Home | Articles | Bloopers | Episode Guide | Fan Fiction | FAQ | Forums | Gallery | Links | Transcripts
WTB?R Home • WTB?R Archives
147. The All-Nighter [ - ]
by folle
Table of Contents [Report This]
Printer

- Text Size +

Transcript from the broadcast version of The All-Nighter.
Script was a collaboration between Ayla and folle.

Who's the Boss?
Episode #147 - The All-Nighter

Edited version, as aired on ABC Family Channel

First aired May 8th, 1990.
written by Clay Graham
directed by Asaad Kelada

[Scenes in [brackets] are inserted by me and translated from the unedited, German airing]
Transcript by Ayla with revisions courtesy of folle
For awesome insights in this episode check the discussion thread on the boards “When does Tony realize he loves Angela?”

SCENE I.
(INTERIOR BOWER LIVING ROOM. TONY AND HIS WORK GROUP CONSISTING OF DAVE, A GIRL AND A GUY, ARE SITTING IN THE DARK, LOOKING AT ART SLIDES)

TONY: Artist!

GROUP: MUNCH!

TONY: Title!

GROUP: THE SCREAM!

(Mona comes in and looks at the slide)
MONA: Wrong! It’s Angela without her make-up! (She laughs)

TONY: Mona, listen to me. Listen to me, Mona. We’ve got two days to cover 500 years of art. Could you give us a break here?

MONA: OK, all right, I’m going. Ugly picture, anyway. (She exits)

TONY: All right, can we start again, please, folks. OK. Next picture. All right. What year…
(Bell rings) (Tony groans) Who is it?

KATHLEEN (Off): Kathleen!
(Everybody groans)

GUY: Oh no, it’s Little Miss “I-have-a -better-idea”.

GIRL:That woman drives me nuts!

TONY: Hey, hey, hey now, take it easy, guys. I mean she may be a little stubborn and a little totally obnoxious but she’s got the spare bulb for the projector.

(He opens the door. Kathleen, an attractive woman in her late 20s, comes in)

TONY: Hi. Come on in. Come on in. We were just talking about you.

KATHLEEN: Oh, all good I hope.

(Beat)

TONY: Have a seat.

DAVE (Trying to impress her): Sit over here, Kathleen. Oh, you look nice tonight.

KATHLEEN: Thanks Dave. But I’ve been waiting tables for the last 8 hours and I am not exactly feeling like Michelle Pfeiffer.

(Girl grunts, obviously annoyed with her)

TONY (exasperated): Can we *please* get back to work, gang? Come on here, ok.

(The door opens and Angela, John and Peter come in. Tony wails in despair)

ANGELA: Hi, hi. Hi all. (She looks confused)

TONY: Hi Angela, how are ya. Angela, this is my study group. Study group, this is my boss, Angela.

GROUP (not overly excited): Hi.

ANGELA (turning to her guests): And this is John Petrie and Peter Gerber of Encanto Records.

JOHN: Please. No applause. (Tony winces at the lame joke)

ANGELA: Well, well. (fakes being in a good mood) I had no idea you’re going to have a study
group over tonight!

TONY (mimiking her fake, exuberant voice): That’s funny, because I told you twice!

ANGELA (her voice getting higher and higher): Well, we’ll talk about it later!

TONY (topping it): I can hardly wait! (He shows as many teeth as he can)

ANGELA (To John and Peter): Why don’t we just go into my study?

PETER (imitating Tony and Angela’s high-pitched voices): Whatever you say! (Everybody stares at him) Just trying to fit in. (Angela, John and Peter leave)

TONY: Please. Could we get back to work now. (He turns off the light)

KATHLEEN (Looking at the slide): You’re starting with a 19th century artist?

TONY (Unnerved): Yes, I am starting with a 19th century artist, because that’s what’s the exam is emphasizing.

KATHLEEN: You know what? I have a better idea… (Group groans)

(ANGELA’S STUDY. THE MUSIC IS TURNED ON LOUDLY. ANGELA IS SITTING ON HER COUCH WITH JOHN, PETER IS STANDING NEXT TO HER DESK. BOTH MEN ARE APPARENTLY VERY ATTRACTED TO HER. ANGELA GETS UP)

ANGELA: You have a lot of R n’B artists. I want to flood the college market, the urban areas…

PETER (interrupting and following her to her desk): Good! She’s very good. She knows advertising, she knows music and she is beautiful.

ANGELA: Oh, come on. I don’t know that much about music. (They laugh)

GROUP (off, they are yelling because the music is too loud): LEONARDO DA VINCI!

ANGELA (distracted): Uh, I have a *really* interesting idea for this campaign…

GROUP (off): VIRGIN ON THE ROCKS!

ANGELA: Aimed at young urban virgins. (They look at each other)

(Cut to: Living Room. Tony is about to either cry or explode)

TONY: Aaaaaaaaaaaaaaaaaangela! Can we please turn that down? Have we learned nothing
from Pete Townsend?

(Angela comes into the living room. She does not look pleased, either)
ANGELA: Tony… (Fakes a laugh) This isn’t working.

TONY: You’re tellin’ me it’s not working?

ANGELA: You know what? When I was in college and the dorms got crazy, you know what my friends and I did? We rented a motel room.

TONY (pouting): A motel room? I don’t wanna go to a motel room and I don’t think these guys wanna go to a motel room!

(Mona comes in)
MONA: Hey. Let me know when you get to something in a fig leaf.

(Beat. Angela and Tony stare at her)
TONY: Like I said. Let’s go to the motel. (to his group) Come on, let’s go. Andiamo.

(SCENE II: INTERIOR, HOTEL ROOM. TONY, KATHLEEN AND THE CLERK ENTER)

TONY (looking around): Oh yeah. This will be great. This will be great.

CLERK: Anything else I can get you lovely couple? (He eyes them suspiciously) Turn down your bed?

(Tony sighs. He has obviously been though this conversation before)
TONY: I told you. We’re not a lovely couple and we don’t need a bed. We’re college students here to study.

CLERK: I hear you, Chief. You’re college students. (He nods knowingly). Veeeeeery old college students.

(He exits. Tony follows him to close the door)
TONY: I hope you’re not expecting a tip!

(Dave, The Girl and The Guy come in with pizza and a projector)
DAVE: Pizza! We deliver. And I got something special for you, Kathleen. A dinner salad. (He hands her a plastic container)

KATHLEEN: Awww.

TONY (looking over her shoulder, to Dave): Ohhhhh, giant croutons. You DOG, you. (He turns to build up the screen) All right, what do you think. We’ll start with a little bit of Michelangelo, since he was one of the great religious artists.

KATHLEEN: I wouldn’t call him a religious artist.

TONY: What, are you kiddin’? He worked for four years on the Sistine Chapel. What do you think he was doing? Measuring for wallpaper?

KATHLEEN: Michelangelo painted religious works because he was commissioned to, not because of inspiration!

TONY: I disagree! Yes, he was commissioned, but he was truly inspired!

KATHLEEN: But! Wouldn’t he have that same inspiration had he been painting, say, apples and oranges?

TONY: No, because his passion comes from deep within his soul. And I think it is obvious in his “Adam”, his “David” and his, his “Pietà”.

KATHLEEN: You’re right.

TONY (surprised): I am? (The three others start watching them) I mean, you agree with me?

KATHLEEN: Well, I was just thinking what it was like to see his works in person.

TONY:Oh, you’ve… you’ve been to Italy? (He sits down next to her)

KATHLEEN: I saved up my tips for five years to take that trip.

TONY: No kiddin’, wow. You know, I am doing the same thing right now.

KATHLEEN: Housekeepers get tips?

TONY: Oh, no, no… But we get to keep all the change we find under the cushions… so far I go $40 and about a thousand Tic-Tacs.

(They laugh and then look at eachother nervously. The three others stare at them unbelievngly)

TONY: So, where were we. Da Vinci, eh.

GIRL (annoyed): Michelangelo.

TONY (nervously): Oh, whatever, they’re both Italian.

(SCENE III. LIVING ROOM. JOHN AND PETER ARE ABOUT TO LEAVE. ANGELA GUIDES THEM TO THE DOOR)

JOHN: Well, Angela, I love your ideas for the logo. You know you’ve really connected with the energy of the music.

ANGELA: Ah well, it’s only Rock n’Roll, but I like it. (They all laugh again. Very phony)

JOHN: Listen, you’ve got to let me know if you’ll join me for the music awards… I always like to have a beautiful woman on my arm. (Angela smiles obediently but already flashes clear “Sorry, no interest”-signs)

PETER: John, you know our rule about mixing business with pleasure.

JOHN: Yeah. We do it. (They laugh again)

PETER: So what do you say?

ANGELA: I say “Get back, Jojo”. (Angela shakes with laughter about her own joke) God, I slay me. (They all laugh again)

JOHN AND PETER: It was a great evening.

ANGELA: It was great.

(They exit)

(SCENE IV. MOTEL ROOM. THE TWO BOYS ARE LYING ON THE FLOOR, THE GIRL SITS ON HE BED WITH TONY AND KATHLEEN. SHE IS TIRED AND WORNOUT, WHEREAS TONY AND KATHLEEN KEEP RECITING DATES)

TONY: Monet’s “Impression Sunrise”?

KATHLEEN: 1872. (Tony claps his hands)

GIRL: Stop! Stop, stop, stop. No more numbers. 1610, 1812, 1940. If I hear another number, I’ll scream.

TONY: All right, ok, ok. Maybe we should take five. (Tony and Kathleen laugh. The Girl muffles her scream by banging her head onto the mattress)

TONY: Ooops. A thousand pardons. (The Girl comes up and stares at him angrily)

DAVE: I have a suggestion. We’re all tired. Why don’t we pack it in and finish studying
tomorrow night?

TONY: Hey, that’s not a good idea, guys. Guys, we got 36 hours to cover 200 years of art.

KATHLEEN: Don’t you want to get A’s on your final?

DAVE: Right now I wanna go home and crash.
(Dave, The Guy and The Girl pick up their jackets and leave)

TONY: Bye bye, guys. Drive save. (They exit)

(Tony and Kathleen are alone in their dim-lighted motel room)

KATHLEEN: The younger generation just doesn’t have our ambition to learn.

TONY: They don’t have our love of knowledge.

KATHLEEN: Our yearning for self-improvement.

TONY: Gosh, we’re wonderful people. (They laugh)

KATHLEEN: You’re more fun than I thought.

TONY: Well, thank you. You didn’t think I was fun?

KATHLEEN: A little driven, a little serious, a little pushy. But don’t be offended. That’s what people usually think about me.

TONY: Oh really? I don’t believe it.

KATHLEEN: Oh, sure you do. You’re the one who said it.

TONY: Well, that was before I knew you.

KATHLEEN: That’s OK. I dropped out of school when I was 18, you know, and now that I have this chance to be back, I’m really into it.

TONY:Well, same here, you know. I actually get a kick out of studying. Never thought I’d say that. I guess we’re both a couple of thrill-seeking bookworms. A couple of Evil Knievels of the mind.
(They laugh. There is an embarrasing pause. Neither of them knows what to say)

TONY: Well, I guess we should look at some slides.

KATHLEEN: Right. (She turns down the lights)

TONY: OK, here we are. (They sit next to each other on the bed. He puts on the first slide. It’s a sculpture of two persons kissing. They fidget nervously)

KATHLEEN: That’s… that’s “Psyche and Cupid” by Antonio Canova.

TONY:Talk about your alabaster skin. (He laughs nervously and swtiches the slide. The next one is not any less arousing)

TONY: Um… it’s “Paolo and Francesca”.

KATHLEEN (nodding): Alexander Monroe. (Tony switches again. It’s Auguste Rodin’s world-famous “The Kiss”)

TONY (Within a split-second, he switches it immediately): Rodin, the “Kiss”.

(Another erotic slide comes on. They stare at it incredously)
TONY: That’s.. uhm… (Someone knocks at the door. Relieved) That’s a knock at the door. (He jumps up to get it) Who is it?

CLERK (off): Room service! (Tony opens the door. It’s the clerk with a tray of cups)

CLERK: Coffee for five?

TONY: Yeah, yeah, it’s for five. For the study group. They were here… they left, just before you got here!

CLERK: Hey, it’s the 90s, ace. Relax. Who cares. (He puts down the tray and then sees the slide projected) Study, hard. (He exits)

TONY: Well. Uhm. Where were we? (He nervously switches the slide and Kathleen and he are visibly relieved when Van Gogh's “Starry Night” comes on. They look at the screen)

KATHLEEN (exhaling): Hmm.“Starry night”. There’s such a fevered intensity to it.

TONY: Yeah, it’s like a dream, you know.

KATHLEEN: The colors are so alive. The lines are so organic… sensual.

TONY: Yeah. Organic.

KATHLEEN: Passionate.

TONY (gulping): And passionate. I mean it’s… It’s burning up. Like fire.

KATHLEEN (breathing deeply): Yeah. Like fire.

(Tony looks down for a few seconds. Then he turns slowly and leans in to kiss Kathleen. They embrace passionately while I start throwing everything I can get a hold on at my TV set)

(COMMERCIAL BREAK)
SCENE V. MORNING. LIVING-ROOM

(Tony sneaks guiltily into the house, puts down the slide projector and hangs his jacket on the wardrobe. He tries to be very calm. We hear the paperboy approaching on his bike. Tony opens the door tell him to be quiet when the newspaper hits him right in the face. He angrily picks it up and it about to throw it back at the paperboy)

PAPERBOY (Yelling, off): Morning, Mr. Micelli!

ANGELA (Off, from upstairs).Rise and shine, Jonathan!

(Tony rushes into the kitchen, grabs a pan and turns on the oven hastily as if he has been preparing breakfast for quite a while when Angela cmes in. Angela is very cute and very innocent throughout the entire scene whereas Tony almost dies from his bad conscience)

TONY AND ANGELA: Good Morning!

ANGELA: What time did you get in last night? I didn’t hear you. (He comes to pour her coffee)

TONY: Oh, late. Later. About 12.

ANGELA: Oh? I went to bed at 12.

TONY: Thirty. Twelve-thirty.

ANGELA: Isn’t that the same outfit you were wearing yesterday? (He freezes) No, no. You had the blue shirt on yesterday.

TONY (relieved): Oh, Angela. You…you are so observant.

ANGELA:Tony, I just… uhm… I hope that you weren’t upset with me about asking you to go to the hotel because… I just hate to think that you went to bed angry last night.

TONY (swallowing hard): Believe me, I… I didn’t.

(Sam comes through the back door with a bunch of flowers)
SAM: Good morning… look what just came.

TONY (Grabs the flowers and turns away): OH THANKS!

SAM (frowning):Dad, it’s for Angela.

TONY (Shoves the flowers into Angela’s arms without looking at her): OF COURSE!

ANGELA (reading the card): Who could they be from? “We’re only Rock n’Rollers but we like you. Great to have you on our team. John “JoJo” Petrie.” Oh, isn’t that sweet? I’ll put them in a vase. (She exits)

SAM: Hey, isn’t that the same outfit you wore yesterday?

TONY (Aggressively): What’s the point, Sam?

SAM (Frowning): Talk about fashion sensitive! (She exits to the living room. Mona comes in through the back door)

MONA: Good morning.

TONY (He is standing with his back to her, preparing breakfast): Morning, Mona, morning.
(She eyes him suspiciously, goes around the table, takes his chin in her hand and forces him to look at her. Then she smiles knowingly)

MONA: You got lucky last night, huh? (The audience goes wild)

TONY: How’d you know that?

MONA: How does a sailor know when a squall’s a’ brewin’? I also know it wasn’t with Angela.

TONY (sadly): You have a feeling?

MONA: Nope. I just didn’t hear her singing “Climb every mountain”.

TONY: Hey, Mona… maybe you’re gonna find out about this, anyway, so… it was with Kathleen, you know, from my study group. (They both sit down at the table)

[MONA: Uh- huh ...

TONY: Mona. What did I do?

MONA (Leaning over the table):YOU tell me!

TONY: Mona, I feel… so strange. As if …as if I cheated on Angela.

MONA: I see. (She realizes that Tony is eating away with guilt)] You know, Tony… Nobody in this world wants you and Angela to get together more than I do… but the fact is, you haven’texactly made a binding commitment yet.

TONY (petulant): Oh…So?

MONA:You and Angela may be on the way to something permanent. But let’s face it. You’re taking the scenic route.

TONY: Yeah. (He nods sadly)

MONA: In a slow car. With a flat tire.

TONY: Yeah.

MONA: Driven by a nun. Who is blind!

TONY: (Jumping up): I get the picture!

MONA: The point is: You’re human. Be honest with yourself. Accept the fact that you wanted last night to happen.

TONY (He nods weakly): Yeah. (beat) But I also have to be honest with Angela.

MONA: Noooooo... you don’t! Oh men. What good will it do either of you for Angela to know what happened last night?

TONY: What, are you kidding me, Mona? I gotta tell her, I owe it to her.

MONA: No! (She tries to hold him back)

TONY: Mona, please. I gotta tell her. (He goes through the connecting door but turns around immediately) I cannot find her, gotta go. (He exits trhough the back door. Mona shakes her head)

SCENE VI. LATE AFTERNOON. TONY COMES HOME. ANGELA APPARENTLY
HEARS HIM ENTER AND COMES IN THROUGH THE KITCHEN DOOR)

TONY: Anybody home?

ANGELA: Hi Tony.

TONY: Hi, Angela. (She is followed by Kathleen, to Tony’s surprise)

KATHLEEN: Hi, Tony.

TONY: (High-pitched voice) Hi. (Normal voice) I mean, hi.

ANGELA: Bet you’re surprised to see Kathleen.

TONY: Oh yeah. (Tony sees Rodin’s “The Kiss” in his mind) What are you doing here?

KATHLEEN: Angela invited me over.

TONY: Oh… Angela? (Now he sees Munch’s “The Scream”)

ANGELA: And, Tony, the rest of your study group will be here any minute.

TONY (Obviously relieved): Oh, so you invited everybody?

ANGELA: (Rearranging the cushions on the couch) That is right! And it is my way of apologizing to you for kicking you out last night, and I know it’s been bothering you, but… (She scolds him lovingly and then looks up at him fondly) You’re too nice a guy to say anything.

TONY: I’m really not that nice.

ANGELA: Yes, you are.

KATHLEEN (Sultrily): Yes, you are.

(Tony stills. Angela blinks at them in confusion. Jonathan bolts down the stairs)

JON: Hey Tony, some guy from the motel called and said you left some slides of fat, naked women in your room.

TONY: Those are not fat, naked women, those are Rubenesque Nudes!

JON: I don’t care. I’ll go pick’em up.

ANGELA: Could… could I speak to in the kitchen you for a second?

TONY: Sure, sure… Excuse us a second.

(Tony gives Kathleen a long look and then follows Angela into the kitchen. She leans on the back of a chair for balance. Tony passes without looking at her and goes to stand in front of the sink, his back turned to her. Tony’s betrayal could not have been visualized any more pointedly than this)

TONY: Um…Angela, there’s something I have to tell you.

ANGELA: Tony, there’s something *I* have to ask you and …um…I know you’re probably going to think I’m being silly, but…

TONY (blurting out): I just don’t want you to find out any other way.

ANGELA (softly and surprized to herself): I'm not being silly.
(She turns to Tony, her voice slightly shaken) Am I?

(For the first time in this episode, he looks her straight in the eye. Angela reads the truth from his face. The audience moans audibly)

ANGELA: So…. That’s why you’re acting so strange today.

TONY: Angela, I really… I really don’t know what to say.

ANGELA (interrupting): I don’t know what to say, either.
(beat)
So I guess that… you know, things have been pretty intense… and, you know, you’re under a lot of pressure and you did something impulsive and…and now it’s over and let’s …let’s just forget about it! Is it over?

(beat)

TONY: I don’t know. (Bell rings)

(Angela turns away from him and leans on the counter)

ANGELA: That… will be your study group. You better get it.

(Tony lifts his hand as if to say something, then)

TONY: Yeah. (He exits)

SCENE VII. ANGELA IS SITTING ON THE DESK IN HER STUDY, HER HEAD IN HER HANDS. SHE IS SUNKEN IN HER THOUGHTS. THERE’S A KNOCK ON THEDOOR. SHE FLINCHES)

ANGELA: Come in.

TONY: Hi. Um… we have to talk.

[ANGELA: Sure. You… you’re finished studying?

TONY: I couldn’t concentrate on my book.

ANGELA: Me either.

TONY: It’s weird…We hardly talk in here. To me, this room is your private space… with your papers, your books… your hidden safe behind that picture.

(Angela stares at him dumbfounded)
TONY: I found it while I was dusting the room.

ANGELA: That’s OK, Tony.

TONY: I know the combination.
(Angela stares again)

TONY (Pointing to her book shelf): It fell out of “Huckleberry Finn” when I was cleaning your shelves.

ANGELA: It’s OK, I trust you with everything.

TONY: Thanks. I opened it.

ANGELA (Irritated): But, why are you telling me this now, Tony?

TONY: Because I don’t any secrets between us. And I think we know more about each other than most married couples do. That’s why I had to tell you… about Kathleen.]

ANGELA: Tony, uhm ... I've been thinking. (She gets up) And the last thing I want is for you to feel badly… about seeing someone …because of me.

TONY: Well, I don't want you to feel badly about anything. (Angela shivers. They look at each other) Look. I... I wasn't looking for this, Angela...

ANGELA (Interrupting): I believe you... I believe you.
Look, Tony, our relationship has always been... (She smiles fondly) our relationship.

TONY (Nodding): Yeah, sort of like a blind nun driving with a flat.

ANGELA (Smiling weakly): Never quite thought about like that... I think, I think what I am trying to say is that maybe for now it's time that we… explore our options, you know. Broaden our horizons.

TONY (hurt): Define "broaden".

ANGELA: Well, in the past I've had... feelings for other people. But because of what we had I always put up a wall.

TONY (Trying to hide his jealousy):You... you've had feelings? For people?

ANGELA (Shrugging embarassedly): Yeah.

TONY: MEN people? (Angela nods)

TONY: When?

ANGELA: Well, I don't know... well, last month when I went to Wisconsin and I met this Ad Exec...and we hit it off, nothing happened, but... I was tempted.

TONY (derisively): Tempted? In the Dairy State?
(Beat)

ANGELA (Voice breaking): My, my point is that… I don’t know… what’s happening… with us. But I think it’s important that we let it run its course.

(Tony does not know how to respond)

ANGELA (starts to cry softly): Tony, I… have become closer to you than to almost anyone. And I don’t want to lose that.

TONY: Well, neither do I!

ANGELA (exhaling): So…you know, maybe this is part of our journey. Maybe we have to go through this to see if we can go any further.

(Tony cannot say anything. He knows he has to respect her decision, though he looks utterly unhappy) (The bell rings)

ANGELA:Uhm… that’ll be John and Peter. I…uhm… I better get it.

(She waits for Tony to respond. He doesn’t. She leaves for the front door. On her way through the living room she straightens her outfit and her hair so she won’t give away her emotional state. She opens the door. It’s Peter)

ANGELA (Voice cracked): Hi. Come on in. Where’s John?

PETER: He had to go to LA. YOU are stuck with ME tonight.

ANGELA: Oh… uhm… OK… why don’t we go to the studios to see those, uhm, to hear the tapes?

PETER: Are you alright?

ANGELA (Struggeling to regain her composure): Uhm… rough day.

PETER: You know what I do when I had a rough day, when I’m feeling really down?

ANGELA: What?

PETER: I whine, I complain, I curl up into a ball, I am a pathetic wretch. Listen, you’re in no mood to work. What do you say… we just go out for a cup of coffee? (Angela hesitates)

PETER: My treat?

ANGELA: OK. (Nodding) I’d like that.

(Peter opens the door, his other hand on her back. Tony rushes into the living room to talk to her. He has regained his voice and probably changed his decision)

TONY: Angela!

(Angela does not flinch and leaves without turning around. Tony stares at the door without moving. The audience is quiet)

THE END.