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LA LA LAND(2016).hwp

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Mia and Sebastian resume walking. Now, at full volume --

 

MIA

I started putting on plays in my garage.

I'd write the scripts and print up

programs, and she'd give me props to use

from wherever she'd just been -- New

York, London, Paris. And then she'd jet

off again and I wouldn't hear from her

for another year.

 

SEBASTIAN

Who would you invite to watch? Your

parents?

 

MIA

God no -- I didn't invite anyone. That

would have been terrifying.

 

C40 CUT TO: The entrance to a giant soundstage.

 

MIA (CONT'D)

Honestly, I wish I loved something else.

I've tried so hard to want other things.

 

She and Sebastian stop. Peer inside the stage.

 

MIA (CONT'D)

I left school after two years to come here,

my fourth manager just dropped me, and my

last audition was for a teen soap pitched

as Dangerous Minds meets The O.C.

(a beat; then, deadpan --)

Should've been a lawyer.

Revision 27.

 

 

They resume walking.

 

D40 CUT TO: A row of closed soundstages, sandy-tan against the

bright blue sky.

 

SEBASTIAN

...`Cause the world needs more lawyers.

 

MIA

Well it doesn't need more actresses.

 

SEBASTIAN

You're not just an actress.

 

MIA

What do you mean, "just an actress"?

 

SEBASTIAN

You said it yourself, you're a child-

prodigy playwright.

 

MIA

That is not what I said.

 

SEBASTIAN

You're too modest to say it but it's

true. So you could write your own roles.

Write something that's as interesting as

you are.

 

MIA

Last thing I wrote was a stand-up routine

for an open-mic night. It was horrible.

 

SEBASTIAN

All I'm saying is -- Louis Armstrong

could have played the marching-band

charts he was given. What did he do

instead? He made history.

 

MIA

Ok, I'll stop auditioning and make

history instead.

 

Sebastian laughs.

 

MIA (CONT'D)

Anyway -- I'm getting a feeling there's

something I should tell you...

 

SEBASTIAN

Yeah?

Revision 28.

 

 

MIA

I hate jazz.

 

Sebastian stops. Turns to her.

 

SEBASTIAN

What does that mean? "I hate jazz"?

 

MIA

It means when I listen to it I don't like

it.

 

SEBASTIAN

But it's such a blanket statement. It's

like saying "I hate animals".

 

MIA

I do hate some animals.

 

SEBASTIAN

Do you need to be anywhere right now?

 

Mia looks at him. We hear DRUMS. A swinging ride pattern. And

we're in --

 

41 INT. LIGHTHOUSE CAFE - DAY

 

-- an old-school JAZZ CLUB. It's almost empty, only aged JAZZ

CATS here -- except for Mia and Sebastian, watching a QUARTET...

 

SEBASTIAN (CONT'D)

Most people say they hate jazz because

they don't have context. They don't get

where it came from. All these people

packed into flophouses in New Orleans,

speaking five different languages, and

jazz was how they talked to each other.

 

MIA

I thought it was just Kenny G.

 

SEBASTIAN

...What?

 

Mia looks at him. Already knows just how to get to him.

 

MIA

I associate it with facials. It's

relaxing.

 

SEBASTIAN

It's not relaxing! Sid Bechet got into a

gunfight `cause somebody told him he

played a wrong note!

Revision 29.

 

 

MIA

(laying it on thick)

Right, but it's good to talk over. Where

I grew up there's this jazz station

they'd play at cocktail parties whenever

they served the salami and cheese.

 

SEBASTIAN

Mia. These are things you can't unsay.

 

She bursts into laughter. Sebastian points to the band --

 

SEBASTIAN (CONT'D)

It's not cocktail music -- it's a high-

wire act. These guys are performing and

composing and rearranging all at once.

 

A beat. Mia looks at the band. We DRIFT over the instruments...

 

SEBASTIAN (CONT'D)

That's why you need to be in the space

and see what's at stake. This whole thing

-- it's dying. In twenty minutes they'll

head off to cut commercial sessions or do

pit at the Pantages `cause they have to --

but when I have my own place -- my club --

they'll play whatever they want.

 

Mia looks at Sebastian. Her laughter has subsided. She can

see something in him now -- the same passion he's speaking of...

 

 

 

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