All language subtitles for 2003 - Hollywood North(1)

(upbeat music)

♪ Hitch any ride you want to ♪

♪ Do anything you wanna do ♪

♪ Just keep ridin' your way ♪

♪ Take anyone you want to ♪

♪ Long as I can hear from you ♪

♪ Just be mine in your way ♪

♪ Just be mine in your way ♪

♪ Just be mine in your way ♪

- [Bobby] I got into movie making

with the purest of intentions.

It was 1979, and great
things seemed possible.

Even the notion that Canada
could create a cinema

of its very own.

A few of our own filmmakers
had already inspired us

to tell our own stories, to
speak with our own voices.

♪ But you know what you won't you do it ♪

- [Bobby] I settled on
acquiring the rights

to Lindsay May Marshall's
Canadian classic "Lantern Moon,"

the story about the repressed
Canadian school teacher

who runs away to Cuba and falls
for a Castro revolutionary.

We would shoot on location in Toronto.

But our investment banker
insisted on a star.

So I traveled to Hollywood,
California to get one.

Not to make any excuses,

but it was my first experience
as a movie producer.

And I didn't know that
the phrase "star power"

could also have a darker connotation.

Be careful if you wish upon a
star, you just might get one.

- Quite a place.
- Yeah.

Maura Shira used to live
here in the old days.

- [Bobby] Maura Shira?

- Back when Hollywood was Hollywood.

You realize Bobby, we go in there

it's the same as putting
a payer plan on the table.

- But, you said we would
just goin' in to say hello.

- When you gave him the
script you were saying, hello.

You're also saying, I
want you in my movie.

That's the way, that's the way
it is with Hollywood royalty.

- [Bobby] What?

- No, no, no, no, no, no, no, no.

He doesn't live inside the house anymore.

Security reasons.

- Oh.

- So you said you can't
make this movie in Canada

without a star, and you don't
have any stars in Canada.

That's why all your fellow
producers are importing guys

like Steiger and Mitchum,
Majors and Curtis.

Even (laughs) Orson Wells
went up there to do a movie.

You know, uh, the truth
is I don't even know

if we can convince him to do it.

We're gonna have to twist
his arm a little bit.

- I, I, I thought we
were gonna have choices.

- (laughs) You made a choice.

What, you came 3,000 miles to say, hello?

Are you serious about making your film?

- Well, yes, but.

Yeah, we, we need a star.

(air horn blaring)

- Um. (laughs)

Just uh, business.

(Bobby sighs)

(knocking at door)

Michael.

What did you think of this?

- I hate it.

- Of course you do.

- Uh, it would put a
hyperactive kid to sleep.

(Paul laughs)

I mean, who cares about
some school teacher,

from Prince Namby Pamby--

- No, no one.
- Going off to teach

some happy, smiling little
Cubans how to spell cat.

And they want me to play this, what is it?

The director of a Canadian relief agency.

(gun cocks)

I'd put a bullet in 'em. (laughs)

The first time he's telling us

that communism ain't that bad.

Paul--
- Michael, Michael.

- It's not for me.

- I know.

- I play tough guys. My
fans know where I stand.

- Could you take the gun
away from me, please?

- Huh? (laughs)

Relax.

- Michael, listen to me.

The script, all right,
this is a very early draft.

These people, they'd be desperately happy

if there were rewrites.

- Okay, now we're getting somewhere.

Hey, the way things are
going in the world right now

we, we oughta toughen
it, get our message out.

I got some ideas.

- Okay uh, you know what we should do?

We should bring the son of a bitch in here

and make the fucking deal first.

What do you say? All right.

- Uh and, hey Paul.

- Yeah?

- Canada. Is it a good idea?

- It's a wonderful idea.

Do you know who's going to Canada?

Steiger's going to Canada, Tony Curtis

and Burkland, Mitchum.

- Mitchum?

- [Paul] Yes.

- Mitchum.

(birds chirping)

- I'm hiring Miss Havisham.

- All right. Get him in here.

What's his name?

- [Paul] Bobby.

- Bobby. Bobby?

Hey, Paul?

- Yeah.

- Since we're doing some rewrites,

why not make me the lead?

- Brilliant. But you
know what we'll do first?

We'll make the deal.

- You haven't landed me a lead
since "Night Train to Fear."

- All right, don't bring up
that fucking disaster to me.

All right?

Bobby?

Bobby Myers, meet the
great Michael Baytes.

- Wow.

- Very pleased to meet you.

- Very nice to meet you.

- [Michael] Right.

- I'm a, a huge fan.

- Go ahead and sit down.
Sit down, sit down.

- Yeah, yeah, yeah.
- Wow, look at this.

- Yeah, I read the material.

You've got the makings
of one hell of a picture.

- Thanks very much.

We're all very excited.

- Yeah, I gotta tell you though,

I think it needs a little work.

It could be the most extraordinary story.

And, what's the situation again?

- The situation?

- Iranians, do you have 'em?

- Iranians? Well uh--

- Michael.
- I think so.

- Canada's like the 51st state.

- Yes. Especially now
with the film industry.

- Exactly, you know, Michael and I

really wanna make your
picture work, you know.

- Subject to script approval, of course.

- Script approval?

- What about a director?

Peckinpah's available.

- Oh, that's a great idea.

- Peckinpah, wow.

Um, well um, I'm sorry,

the, the uh, the director
has to be Canadian.

- Oh, what about, what
about, what's his name?

Oh, Jewison.

- Jewison, yeah.
- Jewison, yeah.

- [Paul] No, he's doing
some goddamn Pacino

courtroom drama or something.

- Hey, what's the name of that guy?

I, I, I did a movie in Mexico way back--

- Henry Neville?

- Yeah.
- He's British.

- No, he's Canadian.
- Is he?

- Yeah, goes on about it endlessly.

- Really?
- Yeah.

- [Paul] Why don't we find
out if he's available?

- Henry Neville.
- Henry Neville.

- Uh, there's just one thing.

This uh, script approval.

- [Paul] Let's let, let, let's
not worry about that, Bobby.

- What, what do you mean, script approval?

- I'll tell you what I'm thinking.

- He's, no, he will not
tell you what he thinks.

He will not tell you what he thinks

until we've made a deal, all right?

- [Michael] Bastards.

- Bobby Myers, congratulations.

I think you bought yourself a star.

Come on, let's go.

♪ Friday, Friday is a good time to shine ♪

♪ Night sea journeys, journeys to unwind ♪

♪ Losin' all survival signs ♪

♪ Rerun movies takin' all your time ♪

- Thank you.

♪ And a million vacations
is what you've got in mind ♪

- Thanks, bye-bye.

- [Sandy] So Bobby had
signed Michael Baytes

who would star in "Lantern Moon."

And that's what brought me,
the kid from Scarborough,

into Bobby Myers' life.

- Howard, what's all this?

- Uh, this is the film about
the making of the film.

- [Sandy] Bobby's cousin Howard
was the associate producer,

and Bobby's little engine that could.

- You spoke to Casey?

- This is Sandy Ryan.

Sandy here has agreed to direct it.

And she's an award-winning documentarian.

And she's also directing her
own movie, uh film. I'm sorry.

- That's all right. Hey,
nice to meet you, Bobby.

- Nice to meet you.

- Listen, we, we don't
have to do this right now

if it's not a good time.

- No, no, no, leave it on.

Did you sign Burt?

- No. Burt's busy for the next two years.

So is Mitchum. So is Steiger.

- Did we get anybody?

- Michael Baytes. Signed and sealed.

- Wow, "Gun Town
Marshal," "North of Suva,"

"Two Desperate Men."

- Michael Baytes wants
the American ambassador

to be more patriotic.

- There is no ambassador.

- There's an ambassador in Colombia,

and that's where our star
wants to set "Lantern Moon."

- Uh, doesn't he know that
the book is set in Cuba?

- Yes, he knows this film is set in Cuba,

but the fact that Cubans are communists

is some kind of major sticking point.

- You didn't give him script approval.

- Of course not.

Excuse me, that thing's
no still recording, is it?

- It's fine. We, we got your entrance.

Just kill the light.

- I gave Baytes character approval.

- Sounds weird.

- For weird you had to be there.

It was like an episode
of "The Twilight Zone."

- Hey Baytes did a
"Twilight Zone," remember?

Yeah, he played the guy
who thinks his new boss

is an alien.

And then when they finally
cart him off to the nuthouse

we find out the guy's
boss really is a martian.

- I must've missed that episode.

Are you listening to me?

This guy wants to play
the American ambassador

to some country in South America.

- We'll rewrite.

- We'll be lynched.

"Lantern Moon" won the Governor
General's Award for fiction.

You can't fuck with it.

- It doesn't matter. Bobby, make the call.

- [Bobby] What call?

- To Casey.

If we've got a star, we've
got a green light picture.

We can get it on camera.

Sandy, isn't this phone mic'd?

- Yeah, I just gotta clip on the wire.

We've got the other crew waiting.

- What camera crew?

- Oh, we have another crew at Casey's.

- There's a camera crew at Casey's?

- [Howard] Yeah, I, I--

- [Sandy] So this is how
"Lantern Moon" got legs.

Casey Investments raised
a little over $5 million,

all because they got a star.

- It's ringing.

- [Sandy] Well, an American star.

- [Howard] You know, set
'em up knock 'em down.

(telephone ringing)

- Bobby. How you doing?

- Hey Casey, how are ya?

I just got off the plane from Los Angeles.

Guess what? I've got
some very exciting news.

Michael Baytes has agreed to play the lead

in "Lantern Moon."

- Uh, just a minute, will you?

- He's got me on hold.

- Cindy.

- [Cindy] Yes?

- Michael Baytes, is he a big star?

- [Cindy] Michael Baytes? Oh
my, he's a biggie all right.

He was just in--

- You can cut that.

Hey, sorry about that, Bobby.

- Say, listen, Casey,
having a big Hollywood star

to play the lead in "Lantern Moon,"

it might affect the tone of the script.

You know, it might not be
exactly what's in the book.

- Hey, my people are
looking to be associated

with success, and in the movies,
that means Hollywood stars.

- Right.

- Bobby, look, I can put my people

into some other tax vehicles.

I have oil and gas, airplanes,

multiple unit residential building--

- No, no, no, no, no.

We've got Michael Baytes.
We're in business.

- [Casey] And you do have a
six of the possible 10 points,

so it qualifies, right?

- Right. Hundred percent
tax write-off, Casey.

- You can deliver by December 31st?

That's important for the write-off.

- No problem.

- Then we've got a deal.

I'll see you tomorrow at lunch, 12:30.

- We're all very excited,
Casey. I'll see ya.

(dial tone blaring)

(Bobby breathing heavily)

Looks like we're making a picture

- (laughs) We're making a movie.

Oh, Bobby!

- [Sandy] And because an American star

had gotten their movie up and running,

he was gonna make a few changes,
starting with the title.

"Lantern Moon" became "Flight to Bogota."

- So, we're a go picture.

- Here we go. (laughs)

(typewriter keys clicking)

- [Sandy] There was just one
piece of the puzzle missing,

a director, a Canadian director.

- Uh, Mr. Neville.

- Yes?

- Howard Atkins, sir.

You were a guest lecturer in
my film theory class last year.

- Ah yes, Mr. Atkins.
Good to see you again.

- You too. Uh, this is
my cousin, Bobby Myers,

he's the producer on "Lantern Moon."

This is so weird.

We were talking about you just uh--

- [Both] Yesterday.

- Yesterday.
- Yeah.

- Me?

- [Bobby] Yes, our star, Michael Baytes,

thinks an awful lot of you.

- Aw, Michael. Quite an intense actor.

Who's directing it?

- Well, that's just it.
We haven't hired yet.

And uh, that's how your name came up.

So it's such a coincidence
to run into you.

- [Henry] Is this some kind of joke?

- [Bobby] No. If you'd prefer
we contact your agent--

- No. You'd like me to direct?

- We're very familiar with your work, sir.

We'd consider it an
honor to work with you.

- I didn't know what to say.

- Yes. Say yes.
- Yes, yes.

- There's one condition I have
before I agree to sign on.

- Which is?

- I must film in widescreen Panavision.

- Oh, shouldn't be a problem.

- I'll read the script this afternoon.

We'll meet for drinks at six, Park Plaza.

- Widescreen Panavision.
- Widescreen Panavision.

Oh, it's so expensive.

(upbeat rock music)

(film roll clicking)

- [Sandy] As well as
chronicling the progress

of "Lantern Moon," I was
directing my own little

low-budget drama at my
house on the weekends.

It was called "Human Voices,"

Romeo and Juliet as a kind of meditation

on the French English crisis in Canada.

- What?

Ask him that? Mama, you're joking.

(scoffs) Sure, I'll just
say, "One little thing,

my darling, when you meet
my brothers and father,

could you pretend your
name is Cormier, Lachance,

or Bourgeois?

- [Sandy] Frankie
Candido, the rebel leader

in "Flight to Bogota," was also
the lead in "Human Voices."

But I'd cast him first.

- How long have you been there?

- Long enough to hear that
I'm not who I should be.

- No, my darling, I
would never ask you that.

- I'm sorry.

- [Sandy] And, cut.

Frankie thought he only
got cast in the role

because he was sleeping with the director.

But the truth was, he got the role

because he was a pretty good young actor.

One of the best young actors around.

- [Bobby] Oh, god.

- [Sandy] The only problem was,
I was running out of money.

- [Bobby] Lindsay's gonna kill us.

- [Sandy] But I had an idea.

- It's not remotely
recognizable as "Lantern Moon."

- Not at all?

- Well, some of the
characters names are the same.

- Fuck it. Just keep Lindsay
May Marshall off the set.

- Hey. Sorry to interrupt.

Look, I was thinking, I don't,

I don't wanna get in your way here.

So why don't we meet in the mornings

for a five minute chat and--

- Let's start tomorrow.

- Great.

Uh.

- [Bobby] What's that?

- It's a copy of the script.

- What script?

- "Human Voices," the
film Sandy's directing.

- What's it about again?

- Humans, and voices, and (laughs).

- I'll read it.

- Great. I'll see you tomorrow.

Uh, is, is that Scott DiMarco out there?

- Sure is.

You know, "Ghetto Blaster II."

- Uh, and who's he playing?

- Estevez, the nemesis of
the American ambassador.

- Frankie Candido is Estevez.

- Not anymore. Casey
wants another star name.

- We are definitely big
time now. (chuckles)

(telephone ringing)

- Hello?

- Lindsay, it's Bobby Myers. How are ya?

- I'm well, Mr. Myers, and you?

- I'm doing all right.

You know, we're making tremendous
progress with the film.

Yes, we've hired Michael
Baytes to play the lead

in "Lantern Moon."

- When do you think you'll start shooting?

- We should start just about the time

that you're going back to Cuba.

- I have news. The trip
to Cuba's been postponed.

I'll be able to come to set.

- Really?
- Yes.

(object clattering)

Are you there?

- [Bobby] Yes, that's
marvelous news, Lindsay.

- So, when will you be shooting?

- Uh, well, we, we don't
have a firm start date yet,

but my associate producer, Howard Atkins,

will give you a call
in the next week or two

and make all the arrangements
for you to visit the set.

How 'bout that?
- Wonderful.

Now, about the script, I have

a few things I'd like--
- Uh, Lindsay, Lindsay,

I, I, I've been called into a meeting.

The Cuban dialect coaches are here.

Yes, I'll be right there.

Um, I'm sorry, Lindsay.

I'll have Howard Atkins give
you a call the next week or two

and we'll make all the arrangements.

- Yes, Mr. Myers, see you soon.

- What was that all about?

- She wants to visit the set.

Uh.

- "Wuthering Heights."

- [Bobby] What?

- "Wuthering Heights."

I'd say it's a better book than this.

And, and, and you know what happens

when they turn that into a movie,

the, the chick who dies gets to live.

And not only that, but
she marries Mr. Nice Guy,

who in the book is a raving psychopath.

- Yeah, you're right.

Yeah. And that was Olivier.

If they can do that to
"Wuthering Heights"--

- Tell me about it.

First year in English,
I turned in an essay

after only watching the movie.

I figure how different can it be?

- A lot.

- A lot.

Right? Yeah?

- Yeah.

(both laugh)

- It's not that bad.

- It seems that "Lantern
Moon," the Canadian classic,

will be getting the Hollywood treatment.

The movie, now called "Flight to Bogota,"

will star Academy Award-nominated
actor, Michael Baytes,

and is scheduled to
begin shooting tomorrow

just north of Toronto.

Scott DiMarco also has
a role as the nemesis

of the American ambassador,

a character suspiciously
absent from the novel.

What will those movie
people think of next?

(keys jingling)

- [Sandy] Morning.

- Oh, our morning chat.

- Yes.

- [Bobby] I almost forgot.

- That's all right.

Gave me a chance to uh, check
out the new storyboards.

Wanna smoke?

It'll take him a minute to set up.

- So, what should we
talk about this morning?

- I don't know. What would
you like to talk about?

- Henry Neville, we got him.

- Congratulations.

- [Bobby] Yeah, it's good news.

- Mm-hmm.

- He directed "The Hanging
Tree," it's a classic.

We're lucky we got him.

- You do realize he
hasn't directed a picture

in a good 15 years?

- Really?
- Yeah.

Let alone a good one since
uh, "The Hanging Tree."

- What should we talk about next?

- Oh, well I interviewed
Frankie Candida last night.

We could talk about him.

- Okay. Producer hires young
nobody to star in film.

Investors force producer to hire somebody

that is a star from America.

Producer doesn't like it,
but he does it anyway.

What should we talk about next?

- Lindsay May Marshall.

- Next subject.

(Sandy chuckles)

- Yeah.

Does it bother you that not
a single scene in your movie

has anything to do with
the book "Lantern Moon?"

- Yes.
- Right.

- But I've learned to turn
off those parts of my brain

that induce shame and guilt.

- Ah, I've got an idea.

Why don't you do two
pictures, "Flight to Bogota,"

and "Lantern Moon?"

- Because "Flight to Bogota" is happening.

And it's gonna pay for the
quarter of a million dollars

in costs that I've already incurred.

- And you do realize her
novel's got quite a following?

I mean, the fans'll be pretty broken up.

- Yeah. I know that.

I'm one of them.

- I'm Michael Baytes. I need protection.

- You're missing the CW-430.

- A Canadian customs lawyer
filled everything out.

I'm just--

- What's going on?

- [Officer] Who are you?

- I'm uh, I'm Howard Atkins.

I'm the associate producer
on "Flight to Bogota."

What a, what seems to be the problem?

- There is certainly enough
Hollywood glamor in the air

to make this pre-production
bash for the film

"Flight to Bogota," a
magical flight indeed.

The VIP guest list includes the
film's well-heeled investors

as well as the film's Hollywood stars.

And I'm standing beside
Gilly Stevens right now,

one of the stars of the film,

who was last seen in the box office hit,

"Screamers Under the Stairs."

Gilly, are you glad to be back home?

- Oh absolutely.

I think Toronto truly is
turning into Hollywood North.

- Tell me Gilly, is it a coincidence

that a number of men that
you've been linked with

have also been your
co-stars on different films?

- Well, Leslie, I'm sure
that something happens

when you're with somebody
for a long period of time.

You know, sometimes it's
difficult to distinguish

between yourself and your character.

- Okay.
(Gilly laughs)

Thank you very much, Gilly.

- Thank you.

- We'll let you get back to the party.

- It's lovely, lovely talking to you.

- [Gilly] Terry, there you are.

- We just gotta wait for Michael Baytes.

(upbeat rock music)

- Hey, are you 18?

In your Jacuzzi.

- Pig.

- "Say It in Scarlet"
was one of my absolutely

favorite films.

- And I adored your role in
uh, everything you've done.

- (laughs) Thank you. You're so sweet.

- [Reporter] Why is
"Lantern Moon" now called

"Flight to Bogota?"

- Well, we did a title search and uh,

"Lantern Moon" wasn't available.

So we thought we'd open the film up

to an international market, you know,

a little artistic license, if you will.

- [Reporter] How much do
you plan to open it up?

- Uh, it could go crazy, you know.

Kind of like what Hollywood
did to "Wuthering Heights."

- It's for the movie.

- For the movie?

- Yes. Mr. Baytes will be
firing a gun in this film.

- Defending democracy.

- In the movie, defending
democracy in the movie.

We didn't anticipate any problems.

- Are you a lawyer?

- Yes I am.

Yes I am, and I promise you,
you'll have your paperwork

in the morning, sir.

- What about my luggage?

Ah!

(traffic humming)

- Thank god you're a lawyer.

(Michael sniffing)

- Uh, I'm, I'm not a lawyer, sir.

- Well, good for you.
You handled it well, eh?

- Actually, it was the kinda like the way

you handled those border
guards in "Assignment to Kiev."

(Michael laughing)

- What did you say your name was?

- Howard Atkins, sir.

- That guy back there was an Iranian.

- Uh, I believe he was Scottish, sir.

- No, not him. The hairy one, huh.

The guy with the hat.

- Perhaps, sir. I could check, sir.

- Michael, just plain Michael.

- Right.

You can depend on me, Michael.

- Hey.
- Hey.

- Where have you been?

- Oh, Howard.
(camera shutter clicking)

- [Man In Crowd] Have you met Gail?

- We were all gettin' so worried.

This is uh, Peter Casey,
our executive producer.

- [Michael] Oh.

- Right, money guy.
- Money guy.

- Be nice.

- Money guy.
- Oh, what the heck. Enjoy.

- Ladies and gentlemen,
ladies and gentlemen.

I would like to introduce it to a man

who needs no introduction, Michael Baytes.

(crowd applauding)

- Thank you.

Ah. Gillian Stevens.

- Darling!
- At last.

(both laugh)

- I'm always wanted to work with you.

- Oh!

You look fabulous, baby.
- I loved you

in that movie, "Pomegranate."

- "Pomegranate," yes.
- "Pomegranate."

Your performance was wrenching,

absolutely wrenching.
- Oh, thank you.

Thank you, baby, yeah, yeah, yeah.

- You should've won that Oscar.

- I should should, shouldn't I?

- You were robbed--
- I was robbed, robbed.

- Let me tell you.

It's very political.
- Yeah, I was great.

Hey Henry, yeah.

- Yes, yes, my all means.
- See ya.

(Michael laughs)

- Good to see ya.

- Nice to see you, Michael.
- Yeah, yeah.

It's been a long time.

- He's so warm, so genuine.

- Okay, Henry?

- Yeah, I like him.

(camera shutter clicks)

- It's fine.

There's some chemistry.
- How you doin'?

- Uh, yeah, like magic. (chuckles)

- So what do you think?

- (laughs) What do I think?

I think, I think I can't
believe it. We're on our way.

(Howard sighs)

- Good.

- [Radio Announcer] If you're
looking out your window

and think it's a dream
you're having, wrong-o.

(man with tree grunts)

That is snow out there.

This is the earliest snowfall on record.

15 centimeters have already fallen.

The worst is over.

- Any sign of let up, number one?

- No.

My mechanic says it's
the earliest we've had

this kind of storm since
they've been keeping records.

- But we can still shoot.

- I don't see how. It's snowing outside.

- We'll have to cover, sir?

- Cover?

- Cover set, shooting inside.

Yes, let's.

- [Radio Announcer]
This is just coming in.

The demonstrators outside
the United States embassy

in Tehran today have stormed

the embassy.
- Bastards.

- [Radio Announcer] Crowds
have overrun security

and are apparently--
- Bastards.

- [Radio Announcer]
Inside the actual embassy.

- [Man] Ready? 84, take two.

- Frame.
- Wait.

Wait, wait, wait.
- Action.

- Yeah?
- Ready?

- [Henry] And, action.

(plane buzzing)

(deep suspenseful music)

(Gilly gasps)

- Shh.

- Juan!

- Charro, I could not
stay away, my darling.

- Oh, darling. I knew you would come.

(Gilly moaning)

- Estevez, I'm sorry that
your meeting and your life

have to be cut short.

- Don't hurt him!

No!

(gunshot blasts)

- Cut, and cutting.
- Good, good.

That looked good to me.

- I don't know. I don't know.

He waltz over that balcony as
if he was ballroom dancing.

I miss this guy at close
range. I'm not buying that.

- Michael's right.

You're good, man. You are so good.

He would've killed me at that distance.

- No, we need somebody to hold me off.

- Or, or, or, idea.

I could take that
balcony with a swan dive.

- Guys, keep it down, please.

- Michael, what about this?

The distance sells through the camera.

We go tighter on a stunt double

who will sell Scott's
leap over the balcony.

Okay? Simple.

- Henry, stunt double, you can't,

my people, my fans, they'll be lookin'

and they'll, they'll--

- Nobody will notice except you.

- If I get the next take perfect,

we don't need to cover
the stunt double, right?

- Scott, it's a 10-foot jump.

- Henry, you're choking my rope, right?

I'm Scott DiMarco, I'm an action figure.

Those are stunt boxes out there.

It's simple. I do it all the time.

- No. The answer is no and that's final.

- The stunt coordinator's
gonna be on set at noon, so--

- Good, we'll do the stunt then.

- Okay.

- Find me the mirror, mirror, mirror, now.

Mirror.

- Hey, baby.

- Yeah, all right, sugar.
Later, later, later.

- [Sandy] Want a smoke?

- No, I don't, I don't smoke.

What, what, what are you, B camera?

- No, no, we're just doing
a little behind the scenes,

making a documentary why a...

- You gonna be here the whole shoot?

- Oh, couple of days.
Uh, does it bother you?

- Not really.

- Okay.

- It's just really difficult
to sort of get into

my, my, my character with all this,

with wanna-be filmmakers
getting in my way.

- Oh, right.

Like the interfering of the
muse and all, I got you.

- You stay the fuck away from me.

You stay the fuck away from me, okay?

I'll get you barred from this set.

You understand, deep throat?

You back away from here.

- Promise me you got that.

- [Cameraman] Oh, I got it.

- [Man On Set] Let's go back.

- [Man On Set] How much of
this area are we gonna see?

- [Seth] Get Mr. DiMarco
a fucking mirror, please.

- [Man On Set] Sorry, buddy,
we're gonna see all of it.

- [Seth] Get hair and
makeup to set, please.

Someone gets Gilly some tea.

We need to travel some
tea to set for Gilly.

- Oh, how 'bout, how 'bout right here?

- This would be great.

- It's a, it's appropriate.

- Not snowing.

- Oh, oh the boxes.

- I'll get 'em.

- Hm, should we move 'em?

- Ah, they're gonna be pissed.

- Fuck 'em. Fuckin' Cani,
Cano, Canuh, Canucks.

Fuck that.

They got the stunt boxes on
the other side of that balcony.

You aim, you fire, I jump.

They'll be so happy that they're gonna

give out donuts to the crew, everybody.

- It's all right by me.

- Good.

- [Seth] Guys, can I get an estimate

on wardrobe please?

- I uh, read your script, it's good.

- [Seth] Are they a hundred percent?

- Thanks.

- What's it based on?

- Life.

- Yours?

- Maybe.

- Well, that explains it.

- Explains what?

- Why you do what you do.

- Huh. Why do you do what you do?

I mean, you left a
successful job as a lawyer

to become a producer, why?

- I liked the book. I thought
it would make a good movie.

- It's a good story.

Was a good story.

- Story about a man at
the fork in the road.

- Aim for Frost, you got Faust?

- [Seth] Are we ready to
go? Is everyone ready to go?

- Yep. (laughs) Maybe I'll
get it right next time.

- [Seth] Guys, quiet please.

(bell ringing)

- We ready to go, boss?

- Sure, why not?

- Okay, lock 'em up. And, roll sound.

- Sound rolling.
- Scene 84, take three.

Pickup marker.

- [Woman] Frame.

- Action.

- [Michael] I'm sorry that
your meeting and your life

have to be cut short.

- Don't hurt him.

(Gilly yells)

(gunshot blasts)

(Scott yells)

(Scott thuds)
(Scott grunts)

- Jesus Christ, what's he doing?

- Uh, cutting.

(bell ringing)

(Scott groaning)

Oh my god.

- Go get the cables.
- Bring it, bring it in.

(Scott groaning)

- We need help.

Holy shit, we need help.

(bell ringing)

- [Loren] The problem, Bobby,
is that the insurance policy

stipulates the use of a stunt double.

- What, what asshole
moved the stunt boxes?

- So what you're telling me

is that we're not covered, right?

I'm 50 grand over budget
for hiring DiMarco,

and you're telling me I'm not covered.

- [Loren] That's correct.
And you have to recast.

- What was the name of the
guy that was playing Estevez

last week?

- Frankie Candido.

- Right.
- I'll get the contract.

- Oh.

- Thanks for your help, Loren.

- [Loren] Good luck.

(formal drumming music)

- Howard, what the hell is this?

- This is The Alamo. It's Michael Baytes'.

- I know what it is. What's it doing here?

- Well, it's, it's here
because Michael wanted it here.

It's in his contract.

Isn't it amazing?

Look, it's pop rivets on the side,

bulletproof glass, all custom made.

The wheels--
- Who authorized it?

- Well, I did. You let me run transport.

- Howard, this is insanity.

- I call it smart.

I'll bet there are all
kinds of terrorists bastards

out there who'd love to pick
off a giant like Michael.

- [Sandy] And so Frankie Candido,
the star of "Human Voices"

was once again the star
of "Flight to Bogota."

It helped to take my mind off the fact

that the world may have just lost

another B-grade action
star in Scott DiMarco.

- Don't worry, no matter
what their schedule is like,

I'm gonna be there a hundred
percent for "Human Voices."

- We'll just work around you.

Your film has priority
right now. I don't mind.

- You know what else has priority?
Your vision has priority.

Now I made a commitment,
and I swear to God

your voice has to be heard.

Your duty is to you.

- (laughs) Well then, I guess I'm torn.

- Torn?

- Between my duty and you.

(Frankie laughs)

- How do we get back
into production anyway?

- Shh. I found another investor.

Okay, so that wasn't exactly true.

It just so happened that
Mark, the camera operator

from Bogota was the director
of photography for my film.

That's when I got the
idea to throw in my film

with the "Flight to Bogota" footage.

All I had to do was
change the number of roles

on the order form.

And it worked. No one batted an eye.

Suddenly, I was shooting for free.

I started using equipment, craft services,

a couple of costumes.

Okay, so flirtin' with the
guy behind the lab counter

was a little bit anti-suffrage of me,

but Gloria Steinem wasn't
paying for my picture,

the Canadian taxpayers were.

It seemed the right thing to do.

I kinda felt that Bobby
would've wanted me to do it.

- We're on the set of "Flight to Bogota,"

and about to sit down
with one of Hollywood's

most familiar faces.

With two Academy Award best
actor nominations to his credit,

Michael Baytes has reached
the top of his profession.

And he is starring in
the political thriller

now shooting here, in Toronto.

Let's ask him what he thinks
about Hollywood North.

You're critical of the way the president

is handling the situation in Iran?

- I am very critical, very, very critical.

Times like these, we need
a, we need a president

like Andrew Jackson.

Andrew Jackson, he's one
of my favorite presidents.

He was a mean son of a gun.

- Well, it is a complicated situation.

- Couple of nukes'd simplify
the situation. Don't you think?

- Mr. Baytes, why don't you tell Joanne

about how "Flight to Bogota"

relates to the current
political situation?

- It's about the fight for freedom,

which is suddenly front and
center for all Americans.

- "Lantern Moon" is about
a fight for freedom?

- Well, now it is.

I wasn't about to do it
if they were gonna make it

about some school teacher running off

to bring the three Rs to a
bunch of godless heathens.

For Christ sake, I mean, I mean, who cares

about Fidel and his illiterate hoards?

Not Americans.

(static buzzing)

- In this next bit, I want
to dolly in on you two

while you're embracing.

- Um, how far do you want us
to take the embrace, Henry?

- Pretty far, but not
until the second shot.

Boom down on you two from up there.

- Looks like we're gonna get
to know each other real well.

(Gilly laughs)

- We'll go in about a minute.

- You nervous?

- A yeah, a little bit, yeah.

- Don't be. Just pretend like
I'm your first girlfriend.

- Oh. Well, that's not a good idea.

No, cause she um, she dumped
me by getting my, my mother

to tell me that.

(Gilly laughs)

- Gilly, Gilly, this
scene has got to be hot.

- Okay.
- You have to remind him

why he cannot leave you.

Seductive, hot, sex, power.

(Gilly growls)
Hot, yes.

Let's try one.

- [Seth] Okay, let's lock it up guys.

And uh, roll sound.
(bell ringing)

- Scene 56, take one marker.

- Come closer, honey.

- Gilly, don't give him a chance

to think about anything else.

And, action.

- Yeah, he, he know, he knows about us.

Doesn't he?

- No, no, he doesn't know.
I've been very careful.

- No, of course he knows. He,
he, he has spies everywhere.

- Then why go on fighting?

- Because I must, because
I have sworn not to stop

until my country is, is, is free.

- Oh, Juan.

- Cut.

- [Seth] And cutting.

- 10 minutes, people.

(bell ringing)

It's very disorienting, laying there naked

next to a film star.

- Yeah, yeah. I, I can't
believe it's happening, man.

- It's happening because
you're a fine actor.

An extraordinary actor.

I was glad when we lost Scott DiMarco.

You're a far better actor.

- Are you, are you serious about that?

- Completely.

As you may know, I came
out of semi-retirement

because I so wanted to do this movie,

and you have become a very
important part of that.

- Oh, wow. Well, I'm not
gonna let you down, man.

- I know that.

What I want to do now,
right now, is to kill you.

(Frankie grunts)

There, Frankie Candido is dead.

Estevez is the only one alive now.

Now, Estevez, get out
there and take that woman

who wants you very badly.

And know in your heart that
if anyone stands in your way,

I mean anyone, you will
kill them, stone dead.

- [Frankie] Yeah. Yeah!

Yeah! Yeah!

- Yes, you've still got it, old man.

(laughs) Yes.

- Guys, we need to be--
- Scene 56, take two marker.

- [Seth] Real quite
here, real quiet, guys.

- [Woman] Frame.

- [Henry] And, action.

- He knows about us, doesn't he?

- No. I mean, I don't think
so. I think he's fooled.

- Of course he knows. He
has his spies everywhere.

Watching our every moves.

- Then why go on fighting?

- Because it comes down to freedom.

And you don't understand.

You never had to fight a day in your life.

I always had to fight.

Do you know why?

- Why?

- Because I always knew, I
knew there was something better

out there.

- Juan, Juan, you can't leave me.

When I'm with you, I feel
strong enough to do anything.

- I am torn between my duty and you.

- Cut.

- And cutting.

- Great stuff. Good work.

- He bit my neck.

- After lunch, we're
going to go in tighter,

do a nice, slow move up Gillian's body.

- You liked that? He
walked all over my lines.

- You were wonderful.
The scene was wonderful.

There's something dangerous
about him, unpredictable.

You were passionate and alive.

- [Gilly] Really?

- [Howard] He's, he's really, really good.

Isn't he, Michael?

- Who is he?

- Frankie. He replaced Scott DiMarco.

- Scottie's gone? Why?

- Um, he was in an accident. Remember?

- Well that was part of the script.

- No, no, no, that was real.

- Real?

- Yeah. He's in the hospital,

and Frankie Candido is replacing him.

- I want this guy checked out.

- All right. I'll get someone on it.

A private eye.

- Good. Excellent.

Find out the nature of his mission.

- Right.

- Oh. Uh, excuse me, what's your name?

- Kenny.

- Kenny, could you do us a favor

and leave us alone for a few minutes?

We have to, we have to talk.

- Sure.
- Excellent.

Thank you, Kenny.

Candido, you were really good.

(Frankie laughs)

I want you to make love to me.

We have three more love
scenes, I want them to be hot.

- Uh, yeah.

Um, I'm kinda, I'm, I'm, I'm,
I'm kind of with somebody

right now, so I don't, I don't--

- This is for the movie.

(Gilly moaning)

- When I, when I hold you in my arms,

I wanna be Estevez.

- Oh, Estevez, yeah.
- Yeah, yeah. The man--

- Come on into me, baby.

- The man who knows what he wants!

- (moaning) I know what you want.

- The man who is, is,
is ready to die for it.

- Die for it. Die for it.

(both moaning)

- I'm coming. Oh, yes.
(knocking at door)

(both moaning)

Uh, we're not done yet.

(Gilly moaning)

(Frankie breathing heavily)

You know somethin', honey?

After this movie comes out,

your whole life is gonna change.

- You know what? I think it just did.

(both chuckle)

- I not talking about you changing,

I'm talking about, it's
gonna change the way

other people treat you.

- But it's a great life.

You know, traveling everywhere

and staying in five-star hotels

and, and, and meeting fabulous people.

- Yeah. Yeah, it is.

It's kinda like a, a free ticket.

(knocking at door)

Well, guess I gotta get back to work.

It was nice having this
little discussion with you.

(Gilly laughs)

♪ But you can only drive down
Main Street so many times ♪

- I'll see you on the set, Estevez.

♪ 'Cause you can only drive
down Main Street so many times ♪

♪ And a million vacations
is what you got in mind ♪

- It's a, it's lunchtime right now

so I can show you the sets.

You'll see in a hurry why
motion pictures cost a bundle.

(Howard chuckles)

Oh.

Uh, this is a Michael Baytes'
personal on-set vehicle,

The Alamo, imported all the way
from LA for this production.

- Howard.
- Yes, sir?

- I need some ass wipe.

- You got it, big guy.

- And some blow, on the double, soldier.

- Right, yes, sir.

These are our investors, Michael.

I'll just go get those tapes.

- Excuse me. (laughs)

(camera shutter clicks)

- [Peter] How bad is it?

Just give me the bottom line.

- Two days behind and
$175,000 over budget.

- 175,000?

- Yeah. I had to promise Henry Neville

he could shoot in widescreen Panavision,

and Baytes brought his mobile home up here

and I had to pay for it.

- Well, stiff him.

- I can't. His contract'll
support his argument.

And then Scott DiMarco, you
were the one that wanted him.

Thanks very much.

- Yeah well, you've gotta
get this under control

or else the completion guarantor
guys come in, we're done.

- Casey, come on, I mean,
we've had a rough start.

The weather, the accident, overages,

we'll get back on schedule.

- And on budget.

- [Bobby] I haven't
touched the contingency.

- Oh good.

Keep me informed.

- This can't be right.

- I better get going.

- Really? Don't you wanna rehearse?

- Ah, nah, nah, I gotta,
I gotta be somewhere.

Gilly.
- What?

- I'm, I'm kinda seeing
somebody right now.

- Yeah, me.

- Uh, no someone--

- No?
- Someone else.

- Oh, don't tell me. I hate real life.

(Frankie grunts)

(Gilly laughs)

(both moaning)

- Oh my god.

- You like that?

- Yeah.

- You like that?
- Yeah, uh-huh.

- Talk Colombian to me.

- I like it. I like it.

(both laughing)

(telephone ringing)

(both moaning)

- Oh, yes.

Oh.

(telephone ringing)

(gentle music)

Do you love me?

- I would lay down my
life for you, my darling.

(gentle music)

- Cut.

Cut!

- Cutting, we're cutting, everybody.

(bell ringing)

(Gilly laughing)

- Is it just me, or are these
two getting better at this

all the time?

- She's been putting her
film on our lab account.

So essentially "Lantern Moon"
is paying for "Human Voices."

- Have you called the cops?

- No, we got her, she's busted.

Let's just see how far she takes it.

- You have to call the cops, Robert.

- The next problem of the day, Baytes.

You seem to be getting close to him.

What's his problem?

- Nothing. Nothing, he's just
a little bent on politics.

This whole Iran thing, you know.

- This morning, he asked me if I noticed

that 8% of our crew was bearded.

- What'd you say?

- What'd you say to that?

I told them a hundred percent
of all adult male moles

were bearded.

- Oh, good thinking.

Way to go.
- Got him outta my office.

- Okay.

- Now, another thing, and I'm hoping

that this is just a rumor,

but this guy wouldn't be
doing drugs, would he?

- Drugs, drugs?

- Cocaine?

- God, no.

God, no, god, no.

You gotta stop being paranoid.

At his age, cocaine? That's
ridiculous rumors people start.

- Look, I, I gotta go.

- Yeah.

- Get these yo-yos back to work.

- Will do.

- [Man] It's always the actor.

(Frankie and Gilly moaning)

- [Frankie] When I hold you in my arms,

I wanna be Estevez.

- Hey, people, we have
a movie to shoot here.

- [Gilly] Into me, baby.

- [Frankie] The man who
knows what he wants!

- [Gilly] (moaning) I know what you want.

- [Frankie] He's, he's
ready to die for it.

- [Gilly] Die for it. Die for it.

(moaning) I'm coming. Oh, yes.

(both moaning)

(knocking at door)

Uh, we're not done yet.

(energetic music)

♪ I'm a spaceship superstar ♪

♪ Got a solar-powered laser beam guitar ♪

- It's supposed to be a morning interview.

Where's your cameraman, Sandy?

Sandy?

- Oh, sorry. Lost in thought.

(Sandy sighs)

- Are you all right?

- Oh yeah, I'm fine.

- You know what the subject
of this morning's interview

should've been?

Day 17, and we're back on schedule.

Shootings half done, and
we're doing just fine.

- Yeah. We're still waiting
for Sandy's cameraman.

Lindsay May Marshall's been calling.

- Oh yeah, that's right.
I gotta talk to her too.

- No, no talking to Lindsay

until after the film is finished.

You got it?

- What a fuckin' asshole.

- You seem different, Sandy.

Is there anything I should know about?

- Oh no, I'm just tired.

I was up late last night, cutting.

- Cutting?

How's your a, how's your film goin', San?

Still on budget?

- Yeah, I'd love to see
some of your dailies.

- I'm gonna call that bastard.

- I can't believe you
haven't nailed her yet.

- I told you, I wanna see
how far she'll take it.

I read her script. It's pretty good.

- [Howard] "Human Voices?"

- Yeah.

- Sounds like art.

- [Bobby] I think it'd
make a pretty good movie.

- Bobby, she's stealing from us.

You can't trust her.

- She is acting kinda strange.

- She's just bent out of shape

over this whole Frankie Candido thing.

- What Frankie Candido thing?

- He dumped her for Gilly Stevens.

- She was going out with Frankie Candido?

- Of course.

How do you think he landed
the lead in her film?

- You're being cynical.

- Don't tell me you're
getting the hots for her?

- No, no. I just, she's talented.

I, I, I, I like her.

She's part of the team.

What'd you come in here for anyway?

- To tell you that Lindsay
May Marshall's been calling.

- Right. Make sure she
gets nowhere near the set.

Is that all?

- Yeah.

- You're on the front page of The Globe.

My mother reads that paper.

(Sandy sighs)

Seen and heard, Star
entertainment section.

- Nobody reads the Star.

- They don't have to, it's got pictures.

(Sandy sighs)

- I'm sorry.

I'm sorry that you had
to find out this way.

- What did you say?

- I said, "I'm sorry."

- You're off camera, Frankie.
It's not as compelling.

- And now you're gettin' mean?

- Just leave.

- What about "Human Voices?"

- Oh, your character
dies in the end, Frankie.

You'll get lots of
coverage, I promise you.

(Frankie sighs)

(door bangs shut)

- Asshole.

- Scene 71, take five marker.

- [Seth] Real quiet, guys.

- [Henry] Action.

- The situation here is volatile.

I have taken precautions to
protect the embassy personnel.

But if I have not heard
from you by 1400 hours

I will put Operation
Detachment into effect.

Now, do understand? Right.

Over.

- Darling, what is it?

- Capitol is under siege.

(gun cocks)

The government could fall at any moment.

- No.

- You're uh, friendship with Estevez

has not made things any easier.

- How long have you known?

- For some weeks now.

- I'm sorry.

- My feelings are irrelevant,

especially when he's out there somewhere

plotting the overthrow
of all things American.

- Take her in your arms.

(somber music)

- Cut.
- And cutting.

(bell ringing)

- That was wonderful.

By the way, where did that line come from?

The one about the overthrow
of all things American.

- From the heart.

(Michael laughs)

(camera clicking)
(camera beeping)

- [Man On Set] Camera reload.

- Um, they didn't think
it was so (indistinct)

when old Joe McCarthy
had them in his sites.

All these liberals.

Eh, they wouldn't vote for a Republican

even if he was running against Stalin.

(laughs) I'll tell you something else,

they're a bunch of hypocrites.

Huh?

Yeah, they've all got a
gun or two in every home.

The right to bear arms. Eh?

Oh, it's not something you
know, it's something you feel.

God wants you to bear arms.

If our people over there
in that embassy in Iran

were armed, those Arabs
wouldn't have been able

to climb over that wall so easily.

- You mean the Arabs or the Iranians, sir?

- [Michael] What?

- I believe you were
referring to the militant

student Iranians that came over the wall

in the U.S. embassy in Tehran.

- You were in Tehran?

- No, no, I saw that bit on the news.

I was there two years ago doing
a documentary on the hijab.

- The hijab.

- The veil, sir.

- [Man] He's not here.

- [Henry] Where's Michael?

- [Man] Are we gonna go on?

- [Seth] Need a 20 on the eagle, please.

- [Gilly] I don't know why
you bring me to the set

if you're not ready for me.

- [Man] The eagle is prowling the set.

- [Man On Set] Can we
get the props on the set?

- [Woman] He's on his way.

- Ah, there you are, Michael.

This shot is very simple.

Gilly's at the window,
you uh, pull her away,

and take a shot at some
unseen bad guys on the ground.

- Okay, good.

- Okay, quiet guys, and places, please.

(bell ringing)

And, roll sound.

- [Man] Scene 98, take one marker.

- Beat.
- And frame.

- Action.

(drum roll)

- [Michael] Get away from that window.

- What? What?

What?

(gunshot blasts)
(glass shatters)

(Gilly screams)

- Cut.

- Uh, cutting.

Uh, can you get someone from props to set?

We need to replace a window, ASAP.

- That sounded like live
ammo. Was that live ammo?

- You go ask him.

I'm not asking, not while
he's holding that gun.

- Let's take lunch.

- [Seth] Lunch, everybody.

- I don't know what I'd have done up here

without you, Howard.

- Thank you, Michael.

And I also have to thank
you for introducing me

to this little treat.

- (laughs) Boosts the
confidence, doesn't it?

- (laughs) Yeah.

(both sniffing)

- Yeah, hey, hey, hey.

Why don't you come back
to LA with me, huh?

- What do you mean?

- We'll start our own production company.

- Wow.

- (laughs) Or you can
fix up the tax write offs

and I'll bring the talent up.

I mean, I can get anybody up here.

- Really?
- Yeah.

- You and me?

(Michael chuckles)

(knocking at door)

- What is that?

- Michael, it's Robert Myers.

I wonder if we could talk?

- (sighs) What's up this producer's ass?

Uh, uh, uh just a minute, Bobby.

I can't open the door right now.

- It seems that we have a bit
of an insurance situation.

- Insurance?

- Yes. Somehow, we ended up
with live ammunition on the set.

- I brought it on.

- You did?

- Yeah.

Well, I felt the situation
outside the embassy was getting,

uh, well, well, unstable,

and I, I, I needed some protection.

- Protection?

- Yeah, well, we've already had an attempt

on Scott DiMarco's life.

I mean, who's next?

Uh now, I'll tell you my problem.

This woman who's supposedly making a film

about "Flight to Bogota"--

- Sandy Ryan.

- Oh, is that what she's
calling herself? Huh?

She has spent time in Iran.

- What's this got to do with us, Michael?

(Michael sniffing)

- America is in a crisis, Bobby.

- Okay, but this is Canada.

- I am an American citizen,

and I want an investigation
into this woman's activity.

- Well maybe I could
put a private eye on it.

- Howard? Is that Howard?

- Hi.

Uh, yeah, I could get the same guy we used

to investigate Candido.

- You hired a private eye to
investigate Frankie Candido?

Howard?

(knocking at door)

Hey, listen, Michael, from now on

could we just leave the
guns and the ammunition

to the gun wrangler?

- Oh, anything you say,
Bobby. (clears throat)

- Howard?

Are you coming out?

- [Howard] Uh, no. I'm okay, thanks.

(relaxed rock music)

- I think we had enough.

Yeah.
- Yeah.

- Hey Sandy, I'm sorry I'm late.

- Oh, that's all right.

- Can I make you a drink?

- Sure.

- I got uh--

- Uh, scotch?

- Scotch.

Um, this thing with you
and Frankie Candido--

- What thing?

- Well, I, I heard that--

- Oh, right, set gossip.

- I'm sorry.

- No, that's fine.

- If you'd like to take
some time off or something--

- Oh no, I'm fine. Really.

Well, thank you for asking. (sighs)

Fuckin' actors.

(both chuckle)

- They're almost as bad
as investment bankers.

- And where do lawyers fit in?

- Above actors, but below
documentary filmmakers.

(both laugh)

- You know I'm, I'm feeling kind of weird

about this documentary now.

- [Bobby] Why?

- I don't know.

I guess I thought it would
be kinda easy, at first.

You know, you having
been a lawyer and all,

I guess I just assumed
you'd be some pompous bore

and you'd kinda do all the work for me.

- Well I'm sorry to disappoint you.

- No, I, I disappoint
myself, I really do, I, I

owe you an apology.

(pop music in background)

- Uh.

Sorry boss.

- But it was nice.

- You know uh, there was one other thing.

Did, did, did you tell Michael
Baytes that you went to Iran?

- Yeah.

- Well, you've spooked him.

He thinks you're an Iranian spy.

- (laughs) I was doing a
documentary. He's an idiot.

- (laughs) Yeah.

Um, you know Michael's a little uh,

we have to do something to make it right.

- Make what right?

- The situation.

I want you to do something, I don't know,

you know, patriotic.

God bless America, all that.

- You're not serious.

- Yeah. Yeah, it's not that big a deal.

It, it'd be really helpful.

And you could stick it
in your documentary.

- Oh no, I'm sure I could
stick it lots of places.

Thanks for the drink.

(door bangs shut)

That's great, Molly, just
shift your body to the camera,

right, just a tad, great.

Now follow.

Whenever you're ready.

- [Molly] What happened?

- [Sandy] Pan out, pan out, pan out.

- It's Marcel's blood.

- [Sandy] You can cut.

- We gonna cut?

(Molly gasps)

No.

- Spill mine.

- No.

If we're gonna fucking improvise,

I'd like to know beforehand.

- [Sandy] That was great, Molly.

- Yeah.
- Goin' again, Frankie.

(knife clanks)

(script thuds)

- We rewrote the end of the picture.

- I see you've done
something with your hair.

Minuteman missiles, airstrikes.

What are you crazy?

- There's some great stuff in there.

Michael's pretty excited about it.

- Well, you'll just have to tell Michael

we can't afford it.

- It's the climax of the picture.

- I know that.

- We busted our asses on those pages.

- What the fuck, Howard,
you're a writer now?

- Yes, Howard is a writer

who gets what Michael Baytes is about.

Go big or go home. A big climax spot.

- Why are you talking this way, Howard?

- Look.

Howard Atkins' goal is to make a picture

that means something to the people.

If I do that, I put bums in the seats.

- Mm-hmm.

- I learned that from Michael Baytes.

Do you have the same priorities, Bobby?

- I'll tell you what my
priorities are, Howard.

"Lantern Moon" is beyond recognition.

Our movie is dangerously over budget.

Your hero,

our overpriced star, is a psychotic.

If it snows tomorrow, we
may be sued by our investors

for the value of their tax write-offs.

I'm also probably going to
be sued by Scott DiMarco.

So why don't we take a Minuteman
missile to your new ending

and shoot the finale at the
guard post tomorrow, as written.

- Okay.

- Good.

- I see where you're at.

I gotcha.

- [Seth] Okay, five minutes people.

- What a great honor it is for
us to have you visit the set.

- [Seth] Guest on set.

- Really, Mr. Neville, you're too kind.

What scene are we starting
with this morning?

- It is the scene where
Estevez is stealing information

from the office of--

- Of the director of the
Canadian relief agency.

Pamela's uncle, wonderful.

- And he's confronted by--

- Pamela herself, my character.

Splendid. How exciting.

- Howard, back in high school I took acid.

oh, I don't know, five, 10 times.

Now, either I'm having
that apocryphal flashback

or the woman who wrote "Lantern Moon"

is standing right behind me.

Give me some good news, Howard.

Tell me I'm having a flashback.

Tell me this is a psychotic episode.

- How'd she get here?

(Bobby winces)

- Well, you see her too.

That's a good thing on
some level, I suppose.

How do you think she's gonna react?

- She's not gonna like it.

What're you gonna do?

- We'll shoot the original
scene that Lindsay wrote.

- Oh, okay. I'll get it.

- Yeah.

Thanks. Thanks Howard.

- Hi Lindsay. What a surprise.

- Let's try rehearsal, and action.

- I didn't come here for me.

I did not come here for love.

- Yes you did, for the
love of the children.

- That may be true, but--

- Henry, what is this?

I mean, this isn't, this isn't Estevez.

This is Estevez.

Don't lie to me.

Don't lie to yourself.

And don't lie to the revolution.

You taught our children how to read. Yeah?

Yeah?

But I taught them how to
rebel, and that they will do

until Colombia is once again
in the hands of her people.

- Colombia?

- Cut.

- [Seth] And cutting.

- Great. We, we should've shot it.

- It was better, right?

- What in heaven's name is this?

- What is this?

Uh, oh, this is our next project.

How'd you get your hands on this?

- Mr. Myers, I'm getting
the distinct impression

I am being to lied to.

- I think I should go
and see the rough-in.

- What is this abomination?

It has nothing to do with my book.

Rebels in Bogota. Have you lost your mind?

- Wait a second.

The agreement was that the film
would be based on the book.

- Mr. Myers, saying that
this is based on my novel

is like saying an epileptic
seizure is based on Swan Lake.

- Bobby, what the hell is
going on with the script?

- Ah, I see I'm not alone.

They've ruined it.

- See what I mean?

People hate this.

- [Lindsay] They've destroyed
and defaced a work of art.

- Oh, thank you.

Well, I tried my best.

Well, Mr. Producer,
how're we gonna fix this?

If not for me, at least for my fans.

- Well thank you, sir.

But, to tell the truth, I'm more concerned

about the integrity of my
art than I am about the fans.

- If my agent knew I'd done those rewrites

he'd be after your ass for a writer's fee.

- Yeah.

- Am I to assume that you
had some hand in the writing

of this empty-headed drivel?

- I did what?

- Just a minute. What's going on here?

Who is this man?

- I am Michael Baytes, and
unless you've been living

on the moon you'd know that.

Now, if you'll just run
along, sister, we're talking.

Now this is how it's gonna be.

You're gonna find some money
and put those scenes back in.

I want my Minuteman missiles.
I want my Delta force.

I want my air strike.

- You boar.

- Shall I do your job for you?

Could someone remove this
mental patient from the set?

- You have done a
terrible thing, Mr. Myers.

If God were Canadian, he would
come down and destroy you

and this production in a
fiery apocalyptic rebuke.

(script scatters)

(Bobby laughs quietly)

- Hey Bobby.

- Hey Sandy.

- So do you think this
would be a good time

to talk to Baytes?

You know, do something patriotic?

God bless America and all of that.

Well, Bobby had made
it to the finish line,

and pretty much what could go wrong, had.

But it was the last day
of principal photography.

What else could possibly go wrong?

- This next scene is
the most important scene

in the picture.

It's also the most complex.

I'm gonna kinda walk you through
what's gonna happen here.

(crowd on TV yelling)

- Those filthy vermin.

(crowd on TV yelling)

- Michael Baytes and Gilly Stevens,

they're gonna come outta that booth,

and they get into the embassy Cadillac,

and we're gonna head
towards the guard posts,

not realizing that the
rebels led by Estevez

are actually the ones in charge.

So as the Cadillac
approaches the guard post,

few of the rebels are
gonna grab Gilly Stevens

while Estevez holds Michael
hostage at gunpoint.

(knocking at door)

Five minutes, Mr. Baytes.

(crowd on TV chanting)

(Michael sniffing)

Okay guys, remember, it's the last day.

We gotta get everything
that's on this call sheet.

So uh, no room for mistakes, okay.

Let's, let's go get 'em.

Good.

- [Man] Marker.

(dramatic music)
(crowd talking excitedly)

- [Henry] And action.

(suspenseful music)

- That's Estevez.

The rebels are taking over the guard post.

- That, that, that's right, Michael.

- Mother of God.

- Scene 129, take one marker.

(crowd talking excitedly)

(dramatic music)

(Michael grunts)

- What? Huh?
- What the fuck was that?

What?

- Scene 129, take two marker.

(dramatic music)

- [Michael] Bloody dog. (grunts)

- [Seth] He's hitting the extras.

Travel some more
background to set, please.

- Scene 129, take three marker.

(dramatic music)

(gun cocks)

- Do exactly as I say,

or I'm gonna shove this
gun so far up your skull

that when it goes off,
you're gonna see God.

- What?

- All I need is an excuse, you bastard.

Now get out!

(Gilly yelling)

- Who are you?

- Your executioner.

(Frankie grunts)

(camera beeps)

- [Seth] And cut it.

- Michael, what's wrong?

- Henry, what the hell is going on here?

- What?

- Estevez, he's trying to kill me.

- Okay. Let's uh, take five.

Yeah? Take five, people.

- Seth. Wait, what's happening?

- It's Mr. Baytes, boss.

He's wound a bit tight today.

- He's losing it.

Sounds a bit like the incident
on "Night Train to Fear."

- What, what incident?

- You didn't know?

- What incident, Henry?

- (laughs) It just seems
Michael was, at the time,

obsessed by the notion
that he was being targeted

for elimination by the
followers of Charles Manson.

He finally panicked and stole the train.

He derailed the train and
the line was out of action

for a week.

That's why nobody in
Hollywood wanted to touch him.

- They sold me a defective star.

They sold me a defective star!

(laughs) What are we shooting, Seth?

- It's the, the kidnapping with Estevez.

- Okay. Let's improvise.

Let's put them in a
blindfold and handcuff him.

- That's not bad.

I mean, Frankie can hit
all the marks for us.

- Well I'll, I'll explain
the changes to him.

- Fuck it, just get the scene, Henry.

- Okay guys, uh, new deal.

Okay, we're going again.

(drum roll)

- [Man] Stunt, please.

- I don't understand.

- Looks good, Michael. Very frightening.

- I thought you were on my side.

- [Henry] I am, of course I am.

- Oh, we, we, we, we helped
you win the war, man.

Both of 'em.

We battled the Hun for you.

- Estevez.

- What?
- Pass me those handcuffs.

- What?

No.

(Michael breathing heavily)

- [Gilly] Are you okay, honey?

- And do think an American ambassador

would let some two-bit
Iranian revolutionary

kidnap his wife?

- Oh my god.
- Huh?

- Oh my god!
(Michael yelling)

- [Gilly] Oh my god.

No, stop!

(tires squealing)

- What?

- Did we get all that?

- You psychotic bastard.

(boards clattering)

(Howard gasping)

(gunshot blasts)

- [Gilly] That wasn't in the script.

I didn't remember, I thought he was--

- It's okay baby, it's okay.

(tires squeal)

(daunting drumming music)

- Bastards.

- Michael, it's Henry.

Michael, let's discuss this rationally.

- [Man In Crowd] Holy shit.

- He's got tear gas, Bobby.

- [Michael] I will not
submit to terrorism.

Everyone stay back, or else.

(Henry coughing)

I weapons, ammo, food, and water.

I am prepared to die for freedom.

- No one goes inside. He's a maniac.

(gunshot blasts)
(Gilly yells)

(speaker crackling)

♪ Mine eyes have seen the glory
of the coming of the Lord ♪

♪ He is trampling out the-- ♪

(air horn blaring)

♪ Where the grapes of wrath are stored ♪

♪ He has loosed the fateful lightning ♪

♪ Of his terrible swift sword ♪

♪ His truth is marching on ♪
(Howard coughing)

(air horn blaring)
- Michael?

- [Michael] Hi, Howard.

- Can I come in?

♪ Glory, glory hallelujah ♪

♪ Glory, glory hallelujah ♪

(camper door bangs shut)

♪ His troops ♪
(vinyl scratching)

- [Howard] Hello everyone,
this is Howard Atkins,

associate producer.

- Howard. What the hell are you doing?

- [Howard] We want a private jet fueled up

and ready to leave for the
U.S. of A in exactly one hour.

Got that?

- What're you doing, Howard?

Get the fuck out here now, Howard.

- [Howard] The only place
Howard's going is Malibu.

- [Michael] An American
citizen is going home.

- Baytes, you asshole.

- [Michael] Get Howard what he wants.

- You lousy, rotten bastard.

(gunshots popping)

- Henry!

- [Michael] You traitors.

- [Howard] We want top
security flight clearance.

We want a limo. We want a Porsche.

I want a gun. Can I?

I want a gun.

- All right, Mr. Ambassador.

I'm not Juan Estevez.

I'm Frank Candido.

I'm an actor trying to make the most

out of his first big break, okay?

This is all fake.

A fake movie, a fake
story, and you, Baytes,

you're a fake Hollywood star.

So get the fuck out here so
we can finish this thing!

- [Michael] Estevez.

Estevez.

- Shit.
- Estevez.

- Fine, it's Estevez.

It's time to come out, ambassador.

You are surrounded.

- Estevez, you have no
idea what I am capable of.

Don't touch those controls,
that's the fog horn, you nut.

No, no, that--

(air horn drowns out Michael muttering)

Bastards.

Bastards.

(patriotic music)

(fireworks popping and whistling)

(camper exploding)

(tense music)
(crowd chattering)

- Geez.

(fireworks popping)

- [Seth] Uh, that's gonna be
a wrap on the day, I think.

- You leaving the location, Miss Stevens?

Shall I relay any message to Frankie?

- You mean something like,
"It was just a fling.

It happens all the time on
location. I'll miss you?"

- Yeah, that's good.

Is that from "Bad Girls on the Run?"

- No, no, no. No, that's original.

I am sorry.

Sorry about everything. (sighs)

I hate real life.

- I bet you do.

(car engine starting)

(hand tapping on car)

("Battle Hymn of the Republic")

- We could finish the
movie without Baytes.

(Henry muttering incoherently)

We could, we could recast, Henry.

Henry.

Please don't leave.

- You'll be okay.

- Okay is a state of mind
in a galaxy far, far away.

It's a state of consciousness
that I will never know again.

(fire crackling)

- [Sandy] A week later it
was my last day of shooting.

I decided to use the
"Flight to Bogota" set

'cause they weren't gonna be striking it

until the next day anyway.

Besides, no one had heard from
Bobby since the Alamo fell.

(gentle strings music)

Scene 102, take five, tail slate, cut.

And if the gate's clean,
that is a wrap people.

They're striking the set
at nine, so we are out.

(all clapping)

- So we're all goin' down to the pub?

- Yeah, you guys go ahead.
I'll see you down there.

- All right.

- [Sandy] It was bittersweet,

but I was glad things had
gone differently for me,

or so I thought.

Because, unlike Robert Frost,

it seemed the two roads were
gonna lead to the same place.

- Hi, Sandy.

- Oh, hi. Sorry, I, I
know I should have asked.

- Permission to use my
set? Yes, you should have.

- Yes. Sorry. (clears throat)

- Can I speak to you for a minute?

- Sure.

What would you like to chat about today?

- Well, I'm about a half
million dollars over budget

on "Flight to Bogota."

- Wow. I'm um, I'm sorry for you.

- Well, you should be.

I reckon about a hundred thousand of it

went into "Human Voices."

- That much?

- So, you see, we're not talking about

a little mistake here, Sandy.

We're talking about theft.

We're talking about fraud.

So I'd like to offer you an option.

- Option?

- Yeah. I'd like to make a deal with you.

- You're not touching my movie.

- Your movie?

- Yeah, my movie.

I, I spent three years
working on "Human Voices."

- And I financed it.

- What do you want?

- Producer credit.

- You didn't produce my movie, you--

- Offered the financing.

- Yes, which is executive producer.

- This wasn't a negotiation.

- Producer. Fine.

- There. See that wasn't so hard.

Yes?

- Yes?

- I've got some people
that are very anxious

to give me money.

They'd like to invest
in the movie business.

- Really? Congratulations, Mr. Myers,

you've uh, hit the big time now.

- Congratulations to you.

I want you to direct the next film.

- What next film?

- Our next film, "Lantern Moon."

I wanna be your partner.

(upbeat pop music)

You know, the other night in
my office, we were interrupted.

- Yes, we were.

♪ We all need love ♪

♪ I swear it's true ♪

♪ We're all God's children ♪

♪ Me and you ♪

♪ We all need love, I swear it's true ♪

♪ All God's children, me and you ♪

♪ Brother, brother reach out your hand ♪

- [Bobby] We got "Human Voices"

into the Moscow Film Festival,

but Sandy's documentary
was never completed.

I combined her footage
with "Flight to Bogota,"

and got the investors their money back.

I sold the darn thing foreign.

(dubbed actors speaking foreign language)

(camper exploding)

(dubbed actors speaking foreign language)

- No.

(gunshot blasts)

(body thuds)

(camera beeps)

- [Bobby] Not bad for a tax write-off.

(upbeat music)

♪ You're all fools ♪

♪ Don't you bother to say it ♪

♪ Well I'm through ♪

♪ And your money won't pay it ♪

♪ You're all liars ♪

♪ And you've been tellin' me lies ♪

♪ Yeah, you're liars ♪

♪ And I've caught you with
your finger in the pie ♪

♪ I'm tired, takin' over command ♪

♪ You're all fired ♪

♪ My money's out of your hands ♪

♪ 'Cause you're liars ♪

♪ And you've been tellin' me lies ♪

♪ Yeah, you're liars ♪

♪ And I've caught you with
your finger in the pie ♪

♪ Build me up, you let me down ♪

♪ It's showing in my songs ♪

♪ I call you up, you're out of town ♪

♪ I won't last too long ♪

♪ You're all liars ♪

♪ And you've been telling me lies ♪

♪ Yeah, you're liars ♪

♪ And I've caught you with
your finger in the pie ♪

♪ Maybe you might call me ♪

♪ Maybe I don't give a damn ♪

(upbeat music)

♪ Now I'm through ♪

♪ With all of your daydreams ♪

♪ All the glitter ♪

♪ And all your money machines ♪

♪ But you're liars ♪

♪ And you've been tellin' me lies ♪

♪ Yeah you're liars ♪

♪ And I've caught you with
your finger in the pie ♪

♪ Build me up, you let me down ♪

♪ It's showing in my songs ♪

♪ I call you up, you're out of town ♪

♪ I won't last too long ♪

♪ 'Cause you're liars ♪

♪ And you've been telling me lies ♪

♪ Yeah you're liars ♪

♪ And I've caught you with
your finger in the pie ♪

♪ With your finger in the pie ♪

♪ With your finger in the pie ♪

♪ With your finger in the pie ♪

♪ With your finger in the pie ♪

♪ With your finger in the pie ♪