Final Cut

Help, help!

Help, help!

Someone help!

Please, you don't have to do this.

You don't have to do this .

No !

Please, no, please!

Wait, I know you !

No!

No!

No!

No!

No!

No, no, no !

- What are you working on now?

The rewrite.

- James, the final edit is almost done.

I mean, we're done.

- Clearly, you're not thinking straight.

- I know what's going on in my head.

The next time I see Adler, I'm gonna fucking kill him.

- The script was stolen but not the film.

How the fuck did that dickhead get his hands

on the script anyway?

- You sure you want to trust me, James?

The least I can do, with your film winning me that contest.

I never did thank you for that, by the way.

So thanks.

- Those are my fucking characters, okay.

That was my goddamn scene.

- We're supposed to be a group,

and you're acting like the leader of the pack?

We're all equals.

- I am not gonna just hand him this DVD.

He saw Adler's first.

It doesn't matter.

You wrote it.

- What's the idea as of now?

- It's an Alfred Hitchcock's noir horror film.

- You've got one month.

That's all I'm giving you.

First day back from break,

put your final cut on my desk,

or you all fail, fail, fail, fail, fail, fail.

Mother!

Randy, what the fuck?

Hey, James.

What are you doing here?

Uh, Rachel said you'd be here.

But then I found this book.

Why?

- It was just sitting on the floor, and then I picked it up,

and it was really-- - No, what do you want?

Why, why are you here?

- You weren't answering your phone.

- That's because I turned it off, Randy. I'll see you later.

- I think you're overreacting, to be honest.

- I think you're drastically under-reacting.

He steals my film, and I'm the one paying for it.

- Isn't it technically Rachel's film?

- It is just as much the writer's as it is the director's.

- Well, you're the expert, right?

In this room, yeah.

- Are you gonna work out, or you just gonna play

with your little ball the whole time?

I'm not gonna work out.

- Don't you fucking light that in here.

So you know what type of horror you're gonna do?

You know, like found footage

or like Paranormal Activity type of thing,

Blair Witch, anything like that?

- I mean, she wants to do a slasher, so--

What she says goes.

- I don't know. I just, I want to do something different.

You know, if it's got to be horror,

I want to at least try to give it a fresh take.

In the end,

it's just film school, right?

- Thank you. - You're welcome.

So tell me about yourself.

Why do you want to be in our film?

That's an easy question.

It'd be my first one.

Really?

So no prior experience, then? - Oh no, I don't want you

to think I'm incompetent.

Uh, Rachel told me you were somewhat of a perfectionist.

A little more than somewhat.

She's absolutely right, I am.

And I'm gonna be completely honest

and upfront with you, right now.

I don't like working with first-time actors.

Okay, we've done it in the past,

and it's like fucking a virgin,

and I just-- - James, really?

Really, what?

I'm not trying to be graphic.

I'm being honest.

It's my project, too.

I have a say.

I'm sorry.

I don't mean to butt in, but you are just the writer, right?

- Well, I wouldn't say it like that.

I'm not just the writer.

I mean, I have credibility.

I mean, I have a little bit more responsibility

than just like-- - Mm-hmm.

I came to this school to study acting,

and I guess, I got in, because I do possess some talent.

I mean, I think so.

In high school, we put on a lot

of Agatha Christie's written work,

and I had the lead role in each.

Okay, so you have a resume,

kind of like every other actress

that we've ever worked with.

What's your point?

- My point is that Agatha Christie never sat

in my auditorium.

I had to take direction from my director,

which I guess in this case would be Rachel.

Okay, okay.

You know what?

I'm gonna let you handle this.

I'm gonna go get myself a drink at the bar.

James, we're in a diner.

I'm getting a coffee.

Yeah?

Is that okay with you?

You good?

Yeah, whatever.

First off, you have to tell me how you did that.

- Cool. - I'm really sorry.

- Oh no, no, it's-- - No, it was rude,

and I'm sorry. - No, don't worry about it.

He just, he seems like a dick.

- We're you really in a lot of Agatha Christie plays,

or did you just make that up?

- No, no, no, I was. I was. - Okay.

I know, I know what I'm doing.

I know what I'm doing.

He's just like being,

I think he's being a little weird.

- No, he's always like that. You'll get used to it.

Okay, all right .

- It'll take a few years, but that's okay.

This is Annabelle Short's first screen audition

for Entrapment.

Anna will be reading for the part of Vera.

Offscreen, we'll have James reading for Joshua.

Anna, whenever you're ready.

Okay.

Okay, I'm ready.

Interior, dark room, night,

petrified, Vera huddles behind Joshua

as the smashing at the door continues.

- He's almost through. - I know he is.

- Saddened, Joshua turns and looks into her eyes.

And that is why I need you

to go out the back entrance and down the stairs.

I'll hold him off.

He won't get to you.

Leaving you is not an option.

- Vera, there's no time for a debate. You have to go now.

Joshua, I can't, okay.

I love you.

And I love you, too.

Now please, Vera, just go. - The smashing at the door

is getting louder, louder.

- Your love is the reason why I can't.

But it's the reason I can.

The doors burst open.

It's too late, Vera.

Okay, so how'd I do?

Janet Leigh would be proud.

Hey, didn't mean to bother you.

What are you doing?

Working on the ending.