Transcription
tick, tick.BOOM!Screenplay bySteven LevensonMusic and Lyrics byJonathan LarsonDirected byLin-Manuel MirandaBased on the musical byJonathan Larson
INT. THEATER - NIGHT - 1992 - VIDEOGrainy VHS footage of a darkened stage against a bare brickwall. JON (32) emerges from the wings, striding confidently toa microphone stand at the lip of the stage, met by a smatteringof APPLAUSE.JONHi. I’m Jon. I am a musical theaterwriter, one of the last of my species.Some LAUGHTER from the Audience. Jon frowns.JON (CONT’D)Lately, I’ve been hearing this.sound. Everywhere I go. Like a.tick. Tick. Tick.We begin to hear it with him: TICK, TICK, TICK.JON (CONT’D)Like a time bomb in some cheesy Bmovie or Saturday morning cartoon. Thefuse has been lit.The TICKING grows louder.JON (CONT’D)The clock counts down the seconds asthe flame gets closer, and closer, andcloser, until all at once -SMASH TO:INT. MOONDANCE DINER - DAY - 1990 - VHSMore grainy footage from a shaky, handheld camcorder. Jonappears behind the counter of the diner, carrying a tray withan elaborate breakfast spread, a flower in his mouth,trumpeting his arrival -- making a complete idiot of himselffor the amusement of SUSAN (30), seated at the counter,laughing, deeply in love.Over the home video, we begin to hear her VOICE.SUSAN (V.O.)This is Jonathan Larson’s story.She pulls the flower from his mouth and kisses him.As we continue to hear her voice, a series of QUICK CUTS toarchival footage --
2.- A CROWD wrapped around the block outside New York TheatreWorkshop in 1996.SUSAN (V.O.)Before the Tony Awards.- CLOSE ON a flyer affixed to the door of the theater: “Allperformances of Rent through the March 31 extension are SOLDOUT!”SUSAN (V.O.)Before the Pulitzer Prize. Before.The CUTS come faster -- Another, larger CROWD wrapped around the block outside of theNederlander Theatre in 1996, Rent emblazoned on the marquee.- Adam Pascal and Daphne Rubin-Vega on the cover of Newsweek.- On the stage of the Nederlander Theatre, ANTHONY RAPP,costumed as Mark Cohen, addresses the audience.ANTHONY RAPPWe dedicate this opening night andevery performance to our friend,Jonathan Larson.- JULIE and AL LARSON stand and applaud, overcome by emotion,at the Tony Awards.SUSAN (V.O.). we lost him.INT. MOONDANCE DINER - DAY - 1990 - VHSBack to the diner, where Jon pops open a bottle of champagne.SUSAN (V.O.)Everything you’re about to see istrue. Except for the parts Jonathanmade up.INT. THEATER - NIGHT - 1992Jon grabs the microphone, crosses to a grand piano. He sits atthe piano bench. A small BAND and two vocalists, KARESSA andROGER (both early 30s), are arrayed behind him.JONThe date is January 26th, 1990.
3.NOTE: Throughout the film, we move back and forth between Jonin 1992, performing the show, and the events he is narrating asthey occur in 1990.INT. JON’S BEDROOM - DAY - 1990Jon, at the keyboard, begins to find and play a CHORDPROGRESSION, out-of-time at first, slowly beginning to takeshape, the CHORDS of 30/90.JON (V.O.)The setting: the barren, unfashionableno-man’s land between SoHo andGreenwich Village.EXT. DOWNTOWN STREET - MORNING - 1990Jon bikes down the sidewalk outside of the Moondance Diner.INT. THEATER - NIGHT - 1992Jon plays the same CHORD PROGRESSION on the grand piano.JON (V.O.)I have two keyboards.INT. LIVING ROOM - CONTINUOUS - 1990FLASH TO a boxy computer on a surprisingly well-organized desk.JON (V.O.).a Macintosh computer.FLASH TO Finster perched on the sofa. a cat.JON (V.O.)FLASH TO his copious music library.JON (V.O.). an impressive collection ofcompact discs, cassettes, and recordsof other people’s music.FLASH TO his precariously overstuffed bookshelves.JON (V.O.). bookshelves sagging under theweight of plays and novels I didn'twrite.FLASH TO a type-written manuscript of Superbia.
4.JON (V.O.)I have an original dystopian rockmusical that I have spent the lasteight years of my life writing.INT. JON’S BEDROOM - DAY - 1990Jon sits on his bed, keyboard on his lap, completely,unbearably stuck.JON (V.O.). and rewriting.(a beat)And rewriting.INT. THEATER - NIGHT - 1992Back to Jon at the piano.JON (V.O.)I have rejection letters from everymajor -- and minor -- producer,theater company, record label and filmstudio in existence. And in just overa week. I will be thirty years old.As the CHORD PROGRESSION begins to pick up speed -INT. LIVING ROOM - DAY - 1990FLASH TO the cover of the West Side Story cast recording LP.JON (V.O.)Older than Stephen Sondheim when hehad his first Broadway show.FLASH TO the cassette cover of The Beatles’ Let It Be.JON (V.O.)Older than Paul McCartney when hewrote his last song with John Lennon.FLASH TO an old home movie of little JON and JULIE.JON (V.O.)By the time my parents were thirty,they already had two kids. They hadcareers with steady paychecks. Amortgage.INT. THEATER - NIGHT - 1992Back to Jon at the keyboard.
5.JONIn eight days, my youth will be overforever. And what exactly do I have toshow for myself?He STOPS playing. He takes a breath in the silence.JONHappy Birthday.(CONT’D)He SLAMS his fingers back on the keys -- resuming the chordprogression, as he begins to sing.JON (CONT’D)STOP THE CLOCK -- TAKE TIME OUTTIME TO REGROUP BEFORE YOU LOSE THEBOUTThe Band comes in behind him, as the song picks up energy.JON (CONT’D)FREEZE THE FRAME -- BACK IT UPTIME TO REFOCUS BEFORE THEY WRAP IT UPYEARS ARE GETTING SHORTERLINES ON YOUR FACE ARE GETTING LONGERFEEL LIKE YOU'RE TREADING WATERBUT THE RIPTIDE'S GETTING STRONGERDON'T PANIC, DON'T JUMP SHIPCAN'T FIGHT IT, LIKE TAXESAT LEAST IT HAPPENS ONLY ONCE IN YOURLIFETHEY'RE SINGING, "HAPPY BIRTHDAY"YOU JUST WANNA LAY DOWN AND CRYNOT JUST ANOTHER BIRTHDAY, IT'S 30/90WHY CAN'T YOU STAY 29?HELL, YOU STILL FEEL LIKE YOU'RE 22TURN THIRTY 1990BANG! YOU'RE DEADWHAT CAN YOU DO?WHAT CAN YOU DO?WHAT CAN YOU DO?As the Band continues to UNDERSCORE -INT. MOONDANCE DINER - DAY - 1990Lunch at the diner, bustling with patrons, Jon behind thecounter. MICHAEL (30) hurries through the door.MICHAELI made ten copies.
6.He hands Jon a thick stack of photocopies, as Jon hands him acup of coffee and a bag of take-out in exchange. Jon glancesthrough the stack: sheet music and scripts for Superbia.JONYou are an angel on earth.MICHAELThis is the last time. Seriously.Michael reaches for his wallet. Jon shuts it down fast.JONNo, thank you. No, no, no. I got you.MICHAELI’m going to pay.JONYou’re not going to pay. I don’t wantyou to pay.CAROLYN (33) comes by, carrying a tray full of dirty dishes,wrinkling her nose at the smell.CAROLYNSomebody needs to take out this trash.FREDDY (25) comes over to Michael, carrying his own tray ofdirty dishes, as Jon goes to handle the trash.FREDDYI heard you’re moving out of Jon’splace. End of an era.(sotto)We hear him sobbing in the fridge mostmornings. It’s very sad.JON(to Carolyn)You’re coming next Friday, right?CAROLYN(feigning ignorance)What’s next Friday?Before Jon can answer -MICHAEL AND FREDDYThe Superbia workshop.MICHAELI’m surprised he hasn’t mentioned it.
7.FREDDYIt sounds vaguely familiar.JON(defensive)This is the biggest break I’ve everhad. This is that moment. It’s thefirst time people are going to see theshow that aren’t just us.FREDDYWell, it’s good that you’re notputting too much pressure on it oranything.Carolyn and Michael laugh.JONNo, but it’s true, though. You get toa certain age and you stop being awriter that waits tables and youbecome. a waiter with a hobby.MICHAELBoo Boo. You need to ask yourself: inthis moment, are you letting yourselfbe led by fear or by love?As Jon considers the question, he hefts the trash bag out ofits bin. The bottom rips, sending some kind of unidentifiableliquid all over his shoes.INT. THEATER - NIGHT - 1992Roger launches into the next verse of the song.ROGERCLEAR THE RUNWAY -- MAKE ANOTHER PASSTRY ONE MORE APPROACH BEFORE YOU'REOUT OF GASJONFRIENDS ARE GETTING FATTERHAIRS ON YOUR HEAD ARE GETTING THINNERFEEL LIKE A CLEAN UP BATTERON A TEAM THAT AIN'T A WINNER.ROGERDON'T FREAK OUT, DON'T STRIKE OUTCAN'T FIGHT IT, LIKE CITY HALLJONAT LEAST YOU'RE NOT ALONEYOUR FRIENDS ARE THERE TOO
8.INT. JON’S APARTMENT - DAY - 1990Matching Jon and Roger in the concert, Jon and Michael singtogether, as Jon helps stack boxes with Michael.JONTHEY'RE SINGING, "HAPPY BIRTHDAY"JON (CONT’D)YOU JUST WISH YOU COULD RUNAWAYMICHAELYOU JUST WISH YOU COULD RUNAWAYJON (CONT’D)WHO CARES ABOUT A BIRTHDAY? BUT -30/90, HEYJON (CONT’D)30/90, HEYMICHAELJON (CONT’D)CAN'T YOU BE OPTIMISTIC?JON (CONT’D)YOU'RE NO LONGER THE INGENUETURN THIRTY, 1990MICHAELYOU'RE NO LONGER THE INGENUETURN THIRTY, 1990JON (CONT’D)BOOM! YOU'RE PASSÉJON (CONT’D)WHAT CAN YOU DO?WHAT CAN YOU DO?WHAT CAN YOU DO?MICHAELWHAT CAN YOU DO?OOHAs the Band continues to UNDERSCORE -INT. STRAND BOOK STORE - DAY - 1990Jon walks beside Susan through the dusty stacks, Susan staringat him in disbelief.SUSANYou just quit?JONI didn’t quit quit. I gave my notice.SUSANThat’s exactly -- it’s the same thing.JONNo. I still have two weeks left.Jon spies a beautiful book of expensive music manuscript paper.He picks it up.
9.JON (CONT’D)I’m allowing myself to be led by love.SUSAN(perplexed)What?JONRosa has another client -- rememberCraig Carnelia?SUSANThis is Rosa, your agent who hasn’treturned your calls in a year?JONThat’s the one. She invited the entiretheater industry to a workshop ofCraig’s musical last year. Byintermission, some producer hadalready written him a check for tenthousand dollars.SUSANI wish you didn’t have to think likethat.JONIt’s expensive to make art.SUSANNo, it’s expensive to make art here.JONBut worth every penny.Susan nods to the book of manuscript paper.SUSANHow are you going to pay for that?Susan gently takes the book out of his hands. As Jon followsher down the aisle, the PATRONS around them join in singing.JONPETER PAN AND TINKERBELLWHICH WAY TO NEVER NEVER LAND?EMERALD CITY'S GONE TO HELLSINCE THE WIZARDAHAHSUSAN AND PATRONSJON, SUSAN, AND PATRONSBLEW OFF HIS COMMAND
10.JONON THE STREETS YOU HEAR THE VOICESLOST CHILDREN, CROCODILESBUT YOU'RE NOT INTO.INT. JON’S APARTMENT - DAY - 1990 - MOSAs Michael packs up his bedroom, Jon stares at the mountingpile of moving boxes.JON (V.O.)MAKING CHOICESINT. YMCA LOCKER ROOM - NIGHT - 1990 - MOSJon, toweling off from the pool, stares at himself in themirror, sucking in his gut.JON (V.O.)WICKED WITCHESINT. YMCA POOL - NIGHT - 1990 - MOSJon swims laps in the otherwise empty pool.JON (V.O.)POPPY FIELDS OR MEN BEHIND THE CURTAININT. MOONDANCE DINER - DAY- 1990 - MOSIn the BUSTLING restaurant, Jon races to grab two plates offood from under the heat lamp.JON (V.O.)TIGER LILIES, RUBY SLIPPERSINT. THEATER - NIGHT - 1992Roger and Karessa come in.ALLCLOCK IS TICKING, THAT’S FOR CERTAINJONTHEY'RE SINGING, "HAPPY BIRTHDAY"JON (CONT’D)I JUST WISH IT ALL WERE A DREAMROGER AND KARESSAHAPPY BIRTHDAYJON (CONT’D)IT FEELS MUCH MORE LIKE DOOMSDAYFUCK
11.30/90ALLJONSEEMS LIKE I'M IN FOR A TWISTERJON (CONT’D)I DON'T SEE A RAINBOW, DO YOU?AH, AHROGER AND KARESSAALLTURN 30 IN THE 90SINT. JON’S BEDROOM - NIGHT - 1990 - MOSJon lies in bed, wide awake, as Susan sleeps beside him.JONINTO MY HANDS NOWTHE BALL HAS PASSEDFLASH TO:EXT. TIMES SQUARE - NIGHT - 1990 - MOSJon rides his bike through seedy, neon-glistening streets.JONI WANT THE SPOILS, BUT NOT TOO FASTFLASH TO:EXT. ROOF - NIGHT - 1990 - MOSJon stands on his roof, staring out at the Hudson River.JON (V.O.)THE WORLD IS CALLINGIT’S NOW OR NEVERLANDAHAHROGER AND KARESSA (V.O.)FLASH TO:INT. JON’S BEDROOM - DAY - 1990Jon pushes himself away from his computer, unable to stare atit for a moment longer.JONWHY CAN’T I STAY HERE FOREVER ANDFLASH TO:INT. MOONDANCE DINER - DAY - 1990 - MOSFreddy pirouettes through the packed diner.
12.30/9030/90JON (V.O.)FLASH TO:INT. SUBWAY - DAY - 1990 - MOSJon scribbles notes to himself in a small spiral notebook.30/9030/9030, 30/90ROGER AND KARESSA (V.O.)BACK TO:INT. THEATER - NIGHT - 1992The song builds to a thunderous CRESCENDO.JONWHAT CAN I DO?30/9030, 30/90ROGER AND KARESSAALLWHAT CAN I DO?APPLAUSE as the song ends.JONLadies and gentlemen, please give itup for our band, and for my very,very, very dear friends, Roger andKaressa, on vocals.(then)Friday night.INT. LIVING ROOM - EVENING - 1990Streamers and balloons fill the apartment as Michael stands bythe answering machine, scrolling through messages, suitcase athis feet. After a BEEP -DEBORAH (V.O.)Hi Jonathan, it’s Deborah. Susan justdropped off your music for tonight’sdance recital -Michael fast-forwards through the message, his impatiencebetraying some anxiety. Deborah’s voice returns.
13.DEBORAH (V.O.)-- but I can’t get the speakers towork -Jon enters, grocery bags in hand. Michael stops the message.JONHow was Philly?MICHAELI went from the airport to aconference room and then back to theairport three hours later.JONThat sounds amazing.INT. THEATER - NIGHT - 1992Jon speaks at the microphone at the front of the stage.JONMichael was an amazing actor. He wasthe lead in every play in high school,college. Then we moved to New York.EXT. ROOF - NIGHT - FLASHBACK - 1988Michael, frustrated, vents to Jon as they stand together,passing a joint.MICHAELI am sick of waking up at five to getin line outside the Equity buildingand wait all day -- praying that thedirector actually agrees to even seeanyone that’s non-union. And then whenI finally do get in the room, I singsix measures if I’m lucky before theycut me off and call me the wrong name - Juan, Pedro, Carlos, lo que sea.INT. THEATER - NIGHT - 1992Jon, back at the microphone.JONA week later, he got a job at a fancyadvertising company, making high-fivefigures. Health care. Dental. He neverlooked back.
14.INT. LIVING ROOM - EVENING - 1990Back to the apartment. Jon pulls some top-shelf liquor from thebags, sets it on the table beside a vase of bodega flowers.MICHAELYou know, for someone who’s broke, youcould probably spend a little bit lesson party planning.JONWhat’s the point of having money ifyou can’t spend it on the people youlove?MICHAEL(laughing)Yeah, except you don’t have any money.Oh, right.JONMichael sees a Con Edison bill on the table, picks it up.MICHAELThis has been sitting here for a week.I’m on it.JONMICHAELYes, you seem very on it.Michael grabs his suitcase, takes it to his room to unpack.MICHAEL (CONT’D)Pretty soon you won’t have me aroundto remind you to pay bills on time.JON(facetious)How will I ever survive?MICHAELThat’s actually a very real question.Have you found a new roommate yet?JONI’ve been a little busy. My workshopis next week.MICHAELWhat workshop?
15.Jon is about to be offended, when he realizes.JONThat was funny.Jon reaches into his shirt pocket and pulls out his smallspiral-ring notebook and a pencil. He scribbles on a blankpage: “Fear or love?” He underlines the words. Michael callsfrom the bedroom.MICHAELWhat time’s the show tonight?JONCurtain’s at eight.MICHAELI’ve heard the dancing is amazing butthe music sucks.As we PRE-LAP a propulsive dance score -INT. DANCE THEATER - NIGHT - 1990Jon sits in the audience beside Michael, watching the show, anathletic piece for eight female DANCERS, moving to the scorethat Jon wrote. Jon’s eyes are riveted on Susan.JON (V.O.)Susan grew up in a small town in theMidwest, went to college to studybiology. She thought she’d become adoctor -- maybe teach. But then shefell in love with modern dance instead-- every parents’ dream, right? Shemoved to New York without knowing asoul. Four years later, she’s alreadydanced with every major choreographerin the city -- Paul, Trisha, Merce.INT. THEATER - NIGHT - 1992Jon stands with the microphone.JON1990. This was the year she wasfinally going to join a company. Notjust go from job to job -- actuallyhave a home, an artistic family. Andshe was ready. This was her year. Sheknew it. Then she fractured her ankleduring a dress rehearsal. Six monthsof rehab later. she’s dancing again.It’s just.(MORE)
16.JON (CONT’D)whatever that moment was when sheknew. all of a sudden, she doesn’tknow anymore.(a beat)Susan is a real artist. She doesn’tcare about seeing her name in the NewYork Times. It doesn’t matter to herif she’s dancing in front of fivepeople or five thousand.INT. DANCE THEATER - NIGHT - 1990Seated in the audience, Jon hears the sudden sound of TICKINGunderneath the SCORE.JON (V.O.)And then there’s the matter of us.As the Dancers hit a final pose and the stage lights fade out,Jon joins the rest of the Audience in applauding -- theCLAPPING and CHEERS drowning out the TICKING altogether.INT. JON’S APARTMENT - NIGHT - 1990A raucous cast party underway, the tiny living room jam-packedwith FRIENDS. Wine and beer flow. Susan stands with Michael.SUSANYou know he can’t afford any of this,right?MICHAELWell, you know how much he lovesmaking a fuss. Especially about you.Susan smiles, something nagging at her.INT. JON’S APARTMENT - LATER - NIGHT - 1990Jon huddles with Freddy and Carolyn.FREDDYAfter everything we’ve done for him,he walks away.JONI’m leaving you my mix tapes. You canplay them in remembrance of me.Michael comes by, carrying two glasses of wine, one of which hehands to Carolyn.
17.MICHAELJonathan Larson’s famous MoondanceDiner mix tapes. Who doesn’t love showtunes with their French Toast?JONActually, it’s not just show tunes.It’s a very eclectic mix.CAROLYNSomeone’s very touchy about the mixtapes.Apparently.MICHAELFREDDYI’m happy for you. I really am. Imean, I’m also extremely bitter andjealous and envious and hateful towardyou right now, but.(he smiles)You’re getting out.JONAnd you’re going to be next.FREDDYI got a callback last week.JONThat’s great.FREDDYFor a cruise.CAROLYNWhat’s wrong with a cruise?FREDDYWell it’s an Arctic cruise. So prettymuch everything -- every single thingis wrong.JONHow are you feeling?Freddy takes a breath, chooses his words carefully, doesn’twant to be overly optimistic.FREDDYIt’s been a really good week. T-Cellcount is good. My doctor feels.cautiously optimistic.
18.JONYou look great.FREDDYOh my God, thank you, I know.They all laugh.INT. JON’S APARTMENT - LATER - 1990The party has gotten louder, more packed, as Roger introducesJon to SCOTT (27), a banker.ROGER(to Jon)Scott and I used to sing madrigalstogether in high school.SCOTTI hated singing. I just did it for thepussy.ROGERI ran into Scott in SoHo. He really,really wanted to come with me.SCOTTI never get the chance to go to artistparties, you know? It sucks. The drugsthere are always the best.ROGERScott’s in finance.Shocking.JONSCOTTWhat do you do?JONI’m the future of musical theater,Scott. Welcome. I’m going to grabanother drink.As Jon goes, Scott turns to Roger, laughs.SCOTTThat guy’s hilarious.
19.INT. JON’S APARTMENT - LATER - 1990The party has begun to thin out. Jon, drunker, stands with asmall group of PALS -- scattered on the sagging sofas -- givingan impromptu performance of BOHO DAYS, a cappella, clappingalong to the rhythm, as he directs his audience’s attention tothe various sections of the apartment.JONTHIS IS THE LIFE, BO BO, BO BO BOTHIS IS THE LIFE, BO BO, BO BO BOSHOWER'S IN THE KITCHENTHERE MIGHT BE SOME SOAPDISHES IN THE SINKBRUSH YOUR TEETH, IF YOU CAN COPETOILET'S IN THE CLOSETYOU BETTER HOPETHERE'S A LIGHT BULB IN THEREDONNA (early 30s) calls from the dark, dark bathroom.Not today!BO BO BODONNAJONAs Jon calls out names, he points to the PEOPLE named. Theycheer for themselves.JON (CONT’D)REVOLVING DOOR ROOMMATESPRICK UP YOUR EARSFOURTEEN PEOPLE IN JUST FOUR YEARSANN AND MAX AND JONATHANAND CAROLYN AND KERRIDAVID, TIM -- NO TIM WAS JUST A GUESTFROM JUNE TO JANUARYMICHAEL(laughs)I remember Tim.JONMARGARET, LISA, DAVID, SUSIE,STEPHEN, JOE AND SAMAND ELSA, THE BILL COLLECTOR'S DREAMWHO IS STILL ON THE LAMDON'T FORGET THE NEIGHBORSMICHELLE AND GAYMICHELLE and GAY (middle-aged artists) take a little bow.
20.JON (CONT’D)MORE LIKE A FAMILYTHAN A FAMILY, HEYTHE TIME IS FLYINGAND EVERYTHING IS DYINGI THOUGHT BY NOWI'D HAVE A DOG, A KID, AND WIFETHE SHIP IS SORT OF SINKINGSO LET'S START DRINKINGBEFORE WE START THINKINGIS THIS A LIFE?THIS IS THE LIFE, BO BO, BO BO BORoger joins in harmony.JON & ROGERTHIS IS THE LIFE, BO BO, BO BO BOThe room JOINS in.ALLTHIS IS THE LIFE, BO BO, BO BO BOBOHEMIABOHEMIA!JONCHEERS and WHISTLES erupt.SCOTTThat was freaking amazing. Whoooo!EXT. ROOF - MINUTES LATER - 1990Susan stands on the roof, lost in thought, staring at thewater, wearing a coat. Jon comes out to find her.JONHey. Everyone’s leaving.SUSANI just needed some fresh air.JONIt’s freezing up here.SUSANWhere’s your coat?JONSomewhere at the bottom of a verylarge pile.Jon looks out toward the flickering lights on the water.
21.Pretty.JON (CONT’D)SUSANThat’s the prison barge.JON(laughs, remembering)Right.SUSANYou know, I heard Jacob’s Pillow ishiring new teachers for their danceschool.Oh yeah?JONSUSANYou work a couple hours a week andthen the rest of the time is yours.Free studio space whenever you want.JONHey, can we talk about how amazing youwere tonight?Thank you.SUSANJONNo, but truly, though.SUSANI was thinking of maybe applying. Tothe Jacob’s Pillow job.(off his confusion)We went last summer, remember? We sawthe new Mark Morris.JONThe place in the Berkshires? You’regoing to move to the Berkshires?SUSANAnd not have to work thirty hours aweek doing word processing to pay therent? Why not? I might actually beable to get back in shape.JONOkay. Great. Yeah. All right. Let’s doit. Let’s move.
22.SUSANI’m being serious.JONHey, I’m being serious. We can live ina log cabin and gather acorns, huntsquirrels.SUSANWhat are you even talking about?It’s the Berkshires. People havevacation houses there. You’ve beenthere.JON(they laugh)Can we go inside now? I’m just, I’msorry, I’m scared I’m beginning tolose sensation in my extremities.Susan laughs, takes off her coat, revealing the green velvetdress she’s wearing underneath.SUSANYou are such a baby. Take this.As Susan hands him the coat, he stops as he notices the dress.Hold on.JONSUSAN(feigns nonchalance)Oh. You like it?SUSAN (CONT’D)I thought you were in such a hurry toget back.INT. JON’S BEDROOM - MINUTES LATER - 1990Jon slams on his clock radio and an R&B rendition of GREENGREEN DRESS begins to play, as he and Susan fall into bedtogether, clothes beginning to come off.INT. LIVING ROOM - CONTINUOUS - 1990Michael, in the room next door, hears them through the thinwalls, throws on a pair of headphones, tries to drown it out.INT. JON’S BEDROOM - CONTINUOUS - 1990Jon and Susan entwined in bed, Jon sliding the green, greendress off.
23.SUSANThat job in the Berkshires?JON(distracted)It sounds amazing.SUSANI already applied for it.Oh yeah?I got it.JONSUSANNow he’s paying attention.SUSAN (CONT’D)It doesn’t start until June.JONOh. So it’s just for the summer?SUSANIt’s permanent.He stares at her, agog.Jon?SUSAN (CONT’D)INT./EXT. MICHAEL’S BMW - DAY - 1990Michael drives Jon in his BMW through traffic.MICHAELWhoa. The Berkshires. That is. veryfar from Midtown.JONWhy is she doing this now? And shewants me to come with her.MICHAELWhat did you say?JONI said: “Oh.” What was I supposed tosay? I didn’t know what to say. Imean, I can’t leave New York.MICHAELTell her to move in with you.
24.JONMove in where?MICHAELYou need a new roommate right? Twobirds, one stone. You’re welcome.Jon changes the subject.JONWhat happened to that guy you wereseeing? David? I thought you guys weregreat together.Michael shrugs, pretending indifference.MICHAELIt didn’t work out.(moving on)There’s a focus group at the officethis week, looking for a few morepeople. How about I sign you up?JONSo you can lure me to the dark side.MICHAELSo I can introduce you to mycolleagues and show them how brilliantyou are.JONI don’t want a job in advertising.MICHAELI don’t want you to have a job inadvertising. But jingle-writing.Jon is about to object, but Michael barrels over him.MICHAEL (CONT’D)You come up with jingles all the timefor fun, Jon. You make up songs aboutthe cereal we’re eating. You could getpaid for those.JONWhen Superbia gets produced, I’ll getpaid for my music anyway.MICHAEL(nods, equivocal)That’s true.
25.They pull into the courtyard of a luxury condo building.MICHAEL (CONT’D)And we are here. Home, sweet home.Jon stares out the window at the gleaming glass high-rise.INT. THEATER - NIGHT - 1992Jon speaks into the microphone.Oh. My. God.JONEXT. VICTORY TOWERS - DAY - 1990Jon steps out, taking in the marble fountain in the center ofthe courtyard, as the MUSICAL INTRO to NO MORE begins.JON (V.O.)Michael tosses the keys to the parkingattendant -- what apartment buildinghas a parking attendant?Michael hands Jon a moving box from the back seat, grabsanother one, and shuts the door. As Jon follows him through theglass revolving doors.INT. VICTORY TOWERS LOBBY - CONTINUOUS - 1990A white lobby, austere like an art gallery. A heavy-set,mustachioed DOORMAN (40s) nods from his desk, as Michael leadsJon toward the elevators.JON (V.O.)Fresh flowers in the lobby. An oldwhite lady with a tiny dog. Is thisreal life?EXT. GREENWICH STREET - NIGHT - 1990Michael and Jon trudge through snow, hefting massive sacks oflaundry, as Michael sings to him.MICHAELNO MOREWALKING THIRTEEN BLOCKSWITH THIRTY POUNDS OF LAUNDRYIN THE FREEZING DEAD OF WINTERINT. JON’S APARTMENT - STAIRWELL - NIGHT - 1990Laundry bags in hand, Jon schleps up the grimy, uneven stepsbehind Michael.
26.MICHAELNO MOREWALKING UP SIX FLIGHTS OF STAIRSOR THROWING DOWN THE KEYBECAUSE THERE IS NO BUZZERMichael gestures to exposed wires dangling from the ceiling.NONONOONINMICHAEL (CONT’D)MORE FAULTY WIRINGMORE CROOKED FLOORSMORE SPITTING OUT MY ULTRA BRITETOP OF DIRTY DISHESTHE ONE AND ONLY SINKAs they reach their apartment, Michael turns the key and pushesopen the door to -INT. MICHAEL’S APARTMENT - DAY - 1990Michael leads Jon into his gleaming new apartment.MICHAELHELLO TO MY WALK IN CLOSETSTIDY AS PARK AVENUEHELLO, MY BUTCHER BLOCK TABLEI COULD GET USED -- I COULD GET USEDI COULD GET USED TO YOUINT. JON’S APARTMENT - NIGHT - 1990Michael and Jon inspect a SLEEPING STRANGER (20s), a man passedout on the floor of their apartment.MICHAELNO MORECLIMBING OVER SLEEPING PEOPLEBEFORE YOU GET OUT THE DOOR OF YOUROWN BUILDINGMichael and Jon share a look -- do you know who that is?Neither has any idea.Michael and Jon plop down on chairs in the living room, staringnervously at the glowing, unvented gas wall heater.NO MOREMICHAEL (CONT’D)NO MOREMICHAEL (CONT’D)NOXIOUS FUMES FROM GAS HEATERS THATARE ILLEGALJON
27.JONOR WILL BLOW UP WHILE YOU ARE SLEEPINGNO MOREMICHAELThey look up to see water dripping from the discolored ceiling.JONLEAKY CEILINGNO MOREMICHAELThey look down to see a disconcerting aperture in the floor.JONHOLES IN THE FLOORNO MOREMICHAEL AND JONINT. JON’S APARTMENT - KITCHEN - NIGHT - 1990Jon and Michael take in the claw-foot tub in the kitchen.JONTAKING A SHOWER IN THE KITCHENWHILE YOUR ROOMMATE'S EATING BREAKFASTMichael and Jon stand in the tub together.MICHAEL AND JONAND YOU’RE GETTING WATER ON HISCORNFLAKESThey pull the shower curtain closed.INT. MICHAEL’S APARTMENT - LIVING ROOM - DAY - 1990They walk across the immaculate floors to the kitchen.MICHAEL AND JONHELLO, TO SHINY NEW PARQUET WOODFLOORSAS WAXED AS A WEALTHY GIRL'S LEGSHELLO, DEAR MISTER DISHWASHERMICHAELI COULD GET USEDJONI COULD GET USED
28.MICHAELI COULD GET USEDJONI COULD GET USEDMICHAEL AND JONI COULD GET USED TO YOUINT. JON’S APARTMENT - NIGHT - 1990Jon pops open the fridge. An unidentifiable, mold-covered pieceof once-food sits on the shelf.JONNO MORE EXOTICMichael slides the dead bolt into place on the door, as SIRENSsound from outside the apartment.MICHAELNO MORE NEUROTICMICHAEL AND JONNO MORE ANYTHINGBUT PLEASANTLY ROBOTICINT. MICHAEL’S APARTMENT - LIVING ROOM - DAYMichael flips a switch and all of the blinds in the apartmentopen at once, letting in a burst of mid-day sunshine.MICHAELWE’RE MOVING ON UPJONWE’RE MOVING ON UPMICHAELTO THE EAST SIDEJONTO THE EAST SIDEMICHAEL AND JONTO A DELUXE APARTMENT IN THE SKYINT. VICTORY TOWERS LOBBY - DAY - 1990Fully immersed in the fantasy, Michael and Jon, in tuxedos,stroll in, Michael handing the Doorman a 20 bill with a wink.
29.MICHAEL AND JONHELLO, TO DEAR MISTER DOORMANWHO LOOKS LIKE CAPTAIN KANGAROOHELLO DEAR FELLOW, AND HOW DO YOU DO?A full party is underway in the lobby -- beautiful PEOPLE,SUPERMODELS male and female, dancing.MICHAELI COULD GET USEDJONI COULD GET USEDEVEN SEDUCEDEVEN SEDUCEDMICHAELJONMICHAEL AND JONI COULD GET USED TO YOU, OH -The beautiful people follow Michael and Jon to the elevator.INT. VICTORY TOWERS - ELEVATORS - DAY - 1990Michael and Jon stand in the packed elevator, surrounded by thebeautiful people.MICHAEL-- I COULD GET USEDJONI COULD GET USEDEVEN SEDUCEDEVEN SEDUCEDMICHAELJONMICHAEL AND JONI COULD GET USED TO YOUAs the elevator doors shut with a DING -MATCH CUT TO:INT. SUBWAY - DAY - 1990Jon stands in the same position, jammed into a PACKED subwaycar. He watches as the subway doors, sliding shut, are stoppedby a would-be PASSENGER trying to squeeze onto the train.
30.ANNOUNCER (V.O.)Stand clear of the closing doors orwe’re not going anywhere. I swear toGod. I’m talking to you in the back.IRA (PRE-LAP)You still don’t have the song.INT. MOONDANCE DINER - MINUTES LATER - 1990Jon sits at a table across from IRA WEITZMAN, cups of coffeeand a script of Superbia between them.JONThis has never happened to me before.I usually write a song in a day. Lastweek, I wrote a song about sugar inthree hours.IRA(puzzled)A song about sugar?Jon sings a bit of SUGAR a cappella.JONSUGAR, SHE’S REFINEDFOR A SMALL PRICESHE BLOWS MY MINDIRAWhy would you do that?JONIt was an exercise.In what?IRAJONI like to see if I can write a songabout anything.IRAWhy don’t you try to see if you canwrite a song for your musical that’sbeing presented to an audience in sixd
6. He hands Jon a thick stack of photocopies, as Jon hands him a cup of coffee and a bag of take-out in exchange. Jon glances through the stack: sheet music and scripts for Superbia. JON
