Nashville
- R
- Year:
- 1975
- 160 min
- 1,269 Views
FADE IN:
A TITLE SEQUENCE
Still photos of twenty-four principal actors.
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.
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
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.
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.
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"Nashville" Scripts.com. STANDS4 LLC, 2024. Web. 25 Apr. 2024. <https://www.scripts.com/script/nashville_912>.
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