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