California Trilogy: City of Angels - On Camera (Game Over)

[KY Krew]

Wait, a second!

I want you all to consider this tidbit I received from one of my makeup girls.

She said her boyfriend's roommate gets coffee for the director and somehow he got to look at part of the script. He says trusting young women could lead to trouble down the road at the Hotel California. It's a sketchy source, but it could explain why it seems one (or both) of the advocates aren't telling us the whole story.

Speaking of our director, there's been some unrest offset - Mr. Assistant Director Lewis, we're honestly not happy with the job our Director has been doing - we don't like how he has taken his decision making away from himself! What is a director if he doesn't make decisions? We'd like you to take action, Mr. Lewis.

Phew, I'm sorry it took so long to spit all that out. Must have been some trauma from the tumble I just took.

[sottyrulez]

Ms Fisher, are you saying we should have Mr Locke drive us? Your information is sketchy at best and comes very late in the day, I am unsure if it is believable. The odds tell us to follow Ms Wiggin, your information has done little to convince me otherwise.

*Mr Green pauses giving himself a moment to ponder this new development.*

We are walking a very fine line as far as time goes. Move too quickly and we will hinder important events. Move too slow, and we may blow our opportunity to chose at all.

*Another pause before Mr Green turns to Ms Fisher.*

Forgive me ma'am but I am unsure if we can trust you considering how you joined us. I think I am going to have to ask for a sign.... Anything, that might give us a clue as to your intent.

[KY Krew]

I'm passing along what I've heard from around the set - I came to relay this information in case anyone else has information to corroborate along with mine. I didn't want to just sit there on information I had - that wouldn't help our cast at all.

If nobody has heard anything similar, I'll just fire the poor girl. Pity, she has such innovation in hairstyle.

[StarKiss]

Wonders where the title of Assistant Director came from.

Um... yeah... Am I being requested to drive now (how, if that's the case?), or am I hearing this wrong, Carrie? Seems like the latter. In fact, I think I've misunderstood quite a bit of what you've said.

[KY Krew]

*blushes*

Sorry about that, Mr. Lewis, I don't know what I was thinking. Of course you're not the Assistant Director. I'll have my cue cards fired as well. Dear, I'm losing them left and right.

*turns to Locke*

Yes, John, the offstage crew was addressing that to you. They'd like our current director unseated.

[PJ.]

Mrs. Newmar, What I said is that I know that I am the one that is supposed to. I feel Mrs.Fisher is one of the people that Locke has been mentioning that would be unhappy with him if he didn't drive. I believe this reaffirms Locke's information and mine. I am the one who is meant to drive.

[curiouskarmadog]

(deeper frown)

I dont know what to think of Carrie's change. She seems to have some contact with our friends, but her information seems diluted. Given the information I have provided, I can not see those who oppose us coming at us in this manner. I imagine they would have attacked us more in the manner that Lewis did at first.

(pause)

in reference to our other friends that are waiting for us. I do not think I can do anything about our leadership while here. Even if I could, however, I am not until I can find out what is going on. Would like to "hear" the conversations that have gone on in my absence.

[Thesp]

Ms. Fisher, who is passing this information to you? I think we'll need things to be more specific.

I still fully plan on voting for Valentine to drive, and will do so tonight,

ceteris parabis

.

[sottyrulez]

Ms Fisher, if there is a problem with Ms Newmar, why did you not replace her and let the appropriate people deal with her how ever they deemed fit? If you are speaking the truth there is there is nothing we can do about her right now and it seems like a waste of your appearance.

Let us focus on the one thing we can control here, who do you think should drive us?

[Thesp]

Green, I thought your question was silly at first until I realized that Fisher herself had not taken a stance on the issue.

Fisher?

[Mr. Grey]

Deadline:

Approximately 24 hours from this post.

[KY Krew]

It was my intention to get into the scene, pick someone out who had flirted with both options, and someone of whom the crew had suspicions. My understudy was just that.

I also needed to tell Mr. Locke that our Director should be fired.

I am getting my information from off-camera, off-off-stage, even. *pauses* As you heard me tell you, one of my makeup girls was telling me. I wanted to get into this scene in case someone reluctant to follow Valentine had information they were also withholding.

I'll be voting to ride with Ms. Valentine Wiggin, since no contrary information save mine has surfaced.

[KY Krew]

A couple of other recollections. The last that I had seen, Charles (Manson) was being accused of being a very weak member of the crew, and he is our Director of Photography. Seemed like he had something against us as a whole. He was very slow to give the first scene some visual flair.

I'm currently skeptical of both of our advocates - and think there is a HIGH possibility one or both are acting against our best interests, but do think following Valentine will net us the point.

All of that said, I say we should

Follow: Valentine Wiggin

[Mr. Grey]

Final Vote Count:

5 to Decide.

Follow Valentine Wiggin: 5 (Carrie Fisher, DEATH, Huey Lewis, John Locke, Valentine Wiggin)

Follow John Locke: 0

Not Voting: 4 (Count de Morcerf, Julie Newmar, Mr. Green, Randy Jones)

[Mr. Grey]

Scene 1.5

The group board the shiny new bus. Valentine Wiggin, as the chosen driver, is the last to board. She takes one last look out into the barren land beside the highway, then steps aboard.

Apart from the two corpses in the back, there is nothing unusual about the bus. DEATH shrugs his bony shoulders, again showing ignorance about these deaths. The passengers crowd into the back to check out the bodies.

Valentine focuses on getting the bus started. As fortuitous as the appearance of this bus has been, there is no conveniently placed key. Fortunately, Valentine Wiggin is a genius, and within no time she has the appropriate wires yanked out and ready, tossing aside a small, beeping device attached to the bus.

She is about to start the bus when she realizes that the small, beeping device, while still beeping, did not make a noticeable sound in hitting the ground. She turns to see a man holding it, standing in the doorway of the bus.

Tyler Durden:

Hello, there. You seem to have discarded my bomb. That's a shame. Would you like some soap?

Valentine Wiggin:

Bomb?

Tyler Durden:

Tyler Durden, by the way. Yes, it's a bomb. Oh, don't worry, it wasn't meant for any of you. I was just planning to fake my death later.

Valentine Wiggin:

Oh. Sorry about that. Why?

Tyler Durden:

The cops. They're heading this way. Fast. If you wouldn't mind, could I catch a ride? I'm sure the cops would be curious about a bunch of strangers in the middle of nowhere with two dead bodies... I don't think you'll be wanting them to catch you, either.

Valentine Wiggin:

Er...

In the distance, sirens can be heard, and as the camera pans to the back of the bus, shades of blue and red begin to flash on the horizon...

[Mr. Grey]

Scene 1.6

A camera on the bus gives an impression of immense speed as the vehicle flies down the highway. The camera rotates to the left side of the bus, showing a police car driving along side, lights blazing. Two more police cars follow behind. The sound is deafening.

Valentine jukes right, then back toward the cop, crashing into him with a satisfying metallic crunch and pushing him to the gravel on the side of the road. The police car maintains its speed, however, and continues its pursuit.

Next to Valentine, Tyler Durden is fiddling with his "bomb" and some wiring. With a satisfied smile, he motions for Valentine to put her head down, opens the driver's side window, and tosses the device at the cop.

The timing is perfect, and as it makes contact with the roof, it explodes. Valentine jerks the bus to the right, almost losing control, but keeps it on the highway. The cop car to her left goes up in flames, and the passengers aboard the bus shield their eyes - except for Tyler, who likes the fire. The driver immediately behind the bus panics, sending his car into a spin. The driver behind that tries to avoid running into his fellow officer, hits a conveniently placed bump in the road, flies into the air, rolls over three times, and lands upside-down in the middle of the smoldering wreckage of the first car. Tyler gives a shout.

John Locke:

You could've gotten us killed!

Tyler Durden:

But she didn't. That was great. Really exciting. Don't you feel alive, man? I suppose she could've taken the easy way out and told me to piss off, but how boring would that have been?

Valentine looks back to see that there are no more police cars following, and then slams on the brakes. All the passengers are wearing their seatbelts... except for Tyler Durden, who is still standing in the front of the bus. With a surprised expression, he goes flying through the windshield.

Valentine Wiggin:

Oops.

[Mr. Grey]

Scene 1.7

It is night. The camera is pointed down the highway toward Los Angeles, and the tallest buildings are quite visible on the horizon, lit with a sprinkling of window lights. The bus drives in under and past the camera, no longer doing more than 65. The scene fades as the red lights at the back of the bus move closer to the city...

[Mr. Grey]

Scene 2.1

The camera fades in to a bus stop on Hollywood Boulevard. It is early morning, just light enough outside to see by without help from man-made lights. The bus driven by Valentine Wiggin pulls up slowly. It has had better days, but is still in good driving condition.

The view switches to the inside of the bus. Three people are standing near the front, ready to get off.

John Locke:

Thank you for driving, you were excellent.

Carrie Fisher:

After all this, I feel strange leaving you all...

Julie Newmar:

I have a feeling some of us will see each other again.

The remaining passengers all shout out their goodbyes in incoherent simultaneity. Carrie, John, and Julie step off the bus.

The three don't notice the bus leaving, however, as their attention is drawn to the dead body sprawled across the sidewalk in front of them.

John Locke:

Isn't that Charles Manson?

Cue creepy music, and fade to black.

[Mr. Grey]

Scene 2.2

It is mid-morning. From the shadows, it is apparent that the sun is fast approaching its highest point in the sky. Fisher, Locke, and Newmar are taking in the sights together, for some reason reluctant to separate in case something else happens.

Julie Newmar:

Why don't you have a star? You're super famous.

Carrie Fisher:

You're pretty well known yourself. You were Catwoman!

John Locke:

Clearly the Hollywood Chamber of Commerce are a bunch of idiots to not include you two, ladies. Hey, what's going on over there?

John Locke points, and the camera follows in this direction, settling on some sort of commotion on down the boulevard. The trio walk over and one of the members of the crowd that has gathered notes their confusion and leans over to whisper.

Dweezil Zappa:

That's Monty Hall up there. He's doing a little "Let's Make a Deal" thing for charity. You're standing on his star, in fact.

Monty Hall:

Ladies and gentlemen, before we get to the big deal of the day, does anyone have a deck of playing cards? I'll give two hundred dollars for each deck of playing cards... any other deck of cards?

Glen Stewart Godwin:

I've got these!

The man in question holds up a deck of Mafia cards, obtained in the aftermath of his and Charles Manson's escape from prison. As soon as he opens his mouth, it is apparent that he regrets drawing attention to himself, as an escaped convict. It is too late to slink back into the crowd, however, as Monty Hall walks over to him and thrusts a microphone in his face.

Monty Hall:

What's your name, sir?

Glen Stewart Godwin:

Uh... Glen.

Monty Hall:

That's an unusual deck of cards you have there, Glen. I'll give you two hundred dollars... or you can instead have whatever is in the box my lovely assistant is holding.

The crowd around him starts shouting; it is not, as Glen fears, shouts of "There he is!" and "Get him!", but rather "Take the box!" or "Keep the money!"

Glen Stewart Godwin:

I'll keep the money...

Kobe Bryant:

Hey, I'll give you a thousand for that box.

Monty Hall:

I'm the one that makes the deals around here... but that's quite a generous offer, how can I turn that down when this is for charity?

The assistant walks over to Kobe and hands him the box. Kobe opens it, reaches in, and pulls out a DVD copy of "Kazaam". The crowd around him laughs. Kobe tries to pull off the "I'm a fun guy" face and fails miserably.

Monty Hall:

Alright, folks, it's time for the big deal of the day... who should we choose to play...

Kelly Garrett:

Pick me, I'm an Angel!

Clarence Odbody:

Me too! And I've got wings!

Clarence turns toward the camera, holds up a can of Red Bull, and winks.

Lance Ito:

I object! I am no Angel, but I want to play.

Monty Hall:

Now let's settle down, folks. I'm afraid I have already made my decision. Our contestant can be none other than... Carrie Fisher!

Carrie puts her hand over her mouth in surprise - and a little fear, given the way her week has gone so far - while John and Julie clap behind her.

John Locke:

Go on, you're do great!

Carrie walks up to Monty Hall and turns to face the crowd, which has grown larger on hearing the name "Carrie Fisher" announced loudly by the elderly game show host.

Monty Hall:

Welcome, Carrie, I'm a big fan and it is an honor to cooperate with you in this big deal for charity. The game is simple. Behind us - take a look over your shoulder - there are three doors numbered "1", "2", and "3". Behind one of the doors is a great prize which will no doubt add some excitement to your life, and with that prize comes a generous donation of ten thousand dollars to the charity of your choosing. Behind the other two doors are zonks. Right now, I want you to pick one of those doors. Don't worry though, you'll have an opportunity to change your mind...

---

It is Scene 2. Advocate, please choose Door 1, Door 2, or Door 3, by posting your choice in bold at the end of a post. You have 72 hours to make your choice.

[Thok]

Holding a hand over his face to hide his identity, a man starts to speak.

KY Krew is the advocate? That can't be good. Do we want Talilan to switch in now, or do we try to force KY Krew to tell us everything he knows about the decision before the switch happens?

[KY Krew]

*Carrie jumps up and down uncontrollably*

Ooh, I love this game! But, Monty, I've always had awful luck, not to mention dialogue!

*Carrie turns to the clamor of the crowd*

So, three doors, huh? Each one favoring a different alignment...

*Carrie fidgets a little more*

Come on, I can't lose!

I'll take Door Number One!

[Mr. Grey]

Scene 2.3

After deliberating for a moment, Carrie Fisher points to Door 1.

Monty Hall:

Ok, you've chosen Door 1... before we open it, let's look behind one of the other doors and see what you could have won.

Cheesy game show music plays as Door 3 swings open. A body drops out, and the zonk sound effect plays.

Carrie Fisher:

It's... he's...

Monty Hall:

That's right, behind Door Number 3 was a dead body. But not just any dead body, that's Bernie from the Weekend at Bernie's franchise. Wave Bernie!

Bernie does not wave.

Monty Hall:

Oh well. Now, before we see what you have won, I'm going to offer you the opportunity to change your mind. You can stick with Door 1, or you can switch to Door 2. Remember, this is for charity, so I don't want to put all that pressure just on you. Let's put it to a vote. Should we stay or switch, audience?

Not all of the audience is interested in participating. They are just here as spectators. But some of the crowd, celebrities, LA natives, and fictional characters, push forward and begin arguing for one course or the other...

---

With 9 Roles On Camera, it will take 5 votes to reach a majority before deadline, which is two weeks from this post. Remember to stay in character as much as possible when acting out your decision making process.

[KY Krew]

Oh, before you all decide, I'd like to give a shout to my charity, The Pajama Program! We've been working since 2001 to provide over 350,000 pairs of warm sleepwear and 150,000 nurturing to children. The money will be going to the wonderful staff in New York. Hi guys!

*Carrie waves*

They've been on Oprah and now with Monty Hall. This is another big day for the program!

[Mighty Orbots]

Dweezil shrugs his guitar strap into a more comfortable position on his shoulder.

So... any particular reason why Door 1?

Tag fixed. - Mod

[KY Krew]

*Carrie turns to Dweezil*

"One" is the Pajama Program's most important number - if we can help one child,
our work is worth it.

Also, the first door is always the least important decision - they never tell you on "Let's Make A Deal" if you got it right on the first try!

I can remember following along at home, and never being able to guess which door the real prize was behind - I'm glad you guys are here to help; I don't trust my lucky Alliance Credit to win this flip.