TEASER

Fade In:
EXT. BLACK MOUNTAIN - DAY
CHYRON READS: Eastern Kentucky, 1968.
Up the broken, rolling hills of rural Kentucky come the out
of work miners of Black Mountain. They shout at the small,
hundred year old houses on either side of them.
PICKETERS
Local 155! Will not be taken alive!
Local 155! Will not be taken alive!
People gather at their windows and watch.
EXT. BLACK HOUSE
Its not the Ritz Carlton, but compared to the rest of this
place, it might as well be.
Theres a weed-free yard with garbage cans neatly lined up
in the drive way. The house has clean windows and fresh
paint.
The house is Arthur Levitts fantasy.
INT. BLACK HOUSE - KITCHEN
The inside though, is a different story.
Theres a near-hoarder level of clutter. The little light
that can puncture the Appalachian clouds gets lost in the
stacks of garbage rising up to the ceiling.
In the kitchen, MARY BLACK, a barefoot, thirtyish year old
housewife tackles the near impossible task of washing the
glut of dishes. Shes economical in her dress and
beauty--save for her teeth which are a disaster.
Her teenage daughter, JACKIE BLACK, sits at the round
kitchen table.
She has the dark hair of her mother and shes well into her
third trimester. Shes reading a fashion magazine.
They all have thick Appalachian accents.
JACKIE
So I was talking to Mabel the other
day and Mabel says that Stu Baker
(MORE)
(CONTINUED)
CONTINUED: 2.
JACKIE (contd)
says he aint gonna pay no child
support to Billy Jean.
MARY
Thats cause Billy Jean is an
assholes asshole.
She goes hard at the grime on a pan.
JACKIE
If you dont take it easy youre
gonna break something. Tag me in.
Go take a nap.
MARY
And have grease stains on the good
plastic? No way. This place will be
spotless when your brother gets
home from University.
Mary goes at the grime as if she were made of elbow grease,
but before she can do any real damage, the water from the
sink browns.
The stream gradually slows down and then sputters out into
oblivion.
Near frenzy, Mary messes with the knobs, but nothing comes
out. She slams down on the sink, jangling the dishes.
MARY
God dammit, Ray.
JACKIE
What is it?
She rushes over to a kitchen drawer thats stuffed to the
brim with bills. Mary rips papers out until she finds the
utility bill. Its way way way overdue.
MARY
Your daddys an idiot, thats what.
She looks at the mess of dishes in the sink.
EXT. BLACK HOUSE - DAY
In the back of the house Mary picks up a plastic bucket and
walks to the side of her neighbors house and goes over to a
garden hose.
Angrily, water shoots out from the hose and she puts it in
the bucket. From the distance she hears the picketers.
(CONTINUED)
CONTINUED: 3.
PICKETERS
Local 155! Will not be taken alive!
MARY
(to herself)
Oh, not these assholes again...
While she waits for it to fill the Picketers stop in front
of her house. GENE JACOBS, a handsome older man, leads the
pack. Hes in his late fifties and wears thick glasses.
GENE
Morning, Mary.
The bucket fills up and she turns the water off. She passes
the group on her way to her front door without saying a word
to anyone.
GENE
Were going to go set up shop at
the line. We wanted to see if Ray
wanted to come. He around?
Frustrated, she turns around. She stares a hole into Genes
heart.
GENE
Im planning on going to see Hoover
tomorrow. It would do us all a lot
of good if Ray would come with me.
MARY
Ray aint going nowhere with you. I
made that perfectly clear to him.
The picketers all shrug. They have less of an idea of whats
going on than we do.
Mary turns to go inside, but DARLENE CHORN --massive
glasses, massively overweight-- catches her
attention. Darlene has purebred bloodhound on a leash.
The dog sniffs the front yard and makes terribly
foreshadowing circles.
MARY
Darlene, honey, you maybe want to
get your dog off of my lawn. Id
appreciate it. Some of us actually
care a little bit about
presentation round here.
The dog looks up at her.
(CONTINUED)
CONTINUED: 4.
Mary slams the door and disappears inside. The Picketers
walk away from her house shaking their heads.
Darlene though lingers behind looking at the property.
EXT. BLACK MOUNTAIN - DAY
The Picketers are a few blocks up.
PICKETERS
Local 155! Will not be taken alive!
From behind them, a small dot appears on the horizon. It
gets bigger and bigger until loud footsteps and the sound of
plastic scraping can be heard.
Still barefoot, Mary runs up to the group, goes right for
Darlene and cold cocks her in the back of the head with the
bucket. She drops down to her hands and knees. Mary gets
down to her level.
MARY
What did I say about letting your
dog take a dump on my lawn! What
did I say!
In her right hand she has huge dog turd. She smushes it into
Darlenes screaming face. Mary pins her to the ground.
MARY
You stay off my property you fat
asshole!
The group watches for a short while before saying enough is
enough. They rip Mary off of her. She fixes her shirt and
looks across the group.
She stares daggers into the picketers and her eyes stop at
Gene.
END TEASER
ACT ONE
EXT. EASTOVER MINES - DAY
The picketers walk around in a circle outside the Black
Mountain mines. They chant rhyming slogans and kick up dust.
A local news van is at the scene.
A CREW and SAM BUCKLEY, a reporter, speak to Gene and the
group.
(CONTINUED)
CONTINUED: 5.
Gene eats an apple as he talks.
POV of the RUSTIC CAMERA:
BUCKLEY
Good evening, this is Sam Buckley
with CBS 41 and Im standing here
with members of the Local 155. Sir,
may I ask who you are?
GENE
My name is Gene Jacobs. I am the
proud leader and representative of
the Local 155, the best coal miners
on this side of Kentucky, thank you
very much.
Theres some cheering. A picketer chimes in:
PICKETER
Dont let the boys in Harlan hear
that!
Theres laughter.
BUCKLEY
Weve already spoken to Duke
Hoover, the Chief Operating Officer
of Hoover Electric. We wanted to
get your opinion on the work
stoppage.
He takes a huge bite of his apple much to the dismay of
Buckley. Work stoppage? He doesnt like the sound of that.
GENE
Well, we are on strike, Mr.
Buckley. We are tired of working in
unsafe working conditions for
unfair pay. That is as simple as I
can put it. Our contract has
expired and we are not working
until we are treated like workers.
There is applause behind him.
BUCKLEY
If you could say something to the
people of Black Mountain, what
would you say?
(CONTINUED)
CONTINUED: 6.
GENE
Simply put. I want them to know
that were going to win this. Were
going to win this because were
doing this together. Well win this
because were right.
Theres cheering and clanking of bottles behind him. Across
the way, in a trailer, someone watches from a window.
GENE
History is filled with stories of
the little man conquering the big
man. Just because this place dont
look like the Holy Jerusalem dont
mean we aint gonna put one in
between Goliaths eyes.
EXT. WOODS - DAY
Next to the mining site is a large wooded area that
stretches on fire miles.
At the edge of the woods, RAY BLACK stares at the group of
protesters. He watches Genes interview continue and end
before disappearing into the brush.
Ray is chubby, balding, and in nothing but a pair of too
small underwear. Hes got a rifle over his shoulder. Hes
wearing workman boots.
He sings "I Wanna Live" to himself as he walks.
RAY
Flowers have blooms. The Ocean has
waves. The sky has clouds. People
have babes.
He walks a small while through the woods and comes across a
stream.
RAY
I wanna live til I get old. I want
to watch all of this grow.
Theres a rustling from the bushes and Ray turns towards it.
He prepares his gun.
A massive brown bear emerges.
He stares at it and then crouches down and gets into
position. He clicks off the safety.
He sings to himself as he squares up his shot.
(CONTINUED)
CONTINUED: 7.
RAY
(whispering)
I wanna live, live and let live. I
want all the love this life has to
give. I wanna smile and be friendly
with you. I wanna live and let you
live some too.
He gets ready to fire...but doesnt.
EXT. BUS STOP - DAY
OTIS BLACK a younger, skinnier version of Frank Zappa reads
a book on the side of the bus depot. Hes got sunglasses on
and sticks out like a sore thumb among the townies.
He gets up out of the bucketed plastic seat when he sees his
fathers beat down Chevy Silverado kick up dust in the
street.
When he walks to the curb people look at him like hes the
enemy.
Ray flies right by him.
INT/EXT. RAYS CAR - MOVING
Ray, oblivious to his mistake, keeps driving.
He looks out his rear view window and sees Otis standing on
the side of the street with his suitcase.
RAY
Shit.
He puts the car in reverse.
CUT TO:
INT/EXT. RAYS CAR - MOVING - LATER
Ray drives down Highway 511. Hes got a bottle in one of his
hands that he spits tobacco into.
Otis is settled in the passenger seat trying to read.
Ray looks over at his son and tries to get a word in, but
his intelligence is intimidating.
RAY
I just want you to know how much
your mother and I appreciate this.
Otis puts his book down.
(CONTINUED)
CONTINUED: 8.
RAY
You know this wasnt easy for me.
Being your father is the only thing
I got, and now--
OTIS
Dad, its cool. You dont have to
say it. Youre welcome.
Ray smiles at his son and spits into his bottle. He misses
and drops the bottle. It rolls onto the floor.
RAY
Aww shit. Otis, drive for me, will
ya?
Ray lowers his head and tries to clean up his mess. Otis
grabs the wheel from the passenger seat and keeps the car
moving forward.
Ray talks with his head beneath the seats.
RAY
So how you liking school? You learn
anything good?
OTIS
I dont know. I mean, I do the work
and I pass my tests. But isnt it
all kind of bullshit when you think
about it? Like, does any of this
stuff actually amount to anything?
Its clear that Rays never thought about it.
OTIS
Like, I could learn more about life
in the first three minutes of a Bob
Dylan song than in all of the Death
of Ivan Ilych, you know?
Ivan Ilych? What is this Russian he-speak?
RAY
As long as you stay alive and never
step foot in that mine, I dont
care what you do. Sell insurance,
sell drugs, I dont care.
On the floor of the truck Ray spies a picture of he and his
miners. In the pictures hes got one arm around Gene and the
other holding a beer.
He pops up and takes the wheel from his son.
(CONTINUED)
CONTINUED: 9.
RAY
Just dont ever step foot in those
mines. You understand me. Youve
got too much brain for that.
INT. BLACK HOUSE - DAY
Jackie swoons at "Days of our Lives" on the living room
television while her mother cleans the dog crap out from
under nails with a folded up piece of envelope.
Rays dusty old truck pulls up in the driveway and catches
Marys attention.
She puts the paper down, gets up, and smooths out her dress.
MARY
Does my hair look alright?
JACKIE
Your hair looks fine, Mama. Jesus.
Its just Otis. He aint the pope
or nothing.
MARY
Honey, you know we aint no
Catholics.
Mary speed walks to the door.
EXT. BLACK HOUSE - DAY
Ray has Otis luggage tucked under his arm. They walk up the
steps to the front door and go inside.
INT. BLACK HOUSE - DAY
As soon as Otis goes through the door his mother wraps her
arms around him and smothers him with hugs and kisses. She
fights back happy tears as though her son were returning not
returning from University of Kentucky, but Vietnam.
MARY
(hugging him tight)
My babys home. My babys home.
Ray yells out, trying to get through the door:
RAY
Dont mind me, Ill squeeze
through. Oh, shoot.
(CONTINUED)
CONTINUED: 10.
In the process, he drops Otis luggage on the ground,
spilling out some of the contents. Aside form a few dirty
shirts, a small, folded baggy of weed falls out. His eyes go
to the weed and then to the rest of the clothing.
Jackie makes eye contact with her brother. She mouths:
JACKIE
I got it.
Ray crouches down to pick up the clothes and Mary shoots him
a look like he hadnt dropped a suitcase, but rather what
little good will he had left with her. She ushers her son
into the kitchen.
RAY
Oh God, Ray, youve gotta be more
careful. You could have broken
something.
Jackie walks over to her dad and crouches down.
JACKIE
Dont worry about it, Daddy. No
harm done. Let me help you.
The first thing she picks up is the bag of weed. She puts it
into her pocket.
INT. KITCHEN
Mary runs her hands through Otis hair, messing it up in the
process.
MARY
Look at your hair! You look like
Anne Bancroft!
OTIS
Yes, I know. Its long. I get it.
Can this not be a thing? I thought
I told you about it in my letters.
She gives him a confused look and scratches her face.
OTIS
You have been getting my letters,
right?
MARY
I dont know. Im not sure theyve
been coming. Are you sure you had
the address right?
(CONTINUED)
CONTINUED: 11.
OTIS
The address to my own house?
MARY
Maybe. I dont know! Maybe they
just got lost. I dont know how
theyd get lost though.
Otis leans his back on the wall and some pots all the way
across the room fall to the ground.
Mary rushes over to pick them up.
OTIS
(sarcastically)
Yeah, how could anything ever get
lost in a place like this?
INT. OTIS ROOM
Its the room of your prototypical fair weather hippie, but
its totally covered by Marys clutter.
Otis unpacks clothing on his bed when Jackie walks through
the door playing with the bag of weed.
JACKIE
You owe me a favor.
OTIS
I suppose I do.
She unfurls the folded bag and breathes into it deeply.
JACKIE
I dont think you have to worry
about nothing. Pretty sure Dad
didnt even notice. If he did, he
probably figured it was a school
thing or something.
(and then)
Man that is way better than that
shit Barry used to sell you.
OTIS
College is great. You should go.
She puts her hands on her stomach and looks at some of the
mess her mother left on the bed.
JACKIE
Its good to know that Mom decided
to fill the void we left here with
garbage.
(CONTINUED)
CONTINUED: 12.
OTIS
I guess you could call it fitting.
His eyes fixate on every out of place magazine and slipper
and dirty cup.
OTIS
So how long has this been going on?
JACKIE
Five months? Maybe a little bit
more. One day she just stopped
throwing things out. Weve got
stacks of mostly empty things of
mustard in the fridge.
She walks over to her brother and rests her head on his
back.
JACKIE
Its good that youre back. We need
you here. Maybe your bullshit will
make some of this other bullshit go
away.
OTIS
Its good to know that impending
motherhood hasnt changed you for
the better.
(and then)
Hey, you think Nick can find
something for me to do at the
diner? I gotta start looking for
work.
She walks to the door.
JACKIE
Maybe talk to Barry. See if he
cant do you a few favors. Get you
some pocket change. If nothing
else, see if hes still selling.
OTIS
What do I need to buy for? I came
ready to go. I came prepared.
She motions to the bag.
JACKIE
Oh, Im keeping this. When I told
you I got it, I meant that I got
it. This is mine now.
(CONTINUED)
CONTINUED: 13.
OTIS
Isnt that going to be bad for the
baby?
JACKIE
I dont think theres anything
thats going to be good for this
baby.
She leaves the room and Otis takes in his terrible
environment before lying down on his pillow.
He grimaces, reaches under it, and pulls out a coffee pot.
It makes a terrible metal clang when he throws it across the
room.
END OF ACT ONE
ACT TWO
EXT. EASTOVER MINES - DAY
They chant because theres nothing else for them to do but
go home and none of them can take another loss. Its not
even dinner time yet.
Across the way a small, but sleek trailer has the lights on
and the volume on the TV turned way up.
INT. TRAILER
This trailer, small as it is, is the nicest house in Black
Mountain.
Sitting on a recliner, fat feet up, is DERRICK CARR
--bowling shoe ugly, all around gross S.O.B -- the overseer
to the strikers.
He gets up off of the chair and opens a window. The chanting
from the picketers is making it awfully hard to hear the TV.
CARR
Will you assholes shut the hell up?
Some of us are working here!
He slams the window and walks over to a mini fridge. He
pulls out a sandwich and sits back down.
Before he can get comfortable, his telephone rings. He
labors to get up off the couch and picks up the phone.
(CONTINUED)
CONTINUED: 14.
CARR
(not welcoming the
interruption)
What is it?
INTERCUT WITH:
INT. DUKE HOOVER ELECTRIC CO.
In the tallest, most garish building in all of Kentucky,
DUKE HOOVER --immaculately dressed, dressed to kill --
speaks with his lackey on the phone.
HOOVER
Well Im sorry to bother you, Carr.
I guess Ill call back a time
thats more convenient for you.
CARR
Oh, sorry Mr. Hoover. I didnt know
it was you. Im just a little
frustrated from those damn
picketers is all.
Carr goes back to the window.
HOOVER
Is that Gene Jacobs out there?
CARR
Which one is that? Is he the one
with the thing?
Hoover rolls his eyes.
HOOVER
Yes, hes the one with the thing.
Jesus, Carr. Use your brain. Hes
the Jew.
(and then)
How about you turn off the
television and go earn that salary
of yours.
CARR
You mind if I finish my sandwich
first? I just started eating it.
(and then)
Hello?
Hoover hung up before he had to answer the question. He
throws the sandwich in the garbage.
(CONTINUED)
CONTINUED: 15.
CARR
What a waste of a perfectly good
sandwich.
He looks at it in the garbage can and then picks it back up.
CARR
What was I thinking?
He takes a bite out of it.
EXT. EASTOVER MINES - NIGHT
The trailer door opens and the picketers turn towards it.
They quietly watch as Carr shuffles down the three stairs
that lead to the ground.
Hes fiddles with his waistline as he walks.
CARR
Will you people please shut the
hell up? I feel like Im speaking
Chinese over here.
Wing-bong-bing-bong, please shut
the hell up!
He goes right for the leader of the pack, Gene.
GENE
We arent going anywhere Carr. We
have a right to be here.
CARR
Sure you do...when this place is
open. But since its closed you
really need to get the fuck out.
He pokes Gene in the chest with his index finger. Gene slaps
his finger away.
GENE
What are you going to do about it,
Carr? Watch TV at us? Go back in
your trailer. Youre making this
place smell like shit.
Carr barrels over laughing. He laughs way longer than it
actually takes for him to make his point.
CARR
Watch TV at us, oh lord is that
funny. People always said you was
funny you big nosed motherfucker,
(MORE)
(CONTINUED)
CONTINUED: 16.
CARR (contd)
but I gotta hand it to ya. That
one had me in stitches.
He wipes a fake tear from his eye and then reaches to the
back of his pants and takes out a black revolver and shows
it to the group.
CARR
Yeah, so you assholes are gonna go
now.
Everyone backs up, save for Gene, who stands his ground.
Carr puts the gun put right against his forehead.
CARR
Not so funny now are you big nose?
He cocks the gun.
CARR
You should go.
Gene looks at him in the eyes without blinking. Carr moves
the gun away from his face and Gene finally exhales. Carr
looks Gene up and down.
CARR
I like your hat.
He slams the butt of the gun into Genes nose. He drops to
the ground.
CARR
Now get the hell out of here.
He fires all six shots into the air and the crowd disperses.
They drag Gene until hes strong enough to carry his own
weight.
CARR
God, I love America.
Carr sees that Gene has left his hat on the ground and he
picks it up, dusts it off, and puts it on his head.
He walks over to his trucks mirror and looks at himself.
CARR
I gotta hand it to those Jews. They
might be headed straight to hell,
but they sure are doing it in
style.
17.
He straightens the hat and gets in the truck.
EXT. NICKS DINER - NIGHT
Off Route 8 the descending evening Sun meets the rolling
coal mountains like a drinking buddy.
Next to the broke down, crumbling highway is an empty diner
with yellow lights shining through full bodied windows.
INT. NICKS DINER
NICK CALDWELL --Mid 30s, Jackies husband -- spins a half
empty ketchup bottle on his barely been touched counter top.
A jaunty bell above the entrance rings and Nick perks up and
grabs a bunch of menus. Finally some customers!
NICK
Evening yall. Welcome to Nicks.
Can I lead you to a tab--oh, its
yall.
Its his in laws (again) and his excitement goes soft.
Jackie walks up to her husband and kisses him on the cheek.
NICK
Hey, baby.
(and then, to them)
Uhh, yall can sit wherever youd
like.
MARY
Thank you, Nick.
Mary leads her son and husband to a booth on the other side
of the restaurant as if they werent all open. She sits next
to Otis and Ray sits by his lonesome on the other side.
Nick leans in and whispers to his much younger wife.
NICK
I thought you said your mama was
cooking tonight.
JACKIE
Hoover turned off the power so she
couldnt make nothing if she wanted
to.
NICK
Hoover didnt turn off the power
every other day this week.
(CONTINUED)
CONTINUED: 18.
She elbows him.
JACKIE
This is not the time.
He walks over to their table with the menus. He puts on his
biggest fakest smile and passes his adopted family the
laminated pieces of jumbo paper.
Everyone in the family studies the menus, save for Otis, who
looks out the window idly.
NICK
Otis, I didnt know you was coming
back so soon. You havent graduated
already, have you?
OTIS
Just home to help out.
MARY
Hell be back in class before he
even realizes it.
NICK
Hows the trim over there at UK? I
hear its awesome. Are the women
there wildcats?
You can hear the crickets outside.
Nicks own-biggest-fan smile fades and he coughs to relieve
the tension.
NICK
If yall are wondering, the special
today is griddle cakes and beef
stew. Well, not together. Griddle
cakes is one and beef stew is the
other.
Mary lowers her menu and smiles upwards at her son in law as
if the specials were anything else any of the other days
they patronized his restaurant.
MARY
Ill take the beef stew. Thank you,
Nick.
NICK
And you Mr. Black?
Ray passes him the menu.
(CONTINUED)
CONTINUED: 19.
RAY
Ill have a lamb--
Mary takes the menu from Ray before it can make its way to
Nicks hand. She passes it to him instead.
MARY
Hell have the beef stew as well.
We dont want Nick having to slave
over a stove for the likes of us,
do we? Hell have the beef stew.
Thanks, hun.
NICK
Otis, you good with that?
Otis gives the thumbs up.
NICK
Alright, Ill be back in a jiffy.
He packs up the menus and heads for the kitchen.
INT. KITCHEN
Nick empties out what can only be described as a vat of beef
stew onto the stove when his father in law walks in. He
doesnt even pretend to be embarrassed at the terrible
condition his kitchen is in.
NICK
Ray, if you want the lamb chops,
Ill make you the lamb chops. Ill
just say I got the order confused.
RAY
No, its not that.
Ray looks at his family through the small circular windows
on the kitchen doors.
RAY
Just keep a tab open for me,
alright? Were a little tight on
money right now. Youll get it.
NICK
Just go sit down. We dont have to
ruin dinner by talking about this
now. I know youre good for it.
He leaves the stove and puts his arm on the wide back of his
father in law. He leads him out of the kitchen.
(CONTINUED)
CONTINUED: 20.
When he turns back to work on the food he sees that its
caught fire.
NICK
Oh, shit!
He takes a dish towel and extinguishes the flame.
INT. NICKS DINER - NIGHT
Somehow, the soup made it out of the fire in more or less
one piece. The Blacks slurp at it with crusty metal spoons.
MARY
So Otis, what did you learn in
school this semester?
Otis gives the opaqueness of that question a disgusted look.
OTIS
I dont know. Just the
prerequisites right now.
Trigonometry, Intro to Existential
Philosophy, English...
English! She knows that one!
MARY
Ooh, English. What are you reading?
Deacon Phillips just handed out a
wonderful pamphlet about Matthew
18:20 that I thought was breath
taking. Have you read Matthew 18:20
in school?
OTIS
No...not really. We read more, how
do I put this? Secular things.
MARY
Secular?
RAY
It means non-religious. Right,
Otis? Godless books? You guys read
Godless books in school?
OTIS
Sure, Dad. Godless books.
Mary does not like the sound of that.
(CONTINUED)
CONTINUED: 21.
MARY
Otis, I was hoping you would
accompany me to midnight mass
tonight.
OTIS
Im going to have to take a rain
check. I was thinking of seeing
Barry tonight.
Uhoh.
MARY
Barry? Your mother is asking you to
come pray with her for the first
time in a year. Barry will be
around tomorrow. Barry isnt going
anywhere.
OTIS
Well neither is God. Right?
Ray chuckles.
Mary sticks her index finger in the air as if there was an
invisible emergency eject button hanging from the ceiling.
MARY
Nick, can we get this wrapped up
please?
INT. BLACK HOUSE - NIGHT
Otis puts the left over stew in the freezer, but not before
clearing out some much needed room.
His mother and father are sitting in the attached living
room. A brand new "Gunsmoke" blips onto the screen.
OTIS
You know I was hoping for maybe a
little fresher food upon arrival.
MARY
Well, blame your father. If he had
paid the water bill I coulda
whipped something up.
Ray turns away from "Gunsmoke" for probably the first time
in his life.
(CONTINUED)
CONTINUED: 22.
RAY
Just wait until next week. The
Union check will come and thatll
cover most of it.
MARY
(mocking)
The union check will come. You
sounds like a little girl right
now.
(and then)
What kind of idiot forgets to pay
the water bill? What kind of idiot
cant pay the water bill?
Ray slinks in his chair.
MARY
If I was you Id be out right now
finding some way to pay that shit.
But no. Youre sitting here,
getting fat, watching Gunsmoke like
some fucking jag.
Ray looks down and fiddles with his pocket. He takes out the
picture he found on the ground earlier in the day.
A smile crawls across his face.
MARY
What? Is something funny?
RAY
Ive got a call to make. Otis, turn
off the Gunsmokes. Well have water
tomorrow.
He gets up off the couch and walks to the phone.
MARY
Who you calling? The power company
aint open now.
RAY
You want me to provide for my
family? Ill provide for family.
Just you wait.
She sees the picture of he and his mining friends on the
chair.
(CONTINUED)
CONTINUED: 23.
MARY
Ray...dont. Dont do this to me.
Mary watches him dial as though he were stabbing her in the
heart.
MARY
We can work something out.
OTIS
Whats going on?
MARY
Ray, come on. Hang up the phone.
RAY
Its ringing.
She doesnt wait for him to finish.
MARY
Well fuck you then!
She storms out of the living room, stomps into some muddy
boots and slams the door on her way out.
Ray puts the phone up to his ear.
Otis looks at the aftermath of the scene as if a shootout
had just occurred and both of his parents had put one in
each others head.
OTIS
What the hell just happened!
He walks up the stairs and his door slams.
INTERCUT WITH:
INT. GENES HOUSE
Genes house is a grand mothers wet dream.
There are knickknacks all over the place and framed canvas
drawings and cozy, plastic covered furniture. Hes watching
"Gunsmoke" too.
GENE
(on the phone)
This is Gene.
Ray doesnt say anything. He listens to the breathing on the
other side of the phone.
(CONTINUED)
CONTINUED: 24.
GENE
Ray, does your wife know youre
calling me?
RAY
Yes.
Gene takes the phone and sits down. His arms are covered in
military tattoos. He has a numerical pattern near his wrist.
He has a coffee cup in his free hand.
His face is badly swollen.
RAY
I need a favor.
Gene takes a sip of his coffee.
GENE
Congratulations, Ray. That makes
you and everyone else in this town
and country.
RAY
They turned off my water. I need to
get it turned back on.
GENE
Then pay your bills. Pretty sure
thats how the concept works.
Ray looks at a family picture hanging on the wall.
RAY
Im coming over and Im picking you
up and were going to the woods.
GENE
Why that was zero to sixty, wasnt
it?
RAY
Ill be over soon. Put some pants
on.
GENE
I enjoy how I have no say in this.
Its very romantic.
RAY
I can explain when I get to the
house. If I talk about it now
youre going to say no and that
cant happen. This needs to happen.
(CONTINUED)
CONTINUED: 25.
Gene looks at a reflection of his battered face in the
mirror.
GENE
How bout this? If Ill be an idiot
and say yes, youve gotta do the
smart thing and do something for
me.
RAY
Okay. Shoot.
GENE
I have a meeting with Hoover
tomorrow over in Lexington. I need
a driver. I want you to take me.
RAY
I dont know if the Silverado can
make it to Lexington. Why dont you
drive yourself?
GENE
If whatever reason youre calling
me is good enough, this should be a
no brainer. Just a friend asking
another friend for a favor, isnt
it?
Ray looks at a picture of he and his family. Its crooked
and he walks over to it. He tries to straighten it, but only
makes it worse.
RAY
Ill be over in ten.
GENE
Make it twenty. Marshall Dillons
saying something and it looks like
its gonna get good.
He hangs up abruptly leaving Ray looking at his phone like
an idiot.
EXT. BARRYS HOUSE - NIGHT
When Otis heads up the walkway of Barrys house he has to
goose step an overturned wheelbarrow. The stairs creek as he
puts his weight on them.
He knocks on the door and hears feral cats going at it
somewhere in the neighborhood.
26.
INT. BARRYS HOUSE
The rickety door swings open and BARRYS MOM is there as if
she was expecting him. Shes only has a decade and change on
Otis, but time has not done her justice.
BARRYS MOM
Otis! If I knew you was coming I
would have put my face on.
OTIS
Hi, Mrs. Parker. I was wondering if
Barry was home.
BARRYS MOM
Well of course hes home. Where
else would he be?
(she bites on her fingernail)
How was University? Them college
girls aint led you astray, has
they?
Otis looks behind her frame and sees BARRY carrying a paint
bucket. Barry has the same hippie exterior with none of the
attached idealism.
He drops the bucket and waves to Otis.
BARRY
Otis? What are you doing here,
buddy? Come on in! Mom get out of
the way.
Otis shuffles by the wrinkled temptress and steps into the
living room. He and his friend shake hands.
BARRYS MOM
Yall better not have gotten none
of that paint on my rug.
Barry lets go of his friends hand.
BARRY
Shut the fuck up, Mom!
BARRYS MOM
You shut the fuck up, you little
shit!
BARRY
Fuck you! Im goin to my room!
She closes the front door and walks over to a couch and
reads the country equivalent to whatever a Cosmo is.
27.
Barry picks up the paint can and leads Otis into his room.
INT. BARRYS ROOM
The walls in the room are covered in different shades of
orange. Otis sits down on a creaky bed thats covered in
paint blotches.
Barry picks up a paint brush and glides it over a subsection
of his wall.
OTIS
Can I ask what this is about?
BARRY
So I was reading this thing and it
was talking about colors that were
opposite of each other.
OTIS
Youre reading now?
BARRY
Its called color symmetry or
something. And it said that a
person who dresses with color
symmetry looks more attractive than
someone who dont.
OTIS
That doesnt explain the different
colors on the wall.
BARRY
I figured if I had a girl in here
or something, and I was wearing
blue--blue is the opposite of
orange--shed see me and be like,
wow, this guys a real symmetrical
mother fucker.
Otis looks at how god awful the room looks.
OTIS
Why didnt you paint the walls
white and dress in black then?
Seems like itd be easier.
Barry stops painting and looks at his friend. He cocks his
head like a confused pup.
(CONTINUED)
CONTINUED: 28.
BARRY
...these walls is orange.
Otis laughs. He lies down on the bed and looks up at the
still white ceiling.
OTIS
So I was wondering if you were
still holding. I was looking to see
maybe I could make a little change
while Im here.
BARRY
And risk going to Vietnam? No way
man. I aint in that game no more.
Otis shoots out of the bed.
OTIS
What! Youre not smoking weed
anymore? What kind of world is it
that Barry Parker isnt smoking
weed?
BARRY
Well of course Im still smoking
weed. Im not an idiot. I just
aint selling it anymore. Too
risky.
Otis reaches into his jacket pocket and takes out a Newport
cigarette.
OTIS
Where you buying from then?
BARRY
I got a fella across town that I
buy from. Sells in bulk. Decent
shit. Its just across town if you
dont mind.
OTIS
Why would I mind?
CUT TO:
29.
EXT. THE BLACK PART OF TOWN - NIGHT
The black part of town is literally in the same condition as
the white part of town, just that. Well, you know.
EXT. BRUNOS HOUSE
He and Barry end up in front of a two story house with
boarded up windows and music pounding through.
BARRY
This is the place.
He puts his hand on the door.
BARRY
You might want to hold on to some
of them menthol cigarettes. You
know...as a peace offering.
INT. BRUNOS HOUSE
This isnt like any party you find at the University of
Kentucky. Adult men and women dance and talk and drink. "Hit
the Road Jack" plays on the stereo.
Everyone is black, save for the two boys.
Otis and Barry slide through the party and head up the
stairs. A couple make out at the top and Otis barely inches
his way passed them.
Barry leads him down the hall to a closed door with a GUARD
standing next to it.
BARRY
I was hoping we could talk to
Bruno.
GUARD
Brunos busy. Sit. Wait.
Otis looks around for anything to sit on. The Guard looks
down at the floor and the two sit cross legged.
The Guard looks specifically at Otis.
GUARD
Anybody ever tell you that you look
like Anne Bancroft?
30.
EXT. BAR - NIGHT
The complete absence of ambient light keeps the stars pearly
and visible, but the image is ruined by the sound of
abrasively hypocritical country music.
INT. BAR - CONTINUOUS
The drunk as mud patrons lazily work their way through their
glasses and spew out monosyllabic grunts.
Carr sits at a stool in the corner of the bar. His
marshmallow ass envelops it. Theres a small militia of
bottles in front of him.
MARTY, the bartender, walks behind the bar and lurches over
his regular.
MARTY
You feeling alright, Carr?
CARR
Always feeling alright when youre
paying with the bosses dollar, my
man.
He takes out a stack of bills and puts it on the bar.
CARR
Marty, where are the women at? Im
looking to bend one over and do
something right.
MARTY
You know no women come here.
He takes scope of the rest of the patrons.
Like him theyre all on the wrong side of forty and all on
the wrong side of two twenty. Its a room full of pug ugly
brothers. And then, as if his desperation had willed it, the
door opens and a woman appears.
Its Mary.
CARR
(mocking Marty)
No women come here. Forget you.
Watch this.
Marty drunkenly waves over to Marry and stares at her. She
gives him the middle finger.
(CONTINUED)
CONTINUED: 31.
CARR
Shes a real piece...
He notices her unimpressive wedding ring.
CARR
...but that ring though. Thats a
problem.
MARY
(from across the bar)
What you saying about me, fat boy?
Mary stomps over to the two men.
MARY
I said, what did you say? I know
you two were talking about me. Im
not an idiot.
CARR
I was just saying that that wedding
ring of yours is a problem.
She looks at her hand, holds it up, and puts her ring finger
in her mouth. When she takes her finger out of her mouth the
ring is off.
She takes it out and puts it in her purse.
INT. CARRS TRUCK - PARKED - NIGHT
In the flatbed of his truck, Carrs grabbing Marys hair and
giving her his version of "the business."
Fully clothed, he moans like a horny toad. She faces forward
and wears an angry look on her face.
END OF ACT TWO
ACT THREE
INT/EXT. RAYS TRUCK - DRIVING - NIGHT
Rays headlights are the only visible thing on the road. He
listens to country music the whole way, finally parking in
front of Genes home.
32.
EXT. GENES HOUSE
He gets out of the car and trudges up the walk way. He
knocks on the door and after a short while Gene comes out.
Ray instantly notices his broken nose. He grabs him by the
chin and inspects.
GENE
(laughing)
I hope you didnt come here for
that.
RAY
What the hell happened to your
face? Who did this to you?
Ray lets go of his face. Gene heads down the walkway .
GENE
We both got places to be, Ray. Beds
to sleep in. What do you need?
INT. BRUNOS HOUSE - NIGHT
The boredom of Otis and Barry is only compounded by the fun
going on downstairs.
Yawning, Barrys had enough and he gets up off the ground.
BARRY
Hey, Im gonna get out of there. If
you need anything just stop by.
Otis gets up too.
OTIS
Wait, youre just going to leave me
here?
BARRY
Yeah, man. Youll be fine. Youve
still got the menthols. Dont
worry.
He gestures to the Guard.
BARRY
(about Otis)
This dude smokes menthols. Hes
pretty far out.
The Guard couldnt care less.
(CONTINUED)
CONTINUED: 33.
Barry hustles down the stairs and leaves Otis alone with the
Guard. The song on the stereo changes and Brunos door
opens. A BABE walks out wiping her lips wearing nothing but
a pair of jeans.
Otis stands waiting for the guard to invite him inside. When
no such courtesy happens he gingerly steps into the room
himself.
INT. BRUNOS ROOM
Shag carpet, fully stocked book shelves. This place looks
more like a study than a drug dealers room.
Behind a mahogany desk is BRUNO JOHNSON --Shaved head,
decidedly European flair -- sitting as though he was waiting
all this time for Otis to come in.
They stare at each other until the Guard slams the door
behind Otis. Otis clears his throat and walks over to the
desk. He sits on a ripped, but burgundy satin chair.
OTIS
Im Otis Black.
He puts his hand out, but Bruno doesnt shake it.
OTIS
Barry told me that he buys from
you. I was hoping I could--
BRUNO
Barry? Inbred Barry or Stupid
Barry?
OTIS
Barry Parker?
BRUNO
That was a trick question. How much
are you looking to buy?
OTIS
I dont know. No more than an
eighth.
Bruno reaches under his desk and pulls out a tiny baggy
filled to the brim with weed. He flicks it over to Otis
side of the table. Otis reaches into his back pocket to get
his wallet...
(CONTINUED)
CONTINUED: 34.
BRUNO
Thatll be twenty dollars.
And then stops.
Otis looks Bruno in the face. He gets up out of the chair.
OTIS
Twenty dollars?
BRUNO
Thats right.
OTIS
I get that you want to play a joke
and rip off the white boy but, no.
Im not that guy.
He turns to leave, but Bruno stops him.
BRUNO
They smoke a lot of weed in that
part of town you come from?
OTIS
Pretty sure they smoke weed
everywhere.
BRUNO
Then why do you come in here asking
for a slice when theres a whole
cake to be had?
OTIS
Do you talk like this all the time?
You sound like a retarded person.
Bruno laughs.
BRUNO
You know why I had Mike open the
door?
Otis shrugs.
BRUNO
Because its smart to open the
door. I normally wouldnt give a
shit if some college motherfucker
came wanting to cop a dime. He can
wait. But you, whatever your name
is...
(CONTINUED)
CONTINUED: 35.
OTIS
Otis Black.
BRUNO
Whatever. Youre an interesting
cat. You come from a side of town I
dont normally head down. You
understand what Im saying?
OTIS
I think so.
BRUNO
Then Ill be clear, cause there
shouldnt be any thinking involved
in this. You, me, lets make
something happen. Ill supply you,
and you pedal my wares on the other
side of Black Mountain. Theres
money to be had.
OTIS
I dont know. I only wanted to make
a little--
BRUNO
Then make a little. I dont care.
Make a lot. Its all fine. Im just
saying theres money to be had and
money is scarce in these parts.
He moves away from his desk and its revealed that hes in a
wheel chair. He wheels himself right up to Otis.
BRUNO
If you dont want to do business
with me, then dont. Go downstairs.
Enjoy the party. And know that if
you really want your shitty little
eighth, you can have it. It means
nothing to me.
He throws the baggy at Otis. It bounces off his chest and
falls to the floor.
BRUNO
But if you want to leave tonight
with something more than a good
time, youll stay and talk a little
longer.
36.
EXT. WOODS - NIGHT
Ray and Gene, guns in hand, walk through the woods. They
look down at their feet to make sure they dont trip. In
their free hands they carry flashlights.
GENE
Would have made more sense to do
this in the morning.
(and then)
Shit, my head is cold.
RAY
Shoulda worn that hat I gave you.
Gene touches his head.
GENE
What were you doing in the woods
today?
RAY
Just hunting. You know.
GENE
With no clothes?
Ray looks at him.
GENE
I saw you, Ray. It aint hard to
miss a two hundred pound asshole in
a bush.
Ray doesnt answer and they move further into the woods.
They reach the stream where Ray found the bear earlier.
RAY
This is the place. Saw it right
over there.
He points up stream. Gene looks at the surrounding area.
They can hear the sounds of the wildlife and the sounds of
nature.
Ray looks down at the water and sees his reflection. Its
hard to make out in the dark.
RAY
You ever have one of those dreams
where youre looking at you, but at
the same time you aint you?
Gene lowers the bottle.
(CONTINUED)
CONTINUED: 37.
RAY
Like where youre somebody else,
but you at the same time. You look
different and sound different and
you dont feel like you, but youre
you.
GENE
What are you talking about, Ray?
RAY
And you stare at this dream you and
realize that all day people look at
you and talk to you and thats
happening all the time. But the man
they see aint the main you are.
GENE
Sure. Why not?
Ray crouches down and gets a closer look at himself in the
water.
RAY
Ever since I got out of that mine,
it doesnt feel like Im me. Im
just this guy floating above me,
feeling bad, wondering who it is
that Im following around and why
hes still here.
They hear a rumbling in the bushes and they turn to it.
EXT. CALDWELL HOUSE - NIGHT
Just behind Nicks diner, on the other side of town, is the
Caldwell house. Its small, in bad shape, but fairly new.
INT. CALDWELL HOUSE
The house is ostensibly one room. The bed is near the
kitchen and the kitchen is near the toilet and the toilet is
near everything.
Nick and Jackie sleep in a bed only a few feet away from the
door.
A heavy slam on the door wakes them both.
JACKIE
(waking up)
Nick, what is that?
The slamming continues.
(CONTINUED)
CONTINUED: 38.
JACKIE
Go check. Bring the bat.
Nick is fast asleep with his mouth open. The banging doesnt
stop and Jackie gets out of bed, grabs a bat from the
corner, and walks to the door.
She puts her ear to the door.
JACKIE
Who is it?
OTIS
(through the door)
Its me. Open up.
JACKIE
Otis its three in the morning.
What do you want?
OTIS
I bring promises of the future.
She opens the door and Otis barges in with a back pack.
JACKIE
What the hell does that mean?
OTIS
It means wake up your husband.
He crouches down and dumps out the contents of his backpack.
EXT. CALDWELL HOUSE - NIGHT
Otis and Jackie sit on the ground in the back of the house
smoking the grass.
JACKIE
You know, this is just like you.
Whole towns out of work and you
come home for one day and strike
gold. Youre a lucky son of a
bitch.
OTIS
Luck is just preparation plus
skill.
Theres a flush coming from inside and Nick walks out.
(CONTINUED)
CONTINUED: 39.
OTIS
You guys have water?
JACKIE
Of course we have water. We pay our
bills.
Nick takes a seat next to them. He looks at the backpack
full of weed Otis has next to his foot.
NICK
Thats maybe the most beautiful
thing Ive seen in my life.
He reaches into the bag and smells it.
NICK
It feels like home.
(and then)
So how are you gonna sell all this?
OTIS
I was thinking about asking Barry
for a list of his people. Figured
Id cut him in and that would be
that.
NICK
That sounds like a good idea. But
what are you gonna do, just make
house calls? Youre gonna need a
place big enough to work out of.
Someplace away from everything.
Someplace safe.
We see the house and the diner and how theyre the only
thing around for miles.
NICK
But who knows where youre gonna
find somewhere like that.
Nick reaches into his pajama bottoms and scratches himself.
JACKIE
God damn it. I must have been high
every day of my life to marry as
big a fuckin idiot as you are.
40.
EXT. HYDES TANNING STORE - NIGHT
The sun is almost up.
Its a small store in the middle of town. PATRICK HYDE (50),
walks out the front door putting on a jacket. He has on
pajama bottoms.
Ray and Gene are at the back of his truck. The bear is lying
on the bed of it, covered by a sheet.
HYDE
This had better be good, Gene. My
wife has the apnea and shes not
going to let me live this down.
Gene takes off the sheet of the head of the bear. Its got a
bullet hole in-between its eyes. Extremely surprised, Hyde
inspects.
HYDE
This is some shot here, boys. Which
one of you pulled the trigger?
Ray raises his hand.
HYDE
You realize if you had missed this
son of a bitch hed be driving you
two here to sell me your skin.
He looks closer at the bear. He touches the fur.
HYDE
You fellas mind helping me get this
into the store? Thats where my
sales charts are.
They act quick and take the bear down from the bed of the
truck. Hyde hurries into the store.
As they drag it, Ray looks at the face of the bear. Its
eyes are open.
Ray starts to cry and Gene notices.
EXT. GENES HOUSE - DAY
Ray pulls his Silverado into Genes driveway. Gene gets out
of the passenger side and walks over to Ray.
(CONTINUED)
CONTINUED: 41.
RAY
Thanks, Gene. I owe you one.
GENE
Youre welcome. Just be here bright
and early. Lexington aint no skip
and twirl away.
Gene turns to walk away, but Ray calls out to him:
RAY
I miss you, man.
GENE
Then come to the rallies. Theres
always room for one more.
RAY
You know thats not what I mean.
Gene turns back.
GENE
Wear a suit tomorrow. I dont want
you looking like shit around Duke
Hoover. A tie too if you know how
to tie one.
He walks up the stairs and into his home.
Ray drives off.
END OF ACT THREE
ACT FOUR
INT. CARRS TRUCK - PARKED - MORNING
A bird lands on the bed of Carrs truck. The sound of his
feet hopping on the metal wakes Mary. She rubs the drunk out
of her eyes and groans at the mess of a man on top of her.
She pushes car off of her person and fixes her dress and
underwear.
Before jumping off the bed she reaches into Carrs pocket,
takes his wallet, and nabs a few dollars for her trouble.
42.
EXT. BLACK MOUNTAIN - DAY
Groggy and dehydrated, she hitchhikes down the road. From
the distance a truck heads in her direction. It kicks up
dirt.
It stops in front of her and its Ray. Hes wearing a suit.
She looks at him, feeling the effects of the night before.
RAY
Theres $200 on the table. When you
get home, you find a ride and you
pay that bill. You understand?
She looks up at him. In the car hes even bigger than
before. She nods.
RAY
Ill be back later.
MARY
You look good in that suit.
She watches his car disappear into where the sky and earth
meet.
INT. BLACK HOUSE - OTIS ROOM - DAY
Otis listens to music in his room when theres a knock on
his door.
OTIS
Come in.
Barry opens the door. He looks exhausted.
OTIS
Barry, howd you get in here?
BARRY
I just walked in. Nothing was
locked.
He stands in front of Otis.
BARRY
Whatd you want me here for so
early? I had just gotten to sleep.
OTIS
Its eleven oclock.
(and then)
Check this out. Go into my closet.
(CONTINUED)
CONTINUED: 43.
BARRY
This isnt going to be like the
time you and your sister scared me
with the dead raccoon is it?
He walks over to the closet and opens the door. He looks
around and finds nothing.
BARRY
You didnt bring me here to rub it
in my face that you have more than
one shirt, did you? If so, Im not
amused.
OTIS
Look at the ground.
Barry crouches down and finds the bag. His eyes light up.
OTIS
I need a favor from you. Whoever it
is you used to sell to, I want you
to give me their numbers. Their
addresses. Whatever you have. Im
setting up shop.
BARRY
I can do that.
OTIS
Tell them that if they want to buy,
come to Nicks Diner. Tell them to
ask for Yesterdays Special.
Barry doesnt turn to look at him through any of this. Hes
mesmerized by the pot.
BARRY
Hey, you dont mind if I--
Downstairs a door slams and Otis gets out of his bed and
inspects it.
INT. BLACK HOUSE - KITCHEN - DAY
Mary finds the stack of money on the kitchen counter and she
counts it. She holds the money to her chest. She opens the
drawer and takes out the water bill.
Otis comes down and finds his mother.
(CONTINUED)
CONTINUED: 44.
OTIS
Mom? Whats up?
MARY
Nothing, Otis.
(and then)
Your father got us the money. See?
The son of a bitch did it.
OTIS
You shouldnt talk about Grandma
like that.
An exhausted smile crawls across her face.
OTIS
Are you okay? Have you been out all
night?
MARY
Im fine. Im just tired. Just
really tired.
She makes her way to the door.
OTIS
Where are you going?
MARY
Im gonna go pay the water bill.
OTIS
Isnt the power company like
fifteen miles away? Thats too far
for you to walk. Just wait for dad
to come home.
She puts her hand on the doorknob and opens it.
MARY
Otis, your dad left home a long
time ago.
She closes the door and walks down the road. Otis watches
her from the window.
INT/EXT. RAYS CAR - MOVING
Ray drives the truck down the highway. Gene is in the
passenger seat next to him. Hes tying his tie.
(CONTINUED)
CONTINUED: 45.
GENE
Theres no reason to get stressed
about any of this.
Ray keeps his hands uncomfortably at ten and two.
GENE
Were not even going to be doing
anything today. Just checking in
about the last meeting. Going over
the notes.
RAY
Then why are we meeting?
GENE
Because its how these things work.
We keep each other informed. We
touch base.
Ray scratches his head like an anxious junkie.
GENE
Ill never understand. You spend
your whole life underground. You
move mountains for a living. You
defy nature. You killed a damn bear
last night. But you need to wear a
suit and you shit yourself.
RAY
I dont get why Im here. Im not
prepared. Im walking into inside
baseball.
GENE
You just need to show Duke Hoover
your face. He needs to know that
were human, Ray. That were not
just numbers.
Ray turns the car up an exit ramp. Next to the ramp is a
sign that reads, "LEXINGTON - POPULATION 224,341."
GENE
Besides. I want you here.
46.
EXT. BLACK MOUNTAIN - DAY
Mary hitchhikes down the street. Cars pass her by and her
dress blows in the wind. Finally, a beaten down red sedan
pulls up next to her and rolls down the window.
Mary looks inside at the messy automobile.
MARY
Oh lord.
DARLENE
Where you headed off too?
Mary keeps walking.
DARLENE
I said, where you headed off to?
MARY
The power company.
Darlene stops the car.
DARLENE
Get in. Weve got something to talk
about.
Mary looks at down the road. Its a long way.
INT/EXT. CHORNS CAR - MOVING - DAY
Darlene and Mary head down the road. Darlenes got a few
nasty scratches on her face and she drinks a soda with a
straw.
Mary, now defanged, presses herself against the window. She
looks at the tall grass on the side of the highway.
DARLENE
You know, I had to convince Danny
not to march down to your place and
beat the ever living shit out of
Ray.
Mary takes her head off the glass.
MARY
What does Ray have to do with any
of this?
(CONTINUED)
CONTINUED: 47.
DARLENE
You think I could have him come
down and beat your ass? There are
limits, Mary. Women dont fight.
(touching her face)
Well some dont.
MARY
Theres no reason we cant. It
makes things easier. What would you
rather have happened? Me stop
coming to your bake sales on
account of your stupid dog shitting
on my lawn, or us having a dust up
and getting over it.
DARLENE
You smeared shit in my face, Mary.
It wasnt no dust up.
MARY
Im just saying, there aint no
reason we cant settle things like
men. It gets shit done.
DARLENE
There aint gonna be no settling it
like men, or settling it like women
much longer. If this strike keeps
going were just going to have to
settle. All this nonsense, its
gonna have to go. No more
squabbling, no more name calling.
Were all going to have work to do.
Mary looks out the window.
DARLENE
Were all having a hard time. Lets
not make it any harder. Thats why
I picked you up. Consider it an
olive branch.
They drive down the road a ways.
MARY
You werent thinking about mowing
me down in the middle of the road,
were you?
DARLENE
Id be lying if I said it didnt
cross my mind several hundred
times.
48.
EXT. HOOVER ELECTRIC - DAY
The most urban part of Kentucky. The sun tears through the
clouds and gives the grayness of the building a small bit of
orange life.
The building has a sign on it that reads, "HOOVER ELECTRIC."
INT. HOOVER ELECTRIC
A typical office building. GUARDS are situated near the
entrance and theres a desk at the end of the lobby where a
pretty SECRETARY works.
Ray and Gene walk into the building.
SECRETARY
How can I help you?
GENE
Hi, darling. Im here to see Mr.
Hoover. We have a meeting set for
4:30.
She picks up a phone.
SECRETARY
(holding the phone with her
shoulder)
And who should I say this is with?
GENE
Gene Jacobs of United Coal Miners
of America, Local 155.
She dials.
SECRETARY
(to phone)
Hello, Mr. Hoover. Mr. Jacobs is
here to see you. Okay. Thank you.
(and then)
Please take the freight elevator up
to the 15th floor.
RAY
Did you say freight elevator?
SECRETARY
Yes. The other elevators are
currently out of service. Were
sorry.
49.
A few businessmen walk into a fully functional normal
elevator and rise.
INT. FREIGHT ELEVATOR
Its filled with boxes and assorted junk. Theyre squished
into the elevator. Their shoulders touch.
They look at the numbers above the doors rise. As they get
higher, Rays heart beats faster and faster. He looks over
to Gene, who though bruised, is not battered.
The 13th floor light flashes and the elevator opens up.
GENE
Game time.
INT. BOARD ROOM
The room has giant glass windows that overlook the entire
city. There are framed black and white pictures on the wall.
On the other end of a long wooden table is Duke Hoover and
Derrick Carr. Hoover is dressed for the occasion, but Carr
looks like the sweaty piece of shit he is.
HOOVER
Welcome back into the fold, Gene. I
wasnt expecting you to bring
this...associate with you.
GENE
This is Ray Black. Hes one of the
foreman out in Eastover. I thought
you might want to meet him.
Hoover smiles and gets up from his seat. He walks over to
Ray and shakes his hand. Hes deceptively friendly and
upbeat.
HOOVER
Pleasure to meet you, Ray. Feel
free to have a seat wherever you
like.
Ray and Gene take a seat across from Hoover and Carr. Carr
taunts Gene with his smile, but Gene doesnt let it bother
him.
HOOVER
So where were we, Gene?
(CONTINUED)
CONTINUED: 50.
Gene adjusts in his seat and opens up a folder. He takes out
a number of stapled documents and passes one to Ray and to
Hoover.
CARR
None for me?
GENE
I would have brought one if you I
figured youd be here. I thought
youd probably be watching TV or
something.
CARR
Thats fine. I aint much of the
reading type.
GENE
Never would have guessed it.
Ray looks at the two men. He picks up that something
happened between the two of them.
HOOVER
Alright, lets get started. Weve
got a lot to cover today.
Ray notices Genes hat on Carrs head.
EXT. POWER COMPANY - DAY
A much smaller branch of Hoover Electric located in a very
rural part of the area.
Darlenes car is parked outside the building.
INT. POWER COMPANY
A RECEPTIONIST sits behind a desk taking phone call after
phone call.
Aside from she and Mary, they are all alone.
RECEPTIONIST
Hold please. One second please.
Would you be able to hold? Thank
you.
Mary is on the other side of the desk waiting patiently. The
lights on the phone light up, signaling for only more calls.
Mary leans over the desk to look at it.
(CONTINUED)
CONTINUED: 51.
RECEPTIONIST
(to the phone)
Please hold. Thank you.
(and then)
Excuse me, maam. Ill be right
with you.
MARY
Yes you will.
Mary reaches over the desk and unplugs the phone. The lights
go out and phone loses signal.
RECEPTIONIST
Now what the hell did you do that
for? Do you know how many people I
had waiting on the line?
MARY
I reckon I honestly dont give a
shit. Im here now. You deal with
me first. If theyve got enough
electricity to call theyre in a
better place then I am.
The receptionist sighs and takes a pen out from her desk.
RECEPTIONIST
Are you hear because of your water?
MARY
I am.
RECEPTIONIST
Then youre out of luck. Without
full payment of funds were not
able to turn it back on. Your bill
has to be paid in full.
MARY
Well thats fine with me. I plan on
paying in full.
She reaches into her bag and takes out the stack of green
backs. She counts out eighteen dollars and slams it on the
table.
MARY
That should be everything. Id
appreciate it if you turned my
water back on now.
The receptionist counts the money and puts it in an
envelope.
(CONTINUED)
CONTINUED: 52.
RECEPTIONIST
Well, thank you very much, but your
water wont be back on for seven to
ten business days.
MARY
Pardon?
RECEPTIONIST
These things take time. Hoover
Electric appreciates your prompt
response, but well need to get a
representative down there and
then...
Mary leans in close to the table and stares at her.
RECEPTIONIST
Ms. Black, theres nothing I can
do. These things take time.
MARY
Everything takes time. Thisll just
have to be one of those things that
take a short time.
(and then)
Miss, youre young. Youre pretty.
I dont dislike you. But know that
yesterday morning I beat the shit
out of my neighbor and smeared her
face with dog shit for nothing at
all. What do you think Ill do to
the woman who tells me my family
cant have water?
She smiles politely at the receptionist.
RECEPTIONIST
Ill see what I can do.
She gets up out of her seat and runs out of the room. Her
high heels clank on the linoleum floor.
Mary plugs the telephone back in and makes a call.
MARY
(to the phone)
Hello, Otis. Its me. Yeah, I got
the water thing worked out. So you
can take a bath or what not in a
couple minutes.
Mary looks at the Hoover Electric sign hanging in the
corner.
(CONTINUED)
CONTINUED: 53.
MARY
And can you do me a favor? Write a
note for your daddy. Tell him were
having dinner at Nicks tonight.
Yes, I know. Again. Love you
bunches.
She hangs up the phone and the receptionist comes out.
MARY
Thank you very much, honey.
The phone starts going crazy with calls.
MARY
Youre probably gonna want to take
those.
END OF ACT FOUR
ACT FIVE
INT. HOOVER ELECTRIC - DAY
The Sun is going down in the sky and also on the meetings.
Carr and Ray are exhausted, but Gene and Hoover are still at
it.
Hoover though, seems to have the upper hand.
HOOVER
Gene, weve been over this. The
strike clause is out of the
question. I will not have another
walk out.
GENE
For the love of God, stop calling
this a walk out. This isnt a walk
out. This is a strike.
HOOVER
I will not have a repeat of this
day. Ive already okayed the wage
increase and the sick leave, but I
will not be put in this situation
again.
GENE
This is not a situation, Hoover.
Stop calling it a God damn
situation. This is our fucking
lives man! Get that through your
head!
(CONTINUED)
CONTINUED: 54.
Hoover backs down from the outburst and clears his throat.
He adjusts his tie.
HOOVER
Derrick, Mr. Black, if you dont
mind, can you give me a moment
alone with Gene? Id like to
discuss something in private.
Ray looks to Gene for assurance and Gene nods.
The two men pack up and walk out of the room.
Gene and Hoover stare at each other across from the table.
HOOVER
Im willing to apologize if youre
willing to as well.
GENE
No. But Ill start over if youll
start over.
Hoover gets up and walks to a small pitcher of water. He
pours himself a glass and drinks.
HOOVER
Shall we take it from the top,
then?
INT. HOOVER ELECTRIC - HALLWAY
Ray and Derrick stand on either side of the door. Derrick
takes a cigarette out of his shirt pocket and puts it into
his mouth.
CARR
Those two sure can talk, eh?
He lights his cigarette.
CARR
Probably why theyre in there and
were out here.
Ray nods.
CARR
You ever think about how its funny
that shit happens in rooms like
this? Like, history, and what not.
(CONTINUED)
CONTINUED: 55.
RAY
I dont know if I understand what
youre saying.
CARR
Im just saying shit happens in
rooms. Deals get made. Presidents
are born. The greatest things in
history have happened in rooms.
Through the door they can both hear Gene talking. Hes
agitated.
CARR
If I had known wed be here for
four hours Id have bashed him in
the mouth stead of the nose.
RAY
What?
CARR
I dont know if its a Jew thing or
a, I dont know. You know him more
than me. I just wish hed shut the
fuck up and let us good folk be on
with our business.
Ray stares at Carr.
Carr blows smoke out of his mouth and gives Ray a confused
look. Ray looks at the hat on the head. Carr slowly reaches
up and points to it.
CARR
This hat?
Ray stares even harder.
CARR
We doing this, motherfucker?
RAY
Im gonna motherfuck you where you
stand.
Carr takes the cigarette out of his mouth and throws it on
the ground. He rubs it out on the carpet.
56.
INT. HOOVER ELECTRIC - BOARDROOM
Gene stands and holds up the papers as Hoover leans back in
his chair.
GENE
And again, the byline states
that...
Ray and Carr come barreling through the door.
HOOVER
(almost expecting it)
What the hell, Derrick.
They throw punches at the mid-section and slam each other
into the walls. Ray takes Carrs head and jams it into a
painting and it falls and cracks.
Carr falls to the ground and Ray gets in a few shots at his
face.
GENE
Ray, thats enough.
Carr reaches into his waistband and pulls out his pistol and
puts it up to Rays head. He pulls the trigger, but the
barrel spins and nothing shoots out. Carr looks at the gun
as thought it has betrayed him.
Everyone stares at Carr.
CARR
Fuck.
Ray pauses for a moment and stews at the thought that he was
seconds away from death.
Ray looks to Gene. They nod at each other.
Ray takes his foot and stomps a mud hole in Carrs face.
CUT TO:
INT. HOOVER ELECTRIC - DAY
Ray and Gene are escorted out of the building by a pair of
security guards. They both have matching bruises on their
faces.
Ray hands Gene the hat that was stolen from him and Gene
puts it on.
57.
EXT. NICKS DINER - NIGHT
For perhaps the first time ever, the parking lot is full of
cars.
Mary walks into the diner.
INT. NICKS DINER
The place is packed with teenagers and long hair and groovy
rock music. Mary cant believe it.
Otis sits at the counter talking to Barry and Nick. He sees
his mother and swivels around in his stool and looks at her.
MARY
Nick, would you look at this place.
NICK
I know, Mrs. Black. Its pretty
great aint it.
MARY
I dont want to sound rude, but
what in the hell happened? Dyou
reinvent the wheel overnight.
NICK
You could probably say that.
MARY
Well whatever it is Im impressed.
Gee, people sure are ordering a lot
of cake tonight.
Otis gets up and walks over to his mother and puts his arm
around her.
OTIS
Youre looking a lot better.
MARY
Knowing that theres going to be a
bath waiting for me when we get
home certainly takes the sting out
of it.
OTIS
Sting out of what?
Mary blinks at her son.
(CONTINUED)
CONTINUED: 58.
MARY
Hey, do you know where your daddy
is?
OTIS
I dont know. He didnt come home
yet. You want to get a table? I
think Nick can fit us in.
(to Nick)
Anywhere, Nick?
NICK
Fortunately, no.
Nick gets out from behind the table and leads them to a
corner booth. He passes them the menus and they sit down.
Mary looks out the window into the blackness.
EXT. TRUCK STOP DINER - NIGHT
An even smaller diner. The only car in the parking lot is
Rays.
INT. TRUCK STOP DINER
Ray and Gene sit at a table eating hamburgers. Smooth
country music plays on the jukebox.
Genes hat is on the table.
GENE
Just so you know, this aint how
these meetings usually go. Theres
usually a lot less...commotion.
RAY
I reckon these meeting dont
normally end with another mans
tooth in your shoe.
GENE
Only the good ones.
Gene takes a bite and drinks from his glass.
GENE
Shit, we cant afford this. Can we?
RAY
Well manage. A mans got the right
to eat, dont he?
Gene looks at him and smiles.
(CONTINUED)
CONTINUED: 59.
GENE
I gotta take a piss. Ill be right
back. Dont get crafty or nothing.
I counted the teeth marks on this
sandwich.
He gets up and walks to the bathroom.
Ray sits alone in the diner listening to the gentle music.
He picks up Genes hat and looks at it.
It says Local 155, Dead or Alive.
INT. TRUCK STOP DINER - BATHROOM
A grungy, dark, green bathroom. The mirror is cracked and
covered in stickers.
On the other side of the bathroom, Gene pees into the
toilet. He sings the song thats on in the restaurant.
GENE
(to himself)
Im on the blue side of lonesome.
Right next to the Heartbreak Hotel.
The door creeks open behind him.
GENE
Occupied.
(and then, singing)
In a tavern thats known as Three
Teardrops, not doing so well.
The door opens more.
GENE
Jesus Christ, I said occupied!
The stall door slams open and Ray stands in the stall with
Gene. He grabs Genes face and pushes him against the wall
and kisses him.
Genes foot hits down on the lever and the toilet flushes.
Ray turns Gene around, pulls down his pants, and we...
Fade out:
THE END