The Gazebo

The door's open, come in.

All I ask is an actor just to stand

on his two feet, and look what happens.

- How much film we got left? - Thirty seconds.

There's a mic shadow there, now, get rid of the mic shadow.

Ya see it?

Frank's a little off his Mark, have him move to the right.

A little right, frank, a little to the right.

He's moving to the left. Can't you see

he's moving to the left? Have him move to the right.

Hold it! Hold it!

Elliott, it's going fine. Take it easy.

Please, I can't see the second gun. Now, where's the second gun?

Well, it's on the table behind the bowl.

All right, so it's on the table behind the bowl,

and I want to see it, will you show it to...

I want to see it! Will you please

show me the gun, please?

Show me the second gun.

Fade out four.

Camera one, trouble here.

We've lost camera one.

We've lost camera one?

What else can happen?

Everything is happening to me tonight.

Everything is happening to me.

All right. You go to camera two.

Camera two is covering the door.

Let three cover the door.

Two move in. Three move back.

Two move in...

All right. Go to the black. Stand by three. Take three.

- Three's on. - Go to film.

All right. Now, this is the big close-up of the door.

Now, watch those marks. Watch them very carefully, now.

Dolly in closer.

Dolly in closer three.

Closer, a little bit closer.

- A little closer... - Closer.

- Closer. - Closer.

Hold it!

Ahh!

All right. Fade three, up on four.

Fade three, up four.

We're 30 seconds over.

All right. Forget the credits.

Go to the last card.

All right, bring up the theme music.

- Dump the credits. - Resolve fill up.

- Roll, please. - Can you file that, honey?

Five, four, three,

two, one, stop.

Listen, I'm sorry about that spill, boss.

- Ah, forget it. - Everything else okay?

Oh, fine, fine. Listen. Thanks a lot, everybody.

Mr. Nash, what about that other show?

I'll talk about it Tuesday, Lucille, do you mind?

- Great show, Mr. Nash. - Thank you.

Doctor's here.

All right.

- Hello, Brad. - Ed.

Any messages?

The agency called.

"Sensational show, congratulations."

How's the pulse?

Come on. How is it?

Bully, Jim dandy.

If you'd just been running six or eight miles uphill

carrying a small anvil, I'd say it was about normal.

Now, what's that?

Vitamin shot.

Turn it up.

The new scripts are back from Mel.

Set meeting for Monday, rehearsals call Tuesday.

Your wife called.

She loves you, and that...

Hold it still!

Now, what are you using, knitting needles?

That'll be all, Mrs. Spence.

Oh, some man called twice.

He wouldn't leave a message.

Oh?

Oh, well thank you.

- I see. - Good night.

Yes, good night, Mrs. Spence.

Now, wait a minute, aren't you going to take my blood pressure?

What for? I know what it'll be.

I'll only get discouraged.

That's what I like about you, Brad, you always give me such a lift.

How about giving a guy a little bit of advice, occasionally.

You had my advice.

You chose to ignore it.

From now on, the best I can offer is my best wishes.

Oh, thanks.

You have televisionitis; Also known

as the Madison Avenue heebie-jeebies,

induced by an over application of work

and an under application of common horse sense.

Good night, Elliott.

Say, Brad.

Brad, there are 14 columns of doctors

in the yellow pages of the phone book.

I just might choose one of them one day.

Bless you, my boy.

Ben, have a cab waiting.

I'm picking my wife up at the theater.

- Elliott? - Huh?

Elliott, I watched you tonight in that control booth.

You're a bundle of nerves.

It frightened me.

Now, I'm going to talk to you like a Dutch agent, and I'm laying

down the law.

From now on, you will not write

and direct on the same show.

Oh, yes I will.

Elliott, please.

Look, I'm laying down the law.

Why do you want to beat yourself like this for?

For what reason, huh?

For, for sentimental reasons, let's say, huh?

I'm sentimental about money.

Uh, that reminds me. What about that advance?

- Advance? What advance? - What do you mean what advance?

The one for the movie script. The one for Hitchcock.

Elliott, you haven't even started that.

He doesn't know it, does he?

Look, it's all in my head, it's right here in my head.

Now, suppose you just go get the advance, huh?

I don't know what's with you these days.

- All you think about is money. - Yeah.

You know, with what you make right now, everybody should do so good.

And on top of that, Nell, god bless her,

working in the show, what do you do with it?

Just get the advance.

Just get the advance.

I'll have a cab at the side entrance.

Hello?

Yes, this...

This is...

Yeah, I was expecting you to call, Mr. Shelby.

How much is it this time?

Look, where do you expect me to get that kind of money?

What do you think I am?

Look. Listen.

Mr. Shelby, I'm even trying to sell my home, now.

Wait a minute! I'm trying to sell my home.

I can't do that overnight.

Look, you've got to give me time here.

Look, you've gotta give me time.

Elliott...

Sh, sh, sh, sh!

It's down to 105.

Down to?

What are you trying to do?

- I think we hit a pigeon! - What?

A pigeon, I think we smacked it.

Well, back up. See if it's hurt.

Huh?

Back up. Will you back up?

See if maybe we can give it first aid.

- A pigeon? - Yeah, a pigeon.

Come on. Back up. Back up.

I can't back up on a one-way street for no pigeon.

Why did you have to go hit a pigeon for?

He was crossing against the light.

Where ya go...

All right, all right, all right.

Don't be so impatient.

Go on. What are ya gapin' at?

He doesn't seem to be hurt. He's just in a state of shock.

I gotta keep him warm, though.

So what are you, a self-appointed hot water bottle?

Well, you wouldn't want the little fellow to die, would ya?

Hey, uh, stop at a fruit stand, will ya, driver?

I want to get the pigeon some peanuts.

Kooks.

Why do I always get kooks?

Hi, darling!

Who's your friend?

Oh, that's a pigeon.

Are you any pigeon I know?

- See you in a minute. - All right.

Thank you.

He's thirsty.

And then I said, "will you please say

somewhere in the article that, of course,

I'm terribly excited about my career,

but my principle interests are in my husband and my home."

You know what he said?