1:02:00
He becomes irrational.
1:02:01
[ Shouting ]
1:02:03
Uh-huh, uh-huh.
1:02:04
I'll try and slip away.
1:02:05
[ Mayhew ]
Who is that?
1:02:17
[ Knock On Door ]
1:02:24
Audrey, thank you for coming.
1:02:27
Thank you.
1:02:28
Hello, Barton.
1:02:29
I'm sorry to be...
1:02:31
such a... such a...
1:02:35
Thank you.
1:02:36
That's all right, Barton.
1:02:39
Everything's going to be all right.
1:02:42
Yes. Thank you.
1:02:44
Thank you.
1:02:45
Yes. Thank you.
1:02:49
How's Bill?
1:02:51
Oh, he's, uh...
1:02:54
He drifted off.
1:02:55
He'll sleep for a while now.
1:02:59
What is it you have to do exactly?
1:03:02
Well, I have to come up
with an outline,
1:03:06
I guess you call it,
1:03:08
the whole goddamn story,
soup to nuts, three acts,
1:03:11
the whole goddamn--
1:03:13
That's all right, Barton.
1:03:15
You don't have to write
actual scenes.
1:03:17
No, but the whole goddamn...
1:03:22
Audrey...
1:03:24
have you ever read
any of Bill's wrestling scenarios?
1:03:28
Yes, I'm afraid I have.
1:03:30
What are they like?
What are they about?
1:03:34
Well...
1:03:36
usually they're simple morality tales.
1:03:40
There's a good wrestler
and a bad wrestler,
1:03:43
whom he confronts at the end.
1:03:45
In between, the good wrestler
has a love interest
1:03:48
or a small child he has to protect.
1:03:51
Bill would usually make
the good wrestler
1:03:53
a backwards type or a convict,
1:03:55
and sometimes, instead of a waif,
1:03:58
he'd have the wrestler
protecting an idiot man-child.