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1.
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FADE IN:
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A sun-blasted sky. We HEAR radios -- one piece of music
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after another --
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We’re --
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1 EXT. 101 FREEWAY - DAY 1
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Cars are at a standstill. It’s a horrific traffic jam.
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Morning rush hour. Sun beating down, asphalt shimmering in
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the heat. The blown-out downtown L.A. skyline hovers in the
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distance.
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We DRIFT past more CARS. Hear one snippet of audio after
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another--
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One driver taps his steering wheel to PROG ROCK. Another
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sings to OPERA. A third raps along to a HIP-HOP track. We
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move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO,
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until finally we begin to hear--
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--a new, original piece of music-- [ANOTHER DAY OF SUN]
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We settle on the CAR from which this new tune is playing.
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The driver is a YOUNG WOMAN. She hums along to the riff on
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her radio, then starts SINGING.
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Then, she EXITS her car. Then, she starts MOVING down the
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lane.
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One by one, more DRIVERS join her SINGING and DANCING
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along. Without a single cut, we’ve found ourselves in a
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FULL- FLEDGED MUSICAL NUMBER--
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Drivers leap on car-tops, dance Jerome Robbins-style,
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making use of the road and the hot gleam of the
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automobiles. Arms swaying, feet banging, dancers darting,
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as the MUSIC blasts. We WEAVE and SWIRL and DART between
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and around the cars, taking the magic in--
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Finally, all the drivers swing back into their vehicles and
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the song comes to a dramatic stop.
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Flash title card:
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WINTER
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2.
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2 INT. NEW CAR - CONTINUOUS 2
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A 1983 Dodge Riviera. In it is SEBASTIAN, 32, L.A. native.
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He’s listening to the radio. He’s playing a track on his
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music system, a tape of Thelonious Monk’s “Japanese Folk
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Song”. But he keeps stopping it, over and over and over,
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always rewinding to the same exact spot.
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3 INT. CAR FURTHER UP AHEAD - CONTINUOUS 3
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A light-green 2005 Prius. Inside is MIA, 27, Nevada-raised.
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Six years of “no” in L.A. have toughened her, but she’s
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still a dreamer. She seems to be on the phone, speaking
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into her car’s system. Fast, fiery, full of energy --
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MIA
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--and I swear to God, she was
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wrecked. It was pure insanity.
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Mia stops. Thinks. Mutters to herself: “Insanity”. Then
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leans down and grabs a piece of paper from the passenger
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seat. It’s a SCRIPT.
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MIA (CONT’D)
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(reading now)
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Pure lunacy. Oh God, I know--
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Just then, the traffic around Mia starts to let up. She’s
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too focused on her lines to notice.
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Then, a long, sustained honk behind her: AHHHHHHHHHHHHHHHT.
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Mia comes to. Jerked back to reality. The honking car
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behind her swerves into the next lane. It’s Sebastian. Mia
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gives him the finger. We then FOLLOW her as she drives--
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4 INT. COFFEE SHOP - DAY 4
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Mia works, photos of Hollywood icons on the wall behind
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her, as --
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3.
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CUSTOMER #1
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This doesn’t taste like almond
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milk.
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MIA
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Don’t worry, it is. I know
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sometimes it --
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CUSTOMER #1
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Can I see the carton?
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Mia hands it over. The Customer looks.
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CUSTOMER #1 (CONT’D)
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I’ll have a black coffee.
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Mia gets the coffee. Quickly sneaks a look at a script
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hidden underneath her counter. The same one we saw in her
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car--
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She hands the coffee to the Customer. We follow the
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Customer out through the door, as a WOMAN walks into the
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shop. We don’t see the Woman’s face, but we see all the
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eyes in the shop turn immediately to her. We see one
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CUSTOMER whisper to another, discreetly pointing as the
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WOMAN passes by--
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WOMAN
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Cappuccino, please.
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Mia nods. Gets it made. The Manager takes it from her.
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MANAGER
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On us.
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WOMAN
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No, I insist.
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4.
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She pays. Then smiles at Mia and drops a bill in the tip
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jar. Mia watches as the Woman walks off, is joined by a
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STUDIO EMPLOYEE on a golf cart outside, we realize this
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coffee shop is on a STUDIO LOT and is driven away--
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Then, Mia’s phone rings. It reads: “MOM”. Mia presses
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“IGNORE” and the time pops up on the phone’s screen: 4:07.
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MIA
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Shit.
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Removing her apron and hurrying out, turning back as --
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MANAGER
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Where do you think you’re going?
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MIA
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It’s -- five past--
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MANAGER
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You’d better be here early
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tomorrow.
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MIA
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Ok.
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-- then realizes she doesn’t have her script, runs back to
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grab it, hurries on and then, CRASHES into a table. Coffee
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and food spill all over her shirt, and all at once we’re --
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5 INT. AUDITION ROOM - DAY 5
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Mia’s in a thick winter coat, covering her stained shirt.
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On her cell, loudly laughing while her adrenaline surges --
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MIA (CONT’D)
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And I swear to God, she was
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wrecked. It was pure lunacy. Oh
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God, I know--
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5.
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Her nerves are practically visible. As she talks, we PULL
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BACK to see that she’s auditioning for a CASTING DIRECTOR.
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MIA (CONT’D)
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No, no, Turner’s fine. So you --
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are you waiting ‘til Denver to tell
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her--?
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(as her smile contracts)
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Oh. I see--
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(silence; she clenches
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her jaw)
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No, you’re right. I understand.
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(--and a tear falls from
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her eye)
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Ok-- I just-- Oh--
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An ASSISTANT appears through the glass on the door behind
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Mia, waving to the Casting Director.
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ASSISTANT
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Yoohoo. Can I come in?
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MIA (CONT’D)
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(crying now)
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No, I’m happy for you-- I -- I just
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--
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CASTING DIRECTOR
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One second.
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Mia stops. The Casting Director waves the Assistant in. The
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Assistant scurries in, shows her boss a post-it. Mia stands
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there, trying to hold onto the tears, hold onto the
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emotion, as the Casting Director reads the post-it and
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thinks.
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CASTING DIRECTOR (CONT’D)
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--I’ll call her back. Tell her I’m
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almost done in here.
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6.
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The Assistant nods. Walks out. Mia waits, trying to
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maintain--
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CASTING DIRECTOR (CONT’D)
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You know what? I think we’re good.
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Thanks for coming in.
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Mia looks at her. A beat.
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6 INT. LOBBY - DAY 6
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Mia exits. Nerves still on edge. Passes one beautiful
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redhead after the next, all getting ready to cry.
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Enters the elevator with two other WOMEN, tall, statuesque.
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Also redheads.
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7 INT. MIA’S APARTMENT - EARLY EVENING 7
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Mia enters. Exhausted. Heads to her ROOM.
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Old movie posters hang on the walls, including a big Ingrid
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Bergman one over the bed. There’s also a shelf filled with
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acting books, Uta Hagen, Stella Adler. Various other
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trinkets: an old globe, an old blue-and-red suitcase. Mia
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takes off her shoe. A blister on her sole.
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8 INT. BATHROOM - CONTINUOUS 8
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Just showered, wrapped in a towel. She hums to herself.
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The mirror is fogged up. She turns off the vent. The mist
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on the glass thickens. She dabs some of it away. Dims the
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lights. Looks--
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With the fog in place, her reflection looks like one of
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those soft-focus old Hollywood close-ups. She hums as she
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brushes her hair--
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Then, the door SWINGS open and the spell is broken.
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7.
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TRACY
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Holy Mother of God.
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Mia snaps out of it. Turns. Fog is enveloping TRACY, 27.
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TRACY (CONT’D)
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Ever heard of a vent?
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MIA
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I wanted to give you an entrance.
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ALEXIS
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(appearing in the hall,
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26, eating Cheetos)
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Mia! How’d it go?
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MIA
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Eh--
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ALEXIS
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Same here. Was Jen there? Or
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Rachel?
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MIA
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I don’t know who Jen and Rachel
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are.
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ALEXIS
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They’re the worst.
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MIA
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I don’t know if they were there.
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As Mia slips away --
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8.
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ALEXIS
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I bet they were.
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CAITLIN
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(appearing, 27)
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Why is there a convention in the
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bathroom?
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TRACY
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Two minutes, people! Mia you’re
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coming, right?
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9 INT. MIA`S BEDROOM - CONTINUOUS 9
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MIA
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Can’t. Working.
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TRACY (O.S.)
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What?
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(we PAN BACK to Tracy)
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Did she say “working”?
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We follow Mia INSIDE her room. She closes the door. Takes a
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moment. You can tell in her eyes work or not, a night on
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the town is the last thing she wants to do now.
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10 INT. HALLWAY - CONTINUOUS 10
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To find Tracy POUNDING on Mia’s door.
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MIA
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(opening up)
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Yes?
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TRACY
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9.
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Look, I know things didn’t go well
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today. There are four things in my
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inbox that you’re perfect for and I
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will submit you. But right now --
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you’re coming.
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With that she barges in and beelines to Mia’s closet --
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TRACY (CONT’D)
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It’ll be fun.
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MIA
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It’ll be a bunch of social climbers
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packed into one of those glass
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houses.
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TRACY
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Exactly. Fun.
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She pulls out a blue dress. As Alexis hurries in --
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TRACY (CONT’D)
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MIA This looks familiar. I was
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going to give it back!
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Alexis moves from Mia’s perfume to the dress, lighting up
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as she grabs it --
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ALEXIS
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Come on, Mia. When else do you get
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to see every Hollywood cliché
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crammed into a single home?
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TRACY
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(faux-offended)
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Lex! I’m disappointed in you.
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There’s nothing to make fun of.
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This party will be humanity at its
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finest.
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10.
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Mia rolls her eyes and, with that --
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Tracy BREAKS INTO SONG. [SOMEONE IN THE CROWD]
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She play-acts the clichés this party will represent. Alexis
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and Caitlin join in, giddy and playful. Mia can’t help but
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laugh. The roommates sing and dance, hoping to persuade Mia
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to join the night’s revelry--
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Mia remains reluctant. Stays behind in her room as her
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roommates head out the door. But she’s starting to wonder:
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A night at home, feeling sorry for herself or a night out
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with her friends?
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11 EXT. APARTMENT BUILDING - STREET - NIGHT 11
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We’re outside now, and BACK with Tracy, Alexis and Caitlin,
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marching across the courtyard and toward the street. They
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sing, dance, half-assuming Mia is a no-go --
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-- until Mia APPEARS, blue-dress-clad. Her roommates look
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at her in surprise -- then delight. The energy swells and
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the four characters dance their way together down the
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street. They dive into a single CAR.
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DISSOLVE TO:
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12 EXT. CITY - NIGHT 12
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An old-fashioned MONTAGE of a night on the town: neon signs
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and overflowing champagne glasses. Soon enough, we’re at...
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13 EXT. MODERN HILLTOP HOUSE - NIGHT 13
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Valet cars lined up. We FOLLOW Alexis, Tracy, Caitlin and
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Mia to the door--
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14 INT/EXT. HILLTOP HOUSE - NIGHT 14
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11.
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--and into a big-glass hilltop pad. We FOLLOW Mia as she
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takes in her surroundings.
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A D.J. turning tables. A FAT OLD PRODUCER dancing with a
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TWENTY-SOMETHING. A trio of AGENTS glad-handing each other
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in rhythm by the bar. Yep, every cliché is here--
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Mia tries talking to a pair of WOMEN, who promptly ditch
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her.
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Seeing she’s now alone, a YOUNG MAN swoops in to hit on
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her.
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She makes a hasty exit toward the bar, but the line’s
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obscenely long.
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She nears the BATHROOM door, but a COUPLE stands in her
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way, making out.
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She slips in behind them--
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15 INT. BATHROOM - CONTINUOUS 15
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Mia takes a moment. The joy of seconds ago is gone from her
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eyes now. She gazes into the mirror --
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-- and SINGS by herself.
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This verse, sung in private, belongs to a new style: less
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brash, and far more vulnerable--
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Once finished, Mia takes a breath, steels herself to once
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again face the world, opens the door and rejoins the crowd-
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-
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We MOVE with her slowly now surrounded by the party, but
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everything set at a snail’s pace, the crazed carousers
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moving in SLOW MOTION. It’s the sadness underneath the
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revelry, the pain underneath the clichés--
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16 EXT. OUTSIDE - CONTINUOUS 16
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Gradually we RAMP UP. Follow Mia OUTSIDE, where we see the
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splash of blue-green that is the POOL and a flurry of FAKE
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SNOW falling from above--
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12.
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As we reach FULL-SPEED, a PARTY-GOER races to the edge,
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jumps --
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-- and we PLUNGE WITH HIM INTO THE POOL.
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This is the climax of the number. Everyone joins in,
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circling the pool a swath of color against the black sky.
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Everyone dances, everyone sings and the song concludes with
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a blast of fireworks.
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17 EXT. STREET - NIGHT 17
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Close on a sign: “NO PARKING ANYTIME: TOW-AWAY ZONE”.
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MIA (O.S.)
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No--
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We see Mia, all alone, staring at the sign. No car in
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sight. She reaches into her purse, pulls out her cell phone
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to call Tracy. It’s dead.
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MIA (CONT’D)
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No--
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18 EXT. HILL - LOS ANGELES STREETS - NIGHT 18
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Mia trudges down the steep hill in her unwieldy heels.
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She’s an hour-and-a-half walk from her place. She crosses
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roads and lots, navigates stretches where the sidewalk
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stops and gives way to shrubbery.
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And then, she hears something-- Music. A piano, in the
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distance. And a MELODY, one we will come to know very well-
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-
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Without being sure why, she FOLLOWS THE SOUND. Passes
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several doors. Then stops. Has found where it’s coming
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from--
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She reaches out and slowly opens a door--
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CUT BACK TO:
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13.
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19 EXT. 101 FREEWAY - EARLIER THAT MORNING 19
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AHHHHHHHHHHHHHHHHHHHHHHT. The same 101 traffic jam we began
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with. This time we’re on Sebastian, the honker.
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He passes Mia’s car. She gives him the finger. He drives
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on, shaking his head--
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20 EXT. RAYO’S - MOMENTS LATER 20
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Sebastian sips a coffee as he gazes across the street at a
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30’s Deco building. A sign above the door: “VAN BEEK”. A
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newer sub-heading below: “TAPAS & TUNES”.
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The door opens. Two EMPLOYEES step out, setting up a valet
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stand. Sebastian watches them and shakes his head. The
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employees notice him. Recognize him. What is it with that
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guy?
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21 INT. SEBASTIAN’S APARTMENT - DAY 21
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Sebastian enters his apartment, cramped, dingy, bare walls,
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no furniture or decoration, boxes filled with dusty black-
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and-white photographs and unused instruments on the floor,
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a black Steinway upright piano in the center of the living
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room and sees a WOMAN rummaging around.
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SEBASTIAN
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You gotta stop breaking into my
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home.
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She looks up. She’s 37 quickly going on 50, and dressed
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like she doesn’t care. This is LAURA, Sebastian’s older
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sister.
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LAURA
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You think Mom or Dad would call
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this a home?
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Seeing that she’s seated on a stained, decrepit stool --
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SEBASTIAN
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Please don’t sit on that.
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14.
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LAURA
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Are you serious?
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SEBASTIAN
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Yes. Hoagy Carmichael sat on that
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stool. The Baked Potato was gonna
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throw it away.
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LAURA
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I wonder why.
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(then, rising,)
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I brought you this. It’s a throw
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rug.
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SEBASTIAN
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Don’t need it.
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LAURA
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Yeah? What if I told you Miles
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Davis pissed on it?
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SEBASTIAN
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That’s almost insulting. Did he?
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(She shakes her head)
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Unbelievable. Tosses the rug to the
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side.
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LAURA
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When are you going to unpack these
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boxes?
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SEBASTIAN
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When I unpack them in my club.
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15.
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LAURA
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Oh my God. It’s like a girl broke
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up with you and you’re stalking
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her.
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(then, looks at him --)
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You’re not still going by there,
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are you?
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SEBASTIAN
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No.
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A beat. Then --
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SEBASTIAN (CONT’D)
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They’ve turned it into a tapas-
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samba place. You believe that?
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LAURA
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Seb --
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SEBASTIAN
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Who wants to tapas while they
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samba?
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LAURA
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I have someone I want you to meet.
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SEBASTIAN
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I don’t want to meet anyone.
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LAURA
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You’ll like her.
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SEBASTIAN
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Uh-huh. Does she like jazz?
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16.
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LAURA
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Probably not.
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SEBASTIAN
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Then what are we gonna talk about?
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LAURA
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You’ll talk about the weather.
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SEBASTIAN
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Ok. Then I have someone I’d like
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you to meet. He’s got a face
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tattoo, but a heart of gold.
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LAURA
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Sebastian --
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SEBASTIAN
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How long’s it been?
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LAURA
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You need to get serious. You live
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like a hermit. You’re driving
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without insurance.
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SEBASTIAN
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I am serious. I had a very serious
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plan for my future. It’s not my
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fault I got Shanghaied.
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LAURA
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You did not get “Shanghaied”, you
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got ripped off.
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17.
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SEBASTIAN
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What’s the difference?
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LAURA
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It’s not as romantic as that.
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(she starts to walk off)
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And everyone knew that guy was
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shady except for you.
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SEBASTIAN
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Why do you say romantic like it’s a
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dirty word?
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LAURA
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Unpaid bills are not romantic. Call
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her.
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She heads to the door. He follows her, won’t give it up --
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SEBASTIAN
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You’re acting like life’s got me on
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the ropes -- what you don’t
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understand is, I want to be on the
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ropes. I’m letting life hit me
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‘till it gets tired. Then I’m gonna
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make my move. It’s a classic rope-
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a-dope.
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Laura can’t help but laugh. Stops by the door. Looks at
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him.
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LAURA
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I love you. Unpack your boxes.
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SEBASTIAN
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I’m changing the locks.
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18.
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LAURA
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(out the door with a
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smile --)
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You can’t afford it.
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She’s gone. Sebastian thinks for a beat, then calls out --
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SEBASTIAN
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I’m a phoenix rising from the
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ashes!
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No reply to his triumphant declaration. He shuts the door.
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Looks again at the napkin. Thinks. Tosses it in the trash.
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22 INT. SEBASTIAN’S APARTMENT - LATER 22
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Moments later. Sebastian takes a slice of pizza from the
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fridge, pours himself some more coffee, places a Thelonious
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Monk LP onto a record player, and sits down at the piano.
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“Japanese Folk Song” the piece we heard in his car plays--
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Sebastian plays along. Stops. Moves the record back a few
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bars. Starts it again. Plays the same passage over. Stops.
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Moves the record back a second time. Plays the passage
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again. Stops. Over and over, just like in his car until,
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finally, he gets it right.
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He keeps playing, louder now, and we’re --
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23 INT. RESTAURANT - NIGHT 23
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A red-booth bar-and-restaurant. Christmas decorations all
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over. Sebastian steps in. Immediately beelining over --
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BOSS
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Seb.
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SEBASTIAN
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(putting on a smile)
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19.
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Bill. Thanks for having me back.
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BOSS
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Your welcome. Stick to the set
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list.
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SEBASTIAN
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Of course.
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(under his breath as he
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heads to the piano)
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Though I don’t think they care what
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I play.
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BOSS
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I do, and I don’t want to hear the
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free jazz.
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SEBASTIAN
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How ‘bout one for you, one for me?
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Or two for you, one for me?
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(the Boss just glares)
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Or all for you, none for me? Ok,
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that works. Good deal.
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Sebastian sits down at the keys. A WAITRESS passes by.
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WAITRESS
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Well-- Welcome back.
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SEBASTIAN
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There’s a nice way to say that.
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With that he starts playing “Jingle Bells”.
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24 INT. RESTAURANT - LATER 24
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20.
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The restaurant’s demographic has changed. It’s now younger
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stragglers wandering in. Sebastian looks beyond bored. He
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finishes “We Wish You a Merry Christmas”. Zero applause.
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He begins a new chart: “Deck the Halls”. But something
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seems to come over him now. He’s restless. Slowly, his
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playing drifts off, his fingers charting their own path--
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And then, we hear a melody. The one Mia heard outside. The
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one we’ll refer to from now on as Mia and Sebastian’s song-
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-
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The door opens and Mia steps in. She sees Sebastian at the
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piano. Is instantly struck by his playing. [MIA AND
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SEBASTIAN’S THEME]
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Gradually, all sounds but the music drop out. We drift away
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from reality. Even the walls seem to go slightly darker, as
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though Sebastian and Mia were all alone-- He concludes his
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piece with a jumble of chords, his playing almost free jazz
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now, as we pull back to real life--
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--and see the Boss looking on in scorn.
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Sebastian finishes. Silence. Mia looks like the wind has
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been knocked out of her. Sebastian looks up for a second
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and sees her. They look at one another. Just a moment.
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Then, the Boss taps Sebastian on the shoulder. WE STAY ON
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Mia as she watches Sebastian rise with the Boss. We just
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see the Boss talking to Sebastian, can’t hear what is said.
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Then, we get closer and realize:
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BOSS
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--every goddamn night.
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Sebastian is silent. Then, doesn’t want to have to beg but
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--
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SEBASTIAN
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I’ll stick to the set list, I
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promise --
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BOSS
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Too late. You’re done.
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SEBASTIAN
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21.
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You’re not gonna find a better
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player. You know that.
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BOSS
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(leans in, and --)
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Do you think anyone here gives a
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shit?
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With that, the Boss walks off. We linger on Sebastian.
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Anger giving way to hurt. He starts hurrying toward the
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door.
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BACK to Mia who didn’t hear what was said. She watches
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Sebastian, takes a breath, so moved that she’s about to lay
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it all out, swoops in to corner him and --
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MIA
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I just wanted to say -- I saw your
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playing, and I --
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-- but Sebastian just walks right by his shoulder bumping
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against Mia’s for an added measure of disdain.
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He heads out the door. Slams it shut. Mia is left standing
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on her own. She looks like she’s just been slapped.
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CUT TO BLACK:
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SPRING
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25 INT. AUDITION ROOMS - DAY 25
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Mia auditions. Pilot season cattle-call, a series of soul-
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crushing try-outs. She’s pandering to the hilt. Quick
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glimpses:
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MIA (CONT’D)
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I don’t like the fissure on the GT
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scan. Did you test for
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achromatopsia?
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22.
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26 INT. A SECOND AUDITION - CONTINUOUS 26
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MIA (CONT’D)
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D.O.A. on 23rd, perp laughing his
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face off at P.D. Damn Miranda
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Rights.
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27 INT. A THIRD AUDITION - CONTINUOUS 27
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MIA (CONT’D)
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This is my classroom. You don’t
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like it, the door’s to my left.
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READER (O.S.)
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(a well-dressed forty-
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year-old WOMAN reading
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from sides)
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Lady why you be trippin’ like that?
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MIA
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No, Jamal. You be trippin’.
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28 EXT. PARTY - DAY 28
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Mia wanders around another party. A BAD 80’s COVER BAND
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plays.
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TRACY
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There you are! You need to meet
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someone! Carlo, this is Mia. Mia,
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Carlo’s a writer.
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CARLO TRACY
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Nice to meet you, Mia.
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He’s got projects all over town.
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CARLO
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23.
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(shrugs, faux-modest)
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They say I have a knack for world-
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building.
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MIA
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(takes this in; then --)
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Congratulations. I have to grab a
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drink...
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She slips away. Presses toward the bar. The music gets
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louder, more obnoxious. She peers toward the band to get a
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look--
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And then she sees him. Sebastian.
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Playing keyboard-guitar for the band. Dressed up like his
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band- mates in a bright polyester outfit. And hating every
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second.
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The band finishes, and the SINGER addresses the (thin)
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crowd.
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SINGER
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Alright, one more for y’all before
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we break. Do I hear any requests?
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MIA
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“I Ran”.
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Sebastian turns. Sees Mia, looking at him with a defiant
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grin, enjoying her power. He thinks, then recognizes the
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face.
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SINGER
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“I Ran” it is.
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(to Sebastian)
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Wanna start us off, piano-man?
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Sebastian stays silent. Mortified. Finally, so reluctant,
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he taps his keyboard to count the band in and begins
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playing.
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24.
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On the keys, it’s a single note, repeated measure after
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measure. Mia knew this. Sebastian looks at her. She smiles
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right back.
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SINGER (CONT’D)
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I walked along the avenue--
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29 EXT. PARTY - INT. HOUSE - MOMENTS LATER 29
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Set break. Sebastian hurries from the keys, enters the
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house, looks both ways, finally spots Mia and --
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SEBASTIAN
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Ok. I remember you.
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Mia looks at him. One eyebrow raised. Yeah?
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SEBASTIAN (CONT’D)
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And I’m sorry if I was curt that
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night.
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MIA
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“Curt”?
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SEBASTIAN
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Ok I was an asshole. I can admit
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that.
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MIA
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Ok.
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SEBASTIAN
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But requesting “I Ran” from a
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serious musician, it’s too far.
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MIA
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25.
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My God. Did you just call yourself
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“a serious musician”?
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SEBASTIAN
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(beat)
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I don’t think so.
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MIA
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Can I borrow what you’re wearing?
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SEBASTIAN
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Why?
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MIA
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Because I have an audition next
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week. I’m playing a serious fire-
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fighter.
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SEBASTIAN
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(irritation building --)
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So you’re an actress. That makes
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sense. Have I seen you in anything?
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MIA
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Uh-- The coffee shop on the Warner
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Brothers lot. That’s a classic.
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SEBASTIAN
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Oh, you’re a barista. Well now I
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see how you can look down on me
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from all the way up there.
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SINGER
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(popping in from nowhere)
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Sebastian. Second set.
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26.
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Sebastian looks at Mia. She smirks. Pleased. The Singer
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walks off.
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SEBASTIAN
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He doesn’t tell me what to do.
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MIA
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He just told you what to do.
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SEBASTIAN
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I let him.
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A beat.
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SEBASTIAN (CONT’D)
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What’s your name?
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MIA
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Mia.
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SEBASTIAN
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Mia. Guess I’ll see you in the
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movies.
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He heads back to the keys, and the band resumes:
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SINGER
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Never seen you lookin’ so lovely as
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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
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Mia and Sebastian sit on a bench, the Observatory perched
|
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behind them. The clouds have parted, and it’s now a
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gorgeous Los Angeles afternoon, minutes before dusk.
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|
Sebastian looks at Mia. A moment passes.
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SEBASTIAN
|
|
When do you find out?
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MIA
|
|
They said the next couple of days -
|
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- But I’m not expecting to find
|
|
anything out.
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SEBASTIAN
|
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You’re going to get it.
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MIA
|
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No, I’m not.
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SEBASTIAN
|
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You are. I know these things.
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A beat.
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MIA
|
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Where are we?
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Sebastian looks at her.
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SEBASTIAN
|
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Griffith Park.
|
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109.
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MIA
|
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I mean -- where are we?
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SEBASTIAN
|
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I know --
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(beat)
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I don’t know.
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MIA
|
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What do we do?
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SEBASTIAN
|
|
I don’t think we can do anything.
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Because when you get this --
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MIA
|
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If I get this --
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SEBASTIAN
|
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When you get this -- you’ve got to
|
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give it everything you’ve got.
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Beat.
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SEBASTIAN (CONT’D)
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It’s your dream.
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MIA
|
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What are you going to do?
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SEBASTIAN
|
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I’ve got to follow my own plan.
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Stay here. Get my own thing going.
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You know --
|
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110.
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A moment. Mia nods. Sebastian looks at her again.
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SEBASTIAN (CONT’D)
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You’re going to be in Paris. Good
|
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jazz there. And you love jazz now.
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Mia smiles.
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SEBASTIAN (CONT’D)
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Right?
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MIA
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Right.
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Another moment. And then, finally --
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SEBASTIAN
|
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I guess we’re just going to have to
|
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wait and see.
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Mia’s eyes well up, just slightly, as she hears this. She
|
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nods.
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MIA
|
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You know I’m always going to love
|
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you.
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SEBASTIAN
|
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I’m always going to love you too.
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Beat. Sebastian looks up at the Observatory.
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SEBASTIAN (CONT’D)
|
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Look at this view.
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MIA
|
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(playfully)
|
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I’ve seen better.
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111.
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SEBASTIAN
|
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Agreed.
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They laugh.
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Then, almost to herself --
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MIA
|
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I’ve never been here during the
|
|
day.
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Sebastian smiles. A moment.
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We CUT TO WIDE. Sebastian and Mia sit side by side. We
|
|
linger here, our two characters framed by the white-and-
|
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green Observatory, the rest of L.A. stretching out beyond.
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And then, ever so slowly --
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FADE TO:
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WINTER
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A palm tree, a cloudless sky. We PULL BACK to reveal it’s
|
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all painted --
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116 EXT. STUDIO LOT - DAY 116
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We’re on a studio lot, looking at one of the old painted
|
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backdrops, of a palm tree and sky. A new title card:
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|
|
Five years later --
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We TILT down to the studio’s entryway. A CAR enters.
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|
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.
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117 INT. COFFEE SHOP - DAY 117
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The eyes inside all look the WOMAN’s way. She reaches the
|
|
counter and we finally SEE HER FACE:
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MIA
|
|
Hi -- Iced coffee, please.
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|
|
MIA looks different. Different haircut, different way of
|
|
handling herself.
|
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|
|
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 --
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|
|
NEW MANAGER
|
|
On us.
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MIA
|
|
No, no, that’s fine.
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|
|
Mia hands over a few dollar bills. Then drops another bill
|
|
into the tip jar. The Barista smiles.
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|
118 EXT. COFFEE SHOP - MOMENTS LATER 118
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|
|
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 --
|
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|
|
CUT TO:
|
|
|
|
CLOSE ON hands on piano keys, fluttering across the
|
|
ivories. We PULL BACK: it’s SEBASTIAN. We’re in --
|
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|
119 INT. JAZZ CLUB - DAY 119
|
|
113.
|
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|
|
|
|
-- 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.
|
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|
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EMPLOYEE
|
|
Took him long enough.
|
|
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|
|
Sebastian smiles.
|
|
|
|
SEBASTIAN
|
|
No one touches the instruments.
|
|
Carson’s coming an hour early to
|
|
test levels.
|
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|
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|
|
EMPLOYEE
|
|
I got a check for you to sign.
|
|
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|
|
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|
|
SEBASTIAN
|
|
How’d we do last month?
|
|
|
|
|
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|
|
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.
|
|
|
|
|
|
|
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|
|
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
|
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and 50’s --
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121.
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136 EXT. STREET - CONTINUOUS 136
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Everyone DANCES, the pedestrians and the street performers
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and the cops and the guards -- AMY BRANDT races up to Mia,
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seems to beckon her to audition -- We see the audition
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silhouetted against a wall -- We don’t hear Mia sing, but
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the music takes on the melody of her song, carrying us to -
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-
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137 EXT. PARIS - CONTINUOUS 137
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Sebastian travels there with Mia -- We chart the journey
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through an OLD GLOBE, the same one we saw Mia use for her
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play, a miniature plane and dissolves, the old-Hollywood-
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|
movie way --
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Finally, we find ourselves looking at a PAINTED BACKDROP of
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Paris, the same one Mia used for her play. The Sacré-Cœur
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and the Arc de Triomphe and the Eiffel Tower etched in
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|
bright colors, the ornate lampposts and the cobblestones
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|
stretching before us -- And then a sign “CAVEAU DE LA
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HUCHETTE”--
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138 INT. CAVEAU - CONTINUOUS 138
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We see a jam session at the Caveau, a crypt-like jazz club.
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Sebastian plays, on cloud nine --
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139 INT. MOVIE SHOOT - CONTINUOUS 139
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We see a MOVIE SHOOT, Mia surrounded by lights and cranes,
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|
decked in movie-movie glow.
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|
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We’re BACK to the Caveau. The lights go out, except for the
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TRUMPETER, playing out a lovelorn solo, rim-lit. We MOVE in
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|
close on his horn, DIVE into the bell --
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140 EXT. NIGHTTIME PARIS - CONTINUOUS 140
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122.
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All painted. Mia and Sebastian wander through this
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|
wonderland, pedestrians frozen around them -- Finally, they
|
|
stop and look at one another --
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|
And as the city lights behind them start to glitter like
|
|
all the stars of the galaxy --
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|
|
|
-- they DANCE.
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|
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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 --
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|
|
DISSOLVE TO:
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|
|
a projector beam --
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|
|
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 --
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|
|
|
The newborn child --
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|
|
|
THE CHILD’S FIRST BIRTHDAY --
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|
|
|
The child’s first day of pre-school --
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|
|
|
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 --
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|
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|
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.
|
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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 --
|
|
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|
143 EXT. STREET - CONTINUOUS 143
|
|
|
|
-- then walk down the street, then hear music, a jazz combo
|
|
playing somewhere --
|
|
|
|
|
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|
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.
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|
|
|
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
|
|
|