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1.
FADE IN:
A sun-blasted sky. We HEAR radios -- one piece of music
after another --
We’re --
1 EXT. 101 FREEWAY - DAY 1
Cars are at a standstill. It’s a horrific traffic jam.
Morning rush hour. Sun beating down, asphalt shimmering in
the heat. The blown-out downtown L.A. skyline hovers in the
distance.
We DRIFT past more CARS. Hear one snippet of audio after
another--
One driver taps his steering wheel to PROG ROCK. Another
sings to OPERA. A third raps along to a HIP-HOP track. We
move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO,
until finally we begin to hear--
--a new, original piece of music-- [ANOTHER DAY OF SUN]
We settle on the CAR from which this new tune is playing.
The driver is a YOUNG WOMAN. She hums along to the riff on
her radio, then starts SINGING.
Then, she EXITS her car. Then, she starts MOVING down the
lane.
One by one, more DRIVERS join her SINGING and DANCING
along. Without a single cut, we’ve found ourselves in a
FULL- FLEDGED MUSICAL NUMBER--
Drivers leap on car-tops, dance Jerome Robbins-style,
making use of the road and the hot gleam of the
automobiles. Arms swaying, feet banging, dancers darting,
as the MUSIC blasts. We WEAVE and SWIRL and DART between
and around the cars, taking the magic in--
Finally, all the drivers swing back into their vehicles and
the song comes to a dramatic stop.
Flash title card:
WINTER
2.
2 INT. NEW CAR - CONTINUOUS 2
A 1983 Dodge Riviera. In it is SEBASTIAN, 32, L.A. native.
He’s listening to the radio. He’s playing a track on his
music system, a tape of Thelonious Monk’s “Japanese Folk
Song”. But he keeps stopping it, over and over and over,
always rewinding to the same exact spot.
3 INT. CAR FURTHER UP AHEAD - CONTINUOUS 3
A light-green 2005 Prius. Inside is MIA, 27, Nevada-raised.
Six years of “no” in L.A. have toughened her, but she’s
still a dreamer. She seems to be on the phone, speaking
into her car’s system. Fast, fiery, full of energy --
MIA
--and I swear to God, she was
wrecked. It was pure insanity.
Mia stops. Thinks. Mutters to herself: “Insanity”. Then
leans down and grabs a piece of paper from the passenger
seat. It’s a SCRIPT.
MIA (CONT’D)
(reading now)
Pure lunacy. Oh God, I know--
Just then, the traffic around Mia starts to let up. She’s
too focused on her lines to notice.
Then, a long, sustained honk behind her: AHHHHHHHHHHHHHHHT.
Mia comes to. Jerked back to reality. The honking car
behind her swerves into the next lane. It’s Sebastian. Mia
gives him the finger. We then FOLLOW her as she drives--
4 INT. COFFEE SHOP - DAY 4
Mia works, photos of Hollywood icons on the wall behind
her, as --
3.
CUSTOMER #1
This doesn’t taste like almond
milk.
MIA
Don’t worry, it is. I know
sometimes it --
CUSTOMER #1
Can I see the carton?
Mia hands it over. The Customer looks.
CUSTOMER #1 (CONT’D)
I’ll have a black coffee.
Mia gets the coffee. Quickly sneaks a look at a script
hidden underneath her counter. The same one we saw in her
car--
She hands the coffee to the Customer. We follow the
Customer out through the door, as a WOMAN walks into the
shop. We don’t see the Woman’s face, but we see all the
eyes in the shop turn immediately to her. We see one
CUSTOMER whisper to another, discreetly pointing as the
WOMAN passes by--
WOMAN
Cappuccino, please.
Mia nods. Gets it made. The Manager takes it from her.
MANAGER
On us.
WOMAN
No, I insist.
4.
She pays. Then smiles at Mia and drops a bill in the tip
jar. Mia watches as the Woman walks off, is joined by a
STUDIO EMPLOYEE on a golf cart outside, we realize this
coffee shop is on a STUDIO LOT and is driven away--
Then, Mia’s phone rings. It reads: “MOM”. Mia presses
“IGNORE” and the time pops up on the phone’s screen: 4:07.
MIA
Shit.
Removing her apron and hurrying out, turning back as --
MANAGER
Where do you think you’re going?
MIA
It’s -- five past--
MANAGER
You’d better be here early
tomorrow.
MIA
Ok.
-- then realizes she doesn’t have her script, runs back to
grab it, hurries on and then, CRASHES into a table. Coffee
and food spill all over her shirt, and all at once we’re --
5 INT. AUDITION ROOM - DAY 5
Mia’s in a thick winter coat, covering her stained shirt.
On her cell, loudly laughing while her adrenaline surges --
MIA (CONT’D)
And I swear to God, she was
wrecked. It was pure lunacy. Oh
God, I know--
5.
Her nerves are practically visible. As she talks, we PULL
BACK to see that she’s auditioning for a CASTING DIRECTOR.
MIA (CONT’D)
No, no, Turner’s fine. So you --
are you waiting ‘til Denver to tell
her--?
(as her smile contracts)
Oh. I see--
(silence; she clenches
her jaw)
No, you’re right. I understand.
(--and a tear falls from
her eye)
Ok-- I just-- Oh--
An ASSISTANT appears through the glass on the door behind
Mia, waving to the Casting Director.
ASSISTANT
Yoohoo. Can I come in?
MIA (CONT’D)
(crying now)
No, I’m happy for you-- I -- I just
--
CASTING DIRECTOR
One second.
Mia stops. The Casting Director waves the Assistant in. The
Assistant scurries in, shows her boss a post-it. Mia stands
there, trying to hold onto the tears, hold onto the
emotion, as the Casting Director reads the post-it and
thinks.
CASTING DIRECTOR (CONT’D)
--I’ll call her back. Tell her I’m
almost done in here.
6.
The Assistant nods. Walks out. Mia waits, trying to
maintain--
CASTING DIRECTOR (CONT’D)
You know what? I think we’re good.
Thanks for coming in.
Mia looks at her. A beat.
6 INT. LOBBY - DAY 6
Mia exits. Nerves still on edge. Passes one beautiful
redhead after the next, all getting ready to cry.
Enters the elevator with two other WOMEN, tall, statuesque.
Also redheads.
7 INT. MIA’S APARTMENT - EARLY EVENING 7
Mia enters. Exhausted. Heads to her ROOM.
Old movie posters hang on the walls, including a big Ingrid
Bergman one over the bed. There’s also a shelf filled with
acting books, Uta Hagen, Stella Adler. Various other
trinkets: an old globe, an old blue-and-red suitcase. Mia
takes off her shoe. A blister on her sole.
8 INT. BATHROOM - CONTINUOUS 8
Just showered, wrapped in a towel. She hums to herself.
The mirror is fogged up. She turns off the vent. The mist
on the glass thickens. She dabs some of it away. Dims the
lights. Looks--
With the fog in place, her reflection looks like one of
those soft-focus old Hollywood close-ups. She hums as she
brushes her hair--
Then, the door SWINGS open and the spell is broken.
7.
TRACY
Holy Mother of God.
Mia snaps out of it. Turns. Fog is enveloping TRACY, 27.
TRACY (CONT’D)
Ever heard of a vent?
MIA
I wanted to give you an entrance.
ALEXIS
(appearing in the hall,
26, eating Cheetos)
Mia! How’d it go?
MIA
Eh--
ALEXIS
Same here. Was Jen there? Or
Rachel?
MIA
I don’t know who Jen and Rachel
are.
ALEXIS
They’re the worst.
MIA
I don’t know if they were there.
As Mia slips away --
8.
ALEXIS
I bet they were.
CAITLIN
(appearing, 27)
Why is there a convention in the
bathroom?
TRACY
Two minutes, people! Mia you’re
coming, right?
9 INT. MIA`S BEDROOM - CONTINUOUS 9
MIA
Can’t. Working.
TRACY (O.S.)
What?
(we PAN BACK to Tracy)
Did she say “working”?
We follow Mia INSIDE her room. She closes the door. Takes a
moment. You can tell in her eyes work or not, a night on
the town is the last thing she wants to do now.
10 INT. HALLWAY - CONTINUOUS 10
To find Tracy POUNDING on Mia’s door.
MIA
(opening up)
Yes?
TRACY
9.
Look, I know things didn’t go well
today. There are four things in my
inbox that you’re perfect for and I
will submit you. But right now --
you’re coming.
With that she barges in and beelines to Mia’s closet --
TRACY (CONT’D)
It’ll be fun.
MIA
It’ll be a bunch of social climbers
packed into one of those glass
houses.
TRACY
Exactly. Fun.
She pulls out a blue dress. As Alexis hurries in --
TRACY (CONT’D)
MIA This looks familiar. I was
going to give it back!
Alexis moves from Mia’s perfume to the dress, lighting up
as she grabs it --
ALEXIS
Come on, Mia. When else do you get
to see every Hollywood cliché
crammed into a single home?
TRACY
(faux-offended)
Lex! I’m disappointed in you.
There’s nothing to make fun of.
This party will be humanity at its
finest.
10.
Mia rolls her eyes and, with that --
Tracy BREAKS INTO SONG. [SOMEONE IN THE CROWD]
She play-acts the clichés this party will represent. Alexis
and Caitlin join in, giddy and playful. Mia can’t help but
laugh. The roommates sing and dance, hoping to persuade Mia
to join the night’s revelry--
Mia remains reluctant. Stays behind in her room as her
roommates head out the door. But she’s starting to wonder:
A night at home, feeling sorry for herself or a night out
with her friends?
11 EXT. APARTMENT BUILDING - STREET - NIGHT 11
We’re outside now, and BACK with Tracy, Alexis and Caitlin,
marching across the courtyard and toward the street. They
sing, dance, half-assuming Mia is a no-go --
-- until Mia APPEARS, blue-dress-clad. Her roommates look
at her in surprise -- then delight. The energy swells and
the four characters dance their way together down the
street. They dive into a single CAR.
DISSOLVE TO:
12 EXT. CITY - NIGHT 12
An old-fashioned MONTAGE of a night on the town: neon signs
and overflowing champagne glasses. Soon enough, we’re at...
13 EXT. MODERN HILLTOP HOUSE - NIGHT 13
Valet cars lined up. We FOLLOW Alexis, Tracy, Caitlin and
Mia to the door--
14 INT/EXT. HILLTOP HOUSE - NIGHT 14
11.
--and into a big-glass hilltop pad. We FOLLOW Mia as she
takes in her surroundings.
A D.J. turning tables. A FAT OLD PRODUCER dancing with a
TWENTY-SOMETHING. A trio of AGENTS glad-handing each other
in rhythm by the bar. Yep, every cliché is here--
Mia tries talking to a pair of WOMEN, who promptly ditch
her.
Seeing she’s now alone, a YOUNG MAN swoops in to hit on
her.
She makes a hasty exit toward the bar, but the line’s
obscenely long.
She nears the BATHROOM door, but a COUPLE stands in her
way, making out.
She slips in behind them--
15 INT. BATHROOM - CONTINUOUS 15
Mia takes a moment. The joy of seconds ago is gone from her
eyes now. She gazes into the mirror --
-- and SINGS by herself.
This verse, sung in private, belongs to a new style: less
brash, and far more vulnerable--
Once finished, Mia takes a breath, steels herself to once
again face the world, opens the door and rejoins the crowd-
-
We MOVE with her slowly now surrounded by the party, but
everything set at a snail’s pace, the crazed carousers
moving in SLOW MOTION. It’s the sadness underneath the
revelry, the pain underneath the clichés--
16 EXT. OUTSIDE - CONTINUOUS 16
Gradually we RAMP UP. Follow Mia OUTSIDE, where we see the
splash of blue-green that is the POOL and a flurry of FAKE
SNOW falling from above--
12.
As we reach FULL-SPEED, a PARTY-GOER races to the edge,
jumps --
-- and we PLUNGE WITH HIM INTO THE POOL.
This is the climax of the number. Everyone joins in,
circling the pool a swath of color against the black sky.
Everyone dances, everyone sings and the song concludes with
a blast of fireworks.
17 EXT. STREET - NIGHT 17
Close on a sign: “NO PARKING ANYTIME: TOW-AWAY ZONE”.
MIA (O.S.)
No--
We see Mia, all alone, staring at the sign. No car in
sight. She reaches into her purse, pulls out her cell phone
to call Tracy. It’s dead.
MIA (CONT’D)
No--
18 EXT. HILL - LOS ANGELES STREETS - NIGHT 18
Mia trudges down the steep hill in her unwieldy heels.
She’s an hour-and-a-half walk from her place. She crosses
roads and lots, navigates stretches where the sidewalk
stops and gives way to shrubbery.
And then, she hears something-- Music. A piano, in the
distance. And a MELODY, one we will come to know very well-
-
Without being sure why, she FOLLOWS THE SOUND. Passes
several doors. Then stops. Has found where it’s coming
from--
She reaches out and slowly opens a door--
CUT BACK TO:
13.
19 EXT. 101 FREEWAY - EARLIER THAT MORNING 19
AHHHHHHHHHHHHHHHHHHHHHHT. The same 101 traffic jam we began
with. This time we’re on Sebastian, the honker.
He passes Mia’s car. She gives him the finger. He drives
on, shaking his head--
20 EXT. RAYO’S - MOMENTS LATER 20
Sebastian sips a coffee as he gazes across the street at a
30’s Deco building. A sign above the door: “VAN BEEK”. A
newer sub-heading below: “TAPAS & TUNES”.
The door opens. Two EMPLOYEES step out, setting up a valet
stand. Sebastian watches them and shakes his head. The
employees notice him. Recognize him. What is it with that
guy?
21 INT. SEBASTIAN’S APARTMENT - DAY 21
Sebastian enters his apartment, cramped, dingy, bare walls,
no furniture or decoration, boxes filled with dusty black-
and-white photographs and unused instruments on the floor,
a black Steinway upright piano in the center of the living
room and sees a WOMAN rummaging around.
SEBASTIAN
You gotta stop breaking into my
home.
She looks up. She’s 37 quickly going on 50, and dressed
like she doesn’t care. This is LAURA, Sebastian’s older
sister.
LAURA
You think Mom or Dad would call
this a home?
Seeing that she’s seated on a stained, decrepit stool --
SEBASTIAN
Please don’t sit on that.
14.
LAURA
Are you serious?
SEBASTIAN
Yes. Hoagy Carmichael sat on that
stool. The Baked Potato was gonna
throw it away.
LAURA
I wonder why.
(then, rising,)
I brought you this. It’s a throw
rug.
SEBASTIAN
Don’t need it.
LAURA
Yeah? What if I told you Miles
Davis pissed on it?
SEBASTIAN
That’s almost insulting. Did he?
(She shakes her head)
Unbelievable. Tosses the rug to the
side.
LAURA
When are you going to unpack these
boxes?
SEBASTIAN
When I unpack them in my club.
15.
LAURA
Oh my God. It’s like a girl broke
up with you and you’re stalking
her.
(then, looks at him --)
You’re not still going by there,
are you?
SEBASTIAN
No.
A beat. Then --
SEBASTIAN (CONT’D)
They’ve turned it into a tapas-
samba place. You believe that?
LAURA
Seb --
SEBASTIAN
Who wants to tapas while they
samba?
LAURA
I have someone I want you to meet.
SEBASTIAN
I don’t want to meet anyone.
LAURA
You’ll like her.
SEBASTIAN
Uh-huh. Does she like jazz?
16.
LAURA
Probably not.
SEBASTIAN
Then what are we gonna talk about?
LAURA
You’ll talk about the weather.
SEBASTIAN
Ok. Then I have someone I’d like
you to meet. He’s got a face
tattoo, but a heart of gold.
LAURA
Sebastian --
SEBASTIAN
How long’s it been?
LAURA
You need to get serious. You live
like a hermit. You’re driving
without insurance.
SEBASTIAN
I am serious. I had a very serious
plan for my future. It’s not my
fault I got Shanghaied.
LAURA
You did not get “Shanghaied”, you
got ripped off.
17.
SEBASTIAN
What’s the difference?
LAURA
It’s not as romantic as that.
(she starts to walk off)
And everyone knew that guy was
shady except for you.
SEBASTIAN
Why do you say romantic like it’s a
dirty word?
LAURA
Unpaid bills are not romantic. Call
her.
She heads to the door. He follows her, won’t give it up --
SEBASTIAN
You’re acting like life’s got me on
the ropes -- what you don’t
understand is, I want to be on the
ropes. I’m letting life hit me
‘till it gets tired. Then I’m gonna
make my move. It’s a classic rope-
a-dope.
Laura can’t help but laugh. Stops by the door. Looks at
him.
LAURA
I love you. Unpack your boxes.
SEBASTIAN
I’m changing the locks.
18.
LAURA
(out the door with a
smile --)
You can’t afford it.
She’s gone. Sebastian thinks for a beat, then calls out --
SEBASTIAN
I’m a phoenix rising from the
ashes!
No reply to his triumphant declaration. He shuts the door.
Looks again at the napkin. Thinks. Tosses it in the trash.
22 INT. SEBASTIAN’S APARTMENT - LATER 22
Moments later. Sebastian takes a slice of pizza from the
fridge, pours himself some more coffee, places a Thelonious
Monk LP onto a record player, and sits down at the piano.
“Japanese Folk Song” the piece we heard in his car plays--
Sebastian plays along. Stops. Moves the record back a few
bars. Starts it again. Plays the same passage over. Stops.
Moves the record back a second time. Plays the passage
again. Stops. Over and over, just like in his car until,
finally, he gets it right.
He keeps playing, louder now, and we’re --
23 INT. RESTAURANT - NIGHT 23
A red-booth bar-and-restaurant. Christmas decorations all
over. Sebastian steps in. Immediately beelining over --
BOSS
Seb.
SEBASTIAN
(putting on a smile)
19.
Bill. Thanks for having me back.
BOSS
Your welcome. Stick to the set
list.
SEBASTIAN
Of course.
(under his breath as he
heads to the piano)
Though I don’t think they care what
I play.
BOSS
I do, and I don’t want to hear the
free jazz.
SEBASTIAN
How ‘bout one for you, one for me?
Or two for you, one for me?
(the Boss just glares)
Or all for you, none for me? Ok,
that works. Good deal.
Sebastian sits down at the keys. A WAITRESS passes by.
WAITRESS
Well-- Welcome back.
SEBASTIAN
There’s a nice way to say that.
With that he starts playing “Jingle Bells”.
24 INT. RESTAURANT - LATER 24
20.
The restaurant’s demographic has changed. It’s now younger
stragglers wandering in. Sebastian looks beyond bored. He
finishes “We Wish You a Merry Christmas”. Zero applause.
He begins a new chart: “Deck the Halls”. But something
seems to come over him now. He’s restless. Slowly, his
playing drifts off, his fingers charting their own path--
And then, we hear a melody. The one Mia heard outside. The
one we’ll refer to from now on as Mia and Sebastian’s song-
-
The door opens and Mia steps in. She sees Sebastian at the
piano. Is instantly struck by his playing. [MIA AND
SEBASTIAN’S THEME]
Gradually, all sounds but the music drop out. We drift away
from reality. Even the walls seem to go slightly darker, as
though Sebastian and Mia were all alone-- He concludes his
piece with a jumble of chords, his playing almost free jazz
now, as we pull back to real life--
--and see the Boss looking on in scorn.
Sebastian finishes. Silence. Mia looks like the wind has
been knocked out of her. Sebastian looks up for a second
and sees her. They look at one another. Just a moment.
Then, the Boss taps Sebastian on the shoulder. WE STAY ON
Mia as she watches Sebastian rise with the Boss. We just
see the Boss talking to Sebastian, can’t hear what is said.
Then, we get closer and realize:
BOSS
--every goddamn night.
Sebastian is silent. Then, doesn’t want to have to beg but
--
SEBASTIAN
I’ll stick to the set list, I
promise --
BOSS
Too late. You’re done.
SEBASTIAN
21.
You’re not gonna find a better
player. You know that.
BOSS
(leans in, and --)
Do you think anyone here gives a
shit?
With that, the Boss walks off. We linger on Sebastian.
Anger giving way to hurt. He starts hurrying toward the
door.
BACK to Mia who didn’t hear what was said. She watches
Sebastian, takes a breath, so moved that she’s about to lay
it all out, swoops in to corner him and --
MIA
I just wanted to say -- I saw your
playing, and I --
-- but Sebastian just walks right by his shoulder bumping
against Mia’s for an added measure of disdain.
He heads out the door. Slams it shut. Mia is left standing
on her own. She looks like she’s just been slapped.
CUT TO BLACK:
SPRING
25 INT. AUDITION ROOMS - DAY 25
Mia auditions. Pilot season cattle-call, a series of soul-
crushing try-outs. She’s pandering to the hilt. Quick
glimpses:
MIA (CONT’D)
I don’t like the fissure on the GT
scan. Did you test for
achromatopsia?
22.
26 INT. A SECOND AUDITION - CONTINUOUS 26
MIA (CONT’D)
D.O.A. on 23rd, perp laughing his
face off at P.D. Damn Miranda
Rights.
27 INT. A THIRD AUDITION - CONTINUOUS 27
MIA (CONT’D)
This is my classroom. You don’t
like it, the door’s to my left.
READER (O.S.)
(a well-dressed forty-
year-old WOMAN reading
from sides)
Lady why you be trippin’ like that?
MIA
No, Jamal. You be trippin’.
28 EXT. PARTY - DAY 28
Mia wanders around another party. A BAD 80’s COVER BAND
plays.
TRACY
There you are! You need to meet
someone! Carlo, this is Mia. Mia,
Carlo’s a writer.
CARLO TRACY
Nice to meet you, Mia.
He’s got projects all over town.
CARLO
23.
(shrugs, faux-modest)
They say I have a knack for world-
building.
MIA
(takes this in; then --)
Congratulations. I have to grab a
drink...
She slips away. Presses toward the bar. The music gets
louder, more obnoxious. She peers toward the band to get a
look--
And then she sees him. Sebastian.
Playing keyboard-guitar for the band. Dressed up like his
band- mates in a bright polyester outfit. And hating every
second.
The band finishes, and the SINGER addresses the (thin)
crowd.
SINGER
Alright, one more for y’all before
we break. Do I hear any requests?
MIA
“I Ran”.
Sebastian turns. Sees Mia, looking at him with a defiant
grin, enjoying her power. He thinks, then recognizes the
face.
SINGER
“I Ran” it is.
(to Sebastian)
Wanna start us off, piano-man?
Sebastian stays silent. Mortified. Finally, so reluctant,
he taps his keyboard to count the band in and begins
playing.
24.
On the keys, it’s a single note, repeated measure after
measure. Mia knew this. Sebastian looks at her. She smiles
right back.
SINGER (CONT’D)
I walked along the avenue--
29 EXT. PARTY - INT. HOUSE - MOMENTS LATER 29
Set break. Sebastian hurries from the keys, enters the
house, looks both ways, finally spots Mia and --
SEBASTIAN
Ok. I remember you.
Mia looks at him. One eyebrow raised. Yeah?
SEBASTIAN (CONT’D)
And I’m sorry if I was curt that
night.
MIA
“Curt”?
SEBASTIAN
Ok I was an asshole. I can admit
that.
MIA
Ok.
SEBASTIAN
But requesting “I Ran” from a
serious musician, it’s too far.
MIA
25.
My God. Did you just call yourself
“a serious musician”?
SEBASTIAN
(beat)
I don’t think so.
MIA
Can I borrow what you’re wearing?
SEBASTIAN
Why?
MIA
Because I have an audition next
week. I’m playing a serious fire-
fighter.
SEBASTIAN
(irritation building --)
So you’re an actress. That makes
sense. Have I seen you in anything?
MIA
Uh-- The coffee shop on the Warner
Brothers lot. That’s a classic.
SEBASTIAN
Oh, you’re a barista. Well now I
see how you can look down on me
from all the way up there.
SINGER
(popping in from nowhere)
Sebastian. Second set.
26.
Sebastian looks at Mia. She smirks. Pleased. The Singer
walks off.
SEBASTIAN
He doesn’t tell me what to do.
MIA
He just told you what to do.
SEBASTIAN
I let him.
A beat.
SEBASTIAN (CONT’D)
What’s your name?
MIA
Mia.
SEBASTIAN
Mia. Guess I’ll see you in the
movies.
He heads back to the keys, and the band resumes:
SINGER
Never seen you lookin’ so lovely as
you did tonight--
30 EXT. PARTY - STREET - NIGHT 30
27.
The party’s finished. Sebastian exits, pulling out his
keys, as we DRIFT and see a long line to the VALET.
Standing way in the back, waiting, is Mia. She’s stuck once
again with CARLO, who’s regaling her --
CARLO
--Goldilocks from the point of view
of the bears. Home-invasion
thriller. Fox and Warners are going
crazy for it.
Mia spots Sebastian, passing by the Valet with his keys.
CARLO (CONT’D)
--We’re going after Charlize. For
the bear. We’re flipping it. Feels
like a franchise. But the thing is
it’s grounded.
MIA
(to Sebastian)
George Michael!
Sebastian stops. Looks at her. Surprised.
SEBASTIAN
You again.
MIA
Did you just get your keys?
Sebastian thinks. Sees the Valet. Playing it off --
SEBASTIAN
--Yeah.
MIA
Can you grab mine?
28.
SEBASTIAN
--Which one is it?
MIA
The Prius.
A beat. Sebastian turns to the Valet’s box. Motions to the
VALET:
Sorry. One second. Looks. All the
keys are Prius keys.
MIA (CONT’D)
The one with the green ribbon.
Another beat. Sebastian finds it. Grabs it.
31 EXT. STREET - NIGHT 31
Mia and Sebastian trudge up a hill lined with cars. Mia
aims her key fob. No beep. Sebastian points his own keys,
also aiming for a beep. Silence. They’ve been at this for a
while.
MIA (CONT’D)
(almost tripping in her
heels)
Shit--
SEBASTIAN
Those look comfortable.
MIA
They aren’t.
29.
A beat. She aims again. No beep.
MIA (CONT’D)
Thank you for saving the day back
there.
SEBASTIAN
You didn’t give me much of a
choice.
MIA
Strange that we keep running into
each other.
SEBASTIAN
It is strange. Maybe it means
something.
MIA
I doubt it.
SEBASTIAN
Yeah I don’t think so either.
On that, Mia aims again. As always, no beep. Noticing --
SEBASTIAN (CONT’D)
Put the clicker under your chin.
MIA
What?
Sebastian demonstrates with his fob. He looks idiotic.
SEBASTIAN
30.
It turns your head into an antenna.
Probably gives you cancer, but you
find your car more quickly.
MIA
Uh-huh.
SEBASTIAN
You don’t live as long, but you get
things done faster, so it all evens
out.
MIA
Oh my God.
Just then, they reach a clearing AND THE CITY SKYLINE
APPEARS BELOW. A ribbon of lights, stretching as far as you
can see. It’s the most romantic sight imaginable. They look
at each other. A beat. And then --
MIA (CONT’D)
Eh.
They walk on, the lights shimmering behind.
SEBASTIAN
Not much to look at.
MIA
Agreed. I’ve seen better.
And on that they SING. [A LOVELY NIGHT]
31.
Mia and Sebastian try to downplay the romanticism of this
setting, this moment, being lost here, at night, alone
together, atop a hill, the city glittering before them.
It’s “no big deal”, nothing they haven’t seen or felt
before because, after all, there’s no chance for romance
between them--
Of course, the music, swelling and building, suggests
otherwise. Mia tires of her heels, finds a bench and fishes
for flats in her handbag. Sebastian sits beside her as she
slips the flats on. They look at each other, suspicious...
He moves his foot. She moves hers. They look at each other
again. Still suspicious--
He moves again. She moves again. They seem to be moving in
sync without their even wanting to--
And bit by bit before our eyes, they’ve almost slipped into
DANCE--
Sebastian rises. Mia rises as well. The two look at each
other. Run back to the bench, hop atop it, the lights
stretch out like a magic carpet. They share a moment, share
a look, jump off, AND START REALLY DANCING NOW--
Mia does a move, Sebastian responds. Sebastian does a move,
Mia shakes her head: “Nope”. They make the road their own,
growing more and more energized, as surprised as we are to
find --
--that they can really dance together.
Just as this starts to look like a blossoming romance, real
joy peeking through, our two heroes getting closer and
closer and closer, looking at each other almost giddily--
--a sound cuts through. It’s a CELL PHONE ring.
Mia and Sebastian turn to her handbag, back by the bench.
Snapped out of it, Mia heads over and pulls out her cell.
MIA (CONT’D)
Hey-- Greg--? Can you hear me--?
Yeah, I’m just leaving now-- OK,
see you soon--
She hangs up. Looks at Sebastian. An awkward silence.
Finally, she presses her fob again. Puts it under her chin
this time. A BEEP can be heard. They see her Prius.
32.
MIA (CONT’D)
Ah. Great-- Well-- Do you want a
ride to your car?
SEBASTIAN
No, that’s fine-- Thanks--
MIA
--Ok--
Not sure what else to say, she heads to her vehicle. Waves.
MIA (CONT’D)
Night.
Sebastian waves back. Mia drives off. Fast. Silence--
Looking even more disappointed than he thought he’d be,
Sebastian walks on for a bit, then retreats back down.
32 EXT. HIS RIVIERA - CONTINUOUS 32
Comes to a stop across from the party, and we see his
Riviera right, it seems, where he knew it was all along. He
pulls out his keys, they don’t have a clicker after all.
33 INT. COFFEE SHOP - DAY 33
CLOSE on --
CUSTOMER
Are these pastries gluten-free?
Mia’s at work. A typically chaotic day.
MIA
33.
No--
CUSTOMER
What?? I want a refund.
Mia nods, heads to the Manager --
MANAGER
You’re closing up Friday.
MIA
I have an audition. Remember?
MANAGER
Do I look like I care? Reschedule
it.
MIA
But you said --
MANAGER
And fix your apron.
With that, the Manager walks off. Mia is silent for a
moment, wants to talk back but needs this job, then turns
and sees Sebastian at the counter.
MIA
--Hi.
(then)
What are you doing here?
SEBASTIAN
Meetings. Studio heads.
34.
MIA
Uh-huh. How’d you get on the lot?
SEBASTIAN
Piece of cake.
Mia looks at him. He’s sweating through his shirt. A beat.
SEBASTIAN (CONT’D)
Actually it took me four hours and
I ended up running. We probably
have twenty minutes before the guy
finds me. You got a break coming
up?
Mia laughs. A moment.
MIA
I’m off in ten.
SEBASTIAN
Great. I’ll hide in the bathroom.
34 EXT. COFFEE SHOP - STUDIO LOT - DAY 34
Mia exits, apron off. She and Sebastian start walking. She
points across the street to the façade of a Parisian
apartment.
MIA
That’s the window Ingrid Bergman
and Humphrey Bogart looked out of
in Casablanca.
Sebastian nods. They start walking.
SEBASTIAN
What’s your Bogart’s name--?
(Mia looks at him)
35.
Is it Greg?
MIA
Yeah. Greg.
SEBASTIAN
How long have--?
MIA
We’ve been seeing each other for a
few months.
An awkward beat. They pass a wooden SALOON where a WESTERN
is being shot. Extras in COWBOY costumes drink coffee on
the steps.
MIA (CONT’D)
I love this stuff. Makes coming to
work easier.
SEBASTIAN
I know what you mean. I get
breakfast five miles out of the way
just to sit outside a jazz club.
MIA
Oh yeah?
SEBASTIAN
It was called Van Beek. The swing
bands played there. Count Basie.
Chick Webb.
(then,)
It’s a samba-tapas place now.
MIA
36.
A what?
SEBASTIAN
Samba-tapas. It’s-- Exactly. The
joke’s on history.
Mia laughs.
SEBASTIAN (CONT’D)
Anyway, that’s L.A. They worship
everything and they value nothing.
They reach a patch of green. Another shoot. A P.A. yells
out:
P.A.
Clear the frame!
MIA
(to Sebastian)
We need to wait here.
SEBASTIAN
I know. They shoot movies on my
street. “C-stands.” “Apple box.”
“Don’t forget to sign out.”
Mia laughs. A beat.
A.D. (O.S.)
Quiet on set!
Mia and Sebastian watch the cameras roll. Then, in a
whisper --
SEBASTIAN
How’d you get into all this?
37.
MIA
Into--? Oh -- I -- my aunt was an
actress. She was in this traveling
theater company-- And there was
this little library across the
street from my house when I was
growing up. This was Boulder City,
Nevada -- every house looked
exactly the same. I was ten and
already I needed to get out. And
one day, my aunt flew into town,
and she showed me the library’s
old-movie section. We spent a whole
day watching one after the other.
Bringing Up Baby. Notorious.
Casablanca. I never knew the world
was so big.
DIRECTOR (O.S.)
Cut!
Mia and Sebastian resume walking. Now, at full volume --
MIA
I started putting on plays in my
garage. I’d write the scripts and
print up programs, and she’d give
me props to use from wherever she’d
just been -- New York, London,
Paris. And then she’d jet off again
and I wouldn’t hear from her for
another year.
SEBASTIAN
Who would you invite to watch? Your
parents?
MIA
God no -- I didn’t invite anyone.
That would have been terrifying.
CUT TO:
38.
The entrance to a giant soundstage.
MIA (CONT’D)
Honestly, I wish I loved something
else. I’ve tried so hard to want
other things.
She and Sebastian stop. Peer inside the stage.
MIA (CONT’D)
I left school after two years to
come here, my fourth manager just
dropped me, and my last audition
was for a teen soap pitched as
Dangerous Minds meets The O.C.
(a beat; then, deadpan)
Should’ve been a lawyer.
They resume walking.
CUT TO:
A row of closed soundstages, sandy-tan against the bright
blue sky.
SEBASTIAN
--‘Cause the world needs more
lawyers.
MIA
Well it doesn’t need more
actresses.
SEBASTIAN
You’re not just an actress.
MIA
What do you mean, “just an
actress”?
39.
SEBASTIAN
You said it yourself, you’re a
child- prodigy playwright.
MIA
That is not what I said.
SEBASTIAN
You’re too modest to say it but
it’s true. So you could write your
own roles. Write something that’s
as interesting as you are.
MIA
Last thing I wrote was a stand-up
routine for an open-mic night. It
was horrible.
SEBASTIAN
All I’m saying is -- Louis
Armstrong could have played the
marching-band charts he was given.
What did he do instead? He made
history.
MIA
Ok, I’ll stop auditioning and make
history instead.
Sebastian laughs.
MIA (CONT’D)
Anyway -- I’m getting a feeling
there’s something I should tell
you--
SEBASTIAN
Yeah?
40.
MIA
I hate jazz.
Sebastian stops. Turns to her.
SEBASTIAN
What does that mean? “I hate jazz”?
MIA
It means when I listen to it I
don’t like it.
SEBASTIAN
But it’s such a blanket statement.
It’s like saying “I hate animals”.
MIA
I do hate some animals.
SEBASTIAN
Do you need to be anywhere right
now?
Mia looks at him. We hear DRUMS. A swinging ride pattern.
And we’re in --
35 INT. LIGHTHOUSE CAFE - DAY 35
-- an old-school JAZZ CLUB. It’s almost empty, only aged
JAZZ CATS here, except for Mia and Sebastian, watching a
QUARTET--
SEBASTIAN (CONT’D)
41.
Most people say they hate jazz
because they don’t have context.
They don’t get where it came from.
All these people packed into
flophouses in New Orleans, speaking
five different languages, and jazz
was how they talked to each other.
MIA
I thought it was just Kenny G.
SEBASTIAN
--What?
Mia looks at him. Already knows just how to get to him.
MIA
I associate it with facials. It’s
relaxing.
SEBASTIAN
It’s not relaxing! Sid Bechet got
into a gunfight ‘cause somebody
told him he played a wrong note!
MIA
(laying it on thick)
Right, but it’s good to talk over.
Where I grew up there’s this jazz
station they’d play at cocktail
parties whenever they served the
salami and cheese.
SEBASTIAN
Mia. These are things you can’t
unsay.
She bursts into laughter. Sebastian points to the band --
42.
SEBASTIAN (CONT’D)
It’s not cocktail music -- it’s a
high- wire act. These guys are
performing and composing and
rearranging all at once.
A beat. Mia looks at the band. We DRIFT over the
instruments--
SEBASTIAN (CONT’D)
That’s why you need to be in the
space and see what’s at stake. This
whole thing -- it’s dying. In
twenty minutes they’ll head off to
cut commercial sessions or do pit
at the Pantages ‘cause they have to
-- but when I have my own place --
my club -- they’ll play whatever
they want.
Mia looks at Sebastian. Her laughter has subsided. She can
see something in him now, the same passion he’s speaking
of--
MIA
Your club?
SEBASTIAN
--It’s gonna be the old Van Beek.
I’m getting the lease back. It’ll
be perfect.
He watches the band. Lost in the sound. Then, sincere --
SEBASTIAN (CONT’D)
The world tells everyone to move
on. Says the music’s had its
moment. But I love it too much. I’m
not moving on.
The band finishes. The ride cymbal sizzles in the air--
SEBASTIAN (CONT’D)
43.
So?
He looks at Mia. She’s visibly moved.
Just then, we hear a BEEP. Mia looks at her phone.
36 INT. SIDE CORRIDOR - LIGHTHOUSE CAFE - CONTINUOUS 36
MIA
Hi, I just missed a call--
37 INT. LIGHTHOUSE CAFE - MOMENTS LATER 37
Mia steps out, dazed. Sebastian’s listening to a new tune.
He spots Mia, turns to her as, shouting over the music --
MIA (CONT’D)
I got a call-back!
SEBASTIAN
Really? For what?
MIA
That show I told you about.
SEBASTIAN
Dangerous Minds meets The O.C.?
MIA
Right. It’s -- actually more like
Rebel Without a Cause.
SEBASTIAN
44.
That’s amazing! “I got the
bulletsssss!”
Mia laughs. But Sebastian can tell something in her laugh--
SEBASTIAN (CONT’D)
You’ve seen it, right?
MIA
Obviously.
(a beat; then --)
No.
SEBASTIAN
What? You’re the movie person.
MIA
It’s the one I lie about.
SEBASTIAN
Come on. You can’t do this audition
and never see Rebel. The theater
near me’s playing it. If you want -
- I can take you. For research.
MIA
(considering this)
--Ok.
SEBASTIAN
10pm Monday at the Rialto. Cool?
MIA
Ok.
(another nod, taking it
in)
45.
For research.
Mia looks at him, he looks at her, each of them suppressing
a newfound giddiness-- And on that --
38 EXT. LIGHTHOUSE CAFE - EVENING 38
Mia and Sebastian exit. Wave “good-bye”. We FOLLOW
Sebastian. He rounds the corner, nears the Hermosa Beach
pier--
--and begins to SING. [CITY OF STARS] Lifted by a strange
new feeling, a feeling he wasn’t expecting. The feeling
that perhaps, just perhaps, he’s falling in love--
He gazes out at the sea, the purple sky. Dances with an OLD
COUPLE, then continues on his way, as though caught in a
dream. There’s an uncertainty in his singing, he’s not sure
if this dream will sustain. But for now, it’s a beautiful
feeling-- The MUSIC simmers down.
FADE OUT:
39 EXT. AUDITION BUILDING - DAY 39
A Pasadena building. As Mia approaches the door, another
cell ring. It’s her MOM. This time, Mia is happy to get the
call:
MIA (CONT’D)
Hi, Mom!
MIA’S MOM (O.S.)
Hi, sweetie. How are you?
MIA
Great, actually: I got a call-back
on a pilot.
46.
MIA’S MOM (O.S.)
Oh my God! You’re going to be on
TV??
MIA
Well -- it’s not picked up yet.
MIA’S MOM (O.S.)
Not picked up?
MIA
First they make the pilot, then if
they like the pilot it goes on TV.
MIA’S MOM (O.S.)
And you’re in the pilot?
MIA
Well, no, I have a call-back.
MIA’S MOM (O.S.)
I see-- Didn’t you audition for a
TV thing last week?
MIA
It’s another audition.
MIA’S MOM (O.S.)
I see-- So you might get a role in
a thing that might one day be put
on TV--
MIA
47.
--Well when you put it like that it
sounds like a huge accomplishment.
MIA’S MOM (O.S.)
No, I don’t mean that, it’s so
exciting. What channel? ABC? HBO?
MIA
Oxygen.
MIA’S MOM (O.S.)
Oxygen?
MIA
You know what, I have to go. I love
you.
She hangs up. Takes a deep breath. Enters the building.
40 INT. WAITING ROOM - MOMENTS LATER 40
Mia sits, starts reviewing her script.
Looks around her, the room is filled with ACTRESSES
silently MOUTHING THEIR LINES. It’s a bizarre sight: a
dozen women moving their mouths, with no sound coming out
at all.
What’s more, they’re all in variations of the same type of
costume: Michelle Pfeiffer’s leather jacket from Dangerous
Minds.
A few stare at Mia, sizing her up. In the corner, another
one of them GRUNTS while performing stretches. Then, a DOOR
to the side opens, and Mia can hear --
DIRECTOR (O.S.)
--We’ll be seeing you very soon.
48.
An ACTRESS exits. Absolutely beaming. And then, a bored
voice --
ASSISTANT
Mia, Dolan?
41 INT. AUDITION ROOM - MOMENTS LATER 41
Mia steps in. The pilot’s DIRECTOR is seated at a table,
looking in his folder at Mia’s head-shot. He looks up at
Mia.
DIRECTOR
Whenever you’re ready.
Mia breathes in. Heart pounding. Sweat percolating. Has
been practicing this for days now.
Fighting her nerves, she begins --
MIA
Two options. Follow my rules, or
follow my rules. Kapish? You want
to bully, you’d best be ready to
get bullied --
DIRECTOR
Thanks.
Mia is taken aback.
MIA
I can do it another way --
DIRECTOR
No, thanks, that was great.
49.
We linger on Mia for a moment, and then --
42 EXT. PARKING LOT - INT. MIA’S CAR - DAY 42
Crestfallen, humiliated, Mia hurries to her car. Sees a
voicemail on her cell. Plays it --
MIA’S MOM (O.S.)
Dad just helped me find Oxygen on
the guide! So exciting! So will you
be getting health insurance now?
Mia switches her phone off and drives. Clenches her jaw.
Turns left and sees a movie theater. The Rialto. Manages a
smile.
Something she can remain upbeat about--
43 INT. MIA’S APARTMENT - DAY 43
Mia in her room, sorting through outfits. Slips into jeans
--
ALEXIS
Mia?
-- then spins around, startled. Alexis is at the door,
eating Fritos. Has been crying.
ALEXIS (CONT’D)
(with difficulty)
Greg’s here--
Mia looks at Alexis, completely confused. Then, Greg steps
out behind Alexis. Waves to her.
GREG
Hey-- I’m parked out front. But we
should hurry, my brother just
landed.
50.
Mia looks at him, still confused. Then remembers.
GREG (CONT’D)
Did you forget?
MIA
Shit. No. Yes. I’ll change--
GREG
(smiles)
It’s ok.
Mia closes her door, turns, and we see her face. She’s
crushed. She goes to call Sebastian, then freezes.
Remembers something else. She never got his number--
We linger on her face, as, on his phone outside her door --
GREG (O.S.) (CONT’D)
Josh! Yep, just picking Mia up now.
Will be there in twenty.
44 INT. LIGHTHOUSE CAFE - NIGHT 44
Sebastian’s playing a jam session. Excited, distracted.
10pm can’t come quickly enough.
45 INT. JAR - NIGHT 45
Mia, in a green dress, with Greg, his brother JOSH, and
Josh’s FIANCEE. The restaurant is posh, modern. Josh wears
a Brooks Brothers suit: he seems better-off than his
brother.
JOSH
That’s right -- but now we’ve got a
surround-sound set-up, so it’s like
--
51.
FIANCEE
It’s like being in a movie theater.
JOSH
It’s better than going to a
theater, really. You know theaters
these days --
GREG
Oh, sure --
JOSH
-- they’re so dirty, and they’re
either too hot or too cold, and
there’s always people talking,
which is just --
(his phone buzzes)
-- just so annoying, I mean you’re
trying to watch a movie -- one
second --
(opens phone)
Hello?--
His Fiancée smiles, looks at Greg and Mia, proud.
FIANCEE
Probably work.
JOSH
Yeah, I’ll have to call you back.
(closes and pockets his
phone)
So, yeah, we love it.
Awkward silence. Mia hasn’t spoken a word.
52.
46 EXT. RIALTO MOVIE THEATER - NIGHT 46
Sebastian paces. People shuffle in. He looks. No sign of
Mia.
47 INT. JAR - NIGHT 47
Midway through the meal.
Mia is bored, restless, uneasy.
JOSH (CONT’D)
One word for you. Nicaragua.
GREG
I’ve never heard anyone say that.
Was it amazing?
JOSH
Oh my God. A five-star jungle eco-
resort. It was unbelievable.
Mia stays quiet, in her own thoughts, the voices around her
fading away. And then she hears it, coming from the
restaurant speakers, peeking out subtly at first: the
melody we now know so well-- Her and Sebastian’s song.
She FREEZES. The radio music seems to have morphed into the
melody, and the tune stirs something deep within her --
A few seconds pass. And then she can’t deny it any longer.
It’s clear as day to her now. She rises from her seat --
GREG
Mia?
(looks at Greg)
MIA
I’m sorry.
53.
-- and as the sounds of a FULL ORCHESTRA swoop in --
-- RUNS out of the restaurant as fast as she can.
48 EXT. JAR - NIGHT 48
The MUSIC SWELLS, strings carrying us through and lifting
Mia’s spirits as she runs down the street in her green
dress, for once absolutely sure of what she’s doing --
49 INT. RIALTO MOVIE THEATER - NIGHT 49
Inside the Rialto, Sebastian settling into his seat, the
show about to begin. He’s visibly disappointed that he’s
alone. The lights dim. Projector light cuts through the
darkness. And then, as the movie’s credits start up,
Sebastian spots, out of the corner of his eye, a figure in
the aisle --
He looks. The figure turns. Looks at him. It’s Mia.
And, caught like a freeze-frame in the projector light, her
green dress incandescent, the giant movie screen behind her
like a great piece of back-projection, she looks more
beautiful than ever right now. A true old-fashioned screen
siren.
Sebastian’s eyes go wide. He’s surprised. And thrilled. He
waves. Mia hurries toward him. Takes the seat next to his,
as Rebel Without a Cause begins --
50 INT. RIALTO MOVIE THEATER - LATER 50
Half an hour has passed. The movie plays, lights flickering
on Mia and Sebastian’s darkened faces.
He puts his arm on the armrest, she moves hers nervously.
He scoots to his right, she scoots back.
She edges her elbow onto the armrest, he moves his arm.
54.
Inch by inch, their bodies grow closer. Hands approaching,
breaths quickening, hearts pounding --
-- until finally their hands touch --
And then, suddenly, just as James Dean and Natalie Wood
arrive at Griffith Observatory, and Mia and Sebastian seem
about to kiss --
-- burn marks streak their way across the image.
The screen goes blank.
Silence. The lights go on. Mia and Sebastian turn around.
AUDIENCE MEMBERS start murmuring. Sebastian can barely
believe his bad luck.
But then Mia turns to him. Energized.
MIA (CONT’D)
I have an idea.
51 EXT. ROAD - NIGHT 51
Sebastian’s car, traveling up a winding road, stars
glittering above it, the lights of Los Angeles glittering
below it. The sky is a deep, painted blue. Music plays
[PLANETARIUM]
The car is bending around the turns, making its way up to -
-
52 INT. THE REAL GRIFFITH OBSERVATORY - CONTINUOUS 52
There, our MUSIC crests. Our two characters get out of the
car and wander, searching for an open entrance. They find
one and sneak in --
They ascend a staircase. Make their way past the exhibits,
the Tesla coil shooting off electric bolts.
They reach the pendulum, gaze up at the mural above it,
look at one another. Circle the pendulum, and then, so
tenderly, so nervously --
-- they begin to DANCE.
55.
This is a dance that fulfills all the promise in their
earlier duet. They circle the floor, gently and gracefully.
The music BUILDS, and they drift into --
53 INT. THE PLANETARIUM. - CONTINUOUS 53
It’s darkened, empty. Mia removes her shoes, feels the soft
carpet under her feet. Turns on the projector. The screen
STARTS TO GLOW. She and Sebastian take in the sight, the
STARS and GALAXIES --
Enchanted, they look at one another, the lights from the
screen reflected on their faces. They approach, as though
about to kiss-- When --
-- Mia’s shoes LIFT UP. Float toward the ceiling, toward
the star-filled screen. She and Sebastian trade looks.
Realize. And then they too begin to FLOAT --
-- RISING from the floor, nothing stopping them. SOARING
past the views of comets and moons and nebulae. Eyes wide,
their emotions seized, as they HOLD EACH OTHER TIGHT --
And so unspools a gravity-free dance.
Mia and Sebastian SPIN and TWIRL through the planetarium as
though they themselves were in outer space, flying through
the cosmos. The music carries them higher and higher, and
their spirits likewise soar, JOYOUS, EXUBERANT, until,
finally --
-- the music SOFTENS.
Mia and Sebastian drift back to the floor like feathers.
They land on a pair of seats.
There, once again seated like audience members at a movie,
they turn and look into each other’s eyes. The music picks
back up for the big finish, as the lovers lean in and in
true movie- movie old-Hollywood big-musical fashion --
-- LOCK LIPS.
It’s their first kiss, and it’s a kiss to remember, full of
all the hope and yearning and terror and wonder of love’s
first blush. A swoon-worthy kiss, with the orchestra
soaring and the camera swooping in to catch the embrace in
all its glory.
On this triumphant moment --
56.
FADE OUT:
54 INT. MIA’S APARTMENT - LIVING ROOM - DAY 54
Mia’s scribbling in a notebook. It’s dialogue. We see
character headings, scene headings. Seems to be some kind
of a script --
TRACY (O.S.)
What’s that?
Mia turns. Tracy has wandered in pajamas, eating cereal.
TRACY (CONT’D)
Is that a script?
MIA
It’s a play. I’m going to put it on
myself.
ALEXIS (O.S.)
(chiming in from her
bedroom)
A play? You better give us roles!
MIA
Actually -- it’s a -- it’s a one-
woman show --
A beat and then --
AHHHHHHHHHHHHHHHHHHHHHHHHHHHT.
HONKING outside the nearest window. It’s a honk we
recognize:
TRACY
-- Is that gonna happen every time?
57.
MIA
(glowing)
I think so.
55 EXT. MIA’S APARTMENT BUILDING - DAY 55
Mia dashes out and LEAPS into Sebastian’s car and into his
arms. They KISS giddy, emotional, as though they’d been
separated for years. Sebastian drives off when --
MIA (O.S.) (CONT’D)
It’s one-way!!
The car SCREECHES to a stop in front of a TRUCK going the
opposite direction. Sebastian goes into REVERSE as Mia
cracks up laughing. A BURST OF MUSIC as a title card pops
on:
SUMMER
The MUSIC carries us through the following series of
GLIMPSES:
56 INT. BUNKER HILL - CONTINUOUS 56
Mia and Sebastian ambling past weathered 30’s bungalows in
BUNKER HILL --
57 EXT. SILENT - ERA HOMES - CONTINUOUS 57
Mia guiding Sebastian down a street peppered with SILENT-
ERA HOMES, past old gas-lamps and palms --
58 INT. VAN BEEK. - CONTINUOUS 58
58.
Sebastian gestures to the “TAPAS & TUNES” sign. Excitedly
tries to deface it. Mia, aghast, pulls him back --
59 EXT. THE HUNTINGTON GARDENS - CONTINUOUS 59
Where Mia and Sebastian gaze at the tiny forest --
60 EXT. WATT`S TOWERS - CONTINUOUS 60
Where the two lovers stroll and kiss --
61 EXT. THE GRAND CENTRAL MARKET - CONTINUOUS 61
Where they grab food --
62 INT. ANGEL’S FLIGHT - CONTINUOUS 62
At night, where they stumble and slip into a tipsy, love-
soaked dance --
Interspersed throughout, WE SEE IMAGES OF LOS ANGELES:
1940’s high-rises, green movie-movie lettering, ochre walls
shaded by palm fronds, red flowers and Spanish missions,
old lamps and Art Deco hotels. It’s a gorgeous city, and
the music only makes it more gorgeous, building and
carrying us to --
63 INT. LIGHTHOUSE CAFE - NIGHT 63
A Lighthouse JAM SESSION. Sebastian’s at the keys, having a
blast. The place is again mostly empty, but Mia is dancing
her heart out. She shoots looks at Sebastian. He laughs,
plays out for her. The two of them are in their own world,
one of pure, unadulterated JOY --
The song ends. Sebastian rises, joins Mia. They sit down as
the band strikes up a new tune, and kiss.
59.
KEITH (O.S.)
Sebastian?
Mia and Sebastian look up, startled. A YOUNG MAN, 35, is
standing next to them. Tall, fierce eyes. This is KEITH.
SEBASTIAN
Keith?
KEITH
Holy shit. Come here, man.
Sebastian gets up. Gives him a hug. But Mia can sense an
unease in Sebastian’s eyes. It’s a strained hug.
SEBASTIAN
This is Mia. Mia, Keith.
(explaining to Mia)
We used to play together.
KEITH
Hey, Mia. Hey --
Sebastian sits back down. Wants to end the conversation.
KEITH
So how’ve you been?
SEBASTIAN
Great. You?
KEITH
Keeping busy. Got a new combo.
SEBASTIAN
Good for you.
60.
KEITH
-- Looking for keys.
SEBASTIAN
(after a beat)
I’m good.
KEITH
You sure? It pays.
Sebastian looks at Keith. A moment.
SEBASTIAN
I’m good.
Keith almost smiles. Expected this.
KEITH
Let’s just grab a drink then. Call
me. It’s been too long.
SEBASTIAN
You bet.
KEITH
Nice meeting you, Mia.
MIA
Nice meeting you.
Keith walks off. Mia and Sebastian look at each other. Then
--
61.
64 INT. SEBASTIAN’S APARTMENT - NIGHT 64
CLOSE ON MIA. She looks anxious. CLOSE ON Sebastian. He
looks head-over-heels in love.
SEBASTIAN
It’s beautiful.
MIA
-- You’re just saying that.
SEBASTIAN
No-- I’m not.
We PULL BACK and see a script on Mia’s lap. She’s just
finished reading Sebastian her play.
MIA
I don’t know-- Is the whole thing
too nostalgic?
SEBASTIAN
That’s the point.
MIA
But do you think people will like
it?
SEBASTIAN
Fuck ‘em.
MIA
(laughs)
You always say that.
SEBASTIAN
62.
I truly believe it.
MIA
Fine -- as long as you sit front-
row ‘cause I’ll probably throw up
on the middle of the stage
otherwise.
SEBASTIAN
I’ll be front-row.
Mia looks at him. Smiles. It genuinely means the world to
her. Then, a glow in her eyes, wants to reciprocate --
MIA
I made something for you.
She hops off the bed, fishes through a bag. Pulls out a
drawing.
SEBASTIAN
What’s that?
MIA
It could be the name design. On the
door.
SEBASTIAN
Why does it say “Seb’s”?
MIA
That’s what you should name it.
SEBASTIAN
Never.
63.
MIA
Sebastian, no one’s going to a club
called “Chicken on a Stick”.
SEBASTIAN
You don’t get it. Charlie Parker
got the name “Bird” because he
loved chicken. So my club’s gonna
be old-school jazz and beer and
chicken. “Chicken on a Stick”.
MIA
No. Drop the chicken. Drinks and
jazz.
(he rolls his eyes)
And it’s time to start looking for
other places.
SEBASTIAN
It’s gotta be Van Beek. I can’t let
them samba all over its history.
MIA
Make your own history.
Sebastian looks at her. Appreciates that line. A beat. Then
--
SEBASTIAN
Your play’s incredible.
Mia smiles. He approaches her, sits by her side.
SEBASTIAN (CONT’D)
The whole world from your bedroom?
Who’s doing that?
64.
MIA
I’m doing that.
They laugh.
MIA (CONT’D)
So who was that guy at the
Lighthouse?
SEBASTIAN
-- Which guy?
MIA
The one who offered you a gig.
SEBASTIAN
You mean Keith? He’s the worst.
MIA
Why was it weird between you two?
SEBASTIAN
It’s always weird with him.
MIA
He did offer you a job.
SEBASTIAN
Right --
MIA
Are you going to call him?
65.
SEBASTIAN
No.
A beat.
MIA
Ok --
A moment passes. They lie down, side by side.
SEBASTIAN
Here’s what we know. It’s
definitely Chicken on a Stick --
(Mia rolls her eyes)
-- and your play is going to be a
triumph.
She looks at him. He looks at her. A shared smile.
And on that --
65 INT. SEBASTIAN’S APARTMENT - MORNING 65
The next morning. Sebastian is in bed. Hears snatches of
Mia’s voice, she’s on her phone in the other room:
MIA (O.S.)
-- No, Mom, it’s a one-woman show -
- No, I’m acting in it as well --
No, I’m not getting paid, I’m
paying to do it --
(then,)
He’s great -- He’s going to open
his own jazz club. It’s going to be
incredible --
(beat; then, softer --)
Well he has to get the money
together first, and -- He’s
figuring it out -- Yeah, it’s just
been a little tricky lately --
Sebastian listens. Takes it in.
66.
MIA (O.S.) (CONT’D)
Look -- he’s going to find a way to
open it and you’re going to love
it. Ok? How’s Dad?
On Sebastian. He thinks --
66 INT. REHEARSAL SPACE - DAY 66
Sebastian enters. Keith’s combo is assembled.
It’s a sign-up practice room in the West Valley. There’s a
drummer, electric bassist, and trumpeter: COLE, MALCOLM and
TOM. They’re more polished in their looks than Sebastian.
Well-groomed beards, tighter jeans.
KEITH
Sebastian.
Sebastian approaches.
KEITH (CONT’D)
Didn’t know if I’d see you today.
SEBASTIAN
(a bit awkward)
Well -- Here I am.
A moment. Then --
SEBASTIAN (CONT’D)
Where’s the piano?
Keith gestures to an electronic keyboard. Sebastian winces.
KEITH
67.
Here’s the deal. We’ve got
distribution with Universal, got
our own imprint. We’re about to go
on the road. We can cut you in for
1K a week while we tour, plus an
equal share of any merchandise or
ticket revenue that comes in. Sound
good?
We see Sebastian’s face. Taken aback.
KEITH (CONT’D)
Sebastian?
SEBASTIAN
Yeah, that -- that --
(beat)
-- sounds good.
A moment. Keith smiles.
KEITH
Let’s play, see how it feels.
He pulls out a guitar. Cole starts on drums. Keith joins
in. Malcolm and Tom follow suit. Sebastian listens. It
sounds like modern jazz, electronic in feel, but still jazz
--
Sebastian approaches the keyboard. Joins, slowly, one step
at a time. Then begins playing out a bit more, his fingers
starting to race. Malcolm gives Keith a look: “Damn”. Keith
gives Malcolm a look back: “I told you so.” Bit by bit,
Sebastian eases into the groove. This isn’t so bad --
Then, Keith moves to a LAPTOP. Introduces a DRUM-MACHINE
SAMPLE.
Sebastian, into the music, is caught off-guard. Uneasy now.
This isn’t him --
Keith plays a riff on his guitar. Tom echoes it on bass,
then Malcolm on trumpet. Now it’s Sebastian’s turn. He
hesitates. And then, finally, he plays the riff --
68.
It doesn’t feel so bad. The guys build on the riff.
Sebastian keeps up with them, trying to let go of his
presuppositions.
After all, these guys can play --
The music builds, the whole thing swelling and finally
carrying us to.
67 INT. REHEARSAL SPACE - DAY - CONTINUOUS 67
Sebastian and Keith sit across from each other as the other
players pack up. Sebastian looks pensive. Noticing --
KEITH (CONT’D)
I know. It’s different.
Sebastian stays silent. Then, leaning in --
KEITH (CONT’D)
But you say you want to save jazz.
How are you going to save jazz if
no one’s listening? Jazz wouldn’t
exist if people hadn’t gotten tired
of what they were listening to
before. I mean, do you really think
a bunch of ninety-year-olds in a
basement is the future of the form?
Traditionalists whined when Kenny
Clarke started dropping bombs. If
traditionalists had their way, we’d
still be playing Dixieland.
Sebastian considers this. As much as he might make a play
of resisting, we can tell the words are getting to him --
SEBASTIAN
You’re holding onto the past. But
jazz is about the future.
A moment. Then --
KEITH
69.
I get it. I got it wrong. Last guy
wasn’t as good as you. But you’re a
pain in the ass, man.
Sebastian nods. Knows he can’t argue with that.
Another beat.
KEITH (CONT’D)
If it’s not your thing, just let me
know. I don’t want you
uncomfortable and trying to change
this into something it’s not. But
if you want it -- the job’s yours.
Sebastian looks at Keith. A moment. He’s really weighing
this. And on that, his look of uncertainty, we’re --
68 INT. SEBASTIAN’S APARTMENT - DUSK 68
The door opens. Mia enters. Takes a deep breath. Hears
piano. Steps forward and sees Sebastian at his piano,
playing a melody we’ve heard before. [CITY OF STARS AS
DUET]
She smiles. Sebastian begins to SING. Mia sits down beside
him and begins to SING as well. They share a duet, simple,
unaffected, hopeful, the music just perhaps suggesting
their uncertainty about what they might be about to do --
As the vocals give way to instrumentation, we’re --
69 INT. DINER - DAY 69
Sebastian and Keith hunched over paperwork. Sebastian signs
--
70.
70 INT. COFFEE SHOP - STUDIO LOT - DAY 70
Mia handing the Manager her apron. She’s done with the job
--
71 INT. PRACTICE SPACE - DAY 71
The band rehearsing in their new PRACTICE SPACE. We see
Sebastian play, see Keith sing this time --
72 INT. CAFE - DAY 72
Mia hunched over her script, obsessively fine-tuning it --
73 INT. DESIGNER CLOTHING STORE - DAY 73
Sebastian gets dressed up in a new suit --
74 INT. BLACK-BOX THEATER - DAY 74
We follow Mia through a BLACK-BOX THEATER in North
Hollywood. The space is small, simple, but perfect. We see
her haggle with the OWNER and then light up. They shake
hands --
75 INT. GREEN ROOM - EVENING 75
Sebastian and the band in a green room, waiting.
Sebastian’s wearing the new suit. Looking sharper --
76 INT. VINTAGE SHOP - DAY 76
71.
Mia looking for PROPS. Another wild assortment, a TOP HAT,
a CANE, a DIORAMA of London, rolled-up MAPS, an old GLOBE -
-
77 INT. APARTMENT - DAY 77
We MOVE IN on a laptop. On it a YOUTUBE video plays, an
interview with Sebastian, Keith and the rest of the band --
78 EXT. RIALTO - DAY 78
Mia drives by the Rialto theater. It’s now CLOSED --
79 INT. SEBASTIAN’S APARTMENT - LIVING ROOM - NIGHT 79
Mia sits on the floor, penciling out drawings for her play.
Costume and poster sketches scattered by her feet. She’s
tired. The clock on the wall reads: 10:54pm.
80 INT. SEBASTIAN’S APARTMENT - BEDROOM - NIGHT 80
Mia gets into bed. Checks her phone. Turns off the light.
81 INT. SEBASTIAN’S APARTMENT - LIVING ROOM - DAWN 81
Sebastian enters the apartment. Checks his reflection in
the mirror -- a new addition. The clock reads: 4:57am.
82 INT. SEBASTIAN’S APARTMENT - BEDROOM - DAWN 82
Sebastian gets into bed, careful not to wake Mia.
72.
83 INT. SEBASTIAN’S APARTMENT - LIVING ROOM - MORNING 83
Mia crosses through to the kitchen to get herself
breakfast, careful not to wake Sebastian. The clock:
7:02am.
84 INT. SEBASTIAN’S APARTMENT - BEDROOM - MORNING 84
Sebastian in bed, fast asleep. And WE RETURN TO --
85 INT. SEBASTIAN’S APARTMENT - DUSK 85
-- Mia and Sebastian at the piano, before this latest
journey began, finishing their song. The last lyrics
resonating as they look into one another’s eyes:
SEBASTIAN
City of stars-- You’ve never shined
so brightly.
On that, this image of love, Sebastian playing out the
final chords on his piano, WE GO DARK.
All sound fades out. And then, we hear --
-- a CROWD CHEERING. [START A FIRE]
We see, a white spotlight. It reveals Sebastian. We’re --
86 INT. THE ECHO - NIGHT 86
Sebastian is on-stage. He’s the only musician we can see.
The floor beyond the stage is FILLED with people.
Among them, we spot Mia, beaming with pride. Sebastian sees
her, smiles to her as he plays a piano intro. Mia grins
right back, heart swelling --
73.
A SECOND SPOTLIGHT turns on, illuminating Keith. He SINGS.
He has a beautiful voice. Mia bobs her head. It’s just
Keith and Sebastian right now, all acoustic, a simple,
catchy tune --
And then, suddenly, a DRUM MACHINE SURGES IN, and --
BOOM! The entire CLUB is lit up as the MUSIC EXPLODES. A
full-fledged dance beat and a thick radio-ready electronic
track.
Mia is taken aback. But she keeps bobbing her head as the
crowd around her GOES CRAZY --
Keith owns the stage, as Sebastian plays out more, now
switched to an electronic keyboard, complete with synth
sounds. We recognize fragments of melody from when Keith
and Sebastian first rehearsed, but the tune has been
transformed beyond recognition. Not a hint of jazz --
Keith breaks into the CHORUS and a TRIO OF BACKUP SINGERS
are revealed stage-left. The band surges into the song’s
bridge and BACKUP DANCERS appear stage-right, scantily-
clad.
And then, the lights go NUTS. It’s a full-out LIGHT SHOW
now, shafts of red, blue, green and orange cutting through
the dark. The crowd starts CHEERING, pumping their fists --
Mia looks at Sebastian. He’s not fighting any of this. He
sees her. She smiles. But something is changing in her
expression --
She looks at the lights, the singers, the dancers,
Sebastian and his bandmates in matching magazine-cover-
ready outfits. She looks at the crowd around her, their
hollers growing more and more frenzied as Sebastian
launches into a prolonged SOLO --
MIA
(looks back at him, takes
it all in)
Is this really him --?
As the mass of people swells and moves, Mia finds herself
PUSHED TO THE SIDE, bit by bit, away from the center --
74.
She tries to hold her ground, but is edged FURTHER AND
FURTHER AWAY. Sebastian, deep in his solo, doesn’t notice.
Mia tugs against the tide of the crowd, but to no avail.
She’s pushed to the back of the club, away from the lights
and into shadow --
The final chorus begins, floor-shaking, fist-pounding. We
linger on Mia’s face, watching as the band feverishly tear
into their climactic bars, the dancers on-stage and the
crowd below busting out one last burst of CRAZED
CHOREOGRAPHY, ending the song just as we SMASH CUT TO A
TITLE CARD OVER BLACK:
FALL
Silence.
We take a moment to collect ourselves before --
87 EXT. - INT. CHINESE RESTAURANT - LOS ANGELES - DAY 87
CLOSE on Mia. She looks tired. A bit weathered. She’s
nursing a green tea across from Laura. They’ve finished
eating.
LAURA
Look at him -- watch --
Mia glances out the window. A MAN in his early 40’s has
just parked, is walking around his car, inspecting it.
LAURA (CONT’D)
Now he’s going to check the other
window. Yep, it’s closed. Now he’s
going to check again. Yep, still
closed.
Mia smiles. The MAN enters the restaurant, greets Mia and
kisses Laura. This is HARRY. Her new boyfriend.
HARRY
Hey. I’m grabbing some pastries,
you two want anything?
75.
MIA
Thanks Harry, I’m good.
LAURA
Same here but I think someone’s
trying to break into your car.
Harry rolls his eyes, heads to the front. Laura looks at
Mia.
LAURA (CONT’D)
Don’t stress about the play.
Where’s Seb now?
MIA
I think today’s San Diego. I’m not
sure --
A moment passes.
LAURA
You should come over tonight.
Harry’s cooking, but don’t let that
stop you.
(Mia manages a smile; a
beat)
What’s the matter?
MIA
Nothing --
LAURA
You miss him.
MIA
I guess. I’m adapting.
76.
LAURA
(nods; then,)
I got used to being alone. Growing
up it was just me and Seb. We only
had each other.
MIA
He told me.
LAURA
I wasn’t looking for anybody. Then
I met Harry and -- we just fit --
(Mia smiles)
You’ve changed Seb. You know that?
Laura means it positively, but Mia seems concerned --
MIA
Do you think he’s happy?
LAURA
Is he happy?
MIA
I mean with the band, the travel,
all of it.
Laura shrugs.
LAURA
Our dad never got to do what he
wanted. We were always treading
water, he took a job running a
washer-dryer store. But every night
at home he’d play his clarinet
along to a Benny Goodman record.
(a beat)
So I look at Sebastian -- Playing
music, getting paid for it. I’m
happy for him.
77.
She notices Harry through the window, returning. Her
thoughts drift.
LAURA (CONT’D)
Dreams change.
A beat. She looks back at Mia. Sees her worry.
LAURA (CONT’D)
Don’t overthink it. He’ll be home
soon.
Harry rejoins the table. Hands Laura a sponge cake.
LAURA (CONT’D)
I told you not to get me anything!
HARRY
Oh, right -- I’ll eat it I guess.
LAURA
No -- I changed my mind.
They laugh. Kiss. Tender. Loving. Mia watches --
88 INT. DINER - NIGHT 88
Mia eats, her laptop next to her meal. She takes a bite,
types. We see her screen, an email draft, glimpses of
words: “one- woman show”, “one night only”, “7pm”, “I would
be thrilled --”
She thinks. Picks up her phone. Dials Sebastian. Waits. No
answer.
MIA
78.
Hey it’s me... Not sure where you
are -- maybe Boston? Or Dallas?
Anyway -- I haven’t heard from you
in a while -- I miss you --
(a beat)
Ok -- Bye --
She hangs up. Resumes typing.
89 INT. SEBASTIAN’S APARTMENT COMPLEX - APARTMENT - NIGHT 89
Mia walks through the courtyard. Reaches the door. Then
hears something-- Music -- LOUD, FAST JAZZ --
She enters, has to jostle the door handle to do so --
-- and then freezes in place. Sebastian is sashaying around
a fully-decked table, lighting candles as he moves. He
looks up, sees her and grins.
SEBASTIAN
Surprise.
She lights up. He lifts up silver serving trays, revealing
what he’s cooked. Roast chicken. Pasta.
SEBASTIAN (CONT’D)
And --
(he hurries to the
kitchen -- and holds up a
big apple pie)
There’s twenty-five pounds of
apples in it. It probably destroyed
an ecosystem but it tastes good.
Mia laughs. Can’t believe it. Sebastian looks at her --
sincere now.
SEBASTIAN (CONT’D)
I have to head back in the morning
but I needed to see you.
79.
Mia’s eyes seem almost on the brink of tears. Beyond moved,
she runs into Sebastian’s arms. A LONG, HEARTFELT KISS --
90 INT. SEBASTIAN’S APARTMENT - EVENING 90
CLOSE ON: The record player. An old jazz track. We see Mia
and Sebastian seated at the table, eating, drinking,
laughing.
SEBASTIAN (CONT’D)
Feels so good to be home.
MIA
Stay.
He smiles.
SEBASTIAN
How’s the play going?
MIA
I’m nervous.
SEBASTIAN
Why?
MIA
Because --
(a beat)
What if people show up?
SEBASTIAN
Fuck ‘em!
Laughter. Then --
80.
SEBASTIAN (CONT’D)
You’re nervous about what they
think?
MIA
I’m nervous to be up on a stage and
perform in front of people. I’m
terrified.
SEBASTIAN
They should be so lucky to see it.
(then,)
It’s going to be incredible. I
can’t wait.
MIA
I can.
A smile. Beat.
MIA (CONT’D)
What time do you leave in the
morning?
SEBASTIAN
6:45.
MIA
Ugh.
SEBASTIAN
Yep. Boise.
MIA
Boise?
81.
SEBASTIAN
(nods)
You should come.
MIA
To Boise?
SEBASTIAN
Yeah, you could knock that off your
bucket list.
Mia laughs.
MIA
Wish I could.
A beat.
SEBASTIAN
Why can’t you?
MIA
Come to Boise?
SEBASTIAN
Yeah.
MIA
Because I have to rehearse.
SEBASTIAN
Can’t you rehearse anywhere?
82.
She looks at him.
MIA
You mean anywhere you are?
SEBASTIAN
-- I -- I guess --
MIA
Well, all my stuff is here and my
show’s in a few weeks and -- I
don’t know, it doesn’t seem
practical --
SEBASTIAN
Right -- I just -- we’re going to
have to do things so we can see
each other. We never see each
other.
MIA
I know, but when are you done?
SEBASTIAN
-- What do you mean?
MIA
When are you done with the tour?
SEBASTIAN
But, as soon as we’re done with the
tour we go back and record, and
then we go back on tour.
Mia looks at him. Doesn’t seem to understand.
83.
SEBASTIAN (CONT’D)
We tour so we can make the record,
and then we go back on tour to sell
the record.
Beat. Mia takes this in.
MIA
So it’s-- the long haul?
SEBASTIAN
-- What does that mean?
MIA
I mean the long haul, like, you’re
going to be in this band for a long
time.
SEBASTIAN
What did you think I was going to
do?
MIA
I don’t know, I didn’t think the
band would --
SEBASTIAN
You didn’t think we’d be
successful.
MIA
No, that’s not what I meant. What I
meant was -- this band -- you’re
going to be on the road for --
what, years now?
84.
SEBASTIAN
Yeah, feasibly -- I could be on the
road for years with just this
record.
Beat.
MIA
Do you like the music you’re
playing?
SEBASTIAN
I don’t know how that matters.
MIA
It matters if you’re going to give
up your dream to be on the road for
years.
SEBASTIAN
Do you like the music I’m playing?
MIA
Yes. I do.
(beat)
I just didn’t think you did.
SEBASTIAN
Yeah, well, I --
MIA
And now I hear you’re going to be
on the road for years, and I’m --
SEBASTIAN
85.
What are you doing? Why are you
doing this?
MIA
What do you mean why am I doing
this?
SEBASTIAN
This is what you wanted from me.
MIA
To be in this band?
SEBASTIAN
To have a steady job.
MIA
Yes, I wanted you to have a job so
you could take care of yourself and
start your club.
SEBASTIAN
So I’m doing that. So why aren’t we
celebrating?
MIA
Why aren’t you starting your club?
SEBASTIAN
You said yourself no one wants to
go to that club! No one wants to go
to a club called Chicken on a Stick
--
86.
MIA
Change the name!
SEBASTIAN
-- and no one likes jazz. Not even
you.
MIA
I do like jazz now, because of you.
SEBASTIAN
(not listening to her)
What am I supposed to do? Go back
to playing “Jingle Bells” so I can
save money for some Shangri-La club
no one wants to go to?
MIA
People will want to go to it!
People love what other people are
passionate about.
SEBASTIAN
Not in my experience.
A beat. Mia realizes she’s getting nowhere. A moment of
quiet. Then --
SEBASTIAN (CONT’D)
Anyway -- it’s time to grow up. You
know? This is what I’m doing. If
you had a problem, I wish you
would’ve said something earlier,
before I signed on the dotted line.
MIA
(trying again)
You had a dream that you were
sticking to, that --
87.
SEBASTIAN
This is the dream!
MIA
This is not your dream.
SEBASTIAN
Guys like me go their whole lives
and never do anything that’s liked.
I’m finally doing something that
people enjoy. What is wrong with
that?
MIA
Why do you care so much about being
liked -- ?
SEBASTIAN
(finally bursting--)
You’re an actress, who are you to
talk??
Silence. We suddenly realize --
-- the LP has finished. You can hear the needle scratch
against it now -- back and forth, back and forth. Sebastian
looks at Mia.
A moment. Finally --
SEBASTIAN (CONT’D)
Maybe you liked me more when I was
a failure because it made you feel
better about yourself.
Mia looks back at him. Can’t believe he said that. Tears
starting to well in her eyes. She tries to suppress them.
88.
MIA
Are you kidding?
SEBASTIAN
No.
They stare at each other.
Then, all of a sudden, the FIRE ALARM blares.
Sebastian turns and sees smoke billowing from the KITCHEN.
A dish in the oven has started to burn.
Sebastian rises, springs toward the kitchen, then sees Mia
grabbing her things.
SEBASTIAN (CONT’D)
Wait --
But she’s out the door. It slams shut, as Sebastian pulls
the burnt apple pie from the oven.
CUT TO:
91 EXT. THEATER - DAY 91
A poster, placed on the front of the theater we saw before.
A title. A name below it: “MIA DOLAN.” And a word:
“TONIGHT.”
We spot Mia, carrying a box of props. She enters the
theater. And we’re --
92 INT. THEATER - DAY 92
The empty theater. Dark. Silent. Then, a light turns on.
Mia steps in. We stay WIDE. She seems small from this
vantage point, surrounded by her props and backdrops. She
takes a moment. Looks at all the empty seats.
89.
Takes a deep breath. Nervous. And then, nodding to
herself,you can do this, she starts setting up --
93 INT. PRACTICE SPACE - DAY 93
A BLAST of music. The Messengers have just finished a
rehearsal. Sebastian packs his stuff, heads toward the
exit, nodding to the others --
SEBASTIAN
Cole, see you tomorrow. See ya.
KEITH
You good for tonight, right?
Sebastian stops. Looks at Keith.
SEBASTIAN
-- Tonight?
KEITH
Seven. The photo shoot.
(reading Sebastian’s
face, adding --)
Mojo.
A beat. Sebastian is confused.
SEBASTIAN
I thought that was next Thursday.
KEITH
No. It’s tonight.
We linger on Sebastian for a moment --
KEITH (CONT’D)
90.
Is that ok?
94 EXT. REHEARSAL SPACE - DAY 94
Sebastian stands out front. Checks his watch. Thinks --
95 INT. THEATER - INT. BACKSTAGE - NIGHT 95
People are shuffling into the theater. We DRIFT BACKSTAGE.
Mia, now in a male suit and tie, watches behind a curtain.
Checks her phone. 7:04. Breathes in. Nervous, and alone --
She turns. Nods to the OWNER, off to the side. He heads to
a switch, and the lights GO DOWN.
You can hear the murmurs beyond the curtain. The audience,
expecting. Mia tries to get her nerves under control. She
can do this -- Sets her phone aside, one last breath --
-- and walks out.
96 INT. PHOTO STUDIO - NIGHT 96
LOUD MUSIC. It’s the band’s song, blaring from a speaker.
They’re pantomiming, the musicians styled and ready for
their close-ups. A PHOTOGRAPHER grabs shots.
PHOTOGRAPHER
Put a light on the drums -- I need
more fill in this corner --
We ZERO IN on Sebastian. His hair sticks out at various
angles. An artfully-undone tie hangs from his neck. He
fake-plays, as Keith pretends to lay in sampled beats --
Keith, Tom, Malcolm, Cole, they all grin, as excited as
kids. Sebastian looks at them, then down at his elaborate
outfit, then back up at the Photographer running around,
then at his watch --
PHOTOGRAPHER (CONT’D)
91.
Bass, head up. Piano, look down at
the keys.
Sebastian does as told, but his thoughts are elsewhere. The
Photographer moves in close, SNAPPING shots of just him --
PHOTOGRAPHER (CONT’D)
Cut the music. Turn the keyboard
live. Piano look up, play.
The track stops. Sebastian stops as well. The CLICKS of the
Photographer’s camera loud now.
PHOTOGRAPHER (CONT’D)
No -- piano -- actually play
something.
Sebastian is still. Then he starts to play a single melody
on the keys. We recognize it. The first notes of his and
Mia’s song --
PHOTOGRAPHER (CONT’D)
Good, now bite your lip like you’re
concentrating on a solo.
Beat. Sebastian stops. Silence. He stares ahead.
PHOTOGRAPHER (CONT’D)
That was good. Don’t stop.
We PUSH IN on Sebastian --
97 INT. THEATER - NIGHT 97
We’re CLOSE on Mia. In ordinary clothes now.
92.
Behind her is a wallpapered wall, and a small window. By
her side are the globe we saw in her room, and other little
trinkets: a pearl necklace, an old suitcase, a roll of
maps. Outside the window, projection of a starlit Parisian
night sky. Completely silent, Mia moves to a lamp, turns it
off.
We go BLACK.
Then, the house lights go on. White, fluorescent. Thin
applause can be heard. Mia manages a smile, as we finally
see --
-- that the theater is less than a quarter full.
Mia takes a bow. Peers out. One seat, in the front row, has
a “RESERVED” sign on it. The seat is empty.
98 INT. THEATER - DRESSING ROOM - MOMENTS LATER 98
Mia slips inside, holding in her hurt. Starts collecting a
few outfits, then overhears two AUDIENCE MEMBERS outside --
AUDIENCE MEMBER #1 (O.S.)
I swear to God, if I have to hear
one more hipster waxing nostalgic
I’m gonna slit my wrists.
AUDIENCE MEMBER #2 (O.S.)
Seriously.
AUDIENCE MEMBER #1 (O.S.)
She’s not even good. That window
thing --?
AUDIENCE MEMBER #2 (O.S.)
Christ-- Don’t quit your day job --
Laughter.
93.
Mia freezes. The nail in the coffin. The voices fade. She
slides into a chair.
99 EXT. THEATER - NIGHT 99
Sebastian SPEEDING. Screeching to a stop. He’s at Mia’s
THEATER. He dashes out and runs to the door.
But it’s locked. No one’s in sight. Fuck.
He spins around, frantic when Mia appears from an adjacent
doorway, alone and carrying her box of props to her car.
SEBASTIAN
Mia!
She turns. Sees him. He runs to her. WRAPS his arms around
--
SEBASTIAN (CONT’D)
I’m sorry --
-- and KISSES her. The kind of kiss that might once have
swept her off her feet. He starts to move with her --
-- starts to DANCE -- but --
MIA
Stop --
She pulls away. Steps back. Sebastian looks at her.
Unmoored.
SEBASTIAN
I’m -- I’m sorry I missed it -- and
I’m sorry I was a dick and I -- I
promise I’ll make it up to you --
MIA
It’s over.
94.
She doesn’t say the words with any anger. Just acceptance.
SEBASTIAN
(a beat; then --)
-- What do you mean?
MIA
I’m done embarrassing myself.
SEBASTIAN
You didn’t embarrass yourself --
MIA
No one showed up. I can’t even pay
back the theater.
She says this as though just realizing it. Sebastian looks
at her. A moment passes. He doesn’t know what to say now.
MIA (CONT’D)
I’m gonna go home for a while.
SEBASTIAN
-- This is home.
MIA
Not anymore.
Sebastian is silent now. A tear in his eye. He clenches his
jaw. Mia looks at him one more time, steps into her car,
and drives off.
Sebastian lingers. Doesn’t move. Silence. Then, music.
Soft, melancholy, just piano, as --
DISSOLVE TO:
95.
100 EXT. MIA’S CAR - DAY 100
Mia drives, boxes stacked in the back.
She gets on the 405 -- Heading out of the city --
101 EXT. - INT. MIA’S HOUSE - NEVADA - DUSK 101
Mia steps inside a modest house. Her MOM is by the door.
Hugs her. Her DAD stands by the hallway.
102 INT. MIA’S HOUSE - BEDROOM - DUSK 102
Mia enters her old bedroom. Slides in a suitcase. Moves a
couple of boxes from the hall. Looks around. Old photos.
Old soccer trophies. She sits down on the bed. Takes a
breath. And, finally, we’re --
103 EXT. ORANGE GROVE - DAY 103
Laura and Harry’s ENGAGEMENT PARTY. We’re outside, in a
sun- dappled grove. A small gathering.
Sebastian plays a baby grand piano, the source, we realize,
of the music we’ve been hearing --
As he watches Laura dance with her new fiancé, this woman
he has known for so many years as a romantic cynic, now
once again full of all the youthful innocence of first
love, his thoughts seem to drift. The music comes to a
close and --
104 EXT. ORANGE GROVE - DAY - CONTINUOUS 104
Sebastian with Laura, by the orange trees --
LAURA
96.
You remember the McKenzies?
SEBASTIAN
Oh God, I didn’t see them.
LAURA
Yeah. They kept going, “oh
Sebastian’s so handsome”.
Sebastian smiles. Then --
SEBASTIAN
You look beautiful.
(beat)
I hope it was ok. I haven’t played
in a while.
LAURA
You were great
(pause)
You’re always great when you play.
Sebastian is silent. Then --
LAURA (CONT’D)
Now -- listen to me. I want you to
save for a down payment. You
understand? You need a home.
SEBASTIAN
Yes ma’am.
LAURA
I’m not gonna be hovering anymore.
SEBASTIAN
97.
-- You still think New York?
LAURA
I think so. Maybe Boston. I don’t
know, it’s exciting --
Sebastian smiles again. Some calls from the distance --
LAURA (CONT’D)
Ah I gotta -- the future in-laws...
She lights up. Likes the sound of that.
LAURA (CONT’D)
Is my-- my hair-- ?
Sebastian, without a word, pulls a strand back. Laura
smiles, kisses him on the cheek. A quiet, tender moment.
Then she hurries off. Sebastian stands there. Watches--
FADE OUT:
105 INT. SEBASTIAN’S APARTMENT - MORNING 105
RINGING. Sebastian is awoken. Groaning, he rolls over. Lets
the phone ring. It keeps going. Endless. Finally, fed up,
he reaches for it. Answers --
SEBASTIAN
What-- ?
WOMAN #2 (O.S.)
Hi, I’m trying to reach Mia Dolan.
Sebastian is taken aback. He goes to hang up, saying just -
-
98.
SEBASTIAN
Wrong number.
WOMAN #2 (O.S.)
-- She’s not answering her cell and
I was told I might find her here.
Sebastian pauses. Hurt by the mere mention of Mia’s name --
SEBASTIAN
Yeah, well-- not anymore.
WOMAN #2 (O.S.)
Ok. If you do talk to her --
SEBASTIAN
I won’t.
WOMAN #2 (O.S.)
-- please tell her Jane at Amy
Brandt Casting is trying to reach
her.
A beat. Sebastian sits up. Suddenly wide-eyed.
SEBASTIAN
”Casting”?
106 INT. MIA’S HOUSE - KITCHEN - NIGHT 106
Dinner has just finished. Mia’s Mom gives her a kiss --
MIA’S MOM
Night, sweetie.
99.
MIA
Night, Mom.
-- and heads off, as Mia and her Dad stay behind. Getting
up to scrape the dish --
MIA’S DAD
You want some more rice?
MIA
I’m ok.
MIA’S DAD
You look hungry.
MIA
I’m good --
A moment. Mia’s Dad puts a few more dishes away, then sits
back down across from her.
MIA’S DAD
It’s fun having you back. Your mom
ditches me at ten.
Mia laughs. A moment.
MIA
You took down the swing.
MIA’S DAD
She made me.
A smile.
MIA’S DAD (CONT’D)
100.
I’ve still got all your old tapes.
MIA
Oh God. Throw those away.
MIA’S DAD
Never.
Just then, a loud, persistent HONK. Mia’s Dad looks up,
eyebrow raised. Mia turns, hearing it as well. The HONKING
is nearby, just outside --
Mia’s thoughts suddenly sharpen. Ears perk up. She’s heard
the honking before:
AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHT.
MIA’S DAD (CONT’D)
What the hell?
Disbelief on Mia’s face. It can’t be. She heads to the
nearest window. There, at the corner, smack-dab in front of
her house is SEBASTIAN’S CAR.
A NEIGHBOR angrily yells at him. Sebastian sees Mia. They
lock eyes. And on that --
107 EXT. MIA’S HOME - SEBASTIAN’S CAR - MOMENTS LATER 107
Mia and Sebastian stand next to his car.
MIA
Why did you come here?
SEBASTIAN
Because I have good news.
101.
MIA
Ok --
SEBASTIAN
Amy Brandt. The casting director.
MIA
I know who she is.
SEBASTIAN
She was at your play. And she loved
it. And she loved it so much that
she wants you to come audition for
a huge movie she’s got.
He’s brimming over with excitement. But Mia just shakes her
head.
MIA
I’m not going.
SEBASTIAN
-- Excuse me?
MIA
I’m -- no-- That will kill me.
SEBASTIAN
That’s it?
MIA
Yes.
SEBASTIAN
102.
So you’re happy here?
MIA
I’m happier.
SEBASTIAN
Why won’t you come?
MIA
I told you.
SEBASTIAN
I don’t buy it.
MIA
(finally letting it out,
fed up --)
Because it’s another audition!
I’ve been to hundreds of auditions.
Do you want to know what happens?
Either they interrupt me because
someone ordered a sandwich, or they
cut me off after two seconds, or
I’m crying and they start laughing,
or I’m one of a hundred lookalikes
in the waiting room who never has a
chance, because --
(beat)
-- because --
SEBASTIAN
Because what?
MIA
Because I’m probably not good
enough.
103.
SEBASTIAN
Yes you are.
MIA
No. Maybe I’m not.
A beat.
MIA (CONT’D)
Maybe I’m one of those people who’s
always wanted to do it but never
had a chance. It’s a pipe dream.
Maybe it’s like you said. Maybe I
need to grow up.
She hesitates. Continues --
MIA (CONT’D)
I can go back to school. I can find
something else that I’m supposed to
do. I left school to give it a
shot, and it didn’t work out, and
it took six years, and I don’t want
to do it anymore.
Beat. But Sebastian isn’t giving up.
SEBASTIAN
Why?
MIA
Why what?
SEBASTIAN
Why don’t you want to do it
anymore?
Mia thinks about this one for a moment.
104.
MIA
-- Because it hurts a little bit
too much.
Sebastian shakes his head. Nope. Won’t accept this.
SEBASTIAN
I told them you’d be there at five-
thirty tomorrow. I’ll swing by here
before I drive back at eight.
Either you’ll be outside or you
won’t.
With that, he gets back into his car. Mia is silent. Then -
-
MIA
How did you find me?
Sebastian turns. Points. Matter-of-fact --
SEBASTIAN
The house across from the library.
He drives off. Mia looks up. There, sure enough, is the
LIBRARY, crouched on the corner. The library that once
helped set her on her path to acting.
She looks at it. Thinks --
108 EXT. MIA’S STREET - NIGHT - DAY 108
Wide on the street. All is quiet. Night becomes morning...
109 EXT. MIA’S HOME - DAY 109
Sebastian’s car pulls over. He sits there. Sips a coffee, a
second coffee in the holder. The time: 8:02.
105.
A moment passes. He taps the wheel. Looks at the house. The
front door remains closed. No Mia. He leans back. Seems
worried. Closes his eyes, breathes out. We MOVE CLOSE on
him. He breathes in and out again --
He opens his eyes. 8:10. The door’s still closed. Resigned,
he starts his car up, BEGINS TO PULL AWAY, when --
-- BAM! A KNOCK on the opposite window. He jumps.
It’s Mia. She’s just arrived at the car from the other
side, two just-bought cups of coffee and a bag of pastries
in her hands. A beat. Sebastian smiles. Then OPENS the door
for her.
110 EXT. PARAMOUNT STUDIO LOT - DAY 110
A cloudy late afternoon. Mia and Sebastian slowly walk
through the lot together. They pass the New York street,
the murals and posters of classic Hollywood, the old Art
Deco ornaments and the big sound stages and backdrops.
Neither says a word --
111 INT. WAITING LOBBY - DAY 111
Mia and Sebastian are seated. Waiting. The DOOR opens. An
ACTRESS exits. A second later --
ASSISTANT #2
Mia?
Mia gathers her nerves. Gets up. And steps in.
112 INT. AUDITION ROOM - INT. LOBBY - DAY 112
In the room is AMY BRANDT, mid-forties. Seated behind her
is the director, FRANK.
AMY BRANDT
Mia, Hi.
106.
MIA
Hi.
AMY BRANDT
I’m Amy, this is Frank. Glad we
found you.
Mia nods. Smiles. A moment.
AMY BRANDT (CONT’D)
The movie shoots in Paris. There’s
no script.
FRANK
We want to build the character with
you. It’s a process. Three-month
rehearsal, four-month shoot.
MIA
-- Ok.
AMY BRANDT
So why don’t you just tell us a
story?
MIA
-- About --?
AMY BRANDT
About anything.
Mia nods again. A moment.
AMY BRANDT (CONT’D)
107.
Whenever you’re ready.
Mia thinks. She takes a breath,then goes silent again. It
seems she might be unsure what to do, might even be about
to choke the audition. We fear she may botch this
completely --
113 INT. LOBBY - CONTINUOUS 113
To Sebastian, hearing Mia’s silence. On edge-- Worried--
114 INT. THE AUDITION ROOM - CONTINUOUS 114
Brandt and Frank waiting--
MIA
My aunt lived in Paris for a bit--
She used to tell me these stories,
when I was growing up, about living
abroad--
(beat)
I remember -- she told me she
jumped into the Seine once--
She pauses, and then continues in SONG. [TRACK: AUDITION]
Yes, this audition is different than the rest, and the
switch to song signals just that. Mia’s nerves fade away,
all the accents and fakery of earlier auditions a distant
memory. This is Mia undisguised, pure and stark and
beautiful --
She uses the story of her aunt jumping into the river to
paint a portrait of all the dreamers in the world, all the
people who are told they’re nuts for pursuing their
passion, all the so-called “fools” who take the plunge. She
sings about them and for them. This is why Mia does what
she does, why she simply has no choice --
The song ends, and we linger on her for a moment. Then --
DISSOLVE TO:
108.
115 EXT. GRIFFITH PARK - DAY 115
Mia and Sebastian sit on a bench, the Observatory perched
behind them. The clouds have parted, and it’s now a
gorgeous Los Angeles afternoon, minutes before dusk.
Sebastian looks at Mia. A moment passes.
SEBASTIAN
When do you find out?
MIA
They said the next couple of days -
- But I’m not expecting to find
anything out.
SEBASTIAN
You’re going to get it.
MIA
No, I’m not.
SEBASTIAN
You are. I know these things.
A beat.
MIA
Where are we?
Sebastian looks at her.
SEBASTIAN
Griffith Park.
109.
MIA
I mean -- where are we?
SEBASTIAN
I know --
(beat)
I don’t know.
MIA
What do we do?
SEBASTIAN
I don’t think we can do anything.
Because when you get this --
MIA
If I get this --
SEBASTIAN
When you get this -- you’ve got to
give it everything you’ve got.
Beat.
SEBASTIAN (CONT’D)
It’s your dream.
MIA
What are you going to do?
SEBASTIAN
I’ve got to follow my own plan.
Stay here. Get my own thing going.
You know --
110.
A moment. Mia nods. Sebastian looks at her again.
SEBASTIAN (CONT’D)
You’re going to be in Paris. Good
jazz there. And you love jazz now.
Mia smiles.
SEBASTIAN (CONT’D)
Right?
MIA
Right.
Another moment. And then, finally --
SEBASTIAN
I guess we’re just going to have to
wait and see.
Mia’s eyes well up, just slightly, as she hears this. She
nods.
MIA
You know I’m always going to love
you.
SEBASTIAN
I’m always going to love you too.
Beat. Sebastian looks up at the Observatory.
SEBASTIAN (CONT’D)
Look at this view.
MIA
(playfully)
I’ve seen better.
111.
SEBASTIAN
Agreed.
They laugh.
Then, almost to herself --
MIA
I’ve never been here during the
day.
Sebastian smiles. A moment.
We CUT TO WIDE. Sebastian and Mia sit side by side. We
linger here, our two characters framed by the white-and-
green Observatory, the rest of L.A. stretching out beyond.
And then, ever so slowly --
FADE TO:
WINTER
A palm tree, a cloudless sky. We PULL BACK to reveal it’s
all painted --
116 EXT. STUDIO LOT - DAY 116
We’re on a studio lot, looking at one of the old painted
backdrops, of a palm tree and sky. A new title card:
Five years later --
We TILT down to the studio’s entryway. A CAR enters.
A WOMAN steps out. We don’t see her face. We FOLLOW her
from behind. She walks elegantly, poised. The wind picks up
a strand of her hair. She makes her way down side-streets
we’ve seen before, past Parisian-style façades. Then enters
a COFFEE SHOP we recognize --
112.
117 INT. COFFEE SHOP - DAY 117
The eyes inside all look the WOMAN’s way. She reaches the
counter and we finally SEE HER FACE:
MIA
Hi -- Iced coffee, please.
MIA looks different. Different haircut, different way of
handling herself.
The BARISTA hurries to get Mia’s order. We recognize this
as the shop where Mia used to work. A man who appears to be
the NEW MANAGER gives Mia the coffee --
NEW MANAGER
On us.
MIA
No, no, that’s fine.
Mia hands over a few dollar bills. Then drops another bill
into the tip jar. The Barista smiles.
118 EXT. COFFEE SHOP - MOMENTS LATER 118
Mia exits the coffee shop-- and is met by a CREW MEMBER on
a GOLF CART. She gets on the cart and is driven away --
CUT TO:
CLOSE ON hands on piano keys, fluttering across the
ivories. We PULL BACK: it’s SEBASTIAN. We’re in --
119 INT. JAZZ CLUB - DAY 119
113.
-- a small jazz club. Simple, tasteful, cool. Stone arches
in 1940’s style. The seats close to the band, the piano in
the center. The club has the same old-school character as
the Lighthouse, but it’s not run-down. It’s polished,
inviting.
The place is empty save for Sebastian and an EMPLOYEE. It’s
before-hours. Sebastian finishes playing. Feels out the
lowest keys once more, then the highest. Then turns and --
SEBASTIAN
Alright, I’m done.
(gets up)
Harris did a nice job with it.
EMPLOYEE
Took him long enough.
Sebastian smiles.
SEBASTIAN
No one touches the instruments.
Carson’s coming an hour early to
test levels.
EMPLOYEE
I got a check for you to sign.
SEBASTIAN
How’d we do last month?
EMPLOYEE
Not too bad.
SEBASTIAN
(as he signs the check)
Not too bad is great.
(taps the Employee on the
shoulder)
See you tonight.
114.
EMPLOYEE
See you tonight.
120 EXT. CHATEAU MARMONT - DAY 120
Mia pulls into the driveway.
121 INT. ROOM - CHATEAU MARMONT - DAY 121
She steps inside. Flowers and cards. We glimpse cursive
“CONGRATULATIONS” written on a few of them. A stack of
scripts on a nearby table. Her name visible. She drops her
things, spots someone, goes in to kiss him. A long, tender,
loving embrace, as we pull back --
-- and see that it’s not Sebastian.
It’s a MAN we haven’t seen before: DAVID, mid-thirties. He
and Mia kiss again. And, running over and grabbing Mia’s
leg, is a TWO-YEAR-OLD GIRL --
122 INT. SEBASTIAN’S APARTMENT - EVENING 122
Sebastian steps in. The place is more habitable than his
old digs. Fully furnished, warm and welcoming. He heads to
the kitchen, pulls out some pork cutlets he’s been thawing.
We see, sitting on the counter, a Christmas card with a
photo attached: Laura, Harry, and a FOUR-YEAR-OLD BOY, all
gathered on a couch and smiling at the camera.
123 INT. SEBASTIAN’S APARTMENT - LATER 123
Sebastian eats his meal, in a new shirt and pants. Checks
his watch.
115.
124 EXT. JAZZ CLUB - DAY 124
Sebastian pulls up outside the club. New car, same style.
Gets out and passes by a movie poster as he walks. We can’t
see the title, but we can catch a glimpse of a face on it.
It’s MIA --
125 INT. JAZZ CLUB - NIGHT 125
We’re back in the club.
It’s bustling now, the BARTENDERS setting up, DOORMEN
coming in, MUSICIANS sound-checking. Sebastian enters, the
musicians greet him --
DRUMMER
King Seb!
SEBASTIAN
Hothouse Eddie -- miss me?
DRUMMER
Like the desert misses the rain.
And then, we see a SAXOPHONIST we recognize. One of the old
Lighthouse players.
SAXOPHONIST
Seb -- Edgar’s bringing his horn
tonight.
SEBASTIAN
Yeah? Tell him to tune it, huh?
SAXOPHONIST
That’s not Edgar.
116.
Laughs, pats on the back.
126 INT. ROOM - CHATEAU MARMONT - NIGHT 126
Mia, in a new outfit, crosses the living area and grabs her
purse and jacket. David is by the door, jacket on as well.
Mia bends back around a sofa, where the GIRL we saw before
is seated next to a nineteen-year-old baby-sitter, CHELSEA.
MIA
Bye, sweetie. You be nice to
Chelsea.
The Girl nods. Mia kisses her forehead. Heads to the door.
CHELSEA
Bye, Mrs. Dolan.
127 INT. CAR - NIGHT 127
David drives, Mia seated beside him. They’re on the 101.
Gridlock traffic up ahead.
DAVID
What if we miss this? What do we
tell Natalie?
MIA
We can just see it back in New York
--
David nods. Looks at the time on the car. 8:06.
128 INT. CAR - LATER 128
Mia and David are seated. Still not moving. Mia looks at
the clock again: 8:27.
117.
MIA (CONT’D)
Do you want to just skip it--? Turn
off here and get dinner?
David looks at her. Smiles.
DAVID
Alright --
129 EXT. CITY STREET - NIGHT 129
Mia and David walk down a street. A few open restaurants
and bars, a few other closed storefronts. A lot of old,
weathered buildings: 1930’s stucco, Art Deco signs.
Then, David’s ears perk up. He hears something. MUSIC --
He looks around. Doesn’t see the source. Heads to the end
of the block, then sees, just up ahead, a few people
entering a building. Seems to be where the music’s coming
from --
Mia heads over, curious. The music grows louder, sounds
like a JAZZ COMBO. Mia peeks toward the door --
-- and then FREEZES.
The sign on the door reads: “SEB’S”. It’s written the way
she drew it for Sebastian, years ago --
Coming up to her side, oblivious --
DAVID (CONT’D)
This looks fun.
David edges past Mia. Glimpses the bar inside. Turns to
her, inviting --
DAVID (CONT’D)
Come on --
Mia doesn’t know what to say. She follows David --
118.
130 INT. JAZZ CLUB - CONTINUOUS 130
Inside, a JAZZ COMBO is tearing through a fast bop chart.
The seats around the band are almost all occupied. Young
fans, older couples, passersby trickling in from outside.
It’s an excited crowd, far more varied than what we saw at
the Lighthouse, a real range of ages and styles.
Mia’s eyes drift as David heads to the bar. She recognizes
the images on the walls, all Sebastian’s. Recognizes a
stool by the bar, also Sebastian’s, formerly Hoagy
Carmichael’s --
DAVID (CONT’D)
Mia?
She turns to David. Wavering, unsure what to do, she
follows him as he manages to find two empty seats close to
the bandstand --
The combo finishes. Hearty applause. A young PIANIST rises
from the keys, waves “thanks”.
And just then, Sebastian appears. Mia looks at him, frozen.
SEBASTIAN
(taking the microphone)
Manny Halloran, ladies and
gentlemen.
(more applause)
I don’t know, I told him to play
“Jingle Bells”.
The crowd laughs. Sebastian smiles, looks at them --
-- and sees Mia.
Shock. The two LOCK EYES and you can tell it’s the first
time they’ve seen each other in years.
A prolonged silence. Sebastian is speechless.
Then, forcing himself to keep on a face --
SEBASTIAN (CONT’D)
Welcome to Seb’s.
119.
More applause. Sebastian sits at the piano. Looks at the
keys.
He seems uncertain, perhaps unsure what to play. He looks
at Mia. Takes the sight in. Beat. Then looks at his fellow
musicians. Murmurs to them. Then turns back to the keys --
-- and finally starts playing.
A quieter tune, just piano, soft and tender and melancholy.
A melody we and Mia, instantly recognize --
It’s Mia and Sebastian’s song.
Mia looks at Sebastian. He looks at her, then back at his
keys. This is the most beautiful we’ve ever heard his
playing. The most tender, and full of emotion, it has ever
sounded.
We MOVE CLOSER on Sebastian. We recognize this image. It
recalls the visualization of his dream, back at the
RESTAURANT that night in winter, years ago. Gradually, as
Sebastian plays, his surroundings seem to grow DARKER.
Slowly, subtly at first, with just shifts in lighting, then
a shift in perspective, the interior of the club changes,
and soon --
131 INT. RESTAURANT 131
Back when Mia laid eyes on Sebastian for the first time...
Within this fantasy-flashback, Sebastian finishes his
piece. We stick on Mia, watching him as his Boss talks to
him. All is as before, as we remember it -- And sure
enough, Mia approaches Sebastian as he walks near her, and
--
MIA
I just wanted to say -- I saw your
playing, and I --
-- but instead of brushing past her --
-- Sebastian decks her with a kiss for the ages.
A BURST OF ORCHESTRAL MUSIC.
120.
The DINERS in the restaurant spin around to face Mia and
Sebastian and SNAP their fingers in time. Even the Boss
starts to DANCE. Mia and Sebastian grin and then strut out
together, hand in hand -- [EPILOGUE]
132 INT. NEW APARTMENT - DAY 132
Mia and Sebastian push open a new door to their new place.
It’s a shabby one-bedroom, but it’s theirs --
133 INT. LIGHTHOUSE CAFE - NIGHT 133
Next, Keith approaches Sebastian at the Lighthouse, but
Sebastian immediately shakes his head “no”.
134 INT. THEATER - NIGHT 134
Sebastian watches Mia perform, it’s the night of her play.
He stands up to applaud and behind him, the entire theater,
utterly packed, rises as well. A huge standing ovation.
Mia’s ROOMMATES are there, giddy with joy, as are LAURA and
HARRY --
135 INT. STUDIO SOUNDSTAGE - DAY - NIGHT 135
Mia and Sebastian walk together outside, but now that we’re
outside we realize this isn’t the real L.A. at all --
This, in fact, is an L.A. that doesn’t exist. A painted-
backdrop L.A., just like the one we saw Mia pass by when
parking on the lot --
The old orange groves and the gabled rooftops and the moss-
covered bungalows and the ivy-decked lamps, the jacaranda
trees and the giant hills and Griffith and the Santa Monica
Pier, all painted, all props, all figments of a studio-
backdrop imagination. We’ve entered a fully fantastical
realm, the realm of the old Hollywood ballets of the 40’s
and 50’s --
121.
136 EXT. STREET - CONTINUOUS 136
Everyone DANCES, the pedestrians and the street performers
and the cops and the guards -- AMY BRANDT races up to Mia,
seems to beckon her to audition -- We see the audition
silhouetted against a wall -- We don’t hear Mia sing, but
the music takes on the melody of her song, carrying us to -
-
137 EXT. PARIS - CONTINUOUS 137
Sebastian travels there with Mia -- We chart the journey
through an OLD GLOBE, the same one we saw Mia use for her
play, a miniature plane and dissolves, the old-Hollywood-
movie way --
Finally, we find ourselves looking at a PAINTED BACKDROP of
Paris, the same one Mia used for her play. The Sacré-Cœur
and the Arc de Triomphe and the Eiffel Tower etched in
bright colors, the ornate lampposts and the cobblestones
stretching before us -- And then a sign “CAVEAU DE LA
HUCHETTE”--
138 INT. CAVEAU - CONTINUOUS 138
We see a jam session at the Caveau, a crypt-like jazz club.
Sebastian plays, on cloud nine --
139 INT. MOVIE SHOOT - CONTINUOUS 139
We see a MOVIE SHOOT, Mia surrounded by lights and cranes,
decked in movie-movie glow.
We’re BACK to the Caveau. The lights go out, except for the
TRUMPETER, playing out a lovelorn solo, rim-lit. We MOVE in
close on his horn, DIVE into the bell --
140 EXT. NIGHTTIME PARIS - CONTINUOUS 140
122.
All painted. Mia and Sebastian wander through this
wonderland, pedestrians frozen around them -- Finally, they
stop and look at one another --
And as the city lights behind them start to glitter like
all the stars of the galaxy --
-- they DANCE.
This is the last time we’ll ever see them dance, and they
seem to recognize that, so graceful and poised are their
movements-- Remember, this is a romance more perfect than a
real romance could ever be --
DISSOLVE TO:
a projector beam --
16mm footage plays on a screen, full of scratches and
pockets of light, Mia and Sebastian sit down to watch
together -- and we see the following moments in brief,
vivid GLIMPSES, as we move in closer on the imagery:
The first home --
Mia’s pregnancy --
The newborn child --
THE CHILD’S FIRST BIRTHDAY --
The child’s first day of pre-school --
All dressed up -- Everything here glows with the warmth of
old home movies -- These are memories, fluttering by,
grabbed at random and yet all concocted, dreamed up out of
nothing -- The SCORE continuing to sway and taking us right
up to --
141 EXT. ROAD 141
Sebastian and Mia, husband and wife, father and mother,
hiring a babysitter because they've decided to go out for a
night at the movies -- (We’re back to 35mm now.) The look
here is unaffected, just everyday. The MUSIC quiets
slightly, everything goes more natural, as this happily
married couple hit the road --
123.
142 EXT. ROAD - CONTINUOUS 142
-- then find themselves blocked by a traffic jam-- then
take a side route, winding up in another part of L.A --
143 EXT. STREET - CONTINUOUS 143
-- then walk down the street, then hear music, a jazz combo
playing somewhere --
144 INT. SEBASTIAN CLUB - CONTINUOUS 144
-- and step into a place that looks just like Sebastian’s
club -- They sit down to listen --
And then and this is how our imagined montage-musical
number ends, the combo’s PIANIST, who of course is not
Sebastian, launches into Mia and Sebastian’s melody --
-- and Mia and Sebastian look at each other, recognizing
it.
The music goes full-circle, back to where it started, as
Mia and Sebastian look into each other’s eyes, lean in and,
softly, but with all the love in the world --
-- KISS.
WE CUT BACK TO THE PIANO:
Sebastian has just finished his piece. We’re back to
reality. The audience in the club applauds.
Beat. Mia looks at Sebastian. Looks away. A moment passes.
DAVID
Do you want to stay for another?
She’s silent for a second. Then she looks at David.
MIA
No -- We should go.
124.
He nods. They rise from their seats and head for the exit.
Just as they reach the door, and as David steps out, Mia
turns and looks back at Sebastian. He looks at her. Their
eyes lock. A hint of a tear in both --
And, ever so subtly, for just a fleeting second, Mia
smiles.
It’s the kind of smile you could miss if you blinked, but
it’s enough to signal to Sebastian that she recognized the
melody he played, and that she still remembers it, and
still thinks of it to this day --
Then she walks out the door. Sebastian glances at his
fellow musicians. Then, he nods, and they launch into a new
chart.
145 EXT. STREET - NIGHT 145
It’s silent outside. You can’t hear the music. Mia and
David reach their car. They get in. It pulls out.
Passing by Sebastian’s club, the car continues on. We stay
put, the jazz club on one side of the frame, the lights of
the car on the other. Those lights growing smaller and
smaller, before finally disappearing into the big L.A.
night --
FADE OUT.
THE END
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