Original subtitles

- uh, let me have A turkey sandwich On whole wheat with lettuce,

Tomato, and a little light mayo.

- all I got's burritos.

- you know what?

I'll have a burrito.

- one burrito.

- what's shakin', bacon?

- oh, they don't have bacon.

- just burritos.

- cool.

Well, I'll take a burrito.

- one burrito.

- who's he yelling to?

He's in there by himself.

- get away, stupid bees.

- don't even mention bees In front of me.

- why, are you allergic?

- I don't know.

I've never been stung by a bee, Not once in my whole life.

- and why are you so upset About that?

- 'cause I'm offended.

I guess bees don't think I'm good enough for stingin'.

- I could stick you With a safety pin.

- nah, it wouldn't be the same.

- okay, here you go.

Turkey sandwich on wheat, Lettuce, tomato, light mayo.

- I thought you said You only had burritos.

- what are you, a lawyer?

Burrito for you.

- thanks, man.

- oh, what is With the bees today?

They're like all over me.

- must be nice.

- hey, sit.

- thanks.

- cool.

- I don't want them Sitting here.

- you know, it's great That you're so open With your bitterness.

- she's just grouchy 'cause she got stung by a bee.

- see that? Everybody but me.

Come on, bees.

What's a guy gotta do To get stung?

- ooh, script pages?

- not for you.

- you auditioning for a play?

- sort of. It's a movie.

- that's so great. What movie?

- I'm taking your pickle.

- so, a movie?

- it's called misfire.

It's about this woman cop Who gets fired and then goes

On this crazy rampage.

- that's so cool.

Who plays the woman cop?

- melinda murray.

- shut up.

- you're gonna star With melinda murray in a movie?

- well, I'll be playing Waiter number one

And I only have two lines, That's if I get the part.

- so where's the script?

I wanna read it.

- well, you don't get The whole script Unless you get the part.

They only give you a few pages To audition with.

- oww!

I just got stung by a bee.

- ah, her? Really?

♪ here I am once again ♪

♪ feeling lost ♪

♪ but now and then ♪

♪ I breathe it in ♪

♪ to let it go ♪

♪ and you don't know ♪

♪ where you are now ♪

♪ or what it would come to ♪

♪ if only somebody could hear ♪

♪ when you figure out how ♪

♪ you're lost in the moment ♪

♪ you disappear ♪

♪ you don't have to be afraid ♪

♪ to put your dream in action ♪

♪ your never gonna fade ♪

♪ you'll be ♪

♪ the main attraction ♪

♪ not a fantasy ♪

♪ just remember me ♪

♪ when it turns out right ♪

♪ 'cause you know ♪

♪ that if you live ♪

♪ in your imagination ♪

♪ tomorrow you'll be ♪

♪ everybody's fascination ♪

♪ in my victory ♪

♪ just remember me ♪

♪ when I make it shine ♪

- hey, hey. Look at what I got.

- a piccolo?

- it's my new instrument.

- I thought you were learning How to play the french...

- it didn't work out.

So now I'm a piccalist.

Oh, you guys wanna hear "mary had a little lamb"?

- oh.

- I'm playing it.

- fine.

- toot your pickle.

No, no, no, no.

- what? Was it that bad?

- I like your skirt.

- man, will you slow up?

- no, we're late And I hate being late.

- hey, any of you guys got gum?

I didn't have time To brush my teeth this morning.

- please give him some gum.

- why didn't you Brush your teeth?

- and why do you look All sloppy and gross?

- 'cause I've been having These nightmares.

- what about?

- none of your business.

- what's that supposed To mean?.

- it's none of your business.

- you guys... - I gotta get some gum.

- I'll see you guys in class.

- later.

- was my piccolo playing Really that bad?

- yeah.

- mornin'.

- oh, hey.

- you said you wanted to read The misfire script?

- yeah, but I thought you said They didn't give actors

The whole script Unless... You got the part.

- it's not that big a deal.

- it's a huge deal.

You're gonna be in a movie With melinda murray.

Congrats, dude.

- thanks.

- I say we celebrate Piccolo style.

- no, no.

- what the-- hey.

Why am I in a gigantic Cereal bowl?

What's happening?

Rex? Oh, my god.

Rex, how did you--you're so big.

Rex, no, no, no, no, no, no, no.

No, no, no.

No, no, no, no, noooooo.

- what did you do to my pants?

- good. Now, terrified.

- what did you do to my pants?

- falling off a cliff.

- what did you do to my pants?

- excellent.

Now, as you can see, The same dialogue can evoke

An infinite number of emotions, Depending upon how the actor

Chooses to play it.

Like a robot.

- what did you do to my pants?

- wrong.

Robots don't wear pants.

It was a trick.

Tori, you may sit.

I suggest using a chair.

- I'll give it a shot.

- sorry, guys.

- how was working on the movie?

- you know.

- beck, you're late.

- I'm sorry.

We're doing this scene And there was a problem

With the lighting.

- say it like a robot.

- there was a problem With the lighting.

I'm very sorry.

- wrong.

- wrong?

- you said you were sorry And everybody knows

Robots don't have emotion And, therefore, Cannot feel regret.

You kids have got to do Your robot research.

Beck, sit.

Now, as we've clearly Demonstrated, Dialogue can impact a scene

In many different ways, Depending upon--

Dear gandhi, I'm boring myself.

Beck, tell us all About the movie.

- okay.

Well, my call time was-- Right, right.

My call time was this morning At 5 a.M.

- oh, that's early.

- yeah. Well, they did my hair And makeup,

And then the costume designer Came to my dressing room and...

- wait. The costume designer Was in your dressing room?

- uh-huh.

- was she cute?

- he was adorable.

- did you meet melinda murray?

- no, not yet.

- I bet she's been stung By a bee.

- I wouldn't know.

But you can ask her yourself.

- what?

- the assistant director Told me they need extras

For a couple scenes.

So if any of you guys Wanna do it.

Ht.Ll ringing]

Everybody read chapter seven For tomorrow.

And study robots.

Good gandhi, I left my harmonica In the men's room.

- robbie, robbie, wake up.

- I'm not a tissue.

Where is everyone?

- class is over.

You slept through it.

- you didn't miss nothin'.

- no sleep again last night?

- no.

I can't stop having The disturbing nightmares.

- okay, you've got to talk To lane about this.

- no.

School guidance counselors Are bad news.

Trying to get all up In young people's heads.

- he helped me get over A lot of my emotional problems.

- ah, you're still a mess.

- it was in the toilet.

That's a disturbing taste.

- yeah, I'm in the scene We're about to shoot

Where melinda murray's character Meets her former partner

In the restaurant.

- oh, that's cool.

What part do you play?

- well, I don't have any lines, But-- - uh.

- oh, you need to go? Okay.

- hey, we saw you working That hot girl over there.

- yeah, I think she's into me.

- right.

We could tell by the way She ran screaming from you.

- okay, people.

People, listen up.

Melinda's on her way to set.

First positions, please.

- first positions.

- all right.

Now, on action, melinda and jeff Will start their dialogue,

And then our waiter, ah... - beck.

- beck.

- my boyfriend.

- her boyfriend will come in, Do his line,

Then move off to the left.

Who's not ready?

Good. Roll.

Rolling. Speed.

- seventy-four apple, take one.

- and action.

- why the disgusted look On your face?

- I'm having dinner with you.

- see, That's the kind of attitude That got you fired.

- I got fired Because I was set up.

- good luck proving that.

- I don't have To prove anything.

All I needed is... - I'm sorry, The chicken breast

Isn't available today.

- wait, what'd you just say?

Cut.

Can we cut so this guy Can learn his line?

- hold.

- melinda, please.

Only the director yells cuts.

- he said his line wrong.

He's supposed to say, "we're out Of the chicken breast."

Not, "the chicken breast Isn't available today."

- so let the script supervisor Tell him that.

- you know what? She's right.

It's totally my fault.

I'll get it right this time.

- hope so.

- great, all right.

Let's do this again. Roll.

- wait, excuse me.

Actually, beck got His line right.

- hmm. Sorry. No, no, no, no.

- what?

- sit down.

- see? Waiter number one's line Is, "I'm sorry,

"the chicken breast Isn't available today."

- oh, yeah.

Kid, you had it right.

- whoa, whoa. What are you?

- tori vega.

Background player, big fan.

Hi, melinda murray.

- okay, an extra Is correcting me on the set?

- I'm sorry, But you yelled at my friend

And he was totally right About... - she's your friend?

- yeah, she's... - go.

- go?

- I want you off this movie.

- melinda.

- you want him here or me?

- kid, I'm sorry.

- no. It's cool.

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

Why'd you get mad at him?

I'm the one who corrected you.

- good point. Bye.

- but-- - out.

- but what if I-- - go.

- oh. That's not What I wanted to happen.

- ooh, you got tater pops.

- why?

- 'cause you know What's great about movies?

- uh... - the musical score.

Whenever stuff happens, You always hear

The perfect music to go with it.

See, tater pops make me happy, So...

- oh, great. Here comes jade.

- can we sit somewhere else?

- nope.

- fine, We'll sit with the girl Who can't keep her mouth shut

And got you fired.

- beck, I swear If there was anything I could do

To make it up to you, I would.

- I bet you would.

- you know, If you really wanted to help,

You wouldn't just sit there Like a bag of doorknobs.

You'd do something.

- where you goin'?

- anywhere else.

Okay.

Remove this, and that's for you.

- wah, wah, wahhh-- - better go hose her down.

- I'm so sorry.

- stop saying that.

- don't let it get to you.

- no, she's right.

I should go apologize To melinda murray

And get beck his job back.

- ow! What was that for?

- there was a bee On your shoulder.

- and you killed it Before it could sting me?

Thanks a lot, man.

- what did I do-- - no, just go on.

Get out of here.

Come on, bee, breathe.

Wake up, man. Sting me.

- andre, he's gone.

- I know.

- so, robbie, Cat's been telling me You've been having

Some pretty bad nightmares.

- I'm not crazy.

- yes, he is.

Every morning, He puts on his left sock Then his left shoe,

Then his right sock Then his right shoe.

- so?

- any mentally stable person Puts on a sock and a sock

And then a shoe and a shoe.

- leave me alone.

- robbie, I think it'd be better If I could talk to you

By yourself first.

- what, without rex?

- I don't care. I need a nap.

- do you have room In one of those drawers?

- sure.

- have a seat.

- okay. I'm sitting now.

- so, robbie, Tell me about your nightmares.

- well, last night I dreamt that I was standing

On a gigantic chair.

- a big chair.

- gigantic.

- I understand.

- and then rex, Who's like 20 feet tall, Sat on me.

- he sat on you.

- with his butt.

- robbie, do you think It would be fair to say

That rex, you know, Insults you a lot?

- oh yes.

- and ridicules you?

- all the time.

But why would that Make me have nightmares?

- because, see, in real life, Rex bullies you with words.

- sometimes he slaps me.

- okay.

So, when you're asleep at night, Your subconscious mind

Amplifies all that abuse, And that's what creates

These terrifying images You see in your nightmares.

- fascinating.

- I think you need Couples counseling.

- rex and me?

- mm-hmm.

Why don't you get him out Of that drawer And we can get started?

- okay.

- hey, don't you knock?

- sorry.

- hey. Hey, miss.

Hey.

- oh. Hi.

- you got some I.D.?

- I.D.?

- what's your name?

- oh, I'm crystal waters.

It's okay. I'm on the movie.

- crystal waters?

I don't remember Seeing the name crystal waters--

- I can't find my mother.

- what? Who are you?

- help me find my mother.

Please. Mom.

- shhh.

- mom.

- shut up.

We'll find your mama.

- hi, I'm on the movie.

- hey.

- excuse me, melinda?

Listen, I'm the girl You got mad at For correcting you

About the waiter's line In the script?

And I just wanna say I was--oh.

- I'm melinda's stunt double.

So what's your name?

- I'm sixteen.

- later.

- look at this cookie.

- that's a big cookie.

- what kind is it?

- chocolate chip.

Still warm. Soft.

Would either of you boys Like to have this cookie?

- well... - give me the cookie.

- he can have it.

- robbie, you want this cookie, Don't you?

- well, yeah.

But if rex wants it-- - tell rex you want the cookie.

- I want the cookie.

- what'd you say?

- nothing.

- say it louder.

- nothing.

- no.

Tell him you want the cookie.

- I want the cookie.

- all right, now, When melinda's character yells,

"get out," jake?

- yo.

- that's when you fire The crossbow, And the arrow should strike

The wall right around here.

- yeah. Wait, what's my cue?

- when melinda yells, "get out. "

- got it.

- okay, let's get ready To shoot one.

- melinda. Melinda.

- ulch, Who let you on the stage?

- look, I'm sorry.

I shouldn't have corrected you The other day... - michael.

- no, no, no.

We don't need michael.

No michael.

Look, I just wanna say I'm sorry.

But you shouldn't get mad At beck Because he didn't even know--

- just go away.

- come on, just let beck Have his part back.

It's not his fault that I-- - get out!

- my hand! Oh my god!

- good. Now, finish the cookie.

You feel good, don't you?

- yeah, I do.

Oh man, was there gluten In this cookie?

- yeah, I make 'em With extra gluten.

- oh. Well, I don't care.

It was yummy And I'm glad I ate it, mom.

- but the important thing Is you stood up to rex.

- I did.

- and see?

He's just sitting over there, Not sayin' a word.

- yeah. You're not so tough.

- and now that you know You can stand up to rex,

You don't have to be afraid Of him anymore.

- 'cause I got the cookie.

- you did.

And now you can sleep peacefully At night.

What was that?

- the gluten.

- melinda, I am so sorry.

I never would've come-- - this is your fault.

Your fault. Ow.

Will you just take me To the ambulance, please?

Ow.

Somebody get my ex-husband On the phone.

Stop laughing.

- no, I understand.

No, I get it.

I mean, it went right Through her hand.

Yeah. I'm sorry too.

Okay, people.

That was melinda's manager.

Because of the injury To her hand, We're gonna have

To recast her role.

- wait.

Melinda's not gonna be In the movie?

- nope. Thanks to her.

- I feel so bad about this.

- bad?

- we all hated her.

- she was a nightmare.

What is your name?

- that's crystal waters.

- crystal waters.

- crystal waters.

Crystal waters. Crystal waters.

Crystal waters.

- hi, beck.

- tori vega.

- that's me.

- are you sure You're not crystal waters?

- you got the call?

- I'm back on the movie.

- yay.

- one, two.

Don't let me get to three.