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Tom Althouse Deposition 1b · Tom Althouse Podcast

• 0:08
  Speaker 1: You get to looks to be some dialogue.
• 0:15
  Speaker 2: Yeah, none notes in dialogue?
• 0:17
  Speaker 1: Okay?
• 0:22
  Speaker 3: And are what are these last five six pages of dialogue?
• 0:33
  Speaker 2: It looks like to me that there was notes or
• 0:36
  Speaker 2: working copy or working notes that went into the production
• 0:40
  Speaker 2: of the story.
• 0:41
  Speaker 1: Okay. Do you know why this would be included in
• 0:45
  Speaker 1: this packet of information.
• 0:49
  Speaker 2: At this time? I do not, nor do I have
• 0:52
  Speaker 2: an answer for why there's the missing every page one
• 0:57
  Speaker 2: missing first page in the most.
• 0:59
  Speaker 1: Okay, I don't have it.
• 1:00
  Speaker 3: That's but it's your testimony that as of May nineteenth,
• 1:03
  Speaker 3: nineteen ninety three, there was more to the script than
• 1:07
  Speaker 3: these five or.
• 1:08
  Speaker 1: Six pages of dialog.
• 1:09
  Speaker 2: Oh, I would say that's celeb This looks like it's
• 1:12
  Speaker 2: just working for its Okay.
• 1:18
  Speaker 3: Now let's go to the last page.
• 1:22
  Speaker 1: Of Exhibit five. Just this one correct the last page?
• 1:39
  Speaker 2: Uh?
• 1:40
  Speaker 1: And is that your signature?
• 1:41
  Speaker 2: That is my signature?
• 1:43
  Speaker 4: Okay?
• 1:45
  Speaker 3: And it says just above your signature, this report was
• 1:48
  Speaker 3: typed May twelfth, nineteen ninety three, at one pm by
• 1:51
  Speaker 3: Thomas P. L. T.
• 1:53
  Speaker 2: House Right, that page was typed at that time.
• 1:55
  Speaker 3: Test okay, and do you have any reasona believe it
• 1:59
  Speaker 3: was not type this particular page?
• 2:01
  Speaker 2: Now I don't have any reason not.
• 2:03
  Speaker 5: To play it.
• 2:03
  Speaker 1: Okay, Now let's start at the top.
• 2:07
  Speaker 3: It says I told Ned Vankovitch about the idea on
• 2:11
  Speaker 3: the phone.
• 2:13
  Speaker 1: Who is Ned Vankovic.
• 2:15
  Speaker 2: And Bankavic wasn't a former professor at CBN University now
• 2:20
  Speaker 2: Regent University. He was in the UH film department. He
• 2:28
  Speaker 2: had told me some information about what had happened with
• 2:35
  Speaker 2: the ends of what what had happened with me being
• 2:39
  Speaker 2: whatever happened to me, and was concerned for me that
• 2:45
  Speaker 2: it was unfair, and he said that he would like to,
• 2:51
  Speaker 2: you know, go see the the screenplay and thought he
• 2:56
  Speaker 2: might be all to help. J tored maybe some interest
• 3:01
  Speaker 2: for it. That's his uh that's his wife was working
• 3:05
  Speaker 2: for UH, I think university Studios at the time.
• 3:13
  Speaker 6: So what specifically did mister Bankovich tell him?
• 3:17
  Speaker 2: He told me how the for the best way of recollection.
• 3:22
  Speaker 2: The former dean had heard what had happened to me
• 3:30
  Speaker 2: and was he said it was He said it was
• 3:36
  Speaker 2: a straw that brought the camel's back when he heard
• 3:38
  Speaker 2: about the homosexuality and things like that. He actually resigned immediately.
• 3:44
  Speaker 2: The d resigned. He was students and Ned Bankovitch told
• 3:49
  Speaker 2: me that he then and he he was he he
• 3:52
  Speaker 2: left the university immediately.
• 3:55
  Speaker 7: Uh.
• 3:55
  Speaker 2: They had a going away party for him. He was replaced. Hed,
• 4:00
  Speaker 2: he was re replaced by uh, the one gentleman who
• 4:06
  Speaker 2: was at the meetings that was instrumental and uh uh
• 4:12
  Speaker 2: might be terminated because of what I had shared. So
• 4:17
  Speaker 2: he was just letting me know that son, he felt
• 4:22
  Speaker 2: bad that this was unfair, that it was bigger than
• 4:30
  Speaker 2: we thought. And UH express interested in helping me at
• 4:34
  Speaker 2: least with the screenplay.
• 4:37
  Speaker 8: Mkay.
• 4:38
  Speaker 3: And this was a conversation in September nineteen ninety two.
• 4:46
  Speaker 2: I'm I'm guessing that that is the case from the
• 4:49
  Speaker 2: materials in front of me would be hard to recollect
• 4:51
  Speaker 2: after so many years.
• 4:53
  Speaker 1: And did you send it to him?
• 4:55
  Speaker 2: I believe I did send him a copy of the screenplay? Okay?
• 4:59
  Speaker 3: And do you know a as of September nineteen ninety two,
• 5:02
  Speaker 3: in what form the screenplay was in.
• 5:06
  Speaker 2: I have no idea what what I sent him.
• 5:09
  Speaker 1: Did you ever go back from mister Vankovich about the screenplay?
• 5:13
  Speaker 2: I never heard of.
• 5:21
  Speaker 1: And then it says Victor.
• 5:22
  Speaker 3: Comma, friend of Nadia, told April nineteen ninety three.
• 5:30
  Speaker 1: W I'm sorry, go. Okay, what who is Nadia?
• 5:34
  Speaker 2: Nadia Santino. I believe the last name is is the
• 5:37
  Speaker 2: party who asked me to go to New York to
• 5:44
  Speaker 2: pitch the idea to Warner Brother affiliates. She was a
• 5:51
  Speaker 2: producer in Virginia Beach.
• 5:56
  Speaker 1: Okay, she was a producer in the Virginia Beach a producer.
• 6:01
  Speaker 2: From understanding the film ideas shows, how did you meet
• 6:08
  Speaker 2: this Sittina, I'm not sure exactly how we met with
• 6:12
  Speaker 2: the details of that meeting.
• 6:14
  Speaker 9: I know that.
• 6:15
  Speaker 2: She was working for someone at the time who was
• 6:18
  Speaker 2: part of So that's my knowledge is like Planet Hollywood
• 6:26
  Speaker 2: or something, some name of a company in Virginia Beach
• 6:29
  Speaker 2: that she wanted to be that she was part of that,
• 6:36
  Speaker 2: and I think meeting this guy there she was working
• 6:39
  Speaker 2: for him, and so she then I think took interest
• 6:43
  Speaker 2: in doing something together or working together or something. It
• 6:51
  Speaker 2: led to her looking at the or hearing the idea
• 6:55
  Speaker 2: of the screenplay.
• 6:56
  Speaker 1: Mkay, you said, m she was working with a guy there.
• 7:00
  Speaker 2: I don't know, it's new, just it wasn't doesn't stick
• 7:03
  Speaker 2: in my Mind's something that.
• 7:05
  Speaker 3: Stood out, uh and there and by there it's this
• 7:10
  Speaker 3: would it be planet Video?
• 7:11
  Speaker 1: Is that what you meant.
• 7:12
  Speaker 10: I don't know that.
• 7:13
  Speaker 2: The it's something along that line.
• 7:14
  Speaker 9: Okay.
• 7:17
  Speaker 1: If you look at the last paragraph.
• 7:21
  Speaker 2: Before the before the party, Oh, that would save us time.
• 7:25
  Speaker 1: Okay, yeah, set muspe it.
• 7:27
  Speaker 2: I even see that.
• 7:28
  Speaker 1: Okay, so it says planet video does that refresh that?
• 7:31
  Speaker 2: I must be it.
• 7:32
  Speaker 1: Okay, Remember you gotta let me finish. Just so the court.
• 7:35
  Speaker 4: Record You're sorry.
• 7:36
  Speaker 2: I thought you wanted to do this.
• 7:37
  Speaker 1: That's fine, Yeah, just so the court reporter's head doesn't exploit.
• 7:40
  Speaker 2: Oh I thought it. Tim's awesome.
• 7:42
  Speaker 1: So okay, so.
• 7:54
  Speaker 3: Let's go back into them that this so unique, Naudia,
• 7:57
  Speaker 3: how or you don't recall, uh, don't.
• 8:00
  Speaker 2: Recall the exact attens of how I met her. Kay,
• 8:03
  Speaker 2: I believe it was in some sufficient.
• 8:05
  Speaker 3: Capacity, and as I did you meet her in around
• 8:11
  Speaker 3: ninety three?
• 8:14
  Speaker 2: N I from what I see here that would lead
• 8:19
  Speaker 2: me to believe it wasn't around ninety three.
• 8:22
  Speaker 1: It was in or around ninety three.
• 8:25
  Speaker 2: From what I'm looking out on the paper, I'm going
• 8:27
  Speaker 2: by strictly what's in front of me.
• 8:28
  Speaker 5: Okay, you don't have a recollection.
• 8:30
  Speaker 2: I don't have a recollection.
• 8:31
  Speaker 3: Okay, And uh, Nadia had some connection to Planet.
• 8:37
  Speaker 1: Video is here.
• 8:39
  Speaker 2: I believe she was working there.
• 8:41
  Speaker 1: Okay, and uh do you know?
• 8:50
  Speaker 11: Uh?
• 8:55
  Speaker 3: So you meet Nadia, you have some conversation with her
• 8:59
  Speaker 3: about the immortals.
• 9:02
  Speaker 2: Tell me what how I can't recollect. All I know
• 9:05
  Speaker 2: is that she set up a chain of events and
• 9:13
  Speaker 2: you followed what she set up.
• 9:15
  Speaker 1: Okay, So walk me through that chain of events.
• 9:21
  Speaker 2: She was a single mom. I'm not mistaken the godfather
• 9:28
  Speaker 2: of her daughter. What's Lenny Coco? Lenny Coco is under
• 9:39
  Speaker 2: the Mornmo's label, so.
• 9:49
  Speaker 5: Was under the.
• 9:51
  Speaker 2: Rom minderstanding you have chos Uh Warner Brothers is his label?
• 10:03
  Speaker 2: I fro won'ta understand if you will. She apparently told
• 10:16
  Speaker 2: him about the script or showed him it. She related
• 10:24
  Speaker 2: to me, as it says here on the page, that
• 10:29
  Speaker 2: he was interested, thought he might be able to do
• 10:33
  Speaker 2: something with it. We were invited up to his home.
• 10:39
  Speaker 2: I'm not sure all who went. I know where he
• 10:41
  Speaker 2: could ball at in a company to be along with Naunia.
• 10:48
  Speaker 2: We went up to Monday Coco's home in New York
• 10:53
  Speaker 2: and uh, you have me pitch the uh screenplay the idea?
• 11:00
  Speaker 11: Explain it?
• 11:04
  Speaker 2: He had me from understand play the music that I
• 11:08
  Speaker 2: had composed with Alan Grace that was submitted to Warner Miners.
• 11:15
  Speaker 2: He had me go through the entire basically begin to
• 11:22
  Speaker 2: go through the entire screenplay in that during that presentation,
• 11:30
  Speaker 2: he got up and UH said he was gonna make
• 11:36
  Speaker 2: a call, and he called Warner Brothers. He said, I
• 11:41
  Speaker 2: I would understand. It was one of her vice presidents
• 11:45
  Speaker 2: who was a friend of his. Signs I mentioned and
• 11:49
  Speaker 2: he told him something to the fact that if someone
• 11:52
  Speaker 2: you have to speak speak with, I'd likely to speak
• 11:54
  Speaker 2: with in the year as a hero's idea, not something
• 11:59
  Speaker 2: exact words, but that was the gist of it. I
• 12:03
  Speaker 2: then got on the phone and relayed this what I
• 12:08
  Speaker 2: had done to Lenny, description of detail of the screen
• 12:12
  Speaker 2: and playing CYC discuss the concept. After that, he UH
• 12:23
  Speaker 2: listened to the entire time, and he's told me that
• 12:27
  Speaker 2: HM to know I in words to the effect of
• 12:31
  Speaker 2: the sounds revolutionary, it sounds original, sounds ideal, We're making
• 12:36
  Speaker 2: this worse. To that effect, he gave me explicit instructions
• 12:41
  Speaker 2: on how to submit it and who to submit it to.
• 12:47
  Speaker 2: He went so in so far as to say that
• 12:51
  Speaker 2: Robert Niro was in town film for Warner Brothers. In
• 12:55
  Speaker 2: a in a role I think it was analyzed this
• 12:57
  Speaker 2: and that what would I think of him being the
• 13:00
  Speaker 2: lead the Jim Slash the role of course would be
• 13:05
  Speaker 2: the young writer. At the time, I was so excited
• 13:09
  Speaker 2: that where Brothers would be interested in my piece, and
• 13:11
  Speaker 2: then when I was being told was going to be
• 13:12
  Speaker 2: made that of course I agreed. I said that sounds wonderful.
• 13:19
  Speaker 2: I told him my view for other characters too that
• 13:24
  Speaker 2: I thought would be wonderful, such as the architect role.
• 13:27
  Speaker 2: I had told him that I thought Dustin Hoffman would
• 13:30
  Speaker 2: be perfect. We had a very nice discussion such as that.
• 13:37
  Speaker 2: He then, of course gave us the explicit instructions of
• 13:40
  Speaker 2: how to smith. He said he had a friend named
• 13:43
  Speaker 2: Elizabeth and that she would make sure he got in
• 13:47
  Speaker 2: the hands of the UH Story Department person Diane Bellis.
• 13:54
  Speaker 2: The directions and information gave us we then gave to
• 13:57
  Speaker 2: Nadia's friend the attorney, who then composed the submission letter
• 14:03
  Speaker 2: and send a certified meal to Warner Brothers directly to
• 14:06
  Speaker 2: the parties in the address that we were specifically given
• 14:08
  Speaker 2: to do by the Warner Brothers e back. My understanding
• 14:13
  Speaker 2: was that my doing so there then would be a
• 14:18
  Speaker 2: talk on whatever greement would be arranged to see the
• 14:26
  Speaker 2: project through.
• 14:33
  Speaker 1: Did mister Poco tell you who this person was?
• 14:40
  Speaker 2: He did at the time, as he did, he was
• 14:42
  Speaker 2: very affront.
• 14:45
  Speaker 3: Do you recall anything about this person other than that
• 14:48
  Speaker 3: he was a Warner.
• 14:48
  Speaker 5: Brothers by the pusson.
• 14:50
  Speaker 2: I don't recall at the moment. I have just looked
• 14:52
  Speaker 2: and see if I have need to write him down
• 14:53
  Speaker 2: on his name?
• 14:54
  Speaker 1: Where would you look?
• 14:56
  Speaker 12: I don't know.
• 14:58
  Speaker 10: How you.
• 15:00
  Speaker 1: Since you filed the Saws name, I haven't found anything yet.
• 15:04
  Speaker 1: Have you looked?
• 15:06
  Speaker 2: I have tried to think about what that name might
• 15:08
  Speaker 2: have been.
• 15:12
  Speaker 3: So have you looked to see if you have anything
• 15:15
  Speaker 3: written yet about that name?
• 15:23
  Speaker 2: No, I haven't. I haven't searched out anything.
• 15:27
  Speaker 3: Now, you mentioned that mister Koco Uh is a singer
• 15:32
  Speaker 3: on the Warner Brothers label.
• 15:34
  Speaker 2: From my understanding, from what I was, it was there
• 15:38
  Speaker 2: was a lot of information coming at the time. That's
• 15:41
  Speaker 2: the impression I had, Okay.
• 15:42
  Speaker 1: And was this vice president someone he worked with?
• 15:48
  Speaker 2: My understanding was it was something he someone who trusted
• 15:51
  Speaker 2: and was a friend. Besides being within the organization, mkay, but.
• 15:56
  Speaker 3: Uh within the record label organization, within Warner Brothers.
• 16:01
  Speaker 1: But do you know where?
• 16:04
  Speaker 2: Well, from my understanding it was New York offices that
• 16:06
  Speaker 2: it was a musing problem.
• 16:12
  Speaker 1: Do you know anything else?
• 16:16
  Speaker 2: I haven't found anything in my notes yet. All I
• 16:23
  Speaker 2: know is that it happened, that it leaves a vivid image.
• 16:29
  Speaker 3: Now you, when you refer to note your notes, have
• 16:31
  Speaker 3: you provided all the notes that you have found to
• 16:34
  Speaker 3: your attorneys?
• 16:34
  Speaker 1: Everything that I can?
• 16:37
  Speaker 2: There's a lot to go through.
• 16:40
  Speaker 1: What do you mean there's a lot to go through.
• 16:41
  Speaker 2: There's a lot of notes.
• 16:42
  Speaker 5: Okay?
• 16:43
  Speaker 1: Have you have you gone through all your notes?
• 16:48
  Speaker 2: Repeat the quoth I rephrase the question.
• 16:50
  Speaker 3: Well, I asked if you've given all of your notes
• 16:52
  Speaker 3: to your attorney, and you said yes, and and you
• 16:55
  Speaker 3: said there's a lot to go through.
• 16:57
  Speaker 1: My question is have you gone through everything?
• 17:00
  Speaker 2: The best of my knowledge? There is a proponents of
• 17:06
  Speaker 2: evidents like given when I have to attorney, then if
• 17:11
  Speaker 2: we was discovered anymore, we would certainly pass it on.
• 17:31
  Speaker 1: Okay. So you spoke to this Warner Brothers vice president
• 17:37
  Speaker 1: in New York in the music office, is correct, And
• 17:42
  Speaker 1: you spoke to that.
• 17:43
  Speaker 2: Person on the fund is the best of my ability?
• 17:46
  Speaker 9: Best?
• 17:46
  Speaker 1: Okay?
• 17:46
  Speaker 2: That would be pretty sufficient.
• 17:48
  Speaker 1: Okay? And then you part of that.
• 17:53
  Speaker 3: You discussed casting, and you said that you had Dustin
• 17:57
  Speaker 3: Hoffmann in mind for the architect role.
• 18:00
  Speaker 2: I wouldn't say it was casting. I would say he
• 18:02
  Speaker 2: was talking. He was excited about the piece. The impression
• 18:06
  Speaker 2: I had. He was saying that Robert Seniro was in
• 18:08
  Speaker 2: the town. What do you think of him for this role?
• 18:11
  Speaker 2: Of course, I agreed. I then shared, you know, you
• 18:14
  Speaker 2: was talking about the piece, and I shared the what
• 18:16
  Speaker 2: I envisioned as who I pictured when I was writing
• 18:19
  Speaker 2: an architect role or the you know, the Hitler role.
• 18:23
  Speaker 3: Okay, that was my question. There's no architect in the Immortals, correct.
• 18:27
  Speaker 2: Mm Hitler is an architect, Okay, there is the role. Okay.
• 18:33
  Speaker 1: So you had mister Hoffman in mind for Hitler?
• 18:35
  Speaker 2: Yes, I did. I thought of the ideal.
• 18:52
  Speaker 3: And then this vice president gave you instructions about how
• 18:56
  Speaker 3: to submit to his friend named Elizabeth.
• 18:58
  Speaker 11: That's right.
• 18:59
  Speaker 2: That's why the letterhead okay.
• 19:01
  Speaker 1: And uh.
• 19:08
  Speaker 3: And you submitted that for an attorney.
• 19:15
  Speaker 1: Named mister Boyd. Correct that okay? And that mister Boyd
• 19:20
  Speaker 1: was a friend of Nadius.
• 19:22
  Speaker 11: That's correct.
• 19:22
  Speaker 1: Okay.
• 19:24
  Speaker 3: Do you know what, if any relationship mister Boyd had
• 19:29
  Speaker 3: with Warner Brothers.
• 19:30
  Speaker 1: At of the time of the letter, I don't.
• 19:33
  Speaker 2: Think any relationship, and I don't know what he would
• 19:36
  Speaker 2: have I I would be sympcon juncture at this point.
• 19:38
  Speaker 3: Okay, alright, let's mark his Exhibit f uh six is
• 19:48
  Speaker 3: Exhibit six a packet of information.
• 20:00
  Speaker 11: The order round telling Robert Week thank you.
• 20:08
  Speaker 1: The markets.
• 20:08
  Speaker 3: Exhibit six A packet of information titled for immediate release
• 20:11
  Speaker 3: on the front, dated August first, twenty thirteen.
• 20:15
  Speaker 1: Is this a packet you put together in.
• 20:17
  Speaker 2: Mister Altas, I believe, let's put together by Eric Kay?
• 20:20
  Speaker 2: I love him? Boll Okay.
• 20:25
  Speaker 1: Oh, and then was mister Leventha working under your direction?
• 20:30
  Speaker 4: Uh?
• 20:30
  Speaker 2: He volunteered to you get stuff together? Yuh.
• 20:36
  Speaker 1: Let's uh.
• 20:38
  Speaker 3: We're about to run out of tape, but I want
• 20:39
  Speaker 3: you to look about ten pages back.
• 20:43
  Speaker 1: There is a letter on Boyd and Boyd letterhead.
• 20:50
  Speaker 3: I found you, kay, and it's addressed to the story department,
• 20:53
  Speaker 3: Attention Diane Bellis, Karen Elizabeth.
• 20:56
  Speaker 1: Do you see that?
• 20:57
  Speaker 2: Lots of instructions we have?
• 20:58
  Speaker 3: Okay, so is this it's a copy of the letter
• 21:01
  Speaker 3: that mister Boyd sent on your behalf. It is a
• 21:04
  Speaker 3: copy of the letter I hold do you have in
• 21:06
  Speaker 3: your possession a copy of the letter with the enclosures attached?
• 21:13
  Speaker 2: What the enclosures attached?
• 21:14
  Speaker 4: Correct?
• 21:15
  Speaker 2: This was said by mister k Boyd.
• 21:17
  Speaker 1: Okay, but you received a copy.
• 21:19
  Speaker 2: Let I see a copy of the letter.
• 21:20
  Speaker 3: Okay, do you have Do you have a copy of
• 21:23
  Speaker 3: the letter that includes the enclosures?
• 21:26
  Speaker 2: I don't have a copy letter with the enclosures. I
• 21:28
  Speaker 2: have a copy letter he send it?
• 21:29
  Speaker 1: Okay, alright, let's go off for a to choose someone
• 21:34
  Speaker 1: just in one place.
• 21:36
  Speaker 5: This is the end of disclie and one of the
• 21:38
  Speaker 5: nine one of.
• 21:39
  Speaker 1: The deposition at the time, as all house on December.
• 21:41
  Speaker 5: The thirteen of the year twenty thirteen year.
• 21:44
  Speaker 1: A record at twelve ten pear. Okay, uh, since we're
• 21:51
  Speaker 1: off for a second, what do you all wanna do?
• 21:59
  Speaker 2: Gi me th let's keep.
• 22:00
  Speaker 1: Going the charts, keep going.
• 22:02
  Speaker 2: Eatings, I'd say, odd'm all, I keep going.
• 22:05
  Speaker 1: Okay.
• 22:06
  Speaker 13: We had a ample breakfast and so I'm good for
• 22:10
  Speaker 13: a while longer too, Okay.
• 22:12
  Speaker 2: Certainly another one hour session.
• 22:15
  Speaker 1: Okay, let's go for a you know, forty five minutes
• 22:17
  Speaker 1: to an hour? Is that good for you?
• 22:18
  Speaker 2: Guys?
• 22:19
  Speaker 1: These are the people who are working the hardest going.
• 22:21
  Speaker 2: That's trips er. So yeah, we take a break at
• 22:24
  Speaker 2: something when.
• 22:25
  Speaker 1: You got yeah, well, yeah, you get on at some point.
• 22:31
  Speaker 14: What what was the uh reference?
• 22:33
  Speaker 2: Uh?
• 22:33
  Speaker 15: What TI?
• 22:34
  Speaker 2: How long from?
• 22:35
  Speaker 1: I could go for another hour, but that's fine, sure, ago, okay.
• 22:40
  Speaker 2: Thanks of this.
• 22:48
  Speaker 1: Self.
• 22:50
  Speaker 2: Absolutely stop.
• 25:49
  Speaker 8: Okay, fall seen okay.
• 25:58
  Speaker 1: Okay, go back then that's a second Oh no problem,
• 26:01
  Speaker 1: otherways get speak first.
• 26:05
  Speaker 5: Okay, this is the beginning of just number two.
• 26:17
  Speaker 11: If you remember one of the deposition.
• 26:19
  Speaker 3: Of Thomas on the house, when December thirteenth or the
• 26:21
  Speaker 3: year twenty thirteen, we were on the.
• 26:23
  Speaker 1: Record at twelve fifteen pm.
• 26:28
  Speaker 9: Okay, right before the break, we were looking at the
• 26:31
  Speaker 9: June twenty fifth, nineteen.
• 26:33
  Speaker 1: Ninety three letter from mister Boyd to uh the story
• 26:38
  Speaker 1: department at Warner Brothers Cracked.
• 26:40
  Speaker 2: That's correct.
• 26:41
  Speaker 1: Okay. Now, uh, let's just start at the top. Do
• 26:48
  Speaker 1: you see where it's a certified letter slash return receipt.
• 26:51
  Speaker 2: What's your receipt?
• 26:51
  Speaker 1: Do you have a copy? And maybe you return receipt
• 26:54
  Speaker 1: that was through the attorney.
• 26:56
  Speaker 7: Okay.
• 26:56
  Speaker 1: Do you know whether mister Boyd received or copy?
• 27:01
  Speaker 2: I do not know whether you're seen to returns received
• 27:03
  Speaker 2: or not? Okay?
• 27:05
  Speaker 1: Uh, have you ever asked it?
• 27:08
  Speaker 11: Uh?
• 27:08
  Speaker 2: No, I didn't ask the figure. I don't recall asking.
• 27:10
  Speaker 4: If you got a return scene?
• 27:21
  Speaker 3: Alright, now, if you look at the uh first paragraph
• 27:28
  Speaker 3: where it says on behalf of my clients plural?
• 27:31
  Speaker 1: Yes, okay, do you know who mister Boyd.
• 27:33
  Speaker 2: Was referring to? I'm not sure. I'd I would conjecture.
• 27:38
  Speaker 2: I mean I can conjecture. I then closures, Well, was
• 27:42
  Speaker 2: his clients.
• 27:44
  Speaker 1: On behalf of my clients?
• 27:46
  Speaker 10: Is it?
• 27:46
  Speaker 2: Uh?
• 27:47
  Speaker 1: There's were you mister Boyd's corient? I don't know, okay?
• 27:55
  Speaker 2: Uh.
• 27:56
  Speaker 1: If Warner Brothers were to have acquired your.
• 27:59
  Speaker 4: Script, oh, there's what?
• 28:01
  Speaker 1: What would Miss Satino's role then?
• 28:03
  Speaker 4: Do you know?
• 28:05
  Speaker 2: I don't believe she would have had a role.
• 28:08
  Speaker 1: Would she have received any compensation? W Did you have
• 28:12
  Speaker 1: an agreement? I'm sorry? S extract that. Did you have
• 28:13
  Speaker 1: an agreement with Miss Satina?
• 28:15
  Speaker 4: What do you mean?
• 28:16
  Speaker 2: Nould it not have an agreement?
• 28:20
  Speaker 1: And then it says enclosed.
• 28:23
  Speaker 3: Please find various materials pertaining to the work that was
• 28:27
  Speaker 3: created by Thomas p alcaz Comma. The immortals included, specifically,
• 28:33
  Speaker 3: are an extended story treatment will stop there?
• 28:37
  Speaker 8: Right?
• 28:37
  Speaker 1: Do you know what he's referring to their the extended
• 28:40
  Speaker 1: story treatment.
• 28:43
  Speaker 14: Yes, I believe I do.
• 28:44
  Speaker 1: Okay, what do you believe he's referring.
• 28:46
  Speaker 2: To you'd be there are ten or eleven pages or
• 28:49
  Speaker 2: so of the story triff, which is telling you all
• 28:55
  Speaker 2: about what the story is about.
• 28:57
  Speaker 16: Mkay?
• 28:57
  Speaker 1: And are those the single space pages? Would and looking
• 29:00
  Speaker 1: at and Exhibits three and exhibit five.
• 29:04
  Speaker 2: Let me tariler what you were heard about.
• 29:05
  Speaker 1: First, you have the exhibit in friend of Yo Exhibits.
• 29:09
  Speaker 2: Three with the persons. Yeah, okay, this is a story treatment.
• 29:22
  Speaker 2: I mean, it is a story treatment. So this would
• 29:24
  Speaker 2: be either d one or a version of the one
• 29:27
  Speaker 2: that went to him.
• 29:28
  Speaker 3: Okay, And you don't know, uh, exactly what was sent
• 29:33
  Speaker 3: what mister Boyd sent with respect to the story treatment.
• 29:37
  Speaker 2: Well as far as say it's ten and story cheer
• 29:39
  Speaker 2: and I don't you wanna I'm lina be the long
• 29:41
  Speaker 2: one if you wanted the long one.
• 29:42
  Speaker 12: So if this is a.
• 29:46
  Speaker 2: If it's just like ten or so pages, then is
• 29:49
  Speaker 2: it'll probably be just like this?
• 29:51
  Speaker 1: Okay, we're similar and this is the story trigger and
• 29:55
  Speaker 1: Exhibit three.
• 29:56
  Speaker 2: Yeah, exactly, Sorry.
• 29:58
  Speaker 1: That's fine, it's partly my job there.
• 30:01
  Speaker 3: Yeah, okay, and then the next line is a partial
• 30:05
  Speaker 3: script which covers acts.
• 30:07
  Speaker 1: One and two.
• 30:09
  Speaker 2: I got it.
• 30:10
  Speaker 1: Okay, Uh do you know?
• 30:17
  Speaker 7: Uh?
• 30:18
  Speaker 1: Do you know what that means?
• 30:20
  Speaker 2: I think he's not really well versed in screenplays because
• 30:25
  Speaker 2: there's only two acts in the screenplay. So I think
• 30:29
  Speaker 2: he's just trying to be covering, to the best of
• 30:32
  Speaker 2: his words, describing it.
• 30:34
  Speaker 1: There's only two acts in your screenplays.
• 30:36
  Speaker 2: There's act one of that two basically again, yeah, in
• 30:40
  Speaker 2: theater you have basically two acts. In screenplays, you know,
• 30:44
  Speaker 2: Telegond has from my knowledge, two acts.
• 30:48
  Speaker 3: Okay, So is there anything to your knowledge in the
• 30:56
  Speaker 3: Mortal Script that mister Boyd did not send.
• 31:00
  Speaker 5: To Warner Brothers.
• 31:01
  Speaker 2: Nothing. I can't think of anything he wouldn't have sent. Okay.
• 31:04
  Speaker 2: He seems like he was very thorough, almost too thorough.
• 31:08
  Speaker 1: What do you mean by that?
• 31:10
  Speaker 2: Cause he was reaching beyond his means to describe it.
• 31:12
  Speaker 2: He was trying to fill in blanks that he didn't
• 31:14
  Speaker 2: know what he did include all the materials.
• 31:16
  Speaker 1: It looks like, okay, says a character guide sheet.
• 31:19
  Speaker 2: What is that? A character guide sheet? I believe he's
• 31:22
  Speaker 2: what he's referring to as a a character breakdown, which
• 31:26
  Speaker 2: you do in the theater also, so it would list
• 31:28
  Speaker 2: the roles, and it would list UH descriptions of each
• 31:31
  Speaker 2: of the.
• 31:31
  Speaker 17: Characters, and then a tape of the song suggested for
• 31:37
  Speaker 17: the opening closing credits, accompanied by a guide sheet explaining.
• 31:41
  Speaker 1: These several songs. Yes, kay, now is that the Alan
• 31:45
  Speaker 1: Parsons and the George Michael songs.
• 31:47
  Speaker 2: It would be Alan Parson's George Michael and Uh, I
• 31:52
  Speaker 2: believe it's called Mortals Transport was the working title for
• 31:56
  Speaker 2: the song I and Alan Grace composed, which was music
• 32:02
  Speaker 2: that we submitted along with those suggestive t for the
• 32:06
  Speaker 2: music to interplay between Act one and Act too, to
• 32:09
  Speaker 2: allow the odd audience the bridge between the two periods.
• 32:13
  Speaker 1: And you're not claiming that the the song that you
• 32:20
  Speaker 1: composed was infringed in the Matrix films.
• 32:23
  Speaker 2: Correct, We're still we're still exploring the music submission, the
• 32:28
  Speaker 2: music smission style, and the sounds of that piece definitely
• 32:34
  Speaker 2: have a somewhat similar, if not similar to I guess
• 32:42
  Speaker 2: to UH one of the Matrix films. UH inserts it's
• 32:45
  Speaker 2: very softly inserted. But I've noticed it now that my
• 32:49
  Speaker 2: attorneys haveing research in So, yes, I think the music
• 32:53
  Speaker 2: was the music I submitted in Allen Grace had composed
• 32:55
  Speaker 2: with me definitely was influential in the Matrix film.
• 32:58
  Speaker 1: Also, do you know which Watrix film?
• 33:07
  Speaker 2: Of course I was getting ill as I was watching
• 33:09
  Speaker 2: them and taking breaks, but I do believe that it
• 33:11
  Speaker 2: was when he tries to revive her or something with
• 33:16
  Speaker 2: his hand to start her hard again. I'm sorry, I'm
• 33:20
  Speaker 2: not a big fan of the film.
• 33:33
  Speaker 1: Hey, your script is quite violent, isn't it.
• 33:36
  Speaker 2: What I was doing was turning into art my experiences,
• 33:41
  Speaker 2: in part so by relaying that it was in a sense,
• 33:47
  Speaker 2: I don't know if the words cathartic, but in a
• 33:49
  Speaker 2: way to translate some of the pain and maybe give
• 33:55
  Speaker 2: hope to others. In part so, Yeah, there is violence
• 34:00
  Speaker 2: in there, and it does move me. The violence has
• 34:07
  Speaker 2: inserted in mine. I believe it is inserted. It's in
• 34:10
  Speaker 2: integral to the story to tell the story, not for
• 34:15
  Speaker 2: two of his.
• 34:15
  Speaker 4: Reasons at all.
• 34:27
  Speaker 1: Okay Uh.
• 34:29
  Speaker 6: Going back to mister Boyd's letter, it says, my clients
• 34:32
  Speaker 6: have previously submitted this work to several cable and regional
• 34:36
  Speaker 6: production studios. What cables in regional production studios had you
• 34:42
  Speaker 6: submitted the Immortals to?
• 34:43
  Speaker 2: I think what he's doing there? Is he simply referring
• 34:46
  Speaker 2: to naughtyas Entino's Is it Planet Video? I'm not sure
• 34:50
  Speaker 2: exactly what the phrase was, but I think sh he's
• 34:53
  Speaker 2: referring to that naughtiest company had seen the story.
• 35:00
  Speaker 1: Any uh? Had you sent it to any other?
• 35:02
  Speaker 2: I send it to Ned May even he's not a
• 35:04
  Speaker 2: cable he's a professor. And when the gallery finished, I'm sorry,
• 35:08
  Speaker 2: I might have no idea, I'm sorry, and.
• 35:13
  Speaker 1: Uh, any other cable or regional production studios as of
• 35:21
  Speaker 1: June twenty fifth, nineteen ninety three, not that I can
• 35:25
  Speaker 1: recall it all.
• 35:34
  Speaker 2: Uh.
• 35:34
  Speaker 18: And it says that those there had to finish that
• 35:39
  Speaker 18: sentence that you had previously submitted this work to several
• 35:42
  Speaker 18: cable and regional production studios with favorable responses.
• 35:48
  Speaker 1: What do you know what mister Boyd was referring to.
• 35:52
  Speaker 2: I think he's referring to Planet Video.
• 35:54
  Speaker 1: What was the response from Planet Video?
• 35:58
  Speaker 10: Bless you?
• 36:00
  Speaker 8: That's sure?
• 36:04
  Speaker 2: Mm, Planet Video, if I recall correctly, actually had some
• 36:11
  Speaker 2: kind of offer, but it was very very meager.
• 36:18
  Speaker 1: Was that offer?
• 36:19
  Speaker 5: In writing?
• 36:21
  Speaker 2: M I don't recall, I just recall an offer. It
• 36:25
  Speaker 2: didn't mean much to bless Y?
• 36:27
  Speaker 8: Is me, I can't.
• 36:42
  Speaker 3: Okay, mister Boyd sends this letter on or about June
• 36:46
  Speaker 3: twenty fifth, nineteen ninety three.
• 36:47
  Speaker 1: Actually, do you know whether this letter was actually sent?
• 36:50
  Speaker 2: Oh, he's absolutely sent. Yes, he made it certain to
• 36:52
  Speaker 2: me in several Warner rooms.
• 36:54
  Speaker 1: Okay, so mister Boyd told you it was sent.
• 36:57
  Speaker 2: He told me it was sent and it had been received.
• 37:00
  Speaker 2: Which did you see a receipt?
• 37:03
  Speaker 1: So he told you it was sent and had been received.
• 37:05
  Speaker 2: Yes, that's why he sent a certified letter. And then
• 37:11
  Speaker 2: what happened, for the best of my knowledge, sometime and
• 37:16
  Speaker 2: a little time had passed elapsed, And so I would
• 37:18
  Speaker 2: do what a writer would do, I believe, is to
• 37:21
  Speaker 2: a follow up call.
• 37:25
  Speaker 1: And you did a follow up called with whom I went.
• 37:28
  Speaker 2: By the basis of the information the executive has given me,
• 37:30
  Speaker 2: and contacted Diane Dallas.
• 37:37
  Speaker 1: And was that by the phone?
• 37:39
  Speaker 2: It was by phone?
• 37:41
  Speaker 1: And did you speak to miss Bellis?
• 37:42
  Speaker 2: I did speak to miss Bellis.
• 37:43
  Speaker 8: Okay.
• 37:44
  Speaker 1: What a miss Bellis told.
• 37:46
  Speaker 2: Is the best of my recollection. She told me that
• 37:49
  Speaker 2: she had been a receipt of the storage on the screenplay.
• 37:55
  Speaker 2: She said something to the fact that she did not
• 37:58
  Speaker 2: believe that anyone would be interested in a film involving Hitler,
• 38:08
  Speaker 2: I guess at that time, and but that she had
• 38:19
  Speaker 2: received the materials, and on that basis, in that discussion
• 38:29
  Speaker 2: I had, I obviously knew that my materials were received,
• 38:33
  Speaker 2: but I felt that the project was for all intent
• 38:35
  Speaker 2: and purposes, basically dead in the water at that point.
• 38:47
  Speaker 1: Did you take any notes of this meeting of this spells?
• 38:52
  Speaker 2: I honestly don't recall if I did. My my nature
• 38:55
  Speaker 2: is that I probably would. I mean, that's how I yeah,
• 39:03
  Speaker 2: I probably would have.
• 39:05
  Speaker 1: You looked for those notes.
• 39:08
  Speaker 2: I have turned over the materials we have to my attorney.
• 39:11
  Speaker 2: They could be within those notes. If I find any
• 39:17
  Speaker 2: of the materials, I'll certainly make them available. And of
• 39:21
  Speaker 2: course we're getting heard everything that as to all housecaping.
• 39:34
  Speaker 3: Uh alright, So you had this call of misspellas about
• 39:37
  Speaker 3: how long after June.
• 39:38
  Speaker 1: Twenty fifth together?
• 39:43
  Speaker 2: The general rule of thumb, for my understanding is that
• 39:46
  Speaker 2: you wait about two weeks. I believe I learned that
• 39:53
  Speaker 2: from screenwriting classes. Knowing myself, I would stick to that role.
• 40:02
  Speaker 2: So I would assume that two weeks later or so
• 40:04
  Speaker 2: I called her, so early to mid July that seems
• 40:09
  Speaker 2: to be mathematically correct.
• 40:18
  Speaker 5: Uh.
• 40:19
  Speaker 1: And then what else, if anything, did you do after
• 40:23
  Speaker 1: you spoke to as well?
• 40:25
  Speaker 2: Sure there was interest.
• 40:33
  Speaker 14: From Uh.
• 40:37
  Speaker 2: One of my roommates was working on a film with
• 40:45
  Speaker 2: the people that were doing in the water World. One
• 40:54
  Speaker 2: of the gentlemen on the film, she had related about
• 40:57
  Speaker 2: my screenplay and he asked to see it.
• 41:00
  Speaker 11: Uh.
• 41:02
  Speaker 1: And that's mister.
• 41:03
  Speaker 15: Fowler, I you know more than I do this wine,
• 41:05
  Speaker 15: I guess, yeah, okay.
• 41:07
  Speaker 1: So let's stick with Warner Brothers for a second run.
• 41:10
  Speaker 1: After you spoke to missus Ballas, did you do anything else?
• 41:14
  Speaker 3: Did you have any other communications with Warner Brothers regarding
• 41:17
  Speaker 3: your script?
• 41:17
  Speaker 2: I did? Okay? What was that? I believe it was
• 41:21
  Speaker 2: in ninety six when I enter around the time I
• 41:27
  Speaker 2: came out to work under Ellen Gear's direction. She'd ask
• 41:33
  Speaker 2: me to come out and be elite. In one of
• 41:35
  Speaker 2: her shows, said that she took one UCLA student gradd
• 41:40
  Speaker 2: student a year and launched her film career. And she
• 41:44
  Speaker 2: said she made a exception that year and took me
• 41:47
  Speaker 2: and said that she would launched my film career. I
• 41:51
  Speaker 2: did her show, I showed her my script, and I
• 41:59
  Speaker 2: don't rec whether it was under her encouragement. Or not.
• 42:01
  Speaker 2: But I did contact Diane Bellis again as I had
• 42:09
  Speaker 2: been I had seen or I had heard or seen
• 42:14
  Speaker 2: clips or something about Schindler's List and Swing Kids, and
• 42:25
  Speaker 2: was made aware that that included Nazi Germany, so I
• 42:30
  Speaker 2: thought there was a possibility Diane Bellis might then be
• 42:34
  Speaker 2: interested when considering what she had told me on the
• 42:37
  Speaker 2: phone that I had first submitted. I called Warner Brother's
• 42:42
  Speaker 2: offices and received U. Got with the secretary and asked
• 42:48
  Speaker 2: to speak to Diane Bellis if possible, and she asked
• 42:52
  Speaker 2: me who I was, and I said Thomas auld House,
• 42:56
  Speaker 2: and she said, did she go if she could vote me?
• 43:02
  Speaker 2: I waited a little bit on hold, and then thinking
• 43:04
  Speaker 2: this wasn't gonna go anywhere, because you know how many
• 43:08
  Speaker 2: calls is your studio has probably received from the scriptwriters.
• 43:12
  Speaker 2: The phone did then activate again, and it was Diane
• 43:16
  Speaker 2: Bella's and she began with the words to the effect of,
• 43:23
  Speaker 2: if not you're a exact quote, I remember who you
• 43:26
  Speaker 2: are next time s I was submitted through an agent,
• 43:31
  Speaker 2: so we're both protected, and it in the hindsight shirt.
• 43:38
  Speaker 2: But at the time it it just didn't it just
• 43:42
  Speaker 2: wrong sort of the non statement I believe she instructed
• 43:49
  Speaker 2: me to go ahead and submit it again since I
• 43:53
  Speaker 2: had told her what I had observed through an agent.
• 43:59
  Speaker 2: I believe she was so, you know, if we were
• 44:01
  Speaker 2: both protected again, she was redurating that.
• 44:06
  Speaker 14: And so from when I was.
• 44:08
  Speaker 2: Working a wheel Gear theater and having the encouragements from
• 44:13
  Speaker 2: Ellen Gear saying that you know, you know you have
• 44:17
  Speaker 2: star quality, You're going to make it in this business.
• 44:19
  Speaker 2: And she was also I'm a teacher at UCLA. She
• 44:23
  Speaker 2: was encouraging me. So I resubmitted my work in ninety
• 44:28
  Speaker 2: six to Warner Brothers.
• 44:34
  Speaker 1: And through you did.
• 44:37
  Speaker 2: I did it myself that time because it was already
• 44:40
  Speaker 2: clear it had been protected, and I had no reason
• 44:46
  Speaker 2: not to trust Warner Brothers. I respected the organization of
• 44:49
  Speaker 2: the time and and believed they would be forthright and
• 44:53
  Speaker 2: had cor expressed such interest before.
• 44:55
  Speaker 1: H Do you have any records of this second.
• 44:59
  Speaker 2: Some I know Ellen I may have shared with Ellen Gear.
• 45:07
  Speaker 2: I remember sending it into vanilla envelope. I don't know
• 45:11
  Speaker 2: if it's included in the notes I submitted. It's pretty
• 45:15
  Speaker 2: there's a lot of stuff we gave over.
• 45:18
  Speaker 1: Did you have did you include a cover letter?
• 45:21
  Speaker 2: I would, I would essentially I'm sure I would include.
• 45:24
  Speaker 11: A cover letter.
• 45:24
  Speaker 2: I would have to be.
• 45:29
  Speaker 1: Did you keep a copy of that letter?
• 45:33
  Speaker 2: I don't recall if I have a copy of the letter.
• 45:37
  Speaker 1: How did you send it?
• 45:39
  Speaker 2: I remember the vanilla envelope, I remember sending it. I
• 45:43
  Speaker 2: think it was regular mail. I was definitely pitching pennies.
• 45:56
  Speaker 1: And did you receive any response to the second submission?
• 46:00
  Speaker 3: I did not hear back, and Y, you said earlier
• 46:09
  Speaker 3: it was already clear that it had been protected.
• 46:11
  Speaker 2: What does that mean, Well, when it was submitted through
• 46:15
  Speaker 2: the attorney's boarding void with a certified letter that had
• 46:18
  Speaker 2: been received that The understanding I had at the time
• 46:24
  Speaker 2: was that, first of all, there was no reason for
• 46:27
  Speaker 2: me to doubt were brothers at the time, and I
• 46:30
  Speaker 2: felt that that established that it was my work obviously,
• 46:34
  Speaker 2: if its stated certified mail had submitted, and with the
• 46:40
  Speaker 2: other aspects that were part of that, such as the
• 46:42
  Speaker 2: notary and the registration of the writer's guilt and from
• 46:49
  Speaker 2: the copyright attorney, it told me. Y.
• 47:00
  Speaker 3: You also said you were explain to me what Ms
• 47:02
  Speaker 3: Bellis told you on the phone in nineteen ninety six,
• 47:08
  Speaker 3: and you said you started to say in hindsight, but
• 47:12
  Speaker 3: I don't think you finished that sentence.
• 47:13
  Speaker 2: What would can you read me back to context of
• 47:15
  Speaker 2: what I was saying.
• 47:16
  Speaker 1: You're like an answer.
• 47:17
  Speaker 3: You were explaining that Ms Bellis said, I remember who
• 47:20
  Speaker 3: you are next time submit through an agent, so we
• 47:22
  Speaker 3: were both protected.
• 47:23
  Speaker 1: And then you started to say in hindsight, oh.
• 47:28
  Speaker 2: I believe what I'm referring to. What I was referring to,
• 47:30
  Speaker 2: and it was not an intended statement to make. Obviously,
• 47:33
  Speaker 2: if I interducted in hindsight, that would probably be me
• 47:38
  Speaker 2: reacting to our current setting and conditions that I feel
• 47:42
  Speaker 2: my trust has been betrayed. Obviously, my life's work is
• 47:51
  Speaker 2: not under my name at this point, as far as
• 47:53
  Speaker 2: the public announce, it's in someone else's hands and done badly.
• 48:11
  Speaker 3: And after your nineteen ninety six call with Ms Bellis,
• 48:16
  Speaker 3: did you have any further.
• 48:17
  Speaker 1: Communications with Warner Brothers or anyone you interested to be
• 48:21
  Speaker 1: this I did.
• 48:22
  Speaker 2: You're so thorough. I'm sure you have a letter.
• 48:25
  Speaker 1: Well, why don't you tell me what let's have.
• 48:28
  Speaker 2: And you'll make sure I have the right date. I
• 48:31
  Speaker 2: believe it's center around nineteen ninety what was it, No,
• 48:35
  Speaker 2: maybe two thousand and one?
• 48:37
  Speaker 1: Tell you that, right, go ahead and tell me what
• 48:41
  Speaker 1: you're talking about.
• 48:43
  Speaker 2: It was actually the head of your legal department. I'm
• 48:45
  Speaker 2: not mistake in the PEMBLA Kersh, which is interesting.
• 48:52
  Speaker 1: And you contacted miss Kersh.
• 48:55
  Speaker 2: I contacted Warner Brothers after seeing Demolition Man.
• 49:06
  Speaker 1: Okay, so you went to see deml Do you see
• 49:08
  Speaker 1: Demolition Man in the theater?
• 49:11
  Speaker 2: I believe that was on it. W I saw part
• 49:14
  Speaker 2: of it on videotape. Again, I couldn't watch the whole thing.
• 49:18
  Speaker 5: Okay, it made me ill.
• 49:20
  Speaker 1: Alright, So you saw Demolition Man in part in part?
• 49:24
  Speaker 1: And then which and and why did you contact Warner Brothers?
• 49:29
  Speaker 2: I contacted Warner Brothers to inquire and also.
• 49:36
  Speaker 12: To question.
• 49:40
  Speaker 2: Whether there was any involvement with my screenplay. I guess
• 49:45
  Speaker 2: is would be the right answer.
• 49:50
  Speaker 3: What about Demolition Man caused you to contact Warner Brothers?
• 49:56
  Speaker 2: Well, the thing that stood out to me and Demolition
• 49:58
  Speaker 2: Man was the cryogenic I guess you'd call cryogenic use
• 50:04
  Speaker 2: of being stored and brought back.
• 50:07
  Speaker 10: Uh.
• 50:08
  Speaker 2: The protagonist is brought back to pursue the villain. Basically,
• 50:17
  Speaker 2: he's learning things through I don't recall everything from it.
• 50:24
  Speaker 2: I just remember that he had he had downloader learned
• 50:26
  Speaker 2: the information or something I think while in a cryjen state.
• 50:31
  Speaker 2: I'm not sure. I'm sure there were other elements too
• 50:41
  Speaker 2: that the I'm sure the letter made clear.
• 50:54
  Speaker 3: Now, is it your testimony that the concept of somewhat
• 51:00
  Speaker 3: being restored in a cryogenic state and then brought back
• 51:03
  Speaker 3: to pursue.
• 51:03
  Speaker 1: A villain is original to you?
• 51:05
  Speaker 9: No?
• 51:05
  Speaker 2: Certainly not.
• 51:06
  Speaker 1: Okay, So what is it about demolition Man that made
• 51:11
  Speaker 1: you think that it was somehow.
• 51:14
  Speaker 2: Related to your spirit? How wol did the letter you
• 51:16
  Speaker 2: ever bde me to look at him?
• 51:23
  Speaker 3: And you did?
• 51:24
  Speaker 1: You con so you sent a letter, right?
• 51:28
  Speaker 5: And then?
• 51:31
  Speaker 8: Uh?
• 51:32
  Speaker 1: And that letter was addressed to whom would you recall.
• 51:37
  Speaker 2: I I don't really recall if as to whom you
• 51:39
  Speaker 2: may concerned or not? Oh, I don't recall.
• 51:43
  Speaker 1: And then you heard back from an attorney.
• 51:47
  Speaker 2: Uh, if I'm not mistaken, I heard back from Kinda
• 51:50
  Speaker 2: kursh Okay.
• 51:52
  Speaker 1: And what did miss Kersh tell you? Was that any
• 51:54
  Speaker 1: writing or I'm sorry, I'm asking a bunch of questions.
• 51:57
  Speaker 2: All at the same time. It's okay, this is where
• 51:58
  Speaker 2: I'm talking about each other.
• 52:00
  Speaker 1: Was there was that?
• 52:02
  Speaker 2: Uh?
• 52:02
  Speaker 1: Did you receive a call or did you receive a letter?
• 52:05
  Speaker 2: I believe I received a call okay, which came first
• 52:10
  Speaker 2: the letter? Okay, I believe, And what did the letter say,
• 52:17
  Speaker 2: if I recall correctly, best of my knowledge was that
• 52:21
  Speaker 2: it would be looked into and they would get back
• 52:26
  Speaker 2: to me basically, okay.
• 52:36
  Speaker 1: And then you received a call.
• 52:39
  Speaker 2: Do I believe I did speak with her?
• 52:40
  Speaker 1: Okay?
• 52:41
  Speaker 16: Did you call her?
• 52:41
  Speaker 2: Did she call it? I think I followed up with
• 52:46
  Speaker 2: a call and thank her looking into the matter, okay.
• 52:52
  Speaker 1: And then what happened.
• 52:56
  Speaker 2: About if I'm not mistaken, a year later, I was
• 53:00
  Speaker 2: informed whether there was mail or or or on the phone,
• 53:03
  Speaker 2: at least there was a letter where I was informed
• 53:06
  Speaker 2: that nothing had been found. And I remember speaking to
• 53:13
  Speaker 2: hambl Up and thanking her for looking into it and
• 53:19
  Speaker 2: taking the time that could be and I didn't pursue
• 53:24
  Speaker 2: the matter further. I I trusted Warner Brothers at that
• 53:28
  Speaker 2: point that that was true.
• 53:33
  Speaker 1: And were these communications regarding.
• 53:38
  Speaker 19: Demolition Man UH the last communications you had with Warner
• 53:42
  Speaker 19: Brothers regarding UH the Immortal Script prior to the time
• 53:48
  Speaker 19: you thought this lawsuit.
• 53:49
  Speaker 2: There was definitely as before the lass and spot.
• 53:52
  Speaker 3: Unders understood between those communications and the lawsuit, did you
• 53:55
  Speaker 3: have any other communications with.
• 53:57
  Speaker 4: Warner Brothers.
• 54:00
  Speaker 2: Before the lawsuit. I can't recall any.
• 54:12
  Speaker 1: Now going back.
• 54:21
  Speaker 3: Just I wanna just close one a little loop on
• 54:23
  Speaker 3: your nineteen ninety three letter from mister Boyd's or other
• 54:29
  Speaker 3: than the return receipt that mister Boyd. Well, mister Boyd
• 54:37
  Speaker 3: told you it had been received from what you.
• 54:38
  Speaker 1: Would inferred that he received the receipt, Okay, did you
• 54:42
  Speaker 1: receive any other written confirmation of the receipt.
• 54:45
  Speaker 2: Of your script?
• 54:50
  Speaker 9: I did not.
• 54:51
  Speaker 2: It was the attorney had on the matter.
• 54:53
  Speaker 1: And do you know what other than that receipt he
• 54:55
  Speaker 1: would have received? He I'm sorry, let me ask, do
• 54:57
  Speaker 1: you know what other than that receipt he received?
• 55:01
  Speaker 2: I do not know if he spoke to them in
• 55:03
  Speaker 2: person or not. I just know that he did follow
• 55:05
  Speaker 2: the instructions that from this from what the executives said
• 55:09
  Speaker 2: to do.
• 55:10
  Speaker 3: So you don't know if he received a letter or
• 55:13
  Speaker 3: a phone call or anything correct I can recollect.
• 55:19
  Speaker 1: Have you made any efforts to contact mister Boyd or
• 55:22
  Speaker 1: this law.
• 55:22
  Speaker 2: Sing, Well, I did talk to mister Boyd.
• 55:28
  Speaker 4: S some point.
• 55:30
  Speaker 2: I did speak to him.
• 55:32
  Speaker 1: And what did he tell you?
• 55:33
  Speaker 2: You remembered who I was?
• 55:35
  Speaker 4: Okay?
• 55:36
  Speaker 2: He was interested in what was going on. He said
• 55:40
  Speaker 2: that he did remember sending it, if I recall correctly,
• 55:48
  Speaker 2: and that you'd be willing to speak on my hat.
• 55:54
  Speaker 1: Did you ask him whether he maintained any files?
• 55:58
  Speaker 2: I may have asked him to look at into it,
• 56:00
  Speaker 2: but I didn't ask him to to do anything that point.
• 56:05
  Speaker 2: When was this conversation, I couldn't give you an exact date.
• 56:09
  Speaker 2: It was after I believe it's when we follow a
• 56:13
  Speaker 2: suit h h h.
• 57:34
  Speaker 1: Alright, you were telling me about mister Fowler.
• 57:38
  Speaker 2: Mister fra Keith Tyller.
• 57:39
  Speaker 1: I believe mistake this, okay? And who was Keith Fower?
• 57:42
  Speaker 2: If I'm not mistaken?
• 57:44
  Speaker 11: I believe he was the.
• 57:47
  Speaker 2: Gentleman who was in charge of I guess the sound
• 57:50
  Speaker 2: department on the film Wanner World. And I believe that
• 57:53
  Speaker 2: was Universal Studios.
• 57:57
  Speaker 1: And how did you come to meet mister Fowler?
• 58:00
  Speaker 2: My one roommate who was working with him, I guess
• 58:06
  Speaker 2: at the time on the film had shared with him
• 58:12
  Speaker 2: about my particular screenplay.
• 58:15
  Speaker 3: Kay, And.
• 58:24
  Speaker 1: Uh did you speak with this? Did you personally speak
• 58:27
  Speaker 1: with this rebel without the screenplay?
• 58:29
  Speaker 11: Yes?
• 58:30
  Speaker 2: I believe my dad, okay?
• 58:32
  Speaker 1: And what were the circumstances of that?
• 58:34
  Speaker 2: He asked to see at least a portion of it,
• 58:42
  Speaker 2: and did.
• 58:43
  Speaker 1: You provide that time my dad? Did you provide him
• 58:45
  Speaker 1: the whole thing?
• 58:46
  Speaker 2: No? At that time I didn't. I didn't feel it
• 58:49
  Speaker 2: was necessary. Why not? I had heard that in that
• 58:54
  Speaker 2: that in screenwriting class that if you're not doing a
• 58:59
  Speaker 2: submission official submission, sometimes it's better just to submit the
• 59:03
  Speaker 2: story treatment or maybe parts of the screenplay.
• 59:07
  Speaker 1: And when you see in screenwriting.
• 59:09
  Speaker 4: Class or.
• 59:12
  Speaker 2: I believe that would be the one at Regent University,
• 59:14
  Speaker 2: you ever seen me in university?
• 59:21
  Speaker 1: Do you recall what portions you provided to mister about.
• 59:27
  Speaker 2: I believe I sent Act one to him.
• 59:32
  Speaker 1: And in your view, where what is the dividing line
• 59:34
  Speaker 1: between Act one and Act two?
• 59:37
  Speaker 2: Act one and O two is significantly divided by the music?
• 59:40
  Speaker 2: I submitted to Warner Brothers that that interlude is a
• 59:43
  Speaker 2: is a transitional scene that divides Act.
• 59:45
  Speaker 11: One in Doc two.
• 59:46
  Speaker 1: In my mind, in terms of the story, where does
• 59:48
  Speaker 1: Act one and then act to begin?
• 59:50
  Speaker 2: Act one would be after Jim For the New York character, basically,
• 59:57
  Speaker 2: Jim loses his daughter and is left without anything after
• 1:00:03
  Speaker 2: he's brought back in the future, are are to revived
• 1:00:08
  Speaker 2: from the cryogenics and goes to look up his daughter
• 1:00:11
  Speaker 2: and his daughter dies in his arms. That's the the
• 1:00:15
  Speaker 2: act one okay. Act two we joined him in the
• 1:00:18
  Speaker 2: future with the interlude, and that leads us to the
• 1:00:21
  Speaker 2: train station scene that is used in Matris. Okay.
• 1:00:24
  Speaker 1: So the scene with Jim and his daughter, that is
• 1:00:31
  Speaker 1: itself in the future from the beginning.
• 1:00:33
  Speaker 2: It is a it's a sec It's just like this
• 1:00:36
  Speaker 2: tiny little portion that caps off Act one is not
• 1:00:40
  Speaker 2: a exponential chunk. It's just a little thing that ends
• 1:00:43
  Speaker 2: Act one where he's brought back, he's told he has
• 1:00:47
  Speaker 2: a new life. He goes and uh sees his daughter,
• 1:00:51
  Speaker 2: he loses everything, and then you have the interlude where
• 1:00:54
  Speaker 2: we go into the far future where it's left that's
• 1:00:58
  Speaker 2: like a hundred years or something in head or something.
• 1:01:00
  Speaker 2: It's it's like a jump ahead. And that's Act two.
• 1:01:04
  Speaker 1: Kay uh.
• 1:01:13
  Speaker 3: And you're you provided portions of the script to mister
• 1:01:18
  Speaker 3: Feller in ninety five secrect.
• 1:01:21
  Speaker 2: You probably would be been and I do, I don't
• 1:01:23
  Speaker 2: have it in.
• 1:01:23
  Speaker 15: Front of me.
• 1:01:25
  Speaker 2: And what happened He's he sent a l I believe
• 1:01:29
  Speaker 2: it was either a letter or he communicated that to
• 1:01:35
  Speaker 2: the fact that if Act too was as good as
• 1:01:37
  Speaker 2: Act one or the second half as good as the
• 1:01:39
  Speaker 2: first half, that they could do something with it and
• 1:01:44
  Speaker 2: wanted to see the second half?
• 1:01:46
  Speaker 1: Okay, and what did you do?
• 1:01:49
  Speaker 2: I didn't give it. I was still hoping that something
• 1:01:54
  Speaker 2: could be worked out with Warner Brothers at the time,
• 1:01:57
  Speaker 2: and in Loyalty don't Worner Brothers, I didn't go further.
• 1:02:02
  Speaker 2: I think I was seeking an opinion of the script.
• 1:02:09
  Speaker 20: Did you?
• 1:02:10
  Speaker 1: But you didn't make s an effort to reach out
• 1:02:12
  Speaker 1: to Warner Brothers at that point.
• 1:02:14
  Speaker 2: And well, if you're saying, what was going on if
• 1:02:16
  Speaker 2: I did?
• 1:02:17
  Speaker 1: In ninety six, who's Greg Maser?
• 1:02:32
  Speaker 2: Greg Maser is a very good friend of mine from
• 1:02:35
  Speaker 2: childhood and is also a writer.
• 1:02:45
  Speaker 1: And what connection does mister Maser have to do mort
• 1:02:49
  Speaker 1: the script?
• 1:02:51
  Speaker 2: Greg was working out in California. I think he had
• 1:02:54
  Speaker 2: done video or film acting and things. I always had
• 1:03:01
  Speaker 2: a dream of having ensemble or uh group of writers
• 1:03:05
  Speaker 2: that could create together, and so along that idea, I
• 1:03:12
  Speaker 2: thought it'd be fun to send copies of you know
• 1:03:17
  Speaker 2: what I had written and also engage him in other projects.
• 1:03:26
  Speaker 13: He uh.
• 1:03:29
  Speaker 2: Had received the one shairment of fact he had we're
• 1:03:32
  Speaker 2: still using floppy discs back then and brother word processors.
• 1:03:36
  Speaker 2: But he loved the story, was very encouraging, kept copies
• 1:03:49
  Speaker 2: of it as we developed other ideas. He UH shared
• 1:03:58
  Speaker 2: with his friends too that he thought this would definitely
• 1:04:02
  Speaker 2: UH amount to something and I was very excited about
• 1:04:07
  Speaker 2: the Mortal screenplay.
• 1:04:14
  Speaker 1: Is mister Maser still in California?
• 1:04:17
  Speaker 2: I believe he's relocated.
• 1:04:19
  Speaker 10: Do you know where I would have to?
• 1:04:21
  Speaker 2: I believe I have some old numbers for him.
• 1:04:23
  Speaker 3: I can probably used to track him down, and you
• 1:04:28
  Speaker 3: don't have any You don't It's not your contention that
• 1:04:31
  Speaker 3: mister Maser somehow was involved in.
• 1:04:37
  Speaker 1: In UH conveying the script to anyone involved in the matrix. Correct.
• 1:04:43
  Speaker 2: No, I'm not saying Greg Mazer submitted anything to Warren Brothers.
• 1:04:47
  Speaker 3: Kay, And you don't have It's not your contention that
• 1:04:51
  Speaker 3: mister Fowler conveyed any portions of your script to Warren Brothers.
• 1:04:56
  Speaker 2: Correct, to the best of my knowledge. And no, I
• 1:05:00
  Speaker 2: can't speak for mister Fowler.
• 1:05:26
  Speaker 1: And You've never had any direct communications with Joel Silver Correct.
• 1:05:32
  Speaker 2: I've never spoken with Jil Silver directly. No, you s
• 1:05:36
  Speaker 2: ever sent anything to mister silver Well. To answer that question,
• 1:05:41
  Speaker 2: I would I would believe that the submission by the
• 1:05:44
  Speaker 2: attorneys to Warner Brothers constitute a submission to Jil Silver.
• 1:05:48
  Speaker 1: And why do you say that.
• 1:05:50
  Speaker 2: Because Joel Silver, from one understand, is the one that
• 1:05:54
  Speaker 2: claimed he submitted the screenplay that became the Matrix.
• 1:06:00
  Speaker 1: And when you say, when you say the screenplay, you're
• 1:06:04
  Speaker 1: not talking about the Immortals. Correct that the the screenplay
• 1:06:08
  Speaker 1: that became the Matrix.
• 1:06:11
  Speaker 2: I believe he had possession of the Immortals screenplay.
• 1:06:18
  Speaker 14: At that time.
• 1:06:19
  Speaker 2: I believe he did have possession of it.
• 1:06:21
  Speaker 1: And what's the basis for that belief?
• 1:06:23
  Speaker 2: Because it was submitted through the turnings received. I was
• 1:06:27
  Speaker 2: told he was received. And you have a database that
• 1:06:30
  Speaker 2: anything submitted to ninety three by attorneys or agents goes
• 1:06:34
  Speaker 2: on that can be viewed, according to Stracea Wayne, by
• 1:06:38
  Speaker 2: anybody at Warner Brothers. So therefore I believed j All
• 1:06:40
  Speaker 2: Silver had access completely.
• 1:06:42
  Speaker 9: Okay, So I just.
• 1:06:44
  Speaker 1: Wanna make sure I understand. So it's your understanding that.
• 1:06:50
  Speaker 3: Your screenplay would have gone into a database and mister
• 1:06:54
  Speaker 3: Silver would have accessed that database and therefore had your screenplay.
• 1:06:58
  Speaker 2: Is that I'd say that's one of the scenarios that was, yes,
• 1:07:01
  Speaker 2: very plausible. I believe there could. The others do are
• 1:07:06
  Speaker 2: not privy to what those are at this time.
• 1:07:10
  Speaker 3: And you base that scenario on, uh, the testimony of
• 1:07:17
  Speaker 3: Teresa Wayne in the.
• 1:07:20
  Speaker 1: In the Sophia Stewart case.
• 1:07:23
  Speaker 10: Is that correct?
• 1:07:24
  Speaker 2: If you point out exactly where you're referring to, Okay,
• 1:07:27
  Speaker 2: I'm okay, I.
• 1:07:29
  Speaker 1: Didn't make him. Note. I'm looking at your UH media
• 1:07:34
  Speaker 1: information packet which we marked up. It's right to priva
• 1:07:40
  Speaker 1: uh as you did at six in the page.
• 1:07:43
  Speaker 3: And if you go right behind the void and void letter,
• 1:07:50
  Speaker 3: do you see there is a legal document in.
• 1:07:54
  Speaker 1: The case of Sophia Stewart versus Andy Wochowski at all?
• 1:07:59
  Speaker 2: Do you see that?
• 1:08:00
  Speaker 11: I do see that?
• 1:08:01
  Speaker 4: Okay.
• 1:08:01
  Speaker 1: Now my first question is where did you obtain this doc?
• 1:08:06
  Speaker 8: Here?
• 1:08:08
  Speaker 2: Min'srity order?
• 1:08:09
  Speaker 1: Okay, and that's Mr Rankin. Yes, okay, And UH, you
• 1:08:17
  Speaker 1: mentioned Teresa Wayne. Have you ever spoken to Teresa Wayne.
• 1:08:21
  Speaker 2: I haven't spoken to Teresa.
• 1:08:22
  Speaker 3: Say have you ever had any sort of communication direct
• 1:08:25
  Speaker 3: communication with Ms Wayne whatsoever?
• 1:08:27
  Speaker 2: No, I've known. Okay.
• 1:08:28
  Speaker 3: So, uh, if you turn the page to the next page,
• 1:08:32
  Speaker 3: there is a uh what is marked as page twenty
• 1:08:38
  Speaker 3: six where appears to be page twenty six of the
• 1:08:40
  Speaker 3: order that.
• 1:08:41
  Speaker 1: Begins on the previous page.
• 1:08:45
  Speaker 9: Uh.
• 1:08:47
  Speaker 3: And the there's a paragraph that begins online six, and
• 1:08:51
  Speaker 3: it says Teresa Wayne Warner Brothers, vice President.
• 1:08:53
  Speaker 1: Of Story and Creative Administration.
• 1:08:55
  Speaker 10: Do you see that.
• 1:08:56
  Speaker 1: I do see that, okay? And then there is some
• 1:09:00
  Speaker 1: information from in this order as to what mss Wayne
• 1:09:06
  Speaker 1: stated in the declaration. Do you see that?
• 1:09:08
  Speaker 2: What do you see that?
• 1:09:08
  Speaker 9: Okay?
• 1:09:09
  Speaker 1: Other than what you have read on this page.
• 1:09:11
  Speaker 3: Do you have any information concerning Warner Brothers uh uh
• 1:09:18
  Speaker 3: procedures for the handling of submitted scripts in nineteen ninety three.
• 1:09:26
  Speaker 2: Only from what the executive told me on the phone
• 1:09:28
  Speaker 2: and the instructure does to do which we follow the instructions.
• 1:09:30
  Speaker 1: Explicitly, okay.
• 1:09:31
  Speaker 3: So you have the the executive that you spoke to
• 1:09:34
  Speaker 3: when you were with mister Koca, who gave you instructions.
• 1:09:37
  Speaker 1: Correct, That's why they're said okay.
• 1:09:39
  Speaker 3: And he told you what n where to.
• 1:09:43
  Speaker 2: Send the script? Correct? He did, and here was an
• 1:09:45
  Speaker 2: exact address, okay.
• 1:09:47
  Speaker 3: And then any information that you have as to what
• 1:09:51
  Speaker 3: happened to that script after that comes from this page
• 1:09:55
  Speaker 3: and exhibit.
• 1:09:55
  Speaker 2: Six correct, aside from Diane Bella's.
• 1:09:58
  Speaker 1: Okay, and and your ca conversation with Diane Bellis.
• 1:10:01
  Speaker 2: Is that all?
• 1:10:02
  Speaker 1: Thank you? Let me rephrase my question.
• 1:10:04
  Speaker 21: Then you have your conversation with Diane Bellis that you've
• 1:10:07
  Speaker 21: already testified to correct, and you have this page and
• 1:10:12
  Speaker 21: Exhibit six that summarizes or purports to summarize Teresa Wayne's testimony.
• 1:10:19
  Speaker 3: Other than those two pieces of information, do you have
• 1:10:21
  Speaker 3: any other information as to the manner in which Warner
• 1:10:26
  Speaker 3: Brothers handled scripts in general?
• 1:10:29
  Speaker 1: In nineteen ninety three we're in part Pediler kursh Okay,
• 1:10:33
  Speaker 1: she comes later, doesn't she?
• 1:10:36
  Speaker 3: Okay, we're talking about in nineteen ninety three when you
• 1:10:39
  Speaker 3: submitted your script. Do you have any information, any information
• 1:10:44
  Speaker 3: other than this Bellus and this page from Judge Morrow's
• 1:10:49
  Speaker 3: order in the Sophia Stewart case concerning what the manner
• 1:10:54
  Speaker 3: in which Warner Brothers handled submitted script.
• 1:10:57
  Speaker 7: I'm sorry, you're doing.
• 1:10:58
  Speaker 2: A tactic I've read aboutlish effective.
• 1:11:00
  Speaker 1: You're leaning in where I'm using my trend of thought.
• 1:11:03
  Speaker 2: Okay, it works effectively thought.
• 1:11:06
  Speaker 1: I'm just trying to figure.
• 1:11:06
  Speaker 15: Out O this thing.
• 1:11:07
  Speaker 2: It it makes you, It makes me look at you,
• 1:11:10
  Speaker 2: and I'm judging your performance rather than listening to the statement.
• 1:11:13
  Speaker 2: I'm trying not to, so I'll listen.
• 1:11:16
  Speaker 3: Go ahead, okay, just deep rephrase you had a conversation
• 1:11:19
  Speaker 3: with Dian Bellis in nineteen ninety three.
• 1:11:21
  Speaker 1: You had a conversation with Diane Bella's correct. Yes, that's correct.
• 1:11:25
  Speaker 3: And you've testified to everything you can remember about that conversation,
• 1:11:28
  Speaker 3: correct to the best amodalente.
• 1:11:30
  Speaker 5: Okay.
• 1:11:31
  Speaker 1: And then we'll throw ms Kurr.
• 1:11:33
  Speaker 22: You've ha you had.
• 1:11:34
  Speaker 1: Communications with Ms Kersh.
• 1:11:36
  Speaker 2: Yes, I am kay, and those.
• 1:11:38
  Speaker 3: Came later, but they can they slow down. They concerned
• 1:11:41
  Speaker 3: the script that you submitted in nineteen ninety three.
• 1:11:44
  Speaker 1: Correct, that's correct, okay.
• 1:11:46
  Speaker 4: And and you've.
• 1:11:47
  Speaker 3: Testified to everything you can remember about those communications, correct.
• 1:11:52
  Speaker 2: To the best of my knowledge this particular time. Yes,
• 1:11:55
  Speaker 2: I mean if other things occur on so everything out, okay.
• 1:11:59
  Speaker 23: And and then you have you mentioned mss Wayne, Yes, okay,
• 1:12:06
  Speaker 23: and aer your understanding of what Miss Wayne testified to
• 1:12:11
  Speaker 23: comes from this page that we're looking at.
• 1:12:14
  Speaker 2: In Exhibit six.
• 1:12:14
  Speaker 1: Correct, that's correct, your testimony.
• 1:12:16
  Speaker 3: You don't have any other information concerning this what mss
• 1:12:20
  Speaker 3: Wayne said other than what you see on this page.
• 1:12:23
  Speaker 1: Correct, that's correct.
• 1:12:25
  Speaker 15: Okay.
• 1:12:25
  Speaker 3: In fact, you haven't read Ms Wayne's declaration from which
• 1:12:29
  Speaker 3: Judge Morrow obtained this description.
• 1:12:32
  Speaker 1: No, I haven't read her declaration, okay, would be interesting,
• 1:12:35
  Speaker 1: and you've never spoken to her.
• 1:12:36
  Speaker 5: Correct?
• 1:12:37
  Speaker 2: No, I haven't spoke her to Okay.
• 1:12:41
  Speaker 3: Now, and so your information for about the Warner Brothers
• 1:12:51
  Speaker 3: database comes from this page that we've been looking at,
• 1:12:54
  Speaker 3: maybe of a six correct, that's correct, okay. And it
• 1:12:58
  Speaker 3: is your understanding of the Warner Brothers database based upon
• 1:13:03
  Speaker 3: this page and exhibit six that you believe is how
• 1:13:08
  Speaker 3: mister Silver accessed your script.
• 1:13:10
  Speaker 1: Correct, not entirely known.
• 1:13:12
  Speaker 2: I believe this is one way that it was done
• 1:13:15
  Speaker 2: and would be done on UH any day he could
• 1:13:17
  Speaker 2: look at it. The statement is very very clear, probably
• 1:13:23
  Speaker 2: the refew mississ Sophia Stewart's claim, but it's very very
• 1:13:26
  Speaker 2: clear that this makes it available to anybody in the
• 1:13:31
  Speaker 2: story department at Warner Brothers on a daily basis. So
• 1:13:34
  Speaker 2: that alone is very strong. But beyond that, No, there
• 1:13:38
  Speaker 2: are other ways also that Jill Silver could obtain that letter.
• 1:13:41
  Speaker 11: And what are those? UH?
• 1:13:43
  Speaker 2: Through Diane Bellis through the submission. I think he would
• 1:13:48
  Speaker 2: be aware of what's coming in that would actually reach
• 1:13:52
  Speaker 2: the desk of one of your top people. UH instructed
• 1:13:57
  Speaker 2: by an executive to submit. I don't believe that would
• 1:13:59
  Speaker 2: be all under the radarifrgial Silver.
• 1:14:03
  Speaker 1: And why do you h what do you base uh
• 1:14:07
  Speaker 1: your belief?
• 1:14:08
  Speaker 2: Well, it was made into your screen flight after I
• 1:14:10
  Speaker 2: I submitted, or made into the film.
• 1:14:15
  Speaker 1: So the fact that the matrix is similar to the
• 1:14:22
  Speaker 1: j I'm sorry, there's a right that.
• 1:14:23
  Speaker 3: You're uh, you're looking at the similarities between the matrix
• 1:14:31
  Speaker 3: and the immortals as evidence that mister Silver access to.
• 1:14:37
  Speaker 5: Your your script. Correct.
• 1:14:38
  Speaker 2: I'm looking at the ponderance of evidence that suggests nominally
• 1:14:42
  Speaker 2: the similarities, but the timeline, which is just unbelievable that
• 1:14:48
  Speaker 2: the submission occurs in June nineteen ninety three, and then
• 1:14:53
  Speaker 2: that same year afterwards and the following year these events
• 1:14:58
  Speaker 2: unfold were suddenly it's being brought into production after the
• 1:15:03
  Speaker 2: executives said they are gonna make it. So I believe
• 1:15:07
  Speaker 2: your timeline is quite talent. Along with not only the timeline,
• 1:15:12
  Speaker 2: your database, not only your database, the similarities which are
• 1:15:16
  Speaker 2: I believe about a hundred and sixteen different entries. Along
• 1:15:20
  Speaker 2: with Diane Bellas, along with Pamela Curse saying that she
• 1:15:26
  Speaker 2: did look into it. She looked at something and on
• 1:15:29
  Speaker 2: the basis that, so I believe there's multiple things even
• 1:15:33
  Speaker 2: on the We're gonna continue to discover that the screenplay
• 1:15:37
  Speaker 2: was uh accessed and utilized by Jill Silver.
• 1:15:40
  Speaker 3: Kay, But right now you've told me the timeline, the database,
• 1:15:46
  Speaker 3: the similarities Diane Bellis, and what you learned from Dian
• 1:15:49
  Speaker 3: Bellis and what you learned from Pedala Kersh.
• 1:15:51
  Speaker 1: And that's what you right now.
• 1:15:53
  Speaker 3: Are basing your your belief that mister Silver had access
• 1:15:57
  Speaker 3: to your script.
• 1:15:58
  Speaker 2: Correct. At this point, I wouldn't contain it at all.
• 1:16:00
  Speaker 2: I'm leaving it open to further discovery cause we're just
• 1:16:04
  Speaker 2: now approaching it. And as I'm saying the elements I've
• 1:16:11
  Speaker 2: described the timeline, things like that, it's it goes.
• 1:16:15
  Speaker 24: Beyond access question of access, it goes beyond it's mind
• 1:16:24
  Speaker 24: boggling basically, how much.
• 1:16:26
  Speaker 25: How how tight the timeline is, how similar the screenplays are,
• 1:16:30
  Speaker 25: how Jill Silver was so involved and suddenly released right.
• 1:16:36
  Speaker 2: Before as revile. I mean, that's it's it's kind of
• 1:16:42
  Speaker 2: silly to even any with im a hoornary question say
• 1:16:47
  Speaker 2: that there's a lot to it, and we'll keep discovering
• 1:16:49
  Speaker 2: more and more. So I won't live it in any capacity.
• 1:16:54
  Speaker 1: I think this would be a good time for reach
• 1:16:56
  Speaker 1: train any what sort.
• 1:16:58
  Speaker 2: So that's good, Well, thank you.
• 1:17:00
  Speaker 1: When we are the record at one o five pm.
• 1:17:05
  Speaker 1: What would you like? Well them would you like it?
• 1:17:10
  Speaker 3: What's using around to the downstairs? All the way downstairs?
• 1:17:15
  Speaker 3: When they redid this whole thing got really good? Oh okay,
• 1:17:18
  Speaker 3: So there's a Mendocino Farms down there.
• 1:17:20
  Speaker 2: That's fun.
• 1:17:21
  Speaker 1: The uh what one min forty five minutes is great.
• 1:17:24
  Speaker 3: I can really recommend the Medcina Farms, which is awesome
• 1:17:29
  Speaker 3: and don't worry if there's a line or roots, but
• 1:17:32
  Speaker 3: it's the best sandwiches in camp.
• 1:17:33
  Speaker 1: And then also there's a place called Flying Pig that is.
• 1:17:36
  Speaker 3: These really awesome rice bowls and uh stuff. But all
• 1:17:41
  Speaker 3: of the places are pretty good.
• 1:17:43
  Speaker 2: Down there, cause it's like I can pay have anything
• 1:17:45
  Speaker 2: vegetarian they do?
• 1:17:47
  Speaker 1: They have a uh they have they have tofu with
• 1:17:52
  Speaker 1: some sort of to food.
• 1:17:52
  Speaker 11: That I don't think.
• 1:18:02
  Speaker 2: How would you more about the doctor n a person
• 1:18:08
  Speaker 2: who thank you for take you.
• 1:18:18
  Speaker 1: Something about.
• 1:18:34
  Speaker 16: Kame?
• 1:18:36
  Speaker 1: You can't start it out?
• 1:18:37
  Speaker 2: You said, now God's true?
• 1:18:45
  Speaker 4: How uh.
• 1:18:48
  Speaker 8: About that.
• 1:19:07
  Speaker 10: Fine work?
• 1:19:08
  Speaker 1: Sister a little fourteen?
• 1:19:21
  Speaker 7: Well you should bathroom first, much.
• 1:21:47
  Speaker 13: Okay, I'm not in a hurry, so I'm pretty from
• 1:21:49
  Speaker 13: me that I'm not.
• 1:22:02
  Speaker 10: So basically, they do everything.
• 1:22:04
  Speaker 20: Soation later you were, so you were in the deposition.
• 1:22:20
  Speaker 14: I'll address it to the expect to spelled up to
• 1:22:23
  Speaker 14: the definition.
• 1:22:30
  Speaker 10: They are saying, uh, the weapons stuff. We didn't talk here,
• 1:22:35
  Speaker 10: but they any Paris say that they know they know
• 1:22:38
  Speaker 10: everything that we're doing.
• 1:22:39
  Speaker 26: Anything we do, they get it, they keep it. I
• 1:22:43
  Speaker 26: didn't see that either. You never seen this packet, so
• 1:22:48
  Speaker 26: I'm sure I said, go ahead and see it.
• 1:22:50
  Speaker 4: Would you want to do.
• 1:22:53
  Speaker 10: Whatever you say?
• 1:22:54
  Speaker 14: Going I am.
• 1:22:56
  Speaker 10: I mean, it's thorough, it's brilliant. It's absolutely mind bottling.
• 1:23:01
  Speaker 10: The guy's a genius. And if we got people like.
• 1:23:04
  Speaker 8: That, who's that?
• 1:23:08
  Speaker 10: Eric is the guy from Stanford. He's a standard graduate.
• 1:23:12
  Speaker 2: So he's just gonna ask you all about this.
• 1:23:14
  Speaker 10: I will answer abilities to the so and it does
• 1:23:18
  Speaker 10: have the she's gonna ask you what right? They know everything?
• 1:23:21
  Speaker 8: That's the thing.
• 1:23:22
  Speaker 10: They know everything, which is fine, Yeah, we can go
• 1:23:24
  Speaker 10: on plasis. They know everything.
• 1:23:28
  Speaker 13: It changes my strategy a little, and that's okay.
• 1:23:31
  Speaker 2: We can talk about that, right.
• 1:23:34
  Speaker 13: So fine, it kind of removes my my sword.
• 1:23:39
  Speaker 2: This is a surprise sword or whatever.
• 1:23:40
  Speaker 11: Yeah, it's okay.
• 1:23:42
  Speaker 10: I think we're doing a good job. And I think
• 1:23:44
  Speaker 10: that we're well, yeah, you're seeing a.
• 1:23:46
  Speaker 13: Good job, right, you're doing a good job. Let me
• 1:23:49
  Speaker 13: point out something. Because of this, I think it's okay
• 1:23:57
  Speaker 13: for you to just answer freely what you know about
• 1:24:01
  Speaker 13: the the matches?
• 1:24:03
  Speaker 10: You know? I mean, okay, basically stick with the idea.
• 1:24:07
  Speaker 13: We'd put everything. I put everything in the complaint. I
• 1:24:10
  Speaker 13: don't think she really can get around the most of it.
• 1:24:12
  Speaker 13: She did the next thing, but then she's kind of
• 1:24:14
  Speaker 13: abandoned it. But if she gets back to.
• 1:24:17
  Speaker 22: That, say, you know, you can go ahead and say,
• 1:24:19
  Speaker 22: to the extent, it's too that you know whatever we detected, Uh,
• 1:24:23
  Speaker 22: with my attorney and me, we put it in the complaint.
• 1:24:26
  Speaker 2: I don't know that I have anything to add. Right,
• 1:24:28
  Speaker 2: she asks you a very specific.
• 1:24:30
  Speaker 13: Question, like about a certain matches, I guess I think
• 1:24:35
  Speaker 13: she's almost pretty parly sick. Where'd you find this information?
• 1:24:38
  Speaker 2: You have affect?
• 1:24:42
  Speaker 22: And she'll say, we're in the filming at the pepside.
• 1:24:44
  Speaker 27: Tell her where it was. Okay, they already know it anyway,
• 1:24:47
  Speaker 27: It's like they know every they're very thorough. I'm very
• 1:24:49
  Speaker 27: impressed by then that they know exactly what we have
• 1:24:52
  Speaker 27: and what we're doing. Yeah, so I conveyed that, but
• 1:24:55
  Speaker 27: that doesn't work against us.
• 1:24:56
  Speaker 4: I think I do.
• 1:25:15
  Speaker 14: What I'm gonna do is if you want to know,
• 1:25:18
  Speaker 14: I'll tell you later. Maybe I shouldn't tell you now.
• 1:25:21
  Speaker 14: I work forward.
• 1:25:23
  Speaker 2: I know it's a little bit talk about the we
• 1:25:25
  Speaker 2: can douk right, Well, all I wanna see Anthony was
• 1:25:28
  Speaker 2: the inter the or is what do you do you
• 1:25:30
  Speaker 2: want before you an to give depositions and then we'll.
• 1:25:34
  Speaker 13: Be What we're gonna do is this. We're gonna do
• 1:25:37
  Speaker 13: the request for production first and to find out what
• 1:25:41
  Speaker 13: they have, especially in terms of copies of the Immortals.
• 1:25:44
  Speaker 13: You've got to get me that copyright thing. If it
• 1:25:47
  Speaker 13: hasn't been ordered, I just.
• 1:25:48
  Speaker 10: Tranna tell the other day it's in your fold. Let
• 1:25:50
  Speaker 10: me show you in the folder I give you the
• 1:25:51
  Speaker 10: order for for it.
• 1:25:52
  Speaker 2: It hasn't been ordered, let me show you.
• 1:26:02
  Speaker 10: Cause I brought it specifically so you would have people.
• 1:26:06
  Speaker 14: Dis order, people fascinate.
• 1:26:08
  Speaker 2: It's order. It's on its way. Okay, right, let's do
• 1:26:14
  Speaker 2: the small title thing. I don't know.
• 1:26:17
  Speaker 10: It could be the uh music, it could be the
• 1:26:20
  Speaker 10: story treatment.
• 1:26:23
  Speaker 14: But the means of it, it takes you know.
• 1:26:25
  Speaker 10: That could We'll be able to tell you. But that's
• 1:26:27
  Speaker 10: what I's trying to show when the plane is that
• 1:26:29
  Speaker 10: you would do some money.
• 1:26:29
  Speaker 2: When it's very.
• 1:26:37
  Speaker 13: As a fressonal production response. But it almost sounds like
• 1:26:40
  Speaker 13: they're denying they have copies, But so we'll do.
• 1:26:44
  Speaker 10: You're kind of fish to make a to create that impression.
• 1:26:49
  Speaker 22: I don't like to speculate as much as you do,
• 1:26:51
  Speaker 22: So we'll just wait and see.
• 1:26:52
  Speaker 13: But I we get beat.
• 1:26:54
  Speaker 14: My strategy still is to get the.
• 1:26:57
  Speaker 13: Documents because that will affect what we ask skin the interrogatories.
• 1:27:01
  Speaker 14: Then we can do the interrogatories.
• 1:27:03
  Speaker 10: Are they gonna continue to delay giving you information?
• 1:27:06
  Speaker 13: They can't? There's time limits.
• 1:27:08
  Speaker 14: Alright, because they do, then we delay.
• 1:27:11
  Speaker 22: We can get a continuance all right based on that
• 1:27:14
  Speaker 22: of the deadlines, and then we have time to review
• 1:27:17
  Speaker 22: the interrogatory answers and the change. If we're gonna make
• 1:27:20
  Speaker 22: the inroditories very specific in detail, and I will need
• 1:27:23
  Speaker 22: to work closely with Sam and me on that because
• 1:27:26
  Speaker 22: we want to ask the brothers specifically now about a
• 1:27:30
  Speaker 22: lot of things we would have asked in the deposition
• 1:27:32
  Speaker 22: about where they got this and that and Thomas Anderson
• 1:27:36
  Speaker 22: and source material for all different I.
• 1:27:43
  Speaker 4: Because a random word the rand exactly right now.
• 1:29:12
  Speaker 15: Say it was a big like a baby.
• 1:29:24
  Speaker 1: Yeah yeah, she said you gonn take it off.
• 1:29:31
  Speaker 15: I'm like, that's what mess I thought it was.
• 1:29:37
  Speaker 4: It was.
• 1:29:44
  Speaker 9: Exclome all right away, Thank you, thank you, nay.
• 1:31:44
  Speaker 11: My day, see.
• 1:33:48
  Speaker 8: You lead.
• 1:34:30
  Speaker 12: Thank alright?
• 1:37:01
  Speaker 4: So what I do?
• 1:37:02
  Speaker 28: I choose like one of each vegetaball coops garn I
• 1:37:07
  Speaker 28: just say you get one of each a uh like
• 1:37:09
  Speaker 28: a good ball shop and gardens Direct?
• 1:37:16
  Speaker 13: Why do you have the too.
• 1:37:26
  Speaker 4: Names?
• 1:37:26
  Speaker 28: Can I get more than one vegetable?
• 1:37:28
  Speaker 5: Yeah?
• 1:37:29
  Speaker 28: Oh okay, okay, I'll come back. I'll just step checking
• 1:37:34
  Speaker 28: my outside.
• 1:38:56
  Speaker 4: Working.
• 1:40:00
  Speaker 9: Do you ever.
• 1:40:15
  Speaker 2: Have you?
• 1:40:17
  Speaker 13: Oh yeah, I'll.
• 1:40:20
  Speaker 28: Say tell out, uh the five rides? Does that have
• 1:40:24
  Speaker 28: any everyway y'all went all vegetarian? Does that have any meetings?
• 1:40:29
  Speaker 2: Oh?
• 1:40:30
  Speaker 28: Okay? Do they have any chicken box or anything like that?
• 1:40:35
  Speaker 11: Any good dust? Okay, okay, I'll.
• 1:40:40
  Speaker 28: Get the fried rice to the top food. Do you
• 1:40:43
  Speaker 28: what's start?
• 1:40:44
  Speaker 2: Is that? That's me too?
• 1:40:45
  Speaker 9: Right?
• 1:40:45
  Speaker 11: Oh?
• 1:40:46
  Speaker 2: Yeah?
• 1:40:47
  Speaker 13: That one meeting.
• 1:40:50
  Speaker 4: Black right?
• 1:40:51
  Speaker 28: Oh yeah, oh yeah, just the top food. Okay, I
• 1:41:06
  Speaker 28: get to choose to uh let's see you make it
• 1:41:12
  Speaker 28: the broccoli and.
• 1:41:20
  Speaker 8: The corn?
• 1:41:24
  Speaker 28: Wait can you bea though much wouldn't have done one part?
• 1:41:29
  Speaker 2: Okay? And uh.
• 1:41:33
  Speaker 1: Okay it's all.
• 1:41:34
  Speaker 28: Now could I try?
• 1:41:39
  Speaker 9: Uh?
• 1:41:40
  Speaker 22: Could I try?
• 1:41:41
  Speaker 11: Uh? The hold I right name here?
• 1:41:48
  Speaker 28: Let's fine take chili dog.
• 1:41:52
  Speaker 1: That time would get hot?
• 1:41:54
  Speaker 14: Yeah, okay, can you do that?
• 1:41:56
  Speaker 28: I think pan might have been a grot, like can
• 1:41:58
  Speaker 28: you give pan bet a been a gut? Uh park
• 1:42:00
  Speaker 28: and uh curry on the other part, may do that?
• 1:42:03
  Speaker 14: That screen theater?
• 1:42:12
  Speaker 8: Oh?
• 1:42:13
  Speaker 28: How many do I got?
• 1:42:16
  Speaker 10: Oh?
• 1:42:16
  Speaker 28: Yeah, okay, I went to good high and some uh
• 1:42:20
  Speaker 28: let it?
• 1:42:21
  Speaker 1: How many can I do?
• 1:42:24
  Speaker 3: And let it?
• 1:42:25
  Speaker 2: And uh?
• 1:42:26
  Speaker 28: None of the red ones y no, oh yeah a
• 1:42:32
  Speaker 28: little bit of that, but that's all not the.
• 1:42:34
  Speaker 2: Other red us.
• 1:42:36
  Speaker 28: And then if you're not would be good and uh
• 1:42:39
  Speaker 28: and nothing nothing? What's the thing bosted to you on?
• 1:42:46
  Speaker 4: Uh?
• 1:42:47
  Speaker 8: There?
• 1:42:49
  Speaker 14: What's gop one?
• 1:42:52
  Speaker 11: What is job?
• 1:43:00
  Speaker 28: Okay, I'll tide a loot it up?
• 1:43:05
  Speaker 5: Got how to do it?
• 1:43:27
  Speaker 8: It'll be eight that's the preaching nid Yeah.
• 1:44:07
  Speaker 2: Like that.
• 1:45:50
  Speaker 8: Nothing. Yeah, it's.
• 1:46:03
  Speaker 11: Like you.
• 1:46:09
  Speaker 4: And I I and you got to be.
• 1:46:29
  Speaker 11: Yeah.
• 1:46:31
  Speaker 8: Absolutely, Then.
• 1:46:39
  Speaker 9: I think it's like.
• 1:47:00
  Speaker 8: Something I know it's gonna.
• 1:47:02
  Speaker 16: Beat so I don't you try to.
• 1:47:07
  Speaker 8: Day and I want the present.
• 1:47:16
  Speaker 4: Mad?
• 1:47:17
  Speaker 12: Sup?
• 1:47:17
  Speaker 25: But yeah like.
• 1:47:27
  Speaker 8: Love ing nothing? Yeah yeah, I say it's like six
• 1:47:53
  Speaker 8: things it happen, maybe eight, I can't.
• 1:47:58
  Speaker 11: I never.
• 1:48:04
  Speaker 4: Then s.
• 1:48:50
  Speaker 8: Yeah that's a street yeah, not taculates.
• 1:49:47
  Speaker 12: A neighborhood doing.
• 1:50:34
  Speaker 9: I would.
• 1:50:41
  Speaker 8: That think, like.
• 1:51:01
  Speaker 25: Where the rest of kids going to place in this
• 1:51:03
  Speaker 25: neighborhood classif body self.
• 1:51:13
  Speaker 4: Include the last.
• 1:51:18
  Speaker 16: This places like.
• 1:51:21
  Speaker 1: You like even the ups and the.
• 1:51:25
  Speaker 25: Last so alvious maybe things about going or want to
• 1:51:29
  Speaker 25: see all the day.
• 1:51:30
  Speaker 11: Outside you a.
• 1:51:51
  Speaker 4: Lot of time.
• 1:51:55
  Speaker 2: Lay ye.
• 1:52:54
  Speaker 13: You know?
• 1:53:23
  Speaker 14: Well now it's Anthony.
• 1:53:56
  Speaker 2: I thought I had to tetu during your Lighte's take.
• 1:54:00
  Speaker 16: You get this message, you'll call me back.
• 1:54:01
  Speaker 29: I go in my life right from the deposition, and
• 1:54:06
  Speaker 29: I seen I'm gonna delicious all the rice and veggies.
• 1:54:12
  Speaker 29: Uh you sss music in the background and finding you
• 1:54:16
  Speaker 29: and run to say hi. And if it's nice to
• 1:54:19
  Speaker 29: you your woice on your home message at least okay?
• 1:54:22
  Speaker 16: Well, oh, by the way, doss, how's it's Christmas? For
• 1:54:28
  Speaker 16: four minutes to say after its not yourself?
• 1:54:31
  Speaker 2: They will not be around and all.
• 1:54:32
  Speaker 14: The season a united pas.
• 1:54:34
  Speaker 16: I like to talk to you, so I'm not gonna
• 1:54:37
  Speaker 16: mentioning this stuff because they won't be there. Okay, accident,
• 1:54:42
  Speaker 16: I won't see tomorrow. Say buy that, yeah, I.
• 1:55:17
  Speaker 1: Mean money.
• 1:55:30
  Speaker 2: Take it out.
• 1:55:34
  Speaker 8: Like that would be.
• 1:55:47
  Speaker 4: Listen Exist.
• 1:55:53
  Speaker 8: Six ninety nine. Fine you play two mine be there
• 1:56:14
  Speaker 8: lay the day and if you play the other one.
• 1:56:23
  Speaker 4: You know, flip.
• 1:56:30
  Speaker 12: Vide or.
• 1:56:32
  Speaker 8: Or the one pick a name like like like walking.
• 2:03:15
  Speaker 9: One s.
• 2:05:00
  Speaker 14: Oh full of rice and the bigies in topo.
• 2:05:08
  Speaker 2: Oh that's good. This is why I like as California's
• 2:05:10
  Speaker 2: had a kind of conscience. So yeah, so I prepared.
• 2:05:15
  Speaker 2: It was a good recommendation. Do the everyone else do
• 2:05:17
  Speaker 2: in the room. Yet just Tim. Tim's in there now.
• 2:05:23
  Speaker 2: So are you good to go?
• 2:05:24
  Speaker 11: Or you're good to go?
• 2:05:26
  Speaker 2: But my only hope is that we can that she's
• 2:05:29
  Speaker 2: sufficiently sounds like to wrap up today. If you come
• 2:05:31
  Speaker 2: out stint or come back? Can you you can you
• 2:05:34
  Speaker 2: say all right about today? All right? You got Dale
• 2:05:42
  Speaker 2: Button morning too.
• 2:05:43
  Speaker 8: Edition.
• 2:05:44
  Speaker 2: Dale Button is the he's so good. Uh, he's great
• 2:05:47
  Speaker 2: and he's perfect for the role. So we got Dale Button.
• 2:05:49
  Speaker 2: Bob Wills committed we might have Daniel Vickers. I don't
• 2:05:54
  Speaker 2: if you know him, but uh, Daniel Vickers is a
• 2:05:57
  Speaker 2: dot gym, So do you rarely get down to there
• 2:05:59
  Speaker 2: at about? Well, he has his own business. I think
• 2:06:02
  Speaker 2: it's higher practic and so uh uh to get him
• 2:06:06
  Speaker 2: would be uh a windfall. He'd be brilliant playing across
• 2:06:09
  Speaker 2: Bob Wills. So it looks like Bob Wills possibly Daniel
• 2:06:15
  Speaker 2: uh Dale for share. It looks like now there's some
• 2:06:19
  Speaker 2: other really good names too, But so we should get
• 2:06:22
  Speaker 2: a pretty good cast now, a really good cast. So
• 2:06:25
  Speaker 2: at least it's all excited to just say, yeah, where
• 2:06:28
  Speaker 2: you were. It's nice to have material going on right now.
• 2:06:32
  Speaker 2: That answers the question about you know or are you
• 2:06:36
  Speaker 2: doing anything? So when you actual using work, so that's good.
• 2:06:40
  Speaker 2: And to have it so timely, so that's nice. It
• 2:06:43
  Speaker 2: feels good. Yeah, I hope you can make it on
• 2:06:46
  Speaker 2: the show. Oh yeah, I won't miss it.
• 2:06:49
  Speaker 14: Give me the dates so I can write him down
• 2:06:50
  Speaker 14: right now. Quite show. I was seeing the last couple
• 2:07:04
  Speaker 14: and enjoyed them the last uh you pay place? Oh yeah,
• 2:07:12
  Speaker 14: uh there was a thrill.
• 2:07:13
  Speaker 10: It was a mystery.
• 2:07:14
  Speaker 14: Mystery. Uh you were uh you were kind of a enginew.
• 2:07:21
  Speaker 22: Uh boy, plenty of time.
• 2:07:26
  Speaker 14: Yeah, yeah, supo.
• 2:07:28
  Speaker 2: Show people were when you go like you the old
• 2:07:34
  Speaker 2: like people that was locked over people.
• 2:07:37
  Speaker 30: Yeah, better than oh I dressed up like a red
• 2:07:45
  Speaker 30: Yeah that was really sad off the chart well obviously, Yeah,
• 2:07:48
  Speaker 30: that was wild, surreal.
• 2:07:50
  Speaker 2: It doesn't even feel like it happened.
• 2:07:52
  Speaker 14: How bad.
• 2:07:52
  Speaker 2: That was like a b like a weird dream.
• 2:07:54
  Speaker 22: And I always remember you in Cabaret. That was brilliant
• 2:07:57
  Speaker 22: work Cabaret. Oh yeah, great, that's a great show.
• 2:08:00
  Speaker 2: Think that was I guest there? Yeah, no, you were,
• 2:08:05
  Speaker 2: you were You were so sinister in that part. It
• 2:08:07
  Speaker 2: was like the really different and you're not supposed to
• 2:08:10
  Speaker 2: get a grasp of who the character is.
• 2:08:12
  Speaker 22: Yeah, no, you did that one really well. I've seen
• 2:08:14
  Speaker 22: several versions of Cabaret stage in screen, of course, So
• 2:08:19
  Speaker 22: hang on, say April last two weekends? Did you say
• 2:08:21
  Speaker 22: the first two weekends? First two weekends? The more's at
• 2:08:28
  Speaker 22: the y uh uh. I love to see that, course
• 2:08:31
  Speaker 22: I will.
• 2:08:34
  Speaker 7: Yeah, you have a that was interesting course just like
• 2:08:37
  Speaker 7: once you could play it in the darkness, played.
• 2:08:45
  Speaker 14: Into an eyes.
• 2:08:50
  Speaker 2: Yeah that's right. Yeah, yeah, it was really interesting. Yeah,
• 2:08:56
  Speaker 2: very pleased with the production. Great cast. Is it real
• 2:09:00
  Speaker 2: shine or is it that one.
• 2:09:04
  Speaker 14: Can go interview?
• 2:09:08
  Speaker 10: So good? Okay?
• 2:09:12
  Speaker 2: You school?
• 2:09:20
  Speaker 14: Oh yeah, what do on home about extent you have?
• 2:09:24
  Speaker 2: You both have little boys that are waiting for us.
• 2:09:33
  Speaker 2: Did anyone ever insinuate this would go longer than a day? Well,
• 2:09:38
  Speaker 2: the only thing that I would say is that it
• 2:09:40
  Speaker 2: is the only experience I have is that it did.
• 2:09:45
  Speaker 22: Oh okay, Well, no, you're you're doing your part answering briefly,
• 2:09:49
  Speaker 22: not speculating much.
• 2:09:52
  Speaker 2: Well, I try to go with it as much as possible,
• 2:09:56
  Speaker 2: to be short as much as possible. Yeah, no, you're
• 2:09:59
  Speaker 2: doing a good job that ah way.
• 2:10:00
  Speaker 14: So therefore there's no reason it should extend further. We'll
• 2:10:03
  Speaker 14: just go into the night if we have to.
• 2:10:05
  Speaker 22: That's the that's how things are done, you see, all right,
• 2:10:08
  Speaker 22: especially if we've traveled for it.
• 2:10:10
  Speaker 2: You know, Oh I know, it's seriously the expenses, I
• 2:10:13
  Speaker 2: would watching that.
• 2:10:13
  Speaker 14: Well after to go to midnight.
• 2:10:15
  Speaker 22: If they need to do, we're gonna get it done today.
• 2:10:17
  Speaker 2: And she won't.
• 2:10:18
  Speaker 22: She's not going too far afield, like you know, for
• 2:10:21
  Speaker 22: example the pat robertson things.
• 2:10:23
  Speaker 14: She asks you if your questions and left it alone,
• 2:10:25
  Speaker 14: she's staying on track.
• 2:10:30
  Speaker 2: Why did would used to have just answered? And honestly
• 2:10:56
  Speaker 2: it's all sleep. Well, I didn't think it'll be nice
• 2:10:58
  Speaker 2: to lay down, especially if just a suit at that O.
• 2:11:04
  Speaker 8: Are you sick?
• 2:11:06
  Speaker 2: Oh I'm not sick.
• 2:11:07
  Speaker 14: Not so far enough?
• 2:11:09
  Speaker 2: Then will you have the communities to it? Was I
• 2:11:15
  Speaker 2: coughing or slayed?
• 2:11:17
  Speaker 14: You didn't keep an help neither?
• 2:11:23
  Speaker 2: What's really difficult how they don't for either the US?
• 2:11:26
  Speaker 2: Do you have to share a room with the guys? Hard?
• 2:11:28
  Speaker 1: Because of that?
• 2:11:29
  Speaker 2: Usually we make the more silence. Whatever? Have you guess up? Football?
• 2:11:50
  Speaker 2: Like Charlie Brown.
• 2:11:52
  Speaker 14: Yeah, you're a little contestant song right now? Sciences, Well,
• 2:12:36
  Speaker 14: let's pay if you end up meeting it very well.
• 2:12:39
  Speaker 2: Will take a break.
• 2:12:47
  Speaker 11: If I could do
• 2:12:57
  Speaker 2: Okay, this is the end of this one.