:36:00
Mr Edwards was going to make to it.
:36:02
"Alors," it was a "grand plaisir."
:36:05
May I offer a ride to any one of you?
:36:07
I'll take you up on that, if I may, René.
:36:09
- See you in London.
- Au revoir, messieurs.
:36:14
Any time this afternoon,
if you get the chance.
:36:16
- Sorry, Max.
- I'm at the Excelsior.
:36:20
Well, it's a great art we're
doing business in, gentlemen.
:36:24
Everybody be happy.
:36:30
Her make-up's too dark and too much.
:36:32
Hair and wardrobe have got
to be much more simple.
:36:36
No tricks. The less between
her and the camera, the better.
:36:40
The voice is good. Well placed. I don't
want a voice coach within a mile of her.
:36:44
How much closer will "you" be?
:36:47
- What's that?
- How much closer have you been?
:36:50
To Maria?
:36:52
Coming from anybody else
that would be a compliment.
:36:56
- What were those men doing here?
- I've not answered your first question yet.
:37:00
- I know the answer.
- No, you don't.
:37:03
You won't admit it. It'd mean something
is possible between men and women
:37:08
besides the few, simple, physiological
relationships you know about.
:37:12
OK, that answer will satisfy
the Screenwriters Guild.
:37:16
Now tell us why you planted
those men in here.
:37:18
Maybe your master knows the answer
to that too, or doesn't wanna know.
:37:22
- I wanna know.
- It's long.
:37:23
We got the room booked
for the whole morning.
:37:26
It won't take that long.
:37:29
Kirk, Maria's made a chump
out of you. She's laughed at you.
:37:34
And you won't do better. You'll do worse.
:37:37
Now, this pleases me and frightens me.
Because I know you.
:37:42
You're capable of destroying
a woman who's laughed at you.
:37:46
You've destroyed women
who loved you, so why not Maria?
:37:50
And you're capable of burning
that test, as great as it is,
:37:53
and making it known
she had nothing worth testing.
:37:56
But right now, the name
and fame of Maria Vargas