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Nashville Movie Script

Writer(s) : Joan Tewksbury

Genres : Drama, Musical

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	NASHVILLE

	original screenplay

	by

	Joan Tewksbury

	June 8, 1974

	INTRODUCTION

	ORDER

	AIRPORT

	STUDIO

	HIGHWAY

	1.	TRICYCLE MAN
	2.	MR. GREEN
	3.	NORMAN
	4.	CONNIE WHITE (Photo)
	5.	SUELEEN
	6.	DELBERT
	7.	WADE
	8.	HAVEN
	9.	BUD
	10.	PEARL
	11.	OPAL
	12.	LINNEA
	13.	BARBARA JEAN (Name on Plane)
	14.	BILL
	15.	MARY
	16.	TRIPIETTE
	17.	L.A. JOAN
	18.	TOM
	19	GLENN
	20.	BARNETT
	21.	KENNY
	22.	TOMMY BROWN
	23.	ALBUQUERQUE
	24.	STAR

							HIGHWAY LINEUP

	1.	TRICYCLE MAN

	2.	MR. GREEN & L.A. JOAN

	3.	NORMAN - BILL & MARY

	4.	BARBARA JEAN & BARNETT (Ambulance)

	5.	HAVEN & BUD & PEARL

	6.	SUELEEN & WADE

	7.	TOM & STEWARDII

	8.	DELBERT & TRIPLETTE

	9.	GLENN (Bus - Connie White Poster)

	10.	TOMMY BROWN

	11.	OPAL & LINNEA

	12.	KENNY

	13.	STAR & ALBUQUREQUE


	FADE IN:

A	TITLE SEQUENCE

	Still photos of twenty-four principal actors.

1	CLOSE SHOT - SIGN

	Nashville Airport.

2	EXT. NASHVILLE AIRPORT - DAY

	TRICYCLE MAN drives into parking lot and parks next to GREEN'S 
	old Chevy. TRICYCLE MAM: locks his machine and walks toward 
	coffee shop. GREEN gets out of his car, locks it, starts in the 
	same direction. NORMAN parks the limo, goes into main building.

3	INT. AIRPORT - DAY

	NORMAN is attracted to large "CONNIE WHITE" display.

4	INT. COFFEE SHOP - DAY

	At the entrance is another "CONNIE WHITE" display and from the 
	jukebox we hear one of her songs.

	The waitress, SUELEEN, drops a fork, then gets another from an 
	overflowing sink and hands it to her customer, TRICYCLE MAN.

	There are several people at the counter with him, including 
	GREEN, who has just walked in. Another man enters, DELBERT 
	REESE. SUELEEN waits on all of them.

	A small black man comes out of the kitchen, carrying a tray full 
	or dishes. This is WADE.

					WADE
				(to SUELEEN)
			You want a ride into town?

					SUELEEN
			You bet.

	REESE looks up, checking out SUELEEN, then WADE, then the 
	TRICYCLE MAN, then his breast pocket to see it his wallet and 
	checkbook are still there, then he buries himself in his 
	newspaper.

					SUELEEN
			Got me an audition tonight.

					WADE
			Well, you just remember, if you 
			can't kick front, kick back, 'cause 
			at least you're kicking... Ten 
			minutes, okay?

	She nods and talks to the TRICYCLE MAN. REESE keeps sneaking 
	looks at her.

					SUELEEN
			I've just been waiting for the 
			right spot to sing in... I'm so 
			nervous...

	She laughs and starts to rinse the dishes in the sink.

					SUELEEN
			I'm good, though. There ain't but 
			one Sueleen Gay -- I don't mean to 
			be conceited, but really it's true. 
			I've been taking special coaching 
			lessons from Zeke Willard -- he's 
			just wonderful. Teaches you how to 
			phrase; that's really important. 
			And breathing. Well, you know all 
			about that. Anyway, I wrote this 
			song.

	She looks down and then begins to half whisper, sing, and half do 
	all of the gestures for a song she has written as she wipes some 
	glasses. The jukebox continues to play CONNIE WHITE, and every 
	time someone walks by, Sueleen stops. She finally gets through 
	the song and discovers REESE has been watching, too. She looks 
	away from him to the TRICYCLE MAN, who smiles. Be has finished 
	his meal.

					SUELEEN
			Oh, listen, I really do go on. 
			Here's your check. Sure has been 
			nice talking to you.

	As she removes her apron, a HAVEN HAMILTON song comes on the 
	jukebox, "Keep on a goin'."  The TRICYCLE MAN leaves.

	CUT TO:

5	INT. CONTROL BOOTH - NASHVILLE STUDIO - DAY

	We hear the last chorus or "Keep on a goin'" as sung by HAVEN, 
	who is recording.

	He is always dressed in white. In the booth are BUD and LADY 
	PEARL. Also present are two engineers and a producer. HAVEN is 
	accompanied by a long haired piano player with a white sweater. 
	HAVEN is not too happy with him. 

6	ANOTHER ANGLE

	OPAL enters the booth, carrying a too-large English tape 
	recorder. HAVEN Stops singing, mad at OPAL'S interruption and 
	the piano player. Through the glass we see him pantomiming 
	instructions for her to leave. As she does, HAVEN starts over.

7	INT. HALLWAY - DAY

	OPAL wanders to the next studio. BUD follows, apologizing.

					BUD
			Sorry. He sees a tape recorder and 
			gets upset.

	She looks at him.

					BUD
			He's my father.

					OPAL
			Haven Hamilton is your father? Can 
			you arrange an interview?

8	INT. SECOND RECORDING BOOTH - DAY

	They have entered a different control tooth. In the recording 
	portion, LINNEA and an all-black, male CHOIR sings a gospel song. 
	OPAL asks BUD who this group is.

9	INT. FIRST CONTROL BOOTH - DAY

	BUD returns. HAVEN has just exploded at the piano player and 
	starts to leave, yelling at the producer.

					HAVEN
			Who the hell is playing piano? Get 
			that hippie out of here... He's got 
			a tin ear. I asked for Pig, dammit. 
			I'm moving on 'cause I gotta get to 
			the airport. When you get my 
			backups straight, then we'll talk 
			about cutting this tune here.

	He heads for the hallway.

10	INT. HALLWAY - DAY

	It is jammed with black singers from the CHOIR. HAVEN hates 
	being crushed and moves through the congestion like a white 
	knight. OPAL moves near.

					OPAL
			Excuse me, sir. I'm here putting 
			together a film. I would like to 
			ask some questions.

	She has to fumble with the bulky tape machine and transformer.

					HAVEN
			Foreigner?

					OPAL
			I'm from BBC television.

					HAVEN
			Where the hell is that?

	HAVEN nod a politely and leaves the crowded hallway with BUD and 
	PEARL. He spots LINNEA.

					HAVEN
			Linnea.

					LINNEA
			How you doing, Haven?

					HAVEN
			oh, fine. Couldn't be better.

11	ANGLE T0WARD OUTSIDE

	They all say goodbye and HAVEN'S group gets into a new white jeep

	CUT TO:

12	EXT. AIRPORT - DAY

	Barbara Jean's plane taxis to a halt.

13	INT. COFFEE SHOP - DAY

	REESE leaves a tip and exits the coffee shop to greet the plane.

	Page Missing

14A	CONTINUED:

	TOM spots stews and goes to them

					TOM
			You ladies got room for a spare?

					STEW
			Sure.

14B	NEW ANGLE

	L.A. JOAN is left in the dust.

					L.A. JOAN
			'Bye... nice talking to you.

	GREEN sees his niece and walks over.

					GREEN
			Joan?

	She turns.

					L.A. JOAN
			Did you see who that was?

					GREEN
			Glad to see you. Ester'll be glad, 
			too.

					L.A. JOAN 
			He is just wonderful.

					GREEN
			I'1l get your bag.

	CUT TO:

15	EXT. LANDING AREA - AIRPORT - DAY

	GLENN has just deposited a postcard in a mailbox and approaches a 
	gathering cluster of people. NORMAN and TRICYCLE MAN are nearby. 
	Everybody is waiting for BARBARA JEAN to appear. GLENN steps 
	close to NORMAN.

					GLENN
			Am I late?

					NORMAN
			Late!  Oh, Jesus!

	He runs off.

16	ANOTHER ANGLE

	As NORMAN runs toward passenger loading, we see HAVEN'S jeep 
	arrive with HAVEN, BUD and PEARL. It parks and all climb out. 
	REESE and TRIPLETTE approach the 'Barbara Jean' plane. BARNETT 
	is already on the runway, making arrangements. HAVEN'S group all 
	shake hands.

					HAVEN
			Delbert, how are you?

					REESE
			I'm fine. This here is John 
			Triplette. Triplette, like you to 
			meet the Honorary Mayor, Haven 
			Hamilton.

					HAVEN
			Good to meet you.
				 (turns to BUD)
			Bud, have them move the horses.

					TRIPLETTE
			Pleasure 

					REESE
			Where is she?

					HAVEN
			Still inside the plane posing for 
			pictures and signing autographs. 
			She's got a new album cut again. 
			She'll be down in a minute. But 
			she'll be late for the Opera if she 
			doesn't hurry. Bud, get the plane on 
			the walkie-talkie.

	BUD fumbles on his walkie-talkie telephone, but can't seem to get 
	anything.

					BUD
			They don't seem to be answering. 
			The ambulance boys are here, though. 
			Barnett always expects them to get 
			there like a shot. That thing only 
			goes a hundred fall bore with the 
			sirens going.

					HAVEN
			Thank you, Bud.

	BUD nods like he has been complimented.

17	ANGLE TOWARD PLANE

	A wave of noise begins from the fans. The band and majorettes 
	and horses and ropers go into a rendition of one of her hit tunes 
	as BARBARA JEAN appears. Everyone is breaking their neck to see, 
	especially GLENN. HAVEN and REESE give her the first round of 
	applause, then go back to talking. TRIPLETTE has never been 
	exposed to anything quite like this before and stands a little in 
	awe of the situation.

	When the twirling and tricking and music stop, BARBARA JEAN 
	descends the stairs.

					HAVEN
			Bud, tell them to move the horses. 
			Promised this strip would be spic 
			and span.

	He smiles and winks.

					REESE
			Listen, we'll go get the car and 
			come back. This'l1 be going on for 
			a while.

					HAVEN
			You bet. She's probably talking to 
			somebody about their sick child. You 
			know how she is.

	They wave goodbye and head in the direction of the loading zone. 
	Behind them, the horse people disperse and get into their cars 
	and horse trailers, preparing to return to Nashville.

18	ANOTHER ANGLE

	BARNETT comes over to REESE, TRIPLETTE, HAVEN, BUD and PEARL 
	while BARBARA JEAN continues to greet fans.

19	EXT. AIRPORT NEAR PARKING LOT - DAY

	While the BARBARA JEAN arrival takes place on the runway NORMAN 
	finds BILL and MARY. NORMAN speaks softly and out of breath, 
	trying to pretend he's on time.

					NORMAN
			Hi.

	BILL slaps him on the back and engulfs him.

					BILL
			Hi, Norman.

	NORMAN looks relieved. BILL and MARY have been arguing.

					NORMAN
			Sure is nice to see you all again. 
			I never thought I'd see you again 
			after the last time.

					BILL
			Oh, Norman, you worry too much.

	MARY takes NORMAN'S hand.

					MARY
			Norman, how are you?

	She kisses him and he blushes. BILL and MARY are glad to talk to 
	someone else.

					NORMAN
			Fine. Just fine.

	As they walk to the limo, we see a car with loudspeakers on top 
	of it and clearly written door signs that read: "Replacement 
	Party" in red, white and blue. REESE and TILIPLETTE are walking 
	toward it, shaking hands with several people.

					NORMAN
			Sure have missed you all, though. 
			Oh, where's Tom?  Isn't he with you?

					BILL
			Don't worry about old Tom.

20	ANOTHER ANGLE

	TOM and the stews walk to a VW with a sun roof.

	Nearby REESE and TRIPLETTE get into their Cadillac, behind it the 
	Replacement Party car. Coming from the loudspeakers a tape-
	recorded VOICE:

					VOICE
			Have you thought about your future 
			and what America needs to examine...

	Behind the Replacement Party car is an airport bus with "Connie 
	White" posters on the side. GLENN is one or the passengers. He 
	cranes his neck to continue watching the runway and BARBARA JEAN.

21	EXT. PARKING LOT

	NORMAN'S limo, with BILL and MARY, follows traffic as the 
	TRICYCLE MAN fires up his machine. WADE'S car with SUELEEN also 
	joins the procession.

22	ANGLE TOWARD RUNWAY

	The orange ambulance has moved into the area near the plane and 
	there seems to be a great deal at activity.

	REESE and TRIPLETTE'S car stops, and they rush out and run into 
	HAVEN, who is shouting for people to get the hell out of the way.

23	NEW ANGLE

	Two ambulance ATTENDANTS cut through the crowd. HAVEN, TRIPLETTE 
	and REESE rush near. BARNETT is on his knees over BARBARA JEAN, 
	who has collapsed. The ATTENDANTS lean over her with ammonia. 
	They test her reflexes, etc..

					ATTENDANT
			How long was she out?

					BARNETT
			Not too long. But she keeps 
			passing out.

	She comes to and looks at them all.

					BARBARA JEAN
				 (oblivious)
			Just give your manna that vitamin 
			E. Makes a world of difference.

					HAVEN
			Here she is again.

	She resists the ammonia, looks around and passes out again.

					ATTENDANT
			Okay, let's get her to the wagon.

	A stretcher is brought in and she is placed under oxygen. BARNETT 
	climbs into the ambulance with BARBARA JEAN, slamming the door on 
	DELBERT and TRIPLETTE. HAVEN stands there, yelling at people. 
	DELBERT and TRIPLETTE rush back to their car as the ambulance 
	speeds off, siren wailing.

	CUT TO:

24	EXT. FREEVAY TO NASHVILLE - DAY

25	TRICYCLE MAN

	leads the procession.

26	INT. GREEN'S CAR

					GREEN
			Eater's been asking for you.

	L.A. JOAN is trying to find a station she likes on her transistor 
	radio.

					L.A. JOAN
			Uh huh.

					GREEN
			She's been in the hospital two 
			weeks yesterday.

	L.A. JOAN can't find anything she likes. 

					L.A. JOAN
			You know anything about the 
			stations here?

					GREEN
				 (hasn't heard) 
			It's hard to say. Doctors thought 
			she'd come home a week ago. All it 
			was was appendix.

					L.A. JOAN
			All they got is advertisements. 
			Just like L.A.

					GREEN
			Did an exploratory and according to 
			them, she needed an overhaul.

	He chuckles at his prepared joke.

					L.A. JOAN
			Well, I could use one, especially 
			if I'm pregnant.

					GREEN
			What did you say?

					L.A. JOAN
			I said, maybe I'll change my name 
			again.

					GREEN
			I see... Well, those doctors are 
			real miracle workers.

					L.A. JOAN
			But not unless Nashville really 
			inspires me.

					GREEN
			Maybe you can look after me a 
			little.

					L.A. JOAN
			That Tom sure is cute.

	CUT TO:

27	AMBULANCE

	speeding by each vehicle. BARBARA JEAN and BARNETT are alone.

28	REPLACEMENT CAR

	being very piggish in its driving habits.

29	INT. HAVEN'S JEEP

					PEARL
			We had these two city boys come in 
			last week. One or them said his 
			Ford truck had cut off his foot. 
			The other one said that wasn't true. 
			Then the first said he looked just 
			like Eddie Black when he said 
			that...

					HAVEN
			Bud, would you be sure to get the 
			oil changed?

					BUD
			Ya... where do you want me to take 
			it?

					PEARL
			Do you remember Eddie Black? He had 
			those blue eyes.

					HAVEN
			Where you always take it. There's 
			nothing special about this time.

					PEARL
			And they started pounding on each 
			other. But the one without the foot 
			was strongest.

					HAVEN
			Bud, you're going to have to show 
			up at the hospital tar me I gotta 
			get back to that session.

					BUD
			Okay. Anything you want me to say?

					HAVEN
			Say I had to get back to the 
			session. ~ God -- All school did 
			for you, you can put in a thimble.

					PEARL
			The cops came through and broke it 
			up. I finally just had to call Chet 
			and say, 'Chet, get over here. There 
			are two old bays here breaking up 
			the furniture...'

	CUT TO:

30	INT. WADE'S CAR-TRUCK

	SUELEEN in doing some vocal exercising. WADE listens for awhile.

					WADE
			Is that what you're going to sing?

	She laughs.

					SUELEEN
			No -- That's exercises. My coach 
			says you have to do exercise because 
			the vocal chords are muscle and need 
			to be stretched. Every time you 
			stretch them, the middle part sets 
			stronger. That's the place where I 
			sing.

					WADE
			You think I got any kind of a 
			voice?

	He breaks into a scale.

					SUELEEN
			You sure do it loud.

					WADE
			Is that good?

					SUELEEN
			It's not bad.

					WADE
			You think I should take lessons?

					SUELEEN
			If you're serious. Being serious 
			is real important.

					WADE
			You serious?

					SUELEEN
			Wade -- I've been working toward 
			this audition for years.

					WADE
			Well, honey, I sure hope it comes 
			your way then.

					SUELEEN
			You think it will?

					WADE
			Sure thing.

	CUT TO:

31	INT. STEWS' CAR

					STEW #1
			I just knew that was you when you 
			got on.

					TOM
			You did, huh?

					STEW #1
			Ya - I even recognized them.

					STEW #2
			How long have you been together?

					TOM
				 (laughing)
			Too long.

					STEW #3
			Is your rather really an actor?

					TOM
				 (laughing)
			All his life.

					STEW #3
			Really?

					TOM
			Me, too.

	They all laugh. STEW #4 has been driving over-cautiously because 
	of the cargo. TOM leans over and kisses her ear.

					TOM
			You having any fun?

	She shrieks and practically drives off the road. They all laugh.

					TOM
			That's the most important thing --
			to have -- fun 

					STEW #2
			How long are you going to be here?

					TOM
			Long enough to have fun.

	They laugh.

	CUT TO:

32	INT. CADILLAC

					TRIPLETTE
			What do you think of him?

					REESE
			Hal? Well, Hal and I have been 
			friends for a long time.

					TRIPLETTE
			You go to school together?

					REESE
			No, we never did that

					TRIPLETTE
			Oh --

					REESE
			We're connected by a relative. One 
			time, one of his aunts married one 
			of my uncles. That was a long time 
			ago, though. How'd you come to work 
			for him?

					TRIPLETTE
			Well, I really think he's got a 
			chance. 

					REESE
			You do?

					TRIPLETTE
			Oh yea -- There has never been a 
			better time for something new.

					REESE
			He ain't really new.

					TRIPLETTE
			He is to a lot of people.

					REESE
			He was a good Judge, but that was a 
			long time ago.

					TRIPLETTE
			You know, I'll bet you he makes it 
			with a majority.

					REESE
			Where are you from?

					TRIPLETTE
			Southern California.

					REESE
			You always live there?

					TRIPLETTE
			Spent time in Arizona. Why?

					REESE
			Well, I admire your optimism, and I 
			just wondered if it was regional. 
			You ever see any movie stars?

					TRIPLETTE
			I know a couple.

					REESE
			No kidding -- Wait till I tell 
			Linnea. Who?

					TRIPLETTE
			Ah... Peter Finch.

					REESE
			Who?

					TRIPLETTE
			Peter Finch -- he's English.

					REESE
			I never heard of him. Name 
			somebody else.

					TRIPLETTE
			Ryan O'Neal.

					REESE
			You really do?  ~ God -- How come 
			you know them?

					TRIPLETTE
			Oh, you meet them at parties and 
			stuff.

					REESE
			I'll be damned. Boy, if you could 
			get Ryan to say something about Hal 
			Phillip Walker, wouldn't that be 
			something?

					TRIPLETTE
			Well -- maybe. Let's see what 
			happens here.

					REESE
			I'll be dammed.

	CUT TO:

33	AIRPORT BUS

	GLENN is at the window. "Connie White" ads are present.

34	MOBILE HOME

	Part of normal traffic. It belongs to TOMMY BROWN, who lounges 
	with four very black associates, playing serious poker.

35	INT. LINNEA'S CAR

	Joining the procession from an auxiliary route. With her is 
	OPAL, who interviews LINNEA.

					OPAL
			Have your children been deaf since 
			birth?

					LINNEA
			Yes -- yes, they have. It was a 
			real shock at first, especially 
			since my daddy's a preacher, but 
			Delbert and I have been blessed by 
			their being here.

					OPAL
			When did you start singing?

					LINNEA
			When I was little, in church.

					OPAL
			Isn't it unusual for you to be 
			working with a black choir?

					LINNEA
			Yes, it is --

					OPAL
			Well, can you tell me why?

					LINNEA
			It just is.

					OPAL
				 (not getting the 
				 answer she wants)
			How long have you been with them?

					LINNEA
			About three years.

					OPAL
			And before?

					LINNEA
			Just my church and my boys. We all 
			had to go to school and learn hand 
			talking. I just thank the Lord they 
			can see.

					OPAL
			Do you ever do any writing?

					LINNEA
			No, I don't.

					OPAL
			Are you a close friend of Haven's?

					LINNEA
			No, mostly his wife's. She's in 
			Paris, France, right now. My 
			husband Delbert is real friendly 
			with him. Delbert's in law. Does 
			work for him.

					OPAL
			Do you like him?

					LINNEA
			He's a member of our congregation.

	CUT TO:

36	KENNY'S NASH

	KENNY is caught up in the crowd entering Nashville.

37	EXT. STAR'S PICKUP TRUCK

					STAR
			You got the money?

					ALBUQUERQUE
			Right here.

					STAR
			Well, don't lose it. Last time I 
			gave you twenty-five dollars, you 
			lost it.

					ALBUQUERQUE
			Well, that just happened that time.

					STAR
			Well, it better not happen again.

	ALBUQUERQUE turns and looks out the window. They ride in 
	resentful silence.

					STAR
			You lost twenty-five dollars once 
			before that, too, near Christmas 
			time -- I remember that real well 
			now. December 9th, to be exact.

					ALBUQUERQUE
			You got a real good memory, Star.

					STAR
			I remember when I just saw you. 
			Skinny Winnifred. Jesus, you were 
			skinny.

					ALBUQUERQUE
				 (ignoring him)
			What do you have to buy?

					STAR
			Feed, mostly. Thought we'd get 
			something for the kids.

					ALBUQUERQUE
			Okay by me - I'd sure like to see 
			that Opryland.

					STAR
			What?

					ALBUQUERQUE
			Grand Old Opera --

					STAR
			I hate that music.

					ALBUQUERQUE
			I know that, Star.

	CUT TO:

38	EXT. FREEWAY

	Near a bridge, a huge diesel truck almost collides with the 
	Replacement car, which has just made a greedy move.

	To avoid collision, the diesel jackknifes, blocking all traffic 
	behind it, except for one narrow lane.

39	INT. LIMO

	MARY sits erect.

					NORMAN
			Oh, my God!

	BILL climbs out.

					BILL
			Norman, just sit there and don't 
			puke.

	He runs toward the truck. At this point, the TRICYCLE MAN 
	appears through all the cars.

40	ANGLE AT BRIDGE

	The TRICYCLE MAN works his way through traffic. STAR has climbed 
	from his truck and goes to help. ALBUQUESQUE takes advantage and 
	runs off.

41	ANGLE NEAR KENNY'S CAR

	It overheats and explodes. KENNY gets out, carrying his violin 
	case and starts to walk. ALBUQUERQUE spots him and steps near.

					ALBUQUERQUE
			Hey, mind if I walk with ya?

	She looks at his violin case.

					ALBUQUERQUE
			You a musician?

					KENNY
			No.

					ALBUQUERQUE
			Do you have people in Nashville?

					KENNY
			No -- Just coming to Nashville, 
			that's all.

42	INT. AMBULANCE

	BARNETT is in a rage. The ATTENDANTS administer oxygen to 
	BARBARA JEAN

					BARNETT
			I don't care. I pay you people 
			twenty-five bucks an hour and keep 
			you working steady. Now either go on 
			or turn around. But move.

43	EXT. HIGHWAY

	The ambulance passes all the vehicles, including the horse rigs. 
	As he passes NORMAN'S limo:

					MARY
			Don't worry, Norman. There's no 
			blood. Nobody's hurt.

	She climbs out of the car and moves to the freeway rail and yells 
	for some workmen below to call the police.

44	ANGLE AT DIESEL

	The driver is hurt badly. TRICYCLE MAN and STAR are there. STAR 
	looks up, relieved an ambulance is coming. His face drops as the 
	ambulance speeds past and toward the city.

45	ANGLE FURTHER BACK IN TRAFFIC

	ALBUQUERQUE is walking with KENNY. She sees STAR returning to 
	his truck. She ducks into the ivy.

					ALBUQUERQUE
			Hurt my foot...

	STAR approaches his truck, sees ALBUQUERQUE is gone and spots 
	KSNNY.

					STAR
			Have you seen a woman about so 
			high?

					KENNY
			No.

					STAR
			She had on high heels?

					KENNY
			No.

					STAR
			Need a ride?

	KENNY nods "yes" and climbs in the pickup.

46	ANGLE AT BRIDGE

	People are helping the injured driver. TRICYCLE MAN climbs on 
	his machine and leaves, heading toward Nashville.

	CUT TO:

47	INT. BAPTIST HOSPITAL - AFTERNOON

	BARBARA JEAN is in bed. A DOCTOR is there, along with a crowd of 
	publicity people and well-wishers, including: TRIPLETTE, REESE, 
	BUD. BARNETT hovers over BARBARA JEAN. The atmosphere is 
	stifling.

					DOCTOR
			Barbara, I'd like to talk to you 
			and Barnett alone.

					BARNETT
			Anything you say.

	He turns to the visitors.

					BARNETT
			Doctor says you'll have to go on 
			out now

	There are tones of disappointment, most of them are very involved 
	in their own conversations. TRIPLETTE walks toward the bed, but 
	can't really get close enough. He finally captures BARNETT as 
	the people start to leave.

					TRIPLETTE
			Excuse me, Barnett, how's she 
			doing?

	BARNETT turns and studies him for a moment as though he remembers 
	who he is. He doesn't.

					TRIPLETTE
			I'm sorry. I feel as if I know you. 
			I'm John Triplette... a friend of 
			Del Reese... I was at the airport. 
			I just wanted to introduce myself. 
			I'm a great fan of hers. If there's 
			anything you need, just give me a 
			call. I'm at the Sheraton South.

					BARNETT
			She's going to rest now.

					TRIPLETTE
			Okay, I just wanted to see if I 
			could help out at all.

	The crowd is almost out of the room now. We see GLENN there as he 
	steps into the hallway.

					BARNETT
			I appreciate your concern, but she 
			has to rest, so you can go on home.

					TRIPLETTE
			Oh, sure.

	He stands there too long.

					BARNETT
			What do you really want?

					TRIPLETTE
			Not a thing, Barnett, really. I 
			need a little information. But, ah, 
			it can wait.

					BARNETT
			You bet.

					TRIPLETTE
			Okay. Thanks.

	BARNETT says "you bet" again and closes the door after TRIPLETTE. 
	BARNETT returns to the bed with BARBARA JEAN and the DOCTOR.

					DOCTOR
			Well, it's exhaustion, pure and 
			simple, and you're going to have to 
			take a rest or you're going to be in 
			big trouble.

					BARNETT
			She has to be at the opera tomorrow 
			night and then she can go home.

					DOCTOR
			She's not going anywhere, Barnett. 
			This is precisely what I'm talking 
			about. She is collapsing. She 
			cannot go on without a rest or she 
			will have to stop altogether for a 
			long time.

					BARBARA JEAN
			Well, I have to go:  It's too late 
			to be replaced, and, besides, I just 
			can't do that. Those people get 
			disappointed. They've come in from 
			all over, you know, and this Miss 
			Foxy who's been writing to me for 
			years is going to be there from 
			Michigan.

					DOCTOR
			You cannot leave this bed until I 
			say so. The two of you have to 
			understand that. Barnett, you've 
			got to stop this dovetailing and 
			give her some rest. You don't need 
			to make that much more money.

					BARNETT
			It's not the money. The friends 
			and neighbors love her and they want 
			to see her. We got a debt to the 
			public.

					DOCTOR
			Well, they are not going to see her 
			tomorrow night, and I suggest you 
			get on the phone and make the 
			necessary arrangements.

	CUT TO:

48	INT. HOSPITAL CORRIDOR

	A few of the people still remain, among them GLENN, who has just 
	finished another postcard. Near BARBARA JEANS' hospital room in 
	MRS. GREEN'S. GREEN is visiting her now and LA. JOAN waits in 
	the hall, smoking a cigarette. BUD is talking with a few people. 
	L.A. JOAN brings out a new cigarette and asks GLENN for a 1ight. 
	He doesn't have one, so she moves to BUD. She scares him, but he 
	lights her fresh cigarette anyway. She asks him for a ride, and 
	they leave together as GREEN comes out. GREEN begins to look for 
	L.A. JOAN.

	CUT TO:

49	EXT. DEMON'S DEN - NIGHT

	TRICYCLE MAN parks in front. He enters.

50	INT. DEMON'S DEN - NIGHT

	SUELEEN is auditioning. The TRICYCLE MAN goes to the bar and 
	listens. He is one of the few people who do. SUELEEN directs 
	her performance to him.

	Also at the bar is TOM, being interviewed by OPAL.

					TOM
			We just got a gold record.

					OPAL
			Do they have a show to give it to 
			you?

					TOM
			No  Hell, some secretary in New 
			York just hands it to you. Only 
			this one kept dropping it out of the 
			box.

					OPAL
			Did it break?

					TOM
			Dent it a little. Boy -- just she 
			couldn1t even find it. She had a 
			hamburger on her desk that looked 
			three weeks old.

					OPAL
			How long have you been together?

					TOM
			Probably a little too long.

					OPAL
			Do you study at all?

					TOM
			Depends on what I'm studying.

	STAR is down at the end, drinking alone and looking for 
	ALBUQUERQUE. The phone rings and the MANAGER answers it.

	INTERCUT WITH: 

51	INT. LINNEA'S HOUSE - NIGHT

	Establish the REESES' relationship with their children. DELBERT 
	speaks to TRIPLETTE

					MANAGER
			When do you need her?

					DELBERT
			Monday night.

					MANAGER
			You want her to sing, too?

	Sueleen has finished her song and eavesdrops blatantly.

					SUELEEN
			I can do benefits

					MANAGER
				 (into phone)
			How much?

					DELBERT
			Twenty dollars for her and ten for 
			you.

	The MANAGER keeps looking at SUELEEN

					MANAGZR
			Well, do you want a blonde?

					DELBERT
			How does she look?

					MANAGER
			You know... blonde.

					DELBERT
			Okay, I'll get you your money.

	Both hang up the telephones.

52	INT. DEMON'S DEN

	The MANAGER carefully looks at SUELEEM.

					MANAGER
			I can only give you fifty a week 
			here and ten bucks for the benefit.

					SUELEEN
			Money's no object.

	She kisses his cheek. He hates it. He writes on a piece of 
	paper.

					MANAGER
			You go here Monday night and be 
			there at eight sharp and look flashy 
			you know what I mean?

	She nods "yes" and takes the paper.

					MANAGER
			Are you sure you know what you're 
			doing?

					SUELEEN
			Hundreds of times.

					MANAGER
			Well, there's a couple of girls in 
			Printers Alley if you got any 
			questions. I know I've seen that G-
			string stuff for sale someplace 
			around.

					SUELEEN
			Don't you worry about Sueleen Gay.

	She isn't convincing.

					MANAGER
			That's for sure. At the airport - 
			that's where it was. At the 
			airport, there in one of those gift 
			shops... Anyway, you better take a 
			break.

					SUELEEN
			Thanks. You are just a wonderful 
			person.

53	ANOTHER ANGLE

	ALBUQUERQUE enters. STAR sees her and chases her outside. 

54	EXT. DEMON'S DEN

	STAR hits the pavement, but there is no sign or ALBUQUERQUE. He 
	stands there as BUD and L.A. JOAN enter.

55	INT. DEMON'S DEN - NIGHT

	BUD and L.A. JOAN go to the bar as SUELEEN sings another song. 
	TOM has moved away from OPAL to the telephone.

56	INT. LINNEA'S HOUSE - NIGHT

	DELBERT, TRIPLETTE, LINNEA and the kids are eating. The phone 
	rings. LINNEA answers it.

	INTERCUT:

					LINNEA
			Hello.

					TOM
			Linnea?

					LINNEA
			Yes. Who's this?

					TOM
			I'm here.

					LINNEA
			Who is this?

					TOM
			Tom. You remember?

					LINNEA
				 (concealing her 
				 laughter)
			I'm not sure. Where?

					TOM
			Remember, about a month ago, your 
			church choir cut a record?

					LINNEA
			Yes.

					TOM
			Well, I met you that afternoon in 
			the control room and we...

					LINNEA
			Oh, Tom, of course. What are you 
			doing in Nashville?

	T0M
	Cutting a record.

	Pauses.

					TOM
			I'd really like to see you.

					LINNEA
			Or course. You should come over to 
			the house. The boys would love to 
			meet you.

					TOM
				 (laughs)
			That's not quite what I had in 
			mind.

	She tries not to hear what he's saying.

					LINNEA
			Well...How have you been?

					TOM
			Well, they removed my heart last 
			week, but I'm doing fine except my 
			nose fell off. Looks a little 
			funny.

	She laughs.

					TOM
			Look, I find you attractive and I 
			want to see you, so I'll call you 
			when I get to my place.

	He hangs up the phone. LINNEA looks at the dinner table and 
	DELBERT and the kids.

57	INT. DEMON'S DEN - NIGHT

	TOM moves back to the bar and OPAL. L.A. JOAN has found the 
	TRICYCLE MAN more interesting than BUD and slides close to him. 
	BUD takes the opportunity to sneak out.

	CUT TO:

58	INT. NASHVILLE LOUNGE - NIGHT

	NORMAN is on stage doing his routine, a series of imitations and 
	jokes, with help from Bluegrass pickers, who introduce him to the 
	audience. BILL and MARY are in the audience, watching NORMAN. 
	At another table sit BARNETT, TOMMY BROWN, PEARL, HAVEN 
	negotiating a deal and watching NORMAN as a potential warm-up 
	act. They think he stinks

59	ANOTHER ANGLE

	KENNY enters with his violin case and sits. Near the back WADE 
	is drunk, leaning against the wall. ALBUQUERQUE enters from the 
	back door. She hangs around the kitchen, stealing food. WADE 
	notices her and starts to talk to her.

					WADE
			Hey, what are you doing?

	ALBUQUERQUE pretends she's fixing her purse.

					ALBUQUERQUE
			Just fixing this strap here 

					WADE
			I know what you're doing. I've 
			done it too long not to know. But if 
			you're going to hunt down food, get 
			enough so you won't have to do it 
			again right away. Peanut butter's 
			good. Man can last a long time on 
			peanut butter.

	ALBURQUERQUE can't find any, so she grabs whatever she can that 
	will fit into her purse.

60	ANOTHER ANGLE

	NORMAN caters his material to TOMMY BROWN, hoping to get the Job.

					WADE
				 (quite drunk and 
				 yelling)
			Tommy Brown, you are the whitest 
			nigger I have ever seen.

	TOMMY turns in his chair and looks at WADE. BARNETT leans into 
	TOMMY.

					BARNETT
			Let's go --

	TOMMY
	I don't think Norman's done yet.

					BARNETT
			We've heard enough. Come on.

					WADE
			Hell, you're whiter than that old 
			boy up there.

	TOMMY and BARNETT leave.

					WADE
			Where the hell are you going, Oreo 
			cookie?

	The Bluegrass players pick up the tempo by playing music. KENNY 
	tries to calm WADE down, but WADE belts him. NORMAN sings the 
	National Anthem. PEARL gets mad and tosses WADE out the back 
	door. ALBUQUERQUE goes after WADE to soothe him. BILL, MARY and 
	NORMAN leave together out the front. ALBUQUERQUE watches from the 
	alley.

61	EXT. NASHVILLE LOUNGE - NIGHT

	MARY mothers NORMAN. BILL, MARY and NORMAN enter the limo, 
	leaving KENNY behind. STAR drives up. He recognizes KENNY from 
	the freeway

					STAR
			Hey, there - You seen my Winifred?

					KENNY
			No.

					STAR
			You got a place to stay?

					KENNY
			No. Probably stay at a motel 
			tonight.

					STAR
				 (looking at 
				 violin case)
			You in music?

					KENNY
			No.

					STAR
			Get in.

	KENNY climbs in.

	CUT TO:

62	EXT. BAPTIST HOSPITAL - NIGHT

	TRICYCLE MAN drives L.A. JOAN to the hospital. She climbs off 
	his machine.

					L.A. JOAN
			I hope he's still here. I don't 
			know where he lives.

	GREEN comes out of the hospital and walks over. He is hurt

					GREEN
			You should have stayed. Ester's 
			been wanting to see you.

	They walk off to GREEN'S car. TRICYCLE MAN drives oft. 

63	EXT. HOSPITAL - NIGHT

	GLENN is in the middle of the rose garden gathering a bouquet of 
	flowers. When he finishes, he enters the building.

64	INT. HOSPITAL - NIGHT

	GLENN walks past the desk, holding the bouquet so no one will see 
	it. He enters the elevator.
	PAGE MISSING

71	INT. GAS STATION BATHROOM - MORNING

	in the most despicable kind of condition. ALBUQUERQUE wades 
	through the waste, uses the John, then discovers it won't flush. 
	She goes to wash her hands but there is only a trickle. She 
	takes some Kleenex from her purse and dries her face and hands, 
	exiting the bathroom with the key still in the door.

	CUT TO:

72	INT. BARBARA JEAN'S HOSPITAL ROOM - MORNING

	GLENN eases out of the chair where he has been sitting all night. 
	He has been writing a letter and puts it near the glass of 
	flowers. He looks at BARBARA JEAN for the last time, puts the 
	chair back, and leaves, bumping into an entering NURSE.

					NURSE
			Who are you?

	GLENN is too scared to say anything and takes off down the hall. 
	The NURSE checks BARBARA JEAN and lets it go at that.

	CUT TO:

73	INT. TOM'S MOTEL ROOM - MORNING

	TOM is in bed with OPAL. He gets up and goes to the window. We 
	see the TRICYCLE MAN'S machine parked outside.

					OPAL
			Come on back to bed.

					TOM
			Yeah, you bet. You're really 
			terrific. You know what I mean?

					OPAL
			Come on.

					TOM
			Just a minute.

	He goes to his Jacket and pulls out a phone number, then starts 
	to dial.

					REESE (V.0.)
			Hello.

					TOM
			Hiya. Listen, is Linnea there?

	There is a long pause. 

					LINNEA (V.0.)
			Hello.

					TOM
			Hi.

	Another long pause.

					TOM
			Listen, 1'm sorry I didn't call a 
			little sooner. I sorta got tied up. 
			Listen...

	OPAL is getting dressed and gathering her things.

					LINNEA (V.O.)
			Who is thin?

					TOM
			Who is this?  It's Tom.

					LINNEA (V.0.)
			I don't know who you are.

					TOM
			What do you mean?  You said you 
			wanted to see me.

	OPAL is almost ready to leave. She sees the tricycle parked 
	outside. LINNEA has hung up on TOM and he dials again.

					TOM
			What the hell is going on?

					REESE (V.0.)
			What is this?

					TOM
			I would like to talk to...

					REESE (V.O.)
			You call again and I'm calling the 
			police.

	The phone is hung up in TOM'S ear. TOM studies the phone number 
	for an instant, then tosses it in the ashtray. OPAL has left and 
	perhaps we even HEAR the ROAR of the tricycle.

	CUT TO:

74	EXT. ROOMING HOUSE - MORNING
	KENNY stands on the front porch or one of the many rooming houses 
	near Music Row. GREEN opens the front door. He is with his dog. 
	We HEAR L.A. JOAN SINGING from another room.

					GREEN
			Yes, air.

					KENNY
			Yes, sir.

					GREEN
			Can I help you?

					KENNY
			Yes, sir. I need a room

					GREEN
			I think we can do that. Come in.

75	INT. GREEN HOUSE - MORNING

	KENNY follows GREEN down the hall.

					GREEN
			Green's the name.

	They shake hands.

					KENNY
			Kenneth Fraser. Glad to meet 
			you...

	L.A. JOAN'S VOICE gets louder.

					GREEN
			My wire's been in the hospital so 
			things might be a little dusty, but 
			the sheets are clean and the bath's 
			down the hall.
				 (looks at Kenny's 
				 violin case)
			You're in music, I guess, aren't 
			you?  'Cause my niece sings most of 
			the day. That won't bother you, 
			will it?

	KENNY starts to answer.

					GREEN
			I didn't think it would. She's 
			calling herself L.A. Joan this- 
			week. Last week it was Dakota. 
			Guess if you have to change your 
			name a state's as good as anything.

					KENNY
			She sure sings nice.

					GREEN
			My wife and I think so, but we're 
			family. Your family's always good 
			or bad depending on how you look at 
			your family. What do you do, pick or 
			sing?

					KENNY
			Oh... a little of both. Just 
			thought I'd look around at Nashville 
			for a while.

	GREEN doesn't hear him. L.A. JOAN wanders in and out, catching 
	KENNY'S eye.

					GREEN
			When you run out or money, 'cause 
			you will here, you can go sing at 
			Bishop's Pub. They let you pass the 
			hat. All these kids do that. Most 
			every place doesn't want to bother 
			with you.

					KENNY
			I'm not really a musician.

	GREEN smiles.

					GREEN
			Well, don't be shy. I got the 
			address here. Anytime you need it. 
			Room's twenty-five dollar! a week 
			and you can have breakfast with me 
			if you like.

					KENNY
			Suits me.

	He hands over the money.

					KENNY
			Listen, do you know anything about 
			cars?

					GREEN
			A little. What do you need?

76	ANOTHER ANGLE

	As KENNY starts to explain, L.A. JOAN appears.

					GREEN
				 (to Joan)
			Get ready. We're going to the 
			hospital.

	JOAN eyes KENNY and moans that she doesn't want to go. GREEN gets 
	firm.

					GREEN
			we're going.

	CUT TO:

77	INT. VARSITY RECORDING STUDIO - DAY

	We are inside a recording studio LOOKING INTO the glass booth. 
	There is an ENGINEER in the booth.

					ENGINEER
			You'll have to stand closer to the 
			mike.

	ALBUQUERQUS stands with some papers. 

					ENGINEER
			You've only got time for one more 
			take, unless you've got another 
			twenty-five dollar!.

	she shakes her head, "No" and moves closer to the mike.

					ALBUQUERQUE
			Oh, don't you worry. You sure done 
			your best. It'll be fine. I just 
			know it.

					ENGINEER
			Okay, you're on.

	She smiles at the backup trio: bass violin, piano, violin.

					ALBUQUERQUE
			Hi... This here is Albuquerque 
			speaking. You don't know me yet but 
			ya will after I sing you this song 
			that I've wrote called...

	We HEAR the intro and she begins.

	After the song finishes, the trio ends and the red light goes 
	out. The PLAYBACK BLARES.

					ENGINEER
			Okay, come in the booth. You'll 
			have to wait for the disc.

	CUT TO:

78	EXT. BAPTIST HOSPITAL

	STAR drives past, looking for ALBUQUERQUE as GREEN'S car parks 
	and he and JOAN enter the hospital.

79	INT. HOSPITAL - DAY

	GLENN is there writing yet another post card. GREEN and JOAN 
	enter. JOAN eyes GLENN. GREEN talks to the NURSE. He carries 
	flowers.

					NURSE
			HI. Look at those flowers. Did 
			you grow those.

					GREEN
			Ester and me did;  My niece picked 
			then. She's just here from 
			California.

					NURSE
			That's good,  I've never seen 
			anything so healthy.

	He hands one to her.

					NURSE
			You sit there for a moment and let 
			me see if she's sleeping.

	GREEN goes over and joins GLENN and JOAN in the waiting area.

80	ANOTHER ANGLE

	JOAN is coaxing GLENN into going to the Opera.

					GREEN
				 (to Glenn)
			Excuse me. Are you in music?

					GLENN
			No.

					GREEN
			Well, neither am I. But my niece 
			is.

	CUT TO:

81	BARBARA JEAN'S ROOM - DAY

	BARNETT enters with a basket of fruit.

					BARNETT
			Wake up. You'll sleep the day 
			away.

	BARBARA JEAN rolls over and opens her eyes. She sees GLENN'S 
	flowers and the note that says, "When I die I want you to come 
	along and be an angel with me."

					BARNETT
			I called Connie and she said not to 
			worry, She'll fill in for you.

					BARBARA JEAN
			I see.

	She gets out of bed and goes to the bathroom.

82	INT. BATHROOM - DAY

	BARBARA JEAN suddenly starts to cry loudly. She covers the SOUND 
	by FLUSHING the TOILET. When that cycle fades, she FLUSHES 
	again.

	CUT TO:

83	EXT. KING OF THE ROAD - AFTERNOON 

	NORMAN drives up and enters.

84	INT. KING OF THE ROAD - AFTERNOON 

	NORMAN picks up the house phone, then sees MARY.

					NORMAN
			Sorry I'm late.

					MARY
			You're not.

					NORMAN
			Where's Bill?

					MARY
			Sleeping.

					NORMAN
			Where are you going?

					MARY
			Out.

	She exits without stopping.

	CUT TO:

85	EXT. HAVEN'S HOUSE - AFTERNOON

	OPAL is driven up to the house by the TRICYCLE MAN. 

86	INT. HAVEN'S HOUSE - AFTERNOON

	BUD gives OPAL a tour of the house. She carries her big 
	recorder.

					BUD
			He got killed at a turkey shoot.

					OPAL
			Your brother?

					BUD
			Yes. I was in my Sophomore year at 
			Harvard.

					OPAL
			Harvard?

					BUD
			Business School so I can run 
			Haven's business.

					OPAL
			What is a turkey shoot.

					BUD
			You go out in the woods and shoot 
			targets -- Whoever shoots the most 
			wins a live turkey

					OPAL
			How in the world did he get shot?

					BUD
			Some guy was drunk and hit him. 
			Accident. Haven almost killed him.

	DELBERT enters after having had a meeting with HAVEN in another 
	room.

					REESE
			Sorry to bother you, Bud.

					BUD
			Yes, sir. Like you to meet Opal.

	They nod.

					REESE
			Need to have you check these out 
			before he goes on that Walker 
			benefit.

					BUD
			Sure thing. Put them here... I'll 
			take them.

					REESE
			Thanks... I'll... go say hello to 
			your mom.

					BUD
			She's in Paris.

					REESE
			Oh... Well... Have you heard from 
			Barnett?

					BUD
			Not yet.

					REESE
			Let me know when you do, all right?

	REESE starts for another room.

					BUD
			You bet.

					REESE
			I'll just be in here.

	He catches OPAL'S eye and doesn't leave.

					OPAL
			Do you know Barbara Jean?

					BUD
			Sure do. Good friend of Haven's.

					OPAL
			Haven's not going to talk to me.

					BUD
			Sure he will.

	REESE looks at OPAL.

	CUT TO:

87	INT. TOM'S MOTEL ROOM - NIGHT

	We SEE TOM and MARY make love. Not a word is spoken.

	CUT TO:

88	EXT. OPERA-LAND - NIGHT

	TRICYCLE MAN arrives. So do REESE and OPAL. She records 
	everything he says, more for him than her. He talks about being 
	counsel for all the Western stars and WALKER, too -

89	INT. OPERA-LAND - NIGHT

	L.A. JOAN and GLENN are in the audience. KENNY sits near them. 
	STAR is present also.

90	INT. OPERA - BACKSTAGE - NIGHT

	ALBUQUERQUE sneaks in as the guards check TRIPLETTE'S ID. TOMMY 
	BROWN is backstage, next to perform. An ANNOUNCER introduces the 
	acts.

91	NEW ANGLE - TOWARD AUDIENCE

	ALBUQUERQUE looks to see who is present.

92	ANGLE BACKSTAGE

	CONNIE WHITE and her entourage are gathered. HAVEN, BUD and 
	PEARL talk. OPAL and REESE arrive. As TOMMY BROWN performs, 
	TRIPLETTE makes the rounds. OPAL comes near. They are handed 
	pieces of anniversary cake.

					OPAL
			Hi.

					TRIPLETTE
			Hello.

					OPAL
			I'm Opal.

					TRIPLETTE
			Oh yes, I'm John Triplette.

					OPAL
			I'm gathering information about the 
			characteristics of music people. I 
			just finished a documentary on 
			Gandi.

	He looks puzzled.

					OPAL
			The architect  His buildings are 
			drippy. You know, like sand and 
			castles. Then I got this 
			assignment. They want to start in 
			two weeks.

					TRIPLETTE
			Why?

					OPAL
			Why?

					TRIPLETTE
			What?

					OPAL
			What? Oh. A film.

	At this point, HAVEN walks up.

					BARNETT
			Where'd you get the cake?

	They are taken quite off guard.

					TRIPLETTE
			Someone gave it... Here, you want 
			this... I'll...

					HAVEN
			No.

	Somebody walks by and asks HAVEN how the PRESIDENT is.

					HAVEN
			A little worried. Fine, though.

	TRIPLETTE clears his throat and turns his back to HAVEN and 
	continues to talk to OPAL. HAVEN walks off.

					ANNOUNCER'S VOICE
			Ladies and gentlemen, Haven 
			Hamilton.

93	NEW ANGLE

	HAVEN grabs the mike and bursts into one of his more famous 
	songs, then overlaps it with another. At the finish, he accepts 
	applause and begins to speak about BARBARA JEAN.

					HAVEN
			We want to send special wishes to 
			Barbara Jean who is in the Baptist 
			Hospital. She collapsed yesterday 
			morning at the plane christening. 
			Send your prayers and letters to 
			Baptist Hospital, Nashville, 
			Tennessee. Barnett said she wept 
			because she couldn't be here with 
			you friends and neighbors. But your 
			faith in the great Almighty will 
			bring her back here just to be what 
			you want her to be... And her good 
			friend, Connie White, has given up 
			some time with her own mother, who 
			is sick with a kidney disorder, to 
			fill in and send her warmth to you 
			wonderful friends and neighbors so 
			you won't be too disappointed after 
			this message from teeth-sticken, 
			good, gooey clusters.

94	ANGLE TOWARD GLENN

	GLENN politely leaves when CONNIE WHITE is announced. The 
	TRICYCLE MAN takes his seat, next to L.A. JOAN.

	CUT TO:

95	INT. OPERA - ANGLE BACKSTAGE - NIGHT

	ALBUQUERQUE talks to two POLICEMEN.

					ALBUQUERQUE
			I know it's here somewhere. I had 
			it when I walked in, but you weren't 
			here. My name's Albuquerque, and 
			I'm here cutting a record. My 
			people said it would be all right.

	POLICEMAN
	Sorry, miss. No pass, no entrance. Your people should have given 
	you a pass.

					ALBUQUERQUE
			They did. I know I'll find it 
			here.

	We HEAR HAVEN'S VOICE from the stage.

96	NEW ANGLE

	CONNIE WHITE passes ALBUQUERQUE and the POLICEMEN on her way to 
	the bathroom. ALBUQUERQUE rushes up.

					ALBUQUERQUE
			Sister Connie... Connie. Hi, I saw 
			you out there. I just think you're 
			so beautiful. What do you think?  I 
			can't find my pass. I'm here 
			cutting a record, you know, and 
			these policemen here...

	The POLICEMEN standing right behind her. They all know she is 
	lying.

					CONNIE
			I'm so glad you come for a little 
			while, and thank you.

					ALBUQUERQUE
			I could just sit where I was. I 
			wasn't bothering anybody. That guy 
			asking everybody questions made more 
			noise than I ever did. You saw me 
			there. You signed this program.

	A MAN walks into the group.

					MAN
			Miss Connie, you're next.

	CONNIE smiles and squeezes ALBUQUERQUE'S hand.

					CONNIE
			Oh, honey, I gotta go. Thanks for 
			coming. You read what I wrote you 
			now.

					ALBUQUERQUE
			I did. You said, 'your friend, 
			Connie.'

	CONNIE has disappeared and the POLICE start to usher out 
	ALBUQUERQUE. She tries to see and hear as:

97	INT. OPERA - STAGE AREA - NIGHT

	Connie White starts to sing. She does a few of her tunes.

	CUT TO:

98	EXT. OPERA - NIGHT

	TRICYCLE MAN is the first to leave. He's with L.A. JOAN. After 
	they drive away, there is an exodus.

99	INT. OPERA - NIGHT

	After everyone else has gone, KENNY sits alone in the audience.

	INTERCUT WITH
	SEQUENCE IN OPERA:

100	INT. SUELEEN'S MOTEL APARTMENT - NIGHT

	SUELEEN is in her mirror applying a whole face based upon the 
	stars of the forties. She is listening to the OPERA ON the RADIO 
	and eating pork and beans and tuna from cans. Her room is tilled 
	with photographs of herself and Catholic symbols. She goes to 
	the closet and selects a gown. She is preparing an outfit and 
	face for the benefit.

	CUT TO:

101	INT. BAPTIST HOSPITAL - BAAHARA JEAN'S ROOM

	We HEAR the tail end of CONNIE WHITE'S SONG on the radio. BARNETT 
	is intently listening.

					BARBARA JEAN
			Would you turn that off

	He continues to listen until the end.

					BARBARA JEAN 
			Barnett, please -

					BARNETT
			What's wrong honey.

					BARBARA JEAN
			I don't want to listen to her sing 
			-

					BARNETT
			Don't feel that way, honey.

					BARBARA JEAN
			Then why are you listening to her -

					BARNETT
			Well, I have to go thank her for 
			filling in and it's nice to know the 
			tune she sang.

					BARBARA JEAN
			You have to what?

					BARNETT
			Go to the King Of the Road and 
			thank her.

	BARBARA JEAN gets up out of bed.

					BARBARA JEAN
			Well here, why don't you take her 
			some of these flowers while you're 
			at it.

	She begins pulling flowers from various vases.

					BARBARA JEAN
			Maybe you'd like to work out 
			something with her, too... Split us 
			up... Her on the road and me in town 
			or in the hospital --
				 (she wails)
			Barnett!

	She sits down on the floor at the foot of the bed and begins to 
	cry. BARNETT backs off. If she was hoping for understanding, 
	she is not about to receive it.

					BARNETT
			What the hell is wrong with you?  
			Huh?

	He bends down and looks at her with the eyes of a race horse 
	owner whose investment Just collapsed in the stretch.

					BARNETT
			Wait a minute. You're not going 
			nutsey on me, are you?  Huh...? 
			You're not going to have one of 
			those nervous breakdowns or 
			anything, are you?

	Afraid she has gone too far, BARBARA JEAN stops crying and tries 
	to make everything all right. But she is still choking in her 
	own panic of being left.

					BARBARA JEAN
			A... No... No, I'm just... I'm 
			really fine... I just.
				 (she gets up)
			don't want you to think I'm giving 
			up or anything like that...

	BARNETT looks at her as if from now on he will suspect her of 
	secretly being crazy. He begins to pick up the flowers from the 
	floor.

					BARNETT
			I'll just take these on over to 
			her. Show her your appreciation.

	BARBARA JEAN crawls numbly back into her bed, nodding 
	affirmatively.

					BARBARA JEAN
			Sure... you go on and do that.

	She begins to shiver. BARNETT looks at her, but he makes no 
	attempt to come any closer.

					BARBARA JEAN
				 (very small)
			Barnett?

	He leans in and pats her arm gingerly.

					BARNETT
			I'll tell her thank you, for you.

	BARBARA JEAN nods affirmatively, still shivering.

					BARBARA JEAN
				 (please hold me 
				 voice)
			Barnett?

					BARNETT
			What?

	She senses he can't go any further.

					BARBARA JEAN
			Bye, bye.

	He looks at her again and leaves.

					BARNETT
			Bye. bye.

	He is not out the door before the tears begin again and she turns 
	into her pillow so he won't hear her.

102	INT. HOSPITAL CORRIDOR

	GREEN has come from his wife's room. He sees BARNETT walk down 
	the hall. After a moment's deliberation, GREEN enters BARBARA 
	JEAN'S room.

103	INT. BARBARA JEAN'S ROOM

	We SEE GREEN come in the door. BARBARA JEAN is sti1l trying to 
	control herself, but is not having much luck with it.

					BARBARA JEAN
				 (to the pillow)
			I just get so afraid sometimes. 
			Then I get more afraid. : Just want 
			you to hold me.

	MR. GREEN can't bear what she's saying. He hesitates for a 
	minute and then figures what the hell.

					GREEN
			Hello.

	She freezes, thinking BARNETT has come back and she will be 
	discounted as totally insane.

					GREEN
			Am I disturbing you?

					BARBARA JEAN
			I'm really all right, Barnett. 
			Don't you worry really... I just 
			don't want you to leave me that's 
			all.

	She turns and screams at GREEN.

					BARBARA JEAN
			Oh, my God.

	She scares GREEN, too, but he recovers better.

					GREEN
			Oh, honey, I didn't mean to scare 
			you.

					BARBARA JEAN
			How did you come in here?

					GREEN
			Well, my wife, Ester's down the 
			hall. I saw Barnett leaving and I 
			was just talking to Ester about your 
			being here.	She loves you so much, 
			I just had to come down and say 
			hello. We've been following you 
			since you were a girl. Well, I just 
			scared you to death. I didn't mean 
			to do that.

	She listens to him. The words somehow comfort her and she begins 
	to laugh.

					BARBARA JEAN
			Well, I guess you caught me at a 
			weak moment.

					GREEN
			You'll have to speak up.

	Realizing he can't hear too well makes her feel a little more 
	secure.

					BARBARA JEAN
				 (louder)
			I said, I've been real tired.

					GREEN
			Eater  says she doesn't see how you 
			do it.

					BARBARA JEAN
				 (loudly)
			What's wrong with her.

					GREEN
			Oh just about everything, I guess. 
			Those doctors started on an overhaul 
			and don't want to quit. They keep 
			taking things out. She's going to 
			come home an egg shell. Tough, 
			though.. She's tough.

					BARBARA JEAN
			What did you say your name was?

					GREEN
			Green.

	BARBARA JEAN Well, Mr. Green, you tell those doctors to stop that 
	whittling and get her some Vitamin E. Have her take that three 
	times a day, along with some good meals. If I could cook for 
	her, she'd be well in a minute.

	A NURSE enters.

					NURSE
			Well, Mr. Green.

					GREEN
			Hi, Sherry.

					NURSE
			How'd you get in here.

					BARBARA JEAN
			It's fine. We were just talking 
			about Vitamin S.

					GREEN
			I'll go on. Ester'1l be very glad.

					BARBARA JEAN
			You remember what I said about the 
			Vitamins.

	She watches as he leaves, sorry to see him go.

	CUT TO:

104	INT. LINNEA'S HOUSE - NIGHT

	LINNEA is getting ready for bed. She wishes TOM would call. The 
	PHONE RINGS.

					LINNEA
			Hello.

					WOMAN'S VOICE
			Linnea?

					LINNEA
				 (disappointed)
			Yes.

					WOMAN'S VOICE
			You sound different. Is that 
			really you?

					LINNEA
			It's me. What is it?

					WOMAN'S VOICE
			Can you make a rehearsal in the 
			morning...?  Courtland wants to...

					LINNEA
			What time?

					WOMAN'S VOICE
			Eight-thirty in the chapel.

					LINNEA
			I'll be there.

	She hangs up and sighs.

	CUT TO:

105	INT. KING OF THE ROAD LOUNGE - NIGHT

	NORMAN and BILL are there. An ENTERTAINER is singing the CONNIE 
	WHITE song that CONNIE is doing at the Opera. BILL is eager to 
	know where MARY is.

					NORMAN
			Maybe she's at the Opera.

					BILL
			Why the hell would she be there?

	NORMAN shrugs.

106	NEW ANGLE

					BILL
			You know goddamn well where she is.

	BARNETT, with the flowers, enters and sits in the lounge. 

107	ANOTHER ANGLE

	It is getting crowded by people returning from the Opera.

	OPAL is on one of the house phones, talking to Paris. We can also 
	HEAR the HOUSE PHONE OPERATOR behind the switchboard desk. OPAL 
	speaks in a combination of English and French. She isn't saying 
	much in one language and she might just be talking to the 
	OPERATOR, but is sounds impressive.

108	NEW ANGLE

	CONNIE WHITE and her group step into the lobby. The MC in the 
	lounge, spots her and coaxes her into taking the stage and 
	singing one of her hits. When she finishes, BARNETT walks up and 
	thanks her, handing her the flowers. Meanwhile, HAVEN, who is 
	there with BUD and PEARL, tells TRIPLETTE that CONNIE and BARBARA 
	JEAN will replace each other, but never appear on the same bill. 
	After BARNETT exits, CONNIE leaves with HAVEN, BUD, PEARL and 
	TRIPLETTE. OPAL is still on the phone, now speaking in Ita1ian.

109	NEW ANGLE

	As CONNIE and group step out of the lounge, MARY enters. BILL and 
	NORMAN see her. BILL reacts.

	END OF TUESDAY.

	CUT TO:

110	VARIOUS SHOTS - MORNING 

	CHURCH BELLS RINGING.

111	EXT. STREETS - MORNING

	TRICYCLE MAN drives past the different churches. 

112	EXT. BAPTIST CHURCH - MORNING

	DELBERT enters with his two kids. ALBUQUERQUE watches.

113	INT. BAPTIST CHURCH - MORNING

	DELBERT sits. HAVEN and BUD are among those in attendance.

	CUT TO:

114	EXT. BLACK CHURCH  - MORNING

	TRICYCLE MAN drives by as TOMMY BROWN enters.

115	INT. BLACK CHURCH  - MORNING

	TOMMY sits. LINNEA sings in the all-black choir. OPAL is there 
	with her tape recorder doing research.

116	INT. CATHOLIC CHURCH - MORNING

	We SEE the TRICYCLE MAN outside. Present inside are SUELEEN, 
	STAR, PEARL and WADE.

117	INT. BAPTIST HOSPITAL - MORNING

	A small chapel service for patients and families. FEATURED are 
	BARBARA JEAN, BARNETT, GREEN and GLENN.

	CUT TO:

118	INT. KING OF THE ROAD MOTEL ROOM - MORNING

	BILL and MARY are having a violent fight, broken dishes and all. 
	BILL throws something else.

					BILL
			Bastard

					MARY
			Stop it!

	She spins him around, but he tosses her onto the bed. He calls 
	her all kinds of things. The PHONE RINGS. BILL wants it to be 
	TOM, so he can yell at him, too.

					BILL
			Tom!

					TRIPLETTE'S VOICE
			No, ah, Bill?

					BILL
			What?

					TRIPLETTE'S VOICE
			I'm with ABC-TV. Like to come up 
			and talk to you for a minute if I 
			could.

	BILL starts to laugh. TRIPLETTE starts to laugh. BILL stops

					BILL
			Sure.

	He hangs up the phone and goes to the mirror, yelling at MARY. 
	Momentarily, there is a KNOCK on the door.

119	NEW ANGLE

	BILL walks to the door and opens it on TRIPLETTE'S sincere smile 
	and extended hand.

					TRIPLETTE
			Hi. I'm John Triplette.

					BILL
			Hi. Come on in. Mary!

	TRIPLETTE enters the room and starts to take it in. MARY comes 
	from the bathroom, her face swollen. BILL and MARY act as if 
	nothing has happened.

					TRIPLETTE
			Hello. John Triplette.

					MARY
			Hello.

					TRIPLETTE
			Glad to meet you.

					BILL
			You want anything?  A drink?

					TRIPLETTE
			Oh, no, listen, I don't want to 
			take up too much of your time.

					BILL
			Don't you worry. We're just having 
			a quiet Sunday at home.

	TRIPLETTE laughs nervously.

					TRIPLETTE
			Well, I'm here putting together a 
			show. It's a benefit really.

					BILL
			Whose?

					TRIPLETTE
			Hal Phillip Walker.

					MARY
			Oh, no.

					TRIPLETTE
			He's pretty well known down here.

					BILL
			He's pretty well known all over.

	TRIPLETTE laughs again. BILL and MARY will be tough to convince.

					TRIPLETTE
			I was wondering if you'd like to be 
			in it. It's going to be televised 
			and...

	BILL lights a cigarette and takes a shot of tequilla out of the 
	bottle on the floor.

					BILL
			What's he running for?

					TRIPLETTE
			President.

					MARY
				 (horrified)
			President?

					BILL
			When is it?

					TRIPLETTE
			Wednesday at the park. We've got a 
			lot of names coming in...

					MARY
			For him?

					TRIPLETTE
			Yes.

	MARY smiles.

					MARY
			Well, we can't. We're registered 
			Democrats.

	BILL ignores her.

					BILL
			National television?

					TRIPLETTE
			ABC.

					BILL
			How much?

					TRIPLETTE
			Minimum.

	MARY looks at BILL.

					MARY
			We can't support him  We're 
			registered Democrats.

	BILL begins the fight again.

					BILL
			It's an appearance. It has nothing 
			to do with support. I don't even 
			like him.

					MARY
			Bill, he's a crazy man.

	TRIPLETTE moves in fast.

					TRIPLETTE
			Well, he- expressed a particular 
			wish to have you on.

	They stop and look at him suspiciously.

					MARY
			What for?

					TRIPLETTE
			You're real favorites of his.

	They seem to change viewpoints in a moment.

					MARY
			You're kidding.

					BILL
			How come?

	TRIPLETTE settles in like they were old friends.

					TRIPLETTE
			First you have to understand how 
			much he admires you.

	MARY and BILL get caught up in the sincerity. 

					TRIPLETTE
			You sing for people and that's what 
			he's about. He wants to help 
			people. Especially now, you know.

	BILL bypasses all the talk about WALKER.

					BILL
			Where'd he ever see us?

					TRIPLETTE
				 (bluffing)
			D.C.

					BILL
			D.C.?  Tammany Hall?  He came 
			there?

					TRIPLETTE
			Sure thing.

					MARY
			What National TV...?

					TRIPLETTE
			You're doing some recording here, 
			aren't you?

					MARY
			An album.

					TRIPLETTE
			Might be good for you.

	BILL takes another shot of tequilla.

					BILL
			We'll sing.

	TRIPLETTE shakes his hand.

					TRIPLETTE
			You don't know how pleased he'll 
			be.

					MARY
				 (can't believe 
				 it)
			What!

	BILL ignores her.

					BILL
			Okay.

					TRIPLETTE
			Okay.

	They shake.

	CUT TO:

120	INT. TOM'S MOTEL ROOM - DAY

	TOM is having a serious attack of too much of everything. He 
	takes a handful of vitamins, some aspirin and follows it with a 
	couple of uppers. Then he looks for LINNEA'S phone number. 
	There is a KNOCK on the door.

					TOM
			Come on in.

	NORMAN enters and they shake.

					TOM
			How's your stomach?

					NORMAN
			Pretty good. Sure was surprised to 
			hear from you. You talk to Bill?

					TOM
			Not yet. Listen, Norman, I want...

					NORMAN
			They're looking all over for you. 
			Do you have a copy of the album.

	TOM hands over a copy of their last album.

					NORMAN
			You know Bill is really mad at you.

					TOM
			Oh?

					NORMAN
			I mean...

					TOM
			Mary?

	TOM looks NORMAN down. NORMAN cheerfully changes the subject.

					NORMAN
			You know, I've got my own act now. 
			I'm going on tour.

	TOM has found the phone number and dials.

					TOM
			Good...

121	INT. LINNEA'S HOUSE - DAY

	The PHONE RINGS but no one answers.

122	INT. TOM'S ROOM - DAY

					NORMAN
			Listen, Tom, I have a tour to 
			drive.

	CUT TO:

123	INT. KENNY'S ROOM - DAY

	We HEAR JOAN singing from her room. GREEN'S dog is on the bed. 
	KENNY finds a dime, then steps into the hallway.

124	INT. HALLWAY

	KENNY calls his MOTHER collect in Indiana. After the rundown 
	with the operator, they finally speak.

					KENNY
			Mom?

					MOTHER (V.0.)
			I've been so worried, dear. where 
			are you?

					KENNY
			Nashville.

					MOTHER (V.0.)
			Oh... Well.

					KENNY
			The car broke down.

					MOTHER (V.0.)
			Oh, well, I knew that before you-
			even left. I told you, 'Kenny, that 
			old Nash won't make it down the 
			road.'  But you had to go.

					KENNY
			Well, I got to Nashville. That's 
			pretty far.

					MOTHER (V.0.)
			Next you'll be sick.

					KENNY
			I feel really good.

					MOTHER (V.0.)
			How are you going to pay when you 
			get sick?

					KENNY
			I'm in a rooming house with Mr. 
			Green.

					MOTHER (V.0.)
			Green?  Not Owen Green. Owen Green 
			embezzled money from your 
			grandfather

					KENNY
			I don't know his first name.

					MOTHER (V.0.)
			Bet the sheets are grey.

					KENNY
			No. No, they're white. He's got a 
			nice dog.

					MOTHER (V.0.)
			Worst time at year for dogs is when 
			they get fungus.

					KENNY
			Fungus?

					MOTHER (V.0.)
			He doesn1t have fungus, does he?

					KENNY
			I don't think so.

					MOTHER (V.0.)
			Well, you'll get it, skin as 
			sensitive as yours.

					KENNY
			How do you know if they do?

	He looks suspiciously at the dog in his room.

					MOTHER (V.0.)
			Weather's been awful. All those 
			bombs dropping. It changes our 
			weather. Sure not like the good old 
			days.

					KENNY
				 (still looking at 
				 the dog)
			Does their hair fall out?

					MOTHER (V.0.)
			Your hair fell out? Just like your 
			father. Weak hair.

	KENNY signals the dog to get off the bed. He's getting worried. 
	L.A. JOAN will have wandered in and out during this phone call.

					KENNY
			Listen. Maybe I should go...

					MOTHER (V.0.)
			I've been a Little dyspeptic.

					KENNY
			I want to get the dog off my bed.

					MOTHER (V.0.)
			But, I'll take some of that 
			Nyquil... you know it puts you right 
			to sleep no matter what's wrong, you 
			go right off...

	KENNY is really impatient to get the dog oft his bed.

					KENNY
			Okay. I'll be talking to you.

					MOTHER (V.0.)
			Keep warm, dear. Let me hear from 
			you.

					KENNY
			Bye.

					MOTHER (V.0.)
			Bye.

125	NEW ANGLE

	KENNY hangs up the receiver and starts for his room and the dog. 
	L.A. JOAN comes from her room and interrupts. She asks him where 
	he's going.

					KENNY
			I have to try to get my car 
			running.

					L.A. JOAN
			I'll go with you.

					KENNY
			Well, okay...

	CUT TO:

126	EXT. BAPTIST CHURCH - DAY

	LINNEA has come to join DELBERT and the kids. They enter an ante 
	room where coffee and snacks are served.

127	INT. ANTE ROOM - DAY

	ALBUQUERQUE is eating everything in sight. LINNEA approaches.

					LINNEA
			This your first time?

	ALBUQUERQUE'S mouth is full and she nods, "yes."

					LINNEA
			You're from out of town?

					ALBUQUERQUE
			Yes. I'm cutting a record.

					LINNEA
			We have a Bible study meeting 
			tonight if you'd like to come.

					ALBUQUERQUE
			Is there food?

					LINNEA
			No.

					ALBUQUERQUE
			Well, I just wondered 'cause being 
			from out or town I wouldn't be able 
			to make anything.

					LINNEA
			No, those are socials you're 
			thinking of... Saturday's usually.

	The MINISTER is nearby.

					MINISTER
			This is your first time, isn't it?

					ALBUQUERQUE
			Yes sir. I'm from Tallahassee.

					MINISTER
			I see.

					ALBUQUERQUE
			And I want you to know I round 
			Jesus today, right here.

					MINISTER
			Bless you. I hope we see you 
			again, then.

	He walks to the next person. ALBUQUERQUE passes LINNEA and 
	DELBERT and goes to the street.

	CUT TO:

128	INT. LIMO - afternoon

	NORMAN is giving TRIPLETTE a tour.

					NORMAN
			Now in the cemetery Roy already has 
			his stone, it's a fiddle... right as 
			you drive in you can see it in front 
			there.

					TRIPLETTE
			Oh?

					NORMAN
			Lot of them do. Fans start 
			chipping at them, though.... Johnny 
			cash has a $100,000 fence around his 
			house. Well, the fans are stealing 
			the rocks right out of it. Haven 
			Hamilton has a $700,000 fence. It 
			has spikes.

129	NEW ANGLE

	They pass a house with a red pickup truck in the driveway. 

					NORMAN
			That house over there is where I 
			live. The one with the red truck. 
			My aunt drives the school bus. 600 
			kids a day. 

	TRIPLETTE cranes to look as a car with "Just Married" and "We've 
	only just begun" painted on it drives by them. Norman looks at 
	it, too. 

					NORMAN
			Some black folks wanted to paint 
			this car once. I didn't let them. 
			They also wanted me to kiss the 
			bride. I declined. 

130	NEW ANGLE

	He makes another turn on to a street that looks like a series of 
	parks strung together. He slows down. 

					NORMAN
			In the city of Nashville, there are 
			a total of hundred and twenty 
			millionaires some of them inhabit 
			these beautiful home sites to make 
			Nashville known as the Athens of the 
			South. Here on the right you see 
			the home of Haven Hamilton's mother. 
			He built it for her after his Daddy 
			passed away three years ago of lung 
			cancer. Haven contributes time and 
			money to the cancer foundation, now. 
			You can see some of his records 
			handing there in the living room.

	TRIPLETTE struggles to see. NORMAN pulls up a little further and 
	stops.

					NORMAN
			Look, now you can see it.

	Sure enough you can.

					NORMAN
			He got that one in 1962. Song 
			called 'Smokey Heart.'

131	ANOTHER SECTION 0F ROAD - DAY

	The limo passes OPAL and continues down the road.

132	INT. STAR'S TRUCK - INTERSTATE 40 - AFTERNOON

	We SEE OPAL hitching a ride. He starts past, but she yells, 
	forcing him to stop.

133	NEW ANGLE

	OPAL opens the door and gets in.

					OPAL
			You weren't really going to drive 
			off?

	STAR just looks at her. She smiles back.

					OPAL
			My name's Opal. What's yours?

	STAR drives off.

					OPAL
			You going to Nashville?

	He grunts.

					OPAL
			Good. I came out here to meet some 
			underground singer. They say she 
			only writes in those trees over 
			there.

	There is a long pause. STAR doesn't respond, so OPAL continues.

					OPAL
			She never came. I'm trying to 
			gather some information about the 
			characteristics of music people for 
			English television. I started in 
			San Francisco. Some friends were 
			making an anti-war film about 'Nam, 
			you know, and I just love marine 
			movies. It is really the consummate 
			art form, all those parts of the 
			puzzle to make the whole. All that 
			energy being collective, you know 
			what I mean?

	She removes same of her clothes because or the heat 

					OPAL
			I've been all over the United 
			States now except for Maine and 
			Vermont.

	STAR looks at her body and changes lanes.

					OPAL
			What did you say your name was?

					STAR
			Star.

					OPAL
			Star - oh! that's a fantastic name. 
			Almost as good as Opal. I changed 
			my name in Taos. This man that was 
			really into low budget movies said 
			my eyes were opalistic.

	She reaches over and turns on the RADIO. He reaches over and 
	turns it off.

					OPAL
			I'm going to make the consummate 
			documentary as soon as I finish 
			gathering information. You know 
			it's so nice not to feel oppressed 
			in a society that is male oriented.

					STAR
			Are you in music?

					OPAL
			No, I told you that.

134	EXT. HIGHWAY/STAR'S TRUCK The truck accelerates.

					OPAL (0.S.)
			Just living and then after that 
			making the total documentary that 
			will encompass everything.

	We SEE them pass KENNY'S Nash. KEMNY and L.A. JOAN are there.

135	ANGLE AT NASH

	All the door handles have been stolen from the car. So has the 
	radio and the steering wheel. There is a raw egg and a note that 
	says, "ha-ha."  KENNY is dumbfounded.

					KENNY
			What the hell?

	He opens the trunk. There are several political posters and 
	politically motivated materials for WALKER.

					JOAN
			What's this?

					KENNY
			Replacement party.

					JOAN
			Who's that?

					KENNY
			A guy named Walker. Amazing 
			person. He's developed a huge 
			following.

					JOAN
			How do you know?

					KENNY
			Well I've been following him around 
			Just listening to him --He says he 
			can really win -- I bet he can too -
			-

					JOAN
			You must really like him.

					KENNY
			Well, he's really amazing.

					JOAN
			I haven't gotten into politics yet. 
			I'm still into music --except for 
			you. You're into politics.

	KENNY looks at her for a minute.

136	ANGLE ON HIGHWAY - SUNSET

	The TRICYCLE MAN passes by the car. 

	END OF SUNDAY.

	CUT TO:

137	TNT. GREEN'S BOARDING HOUSE - MORNING

	KENNY is on the hall phone. Outside we HEAR the tricycle. KENNY 
	has a stack of dimes and in calling wrecking yard people,

					MAN (V.0.)
			Wrecks.

					KENNY
			Ah, hello. My name is Kenneth 
			Fraser... And I'm here from Terre 
			Haute, Indiana. Ah, listen ... 
			somebody stole my handles.

					MAN (V.0.)
			We don't mess with accessories.

					KENNY
			Oh, well, thanks. Ah, oh, maybe 
			you know where...

	The MAN has hung up. KENNY draws a line through his name and 
	dials again.

138	INT. L.A. JOAN'S ROOM - DAY

	During KENNY'S calls, JOAN is dressing in a hurry.

139	HALLWAY

					MAN (V.0.)
			Parts.

					KENNY
			Do you carry door handles?

					MAN (V.0.)
			What kind?

					KENNY
			Nash.

					MAN (V.0.)
			What year?

					KENNY
			Sixty-three.

	Suddenly there is another person's VOICE on the line.

					OPERATOR (V.O.)
			Excuse me. I have an emergency 
			phone call for 228-5128 from the 
			Nashville Baptist hospital.

					MAN (V.0.)
			What?

					KENNY
			Sure. Ill take it. I'll call back 
			on the handles.

	The MAN hangs up. Nothing else happens. 

					KENNY
			Hey, when do they come on?

					OPERATOR (V.0.)
			You have to hang up.

					KENNY
			Oh.

					KENNY
			He does and the PHONE RINGS. Hello?

					DOCTOR (V.0.)
			I'm sorry to break in, but is Mr. 
			Green there?

					KENNY
			No, but I can give him a message.

					DOCTOR (V.0.)
			I see... Well, his wife just died.

					KENNY
			Oh my God!

					DOCTOR (V.0.)
			We're very sorry. Thanks.

	As he hangs up, JOAN appears with her transistor. She is quite 
	in a hurry.

					KENNY
			I thought you were at the hospital 
			with your uncle!

	She ignores him.

					KENNY
			Listen, your Aunt Ester just died. 
			I'm... sorry... Listen, I really 
			Feel bad now about last night...We 
			had no...

					JOAN
			I'm in a hurry, gonna see this 
			great group record at Woodland.

					KENNY
			I mean, Mr. Green was so nice to 
			me. He took me in and...

					JOAN
			I don't really know what you're 
			talking about.

	And she is gone.

					KENNY
				 (still dazed)
			I've got to get a hold of Mr. 
			Green.

	CUT TO:

140	INT. WOODLAND STUDIOS -- STUDIO A - DAY

	TOM is singing alone. L.A. JOAN enters the studio and begins 
	talking to one of the engineers. when TOM finishes she enters 
	the booth.

					JOAN
			Hope you don't mind me coming. I 
			just love your music.

141	INT. HALLWAY

	NORMAN, BILL and MARY enter the studio.

142	INT. STUDIO A

	The studio door is burst open on TOM who is singing. BILL is 
	forced to stand still. TOM doesn't look up until he in finished.

					TOM
			Howdy.

					BILL
			Where the hell have you been?

	TOM and MARY bounce a look, her face is a little discolored.

					TOM
			You guys been having any fun?

	He gets up and starts out the door. BILL is very anxious.

					BILL
			Where are you going?

					TOM
			To the bathroom.

	He goes through the swinging door.

					BILL
			Hat! 

143	INT. HALLWAY

	TOM is on the phone. MARY makes her way toward his back. There 
	is no answer to his call, so he hangs up and faces her.

					MARY
			Hi.

	Long pause.

					TOM
			You look terrific.

	Another pause. BILL sticks his head out from the studio room.

					BILL
			Hey!

					TOM
			It's the den mother.

	MARY walks pant TOM into the studio room. TOM holds up a finger 
	to indicate he'll be a minute and walks toward the bathroom. 
	MARY reaches BILL.

					BILL
			Come on, dammit. They want to 
			check levels.

	L.A. JOAN goes and waits outside the bathroom. When TOM comes out 
	they exit together.

144	INT. STUDIO A

	MARY is at her mike with her instrument. The engineer asks for a 
	level so BILL and MARY sing their hit song. When they finish,

					BILL
			Where is he!

	CUT TO:

145	INT. BAPTIST HOSPITAL - BARBARA JEAN'S ROOM - DAY

	BARBARA JEAN is sitting at the foot of the bed. A NURSE in there 
	talking to BARNETT.

					NURSE
			The doctor is out of town.

					BARNETT
			I know that and don't you worry, 
			I'm going to get her right into bed.

					NURSE
			She must rest.

					BARNETT
			I have this release form signed by 
			the floor doctor.

	The PHONE RINGS.

					BARNETT
			Yes.

					TRIPLETTE (V.0.)
			Barnett, John Triplette. How's she 
			doing?

					BARNETT
			She's fine.

					TRIPLETTE
			Well, I just thought I'd call.

					BARNETT
			Well, you did and she's fine. 
			Thanks.

	He hangs up. The NURSE is reading the forms. BARBARA JEAN is 
	going through the flowers... She finds GLENN'S and reads the 
	note.

					NURSE
			Well, I don't know.

					BARNETT
			I have a nurse waiting for her in 
			the bus.

					BARBARA JEAN
			Who brought these?

					NURSE
			I don't remember seeing those.

					BARNETT
			Somebody brought them. Come on, 
			honey, let's go.

	She puts them on the gurney with the others.

					BARBARA JEAN
			Well, thank you all so much. You 
			tell the other ladies thank you.

					NURSE
			Well all right.

	As they start out, DELBERT enters.

					REESE
			How is she?

					BARNETT
			A little slow, but she'll be fine.

					REESE
			Have you talked to Triplette?

					BARNETT
			Who the hell is he?

					REESE
			He's lining up talent for Hal 
			Phillip Walker.

					BARNETT
			Who the hell is he?

					REESE
			He's going to run for president.

					BARNETT
			Third party?

					REESE
			He has that sign with the tree.

					BARNETT
			What does he want?

					REESE
			Barbara Jean.

					BARNETT
			What!

					REESE
			That's what he wants.

					BARNETT
			You know better than that.

					REESE
			It's on National television, 
			Barnett.

					BARNETT
			I don't care. She's always been 
			neutral in politics and that's not 
			going to change.

	There is a pause. BARNETT and REESE have been talking away from 
	BARBARA JEAN.

					REESE
			Well, how about the shopping 
			center?

					BARNETT
			Yes. She's pretty rested up.

					REESE
			Okay, then we'll see you there.

					BARNETT
			Okay.

	REESE leaves. BARNETT returns to BARBARA JEAN and the NURSE.

					BARNETT
			Okay, come on, honey. How are you 
			feeling?

146	INT. Hospital RECEPTION ROOM - DAY

	BARNETT and BARBARA JEAN come from the elevator. GLENN is there 
	writing. He sees her,  As BARRETT and BARBARA JEAN leave, GREEN 
	arrives with flowers for his wife. He sees BARBRA JEAN and hands 
	her a flower.

					GREEN
			You going today?

					BARBARA JEAN
				 (loudly)
			Thank you-- Yes, I am.

					GREEN
			I'll tell Ester, she'll be thrilled 
			I saw you again.

					BARBARA JEAN
				 (loudly)
			You get her those Vitamin E right 
			away.

					GREEN
				 (shows her the 
				 bottle) 
			I got them right here.

	BARBARA JEAN feels BARNETT'S impatience to go.

					BARBARA JEAN 
			Well, Bye, Bye now. We have to go.

					GREEN
			Bye, Bye.

	She goes on out the door as he walks to the desk.

146A	NEW ANGLE

					GREEN
			Where have you got her hidden 
			today?

	He hands the NURSE a flower. She looks up in disbelief.

					NURSE
			Mr. Green?

					GREEN
			Yes, ma'am. How are you today?

					NURSE
			Didn't you get?... How are you?

					GREEN
			I'm fine. Can I go up?

					NURSE
			Let me see if I can get the doctor 
			hold on one second.

	She makes several phone calls and can't locate anyone. She sighs 
	and hangs up.

					GREEN
			You want me to wait?

					NURSE
			No. Mr. Green, I don't know how to 
			tell you this -- your wire passed 
			away -- I thought they'd called you 
			at home.

	GREEN has and hasn't heard.

					GREEN
			What?

					NURSE
				 (louder)
			Your wire Ester - she passed away.

	He is stunned.

					NURSE
			If you'll wait Just a minute I'll 
			get everything from the business 
			office.

146B	ANOTHER ANGLE

	He wanders to the waiting area. GLENN has been looking out the 
	window at BARBARA JEAN getting into the bus. He comes back and 
	begins to talk to GREEN so caught up in her he doesn't register 
	GREEN'S grief.

					GLENN
				 (loudly)
			My mamma used to know her... They 
			lived next door to each other... she 
			said she was always nursing the sick 
			animals.

	GREEN looks at him and nods. He's still got the vitamins in his 
	hand.

					GLENN
			I really learned all about her from 
			my Momma -- She's been saving this 
			scrap book about her since she got 
			to be famous.

	GREEN nods.

					GLENN
			The one thing she said to me when I 
			joined was "When you're doing your 
			travels you be sure you see Barbara 
			Jean. You don't have to say 
			anything about me but you be sure 
			you see her."  So that's what I've 
			been doing. Now I'm going to hitch 
			a ride so I can see her in Memphis.

	GREEN nods.

					GLENN
			You give my test to your wife1

	GREEN nods and puts the vitamins in his pocket as the NURSE calls 
	from the desk.

					NURSE
			Mr. Green, the doctor is on his way 
			and the business office has your 
			bill ready.

	CUT TO:

147	INT. LINNEA'S HOUSE - AFTERNOON

	The PHONE RINGS SEVERAL TIMES before LINNEA answers it.

					LINNEA
			Hello.

148	INT. PHONE BOOTH

	INTERCUT:

					TOM
			Wow!

					LINNEA
			What?

					TOM
			Who is this, right?  I called you 
			last night.

					LINNEA
			Oh.

					TOM
			I've got a gig tonight.

					LINNEA
			Oh?

					TOM
			End of Church Street. Next to a 
			grocery store.

					LINNEA
			Doesn't it have a name?

					TOM
			I can't remember. In out/out in, 
			something like that. Around eight.

149	INT. LINNEA'S HOUSE

	Again she is left with a dead receiver. 

150	INT. PHONE BOOTH

	TOM exits. Behind him is Percy Warner Park and the Parthenon. 
	L.A. JOAN is with TOM.

	CUT TO:

151	INT. HALL - NIGHT

	SUELEEN works her way through a crowd of men trying to get into 
	the banquet hall. There is a sign that says "Benefit Banquet."  
	SUELEEN finally makes it through the crowd and enters the room.

152	INT. BANQUET EALL - MIGHT

	She walks past the tables and steps on the stage. She checks the 
	curtain to find that there is no backstage. She enters the 
	kitchen.

153	INT. KITCHEN - NIGHT

	SUELEEN almost trips over REESE and TRIPLETTE and another man who 
	are talking.

					SUELEEN
			Hi, I'm Sueleen Gay.

					TRIPLETTE
			I'm John Triplette. Excuse me. I 
			got all caught up in looking at you. 
			You'll be fine.

					SUELEEN
			Oh, why thank you.

					TRIPLETTE
			May I see your costume?

	She removes her coat and exposes a costume that looks like a 
	picture of a frosty glass or gin and tonic on a hot day. 
	TIRIPLETTE stares blatantly and REESE can hardly keep his hands 
	off her. SUELEEN starts into her routine as a matter of 
	survival.

					SUELEEN
			You like it?  Listen, where is the 
			pianist?  I need to go over this 
			with him.

	She hands over a stack of music.

					SUELEEN
			You all didn't say what you wanted 
			to hear.

	TRIPLETTE smiles.

					SUELEEN
			Someday I'm gonna be a star like 
			Barbara Jean.

	TRIPLETTE puts his arm around her and walks off.

154	NEW ANGLE

					TRIPLETTE
			Sueleen, you're prettier and 
			probably sing better. Besides, she 
			is unusually sick. And tonight you 
			have the opportunity to work in 
			front of some grateful gentlemen. 

	They continue to walk past the many places. 

					TRIPLETTE
			Have you ever done this before?

	She shakes her head, "no" quite caught up in air.

					TRIPLETTE
			Well, it's not too hard. You'll 
			sing whatever it is you want to 
			sing. They'll applaud like crazy 
			'cause I can tell them that you're 
			really something and then the piano 
			and drum will give you a little 
			fanfare and you can sing and take 
			off your clothes or not sing. It 
			really doesn't make much difference, 
			really. But since you've never done 
			this before, singing might help.

	They are near three enormous beef legs waiting to go into the 
	oven. 

					TRIPLETTE
			Now this is to raise funds for 
			someone who can help people who are 
			less fortunate than yourself. The 
			more you take off, you see, more 
			money we can raise.

					SUELEEN
				 (like a robot)
			I see.

					TRIPLETTE
			I know that you are an artist and I 
			am sure you are very religious.

	She nods "yes."

					TRIPLETTE
			Well, this is for people who have a 
			kind of religious belief in the way 
			they live. 

155	NEW ANGLE

	The waiters come in to serve the salad and the rolls and the chef 
	starts to carve the meat. We FOLLOW one of the waiters into the 
	banquet hall.

156	INT. BANQUET HALL - NIGHT

	It is almost full. The pianist and the drummer are on the non-
	stage. At the far end of the roam, we SEE someone enter from the 
	street, go to the sign and read it.

157	NEW ANGLE - DOORWAY AND CORRIDOR

	It is ALBUQUERQUE reading "banquet." The door to the room closes 
	and she goes down another corridor and disappears.

158	INT. BANQUET ROOM - LATER THAT NIGHT

	The men have finished their dinner and SUELEEN finishes her song. 
	The applause is thunderous. SUELEEN looks to the kitchen door.

159	ANGLE AT KITCHEN DOOR

	TRIPLETTE is applauding like crazy. REESE in beside him.

160	ANGLE AT SUELEEN

	She blows kisses then runs to TRIPLETTE.

					SUELEEN
			Don't you think they'd just love 
			another song instead?

					TRIPLETTE
			Now, Sueleen, you know that's not 
			what we talked about right here in 
			this very room.

	It's too late. The ANNOUNCER speaks. 

					ANNOUNCER
			We're ready to striiippppp... for 
			cash, gentlemen. The time has come 
			to dig deep. Our little Sueleen in 
			going to dig deep for you.

	There are a few chortles. Suddenly she freezes. TRIPLETTE holds 
	her and kisses her hair.

	Page missing

165	NEW ANGLE

	TRIPLETTE encases her in her coat. TRIPLETTE yells something 
	about bringing her clothes as the audience goes crazy.

166	NEW ANGLE

	ALBUQUERQUE is totally fascinated and delighted, applauding to 
	the point of almost giving herself away. She picks up SUELEEN'S 
	clothes.

	CUT TO:

167	INT. CAR - NEAR DEMOW'S DEN - NIGHT

	REESE drives SUSLEEN home. He is drunk. He double-parks.

					REESE
			Here we are, Sueleen.

	She looks out the window and nods. He gets out and opens the 
	door as LADY PEARL walks past them on her way to the lounge. 
	STAR drives up behind REESE'S double-parked ear and has to move 
	around it. SUELEEN starts for her room, but REESE follows very 
	close. Finally, he turns her around.

					REESE
			Sueleen... Sueleen Gay.

	His look says what he wants. She is terrified.

					SUELEEN
			Oh, no.

	She starts to walk quickly, but he grabs her arm.

					REESE
			Wait a minute!  I want to look at 
			you. C'mon.

					SUELEEN
			Oh, please, Oh, God.

	He pushes her against one or the storefronts.

					REESE
			C'mon! I Just wanna look...

	He squeezes her arm and she screams.

167	CONTINUED:

					REESE
			Good. I wanna look really good. 
			You know what I mean? Do you?  Huh?

	She is about to pass out from terror, when all or a sudden he 
	eases of.

168	NEW ANGLE

	The TRICYCLE MAN stands and watches a few feet away. SUELEEN'S 
	terror now is divided between the two men. REESE can't handle 
	the way the TRICYCLE MAN looks at all.

					REESE
			Oh.

	He releases SUELEEN, turns and runs up the street. She slides 
	down and hugs herself. The TRICYCLE MAN doesn't move.

					SUELEEN
			It'll be okay... It'll be okay... I 
			know it'll be fine...

	After a while, she pulls herself up and starts up the stairs to 
	her room. The TRICYCLE MAN watches until she is gone, then walks 
	across the street.

	((THE FOLLOWING IS INTERCUT WITH BANQUET) 

169	INT. EXIT INN - NIGHT

	TOM enters with L.A. JOAN. The place in crowded. WADE sits at a 
	table with LINNEA. She hasn't seen TOM.

					WADE
			I was in prison for twenty-eight 
			years.

					LINNEA
			Oh.

					WADE
			Premeditated murder.

					LINNEA
			Oh.

					WADE
			Just got out. Had me thirteen 
			lawyers. Missed the electric chair 
			twice. .. Been out three months. 
			Are you heavy?

					LINNEA
			I'm not sure...

					WADE
			I'm forty-six. Do you like to go 
			up or down?

					LINNEA
			What?

					WADE
			High?  Do you ever get high? A walk 
			on the wild side. Ever do dust?

	Before TOM can sit down he is called on stage by the MC. Also 
	present are BILL, MARY and NORMAN, talking about NORMAN'S act and 
	OPAL, who interviews them. LINNEA sees TOM.

					WADE
			All I need is fifteen minutes a 
			night.

					LINNEA
			Fifteen minutes?

					WADE
			Sleep. That's all I need. Don't 
			want to waste no time sleeping. You 
			married?

					LINNEA
			What...?  0h, yes.

					WADE
			Not me. Ain't never loved anybody. 
			Ain't never been married. Won't 
			either.

170	ANGLE TOWARD STAGE

	TOM stands at the mike.

					TOM
			Good evening. Thanks. I used to 
			be part of a group. You remember?

	Everybody laughs.

	TON
	Well, they're here, Bill and Mary. We're cutting a record here. 
	So far, they've done all the work. It's an accident they're here. 
	I've been hiding from them for days now, right?

	Everybody laughs.

					BILL
			You bet your sweet ass.

	Everyone laughs.

171	ANGLE - LINNEA AND WADE

	She in lost in the sound of his voice.

					WADE
			You know who that is?

					LINNEA
			Yea.

					WADE
			I see.

172	ANGLE - STAGE

					WADE

	TOM calls BILL and MARY to the stage. The three of them burst 
	into:  "Since You've Gone."  When they finish, BILL and MARY sit 
	down again.

					TOM
			I'd like to sing a new song for 
			you. I threw away a good one I wrote 
			yesterday. maybe it was the day 
			before -- anyway.. Let's go here, 
			'I'm Easy.'

173	NEW ANGLE

	TOM seems to know where LINNEA is sitting and directs the song to 
	her. After he finishes, he gives the guitar back to its owner 
	and Joins L.-A. JOAN to walk out.

174	NEW ANGLE

	WADE starts in again.

					WADE
			Love, that's a word that's been 
			overused. I'll say I sure like you. 
			Maybe...

	LINNEA is wiping her eyes with a hanky.

	A large group of people starts out the door, among them TOM and 
	L.A. JOAN. TOM steers himself and JOAN to LINNEA'S table. BILL 
	and MARY catch him there. All the while he is talking to them, 
	he writes a note and places it in LINNEA'S lap. OPAL walks past 
	TOM. They look at each other.

					BILL
			Listen, we're suppose to sing on TV 
			day after tomorrow. At the park...

					TOM
			National?

					BILL
			Yes. Percy Warner Park'.

					MARY
			Where are you staying?

					TOM
			Is that for that Walker guy?

					BILL
			Yes, but we're just singing.

					MARY
			Sue was trying to get hold of you.

					TOM
			Come on. He's a crook.

					BILL
			What crook?

					WADE
			I'm a Roman Catholic. You're 
			Baptist, I bet. Catholic means 
			universal, everything, know what I 
			mean?

	She nods again. She can't make out the writing with out her 
	glasses and she doesn't want to put them now.

					WADE
			I'm a scholar of the Bible as well 
			and we're all going to answer to 
			God. Have you read the book of 
			Revelations?

	She nods 'yes.'

					WADE
			You ever read the 'Apocalypse 
			Unsealed?' 

	She is too curious. She takes out her glasses and looks through 
	them lorgnette style as WADE continues to talk.

					TOM
			I'm not coming anywhere near that 
			place. He's a rotten guy.

					MARY
			That's not true.

					TOM
			He's a politician.

					BILL
			He saw us at Tammany Hall.

					TOM
			The Hell he did. Look, I'll see 
			you in the morning.

					MARY
			Really?

					TOM
			You bet. Nine, right?  But count 
			me out of that other thing.

175	NEW ANGLE

	TOM takes L.A. JOAN and leaves. LINNEA panics, BILL burns, OPAL 
	and MARY watch after TOM, NORMAN keeps silent.

					WADE
			My mother. died in '72. They told 
			me after. They said they couldn't 
			find me before, so they told us 
			after.

					LINNEA
			What?

					WADE
			They said go see the chaplain.

					LINNEA
			I'm sorry but I have to go.

	She gets up quickly and leaves. Everybody is gone, too.

					WADE
				 (to self) 
			I'm a hundred years old and when 
			I'm two hundred, I'll die.

	CUT TO:

176	EXT. EXIT INN -

	As LINNEA hurries off, we SEE STAR sitting in his pickup truck, 
	watching and waiting for ALBUQUERQUE.

	END OF MONDAY.

	CUT TO:

177	EXT. HIGHWAY - AT KENNY'S CAFE - MORNING

	The TRICYCLE MAN is helping KENNY fix the car, changing tires, 
	etc. KENNY is under the hood. When he comes out, KENNY tells 
	the TRICYCLE MAN how grateful he is and that he wouldn't know 
	what to do if he hadn't shown up. The TRICYCLE MAN just finishes 
	the job.

	CUT TO:

178	EXT SHOPPING CENTER PARKING LOT - DAY

	A platform has been erected in the center of the parking lot. 
	BARBARA JEAN'S bus is parked nearby. There is a large crowd, and 
	several people gathered around the platform. GLENN is among them 
	so is TRIPLETTE, REESE and OPAL. Radio station personnel and 
	musicians prepare for the show. Finally, the bus door opens and 
	BARNETT leads BARBARA JEAN to the platform. The musicians start 
	and she sings. The sound comes from many huge speakers and 
	people come from stores and shops to hear.

	BARBARA JEAN segues from one song to another.

179	NEW ANGLE

	BARNETT stands to the side, talking to various people TRIPLETTE 
	pulls his sleeve.

					BARNETT
			Well, for heaven's sake. You're 
			just about everywhere, aren't you?

	THIPLETTE
	I came out to see how you all were doing.

					BARNETT
			I think I should tell you I know 
			why you're here. The answer is no 
			... we don't get involved in 
			politics.

					TRIPLETTE
				 (laughs good-
				 naturedly) 
			Well, that's not entirely true, 
			Barnett. At least not according to 
			Haven.

					BARNETT
			Haven? Hell,' we've been playing 
			poker together since we were 
			fourteen.

					TRIPLETTE
			I guess that's why he thought you 
			right want to help out.

					BARNETT
			He knows better.

					TRIPLETTE
			Well, it's probably because it 
			would help him.

					BARNETT
			How is that?

					TRIPLETTE
			Everybody likes to be as good as 
			their word.

					BARNETT
			Whose word?

					TRIPLETTE
			His Word.

					BARNETT
			His word? Are you telling me Haven 
			promised you something?

					TRIPLETTE
			That's pretty close. He's going to 
			be on the bill. Why not put Barbara 
			Jean on with him? 

	TRIPLETTE'S last sentence is caught in silence as BARBARA JEAN 
	has stopped singing in the middle of a phrase.

180	NEW ANGLE

	She holds the mike and looks at Barnett.

					BARBARA JEAN
			Barnett..

	She faints. There in a moment of confusion, then GLENN is on the 
	stage protectively as the musicians clear the people out

181	NEW ANGLE

	BARNETT vaults through the crowd pushing TRIPLETTE aside.

					BARNETT
			Get her feet up.

	He pulls himself on the stage. She is coming to and sees GLENN'S 
	face looking at her and rubbing her hands.

					BARNETT
			Okay, honey.

	He carries her to the bus. TRIPLETTE is forced to watch from a 
	distance.

182	INT. BUS - DAY

	BARBARA JEAN has come to and she and BARNETT are alone in the 
	back of the bus. He studies her carefully for a minute and then 
	decides she'll be all right.

					BARBARA JEAN
			Oh, Barnett, I'm so sorry.

					BARNETT
			Honey, it's okay... How do you feel 
			now?

					BARBARA JEAN
			All those people...

	She fights back the tears.

					BARNETT
			Don't worry, I'll take care or it

					BARBARA JEAN
			You're so good.

	He blows her a kiss and steps from the bus.

183	EXT. BUS - DAY

	BARNETT sends the nurses inside. GLENN has pushed to front of 
	the crowd. BARHETT grabs a hand mike.

					BARNETT
			She's fine now, folks. Just too 
			soon after the hospital, I guess.
				 (he pauses)
			She won't be able to continue and 
			she's in the bus crying her eyes 
			out, because she doesn't want to 
			disappoint the people who love her 
			the most.

	There is a group groan. BARNETT looks for some under-standing 
	but there is none. There are several catcalls and GLENN, who in 
	near BARNETT, becomes so enraged, he tries to find the caller. 
	There is almost a fight, but TRIPLETTE intervenes. He glances to 
	GLENN.

					TRIPLETTE
			Come on, come on. You don't want 
			to waste your energy on that fool.

184	NEW ANGLE

	Catcalls continue from other parts of the audience. TRIPLETTE 
	shouts against GLENN, who has turned his intensity to the crowd

					GLENN
			She's frail. You never saw anybody 
			so frail. I've seen her breathe hard 
			just standing still, dammit. You're 
			selfish. Worst selfish I've ever 
			heard. What if she died?  Would you 
			like that?  You'd probably say she 
			faked it so they could make money. 
			Well, you're just dumb.

185	NEW ANGLE

					TRIPLETTE
			We could invite them to the park.

					BARNETT
			What?

					TRIPLETTE
			They can come to the concert in the 
			park.

					BARNETT
			I said 'no!'

	BARNETT studies the angry crowd then TRIPLETTE, who is holding 
	back GLENN against them. The crowd is even more angry

					BARNETT
				 (to crowd)
			We're very Sorry... Please... If 
			you'll listen.
				 (he makes the 
				 decision)
			You can see her tomorrow at Percy 
			Warner Park...

	GLENN has disengaged from TRIPLETTE'S hold and pushed his way to 
	the back.

					BARNETT
			Triplette, I want to talk to you.

	Moves closer.

					BARNETT
			I got trapped and you know it, so 
			let's have some rules.

					TRIPLETTE
			Absolutely. Listen, Barnett, I 
			understand your position.

					BARNETT
			No, you don't, so don't say you do. 
			Bunch of damn liars. What do you 
			get out or this?

					TRIPLETTE
			Nothing; Barnett. It's my job.

					BARNETT
			Your job, huh.

	He removes a pen and paper and writes down the following as he 
	speaks.

					BARNETT
			She will not appear on the stage or 
			support that Walker guy and you 
			can't have any of his signs up while 
			she sings. She'll be on first and 
			out of the park before he shows up. 
			There will be no pictures, no 
			questions, no answers or tying her 
			name up with his now or in the 
			future to come. Any money she makes 
			will go to the President of the 
			United States.

	He calls over his secretary and makes TRIPLETTE sign the 
	statement. Then the secretary signs.

					BARNETT
			We'll see you tomorrow. I'll send 
			her three songs over this afternoon. 
			She'll be done about ten minutes 
			after she starts and Walker better 
			not show up till she's through. Now, 
			get out of here.

	TRIPLETTE extends his hand expecting friendship. BARRETT ignores 
	it. As TRIPLETTE leaves, a MAN who has been after BARNETT'S 
	attention steps up. BARNETT turns to his secretary.

					MAN
			Barnett?

					BARNETT
				 (sharply)
			What?

					MAN
			Well, Barnett, I have this terrific 
			song I've been working on. It would 
			be a natural for Barbara Jean. Like 
			you to take a look at it.

	BARNETT looks at him suspiciously.

					BARNETT
			I'm very busy right now.
				 (to secretary) 
				 Get me Haven.

					MAN
			It'll just take a minute. Here, 
			I'll even hold it for you.

	BABNETT sighs and skims over the paper. Song stealing is the 
	same as horse stealing to BARNETT. He becomes enraged.

					BARNETT
			I don't know where you got this, 
			but something tells me you stole it 
			and I hate thieves.

	The MAN takes the paper back and tries to walk away from him -- 
	BARNETT yells after him.

					BARNETT
			Aren't you an engineer...?  I know 
			you -- Don't you work at one of 
			those cut a record places...? 
			Twenty-five bucks a shot, isn't it? 
			Usually their last twenty-five...

	The MAN backs up and BARNETT follows him. They have entered the 
	crowd. The MAB starts to run. BARNETT runs after him. When the 
	MAN gets into the car. BARNETT picks up a rock, throws it and 
	hits the windshield with it. The car MISFIRES but finally 
	starts.. As the MAN drives off, BARNETT stands watching until 
	he's out of sight.

	CUT TO:

	((THE FOLLOWING Is INTERCUT WITH THE SHOPPING CENTER)

186	EXT. FAIRGROUND - DAY

	We SEE a fairground, then a roller rink, and a wrestling ring, 
	and finally a small portable stage in the center of a circular 
	track. The grandstands are partially ruled and stock cars roar 
	from another part or the field;

	Around the stage -we SEE a sign that says, "Talent Show Tonight" 
	and we see the contestants and the MC, and NORMAN doing a routine 
	with an accordion player. After NORMAN finishes, the NC takes 
	the mike.

					MC
			Thank you, Mr. Berguan. And now we 
			bring you, 'Albuquerque.'

187	NEW ANGLE

	ALBUQUERQUE walks to the mike. 

					ALBUQUERQUE
			Hello, everybody. My name is 
			Albuquerque.

	There are-a few nasty remarks.

					ALBUQUERQUE
			I'm going to sing a wonderful tune.

	She starts to sing, "You're an Old Smoothie," and as she does the 
	stock cars leave the pit and drive to the entrance of the track. 
	ALEBUQUERQUE, disturbed at first, sings louder. The cars are 
	waiting for the talent show to set off the track.

188	NEW ANGLE

	Albuquerque starts to take off her clothes. The MC hasn't 
	noticed, but the grandstand has. People shout, "Take it off..."  
	ALBUQUERQUE loves it. Before ALBUQUERQUE can remove the last two 
	garments, the MC rushes over and grabs the mike.

					MC
			We'd 1ike~to announce the winner of 
			tonight's contest. Albuquerque, How 
			about some applause for a darling 
			little lady

					ALBUQUERQUE
			Oh, I'm not through.

					MC
			That's all, folks.

	The stands are calling to have her take it all off and her fellow 
	contestants are furious. RAVEN, BUD and PEARL are there and they 
	discuss her act.

					MC
			Here is the twenty dollars first 
			prize money and a seat in the 
			grandstands and now let's turn the 
			show over to Al Allen in the race 
			stand.

	He shuts oft the mike.

189	NEW ANGLE - TRACK

	The stock cars start around the track and stop in front or the 
	race announcer.

	AL
			Congratulations to Albuquerque and 
			welcome, everyone, to the Memorial 
			Race for Billy Apple, who died a 
			week ago in a wreck at this very 
			track, and we want you to know his 
			last words were, 'Are the other 
			fellows all right?'

	A wave of applause and we SEE the talent show make its way across 
	the rack. The platform is already torn down and the MC is 
	helping ALBUQUERQUE dress. As she passes the drivers, they cheer 
	and she blows them a kiss and loses her first garment as she 
	does. More cheers.

190	NEW ANGLE

	The cars are dented. On the side of one car it says, "Haven 
	Hamilton," and now we see him, BUD and PEARL in the stands. On 
	the side of another car it says, "Connie White."

	AL
	Want you all to save a dime every day and next Saturday we'll 
	take up a collection and give it all to Billy Apple's wife. 
	Share. Their four kids will sure miss their daddy. Want to 
	announce Bob Trilltree is out of the hospital now. Hope you'll 
	be back with us soon. All right, would you stand, please?

	The people stand to a scratchy record of the National Anthem. A 
	'74 Pontiac circles the track with a man holding a medium-sized 
	American flag which flaps as the convertible drive.. At the end 
	of the song the Pontiac drives off the track.

	AL
	This is for Billy Apple. Okay, ladies and gentlemen, let's pick 
	ourselves a winner.

191	NEW ANGLE

	The drivers get into their cars and start up. The track man 
	waves a flag which starts them around the track in pairs. We 
	notice the TRICYCLE MAN, who has been there all the time. The 
	race starts and the SOUND is deafening. ALBUQUERQUE is thrilled 
	to death. Suddenly, STAR sneaks up on her as she whistles with 
	her fingers in her mouth.

					STAR
			Winifred.

					ALBUQUERQUE
			Hi! Star.

					STAR
			Winifred, the kids want you home 
			and so do I.

					ALBUQUERQUE
			I won first prize.

					STAR
			Come on.

	She has no choice but to follow him out. Several people 
	compliment her as she leaves the grandstand. She buys a bag of 
	peanuts on the way out.

192	INT. TOM'S MOTEL ROOM

	CUT TO:

	There is some lovemaking going on in Tom's bed.

					TOM
			You're really terrific, you know 
			what I mean --LINNEA rolls over and 
			faces him.

					LINNEA
			I have to go.

					TOM
			Wrong.

					LINNEA
			I have to go. He sighs.

					TOM
			I know.

	She makes a more to leave.

					TOM
			Stay.

					LINNEA
			I can't.

					TOM
			Car pool?

	She laughs and eases out of the bed.

					TOM
			When did you think it would happen?

					LINNEA
			I'm not sure.

					TOM
			I knew when I first met you.

					LINNEA
			Oh.

	She starts to go into the bathroom.

					TOM
			How old are you?

					LINNEA
			Older.

					TOM
			Thirty?

					LINNEA
			Well...

					TOM
			I'm twenty-eight

					LINNEA
			Oh.

					TOM
			Older than thirty?

	She nods.

					TOM
			Terrific!  Who was that black guy? 
			A friend of yours?

					LINNEA
			That's unkind.

					TOM
			Come on, you ever been attracted to 
			a black guy?

	She looks at him close, then goes into the bathroom and shuts the 
	door.

193	INT. MOTEL BATHROOM - AFTERNOON

	We HEAR TOM making a phone call. LINNEA grabs a towel and wraps 
	it around her head and throws back the shower curtain, only to 
	find a huge black cockroach in the tub. TOM laughs as she shuts 
	the curtain in horror, then she proceeds to take a sponge bath. 
	She leaves the bathroom quickly.

194	INT. MOTEL ROOM - AFTERNOON

	TOM is still on the phone. LINNEA dresses, but can't find her 
	slip. She finishes and heads for the door.

					TOM
				 (into phone)
			Just a minute.

	He steps to LINNEA and puts his arms around her. 

					TOM
			I'll talk to you tomorrow.

					LINNEA
			That's what you said before.

					TOM
			I know. Goodbye.

	He kisses her and walks back to the bed. As she gets to the 
	door, she is hit with something,  It is her slip.

					TOM
			Maybe you better keep that.

	He smiles and she walks out the door.

195	EXT. TOM'S MOTEL ROOM - AFTERNOON

	Outside, LINNEA hangs the slip on the doorknob and leaves.

	CUT TO:

196	INT. GREEN'S BEDROOM - NIGHT

	GREEN is in bed. KENNY takes away a tray of cookies and hot 
	chocolate.

	You okay?

					GREEN
			Sure... you're a fine boy, Ken, you 
			really are.

					KENNY
			Okay... you get to sleep. I'll see 
			you in the morning. Good night.

					GREEN
			Good night,

	KENNY turns out the light and calls the dog. GREEN settles into 
	his pillow.

	END OF TUESDAY.

	CUT TO:

197	EXT. CEMETERY - MORNING

	A small, empty last rite for MRS. GREEN. KENNY and GREEN are at 
	the grave. In the distance, the TRICYCLE MAN watches.

					GREEN
			I guess she's not coming...

	CUT TO:

198	EXT. PATHENON - MORNING

	Preparation for the big televised rally.

	CUT TO:

199	EXT. PERCY WARNER PARK - DAY

	Outside the Parthenon, KENNY, with his violin case, waits for 
	some food at the barbecue. ALBUQUERQUE'S who has fled STAR 
	again, waits near him. BARNETT is talking to REESE.

200	ANOTHER ANGLE

	TRIPLETTE is at the stairs. GLENN is trying to get past a guard 
	and finally TRIPLETTE recognizing him from the shopping center, 
	helps him in. They enter the stair area, near all the TV cables 
	and equipment.

201	NEW ANGLE

	They approach BARBARA JEAN, who is talking to musicians. BILL and 
	MARY are there with NORMAN, and LINNEA is singing on stage with 
	the black choir. TOMMY now steps up to talk to BARBARA JEAN.

202	NEW ANGLE

	GLENN is lost in BARBARA JEAN'S magic. She smiles at him, but in 
	talking to HAVEN, BUD and PEARL and looking for BARNETT. 
	TRIPLETTE walks by GLENN.

					GLENN
			Listen, could you give her this for 
			me?

	TRIPLETTE takes a note from GLENN.

					TRIPLETTE
			Sure thing. 

					GLENN
			Thanks.

					TRIPLETTE

	TRIPLETTE hands her the note as BARRETT angrily steps up. 
	Someone calls  "places."

					BARNETT
			They screwed up. You go on after 
			the choir.

	TOMMY BROWN joins LINNEA and the choir on stage. We SEE TOM 
	wandering and avoiding BILL, but catching MARY'S eye. OPAL is 
	near as is LA JOAN. BARBARA JEAN reads GLENN'S note: "If I die 
	tomorrow, I lived today."

203	NEW ANGLE

	The applause builds.

					ANNOUNCER
			Ladies and gentlemen, Miss Barbara 
			Jean...

	The audience is swept away.

204	NEW ANGLE

	In the audience we see KENNY and the TRICYCLE MAN and WADE. 
	SUELEEN is there, too.

205	ANOTHER ANGLE -- STAGE AREA

	As BARBARA JEAN sings, GLENN stands next to BARNETT. She finishes 
	the song and looks in GLENN'S direction.

206	ANGLE - BARBARA JEAN

	She is leaning on a stool.

					BARBARA JEAN
			I want to thank you for all your 
			good wishes. You are so important 
			to Barnett and me. Now I want to 
			sing a special song for all our 
			soldier boys.

	The orchestra starts. She calls for HAVEN to come out. The 
	applause swells and, they start a song together.

207	EXT. FRONT OF PARK - DAY

	A long black limo is parked near two ambulances, the attendants 
	sitting on the ambulance fenders and joking.

208	ANGLE - STAGE

	BARBARA JEAN and HAVEN have finished the soldier song. The choir 
	comes out to back her now. The audience picks up the song they 
	sing. After the song everyone claps loudly, and a large bouquet 
	of flowers gets handed up to BARBARA JEAN. They hug as someone 
	begins to unfurl a "HAL PHILIP WALKER" banner behind them. 
	Photographers crowd in. Suddenly there is a sharp jolt in 
	HAVEN'S body and BARBARA JEAN is down. There is brief confusion, 
	but the choir continues to sing and everyone thinks BARBARA JEAN 
	has fainted again.

209	NEW ANGLE

	The confusion mounts as both HAVEN and BARBARA JEAN are down and 
	there are flowers lying all over the place

					HAVEN
			Barnett!  My God, Barnett  I'm 
			shot!

	TRIPLETTE runs up the stairs and the choir continues. BARNETT 
	yells for them to stop. He and BARNETT are over BARRARA JEAN, 
	while guards and BUD attend to HAVEN.

					TRIPLETTE
			She's... oh, my God... there's 
			blood here...
				 (taking mike)
			Ladies and gentlemen, I don't know 
			what to say.

210	ANGLE - AUDIENCE

	There is a VOICE among the noise that shouts:

	I could have got that Walker bastard before. I've been closer, 
	closer than this, but my Nash broke down and somebody kept 
	stealing my things. I wanted to get him the day before, then Mr. 
	Green's wire died, so this was the right time. I love the 
	President of the United States. I love him.

	Guards grab the speaker, KENNY, in an instant. He shoots a 
	policeman's foot by accident. Men swallow him up. Someone 
	yells, "sing."

211	ANGLE - STAGE

	The choir has no direction to go in. ALRUQUERQUE suddenly is 
	with microphone.. She starts to do "It Don't Worry Me."  The rest 
	of the singers join in.

212	EXT. PERCY WALKER PARK - DAY

	BARNETT leads the stretcher to one or the ambulances. He doesn't 
	allow HAVEN to enter.

					BARNETT
			Have your friend Triplette take you 
			to the hospital.

	A man walks up from the limo. It is WALKER. TRIPLETTE is near.

					 WALKER
	What'd she do, faint again?  I'm getting tired of waiting in the 
	car.

	TRIPLETTE turns and belts him.

	CUT TO:

213	INT. AMBULANCE - DAY

	As it speeds to the hospital. BARNETT is calm. He knows none of 
	it matters anyway.

214	EXT. STREETS - DAY

	The TRICYCLE MAN follows the ambulance, then heads off onto the 
	highway to Memphis. We SEE STAR'S truck going toward the 
	Parthenon.

215	EXT. PARTHENON

	We SEE STAR'S truck arrive and park. He gets out, as the music 
	and chaos swell.

	END CREDITS

	FADE OUT.