The Way We Were Page #5

Synopsis: The often unlikely joint lives of Katie Morosky and Hubbell Gardiner from the late 1930s to the late 1950s is presented, over which time, they are, in no particular order, strangers, acquaintances, friends, best friends, lovers and adversaries. The unlikely nature of their relationship is due to their fundamental differences, where she is Jewish and passionate about her political activism both in political freedoms and Marxism to an extreme where she takes life a little too seriously, while he is the golden boy WASP, being afforded the privileges in life because of his background but who on the most part is able to capitalize on those privileges. Their lives are shown in four general time periods, in chronological order when they attend the same college, their time in New York City during WWII, his life as a Hollywood screenwriter post-war, and his life as a writer for a New York based live television show. It is during college that Hubbell finds his voice in life as a writer, and that
Genre: Drama, Romance
Director(s): Sydney Pollack
Production: Sony Pictures Home Entertainment
  Won 2 Oscars. Another 5 wins & 7 nominations.
 
IMDB:
7.1
Rotten Tomatoes:
63%
PG
Year:
1973
118 min
6,167 Views


What? He's here?

In the room? Good God!

Ten years in Leavenworth, 11 years in

Twelveworth, or 5 and 10 in Woolworth.

- To control thought.

Censorship.

Let's not dramatise this.

It'll all blow over.

That line is necessary.

It's the point of the whole scene.

The point's made by the

dancers in red, white and blue.

There are no dancers in his book.

You can't just have dancers.

Please.

Brooks, if we get this organised,

you've got to talk.

I can't talk in front...

Come on, Brooks.

It's gorgeous if you do.

I'll write, all right?

He doesn't understand.

I never liked his movies anyway.

"Honk-honk," said the duck.

You rang?

Your wish is my command.

This morning I shot

an elephant in my pyjamas...

What are you hungry for? Ha-ha-ha.

I'm hungry for your absence.

Meeting at my house Sunday.

George, is Paula Reisner a Red?

My heavens, I don't know. Why?

It's something I heard.

You listen to the wrong people.

Come on. I have an early day.

I have a good mind to join a

club and beat you over the head with it.

It's hard to catch an elephant in

Africa. In Alabama, the Tuscaloosa.

He thinks Bissinger's right.

How dare you...

Hey.

Hey, what?

Could you stop?

This is coming out in French.

Maybe Bissinger will like it

better in French. Here.

Taste this.

Aw...

Ha-ha-ha.

How is it?

It's great.

I'll study French cooking while

you finish your novel.

Done much thinking about it?

No, not much.

Well, it's very hard here,

you know.

But when we're ensconced

in our villa...

How about you? Have you read

any good books lately?

No, but I wrote two reports of books

that haven't been written yet.

You'll get the sack.

I'll go back to brain surgery.

They never read my synopses anyway.

They just pay me for them.

Why don't you quit?

After all, it's...

I'm laying a nice nest egg

for France.

Italy.

France.

Spain?

Never.

China, maybe. My phoney

synopsis takes place there.

China?

Mm-hm.

Public's fed up with Westerns, Myrna.

High time we had an Eastern.

Ha-ha-ha.

Got a title?

Shevuos! Exclamation point.

Ha-ha-ha.

Sounds catchy.

There's a kibbutz of Chinese

Jews living in a rice paddy.

And he...?

No, she cooks communist rice patties.

Oy.

He gets the idea...

Of calling them matzos.

You read the book!

Backwards.

Oh, I got one for you.

I can't take another one.

Loudmouthed Jewish girl

from New York City,

comes to Malibu, California,

tells her gorgeous goyisher guy...

Good alliteration.

That she's pregnant, you see.

And, uh...

And he just looks at her and...

Are you kidding?

No.

Oh...

Don't be afraid to touch.

I'm not.

Get it, Katie, sweetheart!

All right, one more time.

Hungry?

Answer the question!

You have no right

to make me name the names...

Sergeant! Take the witness away.

You've just heard

excerpts from today's

session of the

House Un-American...

I'll make the salad.

Thank you.

Watch out, the paint

takes forever to dry.

You'll be in Beverly Hills by then.

France, not Beverly Hills.

Not if Hubbell gets

the deal I'm working on.

What deal?

Three more pictures. Provided

this one works out, of course.

Think he's interested?

I certainly hope so.

It'll mean a lot more money, Kate.

You and Hubbell could live in style.

I thought we did, Rhea.

Pop sent me a list of names.

"For my grandson, the following

names are okay with me:

Thomas Jefferson Gardiner,

Solomon David Gardiner

and Eugene V. Debs Gardiner."

What if it's a girl?

If it's a girl, there's only

one name, my mother's.

Yeah, what's that?

Ha-ha-ha.

Rachel.

So keep your fingers crossed.

What's this picture

about?

Cowboys and Indians.

Oh.

Not too loud. Brooks wrote it.

Tonight, the Indians are the good guys.

Can you do that?

Well, it's un-American,

but we can try.

I think I'm calm enough.

Vicki, let's start.

Don't try the trick with the sunglasses.

I know when you're sleeping.

The best Western I've ever read.

I mean it.

There they are.

Hey, Velez and Yolanda.

I saved you guys a seat.

Thank you.

We didn't miss anything, did we?

All right, Floyd.

How's my godchild?

Very happy.

My God.

What the hell is going on?

What did it, George?

Your Picasso!

What's the trouble?

Testing. Do you get us?

What the hell is going on?

We're being recorded.

Hey!

Would you knock it off up there?

Floyd, stop it!

Can't hear me.

Floyd, hold it!

I'm going to sue the

U.S. Government for that painting.

We've got to do

something. Do you have a lawyer?

Shouldn't we let him know

what happened?

How do we know

this room isn't bugged too?

This country wouldn't believe this.

They'll never know about this.

We can't let this

happen. We have rights.

Can't the studios do something?

We have got to do something. We.

Bissinger says this scene

isn't necessary.

I told him he's wrong.

What do you think?

He's the director.

You're the producer!

Easy, will you?

Yeah, easy.

Hey, Hub.

Do you know what's going on

over at your house?

Sure.

You know?

Overthrowing the government,

I suppose.

Let's see, Sunday's volleyball...

Yeah, they like to overthrow

the government on Monday.

They're going to D.C.

To challenge the committee

on the basis of

the First Amendment.

What?

Well, well.

Think anybody knows what it says?

Katie does.

Heh. That's for sure.

Some actor comes up to me

and says this line

doesn't make any sense.

Hubbell.

What do you think?

If they go, it'll make more trouble.

They may not have jobs to come back to.

What do you want from me? Hm?

Tell Katie to stay out of it.

You tell her.

I will.

Ha-ha-ha. I'll buy tickets to that.

Would you just tell her

to go easy?

Sure. You tell Bissinger to go easy.

You're the producer.

What's eating you?

Nothing. The war's over, right?

Movies...

Do you realise this is the first job

we've ever had?

Athletic scholarship.

Doesn't that count?

Doesn't count, buddy.

Well, then, officer,

landing craft, South Pacific?

Nope.

Why? We got paid $150 a month.

Doesn't count.

You want a drink?

No.

Um, there's a little trouble at home.

I have to keep my wits about me.

Old Carol Ann.

Don't take any crap.

To the both of us.

And all the absent friends,

class of '37.

Is this the Gardiner house?

And I'm the gardener.

How are you doing? Aha.

Okay, so far...

Your lover chain smokes, no doubt to

compensate for his extreme shortness.

He has an enormous heart

and no sense of humour.

You found us out.

Calls himself Brooks Kropatkin,

but it's not his real name.

What is it?

Carpenter.

Carpenter! Aha.

Who told you that?

J.J. With whom I was not drinking

since he no longer drinks

due to trouble at home.

Well, Carol Ann's 33.

Not many moves left.

Well, we're all 33, practically.

Aw, not you. Not the quiz kid.

What were you, 16 in college?

What's gonna happen?

You're going to Washington.

I meant with J.J. And Carol Ann.

That's another house. In this

house, the wife is going to D.C.

Gonna take the baby with you?

I thought I might.

Rate this script:3.0 / 1 vote

Arthur Laurents

Arthur Laurents (July 14, 1917 – May 5, 2011) was an American playwright, stage director and screenwriter.After writing scripts for radio shows after college and then training films for the U.S. Army during World War II, Laurents turned to writing for Broadway, producing a body of work that includes West Side Story (1957), Gypsy (1959), and Hallelujah, Baby! (1967), and directing some of his own shows and other Broadway productions. His early film scripts include Rope (1948) for Alfred Hitchcock, followed by Anastasia (1956), Bonjour Tristesse (1958), The Way We Were (1973), and The Turning Point (1977). more…

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