4752 lines
144 KiB
Plaintext
4752 lines
144 KiB
Plaintext
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LA LA LAND
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Written by
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Damien Chazelle
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FADE IN...
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A sun-blasted sky. We HEAR radios -- one piece of music after
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another...
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We're --
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1 EXT. 101 FREEWAY - DAY
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Cars are at a standstill. It's a horrific traffic jam.
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Morning rush hour. Sun beating down, asphalt shimmering in the
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heat. The blown-out downtown L.A. skyline hovers in the
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distance.
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We DRIFT past more CARS. Hear one snippet of audio after
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another...
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One driver taps his steering wheel to PROG ROCK. Another
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sings to OPERA. A third raps along to a HIP-HOP track. We
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move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO,
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until finally we begin to hear...
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...a new, original piece of music... [ANOTHER DAY OF SUN]
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We settle on the CAR from which this new tune is playing.
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The driver is a YOUNG WOMAN. She hums along to the riff on
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her radio -- then starts SINGING.
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Then -- she EXITS her car. Then -- she starts MOVING down the
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lane.
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One by one, more DRIVERS join her -- SINGING and DANCING
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along. Without a single cut, we've found ourselves in a FULL-
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FLEDGED MUSICAL NUMBER...
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Drivers leap on car-tops, dance Jerome Robbins-style, making
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use of the road and the hot gleam of the automobiles. Arms
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swaying, feet banging, dancers darting, as the MUSIC blasts.
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We WEAVE and SWIRL and DART between and around the cars,
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taking the magic in...
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Finally -- all the drivers swing back into their vehicles --
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and the song comes to a dramatic stop.
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Flash title card:
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WINTER
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A1 We settle on a new car. A 1983 Dodge Riviera. In it is
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SEBASTIAN, 32, L.A. native. He's listening to the radio. He's
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playing a track on his music system -- a tape of Thelonious
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Monk's "Japanese Folk Song". But he keeps stopping it, over
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and over and over -- always rewinding to the same exact spot.
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Revision 2.
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B1 OMIT
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C1 We DRIFT from his car to one further up ahead. A light-green
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2005 Prius. Inside is MIA, 27, Nevada-raised. Six years of
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"no" in L.A. have toughened her, but she's still a dreamer.
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She seems to be on the phone, speaking into her car's system.
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Fast, fiery, full of energy --
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MIA
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...and I swear to God, she was wrecked.
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It was pure insanity.
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Mia stops. Thinks. Mutters to herself: "Insanity"... Then
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leans down and grabs a piece of paper from the passenger
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seat. It's a SCRIPT.
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MIA (CONT'D)
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(reading now)
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Pure lunacy. Oh God, I know...
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Just then -- the traffic around Mia starts to let up. She's
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too focused on her lines to notice.
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Then -- a long, sustained honk behind her: AHHHHHHHHHHHHHHHT.
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Mia comes to. Jerked back to reality. The honking car behind
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her swerves into the next lane. It's Sebastian. Mia gives him
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the finger. We then FOLLOW her as she drives...
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2 OMIT
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3 OMIT
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4 INT. COFFEE SHOP - DAY
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Mia works, photos of Hollywood icons on the wall behind her, as --
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CUSTOMER #1
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This doesn't taste like almond milk.
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MIA
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Don't worry, it is. I know sometimes it --
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CUSTOMER #1
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Can I see the carton?
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Mia hands it over. The Customer looks.
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CUSTOMER #1 (CONT'D)
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I'll have a black coffee.
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Mia gets the coffee. Quickly sneaks a look at a script hidden
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underneath her counter. The same one we saw in her car...
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Revision 3.
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She hands the coffee to the Customer. We follow the Customer
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out through the door -- as a WOMAN walks into the shop. We
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don't see the Woman's face, but we see all the eyes in the
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shop turn immediately to her. We see one CUSTOMER whisper to
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another, discreetly pointing as the WOMAN passes by...
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WOMAN
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Cappuccino, please.
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Mia nods. Gets it made. The Manager takes it from her.
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MANAGER
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On us.
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WOMAN
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No, I insist.
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She pays. Then smiles at Mia and drops a bill in the tip jar.
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Mia watches as the Woman walks off, is joined by a STUDIO
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EMPLOYEE on a golf cart outside -- we realize this coffee shop
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is on a STUDIO LOT -- and is driven away...
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Then -- Mia's phone rings. It reads: "MOM". Mia presses
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"IGNORE" and the time pops up on the phone's screen: 4:07.
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MIA
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Shit.
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Removing her apron and hurrying out, turning back as --
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MANAGER
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Where do you think you're going?
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MIA
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It's -- five past...
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MANAGER
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You'd better be here early tomorrow.
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MIA
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Ok.
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-- then realizes she doesn't have her script, runs back to
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grab it, hurries on and then -- CRASHES into a table. Coffee
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and food spill all over her shirt, and all at once we're --
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5 INT. AUDITION ROOM - DAY
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Mia's in a thick winter coat, covering her stained shirt. On
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her cell, loudly laughing while her adrenaline surges --
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MIA (CONT'D)
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And I swear to God, she was wrecked. It
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was pure lunacy. Oh God, I know...
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Revision 4.
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Her nerves are practically visible. As she talks, we PULL
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BACK -- to see that she's auditioning for a CASTING DIRECTOR.
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MIA (CONT'D)
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No, no, Turner's fine. So you -- are you
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waiting `til Denver to tell her...?
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(as her smile contracts)
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Oh. I see...
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(silence; she clenches her jaw...)
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No, you're right. I understand.
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(...and a tear falls from her eye)
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Ok... I just... Oh...
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An ASSISTANT appears through the glass on the door behind
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Mia, waving to the Casting Director: Yoohoo. Can I come in?
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MIA (CONT'D)
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(crying now)
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No, I'm happy for you... I -- I just --
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CASTING DIRECTOR
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One second.
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Mia stops. The Casting Director waves the Assistant in. The
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Assistant scurries in, shows her boss a post-it. Mia stands
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there, trying to hold onto the tears, hold onto the emotion, as
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the Casting Director reads the post-it and thinks.
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CASTING DIRECTOR (CONT'D)
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...I'll call her back. Tell her I'm almost
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done in here.
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The Assistant nods. Walks out. Mia waits, trying to maintain...
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CASTING DIRECTOR (CONT'D)
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You know what? I think we're good. Thanks
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for coming in.
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Mia looks at her. A beat.
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6 INT. LOBBY - DAY
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Mia exits. Nerves still on edge. Passes one beautiful redhead
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after the next -- all getting ready to cry.
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Enters the elevator with two other WOMEN -- tall, statuesque.
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Also redheads.
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7 INT. MIA'S APARTMENT - EARLY EVENING
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Mia enters. Exhausted. Heads to her ROOM.
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Revision 5.
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Old movie posters hang on the walls, including a big Ingrid
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Bergman one over the bed. There's also a shelf filled with
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acting books -- Uta Hagen, Stella Adler. Various other
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trinkets: an old globe, an old blue-and-red suitcase. Mia
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takes off her shoe. A blister on her sole.
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8 WE CUT TO: Mia in the BATHROOM. Just showered, wrapped in a
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towel. She hums to herself.
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The mirror is fogged up. She turns off the vent. The mist on
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the glass thickens. She dabs some of it away. Dims the
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lights. Looks...
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With the fog in place, her reflection looks like one of those
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soft-focus old Hollywood close-ups. She hums as she brushes
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her hair...
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Then -- the door SWINGS open -- and the spell is broken.
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TRACY
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Holy Mother of God.
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Mia snaps out of it. Turns. Fog is enveloping TRACY, 27.
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TRACY (CONT'D)
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Ever heard of a vent?
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MIA
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I wanted to give you an entrance.
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ALEXIS
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(appearing in the hall, 26,
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eating Cheetos)
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Mia! How'd it go?
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MIA
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Eh...
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ALEXIS
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Same here. Was Jen there? Or Rachel?
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MIA
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I don't know who Jen and Rachel are.
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ALEXIS
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They're the worst.
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MIA
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I don't know if they were there.
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As Mia slips away --
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ALEXIS
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I bet they were.
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Revision 6.
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CAITLIN
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(appearing, 27)
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Why is there a convention in the bathroom?
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TRACY
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Two minutes, people! Mia you're coming,
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right?
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WE PAN TO find Mia poking her head out of her bedroom --
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MIA
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Can't. Working.
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TRACY (O.S.)
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What?
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(we PAN BACK to Tracy)
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Did she say "working"?
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A8 We follow Mia INSIDE her room. She closes the door. Takes a
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moment. You can tell in her eyes -- work or not, a night on
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the town is the last thing she wants to do now.
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B8 WE CUT to the HALLWAY, to find Tracy POUNDING on Mia's door.
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MIA
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(opening up)
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Yes?
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TRACY
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Look, I know things didn't go well today.
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There are four things in my inbox that
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you're perfect for and I will submit you.
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But right now -- you're coming.
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C8 With that -- she barges in and beelines to Mia's closet --
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TRACY (CONT'D)
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It'll be fun.
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MIA
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It'll be a bunch of social climbers packed
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into one of those glass houses.
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TRACY
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Exactly. Fun.
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She pulls out a blue dress. As Alexis hurries in --
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TRACY (CONT'D) MIA
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This looks familiar. I was going to give it
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back!
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Alexis moves from Mia's perfume to the dress, lighting up as
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she grabs it --
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Revision 7.
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ALEXIS
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Come on, Mia. When else do you get to
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see every Hollywood cliché crammed
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into a single home?
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TRACY
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(faux-offended)
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Lex! I'm disappointed in you. There's
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nothing to make fun of. This party will
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be humanity at its finest.
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Mia rolls her eyes -- and, with that --
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Tracy BREAKS INTO SONG. [SOMEONE IN THE CROWD]
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She play-acts the clichés this party will represent. Alexis
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and Caitlin join in, giddy and playful. Mia can't help but
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laugh. The roommates sing and dance, hoping to persuade Mia
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to join the night's revelry...
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Mia remains reluctant. Stays behind in her room as her
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roommates head out the door. But she's starting to wonder: A
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night at home, feeling sorry for herself -- or a night out
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with her friends...?
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9 EXT. APARTMENT BUILDING / STREET - NIGHT
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We're outside now, and BACK with Tracy, Alexis and Caitlin,
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marching across the courtyard and toward the street. They
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sing, dance, half-assuming Mia is a no-go --
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-- until Mia APPEARS, blue-dress-clad. Her roommates look at
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her in surprise -- then delight. The energy swells and the
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four characters dance their way together down the street.
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They dive into a single CAR, and WE DISSOLVE TO...
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10 OMIT.
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A10 OMIT.
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11 EXT. CITY - NIGHT
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An old-fashioned MONTAGE of a night on the town: neon signs
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and overflowing champagne glasses. Soon enough, we're at...
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12 EXT. MODERN HILLTOP HOUSE - NIGHT
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Valet cars lined up. We FOLLOW Alexis, Tracy, Caitlin and Mia
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to the door...
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13 INT./EXT. HILLTOP HOUSE - NIGHT
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...and into a big-glass hilltop pad. We FOLLOW Mia as she
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takes in her surroundings.
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Revision 8.
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A D.J. turning tables. A FAT OLD PRODUCER dancing with a
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TWENTY-SOMETHING. A trio of AGENTS glad-handing each other in
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rhythm by the bar. Yep -- every cliché is here...
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Mia tries talking to a pair of WOMEN -- who promptly ditch
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her.
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Seeing she's now alone, a YOUNG MAN swoops in to hit on her.
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She makes a hasty exit toward the bar -- but the line's
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obscenely long.
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She nears the BATHROOM door -- but a COUPLE stands in her way,
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making out.
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She slips in behind them...
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A13 Inside the BATHROOM, Mia takes a moment. The joy of seconds
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ago is gone from her eyes now. She gazes into the mirror --
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-- and SINGS by herself.
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This verse, sung in private, belongs to a new style: less
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brash, and far more vulnerable...
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Once finished, Mia takes a breath, steels herself to once
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again face the world, opens the door -- and rejoins the
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crowd...
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B13 We MOVE with her slowly now -- surrounded by the party, but
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everything set at a snail's pace, the crazed carousers moving
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in SLOW MOTION. It's the sadness underneath the revelry, the
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pain underneath the clichés...
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Gradually we RAMP UP. Follow Mia OUTSIDE, where we see the
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splash of blue-green that is the POOL -- and a flurry of FAKE
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SNOW falling from above...
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As we reach FULL-SPEED, a PARTY-GOER races to the edge, jumps --
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-- and we PLUNGE WITH HIM INTO THE POOL.
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This is the climax of the number. Everyone joins in,
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circling the pool -- a swath of color against the black sky.
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Everyone dances, everyone sings -- and the song concludes
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with a blast of fireworks.
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C13 OMIT
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A14 EXT. STREET - NIGHT
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Close on a sign: "NO PARKING ANYTIME: TOW-AWAY ZONE".
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Revision 9.
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MIA (O.S.)
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No...
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We see Mia -- all alone, staring at the sign. No car in
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sight. She reaches into her purse, pulls out her cell phone
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to call Tracy. It's dead.
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MIA (CONT'D)
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No...
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15 OMIT
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16 OMIT
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17 OMIT
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A17 OMIT
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B17 OMIT
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18 OMIT
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19 EXT. HILL / LOS ANGELES STREETS - NIGHT
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Mia trudges down the steep hill in her unwieldy heels. She's an
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hour-and-a-half walk from her place. She crosses roads and lots,
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navigates stretches where the sidewalk stops and gives way to
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shrubbery.
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A19 And then -- she hears something... Music. A piano, in the
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distance. And a MELODY -- one we will come to know very well...
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Without being sure why, she FOLLOWS THE SOUND. Passes several
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doors. Then stops. Has found where it's coming from...
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She reaches out -- and slowly opens a door...
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AND WE CUT RIGHT BACK TO:
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20 EXT. 101 FREEWAY - EARLIER THAT MORNING
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AHHHHHHHHHHHHHHHHHHHHHHT. The same 101 traffic jam we began
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with. This time we're on Sebastian -- the honker.
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He passes Mia's car. She gives him the finger. He drives on,
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shaking his head...
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21 OMIT
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22 EXT. RAYO'S - MOMENTS LATER
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Sebastian sips a coffee as he gazes across the street -- at
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a 30's Deco building. A sign above the door: "VAN BEEK". A
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newer sub-heading below: "TAPAS & TUNES".
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Revision 10.
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The door opens. Two EMPLOYEES step out, setting up a valet
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stand. Sebastian watches them -- and shakes his head. The
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employees notice him. Recognize him. What is it with that
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guy...?
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23A OMIT
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23 INT. SEBASTIAN'S APARTMENT - DAY
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Sebastian enters his apartment -- cramped, dingy, bare
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walls, no furniture or decoration, boxes filled with dusty
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black-and-white photographs and unused instruments on the
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floor, a black Steinway upright piano in the center of the
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living room -- and sees a WOMAN rummaging around.
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SEBASTIAN
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You gotta stop breaking into my home.
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She looks up. She's 37 quickly going on 50, and dressed like
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she doesn't care. This is LAURA, Sebastian's older sister.
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LAURA
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You think Mom or Dad would call this a
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home?
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Seeing that she's seated on a stained, decrepit stool --
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SEBASTIAN
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Please don't sit on that.
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LAURA
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Are you serious?
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SEBASTIAN
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Yes. Hoagy Carmichael sat on that stool.
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The Baked Potato was gonna throw it away.
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LAURA
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I wonder why.
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(then, rising,)
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I brought you this. It's a throw rug.
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SEBASTIAN
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Don't need it.
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LAURA
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Yeah? What if I told you Miles Davis
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pissed on it?
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SEBASTIAN
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That's almost insulting...
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(then,)
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Did he?
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Revision 11.
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She shakes her head: Unbelievable. Tosses the rug to the side.
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LAURA
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When are you going to unpack these boxes?
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SEBASTIAN
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When I unpack them in my club.
|
|
|
|
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?
|
|
|
|
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.
|
|
Revision 12.
|
|
|
|
|
|
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
|
|
Shanghai'ed.
|
|
|
|
LAURA
|
|
You did not get "Shanghai'ed", you got
|
|
ripped off.
|
|
|
|
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 `til 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.
|
|
Revision 13.
|
|
|
|
|
|
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.
|
|
|
|
A23 INT. SEBASTIAN'S APARTMENT - LATER
|
|
|
|
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 --
|
|
|
|
B23 OMIT
|
|
|
|
24 OMIT
|
|
|
|
25 OMIT
|
|
|
|
26 OMIT
|
|
|
|
27 INT. RESTAURANT - NIGHT
|
|
|
|
A red-booth bar-and-restaurant. Christmas decorations all over.
|
|
Sebastian steps in. Immediately beelining over --
|
|
|
|
BOSS
|
|
Seb.
|
|
|
|
SEBASTIAN
|
|
(putting on a smile)
|
|
Bill. Thanks for having me back.
|
|
|
|
BOSS
|
|
Your welcome. Stick to the set list.
|
|
Revision 14.
|
|
|
|
|
|
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".
|
|
|
|
28 INT. RESTAURANT - LATER
|
|
|
|
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.
|
|
Revision 15.
|
|
|
|
|
|
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 goddamned 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
|
|
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.
|
|
|
|
SMASH CUT TO BLACK.
|
|
Revision 16.
|
|
|
|
|
|
SPRING
|
|
|
|
29 OMIT
|
|
|
|
30 INT. AUDITION ROOMS - DAY
|
|
|
|
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?
|
|
|
|
31 Then, a second audition --
|
|
|
|
MIA (CONT'D)
|
|
D.O.A. on 23rd, perp laughing his face off
|
|
at P.D. Damn Miranda Rights.
|
|
|
|
32 And finally, a third audition --
|
|
|
|
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'.
|
|
|
|
|
|
|
|
34 EXT. PARTY - DAY
|
|
|
|
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
|
|
(shrugs, faux-modest)
|
|
They say I have a knack for world-building.
|
|
|
|
MIA
|
|
(takes this in; then --)
|
|
Congratulations. I have to grab a drink...
|
|
Revision 17.
|
|
|
|
|
|
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.
|
|
|
|
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...
|
|
|
|
35 EXT. PARTY / INT. HOUSE - MOMENTS LATER
|
|
|
|
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.
|
|
Revision 18.
|
|
|
|
|
|
MIA
|
|
Ok.
|
|
|
|
SEBASTIAN
|
|
But requesting "I Ran" from a serious
|
|
musician -- it's too far.
|
|
|
|
MIA
|
|
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.
|
|
|
|
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.
|
|
Revision 19.
|
|
|
|
|
|
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...
|
|
|
|
36 EXT. PARTY / STREET - NIGHT
|
|
|
|
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.
|
|
Revision 20.
|
|
|
|
|
|
MIA
|
|
Can you grab mine?
|
|
|
|
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.
|
|
|
|
37 EXT. STREET - NIGHT
|
|
|
|
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 are...n't.
|
|
|
|
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.
|
|
Revision 21.
|
|
|
|
|
|
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
|
|
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]
|
|
|
|
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...
|
|
Revision 22.
|
|
|
|
|
|
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... K, 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.
|
|
|
|
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...
|
|
Revision 23.
|
|
|
|
|
|
Looking even more disappointed than he thought he'd be,
|
|
Sebastian walks on for a bit -- then retreats back down.
|
|
|
|
A37 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.
|
|
|
|
38 OMIT
|
|
|
|
39 INT. COFFEE SHOP - DAY
|
|
|
|
CLOSE on --
|
|
|
|
CUSTOMER
|
|
Are these pastries gluten-free?
|
|
|
|
Mia's at work. A typically chaotic day.
|
|
|
|
MIA
|
|
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.
|
|
Revision 24.
|
|
|
|
|
|
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.
|
|
|
|
40 EXT. COFFEE SHOP / STUDIO LOT - DAY
|
|
|
|
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)
|
|
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.
|
|
Revision 25.
|
|
|
|
|
|
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
|
|
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?
|
|
Revision 26.
|
|
|
|
|
|
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.
|
|
(a beat; then,)
|
|
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.
|
|
|
|
C40 CUT TO: 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.
|
|
Revision 27.
|
|
|
|
|
|
They resume walking.
|
|
|
|
D40 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"?
|
|
|
|
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?
|
|
Revision 28.
|
|
|
|
|
|
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 --
|
|
|
|
41 INT. LIGHTHOUSE CAFE - DAY
|
|
|
|
-- 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)
|
|
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!
|
|
Revision 29.
|
|
|
|
|
|
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 --
|
|
|
|
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)
|
|
So?
|
|
|
|
He looks at Mia. She's visibly moved.
|
|
|
|
Just then -- we hear a BEEP. Mia looks at her phone.
|
|
Revision 30.
|
|
|
|
|
|
42 INT. SIDE CORRIDOR - LIGHTHOUSE CAFE - CONTINUOUS
|
|
|
|
MIA
|
|
Hi, I just missed a call...
|
|
|
|
43 INT. LIGHTHOUSE CAFE - MOMENTS LATER
|
|
|
|
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
|
|
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.
|
|
Revision 31.
|
|
|
|
|
|
SEBASTIAN
|
|
10pm Monday at the Rialto. Cool?
|
|
|
|
MIA
|
|
Ok.
|
|
(another nod, taking it in)
|
|
For research.
|
|
|
|
Mia looks at him -- he looks at her -- each of them
|
|
suppressing a newfound giddiness... And on that --
|
|
|
|
44 EXT. LIGHTHOUSE CAFE - EVENING
|
|
|
|
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 -- and WE FADE OUT.
|
|
|
|
45 EXT. AUDITION BUILDING - DAY
|
|
|
|
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.
|
|
|
|
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.
|
|
Revision 32.
|
|
|
|
|
|
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
|
|
...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.
|
|
|
|
46 INT. WAITING ROOM - MOMENTS LATER
|
|
|
|
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.
|
|
Revision 33.
|
|
|
|
|
|
An ACTRESS exits. Absolutely beaming. And then, a bored voice --
|
|
|
|
ASSISTANT
|
|
Mia Dolan?
|
|
|
|
47 INT. AUDITION ROOM - MOMENTS LATER
|
|
|
|
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.
|
|
|
|
We linger on Mia for a moment, and then --
|
|
|
|
48 EXT. PARKING LOT / INT. MIA'S CAR - DAY
|
|
|
|
Crestfallen, humiliated, Mia hurries to her car. Sees a voice-
|
|
mail 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...
|
|
Revision 34.
|
|
|
|
|
|
49 INT. MIA'S APARTMENT - DAY
|
|
|
|
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.
|
|
|
|
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.
|
|
|
|
50 INT. LIGHTHOUSE CAFE - NIGHT
|
|
|
|
Sebastian's playing a jam session. Excited, distracted. 10pm
|
|
can't come quickly enough.
|
|
|
|
51 INT. JAR - NIGHT
|
|
|
|
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.
|
|
Revision 35.
|
|
|
|
|
|
JOSH
|
|
That's right -- but now we've got a
|
|
surround-sound set-up, so it's like --
|
|
|
|
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 EXT. RIALTO MOVIE THEATER - NIGHT
|
|
|
|
Sebastian paces. People shuffle in. He looks. No sign of Mia.
|
|
|
|
53 INT. JAR - NIGHT
|
|
|
|
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?
|
|
Revision 36.
|
|
|
|
|
|
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.
|
|
|
|
-- and -- as the sounds of a FULL ORCHESTRA swoop in --
|
|
|
|
-- RUNS out of the restaurant as fast as she can.
|
|
|
|
54 EXT. JAR - NIGHT
|
|
|
|
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...
|
|
|
|
55 INT. RIALTO MOVIE THEATER - NIGHT
|
|
|
|
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...
|
|
Revision 37.
|
|
|
|
|
|
56 INT. RIALTO MOVIE THEATER - LATER
|
|
|
|
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.
|
|
|
|
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.
|
|
|
|
57 EXT. ROAD - NIGHT
|
|
|
|
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...
|
|
|
|
A57 ...the real Griffith Observatory. 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...
|
|
|
|
58 INT. GRIFFITH OBSERVATORY - CONTINUOUS
|
|
|
|
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...
|
|
Revision 38.
|
|
|
|
|
|
...they begin to DANCE.
|
|
|
|
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...
|
|
|
|
A58 ...the PLANETARIUM. 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...
|
|
|
|
...we IRIS FADE OUT.
|
|
Revision 39.
|
|
|
|
|
|
59 OMIT
|
|
|
|
60 INT. MIA'S APARTMENT - LIVING ROOM - DAY
|
|
|
|
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?
|
|
|
|
MIA
|
|
(glowing)
|
|
I think so.
|
|
|
|
A60 OMIT
|
|
|
|
61 EXT. MIA'S APARTMENT BUILDING - DAY
|
|
|
|
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:
|
|
Revision 40.
|
|
|
|
|
|
SUMMER
|
|
|
|
The MUSIC carries us through the following series of GLIMPSES:
|
|
|
|
62 -- Mia and Sebastian ambling past weathered 30's bungalows in
|
|
BUNKER HILL...
|
|
|
|
63 -- Mia guiding Sebastian down a street peppered with SILENT-
|
|
ERA HOMES, past old gas-lamps and palms...
|
|
|
|
65 -- VAN BEEK. Sebastian gestures to the "TAPAS & TUNES" sign.
|
|
Excitedly tries to deface it. Mia, aghast, pulls him back...
|
|
|
|
66 -- The HUNTINGTON GARDENS, where Mia and Sebastian gaze at
|
|
the tiny forest...
|
|
|
|
A66 -- WATTS TOWERS, where the two lovers stroll and kiss...
|
|
|
|
67 OMIT
|
|
|
|
64 -- The GRAND CENTRAL MARKET, where they grab food...
|
|
|
|
68 -- ANGEL'S FLIGHT at night, where they stumble and slip into
|
|
a tipsy, love-soaked dance...
|
|
|
|
69 OMIT
|
|
|
|
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...
|
|
|
|
70 INT. LIGHTHOUSE CAFE - NIGHT
|
|
|
|
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.
|
|
|
|
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?
|
|
Revision 41.
|
|
|
|
|
|
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 MIA
|
|
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.
|
|
|
|
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.
|
|
Revision 42.
|
|
|
|
|
|
MIA
|
|
Nice meeting you.
|
|
|
|
Keith walks off. Mia and Sebastian look at each other. Then --
|
|
|
|
71 INT. SEBASTIAN'S APARTMENT - NIGHT
|
|
|
|
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
|
|
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 --
|
|
Revision 43.
|
|
|
|
|
|
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.
|
|
|
|
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?
|
|
Revision 44.
|
|
|
|
|
|
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?
|
|
|
|
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 --
|
|
Revision 45.
|
|
|
|
|
|
72 INT. SEBASTIAN'S APARTMENT - MORNING
|
|
|
|
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.
|
|
|
|
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...
|
|
|
|
73 INT. REHEARSAL SPACE - DAY
|
|
|
|
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.
|
|
Revision 46.
|
|
|
|
|
|
KEITH
|
|
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...
|
|
|
|
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 --
|
|
|
|
A73 LATER: Sebastian and Keith sit across from each other as
|
|
the other players pack up. Sebastian looks pensive. Noticing --
|
|
Revision 47.
|
|
|
|
|
|
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.
|
|
(then,)
|
|
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
|
|
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 --
|
|
|
|
74 OMIT
|
|
|
|
75 OMIT
|
|
|
|
76 OMIT
|
|
|
|
77 OMIT
|
|
Revision 48.
|
|
|
|
|
|
77pt INT. SEBASTIAN'S APARTMENT - DUSK
|
|
|
|
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 --
|
|
|
|
A77 OMIT
|
|
|
|
B77 OMIT
|
|
|
|
C77 OMIT
|
|
|
|
78 INT. DINER - DAY
|
|
|
|
Sebastian and Keith hunched over paperwork. Sebastian signs...
|
|
|
|
A78 INT. COFFEE SHOP / STUDIO LOT - DAY
|
|
|
|
Mia handing the Manager her apron. She's done with the job...
|
|
|
|
80 INT. PRACTICE SPACE - DAY
|
|
|
|
The band rehearsing in their new PRACTICE SPACE. We see
|
|
Sebastian play, see Keith sing this time...
|
|
|
|
79 INT. CAFE - DAY
|
|
|
|
Mia hunched over her script, obsessively fine-tuning it...
|
|
|
|
81 OMIT
|
|
|
|
82 OMIT
|
|
|
|
83 INT. DESIGNER CLOTHING STORE - DAY
|
|
|
|
Sebastian gets dressed up in a new suit...
|
|
|
|
84 INT. BLACK-BOX THEATER - DAY
|
|
|
|
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...
|
|
|
|
85 INT. GREEN ROOM - EVENING
|
|
|
|
Sebastian and the band in a green room, waiting. Sebastian's
|
|
wearing the new suit. Looking sharper...
|
|
Revision 49.
|
|
|
|
|
|
86 INT. VINTAGE SHOP - DAY
|
|
|
|
Mia looking for PROPS. Another wild assortment -- a TOP HAT,
|
|
a CANE, a DIORAMA of London, rolled-up MAPS, an old GLOBE...
|
|
|
|
87 OMIT
|
|
|
|
88 INT. APARTMENT - DAY
|
|
|
|
We MOVE IN on a laptop. On it a YOUTUBE video plays -- an
|
|
interview with Sebastian, Keith and the rest of the band...
|
|
|
|
89 EXT. RIALTO - DAY
|
|
|
|
Mia drives by the Rialto theater. It's now CLOSED...
|
|
|
|
90 INT. SEBASTIAN'S APARTMENT - LIVING ROOM - NIGHT
|
|
|
|
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.
|
|
|
|
A90 INT. SEBASTIAN'S APARTMENT - BEDROOM - NIGHT
|
|
|
|
Mia gets into bed. Checks her phone. Turns off the light.
|
|
|
|
B90 INT. SEBASTIAN'S APARTMENT - LIVING ROOM - DAWN
|
|
|
|
Sebastian enters the apartment. Checks his reflection in the
|
|
mirror -- a new addition. The clock reads: 4:57am.
|
|
|
|
C90 INT. SEBASTIAN'S APARTMENT - BEDROOM - DAWN
|
|
|
|
Sebastian gets into bed, careful not to wake Mia.
|
|
|
|
D90 INT. SEBASTIAN'S APARTMENT - LIVING ROOM - MORNING
|
|
|
|
Mia crosses through to the kitchen to get herself breakfast,
|
|
careful not to wake Sebastian. The clock: 7:02am.
|
|
|
|
E90 INT. SEBASTIAN'S APARTMENT - BEDROOM - MORNING
|
|
|
|
Sebastian in bed, fast asleep. And WE RETURN TO...
|
|
|
|
F90 INT. SEBASTIAN'S APARTMENT - DUSK
|
|
|
|
...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 MIA
|
|
City of stars... You've never shined so
|
|
brightly.
|
|
Revision 50.
|
|
|
|
|
|
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 --
|
|
|
|
91 INT. THE ECHO - NIGHT
|
|
|
|
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...
|
|
|
|
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...
|
|
Revision 51.
|
|
|
|
|
|
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...
|
|
|
|
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 --
|
|
|
|
92 OMIT
|
|
|
|
93 EXT. / INT. CHINESE RESTAURANT - LOS ANGELES - DAY
|
|
|
|
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?
|
|
|
|
MIA
|
|
Thanks Harry, I'm good.
|
|
Revision 52.
|
|
|
|
|
|
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.
|
|
|
|
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.
|
|
Revision 53.
|
|
|
|
|
|
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.
|
|
|
|
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...
|
|
|
|
94 INT. DINER - NIGHT
|
|
|
|
Mia eats, her laptop next to her meal. She takes a bite, types.
|
|
We see her screen -- an e-mail 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
|
|
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.
|
|
Revision 54.
|
|
|
|
|
|
95 INT. SEBASTIAN'S APARTMENT COMPLEX / APARTMENT - NIGHT
|
|
|
|
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.
|
|
|
|
Mia's eyes seem almost on the brink of tears. Beyond moved,
|
|
she runs into Sebastian's arms. A LONG, HEARTFELT KISS...
|
|
|
|
96 INT. SEBASTIAN'S APARTMENT - EVENING
|
|
|
|
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.
|
|
Revision 55.
|
|
|
|
|
|
SEBASTIAN
|
|
Why?
|
|
|
|
MIA
|
|
Because...
|
|
(a beat)
|
|
What if people show up?
|
|
|
|
SEBASTIAN
|
|
Fuck `em!
|
|
|
|
Laughter. Then --
|
|
|
|
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?
|
|
|
|
SEBASTIAN
|
|
(nods)
|
|
You should come.
|
|
|
|
MIA
|
|
To Boise?
|
|
Revision 56.
|
|
|
|
|
|
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?
|
|
|
|
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?
|
|
Revision 57.
|
|
|
|
|
|
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.
|
|
|
|
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?
|
|
|
|
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.
|
|
Revision 58.
|
|
|
|
|
|
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
|
|
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 --
|
|
|
|
MIA
|
|
Change the name!
|
|
|
|
SEBASTIAN
|
|
-- and no one likes jazz. Not even you.
|
|
Revision 59.
|
|
|
|
|
|
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 --
|
|
|
|
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 --
|
|
Revision 60.
|
|
|
|
|
|
-- 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.
|
|
|
|
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.
|
|
|
|
And on that -- WE SMASH CUT TO --
|
|
|
|
97 OMIT
|
|
|
|
98 EXT. THEATER - DAY
|
|
|
|
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 --
|
|
|
|
99 INT. THEATER - DAY
|
|
|
|
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.
|
|
Revision 61.
|
|
|
|
|
|
Takes a deep breath. Nervous. And then, nodding to herself --
|
|
you can do this -- she starts setting up...
|
|
|
|
100 INT. PRACTICE SPACE - DAY
|
|
|
|
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.
|
|
|
|
-- when --
|
|
|
|
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)
|
|
Is that ok?
|
|
|
|
101 EXT. REHEARSAL SPACE - DAY
|
|
|
|
Sebastian stands out front. Checks his watch. Thinks...
|
|
|
|
102 OMIT
|
|
|
|
103 INT. THEATER / INT. BACKSTAGE - NIGHT
|
|
|
|
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.
|
|
Revision 62.
|
|
|
|
|
|
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.
|
|
|
|
104 OMIT
|
|
|
|
105 OMIT
|
|
|
|
|
|
|
|
106 INT. PHOTO STUDIO - NIGHT
|
|
|
|
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)
|
|
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...
|
|
Revision 63.
|
|
|
|
|
|
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...
|
|
|
|
107 INT. THEATER - NIGHT
|
|
|
|
We're CLOSE on Mia. In ordinary clothes now.
|
|
|
|
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.
|
|
|
|
108 OMIT
|
|
|
|
109 INT. THEATER - DRESSING ROOM - MOMENTS LATER
|
|
|
|
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...
|
|
Revision 64.
|
|
|
|
|
|
Laughter.
|
|
|
|
Mia freezes. The nail in the coffin. The voices fade. She
|
|
slides into a chair.
|
|
|
|
110 EXT. THEATER - NIGHT
|
|
|
|
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.
|
|
|
|
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...
|
|
Revision 65.
|
|
|
|
|
|
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...
|
|
|
|
111 OMIT
|
|
|
|
A111 OMIT
|
|
|
|
...WE DISSOLVE TO:
|
|
|
|
112 OMIT
|
|
|
|
113 EXT. MIA'S CAR - DAY
|
|
|
|
Mia drives, boxes stacked in the back.
|
|
|
|
A113 She gets on the 405... Heading out of the city...
|
|
|
|
114 EXT. / INT. MIA'S HOUSE - NEVADA - DUSK
|
|
|
|
Mia steps inside a modest house. Her MOM is by the door. Hugs
|
|
her. Her DAD stands by the hallway.
|
|
|
|
115 INT. MIA'S HOUSE - BEDROOM - DUSK
|
|
|
|
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...
|
|
|
|
116 EXT. ORANGE GROVE - DAY
|
|
|
|
Laura and Harry's ENGAGEMENT PARTY. We're outside, in a sun-
|
|
dappled grove. A small gathering.
|
|
Revision 66.
|
|
|
|
|
|
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...
|
|
|
|
117 LATER: Sebastian with Laura, by the orange trees...
|
|
|
|
LAURA
|
|
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
|
|
...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 --
|
|
Revision 67.
|
|
|
|
|
|
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...
|
|
|
|
WE FADE OUT.
|
|
|
|
118 INT. SEBASTIAN'S APARTMENT - MORNING
|
|
|
|
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 --
|
|
|
|
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"...?
|
|
Revision 68.
|
|
|
|
|
|
119 INT. MIA'S HOUSE - KITCHEN - NIGHT
|
|
|
|
Dinner has just finished. Mia's Mom gives her a kiss --
|
|
|
|
MIA'S MOM MIA
|
|
Night, sweetie. 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)
|
|
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:
|
|
Revision 69.
|
|
|
|
|
|
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 --
|
|
|
|
120 EXT. MIA'S HOME / SEBASTIAN'S CAR - MOMENTS LATER
|
|
|
|
Mia and Sebastian stand next to his car.
|
|
|
|
MIA
|
|
Why did you come here?
|
|
|
|
SEBASTIAN
|
|
Because I have good news.
|
|
|
|
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.
|
|
Revision 70.
|
|
|
|
|
|
SEBASTIAN
|
|
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!
|
|
(a beat; then --)
|
|
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.
|
|
|
|
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 --
|
|
Revision 71.
|
|
|
|
|
|
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.
|
|
|
|
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...
|
|
|
|
121 EXT. MIA'S STREET - NIGHT/DAY
|
|
|
|
Wide on the street. All is quiet. Night becomes morning...
|
|
Revision 72.
|
|
|
|
|
|
122 EXT. MIA'S HOME - DAY
|
|
|
|
Sebastian's car pulls over. He sits there. Sips a coffee, a
|
|
second coffee in the holder. The time: 8:02.
|
|
|
|
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.
|
|
|
|
123 OMIT
|
|
|
|
124 EXT. PARAMOUNT STUDIO LOT - DAY
|
|
|
|
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 soundstages and backdrops. Neither says
|
|
a word...
|
|
|
|
125 INT. WAITING LOBBY - DAY
|
|
|
|
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.
|
|
|
|
126 INT. AUDITION ROOM / INT. LOBBY - DAY
|
|
|
|
In the room is AMY BRANDT -- mid-forties. Seated behind her
|
|
is the director, FRANK.
|
|
|
|
AMY BRANDT MIA
|
|
Hi, 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.
|
|
Revision 73.
|
|
|
|
|
|
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)
|
|
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...
|
|
|
|
A126 WE CUT TO THE LOBBY -- to Sebastian, hearing Mia's silence. On
|
|
edge... Worried...
|
|
|
|
B126 WE RETURN to the AUDITION ROOM... 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...
|
|
Revision 74.
|
|
|
|
|
|
...WE DISSOLVE TO:
|
|
|
|
127 EXT. GRIFFITH PARK - DAY
|
|
|
|
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.
|
|
|
|
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 --
|
|
Revision 75.
|
|
|
|
|
|
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...
|
|
|
|
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.
|
|
Revision 76.
|
|
|
|
|
|
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...
|
|
|
|
...we FADE TO:
|
|
|
|
WINTER
|
|
|
|
A palm tree, a cloudless sky. We PULL BACK -- to reveal it's
|
|
all painted...
|
|
|
|
128 EXT. STUDIO LOT - DAY
|
|
|
|
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...
|
|
|
|
129 INT. COFFEE SHOP - DAY
|
|
|
|
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 --
|
|
Revision 77.
|
|
|
|
|
|
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.
|
|
|
|
130 EXT. COFFEE SHOP - MOMENTS LATER
|
|
|
|
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...
|
|
|
|
131 INT. JAZZ CLUB - DAY
|
|
|
|
...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.
|
|
Revision 78.
|
|
|
|
|
|
SEBASTIAN
|
|
(as he signs the check)
|
|
Not too bad is great.
|
|
(taps the Employee on the
|
|
shoulder)
|
|
See you tonight.
|
|
|
|
EMPLOYEE
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See you tonight.
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132 EXT. CHATEAU MARMONT - DAY
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Mia pulls into the driveway.
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133 INT. ROOM - CHATEAU MARMONT - DAY
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She steps inside. Flowers and cards. We glimpse cursive
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"CONGRATULATIONS" written on a few of them. A stack of scripts
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on a nearby table. Her name visible. She drops her things,
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spots someone, goes in to kiss him. A long, tender, loving
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embrace, as we pull back...
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...and see that it's not Sebastian.
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It's a MAN we haven't seen before: DAVID, mid-thirties. He
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and Mia kiss again. And, running over and grabbing Mia's leg,
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|
is a TWO-YEAR-OLD GIRL...
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134 INT. SEBASTIAN'S APARTMENT - EVENING
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Sebastian steps in. The place is more habitable than his old
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digs. Fully furnished, warm and welcoming. He heads to the
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|
kitchen, pulls out some pork cutlets he's been thawing. We see,
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|
sitting on the counter, a Christmas card with a photo attached:
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Laura, Harry, and a FOUR-YEAR-OLD BOY, all gathered on a couch
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and smiling at the camera.
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135 INT. SEBASTIAN'S APARTMENT - LATER
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Sebastian eats his meal, in a new shirt and pants. Checks
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his watch.
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136 EXT. JAZZ CLUB - DAY
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|
Sebastian pulls up outside the club. New car, same style.
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|
Gets out and passes by a movie poster as he walks. We
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|
can't see the title, but we can catch a glimpse of a face
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|
on it.
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|
It's MIA...
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137 INT. JAZZ CLUB - NIGHT
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|
We're back in the club.
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Revision 79.
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|
|
|
|
It's bustling now -- the BARTENDERS setting up, DOORMEN
|
|
coming in, MUSICIANS sound-checking. Sebastian enters, the
|
|
musicians greet him --
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|
|
DRUMMER
|
|
King Seb!
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|
|
|
SEBASTIAN
|
|
Hothouse Eddie -- miss me?
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|
|
DRUMMER
|
|
Like the desert misses the rain.
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|
|
And then -- we see a SAXOPHONIST we recognize. One of the old
|
|
Lighthouse players.
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|
SAXOPHONIST
|
|
Seb -- Edgar's bringing his horn tonight.
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|
SEBASTIAN
|
|
Yeah? Tell him to tune it, huh?
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|
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|
SAXOPHONIST
|
|
That's not Edgar.
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|
Laughs, pats on the back.
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|
138 INT. ROOM - CHATEAU MARMONT - NIGHT
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|
|
|
Mia, in a new outfit, crosses the living area and grabs her
|
|
purse and jacket. David is by the door, jacket on as well.
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|
Mia bends back around a sofa, where the GIRL we saw before is
|
|
seated next to a nineteen-year-old baby-sitter, CHELSEA.
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|
|
MIA
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|
Bye, sweetie. You be nice to Chelsea.
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|
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|
The Girl nods. Mia kisses her forehead. Heads to the door.
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|
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|
CHELSEA
|
|
Bye, Mrs. Dolan.
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|
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139 OMIT
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|
140 INT. CAR - NIGHT
|
|
|
|
David drives, Mia seated beside him. They're on the 101.
|
|
Gridlock traffic up ahead.
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|
|
|
DAVID
|
|
What if we miss this? What do we tell
|
|
Natalie?
|
|
Revision 80.
|
|
|
|
|
|
MIA
|
|
We can just see it back in New York...
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|
|
David nods. Looks at the time on the car. 8:06.
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|
|
141 INT. CAR - LATER
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|
|
Mia and David are seated. Still not moving. Mia looks at the
|
|
clock again: 8:27.
|
|
|
|
MIA (CONT'D)
|
|
Do you want to just skip it...? Turn off
|
|
here and get dinner?
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|
|
|
David looks at her. Smiles.
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|
DAVID
|
|
Alright...
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|
|
|
142 EXT. CITY STREET - NIGHT
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|
|
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.
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|
|
|
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.
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|
|
|
The sign on the door reads: "SEB'S". It's written the way she
|
|
drew it for Sebastian, years ago...
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|
|
|
Coming up to her side, oblivious --
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|
|
|
DAVID (CONT'D)
|
|
This looks fun.
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|
|
|
David edges past Mia. Glimpses the bar inside. Turns to her,
|
|
inviting --
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|
|
|
DAVID (CONT'D)
|
|
Come on...
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|
|
|
Mia doesn't know what to say. She follows David...
|
|
Revision 81.
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|
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|
143 INT. JAZZ CLUB - CONTINUOUS
|
|
|
|
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.
|
|
|
|
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.
|
|
Revision 82.
|
|
|
|
|
|
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...
|
|
|
|
144 ...we find ourselves back at that same RESTAURANT... 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. 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]
|
|
|
|
145 INT. NEW APARTMENT - DAY
|
|
|
|
Mia and Sebastian push open a new door -- to their new place.
|
|
It's a shabby one-bedroom -- but it's theirs...
|
|
|
|
146 INT. LIGHTHOUSE CAFE - NIGHT
|
|
|
|
Next, Keith approaches Sebastian at the Lighthouse -- but
|
|
Sebastian immediately shakes his head "no".
|
|
|
|
147 INT. THEATER - NIGHT
|
|
|
|
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...
|
|
Revision 83.
|
|
|
|
|
|
148 INT. STUDIO SOUNDSTAGE - DAY / NIGHT
|
|
|
|
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...
|
|
|
|
A148 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...
|
|
|
|
B148 PARIS... 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-Coeur
|
|
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"...
|
|
|
|
C148 We see a jam session at the Caveau -- a crypt-like jazz club.
|
|
Sebastian plays, on cloud nine...
|
|
|
|
C148pt 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 --
|
|
|
|
D148 -- and emerge into NIGHTTIME PARIS. 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.
|
|
Revision 84.
|
|
|
|
|
|
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...
|
|
|
|
We DISSOLVE again -- 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:
|
|
|
|
149 The first home... (16mm)
|
|
|
|
150 Mia's pregnancy... (16mm)
|
|
|
|
151 The newborn child... (16mm)
|
|
|
|
152 The child's first birthday... (16mm)
|
|
|
|
153 The child's first day of pre-school, all dressed up... (16mm)
|
|
|
|
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...
|
|
|
|
154 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...
|
|
|
|
155 ...then find themselves blocked by a traffic jam...then take
|
|
a side route, winding up in another part of L.A...
|
|
|
|
156 ...then walk down the street, then hear music -- a jazz combo
|
|
playing somewhere...
|
|
|
|
157 ...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.
|
|
Revision 85.
|
|
|
|
|
|
158 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.
|
|
|
|
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.
|
|
|
|
159 EXT. STREET - NIGHT
|
|
|
|
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...
|
|
|
|
IRIS FADE OUT.
|
|
|
|
THE END
|