The Player Page #5

Synopsis: Events in the life of a Hollywood studio executive, unfold with the same unrealistic positive coincidences ultimately culminating to a 'happy-ending' - much like the movie scripts he works day in and out with, after he accidentally murders someone.
Genre: Comedy, Crime, Drama
Director(s): Robert Altman
Production: Fine Line Features
  Nominated for 3 Oscars. Another 24 wins & 29 nominations.
 
IMDB:
7.6
Metacritic:
86
Rotten Tomatoes:
98%
R
Year:
1992
124 min
1,444 Views


There was a fight, he was killed.

I didn't kill him, Walter.

But I went to see him.

I know I said I didn't, but I did.

Why'd you lie to me?

Now's not a very good time for me.

Haven't you heard the rumors?

I'm on my way out.

Just what I need,

a little more controversy.

It's not a good time.

Look.

I'm in charge of studio security

in every definition of the word.

Which means it is my job to take care

of a studio executive should he be...

...under suspicion of murder

at a time when profits are down...

...and the company is vulnerable

for a takeover.

It is my job to keep this

very, very quiet!

Do you want to help?

- Of course.

- Then stop lying.

- How many times did you meet with him?

- Once.

- Not counting last night.

- Not counting last night.

Why'd you go all the way to Pasadena

to meet him?

He had an idea I was interested in.

I wanted to talk to him right away.

Was his girlfriend a friend, too?

Think fast.

Jesus Christ, Walter.

What is this?

The third degree. Wait until the police

start asking questions.

I'll go to the police now.

You come with me.

You're acting like someone

who's guilty.

You're not guilty, are you?

I'm not a murderer.

Bad news?

What?

The fax.

Is it bad news?

Business as usual.

The Hollywood system

did not murder David Kahane.

Not the $98 million movie,

not the $12 million actor.

Not even the million dollar deal

that David Kahane never landed.

The most that we can pin on Hollywood...

...is assault with intent to kill.

Because society is responsible

for this particular murder.

It is to society we must look...

...if we are to have justice

for that crime.

Because someone in the night...

...killed David Kahane.

And that person

will have to bear the guilt.

And if David were here now...

I know in my heart

that he would say...

'Cut the sh*t, Phil.

What did you learn from this?

Did you learn anything from this?(

And I'd say, 'Yeah, David,

I've learned a lot.

We here will take it from here.

And the next time we sell a script

for a million dollars...

...and nail some sh*t-bag producer

to the wall, we'll say...

That's another one for David Kahane.(

David was working on something the day

he died. I'd like to share it with you.

'Blackness.

A mangy dog barks.

Garbage can lids are lifted

as derelicts in the street...

...hunt for food.

Buzzing, as a cheap alarm clock

goes off.

Interior. Flophouse room.

Early morning.

A tracking shot moves

through the grimy room.

Light streams in through holes

in yellowing window shades.

Moths dance

in the beams of light.

Track down along the floor.

The frayed rug.

Stop on an old shoe.

It's empty.(

That's as far as he got.

That's the last thing he wrote.

So long, Dave.

Fade out.

Thank you.

Who are you?

You're not a writer.

No, I'm Griffin Mill.

We spoke the night David...

Blue sea, white sea.

Yes.

- It turned out you were right.

- What?

It was a red sea.

Oh, yeah.

You're the only person I know here.

I'm really sorry about David.

He was a talent.

You really think so?

I always suspected he was...

...uniquely untalented.

It's nice of you to say that. It was

nice of you to come. You didn't have to.

I did.

You know, I was probably the last person

to see him alive.

The police told me.

Not quite the last, surely.

I'm sure this is a terrible time

for you.

Is there anything you need?

No, really.

I don't feel bad.

It's like when my parents died.

I didn't feel anything at all.

They were just gone.

I'm sure it hasn't sunk in yet.

That was years ago.

No, I meant David.

Oh, God.

These people.

I don't like it here.

They're all expecting me

to grieve and mourn.

I can't talk to them.

David's gone and

I'm somewhere else already.

- Will you take me home?

- What?

Will you take me home?

Sure. I'm right here.

These are very interesting.

I like them.

- Would you like a drink?

- No, thanks.

Where do you show?

What gallery? Who's your dealer?

I don't have a dealer.

I couldn't sell these.

They're never finished. Biccy?

No, thanks.

They're never finished?

No, they're just what I do

for myself.

What I feel.

You ask lots of questions, Mr. Mill.

Just like the police.

That's all they did, ask questions.

They asked me a lot about you.

Did they?

How long we'd known each other.

If you'd ever been

to the house before.

- They have to ask those questions.

- I don't see why.

Because that's what police do.

- Can I ask you a question?

- Sure.

Why was it so important

to see David that night?

What was so urgent?

He pitched me a story

a few months ago.

- The Japan story?

- Yes, the Japan story.

I liked it but it needed work,

especially the ending.

I was sitting in my office...

...and it suddenly occurred to me

how to make the ending work.

So what was it?

What?

Your idea for the ending.

Up.

Up? What does that mean?

As opposed to down. Moods.

You know, happy as opposed to sad.

Hopeful as opposed to depressing.

- What did you think of his ending?

- I never read it.

- You never read it?

- Nope.

I don't like reading.

- Do you like books?

- I like words and letters.

But I'm not crazy

about complete sentences.

What did he think?

He walked out on me.

I don't think David liked me.

I think he just didn't like

happy endings.

Put your face here.

Great.

What are you doing?

You aren't going to paint me, are you?

I might put you

in one of my paintings.

There's one I want to do

of an Icelandic hero.

He's a thief

and he's made of fire.

- You might not like that.

- Why not?

Because you're in the movies...

...and in movies you can't have thieves

as heroes, can you?

I don't know about that. We have a long

tradition of gangsters in movies.

Yes, but they always have to suffer

for their crimes, don't they?

We should pay for our crimes,

shouldn't we?

I think knowing you've committed a crime

is suffering enough.

If you don't suffer...

...maybe it wasn't a crime after all.

Anyway, what difference does it make?

It has nothing to do

with how things really are.

Do you really believe that?

I don't know what I believe, Mr. Mill.

It's just what I feel.

You know what you are,

June whatever-your-name-is?

A pragmatic anarchist.

Is that what I am?

I never was sure.

Can I just pick this up?

- Oh, it's heavy.

- Thirty-seven ounces.

Really? Look.

I want to thank my mother, her mother

and her father's mother who...

Hello.

- Meet Detective Susan Avery.

- How do you do? My partner.

- Willa Broom.

- My pleasure. Let's go in here.

This is the first real movie studio

Detective Avery's been to.

- Really?

- Aside from the Universal Tour.

I always take my family there

when they come.

I've been there so often,

I feel like I'm ready to direct.

You'd probably do better

than the film grads these days.

I'm sorry I didn't call you

when I heard Kahane was dead.

- Heard or read?

- Read.

- Why didn't you?

- Walter asked me the same question.

I wish I had a better answer. All

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Michael Tolkin

Michael L. Tolkin (born October 17, 1950) is an American filmmaker and novelist. He has written numerous screenplays, including The Player (1992), which he adapted from his novel of the same name (1988), and for which he received the Edgar Award for Best Motion Picture Screenplay (1993). The Return of the Player, followed (2006). more…

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Submitted on August 05, 2018

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    "The Player" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/the_player_21083>.

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