Murphy Brown Season 6 Episode 24 My Movie With Louis
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00:00I'm telling you, Julia Roberts was giving me the eye.
00:03She was sitting in her chair, she looked over her shoulder, and she gave me the eye.
00:09You were yelling, hey, pretty woman, over here.
00:12Trust me, Frank, she was giving you something, but it wasn't the eye.
00:16You saw Julia Roberts?
00:18Mm-hmm, and Armand Asante.
00:19They were filming outside the Supreme Court.
00:21She gave me the eye.
00:23A wonderful, another invasion from Tinseltown.
00:26Every time it's the same thing.
00:27A gaggle of ponytailed Hollywood types waltz into town, block off traffic for hours,
00:32and then run off to have orgies in their trailers.
00:35Oh, no.
00:37Isn't it exciting?
00:39Come on, Jim, this isn't your typical Hollywood trash.
00:42This is a political thriller being filmed by Louie Mao.
00:46I mean, his stuff is always so intelligent and perceptive and subtle.
00:52I tell you, if I could just get five minutes with the guy, I know I could convince him.
00:54Frank, don't tell me you want a cameo in this thing, too.
00:58I heard that Wolf Blitzer hand-delivered a dozen roses,
01:01Ted Koppel sent the producers a magnum of champagne,
01:03and Connie Chung did everything but show up in a catwoman outfit.
01:07I heard things in the dress.
01:08This is right.
01:10Reputable journalists stumbling over one another so they can play themselves in a movie.
01:13I tell you, it parnishes all of us.
01:16Uh-huh.
01:16It blurs the line between journalism and entertainment.
01:20Uh-huh.
01:20If we keep this up, soon we'll have Peter Jennings behind the wheel of a talking car
01:25and the fresh Prince of Bel-Air reporting live from the Mideast.
01:29On the other hand, sometimes it can be a really good thing.
01:33When?
01:35Oh, well, sure, Jim.
01:35You can pick apart any argument with those old debate team tactics of yours.
01:40They offered you a part in this movie, didn't they?
01:45Maybe.
01:46Oh, you lucky!
01:47You're not going to do it, are you?
01:49Well, I'd be lying if I told you I wasn't tempted,
01:51but clearly there are some strong arguments against it.
01:54I can't spare the time.
01:56It could damage my credibility,
01:57and it raises some valid ethical questions.
02:01Yep.
02:02You mean you're gonna have to mull this one over?
02:04Frank, she's gonna do it.
02:06Oh, gee, Frank, you think of course I'm gonna do it.
02:13Okay, Frank, you've got the veggie burgers,
02:16porky, you've got the tuna on white,
02:18gem tuna on rye.
02:21Bill, there's no ketchup.
02:23So what do you say, Frank?
02:25You want me to go down 17 floors,
02:28go across the street,
02:29grab some ketchup,
02:30come back across the street,
02:31come back up 17 floors,
02:33just so you can have some ketchup,
02:35is that what you're saying, Frank?
02:39No, I'm just saying,
02:41hey, look, no ketchup!
02:44Well, as they say in Hollywood,
02:46that's a wrap,
02:47the deal is closed,
02:48I can't hear you on the car phone,
02:49I'm going through a canyon.
02:50They didn't happen to ask about my availability or anything,
02:57did they?
02:57Sorry, Frank, it didn't come up,
02:58but listen to this,
02:59according to the producers,
03:01I have a small but pivotal role.
03:03In fact,
03:04they said,
03:04I'm a plot point.
03:05I'm not sure what that means,
03:06but I think it means they can't cut me out of the meeting.
03:08Don't you believe it?
03:11The producers of all the president's men told me
03:14that if I let him shoot in pills,
03:15I can hand Redford his code in a seat.
03:18Oh, yeah,
03:19that was a good deal.
03:20Lost a whole week's worth of business
03:22for the privilege of seeing my left index finger
03:25on the silver screen.
03:27You met Robert Redford?
03:29What was he like?
03:30Like being in the presence of an angel.
03:32You should hear yourself.
03:40It's nothing but movie this and movie that.
03:43If any of this even matters,
03:45look at all the hoopla attached to those Oscars.
03:48It's only been two months,
03:49and I'll bet not one of you
03:51can even remember what won best picture.
03:53Schindler's List.
03:55Best actor.
03:56Polly Hunter.
03:58Best short subject.
04:00Live action or animated.
04:02It's time for you to get married again.
04:08Hey there, Miles.
04:10Hey there, Phil.
04:11Hello, people,
04:12and greetings from our affiliates in New England.
04:15You should have seen me.
04:17I pressed the flesh at six stations,
04:19swung by the L.L. Bean Factory,
04:21got myself some chinos,
04:22and still had time to pick up
04:24four jugs of maple syrup
04:25for the best news team in the business.
04:28Oh, God.
04:29Oh, forget your gooey pants, Miles.
04:33Murphy's got some pretty exciting news to tell you.
04:37I'm gonna be in a Louis Mal film next week.
04:40Really?
04:41I'm starring in the next Spielberg movie,
04:43Indiana Jones and the Temple of Beth Shalom.
04:45Oh.
04:45I'm not starring in it.
04:52I have a small but pivotal role.
04:54You're serious.
04:55You really think you're gonna be in this movie?
04:57I'm not gonna just be in it.
04:58I'm a plot point.
04:59No, you're not.
05:00The network won't let you.
05:01They have a policy.
05:02What policy?
05:03They instituted it last year.
05:05News people may not appear
05:07in entertainment telecasts or movies.
05:09I understand the network
05:10wants to maintain the image
05:11of its journalists,
05:12but I'm not about to do something
05:13that would damage my reputation.
05:15I'm a mature, responsible adult
05:17capable of deciding
05:18what's appropriate for Murphy Brown.
05:20And I expect...
05:22No, I demand to be treated that way.
05:26Well, that is a pretty persuasive argument.
05:29Yeah.
05:30Just to have the phrase,
05:31give me back that bottle,
05:32and it's the same speech
05:33she was screaming in the lobby
05:34right before they carted her off
05:35to Betty Ford.
05:36You know, you really didn't
05:45have to come with me.
05:46If I can handle heads of state,
05:48I think I can handle
05:48the head of a network.
05:49Strength in numbers, Murph.
05:51And besides, this is a battle
05:52I'm probably gonna have to
05:53fight one day myself.
05:55Yeah.
05:56Probably.
05:58Hi, Mr. O'Brien.
05:59We're here for our 5 o'clock
06:00with Mr. Lansing.
06:01You're late.
06:02Oh, no, we're not.
06:03You're late and your watch is broken.
06:06Take a seat.
06:08Uh, Mrs. O'Brien,
06:10I'm, uh, I'm pretty sure
06:12this is a no-smoking building.
06:14Uh-huh.
06:15And, uh, well, you're smoking.
06:19Listen, sweetie,
06:20I've been secretary
06:22to every president of this network
06:23for the past 40 years.
06:25Now, if you think I'm gonna go sit
06:26in that utility closet
06:28they call a smoking lounge
06:29every time I want to drag,
06:31you're nuts.
06:31Hey, I don't give a lie.
06:33No, just take a seat.
06:36Murph, if you want to get in
06:38to see God,
06:39it's probably not a good idea
06:40to tick off St. Peter.
06:41I bet that's not even
06:45her own hair.
06:46I can hear you.
06:53It doesn't matter
06:54where you sit.
06:56I can hear you.
06:58And you can tell the parents
07:03of those Tollin' twins
07:04that if their identical little butts
07:07are not back on the set by noon,
07:09I'm gonna get two jockeys
07:10to replace them.
07:13I'll get two jockeys
07:14and get them the same haircut.
07:17Murphy, how are ya?
07:19Come right in.
07:20Come right in.
07:21Thanks for seeing us, Stan.
07:23We won't take up much of your time.
07:24Oh, I always have time
07:26to see you, Murphy.
07:27And, Frank,
07:28I've been meaning to tell you,
07:30you know that piece you did
07:31when you wrote
07:32with the cops on the drug bust?
07:35Unbelievable.
07:36Nobody does life-threatening
07:37stuff like you do.
07:39I'm telling you,
07:40you're on the top of your game.
07:41Oh, thanks.
07:42I wish I could say
07:43the same thing about my golf game.
07:46Tell me about it!
07:47I'm still trying to break 90 these days.
07:50Well, you do what I do.
07:51You just quit after 14 holes.
07:53How's that lovely wife of yours, Gene?
07:59We're divorced, Fontana.
08:02She took me for everything I owned.
08:04My mother died last year.
08:06You want to ask me about her, too?
08:12Murph?
08:12Um, well, yes, Stan.
08:14The reason we're here
08:15is that I was offered a role,
08:17a small but pivotal role,
08:18in Louis Mal's new film.
08:20And, uh, to make a long story short,
08:23I said yes.
08:24I gather you were not aware
08:26of our new policy.
08:28Well, exactly.
08:29So, you see,
08:29what an awkward position
08:30this puts me in.
08:31I've agreed to do the movie.
08:33Say no more.
08:34I completely understand
08:36the situation.
08:37I knew you would, Stan.
08:38Just blame me
08:39for the whole thing.
08:40And you'll just have to understand
08:42that network policy
08:43is network policy.
08:45What?
08:46Frank, I have one of those shortcuts.
08:48They're Belgian.
08:49You know, Stan,
09:00when I said awkward position,
09:01what I meant was that I...
09:03One, one.
09:04Who said two?
09:05What were you raised by wolves?
09:09Don't put it back.
09:11Nobody wants used chocolates.
09:13Jesus, Brett,
09:14eat the whole thing.
09:15What a glory of you.
09:17He just ate your chocolate.
09:21Anyway, Murphy,
09:22if that solves your problem,
09:23let's get on to another crisis.
09:25Well, actually, Stan,
09:27it doesn't.
09:28Uh, I want to do this movie.
09:31Oh, I see.
09:32Well, if I could make an exception,
09:34I'd do it for you,
09:35but policy is policy.
09:36The policy stinks.
09:37I'm sorry you feel that way,
09:40but we need the policy
09:42in order to maintain network integrity.
09:45Excuse me?
09:47The same network that put on
09:48He's Not My Monkey
09:50is suddenly working on
09:51his integrity?
09:52Well, what are you saying?
09:54That we're not doing art here?
09:55What is this news to me?
09:58We got a single mother
09:59with three kids at 8 o'clock.
10:01I got a single father
10:02with three kids at 8.30.
10:04I got a black single mother
10:06with two kids at 9 o'clock.
10:08I got a stand-up comic
10:10that nobody has to hurt of
10:11with no kids at 9.30.
10:13And over here,
10:14we got the crap slot.
10:17Something works here.
10:19Well, we're fighting for our lives
10:21to beat the other guy's crap slot.
10:23But the news division
10:29is a totally different story.
10:31It's our prized asset.
10:33And I'll do everything
10:34that I can do to protect it.
10:37And I applaud them.
10:43But I think I'm capable
10:44of deciding what material
10:46is appropriate for me.
10:47So forgive me
10:48if I have trouble complying
10:50with some blanket arbitrary policy
10:52that treats me like a child.
10:54What the hell are you doing,
10:56thug powder?
10:57Get away from that!
10:58Look what you did!
10:59That's not bad.
11:02Not bad at all.
11:05Well, uh,
11:06really, maybe
11:07if I were to put this one
11:09right over here.
11:10No, no, no.
11:11Get away from me!
11:13Stay over there!
11:15Give me back 8.30,
11:169.30, 10.30!
11:20Murphy,
11:20I hate to put it to you
11:22in these terms,
11:24but when you signed
11:25your contract,
11:26you agreed to abide
11:27by the policies
11:28of this network.
11:29Well, Stan,
11:30I hate to put it to you
11:31in these terms,
11:32but what if I just
11:33ignore the policy
11:33and do the movie anyway?
11:35I would be very
11:36disappointed.
11:38I think I could live like that.
11:40And I would dock you
11:41two weeks' pay.
11:42Well,
11:43then you better
11:44call accounting.
11:45Let's go, Frank.
11:46Wow,
11:48she's a pretty
11:48tough cookie.
11:50I guess that's
11:51the kind of moxie
11:51we pay her
11:52the big bucks for.
11:53Yeah.
11:55Well, uh,
11:57you know,
11:58I could live with myself
11:59unless I spoke up
11:59about this policy, too.
12:01I'm with Murph.
12:02I think it stinks.
12:04We don't pay you
12:05for your moxie, Fontana.
12:07Get out of here!
12:08I closed the door.
12:12What, were you born
12:12in a bond?
12:15He docks me
12:16two weeks' pay?
12:17You know, Frank,
12:18it starts like this.
12:19Policy restricting
12:20our personal freedoms,
12:22and the next thing you know,
12:22we're calling each other
12:23comrade and launching
12:25Sputnik.
12:25No, no, no.
12:27You know,
12:28why do we even bother
12:30putting paint strips
12:31on the patio door?
12:32I could just point you
12:33in that direction
12:34and let you shriek
12:35for five minutes.
12:36Yeah, this came for you.
12:39I bet it's the script.
12:41Ooh, look.
12:43Deadline.
12:44Ken?
12:44It's a murder mystery
12:46and it involves
12:46news people.
12:48Deadline.
12:48Clever, huh?
12:50Look, it came with a hat.
12:51Oh, cool.
12:52Can I have that?
12:53Is the name Frank Fontana
12:54on this package?
12:55Is the name Frank Fontana
12:57on this package?
12:59The story of this
13:00stupid movie, anyway.
13:01Oh, it's great.
13:02Armand Asante plays a cop
13:04who tries to solve
13:05the death of a senator
13:05and Julia Roberts
13:07is a biochemical engineer
13:08who helps him
13:09trace the murderer
13:10through his DNA.
13:11We're supposed to buy
13:12Julia Roberts
13:13as a biochemical engineer?
13:15Yeah.
13:16Apparently,
13:16she wears glasses.
13:21Not me.
13:22Not me.
13:23Not me.
13:26Oh, baby.
13:27I get grilled
13:28by Armand Asante.
13:30Oh, I was the last person
13:32to interview
13:32the dead guy.
13:33Hey, Frank,
13:34read through my scene
13:35with me.
13:36All right,
13:36but I get to be
13:37Armand Asante.
13:38Sure.
13:38Ellen?
13:39What?
13:40Come here.
13:40I need you to play
13:41his partner.
13:42Get out of here.
13:43Why not?
13:44What?
13:45I'm not going to act.
13:46It's embarrassing.
13:48Oh, but if nobody's watching,
13:49I'll give you 50 bucks.
13:51Let me see it.
13:52I'll write you a check.
13:53Just do it.
13:53Start, Frank.
13:54Hello, Miss Brow.
13:57It is a pleasure
13:58meeting Joe.
14:00What are you doing?
14:03I'm reading the part.
14:05You're supposed to be
14:06playing Armand Asante,
14:07not Ricky Ricardo.
14:10I'm not playing
14:10Armand Asante.
14:11I saw Mambo Kings.
14:13That's how he talks.
14:14He was playing
14:14a Cuban in Mambo Kings.
14:16That's not how
14:16he normally talks.
14:18Just do it
14:18in a regular voice,
14:19but sexier,
14:20and act more
14:21with your eyes.
14:23Okay.
14:24I'll do it
14:25the boring way.
14:28Hello, Ms. Brown.
14:30It's a pleasure
14:30meeting you.
14:32I'm Detective Murdoch,
14:33and this is my partner,
14:36Detective Wong.
14:41Go easy on him.
14:43It's his last day
14:44before retirement.
14:45Oh, great.
14:45I'm going to die.
14:47Whatever it's
14:47the last day,
14:48they die.
14:49They don't want
14:49to act in the first place.
14:50I'm going to die.
14:52Now then,
14:52you're ruining
14:53my concentration.
14:54Now, Ms. Brown,
14:56you were the last person
14:57to see the senator alive.
14:59Do you remember
15:00any details
15:01that could help
15:02with our investigation?
15:03Well, it was
15:04a pretty standard interview.
15:05I asked him questions.
15:06He avoided answering them.
15:08Ooh, that's good.
15:08I would say
15:09something like that.
15:11Did he seem
15:11at all agitated?
15:14He kept fidgeting
15:15with it, too.
15:16I think it had
15:17some kind of
15:17orange rubber top
15:18on it.
15:19Dulles Airport locker.
15:21I am on it.
15:22Give me the car keys.
15:23There it is.
15:24The car explodes.
15:25Two lousy lines
15:26and bam!
15:27People are wiping
15:28me off their eyeglasses.
15:30I hate acting.
15:34Just go on, Frank.
15:37Well, Ms. Brown,
15:38I guess it's true
15:40what they say about you.
15:42You're as observant
15:43as you are
15:44beautiful.
15:45Wow, this is really
15:48good writing.
15:51Yeah, brilliant.
15:53Say, you know
15:54what would really
15:54help me out here
15:55if I could take a look
15:55at your notes
15:56from the interview?
15:57No problem.
15:58I'll go get them.
15:59Oh, yeah, right.
16:01Like I'd really
16:01give up my notes.
16:02It's good writing
16:03and it's funny, too.
16:04Well, I don't think
16:05it's a joke, Murph.
16:06Well, sure it is.
16:07I'd never give up
16:07my notes.
16:08No self-respecting
16:09journalist would.
16:10Well, apparently
16:11you would
16:12because right here
16:13on the next page
16:13you give them
16:14your notes.
16:15I don't believe this.
16:17I actually hand
16:18my notes over
16:19to a cop.
16:20It's totally unreal.
16:21You know,
16:22this is the problem
16:23with Hollywood
16:24today, Frank.
16:24They don't care
16:25about being real.
16:27That's why people
16:27stop going to those
16:28Billy Jack movies,
16:29you know.
16:30After a while,
16:31they just stop
16:32being real.
16:34You know, Murph,
16:35this may not be
16:36as big a problem
16:37as you think.
16:39You know,
16:39maybe you're right,
16:40Frank.
16:40Maybe it's not
16:41that big a problem.
16:42Maybe sacrificing
16:43my journalistic
16:44integrity in front
16:45of millions of people
16:46is a good thing.
16:47Okay.
16:50What's your idea?
16:51Can I have the hat?
16:55What's your idea?
16:56Okay.
16:56You just,
16:57you go to Louis Mal,
16:58you tell him
16:59you have a problem
17:00with the script.
17:01Give me back the hat.
17:02No, I'm not even
17:03saying I didn't even know
17:03that there's something
17:04inaccurate in there.
17:06Oh, maybe you're right.
17:08Maybe it's worth a shot
17:09because I sure can't
17:09do this stuff
17:10the way it's written now.
17:12I could.
17:15Can I say that out loud?
17:16Miss Brown?
17:39Hi.
17:40I'm Dina,
17:41Mr. Mal's assistant.
17:42Hi.
17:43You know,
17:43we weren't expecting you
17:44until Friday.
17:44Oh, I know.
17:45I just came by
17:46to talk to Mr. Mal.
17:47They asked me
17:47to wait over here.
17:49Okay.
17:51Well, he's right
17:51in the middle
17:52of setting up a shot
17:53and we're running
17:53a little behind schedule.
17:57But I'll make sure
17:58he knows
17:58that you're waiting.
18:03Hi.
18:04Murphy Brown.
18:05I'm in the movie.
18:06Small but pivotal role.
18:07It's terrible.
18:14We've wasted the whole morning.
18:17How come nobody told me
18:18that Senator D'Amato
18:19was such a dead fish?
18:24Excuse me, Mr. Mal.
18:26Oh, Murphy Brown.
18:28Hi.
18:29I'm delighted
18:29you'll be working with us.
18:31Thanks for dropping by.
18:33We'll see you Friday, okay?
18:34Uh, yes, you will.
18:37But I just wondered
18:38if we could discuss the script.
18:39I have some questions.
18:41Uh-huh, script questions.
18:43And you say
18:43you've never acted before.
18:46Well, they're just
18:47petite things, really,
18:48but I'm sure you want
18:49to be as accurate
18:50as possible.
18:51Of course.
18:52Well, here on, um,
18:54page 78,
18:55you refer to my
18:56managing editor
18:57when what I think
18:58you mean
18:58is my executive producer.
19:00Uh-huh.
19:00And, uh, FYI,
19:02the new show I'm on,
19:03we don't pre-tape.
19:05We go out live.
19:06I'm embarrassed
19:07we got it wrong.
19:08Consider it fixed.
19:10See you Friday.
19:11Uh, actually,
19:12there's just one more thing.
19:14Um, I would never
19:16give my notes
19:16to a detective.
19:18Uh-huh.
19:20But you understand
19:21you must have the notes.
19:23Well, yes,
19:24but it's just not something
19:25a good journalist would do.
19:26It would compromise
19:27my integrity.
19:28Oh, we certainly
19:29don't want to do that.
19:31But, uh,
19:32you see my problem.
19:34What is Armand
19:35going to say?
19:36She won't give me
19:37her notes.
19:38I can't solve the murder.
19:40Maybe I'll just go home.
19:44That would make
19:45for a very short movie
19:47with little chance
19:48of a sequel.
19:50Oh, Hal.
19:51No, I-I see
19:52that that wouldn't work,
19:53but, um,
19:54maybe there's another way
19:55he could get the notes.
19:56Um, maybe he could
19:57get a subpoena.
19:58Now, that would take
19:59too much time.
20:00Uh, maybe he could
20:01break into the newsroom
20:02at night.
20:02No, he's a cop.
20:03He wouldn't do that.
20:05This is tricky,
20:06but I know we can get it
20:07if we just put on
20:08our thinking caps.
20:09Louie,
20:10they're ready for you.
20:11He'll be there
20:12in a minute.
20:13Yeah.
20:14Now, we have
20:15our thinking caps on.
20:19So then,
20:20no breaking in,
20:21no subpoena.
20:22Uh, what if, uh,
20:25what if he sleeps
20:27with you,
20:27then goes for your notes
20:29before you wake up?
20:31Hmm.
20:35No, we can do that.
20:37That would mean
20:37firing Julia Roberts,
20:39and we've already
20:40paid her a lot of money.
20:42Well, now you're kidding me.
20:45Uh, although I-I have to say,
20:46when you cast Julia Roberts,
20:48isn't she just
20:49a little bit young for him?
20:50I mean, I realize
20:51I'm talking to the man
20:52who directed
20:52Pretty Baby,
20:53but still.
20:56What is wrong?
20:57Since you seem to have
20:59so many problems
21:00with the movie...
21:01You know what?
21:02Why don't I take a look
21:03at the script,
21:04noodle around with it,
21:05and see what I can
21:06come up with?
21:06Is there a trailer
21:07I could use?
21:08You want to
21:09rewrite the script?
21:12Could you do it quickly?
21:13Because then I may need
21:14you to help me
21:15set up my next shot.
21:18Well, now you're
21:19being sarcastic.
21:20Louie, the lights
21:21are pretty hot
21:22and Armand
21:22is wearing a wool suit.
21:26I'm beginning to think
21:27this may not work out.
21:29You know, I'm just trying
21:29to give you
21:30a little friendly criticism.
21:32Believe me,
21:33when the reviewers do it,
21:34they may not be so kind.
21:36And I am a bit
21:37of a film buff.
21:38Are you familiar
21:38with the Billy Jack movies?
21:41Billy Jack!
21:42She's talking to me
21:44about Billy Jack!
21:45Sit from this side, Lee.
21:47Qu'est-ce que merdeuse?
21:50I understand French
21:52well enough to know
21:53what you just said,
21:54and I don't appreciate it.
21:55You know what the problem is?
21:57You don't understand
21:58the American culture.
22:00Not to mention
22:00there are subtle shadings
22:02in our language
22:02that you clearly
22:03don't comprehend.
22:05How's this for shadings?
22:07Your history!
22:08Vamoose!
22:09Happy trails to you!
22:12You're firing me?
22:14Bingo!
22:16Pull Diane Sawyer.
22:18Ask her if she'll reconsider.
22:22You know,
22:23I'm glad this happened
22:24because I admit it,
22:25I was being vain.
22:27I was blinded
22:28by the glitter
22:29and the glamour.
22:29But this has opened my eyes.
22:32Journalists should never
22:33cross that line
22:34into entertainment.
22:35Thank God
22:36I still have my integrity.
22:37Why are you still talking?
22:42I'm going,
22:44but part of me
22:45will always be here
22:46reminding you
22:47of the truth
22:47you chose to ignore.
22:50I pity the man
22:51who lives with her.
22:58Murphy, hi!
23:00Oh, Stan, hi.
23:01Look,
23:02if you came to talk me
23:03out of being
23:03in this stupid movie,
23:04you can save your breath.
23:05I'm not doing it.
23:06Well, actually,
23:08I...
23:08It's dancing.
23:09They're ready for you
23:10on the set.
23:10What?
23:11You're in the movie?
23:12Hey,
23:13I have no
23:14on-air integrity
23:15to protect.
23:16Besides,
23:18how can I pass up
23:18a chance
23:19to play poker
23:20in a scene
23:20where I'm on a something?
23:22I get to shuffle.
23:23Gore Vidal cuts.
23:26They need me.
23:27Louie!
23:28Mona me!
23:29Sorry, Detective,
23:35but I got three aces.
23:37Cut!
23:39A little more excited,
23:40please.
23:42It's three aces.
23:43That's a good thing.
23:46Poker scene,
23:47take 16.
23:50Ha!
23:51Ha!
23:51Ha!
23:51Ha!
23:52I'm sorry, Detective,
23:53but I got two aces.
23:55Cut!
23:56I know three aces
23:57have made a mistake.
23:59Gore distracted me.
24:01Poker scene,
24:03take 17.
24:04Sorry, Detective,
24:06but I got three...
24:07Cut!
24:08Cut!
24:08Why is someone
24:09walking behind that window?
24:12I'm going.
24:14I'm going.
24:14I'm going.
24:14I'm going.
24:26I'm going.
24:27I'm going.
24:27I'm going.
24:28I'm going.
24:28I'm going.
24:29I'm going.
24:29I'm going.
24:30I'm going.
24:30I'm going.
24:30I'm going.
24:31I'm going.
24:31I'm going.
24:31I'm going.
24:32I'm going.
24:32I'm going.
24:32I'm going.
24:32I'm going.
24:33I'm going.
24:33I'm going.
24:33I'm going.
24:33I'm going.
24:33I'm going.
24:34I'm going.
24:34I'm going.
24:35I'm going.
24:35I'm going.
24:35I'm going.
24:36I'm going.
24:37I'm going.
24:37I'm going.
24:37I'm going.
24:37I'm going.
24:38I'm going.
24:39I'm going.
24:39I'm going.
24:40I'm going.
24:40I'm going.