Get Shorty

Get Shorty

3.9 27
by Elmore Leonard

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Loan shark Chili Palmer didn't say anything when Ray Bones stole his leather jacket from Vesuvio's in Miami. He just went to Ray's house, broke his nose, took the jacket, and left. Twelve years later, on account of his boss getting whacked, Chili finds himself working for Bones and ordered to collect on a bad debt from Leo Devoe, a guy who died in a plane crash. But…  See more details below


Loan shark Chili Palmer didn't say anything when Ray Bones stole his leather jacket from Vesuvio's in Miami. He just went to Ray's house, broke his nose, took the jacket, and left. Twelve years later, on account of his boss getting whacked, Chili finds himself working for Bones and ordered to collect on a bad debt from Leo Devoe, a guy who died in a plane crash. But it turns out Leo isn't dead; he's in Las Vegas with the $300,000 the airline paid to his wife. So Chili follows him to Vegas and then on to Hollywood, where he hooks up with movie producers, actors, and studio execs. Getting Leo becomes a movie pitch unfolding in a city where every move you make is a potential scene, and making it big isn't all that different from making your bones. You gotta know who to pitch, who to hit, and how to knock 'em dead.

Editorial Reviews

Publishers Weekly - Publisher's Weekly
Taking his latest fictive turn in Hollywood, Leonard, whose oeuvre includes screenplays as well as such bestselling novels as Glitz and Freaky Deaky , adds insider knowledge to his signature humor in this roundly satisfying behind-the-scenes tour of filmdom. Slightly disaffected Chili Palmer, a small-time loan shark with big-time style, is a vintage Leonard hero. Following a bad debt from Miami to Las Vegas and on to Beverly Hills, Chili hooks up with Harry Zimm, once a leading director of grade-B horror flicks, now trying to make a comeback. While succumbing to the siren call of celluloid, Chili also narrows in on the bad debt, in the process running up against a sharp-dressing hood with whose money Harry has played too loose. In Leonard's seamless handling, the complex plot flows through twists of revenge, murder and romance, as Chili, his authentic cool making a mark in the capital of sham (Don't talk when you don't have to'' is his very un-Hollywood motto), cagily gets it together with Karen Flores, Harry's former lover and featured star. A perfect resolution puts punch in the title and will keep readers smiling for days. Chili and his story are Leonard's best yet.
The New York Times Book Review
“The greatest crime writer of our time, perhaps ever!”
The Detroit News
“An absolute master.”

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HarperCollins Publishers
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4.18(w) x 6.75(h) x 0.96(d)

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In the past ten years he'd become a fat little sixty-year old guy with frizzy hair. The same guy she once thought was a genius because he could shoot a ninety-minute feature in ten days and be looking at a workprint two weeks later . . .

Harry doing the first of the Slime Creatures in Griffith Park when she read for him in bra and panties, he said to give him an idea of her figure, and she got the part. Karen asked him if he did horror or T and A and Harry explained to her the philosophy of ZigZag Productions. "Zig for the maniac, escaped lunatic and dope-crazed biker pictures." No vampires or werewolves; she would never get bitten or eaten. "Zag for the ones featuring mutations fed on nuclear waste, your slime people, your seven-foot rats, your maggots the size of submarines. But there's nothing wrong with showing a little skin in either type picture." She told him if he was talking about full frontal nudity, forget it, she didn't do porn, hard or soft. If she had to go to bed with him, okay, one time only, but it would have to be an awfully good part. Harry acted insulted. He said, "You ought to be ashamed of yourself, I'm old enough to be your uncle. But I like your spunk and the way you talk. Where you from, somewhere in Texas?" She told him he was close, Alamogordo, where her dad was a rocket man and her mom was in real estate. Karen told him she left to study drama at New Mexico State, but since coming here had done nothing but wait on tables. Harry said, "Let's hear you scream." She gave him a good one and he gave her a big smile saying, "Get ready to be a star."

Karen was slimed to death within twenty minutes of her first appearance on the screen.

Michael, who hadalso read for a part and was turned down, told her she was lucky, not have to hang around the set. It was where she first met Michael, when they were casting Slime Creatures fifteen years ago, saw him a few other times after, but they didn't seriously get it on until Michael was a star and she was living with Harry . . . tired of it, saying mean things and arguing by that time, picking at dumb lines that had never bothered her before. Like the one Harry threw at her in bed, out of nowhere . . .

"Maybe it's only the wind."

Knowing she'd remember it.

Instead of giving him a look, she should have said, "What're you up to, Harry? What can I do for you?"

Make him come out and say it instead of trying to take her down memory lane. It was so obvious. Harry wanted her to use her influence with Michael to set up a meeting. But wanted it to be her idea, happy to do him this favor because she owed him, theoretically, for putting her in pictures, making her a ZigZag Productions star.

But it was weird--hearing that line again.

When she first read it she said to Harry, "You've got to be kidding." It was his line, he was always rewriting, sticking in additional dialogue. Harry said, "Yeah, but it works. You hear the roof being torn off, you look up and say to the guy, 'Maybe it's only the wind.' You know why?"

"Because I'm stupid?"

"Because you want it to be the wind and not that fucking maniac up there. It may sound stupid, but what it does, it gives the audience a chance to release nervous laughter."

"At my expense," Karen said.

And Harry said, "You going to sulk? It's entertainment, babe. It's a put-on, the whole business of making pictures. You ever catch yourself taking it seriously you're in trouble."

Karen recited the line. It got a laugh and a picture that cost four hundred thousand to make grossed over twenty million worldwide. She told Harry it was still schlock. He said, "Yeah, but it's my schlock. If it doesn't make me famous, at least it can make me rich."

She might ask Harry in the morning, "Who's taking it seriously now?" Harry dreaming of a twenty-million-plus production he'd never get off the ground. And a star he'd never sign. With or without her help.

She might ask him, "Remember I told you last night about a picture I've been offered?" After a seven-year layoff. She had expected Harry to at least be curious, show some interest. "You remember I wanted to talk about it and all you said was 'Yeah? Great'?"

Now she was the one taking it seriously, standing on the upstairs landing in her T-shirt . . . listening, beginning to see the stairway and the foyer below as a set.

It would be lighted to get eerie shadows and she would have on a see-through nightie rather than a T-shirt. She hears a sound and calls out softly, "Harry? Is that you?" She starts down the stairs and stops as a shadow appears in the foyer, a moving shadow coming out of the study. She calls again, "Harry?" in a stupid, tentative voice knowing goddamn well it isn't Harry. If it's a Zig shadow, now the maniac appears, looks up, sees her. A Zag shadow is followed by a gross, oversized mutation. Either one, she stands there long enough to belt out a scream that will fill movie theaters, raise millions of goose bumps and make Harry a lot of money.

Karen cleared her throat. It was something she always did before the camera rolled. Cleared her throat and took a deep breath. She had never screamed for the fun of it because it wasn't fun. After only three takes--Harry's limit--her throat would be raw.

The house was so quiet.

She was thinking, Maybe do one, hang it out there for about five beats. See what happens.

And in almost the same moment heard Harry's voice coming from the study.

"We gonna sit here all night?"

Now she heard a faint murmur of voices, Harry's and another voice, but not the words, Harry carrying on a conversation with someone who had walked in her house, or broken in. You could take that seriously. Now she heard Harry's voice again, unmistakably Harry.

"Yeah? What's it about?"

Those familiar words.

A question she heard every day when they were living together and Harry got her involved in story development because he hated to read. What's it about? Never mind a script synopsis, coverage to Harry meant giving him the plot in three sentences, fifty words or less.

Karen went back through the bedroom to the bathroom and turned the light on. She stared at herself in the mirror as she took a minute to run a comb through her hair.

What's it about? . . . It's what Hollywood was about. Somebody making a pitch.

From the Trade Paperback edition.

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Get Shorty 3.9 out of 5 based on 0 ratings. 27 reviews.
GPenwick More than 1 year ago
Elmore Leonard is one of the best. And Get Shorty is one of his better books. What makes his books so real is that his characters are unpredictable. Good guys aren't all that good and bad guys will sometimes surprise you too.
Anonymous More than 1 year ago
I forced myself to keep going, but only made it half way through
Anonymous More than 1 year ago
Excellent dialogue
Anonymous More than 1 year ago
This is my favorite Elmore Leonard book that I've read so far. Great characters, plots and sub-plots, simply classic Leonard, the king of crime.
Anonymous More than 1 year ago
The publisher deleted the book past page 219. Nothing past Chapter 28. What a bunch of junk!!
iblog2 More than 1 year ago
He was such a good writer. You can SEE the characters
Anonymous More than 1 year ago
Elmore Leonard peoples his fictional landscapes with characters as richly varied and eccentric as his own literary moniker. Chili Palmer is equaly loveable and despicable and somehow always manages to be truthfull as he pursues the GoldenCalf in Hollywood sometimes even managing to lift the curtain to reveal the thin line between business and crime. J.R. Locke Author of Possible Twenty, a Gangster Tale & Down and Out in Manhattan
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Michael Farabella More than 1 year ago
Aweome storyline and extremely inventive. Leonard is truly the master of american fiction. Be Cool, the followup to this book, although not as good as Get shorty is still a nice way to kill a couple of afternoons.
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Guest More than 1 year ago
Get Shorty was the first Elmore Leonard I've ever read, and I have to say he has me hooked on his work. After reading this I went out and got Be Cool, Rum Punch, Out Of Sight, Riding The Rap And Killshot and I couldn't wait to read the next one. Elmore Leonard's Stories are sharp, in plot and Character. If you enjoy a awsome, cool and somtimes funny crime story you have found the king. Great Read Get Shorty Is A Great Place To Start On Elmore Leonard!
Guest More than 1 year ago
Having seen the movie a while back I decided to read the book as an introduction to Leonard. The plot invloves a shylock pursuing a delinquent borrower, and ending up in Los Angeles trying to break into the movie business. It's a great way to poke fun at Hollywood types, from actors to agents to studios to other wanna-be players. Leonard has a flair for characters and realistic dialogue, and the plot works too. There are lots of funny moments and the book will keep you interested. I am looking forward to reading more of Leonard's work, including the sequel to Get Shorty, Be Cool (which I hope is better than the tepid movie).
Guest More than 1 year ago
Loaded with scams, schemes, plans, and .44 caliber bullets, Get Shorty is a cool, laid back, and often dark look at Hollywood. Leonard shows that all one needs to be a successful Hollywood player is a background in organized crime. The characters are great: cool Chili Palmer, conniving Bo Catlett, and the obnoxious Ray Bones. A definite must read for Elmore Leonard fans, or anyone who likes good crime stories, and lockers full of money. Hey, see the movie whil you're at it!