La La Land Page #4

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Laura can't help but laugh. Stops by the door. Looks at him.

LAURA:

I love you. Unpack your boxes.

SEBASTIAN:

I'm changing the locks.

Revision 13.

LAURA:

(out the door with a smile --)

You can't afford it.

She's gone. Sebastian thinks for a beat, then calls out --

SEBASTIAN:

I'm a phoenix rising from the ashes!

No reply to his triumphant declaration. He shuts the door.

Looks again at the napkin. Thinks. Tosses it in the trash.

A23 INT. SEBASTIAN'S APARTMENT - LATER

Moments later. Sebastian takes a slice of pizza from the

fridge, pours himself some more coffee, places a Thelonious

Monk LP onto a record player, and sits down at the piano.

"Japanese Folk Song" -- the piece we heard in his car --

plays...

Sebastian plays along. Stops. Moves the record back a few

bars. Starts it again. Plays the same passage over. Stops.

Moves the record back a second time. Plays the passage again.

Stops. Over and over, just like in his car -- until, finally,

he gets it right.

He keeps playing, louder now, and we're --

B23 OMIT

24 OMIT

25 OMIT

26 OMIT

27 INT. RESTAURANT - NIGHT

A red-booth bar-and-restaurant. Christmas decorations all over.

Sebastian steps in. Immediately beelining over --

BOSS:

Seb.

SEBASTIAN:

(putting on a smile)

Bill. Thanks for having me back.

BOSS:

Your welcome. Stick to the set list.

Revision 14.

SEBASTIAN:

Of course.

(under his breath as he heads

to the piano)

Though I don't think they care what I

play.

BOSS:

I do, and I don't want to hear the free

jazz.

SEBASTIAN:

How `bout one for you, one for me? Or two

for you, one for me?

(the Boss just glares)

Or all for you, none for me? Ok, that

works. Good deal.

Sebastian sits down at the keys. A WAITRESS passes by.

WAITRESS:

Well... Welcome back.

SEBASTIAN:

There's a nice way to say that.

With that -- he starts playing "Jingle Bells".

28 INT. RESTAURANT - LATER

The restaurant's demographic has changed. It's now younger

stragglers wandering in. Sebastian looks beyond bored. He

finishes "We Wish You a Merry Christmas". Zero applause.

He begins a new chart: "Deck the Halls". But something seems

to come over him now. He's restless. Slowly, his playing

drifts off -- his fingers charting their own path...

And then -- we hear a melody. The one Mia heard outside. The

one we'll refer to from now on as Mia and Sebastian's song...

The door opens -- and Mia steps in. She sees Sebastian at the

piano. Is instantly struck by his playing. [MIA AND

SEBASTIAN'S THEME]

Gradually -- all sounds but the music drop out. We drift away

from reality. Even the walls seem to go slightly darker -- as

though Sebastian and Mia were all alone... He concludes his

piece with a jumble of chords, his playing almost free jazz

now, as we pull back to real life...

...and see the Boss looking on in scorn.

Revision 15.

Sebastian finishes. Silence. Mia looks like the wind has been

knocked out of her. Sebastian looks up for a second -- and

sees her. They look at one another. Just a moment.

Then -- the Boss taps Sebastian on the shoulder. WE STAY ON

Mia as she watches Sebastian rise with the Boss. We just see

the Boss talking to Sebastian, can't hear what is said. Then,

we get closer -- and realize:

BOSS:

...every goddamned night.

Sebastian is silent. Then, doesn't want to have to beg but --

SEBASTIAN:

I'll stick to the set list, I promise --

BOSS:

Too late. You're done.

SEBASTIAN:

You're not gonna find a better player. You

know that.

BOSS:

(leans in, and --)

Do you think anyone here gives a sh*t?

With that, the Boss walks off. We linger on Sebastian. Anger

giving way -- to hurt. He starts hurrying toward the door.

BACK TO Mia -- who didn't hear what was said. She watches

Sebastian -- takes a breath, so moved that she's about to lay

it all out -- swoops in to corner him -- and --

MIA:

I just wanted to say -- I saw your

playing, and I --

-- but Sebastian just walks right by -- his shoulder

bumping against Mia's for an added measure of disdain.

He heads out the door. Slams it shut. Mia is left standing on

her own. She looks like she's just been slapped.

SMASH CUT TO BLACK.

Revision 16.

SPRING:

29 OMIT

30 INT. AUDITION ROOMS - DAY

Mia auditions. Pilot season cattle-call -- a series of soul-

crushing try-outs. She's pandering to the hilt. Quick glimpses:

MIA (CONT'D)

I don't like the fissure on the GT scan.

Did you test for achromatopsia?

31 Then, a second audition --

MIA (CONT'D)

D.O.A. on 23rd, perp laughing his face off

at P.D. Damn Miranda Rights.

32 And finally, a third audition --

MIA (CONT'D)

This is my classroom. You don't like it,

the door's to my left.

READER (O.S.)

(a well-dressed forty-year-old

WOMAN reading from sides)

Lady why you be trippin' like that?

MIA:

No, Jamal. You be trippin'.

34 EXT. PARTY - DAY

Mia wanders around another party. A BAD 80's COVER BAND plays.

TRACY:

There you are! You need to meet someone!

Carlo, this is Mia. Mia, Carlo's a writer.

CARLO TRACY

Nice to meet you, Mia. He's got projects all over

town.

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