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A battered 35mm movie camera stands alone on a wooden tripod surrounded by blackness. Opening credits begin. An almost imperceptible DOLLY in toward the movie camera. The dolly forward continues throughout the credits ending in an EXTREME CU of the camera's lens, filling the frame like a giant, glass full moon. Fade to BLACK. Suddenly a door opens directly in front of the camera, wiping the lens and revealing the following scene in Black and White. EXT. STREET. NYC. NIGHT A quiet, deserted industrial street. It is over an hour before dawn and the street is still cloaked in the heavy stillness of night. In the weak light filtering out of their battered van, BERT and CYBIL -- the Craft Service Managers, finish setting out breakfast supplies on a 6' table. They work in almost complete silence, both nearly paralyzed with sleep. A cheap walkie- talkie, lying beside a paper plate of soggy Oreos, sputters and buzzes occasionally. Other items on the table include a mangled banana, seven grapes, and a box of chocolate covered donuts. BERT What time is it? CYBIL Four. Why? BERT This milk is bad. CYBIL (sniffs) When did you buy it? BERT Tuesday? I don't know. What's today? CYBIL Monday. (pause) There's a deli on Broadway. BERT Nothing closer? CYBIL Nothing that's open. BERT (sniffs the milk) Is it that bad? CYBIL I don't know. You're the one who said it was bad. At that moment a large truck grinds around the corner and shudders to a stop in front of the building. Bert replaces the carton of milk neatly beside the orange juice. EXT. STREET. NYC. NIGHT. B/W Amid low, one-word greetings, the CREW tumbles out of the trucks and stands in a groggy cluster around the Craft Service table. WOLF -- the Cameraman, assumes a place of prominence. He wears a black leather coat, a black beret, and black leather half-fingered gloves. WOLF This is the worst fucking coffee I've had in my life. CYBIL Then don't drink it. GAFFER What're we doing today? WOLF (pulls out a wrinkled callsheet) "Interior. Living Room. Ellen talks to Mom." AC Any nudity? CYBIL Yeah, you have to take your fucking pants off. AC I'll do it. I like Ellen. GAFFER Yeah, she's a babe. She was the nurse in that Richard Gere movie. BERT I worked on that. AC The shower scene. WOLF Start with the 5K in the window. Run feeders for three blonds into the living room. GAFFER Two people. Sitting? Standing? WOLF Who fuckin' knows? GAFFER (walks off) "Ellen talks to Mom." INT. CAR. NIGHT. B/W NICOLE sits quietly in the back seat of a beat-up station wagon. She glances out at the empty city moving past her window and lets out a deep sigh. JEFF, the young intern assigned as her driver, glances into the rearview mirror. JEFF Tired? NICOLE No, I've been up since four. I've got a big scene today and I'm kind of nervous. JEFF "Ellen talks to Mom." NICOLE Have you read the script? JEFF No. It's on the callsheet. NICOLE Oh. Well, it's pretty emotional. I tell my mother I never felt she really loved me. JEFF You're going to yell at each other? NICOLE I don't know. I'm just going to go with how I feel. Which is the scary part. I'm very close to this character. JEFF Problems with your own mom? NICOLE Yes. But she died before I, well before we could reconcile... JEFF You were great in that Richard Gere movie. NICOLE Thanks. EXT. RESIDENTIAL HOTEL. NIGHT. B/W CU sidewalk. A pair of women's orthopedic shoes enter the frame and begin pacing. Camera pans up to reveal CORA, a small woman in her early 60s, pacing beneath the awning of her residential hotel. She appears to be rehearsing dialogue with herself. CORA Ellen, I have no memory of this whatsoever. Ellen... Ellen I have NO memory of this whatsoever. Jeff pulls the car up to the curb and Cora gets into the back seat. INT. CAR. NIGHT. B/W NICOLE Good morning, "Mom." CORA (gruff) Morning. NICOLE Sleep well? CORA Not a wink. Cora immediately lights a cigarette. Nicole instinctively wrinkles her nose and turns away. Cora notices this and makes an exaggerated effort to keep the smoke away from Nicole by blowing it hard out the side of her mouth. Jeff glances back at the two women in the rearview mirror. No one speaks. INT. SET. DAWN. B/W NICK -- the Director, WOLF -- the Cameraman and WANDA -- the AD, stand in a loose triangle on the darkened set. All are holding coffee cups. The Gaffer can be seen in the background fumbling with a light. NICK Look, I'm not blaming anybody, Wanda. I'm just saying we left last night and I knew we didn't get that scene. WANDA I'm sorry, I thought it was a great scene, Nick. NICK It was OK; and it's going to be alright. But I'm not settling for OK today. This is a big scene and I'm not leaving till we get it. WANDA Whatever it takes, Nick. We're here for you. NICK Alright, here's what I'm thinking. Wolf, I want to do the whole scene in one shot. WOLF It's been done. NICK I know that but I'd like to try it anyway. WOLF Handheld. NICK No, dolly. We go from Close-up to Wide-shot and back to Close-up in the same shot. WOLF I'll use the 35, minimize distortion; I'll light it all from the ceiling. It could be kind of great. WANDA Sounds incredible. How long, Wolf? WOLF I'll need to see a couple run- throughs. NICK Not too many. It's a tough scene for the actors. I want them to feel relaxed, fresh... WANDA We've got all day, Nick. Whatever it takes. What do you think, Wolf -- an hour, 45? WOLF I don't know how you drink that shit black, Nick. I got to dump in the milk. It's the only way I can cut the taste. Suddenly the Gaffer turns on the 5K, flooding the room with harsh, blinding light. NICK Jesus! WOLF What the fuck?! WANDA Flame on, asshole!! The screen goes completely WHITE. INT. SET APT. DAY. B/W Screen is still white. Gradually it shifts back to proper exposure revealing NICOLE in Medium CU. Her eyes are riveting; it is obvious she is emotionally primed for the scene. A light meter is thrust in front of her face. She barely registers it. WS, the entire Living Room set. Nicole sits on a sofa facing Cora seated opposite in an overstuffed chair. Two flats have been joined at right angles to create the Living Room corner. A table lamp and assorted framed photographs complete the rather scrawny looking set. Most of the movie crew is seen, including Wolf looking through the camera. WANDA OK, picture's up. Quiet. Stop the work. Lock it up. Going for picture. Nick approaches Nicole and Cora. NICK OK, nice and easy. Cora you're doing fine. Remember, really listen and really answer. (smiles at Nicole) I've got nothing to say to you. Just let it happen. It's all there. WANDA Ready, Nick? WOLF Look at this a second, Nick. Nick moves behind the camera and looks through the eyepiece. Another CU of Nicole fills the frame. The image is visually and emotionally breathtaking. WOLF I pushed in a foot. She's incredible. It's coming right through the lens. Nick grips Wolf's shoulder in gratitude. NICK That's great, man. Beautiful. WANDA Ready, Nick? NICK Let's go. Right away. WANDA And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take one. (hits the sticks) NICK Action. INT. APT. THE SCENE: TAKE 1. COLOR From the moment Nick calls "action" the film will cut directly to the shot the set camera is filming. The shot is fluid, graceful and in richly, beautiful COLOR. Nicole's performance is very strong; flawed only slightly by her nervousness. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. NICOLE You were just standing there looking at me. Then you pulled me up and said, "You're not hurt." Like I was disgusting for faking, for doing the only thing I could think of to keep him from hitting me again. CORA I was worried about Danny. NICOLE You do remember. CORA He was smaller than you. Nicole turns to Cora with the heartbreaking gaze of an abandoned child. Nick and the rest of the crew watch in awe. NICOLE You were so worried about Danny -- Suddenly the BOOM dips all the way into the shot. INT. SET APT. DAY. B/W WOLF Cut! Boom in. Sorry, I had to cut. Les, your boom was all the way in the shot. BOOM Well, where's the frame line? All the crew move around, all talking at once. WANDA OK, can we get a frame line? Hold it down. We're going again right away. Nobody moves. Les, you got the frame line? BOOM I guess so. WANDA OK, here we go. Right away. Picture's up. Nick approaches Nicole and Cora. NICK Beautiful; both of you. Stay focused. Stay with it. No big deal. Let's go, Wanda. Right away. WANDA Roll sound! SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take two. (hits the sticks) NICK And, action. INT. APT. THE SCENE: TAKE 2. COLOR NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I -- The image suddenly goes out of focus. INT. SET APT. DAY. B/W AC I'm sorry, I have to cut. I was completely off on the focus. It's my fault, I'm sorry. WANDA Thanks for the apology but you'll never work in this town again. (laughter) AC I've got it now. WANDA Here we go, right away. Lock it up. And roll sound... SOUND Speed! WANDA Roll Camera! AC Rolling! CLAPPER Scene six, take three. (hits the sticks) NICK And, action. INT. APT. THE SCENE: TAKE 3. COLOR The scene begins once again. Remarkably, Nicole's enormous commitment is just as full and sharp. Nick is in ecstasy. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. Suddenly a car stops right outside, a heavy, bass-driven rap song blasting out of its trunk-mounted speakers. INT. SET APT. DAY. B/W SOUND Street noise! WANDA That's a cut! (into her walkie) What the fuck's going on down there!? You call that a lock-up!? Get that car out of there! NICK Jesus Christ. Why doesn't the guy just get a flatbed trailer with about 600 speakers on it and tow it behind his car. Everyone nods in annoyed agreement; everyone except the Boom man who appears to be following the music with the mike, bopping to it through the headphones. Slowly, interminably, the music fades off into the distance. SOUND And... it's clear. WANDA (into her walkie) Do I have a lock-up? WALKIE (V.O.) kkkkkssst... sttttss yes. WANDA Is that a real lock-up? WALKIE (V.O.) ssssssssssssppppkkss. WANDA OK, right away. Picture's up. Roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take four. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 4. COLOR NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. NICOLE You were just standing there looking at me. Then you pulled -- Suddenly the BOOM drops into frame again. INT. SET APT. DAY. B/W WOLF Boom's in. NICK Jesus Christ. BOOM Where? WOLF The whole left side of frame, Les. WANDA Alright, can we please get a motherfucking frame line please?! BOOM The frame keeps changing. WOLF That's the idea, Les. SOUND May I make a suggestion? Is it possible to maybe break the shot down? Maybe two shots instead? Might make it easier for Les. NICK No. SOUND Then I need ten minutes to switch to radio mikes. WANDA Your call, Nick. NICK There won't be any other sound problems? SOUND No more boom problems. NICK Switch to radios. WANDA That's a ten-minute break. Release the lock-up. Stand by. WOLF (to the AC) Get me a coffee. Half milk. INT. SET APT. DAY. B/W Nick looks for Nicole but sees only Cora standing by the couch. Les has both arms up the back of her dress, running the wire to her radio mike. She's wearing stockings rolled down to just above her knees. Nick turns and spots Nicole by herself in a dark corner of the set and walks over to her. INT. SET APT. A CORNER. DAY. B/W NICK I'm sorry about all this, Nicole. NICOLE It's not your fault, Nick. Is there a way to use some of the earlier takes? NICK Not unless I change the shot; do a cutaway of Cora or something and intercut the takes. I don't want to do that. It's a really nice shot and what you're doing is incredible. NICOLE Thanks, Nick. NICK The radio mikes are going to make everything easier. So, look. Take a moment. Let all this shit go. We don't roll till you're ready. NICOLE OK. Nick moves back to the set, leaving Nicole in the shadows. Camera stays on her as she begins emotionally preparing herself once again. SCRIPT (V.O.) How was she in that Richard Gere movie? CYBIL (V.O.) So-so. Camera slips halfway through an open bedroom door, holding Nicole on one side of the frame while revealing PAM the Script Supervisor and CYBIL sitting on the floor smoking. Though separated by the wall, Nicole hears everything the two women say. SCRIPT Her career really took off, didn't it? CYBIL I saw her in a Michael Bolton video. SCRIPT She is nice; but I could do a better job. Camera slips into a CU of Nicole. She closes her eyes as the two women continue talking about her. Screen goes BLACK. INT. SET APT. DAY. B/W A BLACK scrim, held by the Gaffer, passes in front of the camera, revealing the set with Nicole and Cora settling in for a take. WANDA Where's that flag going? GAFFER It's a scrim. WANDA Wolf! WOLF Two seconds, Wanda. WANDA No. No more tweaking. Picture's up. (into her walkie) Lock it up! Wolf quickly motions Gaffer to hand-hold the scrim in front of the 5K. WANDA And, roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take five. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 5. COLOR Once again the scene begins. Nicole shows the first signs of losing her concentration. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory -- Suddenly there is a tremendous EXPLOSION sending bits of glass flying through the frame. Cora jumps, clutching her chest. CORA Oh, God! INT. SET APT. DAY. B/W CU the light the Gaffer had been holding the scrim before. It is smoking and shattered. NICK Jesus fucking Christ! WOLF (to the Gaffer) Kill it. Kill it. Pull the plug. Right there by your foot. WANDA That's a cut. Anybody hurt? Cora, are you alright? Cora nods wordlessly, gasping for breath. WANDA Props. Props! Let's get a broom up here right away. Clear the set! INT. APT. HALLWAY. DAY. B/W Nick, Cora, and Nicole stand in a corner of the landing. Nick is making obvious attempts to lighten the mood. NICK Well, let's see. What do you think is going to happen next, Cora? CORA I'm going to have a heart attack! NICK No, you're not. You're going in there in two minutes and we are really going to nail this scene. I know it. I have no doubt about it. Nicole... Nick turns to Nicole and stops in midsentence. He looks at her for a long moment. Nicole returns his gaze then suddenly looks away. WANDA (V.O.) Nick! Nick! NICK One second! Nick hesitates a moment then rushes back to the set. CORA I'll tell you this much right now; I am never, ever doing another fucking low-budget movie. INT. SET APT. DAY. B/W Nick joins Wanda and Wolf on the set couch and chair. NICK What's up? WANDA Wolf and I were talking... Ellen's losing it a little bit. You got three quarters of the scene really, really incredible in the first take. Do a quick cut-away and all you need is a pickup of the last part of the scene. NICK Wolf? WOLF You know how I feel; I love this shot. Hell, I designed it. NICK Then let's just stick with the game plan, OK? It's a simple shot. We're going to get it this time, I feel it. WANDA We're here for you, Nick. Whatever it takes. Nick moves off. Wanda stares at Wolf who studiously inspects his light meter. WANDA Thanks. INT. SET APT. DAY. B/W Camera is close on the black-and-white clapboard. Nicole's face can be partially seen behind it. WANDA And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take six. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 6. COLOR As the scene begins again, it is obvious that both actresses are completely distracted. Nick's face betrays a rapidly increasing anxiety. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA I... There is a long awkward pause as Cora realizes she can't remember her line. INT. SET APT. DAY. B/W NICK Cut. That's OK, Cora. What's the line? Just say it to me; no acting. CORA I... (pause) AC "Ellen, I have no memory of this line whatsoever." Amid general tittering from the crew, Wanda yells out. WANDA OK, could we get the line please?! Script! SCRIPT (Pam) "Ellen, I have no memory of this whatsoever." WANDA Thank you. And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take seven. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 7. COLOR The scene begins again. Nicole is lifeless; she's merely saying the lines. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway -- CORA I was worried about Danny! Nicole stops cold, completely thrown by Cora jumping her line. NICOLE I'm sorry, I'm lost... INT. SET APT. DAY. B/W NICK Cut. It's OK. No big deal. Nick's voice has the rigid tremble of someone barely able to keep from screaming. NICK Everyone relax. We're just going to run the lines. That's all. No acting. Just run the lines. Then we're going to shoot this fucking scene. INT. SET APT. THE COUCH. DAY. B/W Nicole gets up quietly and sits next to Cora on the couch, wordlessly taking her hand in hers. CORA (whispers) I'm so sorry. I'm fucking this up for you. NICOLE (whispers) Cora, don't even think that. You're doing great. I'm the one who's fucking it up. If I get through this I swear I'm never acting again. She means it. Cora glances up at her, seeing for the first time how pain and defeat have drawn the life from Nicole's face. On an impulse Cora reaches out and gently lifts a strand of Nicole's hair from her eyes. A sudden amazed alarm fills Nicole. The living room grows strangely quiet. NICK (faintly, from a distance) And, action on the run-through. CU Nicole. She looks quickly toward Nick in confusion. INT. HOSPITAL ROOM. DAY. COLOR DISSOLVE to a nurse moving quickly past the camera and out the open door of the hospital room. CU Nicole, seated on the edge of the hospital bed. Still confused, she looks down at the old woman lying in the bed. The woman's face is pale and drawn. As Nicole leans closer her mother reaches out and gently brushes a strand of hair away from her face. The gesture is one of love, acceptance, and farewell. It is identical to the one we have just seen Cora make to her. NICK (V.O.) And action on the run-through. INT. SET APT. DAY. B/W WS, the Living Room Set. Nick, Wanda, the rest of the crew standing quietly. Nicole glances over at Cora and instantly something unspoken and unexplained passes between them. The run-through begins. From the moment Nicole opens her mouth it is obvious there has been a remarkable change in her. Every word now has the stunning clarity of truth. Cora is completely engulfed in the moment. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. NICOLE You were just standing there looking at me. As Nicole continues, one by one the crew turn and watch this exquisite moment happening before them. Nick's face is lit with rapture. NICK (whispering) Roll camera... roll camera. He glances over and to his horror sees that no one is behind the camera. He whispers frantically to the AC. NICK Where's Wolf? AC (whispers) In the bathroom... he doesn't feel good. NICK (whispers) Get him! Get him! Nick turns back to the scene, watching its beauty now in agony. NICOLE Then you pulled me up and said, "You're not hurt." Like I was disgusting for faking, for doing the only thing I could think of to keep him from hitting me again. CORA I was worried about Danny. NICOLE You do remember. CORA He was smaller than you. NICOLE You were so worried about Danny. What about me, Mom? Why weren't you worried about me? There is a heavy, stunned silence as the scene ends. Nicole and Cora are in each other's arms. Pam and Cybil share a piece of tissue. CUT TO: an extreme CU of Nick. NICK Where the fuck is Wolf?!!! INT. BATHROOM. DAY. B/W In the cramped confines of the dingy basement bathroom, Wolf pukes violently into the toilet. His face is pale and slick with perspiration. His eyes look upward toward the sound of Nick yelling. WOLF One second! Wolf tries to continue but another spasm of nausea wrenches him back toward the toilet bowl. INT. SET APT. THE COUCH. DAY. B/W The set is quiet, subdued. Nick sits on the couch with Nicole and Cora. Wolf sits groggily behind the camera wiping the sweat from his face. Wanda addresses the crew. WANDA OK, listen up. Nobody drinks the milk downstairs. OK? It appears to be bad. Nick speaks uneasily to Nicole and Cora. He is a wreck and his insistent smile of encouragement looks absolutely demented. NICK I've had to, well I've changed the shot; we're just a little pressed for time. It'll just be a CU of Ellen for the last part of the scene, starting with Cora's "I was worried about Danny." OK? I'll find a way to cut this into the fourth take. We almost had it. That was unbelievable, both of you. But let's not think about it. That moment is gone, and... we'll, we'll get another one. I have no doubt about it. OK? Here we go. Nick walks over and stands beside the camera. INT. SET APT. BY THE CAMERA. DAY. B/W WOLF I'm ready, Nick. Nick is so angry he can't even look at Wolf. NICK Call it, Wanda. WANDA And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, Pickup, take one. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: PICKUP 1. COLOR The scene begins at the pickup point. Miraculously, both Cora and Nicole are just as concentrated and engaged as they were in the run-through. CORA I was worried about Danny. NICOLE You do remember. CORA He was smaller than you. NICOLE You were so worried about Danny. What about me, Mom? Why weren't -- In the middle of this final, delicate moment an insistent electronic beeping is heard. INT. SET APT. DAY. B/W NICK CUT!!!! WANDA What the fuck is that?! Sound? SOUND (frantically checking his equipment) It's not me. BOOM It's the camera. WOLF The fuck it is. It's off; it's not even running. The beep continues, growing louder. WANDA (into her walkie) What's going on down there?! Do I have a lock-up?! Nothing? You don't hear a beeping sound? (to Nick) The street's quiet. NICK Then what the fuck is it!!? AC It's somebody's watch! Everybody holds their watches up to their ears. WOLF Not mine. WANDA Not mine. SOUND Not mine. BOOM Not mine. And so on, until all watches have been checked with negative results. The beeping continues, growing louder and louder. Suddenly Nick loses it. He starts running around the set, ripping things apart, knocking over tables, lamps, chairs. He shoves Cora off the couch and whips off the cushions, heaving them against the wall with a startling violence. NICK Where is it!! You motherfucker! You cock-sucking motherfucking bastard! Where the fuck are you!? Where!! Where!! Everyone watches Nick demolish the set in stunned, open- mouthed amazement. Nick turns to the crew in rage. NICK Can someone help me please?! Do I have to do everything myself here?! Nick loses it completely. NICK Hey, Cora. Why don't you go learn your lines! Hey Scriptgirl, are you finally going to pay attention here?! Hey, focus puller, you want to make a movie or get stoned?! Huh, I got some great fuckin' Thai Stick here! Hey Wolf, you pretentious, beret- wearing motherfucker! I saw your reel, man; it sucked! Who the hell would hire you anyway! Hey Wanda, next time can you wear a shirt that's a little more distracting to my actors! (to the Gaffer) Hey Bob! Hi Bob! Can you please make a little more noise on the dolly you creaky motherfucker! (to Cybil) What is your name!? What do you fucking do around here?! (to the Soundman) Hey Speedo, what's the matter? Can't even find a teeny fucking beep?! CU of Nicole. She turns away, unable to watch anymore. The beeping continues. NICK See what I have to put up with, Nicole!? Maybe next time you'll do some of that magic on camera!? But no, no -- wait till Wolf is puking his guts out, "Oh now I'll be good!!" WS, the entire room. Nick's last word echoes throughout the silent set. Suddenly he stops in the center of the demolished set and lets out a long, wrenching scream. INT. BEDROOM. NIGHT. COLOR QUICK CUT TO extreme CU Nick's face, just as his eyes open. The film is in COLOR now. The room is in heavy darkness except for the light on Nick's face. Nick reaches over and shuts off his clock radio. The digital dial shows 4:00 A.M. The beeping finally stops. Nick turns on a light and sits up in bed, drenched in sweat and still breathing heavily. NICK God... (this is not a sigh of relief) The camera DOLLIES swiftly back away from Nick. He stares at it in stunned amazement. Just then a DOOR closes right into the lens turning the frame into complete BLACKNESS. Out of the BLACKNESS a door opens away from the camera revealing WANDA looking into her closet (the camera is inside the closet). From this point on, the rest of the film is in COLOR except where specifically indicated to be Black and White. INT. WANDA'S APT. DAWN She is wearing only a bra, black stretch pants, and cowboy boots. She rummages quickly through some blouses, selects the same garish one she wore in Part One, then walks away revealing WOLF sitting on the edge of the rumpled bed. He is dressed exactly the same as when we last saw him, complete with beret. He struggles groggily into his socks and boots. The entire apartment is in disarray. A bedside clock reads 4:13 A.M. WOLF Well, when did he ask you? WANDA Yesterday, when I was helping him check into his hotel. WOLF What, the guy can't even check into a hotel by himself? WANDA Listen, Wolf, having Chad Palomino in this movie will benefit us all. If being there when he checks into his hotel makes him feel better, then I'm happy to do it. WOLF Well, how did it come up? WANDA He asked me if I liked jazz, I said yes, and he suggested we meet tonight at a jazz club. WOLF I like jazz. WANDA He did not invite you. (applies perfume) WOLF Why are you wearing perfume to work? WANDA Because I feel like it. WOLF You didn't wear it yesterday. WANDA Oh, stop it. You're acting like a child. Wanda playfully swipes at Wolf's face with a negligee she is returning to the closet. It misses him completely. WOLF My eye! WANDA Oh, God. Sweetheart, are you alright? WOLF Do I look alright?! WANDA Let me see. Christ, we're going to be late. Wanda sits and perfunctorily examines Wolf's eye. INT. CAR. DAWN The car is parked outside a rather seedy hotel. JEFF, the Intern and NICK, the Director, sit quietly in the motionless car. NICK Should we call up to the room again? JEFF He said he'd be right down. Nick lets out a huge yawn. JEFF Tired? NICK I'm exhausted. I dreamt I was on the set all night. I was just trying to do one shot and everything kept going wrong. JEFF That's an anxiety dream. Are you anxious about something? NICK I don't know. Sometimes I wonder what the hell I'm doing in this business. It's all just one compromise and disappointment after another. I don't know if I have the personality for it. JEFF Sounds kind of like an identity crisis. NICK Maybe you're right. Who am I? What am I really capable of? Maybe I should just get a job teaching at a women's college somewhere. JEFF How'd you get into cinematography? NICK I'm not a cinematographer. JEFF You're not? NICK No. I'm directing this movie. JEFF (pause) How'd you get into directing? INT. HOTEL ROOM. DAWN In the dim light of the hotel room, CHAD PALOMINO dresses quickly. He is young, handsome, with long blond hair. A WOMAN sits nude on the bed, her back to the camera. The faint sound of a shower comes from the adjacent bathroom. PALOMINO They're waiting downstairs. WOMAN Go ahead, I'll take a taxi. PALOMINO Oh, OK. Listen, I've got to tell you, I had a lot of fun last night, really, but for me, where I'm at right now in my life, a relationship is... WOMAN Chad; hold it. This was a one-time deal. You know it, I know it. There is no need for melodrama. PALOMINO I just thought you might... WOMAN Look, all I ask is that you don't mention this to anyone. PALOMINO Hey, that's not my style. WOMAN Good. PALOMINO So, I'll see you on the set. Palomino slips out the door. The woman falls back onto the bed, turning her face toward the camera. We see it is NICOLE. NICOLE God damn it. She lies for a moment, listening to the sound of the shower. The bedside clock reads 4:30 A.M. INT. CAR. DAWN The car pulls up outside a NYC apt building. Jeff, Nick, and Palomino sit inside. PALOMINO I got two films coming up right after yours, Nick. One I play a rapist that Michelle Pfeiffer falls in love with. The other I'm kind of a sexy serial killer who shacks up with Winona Ryder. NICK That's great, man. PALOMINO Yeah, but I'm not into that hostess twinkie shit, Nick. NICK Hostess twinkie? PALOMINO That Hollywood shit. It's all fluff, man. These are the kind of movies I want to do, right here. NICK I'm glad you feel that way, Chad. And I just want to tell you, I'm really happy we can work together. PALOMINO Hey, me too! You're a great director, man. Your films are wacked! And I'm gonna be watching you, buddy. Like a hawk. I want to learn from you, Nick. I'm gonna pick your brain. NICK Good. Then you can pick my nose. PALOMINO (big laugh) See what I mean? You're wacked. Hey, what are we sitting here for? NICK We're waiting for Nicole. PALOMINO Nicole? She's takin' a tax -- (he stops) NICK What? PALOMINO Probably taking a shower or something. Hey, how was her shower scene in that Richard Gere movie? NICK Good. JEFF Really great. The three men sit in silence. WS, showing the car parked outside Nicole's apt, the men inside waiting. INT. THE SET. MORNING A small, elegant bedroom set has been constructed in the middle of the huge empty space. One wall has a fake window. The GAFFER lies on the bed staring absently at the AC sitting motionless beside the camera a few feet away. Neither speaks for a long moment. GAFFER I think we got nudity today. AC (reads from his callsheet) It just says "Scene Six: Ellen and Damian kiss." GAFFER Could be a kiss with nudity. AC I like Ellen. She's my type. GAFFER Why is that? AC She's pretty. Smart. Kind of kooky. GAFFER Maybe I'll give her a part. That's right; I'm makin' my own movie pretty soon. AC Oh yeah? GAFFER Yup. Feature. I brought my script. The Gaffer tugs a thin, tattered SCRIPT, folded lengthwise, out of his back pocket. GAFFER Palomino's perfect for the lead. I'm going to give it to him right during lunch. Maybe right after. AC Alright. GAFFER Got to be aggressive. You want to shoot it? AC Sure. GAFFER You ever shot anything? AC No. GAFFER That's alright; got to start somewhere. Suddenly the Gaffer reaches out and warmly shakes the AC's hand. INT. MAKEUP CORNER. DAY Nicole sits before the makeup mirror. LORDE, the male Makeup artist picks up a tube of Preparation H and begins applying it under Nicole's eyes just as Nick walks up. NICK Jesus, what are you doing? LORDE Shrinking tissue. That's what this stuff is for. Let that sit for two minutes, pumpkin; I'll be right back. NICK How'd you get here? NICOLE Took a taxi. NICK Oh. We've been waiting in front of your apartment for half an hour. NICOLE God, I'm sorry, Nick. Something came up. I forgot to call. I'm sorry, I feel like such an asshole. NICK You're just saying that because you have Preparation H on your face. NICOLE I never should have gone out last night. I hate jazz. God, I look terrible. NICK No you don't. NICOLE Don't bullshit me, Nick. NICK I'm not. You really look beautiful. Something in Nick's voice makes Nicole glance up at him. He looks away quickly. The moment is awkward, as if they both realize he has inadvertently revealed something. Just then Palomino approaches. PALOMINO Hey! How'd you get here, Nicole? NICOLE I took a cab. PALOMINO Oh, cause we were wondering how you got here. Nick looks at both of them in a moment of silence. NICK Alright, good; everybody's here. We'll do a run-through as soon as you guys are ready. PALOMINO You got it, Chief. Lorde reenters as Nick leaves. Palomino sits in the chair beside Nicole and Lorde immediately begins his makeup. No one speaks. INT. THE SET. DAY The crew is assembled behind the camera. Wolf is now wearing a black eyepatch over one eye. Nick is on the set, talking with Nicole and Palomino. Palomino wears a tuxedo and Nicole is in an elaborate low-cut gown. WANDA Hold it down, hold it down, people. Actors working. PALOMINO Great shirt, Wanda. WANDA (big smile) Why, thank you, Chad. NICK OK, let's work out the rest of this blocking. Wolf -- (notices Wolf's eyepatch) What happened to your eye? WOLF A little accident. NICK You going to be alright? WOLF I think so. PALOMINO It looks good on you, man. NICK Nicole is standing here, Chad, you're there by the chair. Camera is close on Ellen: her first line. NICOLE I've always admired you from afar. PALOMINO Admired? That sounds rather professional. NICK Good! "Professional," that's the cue; Damian steps up to the bed. Camera pulls back. The scene continues. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere. PALOMINO God. And all this time I thought... NICK Then the kiss. How's that feel? PALOMINO Great. NICK Nicole? NICOLE Good. NICK Wolf, any thoughts? WOLF Nope. PALOMINO I've got a thought. What about Damian having an eyepatch like Wolf's? NICK Let me think about that one, Chad. PALOMINO OK, you're the genius. Nick Reve, Living in Oblivion, Scene Six, Take One. Let's shoot it! NICK One second, Chad. You ready for one, Wolf? WOLF Hell, I been ready. PALOMINO Alright, Wolfman. NICK Good. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take one! NICK And, action. INT. THE SET. TAKE ONE Instantly the film cuts from color to B/W. Chad and Nicole begin their Love Scene. NICOLE I've always admired you from afar. PALOMINO Admired? That sounds rather professional. The camera starts to dolly, however Chad does not move. He goes out of frame forcing Wolf to pan abruptly to Nicole. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO (finally moves to his mark) Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere. PALOMINO God. And all this time I thought... Palomino and Nicole embrace. Their kiss, like the entire scene, is flat, lifeless, and awful. INT. THE SET NICK Cut. Very good. WOLF Not for camera. Chad was completely out of frame. NICK Yeah, Chad; what happened, buddy? Forget your cue? PALOMINO Oh no, man. I held back. It really felt like something Damian would do; holding back to the last moment. NICK Oh, I see. How's that for you, Wolf? WOLF I don't care when he moves. Just give me a fucking cue. PALOMINO The Lone Wolf! NICK What line did he move on? SCRIPT "Why didn't you tell me?" NICK Alright, "me" is the new cue. Nicole, how does that feel to you? NICOLE Fine, if that's what Chad wants to do. PALOMINO "Me, me, me," that's the cue. Let's shoot; I'm stoked! NICK One second, Chad. Nick approaches the bed and speaks quietly to Chad and Nicole. NICK Chad, how would you describe this scene, in one word? PALOMINO Great. It's a great scene, man. NICK No, I mean it's a love scene. Right? PALOMINO Definitely. NICK These two people really love each other. And we want to see that, especially in the kiss. PALOMINO Hey, say no more, Chief. NICK Nicole? NICOLE I understand, Chief. NICK Good. Here we go. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take two! NICK And, action. INT. THE SCENE. TAKE TWO. DAY NICOLE I've always admired you from afar. Palomino moves immediately to the bed, changing his blocking and causing the camera crew and Nicole considerable confusion. PALOMINO Admired? That sounds rather professional. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere. PALOMINO God. And all this time I thought... The scene once again is awful. Nick gives their listless kiss a few moments then calls CUT. INT. THE SET. DAY NICK And, cut. Very good. Wolf? WOLF Chad missed his cue again; the whole dolly is unusable. NICK Yeah, Chad. What happened; I thought you were going to hold back till "me"? PALOMINO The more I thought about it the more it didn't seem right. And I'm thinking, watch me here, instead of coming around the bed, what if I just slip here like this and do the whole scene lying down? NICK I don't know, that seems a little... PALOMINO Hey, I'm just throwing out ideas here. Trying to get the juices flowing. NICK Nicole, how does that feel to you? NICOLE Well, I can turn to look at him. But won't you be shooting the back of my head? WOLF Plus Chad is completely out of the light down there. PALOMINO Hey, Wolf; I'm not worried about my face, man. It's about the acting; that's all I care about. WOLF It's your call, Nick. His acting or his face. NICK For some reason I was hoping we could get both. (laughs) I thought that's what we were trying to do here. WOLF I'll have to set another light. WANDA We're ahead of schedule, Nick. I think we can afford a few minutes to set a light for Mr. Palomino. NICK Good, let's do it. Ellen, Damian; let's talk for a second. As Nick, Nicole, and Palomino step off the set Wanda speaks to the crew in general. WANDA We'll pause to set this light and go again right away. How long, Wolf? Wolf doesn't answer, though he stands a mere foot away, watching the Gaffer set up a light. WANDA Wolf? Wolf walks away from Wanda without a word. The entire crew watches this. INT. A CORNER. DAY Nick, Palomino, and Nicole confer, all three smoking. NICK OK, let's make sure we know what's going on here. These two people have loved each other for years, each of them not knowing the other was in love with them. And tonight, in this little room it all comes out. It's like a dam bursting. Does that make sense? Nicole? NICOLE It makes perfect sense. I just haven't found it yet. I'll get it though. NICK What about you, Chad? PALOMINO I'm there, man. I got the dam going, the river, everything. You watch, that little change in the blocking is going to open the whole scene up for me. WANDA (V.O.) We're ready, Nick! NICK Good. Let's go. INT. THE SET. DAY WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take three! NICK And, action. INT. THE SCENE. TAKE THREE. DAY NICOLE I've always admired you from afar. Palomino saunters over and sprawls on the bed, forcing Nicole to turn her head completely away from the camera. PALOMINO Admired? That sounds rather professional. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together -- I'm sorry, can we cut, Nick? INT. THE SET. DAY NICK Cut! WANDA That's a cut! PALOMINO Dammit! That was a good one! NICOLE I know, I'm sorry. But this feels really awkward; turning all the way around like this. NICK Yeah, I think the lying on the bed is not quite working, Chad. Let's try one with the original blocking. PALOMINO Which one was that? There's been so many damn changes. Could somebody help me out please? SCRIPT The cue for the original blocking is "professional." PALOMINO (intimate) Thank you. Thank you very much. NICK OK, right away. Call it, Wanda. NICOLE Nick? Could I just have a moment? Is that alright? NICK Of course, Nicole; are you kidding? Hold the roll, Wanda. WANDA Holding the roll! Nicole remains seated on the bed, lowering her head and closing her eyes as she attempts to generate some emotion for the scene. Everyone watches her in complete silence. INT. NEAR THE CAMERA. DAY Palomino tiptoes over to the camera where Wanda and the Scriptgirl are standing side by side. As he leans between them, checking his lines on the Scriptgirl's script, he inhales deeply then exhales with a barely audible sigh. PALOMINO (whispers) Someone over here smells very, very nice. Thinking he means her, Wanda's lips flutter in a brief, involuntary smile. Meanwhile, the Scriptgirl turns away, blushing furiously. INT. THE SET. DAY Palomino tiptoes again back to his spot. Nicole raises her head and nods once to Nick. She seems to have aroused some real emotion in herself. NICK (with quiet intensity) Call it, Wanda. WANDA And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take four! PALOMINO (suddenly) Nick, I just had a great idea! WANDA Hold the roll! NICK What is it, Chad? PALOMINO Just stop me if I'm out of line here, but she says "admired from afar," right? Doesn't it make sense to see Damian up close and her "afar?" You start on a Close-up of Damian, watch me here; as she declares her love, the camera moves with me into this primo two-shot that you and the Wolfmeister have set up here. NICK What do you think, Wolf? WOLF I don't like it. This is Ellen's scene. NICK I don't know; it sort of makes sense. PALOMINO Hey, you did it, man. It's all there in the writing. WOLF I'd have to relight. Nick pauses, thinking hard. WANDA We're still ahead of schedule, Nick; if that means anything to you. NICK Let's do it. WOLF (to the Gaffer) Get me a tweenie right here, with diffusion. WANDA OK, everyone stand by. We're pausing briefly to set one little light, then we're going again, right away. Stand-in please for Mr. Palomino. GAFFER I'll do it. WOLF Get the fucking light! INT. CRAFT SERVICE TABLE. DAY Several members of the crew loiter around the table. The Scriptgirl approaches carrying a donut in one hand and a cup of coffee in the other. Palomino notices her and moves quietly to her side. Without a word he picks up the milk and pours some in her coffee. Nicole stands nearby and watches the following exchange. SCRIPT Thanks. PALOMINO My pleasure. Sugar? SCRIPT Just a bit. Palomino puts sugar in her coffee with extreme care. PALOMINO You like jazz? SCRIPT Very much. PALOMINO Maybe we could go hear some tonight. Palomino smiles and moves away just as Wanda comes up for a coffee refill. WANDA It's going well I think. Don't you think? SCRIPT Very well. What time do you think we'll finish? WANDA Early I hope. I'm going to a jazz club tonight. SCRIPT Really? So am I. He's wonderful, isn't he? WANDA Chad? SCRIPT He's so natural, like... air. Nicole approaches. SCRIPT I wonder what his sign is. Do you know, Nicole? NICOLE I don't know his sign, but I think his moon is in Uranus. Wanda chokes hard on her coffee as Nicole walks off with a bitter smile. SCRIPT You don't have to be nasty. INT. THE SET. DAY Palomino saunters onto the set as Wolf and his crew finish relighting. PALOMINO Yo, Wolfman. Is this my new mark? WOLF Until you change it. Where's my fucking eyepatch?! Wolf walks off. The Gaffer slips the AC a shrewd wink then walks over and stands next to Palomino, giving him a big, friendly grin. GAFFER Hey, Chad. PALOMINO Hey, whatya say. GAFFER I'm Bob. I'm lighting this show. PALOMINO Chad Palomino; Actor. GAFFER (big smile) I know. PALOMINO (to the ac) Hey, what's your name? AC Maurice. PALOMINO Maurice! Hey, Maurice Chevalier! Any relation? Probably not. Hey, smoking crew guys, really. The Gaffer slips his own script out of his back pocket and begins leafing through it. GAFFER Hey thanks, Chad. Actually I wrote a script. PALOMINO Oh, yeah? Palomino takes the Gaffer's script and holds it up to his eyes, shading them from a light he's looking at across the room. He points to the light. PALOMINO Hey, Bill. See that light over there? GAFFER Uh, yeah. PALOMINO Lower it about three feet. Palomino hands the Gaffer back his script and walks off. The Gaffer and AC stand in silence for a long awkward moment. INT. BATHROOM. DAY Nick intently scrutinizes himself in the mirror. Leaning closer he makes a careful adjustment to the way his hair falls over his ear, then steps back to examine himself. NICK Would you care to have a drink tonight? Hey, Nicole, what do you say you and I have a drink tonight? Suddenly the door opens behind him and Nicole walks in. NICOLE Oh, Nick! I'm sorry! NICK That's OK, no problem. I'm just slapping a little water on my face. The two stand in embarrassed silence for a moment. Nick looks like he's gathering the nerve to ask her out. NICK So, it's going pretty good, huh? NICOLE Is it? Something feels off. NICK Yeah, you seem a little tense. NICOLE Do I? NICK But don't worry about it. Just take your attention off yourself and put it on Chad. Work off him a little more. NICOLE OK, I'll try that. NICK And listen, I know he's no Olivier. But he's got something, don't you think? Kind of a natural presence. NICOLE Oh yes, he's very natural. Nick hesitates, again gathering his nerves to pop the question. NICK So Nicole... anything else I can help you with? NICOLE Actually there is. Could you maybe ask him to brush his teeth? NICK Oh, sure. INT. THE SET. DAY Wanda crosses the set and assumes her position beside the camera. Wolf sits behind it, barely a foot away. WOLF My eye is killing me. WANDA Put your eyepatch on. WOLF I lost it. WANDA Is that little light set yet? WOLF That little light was set ten minutes ago. WANDA (into her walkie) Get me the A Team in here right away. Nick, Nicole, and Mr. Palomino. (to Wolf) Why didn't you tell me? WOLF Hey, you're not worried about the time, I'm not worried about the time. WANDA Oh, I am very worried about the time! WOLF I know you are. WANDA What is that supposed to mean? WOLF What do you think it means?! WANDA I don't know what it means! WOLF Oh yes you do, you know exactly what it means. WANDA I have no idea what you're talking about! Why are you -- WOLF You don't understand me, Wanda! You have no idea -- WANDA I don't understand you?!! All I do is take care of you!!! Nick suddenly runs up just as Wolf and Wanda are on the verge of blows. NICK Hey, hey, hey! What the hell's going on here?! Jesus, Wanda. This is a very intimate scene and a lot of tension on the set doesn't help. OK? Now, Wolf, let's just go through the first part of the move. Damian, on your new mark. Good. Close-up, Damian; Ellen in the background. Nick suddenly sees Palomino is wearing a black eyepatch. NICK Chad, what are you doing? WOLF Hey, that's my fucking eyepatch. PALOMINO Wolf, could I borrow it? Cause I'm telling you, Nick; it really feels right. I feel like this guy now, man. NICK I don't know, Chad. I don't think it works. PALOMINO You're wrong, man. I'm going to fight you on this one. WOLF Hey, it's my fucking eyepatch and I don't want anyone wearing it. It's insanitary. Palomino removes the eyepatch and tosses it back to Wolf. PALOMINO Fine. I'll get my own. Nick, send someone out for an eyepatch. I'll fucking pay for it myself. Nick pulls Palomino aside and whispers to him confidentially. NICK Listen, Chad. I didn't want to say this in front of Wolf but it makes you look a little... gay. PALOMINO Really? NICK Yeah, a little bit. PALOMINO Jesus. Palomino sneaks a glance back at Wolf then whispers to Nick. PALOMINO You're right. Thanks, buddy. Good call. WANDA Are you ready, Nick? NICK One second. You need a rehearsal, Wolf? WOLF Let's just fucking shoot it!! PALOMINO El Lobo! Palomino winks at Nick and walks back to his new mark, making a barely audible howling sound behind his hand. NICK Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take four! NICK And, action. INT. THE SCENE. TAKE FOUR The scene begins again. Palomino milks his Close-up for all it's worth. NICOLE I've always admired you from afar. PALOMINO Admired? That sounds rather professional. NICOLE Well, then: loved. How does that sound? Right on his cue, Palomino walks to the bed. As the camera moves into the 2-shot he begins stroking Nicole's hair with extreme care and concentration. PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere -- God! Under the onslaught of escalating hair-stroking, Nicole suddenly jerks her head away hard. Palomino jumps up and begins pacing at the rear of the set. INT. THE SET. DAY NICK Cut! WANDA That's a cut. Hold the work, going again, right away. NICOLE I'm sorry, Nick. I don't know why I did that. I'm sorry. Palomino suddenly stops pacing and addresses Nick with a curtness that is a little startling. PALOMINO Nick, could I talk to you a second? Palomino disappears behind the set, a jerk of his head indicating his wish for Nick to follow him. WANDA A momentary delay. Everyone stand by. We're going again, right away. SOUND Excuse me, Ellen? You were a tad low on that take. NICOLE Oh, OK. I'll bring it up. Actually could I listen to the take before? The Sound man gives Nicole his headphones and rewinds the tape recorder for her. The first several lines of the last take are heard through the headphones. INT. OFF THE SET. DAY Nick follows Palomino behind the set, stopping just beside the fake set window. Palomino whirls on Nick and whispers fiercely. PALOMINO I'm out of here, man! NICK What's the matter?! PALOMINO I like you, but I made a big mistake taking this part. Have someone call me a cab. NICK Wait a second, Chad. Just talk to me. What's going on!? PALOMINO I can't act with this woman. I know she's a friend of yours but I got to tell you: she cannot act worth a shit! I'm giving her everything! The whole thing I just did with the hair; did you see that? I came up with that on my own because I thought it would help her. But no, she's giving me nothing! I'm out of here. INT. THE SET. DAY Nicole listens to the last line of the previous take. PALOMINO God, and all this time I thought... (the muted rustle of the kiss) The Sound man stops the recorder at the end of the take, sets the machine in standby mode, and picks up his crossword puzzle. Nicole is just about to take off the headphones when she realizes she can hear Nick and Palomino talking quite clearly. Glancing up, she sees the Boom man has left his boom leaning against the wall, the mike pointing out the open set window. PALOMINO (V.O.) Why did you cast her? She sucked in that Richard Gere movie! NICK (V.O.) You're right. She is not the best actress in the world. I see that now but you've got to help me, Chad. I'm asking you to please help me here. We've got to get through this somehow. The camera begins a slow DOLLY in to Nicole's astonished face. This will be intercut with a similar DOLLY in to the microphone leaning against the wall, ending in an ECU of the mike. INT. OFF THE SET. DAY Camera is close on Nick and Palomino. PALOMINO I'll tell you what this is about, man. You know why she took a cab this morning? NICK Something came up. PALOMINO No. She was in my hotel room and she didn't want you to know it. OK? I'm sorry it had to come out like this but I told her this morning "thanks a lot, it was a lot of fun last night but let's get something straight -- it was just a one-time deal," and she didn't want to hear that. She wanted more, you see what I'm saying? It's rejection. INT. THE SET. DAY The camera reveals Nicole now seated in her spot on the bed. She rises as Nick and Palomino reappear and approach her from behind the set. NICK Nicole, listen... NICOLE Nick, it's my fault the scene isn't working. I apologize. Chad, I apologize to you too. I'm completely unfocused here and I think you're absolutely right; what we need to do is loosen the scene up somehow. Nick and Palomino stare at Nicole for a moment. NICK What would you like to do? NICOLE I was wondering if we could try improvising the scene. More along the lines of what Chad has been doing. Maybe that would help me find something. Nick's smile of gratitude to Nicole looks almost drug-induced. NICK That's a fantastic idea. What do you think, Chad? PALOMINO Hey, that's the only way I can work. Let's take it apart, let's cut loose. NICK Good! And we'll shoot it! Hell, why not?! PALOMINO Roll that motherfucking camera, Wolfie! WOLF Kiss my ass! Although Wolf says this quite loud, Palomino doesn't hear him because he suddenly yells: PALOMINO Yeah! Let's go! NICK Alright, now we're making a fucking movie! Call it, Wanda! WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take five! NICK And, action. INT. THE SCENE. TAKE FIVE. THE IMPROV Nicole stays seated, though Palomino moves around making a great show of loosening up. NICOLE I've always admired you from afar. PALOMINO Have you? That's, wow; that's incredible. But that sounds kind of professional doesn't it? Admired? NICOLE You're right. How does despised sound? PALOMINO Great! (laughs) What's it mean? NICOLE (laughs) It's sort of like I think you're a piece of shit. Palomino is somewhat startled by this. He looks to Nick in confusion. Nick silently encourages him to keep going. PALOMINO (another laugh) That sounds like the champagne talking. NICOLE It's not. I really do think you are a piece of shit. PALOMINO No, you don't. You love me. NICOLE The fuck I do. I can't stand looking at you! PALOMINO Then I guess I have nothing else to say. NICOLE No, I think you have a lot more to say, Damian. PALOMINO Well, I am surprised you feel this way, Ellen. I always thought you admired -- NICOLE That's not what I meant. You should tell everyone what you just told Nick behind the set. PALOMINO Hey, this isn't part of the scene. NICOLE Say it anyway: The reason this scene isn't working is because you and I slept together last night. Did everyone hear that?! I fucked Chad last night! Nick and the rest of the crew stand in stunned amazement. PALOMINO See, Nick! I told you this was about rejection! NICOLE You fucking scumbag! You think I give a rat's ass about you?! I was there to get laid and even that was a joke! PALOMINO You know, you are really starting to piss me off! NICOLE Oh, does that mean you're not going to come wiggle on the bed anymore, or stroke my hair real soft and concerned, or kiss me like a soap opera acting piece of shit! Palomino snaps, and lunges for Nicole. She leaps to the other side of the bed. NICOLE Come on! I'll kick your ass! Come on! Nick steps between Nicole and Palomino. NICK OK, guys, I think we can stop there. PALOMINO You bet your ass we can stop! Wanda, call me a cab! NICK Hold on, Chad. Let's just try to calm down. PALOMINO Fuck you. I'm out of here, man. This movie is bullshit. NICK Now wait a second, Chad. There's no reason for hostility. PALOMINO Shut up, you fucking loser. The only reason I took this part was because someone said you knew Quentin Tarantino! You're nowhere, man. NICK Hey, you want to go? Go! I'm sick of your shit, you hostess twinkie motherfucker! PALOMINO What'd you call me? NICK You heard me. PALOMINO Say it again. NICK You hostess twinkie motherfucker! Palomino suddenly punches Nick in the stomach, leaving him bent over and gasping for breath. Nicole instantly leaps on Palomino's back and begins pounding her fist on the top of his head. Palomino spins wildly trying to dislodge her as Wanda rushes forward. WANDA Alright, everyone just stop. Stop! Stop this right now! As she tries to separate Nicole and Palomino, Palomino shoves her hard, knocking her down. Instantly Wolf leaps off the camera and runs up to Palomino. WOLF Alright, you've asked for it, Chad! Palomino suddenly punches Wolf in the teeth, dropping him like a stone. WANDA (shrieks) Wolf! Suddenly Nick staggers to his feet and rushes at Palomino. His momentum knocks all three backwards onto the bed, Palomino's head cracking Nicole in the teeth. NICOLE Oh, God! Nicole rolls free as Nick and Palomino wrestle on the bed. Nick gets Palomino in a vicious headlock and starts pounding his head against the mattress. NICK You want to pick my brain?! This is the way I direct hostess twinkie scumbags like you! As Nick continues to pound Palomino's head the Gaffer notices Palomino's eyes are starting to bug out from the pressure of Nick's forearm around his neck. He and the Boom man rush forward and finally manage to pry Palomino free. NICK Get him out of here! Someone take him back to his hotel! As the Gaffer and Boom man drag off the almost unconscious Palomino, the Scriptgirl takes one faltering step after him. SCRIPT (sniffling) Chad... Suddenly, everything becomes quiet except for Nick's labored breathing and the Scriptgirl's sniffles. Nick leans over and touches Nicole's shoulder. NICK Are you alright? NICOLE Don't touch me. EXT. DAY. THE STREET OUTSIDE THE SET The Gaffer and AC help the still-groggy Palomino into the back of the production van. JEFF, the driver, watches them in sleepy curiosity. With Palomino safely propped in a seat, the AC goes back to the set. The Gaffer waits a moment then slips his script out of his back pocket and slaps it into Palomino's motionless hand. GAFFER It's called "Tsunami." A Japanese tidal wave hits New York. You've an ex-Navy S.E.A L. frogman, working undercover. You save the city. You'd be perfect for the lead. That's my number; call me, or I'll call you. Either way it's been great working with you, man. As Palomino stares at him blankly, the Gaffer slams the door. The car pulls out. INT. THE SET. DAY Nick and Nicole are sitting up on the bed, alone on the now empty set. NICK Nicole, I'm sorry. I didn't mean it. You were great in that Richard Gere movie. NICOLE Shut up. You're no different than he is. You lie, you're deceitful... NICK I'm not lying. Christ, I tell everyone how great you are. I've got nothing but respect and admiration for you. NICOLE Oh God, now you're doing your own fucking script. NICK Well, why do you think I wrote it?! NICOLE I have no idea! NICK It's about you. It's about how I feel about you. NICOLE Christ, did you get a bump on your head, Nicky. 'Cause you're talking like an idiot. NICK Nicole. I've loved you since the day we met. Nicole sits for a long moment in stunned silence. NICOLE Why didn't you tell me? NICK I didn't want anything to get in the way of us working together. NICOLE God, and all this time I thought... Nick and Nicole move into a shy, trembling, heartfelt kiss. INT. HOTEL ROOM. DAWN Nicole snaps awake with a jolt. She glances quickly at the clock which reads 4:35. The sound of the shower still running in the bathroom. NICOLE Oh, God. Nicole leaps out of bed and races into the bathroom. As the camera follows her, she closes the bathroom door, right against the lens, turning the image to total BLACKNESS. The frame is BLACK. The recognizable clatter and clunk of the FILM CREW is heard. Wanda's voice is prominent. WANDA Don't go out that door! Suddenly a DOOR opens away from camera and the AC stops, a foot away from the lens. Behind him, Wanda and the rest of the crew can be seen through the door, preparing for filming. We see now the door and the plywood walls around it are FAKE. INT. THE SET. DAY AC Why not? WANDA It's part of the set, goddamnit. Now go around. AC Next time. This is an emergency. The AC rushes past and a moment later the camera DOLLIES slowly through the fake door toward Wanda pacing near the set camera. WANDA (into her walkie) Has Ellen showed up yet? WALKIE ssss... kkkkkrrk. WANDA Get her into wardrobe right away. WALKIE ssskk... ssssrrrk? WANDA No! Scene six; Scene five has been postponed. I'm not going to say it again; Mr. Palomino is not working today. Now where is that smoke machine! INT. SET BUILDING, HALLWAY. DAY The AC bursts through a door at the end of the hallway and walks quickly toward the camera. Without knocking he pushes open the bathroom door and suddenly stops short. AC Oh. Sorry. Standing on his tiptoes at the sink, straining to turn off the running faucet is, TITO a DWARF. He is dressed in a sky blue tuxedo with tails. A top hat and white gloves rest on the closed toilet seat. Tito appears extremely annoyed. TITO What do you want?! AC I need to use the bathroom. Kind of an emergency. TITO Well, fucking knock!! Tito grabs his hat and gloves and marches down the hall, the AC staring after him in astonishment. TITO (muttering) I swear to Christ, one of these days I'm going to punch somebody in the balls! INT. WARDROBE ROOM. DAY Camera is close on Nicole, her eyes clenched shut as a thin white veil is placed on her head. Camera pulls back to reveal SACHIKO, the Costume Designer putting the finishing touches to Nicole's costume, which appears to be an elaborate white wedding gown. Nick stands nearby, smoking. NICK Just as we pull up to your apartment Palomino suddenly says he feels so sick he can't work today. NICOLE God. Was it something he ate? SACHIKO Stand up, please. NICK I don't know. NICOLE Can he work tomorrow? SACHIKO Turn around, please. NICK Don't know that either. But I'm not worrying about it. I had this dream last night where I was on the set. You were in it, and another woman, someone older. Anyway, everything was going wrong. The harder I tried to hold things together the more they fell apart. And you know what that dream was telling me, Nicole? You just got to roll with it. And that's what I'm doing, I'm rolling with it. So, we'll just shoot the Dream Sequence today. Just then Tito walks in. NICK Hey, Tito. You look great, man. TITO I feel like shit. NICK No, you look good. Thanks for coming in on such short notice. This is Nicole; she's playing Ellen. NICOLE Hello. Toto, is it? TITO Tito. NICOLE Oh, I'm sorry. NICK Listen, if there's anything I can do to make you... if you need... uh, just let me know. TITO Put a stool in the bathroom. Tito walks out, followed immediately by Sachiko, leaving Nicole alone with Nick. NICK Did I just offend him? NICOLE What did you say? NICK "Short notice?" NICOLE Come on; that was nothing. I'm the one who called him "Toto." Jesus, I'm out of it. I dreamt I was on the set last night too. NICK Oh yeah? NICOLE Yeah. You were in the dream. NICK Was I freaking out? NICOLE Actually, you were. NICK That's great: I freak out in my dream; I freak out in your dream. No wonder I'm fucking exhausted. NICOLE Nick... NICK Yeah? Nicole stares at Nick for a long moment then smiles briefly and turns away. INT. A CORNER OF THE SET. DAY A dented, ancient smoke machine squats forlornly in the middle of the set. WOLF (with eyepatch), the GAFFER, AC, BOOM MAN, and the SOUND MAN stand around it, scrutinizing it intently. Wolf seems in an unusually good mood. WOLF Alright, guys; special effects today. Could be fun. Who knows how to work this baby? GAFFER It's the old T-160. I used it once in '85. AC Damn. '85. WOLF What's this? GAFFER That's where the gas goes. BOOM No, that's where the oil goes. GAFFER Is it? BOOM I think so. GAFFER You're right. It's coming back now. WOLF I'm going to let you handle this one, Bob. This is your baby. And Les, if he needs help you give him a hand. OK, guys? We're all working together today. Wolf walks off. The Gaffer kneels to inspect the smoke machine closer. GAFFER Yup, all coming back now. Like riding a bike. T-160, 1985. 1985, T-160. AC Way to go, Bob. INT. THE SET. NEAR THE CAMERA Wanda stands alone by the camera, looking around at the bustling crew like a battalion commander watching her troops in battle. Nick approaches her. NICK How are we doing, Wanda? WANDA Not good, Nick. Not bad, but not good. We need to finish this scene and do Scene thirty-one today. NICK Scene thirty-one?! I left my notes for Scene thirty-one at home! I didn't know we were -- WANDA Nick, Nick. I'll send someone to your apartment to pick them up. Now, relax. NICK Oh, OK. Send somebody to my apartment to pick them up; it's the red notebook, under the bed. WANDA It's taken care of, Nick. NICK Good. Great. Good. Nick walks off quickly, muttering to himself. A moment later Wolf strolls up to Wanda. WOLF We're all lit, the smoke machine is under control; we're ready to go. WANDA (hard) What about the dolly? WOLF Just need to see a run-through and we're all set. I'm going to make your job easy today, Wanda. Wandaful. (he slips his arm around her) Mmm, I'm glad you wore that perfume. And don't worry about Palomino; I'll take you to a jazz club tonight. WANDA Oh, I can't make it. I have to go see Chad; he's extremely ill. WOLF Oh, by the way my eye's much better. WANDA Listen, Wolf, this may not be the best time to say this but our relationship is going nowhere. WOLF What do you mean? WANDA Please, don't take it personally. Because I care for you, Wolf, I really do. But I've had this feeling for quite a while and I think it's time we ended it. OK? WOLF (pause) OK. WANDA I think it's better. WOLF So do I. WANDA Well, good. Still friends? WOLF Sure. WANDA Great, cause we still have to work together and there's no reason it has to be unpleasant. Give me a hug. Wanda and Wolf move into an extremely wooden embrace. WANDA You're a real special guy, Wolf. WOLF Thanks. Wanda slips Wolf a tender smile then walks away. WANDA (into her walkie) OK, let's get the A Team in please! Nick, Ellen, Mr. Tito! INT. THE SET. DAY Nick is working with the crew and the actors. The set consists of two flats (one with the fake door) joined to make a corner. The flats are painted fire-engine red. NICK OK, here's the shot. We start wide with Ellen standing absolutely still right in the middle of the frame. You got that, Wolf? WOLF Yeah. NICK (notices eyepatch) What happened to your eye? WOLF Nothing. It's a little sensitive today. NICK Can you see? WOLF (snaps) Of course I can see! For a moment Nick looks like he might snap back at Wolf but he draws a deep breath and continues. NICK OK, Ellen is standing there. The smoke is flowing in and: Ellen's line. NICOLE I am so hungry. NICK Good, Tito, that's your cue. The fake door opens and Tito enters wearing his top hat and carrying a golden apple in his gloved hands. NICK You walk around her once, hold the apple out, that's right; just beyond her reach. You're staring at her hard. Harder, good. Then stop right here. Can we get a mark, please? The AC moves up to Nick and places a piece of yellow tape on the floor. CU the yellow tape. NICK Then we dolly in to Tito's Close-up. Alright, Wolf? WANDA It should be hand-held. NICK No, I think it's better on the dolly. WOLF Whatever. NICOLE Nick, do I see him? NICK No, just the apple. And Tito, right after we dolly in give me a little laugh there. TITO A little laugh? NICK Big, little; anything you feel like doing. OK? Good. Let's shoot one. Call it, Wanda. WANDA OK, here we go. Camera back to One. Action on the smoke. The Gaffer turns on the smoke machine which emits a pathetic wisp of smoke that immediately dissipates. WANDA And roll sound. NICK Hold it, Wanda. Can we get a little more smoke? Is that possible? GAFFER Oh, sure. The Gaffer adjusts a knob and another thin puff of smoke wheezes out. NICK Good. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take one! NICK And, action. INT. THE DREAM. TAKE ONE. DAY Nicole stands motionless in the middle of the empty set. Her white wedding gown stands out sharply against the deep red walls. A sad shred of smoke drifts by her head. NICOLE I am so hungry. Tito opens the door and walks in, staring hard at Nicole. His sky-blue tuxedo gleams in the rich light. He walks around her in a circle holding the golden apple just beyond her reach. He stops on his mark and the camera dollies into a CU of him. He doesn't laugh. Nick watches this for a moment in intense concentration. INT. THE SET. DAY NICK And... cut. WANDA That's a cut. Nick; comments? NICK Yeah, just a couple. I thought that was uh... good. Tito, that was very good, man, really. You didn't feel like laughing? TITO I laughed. NICK Oh, OK; I guess I missed it. You could make it bigger if you want. And Ellen, maybe just a little more tension when you see him. NICOLE I thought I didn't see him. NICK Right, maybe you see him a little bit. NICOLE Alright, I'm confused. Do I see him or not? NICK You see him. NICOLE OK, what is the tension? Who is Toto? TITO (hard) It's Tito. NICOLE (alarmed) What did I say? TITO Toto. NICOLE Oh, God. I'm sorry, Tito. I don't know why I'm doing that. I'm really sorry. NICK Ellen, come on now; concentrate. Remember; you're marrying Damian tomorrow. You're a little anxious. You have this dream. Let's call it an Anxiety Dream, and Tito represents the anxiety. CU Tito looking none too happy about this representation. NICK OK? It seems pretty simple. NICOLE Let's just try it. NICK Good. And Bob, let's really have some smoke on this one. GAFFER OK, more smoke. WOLF I still think it should be hand-held. NICK Yeah, well, I don't want it hand- held. I want it on the dolly. Where's my notebook, Wanda? WANDA On it's way, Nick. NICK Good. Call it, Wanda. WANDA Lock it up. Going for picture. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take two! NICK And, action. INT. THE DREAM. TAKE TWO Nicole stands motionless as a few more emaciated puffs of smoke hang in the air. NICOLE I am so hungry. Tito enters, walks around her holding the apple just beyond her reach then moves to his mark. The camera dollies into a CU. He does not laugh. INT. THE SET. DAY NICK Cut. WANDA That's a cut. Going again, Nick? NICK Yes. WANDA Going again, please stand by. NICK OK, Ellen, good. You're on to something there. NICOLE No, something's not right. It all feels fake to me. Nick's tone with Nicole suddenly takes on an almost imperceptible edge, tinged with annoyance. NICK Well, it's not fake; it's real. Just remember, you really want the apple. Tito, I still think we could see more of a laugh at the end. TITO What kind of laugh? NICK Just a laugh. TITO Show me. NICK Oh, OK. A laugh. I'm thinking maybe like this. Ha ha ha ha ha ha ha. Everyone watches Nick demonstrate the laugh. He seems unaware he resembles a drunken, slightly annoyed idiot. NICK Something like that. OK? And remember, Tito, this is a dream. Not everything has to make sense. A laugh right there heightens our sense of... of... TITO Anxiety. NICK Exactly. Wolf, how was that for you? WOLF I still think it should be hand-held. NICK (snaps) Well, God damn it! It's not going to be! It's on the dolly so just forget about it! There is a strained moment of silence on the set as everyone witnesses this rebuke. NICK And Bob, what the fuck is that smoke? Might as well get a couple hamsters in here blowing smoke rings for Christ's sake. GAFFER The septic valve wasn't open. I got it now. We're going to see some smoke now. NICK Alright, let's try another take. WANDA And, lock it up. WOLF Nick, could I talk to you for a minute? NICK What?! WOLF In private. NICK (sighs in exasperation) Alright. Nick follows Wolf off the set. WANDA Release the lock-up. Everyone stand by. GAFFER We'll see some smoke now. AC Way to go, Bob. INT. A CORNER. DAY As soon as Wolf and Nick reach the darkened corner, Wolf whirls to face Nick. WOLF I really don't like being spoken to like that, Nick! NICK Yeah, well I don't like your attitude! WOLF I don't have an attitude! NICK The hell you don't! Every time I ask you to do something all I get is No, No, No and I'm sick of it! I hired you to do a job; if you're not going to do it you better let me know right now! Wolf is about to yell back at Nick when suddenly he stops and lets out a deep, painful sigh. WOLF I'm sorry, Nick. I'm going through some heavy shit. NICK What do you mean? WOLF I can't really go into it. It's pretty heavy. NICK Personal? Wolf makes a slight motion with his head toward Wanda who is standing some distance away watching them. Seeing the two men looking at her Wanda shoots them a hard glare which prompts Wolf and Nick to turn away quickly. WOLF Personal, professional, emotional. It's doing a number on me. And now you're telling me you're going to fire me. NICK I didn't say that, Wolf. Come on, I'm not going to fire you. You're doing a great job here. WOLF Am I? NICK Yeah, I don't know what I'd do without you, man. You've got a great eye. I just hope it's not the one under that eyepatch. Nick lets out a tense, strained laugh but Wolf's only response is to stare back at him sadly. NICK Listen, Wolf. Let me tell you one thing I've learned; sometimes you just have to roll with things. You know? WOLF You're right. NICK Roll with it, man. You'll be OK. Wolf lets out another deep sigh. WOLF Thanks, bro. INT. A CORNER OF THE SET. DAY The Gaffer, Boom man, and AC kneel around the smoke machine. A can of gas and a quart of oil stand beside them. BOOM That's where the oil goes. GAFFER No, that's where the gas goes. BOOM I'm tellin' you, Bob. That's where the oil goes. SOUND Lester, don't you think Bob knows where the oil goes?! GAFFER I don't remember using oil in '85. AC Maybe both the oil and gas go in there? The Gaffer and Boom man turn and look at the AC for a long moment. BOOM I think he's right. GAFFER I think he is too. OK, three parts gas, one part oil. The Gaffer and Boom man pour liberal amounts of gas and oil into the T-160. INT. THE SET. DAY Nick rushes up to his position by the camera. NICK Is my notebook here yet, Wanda? WANDA Any minute, Nick. NICK Good. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take three! NICK And, action. INT. THE DREAM. TAKE THREE Nicole stands motionless in her white wedding dress, looking genuinely alarmed, possibly because of the huge clouds of smoke now spewing out of the panting smoke machine. NICOLE I am so hungry. Tito enters, stares at her hard and walks around her in a circle holding the apple just beyond her reach. The smoke is so thick both of them are barely visible. Just as Tito gets to his mark the smoke machine backfires with a tremendous explosion and begins filling the room with dense, blinding smoke. INT. THE SET. DAY The smoke blanks out the entire frame. Frantic shouts are heard from unseen bodies. NICK Cut! Cut! Cut! WANDA Turn it off! Turn it off! GAFFER I can't find the switch! WOLF Pull the plug! Bob! Pull the plug! WANDA Open the door! Get some water! GAFFER I got it! I got it! The smoke machine emits a loud hiss and dies, filling the room with sudden silence. Slowly the smoke begins to clear as the crew moves around muttering and coughing. WANDA Clear the set! Ellen! Tito! Please step off the set! TITO (V.O.) I'm off the set! NICOLE (V.O.) So am I. WANDA Then who is that? Who is that? Please step off the set! A pair of fuzzy-slippered feet enter the smoky frame. The camera BOOMS up, passing over a woman's bare shins, a flowered, blue silk housecoat until finally coming to rest on the pleasantly smiling face of CORA. This is the same woman who played Ellen's Mother in Part One; she is dressed exactly the same as she was in their scene. The camera pulls back to reveal JEFF the Intern standing nervously beside her with a red notebook in his hands. CORA Hi, Nicky. Nick gapes in utter astonishment. NICK Mom! INT. THE SET PRODUCTION OFFICE. DAY Wanda speaks urgently into the phone while Nicole stands beside her. Jeff (still wearing his hat) waits at a distance clutching Nick's red notebook. WANDA Cora Reve, R-E-V-E. Blue housecoat, blue slippers. How do I know? Because she's sitting ten feet away from me. Well sweetheart, that's going to be a real fucking problem. Nicole turns away and walks past Jeff to the Craft Service table. JEFF She was waiting outside Nick's apartment when I went to pick up his notebook. She said she was looking for him so I figured I should just bring her up here. You look really pretty in that dress. Nicole nods politely then looks to the Makeup corner where Nick sits talking earnestly to his mother. INT. MAKEUP CORNER NICK How did you get here? CORA I took a bus in; went right to your apartment. NICK How did you get out of your room? CORA Oh, I just went right through the door. NICK It was unlocked!? CORA No, it was locked. I just went through it. It's something I've learned to do, Nicky. I can walk through just about anything; like air. NICK Mom, you've got to stop doing this. I'm serious. I'm a little upset with you. You could have gotten lost, or hurt. CORA I wanted to see you. I've missed you. NICK I know, Mom; I've missed you too. But it's not really a good time. Nicole approaches, holding up the hem of her wedding gown. There is a subtle tension smoldering between her and Nick. NICOLE They're sending a car. It should be here in a couple of hours. They didn't even know she was gone. NICK Jesus, I don't believe this. CORA I'm sorry, Nick. If I knew there was going to be a wedding I would have worn my fucking hat. INT. THE SET. DAY The camera holds on Tito pacing slowly, alone on the set. He is smoking fiercely, holding his top hat with one hand. Suddenly he begins laughing in a loud, stage bellow. INT. A CORNER OF THE SET. DAY Nick sets a chair for his mother and helps her sit down. Nicole joins Tito on the set and talks quietly to him. NICK There. How's that, Mom? Can you see? CORA Is the little fellow going to do gymnastics? Tito glances up at her quickly. NICK Shhhh! No. Now come on, Mom. You've got to be quiet. Absolutely quiet. OK? CORA (whispers) OK. INT. THE SET. NEAR THE CAMERA. DAY Wanda and Wolf stand beside each other in tense, awkward silence for a long moment. WANDA How are you doing? WOLF Good; real good. Wolf looks as if he's about to burst into tears as Nick walks up. NICK How's the smoke machine? WANDA It's dead, Nick. I've got calls out to every Effects house in the city but I just can't seem to locate -- NICK Forget it. We'll shoot without it. WANDA But Nick, it's a Dream Sequence. NICK That's the way it goes, Wanda. We're just going to have to roll with it. Nothing else we can do. We've got to roll with it, right, Wolf? Wolf meets Nick's eyes and gives an extremely melancholy nod. Nick turns to address Nicole and Tito and the edge immediately slips back into his voice. NICK OK, here we go. Ellen, you've got to keep reaching for that apple. I don't feel that you really want it. I mean, Christ, how many times do I have to tell you! Nicole glares at Nick for a moment then abruptly turns and walks off the set. Nick stares after her in confusion then quickly follows her. WANDA Everyone stand by. Nobody move. Going again, right away. EXT. STREET. NYC. DAY Nicole stands with her back to the camera as Nick strides up to her with impatience. NICK Alright, Nicole. What's the matter? NICOLE You tell me! You're the one with the bug up your ass! NICK Now wait just a second! NICOLE You've been picking on me all day! I can't do anything right! NICK I'm sorry if I was short with you, Nicole, but I think you can see I'm under a little pressure here. I'm shooting a Dream Sequence without a smoke machine, my mother's out there thinking she's at a circus wedding and you tell me the whole movie seems fake! NICOLE I never said that! NICK You did too. You said, "Everything feels fake." NICOLE I meant me! I feel fake! Everything I'm doing feels fake. I can't act. I should just do shower scenes in Richard Gere movies for the rest of my life! NICK Nicole, that's ridiculous. You're a fantastic actress. All you have to do is show me you want that apple more than anything else in the world; don't give up. Understand? You cannot give up. NICOLE OK. Suddenly Wanda yells out. WANDA Ready, Nick?! NICK Ready! INT. THE SET. DAY Nick rushes back onto the set. NICK OK, here we go. Everybody focus, concentrate. And Tito, we're still looking for that little laugh, pal. OK? Call it, Wanda! WANDA Picture's up. There will be no smoke in this scene. No smoke. No smoke in the Dream Sequence. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take four! NICK And, action. INT. THE DREAM. TAKE FOUR. DAY Nicole stands motionless in her wedding gown. NICOLE I am so hungry. Tito walks in, stares at her hard, then walks around her once with the golden apple just beyond her outstretched hands. He stops and the camera dollies into his CLOSE-UP. Nick watches in hopeful expectation. He waits and waits but Tito does not laugh. Just then the door in the rear set wall opens and Cora steps in, looking oddly puzzled. CORA Oh, I thought this was the TV room. INT. THE SET. DAY NICK Cut! WANDA That's a cut. Going again, right away. INT. OFF THE SET. DAY Nick escorts his mother back to her chair. NICK Mom, listen to me. I don't want you to move from this chair. Do you understand? CORA Oh Jesus, you sound just like your father... NICK Mom, I'm serious. CORA OK, OK. I won't move. NICK Thank you. INT. THE SET. DAY Nick walks back on the set and addresses Nicole and Tito. NICK OK, good. Very good. (laughs) Tito, I think we're having a little communication problem here. All I want you to do is laugh. OK? TITO Why? NICK I told you why. TITO Tell me again. INT. OFF THE SET. DAY Wolf (still wearing his eyepatch) walks over and sits quietly in a chair beside Cora. He does not speak to her and gazes blankly out at Nick, Tito, and Nicole on the set some distance away. Cora however stares at the side of his head with such intensity Wolf can't help but turn to her. Cora still doesn't take her eyes off him and in fact stares even more intently into his eye. Wolf glances away for a moment then looks back. Cora continues to stare at him. Suddenly, his eye is full of tears. Cora watches in rapt silence. Wolf is crying openly now. Cora reveals no hint of emotion as she reaches out and gently lifts the eyepatch off of his eye. A tight smile of satisfaction creases her lips as a tiny pool of tears is released, streaming quickly down Wolf's cheek. No one sees this. INT. THE SET. DAY Nick paces tensely in front of Nicole and Tito. NICK Look, Tito. It's not that big a deal. It's a dream, alright. Strange things happen in a dream. All you have to do is laugh. Why is that such a problem? TITO Why does it have to be a dwarf? NICK What? TITO Why does my character have to be a dwarf? NICK He doesn't have to be a dwarf. TITO Then why is he?! Is that the only way you can make this a dream; put a dwarf in it? NICK No, Tito; that's not -- TITO Have you ever had a dream with a dwarf in it?! Do you know anyone who's had a dream with a dwarf in it? NO! I don't even have dreams with dwarves in them! The only place I've seen dwarves in dreams is in stupid movies like this! Make it weird; put a dwarf in it. Everyone will go "whoa whoa whoa, must be a dream, there's a fucking dwarf in it!" Well, I'm sick of it. You can take this Dream Sequence and shove it up your ass! Tito hurls his top hat and gloves to the floor and walks out. Everyone stares at Nick who is frozen in stunned silence. Finally Wanda approaches him hesitantly. WANDA Nick? (no response) I can get right on the phone. We'll try to get another... small person here as soon as possible. NICK No. He's absolutely right. Nick sighs heavily and sinks to sit on the dolly in silence. Wolf appears behind him, still wiping his eyes. WOLF You want to just shoot Ellen, Nick? She could be in the dream by herself. NICK No. We're not going to shoot anything. I'm sorry. Thanks for all your help, but it's over. I can't take it anymore. I tried to roll with it but it's time to face the music; I can't do this. I am not a director. The shoot is over. I give up. Nick's speech has the simple eloquence of truth; he is not bitter or self-pitying. He seems unaware of how disturbing this is to the crew. They all stand around him in shock, afraid to move or speak. Finally Wolf turns to the AC and puts his hand on his shoulder, like a father to his young son. WOLF Take the camera off the dolly. Start putting it away. Everyone watches the AC unfasten the camera in silence. Nicole stands alone on the set in her wedding dress, still holding the golden apple. Her face is frozen in dismay. Suddenly CORA comes through the set door and marches up to Nicole. CORA Give me that apple! At the sound of his mother's voice, Nick looks up. He sees her snatch the apple from Nicole's hand and march back out the door, closing it behind her. CORA (behind the door) I'm ready, Nick! INT. BY THE CAMERA. DAY Nick gets up slowly and whispers intensely to Wanda, Wolf, and the rest of the crew. NICK Roll camera. Roll sound. Let's go. Right away. Wolf grabs the camera and puts it on his shoulder (hand-held) as the rest of the crew moves quickly and silently into position. On a terse signal from Nick the camera starts rolling. INT. THE SET. THE DREAM. DAY Nicole takes the silent "action" cue from Nick. NICOLE I am so hungry. Right on cue Cora walks through the door, holding the golden apple out in front of her. She circles Nicole with determination, seemingly oblivious to Nick and the rest of the crew hovering behind Wolf as he begins following her with the hand-held camera. Wolf is now in his element; gliding like Nureyev with the camera. When he pans suddenly with Cora the whole crew ducks wildly and dives out of camera range. Cora finally stops circling Nicole and stops abruptly. Suddenly she raises the apple right out in front of Nicole. Wolf glides forward with the camera, framing an amazing CU of the apple with Nicole seen behind it. Nicole reaches out, grabs the apple and takes a huge, resounding bite out of it. CU Nick's face, eyes wide in anxious delight. Cora takes one step forward. CU her fuzzy slippers stopping right on the yellow tape mark. Cora waits momentarily until Wolf has reframed both her and Nicole, then lets out a huge laugh. INT. THE SET. DAY NICK And cut!! General mayhem erupts on the set. NICK Wolf, talk to me, man! Did you get it? WOLF Got it, Nick! Everything! NICK The Close-up? WOLF Perfect. See? That's what I meant about going hand-held! NICK You're a genius, man! What about the focus?! AC Nailed it. WOLF Fuckin' A! Wolf slaps the AC's palm, then the Gaffer's standing right beside him. He turns gleefully to the next person but seeing it is Wanda he rigidly turns away. WANDA Going again, Nick? NICK How was the sound? SOUND I could use another but definitely acceptable. Nick runs up to his mother and throws his arms around her. Nicole stands beside him. NICK Mom, you kook! That was incredible! Did you know we were filming? CORA (testily) Of course I knew you were filming. NICK You were great, you're a natural. And Nicole, that was beautiful. Don't you dare tell me that felt fake. Suddenly, on an impulse surprising both of them, Nick and Nicole embrace. Just then Wanda steps up. WANDA Going again, Nick? NICK Oh, hold on. Let me think a second. The set grows suddenly quiet as Nick begins pacing rapidly, muttering to himself. NICK Can I use it for the Dream Sequence, that's the question. Does it work for the Dream Sequence? Nick suddenly looks up and sees everybody staring at him; Nicole in her wedding gown, Wolf with his eyepatch, his mother still eating the apple, Wanda, the crew. NICK We're going with it, Wanda! WANDA Alright everyone, listen up. That is a wrap on Scene Six. The set erupts in applause. SOUND Hold it! Hold it! Hold it! WANDA What?! SOUND I need to record room tone. I'll need thirty seconds of silence. WANDA Oh, alright! Quiet. Quiet! Shut up!! Thirty seconds of room tone. The sooner you're quiet the sooner we're done. CORA (whispers to Nick) What's room tone? NICK It's for the sound, Mom. We just have to be quiet. At that moment a door opens at the rear of the set and a DOCTOR and NURSE enter. The Nurse carries an extra overcoat. Jeff, the Driver, turns and sternly whispers for them to be quiet. WANDA And roll sound. Nobody move. SOUND Speed. INT. THE SET. DAY The camera is wide, showing the entire set, actors, and crew. Everyone stands in perfect silence, as motionless as statues. As the silence continues the mood on the set gradually changes. One by one people drift into their own private worlds of reflection. MS the Sound man, alternately watching his recorder and his stopwatch. Behind him the Boom man holds the mike in position to record general ambiance while staring off into the distance. CU the tape recorder spinning in quiet precision. CU the stopwatch, its giant second hand showing five seconds have passed. MS Nick standing next to his mother who drapes one arm casually over Nick's shoulder. Nick glances up and sees Nicole beside him, absorbed in her own thoughts. Suddenly she looks up and her eyes meet Nick's. She slips him the barest hint of a smile. The camera DOLLIES slowly through the standing, silent group, passing over faces in different degrees of thought. CU the Sound man's stopwatch, the giant second hand showing ten seconds have passed. MS Nick. He is so immersed in thought he looks at no one. The camera slowly DOLLIES into a CU of him. INT. AN AWARDS CEREMONY CHAD PALOMINO stands at a gleaming podium, looking radiant in an immaculate tuxedo. He holds an envelope in his hands. CHAD We have a new category this year: Best Film Ever Made by a Human Being. And the winner is none other than my Best Bud, Nick Reve! Amid thunderous applause Nick bounds on the stage and accepts an Oscar from Chad. He stands grinning like an idiot as the applause continues. INT. THE SET. DAY MS Nick, still wrapped in thought, his lips starting to form the same idiotic smile. MS Nicole. The camera DOLLIES slowly into her face, now tinged with a slight uneasiness. INT. A CHEAP RESTAURANT Wide shot at the counter. Nicole stands facing a large bald man with his back to the camera. She is wearing a cheap pink waitress uniform and has her hair under a hairnet. MAN Had any experience? NICOLE I was an actress for a while. She pulls her headshot out of her shoulder bag and hands it to the man with a hopeful smile. He flips over the headshot and looks at her credits with confused annoyance. MAN Yeah, but can you cook a hamburger? NICOLE (doubtfully) Probably. INT. THE SET. DAY MS Nicole. She jerks her head slightly in response to this moment of thought. CU the stopwatch, showing fifteen seconds have passed. MS Wolf. The camera begins a slow DOLLY into his CU. INT. WANDA'S APT. DAY Wolf stands like Thor in the middle of the Red Set, his arms crossed over his chest, his jaw set in determination. Smoke billows around him. At his feet, dressed in Nicole's wedding gown, Wanda sobs hysterically. WANDA Wolf, I'm sorry! Please forgive me! I love you, Wolf! Please! Give me one more chance. Let me prove it! I love you! I love you, Wolf! Wolf remains unmoved for a long moment. Finally he reaches out with a forgiving smile and pats Wanda's head. INT. THE SET. DAY MS Wolf. He glances furtively at Wanda with a trace of hope still in his eyes. MS Wanda, looking off. The camera DOLLIES into her CU. INT. A CHEAP HOTEL ROOM This is the same hotel room from Part Two, in which we saw Nicole and Chad Palomino. At the moment Wanda and Chad lie panting in the sweat-soaked sheets. WANDA What I love about you, Chad, is you're not afraid of my power. CHAD Oh God, Wanda! I love your power. It's like an afferdesiac to me! INT. THE SET. DAY MS Wanda. She shifts slightly and glances quickly around her. Her smile is tinged with the hint of sexual pleasure. MS the Gaffer, frowning, absorbed in thought. The camera DOLLIES into a CU of him. INT. A CHEAP RESTAURANT. DAY Suddenly, a CU of an incredibly beautiful hamburger being placed in a toasted bun on a gleaming white oval plate. A hand places a garnish of parsley on it then carries the plate to the lunch counter. Camera PANS to reveal the GAFFER sitting on the stool. He picks up the hamburger and takes a huge bite out of it. This shot holds for quite some time as he continues to chew. INT. THE SET. DAY MS The Gaffer. A hopeful, delicious smile spreading over his face. CU the Sound man's stopwatch, the giant second hand showing twenty seconds have passed. MS Cora. She gazes serenely out before her. INT. NURSING HOME. DAY In the pale afternoon light, Cora stands in the middle of her drab, barren room. She appears to be staring at the door. Suddenly she begins striding toward it. Effortlessly, easily, she walks right through it. INT. AN AWARDS CEREMONY Nick still stands at the podium with his Oscar. NICK In closing I'd like to say to all the people who told me not to make this movie, who wouldn't meet with me or return a simple phone call. To my favorite professor at Film School whose parting advice to me was to take a job teaching at a women's college. To Delores DelSporto, the girl I loved in high school who left me for a Jr. Varsity football player: to all these people I'd like to say thank you but I can't because what I really feel like saying is go fu -- !! INT. THE SET. DAY MS Nick, his head and body jerking in a sudden spasm. He finishes the last word of his speech in a choked whisper and the Sound man frowns hard at him. CU the Sound man's stopwatch showing twenty-five seconds have passed. The camera stays on the watch until the final five seconds have elapsed. SOUND And, that's a cut on room tone. The room erupts with activity. Everyone moves and talks at once. Nick whispers something to Nicole then runs off. WANDA OK, strike the set. Props! Art Department! Redress for Scene thirty- one. Let's go! Right away people! Nick! Nick! Anyone seen Nick?! WS the set. Suddenly the fake door closes right into the lens, turning the frame completely BLACK. END CREDITS. THE END