"Velma was always my window... into the story." "# Come and lay down by my side #" "# Till the early mornin' light #" "# All I'm takin' #" "# Is your time #" "# Help me make it through the night #" "# I don't care what's right or wrong #" "# And I won't try to understand #" "# Let the devil take tomorrow #" "# Lord, tonight #" "# I need a friend #" "# Yesterday is dead and gone #" "# And tomorrow's out of sight #" "# And it's sad to be alone #" "# Help me make it through the night #" "# And it's sad to be alone #" "# Help me make it through the night #" "# I don't want to be alone #" "# Help me make it through the night ##" "Angel One, clear." "Unit 14, clear." "Unit 2-8's at Third and Western." "I had a 1488, 1488-to-25 on Tech 2." "7l-140, Roger." "7851 , a family dispute." "4972 West 21st Street, number 3." "## [ Folk Guitar ]" "# Well, the ditches are on fire #" "# And there ain't no higher ground #" "# You've set your sights on the City of Angels #" "# But you're stuck making' bad deals in #" "# Backwater towns #" "# Forgiveness is the killer of snakes, friend #" "# In the gardens of despair#" "# Keep your mind on the middle, brother#" "# Out on that road to nowhere #" "# From the polo club in old Havana #" "# To an ancient church in Rome #" "# You keep thinking you recognize those faces #" "# The way the flesh is tightened on the bone #" "# You make deals with the wrong class of people #" "# You balance the curse and the prayer#" "# On that thin line between the pathway to glory #" "# And the road that leads to nowhere #" "# So row, row, row your little dreamboat #" "# Violently back upstream #" "# Where the cops and the candlestick makers #" "# They're wise to all your desperate schemes #" "# You're riding backwards on a blind horse #" "# On a carousel in a carnival out there #" "# Where the tunnel of love was never finished #" "# Out on the road to nowhere #" "# So it's ashes to ashes #" "# Dirt to dirt #" "# Your blood's full of OxyContin and vodka, friend #" "# Why the hell do you still hurt?" "#" "# Now every day is the day of reckoning #" "# Even the weatherman can make you scared #" "# Even Lazarus keeps on staggering down #" "# That eternal road #" "# To nowhere #" "# So row, row, row your little dreamboat #" "# Violently back upstream #" "# Where the banker and the cops #" "# And the candlestick makers #" "# They're all wise to your desperate schemes #" "# You're riding backwards on a blind horse #" "# In some carnival out there #" "# Where the tunnel of love was never finished #" "# On the road to nowhere #" "# Tunnel of love was never finished #" "# On the road to nowhere ##" "In your film, Road to Nowhere," "Velma dies after Taschen has taken his own life." "But there are conflicting reports about that." "What you're really asking is if..." "I think I'm printing the truth... or legend." "So we agree." "I think we always did." "It was your story before it was mine." "Nathalie Post?" "Hi." "Hi." "You seem like you're the, uh, belle of the Bryson County ball tonight." "That's always been my dream." "May I please have a martini?" "Bruno." "Hi." "Bruno Brotherton." "It must be pretty exciting selling your story to a big Hollywood movie and all." "However in the world did you come up with that idea to write about?" "Well, I was sitting at my computer one day and thinking, if I don't get out of Bryson City, I'm gonna drive my car into Fontana Lake." "And then Velma Duran went and did it." "You mean you'd rather write than procreate like the rest of us hillbillies?" "What do you do, Mr. Brotherton?" "Nothing as exciting as you, I'm sure." "Actually, uh—" "I-I'm a researcher for Universal Benefit Systems." "You're an insurance investigator." "You make it sound like I'm some sort of cop or something." "I just kind of play around with statistics and numbers and—" "Facts?" "Yes, ma'am, those too." "When Mitch first told me the story, I said this sounds like the film noir of our dreams." "Don't ever use that word again." "Right." "Um, so you really want to make our movie?" "Not want to." "Going to." "Everyone here at Tiger's Den believes this will be Mitchell Haven's masterpiece." "We're excited." "Well, okay." "All we can do now is fuck it up." "And we will." "Are you on Spacebook or My Face?" "Neither." "Take a look at this." "I saw Hilary Swank on television once... and she said that basically you just get your head shot and your reel... in front of as many people as possible and as cheaply as possible, and that's what I'm doing." "Does she have any Cuban blood?" "Yeah!" "It says that her mother is Puerto Rican." "God help us." "She is Velma Duran." "You're thinking like a guy from Hollywood." "We're missing something." "Something that cuts against the grain, you know," "Okay." "that brings Velma Duran to life." "Depending on what article you read, she's either the innocent victim or the cause of it all." "You know, folks said she was the nicest bunch of girls you'd have ever wanted to meet." "You do decks and scripts?" "I was a park ranger in the Smoky Mountains for a couple of years." "Anybody from a thousand miles around there would've known about the Taschen case." "What were you saying about Velma again?" "Probably just another corrupt politico." "Thanks." "Thanks for your input." "D— Wait." "Did you know Velma Duran?" "Well, maybe I've exaggerated just a bit." "She was the kid sister of one of my buddies on the force." "Um, she was trouble pretty much though from the start." "Why don't you guys continue working on the script... and I'll go outside and varnish the deck?" "Hey, can I borrow your bathroom?" "Yeah." "Yeah, you bet." "It's just—" "It's right back there." "Thanks." "The real Velma Duran died fighting oppression in Cuba." "Someone should make that movie." "If there was another way," "I would never ask." "But if someone identified Velma, they'd kill all the Duran family in Cuba." "I've been a public official long enough." "I think it's time to get out of Dodge." "Nathalie Post, Thursday, September 5." "Remember, you saw it here first." "Talk of Rafe Taschen's insider land deals... has gone from a whisper to a state capitol roar." "A $100 million roar." "The dew may be falling off the rose of the dashing politico's dreams." "Certainly there is that initial ice-breaker... when Jack Nicholson walks on the set and you have your first scene with him." "You really-- You don't know what to think." "Uh, DiCaprio?" "Do you think he'd really do this?" "What it does is, it affects your char" "Well, I take it back." "Okay, maybe, you know, with a little make-up he could play Taschen." "Did we already pass on him?" "Yeah." "We did." "And he took another picture." "Why didn't you hire him?" "I just can't cast someone because they're famous... and would make my movie a lot of money." "Miss Graham?" "Oh!" "Welcome." "Welcome." "Thank you for coming so far." "Okay, yes." " Hi." "This is beautiful." " Yes, yes." "Your trip was good?" "Uh, yeah." "Yeah." "You know, I never received a script." "No." "There isn't a script." "By the way, I'm Rafe Taschen, and this is your father, Nestor Duran." "Nice to meet you." "So I'm playing your daughter." "No." "You are his daughter." "Sí." "De verdad." "Okay." "Sure, yeah." "Ah, yeah, uh, we'll go up to the pool, we'll have a cooling drink... and I'll explain to you what the job entails." "All right." "What's the catch?" "Why are you guys paying me so much?" " It's too much." " Well, there is an element of risk involved." "What does "too much" mean... if it's for someone you love?" "They're all planets." "They only reflect light." "You could finance 1 0 movies just with these head shots." "We'll find her." "If we screw up the casting of Velma Duran, we don't have a movie." "It's an audition that Candace sent over." "Some girl who only did one exploitation film." "Okay." "Oh, God." "She's unbelievable." "Hey, you haven't seen my level around here, have you?" "We've gotta find out who she is and get her in here for a meeting." "Out of all the head shots and résumés and reels and meetings, what made you pick Laurel Graham?" "Of all the gin joints in the world, she had to walk into mine." "I think if I have any talent at all, it's for recognizing talent." "Wait a minute." "Wait a minute." "No, no." "I-I'm sorry." "This is the craziest fucking thing I ever heard." "They saw me in some stupid horror movie I did... that I never thought would get seen anywhere." "And now you need money to disappear again." "I paid you, Laurel." "What should I do?" "You can't do this, Laurel." "Hold on." "Hold on." "My phone's ringing." " Hello." " Hi, Laurel." "Hi." "It's Mitchell Haven." "Can I come up?" "Let me call you back." "Um, yeah." "There's a café on the second floor." "Uh... 30 minutes?" "Okay, great." "Bye." "Fuck." "Hi." "Hi." "Hi." "Nice to meet you." "Nice to meet you too." "Okay, before you say anything about me or your movie, Wow." "I just have to tell you that I'm not an actress." "Okay." "How do I say this?" "You are Velma Duran." "No, I just did that stupid vampire movie as a goof." "Well, great." "That's what this will be." "You're not understanding what I'm saying." "I'm— I'm really embarrassed." "'Cause I don't act." "That's perfect." "You know, um... what Sam Fuller said to Robert Stack... when he asked him how he wanted him to act?" "He said one word." ""Don't."" "The tragic deaths of Bob Billings, Rafe Taschen and Velma Duran... are coming to the big screen." "Sources say the director Mitchell Haven... is in talks with Cary Stewart to play the lead role of Rafe Taschen, while Scarlett Johansson is rumored to be in the lead to play Velma Duran." "Are these the right actors?" "You have your say." "I think it's prophetic that you're staying at the Scalinata." "I lived there for six months, off and on." "Wow." "It was just a pensione then." "Well, it's a hotel now." "It's not as expensive as the Hassler or the de Ville, but it's still pretty steep." "I think I'm gonna find an apartment though." "But you don't need to do that now 'cause you're coming back to Hollywood with me." "You're very sure of yourself." "Not really." "Just you." "It's what they pay me for— understanding character." "We'll go over the script in the morning." "Hey, man." "Hi, Moxie." "Hey." "How you doing?" "Hey." "Good." "Hey, girl." "Let me grab these." "How you doing?" "Hey." "How you doing?" "So let me guess." "She's the reincarnation of Louise Brooks." "Better." "How was Rome?" "Gotta tell you, this girl, she gives off so much light she'll blind you." "Good news." "Scarlett Johansson's agent said she'll do it for scale." "We just have to give her a commitment by Friday." "Scarlett Johansson?" "Yes." "What have I always said that the three most important duties of the director are?" "First is casting." "And second... is casting." "Third?" "Casting." "It's 90% of the job, and I can't even remember what the other 10% is." "You remember what Warren used to always say?" "Mm-mmm." "That beauty was only skin-deep, but ugly went clean to the bone." "Well, with this girl her beauty goes clean to the bone." "She's not only beautiful and perfect for the part, she's smart too, huh?" "You, uh— You mentioned that a few times." "Just from talking to her I've come up with a whole new ending." "Great." "Well, so we have no cast and no ending then." "No, we have a cast." "His agent finally stopped blocking us." "Cary Stewart wants to play the part." "Cary Stewart?" "Sure you wanna do that?" "So now you've signed a star." "Yes." "How much work did that take?" "He responded to the material immediately and—" "You know, we've had discussions." "I'm honored to have his creative input on the project as well." "But it's never that simple in Hollywood, is it?" "It's never that simple." "Just as you think you've crossed the bridges, then there's the deal— as you say, the agents, the managers." "The managers." "The lawyers." "Yeah." "The press agents." "That is the complicated process." "At some point it's just so unbelievably frustrating... and it becomes like something that obstructs the creative process." "You know?" "I-It's like— It's an industry, man." "Show business is not just show." "Now, the costar." "Who is she?" "Uh, relatively unknown." "Mm-hmm." "And she, um—" "She's incredible." "She's about to be a huge star." "I just knew instantly that she was the one." "She agreed to do the picture and she arrived last night." "I think Cary's very excited." "He's seen some of her work." "Now, have you ever found yourself involved with any of your actors- actresses, I mean?" "I try and avoid that." "I like to think I'm professional about it." "Do you see yourself following a very scripted situation, or do you think you're going to improvise a lot?" "I like my writer's work." "It's a very stylized piece." "I don't want it to shift tonally, you know." "There's that risk." "However, um," "I'll always do another take for deeper truth." "Do you feel a little rusty in any way?" "A little." "I'm just excited to be back on track." "Well, it's good to talk to you." "Good luck with this show." "Likewise." "Thank you." "Thank you so much." "Likewise." "Thanks." "I guess I should apologize to you." "I told Mitchell that he was crazy not to hire a big star to play Velma." "But the truth is, nobody could play this part but you, Miss Graham." "Thank you." "We'll see if you still feel that way after we start filming." "As in the midst of battle... there is room for thoughts of love;" "and in foul sin for mirth." "As gossips whisper of a trinket's worth... spied by the death-bed's flickering candle-gloom;" "As in the crevices of Caesar's tomb... the sweet herbs flourish on a little earth:" "So in this great disaster of our birth... we can be happy and forget our doom." "For morning, with a ray of tenderest joy... gilding the iron heaven," "hides the truth, and evening gently woos us... to employ our grief in idle catches." "Such is youth;" "Till from that summer's trance we wake, to find despair before us," "vanity behind." "I just can't believe that for the cost of renting a Viper for a week... we bought three of these 5D Mark II's and a set of Nikon primes." "And we still have enough left over for two caraway seeds and an agent's heart." "Isn't the resolution different?" "I don't really need to see a single hair... standing straight up on Laurel Graham's head." "Can he crank up a $10 million movie by next Tuesday?" "So was it a big deal around here the day that Taschen and Velma did it?" "Mmm." "Well, you have to keep in mind... that Taschen and Velma had everybody's shorts pretty steamed up." "I mean, she was barely out of college and he was working for the state government... making about $182,000 a year plus perks." "Mmm." "I mean, to folks out here, you know, he could have been a billionaire." "He was that different." "Mmm." "Right." "Ahh." "Uh, margarita, please." "Thanks." "# Your voice is soft, sweet and mellow #" "# Those words of emptiness #" "# Are very shallow #" "# What I took for truth #" "# Love and beauty #" "# Were just to use for another day #" "# Another hurt A different way #" "# My eyes are dry #" "# But hollow tears spill down my face #" "# And I feel like a just-cried tear#" "# Waiting to be brushed away #" "# So don't be kind #" "# 'Cause you can't help me #" "# I'll just be cried again #" "# In another time #" "# And another way #" "# I don't know when I lost my trust in you #" "# The road ahead #" "#Just doesn't have a view #" "# Without your love #" "# I just could never guess #" "# My way to you #" "# And road to happiness #" "# And I still #" "# Feel like a just-cried tear#" "# Waiting to be brushed away #" "# So don't be kind #" "# 'Cause you can't help me #" "Mr. Haven?" "## [ Continues ] I'm Nathalie Post." "Nathalie!" "Hey!" "Wow." "Hi!" "Thanks for driving out tonight." "Oh, yeah, not a problem." " I'm here at Doc's most every night, so— Great." "It's great to finally meet you." "You're all so nice." "Wow." "Um, we've got a lot to talk about." "The more we all argue about what really happened, the more confusing it all becomes." "Well, as you can see, you're not in Hollywood anymore." "We still get kind of excited when a crazy couple with looks and money... blow it all on a bet that doesn't make sense to anybody but themselves." "If it all made sense, I wouldn't be interested." "Do you have a sec?" "Uh, yeah." "Let me buy you a drink." "I'd like a martini, please." "Dirty." "# I see your face in every cloud above #" "# It brings me back #" "# To precious memories of our love #" "# Ohh, baby ##" "Where'd they find her?" "Where" " Where did you go after that?" "Mitchell." "Hello again." "Mr. Brotherton." "Bruno." "You know these famous Hollywood folks?" "Yep." "I guess I'm their native guide." "Nathalie Post." "Hi!" "Steve Gates." "Pleasure." "I just wanted to say, your blog about the Taschen and Duran story, it's like pure Southern poetry." "I'm a blogger, not Flannery O'Connor." "Thank you." "Well, uh, thanks." "Oh— W-We'll talk later." "Absolutely." "Have a sit." "Get one more of these?" "A Maker's." "So, you wrote the story." "Mm-hmm." "How come you're not working on the script?" "It's not my story anymore." "Come on." "You weren't even a little attracted to Bruno?" "# I've gone, but I'll be circling back #" "# Now I'm crossing the Chowchilla River#" "# By the light of a ragged moonbeam #" "# And I'll miss #" "# The rose #" "# Of San Joaquin #" "# I'll miss the sun on the Sierra Nevadas #" "# Adobe moon on the rise #" "You know, with all the stuff you've written about Billings, you think Taschen didn't kill him?" "Anyone who's been on my site for five minutes knows I don't think anyone killed anyone, including themselves." "Well, now, that's quite a theory." "Well, that must be your theory too, the way you're shadowing this film production." "What would Mitch Haven think of your insurance career?" "What insurance career?" "I'm a carpenter." "What do you say?" "You ready to shoot?" "I don't think that Taschen would kill himself." "I meant it metaphorically." "He was in the prime of his life." "He" "He had everything." "She was just starting." "Why would they throw all that away?" "What'd you wanna do, shoot two endings?" "Mmm." "I'm done for today." "I'll see you guys in the morning." "Okay." "Good night." "Good night." "Hey." "What if you're wrong?" "What if Taschen's insurance policy on the Cessna lapsed?" "What if his friends from Cuba had something to do with it?" "Are you sure Mitch wants this kind of technical advice on the story?" "Mitch doesn't care about the story." "All he cares about is Velma." "Up a little bit." "Cut there." "Hold." "Bank to the left a little bit." "Left." "Cut." "Tail slate it." "That was amazing." "1 -1 -5 Fox Trot." "Take one." "They're on to us, Velma." "It's over." "No, it's okay." "We just have to show our faces at the capitol one more time... and then... everything will be okay." "Okay?" "You— Y-Y—" "You really should have been an actress, Velma." "Don't worry." "Okay?" "We just" "Let's show our faces at the capitol one more time... and just pretend that we're doing business as usual... and everything will be fine." "Okay?" "You should have been an actress, Velma." "Or not!" "Oh, my gosh, don't let me ever do that again!" "That's just awful!" "Very nice." "You guys almost done?" "Who's ready for a drink?" "No, thanks." "I'm good." "I'll just wait for Saturday." "That's really nice." "Yeah?" "There's a shot missing." "We'll have to do some digging." "Tomorrow?" "I'm done for today." "I remember there being other takes." "We have lots of-- lots of coverage for that scene." "Okay." "Night, sweetie." "Good night." "See you guys tomorrow." "Night, Steve." "Good job, man." "Thank you." "Oh, why didn't you take me in your arms that day?" "Why did you let me go?" "Why did we have to go through all this nonsense?" "Don't you know you're the only man I ever loved?" "Don't you know I couldn't look at another man if I wanted to?" "Don't you know I've waited all my life for you, you big mug?" "Will you forgive me?" "For what?" "Oh, you mean, on the boat?" "The question is, can you forgive me?" "What for?" "Oh, you still don't understand." "I don't want to understand." "I don't want to know." "Whatever it is, keep it to yourself." "All I know is I adore you, I'll never leave you again and we'll work it out somehow." "Just one thing— I feel it's only fair to tell you, it'd never have happened except she looks so exactly like you." "And I have no right to be in your cabin." "Why?" "Because I'm married." "But so am I, darling." "So am I." "Positively the same dame." "Wow." "What a masterpiece, huh?" "If only we think it's funny, do you think it's still a masterpiece?" "Yeah." "A great comedy, its job is to make you laugh, right?" "Oh, yeah?" "So if it doesn't make you laugh—" "Where'd you hear that?" "Huh?" "Huh?" "Huh?" "Stop." "Oh, my G—" "Hundred million dollars?" "Well, you know, actually it's only 15% of $100 million." "You are crazy, Rafe." "They'll hunt you forever for that kind of money." "The 15 million includes paying off certain of my partners... who would not like to see a court case proceed against me." "You know, but I don't think I can claim deductions on bribes." "Mother used to say" "Yeah." "Well, I was indicted so that they could find the money to report to the I.R.S." "You see, no money, no taxes." "But..." "I'm not worried." "Then why are you drinking like a fish?" "Me?" "Nestor." "The girl—" "You think she can stand the pressure?" "Well... sometimes I think Velma, she's not dead." "She only changed bodies." "Velma, Laurel or... whoever she is," "she's just like my daughter." "She's strong enough." "Hello?" "Yeah." "No, no, I'm— I just got out of the shower." "Uh—" "Europe?" "What?" "Um—" "Well, look, if Tiger's Den is gonna give us 500,000 to do these European locations, um, I'll— I'll be a good sport... and rewrite 30% of the script while we're shooting." "Do you think Altman ever treated a writer like this?" "My friends and I closed the bar." "Well, congratulations." "And then when I was in the little girls' room they left me, so—" "I didn't drive here." "Come on in." "Mmm!" "Here." "Let me get one of those." "I'd better stop this." "I'm starting to like it." "Here." "Put your money away." "This one's on me." "Oh!" "Thank you." "Hmm." "To a masterpiece." "Of fiction." "You know, I can save you a lot of time." "I knew there was a ton of stuff in here you didn't put on your blog." "Billings was a good cop with a bad pancreas and a lousy medical policy." "And he had not one, but two families to support." "You know, you didn't say anything about Laurel Graham." "You want to play a game?" "All right." "It's called... fuck the facts." "One, two." "Well, Rafe did it." "He got himself indicted." "But you don't have to take him in." "Or did he have some help?" "Do you mind that this is tequila when it says in the script that it's rum?" "Cut!" "Sorry." "Your bag fell over too." "I noticed." "That's weird." "Do we have a bottle of rum on set?" "Doesn't anyone read the fucking script?" "No, they don't." "Evidently not." "That was nice, guys." "I'm— I'm sorry." "I feel—" "I feel a little stagnant in the beginning of the scene, like I don't know what I'm doing." "I'm just— I'm standing there." "Am I on camera or not?" "Yeah, you're on camera." "We see you from the back." "Honestly, it looked great." "Do you want me to rush up?" "I just feel like I'm standing there." "Take even more time, if you want." "Okay." "Everything was great." "Okay." "Got the rum?" "Okay, back to one." "We're back to one." "Doin' it again." "Back to one." "Doin' it again." "Reset the car safely, please." "Well..." "Rafe did it." "Finally got himself indicted." "You don't have to take him in." "Or did he have help?" "You could say it was an accident." "What would they do to you if you'd just let him go?" "What would you do to me if I just let him go?" "And cut." "Beautiful, guys." "It's perfect." "It doesn't get any better than that." "So let's move on." "Moving on!" "New deal!" "Do you mind asking your actors to do me just one favor... and use a single line of dialogue that's in the script?" "Yeah, okay." "Good work." "I thought you were a friend." "Hi, Bruno." "Man, Laurel needs a rest." "And you too." "The lovesick, the jealous and the betrayed, they all smell the same." "She's here for the movie, man." "You think so?" "You're the only one that sees that." "She looks at you like every word out of your mouth comes straight from God." "But I don't believe in God, Bruno." "Moxie!" "I talked to our pal, Bobby Billings, over in the cop shop." "He says the whole arrest thing can be real low key." "No America's Most Wanted crew camped on the front yard, huh?" "Might as well go down in flames." "And cut!" "Okay, way to go, guys." "That takes us out of this scene." "Good work." "You're not just saying that, are you?" "No." "How's your neck?" "It's fine." "You okay?" "Good one." "Nice, guys." "We're gonna get more coverage on this scene, right?" "No." "It works perfectly in one." "We need more time for Velma's scene— the blue one." "More time for Velma?" "Well, yeah." "I mean, it's a— it's a crucial scene, Steve." "And crucial scenes like Taschen's suicide get sleep-walked through?" "It works perfectly." "Right." "Right." "Hi." "Give me my water." "So what's the matter?" "I don't know if it'll make you feel any better, but whatever it is," "within a— within a year you'll be laughing about it." "Grab the hips." "There." "Like that." "Yeah." "Yeah." "That's good." "That's enough." "All right." "Yeah." "We'll tie them with this." "Okay." "Okay." "Yeah, I got it." "Right side." "That's it." "Yeah." "Okay, I'll get her- Here's her arm." "Where's the sleeve?" "I don't know how to get it off.We have to undo—" "No." "Maybe this way." "Now pull." "Shit." "Aw, shit!" "I don't know what to do." "Pick her up." "Oh, I'm sorry." "Oh, this poor baby." "Okay, I got most of it." "There we go." "Let me see." "Okay." "All right." "Okay, I got it." "Shoes." "Aw, shit." "These fucking— Fuck!" "All right." "Let's see if that scene... in the... third act— the motel scene—" "Let's see if that plays— Yeah, yeah." "That's a good idea." "What number?" "I think it's 19." "Huh?" "Ninety-something." "Yeah. 169, not 19." "The thing you have to remember is that you have to make me love you... for this scene to work." "I'm sorry?" "You have to—" "Never mind." "Okay." "I'll try." "Um, let's see." "We're in too deep, Rafe." "You got what you wanted, Velma." "Everything you wanted." "I want us to go back to yesterday." "Why not go back further?" "To before we met, to before you were born." "And we could go back even further still... to a time where I never believed that I would meet anyone like you." "Wow!" "That was great." "Okay." "We're in too deep, Rafe." "This is what you wanted, Velma." "Everything you wanted." "I just want to go back to yesterday." "Why not go back further?" "Why not go back to... before we met, before you were born?" "Or... we could go further back." "We could go back to before I ever dreamed of meeting someone like you." "Nice." "I like that." "Very nice." " It's a little— Is it too dramatic?" " Hmm." "We're in too deep, Rafe." "This is what you wanted, Velma." "Everything— Everything you wanted." "No." "Oh, I just want to go back to yesterday." "Why not go back further to before we met, to before you were born?" "No, no, no." "Let's go back further still... to a time before I even dreamed of meeting someone like you." "That was great." "Oh!" "Wow." "Who wrote this shit?" "Let's do it again." "Grandpa needs a drink." "I was in Cary's room." "I'm sure it's a really nice room." "He's really hung up on this girl that's in Italy, and we just talked about..." "Rome and..." "Positano, but mostly about the girl." "Well, I'm not the cops... or your father or anyone who gives a shit." "I need you because I need to make this movie work." "Mmm." "That's not why you need me." "Flowers won't bring Officer Billings back." "Look, I know you started this, Velma, but you don't need to finish it." "I can handle this." "I know how you plan to handle it." "And you have a better idea?" "Keep your flowers, Rafe." "Cut!" "Nice." "Okay, I can do this." "Whatever it takes, I'm gonna do it." "You don't know Billings." "He— He can't be bought off, not with money, not with all your charms." "I like it." "She seems to really be holding her own against Cary." "I wouldn't expect anything less." "Ah, Mitchell." "Hi, guys." "Hi." "What's up?" "All right." "Bruno." "Hey." "Laurel thinks it would be a good idea if Velma tried to seduce Billings." "Hmm." "I don't think she'd do that." "Why not?" "Why not?" "Laurel's a woman." "She thinks Velma would do it." "He was a cop with 38 years of experience." "He was decorated." "He's not gonna throw it all away on a piece of strange— even if she did look as good as Laurel." "No offense." "Piece of strange?" "I, uh— I don't know about all that." "I just— I don't think she'd do it." "You're thinking too much." "Aw, that's so sweet." "Thank you." "Soy Ana." "A fucking masterpiece." "How many movies have you seen?" "Hmm." "I don't know." "You shouldn't really ever ask a filmmaker that." "Why?" "We don't really want to admit... how much time we spend obsessing over other people's dreams." "So I've seen your dreams?" "Pretty much." "I know all the dialogue by heart even." "Hmm." "Hey." "Mmm." "My only crime is wanting to leave this place." "My crime is not wanting to leave." "I'd live up here in the Smokies forever." "Never get tired of the smells... and the colors and... the sounds." "Mmm." "And cut." "Okay." "Great, guys." "We've got two good ones there." "So we're on the move to the cemetery." "Can I have another one?" "What's that?" "Can I have another one?" "I fidgeted a lot." "You really want one?" "It was really good." "Okay, Laurel wants another one." "Thanks." "And final touches, please." "Let me see." "Hmm." "Am I that frizzy?" "Mm-hmm." "Hmm." "It looks good." "Thank you." "Mm-hmm." "Okay, and here we go." "Let's roll sound." "Speed!" "Rolling." "My only crime is wanting to leave this place." "My crime is not wanting to leave." "I'd live here in the Smokies forever." "I'd never get tired of the smells... and the colors and the sounds." "And cut." "So we have a perfect one there... and a great one from the first take." "I think the camera has a crush on you." "That was beautiful." "Thanks." "We're on the move." "On the wrong set." "That was beautiful, man." "I know." "That scene was drop-dead beautiful." "Of course there should be a reverse on Billings, but somehow Velma made it work." "You never let up, do you?" "Sorry, man." "I guess that was kind of stupid." "But, um—" "But I'd be more stupid if I didn't tell you, as a friend, that you're in way too deep on this one, man." "In my dreams maybe." "Maybe." "Hey!" "I wanna talk to you." "What the f" "I wanna talk to you, Velma." "What do you want, Bruno?" "My name's not Velma." "It's Laurel." "Hmm." "Drinking already?" "Hmm." "I don't wanna talk to the real Velma Duran." "I wanna talk to the one who's been prancing around the goddamn state capitol... pretending to be Velma Duran." "Right, right." "Uh-huh." "Yeah, the one I just caught a glimpse of-- and enough of a glimpse to know it's really you." "Okay, you're losing it, Bruno." "Yeah, I'm losing it?" "You're really losing it." "I'm just going to have to talk to Mitchell about this." "I think we've had enough." "It's gonna be better for everybody if you're just gone." "Yeah, you seem to know what's best for everybody, don't you, Velma?" "Especially milking the state of North Carolina out of a hundred million dollars." "Have you dug up anything yet?" "No." "Nothing about him feels right." "He comes up with something new every day, and it's all straight out of my diary." "He's one smart hillbilly." "So I guess the myth, as usual, has no relationship to reality." "Oh, that's so weird." "Well, whatever." "It's freaking me out." "It was your idea, this whole movie thing." "So let me take care of it, okay?" "I don't know where this kid Haven is going with this movie." "I mean—" "Yeah." "Uh— But-But, you know," "I do know that this is not the character that I signed on to play." "Just a minute." "Yeah." "Oh, hi." "Well, he's got Velma at the center of the story now, and Taschen is just kinda the fall guy, and it's, uh—" "Ju— Wait." "Okay, tip is three— four dollars." "And, uh, thank you very much." "You're welcome." "No!" "No." "I'm telling you, he's changing the whole damn thing around." "So is there anything that we can do... in a contractual situation with this kid?" "Hmm?" "Yeah, yeah, I know." "You're right." "I should have asked for more money." "I think that Velma Duran liked the mess that she was in." "I just don't like it when you go away so far." "You disappear into your dreams, and that feels so lonely." "Hmm." "Come on." "Hey." "I won't do that." "Huh?" "Okay." "Ohh." "Are you okay?" "While the gods slept—" "Mmm." "Mmm." "Just let me know when you're set up." "Some of the actors have been asking for extra lines." "What do you think I should tell them?" "Oh, really?" "Yeah." "We've already cut the script to 95 pages... and it's still running four hours." "Right." "So just—just have them come talk to me." "Okay." "Hi." "Hi." "Just when you have a minute, I'd like to speak with you." "Sure." "Yeah." "Right now." "Okay." "What is it?" "I want Bruno off the film." "Why?" "He's— He's doing such a great job." "No, he's" " I don't think he's here to help." "Are you aware that he works for Universal Benefit Systems?" "Yeah, I think he used to." "I mean, he's already helped so much." "He's brought tones and details." "Thanks to him, this movie is so much more than just some May-December nonsense." "There's not even gonna be a movie when he's finished." "Come on." "Ow!" "Am I early?" "Uh, no." "Come on in, Bobby." "You know, this whole plan fizzles," "I'm the only one that gets away clean." "Okay." "Cut." "Let's cut." "It's great." "That was beautiful." "Thanks." "Okay." "Are we good?" "Checking the chip." "That's gonna be lunch— one half." "Oh, yes." "Thank you." "Thank you." "Oh, sure." "I can do better." "Very impressive." "Very powerful." "Thank you." "Instead of the catering wagon, let me take y'all some place real special." "But you can't tell anybody about it though." "It's busy enough as it is." "Hmm?" "Go ahead." "Yeah." "I'm gonna work on my, uh, scene." "No." "No." "You gotta come too." "You can't play Velma unless you eat the food she ate on the last day she lived." "You know what?" "You are right about that." "Sure." "Let's go." "Is this the place you wrote about in your blog?" "No." "This is a place Bruno found on his own." "I don't remember any restaurants out here." "Hmm." "I must have taken a wrong turn." "No." "You know, we don't have time for this." "Yeah?" "I figured since we were out here, you've missed an important story point." "And I think you need to see it." "Did you mention it to Steve?" "I didn't say it was important for the movie." "I said it's a story point— the real story." "Hey, Laurel, why would Velma come all the way out here... just before driving her car into the lake?" "All right, you know," "I'm just about done with your consulting services, Bruno." "Yeah, you don't want the truth at all, do you?" "You're just interested in making another Hollywood piece-of-shit movie." "No, it's not just some other Hollywood piece-of-shit movie." "It's my Hollywood piece-of-shit movie." "Well, at least you're an honest man." "Well, I'll still pay you till the end of the shoot." "But you have to stay away from my set." "So, Bobby, you're good with all this?" "Good?" "I thank God your life is almost as fucked up as mine." "I guess our misfortunes are made for each other." "I just wish I could've met that Velma Duran." "The real Velma Duran." "She was about the only person I ever met who wasn't just in it for herself." "Youthful idealism." "It's not that rare." "Think so?" "Man, I think that's when it's rarest." "It's really the best it's ever looked." "Mitchell, it's Bruno." "Did you call me?" "No." "No, I didn't call you." "You sure?" "Sounds like you on this answering machine." "Call me back" "Okay, hang on." "What's going on?" "Must've been an old message." "Guys, I need to talk to you." "Uh, you got a drink in here?" "I know you got something to drink in here." "Yeah, I think there might be some, um, rum in the refrigerator." "Huh." "Who keeps rum in the refrigerator?" "Jacket." "Uh, you know what?" "I might be mistaken." "Maybe it's in the cupboard." "Movie time is over." "And we really gotta talk." "Let me guess." "Is it In a Lonely Place?" "Why don't you ask Laurel?" "Laurel, you wanna tell Mitchell what movie he's making?" "Mitchell knows what kind of movie he's making." "Really?" "I didn't see anything about a hundred million dollars that came up missing in the script." "A hundred million dollars, eh?" "Well, that is good." "We should put that in." "I'll call Steve right now." "I gotta file a report." "It's fraud." "It's grand theft." "It's falsifying police documents." "Stealing goddamn bodies." "We got all that in there, or almost all of it." "Bruno, would you just put the gun down?" "I have to shut you down, Mitchell." "I have to shut you down, you need to call the cops and they need to take it from here." "You're shutting me down?" "Why do I need the cops, Bruno?" "You need the cops for her, Mitchell." "Bruno, don't do this tonight." "The movie's almost finished." "Nothing is done until the money's found." "What money?" "What money?" "Shit!" "Baby?" "Hey, Laurel." "Laurel?" "Oh, fuck." "Laurel?" "Nobody was supposed to get hurt!" " Then you shouldn't have brought a gun into this scene." "Put your weapon down and your hands in the air!" "Drop the weapon!" "Put your hands in the air!" "Drop it!" "Just one second." "# Roll the credits, Johnny #" "# You up there in the projection booth #" "# This dream is over now #" "# Time to put your shoes on #" "# And hit the streets #" "# Ah, but wasn't it beautiful?" "#" "# Did we forget about the hard times for a while?" "#" "# The good guys won, Johnny #" "# The bad guys tasted bitterness #" "# And defeat #" "# We kissed the leading ladies #" "# Felt the warmth of their deep caress #" "# Toasted queens and princesses #" "# Rode those rocket ships #" "# To the stars #" "# It's dark now on the streets of life #" "# I think I lost my pocketknife in there #" "# Damn it, Johnny, I can't remember now #" "# Where in the hell I parked the car#" "# Let's dance to keep the fear away #" "# And whistling keeps the wolves at bay #" "# Remember things that might have been #" "# And all the love that could have been #" "# Let's storm the old ramparts #" "# Let's sing those old songs #" "# From the movies in our hearts #" "# The way she brushed her hair back with her hand #" "# I was her only boy, her leading man #" "# She knew more than you'll ever know, Johnny #" "# She talked to birds and animals #" "# She never talked to me #" "# If only she could step off of the silver screen #" "# That little blonde in tight black jeans #" "# Christ, I lost my mind now, Johnny #" "# The bars are closed The moon is smiling through the trees #" "# Let's dance to keep the fear away #" "# And whistling keeps the wolves at bay #" "# Remember all that might have been #" "# And all the love that could have been #" "# Let's storm those old ramparts #" "# Let's sing those love songs #" "# From the movies in our hearts #" "# Let's sing those love songs #" "# From the movies in our hearts ##" "# Well, the ditches are on fire #" "# There ain't no higher ground #" "# You're dreaming of the City of Angels, kid #" "# Now you're pawning your clothes in some hick town #" "# Forgiveness is the killer of snakes, amigo #" "# In the gardens of despair#" "# Keep your mind on the middle, little brother#" "# Out on the road to nowhere #" "# The polo club in Havana #" "# An ancient church in Rome #" "# You keep thinking you recognize dark faces #" "# The way the flesh is arranged like wax on the bones #" "# You're making deals with dirty little people #" "# Balancing between a curse and a prayer#" "# There's a thin line 'tween the pathway to glory #" "# And that road that leads to nowhere #" "# Row, row, row your little dreamboat #" "# Silently downstream #" "# The banker, the cop, the candlestick maker#" "# They're all wise to your filthy little schemes #" "# You're riding backwards on a blind horse #" "# In a carnival down south somewhere #" "# Where the tunnel of love was never finished #" "# Out on the road to nowhere #" "# Ashes to ashes #" "# And dirt to dirt #" "# Your blood runs with OxyContin and vodka, pal #" "# Why in the hell do you still hurt?" "#" "# Now every day is the day of reckoning #" "# Even the weatherman makes you feel scared #" "# Rise up, Lazarus, and keep on staggering down #" "# That old road to nowhere #" "# Now row, row, row your little dreamboat #" "# Silently downstream #" "# Where the banker, the cop and the candlestick maker#" "# They've gone wise to all your filthy little schemes #" "# You're riding backwards on a blind horse #" "# In some carnival down south somewhere #" "# Where the tunnel of love was never finished #" "# Out on the road to nowhere #" "# The tunnel of love was never finished #" "# Out on the road to nowhere ##"