Leverage s03e06 Episode Script
The Studio Job
[guitar playing.]
[woman singing.]
* Well, I know they say all good things * * Must come to some kind of ending * * We were so damn good I guess we never stood a chance * * Go on and find what you've been missing * * When that highway's tired of listening * [door crashing.]
You can't just barge in here like - [grunts.]
- Ah! What did I tell you two about talking to lawyers? [stammers.]
I No, we didn't.
We didn't.
You don't think I know what goes on in my town? When I tell you not to do something - [man screams.]
- Ah! - [yelping, grunting.]
- Sit down! - Don't do it.
- [man grunting.]
- Now, get me the other hand.
- [man.]
No.
[woman.]
No.
No.
No, please, don't, please.
I swear, we didn't do anything.
Please.
We didn't do nothin'.
- [man screaming.]
- [woman sobbing.]
The rich and powerful, take what they want.
We steal it back for you.
Sometimes bad guys make the best good guys.
We provide leverage.
[gasps.]
I'm sorry, I'm still a bit shook up.
- That's all right.
I got it.
- Thank you.
So, uh, your brother, now, will he ever play again? Doctors say he'll be lucky to move his fingers again.
Music was his life.
What Kirkwood did was more than wrong, it was It was cruel.
Now this guy, Kirkwood, you said he has a reputation for doing these kinds of things, - so why would you work for him? - Well, he owns a record label, Mr.
Ford.
- So? - [scoffs.]
Put it like this.
The day I was born, my mama said I looked at her, smiled and asked, - "Which way to Music City?" - He was your shot at stardom.
Right.
He hired us to write songs for other artists, his more established artists.
It was good money, plus royalties.
And we thought we'd hit the jackpot.
- But when it came time to pay - He showed you the fine print.
Exactly.
He charged us rent to park in his lot.
He charged us for the pens we used.
He owns our publishing.
So the only difference between Kirkwood and the majors is that the majors use lawyers to do their dirty work.
And our songs were good.
And they did well.
And before you knew it, he owed us hundreds of thousands in royalties.
- You ever confront him? - Instead of paying us, he offered to record our own album in his studio, no charge.
And he said he was gonna get us a spot in Saddles and Spurs.
Saddles and Spu What's that? Uh, big music festival in Memphis.
- All right, so what happened? - When he heard the album, he decided it was too good to waste on a couple of unknowns.
So he stole it.
The devil may have gone down to Georgia, Mr.
Ford, but he lives in Memphis.
Mitchell Kirkwood.
Record producer and CEO of Kirkwood Records.
Now, here's a fun fact: he started off his career as an artist.
- Does anybody remember this? - * Should have been * It took a single spark * To set the sky aflame * When you were in my arms * The stars spelled out your name * - I say we take him down for that alone.
- [Hardison.]
Critics agreed.
That's probably why he never released another single.
He took all the money he made and funneled it into his record company.
And judging by the number of lawsuits filed and dropped within days, I'd say it's not his first time forcing somebody to settle out of court.
- Do you have a criminal record? - None.
He carved out a nice little kingdom in the country music world.
Yeah, well, he stole Kaye Lynn's music, he stole her money, he took over their publishing Yeah, but we're gonna get it back.
I understand how to steal money, but how do you steal music? Oh, it's called a digital master.
It's high-quality, multi-channel, studio recorded, mixed and engineered.
Price to produce? Hundreds of thousands, sometimes millions.
Now, this building right here, this is Kirkwood Records, Memphis, Tennessee.
Now, inside this building is a hidden safe that contains these digital masters, - one of which has Kaye Lynn's music on it.
- So it's a smash and grab.
Well, no, no, not exactly, no.
'Cause we have to make sure she gets back the money.
- And a little extra for hospital bills.
- Making sure that he can't come after them, well, that wouldn't hurt.
[both.]
A fiddle game.
- [Nate.]
Uh, Parker.
- I don't know how to play the fiddle.
Well, actually, we're not gonna play a fiddle.
No, we're gonna sell one.
For a hell of a lot more than it's worth.
[* country.]
- [woman.]
Ya'll have a good night.
- Thank you very much.
- Uh, Mr.
Kirkwood.
- Hello, Kelly.
- Who is at my table? - Uh, well, the computer said you cancelled.
- Does it look like I cancelled? - But the computer Go ahead.
Say it again.
Say something else about the computer.
I'll put a table together right away.
[indistinct chatter.]
[Hardison.]
Kirkwood's on his way over.
Hey, hey.
Oliver, pour from my bottle, make it a double.
Oh, no, no, no, no, no.
Hey, why don't you put that on my, uh, tab there? You're, uh, Mitch Kirkwood, aren't you? Yes.
- Over there? - Yeah.
[Hardison.]
Parker, I'm on my way to the sound booth.
[neck cracks.]
Let's see what our friend likes to listen to.
Most played, Brooks & Dunn.
I need tickets for Brooks & Dunn.
You got that, Parker? [country music plays.]
Uh, you're not supposed to be in here.
Tell me about it, buddy.
Why are you here? - I work here.
- Flippin' fantastic.
Well, they call me on my night off and gone and double-book it.
Better call the main office, find out what's goin' on here.
Please do, Skipper, 'cause if I gotta work tonight, then I need to find somebody to take this Brooks & Dunn ticket off my hands.
You know what? I am starting to remember something about having the night off.
Don't you think you should go on and double-check that, butter britches? Nah, nah.
I definitely remember now.
Really? All right, now.
Think you could find somebody to take this ticket off my hands? I think I could find somebody.
Hot diggity daggum, let me, um, get you this Brooks & Dunn ticket so Well, spic and span, daggum, there it goes, right there.
Must have dropped it.
Been there the whole time.
[laughs.]
The whole time.
- All right, well, thanks.
- All right, yeah, well, you all right, man.
Get me a t-shirt.
Now, I'm not gonna lie to you.
Being rich, that'll get you the chicks.
- Here you go, Mr.
Kirkwood.
- But you add to that being famous [laughs.]
I tell you, I had the opportunity to turn down girls - prettier than this damn near every day.
- Oh! Well, that's really that's really something.
Yeah, yeah.
Wow.
Now, why would you just, uh, stop at one song? Oh! Same reason you manage musicians.
Why be the cow when you can be the farmer? Oh, right.
Tell me about this kid you got.
Yeah, well, his name is, uh, Kenneth Crane, right? Now, a couple of years ago, uh, we took his best song, we put it on a demo tape and we sent it out everywhere.
Well, two days ago, this European lady, she offered $25,000 for the rights to that song.
- $25,000? - Yeah.
[chuckles.]
Well, what did you say to that? Well, that's the thing, I didn't know what to say to her.
You know? She's sitting right over there waiting on an answer.
- Interesting.
- Yeah.
You do know Do you know her? No, no, not not really.
But I tell you what I will do.
I will go over there for you, talk to her, see if I can't get her to show her hand.
That's amazing.
You would do that? Hell, yes, I would do that.
Local boys gotta stick together.
[chuckles.]
Let the fiddle games begin.
Yeah, um, I'm still a little unclear.
Where exactly is this fiddle? It just walked through the door.
[* country.]
[indistinct chatter.]
- What are you looking at? - Don't! - What's wrong? - Nothing's wrong.
- Something's wrong.
- I'm fine.
- I startled you.
- You're a cat burglar, - that's what you do.
- Yeah, I've been a cat burglar since I was ten years old.
- Don't Really? - Well, maybe nine, but this is the first time I've startled you.
- He's nervous, Parker.
- [Eliot.]
I'm not nervous.
- Thought you said you could sing.
- I can sing.
I just I didn't realize there was gonna be this many people.
- You are nervous.
- [scoffs.]
Relax, man.
I told you, I got you.
Say something.
- I don't speak on command, Hardison.
- Perfect.
Now, I rigged my laptop to record your comm.
Now, this means that I can alter your pitch from anywhere to make you sound like Darth Eliot [Eliot's voice, slowed down.]
I don't speak on command, Hardison.
- to Spencer Smurf.
- [sped up.]
I don't speak on command, Hardison.
- [chuckles.]
- Hardison? - Don't ever do the Smurf thing again? - Right.
So the software takes the frequency of your voice and it matches it to the key of the song, then uses a Fourier transform to correct the pitch and sends the tuned audio out through the bar speakers.
- What does that mean? - That means that, for tonight, Eliot has perfect pitch.
You ever wonder how Britney Spears sounds so good on her tracks? Well, this is it, except mine is in real time, baby.
Uh, who exactly did you just refer to as baby? It's like the universal term of "baby.
" How old are you? - All right, where is he? - I'm sorry? Beautiful girl like you couldn't possibly be sitting here all alone.
Where is he? This must be that Southern charm I've heard so much about.
- [laughs.]
Mitchell Kirkwood.
- Oh.
I seem to have stolen your table.
You must be a very important man.
Should I know you? Truth be known, they give one of these to just about anybody who happens to own the place.
I will let you make it up to me, by allowing me to give you the nickel tour.
And I won't even charge you the nickel.
Come on.
Virginia.
Virginia Ellington.
My things gonna be safe here? At this table they will.
[phone beeps.]
[dialing, line ringing.]
[cell phone rings.]
Worcester Studios, how may I direct your call? [hangs up.]
- [strumming guitar.]
- Ah [tuning guitar.]
- What, are you nervous? - That song you're goin' out there to sing, that's the only thing my brother and I have left that Kirkwood hasn't stolen or destroyed.
And if I lose it You're not gonna lose it, all right? We're gonna get you your money, we're gonna get you your music back.
I promise you.
[scoffs.]
How can you be so sure? 'Cause this is what we do.
[strums guitar.]
You still havin' trouble with that bridge? I I think, uh Let me let me show you.
Let me OK.
When you strum, just do this, all right? - So, G.
- [strums chord.]
Right.
- You have D.
- D.
- [strums chord.]
- Right.
- You got you got G again.
- G.
- [strums chords.]
- A minor.
- Now, the G.
- G.
From the top.
[strumming chords.]
- Good.
That's right.
- That's right.
How do you feel when you play? Well, I think I think I got it.
Well, see, that that's your problem.
You're thinkin' about how to play the song.
And I'm askin' you, how do you feel when you play? You ever been in love? Once.
How'd it end? I made her a promise that if she ever needed me, - that I'd be there for her.
- What's wrong with that? 'Cause I made the same promise to the United States government.
And I found out, you can't make that promise to more than one person.
That feelin', right there, hold onto that, and you'll do just fine.
[waitress.]
All right, here you go.
What is it with this city and ribs? - Why don't you try one and find out? - Oh, no, I couldn't.
I just - [man.]
Mr.
Kirkwood.
- Excuse me.
She's a record executive from England.
- OK, Hardison, how we doin'? - Ready when Eliot is.
Tell me something.
Why would a star like K-Gent send you all the way here from London to sign an unknown, unsigned country singer and give him $25,000 for a song on a demo tape? Congratulations, Mr.
Kirkwood, you've impressed me.
And I'm not easily impressed.
- I didn't think you were.
- You gonna tell me how you did that? I want you to tell me first.
Right now.
It's very simple.
A box of demos lying around the studio waiting to go to the rubbish.
K-Gent picks one up, who knows why.
Next thing we know, he's sampled one of the tracks on his new album.
And you came here to offer the kid $25,000 before he realized he had won the lottery.
Something like that.
- [feedback.]
- Hi, I'm Kenneth Crane, and, uh, I'm gonna sing a song, uh sing a song I wrote about the road not traveled.
[scattered applause, cheering.]
[strumming tune.]
* Well, I know they say all good things * * Must come to some kind of ending * - * We were so damn good - Oh, Nate, something's wrong.
- All right, what is it? - Uh, the system's not working.
Something's wrong.
- No, it's fine.
- No, it's not fine.
I'm looking at it right now.
It is not correcting his voice.
* listening, you'll see I'm not that easy to forget * * And when a new moon shines through your window * That's because it doesn't need correcting.
* And you don't know why * But you just start to cry You know who he sounds like? * Round on a sunny day and out of nowhere * - Don't let the manager leave.
- Yeah.
* And a memory hits you right out of the blue * * Yeah, that's just me * Thinking of you * And I'm thinking about the road you're on * * I'm thinking about you coming home * * I'm wondering if you got your radio on * * Yeah, when you find your way to another town * * And someone tries to lay you down * * And a memory hits you right out of the blue * * It's me * Thinking of you * Yeah, that's just me * Thinking of you * [crowd cheering.]
I think you and I need to talk.
- [door opens.]
- Phew! [Eliot laughs.]
- How'd I do? - That was amazing! [both laugh.]
Hang on.
[indistinct chatter.]
Mr.
Kirkwood wants to see you.
He knows where I am.
- [man growls.]
- Or, uh, you know, I could go to him.
Yeah.
Eliot.
Eliot, how soon can you get here? Eliot? - Eliot?! - [Kaye giggling.]
- [Parker.]
On our way, Nate.
- You! You lied to me.
This is for tomorrow night.
You offered, what, 25,000? I happen to know that you would pay half a million dollars for that song.
Fortunately for me, he doesn't know that.
Fortunately for you, his manager and I happen to go way back.
We did 4-H together.
It's a cowboy thing.
Why don't you let me see if I can't nudge the deal along for you? And what would you want, exactly? Oh, I'll think of something.
[knuckles cracking.]
- You two work out together? - [door opens.]
Oh, hey, I'm just gonna leave my card and get goin' here.
Listen, I gotta go take care of my musician.
- You know how artists get.
- [punches landing.]
- [man.]
Sit down! - [coughs.]
- [Eliot.]
Nate.
- Oh, yeah.
Nate! Nate, I'm on my way.
Get in here.
Who do you work for? Forever 21, don't hit me.
I'm not gonna What are you doin' here? I just want your autograph.
He tried to leave, so I had to get a little rough.
Oh, yeah, they got into a fight, these guys.
Yeah, something about reps versus sets.
To be honest, I wasn't really paying attention.
Yeah Now, that is how you run a fiddle game.
I don't even know how to begin to thank you.
And that's just ten percent of it.
Now, tomorrow, he's taking Eliot into the studio and we'll get you the other 90.
And while Eliot's in the studio, Parker will get into the safe and grab the masters.
[Parker yells.]
Oh! Eliot's the fiddle! [laughs.]
- What's she doing back there? - She's trying on her costume.
[Parker.]
You sold Eliot to Kirkwood.
I totally get this.
Supposed to be some hotshot producer.
Works for K-Gent.
And he came all this way just to produce one song? I guess so.
Now, listen, anything he wants, you get.
- Understand? Anything.
- OK.
[woman.]
Hi.
Welcome to Kirkwood Records.
I'm JC.
Anything you need, you just let me know.
First of all, my man, real quick, lose the attitude.
Second of all, yes, it's her.
Breathe.
I'm OK.
Um, if I could get you to fill out these visitor badges [mumbling.]
Did you just look her in the eyes? Oh, I I don't think I was.
Whoa, chill with the attitude.
Don't raise your voice.
Did they not tell you nothin'? You know who you in front of? Think about it.
Iceland, pop star, figure it out, click it together, bells and whistles, give me somethin'.
- Bjor? - [screams.]
- Oh! Oh, I'm sorry, oh, I'm so sorry.
Are you OK? - [squeaking.]
Are you OK? Is the duck? Good.
Woman, for real, get up in here.
- Mami, mami, mami, real quick.
- OK.
I hope for your sake, that you was not about to say - what I think you was about to say.
- [Parker squealing.]
Well, I don't think I was.
What I'm gonna need you to do is just roll up out of here, cuz, 'cause you messin' up the aura.
We was cool, we was vibin' OK.
Um, great.
Well, I'm gonna get goin' on that paperwork.
Yeah, you do that.
So I can start recordin' this hillbilly.
I crossed the ocean, a pond and a creek to get here.
Hey, yo, Eliot, you got an ETA? Yeah, I'm almost there.
But I think somebody's following me.
Do some Eliot-fu on 'em.
What happened to, "This is what I do"? Yeah, I don't think that's gonna work this time.
[girls squealing.]
I've been meaning to tell you, this, uh, Kenneth Crane, he is blowing up on Twitter.
He's got a fan page and everything.
It's a pretty good picture, too.
[Eliot.]
That's the problem.
I can't have my picture out there like that.
Well, contrary to what ya'll may believe, I do not control everything that happens on the Internet.
[Eliot.]
There's a price on my head in three different countries, and I'm fairly certain a fatwa was issued.
[Hardison.]
You are so vain, man.
[girls screaming.]
Boom, there, fan site nuked.
But you know what? When you get back, we gonna have us a serious conversation about the difference - between caution and paranoia.
- With all the things I've done, there's no such thing as paranoia.
Mm.
Seriously? For breakfast? Mm.
Yeah, I know.
Oh! What, Kirkwood just walk in or something? - How'd he find us? - Well, there's probably not a lot of five-star hotels in Memphis.
Now you should probably just, you know, act the part, ride this out, be in character, and you should probably storm off about now.
I thought I'd give it another beat.
OK, then.
Perfect.
The other man in Memphis I'd like to slap.
Just relax now, little filly.
I am perfectly aware that you went behind my back to get the rights to that song, so let's just cut to the chase, huh? What do you want? Mr.
Crane arrived just a moment ago.
He's just setting up in the studio now.
[Hardison.]
A'ight, let the magic begin.
- You're not joining him.
- [gasps, duck squeaks.]
- [Icelandic accent.]
And risk being tainted? - By what? Exactly.
Which way to the meditation temple? Hm? Oh, um, you know, we do have a few rooms.
Just, um, actually, right this way OK, that way's great, too.
That's perfect, OK.
Parker's on the loose, but there are a lot of unfriendlies.
Yeah, which is exactly why we have cover stories.
How's Eliot? He's good.
He's about to record, so he took his comm out.
Mm Ooh! Too much clutter.
- You ready, man? - Phew! Yeah.
All right.
* When a new moon shines through your window * * Or you hear a sad song on the radio * Hold up, man, it's a little pitchy.
It's Just a skosh.
Little pitchy.
Mm Not enough clutter.
- * When a new moon shines through * - [Hardison.]
Pitchy.
In that very same spot, right, it's, yeah, it's a little pitchy.
- * And when a - Hold up, man.
Hang on, man, let me get into the song.
- Did you practice your wobbles? - Damn it, Hardison.
Just put a Smooth it out.
Like * When a new moon shines through your * * When a new moon shines through your window * [gagging, coughing.]
- Water.
Hurry.
- OK.
- [blows raspberry.]
- [beeping.]
How's it going, Parker? I don't think I'm being weird enough.
[chuckles.]
Somehow, I doubt that.
OK, sugar, I got I got your water.
[sniffs.]
[gargles.]
This isn't from an iceberg.
Oh I don't think we have that here.
Fine.
Just bring me some champagne.
* And when a new moon shines through your window * * Or you hear a sad song on the radio * * And you don't know why but you just start to * - No.
- Listen to me, man, say pitchy one more time.
Say pitchy one more time and see what happens.
I don't even think that word means what you think it means.
- It means pitchy.
- Define it.
- You define it.
- I don't have to define it! - I'm not saying it every five sec - I'm I'm sorry.
I can't I lost you, I can't hear you.
I'm sorry.
- I It's just - Maybe the safe is off site.
I've looked everywhere.
[guitar strumming.]
Isn't the recording studio supposed to be soundproof? Uh, yeah, completely.
Here's the master from the Kenneth Crane session.
I don't understand.
You just paid $100,000 for the rights to that song and you're just going to give them to me for free? [sighs.]
That's just about the lay of the land.
You must want something.
I would like you to forget that you ever heard the name Kenneth Crane.
- Why would I do that? - I'm thinking about getting back into the spotlight.
And I don't think there's anything that would, uh, jumpstart a career any more than having a song of yours sampled by a major rap superstar, hm? You're gonna steal Crane's song for yourself.
But how are you gonna get him to go along with that? - [cell phone plays ringtone.]
- Yeah.
Well, I wasn't exactly gonna give the choice of the matter.
Um, you know, I guess there is one more thing that you can do for me.
Stop asking questions.
Hey, hey.
Talk to me.
OK, Nate, we have a little problem.
[Nate.]
Yeah, what kind of problem? The guy who's buying our fiddle, he thinks he is the fiddle.
Yes, sir.
I'll take care of that first.
- You're not done yet? - He's doing one for him.
Well, I found it.
- Um, let's see - Got it.
Hey, look, this is that song Kirkwood did.
This is the original master.
Why is the artist name blacked out? [strumming guitar.]
You need to come with me.
No.
Try telling this guy that.
[grunting.]
Get up.
OK, so this is the original recording of the song that made Kirkwood famous.
* It took a single spark * To set the sky the aflame [grunting.]
And this is the recording he released to the video.
* It took a single spark * To set the sky the aflame - It's not the same.
- Which one is Kirkwood? That's just it, neither, it's the same song, just with a pitch adjustment.
Well, then who's singing the song? I'm matching a voice print right now.
Where's Eliot? [grunting.]
Got it.
Boom.
Jesse Jenkins.
All right, that's why Kirkwood never recorded a second song.
He didn't record the first one.
- Kirkwood paid him off? - I don't think so.
Jenkins sued him.
Copyright infringement, harassment, fraud, the whole nine.
But these charges weren't formally dropped.
- They went to court? - Not exactly.
Any other guesses? [grunting.]
Jenkins was killed, circumstances were suspicious, Kirkwood was implicated, but never charged.
[Hardison.]
Yeah, dead on.
How'd you know? [Nate.]
Because he is about to do the exact same thing to Eliot.
[inaudible.]
Let's go! Now! All right, good.
I do love it when a plan comes together.
OK.
Uh Alec, where's the tape? I think I may have left her tape in the deck.
- Unbelievable.
- Where you goin'? When they find Kaye Lynn's tape, they're gonna wanna ask her some questions, and we know they don't ask questions very nicely, do they? Damn it, Hardison! You OK? The festival director just called.
Kirkwood took my spot in the showcase.
He's gonna sing my brother's song.
And you told me you were gonna get our money and our songs back.
But all you did was lose the only thing I had left.
Come with me, all right? Trust me.
What's the plan? All right, come back to the hotel.
We'll, uh, rework the approach, hit him hard in a couple of days.
No.
Kirkwood's getting ready to sing this song in front of the who's who of country music.
Listen, uh, you know, it's too late to stop him tonight.
No, I hacked into his truck's navigation system, he's on the move.
It's game over.
Eliot, if he plays that song in front of those A and R's, I'll lose it forever.
[Hardison.]
Eliot, it's too late.
All right, help or don't help, but don't tell me its too late.
Put that on.
Sometimes, you you don't get a second chance to get it right.
- Why not? - Rules of life.
But that's exactly what we do.
We change the rules.
[girls giggling.]
Uh, uh, where where's Kirkwood, uh, right about now? * You're driving round on a sunny day * * And out of nowhere comes the pourin' rain * - [girls screaming.]
- * And then a memory * Hits you right out of the blue * - [screaming.]
- You got three blocks, Jesse, go on.
Go.
- [Jesse.]
I can't move.
- Give me the CD.
All right, now, come on, girls, get out of my I'm trying to get somewhere.
Get out of here.
[Hardison.]
Eliot, I used your fans to stall Kirkwood.
I bought you, like, two minutes.
[horn honks.]
- [Sophie.]
We're here.
- [Eliot.]
Is Kirkwood there? I don't see him.
Wait.
Yeah, he just walked in.
[man.]
Got it.
- [Eliot.]
A few more minutes.
- Eliot, I'm sorry.
We did everything we can.
Maybe not everything.
[chirping.]
- [vocalizing.]
- [laughter.]
[squawking.]
[duck squeaking.]
- [crowd cheering.]
- [vocalizing.]
[sighs.]
Hey.
Surprised to see me? Why would you say that? Well, you tried to kill me.
The same way you killed Jesse Jenkins.
You're unstable, Kenneth.
And I'd really like to help you.
If you let me.
- [grunting.]
- [feedback.]
[whispers.]
You think I'm gonna confess to a murder in a room full of microphones? If I was that stupid, I never would've gotten away with it.
[booing.]
[man.]
Well, let's put an end to amateur night, and give a warm welcome to Mitchell Kirkwood.
[cheering.]
* Well, I know they say all good things * * Must come to some kind of ending * * We were so damn good I guess we never stood a chance * * Go on and find what you been missin' * * And when that highway's tired of listening * * You'll see I'm not that easy to forget * [Kaye joins in.]
* And when a new moon * Shines through your window * Or you hear a sad song on the radio * * And you don't know why but you just start to cry * * Or you're driving round on a sunny day * - [guitar plays.]
- * And out of nowhere comes a pourin' rain * * And a memory hits you right out of the blue * * That's just me * Thinking of you * [cheering.]
[Kirkwood.]
How 'bout it? Yo-ho, she's wonderful, ain't she? [Nate on PA.]
The same way you killed Jesse Jenkins.
[Kirkwood.]
You think I'm gonna confess to a murder in a room full of microphones? If I was that stupid, I wouldn't have gotten away with it.
You think I'm gonna confess to a murder in a room full of microphones? [Hardison.]
And you make fun of ear buds.
That was a, uh, that was a joke, ladies and gentlemen.
Very funny joke.
I'll be right back.
How about that, huh? Give it up for her.
- Let me explain something to you, Kirkwood.
- Yeah? Next time you hit somebody in the stomach and you want 'em to stay down, you gotta hit 'em in the solar plexus.
[grunting, coughing.]
See the difference? [man.]
Come on, this way.
Go on.
Easy.
[man.]
This is the number you can reach me at.
All right, thank you.
Just There's a lot of A and R's who want to meet with me.
Thank you.
From my brother, too.
For what? That was all you.
Thank you for keeping your promise.
Speaking of that That's yours.
That's for your trip to Nashville.
You can come with me, you know.
You're a natural born country star if I've ever seen one.
[chuckles.]
We can be the next Johnny and June.
Some roads you start goin' down, well, you can't turn back.
And I'm about a hundred miles down one of those right now.
[man.]
Excuse us, Kaye Lynn? - Sounded like a bad country song.
- [laughs.]
- Um - I have some folks I'd like for you to meet.
[woman.]
We have so many ideas for you.
We're dying to talk to you.
[overlapping chatter.]
- Ready? - Yeah.
Tell me something, man.
How'd you take those two guys out by yourself? - Well, they got into a fight.
- Yeah, but really, I mean, how'd you do it? I can't say it any plainer, they got into a fight.
- You're not gonna tell us.
- And where were you when all this was going on, huh? What? I was getting notes from Kaye Lynn on my performance.
- Oh.
How were you? - No complaints.
- Excuse me, sir? - Yeah? Oh.
[chuckles.]
Man, all right, this is the last one, sweetie.
I just wanted to know what time it was.
[clears throat.]
Yeah, I know.
It's late.
Go home.
It's past your bedtime.
[woman singing.]
* Well, I know they say all good things * * Must come to some kind of ending * * We were so damn good I guess we never stood a chance * * Go on and find what you've been missing * * When that highway's tired of listening * [door crashing.]
You can't just barge in here like - [grunts.]
- Ah! What did I tell you two about talking to lawyers? [stammers.]
I No, we didn't.
We didn't.
You don't think I know what goes on in my town? When I tell you not to do something - [man screams.]
- Ah! - [yelping, grunting.]
- Sit down! - Don't do it.
- [man grunting.]
- Now, get me the other hand.
- [man.]
No.
[woman.]
No.
No.
No, please, don't, please.
I swear, we didn't do anything.
Please.
We didn't do nothin'.
- [man screaming.]
- [woman sobbing.]
The rich and powerful, take what they want.
We steal it back for you.
Sometimes bad guys make the best good guys.
We provide leverage.
[gasps.]
I'm sorry, I'm still a bit shook up.
- That's all right.
I got it.
- Thank you.
So, uh, your brother, now, will he ever play again? Doctors say he'll be lucky to move his fingers again.
Music was his life.
What Kirkwood did was more than wrong, it was It was cruel.
Now this guy, Kirkwood, you said he has a reputation for doing these kinds of things, - so why would you work for him? - Well, he owns a record label, Mr.
Ford.
- So? - [scoffs.]
Put it like this.
The day I was born, my mama said I looked at her, smiled and asked, - "Which way to Music City?" - He was your shot at stardom.
Right.
He hired us to write songs for other artists, his more established artists.
It was good money, plus royalties.
And we thought we'd hit the jackpot.
- But when it came time to pay - He showed you the fine print.
Exactly.
He charged us rent to park in his lot.
He charged us for the pens we used.
He owns our publishing.
So the only difference between Kirkwood and the majors is that the majors use lawyers to do their dirty work.
And our songs were good.
And they did well.
And before you knew it, he owed us hundreds of thousands in royalties.
- You ever confront him? - Instead of paying us, he offered to record our own album in his studio, no charge.
And he said he was gonna get us a spot in Saddles and Spurs.
Saddles and Spu What's that? Uh, big music festival in Memphis.
- All right, so what happened? - When he heard the album, he decided it was too good to waste on a couple of unknowns.
So he stole it.
The devil may have gone down to Georgia, Mr.
Ford, but he lives in Memphis.
Mitchell Kirkwood.
Record producer and CEO of Kirkwood Records.
Now, here's a fun fact: he started off his career as an artist.
- Does anybody remember this? - * Should have been * It took a single spark * To set the sky aflame * When you were in my arms * The stars spelled out your name * - I say we take him down for that alone.
- [Hardison.]
Critics agreed.
That's probably why he never released another single.
He took all the money he made and funneled it into his record company.
And judging by the number of lawsuits filed and dropped within days, I'd say it's not his first time forcing somebody to settle out of court.
- Do you have a criminal record? - None.
He carved out a nice little kingdom in the country music world.
Yeah, well, he stole Kaye Lynn's music, he stole her money, he took over their publishing Yeah, but we're gonna get it back.
I understand how to steal money, but how do you steal music? Oh, it's called a digital master.
It's high-quality, multi-channel, studio recorded, mixed and engineered.
Price to produce? Hundreds of thousands, sometimes millions.
Now, this building right here, this is Kirkwood Records, Memphis, Tennessee.
Now, inside this building is a hidden safe that contains these digital masters, - one of which has Kaye Lynn's music on it.
- So it's a smash and grab.
Well, no, no, not exactly, no.
'Cause we have to make sure she gets back the money.
- And a little extra for hospital bills.
- Making sure that he can't come after them, well, that wouldn't hurt.
[both.]
A fiddle game.
- [Nate.]
Uh, Parker.
- I don't know how to play the fiddle.
Well, actually, we're not gonna play a fiddle.
No, we're gonna sell one.
For a hell of a lot more than it's worth.
[* country.]
- [woman.]
Ya'll have a good night.
- Thank you very much.
- Uh, Mr.
Kirkwood.
- Hello, Kelly.
- Who is at my table? - Uh, well, the computer said you cancelled.
- Does it look like I cancelled? - But the computer Go ahead.
Say it again.
Say something else about the computer.
I'll put a table together right away.
[indistinct chatter.]
[Hardison.]
Kirkwood's on his way over.
Hey, hey.
Oliver, pour from my bottle, make it a double.
Oh, no, no, no, no, no.
Hey, why don't you put that on my, uh, tab there? You're, uh, Mitch Kirkwood, aren't you? Yes.
- Over there? - Yeah.
[Hardison.]
Parker, I'm on my way to the sound booth.
[neck cracks.]
Let's see what our friend likes to listen to.
Most played, Brooks & Dunn.
I need tickets for Brooks & Dunn.
You got that, Parker? [country music plays.]
Uh, you're not supposed to be in here.
Tell me about it, buddy.
Why are you here? - I work here.
- Flippin' fantastic.
Well, they call me on my night off and gone and double-book it.
Better call the main office, find out what's goin' on here.
Please do, Skipper, 'cause if I gotta work tonight, then I need to find somebody to take this Brooks & Dunn ticket off my hands.
You know what? I am starting to remember something about having the night off.
Don't you think you should go on and double-check that, butter britches? Nah, nah.
I definitely remember now.
Really? All right, now.
Think you could find somebody to take this ticket off my hands? I think I could find somebody.
Hot diggity daggum, let me, um, get you this Brooks & Dunn ticket so Well, spic and span, daggum, there it goes, right there.
Must have dropped it.
Been there the whole time.
[laughs.]
The whole time.
- All right, well, thanks.
- All right, yeah, well, you all right, man.
Get me a t-shirt.
Now, I'm not gonna lie to you.
Being rich, that'll get you the chicks.
- Here you go, Mr.
Kirkwood.
- But you add to that being famous [laughs.]
I tell you, I had the opportunity to turn down girls - prettier than this damn near every day.
- Oh! Well, that's really that's really something.
Yeah, yeah.
Wow.
Now, why would you just, uh, stop at one song? Oh! Same reason you manage musicians.
Why be the cow when you can be the farmer? Oh, right.
Tell me about this kid you got.
Yeah, well, his name is, uh, Kenneth Crane, right? Now, a couple of years ago, uh, we took his best song, we put it on a demo tape and we sent it out everywhere.
Well, two days ago, this European lady, she offered $25,000 for the rights to that song.
- $25,000? - Yeah.
[chuckles.]
Well, what did you say to that? Well, that's the thing, I didn't know what to say to her.
You know? She's sitting right over there waiting on an answer.
- Interesting.
- Yeah.
You do know Do you know her? No, no, not not really.
But I tell you what I will do.
I will go over there for you, talk to her, see if I can't get her to show her hand.
That's amazing.
You would do that? Hell, yes, I would do that.
Local boys gotta stick together.
[chuckles.]
Let the fiddle games begin.
Yeah, um, I'm still a little unclear.
Where exactly is this fiddle? It just walked through the door.
[* country.]
[indistinct chatter.]
- What are you looking at? - Don't! - What's wrong? - Nothing's wrong.
- Something's wrong.
- I'm fine.
- I startled you.
- You're a cat burglar, - that's what you do.
- Yeah, I've been a cat burglar since I was ten years old.
- Don't Really? - Well, maybe nine, but this is the first time I've startled you.
- He's nervous, Parker.
- [Eliot.]
I'm not nervous.
- Thought you said you could sing.
- I can sing.
I just I didn't realize there was gonna be this many people.
- You are nervous.
- [scoffs.]
Relax, man.
I told you, I got you.
Say something.
- I don't speak on command, Hardison.
- Perfect.
Now, I rigged my laptop to record your comm.
Now, this means that I can alter your pitch from anywhere to make you sound like Darth Eliot [Eliot's voice, slowed down.]
I don't speak on command, Hardison.
- to Spencer Smurf.
- [sped up.]
I don't speak on command, Hardison.
- [chuckles.]
- Hardison? - Don't ever do the Smurf thing again? - Right.
So the software takes the frequency of your voice and it matches it to the key of the song, then uses a Fourier transform to correct the pitch and sends the tuned audio out through the bar speakers.
- What does that mean? - That means that, for tonight, Eliot has perfect pitch.
You ever wonder how Britney Spears sounds so good on her tracks? Well, this is it, except mine is in real time, baby.
Uh, who exactly did you just refer to as baby? It's like the universal term of "baby.
" How old are you? - All right, where is he? - I'm sorry? Beautiful girl like you couldn't possibly be sitting here all alone.
Where is he? This must be that Southern charm I've heard so much about.
- [laughs.]
Mitchell Kirkwood.
- Oh.
I seem to have stolen your table.
You must be a very important man.
Should I know you? Truth be known, they give one of these to just about anybody who happens to own the place.
I will let you make it up to me, by allowing me to give you the nickel tour.
And I won't even charge you the nickel.
Come on.
Virginia.
Virginia Ellington.
My things gonna be safe here? At this table they will.
[phone beeps.]
[dialing, line ringing.]
[cell phone rings.]
Worcester Studios, how may I direct your call? [hangs up.]
- [strumming guitar.]
- Ah [tuning guitar.]
- What, are you nervous? - That song you're goin' out there to sing, that's the only thing my brother and I have left that Kirkwood hasn't stolen or destroyed.
And if I lose it You're not gonna lose it, all right? We're gonna get you your money, we're gonna get you your music back.
I promise you.
[scoffs.]
How can you be so sure? 'Cause this is what we do.
[strums guitar.]
You still havin' trouble with that bridge? I I think, uh Let me let me show you.
Let me OK.
When you strum, just do this, all right? - So, G.
- [strums chord.]
Right.
- You have D.
- D.
- [strums chord.]
- Right.
- You got you got G again.
- G.
- [strums chords.]
- A minor.
- Now, the G.
- G.
From the top.
[strumming chords.]
- Good.
That's right.
- That's right.
How do you feel when you play? Well, I think I think I got it.
Well, see, that that's your problem.
You're thinkin' about how to play the song.
And I'm askin' you, how do you feel when you play? You ever been in love? Once.
How'd it end? I made her a promise that if she ever needed me, - that I'd be there for her.
- What's wrong with that? 'Cause I made the same promise to the United States government.
And I found out, you can't make that promise to more than one person.
That feelin', right there, hold onto that, and you'll do just fine.
[waitress.]
All right, here you go.
What is it with this city and ribs? - Why don't you try one and find out? - Oh, no, I couldn't.
I just - [man.]
Mr.
Kirkwood.
- Excuse me.
She's a record executive from England.
- OK, Hardison, how we doin'? - Ready when Eliot is.
Tell me something.
Why would a star like K-Gent send you all the way here from London to sign an unknown, unsigned country singer and give him $25,000 for a song on a demo tape? Congratulations, Mr.
Kirkwood, you've impressed me.
And I'm not easily impressed.
- I didn't think you were.
- You gonna tell me how you did that? I want you to tell me first.
Right now.
It's very simple.
A box of demos lying around the studio waiting to go to the rubbish.
K-Gent picks one up, who knows why.
Next thing we know, he's sampled one of the tracks on his new album.
And you came here to offer the kid $25,000 before he realized he had won the lottery.
Something like that.
- [feedback.]
- Hi, I'm Kenneth Crane, and, uh, I'm gonna sing a song, uh sing a song I wrote about the road not traveled.
[scattered applause, cheering.]
[strumming tune.]
* Well, I know they say all good things * * Must come to some kind of ending * - * We were so damn good - Oh, Nate, something's wrong.
- All right, what is it? - Uh, the system's not working.
Something's wrong.
- No, it's fine.
- No, it's not fine.
I'm looking at it right now.
It is not correcting his voice.
* listening, you'll see I'm not that easy to forget * * And when a new moon shines through your window * That's because it doesn't need correcting.
* And you don't know why * But you just start to cry You know who he sounds like? * Round on a sunny day and out of nowhere * - Don't let the manager leave.
- Yeah.
* And a memory hits you right out of the blue * * Yeah, that's just me * Thinking of you * And I'm thinking about the road you're on * * I'm thinking about you coming home * * I'm wondering if you got your radio on * * Yeah, when you find your way to another town * * And someone tries to lay you down * * And a memory hits you right out of the blue * * It's me * Thinking of you * Yeah, that's just me * Thinking of you * [crowd cheering.]
I think you and I need to talk.
- [door opens.]
- Phew! [Eliot laughs.]
- How'd I do? - That was amazing! [both laugh.]
Hang on.
[indistinct chatter.]
Mr.
Kirkwood wants to see you.
He knows where I am.
- [man growls.]
- Or, uh, you know, I could go to him.
Yeah.
Eliot.
Eliot, how soon can you get here? Eliot? - Eliot?! - [Kaye giggling.]
- [Parker.]
On our way, Nate.
- You! You lied to me.
This is for tomorrow night.
You offered, what, 25,000? I happen to know that you would pay half a million dollars for that song.
Fortunately for me, he doesn't know that.
Fortunately for you, his manager and I happen to go way back.
We did 4-H together.
It's a cowboy thing.
Why don't you let me see if I can't nudge the deal along for you? And what would you want, exactly? Oh, I'll think of something.
[knuckles cracking.]
- You two work out together? - [door opens.]
Oh, hey, I'm just gonna leave my card and get goin' here.
Listen, I gotta go take care of my musician.
- You know how artists get.
- [punches landing.]
- [man.]
Sit down! - [coughs.]
- [Eliot.]
Nate.
- Oh, yeah.
Nate! Nate, I'm on my way.
Get in here.
Who do you work for? Forever 21, don't hit me.
I'm not gonna What are you doin' here? I just want your autograph.
He tried to leave, so I had to get a little rough.
Oh, yeah, they got into a fight, these guys.
Yeah, something about reps versus sets.
To be honest, I wasn't really paying attention.
Yeah Now, that is how you run a fiddle game.
I don't even know how to begin to thank you.
And that's just ten percent of it.
Now, tomorrow, he's taking Eliot into the studio and we'll get you the other 90.
And while Eliot's in the studio, Parker will get into the safe and grab the masters.
[Parker yells.]
Oh! Eliot's the fiddle! [laughs.]
- What's she doing back there? - She's trying on her costume.
[Parker.]
You sold Eliot to Kirkwood.
I totally get this.
Supposed to be some hotshot producer.
Works for K-Gent.
And he came all this way just to produce one song? I guess so.
Now, listen, anything he wants, you get.
- Understand? Anything.
- OK.
[woman.]
Hi.
Welcome to Kirkwood Records.
I'm JC.
Anything you need, you just let me know.
First of all, my man, real quick, lose the attitude.
Second of all, yes, it's her.
Breathe.
I'm OK.
Um, if I could get you to fill out these visitor badges [mumbling.]
Did you just look her in the eyes? Oh, I I don't think I was.
Whoa, chill with the attitude.
Don't raise your voice.
Did they not tell you nothin'? You know who you in front of? Think about it.
Iceland, pop star, figure it out, click it together, bells and whistles, give me somethin'.
- Bjor? - [screams.]
- Oh! Oh, I'm sorry, oh, I'm so sorry.
Are you OK? - [squeaking.]
Are you OK? Is the duck? Good.
Woman, for real, get up in here.
- Mami, mami, mami, real quick.
- OK.
I hope for your sake, that you was not about to say - what I think you was about to say.
- [Parker squealing.]
Well, I don't think I was.
What I'm gonna need you to do is just roll up out of here, cuz, 'cause you messin' up the aura.
We was cool, we was vibin' OK.
Um, great.
Well, I'm gonna get goin' on that paperwork.
Yeah, you do that.
So I can start recordin' this hillbilly.
I crossed the ocean, a pond and a creek to get here.
Hey, yo, Eliot, you got an ETA? Yeah, I'm almost there.
But I think somebody's following me.
Do some Eliot-fu on 'em.
What happened to, "This is what I do"? Yeah, I don't think that's gonna work this time.
[girls squealing.]
I've been meaning to tell you, this, uh, Kenneth Crane, he is blowing up on Twitter.
He's got a fan page and everything.
It's a pretty good picture, too.
[Eliot.]
That's the problem.
I can't have my picture out there like that.
Well, contrary to what ya'll may believe, I do not control everything that happens on the Internet.
[Eliot.]
There's a price on my head in three different countries, and I'm fairly certain a fatwa was issued.
[Hardison.]
You are so vain, man.
[girls screaming.]
Boom, there, fan site nuked.
But you know what? When you get back, we gonna have us a serious conversation about the difference - between caution and paranoia.
- With all the things I've done, there's no such thing as paranoia.
Mm.
Seriously? For breakfast? Mm.
Yeah, I know.
Oh! What, Kirkwood just walk in or something? - How'd he find us? - Well, there's probably not a lot of five-star hotels in Memphis.
Now you should probably just, you know, act the part, ride this out, be in character, and you should probably storm off about now.
I thought I'd give it another beat.
OK, then.
Perfect.
The other man in Memphis I'd like to slap.
Just relax now, little filly.
I am perfectly aware that you went behind my back to get the rights to that song, so let's just cut to the chase, huh? What do you want? Mr.
Crane arrived just a moment ago.
He's just setting up in the studio now.
[Hardison.]
A'ight, let the magic begin.
- You're not joining him.
- [gasps, duck squeaks.]
- [Icelandic accent.]
And risk being tainted? - By what? Exactly.
Which way to the meditation temple? Hm? Oh, um, you know, we do have a few rooms.
Just, um, actually, right this way OK, that way's great, too.
That's perfect, OK.
Parker's on the loose, but there are a lot of unfriendlies.
Yeah, which is exactly why we have cover stories.
How's Eliot? He's good.
He's about to record, so he took his comm out.
Mm Ooh! Too much clutter.
- You ready, man? - Phew! Yeah.
All right.
* When a new moon shines through your window * * Or you hear a sad song on the radio * Hold up, man, it's a little pitchy.
It's Just a skosh.
Little pitchy.
Mm Not enough clutter.
- * When a new moon shines through * - [Hardison.]
Pitchy.
In that very same spot, right, it's, yeah, it's a little pitchy.
- * And when a - Hold up, man.
Hang on, man, let me get into the song.
- Did you practice your wobbles? - Damn it, Hardison.
Just put a Smooth it out.
Like * When a new moon shines through your * * When a new moon shines through your window * [gagging, coughing.]
- Water.
Hurry.
- OK.
- [blows raspberry.]
- [beeping.]
How's it going, Parker? I don't think I'm being weird enough.
[chuckles.]
Somehow, I doubt that.
OK, sugar, I got I got your water.
[sniffs.]
[gargles.]
This isn't from an iceberg.
Oh I don't think we have that here.
Fine.
Just bring me some champagne.
* And when a new moon shines through your window * * Or you hear a sad song on the radio * * And you don't know why but you just start to * - No.
- Listen to me, man, say pitchy one more time.
Say pitchy one more time and see what happens.
I don't even think that word means what you think it means.
- It means pitchy.
- Define it.
- You define it.
- I don't have to define it! - I'm not saying it every five sec - I'm I'm sorry.
I can't I lost you, I can't hear you.
I'm sorry.
- I It's just - Maybe the safe is off site.
I've looked everywhere.
[guitar strumming.]
Isn't the recording studio supposed to be soundproof? Uh, yeah, completely.
Here's the master from the Kenneth Crane session.
I don't understand.
You just paid $100,000 for the rights to that song and you're just going to give them to me for free? [sighs.]
That's just about the lay of the land.
You must want something.
I would like you to forget that you ever heard the name Kenneth Crane.
- Why would I do that? - I'm thinking about getting back into the spotlight.
And I don't think there's anything that would, uh, jumpstart a career any more than having a song of yours sampled by a major rap superstar, hm? You're gonna steal Crane's song for yourself.
But how are you gonna get him to go along with that? - [cell phone plays ringtone.]
- Yeah.
Well, I wasn't exactly gonna give the choice of the matter.
Um, you know, I guess there is one more thing that you can do for me.
Stop asking questions.
Hey, hey.
Talk to me.
OK, Nate, we have a little problem.
[Nate.]
Yeah, what kind of problem? The guy who's buying our fiddle, he thinks he is the fiddle.
Yes, sir.
I'll take care of that first.
- You're not done yet? - He's doing one for him.
Well, I found it.
- Um, let's see - Got it.
Hey, look, this is that song Kirkwood did.
This is the original master.
Why is the artist name blacked out? [strumming guitar.]
You need to come with me.
No.
Try telling this guy that.
[grunting.]
Get up.
OK, so this is the original recording of the song that made Kirkwood famous.
* It took a single spark * To set the sky the aflame [grunting.]
And this is the recording he released to the video.
* It took a single spark * To set the sky the aflame - It's not the same.
- Which one is Kirkwood? That's just it, neither, it's the same song, just with a pitch adjustment.
Well, then who's singing the song? I'm matching a voice print right now.
Where's Eliot? [grunting.]
Got it.
Boom.
Jesse Jenkins.
All right, that's why Kirkwood never recorded a second song.
He didn't record the first one.
- Kirkwood paid him off? - I don't think so.
Jenkins sued him.
Copyright infringement, harassment, fraud, the whole nine.
But these charges weren't formally dropped.
- They went to court? - Not exactly.
Any other guesses? [grunting.]
Jenkins was killed, circumstances were suspicious, Kirkwood was implicated, but never charged.
[Hardison.]
Yeah, dead on.
How'd you know? [Nate.]
Because he is about to do the exact same thing to Eliot.
[inaudible.]
Let's go! Now! All right, good.
I do love it when a plan comes together.
OK.
Uh Alec, where's the tape? I think I may have left her tape in the deck.
- Unbelievable.
- Where you goin'? When they find Kaye Lynn's tape, they're gonna wanna ask her some questions, and we know they don't ask questions very nicely, do they? Damn it, Hardison! You OK? The festival director just called.
Kirkwood took my spot in the showcase.
He's gonna sing my brother's song.
And you told me you were gonna get our money and our songs back.
But all you did was lose the only thing I had left.
Come with me, all right? Trust me.
What's the plan? All right, come back to the hotel.
We'll, uh, rework the approach, hit him hard in a couple of days.
No.
Kirkwood's getting ready to sing this song in front of the who's who of country music.
Listen, uh, you know, it's too late to stop him tonight.
No, I hacked into his truck's navigation system, he's on the move.
It's game over.
Eliot, if he plays that song in front of those A and R's, I'll lose it forever.
[Hardison.]
Eliot, it's too late.
All right, help or don't help, but don't tell me its too late.
Put that on.
Sometimes, you you don't get a second chance to get it right.
- Why not? - Rules of life.
But that's exactly what we do.
We change the rules.
[girls giggling.]
Uh, uh, where where's Kirkwood, uh, right about now? * You're driving round on a sunny day * * And out of nowhere comes the pourin' rain * - [girls screaming.]
- * And then a memory * Hits you right out of the blue * - [screaming.]
- You got three blocks, Jesse, go on.
Go.
- [Jesse.]
I can't move.
- Give me the CD.
All right, now, come on, girls, get out of my I'm trying to get somewhere.
Get out of here.
[Hardison.]
Eliot, I used your fans to stall Kirkwood.
I bought you, like, two minutes.
[horn honks.]
- [Sophie.]
We're here.
- [Eliot.]
Is Kirkwood there? I don't see him.
Wait.
Yeah, he just walked in.
[man.]
Got it.
- [Eliot.]
A few more minutes.
- Eliot, I'm sorry.
We did everything we can.
Maybe not everything.
[chirping.]
- [vocalizing.]
- [laughter.]
[squawking.]
[duck squeaking.]
- [crowd cheering.]
- [vocalizing.]
[sighs.]
Hey.
Surprised to see me? Why would you say that? Well, you tried to kill me.
The same way you killed Jesse Jenkins.
You're unstable, Kenneth.
And I'd really like to help you.
If you let me.
- [grunting.]
- [feedback.]
[whispers.]
You think I'm gonna confess to a murder in a room full of microphones? If I was that stupid, I never would've gotten away with it.
[booing.]
[man.]
Well, let's put an end to amateur night, and give a warm welcome to Mitchell Kirkwood.
[cheering.]
* Well, I know they say all good things * * Must come to some kind of ending * * We were so damn good I guess we never stood a chance * * Go on and find what you been missin' * * And when that highway's tired of listening * * You'll see I'm not that easy to forget * [Kaye joins in.]
* And when a new moon * Shines through your window * Or you hear a sad song on the radio * * And you don't know why but you just start to cry * * Or you're driving round on a sunny day * - [guitar plays.]
- * And out of nowhere comes a pourin' rain * * And a memory hits you right out of the blue * * That's just me * Thinking of you * [cheering.]
[Kirkwood.]
How 'bout it? Yo-ho, she's wonderful, ain't she? [Nate on PA.]
The same way you killed Jesse Jenkins.
[Kirkwood.]
You think I'm gonna confess to a murder in a room full of microphones? If I was that stupid, I wouldn't have gotten away with it.
You think I'm gonna confess to a murder in a room full of microphones? [Hardison.]
And you make fun of ear buds.
That was a, uh, that was a joke, ladies and gentlemen.
Very funny joke.
I'll be right back.
How about that, huh? Give it up for her.
- Let me explain something to you, Kirkwood.
- Yeah? Next time you hit somebody in the stomach and you want 'em to stay down, you gotta hit 'em in the solar plexus.
[grunting, coughing.]
See the difference? [man.]
Come on, this way.
Go on.
Easy.
[man.]
This is the number you can reach me at.
All right, thank you.
Just There's a lot of A and R's who want to meet with me.
Thank you.
From my brother, too.
For what? That was all you.
Thank you for keeping your promise.
Speaking of that That's yours.
That's for your trip to Nashville.
You can come with me, you know.
You're a natural born country star if I've ever seen one.
[chuckles.]
We can be the next Johnny and June.
Some roads you start goin' down, well, you can't turn back.
And I'm about a hundred miles down one of those right now.
[man.]
Excuse us, Kaye Lynn? - Sounded like a bad country song.
- [laughs.]
- Um - I have some folks I'd like for you to meet.
[woman.]
We have so many ideas for you.
We're dying to talk to you.
[overlapping chatter.]
- Ready? - Yeah.
Tell me something, man.
How'd you take those two guys out by yourself? - Well, they got into a fight.
- Yeah, but really, I mean, how'd you do it? I can't say it any plainer, they got into a fight.
- You're not gonna tell us.
- And where were you when all this was going on, huh? What? I was getting notes from Kaye Lynn on my performance.
- Oh.
How were you? - No complaints.
- Excuse me, sir? - Yeah? Oh.
[chuckles.]
Man, all right, this is the last one, sweetie.
I just wanted to know what time it was.
[clears throat.]
Yeah, I know.
It's late.
Go home.
It's past your bedtime.