"Baby" movie script
Text/[United States] Larry Gilbert
Translation/Lin Ruiyi
Lenses used in batches, like an abstract painting
There is only one area in focus. This is an actor makeup prop box. The lens was shaking slowly, and I saw a monocle and several pairs of various glasses. Several rubber products, a few bottles of cosmetics, a set of oral appliances, a complete set of brushes. A hand reached into the screen and picked up a small bottle. We immediately saw that this was a bottle of glue for sticking wigs. The other hand reached into the screen and opened the cap of the small bottle. One hand then wiped the hair glue on the cheeks, and we only saw part of the cheeks. Now those two hands applied viscose to a bumpy rubber support. We saw the hands sticking the rubber pads on the actor's cheeks again. This set of procedures continued, and we saw the process of putting up a bunch of mustaches. Immediately afterwards, the two hands fumbled for the oral appliance and picked up one. We watched the action carefully and saw that this appliance was put into the actor's mouth. During the above process, we heard small voices, but could not hear what was said. Suddenly, we heard:
One voice: next!
Dark picture: Maybe it looks dark
It really is a dark theater. We face the auditorium.
Voice (continued): Michael... Dorsey, right?
The camera was pulled to the auditorium with Michael in the foreground and facing the black hole. He is a forty-year-old actor. He is holding a script.
Michael: That's right.
The camera went around to shoot Michael's face. Saw the rubber pad and the beard. His teeth are also neat and perfect.
Voice: Above page 23.
Michael (with emotion): "Do you know what it was like when you woke up in Paris that morning? See that empty pillow...Wait a moment, cover your chest! Kevin is downstairs! My God!... who are you?"
The camera shakes and sees a sturdy male stage manager with a cigarette butt in his mouth.
Stage manager: "I am a woman. Not Felicia's mother. Not Kevin's wife..."
Voice: Thank you. very good. We are looking for someone who is a little older.
Another empty stage. Michael and another stage manager
Michael wears a pair of shorts, a round neck shirt and travel shoes. Playing with a toy in his hand.
Michael: "Mom! Dad! Uncle Peter! There is something wrong with Bisquit! I think he is dead!"
Voice (from the dark): Thank you very much. Thanks a lot. We are looking for a younger person.
The third empty stage, Michael and another stage manager
Michael disguised himself as black, his hair drawn back, and he wore a shirt with narrow trousers and a beard. He has a VCR and headphones on his neck.
Stage manager (looking at the script): "No, Milio, leave the Spanish-speaking area as soon as possible."
Michael: "I won't go without Estella..."
He suddenly pulled out a switchblade, and ejected the blade under the chin of the stage manager. The stage manager raised his eyes in fright.
Michael: "...I want you to look at me when I go, man. Look at me!"
Voice: Thank you, the performance is very good, but we are looking for someone who is not so nationally aware.
The music starts: "To Broadway" the la la sound.
Close shot, scrapbook page, starting to show main subtitles
Teen age:
1. A still from the six-year-old Michael performing at school. Written crookedly below: "My first play."
2. An article about Michael Dorsey in the middle school journal.
3. Michael in another costume is a little older now... the performance in middle school.
Voice: Next!
Another empty stage, Michael
He was full of emotions, tears filled his eyes, and he read the lines of "Henry IV."
Michael: "The old man has a bad memory, but even if he forgets everything, he will remember the heroic deeds he did on that day very clearly. Our name..."
When we and him heard the humming voice from the black hole theater at the same time, he suddenly stopped.
Michael: Does my performance prevent you from speaking? ...Because I can keep my voice down. I mean I don't want to disturb you. If I get in the way of you, please let me know.
Close shot, scrapbook, music with opening credits
1. A parchment certificate: "John Barrymore Award".
2. A pinch of beard wrapped in cellophane.
3. A manual for "Cyrano".
Interior view, loft apartment, Michael's acting class, daytime
James and Mike sat at the front of the class, doing exercises according to Michael's instructions.
Interior view, loft apartment, Michael's acting class, daytime
Sandy does vocal practice in front of the class. Michael taught her to sing and the whole class watched.
Interior stage, a theater in the middle of the auditorium, rehearsal
Michael leaned on a cane, held the script, and sat on the side of the stage. The actors ran to him one by one and read their lines.
Actor A (kneeling in front of him): "Hurry up! Find a priest!"
Michael: "No! No priest."
Actor B: "But you are dying, Count Tolstoy."
A "father" ran up to Michael and knelt down.
Priest: "In the name of the Father, the Son and the Holy Spirit, I give your soul to God."
Michael: "Friends..."
A voice came from the theater:
Director: It’s great, Michael, dear, but I’m wondering if you can walk to the center of the stage and die when you say the last paragraph.
Michael: Why?
Director: You can't be seen on the left side of the theater.
Michael: You want me to stand up and walk around while I'm dead?
Director (stands up): I know this is unreasonable, but we have to do it.
Michael: Why?
Director: I just told you. Now do as I said.
Michael: Why? Just because you said that?
Director: Yes, dear.
Michael: I can't play Tolstoy like this!
Michael dropped his cane and script and walked out.
Scrapbook, music and subtitles
1. A telegram "Good luck in New York".
2. A good review of a non-commercial performance on Broadway.
3. A postal slip to inform him of the nomination for the Obi Award (Note 1).
4. The wedding photo of Michael and a pretty girl.
5. A newspaper clipping from "The Opera", with the title: "Due to creative differences, Terry Bishop has replaced Michael Dorsey in the role of "Fossil Forest" in Dailais".
Another empty stage, Michael is on stage alone
Michael slapped his thigh with the script angrily.
Michael: Wait a moment, ok, can I start again? I just didn't start well.
Voice (from the dark): No, I got up well. Really, very good. It's just that your stature is wrong.
Michael: So, wait, I can get higher. I have insoles at home, so it's easy to lift up...
Voice: No, no, you don't understand, we want a shorter person.
Michael: I don't have to be so high! I am wearing insoles...
Interior view, loft apartment, Michael's acting class, daytime
Dominic and Ann do an impromptu performance in front of the class. Michael interrupted them to comment, and then he gave three lectures.
Scrapbook, music with subtitles
1. The broken stills of Lawrence Oliver's performance of "The Entertainer".
2. A report announcing that Michael is going to the Gutry Theater in Minneapolis.
3. One page of Chekhov's script.
4. Fragments of the divorce documents signed by Michael.
Subtitles and music fade out.
Exterior view, interior view, Macmillan Hotel opened at night
A scene of hustle and bustle. Unemployed actors and actresses act as hostesses, wearing braces, bow ties, and aprons.
The kitchen part of the Macmillan Hotel
Jeff stood there waiting for the food he wanted. Michael walked into the screen and hurriedly recited the food he wanted to the chef. After he reported, Jeff turned to face him.
Jeff: How's it going today?
Michael: It sucks, did you write the last scene?
Jeff: I wrote a speech about lynching.
Michael: How did you write it?
Jeff: I think it's pretty good... I'm really excited.
Michael: Good! Let's go home and do it.
When Michael walked near the exit, Dawn happened to be there to pick up a dish that the chef had just prepared.
Jeff: Hi, that's my flounder!
Dawn: No, this is my flounder!
When Jeff went to catch the fish, Dawn pulled away and Jeff ate some potato chips waiting to be served. The chef saw it and knocked on Jeff's frying spoon.
Chef: Hi, this is for customers!
Jeff: Hi, I only eat something like this once a day, so if a customer asks me if I ate your food, I can say that I ate it!
Michael left and walked out of the kitchen, and Jeff followed with the food.
Interior view, restaurant section, Michael and Jeff
Michael walked out of the kitchen, picked up the menu, then stood and looked at the restaurant, put the menu back in place, and turned to face Jeff who had just walked out of the kitchen:
Michael: Help, can you say hello to table twelve?
Jeff: No way! Jim is still angry because I greeted your table on Friday. Why? What's wrong?
Michael: That's my ex...
Jeff made a weird look and avoided it. Michael picked up four menus and walked to the table. Cassie is very handsome. Graham is a decent person who took photos of the three-piece suit. A three-year-old child was with them. Michael brought the menu and gave Graham two copies. Cassie looked up.
Cassie: Oh, my goodness! Michael! It surprised me that! I don't know you still...I mean...what a surprise! Graham, this is Michael Dorsey, my husband, Graham. I mean Graham is my husband. (She laughs nervously) Well, you know who you are. (Pointing to the child) Oh, this is Chucky. He is tired, and you look good, Michael. Terry Bishop is fine, right? What a great role he played!
Michael (stupefied): He can make money now. Acting in a series.
Casey: Do you still live together?
Michael: No, I haven't seen him in years.
Casey: Oh, great. Are you married?
Michael: No. I live with an unsuccessful playwright. He is also the waiter here.
Casey: Oh, great. Your complexion is really good. You haven't changed at all... I mean appearance. You look great...
Michael: Do you like some appetizers, or just look at the wine list?
Graham: Just look at the wine list.
Michael left the table.
Exterior scene, the street where they live in the attic, Michael and Jeff staying in the car, at night
Michael and Jeff walked home from get off work.
Michael: She was a hippie when I was living with her-she now looks like the chairman of a sorority of student parents and teachers! I don't know how I lived with her!
Jeff: This is obvious-you ruined her!
Michael: She looks old... forget her. You rewrote your speech about lynching, didn't you?
Jeff: Yes.
Michael: No lynching?
Jeff: There is lynching.
Michael: The problem with this play is the lynching!
Jeff: The problem with this play lies in the lynching...what's the matter with you, friend?
Michael: What's the matter with me? What's wrong with me! Different opinions are frustrating.
Jeff: I think you are depressed! Today is your birthday, and you never mentioned it once!
Mike: I am a character actor, what do I care about? Age has no effect on me... (He opens the door of the aisle) How can one not be depressed?
They walked into the house.
Interior view, a house in poor condition, looking up at the stairs.
Michael and Jeff walked up the stairs from the camera.
Jeff: Don't be an outstanding actor Michael Dorsey, and don't be a famous waiter Michael Dorsey. Why not try to be only Michael Dorsey?
Michael: Well, forget it, I'm just going through tonight... What do you mean by being Michael Dorsey?
Jeff: I know this is disappointing, but you just say to yourself: "I'm Michael Dorsey."
Michael: This is Michael Dorsey...
Interior view, loft, night
The camera stopped on the door, it was pushed away, and Michael walked in.
Michael: What good is this? This is Michael Dorsey! This is Michael Dorsey!
Jeff: You have to say it honestly!
Michael (touching the light switch): This is Michael Dorsey!
Before he could touch the switch, the lights were all on. Michael turned around and saw thirty people shouting for joy.
Guests: Sudden attack! !
Michael turned to walk away, but Jeff stopped him. He turned back to the guests.
Michael: There is nothing less friends than a surprise party! ! Go ahead-get drunk and get rid of it!
Interior view, loft, late evening
At the beginning of the shot, a close-up shot of an actor picking up a bottle of champagne. The shot was shot up along the bottle and saw the ladies lighting candles on the cake. Another actor is picking up some glasses. The camera panned the actor, and the screen finally expanded to:
Ladies (to Michael): Speech! Greetings!
Actor A (Bernee): Wait a minute! Toast first! (Toast) Cheers to Michael, he, whether you like it or not, he makes you remember what a show is!
Actor B (Sam): And unemployed! !
Everyone laughed and applauded.
Actor C (Murray): A toast to Michael Dorsey. He was the first to teach us that there is no difference between acting and sex. A loud voice may not necessarily be wonderful!
Everyone laughed and applauded.
Sandy: Cheers to Michael-he and I have been friends for six years-oh god, has it been that long? He is my teacher-he really is-amazing! ——A great actor, great teacher, great friend... This is indeed a very clumsy sentence, isn't it?
When everyone sang "Happy Birthday", Sandy stepped aside and the birthday cake was placed in the foreground. The camera moves towards the candle.
Interior view, loft, evening party, later
The camera started with the words "birthday" on the cake, and then shook it to Michael, who chatted with a lady until she was called away by someone else. He walked to Pat who was sitting aside.
Michael (sit on the arm of the chair): Hi, how are you? I’m Michael.
Pat: My name is Patty.
Michael: Your face is very beautiful. Are you an actor?
Pat: No.
Michael: Who are you here with?
Pat: Lenette. She said she knew you.
Michael: You come often in the future. I will give you performance lessons for free.
Pat: I don't want to waste your time. I just got married.
The camera panned and saw Sandy sitting with a group of actors.
Harvey (holding a wine bottle): Sandy, your glass is empty.
Sandy: Stop drinking! Tomorrow I will be interviewing for a series-six weeks-six hundred and fifty yuan per episode.
Lenette: I want a drink! I want to celebrate. I just made nine callback calls for a nail advertisement. No response yet.
Sandy: Oh... it's hard to be idle after being rejected by the tycoons. It does make you feel like you are nothing. Before long, anyone who turns you away will be like a tycoon.
Michael participated in their conversation. He saw Harvey handing a marijuana cigarette to Sandy's girlfriend.
Michael: Why do you take drugs? It will ruin your lungs! You can't play Shakespeare.
Date: No work!
Michael: Wrong! You know what Strassberg said: You have to create opportunities yourself.
Sandy: These are not Lee's words, but Meissner's words.
Lenat: Stella said it.
Laurie: Uta said it.
Michael: It doesn't matter who said it! The problem is that Sandy and I managed to act in Syracuse (Note 2) in a play written by a friend who lives with me. We need eight thousand yuan in total. You can do the same!
Lenat: Oh, Michael...
People began to look at the little doll who was brought into the room.
Michael: You can do it in Poconos!
Before Michael finished speaking, Sandy got up to look at the little baby.
Sandy: Wow! Look at this doll! Michael! Don't you think she is clever? Michael? Michael! Michael! !
Michael: Clever...
Michael left the group, saw Linda at the cake table, and walked towards her.
Michael: I paid attention to you before. You look very handsome. Are you an actor?
Linda: Sometimes it is.
Michael: I saw you in "The Lady of the Sea", right?
Linda: Yes.
Michael: Well acting, well acting...
They walked to the window together.
Michael (continued): I don't want to say silly things, but there is a sign between us. I don't know you, but I know you. I bet I can tell something about you?
Linda: What?
Michael: I'm sure you like walking barefoot on the beach.
Linda: Why are you so weird?
Michael: Today is my birthday. I am thirty-eight years old. I haven't worked for two years.
Linda (sarcastically): Oh—
Michael: Listen to me, can you not leave until the last one tonight? Give me a hug.
They hugged tightly.
Michael (continued): Don't go, eh?
Linda: Okay,
Michael: You agreed?
She smiled sweetly at him.
Interior view, loft, kitchen part
Jeff and his girlfriend Diane were sitting at a small table in the kitchen, along with five other actors. They are all listening to Jeff.
Jeff: I don't want a full room at the Winter Garden Theater. I want ninety people who are willing to risk the biggest storm in the history of this city to come to the show. These are the most energetic people on the planet, wearing wet clothes to see the bottom. I wish I had a theater open only on rainy days.
Interior view, attic, another place, later
The camera is facing Michael standing next to Beckett Post, his posture resembling the person in the advertisement. Pulled behind the camera, framed Ann, who was talking to him. During this period, his eyes never left Linda outside the painting.
Ann: Listen to me, I have arranged everything properly. I called a taxi home to feed the cat. Take another taxi back--
Michael: You don't know. The people who live with me will write a script after everyone leaves tonight. He was not satisfied with the third act. So, tell me the phone number and I will call you next week.
Ann: I gave you your phone number.
Michael: I thought the number changed...
Ann: Within an hour?
Michael: Well said...
Interior view, loft, kitchen part, later
Jeff was sitting at the small kitchen table, but Diane and two other actors were alone.
Jeff: I don’t like people coming over to me and saying: "I have watched your play. I appreciate your enlightenment very much." I don’t like people coming over and saying to me, "Hi, I have watched your play." Yes, you know, I shed tears, friend." I like, for example, someone came over to me a week later and said, "I've seen your play. I didn't understand its meaning." This is powerful!
Interior view, attic, place for piano, later
Michael plays the piano and Rhodes sits near him. His gaze kept searching for Linda who was nowhere to be seen.
Rhodes: This song is very sweet, Michael...
Michael: Thank you.
Rhodes: You wrote it?
Michael: Yes...
A beautiful girl walked by.
Michael: Who is she?
Rhodes: She is Mallory. She is married to John... Where are you going tonight? What are you going to do?
Michael: I want to write his script with the people I live with.
Rhodes: Please stay.
Interior view, loft, kitchen part, later
Jeff was still at the small table in the kitchen, but Diane was the only one left by his side. When he spoke, she rubbed his back.
Jeff: A Broadway theater doesn't even sell me a ticket...I still want to play their trick, Diane. I wrote a book about suicide by American Indians, but no one took it seriously, no one played it. I think American Indians and John, Ethel Barrymore, Downey and Mary Osman are equally American. I think it's really sad, but I think people now don't even dream of their own country anymore! This is pathological.
Interior view, attic, near window, later
The people at the party have fallen asleep one after another. They are either sitting on a long table or lying on a couch with a portable VCR still playing music.
Interior view, loft, table with cakes, later
Sandy walked to the cake table and wrapped a piece of cake in the dining paper. After looking around, he stuffed the cake into his handbag. She left the table.
Interior, loft, bathroom exterior, later
Someone in the bathroom managed to open the closed door, and a young man looked outside the door. Sandy finally walked out, holding the bathroom pump in his hand.
Sandy: Did no one hear me yelling? I have been locked in for half an hour! What an exciting party!
She walked back to the center of the party.
Interior, loft, central area, later
There were few people at the party, and no depressing words could be heard. Michael was leaning on a pillar and was talking to Jeff, who was sitting on the couch.
Michael: I had a great time. I don't even know half of the people here.
Jeff: I have been struggling to surprise you, so I only invited ten people, and they invited ten more each. You met many strangers, and I think they all like you very much.
When Sam walked to the door, he stood beside Jeff and held Jeff's hand.
Sam: Thank you, Jeff. (Turns to Michael) Happy birthday, Michael.
Michael: Thank you.
Sam walked to the door.
Sam: The party is very interesting.
Michael: Thank you, Sam.
Michael saw Linda and a young man walking towards the door. Jeff slid onto the sofa and sat next to Diane. Michael looked at Linda questioningly.
Michael: Hi!
Linda waved to Michael when leaving with another partner. Sandy walked up to him and leaned on his pillar.
Sandy: Alright... Good night, Michael. This is a very interesting party, my boyfriend and someone else left. I had a great time. Do you have "Quick Sleep"?
Michael: Come on, I will walk home with you.
Exterior view, apartment, Sandy and Michael
They walked out of the apartment.
Sandy: I really had a great time.
Michael: Oops, I haven't borrowed a taxi fare yet!
Sandy: It's okay, the loss will be smaller when robbed. The fare is really skyrocketing now.
She burst into tears suddenly.
Michael: What's the matter?
Sandy: It's okay. I didn't feel uncomfortable. Really, just crying. It's like a spasm.
Michael (definitely): Tell me what is unsatisfactory, or I will kill you.
Sandy: It's okay. In fact, I am a very self-motivated person.
Michael: You are worried about the interview, are you?
Sandy: No, I'm not worried, because I know I won't pass the exam and I don't meet the requirements at all.
Michael: What role do you play?
Sandy (crying): A woman.
Michael: Can you be more specific?
Interior view, Sandy's apartment, Michael and Sandy
Michael is sitting on a couch with his feet on the coffee table and script on his lap. Sandy was standing near him.
Michael: Now concentrate. focus. O White: "You don't have a man, so you want to act like a man."
Sandy: "You are wrong. Doctor Brewster. I am very proud of being a woman..."
Michael: Sandy, wait! This guy thinks you are worthless, why? Because he is a doctor and you are a woman, he does not get punished for doing bad things. You resist him! Bring your spirits up!
Sandy: You can demonstrate to me.
Michael: "You are wrong, Doctor Brewster, I am very proud of being a woman..."
Sandy: I can't play you so well.
Michael: You can. Overturn the table towards me and act your way.
Sandy: "You are wrong, Dr. Brewster, I am very proud of being a woman..." What's wrong with me?
Michael: I don't know what you are acting.
Sandy: I'm acting furious, and I'm getting angry. I tried to overthrow that table. Didn’t you say that?
Michael: Is this furious?
Sandy: My problem is that I can't get angry.
Michael (put down your feet, arch your waist forward): You do have this problem! But there are another hundred actresses who did not have this problem when they read this line!
Sandy: Don't be angry with me.
Michael: Don't act like a poor worm who is submissive!
Sandy: I'm not a poor worm!
Michael: That's good! Act now!
Sandy: "You are wrong, Doctor Brewster, I am very proud of being a woman..."
Michael: Read on!
Sandy: "But I am also proud of this hospital. Before I allow it to be destroyed by your despicable arbitrariness..."
Michael: Be full of anger, but not provoke it.
Sandy (in a low voice): "I'm going to propose to the board to drive you to the street. Good day, Dr. Brewster."
Sandy turned and walked away.
Michael: You are a second-rate successful actress.
Sandy (turning around and staring): "I say good day!"
Michael: The emotions are almost caught.
Sandy: Do you think how much I hate you?
Michael: I feel it. In fact, why do you think I am leaving?
Michael stood up and put on his coat as he stepped off the couch. Sandy ran to him.
Sandy: Wait a minute! You can't go! How can I catch an emotion tomorrow? I can't ask a complete stranger to make me angry!
Michael: What time do you go to audition?
Sandy: Eleven o'clock.
Michael: Well, I'll pick you up at ten o'clock to make you angry.
Location, national television, daytime
People go in and out. A busy scene.
Interior view, TV station waiting outside, during the day
In the room is a colorful satirical mural depicting the main actors in "Southwest General Hospital". A woman wielding a whip stood above them impressively. The receptionist Billy sat behind the desk. Six women are waiting for an interview. They are all in their forties, with thick eyebrows, and a sophisticated look.
Sandy: God...I feel good.
Michael (whispering): Don't talk, you silly girl.
Sandy (whispering): Thank you.
A woman named Jackie walked out of the second studio holding a note board. At this time, the producer of the play, Rita Marshall, strode decisively, followed by Alfred, the costume manager of the play. He was holding a female dress adorned with small metal discs hung on a hanger.
Rita: No metal discs, Alfred! She is attending her husband's funeral. If I see a small metal disc on her body...
Alfred: I will take them away, I will take them away...
Rita (to Jackie): Ready.
She walked into the second studio.
Jackie: Alright, ladies, please prepare your resume and follow me.
Sandy: Good luck to me.
Michael: Poke a leak.
Sandy: God bless you. You always know what to say.
Sandy and the rest walked into the second studio. At this time, a receptionist from the TV station led a group of twelve visitors. They stopped in front of the mural.
Receptionist: You will recognize all the actors you like in "Southwest General Hospital" here. Since the first episode of John Van Horn, which began airing about twenty years ago, he has acted as awe-inspiring Doctor Medford Brewster-Julie Phillips, the most beloved bad girl in America.
A twelve-year-old boy left the other tour members and walked in front of Michael.
Boy: Are you a main character?
Michael glared at him, and he boringly retreated back to the group who was admiring the mural respectfully.
Receptionist: The woman holding the whip is Rita Marshall, the executive producer of "Southwest General Hospital".
When Sandy came out of the studio and hurriedly walked to the elevator, Michael jumped in shock. He followed her to the elevator.
Michael: What's the matter?
Sandy: They won't let me take the test.
Michael: What do you mean by saying that they won't let you take the exam?
Sandy: They said my temperament was wrong. They want a more stubborn person, so... I am going home now.
Michael: I will walk with you.
Sandy: Go to Sandia brother?
Michael: What are you talking about?
Sandy: I mean I really want to go home. I am thirty-four years old. I am a second-rate actor, and my appearance is also second-rate. I can't keep... anyone. I do not have a boyfriend.
Michael (grabbing her arm): Alright, alright. I haven't dealt with that second-rate fool in five years, come on! We cannot let go of this opportunity in vain. (Going to the desk) I want you to get an interview.
They walked to the reception desk.
Michael (continue, to the receptionist): Is Terry Bishop in the studio?
Receptionist: Mr. Bishop is not acting in this play anymore. He is rehearsing "The Ice Seller is Coming" for Broadway.
Michael: What? (Turns around suddenly) Sandy, don't do anything stupid! Let me find a way.
Location, Sixth Street, daytime
Michael angrily ran to a decent house.
Interior view, national artist agency, reception hall
Michael strode past the receptionist.
Receptionist: Wait, Mr. Dorsey, Mr. Gray is in a meeting.
But Michael rushed over, passing through a double door.
Interior view, corridor
Michael walked three steps and two steps across a long carpeted aisle into George's office.
Secretary (leaps up): Michael, he is busy now. I swear.
Michael rushed over and walked into the office.
Interior view, George Gray's office
George Gray was in his fifties and was dressed quite shaved. He was on the phone. When Michael walked in:
George (to the microphone): Please wait a moment. (Press the waiting button) Michael, would you please wait outside? I'm talking to the coast.
Michael: This is also a coast, George, New York is a coast!
George: Wait a moment. (Release the button and talk to the microphone) Xi, listen to me... (Pause) Xi? (To the intercom system) Marguerite, can you pick it up? I hung up.
Michael: Terry Bishop is rehearsing "Here is the Ice Seller." Why didn't you send me to act, George? You are my agent too!
George: Stuart Pressman wants a famous person.
Michael: Is Terry Bishop a famous person?
George: No, Michael Dorsey is a famous person. When you want to return a steak, Michael Dorsey is a famous person, please forgive me. Why are you running on me to say such a thing? This sentence is not meaningful enough. Let me repeat. Terry Bishop is acting in a series. Millions of people saw him and he became famous.
Michael: Then he is qualified to ruin "The Ice Seller Is Coming"?
George: Hey, I can't tolerate this kind of conversation.
Michael: I can play better than him, I played that role!
George: If Stewart wants a famous person, it's his business. I know this will make you sick, but many people do this business to make money.
Michael: Don't call me worthless, George, I also want to make money.
George: Oh, really? Charity performance for the blind in Harlem (Note 3)? Play Strindberg (Note 4) in the park? To perform in a mass practice class in Syracuse?
Michael: I have acted in eight plays in Syracuse in nine months. I have received praise from critics in New York! But this is not why I acted!
George: No, of course not. God forbids you to give up your position as a loser of the anti-existing system.
Michael (comprehensively): Do you think I am a loser?
George: I don't want to get into this kind of discussion. I am too old, too smart, and too successful!
Michael (walking into the desk): I once gave you Jeff's script, which contains an important character written for me. did you see it yet?
George: Where did you become the one who gave me the script written by the man you are co-starring in? I am your agent, not your mother. My job is not to recommend a play by someone you live in partnership with, and let you lead the show. My duty is to provide opportunities to others.
Michael: Who told you that? The myth of the agent? That is a remarkable play!
George: No one wants to stage that play!
Michael: Why?
George: Because it's so outdated! No one will stage a drama about a man and a woman returning to love!
Michael: But it did happen!
George: Who will give a son! No one would spend twenty bucks to see people living next to chemical waste! They can see this in New Jersey!
Michael: OK, OK, I don't want to argue about this now, I want to make money by myself! I can do anything! Send me to do a cat ad dog ad, with a voice-over, everything will be done!
George: But I can't send you.
Michael: Why?
George: Michael, no one wants to work with you.
Michael: This is not true! I am willing to sacrifice everything to play a good role!
George: Yes, but you also let others sacrifice everything. One person has to put on a play in four weeks. He doesn't want to argue about Tolstoy's ability to walk before his death.
Michael: That guy is an idiot. That was two years ago.
George: They can't all be idiots. That is your last job. You fight with anyone. You are the one with the worst reputation in the city. No one wants to deal with you.
Michael: Wait a minute... what are you talking about? You said no one in New York City would like to work with me?
George: No one. This range is too small. Let's say that no one in Hollywood wants to work with you, how about it. I can't even send you to do commercials. You play the role of a crappy boxer for thirty seconds. It takes a long time for them to finish the shot, because you don't agree with that stop!
Michael: It doesn't make sense.
George: You are a crappy boxer! A crappy boxer won't make a reasonable stop! The crappy boxer does not move!
Michael: That's what I said! If a crappy boxer can't move, how can he stop? ! I am a terrific crappy boxer! I'm a counter-attack crappy boxer!
George: Michael... Michael... You are an outstanding actor. But I can't help you. I think you should treat the disease.
Michael (decision made calmly): George, I want to make eight thousand dollars, I want to play Jeff's play.
George (shaking his head): Michael, you didn't pay attention to what I said. You can't even get two cents. (Slowly) No one will hire you.
Michael: Oh, is it?
Location, Madison Street, long focal length, daytime
Take pictures of crowds of people passing by. The focus gradually forced us to notice a woman wearing high heels swaying towards the camera. She is Michael.
Interior view, National TV station, waiting outside room, daytime
Michael is standing in front of the reception desk dressed in women's clothing, and Jacqui reads her note board. Four other women with stubborn appearances were waiting.
Jackie: George Gray is your agent?
Michael: Well.
Jackie: How do you spell your last name, Dorothy?
Michael: M—I—C—H—A—E—L—S. (Note 5)
Jackie: Okay, come on.
Interior, the second studio. daytime
Director Ron is making important points on his script. The technician moved the scene in the background. Rita was looking at the various costumes that Alfred had shown her. She kept smoking.
Jackie: Ron, this is Dorothy Michaels. This is our director Ron Carlesiel, and this is our producer Rita Marshall. Dorothy did not write a resume. She has only been in the city for two weeks. George Gray is her agent.
Roba: This is very impressive, Dorothy. George Gray rarely introduces unknown people.
Dorothy (in a southern accent): He takes great care of me.
Ron: But I am worried that you are not suitable for this role, Dorothy. I regret.
Dorothy: Oh... why?
Ron (hopefully): You see, I'm trying to make this character explain a problem. Hopefully it is a very relevant and practical question. I need an actress with a special temperament.
Dorothy: What kind of temperament? I'm an actor, Mr. Carlisle, a character actor...
Roba: Baby, there is no time to study temperament in a series. This is unfortunate, but you don’t have the right characteristics or you don’t. (Raises her arm and sends her to the door) I'm sure you are a wonderful actress, but you are very weak, too gentle, and insufficiently threatening.
Dorothy: Do you want a threat? What do you think of this? Take your hand away, or I will push your testicles through your upper jaw with my knees. Is this threatening enough?
Ron (stunned): I didn't expect...
Dorothy: I can tell you what you actually want. What you want is a caricatured woman to prove a stupid point...Similar power makes a woman manly...or a manly woman is offensive. Well, it's a shame for a woman who made you do this. Any woman who makes you do this is embarrassing. (Pointing to Rita) It's you, dear.
She left with pompous grace.
Rita: Jesus Christ.
Ron: How is the idea that power makes women masculine stupid? I don’t say this because that’s my opinion...
TV station, a corner of the reception
Dorothy stood by the elevator and looked back from the corner of her eye. Rita hurried to her.
Rita: Have you acted in TV series in the past?
Dorothy: No, ma'am, I never acted.
Rita: Are you serious or are you auditioning for that role just now?
Dorothy: Which answer will give me a chance for an interview?
Interior, studio, stage, Dorothy and Rita
A female stage manager, Joe, wearing headphones and a power pack, walked over with her lines in her hand.
Rita (to the handheld microphone): Ron, I want to try Ms. Michaels. (To Joe) Let's take a photo of her.
When the lines in Dorothy's hand fell to the ground, the heroine of the play, the charming blond and charming Julie Phillips, just passed by. Dorothy quickly knelt down to pick up her lines and found Julie kneeling beside her to help.
Dorothy: Oh, my dear, I can't find the fourth page.
Julie (with a quiet smile): They will never hear the difference.
Julie has sorted out the page of her lines. They all stood up. Julie handed Dorothy the lines page and smiled meaningfully.
Julie (lower voice): Don't think of it as a camera, think of it as a friendly thing, such as a cannon.
Dorothy watched her back as she walked away. Julie turned around at the door, winked, and gave her a thumbs up as a sign of encouragement.
Interior view, control room, Ron, Jackie and others, including TV director Mel Rich
Ron (to Rita): Do you really think she is worth a try?
Rita: She told me that there has never been a director who can communicate with her so quickly.
Ron: Oh. Okay... She did understand what I was saying just now. (To the microphone) Camera No. 2 gives me a left side. Shot her on the right side on number one.
We see the camera calibrating a complicated monitor.
Rita (to Mel): Don't get too close to Camera One.
Mel (to the microphone): Number one, back.
The monitor of Camera No. 1 appeared to be moving.
Rita (to the microphone): I would like to make her look more charming. How far can you pull back?
The voice of the photographer (through the filter): How about letting you see Cleveland (Note 6)?
Camera No. 1 pulled back a bit.
Ron (to the microphone): Right there. Miss Michaels, we are going to try it. Are you ready?
Dorothy nodded on all the monitors.
Rita (to the microphone): Joe.
Joe and Dorothy read the audition scene.
Joe: "I know a woman like you, Emily, who is getting older and never beautiful. You can't find a man, so you want to be a man."
Dorothy stared at her suspiciously, and then laughed. Her performance surprised everyone present, and Joe raised his eyes clearly and lowered his eyelids again.
Dorothy: "You are wrong, Doctor Brewster. I am very proud of being a woman. But I am also proud of this hospital. And before I allow it to ruin your insensitivity and cruelty, before I allow you Before turning these patients into numbers, before I allow you to turn critically ill people into dead people... (she graciously pushes Joe's script away) I'm going to propose to the board of directors to drive you into the street. Good day, Dr. Brewster (Turns Joe around) I mean:'Good day.'"
Rita (after a short pause, to the microphone): Thank you, wait a moment.
Mel: That's amazing.
Ron: Yes. This is my guidance to her.
Rita: But it's better.
Ron: Oh my god, I don't know. I mean it was your decision, but she has something that makes me uneasy. Do you feel the same?
Rita: She is delicate but not fragile. She didn't let the characters get into caricature. (To the microphone) Alfred, measure her!
Dorothy: You mean I got this role?
Rita: We are going to handle the contract through George today. You start work on Thursday. Alfred, I saw the skirt and black sweater worn by the country folks. There are also scarves. Many scarves. (Shouting) Rearrange the lights for the twelfth quarter.
Alfred walked to Dorothy from the stage with his tape ruler.
Alfred: What size do you wear, dear?
Dorothy (blind estimate): No. 12, No. 14?
Alfred: Yo, which one is it?
Dorothy: I don't know. Sometimes big and sometimes small.
Alfred: I don't need to know so much, baby.
Location, Russian tea room, daytime
The patrons came out and went in. Dorothy stood outside waiting. George Gray came over and walked towards the entrance lightly.
Dorothy: I'm sorry, sir, can you help me? I am looking for a Russian tea room.
Joe: This is the Russian tea room.
Rorosie: Oh my goodness, this is it. I'm so sorry.
George (a little disturbed): Yeah... well... this is it.
He walked into the tea room. Dorothy followed him in generously.
Qiao Qia took a seat at a table. After a while, Dorothy sat beside him.
George (shocked): What's the matter?
Dorothy: Do you mind very much? I just arrived in this city and I feel lonely.
George (stands up): Waiter!
Dorothy: Oh, let's not hurry up and eat.
Dorothy gently squeezed George's ass.
George: Are you crazy?
Dorothy (sometimes in Michael's voice, sometimes in Dorothy's voice): Hush, let me tell you a secret. I’m Michael. Michael Dorsey. Your favorite client. Last time you gave me a job as a crappy boxer.
There was a long pause.
George: Jesus, I asked you to heal.
Dorothy: You also told me that no one would hire me.
George: Do you think this will change?
Dorothy: I got a role in the series, George, I am the new female leader in "Southwest General Hospital". I almost missed this role. They think I am too fat.
George: You will never succeed by fluke.
Dorothy: I was lucky enough.
George: Your spirit is not normal.
When a waiter entered the screen, they stopped talking.
Elder waiter: Would you like some wine?
George: Double vodka. quick!
Waiter: Where is this lady?
Dorothy (in a man's voice): A dark purple-red blend.
The waiter raised his eyebrows, but politely nodded and walked back.
Dorothy: They handed over the contract to you today.
George: Me?
Dorothy: I attended the interview in your name.
George: You have no right to do that, Michael...whatever you call yourself.
Dorothy: Dorothy Michaels. I was having fun with Isadora...
The fellow Joel Spector came to the table and stopped.
Joel: George.
George: Hello, Joel. (Uncomfortably) I-- uh, talked to Stewart today. He will be in London for a week, and he will definitely meet.
Dorothy handed Joel her hand, regaining her female voice.
Dorothy: Hello.
George (unhappy): Joel, Spector, this is Dorothy...what...
Dorothy: Michaels. I can't tell how much admiration I have for your work, Mr. Spector.
Dorothy withdrew her hand from Joel's and began to beat George's leg. George spilled the water and hurriedly dried it with a napkin.
Joel: Yo, thank you, Miss Michaels. you flatter me. (To George) Next week. (To Dorothy) Hope to meet again, Miss Michaels.
He walked away.
George: You can't be like a man-why? You must wear a dress before you greet someone!
Dorothy (stands up): Pay the check when the contract comes, and lend me a thousand yuan before the salary is paid.
George: Why?
Dorothy: Apart from this one, I have to buy other clothes.
Music starts.
Montage, Dorothy Purchasing, Daytime
1. The underwear department of a department store. A saleswoman raised a bra. Dorothy took it, thinking it was too small.
2. The makeup department of a department store. The saleswoman was holding a kind of light red cosmetics. Dorothy couldn't make up his mind, so she bought a few more, and finally bought a lot of miscellaneous things.
3. In the dressing room of the clothing department, when Dorothy was looking in the mirror, a tired saleswoman stood by. Clothes are piled up all around.
Saleswoman: I advise you to buy this one. The clothes you just tried on are the latest trendy clothes.
Dorothy: But don't you think I look chubby in it?
Saleswoman: That's because you have leather buckles on your ankles. Believe me, dress in a different way...
Exterior view, on the street near Bloomingdales, Dorothy, during the day
Dorothy came out of the Bloomingdales department store, holding a big bag in her hand, and she hailed a taxi. A taxi stopped, but when Dorothy walked towards the car, a man jumped into the car first, leaving her to stand. She dragged him out, pushed him to the ground again, and then boarded the car and drove away.
Interior view, loft apartment, Michael and Jeff
Michael wore an old robe and soaked his feet in a basin of water. There are tomatoes and farm cheese in the plates, and Zhou Tian has parcels spread out. Jeff poured hot water into the basin.
Michael: Those women are like wolves. I saw a really small and smart handbag on sale at a discount, but I was too tired to grab it. They are so powerful-they don't want to die! Do you know how much this underwear sells for? And cosmetics! I don't know how a woman can maintain her charm without starving. May I have some more cottage cheese?
Jeff (referring to the hood): Is this what you are wearing today?
Michael: Oh, I have to do it tonight. It's not easy doing this job, you know. I have to get up at half past four to shave the flesh... (Jeff pours the cheese) Slow down! Beware! I am on a diet to lose weight! I have called the TV station and told them that I must make up myself because I have allergies.
Jeff: I admire you for doing this, but it's just for money, isn't it? Isn't it because you want to try these little equipment?
Michael: I won't answer that. This happens to be the most extraordinary performance challenge any actor can encounter. Do you know what is really difficult for me?
Jeff: Cramps?
Michael: It's Sandy. How can I tell her that they hired a man instead of using her? She doesn't want to live at a birthday party.
Jeff: Don't tell her.
Michael: So where do I say to get a sum of money for this play? What am i talking about? Said someone died and left the money to me?
Interior view, Sandy's apartment, Sandy and Michael, at night
Sandy is closing the door.
Sandy (closes the door): Oh, God! When did she die?
Michael: Last week.
Sandy: Why did you die?
Michael: Rubella.
Sandy: Huh...what a coincidence, you are in need of eight thousand dollars, and your aunt is dead, just to leave you that number!
Michael: It's a coincidence!
Michael unzipped his jacket, took out the script and handed it to her.
Michael (continued): Start learning your lines!
Sandy (walking to Michael's other side): Oh my goodness, Michael, I can't believe it! What an interesting character!
Michael: Quickly. Go and change your clothes. I invite you to dinner.
Sandy: Really!
Michael: Why not? It's time for us to celebrate.
Sandy: For "Back to Love". (She hands him a glass of wine) Let me take a shower in five minutes!
Sandy walked to the aisle and into the bedroom.
Interior view, Sandy's apartment, Michael, night
The camera slowly swayed from the bedroom door to the living room, Michael walked to the aisle while reading "Theatrical Art". He stopped to look in the mirror and began to pose. He put the newspaper on the couch, made more gestures in the mirror, paused to think for a moment, and the camera panned Michael out of the living room and through the aisle into the bedroom.
Interior view, Sandy's bedroom, night
Michael entered the room, glanced at the closed bathroom door, and walked towards the closet. He opened the cupboard door, lit the lamp, and began to check Sandy's clothes. When he looked at the dress hanging on the inside of the cupboard door, he noticed a dress on the bed.
Michael: Woo--!
Michael picked up the dress and compared it to him in the mirror. He glanced at the bathroom door again, put his dress back on the bed, and began to undress. He threw his shirt on the bed, unbuttoned his trousers, bent over and took off his trouser legs. Suddenly, Sandy came out of the bathroom.
Sandy (when the door opens): Michael, we don't have to go out to eat. We can stay here.
She can't help being stunned when she sees Michael take the trousers down. Michael jumped up, tried to cover himself, and at the same time thought of making up some excuses.
Michael: Sandy...I...I...I want you!
Sandy (shocked): You want me?
Michael (struck out his hands awkwardly and walks towards her, trousers tripping on the ankle): I want you! May I call you tomorrow?
Sandy: I know there is pain in every relationship. I really want to have my own pain now. In addition, I will stay by the phone. If you don’t call, I will definitely endure the pain and stay by the phone. You can save me a lot of time.
Michael: Then we are settled. Go to dinner tomorrow.
Interior view, Michael's room, early morning
An alarm clock stopped after 4:30 in the morning.
A series of fast switching:
1. Michael shaves his face very closely.
2. Michael shaved his legs.
3. Michael shaved the inside of his arm: He pulled a hole and shrank, he put toilet paper under his arm.
4. He put on a thick makeup base, pasted on fake hair, and then pasted on fake long nails.
5. Michael in jockey shorts is in disguise. The eyelashes and nails were arranged, he put on the bra, turned it from the back to the front, and walked out of the bathroom.
Interior view, kitchen part of the attic, Michael and Jeff, daytime
When Michael was turning his bra from the back to the front, he was surprised to see Jeff. Jeff was sitting in a bathrobe and got his coffee ready.
Michael: You don't have to get up.
Jeff (looks at him): Oh, I have to get up.
Exterior view, Michael's apartment, Michael, early morning
Dorothy Michaels entered the screen, she put her finger in her mouth and whistled to call for a taxi. The taxi stopped with a harsh braking sound.
Interior view, TV station building, entrance, early morning
Dorothy walked into the building and spoke to security police Mike.
Dorothy: I'm Dorothy Michaels, the crew of "Southwest General Hospital".
Mike (check the list): Yes, they let you go directly to the second meeting room.
Dorothy became nervous.
Close shot, the door of the second meeting room
Dorothy pushed the door in.
Second meeting room
The stage manager Joe was with a man who looked like an administrative staff.
Dorothy: Tell me to come here directly.
Joe: Yes. (To the man) This is Dorothy Michaels, she plays Ms. Kimberley. (To Dorothy) This is Dr. Schiff.
Dorothy: Who played it?
Joe: Dr. Schiff is Dr. Schiff. He is here to do a physical examination for you.
Dorothy: What once?
Schiff: For medical insurance. (Opens his medicine cabinet) This is a routine.
Joe: After the inspection, I will show you to the dressing room.
She went out. Schiff filled out the form with a pen.
Schiff: Dorothy Michaels, right?
Dorothy: Yes.
Schiff: Age?
Dorothy: Forty...
Schiff looked at her.
Dorothy (continued): ...three. But don't tell others.
Schiff: Weight? height?
Dorothy: One hundred and thirty-seven. A little over five feet six inches.
When he took her blood pressure:
Schiff: Your general health is pretty good, right?
Dorothy: Excellent.
Schiff (look at the sphygmomanometer): The blood pressure is a bit high.
silence. Schiff unwrapped the blood pressure cuff and picked up the stethoscope to examine Dorothy's heart.
Dorothy: I was a little nervous on the first day.
Schiff: What is the allergic reaction to cosmetics?
Dorothy: Oh, just talk. Actually I am a little nervous. (Pushing to the bottom) Sometimes I have a moustache problem.
Schiff: Oh. (Leaning over to get closer) You know, not all men think it is unattractive.
He gently put his hand on her knee.
Interior view, TV station corridor, Joe and Dorothy, daytime
When Joe pointed to the doorway outside the painting, Dorothy followed.
Joe: You are on the 9th.
Dorothy walked to the door and went in.
Interior view, dressing room, daytime
Standing in the room in a thin robe is April Page, a graceful young girl.
April: Hello, my name is April Page. feel free.
She tossed off her robe, revealing her bra and briefs. Dorothy was breathless and turned around, only the reflection of April in the makeup mirror.
Dorothy: This table is pretty.
April: Push those telegrams aside and make room for yourself.
Dorothy: Have you made it public?
April (to the shower room): No. These are from the monsters I dated with. If you want to watch it, watch it, it's funny.
Dorothy (reading): "I'm sorry last night." "Please forgive me what happened last night." "What happened last night will never happen again." What did he do last night?
April (calling loudly from the shower): Nothing! (She comes back to the house) He dragged it until three o'clock in the morning. God, it's really annoying.
The camera looked at Dorothy in amazement. A knock on the door was heard. An internal liaison came in and handed Dorothy two pages of blue paper.
Liaison Officer: This is for you, Miss Michaels.
he's gone. Dorothy stared at the two papers closely.
Dorothy: This is for today! !
April: They always throw materials at you at the last minute. You will be dizzy here.
Dorothy: Oh, God!
April: What's the matter?
Dorothy: I have to kiss Doctor Brewster!
April: Yes. He kissed all the women in the play, it must be in his contract. We call him "tongue".
The camera looked at Dorothy's shocked expression.
Interior, studio, hospital ward setting, daytime
Ron was arranging where Julie and Rick Lacey would go in a scene, and Rick was lying on the bed with the script. Rita and the crew stood by and took notes. At this moment, Dorothy was standing in the background, beside a respectful gentleman, observing. A
View more about Tootsie reviews
