Bright lights
by: Tray Duncan
4th Draft.
12/16/02

int. nashville dive bar -NIGHT
A small downtown bar in the basement of an office complex. Concrete floors, stained so many times over the years that they begin to resemble Expressionist art.
Patrons are divided almost equally between crusty locals, wearing tattered jeans and sweat-stained cowboy hats, and young business people wearing identical slacks and polo shirts.
The locals amuse themselves with shuffleboard and pool. The businesspeople hum with the activity of PDA's and cellphones.
The mechanical arm of an antique jukebox slides back and forth, pulling 45's out and dropping them on a platter. A lo-fi version of an old country standard drifts through the air.
On the stage, built into the corner as an afterthought decades ago, a drum kit sits and a balding SOUND GUY plugs in microphones.
The lights go down and the patrons move slowly to the stage.
A group of CRUSTY SESSION MUSICIANS get up form the bar and approach the stage unsteadily, all balding ponytails, beer guts, and moustaches. Their appearance matches the plywood stage perfectly. They grab their instruments, tune, and wait. The BASS PLAYER lights a cigarette. 
A small, figure approaches the stage through a door leading backstage. It is CHARLIE QUICK (29). He wears crisply pressed western wear, and his hat and boots and impeccably matched. He carries a polished acoustic guitar.
Charlie's POV, walking onto the stage. HEAVY BREATHING is heard. He PLUGS his guitar in.
The somewhat underwhelming stage lights flash on, startling Charlie. The Session Musicians do not flinch.
 Charlie shields his eyes against the glare. He moves to the front of the stage with an exaggerated swagger and tips his hat to the crowd. Confidently, he grabs the microphone stand with one hand and tilts it towards his mouth.
charlie
Howdy folks, my name's Charlie Quick, and I'm from Greensboro.
Charlie speaks with a thick drawl.
chARLIE (CONT'D)
My daddy played for Greensboro when I was a kid. This here's a song about baseball and growin' up in the South! 2-3-4!
The band begins playing a fast-paced country groove. Charlie pushes the microphone away from himself with a flourish and begins strumming his guitar.
Despite its obviousness, the music is infectious. Some of the locals begin tapping their feet.
Charlie begins swaying back in forth in a dance somewhere between Elvis and Billy-Ray Cyrus.
To the left of the stage, against the back wall of the bar, ROSE LYNN sips a gin and tonic. She looks at the stage and smiles
rose
Oh my God, Charlie.
Charlie approaches the microphone, grabs it with one hand and begins to sing with an acidic twang.
chARLIE
(singing)
When the bright lights went up, over that well-worn field.
One of the BUSINESSPEOPLE at the bar puts down her cell phone, pulls out a pad, and begins taking notes.
cHARLIE (CONT'D)
I saw my daddy stand there, and I knew that it was for real.
TITLE CARD
int NASHVILLE DIVE BAR -NIGHT
Charlie and the band finish their last song before an appreciative audience. Charlie cuts off the band with a motion of his guitar and grabs the microphone.
cHARLIE
Thanks y'all. If ya liked us, tell some folks. We'll be playin' here again soon. My name's Charlie Quick... have a good night.
The Session Players begin packing their gear as light applause rings through the subterranean space.
Charlie unplugs his guitar and saunters offstage towards Rose, still standing to the side.
cHARLIE (CONT'D)
Did he come?
The timbre of Charlie's voice has changed dramatically. Gone is the overt drawl, replaced with a softer tone, less accented tone.
rOSE
Sorry, hon.
Charlie's elubilent expression fades.
rOSE (CONT'D)
Good show, though...
Charlie walks towards the backstage door and pushes through it.

int. backstage, NASHVILLE DIVE BAR -NIGHT
Charlie enters the dressing room. Filled with the accumulated debris of thirty years worth of desperate musicians, it smells of mildew and sweat.  A few ancient couches are pushed against the walls, their original colors a matter of opinion. Against the far wall there is a broken wall mirror and a small desk.
 A lamp spreads diffuse light through the room. The mirror spreads it through the room in a random pattern.
A young girl, LORETTA, sits on one of the dubious couches, reading a children's book. She does not look up when Charlie enters.
Charlie grabs a cell phone and dials. RINGING is heard.
On the 4TH RING, Michael picks up.
Michael
(distant)
What?
CHARLIE
It's me. I just finished the showcase!
Charlie's voice has returned to its normal pattern.
Michael
(not excited)
That's so exciting. How'd it go?
CHARLIE
My God! I can't believe it. I had a blast. I think people were really into it!
Michael
Great... Things are really moving over here. We're gonna get this account, I think it's really gonna turn into something. Speaking of which, I gotta get back to work.
CHARLIE
Hold on...
Michael
I'll be back next Thursday. Tell me then.
CHARLIE
but...
Michael
Sorry, I gotta go. Bye Charlie.
CHARLIE
...I'll pick you up at the airport.
Michael
Great.
The phone CLICKS.
Charlie tosses the phone on the desk. 
Loretta looks up
loretta
Was your concert good.
charlie
...sure.
Charlie stares into the mirror, multiple reflections staring back from the cracked pane.
Loretta returns to her book.
Rose enters.
rOSE
(to Loretta)
..honey, where are my cigarettes?
Loretta points to the desk without looking.
Rose walks unsteadily towards the desk. She puts her hand on Charlie's shoulder.
rOSE (CONT'D)
Problems?
cHARLIE
Nah, he's busy right now. Sounds like things are going well.
rOSE
You look like shit.
cHARLIE
It's ok.

INT. ROSE'S CAR -night
Rose drives Charlie home in her early-80's Toyota. Loretta sits in a car seat in the back, next to a guitar case.
Charlie's hat presses against the ceiling of the economy car.
Loretta begins playing with the latches on the guitar case.
CHARLIE
Could you tell her to stop that?
ROSE
You can.
Loretta stops and moves back to her side of the car with an exaggerated flourish. Charlie looks back.
CHARLIE
Sorry, but that's not a toy, honey.
ROSE
(under breath)
Sure its not.
Loretta glares at Charlie
ROSE (CONT'D)
(to Charlie)
Y'know, you don't have to be an asshole.
CHARLIE
I know...I'm just, kinda preoccupied.
ROSE
He comes back next week.
CHARLIE
It's not that...
ROSE
I can't figure out if you're jealous or worried he'll leave.
Charlie looks out the window.
ROSE (CONT'D)
Who knows, you played a good gig. People were there.
CHARLIE
...playing catch up. 
ROSE
Don't say that.
cHARLIE
I need to get something to shop around. I gotta get a demo out.
Beat
CHARLIE (CONT'D)
Hey, can I borrow your car to get him on Thursday?
ROSE
sure, whatever. Get some sleep and quit freaking out.
CHARLIE
Right.
EXt. charlie and Michael' apartment -NIGHT

Charlie unfolds out of the car and gets his case from the back seat.
ROSE
I'll pick you up at 8.
cHARLIE
Huh?
rOSE
Y'know...the kid's show voice over thing at Johnny's place.
cHARLIE
Oh yeah.
Charlie grimaces with distaste.
rOSE
Keep your feet on the ground. It's not like you're trying to be Piccasso anyway.
Rose winks at Charlie.
CHARLIE
Thanks. Bye Loretta.
Charlie grins nervously at Loretta. She replies with an icy stare. He slams the door.
Charlie walks to the curb, stops, closes his eyes in concentration, then resumes. His pace has changed into an exaggerated John Wayne imitation.
A NEIGHBOR approaches Charlie.
neighbor
Hey Charlie, you play tonight?
cHARLIE
Yep, little gig downtown. Went pretty good, I s'pose.
Charlie's voice has resumed the drawl he used on-stage.
INT. ROSE'S CAR -cONTINUOUS
Rose looks at Charlie's interaction with the neighbor then at Loretta through the rearview mirror.
ROSE
I'm gonna make you stop playing pretend at a certain age.

int. cHARLIE'S APARTMENT -day
Charlie is listening to an old cassette tape of a country band playing. He absentmindedly strums along on his guitar and hums the tune. He seems far away.
The phone rings. Charlie rushes into frame and picks it up.
ROSE
Hey asshole, I'm downstairs. Let me in.
The phone CLICKS as Rose hangs up. Charlie looks at the clock, it reads 8:15.
CHARLIE
Shit.
Charlie puts down the guitar and quickly moves takeout boxes on top of one another in a desperate attempt to clean up. He moves next to the door, and presses a button to let the door open.
Rose walks in the door.
ROSE
Nice job here, cowboy. I was worried about how you'd react to Michael being gone. Now I know there was nothing to fear.
Rose picks up some debris from the floor and puts it next to the trash.
ROSE (CONT'D)
You look like hell... and what's with this music. Wait, is this one of those "I've learned life's lessons through baseball" songs?
CHARLIE
Well...sort of...
ROSE
Goddamn, I hate this music sometimes.
CHARLIE
...makes me think of my dad.
ROSE
I know, I know, that's what they say when they request it on the radio...but still.
CHARLIE
No, really.
Rose looks at Charlie, disbelieving.
ROSE
Y'know, you really are cut out for this job.
Charlie laughs nervously. Rose puts her hand on his shoulder.
Rose (CONT'D)
C'mon, its late... and we're workin' for the Lord today.
int. recording studio -DAY
An cartoon plays on a grainy monitor with a timecode windowburn in the corner. A BUFFALO and a giant anthropomorphic BIBLE are walking with a pleasantly multicultural group of children.
On screen a BLONDE GIRL begins to speak.
BLONDE GIRL
... you mean that God even made the trees?
bible
That's right. He made the trees, and the birds, and everything else.
buffalo
...and the buffalo.
The CHARACTERS all laugh.
bible
...in fact that makes me think of a song...
A bad synthesizer melody begins to PLAY. The characters sing in unison.
characters
He's got the whole world in his hands. He's got the whole world in his hands.
On the last phrase, the Bible's voice falls out of tune.
A coffee mug CRASHES against the monitor.
We see the thrower of the mug, JOHNNY MORRIS-BRYANT, sitting at a mixing console. An ashtray sits on the console, overflowing with smoldering cigarette buts. The studio is lit dimly.
johnny
Goddamit Greg, how hard is it to sing a fucking c sharp?
greg (V.O.)
Sorry Dude... I think i need to get some tea or something.
Johnny
(disdainful)
Fine...take 5.
Charlie, Rose, and GREG emerge from a recording booth.
Johnny (CONT'D)
(to Greg)
...One more take, that's all you get.
GREG
Sure, right-on. My head's just in a weird place now.
Johnny
It's not that hard.
Charlie, Rose, and Greg walk through a door.

ext. reCORDING STUDIO -cONTINUOUS
greg
Y'all should come hear the new band. We've got some seriously scary shit together. There's this one song about like... how much life sucks. It's gonna be a hit.
rOSE
Still mad at your parents?
Charlie chuckles. Greg doesn't seem to get it.
gREG
...gonna rock out an' shit.
Greg bobs up and down. Charlie stares offscreen
gREG (CONT'D)
Oh... how'd the gig go?
cHARLIE
(normal voice)
Fine.
rOSE
Any calls from A&R yet? They gonna sweep you away from the glamorous world of musical children's programming?
cHARLie
Not yet. You think they'll call?
rose
There were still a few suits around at the end of the night. Can't be a bad sign. Besides, songs about baseball tend to chart a bit higher than
(imitating Greg)
death and shit.
gREG
Whatever, dude. Baseball? That's great man. Sell your soul for a deal an' shit.
cHARLIE
Not quite...I feel so close sometimes. Then it never comes through.
rOSE
Sounds like Michael is getting there.
Charlie's face darkens.
Beat.
cHARLIE
Y'know, I am so goddamned sick of being a buffalo. I gotta get out of this.
ROSE
(in little kid's voice)
No sense in dwelling on it. Jesus will take care of it.
Charlie laughs.
cHARLIE
Maybe... probably won;t be Jesus though.
 
int. rECORDING STUDIO -cONTINUOUS
Charlie, Rose, and Greg walk into the control room. Johnny smolders behind the mixing desk.
jOHnNY
Let's get this over with.
cHARLIE
(drawl)
Hey, Johnny...you been looking to do some music production again?
Johnny
No. Recording fucking bible cartoons is where I always imagined myself. I'm pretty satisfied, all in all.
cHARLIE
Well...
Rose and Greg walk into the recording booth. Rose wears a slight grin.
Johnny
Hold on... I know where this is headed. Not interested.
chARLIE
Wait a sec... I've had five showcases in the last six months. There's interest in what I can do.
Johnny
Do you write your own songs.
chARLIE
Yep.
Johnny
...You in love with 'em?
chARLIE
Huh?
Johnny
Singers can't write.
cHARLIE
But...
Johnny
Not in this town. Move to California or some shit.  Now get in the booth.
cHARLIE
I can sing somebody else's songs.
Johnny
Nah... you got some sort of agenda behind that country boy thing you do. I need somebody who can play ball.
cHARLIE
I can play ball.
Johnny
Get in the booth...
Charlie returns to the vocal booth and puts on headphones. Johnny lights another cigarette.
A tape CUES UP. On the video monitor, the bible cartoon begins again.
charaCTERS
He's got the whole world in his hands. He's got the whole world in his hands.
int. A&R representative's office -DAY
A young A&R rep sits in his Hermann-Miller chair, wearing a leather cowboy hat.
Charlie sits on the other side of the desk.
rep
...you got the look, kid. Honky-tonk heart throb. It'll be great.
Charlie smiles, embarrassed and excited.
Charlie
Well, it's really a lot more simple than that. I jsut want to...
rep
Don't break my heart, Charlie.
cHARLIE
Y'know, sing my songs.
The Rep pushes back in his chair and sighs loudly.
rep
You didn't listen.
chARLIE
I mean, no disrespect. I just.
rep
I can't work with this. You're not the only blonde kid in Nashville, y'know.
chaRLIE
What? Five minutes ago...
rep
Five minutes ago I hadn't realized that this wouldn't work.
chaRLIE
But...
rep
Sorry man, this just isnt' going to happen.

ext. airport curbside dropoff -DAY
Charlie sits in Rose's beat-up car in a sea of traffic. The windows are down. 
Traffic moves at a snail's pace as drivers battle for position.
He pulls in next to the sidewalk.
A Hank Williams Sr. tape plays. Charlie hums along intermittently and beats a rhythm on the steering wheel. He seems preoccupied.

int. rOSE'S CAR -lATER
Charlie is singing along with the tape in the stereo. His eyes are closed and his head is tilted back against the headrest.
There is a KNOCK on the passenger window.
Charlie unlocks the doors. A duffel bag is thrown in the backseat and Michael gets in the passenger's side.
Michael
Hey cowboy.
cHARLIE
Huh?
Michael
The music...
cHARLIE
Oh.
Michael leans in and kisses Charlie.
Charlie pulls out into traffic. He is smiling.
Michael turns to the back and rummages through his bags. He pulls out an atrocious "Little Rock, AK" t-shirt out of the bag.
Michael
Here...thought it might be funny.
Charlie chuckles.
cHARLIE
Jesus, that's ugly.
Michael
So, how's it feel to be in the car with the man who jsut got the biggest frozen chicken account in history.
cHARLIE
Nice way to put it.
Michael
Shit, Charlie. It was amazing. I was so on! Arkansas is a fucking waste of a place.
chaRLIE
..and back to the cosmpolitan metropolis that is Nashville.
Michael grins.
Michael
Don't look at me like that, sweetheart. You gig better have gone well, I'm sick of paying for your ass.
Michael pushes Charlie playfully.
cHARLIE
Yeah... thanks for the support.
Charlie looks away.
Michael
C'mon, I couldn't get away. This is my chance. How'd it go, anyway?
chARLIE
Pretty good. Some of the suits were there all the way through.
Michael
Y'know, you should write some more songs. Maybe something about how America won't...
(assumes hick voice)
take no shit from nobody.
chARLIE
I'll get there with my music.
Michael
(ignoring him)
Oh...wait, you can't say shit. Maybe you could get away with an "ass".
(to himself)
America can kick your lily white...wait, can't say that.
cHARLIE
Back here Michael.
Michael
Right, right.
Charlie starts to say something, but hesitates. He tries again.
cHARLIE
So you know that Johnny guy that runs those voice-over sessions.
Michael
Yes, my mighty Buffalo.
charlie
(under breath)
...pays the rent.
Michael
Damn, you are all sorts of pissy today.
chARLIE
Anyway, I think I might be able to get Johnny to put together a demo for me.
Michael looks at Charlie, giving him his full attention for the first time.
chARLIE (CONT'D)
Anyway, he's thinking about it, I'm sure.
Michael
That cat is all kinds of bad news. You don't just drop off from being on everybody's albums to doing shit work like that for no reason.
cHARLIE
Rose said he got in trouble for hitting some prima donna. I can handle him. I'm sick of sitting here, spinning my wheels. I'm sick of being a singing buffalo.
Michael
(sarcastically)
...pays the rent.
Charlie laughs.
They stop at a red light. Charlie leans over and kisses Michael.
cHARLIE
Glad you're back.
Michael does not respond.
ext. chARLIE'S APARTMENT -DAY
Charlie and Michael stand over the trunk of the old Toyota, lifting luggage, and chatting with each other. A NEIGHBOR, an elderly woman, approaches.
neigHBOR
Hey Charlie, who's the friend?
chARLIE
(drawl)
This is...Michael. He's a friend of mine. We...go way back. 
Michael stifles laughter.
Michael
Howdy ma'am.
CHARLIE
Michael just got in from Little Rock.
Michael gives Charlie a conspiratorial wink.
Michael
And your neighbor Charlie jst had a gig.
charlie
Played downtown last week.
nEIGHBOR
That's so great.
Michael
Yep, mostly doin' songs 'bout love and cowboys.
nEIGHBOR
Like Johnny Cash?
Michael
Exactly.
Michael breaks into laughter and kisses Charlie, who struggles to get away.
nEIGHBOR
Oh my God!
The neighbor storms off.
cHARLIE
(normal voice, angry)
What the hell was that?
Michael
What are you so uptight about?
chARLIE
I...
Michael
You don't have to be like that. It's just a neighbor. Besides, you're a much better singer than actor, love.
chARLIE
You think I like doing this. I have to worry about my career. There's no way in hell I'd get signed.
Michael
And that woman can keep your career from taking off? I don't want to play this game if I don't have to. And I really don't feel like playing it at our home.
cHARLIE
...you can risk it now that you've hot shit out there, but I've gotta keep my bases covered. Christ.
Charlie storms upstairs, leaving Michael looking amused in the parking lot.
int. Record lael front office -dAY
Charlie, dressed to the nines, approaches the brushed aluminum counter. A hipper-than-thou 20-something works the desk.
receptionist
Hello, can I help you?
She sizes up Charlie and smirks.
charlie
I'm here to speak to...
Charlie fumbles in his pockets for a piece of paper.
chaRLIE (CONT'D)
Dave Michael, in A&R.
recepTIONIST
He's out.
chARLIE
To lunch?
recEPTIONIST
Don't look at me, man. He's out.
chARLIE
We were suppossed to meet for lunch today. In twenty minutes.
recePTIONIST
And...?
charlie
Nevermind.
Charlie storms out of the lobby.

int. cHARLIE'S APARTMENT -nIGHT

The phone RINGS.
Michael (o.S.)
Get that, Charlie.
Charlie puts the guitar done and goes to the phone.
charlie
(drawl)
Charlie Quick.
jOHnNY (v.O.)
Hey...Charlie. This is Johnny. I found some songs for you to sing.
cHARLIE
Oh...great!
jOHnNY (V.O.)
We need to get some sort of deal hammered out and get started. Wine, women, and money. I'm starting to miss it...and I'm sure you want it.
chARLIE
I just wanna sing my...
jOHnNY
..your goddamned songs. You're just another hick, kid. Show 'em you can hold a tune, take some good photos and you get to be it for a year or two. 
chARLIE
Well...
johnNY
We'll get together at the Waffle House off of 60. Tomorrow night.
cHARLIE
Waffle House?
jOHnny
Wine, women, and money forthcoming, kid.
chARLIE
Right.
Charlie hangs up the phone and starts jumping up and down on the bed.
Michael enters the room.
Michael
What's goin' on?
cHARLIE
I get together with Johnny tomorrow. Looks like things are starting to move.
Michael
Don't get too excited yet. There's something goin' on with that guy.
cHARLIE
So what... he used to work with everybody.
Michael
That's what I'm saying.
Charlie stops jumping.
chARLIE
(slowly)
What are you talking about?
Michael
I don't know. Seems too convenient. Has he heard what you write?
chARLIE
Not yet...we're going to start with some stuff he's found for me to sing.
Michael
Don't get your hopes up. 
cHARLIE
What gives? I finally get some decent news and you have to piss all over it. Like you're the only one that can have any success.
Michael
Waffle House?
chARLIE
Jesus Christ, Michael!
Michael
Sorry...but I don't want to see you get all worked up again and have to pick up the pieces a few months from now.
chARLIE
What do you mean?
Michael
I don't know how to say this gently... but you don't really look at the reality of the situation in these cases. You're the kind of person that gets taken advantage of.
charLIE
What am I supposed to do? Sit around and cheer you on from the sidelines?
Michael
I'm trying to look out for you.
chARLIE
You can't handle the idea that I could be successful at this too. Y'know, it feels like you've been gone a lot longer than three weeks. I mean, the parking lot, and now you're trying to lecture me about my career. You've been in fucking Arkansas, Michael. And you come back thinking you know what's best...
Michael
Maybe you should listen to me before you...
Charlie walks out of the room and slams the door behind him.
int. mid-range restaurant -day
Charlie sits at a table with another A&R REPRESENTATIVE (REP #2), practically identical to the previous.
rep #2
I really don't know waht to do here.
chARLIE
I'm ready to play ball if I need to.
rep #2
Yeah, but we'll lose you after an album or two. You'll get it in your head that its time for your songs, and that won't be pretty.
chARLIE
I don't get it.
reP #2
We can't spend this much money making you a certain flavor to have you up and change the formula as soon as you have the spotlight. We've got other people we can go to. Good luck, though.
charlie
Yeah....good luck, huh.
rep #2
Sorry man.
The Representative stands up and walks out of the restaurant. Charlie waits 'till he leaves, then puts his head down on the table.
INT. Waffle house -NIGHT
A Waffle House on the outskirts of Nashville proper. Stereotypical in grime and patrons. Johnny sits in a yellow-brown booth, tearing bits of paper from a napkin. A cup of coffee is beside him, neglected.
CHARLIE enters the restaurant in full-blown cowboy regalia, and sits acMichael from Johnny. Johnny puts down the shredded napkin.

CHARLIE
(drawl)
Hey Johnny.
JOHNNY
I cannot believe this shit. What's with the outfit? 
Charlie clamps his jaw..
Johnny wheezes out a laugh and resumes the methodical destruction of the napkin.
joHnny (CONT'D)
Nah, it's alright kid. You wanna play the game. That's good. We need someobyd as unironic as you...although I have no idea how you can still be so naive.
Charlie looks at his outfit. He seems uncomfortable.
johnNY (CONT'D)
Anyway, I have a few songs in the car. Pretty standard stuff that gets cranked out. We'll pick a couple out, put 'em down and shop you 'round. Got this great one about September 11th.
chARLIE
I.. don't think I would want to do that.
johnny
We'll put down a couple and shop you around. I'm not here to bargain.
The waitress, Susan, approaches the booth
SUSAN
Y'all need anything?
JOHNNY
(not looking up)
coffee is shite.
(to Charlie)
want anything?
CHARLIE
(to Susan)
Coffee please.
Susan walks away shaking her head.
johnNY
Look, I'm willing to get this demo together and get it to the right people, but it's gotta work for me too. We do things my way.
charLIE
What about my songs?
johnny
Not to worried about them, to tell you the truth.
chARLIE
 I can at least play them for you.
jOHnny
Any about God? Families? 
charlie
Got one about my dad. He was a baseball player.
johnny
Maybe....whatever. Doesn't matter.
CHARLIE
Y'know, I don't think this is gonna work out. I don't need this. Not from you.
JOHNNY
Au' contraire. You need me bad. I'm going to make your demo. I'm gonna get it to the right people. I'm gonna get your goddamn name up on the board. And nobody else will.
Johnny flashes a predatory grin and lights a cigarette.
CHARLIE
What  I need is someone to help me get a chance to be heard. A chance to...
johnny
Goddamn kid. I've heard this shit from so many people. You're here because you're another photogenic hick that can be posed and sold. You need me because I'm your only chance. 
Charlie seems to recline in his seat.
johnny (CONT'D)
You've been gigging all over town. All the right people have been there, and nothing has happened. Y'know why that is?
chARLIE
Enlighten me.
johnny
Because blonde kids from Bumfuck are a dime a dozen in this town. You don't have anything that interesting, 'cept you could be sold. And the reason that you ain't gettin' sold is because some of the other blonde hillbillies wised up and got somebody like me.
chARLIE
Why do I need you? You're some kind of a washed up drunk that does kiddie music.
JOHNNY
Now, now, let's not offend. I'm the best you can get. Fuck. I'm the best anybody can get.
CHARLIE
Then why such a shit job?
JOHNNY
Unfortunate incident a few years back, but soon forgotten. Money talks, and you could be a cash cow, if you can keep yourself quiet long enough to get sold.
CHARLIE
I'm not here to be sold.
JOHNNY
Sure, sure. Can the shit, ok.
CHARLIE
I'm leaving.
Charlie stands.
JOHNNY
You're in the real world here, mate. You got one chance, and I'm it. Don't tell me that you're dressed up like John Wayne because of your art.  You're in this town to play ball.
Charlie sits back down.
CHARLIE
Why should I think you'll care about my music.
JOHNNY
'cuz I wanna be fucking rich.
CHARLIE
This isn't the kind of relationship I'm looking for.
JOHNNY
Christ! Relationship? It ain't like that, kid.
CHARLIE
You're insane.
JOHNNY
I'm all you got. And you're going to make a deal with me tonight.
CHARLIE
I know my music is worth something. I'll go somewhere else.
Charlie rises and begins to walk away.
JOHNNY
(offhandedly)
Nobody's gonna sign a fag to sing songs to Bubba and Sue.
Susan brings a cup of coffee to the table. Without looking up, Johnny drops the napkin scraps on the floor by her feet. She storms away.
Charlie closes his eyes and takes a deep breath. He returns to the table.
CHARLIE
What the fuck is that supposed to mean.
Johnny grins again, he again has the upper hand.
JOHNNY
Means I could wipe your  quote unquote career out pretty easily here. Your little...head problem is a liability. Nobody wants to hear songs abut the gay rodeo. Nobody wants to throw a half million dollars into a kid that'll end up in the tabloids.
Charlie sinks in his seat. Johnny seems to tower above him now.
johnny (CONT'D)
Oh, I talked to Greg. Not that you're doing a very good job of convincing us, Nancy.
Charlie reacts with shock.
johnny (CONT'D)
I really hate to have to do this, but we're in a situation where we could both benefit nicely...and I'm not sure if you would make the right decision on your own. The sooner you swallow your pride, the easier it'll be. 
Charlie looks down.
johnny (CONT'D)
Know what? You should be proud. You got this far on your own...just gonna have to shed some baggage to get where you want to be. After you get a couple of records out, you can do whatever you want. Write your songs, wear a dress, I won't give a fuck. But you're going to have to get there first...and you're going to get there with me.
CHARLIE
What are the terms?

Johnny lights another cigarette and uses it to burn through another napkin.

int. cHARLIE'S APARTMENT -night
Charlie enters the bedroom and looks at Michael sleeping.
He takes off his clothes and enters the bathroom.
He begins to brush his teeth and looks at himself in the mirror.
Hold on him staring into his reflection.