Nashville Page #7

Synopsis: Nashville is a 1975 American satirical musical comedy-drama film directed by Robert Altman. The film takes a snapshot of people involved in the country music and gospel music businesses in Nashville, Tennessee. The characters' efforts to succeed or hold on to their success are interwoven with the efforts of a political operative and a local businessman to stage a concert rally before the state's presidential primary for a populist outsider running for President of the United States on the Replacement Party ticket.
Genre: Comedy, Drama, Music
Production: Paramount Pictures
  Won 1 Oscar. Another 22 wins & 25 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
92%
R
Year:
1975
160 min
1,338 Views


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...

Rate this script:3.5 / 2 votes

Joan Tewkesbury

Joan Tewkesbury (born April 8, 1936) is an American film and television director, screenwriter, producer and actress. She had a long association with the celebrated director Robert Altman, and wrote the screenplays for two of his films, Thieves Like Us (1974) and Nashville (1975). Nashville has been called "Altman's masterpiece", and Tewkesbury's screenplay was widely honored including a nomination for the BAFTA Award for Best Screenplay. Beyond the work with Altman, Tewkesbury has directed and written many television movies and episodes for television series. more…

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    "Nashville" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/nashville_912>.

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