State And Main Script - Dialogue Transcript

Voila! Finally, the State And Main script is here for all you quotes spouting fans of the David Mamet movie starring Philip Seymour Hoffman, Rebecca Pidgeon, Julia Stiles, Alec Baldwin, etc..  This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of State And Main. I know, I know, I still need to get the cast names in there and I'll be eternally tweaking it, so if you have any corrections, feel free to drop me a line. You won't hurt my feelings. Honest.

Swing on back to Drew's Script-O-Rama afterwards for more free movie scripts!

State And Main Script






those pills you gave me

for my back,



I'm not sure that they work.



Well, I'm not sure either,



but you don't

hear me complain.



Step by the office



at the end of the afternoon.



Thanks, Doc.



They're kidding, right?



No, they're not kidding.

This is your movie.



This is small town America.



The town in New Hampshire

was small town America, too.



$      a day

to shoot on the street



and then

they kick us out.



That's life

in the movie business.



But look here--



a jacket for $ .



I could buy this

whole town for    bucks.



You told me that

about the last town.



Yeah, but they never

shot a movie here.



I'm bleeding, Bill.

I'm bleeding.



Why am I here?



What do they got

to pass for the old mill?



There you go.



The Waterford Mill.



Built in      .

A longtime tourist attraction.



Wake up, Umberto.



We're here.



- Where are we?

- Give him a cigarette.



They send the old mill

from New Hampshire?



They're holding

our old mill for ransom.



- We build one.

- They got one.



We build a fire hut.



Okay, but we have to

lose the window.



We can't lose the window.



Then I can't

do the shot, Wally...



You want me to push in

through the window.






I can't push in

through the window.



We go back

to New Hampshire, eh?



No, we can't ever

go back to New Hampshire.



No, we're going to

stay here.



This is what

my people die for--



the right to make a movie

in this town.



What was wrong

with the old traffic light?



I'm glad you asked.



I'll tell you

what was wrong with it,



it was behind the times.



- Good morning, darling.

- Morning.



You want to bring

business to this town,



you have to plan

for a Waterford



that does not exist.

Not at this moment, no.



You have to live

in the present, folks.



You can not live

in the past.



Good morning.



- Hi, Annie.

- Hi, Carla.



I'm going to be a little late

for the rehearsal tonight.



It's okay, Maude.

Do you know your lines?



I know them.



I don't know

what order they come in.



We'll work it out.



Now, what shall we have

that's good to eat?



- What are they on about?

- Traffic light.



Jack's right.



Public office

is a public trust.



This is why

this is America.



That's right.



The question is

who owns the street?



That is the question.



Lots of room.



Uh huh.






We got a new town.



Yeah, it's a--

Where are we again?



Waterford, Vermont.



Waterford, Vermont.






Where is it?



That's where it is?



Here, talk to Bill.



You have got to get me

Main Street for nothing.



I will.



Marty, Bill.



Okay, put her on.









stand by.



Everyone goes

to Waterford, Vermont.



Well, look on

a bigger map.



God, she makes

me cranky.



May I help you?



Yeah, I'd like to speak

to the manager.



Would you like

a room?



No, we want to rent

the whole hotel.






Because we don't

have to build an old mill.



They have an old mill.



Yeah, it's on a stream.



That's where you put

an old mill.



- They run on water.

- Uh huh.



Okay, I'm looking at--



I've got scene    .



Come in.



Uh huh.

Thank you.



Shouldn't you be

in school?



It's night.




the arrival at the mill.



All right, work it out

and get back to me.



Mr. Price?






What is it?

We're working.



“Bring it in on time

and there's more



where these came from.




P.S., I want to talk to you

about a product tie-in.”



Somebody make a note.



I want for the broad--

What does she like?






A truckload of lilacs

when the broad comes.



And get something

for Bob Barrenger.



Get him--

What does he like?



Bob Barrenger? Bob Barrenger

is in this movie?



- That's correct.

- He's staying here?



Put something in his room.

What does he like?



   -year-old girls.



Well, get him

something else.



Let's try to get out

of this town in one piece.



Get him half

a   -year-old girl.



How's my math?




Who wanted these storyboards?




Sound department said



there's no hold up

on the KMR-  .



Two of the caterers

are down with botulism.



And Umberto tells me

he can't take this shot



unless they let him

take out the Firehouse window.



I need my lucky pillow.



I need to talk to you

about her nude scene.



I need that permit

to shoot on Main Street.



I need to speak

to the mayor.



- Well, speak to him.

- We can't find him.



Are you ever in school?



There are other things

to be learned.



Is that true?

Like what?



Like the mayor's here.



- What's his name?

- Mr. Bailey.



- Hi, Mr. Bailey.

- You've got to do these again.






Mr. Bailey.



Mr. Bailey, Walt Price.



I'm going to be

your director.



I lost my typewriter.



I have to tell you,

I can not express to you



- how happy--

- We're glad to have you here.



No phone calls.

I'm with the mayor.



Yes, can I speak

to my wife, please?



This isn't our firehouse.



No, that's a firehouse

in New Hampshire.



Why did you

leave New Hampshire?



Would you like a cigar?



Aren't these illegal?



Why would they

be illegal?



Well, the trade embargo

against Cuba.



Nobody tells me anything.



Well, you know, uh...



I'd like to say that



anything I can do--



That's very kind of you.

As a matter of fact,



I'd hate to bother you

with this...



We need a shooting permit

for Main Street.



Whatever you need.



Uh, the city council,

of course, will have to--



The city council.



--will have to pass

on your permit.



But that's less than

a formality.



It is?



I am the city council.



Well, Mr. Mayor,

that's very kind of you.



My wife would like

to invite you



to have dinner with us

at our home.



And I hate to be

a pain about this--



Oh, I would be delighted,

are you kidding me?



Well, well, I won't

take more of your time.



No, not at all.



I can't imagine

the responsibility--



Actually I can imagine




once I had to video my

grandniece's confirmation...



Walt, it's Marty

on the coast.



We'll see you

Tuesday for dinner.



It was one of the great,

great pleasures meeting you.



Thank you.



Bye bye.



I found

your lucky pillow.



It's Marty on the coast.



Of course

he's on the coast.



Where's he going to be,

the Hauge?






Marty, hi?



The new town's cheaper

than the old town.



We're going to save

a fortune.



Because? Because we don't

have to rebuild the old mill.



They've got an old mill.

They've got a firehouse--



Baby, baby, baby,



I want to save the money

just as much as you do.



Just put it on the end

of the counter there.



Right on the counter.



Whoa? Whoa whoa whoa?



You wiped out the board?



Dinner with the mayor.

Write it big.



That's just what we need,

to miss dinner with the mayor.



Marty, we've got to talk

about this schedule.



I got to have an extra day

on the dead horse gag.



I'm serious.



No, it gets worse.



I need another half day

on the old mill pond.



We can't shoot

in the old mill.



Marty, uh...

call me back in two minutes.



We can't shoot

in the old mill.



I just talked to the mayor.

He told me anything we need.



- It burnt down.

- When did it burn down?






Part of a spate

of suspicious fires.



The old mill--



You told me they had

an old mill.



by a disturbed teenager,

were in fact the inspiration



for the Waterford Huskies.”






Does it have to be an old mill?

Where have you been?



I was in New Hampshire.

I was at the old location.



We can't shoot

the old mill.



You know, they told me

there were going to be jokes.



Kid the new guy.



That's not quite it.



The old mill burned down.



Can't you build

the old mill?



We're out of money.



You built the old mill

in New Hampshire.



They're holding

the old mill for ransom.






Why did we have to

leave New Hampshire?



Hello, Marty.



What would they have used

instead of an old mill?



I need it tonight.



Yeah, Marty,

you were saying?



I can't write it.






I lost my typewriter.



Get Mr. White a typewriter.



I can only write on manual.



I know the feeling.



Typewriter for Mr. White?



You know, that's a lie.



- That's a real fault.

- It's not a lie.



It's a gift for fiction.



Off you go.






How big is this horse?






What is that in fingers?



Just kidding.

Get me this horse.



That horse is booked.



Tell the guy--

Get me this horse?



Tell the guy...



I'll give him

an Associate Producer credit.



I'll give the horse

an Associate Producer credit.



Put a VHS,

an air conditioner



and a refrigerator

in that room,



she's gonna blow.



The labor with the first child

can sometimes be prolonged.



What's an Associate

Producer credit?



It's what you give

to your secretary



instead of a raise.



This isn't Evian water.



It's water.



Can't sign for it, sorry.



She's going to blow.



Well, you rewire.



I rewire it, I have

to tear out half the wall.



I'm looking

for my typewriter.



- Bill, I found lilacs.

- Put them in her room.



Tommy, you got to send

somebody running



for a new dead horse.



Did they find

my typewriter?



- Bob! Bob!

- Oh, my God.



Mr. Barrenger, Mr. Barrenger!



I told you, all of you.

Get back, get back.



This man is a guest here.



Hi, I'm uh...



Oh, sir, I know

who you are.



...Bob Barrenger.

I'm with the movie.



Sir, we're so...

We're so--






I've seen--

I know everybody says this,



but I've seen

every one of your movies.



Show Mr. Barrenger

to his room.



Your room is     

through    .



I'm Scott Larkin.



Anything you need,

this is my private line.



Oh, thank you

very much, Scottie.



I'm just here to do

a job like the rest--



- Hey, Bob!

- Hey, Tommy.



I heard your wife's

having a baby.



Do they know

who the father is?



They think

it's your first wife.



Oh, that could be.



Now get out of here.



I'm going to get

you a list



of Mr. Barrenger's

dietary requirements.



- Mr. Barrenger!

- Chuckie, not today.



Mr. Barrenger

has just arrived.



Oh, that's all right.






How do you

spell that, son?



With an “ie”?



Chuck, what are

your hobbies?












that's the national sport.



Thank you.



Here you go, Dad.



Man: I'll tell you what else.

In the land of freedom



we get to choose

what we have for breakfast.



You think that's nothing?

Go live under communism.



Here's your bowl of kasha.

Eat it and shut up.



Vanilla frappé,

two tuna BLTs,



What's a tuna BLT?



It's for

the movie people.



Well, I for one am glad

of a little diversion



and I'm glad

they're here.



What I'm saying is,



we have to look out

for our own.



They want to close

down Main Street.



You want to talk

about Main Street,



why don't you fix

the pot hole?



Doug, it's--

what, three days?



Three, four days?



You know what

we're gonna have?



A record of our

wonderful life.



Why don't you stick



to the amateur theatricals?



This is not quite

the same thing, you see.



This is big business



in which our life

is no less a commodity than--



Help me out here.



Woman: Water or mineral deposits?



Well, that's what I'm saying.



I think that they're nice.



I'm sure they are.



As nice as they are...



they should be thankful

they can choose their breakfast.



Why? Because they don't

live under communism.



Communism's over.



That's what they said

about Warner Brothers in      .



But if you look at their

price per share today...



Well, hard to argue

with that.



Dad, I've got to go to

Terry's house to study tonight.



I want you home by  :  .



I want to tell you something.



You stay soft all your life,

people will despise you.



It awakens adverse in them.



They take advantage of you.



And that's human nature.



Oh, are you going to be

home tonight?



I might have something

important to tell you.



What is it,

a surprise?



That's right.



She could have

done better than him.



It takes all kinds.



That's what

it takes?



I always wondered

what it took.



Excuse me.



Your sign says

you'd be back at  :  .



It's a quarter

to  :  .







You doing a play?



Local drama group.



Northern Books.



No, it hasn't come in yet.



As soon as it does.



You too, Marge.



A little, small town, I suppose

you have to make your own fun.



Everybody makes

their own fun.



If you don't make it yourself

it ain't fun,



it's entertainment.



See my point?

Northern Books.



What can I do for you?



I need a typewriter.



We got them.







Henry James was the novelist,

Frank James was a criminal.



Yup, you came

to the right place.



Jesse James

was the brother...



of the novelist,

that's right.



That's all right, Suzy.

See you tomorrow.






I want to rent this one.



Why don't you buy it?

Only    bucks.



I had one,

but they lost it.



You buy this typewriter,



I will get it

all spruced up for you,



good as new.

Better than new



because it has

some history.



The other one

had history, too.



I wrote my play on it.



You wrote a play on it?

What play is that?



You never heard of it.



What's it called?







by Joseph Turner White.



You're Joseph

Turner White?



- That's right.

- Good afternoon, Annie.



Girls, this man

wrote this play.



Is that a fact?



Well, is it a good play?



Yes, Maude, it is.

It's a very good play.



A very good play indeed.



What's he doing here?



What are you doing here?



Writing the movie.



You're writing the movie?






What's it about?



It's about

the quest for purity.



Scene blah blah blah,

they meet.



“Sister, I've just

come from a fire.



There are some things

I want to think out?”



That's bad because?



Because he wouldn't

say that.



Look, Sister,

I've just come from a fire.



There are some things

I want to think out.



Come on.

Come on.



Leave me alone?

A gesture? All right?



What else?



Page three.

“It's a nice evening.”



I'm not gonna

say that,



“It's a nice evening.”



- Yeah, okay.

- Come on.



Yeah? Come in?




You know Bob?



I grew up

on your movies.



Do you mind if I don't

go through the usual bullshit



about how much I loved it?



I mean, okay, fine,

but it's a motion picture.



You're gonna

bore them to death.



Come in?



I brought your sandwich.



Thanks, honey.



Next time bring two.

Save yourself a trip.



The people came to see

a motion picture.



Hold on.



No, no,

you can go.



Page five.



The fucking horse dies.



You know,

she could be in the movie.



- She could.

- Oh, boy.



She's got a good face.

She could be the doctor's--



Why does it

have to be his wife?



- It could be his, uh...

- Stick to business, will you?



- Can we do that?

- You're absolutely right.



You go start doing that stuff

in this town...



Hey, everybody

needs a hobby.



Okay, look, page--






You know Bob Barrenger?



I just saw “ Desert Sun.”

I want to tell you...



No, I was...

I was just learning on it.



How did you like working

with Richard Hill?



I loved it.



Joe White.



How can I thank you?



How can I repay you

for this part?



It's a...



What a...



Thank you for this part.



The first scene

at the old mill--



Joe's been having some thoughts

about the old mill scene.



What is there

to think about?



The scene is perfect.



I get to say--



Yeah, but Joe's been--

He's been having a few thoughts.



How many times

in your life



do you get

a speech like that?






This scene is why

I'm doing the movie.



Look at the mill, Frank.



Look at the way

it goes around.



Half the time

the darn wheel's under water,



but still

it rises up, Frank.



It rises up



as high as it can go.









Um, that's true.



Joe, you want to, um--



you want to tell Claire



about the thoughts

you've been having



about the old mill scene?



So young. So innocent.

So full of promise.



I beg your pardon?



I've got your typewriter.



I don't need it,

I quit.



- You quit?

- Quit the movie.



Why'd you quit?



Hey, why in the world

would you quit?



Why I quit

is not important,



but thank you

for your help.



Uh huh.



Actually, I'm not sure

if I quit.



I think I got fired.






I'm such a liar,

I never could tell the truth.



Don't be hard

on yourself.



But I just got

kicked off my first movie.



Well, everybody

has reversals.



If you were

never down,



how would you know

when you were up?



You have a gift

for words.



It's in your play.






Evening, Annie.

See you at rehearsal.



You know your line?



Rise. One need not bend the knee

before the throne of justice.



Go, you Huskies.



Go, you Huskies.



He leaves the clothing

out all night?






Isn't he afraid

it's going to get stolen?



Ain't worth stealing.



Only thing in town

worth anything



is that

stained glass window.



Waterford historic

firehouse,     .



Did you ever wonder

why the dalmatian



is the symbol

of the firehouse?



The first organized

fire department



was on the border

of Dalmatia and Sardinia



in the year    .



That's why

the dalmatian?



It was either that

or a sardine.



Morning, Bucky.



Here you go, pal.



You grew up here?



Central High and matinees

at the Bijou Theater.



- Nice town.

- Oh, yeah.



Do you want

to talk about it?



Uh uh.



You see...



the sanctity

of every day things.



Every day things, yes.



For example,



the heat's coming

from a fire,



and um--



That's a fine house.



You know when you look at that

you know nice people live there.



I live there.






The porch swing

and everything?



Surest thing you know.



I don't mean

to impose, but...



do you think we might...



That's what

the swing's there for.



That's what

the swing is there for?



Uh huh.



That's its purpose,

isn't it?



I always thought so.



It's such

a pleasant sound.



Uh huh.



Because it's...



it's the simple things.



Well, there you are.



And have I got

big news for you.



This is Joe White

and this is... this is...



uh uh...



my fiancé,

Doug Mc Kenzie.



It's a pleasure.



Guess who is this close

to a nomination to State Senate,



which is this close

to one step from Congress?






It was lovely




Mr. White

is working on the movie.



It's a pleasure

meeting you.



- And we were just--

- Let me tell you,



they were a bit

coy at first.



I told them, look,

the people are tired.



They're going to vote

their pocket book, yes,



but they're going

to vote their heart.



How do I know?



I'm out there

with them every day.



Go down

to the lumber mills,



go down

to the truck stops



and you'll see people

of this great land



working, playing,




What happened in      ?



The    --



Don't run off.



Don't run off.

We need you.



You know why?



You're why we're here.



Your script

is why we're here.



Big deal,

we fight a little bit.



You show me

a family that doesn't.



But we've got

something good here.



You know what it is?



We're here to make

a movie.



We can't use

the old mill.



That happens.

What you got to do,



you've got to figure out

the essence.



What is it

that brought us all here?



It wasn't a building, Joe.



It was an idea.



What is the essence

of your story, Joe?



It's about a man

who gets a second chance.



Then you write that.



And then this is

our second chance.



That's why

we're all here.



I want to make

a good film.



I know you do!



Maybe it will be

a better film



without the old mill.



Hey, it's with the gods.

We don't have the money.



We got to write it out,

the best or not.



And that's a lesson.



Did you get

your typewriter yet?









get on the other phone.



Get Mr. White

his typewriter.



Have what's her name send

up some nosh.



What do you

like to drink?



- I don't drink,

- Did my matzos come?



Get some for everybody.



Thank you.



Let me tell you

about my first picture.



The chairs go.



- The lazyboy goes.

- Not the lazyboy.



The lazyboy goes.



Hi, Sherry.

Where do you want it?



Put it in

the living room.



And we have

   at table.



We don't have

   at table.



Bob Barrenger,

Claire Wellesley, the director--



- Invite someone else then.

- I don't want to invite someone else.



Because this is the most

exclusive dinner--



Well, then you do

whatever makes you happy.



I'll be back

with the butter churn.



And we need

a blunder buss.



The woman's gone crazy

about this dinner party.






I want a city

council meeting.



City council?



Doug, the traffic light--



Fuck the traffic light.



I'm talking about  %

of the adjusted gross



of a major motion picture.






I love your script.



- What?

- You're still here.



Morning, Annie.



See you

at rehearsal tonight.



In the name of justice,

sir, I bid you pause,



for she is our queen.



That's very good.



In fact, I'm not sure if

I gave them a second chance



or if they're

giving it to me.



That's the truth.

The truth's best, don't you think?



You'd know

better than me.



How can you say that?



It's in your script.



It's about getting

a second chance, isn't it?



You can go back.



But how do I...

how do I do a film



called “The Old Mill”

when I don't have an old mill?



Well, first you got

to change the title.



No, he doesn't

want to work out



with the Waterford Huskies.



Because he's Bob Barrenger.



Call his girl in Aspen.



Get her to ship his weights.



There you go, sir.



Well, fine, then he's not

going to do the pond scene.



Not unless he can work out.



Call his girl in Aspen,

get her to ship the weights out.



How much can they weigh?



Walt, are these

the ones?



Yes. Who designed

these costumes?



Who designed

these costumes?



It looks like

Edith Head puked



and that puke designed

these costumes.



- Get Courtney.

- Your wife's on the phone.



I have no wife?









we need a new name

for the movie.



Where's the writer?






Wally, I got to take out

the window from the dog.



- Walt?

- I can't shoot through...



- What?

- Claire has a problem.



If I have a moment

of your time.



- I cannot do the shot you want.

- Why not?



Because it's got a window

with dogs in it.



You want me to push in,

or lose the shot.



No, you cannot

lose the shot.



The meaning of the film

is in that shot.



- But the window to the Fire--

- I don't care.



Fix it.



- Courtney...

- Hmm.



Did you show Claire

these sketches?



- Yes.

- Did she throw up?



That's not very nice.



Oh, really?



Why don't you sue me

in the world court?



Did she like

the costumes?



- I can't tell.

- Why not?



She won't stop crying.



Oh, goody.



Find out when

Marty Rossen's arriving.



Get some lilacs

to send to the broad.



The town's out of lilacs.



You go to her room, you take

the lilacs from the water,



dry them,

get some cellophane,



wrap them up,

get a card from Marty.






What's her problem?



She doesn't want

to bare her breasts.



She doesn't want

to bare her breasts.



In the nude scene?



Why are we paying her

$  million?



She got religion.



Her religion bars her

from fulfilling her contract.












What is it, pal?






I can't do it, Walt.



You can't do what?



It isn't right.

I can't.



I know I signed

the contract.



I don't know if they told me

it was in the contract.



Forget the contract.

What is it?



I don't want to take

my shirt off.



What are these things

they're asking of me?




I try to be good.



The only thing

I care about...



- I know that.

- the movie.



I know that.

We all know.



- Everybody, they treat me--

- No, they don't.



They treat me like a child.



Now, Claire...



To bare my body--



What are they

asking of me?



Now look, Claire.



I want to tell you

a story--






Fuck flowers?

This isn't about flowers.



This is about a human being.






Who are these from?






That's very

thoughtful of him.



- Eleanora Duse--

- I can't.



Listen to me.



Eleanora Duse

was playing Hamlet



in London in      



and Royalty

could not get a ticket.



She said, “I'm not doing the

seven shows a week I signed for.”



She said, “I can't bare

my soul seven times a week.



I am an artist.



I'll do four shows a week.”



The greatest actress

of her time.



And do you know

what her producer said?







He held her and he wept,



because he understood that

was her life's blood on the stage.



I know. I know.



And did she?



She did the seven shows?



No, she didn't.



But I think

you should do this scene.






I know. I know.



It's the hardest thing

in the world.



And sometimes it seems

everybody wants a--



- Yes.

- wants a piece of us.



And you know what?



We have to give it.



I don't know

what her problem is.



She takes her shirt off

to do a voice over.



What's her problem?



The country could draw

her tits from memory.



- I--

- Bill...



call her agent

in New York.



Tell him she's breaking

her contract.



We're very upset

with her.



Get someone

to double for her.



Her tits.

The tit scene.



Call L.A.



I want to see pictures

of women's tits.



I'm very sorry.



You're very sorry, you passive

aggressive son of a bitch?



Can we replace him?



We start shooting

in three days.



You want to see

the fireman's costumes?



Because I found this

moleskin for the color?



Marty Rossen's

touched down.



It's not black,

but it looks black.



It's not brown--



Yup, it's faggy without

being homosexual.



Wait, wait, wait.

wait, wait.



He gets a second chance,

do you see?



And you get

a second chance.



No, I don't.



He doesn't go back

to the mill.



He gets a second chance

to go back to the firehouse.



You don't need

the old mill.



This is what--

you see?



This is what your-- This

is what the script is saying?



Hi, Annie.



Hi, Emma,

see you tonight.



- Go, you Huskies.

- Go you, Huskies.



What I see you saying is you have

the two elements, fire and water.



The firehouse

and the old mill.



You know, you could--



What are you

doing tonight?



- Me?

- Yeah.






I have play practice.






That's important.



Come on, people.

Let's hump it. Let's go!






Let's go, let's go!

Come on, come on.



You call

the broad out?



No, I left that

for you.



That's thoughtful.



Mmm, this is good.

Did you try this?



Oh, I'm really going

to eat carbohydrates.



Dump this somewhere.



What did you do,

build this?



- How was your flight?

- We're flying over pigs.



- We're flying over sheep.

- Did you bring Bob's weights?



They're coming FedEx.



- What's in the bags?

- My undies.



'Cause you can't get this picture

off, I'm going to wet myself.



- I'm going to get it off.

-    days I take home the camera.



Oh, I got an idea

for a product placement--



- Hi, Shelly.

- Hi, Doc.



- How's the arm?

- Still itching.



Good. A sign

it's getting well.



Good afternoon.



- Stop.

- That's what I told you.



How are you getting on

with these fine people?



Like dykes and dogs.



Did you see the grosses

for “Ghandi II”?



Yeah? Come in?



Ah, good.



I just uh...



Prices are going up.



That's the way

of the world, isn't it?



Everybody's got to eat.



The way of the world.



I'm being pretty impolite.



Would you like some?



I don't eat vegetables.



Well, I could offer you

something to drink.



Sure, what have you got?



What do you drink?



Bourbon and milk.



How old are you?



Then I hope

you wouldn't tell anyone



that I gave this to you.



I would never tell anyone

anything that happened



between me and somebody

who was my friend.






Nice town you got here.



We could see it a lot better

if we were on the roof.



Wouldn't that

be dangerous?



Not if you have

something to hold onto.



The requirement is you

tell me what the shot is.



Because if you cannot

tell me what is it



how can I take

pictures of it?



Wally wants me to push in

through the window.



How can I push in

through the window?



- Yeah. No. Um...

- Telephone.










How are you?



I thought you had

play practice.



- What happened?

- The cast stood me up.



They're all preparing

for the auditions for your movie.



My glasses fell apart.

I lost the--



Lost the screw?



- Good evening, Annie.

- Evening, sweetheart.



Go, you Huskies.



You said it.



Do you like kids?



I never saw

the point of them.



Me, too.



Do you have a paper clip

to fix my glasses?



Better idea.



Hold up, Cathy,

I need you.



Oh, watch out

for that lure.



Can I get some

fishing line?



Okay, let's see

what we've got.



A little fishing line,

a little country wisdom



and the world's our oyster.



I'm going to fix you up

a brand new hinge.



It'll be as good as new.



Better than new

because it has a story.



Uh huh.



Presto chango.



The inherently

helpful qualities



of every day

household things.



Uh huh.



There you go.



Let me try it.



Careful you don't

burn yourself.









You know what

you got there?



You got a fish hook

in your finger.



I'm right proud of you.



Let me tell you something,

Wally he's a pussycat.



My thing is to see everybody

does what they said they would.



Now what is this?



You want $       to do

what you're being paid to?



You already signed

you'd do?



What is that?



I think I should

talk to my agent.



You and I should...

we should really--



- Who is her agent?

- Mitch Cohen.



Get him on the phone.



He's on the island.



Get him on the phone?

I want you to hear this.



It's ringing.



I really think

that business matters



should be discussed

between you two.



I'm gonna discuss them between

you because it's your idea.



If you're going to sign to do a job

and then hold us up, you are in error.



- He's on the phone.

- Thank you.



Mitch, this is Marty Rossen,

I'm here in...



- Waterford, Vermont.

- I'm somewhere on location.



I'm going to solve it here

or this bimbo you sent me



is going to be doing a donkey

act on public access television.



- Hi.

- Her tits. Her tits?



That she signed

in her contract.



We hired her because of     years

at the actor's studio?



The way she played Medea?



Her last two pictures laid

on the screen like my first wife.



- You have no right--

- Cool it, you started this.



- What's the--?

- Where have you been?



You tell me, you tell me now.

I got to shoot on Wednesday!



I will not pay

your blood money.



P.S. I put the word

out on the street



and Betty Boop can look

for work in squiggle-vision?



Sit down.



I don't think you should

talk to a lady like that.



- Would you excuse me, please?

- You can't treat me like this.



I'm not a child.



- She's absolutely right.

- I'm not a child?



I have feelings.

I mean, don't you--







Because I want to

tell you something



and I think you know

what I mean.



Well, you call him

and you call me back,



but this is it, pal.

You fuck with me



and I'm going

to tear out your heart



and piss on your lungs

through the hole in your chest.



And the best to Marion.

Where have you been?



He says they're looking

for you all day.



You're on salary,

he needs pages.



What are you--?

You been haguing?



- Now--

- Marty?



Later for that,

let's get this.



We need the pages

for “The Old Mill”.



We need a new title.

We need--



Rewrite for Bob,

the dead horse scene.



Whatever it is,

go do it.



How are you doing

on the permit?



- It's just a formality.

- That's why I want it.



Go on, type it up

and get it back to me.



I can't.



Don't tell me

you can't write it.



No, I can write it.

I can't type it.






Hurt my finger.



Get a typist.

Get him a typist!



Get out of here.



Get out of here or we're

going to have you killed.




to show her tits.



Pay her.



I don't got the money.



Find the money.



I got a company

that will give us



a million dollars to put

their product in the film.



A product placement.



- Yeah, take a look.

- What is it?



No no no no!



Just find me the money!



This is Joe White in    .



They're sending up

a typist.



Okay. No, I thank you.

It's here.



Come in.









May I come in?






You said, “You can't talk

that way to a lady.”



You stood up for me.



What do you have

to drink?



I don't drink.






Are you Jewish?



Well, actually--



I love Jewish men.






You know.



Where's your bathroom?



You liked

the script, huh?



- Where have you been.

- Hi.



- We had a date.

- We did?



- Where have you been?

- I've been thinking.



Well, I know,

because they told me



you were with that writer

from the--



You see,

this is what I mean.



The whole town's

been warped



by the presence

of the movie company.



They holler

and we jump.



You have a date,

they call,



you're doing business

 :   at night.



I wasn't doing business.



Oh, well, what

were you doing, then



that's so important you

shouldn't call your fiancé?




have to tell you



that's it's all over

between us, Doug.






met somebody else

and it's very serious



and it's over.



Wait. So serious you couldn't

call to tell me you'd be--



What did you say?



It's all over between us.



I've met someone else.



Who is this person

that you've found?



He works on the movie.



No, don't tell me that.



I'm sorry.



Can you type?



If you can,

they need you at the hotel.



Can you type?



Never admit you can type.






All right, look--



I feel so close to you.



I like you very much.



I like you, too.



Look, I met someone.



- Who is it?

- Room service.



Could you leave it

just outside the door?



You have to sign for it.



Would you excuse me?



Of course.



- Hi?

- Oh, God.



I'm going to be your typist

for this evening.



And here's some




I don't drink.



It's for your finger.



That's very thoughtful.



Here I am.

Shall we get down to it?



Thought you might

like these.



Well, thank you

very much.



Read the card.



“To the love of my life.

Love, Doug.”



The other side.




Wait! Wait.



Where are you going?



Don't you think we should

put these in water?



For God's sake, why?



Because if you don't,

they die?






And in my opinion

that makes them



so much

less attractive.



Wait wait wait!

Don't do that.



You shouldn't do that.




Yup, the little things

mean a lot.



Yes, the little things

mean a lot.



It's so true.



For example, I once had

an uncle who was bit by a spider



and he lost

his sense of smell.



Can I have a cracker?



Shouldn't we start?



Let's start--



Start typing.



This isn't a good time.



Oh, all right.



Then I'll come back

at a better time.



What would be

a better time?



Later on.



Then I'll come back then.



You going out with

your fiancé tonight?



No, no,

that's not happening.



I'll see you tomorrow.









It occurred to me

you'd want to have this,



sort of as a memento

of our--



Oh, I hope I'm not

disturbing you.



She came in here--



Wait, she--



I was giving her

a massage.







she came in here--






With all due respect,



she took off her clothes



and she got into bed



and I told her

we could not



because we don't

know each other--



We had a script




And I said,

“Thank you very much.”



I had a couple

questions about a line.



But, uh--



It was inconvenient







You can do it.



Because I met

someone else.



Oh, okay.



You believe that?



I do if you do.



But it's absurd.



So is our electoral process

but we still vote.






Do you truly think the

electoral process is absurd?



I used to go out

with a politician.



You used to go out with him?

You broke up with him?



Time for a change.



Keep your margins straight.






Don't worry

about that permit.



That is right fine

of you, Mr. Mayor.






- Morning, George.

- Chuckie.




your brother's here.



We're glad

to have you here.



My wife, Sherry,



we're having a party

Tuesday night--



Walt and Bob Barrenger--



invite them over--

home cooked meal.



- If you'd like to join us.

- I'd be honored.



- Sherry, this is Mr., uh...

- Where the hell have you been?



It's a quarter after  :  .



- I've been on the phone--

- Morning, Mrs. Bailey.



I have two days--



This is Mr. Rossen.

He is the producer--



- Hello.

- I am so glad to meet you?



We're glad to have you here

and welcome to our--



Yearly, we redecorate

to restore it



to the original




- What is that?

- The house.



The original kitchen,

of course, burned in      



as part of a spate

of suspicious fires,



which in fact,

lead to the inspiration



of the formation

of the Waterford Huskies?



My, oh, my!



Would you like

a cup of tea?



George, I have

to talk to you.



This is Mr. Rossen.

He's the producer.



I want you

to hear this, pal.



Forget the overages, forget

$       for three days to two weeks.



Do you know what it would cost

to build this town as a set?



$  million.



Now the Waterford

Merchant's Association



demands through me

as their council



 % of the profits

of the movie,



as geared to the most

favorable definition of profits



of either “A,”

the producer--




I am sure--



No, I am positive,



we can reach some




I am thrilled and relieved

to hear you say that,



and thank you, sir.

What did you have in mind?



Don't tell me you

don't have any wallpaper.



I told you we could

have it by Wednesday.



Don't tell me you don't

have any wallpaper.



The biggest grossing

box office star in the world



is coming to dinner

on Tuesday.



Well, if you'd ordered

something common...



I'm going to give you

something common.



I'm going to give you

an injunction as well.



Mr. Mayor.



Mr. Mayor--



Why you cheap,

little heb.



“Assembly of Death” did

$   million the first weekend.



Yeah, but those grosses

are inflated.



You think so?



Well, you got to look

at the per screen averages.



Hi, Annie.



I'm sorry I haven't been

to a meeting of the drama club.



Oh, that's too bad.






What's the matter?



I can't seem to get it

to come out right.



What's the scene?



It used to be

the old mill.



What do you got?



They meet on Main Street,



her horse has just died.



He's coming from the fire.



Annie, do you want

something to eat?



What's the scene about?



I don't know anymore.



Have you seen Carla?






He sees her

on the street.



He wipes the soot

from his eyes.



He goes up to her--



“What happened

to the horse?”



He-- She...



looks at him.



She takes his hand--



- Ow.

- I hurt you.



I hurt your finger.



What happened

to his finger?



It was burnt.



Then it was really hurt.



Ah ah ah?



That's what she says.



That's what she says.



He says,



“Sister, I've come

from a fire.”



But she realizes



it was not the fire

that hurt him,



that the true hurt

was her.



- Was her unbridled sexuality...

- Yes. Yes.



because, because

it's about purity.



It's... it's...






And then you don't need

the nude scene.



Because it's about purity!



Take any two people--

Take you and me--



I've always thought so.



The finest people you could

ever hope to work with.



Do you have the new

old mill pages?



I can't find the writer.



Totally false.



Totally false.



He is the most responsible

human being I have ever--



- I have to talk to you.

- Not now.



My wife is going

to have a baby.



That's great.

Let's bring more people



into this

over crowded world.






Yes, I know

what you mean.



Yes, that's very,

very true.



Take it off.



Take off that stupid,

fucking shirt right now.



Take it off.



Well, if I had to say

one thing,



it's about purity.



Miss Wellesley's

bags, please.






The plane is waiting.



I've written a letter

to the studio



and to SAG protesting--

Get a copy of that letter.



I just want to say

I am past chagrin.



I am mortified at the way

you were spoken to.



An artist of your caliber.



When I read this script

I said there is only



one person to play

that part.



The minute I read

the script I said--



I know.



I said she works

with animals,



she has a home.



A woman who--



The community respects her.

Please don't go.



Please don't go.

What can I do but beseech you?



Trauma? Toil?



All things must end.



You just get an idea

and try to find



the best way

to express it pictorially.









As an interpretive artist

to a creative artist,



stay with me,

I need you.



We start to shoot

in two days.



Then it belongs to us.






Tonight when they've

all gone, let's talk.



Let's really talk.

We'll have dinner.



A bottle of bad red wine.

We'll eat spaghetti--



I'm sorry,

it's gone beyond that.



I've enjoyed it, too.



I've always enjoyed

your publication.



Any time.



What does that woman

want from life?



She wants $      

to show her tits.



Pay her off.



- We don't have the money.

- Find the money.



If you do

the product placement--



It's a computer company.



- Bazoomer Com?!

- Bazoomer dot com.



I can't put a computer

in a film shot in      !



You want to tell me

how to do that?



The art department

had some ideas.



No no no no!

Just pay her off!



Call Howie.



Give me Howie Gold.



Howie, this is--



I need     grand.



I don't care where

it comes from.



It comes out of our end.



Well, that's a shock.



- I need--

- She doesn't show her tits?



Just get me the money.



Hey, she doesn't

show her tits?



She doesn't show

her tits.



Her breasts

symbolize motherhood.



The breasts

symbolize motherhood?



The movie's about purity.



So we don't show

her breasts.



We show them to him.



She keeps her back

to the camera.



It'll hurt

the box office.



They know what

her tits look like.



Know? They could

draw them from memory.



You are fantastic.



What a find you are?

Get out of here.



I still need

the dead horse scene.



- I'm going to nail it.

- I know you are.



- Go, you Huskies.

- Go, you Huskies?



- Mr. Rossen?

- Yeah?



Thank you.



We just got the permit.



Stop her

at the airport!



Catch the broad

at the airport.



Send her back here.



Catch the broad

at the airport.



That Joe, he is

one hell of a kid.



He just saved us




He's got a gift

for fiction.



We got to do

something nice for him.



Hey, come here.



Turn around.



Get him a bottle of--



Get him some maple syrup.



Stick this card on it

and put it in his room.



- Who?

- Joe, the writer!



Joe, the writer,

maple syrup, yes, sir.



Grows on trees.



Actually, it's an extract

of the tree.



Oh, bullshit.



I see some of our buddies got

themselves a part in the movie.



You see where Tom Miller

is playing the old farmer.



He's been playing the

old farmer now for    years.



I read for that part.

I did pretty well, too.



I bet you did.



But I couldn't remember

all the words.



Asked them would they

give me a second chance.



Ain't no second

chances in life.



- Is that true?

- The only second chance we get



is to make the same

mistake twice.



The only...



second chance...



is the chance...



to make the same--



Okay, you're going

to be all right.



So that happened.



Are you all right?



- Am I all right?

- Yeah.



Well, I'm going

to tell you something.



We have to get her

out of here.






- Are you all right?

- What?



You gotta get out of here.



All right.






You gotta get out of here.












But here's the kicker--



Do you have a cigarette?






No, forget about it.



No, he's fine, Howie,

he's going to be fine.



He got knocked

around a little bit.



You're going to be fine.

I'll stop by tomorrow.



Thanks for your help.



It's what I do

for a living.



Seriously, thank you

for helping us out.



Believe it or not,

I've seen it all before.



Howie wants

to talk to you.



Hey, Howie.



I'm fine.



I'll be ready Wed--



I'm here to make

a movie, don't worry--



Hey, pal, when did

I ever let you down be--



Okay, babe.



I love you, too.



He wants to talk

to you about the...



Howie, I'm calling

you back, two minutes.



- Are you okay?

- Yeah, I'm fine.



I reached over to--

the girl had to be home.



I don't know,

a school night--






Everybody needs a hobby.



I wonder if I can take

a moment of your time.



I need a day off.



My wife is having

a rough time.



Thank you for keeping

me current.



Howie Gold, please.



Walt Price,

I was just on with him.






He's fine.



If there's anything

I can do--



No no no,

you've done it.



Thank you.

It's going to be fine.



Howie, Walt here?

I'm sorry, it's crazy.



No no no, he's    %.



He got banged on the head.

He got a shot of adrenaline.



What request for money?



Howie, what request--?

That Marty--?



Is Mr. Barrenger

in there?



Howie, I'm going

to call you right back.



It's really raining

out there, huh, officer?



I guess it is.



Could I see

Mr. Barrenger, please?



Okay, what is she,




- Oh, Christ!

- Look-- Okay. Okay.



You're driving...

countryside, so on.



You picked her up,

she was hitch hiking--



No, she hid in the back

of your car.



- It happens all the time.

- Wait wait wait.



Can I see

Mr. Barrenger, please?



Wait, we can't put her

in the car.



She gets it in her head

to sue or rape--



- She wasn't in the car.

- You were all alone.



There's no witnesses.



There's no witnesses, right?



No, just Joe.



Joe, the writer.



Just him and me.



Then she wasn't

in the car. Say it.



She wasn't in the car.



Mr. Barrenger?






I'm very sorry to--



What seems to be

the problem?



I have to ask you

some questions.



Do you have a valid

driver's license?



Of course he has.



Could I see it, please?



- What?

- Your driver's license.



Were you

under the influence?






And who was

driving the car?



I was alone in the car.

I was driving the car.



Uh huh.



Well, now, Mr. Barrenger,

I'm very sorry.



In fact, I'm as sorry

as I can be, but--



I'm an attorney,

if there's anything



you have to say

to Mr. Barrenger,



you can say it to me.



I have to give you

this ticket



for damage

to city property.



I'm really sorry, sir.

It's a formality.



You have to what?



It's a formality.



Any case of damage

to city prop--



You hit the control box

of the new stop light



and they're going

to send you a bill.



They'll, uh--

These things happen.



I hope

you're all right.



Don't worry, but that's

so sweet of you.



If there's anything I can do

to make your stay more pleasant.



We appreciate

your concern, officer.



- Thank you so much.

- Not at all.






Hello, Mr. Mayor.



Walt Price.



No, no.



He's fine.



Well, he's right here.



You're not to see

that girl again.



Do you understand me?






No, he's right here.

Would you like to--



Bob, are you

all right?



- Hi?

- Hi.



Where are you going?



- Going home.

- Going home? Yeah.



- I told them what you said.

- What?



I told them what you said

about the script.



I didn't say anything.

I was just talking out loud.



- How else can you talk?

- No, that's true.



I told them you can't

portray with the picture



what you're saying

with the words.



I don't know, the movies--

I don't know.



They should be

socially uplifting.



Why does she

have to show her--



What is this?



Yes, sir,

Joseph Knight's print shop.



Vacant for    years.



- Is it?

- Yup, and it's for sale.



You want to see it?



I have the key

in my store.



I'd love to.



How's your movie star?



Gosh, you look nice.






What are you going to

do with it, the print shop?






It's wet out there.



Hey, slip into something

more comfortable.



So what would

you do with it?



The print shop?



Start back up

“The Waterford Sentinel.”



“The Waterford Sentinel”?



Town newspaper.



I got it all worked out.






- Show you the plans?

- Sure.



      Devil's Tail Press.



“The Waterford Sentinel,”

the voice of the mountains.



You shall not

bear false witness.



- The press still works?

- It did as of last week.



You printed

the poster here?



The best way I know

to get ink on your hands.






Oh my.



Life in the country.



The past comes

to our rescue once again.



Yeah, you could

print the newspaper here.



That's something

a man could do.



You know what else

a man could do?






One moment.



All right, out you go.

Don't come back.



Go home, Bucky.

Go home, boy.



I left the keys inside

in my jacket.






I suppose

I should be...



heading home.



Evening, Annie.



Evening, Cal.



Got an umbrella?






That's all right.



You can have my coat.

I'll walk you home.



Then you'll be wet.



I'm going off shift.

Come on, I'll walk you home.




People, people, people.



Every movie's got to be

about something,



and it's got to be about

just one thing.



What is this movie about?



It's about what we always

said it was about.



We were lost, but now

we're back on the right track.



You see, what I'm saying?

The movie is about purity.




I've always seen that.



So we don't show

your breasts,



we show

your reaction to it.



- I am so comfortable with that--

- It was Joe's idea.



And you were

exactly right.



- This is great work.

- Thank you so much.



We're not out of the woods.

I need that dead horse scene.



I have Mr. Barrenger's

tuna BLT.



Thank you.



I tried to take it

to him in his room--



I think he's moved.



You know what Walt said

makes a lot of sense.



Listen, the audience isn't

coming to see your breasts.



They're coming

to see your acting.



- What are you doing this evening?

- I'm having dinner with Walt.



- Do you want to come?

- Do you mind?



- Not at all, you kidding me?

- Isn't she a trip?



We're going to have

some local food,



some roadhouse--

Joe, wanna go?



Got a date.



Already he's learned

how to write a movie



and he's found some girl

to get his toes curled.



- You're a monster!

- Too kind.



Quit your kidding.



How are we coming

with the dead horse scene?



You can't actually

kill the horse.



Oh, fuck me.



Yes, yes, I'm trying.



When is your mom coming?






What did the midwife say?



Where are we

going to dinner?



Did you get

a reservation?



You were going

to book us--



Where is my schedule?

Where we going to dinner?



What's your problem?



My wife's

having a baby.



Is that on

the call sheet?



Or is that

personal business?



Oh, Christ, Marty!



Are we paying you?






She didn't even finish

knitting me the sweater.



Morning, Doc.






What are you

doing here, Doug?



I thought you started

out the day



with that pernicious




Kiss my ass.



He's had a hard day.



Ann deserted him

for some guy on the movie.



Well, they don't

always leave



with the ones

they come in with.



Big day last night.



Hoped to tell you.



Didn't I pick

the fragments of glass



out of Bob Barrenger's

actual head myself?



- Morning, Carla.

- Morning, Uncle Ron.



Morning, Carla.



Morning, Doc.

Morning, Doug.



A cluster of events.



Don't see something

for     years,



all of a sudden,

three times in a night.



Who got glass in their head?






Who got glass in their head?



Oh, uh, Barrenger,



and another fellow

who works on the movie,



a cameraman.



You said three.



Did I?

I think you're mistaken.



I wasn't in the car.



We'll just

see about that.



Doug, she said

she wasn't in the car.



Jack, it's time

to rip the band-aid off!




you're going to jail.



I didn't know

it was illegal.



I beg you pardon.



Could somebody

explain to me--



We've got to turn

this hotel upside down.






Arrest him.



What's the problem?



- Arrest him.

- For what?




in statutory rape.




in statutory rape?



Okay, of whom?



- This young woman.

- Nobody touched me.



- Who was it that raped you?

- Nobody.



Well, what's the beef?



She was in the car

with Bob Barrenger.



She was injured coming home

from a love tryst.



You were in the car

with Bob?






Then what is the--



Then what is this,

you son of a bitch?



Because if you haven't

heard about the laws



of malicious prosecution,

you're about to.



Don't flinch

while I'm talking to you,



you speed trap shaygits.



The kid was not in the car.

She says she wasn't in the car.



No one says

that she was in the car.



You have no case. So I'm

not playing patsy with you.



Look me in the eyes.



I made    million bucks last year

and I don't like being trifled with.



Now I think the better part

of valor is for you to step away.



Or you, your kids,

and your grandchildren



will die in poverty.



What do you think?



We have a movie to make.

Can we all pull together here?



Have a cigar.



There you go.



In a communist country

if a fellow makes an accusation



these are the things

that occur--



It's a mistake.

It's all over.



I'm sorry that

we've inconvenienced you.



I wasn't in the car.



We know that you weren't.

We're all aware of that.



Because you treat me

like a child.



You treat me like a child.



That's why I can't come.






He took advantage of me?



I got to admit

I'm a bit confused.



I'm going

to straighten you out.



Officer, will you

see these folks home?



Yes, sir.



She's upset

and impressionable.



Get me my law book

and the mayor.



I was talking

to that girl in there.



- Overcome by the events...

- I never touched her...



- A high powered fantasy.

- On my mother's grave.



We were talking

about the script.



I think you might

want to get dressed.



I really don't

understand the problem.



- Wally--

- All right.



Carla: I want to go home.



If somebody

would enlighten me.



That's what

I'm here for.






Adolescence is

a difficult time.



It is a time of dreams.



Many young folks

dream of Hollywood.



I know I did.



And here Hollywood

has come to you.



She told me

she was studying Phonics.



I'm going to need

her birth certificate.



Carla, I swear that girl

in my room--



Be quiet, Bob.



It's called

a script conference.



You have

a fertile mind.



We use people like that

in our work.



You said you were

doing your homework!



Because if that's not true,

you're grounded?



Can we get him

home, please?



- I--

- I don't think so.



If you think I'm fooling,

wait until I get you home.



It occurs to me



that there's a part

in our movie--



I would appreciate it if you

wouldn't speak to the complainant.



There's part, a young girl--

Am I right?



Here, statutory rape,

blah blah blah.



Carla, you know at the beginning

of any relationship--



Keep him away from me

until the end of time.



Unsupported testimony

of the complainant--



You travel with

the statutes on rape?






Conflicting statements,

a coerced accusation--



You got a complainant

who's worthless.



You've got no witness

that puts her in the car,



and you've got no backing.



Yeah? Maybe we better

talk to the mayor.



- Hello, Mr. Mayor.

- Is that the mayor?



- It's just an unfortunate--

- Is he cool or angry?



So, today we got lucky.



If your memory was as long as

your dick you'd be in good shape.



How long since you almost

went to jail for this shit?



How could she turn on me?

I thought she liked me.



Can we keep our pants buttoned

and get out of this in one piece?



- I'm ready.

- Well, stay ready.



- Stay by yourself in your room.

- What am I going to do for fun?



Why don't you

learn your lines?



-I know my lines.

- You do?



I just don't know

what order they come in.



I'll tell you what--



Let's ditch these

cockamamie locals.



- They play too rough.

- Let's go to some roadhouse.



Just us.

You, me and Claire.



We'll drink

a bottle of wine.



- Now you're talking.

- Just get in the car and go.




someplace real.



You and me, pal.



What are you

doing for fun?



I went for a ride

on a tractor.



- Get out.

- Nope.



You went for a ride

on a tractor?



Yup, last night.



Hey, Molly, will you

get me a ham sandwich?



Hey, you got

to eat a pack of dirt.



My wife just went

into labor.



Half a buck

I'd close it down.



It's perfidy.



You got Barrenger

molesting little girls.



- He should be put in jail.

- I'd put him in jail.



- You should.

- If I had a witness I would.



A witness to what?



To the rape.

Even to the accident.



You mean with White?






You mean you need a witness

in addition to White?



- Who's White?

- The writer.



- He saw the accident?

- Sure.



He saw the girl

in the car?



You bet he did.



Well, that's

what I'm talking about.



Don't you touch that.



Excuse me.



- I want them gone.

- I signed the permit.



- I want them thrown in jail.

- Sherry. Sherry.



I want them to starve

in a great big hole



and I'm going to

go there and piss on them.






Get me the state police.



The sleepy little town

of Waterford, Vermont,



where movie star,

Bob Barrenger,



fresh with his troubles

with the law last year,



is once again

in hot water,



involved in a car crash

with a young,



a very young, woman.



Mr. Barrenger is being

arraigned today



for moral turpitude

and several other--



Make sure you

got your facts straight.



You step off the line

and I'm gonna sue you personally.






Good morning, where are you

taking Mr. Barrenger?



We're looking for

a Mr. Joseph Turner White.



- What are you doing?

- He's under arrest.



I'm his lawyer.

And you must be Perry Mason.



Guess what?



You are one half step

from a world of hurt.



How diverting? The mayor's

going to have your ass.



- Can I watch?

- You guess what?



The mayor sent me.



I have your Mr. Barrenger

with a history--



A history of nothing.

He was acquitted.



Moral turpitude.

What are you waiting for?



- Don't say anything.

- Nothing happened.



You're on my home court. I got

the mayor and the town behind me.



And forget making

your movie.



I may own the studio

when I get through.



I got a civil suit.

I got rape. I got collusion.



You got nothing.

You don't have a witness?



And I have a witness?

Your Mr. White saw the crime.



- He told you that?

- He didn't have to.



I need to talk to him.

Will you excuse me?



Oh, you're

his attorney, too?



- Later for you, pal.

- Okay.






Bob's in the slammer.

You do that, I'll do this.



What are you

going to do?



Go be with him.



- Hey, Marty.

- Hi, pal.



I need to talk to you.






He's going to give you

a couple of minutes.



What's it all about?



I saw the accident.



How do they know that?

You told them?



- No.

- What did you say to them?



I didn't say anything

to them.




Come here.



That's very good.



Have a seat.



How do you know

you saw it?



- I don't understand.

- Perhaps you didn't see it.



Perhaps you didn't

see it.



I saw it.

I was there.



You were there...



at    :  ?



Yeah, I was walking

down the street



and I remember...

I was writing--



What glasses

were you wearing?



Were you wearing

your reading glasses?






You told me

you were writing.



Don't you wear your reading

glasses to write?



Isn't that

what you told me?



Hold on.









I've got to go

to the jail.



Be strong.



What am I gonna do?



You gotta tell them you saw

the accident, don't you?



I can't do that.



If I tell them,

they'll try Bob for rape



and it will

ruin his career.



But that's what happened.



But they'll stop the movie.



Maybe there'll be

other movies.



They'll blackball me.



Carla was in the car.



What am I gonna do?



A lot of hubbub

in the street.



I'm taking you

the back way.



Two minutes?



Let's speak English.

You gotta help the side.



You want me to lie?



To the contrary,

I want you to tell the truth.



Truth is you can't tell me

that you saw the thing.



You don't remember

which glasses you've got on.



If you're not sure, then they've

got nothing and Bob walks free.



This is a damn roust

and everybody knows it.



The guy wants to

make a name for himself.



If we let him do that, then

we're being false to our community.



Do you understand?

To our world.



And you're a part

of that world.



I got a five picture deal

with the studio.



You stick with me,

you write one, two more--



You stick with me,

you'll direct the next one.



The girl wasn't

in the car.



You got to go.



Joseph Turner White.



Hear ye, hear ye.



Sixth District Court

in for the county of Codona,



State of Vermont.



The Honorable James Addison

Flynn presiding.



All those with business before

this honorable court draw near



you will be heard.



Mr. White, this is

a simple matter of--



All we need is a simple

fact or two.



You're going to give your

recollections of the accident



at the corner

of State and Main.



Would you please

swear him in?



Raise your right hand.



Do you swear

to tell the truth,



the whole truth

and nothing but the truth,



so help you God?



I do.



The arraignment, as we said,

of Bob Barrenger.



The Bob Barrenger,

star of “The Old Mill”



about to begin shooting here

in picturesque and sleepy--



or we should say,

formerly sleepy--



Yes, yes...



Yes, it's Claire Wellesley.



We're going to try

to get a look at her.



Let's go.

Stay with me.



Morning, Doc.



Morning, Billy.

Where are you headed?



Down to the corner

to see the ruckus.



Watch the curbs now.



Good morning.



Where are you off to?






I'm leaving.






I perjured myself.



I told a lie,

and I ruined my life.



That's what I did.



I don't suppose you could

help me with that, could you?



Turn back the clock

or something?



You know,

to give me back my...



give me back

my purity?



I don't suppose you could wave your

magic wand



and do that, could you?



For what is truth?



Isn't that the thing,

what is true?



The truth is

you never should trust



anybody who wears a bow tie.






A cravat is supposed

to point down,



to accentuate

the genitals.



Why do you want

to trust somebody



whose tie points out

to accentuate his ears?



Aren't you supposed to set

an example for people?






Just supposed to hold

their hands while they die.



What did you say

your problem was?



- Hi, Doc.

- Oh, morning, Chrissy.



How's the back?



I ruined my life.



Isn't that funny

you can actually do it



in one moment,

just like they say?



I ruined my life

back in that courthouse.



- What courthouse?

- The courthouse back in town.



The town ain't got

no courthouse.






It ain't got

no courthouse.



Courthouse burned

down in      .



Where do they hold court?



To hold court they have to--

science lab



at the high school.



Morning, Judge,

what brings you down here?



Supposed to be hearing

some deposition.



Some fool saw the accident

the other night.



Did the courthouse

burn down?



Courthouse burned

down      .



Part of a spate of fires--



old mill, courthouse--



Supposed to have been set

by some deranged teenager.



Gave rise to

the Waterford Huskies.



I thought you needed

to get it out of your system.



The American system

of jurisprudence,



which differs from ours

in the following respects:



They have their

Bill of Rights,



equal perhaps

to our Magna Carta.



What are you

gonna do?



Tell the truth.



I would now like

to address you



on the responsibility

of the prosecutor's office.



The job is not

always a happy one,



but there comes

a time now and then



in the life of the community

for the display of force.



So be it.



Now it falls to my lot

to join the fray,



to join in battle

and to exterminate



by means of this

criminal indictment,



to exterminate

the vermin...



He's got toilet

paper on his face



and he's sweating

like a pig.



...a license granted him

by a gracious nation,



who spew filth

and degradation



and who--




Who pollute the minds--



We're live in five minutes.

Do you need to clean up?



Yes, thank you.



Do something.



You tell me what to do.

I'll do it.



I was just paying off

my spread in Montana.



Excuse me, sorry.



I'm here to give

my deposition.






Thank God.

It's up to you, pal.



- I'm out.

- I don't get you.



The girl was

in the car.



I treated you like a son,

or a nephew--



It's not about you--



No, what's it

about then?



I have to tell

the truth.



That is just so narrow.



The girl was in the car.



Then you're finished

in showbiz.



So be it.



And we're going to sue you

for a billion dollars.



What cause?



I don't need a cause.



I just need a lawyer!



I'm a lawyer.



- Howie?

- Yeah.



Howie, what are you

doing here?



What am I doing here?



I just flew seven hours

because you asked me here.



What for?



For this, and I hope

you need it,



because it's coming

out of your budget.






I would prefer it

if you didn't speak to me.



You know,



there's nothing

you could say



that could possibly

make a difference.



So why don't you

just save your breath?






You forgot your case.



That's not my case.

That's your case.



Oh, it's mine?

What did I put in it?



$       in cash.



And what was it

you wanted to say?



Good yuntiff.






I'm supposed to give

my deposition.



The judge will be

with you in a minute.



I'm going to have

to go to jail.



I'll knit you a sweater.



I might be in there

a long time.



I'll knit you

a jump suit.



Well, okay.

Okay, then.



I've come to

give myself up.



Hi, Annie.



Hi, Judge.



Good to see you, girl.



I've come to

give myself up.



You're going to have to

give yourself up to someone else.



I'm going to

get in some golf.



Why don't you

give yourself up to her?



That's what I'd do

if I were you.



I have learned a lesson

and the lesson is this:



That everybody needs

a second chance.



You, me and these

fine film people here.



You know, they have

a high profile



but that doesn't mean they

aren't deserving of our trust



and of our respect.



I think there's

a lesson here.



The lesson is this:



It is a lesson

of tolerance.



And as we look

at this industry--






As we look at this clean,

American industry,



and as I begin

my campaign for congress



in my aspiration toward

that city on a hill,



I would

like to say this...



This is picture?

This is picture?



- Roll camera.

- Speed.



“The Fires of Home,”

scene one, take one.






Hold still now.



I guess that fire got a little

bit exciting last night, eh, Frank?



Doc, that's their nature.



If you didn't have

a little excitement



wouldn't life be dull?



That it would.



What do I owe you?



You quit your kidding.



Hey, Nate, see what

you can do with this.



Ha ha, fix it up

good as new, Frank.



Morning, Sister.



We missed you

in church today.



Sister, I've just

come from a fire.



That is an explanation,

but it's no excuse.



Let me help you with that.



Sister, I didn't come here

to talk about the altitude.



What did you want

to tell me about?



Let's talk about something

a man could get his hands on.



That's exactly why

I want to talk to you.



I wish you had been

in church today.



What would I have seen?



You would have seen

Father Mulcahy,



that kind, dear old man.



I heard he was ill.



He is ill, and you

would have seen him



rise from his bed

and hobble to church



and talk about




If he had been

talking to me...



Just as bad. I have

no chance of redemption.



Redemption is not offered

once, Frank, but continually.



Kind words, Sister.



They are not mine.



And you come by

next Sunday,



we'll give you

a second chance.



Sister, the only

second chance I know



is the chance to make

the same mistake twice.




That's a cut.



Bob, this is great!



We've got to talk

about this thing.



Joe. Joe?



I want to change this.



We are going again.

We are going again?



Good work, Bob.



Stand by.



Cue the dead horse.



And can we get a crate

of doughnuts for the teamsters?



Well, it beats working.



Man #  : Would you care

to identify that song for us?



Man # : The song is called--



well, the original title,

which we can't use any more



is called

“The Song of the Old Mill.”



We can't use that title

because that's no longer



the name of the movie.



Man #  : The movie

now is called--



Man # : The movie is now

called “The Fires of Home.”



Man #  : “The Fires of Home,”

and this movie is about...?



Man # : Well, it's about

many, many things.



Which I think is a character

of any great movie.



It means many different

things to many people.



Or three things

to three guys.



Man #  : Let's go

the phones.



Maurice is on the line

from Medicine Hat, Alberta.



Man: Once more, and can you

try to play the notes this time?

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