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.

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 This is not what created for. It the park for all

MAYOR BILL LYNCH the park was impedes the use of the community.

DEPUTY MAYOR BILL LYNCH(cont'd) We have city shelters for the homeless.

4.

EXT. TOMPKINS SQUARE PARK 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. INT. NEWS CONFERENCE Subtitled: Parks Commissioner Betsy Gotbaum – at the podium. COMMISSIONER BETSY GOTBAUM Tompkins Square Park is officially closed for renovations. EXT. TOMPKINS SQUARE PARK 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. cheering and applauding Jonathan.

Soon, the whole park is

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. aimless and tired.

Their gait is

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. EXT. TOMPKINS SQUARE PARK Jonathan walks away feeling powerless. INT. NEWS CONFERENCE 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. Cop pokes his stick in Jonathan’s chest.

The Thick

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. don't you give us a break?

Why

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 asBACK 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. with me.

Come up

JONATHAN I’m fine. Matthew takes off and Jonathan turns his gaze back towards the abandoned building.

12.

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.

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.

13.

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 (directly into his Camera) 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. that moment two THUGS approach with clubs.

Just

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. third floor. INT.

He looks back up at the

MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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 INT. MARK AND ROGER'S LOFT – CONTINUOUS - NIGHT 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 INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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. in the background lighting candles.

Roger is

20. MARK (directly into his Camera) 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 POSTERSMark 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 INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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 INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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 INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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? INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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 tentcity 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 INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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 EXT. MARK AND ROGER'S ABANDONED BUILDING - AT THIRD FLOOR LEVEL - CONTINUOUS - NIGHT 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 EXT. MARK AND ROGER'S ABANDONED BUILDING - AT THIRD FLOOR LEVEL - CONTINUOUS - NIGHT 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. over to him wearing a coat. ROGER Where are you going? MARK Maureen calls. “emergency”.

Another

ROGER You're such a sucker.

Mark walks

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. Touché.

MARK 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. Roger sings his song.

Finally by himself,

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. hurries over expecting Mark.

Roger turns abruptly.

He

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. Hi.

MIMI 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. stumbles in the hallway, and Roger goes out to help her.

She

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? SHE DIED.

ROGER 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.

OH.

ROGER THE WAX - IT'S -

DRIPPING!

MIMI 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. INT. MARK AND ROGER'S LOFT – CONTINUOUS - NIGHT 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. Roger who is staring at her again. MIMI THEY SAY THAT I HAVE THE BEST ASS BELOW 14TH STREET/ IS IT TRUE? ROGER WHAT?

She looks up at

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. THE MOON

THANK GOD FOR

ROGER MAYBE IT'S NOT THE MOON AT ALL/ I HEAR SPIKE LEE'S SHOOTING DOWN THE STREET MIMI BAH HUMBUG… BAH HUMBUG

37. 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.

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!)

38.

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 SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN 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. bandaged and carrying firewood.

He is cleaned up and

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-inlaw in hopes of starting a cyberstudio. 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 POOHPOOH 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. the performance space of the lot.

He turns towards

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 (directly into his Camera) 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.

Great!

MARK 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. I'm Paul.

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 EXT. MARK AND ROGER'S ABANDONED BUILDING - AT THIRD FLOOR LEVEL - CONTINUOUS - NIGHT Roger sings out the window. ROGER & (GORDON O.S.) BECAUSE REASON SAYS I SHOULD HAVE DIED THREE YEARS AGO INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT 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 dining room is are eating and Christmas tree

space that serves as both living room and set up with two long tables. Twenty people drinking, laughing and telling stories. A 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. "Peasants Feast."

A

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. No wait.

SARAH 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. SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN 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. him on the cheek.

Sarah kisses

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. and then goes inside.

She holds onto it for a moment

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. she walks in. INT.

The door is open and

MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT

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 INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT 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 INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT ROGER (to himself) CONTROL YOUR TEMPER MIMI & (SUPPORT GROUP O.S.) MY DESTINY ROGER SHE DOESN’T SEE

63.

INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT SUPPORT GROUP & (MIMI O.S.) I TRUST MY SOUL INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT ROGER WHO SAYS THAT THERE'S A SOUL? MIMI & (SUPPORT GROUP O.S.) MY ONLY GOAL IS JUST - TO BE ROGER JUST LET ME BE INT. SUPPORT GROUP MEETING ROOM - CONTINUOS - NIGHT SUPPORT GROUP & (MIMI O.S.) THERE'S ONLY NOW/ THERE'S ONLY HERE ROGER (O.S.) WHO DO YOU THINK YOU ARE? INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT MIMI & (SUPPORT GROUP O.S.) 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 INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT SUPPORT GROUP & (MIMI O.S.) NO OTHER WAY ROGER (O.S.) LITTLE GIRL, HEY THE DOOR IS THAT WAY/ INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT MIMI NO DAY BUT TODAY ROGER THE FIRE'S OUT ANYWAY

64. MIMI & (SUPPORT GROUP O.S.) NO DAY BUT TODAY ROGER TAKE YOUR POWDER/ TAKE YOUR CANDLE INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT SUPPORT GROUP & (MIMI O.S.) NO DAY BUT TODAY INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT ROGER TAKE YOUR BROWN EYES/ YOUR PRETTY SMILE/ YOUR SILHOUETTE INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT SUPPORT GROUP & (MIMI O.S.) NO DAY BUT TODAY INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT ROGER ANOTHER TIME, ANOTHER PLACE, ANOTHER RHYME, A WARM EMBRACE MIMI & (SUPPORT GROUP O.S.) NO DAY BUT TODAY ROGER ANOTHER DANCE, ANOTHER WAY, ANOTHER CHANCE, ANOTHER DAY INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT SUPPORT GROUP & (MIMI O.S.) 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.

SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN 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.

SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN The CAMERA QUICKLY SCANS from The East Village west to Christopher St.: THE WEST VILLAGE. EXT. STREETS - AFTERNOON Jonathan is one plastic bike, locks stairs of a

riding his bike down the sidewalk. He has only bag left in his basket. He quickly hops off his it, grabs the remaining bag, and tears up the 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. all went out to--

We

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. SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN 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 WILL I LOSE MY DIGNITY/ WILL SOMEONE CARE/ WILL I WAKE TOMORROW/ FROM THIS NIGHTMARE? SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN 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 WILL I LOSE MY DIGNITY/ WILL SOMEONE CARE/ WILL I WAKE TOMORROW/ FROM THIS NIGHTMARE?

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 WILL I LOSE MY DIGNITY/ WILL SOMEONE CARE/ WILL I WAKE TOMORROW/ FROM THIS NIGHTMARE? 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 WILL I LOSE MY DIGNITY/ WILL SOMEONE CARE/ WILL I WAKE TOMORROW/ FROM THIS NIGHTMARE? 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 WILL I LOSE MY DIGNITY/ WILL SOMEONE CARE/ WILL I WAKE TOMORROW/ FROM THIS NIGHTMARE? 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. brings down his arm.

He slowly

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. pokes the Squeegee-man with his nightstick.

One of them

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. Angel show up. Mark aims his Camera.

Mark, Collins and

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 TOBLANKET 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 CUSTOMERS, MARK & ANGEL GAINS, GAINS, GAINS

73. COLLINS WE'LL OPEN UP A RESTAURANT IN SANTA FE CUSTOMERS, MARK & ANGEL 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? thing?

Are we a

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. SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN 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. La Boheme.

It is

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/ AND IT'S BEGINNING TO SNOW Jonathan walks past a woman selling coats. sort through her merchandise.

Collins and Angel

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 guileful search for drugs.

Her beauty obscures

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 AND IT'S BEGINNING TO SNOW 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? EXT. ST. MARKS PLACE - BAZAAR - CONTINUOUS - DUSK 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? EXT. ST. MARKS PLACE - BAZAAR - CONTINUOUS - DUSK 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. head for the performance space.

They enter the lot and

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. myself in a desert called Cyberland.

I found

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. moo.

He begins to

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 earthycrunchy 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 fatherin-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 EVERYONE AT THE TABLE 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? EVERYONE AT THE TABLE 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 EVERYONE AT THE TABLE 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. EVERYONE AT THE TABLE TO APATHY, TO ENTROPY, TO EMPATHY, ECSTASY/ VACLAV HAVEL - THE SEX PISTOLS, 8BC,/ TO NO SHAME - NEVER PLAYING THE FAME GAME COLLINS TO MARIJUANA EVERYONE AT THE TABLE TO SODOMY/ IT'S BETWEEN GOD AND ME/ TO S&M Mr. Grey has heard enough, he abruptly walks out. tries to hail the waiter.

Benny

BENNY WAITER… WAITER… WAITER EVERYONE AT THE TABLE 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-CHAIRHANDCUFF 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. over to see if he can tune it.

He goes

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 SELFDESTRUCT AS IT BROADCAST THE WORDS EVERYONE AT THE TABLE "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 EVERYONE AT THE TABLE YEAH!!!/ TO DANCE MAUREEN NO WAY TO MAKE A LIVING, MASOCHISM, PAIN, PERFECTION,/ MUSCLE SPASMS, CHIROPRACTORS, SHORT CAREERS, EATING DISORDERS EVERYONE AT THE TABLE FILM MARK ADVENTURE, TEDIUM, NO FAMILY, BORING LOCATIONS,/ DARKROOMS, PERFECT FACES, EGOS, MONEY, HOLLYWOOD AND SLEAZE

104. EVERYONE AT THE TABLE MUSIC ANGEL FOOD OF LOVE, EMOTION, MATHEMATICS, ISOLATION, RHYTHM,/ FEELING, POWER, HARMONY, AND HEAVY COMPETITION EVERYONE AT THE TABLE ANARCHY COLLINS & MAUREEN REVOLUTION, JUSTICE, SCREAMING FOR SOLUTIONS,/ FORCING CHANGES, RISK AND DANGER, MAKING NOISE AND MAKING PLEAS EVERYONE AT THE TABLE TO FAGGOTS, LEZZIES, DYKES, CROSSDRESSERS TOO MAUREEN TO ME MARK TO ME COLLINS & ANGEL TO ME EVERYONE AT THE TABLE 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 EVERYONE AT THE TABLE LA VIE BOHEME MARK IS ANYONE IN THE MAINSTREAM? EVERYONE AT THE TABLE LA VIE BOHEME MARK ANYONE ALIVE - WITH A SEX DRIVE

105. EVERYONE AT THE TABLE LA VIE BOHEME MARK TEAR DOWN THE WALL/ AREN'T WE ALL EVERYONE AT THE TABLE LA VIE BOHEME MARK THE OPPOSITE OF WAR ISN'T PEACE…/ IT'S CREATION EVERYONE AT THE TABLE 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 TWENTYFIVE 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. JONATHAN Marilyn sang. And you…

SARAH Ludwig?

Remember?

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. awkwardly fumbles with a tray.

She

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 breakingback-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 celphone) 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 INT.

MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT

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/ KERCHING, KER-CHING/ MARKY, GIVE US A CALL/ 970-4301/ OR AT HOME TRY 8636754/ OR - MY CEL-PHONE, AT 919-7630090/ 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. INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT 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 ABOUTFACE 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 IT’S GONNA BE A HAPPY NEW YEAR ROGER YOU’RE RIGHT Angel brings Roger and Mimi together. ANGEL IT’S GONNA BE A HAPPY NEW YEAR 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. HERE? HUH?

WHAT HAVE WE

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) (directly into his Camera) 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. grabs the phone.

Maureen storms over and

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. So am I. me.

MAUREEN And you’ve been ignoring

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 MYMY-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. coworkers and Maureen.

She makes her case to her astonished

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 justpurchased 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. his arm. ANGEL LIFE GOES ON FIRE ESCAPE COLLINS BUT I’M GONE EXT. MARK AND ROGER’S LOFT – DAY

He has an IV hooked up to

131. Roger climbs out on the fire escape. out on her fire escape.

He sees Mimi below him

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. BEEP.

She hears SPEAK and a

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-WETWET-RED HEAT/ HOT-HOT-HOT-SWEATSWEET/ WET-WET-WET-RED-HEAT/ PLEASE DON’T STOP PLEASE/ PLEASE DON’T STOP STOP/ STOP STOP STOP DON’T/ PLEASE PLEASE PLEASE PLEASE/ HOTHOT-HOT SWEAT-SWEET/ WET-WET-WETRED-HEAT/ STICKY-LICKY-TRICKLETICKLE/ STEAMY-CREAMY-STROKINGSOAKING HOT-HOT-HOT-SWEAT-SWEET-WETWET-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. 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.

He

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! INT. MIMI’S LOFT – NIGHT 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 INT. MIMI’S LOFT – NIGHT MIMI & ROGER IT WAS BAD FOR ME INT. JOANNE’S APARTMENT – BEDROOM – NIGHT Joanne and Maureen lying together in the bed. look at each other. MAUREEN & JOANNE WAS IT BAD FOR YOU?

They turn to

136. JOANNE IT’S OVER MAUREEN IT’S OVER INT. MIMI’S LOFT – NIGHT 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 massproducing 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. Camera out of the bag.

He pulls his

16MM POV – MARK DIRECTLY INTO HIS CAMERA. MARK HOW DID WE GET HERE?/ HOW THE HELL…/ PAN LEFT16MM 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 Guys!

MARK 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 seeMAUREEN She doesn’t believe me. JOANNE I was only trying to… They immediately end the argument and quickly hug. Collins and walk off arm and arm.

They kiss

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. joins Benny.

She

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. the shadows listening to Mark and Roger.

She stands in

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. around Mimi.

Just then Benny enters and puts his arm

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. the front of the church.

Benny and Mark turn towards

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. his Camera as a prop.

He holds

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. around shooting his Camera.

He spins

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 sees the lights on. He walks towards being drawn now. He suddenly grabs a fence that still surrounds the vacant knees clutching his chest. MIMI (O.S.) No, I’m done.

abandoned building and the building. He is hold of the chain-link lot. He falls to his

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. drags her up to her feet and pulls her along.

He

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. unconsciously.

She lies on the table and stirs

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.