Miles Ahead Page #4

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Then I came to your house.

Alimony.

Yep.

So, ex-wife.

Yeah.

F***ed your groove up a little bit?

Yeah.

Yeah.

Man, come over here.

Put these on.

Throw a punch.

At the bag, motherf***er.

Right.

Now throw a real one.

Good. Now use your hip, okay?

Power comes from the waist.

That's it. Turn your waist.

Keep your foot on the ground, though.

Snap it. Turn it over when you hit it.

Turn it over.

Get back. Get back.

Yeah. Yeah.

Hey, hey. Come here. Come here.

Look.

Don't lock down chicks like that, man.

Get you beat up for alimony.

Wives is for important sh*t, man. Kids.

Sh*t like that, okay?

Come on. Hold it. Hold it.

Get it. Get it back.

Get it back. Let's go.

Get it. Come on. Come on.

Get it. One-two.

Savoy Hotel, London.

Yeah. Frances Taylor's room. 517.

Yes, Mr. Davis. One moment.

- Teo, we getting close?

- Yeah, we're getting close.

Don't f***ing get snappy with me, sh*t.

I'm the one waiting.

I'm sorry. Mr. Davis,

there doesn't seem to be an answer.

You motherfuckers know

how to leave a note under a damn door?

That would be against hotel policy...

Sh*t.

All right, let's go, y'all.

See it right there, G flat?

Yo, Gil, should this be G flat?

All right, let's play it.

Let's do it again.

Listen to each other.

Listen to each other.

All right, now, see, you pick up

that note in the solo passage,

- we could add that to it.

- Yeah.

And then have them double it

when the section plays.

You want me to make a note here?

- Yeah, let's just try it.

- All right.

We have f***ing all this hard-ass music

play with Gil, sh*t.

Got a Spanish record, too, I wanna do.

Sketches of Spain.

Good.

That's a motherf***er.

He was all up in there

like a motherf***er, man.

Man, I was cleaner than a broke-dick dog.

- Yeah, man, that suit was something else.

- Right?

What's a broke-dick dog?

That's in the forte scene.

- Yeah. That's right.

- We're coming in to...

That's right, and I want them to sting it.

You know, hit it.

- Yeah.

- And really take it off.

Then they gotta do a glissando.

Yeah, man.

- Y'all listening to them?

- Yeah.

This is how this sh*t's supposed to sound.

And hold that over to the next measure.

Hold that over the measure.

Yeah, then let it resolve.

Let it groove.

Yeah, let it groove.

We should get them back in.

- Let's do it. Thanks, man.

- Let's get 'em back in.

Teo, record this.

All right, guys,

Gone rehearsal, take three.

Y'all, let's be musical about this sh*t.

Be wrong, strong, okay?

Otherwise, lay the f*** out.

Let's go, Gil. Count it off.

One, two. One, two.

Yeah?

Hey.

Hey.

I've been calling you all day, Frances.

I must have called you, like, 1,000 times.

Where you been?

Miles, you know what time it is here?

I just woke up.

Guess what, baby.

We're a royal hit! We got extended.

Three more weeks.

I need you to come home, Frances.

Honey, did you hear

what I just said? I can't.

Just come home for one or two days.

They can get by without you

for two or three damn days.

Baby.

It's because I didn't marry you?

What?

Listen, I've been thinking about it.

Let's have a real serious talk about it

when you get home.

I'm sorry, baby,

can you hang on for a sec?

I'll be right back.

Frances.

Frances.

Frances!

I'm back.

I'm going to send a plane

to pick you up tomorrow.

I need you.

I'll...

I'll work it out with my understudy.

Okay.

I love you, baby.

I know

I love you, too.

Ciao for now.

Hey, y'all wake up.

Someday, I'm gonna

call me up on the phone,

so when I answer,

I can tell myself to shut up.

Come on.

Come on. Come play with us, man.

Frances.

I wasn't sure about these because I...

What are you doing?

Somebody stole my f***ing tape!

What?

- What?

- You had my goddamn keys, Dave.

I don't have your tape, Miles.

- I spent all night downstairs with you.

- Then what the f*** happened?

- Sh*t, those bastards.

- What?

The...

- What?

- That trumpet player, the kid,

and that dodgy guy from Columbia,

they were here last night.

- They was in my house last night?

- They were right here!

The f*** you didn't tell me last night?

I was off my f***ing tits last night!

Your tits... What?

I was all messed up last night.

With the coke and the booze and...

All right, George,

you want to f*** with me?

I'll f*** with you.

Try releasing my sh*t.

Sue the sh*t out of you motherfuckers,

I'll be on your f***ing ass so fast!

Columbia Records.

Due to the Yom Kippur holiday,

- we will be closed today..

- F***ing Kippur!

- Vanguard.

- What?

That guy said the kid was playing

at the Vanguard tonight, right?

Maybe we can catch him at rehearsals.

Yeah. Come on.

You want me to go up there?

The f*** you think "come on" means?

Come on.

What are you doing?

You ain't driving me around

looking like that no more.

Hey! Great to see you, Miles.

What're you doing here?

I'm not here.

G flat!

C minor!

Right this way.

There you are, Mrs. Davis.

Excuse me, Miles. It's an honor.

- Beautiful show.

- Thank you. Thank you.

Miles, wonderful, son.

- See you next week, John.

- Right.

Hi, Miles.

Hey...

Emily?

- Erica.

- Erica, yeah. Right.

Would you walk me out

and help me get a cab?

I don't feel it's safe for a girl

out there by herself.

Yeah. Hold on a second.

Hey, Bill, y'all play that bossa.

All right, turn it up, guys.

- Where to?

- I got it.

Maybe you'd like to come by later.

No. Good night, Erica.

Hey!

Hey! No loitering. Move on.

I'm not loitering, man.

I work in there.

I don't care where you work. Move it.

I'm Miles Davis.

See? Miles Davis Quintet.

That's me. That's my band.

I don't give a sh*t.

Move your ass off this corner now,

or I'll lock it up.

I don't have to go nowhere, Jack.

It's public property.

I can stand here

and have a smoke if I want to.

Man, calm down. Hey!

Hands up, boy!

Did you see that, Frank?

Yeah, he was going to

take a run at you, Bobby.

- The f*** is wrong with y'all?

- You got this?

I got it.

- I ain't did sh*t!

- Stop moving!

Okay, the car's here. Let's go.

- Sh*t!

- Move it!

Get in there, boy.

Miles!

That's my husband! Miles!

That's my husband, move out of my way!

Miles!

You're a tough guy, ain't you?

Yeah. I am.

F*** you.

Shut up!

Frances.

That's Miles Davis there. Do you hear me?

Miles Davis!

These cops think they can just do

whatever they want to do to anybody.

Dumb cracker motherfuckers,

I'll tell you right now.

- This will not be the end of this.

- That's enough out of you!

That's enough out of me, or what?

What's gonna happen?

You gonna beat me, too?

We're gonna sue the sh*t out of

all y'all racist sons of b*tches.

My husband does not belong in here.

What about me, man?

Knock it off.

God, baby, look at you.

- It's okay. It's okay.

- What did they do?

What they do to you?

It's okay. It's okay.

Listen, let's get out of here.

That's good?

I want you to quit dancing, Frances.

What?

I want you to quit dancing.

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