Be Cool

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Get Shorty's Chili Palmer is back. No more Mr. Nice Guy.
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Be Cool

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Overview

Get Shorty's Chili Palmer is back. No more Mr. Nice Guy.
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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
When I first heard that Elmore Leonard was writing a sequel to Get Shorty, I wondered if he saw the irony in such a book. Here was Leonard making fun of Hollywood, yet doing just what Hollywood always does — creating a sequel to a successful property.

Well, not only was Leonard aware of that irony, that irony is the central theme of Be Cool. Our friend Chili Palmer, former gangster, is back in L.A. again, this time in the music business. If there is a business sleazier, dumber, and more duplicitous than the movie business, it's got to be the music business. Chili feels right at home.

The principal story line concerns Chili's attempts to create a hit movie and thus become a major Hollywood player again. But being an ironist — and borrowing a technique from the great Italian playwright Pirandello — Chili begins to see how his own life can become a great movie. Gangsters, music-biz pimps/executives/clowns, luckless bodyguards — the whole sick crew of music biz and movie biz are at his disposal. Some of them love him; some of them want to kill him; sensibly, none of them trust him.

This is Leonard's most overtly comic novel, and certainly one of his most artistically successful. If Evelyn Waugh and Nathanael West had ever collaborated on a novel about La-La-Land, you'd have something like Be Cool.

Like West, Leonard is poised midway between scorn and pity when looking at his own particular ship of fools. I keep thinking of Dennis Farina's performance in Get Shorty. The guy's a jerk and a menace, yet you can't help feeling justabit sorry for him — and the same for the Gene Hackman character — because he's so stupid.

One senses that with this book Leonard has moved beyond the crime novel per se. It'll be interesting to see where he takes us next. I'll probably always be partial to some of his earlier stuff — 52 Pick-UP, Unknown Man No. 89, Valdez Is Coming — but at the same time I have to acknowledge that Leonard is taking the kind of artistic risks few popular novelists would ever dare.

It will also be interesting to see what his innumerable imitators will make of this book. Will they also become dark satirists? One hopes not. Only Elmore Leonard himself could have pulled this novel off. His imitators shouldn't even give it a try.

—Ed Gorman

Ed Gorman's latest novels include The Day the Music Died, Daughter of Darkness, Harlot's Moon, and Black River Falls, the latter of which proves "Gorman's mastery of the pure suspense novel," says Ellery Queen Mystery Magazine. ABC-TV has optioned the novel as a movie. Gorman is also the editor of Mystery Scene Magazine, which Stephen King calls "indispensable" for mystery readers.

Gary Krist
Say one thing for Elmore Leonard -- the man knows enough not to fool with a sure bet. Take his new novel, Be Cool, the much-anticipated sequel to Get Shorty. Some writers, eager to prove their literary chops, might have followed up a popular success like Shorty with a more inflated and pretentious performance, pushing old characters into new artistic territory. Fortunately, Leonard knew better. Some of his weaker books have been overpraised in the past, but Get Shorty was the real thing, a masterpiece of ironic storytelling. And Leonard, old pro that he is, must have realized that extensive fiddling would only spoil the magic of the original formula. So instead of trying to "grow artistically" (can you imagine what Norman Mailer's Tough Guys Don't Dance II would look like?), he went ahead and wrote the same perfect book all over again. And made it even better the second time around.

For those who might have spent the '90s in a coma in Papua New Guinea, I should explain that Get Shorty was the 1990 novel (and then the 1995 film) that first introduced the world to Chili Palmer, a Miami loan shark who stumbles into the movie business while in Los Angeles trying to collect on a debt. Chili was an inspired comic creation -- an unflappable small-time operator whose Mob-style methods of persuasion proved to be remarkably effective in Hollywood, probably because they represent only a slight exaggeration of the unscrupulous business practices of real industry players. What made Chili so terrifically appealing, though, was his fundamental sweetness. He was a big teddy bear under that iron glance and tough-guy swagger. Leonard has always been adept at creating rogues with charm, but Chili had a kind of knowing innocence that somehow thrived amid the venal insanity of Hollywood, where everybody's got ideas for a movie but few have the power to make one. Chili may not have known the business, but as an ex-shylock he did know how to get people to do what he wanted.

In Be Cool, Chili's back, only now he's a successful Hollywood producer with two films under his belt. As in Get Shorty, he's got a concept for a new movie -- one about the music industry this time -- but no clear plot or ending. And since he can't seem to develop a script by imagination alone, he again has to manipulate characters in his real life to get ideas for his movie ("I'm plotting," he explains at one point as he schemes to get rid of the hit man who's after him). The story line is too convoluted to summarize here, but take my word for it: It's Get Shorty all over again, this time with plenty of cynical details about the popular music business. Chili again plays puppeteer, setting one group of his antagonists against another (here it's the Russian mafia, a rock singer's sleazy manager and a scary hip-hop group instead of Colombian drug lords, crooked limo drivers and an angry Miami gangster). Much good-natured bloodletting ensues, leading one L.A. detective to remark: "My wife wants to know how come I'm putting in so much overtime lately. I told her 'cause Chili Palmer's making a movie."

It's all very deftly done, and -- remarkably -- just as fresh as it was almost a decade ago. The movie version (complete with soundtrack CD) is no doubt already in the works, and I'll be first in line for the premiere. But what I'd really like to see is a third installment of the Palmer saga, in which Chili decides to do a movie about the absurdities of the New York publishing industry. Man, would I have some ideas for him there.
Salon

John Skow
...[N]onsense of the highest quality. It proves both to scolds who think that funk, grunge and rap and the rest are rhythmic vomiting, and to those who actually like the stuff, that music today is a racket.
— Time Magazine
Esquire
The scandalous funny sequel to Get Shorty.
Newsweek
Droll and deftly written....Elmore Leonard does for the music business what he did for the movies in Get Shorty.
Wall Street Journal
Hollywood brings out [Leonard's] comic best. This eminently satisfying sequel may become a film, but don't wait. Be cool now.
Library Journal
First time on CD, the follow-up to Get Shorty. (Print review: LJ 2/15/99) Copyright 2004 Reed Business Information.
William Plummer
Murders the competition.
— People Magazine
Washington Post Book World
Crime fiction's greatest living practitioner....Entertainment of the highest order.
Christopher Lehmann-Haupt
...[W]onderful and terrific....Thoroughly entertaining...
— The New York Times
USA Today
The best writer in crime fiction today.
Kinky Friedman
Aside from the wit, the fun, and the colorful figures...the real magic is in the language....This is Elmore Leonard at his best.
— The New York Times Book Review
.. Los Angeles Times
An exhilarating read.
Kirkus Reviews
Nine years after his farcical conquest of Hollywood in Get Shorty, former loan shark Chili Palmer aims to scale equally unlikely new heights as a music producer. As you'd expect, it all happens more or less by accident. Stung by the failure of Get Lost, the sequel to his triumphant debut, Get Leo, Chili's not sure what story will put him back on top of Hollywood's greasy pole. Should his comeback film be about a rocker like Linda Moon, a singer who works for a dating service, or about a record producer like Chili's acquaintance Tommy Athens? The decision gets complicated when Tommy is executed in the middle of a power lunch with Chili, and when Chili tells Raji, the pimplike manager of Linda's girl group, that Linda is suddenly free to reconvene her old band Odessa ("AC/DC meets Patsy Cline") because Chili himself will be managing her from now on. In short order, then, Chili's getting serious homicidal attention from the outraged Raji, his gay Samoan bodyguard, and the shooter who took out Tommy Athens—all helping to explain the dead man in Chili's living room. (Raji's hit man, chagrined at having zapped another hit man by mistake, aptly observes that people are lining up to kill this guy.) A lesser executive would be toast. But not Chili, with his unshakeable confidence and his would-be killers' boundless capacity for self-delusion: he tells one assassin he'll get him a screen test, manufactures for a second the tale of a scam only Chili can straighten out, and puts himself in the middle of a deal a third needs to clinch before he can murder Chili.

As the corpses who aren't Chili pile up, Leonard (Cuba Libre) tosses off a dozen new spins on GetShorty's gorgeous premise—that nobody can run the entertainment industry as well as a low-level mobster armed with Leonard's endless stream of wisecracks-to produce a good-natured thriller as relaxing as it is exhilarating.

Detroit News
“An absolute master.”
New York Times Book Review
“The greatest crime writer of our time, perhaps ever!”
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Product Details

  • ISBN-13: 9780060082154
  • Publisher: HarperCollins Publishers
  • Publication date: 6/28/2002
  • Format: Mass Market Paperback
  • Edition description: Reissue
  • Pages: 384
  • Product dimensions: 4.10 (w) x 6.70 (h) x 1.10 (d)

Meet the Author

Elmore Leonard

Elmore Leonard wrote forty-five novels and nearly as many western and crime short stories across his highly successful career that spanned more than six decades. Some of his bestsellers include Road Dogs, Up in Honey’s Room, The Hot Kid, Mr. Paradise, Tishomingo Blues, and the critically acclaimed collection of short stories Fire in the Hole. Many of his books have been made into movies, including Get Shorty, Out of Sight, and Rum Punch, which became Quentin Tarantino’s Jackie BrownJustified, the hit series from FX, is based on Leonard’s character Raylan Givens, who appears in Riding the Rap, Pronto, Raylan and the short story “Fire in the Hole”. He was a recipient of the National Book Foundation’s Medal for Distinguished Contribution to American Letters, the Lifetime Achievement Award from PEN USA, and the Grand Master Award of the Mystery Writers of America. He was known to many as the ‘Dickens of Detroit’ and was a long-time resident of the Detroit area.

Biography

Elmore Leonard has written more than three dozen books during his highly successful writing career, including the bestsellers Be Cool, Get Shorty and Rum Punch. Many of his books have been made into movies, including Get Shorty and Out of Sight. He is the recipient of the Grand Master Award of the Mystery Writers of America. He lives with his wife in Bloomfield Village, Michigan.

Author biography courtesy of HarperCollins.

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    1. Also Known As:
      Elmore John Leonard Jr.
      Elmore Leonard
    2. Hometown:
      Bloomfield Village, Michigan
    1. Date of Birth:
      October 11, 1925
    2. Place of Birth:
      New Orleans, Louisiana
    1. Education:
      B.Ph., University of Detroit, 1950
    2. Website:

Read an Excerpt

They sat at one of the sidewalk tables at Swingers, on the side of the coffee shop along Beverly Boulevard: Chili Palmer with the Cobb salad and iced tea, Tommy Athens the grilled pesto chicken and a bottle of Evian.

Every now and then people from the neighborhood would stroll past the table—or they might come out of the Beverly Laurel, the motel next door—and if it was a girl who came by, Tommy Athens would look up and take time to check her out. It reminded Chili of when they were young guys in Bay Ridge, Brooklyn, and Tommy never passed a girl on the street, ever, without asking how she was doing. Chili mentioned it to him. "You still look, but you don't say anything."

"Back then," Tommy said, "I went by the principle, you never know if it's there you don't break the fuckin ice. It didn't matter what they looked like, the idea was to get laid, man. Our young bodies required it. Now we're mature we're more selective. Also there's more quiff in this town per capita, you take into account all the broads hoping to get discovered. They act or they sing, mostly bad, either one. Turn around and take a look—walking her dog, the skirt barely covers her ass. Look. Now she's posing. The dog stops to take a leak on the palm tree it gives her a chance to stand there, cock her neat little tail. She ain't bad, either."

"Yeah, she's nice."

Chili turned to his salad. Then looked up again as Tommy said, "You doing okay?"

"You want to know if I'm making out?"

"I mean in your business. How's it going? I know you did okay with Get Leo, a terrific picture, terrific. And youknow what else? It was good. But the sequel—what was it called?"

"Get Lost."

"Yeah, well that's what happened before I got a chance to see it, it disappeared."

"It didn't open big so the studio walked away. I was against doing a sequel to begin with. But the guy running production at Tower says they're making the picture, with me or without me. I thought, well, if I come up with a good story, and if I can get somebody else to play the shylock . . . If you saw Get Leo you must've noticed Michael Weir wasn't right for the part. He's too fuckin short."

"Yeah, but it worked," Tommy said, "because the picture was funny. I know what you're saying, though, a little guy like that into street action isn't believable. Still, it was a very funny picture."

"Also," Chili said, "I didn't want to have to deal with Michael Weir again. He's a pain in the ass. He's always coming up with ideas for a shot where you have to re-light the set. So I said okay to doing a sequel, but let's get somebody else. The studio asshole says, in this tone of voice, 'If you don't use the same actor in the part, Ernest, it's not really a sequel, is it?' He's the only person in L.A. calls me Ernest. I said, 'Oh, all those different guys playing James Bond aren't in sequels?' It didn't matter. They'd already signed Michael and had a script written without telling me."

"This is Get Lost you're talking about?"

"Get Lost. The guy's in a car wreck and wakes up in the hospital with a head injury. He doesn't remember anything about his past life, his name, anything. Has no idea he's a shylock with mob connections or the car wreck wasn't an accident. I said to the studio guy after I read the script, 'You serious? You want to make an amnesia movie? It's what you do when you don't have an idea, you give the main character amnesia and watch him fuck up.' The studio guy says, 'Ernest,' like he's the most patient fuckin guy in the world, 'if you don't want to produce the picture tell me, we'll get somebody else.'"

"So you made it and it stiffed," Tommy said. "So? Make another one."

"I suggested that. I said to the studio guy, 'While we have our momentum up why don't we try it again? Call it Get Stupid.'"

"It sounds like," Tommy said, "you aren't as tight over there as you were."

"What, at the studio? I've got a three-picture deal at Tower, one to go, and I got a good friend. They fired the nitwit was running production and hired Elaine Levin back. She's the one okayed Get Leo, then quit for different reasons, like doing sequels; they ironed out the problems and she's back. The other day I ran into her having lunch. She asked if I had anything worth putting into development. I said, 'How about a girl works for a dating service fixing up lonely guys?' Elaine goes, 'And this lonely shylock who happens to be short comes in?' I told her no shylocks of any size, and that's all I told her."

"Why? That's all you had?"

"You don't want to tell something you're thinking about, hear it out loud yourself for the first time, unless you know what it's gonna sound like. It has to have an edge, an attitude. So you have to know your characters, I mean intimately, what they have for breakfast, what kind of shoes they wear. . . . Once you know who they are they let you know what the story is."

He could tell Tommy didn't know what he was talking about.

"What I'm saying, I don't think of a plot and then put characters in it. I start with different characters and see where they take me." He watched Tommy nod his head a few times. "Anyway, getting back to the dating service . . . I got a flyer in the mail, the kind of letter it's addressed to the occupant?"

"You look at all that shit?"

"I like to open mail. This one invites you to come in, tell 'em who you are, what you're looking for in the opposite sex, or give 'em a call. That's what I did."

"An escort service. Yeah, I ran one for Momo."

"Tommy, this isn't hookers, it's legit. They bring couples together, match 'em up."

"I thought you were seeing that broad from the studio, Sharon something?"

"Karen Flores. She married a writer."

"You're kidding me."

"Fuckin screenwriter. Those guys, most of 'em don't even know where the commas go. You have to rewrite half their stuff."

"Karen dumped you so you try a dating service?"

"Tommy, I'm looking for a character, for a movie. I want to hear what a girl from a dating service sounds like. This one I talked to, soon as I heard her voice and the beginning of the pitch? I thought, This could give me an idea. So I put her on tape."

Tommy was nodding again. "Okay, but what if you work up this idea, you go to Tower with it and your friend Elaine doesn't like it?"

"I go to another studio. Tower has first look, that's all. They turn it down I can take it anywhere I want."

"Okay, say you do and you keep getting turned down."

"What's your point?"

"You always wear a tie?"

It stopped Chili for a moment. He said, "When I feel like it," and pressed his chin down to look at the tie he was wearing with his navy-blue summer suit: tiny red polkadots on a deep-blue field, his shirt a pale blue. "What's wrong with it?"

Tommy Athens was wearing a T-shirt with words on it under a chambray workshirt that hadn't been ironed, wornout prewashed Levis and pumpup Nikes, Chili noticing the shoes when Tommy arrived, twenty minutes late for their lunch date. He held his arms out now to display himself, presenting his midlife girth.

"This is how you dress in this town you're in arts and entertainment."

"Or you do yard work," Chili said.

"Same difference, on the surface. You don't dress to impress. You don't give a shit how you look, your talent speaks for itself. But in case there's any doubt"—Tommy nodded toward his car, parked on the street behind a Ford pickup—"you pull up in your fuckin Rolls and it says who you are, nails it. What're you driving these days?"

"Mercedes. I'm around the corner."

"New one?"

"Seventy-eight, a convertible."

"You can get away with that. Where you live?"

"On Rosewood."

"Never heard of it."

"Kind of a Spanish-looking house. Only you can't see it, there's a giant hedge in front."

"Beverly Hills?"

"Los Angeles."

"What's the zip?"

"Nine oh oh four eight. Couple of blocks from Chasen's."

"That's Los Angeles County where you are, but you're all right, you're practically in Beverly Hills. What I'm talking about is image. I wore a suit and tie. . . ." Tommy paused. "We're both in the same business, right? Basically? Entertainment?"

Chili wasn't sure about Tommy but nodded anyway.

"So this is true of both of us. I know that if I wore a suit and tie, unless I'm going to a funeral or it's a black-tie function . . . I take that back. Even when it's black tie you don't wear a tie anymore."

Chili said, "You wear one of those shirts you look like a priest."

Tommy seemed to agree, shrugging his big shoulders. "You might. Or, the kind of people I associate with in business, you wear black, yeah, but it might only be a tux coat or tails with a pair of jeans and cowboy boots. Though your shitkickers are big, too, with steel toes. You go, my man, with the prevailing style. If I was to wear a suit and tie let's say to a recording session? They'd look at me like I was from Fort Wayne, Indiana, or some fuckin place. Say I got an idea for the recording, I want to lay in some more tracks, beef it up. If they don't feel good about me, bro, where I'm coming from, they're not gonna listen. The producer, the engineer, the band, shit, the band, the friends of the band, they're all into casual to farout attire, whatever they feel like wearing. I'm standing there in a suit and tie? At best I look like a fuckin agent, and who listens to agents."

He was serious.

Chili nodded to show Tommy he was giving it some thought. He said, "So where should I get my clothes, the Salvation Army?"

"See?" Tommy said. "You got an attitude problem. You know better—all you have to do is look around at the people here, the way they're dressed, but you have to be different."

"I've never been here before."

"Swingers, people in music and people that wanna be come here to hang out. Listen to what they're talking about. Recording sessions, who had to go back to rerecord, who's doing heroin, who kicked it, who left what band and went somewhere else. You hear how the record companies are fuckin 'em over. How they can't get this or that label to listen to their demos . . . You look around, though, you can't tell the ones that've made it from the wannabes."

Chili said, "That's why we're here, for the fashion show?"

Tommy pushed his plate away and laid his arms on the table, getting closer to Chili.

"I called you 'cause I got an idea for a movie."

Chili had to go to the men's but paused. Maybe this wouldn't take long. "What's it about? Can you pitch it in twenty-five words or less?"

"I can tell it in one word," Tommy said. "Me."

"Your life story?"

"Not all of it, no. You have to be careful where the statute of limitations might not've run out. See, I think you're the guy to do it, Chil, 'cause you and I have shared some of the same experiences, you might say. I tell you something, you know what I'm talking about. But I want to be sure you're connected at a major studio and not pissing everybody off with your attitude."

"You mean the way I dress?"

"The way you antagonize people, the ones putting up the dough, for Christ sake. If they're signing the check I think they got every right to get what they want."

"A studio exec reads a script," Chili said, bringing a Cohiba panatela from his inside coat pocket. "He puts the script down, calls the agent who sent it to him and says, 'Man, it's a terrific read, but not what we're looking for at this point in time.'"

Tommy waited. "Yeah? . . ."

Waited as Chili snipped off the end of the Cohiba with a cigar cutter and lit it with a kitchen match he struck with his thumbnail, Chili saying, "The studio exec has no fuckin idea in the world what they're looking for. If he did he'd have somebody write it."

Tommy was pointing a finger at him now. "The one thing you've always had going for you, Chil, you're the most confident guy I know. You have a cool way of making it sound like you know what you're talking about."

"You saying I'm a bullshit artist?"

"One of the best. It's the main reason I think, in spite of your attitude, you can get this movie made."

"Based on your life as what, a record promoter? Get into all that payola business?"

"Based on how I worked my ass off to become one of the highest paid indie promoters in the industry, and to where I am now, with my own label, NTL Records, Inc. That payola, they work it different now. You remember a guy named Carcaterra?"

"Nicky Car, Nicky Cadillac," Chili said, "a punk, yeah."

"He's a big indie promoter now, Car-O-Sell Entertainment. Gets the juice from the label and dazzles the program directors with it, guys at the radio stations who make up the playlist. Takes 'em to Vegas for the fights, to the Super Bowl. . . . He's Mr. Nick Car now. You call him Nicky he'll have one of his goons bust all the windows in your car. This's some fuckin business, I'm telling you."

"What's NTL stand for?"

"Nothing to Lose. My wife Edie's a partner. You met her at some Lakers games and a couple of functions. The redhead."

Edie Athens, you bet. Several times, sitting next to her at the Forum, Chili had felt her hand on his thigh, turned his head to see her staring at him, letting him know here it was if he wanted it.

"I told her," Tommy said, "I was gonna see you today. Edie goes, 'Absolutely, Chili's the guy to do it.' Anyway, I got offices and a recording studio out'n Silver Lake. I got some up and comers in the world of punk rock, and I got an artist I just signed and I'm ready to break, Derek Stones, with Roadkill. It use to be a hair band, now they do post-metal funk with a ska kick. You have any idea what I'm talking about?"

"Tommy, I was right there we're doing the music tracks for both my pictures. I got a pretty good idea what's being played."

"Then you must've heard of my hip-hop group, Ropa-Dope. They do that gangsta shit and, man, does it sell. Only no matter what you do for 'em it isn't ever enough. Try and please rappers. I'm in my office I look up, here's five big African-American niggers standing right up against my desk with their arms folded. The dinge in the middle is Ropa-Dope's manager, Sinclair 'Sin' Russell. Not Russell, man, Russell. I greet him in the customary manner, 'Yo, Sin, my man. What's happening, my brother?' Sin looks at me like he's about to come over the fuckin desk. 'I called you two hours ago, motherfucker, and you never return my call.'" Tommy raised the palm of his hand straight up. "Swear to God, you don't pick up when they call you could get fuckin killed.

"I got Ropa-Dope on my back—they want to look at my books, see if I'm up to date on royalty payments. I got this ethnic asshole wants to sell me fire insurance. You believe it? I could've written the fuckin book on what this guy's doing. I threw him out."

Chili was getting up from the table.

"Where you going?"

"The men's. I had two iced teas waiting for you and two more since."

"But how's it sound, the idea?"

"You don't have an idea yet," Chili said. "You have a setting, where the idea develops, becomes your plot." He turned to leave and looked back. "You need a girl in it."

"I got all kinds. What do you want?"

"A singer, trying to get discovered."

"On the boulevard of broken dreams—it's been done. How about a broad with a Mohawk? My secretary, Tiffany. Outside of the haircut and tattoos all the girl parts are there."

Chili walked away from the table, Tommy calling after him, "Think about who's gonna play me."


He made his way through the coffee shop to the men's room aware of glances but thinking of a girl named Linda Moon. Different ideas now beginning to come together in his mind. A movie about a guy in the record business. A movie about a girl who worked for a dating service.

That was her name, Linda Moon.

He could hear her voice again on the phone telling him—once she'd given up trying to sell him on coming in—that her real life was music and up until last year she had her own band. Now all she did—once in a while a recording studio would call when they needed a backup vocal for one of the current pop stars and the dating-service girl's voice would be on a hit record, somewhere in the mix. And, she was with a group that played clubs and private parties in the L.A. area, saying if he ever got out and wanted a few laughs . . . She had an easy drawl, an accent he thought of as from somewhere Out West rather than Down South. She told him the group she appeared with was called Chicks International, a white chick, a black chick and an Asian chick; and it was embarrassing every time they got up to perform, because they did covers, none of their own stuff; they didn't have anything. He remembered saying it was a way to get started, see how you work together. And she came back at him saying if you wanted to get on the charts you had to do your own songs, "with an attitude." He liked that. And then she said it wasn't bad enough doing covers, "we're doing the Spice Girls, and those chicks can't even fucking sing."

There was a silence after that.

Chili stood at the urinal, cigar clamped in his jaw, hearing Linda's voice on the phone telling him, "I'm sorry, it just slipped out." He asked her name and she said Linda, Linda Moon.

There was more, several minutes of conversation with the tape recorder running. He had listened to some of it again to hear her voice, this girl with the easy drawl, nothing put-on about her. The next time he'd listen to her with story in mind: a girl who could sing but didn't like what they were doing . . . Why didn't she quit?

Chili walked back through the coffee shop thinking of what he'd say to Tommy. Surprise him and sound interested. Give him a scenario off the top of the head: The guy who plays Tommy Athens is the main character. His name . . . Tommy Amore, like the song, the moon hits your eye like a big pizza pie. The girl . . . she's with a group but wants to do her own stuff, so she comes to Amore Records. Walks in, Tommy takes one look at her and love is instantly in the fuckin air. But is she any good? Let's say she has the potential, she'll make it if she listens to Amore, does what he tells her. But Linda has ideas of her own. She fights Amore every step of the way. While this is going on the subplot develops. Some deal Amore thought was behind him's now giving him fits. The real Tommy will start nodding his head because it could be true. Like in Get Leo you have the plot, talk a star into making your movie, and you have the subplot, try to keep from getting killed while you're doing it. Make it up as you're telling him. Which is what movie pitches sound like anyway.


Chili Palmer came out of Swingers looking at his watch. It was 1:50 in the afternoon of a nice sunny day in mid September, the temperature 80 degrees, the traffic on Beverly Boulevard steady, the way it always was during the day.

A four-door sedan, black, needing a wash, was turning onto Beverly from the side street, Laurel Avenue, and had to stop before making the turn. For a few moments the car was directly in front of Chili pausing to relight his Havana. He noticed the front-seat passenger and stared at the guy, no more than fifteen feet away, because the guy's hair didn't go with his face. The face had seen a lot more years than that thick, dark hairpiece, a full rug that appeared too big for his head. The guy turned now, he was wearing sunglasses, and seemed to be looking right at Chili. But he wasn't, he was looking past him, and now the car was moving again, making the turn on Beverly but still creeping as it moved past the cars parked along the curb, past Tommy's car—the white Rolls sitting there like a wedding cake—came even with the Ford pickup and stopped. Chili waited. It was like watching a scene develop:

The front door of the sedan opened and the guy with the rug got out. A wiry little guy fifty or so wearing some Korean girl's hair so he'd look younger. Chili felt sorry for him, the guy not knowing the rug made him look stupid. Somebody ought to tell him, and then duck. He looked like the kind of little guy who was always on the muscle, would take anything you said the wrong way. Chili saw him looking toward Swingers now, staring. Then saw him raise both hands, Christ, holding a revolver, a nickelplate flashing in the sunlight, the guy extending the gun in one hand now, straight out at arm's length as Chili yelled, "Tommy!" Loud, but too late. The guy with the rug was firing at Tommy, squeezing them off like he was on a target range, the sound of gunfire hitting the air hard, and all at once there were screams, chairs scraping, people throwing themselves to the ground as the plate glass shattered behind Tommy still in his chair, head down, broken glass all over him, in his hair. . . . Chili saw the guy with the rug standing there taking in what he had done. Saw him turn to the car, the door still open, and put his hand inside, on the windowsill. But now he took time to look this way, to stare at Chili. Took a good look before he got in and the car drove off.


A woman said, "Oh, my God," and turned to make her way out of the crowd gathering to look at Tommy Athens hanging slumped in his chair, Chili right there now feeling people all around him, closing him in. Voices asking if the man was dead. Asking if anyone had called for a doctor, an ambulance. Asking if the guy who got shot was somebody. A voice saying, "They called nine-eleven." A voice near Chili saying, "You were with him, weren't you?" Another saying, "They were together."

It looked like Tommy had been shot in the head, only one shot hitting him of the five Chili could still hear and count, but the one was enough. Chili stood there not saying a word. He had watched it happen without seeing it coming, and that scared him. Jesus, feeling sorry for the guy in the rug, wasting time like that, instead of yelling at Tommy as soon as the guy was out of the car.

He knew he ought to get out of here right now, or spend the rest of the day telling homicide detectives what he was doing with Tommy Athens, why they were having lunch. Why he wasn't at the table when Tommy got popped. They'd look Tommy up on their computer, they'd look them both up, shit, and go round and round about their other life for a few hours.

But he couldn't just walk away, not with all these witnesses, all these helpful citizens waiting to turn him in, dying to cooperate with the police. He looked around and saw faces staring at him. They looked away when he stared back, and moved aside as he worked his way through the crowd, some good-looking girls, not one of the guys wearing a suit and tie. By the time he got to the corner both EMS and a black and white had arrived and two uniforms were telling everyone to stay where they were for the time being, don't anybody leave. The first thing the uniforms did was collect the driver's license of each witness: the ones who said they'd gotten a look at the guy before the plate glass shattered.

Detectives arrived in a Crown Vic and followed pointed fingers to Chili Palmer, spoke to him for a few minutes and asked would he mind coming to the Wilshire station with them, La Brea and Venice Boulevard; they'd bring him back to get his car.

Chili didn't say yes he would mind or no he wouldn't. He kept his mouth shut looking at the scene again, starting to rewrite it in his mind, the guy playing Tommy no longer the lead. You couldn't have the star get popped ten minutes into the picture.

No, but it could be the way to open it. A movie about the music business.
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Table of Contents

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Interviews & Essays

On Tuesday, February 9th, barnesandnoble.com welcomed Elmore Leonard to discuss BE COOL.


Moderator: Good evening, and welcome back to our Auditorium, Elmore Leonard! We are thrilled to have you with us tonight, and we're all looking forward to chatting about BE COOL. Before we begin, how are you tonight?

Elmore Leonard: Well, fine, yeah, I'll be happy to answer any questions -- about the book, or whatever!


Yoli from NYC: Mr. Leonard, I have just begun reading your latest, BE COOL, and the beginning reads like the formulation of the idea...a filmmaker who is developing his pitch as it comes to him. Is there any parallel in these early scenes to the way the book evolved?

Elmore Leonard: Well, that's the whole idea of the book is that Chili Palmer, now in the film business, is looking for an idea for a movie. So it's obviously written for the movies, to be made into a movie. Still, of course, the purpose is to entertain. The purpose of any of my books is to entertain.


Greg Leding from Springdale, AR: Thanks for taking the time to talk with us tonight. I enjoy writing during my free time, but find it difficult to get going. How do you tackle a writing project? Thanks again.

Elmore Leonard: Well, what I did when I first started to write in the 1950s, I had a job, and I had a growing family, so I got up at 5 o'clock in the morning and I wrote for two hours every morning. And I did most of 30 short stories and five books that way. So that's my suggestion -- you can find the time, if you really want to do it.


Henk from Boston: In the beginning of the book, you thank the Stone Coyotes. Could you tell us about the role the Stone Coyotes played in your writing the book?

Elmore Leonard: As I started the book, I decided that Chili Palmer would become the manager of a rock group, but I wasn't sure what kind of rock they would play. So I began listening to different groups, and I was listening especially to all the women singers that had become popular in the last few years, and I was listening to them and wondering if I could style the woman singer in the book after one of them. And I was in Los Angeles researching, talking to people in the record business and the music business, and happened to go to The Troubadour, and I saw the Stone Coyotes, and right away I thought, This is the music that has to be for the band in the book. Rock with a little twang in it, a country twang in most of the songs. So I talked to Barbara Keith, who writes their music and performs and is the guitar player, and I talked to her about using their music. Not the band itself, not their personalities, but their music, that I would give to the band in the book. The band in the book is called Odessa. And we're good friends now, the Stone Coyotes and I.


Peter Wittenberg from Houston: I have read that a year ago, you made the switch from writing westerns to the detective/mobster genre you write now. Realizing that you need to make money, writing is still an art. Was this transition difficult?

Elmore Leonard: I left westerns at the end of the '50s, 1961, [with what] I thought would be my last western was published, and that was HOMBRE. I was tired of westerns, but at the same time, the market for westerns had all but disappeared because there were so many on prime-time television, so people stopped buying the books and reading the stories and the magazines. The magazines were no longer published, so I was a little apprehensive about crossing over to another genre -- crime -- but I felt that I could bring something maybe a little bit different to it, too, because I wasn't influenced by any of the crime writers that came before me. So I just began making up what I consider contemporary stories with what I consider a little crime added to them, and I've been having a good time doing it. I think the main difference in what I write and many crime stories is that the emphasis in my books -- all the emphasis is on the characters rather than the plot.


Mike Jastrzebski from Minneapolis: Do you feel it's become harder for an unpublished writer to become published? Do you have any suggestions on how to succeed in today's marketplace?

Elmore Leonard: I think it's harder today than it was when I started. There were so many magazines publishing short stories then. I learned to write selling to Dime Western, Zane Grey Western, Argassy, all kinds of pulp magazines, and the pay was only two cents a word, but at least you were able to sell, and learn how to write. I think today you just have to decide this is what you are going to do. You've got to become very, very determined, and you have to read. You have to read to find out about the different styles of writing, and to find the one that fits you the best and most effectively. It's the sound of writing that you develop -- your own sound. Or as it's usually called, your voice, your voice as a writer. Read contemporary writers very, very closely and study the differences in styles. And then find a writer that you really like and imitate him. It's just an exercise -- imitate him, and sooner or later, your own attitude and voice will come out of it.


Disgruntled Web Producer from New York: Yo, Dutch! If you had to kill someone, how would you do it? Don't worry, I won't use the information for anything! Thanks!

Elmore Leonard: Hmm... Well, it couldn't be with a gun, because I don't have one. I can't imagine killing anyone, unless it's in such a rage because something has happened to maybe my wife or one of my children, and in such a rage, I'd just go at 'em with my bare hands. I don't know. But I'm really not one to go into rages, if you're familiar with my prose.


Moyra from MI: Who is that gal on the cover of your book?

Elmore Leonard: That is not an individual, a real person -- it's not one who is identifiable with the story. She's more part of the design with the word "cool" than an individual.


John from East Village: Hello, Mr. Leonard! I've read a lot of your work, and I always enjoy it. I was wondering, since I read a lot in the genre, why are there so many crime novels set in Florida, Detroit, and L.A. (not to mention New York, Chicago, and Nome, Alaska)? I noticed in your bn feature that you live in the Detroit area. Are you simply writing what you know? Or is there something about those places? Thanks!

Elmore Leonard: I think that, fortunately, there is something about those places. When I started using Detroit as a location for my books, it was because I lived here, and have lived here since the mid '30s, but at that time, Detroit had the reputation as the murder capital, and that added some jazz to the idea of a book set in Detroit. Florida is a good setting because there is a such a tremendous mix of people, from the superrich in Palm Beach, down to Miami, where you have the Cuban influence, and in addition to that the Mariel Boat Lift supplied the area with a lot of criminals. I've used New Orleans, I've used Atlantic City, Los Angeles, I think I'll go back to Detroit for the next one.... At least I'm fooling with that idea. I think New York is in capable hands -- I don't think I'd touch New York. I'd have to learn it first. I wouldn't mind using Australia, but I'd have to live there a few years to pick up the lingo.


Nick from Utah: Mr Leonard, I love your books and films based on them. Are there any movies currently in production, or have you yourself thought about directing?

Elmore Leonard: No, I didn't even think about directing when it was possible to learn that crap. I'm about 50 years past that. There's nothing in production of mine right now. Quentin Tarantino has four of my books: He has a western called FORTY LASHES LESS ONE, FREAKY DEAKY, KILLSHOT, and BANDITS. I know he would like to appear in KILLSHOT with another director, and there are people working on FREAKY DEAKY and, I think, BANDITS. CUBA LIBRE is in development with scripts being written right now, and we hope that BE COOL will get into development pretty soon at MGM.


Kate from Houston, TX: All of your characters seem to be flawed...even the cool guys. Looking at President Clinton, who has proven himself to be flawed -- he could be one of your characters! What do you think?

Elmore Leonard: Yeah, I think President Clinton could be one of my characters in a different role, not as president of the United States. I don't know what I'd make him. I'd make him, I dunno, a federal officer of some kind, see how he does. As to my characters -- well, they are all flawed, because I think we all are! We're not that predictable. I've never been interested in the superhero, and I've learned also not to simply have my women hanging around. They have to be as real as the men. That's what I strive for, is realism, to the point that you recognize these people. I remember an editor asking me once, "Where did you get this character?" -- it was a character in GLITZ, a former Detroit cop. And I said to the editor, "Are you kidding? I know 150 of them!" But I start when I develop characters, I start with a type, and when I get to know the characters, if I can make them talk, then that's the important thing. Then the character becomes real to me. After I finish a book, for the next few weeks, every once in a while I wonder what the characters might be doing. Then finally they just fade off.


Bill from Sylmar, CA: Do you ever work on more than one novel at a time?

Elmore Leonard: No, I never work on more than one novel at a time, because when I write a novel, I don't know what it's about until I get into it. Until I present the characters and find out who they are, and I just make it up as I go along, I never know how it's going to end. So that's enough to keep in my mind without trying to think of another plot.


Marc Adams from Minneapolis: Congratulations on the Oscar nomination for the screenplay for "Out of Sight." Will you be writing the screenplay for "Be Cool"?

Elmore Leonard: Well, I didn't write the screenplay for "Out of Sight." That was Scott Frank, and I called him this morning at a quarter of six L.A. time to congratulate him. He was up -- he had listened to the telecast of the announcements. So right now he's very busy: He's writing a couple of screenplays as well as the book. He is one writer, the only one I know, who can keep several balls in the air at one time like that. But I'm not interested in writing the screenplay; I'd rather get into another book. So they'll have to find someone else.


Greg from Arkansas: Mr. Leonard, I've read that you do most of your writing on legal pads rather than a computer. Do you find that this helps you? Thanks.

Elmore Leonard: Actually, they're not legal pads, they're 8 1/2" x 11" yellow pads that are unlined. I have them made up at a print shop. And I've always used these. I've used these since I wrote my first story, in 1951. I don't have a computer. I compose in longhand and then put it on my typewriter. I do have an electric typewriter now, after the secondhand manual typewriter I used for 20 years quit.


Jonathan from Seattle: Given the opportunity to eat dinner with three of your favorite authors, who would you go with?

Elmore Leonard: Hmm. Three of my favorite authors. Wow. Well, two of them are dead. If I could bring them back, I would have dinner with Hemingway, Richard Bissell, and Shakespeare. That would be a group.


Paul from Morris Plains, NJ: What was the last book you read and really liked?

Elmore Leonard: It was Ed McBain, THE BIG BAD CITY. I don't ordinarily read that much in my genre, but I know with Ed McBain you can't go wrong.


Pac87@aol.com from xx: Having worked in Hollywood, do you think you depict an accurate portrayal of the business side of Hollywood?

Elmore Leonard: In GET SHORTY? Yeah, I think it's accurate. I think it's very accurate. I don't think it's exaggerated at all. It's not unkind, either. I did use some experiences -- I used things that I know of and what I've felt -- but I don't know.... It's written from a point of view -- it's Chili's point of view, the character, and it's how he sees it. And I certainly don't see it in the same way necessarily. Because there is a scene right away, Chili and another character are rewriting a script. And that's the way it is: Scriptwriting is rewriting, but very often it falls into the wrong hands. Read the interview in Newsweek this week with Warren Beatty and four other screenwriters and what they say about it, working in Hollywood.


Chuck from Atlanta: You make use of dialogue better than anyone. How do you perfect it? What are your thoughts on Hollywood, and which film of yours is your favorite?

Elmore Leonard: I concentrate on dialogue. I move my stories with dialogue, so I'm very much aware of how people talk. I listen. I don't eavesdrop; I just listen when someone is talking to me. Hollywood, I think, is a lot of fun. It's easy to make fun of, too, but I don't think I've ever been unjust. I mean, after all, I'm welcome back. Well, the last few I've thought were all great. "Out of Sight," "Jackie Brown," "Touch," and "Get Shorty" -- I've liked them all, and they were all different. Certainly "Get Shorty" was the funniest and was produced as a comedy, and I don't write comedies, but I could hear my characters talking. The dialogue came across as I heard it when I was writing it. And the reason it worked is because the characters didn't think they were being funny.


Moderator: How do you plan to celebrate New Year's Eve 1999?

Elmore Leonard: I hope that we have a New Year's Eve party that was as good as the last one we had!


Gerald from New York: Hello, Mr. Leonard. Your books manage to present vivid characters in the most efficient amount of space. How do you get to know your characters so well? Do you do much rewriting before turning in the final product? Thank you.

Elmore Leonard: I rewrite all the time. That's what writing is. I write in longhand because I can cross it out faster and keep writing and get to the bottom of the page. And the thing is, what you crossed out is still there. You know, I just write a paragraph at a time. I rarely just get two people talking and the scene just races. But as I get to know the character and the way the character speaks, then the character begins to tell me things. This particular type of person, you know what he would do, you know?


Mary from Minnesota: The wife of a man who has just finished a mystery novel but is not yet published (and has been wanting to write all his life), what would you recommend I do to support him in this process? I am trying to convince him to stay home full-time and write as I make enough money to get us by.

Elmore Leonard: You're a saint! My lord! The man should be extremely grateful! I don't know why he wouldn't want to take you up on it.


Sharon from Steamboat Springs, CO: Are you thinking about your next book yet? What can we expect next from you?

Elmore Leonard: In the next book, I'm thinking about a woman who has been into crime. She's been into insurance fraud, but she's arrested for aggravated assault with a deadly weapon, and she's sent to prison in Florida. She comes out of prison after 16 months wanting to be a stand-up comic and use material from the prison -- what it's like, life in the joint. So I visited a prison in South Florida, and the superintendent asked for volunteers who would like to talk about humor in prison. And 15 ladies volunteered, and we met, we sat in a room, and we talked about what's funny about prison. I said -- that was my first question -- I sat down and I said, "What's funny about prison?" And almost in unison they said, "The guards!" So I got enough material, I think, for my character's first attempt at stand-up comedy.


PJ from Butler, NJ: How do you think your writing has evolved with the 30-plus books you have written?

Elmore Leonard: I think my writing definitely evolved from the '50s up into the '80s. I think it takes you at least a million words or about ten years to have any confidence in what you're doing, and to be sure of the style that you want to develop, which comes out of your attitude. How you see the world. I happen to see a lot of humor in the world, but I don't present it as humor. So I still try to make it better, and at the same time I experiment in ways that probably the reader wouldn't even be aware of. At the same time, I'm trying to think of good ideas, situations, because I'm never trying to think of the whole idea for a book. I think, for example, the woman ex-con stand-up comic might -- I'm sure I'll go with her, but I'm not sure of other characters that I see her with. So I'll just have to find out what's going to happen. That's the interesting thing about making it up as you go along. You, the author, want to know what's going to happen next.


Georges from Northwest Indiana: I love your works. What do you read when you want to get your mind off of writing?

Elmore Leonard: Well, I read a lot of magazines. I read short stories. I'm reading Martin Amis's collection right now of stories and, I think, essays, called HEAVY WATER. And I've been researching, too, of course. Whenever I'm writing a book, I don't read fiction; whatever I read is research. For BE COOL, I read a number of books on the music industry. I'm reading a book about Hollywood, EASY RIDERS, RAGING BULLS. I'm reading a book about an expedition to the North Pole on a ship called the Narwhal, THE VOYAGE OF THE NARWHAL, and Barbara Kingsolver's book set in the Congo, THE POISONWOOD BIBLE. Well, THE PERFECT STORM and INTO THIN AIR -- you read both of those one after the other. They seem to go together -- they came out at the same time. I don't know why.... And a book called WE WISH TO INFORM YOU THAT TOMORROW WE WILL BE KILLED WITH OUR FAMILIES by Philip Gourevitch. STORIES FROM RWANDA is the subtitle. And that should do it.


Moderator: Thank you, Elmore Leonard! It was a pleasure chatting with you tonight. Do you have any closing comments for the online audience?

Elmore Leonard: Well, I hope that I was of some help. I know that some of my answers were sort of muddled as I try to think at the same time as I talk. And I don't talk that much about writing. I don't have a group of writers that I hang out with, mainly because I would rather not talk about it. But I've enjoyed it this evening, and I hope that you've been satisfied!


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Customer Reviews

Average Rating 4.5
( 61 )
Rating Distribution

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(40)

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See All Sort by: Showing 1 – 20 of 61 Customer Reviews
  • Anonymous

    Posted January 25, 2005

    CHILI'S THE COOLEST OF ALL

    Chili Palmer's back, and oh, how we missed him! 'Get Shorty' is one of my favorites by Elmore Leonard, he of the darkly dynamic prose. It was full of the author's trademark black comedy and devilish doings - so is 'Be Cool.' Actor/Director Campbell Scott must have had a high old time reading this story as he inhabits all the voices with glib authority, whether it be a gangsta' or the redoubtable Chili himself. 'Be Cool' finds Chili down on his luck - his recent flick was box office poison and he's eager to find fame in filmdom again. As it happens, he's doing lunch with Tommy Athens, a record company bigwig and longtime bud. Dessert has to be skipped because Tommy's gunned down in what appears to be a mob inspired killing. Presto - Chili's convinced a movie about the music business could be his next big one. Always one to seize an opportunity Chili ingratiates himself with the Los Angeles police officer in charge of investigating the case. Soon, Chili is seeing every development has another chapter in his movie scenario. Of course, there's a love interest - name of Linda Moon, a little yellow rose from Texas. Her manager doesn't cotton to Chili nor do a few other murderous types. Nonetheless, as the title says, be cool, and Chili is the coolest of all. - Gail Cooke

    3 out of 4 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 12, 2012

    The 2 of a 1, 2 punch

    The 2 of a 1, 2 punch, the one that catches you hard and knocks you flat on your back. Leonard followed up get shorty with a second great read.

    J.R. Locke Author of Possible Twenty a Gangster Tale
    & Down and Out in Manhattan

    1 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 9, 2000

    AWESOME!!!!!

    Be Cool was simply put, one of the better books that I have read in awhile and one of the best books I have ever read. The sequel to Elmore Leonard¿s 1990 book and 1995 movie Get Shorty, Be Cool was a smart, funny, and exiting novel. It starts out with Chili Palmer, the former Miami loneshark, and his lunch with a friend named Tommy Athens from his days in Brooklyn. When Chili goes up to go to the bathroom, he comes back and watches Tommy gets shot before his own eyes. Chili gets questioned by a cop named Darryl Holmes who helps him through the whole story. They find out that Tommy was killed by a mob hitman (though not an all to accurate one) and that they were not dealing with the Italian Mafia, they were dealing with the Russians. While all of this is going on, Chili is thinking of how to make another hit movie after his flop, Get Lost. He¿s got his opening, the hired hit of a record company executive. From there he¿s trying to find his main character, a dating service woman and punk rocker named Linda Moon. The storyline Chili has set revolves around her and her band, a movie about the music business and its trials. But Linda¿s manager thinks that Chili is getting to close to her and that there needs to be a stop to it. But Chili is wiser than that, so he hires a large bodyguard. From there the real fun starts with the jealousy and the greed and the insanity of everything going on. I do not want to say much more about the book, so I will just go in to why I thought this book was so good. First, the way Elmore Leonard develops his characters, even the smallest ones, is excellent. You start to feel like you know everything about them. Another reason why this book was so good was how well Leonard knows the music industry to be able to give all of the detail and personality of it, you know that he goes through a lot of work just to make a novel. And lastly, the reason that I enjoyed this book, was how funny it was, along with having the action of a crime story, it was also very funny. Now, I have never read or seen Get Shorty, but I do think that even with me not being familiar with it, I was still able to understand this book very well, and I really did enjoy it. 4 1/2 stars. Excellent!

    1 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 7, 2014

    Pony rp dying

    Help us!dtt res 3 and st res 4!-Blazin '-'

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 5, 2014

    Val to seth

    Im here

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted April 11, 2014

    Elie

    "Ahhhhh" she screams and orgasms

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 8, 2014

    K

    &king
    &love

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 4, 2014

    Giod

    Thought the story was good

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted January 14, 2014

    Not great story, telling.

    Not great story, telling that is why i only gave this book three stars. But it is a ok book in every-thing else than story, telling but over all i would say it is a 75% good book. So if you are a wanter who wants a story than don,t get this book, i your into action get this book. Oh and i have a youtube chanell it is called the north star fun so search that. But it does nocome out till like febuary.

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  • Anonymous

    Posted January 4, 2014

    PRINCE&KING CONTEST

    At royal res8. Let the Queen Know ur discription,n what ud like to be .


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  • Anonymous

    Posted January 3, 2014

    To ethan

    Hey. Im one of emilees best friends and i want to tell you tha she doesnt like jake anymore. She broke up with him for you. You re the love of her life~ Liv

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  • Anonymous

    Posted January 4, 2014

    Bree

    Okayy

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  • Anonymous

    Posted January 2, 2014

    TO AIDEN

    Do u know someone named joey?

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  • Anonymous

    Posted January 2, 2014

    KOEY TO AIDEN

    R i the aiden i know?if so..meet ke at our book

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  • Anonymous

    Posted January 3, 2014

    PARTY

    AT NEW YEARS EVE RES1 BIOS RES7!!

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  • Anonymous

    Posted January 3, 2014

    Ethan

    No emiler i dont

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  • Anonymous

    Posted January 3, 2014

    Braylei Jo

    "SWEET DREAMS ARE MADE OF THIS WHO AM I TO DISAGREE TRAVELED THE WORLD AND THE SEVEN SEAS EVRYBODYS LOOKING FOR SOMTHING SOME OF THEM WANT TO USE YOU SOME IF THEM WANT TO GET USED BY YOU SOM OF SOM IF THEM WANT TO BE ABUYSED! SWEET DREAMS!"

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  • Anonymous

    Posted January 2, 2014

    Alyzae

    If your not proove it. Go to black and white res5 and post

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  • Anonymous

    Posted January 2, 2014

    Sophia

    *walked in wearing jeans and a sweatshirt

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  • Anonymous

    Posted January 3, 2014

    Jared

    Kk im ther e

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