Don't Come Knocking

HOWARD:

Come on.

What are you telling me,

"He's not there"? He's

not in his trailer, or what?

A.D. 2:
No.

A.D.

1:
You check Craft Services?

A.D. 2:
Yes.

A.D. 1:
He's not there?

A.D. 2:
No.

A.D.

1:
How about Hair and Makeup?

He's gone, Mickey.

I'm telling you, man,

he is gone.

Well, that's interesting.

Where do you think

he's gone off to?

Because look around.

What do you see?

I see sand and

big f***ing rocks.

There's nowhere to go.

Camera's ready.

I need him now. You copy that?

Yes, I copy that. I copy--

Don't yell at me, Mickey.

I can't take that right now.

Howard, are you in there?

You are killing me, buddy.

Camera's ready,

I need you out here now.

He's not in there, man--

Shut up.

Who are you?

What do you mean, who am I?

Who are you?

Where's Howard?

Oh, my God,

don't push me

around like that.

Oh, my God.

All right,

what the f*** is going

What Where's Howard?

Howard

Oh, Jesus. He's not in here.

A.D. 2:
I told you.

A.D. 1:
Will you shut up.

Will you shut up.

ANTHONY:

Action!

Cut! Cut! No good.

WOMAN:
Cut. Get that horse.

MAN 1:
Camera reload.

WOMAN:
Get the other wrangler.

MAN 1:
Diffuse this lens.

Let's go.

MAN 2 :

We've got a problem, Anthony.

The assistants tell us that

Howard Spence is gone. Over.

What do you mean, he's gone?

I mean he just...

disappeared.

DIRECTOR:

Disappeared?

Good boy.

Easy.

Hello?

Hello?

Hey, you want these?

Huh?

What?

You want this set of spurs?

Free, like?

Yeah.

What's wrong with them?

There's nothing

wrong with them.

If you give me your shirt

and your vest,

I'll give you that set

of spurs, okay?

We'll-- We'll swap.

I'll give you these boots too.

Okay?

My shirt

Yeah.

Is it a deal?

You'll give me the spurs?

Yup.

Yeah, I'll give you

that fancy jacket

and the chaps.

You want those?

All right. But-- But

you can't have my hat.

Because I've had this

30-some-odd years.

No, I don't want your hat.

I just want-- I just want

your shirt and vest, okay?

Is it a deal?

All right.

Ain't any good anyway.

Appreciate it.

You bet.

Warm out here.

Yeah.

Thank you. And--

And you can have

this horse too.

He's a pretty good gelding.

You must be getting

out of ranching altogether.

Yeah.

Is there a car rental place

around here?

What?

Place to rent cars?

Ain't seen any.

Uh, train?

Oh, now and then.

Well, thanks.

Appreciate it.

You bet.

Who the

f*** is that?

Some big shot

from the bond company.

Let's go check him out.

I'd like to see Mr. Spence's

trailer, please.

Uh, his trailer?

That's right.

It's still here, isn't it?

A.D. 1:

Yes. Yes,

the trailer's still here.

Wouldn't you like

to come down, meet the

director, the producer first?

No,

I'd like to see his trailer.

His mobile home.

"Mobile."

"His mobile home."

Sure.

Right away.

I got the producers

on the line. You wanna

talk to them?

No.

Let me have

the director come down.

I'm sure he'd be more than

happy to come right on down--

I don't want to

see the director.

I don't want to see anyone.

I want to be left alone.

Is that clear?

Nice talking to you.

What a dick.

[INDISTINCT CHATTERING

OUTSIDE]

WOMAN:

I'm on my way.

There is every indication...

that Mr. Spence is engaged

in totally irresponsible,

self-indulgent, immoral

behaviour.

Not unlike many members

of his profession.

WOMAN :

Let me have 7-0-1-7...

OFFICER:

Hey, pull up there a second.

Let's see some ID.

ID? You gotta be joking.

HOWARD:
Mom?

LULU :
Howard?

LULU:
Howard, is that you?

HOWARD:
Mom?

Yeah, it's me.

LULU:

Where in the world are you?

I'm not sure.

LULU:
Are you in good health?

Yeah, I'm fine, Mom.

LULU:

Are you far, far away?

Well, no. I think--

I think I'm somewhere in Utah.

Near the border.

LULU:

What border is that, now?

Nevada. The Nevada border.

LULU:

You haven't been that close

since you went away

to do that movie years ago.

Yeah.

Listen, Mom, would you mind...

if I came by and spent

a couple days with you?

LULU:

Well, if you're that close...

and you don't come

and stay with me...

you'd better not ever,

ever call me again. I swear--

Mom, you're breaking

up on me, Mom.

LULU:
Howard?

Can you hear me?

["A LONELY MAN"

BY You're breaking up on me.

[SINGING "A LONELY MAN"

BY MAN :

Attention, all passengers.

The bus to Elko

is now boarding

and departing immediately.

[PEOPLE CHATTERING

INDISTINCTLY]

MAN :

The bus to Elko

is now boarding.

Adios!

Hey!

You must be Sky.

Your mother will be very

much missed around here.

Oh, John, do you

really have to leave?

I'm sorry.

I'm sorry.

Okay, I can't do this.

DIRECTOR:
Cut! Cut.

What's going on now?

What's wrong?

Sorry, I-- I can't do this.

What can I get you.

I can't do this.

What's wrong, Monica?

I'm having

a very difficult time

pretending that he is

supposed to be Howard.

I mean...

I can't kiss that guy.

Who is that guy?

That's not Howard.

It's just a temporary

thing, Monica.

Temporary, my ass.

Where is Howard?

When's he supposed

to get here?

Howard's coming. I mean,

he's going to be here soon.

What we've got to do

is try to continue until

he gets here.

Why? I am supposed

to be acting with

Howard Spence...

not some stand-in jerkoff.

The bond company

wants us to keep shooting!

Hey.

Mom.

Howard.

What in the wide world

has become of you?

Are you my son?

Yeah, it's me, Mom.

Is that all your luggage?

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