0:00:02 > 0:00:13This film contains very strong language.
0:00:57 > 0:00:59GUNSHOTS
0:01:04 > 0:01:06DISTANT SIREN WAILS
0:03:19 > 0:03:21Where's the money?
0:03:21 > 0:03:24I tell you, I need just a few more days.
0:03:24 > 0:03:26Please, I can get it.
0:03:26 > 0:03:28What are you gonna do to me?
0:03:28 > 0:03:30Movie starts in three minutes.
0:03:30 > 0:03:35If you don't tell us where the money is, we're gonna cut your fingers off during the opening credits.
0:03:35 > 0:03:39Titles. Credits come at the end of the movies. Titles come first.
0:03:39 > 0:03:42Fine. Titles.
0:03:42 > 0:03:43GROANING
0:03:43 > 0:03:46We're gonna cut 'em off during the fuckin' titles.
0:03:46 > 0:03:48'The shows starts in two minutes.'
0:03:48 > 0:03:52I tell ya, I just need a couple more days. Please, don't do it.
0:03:52 > 0:03:56No! I'm telling you, don't do it!
0:03:56 > 0:03:57You gotta listen to me.
0:03:59 > 0:04:01Whatever you do, don't do it.
0:04:01 > 0:04:03Do you hear me?
0:04:04 > 0:04:07- Don't do it. - 'The show starts in one minute.'
0:04:07 > 0:04:12- We've got to get him out.- Devine hasn't given a signal. We move when he does.- Maybe he forgot.
0:04:12 > 0:04:15- He's tied to a chair.- Yeah, that's Sal Rossi Jnr down there, Ray.
0:04:15 > 0:04:17- Jesus Christ!- Screw the signal. I say we get him out.
0:04:17 > 0:04:24No, wait, wait, Devine hasn't given a signal...because he wants Rossi to take a finger.
0:04:24 > 0:04:27- What are you talking about? - What if you're wrong, Ray, huh?
0:04:27 > 0:04:29What if he forgot the fucking signal?
0:04:29 > 0:04:34- If Sal takes that finger, we get him for assault, attempted murder - 20 years.- This is crazy.
0:04:34 > 0:04:39- He doesn't want us to wait while some psycho takes his finger. - This is Devine's detail.
0:04:39 > 0:04:41And he wants us to wait.
0:04:41 > 0:04:43The dancing hot dog, Jesus Christ!
0:04:43 > 0:04:46All right, you get some ice.
0:04:46 > 0:04:47And you get the finger.
0:04:56 > 0:04:57ARGH!
0:05:04 > 0:05:06Hello, I'm home!
0:05:09 > 0:05:11Sasha, where are you? I have presents.
0:05:11 > 0:05:13Sasha?
0:05:15 > 0:05:20Mr Devine, I tried calling you, they said it was impossible to reach you, I even tried that special number.
0:05:20 > 0:05:23Dolores, I have these presents for Sasha. Where is she?
0:05:23 > 0:05:26I'm sorry, sir, your dog is dead.
0:05:26 > 0:05:28She killed herself.
0:05:30 > 0:05:38- What?- The Jacuzzi, she threw herself into the Jacuzzi. I tried to find you, it was horrible.
0:05:39 > 0:05:41Oh, no, maybe she FELL in.
0:05:41 > 0:05:46No, there was a witness - Alejandro, the gardener's son.
0:05:46 > 0:05:47It was suicide.
0:05:49 > 0:05:50Suicide?
0:05:50 > 0:05:53She was lonely, she couldn't stand it any more.
0:05:53 > 0:05:56Well, then, why the fuck didn't you go outside and play with her?
0:05:56 > 0:05:58Throw the little red ball with her?
0:05:58 > 0:06:04I'm sorry, Mr Devine, I know that you loved that dog.
0:06:04 > 0:06:08On Tuesday, she dug up all the flowers and then took a dump in the kitchen.
0:06:09 > 0:06:12I believe that was her note.
0:06:19 > 0:06:25Joe, from the beautiful words you've written, it's clear to me that Sasha wasn't just a great dog.
0:06:25 > 0:06:27She was a great friend.
0:06:27 > 0:06:32Sasha was loyal, she was compassionate, and she loved to shake.
0:06:32 > 0:06:36And now I'm gonna ask you to bow your head for one minute of silence.
0:06:41 > 0:06:43Sorry to hear about Sasha.
0:06:43 > 0:06:46I didn't know you were close to that bitch.
0:06:46 > 0:06:49What brings you to town? Did you hear about my finger?
0:06:49 > 0:06:53Oh, yeah, very proud of the work you're doing here in Houston.
0:06:53 > 0:06:56Then why don't you get me the hell outta here? Jack,
0:06:56 > 0:06:59you've been deputy director of the Bureau for six years, and I've been stuck here for five.
0:06:59 > 0:07:03Do you know what people would say if I just handed you the detail in New York?
0:07:03 > 0:07:08- They took my fuckin' index finger, they cut my fuckin' finger off! - And we appreciate that.
0:07:08 > 0:07:13I'm your brother, Jack, you tell them I can do this thing, I'm gonna nail these motherfuckers.
0:07:13 > 0:07:15Take it easy, listen, I am on your side.
0:07:15 > 0:07:19I'm on your side, we all know you're gonna be a star, Joseph.
0:07:19 > 0:07:22Jack, I'm never gonna be a star in Houston.
0:07:22 > 0:07:26I know. That's why I'm sending you to Providence.
0:07:28 > 0:07:29Providence?
0:07:29 > 0:07:33There's mobsters in Rhode Island?
0:07:33 > 0:07:34CAR STARTS
0:07:54 > 0:07:56What are we doing in Rhode Island?
0:07:56 > 0:08:00We're better off in Houston. It's Tommy Sanz in there, Gotti's cousin.
0:08:00 > 0:08:02- Second cousin.- He's still family.
0:08:02 > 0:08:05Sal Rossi Jnr wasn't even Italian.
0:08:05 > 0:08:10Hey, we nail this Tommy Sanz guy, that could be our ticket to Philadelphia, New York.
0:08:10 > 0:08:12Maybe even Washington.
0:08:12 > 0:08:17'FBI agents believe John Gotti planned Paul Castellano's murder outside Sparks
0:08:17 > 0:08:23'Steakhouse in December 1985, and prosecutors are expected to try to make another case against him...'
0:08:26 > 0:08:30So, Tommy, you get invited to John's party?
0:08:32 > 0:08:37I really don't think John considers me part of the family any more.
0:08:41 > 0:08:44It's my face, Willie.
0:08:44 > 0:08:46The guys back home can't stand the look of me.
0:08:48 > 0:08:51I thought after the second surgery, things would change.
0:08:52 > 0:08:55Did you talk to that plastic surgeon?
0:08:56 > 0:09:01He said he wanted to take skin from my ass cheeks and put it on my face.
0:09:03 > 0:09:06I beat that cock-sucker with his own chair.
0:09:08 > 0:09:10I need to do something big.
0:09:12 > 0:09:15Or I'll never get back to New York.
0:09:15 > 0:09:21There's another movie shoot in town. A horror movie. One of the producers calls Wally over at the local.
0:09:21 > 0:09:23Seems they need a favour from the Teamsters.
0:09:23 > 0:09:27I said big, Willie, big, like this TV.
0:09:27 > 0:09:29That's 52 inches.
0:09:29 > 0:09:34They need 10 trucks, max, 25 drivers, no hassles.
0:09:34 > 0:09:37Last time our cut was three grand...
0:09:37 > 0:09:39They're talking about a bribe.
0:09:39 > 0:09:44They're taking a bribe from those movie people to make a deal with the union.
0:09:44 > 0:09:48- So?- So, the mob controls the union, the Teamsters,
0:09:48 > 0:09:52which means they control the trucks, the trucks the movie people use.
0:09:52 > 0:09:55What the hell are you talking about?
0:09:55 > 0:09:57I know how we're gonna get Tommy Sanz.
0:09:59 > 0:10:02Agent Devine, it says here you wanna produce a movie?
0:10:02 > 0:10:05No, sir. Actually, there really isn't going to be a movie.
0:10:05 > 0:10:08I only want Tommy Sanz to THINK I'm producing a movie.
0:10:08 > 0:10:12We really don't give a shit, just tell us the play.
0:10:12 > 0:10:16Trucks. This is how all movies are made, sir, with trucks.
0:10:16 > 0:10:21We're gonna offer Tommy Sanz a bribe to intercede with the Teamsters on our behalf,
0:10:21 > 0:10:26and once he accepts, we're gonna nail him for racketeering.
0:10:26 > 0:10:31There's an obvious risk here, Agent Devine. What do you know about producing movies?
0:10:45 > 0:10:47Ohh!
0:10:49 > 0:10:52- Oh, yeah.- Oh, you're such a star.
0:10:52 > 0:10:54DOG BARKS LOUDLY
0:10:56 > 0:10:58I don't hear anything, honey.
0:10:58 > 0:11:01They're not making any sound, honey.
0:11:01 > 0:11:03No, no, no. DOG HOWLS
0:11:03 > 0:11:05I can't take it any more.
0:11:05 > 0:11:07I can't take it any more, Steven.
0:11:07 > 0:11:09The headphones, the headphones!
0:11:12 > 0:11:14SEVERAL DOGS BARK AT ONCE
0:11:14 > 0:11:16Hey, shut the fuck up!
0:11:16 > 0:11:17Do you understand me?
0:11:17 > 0:11:24Shut the fuck fucking up! I'm going to come down there and fucking kill you, do you hear me?
0:11:24 > 0:11:30I'm sick and tired of living like this my whole life! It smells like shit! Yeah, I'm talking to you!
0:11:30 > 0:11:33You piece of mother-fucking shit!
0:11:34 > 0:11:36We live in a kennel.
0:11:36 > 0:11:41- We live in a kennel.- Yeah, but you know who boards their dogs down there?
0:11:41 > 0:11:45Goldie Hawn, Ted Danson, Meryl Streep, Connie Chung.
0:11:45 > 0:11:52- I've met agents down there, studio heads.- I'm going to kill those dogs. I'm gonna fucking kill those dogs.
0:11:52 > 0:11:53If you wanna move, we'll move.
0:11:53 > 0:11:57- But then we'll both have to work full-time.- Could you just stop it?
0:11:57 > 0:12:01I'm so sick of you and your threats. How many years have I had to live with you and your threats?
0:12:01 > 0:12:05- Maybe I don't wanna be an actress any more.- You're a great actress.
0:12:05 > 0:12:07Let's stop the bullshit, Steven.
0:12:07 > 0:12:10I'm not an actress. I play the piano at the Mall.
0:12:10 > 0:12:15It's not the mall. It's Nordstrom's, where every casting agent shops.
0:12:18 > 0:12:20I'm 34 years old.
0:12:22 > 0:12:27How messed up am I that I have to stay here and live like this?
0:12:27 > 0:12:32Make a great story, though, won't it, when you're famous, and they have to talk about your life?
0:12:32 > 0:12:37Valerie Weston goes from pound to gown, as she steps out of her limo at the Chinese Theatre.
0:12:42 > 0:12:44I'm going to work.
0:13:04 > 0:13:08I know you're nervous, Robert. It's your first day, but you're gonna be great.
0:13:08 > 0:13:12You're working as a floater in concessions, in charge of napkins and butter.
0:13:12 > 0:13:14A large is three squirts, medium, two squirts...
0:13:14 > 0:13:17- Thanks.- You're welcome. Next, please...
0:13:18 > 0:13:20Thank you. Enjoy the show.
0:13:22 > 0:13:23Thank you, enjoy the show.
0:13:31 > 0:13:34Mandy Patinkin... Mandy Patinkin...
0:13:34 > 0:13:38Mandy Patinkin... Mandy Patinkin!
0:13:39 > 0:13:40Stop it, Arnie.
0:13:40 > 0:13:46< No, you stop telling me how great I am, and you tell me where my fuckin' script is.
0:13:48 > 0:13:51< You do not want to eat lunch off my ass.
0:13:52 > 0:13:55You wanna eat lunch off my ass?
0:13:55 > 0:13:57I thought you were kosher.
0:13:57 > 0:14:00Arnie, I'll make you a deal.
0:14:00 > 0:14:05You deliver that script and lunch is on me, you Lebanese piece of shit.
0:14:05 > 0:14:08Love to Bernice and the baby. ..Roger!
0:14:08 > 0:14:12Roger! Can you get me my back brace and my banjo, please?
0:14:15 > 0:14:18I'm a big fan of law enforcement.
0:14:18 > 0:14:21I used to date the black guy on Hill Street Blues.
0:14:21 > 0:14:25- So you're going undercover as a Hollywood producer...- Yes.
0:14:25 > 0:14:29Are you doing features or TV or MOWs, what?
0:14:29 > 0:14:32- Movies. - Movies. God, I love the movies.
0:14:32 > 0:14:37After I was stabbed by my personal trainer in 1981,
0:14:37 > 0:14:40I was terrified to leave my house.
0:14:40 > 0:14:43And then, one day,
0:14:43 > 0:14:46I went to the movies!
0:14:46 > 0:14:49Oh, God, and I never came home!
0:14:49 > 0:14:52The movies saved my life.
0:14:52 > 0:14:57I'm even back with that trainer now, which is really remarkable.
0:14:57 > 0:14:58Roger!
0:14:58 > 0:15:01Excuse me, I'm sorry. Roger!
0:15:02 > 0:15:04Never hire a diabetic.
0:15:06 > 0:15:09What exactly does a producer do?
0:15:09 > 0:15:11Well, where's your script?
0:15:11 > 0:15:13Script?
0:15:13 > 0:15:14I don't have a...
0:15:14 > 0:15:17You don't have a script?
0:15:17 > 0:15:20No.
0:15:20 > 0:15:22Roger! ..Sorry.
0:15:22 > 0:15:27Camille, can you get fuckin' Roger?
0:15:27 > 0:15:31You know what, I'm sorry, I've got a 3.30, and...
0:15:31 > 0:15:35- Well, can you help me find a script?- This is Hollywood.
0:15:35 > 0:15:38Just go outside and ask anyone you see to give you a script -
0:15:38 > 0:15:41a gardener, a cripple, a child molester.
0:15:41 > 0:15:43They've all got 'em.
0:15:43 > 0:15:46You've just gotta find one.
0:15:46 > 0:15:48Roger...!
0:15:48 > 0:15:49Do I need to give you your shot?
0:15:57 > 0:15:59My deepest condolences, sir.
0:15:59 > 0:16:01Here's your ticket.
0:16:08 > 0:16:12The script is called Arizona. It's the true story of a young woman's spiritual journey
0:16:12 > 0:16:17through the desert as she battles cancer and searches for the spirit caves of the Hopi Indians.
0:16:17 > 0:16:22I actually have a script with me. If you have time, maybe after shivah, you might want to...
0:16:22 > 0:16:26- So tell me about your script. - A romantic comedy, about this couple...
0:16:26 > 0:16:31They find the guy... They find the head of the organisation, like, on a golf course...
0:16:31 > 0:16:34- Or a river.- It's the true story of a young woman's spiritual journey
0:16:34 > 0:16:39through the desert as she battles cancer while searching for the spirit caves of the Hopi Indians.
0:16:39 > 0:16:41I've already got a cancer movie.
0:16:41 > 0:16:43- What kind?- Brain.
0:16:43 > 0:16:45Brain? Brain's been done to death.
0:16:45 > 0:16:47This is breast.
0:16:47 > 0:16:50I have Meg Tilly attached, and Meg Tilly likes brain.
0:16:50 > 0:16:54The rest of the time, he's got no head. He's got, like, seven hours to find a new head,
0:16:54 > 0:16:59- but fucked up because he has no head.- It's about fallen angels. There was a group...
0:16:59 > 0:17:02They're not evil, but they were meant to watch over humanity.
0:17:02 > 0:17:06So that's basically it. It's a road picture,
0:17:06 > 0:17:10it's a love story, it's a tear-jerker.
0:17:10 > 0:17:12OK, but here's the kicker -
0:17:12 > 0:17:14it's an election day...
0:17:14 > 0:17:19- Ah...- And he can't vote... because he's got no head!
0:17:27 > 0:17:30DOGS BARK AND HOWL
0:17:41 > 0:17:42Hey.
0:17:50 > 0:17:52The Jacuzzi.
0:17:52 > 0:17:54She threw herself into the Jacuzzi!
0:17:57 > 0:17:59Val, put the dog down.
0:17:59 > 0:18:01I was trying to nap before my audition,
0:18:01 > 0:18:05and I know this is the dog that barked, you little fuck!
0:18:05 > 0:18:08You're gonna get this commercial. You love Raisin Bran!
0:18:08 > 0:18:12I'm not going on the audition, Steven. I'm finished.
0:18:12 > 0:18:14Put the Pomeranian down.
0:18:14 > 0:18:17I know it's gonna keep on barking, I know it's gonna keep on barking!
0:18:17 > 0:18:20No, it's not. because you're gonna give me the dog
0:18:20 > 0:18:23and I'm gonna take it out of here right now.
0:18:23 > 0:18:25It's OK.
0:18:25 > 0:18:27You can do it.
0:18:32 > 0:18:35Who are you - some kind of Good Samaritan?
0:18:35 > 0:18:37No.
0:18:37 > 0:18:38I'm a Hollywood producer.
0:18:40 > 0:18:43SHE SOBS
0:18:48 > 0:18:53Oh, sweetheart, it's OK. Oh, it's all right, it's gonna be OK.
0:18:53 > 0:18:57Movies and TV, or just movies, or...?
0:18:57 > 0:18:59Oh, honey... I'm Steven.
0:18:59 > 0:19:03Schats. Stephen Scha... Oh, honey.
0:19:03 > 0:19:05Who's Steven Schats?
0:19:05 > 0:19:10Oh, he's done quite a bit of directing in the Los Angeles theatre, he won the, er,
0:19:10 > 0:19:15Goldstein award for Debbie Does Shabbat at Temple Judaica...
0:19:15 > 0:19:20- Billy Crystal is a member of that congregation.- It is Billy Crystal gonna be in the movie?
0:19:20 > 0:19:23- Er, no, because there is no movie. - Then why do you need a director?
0:19:23 > 0:19:26In order to sell the movie to Tommy Sanz.
0:19:26 > 0:19:31- But you said there is no movie. - I'm not really making a movie, sir, I'm just producing one.
0:19:31 > 0:19:33We, er,
0:19:33 > 0:19:37really don't give a shit, just tell us the play.
0:19:37 > 0:19:43The screenplay is entitled, er, Arizona, it's the...
0:19:43 > 0:19:48inspiring true story of a dying young woman as she travels through
0:19:48 > 0:19:50the desert in search of herself and the, er...
0:19:50 > 0:19:53Hopi Indian spirit caves.
0:19:53 > 0:19:56What kind of movie is that?
0:19:56 > 0:19:59It's a tear-jerker, sir.
0:19:59 > 0:20:03- She...dies in the end. - From dehydration?
0:20:06 > 0:20:09Don't come down here, I've locked the door...
0:20:09 > 0:20:11Lonnie!
0:20:11 > 0:20:13Steven! What are you doing here?
0:20:13 > 0:20:17Lonnie, get dressed. I have a meeting in one hour. It's a lunch
0:20:17 > 0:20:21with a producer who read my script over the weekend, and he liked it.
0:20:21 > 0:20:23Of course he did, it's brilliant.
0:20:23 > 0:20:27He asked me if I was bringing representation. I didn't want to look like a schmuck,
0:20:27 > 0:20:29so I told him I had an agent.
0:20:29 > 0:20:30You want me to go with you?
0:20:30 > 0:20:34- Oh, you know, I don't drive any more.- You don't have to drive.
0:20:34 > 0:20:37I'll drive. Just put on some clothes, get dressed.
0:20:38 > 0:20:43We've got a lunch, we've got...a lunch. Mmm...
0:20:43 > 0:20:46Don't touch the mail if it comes.
0:20:46 > 0:20:50- Ever! Don't!- Lonnie, just go get dressed, go get dressed.
0:20:50 > 0:20:52Relax, Steven, it's just a lunch.
0:20:52 > 0:20:54- Where's the meeting? - Musso and Frank's.
0:20:54 > 0:20:59You're in luck! I got a blow job at Musso and Frank's.
0:21:02 > 0:21:06Oh, no, no, no, you listen to me, you Lebanese piece of shit.
0:21:06 > 0:21:09I'm the producer, I'm in charge, this is my picture, you got me?
0:21:09 > 0:21:11Ha-ha-ha! OK, my love to Bernice.
0:21:11 > 0:21:16- I'm so sorry.- Er, sorry we're late, Mr Diamond. This is Lonnie Bosco, of Bosco and Sugarman.
0:21:16 > 0:21:18Pleasure.
0:21:18 > 0:21:22Steven, let me just say that I read the screenplay for Arizona,
0:21:22 > 0:21:27and I absolutely loved it. My wife, Sasha, died recently, so the story really hit close to home.
0:21:27 > 0:21:32- What kind of cancer did she have? - She drowned in a Jacuzzi.
0:21:33 > 0:21:38The dentists from Boston that I represent, they loved the movie as well.
0:21:38 > 0:21:40I know, the script needs a lot of work.
0:21:40 > 0:21:43We're prepared to make a deal for you to direct the movie.
0:21:43 > 0:21:47- You want to make a deal for me? But I'm...- We wanna move forward right away.
0:21:47 > 0:21:51Do you think you could make the movie for, say, a million dollars?
0:21:55 > 0:21:57Steven wants final cut.
0:21:57 > 0:22:02- No, no, Lonnie, I don't need final cut.- Final cut, that's no problem. - Casting approval?
0:22:02 > 0:22:04Yes, he's the director.
0:22:05 > 0:22:08He-he wants 10%, er...
0:22:08 > 0:22:11first dollar, gross points.
0:22:11 > 0:22:13- Yes, OK. 10%.
0:22:13 > 0:22:16You're saying yes?
0:22:17 > 0:22:19You want me to direct Arizona?
0:22:19 > 0:22:22You really...? You want me to do that?
0:22:22 > 0:22:24I'm not saying yes,
0:22:24 > 0:22:26I'm saying hell, yes.
0:22:26 > 0:22:31He's saying yes, hell, yes!
0:22:31 > 0:22:34At Musso and Frank's.
0:22:34 > 0:22:38There's only one question I have. The cover of the screenplay says
0:22:38 > 0:22:42it's written by Stephen Schats and Marshal Paris?
0:22:42 > 0:22:43Yes, Marshal Paris, he's my brother.
0:22:43 > 0:22:48Paris is his pen name. We wrote the story about our sister. She's the dead lady.
0:22:48 > 0:22:52Before we make any deals, I wanna secure all the rights, get some signatures.
0:22:52 > 0:22:57Oh, well, that's impossible, Marshal went home...
0:22:57 > 0:23:00You'll just have to go home one more time, Steven.
0:23:00 > 0:23:03- No, no, no.- Home...
0:23:03 > 0:23:05to the Ponderosa.
0:23:06 > 0:23:09The Ponderosa?
0:23:09 > 0:23:13Ladies and gentlemen, the Cartwrights!
0:23:13 > 0:23:20Adam, Hoss, Little Joe and Ben Cartwright!
0:23:20 > 0:23:21HORSE WHINNIES
0:23:21 > 0:23:26Run for cover, folks. It seems the Snake Eye gang has robbed the bank!
0:23:28 > 0:23:30It's over, Snake Eyes.
0:23:30 > 0:23:33Drop the gold. We don't want no more killing here.
0:23:33 > 0:23:37It's got nothing to do with your boys, Cartwright.
0:23:37 > 0:23:40Let's just settle this, you and me.
0:23:51 > 0:23:54The gift shop will be open till 7pm.
0:23:58 > 0:24:00'The bathrooms are out of order...'
0:24:02 > 0:24:03Marshal?
0:24:08 > 0:24:10We're closing.
0:24:10 > 0:24:11Where's Dad?
0:24:11 > 0:24:14Ben Cartwright gets off at 2.30.
0:24:14 > 0:24:17He's the star of the show.
0:24:17 > 0:24:20- What are you doing here? - We did it, Marshal.
0:24:20 > 0:24:21We're making Arizona.
0:24:21 > 0:24:24Charlotte's story will be told.
0:24:24 > 0:24:29That's impossible. I haven't shown anyone that script in two years.
0:24:29 > 0:24:32Look at this. See this?
0:24:32 > 0:24:35It's a contract. From a producer.
0:24:35 > 0:24:37He wants you to sign a release.
0:24:37 > 0:24:40- It's not for sale. - We're gonna split 100,000.
0:24:40 > 0:24:46This is real, Steven, this is my life. I am a person with an identity now,
0:24:46 > 0:24:52not some Hollywood flunky spending his entire life waiting to have lunch.
0:24:52 > 0:24:54I want you to sign this release.
0:24:54 > 0:24:59I want you to understand what this means to me, that I've spent my whole life
0:24:59 > 0:25:02waiting to yell action and cut for the first time.
0:25:02 > 0:25:06I used to believe you, when you said we'd have matching black Corvettes,
0:25:06 > 0:25:12that one day, we'd get to walk up the red carpet and get interviewed by Mary Hart.
0:25:12 > 0:25:14- I really thought it was true. - It IS true.
0:25:14 > 0:25:17All of it. It's just 10 years late.
0:25:18 > 0:25:21I'm sorry, Steven, I'll never sign.
0:25:21 > 0:25:24And you can tell Hollywood she already had her chance.
0:25:29 > 0:25:32I just need your signature here next to Marshal's.
0:25:32 > 0:25:36- Er, why does Steven have to sign a release, Mr Diamond? - It's standard.
0:25:36 > 0:25:40I'm gonna sign a release, the dentists in Virginia will sign a release.
0:25:40 > 0:25:43Look at this guy, he really thinks he's making a movie.
0:25:43 > 0:25:49- We fucked up, Ray, there's a big plumbing outfit here in LA, Joe Diamond Plumbing.- Shit.
0:25:49 > 0:25:51We'll have to change his name.
0:25:51 > 0:25:55I don't know what to say. Is this really happening?
0:25:55 > 0:25:59- This is it, Steven. - Thank you, Mr Diamond.
0:25:59 > 0:26:01Steven, you've got yourself a green light.
0:26:04 > 0:26:06# Looks like he made it
0:26:06 > 0:26:10# Looks like Steven's on the way
0:26:10 > 0:26:13# To a better life
0:26:16 > 0:26:19# Looks like he made it
0:26:19 > 0:26:25# Steven Schats is on the way to a better life
0:26:28 > 0:26:32# Looks like he made it. #
0:26:32 > 0:26:33APPLAUSE
0:26:35 > 0:26:36Steven, come on up.
0:26:41 > 0:26:44OK, great. I just wanna thank all of you for being here,
0:26:44 > 0:26:48and I wanna tell you that all of you are going to be working on this movie.
0:26:50 > 0:26:52And I wanna thank one man for that.
0:26:52 > 0:26:58The man who made this all possible, the man who came into my life and gave me the gift of a green light.
0:26:58 > 0:27:04He made all my dreams come true, he's the producer of Arizona, Mr Joe Diamond!
0:27:06 > 0:27:07Oh, no, no, no, no.
0:27:07 > 0:27:09# Come on, get happy! #
0:27:09 > 0:27:11Yeah! Yeah! Joe Diamond!
0:27:17 > 0:27:19Thank you.
0:27:19 > 0:27:23Steven, my name isn't Diamond, it's Wells.
0:27:23 > 0:27:26Wells? I thought it was Diamond.
0:27:26 > 0:27:30No, Joe Wells, that's my name.
0:27:30 > 0:27:33- But you said it was Diamond. - No, it's Wells.
0:27:33 > 0:27:35It's always been Wells.
0:27:35 > 0:27:37It's a common mistake.
0:27:44 > 0:27:46Look at them all.
0:27:46 > 0:27:49I thought you might wanna be here when I picked one out.
0:27:49 > 0:27:51How d'you know which one to get?
0:27:59 > 0:28:02And...action!
0:28:03 > 0:28:05Action!
0:28:05 > 0:28:07Action!
0:28:07 > 0:28:11Cut it! That's lunch, people, moving on!
0:28:11 > 0:28:14Very quiet, please.
0:28:14 > 0:28:16Director on set.
0:28:20 > 0:28:21Something wrong?
0:28:23 > 0:28:26I know what the first shot is going to be.
0:28:26 > 0:28:28A wide shot,
0:28:28 > 0:28:32looking across the desert floor.
0:28:32 > 0:28:34Nothing can be seen for miles.
0:28:34 > 0:28:37Then we slowly push in,
0:28:37 > 0:28:39an image appears,
0:28:39 > 0:28:43in the distance, limping towards us - Charlotte,
0:28:43 > 0:28:45an angel walking on water.
0:28:45 > 0:28:48Only the water is burning sand
0:28:48 > 0:28:49and the angel is dying.
0:28:51 > 0:28:54I've had that shot in my head for a long time.
0:28:54 > 0:28:57Thank you, Joe.
0:28:58 > 0:29:02Listen, Steven, what do you think about doing the picture in New England?
0:29:02 > 0:29:07- I don't understand. - Do you think you could make it work in, say, Rhode Island?
0:29:07 > 0:29:11The dentists and I have made a very sweet deal with the Film Commission there,
0:29:11 > 0:29:14- who'll roll out the red carpet for us.- But the movie's called Arizona.
0:29:14 > 0:29:18It's always taken place in Arizona. There are scenes inside the Grand Canyon.
0:29:18 > 0:29:22I know, but the guts of the story wouldn't have to change.
0:29:22 > 0:29:24What about the Hopi Indians?
0:29:24 > 0:29:28Yeah, but do you realise how many Indians wound up settling in Rhode Island?
0:29:28 > 0:29:34Take it from me, I've been to both places, and the similarities would astound you.
0:29:34 > 0:29:37Do that again.
0:29:37 > 0:29:42We're calling this Operation Dramex, and at this time, I would like to introduce Fanny Nash,
0:29:42 > 0:29:48the producer of the hit comedy No Means No, to discuss proper Hollywood protocol.
0:29:55 > 0:30:02I am over 35 years old. I am physically unable to bear children...
0:30:02 > 0:30:07and I pay alimony to my ex-husband, who is a faggot.
0:30:08 > 0:30:10Yet I am willing to bet
0:30:10 > 0:30:16that all of you would fuck me over that desk right now if you knew
0:30:16 > 0:30:22you'd be having lunch with Harrison Ford as soon as you blew your wad.
0:30:22 > 0:30:29If you wanna carry yourself like you're in the movie business, you need to act like the big dog -
0:30:29 > 0:30:31Clifford -
0:30:31 > 0:30:33and remember
0:30:33 > 0:30:37that everyone in the entire world
0:30:37 > 0:30:41is desperate to play with your big red balls.
0:30:43 > 0:30:47# I can see clearly now the rain has gone... #
0:30:48 > 0:30:51I love you all. I'll see you on the set.
0:30:51 > 0:30:55# I can see all obstacles in my way... #
0:30:56 > 0:30:59It may have taken 10 years,
0:30:59 > 0:31:04but Papillon has jumped from the cliff, and he's swimming to the shore!
0:31:04 > 0:31:05Yeah!
0:31:05 > 0:31:08Break a leg, Steven!
0:31:08 > 0:31:11# It's gonna be a bright...
0:31:11 > 0:31:15# bright sunshiny day. #
0:31:17 > 0:31:20'We're expecting a smooth flight into Rhode Island.
0:31:20 > 0:31:24'Please sit back, relax and enjoy the flight.'
0:31:24 > 0:31:25So how old was she?
0:31:29 > 0:31:31Who?
0:31:31 > 0:31:32Your wife, when she died.
0:31:34 > 0:31:37If you don't want to talk about it, I understand.
0:31:37 > 0:31:42- Sasha was my age. - Was she in the business?
0:31:48 > 0:31:50Now why would I marry a whore?
0:31:52 > 0:31:55A whore?!
0:31:55 > 0:31:56No, no! The business.
0:31:56 > 0:31:58- The movie business!- Oh!
0:31:58 > 0:32:02Right, the movie business. Yes, she was. Yes.
0:32:02 > 0:32:03What did Sasha do?
0:32:03 > 0:32:05Hair. She did hair.
0:32:05 > 0:32:08Hair! Hair. That's great.
0:32:08 > 0:32:12- So you met on the set? - Yes, on the set.
0:32:12 > 0:32:14What movie?
0:32:14 > 0:32:16Um...
0:32:17 > 0:32:19Jaws.
0:32:20 > 0:32:21Jaws?!
0:32:21 > 0:32:24Your wife did the hair on Jaws?
0:32:24 > 0:32:28- That's one of my favourite movies! - Mine, too.
0:32:28 > 0:32:31Did it bother her that Quint always wore a hat?
0:32:31 > 0:32:34Well, they had some words, yeah.
0:32:34 > 0:32:37That is so ironic.
0:32:37 > 0:32:41She worked on Jaws, then she drowns in a Jacuzzi.
0:32:43 > 0:32:47I never really thought of it that way before.
0:32:47 > 0:32:50The rest of your family - are they in the movie business?
0:32:50 > 0:32:54Well, I have one brother. He's a doctor, a surgeon.
0:32:54 > 0:32:58He was the smart one. You know, top of his class.
0:32:58 > 0:33:01I was never much of a student.
0:33:01 > 0:33:05In the sixth grade I was struck by lightning.
0:33:07 > 0:33:10- Lightning?- Mm.
0:33:10 > 0:33:12I was standing in the playground
0:33:12 > 0:33:15with a metal lunchbox.
0:33:15 > 0:33:18Suddenly I saw this light.
0:33:18 > 0:33:20The brightest light you can imagine.
0:33:22 > 0:33:24The next thing I knew, I was...
0:33:25 > 0:33:28..inside of the light.
0:33:28 > 0:33:30I was part of the light.
0:33:32 > 0:33:34Fuck!
0:33:34 > 0:33:37Feel the top of my head.
0:33:37 > 0:33:39Go ahead.
0:33:39 > 0:33:42- D'you feel that?- Yeah.
0:33:42 > 0:33:44You know what that is?
0:33:44 > 0:33:46That's one in a million.
0:34:06 > 0:34:10Steven, this is Troy Haines from the Rhode Island Film Commission.
0:34:10 > 0:34:14Welcome to Providence, Mr Schats. The Arizona of the East!
0:34:14 > 0:34:19This is the Woonasquatucket River, known as the Moshassuck Dam before the floods of '64,
0:34:19 > 0:34:23and seen over the credits of the situation comedy Doctor Doctor.
0:34:25 > 0:34:30Joe, I have to be honest. This doesn't resemble the Colorado River at all.
0:34:31 > 0:34:33Look at all that cement!
0:34:33 > 0:34:35There's way too many cars.
0:34:35 > 0:34:41- Is that a snack bar? Tony Roma's? - What if we were to shoot the skinny-dipping scene at night?
0:34:41 > 0:34:44I don't know how Rick would see Charlotte's birthmark.
0:34:45 > 0:34:50- What about the ducks?- Don't worry about the fucking ducks. I'll take care of them.
0:34:51 > 0:34:54This is the second largest landfill in New England.
0:34:54 > 0:34:58Shot by the director Miles O'Kief in the climactic scene of his film Nora Declares War.
0:34:58 > 0:35:01Back then it was a park.
0:35:01 > 0:35:03Now it's the Grand Canyon.
0:35:07 > 0:35:13Just picture some burros, some tourists and some loud T-shirts.
0:35:13 > 0:35:15The trucks are a sound problem.
0:35:15 > 0:35:18I think there's too many seagulls.
0:35:18 > 0:35:21Well, they mainly feed in the mornings.
0:35:21 > 0:35:23No different than the buzzards of Sedona.
0:35:28 > 0:35:32Garage 16, the Hopi Indian spirit cave.
0:35:35 > 0:35:38How am I supposed to get 30 Indians in there dancing round the fire?
0:35:42 > 0:35:45Well, we're gonna have to...
0:35:45 > 0:35:47you know, force them in.
0:35:53 > 0:35:54Steven?
0:35:56 > 0:35:59Steven!
0:35:59 > 0:36:03Joe, what are we gonna do? Most of the locations are shit!
0:36:03 > 0:36:06No cactus, no desert.
0:36:06 > 0:36:08You have to call the dentists.
0:36:08 > 0:36:10Maybe you could change the script just a little.
0:36:10 > 0:36:14Change the script? Change...? Joe!
0:36:14 > 0:36:16Joe, this script is...
0:36:16 > 0:36:19You can't just change the... A cactus is a cactus!
0:36:19 > 0:36:22I have an obligation to Charlotte.
0:36:22 > 0:36:24I don't have a cactus, I don't have any thorns!
0:36:24 > 0:36:29I don't have any thorns, no torn dress. No torn dress, no birthmark on the ass.
0:36:29 > 0:36:33No birthmark, no skinny-dipping with Rick and Charlotte on the mighty Colorado River!
0:36:33 > 0:36:35No skinny-dipping, no water snake!
0:36:35 > 0:36:37No water snake, no chlamydia scare!
0:36:37 > 0:36:40No chlamydia scare, no doctor...
0:36:42 > 0:36:45Well... let me take care of all that.
0:36:45 > 0:36:47I'm the producer, OK?
0:36:48 > 0:36:50I don't think I can make this work here.
0:36:52 > 0:36:54Hey, do me a favour.
0:36:54 > 0:36:57Come with me - I want to show you something.
0:36:57 > 0:36:59Come on.
0:37:09 > 0:37:11# Hey, everybody
0:37:11 > 0:37:13# Let's have some fun
0:37:13 > 0:37:15# You only live the once
0:37:15 > 0:37:17# And when you're dead you're done
0:37:17 > 0:37:20# So let the good times roll... #
0:37:20 > 0:37:23Mr Schats, welcome to the Providence Biltmore.
0:37:23 > 0:37:27This is your key to the Eisenhower suite.
0:37:27 > 0:37:29# I don't care if you're young or old
0:37:29 > 0:37:33# You oughtta get together and let the good times roll
0:37:35 > 0:37:37# Don't sit there mumbling... #
0:37:37 > 0:37:39This is your suite.
0:37:39 > 0:37:41# If you want to have a ball
0:37:41 > 0:37:44# You got to go out and spend some cash
0:37:44 > 0:37:46# And let the good times roll now
0:37:47 > 0:37:49# I'm talking about the good times... #
0:37:49 > 0:37:52Maybe it doesn't have to be cactus.
0:37:52 > 0:37:55# It makes no difference whether you're young or old
0:37:55 > 0:37:59# All you got to do is get together and let the good times roll... #
0:38:11 > 0:38:12Tommy, where you going?
0:38:12 > 0:38:17- Wally's. They're havin' a meeting. - With who?- Hollywood.
0:38:17 > 0:38:22Mr Kamin, Steven here is one of the most sought-after commercial directors in Hollywood.
0:38:22 > 0:38:26Last year, he was nominated for a Clio award in East Germany.
0:38:26 > 0:38:30- The commercial was for a new work boot called the Verspatten. - I assure you
0:38:30 > 0:38:33that the Teamsters will support your project 100%.
0:38:33 > 0:38:36We were hoping to do this picture non-union.
0:38:36 > 0:38:38You know -
0:38:38 > 0:38:41no Teamsters, no minimums.
0:38:41 > 0:38:43That gonna be a problem?
0:38:43 > 0:38:47Let me make this as clear as I possibly can.
0:38:47 > 0:38:52There is no way you are going to produce a film in my town without
0:38:52 > 0:38:57a full load of union trucks and union drivers surrounding your set.
0:38:57 > 0:39:01You try and make a movie here without our trucks
0:39:01 > 0:39:04and I'll shut you motherfuckers down before lunch.
0:39:12 > 0:39:14Excuse me.
0:39:14 > 0:39:16Can I help you with something?
0:39:18 > 0:39:20I hear you're having trouble with the Teamsters.
0:39:20 > 0:39:23I know somebody that can help.
0:39:33 > 0:39:35Look at this.
0:39:35 > 0:39:39They say American football don't compare to rugby.
0:39:39 > 0:39:42Last night a player was kicked out for shoving his index finger
0:39:42 > 0:39:45up another guy's ass at the bottom of the pile.
0:39:46 > 0:39:48Tommy, this is Joe Wells.
0:39:48 > 0:39:51- Movie producer.- A pleasure, Mr...
0:39:51 > 0:39:55You know what I hate, Mr Wells?
0:39:55 > 0:39:56Poor sportsmanship.
0:39:59 > 0:40:01I see you're looking at my face.
0:40:03 > 0:40:07My wife set me on fire, while I was sleeping.
0:40:10 > 0:40:13She doused me with lighter fluid, lit a match...
0:40:15 > 0:40:18Six months later our marriage fell apart.
0:40:20 > 0:40:21She's very beautiful.
0:40:24 > 0:40:26Thank you.
0:40:26 > 0:40:33I'd promised her Manhattan, Las Vegas, Chicago. But it wasn't happening for me.
0:40:34 > 0:40:38Thanks to her, the company sends me to Providence.
0:40:38 > 0:40:41Tommy, he brought the money.
0:40:41 > 0:40:45- All of it?- Eight thousand.
0:40:45 > 0:40:47We'd like you to take care of this thing, Mr Sanz.
0:40:47 > 0:40:50- We don't want any trouble with the union.- It's done.
0:40:50 > 0:40:52Congratulations.
0:40:52 > 0:40:56You just made a deal with the Teamsters.
0:40:56 > 0:40:57That's it?
0:40:57 > 0:40:59- Sanz took the bribe.- Let's move.
0:40:59 > 0:41:02Wait. Wait!
0:41:02 > 0:41:04Devine hasn't given a signal.
0:41:07 > 0:41:10Let me ask you something, Mr Wells.
0:41:11 > 0:41:15How hard is it to get into the movie business?
0:41:22 > 0:41:24- Hi, Steven.- Ha!
0:41:24 > 0:41:27Val! What are you doing here?
0:41:36 > 0:41:40- Why are you limping?- Charlotte was bitten by a water snake.
0:41:40 > 0:41:44I jammed a fork into my thigh to create a sense memory.
0:41:45 > 0:41:47Ohh...
0:41:49 > 0:41:53Oh, Steven, Steven!
0:41:53 > 0:41:55Tell me I'm gonna play Charlotte!
0:41:57 > 0:42:00Tell me I have the part.
0:42:00 > 0:42:03Tell me it was all worth it.
0:42:03 > 0:42:04Well, it's, er...
0:42:04 > 0:42:07That's complicated.
0:42:07 > 0:42:09I do have casting approval, though...
0:42:17 > 0:42:22We heard the tape. He took the bribe. That's racketeering - conspiracy to manipulate the union.
0:42:22 > 0:42:24You saw how easy this one was.
0:42:24 > 0:42:26We can go after bigger fish now.
0:42:26 > 0:42:29Joe, it took three dogs to find your finger in Houston.
0:42:29 > 0:42:34You know what you'll lose if you mess with the bigger fish in Rhode Island? It's over.
0:42:34 > 0:42:36Abe, just give me one more week here in Providence.
0:42:36 > 0:42:40- No!- Let me just cast the movie. That's all I'm asking.
0:42:41 > 0:42:44Yeah. Cast the movie.
0:42:44 > 0:42:46You said there was no movie.
0:42:46 > 0:42:53- Tommy Sanz is already on the line. We can reel him in. Let's see who else we can hook.- Cast the movie?
0:42:53 > 0:42:56You mean really cast it or pretend to cast it?
0:42:58 > 0:43:00Steven, this is Monica Montebello.
0:43:00 > 0:43:04She'll be reading the role of Charlotte's oncologist, Dr Gayle Reeves.
0:43:04 > 0:43:06Hi. How are you?
0:43:06 > 0:43:10- Thank you.- I need a moment, please.
0:43:10 > 0:43:12Should I get the stethoscope?
0:43:12 > 0:43:14D'you think she should audition with the stethoscope?
0:43:22 > 0:43:23Oh, look at the shot I'm getting.
0:43:23 > 0:43:27- What are you doing? You're shooting her tits!- What choice do I have?
0:43:31 > 0:43:34You think it would be OK if I ask Joe if I can shoot the movie?
0:43:34 > 0:43:36What are you talking about?
0:43:36 > 0:43:38I want to be the cinematographer.
0:43:55 > 0:43:57Steven! Steven!
0:43:57 > 0:43:59Emily French is here!
0:43:59 > 0:44:02She just drove up in a limo. She wants to read for Charlotte.
0:44:02 > 0:44:03Emily French?
0:44:03 > 0:44:07She's been nominated! She must think this is a big movie!
0:44:07 > 0:44:09Maybe it is a big movie.
0:44:09 > 0:44:11Emily French! She's fantastic!
0:44:11 > 0:44:13She was nominated.
0:44:13 > 0:44:16What's the name of that movie she was in?
0:44:16 > 0:44:18Um, she's a blackjack dealer.
0:44:18 > 0:44:19I don't think I saw it.
0:44:19 > 0:44:21- I didn't see it either.- You saw it!
0:44:21 > 0:44:24Um...Eric Roberts does her on the pool table.
0:44:24 > 0:44:27- She's got silver-dollar nipples. - Oh, yeah. I saw that on Cinemax.
0:44:27 > 0:44:29Man, she's good! I remember that one.
0:44:29 > 0:44:32Yeah, what was the name of that thing?
0:44:52 > 0:44:54Emily.
0:44:54 > 0:44:56Emily French.
0:44:56 > 0:44:58- Hi, I'm...- Don't look at me.
0:44:58 > 0:45:01I just had a facial and my skin looks disgusting.
0:45:01 > 0:45:04- No, it looks great.- Really great.
0:45:04 > 0:45:06- Really great.- I'm sorry I just turned up like this,
0:45:06 > 0:45:11but I got hold of the script and decided to fight the good fight for this one.
0:45:11 > 0:45:12Do you mind if I do the suicide scene?
0:45:15 > 0:45:16OK.
0:45:19 > 0:45:21I might use this chair...
0:45:23 > 0:45:24..as my spirit cave.
0:45:27 > 0:45:30It's really good, actually.
0:45:30 > 0:45:32- Could you get me a water? - Yeah, sure. Absolutely.
0:45:32 > 0:45:36- And would you mind getting the lights?- Yes, ma'am.
0:45:36 > 0:45:39Women in Hollywood, they are beautiful.
0:45:40 > 0:45:43You should see the women in the navy.
0:45:43 > 0:45:46- The navy?- They're nice.
0:45:51 > 0:45:53Would you switch, actually?
0:45:59 > 0:46:01Yeah.
0:46:18 > 0:46:20I can't even write my own name.
0:46:28 > 0:46:31I guess this means it's almost over.
0:46:34 > 0:46:36I can't...
0:46:36 > 0:46:40keep my hand on the page.
0:46:41 > 0:46:43Where were you when I needed you?
0:46:45 > 0:46:47# Do you know
0:46:47 > 0:46:51# Where you're going to?
0:46:51 > 0:46:54# Do you like the things
0:46:54 > 0:46:57# That life is showing you? #
0:47:06 > 0:47:08In a moment I'm gonna die.
0:47:11 > 0:47:13I wish I could live to see that.
0:47:24 > 0:47:26She's a very good actress.
0:47:28 > 0:47:30After my nomination, I just...
0:47:30 > 0:47:33freaked out. Turned everything down that they sent.
0:47:33 > 0:47:38Then I had a late-term abortion, went into deep depression, got really into coke,
0:47:38 > 0:47:42moved to Florida for a year and made a bunch of B-movies for my Euro trash boyfriend,
0:47:42 > 0:47:46who wrote and directed and made sure I got my tits out in every other scene.
0:47:46 > 0:47:49The truth is, I was blackballed in Hollywood
0:47:49 > 0:47:52because the great Jed Walker claimed the baby was his.
0:47:52 > 0:47:57that I had murdered his baby in the fifth month, which, if you had seen it, it clearly was not.
0:47:57 > 0:48:04But Hollywood wasn't calling, so my assistant and I checked ourselves into rehab in New Mexico
0:48:04 > 0:48:08and started working with clay, building miniature adobe structures.
0:48:08 > 0:48:12I've still got a condo there, but I've decided to start acting again,
0:48:12 > 0:48:16that's why I was in New York doing that horrible play in the buff.
0:48:18 > 0:48:22Steven, when my African-American agent sent me a copy of Arizona...
0:48:28 > 0:48:30..I cried all night...
0:48:32 > 0:48:34..because I was born to play Charlotte.
0:48:37 > 0:48:39I tried to kill myself...
0:48:40 > 0:48:43..twice.
0:48:43 > 0:48:46Once in the bathtub and...
0:48:46 > 0:48:48once in Switzerland.
0:48:49 > 0:48:54Miss French, we're prepared to offer you the role of Charlotte right here and now.
0:48:57 > 0:48:59- But Valerie... - Could I have your autograph?
0:48:59 > 0:49:01Joe, I have casting approval.
0:49:01 > 0:49:03- It's in my contract. - What the fuck is your name?
0:49:03 > 0:49:07We have a chance to do something that could change our lives.
0:49:07 > 0:49:10For the first time, I've seen the movie in my mind, I feel it in my gut.
0:49:10 > 0:49:13As your producer, I'm asking you not to mess this up.
0:49:13 > 0:49:17- There you go. Why don't you go and ruin somebody else's dinner?- OK.- OK.
0:49:19 > 0:49:21We have a limited budget.
0:49:21 > 0:49:22Are you kidding?
0:49:24 > 0:49:27I don't need the money. I'll be your slave.
0:49:27 > 0:49:28I'll wash your shorts.
0:49:28 > 0:49:31I'll clip your toenails. Give me that glass.
0:49:31 > 0:49:35I have not failed a drug test in six months. Thank you.
0:49:41 > 0:49:43Miss French, what are you doing?
0:49:45 > 0:49:47Peeing in a cup.
0:50:00 > 0:50:03There you go.
0:50:03 > 0:50:05I'll pee in a cup every day. Twice a day.
0:50:05 > 0:50:09The fucking insurance people can have all the hot, steaming piss they want.
0:50:10 > 0:50:13So, tell me about yourselves.
0:50:16 > 0:50:21I want to go into business with you, Joe, start producing movies all over the country.
0:50:21 > 0:50:25I got contacts - Philadelphia, Jersey, Chicago, New York.
0:50:25 > 0:50:30I middle the deals with the Teamsters, you produce the movies. A 50/50 partnership.
0:50:30 > 0:50:33These are movies we're talking about. There is risk.
0:50:33 > 0:50:36You can't put guns to people's heads and make 'em go to the movies.
0:50:36 > 0:50:39If you say so. Anyway, that's why it's your job to make good movies.
0:50:39 > 0:50:44- Do you think you could do that? - I'm a producer. That's what I do. - Good, this is what I'll do.
0:50:57 > 0:51:01Are you insane? It's in Variety, Joe. There's an article in Variety.
0:51:01 > 0:51:05That was planted by Emily French's publicist. It's exactly what we needed.
0:51:05 > 0:51:10We can't have articles about famous actresses starring in our undercover operation.
0:51:10 > 0:51:13We're not even supposed to tell our wives about these things.
0:51:13 > 0:51:15Sanz is a partner, so they're all partners.
0:51:15 > 0:51:18I'm telling you, we've gotta make this movie now.
0:51:18 > 0:51:21I can produce Arizona for 1 million,
0:51:21 > 0:51:24sell off the foreign and video rights for twice that much,
0:51:24 > 0:51:28presell network and cable because of Emily French.
0:51:28 > 0:51:32And if this movie turns out the way that I know it will, I believe we can get
0:51:32 > 0:51:36an American distribution deal, which could mean millions more.
0:51:36 > 0:51:39You guys have got to trust me.
0:51:39 > 0:51:42Two years from now, the heads of the Rhode Island family
0:51:42 > 0:51:46will be in federal prison watching the movie that put them away on HBO.
0:51:50 > 0:51:53Abe, we'd better read the script.
0:51:53 > 0:51:57- Don't hurt him! He's my baby! - Val, put the dog down. - What do you think, Steven?
0:51:57 > 0:52:02You can just send me away? Just send me back to the Valley? No, Charlotte was mine.
0:52:02 > 0:52:04Val, it's Emily French.
0:52:04 > 0:52:06I was supposed to be Charlotte.
0:52:06 > 0:52:11She's had breast-reduction surgery. She understands the mind-set of mastectomy.
0:52:11 > 0:52:15I'm going home, Steven, to do porno. I'm going home to the Valley.
0:52:15 > 0:52:19- Please...- I'm gonna go home, Steven. I'm serious.
0:52:19 > 0:52:22Because of you, I'm gonna get gangbanged, Steven.
0:52:22 > 0:52:24Gangbanged in Woodland Hills.
0:52:24 > 0:52:27A lot of great actresses started out in porn.
0:52:27 > 0:52:28DOG WHINES
0:52:28 > 0:52:30I'm gonna break this dog's neck.
0:52:30 > 0:52:35Don't! Listen, what if you played Dr Gayle Reeves?
0:52:38 > 0:52:41The oncologist?
0:52:54 > 0:52:57I can't believe it.
0:52:57 > 0:53:00I'm the richest man in town. You know why? Because I have friends.
0:53:00 > 0:53:02Let's make a movie. Let's do it. Yeah!
0:53:04 > 0:53:08The following screenplay is the property of the United States Government.
0:53:08 > 0:53:10Fade in Arizona day.
0:53:10 > 0:53:12A wide shot across the desert floor.
0:53:12 > 0:53:15Charlotte is an angel walking across the water.
0:53:18 > 0:53:20I'm leaning toward this one with the white nose.
0:53:20 > 0:53:23- Looks like he might be named Thunder.- His name's Frosty.
0:53:23 > 0:53:25What if we called him Thunder?
0:53:25 > 0:53:28That's his name in the script. Would he still trot for us?
0:53:28 > 0:53:32He's a donkey. He trots when you hit him with a stick.
0:53:32 > 0:53:34Jesus! Look at the cock on this one, Steven.
0:53:38 > 0:53:40I want riding lessons immediately.
0:53:40 > 0:53:45- We're in The Hollywood Reporter. Both our names are mentioned.- Steven,
0:53:45 > 0:53:48you just got a telegram from Pat Morita.
0:53:51 > 0:53:55He's read half the script, and he thinks he wants to play the part of Rick.
0:53:55 > 0:53:57I'm calling his agents.
0:53:57 > 0:54:01This is perfect. I've always pictured Rick as a middle-aged Asian.
0:54:01 > 0:54:05With Morita, we can have anybody we want for Old Man Larreby and Chief Black Bear.
0:54:05 > 0:54:11Joe, I want soaring music over the reptile house montage. We should go after Randy Newman for the score.
0:54:11 > 0:54:12Who's Randy Newman?
0:54:13 > 0:54:15He wrote the score to The Natural.
0:54:15 > 0:54:17Randy Newman. "I Love LA"?
0:54:17 > 0:54:19"Short People"?
0:54:19 > 0:54:22# Short people got
0:54:22 > 0:54:23# No reason
0:54:23 > 0:54:27# Short people got no reason
0:54:27 > 0:54:32# Short people got no reason to live
0:54:32 > 0:54:35# They got little hands
0:54:35 > 0:54:36# Little feet
0:54:36 > 0:54:39# They drive little cars that go beep, beep, beep
0:54:39 > 0:54:42# Well, I don't want no short people
0:54:42 > 0:54:46# Don't want no short people round here... #
0:54:46 > 0:54:49What the fuck's wrong with Joe?
0:54:52 > 0:54:55Abe, why don't we start with our general comments?
0:54:55 > 0:55:00While we love the emotional journey that Charlotte takes in this script,
0:55:00 > 0:55:05we feel there are things that could make this story more accessible to a general audience.
0:55:05 > 0:55:07Number one.
0:55:07 > 0:55:09A high-speed motorcycle chase.
0:55:09 > 0:55:13I really think we need to discuss the burro first.
0:55:13 > 0:55:15Right.
0:55:15 > 0:55:18The burro is a big problem in Washington.
0:55:18 > 0:55:19Well, I've already booked the burro.
0:55:19 > 0:55:23As we read it, Charlotte frees the old burro at the bottom of the Grand Canyon.
0:55:23 > 0:55:26She knows she's dying, so she frees the burro.
0:55:26 > 0:55:29If she liberates the burro back into the wild, he's gonna die.
0:55:29 > 0:55:33Guys, Steven loves the burro.
0:55:33 > 0:55:35Joe, we suggest she free some other type of animal.
0:55:35 > 0:55:37Maybe a large bird.
0:55:37 > 0:55:41She could come across an injured bird on the side of the road.
0:55:41 > 0:55:44Maybe an eagle. She could mend its wing and then set it free.
0:55:44 > 0:55:48The bald eagle's an emotional symbol in this country, and they're endangered.
0:55:48 > 0:55:54She's on foot, so why is she walking around carrying a large eagle?
0:55:56 > 0:55:59If she had a motorcycle she wouldn't be on foot.
0:55:59 > 0:56:04I heard you're cutting the burro scene. Why wasn't I called?
0:56:04 > 0:56:07- We didn't think it would matter to you.- Not matter to me?
0:56:07 > 0:56:10You didn't think it would matter to me?!
0:56:10 > 0:56:14I'm the executive producer of this film. I have business cards printed.
0:56:14 > 0:56:17- It fuckin' matters!- Tommy,
0:56:17 > 0:56:21the dentists in Boston believe that the old burro would die in the wild.
0:56:21 > 0:56:23That old burro's gonna die anyway.
0:56:23 > 0:56:25It's tired and sickly.
0:56:27 > 0:56:32You tell the dentists that Charlotte is giving it some fuckin' dignity.
0:56:32 > 0:56:36We're leaning toward another animal now.
0:56:37 > 0:56:39Like a horse?
0:56:41 > 0:56:43Eagle.
0:56:44 > 0:56:46Yeah. That'll work.
0:56:46 > 0:56:50She's gonna ride an eagle down to the floor of the Grand Canyon.
0:56:50 > 0:56:52Is this a fuckin' Disney movie?
0:56:52 > 0:56:55No, no. She's gonna find it by the side of the road.
0:56:55 > 0:56:57It's gonna have a broken wing.
0:56:59 > 0:57:02Who the fuck broke it?
0:57:02 > 0:57:04- PHONE RINGS - Production. Can you hold, please?
0:57:04 > 0:57:08No, Mr Schats is in a meeting. All right. I'll transfer you.
0:57:08 > 0:57:12No, Mr Schats is in Wardrobe. He can't come to the phone.
0:57:12 > 0:57:14Ta-da! Look at this.
0:57:14 > 0:57:18That's it, Emily. That's the suicide dress. This will be the last image of Charlotte
0:57:18 > 0:57:23- as she jumps from the cave. - I wanted to talk to you guys about that.- About what?
0:57:23 > 0:57:26The end of the picture, the dreaded third act.
0:57:26 > 0:57:30- I know what you're gonna say. We don't need the cremation montage. It's redundant.- No,
0:57:30 > 0:57:34I'm talking about Charlotte's death. It seems pointless to kill her off like that.
0:57:34 > 0:57:36What if she lived?
0:57:38 > 0:57:40Lived? Lived? Oh, no, that's impossible.
0:57:40 > 0:57:43This movie is a runaway train heading towards Charlotte's death.
0:57:43 > 0:57:46I've always felt that dying inspired her to live,
0:57:46 > 0:57:50which is why she tries sushi for the first time in Flagstaff.
0:57:50 > 0:57:53Yeah. Yeah, yeah, yeah, OK. OK, yeah, I get it.
0:57:53 > 0:57:58Yeah, it was just a thought. I won't bring it up again.
0:57:58 > 0:58:00I am so starving.
0:58:00 > 0:58:02Anybody want to get a pizza?
0:58:12 > 0:58:15Hey. You coming downstairs? Emily's waiting at the bar.
0:58:18 > 0:58:21I stole all the little shampoos.
0:58:21 > 0:58:23Little conditioner, little soaps.
0:58:23 > 0:58:25Even the shower cap.
0:58:25 > 0:58:28I stole them from the hotel, put them inside my suitcase.
0:58:28 > 0:58:30What are you talking about?
0:58:31 > 0:58:33Two years ago,
0:58:33 > 0:58:35I rented a chicken suit.
0:58:35 > 0:58:40I stood outside the William Morris Agency and tried to hand out copies of my script.
0:58:40 > 0:58:42They sent two boys from the mailroom to beat me up.
0:58:42 > 0:58:47- Well, hey, all that's behind you now. - What if you're wrong?
0:58:47 > 0:58:52What if I've waited all this time and I can't do it?
0:58:55 > 0:58:57Have you ever seen a man die?
0:58:58 > 0:59:01I'm not sure I understand the question.
0:59:01 > 0:59:06Have you actually seen a person die, watched them bleed to death, seen them take their last breath?
0:59:06 > 0:59:07I've seen that...
0:59:07 > 0:59:09many times.
0:59:10 > 0:59:12Why have you seen that?
0:59:14 > 0:59:16I used to produce music videos.
0:59:16 > 0:59:21And when people are close to death, when they're lying on the floor staring up at those lights,
0:59:21 > 0:59:24they all have the same expressions on their faces.
0:59:24 > 0:59:28No matter who they are, people are basically afraid of the unknown.
0:59:29 > 0:59:32But you don't have to be afraid.
0:59:32 > 0:59:35You can put the shampoo bottles and soaps back in the bathroom,
0:59:35 > 0:59:38because you're gonna make a great movie.
0:59:38 > 0:59:40WE are gonna make a great movie.
0:59:43 > 0:59:44Yeah.
0:59:45 > 0:59:47Yeah.
0:59:47 > 0:59:52Hey, Joe? I put a little start-up gift in your room.
0:59:52 > 0:59:54Just something to say thank you.
0:59:54 > 0:59:58- I didn't get you anything. - Didn't get me anything?
0:59:58 > 1:00:00You got me to Providence.
1:00:04 > 1:00:07Get some rest.
1:00:33 > 1:00:35DOOR SLAMS
1:00:37 > 1:00:44Joe, the Federal Bureau of Investigation is prepared to offer you a three-picture deal.
1:00:44 > 1:00:46You are kidding me!
1:00:46 > 1:00:51We'd like to start production on movies in Philadelphia, New Jersey and New York City.
1:00:51 > 1:00:53Any questions?
1:00:53 > 1:00:55I want merchandising.
1:00:57 > 1:00:59What's merchandising?
1:00:59 > 1:01:00Toys.
1:01:02 > 1:01:05Go fuck yourself.
1:01:06 > 1:01:10Here is the key to the city of Providence. Arizona of the East.
1:01:10 > 1:01:13The good people of Providence have one thing to say -
1:01:13 > 1:01:15break a leg.
1:01:16 > 1:01:18Hello, everybody.
1:01:18 > 1:01:20I'm Steven Schats, director.
1:01:20 > 1:01:22This is Joe Wells, our producer.
1:01:22 > 1:01:27I'd like to just welcome everybody to the cast and crew read-through, the first one of Arizona.
1:01:31 > 1:01:34We start shooting in three days. Before we begin,
1:01:34 > 1:01:38I'd like to go around the table and have everyone introduce yourself.
1:01:38 > 1:01:39Oh...
1:01:39 > 1:01:43Pat Morita, playing Rick. APPLAUSE
1:01:45 > 1:01:49Hey, what about this? Do we want to see the cancer leave her body?
1:01:49 > 1:01:51That could work.
1:01:51 > 1:01:54That could work. That could work.
1:01:54 > 1:01:56How would we do that?
1:02:02 > 1:02:05Emily French, Charlotte.
1:02:07 > 1:02:09Clarence Smith, cinematographer.
1:02:11 > 1:02:16What if he said, "Put you in remission"?
1:02:16 > 1:02:20- I like it. - Russell Means, Chief Black Bear.
1:02:20 > 1:02:23It's actually not Chief Black Bear any more. That didn't clear.
1:02:23 > 1:02:25You have to be Chief Black Hawk.
1:02:25 > 1:02:28Oh, shit. Hope I can handle that.
1:02:32 > 1:02:36Valerie Weston - Dr Gayle Reeves, oncologist.
1:02:39 > 1:02:40Lonnie.
1:02:40 > 1:02:42This is my agent, Lonnie.
1:02:43 > 1:02:46I guess the trip must have tired him out.
1:02:46 > 1:02:47Lonnie.
1:02:50 > 1:02:52Lonnie!
1:02:52 > 1:02:58I'll be dedicating this film to my late agent and dear friend, Lonnie Bosco.
1:02:58 > 1:03:03I wrote a short poem for Lonnie entitled "Your Arm's Too Short to Box with Moses."
1:03:15 > 1:03:17Mr Wells.
1:03:21 > 1:03:22I've got some good news.
1:03:22 > 1:03:27There's someone flying in from New York tomorrow for the first day of shootin'.
1:03:27 > 1:03:30Someone very important to me.
1:03:30 > 1:03:33This person is head of my family, Joe,
1:03:33 > 1:03:36- and he wants to get into the business. - He's talking about John Gotti.
1:03:36 > 1:03:39I want everyone to stay on their toes.
1:03:39 > 1:03:43- Gotti's coming to Providence. - Make a good impression. OK, Joe?
1:03:43 > 1:03:45So don't fuck it up.
1:03:48 > 1:03:53# You got to pick 'em up just to say hello
1:03:53 > 1:03:57# Well, I don't want no short people now... #
1:03:57 > 1:03:58Ah!
1:03:58 > 1:04:00Remission?
1:04:00 > 1:04:02You put her in remission?
1:04:02 > 1:04:06- Marshal.- You thought you could just take it, didn't you? You thought I'd never find out.
1:04:06 > 1:04:09Is that your gun from the show?
1:04:09 > 1:04:12Even prop guns fired at close range can damage an eardrum.
1:04:12 > 1:04:15- You wanna be deaf? - What do you want, Marshal?
1:04:15 > 1:04:18I want what you promised me!
1:04:18 > 1:04:21I want to walk up the red carpet.
1:04:21 > 1:04:23I want my name on a poster.
1:04:23 > 1:04:27I wanna be invited back to my high school to speak at career day.
1:04:28 > 1:04:32You want a drink? Come on, Marshal.
1:04:32 > 1:04:35Why did Dad have to look like Lorne Greene?
1:04:35 > 1:04:37Why did he have to be the star?
1:04:37 > 1:04:39Take it easy, Marshal.
1:04:39 > 1:04:41He means well.
1:04:41 > 1:04:45He shoots me three times a day in the centre of town.
1:04:45 > 1:04:48My own father guns me down like an animal.
1:04:48 > 1:04:51Well, then walk away. Marshal, you're a great writer.
1:04:51 > 1:04:53Bullshit. I'm a fake.
1:04:55 > 1:04:57And so are you.
1:04:57 > 1:05:01And I'm not gonna let you get away with it.
1:05:01 > 1:05:03What are you talking about?
1:05:03 > 1:05:06I'm talking about...Charlotte.
1:05:06 > 1:05:09Marshal, I'm warning you. I'm warning you.
1:05:09 > 1:05:11We have a sister named Charlotte.
1:05:11 > 1:05:14We have a sister. Say it. We have a sister named Charlotte.
1:05:14 > 1:05:17- No.- Say it!
1:05:17 > 1:05:20We made it all up. We never had a sister, Steven.
1:05:20 > 1:05:26There is no Charlotte. We took the name from Charlotte's Web, Mom's favourite book.
1:05:26 > 1:05:28We had a sister. We had a sister, you...
1:05:28 > 1:05:30We did not have a fucking...
1:05:30 > 1:05:31- Bitch!- Sister.
1:05:31 > 1:05:34- We did! - We didn't have a fucking sister.
1:05:34 > 1:05:37She ate peyote with the Hopi Indians.
1:05:37 > 1:05:40My entire crew is wearing black armbands in memory of her.
1:05:40 > 1:05:45Why couldn't you just throw the script away, like everyone else?
1:05:45 > 1:05:48This is my big chance, Marshal.
1:05:48 > 1:05:50If Wells finds out... If the dentists find out the truth...
1:05:50 > 1:05:53If you ruin this for me, I swear to God...
1:05:53 > 1:05:55You can't win, Steven.
1:05:55 > 1:05:57They will crucify you.
1:05:57 > 1:06:01The Providence Cancer Society had a dinner honouring me tonight.
1:06:01 > 1:06:04They flew in Fred Willard to MC.
1:06:04 > 1:06:08They had a scholarship named after her for summer camp.
1:06:08 > 1:06:10Don't you get it? They love Charlotte.
1:06:10 > 1:06:14They need her. The fact that we made it up...
1:06:14 > 1:06:16it means nothing.
1:06:16 > 1:06:18You'll never get away with it, Steven.
1:06:18 > 1:06:20You can't fool Hollywood.
1:06:20 > 1:06:23They can smell a fake a mile away.
1:06:25 > 1:06:27I'm not a fake.
1:06:41 > 1:06:43I'm a director.
1:07:16 > 1:07:19One in a million, huh?
1:07:19 > 1:07:21One in a million.
1:08:24 > 1:08:27The director is on set. Repeat, the director is on set.
1:08:35 > 1:08:37Half-hour, Miss French.
1:08:44 > 1:08:45Anyone bring film?
1:09:10 > 1:09:12Very quiet, please.
1:09:12 > 1:09:15Director on set.
1:09:23 > 1:09:26They grab Ugarte, then she walks in.
1:09:26 > 1:09:27Well, that's the way it goes.
1:09:27 > 1:09:30One in, one out.
1:09:30 > 1:09:33I'm gonna ask Joe to work on his next movie. Props.
1:09:33 > 1:09:36I'm not carrying anybody's chairs.
1:09:36 > 1:09:40Who cares what we do as long as we get the fuck out of this van?
1:09:52 > 1:09:55The lion has landed. The circus has come to town.
1:10:04 > 1:10:07He passed Checkpoint Bravo.
1:10:07 > 1:10:11All right, ten minutes to showtime.
1:10:19 > 1:10:24- Ten-minute warning, people! We've got ten minutes!- The tarantula should break for lunch.
1:10:32 > 1:10:34- Hello, Joe.- Jack.
1:10:34 > 1:10:35We need to talk.
1:10:39 > 1:10:43- We should not be doing this, Mrs Traviano.- Tommy, we're late.
1:10:43 > 1:10:46- I just wanna see this part.- As your lawyer, I want to advise you...
1:10:46 > 1:10:49You're not my lawyer, Mr Vaughn.
1:10:49 > 1:10:51You're a paralegal.
1:10:51 > 1:10:55This Emily French - she's a revelation.
1:10:55 > 1:11:00FBI! Stop right there. Get down on your knees. Get down!
1:11:00 > 1:11:02To the ground right now! Hands behind your back.
1:11:04 > 1:11:06Oh! Oh!
1:11:06 > 1:11:10SHE CONTINUES PANTING
1:11:14 > 1:11:17What are you doing here? Gotti's gonna be here any minute.
1:11:17 > 1:11:24I've got some very good news for you. We arrested Gotti this morning at the Ravenite Club in New Jersey.
1:11:24 > 1:11:30- I don't understand.- We had a bug up his ass, got him on tape talking about the Castellano hit.
1:11:30 > 1:11:33- He's gonna be goin' away for a very long time.- No, no.
1:11:33 > 1:11:35You're wrong. Gotti's in Providence.
1:11:35 > 1:11:37He's coming here.
1:11:37 > 1:11:41The man who is coming here today is Victor Sanz.
1:11:41 > 1:11:46He's Tommy Sanz's 87-year-old father. We arrested Sanz a few minutes ago at his house.
1:11:46 > 1:11:50If the play is in New Jersey, why five cover teams here in Providence?
1:11:50 > 1:11:53Because I've been using Operation Dramex as a decoy.
1:11:55 > 1:11:59- Decoy?- Nobody knew, Joseph, not even the other agents.
1:12:00 > 1:12:02Joseph.
1:12:02 > 1:12:08Joseph, don't be mad about this. I was trying to nail John Gotti. You helped me do that.
1:12:11 > 1:12:13What about the movie?
1:12:13 > 1:12:20We're the FBI. We don't make movies. I want you to go down there and shut it down.
1:12:20 > 1:12:23We're about to shoot the first scene, the very first shot.
1:12:23 > 1:12:27Right now. Shut it down and get these freaks on the next plane to LA.
1:12:27 > 1:12:30We can make movies everywhere and nail the rest of these bosses.
1:12:30 > 1:12:34- Shut it down!- I can't do that. - Shut it down or I'll do it myself.
1:12:37 > 1:12:39You're fucking yourself. This is Jack Devine.
1:12:39 > 1:12:43We're not gonna pull the plug. Listen to me. Just listen to me.
1:12:43 > 1:12:45- What are you doing? - We're gonna get the first shot,
1:12:45 > 1:12:48it's gonna be a beautiful shot, just wait and see.
1:12:48 > 1:12:53- Put that gun down!- Wide angle across the desert floor. Nothing can be seen for miles. We pan left.
1:12:53 > 1:12:57Suddenly, an image appears, a mirage limping toward us in the distance.
1:12:57 > 1:13:02Charlotte is an angel walking across the water, except the water is sand and the angel is dying.
1:13:02 > 1:13:05- She's dying?- Yes. - She's limping across?
1:13:05 > 1:13:06It's Charlotte!
1:13:11 > 1:13:13She's walking... The angel's dying...
1:13:13 > 1:13:17Oh, Joseph, you've always wanted this so bad, haven't you?
1:13:17 > 1:13:22You want it so bad, and now you just fucked it all up.
1:13:22 > 1:13:25Stop it. Put the gun down.
1:13:25 > 1:13:29- Put it down.- Steven is gonna make a beautiful film. We can do this...
1:13:29 > 1:13:32I don't give a fuck about Steven and his movie.
1:13:32 > 1:13:35I'm shutting this down.
1:13:38 > 1:13:40Miss French is leaving make-up now.
1:13:40 > 1:13:43SHE CHANTS
1:13:51 > 1:13:55- Roll it. - Quiet, people. We're rolling. - Arizona, scene one, take one.
1:13:59 > 1:14:02Arizona, scene one, take one.
1:14:07 > 1:14:10And...action.
1:14:17 > 1:14:21It's over, Snake Eyes. Drop the gold.
1:14:21 > 1:14:24We don't need no more killin' here.
1:14:24 > 1:14:28This got nothin' to do with your boys, Cartwright.
1:14:31 > 1:14:33Let's just finish this,
1:14:33 > 1:14:35you and me.
1:14:42 > 1:14:44GUNSHOT
1:14:51 > 1:14:53What are you doing?
1:14:53 > 1:14:56Marshal! You're dead!
1:14:58 > 1:14:59Marshal.
1:14:59 > 1:15:01Marshal.
1:15:10 > 1:15:12This is Director Devine.
1:15:12 > 1:15:15This is Director Devine. Shut it down.
1:15:15 > 1:15:16Shut it down.
1:15:17 > 1:15:20Cut! Cut. That was great, Emily.
1:15:20 > 1:15:22We'll go again. Great. Great job.
1:15:22 > 1:15:26That's great. Going again.
1:15:35 > 1:15:38Oh, my God! Steven, what the fuck?
1:15:39 > 1:15:41Joe!
1:15:46 > 1:15:50Oh, my God! It's the fucking paparazzi!
1:15:53 > 1:15:56You people just leave me alone! I'm just a normal person!
1:15:56 > 1:16:01SIRENS WAIL Joe, what's happening? Who are they?
1:16:02 > 1:16:04- Dentists.- What?
1:16:04 > 1:16:07Joe!
1:16:07 > 1:16:09Joe, don't leave.
1:16:10 > 1:16:14Tell them it's OK. Tell them. You're a producer.
1:16:46 > 1:16:52The star, producer and director of Leaving Arizona has just pulled to the front of the theatre.
1:16:52 > 1:16:59It's an amazing directorial debut from a tremendous talent who was the toast of Sundance this year.
1:16:59 > 1:17:02Here she is. Emily French.
1:17:02 > 1:17:07Leaving Arizona is the story of the making of another movie, Arizona,
1:17:07 > 1:17:11which was, in fact, an elaborate FBI sting operation.
1:17:11 > 1:17:14So, Emily, how does it feel?
1:17:14 > 1:17:16Oh, this film was such a labour of love for me,
1:17:16 > 1:17:21and it was a very difficult journey I took, a journey that almost got me killed by FBI agents and gangsters.
1:17:21 > 1:17:26But I knew as soon as I read this script that it would make a fantastic film.
1:17:26 > 1:17:28Good night!
1:17:43 > 1:17:44Thank you.
1:17:44 > 1:17:46Enjoy the show.
1:17:46 > 1:17:47Thank you. Enjoy the show.
1:18:02 > 1:18:04Hope you enjoyed the show.
1:18:05 > 1:18:09- Good night, Mr Schats. - Good night, Dustin. Take care.
1:18:09 > 1:18:10All right.
1:18:19 > 1:18:20Hello, Steven.
1:18:23 > 1:18:25My wife didn't drown in a Jacuzzi.
1:18:25 > 1:18:29Sasha was my dog's name, and she killed herself because I was never home.
1:18:29 > 1:18:32My real name is Joe Devine.
1:18:32 > 1:18:35Yeah, I know who you are, I saw the movie.
1:18:35 > 1:18:38And, by the way, I thought Tom Berenger captured you beautifully.
1:18:38 > 1:18:43They made my character afraid of heights. I could never understand that.
1:18:43 > 1:18:47Well, here's something I don't understand, Agent Devine.
1:18:47 > 1:18:48Why me? Why'd it have to be me?
1:18:48 > 1:18:54- I'm sorry.- Millions of people, and the United States government takes down Steven Schats.
1:18:54 > 1:18:57Well, why? I'd like to know why.
1:18:58 > 1:19:01Because you had no choice but to believe me.
1:19:02 > 1:19:05Go to hell, Joe.
1:19:05 > 1:19:08I'd like to try to pay you back some of that money.
1:19:08 > 1:19:10Please, stop lying to me.
1:19:10 > 1:19:12Well, hey, wait a minute. What about your lies?
1:19:12 > 1:19:16- What about Charlotte?- Yeah, that's right. Charlotte was a lie.
1:19:16 > 1:19:19And I'm no director, and you're not a producer.
1:19:19 > 1:19:24But we almost pulled it off, didn't we? We almost made it happen. We almost had it all.
1:19:25 > 1:19:27That stuff only happens in the movies.
1:19:29 > 1:19:31Yeah, I know that.
1:19:31 > 1:19:33Do you mind? I'm trying to close up.
1:19:35 > 1:19:37I got something for you.
1:19:37 > 1:19:41I spent my last day as an FBI agent stealing this from the evidence room in Washington.
1:19:43 > 1:19:45It's yours.
1:19:45 > 1:19:47I'll see you around, Steven.
1:19:47 > 1:19:51You're not gonna believe this, but I'm working on a script.
1:19:59 > 1:20:01What's the script about?
1:20:04 > 1:20:09About two FBI agents, one good, one bad, chasing down a million dollars of lost drug money
1:20:09 > 1:20:13in Los Angeles during the 1984 Olympics, and here's the catch.
1:20:13 > 1:20:15They're both Mormon.
1:20:15 > 1:20:18Well, that's not such a bad idea.
1:20:18 > 1:20:23- Well, it needs work. Having some trouble with the second act.- Yeah.
1:20:23 > 1:20:25Second acts are tough.
1:20:27 > 1:20:29I could use a director.
1:20:31 > 1:20:34Hey, Joe...
1:20:34 > 1:20:35wanna watch this together?
1:20:44 > 1:20:48OK, Sam. Roll it, please.
1:21:01 > 1:21:04Arizona, scene one, take one.
1:21:05 > 1:21:07And... action.
1:21:41 > 1:21:43Live!
1:21:43 > 1:21:45I want to live!
1:21:56 > 1:21:57Oh, my God!
1:22:00 > 1:22:01An American eagle?
1:22:04 > 1:22:08MOTORCYCLE ENGINE REVS UP
1:22:23 > 1:22:25That looked pretty good.
1:22:27 > 1:22:31- Yeah. I liked the pan. - It seemed to work.
1:22:33 > 1:22:35Wanna watch it again?
1:22:38 > 1:22:40Would you play it again, Sam?
1:22:46 > 1:22:48So, what's your movie called?
1:22:48 > 1:22:50I don't have a title.
1:22:50 > 1:22:54It's set in LA, so I thought it should be Hollywood something.
1:22:54 > 1:22:56Hollywood Heat?
1:22:56 > 1:22:58Hollywood Cash?
1:22:58 > 1:23:01Hollywood Gold. Hollywood Chase.
1:23:01 > 1:23:04- Hollywood and Crime. - Hey, that's pretty good.
1:23:43 > 1:23:45DOG BARKS
1:23:45 > 1:23:47OTHER DOGS JOIN IN
1:23:51 > 1:23:54What time is your audition?
1:23:54 > 1:23:57Oh, good luck.
1:23:57 > 1:24:00I know you're gonna get it.
1:24:00 > 1:24:04You love Oreos.
1:24:07 > 1:24:09I...I love you so much.
1:24:13 > 1:24:16DOG HOWLS
1:24:16 > 1:24:20# You got to accentuate the positive
1:24:20 > 1:24:24# And eliminate the negative
1:24:24 > 1:24:27# Then latch on to the affirmative
1:24:27 > 1:24:30# But don't mess with Mr In-Between
1:24:30 > 1:24:33# To illustrate my last remark
1:24:33 > 1:24:37# Jonah in the whale, Noah in the ark
1:24:37 > 1:24:42# What did they do just when everything looked so dark?
1:24:42 > 1:24:46# Man, they said you got to
1:24:46 > 1:24:49# Accentuate the positive
1:24:49 > 1:24:52# Eliminate the negative
1:24:52 > 1:24:56# And hang on to the affirmative
1:24:56 > 1:24:59# But don't mess with Mr In-Between
1:24:59 > 1:25:03# We've got to accentuate the positive
1:25:03 > 1:25:07# And eliminate the negative
1:25:07 > 1:25:10# And hang on to the affirmative
1:25:10 > 1:25:13# But don't mess with Mr In-Between
1:25:13 > 1:25:15# No, no, don't mess
1:25:15 > 1:25:19# Oh, baby, I said don't mess
1:25:19 > 1:25:22# You'd better not
1:25:22 > 1:25:26# Don't mess with Mr In-Between! #
1:25:26 > 1:25:29Subtitles by Red Bee Media Ltd