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THE LUCK OF THE DEVIL
By Matt James
A low rent con woman/prostitute confronts her long-buried past when her sworn enemy shows up out of the blue.
SYNOPSIS:
Myra Scanlon, 43, a faded beauty long part her sell by date, is living a quiet life in Savannah when she sees a long forgotten face. Soon, she's not only confronted by her past, but by men who'd stop at nothing to keep what she knows under wraps. Can she muster up the strength for one last con?
THE LUCK OF THE DEVIL
MONTAGE
(Notes; in my wildest dreams, this film will be shot like a photo by walker Evans, with only traces of noir styling. IT will be black and white, highly textured, and the mood will be set by the natural bleakness of this world)
OVER BLACK
We hear the sound of a woman singing "What More Can a Woman Do?" by Peggy Lee. It's as if the singing is heard from several rooms away.
QUOTE;
"It is not enough that I should win. My enemies must lose." David Merrick.
WE STAY ON BLACK
The singing continue, as well as a man's jagged breath...
Transition to;
Weegee-like images of crime scenes, cut into headlines and mug shots and aged pictures (Dangerous Dame Eludes Police!). A hazy shot of a woman in sunglasses. Another woman sits on a bed, nursing a black eye in the shadows.
Int. Hallway - the hotel Mercer - August 1960 - night
Face in to The Hotel Mercer, Savannah, GA. The Mercer is the place people go to wait for death. The scene is spare, cold and unreal.
BREUNING’S POV; The camera rolls down the hall towards Room 1408.
MYRA SCANLON steps out of the door. She is beautiful, wide eyed, every bit the Irish farm girl turned moll. Everything about her is inviting, except her eyes. There's something missing from the eyes. Costume designer; please for the love of GOD put her in white.
As he rolls past her, she gives him a defiant expression.
Inside 1408, the camera turns towards the window, which is completely smashed. Outside, the neon light flashes on and off.
To the sound of breaking glass and a man’s scream, the camera suddenly launches out of the window to the figure laying in the alley below.
Ext. Alleyway - continuous
CLOSE UP KARL BREUNING’S eye as it shoots open, SLOW PAN back. The breathing becomes fully audible.
Breuning is 45, and looks as if he’s been dragged out of bed after a five day bender. He is broken and bloody, and has a bullet hole in his shoulder.
There are confused shouts and footsteps in the distance. Breuning looks over and chuckles to himself.
Voice (O.S.)
Tough break.
Unable to speak, Breuning nods.
Voice (O.S.) (CONT’D)
I hate to cut this short, but...well, you know.
Karl shakes his head.
Voice (O.S.) (CONT’D)
Just think about Heaven. You know, how it would have been nice...
A pair of gloved hands fastens around his mouth and nose, and he struggles, briefly.
The camera MOVES THROUGH service alley, out onto Liberty Street, where a crowd of people are coming out of the bars and out of houses, looking for the commotion. Continue to move down the street until the first cruiser turns the corner.
Fade out to;
In. the hotel Mercer - room 1408 - morNING
Caption; "The Morning Before."
It's grey morning in Savannah. The room has seen better days - it's the kind of room Norman Rockwell would have painted, right before he jumped out the window.
Someone snores behind her as Myra stands in the window, looking out over Bull Street. There's an expectant look on her face. The snoring stops and a man sits up. It's HARLOW, tug boat hand, rough trade if there every was any.
Harlow
What are you starin' at?
He sits up, clearly hung over.
Myra
Nothin', sweetie.
Harlow
All you can see that way's the niggers in Crawford Square.
Moira's expression gets warmer as she turns around. She sidles up to the bed.
Myra
Or the dome of the church, or Wally's Sixpence, or the river.
She settles down alluringly next to him as he lights a cigarette.
Harlow
I only care what's in this room.
Get back in here.
She laughs and stretches out next to him, just out of reach.
Myra
Now now, waking up in each other's arms was part of the terms, sugar.
Harlow looks nonplussed.
Harlow
I didn't know I had to ask.
Myra
Girl gets paid, she still likes to be asked.
Harlow sulks.
Harlow
What's so goddam interesting out the window.
Myra
I was just thinkin' about that lady they talk about at the river. What's her name? Florence? Waving Woman.
Harlow
Why?
She caresses his leg.
Myra
They say she was looking for her lost love.
Harlow
I heard all that. I think she was just a nut who liked wavin' at ships.
Myra
Whatever the cause...what do you think would've happened if she got what she wanted?
Harlow
Don't think I much care.
Myra
...think she would have been overjoyed? Or maybe just amazed that her crazy fantasy come true? Either way, I can imagine what a relief it would have been...
He reaches for her roughly.
Harlow
I got twenty more bucks in my pocket.
Myra
...when the end came.
They stare at each other silently.
Ext. The hotel Mercer - Day
The sound of "Something Cool," sung by Myra, accompanies her as she walks out of the Hotel Mercer. At the bus top across the street is a sulking Harlow.
She begins to walk towards the bus stop at the Corner of Liberty and Whitaker.
EXT. The morning Glory Cafe - later
A crowded luncheonette. Myra sits over an untouched plate, watching people around her expectantly. She watches a couple kiss wistfully.
Ext. Bull street - Chippewa Square - early evening
Myra is sitting on a bench reading "Peyton Place." At the theater, "The Misfits" is playing.
She looks up as if just missing someone. There's people around, but no one's looking at her. Or are they?
She checks her watch.
Ext. The moonlight Lounge - night
The Moonlight Lounge, River Street. You might not find Frank Sinatra in a place like this, but you might find a good time, hot jazz and all the booze you want. "Something Cool" continues.
Through the street traffic, a poster with Myra's face, replete with cheap blond wig. It reads "Dina Decker - One Week Only!"
INSERT; A man with a sandwich board (Sinners Repent!) shouts warnings to the crowd in the middle distance.
EXT. MOONLIGHT LOUNGE
FOCUS ON Myra's legs as she hurries into the stage doors.
INT. MoonLIGHT LOUNGE
BACKSTAGE
TRACKING SHOT into the the stage door as Myra opens it, weaving through the crowd. She's wearing the wig from the photo and stops just backstage to watch the quartet, silhouetted in the light.
MS of CAL UNDERHILL, movie star handsome. CAL is about thirty-five, arrogant as fuck. He's watching Myra from his table. He watches as MR. ZABITZ, 68, walks up behind her.
Their exchange is tense and somewhat nasty looking but not heard. This is what they say;
MR. ZABITZ
So you're going on like you're working the lunch counter at Woolworth's?
MYRA
Always a charmer, aren't you?
MR.ZABITZ
Don't gimme that, you ain't ready!
The band wraps it up. There's applause, cheers, counterpointing Myra removing her coat. She reveals the dress she was wearing in the first scene, but in much better condition.
Zabitz gives her an appraising glance, liking what he sees, when she hands him the coat. Zabitz sneers at her and drops the coat on the floor, walking away. The man behind the piano, Charlie, gives Myra her introduction.
Cal watches as in just three seconds, Myra goes from busted to imminently fuckable, and her magnetism almost crackles.
SMASH CUT TO;
MAIN STAGE
Myra in full performance. Myra onstage is glorious, a whole lot greater than the sum of her parts. She notices a man in the audience who is not seen clearly.
There is recognition in her eyes, and something about seeing him gives her power.
Her big finish is amazing.
Myra
I bet you wouldn't imagine/That I once had a house/With so many rooms I couldn't count them all.
Cal looks around discreetly.
Myra
Yeah, I know you wouldn't imagine/But I have fifteen different guys/Who would be and beg to take me to the ball...
Cal gets up to leave, which seems to add life to The Big Finish.
The camera pans to CU of her face.
Myra
And I know you wouldnt' picture me/The time I went ot Paris in the fall/Oh who would think the...guy I loved...
She trails off, lost.
EXT. The Moonlight Lounge - later
The alleys of Broughton Street. Steam from the clubs and restaurants rises in lazy dragons - think "In a Lonely Place." There are performers from the club smoking and loitering outside the stage door.
Myra carries a suitcase, and says a couple quick hellos to the people she knows.
Mr. Zabitz appears at the door, looks around, and yells after her.
Zabitz
You ain't no nice lady!
Myra
What was your first clue?
She stops to light a cigarette and looks back at him.
ZaBITZ
You ain't even gonna work the second half?
Myra
It's one out of two tonight.
There's an audible hoot from the onlookers.
Zabitz
What's that mean?
A cigarette girl offers a solution.
CIgarette girl
It means she's quitting, Fats.
Myra
What she said.
Myra keeps walking.
Zabitz
You know, most grownup honor their commitments, you lousy quim!
Myra
(To Herself)
Most grownups don't charge a fifty percent finder's fee.
She walks on towards the stairs to Emmett Park.
EXT - STAIRS - MOMENTS LATER
A beautiful vista. In one direction, stone stairs. In the other direction the ramp empties down to River Street, lit up like a carnival. The water glitters beyond. There's people and groups of people walking around.
Myra is about to climb the stairs when she senses something. She composes herself, looks around, and then steps down.
Myra
You should probably come out now. Maybe you can buy me a drink?
Cal comes out of the shadows.
UNDERHILL
I didn't want to come across as the kind of man who lurks in alleys.
Myra
Too late.
Underhill
Yeah, I know. I wanted to tell you great show and pay my respects, but you took off too quick.
Myra
If you're trying to make a good impression, try to avoid sounding like you're at a funeral.
He laughs in a charming, panty-remover kind of way that has no effect on Myra.
UnderHILL
I never did mind advice for better living. CalUnderhill.
He holds out a hand, which Myra takes daintily.
Myra
Dina Decker, just in case you forgot.
UnDERHILL
That's a great name. Probably jumps right off the baptismal certificate.
Myra
No more than Calvin does, I should think.
UnderHILL
Uh oh, Cal is short for Caledon.
MYRA
Really?
They look at each other, and Cal smiles charmingly.
UnDERHILL
That's the great thing about America. You can be whoever you want.
Myra
Agreed. Thing is, are you a gentleman?
She pulls out a cigarette, which he lights immediately.
UnDERHILL
That answer your question?
(She smiles)
But I suppose that depends on your definition of the word. I'm not sure what other people would tell you.
Myra
That's what I was just wondering.
Underhill
Other people tell me that you're nice to out of towners.
She thinks for a minute, and looks around.
Myra
Depends on what brings you to town, officer.
He's taken off guard.
UnderHILL
What gave it away?
Myra
That writing you got all over your face.
Underhill
So there was nothing I could do.
Myra
Were you trying to hide it, Cal?
UnderHILL
I'm off duty, Maureen. Don't let appearances fool you.
She points at his wedding ring.
Myra
I don't.
CUt to:
Ext. River Street - at the same time
River Street is lit up like a low rent carnival.
The car is a non descript coupe with two shapes in them, the as yet unintroduced TIM HANRATTY and the giant shape of MILO PANOTTI. They roll up River Street and look towards the stairs, where Underhill and Myra stand in the distance.
Underhill (o.s.)
I'm in from out of town, looking for a friendly face. What's so wrong with that?
MYRA (o.s.)
Nothing at all. It's just your timing.
EXT. STAIRS - conTINUOUS
Underhill laughs a little to himself.
UnDERHILL
This was the point I'd hoped to have you all a quiver.
Myra
Don't mind me, Cal. I try to be a good girl and mind my manners, but fate works against me sometimes.
He falls into mock shock.
UnderHILL
Trouble magnet?
Myra
You have no idea. I'm never looking for it, but it's always there. It was in the audience tonight, so I knew it was time to hang my bonnet out of town.
UnDERHILL
I told you I'm off duty.
She laughs to herself.
Myra
Maybe...but tonight's not your night, Cal.
UnderHILL
Well then, how's about me and my pals give you a proper send off?
Myra freezes, just for a second, and her eyes flick towards the car.
Myra
I'm not in the mood for a party, I told you that.
UnderHILL
Was I driving too fast just now?
Myra
You're ignoring the road signs. You're about to drive into a great, big pothole.
UnderHILL
I was hoping my charm could save the night just a little.
Myra, who can't dance anymore, holds up a hand.
Myra
You're cute, but your delivery needs work.
CAL
I haven't been made this quick before.
Myra
That's the least of your problems.
He laughs and spreads his arms, smiling, quite the big, friendly man. She turns and starts to walk away, but he envelopes her in a hug so quick that she can't react. CU of his lips against her ears.
CAL
My problem's that I need to get this low rent whore I named Myra Jean Louise Scanlon to my car quietly, only she’s not taking the bait.
CU of Myra's wide eyes.
Myra
There it is.
CU of Cal's lips.
Cal
This isn’t the Saint Mark Hotel, and I don’t see any house phones, so how about you play nice and come with me?
INT. the Saint Mark Hotel - ROOM 912 - night
1954 - Myra, younger and looking like a debutante, is holding a house phone, angry. In the foreground are the shoes of a man on the floor.
Myra
How's that for liking i? Huh? Take that, ASSHOLE! Fuck you!!
Ext. - Stairs - conTINUOUS
Myra draws back from Cal, eyes dry, smiling.
Myra
I was wondering when we were gonna get to that. All these years I've been waiting, and it's not so bad.
Cal
Are you gonna be nice?
Myra
No...I'll make this nice and easy if you will.
CAL
Good to hear.
Myra picks up her suitcase and straightens her clothing as Cal puts an arm around hers. She walks like a woman headed towards her execution.
Myra
What the hell took you so long?
EXT. BULL STREET - CHippewa Square - one hour later
The Hotel Mercer rises above the low building of Liberty Street, seen through the trees.
There is the sound of a car pulling away as Myra is seen, walking south quickly. She wears a trench coat, and has a scarf tied around her head. What can be seen of her face had been beaten.
She's almost at the crosswalk when someone shouts behind her.
COP (O.S.)
You, miss!
She doesn't stop walking and doesn't look around.
COP (O.S.) (CONT'D)
You at the corner! Stop!
Fixing a smile on her face, she turns around, but instead sees a woman just behind her, trying to dodge the cop. The cop puts a hand on her shoulder to stop her.
SHADY WOMAN
C'mon, officer, what's the problem?
COP
Been on a date tonight?
SHady WOman
What's the problem with that?
Cop
When he's paying for more than dinner.
The commotion continues as Myra reaches the corner. The lights change at just the right moment, as if to accommodate her.
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