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On Location, Day 3
W.: So we got Q.?
D.: Um. It appears he's not here.
W.: He skipped?
D.: We don't know if he skipped, right?
S.: No, we don't know if he skipped.
W.: So where is he?
D.: We're working on that.
W.: Get me his agent.
D.: She's on the line with us now.
W.: Yeah?
F.: Yeah.
W.: Where's your star?
F.: I'm working on that, sir.
W.: Because, look, you ain't got a star for me on the third day of shooting, you ain't got a star in my picture.
F.: Now, look, you can't --
W.: Who you with? CAA?
F.: DES, actually.
W.: You know I'll block your agency if you fight this.
F.: You can't --
W.: (aside) J., get me the names of all stars working for us that are repped by DES. Get their agents' names, too.
F.: Look, W., come on.
W.: No, you listen to me. Your star, A, changed our script, B, refused to follow his contract, and C, has skipped the set. So we're going to do this without him, you got me? You're going to call Q., wherever he is, and conference him in, wherever he's at. Now.
F.: It'll take some time --
W.: We're on third day location shoots, and we have no film in the can! Get Q. here, now.
F.: Give me a second.
W.: D.?
D.: Yeah.
W.: Have your guys check the set one more time. You find Q., you get him in here.
D.: T., you and S. go hunt for Q.
T.: Look, I --
D.: T. Don't fight me or I'll replace you.
S.: He's fine. Right, T.? Cmon.
W.: You got other problems there, D.?
D.: No, no problems. Just those old-school union guys.
W.: That T. I heard there?
D.: Yeah, T.
W.: I worked with him on my first picture, back in 1968. You know he'd already been doin that stuff for seven, eight years back then?
D.: Wow.
W.: Yeah. So give the guy a break he's causin problems, will ya?
D.: Yeah, sure.
W.: Good.
F.: I've got Q.
D.: Q.?
W.: Q.
Q.: Hi.
D.: Q., whereyat? We're on day three here and you're a no-show?
Q.: Sorry, D. I, uh...
F.: (whispers)
Q.: I got a sister with the flu.
D.: Uh-huh.
W.: So where are you, Q.?
Q.: Oh. Hi, W.
W.: Where. Are. You.
Q.: North Dakota.
W.: You realize everybody's on location in New Mexico, don't you?
F.: (whispers)
W.: F., shut up. Q.?
Q.: Uh, yeah, but my sister --
W.: You don't have a sister in Dakota, Q. Or at least you didn't before today.
D.: Yeah, didn't he do that interview with Interview about his orphan childhood?
W.: Q., if you're in Dakota, you're too far to make it back here in time for the day's shooting, so I'm exercising the fine print.
Q.: The --
W.: You signed a contract says you disrupt a succession of three days production you're off the set, no negotiations. You just stay in Dakota. D.?
D.: Yeah.
W.: You get A. on the phone, tell him we want to bring Z. in for this role, that Q. didn't work out, and we made a mistake, and we know now that Z. is perfect for this role. Got it?
D.: I'll put C. on it right away.
Q.: Hey, wait, you can't --
W.: Q., we're done here. F., pleasure doin business with you. I'll be talking with M. about this.
F.: M. has nothing --
W.: He's your boss, am I right? I'll be talking with her.
D.: W., I'm gonna get busy here, make up some time. I'm out.
W.: Call tomorrow for an update.
D.: Yep.
Q.: Look, wait --
W.: (click)
D.: (click)
Q.: Wait...
F.: Q.?
Q.: F.?
F.: I expect you to have a new agent by the end of the week, because I'm terminating our agreement.
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