you really relax.

( continues conversing
faintly )

- Excuse me.
- Yeah, I'll be right with you.

She said it seems like
the most stressful thing
you could do.

( footsteps )

- Anthony?
- Yeah.

- Hi.
- Hi, how are you?

I'm Wilemina.
It's okay. Have a seat.

Janice is still
in a meeting right now.

- Okay.
- She'll be with you
in a little bit.

- Okay.
- Um...

I've watched your work
for a while.

- You have?
- Yeah. I'm really, really
into the heroin chic thing.

You are
a heroin chic god.

- God.
- I totally follow
your stuff.

It's like
an albatross
around my neck.

- Really?
- Yeah, because it's just
been copied so many times.

Yeah, but you
were the original.
Everyone knows that.

- I was.
- Everyone knows that.
Trust me.

- Yeah, I really admire
your work.
- Thank you.

- You're welcome.
- Thank you.

I hope your meeting
with Janice goes well.

- I could get thinner models.
- ( laughing )

It's cute that you're
trying to make a joke.

You gotta
reinvent yourself.

You've become a little
bit of a Xerox copy

and every time
it's been copied,

it's just gotten
a little duller.

I don't think
that's fair.

I'm not copying myself.

Are we arguing?

I'm speaking
for myself, yes.

Is argumentation
gonna get you success,

uniqueness, rebirth,
and freshness?

- I think expressing myself--
- Yakity, yakity, blah,
blah, blah, blah.

That's right.
Reflect.

- Excuse me.
- Yeah, hi.

Hi. Can you tell me
where Janice Crawford's
office is, please?

Mm-hmm. Janice Crawford's
office is here.
Can I help you?

Could you show me
where it is?

Do you have
an appointment?

No. Can you tell her
that Halley's here?

Okay, Halley, but she's in
an appointment right now

and she doesn't
want to be disturbed.

I can call and see
if she's available.

Can I tell her
what this is regarding?

Would you just tell her
that it's her daughter?

Um... her--
her daughter?

- Halley.
- Okay. Sure.

Have a seat.
I'll see what
I can do for you.

- Okay, Halley?
- Okay.

Yeah, hi.
Wilemina?

There's a girl here.
Her name's Halley.

She says she's
Janice's daughter.

Can you come
check it out for me?

All right. Okay.
See you in a second.
Bye-bye.

- Thank you.
- Yeah, no problem.

- Janice's daughter?
- Yeah.

- Her name's Halley.
- Okay.

- Hi. I'm Wilemina.
- Hi.

- Halley.
- I'm Janice's assistant.

- Nice to meet you.
- Uh... your mom's...

- Yeah.
- ...assistant.

- Right?
- Yeah.

Do--

- You wanna see her? What is--
- Is she here?

She's here.
She's in a meeting, though.

I don't think now is a good
time to disturb her.

- Can you hold all my calls?
- Sure.

- We have an incident here.
- An incident?

- I'm just gonna...
- Yeah. This girl says
she's Janice's daughter.

- Her name's Halley.
- Honey?

- What?
- Are you aware that
Janice has a daughter?

No, Janice doesn't
have a daughter.

This young lady
behind us claims
to be her daughter.

This a joke?

I-- I'm so happy.

I'm so excited.
Really.

You keep it simple.
You keep it clean.
You keep it now.

- You keep it hip and edgy.
- Janice.

- I gotta say this is
gonna work out really well.
- I like it.

Simple, now.
I think it's great.

Anthony: Something hip.
Something edgy. I think
it's fantastic.

- Yeah, I can do it.
- You've worked with
celebrities before?

- Yes, I have.
- I know you have.

- No problem.
- You're gonna be brilliant.
I love you.

- Thank you.
- Oh, you're so gorgeous.

- Here's what I say.
- Janice?

- I'll take you
to the elevator.
- Janice?

Janice:
This way.
That's right, angel.

- ( elevator door dings )
- Janice: Oh, my God.

That situation
with Anthony is so--

- Janice. Janice.
- you've got to promise me
one thing.

Promise me one thing--
promise me, you both,

that we will
not let this guy
do any heroin chic.

- You promise?
- Janice, there's somebody
here to see you.

- There's always
someone here to see me.
- This is someone special.

I think someone special
is here to see you.

- Why don't you turn around?
- ( music playing )

- Hi.
- Who's this?

I don't have
a meeting with her.

- Um... she's--
- Halley.

Are you okay?

Okay. Um...

Why don't we give them
a little privacy?

If you need anything,
you call me.

Water. Would you
like some water?

Janice? Halley?

Lunch with Gary Packer
is right now.

Just keep
that in mind.

Hi... Mom.

- You're busy.
- No.

No. No.

No.

Um, can you meet
her downtown?

Between some meetings
she has down there?

- Sure. Yeah.
- You can do that?

Okay, then what I'm gonna
say is that you're gonna
meet her downtown.

This is in Chelsea.

- Okay?
- Okay. Can I--

You know where
that is, right?

If you just
give me the address,
I can find it.

Okay, I will
give you an address.

I'll write it
down for you.

Hold on a second.

You can go meet her
down there and she can--

I don't know--
have coffee with you.

How long do you
think she'll have?

That really depends on her.

She's got these meetings

and if she stalls them,
she stalls them.

I can't really
tell you, though.

What's she like?

Your mom?

I love your mom.

I really--
I wanna be your mom.

I think
she's a great lady.

How long has it been
since you've seen her?

- 12 years.
- 12 years?

- How old are you?
- 19.

Do you mind if I ask--

it's none of my business,
but what happened?

Darcy:
I have to say in 12 years

I have done a lot
of interviews

and I have never come here
in my own city.

It's so beautiful.
I thought, why does she
want to go down there?

- It's such
a great idea. Thank you.
- No, it's nice.

Because otherwise
you're gonna sit
in a cafe

and I was gonna spill
mustard on my shirt
and you're gonna write...

- I won't write that.
I'm glad you brought that up.
- ...is such a slob.

I'm glad you brought
that up because I want
you to know

Janice and I have such
different styles and I hope
she didn't scare you off,

- but we were so excited--
- No, sweetie. She didn't
scare me off.

I know.
I saw that.
I saw that.

- But she's really great.
We're so thrilled to have you.
- No, she's fine.

- She's fine.
- And you're so normal.

I was expecting something
so different out of you.

I've been such a fan,
but you're so accessible

and easy
and down to earth.

This business
is so about--

you do one role
that you do well

- or you get known
for and that's all
- Very well.

- anybody ever
wants you to do.
- Mm-hmm.

- It's easy to cry.
Well, it's not easy.
- Do you think--

Do you think that
a lot of your comedy--

because you're
so well-adjusted

and you're so present
and down to earth.

- Do you think--
- You don't know me well,
do you?

- I'm trying to get to know you.
- Well-adjusted I am not,
but that's okay.

Do you think a lot
of it is because of
what you've had to endure

in your personal life
and dealing with trauma

and stress

and sort of births
this comedian in you?

Is it new?
Have you always
been like that?

- The comedian in me?
- Yeah.

Sweetie,
I've always been--

no, to be honest,
like everybody else

I watched "I Love Lucy."
I'm like a freak.

I just wanted
to be, like,

redhead crazy woman.

- Right.
- Instead I'm a blond,
crying, serious,

- heavy actress.
- Bombshell, genius,

- Academy Award-nominated
actress. Please.
- Well, thank you.

I'm staring at you.

Besides looking at those
gorgeous yellow diamonds,
you must be freezing.

Hold this.
I have to tell
you one thing.

I can't help myself.

- Pashminas are so out.
- I'm freezing.

- Oh, they're so out?
- They're so out.

- I'm out?
- I know that you're not out,
but I wanted to say

if you're gonna do
a pashmina, use it as
a scarf, not like a throw.

Do you know what I mean?
You can use it, you can
cut them up

and make them into pillows
or scarfs or whatever,
but they're out.

- They're out?
- They're a little bit out.

I was really happy
when pashminas came in

because I thought there was
a chance for me to be very cool
and very warm.

I know. It's not like Europe,
though. They're sort of
a timeless piece.

Here, it's like
they come and go.
You know New York.

It's like fashion trends--
in or out-- snakeskin.

I'm so done with snakeskin.
It's all about plaids.

- It's all about
plaids for fall.
- What is this?

- Is this real leather?
- This is real leather.

Surprised
you showed up.

Well, I don't know why
you'd be surprised.

Of course
I would come.

It's-- you're busy.

You're my daughter.

Yeah.

- I can't let go
of your chin.
- I know.

I have an idea.

Why don't you
come to work at "A"?

We'll get rid of that
Raggedy Ann look.

We'll fix your hair.
We'll get you a makeover
at Elizabeth Arden.

Get you new clothes.
Take you over to Ralph.

Anything you want.
You can work with me.

Mom, I hate magazines.

What did you just say?

I mean,
I just hate that--

that they
make you feel bad
when you read them.

You know?

You just said
you hate that--

first you said they--

No, I didn't--

not your--

not your magazine.

Just when you read
a magazine, you--

I-- I just always
feel bad

about myself.

Like, you know...

just not good enough
for print.

You don't have to feel
that way about yourself.

We can change you.

But I don't
wanna change.

I don't wanna feel
bad about myself.

I like-- I like

myself most of the time.

It's just the ideals
of beauty in society.

- Oh, my goodness.
- When you measure
yourself up to that, you--

I'm sorry, sweetheart.
I'm sorry.

I just remembered.

Oh, goodness.

To be here today,
I had to cancel
an appointment,

but in exchange
for that,

I have to do
a conference call.

Paris to New York
and Milan.

Sweetie, call me up
and Wilemina will schedule
you for another time.

Just enjoy this.
Stay relaxed.

This is my favorite place.
Liz took me here the day
I got an Elly.

I will be
in touch with you

and we'll have
another time together.

All right, baby?

You know,
I have to go, too.

I've got a friend
here in town.

- Promised I'd visit.
- Can you--

You're okay.
I'll pay the bill, okay?

So you know,
I'm so excited
that you're doing this.

I don't want you to feel
like your hands are tied,

- but we really
have a strict concept
- Anthony: Yes.

that we're going
for in the magazine...

on this one--
really wants to stay
very close to that.

I know that
I'm sort of
pulling you away

from your heroin chic
that you're the master at,

but we're really
going very clean--

- little bit more commercial
than you usually go.
- Mm-hmm.

- Always really messy,
graphic hair. Anthony?
- 2-55-6.

- Yeah.
- Let's-- you guys focus
before she gets here.

- Just messy--
- We're ready to go.

I know, but I just want
to be clear because
this is big.

- It's big for everyone.
- I know it is.

- Technical.
- We're ready.

Yeah, and we're clear
about the technical idea?

It's very techy.
Messy, graphic,
looking away.

Okay.
Let's rock.

There she is.
Hey, Leese. How are you?

- Good to see you.
- I'm so glad that
you're here.

This is Sandy.

- Hi. Nice to meet you.
- Nice to meet you.

I've been wanting
to meet you forever.

Relax.

I loved you in
"The Applesauce Maker."

- Thank you very much.
- Yes, you were great.

Maybe we can get a picture
before this is all over?

- Absolutely.
- And this is Anthony.

I want to introduce you
to Anthony.

- Hello. How are you?
- Hi. Nice to meet you.

- So exciting.
- Yeah.

So I wanted to--
before we started,

talk to Mario about
the clothes and how
he wants to shoot.

Mario?
What am I missing?

- Mario?
- Mario.

Mario? Am I-- am I--
tell me. I'm sorry.

- Mario, he's actually--
- Mario! Oh!

- Sweetheart, this is-- is--
- Anthony.

Anthony Heywood.
He'll be shooting
you today.

- I'm sorry.
- That's okay.

- They couldn't afford Mario.
- I'm sorr--

- No worries.
- I work a lot cheaper.

- Stop it.
- Please, stop it.

- I'm just an idiot.
I'm really bad with names.
- No.

- That's all right.
- What can I get you?
Drink, coffee, water?

Water, but I would
like to, at some point,

kind of go over
the concept.

It kind of seemed
a bit vampy to me.

- Vampy.
- No, we're not
going vampy at all.

- It's more Barbarella.
- Are you happy with
Barbarella?

We've got you in the most
amazing Châtié outfit.
You're gonna flip.

Why don't you show her
the dresses 'cause I picked
out a whole bunch for you.

You can see if
there are any you're
comfortable with.

- I'll let you guys get started.
- Let me introduce you
to Jacqueline,

our makeup artist
who's amazing.

Why don't you grab
a water for her?

All right.
Thanks so much.

Leese, what kind of water?

- Evian?
- Evian's fine.

- Or the Lalique.
Get her the Lalique.
- Okay.

No, I just think
the film looked like
it was from the '80s.

- It looked like from 1987.
I was like-- what magazine
- Darcy?

do they think
they're shooting from?

- One second.
- I think they're having
a little problem.

No, no. We're gonna
have to reshoot it.

- I think they're having
a little problem.
- Sweetie, hold on.

- I can't get into this now.
- Wilemina: Tell her
how hot she is.

- Let me call you right back.
- I like that.

- Oh, my God.
You look amazing!
- No.

This is so silly.

Sounds like
an express train
coming at you.

He looks up and the grill
is coming right at him.

It's charging,
you know?

Leese:
I don't like this.
This isn't me.

- This isn't
what we talked about.
- Darcy: It's inspired.

- I've never seen
anything like it.
- Oh, hey.

- There's no reason
to get upset.
- Quiet.

I want a new outfit.
I am so uncomfortable.

- I'll come in,
we'll look around.
- I look like a hooker.

Come on!
What kind of
cover is this?

Okay, let go of me before
somebody loses their job.

Let Anthony
handle it.

What your idea is?

- What's with the fringe?
- Darcy, Darcy, Darcy.

If you touch me
one more time,

I don't think "A"
will ever work with your

- ridiculous--
- If she walks out,
none of us will have a job.

- Get me Janice
on the phone now.
- Sorry about that.

Don't worry about it.

A little slice
of heaven, that is.

Peace.

Could be nice.

They give me a headache,
those guys.

The whole thing
gives me a headache.

Where did we lose control
of this business?

When did the suits
take over?

It used to be fun.

Nobody listens anymore.
That's what's weird.

No, they're all
pushing their agendas.

They've all got things
that they want to do.

Darcy:
It's not with him.
That's not the problem.

My God.

She's wearing cashmere.

So...

So perhaps
without fringe.

Please. Without any
of that ludicrous stuff.

That is just ridiculous.

Oh, my God.

Look,

we can do
whatever you want.

If you don't
want to do anything,
we won't do anything.

If you still want
to take a picture,

if you still want
to do this,

I'll be happy to do it.
I'd be happy to.

Calming her down.

I think-- no offense, Sandy,
but I really do think we--

- Anthony: Morton?
- We have a look that
we're going for.

Could you guys leave?
Take this outside?

- Morton, there's
a change of plan.
- I'm sorry?

Yeah, there's a change of plan.
I think there's a change
of photographer.

Could you guys go outside?

- That's a good idea, Anthony.
- Let me ask you something.

- I'm not asking you,
I'm telling you.
- Do you want to shoot

- for "A" magazine?
- Get out!

That's what
I'm saying to you.
Get out.

- The photographer
has asked you to leave.
- Excuse me.

- Get your bags.
- Janice is gonna be--

Say goodbye
to your career, pal.
Say goodbye to your career.

Darcy:
Willa, get my bag,
please. Now.

When I was...

I don't even know
how old I was.

- Hold that, hold that.
- ( shutter clicks )

That's good.
That's really good.

I developed this...

fascination
with Mighty Mouse.

Um...

my mother came along.
She sees me up on this balcony

and she freaked.

She said,
"What are you doing up there?

Get down off the balcony."

I said, "No, no, no.
I'm Mighty Mouse.

I can fly!
I know I can fly."

So she says--
so her mind's racing.

She's trying to figure out
a way to stop me
from jumping off

because I was gonna jump.

She goes,
"Wait, wait, wait.

Doesn't Mighty Mouse
have a big M

on the back of his cape?

You don't have an M
on the back of your cape."

I started kicking
and punching and fighting.

"Let me go, let me go,
let me go! I can fly!
I know I can fly!"

I'm convinced
to this day that--

that's great.
That is great. Hang on.

That I would have flown
if they'd let me go.

It's funny
when you grow up

in a small place like that

and you have this
kind of odd relationship

with one of your parents

like my mom and I had,

because I didn't know
any different.

It's so weird when
your childhood is--

that's your reality.

I really thought that

maybe all mothers
sat in bed all day being sad

and you had to entertain them
and make them happy.

Which is what I did.

- We used to put
the Moody Blues on.
- Hold that.

I'd put the Moody Blues on
and I'd dance for her.

Do this really
modern dance thing

and then I'd run
to a keyboard--

we couldn't
afford a piano.

I would run to this keyboard
and do these extravagant--

sort of, like, fabulous--

I thought I was making
really incredible music.

Sometimes my mother
would be laughing so hard

or just loving it
and then she would
go completely...

silent.

- Mario: How you doing?
- All right.

- Look it here.
- Hey, "Mr. Wigger."

- What's up, J.B.?
- How you doing?

- All right.
- All right.

I would like to present
my father Lorenzo Mancini.

- Mr. Mancini.
- You know J.B.

Pleasure to meet you, J.B.

- Mr. J.B., Guido.
- Guido, it's a pleasure.

- Just relax.
- Is beautiful apartment.

- Very airy, very nice.
- It's all right.

I don't really stay here
too much, but they had
nothing available.

- It's on the top floor, though.
- Oh, I see.

Mario:
I told you this guy
knows living.

If there's one thing he knows,
it's living. That's what
I'm talking about.

Look at how these guys
are decked out right now.

Look at this.

You could be taking such
a piece of this market.

It's so potentially
lucrative for you.

Instead you're giving it up
to Christie Brothers...

Hilfiger.
All of Polo.

- Fofo. Nike.
- You gotta realize,
right now,

the urban culture, man,
this is where they want to be.

This is where
your new direction
should be.

We've been
checking the charts.

The company's not doing
too well over there,

you know what I mean?

You know what I'm saying?
As far as adapting for
the future, man.

These young kids right now,
they got it locked. Hip hop
got the world locked.

Lorenzo:
I think I must tell you,

you are very gracious,
very much gentleman.

But House of Mancini
is completely different.

We would not be able
to redesign and fabricate

in such a manner
that we could really do
something comfortable.

I myself are
from a tradition.

When I start out,
I was--

Dad, wait a second.

I thought that we had
an understanding here

that this was
pretty manageable.

I understand
what you say,

but I see now

what you are
asking me to do
is impossible.

- Mario: You will make so much
money. How is it impossible?
- Let me say one thing.

You say you
come from tradition.

Tradition is
that tradition must change.

Right? You can't go on
the same way you've
been doing it.

You gotta adapt
to the times.

I'm actually trying
to give you an in.

Now, you can go with me

'cause it ain't gonna get
no better than J.B.

Or you can go to one
of these old roly-poly
motherfuckers

and get it that way.

I'm just trying to give you
an in and your son because he
know what he talking about.

The kids in the street,
the kids in the suburbs

is just gonna follow
what they do.

You feel me?
We put this shit
down right there.

We've been wearing
baggy clothes because, why?

- Because we didn't
have no clothes.
- Lorenzo: Is very nice.

- Because we had 10 brothers
and sisters--
- I agree.

- Listen to what I am saying.
- Mario: Listen, Dad.

This is what I'm saying.
That's where the culture
come from.

We made that a culture
and now they gonna
make it a fashion.

And they're gonna sell
jeans for $100-150.

You right. Them kids
can't afford that,

but that's
the game they playin'.

So why wouldn't you play?

I see what
you're saying.

You are very intelligent.
Very wonderful person.

I can see it
and my boy Mario

tried to do
something wonderful

and you must
please forgive me,

but is not something
from business point
of view

- or artistic point of view
that I can accomplish.
- You're lying.

- You're lying.
- Why do you say that?

Artistically I know it
interests you because--

- let's go back to when
you first started.
- I wish...

Did somebody give
you a chance when
you first started?

Did somebody look at you
and say, "Oh, Mancini.
Oh, that guy."

They've got Armani.
They've got Versace.

They've got all of these guys
that you came up with.

You made your bones.

- I should be outside.
- No, you shouldn't.

- No, you shouldn't.
- Yes, I should.

Absolutely not.
You shouldn't.

- Who's the boss?
- I--

Not you. Not me. You brought
this idea to your father,

he's intrigued,
and look where we are.

- Guido, listen.
- Did you think in a million
years we would ever end up

- in a place like this?
- Obviously not.

- I appreciate it. Trust me.
- Congratulations.

- Thank you, but I think--
- If you want his respect,
respect him.

All right, let me talk
in your language.

This is from
"The Godfather."

All I'm saying is the don
is slipping a little.

- You know what I mean?
- Is gangster metaphor.

- Yeah, gangster metaphor.
- This is gangster rap, eh?

- Gangster rap.
I know what you're doing.
- I like you, man.

- I like you a lot.
- I like you, too.

- You are wonderful person.
- Think about it.

That's your son.

I respect you as a man,
I admire you as a businessman,

and I have a lot
to learn from you.

I would love to be
around you and pick
your brain and learn.

But I'm saying
give it a thought

and let it sit because
I'm telling you we could be--

there is no failure.
You'll lose nothing here.

One thing we must be
is friends, eh?

- We can be friends?
- Definitely.

- I'm good.
- This is Guido.

- Simone.
- Hello. Nice to meet you.

- Nice to meet you.
- You have beautiful eyes.

Oh, thank you.

And who is this
beautiful young lady?

This is my
girlfriend Simone.

You just don't even know.
I'm your biggest fan.

I was just in Milan
and I went to some
shows. I bought--

I have this gold medal
outfit that you made.

- It's so beautiful.
- Thank you. You are so sweet.

- You are the bomb. You are.
- This is Roberta Colaredo.

- Not me.
- Yes, how did you know?

Because I know.
It's my business to know.

Beautiful figure.
You remind me of young...

So, Dad, what did you guys
talk about on the balcony?

Mario, uh...

you know,
is question of, uh,

he want to--
I must metamorphose myself.

Impossible, but he
will come over for lunch.

I will cook.
We will have glass of wine.

Is nice fellow.
Very intelligent,
very positive.

Janice:
Unadulterated.
Provocative.

Inventive. Unique.
Essential.

Essential.

Once in a lifetime.
Rock 'n' roll.

Genius.

How you pulled it off,
I'll never know.

- I just trusted my gut.
- You had a fit and threw
everybody out.

- They weren't listening.
- Oh!

They weren't listening.
It wasn't gonna happen.

- Mr. "Very big dick."
- They were getting into
a fight.

I did what I had to do
to rescue the situation.

Mr. "Very big cock
on the block."

You did it, though.
You pulled it off.

I'm gonna take you
to that Fantasia
party tonight.

I'm gonna introduce you.

Phillip Brosco?

- That got your attention.
- Yeah.

They're looking for
a photographer for
their campaign.

- Yes, they are.
- I keep my ear
to the ground.

I know what's going on.

- Would you like to come?
- I'd love to. I mean, yes.

Man:
I heard this is black tie.

Messy fucker.

Forget about black ties.

Forget about it.

You just
let me know.

- Phil Brosco.
- Bye now.

- Hi.
- Daniel.

Camille, very nice
to see you.

Thank you,
Daniel.

Please, sit down.

Over here.

Here, let me help you.

Thank you.
Sit back.

Arrange the pillows
properly for you.

- So you have kind of
a little throne.
- Thanks.

Jamie, why don't
you sit over here?
You're so beautiful.

When you're there,
I can't look at Camille
and get distracted.

Sit over here, please.

Thanks.

So...

- Camille.
- Hello.

Hello.
Is that yours?

- No.
- That's nice.

- Thank you.
- That's good.

"Nothing is so sad
as the man

who's doomed
to mediocrity in
the work he loves."

- You think so?
- Mm-hmm.

It's true, isn't it?
Did you ever think about it?

- No.
- Who said it?

Well, it's either--

it's either--

is it Professor
Irwin Corey?

He's pulling my leg.

He knows,
but he won't say.

He wants to make me
look foolish.

- No, that's not true.
- He's trying to humiliate me.

- I know this.
- I'm not--

- You see he's blushing?
- No.

It was Henry James.

I read that,
I was overwhelmed.

Overwhelmed.

Why? Why?

Well, because
it was true.

I was doomed
to mediocrity

in the thing
that I loved.

What did I love?
This. I loved this.

If I could do this.
A creator.

See...

you could be
the creator.

So you're by
definition present.

I have to create a situation
where I can be present

at the creation.

Therefore, I need you.
You don't need me.

Isn't that so?

I'm-- I just draw

and I'm--
I'm not some big person
that you think I am.

I'm just--
I don't know.

I'm just from Irvine

and I draw things
and make clothes.

When I was young...

I went to camp
when I was just
bumming around Europe

and I went to
a restaurant in Nice

because they said,
"Picasso eats here."

So I went to this restaurant
every night for a week.

- Finally, Picasso came in.
- Mm-hmm.

I didn't even speak
to him, but I heard him

at one point
saying to somebody--

he was talking in English
because a couple people
were there.

Not so good English,
but anyways, speaking
in English.

He said,
"I just draw."

"I just draw."

- Hmm.
- Well, that's all
you have to do.

Just draw.
Everything else I do.

And I do it for
the sake of you drawing,
to allow you to draw.

Camille:
I knew we were gonna be
talking about this,

so I just wrote down

some things--

'cause my partner and I
aren't really seeing

eye to eye
for a while now.

I feel she's
sort of limited.

I wanted to create a line

that's more clever
and accessible

so that everyone
can enjoy it.

She's not really
there with me.

I feel like I'm constantly
reinventing the wheel

in images that
generate excitement.

Right now I have
this idea--

Okay. Okay.

- I thought maybe--
- Do you wanna
come with me?

We could create
some sort of

growth strategy
and maybe work together.

- Would you like to?
- I think I would.

I think I would.
What about you, Jamie?

Mm-hmm.
Look at you.

You look like
you've known each other
for 100 years anyway.

You look cozy
and it feels

like a partnership to me.

Will you sit here
while I go out there?

- If you like.
- Excuse me.

- He's incredible.
- Yeah.

He's so sweet.

He's so warm
and I had no idea.

I thought he was
gonna be some sleazy guy.

- He's not at all.
- Right.

- This sounds incredible--
- Yes.

for millions of people
to be wearing my clothes.

- That's--
- That's a good thing,
I suppose.

- I suppose, you're--
- Thank you.

You're welcome.
I like to see
you excited.

- You okay?
- Yes.

- What?
- I'm just thinking
about you a little bit.

- Why?
- And thinking that

you haven't done this
so much before.

I didn't even warn you
too much about this

or da, da, da.

This is when it
seems exciting

and he puts his best foot
forward and everything.

- Is he not--
- He's quite okay.

Well, I'm glad you're
doing some talking.

I was talking
so much before.

I know, sorry.
I was a little out
of it and-- this place.

That's all right.
You're not out of it.
Will you hand me those coats?

- Where are we going?
- May I take you to dinner?

- Sure. That would be great.
- We have some things to talk
about, I think.

- Don't we?
- Yes.

- Here we go.
- Le Cirque? What do you think?

Ooh.

- Here we go.
- Oh, the two of you
are going?

- Yes.
- Oh.

We're going to
cement the deal.

- Jamie, thank you very much.
- You're so welcome.

- Thank you.
- Wonderfully done.

- We'll talk later.
- Yeah. Are you okay?

- I'm fine.
- I'll talk to you later.

- Okay.
- Okay.

- Good night, Jamie.
- Good night.

- Anthony: Hey.
- Hey.

- Where are you?
- I'm in here.

Champagne, huh?
What's up--

- What are you doing here?
- I live here.

You're kind of
early, though.

Oh, I'm early.

- Did I forget something?
- No, I'm just not ready.

I was gonna do
some other stuff, but...

Oh.

How much time
do you need?

- I can nip off for an hour
and come back.
- Come here.

- Hey.
- Hey.

- I'm glad you're early.
- You look great.

Mm-hmm.

- What did you have in mind?
- I have such a night planned.

- You do?
- Yes.

Really?

Oh, fuck.

I'm not letting you go
till light comes up, mister.

- How are you?
- Good.

Yeah?

What?

What?

We got invited to a party
and I said we'd go.

We don't have to go.
It doesn't matter.

Come here.

No, you know what?
You should go.

- I don't wanna go.
- I said we.

- If we're not going,
then I'm not going.
- No, you should go.

Come on.
We're not going.

If we aren't going,
we aren't going.

No, I think you should go.
I want you to go.

Go.

- I'm not mad, okay? I just--
- Seems like it.

Why would that
break this mood up?

- I don't understand.
- Because I don't wanna
go to a party.

- I don't wanna go out.
- Fine. We're not gonna go.

But you wanna go.

I said we got invited to
a party. It's a problem,
there's no problem.

We're not gonna go.

Boy, you really don't
listen to me, do you?

- Why would it be
the end of the world--
- It's not the end of the world.

- I just--
- Then what--

You should go.
I want you to go.

All right.

I'm gonna have to start
this conversation?

I'm sorry that
I haven't called.
I've just been...

going through
something and I--

I don't care.

I--

I can't believe this.
I can't believe this.

I'm sorry. I don't want
it to be this way.
I really don't.

I'm not trying to--

I just don't--

I just don't feel
like I'm 18 anymore

- and I don't want
to do this anymore.
- Well, then grow up.

Well, then grow up.

- You're--
- Grow up.

Stop yelling at me.

- Oh, I'm not allowed
to yell at you?
- No!

- You're not!
- After what you
put me through?

Okay. I'm sorry,
but you can't--

you don't--
you just are too much.

I can't do this anymore.

I'm moving on.

If you think the pressure
is too much now, Camille,

- what's it gonna be like
when you go to work for Jamie?
- I don't know!

- I don't know because--
- You're gonna be like
every other designer

- that sells out
to a big conglomerate
- Maybe.

- and they can't even use
their name anymore
- Uh-huh.

because somebody else
owns it.

That's what
you're gonna get into.

There's not gonna be
a Camille anymore.

There's gonna be an Inc.

A dot and an Inc
or a dot and a com.

You're gonna cease
to exist.

Yeah, maybe you'll have
a great loft somewhere
down in SoHo.

Or maybe you'll have
a whole new group of friends.

I don't want it to be
like this with you.

I don't want it
to be like this.

I didn't choose this.

You made this happen.

I want you
to have our thing.

I want you
to have this.

( music playing )

( speaking French )

( chatter )

Could you keep it down?

- Wow.
- Yeah?

- ( buzzes )
- Halley.

- Mom, I've got to go.
I'm running late.
- Wait a second.

- I wanna talk to you.
Where are you going?
- I got a train to catch.

Okay, but you got a second
for me, don't you?

Why are you choosing now
to run after me?

What did you
come here for?

What do you think
I came here for?

For my mom.
For answers.

Can you give me that?

Can you give me
an answer?

Can you tell me
why you left?

Because I was scared
of being nothing.

- So I was nothing?
- No.

- So Dad was nothing?
- No.

- So we were nothing?
Oh, my God.
- No. No.

No, you weren't nothing.

So it would have been
nothing to be a mom?

I just didn't want
to be "just."

I messed up.
I was wrong.

I don't have anything
to say to you.

Ray who does
the staging,

he's gonna allow us
to move our deposit over
to the next show.

- Okay.
- I figured by that time,
we could be in Barbados

- where extradition
is next to impossible.
- Yeah, right.

I'll be going
to Bali next time.

That's it. The lighting
and the sound guys together--

we lost the deposit,
but they--

everyone assumes
that we're gonna do
something again

- and they don't wanna lose
our business down the road.
- That's nice.

I've been playing that--
you know.

Hey, help us
out this time.
It happens.

We'll take care
of you next time.

I guess it's onward.

That's nice.
What's that?

Oh, it's just...

it's a perfume bottle,

but it's-- you know.

Nice.
A lot of money
in perfume.

- Is that our next gig?
- Very funny.

Roberta:
Oh, just Camille
and this is--

this is just
something that--
you know.

Just started out
as a joke almost.

I can't remember who
ended up with it first,

but it kept
getting passed

back and forth
between us.

Showing up
in funny places

and strange places

at odd times.

It wasn't
a traditional thing,

like, "Here's the gift
I'm giving to you."

If you turn it this way,
it looks like a teardrop.

Or a lamp.

Did I tell you what
Phillip is gonna do?

What?

He is going to make
a Camille perfume.

- Do you believe that?
- Really?

Yeah, and it'll be
everywhere.

He said he's gonna
make it really urban

- and edgy and downtown.
- Ooh.

You know, very fashion.
Genius.

I hope that's
the description
of the bottle.

- What's a smell
that's urban and edgy?
- That's me.

Yeah, I know you are,
but how's that translate
into a smell?

- Urban and edgy smell.
- I don't know. Good.

I'm not sure
I want to smell that.

But it's gonna be good.
Congratulations.

Look at this.
I have to meet
somebody.

I gotta go
to a meeting.

- Who are you meeting?
- I gotta go.

- Who are you meeting?
- Oh, just some--

- Want me to walk
you over there?
- No, no, no.

I'm already late.
I didn't know that
you were gonna pop over.

You want me to call you?
Maybe we can have dinner.

- Look at me.
- Later.

- Okay?
- Later.

What is it?
What's wrong?

I don't know how
to say that.
I'm sorry.

You don't know
how to say what?

Mom?

Oh, my God.

Listen up.

Your dad is sick.

Very sick.

- Hello.
- Hi.

Gabby.

This is a surprise.

Mario.

Well, come on in.

Do you want to see...

Your dad's still up.
Do you wanna...

- Yeah, yeah.
- Yeah? He's in
the music room.

( speaking Italian )

My darlings.

Lorenzo:
What's the matter?

What's the matter?

What is the matter?

You're told.

My dears.

Have to come to everyone.
Have to come to everyone.

- I know.
- At least we have time
to say goodbye.

Don't feel sad.
I have a good life.

Good life.

( speaking Italian )

( music playing )

Papa.

Lorenzo:
I make mistake.

I am never
disappointed you.

You are a wonderful boy.

- Wonderful, wonderful boy.
- ( crying )

You are never disappoint.
You are wonderful boy.

- Ma'am, could you
please spare some change?
- Sorry.

- I'm not from here and my--
- Don't have anything for you.

Thank you.
Have a good day.

( chatter )

Prepared this meal
especially in your honor.

Prepared it himself...

( vocalizing )

- Mr. J.B. Come in.
- Hey.

Why don't we all
sit down?

That'll be great.

Guido:
A little rubbery,
but just like chicken.

Yes, yes.

Come. I make you
wonderful lunch.

I think you like.
Food that you are
not accustomed to.

Simone:
To clothes, clothes,
and more clothes.

Loose construction.
Not heavy.

And the full trouser
go all the way to the floor.

Eh?

Not too straight a shoulder.
I make like this.

And we can make...

ad campaign in this way.

Please call, um...

call, uh...

- Don't worry about it.
- Call Fortunato.

He make the pattern
for the men.

And call, uh...
you call, uh...

Marietta for the women.

You overnight to Rome.

- Not to worry.
- I am so cold.

Here.
Here you go.

There you go.

That's a little better.

Don't you worry
about a thing.

We'll get through this.

You do everything prepare

and...

you...

you are the company
with the children.

Lorenzo, you're the company.
You're not going anywhere.

Don't you worry about me.

- The children.
- That's all I worry about.

I think Mario
is gonna grow up
to be the young man

that you always
wanted him to be.

- I tried to make bridge.
- You made a beautiful bridge.

- He believe me?
- He believes you.

I don't want him
to hate me.

He doesn't hate you.
None of us hate you.

I do the best. I don't--
I make many mistake.

- You tired?
- Very tired.

- I'm so tired.
- Put your head
on my shoulder.

- Just rest right here.
- I so tired.

- Guido...
- It's okay.

- I can't--
- Just rest.

- ( whispers )
- Take a little nap.

- Take a little nap.
You'll be fine.
- ( mumbles )

( moans )

- Hi.
- Hi.

How do you feel?

Hmm?

Feeling okay?

Actually, um...

- What's the matter?
- I have to pee.

( women singing opera )

* This could very well be

* The last time you open up
your arms to me *

* Put these words
on the wall for me *

* Horse riders
and carriages *

* Ride through the night
like savages after me *

* I beg of them
to let you be *

* You should come by
the ocean and pray for me *

* 'Cause my life won't be
what it used to be... *

( women singing opera )

* My love for you
will never die *

* I wipe my feet
across the sky *

* A thousand times
and whisper jingles *

* Of jasmine lullabies

* The rain is coming,
can't you taste it? *

* The ground
is shaking over me *

* Now promise me
a place besides you *

* When heaven
awaits for me. *

( women singing opera )