:18:01
Maybe you should've
but you know why you didn't?
:18:03
Because somewhere deep inside of you
is a small, tiny spark of hope.
:18:08
Hope, hell.
:18:10
I'll die broke in a downtown Los Angeles
flophouse. And I won't be bitter.
:18:16
I'll have contributed maybe five,
10 damn good pictures.
:18:20
They'll name a special Academy Award
for me. And you know something?
:18:23
All the wrong guys will get it.
And I'll be in hell, laughing my ass off.
:18:30
Romantic futility.
:18:32
- Your one true love.
- Nothing to be ashamed of, kid.
:18:35
No, no, no, I didn't say that.
:18:37
But I admit, you are right
about the ending, John.
:18:39
I think you should kill them all
and blow everything up!
:18:43
I knew you'd ultimately see it my way.
:18:47
Morning, boys.
:18:49
If it isn't the producer, right on cue.
:18:51
I have just come from a meeting...
:18:54
...and I think the financial deal is finally set.
:18:58
- Good. When do I get my take?
- Oh, you'll get it.
:19:01
- I'm glad to see you boys have been working.
- No, we're not working.
:19:05
We're just warming up,
doing some mental calisthenics.
:19:08
Well, if you take my advice,
you'll start with the ending.
:19:11
Oh, yeah?
:19:13
Now, look, Paul. Don't you go
interfering with the script.
:19:16
And don't try to influence my writer, either.
:19:19
You're an obscene man.
:19:21
You witnessed the cultural disintegration
of central Europe...
:19:24
...and you nevertheless persist on following
the same cheap, disastrous course...
:19:28
...that led to Hitler over Europe...
:19:30
...World War II and the atomic bomb.
:19:35
Meaning the ending stays as it is.
:19:38
Except for one minor change.
The Germans kill you too. Over the end title.
:19:47
Do you have a coat
or something I could borrow?
:19:49
- Oh, Irene.
- Excuse me.
:19:50
I can't go out dressed like this.
:19:52
Irene, I'd like you to meet my partner.
Paul Landers, our producer.
:19:56
Irene has the most wonderful idea
for a film, Paul.
:19:59
Why don't you tell it to Paul
while Pete and I work?