:32:01
I want Martin Weir, I talk to Martin Weir,
not his trainer's shrink.
:32:06
Shrink's trainer.
:32:07
Take me back to my car.
:32:21
Yeah?
:32:21
Tommo. Chili.
:32:23
Where you been?
I been looking all over.
:32:27
Ray Bones is looking for you.
Where are you?
:32:29
I'm in LA now. I'm going into
the movie business - producing.
:32:35
What the fuck do you know
about making movies?
:32:37
I don't think the producer
has to know much.
:32:43
I gotta go. Call me
when you know more about Bones.
:32:47
Hey, Karen, how you doing?
:32:48
What are you doing here?
:32:50
Listen, I wanted to apologize
for breaking in last night.
:32:54
You broke in again to apologize
for breaking in before?
:32:58
No, your patio door was open.
You shouldn't do that.
:33:03
Well, lock it on your way out.
:33:06
You had a bad day, huh?
:33:07
The director said I couldn't reach
the emotional core of the character.
:33:13
What? Obviously he didn't see
Bride Of The Mutant.
:33:17
You saw that one?
:33:19
When you say to the alien mother
that her time on earth is finished,
:33:25
Joan Crawford on her best day
wished she had the emotion,
:33:28
the intensity that you had.
:33:32
That was a good scene -
for a horror movie.
:33:35
No, for any movie.
:33:37
I know I'm better than walking round
in fuck-me pumps, waiting to scream.
:33:42
Yeah, but what a scream.
:33:44
It would be nice to get the chance
to say one great line.
:33:50
Like when Bette Davis walks up
to the guy and says "I'd kiss you
:33:56
but I just washed my hair".
How come you don't work with Harry?