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مسلسل Get Shorty مترجم - Episode 2
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00:00Previously on Get Shorty
00:01You find this job meaningful?
00:03What?
00:04When I started off, I convinced myself that this was temporary.
00:06I didn't try to change Katie's mind about our situation.
00:10Whatever I said six months ago, I didn't mean that we would take a break and everything would go back
00:13to how it was.
00:14If I changed my job, she might take me back.
00:16You'd be at all the award shows.
00:19You'd get points on the back end.
00:22The fuck?
00:23How hard can it be producing a movie?
00:25We've got a script.
00:26We don't know the first fucking thing.
00:28So we find someone who does.
00:29Mr. Morweather!
00:30I'd produce this myself, but I've never done it before.
00:32So I do the legwork, you advise me, and we split the profits.
00:36You'd finance one of his movies as a silent partner.
00:39All of that money would be clean.
00:40Now think about it.
01:02Hey, it's Miles Daly again.
01:05I'm calling for Rick Morweather.
01:07Sorry to leave another message, but I have some news on the film script that we discussed.
01:14Better I tell you directly.
01:15So if you could give me a call back, I'd appreciate it.
01:18I'm on 775-127-0432.
01:22All right.
01:25Ah, look at that.
01:26The receptionist shied you.
01:27For all I know, he's already called.
01:29I doubt it.
01:29Push the rope, man.
01:35Told Katie I was starting a new profession.
01:37She thought I meant I was painting houses or some fucking thing.
01:42She finds out I'm making a movie.
01:44Assuming this producer calls you back.
01:46He'll call.
01:48And I'll tell him I've got financing.
01:50I mean, that's the hardest part, then.
01:52Oh, is it?
01:52The hardest part?
01:54In your experience?
01:55How many times?
01:58Well, that's the truth.
01:59I guess I didn't kill you.
02:01I don't like you.
02:05I don't mean you.
02:07Leave me.
02:09Family.
02:11Family.
02:13Family.
02:14Family.
02:14Family.
02:16Family.
02:18Family.
02:20Family.
02:22Family.
02:23Family.
02:28Oh, my God.
02:30Outside.
02:31Let's go.
02:38Go check out that chiller.
02:42Could use some cover.
02:45Or I could just go on my own.
02:52Get him up.
02:57Man, relax, man.
02:59Oh, goatees.
03:01So you're a hard-fucking OG.
03:03Is that what that means?
03:06You sell candy around here, you kick up to Amara.
03:09Listen, man, this is some kind of big misunderstanding, bro.
03:13Oh, okay.
03:15Well, then I guess we can work this out, right?
03:21What do you think, man?
03:34Don't chamber that shit, balls.
03:36I'm cool, man.
03:38Okay, Mr. Cool.
03:40Set down your piece.
03:43Put down your shells.
03:46Now step back.
03:50Hands on your head.
03:55Don't move.
03:58Hi, Rick.
03:59Hello?
04:01Hello?
04:07Does the landline work?
04:09Mr. Cool, may I use your fucking phone?
04:11Yeah, yeah.
04:25Don't fucking move.
04:27More Weather Productions.
04:28Hi, this is Miles Daly.
04:30Were you calling me?
04:31It's Gladys at More Weather Productions.
04:33We got all five of your messages.
04:35I don't have Rick at the moment, but if you've got any news about your project, I can pass it
04:39along.
04:40Okay, great.
04:40I spoke with Rick about a script, The Admiral's Mistress, but since our conversation...
04:45Move one more fucking inch and I'll put a bullet in your chin.
04:48Hi, I'm not moving.
04:50Since our conversation, I found an investor to finance the movie.
04:53So all Rick would need to do is to help me produce.
04:56We good?
04:57All clear.
04:58Yeah, just hold on.
05:00Go underneath.
05:01Go underneath.
05:03Okay.
05:03What was that, miss?
05:05Yeah, no, I'm at a play.
05:15Only a half a kilo in the wall, 30 in cash.
05:18Who's in there?
05:19Three men, one woman.
05:22Leave the bodies.
05:24We send a message.
05:27What?
05:28They work for Josias.
05:31Estos?
05:32Say, they thought Josias had an arrangement with us.
05:35No arrangement.
05:38Why Josias spoke with me?
05:40He has a problem.
05:41He called me.
05:42I don't drive up for this bullshit.
05:45What you want to do?
05:55What?
05:56Do you want to know more?
05:58Love will endure my love.
06:00It's gone.
06:02Forevermore.
06:03And I was hoping you'd have to be here today.
06:07And in your revelation,
06:08Every day, though you want to know more.
06:12Love will endure my love.
06:15It's gone.
06:17Forevermore.
06:18There's no reason for you to cry.
06:26Well, this is pleasant.
06:29You're going to miss me, you know.
06:30You're the one who's going to be alone in L.A.
06:33I got family here.
06:36Yeah, maybe you can pair up with Iago.
06:38He can sit on his lap in the Mustang and watch Amara light people on fire.
06:42You're using Amara's money to start a business.
06:45How's that going to turn out?
06:49Oh, you want to see some pictures?
06:52What?
06:53I got this book about Hollywood back in the day.
06:57There's a bar called the Bel Air Lounge.
07:00You can still get in.
07:01And all the Hollywood stars used to go there.
07:03Spencer Tracy, Catherine Hepburn.
07:05Catherine Hepburn?
07:07Don't.
07:09That's amazing.
07:10I know that you're...
07:12I'm not moving to L.A.
07:13Nobody's asking you to.
07:16Just put a down payment on my condo.
07:18Where I can sit by the pool and enjoy a cold, refreshing drink.
07:22That's all I need.
07:24That's all I need.
07:25That's what people in L.A. do if they're lucky.
07:31And you're happy to spend the rest of your life in this town?
07:36I am.
07:39That's only three.
07:41One's still inside.
07:43Twenty bucks, he doesn't make it.
07:49Shit!
07:51There he goes.
07:54Vamos.
07:56Middle of nowhere.
07:58Can't even get my angel-locking station.
08:23Seriously, with all the ringing, what someone's bleeding out here?
08:27One o'clock and you're in a row.
08:29I'm in a robe.
08:30So?
08:30So here's your mail.
08:32No, I'm approved for a credit card.
08:35Why are you really here?
08:36Should I be looking for another job?
08:38Why?
08:39Because I'm in a robe?
08:40I'm working out of my home.
08:41That's all.
08:43All right, I'm cooking eggs.
08:44Just come in.
08:46Hate overcooked eggs.
08:49You're depressed.
08:50What?
08:51Hey, there's no shame in it.
08:52If you can't pay me, then we're gonna...
08:53I can pay you.
08:54I just, I gotta get something going.
08:56That's all.
08:57Which won't happen unless you come to work.
08:59All right.
09:01This is an intervention.
09:02I'm coming back to work.
09:03Can I have breakfast first?
09:05At one o'clock.
09:07Right.
09:12Just have some faith, for Christ's sake.
09:27Hey, what's up, manu?
09:29Pour this man a drink.
09:33Dang, that's it.
09:36Hey, Gillis owns this club.
09:38And he's in some serious financial shit.
09:41I mean, this place is going into foreclosure.
09:43Okay?
09:44If you want to buy in, you win, baby.
09:46It's pretty empty, man.
09:47What do they pour on a Friday night?
09:49Look, I don't know, but it's all cash.
09:51Hey.
09:52Hey, Gillis.
09:53Hey, Iago.
09:54Man I was telling you about.
09:56Yeah, you guys doing all right?
09:57Just enjoying ourselves.
09:58All right.
09:59If you need anything, another bottle, whatever, you just let me know.
10:01All right, thanks.
10:02All right.
10:13Fuck Miles and that movie bullshit.
10:16Yeah, we can bust some serious cash with this place.
10:19Yeah, keep it in the family, you know?
10:21That's what I'm saying.
10:22We get some bomb-ass DJs from Vegas, we get red full, it's wall-to-wall peeps.
10:27Bro, this is all you.
10:38When I was your age, they didn't have graduation ceremonies for every grade.
10:42Seems awful celebratory for mastering the alphabet.
10:45It's for the parents.
10:46Make them think we got an education.
10:48No, Ben Felder's walking and he almost got kept back.
10:51Everyone except for Andy.
10:52Oh, why not Andy?
10:54Got caught shoplifting vodka.
10:56Your friend Andy with the freckles?
10:58He's stealing alcohol.
10:59From Albertsons.
11:00And that's what your buddies do for fun, is it?
11:02Hey, it wasn't me that did it, so.
11:04What did Mom say?
11:06Nothing.
11:07Did you tell her?
11:08Yes.
11:09When Jeffrey was over, I knew she wouldn't freak out then.
11:14What's Jeffrey got to do?
11:16She doesn't get pissed off when he's around.
11:18She just acts weird.
11:20Even her laugh is weird.
11:21Is he over a lot?
11:24I mean, I guess so.
11:25They hold hands when they watch CNN.
11:27It's really gross.
11:38Sorry.
11:39No, no.
11:41It's fine.
12:08So they departed out of the land of Zarahemla and took their swords and their spears and their bows and
12:13their arrows and their slings.
12:15They departed out into the wilderness to go up to the land of Nephi to preach the word of God
12:20and to the Lamanites.
12:22We'd like to invite everyone to join us down the hall for light refreshments.
12:25Have a blessed day.
12:34Oh, Tom.
12:35Brinley's laying out food.
12:36Dad, come on.
12:37I gotta go to work.
12:38You closed on the condo yet?
12:39No, but they did give me the keys, so Brinley's gonna bring the kids over tomorrow and we're gonna check
12:43out the pool.
12:44Mm-hmm.
12:44They're gonna love the neighborhood.
12:45Got the Walmart right there.
12:47Panda Express.
12:48Right by the church.
12:48Almost don't even need a car.
12:50I wanna save on gas.
12:51We barely go outside a five-mile radius.
12:53Dad!
12:53You see me having a conversation?
12:55Hmm?
12:57We'll catch you later.
12:58I am speaking to Uncle Lewis.
13:00You need to let me finish before you pull me away.
13:02His vengeance will not slumber long.
13:06Dad, come on up.
13:07All right, Dick.
13:07Widen your stance a little bit.
13:09Remember, I want you to tuck that right elbow in, your arms straight across your chest.
13:13Good?
13:13Okay.
13:14Now, grip, hip, and rip.
13:17Whoa!
13:18There it is.
13:19Ha-ha-ha!
13:20There you go.
13:21Good job.
13:22Hey there.
13:22Hi.
13:23Hi, finishing up.
13:24Uh, Dick, this is Katie.
13:26Hi.
13:26How do you do?
13:26You fling off with this guy?
13:27Well, we try.
13:29Sometimes I'm so bad, I can't sit back and watch.
13:31Has to keep giving me instruction.
13:32We're approaching the three, and she reaches for her five-iron.
13:35And I'm like, uh-oh!
13:36I can't do that.
13:39Hey, grab a table at the restaurant.
13:40I'll be right up, okay?
13:41Okay.
13:42Um, so you know, I'm back at work in 50 minutes.
13:45Okay.
13:45Good to meet you.
13:46Yeah, you too.
13:47Dick, grab your tea.
13:50She the one you told me about?
13:52With the daughter?
13:53Yeah, 12 years old.
13:55Nice.
13:55Nice kid.
13:57She's not divorced.
13:58No, they're separated.
13:59But you know what?
14:00There are good terms.
14:01I met him the other night.
14:02He seems fine.
14:04How's he feel about you?
14:05Oh, you know me.
14:06I get along with everybody.
14:08Let's put it this way.
14:09He's nothing I can't handle.
14:12Hey, you think I should give Katie the script so she knows what the movie's about?
14:16Sure.
14:18I sent it over to that producer.
14:20They got the compressor going.
14:21They can't hear us.
14:22I'm going to text.
14:23I couldn't leave Owen's name on it because, well, you shot him.
14:27So I used your name instead.
14:29Uh-huh.
14:30You what?
14:31Oh, it's no big deal.
14:32No one cares who the writer is.
14:33You put my name as the writer?
14:35I had to put something down.
14:36So use your name.
14:39It's already done.
14:45Is it good?
14:47What?
14:48The script.
14:49The fuck you care if it's any good?
14:50I don't want my name on the script if it sucks.
14:53No, no.
14:53It's beautiful.
14:54It is.
14:55Don't worry.
14:56I'm not going to ruin your reputation as a fucking writer.
15:00Come on in and get it.
15:04What if Owen showed it to somebody?
15:07Right?
15:07He had a girlfriend.
15:10That roommate, the impression I got, he didn't give it to anybody.
15:12Oh, okay.
15:13Well, you know what?
15:14It is sloppy.
15:16And I don't want Amara thinking I've got anything to do with it.
15:18You think Amara who's going to care who the fucking script writer is?
15:22Come on.
15:22You don't mind getting capped over it?
15:24That's fine.
15:25Not everybody feels that way.
15:26Thanks.
15:31Hey.
15:32Owen here?
15:33He moved out.
15:35What?
15:36Yeah.
15:37I haven't seen him in days.
15:38My calls go straight to voicemail.
15:43What?
15:46His friends came by before he took off.
15:48One of them gave me a number.
15:50I called it, but I was disconnected.
15:54I've dated my share of losers, but this?
15:57Taking my car and just, like, ghosting me?
16:01He took your car?
16:02Yeah, he said he'd be right back with it.
16:04Then he turned off his phone.
16:06It's crazy.
16:07I know.
16:08You know, I gave him rent money, and the landlord never got it.
16:11I'm not even on the lease.
16:15He stole from both of us.
16:17Wait, do you think he had, like, a family emergency?
16:22Why wouldn't he answer his phone?
16:24I'm Facebook friends with his sister.
16:26I'm going to talk to his family, like, now.
16:40Hello?
16:44Hello?
16:49Hello?
16:55Is that Rick?
16:59Your dad's upstairs.
17:01I'm about to bring him lunch.
17:02You want to say hey?
17:03No, that's fine.
17:04I just came by to give you this.
17:08That's not all of it.
17:09I'm going to get you all square soon, I promise.
17:12Small hiccup in one of my projects, but it's all going to work out.
17:16Okay, family.
17:17Thanks.
17:17You don't want to go up?
17:20Oh, he heard me.
17:22If he doesn't want to come down, it's fine.
17:25Bye-bye.
17:29Well, it's not a cult movie, per se.
17:31You know what?
17:32I'll send the treatment over to you.
17:33You can...
17:36Yeah, no worries.
17:37No worries.
17:37No, no, I'm just checking in.
17:39That's all.
17:39Say hi to Mary for me.
17:41Okay.
17:41Bye-bye.
17:43Too many cult movies in development.
17:45This came from Miles Daly.
17:47Who?
17:48Dropped in last week.
17:49Didn't have an appointment.
17:50He pitched me.
17:51Oh, no.
17:51No, no, no, no.
17:52That guy's not real.
17:52Said he has private financing.
17:54All you got to do is produce.
17:55And you can pay yourself a fee.
17:59Yeah, I read it.
18:01It's good.
18:02You read it?
18:03It's been slow recently.
18:04No.
18:05No.
18:06I've been doing this too long to use spare change from the couch cushions.
18:10So, Jimmy!
18:11Hey, listen.
18:13It's Rick.
18:13I got a thing I want to sneak over to you.
18:16It's this fantastic property.
18:17Uh-huh.
18:19Little graphic novel called Children of the Wicked.
18:22And it...
18:23No.
18:24No, no, no, I didn't.
18:25I pitched something different.
18:27I did?
18:28Ha, shit.
18:31Well, you know, you and I should find something.
18:34Because together...
18:38Mmm.
18:41Take care.
18:56Wait till you see this condo.
18:58I feel like I've already seen it because you've told me so much about it.
19:01See, he's facing.
19:02So, you know, you get lots of light.
19:06Pool has 24-hour hours.
19:09I see.
19:10You're taking a lot of night swimming, do you?
19:16It's near my sister.
19:21I was talking to my brother-in-law to church today.
19:23You remember Tom?
19:24Not really.
19:25He was telling me about just how much they love it there.
19:28I mean, they really feel like they've found a home.
19:30Everything they need is nearby.
19:34It's how we do what you want, though, Lou.
19:36To be stuck in an even smaller part of an ugly fucking desert.
19:39I mean, I get it.
19:40I do.
19:41It's...
19:42Familiar.
19:43Which I suppose is comforting.
19:45You know, I don't think you do get it.
19:47Because you're from Ireland.
19:49And, you know, this is not home for you.
19:52For me, it is.
19:56You're right.
19:57Don't listen to me.
19:58I think...
19:59I just wish you were coming with me, Lulu.
20:08I'm sure this movie thing is going to work out for you.
20:10This condo sounds lovely.
20:13Yeah.
20:18And the noise from the highway doesn't bother you.
20:22What are you talking about?
20:23Well, it's just after 160, isn't it?
20:25The noise doesn't bother you.
20:27What, you mean traffic noise?
20:28Yeah.
20:28Oh, yeah.
20:29I mean, you don't hear it.
20:33Really?
20:34Yeah.
20:37Huh.
20:46Hey.
20:47Jerry Fuckheimer.
20:49Yeah.
20:50It's good.
21:01That all of it?
21:02Except for the girls from Beth Vista.
21:04They need another day.
21:06And you gave it to them without checking with me.
21:08That is what happened, yeah.
21:10We'll get it to you tomorrow, first thing.
21:14Great.
21:18Also, um, when you get around to it,
21:22would you pull your head out of your ass?
21:25Hmm?
21:30Fucking...
21:31Just don't.
21:32I'm not.
21:32Okay?
21:33I'm not.
21:34You know, I went by the condo three times.
21:37You don't hear the highway.
21:38I find that surprising.
21:39You don't hear it.
21:40Hold on.
21:40I mean...
21:43This fucking guy.
21:45What did I fucking say?
21:46Hey, Rick.
21:49No, no.
21:49It's great to hear from you.
21:53Um, I'm in the middle of a business meeting right now.
21:57Um, I could be there tonight.
22:01Great.
22:02Where do you want to meet?
22:04Oh.
22:06You didn't have to do this.
22:07I wanted to say thank you for taking the time.
22:09Is it too early to open it?
22:11Come on.
22:12Don't tell Gladys.
22:13She thinks I'm depressed.
22:14It's a long story.
22:15Sit down.
22:16Sit down.
22:17So, uh, you got a private investor, huh?
22:20I do.
22:20I do.
22:20Okay.
22:22And, uh, what's the budget?
22:25How much money you got?
22:27How much do we need?
22:29Well, strip the way it is.
22:32You got a lot of period costumes.
22:34You got a couple of castles.
22:35You got over a hundred extras.
22:37You don't go crazy above the line?
22:40Thirty million?
22:42Fuck me.
22:43Thirty million?
22:44Cheers.
22:46Rick, you think there's any way we could do it for two million?
22:50Two.
22:54Well, you know, a lot of producers would tell you, that's impossible.
22:59I happen to be, not to toot my own horn here,
23:03I have a lot of experience in making films like this in that price range.
23:07Oh.
23:07And there's an art to it.
23:09I don't doubt that.
23:10Now, if we were to take this and rethink some of the elements that aren't essential to the script,
23:18I could do it.
23:20That's great.
23:21That's great attitude.
23:25Also, we're going to need to make our money back on it.
23:27That's a really important thing.
23:28Yeah.
23:29Well, I mean, if I were to come on,
23:31I would pre-sell to foreign markets.
23:34That's how you do it.
23:34That's how you recoup.
23:36Need anything before I take off?
23:37No.
23:38Good night, Gladys.
23:39You drinking?
23:40I am.
23:41Yeah.
23:42It's a gift from my friend.
23:43Good night.
23:46Okay.
23:47Tell me about this investor.
23:49Amara De Escalones.
23:50She owns a casino in Paronf, Nevada, and she's my boss.
23:55You work in a casino?
23:56Indirectly.
24:00Okay.
24:01And the writer?
24:03Who's the writer?
24:05He works with us also.
24:07The writer works in a casino.
24:09Here's the thing about Amara.
24:11She doesn't like to travel,
24:13and she's going to need to meet you before she'll sign on to anything.
24:16So you think you could come out?
24:18To a rump?
24:19Power rump.
24:20It's just outside Vegas.
24:24Well, production's going to have to fly me first class and put me up.
24:27Best hotel in town.
24:29In Paronf.
24:33Until you're in.
24:41Hey, tia.
24:42What?
24:45It's nice, right?
24:46You got to supply the table, champagne.
24:49Do it out!
24:53No.
24:55No.
24:56You shook the eyes.
24:59It's getting stuck.
25:05So, this place does all their business in cash.
25:08At the door and the bar.
25:10No oversight, which means we could make up whatever figure we want.
25:13Fucking music.
25:17We could run all our cash through this company, tia.
25:21And that handles everything.
25:23So there'd be no problem with the books.
25:24All we need is the initial investment.
25:27I can't hear.
25:27You're fucking loud.
25:32All right, well then, maybe we'll talk about it tomorrow because this is a good opportunity.
25:37Yo, yo, yo.
25:38Why is she shaking up?
25:39She's next to her, right?
25:46Hang on.
25:47Come on.
25:50Shit.
25:51Oh, hi.
25:54I was expecting UPS.
25:55You're Miles, right?
25:57Jeffrey.
25:59Kitty here.
26:00No, uh, no.
26:01She'll be right back.
26:02She just took Emma to school and then she's going to run to the grocery store.
26:07Do you want to wait inside for her?
26:08Yeah, that'll be great.
26:09I'll text her.
26:10I'll tell her that you're here.
26:11Was she expecting you?
26:12No.
26:17Um, hey Miles, I'd love to offer you an espresso or something, but I cannot figure out how to
26:24work this machine.
26:25I know how to work it.
26:26But no thanks.
26:28All right.
26:29Get these on.
26:40This is weird, isn't it?
26:41Yeah, I guess it is.
26:44What do you do, Miles?
26:47Kitty didn't tell you?
26:48Yeah, of course.
26:49All right.
26:50She said you worked at a casino.
26:53A silver dust and pahomp.
26:55How about you, Jeffrey?
26:57I'm a golf pro at Sandy Springs Country Club.
27:01You know, I'm teaching lessons and holding tournaments.
27:04It's a lot of paperwork, too, actually.
27:06May I?
27:07Yeah, yeah.
27:08Sure.
27:10Very nice.
27:11Do you golf?
27:13No.
27:14Not really.
27:15Well, what you're holding there is an adjustable golf club.
27:18You can actually change the, um, the angle of the face.
27:23Whoa.
27:24Whoa.
27:24Adjustable, huh?
27:25Yeah.
27:26I can get you a free one if you want.
27:28Come on.
27:28No, seriously.
27:29They send me stuff all the time for promotions.
27:31I got a couple of those gathering dust.
27:33Miles, you should have them.
27:34Ah.
27:35It's wasted on me.
27:36No, it's not.
27:37Listen, golf, it's the game of kings.
27:39Here, you just, you gotta go easy on your backstroke.
27:42Hold on a second.
27:43See where your hips are right now?
27:44Okay?
27:46What that is, is a reverse pivot.
27:47It's gonna make it really difficult for you to control the distance and the direction of
27:50the ball.
27:52Here, there you go.
27:54Widen your stance, all right?
27:55A little more.
27:56Widen your stance, okay?
27:57Got your arms and your hips here.
28:00Hey.
28:01Hey.
28:03You get the idea.
28:08What the fuck are you doing here?
28:09Well, I needed to talk and then things got...
28:11No, you need to call before you come over.
28:15He seems nice.
28:17Glad you think so.
28:18And that's who you want to be with?
28:19I don't know, fucking Pam.
28:20Well, at least I can tell people what he does.
28:22If you weren't with that guy, we'd be making fun of that guy.
28:28Okay, right.
28:28Goodbye.
28:29Hold on, hold on.
28:30The reason I came over, I know that for this to work, I need to make changes.
28:34And I've been doing that.
28:35I have.
28:35We so can't do this now.
28:37But call first.
28:38We'll talk.
28:41Bye.
28:58Hey, sweetie.
29:00Why don't you get your uncle one of those root beers?
29:10Oh, I've been waiting for this.
29:13Nice.
29:15Just lie back.
29:17Soak up some rays.
29:43Tell me something, honestly.
29:44Does the freeway bother you?
29:46What?
29:49You can hear it.
29:51I didn't tell you mentioned that.
29:55Well, now that I did?
29:58Who cares?
29:59It's a two-bedroom place with a pool.
30:01You can raise a family here.
30:04I guess, yeah.
30:07When you meet the right girl.
30:10Mm-hmm.
30:18Who the fuck put that there?
30:20Language.
30:21Bobby, you keep splashing your sister and you are out.
30:29So Tom told me that ever since you guys moved here, you don't ever go anywhere.
30:34Well, we got the Walmart.
30:37Maybe that's not a good thing.
30:39Daddy!
30:41I am warning you.
30:45Yeah.
30:53I could do this all day, Cero T.
30:55Come on, man.
30:56My brother don't talk to me about this shit.
30:58That's too bad.
31:00No, I can't wait.
31:05Josiah's saying the mall is out of control.
31:07Out of control how?
31:09She's dropping bodies every week.
31:11She's got feds watching.
31:13You know, fucked with Josiah's business.
31:15So now, Josiah's moving on the mall's territory.
31:17What else Josiah's got planned?
31:18I don't know.
31:23Call your brother.
31:25Well, listen.
31:26I can't set him up like that.
31:30Hey.
31:40He's one of ours.
31:42So?
31:42So go easy.
31:44I am going easy.
31:47When you spoke to Amara this morning, she say anything about the club?
31:51No.
31:52Because that was a slow night.
31:54We get Red Bull up in there, that place is going to blow up.
31:57Listen.
31:59I know she's meeting with this movie guy.
32:01But we can't get involved with that Hollywood shit.
32:03It's not my business.
32:04Let's handle this.
32:12Nick.
32:13Where?
32:14How was your flight?
32:16Who's on an ass?
32:17It's the only direct flight.
32:19Doesn't really have a first class.
32:20Ah, let me get that.
32:31Red?
32:31That's the casino?
32:32She'll ask about money.
32:34All right?
32:34How much and when?
32:35Yeah, yeah.
32:35I know the drill.
32:36Don't worry.
32:37I'm going to give a little bit of Hollywood sizzle.
32:38Okay.
32:39So don't get cute.
32:40She looks like a silly old woman, but believe me, she is not.
32:43Also, she likes John Stamos.
32:45Yes?
32:48No.
32:48Ah, that's a razor.
32:51Of course it is.
32:52You're the movie guy, right?
32:53That's me.
32:54Hey, great job on that script.
32:57Thanks a lot.
32:59Uh, before you talk to Amara, could I have a word?
33:02Sure.
33:03Hang steady, Rick.
33:08What's up?
33:10You and me have been working together all this time, and I realize that for your sake, I cannot
33:16let you go to L.A. without backup.
33:19Right?
33:20I mean, especially now that I'm the writer.
33:24That's right.
33:25You're going to come with me?
33:26Just until you get on your feet.
33:29You're worried about Amara?
33:30Okay.
33:30Well, as long as she knows that this is your thing, and I'm just coming along.
33:35You got a place to stay, right?
33:37It's a furnished place I found online.
33:39There's only one bed, but we can get near them after us.
33:45Okay.
33:46If I go to L.A., I mean, if that's what ends up happening, I'll just walk away from it.
33:50Thanks, man.
33:51Come on now.
33:52You're my boy.
33:53You're my boy.
34:00Two million.
34:03Well, we don't have a budget yet, but it'll be in that neighborhood.
34:06Well, that's thorough security.
34:08It's a casino.
34:10Yeah.
34:11It's beautiful.
34:13Rick Moeller.
34:16Pleasure.
34:19So you move to L.A.?
34:21Financially, I'll be responsible.
34:23So, yeah, I'll have Louis there for backup, and Rick will help produce.
34:33Which movies you make?
34:34Oh, uh, I don't know if you've heard of them.
34:37Day of Reckoning, Out for Blood.
34:39Mmm.
34:40Of course, this one, this is a totally different town.
34:47He looks like John Stamos.
34:50Yeah.
34:52A little bit, yeah.
34:53His cousin, maybe.
34:54Right.
34:57I just saw Stamos.
34:58Where?
34:59DMV in Studio City.
35:02Guarantee this investment?
35:04Well, guarantee is a pretty strong term in the movie business.
35:09We're going to lean on foreign sales to recoup.
35:12We will absolutely recoup.
35:16My last 18 films have made a profit.
35:20I don't even know another producer that can say that.
35:29I'll cut a check for 200 grand on the books, then we'll hand deliver three payments of 600,000 each
35:35in cash.
35:37Cash?
35:38Three payments.
35:39Yes, but...
35:41In cash?
35:43Is that a problem?
35:44It's perfect.
35:45It's perfect, isn't it?
35:46Rick.
35:50Yeah.
35:51Yeah.
35:52It doesn't like cash.
36:00Two million, holy shit.
36:02We're actually doing this.
36:04Okay.
36:05That stuff about the recoup break, that was perfect.
36:07Okay, I gotta go home and pack and say goodbye to my sister.
36:10Rick, it was very nice to meet you.
36:12Looks like we'll be working together.
36:13Yeah, I guess so.
36:15Why don't you give me a cab and I'll go to my hotel now.
36:18No need.
36:18We can walk.
36:19Best hotel in Perum.
36:21Oh, no.
36:24It doesn't look like much, but it's actually real, real nice inside.
36:27You hungry?
36:28I'm hungry.
36:39Steak and fries from Lucy's Diner.
36:41You will not be disappointed.
36:44Tomorrow, me and Luis will get the money and we'll drive to Los Angeles.
36:47We'll meet you at the Bel Air Lounge to celebrate, alright?
36:49You know the Bel Air Lounge?
36:50It's an old Hollywood hangout.
36:51Okay, alright, alright.
36:52Can we talk about what's really going on?
36:54What do you mean?
36:56What, the tax evasion?
36:57Is that it?
36:58Huh?
36:5890% off the books and...
37:02Okay, I may look like a small fish in a big pond, but...
37:07I'm strictly legit.
37:10If I'm liable...
37:11Liable for what?
37:12I don't know.
37:15Then what are we talking about?
37:19You're funny.
37:20It's $2 million to make a movie, right?
37:23How is that not legit?
37:27Oh, okay.
37:29So what you're saying is...
37:31The less I know...
37:34Is that what I'm saying?
37:39What do you do again?
37:41I have a steak, Rick.
37:42It's ketchup.
37:43Steak sauce.
37:45Glass of brown liquor.
37:55Okay, so...
37:55So what?
37:56Tomorrow we're going to get $600,000 in cash?
37:58Huh?
37:59In what?
38:00A paper bag?
38:02If it makes you feel better, I'll put it in a briefcase.
38:05Eat your meat.
38:06It's getting cold.
38:10No, you don't mess with a matter.
38:13I love and respect that woman.
38:16By her judgment.
38:17Exactly.
38:20I'm not saying she's going senile,
38:22but running on money through miles
38:24in some half-assed movie because she wants to meet John fucking Stamble.
38:27Fucking miles, bro.
38:29So you raised that cocksucker.
38:31Boom.
38:36I'm serious.
38:37Yeah.
38:38So am I, bro.
38:39Look, I got people, all right?
38:42You just give the word.
38:44That couldn't come back on us.
38:45That's what I'm saying, all right?
38:47We get one of my boys.
38:50What the fuck?
38:53How long you been there, standing behind us?
38:56You want to get shit-faced, don't do it here.
38:58Don't tell me where to drink.
38:59This man here, he can drink where the fuck he want.
39:10Shit.
39:11You hear what we say?
39:12Fat ass flying the wall.
39:14Nah, nah, nah.
39:15He just walked up.
39:17Hey, can we get another round,
39:19or are you going to make us bang?
39:21Hey, who's going to pay for the Belial Lounge tomorrow?
39:24Is that from the bag of cash?
39:25Business expense.
39:27I got you something here.
39:31That's a movie I made in 93.
39:34Sins of a Chamberman.
39:36Only got a hell of VCR.
39:38Could maybe pick one up at a pawn shop.
39:39That's a period drama that I made for cheap.
39:42One location, no, no horse-drawn carriage bullshit,
39:45added sex scene, and then nothing graphic,
39:48enough to sell it overseas.
39:49And it turned out good.
39:51Not good.
39:51That's a subjective term, right?
39:55No, but you're saying if we do ours like this,
39:58it'll be good.
40:02You ever hear of Justino Morangelo?
40:05Um...
40:06He directed Death in New Orleans.
40:07Ah, it's a great fucking movie.
40:10Justino's my dad.
40:11No shit, your dad directed that.
40:13Okay, despite all the critical acclaim,
40:15he was always broke.
40:16We got evicted two times.
40:18Not that he cared, he was off.
40:19He was making a film somewhere.
40:21The last film he made lost so much money,
40:23he bankrupt the fucking studio.
40:25Now?
40:26Guess who's paying the mortgage?
40:30I bet he's proud of you.
40:34Proud?
40:37Look, the point I'm making is,
40:39you want to make your money back?
40:40Pfft, have to.
40:41Don't get hung up, then,
40:43on that quality thing.
40:50Right.
40:55Katie?
40:58Yeah, I just have him wait in the lobby.
41:00Thanks.
41:02It's crazy, I know,
41:03but I got my hands on this script.
41:05Long story, and I...
41:07I think it's amazing.
41:08So I got it to this producer that I met in L.A.,
41:11and I said,
41:11you gotta read this, man.
41:13This has got to be made.
41:16You're...
41:16You're making a movie?
41:18Yeah.
41:19This is happening.
41:20It is.
41:24And why would Amara let you just walk away?
41:28I'm still working out the final details of it,
41:30but it's not going to be a problem.
41:31We're driving to Los Angeles today.
41:35You're moving?
41:36Not moving.
41:36I'm just for a bit.
41:39Well, thanks for telling me.
41:42You forget you have a daughter?
41:44For f...
41:45That's...
41:46That's why I'm doing this.
41:48So we can be a family.
41:50When school breaks up,
41:52I thought that, uh,
41:53you could both come to L.A.
41:55We can't come to L.A.
41:57Why not?
41:58My job.
41:59The house.
42:00The guy I'm seeing.
42:02The golf pro?
42:03The fucking polo shirt
42:05with the turned-up collar?
42:06Not a turned-up collar.
42:11Well, what about Emma then?
42:13I-I don't like this crowd that she's running with here.
42:16Excuse me?
42:18Andy, with the fucking freckles, steals vodka.
42:21Which means that he's drinking at 12 years old.
42:23I know that she told you about this.
42:26You're worried about her deviant 12-year-old friends.
42:30Your friends are a fuck of a lot worse
42:32than Andy with the freckles.
42:34If you're making a movie,
42:35it is some kind of racket.
42:37I...
42:37It's not.
42:38There's always an angle.
42:40A-a-a shakedown.
42:41That's not what this is.
42:43It's a real...
42:44It's a real movie, I swear.
42:46It's an amazing story, Katie.
42:47This guy, this young Irish guy,
42:49he has to go to war
42:50to redeem himself to the woman that he loves.
42:53But then he returns home
42:54and he realizes that he's been cuckolded
42:56and he doesn't know how to deal with it, so...
42:58I'm sorry, Miles.
42:58I have to get back.
43:01Don't forget Emma's graduation.
43:08Listen to the birds.
43:09It almost sounds as if they're talking.
43:12Well, they are talking.
43:14Those are Whippoorwills.
43:15They'll be making their nest now.
43:18Hey, hey, buddy.
43:20What do you say
43:21we broaden our fucking horizons, huh?
43:24Smoking the pigeon delts.
43:27How do you know about this thing?
43:28What's this?
43:29Movie Rick Mid?
43:30Oh, how is it?
43:32Worst thing I've ever seen.
43:34Sue?
43:35Stop watching it.
43:36We gotta go.
43:36We got a four-hour drive.
43:39Katie said,
43:40if I'm making a movie,
43:41it must be some sort of con.
43:42And I said, no, it's not.
43:44And then I come home and watch it.
43:45Are you watching this?
43:46Uh, no, not really.
43:49Every time a door shuts,
43:50you can see the walls shake.
43:52I mean, if this is the kind of movie
43:53we're gonna make,
43:54then the whole thing is gone.
43:56I mean, that's all it is.
43:58Yeah.
44:01I don't follow.
44:04The Godfather.
44:06Right?
44:07Raging Bull.
44:08Taxi Driver.
44:09That's the kind of movie we wanna make.
44:11Not this horse shit.
44:14So you work your way up to that.
44:18Right?
44:18But you make your money back
44:19on this one.
44:22And Amara lets you live.
44:23Hey, that's a bonus, right?
44:25And maybe next time
44:25it's, you know,
44:26the taxi drivers.
44:28It's morning drivers.
44:29Come on, man.
44:31I come in here,
44:32I'm all excited,
44:33and you're just a, you know,
44:35Debbie Downer.
44:35I can't keep up.
44:36Shouldn't we at least go
44:37before traffic fucks us in the ass?
44:57Open the safe.
44:59Open the safe.
44:59I don't know the combo, okay?
45:00I swear to God.
45:01Who does?
45:06Oh, shit.
45:07What up, bro?
45:08You remember me?
45:09Yeah, I'm the one
45:10you asked about my teeth.
45:12Asked if they made me a gangster.
45:29Hello?
45:29Well, we can stop
45:30worrying about Owen.
45:32Piece of shit is on a beach
45:33drinking cocktails
45:34with little umbrellas.
45:36How do you know?
45:37Got onto his email account
45:39and found the receipt
45:41for his flight to Mexico,
45:43one way to San Felipe.
45:46Wow.
45:47Yeah, wow.
45:49And what did he do
45:50with your car?
45:51Probably sold it
45:52and then got a new phone number.
45:54I think I was dating
45:56a professional thief.
45:58He seems so...
46:00Nerdy, right?
46:01He was staying with me
46:02three nights a week
46:03asking me for my opinion
46:04on his stupid scripts
46:06and I was all reading it.
46:08I was like,
46:09supposed to meet his aunt,
46:10his favorite aunt
46:11who was coming back here
46:12from Thailand.
46:22Oh, look at this place.
46:24It's just like the book.
46:25It's great, isn't it?
46:26Yeah.
46:27Better be.
46:2820 bucks for fucking parking.
46:33Oh, gentlemen.
46:35All right.
46:37You made it.
46:38Huh?
46:38Did these famous actors
46:40really eat here?
46:41They did.
46:42Bob Hope threw up
46:44on that wall.
46:45Ha!
46:45Well, I don't seem
46:46very famous now.
46:47This get a bottle
46:48of good champagne.
46:49The expensive one.
46:51The cheap or expensive one?
46:53Ginger ale.
46:53I'm good for now.
46:56And this is for you?
46:59It is a paper bag.
47:01It's $600,000.
47:03Minus expenses
47:04for myself and Louis here.
47:08Okay.
47:09All right, well,
47:11let's eat, huh?
47:13What do you want?
47:13They make a very good
47:14bouillabaisse here.
47:15They got veal.
47:17If you're a veal guy.
47:18Oh, yeah, look at that.
47:19We watched your movie, Rick.
47:21Sins of a Chambermaid.
47:23Oh, good.
47:23It's great that you made it
47:24for cheap.
47:25And then you got
47:26your money back on it.
47:27Impressive.
47:29But you think with our movie
47:31that maybe we could use actors
47:32that are better at acting?
47:38Also, the sets were a bit wobbly
47:40and the costumes were...
47:42I guess my point is
47:44do you think that we can use
47:45$2 million
47:45and make a movie
47:46that turns out...
47:48I don't know.
47:50Better.
47:57You know, guys,
47:58you brought me a period drama.
48:01Okay, you can make
48:03Juno for $2 million.
48:05Not Sense and Sensibility.
48:07Not a tone.
48:08I haven't seen those.
48:09Have you seen...
48:09What was that last one?
48:10These are movies.
48:11They're made by big studios.
48:13Ah, so let's get a big studio.
48:16Well, you ever try to ask somebody
48:17for $30 million?
48:19It's not that simple.
48:20I managed to get us $2 million.
48:22What about that girl
48:23that I met at your office
48:23from Gravity Pictures?
48:25Miss Quinn?
48:26April?
48:27No, no.
48:27She seemed nice.
48:28No, we're not gonna work
48:29with April.
48:31Come on, guys.
48:33I helped you get the money
48:34from the old lady, right?
48:36That's what I do.
48:37Let me do my job.
48:38He's got a point.
48:39But all that effort
48:40and sacrifice...
48:41You don't wanna make
48:42any old thing.
48:43You wanna make something
48:43that you're gonna be proud of.
48:45You know, his dad directed
48:46Death in New Orleans.
48:48Okay.
48:49This isn't that film.
48:50This is what I'm talking about.
48:50A film that makes you
48:51feel something.
48:52I know, I know.
48:53You wanna feel something.
48:54That is what your dad did,
48:55so I...
48:55Leave my dad out of it, okay?
48:57Making something of substance.
48:58All right, you know,
48:59good luck, guys,
49:00because this is a mistake for me.
49:01What?
49:02I hope the project goes well.
49:03I'm not gonna be on it,
49:04but I look forward to seeing it
49:05at the local art house cinema.
49:07I'm sure it's gonna signal
49:08a whole new golden age
49:10in Hollywood.
49:10Okay, what's happening?
49:11What's happening?
49:12Loose my phone number, okay?
49:13I don't know what I say.
49:14Thank you for the drinks.
49:15Hold on.
49:51Is that true, Barrymore?
50:00I don't know what you have to do.
50:18I must say
50:21what I must do to you.
50:26Mother is a whining
50:27and your mother never hides.
50:29To speak up your name
50:31makes me more than a song.
50:33You're too bad,
50:33you're too bad,
50:34you're too bad,
50:35you're too bad,
50:36you're too bad.
50:39You are killed
50:42a thousand times or more
50:46I can't let you
50:50feel the pain for sure
50:54I must let the world
50:56know what you give
50:57Nobody like you
50:59deserves to let me
51:01You're too bad,
51:02you're too bad,
51:03you're too bad,
51:04you're too bad,
51:04you're too bad
51:05You're too bad,
51:10you're too bad,
51:11you're too bad,
51:12you're too bad,
51:14you're too bad,
51:16you're too bad,
51:18you're too bad,
51:20you're too bad,
51:21you're too bad,
51:21you're too bad,
51:22you're too bad,
51:22you're too bad,
51:22you're too bad,
51:23you're too bad,
51:23you're too bad,
51:23you're too bad,
51:23you're too bad,
51:23you're too bad,
51:23you're too bad,
51:24you're too bad,
51:25you're too bad,
51:25you're too bad,
51:26you're too bad,
51:26you're too bad,
51:27you're too bad,
51:30you're too bad,
51:37You never thought the time would catch up on you
51:43Now you might say for all the wrong that you knew you had been
51:53A thousand times or more
51:57I can't let you kill the game for sure
52:05I must let the world know what you hear
52:09Nobody like you deserves to live
52:12You're too bad, you're too bad, you're too bad, you're too bad
52:30Quality
52:33You're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too
52:33bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're
52:33too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad,
52:34you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too
52:34bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're
52:34too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad, you're too bad,
52:34you're too bad, you're too bad, you're too bad, you're too bad, you're too
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