What Just Happened? (30 page)

B
EN
: If they only knew. Thanks.

Cut to:

EXT. BEN'S APARTMENT—DAY

Ben leaves for the photo shoot
.

OMITTED

EXT. PARAMOUNT LOT

SUPER
11:00
AM

Ben, dwarfed by the massive soundstages, walks through the lot. He checks his watch
.

INT. PARAMOUNT SOUNDSTAGE 32

The place is already bustling. In the center there is a makeshift bleacher in front of a large red curtain. Attached to the curtain are large gold
letters spelling out P-O-W-E-R. A small crew is finishing the lighting and placing the camera for the shot. Test flash Polaroids are crackling in the background
.

Off to the side are three makeup chairs in front of brightly lit mirrors for those that want to be touched up before the shot. Across the way, ten tables are set up with flowers and candles to serve a formal lunch after the session is over
.

Most of the producers have already arrived and are mingling in small groups. Everyone is trying to be extra polite, flushed with the excitement of getting their picture taken. But this is not a bunch of people that are rooting for each other, or for that matter, even like each other
.

Ben is getting made up
.

All three are keeping their eye on the three-tiered stands which are fronted by three large thronelike chairs. ANGLE ON several producers who have already gathered near the front and center, hoping to get a better position in the photo. Ben and his group decide to join them. They are all now awkwardly bunched in the front row. The photographer's assistant, Mary, addresses them
.

M
ARY
: Hi. Could I have your attention?

All right everyone, I'm Mary. Over on the wall there and on the table are charts which will indicate where each of you has been designated to stand. If you could find your places quickly, it would be most appreciated. Thank you.

Ben goes to check his position on the chart versus the actual seating assignments. He is not happy. He catches Mary's eye and decides to walk back down to talk to her
.

Ben: Mary. Hi, it's Ben.

M
ARY
: Yeah. Ben. Hi. Nice to see you again. How've you been?

B
EN
: Good, thank you. Mary, could I have a word with you for a second?

M
ARY
: Sure, Ben.

B
EN
: Great. This is a bit awkward but I was wondering if you can make some changes in the placements … it should be set in the proper order …

M
ARY
: (
to the crowd
) PLEASE EVERYONE, some of you will have to stand in the back near the letter P or R. Just like the chart. Thank you.

B
EN
: … you know there is a posterity to these photos … it's important that the right people are in the right place … and I thought … maybe I could make a suggestion …

M
ARY
: I'm not really sure I follow.

B
EN
: Well some of these people are not really ‘producer' producers. If you know what I mean. They just add their name to movies … Like this lady here with the blonde hair and the suit. And the guy in the leather jacket with the bald head and the beard … Do you know what movies he's done? … I thought if I could be over there, instead of there, near the letter W … (
he looks at the chart again
) In fact, the woman near the W should really be near the P. Or even the O.

M
ARY
: (
to the crowd
) THAT'S LOOKING BETTER. (
to Ben
) Ben, Graydon chooses the pecking order, not me. He's the boss. You know I think you're terrific.

B
EN
: I appreciate that. I've got to tell you, if it could be put in the proper order it'd be alot better. I should've called you yesterday at the hotel, you know, and explained that.

M
ARY
: Ben, last night I got more gift certificates from Prada sent to my hotel room than Gwyneth fucking Paltrow. My hands are tied.

B
EN
: Got it. Good. That's not really what I meant but it's no big deal. Nice to see you again. Thanks. Where do I go?

ANGLE ON BEN who walks by the three throned producers who smile as he climbs to the third row off to the left
.

M
ARY
: Uh, Ben. Near the P. A little more to the left … The other side … A little farther.

Ben takes his place under the letter P
.

M
ARY
: Good. That works.

Cut to:

A BLAST OF LIGHT and the photograph is frozen in time. As the camera pushes into Ben's face, he tries to make the most of the moment but, unfortunately, his face is slightly blocked by the taller producer next him
.

Cut to:

EXT. STUDIO #3 LOT

SUPER
: 1:00
PM

Ben drives up to the front gate. He reaches for his wallet to show his I.D. for security
.

G
UARD
: No I.D. necessary, sir. Good to see you again. Go around to the left, we've got a space for you.

B
EN
: Thank you.

Ben, feeling a touch of pride, drives onto the lot to park
.

Cut to:

EXT. STUDIO #3 LOT SOUNDSTAGES

We see Ben check his reflection in the glass before entering the commissary
.

INT. STUDIO #3 COMMISSARY—LUNCH TIME

Ben enters the packed room. The room is divided by the ‘good' section near the back of the room and the ‘not so good' section in the front of the dining room
.

Ben looks toward the back of the dining room to see if his lunch partner, Sid Voss, has already arrived
.

He is suffering the indignity of standing there without being immediately ushered to the ‘good' table. He camouflages all this, as always, with a slightly strained but confident grin
.

He inches into the dining room. A hostess comes up from behind
.

H
OSTESS
: Do you have a reservation?

B
EN
: Are you new?

H
OSTESS
: First week.

B
EN
: I'm joining Sidney Voss.

H
OSTESS
: Oh, goodness. Sorry. He's not here yet but let me take you to his table.

B
EN
: S'all right, I know where it is.

H
OSTESS
: Well, he's not at his usual table. Upper management came into town. He had to relocate over there.

She points to an empty table in the middle of the room
.

B
EN
: Thank you. I see it. I can get there on my own. Thank you.

He sits alone. He can't help but look around to the back of the room, particularly at the ‘A' section. Someone who looks remarkably like Rupert Murdoch stares right through Ben. Ben looks away. The mojo's not working, he's at the wrong table. The hostess comes back to the table
.

H
OSTESS
: I'm so sorry Mr. Voss's office called and he simply can't make the lunch.

B
EN
: Did they say why?

H
OSTESS
: They said he's too grief stricken to eat. You know that poor young agent.

B
EN
: Yes, it's quite a loss. We're all feeling it.

H
OSTESS
: I saw his picture in the trades. He was very good-looking.

B
EN
: I suppose that makes it even worse.

H
OSTESS
: Oh, they said you should order whatever you want, on him. And, uh … they sent over a note.

She pulls a note from her pocket. It's Scotch-Taped shut
.

H
OSTESS
: For you.

B
EN
: I forgot my reading glasses. Would you read it for me, please?

She pulls apart the Scotch Tape, the note is handwritten
.

H
OSTESS
: Uhhh. ‘Dear Ben, don't think for a second that having lunch was going to change a fffu …

She looks at Ben not knowing if she should continue. Ben nods
.

H
OSTESS
: … a fucking thing … and that there will be no give unless …

She hesitates
.

B
EN
: Go ahead.

H
OSTESS
: ‘… there will be no give unless that … fff …
fucking
… beard goes or he goes and then … we
fucking
shut the … the whole
fucking
movie down and then …'

The hostess stops, looks at Ben, not wanting to read on
.

H
OSTESS
: I can't.

B
EN
: Might as well continue. Go ahead.

H
OSTESS
: ‘And then you … you are going to be … and he underlined this part …
fucking history
.'

The hostess now looks frightened. Her eyes well up
.

B
EN
: Hmm. That's it?

H
OSTESS
: I'm so so sorry.

B
EN
: Thank you.

The hostess hands him the note and rushes off. Ben picks up the menu
.

Cut to:

INT. BEN'S OFFICE BUILDING—DAY

Ben is talking on the phone as he hurries to his office
.

B
EN
: Betty, tell Sid I tried to get Bruce three times. Can't get him on the phone. I've got a crew of 190 people standing by. We start shooting on Friday … I know I'm running out of time. I know that. I don't know what to do. Fine … fine.

C
ARL
: Ben, I have Kelly holding on 2.

D
AWN
: Jeremy's on 3. Says it's urgent.

Ben accidentally presses Kelly on ‘2
.'

B
EN
: Jeremy? …

K
ELLY
: Ben? Ben?

B
EN
: Uhh Kelly, let me just … Hold on.

Ben presses ‘3
.'

B
EN
: (
cont'd
) Jeremy, talk to me.

J
EREMY
: (
screaming through the phone
) COME NOW! HOLY JESUS. COME NOW AND DO NOT PASS GO!

(
click
)

B
EN
: I'm on my way.

Ben hangs up and starts out
.

D
AWN
: Ben … Kelly.

He runs back, presses ‘2' but Kelly is gone
.

B
EN
: Kelly … Kelly? (
he hangs up
) Gotta go, gotta go.

He exits
.

Cut to:

EXT. FOX LOT

Ben is dwarfed by a giant mural on his walk toward the editing room. Anxiety kicks in and he begins to run
.

Cut to:

INT. EDITING ROOM

Ben enters the dark cutting room. Jeremy is sitting with an editor reviewing a scene from the film on the Avid screen. When Jeremy sees Ben, he jumps up enthusiastically. For fun, he is wearing an Indian feather on his head
.

J
EREMY
: Afternoon. Do I look happy?

B
EN
: Enough to scare me.

J
EREMY
: Well, I did a bit of your deep digging last night and I realized that I had to put myself in a different location inside myself to accommodate everyone, really.

B
EN
: I truly appreciate that.

J
EREMY
: The world is a big place and I had to remind myself that we're all just visiting really.

B
EN
: Hey, it's an honest thought. One that I'm starting to share with more frequency.

Jeremy points to the feather
.

J
EREMY
: Do you like it?

Ben laughs
.

B
EN
: I love it.

J
EREMY
: I know, mate. I know. But this feather gets me there. ME TONTO … the studio, THE LONE RANGER. Why fight a battle I can't win? Makes no sense.

B
EN
: Sometimes it takes more guts to concede.

J
EREMY
: I think so.

B
EN
: I guess the question is, is the damn thing fixable for Cannes? The film's got be remixed and sent out in the next few days.

J
EREMY
: Have a seat there, mate. Lemme take you through it.

Verna manipulates the computer that's connected to the Avid screen. The movie images are fast-forwarding
.

J
EREMY
: Verna, do the honors … Verna got about ten minutes out just by shaking the box. We've been able to make some significant cuts. Particularly in the market place investigation and the clue search at Dulles Airport.

Jeremy stops the Avid and runs a scene where Sean's character is running alongside a canal with a beautiful woman
.

ANGLE ON THE AVID SCREEN
.

They arrive at a car. They kiss
.

S
EAN
: You know—

A
TTRACTIVE WOMAN
: I know.

S
EAN
: Go. Go!

He opens the door and she climbs in. He opens the back door and a dog jumps out of the back seat. The attractive woman speeds away. Sean and the dog take off
.

INT. EDITING ROOM

ANGLE ON JEREMY AND BEN as they watch the reedited footage
.

J
EREMY
: Bit with the dog and Sean, it'll get a laugh … that bit's gone. Much better, isn't it? Here he comes … Tighter there. Bish bosh … Lost that bit.
Good. Music's good here. More orchestral. Contradicts the violence … That always worked. She's good. Easy on the eyes … No dog came down the hill.