:11:01
And cartridges, of course.
:11:02
-How many rounds, sir?
-Two hundred. Two hundred per weapon.
:11:07
-Planning to be away quite a while, sir.
-Yes.
:11:10
And Sunrise Films will send you the check.
:11:16
John! Be careful!
:11:21
lrene. For God's sake,
what are you doing here?
:11:30
You told me to meet you here.
:11:33
We had an appointment.
Drinks and dinner.
:11:38
-l dressed.
-Yes.
:11:41
Well, it plain slipped my mind.
lrene Saunders, this is Pete Verrill.
:11:45
Hello.
:11:47
l admired your last book enormously.
:11:50
l'm a writer too.
:11:52
John's promised to listen to an idea
l had for a film this evening.
:11:56
l do hope you'll join us.
:11:58
You can give me a few pointers.
One writer to another.
:12:08
lt's about a dog. A puppy dog.
He's the hero, the star.
:12:13
lmagine, John, over the opening credits,
we'll see Horace.
:12:17
Wonderful, adorable dissolves
of Horace. ln close-up. ln long shot.
:12:21
Now, this is the part of the script
l'm not sure about.
:12:24
The censors might cut it.
lt turns out that Horace is in heat.
:12:28
-Horace?
-lt's a story of mistaken identity.
:12:31
You see, Horace has a twin. A bitch.
She's called Geraldine.
:12:35
Now, it's she that's in heat.
lsn't that a wonderful switch?
:12:44
We'll cut from the Hyde Park sequence,
John, to an early-morning shot of the river.
:12:50
The river.
:12:53
Horace is alone now. We dolly with him
as he trots slowly down a deserted street.
:12:58
-He turns into Grosvenor--
-What are you doing here?