"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"LIVING IN OBLIVION"

Screenplay by

Tom DiCillo

SHOOTING DRAFT

1995



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

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