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.
1:04:02
The studio always hated that.
1:04:05
Some of the scripts were so...
1:04:08
spirited.
1:04:13
Barton, look,
it's really just a formula.
1:04:18
You don't have to type
your soul into it.
1:04:20
We'll invent some names
and a new setting.
1:04:23
I'll help you.
It won't take any time at all.
1:04:25
I did it for Bill so many times.
1:04:27
You did what for Bill?
1:04:29
Well... this.
1:04:32
You wrote his scripts for him?
1:04:38
Well, the basic ideas
were frequently his.
1:04:43
You wrote Bill's scripts?
1:04:46
Jesus, you wrote his...
1:04:48
Well, what about before that?
1:04:50
Before what?
1:04:51
Before Bill came to Hollywood.
1:04:54
Bill was always the author,
so to speak.
1:04:57
What do you mean, "so to speak"?