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