- 5 hours ago
Wonder Man 2026 S01E02 [Full Movie] [Official Release]Full EP - Full
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Short filmTranscript
00:07The showrunner just called.
00:08He's cutting your character from the show.
00:10You never let me in, Simon.
00:12Not really.
00:13What's this big audition you were talking about?
00:15I'm auditioning for Wonder Man.
00:18Anyway, nice meeting you.
00:20Wait, someone's asking me to be making Wonder Man?
00:22It's too late. Today was the last day of auditions.
00:30You're a bloody mess.
00:31You can't go in like this.
00:33And then you ran into each other at the audition?
00:36Yes.
00:37Are you sure he's buying the act?
00:39He doesn't suspect a thing.
01:09I was ten when the acting bug first bit.
01:13My first audience was my dear old mum, Dorothy.
01:17I had to keep her spirits up.
01:19It was the least I could do after all she gave to me.
01:23You can see how much she loves you.
01:26She was a saint.
01:27A true saint.
01:28She always believed in me, believed in my acting.
01:31I'd never have made it without her.
01:34Wait.
01:36Were you in a hospital show?
01:38South Shore Hospital, yeah.
01:40The first three episodes.
01:42Yes.
01:43With Joe Pantoliano.
01:45I love him.
01:46Yeah.
01:48No, yeah.
01:50People do.
01:52Yeah.
01:56Yeah, it's true.
01:57I've had some low points.
01:59Some bits I'd rather forget.
02:01But that's all behind me now.
02:03Thirteen years sober.
02:05Back in Hollywood.
02:07Ready to make my mum proud.
02:09You know, Joe has said my acting could be important.
02:14Vital.
02:16And I'm going to prove her, right?
02:18That's wonderful.
02:19Your mother would be so happy for you.
02:21Stay there!
02:23Do not move!
02:24Trevor Slattery.
02:25You're under arrest.
02:26I'm not resisting.
02:29We're not together.
02:31Some people call me a terrorist.
02:34I consider myself a teacher.
02:39America.
02:41Ready for another lesson.
02:45Thirty-nine hours ago,
02:47the Ali al-Salaam airbase in Kuwait was attacked.
02:51I, I, I did that.
02:56Pretty scary stuff.
02:57It's cold acting.
03:04I'm going to shoot him in the head.
03:06Live on your television.
03:11Acting.
03:12They're squibs, blanks.
03:13You sure about that?
03:14Why are we going through all this again?
03:15I had my trial.
03:16I went to jail.
03:16I never finish your sentence.
03:17Not my fault.
03:18No one cares.
03:26You know, the way that I see this,
03:28you have two options.
03:30Option one is that you go back to prison
03:34and finish your sentence.
03:35I like that option.
03:36And then you have option two,
03:37which is you do a little work
03:39for the Department of Damage.
03:40Two.
03:40Option two.
03:41Thanks.
03:43Okay.
03:47This is Simon Williams.
03:50You're an actor.
03:51Do you think you can get close to him?
03:53I would need some bait.
03:55An audition could work.
03:57Shouldn't be hard to set up a fake one.
03:59No, he'd see through it.
04:00He's a, he's a working actor with an agent.
04:03This is a small town.
04:04You'll know what's real.
04:04You need to find out what projects are coming up.
04:08Something juicy.
04:11Something Simon Williams would be particularly excited about.
04:35How in the hell did Ruth back?
04:37She called me about your audition for Wonder Man.
04:39Yeah, see, that's kind of a funny thing.
04:42No, no, no, it's actually not funny.
04:44I'm so mad, I don't even want to hear it.
04:46I'm sorry, Janelle.
04:47I had to.
04:48It's just, it's just something about this role.
04:51It feels like, it feels like the one,
04:55like it was made for me, you know what I mean?
04:57Actually, I don't.
04:58Mm-mm.
05:00She loved me, didn't she?
05:01Simon, stop.
05:03She loved me.
05:04She said something about you showing promise, maybe.
05:08I knew it.
05:08Yeah, but she's also realistic, like me.
05:11She's putting you up for an opportunity
05:12that you actually have a real shot at.
05:14It's a self-tape for an indie feature, the Carlisle.
05:17Get it to me as soon as you can.
05:19You better deliver for Ruth.
05:20You want her on your side.
05:22Can she type with Vaughn Colbert?
05:23Because she's a great casting director.
05:25Nah, nah, nah, nah, nah, nah, I got you.
05:27Do you?
05:27Do you got me?
05:29Bye.
05:43Poetry teacher.
05:44Close with.
05:45You never judge.
05:46Who says?
05:46Who says what?
05:47That I don't judge.
05:48How is it that no matter who I bring in here,
05:50boy or girl,
05:51my mother or that odd poetry teacher,
05:53you never judge?
05:57Who says?
05:58Who says what?
05:59That I don't judge.
06:10That I don't judge.
06:32Maybe I'm just good at hiding it.
06:50It's good.
06:51Maybe just,
06:52maybe just,
06:53like,
06:54down in the back.
06:55Okay.
06:55And then maybe this out.
06:56Okay.
06:59Yeah,
07:00I like that.
07:00Okay.
07:01I'm a nutty.
07:03Okay.
07:23No, no, no, no.
07:26No, no, no.
07:56No, no, no, no.
08:00Did you notice any signs of visible enhancement?
08:03Like what exactly?
08:05I don't know.
08:06Like a subtle glow, maybe?
08:09No, he was not glowing.
08:12I said subtle.
08:14Look, Trevor,
08:15the Department of Damage Control
08:16considers Simon Williams an extraordinary threat.
08:19And I just need some proof.
08:21I need it fast.
08:22And I think we've wasted enough time
08:24trying to search for this perfect audition.
08:26It was worth it.
08:27I think we could have gone with Megan 3.0.
08:29That's why you hired me.
08:32Oh,
08:33what do you look at that?
08:34Simon Williams
08:35needs help with an audition,
08:37wants me to come over.
08:38You see,
08:39my friend,
08:39that is great news.
08:45I want you to wear this
08:46when you enter his place,
08:48find his computer
08:49and place this right on top
08:51and I'll handle the rest remotely.
08:53Got it.
08:55Why aren't you texting him back?
08:57I wouldn't want him to think
08:58I'm just sitting around all day
08:59waiting for someone to text me.
09:17I think we've waited it long enough.
09:20I'll handle the role of Trevor Slattery
09:21if you don't mind.
09:25Okay.
09:26I put down my book.
09:28I have crossed the room.
09:30I've reached my phone.
09:32Intriguing.
09:33When were you thinking?
09:37He's thinking now.
09:38I see.
09:39That might be tricky.
09:40I would have to move some things around,
09:45but there might be a chance
09:48I could manage...
09:49Just say,
09:50see you in 20.
09:51I would never text a sentence fragment.
09:56Meeting is set.
09:57Great.
10:00How far that little candle
10:02throws his beams
10:03so shines a good deed
10:04in a naughty world.
10:08Yeah.
10:10Shakespeare.
10:11Right.
10:12Merchant of Venice.
10:13Sure.
10:15Don't mess this up, Trevor.
10:17Yep.
10:31Yeah.
10:32Yeah.
10:33It's Trev.
10:34Trevor Slattery.
10:37Cool.
10:37We're right in.
10:38Wait.
10:39Aren't I coming up?
10:50Thanks for coming.
10:51Let's go shoot this thing.
10:53How are we using your apartment?
10:54Nah, it's got bad energy.
10:58Look, I just went through a breakup,
11:00so it's kind of hard to focus in there.
11:02I've got to be centered for this.
11:03It's got to be good.
11:05Okay.
11:06Okay, so where did we go?
11:07That's a self-tape studio.
11:09Not far from there.
11:10And what, pray tell,
11:11is a self-tape studio?
11:15They sprang up over the last few years.
11:18You rent the room by the minute.
11:19It helps.
11:21Because almost everything these days
11:22is a self-tape.
11:23It's tragic how the industry's changed.
11:26Oh.
11:27Sorry, I've got to take this.
11:29I'll sign this up.
11:34I couldn't get into his apartment.
11:36How did you already screw this up?
11:38Editing and upload are included,
11:40and there are no hidden fees.
11:42Sign right there,
11:43and I can fit you in right now
11:45if that works.
11:46Nice.
11:47Okay, fine.
11:48Just stay close and keep an eye out
11:49for anything suspicious.
11:50I think I can handle that.
11:52Trev, we're up.
11:53Oh, got to go.
11:55Uncle Vanya?
12:00So, it's an indie feature
12:01in the vein of Igby Goes Down
12:03or The Only Living Boy in New York.
12:06And I play a waiter
12:07who the man-boy protagonist
12:09has an unexpected emotional connection with.
12:11Sounds rich and textured.
12:13This could be good for you.
12:14Right, so, I'm thinking
12:18the waiter character
12:20is third generation from the Bronx.
12:23His father always wanted
12:24to own his own restaurant.
12:25He was a great cook.
12:27And he took Corey to the Carlisle
12:29when he was a little boy for T1,
12:30so he's always had
12:31this emotional attachment to it.
12:34Not sure how you'll convey all this with...
12:36Would you like to charge it to your room?
12:38May I see the sides?
12:40I'd like to prepare before we start.
12:42Oh, uh, no, sorry.
12:44The two of us, we can handle it.
12:46That's why we came together.
12:47Well, you should have read the waiver you signed
12:49because it stipulates that I read all off-camera lines.
12:58Would you like to charge it to your room?
13:03Oh, sorry, is that me?
13:05Yes, ma'am.
13:05Here it is.
13:08Okay.
13:09Let's start again.
13:11Pick up the pace.
13:18Would you like to charge it to your room?
13:21How is it that...
13:27Is it that...
13:28That sounds weird.
13:30I think we're good.
13:31Thank you, Marcy.
13:32Is it that...
13:33That found it here, right?
13:35Thank you, Marcy.
13:43How do you still have a place in L.A.
13:44after all these years?
13:45Bought it.
13:46From the South Shore Hospital money.
14:00Make yourself at home.
14:05Wow.
14:06This place is crazy.
14:07Sure beats the old dungeon.
14:13Turtle Diary.
14:15Directed by...
14:16John Irvin.
14:18You've seen Turtle Diary?
14:19Of course.
14:21You and Glenda Jackson
14:21free a couple sea turtles
14:22from the London Zoo,
14:23but you really free yourselves
14:24along the way.
14:25Yeah.
14:26No, yeah.
14:27How am I just realizing that now?
14:31Coronation Street.
14:32You play Ron Jenkins, right?
14:34Well done.
14:35A pint of bitter, please.
14:36And one for my friend.
14:38Every Brit did their stint.
14:40The producers were thrilled to get me
14:41after my runner's leer.
14:43Oh, careful with that.
14:48There's a tradition in the theater
14:50of handing down your prompt
14:51to the next generation.
14:53This particular skull
14:55has had quite the journey.
14:56It was used by David Garrick
14:58when he played Hamlet.
14:59He gave it to Keane,
15:01who passed it to Irvin,
15:03who passed it to Burton,
15:04who left it in a bar
15:05and I nicked it.
15:07Please.
15:10Is this you?
15:11Yeah.
15:12My mother, Dorothy.
15:14She was a nurse.
15:16She always believed
15:17I'd make a great performer one day.
15:19Have a positive impact on the world.
15:26Max Factor's grandson
15:27used to live in that apartment.
15:29Now we've got this.
15:30When I ask him to stop,
15:31it's just place a louder.
15:34Shall we get to work?
15:39Would you like to charge her to the room?
15:41How is it that no matter
15:42who I bring in here,
15:43that should be whom, by the way,
15:45whom I bring in here,
15:46boy or girl,
15:47my mother or that
15:47off-poetry teacher I'm close to it,
15:49you never judge.
15:50Who says?
15:51Who says what?
15:51That I don't judge.
15:52Maybe I'm just good at hiding.
15:55He's stopped.
15:56All right, let's set up.
15:58Before we record,
15:59I had a thought.
16:00I think the key to this role
16:01is finding what's not being said.
16:03Think about what you're doing
16:04between your lines.
16:06That's where the character...
16:09Oh, bloody hell.
16:11It's never been this hard
16:12to do a tape in my life.
16:13Ruth Bakshi is never
16:14going to work with me again.
16:15Ruth Bakshi?
16:16Yes.
16:16Casting director on Wonder Man?
16:18Yes.
16:18You better not mess this up.
16:19I know.
16:20We could shoot on the street
16:21or in your car.
16:22What?
16:23No, it's too weird.
16:24It's a way to see it.
16:25You have any friends
16:26we could ask?
16:27No.
16:28You've been out here
16:28for how long now?
16:29Eight years.
16:29Eight years?
16:30You don't have any friends?
16:31What about you?
16:32You've been out here for decades.
16:33Where are all your friends?
16:34You should have plenty.
16:36Oh.
16:37There is someone I could ask.
16:41We were both
16:42in Southdale Hospital together.
16:44I played the lead.
16:46Somehow,
16:46he managed to get
16:47in the showrunner's ear.
16:49He had my character killed off.
16:50Walked away with the lead role
16:52and the people's choice award.
16:54The most promising newcomer.
16:56Yeah, that's cold.
16:57He owes me.
17:08Trevor Slattery.
17:10I can't freaking believe it.
17:13Oh.
17:14Oh.
17:15Get in here.
17:20Simon, Joe Pantoliano.
17:23Joe Pantoliano, Simon Williams.
17:24Everybody calls me Joey Pants.
17:26Yeah, of course.
17:26It's a plus.
17:27You know,
17:27I never eat a steak
17:28without thinking about you
17:29and the Matrix.
17:29What?
17:30Everybody always go on and on
17:31about growing at the Nero
17:32and Midnight Run,
17:33but you were the third side
17:34of that triangle, man.
17:35I like this guy.
17:37Wow.
17:39You done well for yourself, man.
17:40That's a lot of marble.
17:41Yeah, well,
17:42my wife,
17:43she designed the place.
17:45Hang on a sec.
17:47Better give the tree some life.
17:50You know,
17:50Art Linkletter taught me
17:52a crucial lesson
17:53about show business.
17:55It's not enough
17:56to make a living.
17:57You gotta make a killing.
17:59So,
18:00I got into real estate
18:01early on,
18:02bought in Venice,
18:04way before Arnold.
18:05Made a disgusting amount
18:07of money.
18:08Just disgusting.
18:10So,
18:11you guys hungry?
18:11My chef be happy
18:12to make you something.
18:13Well,
18:13we're not really here
18:14to socialize.
18:15We're on a tight schedule.
18:16Oh,
18:16come on,
18:16Trev.
18:17Nestor's the best.
18:19I just stole it
18:20from McConaughey.
18:22Thank you,
18:23Nestor.
18:25Ah,
18:25my favorite.
18:26We got some
18:27duck prosciutto,
18:28some roasted peppers
18:29from my garden,
18:30and
18:31we just
18:33flew in
18:34the moots
18:34fresh from Hoboken.
18:36They can't audition
18:37on an empty stomach.
18:38Here,
18:39sit down.
18:39Okay.
18:42You know,
18:43people
18:44don't appreciate
18:45all the work
18:46that goes into
18:47the audition
18:47process.
18:48I'm offer only,
18:49so it's hard
18:50for me to relate.
18:57Hmm.
18:59Man,
18:59I'm so glad
19:01all that
19:02Mandarin business
19:03is behind you.
19:04I mean,
19:05the performance
19:06was good,
19:07but
19:09I was worried
19:10about you,
19:11man.
19:11That was
19:12some dark shit.
19:17Simon,
19:17what the hell
19:18is this damn
19:18audition?
19:19I'm sorry,
19:19I'm at Joe
19:21Pantoliano's house
19:21right now.
19:22He just offered me
19:23moots from Hoboken.
19:24He got a treat
19:25in the foyer.
19:25I'm just trying
19:26to be polite.
19:26I'm in here
19:27cold switching
19:27and everything.
19:28I'll give a damn
19:29if you was having
19:29sloppy joes
19:30with Sarah Paulson.
19:31You need to hurry
19:31the hell up.
19:32That's why I'm here,
19:33to do the tape.
19:34I'm just trying
19:35to stroke the man
19:35ego a little bit.
19:36Let me play this.
19:37Just put your face
19:38saying the lines
19:39on a tape
19:39and get it to me.
19:40Okay.
19:41Okay,
19:42all right.
19:42And don't do
19:43what you always do,
19:43Simon,
19:44okay?
19:44I know you're
19:44already overthinking
19:45and doing that bullshit.
19:46Just be normal,
19:47okay?
19:47Can you play that?
19:48Normal man.
19:49The breakdown
19:50is go method.
20:01You know,
20:01I don't think
20:02we've crossed swords
20:03since we wrapped
20:05South Shore Hospital.
20:06Sounds about right.
20:07Well,
20:08I miss you,
20:08Dr. Jack.
20:09What's that
20:10supposed to mean?
20:11Dr. Jack Cronk.
20:12That was your character.
20:14Oh,
20:14right,
20:14lovely.
20:15Before you stole
20:17the lead from me.
20:20What the hell
20:21are you talking about?
20:22I'm surprised
20:22you bring that up,
20:23Joe Pantoliano,
20:24right to my face.
20:26Trevor,
20:27you were high.
20:29Out of your mind.
20:31You weren't showing
20:32up to set
20:33and when you did,
20:34you were screaming
20:35white worms
20:36were coming
20:36out of your skin.
20:38You told me
20:39that you couldn't
20:41handle the pressure
20:42of being the lead.
20:43Showrunner,
20:44rewrite to work
20:45around you
20:46until finally
20:47network had enough.
20:48Killed you off.
20:49Can we please
20:51take this audition
20:53already,
20:54already?
21:01So,
21:01let's
21:02shoot this,
21:04gentlemen,
21:05shall we?
21:07That's quite a career.
21:09Well,
21:10yeah,
21:11I've been lucky.
21:12Well,
21:12if I was British,
21:14they would have
21:15knighted me by now.
21:15can I give you
21:18some free advice?
21:19It's Louis B. Mayer.
21:21He has a saying.
21:24The most important
21:26thing about acting
21:29is sincerity.
21:32Once you learn
21:33to fake that,
21:34you got it made.
21:37No,
21:38look,
21:38show business
21:40is crazy.
21:41It's built
21:42on a foundation
21:43of insanity.
21:44So,
21:44success
21:45is the collateral
21:46you use
21:47to build something
21:48real for yourself.
21:50Remember this.
21:51Acting.
21:52It's just a job.
21:54I mean,
21:55yeah,
21:56it's a great way
21:57to make a buck.
21:58It's better than
21:59any other job
22:00out there.
22:00But the minute
22:01you try to get
22:02something else
22:02out of it,
22:03fame,
22:04validation,
22:06getting even
22:06with your parents,
22:07whatever,
22:07you're screwed.
22:09You keep
22:10digging that hole
22:12and you'll
22:13never get out.
22:16I gotta say,
22:18Trev,
22:19oh,
22:20I envy you.
22:21To finally
22:22be done with it all
22:24must be nice.
22:26Not have to worry
22:28about your weight
22:29or your appearance.
22:31You can ignore
22:32the stupid trades.
22:35Actually,
22:36he's not done
22:37with acting.
22:38Really?
22:40He just had a huge
22:42audition for a lead
22:43role in a
22:44Von Kovac movie.
22:45Well,
22:46holy shit,
22:46that's terrific.
22:50Don't pretend
22:51to be happy
22:52for him,
22:52Joe Pantoliano.
22:53What?
22:54You think you're
22:55being nice,
22:55but you're actually
22:56condescending as shit.
22:57Do you know that?
23:00That speech
23:01was the dumbest,
23:02most patronizing
23:03thing I've ever heard.
23:04Come in,
23:05fellas.
23:05You suck,
23:07Joe Pantoliano.
23:08Baby's day out
23:09is garbage.
23:10Even that dumb baby
23:11couldn't make you funny.
23:17Let's get the hell
23:18out of here, man.
23:20Come on, guys.
23:24acting isn't a job.
23:27It's a calling.
23:29It's the single
23:30most consequential thing
23:31anyone could ever do
23:33with their life.
23:51Barry,
23:53what's this I'm hearing
23:54about a new
23:55Von Kovac movie
23:56and why am I not
23:58meeting on it?
24:00Can you believe
24:01that guy?
24:02I don't know.
24:06You okay?
24:08Sorry,
24:09that didn't quite
24:10work out.
24:12It's all right,
24:13man.
24:17I know a place
24:18we could go.
24:29Just ignore
24:30the mess,
24:30okay?
24:38I've been thinking
24:39about what you
24:40said earlier
24:43about how
24:43the key to this
24:44scene is
24:45finding what's
24:46not being said.
24:48All this time,
24:49I've been assuming
24:50the line,
24:50maybe I'm just
24:51good at hiding.
24:51It was like
24:52a gentleman buff
24:53telling the kid
24:54to watch himself.
24:55Right.
24:56But I'm
24:57wondering if
24:58the waiter's
24:59actually feeling
24:59some type
25:00of connection.
25:02Like,
25:02maybe it's
25:03an invitation,
25:04maybe I'm just
25:04good at hiding it.
25:05You can trust me
25:06with your secrets.
25:08Feel free to
25:08tell me more,
25:09that kind of thing.
25:10Might be worth
25:11a shot.
25:13Yeah.
25:30Would you like
25:30to charge her
25:31to your room?
25:32How is it
25:33that no matter
25:34whom I bring
25:34in here,
25:36boy,
25:37girl,
25:38my mother,
25:40or that
25:41out portrait
25:42teacher
25:42I'm too
25:42close with?
25:45You never
25:46judge.
25:50Who says?
25:52Who says what?
25:55That I don't
25:55judge.
25:57Maybe I'm
25:58just
25:59good at
26:00hiding it.
26:06Who says?
26:09Who says what?
26:11that I don't
26:12judge.
26:14Maybe I'm
26:15just good
26:16at hiding it.
26:22Do I send it?
26:24You'd be crazy
26:24not to.
26:26You think it's
26:26good?
26:27It's
26:27transcendent.
26:33I'm cold.
26:42I gotta pee.
27:06I'll see you later.
27:06Yo, Trav,
27:07said I ordered a pizza?
27:09Splendid.
27:12All that runnin' around at the hell startin'.
27:15Never had a double shoot-over before, it's not bad.
27:21Yo, Trev, you like to have a runnin'?
27:47Yeah? Pepperoni?
27:55No doubt.
27:58I'll call it in.
28:06You're not going to die, my siya.
28:08Hey!
28:08My siya?
28:09Hey!
28:17Don't go to bed, don't you meet your house?
28:20Don't go to bed, don't you meet your house?
28:24Don't go to bed, don't you meet your house?
28:30Hey!
28:33Hey!
28:37Hey!
28:40Hey!
28:42Hey!
28:42Hey!
28:43Hey!
28:44Hey!
28:45Hey!
28:45Hey!
28:45Hey!
28:46Hey!
28:47Hey!
28:49Hey!
28:52Hey!
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