Sunset Boulevard Page #2

NO. 2

Or do you want us to jack it up

and haul it away?

GILLIS:

Relax, fans. The car isn't here.

NO. 1

Is that So?

GILLIS:

I lent it to a friend of mine.

He took it up to Palm Springs.

NO. 1

Had to get away for his health,

I suppose.

GILLIS:

You don't believe me? Look in

the garage.

NO. 1

Sure we believe you, only now we

want you to believe us. That car

better be back here by noon tomorrow,

or there's going to be fireworks.

GILLIS:

You say the cutest things.

The men leave. Gillis GILLIS' VOICE

stands pondering beside Well, I needed about two

the door for a moment. hundred and ninety dollars

Then he walks to the and I needed it real

center of the room and, quick, or I'd lose my car.

with his back to the It wasn't in Palm Springs

CAMERA, slips into a and it wasn't in the

pair of gray slacks. garage. I was way ahead

There is a metallic of the finance company.

noise as some loose

change and keys drop

from the trouser pockets.

As Gillis bends over to

pick them up, we see that

he has dropped the car

keys, identifiable be-

cause of a rabbit's

foot and a miniature

license plate attached

to the key-ring. Gillis

pockets the keys and as

he starts to put on a

shirt

DISSOLVE TO:

A-9 EXTERIOR OF RUDY'S GILLIS' VOICE

SHOESHINE PARLOR (DAY)

I knew they'd be coming

A small shack-like build- around and I wasn't tak-

ing, it stands in the ing any chances, so I

corner of a public park- kept it a couple of

ing lot. Rudy, a blocks away in a parking

colored boy, is giving lot behind Rudy's Shoe-

a customer a shine. shine Parlor. Rudy

never asked any quest-

ions. He'd just look at

your heels and know the

score.

PAN BEHIND the shack to GILLIS' CAR, a yellow 1946

Plymouth convertible with the top down. Gillis enters

the SHOT. He is wearing a tweed sport jacket, a tan

polo shirt, and moooasins. He steps into the car and

drives it off. Rudy winks after him.

A-10 THE ALLEY NEXT TO SIDNEY'S

MEN'S SHOP ON BRONSON AVE. GILLIS' VOICE

I had an original story

Gillis drives into the kicking around Paranount.

alley and parks his car My agent told me it was

right behind a delivery dead as a doornail. but

truck. PAN AND FOLLOW I knew a big shot over

HIM as he gets out, walks there who'd always liked

around the corner into me, and the time had

Bronson and then toward come to take a little

the towering main gate of advantage of it. His

Paramount. A few loafers, name was Sheldrake. He

studio cops and extras are was a smart producer,

lounging there. with a set of ulcers to

prove it.

DISSOLVE TO:

A-11 SHELDRAKE'S OFFICE

It is in the style of a Paramount executive's office --

mahogany, leather, and a little chintz. On the

walls are some large framed photographs of Paramount

stars, with dedications to Mr. Sheldrake. Also a

couple of framed critics' awards certificates, and an

Oscar on a bookshelf. A shooting schedule chart is

thumb-tacked into a large bulletin board. There are

piles or scripts, a few pipes and, somewhere in the

background, some set models.

Start on Sheldrake. He is about 45. Behind his wor-

ried face there hides a coated tongue. He is en-

gaged in changing the stained rilter cigarette in

his Zeus holder.

SHELDRAKE:

All right, Gillis. You've got

five minutes. What's your story

about?

GILLIS:

It's about a ball player, a rookie

shortstop that's batting 347. The

poor kid was once mixed up in a hold-

up. But he's trying to go straight --

except there's a bunch of gamblers

who won't let him.

SHELDRAKE:

So they tell the kid to throw the

World Series, or else, huh?

GILLIS:

More or less. Only for the end

I've got a gimmick that's real good.

A secretary enters, carrying a glass or milk.

She opens a drawer and takes out a bottle of pills for

Sheldrake.

SHELDRAKE:

Got a title?

GILLIS:

Bases Loaded. There's a 4O-page

outline.

SHELDRAKE:

(To the secretary)

Get the Readers' Department and

see what they have on Bases Loaded.

The secretary exits. Sheldrake takes a pill and

washes it down with some milk.

GILLIS:

They're pretty hot about it

over at Twentieth, but I

think Zanuck's all wet. Can

you see Ty Power as a

GILLIS (cont'd)

shortstop? You've got the best

man for it right here on this lot.

Alan Ladd. Good change of pace for

Alan Ladd. There's another thing:

it's pretty simple to shoot. Lot

of outdoor stuff. Bet you could

make the whole thing for under a

million. And there's a great little

part for Bill Demarest. One of the

trainers, an oldtime player who

got beaned and goes out of his head

sometimes.

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