We weren’t open very long before the afternoon shift started to fill up with regulars.  There were two guys who came in most afternoons, sitting at a booth along the front, and working on something very important.  This happened enough times that I remembered them, got to know them by their first names, and that was pretty much that.  A little while later a production scout asked if his company could should a movie (low budget naturally) in the Coffee Shop.  I said no.  I didn’t want to inconvenience our regular customers.  Personally I hated it when you would show up at a favorite place and they were closed because they were being used as a movie location.  This production guy didn’t give up, and neither did I.  One day he brought me a copy of the script.  It was called “Swingers.”  To a person of my age, “swingers” was a term reserved for couples who got together for casual sex.  Also, before I opened the Coffee Shop in Hollywood, I had found and negotiated for a space the year before, near the Beverly Center. I lost that space to another Operator (Sean MacPherson, the hotel impresario) who had called the place, “Swingers”.  Let’s just say I was sensitive to the name.  I told the location guy, emphatically, that I wasn’t interested.   I was surprised one afternoon, when the the two  guys, who I only knew by their first names, Jon and Vince, came in. Before sitting down they approached me at the front. “How come you won’t let us shoot our movie here,” they asked.  “Your movie”, I replied, “why didn’t the location guy say it was “your movie.”  They also pointed out that they had included us in the script, since the scenes referred to local hotspots including The Derby, The Dresden, The Griffith Park Golf Course, and us, (even if the name wasn’t exactly correct)”Of course, you can shoot it here, ” I replied.  I always tried to accommodate our customers. “If you can shoot it after we close at 7 p.m. and before we open at 7 a.m.” The meager budget, only afforded one night for the shoot. So all the Coffee Shop scenes were shot that night. I demurred on appearing in the movie, but recommended a favorite customer, Arlene Pachasa, who ended up as the Still Photographer on the movie.  Vince Vaughn and Jon Favreau went on to realize the dream that brought the “locusts” to Hollywood in the first place.