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Good morning to <u>you</u>...whatsa matter? |
I can't get it to come out right. |
What's the scene... |
It used to be the Old Mill. |
What've you got? |
They meet on Main Street. Her horse has just died. He's coming from the fire. |
What about...what about...it's so presumptuous of me, to be, to be telling <u>you</u> how to wr... |
<u>Please</u>... |
How about, he sees her on the street, he wipes the soot from his eyes. He goes up to her. "What happened to the horse?" She looks at him. She takes his hand... |
Ah. Ah. Ah... |
I hurt you? |
...he stuck a fishhook in it. |
She <u>realizes</u> it was not the fire which <u>hurt</u> him...that the <u>true</u> hurt was her. Was her... |
...yes. |
...her unbridled sexuality. That he... |
...yes. |
Has been wounded by <u>her</u> heat...by her <u>infidelities</u>... |
Because it's about <u>purity</u>... |
That's...that's <u>exactly</u> what it's about. Take... |
That's right... |
...take <u>any</u> two people... |
Hi. |
Hi. |
Where you going? |
Going home. |
Going home, yeah. I told them what you said... |
What? |
I told them what you said about the script... |
I didn't say anything special, I was just talking out loud. |
...how <u>else</u> can you talk? |
No, that's true. |
No. You, I told them, you can't betray with the picture what you're saying with the words. And, I don't know, the movies, I don't know. They should be socially uplifting, why does she have to show her br...what is this...? |
Yessuh. Joseph Knights printshop. Vacant for thirty years. |
Is it... |
Yep. N'it's for sale. One of the few things money can buy. |
Would you like to <u>see</u> it? I've got the key back at my store... |
I'd love to. |
How's your star? |
Gosh, you look nice. |
...what...? |
What would you do with it, the printshop... |
Start back up the Waterford Sentinel. Town newspaper. Show you the plans... |
Press still works. |
It does? |
Did as of last week. |
Best way I know to get ink on your hands. |
You'd do the newspaper right here. |
That's something a man could do...? |
You know what else a man can do? |
What? |
Pelting down out there. |
People might be better off. They thought about it, spent the evening back in the... |
Good morning. |
Sleep well? |
Yeah, you? |
Oh yeah. |
I've been thinking: look at this: we live up here... |
Yes... |
We could live up here, live up in the country. |
Now you're talking... |
...and we could get up every morning... |
...well, we do that <u>anyway</u>... |
And come to the printshop. You know <u>why</u>...? |
...the better to eat me with, your dear? |
To print the newspaper. And I'd come to <u>write</u>. To write. To write. Right here in the office. |
Not without a rolltop desk. |
Well, I could <u>get</u> a rolltop desk. |
Happen to know where there's one for sale. |
Well ain't you amazing. |
Lookit that, up already. |
That's why we filmfolk get along so well with you farmers. Both up with the chickens. |
What is it all about? |
I saw... |
What am I gonna do? |
You got to tell em that you saw the accident. Don't you? |
I can't do that. If I tell them, they'll, if I <u>tell</u> them, they'll try Bob for rape, they'll...it'll ruin his career... |
But that's what happened. |
But it'll stop the movie. |
Maybe they'll be <u>other</u> movies. |
They'll...they'll <u>blackball</u> me... |
Carla was in the car, right? |
I...I <u>think</u> that's right... |
...you think that's right... |
What are you going to do? |
I'm going to tell the truth. |
I'll wait for you...I'm proud of you. I'll <u>be</u> waiting. |
If I go to jail...? |
I'll knit you a sweater. |
Evening, Annie. |
Evening, Cal. Would you tell me about it? |
Cal... |
Annie...got an umbrella...? |
Nope. |
I'll walk you home, you can have my coat. |
Then you'll be wet. |
I'm goin offshift. Come on...I'll walk you home. |
Mom's expecting you for dinner tonight. |
I'll be there. |
You bringing your new friend? |
Sure plan to. |
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