by David Mamet
GOULD: Five c?
FOX: The broad come to your house?
GOULD: The broad?
FOX: You fuck the temporary girl? You fuck her. (Pause.)
GOULD: I'm going to go see Ross myself.
FOX: You're going to see him yourself. (Pause.) Without me, you're saying. (Pause.) Do you think that . . . (Pause.) Do you think that that's the . . . I mean . . . it was . . . if you think that that's the thing, then that's it. If you think that that's the thing, but, we should, we should, I think we should talk about it Bob. Don't you . . . (Pause.) It was, um, um, uh (Pause.) I brought you the picture, Bob.
GOULD: I know you did.
FOX: You see what. . . (Pause.) I, I, I think that we should go in there together. (Pause.) Babe. If this is truly a collaborative thing. (Pause.) But if you think that. . .
GOULD: I'm not going to take him the Prison Film.
FOX: . . . if you think that that's the . . .
GOULD: . . . are you listening to me? I'm not going to greenlight the pris . . .
FOX:. . . sure, sure, sure . . . I understand that, but listen to what I'm asking you. Since I “brought” . . . which, I was saying, since, since I brought you the film and since, you say, we're going to split the credit. Because, because what I was saying, Bob, to to, finally get a position where I can be equal; where I brought you the film, it means a lot to me, and, frankly, um, um, I think . . .
GOULD: I'm not going to recommend the prison picture.
FOX: Okay. (Pause.) Is there . . . you're not. . .
GOULD: No. (Pause.)
FOX: I don't understand.
GOULD: I'm not going to recommend the Doug Brown film. (Pause.)
FOX: Because . . . hold on a second . . . hold on a second, before we get to that. You told me yesterday that we were going to go to Ross to greenlight it.
GOULD: Yes.
FOX: You promised me.
GOULD: I know.
FOX: I know that you know. Do you know why. . ..? Because you did it.
GOULD: I know that I did.
FOX: You're joking, right?
GOULD: No. (Pause.)
FOX: Huh. (Pause. ) Because, urn, you know, I had the package, Doug gave me one day, Doug Brown gave me the one day to have the package, I could have, I could have took the thing across the street, you know that? Walked right across the street, As People Do In This Town, and I'd done it yesterday, I'd been Executive Producer of a Doug Brown film. Yesterday. Yesterday. Which is what comes up when you tell me that you aren't going to . . . This is a joke. Right? I'm sorry . . . I'm sorry. Bob: When you take the film to Ross . . .
GOULD: I'm not going to take the film to Ross.
FOX (Pause): Can you tell me why you're not?
GOULD: I'm going to greenlight the book.
FOX: What book?
GOULD: The Radiation book.
FOX: No, you aren't.
GOULD: Yes. If I can I am.
FOX: I have to siddown. (Pause.) Hold on a second, Bob, you're seeing Ross when . . .?
GOULD: Twenty minutes.
FOX: I'm not upset with you. (Pause.) Alright. (Pause.) Bob (Pause): Now, listen to me: when you walk in his door, Bob, what you're paid to do . . . now, listen to me now: is make films that make money—you are paid to make films people like. And so gain for yourself a fortune every day. This is what Ross pays us for. This is the thing he and the stockholders want from us. This is what the, listen to me now, ‘cause I'm going to “say” it, Movie Going Public wants from us, excuse me, I'm talking to you like some Eastern Fruit, but this, what I've just told you, is your job. You cannot make the radiation book.
GOULD: I'm going to try.
FOX: Shut up, I'm not done speaking, when it's your turn you can speak—because Ross will not do it and he will not let you do it.
GOULD: I have it in my contract. I can greenlight one picture a year under ten mil, at my discretion, without his prior approval or consent.
FOX: You will find your contract's shit.
GOULD: I don't think so.
FOX: Think so or not, you will find it's a sucker clause. You will find that if you insist on it you're going to become a laughingstock, and no one will hire you. Bob . .. You'll be “off the Sports List.” Why? Because they will not understand why you did what you did. You follow me . . .? That is the worst pariah. Your best friend won't hire you. I won't hire you. Because I won't understand why you did the thing that you did, and tried to make a movie that no one will watch. Are you insane? What the fuck's wrong with you . . .? Have you read this book?
GOULD: Have you?
FOX: I read the coverage. What do you want from me? Blood? List. . . list. . . listen to this . . . (FOX hunts on the desk for the book, opens it, reads: ) “ ‘. . . the world is dying,’ he said, ‘there is nothing we can do for that,’ as he stood on the bridge. ‘It all proliferates. Faster and faster. It begets itself, until it's time to die. The economy will collapse. The reactors will explode, because that's what they're meant to do. We will die, because that's what we're meant to do. The radiation, which has grown over the years, faster and faster.’" (He puts the book down.)
GOULD: We have different ideas, Charlie.
FOX: We do? Since when . . .?
GOULD (simultaneously with “when"): I was up all night thinking.
FOX: Were you?
GOULD: Yes.
FOX: Thinking about what?
GOULD: The . . .
FOX: Yes? (Pause.)
GOULD: The . . . why I was called to my new job.
FOX: Why you, uh huh . . .
GOULD: The notion, yes the notion that our life is short. . . The . . . that, in some way . . .
FOX: Go on.
GOULD: I. . . I believe in the ideas that are contained in the book.
FOX: Hey, I believe in the Yellow Pages, Bob, but I don't want to film it. Bobby. Bobby. Why are you doing this? Why are you doing this to me?
GOULD: You, you can take the prison film to Ross.
FOX: I take Ross the film, he'll make the film, and he'll give me a “thank you.” You know that. I need you. I need your protection . . .
GOULD: I. . .
FOX: You're going toidy over my whole life.
GOULD: I. . .
FOX: Have, Bob, have you always hated me?
GOULD: No.
FOX: Some secret. . .
GOULD: No.
FOX: Doubted my loyalty, my . . .
GOULD: No.
FOX: Then, then why are you doing this?
GOULD: I think . . .
FOX: I'm listening to you.
GOULD: . . . that we have few chances . . .
FOX: I'm listening to you.
GOULD: To do something which is right.
FOX: To do something which is right? To do someth . . .?
GOULD: I want to read you something. (Hunts in book. Reads:) "'Is it true,’ she asked, ‘that we are always in the same state of growth, the same state of decay as the world in which we live? If it is true is it not true that the world is then a dream, and delusion?’ All this being true, then what remained to him was this: Nothing.” (Pause.) “Nothing but God.” (Pause.) I've wasted my life, Charlie. My life is a sham, it's true. But I think I found something.
FOX: Bob, what's happened to you . . .?
GOULD: . . . And I think your prison movie has a place . . . and I respect your . . .
FOX: I don't want your respect. Your respect stinks: You know why? You've proved yourself insane. You're gonna buy a piece of shit . . . you're gonna spend ten million dollars for a piece of pussy, you were “up all night . . .” You were up all night boffing the broad. Are you getting old? What is this? Menopause?. Your “life is a sham"? Two days in the new job, you can't stand the strain . . .? They're going to invalid you out, your name will be a punchline in this town . . .
GOULD: . . . if the film doesn't work out here . . .
FOX: If the film . . .
GOULD: The radiation film.
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br /> FOX: Did you miss your wake up call . . . ? If the film doesn't work out here, you know what you got? Little Lambsy Divey. No One Will Touch You, do you understand . . .? You're throwing your life away. (Pause.) Listen to me: Bob (pause): Bob (pause): I have to tell you something. . . It's the secretary. She, what did she do to you . . .?
GOULD: She did nothing to me.
FOX: What is she, a witch?
GOULD: She did nothing, we, we talked . . .
FOX: You talked and you decided to throw your career away. . . ? And my, and my, and my chances with it. . .
GOULD: . . . I don't want . . .
FOX: Bullshit what you want. Bullshit. I Could Of Gone Across the Street.
GOULD: . . . I don't. . .
FOX: Fuck you. . . Fuck you. . . (He hits GOULD.) Fuck you. Get up. (He hits him again. ) I'll fucken’ kill you right here in this office. All this bullshit; you wimp, you coward . . . now you got the job, and now you're going to run all over everything, like something broke in the shopping bag, you fool—your fucken’ sissy film— you squat to pee. You old woman . . . all of my life I've been eating your shit and taking your leavings . . . Fuck you, the Head of Production. Job I could of done ten times better'n you, the press, the money, all this time, and now you're going to be some fucken‘ wimp, cost me my, my, my. .. fortune? Not In This Life, Pal. Your Writ Has Run. You hear me . . .? (Pause. ) Bob . . . ? (Pause.) Do you hear me . . .? You want somebody to take charge? I'll take charge. Do you hear me, mister . . .? You need an excuse to cop out, I'll give you your fucken’ excuse. (Pause.) We have a meeting. Can you fix yourself up?
GOULD: No. (Pause.)
FOX: What's the matter?
GOULD: Nothing.
FOX: You have another shirt. . .? Can you get through the meeting with Ross?
GOULD: I'm going to greenlight the radiation book.
FOX: It's alright, Bob. It's okay. I see it now. It's okay. Everything is okay. Listen to me, it's alright. I'll explain it to you: a beautiful, a beautiful and an ambitious woman comes to . . .
GOULD: I want you to be careful what you say about her.
FOX: It's only words, unless they're true. It's alright, now. I'm sorry I got frightened. Forgive me. I'll explain it to you. (Pause.) A beautiful and an ambitious woman comes to town. Why? Why does anyone come here . . .? You follow my argument? (Pause.) Everyone wants power. How do we get it? Work. How do they get it? Sex. The End. She's different? Nobody's different. You aren't, I'm not, why should she? The broad wants power. How do I know? Look: She's out with Albert Schweitzer working in the jungle? No: she's here in movieland, Bob, and she trades the one thing that she's got, her looks, get into a position of authority—through you. Nobody likes to be promoted; it's ugly to see, but that's what happened, babe. I'm sorry. She lured you in. “Come up to my house, read this script . . .” She doesn't know what that means? Bob: that's why she's here.
GOULD: . . . A woman . . .
FOX:. . . Hey, pay me the courtesy. . . how lonely you must be. How hard the world is. You complain to her. “No one understands me . . .” “I understand you” . . . she says.
GOULD: She does understand me.
FOX: Hey, that's first-rate.
GOULD: She does understand me . . . she knows what I suffer.
FOX: “What You Suffer . . .”? “What you suffer . . .”? You're a whore . . . Bob. You're a chippy . . . you're a fucken’ bought-and-paid-for whore, and you think you're a ballerina cause you work with your legs? You're a whore. You want some sympathy? You don't get none. You—you think you can let down. You cannot let down. That's what they pay the big bucks for. This is what you put up with you wanna have two homes. Okay? Bob, let's speak frankly, eh? This broad just took you down.
GOULD: . . . she came to me.
FOX: Why did she come to you? Cause you're the Baal Shem Tov? You stupid shit, I'm talking to you . . . Why does she come to you? ‘Cause you're so good looking? She wants something from you. You're nothing to her but what you can do for her.
GOULD: You're full of shit.
FOX: Uh huh. I know I am.
GOULD: What does she want from me?
FOX: If I'm so smart? She wants you to greenlight this radiation book.
GOULD: Why?
FOX: The fuck should I know. I don't know. It's not important. Is she Head of Production? You're Head of Production. Read the new plaque on your door. Can she greenlight a film? No. You can. Now: what does she want from you? Hearth and Home? No. What? Love? Huh? Children? . . . To greenlight a film. To greenlight some bizarre idea . . .
GOULD: It's not a bizarre idea.
FOX: It's not a bizarre idea . . .? Tell it to me . . . Come on. You can't tell it to me in one sentence, they can't put it in T.V. Guide. What is this movie that you're going to make? Come on, "A Boy Joins the Cattle Drive and Learns to Be a Man . . .”? “A Couple Finds a Million Dollars Buried in Their Yard . ..”? Come on, come on . . . what is this movie . . .? (Pause.)
GOULD: We are . . .
FOX: Tell me the story.
GOULD: We . . . I'm telling it to you, and I don't think that we have to mock the possibility that someone could find something that meant something to them. You understand me?
FOX: Tell me the film, Bob.
GOULD: We. . . I'll tell you the film. Alright? We are frightened . . . (Pause.) Because the World is Ending. Uh . . . (Pause.) A man gives up everything . . . wait. (Pause.) A man, to find happiness . . . (Pause.)
FOX (picks up the book, reads): “A gross infection rampant in the world, they spied, and thought they were the messengers of cure, when they were the disease” . . . (Turns page and reads again:) “That silver is more powerful than gold; and the circle than the square or the triangle. He thought of architecture . . .” (He throws the book down.) Are you kidding me . . .? (Pause.) Are you kidding me . . .? I wouldn't believe this shit if it was true . . . the fuck happened to you? Let your dick run your office? What kind of a man . . .
GOULD: Okay, Okay. That's enough.
FOX: I beg your pardon.
GOULD: I said that's enough Get out.
FOX: Fuck you.
GOULD: Fuck me. Fuck me in hell. Fuck me in hell, pal. You read the plaque on my door. I am you superior. Now, I've made my decision. I'm sorry it hurt you.
FOX: It huit me? You ruined my life.
GOULD: Be that as it may.
FOX: I see.
GOULD: Now, I have a meeting.
FOX: Would you tell me why?
GOULD: I told you why. Because I've found something that's right.
FOX: I can't buy that.
GOULD: Then “why” is because I say so.
FOX: And eleven years down the drain.
GOULD: I'm sorry. (Pause.)
FOX: How sorry are you?
GOULD: What?
FOX: One question . . .
GOULD: It won't change my mind.
FOX: Well then, just say it's a boon, and grant it to me to assuage your guilt. I want to ask your girl one question. Then I swear I'll go.
GOULD: Alright—ask it.
FOX (pushes the intercom button; into intercom): Dear, could you come in here for one moment, please . . . ?
(KAREN enters.)
KAREN (to GOULD): What happened to you?
FOX: Where's Cathy . . .?
KAREN: What happened to you, Bob . . . are you alr . . .
FOX: Where's Cathy honey? She still sick . . .?
GOULD: It's alright, Karen.
FOX: I have one question for you, and then I'll leave you alone. I understand . . .
KAREN: I have to . . . (Starts to exit.)
FOX: No, no, no, no, no . . . No, no. It's alright. You alright, Bob?
GOULD: Yes.
FOX: Are you, really though, tell us, now . . .
GOULD: I'm fine. We'll be done here in one minute.
KAREN: What's going on?
GOULD: Just answer him.
FOX: I understand. Karen. I understand . .
. that things have been occurring . . . large decisions . . . do you follow me . . .? (Pause.) Do you follow what I'm going to say?
KAREN: What do you want?
FOX: Well, Dear, I want to ask you something. (Pause.)
KAREN: Alright.
FOX: You went to Mister Gould's last night? (Pause.)
KAREN: Yes.
FOX: You discussed certain things?
KAREN: Yes. We did.
FOX: You talked about . . . his new job, you . . .
KAREN: You know what we talked about. We talked about . . . we talked about not being frightened. We talked about the ability to make a difference.
