Nashville Page #5

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

n*gger 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!.

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