Keith Carradine

Curtis' family is selected to test a new home device: a digital assistant called AIA. AIA learns the family's behaviors and begins to anticipate their needs. And she can make sure nothing - and no one - gets in her family's way.

Years after he left Damascus under suspicious circumstances, Adib Abdel Kareem must confront what he left behind when his daughter goes missing. One afternoon, on a typical day at work, Adib is confronted with devastating news: His eldest daughter, Muna, has gone missing in Damascus. Now Adib, who has not been back in over 20 years, must return to Syria and deal with his secret past in order to find her. "Inescapable" is a thriller about a father's desperate search for his daughter and the chaos of the Middle East he left behind. —Ruba Nadda Unknown to him, Syrian-Canadian Adib Abdul-Kareem's eldest daughter Muna, a photographer, has traveled to his homeland to find out more about her father, as he had never talked about his Syrian past to his family. He does learn about her travels only because she has gone missing in Damascus, most of her belongings still in her hotel room. Adib decides to head back to Damascus to find her, and enlists the help of his old girlfriend Fatima, a Canadian diplomat named Paul, and an old colleague Sayid to find Muna while he's in Damascus, some who seem to know more about Muna's disappearance than they initially let on to Adib. Adib does this all at his own personal risk as he used to work in the Syrian military secret service, and was convicted in absentia and sentenced to death for purportedly being an Israeli spy. Adib, who managed to get back into Syria on an illegal visa with Fatima's help, has to uncover why Muna has gone missing and if it has anything to do with his Syrian past. He also has to reconcile with Fatima, who long felt abandoned by Adib when he left the country thirty years ago. —Huggo

The early career of legendary lawman Wild Bill Hickock is telescoped and culminates in his relocation in Deadwood and a reunion with Calamity Jane. Maverick Writer and Director Walter Hill's version of the famous Wild Bill Hickok legend is a dreamscape western that is told entirely in flashback. Hickok's friend Charley Prince (Sir John Hurt) narrates the events of Wild Bill's life while sitting at Bill's graveside. Hickok is played by Jeff Bridges as a mean, high-spirited, but gallant outlaw. He wanders the West, adding to his reputation with some well-chosen gunfights, and he meets up with characters such as Calamity Jane (Ellen Barkin), who becomes his sidekick for a time. After becoming a legend, Hickok signs up for a stint with Buffalo Bill Cody's travelling variety show. Eventually, he falls in love with Susannah Moore (Diane Lane), and his love leads him to tragedy in the town of Deadwood, South Dakota. Wild Bill Hickok, famed lawman and gunman of the Old West, is haunted by his past and his reputation. He is loved by, but cannot love, Calamity Jane. Dogging his trail is young Jack McCall, who blames Bill for abandoning the boy's mother and destroying her life. McCall has sworn to kill Bill, and Bill's ghosts, his failing eyesight, and his fondness for opium may make McCall's task easier. —Jim Beaver <jumblejim@prodigy.net>

Bickering siblings are reunited at their Texas home as their father lies on his deathbed.

A psycho-killer with mommy issues, a charming crooked cowboy and their girl steal some jewels. The cowboy decides not to share and goes on the run with the loot. A crazy chase across the country between former partners in crime begins.

The origins, exploits and the ultimate fate of the Jesse James gang is told in a sympathetic portrayal of the bank robbers made up of brothers who begin their legendary bank raids because of revenge. After the American Civil War, outlaw Jesse James forms a gang comprised of himself, his brother Frank James, Cole Younger and his two brothers, Jim Younger and Bob Younger as well as Ed Miller and his brother Clell Miller. The gang is led by Jesse James and Cole Younger. The gang starts by robbing small banks and stagecoaches in the Midwest and in their home state of Missouri. Later, the gang targets bigger prizes, such as larger banks and trains. This criminal activity attracts the attention of the railroad company owners who hire the Pinkerton Detective Agency to capture the gang. When the gang kills a few Pinkerton detectives, a war of sorts starts between the Pinkerton Agency and the James-Younger gang. Sometimes caught in the middle of it are innocent civilians. In 1876, the gang is running out of banks to rob in Missouri and decides to raid a supposedly fat bank, far up North, in the state of Minnesota. But the Pinkerton Detective Agency is setting up a trap there.

A smalltime US filmmaker goes to Cannes to try to get his movie in the limelight. A wife of one of the producers there gets interested in his story and they begin an affair.

This film is partly based on an interview with an actual child prostitute that worked in New Orleans during the early 20th century as found in the book "Storyville, New Orleans: Being an Authentic, Illustrated Account of the Notorious Red-Light District" by Al Rose. The movie opens with eleven-year-old Violet (played by a 12-year-old Brooke Shields) watching the birth of her baby brother. This echoes her own beginnings as the daughter of prostitute Hattie (Susan Sarandon) and an unknown client. Violet is one of several children living at Madam Nell's (Frances Faye) swanky New Orleans brothel in the year 1917. Early one morning photographer Bellocq (Keith Carradine) comes calling looking for a model. Hattie poses for him while Violet watches. At first Bellocq finds Violets inquisitive nature a bother, but after a while he starts to like her. Violet seems fascinated by Bellocq as he never seems to want to have sex with the girls, but just photograph them. Even given her tender years Violet has been become part of the brothel business. She is playing in one of the upstairs bedrooms when her mother brings a client in telling him that Violet is a virgin and only for "French." Hattie indicates Violet is to follow them back to her room where Hattie climbs on the bed and starts to undress and the client drops his pants and sits down. It is clear that Violet is expected to stimulate him orally. With the resigned sigh of someone who has already done this too many times Violet enters the room, closes the door and the scene ends. When Violet turns 12 arrangements are made to auction off her virginity. Nell gives a dinner party for her best clients during which Violet, dressed only in a sheer, see-though gown is paraded around the table on a platter as the madam announces the auction. A few minutes later, redressed in a white party dress, Violet stands in the parlor while the men of the house bid on her. The winner (Don Lutenbacher), then carries Violet up to a bedroom. A short scream announces the loss of her virginity and we see her client hurriedly depart from the house. When the other girls check on Violet they find her motionless lying across the bed and fear the worst. She breaks out laughing and we realize she is only joking with them, though she winces when she sits up, telling us that her initiation into womanhood has not been completely painless. Violet now becomes a regular part of the brothel lineup, though not always at her convenience. She is interrupted mid-bath by Madam Nell who wants to show her to a rough-looking farmer customer (Hobe May). (This scene involved nudity for Shields and is one of the more controversial in the film). One day Hattie's client/ boyfriend, Alfred Fuller (Don Hood) announces he is moving Hattie and her baby son to St. Louis where he will marry her. His plans don't include Violet as Hattie in her vanity has told him Violet is her younger sister. Hattie promises Violet at the right time she will break the news to him and send for her. Hattie leaves and Bellocq complains to Nell about Violet being left alone. Nell's response is that Violet is now making plenty of money on her own and the only reason Bellocq is concerned is that he has fallen in love with her, something he vehemently denies. Violet misbehaves and Nell orders the bartender (Henry Braden) to take her to woodshed and discipline her. We hear the beating after which a defiant Violet emerges and declares to Nell, "It didn't hurt!" When she turns away though we see the whipping was violent enough to shred her nightgown and we can see her bare bottom. This incident causes Violet to leave the brothel and move in with Bellocq. He is opposed to the idea at first but Violet uses her feminine charms to convince him to let her stay. However, she soon becomes bored of just being his photography model and he is not yet prepared to deal with her childishness. After one long nude photography session (This scene involved frontal nudity for Shields and is also highly controversial) they fight and in revenge Violet scratches some of the Belloca's valuable negatives and he throws her out of the house. Violet returns to the brothel, but it is clear that things are not going well there. The Navy has pressured the city into closing the district. At Nell's house items are being sold off one-by-one and the girls are making arrangements to find other places to live. Violet packs her things too, but before she can get far Bellocq arrives, tells Violet he is going to marry her and she agrees. Though a girl as young as Violet usually needs her parents permission to marry it is allowed because she has been abandoned. Violet, the girls and Bellocq celebrate with a picnic along the river. One morning at Bellocq's house after about two weeks of marriage it is clear that Violet has not quite adapted perfectly to the role of a wife as all she seems to do is have sex and sleep, but it is clear that Bellocq still loves her. Violet and Bellocq's breakfast is interrupted when Hattie and her new husband arrive. They demand that Violet come with them and join them in St. Louis as part of a "proper" family. Violet is torn between Bellocq and her mother, but as her mother has the firmer legal claim, Violet has little choice but to go with her. At the train station Violet's new step-father attempts to take a family portrait of his wife and her son and daughter with his Brownie camera, but it is clear from Violet's expression that Violet wonders if she can ever go back to being just a child after having lived as an adult.

"The Duellists" is based on a story written by Joseph Conrad, which, according to the author, was itself based on a true story whose origins sprang from a ten-line paragraph in a small Southern France local newspaper. That brief paragraph reported the fatal ending of a duel between two officers in Napoleon's Grand Army. The two officers had fought a series of duels in the midst of great wars on some futile pretext. As the pretext was never disclosed, Conrad invented one. We are in 1800, in the garrison town of Strasbourg, on the Rhine. There is a lull in the Napoleonic wars, and the French soldiers are enjoying a moment of peace before resuming the slaughters. As the film opens, a young girl driving a gaggle of geese happens upon two men dueling in a meadow. Lieutenant Gabriel Féraud (Harvey Keitel), from the 7th Hussar Regiment, is in the process of settling a score with an unknown man who soon ends up skewered on the Lieutenant's épée. We learn that this man is the nephew of the Mayor of Strasbourg, and is seriously wounded, when General Treillard (Robert Stephens), Commandant of the garrison, enters his officers quarters and makes inquiries about this Lieutenant Féraud. Lieutenant Armand d'Hubert (Keith Carradine), from the 4th Hussar Regiment, admits to vaguely knowing the gentleman, and he is immediately "volunteered" by his Commandant to find him and bring him back to the barracks, where he will be put under house arrest. General Treillard, who must see that his soldiers obey the Emperors rules prohibiting combat with civilians, needs to investigate what happened in the meadow. It is somewhat ironical that Bonaparte, who spent a large part of his life dueling with the rest of Europe on a rather grand scale, involving tens of thousand of participants on both sides (but was somewhat of a dilettante when judged by present day's standards), had little respect for the same tradition on an individual level. D'Hubert, after looking all over town, ends up at Féraud's private quarters, where he learns that the Lieutenant is attending a soirée at the salon of Madame de Lionne (Jenny Runacre). At the salon, d'Hubert meets with Féraud and informs him of his mission. Féraud, having judged himself the insulted party in his morning duel, cannot comprehend the reason for his arrest. Further, he determines that d'Hubert has in turn insulted him by bursting into the salon of Madame de Lionne, disturbing him with the General's orders as he was talking to the lady. Féraud immediately challenges d'Hubert to a duel with sabers, which ends when Féraud is wounded. Now, not only has Féraud's forearm been injured, but his wounded pride demands satisfaction. From then on, for the next fifteen years, Féraud will be obsessed with the idea of settling his dispute with d'Hubert, holding him captive by Férauds tragic, ironic concept of honor. D'Hubert goes to meet his friend, an army surgeon (Tom Conti), asking his advice on how to get out of this messy situation. The surgeon tells him first, to keep away from Féraud, second, to always stay ahead of Féraud in military rank, since only duels between soldiers of equal ranks are tolerated and third, to rely on Napoleon for keeping the wars going, as there is no dueling during a state of war. Augsburg, one year later. Lieutenant d'Hubert meets an old girl friend, Laura (Diana Quick), one of the camp followers. She tells him she has an offer of marriage from a one-armed veteran, but they nevertheless resume their relationship. It happens that Lieutenant Féraud is in the same town, and of course they will duel again. Epées, this time. This encounter is not so lucky for d'Hubert, who ends up gravely wounded. Their seconds propose that now the honor of both parties has been saved, but The Duellists both refuse the opportunity for reconciliation. Laura nurses d'Hubert back to health, but after a face-to-face with Féraud and a subsequent consultation with a fortuneteller, she realizes that these duelists will go on until one of them is killed. If it is d'Hubert who is to die, she cannot see any future in their relationship. She decides to leave him and go and marry the disabled ex-soldier. Captain Féraud (he caught up in rank with d'Hubert, who was promoted earlier) and Captain d'Hubert meet in a third duel, again with sabers, in a cellar. The two combatants fight to total exhaustion in an inconclusive duel, and eventually, dirty and bleeding, must be separated by their seconds. Lubeck, 1806. Captain d'Hubert and Captain Féraud duel a fourth time, on horseback. It is Féraud's turn to be wounded, seriously enough to not be able to continue the fight to its conclusion. Laura reappears on the scene. She is now a widow, and had hoped to settle with her ex-lover, Captain d'Hubert, but she sees that this is just wishful thinking. D'Hubert, too involved in this dueling matter, remains deaf to her subtle suggestion that they resume their affair. Russia, 1812. The Emperor's Grand Army, defeated by the terrible Russian winter and the Russian battle tactics, is in retreat. Colonels Féraud and d'Hubert are now like grunts in the "sacred battalion," consisting of officers of all arms who had no longer any troops to commend. One night, around a campfire, they find themselves again face to face. They silently recognize each other. The next day, Féraud requests a volunteer to go investigate some Cossack activities in the nearby woods. The soldiers are so exhausted and despondent that Féraud had guessed rightly that d'Hubert would be the only one to follow him, with the ulterior motive of finishing their endless confrontation. Far from the camp they come face to face, each with a pair of pistols, but at that moment, a group of Cossacks appears and the two adversaries present a common front to fight them off. Following this, in a gesture of reconciliation, d'Hubert offers Féraud a drink from his hip flask, but the latter disdainfully walks away: "Pistols, next time," he says. Tour, 1814. Napoleon is in exile on the Island of Elba and the Bourbons are back in power with Louis XVIII. General d'Hubert is convalescing at his sister Leoni's home from a bad leg wound sustained during the campaign in France, fighting the Prussians. She suggests to her brother he ought to get married, and offers to introduce him to Adele (Cristina Raines), the niece of her neighbor, the old aristocrat Chevalier de Riverol (Alan Webb). After a short courtship, the two marry. D'Hubert is visited by a Bonapartist gentleman (Edward Fox), a friend of General Féraud, who tries to recruit him to aid in the planned return of the Emperor, but d'Hubert refuses. Following the "Hundred Days," the return of Napoleon to French soil, the Emperor is defeated at Waterloo, and definitively exiled to the Island of St. Helena. Louis XVIII is returned to the throne. Many known Bonapartists are arrested, including General Féraud, and these will be executed as examples. Upon hearing the news, d'Hubert meets with the Police Minister of the Second Empire, Fouché, now Duke of Otranto (Albert Finney), and requests Férauds pardon, a request that is granted. D'Hubert asks only that his intervention on Férauds behalf be kept secret. Having discovered d'Hubert's whereabouts, Féraud sends two of his ex-companions in arms to set up yet another, and hopefully, final duel. The Duellists meet at dawn, on d'Hubert's property, with pistols. Two shots each, fire at will. D'Hubert gets to fire the last shot, but instead of killing Féraud, he fires a bullet into the ground, and with this gesture becomes the rightful owner's of Féraud's life: "I shall simply declare you dead," says d'Hubert. The final scene shows Féraud, from the back, standing on a bluff overlooking the Dordogne River winding through the beautiful valley below. He stands wearing a two-pointed cocked hat and a long black, straight military capote, reminiscent of his Emperor's portraits on the Island of St. Helena - could it be "le petit caporal" (the little corporal), the Emperor himself, humiliated and defeated? It is the "end of the road" for Féraud: finally at peace, as he meditates on what has been his life.

The overarching plot takes place over five days leading up to a political rally for Replacement Party candidate Hal Phillip Walker, who is never seen throughout the entire movie. The story follows 24 characters roaming around Nashville, in search of some sort of goal through their own (often overlapping) story arcs. Day One The film opens with a campaign van for presidential candidate Hal Phillip Walker driving around Nashville as an external loudspeaker blares Walker's folksy political aphorisms and vaguely anti-establishment populism. This is juxtaposed with country superstar Haven Hamilton (Henry Gibson) recording an overblown patriotic song ("200 Years") intended to commemorate the upcoming Bicentennial, and growing irritated with the accompanying musicians in the studio. A young Englishwoman named Opal (Geraldine Chaplin), who claims to be working on a radio documentary for the BBC, appears in the studio but is told to leave by Haven. Down the hall from Haven's session is Linnea Reese (Lily Tomlin), a white gospel singer recording a song with a black choir. Later that day, the beloved country singer Barbara Jean (Ronee Blakley) is returning to Nashville, having recovered from a burn accident, and the elite of Nashville's music scene, including Haven Hamilton and his companion Lady Pearl (Barbara Baxley), have converged on Berry Field to greet her plane as it arrives. Also present are Pfc. Glenn Kelly (Scott Glenn) and the folk/rock trio "Bill, Mary, and Tom" whose catchy hit song "It Don't Worry Me" seems to be on everybody's lips. They are in town to record their second album. Bill (Allan F. Nicholls) and Mary (Cristina Raines) are married, but largely unhappy, partly due to the fact that Mary is in love with womanizing Tom (Keith Carradine). Meanwhile, Mr. Green (Keenan Wynn) arrives at the airport to pick up his niece, Martha (Shelley Duvall), who has renamed herself "L.A. Joan", a teenage groupie who has come to Nashville ostensibly to visit her aunt Esther Green who is sick in the hospital. However, Martha repeatedly puts off visiting her aunt in favor of chasing after musicians or pretty much any male she comes across, including the oddball motorcyclist known as "Tricycle Man," (Jeff Goldblum). Working at the airport restaurant are African-American cook Wade Cooley (Robert DoQui), and his pretty waitress friend, Sueleen Gay (Gwen Welles), an aspiring country singer who refuses to recognize that she can't carry a tune. After greeting the crowds on the tarmac, Barbara Jean faints due to the heat, and her handlers, headed by her domineering husband-manager Barnett (Allen Garfield), rush her to the hospital. Barbara Jean's appearance having been cut short, those in attendance depart the airport in a rush, and wind up stranded on the highway after a pile-up occurs. During the commotion, Winifred (Barbara Harris), an aspiring country singer who has chosen the stage name "Albuquerque," runs away from her husband, Star (Bert Remsen), after he refuses to take her to the Grand Ole Opry. Star gives a ride to Kenny Frasier (David Hayward), a nondescript, bespectacled young man who has just arrived in town carrying a violin case. Opal takes advantage of the traffic jam to interview first Linnea and then Tommy Brown (Timothy Brown), an African-American country singer who is performing at the Opry. Tommy and his entourage later go to Lady Pearl's nightclub, but Wade, who is drinking and trying to pick up white girls at the bar, insults Tommy for acting too "white" and starts a fight. Linnea's husband, Del Reese (Ned Beatty) is working with political organizer John Triplette (Michael Murphy) to plan a small fundraiser and a large outdoor concert gala for the Walker campaign. Sueleen appears at a local club's open mike night in a provocative outfit, and despite her lack of singing ability, club manager Trout (Merle Kilgore) recommends her to Triplette for the fundraiser based on her appearance. Winifred shows up at Trout's club trying to recruit musicians to record a demo with her, but Star sees her and chases her out. Del invites Triplette for a family dinner with Linnea and their two deaf children. Linnea and Del are having communications problems and she focuses on the children rather than on him. In the middle of dinner, Tom calls trying to make a date with Linnea, but she puts him off, so he takes Opal back to his room instead. Pfc. Kelly sneaks into Barbara Jean's hospital room and sits in the chair by her bed all night, watching her sleep. Day Two Tom calls Linnea again but, with Del listening on the other line, Linnea yells at Tom and tells him not to call her any more. Kenny rents a room from Mr. Green. Haven Hamilton throws a pre-show party at his house before the evening's Grand Ole Opry performance. At the party, Opal talks to Haven's son Bud (Dave Peel) who tells her, unconvincingly, that he is happy to act as his father's business manager and has no musical ambitions of his own. Under Opal's prodding, Bud starts to sing her a song he wrote, a tender love ballad, but Opal departs in a rush when she spots a movie star among the guests. Lady Pearl talks about her love for John and Bobby Kennedy, the only politicians she ever admired. Triplette tries to persuade Haven to perform at the Walker gala by telling him that if Walker is elected, Walker would back Haven for Governor of Tennessee. Haven says he'll give Triplette his decision after the Opry show that night. At Opryland USA, the Grand Ole Opry broadcast begins with Tommy Brown ("Bluebird") and Haven Hamilton ("For the Sake of the Children", "Keep a-Goin"). Haven then introduces Connie White (Karen Black) as a substitute for the hospitalized Barbara Jean. Connie sings "Memphis" and "I Don't Know If I Found It in You" while Barbara Jean and Barnett listen morosely on the radio in her hospital room. Winifred tries unsuccessfully to get backstage. Barbara Jean and Barnett have an argument because he is going to the after-show gathering to thank Connie for substituting at the last minute. Barbara Jean doesn't want him to go, and he suggests in an accusatory tone that she may be headed for another nervous breakdown. Barnett finally calms down Barbara Jean and goes to the after-party at a nightclub, but Connie doesn't seem happy to see him. Connie takes the stage ("Rolling Stone") but the disgruntled Barnett criticizes her performance. Lady Pearl regales Opal with stories about the Kennedy brothers, rendering Opal for once speechless. Haven tells Triplette that Barbara Jean and Connie never appear on the same stage, and that he (Haven) will appear anyplace Barbara Jean also appears. Bill gets upset when his wife Mary doesn't show up all evening, and he confesses to chauffeur Norman (David Arkin), that he suspects her of having an affair. Mary, in bed with Tom, keeps whispering "I Love You," but Tom doesn't respond. Day Three It is Sunday morning and the characters are shown attending various local church services. A Roman Catholic service includes Lady Pearl, Wade and Sueleen; Haven Hamilton sings in the choir at a Protestant service; and Linnea is seen in the choir at a black Protestant church as a baptism is taking place, with Tommy Brown in the pews. At the hospital chapel, Barbara Jean sings a hymn from her wheelchair while Mr. Green and Pfc. Kelly, among others, watch. Mr. Green tells Kelly how he and his wife lost their son in WWII. Opal wanders alone through a huge auto scrap yard making free-form poetic speeches about the cars into her tape recorder. Haven, Tommy Brown and their families attend the stock car races, where Winifred attempts to sing on a small stage but cannot be heard over the cars. Bill and Mary argue in their hotel room and are interrupted by Triplette, who wants to recruit them for the Walker concert gala. Tom tries to get Norman to score him some pills. Day Four Opal walks alone through a large school bus parking lot trying to spin a commentary linking the buses to racism in the South, but has trouble hitting the right note. Barbara Jean is discharged from the hospital at the same time Mr. Green shows up to visit his sick wife. Barbara Jean asks after Mrs. Green and sends her regards. After Barbara Jean and her entourage have left, a nurse tells Mr. Green his wife died earlier that morning. Pfc. Kelly tells Mr. Green why he has been following Barbara Jean around; his mother saved Barbara Jean's life in the fire and loved her more than anything. She asked her son to go see Barbara Jean on his leave from Vietnam service. Back at Mr. Green's house, Kenny gets upset when Martha tries to look at his violin case. Barbara Jean performs a matinee at Opryland USA. Triplette and Del attend and try to convince Barnett to have Barbara Jean play the Walker concert gala at the Parthenon the next day, but he refuses. Kenny and Pfc. Kelly are both in the audience and watch raptly as Barbara Jean sings, although Opal annoyingly tries to interview Kelly about Vietnam during a song. Barbara Jean gets through the first couple of songs ("Tapedeck in his Tractor", "Dues") all right, but then begins to tell rambling stories about her childhood instead of starting the next song. After several false starts, Barnett escorts her from the stage and tells the disappointed audience that they can come to the Parthenon tomorrow and see Barbara Jean perform for free, thus committing her to the Walker concert. Tom calls Linnea and invites her to meet him that night at a club called the Exit Inn. Linnea arrives but sits by herself because Martha is trying to pick up Tom. Mary and Bill are also there, and Opal sits with them and mentions that she slept with Tom, causing Mary to look away in humiliation. Wade tries unsuccessfully to pick up Linnea, while Norman tries equally unsuccessfully to pick up Opal. Tom is introduced as a surprise guest artist. He casually mentions that he "used to be in a trio," but then invites Bill and Mary up to the stage, where the three perform an uncomfortable rendition of "Since You're Gone". Again alone on the stage, Tom introduces his new solo number, "I'm Easy," which he dedicates to someone special in the audience. Mary, Opal, and Martha all hope that they are the one, but Tom only has eyes for Linnea. She goes to his room where they make love. When Linnea says she has to go, Tom begs her to stay another hour, and is visibly miffed when she refuses. Without even waiting for her to get dressed and leave, Tom grabs the phone and calls a girlfriend in New York, inviting her to fly down and join him. Sueleen appears at the all-male Walker fundraiser, but is booed off the stage when she sings poorly and doesn't take off her clothes. Del and Triplette explain to her that the men expect her to strip and that if she does so, they will let her sing the next day at the Parthenon with Barbara Jean. Sueleen is humiliated, but strips anyway. Winifred shows up at the fundraiser hoping to get a chance to sing, but after she sees what is going on, she stays hidden behind a curtain. Del drives Sueleen home and drunkenly comes on to her, but she is rescued by Wade. After he hears what happened, Wade tells Sueleen the truth, that she can't sing, and asks her to go back to Detroit with him the next day. Sueleen refuses because she is determined to sing at the Parthenon with Barbara Jean. Day Five The performers, audience and Walker and his entourage arrive for the Parthenon concert; Walker will wait in his limousine until his speech after the musical performances. In the performing lineup are Haven, Barbara Jean, Linnea and her choir, Bill, Mary and Tom, and Sueleen. Winifred has shown up again hoping for a chance to sing. Barnett gets upset because Barbara Jean will have to perform in front of a large Walker advertisement, but has to go along with it because his wife's career will be harmed if he pulls her out of another show. Mr. Green and Kenny attend Esther Green's burial service and Mr. Green leaves angrily, vowing to find Martha (who is not at the service) and make her show some respect to her aunt. Mr. Green and Kenny go to the Parthenon to look for Martha. The Walker gala starts and Haven and Barbara Jean perform a song together ("One, I Love You"), then Barbara Jean sings a very personal solo song about her childhood ("My Idaho Home"). As the song ends, gunshots are heard. Kenny has pulled a gun from his violin case and fired at the performers, grazing Haven and seriously wounding Barbara Jean. Pfc. Kelly disarms Kenny as chaos breaks out. Barbara Jean is carried bleeding and unconscious from the stage. Haven tries to calm the crowd by exhorting them to sing, asserting that "This isn't Dallas, this is Nashville" in reference to the JFK assassination. As he is led from the stage for treatment of his wounds, Haven hands the microphone off to Winifred, who tentatively begins to sing "It Don't Worry Me." As she is joined by Linnea's gospel choir, Winifred's confidence grows until all eyes are upon her. The film ends with the audience clapping and dancing as Winifred belts out the chorus, "You may say that I'm not free, but it don't worry me." She has finally gotten her big break.