Lights, Camera, Maryland

But even without rebates, Maryland has a lot working in its favor, including its proximity to the nation's capital, a sought-after location that poses logistical nightmares for producers because of the city's security concerns.

To avoid bureaucratic hassles, films that feature Washington often limit their time in the city to a few quick shoots in front of the monuments and then retreat to Baltimore to film streetscapes that easily pass for the nation's capital.

So even though Maryland is fuming about Philadelphia wrestling "Annapolis" away from Annapolis, the state has done its own share of snatching work from others.

The Maryland Film Office said Baltimore doubled for Washington in major studio productions including "Enemy of the State" and "Absolute Power." In the comedy "Head of State," Chris Rock played a presidential candidate. Yet only a few remote scenes were shot in the District, and Baltimore filled in for most of the rest.

That's not a problem, said Crystal Palmer, director of the District's Office of Motion Picture and Television Development. The way she sees it, the District, Virginia and Maryland all benefit when a film comes to the region because the jobs cross over between jurisdictions.

"We're competitors, but we're friendly competitors because we want the business to stay in the region," Palmer said. "We'd rather that a film go to Virginia or Maryland than anywhere else."

But if Maryland can't secure future tax breaks, the films won't come, said Hannah Byron, director of the Baltimore City Film Office. And if they don't come, the electricians, construction workers, cameramen and wardrobe designers might move.

"That would put us at a significant disadvantage," Byron said. "One of the big draws for studios in this area is they can save millions of dollars by hiring locally. Without that expertise, we're in trouble."

William H. Spencer Jr., better known as B.J., can attest to that. Spencer owns VIP Security Unlimited in Baltimore. His firm has provided security services for studios working in the District, Maryland and Virginia. Back when "Ladder 49" was in town, he had 60 workers securing locations, keeping an eye on trucks, props, people.

The stream of work was steady from about 1999 through 2003, he said. Then came the lull. At the low point, he had only two employees working for him.

"So my guys are going on unemployment and that's where they sat for a long time until about three months ago," Spencer said. "Their rent was not getting paid. Their child support was not getting paid. . . . The phone stopped ringing."

But then "The Wire" got renewed and hired his firm. The incentives kicked in. "Music High" came knocking at his door.

The phones started ringing.

"I'm starting to bring my guys back in," Spencer said. "I'm starting to smile again."

Staff researcher Richard Drezen contributed to this report.