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157: Starlight Memories [ - ]
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Transcript transcribed from the original airing of "Starlight Memories"

WHO'S THE BOSS?

"Starlight Memories"

Executive Producers

Martin Cohan, Blake Hunter and Danny Kallis

Directed by Tony Singletary

Written by Clay Graham

Episode: #0711

Broadcast:11/10/90

 

CAST

TONY MICELLI/YOUNG NICK.............................TONY DANZA

ANGELA BOWER/YOUNG JENNY.........................JUDITH LIGHT

MONA ROBINSON/JENNY'S FRIEND...........KATHERINE HELMOND

SAMANTHA MICELLI/SINGER.........................ALYSSA MILANO

JONATHAN BOWER/PAPER BOY....................DANNY PINTAURO

TOM/COLONEL.............................................MICHAEL CUTT

WAC......................................................CHERIE FRANKLIN

BILLY/PAPER BOY'S BROTHER..............JONATHAN HALYALKAR

ERNIE/RALPH..........................................RALPH P. MARTIN

OLDER NICK...............................................JERRY ORBACH

LIZZY/CIGARETTE GIRL................................BRENDA VARDA

OLDER JENNY.........................................GRETCHEN WYLER

SETS

 

INT. LIVING ROOM

INT. KITCHEN

INT. STARLIGHT BALLROOM

EXT. PARKING LOT

"Starlight Memories"

 

SCENE I

(TONY is trying to stick the mail back into the mail box quietly.

He is unaware that BILLY is behind him.)

BILLY

Why are you putting the mail back

TONY

(kneeling down, to speak to Billy at his eye level)

Because I put a flyer in with the mail

BILLY

Why?

TONY

Because, because I bought some tickets for this big dance and I want to invite Angela. I don't want to make a big deal out of this. So when she sees the flyer, I'll casually ask her to go to the dance with me.

BILLY

Why?

TONY

Look a giraffe

BILLY

Where?

TONY

No where. I just wanted to hear a different question.

BILLY

Why?

TONY

Go in the house, hurry up and get in there.

(They both go back in the house)

BILLY

I thought you and Angela were married (sitting on the couch)

TONY

Why? No, wh-wha what would make you think that?

BILLY

You live together and you like each other.

TONY

(Sitting next to BILLY on the couch)

Yeah. Let me tell you something pal. There's a lot more to being married than that.

BILLY

Well, what do married people do that you and Angela don't?

TONY

Look, a giraffe.

MONA

(MONA enters through front door, sorting through the mail)

Ah, the Star Light Ball Room is going to have a last dance before they tear it down.

TONY

(grabbing the mail away from MONA)

No! Don't-- No! Mona! Would you... Let go of that.

MONA

My goodness, I had no idea you were so attached to inanimate objects. (To BILLY) I suppose that's why he likes Angela so much.

BILLY

Tony put that back in the mail so it'll be easier to ask her out.

MONA

I hope this is his idea, because if it's yours, its pathetic.

TONY

You know, Angela and I used to see other people and now we're not. And now I'd just like to easy into what we had before.

MONA

You mean that vague, unfulfilling, frustrating, immature joke you called a relationship?

TONY

Yeah, how could have let that slip away?

MONA

How could you tell when it was gone?

TONY

Please!

JONATHAN

(enters through front door)

Hey, guys

TONY

Hey Jonathan you didn't touch the mail did you?

JONATHAN

No.

TONY

Good, good, good.

SAM

(enters through front door carrying the mail)

Mail Call!

TONY

Sam, please put the mail back in the box.

SAM

What? Oh, I get it. It's because I moved out isn't it? Sam the outsider. Don't touch the mail Sam. It's for residents only. I'll put your precious mail back. Who ever said you can't go home again was right.

JONATHAN

It was me, but you keep coming back!

TONY

Sam! Jonathan!

SAM

(putting the mail back in the box)

Angela's pulling up an official resident.

(TONY begins push everyone to leave the room)

JONATHAN

What's the big idea?

BILLY

Don't ask me, I thought they were married.

JONATHAN

I don't know

(With everyone out of the room, Tony runs into the kitchen)

 

(ANGELA and TOM, Angela’s client enter Living Room)

TOM

The Mystic location's perfect for the shoot.

ANGELA

I'm glad you like it, I'll go get the contracts

(ANGELA leaves for her study to retrieve the contracts)

TOM

Fine, I'll practice signing my name

(Looks at the desk and sees the flyer for the dance)

(INT. KITCHEN)

(TONY is in the kitchen with ERNIE the waterman standing just behind the kitchen door)

TONY

Right now, she's in there looking at the flyer, thinking about how much she'd like to go with me.

ERNIE

It's a great plan, Tony. You're a true romantic.

TONY

Thanks. When you're around women as much as I am, you learn that timing is everything.

(In the LIVING ROOM)

TOM

Angela, do you want to go to this?

ANGELA

What?

TOM

The Starlight Ballroom, closing after 65 years. Farewell dance, Saturday night. What do you say?

ANGELA

Thanks, but I don't think so.

TOM

Oh, someone already asked you?

ANGELA

No, although I was hoping. I mean I, someone might be.

TOM

Well, it is this weekend. If he hasn't asked you by now, I don't think he will. Come on you can't wait forever.

(INT. KITCHEN)

TONY

This is it. This is it. See, now I go in there, I casually notice the flyer and I ask her to go with me

ERNIE

You're a genius Tony.

(TONY and ERNIE exit the kitchen into the living room)

ANGELA

Great.

TOM

I'm looking forward Saturday night, then. Lucky thing this was in the mail, huh?

ANGELA

Yes, Bye.

(ANGELA closes the door behind TOM as he exits)

ERNIE

You're a pinhead Tony.

SCENE II. INTERIOR: THE STARLIGHT BALLROOM

LIZZY

Oh, this is beautiful Tony. I'm so glad you invited me. You've always been my favorite customer at the checkout stand.

TONY

(snapping his fingers)

Oh, hey look. There's my boss. Come on. We'll meet them.

TONY

Angela. Tom. This is Lizzy.

ANGELA

Where have I see you before?

LIZZY

(raising imaginary paper and plastic bags)

Paper or plastic?

ANGELA

The Fairfield market.

LIZZY

Right

ANGELA

Why don't you join us?

TONY

Sure we'd love to. (to LIZZY) Have a seat.

LIZZY

Tony's been coming for five years and it's take him this long to finally ask me out. Can you believe it?

ANGELA

He's funny that way.

 

(An Older couple NICK and JENNY, come up behind the foursome)

NICK

Excuse me. Do you mind if we sit here?

TONY

Sure pull up a chair.

JENNY

He means can we sit here.

(pointing to the chairs that ANGELA and TONY are sitting in)

NICK

When we met 46 years ago, we were sitting there.

JENNY

And tonight's our last chance to relive that moment before they close the ball room forever

TONY

Gee, you know, I just got comfortable

ANGELA

Tony!

TONY

I'm kidding, I'm kidding. They know I'm kidding.

(TONY and ANGELA gets up and allows them to sit and he takes a seat over by Angela.)

JENNY

Remind you of somebody Nick?

NICK

Yes, Jenny used to beat up on me just like that when we were a young couple.

ANGELA

Actually, we're not really a couple.

NICK

Well, neither were we when we first met, but six hours later we were married.

MONA

(walks up to the group and stands behind NICK and JENNY)

Six hours? Way to go sister? Seven years, and Jack and Jill still haven't fetched a pail of water.

ANGELA

Mother, I don't think these people want to hear about our personal life.

MONA

Why not? Looks like they could use a laugh (seeing a cute guy) Oh, excuse me.

TONY

How did you get married after only six hours?

NICK

It's just another one of those stories about a Brooklyn guy and a Connecticut girl, with nothing in common thrown together by fate and passion.

ANGELA

Bore us.

TONY

Yeah. Bore us to death.

ANGELA

We love boredom.

NICK

Well, it was 1944 and nobody knew when the war was going to end. I was working at the loading docks when I joined the navy. I was a cocky kid. Jenny was well to do. Ivy league. You know, a real snob.

(TONY begins to laugh hysterically until ANGELA makes a face at him. NICK sets the scene for the story.  He begins to tell through narration. The screen turns to black and white. It is 1944 and the Starlight is a USO with a big band playing in the background. Couples dancing on the dance floor to PENNSYLVANIA 6-500) (TONY as young NICK with ERNIE as RALPH. They are both dressed as World War II sailors)

NICK

Back then The Starlight was a U.S.O. One night I come in with my buddy, Ralph.

RALPH

Nick this is a lot ritzier than the Brooklyn USO.

NICK

And wait until you see the dames.

RALPH

Hubba, Hubba.

NICK

Come On.  (To the bartender) This a couple of beers, hug pal

MONA as JENNY'S FRIEND

Hey sailor, want to see my tattoo? (walks away)

RALPH

Praise the Lord and pass the ammunition.

NICK

Hold your fire there swabby. It's a long war.

LIZZY as The CIGARETTE GIRL

         (walks up to him)

Nick, What are you doing here?

NICK

The Lindy? (Pretending to dance)

The CIGARETTE GIRL

Don't be cute and charming with me. I went on a moonlit drive with you because you said you were shipping out the next morning

NICK

I'm back!

The CIGARETTE GIRL

You're back after two days?

NICK

A top secret mission. Let's just say, you won't be hearing much about that Hitler guy any more.

The CIGARETTE GIRL

How'd you do it?

NICK

Death charged his lederhosen. Boom! (makes an explosion movement with his hands)

The CIGARETTE GIRL

Holy smokes (walks away)

RALPH

Boy, are you smooth, Nick! Top Secret mission. If I hadn't heard it with my own ears.

(ANGELA as young JENNY and TOM as a COLONEL enter the room. She instantly catches NICK's attention)

NICK

Say Ralph did you ever see a dream walking?

RALPH

She's too classy for guys like us.

NICK

Well, you got that half right.

RALPH

She's a real society dame. I bet she's never heard of Brooklyn. Probably thinks the Dodger are from, I don't know, California?

NICK

Who cares? She's a knockout.

RALPH

Yeah. But she's with that chicken COLONEL over there.

BILLY as SHOE SHINE BOY

Shine, Mister?

NICK

No kid. Not today.

JONATHAN as PAPERBOY

How about a paper?

NICK

No, no thanks.

SHOESHINE BOY

(Lifting his sleeve to display at least four watches)

Want to buy a watch?

NICK

No! Scram! (thinking twice about it) Hey wait a minute. There is something you guys can do for me. I'm gonna make it worth your while too.

PAPERBOY

Hey, you’re fighting to keep the world safe. So whatever it is, my brother and I won't charge you. Just buy a paper okay.

NICK

Sure, sure. How much?

PAPERBOY

20 bucks.

NICK

I'm giving you five and there better be some good news in here. Now see here you, this is what you're gonna do.

(Camera changed to TOM as the COLONEL and ANGELA as JENNY sitting at the table mentioned earlier in the story.)

COLONEL

I though later we might stop by the Officer's club. They have a string quartet.

JENNY

Gosh, that sounds swell.

SHOESHINE BOY

Daddy! Daddy!

JENNY

Daddy?

COLONEL

I've never seen him before in my life.

SHOESHINE BOY

Mommy says please don't stay out late again.

COLONEL

Get out of here, kid.

JENNY

Is that anyway to talk to your son?

COLONEL

He's not my son!

SHOESHINE BOY

Oh, Daddy!

JENNY

Goodbye, Colonel (stands to leave)

COLONEL

But Jenny!

JENNY

I know a WAC who's big and can crush you.

NICK

(trying to stop her as she rushes to leave)

Slow down, slow down slow down

JENNY

Yes, I'm fine. It's just some people.

NICK

You gotta be careful. There's always some wise guy out there looking to take advantage of a swell girl like you.

JENNY

(Turns to look at him)

NICK

Care to join a lonely sailor?

JENNY

All right.

NICK

Right there have a seat.

(They both sit down at the table.)

JENNY

Thank you.

NICK

I'm Nick.

JENNY

I'm Jenny.

NICK

Oh, Jenny huh? That's a nice name. You're probably one of them college girls.

JENNY

Those. I went to Wellesley.

NICK

Prestigious. What did you study?

JENNY

18th century French literature with a minor in Medieval Art.

NICK

Jenny's a nice name.

 

SAMANTHA as the BIG BAND SINGER

(begins singing)

It had to be you,

It had to be you.

NICK

Well, uh, hey it had to be us. What do you say?

JENNY

Oh great.

NICK

Thanks

BIG BAND SINGER

Could make me be true

Could make me be blue

NICK

It's a beautiful night.

Nice moon out. I know this spot we can drive to (leans in to kiss her neck)

JENNY

(Pulling Back) Hold it you're moving too fast.

NICK

You’re right. I'm sorry I'm rushing it. It’s just. . .

JENNY

What?

NICK

I d . .didn’t want to say anything. It's just I'm shipping out tomorrow.

JENNY

Oh, Nick.

NICK

That's why I was rushing, because I figured if I couldn’t have one kiss before I

JENNY

Nick, you should have said something. I guess you were just being brave.

(Kisses him on check, he leans in for a kiss on the lips and she slaps him)

NICK

Ow! What? I gargled.

JENNY

Your unit hasn't had any orders to ship out. I know I work for the U.S. War Department.

NICK

Did I mention a secret mission?

JENNY

You're an insensitive, dishonest palooka and you are only wanting one thing from me and you're not going to get it. And that's no secret. (Runs off mad. A WAC comes into the room and JENNY whispers something in her ear.)

NICK

Ah, Jenny wait a second.

(JENNY runs out of the room)

NICK

Did you see that?

RALPH

Whew.  What a little spitfire! Hey you’re better off.

NICK

I don't know how, but I'm going to get that girl.

WAC

(Walks up to the pair) You Nick? The blonde over there asked me to crush you.

NICK

I'll see you later, Nick.(The scene returns to present day, in color.)

 

SCENE III Modern Day Starlight Ballroom.

 (All the couples are still sitting around listening to NICK and JENNY's story)

TONY

She slapped you, she has you crushed. You're lucky she liked you.

ANGELA

So what happened?

NICK

You don't want to hear this, you should be out there dancing.

JENNY

“Shakin' your love thang.”

(They receive puzzled looks from everyone at the table)

We watch Arsenio.

TONY

We want to hear the rest story. Right, guys?

TOM

Well, actually I wouldn't mind shaking my love thing.

TONY

Thang.

LIZZY

Me, too.

TONY

I got an idea. You two dance, warm it up for us and we'll met you out there after we finish the story.

ANGELA

Yeah, go.

(TOM escorts LIZZY out onto the dance floor.)

LIZZY

Now World War II, that was the one with John Wayne, wasn't it?

(LIZZY AND TOM go out and dance.)

TONY

Finish the story, Nick.

NICK

I was feeling pretty low. But Jenny here couldn't get me out of her mind. I mean, she was kicking herself for walking out on such a great guy.

JENNY

Now hold it, that's wasn't exactly how it was.

(The scene returns to the 1941 Starlight Ballroom, again in Black and White. A few lone couples are on the floor dancing to unknown slow song.  The camera pans to JENNY and her friend who are sitting together taking at the table.)

JENNY

Men.

JENNY’S FRIEND

Tell me about it

JENNY

He's a first class jerk. A bum. If I never see him again, it will be too soon.

JENNY’S FRIEND

Yeah. So can I have him a shot at him?

JENNY

No! "I’m shipping out tomorrow. If I could have but one kiss" Uh. How could anyone be brainless enough to fall for a routine like that!

THE CIGARETTE GIRL

(Walks past with a soldier)

I heard it myself. He blasted Hitler right out of his shorts.

RALPH

(trying to comfort NICK)

Forget about her, she's stuck-up, she's a got no sense of humor, and I don't even think she's a natural blonde.

NICK

(pulls RALPH up by his collar)

Hey, watch it pal. You're talking about the woman I love.

RALPH

What do I know? I haven't had a date since 1931.

(THE COLONEL walks over to NICK and RALPH)

You!

NICK

Ah, oh!

JENNY’S FRIEND

I got $5 bucks on Popeye the Sailor Man.

NICK

Sir, now look, I know what I did was wrong and I'm sorry. I apologize. But there's just something about that girl, sir. I just had to be with her. You understand now don't ya?  I'm sorry, I apologize. No hard feelings, huh sir?

THE COLONEL

Yeah, no hard feelings. (Punches NICK)

(NICK doesn't defend himself and drops to the ground)

Ah! (In extreme pain)

JENNY'S FRIEND

Shoulda ate your spinach.

JENNY

(Yelling at the COLONEL) You big bully. He was apologizing to you.

THE COLONEL

I think I broke my hand. That guys got a head like a rock.

RALPH

How could you let him sucker punch you like that? It don't make sense.

NICK

Shut up Ralph. (whispering)

RALPH

I mean you a fleet champion

NICK

shut up Ralph.

RALPH

two years running. I don't get it.

NICK

Shut up, Ralph! (Whispering loudly, pushing him be hind him.)

JENNY

Oh. Oh, you poor thing. I've got a first-aid kit in the car. If you want, I can put something on that?

NICK

Well, okay.

Outside

Radio plays Blue Moon

JENNY

I'm just doing this to help a servicemen. It in now way changes the way I feel about you

NICK

(JENNY applies medication that stings) 

Ow!  I understand and that's okay with me

JENNY

Good

(Kiss)

JENNY

Oh, be careful. It's my last pair of nylons

NICK

Oh, I’m sorry. Oh, gosh.

(They Kiss)

Oh, look. Now you've got a run.

JENNY

To hell with them.

(They kiss. Ralph runs up to the car with a sheet of paper)

JENNY

(screams)

Ah!

NICK

What? What is it? (Noticing Ralph) Ahh! (To Ralph)

What do you want?

RALPH

We got our orders! We ship out tomorrow!

NICK

I don't need any help, beat it.

JENNY

Yeah, he doesn't need any help.

(NICK and JENNY continue kissing)

RALPH

This is no scam. It’s the real thing!

JENNY

(taking the sheet of paper)

He's right. It’s the real thing. You ship out at 0800.

RALPH

(grabs the paper from NICK)

If I can't get a woman with this, I deserve to get shot.

JENNY

I can't believe it. It's not fair. We just met

NICK

I may not see you again for weeks or months or...I may never. Marry me.

JENNY

What?

NICK

Marry me tonight. This way no matter what happens we'll always be together.

JENNY

But Nick, we can't do that. We barely know each other. It would be crazy.

NICK

Well, take your time. You know. Don't rush. Take 5, 10 minutes. Mull it over. Decide. Say yes. Would be crazy?

JENNY

I'm sorry, I'm sorry.

RADIO ANNOUNCER

And now from London, here is the latest on the war.

This is London. It's a city under siege. Hitler's V-2 Rockets drop in increasing frequency on this already battered metropolis. As Londoners’ take refuge in the relative safety of the underground. The worst they say is not knowing where or when the next rocket may hit.

JENNY

So, I guess if we're going to get married. You should probably tell me you last name.

(The scene returns to present time, in color.)

So we found a chapel down the street. Woke up the pastor--

NICK

And we've had the same last name for 46 years.

TONY

Whoa!

ANGELA

Oh, wow!

TONY

So, hey, then the next morning you went overseas, huh?

NICK and JENNY

Uh, not exactly.

ANGELA

The orders weren't real?

JENNY

Yeah, the orders were real, but that night after we got married. ..um.. .Nick threw his back out.

ANGELA

Carrying you over the threshold.

TONY

Aw.

NICK and JENNY

No. No.

TONY and ANGELA

Oh! Oh!

TONY

Well I guess if you have to be 4-F, it beats getting your foot caught in a thresher.

JENNY

But if it weren't for those orders, we wouldn't have gotten married

NICK

and we wouldn't be sitting here tonight. So sometimes crazy ideas work out. Come on. You wanna dance?

JENNY

You bet.

(JENNY AND NICK leave to dance on the dance floor.)

TONY

Hey, that's a terrific story guys.

ANGELA

(Noticing TOM and LIZZY dancing close on the dance floor.)

Oh well, they're not the only people who move fast.

TONY

You know it figures. She works the express lane.

ANGELA

Well, looks like we lost our dates.

TONY

Well, actually it’s okay because . . .I wanted to ask you to this myself.

ANGELA

Really?  Why didn't you?

TONY

Because I'm slooooowww! Do-Do you think that we're moving too slow?

ANGELA

I don't think that we can compare ourselves to other people and I think that every situation is different.

TONY

I guess.

ANGELA

Have you been happy the last seven years?

TONY

Yeah, except for those three weeks when I thought I was losing my hair. Holy Smokes.  I'd say these have been the happiest years of my life.

ANGELA

Me, too. Maybe that means what we've been dong is right.

TONY

They’re playing our...I mean their song, you want to dance? What do you say?

ANGELA

If you don't think we're moving too fast.

TONY

It’s okay. It’s a slow one.

(TONY leads ANGELA out onto the dance floor. From of the bottom screen, NICK can be seen watching the couple as they dance.)

 

SCENE III INT. LIVING ROOM

(TONY turns on the stereo, IT HAD TO BE YOU is playing. ANGELA exits the kitchen. TONY takes her by the hand)

TONY

Who says the night has to end?

(They begin to dance behind the couch. They spin once and the room turns black and white.)

MONA

(ENTERS through rear door, realizes that room is in black and white.)

Not again, I hate when this happens.

(takes her shoe and hits it against the door frame three times. The room returns to COLOR)

That's better.

 (TONY leads ANGELA over to the kitchen door. He kicks the door and the rooms returns to BLACK and WHITE.)

TONY

I like it the old fashioned way.

(They dance cheek to cheek.)

FADE OUT.

(As credits rise, the scene returns to 1941 and all the actors are dancing together.)