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City of Angels - Libretto

City of Angels - Libretto

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The Applause Musical Library

CITY OF ANGELS
\Qff'J
Book by Larry Gel bart
~

C A/i. i\ .S, ii;)

Music by Cy Coleman
~

Lyrics by David Zippel
~a.Introduction by Larry Gelbart

fidJ U U !~\Ifj f~
THEATRE BOOK PUBLISHERS
211 WEST71 STREET. NEW YORK NY· 10023

.....

~ ~ '», .:

AWARDS New York Drama Critics Award,-Best Musical

Tony Awards Best Musical Best Bo~k of a MusicalLarry Gelbart Best 0r:zgmal Score - Cy Coleman (music), David Zippel (lyrics) Best Leading Actor ina Musical- James Naughton Best Featured Actress in a MusicalRandy Graff Best Scene Design - Robin Wagner Nominated for Tony Awards were Michael Blakemore (Best, Director), Gregg Edelman (Best Leading Actor in a Mus~cal), Rene Auberjonois (Best Featured Actor in a Muslca~) F~orence Klotz (Best Costume Design), Paul Gailo (Best Lighting Design) . . Drama Desk Awards Outstanding Musical Actor in a Musical- James Naughton Featured Actress in a MusicalRandy Graff Boak oj a Musical - Larry Gelbart Music - Cy Coleman Lyrics - David Zippel Orchestrations - Billy Byers Set Design - Robin Wagner Outer Critics Circle Awards Outstanding Broadway Musical Outstanding Director - Michael Blakemore Outstanding Design - Robin Wagner (sets), Florence Klotz (~ostumes). Paul Gallo (lighting) Spectal Adward - Larry Gel bart, for his contributions to corne y .

City of Angels was first presented by Nick Vanoff, Roger Berlind, Jujamcyn Theaters, Suntory International Corp., and The Shubert Organization at the Virginia Theatre, New York City, on December 11, 1989, with the following cast:
MOVIE CAST

(In order of appearance) James Naughton James Hindman, Tom Galantich )( OOLIE, Stone's secretary Randy Graff j. ALAURA KINGSLEY, a femme fatale Dee Hoty BIG SIX, a thug Herschel Sparbcr SONNY, a smaller thug Raymond Xifo JIMMY POWERS, a movie crooner Scott Waara THE ANGEL CITY 4 Peter Davis, Amy Jane London, Gary Kahn, Jackie Presti Shawn Elliott LT. MUNOZ, a police detective Torn Galantich omCER PASCO, a policeman Kay McClelland BOBBI, Stone's ex-fiancee Rene Auberjonois IRWIN s. IRVING, a movie mogul MAN IN PHONE BOOTH James Hindman Doug Tompos PETER KINGSLEY, Alaura': stepson Carolee Carmello MARGARET, a maid Keith Perry LUI'HER KINGSLEY. Alaura 's husband James Cahill DR. SEBASTIAN MANDRIL Evan Thompson BUTLER Rachel York MALLORY KINGSLEY, A/aura's stepdaughter MAN WITH CAMERA Peter Davis
STONE, HOSPITAL ORDERLIES

a private eye

10

11

MAHONEY,

a studio press agent HARLAN YAMATO, county coroner GAINES, police commissioner

GUARD

GIRL

a brothel keeper BOOTSIE, a hooker
MARGIE,

lames Hindman Alvin Lum Evan Thompson Tom Galantich Carolee Carmello Eleanor Glockner Jacquey Malthy

HOLLYWOOD

CAST

(In order of appearance) Gregg Edelman Rene Auberjonois Evan Thompson Kay McClelland James Cahill Randy Graff Eleanor Glockner JIMMY POWERS Scott Waar;t THE ANGEL CITY 4 Peter Davis, Amy Jane London, Gary Kahn, Jackie Presti STUDIO ENGINEER Evan Thompson CARLA HAYWOOD, Buddy's wife DeeHoty DEL DACOSTA, a songwriter James Hindman PANCHO VARGAS, an actor Shawn Elliott AVRIL RAINES, a starlet Rachel York GERALD PIERCE, an actor Doug Tompos a movie director/producer SHOESHINE BOY, a studio employee GABBY, Stine's wife GILBERT, Buddyj- barber DONNA, Buddyj- secretary ANNA, Buddy j- masseuse
BUDDY FIDLER,
12 STINE,

Keith Perry Carolee Carmello STAND-IN CINEMATOGRAPHER Alvin Lum PROP MAN Evan Thompson GEr--T£, an assistant director Tom Galantich BUDDY'S NEPHEW James Hindman SOUNDMAN J ames Cahill CLAPPERBOY Peter Davis STUDIO COPS Herschel Sparher, Raymond Xifo HAIRDRESSER Eleanor Glockner Swings: Chrissy Faith, Marcus Neville
WERNER KRIEGER,

an actor

a writer of fiction

Directed by Michael Blakemore Musical Numbers Staged by Walter Painter Scenic Design by Robin Wagner Costumes Designed by Florence Klotz Lighting Design by Paul Gallo Sound Design by Peter Fitzgerald and Bernard Fox Orchestrations by Billy Byers Vocal Arrangements by Cy Coleman and Varon Gershovsky Musical Direction by Gordon Lowry Harrell Fight Staging by B.H. Barry Production Stage Manager, Steven Zweigbaum General Manager, Ralph Roseman

13

STINE Stone's Office Stine's Bedroom.:tW'MlS·$#iU . County Hospital "Double Talk" ANGEL CITY 4 & STUDIO ORCHESTRA Stone's Office. Master Pictures Studio Scene 3 Scene 4 Scene 5 Scene 6 Buddy Fidler's Office/Stine's Office "Double Talk" BUDDY. the Garden of Allah Stine's Bedroom/Stone's Office GABBY. ALAURA 15 - iZCA&LUtfGi i .ACTl Overture: Theme from City of Angels Scene 1 Scene 2 L. one week earlier STONE.:.A.Maw *4&'£E" fa aa_ iMBiAffSQiUWimt.ALAURA Stine's Office. OOLIE "What You Don't Know About Women" Scene 7 Scene 8 Scene 9 Stone's Bungalow "Ya Gotta Look Out for Yourself' JIMMY POWERS & ANGEL CITY 4 Buddy's Office "The Buddy System" Stone's Bungalow "WIth Every Breath I Take" BUDDY Scene 10 The Blue Note Cocktail Lounge BOBBI Scene 11 Bobbi's Dressing Room Scene 12 Stine's Office Scene 13 The Kingsley Mansion Scene 14 The Solarium "The Tennis Song" STONE.

. New York Scene 14 Margie's Place Scene 15 The Red Room "With Every Breath I Take" (reprise) ... STONE & ANGEL ~~ITY4 Scene 8 Scene 9 The Jail Buddy's Study Scene 16 Stone's Bungalow "Lost and Found" ~LORY Scene 10 The Bel-Air Garden Scene 11 Alaura's Bedroom Scene 12 Buddy's Office Scene 13 Stine's Apartment........ the late 1940's... GABBY Scene 16 A Pay Phone Scene 17 The Kingsley Solarium Scene 18 Stine's Office "Funny" •..................... Los Angeles. Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 Scene 7 16 A Recording Studio "Stay with Me" ......•.: STINE..•.... County Morgue Scene 20 Buddy's Office Scene 21 The Morgue "All Ya Have to Do Is Wait" . OFFICER P~iSCO STINE.. Master Pictures Studio "You're Nothing Without Me" (reprise) JIMMYPOWRRS & ANGEL crrv 4 STONE.•....... GABBY......•..... THE COMPANY A Bel-Air Bedroom L.... OQLIE The place.. Donna's Bedroom "You Can Always Count on Me" DOUNA A Bel-Air Garden Buddy's Study 17 .. MUNOZ... STONE. YM\-ATO..... STINE ACT II Scene 19 A Soundstage..... "You're Nothing Without Me" . S1:0NE "It Needs Work" •.....•..•.A.......Scene 15 The Search "Ev'rybody's Gatta Be Somewhere" ......A.. MAHONEY... the time... County Jail Oolie's Bedroom "You Can Always Count on Me" .•.... BOBBI Scene 17 Donna's Bedroom Scene 18 Stone's Bungalow Scene 19 L..........

bare. every time. but for an overhead light above a hospital gurney. Dying in bed's the ticket .: FIRST ORDERLY puts the above.. checking out in your sleep gets the nod. Cashing in because of a woman . No point arguing with the ump.NIGHT The stage .. as it is wheeled downstage by FIRST ORDERLY. center: COMING SOON CITY OF ANGELS A BUDDY FIDLER PRODUCTION As the overture ends. For my money.semi-dark.that kind of death is for suckers. The movie poster dissolves and flies . The movie poster fades to black and white. the curtain rises to reveal a full-color movie poster.. hospital corridor sounds.providing you're alone when it happens. STONE'S "No sense kicking about death. II cigarette to his lipsfrom the 21 . SECOND ORDERLY enters. A HOSPITAL CORRIDOR .dying with a skirt for a blindfold . .- INT." VOICE (Over): (During ! . On it lies the still form of STONE. the big nod. We hear an ambulance siren. three gunshots are heard. During the overture.

at her desk. . Happy Monday. Flashback effect ends) STONE: OOLIE: If STONE: OOLIE: I !~ 1 Yesterday'S lies with today's date on 'em. A beat.. 'f i Stone Investigations..DAY in the shoulder. Miss Oolie speaking .. STONE enters. We get any busier. Something Stone. filtered): Yesterday's lies with today's date on 'em. i 1 1 . I think he used a slug to pay for the call. No.. Bought a bullet . SECOND ORDERLY: FIRST ORDERLY: Private dick. I'm sorry your wife's cheating on you... (Lights down on OOLIE. turn bad-side out in just seven days? ' (The phone rings again. STONE'S OurER Scene 2 OFFICE . OOLlE: OOLIE'S VOICE (Offstage. you can start reading two newspapers. can I help you? . Happy Monday. filtered): Miss Oolie speaking. (As flashback effect begins and STONE is wheeled oj]) Stone Investigatiqns.. filtered.. mister. he's not.1 STONE'S VOICE Monday? (OjfstlJge. . As he hangs up his coat and hat:) Did I hear a phone? Some clown hoping for a few snaps of the little woman getting floor burns in the back of the family Chevy.. offers one to the SECOND. STONE'S VOICE OOLlE'S VOICE (OjJstlJge. filtered): We get any busier. " STONE: 22 . Twenty-five dollars a day plus eight cents a mile . CITY OF ANGELS ACT I • Scene 2 pack.ou can start reading two newspapers. OOLIE.. (She hangs up and begins to read her newspaper. near STONE's-neati. stops reading her newspaper and answers her phone. It's a flat rate. but there's no discount for veterans. who strikes a kitchen match on the gurney. takes a whiskey bottle 23 A i'l . STONE's secretary. as lights up on STONEjprivate office. " (Ojfst4ge. to light both cigarettes) SECOND ORDERLY: FIRST ORDERLY: Who's this one? Stone. He gonna make it? INT. No such animal. then the door opens and STONE enters.. No greatloss if he don't. after a beat): Was it qnly ' (A phone rings ojJstlJge) Can your whole life roll over and play dead.

you forgot how tan you are everywhere else.w. ALAURA I'~ re~lly the last person in the world you'd expect m this kind of office. Palm trees finger ~e sky and there's enough sunshine to lay some off on Pittsburgh. (OOLIE exits. Mr. I imagine you are everywhere . closes the door) Breakfast is over. We all get sucked in by the lobby. Stone.J ·1 I CITY OF ANGELS ACT (STONEsays 1 • Scene Z from a file cabinet. not much different than a pretty girl with the clap. At least. then AlAURA enters. Stone'l1 see you now. ): \ STONE: ALAURA: STONE: OOLlE: Why don't you start by telling me if your husband knows you're running around town pretending to be single? What makes you think I'm married? II. L. Maybe two." " (He tears a page off his desk calendar) "Monday. (A moment. ALAURA: STONE OOLlE: STONE: No flies on you. . a body that made the Venus Di Milo look all thumbs! and only the floor kept her legs from going on forever. You want to tell me who you really are. I appreciate your seeing me. (Stashing the bottle): A woman. as:) STONE'S VOICE (Over): (Over): "Three million people in the C. Miss. "The appreciation was all mine. ALAURA: STONE: ALAURA:. I don't know where to begin. As STONEapplies his lighter to it:) Can I be of some help. Everyone is. It's only the smart ones who know it. Stone. Stone. Or. As he looks through the blinds at the street below:) STONE'S VOICE nothing.. a vision all in white) Alaura Villiers. addresses someone offitage) Mr. She had the kind of face a man could hang a dream on. just looks her over.A. Mr.I: . closing the door) (Sitting): I know how busy you must be.ity of Angels according to the last census. if you played your cards right. I've led a life I'd really think you could call dull. j I STONE: ALAURA \1 j. Mr. (Opens the door. Mrs." (AlAURA has taken a cigarette from a case. Some business just walked in. now that we ve established who you're not? I'm in trouble. When you slipped your ring off. What other day works so hard at reminding you not to get your hopes up 'cause it's gonna be corning around again real soon?" (He crumples the page and tosses it into the wastebasket. But that's all on top. I thought so until(As she continues to speak words we do not hear:) 25 24 . easily half of them up to something they don't want the other half to kn<. The door opens and OOLlE enters excitedly.else. truth to tell's. at least. . (Corking the booze) And she's wearing a whole year's salary. Villiers? (Correcting him): Miss Villiers. Just one look and you knew Alaura Villiers was a handful.

(Spoken): Mr. Stone? Are you listening to me? start leveling. Mrs. As AlAURAwrites a check:) 27 STONE: ALAURA: ALAURA This is a very delicate situation. (Spoken): So thanks. is missing.. (He opens the door. The secret. Kingsley. And it would be wiser if I kept my eyes off her thighs. He'll hop to the task. How good a deal? :1 " 11 I' STONE: ALAURA: STONE He's seventy-five. (Re STUlpshot) She was sixteen then. He has that hungry look in his eye. STONE: ALAURA: !l 11 II I " My name is Alaura Kingsley. ALAURA 26 . My husband is a good deal older than I am. or having someone use my ribs for a shoe rack. indicating the interview is over) (Produang her checkbook): Shall we say a hundred dollarsnow. and soon. I know how that must sound. but no thanks all the same. actually. I will.eputations are at stake. Well chosen for effect. if you willI beg your pardon? tender part. Kingsley. you look like a deer caught in my headlights. (Returning it): I don't know if I could stand a better ALAURA STONE. but we're very much in love. ' Each gesture is correct. CITY STONE OF ANGELS ACT I • Scene 2 (Sings): Just watch her dodge the truth like a runaway streetcar. ALAURA: STONE: ALAURA: You won't need it? STONE: STONE: Telling the truth. You get to trust your instincts after awhile ' (As he continues. My daughter. Stepdaughter. We don't share that problem.. From the minute you walked in here. It's not a terribly good picture. Mallory'S disappearance ~as been devastating to my husband. one. Mr. Mrs. soundlesslyt) (Sings): This song and dance of his is most unconvincing. It's as though part of him has gone off somewhere. This role she plays could win her a prize. Mrs. over and above whatever it finally comes to? (STONE closesthe door. . Stone.. Alaura Kipgsley. Some cash'll change his tune. STONE: ALAURk An early developer. every time our eyes meet. I've been around the block enough times to already feel myself getting a blackjack facial somewhere down the line. He needs the work. All the measurements fit? ALAURA: Or this case. l). Let's just say I've been sizi~g you up. I'll say jump and he'll Ask me how high. (Hands him a snapshot)' He's just not the same when she's not around. Mallory. . I .

OOLIE: STONE: OOLlE: She get married while she was in there? Her husband's name slipped her mind.· ' ALAURA: door. I'll che~k with Why'd I get the nod. I guess. Wben he types again:) STONE: ALAURA You're talking "when.1 considerable bonus when you find her. He's seventy-five. OOLIE. handing him MALLORY'S M). at her desk. Mrs. stares at AlAURA'S cbeck in STONE'S hand) book. And I do not believe a word. Miss Oolie. I might be willingly deceived 'Cause I can trust myself around her Even less than I trust her But even so. (We hear the sound of a typewriter and STINE appears. How considerable will surprise you. Kingsley? (Opening the ALAURA OOLIE ALA URA: you. STINE indicates his dissatisfaction and strikes his X key several times. ALAURA My secretary will see you out. Mrs. Between her double talk and all that's unsaid I'd bet the fann that there'll be trouble ahead. 1 saw your name in the phone (They exit his office." I'm thinking "if.. (OOLlE closes the door after her. Her husband's name slipped her mind. (Exiting). STONE and 29 OOLIE: 28 ----------- . . Kingsley. Mr. ALAURA backs into the room. handing him the check): There'll be .CITY OF ANGELS ACT STONE 1 • Scene 2 STONE (Sings): (To ALAURA): "Stone" have a certain ring to it? (ALAURAlaughs) This job is not to be believed. then to STONE): She get married while she was in there? STONE: No special reason.-- ---------------------------- . STONE: (Exiting): (Closes the Good day. (They laugh. ooor) You can't swing a dead cat over your head in ~~ town without hitting a private investigator. photo): STONE: You want to give me your unlisted number !?r do 1 just dial every possible combination? It would be better if you didn't call. It can happen. I need the dough." (Standing. Stone. says her "Good day" backwards. OOLIE ALAURA STONE: ALAURA (Opening the door): (A goodbye): Miss Villiers. Good day. then freeze. STINE thinks a moment. then turns to STONE) (Spoken. OOLIE and STONE speak their last three lines backwards and move in the same fashion to their previouS' positions. enter his outer office. There's probably not much else he slips her. and also freezes. working at his desk.i money's on you. You look like the kind of man who ~an get the job done.

STINE: BUDDY: Get the pages. sings) I buy a book and I get stuck with the author. BUDDY speaks into one of OOLIE: He must've decided to go out with a bang instead of a whimper. . totally unaware of STINE's presence. STINE resumes typing:) ACT I • Scene 3 STONE: Her husband's name slipped her mind.since I've seen two zeros (Another ring interrupts STINE'S typing and OOLIE ~ speech. You buy a rose you're stuck with a thorn.CITY OF ANGELS OOLIE. as others come up on:) his three phones. With a little mustard on some rye. but I couldn't wait. 31 30 . BUDDY: STINE: BUDDY: STINE: BUDDY: Stine? Buddy. And Shakespeare and Dickens were washed up before I was born. Lights remain up on STINE. It's undeniable The guy is pliable. And now you wish you had? STINE: Sweetheart. (STONE hands her AlAURA ~ check) It's been a long time (A phone rings. (Annoyed. Buddy! I just got your first pages. When STINE types again:) . But nothing was ever hurt by being improved. dOLlEstops talking. I was going to read 'em tonight. lifts his receiver) Yes? (Lights doum on STONE and OOLIE. (As STINE looksfor the script pages. I'm your biggest fan. every word is a meal. BUDDY FIDLER ~ BOY polishing his Scene 3 office. An elderly SHOESHINE shoes.next to each other. Let me get the pages. as STlNEstops typing. They freeze. STINE (Having found the pages): Buddy? Shoot. When he resumes:) . I've read a synopsis of every bookyou've ever written. He's seventy-five. STINEstops typing. speak their last three lines backwards and 11tQvein the same fashion to their previous positions.

put him on . Gabby's publisher wants her back mNewYork. into third phone:) It's all in how who does it. (Picking up second phone) Yeah. bring in Stone. Not once in all these weeks. Then. right. (Hanging up second phone. you gotta promise to do me one favor I ~nsist on. We never said the rest of the picture was tlOing to be a flashback.know. BUDDY: STINE: BUDDY:. don't try to make It better. look. It's tired. Donna tell you the car'll pick you up early? I'm screening two pictures. alright. no matter hpw much it hurts me. into first) ~ know the book started with a flashback. STI~E: I'm coming alone.e{~n. y'know what I mean? Those three shii>ts in the dark. Beautiful. We gotta take out four minutes.. Great. I'd take pictures of the pages and save a fortun~ on a~tors. then opening in the hospital. She's a little harder to rewrite than I am. That's all I need. And in the future. picking up third) Henry? Henry. Can't she go tomorrow? I'm showing the new Sturges. when we show Stone wi\th his girl. AiUYway. After we agree on something. Just. Call me when you make the other cuts. you missing her right now.circumcisions to one side. (Into third phone) How much time did that save? (To SHOESHINE BOY) Beautiful. I just didn't expect you to go into business for yourself. Stone being wheeled in. Bobbi. (SHOESHINE BOY laughs. (Into third phone) . do it like we agreed. (Into third phone) e Did you recut the scene where the puppy dies? (To SHOESHINE BOY) Just a little darker. (Into first phone) Hang on." i CITY BUDDY: OF ANGELS ACT I • Scene 3 Alright. never mind it's perfect. Flashbacks are a thing of the past.. babe. ' (To SHOESHINE BOY) That's too dark. the main tides. WIth Oolie answering the phone. back in their early days. I could take ten seconds out pf ''The Minute Waltz. the nightclub singer ~ Bobbi. I Ip. then m comes Alaura Kingsley asking him to look for Mallory. (As STINE pours a whiskey:) Nothing any good's ever hurt by cutting . alright? Open. If I wanted to Just shoot the book. aren't we? (Another of his phones rings) But the book started with a flashback STINE: BUDDY: STINE: BUDDY: Don't go 'way." and nobody'd ever. (Hanging up third phone. so I want to start a little sooner. of course. I gotta be honest. There's dark and there's dark. you know that? (Glancing at STINE's pages) 33 32 . then boom! right into a flashback? Thft's kicked. BUDDY joins in. we're gonna do one later. You re not the same when your wife's not around.

Stine1 Let . tender part.1 )1' . OOLlE) . Though I'm a stranger in This strangest of lands. right? I need the new pages first thing yesterday. Sit with my wife in a crowd As the credits are shown on the screen. And I cannot believe my luck.I want to see some fingers flying. It's gonna be a lotta work And lots of fun And pots of dough. Tell her to haul her fanny back here ~oon. up. . All bark. 1. I've always longed for a chance to be watching A book of my own on the screen. I'm going to open my window . ' (STINE smiles despite himself) Louder! (A laugh from STINE) That's my boy! (Lights down on BUDDY) STINE (Hangs But you can trust a guy who shoots from the hip. Out here. Though Buddy doesn't tend to sugarcoat his comments.. I'm at the literary prime of my life And I'm about to have the time of my life. me hear a smile. [: Ii.1 r 34 i 35 J.CITY OF ANGELS ACT I • Scene 3 It's like part of you's gone off somewhere. . In a frame all alone on the screen It says. I can depend on him to give me some lip. I'm the only one gets to make you unhappy.. Unless I'm easily deceived. The secret. reactlvatzng STONE and " i 1\. .1 !' . He's all right. And meet his demands. j II . This mad adventure I've begun Is unlike anything I know." For making movies out of books They say that Buddy wrote the book. (He resumes typi mg. no bite. "Screenplay by Stine. where nothing's how it looks It's hard to disregard a candid stand-up' guy Who skips the double talk And lets you know exactly what he's thinking about you And I can beat the odds . sings): This job is not to be believed. To look up and see Stone on the screen Would be better than fine.

freezes in the open door. She didn't altogether leave. kid. STONE: Go straight to the bank and cash it.CITY OF ANGELS STONE: OOLIE: ACT I • Scene 4 Young and ripe. She'll get over it. huh? 36 - . t . 37 STONE: OOLIE: STONE OOLIE: Some kind of prime. (As he puts on his hat and coat:) Good looking woman. . Grab it while you can.. We're all that for about thirty secStep-mama didn't. did she? That kind never does. : You only owe me for two.. (He starts to exit. Lights up on:) onds. STONE: Scene 4 RESUME STONE'S STONE OOLIE: DAY STONE: OlITER OFFICE and oOLIEstill stare at ALAURA'S check. (Seeing MALLORYl'snapshot in his ham!) Runaway daughter? If that was you. Take out three weeks pay for yourself. Mrs. What's hel! problem? Her husband got a little something on the side? The man's seventy-five. (Studying the photo): I didn't notice. What's-her-names. OOLlE: STONE: OOLlE: STONE: OOLIE: I noticed how much you didn't..! STONE: OOLIE: Some guys'll crawl out of the grave to cheat.. where would I find you? Probably in front of a mirror. I didn't notice.< "'~~ .

the way I did last time. Buddy does. No one'll have to say anything. you're willing to be as much of a hired hand as Stone is. I want That the studio is the author of the screenplay? That after writing the script you're writing. I can't deny I prefer working face-to-face wi9:1authors who are the authors of their work.. You've got him wrong. I don't want anyone nice. GABBY STINE:· GABBY: STINE: GABBY: STINE: STINE: all. (Taking her arm) I can take care of myself. I can do it even better when you're doing it for me. 1. it's a standard clause.0 1. He got over not being God. my work takes me back. STINE dresses. for five thousand a week.. you know. You really should ask for eight cents a mile. Buddy's disappointed you're not coming to the screening. packs a suitcase. GABBY: And you see him peeing into it. Fifty thousand times three pictures is a hundred and fifty thousand dollars. 39 :i . You see the glass half full. just sticks in my ~raw. I'll know. too. GABBY: STINE: Am I about to be insulted. STINE: STINE: GABBY: Isn't there any way you could do whatever e~iting you have to do out here? (Shrugs): Your work takes you away from horne. it turns ou~ you never wrote it at all? .1· . or has it already happened? That contract. Studio car. STINE: GABBY: GABBY: S~INE: GABBY: He'll get over it. GABBY. Scene 5 STINE l' bedroom at the Garden of Allah. (A car horn offstage) My taxi. you know.. Can I be perfectly honest? Can honesty be imperfect? I don't think you mind going back to New Y~. Five times ten weeks is fifty thousand dollars. Gab. as his wife. If it's good enough for Faulkner an'd Fitzgerald -- STINE GABBY (Embracing her): you STINE: 38 (A beat): I'll know. Gabby. I'm sure there'll be someone nice there you can watch his picture show with.I . your contract. Darling.CITY OF ANGELS GABBY: ACT I • Scene 5 Then it's bad enough for you.Tkat Is there ever a conversation out here where anyone's at a loss for numbers? Do you have any idea what all that money is costing you? He thinks of writers as overpaid typists.

It's something that holds up D~VO times in a row. (A kiss. GABBY. GABBY: OOLlE..: . ii. i s. office. I •.: :' ·1 You are the type of man who looks For understanding lovers OOLIE: ~ ~ . The truth? The truth to you. STINE (Smiles): GABBY: What you don't know about women OOLlE: What you don't know about women BOTH: exits his office. I'd rather you wrote. BOTH: You orily have to open up your mouth to show GABBY: What you don't know OOLlE: 11 If And you don't know BOTH: About women. .CITY STINE: GABBY: OF ANGELS ACT I • Scene 6 Last time was the last time. is whatever works for the moment. then:) alone in STONE's ·. sad to say. . . STONE :f i 1 ..~ ·I I· · ). .'~ . outer GABBY: When are you going to start liking yourself a little more so you can stand for people to like you a little lessl! I'll call. ii STINE: I'll miss you. -. . That's the truth." 'l · I 't But never understands the girl Who lies beneath the covers. . Anything but what you're writing..•. . GABBY: ~.. simultane- ously) Could fill a shelf of books. 40 41 I·: \ 1 III : :. (STINE exits. sing. (Car horn) Scene 6 in ber set.

OOLlE: And heaven knows I know your line. GABBY: You're immature and shortsighted. GABBY: What you don't know about women. GABBY: You think if you can sound sincere Then we'll come running to you. GABBY: You only wink at commitment. : And ev'ry hollow compliment and phrase defines OOLlE: J: And underlines 42 . "* It's not enough to know your line To polish and routine it OOLIE: You think what I don't know will not hurt me. OOLlE: Is what we need to hear. OOLIE: GABBY: What you don't know about women OOLIE: You don't know jack about heartache. GABBY: What you don't know about women BOTH: You're out of sync with your feelings. I've seen it.CITY OF ANGELS BOTH: ACT I • Scene 6 A woman needs to be assured That she remains alluring. BOTH: Throw in some truth for atmosphere But we can see right through you. OOLIE: You're running low on emotion. How long ago did good sense desert me? I don't know w~y I still burn for you. But you don't know how often you do. You're an incurable player. To now and then be reassured Your passion is enduring. Ya gotta mean it. GABBY: What you don't know about women's Only a drop in the ocean Next to what you don't know about me. The whole routine. . . You are in need of A little enlight'ning On ladies and love But you can't see. 43 ') :/ I. GABBY: BOTH: You show a lack of discretion..

'STONE'S PLACE . On studio applause from the radio:) 44 45 . stusies it and tosses it on the bed. He crosses to the stove. it's the "Hour of Powers" . who also answered fan mail for Gem: Autry.a fact I was often too dumb to appreciate. entertainment capitol of the world. in shirt sleeves. someone with half a brow who advertised.CITY OF ANGELS ACT]· Scene 7 What you don't know about women Is fright'ning And you don't know nothin' about me.featuring the song stylings of America's favorite balladeer .ge. 'Income Tax Returns and High Colonies While You Wait. My neighbor on one side was a minister at a pet cemetery. RADIO ANNOUNCER'S the only brightness coming VOICE: From Hollywood and Vine." STONE. appears from his bathroom offst. wiping a dinner plate.n." (STONE takes MALLORY's photo from his jacket. but they named half of everything in L. on the other.Jimmy Powers! (As radio orchestra hits "Stay with Me. (Blackout) ''fj Scene 7 INT.NIGHT A dreary bungalow from the radio. No one I know's got a clue who Beverly was. opens a can of food and empties it into a pot on one of the burners) STONE'S VOICE (Over): "The rent's forty-two-fifty a month at the Beverly Cresta Court. after her.' Life at the Beverly Cresta could be exceedingly dull.A.

knocked off its hinges by BIG SIX. Let's give 'em a little music. Ya gotta look out for yourself. Ya gotta look out for yourself. If you're planning to do good. ANGEL CITY 4'S VOICES (Sing. Lookout. This world ain't pure. And now. STONE: SONNY: STONE: Who sent you guys? Duncan Hines? Big Six here would like a word with ya. Slip the pencil under. but just as menacing) SONNY (To STONE): Ya got a lot to learn about being a host. He talks with his hands.ro011{. How'd ya like it if we slipped you under th. If you follow this format. STONE (Turning. His partner. "Three Guys Named J\~e. behind the door): STONE: Yeah."too. thank you. I'm all ears. Bernie! VOICE (Offstage." "Ya Gotta Look Out for Yourself!" Hit it. 47 STONE (Turns the radio down): (A beat. a wonderful Del DaCosta qp1e I Introduced in my movie. Stone. Look out for yourself! (A knock on STONE's door) MAN'S VOICE (Offstage. Stone? JIMMY Yeah? Special delivery for Mr. On this you can depend. is small. 46 .filteretl): Lookout.? (BIG SIX knocks STONE to the foor) BIG SIX (To SONNY): SONNY: Hope this don't disturb the neighbors. SONNY. then the door crashes into the . It's a rule that's hard and fast. Ya gotta sign for it. the radio set moves across the stage. which is projected in shadows on STONE's ceiling) & MAN'S VOICE: STONE: ANGEL CITY 4 (Sing): MAN'S VOICE: Ya gotta look out for yourself. obscuring the action in the bungalow. You don't wanna be too good. Mr." Or you're gonna finish last. You'll be nobody's doormat.CITY OF ANGELS W ACT SONNY: I • Scene 7 JIMMY'S Thank-you. Ya gotta look out for yourself. friend.:?door? (He dips a finger into the pot and tastes its amtents. Slip it under the door. !h'ink y~u. JIMMY POWERS and ANGEL CITY 4 appear in a radio studio set. You best be sure That you're your own best friend. filtered): Ya don't need 'em. Then be sure it does you good. As STONE is administered a terrible beating by BIG SIX and SONNY. (He turns the radio up. to hit BIG SIX): Is that so . If you're hoping to be first. a mountam of~ man. to STONE) This needs salt. Then ya better think "Me first. Then.

Mr. that part started falling. to the barely conscious STONE): Lemme give you a message.. She got a radio? No. (He exits. letting STONE's head collapse) How 'bout a cuppa joe? Gotta get somepin' for my girl's birthday. Stone: Drop the Kingsley case. or next time we'll have to get rough. (As music continues:) SONNY and the race began to see which part could hit bottom first . When you're in danger you can count on me to sll. Sorry we kept ya from your dinner.outLook out for yourself. " (As STONE'S voice fades. y'unnerstan'? Drop it... Here. the radio free of the wall.. 49 48 . (To BIG SIX. Fade out on STONE) (Spoken. BIG SIX: SONNY: BIG SIX: SONNY: BIG SIX (Pleased): Yeah. (Yanking STONE). Then. SONNY collects his coat and hat and exits. BUDDY's takes over. hringhzg the music and the sight of JIMMY POWERS and the ANGEL CITY 4 to an abrupt end.CITY OF ANGELS ACT I • Scene 7 Ya know the score when you adore yourself.head back by his hair) It needs more salt.d 'been h~t by a wrecking ball wearing a pinkie ring. singing a few bars of "Ya Gotta Look Out for Yourself" As lights dim on the crumpled STONE:) VOICE STONE'S (Over): "It was as though I. SONNY tosses the radio to BIG SIX) (SONNY yanks \. too. fall. An' rake my word for it .. Some part of ~le that still seemed to be functioning was watching the other part of me that wasn't. Give 'er this.

we'll fix. DONNA: is read- BUDDY: ing screenplay pages aloud to GILBERT. Somehow I was getting the idea that this was God's way of punishing me for having a hundred dollars all at once. It'll photograph even longer. Words. GILBERT: See you tomorrow. no. I just got the pages where Stone gets beat up. but first. These are to love. Donna! Waiting is expensive. STINE: BUDDY: STINE: BUDDY: Here would be even better. that's all they know. They're faces ten feet high. (Looking in mirror) (To affectionately) BUDDY (Engrossed in pages): DONNA: BUDDY: Scene 8 BUDDY's office. (He exits. 51 . Fidler. his barber.ACT CITY OF ANGELS DONNA: I • Scene 8 Carla. Beautiful. . (DONNA enters OOLlE) Took me long enough to teach you. words. you want new words? You can tell a writer every time. Movies are shadows.. as STINE • GILBERT: enters) BUDDY: GILBERT: STINE: BUDDY: Knock. Sometimes we [us] turn the camera on. you can finish it. Mr. they're dark. Who? Your wife. It's about right. The man's an artist. Paint me scenes. fect. They're light. then .•. Who'vii I got for lunch? 50 No. knock? BUDDY: The man of my dreams. There're too many words now. Everybody's in a movie. I'm not in a movie. BUDDY: " . They're per(Laughs) the same actress who plays STINE: BUDDY: DONNA: BUDDY: He's on his way. BUDDY. having a haircut. words. That dress is Ijalf an inch too long. GILBERT. What is it. (Looking at pages) DONNA: BUDDY: Can't I finish the script before we fix it? Sure. One or two dozen? Whichever's more." Is that supposed to be funny? Half-and-half. Give me pictures. You like 'em? Like is for pishers. This could take awhile. But we'll fix 'em. Cancel her. no.

Essent'lly they hand you the plot. I Now we're at the stage Where I bring them to life on the screen. (Beat) You'll get it. And so I'm the heir to their skill. baby. Ya grow from Von Stroheim. 'Cause ev'rything goes for the visual. Scott. Still a lot of scribblers Soon discover what they write for the screen Isn't always right for the screen. A mensch just like Benchley. I respect yer craft. STINE: BUDDY: I've got twelve nominations. and they don't know how. Authors unprepared to take A stab at this collab'rative art Must suppress their egos and part With the notion that in motion pictures Words are carved in marble. right? When Buddy Fidler talks. (Sings) You're a literary great Who should've won a Pulitzer prize. a holein-one their first time at bat. you'll see.. nobody geut. Don't balk. I /1 zipped through your book I And the characters jumped to life on the page. I ~:lean. be like Faulkner.?. Ya learn from Von Sternberg. Sweetheart. Donna. For writers I liked 'em a lot. Nine cars and three ex-wives to show That in this business of refuse and nephews Lknow my stuff. . Such as this second rate second draft. But spare me a sec and You'll spare us the drek. This town has more nuts than Brazil Let's face it. 'The book may be yours. I would never cannibalize Or impair a single hair or phrase Of your amazing opus. You send in the pros for the visual. And I have a nose for the visual. you're not listl(ning to someone else. a half dozen Oscars. There's peoplema\~e a fortune writing movies. Stine. Remember how many a picture is worth. everybody and his brother writes book. darling. . \ The odds are a thousand to one so get used to it. I have an engagement to speak At the Writers Guild. Stine. So I intervene. I've been through DeMille. I'm not gonna give you a lecture 'Cause. but a screenplay . / That's a ballgame of a different color. I used to get plotzed with F. no offense.CITY OF ANGELS ACT I • Scene 8 Close-up of him! Close-up of her! Cut to close-u~Jof ~~band watching close-up of her watching close-up of him. 53 52 . trust me the movie is mine. Don't cling to the words to which you gave birth. get this on a pad And type it up for next week.. You don't need much prose for the visual.

. It's Manny Munoz . PASCO. enters from the bathroom and slowly pours the contents of a water glass on STONE:r bloodied.. bringing him aroun(l) Stone? You alright? STONE: How'd you get in here? Not too tough . lATER offMUNOZ: still unamscous.. to DONNA. a uniformed policeman. (A glance at STONE) Right.CITY OF ANGELS ACT I • Scene 9 You wouldn't want to upset Buddy This is advice not a threat. 55 . a plainclothes detective. MUNOZ: 54 . Can I tell him anything for you? . You got a warrant? MUNOZ: Don't need one when the peace gets this disturbed. lies atop his bed.. Who did it? Rearrange your furniture. sweetheart? .face. buddy But see how tough things can get. his script pages in hand) S1ThjE Scene 9 INf. MUNOZ.. So. muchacha.when there's no door. (He hangs up. (Spoken. buddy. Next! (Blackout) Oolie? What do you say. too. nobody says nOI Buddy. as his assistant. buddy When things get rough it can get bloody Baby. Thanks.. you better concede Let Buddy be Buddy Pure Buddy And he'll be your buddy The buddy you need. having waltzed stage. Looks to me like he's out right now.. STONE'S PLACE STONE. His ringing phone is anstuered by LT. I love you.

Lieutenant." (Beat) "Bobbi. What old kind of thing would that q~? I forget. I forget. In just your bungalow? Nature's funny. I~ . You're gonna need stitches. (Over): cMunoz was right.. (Applying a kitchen tQWe/ to his wounds): Tak!~ your dog for a walk. Gambling'S illegal. Lieutenant. (To PASCO) Ten years I kn?W this guy. amigo. There s never been a dame couldn't twist him around her finger from a block away. maybe. too. I hope. I don't want him messipg my carpet. We pounded the same beat together." (Her name still hurts) "\Vh?ever said 'Time heals all wounds' never knew an _ one hke Bobbi. MUNOZ and PASCOstart to leave. I got lucky on a quiz show. in the picture. six-to-five there's ~ dame 57 MUNOZ: 56 . Must've been an earthquake. Beginning with Bobbi. too? Neighbors said the lvhole place shook. A lot. Shorthand for trouble. (Harlding MUNOZMALLORY'sphoto): STONE: MUNOZ: STONE: MUNOZ: STONE: MUNOZ: STONE: MUNOZ: MUNOZ (Smiling at photo): More like even money. Me and dames. ." y STONE: MUNOZ: STONE: MUNOZ: STONE: PASCO: STONE With a rusty needle. I.CITY OF ANGELS ACT I • Scene 9 STONE: MUNOZ: Interior decorator. Which one of you stole my radio? What case you working on? Who says I am? I see groceries. Makes my mouth water. Whatever you're up to. STONE: PASCO He do your face. The jl4shback effect begins) STONE'S VOICE How'd you like to win thirty days in the c~n for not answering? (As STONE rooks at his beat-up reflection in the side of his toaster:) Routine job. Same old kind of thing. (Loughing.

(Slipping a ring on her finger) Not a word.is us.. BOBBI: STONE: BOBBI: At any time Or place I close my eyes and see your face And I'm Embracing you. (The small CROWD applauds.. the Blue Note proudly presents the sultry song styIinfIs of Miss Bobbi Edwards. Can't you just see me? All I can see (BOBBI BOBBI (Sings): There's not a morning that I open up my eyes And find I didn't dream of you." (As they dance:) Sweetheart. If only I believed that dreams come true. MUNOZ takes a stool at the bar. Jilteretf): Ladies and gentlem'. 58 STONE: BOBBI: STONE: BOBBI all I want to see .a. you know I can't. as young police officers. STONE: Do it engaged. They'd have to make a million movies a year to get in everybody wants to be a star. STONE takes BOBBI's hantf) STONE BOBBI: COCKTAILLOUNGE-HIGHI' (Spoken): Bobbi . enter. Irwin S. I've been going on Knowing that my heart will break 59 . THE BLUENOTE-A /MAN'S I ~. Soon as I awake Thoughts of you arise With ev'ry breath I take.the same actress who plays GABBY) VOICE I've still got half a chorus to do. (STONE and MUNOZ. Irving's coming by next Monday. You were the one who said forever from the start And I've been drifting since you've gone.lonely sea that only you can chart. My chance to be somebody. Out on a lonely sea that only you can chart. I figured you for that already. though it's never a surprise.CITY OF ANGELS ACT I • Scene 10 Scene 10 INT. Come on. Not yet. There's nobody bigger in the business. I've been going on Knowing that my heart will break With ev'ry breath I take. If he likes me. Darling. it could be my chance. babe. Out on. Music continuing. Only "yes. returns to the mike) (Sings): You were the one who said forever from the start And I've been drifting since you've gone. (Over.:n. Without a warning. The sultry singer is BOBBI .

" (He turns on the light. (No response) Bobbi! (It's locked) Open up. sees a man's empty trouser leg on the floor.the same actor who plays BUDDY FIDLER .instantly panicked at being caught in the act with a scantily-clad BOBBI) Who is this crazy maniac? (Quickly) 61 IRWIN: 60 . And she knew it.ANOTHER NIGIIT Lights up on dressing room door as STONE enters. the balance of the trousers behind the curtain that is drawn on the room's bed. (PATRONS applaud. He pulls the curtain aside. THE BLUE NOTE BACKSTAGE . l"'be lights fade) Scene 11 FADE IN: INT. enters the dark room) STONE'S VOICE (Over): "If there really is someplace called Hell. BOBBI b07DSand exits." STONE (Knocks on the door): Bobbi. God damn it! Open it! (He shoulders the door open. IRVING . STONE'S VOICE (Over): "Monday nights I was usually too busy to drop by to see Bobbi. to reveal mWIN S.CITY OF ANGELS A CT I • Scene 11 With ev'ry breath I take. the calendar's nothing but Monday's.

Good. it's going pretty well. I just finished Scene 17.. BOBBIscreams. I wanted to break the fall. (As he hangs up. STINE: DONNA: STINE: DONNA: Oh? He doesn't like Irwin S. As bodies collide against the make-up table. Irving a son-of-a-bitch to his face! You know how much I gave to charity last year? This is how you get in the movies? He bring his own casting couch with him? My left pocket! There's thousands in there! Take it all! This never happened! (STONE points the gun at him. A cry of VOICE: I don't mean to interrupt. What do you think of this scene? A new one. no. The flashback of the shooting in Bobbi's dressing room. Gab. Blackout) him the pages): Buddy's been re-reading the new pages.. Buddy's teaching me to write with guns instead of words. 63 62 i I: It I I i . no. I1J the darkness:) IRWIN'S No. Starts with a close-up of a writer missing his wife. all the lights go off. This morning he was in love with it. I'll print it. with script pages) Donna. Okay to cut to a close-up of her missing him? . DONNA enters. Talk to you tomorrow. Irving getting shot.drawing his gun): IRWIN (Indicating his pants): Scene 12 STINE's office. Then what good are you? STINE (Smiling): DONNA (Handing pain from IRWIN. It's fine. I guess. he just wants to fix it.\ CITY OF ANGELS ACT I • Scene 12 Don't call the police! STONE: IRWIN: I am the police. One for the rule of thumb department: love is also something you fall out of. you son-of-a-bitch! No one calls Irwin S. him further) How would you like to be in my next picture? STONE (Ready to hit him): Why you No! Don't! BOBBI (Trying to restrain STONE): (There is a three-way scuffle. frightening STINE (On the phone): STONE (To BOBBY. (As STINE crumples the pages into a ball) I don't think the scene's dead. you know! Stop! For God's sake/ stop him! (Two gunshots are heard. DONNA: Are you nuts?! You're not trying tojhoot just anyone here.

smiling): Donna might be." (A public phone booth comes on. Downtown L. Day. reads what's in his typewriter) (STINE. Exterior. Oolie wipes the receiver with the sleeve of her dress and places a cal1. Kingsley. as the MAN exits) "Cut to close-up of Oolie in mid-conversation. Kingsley's not just any old Mrs.. Irving. waits at the booth) "As the creepy caller slithers off.. STINE: "Scene 18. a MAN on -tbe phone) "Medium shot of a public phone booth at the cOiiner of Sunset and Anywhere. Oolie ·enters!t' 65 64 . Stone? (He has hung up. Looks like Mrs. (He tossesher the ball) Thanks for breaking the fall. It doesn't get much more Pasadena than that.. a rather smudged carbon copy (~fa human being. ~ (He tossesher the balled paper) You're wicked.A. The pay phone goes off. you ever want to get in touch with Mrs. just try the top of Paso Robles Drive. I'm getting that funny feeling I get mmy bones." OOLIE (On DONNA: STINE: DONNA: STINE: DONNA Just trying to be the best Oolie I can. I know. (As she starts to go oncemore:) Either of you ladies free for dinner tonight? the phone): My teller friend at the bank recognized her signature.. Listen. (DONNA puts DONNA: STINE: enters. right where it overlooks Arroyo Seco Canyon . You see any of you in Oolie's character?' Me? Never! I rest my case. He has to recognize hi~lSelf in Irwin S." (OOLIE doesjust that. pleased. CITY STINE: OF ANGELS (OOLIE ACT I • Scene 12 Funny. how he can keep doing this to people without taking his pants down. He told me who she was. sits. People never see themselves as others writ~ them. After establishing. huh? Be careful. he was so grateful to finally get a check from you that wouldn't hit the ceiling if he dropped it. as he tries to set the record for a nickel'~iworth of heavy breathing. The camera intrudes on on~ of the city's slimier angels. The terrace of the [(jngsley mansion appears) (Exiting. when people want to start breaking yours .. Ki~~sley.. the ball of paper on his desk and starts to go) Donna. Overcast.

also dressed for tennis. Stone. (MARGARET. Kingsley. 20-ish. A beat. I keep breaking the lamps. THE KINGSLEY MANSION . Stone. Peter. PETER: ALAURA: (Handing her casb) That's your deposit. Mr. PETER KINGSLEY.CITY OF ANGELS ACT I • Scene 13 what that's like. Peter Kingsley. let me think. Stone.TERRACE . Just to tell you I don't want yours. You think everything's alright? I think you might just better finish my kne6" Peter. . Stone? Oh? Thank you. Mrs. STONE (Observing the oiling): them. 'Why don't you warm up on the court and get ready for me? (In leaving): Mr. I don't want to hurt you. darling. PETER (Wiping his oily hand): ALAURA: ALAURA: PETER: ALAURA: We have to talk. Kingsley. minus twenty-five 67 I 66 . there's a Mr. Margaret. Scene 13 EXT. this is I'm afraid I'm a bit messy. Deeper. another on the bridge of his nose) Mr. .' and try acting natural . you just let me handle Mr. in tennis togs. Stone. I don't suppose you'd know why two trained apes showed up at my place last night to give me a crash course in bleeding? ALAURA: STONE: I'll make a list for you later. . Is there something I don't know? I didn't expect to see you so soon. then STONE enters. Higher. Mrs. but how much more warming up you figure he needs? You don't play? Too hard at my place. Stone. (MARGARET exits) ALAURA: STONE: ALAURA: PETER: Stone? Here? So fast? Has there been some kind of change? Peter. enjoys the job of oiling her bare legs.enters) (To ALAURA): I don't know much about tennis. (She lifts her leg for oiling. What a pleasant treat. a strip of adhesive over one eye. This seems to be your day for ALAURA: This is my stepson. King- STONE: ALAURA: PETER: ALAURA: sley. I'll see him here. reclines on a chaise. Any leads on Mallory? Isn't that what you call them? I'm not here to teach you my business. Don't be a killjoy.\ ! I MARGARET: ALAURA: Mrs.if you can somehow remember Your faceIt'll live. In th~ meantime.DAY ALAURA KINGSLEY. darling. Mr. PETER STONE a maid.

. Infantile paralysis is tragic only to those who view it as a disease.' Half the planes and tanks in World War Two were built by Luther Kingsley. I'm afraid you really can't quit. for he is encased in an iron lung. Stone. THE KINGSLEY SOLARIUM . The truth! The truth to people like ypu.-r=r:': CITY OF ANGELS ACT I • Scene 14 dollars. We've done a lot of good. ' That'll be news to my logic. Alaura. Wheeling in the shiny cylinder is the impressive figure of DR. (Kissing LUTHER's brow): You look wonderful. please. s~~mething that can hold up two times in a row. Luther Kingsley hadn't been seen in public for years. Luther Kingsley is my traveling companion. Stone. Mrs.' Like she was leading me to Men's Sportswear." (As they make far the s'!larium) "Luther Kingsley. <. Mandril is my husband's spiritual therapist. It was a treat se<ting your home. I say the man. (Arms held high. That's the truth. darling.. hard work this morning. ALAURA: STONE: I don't understand. Kingsley. this is Mr. whose face is rejlected ' in a large mirror atop his life-sustaining machine. he turned his back on it. There weren't too many stray millions jihe man didn't own. Only my friends beat me up for nothing. It'll save me a trip to England. chants): Ommmm . Mr.' Scene 14 INT. haven't we. ALAURA walks to LUTHER. Mr. sir? I'm told it's your patient I'm supposed to talk to. Dr. ' You're not out on the street now. : VOICE (Over): "'This way. MANDRIL. I see it as but one of the many steps possible in the journey to the center of all truth. please. which is all we see of him. The choice isn't yours. sir. Luther? Doctor Mandril. 'The Widow Maker. IPnce he owned the world. EaiIYcome. Why would anyone pot want Mallory found? I have no idea. The doors of the room open for the entrance of LUTHER KINGSLEY. 69 ALAJ. MANDRIL: My husband is not known for taking no fpr an an-: swer. is whatever works for the moment.DAY ALAURA: STONE: Give me five seconds. ALAURA: MANDRIL: STONE: MANDRIL: Luther Kingsley is not my patient. I'm keeping a day's pay for the poundipg.lRA: MANDRIL 68 . May I be of some service to you. Stone. who bas the head of a lion. We are all cosmic voyagers. He was more a shado'\f. ~~~I~~ ~ Not too strenuous a visit. This way. ALAURA ALAURA: STONE: ALAURA: STONE'S A sun-filled solarium.

but there are some very long fingers in there. don't let me keep you. ALAURA: Shall we say the ball is in your court? 7J 70 .. (Sings) You seem at home on the court. (She takes the cigarette from his lips and takes a drag) ALAURA STONE: ALA URA: Nasty habit. Even with the one eye tbey didn't close. My hidden talents abound. Let's say that I've played around. (She returns the cigarette to his lips) LUTHER: MANDRIL: STONE: Well. A competitor hasn't been found to defeat me. yO'~ will be finished in this state. . Fantasy even less. STONE: I'll bet you're a real good sport. Kingsley. Kingsley's that was the best figure in the room. (In a labored whisper): STONE'S STONE (As MANDRIL wheels LUTHER off:) STONE: LUTHER "Ten thousand dollars. I could see their point. No dice. ~ngsley does not appreciate your possible jeopu~y. We trust that won't take too much thinking about. Skepticism cures nothing.. Stone. Kingsley will see to it that your investigator's license is held over a very slow flame at City Hall. . Kingsley. let me say this straight to your mirror. Only kind to have. (To ALAURA): When was the last time you didn't get your way? (Smiles): You'll be the first to know. Stone! If you do not agree to find Mallory" Mr. Kingsley insists you reconsider. sir. ALAURA: MANDRIL: Mr. Next to Mrs. you don't look like the sort. Mandril! Mr. Fingers that can reach wherever you go. . Mr. (Reminding her) STONE: LUTHER: Mr." VOICE (Over): Stone! Find Mallory! ~ STONE: Mr. last night two of nature's nastier mistakes tried out their recipe for face pudding on Ip. Mr.e so that I'd understand that the whereabouts of your daughter was no business of mine. STONE: STONE: MANDRIL: Well. ".CITY OF ANGELS ACT / • Scene J4 STONE: MANDRIL: Muscles for the soul.' Mandril! Your tennis game. Lest you ieel Mr. ALAURA: You can't see them. Kingsley spoke to you of a bonus? That figurp is ten thousand dollars. Stone(Re iron lung) . I've given your deposit back to your wife. Mrs. The country's got one or two more.

STONE: J/ They're both O. STONE: I like to work up a sweat. CITY OF ANGELS ALAURA: ACT I • Scene 14 STONE: I bet you like to play rough. let's don't dilly dally. I'm not in your league. BOTH: ALAURA: Wait till our match is through. ALAURA: But you can hack it. You leave me breathless. STONE: And raise the stakes a bit more. too. 73 72 . ALAURA: STONE: On grass or clay And ev'ry day. ALAURA: I may lack form and finesse. ALAURA: One thing I'm positive of It's time for someone to score. running short. STONE: I'm good for more than one set. I think love is a bore. He's too easily winded. ALAURA: And you just can't get enough.K. STONE: Shall we say the ball is in your court? ALAURA: Let's give the tempo a shove. ALAURA: I···. . STONE: I think I understand your racquet. But I'll warm up in a jiff. STONE: This game commences with love. But timeIs. ALAURA: It's not exciting unless The competition is stiff.~ ------- . ALAURA: No one euer plays with me. Tell me how you like to play. STONE: My husband never plays with me. But I promise I'll show no regret If you beat me. Darling.1\ BOTH: WeJ1. BOTH: I thought your next of kin did. .· My backhand is clearly my forte.

by going right to the bottom of the barrel.DAY STONE (Spoken): ALAURA: It looks like one of us is leaving. rich girls can't walt to find anything worse. Go on a fishin' Expedition. With ten thousand and one new reasons to look for Mallory Kingsley. (Sings) STONE'S STONE: ALAURA: Shall we say the ball is in your court? (Blackout) VOICE (Over): "One more for the rule of thumb department: poor girls run away fro~ home looking for something better. The incentives never stop. •J i 74 7S . I started at the top. I'm saving the best for last. enter and sing:) ANGEL CITY 4: On the loose and So elusive. dressed as low-lifts. She's where you would least expect. Girls don't vanish in thin air . You won't find her till you've checked Ev'ry avenue.CITY OF ANGELS ACT I • Scene 15 STONE: Ready for a rousing rally." (ANGEL CITY 4. BOTH: Shall we say the ball is in your court? (The BUlLER appears to hand STONE his hat) EXT. Go over the whole darn town. I ~fot the impression I was being asked to stay. After you find Mallory. Ev'rybody's gotta be somewhere. Scene 15 THE SEARCH . Like a diamond In a coal mine. Try to track her down.i .

: ~I BARITONE: You're warm and getting warmer." ANGEL CITY TENOR: Dig deep and keep on diggin'. nONE: " Where I wonder am I gonna find this chick? It:~' quite a blunder to underestimate her. She's a stye mi-t. She's a needle in haystack heaven. Then ya better look high and low. Gotta play the old game.guys • Yours would be hard to forget I regret to say She's .know how many women I see each day Beneathinnumerabfe . It's a little like tic tac toe. . Let the scuttlebutt cross your mind. Turn the heat up.'1 . -. CITY I OF ANGELS ANGEL CITY 4: ACT I • Scene 15 Ev'rybody's gotta be somewhere. sTq~E: Stay right on her trail. '. ANGEL CITY ALTO & . STONE: ii i' You don t. am I gonna find this chick? It's quite ablunder to underestimate her. Keep an open ear and Trust your gut. She look farni. But where? Where? Where? Where? Take a little looksee Nose around.one I never laid my eyes on. Ev'rybody'sgotta be somewhere.. Wher~if\ronder.I. t. If you're out of innuendo 'round the bend Are hints you've yet to find. STONE: Don't be so low keyed. Girls don't vanish in thin air. ANGEL CITY SOPRANO: . 76 77 . Use a little intuition if you wish Your mission to pan out. Then ya gotta look right.heeye of a private dick. STONE: Where's that dame? -.~ere's she gone to? She's a flame Thatyou're drawn to. First ya gotta look left. Start followin' ev'ry lead. I.' i: 1. ANGEL CITY ALTO: This tomato is a hot potato. There's an underground crowd to scout. STONE: She's the Holy Grail. Gotta run around town. Don't put your feet up.l1ar? ANGEL CIT~ PORNO :yE~DOR: This case is a "beaut.' You're in hot pursuit.

STONE: . You're wise to scrutinize us. US Try to track her down..- . . (STONE has no success finding MALLORY) i: . for broads like this you came To the right place. Ev'rybody's gotta be somewhere ..- -_ ..She look familiar? " ANGEL CITY MADAM: Ev'rybody's gotta be somewhere. It hardly seems at random. . ANGEL CITY 4: And it's your lucky day to stumble on You're quite a masterful detective. I ' Where's that dame? Where's she gone. We'll search for clues in tandem. Girls don't vanish in thin air.. _.CITY OF ANGELS ACTI- Scene 15 She's a stye in the eye of a private dick.? ANGEL CITY "B" GIRLS: You'll find us a plus. Your missing miss is not the type To miss a misdemeanor. but 78 79 ":~~' . you're flying blind.. Go over the whole town. Why-doncha why-doncha why-doncha Let me choose-a change of pace.. So take off your shoes. Though I've never seen her. 'We won't refuse. ---.. Better have hope and both eyes open Ev'rybody's gotta be somewhere. __ . She's lying low. I've seen girls like this so young and ripe.'-. __ .

here I am On the lam. then.. until STONE enters. (Lights fade.. it was time to hit the sack. Scene 16 INT.CITY OF ANGELS MALLORY: STONE: ACT 1 • Scene 16 Surprised? How'd you know it was my birthday? MALLORY (Sings): Mr. Why don't you call my bluff? Don't resist. you've been looking too hard. Searching for Mallory. As he hangs up his coat and hat and drapes bis jacket and holstered gun on a chair: STONE'S VOICE (Over): "The one advantage to livin:p alone was you never had to lie to anyone about what a gneat day you'd had. You've been assigned to find out where I've been And now you've found me in your bed. as MALLORYstarts to untie his tie) 81 STONE: MALLORY: Hold it! Hi! ANGEL CITY 4 (Reappearing off to one side.No one there. Looking for Mallory Kingsley was a~0'lt as refreshing as a quick dip in a cesspool. Pleasing thighs. Ar~dfor a missing girl. sing): Everybody's gotta be somewhere! (Blackout on ANGEL CITY 4." . And though my daddy said to turn me in. 80 . You've earned your salary. shad<rwy. Easy on Private eyes.. But you can claim me At the-lost and found. You'll never tame me. For now. Lost and found. sometimes the s~ck hits you. We could raise hell a bit." (He draws his gun. Why don't I turn you on instead? Teasing lips. (STONE covers her with the sheet and turns on the lights) Dark. H you're not celibate. Wanna play lost and found? Well. there was not a whole lot missing. Detective." (After a sudden movement under the bed sheet:) "Living in earthquake country. As STONE looks down at MALLORY:) STONE'S VOICE (Over): "It was Mallory Kingsley.NIGIIT You should have started looking in your own back yard. And Just as rewarding. whips the sheet aside to reveal a naked. STONE'S PLACE. cheerful MALLORYKINGSLEY) j' Lost and found. You won't know what you've missed .

DONNA: STINE: r: . ~. My phone reaches there. I'm nowhere as smart as they are. They're one more thing to hqld I noticed a few in the closet. I've got to call New York. (On reflection) Strange phrase in this context. STINE: DONNA: DONNA: STINE: I just put down what my characters tell me. (Lights fade. don't you? I do. """ (Beat) You could spend the night.. STINE: DONNA: STINE: I hate lying in front of an audience.' Then how do you explain being here? ~. Their lovemaking over. '" 82 . . I love men's ties. You wrote it. as we resume:) Consolation prizes. (He is ready to go) Which one of them's telling you to leave? Stone. STINE: DONNA: (/(jsses her brow) He's got a streak of morality that somehow eludes me. DONNA finishes tying STINE ~ tie. you know that. . I guess. Thank you. CITY I OF ANGELS ACT DONNA: STINE: I • Scene 17 Right. Trophies? DONNA: STINE: on to. I've got sOliL'~e work to do anyway. i Hate doing my tie alone. Or at least withqut someone I care about. Scene 17 DONNA'S bedroom. DONNA: STINE: ~. What's your line? "Some guys'll crawl out of the grave to cheat?" It's Oolie's. You love your wife. ' 83 .

He just doesn't know how good. MALLORYpicks up hIS revolver and TUns out the open door and disappears in the opposite direction. you level. He won't care. As flashback effect begins:) U: 85 . Stone. IJ!! wants to know what the score is all the time. STONE MALLORY: STONE: (Resisting her): So you got your stepmother to set up the disappearance scam. I do very well here. the door flieS open. Blackmail? STONE: 84 Peter's very' thorough. just 'cause he looks like a hot dog on a roll. Mr.NIGHT MALLORY.. still in her luctant ~ONE 's tie. My brother. (Stopping her): Level? First. STONE bed sheet. too. I don't remember you coming back with these sheets from the laundry. I love how they came out. and I worked it a11out. then disappears into the nigh~. And where exac~ly do I tell Daddy I found you? MALLORY: Oh. Then why does baby have to go through all this for what has to be petty cash in your family? MALLORY: Don't let Luther Kingsley's condition fool you. A couple of other people. Scene 18 RESUME STONE'S PlACE . STONE dashes out after him. Sort of mixed doubles. said he found out you were real smart. Manuela took some pictures. It's simple. We all kind of had a thing together. just me. I can't tell him why I need the money. I want half Vf whatever Daddy's paying you to find me. haven't I? How many other lost people have turned up ixf your bed? Until tonight. a MAN steps into the room and takes a flash picture of them. no. Do you really know how to handle yourself. And how come I got invited to the party? MALLORY: STONE: MALLORY: STONE: MALLORY: STONE: Tijuana. Peter. (Getting physical again) He thinks I'm a good girl.CITY OF ANGELS MALLORY: STONE: MALLORY: ACTl· Scene 18 How did you guess? This is my room. but I don't think Daddy would. her body atop his. I kind of had a thing with my tennis teacher last year. Mr. ith STONE at his most compromised. Alaura thinks I really did run away. that you knew how to handle yourself. He checked around. About why you're here. lust as long as baby's back. . STONE returns to find her gone. is untying t! re. Frisco. Stone? (She forces him onto the bed. I've earned it. too. then discovers that his gun is gone. hears a car's tires squealing away offstage.

Mahoney. HARLAN YAMATO. Speaking into the wall pay phone is MAHONEY. THE CflY MORGUE. long flashback?" Scene 19 INT. " ' •." It goes out as the official studio release. .. An?ther ~.. an obvious heart attack. Irving .. GAINES Not when they go with their pants down.NIGHT . " YAMATO (To GAINES): One bullet entered between the third and fourth ribs.. babe.n. AIl (He hangs up) (Signing a document): I've seen pigs die better..... wheels in the body OffRWIN S. Will I ever learn? Will I ever forget? Is my life gOl~g to be one. :The second bullet shattered the right kidney. Take this down.~ _. City morgue. The Coroner. fRV1NG on alfUrney. in all.. Irwin S. Movieland and filmgoers the world over mourn today the sudden passing ill his sleep of industry pioneer and celluloid giant.1• CITY r OF ANGELS ACT I • Scene 19 / STONE'S VOICE (Over): "Another dame. Hollywood. California. ':July 17. Also present: Commissioner of Police GAINES. then penetrated the thorax .. MAHONEY: "Death came peacefully to the motion picture mogul and philanthropist extraordinaire . YAMATO: . a studio press agent. 86 87 . MAHONEY: .

Starting this minute. (STONE. First. then. STONE (To BOBBI): It's alright. This happens to me. not with my breath on your neck. then MUNOZ. A beat. stepping back from him) Forget me. appears) There're no God damn lumps for gringos. A beat. There's not one mirror you're not going to see me in. you're not going to need a scarf at night. 'With the body of IRWIN S. I'm moving inside you. babe. (He exits. you son-of-a-bitch. enters behind STONE) (BOBBI exits. I was ready to take my lumps. now. leaving STONE alone.body on the gurney) My chance to be somebody. enters. filled 'With guilt and remorse. And you had it all. Somebody I can't stand to be. A beat. STONE: MUNOZ: BOBBI: Unless you were there when it didn't. Kicked off the force. they'd fry me for jaywalking. you stole the land. Jesus. sweetheart. That better be the cleanest nose in town. Everything's smooth for you milky bastards. in his policeman's uniform. I didn't ask for this. You finished? Not till you are. Getting away with murder. The more you've got. YAMATO and MAHONEY exit. then MUNOZ goes off. GAINES exits. re. Fade out) Other memories? (A rueful glance at IRVING). as GAINES crosses to STONE. 'Who surrenders his police badge and his gun belt to him. Other jobs. the more there is to throwaway. Heads or tails. No one'll ever know. then BOBBI. Maybe you could get 'em to put in a loveseat. be yellow. Only the gurney. Time. That don't even muss your hair. amigo. STONE: BOBBI: You people don't have to ask.. (Faces al11UJSt wuchi'ng) Give me one more chance and I'll personally strap you into the gas chamber chair.CITY OF ANGELS ACTI· MUNOZ: Scene 19 GAINES (Calls off): Stone. as long as the heads are blonde. you're murdering the law. STONE: MUNOZ: STONE: BOBBI: That's one thing I've had enough of. You want lumps? Be brown. mains on stage. The right color skin. It comes with being in the club. 'cause I'll bust you for a bad haircut. It never happened. 89 88 . IRVING on it. The minute I die. Bobbi. be black. minus the adhesive and 'Wearing his policeman ~ uniform. The badge. Give it time. STONE: STONE: MUNOZ: STONE: You're getting away with it. you always win. (She gives him a kiss filled 'With longing and despair. they hang me by my clockweights. (Beat) What now? There're other towns.

They give us money. BUDDY: STINE: BUDDY: r:.. BUDDY giving her bottom a farewell pat) Scene 20 BUDDY on a massage table that served as the gurney for IRWIN S.:rwin S.. holding a revolver and firing one shot at the horrified MANDRIL. her other hand is seen. I want you to. you can establish whatever you want about Munoz there. no . . I've already seen. Give the audience a little credit.. .. IRVING in the previous scene. i . Movies is a cash business. overlooking the canyon. (Arms cutstretcbed. that showing morgue scenes is showing exactly one too many morgue scenes. this movie. (Beat) Stine. I mean. Think. reading the book..' " I' 1 I . "Be a hack?" You can write whatever the hell comes into your head. I saw the whole movie from bkginning to end. STINE: Forget about credit. Lights fade on MANDRIL. Fine. ANNA is massaging him. Mr. you know. ~ccidents do happen. • CITY OF ANGELS ACT I • Scene 20 that first morgue scene isn't in it. Irving's death. It'll be too confusing. You've come to me . and I'm telling you. right? Just believe me. Fidler. didn't we? Didn't we agree I was right. and *0 BUDDY STINE: . okay? ANNA: See you tomorrow. (Wincing. (A woman's bare arm appears. BUDDY STINE: But doing two morgue scenes let me establish Munoz's anger at Stone getting away with Irwin S. . to ANNA) Ow! Jesus.as I knew one day you would.. fine.. Irving in the morgue scene? ~ Am I married to everything we agree to? I've bern known to be creative on my own. (Sitting up): We agreed to not having that scene in the morgue. Frankly. '.I' .'.ito someone offstage) The power of prayer. to STINE) Look. it's a pain in the keester for Itie to have to shoot the God damn thing so everybody el~e can see it. right? (MANDRIL appears) (Chants): Ommmm .i.. Does it say anywhere not to be creative? Did I dictate someplace." BUDDY: : . as he dies) (To STONE): Okay. take it easy! There's a person under this skinl (Getting into a robe with ANNA'S help. Then. Dr. Mandril at the edge of the mansion. (Re pages) Any other of this gold you find somewhat tarnished? MANDRIL '. After he's murdered and they wheel him into the morgue. 90 91 . STINE and DONNA are present. we make it easy for them. just so long a~ I like it in advance. (She exits with the gurney. . . okay? Scene 27. but the studio can't sell tickets to my hea~. in all your loveliness.

.\_ . He did go nuts! It made him psycho! That gives him his heat! That gives Munoz his anger! That's garbage! Polish it! Make it shine! You like working in this town? You like having lunch ten feet from Betty Grable? Kill the politics...: ..~\ . You got any messages. listed. We a110f a su~den gonna remind him that he's white and that the Pacljuco usher might try to stab him in his throat on the way !?ut? What made your book was how good you write.lark. . (To SfINE) Okay..l lh.' 'Milky bas93 92 . social crap... STINE: BUDDY: STINE: BUDDY: STINE: BUDDY: 1 I \! r STINE. I'm not asking you to write bad. put 'em in a letter. "~ . . Stine. how many personal relatives I can't have to my house for a bagel. \\. These guys from Washington aren't kidding around.. flashes himself) STINE: BUDDY l'1 Sure wish I'd brought my magnifying glass. just change all that brqwn.l(. Writing books is easier.. (Beat) (A "pained" expression): Oooooh..: ACT CITY OF ANGELS I • Scene 20 BUDDY: STINE: I don't want to pick things to pieces.h\ . It might even be somebody he knows. ~TO\1r" people. He's got his hand between some body's legs next to llim..\) The boy is not happy.. you got the list? STINE: BUDDY: DONNA BUDDY: (~eading from notes): "'Pretty girl with the clap. yellow and black stuff ~th en.' 'Bang instead of a whimper. what makes him hate Stone so? Why his compulsion to see Stone punished? I don't care what it is. They don't even want to get laid out here! Don't do anything to make the studio replace you.... :th.. Is that it for now? Donna..... You wanna go down the toilet with your three-picture deal.. right? (Opens his robe.~. Guy's sitting ty cents to get in. .. just 'cause they mighta bought a Henry Wallace button at a rally? But how do I fuel Munoz? Without the racial alj:gle.... too.' 'Clockweights.~..:.. You ready? Munoz was jealous of Stone! He loved Bobbi. . white and blue...~l. . Don't make me ask is what I'm asking. Almost went nuts when they got engaged. all nice and <._ ... Just I know. :111 that "my" people... The balcony's in the movies. black and yellow. Then don't mail it. . wait! I knew if you gave it enough thought. unoz. okay.4- --t' "".:..: ~'" ~ ~u: . to red.' :~1. . Just safe. right? Fifcomfy. I'd come up with it... You bet your ass! This town's crawling with 9ongressmen. . But that way you don't get to see me naked.ll1 J\. I'm not going along for the ride sitting on your lap.. "".o.\.." \.t'~~\. You got any idea how many close friepds. BUDDY: Stine. . (To DOl'-'N. The last thing I need is for you to get black. ..... . .l. BUDDY' All that brown.. . I can only protect you until I hafta start protecting myself. They'd only do that if you asked. Pick." .

You'll say. pardon me. but don't request a Padre rest a . would it? In bed with you. And you were where at the time? Home. During those hours? We weren't watching the clock. PASCO hands him a photo) This wouldn't be her. You better play this one straight. isn't it? (He snaps his fingers. And this capital event Proves revenge is heaven sent. with her just a little south of the border? (To PASCO) Put the cuffs on him." 97 MUNOZ: STONE: MUNOZ: STONE: MUNOZ: STONE: MUNOZ: STONE. Stone. pallie. You weren't alone. All ya have to do is wait. But you're headed for a cell.CITY OF ANGELS ACT MUNOZ: I • Scene 21 STONE: MUNOZ: STONE: MUNOZ: STONE: MUNOZ: STONE: MUNOZ: I believe the answer to that is eight. You've been going to crime school. (With a smile) Jackpot. Doing what? I don't remember you and me getting married. Then to die and rot in hell. that's a little bit of too bad. 96 . And for once you'll be polite. to reveal MANDRIL's face. Married? Missing.I Aw.. They will strap you in a chair. Odds are they are gonna Give you gas. STONE is properly impressed) I was there all night. I'll be singing like a bird When the jury sets the date.Ssured that I'll say mass. And I thought this was going to be a lousy day. STONE: MUNOZ: STONE: MUNOZ: STONE: . Try a final meal of tacos on a Plate of beans. "Gov'nor. manana. Can you prove it? Have any company? I was with someone. . (Sings) There's no sun up in the sky And the birds forgot to sing. Whose? Mine. Will she back you up? I'm not sure. You're about to take that big siesta. And just who were you not alone with? A young lady. Bingo. (He pulls the sheet back. So it might as well be spring. straight across.

. 98 Sebastian Mandril knew you and the Kingsley girl were playing footsies. He XXX's out what he has just written. way above the ankles. Last time was different.rav.. And to know your final breath Will be filled with cyanide. We found it in Mandril's voicebox. The badge.. I'm leading an ovation '-: ""11: " "".. In my native lingo.There was a "discussion.. knock him off.11.> ends in a shot. On the day you die I'll eat high on the hog. Famous first words.. you'd've climbed down to get the pictures(Producing STONE). f As you're walking your last mile.1: . Mandril goes through some kind of mumbojumbo meditation every night at the edge of the Kingsley estate.4 '.. MUNOZ: lO"f\h"'.' " Jt. But he's sure to disagree 'Cause the case I've made is tight. If you hadn't panicked 'cause the staff carne running. Though you've never been my fav'rite Gringo..'s' CITY OF ANGELS ACT I • Scene 21 I o I. Whoever it is. Adios.-. Santa Maria. and he had the pictures to prove it. seated at his typewriter.. It's the people versus Stone And my money's on the state.. she begged you to get him off her back. tired of being blackmailed.. Listen to me. ~. The end is close.. I will go to town on the day you're put down like a dog.~ " ~ :. 1'11collect Illy bets. The right color skin. finish it any way you could. as he appears. Even though he couldn't talk. Playing castanets..: ~Y' s» . ~'. All ya have to do is wait.. This is a frame...." the 'nnd that -lir. Somebody set me up. Afraid her old man'd find out. . Taking pleasure in your death. It took only one bullet. Time to fiesta. I'll be overcome with pride. You went there to try to pay him off. . I'm sending 'em roses.. As they seal the chamber door Think of me who sealed your fate. All ya have to do is wait. From the instant you inhale.. causing MUNOZ to move to his previous 99 .. the more there is to throwaway. Manny. Good things come to those who wait! STONE (Spoken): You got nothing on me.revolver) and your gun.:". Once the pellets hit the pail. ~Lights up on STINE.. UJ. Who says dreams do not come true? You will get what you are due. STONE: MUNOZ: STONE: MUNOZ: STONE: MUNOZ: Don't "Manny" me! Ever! The more you've got. where it overlooks the canyon. (Moving closer) And you had it all.'b nO' e-. it named you loud and clear .~. amigo..PN()n y~ ..

STINE: II·. Your pen is no match for my sword. STONE You're going to cave in? Just like thilt? (Beat) I wouldn't've believed it. You'd never be missed.~ ~l You're nothin' without me. Just what you are I'll spell out.. Your broads in bed are bored. Ii" Iii " I. Tolstoy. Get this.! ·to . 100 1 A show off. stares at STINE in disbelief) The only thing that spoils your dying for me is the Rain it might cause her . You really going to do this? (STINE types. You are a novel pain.. . What ~led me was the way she looked right throu~fh me to see It. Seeing what she saw in you. dumb gumshoe.! : CITY OF ANGELS A CT I • Scene 21 position and to recite his last line backwards. (STONE turns from MUNOZ. ~! . One small threat and you Fold like a card table. The badge. BOTH: \. Is your mouth lonely With one foot in there? STINE: . (Beat) Bobbi. your brain only Holds thoughts I put in there. You're equal parts hot air and gall 101 :: 'Ii' :. STONE: And you had it all. One speck of lint that fell out The last time that I picked my brain. You come from my inkwell.i. Go home and soak your dentures.'.. You just don't think well. do tell us Your feeble hack record. You wouldn't exist. Your weak-knees brand you Soft and unstable. You drool at my adventures. Ano one who'd go undefined.. I I " I I tell you you're out of my mind. You wouldn't've believed it? Is that what you said? You wouldn't've believed it? You?? . BOTH: STONE MUNOZ (Unaware of the STONE/STINE exchange): where around to know about it. MUNOZ and STONE freeze. (He recedes into the shadows) (To STINE). ignoring him) If she's any- (Reactivated): You are so jealous Of my track record.. until STINE inserts a fresh sheet of paper and starts to type again:) MUNOZ Stone. (To STINE).. that was hard enough. a blowhard. (Sings) You are some gumshoe.

an upstart. breathe. (To prove his domi7Utnce over STONE. in the stomach. You haven't any shame. a character betrayed) STONE: STINE: You bastard! (STINE. Let's deal with the issue: You wish you were me. to STONE): Let's go! Manny. on MUNOZ and STONE.. A puppet. sleep fiction. STONE: Hey. You're nothin' without me. you Eat. reactivating MUNOZ.. STINE: You're in my plot I'm still your creator.•. I'm your private dic-tator. Then STINEsings. triumphantly:) You're nothin' without me.. I call each shot. I'm a famous shamus And most people don't know your name. STINE resumes typing. A loser who's destined to fall. (Curtain) . I'm everything you always wanted to be. sending STONE to his knees." (And the lights do just that. BOTH: You're nothin' without me. I'm your meal ticket Knee-deep in cheap fiction. wait! Isaid. 'Whosteps back into the light) MUNOZ STONE: MUNOZ: (Spoken. types four letters) You gloating ignoramus. Without me you'd just disappear Right into thin air.. 103 . And no one would care. STINE: (MUNOZ punches STONE hard. keep my name out of your mouth! You are so thick. ignoring him. STONE: Without me you're nothin' .. " (Types three 71t()T'e letters) "Out. STONE stares at STINE.CITY OF ANGELS ACT I • Scene 21 And no one would doubt me Without me you're nothin' at all. 102 "Fade . Without me you're nothin' at all. Or notice you ever were here.

CITY 4.----JIMMY JIMMY: JIMMY Scene 1 A recording studio. Pops. "Stay with Me. to STUDIO Okay. So stay with me. (JIMMY stops singing. So stay with me. and clears his throat elaborately. & ANGEL JIMMY POWERS and the ANGEL CITY 4 (Sing): I'm in a sentimental way. e 131 . Jimmy Powers. So why the rush to say so long? There's no one calling you away. I'll ask the orchestra to play Your fav'rite song. & ANGEL CITY 4 (Sing): I'm in a sentimental way. ENGINEER:) Then." Take STUDIO ENGINEER: thirty-six.rIff iii' l' ~I' ACT II • Scene 1 c ~---"" ~. I'll ask the orchestra to play Your fav'rite song. Thoughts that we would blush to say Come easily in song. to the annoyance of the ANGEL CITY 4.

I know they're sure to stay with me Even after we must part. CARLA: Buddy.CITY OF ANGELS ACT II • Scene 2 So stay with me. (CARLA goes on reading) Mrs. in a monogrammed robe. I mould be dressed all in white. You should see the pages before I CARLA:' nUDDY: ment. fresh from the shower. in [act. with matching lingerie. enters.. . I've got some thoughts about Alaura's first scene. sits and begins reading some screenplay pages. A woman. I'm only working on six at the mo"City of Angels. nUDDYS wife. 133 132 . What say we while away the day And pay the price? For just this once. in a satin robe. sure." now. applying cologne and singing along with the record. CARLA HAYWOOD. noui heard on a phonograph in a Bel-Air bedroom. she starts it again.. Ilf lights fade on JIMMY and the ANGEL CITY 4) N(YlJ) you're reading? People'll be here. " CARLA: .!i ~. sits on the bed. nUDDY. Scene 2 Music becomes tinnier. [ BUDDY:. I think when she comes into Stone's office to hire nim. Better 'g". badly. These stolen moments that we spend Never have to end. Then: BUDDY (Spoken): (The quality of the sound of the music changes. Fidler. Save them in your heart. Let's not think twice. she is. brushing her hair. it's noon almost. Gimme a clue. This script gets better and better. When it's over. enjoying the last fe1v bars of the record. Appearing to be ALAURA KINGSLEY.

OOLlE: Ir-. to the phonograph:) Sing it. One look at you taking one look at her. okay? I get enough of those from the writer. is that so terrible? (Coming closer. to a big spender? (She hands him afew packs of smokes) "Who do you figure? Set me up? You're going to have to be my legs. as lights fade) How 'bout just once.NIGHT the middle of the head. CARLA: BUDDY: STONE's visitor. Starting with the Kingsleys. I'm not looking for a story conference.' Our problems are not dissimilar.. A hundred thousand dollars bail?! Where're supposed to get that kind of money? You'll see. a scarf on her over her nightgown... See who we know might know something they figure no one else does. I never learn. is OOLIE.CITY OF ANGELS ACT II • Scene 3 BUDDY: Save the suggestions. New earrings? Mmm. A CARLA: BUDDY: CARLA: BUDDY: Scene 3 JAn. and a lot more rotten. you just got out of the shower.'T. I only had to take one look. SOsomebody'll eat me. Buddy . Try the public library. when somebody puts lox and crealjl cheese on 'em. (Beforejoining her on the bed. Jimmy. OOLlE: I knew she was trouble. STONE: OOLIE: STONE: They're closer than Denmark. Sunday brunch.. Do some trolling. She should've never got past me.grinning): Not so terrible at all. They're too big for yoU. Do some checking around. Wrong color for you. sing it. a raincoat you head. CARLA: BUDDY CARLA: BUDDY: STONE: You wouldn't like to sell your body a hundred thousand times. clearly roused in night. (Music up. CELL . 135 134 . would you? OOLIE: I think I could find it again. back issues of the Times. You're not wearing 'em today? Now I am.

Good girl. lights up on:) INT. That's what it is I never learn. I'm there when he calls me. GUARD: STONE: OOLIE Scene 4 OOLIE'S BEDROOMNIGHT OOLlE enters. You can always count on me. Loyal to the nth degree. The kind of a pal Who'd sneak you a file past the prison guard.CITY STONE: OOLlE: OF ANGELS ACT II • Scene 4 I don't seem to either. Till I showed up he's never hired a girl 'cause she could -type." That men can wipe their feet on. The boss is quite the ladies man And that's my biggest gripe. (The GUARD appears. Oolie. hangs up her raincoat and scarf and gets into bed.e 137 . (STONE is lead off by the GUARD. I'm no femme f.n:aI. But what good does it do me Alone on a Saturday night? If you need a gal To go without sal'ry and work too hard. (As STONE joins the GUARD:) (To herself): Good girl. OOLIE (Sings): I'm one of a long line of good girls Who choose the wrong guy to be sweet on. As OOLlE begins to sing. Time's up) Stone. The girl with a face that says "welcome. The trusted girl Friday alright. Oolie.

CITY OF ANGELS ACT II • Scene) But faithful and true as a Saint Bernard Barking up the wrong damn tree . If you don't know what was there before. no matter who you go to sleep with.a woman asleep at his side. three-thirty. You're too tough on yourself. It is DONNA. waking her. now transformed Into:) Scene 5 DONNA'S bedroom. I better shower. Shave. don't you? 139 138 . DONNA: STINE: DONNA: STINE: The change you made in the Munoz scene works.. You can always count on me. STINE. In the dark. in pajamas. DONNA: You wake up with her. is in the same bed just occupied by OOLIE . You always wake up feeling guilty? I like to get an early start. Music contines. DONNA: STINE: DONNA: STINE:. STINE opens the blinds. ' (She winds up her alarm clock. an alarm clockgoes off. if I can bring myself to look in the mirror. There're some who're tougher. If you don't know I caved in. whichever comes first. STINE: DONNA: STINE: How long these things at Buddy's usuaIIy last? Three. CoIIaborating is not caving in. Collaborating is working with the enemy. then turns out the lamp on her bedside table. It's fine. A lamp is turned on ~evealing OOLIE's bedroom.

When I can play the second fiddle I'm a virtuoso. I nat'rally head for the dead end street. You can always count on me. Doesn't know what? STINE: DONNA: About his wife and Jimmy Powers having the thing of the year. . Don't make it easy. I woke up only slightly shocked that I'd defrocked a priest. I'll wait at your hotel. the rest are all remakes. Though you can bet there're strings attached. When joy is approaching then I retreat. Irving lives! Will you be here afterwards? STINE: DONNA: ' STINE: DONNA: I've got some errands. nobody below the rank of colonel. I go for the riff raff Who's treating me so so. Why would he do a thing like that? Ah. I k~ep settling for being a first draft. DONNA: It's just for the cast. Men don't give a warranty. I'm at home with misery. Which Buddy set up beautifully without either one of them knowing. I should be playing for a wedding band. 140 Wish you were going to be at Buddy's party. I'm always on tap For romance or choc'late that's bitter sweet. (STINE throws her his hotel key and exits. with Buddy you have to wait till the last reel.CITY STINE: OF ANGELS ACT II • Scene 5 All she asks is that I be the best possible me. . For best performance of a husband-in-thedark. 141 . I'm caught in a trap. I crashed the junior prom And met the only married man. But there're no wedding rings attached. (Sings) DONNA: I. If you've been to one. One]oe who swore he's single Got me sorta crocked. watch Buddy acting like he doesn't know. 'Though I've made a pact To carry out research' before I care. You can always count on me. STINE (Re-enters. Or else I attract The guys who are longing to do my hair. Spoken)~ I don't need a map. I've been "the other woman" since my puberty began. "Baby!" "Sweetie!" "Loved your last picture!" "Crazy about your next!" They're better at brunch than they are on the screen. dressing. A matter of fact. I don't have any problem with that. I need the pain. You've got more interesting cracks in your ceiling. You can always count on me. Irwin S. STINE (Exiting): DONNA: It's a big club. You can always count on me. . She sings) Though my kind of dame No doUbt will die out like the dinosaurs. the beast. !fyou want an ill-fated love affair. You can always count on me.

_ My head gives advice that my heart ignores. as:) 143 . » as DEL DACOSTA joins the GUESTS. There's not a clever note in his head. Guess who they expect to see? You can always count on. re DEL): This tin pan putz is not the pick of the litter. BUDDY: 142 . But what's invaluable Is he's so malleable.CITY OF ANGELS ACT II • Scene 6 I'm solely to blame. there's food over there. There's enough food to make you sick! (BUDDY continues soundlessly. DEL What does anybody want to hear? (Replacing the pianist) Just name it and I can play it . Composer to the Stars? DEL: Know me? I owe alimony to half these people! And' some of the women. reminiscent of the Kingsley mansion. Smith. baby! Everybody know Del DaCosta. Del! Del. ' I choose the guy who cannot introduce the girl he's wtth. (Blackout) Scene 6 A BUDDY: Bel-Air garden. And Steiner's at Warners And Mozart and Gershwin are dead. Bet a large amount on. But I've made a name With hotel detectives who break down doors. You can always count on me. (Spoken): . A pianist is playing a reprise of "Double Talk.just as long as I wrote it! And he probably wrote it right after somebody played it! There's food over here. too! (As DEL and GUESTS mime chat:) BUDDY (Sings. I'm my only enemy. Thcre're lots of smirking motel clerks who call me Mrs.

» as the actor who plays MUNOZ. Everyone thrilled with everyone's success. concerned') You called the hotel? . Envy so thick. Except that the day that Ido is the day that I retire. hold on. The traveling compliment show. I do. right? (PANCHO laughs a hearty employee's laugh.. enters) (Spoken): Buddy! Thanks for the Munoz part! I love STINE: Scene 7 BUDDY~ study.CITY OF ANGELS ACT II • Scene 7 GUESTS . I know where he can go And I would tell him so. will you? I can explain. He's gotta be Nada. PANCHO VARGAS. The script's going along pretty well. Five minutes ago? Look. STINE using the phone) The usual crowd. She was there to-· (Beat) Gabby? Gab? (Lights fade on a troubled STINE) II' 144 145 . . positively orgasmic at anyone's failure.. baby.. At any rate. (Listens. My hotel? When? . PANCHO BUDDY: PANCHO Pancho Vargas! (Hugging him): him! BUDDY: (To cussrs. therefore. as BUDDY's study appears. you can cut it with the knife lodged in every other back.. re BUDDY): This pompous schmuck is making me nauseous. Somebody ought to set him on fire. re PANCHO) Am I wrong? This guy never gets old. (DEL plays a snatch of "All You Have to Do Is Wait. 1 (Sing. Buddy does.j ~ l. . then. Some interesting changes I sort 'Of like. nada! drinking monkey glands.

too. Found me in a basket on his doorstep. (As he hangs up. huh? Someone has to answer. and walks ofJ) .1 .I: ~ . :!'". (In returning STONE~ key chain. ".. Fidler's read all these books? Wrote most of them. belongings. THE JAIL . infuriating Mut-lOZ. too. She is played by the same actress we've seen as MALLORY) No one with a hundred thousand big ones thit would help me. . I know they're there. I mean. am I? I read somewhere that writers are always thinking.. 147 STONE STINE: AVRIL: STINE: AVRIL: . I'm Avril Raines. Who put up the bail? Like you don't know. Operator. AVRIL: STINE: AVRIL: STINE: AVRIL: You suppose Mr. STINE: (Grudgingly): You know how to murder the rigl~t people. STINE is still on the phone. MUNOZ: Somebody rich with no taste is my guess. (He hands him a clipboard to sign a releaseform) Don't leave town. Fine. AVRIL RAINES. a starlet. You're still my number one suspect. Fidler's writer.CITY OF ANGELS ACT II • Scene 9 Scene 8 INT. MUNOZ deliberately drops it on the floor so that STONE has to bend down to retrieve it. When STONE starts to go:) Stone. (Offstage. (He deliberately drops the clipboard on the floor. they couldn't just(Resigned) Never mind.NIGHT MUNOZ is handing STONE his personal MUNOZ STONE: MUNOZ: STONE: BUDDY'S Scene 9 study. Thank you. DELplays "Lost and Found") You're Mr. appears.. I'll give you that.. I . u: . v 146 ' 'I . :t. (Signing): You're aces with me. Even when they don't want to. I don't think I've ever seen a better one. Avril's French for April. I'm not interrupting./. Or will. We live for the interruptions. I was just talking to the party..

but 1 zuessed who put up the bail for Stone when I read the book. (Exiting): (To STINE): You won't forget. I mean. wasn't it? STINE: CARLA: AVRIL: The only French I really know is my name. (Turning it on) ' . He said Mallory was going to be in it right \lp 'to the end. even younger. in this director's case.. (Beat) I'm going to play Mallory Kingsley in the movie. And now it's time to be hungry. can you believe thaH I mean. that's a cottage industry. Stine. anything you could possibly think of. STINE: Ah. Arld please don't tell him I gave him second billing. Stine. dIe movie.UL~ 148 . Buddy's wife. Wouldn't do you any good if you did. Why doesn't that surprise me? I read every word of the book. I'm afraid Mr. I've been peeking at the pages as you finish them. dear. 149 c. Stine? Please? What do you think of your Mallory? I was so shocked when Mallory gets killed. Then we're both up to the same place. Of course.Mr. Scotch and soda. at the most? Twenty-one? STINE: CARLA: Young and ripe. Stine. STINE: AVRIL: cover. S~"E: c. I'm Carla Haywood. as CARLA enters. It's How can he be? He's the producer-director. she was only what... The naughty.: Tm not one to pat myself on the back. a drink in hand) Mr.rhe only ones 1 established with that kind of money. I was talking to Mr. STINE: CARLA AVRIL: (Striking an ALAURA pose): And what do you think of your Alaura Kingsley? I never thought of her as anyone else. "She'll get over it.ULa.. well. Mr.. (She moves from STINE.. Fidler's wrong. And I was all alone in bed. His movie. We're all that for about thirty seconds. (Handing STINE the glass) ." No author ever got angry being quoted to himself.CITY STINE: AVRIL: OF ANGELS ACT II • Scene 9 Oui. They're. Fidler said it was going to be different in. It's hard to replace someone who's sleeping with the director. There's tons of food out there. STINE: AVRIL: STINE: fir CARLA: STINE: AVRIL: • CARLA: I'd do anything for Mallory not to die. I knew you wouldn't be that obvious.. movie. my script. STINE: Most people think it was one of the Kingsleys . I started crying. From cover to Thank you. je sais. CARLA: AVRIL CARLA STINE: AVRIL: It tends to make more sense that way. the good die young. Avril. Mr.

plays "Ya Gotta Look Out for Yourself) His and yours. He wanted to prove there was deajh afCARLA STONE CARLA STONE (To BIG SIX): ter life. he took out a kinda insurance Il. SOlong. There's BIG SIX: SONNY: CARLA STINE: BIG SIX one." I guess. STONEscoops up the receiver) (Into phone): Sorry. The ticking stops) (To ~TONE. "hoody. if anybody ever shortened his life" we was to ~ around and do exactly likewise. Blackout on the shetf) (To STINE): I love it! Wait. (To STINE): That's better. BIG SIX: (Taping STONE'S 11Wuth) 150 STINE: a capper. I like that. the fuse is exposed. He figured not being too popular with some people. ~" II>' . The ticking gets louder. he exits..olicy with us. Have a nice flight. SONNY explains to STONE) First time the phone rings. (Lights up on a dingy shed. BIG SIX is tying a trussed-up STONE to an overhead rail. the cap gets snapped. Mr. (A ticking is heard.second time. They were just too. The third ring ignites it an' then you an' this warehouse are somewhere over the Rockies. Mandril. bein' here all on his own an' all. The phone rings a. to be that. Stone. did he? Right. filled with oil drums. I've changed it. Sonny? . The ticking gets even louder. I'm just on my way out! (Letting the receiver dangle. as STONE jmind races: "How to get out of this?" Suddenly. CARLA: Making the two hoods Mandril followers seemed awfully contrived. (To STINE): (To STONE): May I be perfectly honest? Watch your mouth while you still got Can honesty be imperfect? BIG SIX: SONNY: CARLA STINE: Good idea.~lght call a pre-paid hit. How 'bout we go to the corner and make a call? STONE (To BIG SIX): That's pretty good for a guy probably can't tie his own shoes. right. I don't know. finally frees his hands from the overhead rail. only louder. DEL. hooketf): They leave him all alone? With just the ticking. his feet still bound. Stone'd prolly like to get one. (The ticking starts again. (They exit. Before the phone can ring a third time. while SONNY wires a complicated device to the phone. (To BIG SIX): How do you mugs figure in all this? STINE: STONE BIG SIX: Dr. given them another motivation. Ya finished. Son? SONNY (Turning the device on): Here we go. 151 :~ ". This is what you I. Mr. ojfstllge. STONE turns on a nearby buzzsaw and cuts through the ropes that still bind his wrists.CITY STINE: OF ANGELS ACT II • Scene 9 Never intentionally. Second ring. STONE struggles. the phone rings.

SONNY pIcks up the frayed rope. Alaura's. none more so than CARLA. interrupting): Beautiful! Beautiful! (ReDEL) And then he wrote! begins another tune. as JIMMY POWERS IS heard singing the lyrics) (Brightening): Please excuse me!. ANGEL CITY 4: Stay with me. CARLA walks JIMMY erway. their guns draum. DEL plays "Stay with Me. GUESTS listen appreciatively. unaware that BUDDY has his eye on them) (DEL JIMMY CARLA JIMMY: (Conspiratorially): (Coyly): I love your earrings. JIMMY CARLA STINE: CARLA: STINE (Sings): I'm in a sentimental W2y. The phone rings immediately. (She makes a hasty exIt) Wonderful! Scene 10 BUDDY'S garden. Next stop. JIMMY: I'll ask the orchestra to play Your favorite song. BUDDY (Spoken. JIMMY addressing the lyrics to her. (He puts the receiver back on the cradle. stops the whirling buzzserw) SONNY: BIG SIX: SOthat's how he got the phone! Right. So stay with me.CITY OF ANGELS A CTII • Scene 10 (Lights up on the shed again. to STINE): Thank you. Thank yo~ Did he ask where you got them? 153 152 . (Offstage. " [ollu_wedby laughter and applause. Puzzled) Who knows to call us here? (There is a blinding explosion and the dingy room is gone) (Applauding. ANGEL CITY 4: CARLA They're gonna play your favorite song. DEL accompanies JIMMY POWERS. Stone's next stop is Alaura's? (Nods). BIG SIX ~nd SONNY rush on.

Isn't he ever just? (A smile that's an order): Time for seconds.i' ! CITY CARLA: OF ANGELS ACT II • Scene 10 I took his mind off the question. . bottoms. America should see his mouth go to sleep . JIMMY: AVRIL: CARLA I'll get you boys some goodies. I haven't written the release. as we enter:) DEL: BUDDY: DEL: 1510 ISS . Wait. the guy is never outta the Hit Parade. (He crossesto BUDDY) DEL: (Sneers) America's favorite balladeer. huh? (To DE~ still working on a combination of three orfour notes) Del! There's eighty keys! Try a few others! I think I've got it. I'm a fan. You'll think your ears are getting laid. DEL): (To DEL: BUDDY: It's not finished. (To STINE. Tops and STINE: BUDDY: lVhat's that? His teeth.There won't be a dry seat in the house! (~~ starts "Alaura's Theme. I told you how it should go. Don't move. in) I know.in a glass every night. I love it. (As CARLA leaves them:) BUDDY STINE (CaJls out): (To JIMMY): Stine! You gotta hear this! Tell her I moved. dear. who is surrounded by AvRIL) Here's the perfect meeting of words and music. (To STINE) You ready? This is "Alaura's Theme. okay? Wait? Mostly is often enough. Jimmy Powers." his piano version ~vmg way to a lush orchestral and choral rendition. yeah.~~ I . his records don't sit in the stores a minute. to STINE re JIMMY): They're false. (To SfINE) Listen to this melody. (He sings the opening bars of "Tara's Theme" from "Gone With the Wind.:. sir. Ten thousand VIolins. BUDDY: DEL: BUDDY: BUDDY Play it for him. Was I right? Mostly. Stine. I'm just not sure it works. You gonna quetion me about music? YO:llknow" how much I gave the Symphony last year? . (AVRIL walks off with her full plate~ To SfINE and . Still. Carla wearing satin. Go figure. Mr. :. You know." Picture it under the bedroo~ scene. JIMMY) (As DEL noodles experimentaJly:) BUDDY (Aside." The GUESTS join. maybe less. You're a master wordsmith.

When I came to see you. Where is he now? I don't know. He'd get his share. forcefully) STONE: ALAURA: in a satin nightgown. brushing her hair. It was Peter who took the pictures of you. Just as I believe she is now. And it for sure doesn't buy framing rights for a mjirder. Peter saw M~ndril getting more and more control over my husband.. why me? Only Peter can tell you. To inherit Luther's money when he dies. ALAURA. Peter boasted about it later. I'll tell you where. A sudden shattering of glass. A hundredbucks can buy a whole lot in this marked-down world. too? If he hasn't. sits on the bed. . STONE: ALAURA: You knew the whole plan? Scene 11 INT. he will. What's it all about. I'm the only one in the world who stands between him and the money. Kingsley. my stepson. (Her hand to his gun) 157 156 . STONE: in. (He grabs her. Find him and you'll know. Mrs. Just promise me you'll do one thing when you find -him. Tell me you didn't know it. (She kisses him hard. .. Kingsley? And l. (Alarmed): Stone! STONE: ALAURA: ALAURA STONE (His hand over her mouth): Let me tell you something about a hundred bucks. Mrs. On the break:) Why me? Of all the poor suckers who could've taken the rap. too. I felt this close the first time we met. gun in hand.:t'jihave the truth. all. Or worse. I honestly thought she was missing.. You saying he's finished her off. to leave at the scene of the murder. AlAURA KINGSLEY'SBEDROOM. breathlessly) Without even touching.NIGlIT ALAURA. One place more than any other. Every bit of it. hot to make me 'a stiff for killing a man I barely laid eyes on. or my being sprung by two gorillas. first time around. STONE: ALAURA: It's Peter. wouldn't he? You've got a way of feeling close even when you're not there. And after Mallory. 1~ I don't! (Beat.ALAURA: STONE: ALAURA: He wants it. Got any idea which part of the haystack? . So frightened.1 :1 3: J :1 ' '1 CITY OF ANGELS ACT II • Scene 11 steal your gun when you were together. who had Mjillory There's a place he goes. fte and Mallory cooked up the scheme about her disappearing. Stone. I'm frightened. and a tense and dangerous STONE enters through the window. let alone I~ver a glove. He's got only one goal in life.\\!hat it can't buy is anybody threatening to lift my shield don't take a case I normally wouldn't handle with ice 'tongs.

. You make me unhappy.CITY OF ANGELS ACT II • Scene 12 Shoot first! (As they foD to tb« bed in an embrace: Blackout) Scene 12 BUDDY'S office. I would tell you you got no business asking. Look.. this is something you ask. You don't leave in the middle of a movie . being here. BUDDY (Answering it): You got him? .because I guarantee you... You're going to New York to see your wife? . you're going to find out I can return the compliment! (A beat) Stine? Stine?! (Hangs up violently) Go-d-damn it! 159 158 . One of his phones is ringing. being here? There's too much to do yet. you don't tell. babe. Writers don't go away when they're working.. then. BUDDY sits at his desk.. seeing my own wife once every blue moon? (Listens. Put him on... if you did. (He hangs up receiver. being there. You think I like being chained to this desk twenty-four hours a minute. Never mind it's a weekend! Why can't she fly here? What do you have to knock yourself out flying back and forth. you gotta put your personal life in the back seat in this business. Sweetheart. picks up another) Stine? Donna tells me something you gotta teU me she's wrong. angrily) Stine! I'm warning you in one word: don't leave town.

161 " 160 . GABBY: All depends on how much you want to spend on silence.CIT}' OF ANGELS ACT II • Scene 13 (He strikes his desktop with his riding CT()jJ) Writers! (A startled AVRJLappears frum under his desk) AVRIL: What was that?! (Blackout) Scene 13 STINE~ New York apartment. where you start acting like he does. we're not talking about fiction now. STINE: GABBY: STINE: GABBY: STINE: GABBY: '! " You could have fooled me. I guess.~ t\ . STINE: We talk to each other only if we're both in the same town. You think making Stone a hero allows you to act like anything but one. and he writes like you do. GABBY and STINE. what about one for us. a chill in the room. If you want to write Hollywood endings. is that how it works from now on? I wouldn't count on it. (Fetching the letter) God knows you're fooling yourself. Can we talk about my letter? Your letter? What'd you think? My professional opinion? Gabby. GABBY: STINE: Long distance is a lot cheaper than airplane tickets to New York.

I bumped into Donna. Your fiction always had A little grit in it. STINE: GABBY . which she was doing when you called.:tually. A little wit in it. was going to cause-you such needless. This plot is quite contrived the way it reads. Yo~ writing always mirrors our relationship."'i. while I was on my way to Buddy's.~ \ I ' . I like the tone of it. So must you go and spit in it? And come to think of it. It's far too obvious. (Reading. And filled with flaws and gross implausibilities.. So if you wish official pardoning. using her own.. \ 162 • "I ~. Your fertile lies don't fertilize. Two: just remember no matter how incensed you were by 'One. Your logic's unconvincing as it strains to please. Ya knowya needn't be so gen'rous with your seeds. where." (Aside) I do love an apology by the numbers. It's not an apology. There's not a trace of honesty. Three: let me explain. so face the fact: It needs .' al. overlapping his protest): "Trying to finish a new scene in time to bring to Buddy's brunch. It's just the narrative Is like a sieve and doudyas a cataract. .": (End of letter) That's it? That's the explanation? That's it. (Sings): No lack of alibis Your knack for the spectacular is still intact. half way in..!l her. STINE: GABBY ."'. A little heart in it. . It used to be so dear That there was art in it. read. With dangers cropping up And sweet young strangers popping up like weeds. never dreaming ~~at her presence. so easily-avoided pain. work. dear. far more reliable Corona to type up my notes. 163 I i':'~'.. thei. don't take my calls. it's an explanation. One: Donna was obviously in my hotel room on ~unday when you phoned. since the 'p' was just one of several keys that had ~lecided to join the staff of the dead letter office. Unlike the books you write. It needs work. If you had written it. Half wa}/out of the lobby..} It rings sincere and pretty near succeeds. You dodge emotion.'>-"'. despite my absence.CITY OF ANGELS ACT II • Scene 13 (She takes a letter from a previously opened envelope and reads) "Okay. Excepting for the part about the broken keys It needs work. n\tlirally my typewriter picked that moment to start actin~[ like a portable prima donna.\ . havi1j}g been dispatched by Buddy to make sure the pages go~ done.' I was not there wit. An 'ortable rima donna. You better do a little gardening. otherwise she could not have gotten into my room. If you won't listen.'.

MARGIE: STONE: MARGIE: He could be two-four. yanks the GJRLaside) Can I help you? Or are you just win- MARGIE STONE: (To STONE): dow shoppin'? lars. wearing lingerie and a wrap. approaches her. Familiarity ~ And in this case we both know what that breeds. __ ~. One of your reguPeter Kingsley? Don't ring any bells. clean through. who appears behind her smoking a cigar. Remember all we said and how weJaughed outloud? Now. take a closer look at you. She stretches /angorously. We'd play each part and talk the story through. appreciatively) Almost. about 24. (By the finish. STONE enters. 165 164 .THE PARLOR. I'm told there's a Peter Kingsley. STONE: He looks like money. t r . "-When you discover where this self-deception l:rads. GIRL One of MARGIE's GIRLS steps through the beaded (Temptingly): Hi. Six-one. Your new routine is too routine.. leaving a sad G4rBBY alone) Scene 14 INT. about 61. she has handed him his hat. (MARGIE. ~~itcase in hand. This plot has got a a lot of deja vu in it. '--I'd rather see you shoot yourself . \ When you've decided to redeem yourself.CITY OF ANGELS ACT 1I • Scene 14 We used to sit in bed and read each draft out l\?ud. You stop noticin' after awhile. I oughta throw the book at you. \ But call me anytime you seem yourself. STINE exits.::::- /. MARGIE'SPIACE. . You had to ruin it. Than watch you prostitute yourself.NIGHT curtains of an archway. (Looking him over. (Offering her a bill) Tan. It needs work.

CITY

OF ANGELS

ACT

II • Scene

1s

MARGIE

(Taking the bill): Ah, I bet I know-who you mean. Yeah. He's got a favorite here. She's the only onehe ever asks for. Can I see her? It'll be expensive. I just want to talk.
INT.

STONE: MARGIE: STONE: MARGIE:

Scene 15
THE REDROOM-NIGHT

;,(

That's not cheap here either. (Takes another bill from him and calls out) Bootsie! (DOOTSlE, another of her girls, appean) Take this here gentleman here to the Red Room. (To STONE) I'll send her in. (As DOOTSIE leads STONE through the beaded curtain:) Have a nice chat. (She laughs a raucous laugh. Lights fade on her, up on:)

The jir.ft GIRL is sitting on the bed, painting her toenails, when STONE is ushered in by BOOTSIE. Both whores leave. STONE is alone a moment, then, behind his back, a woman enters, wearing something appropriate to her trade. It is BOBBI.
DODD! (Pouring

herself a whiskey): Would you like a drink? body stiffens at the sound of her voice) Rather not talk?
(STONE'S

STONE BOBBI

(Turning to her):

Nothing you'd want to hear, Bobbi. Why did I know this would

(Turning to face him): happen sooner or later?

STONE: BOBBI: STONE: ROBBI: STONE:

Haven't I always been the answer to all your bad dreams? How'd you find me? The easiest way. By not looking. I ~ever figured you for a place like this. Still able to read my mind. the door): I'll get you someone else. Stay. You're paid for.
167

BOBBr_(At STONE:

166

CITY
BOBBI

OF ANGELS

ACT
BOBBI:

JI • Scene

15

(Properly stung):

Beatings cost extra.

There was no way back for us. After. There was no way forward for me. . Does he know about us? Who? If this was a screen test, you'd flunk it.

STONE: BOBBI: STONE: BOBBI: STONE: BOBBI: STONE

Tell me about Peter. I know a few. Try Kingsley. Peter Kingsley? You know a lot of those? What makes you think I know him at all?

STONE: BOBBI: STONE: BOBBI:

I thought finally talking about it would help make it go away. It only keeps it alive.

STONE:

(Putting his hat on the bed): Mostly the \'fa}' you're pretending you don't. Is he in trouble? If I've got anything to say about it. He's not a bad guy. You would know. He's here a lot. More like sometimes.

You told Kingsley? Everything? (Reminding her) We had a deal. I didn't say I pulled the trigger. I told him the official version. I passed out when you broke into the dressing room. When I came to, you were standing over Irving's body, your gun in your hand. As though repeating a lie over and over somehow makes it the truth. (Beat) I could have stayed, if you hadn't forgiven me. It was too much, having you take all the punishment. Looks to me like we're about even. (Beat) Bobbi ... (Avoiding his touch): Please ...

BOBBI:

BOBBI: STONE: BOBBI: STONE: BOBBI: STONE:

STONE:

Like his car could drive here by itself? That pnd of sometimes? . (Loolcing around) Not exactly the movies, is it? We get to do our share of acting.

BOBBI

BOBBI: STONE:

STONE (Sings): I try to tell

With him, too? With Kingsley? Who do yOi;l play, little girl lost? "Let me take you away from all ttris," is that the routine? "What's a nice kid like you, et cetera?" (Beat) . What is a nice kid like you, et cetera?

myself To let the memory of you die slow. By letting time be my friend, By letting go of what was, The pain would end. It never does.
169

168

CITY
BOBBI:

OF ANGELS

ACT II • Scene

15

At any time or place,

STONE:

I close my eyes and See your face And I'm embracing you. If only I believed That Dreams Come true. Dar,!

At anytime or place, I close my eyes And see Your face And I'm embracIngyou.

With ev-'ry Breath I Take.
(STONE

I is alone

Take. recovers his hat and leaves. with her sorrow)

BOBBI

·I

If

On-ly
I beLieved that Dreams Come True. At Night out loud I pray: Bobbi, go away.

Ling, You were the one who said Forever from the Start, And I've been drifting Since you've gone.

How much must I take Out on a lonely sea that only You can chart, To end this ache? I've been going on, knowing That my I Heart WelWill Come Break Death

.:',.

With each and ev-'ry breath
\!

170

171

don't we? (Unannounced.CITY OF ANGELS ACT II • Scene 17 '\ EXT. Scene 16 A PUBLIC PHONE BOOTH . Measured breaths. Scene 17 THE K1NGSLEY SOLARIUM . Got it. Thunder and lightning deliver us to:) ALAURA STONE: Which explains the look in these wild. darling. Right.. Measured breaths. Let me wipe that tear.NIGIIT OOLIE is on OOLIE INT. dirty men brought it up out of the ground for him. to no one:) Be careful. sroNEsuddenly enters) Good evening. Drexel. And you man- STONE'S OOLlE: (OjfsUlge. West Virginia. Then. Not personally. Mr. STONE: STONE'S VOICE Have I ever told you that I love you? OOLIE: Too many times to mean it. ft/tertl/): aged to reach Peter Kingsley? He should be on his way. Mandril.ft/tered): Slowly. (A click at the other end. of course. Spelled the way it (Into receiver): VOICE Drexel. you'd have to use very fast film. bloodshot private eyes? (Beat) The name William Lloyd Drexel ring a bell. ALAURA: STONE'S OOLIE (OjfsUlge. a wild wind punctuate the scene. 173 172 . then a dial tone. Considering his chances with you around. We all miss poor Dr. Kingsley? West Virginia family. Stone is a rather desperate man. Mr. All sorts of people are after him. (Offit4ge.NIGHT the phone. A whole lot of strong. The condemned man slurped a hearty meal? It'd make a lovely picture. (Lights fade. Drexel. (To LUTHER): Mr. He bas hung up on her again. darling. Stone . as ALAURA kruingly spoon-feeds LUTHER inside his iron lung. filtered): sounds? D-R-E--? (Cuts in): VOICE X-E-L. Lightning and thunder. Drexel was in coal. Be careful. he's even wanted for murder. Mr. My husband's just having his dinner.

reminding him) Measured breaths.. I might have been able to get it started again . Mr. Stone. Stone. Before he was shoveled into the same ground all his qilllions were shoveled out of. • . (TOALAURA) By now. The house lies at the bottom of Kingsley Canyon. A private tunnel takes you to the water. coolly): Open Wider.! of a long. he'd have used his influence to put you in the gas chamber . toxic build-up in the smorgasbord that used to' be their father. ALAURA: ALAURA: STONE: She arranged for your son. the road built to twist and twist. measured breaths. STONE: I. Mr. Drexel had one (oot. . Mandril and that you were having an affair With Mallory. Kingsley you did as Mrs. (TOAlAURA) You weren't going to make the same mistake as l\1:. This time she was going to make Slife there'd be no other survivors. Isn't that true. Mr. (TOALAURA) How'm I doing so far? Very good.CITY OF ANGELS A C 'J' II • S c e n II I. forGing their grieving stepmother to give up her share of thejnheritance. AlAURA (Continuing to feed LUrHER. but not too much so . Drexel nromoted herself from his private nurse to his future wid!~w. Stone. Mr. Drexel. (Producing a gun) You unhooked the machine.tr- ling. then you came at me." as my husband calls the Pacific.Is. After they found trace... Drexel's children threw him a little going away autopsy. knowing that the police would readily accept me asa murder suspect. Very goodindeed.for a whole week running. Like you. Only before she got rid of Peter and Mallory.1 . Luther? (LunIER can only gasp pathetically. more lightning) And my motive? STONE: ALAURA: ALAURA STONE (To UITHER): You knew that when my husband learned you'd murdered Dr. it's on both sides of the highway. "The old swimmin' hole. Peter. How were you going to do it? (Re iron lung) Were you going to arrange for this to have a head-on collision with a streetcar? Or were you just going to pull the plug on your married appliance here? ALAURA: No. Calmly. Mr. If I hadn't lost time shooting you in self-defense. they threatened murder charges. darling. Mandril. You're going to kill him before Peter and Mallory are safely out of the way? STONE. were you? • (Evenly): Not if! could help it.each side drops off 175 174 . Stone. (More thunder. to kill Man~ril and set me up as the fall guy. who was beginning to pray a lot more for your wealth than for your health and was getting more and more atixious to cash in on some of the looks your wife had bqen giving him that were hot enough to melt your tires. Peter will have killed Mallory and be heading to the beach house to meet me. Mr. so that you can unwind on the way down. ~. Quite grand. You've never seen it. especially after Mrs. there was the matter of Dr. maybe it ~?ot and a half in the grave.

he'll never make it past the first turn. I believe it's time my husband turned in.' n Night. (PETER KINGSLEY suddenly bursts through the tWors) Peter! (Whimpers): (To STONE): We can do it together! The two of us! (Re PETER and MALLORY) And then them! You don't know how much there is! We deserve it all! We've both gotten rotten deals out of life! Peter only had to tell me about you and that singer for me to know you took the blame for her. One swift pull should do it. (Re gun): Don't make me use this. Stone. night. runs to PETER's side. about disconnecting Mr. was I. thank God! I do love a coward with pride. the weapon pressed between them. (Turning to ALAURA) Now.. but that f~eling won't last long. When Peter's brakes -. no. Your past and mine don't add up to the same future. Luther. Three gun shots ring out. " Alaura!! • Ii LUTHER: ALAURA: \ . Mr. Mr. if you'll tum him off. (Gesturing at the iron lung's electric cord with her gun) And now. darling. Stone! his hand on (pointing at STONE) He was trying to kill Luther! PETER STONE: PETER: ALAURA: PETER:' (Sneers): The same way he killed Mandril? MALLORY: Don't! (~ONE puts ALAURA's gun.give out. Stone. ' (Checking her watch) Which would have been just minutes ago.. please. STONE: ALAURA: Anymore than I could do what she had in mind for Mallory! GA frightened MALLORYenters breathlessly. Kingsley . Stone! No. She wasn't! MALLORY: ALAURA I'll forego the pleasure for your fingerprints. kid? She did it! I didn't have the courage. (STONE doesn't mtJve) Now. does not let go. ALAURA I wasn't the only one set up. someone's tongue nught come off its roller. or what he thinlcs are his brakes .CITY OF ANGELS PETER: ACTII· Scene 17 sharply a few hundred feet. MALLORYscreams) STONE'S VOICE (Over): "Three gunshots rang out. To STONE) Did you know what Alaura had in mind for my father when you had your secretary tell me to meet you here? STON~ You don't want the honor? I knew if we all met in one place. Stone." 177 176 . STONE: Believe what you want. That's the last thing I had in LUTHER ALAURA STONE ALAURA: (Moving tuward her): mind. I know you must think harshly of me. His body is dose to herr.! .

dead. DONNA listens. It must kill him when a picture opens and someone else gets to butter the popcorn. Redesigning all the set designer's sets. inventing the camera. As STONE. go into two. personally biting off all the loose threads on the costumes. reaches to PETER. wanting something else." . who kneels to . IlS STINE reads from a script. watches STONE fall. (A red stain appears beneath AlAURA's heart. (Finds the page.. a look of victory on her face) . "Somebody figures to die. reads) "Three shots rang out. She falls to the foor.help him:) . still holding the gun. As he looksfor a certain page:) DONNA: STINE: SO much to do before he shoots a movie. in fact." (Turning to her) 'Where is he? On the set. STINE (Disapprovingly): "You can count it one of your better days if that someone doesn't turn out to be you. as well as Stone." What was wrong with that? Why'd he change it? He said he felt it telegraphed Alaura'd been shot." (Iris out) Scene 18 STINE ~ office. "You can count it one of your better days If that SOII\~one doesn't turn out to be you.CITY OF ANGELS ACT II • Scene 18 (STONE falls to the floor) "Three shots. " (ALAURA. It IS blood. but in that lifetime Stone learned that three could. divided by two people . Production meeting. It only took a second. his suitcase and hat parked beside his desk. . Why'd 179 178 . wounded. DONNA: STINE: If he wanted something else. I could have given him something else. And a hell of a lot better than this.. for a better reason than just. (STINE finds the copy of his novel on the desk.

-v. Just desserts. I tried to make it sound like you. It helps the budget. bloodshot private eyes?" That's atrocious! Am.. DONNA: STINE (Realizing): DONNA: STINE: DONNA: STINE: (Before exiting): Funny. I thought we meant something to each other. What s left? Any other surprises? Any more little changes? Stone going to be played by Betty Hutton? I'll tell him you want to see him. It doesn't rub off. ! . Jesus. them. where the hell is everybopy when they first deliver the typing papers Where are ~ll the "helpers" when those boxes full of silence come ip? Blank. no instructions enclosed ~n how to take just twenty-six letters and endlessly rearr~fe Funny.. so that y?U can turn them into a mirror of a part of om: lives. how'd I fail to see this little bedtime tale was Funny? I could cry to think of all the irony I missed What an unusual twist ' Right at the end of it.J (DONNA turns to go. It's your line.. DONNA: STI~E: But in your own words.":.. . DONNA: STINE: He can't shoot this! It's full of holes.? It's the last one in the picture. She doesn't want to be me herself. - • CITY OF ANGELS ACT 11 • Scene 18 he have to do it while I was in New York? DONNA (Pointedly): wasn't it? It was a big weekend for everyone. Forcmg you into a smile So it can kick you in the teeth. to be honest.n write. 181 180 . STINE . _.. Who could see that this pathetic scene would be So funny? Once you strain to find the grain of humor Underneath. Does he realize how many changes these changes require? Is it possible someone c. I supposed to run up and down the aisles in every movie house in the country and say I didn't write that? I thought it was clever. Try doing what I do before I do it. I'm sure they'll sound iust . t t .1. Maybe better. Both sides. He's going to shoot it first. stops ati) Donna. I'm sure. Christ.)t Mallory in it! I've written an earlier scene where sh~'s killed.e word "grateful" in me. if I hadn't helped. .and vice versa. STINE (Sings): Funny. You don't mind including her in your work. It's yours. He'd have made it a [pt worse. . without knowing how to read? (Readingfrom the script) "Wild. Sometimes not even on me. DONNA: STINE: . . ) (Ignoring that): What was the rush to have this scelli. Try It sometime. he bounces her back to life . like me. I never got that impression.. No clue. I've got Mallory dead. DONNA I was covering for you. he's g. "Helped?" You'd need a divining rod to find tlO. I He~ involvement's aimed at getting me to be the best ~osslble me.. Life ~ouble crosses with style.

my life's a joke that suffers in the telling! Just another hoary chestnut from the bottom drawer. More! More! Move it! (The Sf AND-IN moves. That would be roaringly funny. that's good.· beside CARLA). At my expense I'm accustomed to working on spec. and enters:) BUDDY Scene 19 sawing. and bring it down. The storm before the calm. wears a robe. Bill.• CITY OF ANGELS ACT II • Scene 19 We can laugh till it hurts. that's good! (To CINEMATOGRAPHER) Is that good for you. (He turns upstage. Bill. Bill. He stops her) Not-you. Sad enough. smokes a pipe. BUDDY. The set is the KINGSLEY solarium. who plays Lt?'HER. (Looking up): Okay. Who could top or make this comic op'ra more Compelling? You could weave in some deceit to even up the score. DONNA types at a small table. 183 182 . (Looking up) Very good. who plays PETER. CINEMATOGRAPHER: Okay. darling. Buddy? Perfect. You'd have us all on the floor.costumed STAND-IN watches the CINEMATOGRAPHER in the sO/llriu:Z set. Jack? 1. I've heard so often before That I can't laugh anymore. Okay for you. I always pick up the check.studio sound stage. ringmg. (Looking up): Much better. I think it's funny. CINEMATOGRAPHER BUDDY (Looking up): Bring it down. BUDDY: (Looking up) Just put a silk in that. Hammering. GERALD PIERCE. WERNER KRIEGER. Bill. AVRIL has make-up applied. runs his lines.

On top.• CITY OF ANGELS Sorry. Mr. sweetheart. My sauna. Why? Because you're honest. Just give me a second. What? 185 We wrote this? With your name on top? It's studio policy. we made a beautiful child. ACT II • Scene 19 STAND-IN: BUDDY: Mr. ' (To What is that.. (Enter STINE. he pats her behind. (The BUDDY AVRIL: PROP MAN exits) (To BUDDY. AVRIL crosses to STINE) Hi. (An arm around him) Stine. Bill! STINE PROP MAN: Yes. Needs salt. We haven't even started shooting viewing it? STINE and already youlre re- Avril. BUDDY: Donna. on everything. (Returning her to her position. (Reminding him) French for April. Marked down frjj>m an hour ninety-eight. Do sometaing. STINE: BUDDY: Don't be nervous. Fidler. We both prayed so hard you would. re script): (DONNA What is this shit? (Aside. let's not spoil the first day. To STINE) . Who cares who wrote what? Together. to AVRIL): Six o'clock. It's only a movie. don't just sit there helping. STINE AVRIL: STINE: (Showing the cover page): Take it easy. Jack! (Looking up) Get an inkie over there. They automatically put my name AVRIL: . you know my name belongs there. We'll fix it. underneath. wherever. exits. Luther's PROP MAN) soup? Let me check it! (Re iron lung) Put it in the set! (As the iron lung is wheeled into the set. It's looking much better. Fidler. sir. yells to a crew member who is wheeling on the iron lung) Careful! Careful! This thing's got to be spotless. Merde. We'll let the lawyers work everything out. It's a wonderful script. script in hand) STINE (Angrily. Because you know in your heart-of-hearts that I was with you page-far-page. Screenplay by the two ~f us? (UnenthusiasticaOy): BUDDY: STINE: BUDDY: 184 I can't thank you enough for keeping Mallory alive. AVRIL appears at his side) AVRIL BUDDY (Cozily): (Re soup): Good morning again. (As he moves on. to BUDDY): You got a minute? BUDDY: For you? A minute twenty. Stine. comfortingly. to the ClNFMATOGRAPHER) (As he dips his finger into the bowl. Why don't I believe you? (Wiping it with his handkerchief) The audience should want to drive it home.

GENE: NEPHEW BUDDY WERNER: BUDDY: (Rejecting a cup of coffee. For a stark· Don't you wish you'd said that? Don't let anybody tquch I'D know. PANCHO VARGAS enters) NEPHEW: BUDDY: It's only a matter of time. . sir! (Entering): Uncle Buddy? Too It's an actor's dream. to reveal he's in tennis shirt and shorts) I hate this. (NEPHEW runs on. CARLA BUDDY: Werner! Come here. somebody! (Taking CARLA~ hand) Carlita? (To 5fAND-IN. costumed as ALAURA. This bum's going to get paid for looking at himself in a mirror all day. Buddy. It's post time. when you're in there. while I'm still in the business? I could've shot a double feature by now! . dismissing her) 186 Amigo! work today. Nobody'll I'm in there. know when WERNER: BUDDY: CARLA: BUDDY STINE CARLA STINE: BUDDY (Doing just that): Stine. Said the sailor to the girl! (CaJlr to GENE. (WERNER removes his robe. no matter how paralyzed he was. A Luther Kingsley would never play tennis with his shirt hanging out. as DONNA brings on CARLA. Gene! Can we start.CITY STINE BUDDY OF ANGELS ACT II • Scene 19 (With a tight smile): (Re iron Jung): Look it up. I'll slip in somebody nice at lunch. handed him by NEPHEW): black! (NEPHEW exits. WERNER: BUDDY: Looks awfully small and tight. Don't touch my turban. do you? Donna. beauty. his Assistant Director) . (To WERNER) Hop in. I have to believe who's in there. Wait! Hold it! Tuck your shirt in! For God's sake.) Come here. lover.. sweetheart. Thanks. is this her? Is this Ali~ura Kingsley down to the ground? i. does You don't Pancho-? PANCHO:_ Just carne down to give you a good luck hickey! (He gives BUDDY a hug and kiss) 187 . hands BUDDY his coffee cup) Better? Too white! (As NEPHEW exits. try this out! (Re iron lung): That thing gives me the chills. Two minutes. (Finished with her turban): Pancho! PANCHO: BUDDY: that. sincerely): (To BUDDY): You're perfection. (To CARLA. (Calls out) I'm short one star.

GENE: BUDDY: GENE: STONE STONE JIMMY (Fumes. please! BUDDY: JIMMY: BUDDY: GENE: BUDDY: GENE: Let's try one. (Offstage. (AVRIL AVRIL: BUDDY: d (As BUDDYfiddles obsessively with JIMMY~ trenchevat belt:) (To STINE): What is this. the works) Jimbo! (Suddenly. fedora. which. . someone is heard singing "Ya Gotta Look Out for Yourself. please be wonderful.• CITY OF ANGELS ACT II • Scene 19 BUDDY: The man's beautiful- even when he doesn't have STONE to be. re JIMMY): "He's never out of the Hit Parade. STONE appears at STINE's side) (To STINE. right? Ready when you are. shall we?! Give me tempo! Give me energy. incredulously): Jimmy Powers? (Note: No one but STINE hears and sees STONE) (To BUDDY): What do you think? Perfection! And that's just for starters.seriously again? A crooner? Playing me? A tenor I wouldn't give you two fives for? Guess they couldn't get Betty Hutton. till she turned around and did it to you. Quiet on the set. I'm shaking like a leaf." A beat." Scene 93." "His records don't sit in the stores a minute. PANCHO (Warmly. go? Gene?! Donna?! Will someone please tell me why I'm missing a priv~~? . smiles nervously. is what you were doing to Donna. trmcbcoat." That's why Buddy doesn't care what Powers is doing to his wife. Mr.. Fidler. Gene? Roll 'ern! Speed! (Using stieks): "City of Angels. Settle down. everybody. BUDDY: Here. kid. Aaand action! 189 . to STINE. Any more than she cares about what he's doing to Avril. Arranged for him to do what he's doing to her. a joke? Who's ever going to take me . r Okay! Can we.~. 188 Now. SOUNDMAN: CLAPPERBOY NEPHEW: BUDDY: Take 1. Sotto. You're going to be terrific. singing. ' (NEPHEW runs on and hands BUDDY his coffee) Okay? Just right! (Handing it to JIMMY) . to snNE~ further surprise. you're going to be good. Okay! Let's make a movie! Let's make a movie! (BUDDYjoins GENE and the CINEMATOGRAPHER on the camera crane platform. and dressed as STONE. of course. Even better. then JIMMY POWERS enters. As the crane rises and all take their plaees:) to AVRIL): Good luck. for God's sakes. . to AVRIL) When do I get to see you? Six fifteen.or you .

Stone. All sorts of people are after him. BUDDY: GENE (To the NEPHEW): JIMMY: Which explains the look in these wild. (To STINE): Gene! The cops? Get the cops! Get the cops! (Anticipating): I like that. darling. Good evening.• 190 (To everyone) You're all witnesses! We've got an ironclad. begins to spoon-feed~) STINE ACT II • Scene 19 Slowly. JIMMY: BUDDY: STINE: STONE BUDDY: GENE STONE JIMMY (To ALAURA): It'd make a lovely picture. stops): Real cops or ours? (BUDDY1 glare sends GENE and the NEPHEW run. As the camera crane is lowered and BUDDYsteps down. . In every sense.CITY OF ANGELS 1 I i (CARLA. Mr. out of this business! I accept! BUDDY: Who said that?! (All eyes go to STINE. Remember it. ALAURA: lIS ALAURA. don't we? (Thunder and lightning effects.1hot. to STINE) Are you crazy? Nobody says "Cut" on a sound stage but me! If this building's on fire and everyone inside's dro1rning. snotpose revenge? (STINE crosses to BUDDY and hands him an object from hisjacket pocket) What's this? My pencil. Let me wipe that tear. you'd have to use very. Stone is a rather desperate rpan. private eyes. (Loudly): Cut!! (The word is a thunderbolt) NEPHEW (Starts tv run off.in [etters twenty feet high! . never-again. Mandril. no-more-picture deal! (He tosses the script to BUDDY) It's all yours. Considering his chances with you around. BUDDY: What're you. as JIMMY. nobody yells "Cut" but the director. appears) ". It's the eleventh God damn commandment! It's an unwritten law . The condemned man slurped a hearty meal? Ever have anybody puke inside (To STINE. provocatively): Cut. you don't have to envy it anymore. unbreakable. We all miss poor Dr. It's time I got back to the reality of fiction. My husband s Just haV1n~his dinner.the 191 . looking to get thrown off the set? Is that what you want? Is this some kind of N ew York. ALAURA (To LUTHER): Mr. ningoff) STINE BUDDY STINE: (To STINE): I want you out of here! Out of this studio. . Now. he's even watlted for murder. in disgust): your head? (Quietly. (NEPHEW rushes on with two STUDIO COPS . darling. blood. Measured breaths. fast film. Measured breaths. as STONE. I've got a date with a box full-of-beautiful blank paper. out of this town.

As.40· • CITY OF ANGELS ACT II • Scene 19 same actors who played BIG SIX and SONNY) BUDDY (Re STINE): Him! (He strikes his fist into the palm of his other hand. muttering angrily) Hey. to the delight of the company. Start using it! (So saying. to STINE): A Hollywood ending! (He strikes a fe1D keys on the typewriter and the gian~ doors at the ~a~kof the sound stage open to admIt GABBY. the pages flutter down. holding the gun in innocent triumph. . get offa Buddy's set. (Sitting at the type7JJriter) Except in your mind. STONE X'S the typewriter. STINE takes the screenplay from BUDDY and throws it into the air. the clapperboard and make-up powder puffs. Without you I'm nothing •. feet. I'm nothing without you. Buster! The very idea! (STINE raises his arms. now unfrozen) STINE. When STINE turns to the cruwd. 193 192 11. sits at the type7JJriter) STONE GENE: HAIRDRESSER: (Spoken. (STONE gestures "Wait!. freezing the company. It's time to stop quaking Start taking the lead And you are the singular buddy I need. thus actiuated. Unless we're combined I have half a mind To blow all my chances and breaks. BUDDY walks and talks himself backwards to his starting point. STONE hands STINE a pencil) Without you I'm bupkis. relieving one of the cOPS of his gun in the process. STINE. (STINE hands STONE the gun. A flop who keeps dropping the ball. srONE strikes the type1Driter's X key several times. Without you I lack what it takes.. freezing BUDDY. All move and speak BUDDY (Sing) I'm nothing without you. STONE &: GABBY (Sing): I'm nothing without you. GENE and the NEPHEW repeat the gestUre. he begins typing. throwing them all into a panic:) (Starting to leave): Somebody get this crazy maniac out of here! (STINE raises his hands.." crosses to the desk. dispatches the cOPS wing his fists. the entire company moves t07JJard him. The COPS start heating up STINE) (To STINE): Me?? Belt 'em! hackwards to their previous positions and freeze once more. Then:) STINE STONE: (To srONE): You did! You did it! We did! STINE lit STONE: STONE STINE: STONE: They're not tough.'Who JOIns them.

(As STINE. I'm nowhere without you. (They finish singingjoyousJy. STINE STINE. &: STONE: GABBY: That's me. STINE: A zero. To doubt you is where I went wrong. looking up. (The mtir« company joins in) ALL: From now on I'm with you. And with you is where I belong. STONE and GABBY. lIS STINE. are raised high above the stage. Curtain) 194 .CITY STONE: OF ANGELS No hero. The script calls for fusing and using our smarts. STONE &: With you by my side There's no better guide On how to be all I can be. STONE and GABBY get on the crane platform) And greatness can come of the sum of our parts. atop the cnmera crane.

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