Song for the Soul
Thanks to R. Joy Helvie &
TVNewsCam for information taken from the
|
Teaser
QUANTUM LEAP A Song For The Soul April 7, 1963
FADE IN
INT. BACKSTAGE - NIGHT - ON SAM
An explosion of azure and white subsides into sam as he is being hustled off stage. He slams his head into a low overhang while screams and applause wash in from the wings. "My Boyfriends Back" vamps from the house band on stage.
WIDER ANGLE
Sam wears a beehive wig and a black chiffon dress. He is being pushed by two black girls in identical wigs and dresses. The smallest is Lynell. She is all of fifteen and a bundle of adorable energy. Next to her is Paula, seventeen, lanky and all attitude.
PAULA (To sam) Are you all right?
LYNELL (Thrilled) Listen, God listen, they love us!
PAULA Girlfriend, we were bad!
They slide some skin and squeal with delight. The announcer yells to the audience from the stage.
BOBBY LEE'S VOICE Y'all want more?
Screams and cheers from the crowd.
BOBBY LEE'S VOICE (continuing) Let's bring 'em back one more time! (Beat) Ladies and Gentlemen, The Lovettes.
They both turn wide-eyed to Sam; a mix of panic and delight flushes their faces.
LYNELL They want an encore! (beat) Cheree, what do we do!
SAM What?
NEW ANGLE - INCLUDING BOBBY LEE
He's slick and handsome and is all style with his conk and shiny sharkskin suit. He anxiously rushes up to the girls and Sam.
BOBBY LEE Ladies, ladies, get to it!
PAULA We don't have any more songs.
BOBBY LEE (to Sam) Just do a reprise. Cheree?
SAM Oh, no I...I don't think I...
Sam catches his reflection in a full length mirror.
SAM'S POV - INTO MIRROR
A healthy black girl, stuffed into the chiffon dress, stares back at him. Her eyes widen as she looks from the beehive wig and down to the dress. Then settling on Cheree's face, we hear...
LYNELL'S VOICE Come on Cheree.
FEATURING SAM - INCLUDING MIRROR IMAGE
His expression is one of total stun as he mouths...
SAM Oh, boy.
PAULA (calls out to the band leader) From the bridge!
They shove a reluctant Sam back on stage as we...
FADE OUT:
END OF TEASER
INT. BOBBY'S BLUE NOTE NIGHTCLUB - NIGHT - FEATURING SAM
He is hopelessly trying to get through the lyrics, not to mention the choreography of "My Boy Friend's Back."
PAULA/LYNELL/SAM 'And he knows that you've been tryin', and he knows that you've been lyin'. What made you think he believes all your lies. My Boy Friend's back and there's gonna be trouble.'
SAM AND PAULA 'Hey la de la, My Boy Friend's back. Hey la del la My Boy Friend's Back.'
Lynell wails on top, trying to hold onto the crowd all the while looking from Paula to Sam, as if he's lost his mind.
WIDER SHOT
The audience is with them for awhile, but even they are having trouble figuring out what the hell is going on. The handclaps dissipate from a rockin' full house to a measly few.
CLOSE ON SAM
He's dying. As he smiles and fakes his way through the end of the number, you have to feel for the way he's suffering.
ON GIRLS AND SAM
They can't believe what's happening. They hit their final pose and Sam scrambles to match the picture. We hold an anguished beat, and we hang on to the sound of one hand clapping, as we...
CUT TO:
EXT. CHICAGO STREET - NIGHT - ON SAM AND GIRLS
They talk and walk down a southside neighborhood street, carrying their bundles of costumes and wigs. Their makeup has been washed away and they are dressed in cotton dresses of the period. For the first time you can see how young these girls are. In the distance a street gang harmonizes a "Do Wop".
LYNELL'S VOICE You must have hit your head a lot harder than you thought.
CUT TO:
NEW ANGLE
Sam looks around him, a little uncomfortable about the area they are walking in. They pass an occasional wino.
SAM Uh...yeah. I guess I did.
PAULA (angry) We could have won. (beat) That would have been a hundred dollars, new costumes and a shot at the finals.
LYNELL Bobby Lee said we could come back and try again.
PAULA He was scopin' you so hard, he would have said anything.
LYNELL That's not true. He just saw that Cheree hurt herself and wanted to give us another chance.
PAULA We should have won.
Paula notices Sam checking out the street.
PAULA (continuing; to Sam) Now, what's your problem?
SAM Well, I was just thinking that it was kind of late for you...us...to be out walking around by ourselves.
LYNELL My daddy would kill me if he knew I was her and so would yours.
PAULA Cheree's old man doesn't stay home long enough to know when she's gone.
RAG HEAD TEEN'S VOICE Hey baby, come on over here and talk to me.
The "Do Wop" dissipates into cat calls and whistles.
NEW ANGLE - INCLUDING THREE HARD-LOOKING BLACKS
They lounge all over the stoop of a run-down Brownstone. Garbage is strewn around them.
PAULA Now, who the hell would want to talk to your ugly ass?
SAM Paula...
RAG HEAD TEEN You're talkin' to me, Paula. Come on, bring your fine brown body over here...
PAULA I said I don't talk to night crawlers. So why don't you just crawl back into whatever hole you crawled out of.
The boys start to get up and Paula stops defiantly and puts her hands on her hips. Sam grabs Paula by the arm and pulls her along.
LYNELL Damn, Paula!
SAM (to girls) Just keep walking.
The boys circle around in front of them. The Rag Head stops Sam.
RAG HEAD TEEN What about you darlin'? 'Cause you know I like me some tall, healthy woman.
SAM Why don't you and your friends just go on back and sit down.
RAG HEAD TEEN Why don't you just sit down with me?
LYNELL Well, actually we were supposed to be home hours ago, and my father's gonna be real upset if...
RAG HEAD TEEN (grabbing Lynell) Well, let's give him somethin' to be real upset about.
NEW ANGLE - FEATURING SAM
Sam's moves are so fast that the youth never knew what hit him. A roundhouse kick, followed through with a straight kick, sends the boy into a mound of trash cans. The little group stands frozen in shock for a beat and then Sam takes a stance to face off the other two youths. They scramble and vanish into the night, with the Rag Head a few steps behind.
ON SAM, PAULA AND LYNELL
They are staring at Sam with their mouths hanging wide open. Sam shuffles, trying to cover and starts walking, dragging the two stunned girls with him.
PAULA How did you do that?
SAM I think we better get home.
LYNELL We live this way. (turning the corner) Cheree, I think we better get you to the hospital. I mean, somethin' must of really happened when you hit your head.
PAULA Are you crazy? That bump turned this child into some kind of supergirl.
Paula mimics one of Sam's moves like a dance step.
PAULA (continuing) Maybe we can put some of it in the act. (beat) I love this move.
SAM I...really don't know what happened back there. But I do know young girls shouldn't be walking the streets at two in the morning.
LYNELL Especially one with a mouth like Paula.
PAULA I can take care of myself!
LYNELL Yeah, right.
NEW ANGLE
They turn the corner and head past a row of old Brownstone houses. They stop and head down some steep steps to a basement door. Lynell hands her bundle to Sam. Her voice drops to a whisper and she begins to work the lock with a hidden key.
LYNELL (continuing) All I know is if Cheree hadn't done whatever it was she did, you'd be tellin' my daddy about it 'cause I'd a made sure I was dead. (reaching for bundle) Are you gonna spend the night?
SAM Well, no, maybe I better...
MAN'S VOICE Maybe the three of you better...
WIDER ANGLE - INCLUDING REVEREND WALTERS
He's a tall, imposing man of about fifty. He stands before them wearing a simple sweater and a stern look. Reverend Walters voice explodes like a cannon in the night.
REV. WALTERS ...get your hides right through this door and do some serious explaining about what my daughter is doing out until two in the morning.
Paula, Sam and Lynell look like deer caught in someone's headlights, wide-eyed and frozen.
REV. WALTERS (continuing) I said, inside!
SAM'S VOICE OVER Leaping into other people's lives has taught me never to judge a book by its cover, as well as many other equally cliche, but useful, sayings.
Sam and the girls march sheepishly inside, as we...
CUT TO:
INT. WALTERS HOME - MIRROR SHOT
The girls sit quietly in a row on the living room couch looking down at their hands while the Reverend preaches to them about the sins of singing in nightclubs. Lynell is in tears.
REV. WALTERS SAM'S VOICE OVER ...and you certainly aren't I liked this man. Even with old enough or experienced all his blustering and enough to understand the bravado, Reverend Walters kind of people who frequent was actually saying places like that. Not to everything that I had mention the fact that three wanted to say since this young girls have no place leap started. His concern on the streets of Chicago for his daughter's safety unescorted at two o'clock and well-being was as in the morning. And since grounded in as much reality you are foolish enough to as the walk we just took not understand the dangers home. of life in a big city...
NEW ANGLE
Camera pans around with the pacing Reverend to reveal Sam sitting on the couch.
REV. WALTERS So, I've taken it upon myself to call your parents and tell them what's going on and how you children have lied to us.
LYNELL We wouldn't have to lie if you'd come hear us, Daddy.
PAULA We're really good, Reverend.
REV. WALTERS I will not support my fifteen-year- old daughter singing in a brothel.
PAULA It's not a brothel!
REV. WALTERS Paula, your mother is waiting up for you right now and Cheree, since your parents are...not in...you are staying with Lynell and I, until they come back.
LYNELL I...I don't think you understand how important this is to us, Daddy.
REV. WALTERS (to Lynell) What's important is that you understand there will be no more nonsense about singing in nightclubs.
NEW ANGLE - FEATURING LYNELL AND REVEREND WALTERS
Lynell stands in terrified defiance, her small frame dwarfed under his strong angular shoulders. She unleashes a rage of anger.
LYNELL It...it's not nonsense.
REV. WALTERS Not finishing school is nonsense. Not getting your degree is nonsense. Not becoming...
LYNELL I want people to hear me sing!
REV. WALTERS You can sing for God and my congregation.
LYNELL God gave me a voice to do with whatever I want.
REV. WALTERS Not as long as you are under my roof.
LYNELL Then I'll leave!
SAM Lynell!
LYNELL (to Sam) I won't let him lock me away in this miserable house. I killed mama and I won't let it kill me too!
With that Lynell runs out of the room, trying desperately to hold onto her emotions.
REV. WALTERS Lynell! Lynell Walters! (beat) You come back here.
NEW ANGLE - ON ALL
Sobbing, Lynell races up the stairs to her bedroom. Paula is on her feet and about to go after her when Reverend Walters holds her back.
REV. WALTERS (continuing) Let her go, Paula.
Paula turns on the Reverend. He is crestfallen by his daughter's words. His eyes never leave the empty stairs.
PAULA She didn't mean that, Reverend. I swear she didn't.
REV. WALTERS (softly) But she did. She still misses her mother. (beat) I love her and I have to do what I believe is right. She'll understand that when she grows up. (to Paula) I better walk you home. Your mama's up waitin' for you.
SAM I'll walk her home. Why don't you go talk to your daughter.
The Reverend smiles.
REV. WALTERS And then who's gonna walk you back here?
PAULA Cheree can take care of herself, Reverend. You should have seen...
Sam clamps a hand over her mouth to shut her up. Sam looks into the mirror.
SAM'S POV - MIRROR SHOT - ON CHEREE AND PAULA
The two girls stand there as Paula pulls her hand away and shoots her a look.
SAM/CHEREE Of course. I don't know what I was thinking of.
NEW ANGLE - BACK ON SCENE
The Reverend Walters picks up Paula's bundle, hands it to her and then gestures toward the door. He turns back to Sam.
REV. WALTERS Tell Lynell to get you a nightgown from her mother's chest. There's a blue one that should fit you just fine. (beat) We'll all talk after services tomorrow.
With that he opens the door and gestures for Paula to exit. Paula shoots a last look at Sam and they head out, closing the door behind him.
NEW ANGLE - INCLUDING AL
He stands quietly in the b.g., watching. Sam startles a beat when he sees him.
SAM How long have you been here?
OBSERVER Long enough to hear the fireworks between Lynell and her father.
SAM She's a very angry little girl.
OBSERVER All Ziggy's come up with is that her mother dies five years ago of no apparent causes. (beat) From what little we have to put together, she just went to her bed one day and stayed there until she died, six months later.
SAM What did the autopsy say?
OBSERVER No autopsy.
SAM So Ziggy thinks I'm here to help Lynell deal with her mother's death.
OBSERVER We don't know. We're still assimilating the data.
SAM Well, what do you know?
LYNELL'S VOICE Know about what?
NEW ANGLE - INCLUDING LYNELL
She stands watching Sam with a curious look on her face. He picks up a photo of the three girls together in the living room.
SAM That...you still have this old picture of us.
OBSERVER Good recovery, Sam.
LYNELL Old? I just got that printed last week.
OBSERVER Not so good.
SAM Last week! How time flies when you're having...fun.
OBSERVER Quit while you're ahead, Sam.
LYNELL People are gonna think you're as crazy as I feel.
SAM You're not crazy.
Sam crosses next to her and the two of them sit on the sofa.
FEATURING SAM AND LYNELL
She is dressed in her babydoll PJ's and holds a folded nightgown in her arms. There is almost a reverence in the way she touches it before she passes it on to Sam. Al stands to the sides. He and Sam exchange a look. The handlink beeps.
LYNELL I'm going to be, if I don't get out of this house.
OBSERVER According to Ziggy, she runs away day after tomorrow.
SAM What happened?
OBSERVER No data.
LYNELL You heard him. He's got my life planned for the next twenty years.
SAM Your father seems to be trying to protect you.
LYNELL He wants to control me.
SAM He loves you.
LYNELL It's killing me, Cheree. The same way it killed my mother.
NEW ANGLE
Sam and Al exchange a look.
OBSERVER Don't look at me. Ziggy's working as fast as he can.
SAM I don't think your mother's death was your father's fault.
LYNELL You weren't here, Cheree. You didn't see what it was like. (beat) She had no friends. She wasn't allowed to go out, except to church.
SAM You're just angry and...
LYNELL (sadly) No, I'm not. And I'm not going to let him lock me in and make me shrivel up and die so he won't be alone! (beat) I'm hungry, want some chicken?
With that she heads into the kitchen.
NEW ANGLE - FEATURING SAM AND AL
They watch her as she exits the room. Al works the handlink.
SAM What happens, Al?
OBSERVER She runs away and tries to make it as a singer. Gets locked up in a slave contract, someone named Bobby Lee and it's pretty downhill from there on out.
SAM Downhill?
OBSERVER Drugs, arrests, crummy little clubs.
SAM And her father?
We hear the sounds of the front door opening and they both turn.
NEW ANGLE - FEATURING REVEREND WALTERS
tired and troubled. He locks the front door, his mind preoccupied with the events of the evening.
OBSERVER Dies in Seventy two after losing his church to a fire. (beat) Ziggy says he and Lynell never speak to each other again.
CLOSE ON SAM
He looks from Al to Reverend Walters and back again, as we...
FADE OUT:
END OF ACT ONE
EXT. CHURCH FRONT - DAY - ESTABLISHING - STOCK
The strains of a gospel chorus wail and fill the cloudless sky with songs of praise. Above the chorus Lynell's voice soars clear and free singing, "He may not come when you want him, but he's right on time."
CHOIR He may not come when you want him, but he's right on time. Right on, on time. He may not come when you want him, but he's right on time, on time.
INT. CHURCH FRONT - DAY - FEATURING LYNELL, SAM AND PAULA
She stands among the choir, her face glowing with the spirit of God. Next to her, Sam claps to the rhythm of the music as he watches Lynell. The organ and tambourines, as well as the handclaps of the congregation, praise the Lord.
CHOIR Same today and forever more, He'll be there, don't you worry. He will open every door. He may not come when you want him, but he on time. (Repeat) Right on, right on, Right on time, he's on time. Right on. Right on Right on. Right on.
WIDER ANGLE - ON ALL
The song ends on a sustain that's so powerful it sends shivers up your spine and then falls into the revel of praises and amens.
CONGREGATION Amen! Praise the Lord! God Almighty!
NEW ANGLE - FEATURING REVEREND WALTERS
He stands and crosses to the podium, his face reflecting power and reverence. He stops and studies his congregation. They respond to his sermon as the spirit moves them.
REV. WALTERS The voices of children. (beat) The voices of children raised in praise to the Lord God Almighty. You know what that means, brothers and sisters? It means...we are blessed.
CONGREGATION Yes, Lord. Bless the children.
REV. WALTERS Blessed are those who walk in the name of the Lord. (beat) We are blessed. But with each blessing comes the dangers of temptation. Sinful temptation that often leads those pure, sweet young spirits to stand in the fiery light of Satan himself.
CONGREGATION Save us Father! Sweet Jesus!
NEW ANGLE - FEATURING LYNELL
It's obvious by the expression on her face that she's angry at the intimation her father is preaching. She exchanges looks with Sam.
REV. WALTERS And in that burning light those innocent children lose their way to God's light. And fall by the wayside...like the seeds of the farmer that fall upon the barren rock never to take root and bear fruit. (beat) God help us save the children from damnation.
CONGREGATION Save the children.
OBSERVER'S VOICE Amen. Hallelujah!
NEW ANGLE - SAM AND AL
He stands next to Sam obviously caught up in the passion of the sermon. Sam just looks at him.
OBSERVER There's nothing like a good preacher to make you remember the devil's out there waiting to try and getcha.
SAM (whispered aside) Does that mean he got you and forgot to let go?
LYNELL (whispered aside) What?
SAM (whispered) I...uh...have to go to the ladies room.
Lynell nods and turns back as the choir stands to sing. Sam rises and crosses in front of Al, gesticulating for him to follow.
OBSERVER Got me and forgot to let go.
Al feigns mock hurt and exits. Sam makes faces of "I have to go to the bathroom" as he passes the pianist.
INT. SIDE CORRIDOR OF CHURCH - ON SAM AND AL
They slip out the door and into a narrow corridor. The choir goes into a rich spiritual. "Walk in the light of the Lord."
OBSERVER I resent your insinuations. (beat) I'll have you know that I went to Catholic schools my whole life.
SAM That was at the orphanage and only until you ran away.
OBSERVER It always amazes me what your Swiss-cheesed brain chooses to remember.
SAM I think I figured out why I'm here.
OBSERVER Ziggy says there's a ninety percent chance you're here to keep Lynell out of show business.
SAM Wrong.
OBSERVER Wrong?
SAM Wrong. (beat) I'm here to make sure her father supports her and therefore keeps their relationship intact.
OBSERVER No, no, no, Ziggy says...
SAM Ziggy has been known to be wrong.
OBSERVER So, you and I have to trust her statistics over yours.
SAM Why?
OBSERVER She keeps better records. (reading handlink) Besides, Ziggy says the day after tomorrow, you're supposed to sing in some local contest. The winner gets a hundred bucks and a guest spot at the Regal Theater.
SAM Regal Theater?
OBSERVER It's Chicago's version of the Apollo.
NEW ANGLE
Sam walks forward and peers into a side window of the church.
SAM Except Lynell didn't sing.
SAM'S POV - LYNELL
singing with the choir.
OBSERVER'S VOICE She sings, alright.
BACK ON SAM AND AL
Sam turns from the window and stares at Al.
OBSERVER Apparently she lies to her father. He finds out, traces her to the club and pulls her off stage in the middle of the show. A fight breaks out and...
SAM Lynell never forgives him.
OBSERVER Bingorooney.
SAM Then I'm right. (beat) I'm here to help Reverend Walters understand and accept his daughter.
OBSERVER How are you supposed to do that?
SAM Maybe if he saw how good we were... (realizing) ...oh no! That means I'll have to sing.
OBSERVER So?
SAM So! First of all I don't know the songs or the routines and secondly...I'm a man, not a sixteen year old girl.
OBSERVER That's never stopped you before. Besides, they'll see and hear Cheree.
SAM What does Ziggy say are the chances of winning?
OBSERVER (checking the handlink) Fifty-fifty. But I could up the odds with the right music and a few choice steps.
SAM I don't know a few choice steps.
OBSERVER (big smile) I do. I'll teach you some moves...
SAM You'll teach me some moves?
Al does a step slide a la The Temptations.
OBSERVER Sam, I saw the Regal in its prime. Smokey, the Marvellettes, Martha and the Vandellas, James Brown. (beat) All you've got to do is get your harmonies tight and remember to say...
THE LOVETTES VOICES Do you love me? Do you love me?
EXT. WALTERS HOME - DAY - ESTABLISHING
The row house sits like a cookie cut out of the two that rest on either side. In the heart of Forty-seventh street, their home has the grace of a cared-for property. A rough piano track with drums, plays on the Wallensack tape deck underneath their voices.
THE LOVETTES VOICES Do you love me? Do you love me? Do you love me? Do you love me?
Now that I can Dance. Dance, Dance, Dance!
INT. LYNELL'S BEDROOM - MIRROR SHOT
The three of them strike poses in the mirror to the rhythm of the music...hands on hips and then in the air singing as they struggle through the new positions. There is something strange about the movements, as we pull back to reveal...
PULL BACK - INCLUDING SAM AND AL
Al(who doesn't reflect in the mirror) stands in front of the group and strikes a pose. Sam follows and Paula and Lynell copy him.
LYNELL I can mash potatoes.
SAM/PAULA/AL I can really groove.
LYNELL I can do the twist.
Paula is getting frustrated. Lynell is doing the best she can.
PAULA SAM/AL I don't get these steps. I can really move.
OBSERVER LYNELL Trust me, Sam. These moves Won't you tell me baby. made The Temptations famous. PAULA/AL SAM Tell me baby. These steps are ahead of their time. LYNELL Are you in the mood? PAULA These steps are out of time. ALL (beat) Are you in the mood. Tell Damn, Cheree, you're movin' me! Tell me! Tell me! like a white girl.
OBSERVER Stay with me, Sam.
NEW ANGLE
Sam rolls his eyes to heaven as they start to fall into a groove. The song lays into the ending vamp and even Sam looks like he's starting to have fun.
LYNELL I can mash potatoes.
SAM/PAULA/AL I can really groove.
LYNELL I can do the twist.
SAM/PAULA/AL I can really move.
LYNELL Won't you tell me baby.
SAM/PAULA/AL Tell me baby.
LYNELL Are you in the mood.
ALL Are you in the mood. Tell me! Tell me! Tell me! (beat) Hey push push. Aw shake it shake it baby. I can really move. Push push. Aw shake it shake it baby. (beat) Now that I can dance...dance...dance. Watch me now. Hey, push.
They punch the ending and freeze for a beat in a "Supremes" type pose. Then break and squeal with delight, applauding themselves.
OBSERVER Don't be too thrilled. You guys still need a lot of work.
SAM We still need a lot of work.
PAULA We'll be terrific!
LYNELL Yeah, but we're doing the wrong song.
PAULA 'Dance' was a number-one hit.
LYNELL But that's just it, it was...we need something hot.
Sam looks to Al. Al dives on the handlink.
SAM Lynell is right. We need something with some real fire.
PAULA What?
OBSERVER 'Mickey's Monkey?'
SAM Mickey's Monkey!
LYNELL What?
OBSERVER Oh. No. It won't be out for another month. 'Can I Get A Witness'?
Sam starts to speak, but Al cuts him off.
SAM Uh...
OBSERVER Never mind. Not out.
PAULA What? What!
BOBBY LEE'S VOICE How about 'Heat Wave'?
NEW ANGLE - FEATURING BOBBY LEE
He stands in the bedroom doorway looking wickedly handsome and holding a slip covered forty-five. The girls are stunned and Sam and Al are suspicious.
BOBBY LEE It's by Martha and the Vandellas and I just so happen to have a pre- release on it.
OBSERVER Who's this jabon?
SAM How'd you get in here, Mister Lee?
BOBBY LEE (piano smile) I told you to call me Bobby.
Al starts a rundown on Bobby. It's obvious that Lynell has a crush on him. But she's more afraid of her father than of her emotional attraction.
LYNELL My father will get upset if he finds you here, Bobby.
PAULA He'll be more than upset, honey. We're talking murder in the first degree.
CLOSE ON LYNELL AND BOBBY LEE
He crosses uncomfortably close and stands next to Lynell. He strokes her cheek as he talks to her, his eyes locked into her eyes. There is some definite heat between them and Lynell is totally overwhelmed.
BOBBY LEE Well, that's because a lady would never entertain a gentleman in her bedroom.
SAM Well, since you understand that, why don't we go downstairs.
BOBBY LEE It's not my fault, you see. There I was, walking down the street, and I heard that sweet, sensual voice of yours riding on a cool breeze. So I walked up to the door and knocked. But nobody came. So I knocked a little harder and... (gesturing the door) ...it opened.
Al steps into the shot.
OBSERVER Watch him, Sam. This guy's slicker than spit on a pair of patent leather shoes.
WIDER ANGLE - INCLUDING AL
Sam steps in between Bobby and Lynell and breaks the moment.
SAM You shouldn't be here.
BOBBY LEE Lynell knows I mean no disrespect.
OBSERVER Trust me, Sam. This is a snake.
SAM I'm sure you didn't. So why don't you leave.
He kisses Lynell's hand and steps back near Paula, handing her the record.
BOBBY LEE I still meant what I said about this song. (beat) You girls sing this tomorrow night and you are a cinch for first place and a shot at the Regal. (beat) Especially with a voice like Lynell's.
LYNELL We don't have charts for the band or...
BOBBY LEE Can you learn the song?
PAULA/LYNELL Well, yeah.
BOBBY LEE Then I'll get Rainy to do up some charts. He knows your keys.
SAM Why?
Bobby Lee cuts Sam a look. The handlink goes wild.
BOBBY LEE 'Cause I believe in talent. And if you win, you sign an exclusive contract with Bobby Lee and I take you all the way to the top.
The handlink starts to beep in Al's hand.
OBSERVER More like the bottom. Get this Sam. Robert Z. Lee. Small time business man. Part-time pimp.
BOBBY LEE Well? What do you say?
OBSERVER Owner of the Blue Note Nightclub, ended up doing twenty in the big house for statutory rape.
SAM Lynell?
LYNELL (in response to Sam) I...I don't know if we can get it together that fast.
OBSERVER |
