Log line: (Romantic comedy.) A young man goes to Nashville to try to make it in country music, and feels cheated when his girlfriend, who tags along with him, makes it instead.
Copyright 2002, 2009 by Ronald L. Ecker
All Right Reserved
FADE IN:
INT. WATT TYLER'S OFFICE - JACKSONVILLE, FLORIDA - DAY
A nameplate on the desk reads "Watt Tyler."
Standing in front of the desk in the nice office is pretty
CRISSIE SHORT, 23.
CRISSIE
I'm going to be resigning, Mister
Tyler. I've really enjoyed working
for you. But I'm getting married.
Sitting behind the desk is WATT TYLER, 35, in a bright frilly
dress, lipstick, and wig. He makes a good-looking woman.
WATT
Getting married? I didn't even
know you were dating.
CRISSIE
He lives in Atlanta.
WATT
Well sit down, Crissie, and tell me
about this man.
CRISSIE
(sitting down)
I don't know that much to tell,
Mister Tyler.
WATT
Crissie, how long have you worked
here?
CRISSIE
It's been over six months.
WATT
Why do you still call me Mister
Tyler?
CRISSIE
I guess it does seem strange.
WATT
Call me Watt.
CRISSIE
Well, Watt, his name is Sweet.
Sweet Barrentine.
WATT
A man named Sweet? Oh, I can't
believe it.
CRISSIE
That's what his mother called him.
His real name is - Albert, I think.
WATT
You think? Crissie, are you sure
you're in love with this man?
CRISSIE
No. I've decided to marry for
security. I've tried real love,
and got hurt something awful.
WATT
Oh, I know how hard that terrible
thing about Bernie had to be for you.
CRISSIE
I figure the best way to get over
it is just to hitch up with some
man who's got money. And when my
mind gets set on something, that's
it.
WATT
But, Crissie, you could walk out of
here and fall head over heels for
some guy. You just never know.
CRISSIE
I suppose I could, Watt, but right
now, I just don't see it happening.
INT. A MODEST APARTMENT - BRUSSELS, FLORIDA - DAY
Handsome RUSSELL STOUT, 24, in jeans, boots, and Stetson hat,
sets a packed suitcase on the floor by a guitar case and
briefcase, and glances at his watch.
Someone knocks on the door. Opening it, Russell looks
surprised to find pretty ROSALEE MYERS, 25. She rushes
in to embrace him.
ROSALEE
Oh, Russell. I hear you're going
to Nashville.
RUSSELL
Yeah, I'm waiting for Bert to come
drive me to the airport.
ROSALEE
You quit your job at the pulp mill?
RUSSELL
If me and the Sprouts are ever
going to make it, now's the time
to try. Look, Rosalee, the last
time we talked, I thought it was
understood: We had a great time
since - well, since we were
sophomores in high school, I guess,
but - I don't love you anymore.
ROSALEE
I know that, Russell. I've found
me someone else.
RUSSELL
Who?
ROSALEE
Orville Watkins.
RUSSELL
Aw, Rosalee.
ROSALEE
You're a hard act to follow,
Russell. Look, the reason I've
come is - Do you think that you
might meet Lance Woodward in
Nashville?
RUSSELL
Could be. Who knows?
ROSALEE
If you do, Russ, is there a chance
me and a couple of friends could
come up and meet him?
RUSSELL
Sure, I don't see why not.
ROSALEE
Ohhhhhhhhhhhh . . .
EXT. U.S. HIGHWAY 17 NORTH - FLORIDA - DAY
A pickup truck moves along the highway, with Russell's suitcase
and guitar case in back.
INT. TRUCK - DAY
Good ol' boy BERT, 27, drives, Russell on the passenger side
with his briefcase.
Bert turns off a noisy Lance Woodward country-rock song playing
on the truck's radio.
BERT
That Lance Woodward crap, I hate it!
RUSSELL
That crap has gone platinum, Bert.
BERT
Yeah, leave it to the music business
to turn shit into gold. You know who
produces that clown, don't you?
RUSSELL
Lacy Crabtree. Talk about an odd
couple.
BERT
If Lacy was dead, he'd roll over in
his grave. Anyway, Lacy's the man
you've got to see, Russ.
RUSSELL
I'll see him, don't worry. I can't
thank you enough, Bert, for helping
to bankroll this trip.
BERT
Hell, man, all for one and one for
all.
RUSSELL
I'm gonna get us a contract, you
can count on that.
BERT
I know it. You sure sound good on
them demos.
RUSSELL
I've got a good man singing harmony.
BERT
Yeah, you do, if I say so myself.
RUSSELL
And a good band behind me.
BERT
And Lacy knows good country when he
hears it, 'cause he damn sure used
to sing it.
Bert starts singing some lines from an old Crabtree classic,
with Russell joining in.
EXT. AIRPORT - JACKSONVILLE - DAY
ESTABLISHING SHOT. SUPERIMPOSE:
JACKSONVILLE INTERNATIONAL AIRPORT
INT. THE AIRPORT - DAY
Crissie, in slacks and blouse and with a shoulder bag, is
among PASSENGERS in line to go through SECURITY.
Beside Crissie is her mom GERTIE SHORT, 50, seeing her off.
GERTIE
Crissie, you're making a big
mistake by -
CRISSIE
We've been over this, Mama. I'm
going to marry Sweet and live high
on the hog in Atlanta.
GERTIE
Honey, you're still upset about
Bernie. You -
CRISSIE
Don't bring him up, Mama, please.
GERTIE
You're confused, that's all.
A SECURITY INSPECTOR checks Crissie's shoulder bag.
CRISSIE
I'm just doing what comes natural,
Mama. Evolutionary psychology.
GERTIE
Evolutionary?
CRISSIE
Men want to spread their genes,
and women want security to spread
theirs too.
GERTIE
I'm all for security, but it's not
Sweet Barrentine's genes you ought
to be spreading.
(to the inspector)
She went off to college and became
an evolutionist.
CRISSIE
You'll feel different, Mama, when you
come up next week for the wedding.
INT. AIRLINER - DAY
Crissie sits chewing bubble gum by a window. Many of
the PASSENGERS still take their seats.
Russell, stowing his briefcase and removing his Stetson,
takes the seat beside Crissie.
RUSSELL
You going to Nashville, ma'am?
CRISSIE
Atlanta.
RUSSELL
Oh. I was hoping you could give me
some contacts.
CRISSIE
Try the phone book, buddy.
RUSSELL
I will when I get there. Actually
my name is Russell, not buddy.
Russell Stout.
CRISSIE
Cristina Short.
(on Russell's laugh)
What's so funny about that?
RUSSELL
We'd make a duo in Nashville.
Short and Stout.
CRISSIE
Give me a break.
RUSSELL
Doing anything special in Atlanta?
CRISSIE
Yeah, if you call getting married
something special.
RUSSELL
I reckon it depends on who you're
marrying. What does the lucky guy do?
CRISSIE
He owns a bunch of dives. Could be
just a front.
RUSSELL
A front for what?
CRISSIE
Who knows? I'm like Diane Keaton
in "The Godfather." You don't ask
questions.
RUSSELL
You don't really sound like you
love him.
CRISSIE
I don't. I'm just marrying him to
get him off my back.
(beat)
You want contacts, eh? Going to
Nashville to make it in music?
RUSSELL
Yeah. We play traditional country,
like you don't hear much of on the
radio anymore, with a few exceptions.
I hope to be one. You like country
music?
CRISSIE
I can take it or leave it.
Crissie looks out the window. Russell's eyes roam over her
shapely body. Crissie turns to him, almost catching Russell
off guard.
CRISSIE (cont'd)
I wrote a ditty when I was a kid.
You'd have to call it country.
Wanna hear it?
RUSSELL
Sure.
CRISSIE
(singing)
Tit for tat, gonna getcha for that,
if it's the last thing I do.
RUSSELL
That ain't half bad. What's the rest?
CRISSIE
That was it.
RUSSELL
(ad-libbing)
Eye for eye, tooth for tooth -
CRISSIE
(ad-libbing)
I'll get even with you.
EXT. STRIP CLUB "BOTTOMS UP" - ATLANTA - DAY
ESTABLISHING SHOT. A neon sign identifies "The Bottoms Up."
INT. THE BOTTOMS UP - DAY
The place is closed as THUG #1, 40-ish, in a business suit,
sits with a drink at the bar, behind which 40-ish BARMAID #1
is putting things in order.
Thug #1 watches STRIPPER #1 explain something to buxom
STRIPPER #2 onstage. Both girls are scantily clad.
THUG #1
(to barmaid)
Hey, I don't think that new gal needs
any pointers. Know what I mean?
(looks at his watch)
Say, is the boss gonna pick up his
bride-to-be at the airport?
BARMAID #1
Don't ask me.
THUG #1
He probably wants me to do it.
Thug #1 finishes his drink.
INT. SWEET'S OFFICE - DAY
30-ish SWEET BARRENTINE, sharply dressed, sits behind his desk.
Sitting in front is NICK, a 60-ish fellow in a sport coat.
SWEET
What kind of excuse did this guy
give you?
Nick cups an ear as if to hear better, even though the room
is quiet.
NICK
What kind of what?
SWEET
(louder)
What kind of excuse?
NICK
Well, I didn't hear the whole thing
- he kinda mumbled, you know? - but
he said that -
Nick stops as Sweet looks at Thug #1, who has stepped into
the office.
THUG #1
Excuse me, boss. It's about time
to go to the airport.
SWEET
Then go to the airport.
THUG #1
Oh, you're not going? No problem.
I'll go to the airport.
Thug #1 leaves.
SWEET
How long did you work for my father,
Nick?
NICK
Oh, about thirty years, Sweet.
SWEET
Well, you're staying on board. But
I tell you what. We're going to
get you some hearing aids.
NICK
Some what?
SWEET
Hearing aids.
NICK
What, you think I'm deaf or something?
You need to talk louder, Sweet. Why
do you guys whisper so much? Your
father never talked that way.
INT. THE AIRLINER - DAY
Russell and Crissie are singing the song they've written, to the
irritation of other passengers.
EXT. ATLANTA AIRPORT - DAY
The airliner lands.
INT. AIRLINER - DAY
Some passengers are getting off. Crissie hasn't moved yet.
RUSSELL
Well, Crissie, I hope you'll be
hearing about me someday. I'll
sure try to get our song published.
CRISSIE
Hear about ya, hell. I'm going
with you.
RUSSELL
You're what?
CRISSIE
I'm going on to Nashville too.
What do I have to do to stay on
the plane?
RUSSELL
I reckon we'll have to ask 'em.
What about Mister Barrentine?
CRISSIE
I'll worry about that tomorrow.
"Tomorrow is another day."
RUSSELL
Is that another ditty of yours?
CRISSIE
It's from "Gone with the Wind,"
honey.
(as if talking out the
window)
And that's what I am, Sweetie.
Gone with the wind!
A FLIGHT ATTENDANT, 25, appears.
RUSSELL
Is it okay if my friend here stays
on the plane?
FLIGHT ATTENDANT
No, I'm afraid not.
CRISSIE
Can't I run buy a ticket? I'll
hurry as fast as I -
FLIGHT ATTENDANT
That seat is taken by someone
coming aboard. And the flight to
Nashville is full, ma'am.
The attendant moves off.
CRISSIE
I'll get off and take the next
flight. You wait for me in the
airport in Nashville, okay?
(then)
Oh God. Sweet. He'll be waiting
for me at the gate.
Crissie puts on Russell's hat, too big. Taking off the hat,
she holds up her hair for padding.
CRISSIE (cont'd)
Put it on me. Then give me that
shirt.
Russell puts the hat on her, and starts taking off his shirt.
RUSSELL
If you think I'm going to wear that
blouse, you're crazy.
INT. THE RAMP FROM PLANE - DAY
Crissie strides along wearing her slacks, Russell's shirt
(over her blouse) and hat, and a pair of dark glasses.
She offers her arm to a LADY PASSENGER, 35, among other
deplaning passengers.
CRISSIE
Excuse me. Would you mind taking
my arm? I'm playing a trick on my
boyfriend. He's going to kill me.
LADY PASSENGER
Okay.
INT. THE AIRPORT - DAY
Thug #1 stands watching for Crissie among those deplaning.
He pays no attention to Crissie with the woman on her arm.
Crissie stops and looks around.
CRISSIE
That bastard didn't even come
to meet me.
INT. SWEET'S OFFICE - DAY
Sweet answers the ringing phone at his desk. THUG #2, 37, is
standing idly by.
SWEET
(into phone)
Hello.
INTERCUT: INT. THE AIRPORT - DAY
Thug #1 is on a cell phone, people passing in b.g.
THUG #1
She didn't get off the plane, boss.
SWEET
What do you mean she didn't get off
the plane?
THUG #1
I mean she didn't get off the plane.
SWEET
Go find out if she was on it.
THUG #1
Who do I ask?
SWEET
You're asking me?
THUG #1
I'll go ask somebody.
END INTERCUT, STAY with Sweet as he hangs up.
THUG #2
Not on the plane, huh? What if her
mama talked her out of it?
SWEET
We'll just have to kill her mama.
EXT. NASHVILLE AIRPORT - NIGHT
ESTABLISHING SHOT. SUPERIMPOSE:
NASHVILLE INTERNATIONAL AIRPORT
INT. THE AIRPORT - NIGHT
As PEOPLE pass, Russell sits in his undershirt and jeans,
playing his guitar. Beside him are his guitar case,
suitcase, briefcase, and Crissie's shoulder bag.
Crissie appears, holding his borrowed shirt and hat.
RUSSELL
Well it's about damn time.
CRISSIE
Thanks for waiting, Russ. I got
here quick as I could. Here, I'm
giving you the shirt off my back.
RUSSELL
What about the guy who was waiting
for you? Did he recognize you?
CRISSIE
He wasn't even there.
RUSSELL
You're kidding.
CRISSIE
I saw a guy he probably sent. Let's
get my luggage, then where do we go
first in Nashville?
RUSSELL
The cheapest hotel we can find.
INT. THE BOTTOMS UP - ATLANTA - NIGHT
STRIPPER #2 performs onstage for the PATRONS.
INT. THE CORRIDOR TO SWEET'S OFFICE - NIGHT
Thug #2 escorts an attractive female JOB APPLICANT, 21,
to the office.
THUG #2
You look pretty qualified to me.
APPLICANT
Will he want to see me dance?
THUG #2
Look, all you gotta do is take off
your clothes, show him that hot bod
you've got, and you're hired.
INT. SWEET'S OFFICE - NIGHT
At his desk Sweet dials a phone number while he reads it.
Half-deaf Nick sits in front of the desk.
Thug #2 brings in the applicant and leaves her.
SWEET
(to Nick)
She may have taken up with her boss.
NICK
She's taken up with her boss?
SWEET
You find out. His name is Watt Tyler.
NICK
Who?
SWEET
Tyler.
NICK
What Tyler?
SWEET
Yes.
NICK
What?
SWEET
Watt Tyler!
NICK
That's what I said!
SWEET
What?
NICK
What Tyler!
SWEET
Yes!
NICK
Yes what!
SWEET
(into phone)
Mrs. Short? This is Albert J.
Barrentine, calling from Atlanta.
INTERCUT: INT. GERTIE'S HOME - JACKSONVILLE - NIGHT
Gertie is on the phone.
GERTIE
Oh. Sweet?
SWEET
That's what they call me. Did your
daughter take a flight to Atlanta
today?
GERTIE
Yes. I watched her get on.
Sweet signals for the applicant to proceed. She starts
disrobing, as Nick moves his chair for a better view.
SWEET
Well I didn't watch her get off.
GERTIE
She didn't get off the plane?
SWEET
You didn't actually see her get on
the plane.
GERTIE
No, and I tried my damndest to keep
her off the damn plane.
SWEET
That's not good, Mrs. Short.
The applicant is almost down to her panties and bra.
SWEET (cont'd)
When you hear from your daughter,
or she gets back down there to
Florida, you will let me know -
won't you, Mrs. Short.
GERTIE
I certainly will.
SWEET
Tell her that I need to talk to
her. Real bad.
END INTERCUT, STAY with Sweet as he hangs up.
The applicant is about to unhook her amply filled bra, Nick
watching with anticipation.
SWEET (cont'd)
Okay, that's enough. You're hired.
NICK
(disappointed)
Aw, come on, boss.
EXT. A DOWNTOWN NASHVILLE HOTEL - NIGHT
ESTABLISHING SHOT of an old seedy hotel.
INT. THE HOTEL - NIGHT
Russell and Crissie set down their belongings at the desk.
The DESK CLERK is in his 70's.
RUSSELL
We'd like a room for, uh, Mister
and Mrs. Russell Stout.
CRISSIE
Oh, he's just pulling your leg.
We're not married. It's for
Russell Stout and - Maybe we
shouldn't use my name. Sweet
Barrentine. Make it Mister and
Mrs. Stout.
DESK CLERK
That's fine with me. Just sign
right here.
RUSSELL
(signing)
Could you tell us how to get to
Music Row?
DESK CLERK
You're a long way from Music Row.
That's out by West End.
RUSSELL
Which way is that? I mean, how -
DESK CLERK
Go down to Broadway and turn right.
You'll be facing west. You can't
miss it.
CRISSIE
Where do we go tonight to have fun?
The desk clerk hands her the key.
DESK CLERK
Room Two Oh Three.
CRISSIE
I meant where in town.
DESK CLERK
Like I said, ma'am, go down to
Broadway.
INT. HOTEL ROOM - NIGHT
Crissie talks on the phone, while Russell softly picks his
guitar.
CRISSIE
(into phone)
Now whatever you do, Mama, don't
tell Sweet where I am. I don't
want any trouble from him. I'll
handle Sweet later. If he calls
again, tell him you think I went
to New York.
(listens)
I'm all right, Mama. This guy I've
met is a nice young man, and I have
found my calling. I'm going to be
a Nashville songwriter. Mama, I'm
running up a bill. I'll call you
again in a few more days, okay? I
love ya. Bye.
Crissie hangs up, sighs with relief.
CRISSIE (cont'd)
Let's go down to Broadway.
EXT. BROADWAY AVENUE - NIGHT
Russell and Crissie walk along the neon-lit string of bars
with their live country music, TOURISTS and OTHERS moving
about. One sign identifies "The Stage on Broadway."
INT. THE STAGE ON BROADWAY - NIGHT
Nashville's top honky tonk. Russell and Crissie among the PATRONS
sit enjoying unknown COUNTRY SINGER #1 and BAND. A
WAITRESS serves two mugs of beer. Crissie gestures a toast.
CRISSIE
Here's to Nashville songwriting.
RUSSELL
To Short and Stout.
They drink the toast.
RUSSELL (cont'd)
Do you know how to strum a guitar?
CRISSIE
I've never even picked one up.
RUSSELL
Well I'll learn you how. You only
need to know three chords to play
country music.
CRISSIE
You're kidding. And make it sound
like that?
RUSSELL
Well, to be a professional, you
have to kind of go overboard
with it.
CRISSIE
Going overboard is one thing I'm
good at.
INT. THE HOTEL ROOM - NIGHT
Crissie sits playing a chord on Russell's guitar, with
teacher Russell kneeling in front of her.
RUSSELL
You've got it. C, F, and G.
(showing her a capo)
Tomorrow I'll show you how to
change keys with a cheater.
Crissie starts singing the song they wrote, feeling out the
right chords as she strums.
Russell sings along, nodding approval as Crissie finds the
right chords. They finish singing the line and smile. An
awkward pause. Russell looks at his watch.
RUSSELL
Well, time to think about turning
in, if I'm going to go find Lacy
Crabtree bright and early.
CRISSIE
Who's she?
They both rise.
RUSSELL
He used to be one of the biggest
stars in Nashville. Like all the
old stars, they stopped giving
him airplay, so his record label
dropped him.
(putting the guitar in its
case)
He's a producer now. He produces
the new stuff like the others,
but if there's one producer in
Nashville that'll listen to
traditional country, it ought
to be Lacy Crabtree.
Crissie strolls over to Russell. Russell glances around.
RUSSELL (cont'd)
What's going to be the sleeping
arrangements for tonight?
CRISSIE
Aren't we going to sleep together,
cowboy?
They kiss in an embrace.
INT. THE HOTEL ROOM - NIGHT (LATER)
Russell and Crissie make love.
INT. THE HOTEL ROOM - NIGHT (LATER)
Russell and Crissie lie dreamily in bed.
RUSSELL
Crissie?
CRISSIE
Hmm?
RUSSELL
How could you think about marrying
that Barrentine guy?
CRISSIE
He caught me on the rebound, Russ.
I was all mixed up. I was in love
with a boy named Bernie. My
college sweetheart. He went to
F.S.U. without a dime, but he
worked his way through school.
Worked part of every day and night,
didn't hardly have time for me,
with his studies too. But he
worked and worked, and got that
degree.
Russell waits for the end of the story.
RUSSELL
And what happened?
CRISSIE
He died a week later, from
malnutrition.
(beat)
I couldn't go back to school. I
went to work. Then Sweet came
along with all of his moola.
RUSSELL
Moola?
CRISSIE
I think that's from "Duel in the
Sun." It means money. I was
afraid to have another real love
relationship.
RUSSELL
Are you afraid to have one now?
CRISSIE
I'm having it . . . whether I'm
afraid to or not. I've done gone
overboard.
EXT. MUSIC ROW - DAY
It's morning on the fabled Row, PEOPLE moving about.
A taxi stops in front of a homey one-story office building.
The sign on the lawn reads "Lacy Crabtree Productions."
INT. TAXI - DAY
Russell, wearing his Stetson hat and brand-new shirt and jeans,
leans forward in back to pay the 30-ish TAXI DRIVER.
TAXI DRIVER
I brought Mister Crabtree here once.
My daddy has all his old records.
The taxi driver sings a line through his nose.
INT. LACY'S OUTER OFFICE - DAY
The waiting room is unoccupied as Russell, briefcase in hand,
approaches the desk of pretty SECRETARY #1, 30.
At the same time a 40-ish MUSIC PUBLISHER, in jeans and carrying
a briefcase, comes out of the hallway from Lacy's office.
Russell stops and waits as the publisher, ignoring him, stops
by the desk.
SECRETARY #1
How'd it go?
PUBLISHER
Fine. He took one song for Lance.
SECRETARY #1
Great!
PUBLISHER
Then I had to listen to one of his
oldies. He said, "I just feel like
singing something good."
SECRETARY #1
What was it?
PUBLISHER
I don't know. I didn't pay much
attention. I was thinking about my
next pitch.
(heading for the door)
But it was probably Number One for
ten weeks. Bye.
SECRETARY #1
Have a good one.
(to Russell)
May I help you?
RUSSELL
Yes, ma'am. My name's Russell
Stout. I've got a band called the
Brussels Sprouts. We're from
Brussels, Florida, see.
SECRETARY #1
Oh, I see.
RUSSELL
I wonder if Mister Crabtree would
mind listening to a couple of songs
by me and the band.
SECRETARY #1
I'm sorry, sir, but Lacy just
doesn't have time to listen to
unsolicited material.
RUSSELL
I've come a long way, ma'am. Would
it be possible, if Mister Crabtree
can't see me, to at least leave a
demo?
SECRETARY #1
You can leave one, sir, but I
can't promise that Lacy will have
time to hear it.
Russell hands her a CD from his briefcase.
RUSSELL
I appreciate it, ma'am. My name and
Florida contact info's there on the
label. I'd sure be grateful if
you could get it to him.
Russell tries to hand her a glossy of himself. She doesn't
take it.
SECRETARY #1
He'll contact you, sir, if he wants
to see you. Now this won't get
returned with no return postage.
RUSSELL
That's all right, ma'am, I've got
more copies. Thank you a lot,
ma'am.
INT. ANOTHER PRODUCER'S OFFICE - MUSIC ROW - DAY
Russell stands at the desk of SECRETARY #2, 25.
SECRETARY #2
I'm sorry, sir, but what you need
to do is get your songs published
by one of the music publishers,
then -
RUSSELL
But ma'am, I'm trying to sell me
and the band too, not just the songs.
SECRETARY #2
Well I'm sorry, sir, but we're not
looking for new talent right now.
INT. FAST-FOOD RESTAURANT "THE GRAND OLE BURGER" - DAY
Crissie eats a Grand Ole Burger. A 40-ish MAN IN RESTAURANT
eyes her as he's eating one too at a neighboring table, other PATRONS
in b.g.
MAN IN RESTAURANT
The Grand Ole Burger's a pretty
good sandwich, ain't it?
CRISSIE
Yes, it is. I may be eating a lot
of these till my boyfriend signs
his recording contract.
MAN IN RESTAURANT
Who is he signing with?
CRISSIE
Oh, we don't know yet. He has to
be discovered first.
(glances at her watch)
Maybe he has by now.
EXT. MUSIC ROW - DAY
Russell, looking disheartened, walks along with his briefcase.
He stops by ROSCOE TENNEY, a 30-ish fellow who's picking a
guitar while leaning on the fender of an old Lincoln.
Roscoe looks unwashed. Russell looks inside the car, which
appears to be lived-in.
RUSSELL
You play pretty good.
ROSCOE
Thanks.
RUSSELL
Do you live in this car?
ROSCOE
Sure do. Just have to keep moving
around.
RUSSELL
Must be pretty rough.
ROSCOE
Well, we all have to start somewhere.
Roscoe starts picking again as Russell moves on.
INT. HOTEL ROOM - DAY
Crissie is writing a song, the lyrics scribbled down on
paper, as she strums the guitar.
INT. ANOTHER PRODUCER'S OFFICE - DAY
Russell, looking demoralized, talks with SECRETARY #3, 40.
SECRETARY #3
I'm sorry, sir, but if you would
like to leave a demo, he might -
RUSSELL
No, ma'am, thanks anyway. I can't
go around handing my demos out for
nothing.
Turning to go, Russell almost walks into the wall, which the
side of the desk abuts. Russell turns the other way with a
look of embarrassment.
RUSSELL (cont'd)
I almost walked into the wall.
SECRETARY #3
Yeah, that wall can fake you out.
EXT. THE HOTEL - DAY (LATE AFTERNOON)
It's near sunset.
INT. HOTEL ROOM - DAY (LATE AFTERNOON)
Crissie sits watching TV. There are knocks at the door.
Crissie gets up and goes to the door.
CRISSIE
Who is it?
RUSSELL (O.S.)
(muffled)
The head Brussels Sprout!
Crissie opens the door. Russell, briefcase in hand, stands
at the door looking tired and disillusioned.
RUSSELL (cont'd)
Wanna buy some songs, lady?
CRISSIE
Russ, I've been worried about you.
Russell walks in straight to a chair and sits down. Crissie
turns off the TV.
RUSSELL
I've walked all the way from Music
Row. After walking all day on
Music Row.
CRISSIE
Didn't you have any luck?
RUSSELL
Tsch. There are some lean days
ahead. We can't afford no more
taxis.
CRISSIE
You didn't see Lacy Crabtree?
RUSSELL
I didn't see anyone. And how was
your day?
CRISSIE
I've written a song, Russ. Wanna
hear it?
RUSSELL
No, I don't.
CRISSIE
I think it's pretty good.
RUSSELL
It ain't what's good, it's who you
know. I don't know anyone, and
neither do you.
CRISSIE
Don't get discouraged, Russ. I'll
go see Lacy Crabtree.
RUSSELL
You?
CRISSIE
All it takes, honey, is a little
bit of this.
Crissie raises her skirt to show some leg.
CRISSIE (cont'd)
Like Claudette Colbert, hitchin'
a ride in "It Happened One Night."
RUSSELL
What are you, some kind of old-movie
freak?
CRISSIE
I'm a film buff, if that's what you
mean. You can learn a lot about
life from old movies.
RUSSELL
You can learn a lot about life
from old country music. But first
you've got to hear it.
CRISSIE
I'm going to Music Row in the morning,
and Lacy Crabtree is going to hear
your songs.
EXT. MUSIC ROW - DAY (MORNING)
There's a coffee shop near Lacy's, as PEOPLE pass.
INT. THE COFFEE SHOP - DAY
Crissie sits alone, propped sleepily over a cup of coffee by
the window. OTHERS sit in b.g.
The OWNER, 45, notes something outside.
OWNER
There, lady.
Crissie eagerly looks out the window. Down the street, LACY
CRABTREE, 70, in a stylish sport coat and Stetson hat, ambles
toward his office building.
OWNER
That's Lacy Crabtree.
Crissie jumps up, grabbing Russell's briefcase, to go.
Go to Part 2
Back to beginning of script