All language subtitles for Smash.Cut.2009.1080p.WEBRip.x264.AAC-[YTS.MX]

[music]

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-Ladies and gentlemen,
the announcement we are

about to make has been
made only three times

before in motion picture history.

Each time, it has preceded
the showing of motion pictures

that have become regarded
as the most unusual of their type

ever filmed, and now we make
this announcement

for the fourth time.

We're about to show you a new movie,
which is called Smash Cut.

Watch if you must, but remember,

you were warned.

[music]

-Allan, you're still having
those reoccurring dreams?

-Yes, I am.

-Pretty bad every night?

-Pretty much so, yes.

-We've got these dreams every night
from an incident that happened,

say, two, three, four months ago?

-It wasn't a dream.

It was real.
It was real.

I think it is a real clown.

I think it's alive.

-Yes.

Allan, concentrate.

Think rational here for a moment.

First one,

toys are not human.

They cannot come to life.

They can't kill people.

They're toys, Allan.
-This isn't a toy, Doc.

It's real.

-Two,

we know you have a problem, okay?

Look,
this is getting out of hand.

What's the clown's name again?

What's his name again, Allan?

-Bobo.

-Bobo.

That makes it even stupider.

-You're full of it.

You deserve what you get.

You're going to pay for what you say.

[heartbeat sound]

[laughter]

-This movie's lame.

-This movie sucks.

[doctor screams]

[laughter]

-I want my money back.

[doctor screams]

-It's so fake.

-This movie sucks!

[crowd boos]

[music]

-That was it.

That was the death of cinema.

-I know. I'm surprised
the projector didn't just reject it.

That guy makes Ed Wood
look like Orson Welles.

What's his name again?
-Whitman.

Able Whitman.
-Jesus, I hope he has a day job.

[music]

-Now I understand, Able, why you cast
your films in this place.

-"Whitman is a cinematic antichrist.

To call it incompetent

would be too kind."

Philistine.

She's a philistine.

-Able, my boy, don't let
reviews get you down.

How about you shoot tomorrow morning?

How many sets are you planning?

Because [?] dead again.

Lighting may be an issue.

-It's not just the critics.

Investors, wallets
with teeth, and the producers,

and the actors, and the audiences
sitting in the dark sniping anonymously.

They should die before they get
a chance to see the end of the film.

They should die.

The disloyal crews, always
sniffing around for something better,

always using your connections.

-Able, really.

-Always interrupting.

-Able

that is beyond the pale.

I finished cleaning your camera.

Here it is.

I will see you on set in the morning.

-Always interrupting.

When I'm searching for inspiration.

I need inspiration.

[music]

[gunshot sounds]

-Lens capped.

Damn it.

I needed that inspiration.

[music]

-I can give you all the inspiration
you need, Able.

[music]

-Gigi, you're my inspiration.

Oh, my muse in human form.

-Gigi, I need you in my next movie.

The camera's been waiting for you.

-Pervert.

Pervert.

You, sir, are
a pervert of unnatural appetites.

-I, sir, am a true artist.

-Able, let's get out of here.

[crowd shouting]

-What are you doing?

-It's your money, Able.

It's not about the money between us.

It's not about money.

I'm not here for the money.

It's about us.

[tires screech]

[music]

-Gigi?

-Gigi.

No.

No.

No.

No.

No.

No.

No.

No.

God, why me?

Why me?

-Cut.

[music]

-Man, this movie sucks.

-It's so fake.

-My God, they're right.

It's so fake.

It's terrible.

Clear the set.

[music]

-Man, this movie sucks.

-It's so fake.

-Gigi, give me all the inspiration
you've got.

-Action.

-This is brilliant, Able.

It's so real.

Very disturbing.

-Philip's right, Able.

If you keep this up,
we can stop making tax write-offs

and start making money.

-Ozzie, what did you just say?

-I said if if we can keep this up,

we can--
-You're right. You're right.

You're absolutely right.

I can't stop now.
-Able,

you do have everything ready

for the funding board meeting next week?

We really need their cap financing.

-Absolutely.

It's my top priority.

Now, if you'll excuse me, gentlemen,
I have some rewrites to do.

-Able, that reminds me--

-Nice. Anytime.

-Just something I wanted
to talk to you about,

but I'll catch up to you.

[music]

-Action.

Cue the blood.

-Able, dear boy,
you gave us quite a fright.

-Do you need anything, Able?

-How was I, Able?

-That's a wrap

for today.

[music]

-What do I do, Gigi?

I bled from my arm.

It wasn't enough.

Please, Gigi.

Tell me what to do.

You're my muse.

Give me a sign.

Thank you, my love.

-Banal, commonplace, conventional,

expected,

stale, stark, trite, unimaginative,

cliché.

Cliché.

[French language].

"Able Whitman's sense of drama is
as cliché as--"

-As a critic, who lets
a thesaurus do her job for her?

[music]

-Whitman?

-Gregorski.

-You're proving my point, Whitman.

Coming to my office to confront me?

What are you, the good, the bad?

No, the ugly.

I imagine you thought
yourself, what, daring,

imaginative, unprecedented?

Let me assure you, my good hack,
it is just that, cliché.

Anyway, what do you want?

An interview?

-Not an interview.

However,

I would like to make a statement.

-Really?

Shoot.

-I'm going to kill you,

and then I'm going to cut up your body

into little pieces
and use them in my movie.

Not necessarily in that order.

-Mr. Whitman, you might have
finally come up with an original idea.

[music]

[Gretchen screams]

-Hand.

No.

[?].

Head.

I got that.

Internal organs.

I'll just get them all.

[phone rings]

-Hello.

-RL.

-Able.

-You're fired.

-Fingerprints on a blind eye.

What a great film title.

A film title for the ages.

Genius.

Genius.

Whitman,

you're a genius.

[music]

-A region-wide bulletin
has been issued for Georgina Carson,

also known as Gigi Spot,
who was reported missing

after leaving work at a local
gentleman's club this past Thursday.

Police are treating the disappearance
as suspicious but so far have no leads.

-See you in no time, sis.

-About that idea I had, boss.

-What, that private dick
to find your sister, right?

Tell you the truth, Carson.

I like it.
-You do?

-Hell, yes.

You're young.

You're perky.

You should be in front of the camera more.

Plus, it's a great human interest story.

It shows the station has a heart.
Now,

this guy you want.

-Isaac.

-Beaumonde, right?

Yes, right.

I hear he's a real character,
a story in itself.

-He is.

He put the Savannah Strangler behind bars.

Just for the hell of it,
Jensen behind bars.

Francis Urban Knuckles behind bars.

-He got out, right?

-Under technicality,

but Beaumonde caught him red-handed
and made it stick.

A dozen more, at least.

All big cases, all closed.

-He's got a big reputation, huh?

-An ego to match from what I hear.

-Follow
this thing wherever it takes you, Carson.

I don't know what yet,

but I got a feeling something big
is going down.

[music]

-I'm sorry, Ms. Carson.

Mr. Beaumonde is neither here nor
is he available to take on any cases

at the moment.

-When will he be?

Hey, how did you know my name?

-Mr. Beaumonde gets this,

and your station gets exclusive rights

to the mystifying story of how
the remarkable Isaac Beaumonde

cracks another case.

-You took the words right out of my mouth.

-In that case-

--Isaac Beaumonde
at your lucrative service.

-What?

-Now, my dear, tell me about the case.

-It's my sister, she's missing.

The police couldn't catch any leads.

-The police couldn't catch
their breath in an oxygen tent.

Only your sister [?].

Come, my dear.

Come, my dear.

Let's get started.

-Prominent local film critic Gretchen
Gregorski was found brutally murdered

in her office this morning.

Unconfirmed reports state that pieces
of the Polk Award winner's body

were missing
and are still unaccounted for.

Truly disturbing.

-They want to silence us

because we artists speak the truth,

so they make us fight amongst ourselves
for scraps from their capitalist table.

-Yes, they only really care
about their money.

They have no appreciation
for the true art form.

What's your film about?

-I'm shooting on video, actually.

-Video?

-It's experimental.

It's about how television is
one of today's biggest thieves of time.

A powerful and suggestive instrument

that inescapably invades
almost every household.

My film is a subjugation of collected
images from this passive medium.

-Subjugation?

-What's your film about?

-Oh, it's a blood-splattered study
in the macabre.

My greatest work ever.

I'm not about to let you jeopardize it.

-Now, let's start eliminating suspects.

-What in the name of God Almighty
do you think you're doing?

Get out.
Darling, get up.

Our sanctity's been interrupted.

Get out of my limousine now.

-Believe me when I say we don't want
to spend any more time in your company

than is necessary, Reverend Boone.

We'll just answer a couple of questions
to our satisfaction,

and we'll be on our merry way.

-For the record, Mr. Boone--
-That's Reverend Boone.

Duly ordained by the--

Wait a minute.

The record.

You're that reporter from Channel--

-From Channel-- "Reverend Ezekiel Boone
gets a blowjob in limo from stripper,

paid for by church tithes.

Details at 11," if you don't make
with the answers.

-Wait a minute, honey child.

-I wasn't--
-Concentrate,

Reverend. -Concentrate?

-Where were you
on the evening of Tuesday last,

from 11:00 PM on?

-I was right here,
right here on this street,

bringing the word to those
that need it the most.

You can ask any member of my flock.

You can ask
any patron of that den of iniquity.

I'm making a point to stare them
all in the face as they exit

the establishment.

-From the sublime to the ridiculous.

We'll check your story.

Thank you for your time, Reverend.

-I'm relatively new at this.

I guess I'm supposed to say it,
scream as loud as you want.

Nobody's going to hear you anyway.

The walls are thick, got
its own ventilation system

and besides, the only person that comes
in here anymore is little old me.

[chuckles] Everybody's shooting
on video these days.

You know that little tape,

no strength, no form, no substance.

It's barely real.

-I will not be held captive
by the hands of patriarchy.

I will not be held captive by them.

[music]

-Could it be?

I can't believe it.

One Trillion Leaning Towers.

Gordon Weisbord, 1943.

He died at the premiere.

They say there was a riot,
and he was killed.

Apparently, the film
drove the audience mad,

and here it is.

I thought all the prints
were destroyed, and yet here it is.

Something brought us together.

Thank you, Mitzi.

-[?]

-Able, just
the resident genius I was looking for.

Walk with me.

Able, what do you think about karate?

-Well--

-Right.

It's exotic,

it's exciting,

it's the next big thing.

Able, do you know the numbers
on karate classes across North America?

-No.

-Of course, you don't, that's my job.

Listen, all this chop-socky stuff,

all this breaking cinder blocks
with your head stuff,

it's huge with the kids,

and we need to think
about the audience of tomorrow.

Able, I've been doing some thinking
about casting for Terror Toy 2.

-We're already in production, Ozzie.

-Sure.
It's a creative challenge.

I get you.

This kid--
-A child?

-Really, he's more
of a nine-year-old karate champion.

He's been winning competitions
all over the place.

His parents are good friends of mine.

Take my word on this.

This kid is going to be huge,

and I think Terror Toy 2 is
the perfect launch pad for his career.

-Ozzie, there's no room for a child
in this film.

I won't do it.

-Able,
don't make yourself replaceable.

I think we understand
one another, don't you,

or do you want me to write it down

on a pink slip?

-You can't do that.

It's my film.

This is my film.

-Able,

you should spend less time reading

cachet to cinemart and more time
reading your contracts.

You see,

I'm not your friend, I'm not your partner,

I'm your boss.

-Why are you doing this to me, Ozzie?

-Because I can.

You got to throw your weight
around every once in a while,

Able, or people forget you got it.

When I walk into a room,

people should duck.

Does the kid stay in the picture?

-Going
to have to speak to the writer.

-That's the spirit, Able.

Forget about awards.

Just give me something that'll put
black back in the books.

Out of my way.

-Able, we need to talk.

-RL, come in.
-You can't just fire me and my crew.

-Come in. RL, calm down.
-We have a contract.

-Calm down, take a seat.

Don't let the door hit you in the ass.

and we'll talk.

-Able,
what's with the knife?

Able.

Able.

[RL screams]

-Now, on the subject of Mr. Grober,
is Grober his first or last name?

-Like I know.

-No matter, it would seem that Grober,
as it will suffice to call him,

has suffered
from some sort of battlefield trauma.

-In the war.

-What war?

-Shit, man.

The war.

-His noted habit of setting
plastic army men on fire

is some sort of traumatic recreation.

-He what now?

-I heard he burned
his own men after they died.

Dosed them with the gasoline they used
to burn out the latrine barrels

and lit him up,

so they wouldn't be cold.

I heard he spent a night
buried under corpses at a foxhole.

Just him

and a mountain of cold flesh.

After that, that's where he had
this thing about fire.

He's coming back from the shitter,
you can see for yourself.

Just do me a favor,

leave me out of it.

Hey, Smitty, watch the bar.

I got to take a shit.

[music]

[Grober grunts]

-Door, Ms. Carson.

[Grober grunts]

-Oh, man.
[?] Anyone [?] No need to [?].

We can safely eliminate Grober
as a suspect.

-Who does that leave?

-From our originalist,
no one, but we have a new contender.

A director of all things.

The unlikely name of Able Whitman.

-Let's go find him.

-I will find him, Ms. Carson.

For the time being,
I think you may be more valuable behind

the scenes.

-I've had some ideas lately, Alan.

-I can see that, Able.

Pretty massive changes here.

I think you might have missed
the subtext a little bit.

Just went ahead
and crossed everything out.

I know a lot of stuff
becomes important later on.

-It's called inspiration, Alan.

-Inspiration.

I guess I can make it work.

-I'm sure you can.

-It's going to be a bitch
for makeup department.

-I'll handle that.

-I guess I got a lot of writing to do.

-Oh,
and Alan?

-Yes,
Able.

-We share credit.

-Sure,
Able.

Sure.

-Oh, you're doing some casting,
Mr. Whitman.

What happened to your star?

-Do I know you?

-I'm
a fan of your work.

-Really?

-No.

Nobody's a fan of your work.

Actually, I suspect you of kidnapping,

possibly murder.

-What?

-You were the last person
to see the victim.

-What victim?

-Georgina Carson.

You probably know her better
by her stage name,

Gigi Spot.

-Gigi?

Gigi was with--

-Was,
Mr. Whitman?

You said was, past tense.

Is there any reason why you wouldn't talk
about her in the present tense?

-You didn't let me finish.

The last time I saw Gigi
was Tuesday night.

-Finally we agree on something.

Now, exactly how long after you left
the gentlemen's club did you kill her?

-All I did was give her a ride.

-I'll assume that's a euphemism.

-I'm not a killer.

I'm an artist.

-Who makes violent art.

Although reading your reviews,
the jury's still out on the art part.

-Come now, Mr. Whoever-You-Are.

-Isaac Beaumonde.

At someone else's service.

-Mr. Beaumonde,
surely you're not philistine enough

to think that violent art
causes natural violence.

-You didn't answer my question.

-Do you want me to do your work for you,

Mr. Beaumonde?

-If you wanted to confess now,
I certainly wouldn't complain.

No?

All right then.

I'll be back.

-What if I'm not here?

-You'll be here.

-Really?

Why?

-You have a film to finish.

-He's right.

He's right.

I have a film to finish.

[music]

-Alan, I need a plot device.

-What kind?

-A killer is suspected of murder
by a detective.

He can't really flee
because there wouldn't be a movie,

would there?

How does he take suspicion off himself?

-How would Lubitsch do it?

I've been reading
about this heat-activated poison.

You drip it on a light bulb.

When the victim turns on a lamp,
it turns into gas.

The apartment gets flooded
and lethal in minutes.

-Is that for real?

-Yes, but it doesn't plug your plot hole,
does it?

How about this?

Nice and simple.

The killer kills someone else,
assuming that he had it in him.

It is a him, right?

Then he can kill someone else,
make it look like a suicide,

pin his crimes on the dead man.

I'll make the suicide note-- What
about make it a confession?

What do you think?

-I like it.

I like it.

-Is this something new I should work
into the script,

Able?

You let me worry about that.

-He made you suspicious.

What else have you got?

-A plan.

-A plan?

-More of a trap, really.
-Baited with?

-He's casting for his new film.

He needs a new face.

[music]

-18 auditions in a row, Gigi.

The only thing that qualifies
any of them to be on film is the fact

that they reflect light.

What am I going to do?

-Am I in the right place?

I hope so, because if not,
you're just some crazy man

who sits around talking to corpses.

[chuckles]

-Yes, corpses.

It's a fake.
It's a fake.

You're here to audition.

Tell me you're here to audition.

-Yes, totally.

-Wait,
you are--

-April Carson, WKYTV.

-You do?

-Human Interest
because we're all human, right?

The weekend weather,
the only weather anyone cares about.

To tell you the truth,
I'm not entirely fulfilled working

in television.

I'm looking for something
a bit more inspiring.

-Could you do a reading?

-Totally.

-Excellent. You brought the sides?

-Yes, but doing Hamlet?

-What?

-Isn't that a bit pretentious?

This is for a part
in a horror movie, right?

-My dear, Hamlet is the greatest work
in the history of English literature.

Murder, incest, fear, insanity, suicide.

Murder after murder until the stage
is littered with bodies.

Do you know what the greatest work
in the history of English literature is?

It's a fucking horror film.

-Okay then.

"Alas,

poor Yorick."

-Wait.

Here, use this.

-What's that smell?

-Oh,
it's the latex.

It's decaying.

There are things
in the fake blood that are fake.

It just smells like that.

Please, continue.

-Are you sure?

It feels pretty real.

-No,
it's just a prop.

It's only a prop,

and action.

-"Alas, poor Yorick.

I knew him, Horatio.

A fellow of infinite jest
of most excellent fancy.

He hath worn me on his back
a thousand times.

Now how abhorred in my imagination it is.

My gorge rises at it.

Here hung those lips I kissed.

I know not how oft."

-Cut.

The camera's been waiting for you.

-What happened then?

-He had to leave suddenly.

He said he remembered
an important meeting with an investor.

-You have the part?

-I have a late call to shoot
my first scene tomorrow.

-Perfect.

I'll look into this investor.

You're not eating?

-I'm just really not hungry.

[music]

-Isn't this great, babe?

I just invested a ton in this.

Soon we'll have
a whole fleet of these things.

Ozzie Kohlberg's [?] liners,
driving tourists around and seeing

the sights,

so they can see Ozzie's city Ozzie's way.

Yes, it'll be really classy,

like in Europe.

Our tour guides will have
these sexy Beefeater uniforms

on and they'll narrate
the trip as they serve

these little individual-sized steak
and kidney pies with little cups of tea.

Yes.

It'll be a big money-maker.

-I thought you were
a film producer, Ozzie.

-I'm an investor, babe.

It doesn't matter if it's movies,

vending machines
or the future of the tourism industry.

If Ozzie Kohlberg's involved, it will pay.

[music]

-Where the hell are we?

Stay here.

Time to throw some weight around.

Driver.

Driver.

Whitman.

Where did you get a harpoon?

-Harpoon store?

I put it on the corporate account.

Technically, I didn't buy it.

You did.

Ozzie?

-What?

-You better duck.

[?]

[music]

[Ozzie grunts]

[heartbeat sound]

-Shit. Shit.

Shit. Shit.

Shit.

I needed that heart.

I needed that heart.

What was I thinking?
What was I thinking?

[woman screams]

-What if they don't buy the suicide?

[phone rings]

-Alan.

-Yes?

-It's Able.

I need to pick your brains for a minute.

The killer commits another murder
to deflect suspicion.

What happens

if the way he commits the murder,

the audience doesn't buy it
as a suicide, what do we do about that?

-Well, if it was
a satirical sort of thing,

the killer could just scrawl some addendum
on the original suicide note,

count on a callous,
self-obsessed society to just accept it,

and everyone goes home early.

-Okay.

-Mind you, it would probably lead
to more murder,

trying to cover up the cover-up and so on.

It'd probably be the killer's undoing--

Able? Able, are you there?

Hello?

[music]

-Cut.

Print
that one.

April, you were magnificent.

You bring

new life to a scene.

-Able, Mr. Farmsworth needs
to see you in his office.

He says it's urgent.

-Take five, everyone.

-Able, come on in.

I need to talk to you.

Ozzy's missing.

-Missing?

-Yes, he didn't show up.

He's not answering any of his numbers.

Nobody's seen him since yesterday.

-Philip, I wasn't sure I should say
anything,

but Ozzy has been acting strangely lately.

He called me on several occasions
and asked me for a private meeting.

-What did he want?

-I'm not sure.

I think he wanted

to confess something to me.

-What do you think it was?

-I'm sure I don't know.

I have no idea.

-I don't know what to tell you other
than without Ozzy,

we can't finish your film.

Now, if you're willing to reconsider

what the distributors wanted to do--

-I'm not going to be dictated
to by small minds and large wallets.

I'm just not going to.

Now,

I do have some really good news.

Do you remember that competition
that we had for the Arts Council grant?

-Yes.
-Well, it never showed up,

so we're shooing.

-Able, you did it.

You are a lifesaver.

What?

-When did you get nominated?

-You have
to be nominated?

-Philip, are you serious?

-Okay,

I'm having my name engraved right now.

I can get your name on one,
or you can share it.

-Whatever, Philip.

-[chuckles]

[music]

-Action.

-[screams]

-Cut.

-For Pete's sake, we're out of blood.

That's five, everyone.

[music]

[groans]

-Still alive.

[music]

-Maybe you do have what it takes
to bleed for your art, after all.

It's cut check time.

[music]

-Try to find out what's in the vault.

I know Whitman's hiding something.

The investor.

Yes, I found Mr. Kohlberg.

No.

No, I don't think
he'll be of any use to us.

[music]

[groans]

-Action.

-[screams]

-Cut.

Print that,

and everything else we shot today.

I want to see it
all first thing in the morning.

-First thing?

It's late already, Able.

-Nonsense.

It's not late.

It's magic hour.

[music]

[screams]

-This is great.

This is some of your best work.

I knew you had it in you from day one.

-It's really something, isn't it?

I think I've finally gotten inside
of Bobo's head.

-Able, there's something I have
to tell you.

-What is it?

-It's Ozzy.

The police found him along
with his girlfriend.

-Really?

-Dead.

They say it's a murder-suicide.

-That's ghastly.

-There's more.

-More?

-Apparently,
Ozzy,

he's killed other people as well.

-No.

-Yes.

A stripper,

that critic,

Gregorski,

and most of our special effects crew.

They're still finding pieces.

I just got a bill for the harpoon
that Ozzy used to end it all.

It's all here in the late edition.

He used company money,

and the police say it's evidence.

-Fiendish is what I'd call it.

I'm absolutely aghast.

It would make a great movie.

Which reminds me,

I've organized
a screening of a film I found

in Farmsworth walls.

It's called One Trillion Leaning Tower.

-We don't have a copy of that.

-Yes, we do.

-[laughs] Oh, I thought that was
an urban legend.

-No, it's real.

We have to show it.

We really have to show the people
what filmmaking is all about,

what real filmmaking,
what the art of filmmaking is all about.

We've got to snap them
out of their complacency.

We've got to show them the suffering
and the hurt and the pain that goes

into filmmaking.

We've got to really shake them up.

We could use it as publicity
for Terror Toy 2.

We could even have Q&A beforehand
with April as the hostess.

-I think
that's a fantastic idea.

It would be good publicity,
especially after something like this.

What do you need me to do?

-Just book the theater.

I'll handle the film personally.

[music]

-Ba.
-Ba.

-The case is not concluded.

The suicide note was an obvious forgery.

You don't need a Beaumonde-sized intellect
to see the police accepted it simply

so they could go home early.

-Kohlberg wasn't the killer.

-Kohlberg wasn't
the killer.

-The man who killed
Gigi is still out there.

-Yes.

It's Whitman.

I know it.

I just need some proof, something
the police can't even ignore.

-Are you sure?

It's just so hard to believe.

He's so passionate.

-Passion is just insanity
in a cashmere sweater.

-Well, it's too late.

The station won't pay anymore.

They say the case is closed.

It's over.

-When Isaac Beaumonde takes
on a case, no one takes him off.

Besides, I cast
your station's check days ago.

-What are we going to do now?

-Hmm, you are going
to go shoot your next scene.

I'm going to go talk to a dead woman.

[music]

-You still got it, Alan.

-I took
your advice, Alan.

-My advice.
-Yes, your advice

about killing somebody and framing them
in order to throw the police off my scent.

-You mean your character's scent?

-Then it occurred to me

that in order for me to complete my alibi,

I'd have to get rid of the one person
who could finger me.

-Able, are we still talking
with the script?

-I'm taking the script
out of your hands Alan.

-Ugh.

[screams]

-[laughs] Your hands are bleeding, Alan.

Your hands are bleeding.

Oh, I like the way that sounds.
I really like the way that sounds.

Alan, your hands are bleeding.

Alan, did I tell you I'm going
to kill everybody?

It's me, Alan,
and your hands are bleeding.

Did I happen to mention
that your hands are bleeding?

-Your hands are bleeding.

It's Bobo.

He's going to kill everyone.

-Cut.

That's a print.

You're better every day,

April, but today you're acting
as if your life depended on it.

-I want to believe in you, Able,
that you-- I think

I may be in way over my head.

-Nonsense. You're--

-Able, my boy, could I have a word?

-What
could it possibly be that is so important

that you would interrupt me?

-An endangered species
called professionalism, Able.

Listen, I've been reading ahead
in the script and I noticed

some inconsistencies between scene 84
and your new scenes 84 and 84B.

Able, we need to make some decision.

I've been thinking--

-We'll discuss it this evening.

We'll meet in Alan's office.

I'd really appreciate your input.

-Of course.

-Ms.

Carson,

I've disproved the adage
that dead men tell no tales.

In so doing, I have proven
the identity of our killer.

All that remains now is to reveal it
to the public of my trademark flare.

Really?

Screening should be televised live?

Could you provide me with access
to a camera and a pair of actors?

Good.

What? To catch a thief,
think like a thief but

to catch a filmmaker,

think like a filmmaker.

Isaac Beaumonde is about to make
his directorial debut.

-Able?

Able?

What in the devil's name
are you doing there sitting in the dark,

Able?

Able, what is that?
What is that smell?

-About your concern,
about the continuity, I appreciate that.

You've got a really good eye.

I don't know what happened.

[chuckles] I have no idea.

[chuckles]

-Able?

-[laughs]

-Able.

-It's like Alan was writing
with his hands cut off.

[laughs]

-Able.
-Armand, Armand.

Armand, turn on the lights.

[laughs]

-Ugh.

[music]

-[screams]

-My God, what a beautiful shot.

I've always said you have

a really good eye, Armand.

-[screams]

-Armand, can't be with us today

so I'll be handling the camera.

This is the first time in seven films
that he's missed a shoot but,

in a way,

I feel like part of him
is still here with us.

Let's give it our best today.

This one is for Armand.

Are we ready?

-Able.

-Yes.
-I think I still need my prop.

-Right,

right.

Perfect.

Hold that expression.

Speed.

Action.

"Bobo, is all this killing--"

-Bobo, is
all this killing really an end?

I brought you the eyes of the innocent
so you could stalk your victims

to show the world the horrors you've seen
in the worlds beyond.

These will make
the completion of your human host body

and then--

-Then?

-Then will all this killing really be
an end or just at its beginning?

[screams]

-Cut.

Perfect.

Done in one.

-Able, I think

we're going to be late for the show
and I still need to do my hair.

[music]

-Can you believe it?

Actual lethal cinema,

and we get to see it in person.
-No, I don't.

I don't believe
they even actually have a print.

It makes Pasolini
look like Garry Marshall.

Who's putting this on again?

-Whitman, Able Whitman.

-Jeez, I hope he makes a movie someday.

[applause]

[music]

-I'm April Carson, and we're here
at the ByTowne Cinema to witness

film history,

One Trillion Leaning Towers.

[applause]

-Allow me
to introduce

the man responsible for this screening,
and whatever its consequences may be,

Able Whitman.

-Good evening,
April.

I want to begin with--

-On this night of mysteries,

a man who makes his living
solving mysteries,

Isaac Beaumonde.

[applause]

-Final reel, Mr. Whitman.

Thank you, April, but I'm not here
as a detective this evening.

I'm here as an artist.

-What?

-Tell us more, Mr. Beaumonde.

-I've directed a short film to be played
before tonight's main feature.

Tell me, Mr. Whitman,

are you familiar with Shakespeare, Hamlet,

in particular?
-I'm familiar with Shakespeare.

I have this theory on Hamlet
that perhaps it was

the first horror film [crosstalk]

-I've based my film on the short scene
in Hamlet commonly known

as the play-within-the-play
or The Mousetrap.

I am curious to see how an artist
of your standing reacts to it.

-What's the title, Mr. Beaumonde?

-I call it

The Murder of Gregorski.

-Sounds great.

Let's watch.

[music]

[screams]

-Congratulations, Mr. Beaumonde.

Now you know what it is
to be a true artist.

[background noise]

[screams]

[music]

-You won't--

-Get away with it?

I already have, Ms.

Carson. Your Isaac Beaumonde
is just another body on a pile of bodies.

-Look, I don't know why Able said that.

I really don't, but why distribution
is what we've been

after since day one? All right.
Look, I got to go.

I got to go.
I got to go.

Able? Able, is that you?

Hey, I sold our distribution.

-You did
what?

-Yes.

-I told you this film has
to remain completely independent.

-That's what I've been after from day one.

[music]

-Ugh.

[music]

-Nooses.

-Forget it.

-Forget it?

[gun fires]

-Put your hands in.

-You're not going to get away with this.

-Able?

Able?

Able, I brought the prop you wanted.

Should I come back later?

[gun fires]

-[screams]

-Ms. Carson, you'll be immortalized
in Able Whitman's next film

whether you like it or not.

[chuckles]

[music]

-Rolling.

Speed.

-[screams]
-Action.

-No.

Cut.

-This is a closed set, Mr. Beaumonde.

Who do you think you are?

-I am the censor board, Mr. Whitman.

You have violated

community standards.

[music]

-Evening, Ms. Carson.

-I have
final cut, Mr. Beaumonde.

-Fade to black,

Mr. Whitman.

-Ugh.

-That was for Gigi.

-Gigi.
-Oh, my God, Gigi.

-All my life, I've had
this perfect film in my head.

I've never been able to get to the screen.

Now, finally, I get a chance to see it.

[gun fires]

-Another case brought
to a successful completion.

We should celebrate.

Perhaps over dinner.

We appear to have room.

-I kissed
my dead sister's severed head.

I think instead of dinner, I might need
to go get some trauma counseling.

-As you wish.

Look, you've seen about enough.

[music]

-And bam, bam, bam.

Bam, bam.

-You're really not acting like someone
who's working for me,

Mr. Beaumonde.

-Exactly right on that shot.
-[?] [crosstalk]

-Yes. There we go.
-Blame it on me.

[music]

-This is exactly the film I wanted to make
from the first-- This is exactly

what I wanted to make as a film ever--

-Consecrate, I hardly need a concentrate.

I'll try again.

Consecrate.

-Croncentrate.

-Cronsecrate.

-Croncentrate.

It's just an [?]

-Croncentrate.

-That's it.

-Croncentrate.

-I am the censor board, Mr. Whitman.

You have violated

community standards.

Hold on.

Sorry.

-We're about to show you a new--

-[laughs]

-Damn.
-That's fine.

-As the great bard said,

when sorrows come,

they come not as single spies,
but in battalions.

[music]
[background noise]

-Excellent.

[laughter]

-There's things in the blood
that are fake.

I fucked up the line.

I lost my line.

I forgot my line.

I forgot my line.

I've run out of lines.

[laughter]

-A stripper.

That critic, Gregorski.

Crap.

-Crap?

[laughter]

-He needs to go to the bathroom, folks.

Can we have a five-minute break?

-Yes, that's excellent.
One more of those.

[laughter]

-Cut

-I have final cut, Mr. Beaumonde.

-Yes, but does it plug your plot hole?

Sorry.

[laughter]

[music]

-Inspiring.

-One more time.

-[laughs] I can do this.

-Bang.

-[laughs]

[music]

-Hmm.

-[laughs]

-I'm supposed to be looking at you.
What do you want from me?

[chuckles] Just look at you, okay?

-Inspiring.