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| author | Fudgerboy <91767657+Fudgerboy@users.noreply.github.com> | 2024-04-14 05:02:38 +0000 |
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| committer | Fudgerboy <91767657+Fudgerboy@users.noreply.github.com> | 2024-04-14 05:02:38 +0000 |
| commit | 248d296234dc7ce76294c677bf2ca5e76c2f50d1 (patch) | |
| tree | 5a38d5a5eb4cd6075e10de1583fde289c144cc91 /wk5/pset/speller/texts/lalaland.txt | |
| parent | ba93a5dca5f93fe7b5761c251037d4f1860f9a43 (diff) | |
Sat, Apr 13, 2024, 10:02 PM -07:00
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diff --git a/wk5/pset/speller/texts/lalaland.txt b/wk5/pset/speller/texts/lalaland.txt new file mode 100644 index 0000000..efc3304 --- /dev/null +++ b/wk5/pset/speller/texts/lalaland.txt @@ -0,0 +1,4751 @@ + + LA LA LAND + + + + Written by + + Damien Chazelle + + + + + + + FADE IN... + + A sun-blasted sky. We HEAR radios -- one piece of music after + another... + + We're -- + +1 EXT. 101 FREEWAY - DAY + + Cars are at a standstill. It's a horrific traffic jam. + + Morning rush hour. Sun beating down, asphalt shimmering in the + heat. The blown-out downtown L.A. skyline hovers in the + distance. + + We DRIFT past more CARS. Hear one snippet of audio after + another... + + One driver taps his steering wheel to PROG ROCK. Another + sings to OPERA. A third raps along to a HIP-HOP track. We + move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO, + until finally we begin to hear... + + ...a new, original piece of music... [ANOTHER DAY OF SUN] + + We settle on the CAR from which this new tune is playing. + The driver is a YOUNG WOMAN. She hums along to the riff on + her radio -- then starts SINGING. + + Then -- she EXITS her car. Then -- she starts MOVING down the + lane. + + One by one, more DRIVERS join her -- SINGING and DANCING + along. Without a single cut, we've found ourselves in a FULL- + FLEDGED MUSICAL NUMBER... + + Drivers leap on car-tops, dance Jerome Robbins-style, making + use of the road and the hot gleam of the automobiles. Arms + swaying, feet banging, dancers darting, as the MUSIC blasts. + We WEAVE and SWIRL and DART between and around the cars, + taking the magic in... + + Finally -- all the drivers swing back into their vehicles -- + and the song comes to a dramatic stop. + + Flash title card: + + WINTER + +A1 We settle on a new car. A 1983 Dodge Riviera. In it is + SEBASTIAN, 32, L.A. native. He's listening to the radio. He's + playing a track on his music system -- a tape of Thelonious + Monk's "Japanese Folk Song". But he keeps stopping it, over + and over and over -- always rewinding to the same exact spot. + Revision 2. + + +B1 OMIT + +C1 We DRIFT from his car to one further up ahead. A light-green + 2005 Prius. Inside is MIA, 27, Nevada-raised. Six years of + "no" in L.A. have toughened her, but she's still a dreamer. + She seems to be on the phone, speaking into her car's system. + Fast, fiery, full of energy -- + + MIA + ...and I swear to God, she was wrecked. + It was pure insanity. + + Mia stops. Thinks. Mutters to herself: "Insanity"... Then + leans down and grabs a piece of paper from the passenger + seat. It's a SCRIPT. + + MIA (CONT'D) + (reading now) + Pure lunacy. Oh God, I know... + + Just then -- the traffic around Mia starts to let up. She's + too focused on her lines to notice. + + Then -- a long, sustained honk behind her: AHHHHHHHHHHHHHHHT. + + Mia comes to. Jerked back to reality. The honking car behind + her swerves into the next lane. It's Sebastian. Mia gives him + the finger. We then FOLLOW her as she drives... + +2 OMIT + +3 OMIT + +4 INT. COFFEE SHOP - DAY + + Mia works, photos of Hollywood icons on the wall behind her, as -- + + CUSTOMER #1 + This doesn't taste like almond milk. + + MIA + Don't worry, it is. I know sometimes it -- + + CUSTOMER #1 + Can I see the carton? + + Mia hands it over. The Customer looks. + + CUSTOMER #1 (CONT'D) + I'll have a black coffee. + + Mia gets the coffee. Quickly sneaks a look at a script hidden + underneath her counter. The same one we saw in her car... + Revision 3. + + + She hands the coffee to the Customer. We follow the Customer + out through the door -- as a WOMAN walks into the shop. We + don't see the Woman's face, but we see all the eyes in the + shop turn immediately to her. We see one CUSTOMER whisper to + another, discreetly pointing as the WOMAN passes by... + + WOMAN + Cappuccino, please. + + Mia nods. Gets it made. The Manager takes it from her. + + MANAGER + On us. + + WOMAN + No, I insist. + + She pays. Then smiles at Mia and drops a bill in the tip jar. + Mia watches as the Woman walks off, is joined by a STUDIO + EMPLOYEE on a golf cart outside -- we realize this coffee shop + is on a STUDIO LOT -- and is driven away... + + Then -- Mia's phone rings. It reads: "MOM". Mia presses + "IGNORE" and the time pops up on the phone's screen: 4:07. + + MIA + Shit. + + Removing her apron and hurrying out, turning back as -- + + MANAGER + Where do you think you're going? + + MIA + It's -- five past... + + MANAGER + You'd better be here early tomorrow. + + MIA + Ok. + + -- then realizes she doesn't have her script, runs back to + grab it, hurries on and then -- CRASHES into a table. Coffee + and food spill all over her shirt, and all at once we're -- + +5 INT. AUDITION ROOM - DAY + + Mia's in a thick winter coat, covering her stained shirt. On + her cell, loudly laughing while her adrenaline surges -- + + MIA (CONT'D) + And I swear to God, she was wrecked. It + was pure lunacy. Oh God, I know... + Revision 4. + + + Her nerves are practically visible. As she talks, we PULL + BACK -- to see that she's auditioning for a CASTING DIRECTOR. + + MIA (CONT'D) + No, no, Turner's fine. So you -- are you + waiting `til Denver to tell her...? + (as her smile contracts) + Oh. I see... + (silence; she clenches her jaw...) + No, you're right. I understand. + (...and a tear falls from her eye) + Ok... I just... Oh... + + An ASSISTANT appears through the glass on the door behind + Mia, waving to the Casting Director: Yoohoo. Can I come in? + + MIA (CONT'D) + (crying now) + No, I'm happy for you... I -- I just -- + + CASTING DIRECTOR + One second. + + Mia stops. The Casting Director waves the Assistant in. The + Assistant scurries in, shows her boss a post-it. Mia stands + there, trying to hold onto the tears, hold onto the emotion, as + the Casting Director reads the post-it and thinks. + + CASTING DIRECTOR (CONT'D) + ...I'll call her back. Tell her I'm almost + done in here. + + The Assistant nods. Walks out. Mia waits, trying to maintain... + + CASTING DIRECTOR (CONT'D) + You know what? I think we're good. Thanks + for coming in. + + Mia looks at her. A beat. + +6 INT. LOBBY - DAY + + Mia exits. Nerves still on edge. Passes one beautiful redhead + after the next -- all getting ready to cry. + + Enters the elevator with two other WOMEN -- tall, statuesque. + Also redheads. + +7 INT. MIA'S APARTMENT - EARLY EVENING + + Mia enters. Exhausted. Heads to her ROOM. + Revision 5. + + + Old movie posters hang on the walls, including a big Ingrid + Bergman one over the bed. There's also a shelf filled with + acting books -- Uta Hagen, Stella Adler. Various other + trinkets: an old globe, an old blue-and-red suitcase. Mia + takes off her shoe. A blister on her sole. + +8 WE CUT TO: Mia in the BATHROOM. Just showered, wrapped in a + towel. She hums to herself. + + The mirror is fogged up. She turns off the vent. The mist on + the glass thickens. She dabs some of it away. Dims the + lights. Looks... + + With the fog in place, her reflection looks like one of those + soft-focus old Hollywood close-ups. She hums as she brushes + her hair... + + Then -- the door SWINGS open -- and the spell is broken. + + TRACY + Holy Mother of God. + + Mia snaps out of it. Turns. Fog is enveloping TRACY, 27. + + TRACY (CONT'D) + Ever heard of a vent? + + MIA + I wanted to give you an entrance. + + ALEXIS + (appearing in the hall, 26, + eating Cheetos) + Mia! How'd it go? + + MIA + Eh... + + ALEXIS + Same here. Was Jen there? Or Rachel? + + MIA + I don't know who Jen and Rachel are. + + ALEXIS + They're the worst. + + MIA + I don't know if they were there. + + As Mia slips away -- + + ALEXIS + I bet they were. + Revision 6. + + + CAITLIN + (appearing, 27) + Why is there a convention in the bathroom? + + TRACY + Two minutes, people! Mia you're coming, + right? + + WE PAN TO find Mia poking her head out of her bedroom -- + + MIA + Can't. Working. + + TRACY (O.S.) + What? + (we PAN BACK to Tracy) + Did she say "working"? + +A8 We follow Mia INSIDE her room. She closes the door. Takes a + moment. You can tell in her eyes -- work or not, a night on + the town is the last thing she wants to do now. + +B8 WE CUT to the HALLWAY, to find Tracy POUNDING on Mia's door. + + MIA + (opening up) + Yes? + + TRACY + Look, I know things didn't go well today. + There are four things in my inbox that + you're perfect for and I will submit you. + But right now -- you're coming. + +C8 With that -- she barges in and beelines to Mia's closet -- + + TRACY (CONT'D) + It'll be fun. + + MIA + It'll be a bunch of social climbers packed + into one of those glass houses. + + TRACY + Exactly. Fun. + + She pulls out a blue dress. As Alexis hurries in -- + + TRACY (CONT'D) MIA + This looks familiar. I was going to give it + back! + + Alexis moves from Mia's perfume to the dress, lighting up as + she grabs it -- + Revision 7. + + + ALEXIS + Come on, Mia. When else do you get to + see every Hollywood cliché crammed + into a single home? + + TRACY + (faux-offended) + Lex! I'm disappointed in you. There's + nothing to make fun of. This party will + be humanity at its finest. + + Mia rolls her eyes -- and, with that -- + + Tracy BREAKS INTO SONG. [SOMEONE IN THE CROWD] + + She play-acts the clichés this party will represent. Alexis + and Caitlin join in, giddy and playful. Mia can't help but + laugh. The roommates sing and dance, hoping to persuade Mia + to join the night's revelry... + + Mia remains reluctant. Stays behind in her room as her + roommates head out the door. But she's starting to wonder: A + night at home, feeling sorry for herself -- or a night out + with her friends...? + +9 EXT. APARTMENT BUILDING / STREET - NIGHT + + We're outside now, and BACK with Tracy, Alexis and Caitlin, + marching across the courtyard and toward the street. They + sing, dance, half-assuming Mia is a no-go -- + + -- until Mia APPEARS, blue-dress-clad. Her roommates look at + her in surprise -- then delight. The energy swells and the + four characters dance their way together down the street. + They dive into a single CAR, and WE DISSOLVE TO... + +10 OMIT. + +A10 OMIT. + +11 EXT. CITY - NIGHT + + An old-fashioned MONTAGE of a night on the town: neon signs + and overflowing champagne glasses. Soon enough, we're at... + +12 EXT. MODERN HILLTOP HOUSE - NIGHT + + Valet cars lined up. We FOLLOW Alexis, Tracy, Caitlin and Mia + to the door... + +13 INT./EXT. HILLTOP HOUSE - NIGHT + + ...and into a big-glass hilltop pad. We FOLLOW Mia as she + takes in her surroundings. + Revision 8. + + + A D.J. turning tables. A FAT OLD PRODUCER dancing with a + TWENTY-SOMETHING. A trio of AGENTS glad-handing each other in + rhythm by the bar. Yep -- every cliché is here... + + Mia tries talking to a pair of WOMEN -- who promptly ditch + her. + + Seeing she's now alone, a YOUNG MAN swoops in to hit on her. + + She makes a hasty exit toward the bar -- but the line's + obscenely long. + + She nears the BATHROOM door -- but a COUPLE stands in her way, + making out. + + She slips in behind them... + +A13 Inside the BATHROOM, Mia takes a moment. The joy of seconds + ago is gone from her eyes now. She gazes into the mirror -- + + -- and SINGS by herself. + + This verse, sung in private, belongs to a new style: less + brash, and far more vulnerable... + + Once finished, Mia takes a breath, steels herself to once + again face the world, opens the door -- and rejoins the + crowd... + +B13 We MOVE with her slowly now -- surrounded by the party, but + everything set at a snail's pace, the crazed carousers moving + in SLOW MOTION. It's the sadness underneath the revelry, the + pain underneath the clichés... + + Gradually we RAMP UP. Follow Mia OUTSIDE, where we see the + splash of blue-green that is the POOL -- and a flurry of FAKE + SNOW falling from above... + + As we reach FULL-SPEED, a PARTY-GOER races to the edge, jumps -- + + -- and we PLUNGE WITH HIM INTO THE POOL. + + This is the climax of the number. Everyone joins in, + circling the pool -- a swath of color against the black sky. + Everyone dances, everyone sings -- and the song concludes + with a blast of fireworks. + +C13 OMIT + +A14 EXT. STREET - NIGHT + + Close on a sign: "NO PARKING ANYTIME: TOW-AWAY ZONE". + Revision 9. + + + MIA (O.S.) + No... + + We see Mia -- all alone, staring at the sign. No car in + sight. She reaches into her purse, pulls out her cell phone + to call Tracy. It's dead. + + MIA (CONT'D) + No... + +15 OMIT + +16 OMIT + +17 OMIT + +A17 OMIT + +B17 OMIT + +18 OMIT + +19 EXT. HILL / LOS ANGELES STREETS - NIGHT + + Mia trudges down the steep hill in her unwieldy heels. She's an + hour-and-a-half walk from her place. She crosses roads and lots, + navigates stretches where the sidewalk stops and gives way to + shrubbery. + +A19 And then -- she hears something... Music. A piano, in the + distance. And a MELODY -- one we will come to know very well... + + Without being sure why, she FOLLOWS THE SOUND. Passes several + doors. Then stops. Has found where it's coming from... + + She reaches out -- and slowly opens a door... + + AND WE CUT RIGHT BACK TO: + +20 EXT. 101 FREEWAY - EARLIER THAT MORNING + + AHHHHHHHHHHHHHHHHHHHHHHT. The same 101 traffic jam we began + with. This time we're on Sebastian -- the honker. + + He passes Mia's car. She gives him the finger. He drives on, + shaking his head... + +21 OMIT + +22 EXT. RAYO'S - MOMENTS LATER + + Sebastian sips a coffee as he gazes across the street -- at + a 30's Deco building. A sign above the door: "VAN BEEK". A + newer sub-heading below: "TAPAS & TUNES". + Revision 10. + + + + The door opens. Two EMPLOYEES step out, setting up a valet + stand. Sebastian watches them -- and shakes his head. The + employees notice him. Recognize him. What is it with that + guy...? + +23A OMIT + +23 INT. SEBASTIAN'S APARTMENT - DAY + + Sebastian enters his apartment -- cramped, dingy, bare + walls, no furniture or decoration, boxes filled with dusty + black-and-white photographs and unused instruments on the + floor, a black Steinway upright piano in the center of the + living room -- and sees a WOMAN rummaging around. + + SEBASTIAN + You gotta stop breaking into my home. + + She looks up. She's 37 quickly going on 50, and dressed like + she doesn't care. This is LAURA, Sebastian's older sister. + + LAURA + You think Mom or Dad would call this a + home? + + Seeing that she's seated on a stained, decrepit stool -- + + SEBASTIAN + Please don't sit on that. + + LAURA + Are you serious? + + SEBASTIAN + Yes. Hoagy Carmichael sat on that stool. + The Baked Potato was gonna throw it away. + + LAURA + I wonder why. + (then, rising,) + I brought you this. It's a throw rug. + + SEBASTIAN + Don't need it. + + LAURA + Yeah? What if I told you Miles Davis + pissed on it? + + SEBASTIAN + That's almost insulting... + (then,) + Did he? + Revision 11. + + +She shakes her head: Unbelievable. Tosses the rug to the side. + + LAURA + When are you going to unpack these boxes? + + SEBASTIAN + When I unpack them in my club. + + 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 + See you tonight. + +132 EXT. CHATEAU MARMONT - DAY + + Mia pulls into the driveway. + +133 INT. ROOM - CHATEAU MARMONT - DAY + + She steps inside. Flowers and cards. We glimpse cursive + "CONGRATULATIONS" written on a few of them. A stack of scripts + on a nearby table. Her name visible. She drops her things, + spots someone, goes in to kiss him. A long, tender, loving + embrace, as we pull back... + + ...and see that it's not Sebastian. + + It's a MAN we haven't seen before: DAVID, mid-thirties. He + and Mia kiss again. And, running over and grabbing Mia's leg, + is a TWO-YEAR-OLD GIRL... + +134 INT. SEBASTIAN'S APARTMENT - EVENING + + Sebastian steps in. The place is more habitable than his old + digs. Fully furnished, warm and welcoming. He heads to the + kitchen, pulls out some pork cutlets he's been thawing. We see, + sitting on the counter, a Christmas card with a photo attached: + Laura, Harry, and a FOUR-YEAR-OLD BOY, all gathered on a couch + and smiling at the camera. + +135 INT. SEBASTIAN'S APARTMENT - LATER + + Sebastian eats his meal, in a new shirt and pants. Checks + his watch. + +136 EXT. JAZZ CLUB - DAY + + Sebastian pulls up outside the club. New car, same style. + Gets out and passes by a movie poster as he walks. We + can't see the title, but we can catch a glimpse of a face + on it. + + It's MIA... + +137 INT. JAZZ CLUB - NIGHT + + We're back in the club. + Revision 79. + + + It's bustling now -- the BARTENDERS setting up, DOORMEN + coming in, MUSICIANS sound-checking. Sebastian enters, the + musicians greet him -- + + DRUMMER + King Seb! + + SEBASTIAN + Hothouse Eddie -- miss me? + + DRUMMER + Like the desert misses the rain. + + And then -- we see a SAXOPHONIST we recognize. One of the old + Lighthouse players. + + SAXOPHONIST + Seb -- Edgar's bringing his horn tonight. + + SEBASTIAN + Yeah? Tell him to tune it, huh? + + SAXOPHONIST + That's not Edgar. + + Laughs, pats on the back. + +138 INT. ROOM - CHATEAU MARMONT - NIGHT + + Mia, in a new outfit, crosses the living area and grabs her + purse and jacket. David is by the door, jacket on as well. + Mia bends back around a sofa, where the GIRL we saw before is + seated next to a nineteen-year-old baby-sitter, CHELSEA. + + MIA + Bye, sweetie. You be nice to Chelsea. + + The Girl nods. Mia kisses her forehead. Heads to the door. + + CHELSEA + Bye, Mrs. Dolan. + +139 OMIT + +140 INT. CAR - NIGHT + + David drives, Mia seated beside him. They're on the 101. + Gridlock traffic up ahead. + + DAVID + What if we miss this? What do we tell + Natalie? + Revision 80. + + + MIA + We can just see it back in New York... + + David nods. Looks at the time on the car. 8:06. + +141 INT. CAR - LATER + + 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? + + David looks at her. Smiles. + + DAVID + Alright... + +142 EXT. CITY STREET - NIGHT + + Mia and David walk down a street. A few open restaurants and + bars, a few other closed storefronts. A lot of old, weathered + buildings: 1930's stucco, Art Deco signs. + + Then -- David's ears perk up. He hears something. MUSIC... + + He looks around. Doesn't see the source. Heads to the end of + the block, then sees, just up ahead, a few people entering a + building. Seems to be where the music's coming from... + + Mia heads over, curious. The music grows louder -- sounds like + a JAZZ COMBO. Mia peeks toward the door... + + ...and then FREEZES. + + The sign on the door reads: "SEB'S". It's written the way she + drew it for Sebastian, years ago... + + Coming up to her side, oblivious -- + + DAVID (CONT'D) + This looks fun. + + David edges past Mia. Glimpses the bar inside. Turns to her, + inviting -- + + DAVID (CONT'D) + Come on... + + Mia doesn't know what to say. She follows David... + Revision 81. + + +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 |