:27:02
I want to make a good film.
:27:03
I know you do.
:27:04
And maybe it will be
a better film without the old mill.
:27:10
Hey, it's with the gods.
:27:11
We don't have the money.
We got to write it out.
:27:15
And that's a lesson.
:27:17
- Did you get your typewriter yet?
- No.
:27:20
Grace, get on the other phone.
Get Mr. White his typewriter.
:27:25
Yeah, Have what's-her-name
send up some nosh.
:27:27
- What do you drink?
- I don't drink.
:27:29
Did my matzos come?
:27:31
Get some for everybody.
:27:33
Thank you.
:27:35
Let me tell you
about my first picture.
:27:58
The chairs go.
:27:59
- The La-Z-Boy goes.
- Not the La-Z-Boy.
:28:02
The La-Z-Boy goes.
:28:04
- Hi, Sherry. Where do you want it?
- In the living room.
:28:07
- And we have thirteen at table.
- We don't have thirteen.
:28:10
Bob Barrenger, Claire Wellesley,
the director.
:28:12
Then, you can
invite someone else.
:28:13
I don't want to.
This is the most exclusive dinner...
:28:16
Do whatever makes you happy.
:28:19
I'll be back
with the butter churn.
:28:21
And we need a blender bus.
:28:23
That woman's gone crazy
about this dinner party.
:28:26
George, I want
a city council meeting.
:28:30
City council?
Doug, the traffic light...
:28:33
Fuck the traffic light.
:28:34
I'm talking about three percent of
the adjusted gross of a major movie
:28:41
Hi...
:28:42
I love your script.
:28:45
- What?
- You're still here.
:28:47
- Morning, Annie.
- See you at rehearsal tonight.
:28:50
'In the name of justice, sir,
I bid you pause, for she is our queen. '
:28:54
That's very good.
:28:55
In fact...
:28:56
I'm not sure if I gave them a second
chance or they're giving it to me.