One Good Turn
17
pages
English
Documents
1930
Le téléchargement nécessite un accès à la bibliothèque YouScribe Tout savoir sur nos offres
17
pages
English
Ebook
1930
Le téléchargement nécessite un accès à la bibliothèque YouScribe Tout savoir sur nos offres
Publié par
Publié le
01 janvier 1930
Nombre de lectures
4
Licence :
Langue
English
Publié par
Publié le
01 janvier 1930
Nombre de lectures
4
Licence :
Langue
English
INT. VAUDEVILLE THEATER - NIGHT
A black signboard at the edge of the stage reads ETON AND FARRELL in white Art Deco type. A piano plays. The voice of RUTH ETON begins warbling the verse of "If I Could Be With You (One Hour To-Night)" a pop tune by Henry Creamer and Jimmy Johnson.
We PAN from the signboard, across the stage, past Ruth's studly accompanist EDDIE FARRELL, and HOLD ON Ruth, a sad-eyed jazz singer in a sexy black dress who stands in front of the grand piano, a scarf in her hand.
(sings)
I'm so blue I don't know what to do All day through I'm pining just for you I did wrong when I let you go away And now I grieve about you night and day I'm unhappy and dissatisfied But I'd be happy if I had you by my side...
As Ruth begins the refrain, an unseen orchestra joins in.
(sings)
If I could be with you I'd love you strong If I could be with you I'd love you long
I want you to know that I wouldn't go Until I told you, honey, that I loved you so
Eddie sings the second half of the refrain, not nearly as well as Ruth.
(sings)
If I was free to do the things with you If I could do the things I know I'd do
I'm telling you true I'd be anything but blue If I could be with you
Ruth takes the second refrain in a faster, rhythmically complex tempo.
(sings)
If I could be with you I'd love you strong If I could be with you I'd love you long
I want you to know that I wouldn't go Until I told you, honey, that I loved you so
If I could be with you one hour tonight If I was free to do the things I might
I'm telling you I'd be anything but blue If I could be with you
For just one hour ...
If I could be with you
Ruth bows to the audience as they APPLAUD. She gestures to Eddie who rises and bows.
DISSOLVE TO:
INT. RUTH'S DRESSING ROOM - NIGHT
Ruth's agents enter the room looking for her: Tall Anglo-Saxon JIM and heavily-accented Jewish cigar-smoker SAUL. Ruth is out of view, changing clothes behind a screen.
Oh, Ruth! Ruth!
Hello?
Hey, Ruth!
Hello! Sit down, make yourselves at home. I'll be out in a second.
Saul strikes a match on the wall and lights his cigar while Jim takes a seat.
You certainly wowed 'em tonight, Ruthie!
You certainly did! Five curtain calls and they could've rung up again. (sits) But I don't blame you, honey. Leave 'em hungry.
Ruth emerges in a plain white dress. The agents rise to greet her.
Hello, Ruth.
Hello, boys!
Hello, Ruth!
To what do I owe the honor of this visit? Unwrap the bad news.
You worrying about bad news after...?
You worrying! Mm-mm! Such a performer! It is to laughing, ain't it, Jim? Heh! The office wants to give you a new roof. Such a roof! Mm-mm! Starting with the Palace, headline billing. Even the Colonel'll tell you to sign.
All right, all right. Let's have the "but--" ...
(laughs)
Cute, ain't it? It's no "but," Ruthie -- it's a "because"!
Well, because what -- ?
(hesitant)
Well, be-- Because of your partner. They don't want Farrell -- and you don't need him. Oh, why should we beat around the bush?
They don't want Eddie?
They don't want Eddie -- that's the truth, straight from the suspenders.
Well, what's the matter with him? Why don't they want him?
(holds up two fingers)
I can tell you in just two words what's the matter with him: (counts off) Im - possible.
(upset)
Well, if they don't want Eddie Farrell, they can't have me.
She retreats to her dressing table and sits, fixing her hair and powdering her nose. The agents follow and stand on either side of her.
Never mind the display of temperature! But, listen, it's for your own good!
Ruth, it ain't us, it's the office. They don't want him.
You don't understand. I couldn't break with Eddie.
Oh, I got it. Love certainly makes the world go 'round.
Oh, I know Eddie's no wonder but he's young and he'll develop.
Sure, he'll develop lockjaw the way he tries to sing.
The agents walk off in disgust. Ruth rises and confronts Saul while Jim takes a seat.
Please, Saul, listen. I can talk to you as a friend. Let us lay off a couple of months. I'm working with Eddie. I'll give him poise and polish and I'll show him how to wear clothes.
Say, what's going on here?
Aw, he has the makings. I'll teach him how to sell a song and all you have to do is to book us into the Strand and have the office catch the act.
Yeah, I know. And in Newark, you'll want us to look at you in Trenton.
Yeah, and in Trenton, you'll want us to go to Poughkeepsie. And in my condition --!
Say, Saul, with your drag up in that office, you won't have any trouble stalling them off a few months. Tell 'em -- aw, tell 'em my health's bad. Tell them anything. (voice breaking) I don't care anything about the money. I want Eddie to come through and I know he can do it.
A few months?!
A few months. What's the difference?
Say, it's a big difference between you and Eddie. You're marvelous. And he's, uh, er ... Say, Jim. What's the opposite of marvelous?
(with a dismissive wave)
That's Eddie.
FADE OUT
TITLE (to a slow instrumental version of "If I Could Be With You"):
Eddie hitched his wagon to a star -- and was on his way to success.
FADE IN:
INT. REHEARSAL - NIGHT
Ruth plays piano and looks admiringly at Eddie who, with a knee on the piano bench, stands next to her, singing a line from "The Kiss Waltz," a ballad by Al Dubin and Joe Burke:
(sings)
Kiss me, sweetheart ...
(stops playing)
Oh, that's much better, darling. But when you sing the word "sweetheart" open your mouth. Don't sing through your nose. And try this little slur of mine: (sings and plays) Ki-iss me, swee-ee-eetheart ... (speaks) Now, you try it.
But Eddie grabs her hands lovingly and sits beside her on the bench.
Oh, say, honey, you're great to work with me like this. But I don't kid myself. I know you don't need me.
Don't need you? Why, I wouldn't go on without you. And if you ask me, you're getting along wonderful.
On the level? Say, if ever I do get anywhere ...
Well, what?
Well ... you figure it out.
Well, as long as I have you by my side, I'm happy.
Oh ho. That sounds like a music cue, doesn't it?
It is.
She begins to play.
(sings)
This waltz is the Kiss Waltz (rises and sings as if onstage) Telling us both what to do ...
QUICK DISSOLVE TO:
INT. VAUDEVILLE THEATER - NIGHT
Eddie, in a tuxedo, stands onstage with Ruth beside him looking on proudly as he completes the song:
(sings)
... Kiss me, sweetheart, kiss me While I dance the Kiss Waltz with you ...
Eddie bows twice to the audience's APPLAUSE, then turns to Ruth. They exchange bows.
DISSOLVE TO:
EXT. THEATER - NIGHT
Ruth and Eddie exit out the Stage Door. A crowd of young women push past Ruth to get to Eddie and surround him, chattering excitedly. Agents Jim and Saul arrive from the opposite direction from the girls and stare at the scene.
Eddie signs autographs and chats with his adoring fans while a bemused Ruth shakes her head and walks away.
Can you beat it? Six months ago that guy was a bust!
And now he's a natural.
Yeah, a natural imitation of Ruth Eton. She taught him everything. And such a matinee idol! Mm!
The crowd disperses and Eddie greets Jim and Saul with handshakes.
Hello, Saul!
Hello, Eddie!
Hello, Jim!
Hello, Eddie! Oh, say, Eddie. If we're not breaking into your social life ...
Hey, listen, Eddie, we've got to talk to you. It's important.
Yeah?
Shienfeld is putting on his new Ritz Revue and we got a swell offer for you. You've been in vaudeville long enough.
Say, I'd like to be with that outfit. Think we ought to take it?
It ain't a "we" proposition, Eddie. They want you.
They don't want Ruth?
Pre-zactly!
Well, what'll I do with her?
Say, why should you worry about her? She can take care of herself. She don't do anything anymore in the act anyway.
Well, she's got to live.
Oh, don't worry. Ruth can play the small time just as long as she likes.
(almost persuaded)
Well, I guess that could be arranged.
Say, why should you worry? You've got your own troubles. You know how this business is. Today, you're upstairs. And tomorrow -- who knows? -- you're in the cellar, ain't you?
(convinced)
Well, I guess you're right. You know, I've always wanted to be with that--
The three men start talking simultaneously as they walk off.
FADE OUT
TITLE (to a fast instrumental version of "If I Could Be With You"):
Ruth learned that on Broadway the billing was over when the cooing stopped.
FADE IN:
INT. APARTMENT - DAY
Ruth opens the doors to her kitchen and turns to see a framed photo of Eddie on a table beside her chair in the living room. She sits in the chair, picks up the photo, stares at it a moment, sets it down, then turns away sadly, burying her head in her shoulder.
Ruth's roommate MARGE enters, carrying packages.
Hello, Ruth.
(tries to get a grip)
Hello, Marge.
Marge puts the packages in the kitchen and returns to the living to discard her purse, hat and coat. Marge is a low-paid, wise- cracking chorus girl, always on the lookout for a man or a buck.
Well, here I am -- all tired out. I've been from five-and-ten cent store to five-and-ten cent store. Just couldn't find a fur coat to fit me.
(laughs)
Gee, I wish I had your disposition. What are all the bundles?
(pulls out a card table)
Rations, dearie, rations. It looks like a hard winter -- we might as well eat while we can.
Throughout the following, Marge sets up the table next to Ruth, covers it with a tablecloth, brings cups, food, a chair, etc.
Fix something for yourself. I'm not hungry.
Oh, I've brought some swell corned beef. (off Eddie's photo) I thought it'd be a change from that ham o' yours.
(takes photo and stares at it)
Aw, Eddie was all right until success went to his head.
Yeah, it went to the place where it had the most room.
Somehow I - I just can't work without him.
Ruth puts the photo back.
Aw, come on, brace up! Come on, show me the chinaware, will ya?
(faint grin, head down)
Aw, I'll get over it, I guess.
Sure. Love 'em, tease 'em, and give 'em the ozone.
That's all right when you're playing with numbers. But when you've just got one who's ... been everything to you.
Say, you sound like a page out of "True Confessions"!
Well, I feel worse. And think how hard I worked with him. That's gratitude.
Yeah, when you first knew him, he couldn't carry a tune if it had a handle.
And this is the thanks I get for it.
Oh, you'll get over it. I've had more knocks in this racket than a crosstown bus. And I been in this game since the Big Dipper was just a drinking cup.
(chuckles)
It's the woman who pays.
Marge brings a coffee pot to the table and sits.
Well, why don't you stop paying and do some playing? Say, you know, you've passed up more offers this week -- and for what?
Well, I just can't get him out of my mind.
Oh, that ungrateful double-crosser... Say, do you know if you were drowning, he'd turn a hose on you.
Well, I'm not drowning yet.
Yeah. With those eyes and that shape, you'll always be able to stand up.
Maybe it would be better if I tried to forget him.
Better? You're speaking mildly.
Will you help me?
Will I help you? Can Lindbergh fly?
Marge forks some corned beef onto a plate for Ruth.
Come on, eat some of this.
Mmmm. It does smell good.
Ruth moves closer to the table, puts a napkin in her lap, sugars her tea, etc.
Listen, after you've huddled up with this corned beef, you'll have a better outlook on life. And after we finish, we'll put on some powder and go gunning for big game.
(laughs)
I believe you will help me to forget him after all.
Forget him? Say, you'll forget that that ivory-tickler ever existed.
Ruth sips her tea thoughtfully as we
FADE OUT
INSERT (to a sad instrumental version of "If I Could Be With You"):
A newspaper article. The headlines read:
