rent screenplay script

Jonathan Larson's

RENT

Screenplay

by

Glenn Ripps

Glenn RippsWGA# 1003183

323-687-4370Copyright 2004

[email protected]

R E N T

SCREENPLAY BY GLENN RIPPS

EXT. MANHATTAN SKYLINE – DAWN

A LEGEND – NEW YORK CITY JUNE 3RD 1991 – FADES UP

The Legend along with the skyline - FADES OUT

FADE UP ON - A TOURIST MAP OF MANHATTAN COMPOSITED OVER A SATELLITE PHOTOGRAPH OF MANHATTAN

The map declares most of the famous landmarks, neighborhoods and parks of the narrow island in bold colorful subdivisions. A huge green CENTRAL PARK boasts vibrantly in the middle of the diagram. Moving southeast past the towering EMPIRE STATE BUILDING, the MURRAY HILL section, and UNION SQUARE, to another large green area bordered by THE EAST VILLAGE and ALPHABET CITY – rests TOMPKINS SQUARE PARK.

DISSOLVE PAST THE TOURIST MAP AND THROUGH THE SATELLITE MAP TO:

EXT. BIRDS EYE VIEW – TOMPKINS SQUARE PARK – DAWN

The focus reveals a large city park, quiet in the early morning haze.

EXT. TOMPKINS SQUARE PARK – DAWN

Raggedy blue and clear plastic drop cloths drape over sleeping bodies. Torn boxes, pieced together to form paper caves, shield their restless inhabitants. Lifeless feet stick out of soiled and ripped blankets. This is what many Americans imagine Calcutta to be like.

In the distance a low rumbling is heard.

Rising over the ridges and crests of the park appears a small army of riot police donning plastic shielded helmets. Masked sanitation workers march in behind them wielding sledgehammers and shovels. Dump trucks follow the legions like tanks.

From a wall mural perch, a skull-faced pharaoh with thunderbird wings, amid hieroglyphics and a single pale-blue eye, gazes at the impending melee.

THE FRAME DISSOLVES INTO – TV NEWS FOOTAGE

Homeless men and women ramble past the wall mural as they vacate Tompkins Square Park.

2.

A large police raid is underway.

The voice of a TV reporter Chris Hamilton narrates the NEWS FOOTAGE.

CHRIS HAMILTON (O.S.)

Earlier today, three-hundred and fifty New York City police officers, donning riot gear, ousted hundreds of homeless people from their scraggly encampment in Tompkins Square Park just before dawn…

The NEWS FOOTAGE shows: homeless men and women being escorted out of the park; a man wearing army fatigues, pushing a wheelchair with an American flag attached to it and four small dogs huddled in the seat; sanitation workers wearing gauze filtered masks, shoveling garbage into wheel barrels.

INT. NEWS CONFERENCE - DAY

Subtitled: Mayor David Dinkins - at the podium.

MAYOR DINKINS

Tompkins Square Park is the only City Park without a curfew. It is the only City Park that has become a concentrated tent-city for homeless people…

NEWS FOOTAGE

More gauze-masked sanitation workers with sledgehammers crush makeshift tents, lean-tos, and shanties.

MAYOR DINKINS (V.O.)

…It is the only City Park that cannot be used by the public as a park…

A barbecue, a table, a chair, a mattress, and a large teddy bear float in slow motion onto the beds of dump trucks.

MAYOR DINKINS (V.O.)(cont’d)

…The atmosphere is disturbing, disruptive, and dangerous.

3.

(MORE)

EXT. TOMPKINS SQUARE PARK

People from the adjacent neighborhoods gather- curious… relieved… outraged.

One of the outraged is a young man, JONATHAN (30’s). He stretches his lean, lanky body up on his toes peering over the crowd.

The young reporter, CHRIS HAMILTON, 30’s, addresses his news camera.

NEWS FOOTAGE

CHRIS HAMILTON

…The carefully orchestrated sweep and the sudden start of a long deferred project to demolish the concrete bandstand, which police say has become a haven for drug dealers, are intended to take back control of the Lower East Side from homeless people, squatters, and self-stylized anarchists. These groups have clashed repeatedly with police there over the past few years…

The NEWS FOOTAGE picks up a heavy set older Homeless Man, as he leaves the park. Chris Hamilton moves in for an interview.

CHRIS HAMILTON (cont’d)

How long have you lived in this park sir?

HOMELESS MAN

Almost three years. I woke to ten cops standin’ over me tellin’ me, time to go. It wasn’t much but it was my home. They let me make it my home then they kick me out.

INT. NEWS CONFERENCE

Subtitled: Deputy Mayor Bill Lynch – at the podium.

DEPUTY MAYOR BILL LYNCH

This is not what the park was created for. It impedes the use of the park for all the community.

4.DEPUTY MAYOR BILL LYNCH(cont'd)

We have city shelters for the homeless.


Jonathan sees a policeman butting his stick into the back of a man to hurry him out.

He screams out at the cop, “Hey!”…

He glances around and realizes that his feeble effort wasn’t even audible to those standing next to him.

He cranes his neck to view more of the fracas.

Chris Hamilton is reaching his microphone up to a very thin, tall HOMELESS MAN.

CHRIS HAMILTON

Where to now?

NEWS FOOTAGE

HOMELESS MAN

Don't know. It’s warm right now but when it gets colder… don’t know.

CHRIS HAMILTON

What about the city shelters?

HOMELESS MAN

Man, get the fuck out my face… City shelters! Y’only need taste poison once.

The tall man pushes the microphone away and walks off.


Subtitled: Parks Commissioner Betsy Gotbaum – at the podium.

COMMISSIONER BETSY GOTBAUM

Tompkins Square Park is officially closed for renovations.


Jonathan sees the police in full riot gear surround the park as construction workers raise fences around the perimeter. He eyes the bandstand.

JONATHAN’S FANTASY SEQUENCE

5.

Suddenly, Jonathan sprints past the police and jumps up onto the bandstand. As some officers move towards him, he looks out over the commotion and yells:

JONATHAN

Stop!

The whole park falls silent. Everyone gazes up at this new messiah awaiting his message.

JONATHAN (cont’d)

Where are they gonna go? If this park were filled with beached whales the whole city would be down here helping them!

One of the policemen begins to clap. Soon, the whole park is cheering and applauding Jonathan.

Jonathan smiles.

His eyes are filled with pride.

BACK TO SCENE

Jonathan is standing anonymously in the middle of the crowd of onlookers.

He sees the police standing guard outside the perimeter of the park; some hang their riot helmets on the fence poles trying to cool off from the heat.

A small group of yuppies applaud from the terrace of one of the few upper-class buildings that border the park.

Jonathan sees throngs of young, rowdy, tattooed, lip-ring - nose-ring - eyebrow-ring-wearing teens begin to assemble, and protest.

JONATHAN’S POV

Amidst the pack of youthful rabble-rousers is COLLINS, a tall, muscular African American swirling his fist in the air; and BENNY, an attractive slightly built African American rubbing his shaved head; and ROGER, a roughly good-looking rocker balancing his frail girlfriend APRIL on his shoulders as she raises her fist out in protest; and MAUREEN, a curvaceous fireball screaming at the top of her lungs; and MARK, an academic with one arm around Maureen and the other holding an old film camera trying to follow the action.

6.

Mark pans his camera across the park. He glances above the eyepiece and catches Jonathan’s stare.

Jonathan looks away quickly and finds Chris Hamilton approaching a group of the banished homeless.

CHRIS HAMILTON

Where will you spend the night?

NEWS FOOTAGE

HOMELESS WOMAN

There are vacant lots all over Alphabet City.

She and the others walk off into the distance. Their gait is aimless and tired.

Some of the protesters in the background shout and wave to the news camera: “We’ll take it back!” “They just let slip the dogs of hell!”

CHRIS HAMILTON

Considering the Dinkins Administration’s growing intolerance towards squatting in city owned buildings, these people have very good reason to be on edge. This is Chris Hamilton reporting live from Tompkins Square Park.


Jonathan walks away feeling powerless.


Mayor Dinkins at the podium.

MAYOR DINKINS

The Lower East Side parks are parks. They're not places to live. I will not have it any other way.

FADE TO BLACK:

FADE UP ON - SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN

7.

A LEGEND - DECEMBER 24TH 1991 – FADES UP AND OUT

The CAMERA PANS from Tompkins Square Park to the bordering section colored in blue: ALPHABET CITY.

EXT. ALPHABET CITY – NIGHT

Abandoned rundown buildings file by. Homeless people huddle together in vacant lots. Punks in leather amble towards seedy clubs.

The street post reads 2nd Ave. and 12th St. A diner made from a renovated railway car is positioned on the corner. Jonathan sits on the stairs of the diner writing in a notebook. He blows into his hands and his warm breath billows through his fingers.

MATTHEW (O.S.)

You’re gonna catch your death writing out here.

Jonathan looks up and smiles. MATTHEW (30’s), Jonathan’s best friend is standing over him.

JONATHAN

You’re late.

MATTHEW

Why didn’t you wait inside?

JONATHAN

I can’t get anything done in there, too much chitchat.

Matthew looks through the large pane at the animated youthful exuberance inside.

MATTHEW

I thought they were your muse.

JONATHAN

They were. Still are in some ways, but it’s out here. The streets are ablaze more than ever since they shut down the park.

They walk together down the hard cold pavement.

Jonathan’s eyes are wide open, taking in every nuance, as if he had just moved to town.

JONATHAN (cont’d)

We’re living in the true Bohemia.

8.

They hurry past rows of inhabited cardboard boxes, stacked together for shelter against the winter. Jonathan walks backwards talking to Matthew.

JONATHAN (cont’d)

I’ve gotta open up, take it all in…

A group of leather clad Mohawks amble across the street whooping and hollering. Jonathan and Matthew traverse around their path as Jonathan jumps and shouts over the assemblage to Matthew.

JONATHAN (cont’d)

Gather it together and shake it up…

Jonathan peers into the depths of the vacant buildings that line these streets. He sees the glow of trash can fires.

JONATHAN (cont’d)

…And see what I get.

Jonathan and Matthew come around the corner of Eleventh Street and Avenue A.

Jonathan stops and gazes into a huge tent city that fills a vacant lot which spans the entire block. Matthew turns to him.

MATTHEW

Havin' second thoughts about the group? You could come with me another night if you’re not up to it right now.

JONATHAN

No. Well, I’m just afraid of being seen as… “The healthy do-gooder,” pitying all the unlucky less fortunate souls.

MATTHEW

Don’t worry, you'll just be perceived as a friend of an unlucky less fortunate soul.

JONATHAN

I just meant--

MATTHEW

--I know what you meant. It’s okay.

Matthew sees that Jonathan's attention has turned to the lot.

9.

A couple of uniformed cops, one very tall and lean and the other thick and square as a mailbox, nonchalantly hassle the homeless. They tap their sticks on the ground and on the benches and give notice to the loiterers, “Don't spend the night.” “This ain’t your home.”

Jonathan scowls.

JONATHAN

That’s observant, genius.

THICK COP

What’d you say?

The cops walk towards Jonathan and Matthew.

TALL COP

You got a beef?

JONATHAN

Shit.

Two very large shadows veil Jonathan and Matthew. The Thick Cop pokes his stick in Jonathan’s chest.

THICK COP

You’re a smart guy, huh?

TALL COP

Let’s see some ID’s.

Matthew and Jonathan fish out their wallets as the Thick Cop eyes Jonathan.

THICK COP

You guys squattin’ in one of these buildings?

TALL COP

(handing back ID's)

They live here legit.

THICK COP

You’re lucky. ‘Cause we’re evicting all the anarchist squatters from this neighborhood too.

MATTHEW

Not all squatters are anarchists.

10.

TALL COP

Our precinct gets calls everyday from the neighborhood complainin’ ‘bout the loud music, the drug use, the protests…

Matthew looks around at the battered and vacant surrounding buildings.

MATTHEW

The neighborhood?

The Tall Cop points to the one nice building on the block.

TALL COP

The neighborhood. They say their kids are scared to walk to school.

MATTHEW

Their kids get limoed to private schools.

TALL COP

We're just following orders. Why don't you give us a break?

THICK COP

(poking his stick in Jonathan's chest)

The quiet one’s got all the answers don’t you? Probably spend all your free time helping others. Maybe you should run for Mayor… whadaya say to that smart guy?

Jonathan doesn’t say anything; he just stares at the stocky patrolman.

TALL COP

Yeah, the silent Mayor.

Jonathan watches the officers continue down their beat laughing.

MATTHEW

Don’t sweat them.

JONATHAN

They’re not wrong.

MATTHEW

You’re a writer not a fighter.

11.

Jonathan forces a smile. He looks up as he notices someone step onto a windowsill of one of the abandoned buildings.

JONATHAN'S POV - ABANDONED BUILDING

Mark stands on the windowsill in front of a huge open window on the third floor, looking into the eyepiece of a small movie camera. A large fire escape frames the window, which is one of many huge windows on the floor.

CAMERA ZOOMS in QUICK, as the young man takes his eye away from his vintage 16mm Bell and Howell Camera. He looks directly at Jonathan. He looks back into the eyepiece of his Camera aiming it right at Jonathan and Matthew. He then jumps back down off the sill just as-

BACK TO SCENE

Matthew looks from Jonathan to the Abandoned Building.

The windows that Jonathan is observing are completely void of life.

MATTHEW

What're you lookin' at?

JONATHAN

That building… could be squatters in there.

MATTHEW

Could be. Come on I’ve got get some things for the meeting.

JONATHAN

I’ll wait here.

MATTHEW

It’s freezing out here. Come up with me.

JONATHAN

I’m fine.

Matthew takes off and Jonathan turns his gaze back towards the abandoned building.

12.

(MORE)

JONATHAN’S POV

Roger, with an electric guitar strapped over his shoulder, steps onto the windowsill. He pushes his palms against the frame of the window.

BACK TO SCENE

Jonathan slowly moves towards the building, intrigued.

INT. ABANDONED BUILDING – THIRD FLOOR LOFT - CONTINUOUS - NIGHT

Roger pushes himself off the window frame and jumps back down inside gripping his guitar tightly. He goes over to his amp, plugs in and hits some restless chords.

The Loft is a large industrial space arrayed with mattresses on the floor, old drafting tables, shelves made from milk crates, and a kitchen that consists of a hot plate, toaster oven and an ice chest.

Mark is setting up his 16mm Camera on a tripod. He also has a small recording device jury-rigged to the camera. Roger plays some chords in the background.

MARK

(to himself)

Alright, ready?

Mark spins his Camera towards the loft and jumps out in front of it. He performs an exaggerated loud clap.

16MM POV

MARK

(directly into his Camera)

We begin on Christmas Eve, with me, Mark, and my roommate, Roger.

Mark runs back behind his Camera and pans to Roger.

WHIP PANS FOLLOW MARKS NARRATION

MARK (O.S.)

We live in an industrial loft on the corner of 11th St. and Avenue B, the third floor of what was once a music-publishing factory.

13.MARK(cont'd)

Old rock-'n'-roll posters hang on the walls. They have Roger's picture advertising gigs at CBGB's and the Pyramid Club. We have an illegal wood burning stove (note: a trash can); it's exhaust pipe crawls up to a skylight. All of our electrical appliances are plugged into one thick extension cord, which snakes its way out a window.

BACK TO SCENE

Mark takes his Camera off of the tripod, and walks to the window. He aims his camera at the scene below his windows.

16MM POV

Mark’s camera captures the poverty that exists just outside his building.

MARK (O.S.)

Outside, a small tent-city has sprung up in the lot next to our building.

BACK TO SCENE

MARK

(pans his camera back into the loft)

Inside we are freezing because we have no heat.

Mark turns his Camera to Roger.

MARK (cont’d)

Smile.

Roger just shakes his head.

Mark puts his Camera back down on the tripod and jumps back out in front of the lens. (Note: all song lyrics are capitalized)

14.

16MM POV

MARK


DECEMBER 24TH, NINE P.M./ EASTERN STANDARD TIME/ FROM HERE ON IN/ I SHOOT WITHOUT A SCRIPT/ SEE IF ANYTHING COMES OF IT/ INSTEAD OF MY OLD SHIT/

Mark runs behind his Camera.

MARK (cont’d)

FIRST SHOT - ROGER/ TUNING THE FENDER GUITAR/ HE HASN'T PLAYED IN A YEAR

ROGER

THIS WON'T TUNE

MARK

SO WE HEAR

CUT BACK AND FORTH TO 16MM CAMERA POV

MARK (cont’d)

HE'S JUST COMING BACK/ FROM HALF A YEAR OF WITHDRAWAL

ROGER

ARE YOU TALKING TO ME?

MARK

NOT AT ALL/ ARE YOU READY? HOLD THAT FOCUS - STEADY/ TELL THE FOLKS AT HOME WHAT YOU'RE DOING ROGER…

ROGER

I'M WRITING ONE GREAT SONG--

A telephone RINGS.

MARK

THE PHONE RINGS

ROGER

SAVED!

MARK

WE SCREEN/ ZOOM IN ON THE ANSWERING MACHINE!

15.

Roger and Mark listen.

ANSWERING MACHINE

SPEAK/ (BEEEP!)

MARK'S MOTHER'S VOICE (O.S.)

THAT WAS A VERY LOUD BEEP/ I DON'T EVEN KNOW IF THIS IS WORKING/ MARK - MARK - ARE YOU THERE/ ARE YOU SCREENING YOUR CALLS - IT'S MOM/

Roger goes to answer and Mark grabs him, shaking his head. Roger smiles as they continue to listen.

INT. MARK’S PARENTS SUBURBAN HOME – KITCHEN – NIGHT

Mark’s MOTHER is stirring a pan of sautéed onions holding the phone between her ear and shoulder.

MARK'S MOTHER

WE WANTED TO CALL AND SAY WE LOVE YOU/ AND WE'LL MISS YOU TOMORROW/ CINDY AND THE KIDS ARE HERE - SEND THEIR LOVE/ OH, I HOPE YOU LIKE THE HOT PLATE/ JUST DON'T LEAVE IT ON, DEAR/ WHEN YOU LEAVE THE HOUSE/ OH, AND MARK/ WE'RE SORRY TO HEAR THAT MAUREEN DUMPED YOU/ I SAY, C'EST LA VIE/ SO LET HER BE A LESBIAN/ THERE ARE OTHER FISHIES IN THE SEA/…

INT. MARK AND ROGER’S LOFT – CONTINUOUS - NIGHT

MARK’S MOTHER’S VOICE (O.S.)

LOVE MOM!

16MM POV - PANS FROM THE ANSWERING MACHINE TO ROGER�

MARK (O.S.)

TELL THE FOLKS AT HOME WHAT YOU'RE DOING, ROGER…

ROGER

I'M WRITING ONE GREAT SONG--

BACK TO SCENE

The telephone RINGS.

MARK

THE PHONE RINGS.

16.

ROGER

YESSS!

MARK

WE SCREEN.

ANSWERING MACHINE

SPEAK/ (BEEEP)

COLLINS (O.S.)

(speakerphone)

"CHESTNUTS ROASTING…"

Mark dives for the phone. He hits the speakerphone button.

ROGER & MARK

COLLINS!

EXT. MARK AND ROGER'S ABANDONED BUILDING - CONTINUOUS - NIGHT

Collins is using a battered public pay-phone right by the front-door area of the building.

Jonathan is standing in the background watching Collins.

COLLINS

I'M DOWNSTAIRS

MARK (O.S.)

(his voice comes through the phone)

HEY!

COLLINS

ROGER PICKED UP THE PHONE?

INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT

MARK

NO, IT'S ME

COLLINS (O.S.)

(speakerphone)

THROW DOWN THE KEY

Mark pulls out a small leather pouch and drops it out the window.

MARK

A WILD NIGHT IS NOW PREORDAINED

17.

EXT. DOWNSTAIRS - THAT MOMENT - NIGHT

Collins catches the pouch while holding onto the phone. Just that moment two THUGS approach with clubs.

COLLINS

(into the phone)

I MAY BE DETAINED

Collins drops the phone and takes off running as the two Thugs give chase.

Jonathan watches Collins run off. He looks back up at the third floor.


MARK

(to Roger; switching off the phone)

What does he mean detained…?

Mark walks to the window holding the phone, just as the phone RINGS again.

MARK (cont’d)

(switching on the speakerphone)

What do you mean “detained"?

BENNY (O.S.)

(speakerphone)

HO HO HO

MARK & ROGER

BENNY! (SHIT)

BENNY (O.S.)

DUDES, I'M ON MY WAY

MARK & ROGER

GREAT! (FUCK!)

EXT. NYC STREET - CONTINUOUS - NIGHT

Benny pats his newly shaved bald head as he drives his RANGE ROVER. He TALKS into his car phone microphone, and HEARS through the speaker that is in the center console.

BENNY

I NEED THE RENT

18.

INT. BENNY'S RANGE ROVER - DRIVING - CONTINUOUS - NIGHT

MARK (O.S.) (speakerphone)

WHAT RENT?

BENNY

THIS PAST YEAR'S RENT, WHICH I LET SLIDE

INT. MARK AND ROGER'S LOFT – CONTINUOUS - NIGHT

MARK

LET SLIDE? YOU SAID WE WERE "GOLDEN"

ROGER

WHEN YOU BOUGHT THE BUILDING

MARK

WHEN WE WERE ROOMMATES

ROGER

REMEMBER - YOU LIVED HERE!?

BENNY (O.S.)

(speakerphone)

HOW COULD I FORGET?

INT. BENNY'S RANGE ROVER – CONTINUOUS - NIGHT

BENNY

YOU, ME, COLLINS AND MAUREEN/ HOW IS THE DRAMA QUEEN?

MARK (O.S.)

(speakerphone)

SHE'S PERFORMING TOMORROW

BENNY

I KNOW


BENNY (O.S.)

(speakerphone)

STILL HER PRODUCTION MANAGER?

MARK

TWO DAYS AGO I WAS BUMPED

19.

BENNY (O.S.)

(speakerphone)

YOU STILL DATING HER?

MARK

LAST MONTH I WAS DUMPED

ROGER

SHE'S IN LOVE

BENNY (O.S.)

(speakerphone)

SHE'S GOT A NEW MAN?

MARK

WELL - NO

INT. BENNY'S RANGE ROVER – CONTINUOUS - NIGHT

BENNY

WHAT'S HIS NAME?

INT. MARK AND ROGER’S LOFT – CONTINUOUS - NIGHT

MARK & ROGER

JOANNE

INT BENNY’S RANGE ROVER – CONTINUOUS - NIGHT

BENNY

RENT, MY AMIGOS, IS DUE/ OR I WILL HAVE TO EVICT YOU/ BE THERE IN A FEW


Roger defiantly picks out Musetta's theme from Puccini's La Boheme on his electric guitar. Mark looks at his roommate. Just then all the lights and Roger’s guitar shuts off.

MARK

THE POWER BLOWS…

Mark runs over to his Camera. He spins it on the tripod--

16MM POV

The loft is spinning. It lands on Mark and holds. Roger is in the background lighting candles.

20.

MARK


HOW DO YOU DOCUMENT REAL LIFE/ WHEN REAL LIFE'S GETTING MORE/ LIKE FICTION EACH DAY/ HEADLINES - BREADLINES/ BLOW MY MIND/ AND NOW THIS DEADLINE/ "EVICTION - OR PAY"/ RENT

Roger grabs his acoustic guitar and jumps into the picture with Mark.

ROGER

HOW DO YOU WRITE A SONG/ WHEN THE CHORDS SOUND WRONG/ THOUGH THEY ONCE SOUNDED RIGHT AND RARE/ WHEN THE NOTES ARE SOUR/ WHERE IS THE POWER/ YOU ONCE HAD TO IGNITE THE AIR

BACK TO SCENE

MARK

AND WE'RE HUNGRY AND FROZEN

ROGER

SOME LIFE THAT WE'VE CHOSEN

MARK & ROGER

HOW WE GONNA PAY/ HOW WE GONNA PAY/ HOW WE GONNA PAY/ LAST YEAR'S RENT

MARK

WE LIGHT CANDLES

Mark removes his Camera from the tripod, as Roger runs to the windows and jumps up on the sill.

16MM POV

ROGER

HOW DO YOU START A FIRE/ WHEN THERE'S NOTHING TO BURN/ AND IT FEELS LIKE SOMETHING'S STUCK IN YOUR FLUE

MARK

HOW CAN YOU GENERATE HEAT/ WHEN YOU CAN'T FEEL YOUR FEET

21.

MARK & ROGER

AND THEY'RE TURNING BLUE!

BACK TO SCENE

MARK

YOU LIGHT UP A MEAN BLAZE

Roger is tearing posters of himself off the wall and throwing them towards the trash can.

ROGER

WITH POSTERS-

Mark is picking up his old screenplays from the floor and throwing them into the trash can stoking the fire’s blaze.

The glow of the fire along with the candles, streetlight and moonlight, are the only source of light in the powerless loft.

MARK

AND SCREENPLAYS

MARK & ROGER

HOW WE GONNA PAY/ HOW WE GONNA PAY/ HOW WE GONNA PAY/ LAST YEAR'S RENT

EXT. MARK AND ROGER’S ABANDONED BUILDING - CONTINUOUS - NIGHT

Jonathan looks towards the lot.

WHIP PAN TO:

JONATHAN'S POV - PERFORMANCE SPACE OF THE VACANT LOT - CONTINUOUS - NIGHT

JOANNE, (20's) an attractive, confident, African American woman, talking on her cell-phone.

22.

JOANNE

DON'T SCREEN, MAUREEN/ IT'S ME, JOANNE/ YOUR SUBSTITUTE PRODUCTION MANAGER/ HEY HEY HEY!(DID YOU EAT?)/ DON'T CHANGE THE SUBJECT MAUREEN/ BUT DARLING - YOU HAVEN'T EATEN ALL DAY/ YOU WON'T THROW UP/ YOU WON'T THROW UP/ THE DIGITAL DELAY -/ DIDN'T BLOW UP (EXACTLY)/ THERE MAY HAVE BEEN ONE TEENY-TINY SPARK/ YOU'RE NOT CALLING MARK

EXT. STREETS - CONTINUOUS - NIGHT

Collins is struggling to make his way down the street. He has been beaten and his clothes are completely torn-up. A coat sleeve hanging onto his arm is the only remnant of his thick overcoat. He continuously checks behind him as he moves and SINGS.

COLLINS

HOW DO YOU STAY ON YOUR FEET/ WHEN ON EVERY STREET/ IT'S "TRICK OR TREAT"/ (AND TONIGHT IT'S "TRICK")/ "WELCOME BACK TO TOWN"/ OH I SHOULD LIE DOWN/ EVERYTHING'S BROWN/ AND UH-OH/ I FEEL SICK

WHIP PAN TO:

EXT. MARK AND ROGER'S ABANDONED BUILDING - AT THIRD FLOOR LEVEL - CONTINUOUS - NIGHT

Mark is now on the ledge with Roger.

MARK

WHERE IS HE?

WHIP PAN TO:

EXT. STREET - CONTINUOUS - NIGHT

COLLINS

(collapsing)

GETTING DIZZY

23.

EXT. ANOTHER ABANDONED BUILDING – NIGHT

MIMI, (late teens), a beautiful but gaunt Latin American young woman and others are rushing out onto the cold streets as a police raid is evicting them from their squatter’s home.

MIMI & OTHERS

HOW WE GONNA PAY/ HOW WE GONNA PAY/ HOW WE GONNA PAY

MARK & ROGER (O.S.)

HOW WE GONNA PAY/ HOW WE GONNA PAY/ HOW WE GONNA PAY

EXT. MARK AND ROGER’S ABANDONED BUILDING – AT THIRD FLOOR LEVEL – CONTINUOUS – NIGHT

Mark and Roger sing out the windows.

MARK & ROGER

LAST YEAR’S RENT

INT. BENNY'S RANGE ROVER - CONTINUOUS - NIGHT

BENNY

(into the microphone of his car phone)

ALLISON BABY - YOU SOUND SAD/ I DON'T BELIEVE THOSE TWO/ AFTER EVERYTHING I'VE DONE/ EVER SINCE OUR WEDDING/ I'M DIRT - THEY'LL SEE/ I CAN HELP 'EM ALL OUT IN THE LONG RUN


Mark is reading from a script.

MARK

"THE MUSIC IGNITES THE NIGHT WITH PASSIONATE FIRE"

BENNY (O.S.)

(simultaneously; in b.g.)

FORCES ARE GATHERING/ FORCES ARE GATHERING/ CAN'T TURN AWAY/ FORCES ARE GATHERING

EXT. STREETS - CONTINUOUS - NIGHT

Collins is stumbling down the streets.

24.

COLLINS

(simultaneously; in b.g.)

UGHHH - / UGHHH - / I CAN'T THINK/ UGHHH - / UGHHH - I NEED A DRINK

JOANNE (O.S.)

MAUREEN - I'M NOT A THEATER PERSON


ROGER

"THE NARRATION CRACKLES AND POPS WITH INCENDIARY WIT?

EXT. PERFORMANCE SPACE OF THE VACANT LOT - CONTINUOUS - NIGHT

Joanne is still on her phone.

JOANNE

COULD NEVER BE A THEATER PERSON


Mark is shooting Roger burn more of his posters.

MARK

ZOOM IN AS THEY BURN THE PAST TO THE GROUND

EXT. PERFORMANCE SPACE OF THE VACANT LOT - CONTINUOUS - NIGHT

Joanne is still on her phone.

JOANNE

(realizing she's been hung up on)

HELLO?

MARK & ROGER (O.S.)

AND FEEL THE HEAT OF THE FUTURE'S GLOW

JOANNE

HELLO?


The phone RINGS and Mark picks it up.

MARK

HELLO? MAUREEN?/ YOUR EQUIPMENT WON'T WORK?/ OKAY, ALL RIGHT, I'LL GO!

25.

Mark and Roger JUMP back up on the windowsill and throw open the windows.

EXT. MARK AND ROGER'S ABANDONED BUILDING - AT THIRD FLOOR LEVEL – CONTINUOUS - NIGHT

CAMERA starts OUTSIDE on Mark and Roger standing on the windowsill as they sing towards the vacant lot tent-city. CAMERA rises and does a 180-degree turn around them to see some of the lot’s inhabitants responding to Mark and Roger.

MARK & SOME OF THE LOT PEOPLE

HOW DO YOU LEAVE THE PAST BEHIND/ WHEN IT KEEPS FINDING WAYS TO GET TO YOUR HEART/ IT REACHES WAY DOWN DEEP AND TEARS YOU INSIDE OUT/ 'TIL YOU'RE TORN APART/ RENT

INT. MARK AND ROGER'S LOFT - THAT MOMENT - NIGHT

Mark and Roger turn towards their squatter’s loft. The tent-city is behind them now and even more of the inhabitants are SINGING.

ROGER & SOME OF THE LOT PEOPLE

HOW CAN YOU CONNECT IN AN AGE/ WHERE STRANGERS, LANDLORDS, LOVERS/ YOUR OWN BLOOD CELLS BETRAY

Mark and Roger turn towards the vacant lot/tent-city.

EXT. VACANT LOT TENT-CITY - CONTINUOUS - NIGHT

The lot is populated with it's share of drug dealers, "orange Mohawk punks", and homeless people.

SOME OF THE LOT PEOPLE (MARK AND ROGER (O.S.)

WHAT BINDS THE FABRIC TOGETHER/ WHEN THE RAGING, SHIFTING WINDS OF CHANGE/ KEEP RIPPING AWAY

INT. BENNY'S RANGE ROVER - CONTINUOUS - NIGHT

BENNY

DRAW A LINE IN THE SAND/ AND THEN MAKE A STAND


ROGER

(to Mark)

USE YOUR CAMERA TO SPAR

26.

MARK

(to Roger)

USE YOUR GUITAR

EXT. VACANT LOT TENT/CITY - CONTINUOUS - NIGHT

SOME OF THE LOT PEOPLE (MARK AND ROGER O.S.)

WHEN THEY ACT TOUGH - YOU CALL THEIR BLUFF


MARK & ROGER

WE'RE NOT GONNA PAY

EXT. VACANT LOT TENT/CITY - CONTINUOUS - NIGHT

SOME OF THE LOT PEOPLE (MARK AND ROGER O.S.)

WE'RE NOT GONNA PAY

EXT. NEW YORK CITY STREETS – CONTINUOUS – NIGHT

Mimi, shivering, hurries down the street.

MIMI (MARK AND ROGER O.S.)

WE'RE NOT GONNA PAY

INT. ANOTHER VACANT BUILDING – CONTINUOUS - NIGHT

A group of homeless huddle by a trash can fire.

THE HUDDLE (MARK AND ROGER O.S.)

LAST YEAR'S RENT/ THIS YEAR'S RENT/ NEXT YEAR'S RENT/ RENT, RENT, RENT, RENT, RENT/ WE'RE NOT GONNA PAY RENT


MARK & ROGER

'CAUSE EVERYTHING IS RENT

CAMERA PUSHES in on Mark whose gaze remains on the vacant lot/tent-city. He picks up his camera and films.

EXT. STREET - JUST OUTSIDE THE VACANT LOT/TENT-CITY – CONTINUOUS - NIGHT

27.

16MM POV

Mark’s camera finds Jonathan sitting alone on a park bench writing furiously.

EXT. ALPHABET CITY - NIGHT

Collins has staggered his way to 9th St. and Avenue C, an extremely deteriorated area of Alphabet City. He leans against the twisted metal remnants of a building that looks as if it had been decimated during the Blitzkrieg.

A HOMELESS MAN dressed in a raggedy Santa Clause suit, holding a little red plastic bucket and ringing a jingle bell, walks up to Collins.

HOMELESS SANTA

(to Collins)

CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE RINGING/

(realizing Collins condition)

SOMEWHERE ELSE/ NOT HERE

The Homeless Santa walks past Collins just as he hears a drum beating. He looks above him and sees ANGEL, a beautiful Latin teenager sitting up in the twisted metal and debris of the building that Collins is leaning against. Angel is tapping out a rhythm on a large plastic bucket. Behind him he has hung tin can ornaments lit up with candles in the shape of a Christmas Tree on the jutting metal rods.

ANGEL

(to Collins)

YOU OKAY HONEY?

COLLINS

I'M AFRAID SO

ANGEL

THEY GET ANY MONEY?

COLLINS

NO, HAD NONE TO GET/ BUT THEY PURLOINED MY COAT/

(to the empty street)

WELL YOU MISSED A SLEEVE! - THANKS

28.

ANGEL

HELL, IT'S CHRISTMAS EVE/

(quickly climbing down; extending his hand)

I'M ANGEL

COLLINS

(shaking hands)

ANGEL? INDEED/ AN ANGEL OF THE FIRST DEGREE/ FRIENDS CALL ME COLLINS - TOM COLLINS/

(acknowledging Angel's "tree")

NICE TREE…

ANGEL

LET'S GET A BAND-AID FOR YOUR KNEE/ I'LL CHANGE, THERE'S A "LIFE SUPPORT" MEETING/ AT NINE-THIRTY/ YES, THIS BODY PROVIDES A COMFORTABLE HOME/ FOR THE ACQUIRED IMMUNE DEFICIENCY SYNDROME

COLLINS

AS DOES MINE

ANGEL

WOW, WE'LL GET ALONG FINE/ GET YOU A COAT, HAVE A BITE/ MAKE A NIGHT - I'M FLUSH

COLLINS

BUT MY FRIENDS ARE WAITING -

ANGEL

YOU'RE CUTE WHEN YOU BLUSH/ THE MORE THE MERRIER - HO HO HO/ AND I DO NOT TAKE NO

INT. MARK AND ROGER'S LOFT - NIGHT

Roger is seated at the table tuning his guitar. Mark walks over to him wearing a coat.

ROGER

Where are you going?

MARK

Maureen calls. Another “emergency”.

ROGER

You're such a sucker.

29.

MARK

I don't suppose you'd like to see her show in the lot tomorrow night?

Roger shrugs.

Mark looks out the window.

MARK (cont’d)

If Collins comes back, tell him to wait. We could all go to dinner?

ROGER

Zoom in on my empty wallet.

MARK

Touché. Take your AZT.

Mark picks up his Camera and discreetly shoots Roger.

16MM POV

On Roger still tuning his guitar.

MARK (O.S.)

(quietly into the Camera Microphone)

CLOSE ON ROGER/ HIS GIRLFRIEND APRIL/ LEFT A NOTE SAYING, "WE'VE GOT AIDS"/ BEFORE SLITTING HER WRISTS IN THE BATHROOM/

BACK TO SCENE

Mark walks to the door.

MARK

Look, I’m gonna set Maureen straight and then I'll be right back… change your mind. You have to get out of the house.

Mark leaves Roger alone with his guitar. Finally by himself, Roger sings his song.

ROGER

I’M WRITING ONE GREAT SONG BEFORE I... BEFORE I GO...

Roger steps up onto the table and performs to the empty space.

30.

THE CAMERA CONTINUALLY DOLLIES AROUND ROGER THROUGHOUT THE SONG

The CAMERA passes in front of Roger in a CLOSE-SHOT. Each time the CAMERA passes behind him, Roger is in a different place.

CLOSE-SHOT ROGER

ROGER

ONE SONG/ GLORY/ ONE SONG/ BEFORE I GO/ GLORY/ ONE SONG TO LEAVE BEHIND/

INT. SEEDY CLUB - NIGHT

Roger is on the stage performing to a mostly disinterested crowd. Among a small group of excited fans is Roger’s girlfriend April.

ROGER

FIND ONE SONG/ ONE LAST REFRAIN/ GLORY/ FROM THE PRETTY-BOY FRONT MAN/ WHO WASTED OPPORTUNITY/ ONE SONG/

CLOSE-SHOT ROGER

ROGER

HE HAD THE WORLD AT HIS FEET/ GLORY/ IN THE EYES OF A YOUNG GIRL/ A YOUNG GIRL/

INT. BATHROOM - DAY

Roger sits on a stool singing to April who is bathing provocatively in front of him.

ROGER

FIND GLORY/ BEYOND THE CHEAP COLORED LIGHTS/ ONE SONG/ BEFORE THE SUN SETS/ GLORY -

31.

CLOSE-SHOT ROGER

ROGER

ON ANOTHER EMPTY LIFE/ TIME FLIES - TIME DIES/

EXT. CEMETERY - DAY

Roger sings to April’s tombstone.

ROGER

GLORY - ONE BLAZE OF GLORY/ ONE BLAZE OF GLORY -

CLOSE-SHOT ROGER

ROGER

GLORY/ FIND/ GLORY/

INT. MARK AND ROGER’S LOFT - NIGHT

Roger steps off the table goes to the window and steps up on the windowsill.

ROGER

IN A SONG THAT RINGS TRUE/ TRUTH LIKE A BLAZING FIRE/ AN ETERNAL FLAME/

EXT. MARK AND ROGER’S ABANDONED BUILDING - THIRD FLOOR - THAT MOMENT - NIGHT

Roger sings past the window looking down on the tent-city.

ROGER

FIND/ ONE SONG/ A SONG ABOUT LOVE/ GLORY/ FROM THE SOUL OF A YOUNG MAN/ A YOUNG MAN/

EXT. TENT-CITY - NIGHT

The inhabitants: lay down cardboard boxes; smoke cigarette butts; huddle under torn plastic sheets.

32.

ROGER (O.S.)

FIND/ THE ONE SONG/ BEFORE THE VIRUS TAKES HOLD/ GLORY/ LIKE A SUNSET/ ONE SONG/ TO REDEEM THIS EMPTY LIFE/

INT. MARK AND ROGER’S LOFT - THAT MOMENT - NIGHT

Roger sings to his reflection in the window.

ROGER

TIME FLIES/ AND THEN - NO NEED TO ENDURE ANYMORE/ TIME DIES

There is a knock at the door. Roger turns abruptly. He hurries over expecting Mark.

ROGER (cont’d)

What'd you forget?

Roger opens the door, and to his surprise finds Mimi standing in the hallway holding an unlit candle.

ROGER (cont’d)

Hello.

MIMI

Hi. I'm your new neighbor.

ROGER

Neighbor?

MIMI

I kinda got evicted so, well, I noticed there was a vacancy in this luxury building.

ROGER

Yeah, right.

MIMI

GOT A LIGHT?

ROGER

I KNOW YOU - YOU'RE -/ YOU'RE SHIVERING

Roger leads Mimi over to the table where he looks for some matches.

33.

MIMI

IT'S NOTHING/ NOT USED TO NO HEAT/ AND I'M JUST A LITTLE WEAK ON MY FEET/ WOULD YOU LIGHT MY CANDLE?/ WHAT ARE YOU STARING AT?

ROGER

NOTHING/ YOUR HAIR IN THE MOONLIGHT/ YOU LOOK FAMILIAR

Roger lights her candle. And watches her as she leaves. She stumbles in the hallway, and Roger goes out to help her.

INT. HALLWAY – CONTINUOUS - NIGHT

The only LIGHT in the hallway comes from the candle.

ROGER

(grabbing her arm)

CAN YOU MAKE IT?

MIMI

JUST HAVEN'T EATEN MUCH TODAY/ AT LEAST THE ROOM STOPPED SPINNING. ANYWAY. WHAT?

ROGER

NOTHING/ YOUR SMILE REMINDED ME OF -

MIMI

I ALWAYS REMIND PEOPLE OF -

(turning away down the hallway)

WHO IS SHE?

ROGER

SHE DIED. HER NAME WAS APRIL

Mimi discreetly blows out her candle and turns back towards Roger.

MIMI

IT'S OUT AGAIN/ SORRY ABOUT YOUR FRIEND/ WOULD YOU LIGHT MY CANDLE?

Roger re-lights her candle. They linger awkwardly in the candle-lit hallway just outside Mark and Roger's loft.

ROGER

WELL -

MIMI

YEAH. OW!

34.

ROGER

OH. THE WAX - IT'S -

MIMI

DRIPPING! I LIKE IT - BETWEEN MY -

ROGER

FINGERS. I FIGURED…/ OH, WELL. GOOD NIGHT

Mimi walks back down the hallway and Roger goes back inside and closes his door.


He heads back towards his guitar. Quickly, there is another knock at the door. Roger goes to the door and opens it revealing Mimi, holding her unlit candle.

ROGER

IT BLEW OUT AGAIN?

MIMI

NO - I THINK THAT I DROPPED MY STASH

Mimi looks around the table for her stash.

ROGER

I KNOW I'VE SEEN YOU OUT AND ABOUT/ WHEN I USED TO GO OUT/ YOUR CANDLES OUT

Roger lights Mimi’s candle.

MIMI

I'M ILLIN' - I HAD IT WHEN I WALKED IN THE DOOR/ IT WAS PURE - IS IT ON THE FLOOR?

ROGER

THE FLOOR?

Mimi drops to her knees searching the floor. She looks up at Roger who is staring at her again.

MIMI

THEY SAY THAT I HAVE THE BEST ASS BELOW 14TH STREET/ IS IT TRUE?

ROGER

WHAT?

35.

MIMI

YOU'RE STARING AGAIN BOY

ROGER

ON NO/ I MEAN YOU DO - HAVE A NICE-/ I MEAN - YOU LOOK FAMILIAR

MIMI

LIKE YOUR DEAD GIRLFRIEND?

ROGER

ONLY WHEN YOU SMILE/ BUT I'M SURE I'VE SEEN YOU SOMEWHERE ELSE -

MIMI

DO YOU GO TO THE CAT SCRATCH CLUB/ THAT'S WHERE I WORK - I DANCE - HELP ME LOOK

ROGER

YES!/ THEY USED TO TIE YOU UP -

MIMI

IT'S A LIVING

ROGER

I DIDN'T RECOGNIZE YOU/ WITHOUT THE HANDCUFFS

MIMI

(looking up at Roger)

WE COULD LIGHT THE CANDLE/ OH WON'T YOU LIGHT THE CANDLE?

ROGER

WHY DON'T YOU FORGET THAT STUFF/ YOU LOOK LIKE YOU'RE SIXTEEN

MIMI

I'M NINETEEN - BUT I'M OLD FOR MY AGE/ I'M JUST BORN TO BE BAD

ROGER

I ONCE WAS BORN TO BAD/ I USED TO SHIVER LIKE THAT

MIMI

THERE'S NO HEAT - I TOLD YOU

ROGER

I USED TO SWEAT

36.

MIMI

I GOT A COLD

ROGER

UH-HUH/ I USED TO BE A JUNKIE

MIMI

BUT NOW AND THEN I LIKE TO -

ROGER

UH-HUH

MIMI

FEEL GOOD

Roger notices something on the floor and stoops down to pick up a small plastic baggie containing white powder.

ROGER

Oh here it - um -

MIMI

What’s that?

ROGER

(puts the stash in his back pocket)

Candy bar wrapper.

MIMI

(rising)

WE COULD LIGHT THE CANDLE

Roger quickly blows out the candle.

MIMI

OH, WHAT'D YOU DO WITH MY CANDLE?

ROGER

THAT WAS MY LAST MATCH

MIMI

OUR EYES'LL ADJUST. THANK GOD FOR THE MOON

ROGER

MAYBE IT'S NOT THE MOON AT ALL/ I HEAR SPIKE LEE'S SHOOTING DOWN THE STREET

MIMI

BAH HUMBUG… BAH HUMBUG

37.

(MORE)

Mimi takes hold of Roger's hands.

ROGER

COLD HANDS

MIMI

YOURS TOO/ BIG. LIKE MY FATHER'S/ DO YOU WANNA DANCE?

ROGER

WITH YOU?

MIMI

NO - WITH MY FATHER

ROGER

I'M ROGER

MIMI

THEY CALL ME/ THEY CALL ME MIMI

They dance extremely close to each other. Just as they are about to kiss, Mimi reaches into his back pocket, nabs the stash and makes a sexy exit.

SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN

The CAMERA QUICKLY SCANS from Alphabet City west to 6th Ave. and 12th St. - GREENWICH VILLAGE.

EXT. A FOUR STORY BRICK APARTMENT BUILDING – NIGHT

The upper apartments have terraces adorned with black iron railings. A telephone is heard ringing in one of the apartments.

INT. JOANNE'S APARTMENT - NIGHT

No one is home. It is a very large space. Very nicely furnished. A few pictures of Joanne adorn the walls and shelves. The phone continues to ring and the machine sitting on an antique table in the den area answers. Joanne's college and law school degrees hang above the phone. Her law books fill the bookshelves and African Art handsomely compliments the decor.

JOANNE'S ANSWERING MACHINE

(Maureen's voice gives the announcement)

Hi. You’ve reached Joanne and Maureen’s.

38.JOANNE'S ANSWERING MACHINE(cont'd)

Leave a message and don’t forget, “Over the Moon” - my performance, protesting the eviction of the homeless (and artists) from the 11th Street lot. Tomorrow night at midnight in the lot between A and B. Party at Life Cafe to follow./ (BEEEP!)

A corner of the apartment seems oddly out of place: clothes, shoes, and sneakers are strewn about haphazardly; cardboard file boxes filled with papers falling out onto the floor sit piled up on top of each other.

JOANNE'S FATHER (O.S.)

WELL, JOANNE - WE'RE OFF/ I TRIED YOU AT THE OFFICE/ AND THEY SAID YOU'RE STAGE-MANAGING OR SOMETHING


The CAMERA QUICKLY SCANS from Greenwich Village up to 5th Ave. and 77th St. where an icon of The Guggenheim Museum is pictured.

DISSOLVE TO:

EXT. A THREE STORY BROWNSTONE - NIGHT

INT. HUGE VESTIBULE – CONTINUOUS - NIGHT

An African American man and woman (50's), JOANNE’S MOTHER and JOANNE’S FATHER dressed impeccably, are being helped into their winter coats by their butler. Joanne’s Father is speaking into the phone.

JOANNE'S MOTHER

REMIND HER THAT THOSE UNWED MOTHERS IN HARLEM/ NEED HER LEGAL HELP, TOO

JOANNE'S FATHER

CALL DAISY FOR OUR ITINERARY OR ALFRED AT POUND RIDGE/ OR EILEEN AT THE STATE DEPARTMENT IN A PINCH/ WE'LL BE AT THE SPA FOR NEW YEAR'S/ UNLESS THE SENATOR CHANGES HIS MIND

JOANNE'S MOTHER

THE HEARINGS

39.

JOANNE'S FATHER

OH YES - KITTEN/ MUMMY'S CONFIRMATION HEARINGS BEGIN ON THE TENTH/ WE'LL NEED YOU - ALONE - BY THE SIXTH

JOANNE'S MOTHER

HAROLD!

JOANNE'S FATHER

YOU HEAR THAT?/ IT'S THREE WEEKS AWAY/ AND SHE'S ALREADY NERVOUS

JOANNE'S MOTHER

I AM NOT!

JOANNE'S FATHER

FOR MUMMY'S SAKE, KITTEN/ NO DOC MARTENS THIS TIME, AND WEAR A DRESS…/

INT. JOANNE'S LOFT – THAT MOMENT - NIGHT

CAMERA PUSHES IN on a picture of Joanne at her law school graduation, flanked by her parents.

JOANNE'S FATHER'S VOICE (O.S.)

OH, AND KITTEN - HAVE A MERRY

JOANNE'S MOTHER'S VOICE (O.S.)

AND A BRA!

INT. MARK AND ROGER'S LOFT - NIGHT

The power is still out. Roger is stoking the trash can fire with posters and paper scraps. Mark enters.

ROGER

So, is she taking you back?

MARK

I’ve gotta go help Joanne. I guess she doesn’t know how to work any of the equipment.

ROGER

You have to help the woman who your girlfriend left you for!

MARK

Maureen’s desperate… She begged… and pleaded… and… I know… I’m a sucker.

40.

Suddenly, Collins enters the loft. He is cleaned up and bandaged and carrying firewood.

MARK (cont’D)

Where the hell did you go?

ROGER

What happened to…?

Angel dressed like Santa in drag follows him in with her plastic bucket/drum filled with provisions. Quickly, Mark gets behind his Camera and begins shooting.

16MM POV

Collins and Angel drop their pile of goodies on the table. Collins holds up the key pouch and drops it next to the stuff.

MARK (O.S.)

Enter Tom Collins, computer genius, teacher, and vagabond anarchist who ran naked through the Parthenon.

COLLINS

With provisions and firewood.

BACK TO SCENE

Mark joins the odd couple.

MARK

And Santa Claus.

COLLINS

Hold your applause.

ROGER

Hi.

COLLINS

Just “hi” after seven months? The ghost of Roger finally appears.

ROGER

And where’d you disappear too?

COLLINS

I had a date with a couple of fashion designers.

41.

ANGEL

And a nurse.

COLLINS

(pulling out a bottle from the bucket)

How about some Stoli?

COLLINS, MARK & ROGER

OH HOLY NIGHT

ROGER

YOU STRUCK GOLD AT MIT?

COLLINS

THEY EXPELLED ME FOR MY THEORY OF ACTUAL REALITY/ WHICH I'LL SOON IMPART/ TO THE COUCH POTATOES AT NEW YORK UNIVERSITY/

(to Roger)

STILL HAVEN'T LEFT THE HOUSE?

ROGER

I WAS WAITING FOR YOU DON'T YOU KNOW?

COLLINS

WELL TOMORROW NIGHT’S THE NIGHT/ COME TO THE LIFE CAFE AFTER MAUREEN'S SHOW

ROGER NO FLOW

COLLINS

GENTLEMEN, OUR BENEFACTOR ON THIS CHRISTMAS EVE/ WHOSE CHARITY IS ONLY MATCHED BY TALENT, I BELIEVE/ A NEW MEMBER OF THE ALPHABET CITY AVANT-GARDE/ ANGEL DUMOTT SCHUNARD!

Angel bows.

(NOTE: Deleted part of song - “Today 4U” can easily be added)

COLLINS

(to Angel)

Mark and Roger, the guys I've been tellin' you about.

(to Mark and Roger)

Angel’s performing tonight.

42.

Angel performs a riveting dance and drum exhibition for the boys. She leaps onto the table pirouetting banging her drumsticks all over the place. The performance culminates with a perfect gymnast’s summersault landing back to the floor. The guys are completely impressed.

ANGEL

Today for you, tomorrow for me…

SING IT/ TODAY FOR YOU – TOMORROW FOR ME/ TODAY FOR YOU – TOMORROW FOR ME/ I SAID – TODAY FOR YOU TOMORROW FOR ME/ TODAY FOR YOU – TOMORROW – FOR ME

COLLINS

Flow and drinks on Angel.

Angel pulls out a small wad of twenties and fans it out in front of the boys. She puts her arm over Collins’ shoulders.

ANGEL

On us.

Just then Benny enters.

BENNY

(looking around)

My how you've done wonders with the place.

Benny opens a window and leans out.

COLLINS

(to Angel)

That's Benny, the other guy I've been telling you about.

BENNY

(singing to NYC)

JOY TO THE WORLD - HEY, YOU BUM - YEAH, YOU, MOVE OVER/ GET YOUR ASS OFF THAT RANGE ROVER

Mark walks towards Benny holding his Camera, shooting.

MARK

That attitude toward the homeless is exactly what Maureen is protesting.

43.

16MM POV

Benny tries to get out of the shot but Mark follows him.

MARK (O.S.)

Close-up: Benjamin Coffin the third, our ex-roommate, who married Alison Grey, of the Westport Greys, then bought this building and the lot next door from his father-in-law in hopes of starting a cyber-studio.

BENNY

(now arrogantly into Mark's Camera)

MAUREEN IS PROTESTING/ LOSING HER PERFORMANCE SPACE/ NOT MY ATTITUDE

ROGER

(jumping in front of Benny, to Mark's Camera)

WHAT HAPPENED TO BENNY/ WHAT HAPPENED TO HIS HEART/ AND THE IDEALS HE ONCE PURSUED

BACK TO SCENE

Mark puts his Camera down.

BENNY

ANY OWNER OF THAT LOT NEXT DOOR/ HAS THE RIGHT TO DO WITH IT AS HE PLEASES

COLLINS

(sharing the gibe with Angel)

HAPPY BIRTHDAY, JESUS!

BENNY

THE RENT

MARK

YOU'RE WASTING YOUR TIME

ROGER

WE'RE BROKE

44.

MARK

AND YOU BROKE YOUR WORD - THIS IS ABSURD

BENNY

THERE IS ONE WAY YOU WON'T HAVE TO PAY

ROGER

I KNEW IT!

BENNY

NEXT DOOR, THE HOME OF CYBERARTS, YOU SEE/ AND NOW THAT THE BLOCK IS RE-ZONED/ OUR DREAM CAN BECOME A REALITY/ YOU'LL SEE BOYS/ YOU'LL SEE BOYS/ A STATE-OF-THE-ART, DIGITAL, VIRTUAL INTERACTIVE STUDIO/ I'LL FOREGO YOUR RENT AND ON PAPER GUARANTEE/ THAT YOU CAN STAY HERE FOR FREE/ IF YOU DO ME ONE SMALL FAVOR.

MARK

What?

BENNY

Convince Maureen to cancel her protest.

MARK

Why not just get an injunction or call the cops?

BENNY

I did, and they're on standby/

BUT MY INVESTORS WOULD RATHER/ I HANDLE THIS QUIETLY

ROGER

You can't quietly wipe out an entire tent city then watch "It's a Wonderful Life" on TV!

45.

BENNY

YOU WANT TO PRODUCE FILMS AND WRITE SONGS?/ YOU NEED SOMEWHERE TO DO IT/ IT'S WHAT WE USED TO DREAM ABOUT/ THINK TWICE BEFORE YOU POOH-POOH IT/ YOU'LL SEE BOYS/ YOU'LL SEE BOYS/ YOU'LL SEE - THE BEAUTY OF A STUDIO/ THAT LETS US DO OUR WORK AND GET PAID/ WITH CONDOS ON THE TOP/ WHOSE RENT KEEPS OPEN OUR SHOP/ JUST STOP THE PROTEST/ AND YOU'LL HAVE IT MADE/ YOU'LL SEE - OR YOU'LL PACK/ As soon as Maureen performs the deal’s off.

Benny exits.

ANGEL

That boy could use some Prozac.

ROGER

Or heavy drugs.

MARK

Or group hugs.

COLLINS

Which reminds me, we have a detour to make tonight, anyone who wants to can come along.

ANGEL

Life support's a group for people coping with life; you don't have to stay too long.

MARK

FIRST I'VE GOT A PROTEST TO SAVE

ANGEL

Roger?

ROGER

I'm not much company, you'll find.

MARK

BEHAVE!

ANGEL

He'll catch up later - he's just got other things on his mind/ YOU'LL SEE BOYS

46.

MARK & COLLINS

WE'LL SEE BOYS

ROGER

LET IT BE BOYS

COLLINS

(putting his arm over Angel's shoulder)

I LIKE BOYS

ANGEL

BOYS LIKE ME

ALL

WE'LL SEE

MARK

I’ll try not to be late.

ANGEL

(handing Mark a card)

Here if you can get there, but don't sweat it, there's always next time.

Mark grabs his Camera and exits the loft.

EXT. MARK AND ROGER'S ABANDONED BUILDING - CONTINUOUS - NIGHT

Mark pops out of the building. As he walks through the vacant lot/tent-city he SHOOTS his Camera.

16MM POV

Mark’s lens finds the PUNKS rocking out to a boom box; the “ANARCHIST” PROTESTERS arguing; DRUG DEALERS selling; DRUG ADDICTS smoking; the HOMELESS surviving; and Jonathan writing.

Mark looks up from his camera at Jonathan. He turns towards the performance space of the lot.

Jonathan looks up and catches Mark making his way through the Tent City.

Mark arrives at the performance space where Joanne is setting up for Maureen's protest. He approaches quietly and SHOOTS Joanne without her noticing.

47.

16MM POV

Joanne is reexamining the cable connections for the umpteenth time.

MARK (O.S.

(quietly to his Camera)

That must be Joanne. And so - into the abyss of Maureen’s performance space I go.

JOANNE

"Line in"… I went to Harvard for this…

16MM POV - WHIP PAN TO - CU MARK

MARK


Close on Mark's nosedive.

16MM POV - WHIP PAN BACK TO - JOANNE

JOANNE

"Line out"…

MARK (O.S.)

Will he get out of here alive…?

Joanne notices Mark.

BACK TO SCENE

He quickly puts down his Camera.

JOANNE

Are you Mark?

MARK

Hi.

JOANNE

I TOLD HER NOT TO CALL YOU

MARK

THAT'S MAUREEN/ BUT CAN I HELP SINCE I'M HERE

JOANNE

I'VE HIRED AN ENGINEER…

48.

MARK

Great! Well, nice to have met you…

JOANNE

Wait! She's three hours late/

THE SAMPLES WON'T DELAY/ BUT THE CABLE -

Mark is fidgeting with the P.A. system.

MARK

There's another way… say something – anything.

JOANNE

(into the microphone)

TEST - ONE, TWO, THREE…

MARK

ANYTHING BUT THAT

JOANNE

THIS IS WEIRD

MARK

IT'S WEIRD

JOANNE

VERY WEIRD

MARK

FUCKIN' WEIRD

JOANNE

I'M SO MAD/ THAT I DON'T KNOW WHAT TO DO/ FIGHTING WITH MICROPHONES/ FREEZING DOWN TO MY BONES/ AND TO TOP IT ALL OFF/ I'M WITH YOU

MARK

FEEL LIKE GOING INSANE?/ GOT A FIRE IN YOUR BRAIN?/ AND YOU'RE THINKING OF DRINKING GASOLINE?

JOANNE

AS A MATTER OF FACT -

MARK

HONEY, I KNOW THIS ACT/ IT'S CALLED THE TANGO MAUREEN/

49.

Mark holds out his hand and Joanne takes it. They begin to dance the Tango. The CAMERA DOLLIES around them as they dance creating a whirling routine.

MARK

THE TANGO MAUREEN/ IT'S A DARK, DIZZY/ MERRY-GO-ROUND/ AS SHE KEEPS YOU DANGLING

JOANNE

YOU'RE WRONG

INT. MARK’S BEDROOM – NIGHT

The CAMERA DOLLIES around Mark in bed face up with Maureen’s sensual body riding him in a fervent sexual bout.

MARK (O.S.)

YOUR HEART SHE IS MANGLING

EXT. VACANT LOT TENT CITY – PERFORMANCE SPACE – CONTINUOUS - NIGHT

The CAMERA still DOLLIES around Mark and Joanne’s Tango.

JOANNE

IT'S DIFFERENT WITH ME

MARK

AND YOU TOSS AND YOU TURN/ 'CAUSE HER COLD EYES CAN BURN/

INT. JOANNE’S APARTMENT BEDROOM – NIGHT

The CAMERA DOLLIES around Joanne in bed writhing in ecstasy with Maureen’s naked body going down on her.

MARK (O.S.)

YET YOU YEARN AND YOU CHURN AND REBOUND

EXT. VACANT LOT TENT CITY – PERFORMANCE SPACE – CONTINUOUS - NIGHT

The CAMERA continues its DOLLY around Mark and Joanne’s Tango.

JOANNE

I THINK I KNOW WHAT YOU MEAN

MARK & JOANNE

THE TANGO MAUREEN

50.

MARK

HAS SHE EVER/ POUTED HER LIPS/

The CAMERA DOLLIES and comes around to discover EXTREME CU of Maureen’s lips mouthing the word “pookie” into Mark’s ear as they dance.

MARK

AND CALLED YOU “POOKIE”?

The CAMERA DOLLIES and catches Joanne looking incredulously at Mark.

JOANNE

NEVER

The CAMERA DOLLIES to find Joanne and Maureen dancing embraced in a kiss. As they twirl Joanne’s eyes are fixed on Maureen.

MARK (O.S.)

HAVE YOU EVER DOUBTED A KISS OR TWO?

The CAMERA DOLLIES and Joanne clutches onto Mark desperately, pressing her cheek tightly against his.

JOANNE

THIS IS SPOOKY

(NOTE: the deleted part of this song can easily be added)

Mark and Joanne continue their Tango.

MARK

Where’d you learn to tango?

JOANNE

With the French Ambassador’s daughter in her dorm room at Miss Porter’s. And you?

MARK

With Nanette Himmelfarb, the rabbi’s daughter, at the Scarsdale Jewish Community Center.

They switch and Joanne leads.

MARK (cont’D)

It's hard doing it backwards.

51.

JOANNE

You should try it in heals.

MARK & JOANNE

WHEN YOU’RE DANCING HER DANCE/ YOU DON’T STAND A CHANCE/ HER GRIP OF ROMANCE/ MAKES YOU FALL

MARK

SO YOU THINK, “MIGHT AS WELL”

JOANNE

“DANCE A TANGO TO HELL”

MARK & JOANNE

“AT LEAST I’LL HAVE TANGOED AT ALL”/ THE TANGO MAUREEN/ GOTTA DANCE ‘TIL YOUR DIVA IS THROUGH/ YOU PRETEND TO BELIEVE HER/ ‘CAUSE IN THE END - YOU CAN’T LEAVE HER/ BUT THE END IT WILL COME/ STILL YOU HAVE TO PLAY DUMB/ ‘TIL YOU’RE GLUM AND YOU BUM/ AND TURN BLUE

MARK

WHY DO WE LOVE WHEN SHE’S MEAN?

JOANNE

AND SHE CAN BE SO OBSCENE

Mark and Maureen go back to the sound mixer board.

MARK

Try the mike.

JOANNE

(into microphone; with reverb)

My Maureen- een- een- een.

MARK

Patched.

JOANNE

Thanks.

MARK

You know - I feel great now!

JOANNE

I feel lousy.

Just then the payphone rings. Joanne quickly answers it.

52.

JOANNE

Hi, honey, we’re…/ Pookie?/ You never called me Pookie/ Forget it/ we’re patched

Joanne hangs up the phone and stares at Mark.

MARK & JOANNE

THE TANGO MAUREEN!

MARK

(looking at his watch)

I gotta go.

Mark grabs his Camera and runs out of the performance space.

Jonathan looks up from his notebook and sees Mark running out of the lot down the street. Just then Matthew pulls at Jonathan’s arm.

MATTHEW

Let’s go.

Jonathan and Matthew hurry past the lot/tent city.

EXT. SMALL FOUR-STORY WALK-UP - NIGHT

Matthew rushes inside the building and Jonathan pauses for a moment and follows him.

INT. NARROW LONG STAIRWAY - NIGHT

Jonathan slowly climbs the stairs as Matthew bounds up in front of him.

An acoustic guitar is being played from the room at the top of the stairs.

INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT

Angel and Collins are seated among the other group members, who are arranged around the room in a semi-circle. One of them is playing an acoustic guitar. Each member of the group introduces themselves as the guitar continues in background.

STEVE

Steve.

GORDON

Gordon.

OWEN

Owen.

53.

PAM

Pam.

SUE

Sue.

ANGEL

Hi, I'm Angel.

COLLINS

Tom… Collins.

PAUL

I'm Paul. Let's begin.

INT. STAIRWAY - CONTINUOUS - NIGHT

The door closes behind Matthew as Jonathan arrives at the top of the stairs. He hears singing from inside.

ALL (O.S.)

THERE'S ONLY US/ THERE'S ONLY THIS…

Jonathan opens the door.

INT. SUPPORT GROUP MEETING ROOM - THAT MOMENT - NIGHT

The door opens and MARK bursts in.

MARK

(quickly putting his Camera behind his back)

SORRY… EXCUSE ME… OOPS

PAUL

And you are?

MARK

OH - I'M NOT -/ I'M JUST HERE TO -/ I DON'T HAVE -/ I'M HERE WITH -/ MARK/ MARK - I'M MARK/ WELL - THIS IS QUITE AN OPERATION

PAUL

Sit down Mark/ We’ll continue the affirmation.

ALL

FORGET REGRET, OR LIFE IS YOURS TO MISS

54.

GORDON

EXCUSE ME PAUL - I'M HAVING A PROBLEM WITH THIS/ THIS CREDO -/ MY T-CELLS ARE LOW -/ I REGRET THAT NEWS, OKAY?

PAUL

ALL RIGHT/ BUT GORDON - HOW DO YOU FEEL TODAY?

GORDON

WHAT DO YOU MEAN?

PAUL

HOW DO YOU FEEL TODAY?

GORDON

OKAY

PAUL

IS THAT ALL?

GORDON

BEST I'VE FELT ALL YEAR

PAUL

THEN WHY CHOOSE FEAR?

GORDON

I'M A NEW YORKER!/ FEAR'S MY LIFE!/ LOOK - I FIND SOME OF WHAT YOU TEACH SUSPECT/ BECAUSE I'M USED TO RELYING ON INTELLECT/ BUT I TRY TO OPEN UP TO WHAT I DON'T KNOW


Roger sings out the window.

ROGER & (GORDON O.S.)

BECAUSE REASON SAYS I SHOULD HAVE DIED THREE YEARS AGO


SUPPORT GROUP & (ROGER O.S.)

NO OTHER ROAD/ NO OTHER WAY/ NO DAY BUT TODAY

INT. JONATHAN'S APARTMENT - A FEAST - NIGHT

55.

A fairly large space that serves as both living room and dining room is set up with two long tables. Twenty people are eating and drinking, laughing and telling stories. A Christmas tree and a Minora adorn the setting.

Jonathan and Matthew, with a couple of new friends in tow, enter. The whole room cheers. "We can finally slice the turkey." Introductions and hugs and handshakes pass around the room. Jonathan's girlfriend, SARAH, (30's), runs up to him, puts her arms around his neck and kisses him.

SARAH

(quietly)

How was it?

JONATHAN

It was good.

SARAH

Come get some food.

TIME CUT TO:

EXT. JONATHAN'S APARTMENT BUILDING ROOFTOP - LATER THAT NIGHT

Jonathan sits in a chair with Sarah keeping warm on his lap. Matthew and six of the remaining guests, sit outside on an assortment of chairs. They are having drinks and conversation. The New York Skyline lights the scene.

JONATHAN

It's what they're not doing. That's what I'm talking about.

MATTHEW

That’s what you’re always talking about.

SARAH

Gotlieb even said that the epidemic numbers could have been prevented…

ANOTHER FRIEND

If Reagan and Bush had responded appropriately.

JONATHAN

But he compared it to Vietnam and lost every reader.

SARAH

Why do you say he lost every reader?

56.

JONATHAN

He said, "like in Vietnam, we didn't fight to win." So, he loses liberals, because we think we shouldn't have been fighting in Vietnam at all, win or lose. And he loses conservatives, because he compares a disease that kills homosexuals, drug addicts, and minorities with a,

(gesticulating quotation marks in the air)

"War for Freedom." I mean, come on, they try to turn condoms into a four letter word…

MATTHEW

You know what? Your bringin' me down. This is a party remember?

JONATHAN

It's not a party it’s a feast. A "Peasants Feast."

Just then, a young man and woman land on the roof from the building next door. One of the guests that Jonathan and Matthew brought jumps to his feet. Everyone else hardly reacts.

GUEST

What the hell?

He runs over to the edge of the roof.

A makeshift plank bridge joins Jonathan's roof with the adjacent building's roof.

GUEST (cont’d)

(leaning over the edge; talking back to the group)

Is that safe?

MATTHEW

Relatively.

(to new arrivals)

Playing Batman and Batgirl?

NEW ARRIVAL GIRL

Just joining the festivities. What's up?

57.

MATTHEW

Jonathan's pontificating.

NEW ARRIVAL GUY

Then we're absconding.

SARAH

No wait. Let's all go dancing.

Everyone responds in agreement.

SARAH

(to Jonathan)

What do you think, just relax tonight, no writing? And no thinking about it either.

JONATHAN

Let’s do it.


The CAMERA QUICKLY SCANS from Alphabet City south to THE BOWERY.

EXT. NIGHTCLUB - WAITING LINE - NIGHT

Jonathan, Sarah, Matthew, and the rest of the group, join a line of people waiting in the cold, at a very "hot new club."

SARAH

I can't believe all these people are out on Christmas Eve.

JONATHAN

Everyone's home for the holidays.

FRIEND

With their families.

ANOTHER FRIEND

And this is their escape.

MATTHEW

From their families.

A group of hipsters walk right up to the front of the line and the doorman, lifts up the velvet rope, and allows them all in immediately.

JONATHAN

God, I hate that.

58.

SARAH

You wouldn’t hate it if you didn’t have to freeze your ass off in line.

JONATHAN

Yes I would.

MATTHEW

Right… and that time Disco Boy got us into The Saint.

JONATHAN

Well, I didn’t think it was fair.

SARAH

But you didn’t do anything about it.

Jonathan looks back towards the club entrance. Sarah kisses him on the cheek.

SARAH

It’s okay babe, you’ll write about it.

JONATHAN’S POV

Jonathan sees Mimi glide up to the doorman and plant a kiss on him. He lets her in straight away and she descends down the stairs of the subterranean nightspot.

BACK TO SCENE

Jonathan continues to gaze at the entrance.

INT. CLUB - CONTINUOUS - NIGHT

Mimi is walking down the long staircase that plunges right onto the main area of the huge space packed with at least one thousand people, dancing. The club is designed like a huge industrial basement. Uncovered large pipes are visible, and catwalks with metal pole banisters and metal grated floors rise up directly from the dance floor connecting different bar areas that are situated above the enormous dance floor.

Mimi dances with anyone and everyone. Before she knows it she is dancing erotically face to face with some stranger. She takes a swig of his drink.

59.

Jonathan and the rest of the group are finally in. When they hit the floor they all immediately begin dancing except Jonathan. He is looking for Mimi. He spots her.

Mimi is now making out with the stranger. Her eyes are closed as she sways to the music still locked in the kiss. She opens her eyes and pushes away from her momentary fling, wiping her mouth.

Mimi runs up to one of the catwalks. She is wasted.

Jonathan continues to watch her.

She is in her own world now. Her eyes close as her head rolls back in a heroin induced rush of ecstasy. The CLUB MUSIC FADES to a hallucinogenic mixture of sounds. She opens her eyes, looks around her surroundings and smiles.

MIMI

WHAT'S THE TIME?/ WELL IT'S GOTTA BE CLOSE TO MIDNIGHT/ MY BODY'S TALKING TO ME/ IT SAYS, "TIME FOR DANGER"/ IT SAYS, "I WANNA COMMIT A CRIME/ WANNA BE THE CAUSE OF A FIGHT/ I WANNA PUT ON A TIGHT SKIRT AND FLIRT WITH A STRANGER"/ I'VE HAD A KNACK FROM WAY BACK/ AT BREAKING THE RULES ONCE I LEARN THE GAMES/ GET UP - LIFE’S TOO QUICK/ I KNOW SOMEPLACE SICK/ WHERE THIS CHICK'LL DANCE IN THE FLAMES/ WE DON'T NEED ANY MONEY/ I ALWAYS GET IN FOR FREE/ YOU CAN GET IN TOO/ IF YOU GET IN WITH ME/ LET'S GO OUT TONIGHT/ I HAVE TO GO OUT TONIGHT/ YOU WANNA PLAY?/ LET'S RUN AWAY/ WE WON'T BE BACK/ BEFORE IT'S CHRISTMAS DAY/ TAKE ME OUT TONIGHT (MEOW)/ WHEN I GET A WINK FROM THE DOORMAN/ DO YOU KNOW HOW LUCKY YOU'LL BE?/ THAT YOU'RE ON LINE WITH THE FELINE OF AVENUE B/ LET'S GO OUT TONIGHT/ I HAVE TO GO OUT TONIGHT/ YOU WANNA PROWL/ BE MY NIGHT OWL?/ WELL TAKE MY HAND WE'RE GONNA HOWL/ OUT TONIGHT/

Mimi lapses back into her heroin induced haze. The CLUB MUSIC RISES as Mimi gawks at the dancing throng. Her head rolls back again as the CLUB MUSIC FADES BACK OUT. She opens her eyes and looks out forlornly.

60.

MIMI (cont’d)

IN THE EVENING I'VE GOT TO ROAM/ CAN'T SLEEP IN THE CITY OF NEON AND CHROME/ FEELS TOO DAMN MUCH LIKE HOME/ WHEN THE SPANISH BABIES CRY/ SO LET'S FIND A BAR

She slowly begins to regain her energy.

MIMI (cont’d)

SO DARK WE FORGET WHO WE ARE/ AND ALL THE SCARS OF THE/

(tapping the veins of her forearm)

NEVERS AND MAYBES DIE/ LET'S GO OUT TONIGHT/ I HAVE TO GO OUT TONIGHT/ YOU'RE SWEET/ WANNA HIT THE STREET?/ WANNA WAIL AT THE MOON LIKE A CAT IN HEAT?/ JUST TAKE ME OUT TONIGHT

The CLUB MUSIC CRESCENDOS back to full volume. Mimi looks as if she might pass out on the catwalk. No one seems to notice except--

WHIP PAN TO

Jonathan watching Mimi.

WHIP PAN TO

Mimi shaking her head trying to stay focused in reality. She tries to get out of the Club as fast as possible. As she moves through the mass of people some guys are pawing at her. They shout: "Come on Mimi" "Come with me Mimi." She finally makes it too the staircase, and she's up and out.

Jonathan stares up the staircase.

Just then, Sarah pulls him into the group and they all dance joyously to the music. Jonathan eyes the staircase as he bounces up and down. Sarah kisses him.

EXT. MARK AND ROGER'S ABANDONED BUILDING – LATER THAT NIGHT

Mimi arrives at her building. She holds onto it for a moment and then goes inside.

INT. MARK AND ROGER'S ABANDONED BUILDING - CONTINUOUS - NIGHT

Mimi, intoxicated, makes her way up the very dark stairway, which is lit only by a few candles set out in dishes.

61.

She arrives at Mark and Roger's loft. The door is open and she walks in.


Roger is alone, sitting at the table with his guitar.

MIMI

(softly; walking to Roger)

PLEASE TAKE ME OUT TONIGHT/ DON'T FORSAKE ME - OUT TONIGHT/

Mimi pulls out a small baggie of heroin and waves it at Roger.

MIMI

Roger rises to face Mimi. He notices her condition. She kisses him passionately. He recoils.

ROGER

WHO DO YOU THINK YOU ARE?/ BARGING IN ON ME AND MY GUITAR/ LITTLE GIRL - HEY/ THE DOOR IS THAT WAY/ YOU BETTER GO, YOU KNOW THE FIRE'S OUT ANYWAY/ TAKE YOUR POWDER - TAKE YOUR CANDLE/ YOUR SWEET WHISPER/ I JUST CAN'T HANDLE/ WELL TAKE YOUR HAIR IN THE MOONLIGHT/ YOUR BROWN EYES - GOODBYE, GOODNIGHT/

Mimi turns to leave.

ROGER (cont’d)

I SHOULD TELL YOU, I SHOULD TELL YOU/ I SHOULD TELL YOU, I SHOULD -

Mimi turns back to listen to Roger.

ROGER (cont’d)

NO!/ ANOTHER TIME - ANOTHER PLACE/ OUR TEMPERATURE WOULD CLIMB/ THERE'D BE A LONG EMBRACE/ WE'D DO ANOTHER DANCE/ IT'D BE ANOTHER PLAY/ LOOKING FOR ROMANCE?/ COME BACK ANOTHER DAY/ ANOTHER DAY

Roger turns away from Mimi and walks to the window.

62.

MIMI

THE HEART MAY FREEZE OR IT CAN BURN/ THE PAIN WILL EASE IF I CAN LEARN/ THERE IS NO FUTURE/ THERE IS NO PAST/ I LIVE THIS MOMENT/ AS MY LAST/ THERE'S ONLY US/ THERE'S ONLY THIS/ FORGET REGRET/ OR LIFE IS YOURS TO MISS/ NO OTHER ROAD/ NO OTHER WAY/ NO DAY BUT TODAY

Roger angrily turns back to Mimi.

ROGER

EXCUSE ME IF I'M OFF TRACK/ BUT IF YOU'RE SO WISE/ THEN TELL ME - WHY DO YOU NEED SMACK?/ TAKE YOUR NEEDLE/ TAKE YOUR FANCY PRAYER/ DON'T FORGET/ GET THE MOONLIGHT OUT OF YOUR HAIR/ LONG AGO - YOU MIGHT'VE LIT UP MY HEART/ BUT THE FIRE'S DEAD - AIN'T NEVER EVER GONNA START/ ANOTHER - TIME - ANOTHER PLACE/ THE WORDS WOULD ONLY RHYME/ WE'D BE IN OUTER SPACE/ IT'D BE ANOTHER SONG/ WE'D SING ANOTHER WAY/ YOU WANNA PROVE ME WRONG?/ COME BACK ANOTHER DAY/ ANOTHER DAY

MIMI

THERE'S ONLY YES/ ONLY TONIGHT/ WE MUST LET GO/ TO KNOW WHAT'S RIGHT/ NO OTHER COURSE/ NO OTHER WAY/ NO DAY BUT TODAY


The group, including Mark, Collins, and Angel are finishing the meeting singing, holding hands in a circle.

SUPPORT GROUP & (MIMI O.S.)

I CAN'T CONTROL


ROGER

(to himself)

CONTROL YOUR TEMPER

MIMI & (SUPPORT GROUP O.S.)

MY DESTINY

ROGER

SHE DOESN’T SEE

63.



I TRUST MY SOUL


ROGER

WHO SAYS THAT THERE'S A SOUL?


MY ONLY GOAL IS JUST - TO BE

ROGER

JUST LET ME BE

INT. SUPPORT GROUP MEETING ROOM - CONTINUOS - NIGHT


THERE'S ONLY NOW/ THERE'S ONLY HERE

ROGER (O.S.)

WHO DO YOU THINK YOU ARE?



GIVE IN TO LOVE OR LIVE IN FEAR

ROGER

BARGING IN ON ME AND MY GUITAR

MIMI & (SUPPORT GROUP O.S.) (cont’d)

NO OTHER PATH



NO OTHER WAY

ROGER (O.S.)

LITTLE GIRL, HEY THE DOOR IS THAT WAY/


MIMI

NO DAY BUT TODAY

ROGER

THE FIRE'S OUT ANYWAY

64.


NO DAY BUT TODAY

ROGER

TAKE YOUR POWDER/ TAKE YOUR CANDLE



NO DAY BUT TODAY


ROGER

TAKE YOUR BROWN EYES/ YOUR PRETTY SMILE/ YOUR SILHOUETTE



NO DAY BUT TODAY


ROGER

ANOTHER TIME, ANOTHER PLACE, ANOTHER RHYME, A WARM EMBRACE


NO DAY BUT TODAY

ROGER

ANOTHER DANCE, ANOTHER WAY, ANOTHER CHANCE, ANOTHER DAY



NO DAY BUT TODAY

INT. APARTMENT - AFTERNOON

The remnants of the "Peasant’s Feast" the night before remain. Jonathan is face down sleeping on the couch. The sun hitting the side of his face wakes him up. He looks towards the brightness of the windows and suddenly jumps to his feet.

JONATHAN

Oh shit!

65.


The CAMERA QUICKLY SCANS from Alphabet City just west to THE EAST VILLAGE.

EXT. NYC STREETS - AFTERNOON

Jonathan is wailing down the sidewalk on his very old beat-up bicycle. There is a large metal basket attached to the front of his bike. He is still hung over.

He arrives at, what looks to be an ordinary commercial building in the Lower East Side. He quickly hops off his bike, locks it, and darts into the building.

The sign above the door reads: PROJECT ANGEL FOOD

INT. BUILDING - CONTINUOUS - THAT MOMENT - AFTERNOON

Inside the building is a huge kitchen. About twenty people are busy: putting meals into plastic bags; checking off items from lists; grabbing cans of nutritional drinks and throwing them in the bags; etc. Jonathan bursts in.

WHIP PAN TO -

A man going over paperwork standing behind a counter.

He looks up at Jonathan who is signing in and grabbing some empty plastic bags and a marker.

MAN BEHIND COUNTER

(without looking up)

Runnin' late, huh?

JONATHAN

Sorry, I…

MAN BEHIND COUNTER

It's okay. Shit happens.

(pointing to the group putting the bags together)

They've got your stuff. Merry Christmas.

JONATHAN

(gathering the bags)

Thanks guys.

Jonathan runs out the door carrying about seven filled plastic bags.

66.


The CAMERA QUICKLY SCANS from The East Village west to Christopher St.: THE WEST VILLAGE.

EXT. STREETS - AFTERNOON

Jonathan is riding his bike down the sidewalk. He has only one plastic bag left in his basket. He quickly hops off his bike, locks it, grabs the remaining bag, and tears up the stairs of a fairly rundown building.

INT. SIX FLOOR WALK-UP APARTMENT BUILDING - CONTINUOUS - AFTERNOON

Jonathan reaches the second floor and knocks on an apartment door. There is no answer so he knocks again, a little louder. Finally, the door opens up to reveal a very frail, young Latin man.

LATIN MAN

You're late.

JONATHAN

I'm sorry, you're the last one on my list.

LATIN MAN

You smell of liquor.

JONATHAN

I had a late one last night. We all went out to--

LATIN MAN

(taking the bag from Jonathan)

--That's great, but I'm hungry. Thanks.

He closes the door in Jonathan's face.

EXT. SIX FLOOR WALK-UP APARTMENT BUILDING - CONTINUOUS - AFTERNOON

Jonathan comes outside and unlocks his bike. He is about to ride away when he hears the Latin Man come outside onto the fire escape with his bag lunch. Jonathan looks up at him. The young man leans over the metal banister holding his sandwich and stares directly at Jonathan.

67.

LATIN MAN

(to Jonathan)

WILL I LOSE MY DIGNITY/ WILL SOMEONE CARE/ WILL I WAKE TOMORROW/ FROM THIS NIGHTMARE?

Jonathan turns to see other frail men singing from their windows and fire escapes. He begins walking his bicycle down the street listening as more weakened men file out onto their stoops singing their queries. Some of the passersby notice the singers and just continue on their busy way; and others notice and stop to listen, while still others don't seem to notice either the people singing or their rising voices asking the questions. The song progresses and crescendos like Ravel's Bolero.


The CAMERA QUICKLY SCANS from Christopher St. north to 115th St. and 2nd Ave.: SPANISH HARLEM.

EXT. 115TH ST. - DAY

An ELDERLY LATIN MAN, wearing a billowy winter coat stops and listens to a withered LATIN WOMAN, holding her baby as she slowly walks past him singing her invocation.

LATIN WOMAN



The CAMERA QUICKLY SCANS from Spanish Harlem south to 54th St. and Lexington Ave.: MID-TOWN

EXT. 54TH ST. - DAY

A YOUNG MAN wearing a tie and overcoat walks quickly by a withered a YOUNG FRAIL MAN. His loose scarf dangles around his neck as he turns to look at the enervated man slumped against a towering steel and glass skyscraper singing his supplication. The youthful businessman continues on his way shaking his head.

YOUNG FRAIL MAN


68.

The CAMERA SOARS to the “tent-city” outside Mark and Roger’s abandoned building. The CAMERA PUSHES IN SUPER QUICK and HOLDS on the FACES of the occupants singing their challenge.

OCCUPANTS OF THE TENT CITY


The CAMERA PUSHES IN on Roger singing out one of his windows.

ROGER

WILL I LOSE MY DIGNITY/ WILL SOMEONE CARE…

The CAMERA PUSHES IN on Mimi singing out one of her windows.

MIMI

WILL I WAKE TOMORROW/ FROM THIS NIGHTMARE?

The CAMERA finds Mark filming Collins and Angel as they sing their uncertainty together.

COLLINS & ANGEL


As the VOICES of people with AIDS rise up, some of the people in the streets who do hear their song, stop and raise up their fists in response to the questions being asked. The indifferent flow files past them.

PEOPLE WITH AIDS


CAMERA PUSHES IN on Jonathan, with his eyes closed, standing in the middle of the sidewalk, arm raised, fist in the air, his bicycle beside him. He opens his eyes and sees people gazing out their windows, smoking on the fire escapes, and sweeping their stoops.

New Yorkers file past him on the street looking at him as though he were crazy.

He looks up at his fist raised to the heavens. He slowly brings down his arm.

Jonathan sees the young Latin Man on his fire escape looking at him as he finishes his sandwich.

69.

The man raises his face to the sun absorbing its rays. He then climbs back inside his apartment and Jonathan gets on his bike and rides off.

EXT. THE VACANT LOT/TENT CITY OUTSIDE MARK AND ROGER'S ABANDONED BUILDING - DAY

A group of homeless people keeps warm by a trashcan fire.

HOMELESS

CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE RINGING-/ OUT OF TOWN/ SANTA FE

A SQUEEGEE-MAN tries to apply his trade to the cars that stop at a traffic light. He quickly sprays the windshield of his newest customer. He frenetically tries to wipe the glass with his squeegee.

SQUEEGEE-MAN

Honest living, man! Honest…

The car drives away just as he starts to squeegee, almost taking off his arm.

SQUEEGEE-MAN

Feliz Navidad.

Three police officers show up on the scene. One of them pokes the Squeegee-man with his nightstick.

OFFICER

Don't harass the cars.

SQUEEGEE-MAN

Man, how can you harass a car?

The policeman raises his stick and the Squeegee-man takes off running. The rest of the officers laugh. They continue through the lot. A woman, wrapped in a blanket, is sleeping on a bench. All three officers poke her with their sticks to wake her up. She gets up groggily, and looks at the three policemen. She is scared and angry. A couple of the homeless men from the tent-city come over.

HOMELESS MAN

Evening officers.

ANOTHER HOMELESS MAN

She's just restin'.

The police turn their sites on the men. Mark, Collins and Angel show up. Mark aims his Camera.

70.

MARK

Smile for Ted Koppel, Officer Martin.

16MM POV

Mark ZOOMS IN right on Officer Martin's name tag and badge.

BACK TO SCENE

HOMELESS MAN

AND A MERRY CHRISTMAS TO YOUR FAMILIES

OFFICER MARTIN

Right.

The officers walk off talking to each other and looking back over their shoulders.

Mark continues to film the Blanket Person.

16MM POV

BLANKET PERSON

(right into Mark's Camera)

WHO THE FUCK DO YOU THINK YOU ARE?/

BACK TO SCENE

BLANKET PERSON

(to Mark as he puts down his Camera)

I DON'T NEED NO GODDAMN HELP/ FROM SOME BLEEDING HEART CAMERAMAN/ MY LIFE'S NOT FOR YOU TO/ MAKE A NAME FOR YOURSELF ON!

ANGEL

EASY SUGAR, EASY/ HE WAS JUST TRYING TO-

BLANKET PERSON

LET'S GO - THIS LOT IS FULL OF/ MOTHERFUCKING ARTISTS/

(to Mark)

HEY ARTIST/ YOU GOT A DOLLAR?

(Mark shakes his head)

I THOUGHT NOT

71.

The Blanket Person and another Homeless person walk off. Mark, Collins and Angel leave the lot.

ANGEL

NEW YORK CITY -

MARK

UH-HUH

ANGEL

CENTER OF THE UNIVERSE

COLLINS

SING IT GIRL -

ANGEL

TIMES ARE SHITTY/ BUT I'M PRETTY SURE THEY CAN'T GET WORSE

MARK

I HEAR YOU

ANGEL (cont’d)

IT'S A COMFORT TO KNOW/ WHEN YOU'RE SINGING THE HIT-THE-ROAD BLUES/ THAT ANYWHERE ELSE YOU COULD POSSIBLY GO/ AFTER NEW YORK WOULD BE A PLEASURE CRUISE

They stop at the edge of the lot, right by Mark and Roger's abandoned building. Some of the people in the lot pay attention to them and actually gather to listen, while still others don't seem to even notice their presence.

COLLINS

NOW YOU'RE TALKING/ WELL, I'M THWARTED BY A METAPHYSIC PUZZLE/ AND I'M SICK OF GRADING PAPERS - THAT I KNOW/ I'M SHOUTING IN MY SLEEP, I NEED A MUZZLE/ ALL THIS MISERY PAYS NO SALARY, SO/ LET'S OPEN UP A RESTAURANT/ IN SANTA FE/ SUNNY SANTA FE WOULD BE NICE/ LET'S OPEN UP A RESTAURANT IN SANTA FE/ AND LEAVE THIS TO THE ROACHES AND MICE/ OH - OH

SOME OF THE LOT PEOPLE - MARK, COLLINS & ANGEL

OH -

ANGEL

YOU TEACH?

72.

COLLINS

I TEACH - COMPUTER-AGE PHILOSOPHY/ BUT MY STUDENTS WOULD RATHER WATCH TV

ANGEL

AMERICA

SOME OF THE LOT PEOPLE - MARK & COLLINS

AMERICA

INT. RESTAURANT - KITCHEN - FANTASY - DAY

Collins is walking Mark through the kitchen of "his southwestern style restaurant" cradling some menus in his arm, singing. (HIS ACTIONS FOLLOW THE LYRICS) The kitchen staff is busy at work. Collins walks towards the dining room. He picks up a little sauce brush, and brushes some steaks with sauce. Mark inhales the fragrance of fine dining.

INT. RESTAURANT - DINING ROOM - FANTASY - DAY

Walking into the dining room Collins delivers menus to a table. Mark smiles to Angel playing an American Indian drum in the corner. Collins seats guests and points to the wine list.

COLLINS

YOU'RE A SENSITIVE AESTHETE/ BRUSH THE SAUCE ONTO THE MEAT/ YOU COULD MAKE THE MENU SPARKLE WITH RHYME/ YOU COULD DRUM A GENTLE DRUM/ AND I COULD SEAT GUESTS AS THEY COME/ CHATTING NOT ABOUT HEIDEGGER, BUT WINE!/

(spreading out his arms)

LET'S OPEN UP A RESTAURANT IN SANTA FE

Mark sits a table.

CUSTOMERS, MARK & ANGEL

SANTA FE

COLLINS

OUR LABORS WOULD REAP FINANCIAL GAINS


GAINS, GAINS, GAINS

73.

COLLINS

WE'LL OPEN UP A RESTAURANT IN SANTA FE


SANTA FE

COLLINS

AND SAVE FROM DEVASTATION OUR BRAINS

CUSTOMERS

SAVE OUR BRAINS

EXT. JUST OUTSIDE THE VACANT LOT/TENT CITY - DAY

COLLINS, MARK, ANGEL & SOME OF THE LOT PEOPLE

WE'LL PACK UP ALL OUR JUNK AND FLY SO FAR AWAY/ DEVOTE OURSELVES TO PROJECTS THAT SELL/ WE'LL OPEN UP A RESTAURANT IN SANTA FE

COLLINS

FORGET THIS COLD BOHEMIAN HELL/ OH -

SOME OF THE LOT PEOPLE, COLLINS, MARK & ANGEL

OH -

COLLINS

DO YOU KNOW THE WAY TO SANTA FE?/ YOU KNOW, TUMBLEWEEDS… PRAIRIE DOGS…/ YEAH

Collins high-fives Angel and Mark.

MARK

I'll meet you guys at the show tonight.

Mark leaves his friends and enters his building.

Angel and Collins walk down the street together.

ANGEL

I've been hearing violins all last night and today.

COLLINS

Anything to do with me? Are we a thing?

74.

ANGEL

Darling - we're everything.

LIVE IN MY HOUSE/ I'LL BE YOUR SHELTER/ JUST PAY ME BACK/ WITH ONE THOUSAND KISSES/ BE MY LOVER - AND I'LL COVER YOU

COLLINS

OPEN YOUR DOOR/ I'LL BE YOUR TENANT/ DON'T GOT MUCH BAGGAGE/ TO LAY AT YOUR FEET/ BUT SWEET KISSES I'VE GOT TO SPARE/ I'LL BE THERE - AND I'LL COVER YOU

COLLINS & ANGEL

I THINK THEY MEANT IT/ WHEN THEY SAID YOU CAN'T BUY LOVE/ NOW I KNOW YOU CAN RENT IT/ A NEW LEASE YOU ARE, MY LOVE/ ON LIFE - BE MY LIFE

They begin to dance together.

COLLINS & ANGEL (cont’d)

JUST SLIP ME ON/ I'LL BE YOUR BLANKET/ WHEREVER - WHATEVER -I'LL BE YOUR COAT

ANGEL

YOU'LL BE MY KING/ AND I'LL BE YOUR CASTLE

COLLINS

NO, YOU'LL BE MY QUEEN/ AND I'LL BE YOUR MOAT

COLLINS & ANGEL

I THINK THEY MEANT IT/ WHEN THEY SAID YOU CAN'T BUY LOVE/ NOW I KNOW YOU CAN RENT IT/ A NEW LEASE YOU ARE, MY LOVE/ ON LIFE/ ALL MY LIFE/ I'VE LONGED TO DISCOVER/ SOMETHING AS TRUE AS THIS IS

COLLINS

SO/ WITH A THOUSAND SWEET KISSES

ANGEL

IF YOU'RE COLD AND YOU'RE LONELY

COLLINS

I'LL COVER YOU/ WITH A THOUSAND SWEET KISSES

75.

ANGEL

YOU'VE GOT ONE NICKEL ONLY

COLLINS

I'LL COVER YOU

ANGEL

WITH A THOUSAND SWEET KISSES

COLLINS

WHEN YOU'RE WORN OUT AND TIRED

ANGEL

I'LL COVER YOU/ WITH A THOUSAND KISSES

COLLINS

WHEN YOU HEART HAS EXPIRED

ANGEL

I'LL COVER YOU

COLLINS & ANGEL

OH LOVER I'LL COVER YOU/ OH LOVER I'LL COVER YOU

Collins and Angel share a passionate kiss.

ANGEL

Come with me to St. Marks Place.

COLLINS

I'm with you Angel.

They walk off.


The CAMERA QUICKLY SCANS from Alphabet City just west and south to 7th St. between 2nd and 3rd Ave.: ST. MARKS PLACE.

EXT. ST. MARKS PLACE - CHRISTMAS - AFTERNOON

Jonathan pulls up on his bike.

He enters the open-air bazaar of people, color, music, noise and movement. Jonathan smiles.

As he makes his way through the crowd a bleach blond girl shoves a flier into his chest, barking out, “Protest at Eleventh St. Lot tonight… Protest at Eleventh St. Lot!”

76.

INSERT –

The paper reads: PROTEST TONIGHT - MID-NIGHT – THE LOT AT 11TH ST. AND AVE. B.

BACK TO SCENE

Jonathan jumps up on a bench to take in the spectacle of St. Marks Place.

JONATHAN

(sotto voce)

Scenes de la vie de Boheme. It is La Boheme.

Jonathan turns to see FIVE HOMELESS PEOPLE singing in front of a hat scattered with a few coins.

FIVE HOMELESS PEOPLE

CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE SINGING/

(one of them peers into the hat)

ON TV - AT SAKS

The SQUEEGEE-MAN is applying his trade to a windshield.

SQUEEGEE-MAN

HONEST LIVING, HONEST LIVING/ HONEST LIVING, HONEST LIVING/ HONEST LIVING, HONEST LIVING

The Five Homeless People are imploring a passerby.

FIVE HOMELESS PEOPLE

CAN'T YOU SPARE A DIME OR TWO/ HERE BUT FOR THE GRACE OF GOD GO YOU/ YOU'LL BE MERRY/ I'LL BE MERRY/ THO' MERRY AIN'T IN MY VOCABULARY/ NO SLEIGH-BELLS/ NO SANTA CLAUS/ NO YULE LOG/ NO TINSEL/ NO HOLLY/ NO HEARTH/ NO/ RUDOLF THE RED-NOSED REINDEER/ RUDOLF THE RED-NOSED REINDEER/ NO ROOM AT THE HOLIDAY INN - OH NO

(they look to each other with foreboding knowledge)

AND IT'S BEGINNING TO SNOW

77.

Jonathan jumps down and walks past all the different offerings of the street vendors.

VENDOR

HATS

VENDOR 1

BATS

VENDOR 2

SHOES

VENDOR 3

BOOZE

VENDOR 4

MOUNTAIN BIKES

VENDOR 5

POTPOURRI

VENDOR 6

LEATHER BAGS

VENDOR 7

GIRLIE MAGS

VENDOR 8

FORTY-FIVES

VENDOR 9

AZT

Jonathan continues to look over the bazaar.

VENDOR 1

NO ONES BUYING

VENDOR 2

FELL LIKE CRYING

ALL VENDORS/ ALL HOMELESS/ AND SQUEEGEE-MAN

NO ROOM AT THE HOLIDAY INN, OH NO/


Jonathan walks past a woman selling coats. Collins and Angel sort through her merchandise.

78.

WOMAN VENDOR

HOW ABOUT A FUR -/ IN PERFECT SHAPE/ OWNED BY AN MBA FROM UPTOWN/ I GOT A TWEED/ BROKEN IN BY A GREEDY/ BROKER WHO WENT BROKE/ AND THEN BROKE DOWN

COLLINS

(to Angel)

YOU DON'T HAVE TO DO THIS

ANGEL

HUSH YOUR MOUTH, IT'S CHRISTMAS

COLLINS

I DO NOT DESERVE YOU, ANGEL/ GIVE - GIVE

ANGEL

(to vendor)

WAIT -

COLLINS

ALL YOU DO

ANGEL

(to vendor)

WHAT'S ON THE FLOOR?

COLLINS

IS GIVE/ GIVE ME SOME

ANGEL

(to vendor)

LET'S SEE SOME MORE

COLLINS

WAY TO SHOW

ANGEL

(to vendor who is holding up three coats)

NO - NO - NO – NO…

COLLINS

HOW YOU'VE TOUCHED ME SO

ANGEL

KISS ME - IT'S BEGINNING TO SNOW

Collins looks to the sky and than at Angel. They kiss.

79.

INT. MARK AND ROGER'S - LOFT – LATE AFTERNOON

Mark and Roger stand by the windows.

MARK

…SHE SAID, "WOULD YOU LIGHT MY CANDLE"/ AND SHE PUT ON A POUT/ AND SHE WANTED YOU/ TO TAKE HER OUT TONIGHT?

ROGER

RIGHT

MARK

SHE GOT YOU OUT?

ROGER

SHE WAS MORE THAN OKAY/ BUT I PUSHED HER AWAY/ IT WAS BAD - I GOT MAD/ AND I HAD TO GET HER OUT OF MY SIGHT

MARK

WAIT, WAIT, WAIT, - YOU SAID SHE WAS SWEET

ROGER

LET'S GO EAT - I'LL JUST GET FAT/ IT'S THE ONE VICE LEFT - WHEN YOU'RE DEAD MEAT

(pointing out the window)

THERE - THAT'S HER

MARK

MAUREEN?

MARK'S POV

EXT. VACANT LOT/TENT CITY – THAT MOMENT - LATE AFTERNOON

He sees Mimi walking through the lot. Her beauty obscures her guileful search for drugs.

ROGER (O.S.)

MIMI!

INT. MARK AND ROGER’S LOFT – CONTINUOUS - LATE AFTERNOON

MARK

(elbowing Roger in the ribs)

WHOA!

80.

ROGER

(he knows exactly what she is doing)

I SHOULD GO.

MARK AND ROGER

HEY - IT'S BEGINNING TO SNOW

EXT. POLICE STATION – LATE AFTERNOON

Police are getting prepared for a riot: They are putting on riot gear; assembling the horses; lining up the patty-wagons; etc.

POLICE OFFICERS

I'M DREAMING OF A WHITE CHRISTMAS

EXT. VACANT LOT/TENT-CITY - DUSK

Mimi and other junkies are following a drug dealer trying to score some dope.

MIMI & JUNKIES

FOLLOW THE MAN - FOLLOW THE MAN/ WITH HIS POCKETS FULL OF THE JAM/ FOLLOW THE MAN - FOLLOW THE MAN/ HELP ME OUT, DADDY/ IF YOU CAN/ GOT ANY D MAN?

THE MAN

(toying with his clientele)

I'M COOL

MIMI & JUNKIES (cont’d)

GOT ANY C MAN?

THE MAN

I’M COOL

MIMI & JUNKIES

GOT ANY X/ ANY SMACK/ ANY HORSE/ ANY JUGIE BOOGIE, BOY/ AND BLOW?

Just then, Roger grabs Mimi and pulls her aside.

ROGER

HEY

MIMI

HEY

81.

ROGER

I JUST WANT TO SAY/ I'M SORRY FOR THE WAY--

MIMI

FORGET IT

ROGER

I BLEW UP/ CAN I MAKE IT UP TO YOU?

MIMI

HOW?

ROGER

DINNER PARTY?

MIMI

THAT'LL DO

The drug dealer jumps in Roger's face.

THE MAN

HEY LOVER-BOY/ CUTIE PIE/ YOU STEAL MY CLIENT - YOU DIE

ROGER

(pulling Mimi away from him)

YOU DIDN'T MISS ME - YOU WON'T MISS HER/ YOU'LL NEVER LACK FOR CUSTOMERS

The other junkies enclose around the drug dealer.

JUNKIES

I'M WILLIN'/ I'M ILLIN'/ I GOTTA GET MY SICKNESS OFF/ GOTTA RUN, GOTTA RIDE/ GOTTA GUN, GOTTA HIDE - GOTTA GO

The drug dealer takes out some little baggies of heroin and waves them seductively in the air.

THE MAN


INT. BENNY'S RANGE ROVER - DRIVING - DUSK

BENNY

(talking into car microphone)

WISH ME LUCK ALISON -/ THE PROTEST IS ON

82.

EXT. ST. MARKS PLACE - BAZAAR - ON COAT VENDOR - DUSK

COAT VENDOR

L.L. BEAN, GEOFFREY BEENE, BURBERRY ZIP-OUT LINING

JUNKIES (O.S.)

GOT ANY C MAN?

WHIP PAN TO

EXT. STREET - ON SQUEEGEE-MAN - DUSK

SQUEEGEE-MAN

HONEST LIVING -

JUNKIES (O.S.)

GOT ANY D MAN?

EXT. VACANT LOT/TENT CITY – DUSK

Mark joins Roger and Mimi.

ROGER

MARK, THIS IS MIMI -

MARK & MIMI

HI

ROGER

SHE'LL BE DINING - WITH US

JUNKIES (V.O.)

GOT ANY B MAN?

EXT. ST. MARKS PLACE - BAZAAR - ON COAT VENDOR - DUSK

COAT VENDOR

(holding up a coat to Collins)

HERE'S A NEW ARRIVAL

JUNKIES (O.S.)

GOT ANY B MAN?

THE MAN (O.S.)

THAT IS AN OUNCE

ANOTHER VENDOR (O.S.)

HATS, DATS, BATS

JUNKIES (O.S.)

GOT ANY CRACK?

83.

COLLINS

THAT'S MY COAT!

JUNKIES (O.S.) (cont’d)

GOT ANY HORSE

COAT VENDOR

WE GIVE DISCOUNTS

EXT. VACANT LOT/TENT CITY - CONTINUOUS - DUSK

MARK

I THINK WE'VE MET

JUNKIES (V.O.)

GOT ANY C MAN?

EXT. ST. MARKS PLACE - BAZAAR - DUSK

ANGEL

LET'S GET A BETTER ONE

COLLINS

IT'S A SHAM

JUNKIES (O.S.)

GOT ANY D MAN?

EXT. VACANT LOT/TENT CITY - CONTINUOUS - DUSK

MIMI

THAT'S WHAT HE SAID

THE MAN (V.O.)

I SAID IT'S A GRAM!

EXT. ST. MARKS PLACE - BAZAAR - CONTINUOUS - DUSK

COLLINS

BUT SHE'S A THIEF!

ANGEL

THEN SHE BROUGHT US TOGETHER

JUNKIES (O.S.)

GOT ANY B MAN?

INT. BENNY'S RANGE ROVER - CONTINUOUS - DUSK

BENNY

(into car microphone)

WHICH INVESTOR IS COMING?

84.

JUNKIES (V.O.)

GOT ANY CRACK?


COLLINS

I'LL TAKE THE LEATHER

JUNKIES (O.S.)

GOT ANY HORSE

INT. BENNY'S RANGE ROVER - CONTINUOUS - DUSK

BENNY

(into car microphone)

YOUR FATHER? - DAMN!

JUNKIES (V.O.)

GOT ANY X MAN?


Jonathan hops back up on another bench. He looks around like a kid in the middle of a three-ring circus.

THE REST OF THE SONG IS SUNG SIMULTANEOUSLY, AS THE FRAME FRACTIONS INTO MULTIPLE IMAGES OF THE SCENES BETWEEN ST. MARKS PLACE - JONATHAN, THE VENDORS, COLLINS AND ANGEL; THE POLICE STATION - THE POLICE GETTING READY FOR BATTLE; THE VACANT LOT/TENT-CITY – THE DRUG DEALER AND JUNKIES, AND MARK, ROGER AND MIMI; AND BENNY DRIVING IN HIS RANGE ROVER.

HOMELESS & VENDORS

CHRISTMAS BELLS ARE SWINGING/ CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE SINGING/ IN MY DREAMS - NEXT YEAR/ ONCE YOU DONATE YOU CAN GO/ CELEBRATE IN TUCKAHOE/ YOU'LL FEEL CHEERY/ I'LL FEEL CHEERY/ THO' I DON'T REALLY KNOW THAT THEORY/ NO BATHROBE/ NO STEUBEN GLASS/ NO CAPPUCCINO MAKERS/ NO PEARLS, NO DIAMONDS/ NO "CHESTNUTS ROASTING ON AN OPEN FIRE"/ CHESTNUTS ROASTING ON AN OPEN FIRE/ NO ROOM AN THE HOLIDAY INN, OH NO -

85.

POLICE OFFICERS

(still organizing)

I'M DREAMING OF A RIGHT CHRISTMAS/ JUST LIKE THE ONES I USED TO KNOW/ JINGLE BELLS - PRISON CELLS/ FA LA LA LA - FA LA LA LA/ YOU HAVE THE RIGHT TO REMAIN/ SILENT NIGHT HOLY NIGHT/ FALL ON YOUR KNEES OH NIGHT DIVINE/ YOU'LL DO SOME TIME/ FA LA LA LA LA/ FA LA LA LA LA

JUNKIES

GOT ANY C MAN?/ GOT ANY D MAN?/ GOT ANY B MAN?/ GOT ANY X? - ANY CRACK?/ I'M WILLIN' - I'M ILLIN'/ GOTTA GET MY SICKNESS OFF/ C-D HELP ME/ FOLLOW THE MAN - FOLLOW THE MAN/ FOLLOW THE MAN/ JUGIE BOOGIE - JUGIE BOOGIE/ FOLLOW THE MAN - FOLLOW THE MAN/ ANY CRACK ANY X ANY JUGIE BOOGIE BOY/ ANY BLOW ANY X ANY JUGIE BOOGIE BOY/ GOT ANY D MAN, GOT ANY C MAN/ GOT ANY CRACK, ANY X ANY JUGIE BOOGIE?

COAT VENDOR

TWENTY-FIVE

ANGEL

FIFTEEN

COAT VENDOR

TWENTY-FIVE

ANGEL

FIFTEEN

COAT VENDOR

TWENTY-FIVE

ANGEL

FIFTEEN

COAT VENDOR

NO WAY/ TWENTY-FOUR

ANGEL

FIFTEEN

COAT VENDOR

TWENTY-FOUR

86.

ANGEL

FIFTEEN

COAT VENDOR

TWENTY-FOUR

ANGEL

FIFTEEN

COAT VENDOR

NOT TODAY/ TWENTY-THREE

ANGEL

FIFTEEN

COAT VENDOR

TWENTY-THREE

ANGEL

FIFTEEN

COAT VENDOR

TWENTY-THREE

ANGEL

FIFTEEN/ IT'S OLD

COAT VENDOR

TWENTY-TWO

ANGEL

FIFTEEN

COAT VENDOR

TWENTY-ONE

ANGEL

FIFTEEN

COAT VENDOR

SEVENTEEN

ANGEL

FIFTEEN

COAT VENDOR

FIFTEEN

ANGEL & COAT VENDOR

SOLD!

87.

MARK & ROGER

LET'S/ GO TO/ THE LOT - MAUREEN'S PERFORMING

MIMI

WHO'S MAUREEN?

ROGER

HIS EX

MARK

BUT I AM OVER HER

ROGER

LET'S/ NOT/ HOLD HANDS YET

MIMI

IS THAT A WARNING?

MARK & ROGER & MIMI

HE - YOU - I/ JUST/ NEED/ TO TAKE IT SLOW/ I SHOULD TELL YOU I SHOULD TELL YOU/ I SHOULD TELL YOU I SHOULD TELL YOU/ I SHOULD TELL YOU I…

NOW JUMP-CUTS BETWEEN ST. MARKS PLACE - JONATHAN, VENDORS, COLLINS AND ANGEL; THE POLICE STATION - THE POLICE GETTING READY FOR BATTLE; THE VACANT LOT/TENT-CITY – THE DRUG DEALER AND JUNKIES, AND MARK AND ROGER AND MIMI; BENNY DRIVING IN HIS RANGE ROVER.

EVERYONE

AND IT'S BEGINNING TO / AND IT'S BEGINNING TO/ AND IT'S BEGINNING TO

EXT. VACANT LOT - PERFORMANCE SPACE - CONTINUOUS – EARLY EVENING

Joanne is setting up chairs. A motorcycle roars into the performance space. The motorcycle rider pulls off her helmet. MAUREEN, sexy as hell, in all black leather, hops off her bike.

MAUREEN

JOANNE, WHICH WAY TO THE STAGE?

88.

WHIP PANS TO: ST. MARKS PLACE - JONATHAN, VENDORS, COLLINS AND ANGEL; THE POLICE STATION - THE POLICE GETTING READY FOR BATTLE; THE VACANT LOT/TENT-CITY – THE DRUG DEALER AND JUNKIES, AND MARK AND ROGER AND MIMI; BENNY DRIVING IN HIS RANGE ROVER.

EVERYONE

SNOW!

EXT. ST. MARKS PLACE - BAZAAR - CONTINUOUS - EARLY EVENING

Jonathan is still standing on the bench.

The prophecy of snow comes to fruition as the white flakes sparkle down from the sky above New York coating the ground with a glistening white powder.

EXT. STREET - ON BENNY'S RANGE ROVER - NIGHT

Benny's parking his car right by the vacant lot.

EXT. VACANT LOT/TENT CITY - NIGHT

Mark, Roger and Mimi are walking towards the performance space.

EXT. JUST OUTSIDE THE FENCE OF THE VACANT LOT/TENT-CITY - NIGHT

Collins and Angel are just arriving. They enter the lot and head for the performance space.

Jonathan enters the vacant lot/tent-city and walks toward the performance space.

EXT. VACANT LOT - PERFORMANCE SPACE - NIGHT

The scattered chairs are all taken. The whole area is packed to capacity with homeless people, punks, junkies, squatters, and hippies. Scattered throughout the audience is Mark, Roger, Mimi, Angel, Collins, and Benny. Jonathan is looking on from just outside the packed area.

Joanne gets up on the stage and takes the microphone.

JOANNE

What you’ve all been waiting for… Let's hear it for Maureen!

The audience applauds. Maureen comes to the microphone. She has a large cowbell hanging form her belt. Maureen's backup singers join her on stage.

89.

Mark holds up his Camera.

16MM POV

MARK (O.S.)

Maureen's performance.

MAUREEN

Last night I had a dream. I found myself in a desert called Cyberland.

BACK TO SCENE

MAUREEN

It was hot. My canteen had sprung a leak and I was thirsty. Out of the abyss walked a cow - Elsie. I asked if she had anything to drink. She said,

"I'M FORBIDDEN TO PRODUCE MILK. IN CYBERLAND, WE ONLY DRINK DIET COKE." (REVERB: DIET COKE, DIET COKE, DIET COKE) SHE SAID, "ONLY THING TO DO IS JUMP OVER THE MOON. THEY'VE CLOSED EVERYTHING REAL DOWN… LIKE BARNS, TROUGHS, AND PERFORMANCE SPACES… AND REPLACED IT ALL WITH LIES AND RULES AND VIRTUAL LIFE. (REVERB: LIFE, LIFE, LIFE) BUT THERE IS A WAY OUT…"

BACKUP SINGERS

LEAP OF FAITH LEAP OF FAITH/ LEAP OF FAITH LEAP OF FAITH

MAUREEN

ONLY THING TO DO IS JUMP OVER THE MOON/ I GOTTA GET OUTTA HERE! IT'S LIKE I'M BEING TIED TO THE HOOD OF A YELLOW RENTAL TRUCK, BEING PACKED IN WITH FERTILIZER AND FUEL OIL, PUSHED OVER A CLIFF BY A SUICIDAL MICKEY MOUSE! - I'VE GOTTA, GOTTA, GOTTA, GOTTA, GOTTA, GOTTA, GOTTA, GOTTA, GOTTA, GOTTA FIND A WAY/ TO JUMP OVER THE MOON

BACKUP SINGERS

LEAP OF FAITH LEAP OF FAITH/ LEAP OF FAITH LEAP OF FAITH

90.

MAUREEN

ONLY THING TO DO IS JUMP OVER THE MOON/ Then a little bulldog entered. His name (we have learned) was Benny.

Benny gives Maureen one of his patented cocky smiles.

Maureen returns her usual sarcastic glare.

MAUREEN (cont’d)

And although he once had principles, he abandoned them to live as a lapdog to a wealthy daughter of the revolution. One, two, three,

"THAT'S BULL," HE SAID. "EVER SINCE THE CAT TOOK UP THE FIDDLE, THAT COW'S BEEN JUMPY. THE DISH AND THE SPOON WERE EVICTED FROM THE TABLE - AND ELOPED… SHE'S HAD TROUBLE WITH THAT MILK AND THE MOON EVER SINCE. MAYBE IT'S A FEMALE THING, 'CAUSE WHO'D WANT TO LEAVE CYBERLAND ANYWAY? …WALLS AIN’T SO BAD. THE DISH AND THE SPOON FOR INSTANCE. THEY'RE DOWN ON THEIR LUCK - THEY COME KNOCKIN' ON MY DOGHOUSE DOOR, AND I SAY, "NOT IN MY BACKYARD UTENSILS! GO BACK TO CHINA! THE ONLY WAY OUT - IS UP." ELSIE WHISPERED TO ME, "A LEAP OF FAITH. STILL THIRSTY?" PARCHED. "HAVE SOME MILK." AND I LOWERED MYSELF BENEATH HER AND HELD MY MOUTH TO HER SWOLLEN UDDER AND SUCKED THE SWEETEST MILK I HAD EVER TASTED.

(slurping)

"CLIMB ON BOARD," SHE SAID. AND AS A HARVEST MOON ROSE OVER CYBERLAND, WE REARED BACK WE SPRANG INTO A GALLOP. LEAPING OUT OF ORBIT! I AWOKE SINGING

BACKUP SINGERS

(singing simultaneously with Maureen)

LEAP OF FAITH LEAP OF FAITH/ LEAP OF FAITH LEAP OF FAITH/ LEAP OF FAITH LEAP OF FAITH/ LEAP OF FAITH LEAP OF FAITH…

91.

MAUREEN

ONLY THING TO DO/ ONLY THING TO DO IS JUMP/ ONLY THING TO DO IS JUMP OVER THE MOON/ ONLY THING TO DO IS JUMP OVER THE MOON/ OVER THE MOON - OVER THE MOOOOOO/ MOOOOOO/ MOOOOOO - MOO WITH ME

Maureen encourages the audience to moo with her.

MAUREEN

C’mon sir, moo with me.

Jonathan realizes Maureen is beckoning him. He begins to moo.

MAUREEN (cont’d)

MOOOO/ MOOOO/ MOOOO/ MOOOOOO

Mark, Roger and Mimi moo. Collins and Angel moo. Joanne moos. Benny walks away. The audience and Maureen continue to moo together until the moos reach a vibrant crescendo, and with a big sweep of her arms Maureen cuts them off.

MAUREEN (cont’d)

Thank you.

The audience applauds voraciously.

Jonathan is smiling and applauding. He notices movement out of the corner of his eye. He walks out of the performance space towards the edge of the vacant lot/tent-city.

EXT. STREET - JUST OUTSIDE THE VACANT LOT/TENT-CITY - CONTINUOUS - NIGHT

Jonathan comes to the corner of 11th Street and Avenue B and sees Police patty-wagons and other police vehicles amassing.

TIME CUT TO:

EXT. LIFE CAFE - ESTABLISHING - NIGHT

Maureen, Mark, Roger, Mimi, Collins and Angel with a large group or friends bounce excitedly towards a hip earthy-crunchy Alphabet City cafe.

INT. LIFE CAFE - NIGHT

92.

Benny is sitting at a small table with his father-in-law Mr. Grey, (50's) white. The waiter is pouring them some wine. Benny whips out a hundred-dollar bill and waves it in the air.

BENNY

Garcon!

The waiter reaches for the premature tip and Benny snatches it away.

BENNY

My Father-in-law and I are having a very important business meeting. We'd like this area to be as quiet as possible.

WAITER

Yes sir.

BENNY

(handing over the money)

Remember, there’s more where that came from.

WAITER

Thank you sir.

Just then the large group of revelers enter putting together tables right next to Benny’s. The waiter quickly approaches them.

WAITER

NO, PLEASE, NO/ NOT TONIGHT, PLEASE, NO/ MISTER - CAN'T YOU GO -/ NOT TONIGHT - CAN'T HAVE A SCENE

ROGER

(walking by him)

What?

WAITER

GO, PLEASE GO -/ YOU - HELLO, SIR -/ I SAID NO/ IMPORTANT CUSTOMERS

MARK

What am I - just a blur?

WAITER

YOU SIT ALL NIGHT - YOU NEVER BUY!

93.

MARK

THAT'S A LIE - THAT'S A LIE/ I HAD A TEA THE OTHER DAY

WAITER

YOU COULDN'T PAY

MARK

(making his way by the waiter)

Oh yeah.

The whole group sits. Collins approaches Benny's table.

COLLINS

Benjamin Coffin The Third - here?

WAITER

(hurrying over to intervene)

Oh no!

MARK & ROGER'S TABLE

(to the waiter)

WINE AND BEER!

MAUREEN

(taking a chair right next to Benny's table)

THE ENEMY OF AVENUE A/ WE'LL STAY

WAITER

OY VEY!

COLLINS

What brings the mogul in his own mind to The Life Cafe?

BENNY

(standing) I would like to propose a toast: to Maureen's noble try; it went well.

MAUREEN

Go to hell.

BENNY

(approaching their table)

Was the yuppie scum stomped? Not counting the homeless, how many tickets weren't comped?

Benny notices Mimi.

94.

BENNY

Mimi - I'm surprised/ A BRIGHT AND CHARMING GIRL LIKE YOU/ HANGS OUT WITH THESE SLACKERS/ (WHO DON'T ADHERE TO DEALS)/ THEY MAKE FUN - YET I AM THE ONE ATTEMPTING TO DO SOME GOOD/ OR DO YOU REALLY WANT A NEIGHBORHOOD/ WHERE PEOPLE PISS ON YOUR STOOP EVERY NIGHT?/ BOHEMIA, BOHEMIA'S/ A FALLACY IN YOUR HEAD/ THIS IS CALCUTTA/ BOHEMIA IS DEAD

Everyone at the table immediately begins to enact a mock funeral, with Mark delivering "the eulogy."

MARK

DEARLY BELOVED, WE GATHER HERE TO SAY OUR GOOD-BYES

COLLINS & ROGER

DIES IRAE - DIES ILLA/ KYRIE ELEISON/ YITGADAL V'YITKADASH, ETC.

MARK

HERE SHE LIES/ NO ONE KNEW HER WORTH/ THE LATE GREAT DAUGHTER OF MOTHER EARTH/ ON THIS NIGHT WHEN WE CELEBRATE THE BIRTH/ IN THAT LITTLE TOWN OF BETHLEHEM/ WE RAISE OUR GLASS - YOU BET YOUR ASS TO -/ LA VIE BOHEME

EVERYONE AT THE TABLE

(to Benny and his father-in-law)

LA VIE BOHEME/ LA VIE BOHEME/ LA VIE BOHEME/ LA VIE BOHEME

95.

MARK

TO DAYS OF INSPIRATION/ PLAYING HOOKY, MAKING SOMETHING/ OUT OF NOTHING, THE NEED/ TO EXPRESS -/ TO COMMUNICATE,/ TO GOING AGAINST THE GRAIN,/ GOING INSANE,/ GOING MAD/ TO LOVING TENSION, NO PENSION,/ TO MORE THAN ONE DIMENSION,/ TO STARVING FOR ATTENTION,/ HATING CONVENTION, HATING PRETENSION,/ NOT TO MENTION OF COURSE,/ HATING DEAR OLD MOM AND DAD/ TO RIDING YOUR BIKE,/ MIDDAY PAST THE THREE-PIECE SUITS-/ TO FRUITS - TO NO ABSOLUTES -/ TO ABSOLUTE - TO CHOICE -/ TO THE VILLAGE VOICE -/ TO ANY PASSING FAD/ TO BEING AN US - FOR ONCE-/ INSTEAD OF A THEM -


LA VIE BOHEME/ LA VIE BOHEME

Joanne enters and joins Maureen at the table while the waiter gets the party’s order.

MAUREEN

IS THE EQUIPMENT IN A PYRAMID?

JOANNE

IT IS, MAUREEN

MAUREEN

THE MIXER DOESN'T HAVE A CASE/ DON'T GIVE ME THAT FACE

Maureen smacks Joanne's ass, right next to Mr. Grey.

MR. GREY

AHHEMM!

MAUREEN

HEY MISTER - SHE'S MY SISTER

Joanne leaves the cafe to finish packing up at the performance space.

WAITER

SO THAT'S FIVE MISO SOUPS, FOUR SEAWEED SALADS/ THREE SOY BURGER DINNERS, TWO TOFU DOG PLATTERS/ AND ONE PASTA WITH MEATLESS BALLS

96.

ANGEL

UGH

COLLINS

IT TASTES THE SAME

MIMI

IF YOU CLOSE YOUR EYES

WAITER

AND THIRTEEN ORDERS OF FRIES/ IS THAT IT HERE?


WINE AND BEER!

MIMI & ANGEL

TO HANDCRAFTED BEERS MADE IN LOCAL BREWERIES/ TO YOGA, TO YOGURT, TO RICE AND BEANS AND CHEESE/ TO LEATHER, TO DILDOS, TO CURRY VINDALOO/ TO HUEVOS RANCHEROS AND MAYA ANGELOU

MAUREEN & COLLINS

EMOTION, DEVOTION, TO CAUSING A COMMOTION/ CREATION, VACATION

MARK

MUCHO MASTURBATION

MAUREEN & COLLINS (cont’d)

COMPASSION, TO FASHION, TO PASSION WHEN IT'S NEW

COLLINS

TO SONTAG

ANGEL

TO SONDHEIM

MIMI AND ANGEL TO ANYTHING TABOO

COLLINS & ROGER

GINSBERG, DYLAN, CUNNINGHAM AND CAGE

COLLINS

LENNY BRUCE

ROGER

LANGSTON HUGHES

97.

MAUREEN

TO THE STAGE

ANGEL

TO UTA

COLLINS

TO BUDDHA

MARK & MAUREEN

PABLO NERUDA, TOO

MARK & MIMI

WHY DOROTHY AND TOTO WENT OVER THE RAINBOW/ TO BLOW OFF AUNTIE EM


LA VIE BOHEME

Joanne comes back into the cafe.

MAUREEN

AND WIPE THE SPEAKERS OFF BEFORE YOU PACK

JOANNE

YES, MAUREEN

MAUREEN

WELL - HURRY BACK

Maureen and Joanne share a passionate kiss, again, right in front of Mr. Grey.

MR. GREY

SISTERS?

MAUREEN

WE'RE CLOSE

Collins and Angel kiss.

COLLINS, MAUREEN, MARK & MR. GREY

BROTHERS!

MARK, ANGEL, MIMI & SOME OTHERS

BISEXUALS, TRISEXUALS, HOMO SAPIENS/ CARCINOGENS, HALLUCINOGENS, MEN, PEE-WEE HERMAN/ GERMAN WINE, TURPENTINE, GERTRUDE STEIN/ ANTONIONI, BERTOLUCCI, KUROSAWA/ "CARMINA BURANA"

98.


TO APATHY, TO ENTROPY, TO EMPATHY, ECSTASY/ VACLAV HAVEL - THE SEX PISTOLS, 8BC,/ TO NO SHAME - NEVER PLAYING THE FAME GAME

COLLINS

TO MARIJUANA


TO SODOMY/ IT'S BETWEEN GOD AND ME/ TO S&M

Mr. Grey has heard enough, he abruptly walks out. Benny tries to hail the waiter.

BENNY

WAITER… WAITER… WAITER


LA VIE BOHEME

COLLINS

IN HONOR OF THE DEATH OF BOHEMIA, AN IMPROMPTU SALON WILL COMMENCE IMMEDIATELY FOLLOWING DINNER… MIMI MARQUEZ, CLAD ONLY IN BUBBLE WRAP, WILL PERFORM HER FAMOUS LAWN-CHAIR-HANDCUFF DANCE TO THE SOUNDS OF ICE TEA BEING STIRRED

ROGER

AND MARK COHEN WILL PREVIEW HIS NEW DOCUMENTARY ABOUT HIS INABILITY TO HOLD AN ERECTION ON THE HIGH HOLY DAYS

Roger notices a guitar in the corner of the cafe. He goes over to see if he can tune it.

MARK

AND MAUREEN JOHNSON, BACK FROM HER SPECTACULAR ONE-NIGHT ENGAGEMENT AT THE 11TH STREET LOT, WILL SING NATIVE AMERICAN TRIBAL CHANTS BACKWARD THROUGH HER VOCODER, WHILE ACCOMPANYING HERSELF ON THE ELECTRIC CELLO - WHICH SHE HAS NEVER STUDIED

Maureen leans over and gives Mark a big sarcastic kiss. Joanne enters just in time to catch the end of the smooch. She turns around and leaves shaking her head.

99.

Benny pulls Mimi aside.

BENNY

YOUR NEW BOYFRIEND DOESN'T KNOW ABOUT US?

MIMI

THERE'S NOTHING TO KNOW

BENNY

DON'T YOU THINK THAT WE SHOULD DISCUSS -

MIMI

IT WAS THREE MONTHS AGO

BENNY

HE DOESN'T ACT LIKE HE'S WITH YOU

MIMI

WE'RE TAKING IT SLOW

BENNY

WHERE IS HE NOW?

MIMI

HE'S RIGHT - HMM

BENNY

UH-HUH

MIMI (cont’d)

WHERE'D HE GO NOW?

MARK

AND ROGER WILL ATTEMPT TO WRITE A BITTERSWEET, EVOCATIVE SONG

Roger starts to play Musetta's theme on the guitar that he was tuning.

MARK

THAT DOESN'T REMIND US OF "MUSETTA'S WALTZ"

COLLINS

ANGEL DUMOTT SCHUNARD WILL MODEL THE LATEST FALL FASHIONS FROM PARIS WHILE ACCOMPANYING HERSELF ON THE TEN GALLON PLASTIC PICKLE-TUB

100.

ANGEL

AND COLLINS WILL RECOUNT HIS EXPLOITS AS AN ANARCHIST - INCLUDING THE TALE OF HIS SUCCESSFUL PROGRAMMING OF THE MIT VIRTUAL-REALITY EQUIPMENT TO SELF-DESTRUCT AS IT BROADCAST THE WORDS


"ACTUAL REALITY - ACT UP - FIGHT AIDS"

BENNY

CHECK!

Mimi goes over to Roger who is still fiddling with the guitar while joking with another girl. Benny walks past them in a huff. The other girl goes back to the table.

MIMI

EXCUSE ME - DID I DO SOMETHING WRONG?/ I GET INVITED - THEN IGNORED - ALL NIGHT LONG

ROGER

I'VE BEEN TRYING - I'M NOT LYING/ NO ONE'S PERFECT - I'VE GOT BAGGAGE

MIMI (cont’d)

LIFE'S TOO SHORT - BABE - TIME IS FLYING/ I'M LOOKING FOR BAGGAGE THAT GOES WITH MINE

ROGER

I SHOULD TELL YOU -

MIMI (cont’d)

I'VE GOT BAGGAGE TOO - SHOULD TELL YOU

ROGER & MIMI

BAGGAGE - WINE

ROGER, MIMI & EVERYONE AT THE TABLE

AND BEER!

Mimi's beeper BEEPS and she turns it off.

MIMI

AZT break.

Mimi pulls out her pills and swallows them.

101.

ROGER

YOU?

MIMI

ME. YOU?

ROGER

MIMI

They hold hands and stare into each other's eyes.

ROGER

I SHOULD TELL YOU I'M DISASTER/ I FORGET HOW TO BEGIN IT

MIMI

LET'S JUST MAKE THIS PART GO FASTER/ I HAVE YET - TO BE IN IT/ I SHOULD TELL YOU

ROGER

I SHOULD TELL YOU

MIMI

I SHOULD TELL YOU

ROGER

I SHOULD TELL YOU

MIMI

I SHOULD TELL I BLEW THE CANDLE OUT/ JUST TO GET BACK IN

ROGER

I'D FORGOTTEN HOW TO SMILE/ UNTIL YOUR CANDLE BURNED MY SKIN

MIMI

I SHOULD TELL YOU

ROGER

I SHOULD TELL YOU

MIMI

I SHOULD TELL YOU

ROGER & MIMI

I SHOULD TELL/ WELL, HERE WE GO/ NOW WE -

MIMI

OH NO

102.

ROGER

I KNOW - THIS SOMETHING IS/ HERE GOES -

MIMI

HERE GOES

ROGER

GUESS SO/ IT'S STARTING TO/ WHO KNOWS -

MIMI

WHO KNOWS

ROGER & MIMI

WHO KNOWS WHERE/ WHO GOES THERE/ WHO KNOWS/ HERE GOES/ TRUSTING DESIRE - STARTING TO LEARN/ WALKING THROUGH FIRE WITHOUT A BURN/ CLINGING - A SHOULDER, A LEAP BEGINS/ STINGING AND OLDER, ASLEEP ON PINS/ SO HERE WE GO/ NOW WE -

ROGER

OH NO

MIMI

I KNOW

ROGER

OH NO

MIMI & ROGER

WHO KNOWS WHERE - WHO GOES THERE/ HERE GOES - HERE GOES/ HERE GOES - HERE GOES/ HERE GOES - HERE GOES

Roger and Mimi leave together just as Joanne reenters and approaches the large table where everyone is still drinking and cavorting.

MAUREEN

Are we packed?

JOANNE

Yes. And by next week I want you to be.

MAUREEN

Pookie?

103.

JOANNE

(pointing at Mark)

I saw you two. And to think we tangoed together.

Joanne rushes towards the door with Maureen and Mark giving chase. They grab Joanne and drag her back to the group.

MARK

Joanne we're just friends.

MAUREEN

Pookie, I may play, but you've got to trust me, it's just you babe.

MARK

Drink some wine.

JOANNE

(to Mark)

WAIT! YOU SHOULD SEE/ THEY'VE PADLOCKED YOUR BUILDING

(to the rest of the group)

AND THEY'RE RIOTING ON AVENUE B/ BENNY CALLED THE COPS

MAUREEN

THAT FUCK

JOANNE

THEY DON'T KNOW WHAT THEY'RE DOING/ THE COPS ARE SWEEPING THE LOT/ BUT NO ONE'S LEAVING/ THEY'RE JUST SITTING THERE, MOOING


YEAH!!!/ TO DANCE

MAUREEN

NO WAY TO MAKE A LIVING, MASOCHISM, PAIN, PERFECTION,/ MUSCLE SPASMS, CHIROPRACTORS, SHORT CAREERS, EATING DISORDERS


FILM

MARK

ADVENTURE, TEDIUM, NO FAMILY, BORING LOCATIONS,/ DARKROOMS, PERFECT FACES, EGOS, MONEY, HOLLYWOOD AND SLEAZE

104.


MUSIC

ANGEL

FOOD OF LOVE, EMOTION, MATHEMATICS, ISOLATION, RHYTHM,/ FEELING, POWER, HARMONY, AND HEAVY COMPETITION


ANARCHY

COLLINS & MAUREEN

REVOLUTION, JUSTICE, SCREAMING FOR SOLUTIONS,/ FORCING CHANGES, RISK AND DANGER, MAKING NOISE AND MAKING PLEAS


TO FAGGOTS, LEZZIES, DYKES, CROSS-DRESSERS TOO

MAUREEN

TO ME

MARK

TO ME

COLLINS & ANGEL

TO ME


TO YOU, AND YOU AND YOU, YOU AND YOU/ TO PEOPLE LIVING WITH, LIVING WITH, LIVING WITH/ NOT DYING FROM DISEASE/ LET HE AMONG US WITHOUT SIN/ BE THE FIRST TO CONDEMN/ LA VIE BOHEME/ LA VIE BOHEME/ LA VIE BOHEME

MARK

ANYONE OUT OF THE MAINSTREAM


LA VIE BOHEME

MARK

IS ANYONE IN THE MAINSTREAM?


LA VIE BOHEME

MARK

ANYONE ALIVE - WITH A SEX DRIVE

105.


LA VIE BOHEME

MARK

TEAR DOWN THE WALL/ AREN'T WE ALL


LA VIE BOHEME

MARK

THE OPPOSITE OF WAR ISN'T PEACE…/ IT'S CREATION


LA VIE BOHEME

MARK

VIVA LA VIE BOHEME

Mark grabs his coat, scarf and Camera and tears out of the Cafe. The rest of the gang follows him out.

EXT. VACANT LOT/TENT-CITY - CONTINUOUS - NIGHT

The scene is complete chaos. The police in riot gear are chasing the homeless out of the vacant lot/tent city. There are riot cops standing guard outside Mark and Roger's padlocked building.

Jonathan watches from behind a police barricade. He sees Mark sneaking around the barricades with his Camera.

The police are trying to hold back the throngs of punks and anarchists flanking Jonathan behind the barriers.

PUNK

(pointing to the cops badges, which are covered with black tape)

Hey why are you taping your badges?!

ANARCHIST

Stop the war on the poor!

Some of the masses are banging garbage cans on the ground and others are throwing the lids at the police like Frisbees. Jonathan is trying desperately to keep his eye on Mark.

He sees the police keeping the media from gaining access to the area. He finds Mark in the thick of the riot shooting his footage.

106.

16MM POV

Nightsticks are cracking down on hands and backs and heads; riot police on horseback are wading through the mass of people; CU a riot cop has his badge taped over.

MARK (O.S.)

(into make/shift camera mike)

The police have taped their badges so they can't be reported.

BACK TO SCENE

The TV Journalist Chris Hamilton runs over to Mark.

CHRIS HAMILTON

Hey kid, you recognize me?

MARK

Yeah, of course.

CHRIS HAMILTON

We can't get our cameras in here…

A bunch of riot cops point at the Journalist and Mark. "Get that camera." They start running towards Mark and his Camera. Mark and Chris Hamilton start running together.

CHRIS HAMILTON (cont’d)

Shit! Here they come. Kid; give me your camera. I'll get it back to you I promise.

MARK

This Camera's my life!

CHRIS HAMILTON

You can trust me. They'll destroy it for sure. Come down to the studio tomorrow!

Mark hands over his precious Bell and Howell to the Journalist who immediately takes off in another direction. The cops giving chase are closing in on him.

CHRIS HAMILTON

Brian!!

A young man runs up to the barricade jumping and waving his hands.

107.

The Journalist heaves Mark’s Camera over the barricade just as the police tackle him to the ground. Brian catches the Camera and disappears out of sight. The cops carry off the Journalist.

Mark watches Chris Hamilton getting taken away. He sees Jonathan standing behind the barrier. They stare at each other.

FADE OUT:

FADE IN:

MONTAGE OF DIFFERENT TV SETS THROUGHOUT THE CITY: IN APARTMENTS – BARS - AND STORES - DAY

The TV Journalist Chris Hamilton is giving his news report.

CHRIS HAMILTON

Last night, the police, in full riot gear, swept through some of Alphabet-City's vacant lots, once again clearing out the homeless encampments that have amassed there since the closing down of Tompkins Square Park. The debate will continue about whether or not the city should be evicting the homeless from these "Dinkinsvilles" as they have been dubbed. I will not address that issue here. However, when our public servants, our police force, feel that acting like vigilantes is a necessary evil to their task, then we as citizens need to stand up and take action. Last night, Mark Cohen was that citizen for us all. The police would not allow any news cameras into the riot scene, and they taped over their badges for anonymity. Luckily Mr. Cohen decided to get involved. The following footage is our only recorded view of the incident last night.

INT. DINER – DAY

Jonathan is wiping down the counter watching the TV

CUT TO:

108.

WHILE THE SONG - SEASONS OF LOVE - IS BEING SUNG - MONTAGE OF:

1. Riot footage.

2. Different Homeless people all singing, Seasons of Love, searching for a new place to live.

3. Mark walking the streets with his Camera singing.

4. Roger and Mimi walking together singing.

5. Joanne and Maureen leaning over their terrace singing.

6. Collins and Angel walking together singing.

EVERYONE

FIVE HUNDRED TWENTY-FIVE THOUSAND/ SIX HUNDRED MINUTES/ FIVE HUNDRED TWENTY-FIVE THOUSAND/ MOMENTS SO DEAR/ FIVE HUNDRED TWENTY-FIVE THOUSAND/ SIX HUNDRED MINUTES/ HOW DO YOU MEASURE - MEASURE A YEAR?/ IN DAYLIGHTS - IN SUNSETS/ IN MIDNIGHTS - IN CUPS OF COFFEE/ IN INCHES - IN MILES/ IN LAUGHTER - IN STRIFE/ IN - FIVE HUNDRED TWENTY-FIVE THOUSAND/ SIX HUNDRED MINUTES/ HOW DO YOU MEASURE/ A YEAR IN THE LIFE?/ HOW ABOUT LOVE?/ HOW ABOUT LOVE?/ HOW ABOUT LOVE?/ MEASURE IN LOVE?/ SEASONS OF LOVE/ SEASONS OF LOVE

7. A homeless woman, carrying her bags walking the streets of New York alone.

HOMELESS WOMAN

FIVE HUNDRED TWENTY-FIVE THOUSAND/ SIX HUNDRED MINUTES/ FIVE HUNDRED TWENTY-FIVE THOUSAND/ JOURNEYS TO PLAN/ FIVE HUNDRED TWENTY-FIVE THOUSAND/ SIX HUNDRED MINUTES/ HOW DO YOU MEASURE THE LIFE/ OF A WOMAN OR A MAN

8. A homeless man pushing a shopping cart down a desolate street.

HOMELESS MAN

IN TRUTHS THAT SHE LEARNED/ OR IN TIMES THAT HE CRIED/ IN THE BRIDGES HE BURNED/ OR THE WAY THAT SHE DIED

109.

JUMP-CUTS TO EVERYONE

EVERYONE

IT'S TIME NOW - TO SING OUT/ THO' THE STORY NEVER ENDS/ LET'S CELEBRATE/ REMEMBER A YEAR IN THE LIFE OF FRIENDS/ REMEMBER THE LOVE/ REMEMBER THE LOVE/ REMEMBER THE LOVE/ MEASURE IN LOVE

HOMELESS WOMAN

MEASURE, MEASURE YOUR LIFE IN LOVE

EVERYONE

SEASONS OF LOVE/ SEASONS OF LOVE

The homeless woman ambles down the lonely street.

FADE OUT:

FADE IN:

EXT. JONATHAN'S BUILDING - NIGHT

Sarah, dressed up in a funky short skirt and wearing a blonde wig, is impatiently pressing the buzzer of the intercom.

JONATHAN (O.S.)

(through the speaker)

Happy New Year. I’ll be right down.

Sarah rubs her hands together to stay warm. Jonathan emerges from his building. His hair is colored white, and he is wearing a short gray jacket and frilly white tuxedo shirt. His knee-high white socks are pulled up over his pants.

JONATHAN (cont’d)

(kissing her)

I've always wanted to kiss Marilyn Monroe.

SARAH

I'm Blondie. Musicians. Remember?

JONATHAN

Marilyn sang.

SARAH

And you… Ludwig?

110.

JONATHAN

Wolfgang.

TIME CUT TO:

EXT. STREETS - NIGHT

Jonathan and Sarah walking past the fenced up lot.

SARAH

It's like a ghost town now.

Jonathan looks up at a fifteenth floor terrace party underway, in the one nice building on the block.

He notices a group of people dressed up in costumes coming out of the building. They all go to the back of a large catering truck parked right by the entrance. A man is handing plastic covered trays of food to the costumed servers.

MAN IN TRUCK

Hurry back up so it don’t get cold.

Jonathan looks up at the party, then back to the truck, then back up at the party.

SARAH

What’re you looking at? We’re gonna be late, and I’m freezing.

JONATHAN

Come with me.

SARAH

What are we doing?

Sarah follows Jonathan over to the catering truck. They get behind the remaining servers on line. The man in the truck is still barking out orders.

MAN IN TRUCK

Let's move it people. If you're down here then you're not serving the guests. Let's go.

Jonathan and Sarah step up to the truck.

Jonathan grabs a tray from the man followed by Sarah. She awkwardly fumbles with a tray.

111.

MAN IN TRUCK (cont’d)

Come on Marilyn, it's gonna be the New Year by the time you get back up there.

Sarah gives him a disapproving scowl.

MAN IN TRUCK (cont’d)

Move it Blondie, move it.

Sarah smiles walking off with the food.

Sarah follows Jonathan around to the front of the truck. They stealthily head down the street.

SARAH

(laughing) I can’t believe you did that.

She kisses him.

SARAH (cont’d)

I don’t know what’s gotten into you, but I like it. What now?

JONATHAN

We'll find someone to give these to.

As they walk Jonathan looks over to the abandoned building that is now boarded up, chained and padlocked. Jonathan and Sarah walk around the corner.

Just then Mark, Roger and Mimi show up. Mark is carrying his Camera, Roger is carrying a crowbar, and Mimi is carrying an ice bucket with a bottle of champagne in it. Roger tries in vain to pry open the padlock with the crowbar, while Mark shoots his Camera.

16MM POV

Roger and Mimi are working on the door.

MARK (O.S.)

Pan to the padlocked door. New Year's-Rocking Eve. The breaking-back-into-the-building party.

112.

BACK TO SCENE

MARK

(putting down his Camera)

I'm gonna check on the cops.

Mark walks around the corner.

MIMI

How long 'till next year?

ROGER

Nine-and-a-half minutes…

MIMI

Too long.

Mimi grabs the champagne and pops the cork.

MIMI (cont’d) (taking a swig)

I'M GIVING UP MY VICES/ I'M GOING BACK - BACK TO SCHOOL/ EVICTION OR NOT/ THIS WEEK'S BEEN SO HOT/

(pulling Roger away from the door and singing right to him)

THAT LONG AS I'VE GOT YOU/ I KNOW I'LL BE COOL/ I COULDN'T CRACK THE LOVE CODE, DEAR/ 'TILL YOU MADE THE LOCK ON MY HEART EXPLODE/ IT'S GONNA BE A HAPPY NEW YEAR/ A HAPPY NEW YEAR

Roger and Mimi kiss and share some champagne.

Mark returns.

MARK

COAST IS CLEAR/

(noticing Roger and Mimi)

YOU'RE SUPPOSED TO BE WORKING/

(grabbing the bottle and returning it to the ice)

THAT'S FOR MIDNIGHT/ WHERE ARE THEY?/ THERE ISN'T MUCH TIME

MIMI

MAYBE THEY'RE DRESSING/ I MEAN WHAT DOES ONE WEAR THAT'S APROPOS/ FOR A PARTY - THAT'S ALSO A CRIME

113.

Maureen joins them wearing a skintight leather "cat-woman" suit. She is carrying a bag of potato chips.

MAUREEN

CHIPS, ANYONE?

MARK

YOU CAN TAKE THE GIRL OUT OF HICKSVILLE/ BUT YOU CAN'T TAKE THE HICKSVILLE OUT OF THE GIRL

MAUREEN

MY RIOT GOT YOU ON TV/ I DESERVE A ROYALTY

MIMI

BE NICE, YOU TWO/ OR NO GOD-AWFUL CHAMPAGNE

MAUREEN

(taking a swig)

DON'T MIND IF I DO/

(gesturing to the door)

NO LUCK?

ROGER

BOLTED PLYWOOD, PADLOCKED WITH A CHAIN/ A TOTAL DEAD END

Maureen takes out her cell-phone and dials a number.

MAUREEN

JUST LIKE MY EX-GIRLFRIEND

(talking into her cel-phone)

HONEY…?/ I KNOW YOU'RE THERE…/ PLEASE PICK UP THE PHONE/ ARE YOU OKAY?/ IT'S NOT FUNNY/ IT'S NOT FAIR/ HOW CAN I ATONE?/ ARE YOU OKAY?/ I LOSE CONTROL/ BUT I CAN LEARN TO BEHAVE/ GIVE ME ONE MORE CHANCE/ LET ME BE YOUR SLAVE/ I'LL KISS YOUR DOC MARTENS/ LET ME KISS YOUR DOC MARTENS/ YOUR EVERY WISH I WILL OBEY

Joanne walks up right behind Maureen.

114.

JOANNE

THAT MIGHT BE OKAY/ DOWN GIRL/ HEEL… STAY/ I DID A BIT OF RESEARCH/ WITH MY FRIENDS AT LEGAL AID/ TECHNICALLY YOU'RE SQUATTERS/ THERE'S HOPE/ BUT JUST IN CASE

Joanne whips out a long rope from her bag.

MARK & JOANNE ROPE!

MARK

(pointing to the fire escape)

WE CAN HOIST A LINE -

JOANNE

TO THE FIRE ESCAPE

MARK

AND TIE OFF AT

MARK & JOANNE

THAT BENCH!

MAUREEN

I CAN'T TAKE THEM AS CHUMS

JOANNE

(throwing the rope to Maureen)

START HOISTING… WENCH

Mark, Maureen and Joanne start to work on getting up to the fire escape. Roger and Mimi are watching them laughing and holding each other.

ROGER

I THINK I SHOULD BE LAUGHING/ YET I FORGET/ FORGET HOW TO BEGIN/ I'M FEELING SOMETHING INSIDE/ AND YET I STILL CAN'T DECIDE/ IF I SHOULD HIDE/ OR MAKE A WIDE-OPEN GRIN/ LAST WEEK I WANTED JUST TO DISAPPEAR/ MY LIFE WAS DUST/ BUT NOW IT JUST MAY BE A HAPPY NEW YEAR/ A HAPPY NEW YEAR

Collins and Angel join Roger and Mimi by the front door. Collins dressed in a used tuxedo carries a bottle of champagne. Angel wearing a plastic dress and a blonde wig carries a small blowtorch.

115.

COLLINS

BOND - JAMES BOND

ANGEL

AND PUSSY GALORE - IN PERSON

MIMI

(pointing to the blowtorch)

PUSSY - YOU CAME PREPARED

ANGEL

I WAS A BOY SCOUT ONCE/ AND A BROWNIE/ UNTIL SOME BRAT GOT SCARED

COLLINS

(to Mimi)

AHA! MONEYPENNY - MY MARTINI!

MIMI

WILL BAD CHAMPAGNE DO?

ROGER

THAT'S SHAKEN - NOT STIRRED

COLLINS

PUSSY - THE BOLTS

ANGEL

JUST SAY THE WORD

Collins takes a swig of champagne as Angel lights the blowtorch and starts to work on the bolts of the door.

MIMI

FOUR MINUTES LEFT TO EXECUTE OUR PLAN

COLLINS

WHERE'S EVERYONE ELSE?

ROGER

(pointing to the rope)

PLAYING SPIDERMAN


Mark, Maureen and Joanne are climbing in through the windows.

MARK

IRONIC CLOSE-UP: TIGHT/ ON THE PHONE MACHINE'S RED LIGHT

116.

16MM POV

The phone/answering machine's red light is flashing. Maureen presses the "play" button. The answering machine BEEPS.

ALEXI DARLING'S VOICE

MARK COHEN/ ALEXI DARLING FROM BUZZLINE

BACK TO SCENE

MARK

(putting down his Camera)

Oh, that show's so sleazy.

INT. BUZZLINE OFFICE - CONTINUOUS - DAY

ALEXI DARLING, (30's), lots of make up, is sitting at her desk with her feet up talking into the speakerphone.

ALEXI DARLING

YOUR FOOTAGE OF THE RIOTS: A-ONE/ FEATURE-SEGMENT-NETWORK-DEAL TIME/ I'M SENDING YOU A CONTRACT/ KER-CHING, KER-CHING/ MARKY, GIVE US A CALL/ 970-4301/ OR AT HOME TRY 863-6754/ OR - MY CEL-PHONE, AT 919-763-0090/ OR - YOU CAN E-MAIL ME/ AT DARLING ALEXI NEWSCOM DOT NET/ OR - YOU CAN PAGE ME AT-/

The answering machine BEEPS ending the message.


Mark, Maureen and Joanne head out into the hallway with their flashlights lighting the way.

INT. MARK AND ROGER’S ABANDONED BUILDING HALLWAY – CONTINUOUS – NIGHT

They continue down to the entrance of the building.

MAUREEN

I THINK WE NEED AN AGENT!

MARK

WE?

117.

JOANNE

THAT'S SELLING OUT

MARK

BUT IT'S NICE TO DREAM

MAUREEN

YEAH - IT'S NETWORK TV/ AND IT'S ALL THANKS TO ME

MARK

SOMEHOW I THINK I SMELL/ THE WHIFF OF A SCHEME

JOANNE

ME TOO

MAUREEN

WE CAN PLAN ANOTHER PROTEST

JOANNE

WE?!

MAUREEN

THIS TIME YOU CAN SHOOT FROM THE START…/

(to JOANNE)

YOU'LL DIRECT/ STARRING ME!

They arrive at the entrance door and see the flame from Angel's blowtorch cutting through the bolts.

MARK

(shouting out the door)

Are you almost done?

EXT. MARK AND ROGER'S ABANDONED BUILDING - THAT MOMENT - NIGHT

COLLINS

(shouting back through the door)

Almost. We'll tell you when.

ROGER, MIMI, ANGEL & COLLINS

(shouting)

FIVE, FOUR, THREE, TWO - OPEN SESAME!!

Suddenly, the door is kicked out crashing to the ground right in front of Roger, Mimi, Angel and Collins.

118.

EVERYONE

HAPPY NEW YEAR/ HAPPY NEW YEAR/ HAPPY NEW…

Benny pulls up to the front of the building in his Range Rover. He joins the group.

BENNY

I SEE THAT YOU'VE BEATEN ME TO THE PUNCH

ROGER

HOW DID YOU KNOW WE'D BE HERE?

BENNY (cont’d)

I HAD A HUNCH

MARK

YOU'RE NOT MAD?

BENNY (cont’d)

I'M HERE TO END THIS WAR/ IT'S A SHAME YOU WENT AND DESTROYED THE DOOR

MIMI

WHY ALL THE SUDDEN THE BIG ABOUT-FACE

BENNY (cont’d)

THE CREDIT IS YOURS/ YOU MADE A GOOD CASE

ROGER

WHAT CASE?

BENNY (cont’d)

MIMI CAME TO SEE ME/ AND SHE HAD MUCH TO SAY

MIMI

THAT'S NOT HOW YOU PUT IT ALL YESTERDAY

BENNY (cont’d)

I COULDN'T STOP THINKING ABOUT THE WHOLE MESS/ MARK - YOU WANT TO GET THIS ON FILM

Mark aims his Camera at Benny.

MARK

I GUESS

119.

16MM POV

BENNY

I REGRET THE/ UNLUCKY CIRCUMSTANCES OF THE PAST SEVEN DAYS

ROGER (O.S.)

CIRCUMSTANCES

Mark quickly PANS his Camera towards Roger.

ROGER (cont’d)

YOU PADLOCKED OUR DOOR

BENNY (O.S.)

AND IT'S WITH

Mark quickly PANS back towards Benny.

BENNY (cont’d)

GREAT PLEASURE/ ON BEHALF OF CYBERARTS/

(holding out a key)

THAT I HAND YOU THIS KEY/ we will also be bringing in electricity and heat.

BACK TO SCENE

ANGEL

GOLF CLAPS

Everyone lightly claps.

MARK

I RAN OUT OF JUICE IN MY BATTERY

BENNY

RESHOOT

ROGER

OH I SEE - THIS IS A PHOTO OPPORTUNITY

MAUREEN

THE BENEVOLENT GOD/ USHERS THE POOR ARTISTS BACK TO THEIR FLAT/ WERE YOU PLANNING ON TAKING DOWN THE BARBED WIRE/ FROM THE LOT, TOO?

120.

ROGER

ANYTHING BUT THAT!

BENNY

CLEARING THE LOT WAS A SAFETY CONCERN/ WE BREAK GROUND THIS MONTH/ BUT YOU CAN RETURN

MAUREEN

THAT'S WHY YOU'RE HERE WITH PEOPLE YOU HATE/ INSTEAD OF WITH MUFFY AT MUFFY'S ESTATE

BENNY (cont’d)

I'D HONESTLY RATHER BE WITH YOU TONIGHT/ THAN IN WESTPORT -

ROGER SPARE US, OLD SPORT, THE SOUNDBITE

BENNY (cont’d)

MIMI - SINCE YOUR WAYS ARE SO SEDUCTIVE

MIMI

YOU CAME ON TO ME!

BENNY (cont’d)

PERSUADE HIM NOT TO BE SO COUNTERPRODUCTIVE

ROGER

LIAR!

BENNY (cont’d)

WHY NOT TELL HIM WHAT YOU WORE AT MY PLACE?

MIMI

I WAS ON MY WAY TO WORK

BENNY (cont’d)

BLACK LEATHER AND LACE!/ MY DESK WAS A MESS/ I THINK I’M STILL SORE

MIMI

‘CAUSE I KICKED HIM AND TOLD HIM I WASN’T HIS WHORE!

BENNY

WELL, DOES YOUR BOYFRIEND KNOW/ WHO YOUR LAST BOYFRIEND WAS?

121.

ROGER

I’M NOT HER BOYFRIEND/ I DON’T CARE WHAT SHE DOES

ANGEL

PEOPLE! IS THIS ANY WAY TO START A NEW YEAR?

Collins hands Benny a glass of champagne.

COLLINS

CHAMPAGNE?

BENNY

DON’T MIND IF I DO/ TO US

ALL BUT BENNY

NO BENNY – TO YOU!

ANGEL

LET’S MAKE A RESOLUTION

MIMI

I’LL DRINK TO THAT

COLLINS

LET’S ALWAYS STAY FRIENDS

JOANNE

THO’ WE MAY HAVE OUR DISPUTES

MAUREEN

THIS FAMILY TREE’S GOT DEEP ROOTS

MARK

FRIENDSHIP IS THICKER THAN BLOOD

ROGER

THAT DEPENDS

MIMI

DEPENDS ON TRUST

ROGER

DEPENDS ON TRUE DEVOTION

JOANNE

DEPENDS ON LOVE

MARK

(To Roger)

DEPENDS ON NOT DENYING EMOTION

122.

ROGER

PERHAPS

EVERYONE

IT’S GONNA BE A HAPPY NEW YEAR

ROGER

I GUESS

EVERYONE


ROGER

YOU’RE RIGHT

Angel brings Roger and Mimi together.

ANGEL


The whole entourage, except for Roger and Mimi, go inside to celebrate the New Year.

ROGER & MIMI

I’M SORRY

ROGER

COMING?

MIMI

IN A MINUTE – I’M FINE - GO

Roger kisses Mimi.

MIMI

I’ll be right in.

Roger heads into their building. Mimi runs to the edge of the vacant lot/tent city. She glances over her shoulder to make sure no one sees her. She sees her drug dealer and whistles for him.

THE MAN

WELL, WELL, WELL. WHAT HAVE WE HERE? HUH?

He hands Mimi a small plastic bag of powder, and pats her hand to sooth her.

THE MAN (cont’d)

IT’S GONNA BE A HAPPY NEW YEAR/ THERE, THERE - HUH/ THERE, THERE… YEAH

123.

Snow begins to fall heavily from the sky.

FADE OUT:

EXT. JONATHAN’S APARTMENT BUILDING – DAY

It is a sunny winter day.

INT. JONATHAN’S APARTMENT – BEDROOM – DAY

Sarah is sleeping. Jonathan enters the bedroom carrying a tray that has on it: breakfast, a single rose, and a card.

JONATHAN

Happy Valentine’s Day sleepyhead.

Sarah awakens groggily, but with a big smile.

SARAH

Happy Valentine’s Day.

Jonathan places the tray over Sarah’s lap and they kiss. She takes a sip of juice and opens her card. Jonathan watches intently.

SARAH

This is an invitation to your play.

JONATHAN

They’re gonna make it.

Sarah and Jonathan joyfully embrace. Jonathan walks over to his window and gazes out onto the city and the closed vacant lot.

JONATHAN (cont’d)

They said it needs work - but they’re gonna help me… and they’re gonna make it.

SARAH

I’m so proud of you.

JONATHAN

I’m gonna work my ass off.

Sarah stares at Jonathan. She knows that he will.

Jonathan focuses his attention on the closed vacant lot.

124.

EXT. CLOSED VACANT LOT – DAY

Mark is standing just outside the chain link fence of the lot. He is alone with his Camera. He Pans his Camera across the vacant lot.

16MM POV OF THE VACANT LOT.

MARK (O.S.)

Valentine’s Day… pan across the empty lot.

16MM CAMERA PANS to Mark and Roger’s Abandoned Building and the windows of the second floor loft in which Mimi is squatting.

MARK (O.S.) (cont’d) Roger’s downstairs at Mimi’s where he’s been for almost two months now, although he keeps talking about selling his guitars and heading out of town. He’s still jealous of Benny I think…

16MM CAMERA PANS down Eleventh Street towards the East River which can be seen a few long blocks away in the distance.

MARK (O.S.) (cont’d)

God knows where Collins and Angel are.

16MM POV CAMERA pivots to Mark.

MARK (cont’d)


I’m here. Nowhere.

16MM POV pivots back to the vacant lot.

INT. JOANNE’S LAW FIRM – DAY

Joanne is filing through papers on her desk while talking to a client on the phone. Just then Maureen bursts in.

MAUREEN

I can’t say it.

Joanne holds her hand up for quiet. Maureen storms over and grabs the phone.

125.

MAUREEN (cont’d)

(into the phone)

I’m sorry, Ms. Jefferson will have to call you back.

Maureen slams down the reciever.

JOANNE

That was important.

MAUREEN

So am I. And you’ve been ignoring me.

JOANNE

What can’t you say?

MAUREEN

“Cyberarts and its corporate sponsor, Grey Communications, would like to mitigate the Christmas riots…” I like my version better.

JOANNE

You – dressed as a groundhog – to protest the ground-breaking…

MAUREEN

It’s a metaphor!

JOANNE

It’s… less than brilliant.

MAUREEN

That’s it, Miss Ivy League!

JOANNE

What?

MAUREEN

Ever since New Year’s, I haven’t said boo. I let you direct. I didn’t pierce my nipples because it grossed you out. I didn’t stay and dance at the Clit Club that night ‘cause you wanted to go home…

JOANNE

You were flirting with the woman in rubber.

126.

MAUREEN

That’s what this is about? There will always be women in rubber flirting with me. Give me a break. EVERY SINGLE DAY/ I WALK DOWN THE STREET/ I HEAR PEOPLE SAY/ “BABY’S SO SWEET”/ EVER SINCE PUBERTY/ EVERYBODY STARES AT ME/ BOYS – GIRLS/ I CAN’T HELP IT BABY/ SO BE KIND/ AND DON’T LOSE YOUR MIND/ JUST REMEMBER THAT I’M YOUR BABY/ TAKE ME FOR WHAT I AM/ WHO I WAS MEANT TO BE/ AND IF YOU GIVE A DAMN/ TAKE ME BABY OR LEAVE ME/ TAKE ME BABY OR LEAVE ME/

INT. LAW OFFICE MAIN FLOOR - CONTINUOUS

Maureen runs out of Joanne’s office and into the main floor of the firm. Lawyers and secretaries lean out of their offices and cubicles to see what’s going on. Throughout the song Maureen flirts and cavorts with Joanne’s coworkers and Joanne follows her trying to rein her in.

MAUREEN

A TIGER IN A CAGE/ CAN NEVER SEE THE SUN/ THIS DIVA NEEDS HER STAGE/ BABY – LET’S HAVE FUN!/ YOU ARE THE ONE I CHOOSE/ FOLKS WOULD KILL TO FILL YOUR SHOES/ YOU LOVE THE LIMELIGHT TOO, NOW BABY/ SO BE MINE OR DON’T WASTE MY TIME/ CRYIN’ – “OOH HONEYBEAR – ARE YOU STILL MY-MY-MY BABY?”/ TAKE ME FOR WHAT I AM/ WHO I WAS MEANT TO BE/ AND IF YOU GIVE A DAMN/ TAKE ME BABY OR LEAVE ME/ NO WAY CAN I BE WHAT I’M NOT/ BUT HEY – DON’T YOU WANT YOUR GIRL HOT!/ DON’T FIGHT – DON’T LOSE YOUR HEAD/ ‘CAUSE EVERY NIGHT – WHO’S IN YOUR BED?/ WHO - WHO’S IN YOUR BED?/ KISS POOKIE.

Joanne’s heard enough. She makes her case to her astonished coworkers and Maureen.

127.

JOANNE

IT WON’T WORK/ I LOOK BEFORE I LEAP/ I LOVE MARGINS AND DISCIPLINE/ I MAKE LISTS IN MY SLEEP/ BABY WHAT’S MY SIN?/ NEVER QUIT – I FOLLOW THROUGH/ I HATE MESS – BUT I LOVE YOU/ WHAT TO DO/ WITH MY IMPROMPTU BABY/ SO BE WISE/ ‘CAUSE THIS GIRL SATISFIES/ YOU’VE GOT A PRIZE – BUT DON’T COMPROMISE/ YOU’RE ONE LUCKY BABY/ TAKE ME FOR WHAT I AM

MAUREEN

A control freak.

JOANNE

WHO I WAS MEANT TO BE

MAUREEN

A snob – yet over-attentive.

JOANNE

AND IF YOU GIVE A DAMN

MAUREEN

A lovable, droll geek

JOANNE

TAKE ME BABY OR LEAVE ME

MAUREEN

AND ANAL RETENTIVE!

JOANNE & MAUREEN

THAT’S IT

JOANNE

THE STRAW THAT BREAKS MY BACK

JOANNE & MAUREEN (cont’d)

I QUIT

JOANNE

UNLESS YOU TAKE IT BACK

JOANNE & MAUREEN

WOMEN

MAUREEN

WHAT IS IT ABOUT THEM?

128.

JOANNE & MAUREEN (cont’d)

CAN’T LIVE -/ WITH THEM – OR WITHOUT THEM!/ TAKE ME FOR WHAT I AM/ WHO I WAS MEANT TO BE/ AND IF YOU GIVE A DAMN/ TAKE ME BABY OR LEAVE ME/ TAKE ME BABY/ OR LEAVE ME/ GUESS I’M LEAVIN’/ I’M GONE!

Maureen storms out of the office and Joanne marches into her office and slams the door. The large room is silent. Joanne’s coworkers look at each other befuddled. Slowly, they go back to work.

(Note: “Seasons of Love B” has been moved to after “Contact”)

INT. MARK AND ROGER’S ABANDONED BUILDING – MIMI’S LOFT - DAY

Roger is sitting on the floor plucking the strings of his electric guitar (unplugged), working on a song. Mimi enters out of breath. Roger continues working on his song without looking up.

ROGER

Where were you?

MIMI

I’m sorry, I’m late but--

ROGER

I know. You lost your keys. No, you went for a walk; you had to help your mother;

(rising from the floor)

And how’s Benny? I’m gonna work upstairs tonight.

MIMI

Wait…/ I SHOULD TELL YOU/ I SHOULD…/ Never mind…

ROGER

Happy spring.

Roger leaves with his guitar. Mimi pulls out a just-purchased bag of heroin. She stares at it for a moment and then angrily flings it across the room. She walks over to the window and climbs out on her second story fire escape.

129.

MIMI

WITHOUT YOU/ THE GROUND THAWS/ THE RAIN FALLS/ THE GRASS GROWS/ WITHOUT YOU/ THE SEEDS ROOT/ THE FLOWERS BLOOM/ THE CHILDREN PLAY/ THE STARS GLEAM/ THE POETS DREAM/ THE EAGLES FLY/ WITHOUT YOU/ THE EARTH TURNS/ THE SUN BURNS/ BUT I DIE/ WITHOUT YOU

EXT. JOANNE’S APARTMENT – TERRACE - DAY

Joanne gazing over the city.

JOANNE

WITHOUT YOU/ THE BREEZE WARMS/ THE GIRL SMILES/ THE CLOUD MOVES/ WITHOUT YOU

EXT. A RUNDOWN FLEABAG HOTEL – FIRE-ESCAPE – DAY

Collins is twisting the metal banister in his hands with all his might, trying to wrench out added strength from the steel grating.

COLLINS

THE TIDES CHANGE/ THE BOYS RUN/ THE OCEANS CRASH/ THE CROWDS ROAR/ THE DAYS SOAR/ THE BABIES CRY/ WITHOUT YOU

EXT. MARK AND ROGER’S ABANDONED BUILDING – SECOND STORY FIRE ESCAPE – DAY

Mimi still on her fire escape.

MIMI

THE MOON GLOWS/ THE RIVER FLOWS/ BUT I DIE/ WITHOUT YOU

INT. MARK AND ROGER’S LOFT – DAY

Roger standing by the windows.

ROGER

THE WORLD REVIVES

EXT. MARK AND ROGER’S ABANDONED BUILDING – MIMI’S FIRE-ESCAPE – DAY

MIMI

COLORS RENEW

130.

CUT BETWEEN: ROGER; JOANNE; COLLINS; AND MIMI.

ALL

BUT I KNOW BLUE/ ONLY BLUE/ LONELY BLUE/ WITHIN ME, BLUE/ WITHOUT YOU

MIMI

WITHOUT YOU/ THE HAND GROPES

JOANNE

THE EAR HEARS

COLLINS

THE PULSE BEATS

ROGER

WITHOUT YOU/ THE EYES GAZE

EXT. JOANNE’S APARTMENT BUILDING – DAY

Maureen arrives outside the building and stares up at Joanne on her terrace.

MAUREEN

THE LEGS WALK

JOANNE

THE LUNGS BREATHE

CUT BETWEEN: ROGER; JOANNE; COLLINS; MAUREEN; AND MIMI.

ALL

THE MIND CHURNS/ THE MIND CHURNS/ THE HEART YEARNS/ THE HEART YEARNS/ THE TEARS DRY/ WITHOUT YOU

INT. RUNDOWN FLEA-BAG HOTEL-ROOM – DAY

Angel lies sweating in the bed. He has an IV hooked up to his arm.

ANGEL

LIFE GOES ON

FIRE ESCAPE

COLLINS

BUT I’M GONE

EXT. MARK AND ROGER’S LOFT – DAY

131.

Roger climbs out on the fire escape. He sees Mimi below him out on her fire escape.

ROGER

‘CAUSE I DIE/ WITHOUT YOU

INT. RUNDOWN FLEA-BAG HOTEL-ROOM – DAY

Collins comes in from the fire escape and sits down on the bed with Angel.

ALL

WITHOUT YOU

INT. JOANNE’S APARTMENT – DAY

Joanne opens her door to Maureen standing in the hallway. They embrace.

ALL (cont’d)

WITHOUT YOU

EXT. MARK AND ROGER’S ABANDONED BUILDING – FIRE ESCAPE – DAY

Roger climbs down to Mimi. They embrace.

ALL (cont’d)

WITHOUT YOU

FADE OUT:

DURING THE SINING OF “VOICE MAIL #5” CUT BETWEEN ROGER’S MOTHER’S HOUSE - MIMI’S MOTHER’S APARTMENT – JOANNE’S PARENTS ESTATE – AND MARK’S MOTHER’S HOUSE

INT. ROGER’S MOTHER’S HOUSE – DEN – DAY

ROGER’S MOTHER is dialing the phone. She hears SPEAK and a BEEP.

ROGER’S MOTHER

ROGER/ THIS IS YOUR MOTHER/ ROGER, HONEY, I DON’T GET THESE POSTCARDS/ “MOVING TO SANTA FE”/ ROGER, WHERE ARE YOU?? PLEASE CALL

INT. MIMI’S MOTHER’S APARTMENT – KITCHEN - DAY

MIMI’S MOTHER is on the phone.

132.

MIMI’S MOTHER

MIMI, CHICA, DONDE ESTAS?/ TU MAMA ESTA LLAMANDO/ DONDE ESTAS, MIMI, CALL?

INT. THE JEFFERSON RESIDENCE – DAY

Joanne’s Father is on the phone.

JOANNE’S FATHER

KITTEN – WHEREVER ARE YOU – KITTEN – WHEREVER ARE YOU - CALL

INT. MARK’S MOTHER’S HOUSE – DAY

Mark’s Mother is on the phone.

MRS. COHEN

MARK – ARE YOU THERE – ARE YOU THERE?/ I DON’T KNOW IF HE’S THERE/ WE’RE ALL HERE WISHING YOU WERE, TOO-/ WHERE ARE YOU, MARK, ARE YOU THERE, ARE YOU, WHERE ARE YOU?/ MARK – ARE YOU THERE – ARE YOU THERE?/ I DON’T KNOW IF – PLEASE CALL YOUR MOTHER

A telephone begins to ring O.S.

INT. MARK AND ROGER’S LOFT – CONTINUOUS – DAY

The phone continues to ring in the empty apartment. Mark rushes in just as the answering machine picks up. He stares at the phone while he screens the message.

ROGER & MARK’S ANSWERING MACHINE

Speak…/ (Beeep!)

ALEXI DARLING (O.S.)

MARK COHEN/ ALEXI DARLING/ A BEAUTIFUL WEEKEND/

EXT. EAST HAMPTON BEACH – CONTINUOUS - DAY

ALEXI DARLING, (40), is walking alone on the beach in a leisure suit talking into her cell-phone.

ALEXI DARLING

IN EAST HAMPTON/ ON THE BEACH/ JUST SAW ALEC BALDWIN/ TOLD HIM YOU SAID HI/

133.

INT. MARK AND ROGER’S LOFT

Mark looks at the answering machine, moderately impressed.

ALEXI DARLING

JUST KIDDING/

Mark frowns.

EXT. EAST HAMPTON BEACH - CONTINUOUS - DAY

ALEXI DARLING

WE STILL NEED DIRECTORS/ YOU STILL NEED MONEY/ YOU KNOW YOU NEED MONEY/ PICK UP THE PHONE/ DON’T BE AFRAID OF KER-CHING, KER-CHING/ MARKY

INT. MARK AND ROGER’S LOFT – CONTINUOUS – DAY

Mark is loading film into his camera.

ALEXI DARLING (O.S.)

– SELL US YOUR SOUL/

Mark looks over at the answering machine.

ALEXI DARLING (O.S.) (cont’d)

JUST KIDDING/ WE’RE WAITING…

Mark sighs and looks down at his Camera.

EXT. NIGHT-TIME FALLS ON MANHATTAN – NIGHT

The rhythm of the music pulsates as New York heats up.

CUT BETWEEN – the following scenes during the singing of “Contact”.

INT. JONATHAN’S BEDROOM – NIGHT

Jonathan and Sarah making love.

EXT. A GRUNGY ALLEY IN NEW YORK – NIGHT

Couples having wild sex.

INT. JOANNE’S APARTMENT BEDROOM – NIGHT

Joanne and Maureen making love.

134.

EXT. ANOTHER SHANTY-TOWN TENT CITY – NIGHT

A couple making love.

INT. A GAY DANCE CLUB – NIGHT

Couples grinding.

INT. MIMI’S LOFT – NIGHT

Roger and Mimi make love.

COUPLES

Hmmm, hmmm… Well, well, well… Oh yeah baby… It’s time to get my freak on… You ain’t the only one.

EVERYONE

HOT-HOT-HOT-SWEAT-SWEET/ WET-WET-WET-RED HEAT/ HOT-HOT-HOT-SWEAT-SWEET/ WET-WET-WET-RED-HEAT/ PLEASE DON’T STOP PLEASE/ PLEASE DON’T STOP STOP/ STOP STOP STOP DON’T/ PLEASE PLEASE PLEASE PLEASE/ HOT-HOT-HOT SWEAT-SWEET/ WET-WET-WET-RED-HEAT/ STICKY-LICKY-TRICKLE-TICKLE/ STEAMY-CREAMY-STROKING-SOAKING HOT-HOT-HOT-SWEAT-SWEET-WET-WET-WET-RED-HEAT/ TOUCH!/ TASTE!/ DEEP!/ DARK!/ KISS!/ BEG!/ SLAP!/ FEAR!/ THICK!/ RED, RED/ RED, RED/ RED, RED-PLEASE/ HARDER/ FASTER/ WETTER/ BASTARD/ YOU WHORE/ YOU CANNIBAL/ MORE/ YOU ANIMAL/ FLUID NO FLUID NO CONTACT YES NO CONTACT/ FIRE FIRE BURN-BURN YES!/ NO LATEX RUBBER RUBBER/ FIRE LATEX RUBBER LATEX BUMMER LOVER BUMMER

INT. RUNDOWN-FLEABAG HOTEL ROOM – BY THE EAST RIVER – NIGHT

Angel rises from his bed. Collins remains sleeping. He climbs out onto the fire escape.

ANGEL

TAKE ME/ TAKE ME/ TAKE ME/ TAKE ME/ TAKE ME/ TODAY FOR YOU/ TOMORROW FOR ME/ TODAY ME/ TOMORROW YOU/ TOMORROW YOU/ LOVE/ YOU/ LOVE YOU/ I LOVE YOU/ I LOVE/ YOU I LOVE/ YOU! TAKE ME/ TAKE ME/ I LOVE YOU

Angel collapses and dies out on the fire escape.

135.

INT. MIMI’S LOFT - NIGHT

ROGER

UHMM

INT. JOANNE’S APARTMENT - NIGHT

JOANNE

WAIT

INT. MIMI’S LOFT - NIGHT

MIMI

SLIPPED

INT. JOANNE’S APARTMENT - NIGHT

MAUREEN

SHIT

JOANNE

OW!


Roger and Mimi in the bed by the moonlit window.

ROGER

WHERE’D IT GO?

MIMI

SAFE

INT. JOANNE’S APARTMENT – BEDROOM – NIGHT

JOANNE

DAMN

MAUREEN

I THINK I MISSED – DON’T GET PISSED


MIMI & ROGER

IT WAS BAD FOR ME

INT. JOANNE’S APARTMENT – BEDROOM – NIGHT

Joanne and Maureen lying together in the bed. They turn to look at each other.

MAUREEN & JOANNE

WAS IT BAD FOR YOU?

136.

JOANNE

IT’S OVER

MAUREEN

IT’S OVER


Roger sits up rapidly in the bed.

ROGER

IT’S OVER

Mimi quickly pops up into a seated position in the bed.

MIMI

IT’S OVER

EXT. RUNDOWN-FLEABAG HOTEL – FIRE ESCAPE – NIGHT

Collins kneels down on the hard metal grating and holds his dead lover in his arms

COLLINS

IT’S OVER

EXT. NEW YORK CITY STREETS – DAY

Pedestrians are going about their day oblivious to and partly hardened by the suffering of many of their fellow New Yorkers.

PEDESTRIANS

IN DIAPERS–REPORT CARDS/ IN SPOKED WHEELS-IN SPEEDING TICKETS/ IN CONTRACTS-DOLLARS/ IN FUNERALS-IN BIRTHS/ IN-FIVE HUNDRED TWENTY-FIVE THOUSAND/ SIX HUNDRED MINUTES/ HOW DO YOU FIGURE/ A LAST YEAR ON EARTH?/ FIGURE IN LOVE/ FIGURE IN LOVE/ FIGURE IN LOVE/ MEASURE IN LOVE/ SEASONS OF LOVE/ SEASONS OF LOVE

EXT. A LARGE CHURCH – DAY

Jonathan and Matthew run up the stairs towards the entrance. They are dressed in dark clothes.

MATTHEW

Come on, it’s starting.

137.

Jonathan pauses for a moment and almost loses his balance. Matthew hastens over to steady him.

MATTHEW (cont’d)

Are you okay?

JONATHAN

I caught a bug; I’ll be fine.

MATTHEW

You’re working too hard, that’s what it is.

JONATHAN

I’m fine.

They enter the church.

INT. CHURCH – DAY

Angel’s Memorial is underway. The pews are filled with the many differing people that populated Angel’s life. Seated in the front row is Collins, Mark, Roger, Benny, Maureen and Joanne. Mimi is at the podium. Everyone in attendance is dressed up to the best of their limited means.

MIMI

Angel was one of my closest friends. I knew we’d hit it off the night we met – this skinhead was bothering her and she told him she was more of a man than he’d ever be and more of a woman than he’d ever get…

Mark at the podium.

MARK

…And then there was the time he… she walked up to this group of tourists – and they were petrified because, A – they were obviously lost, and B – had probably never spoken to a drag queen before in their lives… and she just offered to escort them out of Alphabet City… And then she let them take a picture with her…

Maureen at the podium.

138.

MAUREEN

…So much more original than any of us –

(lifting her gaze to Angel)

you’d find an old tablecloth on the street and make a dress – and next year, sure enough – they’d be mass-producing them at the Gap! You always said how lucky you were that we were all friends – but it was us, baby, who were the lucky ones.

Collins approaches the podium. He stands for a moment looking at all the people in attendance and smiles at the joy Angel brought to all of them. Then he recalls the moment he first met Angel.

COLLINS

(to Angel)

LIVE IN MY HOUSE/ I’LL BE YOUR SHELTER/ JUST PAY ME BACK WITH ONE THOUSAND KISSES/ BE MY LOVER/ AND I’LL COVER YOU/ OPEN YOUR DOOR - I’LL BE YOUR TENANT/ DON’T GOT MUCH BAGGAGE/ TO LAY AT YOUR FEET/ BUT SWEET KISSES I’VE GOT TO SPARE/ I’LL BE THERE – AND I’LL COVER YOU/ OHHH - I THINK THEY MEANT IT/ WHEN THEY SAID YOU CAN’T BUY LOVE/ NOW I KNOW YOU CAN RENT IT/ A NEW LEASE YOU WERE, MY LOVE, ON LIFE/ ALL MY LIFE/ I’VE LONGED TO DISCOVER SOMETHING AS TRUE/ AS THIS IS

Collins buckles momentarily. Mark, Roger, Benny, Mimi, Maureen and Joanne rush up to the podium to help him.

The whole congregation sings simultaneously with all of the friends at the Podium.

EVERYONE AT PODIUM

SO WITH A THOUSAND SWEET KISSES

139.

CONGREGATION

FIVE HUNDRED TWENTY-FIVE THOUSAND SIX HUNDRED MINUTES/ FIVE HUNDRED TWENTY-FIVE THOUSAND MOMENTS SO DEAR/ FIVE HUNDRED TWENTY-FIVE THOUSAND SIX HUNDRED MINUTES/ FIVE HUNDRED TWENTY-FIVE THOUSAND SIX HUNDRED-/ MEASURE A YEAR/ OH LOVER I’LL COVER YOU/ OH LOVER I’LL COVER YOU

COLLINS

IF YOU’RE COLD AND YOU’RE LONELY

EVERYONE AT PODIUM

I’LL COVER YOU/ WITH A THOUSAND SWEET KISSES

COLLINS

YOU’VE GOT ONE NICKEL ONLY

EVERYONE AT PODIUM

I’LL COVER YOU/ WITH A THOUSAND SWEET KISSES

COLLINS

WHEN YOU’RE WORN OUT AND TIRED

EVERYONE AT PODIUM

WITH A THOUSAND SWEET KISSES/ I’LL COVER YOU

COLLINS

WHEN YOUR HEART AS EXPIRED

CONGREGATION

OH LOVER/ I’LL COVER YOU/ OH LOVER

COLLINS

I’LL COVER YOU

CONGREGATION

FIVE HUNDRED TWENTY-FIVE THOUSAND SIX HUNDRED MINUTES/ FIVE HUNDRED TWENTY-FIVE THOUSAND/ SEASONS OF LOVE

COLLINS

I WILL COVER YOU

Collins slumps down on the podium drained. His friends huddle around him and blanket him with hugs.

140.

EXT. CHURCH – DAY

Mark exits the church carrying a bag. He approaches a pay phone right in front of the church and reluctantly drops in some change. He dials.

MARK

(into phone)

Hi. It’s Mark Cohen. Is Alexi there?… Uhh no need to bother her. Just let her know that I’m running late for my appointment, I’m at my… Yes, I’ll still be there… Yes, I signed the contract… Thanks…

He hangs up the phone and stares at the church. He pulls his Camera out of the bag.

16MM POV – MARK DIRECTLY INTO HIS CAMERA.

MARK

HOW DID WE GET HERE?/ HOW THE HELL…/ PAN LEFT-

16MM POV – PANS to the steeple of the Church.

MARK (cont’d)

CLOSE ON THE STEEPLE OF THE CHURCH

BACK TO SCENE

MARK

CHRISTMAS/ CHRISTMAS EVE – LAST YEAR/ HOW COULD A NIGHT SO FROZEN/ BE SO SCALDING HOT?/ HOW CAN A MORNING THIS MILD/ BE SO RAW?/ WHY ARE ENTIRE YEARS STREWN/ ON THE CUTTING-ROOM FLOOR OF MEMORY/ WHEN SINGLE FRAMES OF ONE MAGIC NIGHT/ FOREVER FLICKER IN CLOSE-UP/ ON THE 3-D IMAX OF MY MIND

16MM POV – Mark directly into his Camera.

MARK (cont’d)

THAT’S POETIC/ THAT’S PATHETIC

BACK TO SCENE

Just then the others start to empty out of the church.

141.

Mark’s 16MM POV – PANS to each of his friends as he sings of them.

MARK (O.S.)

WHY DID MIMI KNOCK ON ROGER’S DOOR/ AND COLLINS FALL ON THAT BUILDING/ BACK WHERE ANGEL SET UP HIS DRUMS?/ WHY DID MAUREEN’S EQUIPMENT BREAK DOWN?

Mark’s 16MM POV – PANS to himself and sings directly into his Camera.

MARK (cont’d)

WHY AM I THE WITNESS?/ AND WHEN I CAPTURE IT ON FILM/ WILL IT MEAN THAT IT’S THE END/ AND I’M ALONE?

BACK TO SCENE

Most of the rest of the congregation has departed leaving only Mimi, Benny, Roger, Mark, Maureen, Joanne and Collins.

MIMI

(to Roger)

IT’S TRUE YOU SOLD YOUR GUITARS AND BOUGHT A CAR?

ROGER

IT’S TRUE – I’M LEAVING NOW FOR SANTA FE/ IT’S TRUE YOU’RE WITH THIS YUPPIE SCUM?

BENNY

YOU SAID – YOU’D NEVER SPEAK TO HIM AGAIN

MIMI

NOT NOW

MAUREEN

WHO SAID THAT YOU HAVE ANY SAY/ IN WHO SHE SAYS THINGS TO AT ALL?

JOANNE

WHO SAID THAT YOU SHOULD STICK YOUR NOSE IN OTHER PEOPLE’S--

MAUREEN

Who said I was talking to you?

142.

JOANNE

WE USED TO HAVE THIS FIGHT EACH NIGHT SHE’D NEVER ADMIT I EXISTED

MARK

Calm down everyone, please!

MIMI

HE WAS THE SAME WAY – HE WAS ALWAYS/ “RUN AWAY – HIT THE ROAD/ DON’T COMMIT” – YOU’RE FULL OF SHIT

BENNY

Mimi

JOANNE

SHE’S IN DENIAL

MIMI

HE’S IN DENIAL

MARK

Guys! Come on!

JOANNE

DIDN’T GIVE AN INCH/ WHEN I GAVE A MILE

MIMI

I GAVE A MILE

ROGER

GAVE A MILE TO WHO?

MARK

COME ON GUYS CHILL!

MIMI & JOANNE

I’D BE HAPPY TO DIE FOR A TASTE/ OF WHAT ANGEL HAD/ SOMEONE TO LIVE FOR – UNAFRAID/ TO SAY I LOVE YOU

ROGER

ALL YOUR WORDS ARE NICE MIMI/ BUT LOVE’S NOT A THREE-WAY STREET/ YOU’LL NEVER SHARE REAL LOVE/ UNTIL YOU LOVE YOURSELF – I SHOULD KNOW

COLLINS

YOU ALL SAID YOU’D BE COOL TODAY/ SO PLEASE – FOR MY SAKE…/ I CAN’T BELIEVE HE’S GONE

143.

COLLINS (cont’d)

(to Roger)

I CAN’T BELIEVE YOU’RE GOING/ I CAN’T BELIEVE THIS FAMILY MUST DIE/ ANGEL HELPED US BELIEVE IN LOVE/ I CAN’T BELIEVE YOU DISAGREE

ALL

I CAN’T BELIEVE THIS IS GOODBYE

Maureen approaches Joanne.

MAUREEN

Pookie.

JOANNE

Honeybear.

They embrace.

MAUREEN

I missed you so much.

JOANNE

I missed you.

MAUREEN

I missed your smell.

JOANNE

Your mouth/ your –

Joanne gives Maureen a firm kiss on the lips.

MAUREEN

Ow.

JOANNE

What?

MAUREEN

Nothing, Pookie.

JOANNE

No, baby – you said, “Ow!” – What?

MAUREEN

You bit my tongue.

JOANNE

No, I didn’t.

144.

MAUREEN

You did I’m bleeding.

JOANNE

No, it isn’t.

MAUREEN

I think I should know…

JOANNE

Let me see-

MAUREEN

She doesn’t believe me.

JOANNE

I was only trying to…

They immediately end the argument and quickly hug. They kiss Collins and walk off arm and arm.

Just then the Priest comes out of the church.

PASTOR Thomas B. Collins?

COLLINS

Yes sir.

PASTOR

May I please speak with you?

COLLINS

Yes, of course.

Collins follows the Priest into the church.

Mimi tries to connect with Roger but he turns away. She joins Benny.

BENNY

Let’s go.

She hesitates for a moment and then leaves with Benny.

Mark and Roger are left outside the church waiting for Collins.

MARK

I HEAR THERE ARE GREAT RESTAURANTS OUT WEST

145.

ROGER

SOME OF THE BEST/ HOW COULD SHE?

MARK

HOW COULD YOU LET HER GO?

ROGER

YOU JUST DON’T KNOW… HOW COULD WE LOSE ANGEL?

MARK

MAYBE YOU’LL SEE WHY WHEN YOU STOP ESCAPING YOUR PAIN/ AT LEAST NOW IF YOU TRY – ANGEL’S DEATH WON’T BE IN VAIN

ROGER

HIS DEATH IS IN VAIN

Off to the side of the church Mimi returns. She stands in the shadows listening to Mark and Roger.

MARK

ARE YOU INSANE?/ THERE’S SO MUCH TO CARE ABOUT/ THERE’S ME – THERE’S MIMI –

ROGER

MIMI’S GOT HER BAGGAGE TOO

MARK

SO DO YOU

ROGER

WHO ARE YOU TO TELL ME WHAT I KNOW, WHAT TO DO

MARK

A FRIEND

ROGER

BUT WHO, MARK, ARE YOU?/”MARK HAS GOT HIS WORK”/ THEY SAY, “MARK LIVES FOR HIS WORK”/ AND, “MARK’S IN LOVE WITH HIS WORK”/ MARK HIDES IN HIS WORK

MARK

FROM WHAT?

146.

ROGER

FROM FACING YOUR FAILURE, FACING YOUR LONELINESS/ FACING THE FACT YOU LIVE A LIE/ YES, YOU LIVE A LIE – TELL YOU WHY/ YOU’RE ALWAYS PREACHING NOT TO BE NUMB/ WHEN THAT’S HOW YOU THRIVE/ YOU PRETEND TO CREATE AND OBSERVE/ WHEN YOU REALLY DETACH FROM FEELING ALIVE

MARK

PERHAPS IT’S BECAUSE I’M THE ONE OF US TO SURVIVE

ROGER

POOR BABY

MARK

MIMI STILL LOVES ROGER/ IS ROGER REALLY JEALOUS/ OR AFRAID THAT MIMI’S WEAK

ROGER

MIMI DID LOOK PALE

MARK

MIMI’S GOTTEN THIN/ MIMI’S RUNNING OUT OF TIME/ ROGER’S RUNNING OUT THE DOOR –

ROGER

NO MORE! OH NO!/ I’VE GOTTA GO

MARK

HEY, FOR SOMEBODY WHO’S ALWAYS BEEN LET DOWN/ WHO’S HEADING OUT OF TOWN?

ROGER

FOR SOMEONE WHO LONGS FOR A COMMUNITY OF HIS OWN/ WHO’S WITH HIS CAMERA, ALONE?

Roger takes a step to go, then stops, and turns back to Mark.

ROGER (cont’d)

I’LL CALL/ I HATE THE FALL

Roger turns to leave and Mimi steps out from the shadows.

ROGER (cont’d)

YOU HEARD?

147.

MIMI

EVERY WORD/ YOU DON’T WANT BAGGAGE WITHOUT LIFETIME GUARANTEES/ YOU DON’T WANT TO WATCH ME DIE?/ I JUST CAME TO SAY/ GOODBYE, LOVE/ GOODBYE, LOVE/ CAME TO SAY GOODBYE, LOVE, GOODBYE/ JUST CAME TO SAY

ROGER (cont’d)

GLORY

MIMI

GOODBYE LOVE

ROGER

ONE BLAZE OF

MIMI

GOODBYE LOVE

ROGER

GLORY

MIMI

GOODBYE LOVE

ROGER

I HAVE TO FIND

MIMI

GOODBYE

Roger runs off. Just then Benny enters and puts his arm around Mimi.

BENNY

Come on babe. I’ve got people to meet.

Mimi pulls away from him.

MIMI

PLEASE DON’T TOUCH ME/ UNDERSTAND/ I’M SCARED/ I NEED TO GO AWAY

MARK

I KNOW A PLACE – A CLINIC

BENNY

A REHAB!

MIMI MAYBE – COULD YOU?

148.

BENNY

OF COURSE - I’LL PAY

MIMI

(towards the direction that Roger went)

GOODBYE LOVE/ GOODBYE LOVE/ CAME TO SAY GOODBYE, LOVE, GOODBYE/ JUST CAME TO SAY/ GOODBYE LOVE/ GOODBYE LOVE/ GOODBYE LOVE/ HELLO DISEASE

Collins comes out of the church. Benny and Mark turn towards the front of the church.

COLLINS

That’s bullshit!

PRIEST

I’m very sorry. There is nothing I can do.

MARK

What’s going on?

COLLINS

They won’t bury Angel here. He didn’t realize that he had AIDS.

Mimi turns and walks off.

COLLINS

And he didn’t realize that we were “together.” He won’t even say the word gay.

MARK

(to the priest)

What happened to “Rest in peace”?

PRIEST

I am sorry.

COLLINS

You have no right, he was a Catholic.

PRIEST

No, he wasn’t.

The priest goes back into his church.

149.

COLLINS

I don’t know what I’m gonna do. They were going to handle it as charity for the poor.

BENNY

I can help out.

Collins and Benny hug. Benny quickly pushes off.

BENNY

Mimi! Where’s Mimi? Fuck! I’ve been tryin’ to talk her into goin’ for help. I thought Angel’s death might, you know…

Collins puts his arms around Benny and Mark.

COLLINS

Let’s bury Angel and go find Mimi.

MARK

I can’t, I’ve got a meeting right now.

COLLINS

A meeting?

BENNY

A meeting?

COLLINS

Whatever man.

(to Benny)

Let’s go.

Collins and Benny leave Mark standing alone with his Camera in front of the church.

FADE OUT:

INT. JONATHAN’S APARTMENT – DAY

Jonathan swallows some pills while he’s talking on the phone. He looks very fatigued.

JONATHAN

I just got back… What they said is what I told you all along, I’ve got the flu… Yes, I know, lots of OJ and water, and vitamin C, and aspirin… I will… Love you too Mom.

150.

Jonathan, exhausted, plops down on the couch and rests his feet on the coffee table. He turns on the TV with the remote and lays it beside him. He lets his head fall back onto the top of the cushion behind him.

TV ANNOUNCER

And now back to Buzzline.

Jonathan reaches for the remote and knocks it onto the floor. He shakes his head and laughs, too tired to pick it up.

JONATHAN

Great!

INT. DRESSING ROOM - DAY

Mark is sitting in front of a mirror rehearsing. He holds his Camera as a prop.

MARK

“Coming up next – vampire welfare queens who are compulsive bowlers.” I’m Mark Cohen for Buzzline… Back to you, Alexi.

Mark pans his Camera in the direction where Alexi would be. He notices in another mirror that he is using his Camera as a prop.

MARK (cont’d)

Oh, my God, what am I doing?

He puts his Camera on the table in front of the mirror and pushes it away disgusted.

MARK (cont’d)

(rising)

DON’T BREATH TOO DEEP/ DON’T THINK ALL DAY/ DIVE INTO WORK/ DRIVE THE OTHER WAY/ THAT DRIP OF HURT/ THAT PINT OF SHAME/ GOES AWAY/ JUST PLAY THE GAME/

Mark picks up his Camera and shoots himself in all the mirrors of the room.

16MM POV

151.

MARK (cont’d)

YOU’RE LIVING IN AMERICA/ AT THE END OF THE MILLENNIUM/ YOU’RE LIVING IN AMERICA/ LEAVE YOUR CONSCIENCE AT THE TONE/ AND WHEN YOU’RE LIVING IN AMERICA/ AT THE END OF THE MILLENNIUM/ YOU’RE WHAT YOU OWN

EXT. BIRDS EYE VIEW – GEORGE WASHINGTON BRIDGE – DAY

Hundreds of cars pour out of the bridge heading west.

INT. ROGER’S CAR – DAY

Roger is driving on Highway 80.

ROGER

THE FILMMAKER CANNOT SEE

CUT BETWEEN 16MM POV OF MARK IN HIS DRESSING ROOM AND ROGER IN HIS CAR.

MARK

AND THE SONGWRITER CANNOT HEAR

ROGER

YET I SEE MIMI EVERYWHERE

MARK

ANGEL’S VOICE IS IN MY EAR

ROGER

JUST TIGHTEN THOSE SHOULDERS

MARK

JUST CLENCH YOUR JAW ‘TIL YOU FROWN

ROGER

JUST DON’T LET GO

Mark runs out of his dressing room with his Camera.

INT. BUZZLINE - SET - DAY

Mark shoots behind the scenes of Buzzline: Make-up; props; sets; rehearsals; corporate sponsor logos.

152.

CUT BETWEEN ROGER DRIVING HIS CAR FASTER AND FASTER AND MARK’S SHOOTING HIS CAMERA AND HIS 16MM FOOTAGE OF BUZZLINE

MARK & ROGER

OR YOU MAY DROWN/ YOU’RE LIVING IN AMERICA/ AT THE END OF THE MILLENNIUM/ YOU’RE LIVING IN AMERICA/ WHERE IT’S LIKE THE TWILIGHT ZONE/ AND WHEN YOU’RE LIVING IN AMERICA/ AT THE END OF THE MILLENIUM/ YOU’RE WHAT YOU OWN/ SO I OWN NOT A NOTION/ I ESCAPE AND APE CONTENT/ I DON’T OWN EMOTION – I RENT

MARK

WHAT WAS IT ABOUT THAT NIGHT

ROGER

WHAT WAS IT ABOUT THAT NIGHT

MARK & ROGER

CONNECTION – IN AN ISOLATING AGE

MARK

FOR ONCE THE SHADOWS GAVE WAY TO LIGHT

ROGER

FOR ONCE THE SHADOWS GAVE WAY TO LIGHT

MARK & ROGER

FOR ONCE I DIDN’T DISENGAGE

MARK

ANGEL – I HEAR YOU – I HEAR IT/ I SEE IT – I SEE IT/ MY FILM!

ROGER

MIMI I SEE YOU-/ I SEE IT/ I HEAR IT – I HEAR IT/ MY SONG

INT. ALEXI DARLING’S OFFICE - DAY

Mark comes through the door without knocking.

MARK

Alexi… I need to finish my own film. I quit.

153.

Mark smiles and raises his Camera.

16MM POV - OF ALEXI

Alexi stands up from behind her desk shaking her head.

INT. ROGER’S CAR - DAY

Roger screeches off the highway and then back onto the ramp for the highway going back towards New York.

ROGER

ONE SONG – GLORY/ MIMI – YOUR EYES

MARK & ROGER

DYING IN AMERICA/ AT THE END OF THE MILLENIUM/ WE’RE DYING IN AMERICA/ TO COME INTO OUR OWN/ AND WHEN YOU’RE DYING IN AMERICA/ AT THE END OF THE MILLENIUM/ YOU’RE NOT ALONE/ I’M NOT ALONE/ I’M NOT ALONE

EXT. BUZZLINE BUILDING - DAY

Mark runs out of the Buzzline building elated. He spins around shooting his Camera.

EXT. THE BACK OF A THEATER – NIGHT

Jonathan and Matthew come out of the backstage door. There is an energy between them, as if they had just witnessed something special. They walk in silence for a few moments. Matthew glances over at Jonathan repeatedly as if waiting for him to say something or wanting desperately to say something to Jonathan. They are obviously excited. Finally--

MATTHEW

You’ve got to be happy with that.

JONATHAN

It was good wasn’t it?

MATTHEW

It’s great. Tomorrow will be even better.

JONATHAN

I hope so, Sarah and my parents are coming.

154.

MATTHEW

Now, go home and get some rest.

JONATHAN

You know what? I will go home and rest. I deserve it.

MATTHEW

Thank you.

Matthew hails down a cab. Just before Jonathan gets into the cab, Matthew gives him a hug.

Jonathan smiles and gets into the cab. Matthew walks down the wintry New York Street. He walks by a group of homeless people warming themselves with a trash-can fire. They are singing, and on the ground there is a hat with change in it. Matthew stops to listen.

GROUP OF HOMELESS

CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE RINGING/ CHRISTMAS BELLS ARE RINGING/ HOW TIME FLIES/ WHEN COMPASSION DIES/ NO STOCKINGS/ NO CANDY CANES/ NO GINGERBREAD/ NO SAFETY NET/ NO LOOSE CHANGE/ NO CHANGE NO

SOLO HOMELESS MAN

SANTY CLAUSE IS COMING

Matthew drops some change in the hat and continues down the street.

GROUP OF HOMELESS (O.S.)

‘CAUSE SANTY CLAUS AIN’T COMING/ NO ROOM AT THE HOLIDAY INN – AGAIN/ WELL, MAYBE NEXT YEAR/ OR – WHEN

Matthew picks up some snow and packs a snowball as he walks. He throws it at a street sign and continues on disappearing into the night.

INT. MARK AND ROGER’S LOFT – NIGHT

Mark is setting up a projector and Roger is tuning his guitar. Mark walks over to his 16MM Camera, which is set up on his tripod, and turns it on.

16MM POV – directly into his Camera.

155.

MARK

DECEMBER 24, TEN P.M. EASTERN STANDARD TIME/ I CAN’T BELIEVE A YEAR WENT BY SO FAST/ TIME TO SEE – WHAT WE HAVE - TIME TO SEE/

WHIP-PAN to Roger holding his guitar

MARK (cont’d)

FIRST SHOT ROGER/ WITH THE FENDER GUITAR HE JUST GOT OUT OF HOCK/ WHEN HE SOLD THE CAR/ THAT TOOK HIM AWAY AND BACK

ROGER

I FOUND MY SONG

BACK TO SCENE

MARK

HE FOUND HIS SONG/ IF HE COULD JUST FIND MIMI

ROGER

I TRIED – YOU KNOW I TRIED

Collins enters holding out two handfuls of twenty-dollar bills. Mark and Roger rush over to examine the loot.

COLLINS

I HAD A LITTLE HUNCH YOU COULD USE A LITTLE FLOW

MARK

We can always use a little flow.

ROGER

TUTORING AGAIN?

COLLINS

Negative.

MARK

Back at NYU?

COLLINS

No, no, no

/ I REWIRED THE ATM AT THE FOOD EMPORIUM/ TO PROVIDE AN HONORARIUM TO ANYONE WITH THE CODE

156.

MARK & ROGER

THE CODE-/ WELL…?

COLLINS

A-N-G-E-L/ YET ROBIN HOODING ISN’T THE SOLUTION/ THE POWERS THAT BE MUST BE UNDERMINED WHERE THEY DWELL/ IN A SMALL, EXCLUSIVE GOURMET INSTITUTION/ WHERE WE OVERCHARGE THE WEALTHY CLIENTELE

MARK & COLLINS & ROGER

LET’S OPEN UP A RESTAURANT IN SANTA FE/ WITH A PRIVATE CORNER BANQUETTE, IN THE BACK/ WE’LL MAKE IT YET, WE’LL SOMEHOW GET TO SANTA FE

ROGER

BUT YOU’D MISS NEW YORK BEFORE YOU COULD UNPACK

MARK & COLLINS & ROGER (cont’d)

OHHHH – OHHHH – OHHHH

EXT. MARK AND ROGER’S ABANDONED BUILDING – NIGHT

Jonathan’s cab pulls up to the curb.

INT. CAB – CONTINUOUS – NIGHT

Jonathan pays the cabby.

JONATHAN

This is great… I can walk from here, thanks.

EXT. MARK AND ROGER’S ABANDONED BUILDING – CONTINUOUS - NIGHT

Jonathan gets out of the cab and looks around. He smiles. This is his home. He has grown here, come alive, filled each moment, here.

He looks up to the third floor of the abandoned building and sees the lights on. He walks towards the building. He is being drawn now. He suddenly grabs a hold of the chain-link fence that still surrounds the vacant lot. He falls to his knees clutching his chest.

MIMI (O.S.)

No, I’m done.

157.

Jonathan looks over to the edge of the vacant lot and sees Mimi struggling with her dealer.

MIMI

I’ve gotta get clean.

DEALER

You wanna get clean?

MIMI

Let me go!

The dealer backhands Mimi knocking her to the ground. He drags her up to her feet and pulls her along.

Jonathan pulls himself to his feet and runs over to them. He flies into the dealer knocking him to the ground. The dealer pulls out a switchblade.

DEALER

Your hero days are over son.

Maureen and Joanne heading to Mark and Roger’s see the commotion. Joanne runs over to them and Maureen calls for help.

MAUREEN

MARK! ROGER! ANYONE – HELP!

Mark, Roger and Collins throw open the window and lean out.

MARK

Maureen?

MAUREEN

It’s Mimi we need help.

The dealer tries to drag Mimi with him. He sees Mark, Roger and Collins bursting out the door and he kicks Jonathan to the ground and takes off.

Joanne and Maureen try to hold up Mimi but she’s really out of it. Roger, Mark and Collins grab Mimi from them. The girls help Jonathan to his feet.

JOANNE

Thank you.

INT. MARK AND ROGER’S LOFT – NIGHT

Roger carries Mimi over to the table. Collins puts his coat over her and Mark puts his coat under her head.

158.

Jonathan takes a step back away from the group and watches them tend to their friend. Mimi looks up at Roger.

MIMI

GOT A LIGHT – I KNOW YOU – YOU’RE SHIVERING…

ROGER

Turn up the heat.

MIMI

I’M SHIVERING

MARK

I’ll get a blanket.

COLLINS

I’M AFRAID SHE NEEDS MORE THAN HEAT

MIMI

I HEARD THAT

MAUREEN

COLLINS WILL CALL FOR A DOCTOR, HONEY

Collins goes to the phone. Mark puts a blanket over Mimi.

MIMI

DON’T WASTE YOUR MONEY ON MIMI, ME, ME

COLLINS

Hello – 911?/ I’m on hold.

MARK

Call Benny’s cell-phone, he’ll get help.

MIMI

COLD… COLD… WOULD YOU LIGHT MY CANDLE?

ROGER

YES, WE’LL, OH GOD – FIND A CANDLE

MIMI

I SHOULD TELL YOU/ I SHOULD TELL YOU

ROGER

I SHOULD TELL YOU/ I SHOULD TELL YOU

159.

MIMI

I SHOULD TELL YOU BENNY WASN’T ANY--

ROGER

SHHH – I KNOW/ I SHOULD TELL YOU WHY I LEFT/ IT WASN’T ‘CAUSE I DIDN’T –

MIMI

I KNOW/ I SHOULD TELL YOU

ROGER

I SHOULD TELL YOU

MIMI

(whispering)

I SHOULD TELL YOU/ I LOVE YOU –

Mimi is fading fast. She lies on the table and stirs unconsciously.

ROGER

WHO DO YOU THINK YOU ARE?/ LEAVING ME ALONE WITH MY GUITAR/ HOLD ON THERE’S SOMETHING YOU SHOULD HEAR/ IT ISN’T MUCH BUT IT TOOK ALL YEAR

Roger sings to Mimi.

ROGER

YOUR EYES AS WE SAID OUR GOOD-BYES/ CAN’T GET THEM OUT OF MY MIND/ AND I FIND I CAN’T HIDE/ FROM YOUR EYES/ THE ONES THAT TOOK ME BY SURPRISE/ THE NIGHT YOU CAME INTO MY LIFE/ WHERE THERE’S MOONLIGHT I SEE YOUR EYES/ HOW’D I LET YOU SLIP AWAY/ WHEN I’M LONGING SO TO HOLD YOU/ NOW I’D DIE FOR ONE MORE DAY/ ‘CAUSE THERE’S SOMETHING I SHOULD’VE TOLD YOU/ THERE’S SOMETHING I SHOULD’VE TOLD YOU/ WHEN I LOOKED INTO YOUR EYES/ WHY DOES DISTANCE MAKE US WISE/ YOU WERE THE SONG ALL ALONG/ AND BEFORE THIS SONG DIES/ I SHOULD TELL YOU/ I SHOULD TELL YOU/ I HAVE ALWAYS LOVED YOU/ YOU CAN SEE IT IN MY EYES

Mimi’s head falls to the side and her arm drops limply off the edge of the table.

160.

ROGER (cont’d)

MIMI!

Roger, Mark, Collins, Joanne, Maureen, and Jonathan stand in shocked silence.

Their eyes cast down to the floor.

Mimi’s head trembles slightly.

MIMI

I jumped over the moon!

ROGER

What?

Roger takes Mimi’s hand.

MIMI

A leap of MOOOOOOOOO –

Mimi’s eyes open as if seeing for the first time.

JOANNE

She’s back!

MIMI

I was in a tunnel. Heading for this warm, white light…

MAUREEN

Oh, my God!

MIMI

And I swear Angel was there – and she looked good. And she said, “Turn around, girlfriend – and listen to that boy’s song…”

COLLINS

She’s drenched.

MAUREEN

HER FEVER’S BREAKING

MARK

THERE IS NO FUTURE – THERE IS NO PAST

ROGER

THANK GOD THIS MOMENT’S NOT THE LAST

161.

Roger and Mimi embrace.

Mark walks over to Jonathan.

MARK

Thank you for helping, I’m Mark.

JONATHAN

I’m Jonathan.

MARK

Well, Jonathan, we’re screening my movie; would you like to join us?

JONATHAN

I’d love to.

Mark goes to the film projector as the others set up chairs around the table. Benny and Alison enter the loft to hugs and hellos. At that moment many others start to file into the loft to watch the film. Mark starts the projector. Roger hugs Mimi tightly as they gaze up at Mark’s movie.

As Mark turns the projector on, a rough credit appears on the blank wall - “Today 4U: Proof Positive,” followed by a shot of Roger from last Christmas tuning his guitar.

MIMI & ROGER

THERE’S ONLY US/ THERE’S ONLY THIS/ FORGET REGRET OR LIFE IS YOURS TO MISS

EVERYONE

NO OTHER ROAD NO OTHER WAY/ NO DAY BUT TODAY

Jonathan sings and watches the movie along with everyone else. As the entire song continues to the end CAMERA SLOWLY PULLS OUT of the Loft and out into the New York night.

162.

EVERYONE (cont’d)

I CAN’T CONTROL/ MY DESTINY/ WILL SOMEONE CARE/ I TRUST MY SOUL/ MY ONLY GOAL/ WILL I WAKE TOMORROW/ FROM THIS NIGHT MARE/ IS JUST TO BE/ WITHOUT YOU/ THERE’S ONLY NOW/ THERE’S ONLY HERE/ GIVE IN TO LOVE/ OR LIVE IN FEAR/ NO OTHER PATH/ NOT OTHER WAY/ NO DAY BUT TODAY/ I DIE WITHOUT YOU/ NO DAY BUT TODAY/ I DIE WITHOUT YOU/ NO DAY BUT TODAY/ I DIE WITHOUT YOU/ NO DAY BUT TODAY/ I DIE WITHOUT YOU/ NO DAY BUT TODAY/ I DIE WITHOUT YOU/ NO DAY BUT TODAY

THE END

We dedicate this and every performance to the memory of Jonathan Larson. He lives with us always.

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