What Just Happened? (34 page)

Ben turns to Cal. Cal is gasping for air
.

A
CTOR
: Gotcha.

B
EN
: You did.

The actor stares at Cal, still with contempt
.

A
CTOR
: You all right? Not his heart is it?

B
EN
: His heart is fine. That's my heart you hear exploding.

A
CTOR
: Couldn't be. You don't have one.

Ben and his star have already started to walk off, leaving Cal behind
.

C
AL
: (
still gasping, to himself
) I'm fine. It was the heat.

B
EN
: Can I get you a breakfast burrito? It's good luck to eat one on the first day of shooting.

A
CTOR
: That's very nice of you.

B
EN
: Bacon or no bacon?

A
CTOR
: Always the works on the first day.

They head for the catering truck
.

A
CTOR
: I had to break your balls a little. I had you going there for a minute didn't I?

B
EN
: Not really.

A
CTOR
: (
to some crew members nearby
) C'mon kids, tense up. This is the boss right here.

Cut to:

SUNDAY

EXT. CANNES, FRANCE—EARLY EVENING

A series of shots to reveal the Cannes Film Festival is in full swing. Flags and banners festooned everywhere, announce the coming attractions. Tourists, paparazzi, limo drivers, taxi drivers, French police, and fans fill the famous coastline
.

Cut to:

OMITTED

Cut to:

OMITTED

Cut to:

OMITTED

Cut to:

INT. FRENCH TAXI—

Ben peers through the rear window as the car makes it's way down the Croisette
.

Through the throngs of people, Ben can make out a poster of his movie
FIERCELY
with a shot of Sean Penn and a Beautiful Woman running
dangerously across a busy highway. He leans back. It looked pretty good. Things could be looking up
.

EXT. HOTEL DU CAP ENTRANCE—SAME TIME

Ben's car slowly drives up to the famous and elegant hotel entrance. Uniformed attendants rush to help with his luggage
.

EXT. HOTEL DU CAP'S PATHWAY TO THE MEDITERRANEAN

Ben stands alone at the top of the steps holding a glass of champagne taking in the majestic sea. It's a famous sight. He takes a deep breath. Can it get any better?

OMITTED

OMITTED

EXT. PALAIS THEATRE—NIGHT

The red carpet rises up the two flights of stairs leading to the theater entrance. Photographers and fans held back by velvet ropes and gendarmes are greeting the arrivals of
Fiercely.
Ben arrives solo from a town car and enters the fray
.

Ben sees Johnny huddled with Aba, the impresario from Israel, as part of the crowd. When Johnny and Aba spot Ben they wave and approach him through the melee
.

Johnny spreads his arms wide and reaches in to hug Ben. Ben's face gets smothered into Johnny's armpit
.

J
OHNNY
: It can't get more exciting than this? You did it. I just want you to know that I don't care about the
money
. Fuck money. And I don't care about the movies. Fuck movies. I only care that you and I are becoming close friends.

Johnny then releases Ben from his grasp. Ben stares back at him temporarily at a loss for words. He has to keep moving
.

B
EN
: Uhh … friendship is very important.

Aba chimes in with two very young teenage girls hoisted on spike heels and wearing matching wire rim police sunglasses
.

J
OHNNY
: Ben you remember Aba?

A
BA
: Ben!

B
EN
: Uhh … yes. The dry cleaner. Yes.

A
BA
: What a night, huh?!

J
OHNNY
: Ben, I'd like you to meet Mary and Mary.

Ben eyes Aba
.

A
BA
: (
whispering to Ben
) Tonight they're with
all
of us.

Okay?

B
EN
: They're very young.

A
BA
: Not really. (
points to Mary #1 and then Mary #2
) Sixteen and sixteen is thirty two! Hah!

J
OHNNY
: Aba knows numbers.

B
EN
: See you inside.

Aba and Johnny start to laugh. Mary and Mary start to laugh. Ben smiles, but he has to go
.

Flashbulbs are popping at a machine-gun frenzy. As they head up the carpeted staircase Sean Penn leans in to Ben
.

S
EAN
P
ENN
: I heard we made some changes.

B
EN
: Just some nips and tucks.

S
EAN
P
ENN
: S'long as we didn't lose our edge.

B
EN
: Uh. No. The ‘edge.' We saved the edge.

Ben turns to Jeremy
.

B
EN
: How you doing?

Jeremy tilts his mirrored shades. Ben peers into Jeremy's eyes. They are unfocused, blood shot, on fire, heavily bagged with deep dark circles
.

B
EN
: My god man! You okay? Did you get any sleep on the plane?

J
EREMY
: I'm fine. ‘Optimistic' is the better word.

B
EN
: Good.

They turn to continue the climb to the top of the stairs, where Lou and entourage smile proudly. She gives Sean a big kiss
.

F
ESTIVAL HOST
(
V.O
.):
Mesdames et Messieurs
… Sean Penn.

Cut to:

INT. PALAIS THEATRE—NIGHT

The audience is standing and giving an ovation to Sean Penn who was just introduced from his seat in the rear of the theater. Sean smiles, waves, and sits down. Both Lou and Ben pat Sean on the shoulder
.

F
ESTIVAL HOST
: (
thick French accent
) Tonight we are here to open the Cannes Film Festival with a film ambitious and passionate.
FIERCELY
. And now it is my immense pleasure to introduce a unique director … Please welcome Jeremy Brunell.

Jeremy walks briskly to the microphone
.

JEREMY'S SPEECH WILL BE DELIVERED ENTIRELY IN FRENCH. WE WILL READ IT IN ENGLISH SUBTITLES
.

J
EREMY
: Hello. France. Where liberty is cherished. Where the individual is cherished. I send my love.

The French cheer. Ben looks to Lou. This could be encouraging
.

J
EREMY
: Making this movie has been and remains to be a ballbusting, intestine-wrenching, blood-rendering experience. Not just for me but for all involved.

The crowd laughs
.

It comes from my heart. So, for those of you that are moved when you see this film, I am your servant. And for those of you that are not moved, for those UNTALENTED LEECHES IN HOLLYWOOD who try to impose their ill-gotten will, you can all KISS MY HAIRY ASS AND THEN BLOW ME! Merci. Merci.

The crowd cheers. In fact, a partial standing ovation. Lou, Ben, et al do not know exactly what was said but it seemed to work. They reluctantly participate in the ovation
.

L
OU
: (
leans toward Ben
) They like him.

B
EN
: They do.

L
OU
: There's a seat for you on the jet if you want to come back with us tonight. Wheels up at two a.m. sharp.

B
EN
: Thank you, Lou. Great.

L
OU
: We'll get you the tail number and the details.

Jeremy finally arrives at his seat between his editor and Ben. Ben smiles at Verna. The editor is so nervous she looks like she's about to cry. As the lights dim Ben reaches over to grab his arm
.

B
EN
: You were brilliant. Nice job.

J
EREMY
: Ben. My priorities are finally straight.

The crowd hoots in anticipation of a movie about to start. The studio logo fades up. The theater is now completely dark. Ben looks over at Jeremy. He looks nuts
.

ANGLE ON THE SCREEN. Music comes up over a series of images of some kind of construction yard: trucks and machines, rocks, gravel. A flock of birds soar through the air
.

ANGLE ON BEN. He takes one more look back at Jeremy whose nostrils are flaring. Is that white powder under Jeremy's nose? Unquestionably. Ben tries to concentrate on the movie
.

Dissolve to:

INT. PALAIS THEATRE—NIGHT

ANGLE ON THE SCREEN. It's wet. The Woman is walking through an alley. She stops and looks through her purse. She pulls out a passport with Sean Penn's picture on it. She hides the passport and exits the alley. A beat later the killer enters the alley, approaches the hiding spot
.

ANGLE ON THE AUDIENCE. Judging from the audience the film seems to be playing a bit slow. Some are straggling out or using the bathroom but there is also an occasional burst of laughter from the crowd. It's a real laugh. Maybe they like it
.

TIGHT ANGLE OF BEN. He's encouraged. He looks over at Lou. Things seem okay. Looks over at Jeremy who is downing pills with a flask and snorting some coke
.

Dissolve to:

INT. PALAIS THEATRE—NIGHT

ANGLE ON the screen. We're nearing the climax
.

WE SEE that grainy shot of Sean. He is lying on the side of a dusty road. He is trying desperately to prop himself up on a large embankment. Blood, his blood, is all over the place. When he nears the top, he topples back down in a grim heap. He appears to be critically injured. Almost lifeless, he refuses to give in. A dog loyally stands next to him
.

S
EAN
: I'm not going to beg.

Three men, impassively eyeing Sean's struggle
.

TIGHT ANGLE OF BEN, who is smiling. He turns to Jeremy, who reaches into his jacket pocket, pulls out sunglasses, and puts them on
.

ANGLE ON THE SCREEN
.

S
EAN
: (
cont'd
) You think I care about me? It's you I'm concerned with. Your salvation … ‘Father forgive them, they know not what
they
do.'

We see one of the men raise his gun. The dog barks like crazy. The Gunman raises his gun
.

RAKING ANGLE ON LOU. We see Ben looking at her in the background. Lou is implacable
.

ANGLE ON THE SCREEN. The Gunman aims at the dog
.

ANGLE ON BEN—He glances imperceptibly to his right, to his left, trying to assess the damage
.

B
EN
: NO!

ANGLE ON THE SCREEN

S
EAN
: NO!

KABOOM. We don't see the dog go but we see a lightening shock of red reflect off the audiences faces. We know what happened
.

JEREMY HAS NOT ONLY PUT THE MOVIE BACK THE WAY IT WAS, HE ADDED MORE OF THE HORROR
.

This time the dog is caught in a brutal, bloody Sam Peckinpah crossfire. An unmentionable amount of gunshots are heard as we watch the audience stiffly and stoically absorb the punishment
.

ANGLE ON THE SCREEN. The Gunman then shoots Sean, who remains defiant. The road turns wet with blood. As the image slowly fades, the score comes up and the credits roll
.

ANGLE ON THE CROWDED FRENCH AUDIENCE. There's a delayed reaction. Part of the audience starts to cheer
. ‘Encore, encore, treasurie!'
There are others, however, like the preview audience in Los Angeles, that remain silent and reflective. And even some who seem to be in a collective state of STUPEFIED SHOCK
.

‘Merde.' ‘C'est deguelas.' ‘Le cochon.'

ANGLE ON BEN, who turns to Jeremy. Jeremy's gone. He turns to Lou. Expressionless, Lou is frozen in her chair, staring off into the void. Ben sees Jeremy going to the lobby. He follows him into the men's room
.

Cut to:

INT. PALAIS MENS ROOM
.

Ben crashes through the door. Jeremy is pressed against the urinal. They're alone
.

B
EN
: WHAT?

J
EREMY
: I'm in pain here.

B
EN
: WHO CARES? Keep it to yourself.

J
EREMY
: Look, I had to know … I had to know …

Ben opens up his arms and leans back
.

B
EN
: Why don't you just piss on me? Be my guest. Just turn around and piss on me. I insist. Because that's just about what you did.

J
EREMY
: What do you want me to say? Do you want me to say the film was a waste of time, a pretentious self-indulgence?

B
EN
: That's not the point.

J
EREMY
: I'm no Tonto.

B
EN
: No. You're no Tonto. You'll be carrying ammo, polishing saddles, and ironing fuckin' underwear for the next twenty years.

J
EREMY
: Fuck Hollywood.

B
EN
: Hey, Jeremy, Hollywood's like eating an elephant with a teaspoon. One bite at a time, baby. It don't taste good. You can never finish it. But if you stop eating it, you will starve to death.

J
EREMY
: What's this, the ‘bend over, we all do it' speech? I don't think so. Not me.