The Thing Called Love (1993) - full transcript

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* GOT ME SOMETHING TO LIVE FOR *

* STANDIN' ON A ROCK *

* GOT NOTHIN' TO PROVE *



* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* YOU'RE A REAL FINE WOMAN *

* AND YOUR HEART IS STRONG *

* YOU CAN SEE RIGHT THROUGH ME *

* AND YOUR LEGS ARE LONG *

* YOU DON'T GIVE ME NO TROUBLE *

* AND YOU DON'T TAKE MINE *

* YOU'RE THE REASON I'M LIVIN' *

* 'CAUSE YOU'RE THE
REASON I'M TRYIN' *

* I'M STANDIN' ON A ROCK *



* STANDIN' ON A ROCK *

* I AIN'T GOIN' NOWHERE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* GOT ME SOMETHING TO LIVE FOR *

* STANDIN' ON A ROCK *

* GOT NOTHIN' TO PROVE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* YOU DON'T SAY NOTHIN'
BAD ABOUT NOBODY *

* YOU DON'T LIKE
TALKIN' OUT OF SCHOOL *

* YOU MIGHT NOT TAKE
ME FOR A WISE MAN *

* BUT YOU SURE DON'T
TAKE ME FOR A FOOL *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* GOT ME SOMETHIN' TO LIVE FOR *

* STANDIN' ON A ROCK *

* GOT NOTHIN' TO PROVE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* I COULD BE HAPPY
FLYIN' AIRPLANES *

* I COULD BE HAPPY
SELLIN' SHOES *

* I COULD BE HAPPY JUST DRINKIN' WATER,
BABY... *

GOOD AFTERNOON,
LADIES AND GENTLEMEN.

WELCOME TO NASHVILLE.

IN JUST A FEW MINUTES,

WE'LL BEGIN BOARDING OUR 4:45
DEPARTURE FOR NEW YORK CITY.

HOWDY. HOW YOU DOING?

APPLICATIONS AND
PENCILS ARE ON THE BAR.

DON'T STEAL THE PENCILS.

HURRY IT UP.
DOORS CLOSE AT 4:05.

ANYONE NOT INSIDE AT 4:05

DOESN'T AUDITION.

WHEN I CALL YOUR NAME,

I WANT YOU TO COME UP ON STAGE.

IF IT'S YOUR FIRST TIME,

I THINK YOU SHOULD KNOW
THAT IF YOU DON'T PASS,

IT JUST MEANS I DON'T
THINK YOU'RE READY.

GO HOME AND KEEP ON WRITING

AND COME ON BACK AGAIN.

YOU'RE GOING TO TRY
OUT FOR WRITER'S NIGHT?

YEAH.

I'M A WRITER MYSELF.

I HAD A TOP 20 HIT LAST YEAR.

YOUNG WRITERS ALWAYS
HATE IT WHEN I TELL THEM THAT.

I TELL THEM,
LIVE FOR THE MOMENT.

DON'T GET A PICTURE
OF WHEN YOU HIT

'CAUSE YOU AIN'T NEVER
GOING TO BE IN THAT PICTURE.

ONE, TWO, UN, DEUX, TROIS.

THIS IS IT.

* SAYIN' GOODBYE *

DOESN'T MATTER WHAT IT
LOOKS LIKE ON THE OUTSIDE.

IT'S WHAT'S GOING ON
INSIDE THAT COUNTS.

THANKS.

WHAT TIME IS IT?

4:15.

WE'RE GOING TO HAVE TO
DO SOMETHING ABOUT THIS.

YOU'RE HERE WITH ME.

I CHANGED A FLAT TIRE FOR YOU,

WHICH IS WHY I'M LATE.

* FIND MY SHOE, CHERIE *

JAMES, YOU KNOW THE RULES--4:05.

I JUST STOPPED TO FIX
THIS GIRL'S FLAT TIRE.

THAT WAS REALLY NICE OF YOU.

YOU ARE A REGULAR
GOOD SAMARITAN.

NEXT TIME,
LET THE CAB DRIVER CHANGE HIS OWN TIRE,

AND YOU GET HERE ON TIME.

YOU SHOULD CONSIDER BREAKING
ONE OF THOSE RULES SOMETIMES.

IT MIGHT BE LIBERATING,
IF NOTHING ELSE.

HEY, I DON'T KNOW HIM.

THAT TIRE THING WAS HIS IDEA.

I JUST CAME HERE
FROM THE BUS STATION,

ALL THE WAY FROM NEW YORK.

LOOK, I KNOW I'M LATE,

BUT I REALLY DID
SUFFER TO GET HERE.

WHAT WAS YOUR NAME, HONEY?

MIRANDA PRESLEY... NO RELATION.

WELL, MIRANDA PRESLEY,
NO RELATION,

THERE IS NOTHING YOU CAN
TELL ANYBODY IN THIS ROOM

ABOUT SUFFERING.

THERE'S ANOTHER
AUDITION NEXT WEEK.

HEY!

I DON'T APPRECIATE YOU

INCLUDING ME IN
YOUR LIE BACK THERE,

ESPECIALLY WITHOUT ASKING ME.

WELL,
THAT'S A FINE POINT TO MAKE.

THANK YOU.

O.K.

THERE MIGHT BE A SONG IN THAT.

HUH?

I WAS GOING TO ASK
YOU OUT FOR A BEER,

BUT I'VE SINCE CHANGED MY MIND.

WHAT IS THAT, SOME KIND OF LINE?

YES.

DOES IT WORK?

SOMETIMES. RARELY.

I'LL BET.

I MIGHT CHANGE MY MIND AGAIN.

MAYBE YOU SHOULD
CHANGE YOUR LINE.

THAT'LL BE $20.

I'LL PAY FOR THE WHOLE WEEK.

OH, THAT WON'T WORK.

WELL, THE STRIP IS SHOT.

THE CARD'S GOOD.

YOU CAN CALL IT IN IF YOU WANT.

NO NEED FOR THAT.

YOU SAID IT WAS GOOD.

NEVER DID COTTON TO THE IDEA

OF TRUSTING A
MACHINE OVER A PERSON.

YOU'VE GOT AN HONEST FACE,
MIRANDA.

HAVE I GOT A ROOM FOR YOU.

* IT'S FUN TO STAY AT THE YMCA *

* IT'S FUN TO STAY AT THE YMCA *

* THEY HAVE EVERYTHING *

* FOR A YOUNG MAN TO ENJOY *

* OH *

* YOU DON'T MISS THE
LOVE THE WAY I DO *

COME ON IN, SWEETIE.

YOU CAN SIT WHEREVER YOU WANT.

I'LL BE RIGHT WITH YOU. THANKS.

* A LADY SITTIN' ON
HER OLD FRONT PORCH *

* WATCHIN' THE CHICKENS
PECK THE GROUND *

* THERE AIN'T A WHOLE
LOT GOIN' ON TONIGHT *

* IN THIS ONE-HORSE TOWN *

* OVER YONDER *

* COMIN' UP THE ROAD *

* IN A BEAT-UP CHEVY TRUCK *

* HER BOYFRIEND TOMMY *

* IS LAYIN' ON THE HORN *

* SPLASHIN' THROUGH
THE MUD AND THE MUCK *

* HER DADDY SAYS *

* HE AIN'T WORTH A LICK *

* WHEN IT COMES TO BRAINS *

* HE GOT THE SHORT
END OF THE STICK *

* BUT KATIE'S YOUNG *

* AND THEN SHE JUST DON'T CARE *

* SHE'D FOLLOW TOMMY ANYWHERE *

* SHE'S IN LOVE WITH THE BOY *

* SHE'S IN LOVE WITH THE BOY *

* SHE'S IN LOVE WITH THE BOY *

* AND EVEN IF THEY
HAVE TO RUN AWAY *

* SHE'S GONNA MARRY
THAT BOY SOMEDAY *

* KATIE AND TOMMY
AT THE DRIVE-IN MOVIE *

* PARKED IN THE VERY LAST ROW *

* THEY'RE TOO BUSY
HOLDIN' ON TO ONE ANOTHER *

* TO EVEN CARE ABOUT THE SHOW *

* LATER ON OUTSIDE
THE TASTEE FREEZE... *

APPLICATIONS,
PENCILS ARE ON THE BAR.

DON'T STEAL THE PENCILS.

I SURE HOPE SO.

* HER DADDY SAYS *

* THAT HE AIN'T WORTH A LICK *

* WHEN IT COMES TO BRAINS *

* HE GOT THE SHORT
END OF THE STICK *

HEY,
MY NAME IS LINDA LUE LINDEN,

AND, UM, I'M FROM BRIAR HILL,
ALABAMA,

AND I JUST FINISHED THIS SONG,

AND IT'S CALLED HEAVEN
KNOCKED ON MY DOOR.

* I HAD A DREAM LAST NIGHT *

* AND THERE YOU WERE *

* STANDIN' BY MY BEDSIDE *

* DEVIL IN ANGEL'S CLOTHIN' *

* TALKIN' ABOUT
YOUR CRAZY RIDE *

* I DIDN'T KNOW WHAT
TO SAY AT FIRST *

* I COULDN'T GET
BY THOSE WINGS *

* NOW HERE I AM IN THE
MIDDLE OF THE NIGHT *

* TALKIN' TO AN
ANGEL THAT SINGS *

UH, MIRANDA PRESLEY.

YEAH.

HI, MY NAME'S MIRANDA PRESLEY.

I'M FROM NEW YORK CITY,

AND THIS SONG IS
CALLED BIG BAR HAIR.

* YOU CAN SEE IT IN
THE SHOPPIN' MALLS *

* 5-FOOT GIRLS 6 FEET TALL *

* 4-INCH HEELS,
FAKE FINGERNAILS *

* SHE'S CHECKIN'
OUT ALL THE SALES *

* YOU CAN SEE FROM A DISTANCE *

* SHE'S A GOOD OL' GIRL *

* SHE'S GETTIN' READY *

* TO TAKE ON THE WORLD *

* GONNA TORTURE MY HAIR *

* GONNA BURN IT BLOND *

* GONNA TEASE IT BEYOND REPAIR *

* GONNA CAMOUFLAGE
THE BRAINS IN THERE *

* GETTIN' MY OWN *

* BIG BAR HAIR *

* YEAH, I'M GETTIN' MY OWN *

* BIG BAR HAIR *

ALL RIGHT. KYLE DAVIDSON.

HELLO, I'M KYLE DAVIDSON.

I'M FROM CONNECTICUT,

AND THIS, UM...

I'M A LITTLE NERVOUS,
BUT IT REALLY DOESN'T SHOW.

THIS IS CALLED I
CAN'T UNDERSTAND.

* IF YOU COULD READ MY MIND *

* YOU'D KNOW HOW HARD I TRY *

* BUT LOSIN' WAS NOT MY PLAN *

* AND I CAN'T UNDERSTAND *

* WITH ALL THOSE TEARS I CRIED *

* I SHOULD'VE REALIZED *

* THAT I'D NEVER
HOLD YOU AGAIN *

* AND I CAN'T UNDERSTAND *

* I CAN'T UNDERSTAND *

* WHY YOU LEFT MY LOVE BEHIND *

* I CAN'T UNDERSTAND *

* BUT I'LL LOVE YOU
TILL THE END OF TIME *

* I SEARCH MY MEMORY *

ALL RIGHT, UH, JAMES WRIGHT.

OH, I'M SO NERVOUS,

I CAN HARDLY STAND.

YOU OUGHT TO BE.

I ALREADY SOLD THIS SONG,

AND I WROTE IT FOR
A WOMAN TO SING,

BUT WHAT THE HELL?

* YOU GOT A THING OR TWO TO LEARN ABOUT ME,
BABY *

* 'CAUSE I AIN'T
TAKIN' IT NO MORE *

* AND I DON'T MEAN MAYBE *

* YOU DON'T KNOW
RIGHT FROM WRONG *

* THE LOVE WE HAD IS GONE *

* SO BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN',
LOVIN' HEART *

* WELL,
ALL I WANTED WAS TO BE YOUR ONE AND ONLY *

* BUT ALL I EVER GOT FROM YOU *

* WAS BEIN' LONELY *

* NOW THAT IS LAID TO REST *

* 'CAUSE YOU HAVE
FAILED THE TEST *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' HEART *

O.K., IF I CALL YOUR NAME,

IT MEANS YOU'RE PLAYING
HERE SATURDAY NIGHT.

BE HERE BEFORE 7:00.

NANCY BUTTERWORTH...

NICK BARRETT...

TOM MORTENSON...

JANET HOGAN...

JAMES WRIGHT...

AND ROSS MILLER.

THANK YOU ALL FOR COMING.

MISS MIRANDA.

COME OVER HERE A SECOND.

WE'RE JUST CONGREGATING.

CONGRATULATIONS.

THANK YOU. I APPRECIATE IT.

HEY, KYLE DAVIDSON.

LINDA LUE,
IS THAT YOUR FACE I SEE?

WELL, IT AIN'T NOBODY'S BUTT.

YOUR SONG WAS PRETTY TONIGHT.

PRETTY BAD?

SO WHAT DID YOU WANT?

WHAT?

I'M JUST LOOKING
AT YOU UP CLOSE.

THERE WAS SOMETHING THAT I--

BUT YOU CHANGED YOUR MIND?

EXACTLY.

I LIKED YOUR SONG.

THANKS.

I'M KYLE.

I LIKED YOUR SONG.

HI. MIRANDA.

I LIKED YOURS, TOO.

REALLY?

YEAH.

* SO WHEN WE MEET AS FRIENDS *

* MY HEART WILL BREAK AGAIN *

* IF THAT'S HOW THE STORY ENDS *

* THEN I CAN'T UNDERSTAND *

WOW. WOW.

WAS THAT EXACTLY KYLE'S SONG?

BECAUSE I HARDLY
EVEN RECOGNIZED IT.

THAT WAS IT EXACTLY.

YOU GOT A GREAT EAR.

YOU GOT THAT FROM
HEARING ME SING IT?

WELL, I DON'T KNOW IF THE
TERM "SING" REALLY APPLIES--

OH...OH...OH...

HA HA HA!

THEY BUILD YOU UP AND THEN,

THEY JUST TEAR YOU DOWN.

LIKE THEY ALL GOT THE
SAME INSTRUCION MANUAL.

NICE TO MEET YOU. YOU TOO.

YOUR SONG WAS GREAT.

DO YOU LADIES HAVE ANY
DESIRE TO ACCOMPANY US

ON AN EXCURSION INTO HISTORY?

AND WHERE MIGHT YOU BE GOING?

A LITTLE MIDNIGHT RIDE MAYBE.

THIS, UH,
CONNECTICUT YANKEE KYLE

WANTS TO WRITE A COWBOY SONG.

THAT'S RIGHT, MA'AM.

YOU WANT TO GO?

UH, YEAH.

ALL RIGHT, THEN LET'S GO,
LITTLE DOOGIES.

DOGIES.

DOOGIES.

DOGIES. COME ON.

LOOK AT THIS GUY.

HE'S SMILING FOR US.

THAT'S NO SMILE.
THAT'S CONTEMPT.

I HAD A THIRD COUSIN

WHO USED TO BE A RODEO CLOWN.

FUNNY THING IS,
HE BROKE HIS NECK, AND HE DIED.

WELL, DON'T WORRY ABOUT ME.

I TOOK RIDING AT SUMMER CAMP.

YEAH, THE DUDE RANCH IN,
WHAT, NEW ENGLAND?

HEY, HO!

WHOA!

KYLE DAVIDSON,
YOU ARE A SIGHT TO BEHOLD, BABY!

WHOA!

* THE OLD GRAY MARE,
SHE AIN'T WHAT SHE USED TO BE *

LOOK AT ME-- IN THE EYES.

HOW MANY FINGERS
AM I HOLDING UP?

FOUR OR FIVE.

HOW MANY BEATLES WERE THERE?

THREE--AND RINGO.

ARE YOU O.K.?

HE'S JUST FUCKIN' WITH ME.

JUST A MINOR CONCUSSION,
THAT'S ALL.

LINDA,
CAN YOU PLEASE GET THE TRUCK?

MAKE SURE HE
DOESN'T FALL ASLEEP.

GOT TO KEEP HIM
AWAKE AND CONSCIOUS.

I'M JUST FINE.

WE HAVE SOME WORK ON THIS
FENCE TO DO FOR MR. WILSON.

ARE YOU ALL RIGHT, HONEY?

THERE'S THIS TRADITION WHEN
YOU FIRST GET TO NASHVILLE

WHERE YOU HAVE TO GO
TO THE TALLEST MOUNTAIN

OR THE TOP OF A BUILDING

AND YELL, "LOOK OUT, MUSIC CITY,

'CAUSE I'M HERE AND
I AIN'T NEVER LEAVIN'!"

THAT'S REAL NICE.

I WASN'T SURE THAT
SONG WAS ANY GOOD

UNTIL I HEARD YOU
SING IT TONIGHT.

OH, KYLE, IT'S A BEAUTIFUL SONG.

WILL YOU DO THE DEMO FOR ME,

BECAUSE I DON'T
HAVE ANYBODY ELSE?

I GOT THE CAR.

I'M SORRY.

PUT YOUR ARM AROUND THERE.

DR. ARLEN, REPORT TO ROOM 5703.

NOW, HONEY,
I TOLD YOU BEFORE HE'S PERFECTLY FINE,

BUT WE CAN'T RELEASE HIM.

COULD WE AT LEAST TALK TO HIM?

RELAX, AND I'LL LET YOU KNOW.

SO WHERE YOU BEEN STAYING?

UH,
YOU KNOW THAT MOTEL NEAR THE BLUEBIRD?

THE DRAKE?

UNREAL. THAT'S
WHERE I'M STAYING.

WHAT ROOM DID YOU GET?

UH, ROOM 108.

OH,
MY GOD. THE DREADFUL DISCO ROOM.

HA HA!

YEAH. I KIND OF LIKE IT.

YOU SHOULD SEE
MINE. IT IS SO GREAT.

IT'S ALL DONE UP AND EVERYTHING.

IT LOOKS SUPER.

COME OVER AND SEE IT SOMETIME.

MAYBE. YEAH.

YOU KNOW WHAT?

I'M GETTING AN IDEA

THAT SINCE WE'RE BOTH
AT THE SAME MOTEL,

WHY DON'T WE SHARE MY ROOM,

AND THEN WE CAN SAVE SOME MONEY?

YOU JUST MET ME.

YOU DON'T EVEN KNOW ME.

I'M AN EXCELLENT
JUDGE OF CHARACTER.

I HAVE A TOUCH OF THE POWER,
YOU KNOW.

DADDY, LOOK AT ME. ARE YOU O.K.?

ARE YOU THE DOCTOR?

YOU CAN'T COME IN.

DADDY, I'LL WAIT, O.K.?

* THE MORE I HURT *

* THE LESS I FEEL *

* THE MORE I KNOW *

* THE LESS I REST IN THIS *

* LONE STAR *

* STATE OF MINE *

DID YOU WRITE THAT YOURSELF?

YEAH, JUST NOW...

FOR YOU.

TO BE HONEST, UM,

I'M NOT PARTICULARLY
FOND OF HOSPITALS MYSELF.

THE TRUTH IS...

MY DAD WENT INTO
AN EMERGENCY ROOM,

AND I NEVER SAW HIM AGAIN.

THAT'S HIM.

HE LOOKS JUST LIKE ELVIS.

HE'S THE OTHER ONE WHO
DOESN'T LOOK LIKE ELVIS.

OH.

HE GAVE THIS TO
ME WHEN I WAS 10.

"MY DECITENNIAL ACCOLADE,"
HE CALLED IT.

HE HAD A NAME FOR EVERYTHING.

HE RAISED ME SINCE I WAS 5...

JUST ME AND HIM.

SO WHERE WAS YOUR
MOM THROUGH ALL THIS?

UH, SHE SPLIT...

PRETTY EARLY ON.

PRESLEY'S MY MIDDLE NAME.

HE HAD THIS THING--
MY DAD--ABOUT ELVIS.

NOTHING WEIRD.

HE ALWAYS WANTED TO
TAKE ME TO GRACELAND...

BUT WE NEVER MADE IT.

COME ON. THERE'S
SOMETHING I WANT TO DO.

WHERE WE GOING, BABY?

NOW, DON'T DO IT

'CAUSE KYLE, THAT PSEUDO HICK,
TOLD YOU TO.

IT'S A GRAND OLD
NASHVILLE TRADITION.

I BET HE TELLS THAT
TO ALL THE GIRLS

WHO GET OFF THE GREYHOUND BUS.

TRADITIONS HAVE TO
START SOMEWHERE.

LOOK OUT, MUSIC CITY,

'CAUSE I'M HERE NOW

AND I AIN'T NEVER LEAVING!

THIS IS TERRIBLE. I
CANNOT WATCH THIS.

LOOK OUT, MUSIC CITY,

'CAUSE I'M HERE NOW
AND I AIN'T NEVER LEAVING!

IT'S JUST SO DESPERATE.

OH, WELL, IS THIS ALL BENEATH YOU,
MR. COOL GUY?

IT'S NOT THAT I CAN'T DO IT.

IN FACT,
I CAN DO IT BETTER THAN MOST.

OH. WELL THEN.

LOOK OUT, MUSIC CITY

'CAUSE HERE I AM AND
I AIN'T NEVER LEAVING!

LOOK OUT, MUSIC CITY,

'CAUSE I'M HERE NOW
AND I AIN'T NEVER LEAVING!

LOOK OUT, MUSIC CITY,

'CAUSE I'M HERE NOW
AND I AIN'T NEVER LEAVING!

NICE VIEW, ISN'T IT?

I LIKE IT UP HERE.

YEAH. YEAH.

HEY, THAT'S NOT NICE.

HE'S USUALLY NOT LIKE THAT.

MAYBE HE'S A LITTLE JEALOUS.

COME ON IN.

WELL, EXCUSE ME.

THIS IS IT.

THIS IS MY CASA.

IF YOU NEED ANYTHING,
YOU JUST HELP YOURSELF.

UM, TAKE EITHER BED.

I'VE BEEN USING THIS ONE,
BUT, UM,

THAT ONE'S GOOD.

HEY, BUSTER.

OH, HIS NAME AIN'T BUSTER.

WHAT'S HIS NAME?

IT'S MR. DOG.

HOW DO YOU KNOW HIS
FIRST NAME ISN'T BUSTER?

BECAUSE HE WOULD'VE TOLD ME

BECAUSE WE DISCUSS
PRACTICALLY EVERYTHING.

I'LL BET THAT'S FOR ME.

HELLO?

HEY, MA.

NO, I JUST GOT IN THIS SECOND.

YEAH. NO, EVERYTHING'S FINE.

EVERYTHING'S GREAT.

YEAH, AS A MATTER OF FACT,

I PASSED MY AUDITION.

YEAH, WELL...

WAITING FOR YOU TO TAKE A BREATH,
MA,

SO I CAN GET A WORD IN EDGEWISE.

YEAH, THEY SAID,
"JUST LIKE LORETTA LYNN."

WHERE ARE YOU GOING?

UH,
I'M JUST GOING TO THE COFFEE SHOP.

DON'T WAIT UP.

I SENT YOU TWO MONEY ORDERS.

ARE YOU LISTENING TO ME?

I'M LISTENING, MAMA.

OH, THANKS.

THIS STUFF'S KEEPIN' YOU AWAKE.

THAT'S THE GENERAL IDEA.

WHAT YOU NEED IS SLEEP, HONEY.

HEY, UM, I WAS JUST WONDERING

IF I GAVE YOU THE
SPARE ROOM KEY.

YEAH, YOU DID.

YOUR PAJAMAS HAVE FEET?

UM...

UH,
I UNPACKED SOME OF YOUR STUFF FOR YOU.

I PUT YOUR T-SHIRTS
IN THE SECOND DRAWER.

YOUR UNDERTHINGS,
I PUT THOSE IN THE TOP DRAWER,

AND EVERYTHING ELSE
I PUT IN THE CLOSET,

LEFT TO RIGHT, LIGHT TO DARK.

YOU HAVE A LOT OF BLACK.

O.K., GREAT.

SEE, I CAN'T EVEN WEAR BLACK.

IT JUST COMPLETELY
WASHES ME OUT.

MMM.

YOU AIN'T MAD AT ME, ARE YOU?

NO. NO. I JUST, UM,
I CAME HERE TO BE ALONE

SO I COULD GET SOME WORK DONE.

SO, UM,

IT'S NOTHING PERSONAL. I JUST...

OH. OH, I'M SORRY. I'M SORRY.

YOU KNOW,

SOMETIMES PEOPLE
AREN'T EXACTLY THE PERSON

YOU MIGHT THINK THEY ARE

WHEN YOU FIRST MEET SOMEONE.

* YOU GET PLENTY OF TOO LITTLE *

* TOO MUCH OF
NOTHIN' AT ALL... *

IF IT AIN'T LITTLE MISS
"GETTIN' MY OWN BIG BAR HAIR."

I'M WORKIN' ON THAT LINE.

UH, IS LUCY AROUND?

YOU MUST BE HERE TO SEE
ABOUT THE WAITRESS JOB.

I'M NOT A WAITRESS.
I'M A WRITER.

I CAN'T TELL THE
DIFFERENCE ANYMORE.

LUCY, COME ON OUT HERE.

O.K., JUST A MINUTE. I'M COMIN'.

YOU CAN CALL ME FLOYD.

HI. MIRANDA.

I KIND OF HELP RUN THIS PLACE.

WELL, MIRANDA PRESLEY,
NO RELATION.

WHAT CAN I DO FOR YOU?

SHE'S HERE ABOUT DARCY'S JOB.

DARCY QUIT WHEN SHE GOT A JOB

WITH RODNEY CROWELL
SINGIN' BACKUP.

SHE MET HIM RIGHT HERE.

SLIPPED HIM A TAPE,

WHICH IS AGAINST THE RULES.

WELL,
I AM HERE TO SEE YOU, LUCY.

SURE. FLOYD, I'M GOING TO NEED

THAT FRYER WORKIN' BY TONIGHT,
NOW.

HAVE I EVER LET YOU DOWN?

REPEATEDLY.

I WANTED TO ASK YOU
ABOUT MY AUDITION.

YOU WANT TO KNOW WHAT I THOUGHT

WAS WRONG WITH YOUR SONG?

OR WHAT YOU LIKED ABOUT IT.

THAT WOULD BE O.K., TOO.

WELL,
I THOUGHT YOUR MELODY WAS REAL NICE.

YOU'RE A GOOD PERFORMER, HON.

YOU LOOKED RIGHT
AT HOME ON STAGE.

BUT...

WELL,
YOUR SONG IS A NOVELTY SONG,

AND MAYBE YOU NEED
TO DIG IN A LITTLE DEEPER.

LET ME SHOW YOU SOMETHING.

YOU KNOW WHAT'S IN HERE?

THESE ARE ALL REALLY GREAT SONGS

THAT WERE SUNG HERE FIRST.

THEY'RE NOT ALL HITS,

BUT THEY'RE REALLY
SPECIAL SONGS.

SOME OF 'EM TOOK 10 MINUTES,

SOME TOOK 10 YEARS,

BUT EVERY ONE OF THESE
WRITERS FOUND A WAY

TO SAY SOMETHING THAT
MEANT SOMETHING TO 'EM.

YOU KNOW,
COUNTRY MUSIC TRIES ITS BEST

TO BE HONEST WITH ITSELF,

AND WHEN IT'S SAD,

IT SAYS IT'S SAD.

O.K.

THANKS, LUCY.

LISTEN, MIRANDA,
I KNOW YOU'RE NOT INTERESTED

IN THIS WAITRESS JOB.

IF YOU CHANGE YOUR MIND,

THE HOURS ARE 4:00 TO CLOSING,

AND NO PASSING TAPES
TO THE CUSTOMERS.

EXCUSE ME.

DID I THANK YOU FOR BRINGING
GLAMOR AND EXCITEMENT

INTO MY DREARY LIFE?

I NEED A LIFE.

LOOK AT THIS.

THIS GUY WANTS ME TO
STRIP AT HIS OFFICE PARTY.

DON'T DO IT,
DARLING. THEY'RE GOING BANKRUPT.

GOOD REASON.

THIS SONG'S CALLED

LONE STAR STATE OF MINE.

* THE MORE I HURT *

* THE LESS I FEEL *

* THE MORE I KNOW *

* THE LESS I REST IN THIS *

* LONE STAR *

* STATE OF MINE *

* THE MORE I HURT *

* THE LESS I FEEL *

* THE MORE I KNOW *

* THE LESS I REST IN THIS *

* LONE STAR *

* STATE OF MINE *

* SAY IT STRAIGHT, DON'T *

* BEND MY EAR *

* WHEN I'M WALKIN' LOST *

* IN OUR EVENING AIR, YOU *

* TWO-STEP INTO MY *

* IDLE HOME *

* TEARIN' MY SONG ALL UP WITH *

* MINOR CHORDS NOW *

* THE MORE I SULK *

* THE LESS I WORK *

* THAT CAN'T BE GOOD FOR SOME *

* BOY OUT OF LUCK *

* OUT OF TOUCH, OUT OF LUST *

* OUT OF SOUL *

* AND OUT OF SONG *

* THE MORE I HURT *

* THE LESS I FEEL *

HEY.

YOU PLAY A MEAN CELLO.

THANKS.

IT'S JUST A BIG MANDOLIN,
REALLY.

HEY,
HOW--HOW DO YOU LIKE NASHVILLE SO FAR?

I'M WRITING A SONG

ABOUT A WAITRESS
WHO KILLS HERSELF.

YEAH, IT'S--IT'S-- IT'S TOUGH.

WHEN I FIRST CAME HERE,
I WENT TO THE ROOF

AND TOLD THE WHOLE
TOWN I'M NOT LEAVING.

YOU REALLY DID THAT? I DID, TOO.

I KNOW. I HEARD YOU.

THE WHOLE HOSPITAL HEARD YOU.

IN FACT,
THAT'S MY FAVORITE THING ABOUT YOU SO FAR.

YEAH?

WELL, UM,

I'M GONNA...

JAMES,
TRUST IS LIKE AN ICE CUBE--

ONCE IT MELTS, IT'S GONE.

SO IN THAT REGARD,
I'VE HEARD SOME THINGS.

YOU'RE SPEAKING OF R.C. ROBERTS.

WE HAD OUR TROUBLES--

I HEARD YOU KNOCKED HIM OUT.

YES, I KNOCKED HIM-- NO,
I DIDN'T.

I HIT HIM, BUT YOU KNOW--

DID YOU SIGN A CONTRACT
WITH R.C. ROBERTS?

NO.

I WOULD HAVE PASSED ON ELVIS

IF HE HIT SOMEBODY. KNOW WHY?

'CAUSE I CAN.

YEAH, WELL, THAT'S GOOD.

NOW,
IT'S NOT THAT I'M DISINTERESTED.

UNDERSTOOD.

UM, YOU'RE JAMES, RIGHT?

YES, MA'AM.

THIS A&R GUY HAD TO LEAVE,

BUT HE WANTS YOU TO
CALL HIM TOMORROW.

WELL, THANK YOU, DEAR.

YOU'VE HEARD MY MUSIC.

YOU KNOW WHAT IT'S ABOUT.

IF YOU HAVE ANY INTEREST, CALL.

WHY WOULD I NOT BE INTERESTED?

WELL, NOW, I, UH,
AM INTERESTED, YES.

VERY INTERESTED.

CALL YOU FIRST THING TOMORROW.

FIRST THING. GOT IT?

DOUG SISKIN. FIRST THING.

THANK YOU. THANK YOU SO MUCH.

WELL, FORGET ABOUT IT.

I'M NOT GOING TO FORGET IT.

IN FACT, I OWE YOU.

IF YOU REALLY MEAN THAT,

I KNOW WHAT I WANT.

WHAT'S THAT?

HOW ABOUT WE WRITE
A SONG TOGETHER?

O.K. WELL,
LET'S GO TO THE MOVIES, THEN.

THE MOVIES?

I DON'T WANT TO
GO TO THE MOVIES.

* COME ON, BABY *

I WANT TO WRITE A SONG.

SO WHAT'S THIS MOVIE ABOUT?

THE OLDEST STORY IN THE BOOK--

TWO GUYS AND A GIRL.

JOHN WAYNE AND JAMES
STEWART AND VERA MILES.

WHAT HAPPENS?

WELL, LET'S SEE.

* OH, JOHN AND JIMMY *

* THEY BOTH LOVED MISS VERA *

* NOW YOU KNOW IN TIME *

* SOMETHING'S
BOUND TO GO WRONG *

* THEY LOVE THE SAME GIRL *

* BUT SHE'S UNDECIDED *

* LOOKS LIKE JOHNNY AND JIMMY *

* WILL FIGHT BEFORE LONG *

* THE WORLD GOES AROUND *

* AND WE'RE ON IT REGARDLESS *

* SOMETIMES IT'S WARM *

* SOMETIMES COLD AND HEARTLESS *

YES.

* WE ALL HAVE SOMETHIN' *

* THAT WE'RE IN SEARCH OF *

* A DREAM COMIN' TRUE *

* LIFE FULL OF LOVE *

OH, THAT'S DAMN GOOD.

NO.

IT'S GOOD.

ALL RIGHT, IT'S GOOD.

THAT DOOR SOMETIMES STICKS.

HERE, LET ME HELP YOU WITH THAT.

I SHOULD CALL YOU SOMETIME.

YEAH, YOU SHOULD.

GOOD NIGHT, MOODY.

SHH.

SHH!

LUE, WAKE UP.

I'M AWAKE.

THERE'S A MAN OUTSIDE THE ROOM.

OH, IT'S PROBABLY BILLY.

WHO'S BILLY?

WE HAD A DATE.

HE'S NOT REAL BRIGHT,

BUT HE PLAYS REAL GOOD GUITAR.

YEP, THAT'S BILLY.

DOESN'T BILLY HAVE A HOME?

YEAH. IT'S JUST WHEN HE
DROPPED ME OFF TONIGHT,

I TOLD HIM I WASN'T
SLEEPING WITH HIM.

BASICALLY,
I'VE DECIDED THAT THE ROAD TO LOVE

IS A ONE-WAY STREET,

AND SEX AIN'T NOTHIN'
BUT A ROADBLOCK.

HE SAYS HE'LL SLEEP
THERE TO BE NEAR ME,

AND I SAY GO AHEAD,
CATCH A COLD.

HE ENDED UP DOING
IT. ISN'T THAT NICE?

HMM.

OH, SPEAKING OF NICE,

LOOK WHAT ELSE HE GAVE ME.

WHAT'S THAT?

THIS.

MISS NASHVILLE PAGEANT.

MM-HMM. THERE'S PRIZES
AND SCHOLARSHIPS,

AND THE FINALIST GETS TO GO

TO THE MISS TENNESSEE
PAGEANT IN JACKSON.

WHAT DO YOU THINK?

I THINK I DON'T WANT
TO BE MISS NASHVILLE.

OF COURSE YOU DON'T
WANT TO BE MISS NASHVILLE.

YOU ALREADY KNOW WHAT
YOU WANT TO DO WITH YOUR LIFE.

YOU'RE LUCKY.

WHAT'D YOU END UP DOING TONIGHT?

I, UH, WENT OUT WITH JAMES.

REALLY?

HOW'D THAT TURN OUT?

IT WAS INTERESTING.

INTERESTING, HUH?

YOU GOING TO END UP
STAYING UP ALL NIGHT

IN THAT STUPID
DINER WRITING SONGS?

MIRANDA?

HMM?

UH...

YEAH.

HEY.

HEY.

WELL,
I'M WORKING ON A SONG ABOUT INSOMNIA.

WHAT'S YOUR EXCUSE?

BREAKFAST?

DESSERT.

I'VE MANAGED TO GET
STUDIO TIME TOMORROW

AT 2:30.

A.M.?

YEAH.

GREAT.

GOOD. I'LL PICK YOU UP.

ALL RIGHT.

WHY DIDN'T YOU CALL?

WHEN?

NOW. ABOUT SINGIN' ON THE DEMO.

UH...

I WANTED TO SEE YOU...AGAIN.

OH.

O.K.

GOOD NIGHT.

GOOD MORNING.

I'M GOING TO GO WRITE

SOME MORE OF THOSE GOOD SONGS.

YEAH, WRITE A GOOD ONE FOR ME.

I WRITE THEM ABOUT YOU.

YOU'RE GOING TO NEED
MORE MARSHMALLOWS.

LUE?

LINDA LUE.

OH, MR. BUSTER DOG,

THE ONLY UNFRIENDLY
CREATURE IN ALL OF NASHVILLE.

MISS LINDA LUE LINDEN,

IF YOU HAD TO CHANGE
ONE THING ABOUT THE U.S.,

WHAT WOULD THAT BE?

WELL, BOB,
I JUST THINK AMERICA'S

THE MOST WONDERFUL
PLACE IN THE WORLD.

YOU LOOK GREAT!

I FIGURE IF I WIN
MISS NASHVILLE,

I CAN FINALLY EXPRESS
MY NATURAL TALENT.

YEAH, SURE.

YOUR BOYFRIEND LOOKS
A LITTLE OVERCOOKED.

HE'S GETTING SCORCHED.

HONEY. OUCH.

SHOULD WE TURN HIM OVER?

YEAH.

YOU KNOW, MIRANDA,
YOU MAY NOT KNOW THIS

SINCE YOU'RE ASLEEP DURING
MOST OF MY WAKING HOURS,

BUT I'VE BEEN HAVING
SOME SERIOUS DOUBTS

ABOUT MY CAREER AS A SONGWRITER.

I MEAN--

HOLD IT. LIFT.

I'LL NEVER BE AS GOOD AS YOU,

AND YOU'RE NOT EVEN
GETTIN' ANYWHERE.

THANKS.

NO, I DIDN'T-- YOU KNOW.

I KNOW.

YOU REALLY DO LOOK BEAUTIFUL.

REALLY?

YOU SURE EVERYTHING'S ENOUGH,

LIKE THE--

OH, IT'S DEFINITELY ENOUGH.

IN FACT, UH,

WHAT DID YOU DO,

FOLLOW SOME BEAUTY
QUEEN HANDBOOK

ON, UH,
USING ALL YOUR MAKEUP THAT YOU OWN?

MM-MMM.

SPIT.

THANK YOU.

SO, UM,

HAS HE CALLED YET?

I DON'T KNOW. HAS HE CALLED YET?

UH-UH.

SPIT.

HE WILL.

IF HE DOESN'T,
HE'S JUST A BIG OL' DUTY-HEAD.

GOD, YOUR SKIN IS SO LUMINOUS

UNDERNEATH ALL THIS GUNK.

YOU KNOW,
YOU'RE MY VERY BEST FRIEND,

YOU KNOW THAT?

THAT'S 'CAUSE YOU'RE SUCH A SAP,
LUE.

CHICKEN AND MARSHMALLOWS

IS COMPLETELY DIFFERENT.

HE'S SO RETARDED.

* I WAS BORN TO RAMBLE *

* I WAS BORN TO STRAY *

* LIKE A ROLLIN' STONE *

* DOWN THE LOST HIGHWAY *

HO. WHOA.

I REALIZE IT'S GETTIN' LATE.

GOT AN IDEA PERTAINING
TO THE ENDING.

LET'S LEAVE OFF THAT LAST CHORD.

LET'S END ON THE THREE.

TAKE OUT THE ANTICIPATION?

TAKE OUT THE
ANTICIPATION. EXACTLY.

DON'T RESOLVE IT?

NO RESOLVE.

LET'S TRY IT.

WHERE DO YOU WANT
TO TAKE IT FROM?

THE LAST THREE.

1...2...3.

* LIKE A ROLLIN' STONE *

* DOWN THE LOST HIGHWAY *

* LIKE A ROLLIN' STONE *

* DOWN THE LOST HIGHWAY *

IT'S RIGHT HERE. BRING IT DOWN.

YEAH, MAN.

YEAH, MAN.

HEY, LET'S GO.

OKAY.

ONE, TWO, ONE, TWO, THREE...

I LEARNED WHAT SARCASM WAS.

UH, MY BROTHERS AND I WERE
MAKING MODEL AIRPLANES,

AND I SPILLED A LITTLE
RED BOTTLE OF PAINT,

AND MY BROTHER SEAN SAYS,

"KYLE, THANK YOU.

THANK YOU, KYLE."

I COULDN'T FIGURE
OUT WHAT HE MEANT

FOR THE LIFE OF ME.

SARCASM WAS
IMPORTANT IN MY FAMILY,

BUT, SEE,
THAT'S WHAT'S GOOD ABOUT COUNTRY MUSIC.

THERE'S NO SARCASM.

IT'S JUST STRAIGHTFORWARD.

MAKES YOU LAUGH
OR CRY. THAT'S IT.

OH, I DON'T KNOW.

I REALIZE I DON'T REALLY
BELONG IN NASHVILLE,

BUT, UM...

THAT'S WHY I TRY SO HARD.

ME, TOO.

WELL, MUCH OBLIGED, STEPHEN.

I OWE YOU, WHAT, 20 MINUTES?

NO. NEXT TIME I GO FIRST.

IT'S THAT SIMPLE.

HI.

HEY, HEY.

WHAT'S THE STORY
WITH YOU AND JAMES?

I'D BE CURIOUS TO KNOW MYSELF.

* CAN'T UNDERSTAND *

* WHY YOU LEFT MY LOVE BEHIND *

* CAN'T UNDERSTAND *

* BUT I'LL LOVE YOU
TILL THE END OF TIME *

* I SEARCH MY MEMORY *

* FOR THE REASON
YOU DON'T LOVE ME... *

KNOW WHO WOULD BE
GREAT FOR THIS SONG?

TRISHA YEARWOOD.

AND I KNOW HER.

YEAH?

WELL, YEAH.

I DELIVERED A PIZZA
TO HER HOUSE ONCE.

YOU SHOULD GIVE THIS TO HER.

YEAH, RIGHT.

THIS SONG IS BETTER

THAN MOST STUFF ON THE RADIO.

YOU ALWAYS THINK THAT

WHEN YOU'RE THE ONLY
ONE THAT'S HEARD IT.

I JUST GOT TWO WORDS FOR YOU,
KYLE DAVIDSON.

YEAH? WHAT?

NO WONDER.

NO WONDER.

NO WONDER WHAT? WHAT?

WHAT DO YOU THINK?

WHAT,
THAT I STILL WORK IN A RECORD STORE,

THAT I'M JUST ANOTHER GUY

THAT NEVER DID WHAT HE
SAID HE WAS GOING TO DO?

I SIT AROUND. I PLAY AROUND.

I NEVER GET AROUND TO
PUTTING MY STUFF OUT.

YOU'RE TALENTED.

IT DOESN'T MATTER IF YOU'RE
AFRAID OF THE DISAPPOINTMENT.

I GOT TO DO SOMETHING
TO GET MY SONGS HEARD.

YOU'RE RIGHT.

WHAT DO YOU THINK I SHOULD DO?

COME WITH ME.

OH-HO.

I GUESS I WILL, THEN, HUH?

I THINK YOU SHOULD!

YOU SURE THIS IS
YEARWOOD'S HOUSE?

YEAH.

YEAH, PEPPERONI AND MUSHROOMS.

I'M SURE.

WOW.

DON'T SCRATCH IT.

GIVE ME THE THING.

THE THING?

YOU DON'T EVEN
KNOW WHAT TO CALL IT.

I THOUGHT YOU'D
DONE THIS BEFORE.

WHAT DO YOU THINK I AM,
A CRIMINAL?

I HAD A BOYFRIEND WHO'S
DOING TIME FOR THIS.

TIME? HOW MUCH TIME?

18 MONTHS.

THAT'S A YEAR AND A HALF!

JOKE.

BAD JOKE.

GIVE ME THE TAPE.

WE GOT TO GO!

LET ME PUT THE TAPE IN.

IT'S GOT MY NAME ON IT!

HOW ELSE WILL SHE KNOW?

SHE'S GOING TO KNOW
I BROKE INTO HER CAR!

THAT'S THE ONE DRAWBACK.

I CAN'T BELIEVE--

I'M GOING TO GET THE TAPE.

KYLE, FORGET THE TAPE!

WHERE'S EJECT? WHERE'S EJECT?

SINCE WHEN DID COPS
START RESPONDING SO FAST?

THERE'S NOTHING I CAN DO.

WE WEREN'T TRYING
TO STEAL ANYTHING.

WE WERE GIVING HER A TAPE.

WELL, IN THAT CASE,

I'LL HAVE TO LET YOU GO,
WON'T I?

DON'T ARREST HER.
IT WAS MY TAPE.

SHE JUST BROKE
INTO THE CAR FOR ME.

BELIEVE IT OR NOT,

YOU DON'T GET TO
DECIDE WHO WE ARREST.

* SHE'S IN LOVE WITH THE BOY *

* MM-HMM *

* SHE'S IN LOVE WITH THE BOY *

* MM-HMM *

* AND EVEN IF THEY
HAVE TO RUN AWAY *

* SHE'S GONNA MARRY
THAT BOY SOMEDAY *

RIGHT HERE'S YOUR PERPETRATORS,
MISS YEARWOOD.

HI. KYLE DAVIDSON.

IT'S A PLEASURE TO MEET YOU.

HI.

THIS IS MIRANDA PRESLEY.

HI.

HI. HONORED.

WELL, Y'ALL ARE REALLY POLITE

FOR HARDENED CRIMINALS.

OH, THANKS.

WHICH ONE JIMMIED
MY CAR DOOR OPEN?

SHE WASN'T TRYING TO STEAL IT,
THOUGH.

THANKS FOR NOT SCRATCHING IT.

ARE YOU THE ONE
SINGING ON THE TAPE?

YOU LISTENED TO THE TAPE?

IT'S HIS SONG.

I GUESS THIS SONG'S AVAILABLE,

OR ARE YOU WAITING TO
HEAR FROM EVERYBODY ELSE

WHOSE CAR YOU BROKE INTO?

NO,
YOURS WAS THE ONLY CAR WE BROKE INTO.

OH. WELL, I'M FLATTERED.

I JUST WISH I WASN'T
FLATTERED THIS LATE.

IS YOUR PHONE
NUMBER ON THE TAPE?

I'M GOING TO HAVE
MY MANAGER CALL YOU

ABOUT PUTTING THE SONG ON HOLD.

MISS YEARWOOD,
DO YOU WANT TO PRESS CHARGES?

I JUST WANT TO GET SOME SLEEP.

GOOD NIGHT.

THAT MEANS NO.

CONGRATULATIONS, SON.

UH, MISS YEARWOOD, EXCUSE ME.

SINCE YOU'RE LOOKING
FOR NEW MATERIAL.

GO ON, LINDA LUE.

I DON'T WANT TO MISS THE DANCE.

NO, WAIT. LINDA, DON'T.

THAT TRAIN'S GOING TO BE
COMIN' AROUND THE BEND,

SO LET'S HOP THE FREIGHT.

EXCUSE ME?

COME ON,
IT'S AN OLD COUNTRY TRADITION.

THE TRACKS GO RIGHT
BY THE FULL MOON DANCE.

REMEMBER WHAT
HAPPENED LAST TIME?

HERE IT COMES.
ARE YOU KIDDING ME?

YOU WANT TO WRITE COUNTRY SONGS.

THERE'S NOTHING MORE
COUNTRY THAN A FREIGHT TRAIN.

KYLE.

MY GOD.

KYLE!

YOU GONNA BREAK YOUR FOOL NECK!

GO ON!

I'LL MEET YOU AT THE
NEXT CROSSING THERE.

I HAD A COUSIN WHO
ONCE THREW HIMSELF

IN FRONT OF A TRAIN.

ONCE?

ONCE PRETTY MUCH DID THE TRICK.

I WISH YOU'D STOP
TELLING THAT STORY.

WHY ARE WE LETTING HIM
GET ON THAT STUPID TRAIN?

KYLE! COME ON!

KYLE DAVIDSON,

GET BACK HERE!

KYLE! HEY, KYLE!

YOU'RE GOING TO
GET YOURSELF HURT!

KYLE!

KYLE,
YOU'RE GOING TO HURT YOURSELF!

SO STUBBORN!

YOU'RE SO STUBBORN, KYLE!

KYLE! KYLE!

KYLE! KYLE!

CAREFUL, Y'ALL.

KYLE!

KYLE!

WHERE IS HE?

O-O-OVER HERE.

HI.

I--I SLIPPED.

* HEY, PORTER *

* HEY, PORTER *

* WON'T YOU TELL ME *

OW! * THE TIME? *

* HOW MUCH LONGER
BEFORE WE CROSS... *

ARE YOU SURE YOU'RE O.K.?

SURE YOU DIDN'T BREAK ANYTHING

OTHER THAN YOUR PRIDE?

NO, I'M O.K., I THINK.

SURE DO ENJOY PAIN, DON'T YOU?

WELL, YEAH, AND HEARTACHE.

YEAH, I'M...

COME ON.

BIG JERK.

YOU THINK THIS IS FUNNY?

THIS ISN'T FUNNY.

PEOPLE THAT YOU KNOW,
THEY GET KILLED.

YOU DIE,
AND YOU DON'T COME BACK.

THAT'S IT.

NOT FUNNY.

WHAT'S THE MATTER WITH HER?

COME ON. GET UP.

YOU GAVE HER A LITTLE SCARE,
THAT'S ALL.

I DIDN'T MEAN TO DO THAT.

* BROKEN DREAMS *

* ARE HARD ENOUGH... *

COME ON, Y'ALL.

LET'S SHOW THEM WHAT WE GOT.

DON'T SHOW YOURS,
BILLY. YOU MIGHT SCARE SOMEONE.

WELL, THANKS A LOT, LINDA LUE.

* THE BIG BAD LOVE... *

YOU'RE NOT STILL MAD AT ME,
ARE YOU?

YES.

REALLY?

NO.

GOOD.

'CAUSE I'M--I'M SORRY.

YOU SHOULD BE.

OHH.

I GOT YOU.

THANKS.

* A HAPPY ENDING *

* IS WHAT YOU WANT... *

NO, STAY HERE.

* SOME AIN'T WELL *

* AND SOME WELL GONE *

* IT CAN'T BE *

* FOR HEAVEN'S SAKE *

* WE AIN'T TWO PEOPLE *

* ON THE TOP OF THE GAME *

* OHH... *

COME ON, YOU TWO.

* THE BIG BAD LOVE *

* YOU CAN HUFF AND PUFF *

* BUT THAT AIN'T ENOUGH *

* TO BE THE KIND OF MAN *

* THAT A GIRL DREAMS OF *

* WHO'S AFRAID OF THE BIG BAD *

* WHO'S AFRAID OF
THE BIG BAD LOVE? *

* YOU CAN HUFF AND PUFF *

* BUT THAT AIN'T ENOUGH *

* TO BE THE KIND OF MAN *

* THAT A GIRL DREAMS OF *

* WHO'S AFRAID OF
THE BIG BAD LOVE? *

* BIG BAD LOVE *

* BIG BAD LOVE *

* BIG BAD LOVE *

* THE BIG BAD LOVE *

* THE BIG BAD LOVE *

ALL RIGHT.

WHOO! WHOO!

WHOO!

YEAH! WHOO!

WHOO! WHOO!

WHOO! WHOO!

WHOO!

WHAT?

ALL RIGHT, EVERYBODY.

I WANT TO INTRODUCE
YOU TO A FRIEND OF MINE

FROM MY HOME STATE OF TEXAS.

THIS IS JAMES WRIGHT--

SINGER, SONGWRITER.

VERY GOOD.

DID YOU KNOW HE
WAS GOING TO BE HERE?

I HAD NO IDEA.

I SWEAR.

WELCOME, JIM.

JIM. I LIKE THAT.

1, 2, 3, 4.

* UNTIL NOW *

* I'VE BEEN BLIND *

* UNTIL NOW *

* I'VE BEEN WASTIN' TIME *

* I'VE BEEN LOST *

* ON STREETS OF PLENTY *

* I'VE BEEN TOSSED *

* ON ICY SEAS *

* AND ALL I'VE CROSSED *

* AIN'T WORTH A QUARTER *

* IT'S MUDDY WATER *

* UNTIL NOW *

* THERE'S A LIGHT *

* THAT SHINES FOREVER *

* THERE'S A LIGHT *

* THAT SHINES FOR ME *

* THERE'S A LIGHT *

* MY FOOTSTEPS GUIDIN' *

* FOR I HAVE BEEN HIDIN' *

* UNTIL NOW *

THANK YOU.

THANK YOU.

I WROTE THIS NEXT SONG

FOR A WOMAN TO SING.

SO I GUESS WE BEST
GET ONE UP HERE.

I'D LIKE TO INVITE UP
HERE ON STAGE WITH US

MISS MIRANDA PRESLEY.

SHE'S ONLY HEARD THIS SONG ONCE,

HOWEVER I HAPPEN
TO KNOW SHE'S A...

QUICK STUDY.

SHE'LL PICK IT RIGHT UP.

DALE, YOU GOT THE LYRICS?

RIGHT HERE.

ALL SET?

LET'S HIT IT.

1, 2...

1, 2.

* YOU GOT A THING OR TWO *

* TO LEARN ABOUT ME, BABY *

* 'CAUSE I AIN'T
TAKIN' IT NO MORE *

* AND I DON'T MEAN MAYBE *

* YOU DON'T KNOW
RIGHT FROM WRONG *

* THE LOVE WE HAD IS GONE *

* SO BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN',
LOVIN' HEART *

* WELL, ALL I WANTED *

* WAS TO BE YOUR ONE AND ONLY *

* BUT ALL I EVER GOT FROM YOU *

* WAS BEIN' LONELY *

* NOW THAT IS LAID TO REST *

* 'CAUSE YOU HAVE
FAILED THE TEST *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN',
LOVIN' HEART *

* ARE YA HEADIN'
FOR A HEARTACHE? *

* OH, YEAH *

* GONNA GET A BAD BREAK *

* OH, YEAH *

* MADE A BAD MISTAKE *

* OH, YEAH *

* GIRL,
YOU'RE NEVER GONNA FIND *

* ANOTHER LOVE LIKE MINE *

* WELL, SOMEONE'S GONNA DO YOU *

* LIKE YOU WENT AND DONE ME,
HONEY *

* AND WHEN SHE DOES YOU *

* LIKE SHE'LL DO *

* WELL, IT AIN'T FUNNY *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN',
LOVIN' HEART *

* YEAH, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMING', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

WHOO!

YEAH!

WHOO!

THANK YOU.

THE LOVELY AND TALENTED

MISS MIRANDA PRESLEY.

THANK YOU.

NEXT UP...

WAY TO GO.

THANK YOU. THANKS.

THAT WAS BEAUTIFUL, MIRANDA.

THANKS. THANKS.

BEAUTIFUL, SWEETHEART.

THANK YOU,
JAMES. THANK YOU, MIRANDA.

WE'RE GOING TO
BRING UP A FRIEND...

YOU DID GOOD, JAMES.

IT SOUNDED WONDERFUL.

JAMES...

R.C...

FANCY MEETING YOU HERE.

EXCUSE ME A SEC.

WE'LL TALK LATER.

UH...

PRESLEY...

WHERE YOU OFF TO?

UH, HAVE YOU SEEN KYLE AROUND?

KYLE? I HAVEN'T SEEN KYLE.

I SEEN HIM DANCING
WITH YOU EARLIER.

FINE PERFORMANCE YOU GAVE.

YOU'RE GOOD ON THE SPOT.

JAMES, WHY DIDN'T YOU CALL ME?

CALL YOU?

YEAH.

WHEN?

EVER.

WELL, FOR THE SAME REASON

I WAS SO MEAN TO...

JULIE-- WHAT WAS HER
NAME IN SECOND GRADE--

'CAUSE I LIKED HER.

THAT'S WHY.

OH.

SO THEN THAT'S WHY
YOU BLEW ME OFF

WHEN I SAW YOU LAST
TIME AT THE STUDIO?

WELL,
I SEEN YOU THERE WITH KYLE,

AND, UM...

I WAS A BIT OFF GUARD AND...

JEALOUS.

COULD'VE FOOLED ME.

OH, 'CAUSE I'M A FOOL.

FINDING IT HARD...

BREATHING JUST LOOKING AT YOU.

WELL, OPEN YOUR MOUTH

AND TAKE A BREATH.

I'M THINKING ABOUT YOU.

AND I LIKE WHAT I'M THINKING.

I'M GLAD YOU LIKE IT.

TRUTH IS, MIRANDA...

I PICKED UP THE PHONE...

SEVERAL TIMES...

UM...

TO CALL YOU.

COME HERE.

COME HERE.

JUST ANSWER ME ONE THING.

ARE YOU GOING TO
GO WEIRD ON ME AGAIN?

I WANT A YES OR NO ANSWER.

YES. YES?

YOU ARE GOING TO GO WEIRD?

NO.

WELL, YES, I--I...

YES,
I'M NOT GOING TO GET WEIRD ON YOU AGAIN.

GOOD.

LET'S...

LET'S GET OUT OF HERE.

O.K.?

WHERE TO?

UM,
I GOT TO GO TAKE CARE OF SOMETHING.

YOU O.K.?

LET'S MEET AT THE BARN.

THE BARN.

* STOP SAYIN' GOODBYE *

* BABY, JUST LEAVE... *

HEY.

KYLE...

UM...

I'M GOING TO GET A
RIDE HOME WITH JAMES.

SO, UH...

YOU ASKING MY PERMISSION?

NO.

IT'S O.K. YOU CAN
GO HOME WITH JAMES.

OH, THANK YOU.

YOU EXPECT HIM TO
FALL IN LOVE WITH YOU?

I DON'T KNOW.

DO YOU?

I KNOW HIM.

HE'S NOT GOING TO.

GOOD NIGHT.

* I'M READY AND WAITIN' *

* TO TAKE YOU AWAY... *

I CAN'T PUT MY FINGER
ON WHAT IT IS ABOUT YOU

THAT TICKS ME OFF.

I'M NOT LETTING YOU
OUT OF YOUR CONTRACT.

I'LL GET MYSELF A LAWYER.

OH, YEAH.

I TALKED TO THAT DOUG SISKIN.

I TOLD HIM YOU'D BE
FREE TO SIGN WITH HIM...

IN ABOUT TWO YEARS.

GREAT.

I'VE BEEN IN THIS BUSINESS

LONGER THAN YOU
BEEN DRAWING BREATH.

I KNOW WHAT I'M DOING, JAMES.

AND I'M GOING TO
KEEP YOU FAITHFUL.

THAT'S THE GUY YOU'RE WITH?

YEAH. R.C.

A MINOR-LEAGUE CORPORATE PIG.

YOU TOLD THAT
GUY AT THE BLUEBIRD

YOU DIDN'T HAVE A CONTRACT.

YOU LIED.

AND YOU SUDDENLY
PRODUCE THIS BUSINESS CARD

WHICH IMPLIES
THAT I'M SPOKEN FOR.

SO WHAT ARE YOU SAYING?

WELL,
YOU'RE LYING FOR THE BOTH OF US.

ALL RIGHT.

WOW.

THIS IS NICE.

I LIKE IT.

YOU KNOW,
SHE'S GOT IT IN HER HEAD

SHE'S GOING TO GO FOR...

THE MISS NASHVILLE CONTEST?

WHICH...

I'M SURE SHE'LL DO REALLY WELL.

SHE'S SO FUNNY, BUT...

I DON'T KNOW.

I THINK IT'S OLD-FASHIONED.

SHE REALLY CRACKS ME UP, THOUGH.

WHEN SHE TAKES THOSE GLASSES

THAT ARE WRAPPED IN PLASTIC,

WHICH ARE SANITARY ENOUGH,

AND YET SHE WASHES
THEM ALL THE TIME.

I NEED FOR YOU

TO STOP MOVING THOSE LIPS NOW.

WAIT.

I NEED FOR YOU...

TO STOP PLAYING ME NOW.

MISS PRESLEY...

MISS PRESLEY...

JAMES,
YOU'RE JUST TALKING TO YOURSELF,

YOU KNOW.

MISS PRESLEY...

IS THAT YOU

OR YOUR GHOST I SEE?

I DON'T KNOW.

I WAS CONCERNED THAT YOU...

LEFT ME...

TO GET ME BACK
FOR NOT CALLING YOU

LIKE I SHOULD'VE.

OH, NAH.

I JUST DON'T, UH, SLEEP...

MUCH.

HMM.

ESPECIALLY AT NIGHT.

NIGHT OWL.

WHOO...

WHOO.

SOUNDS LIKE A
WISE OLD NIGHT OWL.

WHOO-WHOO.

WHOO.

YOU'RE AN OWL GODDESS.

MY DAD,

HE--HE WAS A NIGHT OWL.

WE USED TO STAY UP,

YOU KNOW, ALL NIGHT,

JUST HANGING OUT.

HE SPOILED ME PRETTY BADLY.

HE REALLY LOVED COUNTRY MUSIC...

A LOT.

I GUESS THAT'S WHY I CAME HERE.

WELL, I'LL...

SPOIL YOU AS GOOD AS I CAN.

ELVIS?

MM-HMM.

YOU CUT ELVIS' HAIR.

THAT'S RIGHT.

NAH, I DON'T BELIEVE IT.

BELIEVE IT.

YOU BELIEVE THAT, LUE?

WHY WOULD HE MAKE THAT UP?

WHY DON'T YOU GET YOUR HAIR CUT?

'CAUSE I DON'T WANT TO.

COME ON.

I DON'T WANT TO.

I'LL BE ELVIS,
AND YOU CAN BE PRISCILLA.

I DON'T WANT TO BE PRISCILLA.

I'M NOT DOING IT
'CAUSE YOU WANT ME TO.

I'M TIRED OF DOING WHAT
EVERYBODY WANTS ME TO.

GOOD IDEA. DON'T GET IT CUT.

WHY DIDN'T YOU ASK ME
WHAT I THOUGHT ABOUT

YOU MOVING OUT OF THE MOTEL?

WHY DOESN'T ANYBODY
EVER ASK ME WHAT I THINK?

BECAUSE YOU'RE ALWAYS ASKING
EVERYONE ELSE WHAT THEY THINK.

THAT'S RIGHT, AND YOU KNOW WHAT?

I'M NOT DOING IT ANYMORE.

IF I DON'T FEEL LIKE
BEING NICE TO SOMEBODY,

THEN I'M GOING TO START
BEING MEAN-- OR IMPOLITE.

IF I FEEL LIKE TELLING
SOMEBODY WHAT I THINK,

I'M GOING TO TELL THEM.

AND BILLY THINKS WE'RE GETTING
MARRIED BECAUSE HE WANTS TO?

WELL, I'M SORRY,

BUT I GOT TO BE SOMETHING MYSELF

BEFORE I CAN BE SOMEBODY'S WIFE.

THAT'S RIGHT.

OH, SHUT UP, PLEASE.

BUT I DON'T EVEN
KNOW WHAT I CAN BE

BECAUSE I'VE NEVER
BEEN ANYTHING.

AND YOU-- YOU'RE NOT
SO MUCH BETTER THAN ME.

YOUR DADDY'S BEEN
DEAD OVER A YEAR,

AND YOU STILL CAN'T
SLEEP THROUGH THE NIGHT.

AND YOU ARE SO WORRIED ABOUT
TURNING OUT LIKE EVERYBODY ELSE.

WELL, YOU KNOW WHAT?

I AM EVERYBODY ELSE.

AND TURNING OUT LIKE ME,

NOW, WOULD THAT BE SO TERRIBLE?

AND WHO GETS THEIR HAIR CUT

BY ELVIS' BARBER ANYWAY?

* IT'S NOT REALLY LOVE *

* IF IT TEARS YOU APART... *

I AM VERY SORRY.

I GUESS I'M JUST FALLING
APART A LITTLE BIT.

BUT I WANT YOU TO KNOW

I THINK YOU'RE VERY SPECIAL

'CAUSE YOU ALWAYS LIKE ME,

AND THAT'S A PLUS IN MY BOOK.

GOD, DID I MAKE YOU CRY?

I LIKE YOUR HAIR.

THANKS.

MAYBE I SHOULD'VE
GOTTEN MINE DONE.

YEAH. SHOULD WE GO BACK?

I DON'T THINK SO, MIRANDA.

YOU KNOW, I'VE BEEN SITTING
HERE AND THINKING THAT, UM...

MAYBE I'LL GO TO HOLLYWOOD,

BECOME A MOVIE STAR.

YOU'RE ASKING ME
WHAT I THINK OF THE IDEA?

NO, I'M NOT.

WHAT ABOUT BILLY?

BILLY CAN DO WHAT HE WANTS.

I'M HAPPY.

I'M SO HAPPY.

ME, TOO.

OH, NO.

DON'T LOOK.

OH, NO.

DON'T LOOK.

I GOT TO GO TO WORK.

I GOT A BETTER IDEA.

YOU'RE SICK.

I'LL CALL IN FOR YOU.

"HELLO. IT'S MIRANDA.

"I CAN'T COME IN.

"I'M SICK.

I'VE GOT A TERRIBLE HEAD COLD."

O.K.

I'M SICK.

I GOT ANOTHER IDEA.

MM-HMM?

WHERE ARE WE GOING?

JUST GIVE ME A HINT.

CLUE.

"MEMPHIS."

MEMPHIS?

GRACELAND?

YEAH!

WE'RE GOING TO GRACELAND!

CLOSED?

NO.

I'M GOING TO HAVE
TO BREAK IT DOWN.

NO!

ELVIS!

HELLO?

ELVIS!

HELLO?

SIR...

WE'RE CLOSED.

WHEN DO YOU OPEN?

9:00 IN THE MORNING.

Y'ALL COME BACK THEN.

AH, 14 HOURS TO KILL.

WHAT ARE WE GOING TO DO?

EAT.

LET'S GET ELVIS FOOD.

FOOD.

I'M ALL SET, BABY.

COME ON, BABY.

WHAT?

OHH, LOOK HOW ROMANTIC.

STOP. THEY'RE GOING TO
THINK YOU'RE FOR REAL.

I AM FOR REAL.

COME ON. GET UP.

SAY, "YES,
I CAN'T LIVE WITHOUT YOU."

GO ON, HONEY.

SAY YES.

I WOULD MARRY HIM
IF HE HAD ANY BRAINS,

BUT HE DOESN'T HAVE THE
SENSE HE WAS BORN WITH.

I'M GOING TO KNEEL RIGHT HERE

UNTIL YOUR HEART MELTS.

SAY SOMETHING.

O.K. YES.

IS THAT WHAT YOU WANT?

ARE YOU HAPPY NOW?

HAPPY?

WHY, I'M THE HAPPIEST MAN ALIVE.

OHH. AW.

THAT'S PRECIOUS.

THANK YOU, LADIES.

THANK YOU KINDLY.

YOU CAN KEEP THE CHANGE.

Y'ALL GOING TO HAVE YOUR
HONEYMOON AT GRACELAND?

COME ON, DEAR.

* IN A BED OF BROKEN HEARTS *

* BLUE ROSES... *

YOU RECALL THE
FIRST TIME I MET YOU

OUTSIDE THE BLUEBIRD?

I WAS LATE.

AND I MADE YOU PART OF MY LIE.

NOW, YOU CALLED ME ON THAT.

NO ONE HAS EVER DONE
THAT BEFORE WITH ME.

AND I APPRECIATE IT.

I RESPECT YOU.

MY FATHER...

I DON'T KNOW WHY
I'M TELLING YOU THIS.

I'VE NEVER TOLD ANYONE,

BUT MY FATHER
WOULD TELL MY MOTHER

THAT WE WERE GOING OUT FOR
A BOYS' NIGHT OUT ON THE TOWN.

AND WE WOULD GO TO
HIS GIRLFRIEND'S HOUSE--

MY FIFTH GRADE HEALTH TEACHER--

AND I'D GO WAIT IN THE TRUCK

LISTENING TO THE RADIO STATIONS,

AND HE WAS INSIDE, YOU KNOW,

DOING WHATEVER IT WAS THEY DID,

AND I JUST REMEMBER ALL
THOSE CHEATIN' SONGS...

HOW IT MADE PERFECT SENSE.

MOST EVERYONE...

BACK IN WIMBERLY...

SAYS THAT-- THAT I'M GOING
TO BE JUST LIKE MY FATHER.

NOW...

HERE'S THE KING.

THEY'RE WRONG.

* WISE MEN SAY *

YOU HEAR THAT?

MMM.

* ONLY FOOLS RUSH IN *

LET'S DANCE.

IT'S DESTINY.

* BUT I CAN'T HELP *

* FALLING IN LOVE *

* WITH YOU *

* SHALL I STAY? *

* WOULD IT BE A SIN? *

JUST BACK FOR SOME COFFEE.

OH, LOOK, MARY.

IF IT AIN'T THE NEWLYWEDS.

HEY,
YOU TWO LOVEBIRDS GET MARRIED YET?

COULDN'T FIND AN
ALL-NIGHT WEDDING CHAPEL.

WELL, WE MIGHT'VE IF HE
PLANNED THIS A LITTLE BETTER,

BUT NO GRACELAND, NO PREACHER.

YOU WANT TO MARRY HER?

I KNOW SHE'S A HANDFUL,

HOWEVER I'D DIE IF I LOST HER.

THAT'S BECAUSE YOU'D FORGET
TO BREATHE IF I DIDN'T REMIND YOU.

THE TRUTH IS...

I LOVE HER DEEPLY.

WELL, IF YOU'RE SERIOUS,

MY BROTHER'S A PREACHER.

I'LL GO GET HIM IF YOU WANT.

YOU'RE SERIOUS?

AS A HEART ATTACK.

YEAH, MAN.

YEAH, HE'S RIGHT NEXT DOOR.

PROBABLY JUST WATCHING TV.

I'LL BE RIGHT BACK.

WELL, UH--

YOU NEED A RING.

COLD FEET?

I FORGOT SOMETHING...

BLUE...IN THE TRUCK.

WILL YOU COME WITH ME?

HMM?

PLEASE?

HEY.

I'M GOING TO GET
MY BOOM BOX READY.

OH...

O.K.

COME ON, LET'S GO.

WELL, WE CAN'T JUST LEAVE.

WE GOT TO LET THEM KNOW
WE'VE CHANGED OUR MIND.

THE PREACHER'S ON HIS WAY--

NO. LOOK, UM, WE'LL JUST, UH--

WE'LL HAVE A FIGHT,

AND I'LL PRETEND TO SLAP YOU.

GOT A BETTER IDEA.

WHAT?

LET'S GET MARRIED.

Y-YOU DON'T JUST
GET MARRIED AS A JOKE.

IT'S NOT A JOKE.

IT'S A JOURNEY,

LIKE THE OLD IRISH
TRIAL MARRIAGES.

WHAT OLD IRISH TRIAL MARRIAGES?

WELL, IN ANCIENT IRELAND,

THERE WAS ONE DAY WHERE YOU
COULD GET MARRIED FOR A YEAR--

ARE YOU MAKING THIS UP?

NO, I DON'T THINK SO.

ANYHOW, YOU WOULD GET MARRIED,

AND IF YOU WANTED TO SEPARATE,

YOU'D GO BACK TO THE
PLACE YOU GOT MARRIED

AND RESOUND, "I DIVORCE YOU,
I DIVORCE YOU,

I DIVORCE YOU."

WHAT DO YOU THINK?

OH, MY GOD.

BY THE POWER VESTED IN ME
BY THE STATE OF TENNESSEE

AND BY THE ALMIGHTY GOD ABOVE,

I NOW PRONOUNCE
YOU MAN AND WIFE.

WELL, HUSBAND AND WIFE.

HUSBAND AND WIFE.

DOES THAT SOUND RIGHT?

OR MAN AND WOMAN?

MAN AND WOMAN.

YEAH.

MAY I KISS THE BRIDE?

WHATEVER. YOU'RE MARRIED.
YOU MAY KISS THE BRIDE.

BUT I GET THE FIRST DANCE.

* MAKE THE WORLD GO AWAY *

* GET IT OFF,
GET IT OFF MY SHOULDER *

MAY I HAVE THIS DANCE?

* SAY THE THINGS
WE USED TO SAY *

* AND MAKE THE WORLD,
MAKE IT GO AWAY *

* DO YOU REMEMBER
WHEN YOU LOVED ME? *

* BEFORE THE WORLD
TOOK YOU AWAY *

WE'RE HOME, BABY.

OHH,
I HAD THIS DREAM WE GOT MARRIED.

OH, IS THAT WHAT THAT WAS,
A DREAM?

NO, ME AND ELVIS.

I HAD THIS HUGE
BEEHIVE ON MY HEAD.

O.K.

SHOULD I BE JEALOUS?

HEH HEH HEH.

MAYBE.

MAYBE, BABY.

* BLUE ROSES *

* LOOKIN' FOR THE MOON
IN SOMEONE'S EYES *

YEAH,
THE 23rd WILL BE JUST FINE.

BYE-BYE.

HEY, LUCY, ISN'T THAT PAM TILLIS

AND KEVIN WELCH OVER THERE?

YEAH. I LET THEM COME
REHEARSE EVERY NOW AND THEN.

THEY BOTH GOT THEIR
START RIGHT HERE.

REALLY?

YEP.

THEY PLAYING IN
THE ROUND TONIGHT?

NO. THEY GOT SOME KIND
OF BENEFIT OR SOMETHING.

WELL, LOOK AT YOU.

YOU CALLED IN SICK YESTERDAY,

AND NOW YOU LOOK ABSOLUTELY...

MARRIED?

JAMES AND I GOT MARRIED.

YOU GOT MARRIED?

SHE GOT MARRIED.

WELL,
DON'T LOOK TOO EXCITED ABOUT IT, LUCY.

WELL...

CONGRATULATIONS.

HEY,
MIRANDA JUST GOT MARRIED TO JAMES.

GIVE ME A HUG, GIRL.

TO JAMES? OUR JAMES?

JAMES WRIGHT?

YEAH.

DID HE GIVE YOU A RING?

SURE DID. ISN'T IT BEAUTIFUL?

POP OPEN SOME CHAMPAGNE, LUCY.

HOW OFTEN DO PEOPLE GET MARRIED?

OFTEN ENOUGH.

* HAPPY EVER AFTER *

* COME ONE DAY AT A TIME *

* AND THERE AIN'T NO ONE *

* TO TAKE YOU AWAY *

* FORGET THIS WAY TO LOVE-- *

* YOU CAN TAKE MY LOVE *

* IN THE FOREST GREEN *

* YOU CAN TAKE *

* MY LOVE *

* TO THE FOREST GREEN *

HEY, LOOK AT YOU!

DON'T I LOOK GOOD?

SO, DON'T KEEP ME IN SUSPENSE.

WHAT HAPPENED?

UM, OH. I WAS FOURTH RUNNER-UP.

CONGRATULATIONS. I GUESS.

SHE SHOULD'VE WON.

HER TALENT WAS THE BEST ONE.

PEOPLE WERE CRYING
WHEN SHE DID HER SCENE.

I DID MY INTERPRETATION
OF GONE WITH THE WIND.

"MISS SCARLETT! MISS SCARLETT!"

TELL HER WHY YOU LOST.

O.K.

WHEN THEY MADE ME A FINALIST,

ALL OF A SUDDEN I HAD
THIS IMAGE OF MYSELF

AT THE GRAND OPENING
OF A PIGGLY-WIGGLY,

CUTTING A RIBBON IN A RED, WHITE,
AND BLUE SEQUINED MAJORETTE OUTFIT.

AND I HAD TO SAY, "LINDA LUE LINDEN,
THIS IS NOT A JOB.

"THIS IS NOT A CAREER CHALLENGE.

THIS IS BULLSHIT!"

ALL RIGHT, GIRL!

WHEN THEY CALLED MY NAME,
I PRETENDED TO FAINT.

FELL STRAIGHT BACK.

THEY CALLED AN AMBULANCE.

I GOT TO PEE.

KYLE...

HOW'S THE MARRIED LIFE, JAMES?

SWELL.

IT'S QUITE GOOD.

GOOD. GOOD.

I WAS THINKING ABOUT IT.

WELL,
CONGRATULATIONS ARE IN ORDER,

SO GO RIGHT AHEAD.

CONGRATULATIONS.

WHY, THANK YOU.

YEAH, SHE'S A...

DAMN GOOD WIFE.

SHE'S...

REAL GOOD.

WHY DO YOU HAVE TO TELL ME THAT,
MAN?

IT'S THE TRUTH.

YEAH, BUT THE TRUTH CAN HURT.

SEE? DO YOU UNDERSTAND?

YOU GOT NO RIGHT
TOUCHING ME LIKE THAT.

YOU GOT NO RIGHT TALKING
ABOUT HER LIKE THAT.

YOU GOT NO RIGHT.

KEEP IT TO YOURSELF.

SOMEBODY OUGHT TO SHUT YOU UP!

OH...

HEY, BOYS, TAKE IT OUTSIDE.

I'LL JUST SHUT YOU UP!

TAKE IT OUTSIDE, BOYS! OUT!

YOU'RE MAKING A
FOOL OF YOURSELF,

A DAMN FOOL OF YOURSELF!

I'LL KILL YOU!

DO YOU HEAR WHAT I'M SAYING?

BACK OFF!

BETTER SLAP ME HARD,

MAKE THAT FIRST ONE COUNT.

JAMES, STOP IT!

KYLE, STOP!

JAMES, KYLE, COME ON.

KYLE, LET'S GO.

LET'S GO, COME ON.

NO! NO!

STOP IT! COME ON!

LEAVE HIM ALONE.

KYLE, STOP IT!

JUST TRYING TO KEEP HIM
FROM HURTING HIMSELF.

BILLY,
GET IN THERE AND DO SOMETHING!

Y'ALL STOP IT NOW!

THAT'S A BIG HELP.

COME ON, BILLY!

KYLE... COME ON.

IT'S OVER. IT'S OVER.

KYLE...

IT'S OVER.

WHY Y'ALL GOT TO ACT SO STUPID?

WHOO!

HA HA HA HA!

HEY, DONNA...

* AIN'T NO TRAIN
OUT OF NASHVILLE *

* ONCE YOU GET HERE
YOU CAN'T GO ANYWHERE *

* THERE AIN'T NO TRAIN
OUT OF NASHVILLE *

* MA AND PA,
GET ME OUT OF HERE *

THERE AREN'T NOTHIN'
BUT DAMN LOVE SONGS.

EVERYBODY I LOVE'S
MARRIED TO EVERYBODY ELSE.

* I'M HAPPY, YOU'RE TIRED-- *

HERE'S A BRAND-NEW SINGLE
FROM MISS TRISHA YEARWOOD.

* IF YOU COULD READ MY MIND *

THAT'S MY SONG.

* YOU'D KNOW HOW HARD I TRY *

* BUT LOSIN' WAS NOT MY PLAN *

* AND I CAN'T-- *

GOD!

MAN,
I CAN'T BELIEVE IT! WHAT'S GOING ON?

DIDN'T YOU SEE THE STOP SIGN?

THAT'S MY SONG!

WELL, THAT'S MY CAR!

THAT'S MY SONG
PLAYING ON THE RADIO!

YOU WROTE THAT SONG?

YEAH!

A LOT BETTER SONGWRITER
THAN YOU ARE A DRIVER.

YOU WASN'T EVEN LOOKING.

THAT'S HIS SONG ON THE RADIO.

THAT'S MY SONG!

DAMN...

MAKES YOU WANT TO PAT YOUR FOOT,
DOESN'T IT?

SHOULD'VE PATTED THE BRAKE ONCE.

HEY, HE GOT TWO HITS IN ONE DAY!

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* I GOT ME SOMETHING
TO LIVE FOR *

* I GOT SOMETHING TO PROVE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* I GOT A REAL FINE WOMAN *

* AND HER HEART IS STRONG *

* WELL,
SHE CAN SEE RIGHT THROUGH ME *

* AND HER LEGS ARE LONG *

* SHE DON'T GIVE ME NO TROUBLE *

* AND SHE DON'T TAKE MINE *

* SHE AIN'T THE
REASON I'M A-LIVIN' *

* BUT SHE'S THE
REASON I BEEN TRYIN' *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* I GOT ME SOMETHING
TO LIVE FOR *

* I GOT SOMETHING TO PROVE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* YOU MIGHT BE HAPPY
FLYIN' AIRPLANES *

* YOU MIGHT BE
HAPPY BUILDIN' CARS *

* SOME PEOPLE ALWAYS
DO THE RIGHT THING *

* SOME PEOPLE
NEVER GET THAT FAR *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

MIRANDA, WHERE'S MY BLUE SHIRT?

IN THE HAMPER.

I HAVEN'T WORN IT
SINCE I WASHED IT.

I GUESS SOMEBODY ELSE WORE IT,
THEN.

OUGHTN'T YOU TO WASH IT, THEN?

I'M NOT YOUR MAID.

MIRANDA,
YOU CAN WEAR MY SHIRT IF YOU LIKE.

HOWEVER,
YOUR DIRT MAKES IT YOUR LAUNDRY.

JAMES, IT'S NOT THAT DIRTY.

YOU COULD WEAR IT.

I CAN'T. IT SMELLS
LIKE YOUR SOAP.

I CAN'T STAND EVERYTHING
SMELLING LIKE THAT SOAP!

MY SOAP IS STARTING
TO SMELL LIKE YOUR SOAP!

THEN YOU MIGHT AS
WELL WEAR THE SHIRT.

YOU'RE IMPOSSIBLE TO LIVE WITH.

HOW WOULD YOU KNOW?

LOCK YOURSELF IN A
ROOM FOR THREE DAYS,

THEN COME OUT AND SAY,
"WHERE'S MY BLUE SHIRT?"

AND WHEN ARE YOU EVER AWAKE
DURING THE DAYLIGHT HOURS?

THAT IS NOT THE POINT!

YOU GO INSIDE,
YOU LOCK THE DOOR,

AND I'M NOT EVEN ALLOWED IN.

HOW COME YOU GET
A ROOM LIKE THAT?

'CAUSE YOU'RE SUCH
A BRILLIANT WRITER

AND I'LL NEVER BE ANYWHERE
NEAR AS GOOD AS YOU?

WHY DO YOU GET A ROOM?

I'VE LIVED HERE FOR A WHILE.

I PAY THE RENT.

OHH!

I WAS NOT PLANNING ON
HAVING YOU SUPPORT ME,

IF THAT'S WHAT YOU THOUGHT.

NO.

RENT'S NOT DUE FOR A WEEK,

BUT I'LL GIVE IT TO YOU NOW

SO YOU DON'T THINK
I'M TRYING TO SCAM YOU.

MAYBE I ALWAYS MARRY GUYS

SO I CAN LIVE IN A HOUSE
FOR FREE AND BE IGNORED.

SEEMS AS THOUGH
YOU'VE MADE A CHECK OUT

FOR "SELFISH ARROGANT DICKHEAD."

MM-HMM.

THEY'LL CASH IT.
THEY KNOW IT'S YOU.

THEY DO?

WHAT IS A DICKHEAD, EXACTLY?

YOU.

IF I'M A DICKHEAD AND YOU'RE
MARRIED TO A DICKHEAD,

WHAT DOES THAT MAKE YOU?

AN IDIOT.

YOU'D THINK WE'D BE
THE PERFECT MATCH--

AN IDIOT... AND A DICKHEAD.

YOU WOULD THINK.

OUR FIRST FIGHT.

I'M NOT GOING TO
WASH YOUR SHIRT.

I KNOW THAT.

* YOU DON'T KNOW
WHAT SHE'LL DO *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

I DON'T KNOW ABOUT
THAT LAST LINE.

BEST LINE IN YOUR SONG.

HELL OF A LINE.

REALLY?

YEAH, ABSOLUTELY.

WELL, YOU'RE THE EXPERT, RIGHT?

OH, I HAVE THAT MONEY I OWE YOU.

NOW WE'RE EVEN.

HEY,
COME ON. SHE'S LETTING PEOPLE IN.

COME ON, GET ON THE STICK.

DON'T BE LATE.

GOOD LUCK TODAY.

THANKS, NED.

COME ON.

LET'S SEE...

* TONIGHT *

* WHOLE WORLD'S GOIN' CRAZY *

* ALMOST AS CRAZY AS I FEEL *

* THERE'S A COLD RAIN *

* ISN'T IT AMAZING? *

* THAT'S NOT SUPPOSED
TO BE THE DEAL *

* THERE'LL BE TORNADOES
IN THE TRAILER PARK *

* AN ECLIPSE WILL MAKE
THE WHOLE WORLD DARK *

* JUST WHEN YOU THINK
SHE'S GOT NO HEART *

* SHE'LL BREAK A SUNNY DAY *

* MOTHER NATURE... *

YEAH.

THANK YOU.

IF I CALL YOUR NAME,

IT MEANS YOU'RE GOING TO
PLAY HERE SATURDAY NIGHT,

AND GET HERE BEFORE 7:00.

CAROL ANN HARRIS.

JERRY WARD.

RUSSELL CROWNE.

JOANNE DANIEL.

LESTER SHARPE.

CONGRATULATIONS, EVERYBODY.

WELL, GOT TO GET TO WORK.

WELL, THAT SOUNDS LIKE A DEAL.

SURE WILL.

I'LL SEE YOU TOMORROW.

GOD BLESS.

OH, MY BABY.

HEY.

DARLIN' MIRANDA.

WHAT ARE YOU DOING?

GUESS WHAT HAPPENED.
I TALKED TO R.C.

YEAH?

I WORKED THINGS OUT.

I LEAVE FOR AUSTIN THIS EVENING.

FOR AUSTIN?

HE'S GIVING ME COMPLETE
CREATIVE CONTROL.

I HAVE TO GIVE HIM A BUCK
EVERY TIME I SMACK SOMEONE.

HOW LONG WILL YOU BE GONE?

DON'T KNOW. A MONTH OR TWO.

A RECORD,
IT'LL TAKE SOME TIME, NO DOUBT.

WOW, A MONTH OR TWO.

WHAT ABOUT ME?

YOU GOING TO QUIT YOUR JOB

JUST TO HANG AROUND
AND WATCH ME RECORD?

I THOUGHT YOU'D WANT TO STAY HERE,
HAVE A LIFE,

SETTLE INTO OUR HOUSE.

AND DO WHAT?

DO WHAT?

DON'T KNOW.

WHAT DOES ONE DO, ANYWAY?

THERE'S A NUMBER OF
THINGS YOU COULD DO.

YOU COULD WRITE SONGS,
BIRD-WATCH.

OH, JAMES,
WHY DON'T YOU JUST BE STRAIGHT WITH ME?

YOU DON'T WANT ME TO GO ALONG.

EVER SINCE WE GOT MARRIED,

YOU'VE BEEN PUSHING ME AWAY.

I'M NOT SAYING THAT.

WERE YOU PLANNING ON
ASKING ME TO GO WITH YOU?

I HAVEN'T GIVEN IT MUCH THOUGHT.

NO, OBVIOUSLY NOT.

AM I TO TAKE CARE OF YOU,

MYSELF, MY MUSIC?

TAKE CARE OF ME?

YOUR TROUBLES.

MY--MY TROUBLES?

IS THIS IT?

WHAT TROUBLES WOULD THOSE BE?

WHAT,
THE FACT THAT I'M YOUR WIFE

AND YOU'RE SPLITTING
TOWN FOR TWO MONTHS

AND YOU DON'T EVEN ASK ME TO GO?

IS THAT THE TROUBLES
YOU'RE SPEAKING OF?

MAYBE I'M NOT THE MARRYING
TYPE IF MARRIAGE IS THIS.

IF YOU'RE SO SCARED OF
TURNING OUT LIKE YOUR FATHER,

YOU BETTER TAKE A
GOOD LOOK AT YOURSELF.

ARE YOU DRUNK?

AM I...WHAT? AM I DRUNK?

WHY? WHY WOULD YOU SAY THAT?

BECAUSE YOUR MOTHER
HAD TO GET DRUNK

TO DEAL WITH YOUR FATHER?

YOU KNOW, YOU ACT SO INTENSE,

SO CALM,

SO COOL AND COLLECTED.

THE TRUTH IS,
YOU'RE SO FUCKING SCARED.

YOU'RE AS SCARED
AS A LITTLE BOY.

GET AWAY.

IT DOESN'T HAVE
TO GET THIS UGLY.

I DIVORCE YOU,

I DIVORCE YOU,

I DIVORCE YOU.

* CRAZY *

* I'M CRAZY FOR FEELIN' *

YOU CALL ME UP,
AND YOU TELL ME YOU'RE DIVORCED

AND THAT YOU DON'T WANT
TO TALK ABOUT IT ANYMORE.

* I'M CRAZY *

I STILL DON'T WANT
TO TALK ABOUT IT.

WHEN DO YOU THINK YOU
MIGHT LIKE TO TALK ABOUT IT?

DO YOU LOVE ME, KYLE?

UH, WH-WHAT?

ARE YOU IN LOVE WITH ME?

STRAIGHT ANSWER.

YOU--YOU WANT ME TO TELL
YOU HOW I FEEL ABOUT YOU?

YEAH.

O.K.

O.K.

UH...

SOMETIMES YOU HEAR
A SONG ON THE RADIO,

AND IT'S JUST THE SONG YOU
WANT TO HEAR RIGHT THEN,

AND THEN IT'S OVER,
AND YOU'RE JUST GLAD YOU HEARD IT.

AND I'M LIKE THAT SONG?

NO.

YOU'RE NOTHING LIKE THAT SONG.

YOU'RE LIKE IF THERE WAS...

ONE SONG IN THE WORLD THAT I
COULD HEAR FOR THE REST OF MY LIFE.

YOU'RE THAT SONG.

KIND OF LIKE YOUR FAVORITE SONG,

YOU MEAN.

DON'T DO THAT.

I USED TO HAVE A FAVORITE SONG.

DON'T MAKE A CLICHE.

YOU ASKED ME, SO I TOLD YOU.

I'M SORRY.

YOU'RE RIGHT.

I DON'T KNOW WHAT I'M DOING.

I THINK I'M JUST GOING
TO GO HOME TO NEW YORK.

WHY?

BECAUSE NOTHING IN
MY LIFE IS WORKING HERE.

UH...

WHY DID YOU COME TO NASHVILLE?

YOU CAME HERE TO FIND YOURSELF,
RIGHT?

WELL, GUESS WHAT. IN NEW YORK...

YOU'RE GOING TO BE LOOKING
FOR THE SAME PERSON.

OH, HI, HON.

I DIDN'T THINK YOU
WERE WORKING TONIGHT.

NO, I'M NOT. UM...

I'M QUITTING.

I'M GOING TO GO
BACK TO NEW YORK,

SO DON'T TRY AND
TALK ME OUT OF IT.

WELL, I WON'T.

I'LL JUST SAY GOODBYE.

COME HERE.

* BUT REGARDLESS *

* OF WHAT LOVE IS *

* WE ARE ALL BLESSED *

* JUST THAT LOVE IS *

YOU GOT IT,
JAMES. YOU'RE COOKING, BUDDY.

YOUR ATTENTION, PLEASE.

THIS IS THE FINAL CALL FOR
BUS 18 TO NEW YORK CITY.

BUS 18 FOR NEW YORK CITY,

THIS IS YOUR FINAL
BOARDING CALL.

* MAMA TOLD HER BABY GIRL,
TAKE IT REAL SLOW *

* GIRL TOLD HER MAMA,
HEY, I REALLY GOT TO GO *

* HE'S WAITIN' IN THE CAR *

* MAMA SAID, GIRL,
YOU WON'T GET FAR *

* THUS ARE THE DREAMS
OF AN AVERAGE JANE *

* 90 MILES AN HOUR
DOWN A LOVERS' LANE *

* ON A TANK OF DREAMS *

* OH,
IF SHE COULD'VE ONLY SEEN *

* THE FACE GOD CARVES
THAT IT DON'T WANT TO SHOW *

* AND THAT BOY'S
JUST A WALK-AWAY JOE *

* BORN TO BE A LEAVER *

* TELL YOU FROM THE WORD GO *

* DESTINED TO DECEIVE HER *

* HE'S THE WRONG
KIND OF PARADISE *

* SHE'S GONNA KNOW
IT IN A MATTER OF TIME *

* THAT BOY'S JUST
A WALK-AWAY JOE *

* OOH, YEAH *

* ALL HE WAS WAS
A WALK-AWAY JOE *

* OOH OOH OOH *

* I'VE BEEN LOST *

* ON STREETS OF PLENTY... *

I'LL CALL HIM LATER.

THIS IS ONE HELL OF A TAKE,
JAMES.

ONE HELL OF A TAKE!

WHAT'S THE MATTER, BUDDY?

NOTHIN'.

NO, THIS IS A--

THIS IS A GOOD TAKE.

YOU LIKE IT.

MMM.

ABSOLUTELY.

* AIN'T WORTH A QUARTER *

* IT'S MUDDY WATER *

* UNTIL NOW *

* THERE'S A LIGHT *

* THAT SHINES FOREVER *

* THERE'S A LIGHT *

* THAT SHINES FOR ME *

* THERE'S A LIGHT *

* MY FOOTSTEPS GUIDIN' *

* FOR I'VE BEEN HIDIN' *

* UNTIL NOW *

* THE LOVE I FOUND *

* WAS DARK AND DUSTY *

* FOR I MISTRUSTED *

* UNTIL NOW *

AHEM.

SHE LEFT TOWN?

WELL, YES, SHE DID.

WHERE TO? DO YOU KNOW?

YOU DID THE RIGHT THING, JAMES.

YOU CAME BACK FOR HER.

THANK YOU. NEW YORK?
IS THAT WHERE SHE WENT?

I DON'T KNOW, JAMES.

HOME?

KYLE.

IT'S GOOD TO SEE YOU.

WHAT'S GOING ON?

MIRANDA LEFT ME.

OH, YEAH?

YEAH.

DID SHE GO TO NEW YORK? I MEAN,
SHE--

DID SHE?

SHE SAID SHE MIGHT.

O.K. THAT'S WHAT I WANT TO HEAR,
THE TRUTH.

SHIT.

I'M SORRY.

NO.

I'M SORRY... ABOUT EVERYTHING.

NO,
I JUST--I JUST-- I JUST MEAN THAT...

LOOK,
IT REMINDS OF THE OLD STORY

OF THE GREEN KING
AND THE RED KING,

WHERE THEY BATTLE
EACH OTHER EACH YEAR

FOR THE FAVOR OF
THE LADY IN WHITE.

TAKE TURNS DYING.

WHAT DO YOU MEAN,
I'M DEAD THIS YEAR?

WELL...

THIS YEAR WE'VE BOTH, UM...

KICKED THE BUCKET.

YEAH.

WHAT I'M SAYING IS,
IT'S THE NATURE OF THINGS.

TWO GUYS AND A...

A GIRL.

SEE WHAT I MEAN?

IT'S THE OLDEST
STORY IN THE BOOK.

EXCEPT I BLEW IT.

* I'VE GOT A HEART *

* AND, BABY, THAT'S MY PROBLEM *

* I WANNA KNOW... *

* MUSCLE AND BLOOD *

* I KNOW NOW *

* WHAT ROAD I'M ON *

* I'M A VAGABOND *

* ON THE STREETS OF LOVE *

* I'M MORE *

* LIKE MYSELF NOW *

* THAN I EVER WAS *

* AND I *

* DON'T REGRET IT, BABY *

* I'M NOT AFRAID
OF WANTING YOU *

* I KNOW NOW *

* WHAT I'M MADE OF *

* SKIN AND BONE *

* MUSCLE AND BLOOD *

* I KNOW NOW WHAT ROAD I'M ON *

* I'M A VAGABOND *

* ON THE STREETS OF LOVE... *

HEY, LUCY.

WELL, LOOK WHO'S HERE.

I GOT A SONG.

YEAH? WELL,
YOUR HUSBAND'S OVER THERE.

HE CAME BACK FOR YOU.

WELL, I CAME BACK FOR MYSELF.

GOOD FOR YOU.

LISTEN, YOU THINK

YOU COULD BREAK ONE
OF THOSE RULES FOR ONCE?

WELL...

YOU READY?

YES, MA'AM.

WELL,
THEN LET'S SEE WHAT WE CAN DO.

ALL RIGHT.

* I KNOW NOW *

* WHAT I'M MADE OF *

* SKIN AND BONE *

* MUSCLE AND BLOOD *

* I KNOW NOW WHAT ROAD I'M ON *

* I'M A VAGABOND *

* ON THE STREETS OF LOVE *

* HONEY, I'M A VAGABOND *

* ON THE STREETS OF LOVE *

WELL, WE THOUGHT THAT WAS IT,

BUT IT TURNS OUT THAT...

MIRANDA PRESLEY IS THE
FAT LADY FOR TONIGHT.

GREAT SONG.

HEY.

I'M REALLY PROUD OF YOU.

YEAH, UM,
I'M GLAD YOU CAME BACK.

YEAH, ME, TOO.

GOOD.

GOOD LUCK.

UH...

THIS IS SOMETHING NEW.

* I HAVE A DREAM OF MY OWN *

* AND IT'S MINE AND MINE ALONE *

* IT'S BEEN MY FRIEND *

* SINCE I WAS JUST A GIRL *

* IT HAS A LIFE *

* IT HAS A HEART *

* HAS A SOUL *

* AND IT'S A PART *

* OF EVERYTHING THIS
WOMAN GIVES THE WORLD *

* AND IT'S A BIG DREAM *

* BIG ENOUGH TO SHARE *

* LIKE A RAINBOW *

* HANGIN' IN THE AIR *

* AND I THANK GOD FOR
MAKIN' IT COME TRUE *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

* MAKES ME THINK MAYBE GOD'S A WOMAN,
TOO *

* THERE'S A FULL MOON TONIGHT *

* AND I'M BATHING IN ITS LIGHT *

* NAKED AS THE DAY *

* THAT I WAS BORN *

* THERE IS NO SHAME
BENEATH THIS SKY *

* I HAVE KISSED
THE PAST GOODBYE *

* AND MENDED UP MY
BROKEN HEART SO TORN *

* WITH A SWEET SOUND *

* ONLY I CAN MAKE *

* AND IT GETS STRONGER *

* WITH EVERY BREATH I TAKE *

* AND IT'S ALL A PART *

* OF MAKING ME FEEL NEW *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

* MAKES ME THINK MAYBE GOD'S A WOMAN,
TOO *

YOU WERE WONDERFUL.

OH,
MY GOD. WHAT ARE YOU DOING BACK?

YOU WERE SO GOOD.
YOU REALLY WERE.

THANKS,
BILLY. I HAD SOMETHING TO TAKE CARE OF.

I SHOULD SAY SO.
WHAT A SURPRISE.

I JUST CAME HERE TO
SAY GOODBYE TO KYLE,

AND THEN THERE YOU WERE.

WHERE ARE YOU GOING?

O.K. LISTEN UP, EVERYBODY.

I'LL TELL YOU IN A MINUTE.

IF I READ YOUR NAME,

YOU'LL SING HERE SATURDAY NIGHT.

YOU HAVE TO BE HERE BEFORE 7:00.

"DAVID WARNER...

"KYLE DAVIDSON...

"JULIE FREDERICKS...

"MISSY PARKER...

AND MIRANDA PRESLEY."

I'M SO PROUD OF YOU.

I'LL MEET YOU BY THE CAR.

COME ON, BABY. WE'LL SEE YA.

DID YOU FIND KYLE?

I DIDN'T SEE KYLE. I SAW FLOYD.

HEY!

YOU SHOWED 'EM!

THAT WAS GREAT.

YEP,
SOMETIMES IT PAYS TO BREAK THE RULES.

ALL RIGHT.

THAT WAS SO LOVELY. PURE.

YES, FLOYD, GO FIX SOMETHING.

I WAS GOING TO SAY THAT.

I'LL HELP.

I DIDN'T MEAN TO
INTERRUPT OR ANYTHING.

CAN I SPEAK WITH YOU?

YEAH, SURE. WHAT'S UP?

I NEED TO HAVE A WORD
WITH YOU IN PRIVATE.

OH. O.K. ALL RIGHT.

PLEASE.

YEAH.

THANK YOU.

THAT WAS SO SOULFUL,
WHAT YOU DID UP THERE.

SO?

I MISSED YOU.

BAD.

WHAT HAPPENED WITH YOUR ALBUM?

IT'S O.K.

I HAD TO COME BACK
TO RETRIEVE OUR LOVE.

SO THIS IS CONVENIENT
FOR YOU NOW?

I WAS SCARED THAT I MIGHT
NOT SEE YOU AGAIN, AND...

I REALIZE MY FAULT IN ALL THIS.

SOUNDS LIKE A SONG.

A SONG THAT WE
SHOULD WRITE TOGETHER.

YEAH?

I'M STILL YOUR HUSBAND.

NO, WE GOT DIVORCED...

IF YOU REMEMBER CORRECTLY.

WELL, IT DOESN'T COUNT.

WE GOT TO GO TO THE SAME
SUPERMARKET IN MEMPHIS

FOR IT TO BE PROPER.

YEAH?

O.K.

WE GOT A DATE.

WE GOT A DATE TO GET DIVORCED?

YEAH.

ALL RIGHT!

LOOKS LIKE YOU MADE IT
INTO LUCY'S HALL OF FAME.

LUCY...

THAT'S A BIG DEAL.

THANKS, LUCY.

IT'S A GOOD START.

MM-HMM.

ALL RIGHT, Y'ALL.

ALL RIGHT.

UH, JAMES...

BAGS?

HUH.

YES, MISS MIRANDA.

UH-OH. UH-OH.

WELL,
IT LOOKS LIKE YOU BOTH PULLED A LINDA LUE

AND CHANGED YOUR MINDS, HUH?

I, TOO, HAVE CHANGED MY MIND.

I'M NO LONGER
GOING TO HOLLYWOOD,

BUT I'M GOING TO NEW YORK

TO STUDY SERIOUS ACTING.

NEW YORK?

I TOLD HER SHE OUGHT
TO STUDY COMEDY.

COMEDY IS PART OF SERIOUS ACTING,
BILLY.

HEY, THERE'S KYLE OVER THERE.

HEY, KYLE DAVIDSON,
DON'T YOU GET IN THAT CAR

WITHOUT SAYING GOODBYE TO ME!

COME ON, GET OVER HERE!

YOU, QUIT BEING SUCH A HANDFUL.

ALL RIGHT.

GOODBYE.

GOOD LUCK IN NEW YORK.

THANK YOU.

SEE YOU, SWEETIE.

O.K.

DON'T EVEN SAY GOODBYE TO ME.

JUST COME HERE.

HEY, LINDA LUE,
IS THAT YOUR FACE I SEE?

YOU KNOW, THERE IS SOMETHING

THAT YOU NEVER
UNDERSTOOD ABOUT ME.

OH, JESUS!

THAT AIN'T VERY CHRISTIAN,
LINDA LUE!

YOU COULD'VE HAD ME FOR A SONG.

HEY.

FOR GOOD LUCK.

OH, GOD!

YOU WANT ME TO
WEAR A YANKEES CAP?

OH!

DAMN YANKEES.

OTHER SIDE.

WATCH YOUR DAMN DOG.

GET OVER, BILLY.

COME ON, LET'S GO.

SEE YOU TWO...

THREE.

SO LONG!

LOOK OUT, NEW YORK CITY,

'CAUSE HERE I COME
AND I AIN'T NEVER LEAVING!

WHOO!

WELL,
LET'S ALL TAKE A DRIVE IN MY TRUCK.

COME ON.

SO WHEN WE MEET AS FRIENDS,

MY HEART WILL BREAK AGAIN.

IF THAT'S HOW THE STORY ENDS,

* THEN I CAN'T UNDERSTAND *

YEAH, I UNDERSTAND.

HEY, JIMMY.

WHAT?

I GOT THIS IDEA FOR A SONG.

WHAT'S THAT?

WELL,
THERE'S THESE TWO KINGS, SEE?

AND THEY'RE BOTH ALWAYS FIGHTING

OVER THE SAME
FAIR-HAIRED MAIDEN.

SOUNDS FAMILIAR.

YEAH. I'LL DO THE MUSIC,

YOU DO THE LYRICS,
AND MIRANDA CAN SING IT.

SOUNDS GOOD.

HEY, I GOT AN IDEA.

WHY DON'T I WRITE THE LYRICS

AND YOU TWO GUYS
CAN SING THE TUNE?

YOU'RE KIDDING.

YOU GOT A PROBLEM WITH THAT?

WE'RE ALL IN
AGREEMENT. ABSOLUTELY.

GOOD. I'M GLAD. WHOO!

* YOU GOT A THING OR TWO *

* TO LEARN ABOUT ME, BABY *

* 'CAUSE I AIN'T
TAKIN' IT NO MORE *

* AND I DON'T MEAN MAYBE *

* YOU DON'T KNOW
RIGHT FROM WRONG *

* THE LOVE WE HAD IS GONE *

* SO BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* WELL, ALL I WANTED *

* WAS TO BE YOUR ONE AND ONLY *

* AND ALL I EVER GOT FROM YOU *

* WAS BEIN' LONELY *

* NOW THAT IS LAID TO REST *

* 'CAUSE YOU HAVE
FAILED THE TEST *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* ARE YOU HEADED
FOR A HEARTACHE? *

* OH, YEAH *

* GONNA GET A BAD BREAK *

* OH, YEAH *

* MADE A BAD MISTAKE *

* OH, YEAH *

* WELL,
YOU'RE NEVER GONNA FIND *

* ANOTHER LOVE LIKE MINE *

* WELL, SOMEONE'S GONNA DO YOU *

* LIKE YOU DONE ME, HONEY *

* AND WHEN SHE DOES
YOU LIKE SHE'LL DO YOU *

* WELL, IT AIN'T FUNNY *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* ARE YOU HEADED
FOR A HEARTACHE? *

* OH, YEAH *

* GONNA GET A BAD BREAK *

* OH, YEAH *

* MADE A BAD MISTAKE *

* OH, YEAH *

* WELL,
YOU'RE NEVER GONNA FIND *

* ANOTHER LOVE LIKE MINE *

* WELL, SOMEONE'S GONNA DO YOU *

* LIKE YOU DONE ME, HONEY *

* AND WHEN SHE DOES
YOU LIKE SHE'LL DO YOU *

* WELL, IT AIN'T FUNNY *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* HEY, BLAME IT ON YOUR LYIN',
CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *