Sunset Boulevard movie - SHELDRAKE lyrics
rate me<br>
SHELDRAKE<br>
Joe! What the fuck bring you here?<br>
<br>
JOE<br>
You wanted to see me<br>
<br>
SHELDRAKE<br>
I did? What about?<br>
<br>
JOE<br>
"Based Loaded" It's an outline for a baseball picture.<br>
<br>
SHELDRAKE<br>
So, pitch.<br>
<br>
JOE<br>
It's about a rookie shortstop. He's batting .347. The kid was once mixed up in a hold-up. Now he's trying to go straight.<br>
<br>
SHELDRAKE (Interrupting)<br>
Wait a minute. Wait a minute. I think I have read this.<br>
<br>
(HE presses a buzzer on the intercom on his desk)<br>
<br>
Somebody, bring in whatever we've got on....<br>
<br>
(HE looks up at JOE, hoping for guidance)<br>
<br>
JOE<br>
"Bases Loaded"<br>
<br>
SHELDRAKE<br>
..."Bases Loaded."<br>
<br>
JOE<br>
They're pretty hot for it over at Twentieth<br>
<br>
SHELDRAKE<br>
Good!<br>
<br>
JOE<br>
But can you see Ty Power as a short-stop?<br>
<br>
ENSEMBLE<br>
Let's have lunch.<br>
<br>
(There's a knock at the door and BETTY SCHAEFER steps into the room. SHE's a clean-cut, bright-looking girl, in her twenties. SHE advances on SHELDRAKE, dropping a folder on his desk, not noticing JOE.)<br>
<br>
BETTY<br>
Here's that "Bases Loaded" material, Mr. Sheldrake. I made a two-page synopsis for you, but I wouldn't bother to read it.<br>
<br>
SHELDRAKE<br>
Why not? <br>
<br>
BETTY<br>
It's just a rehash of something that wasn't very good to begin with.<br>
<br>
SHELDRAKE<br>
Meet Mr. Gillis. He wrote it.<br>
<br>
ENSEMBLE<br>
We should talk.<br>
<br>
SHELDRAKE<br>
This is Miss Kramer.<br>
<br>
(BETTY turns to JOE, horribly embarrassed.)<br>
<br>
BETTY<br>
Schaefer, Betty Schaefer. And right now, I'd like to crawl into a hole and pull it in after me.<br>
<br>
JOE<br>
If I could be of any help...<br>
<br>
BETTY<br>
I'm sorry, Mr. Gillis, I couldn't see the point of it.<br>
<br>
JOE<br>
What sort of material do you suggest? James Joyce? Dostoyevsky?<br>
<br>
BETTY<br>
I think pictures should at least try to say a little something.<br>
<br>
JOE<br>
I see you're one of the message kids. I expect you'll have turned down"Gone with the Wind." <br>
<br>
SHELDRAKE<br>
No, that was me.<br>
<br>
ENSEMBLE<br>
Gotta run.<br>
<br>
BETTY<br>
And I guess I was disappointed. I've read some of your other work and I thought you had some real talent.<br>
<br>
JOE<br>
Yeah, that was last year. This year I felt like eating.<br>
<br>
BETTY<br>
Well, I'm sorry, Mr. Gillis<br>
<br>
SHELDRAKE<br>
Thank you, Miss Kramer.<br>
<br>
(BETTY leaves the room. SHELDRAKE looks up at JOE.)<br>
<br>
Well, looks like Zanuck's got himself a baseball picture.<br>
<br>
ENSEMBLE<br>
We should talk <br>
Gotta run, <br>
Let's have lunch.<br>
<br>
JOE<br>
You've got to give me some work<br>
I'll take whatever's on offer<br>
there must be some shit that needs a rewrite<br>
throw it my way. <br>
<br>
SHELDRAKE<br>
I only wish I could help<br>
there's no spare shit at the moment<br>
remember the greatest writers starved in garrets <br>
didn't care about pay.<br>
<br>
JOE<br>
Are you trying to be funny?<br>
<br>
SHELDRAKE<br>
I believe in self-denial<br>
gives a man some moral backbone.<br>
<br>
JOE <br>
Can you loan me three hundred bucks?<br>
<br>
Sheldrake<br>
I'm sorry, Gillis. Good-bye.<br>
<br>
(JOE leaves.)<br>
<br>
JOE<br>
I just love Hollywood.<br>
<br>
(The light hits JOE. Splintered lines overlap, creating a nightmarish cacophony of phoney greetings.)<br>
<br>
MYRON<br>
Morning, Joanna<br>
<br>
CLIFF<br>
___Where've you been hiding?<br>
<br>
______SAMMY<br>
______Hi there, Lisa<br>
<br>
_________MYRON<br>
_________How're you doing?<br>
<br>
____________KATHERINE<br>
____________I hate this weather<br>
<br>
_______________CLIFF<br>
_______________You look great<br>
<br>
__________________LIZ<br>
__________________RKO are O.K.!<br>
<br>
MARY<br>
What are you doing?<br>
<br>
___JOANNA<br>
___You look great<br>
<br>
______GIRLS<br>
______This is the biggest film ever made<br>
<br>
_________CLIFF<br>
_________I'm trying to make my mind up<br>
<br>
____________MARY<br>
____________Guess I was born to play her<br>
<br>
_______________DAWN<br>
_______________What is my motivation?<br>
<br>
JOANNA<br>
You look great<br>
<br>
___SAMMY<br>
___They're taling nominations<br>
<br>
______LIZ<br>
______You should go work for Warners'<br>
<br>
_________MYRON<br>
_________Is your new script with Sheldrake?<br>
<br>
____________MORINO<br>
____________I'm very close to Sheldrake<br>
<br>
ARTIE<br>
We shoot next month<br>
<br>
SAMMY, SAND/ARTIE, MORINO, MYRON<br>
Gotta run<br>
<br>
JOHN<br>
Let's drive to Vegas this weekend<br>
<br>
KATHERINE/JOANNA<br>
Let's have lunch<br>
<br>
ANITA<br>
You look great<br>
<br>
___JOANNA<br>
___I'm handling in my second draft<br>
<br>
______MARY<br>
______It's between me and Dietrich<br>
<br>
_________KATHERINE<br>
_________I've landed a big Broadway show<br>
<br>
____________ADAM<br>
____________I'm gonna work for Metro<br>
<br>
_______________CLIFF<br>
_______________Let's have lunch<br>
<br>
__________________MARY<br>
__________________Let's have lunch<br>
<br>
GIRLS<br>
Let's have lunch, this is the biggest film ever made<br>
<br>
___MYRON<br>
___I'd really love to read it<br>
<br>
______CLIFF<br>
______I'd know just how to light you<br>
<br>
____________JOHN<br>
____________Let's have lunch <br>
<br>
_______________JOHN/LISA<br>
_______________It won't work<br>
<br>
__________________MORINO<br>
__________________Let's pencil Thursday morning<br>
<br>
GROUP 1<br>
We should talk <br>
<br>
GROUP 4<br>
Gotta run<br>
<br>
CHORUS<br>
Let's have lunch<br>
<br>
CHORUS (Not Joe)<br>
Hi! Good morning, aren't we lucky?<br>
going to work with Cukor<br>
Paramount is paradise, movies from A to Zukor<br>
We should talk, gotta run<br>
<br>
GROUP 1<br>
Let's have lunch<br>
<br>
GROUP 2<br>
We should talk<br>
<br>
GROUP 1<br>
Gotta run<br>
<br>
GROUP 2<br>
Gotta run<br>
<br>
ALL<br>
Let's have lunch!<br>
<br>
(EVERYONE has dispersed, leaving JOE isolated, a prey to the waiting FINANCEMEN. HE's just addressing this situation when, to his surprise, BETTY materializes at his elbow.)<br>
<br>
JOE<br>
Come to get your knife back?<br>
(Spoken)<br>
It's still there, right between my shoulder blades.<br>
<br>
BETTY<br>
I read one of your stories,<br>
wasn't it Scribner's, some magazine.<br>
Title-<br>
something with windows.<br>
<br>
JOE<br>
It was "Blind Windows" <br>
if that's what you mean.<br>
<br>
BETTY <br>
That's right<br>
I really liked it.<br>
<br>
JOE<br>
I'm all warm <br>
and runny inside.<br>
<br>
BETTY<br>
Let me <br>
Pitch it to Sheldrake.<br>
<br>
JOE<br>
I may be broke but <br>
I still have my pride.<br>
<br>
BETTY<br>
Come on. <br>
get off your high horse <br>
writers with pride don't live in L.A. <br>
silence <br>
exile and cunning<br>
those are the only cards you can play.<br>
<br>
JOE<br>
Sheldrake <br>
won't buy this story <br>
he likes trash with fairy lights.<br>
Jesus, <br>
think of the effort <br>
trying to get him <br>
to heighten his sights.<br>
<br>
BETTY<br>
Every <br>
movie's a circus.<br>
Can't we discuss this<br>
Schwab's Thursday night?<br>
<br>
JOE<br>
What for? <br>
Nothing will happen. <br>
I gotta go now. <br>
Fight the good fight.<br>
<br>
BETTY<br>
What's the rush?<br>
<br>
(The FINANCEMEN appear in the doorway, looking around.)<br>
<br>
JOE<br>
See those Gorillas?<br>
<br>
BETTY<br>
Yes, what about them?<br>
<br>
JOE<br>
Do me a terrific favor <br>
keep them amused while I escape.<br>
<br>
BETTY<br>
If you're at Schwab's on Thursday.<br>
<br>
(JOE hesitates fractionally)<br>
<br>
JOE<br>
Done. Look, those guys are after my car. If I lose that in this town, it's like having my legs cut off.<br>
<br>
BETTY<br>
Let's duck into the soundstage.<br>
<br>
1ST FIN.<br>
Come on Gillis, give us the keys.<br>
<br>
BETTY<br>
Shhh! Please be quiet, Mr. De Mille is shooting right over there.<br>
<br>
1ST FIN.<br>
So what?<br>
<br>
BETTY<br>
He's working on "Samson and Delilah"; they're doing a red hot scene with Hedy Lamarr. You want to stay and watch?<br>
<br>
1ST FIN.<br>
No.<br>
<br>
2ND FIN. (Interrupting)<br>
Relax, we got five minutes.<br>
<br>
(SHE leads them into a corner and JOE takes the opportunity to slip away. It's not long, however, before they realize that there is no scene being shot and furiously set off at a run, pursuing JOE)<br>
<br>
BOTH FIN. MEN<br>
Hey, hey, come back here...<br>
<br>
