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The Public Eye Page #5
- R
- Year:
- 1992
- 99 min
- 473 Views
Bernzy already suspects something is amiss, but hides it.
BERNZY:
Sure, that's all right.
YOUNG RINEMAN:
(smiling awkwardly)
Well, then -- goodbye.
He goes out. Bernzy seems to know the same door is going to
open again.
It does. H.R. RINEMAN appears, an athletically vigorous 60
year old.
RINEMAN:
Mr. Bernstein?
INT. RINEMAN'S OFFICE - LATER
Rineman leads Bernzy into his book-lined office: all dark
wood and rich leather.
RINEMAN:
Now does one call you Mr. Bernstein
or Mr. Bernzini? Or is it just
Bernzini?
BERNZY:
I was born Leon Bernstein. But I got
the name 'The Great Bernzini' from
the gals at World-wide, the big photo
agency? They said I had t'be a
magician to get to so many disasters
so fast.
RINEMAN:
That's marvelous.
He shows Bernzy to a chair in front of his desk, speaking as
he takes his own seat, behind it.
RINEMAN:
I know my son spoke to you
optimistically about publishing your
book. That's why he wanted me -- why
I wanted to speak to you rather than
tossing it back into the mail.
Bernzy's eyes narrow almost imperceptibly but with a kind of
anger:
he's suffered this particular humiliation before.Bernzy's book is on Rineman's desk. It's a "dummy book" -- a
manuscript made up of stiff pieces of paper onto which
photographs, printed on good paper, have been glued, along
with captions.
The book lies open to a photograph of a black man with an
agonized expression, a fire-truck behind him, his face lighted
by the unseen flames of his tenement afire.
RINEMAN:
Of course, from a technical point of
view, this is fine work, fine work.
It's simply that we don't publish
books of this type.
BERNZY:
Listen, Mr. Rineman, please don't
hand me that -- please -- 'cause
everybody knows Rineman & Sons
publishes more photograph books than
anybody else.
RINEMAN:
(ever gracious)
Well, sir, we publish books of
photography. And to my mind, this is
instead a most admirable picture
book about New York. Not an inferior
genre, just different.
BERNZY:
No. You're wrong. This is a book of
photography.
RINEMAN:
If I may explain --
BERNZY:
I know what you mean. Still lifes,
naked women gettin' out of bath-tubs,
fruit on a plate -- it's a photo,
but let's pretend it's a painting.
We now see a row of tasteful framed photos on the wall behind
Rineman, in precisely the style Bernzy describes. They include
a woman getting out of her bath and fruit on a plate.
BERNZY:
I know how to do that, too. I really
do. But let's face it, you publish
enough of them books already.
Everybody does. C'mon, Mr. Rineman:
show those other guys. This is the
book.
Bernzy winks.
Rineman is appalled by Bernzy's boastfulness, but hides it.
RINEMAN:
May I say you're not being fair to
the photographers we do publish --
Dick Arlen, Harold Briley, Val
Armbruster.
BERNZY:
I'm sure they're nice guys, but those
arty-farty shots are easy to get
compared to something like this
(he leans over, points
to the open book,
feature by feature)
-- where you got a big shiny fire
truck in front of you, and a whole
building on fire behind you, so the
light's every which way, and mean-
time, this poor son-of-a-b*tch is
watching his life go up --
RINEMAN:
Really, I don't doubt the difficulties
you must've faced... You're
technically superb.
BERNZY:
Right.
RINEMAN:
(hiding his distaste
again)
But what I see here is a batch of
pictures that's too -- sensational
and too -- vulgar to justify printing
a fine book of photography, which is
BERNZY:
What's vulgar, exactly? This guy? or
the fire?
RINEMAN:
Since you obviously have great talent,
I'd like to suggest that you apply
it to a subject matter that --
BERNZY:
No -- huh-nh, no.
RINEMAN:
(finally letting his
impatience show)
Please listen, Mr. Bernstein -- !
BERNZY:
Don't you think I heard this advice
before? I just happen to be right
about all this, see? Don't you think
I'd rather be shooting flowers or
beautiful dames than campin' out
with corpses?
RINEMAN:
Maybe you should ask yourself.
Sensationalism has its allure. It's
potent. It can desensitize a man to
the beauty of flowers -- or women.
BERNZY:
What're you, a shrink?
RINEMAN:
Hardly. But the men who do what you
do don't usually feel the need to
rationalize it like you -- much less
be celebrated for it.
BERNZY:
Nobody does what I do.
Bernzy takes up the book as Rineman watches.
He moves to the door, seizes the knob, but pauses.
BERNZY:
I figure your boy really did wanna
publish my book. Tell him I won't
hold this against him when I have my
big retrospective over at the modern
art museum.
RINEMAN:
(his interest piqued,
now)
You're having a show at the Museum
of Modern Art?
BERNZY:
Someday.
RINEMAN:
(a thin smile)
Oh...
(his certitude restored)
If you really disdain the publishing
establishment so, why do you crave
its acceptance?
BERNZY:
Who the hell else is gonna publish a
book?
CUT TO:
A door opens and a dozen flashbulbs blaze as a young HOOD,
handcuffed to a Cop, enters the room.
However, the Hood is covering his face with his unchained
hand, so nobody gets a shot. Several Photographers, Bernzy
not among them, are clustered at the door.
PHOTOGRAPHER 1
Give us a shot, son!
COP:
Clear the way!
PHOTOGRAPHER 2
C'mon, one picture!
The Hood, his face still shielded, kicks blindly in front of
him, clearing the way. He is led toward the booking post.
BERNZY, meantime, is perched on a Sergeant's desk, as the
Sergeant reads over a file. Bernzy watches the commotion
with the young Hood with interest but no urgency.
SERGEANT:
There's two guys called Portifino
with records. But nobody that age or
description.
BERNZY:
No record.
SERGEANT:
Not in New York, anyway.
BERNZY:
(baffled)
Hm. Maybe he is Society League.
As Bernzy gets up, he gives a few cigars to the Sergeant.
BERNZY:
I gotta go take this kid's picture.
The Sergeant scoops the cigars into his desk drawer. He looks
over at the snarling, defiant Hood.
SERGEANT:
I don't think he wants it took.
BERNZY:
(taking up his camera)
Everybody likes to have his picture
took.
Bernzy approaches the Hood, whose handcuffs have been removed
so that he may be fingerprinted. He still covers his face.
BERNZY:
Listen, kid.
HOOD:
F*** off.
COP:
(to the Hood)
Can you write?
The Hood nods.
COP:
Sign this.
The Hood takes the pen and signs the form, still careful to
keep his face concealed.
BERNZY:
You ever heard of The Great Bernzini?
I shot Dutch Schultz, Legs Diamond --
these guys never covered their face
from me.
HOOD:
I said f*** off.
BERNZY:
I get everybody's picture, while
he's alive or after... I ain't met
the guy yet looks better after.
HOOD:
(after a beat)
You that freak, drives around in a
sedan all night?
BERNZY:
That's me.
HOOD:
BERNZY:
In your line of work, I'm the
photographer to the stars.
HOOD:
Yeah, yeah, I heard of you. Them
other creeps around?
Bernzy looks over to make sure the other Photographers have
given up.
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"The Public Eye" Scripts.com. STANDS4 LLC, 2024. Web. 29 Aug. 2024. <https://www.scripts.com/script/the_public_eye_1014>.
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