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Pretty soon Guy has slipped into the rhythm of answering phones (keeping lesser mortals on hold), fielding problems and catering for Buddy's every whim. However, he doesn't seem to have quite evolved the survival tactics which are necessary for co-existence with the predators. Occasionally Guy thinks for himself, a big mistake, and Buddy goes wild in front of everyone else. Dawn happens to be present during one of these bouts (she's pushing her script) and takes pity on Guy by inviting him out for dinner. Of course there's more to it than that - Guy has power, by being Buddy's gatekeeper, and Dawn needs his help if she's to contact Buddy. They hit it off together and start dating, at which point Guy becomes interested in her script 'Real Life'. In a risky move Guy persuades Buddy that this is the next big thing, and a sure-fire hit with hot young director Foster Kane (T.E.Russell) at the helm. Buddy allows himself to be convinced, not wishing to let the next block-buster slip away, and takes the idea to the head of the studio, Cyrus Miles (Roy Dotrice).
Cyrus loves the idea and it looks as though Guy's fortunes are on the rise, despite the appearance that Buddy is taking all of the credit. Dawn can see the trap quite clearly from her removed and more experienced viewpoint -- Guy is being used by a totally ruthless and amoral Buddy. Even though he's been paddling in the studio cesspit for over a year, becoming more than a little cynical himself, Guy can't see the problem. Dawn leaves because she either doesn't want to see him hurt or didn't really care for him anyway, it's not clear which. Meanwhile this past history has been punctuated by scenes from the present - Guy has kidnapped Buddy, in his own house, after finally snapping under the weight of degradation. The amazing thing is, Buddy can't see what he did that was so wrong!
The unabashed enthusiasm with which Hollywood turns upon itself and attacks, in the name of entertainment, receives a timely resurrection in Swimming with Sharks. The central topic of executives becoming ego-driven monsters with the level of influence that they can wield is applicable to areas far away from LA, and thus of interest to everyone. Given this it's surprising how much of a mess is made of the story, rendering it flat and unpleasant. The blame must lie with the direction, which fails to introduce the required level of tension, to contrast the light/dark sides of the film industry and to produce characters which we have any feelings for. The acting itself is generally reasonable (Spacey is particularly repulsive) but none of the characters have any redeeming features, so why would we care what happens to them? Ultimately they are all alike in their desire to achieve (nobody has friends, just convenient stepping-stones) and all equally dislikable. The depressing conclusion is that Swimming with Sharks could have been so much better, for there are plenty of worthy targets cruising Hollywood. Unfortunately all it has to offer is Spacey before his Usual Suspects and Se7en breakthrough roles.
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