The Ritz Page #2

Synopsis: On his deathbed Carmine Vespucci's father tells him to "get Proclo". With "the hit" on, Gaetano tells a cab driver to take him where Carmine can't find him. He arrives at the Ritz, a gay bathhouse where he is pursued amorously by "chubby chaser" Paul B. Price and by entertainer Googie Gomez who believes him to be a broadway producer. His guides through the Ritz are gatekeeper Abe, habitue Chris, and bellhop/go-go-boys Tiger and Duff. Squeaky-voiced detective Michael Brick and his employer Carmine do locate Gateano at the Ritz, as does his wife Vivian.
Genre: Comedy
Director(s): Richard Lester
Production: Warner Home Video
  Nominated for 3 Golden Globes. Another 2 nominations.
 
IMDB:
7.7
Rotten Tomatoes:
50%
R
Year:
1976
91 min
418 Views


ABE:

Sure he did.

Right after he broke up

with Xavier Cugat.

People like you think the world

is queer.

Well, it's lucky for people like you it is.

[CAB DRIvER LAUGHING]

All right.

CAB DRIvER:

Change a 10.

He can't change a 10. Do you believe it?

New York City, one of the great cities of the

world. This driver I have can't change a 10.

Hey, did I ever have you?

- What?

- I've got a rotten memory that way.

- You never used to live in Rego Park?

- No.

CHRIS:
You look like someone

I knew from Rego Park.

PROCLO:
I'm afraid not.

CHRIS:
He was a large man like you.

He was in ladies shoes, I remember.

Well, I'm from Cleveland

and I'm in refuse. Excuse me.

CHRIS:

I guess not, then. Sorry.

PROCLO:

Perfectly all right.

A gay garbage man?

You never can tell.

That's so true. I mean, look at me.

If you just saw me walking down the street

you'd think I was a queen.

[WHISTLE BLowlNG]

Try to hold out, men. Help is on the way!

340 coming up. That is 340.

She's here, boys.

[IN HIGH volCE]

I'd like a room, please.

One of your private rooms.

How much is that?

ABE:
You want what?

- A room.

- I was told you had private rooms?

- Yeah, we got rooms.

Well, then I'd like one, sir.

How much is that?

How long?

- Is what?

- How long do you want the room for?

Three or four hours should be sufficient

for my purposes.

I don't care what your purposes are.

Twelve is our minimum.

- All right, 12 then, sir.

- All right, that's 10 bucks.

You check your valuables

and sign the register.

Tell me something.

Has a...

Balding, middle-aged, fat man

come in here recently?

I don't believe

what just came in here recently.

You're not a cop, are you?

I'm a detective.

Michael Brick, the Greybar Agency.

What do I do now?

Through there and up the stairs.

- Someone will show you your room.

- Thank you, sir.

- And let me give you a little tip, Brick.

- Yes, sir?

Stay out of the steam room.

- Why, sir?

- It gets pretty wild in there.

Oh, I can take it, sir.

In my line of work,

I get to do a lot of wild things.

This is my first seduction job.

- Wish me luck.

- With that voice you gonna need it.

Save your money. Ten bucks for this place

is 10 bucks for nothing.

[CHATTERING IN SPANISH]

No rain, he tells me.

No rain, he says.

No rain.

F***ing weatherman.

That little maricn.

One spot on this dress and I am finished.

The biggest night of my life,

it's pissing dogs and cats.

That's cats and dogs.

Are you a producer?

No.

Are you sure?

- Yes.

- Oh.

That's okay. You never know, huh?

[SCREAMS THEN

CHATTERING IN SPANISH]

My hair. Not my hairs.

All right. Go ahead, say it.

No, it's okay, I can take it.

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Terrence McNally

Terrence McNally (born November 3, 1938) is an American playwright, librettist, and screenwriter. McNally has been described as "a probing and enduring dramatist" and "one of the greatest contemporary playwrights the theater world has yet produced". He has received the Tony Award for Best Play for Love! Valour! Compassion! and Master Class, as well as the Tony Award for Best Book of a Musical for Kiss of the Spider Woman and Ragtime. His other accolades include an Emmy Award, two Guggenheim Fellowships, a Rockefeller Grant, four Drama Desk Awards, two Lucille Lortel Awards, two Obie Awards, three Hull-Warriner Awards, and a citation from the American Academy of Arts and Letters. He is a recipient of the Dramatists Guild Lifetime Achievement Award as well as the Lucille Lortel Lifetime Achievement Award. In 2016, the Lotos Club honored McNally at their annual "State Dinner," which has previously honored such luminaries as W.S. Gilbert and Arthur Sullivan, George M. Cohan, Moss Hart, Richard Rodgers and Oscar Hammerstein, Saul Bellow, and Arthur Miller. In addition to his award-winning plays and musicals, he also written two operas, multiple screenplays, teleplays, and a memoir.He has been a member of the Council of the Dramatists Guild since 1970 and served as vice-president from 1981 to 2001, and was inducted into the American Theater Hall of Fame in 1996. In 1998, McNally was awarded an honorary degree from The Juilliard School in recognition for reviving The Lily Acheson Wallace American Playwrights Program with the playwright, John Guare. In 2013, he returned to his alma mater, Columbia University, where he was the keynote speaker of the graduating class of 2013 on Class Day. He is a 2018 inductee of the American Academy of Arts and Letters. The honor of election is considered the highest form of recognition of artistic merit in the United States.He has a career spanning six decades, and his plays, musicals, and operas are routinely performed all over the world. The diversity and range of his work is remarkable, with McNally resisting identification with any particular cultural scene. Simultaneously active in the regional and off-Broadway theatre movements as well as Broadway, he is one of the few playwrights of his generation to have successfully passed from the avant-garde to mainstream acclaim. His work centers on the difficulties of and urgent need for human connection. For McNally, the most important function of theatre is to create community by bridging rifts opened between people by difference in religion, race, gender, and particularly sexual orientation.In an address to members of the League of American Theatres and Producers he remarked, "I think theatre teaches us who we are, what our society is, where we are going. I don't think theatre can solve the problems of a society, nor should it be expected to ... Plays don't do that. People do. [But plays can] provide a forum for the ideas and feelings that can lead a society to decide to heal and change itself." more…

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Submitted on August 05, 2018

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    "The Ritz" Scripts.com. STANDS4 LLC, 2024. Web. 25 Apr. 2024. <https://www.scripts.com/script/the_ritz_16995>.

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