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TRANSCRIPT
RUBY FAIR
“Pilot”
FADE IN:
INT. KVOO RADIO STATION, TULSA, OKLAHOMA - 1936 - EVENING
CAMERA glides down a hallway where FRAMED PHOTOS of prominent musicians of the day line the walls. The peppy WESTERN SWING tune “Too Busy” by Bob Wills and His Texas Playboys plays as we move into --
INT. KVOO RADIO STATION - CONTROL BOOTH - EVENING
-- where the STATION MANAGER sits. Separated from the MUSICIANS by a plate glass window, he sits at the CONTROLS of a darkened radio booth and adjusts the sound. Likes what he hears. He looks up from the controls and into --
INT. KVOO RADIO STATION - STUDIO - EVENING
-- where a LIVE RADIO BROADCAST is taking place. Renown fiddler BOB WILLS stands next to steel guitarist LEON McAULIFFE, urging encouragement. Also in the group -- AL STRICKLIN on piano, JESSE ASHLOCK on fiddle, EVERETT STOVER on trumpet and Bob’s brother JOHNNIE LEE WILLS on banjo.
A cross between hillbilly folk and Joe Venuti, the music is enthusiastic and accomplished. It’s clear the men love what they’re doing.
JUMP CUT TO:
INT. MOONEY HOUSE - CHARLIE’S BEDROOM - EVENING
-- where it’s the summer of 1936 in McLean, Texas. We drift from the RADIO, where the same song plays -- to various MARQUEE POSTERS tacked to the wall featuring the Playboys, Milton Brown and Patsy Montana.
A POSTCARD advertising the Playboys and Play Boy bread is tucked into the border of a mirror, but is eclipsed by --
-- 22-year-old CHARLIE MOONEY as he moves into frame. He holds a shirt up to himself, throws it aside for another and puts it on. Then digs into a can of HAIR POMADE and slicks back his hair.
The sax player nails his solo. A musician himself, Charlie can’t get enough of the stuff. He turns up the volume and closes his eyes. Sheer bliss.
INT. DOWNSTAIRS FOYER - DAY (SAME TIME)
Charlie’s mother, an attractive, robust woman of 38 heaves a sigh of frustration. This is PHYLLIDA MOONEY.
PHIL(shouts)
Charlie! Turn off that damn colored music. It’s time for supper.
INT. CHARLIE’S BEDROOM - DAY
Charlie grudgingly turns off the radio. He runs a comb one last time through his hair, and checks his reflection in the mirror. He looks good.
INT. RUBY’S BEDROOM - DAY
A lovely young girl of sixteen sits in front of a mirror and attempts to get her light blond hair to stay clasped in a baret. This is RUBY MOONEY, a luscious beauty on the cusp of womanhood. Charlie appears in the doorway.
CHARLIEWhat are you all dressed up for?
RUBYI’m coming with you.
CHARLIE(no way)
I don’t think so.
As Charlie disappears from the doorway, Ruby stubbornly tries to fasten the baret, then gives up and follows him from the room.
INT. DINING ROOM - DAY
A modestly set table. Already seated is SAMUEL WADE, longtime boarder and Phil’s sometime lover. He wears a worn suit and an oily expression.
Charlie and Ruby take their seats without so much as a look at Sam.
Phil carries in a casserole of baked beans and sets it on the table.
SAMSmells real good, Phil.
2.
PHIL Ruby, go in there and fetch them biscuits.
Ruby gets up to grab the biscuits. Sam watches her go. Phil pretends not to notice. Charlie helps himself to the beans and shovels them down.
PHIL (CONT'D)Charles Owen Mooney. We haven’t said grace yet.
CHARLIEI’m in a hurry.
PHILThere is always time for the Lord.
She holds out her hands. They all clasp hands and bow their heads in prayer.
PHIL (CONT’D)Almighty Father, we pray Thee, sanctify this food, that it may strengthen us to do and to endure Thy holy will, through Jesus Christ our Lord. Amen.
Ruby has to pull her hand away from Sam. His lips curl into a small smile. Phil starts serving, and puts a plate down in front of Sam. Charlie gulps down his food.
PHIL (CONT'D)Honestly, Charlie. You’re gonna choke.
CHARLIEI’m late.
PHILSam here’s agreed to give you a ride.
This doesn’t sit well with Charlie.
CHARLIE (doesn’t look up)
I got a ride.
PHILWith who?
He doesn’t answer.
3.
RUBYI don’t have a ride.
PHILBecause you’re not going.
RUBYMama...
PHIL(cuts her off)
Don’t start. I’m not having you gallivant around to that crazy fiddle music. It gets everyone a little too hot and bothered if you ask me.
RUBYThen why does he get to go?
CHARLIEBecause I’m a grown up.
Ruby pouts, catches Sam staring at her breasts. It gives her the creeps.
RUBYMay I be excused?
PHILNo, you may not. You haven’t even touched your food.
Sam picks up another biscuit and takes a bite. Ruby just picks at her beans.
EXT. OPEN ROAD - DUSK
Charlie walks a lonely stretch of road. Hearing a CAR approach, he puts out his thumb to hitch but the car passes him by. Charlie continues down the road.
A PICKUP TRUCK approaches, then slows. Charlie’s buddy, TOMMY WAYNE PHELAN, is behind the wheel holding a bottle of wild turkey. He’s lanky and easy-going. Usually.
CHARLIEHow’d you get the truck?
TOMMY WAYNEGet in.
Charlie climbs in beside Tommy Wayne and they roar off down the road.
4.
EXT. BARN - NIGHT
The truck turns into a field littered with cars, in front of a lit up barn and parks.
NEW ANGLE - MOMENTS LATER
Charlie and Tommy Wayne walk towards the barn. Charlie tosses his smoke and they enter --
INT. BARN - NIGHT
--where the smell of sweat and cheap cologne hits them. The mood is jubilant and the music LOUD. Young men and women DANCE to western swing.
Up on stage, a natty SINGER (BILLY RAY) is backed by a bass player, guitar, banjo and fiddle. It’s apparent that while the fiddle player’s smokin’, the band’s not so hot.
CHARLIE(spots the singer)
How does Billy Ray do it? Every Saturday night they got him booked in here.
TOMMY WAYNEHis cousin’s a Mason.
CHARLIEHe was flat on that last note. Probably drunk.
TOMMY WAYNEYou heard he took up with Flora Brolin.
CHARLIEYep.
TOMMY WAYNEEldon’s not even cold in the ground.
CHARLIEYeah, well I heard they was fooling around long before that tractor rolled on top of him.
CUT TO:
A HAND removes the cap off a bottle of coca cola.
5.
INT. BARN - CONCESSION STAND - NIGHT
A WOMAN behind the stand hands Charlie the soda. Tommy Wayne nudges him as --
-- BILLY RAY, a short, dark-haired slickster walks up to them.
BILLY RAYI thought that was you.
CHARLIEBilly Ray.
BILLY RAYHow’s things? Still working that matinee?
CHARLIE(bristles)
Still working that widow?
BILLY RAYAs much as she’ll let me.
Billy Ray grabs a soda and heads back to the stage.
TOMMY WAYNEHe always was a jackass.
The fiddle player, HANK TANNER, ambles up to the stand. He’s in his early 20s and easygoing, in a quiet sort of way.
HANK(to her)
How much?
WOMANOn the house, sugar.
HANKThanks.
He takes the soda. Charlie takes an interest.
CHARLIE(to Hank)
Nice playing on that last number. Man, you really ripped it up.
HANKThanks.
6.
CHARLIE Can’t say the same for the rest of them. No offense.
Charlie puts his hand out to shake.
CHARLIE (CONT’D)I’m Charlie Mooney. This here’s Tommy Wayne Phelan.
They all shake hands.
HANKHank Tanner.
CHARLIEThat any relation to Gid Tanner?
HANKHe’s my uncle.
CHARLIENo kidding. The Skillet Lickers?
HANKThe same.
CHARLIEYou got a bona fide pedigree there Hank. Where you from?
HANKMcLean.
CHARLIE Hell, we’re from McLean.
HANKWe just moved here from Shreveport.
TOMMY WAYNEHow you get hooked up with these sorry sonsabitches?
HANKAh, they’re not that bad.
TOMMY WAYNEHave you met Billy Ray?
HANK(smiles)
He’s my mother’s nephew.
7.
TOMMY WAYNESorry to hear that.
CHARLIEWe got a band. I play guitar, Tommy Wayne’s on bass.
HANKYeah?
CHARLIE(nods)
We’re trying to get a spot on WHBH.
HANKYou need a bigger band.
CHARLIEYeah. You should play with us.
Billy Ray spots them, motions from the stage for Hank to come back.
HANKI gotta go.
TOMMY WAYNEYep. Billy Ray don’t appreciate us poaching his players.
Hank gives them a smile, then heads back up the stage. Charlie and Tommy Wayne exchange a hopeful look as the band starts their next set.
EXT. BUNGALOW - PORCH - NIGHT
Charlie knocks softly on the front door. After a moment, the door opens to reveal DOREEN HARRISON, a sexy but hardened woman in her late thirties. She smiles smugly.
DOREENDidn’t think I’d see you again.
She leans against the door, almost falling out of her thin silk robe. For Charlie, she’s an itch to be scratched. He hates himself for it.
CHARLIEYou gonna let me in or what?
A beat, then she smiles and pulls Charlie inside.
8.
INT. MOONEY HOUSE - PHIL’S BEDROOM - EARLY MORNING
Barely light out, Phil lies awake in bed next to a still sleeping Sam Wade. Hearing a door slam downstairs, she gets up out of bed and grabs her robe.
INT. KITCHEN - EARLY MORNING (MOMENTS LATER)
Phil enters to find Charlie chugging milk out of the bottle.
PHILYou lose your ride?
Charlie doesn’t answer, lights up a cigarette. Phil moves to the stove, starts cracking EGGS into a pan.
PHIL (CONT’D)Honestly, Charlie, I don’t know why you bother coming home sometimes. You gotta be in the fields in less than an hour.
Charlie turns on the RADIO and the soft, soppy sounds of CHURCH HYMNS drift from the box. He digs into his pocket and puts some folded bills on the table.
CHARLIEGot paid yesterday.
He sits at the table, still chugging the milk.
CHARLIE (CONT’D)Kept some of it. Needed new strings.
PHILIf you spent as much money on a girl as you do on that damned guitar, you’d be married and settled and someone else would be making you breakfast.
Phil slides the eggs onto a plate and gives them to Charlie. Picks up the money.
CHARLIEI thought you liked making me breakfast.
PHILThat’s not the point.
9.
Phil opens one of the cupboards and takes out a JAR. She stuffs the bills into it and puts it back. She pulls a pack of smokes from her robe pocket, lights up a cigarette. Sits.
PHIL (CONT’D)It’s a hard way to make a living, Charlie. You never know where your next meal’s coming from.
(exhales)It’s no kind of life.
Charlie doesn’t want to hear it. He pushes his plate away and stands.
CHARLIEGetting late.
He grabs a large cotton sack hanging near the back door and heads out.
Phil smokes and looks out into the early morning light. The GOSPEL strains of “Jesus is on the Mainline” begin and carry us into --
EXT. FIELD - DAY
-- where TUFTS OF COTTON are pulled from prickly plants by red and rough hands.
Charlie is hunched over the cotton plants, the sack slung over his shoulder into which he tosses tufts of cotton.
HEAT WAVES hover over a large field where others, mostly black workers, are also hunched over rows of cotton. Mothers carry babies on their back and children work alongside.
It’s back breaking work. Charlie pauses, wipes the sweat from his brow and listens to a GOSPEL SONG being sung in the distance. He turns to the man in the row next to him.
CHARLIEHey Otis, what’s that they’re singing?
OTIS, a large African-American man, doesn’t even bother looking up.
OTISI dunno Charlie. Just something to pass the time.
A beat, then Charlie starts back at it. CUTS his hand on one of the thorns, reacts. Otis shakes his head.
10.
OTIS (CONT’D)You ain’t cut out for this, boy.
CHARLIE(over it)
No one is.
He tosses a few balls into his bag and stretches his aching back. A WHISTLE sounds off in the distance.
EXT. STARLITE THEATRE - DAY
A MARQUEE POSTER for the 1935 serial “The Adventures of Rex and Rinty” sits behind glass.
Charlie waits outside the theatre, his guitar strapped to his back. He wraps his HANDS with a cotton bandage. They are red, raw and full of blisters.
A CAR pulls up to the curb in a cloud of dust. Tommy Wayne climbs out and pulls his bass from the back seat.
Behind the wheel sits Tommy Wayne’s girlfriend of two years, the pretty, plump EDNA MAE. Tommy Wayne leans through the window.
TOMMY WAYNEThanks, sugar.
Not happy, Edna Mae rolls her eyes, then ROARS off.
CHARLIEYou’re late.
TOMMY WAYNETruck broke down.
Charlie shakes his head. It’s always something.
TOMMY WAYNE (CONT’D)What?
Charlie doesn’t answer, just heads inside. Tommy Wayne follows. START MUSIC “Go Easy Blues” by the Prairie Ramblers and --
CUT TO:
CHARLIE, on guitar, singing his heart out.
11.
CHARLIE(singing)
Now if you wanna get to heaven lemme tell you how to do it, you agree to feed a little mutton suet, you step right out in the devil’s hand and slide right over to the promised land. Go easy, make it easy, cold grease.
INT. STARLITE THEATRE STAGE - DAY
Charlie plays it hard. He’s on stage, in front of a large audience of screaming KIDS. Tommy Wayne stands beside him and plays bass. It’s a Saturday matinee.
CHARLIE(singing)
Now I was over in the corner by a mound of peas, I was over in the corner by a bucket of grease, I greased my feet with axle grease, and slippin’ and slidin’ those mound of peas. Not matches, cigarette butts, spittin’ tobacco.
Charlie looks out into the audience and sees a BOY stick his tongue out at him.
CHARLIE (CONT’D)(singing)
Now out in the wildwood sittin’ on a log, the hand on the trigger and the eye on the hog, I pulled that trigger and the guns it flipped, and I jumped on the hog with all my grip. Just scramblin’, eatin’ hog, I love chitlins.
In the audience, A BOY exchanges a confused look with his friend.
CHARLIE (CONT’D)(singing)
Behind the hen house on my knees, I thought I heard a chicken sneeze, it was only a rooster saying his prayers, getting at the hen but the hen’s upstairs. Just preaching, hens a singin’, roosters praying, praying off with them rotten eggs.
Charlie glances over at Tommy Wayne just as he is showered with popcorn.
12.
CHARLIE (CONT’D)(singing)
Ain’t no use in me working so hard for I got a woman in the white folks’ yard, the rich still chicken is same as a hen, thing’s aren’t working but lying in a bed. Sleeping, dreaming about her, turning into a whole lot a more women.
The song’s getting suggestive. Theatre manager WILFRED BEGLEY, furrows his brow.
CHARLIE (CONT’D)(singing)
Mama’s in the kitchen she’s a making a feast, sister’s in the bedroom stirring to ease, Papa’s in the cellar he’s a making hops, while brother’s in the window watching for cops. Making home brew, gettin’ drunk, tight like that we don’t buzz.
Alarmed, Begley motions to the PROJECTIONIST to start the picture and fast.
CHARLIE (CONT’D)(singing)
Down in the barnyard by the gate, a dominic hen was a waiting for a date, here comes her date and her husband too, says what in the devil I’m gonna do. Steppin’ out, making hoopee...
Suddenly, the CURTAINS part, almost knocking them from the stage and the LIGHTS dim. The kids CHEER as the black and white film begins. Charlie and Tommy Wayne gather up their instruments and step down.
INT. STARLITE THEATRE LOBBY - DAY
As Charlie and Tommy Wayne walk through the lobby, Begley stomps over, steaming.
BEGLEYCharlie Mooney, what the hell was that?
CHARLIESir?
13.
BEGLEYOh for chrissake. That song was downright pornographic. Those are kids in there, not the honky tonk rummies you’re used to playing to.
CHARLIEYes sir.
BEGLEYYou ever want to play here again, you better clean up your act.
He pulls out a couple coins and hands them to him.
BEGLEY (CONT’D)Here’s two bits. Can’t expect your full take, not after that stunt.
TOMMY WAYNEWell, that ain’t fair.
BEGLEYTake it or leave it boys. No skin off my back.
EXT. STARLITE THEATRE - DAY
Charlie and Tommy Wayne exit into the heat of the day. Tommy Wayne is steaming mad.
CHARLIEWhy are you so sore?
TOMMY WAYNEI need the money.
CHARLIEWe all need the money.
TOMMY WAYNEGoddamn it, Charlie, I really need the money. Edna Mae and me gotta get married.
CHARLIEWhy?
TOMMY WAYNEThe usual reason.
A baby.
14.
CHARLIEI thought you were being careful.
TOMMY WAYNE(tight)
Just try to get us something that pays, okay? Something legit.
He heads off, case in hand.
CHARLIE(hollers)
Goddamn it, Tommy Wayne. I ain’t the only one in this band.
But Tommy Wayne keeps going. Charlie kicks the dirt, frustrated, then heads off passing --
-- a weathered and weighed down SEDAN, which pulls to a stop. Tied to it’s roof are suitcases, furniture, a few odds and ends. FRANK LEYTON, a tall man with rugged features, climbs out of the car.
FRANK(leans in)
Much obliged.
A MAN smiles at him from behind the steering wheel. His wife sits beside, holding a baby. Two other children beam at him from the back.
MANDon’t mention it. Happy to help.
FRANKGood luck.
MANAnd to you.
The sedan pulls away from the curb. Frank stands in the road, holding a tattered suitcase.
INT. MOONEY HOUSE - LIVING ROOM - DAY
A formal room with dim, dark blue walls. Phil waters a mangy looking FERN. Then notices the PIANO, wipes the dust from it.
PHILGoddamn dusters.
A KNOCK at the door. Phil heads over and opens it.
15.
Frank stands in the doorway. Phil eyes his tired suit.
FRANK(removes his hat)
Afternoon Ma’am. Are you Miss Mooney?
PHIL(wary)
Mrs. Mooney.
FRANKMy apologies. I was told you may have rooms to let.
Fancy. Phil gives him the once over, decides he’s alright.
PHILCome in.
FRANKThe name’s Frank Leyton.
PHILWhere you from Mr. Leyton?
FRANKFormerly of Chicago, Ma’am. Been on the road for quite some time now.
She eyes the bag he carries.
PHILSalesman are you?
FRANKOn my good days.
Sam enters the room, curious and stands beside Phil.
PHILI’m Phyllida Mooney, people call me Phil. And our boarder, Sam Wade.
FRANKPleased to meet you both.
Phil likes the look of him. Sam doesn’t.
PHILIt’s half board -- breakfast and dinner only. Dollar fifty a day, pay by the day. That alright?
16.
FRANKYes, Ma’am. I’d like to pay by the week if that suits you.
PHILDon’t you want to see the room?
FRANKI’m sure it’s fine.
Though still a bit wary, Phil’s impressed. Frank digs down into his pocket and brings out a tattered billfold. He counts out the money and hands it to her. She counts the money, then pockets it.
PHILIt’s up the stairs, second door on the left.
FRANKThank you.
Frank starts up the stairs with his suitcase. Phil exchanges a look with Sam, then heads into the kitchen. Sam just smirks, he doesn’t like the guy.
CUT TO:
A CRUCIFIX, nailed to the wall above the bed.
INT. FRANK LEYTON’S ROOM - DAY
Frank takes in the room. A twin bed. A worn out quilt. A dresser with a ceramic washbasin. It’s clean but sparse. He goes to the window and pulls open the curtains.
NEW ANGLE - THE STREET
The window looks out onto a dusty, flat road which stretches far into the distance. The fields are parched and dry.
Frank turns and pulls his suitcase onto the bed, begins to unpack. He pulls a FRAMED PHOTO out of the bag.
NEW ANGLE - THE PHOTO
A pretty young woman stands next to a lake, holding a two-year-old child.
Frank looks at the photo, then places it gently onto the dresser next to the bed.
CUT TO:
17.
PEAS on a plate, pushed around by a fork.
INT. DINING ROOM - EVENING
Ruby, bored, plays with her food. She looks across the table at --
-- Frank, who quietly eats his dinner.
Charlie studies Frank. He looks at his HANDS. Unlike the others, Frank holds the fork inverted in his left hand and knife in the right. It is formal and unfamiliar to Charlie.
Sam wears a sour expression. With a glance to their guest, he shoves another bite of biscuit into his mouth and washes it down with milk.
Phil sits at the head of the table and observes the scene. She doesn’t know what to make of their new boarder.
PHIL(to Frank)
I trust your room is fine?
FRANKOh yes ma’am. Very nice, thank you.
PHILThe food alright?
FRANKVery good.
Phil smiles, but says no more. The table again falls silent. A beat, then --
SAMJust wait til you try her shit on a shingle.
Phil cringes. It’s crass.
FRANKWell, I look forward to it. It’s not often I get a home-cooked meal as good as this.
Phil smiles at the generosity of his comment. Dignity restored, Phil turns her attention to her children.
18.
PHILI heard from Myrtle Logan that they got a Hooverville set up outside the old baling station.
This gets Frank’s attention.
PHIL (CONT’D)I don’t want to catch either one of you down there, you hear?
SAMWe should lock the doors at night.
CHARLIEI don’t know what you’re so worried about. They’re just a bunch of tin can tourists.
PHILThey’re dirty and they’re desperate.
CHARLIEThey can’t help it.
PHILOf course they can. The Lord helps those who help themselves.
She pushes the last of the beans onto her forks and takes a delicate bite.
PHIL (CONT’D)We all got to look after our own these days. There just ain’t that much to go around.
She turns to Frank, hoping for an ally.
PHIL (CONT’D)Isn’t that right, Mr. Leyton?
Frank looks up, but doesn’t meet her eye.
FRANKThey certainly are lean times, yes ma’am.
Less than a rallying cry. Charlie jumps in.
CHARLIEMama says you’re a salesman.
19.
FRANKA sort of salesman, yes.
CHARLIEWhat do you sell?
FRANKHope.
CHARLIEYou sell hope?
FRANK(smiles)
It’s complicated.
SAMYou ain’t one of those bible thumpers, are you? We got enough of those already.
PHILSam.
FRANKNo.
Frank smiles but doesn’t elaborate. Phil doesn’t quite know what to make of him.
PHILWe have a lovely church service on Sunday. Reverend Lewis is quite inspired.
Frank nods, but says nothing.
PHIL (CONT’D)Ten o’clock. We all go.
Frank offers a small smile, but does not commit. The conversation grinds to a halt. Charlie likes it.
EXT. MASONIC TEMPLE - PARKING LOT - NIGHT
Charlie hangs out with Tommy Wayne sharing a bottle of bourbon and a smoke. Inside, the twangy sounds of a country house band.
CHARLIEHere. Take this away before I get swacked.
20.
Tommy Wayne looks off to the side, sees Ruby walking towards the entrance with a girlfriend. She’s dressed to the nines.
TOMMY WAYNEAin’t that your sister?
Charlie’s face falls as he spots Ruby.
CHARLIEOh, boy. Mama’s gonna have a fit.
He tosses his cigarette and stands.
CHARLIE (CONT’D)C’mon.
INT. MASONIC TEMPLE - NIGHT (MOMENTS LATER)
Ruby looks out over the dance floor, her face flushed. On a makeshift stage, a fiddle player is backed by a banjo and steel guitar and plays “Spanish Two Step.”
Ruby catches the eye of a young man dancing and flashes him a smile. The man smiles back, only to be reprimanded by his partner, a curvy young woman who shoots Ruby a withering look. Charlie plants himself in front of his sister.
CHARLIERuby, what are you doing here? You’re supposed to be at home.
RUBYWell I’m not going home.
CHARLIE(takes her by the arm)
Yes, you are.
RUBY(shakes him off)
No, I’m not. I’m not a little girl anymore, Charlie. You can’t just boss me around. I’m grown.
CHARLIEYou’re not that grown.
Suddenly, a coarse but clean-cut MAN appears in front of Ruby.
MANWanna dance?
21.
CHARLIENo, she doesn’t.
RUBYYes, I do.
Ruby takes his hand and is pulled into the throng of dancers. She presses up against him and throws Charlie a defiant look.
Charlie just shakes his head. Then notices the band. Billy Ray. He sighs, deflated.
CHARLIE(to Tommy Wayne)
Let’s get out of here.
EXT. HOOVERVILLE - NIGHT
Families sit on the ground beside their cars or under strung up canopies. They cook food over small fires and gather together speaking in low tones.
A mangy DOG sits beside a small boy who is fed fried dough by a worn out woman.
Charlie walks by, his guitar strapped to his back. Up ahead, a group of men sit smoking. They listen to a MAN who sings and plays GUITAR.
Charlie hovers at the edge of the group, listening. In the distance he hears a familiar tune. He heads towards it.
Gathered around a campfire are a group of black men and women. One of the men plays a mournful song on a HARMONICA.
After a bit, Charlie picks up the beat and strums along on his guitar. No one seems to mind.
At the edge of the group, Frank Leyton watches. After a moment, he melts back into the darkness. Charlie hasn’t seen him.
INT. HALLWAY - NIGHT
It’s late. Frank climbs up the stairs in the dark. As he reaches the top of the stairway, the door to Sam Wade’s room opens and Phil sneaks out into the hall.
She startles upon seeing Frank there and pulls her nightdress closer to her body.
They look at each other. Frank says nothing. He walks to his bedroom, lets himself in and shuts the door behind him.
22.
Phil hates herself for getting caught. She opens the door to her room and goes inside.
EXT. BAPTIST CHURCH - ESTABLISHING - DAY
A white clapboard church sits in the wavering heat.
INT. BAPTIST CHURCH - DAY
SISTER AGNES, wearing glasses and a tight bun, sits at a piano and pounds away a flat version of the gospel hymn “I Couldn’t Hear Nobody Pray.”
REVEREND LEWIS sits, fat and self-satisfied, tapping his foot.
Charlie sits next to Phil in one of the pews. In her Sunday best, Phil fans herself demurely. Sam sits beside her.
Ruby stands with a dozen other women and sings in the back row of the choir. She’s clearly enjoying herself.
Sam watches Ruby. It’s clear that the Lord is the last thing on his mind.
Bored, Charlie checks his watch and yawns. He looks behind a few rows and sees a sleepy Tommy Wayne sitting beside Edna Mae and her family. About to nod off, he comes to as Edna Mae elbows him.
EXT. BAPTIST CHURCH - DAY
Phil files out, along with the other congregants. Reverend Lewis takes her by the hand.
REVEREND LEWISMrs. Mooney. You’re looking well.
PHILReverend.
REVEREND LEWISHow are those twins working out for you?
PHILThey moved on, I’m afraid. Heard there was work in California.
REVEREND LEWISYes. It seems everyone’s going to California these days.
Phil leans in, sugar sweet.
23.
PHILReverend, I don’t know if you’ve heard, but evidently there’s quite a few folks collecting down by the old baling station.
REVEREND LEWISI am aware of the situation, yes. Sister Agnes and I are collecting clothes and foodstuffs to take to them. Anything you can spare would be of use.
Phil switches gears, offers a beatific smile.
PHILOf course. I’ll have Charlie bring some things by this afternoon.
REVEREND LEWISThank you, sister. I knew I could count on you.
INT. MOONEY HOUSE - PARLOR - AFTERNOON
Charlie and Tommy Wayne pick away at a tune as Ruby loafs on a nearby sofa filing her nails. It’s hot.
Suddenly, Hank Tanner appears in the doorway accompanied by his cousin, the fair-haired EDDIE HAYES. Charlie sees them, stops playing.
HANKThought I’d take you up on that offer.
CHARLIE(pleased)
Well, sure. Come on in.
HANKThis is my cousin Eddie.
Eddie steps forward to shake Charlie’s hand.
EDDIESecond cousin. Twice removed.
CHARLIECharlie. This here’s Tommy Wayne.
Eddie shakes with Tommy Wayne, then spots Ruby. Winks. She blushes. It’s clear he’s a charmer.
24.
EDDIEAnd who’s that?
CHARLIEJust my sister, Ruby.
EDDIEHello, just my sister Ruby.
Ruby beams, enjoying the attention. But Charlie is suddenly protective. Eddie spots the piano.
EDDIE (CONT’D)Hey, now.
Eddie swoops over and immediately starts pounding out a well-known Christian hymn.
HANKEddie plays piano.
CHARLIEI can see that.
HANK(slightly apologetic)
He don’t stand much on formality.
Eddie switches gears and starts playing “Knocky-Knocky”, a jazzy tune from the Light Crust Doughboys. His style is flamboyant.
HANK (CONT’D)You sure this is alright, it being a Sunday and all?
CHARLIEMama’s got bible studies all afternoon. I figure what she don’t know won’t hurt her.
TOMMY WAYNEHe sure can play that thing.
Impressed, they look over at Eddie pounding away at the piano. He really shines.
INT. CHARLIE’S BEDROOM - NIGHT
A RECORD spins on a turntable. A HAND reaches in and replaces it with another.
Charlie takes the record and puts it into a sleeve. Eddie sits on the floor and digs in his pockets.
25.
EDDIEYou got any more of that Bull Durham left?
Charlie tosses Eddie a pack of tobacco.
CHARLIEBlow it out the window. Mama doesn’t like smoking in the house.
Eddie rolls a cigarette, then sits by the window and lights up.
EDDIEQuite a room you got here.
He peers at a piece of paper tacked to the wall, a playbill for a dance with Milton Brown and his Musical Brownies.
EDDIE (CONT’D)You been to all these?
CHARLIEYep.
Charlie digs through a box, pulls out another album.
CHARLIE (CONT’D)You like Bessie Smith?
EDDIE(impressed)
You got Bessie Smith?
Charlie puts it on the turntable. Bessie’s deep, rich voice sings out “Graveyard Dream Blues.” Eddie starts rifling through Charlie’s collection of records.
EDDIE (CONT’D)You got quite a collection.
CHARLIEI had more. Mama threw ‘em out.
EDDIEThat’s criminal.
CHARLIEShe doesn’t like colored music. Thinks it’s lewd.
EDDIEShe some kind of church lady or something?
26.
CHARLIEWhen it suits her.
He removes a cigarette from behind his ear and lights it.
CHARLIE (CONT’D)You know, this used to be a brothel.
EDDIE(smiles)
A whorehouse?
CHARLIE(nods)
That’s how come it looks the way it does, the velvet drapes and so forth.
Eddie falls with a bounce on the bed.
EDDIESo what you’re saying is, these beds have gotten a lot of action.
CHARLIENot by me.
Eddie grins. Then --
EDDIEHow old’s your sister?
CHARLIE(bristles)
Sixteen.
EDDIEShe looks older.
CHARLIEShe’s not.
It’s a warning. He gets it. Charlie takes a drag off the cigarette, then drops it into a glass of water.
CHARLIE (CONT’D)Hank says you’re from Chicago.
EDDIEYep.
CHARLIEWhy did you leave?
27.
EDDIEToo quiet. Needed more excitement.
He’s kidding of course. Charlie gets it, plays along.
CHARLIEWhy stay in Chicago when you can have McLean.
EDDIEThat’s it exactly.
He says no more. Somehow Charlie knows not to push it. Eddie hands him a record.
EDDIE (CONT’D)This one.
EXT. MOONEY HOUSE - PORCH - NIGHT
Phil sits in a rocking chair and smokes in the dark. She rocks back and forth. The night is warm. MUSIC drifts down from Charlie’s open window.
Suddenly, Frank emerges from the darkness, still carrying his briefcase. He steps up to the house and enters. He has not seen her.
Phil rocks and smokes. He is a mystery to her.
INT. MOONEY HOUSE KITCHEN - MORNING
AN EGG fries in a pan. Another is cracked open next to it.
Phil is at the stove, cooking. Ruby sits at the table, eating breakfast.
Phil looks out the window, sees Frank leaves the house. He carries the satchel.
PHILRuby, I need you to go to town for me. We’re out of soap.
INT. HARRISON’S GENERAL STORE - DAY
Ruby walks up to the counter with a box of SOAP.
BILL HARRISON, the owner, stands behind the counter. He’s uptight, middle-aged and runs a tight ship.
HARRISONHaven’t seen you in a while Ruby.
28.
RUBYNo, sir.
HARRISONGetting to be a big girl.
He rings up the soap.
HARRISON (CONT’D)I’ll put this on your account. But tell your mama she’s late.
Ruby nods and grabs the box of soap. She exits, passing Sam who stocks the shelves.
INT. MOONEY HOUSE - FRANK’S ROOM - DAY
Phil enters, cleaning bucket in hand. Dusts here and there. Mainly she snoops. Picks up the photo and looks at it.
CLOSE ON PHOTO - A mother and child.
She puts it back.
INT. MOONEY HOUSE - KITCHEN - DAY
Phil stands at the WASHING MACHINE, pulling clothes through the hand wringer. She reaches in and pulls another garment from the soapy water.
EXT. MOONEY HOUSE - DAY
Phil attaches the last of the sheets to the clothes line. In the heat, it’s strenuous work. She lifts the empty basket and carries into the house --
INT. MOONEY HOUSE - KITCHEN - DAY
-- where she dumps it next to the table. She takes coffee from a can, fills the percolator and sets it on the stove to brew.
She puts a cool rag to her neck, looks out the window and sees --
-- Frank Leyton approach the house.
INT. FOYER - DAY
Frank enters, removes his hat and coat. Phil appears in the dining room.
29.
PHILMr. Leyton. I was just putting on some coffee. Would you like some?
FRANK(hesitates)
I wouldn’t want to put you out.
PHILIt’s no bother. I’m having some myself.
INT. KITCHEN - DAY
Phil removes two cups from the cupboard. Frank enters, a little hesitant. She gestures for him to sit at the table.
PHILPlease.
He takes a seat, she pours the coffee. She takes a seat across from him and plays lady of the manor.
PHIL (CONT’D)Sugar?
FRANKBlack is fine.
PHILYou sure? There’s plenty.
FRANKI like it black.
She stirs a heaping spoonful of sugar into her own cup. She drinks. He drinks. It’s quiet.
PHILEverything alright with the room then?
FRANKYes ma’am. Just fine.
PHILThe decor’s not really to my liking. It came with the house.
Frank looks around the room, notices the faded wallpaper and chintz curtains. It’s not really his area of expertise.
30.
PHIL (CONT’D)(fans herself)
My God, this heat. Are you married Mr. Leyton?
(off his hesitation)I saw a picture. A woman, with a child?
This gets his attention. He looks sharply at her.
PHIL (CONT’D)(apologetic)
I was cleaning.
A cloud passes in front of his eyes, but Frank says nothing.
PHIL (CONT’D)I hope I’m not prying.
FRANKI’m not married.
Frank downs the rest of the coffee in one large gulp. He stands abruptly.
FRANK (CONT’D)Thank you for the coffee.
PHILIt’s no trouble.
FRANKI’ll let you know the next time the room needs cleaning. I prefer to do it myself.
Frank tips his hat, then exits to the upstairs. Phil feels the sting.
Just then, Ruby enters through the kitchen, SLAMS the box of soap down on the table in front of Phil.
RUBY Harrison says you’re late.
PHILWell, he can wait. Not all of us doing as well as him. And don’t you take that tone with me. You’re not so big that I can’t throw you over my knee.
Ruby rolls her eyes, leaves. Frustrated, Phil gets up and dumps the cups into the sink.
31.
EXT. MCCONNELL’S DRUGSTORE - DAY
End of the day. A pea-green pick up pulls up to the curb. Straight from the fields, a tired and rumpled Charlie climbs out, pats the door in thanks. The truck rumbles down the road.
INT. MCCONNELL’S DRUGSTORE - DAY
Charlie puts a cold bottle of Dr. Pepper in front of the register. He hands the gawky TEENAGE BOY behind the counter a coin.
EXT. MCCONNELL’S DRUGSTORE - DAY
Charlie sits on a bench in front of the store and takes a long draw off the bottle. Across the street, he sees --
-- Doreen Harrison and her husband Bill exit their store and lock it up for the night. Doreen looks across the street and sees --
-- Charlie. They exchange a look. It’s loaded. She takes Bill’s arm and they head for home. Charlie takes another hit off the bottle.
INT. MOONEY HOUSE - KITCHEN - DAY
Charlie enters, sees Sam sitting at the table with his feet up. Like he owns the place. Sam nods toward a box of laundry in the corner.
SAMYour Mama wants you to take that over to Ribisi’s.
CHARLIEI just got home.
Sam just shrugs, he could care less. Frustrated, Charlie grabs the laundry and heads back outside.
SAMAnd make sure that garlic eater don’t shortchange you this time.
Charlie SLAMS the door shut. Just then, Ruby saunters into the kitchen.
RUBYSeen Mama?
SAMNope.
32.
Ruby grabs herself a soda from the icebox and opens it. Sam watches her every move.
SAM (CONT’D)What are you doing tonight?
Ruby just shrugs.
SAM (CONT’D)Don’t you got a boyfriend or something?
RUBYSort of.
She takes a hit off the bottle, her lips wrapping around its edge.
SAMGirl as pretty as you, probably have half a dozen boys on your tail. At least.
The thought of it excites him. Ruby shrugs again, edges for the door.
SAM (CONT’D)If your Daddy was here, he’d be beating ‘em off with a stick.
RUBYI got Charlie for that.
SAMYou got me.
His look is loaded.
SAM (CONT’D)You know that, don’t you sweetheart.
RUBYI guess.
Ruby knows he wants her. She finds him pathetic. But realizes she has the upper hand. Plays it. Fondles the bottle.
SAMAnything you need. Anything.
He looks at her body. Smiles at her --
33.
-- but is interrupted as Phil walks in. He sits up, abruptly.
PHILRuby, don’t you have anything better to do than to stand around drinking soda pop?
RUBYI’m sure I can find something.
She throws a last look Sam’s way, then saunters out of the room. It’s a dig at her mother. Phil shoots a look at Sam. He’s got his poker face on.
EXT. RIBISI BARBERSHOP - DUSK
Charlie exits the shop, followed by the barber, ROBERTO RIBISI. A small, middle-aged Italian with a good heart. He hands Charlie a couple bills.
RIBISIThank your mother for me.
Charlie pockets the money. Suddenly, he spots Frank heading into a HOTEL. Decides to follow.
INT. HOTEL ROYALE - DUSK
Charlie enters the lobby of the hotel. A few dusty chairs face a deserted desk. There is no one.
INT. HOTEL ROYALE - STORAGE ROOM - DUSK
Labor Union Headquarters. A fan rotates overhead and labor union posters adorn the walls of a windowless room.
Frank sits in front of a desk facing STEWART CAMPBELL, local union rep. He slides Frank’s credentials back to him.
CAMPBELLOrganizing don’t do these folks much good. Most of them are grateful to have the work, no matter what they’re paying.
FRANKThat’s not good enough.
Campbell levels his look at Frank.
CAMPBELLThey don’t want union. They want to eat.
34.
FRANKThey want both. They just don’t know it.
Campbell nods his head, knows it. But it’s a dead end road.
CAMPBELL(beaten)
You can’t force them to do something they don’t want to do. I’ve tried.
FRANK(frustrated)
Then why am I here?
CAMPBELLYou tell me.
Frank just looks at him. Campbell sees his mind is set. He sighs, then scribbles something on a piece of paper. Pushes it across the table to Frank.
CAMPBELL (CONT’D)Harry Norman. Tell him I sent you.
INT. MOONEY HOUSE - PARLOR - DAY
Charlie and a visibly hung over Tommy Wayne struggle to move the sofa.
CHARLIEC’mon Tommy Wayne, get the lead out.
TOMMY WAYNEDon’t shout.
CHARLIENot my fault you were out all night.
Tommy Wayne drops his end of the sofa. It lands with a THUD. Just then, Phil rounds the corner with a basket of laundry, sees them.
PHILWhat are you doing?
CHARLIETrying to make some room.
PHILI can see that. Put it back.
35.
CHARLIEWe gotta have someplace to practice.
PHILCharlie, I am running a business here, not a saloon. Find another place.
CHARLIEThere is no other place.
PHILWell you’re not doing it here.
CHARLIEBut we’re the only ones with a piano.
PHILNo.
She means it. Exits the room. Charlie and Tommy Wayne just look at each other. Now what.
TOMMY WAYNEI got an idea.
CUT TO:
A SILK BIRD, hangs in a cage.
INT. GAGE HOUSE - FOYER - DAY
Charlie sits on a bench and waits. He looks at the curio, puzzled. Suddenly, a door opens and Tommy Wayne and an elderly woman, MISS ELLEN GAGE, emerge into the foyer. Charlie stands.
TOMMY WAYNEMiss Gage, this is the friend I was telling you about.
MISS GAGECharlie, is it?
CHARLIECharlie Mooney, ma’am. Pleased to make your acquaintance.
MISS GAGEThomas tells me you are a musician.
36.
CHARLIEYes, ma’am.
MISS GAGEAnd that you specialize in works of a Christian nature.
Charlie looks at Tommy Wayne, who nods in agreement.
TOMMY WAYNEI told her of our upcoming engagement. The Lost River revival.
Charlie has no idea what he’s talking about, but plays along.
CHARLIEThat’s right.
Miss Gage smiles, reassured.
MISS GAGEWell, as much as I look forward to hearing you play, it appears I must wait. It seems my volunteer work at the hospital will coincide with your practice here.
TOMMY WAYNEA conflict in schedule.
MISS GAGEI’m so glad the Steinway will be of some use.
TOMMY WAYNEWe will take good care of it.
MISS GAGEDo you know “Onward Christian Soldiers?”
TOMMY WAYNEIt’s part of our repertoire.
MISS GAGEPapa would be so glad.
Tommy Wayne offers his most reassuring smile.
EXT. GAGE HOUSE - DAY
Charlie and Tommy Wayne exit down the steps and into the street.
37.
CHARLIEThe Lost River revival?
TOMMY WAYNEIt worked, didn’t it? Two and a half hours, every Tuesday and Thursday.
CHARLIETo play church music.
TOMMY WAYNEShe ain’t gonna be home, is she. We can play whatever we want.
CHARLIEThere’s the help.
TOMMY WAYNEDon’t worry about Loretta. She won’t say nothing. She’s sweet on me.
EXT. MCCONNELLS DRUGSTORE - DAY
Ruby walks with her friend, FRANCIE BLEEKER. Several TEENAGE BOYS sit out front and WHISTLE at Ruby and Francie as they pass.
RUBYJust ignore them.
FRANCIEYou always get all the boys. It’s not fair.
RUBYThey whistled at both of us.
FRANCIENo. They didn’t.
RUBYWho cares about them. They’re just boys.
FRANCIESpeak for yourself. You’ve got the only good looking boy in school.
Suddenly, BOBBY SHAY, an athletic and handsome young man, tackles her from behind and wraps his arms around her.
38.
RUBY(irritated)
Get off.
She pushes him away. Bobby Shay is confused.
BOBBY SHAYWhy are you so sore?
RUBYI’m not sore. I just don’t want you hanging on me all the time. This is a new dress.
BOBBY SHAYWell, so-rry. Didn’t know you were so fragile like.
Ruby rolls her eyes, bored.
RUBYI gotta go.
BOBBY SHAYWhy?
RUBYI have someplace I need to be. Not that it’s any of your business.
She heads away with purpose. Bobby Shay watches her go, then looks at Francie.
BOBBY SHAYWell, what are you doing? You got someplace to be too?
She coyly twirls a lock of hair in her fingers. Smiles.
FRANCIEI don’t know.
Bobby Shay looks at her with renewed interest.
EXT. GAGE HOUSE - DAY
Ruby approaches the house. She sees Eddie, about to enter.
RUBY(shouts)
Eddie!
Eddie turns, sees her and smiles. He’s gorgeous. Ruby flies up the stairs and comes up beside him.
39.
EDDIEHello darling.
He leans over, gives her a peck on the cheek. Ruby beams at him, smitten. Follows him into the house.
INT. GAGE HOUSE - DAY
Ruby and Eddie walk in, nonchalant. Charlie, Tommy Wayne and Eddie are already there, tuned up and ready to go.
CHARLIEGood of you to show, Eddie.
Annoyed, he shoots his sister a look.
CHARLIE (CONT’D)Ruby. Don’t you have homework or something?
RUBYIt’s summer, Charlie.
Ruby flops down on a sofa. Charlie grabs his guitar. Just then, LORETTA SCOTT, a beautiful black woman appears in the doorway. She’s also the maid.
LORETTAQuite a set up for just a few hymns.
Tommy Wayne lays on the sugar.
TOMMY WAYNEYou’re not gonna tell on us are you?
LORETTANow why would I do that. Old Miss Gage can’t hear worth peanuts anyway. It probably go right over her head.
TOMMY WAYNEThat’s my girl.
LORETTAI’m not your girl.
TOMMY WAYNEA tragedy to be sure.
40.
LORETTA(not buying it)
Just make sure you put everything back just the way it was. I don’t want to be cleaning up after you.
TOMMY WAYNE(all charm)
Wouldn’t dream of it, sugar.
Enough. Charlie’s impatience gets the best of him.
CHARLIEWe gonna do this or what?
Loretta just shakes her head and shimmies from the room. Every eye is on her. Ruby doesn’t like it.
TOMMY WAYNEJust ensuring the peace.
On Charlie’s cue, the band starts in on “Brownie’s Stomp”, a fast-paced number by Milton Brown and his Musical Brownies. They sound good together. Play the hell out of it. Whoops and hollers. Eddie throws a few fancy keys and a look Ruby’s way. Charlie doesn’t like it.
START MONTAGE:
INT. MOONEY HOUSE - DAY
Phil stops Charlie on his way out, points to a box of folded laundry in the corner. Charlie’s face falls, but he picks it up anyway, heads out.
EXT. GAGE HOUSE - DAY
Late, Charlie mounts the stairs two by two, rings the doorbell and waits. Loretta opens the door and lets him inside.
INT. GAGE HOUSE - DAY
The boys play up a storm.
EXT. GAGE HOUSE - DAY
The boys descends the steps, instruments in hand, making way for Miss Gage, who’s on her way in.
41.
INT. STARLITE THEATRE - DAY
Charlie and Tommy Wayne play another matinee. WIDEN to reveal -- Hank on fiddle and Eddie down in the pit, on the piano. The kids love him - they’re a hit.
INT. GAGE HOUSE - DAY
A FEATHER DUSTER bops to the beat. Loretta listens from the doorway, exchanges a smile with Tommy Wayne.
EXT. GAGE HOUSE - DAY
The boys exit the house, instruments in hand. They run into Miss Gage, on her way in. She tries to stop them, but they keep going, offering apologies.
EXT. ELK’S LODGE - DAY
Charlie talks with the MANAGER who shakes his head, no. Billy Ray and his band push past him, clap Charlie on the back.
INT. HOUSE - NIGHT
Charlie and the band play to a small room packed full of dancing couples. The carpet has been pulled back and there is sawdust on the floor. It’s not exactly the Ritz.
INT. HOUSE - NIGHT (LATER)
A MAN drops a few coins into Charlie’s hand. Charlie gives the man a weak smile, nods. The boys in the band look on, unimpressed.
EXT. FIELDS - DAY
Charlie dumps another bag of cotton at the weighing station. Accepts a few coins in return.
EXT. GAGE HOUSE - DAY
Direct from the fields, Charlie climbs out of a pickup which drops him off. He dusts himself off. He sees --
-- Tommy Wayne and Edna Mae making out in her car which is parked nearby. He taps on the window.
INT. GAGE HOUSE - DAY
CLOSE on SHEET MUSIC. They are the lyrics to “Onward Christian Soldiers.”
42.
Miss Gage sits nearby as the band plods uninspired through the Christian hymn. She claps her hands in delight, tickled pink.
EXT. BUNGALOW - NIGHT
Charlie checks up and down the street, then KNOCKS on the door. After a beat, the door opens and he is pulled in by Doreen.
EXT. TANNER HOUSE - DAY
Eddie and Hank pour out of the house, leaving behind four screaming KIDS, aged two to six. Hank’s MOTHER shouts after them, but they keep going.
INT. MOONEY HOUSE - DAY
Phil stops Charlie. Points to another box of laundry.
INT. RUBY’S BEDROOM - NIGHT
Ruby leans into a mirror, applying LIPSTICK to her already full lips. She blots them, and tries on a smile. Likes what she sees.
INT. GAGE HOUSE - DAY
Another day, another practice. They swing it hard. Eddie takes a solo, playing mainly to Ruby. Charlie’s getting steamed. He shoots Ruby a look, but she ignores it.
END MONTAGE, END MUSIC
EXT. GAGE HOUSE - NIGHT
Charlie exits the house, carrying his guitar case. He heads down the steps and into the street, then stops. Sees something in the shadows.
EXT. GAGE HOUSE - NIGHT (SAME TIME)
Ruby has her back up against the wall. Eddie leans into her. He reaches up and removes a loose curl from her face.
EDDIEYou could get a guy in trouble.
She looks up at him, her eyes big. Knows it.
Charlie approaches, catching Ruby and Eddie in pseudo-embrace. They break apart.
43.
CHARLIEGo home, Ruby.
She hesitates...
CHARLIE (CONT’D)Now.
Ruby shrugs, smiles at Eddie and goes. Charlie glares at Eddie.
CHARLIE (CONT’D)(angry)
What the hell, Eddie.
EDDIEWe weren’t doing anything.
CHARLIEShe’s a baby. Sixteen. Does that mean anything to you? This isn’t Chicago you know.
EDDIEThat’s for sure.
CHARLIEI’m not kidding.
EDDIEOkay, I get it. The sister’s off limits.
CHARLIEThat’s right.
EDDIEMaybe somebody should tell her that.
CHARLIE(in his face)
I’m telling you that.
EDDIE(backs down)
Alright. Is that it?
CHARLIEYeah. That’s it.
He goes. Charlie lights up a cigarette, still steaming.
44.
INT. RIBISI BARBERSHOP - DAY
Charlie enters with a big box of folded LAUNDRY. Ribisi finishes a shave on customer MELVIN HOWARD, a large man with polished leather wing-tips.
HOWARDMust of been the shrimp, I dunno. I told em. I said don’t risk it, but they gone and done it anyway, drove all the way down to Galveston. Willie Rob, he swears on that Gulf shrimp. Normally I’d agree, but not with that red tide they had down there last month.
RIBISIThat can be tricky.
Ribisi gestures to Charlie to set the box down on the counter.
HOWARDDamn right it can. And now it’s gone and poisoned the entire band. I mean what am I supposed to do with that? I got a bandstand with no band on a Saturday night ticket.
This gets Charlie’s attention.
EXT. RIBISI BARBERSHOP - DAY (MOMENTS LATER)
Charlie leans against the storefront, waiting. Howard exits the shop.
CHARLIE(approaches)
Hey, mister.
Howard turns, gives Charlie the once over.
HOWARDWhat is it, kid?
CHARLIEI heard you talking back there about your situation.
HOWARDWhat about it?
CHARLIEThing is see, we’ve got a band.
45.
HOWARDYeah? Who’s we?
CHARLIEGuitar, bass, a smoking fiddle player and Eddie’s on piano, straight down from Chicago.
Howard hesitates, seems interested. Charlie gives it the hard sell.
CHARLIE (CONT’D)We can pack the house, sir. I guarantee it. We know kids from all over the county.
HOWARDNo colored music.
CHARLIEStraight ahead, old time tunes, sir. Whatever you want.
HOWARDYou seem pretty sure of yourself.
CHARLIEWe got the goods.
Howard sizes him up, then pulls out a piece of paper and writes something on it.
HOWARDThe Elk’s Lodge off McGinley road. Tomorrow night.
He hands Charlie the piece of paper, then heads to his car. Charlie follows, hanging on his every word.
HOWARD (CONT’D)I can pay you each two dollars. But you gotta get yourself there and you can’t be late.
CHARLIENo, sir.
HOWARDThese folks depend on their Saturday night dances. They can get real sore, real fast.
He climbs into a shiny, black 1936 Nash.
46.
CHARLIEThank you, sir. We’ll be there.
Howard guns the engine and pulls away from the curb. Charlie has a smile on his face and the future in his hand.
TOMMY WAYNE (O.S.)Amarillo? That’s 75 miles from here.
INT. TANNER HOUSE - DAY
Charlie, Hank, Eddie and Tommy Wayne sit on the porch drinking sodas. Inside, we HEAR a baby CRY and little boys crashing about. Charlie’s still steamed at Eddie.
CHARLIEIt’s a gig ain’t it? Besides, it’s on the outskirts.
HANKI don’t know Charlie, I got to be at work the next day.
CHARLIEWe all do Hank. It’s called commitment.
TOMMY WAYNE75 miles? It’s called a pain in the ass.
CHARLIEI don’t see you fellas offering up any alternatives.
TOMMY WAYNEHow we gonna get there? We don’t even have a car.
CHARLIEI thought you could ask your mother.
TOMMY WAYNEHave you seen the tires? That thing barely gets us to town. No way.
HANKI could maybe ask my uncle. He’s got a sedan might fit us all.
Charlie looks pointedly at Tommy Wayne.
47.
CHARLIESee.
TOMMY WAYNESee what?
CHARLIETommy Wayne why do you got to be so ornery all the time? Is it too much to ask for a little enthusiasm?
TOMMY WAYNEAll’s I’m saying is 75 miles in the middle of the week is not a small thing. That’s 150 miles round-trip or did you not even figure that out.
CHARLIEIt’s a gig. Legit. Just like you wanted. You can be such an old lady sometimes.
TOMMY WAYNEIt’s called being a “realist.”
CHARLIE(right)
I gotta go.
He leaves. Hank and Eddie smirk. Tommy Wayne looks over at them.
TOMMY WAYNEWhat?
INT. CHARLIE’S BEDROOM - DAY
Charlie digs into a can of DAPPER MAN POMADE, slicks back his hair. Ruby stands beside him, pleading her case.
CHARLIENo.
RUBYWhy not?
CHARLIEYou know why not. Mama would have my hide if she found out.
RUBYWell, she’s not gonna find out.
48.
CHARLIERuby, no. End of discussion.
RUBYFine. I’ll just go and ask Bobby Shay then.
CHARLIEThat kid doesn’t even have a license.
RUBYSo what? He takes his daddy’s car all the time. It’s mainly straight stretches anyway.
CHARLIEI am not having him drive you around in that rusty old sedan. It’s over a hundred miles.
RUBYThey got a new car now. A Plymouth.
This is news. Charlie looks at her, the wheels turning...
CUT TO:
A LARGE BASS CASE is thrown onto the roof of a 1936 black Plymouth sedan.
TOMMY WAYNE (O.S.)Careful!
EXT. STREET - DUSK
Charlie and Eddie attempt to load the instruments onto the roof of the car and tie them down with rope. Tommy Wayne leans in to help. They all wear navy cardigans.
Ruby stands off to the side in a creamy white dress. Next to Bobby Shay.
TOMMY WAYNEDon’t dent it.
EDDIEWe’re not gonna dent it.
TOMMY WAYNEYou sure that’s gonna hold it?
49.
CHARLIEIt’ll hold.
TOMMY WAYNEIt’s the biggest. It’ll land the hardest if it falls.
CHARLIEIt’s not gonna fall. Jesus.
TOMMY WAYNEI’m just saying.
Hank looks at his watch, notices the time.
HANKAnytime now fellas.
They struggle to secure Charlie’s guitar. Eddie loses his balance slightly and leans into Tommy Wayne.
TOMMY WAYNEGet off my foot.
EDDIEKeep your panties on.
He flashes Ruby a smile, who smiles back. Bobby Shay notices. He puts his arm around her.
INT. CAR - NIGHT (LATER)
Eddie and Charlie sit beside Hank who drives. In the back, Ruby sits sandwiched between Bobby Shay and Tommy Wayne, the instruments crammed in on top of them. Tommy Wayne fidgets with his sweater.
RUBYFor God’s sake Tommy Wayne, get off.
TOMMY WAYNEI can’t help it. This sweater’s too tight.
Hank peers out at the road. In the distance, a lit up brick building and cars parked outside.
HANKI think that’s it.
50.
EXT. ELK’S LODGE - NIGHT (MOMENTS LATER)
The band pours out of the car, relieved to have arrived. In a hurry, a lanky man approaches the group. This is NELSON OWENS, the organizer.
OWENSCharles Mooney?
CHARLIE(extends hand)
It’s Charlie.
OWENSYou’re late. Is this the band?
CHARLIEYes sir. Sorry about that.
OWENSNo time for chitchat. Let’s get you set up.
They grab their instruments and follow him at a fast clip.
OWENS (CONT’D)Now this is a simple bunch, see. No profanity, we run a clean show. Mostly farmers, these folks work hard all week, they look forward to some good, clean fun. Howard said you could provide that.
CHARLIEYes sir.
Owens opens the door to the lodge. Light and noise flood out into the night and they --
INT. ELK’S LODGE - NIGHT
-- follow Owen to a small stage at the far end of the barn. Not much of a crowd, only a couple dozen men and women mill about. There are a few chairs set up at the back and a small refreshment table.
EDDIEWhere is everybody?
OWENSWord got round Howard’s boys weren’t gonna make it. Guess a lot of folks stayed home.
51.
Charlie just nods, it’s a blow.
OWENS (CONT’D)We got sodas in the back.
He heads off to the refreshment table. The band starts to set up.
TOMMY WAYNEI thought you were gonna call the Koenig brothers. They got like forty-eight cousins.
CHARLIEThey’re up in Little Rock. Nothing I can do about it.
EDDIE(low, to Hank)
At this rate, we’ll be lucky to get a nickel a piece.
A BANG is heard near the back as a chair is knocked over. A group of six young men stumble in, obviously drunk. The men stumble about, bothering the locals. One of them leans towards a young woman and is pushed away by her boyfriend.
Charlie doesn’t like the look of it. He pulls up a chair to the corner of the stage.
CHARLIE(to Ruby)
Sit there.
RUBY(protest)
But I can’t see from there.
CHARLIEI don’t care. Sit.
Ruby plops down on the chair and pouts. One of the rowdies spots her and pushes his way to the front.
ROWDY MANHey, baby. You gonna sing for us?
Ruby doesn’t look scared, just annoyed.
CHARLIETake a hike.
ROWDY MANI wasn’t talking to you.
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Charlie stiffens, moves to the edge of the stage. Eddie comes up behind. He can smell a fight. Still, the man targets Ruby.
ROWDY MAN (CONT’D)Hey, baby. You gonna put on a show? Huh? You the show?
EDDIE(to Charlie)
Is he nuts?
ROWDY MAN(grabs at his pants)
I got something to show you.
That’s it. Charlie jumps from the stage and throws a PUNCH. The guy goes down, his buddy jumps in.
Eddie and Tommy Wayne jump from the stage and come to Charlie’s aid. Bobby Shay jumps up and joins in.
Tommy Wayne pulls one of the guys off Charlie and they fall to the floor. Eddie POUNDS into another one. Before you know it, it’s a full on BRAWL. The hall erupts into violence.
Owens shakes his head, not again. Up on stage, Ruby shakes her head at the mess. Boys. She approaches Hank.
RUBYDo you know Galveston Gal?
HANKSure.
RUBYI’ll just change the words.
Ruby takes her place center stage and looks to Hank. He starts fiddling the 1936 Milton Brown number “My Galveston Gal.” It’s sunny and fast-paced. Ruby bounces to the beat.
RUBY (CONT’D)(singing)
Going to the sunny Gulf of Mexico. Going where the sunny balmy breezes blow, I’m going to meet the sweetest little sweet I know, My Galveston guy. Going to meet the one that I been saving for, yes I’ll spend the rest of my life slaving for, even give up all my misbehavin’ for, my Galveston guy.
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Owens smiles. The girl is good. People start to pair up and dance. Charlie stops fighting and looks over at the stage, amazed.
RUBY (CONT’D)(singing)
How I love to listen to the Southern drawl, of the little baby of mine, how I love to listen when he says you all, come on over and see me sometime. You can have you shuffle off to Buffalo, think of me beside the Gulf of Mexico, with the only one that really gets me oh, my Galveston Guy.
Eddie beams. What a voice. Charlie jumps back onto the stage, followed by Eddie and Tommy Wayne. He grabs his guitar and takes his solo. Eddie and Tommy Wayne fall into the beat.
By now, the hall is full of dancing couples, with more on their way in. Owens is relieved.
Eddie’s piano falls into the background as Hank comes again to the forefront with his fast paced fiddling. Finally, Ruby takes center stage and finishes up.
RUBY (CONT’D)(singing)
How I love to listen to the Southern drawl, of the little baby of mine, how I love to listen when he says you all, come on over and see me sometime. You can have you shuffle off to Buffalo, think of me beside the Gulf of Mexico, with the only one that really gets me oh, my Galveston Guy.
INT. MOONEY HOUSE - HALLWAY - NIGHT
Phil makes her way down the darkened hallway on the way to her room. Drunk, Sam catches up with her, and paws at her in sloppy fashion.
SAMThere’s my girl.
But Phil’s not interested and pushes his hands off her.
PHILNot now.
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SAMC’mon...
He stumbles into her and plants a wet kiss on her lips, forcing his tongue down her throat. Disgusted, she pushes him away.
PHILGoddamn it Sam. I said no.
She starts down the hall towards her room when Sam lunges, taking hold of her, his arm around her neck. He pulls her towards his open bedroom door.
PHIL (CONT’D)Sam. Let go.
But he won’t. It’s getting heated.
PHIL (CONT’D)You’re hurting me!
SAMYou like it rough.
She pulls away, pushing him.
PHILYou’re drunk.
Sam grabs her and pins her against the wall. He reaches down between her legs. His hand up her dress.
SAMC’mon. Let Daddy saddle up his little filly.
Phil struggles to break free, then freezes. Sees Frank standing in the hall. Sam takes it as acquiescence.
SAM (CONT’D)That’s right, baby. Give it to Daddy...
FRANK Everything alright here?
Sam turns, sees Frank. Mortified, Phil pulls away from Sam and smooths her dress.
SAMThis doesn’t have anything to do with you, mister.
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FRANKI wasn’t talking to you.
He looks to Phil --
PHILI’m fine.
FRANKYou’re sure.
PHILFine. Thank you.
As gracefully as she can manage, Phil walks to her room and disappears inside, locking the door behind her.
Frank’s eyes have not left Sam. Sam smirks, then pushes past Frank and stumbles down the stairs. A SLAM is heard as he lets himself out.
Frank pulls out a pack of cigarettes, places one in his mouth and lights it.
START “Milk Cow Blues” from Cliff Brauner’s Texas Wanderers and --
DISSOLVE TO:
INT. ELK’S LODGE - NIGHT
It’s a sexy number. Ruby stands center stage, holding sheet music and waits for her cue. After a nod from Charlie, Ruby begins.
RUBY(singing)
I’m having good morning, luce how do you do. I’m having good morning, mama, luce how do you do. I went away this morning, ‘cause I can’t get along with you.
Ruby’s voice is bold and sexy. She sounds more like a black blues singer than the waif of a white girl she is.
RUBY (CONT’D)(singing)
Now I can’t do right baby, when you don’t do right yourself. I can’t do right baby, when you don’t do right yourself. Now if my good gal puts me, I don’t want nobody else.
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The band exchanges looks, the girl's good. Little Ruby, with a voice like Bessie Smith. It makes Charlie uneasy.
Eddie takes up the tune on the piano and looks pointedly at Ruby. Emboldened by his attention, Ruby’s manner becomes playful and sexy.
She looks over, sees Charlie. Now she really starts to sing it, full sass.
RUBY (CONT’D)(singing)
Now I woke up this morning, I looked outdoors. I know my mama’s milk cow, I can tell the way she lows. Now if you see my milk cow, oooh won’t you drive her on home.
EDDIESing it out girl, sing it out...
RUBY(singing)
Now I ain’t had no milk and butter, oooh since my gal’s been gone.
Hank takes up the fiddle for his solo and plays the hell out of it.
Ruby tosses a look Eddie’s way and smiles. Eddie can’t take his eyes off her. Charlie is not happy about it.
RUBY (CONT’D)(singing)
My blues fell this morning and my love come falling down. My blues fell this morning and my love come all falling down. I’d be a low down dog mama, but please don’t dog me around.
She finishes with a flourish. The crowd loves her.
EXT. ELK’S LODGE - NIGHT
The night’s over. The band loads their instruments onto the car.
Charlie lights up a smoke. He snaps shut the lighter. The boys cluster around Ruby.
TOMMY WAYNEJeez Ruby. You sounded just like a colored girl.
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RUBY(bristles)
Gee thanks.
EDDIE(leans in)
It’s a compliment.
His breath on her neck. Ruby flushes. Bobby Shay puts his arm around her, but she shakes him off.
TOMMY WAYNEWho taught you to sing like that?
RUBYNobody. It’s just my voice.
CHARLIEIt’s not your voice. I’ve heard it and that ain’t it.
RUBYChurch is different, Charlie.
Owens walks up to them with a handful of cash.
CHARLIE(apologetic)
Mr. Owens...
OWENSDon’t sweat it, kid. Those guys are numskulls. Same thing happened two weeks back. Gotta start putting some muscle at the door.
He counts out a few bills.
OWENS (CONT’D)Here’s your take.
CHARLIEThanks.
Owens scribbles something down on a piece of paper.
OWENSI could use a band next Thursday night. It won’t be a regular thing, but --
CHARLIEYes.
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Owens likes his enthusiasm. He looks over at Ruby.
OWENSAnd bring your sister.
CHARLIEThat was just a one time thing.
OWENSNothing personal, kid, but the girl’s the ticket. You want the gig, you bring your sister.
He hands Charlie the paper, leaves. Charlie looks at the paper. It’s a flyer for the county fair.
CLOSE ON FLYER
On it, is scrawled the address. The word “county” has been crossed out, replaced by Ruby’s name. Together, it reads “RUBY FAIR.”
Charlie looks at the band, struggling to load the instruments. Ruby sits off to the side on an old barrel, bored. Charlie tries to get used to the idea. Ruby.
Ruby reacts as Tommy Wayne’s bass begins to fall in her direction and the guys scramble. It’s comedy.
Charlie smiles, tosses the cigarette. Bob Will’s “Sittin’ On Top Of the World” STARTS as Charlie walks back to the car and we --
CUT TO CREDITS:
THE END
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