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.
1:02:03
You wrote Bill's scripts?
1:02:07
Jesus, you wrote his...
1:02:09
Well, what about before that?
1:02:10
Before what?
1:02:11
Before Bill came to Hollywood.
1:02:14
Bill was always the author,
so to speak.
1:02:17
What do you mean, "so to speak"?
1:02:20
Audrey, how long have you been his...
1:02:24
secretary?
1:02:25
Let's concentrate
on our little project.
1:02:28
I want to know how many
of Bill's books you wrote!
1:02:30
I want to know!
1:02:31
Barton, honestly...
1:02:36
Only the last couple.
1:02:38
Hah!
1:02:39
And my input was
mostly editorial, really,
1:02:43
after he had been drinking.
1:02:45
I'll bet.
1:02:46
Jesus, "the grand productive days"!
1:02:50
What a goddamn phony.
1:02:52
W.P. Mayhew...
1:02:54
William goddamn Phony Mayhew!
1:02:57
All his guff about escape!
1:02:58
I'll say he escaped!