The desert proves to be a small place when a prestigious Hollywood Director striving for Oscar™ Gold with her latest self-proclaimed masterpiece declares war on an over-encroaching set for a low-budget science-fiction movie.

SYNOPSIS:

Jane has started at the bottom of the Hollywood name list. After years of hard work she now stands as the director for a range of critically acclaimed art house projects as well as multiple high concept box office hits. Her awards shelf is stacked high, but there is one spot missing in the middle pride position. That one award that will see her join the big league for good. She is missing an Oscar™.

She views her latest Western Romance drama as the surefire ticket to the award and arrives on set with her usual almost dictatorlike approach to directing. Everything is organized down to the minute, and everyone around her must follow suit and be the best in the game. Filming rolls on without a hitch and when the sun is setting in the right position Jane is struck with inspiration claiming that the conditions are just right for the great climatic shot. Just as the shot is at its most engrossing and emotional, an explosion in the nearby distance.

Jane rushes over to the source of the explosion expecting to find the sight of a disaster and a disaster is what she finds... of sorts. The explosion has come from the controlled explosions of a pyrotechnics rig for a low-budget sci-fi movie about intergalactic wars. Jane loses her cool and argues with the director of the set, Terry. Neither of the two knew that another film would be in the same location, but Jane demands that Terry keeps quiet or moves on.

Back at her own set Jane is convinced into letting Terry's set stay. Days go by with small occurrences of Terry's set impeding the smooth running of her own such as there being no cakes left at the local bakery for her to reward her crew with, and Terry's set partying into the early hours of the night keeping her awake and tired. When glaring floodlights come from Terry's set at night spoiling her chance for night shoots, Jane declares war.

So begins the Battle of The Sets where childish measures such as water balloons, scorpions in portable toilets, and graffiti on camera lenses are used on par with serious measures like cutting off someone's water supply in the baking desert sun. There is no length too petty or severe that Jane will not consider to get her film back on track, as proven when a 'spy' from Terry's set is found on her set trying to plant a paint bomb. Jane takes the spy hostage and negotiations with Terry end with the release of the trespasser into the hands of the police. The trespasser takes this as a personal attack and swears vengeance.

With the feeling of defeat fresh on Terry's mind he opens up to Jane and the pair find some form of common ground in sharing their sometimes harsh experiences in the Hollywood world. This new connection is tested when the financier of Jane's film arrives without warning on her set demanding answers as to why his film is delayed by two weeks. He gives Jane an ultimatum. Get Terry's set to move by tomorrow or pack her bags. She is just another name on a spreadsheet to him, he could have a dozen others directors taking her place by sundown. With no other choice, will Jane take her fight to the next level? And can Terry keep his trespassing crewmember under control?