Original subtitles

[birds chirping]

Wrong.

You make movies.

I make deals.

Let me put it to you this way, Robert,

without my part of the equation, your script means bupkes,

you know, pieces of paper filled with, uh, scribble.

You understand?

I set it up.

You pompous, self-righteous, son of a bitch.

You're supposed to be representing us.

Robert, Robert, please.

Come on now.

Now, we really can't be so sensitive here.

You know what I mean? This is business.

Just because they call me an artist's agent doesn't

necessarily make you an artist.

ANNA ALEXIS: Robert, please, wait.

Let me talk to him.

When Robert came to me with the idea,

I agreed to star in it because it had something to say.

But--

He wrote it for me.

Everyone agreed it was perfect.

But this director, all he sees is sex, sex, sex.

LANE: Thank you, dear.

But in case if you haven't noticed, sex sells.

The box office for his last picture went through the roof.

Cameron Knox is the hottest director in Hollywood.

[chuckles]

- Lane? - Yeah.

I've got CA on the line.

They want to do a co-package with "Feel the Light."

No, no, no, no.

We went through this before.

We've got no deal until Michael and I

have a sit-down conversation.

Got it.

Can't remember I wanted to reorder this.

Ah, ah, Anna, do you have any extra moisturizer?

Just because you made me the spokesperson for Infante,

don't expect me to stock the stuff.

What's the matter, Lane?

Afraid to show a little age?

[chuckles]

Robert, you know what?

You can never be too young or too rich, even if you're a--

a writer.

ROBERT: Try writer-producer.

And if you had let me hire that Australian director I wanted,

we wouldn't be having this discussion.

What am I here? A putz?

You know what? I put this package together.

It's my reputation on the line here.

I let you fire the director and our financing

just goes up in smoke.

There won't be any picture, OK?

When are you going to get it? [laughter]

When are you going to get it?

I mean, the only thing that counts

here is the director's vision.

ROBERT: The vision?

Look, if I had realized I was going

to be saddled with this bastard, I would

have written it in Braille.

[laughter]

You see why I love representing writers?

Insults with style.

I like that, Robert. It's good.

Come on, darling.

Time to stop talking shop and come swim.

Later.

No, now. Come on.

You promised.

I said later.

OK.

You don't have to get angry.

[sighs]

ROBERT: This whole thing is bogus.

Look, Lane, I want to terminate our arrangement.

Terminate?

Uh, you mean like, uh, end?

Robert, you don't mean that.

The hell I don't. [laughter]

LANE: Really?

You-- you really think that you have a career without me?

Robert, let me ask you something.

Um, do you have any idea how--

how hard it is to sell you after your last three scripts?

And you, you my dear, you know I put

this together to try to pump a little juice back

into your image.

And unless this thing hits and hits big,

well, I'm sorry to say that, um, the biggest

thing in your future may be a skin cream.

[exclaims]

Believe that ungrateful bitch?

Lane, are you all right?

Yeah.

What the-- what the hell did I say?

What I say?

[ticking]

[theme music]

ANNA ALEXIS: Local legend has it that in 1519,

the first white man to set foot in Palm Beach

was the Spanish explorer, Ponce de Leon.

He came on a quest, not for silver or gold,

but for the fabled fountain of youth.

For some, this was Palm Beach's first

verifiable midlife crisis.

Others consider him more of a trendsetter, first guy to die

in search of a face lift.

Only thing sure is that he wasn't the last.

Amazing, I know.

But Infante is not a cover up.

It's secret moisturizing ingredients

come from high in the Andes where

clear-skinned Peruvian maidens have perfected the centuries

old formula.

Morning, Sam.

ANNA ALEXIS (ON TV): For years, this secret

was passed from generation to generation,

available only to those wealthy enough to pay the price.

RITA: Hey, is that Anna Alexis?

[mumbling]

ANNA ALEXIS (ON TV): Now due to an incredible--

She is incredible.

ANNA ALEXIS (ON TV): --Scientific breakthrough,

this formula can be--

RITA: I remember her in "The Rains Came Down," that

was it, when I was just a kid.

ANNA ALEXIS (ON TV): --Moisturizer,

hand cream, and living mask.

All can be yours if you call now.

Remember, you cannot find Infante in stores.

[groans]

MAN (ON TV): All to take advantage

of this extraordinary offer that's Infante--

Oh, I guess you're not a big fan.

CHRIS: We've got too much phony, Hollywood baloney.

Don't tell me you buy this stuff, Sam.

Infante moisturizers? No, I don't.

But I mean, you have to admit, the woman,

she's been around for a while.

She looks beautiful.

Whatever.

Do I detect a little deep-seated hostility

here towards the aging process? - No.

You detect a deep-seated resentment at being

manipulated, all right?

[clears throat]

What's up?

Does the name Clean Nation mean anything to you?

Yeah.

Aren't they that underground ultra right-wing religious

group that thinks an athletic support is a guy

who sits up in the stands?

RITA: That's them.

They have intolerance for everything

and everyone but themselves.

You know, Sam, I didn't even know that they had

a chapter here in Palm Beach.

They don't, but, uh, there's a movie being made.

It's called "The Story of Q."

Oh, I read that book.

Hot. RITA: Yup.

That's it.

The film company, they just got into town.

They've converted this old warehouse into a sound stage

over on Fourth.

Two days ago, they got a call from someone

claiming to be a representative for Clean Nation.

They have threatened heavy-duty violence if the film

is not shut down ASAP.

And of course, the studio refused.

Yup.

But they still want police protection,

and they have requested you by name.

By name?

RITA: So what?

You know someone you haven't told me about?

- What's our cover? - Well--

[clears throat]

I get to play the studio vice president

overseeing production here.

And you get to play--

you get to play my driver slash assistant.

Driver slash assistant.

No, no.

Wait-- wait a minute, Sam.

I mean, they called and asked for me by name, right?

Right.

And what about the old boy networks?

It makes more sense to me if I go in as the vice president

and you, my lowly friend, go in as the driver slash assistant.

I cannot believe you're saying this.

No, Sam.

That is the old Hollywood, all right?

Some things have changed.

[clears throat]

Oh, driver, could you, um, saunter on over to the impound

and see if you can get us the appropriate car?

I have to go pick out some clothes.

Whatever happened to justice?

It's blind, remember?

Don't sulk, Sam.

It's not becoming on you.

Besides, it's only temporary.

Now, all we have to do is make sure the only thing that gets

shot on this movie is film.

Listen, why don't you, uh, meet me at one o'clock,

and uh, you can drive me home.

Bye.

CAMERON KNOX: And, action.

Good. Good.

Stay on him.

Keep going.

Good.

And--

ROBERT: Where the hell is he? CAMERON KNOX: Cut.

Beautiful. - Knox--

How was off camera?

Why don't you ask the writer-producer, huh?

I don't know.

Because you know what the answer is, you bastard.

It's no.

Who gave you the right to change these pages?

Nobody.

I did it to save us all.

From what?

The dialogue.

The dialogue like hell.

The dialogue comes straight from the novel.

In case you hadn't noticed, we're not doing the novel.

I'm making a film.

And for my film to work, the scene had to change.

Give it to me. Give it to me.

Give it to me.

You call that dialogue?

Now, look, this is supposed to be a moment of rediscovery

when two lovers find each other.

- It still is. - Yeah, what?

Doing what?

Copulating with nymphs?

You don't understand.

These are subliminals.

These aren't real people.

They add subtext to the dialogue.

Now, if you'll get off my set, maybe we can shoot some film.

The only thing that's gonna be shot with these pages--

LANE: Guys, guys, guys--

Is if I have a gun.

Guys, guys, guys.

What is going on?

You know, I don't understand this.

I don't understand.

This project was perfect when I put this together,

and now all I hear are threats.

What do I have to do?

Hm?

What do I have to do in order to make things work around here?

Get this mule's backside off of mine.

- Have you seen these pages? - Yes.

Yes.

I have seen these pages, and I actually think that they're

not-- they're not too bad. - Not too bad?

What, are you crazy?

This man has taken the heart and soul out of my picture.

It didn't need heart and soul.

It needed muscle and guts.

I want him off of my set now, Lane, understand?

Out now.

Let me-- let me handle it, OK? Robert?

Robert?

Robert, can we talk, please?

Robert?

So, let's make a little magic.

Who's in charge here?

I am.

Who the hell are you?

I'm Rita Lee Lance, senior vice

president, creative affairs, Moroccan Pictures.

You must be the Cameron Knox.

Morocco.

That's right.

We met last year in Cannes.

Of course.

CAMERON KNOX: The studio sent you?

Yeah. You got a problem with that?

Yeah. You're damn right I do.

I'm the director.

This is my picture, and nobody sets foot unless I say so.

You know, well, that's a real shame because after seeing "Gun

Metal Blues" and "Righteous Fire,"

I fought to have you put on this picture.

Now, I'm going to hate like hell having you removed.

You saw "Righteous Fire?" RITA: Yeah.

I saw it three times.

You know the scene in the elevator

where the girls in there and the stranger comes in?

Unzipping?

You like that?

I said to myself, this man can direct.

Who's he?

This is my assistant, Chris Lorenzo.

You must have a card.

I love a man who knows what he's doing.

OK. My set, my film.

No interference.

Hey, I'm just going for the ride.

Maybe I'll even learn something.

I'm sorry, Mr. Knox.

Ms. Alexis refuses to come out of her trailer.

CAMERON KNOX: She what?

She says she refuses to do the scene as rewritten.

But it's her scene.

It makes the picture.

She says she refuses to do gratuitous sex.

It's not gratuitous.

It's part of the plot.

It's not even sex.

It's a new concept called acting.

You want to know why we're running behind?

Talk to your star.

She was the studio's call, so you deal with her.

But the new pages stay.

period. - All right.

I'll take care of it.

You need anything, call.

Sure, sure. CAMERON KNOX: Listen, everybody.

Listen up. I want you to stay on that--

Sam, what the hell am I going to do?

He wants me to go talk to Anna Alexis and tell her what to do.

Hey, don't look at me, Sam.

You run the studio.

I am just the driver slash assistant.

I will kill you.

[music playing]

I have never been a mogul before.

Well, I have a feeling it grows on you.

[clears throat] [knocking]

ANNA ALEXIS: You can all go to hell.

I'm not doing it.

Well, that's it, Sam. I can't--

No. Chris, do not leave me.

I gotta go. OK.

ANNA ALEXIS: Tell Knox that if he wants me on this set,

he's going to have to crawl here on broken glass.

RITA: Ms. Alexis, I'm sure the studio called

and told you I was coming.

I'm Rita Lee Lance from Morocco Pictures.

Hello, Christopher.

Do you two know each other?

Rita, I'd like you to meet my mother.

Mother, this is Rita.

She's my-- she's my boss. - That's OK.

You don't need to do that.

I'm-- I'm the one who told studio to request you.

You what?

Figures.

Why don't you come on in, and I can explain.

Uh, actually they're waiting for you on the set.

Balls of hail will rain in hell before I do another frame

of film for that voyeur.

Isn't this supposed to be "The Story of Q?"

I mean, it's a sex novel, right?

Look, I can't handle this, all right?

I'm going to go check on our accommodations.

Christopher, wait.

Please.

I specifically asked for you to be assigned to this

to give us some time together.

What?

Like a working family reunion?

Just like old times.

You're still angry.

Let's just not get into it, OK?

What is so wrong with a mother wanting to see her son?

ROBERT: You do not change my script.

You do not add lines, you do not subtract lines without--

look, look.

Knox goes or I do.

Robert, don't force me to do anything that you're

going to regret, OK?

And keep the damn finger out of my chest before I break it off,

all right? - Yeah.

Go ahead and try it.

Look, you saw the dailies.

This guy couldn't direct you to the men's room

with two feet in the toilet.

LANE: This is-- it's sad.

Really sad, Robert.

You-- you just don't get it, do you?

You really don't get it.

See, this is the new Hollywood, OK?

It's the new math, OK?

The only thing that matters here is money, got that, babe?

Knox stays.

You son of a bitch. I'll kill you.

ANNA ALEXIS: Robert, please.

Robert.

You're going to regret that.

Leave me alone.

I've got to talk to him.

Please, try to understand.

He's under a lot of pressure.

We'll talk tomorrow.

No wonder you never talked about your family.

Ricky, you've got from 'splainin to do.

It's a long story.

LANE: I think this stuff is great.

I love it.

I really, absolutely love it.

I, uh, I appreciate the peace offering.

Are you still angry?

Oh, no.

No.

Don't be angry.

I love a good fight.

She was 18 when they met.

My father was nearly 30, strictly fire and gasoline.

And he was an attorney, right?

Philadelphia.

Old money.

His family dabbled in film, and they met on the set

of some Elizabeth Taylor movie. - Hm.

My mom had a small part.

That is so romantic.

How come you never told me about this?

[laughter]

I don't know.

I guess 'cause I spent half my life trying to forget about it.

The marriage lasted as long as it took to have me.

Divorce lasted longer than that.

Right after I was born, my mother got

offered the part of her life.

She couldn't turn that down.

So we became a bi-coastal family.

My father handled the East Coast,

my mother ruled the West.

And I got bounced back and forth.

I thought you said you went to high school in Palm Beach?

CHRIS: Enter Grandma Rose, Palm Beach's first great lady.

She was amazing, Sam.

So full of love.

So after the divorce, I told my parents I wasn't going to get

bounced around anymore, and I moved down here with her.

So when was the last time you saw her?

- Who? - Your mom.

Seven years ago at my grandmother's funeral.

We had this really strange conversation.

I mean, I knew more about her mother than she did.

It was weird.

But that's always been my mother's problem.

You know, the world has to revolve Anna Alexis.

Sorry, Sam.

I didn't realize.

God, you must have been proud of who she was,

you know, what she did. CHRIS: What?

Are you kidding?

Do you have any idea what it's like to have a mom

other guys fantasize about?

Who makes love to strange men in living color?

I never thought about it like that.

You know what though?

She asked them to assign you.

I'd say she wants to talk.

[laughter]

My mother?

Lost in the forest, she would talk to the trees.

Of course, it would have to be about her.

Well, it's getting late, Sam.

Let's go home.

Sure, sure.

Oh, yes.

[whipping]

Oh, don't-- no. don't stop.

[whipping]

[groaning]

[groaning]

Ms. Lance.

Hi, Roger Gemmer with the medical examiner's office.

- Nice to meet you. - Nice to meet you.

Why don't we go inside?

All right.

Who's the Elvis look alike?

RITA: That's my driver.

Lowly drive.

I heard you guys were undercover,

but Morocco Pictures?

Why can't I ever get an assignment like that?

Trust me, Rog, it's not all it's cracked up to be.

Yeah, but Anna Alexis.

Wow.

You know what I would give to get

an autographed picture of her? - You've got to be kidding me.

No. I'm serious.

Remember when she played the mother in "The Family of One?"

- Yeah. - I cried.

All right. She's a fine actor.

Can we just drop this?

So what do we got, Roger?

Uh, deceased is one Lane French, some kind

of West Coast power broker. - Yeah.

We met Lane French. - Yeah.

I guess this is his Florida beach house.

Yeah. Life's tough.

So how did you die?

Oh, the way everybody should.

How might that be?

In bed.

His associate, one Dwight Guernsey, found him.

Apparent heart attack, but I won't know for sure

until after the opening.

Any signs of struggle?

No.

Well, unless you count lash marks.

- Lash marks? - Yeah.

Mr. French was into kink.

CHRIS: Roger, any sign that Clean Nation might

had something to do with this?

Clean Nation?

You mean the conservative fruitcake faction?

Don't tell me this guy was one of those.

I always thought they stopped short of murder.

RITA: Yeah.

So did I. Listen, why don't you give

us a call if you see anything irregular once you open him up.

First on my list.

Thanks.

Take him to the shop.

DWIGHT: Look, this is strictly a friendly call.

I just want you to know that all deals still stand.

Right.

I'll be in town early next week.

We can get together, and we can schmooze.

Ciao.

Mr. Guernsey.

Oh, can you believe this?

Lane was like a-- a brother to me.

He was a real mentor.

He taught me the value of friendship.

And now he-- he can never be replaced.

I just want you to know that this

has no effect on the picture or any other project

under Lane's aegis.

He kept me fully informed.

In fact, the nuts and bolts of deal making

was really my responsibility.

Well, that's a relief.

Hey, when the dust clears, why don't we do lunch?

So you found the body, huh?

That must have been awful.

You have no idea.

Do you want to know what I thought when I first saw him?

RITA: Hm?

Gandhi.

The man was at peace.

What a giant.

He's an agent's agent.

Is the pope Polish?

Look, I hate to run, but the picture was our package.

I have to reassure our clients that with Lane's passing,

that their deals are intact.

You understand.

Of course.

We'll do lunch.

Hey, I'll pay.

See you on the set.

Bye bye.

Yeah.

He was sure choked up.

Not as much as our guest of honor.

So what do you think? - What?

French? - Yeah.

I don't know.

Got no sign of struggle, no sign of Clean Nation.

Maybe he's just up and died.

Or maybe he didn't.

You have a very suspicious mind, Sam.

And you have a mother who might be able to help us out.

- No, no, no. - No.

You are her only son.

You should spend a little time with her, get to know her.

It might do you both a lot of good.

No, I am invoking club rules.

You can't do that.

She's your mother.

I rest my case.

Very funny.

I'm thinking about getting liposuction.

What do you think?

[laughter]

I mean, when I take my shirt off.

I don't want anybody to, god forbid, think that I'm fat,

you know?

Hey, I've been in this business for a long time.

We know that.

[laughter]

You take that blouse off, and fat's

going to be the last thing on anybody's mind.

[laughter]

You're very kind, darling.

Thank you.

I mean, my agent does say, one has

to take advantage of the assets that God did give us.

Oh, Ana-- oh, excuse me.

Is it Anna?

I do hear they're bringing in body doubles for your scenes.

I wouldn't know.

A real actress doesn't have to do those scenes.

A real actress doesn't have to do those scenes.

God.

[laughter]

Oh, who's that?

Hm.

MAN: Oh.

That's some studio vice president

coming in from the coast.

- Yeah? - Mhm.

- Hm. - OK.

You're done.

Thank you, darling.

[music playing]

- Anna? - Rita.

Hi. How are you?

Good.

Come on in.

Hi.

How you doing?

I'm good.

I'm good.

It's amazing.

People never look like they're wearing makeup on the screen.

The art of illusion. [laughter]

George. I can take it from here.

OK.

Thanks.

It's so hard to age gracefully in movies.

The camera never lies.

No, you look great.

You shouldn't worry about it.

Thanks.

So what is this all about, "The Story of Q?"

Good question.

You know, Robert Joiner is a wonderful writer,

and his original script was the reason

that I agreed to do the film.

It's a kind of a--

a psychological thriller.

It's the story about this woman, me,

whose own daughter may or may not be trying to murder her.

Unfortunately, we've been saddled

with this director who's long on form and short on substance.

Plus he's rewritten it, so that what

used to be my 11-year-old daughter

is suddenly this 22-year-old nympho.

So he can do that?

He can just rewrite the script?

ANNA ALEXIS: You'd have to ask Lane French,

the deal maker's deal maker.

He set everything up.

Unfortunately, he's going to be a little late today.

I'm sorry.

I'm sorry.

One shouldn't speak ill of the dead.

I don't understand.

The agent is more important than the writers,

the producers, and the actors?

ANNA ALEXIS: It's sad, isn't it?

I mean, the people who actually do something

don't seem to matter anymore.

I mean, obviously that wouldn't be a film without them.

But today, it all starts with the agents.

Did French have any enemies that you know about?

You want a short list?

Try naming his friends.

Can I talk to you?

Sure.

I mean, woman to woman.

This is about Chris?

You're not sleeping with them, are you?

No, no.

Uh, we're just best friends.

ANNA ALEXIS: Really?

Somehow I could never manage to do that with men.

You'll have to give me your secret someday.

You see, I've been a--

I've been a terrible mother.

And yesterday when I saw Christopher,

all I could think of is how cute he'd been as a little boy

and how much I missed him.

I'm sure that he feels the same way.

You don't have to lie to protect me.

I know-- I know how he feels.

I've done it to myself.

Only I'd really like a second chance.

God.

I'm going to ruin my makeup.

RITA: You OK?

Thanks.

Hi.

I'm Tori Patrick.

I play the nympho.

I-- I-- I thought that this office was assigned to--

To Morocco's vice president?

You're absolutely right.

I just wanted to come by and say hi.

Really?

- Hi. - Hi.

Well then, I-- uh--

no. You know what?

I'm not uh--

Oh, don't apologize.

I just wanted to come by and tell

you how grateful I am that uh-- that I'm doing this picture.

Well, I'm sure the feelings are mutual.

[clears throat]

Well, mutual can mean a lot of different things.

Don't you agree?

Why, yes.

I uh-- I guess I never really thought about it before.

Well, uh, maybe I can show you.

- Sam. - Sam.

- Who? - Uh--

What is she doing in here?

Who?

Me.

Uh--

What is she doing here?

Well, this is my office.

Your office?

I thought this was the guy from Morocco's office.

I'm the guy from Morocco.

Well then, who's he?

I'm the-- uh--

driver slash assistant.

The nerve.

I tell you.

Some men will just do anything.

Ow.

Ha ha.

Sorry, Sam.

You will thank me for that someday.

All right.

Right.

You know, Roger called.

He, uh, said French's last opening was his best,

and he wants to tell us about it.

Oh, good.

Good. All right.

Well, let's go.

[clears throat]

You can drive.

[chuckling]

[phone ringing] - Hey, Rog.

- Hey, Roger. - Hey.

How's showbiz?

People are dying to get into it.

[laughter] - Oh.

What are you?

Roseanne Lance now?

Thought you would like that one.

[laughter] - It's cute.

- No? - It's all right.

All right.

So what did you find out about French?

Well, I just finished.

External symptoms seem to indicate cardiac arrest.

Then I noticed the rash.

Rash?

DWIGHT: Yeah.

Petechial hemorrhages.

Also found congestion in the heart, lungs, and spinal cord.

Meaning exactly what?

Meaning chloridine, an odorless, colorless liquid.

Highly toxic.

So he was poisoned.

ROGER: Mhm.

But not the way you might think.

I found nothing in his stomach or mouth.

But then I saw the rash, a sheen on his face and neck.

I sent some tissue samples at the lab, just to be sure.

But my initial tests indicate the presence

of chloridine applied to the skin

and absorbed through the pores.

A facial he'd never forget.

Jeez.

The last one he'll ever have.

RITA: Roger, did, uh, forensics find any kind of moisturizer,

skin cream, at the scene? - No, sorry.

They didn't find anything.

So then the killer must've taken it with them.

All right.

Let's go get a warrant.

You'll go to the producer's trailer, check it out.

I'll go back to the set, keep my eye on them.

Sounds good to me.

Thanks, Roger.

You are terrific.

No problem.

Oh, listen, don't forget my autographed picture,

Anna Alexis.

[music playing]

CAMERON KNOX: Look, damn it.

French is dead.

Yeah.

And all his clients become my clients, including you.

No chance, Dwight.

I need major representation.

Whoa, whoa, whoa.

You are under contract.

Yeah?

Well, sue me.

Meanwhile, I've got a picture to make.

- Sounds like a bad attitude. - Yeah.

But he'll be sorry.

[explosion]

[screaming]

[all talking at once]

Get the door.

[extinguisher hissing]

[music playing]

Do it yourself.

Oh, that's very funny.

Hey, you.

Me? CAMERON KNOX: Yeah, you.

You're a driver.

Right size.

Behind the wheel wearing a wig, you'll be fine.

Look, I don't think my boss would approve.

Hey, don't be silly.

You work for Morocco Pictures, right?

Yeah. But, uh--

Well, this is their film.

We lose the location after today, it'll cost $100,000.

How's your boss going to explain that to the studio?

Huh?

Get him into wardrobe ASAP.

We are losing light.

[knocking]

[music playing]

CHRIS: You didn't say she was the driver.

Look, what is the difference?

No one's going to see anything more

than the wig and the blouse from behind anyway.

- Behind. - You'll be in the front.

I'll be right next to you.

Camera's going to be right behind us.

- Oh, no. - Christopher?

What now?

No.

You two know each other?

Um, no. No.

Not really.

CAMERON KNOX: Let's rock and roll.

We have one shot at this.

OK, here's the deal.

Having been driven to the brink of madness by her daughter,

Anna attempts to escape.

Still on drugs, she heads for the harbor

where she and Dirk had their first sexual encounter.

First what?

Look, don't worry about it.

I'm Just giving you the back story.

[sighs]

What we're about to shoot here is critical.

It's the reality I need, to inter-cut against those wildly

provocative hallucinations.

You understand me?

What do I do?

You see those barriers over there?

Yes.

You blast right through them, and you

hit the brakes as close to the edge as you can get.

You got it? - Got it.

OK.

Let's roll film, and hit it.

[tires squealing]

[music playing]

[indistinct yelling]

Woo, woo, woo.

Slow it down.

[tires squealing]

CAMERON KNOX: Slow it down.

Slow it down.

The brake's stuck.

Hit the brake.

No braking us!

Get out of the way.

[tires squealing]

[glass shattering]

[indistinct shouting]

Oh, that was great.

Where the hell did you learn to drive like that?

Police Academy.

The original or the sequel?

- Are you OK, Sam? - Yeah.

It was a piece of cake.

Nice earrings you got there.

Hey, you watch your mouth.

Christopher, I was so worried.

Are you OK? - Yeah.

It's all right.

We found all the evidence we need.

What the hell is going on here?

Sergeant Lance, Palm Beach PD.

This is my partner, Sergeant Lorenzo.

I'm afraid we're going to have to ask you to come downtown.

What for?

Questioning on the death of Lane French?

But why?

We have reason to believe that he was murdered.

Will you listen to me?

No, I won't.

I need to talk to my client, all right?

No. That is not all right.

You're not even supposed to be back here.

It has to do with his attorney.

I don't need an attorney.

I didn't do anything.

I don't even know how the guy died.

Robert, I have been in touch with Effley.

His secretary says that he will call

you as soon as he gets back in.

We are behind you 150%, babe, all right?

Get this horse's ass out here.

Gladly.

I will see you in conn.

I'll be in touch.

CHRIS: You want to know how he died?

He was poisoned.

Chloridine.

Lab tests just confirmed that.

Poisoned?

You're kidding.

I didn't even hate the guy that much.

You recognize this book?

Of course.

It's mine.

Could you turn to page 139 and read

the second chapter, please?

Chloridine.

An odorless, colorless liquid.

This is ridiculous.

CHRIS: Is it?

And the fact that the jar of Infante moisturizing cream

found in your trailer was heavily laced with chloridine,

I guess that's ridiculous too, huh?

Damn right it is.

I never use the stuff.

RITA: But you and French had been arguing.

CHRIS: And you threatened to kill him.

Yeah.

The guy was a son of a bitch.

He made me angry.

I admit, it was a poor choice of words, but that's all it was.

Words.

[phone ringing]

Interrogation One.

Sergeant Lance.

It's the desk.

Your mother's outside.

She says it's something important.

Do you want to talk to her? - What, are you kidding?

We're busy in here.

She claims it has something to do with the case.

It can wait.

RITA: She'll have to wait till we're done.

Thanks.

Sorry for the interruption.

Now Mr. Joiner, we checked with the company.

French had run out of his Infante cream

and placed an order through their 800 service the night

he died. - So what?

So the killer must've brought the tainted jar with him,

waited around till French died, and then

taken the evidence with him.

This is insane.

RITA: Where were you the night that French died?

With a friend. RITA: All night?

Yes.

All night.

We need a name.

I can't do that.

CHRIS: Why not?

Because he was with me.

Mhm.

OK. Look, can I call you back?

I, um, I just want to say thank you for releasing Robert.

No. Forget it.

If he was with you, he couldn't have killed French.

Got nothing left to hold him on, so he'll be out as soon

as his paperwork's through.

ANNA ALEXIS: Do you, uh-- do you hear much from your father?

CHRIS: Yeah.

As a matter of fact, I do.

I hear from him a couple times a year.

He's real big on holidays.

Well, listen.

I got a killer to catch, so I'm going to call it a night.

Christopher, wait.

Please.

We need to talk.

Do we?

When they said that this picture was going to shoot

in Palm Beach, I thought it would

give us so much time together, time to get

to know one another again.

I even wrote you a letter. - Yeah?

Well, I never got the letter.

ANNA ALEXIS: I couldn't send it.

I was afraid that if you knew I was coming,

you'd make it a point to be out of town.

And once you got here?

There was so much to do.

The show must go on, huh?

ANNA ALEXIS: No.

I was going to call.

And when you've made as many mistakes as I have as a mother,

it isn't that easy.

And then, of course, there's Robert.

ANNA ALEXIS: My involvement with Robert

had nothing to do with it.

You're angry, and that's probably never going to change.

It doesn't change the way I feel.

The way you feel?

It's always been about your feelings, your career.

It's always been you.

I guess I deserve that.

You're damn right you do.

What do you want from me?

ANNA ALEXIS: I don't know.

I don't know.

Maybe we could just somehow find--

maybe we could start over.

Maybe we could learn to be friends.

Just don't shut me out.

[door opening]

- Hi. - Hi.

RITA: So, did you talk to your mom yet?

We're on a first-name basis, but that's not

too difficult when your mother has two of them.

[laughs]

I can't believe that she's sleeping with that guy.

Who is that guy?

Joiner?

Yeah.

Young enough to be my older brother.

So what does that got to do with it?

She's my mom.

So what, Sam?

So she can't be human?

I mean, so she's involved with a younger guy.

So what?

It's not what I mean.

What you mean is you can't handle

the fact that your mom has sex?

No.

That's not it either.

All right.

So then, what is it?

It's the fact that she's never been my mom.

I mean, all my life, she's always been Anna Alexis.

And even when I was a little kid.

You know what it's like to have to stand in line

to get a ticket to talk to your mom?

I mean, I've got to share her with half the free world.

So you're upset that her success interfered

with your personal needs.

Damn right I am.

Damn right.

When I was 10 years old, my mother was

nominated for an Academy Award.

Damn, my mom.

She was renting this big house in Beverly Hills,

and I was staying with her at the time.

And I remember going to the store

and spending every last cent I had on roses.

And then I rushed home to watch it on television, you know?

And then when she lost, I waited up.

I thought that maybe if I gave her the flowers,

it would somehow make up for her losing, you know?

She didn't show up two days.

I'm sorry, Sam.

[scoffs]

Did you ever tell her how you feel?

No, no.

Maybe you should.

Maybe.

Yeah.

You know what?

It's getting late, and, uh, turnabouts is fair play.

Tonight, I will drive you home.

- You're going to drive me? - I will be your driver.

Will you be my slash assistant as well?

No, I won't.

[laughter] CHRIS: All right, Tommy.

Thanks for running it down. Yeah.

I owe you one.

[laughter] No.

I don't owe you two. I owe you one.

See ya.

What have you got, Sam?

RITA: Well, you were correct.

You know the stunt car that you almost drove over the rainbow

yesterday? - Yes.

It just got back from the pound,

and the master cylinder had been messed with.

So maybe Clean Nation is trying to send us a message.

No, I don't think so.

I just got off the phone with a friend of mine

who works for the wire service.

Clean Nation is denying any connection with the explosion

on the set or French's murder.

So then the killer is trying to make it look

like the work of the crazies.

Sure seems that way.

Uh, did you get that list?

Yeah, I did.

It's on my desk.

Got the list of everyone that used Infante cream

that worked on the picture.

[phone ringing]

All right.

Only four names. - Mhm.

Excluding French, who is dead.

And my mother, who is very much alive.

Right.

So that leaves us with two, the cameraman and Tori Patrick.

Ms. Patrick?

Mm-hmm.

Sergeant Lorenzo, Palm Beach Homicide.

Homicide?

Aren't you somebody's driver?

CHRIS: It's a long story.

Investigating the murder of Lane French.

Murder?

I thought he had a heart attack.

CHRIS: It was supposed to look like a heart attack.

I need to ask you a couple of questions.

Sure.

But we've got to do it quick, because I'm in a hurry.

OK?

What do you know about Infante moisturizing cream?

Oh, I don't know.

Isn't that that stuff that's supposed to prevent aging?

Something like that.

I contacted the company.

They told me you were a regular customer.

I use a lot of products.

I don't really, uh, pay attention

to most of the brand names.

Would you mind just zipping me up?

I understand Lane French used it to.

Got me.

He was your agent.

That's right.

We were very close.

Are you almost done?

I really got to go.

Zipper's stuck.

We also understand you were romantically

involved with French just before he died.

I was what?

Who said that?

Were you?

If you'll excuse me, I have to go.

[beeping]

[sighs]

RITA (ON PHONE): Hello?

Hey, Sam.

She's on the move.

Now the only question is where.

See ya.

RITA (ON PHONE): Bye.

DWIGHT: I know it was French's package.

I hate saying this, but he was getting old.

He wasn't in control. I am.

Look, you can tell everyone, from here on out,

everything is going to go without a hitch.

Trust me.

- We got to talk. - Look, I gotta go.

I'll talk to you tomorrow night.

Right.

Ciao.

What are you doing here?

The police know about the moisturizer.

So what?

They know I use it.

DWIGHT: Then I suppose it's just a matter of time

before they figured out who killed him.

What are you saying?

We had a deal here.

Had.

That's past tense.

Hey, look.

All I did was supply the cream.

The poison was your idea.

You told me that they would never know.

Then I guess I was wrong.

Is that right, you bastard?

Whoa, whoa.

Wait-- wait a minute. Wait a minute.

Is that real?

Yeah.

You bet it's real.

You see, we live in dangerous times,

and a girl just can't be too careful, now, can she?

- You're serious. - Mm.

Damn right I'm serious.

[door opening]

RITA: Tori, don't.

Stay there.

Go ahead and put the gun down.

Don't make things worse than they already are.

I didn't kill him.

So why don't you tell us about it?

Shut up.

Whose idea was it, Tori?

His.

Look, she's unstable.

You're not going to believe a crazy woman with a gun,

are you?

That's always it, isn't it?

You're just like French, you lying,

sniveling, son of a bitch.

Everybody knew I had the talent.

Everybody.

But they needed a name to make the package.

Then he comes to me, and he tells me,

I can make you a star, baby.

And I wanted to believe him so badly, I agreed to help him.

French had run out of Infante.

Actually, he asked me to reorder it for him,

but I intentionally forgot.

When I told him, he became furious.

It was all a setup so that I could

bring him a jar of my own.

Dwight had mixed it with poison.

It seeped through his pores.

It was my job to excite him, to accelerate its effect.

[incoherent moaning]

He should have practiced safe sex.

TORI: Dwight had been waiting in the house the whole time.

He made it appear that French had been alone.

He said no one would ever know.

RITA: Then he planted the poison cream in Joiner's trailer.

- That's crazy. - No.

You're the crazy one, Dwight.

The one who planted the explosion on the set,

cut the hydraulics in the stunt car.

All this to make it look like a plot by Clean Nation

Come on, Tori, hand me the gun.

Stay back.

It's his word against mine, isn't it?

Look, that's going to be up to a judge and jury.

Yeah.

And they're going to convict me and let him go because there

isn't enough evidence. - Tori, put the gun down.

TORI: Stay back.

No, no.

I confess, all right?

I-- I thought of the whole thing.

It's-- it was--

I did it.

I-- just-- stop her.

Stop her.

[gunshots]

[yelling]

Blanks.

[laughing]

But it worked.

[laughter] - Blanks.

I had a future.

You have the right to remain silent.

I'm an agent.

Anything you say can and will be used against you--

- I worked this-- - --In a court of law.

You have the right to--

Don't you know who I am?

RITA: I don't know where he is.

He said he was on his way.

Well, that's OK.

You know, there are some things in life

that are just a bit more complicated

than we'd like them to be.

Listen, I know this is none of my business,

but don't misread this.

I really don't think he's avoiding you.

No. I understand.

You know, I can't thank you enough for what you've done.

I really mean that.

Oh, it's just my job.

Listen, I'm really sorry they're shutting down production.

Oh, don't be.

Having to recast Tori's part gives

Robert a chance to really polish the script the way he wants.

And the studio is going to replace the director

with some Australian.

Oh, good.

ANNA ALEXIS: It will be great, huh?

Um, you know what?

Tell Christopher that I've waited as long as I could, huh?

OK. It's nice meeting you.

You too.

[honking]

Yo, Chris.

You weren't going to leave without saying

goodbye, were you?

Yeah.

Well, if you had, I would have had to track

you down, and give you these.

Oh, Christopher, they are beautiful Thank you.

I thought about it, and maybe we should start over.

Come here.

I love you.

[theme music playing]