1:00:01
Thank you.
1:00:02
That's all right, Barton.
1:00:05
Everything's going to be all right.
1:00:07
Yes. Thank you.
1:00:09
Thank you.
1:00:11
Yes. Thank you.
1:00:15
How's Bill?
1:00:16
Oh, he's, uh...
1:00:19
He drifted off.
1:00:20
He'll sleep for a while now.
1:00:24
What is it you have to do exactly?
1:00:27
Well, I have to come up
with an outline,
1:00:31
I guess you call it,
1:00:33
the whole goddamn story,
soup to nuts, three acts,
1:00:36
the whole goddamn...
1:00:38
That's all right, Barton.
1:00:39
You don't have to write
actual scenes.
1:00:41
No, but the whole goddamn...
1:00:46
Audrey...
1:00:48
have you ever read
any of Bill's wrestling scenarios?
1:00:51
Yes, I'm afraid I have.
1:00:54
What are they like?
What are they about?
1:00:58
Well...
1:00:59
usually they're simple morality tales.
1:01:03
There's a good wrestler
and a bad wrestler,
1:01:06
whom he confronts at the end.
1:01:09
In between, the good wrestler
has a love interest
1:01:11
or a small child he has to protect.
1:01:14
Bill would usually make
the good wrestler
1:01:15
a backwards type or a convict,
1:01:18
and sometimes, instead of a waif,
1:01:21
he'd have the wrestler
protecting an idiot man-child.
1:01:25
The studio always hated that.
1:01:28
Some of the scripts were so...
1:01:30
spirited.
1:01:35
Barton, look,
it's really just a formula.
1:01:40
You don't have to type
your soul into it.
1:01:42
We'll invent some names
and a new setting.
1:01:44
I'll help you.
It won't take any time at all.
1:01:46
I did it for Bill so many times.
1:01:49
You did what for Bill?
1:01:51
Well... this.
1:01:53
You wrote his scripts for him?
1:01:59
Well, the basic ideas
were frequently his.