Rent Screenplay Script

Jonathan Larson's
RENT
Screenplay
by
Glenn Ripps
Glenn RippsWGA# 1003183

323-687-4370Copyright 2004
glennripps@hotmail.com
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 MAYOR BILL LYNCH

This is not what the park was
created for. It impedes the use of
the park for all the community.
4.
DEPUTY MAYOR BILL LYNCH(cont'd)
We have city shelters for the
homeless.
Jonathan sees a policeman butting his stick into the back of

a man to hurry him out.
He screams out at the cop, “Hey!”…
He glances around and realizes that his feeble effort wasn’t

even audible to those standing next to him.
He cranes his neck to view more of the fracas.
Chris Hamilton is reaching his microphone up to a very thin,

tall HOMELESS MAN.
CHRIS HAMILTON
Where to now?
NEWS FOOTAGE
HOMELESS MAN
Don't know. It’s warm right now
but when it gets colder… don’t
know.
CHRIS HAMILTON
What about the city shelters?
HOMELESS MAN
Man, get the fuck out my face… City
shelters! Y’only need taste poison
once.
The tall man pushes the microphone away and walks off.
Subtitled: Parks Commissioner Betsy Gotbaum – at the podium.
COMMISSIONER BETSY GOTBAUM

Tompkins Square Park is officially
closed for renovations.
Jonathan sees the police in full riot gear surround the park
as construction workers raise fences around the perimeter.
He eyes the bandstand.
JONATHAN’S FANTASY SEQUENCE

5.
Suddenly, Jonathan sprints past the police and jumps up onto

the bandstand. As some officers move towards him, he looks
out over the commotion and yells:
JONATHAN
Stop!
The whole park falls silent. Everyone gazes up at this new

messiah awaiting his message.
JONATHAN (cont’d)
Where are they gonna go? If this
park were filled with beached
whales the whole city would be down
here helping them!
One of the policemen begins to clap. Soon, the whole park is

cheering and applauding Jonathan.
Jonathan smiles.
His eyes are filled with pride.
BACK TO SCENE
Jonathan is standing anonymously in the middle of the crowd

of onlookers.
He sees the police standing guard outside the perimeter of

the park; some hang their riot helmets on the fence poles
trying to cool off from the heat.
A small group of yuppies applaud from the terrace of one of

the few upper-class buildings that border the park.
Jonathan sees throngs of young, rowdy, tattooed, lip-ring -

nose-ring - eyebrow-ring-wearing teens begin to assemble, and
protest.
JONATHAN’S POV
Amidst the pack of youthful rabble-rousers is COLLINS, a

tall, muscular African American swirling his fist in the air;
and BENNY, an attractive slightly built African American
rubbing his shaved head; and ROGER, a roughly good-looking
rocker balancing his frail girlfriend APRIL on his shoulders
as she raises her fist out in protest; and MAUREEN, a
curvaceous fireball screaming at the top of her lungs; and
MARK, an academic with one arm around Maureen and the other
holding an old film camera trying to follow the action.
6.
Mark pans his camera across the park. He glances above the
eyepiece and catches Jonathan’s stare.
Jonathan looks away quickly and finds Chris Hamilton

approaching a group of the banished homeless.
CHRIS HAMILTON
Where will you spend the night?
NEWS FOOTAGE
HOMELESS WOMAN
There are vacant lots all over
Alphabet City.
She and the others walk off into the distance. Their gait is
aimless and tired.
Some of the protesters in the background shout and wave to

the news camera: “We’ll take it back!” “They just let slip
the dogs of hell!”
CHRIS HAMILTON
Considering the Dinkins
Administration’s growing
intolerance towards squatting in
city owned buildings, these people
have very good reason to be on
edge. This is Chris Hamilton
reporting live from Tompkins Square
Park.
Jonathan walks away feeling powerless.
Mayor Dinkins at the podium.
MAYOR DINKINS
The Lower East Side parks are
parks. They're not places to live.
I will not have it any other way.
FADE TO BLACK:
FADE UP ON - SATELLITE PHOTO/TOURIST MAP COMPOSITE OF

MANHATTAN
7.
A LEGEND - DECEMBER 24TH 1991 – FADES UP AND OUT
The CAMERA PANS from Tompkins Square Park to the bordering

section colored in blue: ALPHABET CITY.
EXT. ALPHABET CITY – NIGHT
Abandoned rundown buildings file by. Homeless people huddle

together in vacant lots. Punks in leather amble towards
seedy clubs.
The street post reads 2nd Ave. and 12th St. A diner made from
a renovated railway car is positioned on the corner.
Jonathan sits on the stairs of the diner writing in a
notebook. He blows into his hands and his warm breath
billows through his fingers.
MATTHEW (O.S.)
You’re gonna catch your death
writing out here.
Jonathan looks up and smiles. MATTHEW (30’s), Jonathan’s

best friend is standing over him.
JONATHAN
You’re late.
MATTHEW
Why didn’t you wait inside?
JONATHAN
I can’t get anything done in there,
too much chitchat.
Matthew looks through the large pane at the animated youthful

exuberance inside.
MATTHEW
I thought they were your muse.
JONATHAN
They were. Still are in some ways,
but it’s out here. The streets are
ablaze more than ever since they
shut down the park.
They walk together down the hard cold pavement.
Jonathan’s eyes are wide open, taking in every nuance, as if

he had just moved to town.
JONATHAN (cont’d)
We’re living in the true Bohemia.
8.
They hurry past rows of inhabited cardboard boxes, stacked

together for shelter against the winter. Jonathan walks
backwards talking to Matthew.
JONATHAN (cont’d)
I’ve gotta open up, take it all in…
A group of leather clad Mohawks amble across the street

whooping and hollering. Jonathan and Matthew traverse around
their path as Jonathan jumps and shouts over the assemblage
to Matthew.
JONATHAN (cont’d)
Gather it together and shake it up…
Jonathan peers into the depths of the vacant buildings that

line these streets. He sees the glow of trash can fires.
JONATHAN (cont’d)
…And see what I get.
Jonathan and Matthew come around the corner of Eleventh

Street and Avenue A.
Jonathan stops and gazes into a huge tent city that fills a
vacant lot which spans the entire block. Matthew turns to
him.
MATTHEW
Havin' second thoughts about the
group? You could come with me
another night if you’re not up to
it right now.
JONATHAN
No. Well, I’m just afraid of being
seen as… “The healthy do-gooder,”
pitying all the unlucky less
fortunate souls.
MATTHEW
Don’t worry, you'll just be
perceived as a friend of an unlucky
less fortunate soul.
JONATHAN
I just meant--
MATTHEW
--I know what you meant. It’s okay.
Matthew sees that Jonathan's attention has turned to the lot.

9.
A couple of uniformed cops, one very tall and lean and the
other thick and square as a mailbox, nonchalantly hassle the
homeless. They tap their sticks on the ground and on the
benches and give notice to the loiterers, “Don't spend the
night.” “This ain’t your home.”
Jonathan scowls.
JONATHAN
That’s observant, genius.
THICK COP
What’d you say?
The cops walk towards Jonathan and Matthew.
TALL COP
You got a beef?
JONATHAN
Shit.
Two very large shadows veil Jonathan and Matthew. The Thick
Cop pokes his stick in Jonathan’s chest.
THICK COP
You’re a smart guy, huh?
TALL COP
Let’s see some ID’s.
Matthew and Jonathan fish out their wallets as the Thick Cop
eyes Jonathan.
THICK COP
You guys squattin’ in one of these
buildings?
TALL COP
(handing back ID's)
They live here legit.
THICK COP
You’re lucky. ‘Cause we’re
evicting all the anarchist
squatters from this neighborhood
too.
MATTHEW
Not all squatters are anarchists.
10.
TALL COP
Our precinct gets calls everyday
from the neighborhood complainin’
‘bout the loud music, the drug use,
the protests…
Matthew looks around at the battered and vacant surrounding

buildings.
MATTHEW
The neighborhood?
The Tall Cop points to the one nice building on the block.
TALL COP
The neighborhood. They say their
kids are scared to walk to school.
MATTHEW
Their kids get limoed to private
schools.
TALL COP
We're just following orders. Why
don't you give us a break?
THICK COP
(poking his stick in
Jonathan's chest)
The quiet one’s got all the answers
don’t you? Probably spend all your
free time helping others. Maybe
you should run for Mayor… whadaya
say to that smart guy?
Jonathan doesn’t say anything; he just stares at the stocky

patrolman.
TALL COP
Yeah, the silent Mayor.
Jonathan watches the officers continue down their beat

laughing.
MATTHEW
Don’t sweat them.
JONATHAN
They’re not wrong.
MATTHEW
You’re a writer not a fighter.
11.
Jonathan forces a smile. He looks up as he notices someone

step onto a windowsill of one of the abandoned buildings.
JONATHAN'S POV - ABANDONED BUILDING
Mark stands on the windowsill in front of a huge open window

on the third floor, looking into the eyepiece of a small
movie camera. A large fire escape frames the window, which
is one of many huge windows on the floor.
CAMERA ZOOMS in QUICK, as the young man takes his eye away
from his vintage 16mm Bell and Howell Camera. He looks
directly at Jonathan. He looks back into the eyepiece of his
Camera aiming it right at Jonathan and Matthew. He then
jumps back down off the sill just as-
BACK TO SCENE
Matthew looks from Jonathan to the Abandoned Building.
The windows that Jonathan is observing are completely void of

life.
MATTHEW
What're you lookin' at?
JONATHAN
That building… could be squatters
in there.
MATTHEW
Could be. Come on I’ve got get
some things for the meeting.
JONATHAN
I’ll wait here.
MATTHEW
It’s freezing out here. Come up
with me.
JONATHAN
I’m fine.
Matthew takes off and Jonathan turns his gaze back towards
the abandoned building.
12.
JONATHAN’S POV
Roger, with an electric guitar strapped over his shoulder,

steps onto the windowsill. He pushes his palms against the
frame of the window.
BACK TO SCENE
Jonathan slowly moves towards the building, intrigued.
INT. ABANDONED BUILDING – THIRD FLOOR LOFT - CONTINUOUS -

NIGHT
Roger pushes himself off the window frame and jumps back down
inside gripping his guitar tightly. He goes over to his amp,
plugs in and hits some restless chords.
The Loft is a large industrial space arrayed with mattresses

on the floor, old drafting tables, shelves made from milk
crates, and a kitchen that consists of a hot plate, toaster
oven and an ice chest.
Mark is setting up his 16mm Camera on a tripod. He also has

a small recording device jury-rigged to the camera. Roger
plays some chords in the background.
MARK
(to himself)
Alright, ready?
Mark spins his Camera towards the loft and jumps out in front
of it. He performs an exaggerated loud clap.
16MM POV
MARK
(directly into his Camera)
We begin on Christmas Eve, with me,
Mark, and my roommate, Roger.
Mark runs back behind his Camera and pans to Roger.
WHIP PANS FOLLOW MARKS NARRATION
MARK (O.S.)
We live in an industrial loft on
the corner of 11th St. and Avenue
B, the third floor of what was once
a music-publishing factory.
13.
MARK(cont'd)
Old rock-'n'-roll posters hang on
the walls. They have Roger's
picture advertising gigs at CBGB's
and the Pyramid Club. We have an
illegal wood burning stove (note: a
trash can); it's exhaust pipe
crawls up to a skylight. All of
our electrical appliances are
plugged into one thick extension
cord, which snakes its way out a
window.
BACK TO SCENE
Mark takes his Camera off of the tripod, and walks to the
window. He aims his camera at the scene below his windows.
16MM POV
Mark’s camera captures the poverty that exists just outside

his building.
MARK (O.S.)
Outside, a small tent-city has
sprung up in the lot next to our
building.
BACK TO SCENE
MARK
(pans his camera back into
the loft)
Inside we are freezing because we
have no heat.
Mark turns his Camera to Roger.
MARK (cont’d)
Smile.
Roger just shakes his head.
Mark puts his Camera back down on the tripod and jumps back
out in front of the lens. (Note: all song lyrics are
capitalized)
14.
16MM POV
MARK
DECEMBER 24TH, NINE P.M./ EASTERN
STANDARD TIME/ FROM HERE ON IN/ I
SHOOT WITHOUT A SCRIPT/ SEE IF
ANYTHING COMES OF IT/ INSTEAD OF MY
OLD SHIT/
Mark runs behind his Camera.
MARK (cont’d)
FIRST SHOT - ROGER/ TUNING THE
FENDER GUITAR/ HE HASN'T PLAYED IN
A YEAR
ROGER
THIS WON'T TUNE
MARK
SO WE HEAR
CUT BACK AND FORTH TO 16MM CAMERA POV
MARK (cont’d)
HE'S JUST COMING BACK/ FROM HALF A
YEAR OF WITHDRAWAL
ROGER
ARE YOU TALKING TO ME?
MARK
NOT AT ALL/ ARE YOU READY? HOLD
THAT FOCUS - STEADY/ TELL THE FOLKS
AT HOME WHAT YOU'RE DOING ROGER…
ROGER
I'M WRITING ONE GREAT SONG--
A telephone RINGS.
MARK
THE PHONE RINGS
ROGER
SAVED!
MARK
WE SCREEN/ ZOOM IN ON THE ANSWERING
MACHINE!
15.
Roger and Mark listen.
ANSWERING MACHINE
SPEAK/ (BEEEP!)
MARK'S MOTHER'S VOICE (O.S.)

THAT WAS A VERY LOUD BEEP/ I DON'T
EVEN KNOW IF THIS IS WORKING/ MARK -
MARK - ARE YOU THERE/ ARE YOU
SCREENING YOUR CALLS - IT'S MOM/
Roger goes to answer and Mark grabs him, shaking his head.
Roger smiles as they continue to listen.
INT. MARK’S PARENTS SUBURBAN HOME – KITCHEN – NIGHT
Mark’s MOTHER is stirring a pan of sautéed onions holding the

phone between her ear and shoulder.
MARK'S MOTHER
WE WANTED TO CALL AND SAY WE LOVE
YOU/ AND WE'LL MISS YOU TOMORROW/
CINDY AND THE KIDS ARE HERE - SEND
THEIR LOVE/ OH, I HOPE YOU LIKE THE
HOT PLATE/ JUST DON'T LEAVE IT ON,
DEAR/ WHEN YOU LEAVE THE HOUSE/ OH,
AND MARK/ WE'RE SORRY TO HEAR THAT
MAUREEN DUMPED YOU/ I SAY, C'EST LA
VIE/ SO LET HER BE A LESBIAN/ THERE
ARE OTHER FISHIES IN THE SEA/…
INT. MARK AND ROGER’S LOFT – CONTINUOUS - NIGHT
MARK’S MOTHER’S VOICE (O.S.)

LOVE MOM!
16MM POV - PANS FROM THE ANSWERING MACHINE TO ROGER
MARK (O.S.)
TELL THE FOLKS AT HOME WHAT YOU'RE
DOING, ROGER…
ROGER
I'M WRITING ONE GREAT SONG--
BACK TO SCENE
The telephone RINGS.
MARK
THE PHONE RINGS.
16.
ROGER
YESSS!
MARK
WE SCREEN.
ANSWERING MACHINE
SPEAK/ (BEEEP)
COLLINS (O.S.)
(speakerphone)
"CHESTNUTS ROASTING…"
Mark dives for the phone. He hits the speakerphone button.
ROGER & MARK

COLLINS!
EXT. MARK AND ROGER'S ABANDONED BUILDING - CONTINUOUS - NIGHT
Collins is using a battered public pay-phone right by the

front-door area of the building.
Jonathan is standing in the background watching Collins.
COLLINS
I'M DOWNSTAIRS
MARK (O.S.)
(his voice comes through
the phone)
HEY!
COLLINS
ROGER PICKED UP THE PHONE?
INT. MARK AND ROGER'S LOFT - CONTINUOUS - NIGHT
MARK
NO, IT'S ME
COLLINS (O.S.)
(speakerphone)
THROW DOWN THE KEY
Mark pulls out a small leather pouch and drops it out the
window.
MARK
A WILD NIGHT IS NOW PREORDAINED
17.
EXT. DOWNSTAIRS - THAT MOMENT - NIGHT
Collins catches the pouch while holding onto the phone. Just
that moment two THUGS approach with clubs.
COLLINS
(into the phone)
I MAY BE DETAINED
Collins drops the phone and takes off running as the two
Thugs give chase.
Jonathan watches Collins run off. He looks back up at the

third floor.
MARK
(to Roger; switching off
the phone)
What does he mean detained…?
Mark walks to the window holding the phone, just as the phone
RINGS again.
MARK (cont’d)
(switching on the
speakerphone)
What do you mean “detained"?
BENNY (O.S.)
(speakerphone)
HO HO HO
MARK & ROGER

BENNY! (SHIT)
BENNY (O.S.)
DUDES, I'M ON MY WAY
MARK & ROGER

GREAT! (FUCK!)
EXT. NYC STREET - CONTINUOUS - NIGHT
Benny pats his newly shaved bald head as he drives his RANGE
ROVER. He TALKS into his car phone microphone, and HEARS
through the speaker that is in the center console.
BENNY
I NEED THE RENT
18.
INT. BENNY'S RANGE ROVER - DRIVING - CONTINUOUS - NIGHT
MARK (O.S.)
(speakerphone)
WHAT RENT?
BENNY
THIS PAST YEAR'S RENT, WHICH I LET
SLIDE
INT. MARK AND ROGER'S LOFT – CONTINUOUS - NIGHT
MARK
LET SLIDE? YOU SAID WE WERE
"GOLDEN"
ROGER
WHEN YOU BOUGHT THE BUILDING
MARK
WHEN WE WERE ROOMMATES
ROGER
REMEMBER - YOU LIVED HERE!?
BENNY (O.S.)
(speakerphone)
HOW COULD I FORGET?
INT. BENNY'S RANGE ROVER – CONTINUOUS - NIGHT
BENNY
YOU, ME, COLLINS AND MAUREEN/ HOW
IS THE DRAMA QUEEN?
MARK (O.S.)
(speakerphone)
SHE'S PERFORMING TOMORROW
BENNY
I KNOW
BENNY (O.S.)
(speakerphone)
STILL HER PRODUCTION MANAGER?
MARK
TWO DAYS AGO I WAS BUMPED
19.
BENNY (O.S.)
(speakerphone)
YOU STILL DATING HER?
MARK
LAST MONTH I WAS DUMPED
ROGER
SHE'S IN LOVE
BENNY (O.S.)
(speakerphone)
SHE'S GOT A NEW MAN?
MARK
WELL - NO
INT. BENNY'S RANGE ROVER – CONTINUOUS - NIGHT
BENNY
WHAT'S HIS NAME?
INT. MARK AND ROGER’S LOFT – CONTINUOUS - NIGHT
MARK & ROGER

JOANNE
INT BENNY’S RANGE ROVER – CONTINUOUS - NIGHT
BENNY
RENT, MY AMIGOS, IS DUE/ OR I WILL
HAVE TO EVICT YOU/ BE THERE IN A
FEW
Roger defiantly picks out Musetta's theme from Puccini's La

Boheme on his electric guitar. Mark looks at his roommate.
Just then all the lights and Roger’s guitar shuts off.
MARK
THE POWER BLOWS…
Mark runs over to his Camera. He spins it on the tripod--
16MM POV
The loft is spinning. It lands on Mark and holds. Roger is

in the background lighting candles.
20.
MARK
HOW DO YOU DOCUMENT REAL LIFE/ WHEN
REAL LIFE'S GETTING MORE/ LIKE
FICTION EACH DAY/ HEADLINES -
BREADLINES/ BLOW MY MIND/ AND NOW
THIS DEADLINE/ "EVICTION - OR PAY"/
RENT
Roger grabs his acoustic guitar and jumps into the picture
with Mark.
ROGER
HOW DO YOU WRITE A SONG/ WHEN THE
CHORDS SOUND WRONG/ THOUGH THEY
ONCE SOUNDED RIGHT AND RARE/ WHEN
THE NOTES ARE SOUR/ WHERE IS THE
POWER/ YOU ONCE HAD TO IGNITE THE
AIR
BACK TO SCENE
MARK
AND WE'RE HUNGRY AND FROZEN
ROGER
SOME LIFE THAT WE'VE CHOSEN
MARK & ROGER

HOW WE GONNA PAY/ HOW WE GONNA PAY/
HOW WE GONNA PAY/ LAST YEAR'S RENT
MARK
WE LIGHT CANDLES
Mark removes his Camera from the tripod, as Roger runs to the
windows and jumps up on the sill.
16MM POV
ROGER
HOW DO YOU START A FIRE/ WHEN
THERE'S NOTHING TO BURN/ AND IT
FEELS LIKE SOMETHING'S STUCK IN
YOUR FLUE
MARK
HOW CAN YOU GENERATE HEAT/ WHEN YOU
CAN'T FEEL YOUR FEET
21.
MARK & ROGER

AND THEY'RE TURNING BLUE!
BACK TO SCENE
MARK
YOU LIGHT UP A MEAN BLAZE
Roger is tearing posters of himself off the wall and throwing

them towards the trash can.
ROGER
WITH POSTERS-
Mark is picking up his old screenplays from the floor and

throwing them into the trash can stoking the fire’s blaze.
The glow of the fire along with the candles, streetlight and
moonlight, are the only source of light in the powerless
loft.
MARK
AND SCREENPLAYS
MARK & ROGER

HOW WE GONNA PAY/ 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
MARK & ROGER (O.S.)

HOW WE GONNA PAY
EXT. MARK AND ROGER’S ABANDONED BUILDING – AT THIRD FLOOR

LEVEL – CONTINUOUS – NIGHT
Mark and Roger sing out the windows.
MARK & ROGER

LAST YEAR’S RENT
INT. BENNY'S RANGE ROVER - CONTINUOUS - NIGHT
BENNY
(into the microphone of
his car phone)
ALLISON BABY - YOU SOUND SAD/ I
DON'T BELIEVE THOSE TWO/ AFTER
EVERYTHING I'VE DONE/ EVER SINCE
OUR WEDDING/ I'M DIRT - THEY'LL
SEE/ I CAN HELP 'EM ALL OUT IN THE
LONG RUN
Mark is reading from a script.
MARK
"THE MUSIC IGNITES THE NIGHT WITH
PASSIONATE FIRE"
BENNY (O.S.)
(simultaneously; in b.g.)
FORCES ARE GATHERING/ FORCES ARE
GATHERING/ CAN'T TURN AWAY/ FORCES
ARE GATHERING
EXT. STREETS - CONTINUOUS - NIGHT
Collins is stumbling down the streets.

24.
COLLINS
(simultaneously; in b.g.)
UGHHH - / UGHHH - / I CAN'T THINK/
UGHHH - / UGHHH - I NEED A DRINK
JOANNE (O.S.)
MAUREEN - I'M NOT A THEATER PERSON
ROGER
"THE NARRATION CRACKLES AND POPS
WITH INCENDIARY WIT?
EXT. PERFORMANCE SPACE OF THE VACANT LOT - CONTINUOUS - NIGHT
Joanne is still on her phone.
JOANNE
COULD NEVER BE A THEATER PERSON
Mark is shooting Roger burn more of his posters.
MARK
ZOOM IN AS THEY BURN THE PAST TO
THE GROUND
EXT. PERFORMANCE SPACE OF THE VACANT LOT - CONTINUOUS - NIGHT
Joanne is still on her phone.
JOANNE
(realizing she's been hung
up on)
HELLO?
MARK & ROGER (O.S.)

AND FEEL THE HEAT OF THE FUTURE'S
GLOW
JOANNE
HELLO?
The phone RINGS and Mark picks it up.
MARK
HELLO? MAUREEN?/ YOUR EQUIPMENT
WON'T WORK?/ OKAY, ALL RIGHT, I'LL
GO!
25.
Mark and Roger JUMP back up on the windowsill and throw open
the windows.

LEVEL – CONTINUOUS - NIGHT
CAMERA starts OUTSIDE on Mark and Roger standing on the

windowsill as they sing towards the vacant lot tent-city.
CAMERA rises and does a 180-degree turn around them to see
some of the lot’s inhabitants responding to Mark and Roger.
MARK & SOME OF THE LOT PEOPLE

HOW DO YOU LEAVE THE PAST BEHIND/
WHEN IT KEEPS FINDING WAYS TO GET
TO YOUR HEART/ IT REACHES WAY DOWN
DEEP AND TEARS YOU INSIDE OUT/ 'TIL
YOU'RE TORN APART/ RENT
INT. MARK AND ROGER'S LOFT - THAT MOMENT - NIGHT
Mark and Roger turn towards their squatter’s loft. The tent-
city is behind them now and even more of the inhabitants are
SINGING.
ROGER & SOME OF THE LOT PEOPLE

HOW CAN YOU CONNECT IN AN AGE/
WHERE STRANGERS, LANDLORDS, LOVERS/
YOUR OWN BLOOD CELLS BETRAY
Mark and Roger turn towards the vacant lot/tent-city.
EXT. VACANT LOT TENT-CITY - CONTINUOUS - NIGHT
The lot is populated with it's share of drug dealers, "orange

Mohawk punks", and homeless people.
SOME OF THE LOT PEOPLE (MARK AND ROGER

(O.S.)
WHAT BINDS THE FABRIC TOGETHER/
WHEN THE RAGING, SHIFTING WINDS OF
CHANGE/ KEEP RIPPING AWAY
INT. BENNY'S RANGE ROVER - CONTINUOUS - NIGHT
BENNY
DRAW A LINE IN THE SAND/ AND THEN
MAKE A STAND
ROGER
(to Mark)
USE YOUR CAMERA TO SPAR
26.
MARK
(to Roger)
USE YOUR GUITAR
EXT. VACANT LOT TENT/CITY - CONTINUOUS - NIGHT

O.S.)
WHEN THEY ACT TOUGH - YOU CALL
THEIR BLUFF

MARK & ROGER

WE'RE NOT GONNA PAY
EXT. VACANT LOT TENT/CITY - CONTINUOUS - NIGHT

O.S.)
WE'RE NOT GONNA PAY
EXT. NEW YORK CITY STREETS – CONTINUOUS – NIGHT
Mimi, shivering, hurries down the street.
MIMI (MARK AND ROGER O.S.)

WE'RE NOT GONNA PAY
INT. ANOTHER VACANT BUILDING – CONTINUOUS - NIGHT
A group of homeless huddle by a trash can fire.
THE HUDDLE (MARK AND ROGER O.S.)

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

MARK & ROGER

'CAUSE EVERYTHING IS RENT
CAMERA PUSHES in on Mark whose gaze remains on the vacant

lot/tent-city. He picks up his camera and films.
EXT. STREET - JUST OUTSIDE THE VACANT LOT/TENT-CITY –

CONTINUOUS - NIGHT
27.
16MM POV
Mark’s camera finds Jonathan sitting alone on a park bench

writing furiously.
EXT. ALPHABET CITY - NIGHT
Collins has staggered his way to 9th St. and Avenue C, an

extremely deteriorated area of Alphabet City. He leans
against the twisted metal remnants of a building that looks
as if it had been decimated during the Blitzkrieg.
A HOMELESS MAN dressed in a raggedy Santa Clause suit,

holding a little red plastic bucket and ringing a jingle
bell, walks up to Collins.
HOMELESS SANTA
(to Collins)
CHRISTMAS BELLS ARE RINGING/
(realizing Collins
condition)
SOMEWHERE ELSE/ NOT HERE
The Homeless Santa walks past Collins just as he hears a drum

beating. He looks above him and sees ANGEL, a beautiful
Latin teenager sitting up in the twisted metal and debris of
the building that Collins is leaning against. Angel is
tapping out a rhythm on a large plastic bucket. Behind him
he has hung tin can ornaments lit up with candles in the
shape of a Christmas Tree on the jutting metal rods.
ANGEL
(to Collins)
YOU OKAY HONEY?
COLLINS
I'M AFRAID SO
ANGEL
THEY GET ANY MONEY?
COLLINS
NO, HAD NONE TO GET/ BUT THEY
PURLOINED MY COAT/
(to the empty street)
WELL YOU MISSED A SLEEVE! - THANKS
28.
ANGEL
HELL, IT'S CHRISTMAS EVE/
(quickly climbing down;
extending his hand)
I'M ANGEL
COLLINS
(shaking hands)
ANGEL? INDEED/ AN ANGEL OF THE
FIRST DEGREE/ FRIENDS CALL ME
COLLINS - TOM COLLINS/
(acknowledging Angel's
"tree")
NICE TREE…
ANGEL
LET'S GET A BAND-AID FOR YOUR KNEE/
I'LL CHANGE, THERE'S A "LIFE
SUPPORT" MEETING/ AT NINE-THIRTY/
YES, THIS BODY PROVIDES A
COMFORTABLE HOME/ FOR THE ACQUIRED
IMMUNE DEFICIENCY SYNDROME
COLLINS
AS DOES MINE
ANGEL
WOW, WE'LL GET ALONG FINE/ GET YOU
A COAT, HAVE A BITE/ MAKE A NIGHT -
I'M FLUSH
COLLINS
BUT MY FRIENDS ARE WAITING -
ANGEL
YOU'RE CUTE WHEN YOU BLUSH/ THE
MORE THE MERRIER - HO HO HO/ AND I
DO NOT TAKE NO
INT. MARK AND ROGER'S LOFT - NIGHT
Roger is seated at the table tuning his guitar. Mark walks

over to him wearing a coat.
ROGER
Where are you going?
MARK
Maureen calls. Another
“emergency”.
ROGER
You're such a sucker.
29.
MARK
I don't suppose you'd like to see
her show in the lot tomorrow night?
Roger shrugs.
Mark looks out the window.
MARK (cont’d)
If Collins comes back, tell him to
wait. We could all go to dinner?
ROGER
Zoom in on my empty wallet.
MARK
Touché. Take your AZT.
Mark picks up his Camera and discreetly shoots Roger.
16MM POV
On Roger still tuning his guitar.
MARK (O.S.)
(quietly into the Camera
Microphone)
CLOSE ON ROGER/ HIS GIRLFRIEND
APRIL/ LEFT A NOTE SAYING, "WE'VE
GOT AIDS"/ BEFORE SLITTING HER
WRISTS IN THE BATHROOM/
BACK TO SCENE
Mark walks to the door.
MARK
Look, I’m gonna set Maureen
straight and then I'll be right
back… change your mind. You have
to get out of the house.
Mark leaves Roger alone with his guitar. Finally by himself,

Roger sings his song.
ROGER
I’M WRITING ONE GREAT SONG BEFORE
I... BEFORE I GO...
Roger steps up onto the table and performs to the empty

space.
30.
THE CAMERA CONTINUALLY DOLLIES AROUND ROGER THROUGHOUT THE

SONG
The CAMERA passes in front of Roger in a CLOSE-SHOT. Each

time the CAMERA passes behind him, Roger is in a different
place.
CLOSE-SHOT ROGER
ROGER
ONE SONG/ GLORY/ ONE SONG/ BEFORE I
GO/ GLORY/ ONE SONG TO LEAVE
BEHIND/
INT. SEEDY CLUB - NIGHT
Roger is on the stage performing to a mostly disinterested

crowd. Among a small group of excited fans is Roger’s
girlfriend April.
ROGER
FIND ONE SONG/ ONE LAST REFRAIN/
GLORY/ FROM THE PRETTY-BOY FRONT
MAN/ WHO WASTED OPPORTUNITY/ ONE
SONG/
CLOSE-SHOT ROGER
ROGER
HE HAD THE WORLD AT HIS FEET/
GLORY/ IN THE EYES OF A YOUNG GIRL/
A YOUNG GIRL/
INT. BATHROOM - DAY
Roger sits on a stool singing to April who is bathing

provocatively in front of him.
ROGER
FIND GLORY/ BEYOND THE CHEAP
COLORED LIGHTS/ ONE SONG/ BEFORE
THE SUN SETS/ GLORY -
31.
CLOSE-SHOT ROGER
ROGER
ON ANOTHER EMPTY LIFE/ TIME FLIES -
TIME DIES/
EXT. CEMETERY - DAY
Roger sings to April’s tombstone.
ROGER
GLORY - ONE BLAZE OF GLORY/ ONE
BLAZE OF GLORY -
CLOSE-SHOT ROGER
ROGER
GLORY/ FIND/ GLORY/
INT. MARK AND ROGER’S LOFT - NIGHT
Roger steps off the table goes to the window and steps up on
the windowsill.
ROGER
IN A SONG THAT RINGS TRUE/ TRUTH
LIKE A BLAZING FIRE/ AN ETERNAL
FLAME/
EXT. MARK AND ROGER’S ABANDONED BUILDING - THIRD FLOOR - THAT

MOMENT - NIGHT
Roger sings past the window looking down on the tent-city.
ROGER
FIND/ ONE SONG/ A SONG ABOUT LOVE/
GLORY/ FROM THE SOUL OF A YOUNG
MAN/ A YOUNG MAN/
EXT. TENT-CITY - NIGHT
The inhabitants: lay down cardboard boxes; smoke cigarette

butts; huddle under torn plastic sheets.
32.
ROGER (O.S.)
FIND/ THE ONE SONG/ BEFORE THE
VIRUS TAKES HOLD/ GLORY/ LIKE A
SUNSET/ ONE SONG/ TO REDEEM THIS
EMPTY LIFE/
INT. MARK AND ROGER’S LOFT - THAT MOMENT - NIGHT
Roger sings to his reflection in the window.
ROGER
TIME FLIES/ AND THEN - NO NEED TO
ENDURE ANYMORE/ TIME DIES
There is a knock at the door. Roger turns abruptly. He

hurries over expecting Mark.
ROGER (cont’d)
What'd you forget?
Roger opens the door, and to his surprise finds Mimi standing
in the hallway holding an unlit candle.
ROGER (cont’d)
Hello.
MIMI
Hi. I'm your new neighbor.
ROGER
Neighbor?
MIMI
I kinda got evicted so, well, I
noticed there was a vacancy in this
luxury building.
ROGER
Yeah, right.
MIMI
GOT A LIGHT?
ROGER
I KNOW YOU - YOU'RE -/ YOU'RE
SHIVERING
Roger leads Mimi over to the table where he looks for some
matches.
33.
MIMI
IT'S NOTHING/ NOT USED TO NO HEAT/
AND I'M JUST A LITTLE WEAK ON MY
FEET/ WOULD YOU LIGHT MY CANDLE?/
WHAT ARE YOU STARING AT?
ROGER
NOTHING/ YOUR HAIR IN THE
MOONLIGHT/ YOU LOOK FAMILIAR
Roger lights her candle. And watches her as she leaves. She
stumbles in the hallway, and Roger goes out to help her.
INT. HALLWAY – CONTINUOUS - NIGHT
The only LIGHT in the hallway comes from the candle.
ROGER
(grabbing her arm)
CAN YOU MAKE IT?
MIMI
JUST HAVEN'T EATEN MUCH TODAY/ AT
LEAST THE ROOM STOPPED SPINNING.
ANYWAY. WHAT?
ROGER
NOTHING/ YOUR SMILE REMINDED ME OF -
MIMI
I ALWAYS REMIND PEOPLE OF -
(turning away down the
hallway)
WHO IS SHE?
ROGER
SHE DIED. HER NAME WAS APRIL
Mimi discreetly blows out her candle and turns back towards
Roger.
MIMI
IT'S OUT AGAIN/ SORRY ABOUT YOUR
FRIEND/ WOULD YOU LIGHT MY CANDLE?
Roger re-lights her candle. They linger awkwardly in the

candle-lit hallway just outside Mark and Roger's loft.
ROGER
WELL -
MIMI
YEAH. OW!
34.
ROGER
OH. THE WAX - IT'S -
MIMI
DRIPPING! I LIKE IT - BETWEEN MY -
ROGER
FINGERS. I FIGURED…/ OH, WELL.
GOOD NIGHT
Mimi walks back down the hallway and Roger goes back inside
and closes his door.
He heads back towards his guitar. Quickly, there is another

knock at the door. Roger goes to the door and opens it
revealing Mimi, holding her unlit candle.
ROGER
IT BLEW OUT AGAIN?
MIMI
NO - I THINK THAT I DROPPED MY
STASH
Mimi looks around the table for her stash.
ROGER
I KNOW I'VE SEEN YOU OUT AND ABOUT/
WHEN I USED TO GO OUT/ YOUR CANDLES
OUT
Roger lights Mimi’s candle.
MIMI
I'M ILLIN' - I HAD IT WHEN I WALKED
IN THE DOOR/ IT WAS PURE - IS IT ON
THE FLOOR?
ROGER
THE FLOOR?
Mimi drops to her knees searching the floor. She looks up at

Roger who is staring at her again.
MIMI
THEY SAY THAT I HAVE THE BEST ASS
BELOW 14TH STREET/ IS IT TRUE?
ROGER
WHAT?
35.
MIMI
YOU'RE STARING AGAIN BOY
ROGER
ON NO/ I MEAN YOU DO - HAVE A NICE-
/ I MEAN - YOU LOOK FAMILIAR
MIMI
LIKE YOUR DEAD GIRLFRIEND?
ROGER
ONLY WHEN YOU SMILE/ BUT I'M SURE
I'VE SEEN YOU SOMEWHERE ELSE -
MIMI
DO YOU GO TO THE CAT SCRATCH CLUB/
THAT'S WHERE I WORK - I DANCE -
HELP ME LOOK
ROGER
YES!/ THEY USED TO TIE YOU UP -
MIMI
IT'S A LIVING
ROGER
I DIDN'T RECOGNIZE YOU/ WITHOUT THE
HANDCUFFS
MIMI
(looking up at Roger)
WE COULD LIGHT THE CANDLE/ OH WON'T
YOU LIGHT THE CANDLE?
ROGER
WHY DON'T YOU FORGET THAT STUFF/
YOU LOOK LIKE YOU'RE SIXTEEN
MIMI
I'M NINETEEN - BUT I'M OLD FOR MY
AGE/ I'M JUST BORN TO BE BAD
ROGER
I ONCE WAS BORN TO BAD/ I USED TO
SHIVER LIKE THAT
MIMI
THERE'S NO HEAT - I TOLD YOU
ROGER
I USED TO SWEAT
36.
MIMI
I GOT A COLD
ROGER
UH-HUH/ I USED TO BE A JUNKIE
MIMI
BUT NOW AND THEN I LIKE TO -
ROGER
UH-HUH
MIMI
FEEL GOOD
Roger notices something on the floor and stoops down to pick

up a small plastic baggie containing white powder.
ROGER
Oh here it - um -
MIMI
What’s that?
ROGER
(puts the stash in his
back pocket)
Candy bar wrapper.
MIMI
(rising)
WE COULD LIGHT THE CANDLE
Roger quickly blows out the candle.
MIMI
OH, WHAT'D YOU DO WITH MY CANDLE?
ROGER
THAT WAS MY LAST MATCH
MIMI
OUR EYES'LL ADJUST. THANK GOD FOR
THE MOON
ROGER
MAYBE IT'S NOT THE MOON AT ALL/ I
HEAR SPIKE LEE'S SHOOTING DOWN THE
STREET
MIMI
BAH HUMBUG… BAH HUMBUG
37.
Mimi takes hold of Roger's hands.
ROGER
COLD HANDS
MIMI
YOURS TOO/ BIG. LIKE MY FATHER'S/
DO YOU WANNA DANCE?
ROGER
WITH YOU?
MIMI
NO - WITH MY FATHER
ROGER
I'M ROGER
MIMI
THEY CALL ME/ THEY CALL ME MIMI
They dance extremely close to each other. Just as they are

about to kiss, Mimi reaches into his back pocket, nabs the
stash and makes a sexy exit.
SATELLITE PHOTO/TOURIST MAP COMPOSITE OF MANHATTAN
The CAMERA QUICKLY SCANS from Alphabet City west to 6th Ave.
and 12th St. - GREENWICH VILLAGE.
EXT. A FOUR STORY BRICK APARTMENT BUILDING – NIGHT
The upper apartments have terraces adorned with black iron

railings. A telephone is heard ringing in one of the
apartments.
INT. JOANNE'S APARTMENT - NIGHT
No one is home. It is a very large space. Very nicely

furnished. A few pictures of Joanne adorn the walls and
shelves. The phone continues to ring and the machine sitting
on an antique table in the den area answers. Joanne's
college and law school degrees hang above the phone. Her law
books fill the bookshelves and African Art handsomely
compliments the decor.
JOANNE'S ANSWERING MACHINE

(Maureen's voice gives the
announcement)
Hi. You’ve reached Joanne and
Maureen’s.
38.
JOANNE'S ANSWERING MACHINE(cont'd)
Leave a message and don’t forget,
“Over the Moon” - my performance,
protesting the eviction of the
homeless (and artists) from the
11th Street lot. Tomorrow night at
midnight in the lot between A and
B. Party at Life Cafe to follow./
(BEEEP!)
A corner of the apartment seems oddly out of place: clothes,

shoes, and sneakers are strewn about haphazardly; cardboard
file boxes filled with papers falling out onto the floor sit
piled up on top of each other.
JOANNE'S FATHER (O.S.)

WELL, JOANNE - WE'RE OFF/ I TRIED
YOU AT THE OFFICE/ AND THEY SAID
YOU'RE STAGE-MANAGING OR SOMETHING
The CAMERA QUICKLY SCANS from Greenwich Village up to 5th

Ave. and 77th St. where an icon of The Guggenheim Museum is
pictured.
DISSOLVE TO:
EXT. A THREE STORY BROWNSTONE - NIGHT
INT. HUGE VESTIBULE – CONTINUOUS - NIGHT
An African American man and woman (50's), JOANNE’S MOTHER and

JOANNE’S FATHER dressed impeccably, are being helped into
their winter coats by their butler. Joanne’s Father is
speaking into the phone.
JOANNE'S MOTHER
REMIND HER THAT THOSE UNWED MOTHERS
IN HARLEM/ NEED HER LEGAL HELP, TOO
JOANNE'S FATHER
CALL DAISY FOR OUR ITINERARY OR
ALFRED AT POUND RIDGE/ OR EILEEN AT
THE STATE DEPARTMENT IN A PINCH/
WE'LL BE AT THE SPA FOR NEW YEAR'S/
UNLESS THE SENATOR CHANGES HIS MIND
JOANNE'S MOTHER
THE HEARINGS
39.
JOANNE'S FATHER
OH YES - KITTEN/ MUMMY'S
CONFIRMATION HEARINGS BEGIN ON THE
TENTH/ WE'LL NEED YOU - ALONE - BY
THE SIXTH
JOANNE'S MOTHER
HAROLD!
JOANNE'S FATHER
YOU HEAR THAT?/ IT'S THREE WEEKS
AWAY/ AND SHE'S ALREADY NERVOUS
JOANNE'S MOTHER
I AM NOT!
JOANNE'S FATHER
FOR MUMMY'S SAKE, KITTEN/ NO DOC
MARTENS THIS TIME, AND WEAR A
DRESS…/
INT. JOANNE'S LOFT – THAT MOMENT - NIGHT
CAMERA PUSHES IN on a picture of Joanne at her law school

graduation, flanked by her parents.
JOANNE'S FATHER'S VOICE (O.S.)

OH, AND KITTEN - HAVE A MERRY
JOANNE'S MOTHER'S VOICE (O.S.)

AND A BRA!
INT. MARK AND ROGER'S LOFT - NIGHT
The power is still out. Roger is stoking the trash can fire
with posters and paper scraps. Mark enters.
ROGER
So, is she taking you back?
MARK
I’ve gotta go help Joanne. I guess
she doesn’t know how to work any of
the equipment.
ROGER
You have to help the woman who your
girlfriend left you for!
MARK
Maureen’s desperate… She begged…
and pleaded… and… I know… I’m a
sucker.
40.
Suddenly, Collins enters the loft. He is cleaned up and

bandaged and carrying firewood.
MARK (cont’D)
Where the hell did you go?
ROGER
What happened to…?
Angel dressed like Santa in drag follows him in with her

plastic bucket/drum filled with provisions. Quickly, Mark
gets behind his Camera and begins shooting.
16MM POV
Collins and Angel drop their pile of goodies on the table.

Collins holds up the key pouch and drops it next to the
stuff.
MARK (O.S.)
Enter Tom Collins, computer genius,
teacher, and vagabond anarchist who
ran naked through the Parthenon.
COLLINS
With provisions and firewood.
BACK TO SCENE
Mark joins the odd couple.
MARK
And Santa Claus.
COLLINS
Hold your applause.
ROGER
Hi.
COLLINS
Just “hi” after seven months? The
ghost of Roger finally appears.
ROGER
And where’d you disappear too?
COLLINS
I had a date with a couple of
fashion designers.
41.
ANGEL
And a nurse.
COLLINS
(pulling out a bottle from
the bucket)
How about some Stoli?
COLLINS, MARK & ROGER

OH HOLY NIGHT
ROGER
YOU STRUCK GOLD AT MIT?
COLLINS
THEY EXPELLED ME FOR MY THEORY OF
ACTUAL REALITY/ WHICH I'LL SOON
IMPART/ TO THE COUCH POTATOES AT
NEW YORK UNIVERSITY/
(to Roger)
STILL HAVEN'T LEFT THE HOUSE?
ROGER
I WAS WAITING FOR YOU DON'T YOU
KNOW?
COLLINS
WELL TOMORROW NIGHT’S THE NIGHT/
COME TO THE LIFE CAFE AFTER
MAUREEN'S SHOW
ROGER
NO FLOW
COLLINS
GENTLEMEN, OUR BENEFACTOR ON THIS
CHRISTMAS EVE/ WHOSE CHARITY IS
ONLY MATCHED BY TALENT, I BELIEVE/
A NEW MEMBER OF THE ALPHABET CITY
AVANT-GARDE/ ANGEL DUMOTT SCHUNARD!
Angel bows.
(NOTE: Deleted part of song - “Today 4U” can easily be added)
COLLINS
(to Angel)
Mark and Roger, the guys I've been
tellin' you about.
(to Mark and Roger)
Angel’s performing tonight.
42.
Angel performs a riveting dance and drum exhibition for the

boys. She leaps onto the table pirouetting banging her
drumsticks all over the place. The performance culminates
with a perfect gymnast’s summersault landing back to the
floor. The guys are completely impressed.
ANGEL
Today for you, tomorrow for me…
SING IT/ TODAY FOR YOU – TOMORROW
FOR ME/ TODAY FOR YOU – TOMORROW
FOR ME/ I SAID – TODAY FOR YOU
TOMORROW FOR ME/ TODAY FOR YOU –
TOMORROW – FOR ME
COLLINS
Flow and drinks on Angel.
Angel pulls out a small wad of twenties and fans it out in

front of the boys. She puts her arm over Collins’ shoulders.
ANGEL
On us.
Just then Benny enters.
BENNY
(looking around)
My how you've done wonders with the
place.
Benny opens a window and leans out.
COLLINS
(to Angel)
That's Benny, the other guy I've
been telling you about.
BENNY
(singing to NYC)
JOY TO THE WORLD - HEY, YOU BUM -
YEAH, YOU, MOVE OVER/ GET YOUR ASS
OFF THAT RANGE ROVER
Mark walks towards Benny holding his Camera, shooting.
MARK
That attitude toward the homeless
is exactly what Maureen is
protesting.
43.
16MM POV
Benny tries to get out of the shot but Mark follows him.
MARK (O.S.)
Close-up: Benjamin Coffin the
third, our ex-roommate, who married
Alison Grey, of the Westport Greys,
then bought this building and the
lot next door from his father-in-
law in hopes of starting a cyber-
studio.
BENNY
(now arrogantly into
Mark's Camera)
MAUREEN IS PROTESTING/ LOSING HER
PERFORMANCE SPACE/ NOT MY ATTITUDE
ROGER
(jumping in front of
Benny, to Mark's Camera)
WHAT HAPPENED TO BENNY/ WHAT
HAPPENED TO HIS HEART/ AND THE
IDEALS HE ONCE PURSUED
BACK TO SCENE
Mark puts his Camera down.
BENNY
ANY OWNER OF THAT LOT NEXT DOOR/
HAS THE RIGHT TO DO WITH IT AS HE
PLEASES
COLLINS
(sharing the gibe with
Angel)
HAPPY BIRTHDAY, JESUS!
BENNY
THE RENT
MARK
YOU'RE WASTING YOUR TIME
ROGER
WE'RE BROKE
44.
MARK
AND YOU BROKE YOUR WORD - THIS IS
ABSURD
BENNY
THERE IS ONE WAY YOU WON'T HAVE TO
PAY
ROGER
I KNEW IT!
BENNY
NEXT DOOR, THE HOME OF CYBERARTS,
YOU SEE/ AND NOW THAT THE BLOCK IS
RE-ZONED/ OUR DREAM CAN BECOME A
REALITY/ YOU'LL SEE BOYS/ YOU'LL
SEE BOYS/ A STATE-OF-THE-ART,
DIGITAL, VIRTUAL INTERACTIVE
STUDIO/ I'LL FOREGO YOUR RENT AND
ON PAPER GUARANTEE/ THAT YOU CAN
STAY HERE FOR FREE/ IF YOU DO ME
ONE SMALL FAVOR.
MARK
What?
BENNY
Convince Maureen to cancel her
protest.
MARK
Why not just get an injunction or
call the cops?
BENNY
I did, and they're on standby/
BUT MY INVESTORS WOULD RATHER/ I
HANDLE THIS QUIETLY
ROGER
You can't quietly wipe out an
entire tent city then watch "It's a
Wonderful Life" on TV!
45.
BENNY
YOU WANT TO PRODUCE FILMS AND WRITE
SONGS?/ YOU NEED SOMEWHERE TO DO
IT/ IT'S WHAT WE USED TO DREAM
ABOUT/ THINK TWICE BEFORE YOU POOH-
POOH IT/ YOU'LL SEE BOYS/ YOU'LL
SEE BOYS/ YOU'LL SEE - THE BEAUTY
OF A STUDIO/ THAT LETS US DO OUR
WORK AND GET PAID/ WITH CONDOS ON
THE TOP/ WHOSE RENT KEEPS OPEN OUR
SHOP/ JUST STOP THE PROTEST/ AND
YOU'LL HAVE IT MADE/ YOU'LL SEE -
OR YOU'LL PACK/ As soon as Maureen
performs the deal’s off.
Benny exits.
ANGEL
That boy could use some Prozac.
ROGER
Or heavy drugs.
MARK
Or group hugs.
COLLINS
Which reminds me, we have a detour
to make tonight, anyone who wants
to can come along.
ANGEL
Life support's a group for people
coping with life; you don't have to
stay too long.
MARK
FIRST I'VE GOT A PROTEST TO SAVE
ANGEL
Roger?
ROGER
I'm not much company, you'll find.
MARK
BEHAVE!
ANGEL
He'll catch up later - he's just
got other things on his mind/
YOU'LL SEE BOYS
46.
MARK & COLLINS

WE'LL SEE BOYS
ROGER
LET IT BE BOYS
COLLINS
(putting his arm over
Angel's shoulder)
I LIKE BOYS
ANGEL
BOYS LIKE ME
ALL
WE'LL SEE
MARK
I’ll try not to be late.
ANGEL
(handing Mark a card)
Here if you can get there, but
don't sweat it, there's always next
time.
Mark grabs his Camera and exits the loft.
EXT. MARK AND ROGER'S ABANDONED BUILDING - CONTINUOUS -

NIGHT
Mark pops out of the building. As he walks through the

vacant lot/tent-city he SHOOTS his Camera.
16MM POV
Mark’s lens finds the PUNKS rocking out to a boom box; the
“ANARCHIST” PROTESTERS arguing; DRUG DEALERS selling; DRUG
ADDICTS smoking; the HOMELESS surviving; and Jonathan
writing.
Mark looks up from his camera at Jonathan. He turns towards

the performance space of the lot.
Jonathan looks up and catches Mark making his way through the
Tent City.
Mark arrives at the performance space where Joanne is setting

up for Maureen's protest. He approaches quietly and SHOOTS
Joanne without her noticing.
47.
16MM POV
Joanne is reexamining the cable connections for the umpteenth

time.
MARK (O.S.
(quietly to his Camera)
That must be Joanne. And so - into
the abyss of Maureen’s performance
space I go.
JOANNE
"Line in"… I went to Harvard for
this…
16MM POV - WHIP PAN TO - CU MARK
MARK
Close on Mark's nosedive.
16MM POV - WHIP PAN BACK TO - JOANNE
JOANNE
"Line out"…
MARK (O.S.)
Will he get out of here alive…?
Joanne notices Mark.
BACK TO SCENE
He quickly puts down his Camera.
JOANNE
Are you Mark?
MARK
Hi.
JOANNE
I TOLD HER NOT TO CALL YOU
MARK
THAT'S MAUREEN/ BUT CAN I HELP
SINCE I'M HERE
JOANNE
I'VE HIRED AN ENGINEER…
48.
MARK
Great! Well, nice to have met you…
JOANNE
Wait! She's three hours late/
THE SAMPLES WON'T DELAY/ BUT THE
CABLE -
Mark is fidgeting with the P.A. system.
MARK
There's another way… say something
– anything.
JOANNE
(into the microphone)
TEST - ONE, TWO, THREE…
MARK
ANYTHING BUT THAT
JOANNE
THIS IS WEIRD
MARK
IT'S WEIRD
JOANNE
VERY WEIRD
MARK
FUCKIN' WEIRD
JOANNE
I'M SO MAD/ THAT I DON'T KNOW WHAT
TO DO/ FIGHTING WITH MICROPHONES/
FREEZING DOWN TO MY BONES/ AND TO
TOP IT ALL OFF/ I'M WITH YOU
MARK
FEEL LIKE GOING INSANE?/ GOT A FIRE
IN YOUR BRAIN?/ AND YOU'RE THINKING
OF DRINKING GASOLINE?
JOANNE
AS A MATTER OF FACT -
MARK
HONEY, I KNOW THIS ACT/ IT'S CALLED
THE TANGO MAUREEN/
49.
Mark holds out his hand and Joanne takes it. They begin to
dance the Tango. The CAMERA DOLLIES around them as they
dance creating a whirling routine.
MARK
THE TANGO MAUREEN/ IT'S A DARK,
DIZZY/ MERRY-GO-ROUND/ AS SHE KEEPS
YOU DANGLING
JOANNE
YOU'RE WRONG
INT. MARK’S BEDROOM – NIGHT
The CAMERA DOLLIES around Mark in bed face up with Maureen’s

sensual body riding him in a fervent sexual bout.
MARK (O.S.)
YOUR HEART SHE IS MANGLING
EXT. VACANT LOT TENT CITY – PERFORMANCE SPACE – CONTINUOUS -

NIGHT
The CAMERA still DOLLIES around Mark and Joanne’s Tango.
JOANNE
IT'S DIFFERENT WITH ME
MARK
AND YOU TOSS AND YOU TURN/ 'CAUSE
HER COLD EYES CAN BURN/
INT. JOANNE’S APARTMENT BEDROOM – NIGHT
The CAMERA DOLLIES around Joanne in bed writhing in ecstasy

with Maureen’s naked body going down on her.
MARK (O.S.)
YET YOU YEARN AND YOU CHURN AND
REBOUND
EXT. VACANT LOT TENT CITY – PERFORMANCE SPACE – CONTINUOUS -

NIGHT
The CAMERA continues its DOLLY around Mark and Joanne’s

Tango.
JOANNE
I THINK I KNOW WHAT YOU MEAN
MARK & JOANNE

THE TANGO MAUREEN
50.
MARK
HAS SHE EVER/ POUTED HER LIPS/
The CAMERA DOLLIES and comes around to discover EXTREME CU of

Maureen’s lips mouthing the word “pookie” into Mark’s ear as
they dance.
MARK
AND CALLED YOU “POOKIE”?
The CAMERA DOLLIES and catches Joanne looking incredulously

at Mark.
JOANNE
NEVER
The CAMERA DOLLIES to find Joanne and Maureen dancing

embraced in a kiss. As they twirl Joanne’s eyes are fixed on
Maureen.
MARK (O.S.)
HAVE YOU EVER DOUBTED A KISS OR
TWO?
The CAMERA DOLLIES and Joanne clutches onto Mark desperately,

pressing her cheek tightly against his.
JOANNE
THIS IS SPOOKY
(NOTE: the deleted part of this song can easily be added)
Mark and Joanne continue their Tango.
MARK
Where’d you learn to tango?
JOANNE
With the French Ambassador’s
daughter in her dorm room at Miss
Porter’s. And you?
MARK
With Nanette Himmelfarb, the
rabbi’s daughter, at the Scarsdale
Jewish Community Center.
They switch and Joanne leads.
MARK (cont’D)
It's hard doing it backwards.
51.
JOANNE
You should try it in heals.
MARK & JOANNE

WHEN YOU’RE DANCING HER DANCE/ YOU
DON’T STAND A CHANCE/ HER GRIP OF
ROMANCE/ MAKES YOU FALL
MARK
SO YOU THINK, “MIGHT AS WELL”
JOANNE
“DANCE A TANGO TO HELL”
MARK & JOANNE

“AT LEAST I’LL HAVE TANGOED AT
ALL”/ THE TANGO MAUREEN/ GOTTA
DANCE ‘TIL YOUR DIVA IS THROUGH/
YOU PRETEND TO BELIEVE HER/ ‘CAUSE
IN THE END - YOU CAN’T LEAVE HER/
BUT THE END IT WILL COME/ STILL YOU
HAVE TO PLAY DUMB/ ‘TIL YOU’RE GLUM
AND YOU BUM/ AND TURN BLUE
MARK
WHY DO WE LOVE WHEN SHE’S MEAN?
JOANNE
AND SHE CAN BE SO OBSCENE
Mark and Maureen go back to the sound mixer board.
MARK
Try the mike.
JOANNE
(into microphone; with
reverb)
My Maureen- een- een- een.
MARK
Patched.
JOANNE
Thanks.
MARK
You know - I feel great now!
JOANNE
I feel lousy.
Just then the payphone rings. Joanne quickly answers it.

52.
JOANNE
Hi, honey, we’re…/ Pookie?/ You
never called me Pookie/ Forget it/
we’re patched
Joanne hangs up the phone and stares at Mark.
MARK & JOANNE

THE TANGO MAUREEN!
MARK
(looking at his watch)
I gotta go.
Mark grabs his Camera and runs out of the performance space.
Jonathan looks up from his notebook and sees Mark running out
of the lot down the street. Just then Matthew pulls at
Jonathan’s arm.
MATTHEW
Let’s go.
Jonathan and Matthew hurry past the lot/tent city.
EXT. SMALL FOUR-STORY WALK-UP - NIGHT
Matthew rushes inside the building and Jonathan pauses for a

moment and follows him.
INT. NARROW LONG STAIRWAY - NIGHT
Jonathan slowly climbs the stairs as Matthew bounds up in

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

of the stairs.
INT. SUPPORT GROUP MEETING ROOM - CONTINUOUS - NIGHT
Angel and Collins are seated among the other group members,
who are arranged around the room in a semi-circle. One of
them is playing an acoustic guitar. Each member of the group
introduces themselves as the guitar continues in background.
STEVE
Steve.
GORDON
Gordon.
OWEN
Owen.
53.
PAM
Pam.
SUE
Sue.
ANGEL
Hi, I'm Angel.
COLLINS
Tom… Collins.
PAUL
I'm Paul. Let's begin.
INT. STAIRWAY - CONTINUOUS - NIGHT
The door closes behind Matthew as Jonathan arrives at the top

of the stairs. He hears singing from inside.
ALL (O.S.)
THERE'S ONLY US/ THERE'S ONLY THIS…
Jonathan opens the door.
INT. SUPPORT GROUP MEETING ROOM - THAT MOMENT - NIGHT
The door opens and MARK bursts in.
MARK
(quickly putting his
Camera behind his back)
SORRY… EXCUSE ME… OOPS
PAUL
And you are?
MARK
OH - I'M NOT -/ I'M JUST HERE TO -/
I DON'T HAVE -/ I'M HERE WITH -/
MARK/ MARK - I'M MARK/ WELL - THIS
IS QUITE AN OPERATION
PAUL
Sit down Mark/ We’ll continue the
affirmation.
ALL
FORGET REGRET, OR LIFE IS YOURS TO
MISS
54.
GORDON
EXCUSE ME PAUL - I'M HAVING A
PROBLEM WITH THIS/ THIS CREDO -/ MY
T-CELLS ARE LOW -/ I REGRET THAT
NEWS, OKAY?
PAUL
ALL RIGHT/ BUT GORDON - HOW DO YOU
FEEL TODAY?
GORDON
WHAT DO YOU MEAN?
PAUL
HOW DO YOU FEEL TODAY?
GORDON
OKAY
PAUL
IS THAT ALL?
GORDON
BEST I'VE FELT ALL YEAR
PAUL
THEN WHY CHOOSE FEAR?
GORDON
I'M A NEW YORKER!/ FEAR'S MY LIFE!/
LOOK - I FIND SOME OF WHAT YOU
TEACH SUSPECT/ BECAUSE I'M USED TO
RELYING ON INTELLECT/ BUT I TRY TO
OPEN UP TO WHAT I DON'T KNOW

Roger sings out the window.
ROGER & (GORDON O.S.)

BECAUSE REASON SAYS I SHOULD HAVE
DIED THREE YEARS AGO
SUPPORT GROUP & (ROGER O.S.)

NO OTHER ROAD/ NO OTHER WAY/ NO DAY
BUT TODAY
INT. JONATHAN'S APARTMENT - A FEAST - NIGHT

55.
A fairly large space that serves as both living room and

dining room is set up with two long tables. Twenty people
are eating and drinking, laughing and telling stories. A
Christmas tree and a Minora adorn the setting.
Jonathan and Matthew, with a couple of new friends in tow,

enter. The whole room cheers. "We can finally slice the
turkey." Introductions and hugs and handshakes pass around
the room. Jonathan's girlfriend, SARAH, (30's), runs up to
him, puts her arms around his neck and kisses him.
SARAH
(quietly)
How was it?
JONATHAN
It was good.
SARAH
Come get some food.
TIME CUT TO:
EXT. JONATHAN'S APARTMENT BUILDING ROOFTOP - LATER THAT NIGHT
Jonathan sits in a chair with Sarah keeping warm on his lap.

Matthew and six of the remaining guests, sit outside on an
assortment of chairs. They are having drinks and
conversation. The New York Skyline lights the scene.
JONATHAN
It's what they're not doing.
That's what I'm talking about.
MATTHEW
That’s what you’re always talking
about.
SARAH
Gotlieb even said that the epidemic
numbers could have been prevented…
ANOTHER FRIEND
If Reagan and Bush had responded
appropriately.
JONATHAN
But he compared it to Vietnam and
lost every reader.
SARAH
Why do you say he lost every
reader?
56.
JONATHAN
He said, "like in Vietnam, we
didn't fight to win." So, he loses
liberals, because we think we
shouldn't have been fighting in
Vietnam at all, win or lose. And
he loses conservatives, because he
compares a disease that kills
homosexuals, drug addicts, and
minorities with a,
(gesticulating quotation
marks in the air)
"War for Freedom." I mean, come
on, they try to turn condoms into a
four letter word…
MATTHEW
You know what? Your bringin' me
down. This is a party remember?
JONATHAN
It's not a party it’s a feast. A
"Peasants Feast."
Just then, a young man and woman land on the roof from the
building next door. One of the guests that Jonathan and
Matthew brought jumps to his feet. Everyone else hardly
reacts.
GUEST
What the hell?
He runs over to the edge of the roof.
A makeshift plank bridge joins Jonathan's roof with the

adjacent building's roof.
GUEST (cont’d)
(leaning over the edge;
talking back to the
group)
Is that safe?
MATTHEW
Relatively.
(to new arrivals)
Playing Batman and Batgirl?
NEW ARRIVAL GIRL

Just joining the festivities.
What's up?
57.
MATTHEW
Jonathan's pontificating.
NEW ARRIVAL GUY

Then we're absconding.
SARAH
No wait. Let's all go dancing.
Everyone responds in agreement.
SARAH
(to Jonathan)
What do you think, just relax
tonight, no writing? And no
thinking about it either.
JONATHAN
Let’s do it.
The CAMERA QUICKLY SCANS from Alphabet City south to THE

BOWERY.
EXT. NIGHTCLUB - WAITING LINE - NIGHT
Jonathan, Sarah, Matthew, and the rest of the group, join a

line of people waiting in the cold, at a very "hot new club."
SARAH
I can't believe all these people
are out on Christmas Eve.
JONATHAN
Everyone's home for the holidays.
FRIEND
With their families.
ANOTHER FRIEND
And this is their escape.
MATTHEW
From their families.
A group of hipsters walk right up to the front of the line

and the doorman, lifts up the velvet rope, and allows them
all in immediately.
JONATHAN
God, I hate that.
58.
SARAH
You wouldn’t hate it if you didn’t
have to freeze your ass off in
line.
JONATHAN
Yes I would.
MATTHEW
Right… and that time Disco Boy got
us into The Saint.
JONATHAN
Well, I didn’t think it was fair.
SARAH
But you didn’t do anything about
it.
Jonathan looks back towards the club entrance. Sarah kisses

him on the cheek.
SARAH
It’s okay babe, you’ll write about
it.
JONATHAN’S POV
Jonathan sees Mimi glide up to the doorman and plant a kiss

on him. He lets her in straight away and she descends down
the stairs of the subterranean nightspot.
BACK TO SCENE
Jonathan continues to gaze at the entrance.
INT. CLUB - CONTINUOUS - NIGHT
Mimi is walking down the long staircase that plunges right

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

she is dancing erotically face to face with some stranger.
She takes a swig of his drink.
59.
Jonathan and the rest of the group are finally in. When they
hit the floor they all immediately begin dancing except
Jonathan. He is looking for Mimi. He spots her.
Mimi is now making out with the stranger. Her eyes are
closed as she sways to the music still locked in the kiss.
She opens her eyes and pushes away from her momentary fling,
wiping her mouth.
Mimi runs up to one of the catwalks. She is wasted.
Jonathan continues to watch her.
She is in her own world now. Her eyes close as her head
rolls back in a heroin induced rush of ecstasy. The CLUB
MUSIC FADES to a hallucinogenic mixture of sounds. She opens
her eyes, looks around her surroundings and smiles.
MIMI
WHAT'S THE TIME?/ WELL IT'S GOTTA
BE CLOSE TO MIDNIGHT/ MY BODY'S
TALKING TO ME/ IT SAYS, "TIME FOR
DANGER"/ IT SAYS, "I WANNA COMMIT A
CRIME/ WANNA BE THE CAUSE OF A
FIGHT/ I WANNA PUT ON A TIGHT SKIRT
AND FLIRT WITH A STRANGER"/ I'VE
HAD A KNACK FROM WAY BACK/ AT
BREAKING THE RULES ONCE I LEARN THE
GAMES/ GET UP - LIFE’S TOO QUICK/ I
KNOW SOMEPLACE SICK/ WHERE THIS
CHICK'LL DANCE IN THE FLAMES/ WE
DON'T NEED ANY MONEY/ I ALWAYS GET
IN FOR FREE/ YOU CAN GET IN TOO/ IF
YOU GET IN WITH ME/ LET'S GO OUT
TONIGHT/ I HAVE TO GO OUT TONIGHT/
YOU WANNA PLAY?/ LET'S RUN AWAY/ WE
WON'T BE BACK/ BEFORE IT'S
CHRISTMAS DAY/ TAKE ME OUT TONIGHT
(MEOW)/ WHEN I GET A WINK FROM THE
DOORMAN/ DO YOU KNOW HOW LUCKY
YOU'LL BE?/ THAT YOU'RE ON LINE
WITH THE FELINE OF AVENUE B/ LET'S
GO OUT TONIGHT/ I HAVE TO GO OUT
TONIGHT/ YOU WANNA PROWL/ BE MY
NIGHT OWL?/ WELL TAKE MY HAND WE'RE
GONNA HOWL/ OUT TONIGHT/
Mimi lapses back into her heroin induced haze. The CLUB
MUSIC RISES as Mimi gawks at the dancing throng. Her head
rolls back again as the CLUB MUSIC FADES BACK OUT. She opens
her eyes and looks out forlornly.
60.
MIMI (cont’d)
IN THE EVENING I'VE GOT TO ROAM/
CAN'T SLEEP IN THE CITY OF NEON AND
CHROME/ FEELS TOO DAMN MUCH LIKE
HOME/ WHEN THE SPANISH BABIES CRY/
SO LET'S FIND A BAR
She slowly begins to regain her energy.
MIMI (cont’d)
SO DARK WE FORGET WHO WE ARE/ AND
ALL THE SCARS OF THE/
(tapping the veins of her
forearm)
NEVERS AND MAYBES DIE/ LET'S GO OUT
TONIGHT/ I HAVE TO GO OUT TONIGHT/
YOU'RE SWEET/ WANNA HIT THE
STREET?/ WANNA WAIL AT THE MOON
LIKE A CAT IN HEAT?/ JUST TAKE ME
OUT TONIGHT
The CLUB MUSIC CRESCENDOS back to full volume. Mimi looks as

if she might pass out on the catwalk. No one seems to notice
except--
WHIP PAN TO
Jonathan watching Mimi.
WHIP PAN TO
Mimi shaking her head trying to stay focused in reality. She

tries to get out of the Club as fast as possible. As she
moves through the mass of people some guys are pawing at her.
They shout: "Come on Mimi" "Come with me Mimi." She finally
makes it too the staircase, and she's up and out.
Jonathan stares up the staircase.
Just then, Sarah pulls him into the group and they all dance
joyously to the music. Jonathan eyes the staircase as he
bounces up and down. Sarah kisses him.
EXT. MARK AND ROGER'S ABANDONED BUILDING – LATER THAT NIGHT
Mimi arrives at her building. She holds onto it for a moment

and then goes inside.
INT. MARK AND ROGER'S ABANDONED BUILDING - CONTINUOUS - NIGHT
Mimi, intoxicated, makes her way up the very dark stairway,

which is lit only by a few candles set out in dishes.
61.
She arrives at Mark and Roger's loft. The door is open and
she walks in.
Roger is alone, sitting at the table with his guitar.
MIMI
(softly; walking to Roger)
PLEASE TAKE ME OUT TONIGHT/ DON'T
FORSAKE ME - OUT TONIGHT/
Mimi pulls out a small baggie of heroin and waves it at

Roger.
MIMI
Roger rises to face Mimi. He
notices her condition. She kisses
him passionately. He recoils.
ROGER
WHO DO YOU THINK YOU ARE?/ BARGING
IN ON ME AND MY GUITAR/ LITTLE GIRL
- HEY/ THE DOOR IS THAT WAY/ YOU
BETTER GO, YOU KNOW THE FIRE'S OUT
ANYWAY/ TAKE YOUR POWDER - TAKE
YOUR CANDLE/ YOUR SWEET WHISPER/ I
JUST CAN'T HANDLE/ WELL TAKE YOUR
HAIR IN THE MOONLIGHT/ YOUR BROWN
EYES - GOODBYE, GOODNIGHT/
Mimi turns to leave.
ROGER (cont’d)
I SHOULD TELL YOU, I SHOULD TELL
YOU/ I SHOULD TELL YOU, I SHOULD -
Mimi turns back to listen to Roger.
ROGER (cont’d)
NO!/ ANOTHER TIME - ANOTHER PLACE/
OUR TEMPERATURE WOULD CLIMB/
THERE'D BE A LONG EMBRACE/ WE'D DO
ANOTHER DANCE/ IT'D BE ANOTHER
PLAY/ LOOKING FOR ROMANCE?/ COME
BACK ANOTHER DAY/ ANOTHER DAY
Roger turns away from Mimi and walks to the window.

62.
MIMI
THE HEART MAY FREEZE OR IT CAN
BURN/ THE PAIN WILL EASE IF I CAN
LEARN/ THERE IS NO FUTURE/ THERE IS
NO PAST/ I LIVE THIS MOMENT/ AS MY
LAST/ THERE'S ONLY US/ THERE'S ONLY
THIS/ FORGET REGRET/ OR LIFE IS
YOURS TO MISS/ NO OTHER ROAD/ NO
OTHER WAY/ NO DAY BUT TODAY
Roger angrily turns back to Mimi.
ROGER
EXCUSE ME IF I'M OFF TRACK/ BUT IF
YOU'RE SO WISE/ THEN TELL ME - WHY
DO YOU NEED SMACK?/ TAKE YOUR
NEEDLE/ TAKE YOUR FANCY PRAYER/
DON'T FORGET/ GET THE MOONLIGHT OUT
OF YOUR HAIR/ LONG AGO - YOU
MIGHT'VE LIT UP MY HEART/ BUT THE
FIRE'S DEAD - AIN'T NEVER EVER
GONNA START/ ANOTHER - TIME -
ANOTHER PLACE/ THE WORDS WOULD ONLY
RHYME/ WE'D BE IN OUTER SPACE/ IT'D
BE ANOTHER SONG/ WE'D SING ANOTHER
WAY/ YOU WANNA PROVE ME WRONG?/
COME BACK ANOTHER DAY/ ANOTHER DAY
MIMI
THERE'S ONLY YES/ ONLY TONIGHT/ WE
MUST LET GO/ TO KNOW WHAT'S RIGHT/
NO OTHER COURSE/ NO OTHER WAY/ NO
DAY BUT TODAY
The group, including Mark, Collins, and Angel are finishing

the meeting singing, holding hands in a circle.
SUPPORT GROUP & (MIMI O.S.)

I CAN'T CONTROL
ROGER
(to himself)
CONTROL YOUR TEMPER
MIMI & (SUPPORT GROUP O.S.)

MY DESTINY
ROGER
SHE DOESN’T SEE
63.

I TRUST MY SOUL
ROGER
WHO SAYS THAT THERE'S A SOUL?

MY ONLY GOAL IS JUST - TO BE
ROGER
JUST LET ME BE
INT. SUPPORT GROUP MEETING ROOM - CONTINUOS - NIGHT

THERE'S ONLY NOW/ THERE'S ONLY HERE
ROGER (O.S.)
WHO DO YOU THINK YOU ARE?

GIVE IN TO LOVE OR LIVE IN FEAR
ROGER
BARGING IN ON ME AND MY GUITAR
MIMI & (SUPPORT GROUP O.S.) (cont’d)

NO OTHER PATH

NO OTHER WAY
ROGER (O.S.)
LITTLE GIRL, HEY THE DOOR IS THAT
WAY/
MIMI
NO DAY BUT TODAY
ROGER
THE FIRE'S OUT ANYWAY
64.

NO DAY BUT TODAY
ROGER
TAKE YOUR POWDER/ TAKE YOUR CANDLE

NO DAY BUT TODAY
ROGER
TAKE YOUR BROWN EYES/ YOUR PRETTY
SMILE/ YOUR SILHOUETTE

NO DAY BUT TODAY
ROGER
ANOTHER TIME, ANOTHER PLACE,
ANOTHER RHYME, A WARM EMBRACE

NO DAY BUT TODAY
ROGER
ANOTHER DANCE, ANOTHER WAY, ANOTHER
CHANCE, ANOTHER DAY

NO DAY BUT TODAY
INT. APARTMENT - AFTERNOON
The remnants of the "Peasant’s Feast" the night before

remain. Jonathan is face down sleeping on the couch. The
sun hitting the side of his face wakes him up. He looks
towards the brightness of the windows and suddenly jumps to
his feet.
JONATHAN
Oh shit!
65.
The CAMERA QUICKLY SCANS from Alphabet City just west to THE
EAST VILLAGE.
EXT. NYC STREETS - AFTERNOON
Jonathan is wailing down the sidewalk on his very old beat-up

bicycle. There is a large metal basket attached to the front
of his bike. He is still hung over.
He arrives at, what looks to be an ordinary commercial

building in the Lower East Side. He quickly hops off his
bike, locks it, and darts into the building.
The sign above the door reads: PROJECT ANGEL FOOD
INT. BUILDING - CONTINUOUS - THAT MOMENT - AFTERNOON
Inside the building is a huge kitchen. About twenty people

are busy: putting meals into plastic bags; checking off items
from lists; grabbing cans of nutritional drinks and throwing
them in the bags; etc. Jonathan bursts in.
WHIP PAN TO -
A man going over paperwork standing behind a counter.
He looks up at Jonathan who is signing in and grabbing some

empty plastic bags and a marker.
MAN BEHIND COUNTER

(without looking up)
Runnin' late, huh?
JONATHAN
Sorry, I…
MAN BEHIND COUNTER

It's okay. Shit happens.
(pointing to the group
putting the bags
together)
They've got your stuff. Merry
Christmas.
JONATHAN
(gathering the bags)
Thanks guys.
Jonathan runs out the door carrying about seven filled

plastic bags.
66.
The CAMERA QUICKLY SCANS from The East Village west to

Christopher St.: THE WEST VILLAGE.
EXT. STREETS - AFTERNOON
Jonathan is riding his bike down the sidewalk. He has only

one plastic bag left in his basket. He quickly hops off his
bike, locks it, grabs the remaining bag, and tears up the
stairs of a fairly rundown building.
INT. SIX FLOOR WALK-UP APARTMENT BUILDING - CONTINUOUS -

AFTERNOON
Jonathan reaches the second floor and knocks on an apartment

door. There is no answer so he knocks again, a little
louder. Finally, the door opens up to reveal a very frail,
young Latin man.
LATIN MAN
You're late.
JONATHAN
I'm sorry, you're the last one on
my list.
LATIN MAN
You smell of liquor.
JONATHAN
I had a late one last night. We
all went out to--
LATIN MAN
(taking the bag from
Jonathan)
--That's great, but I'm hungry.
Thanks.
He closes the door in Jonathan's face.
EXT. SIX FLOOR WALK-UP APARTMENT BUILDING - CONTINUOUS -

AFTERNOON
Jonathan comes outside and unlocks his bike. He is about to

ride away when he hears the Latin Man come outside onto the
fire escape with his bag lunch. Jonathan looks up at him.
The young man leans over the metal banister holding his
sandwich and stares directly at Jonathan.
67.
LATIN MAN
(to Jonathan)
WILL I LOSE MY DIGNITY/ WILL
SOMEONE CARE/ WILL I WAKE TOMORROW/
FROM THIS NIGHTMARE?
Jonathan turns to see other frail men singing from their

windows and fire escapes. He begins walking his bicycle down
the street listening as more weakened men file out onto their
stoops singing their queries. Some of the passersby notice
the singers and just continue on their busy way; and others
notice and stop to listen, while still others don't seem to
notice either the people singing or their rising voices
asking the questions. The song progresses and crescendos
like Ravel's Bolero.
The CAMERA QUICKLY SCANS from Christopher St. north to 115th

St. and 2nd Ave.: SPANISH HARLEM.
EXT. 115TH ST. - DAY
An ELDERLY LATIN MAN, wearing a billowy winter coat stops and

listens to a withered LATIN WOMAN, holding her baby as she
slowly walks past him singing her invocation.
LATIN WOMAN
The CAMERA QUICKLY SCANS from Spanish Harlem south to 54th

St. and Lexington Ave.: MID-TOWN
EXT. 54TH ST. - DAY
A YOUNG MAN wearing a tie and overcoat walks quickly by a

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

68.
The CAMERA SOARS to the “tent-city” outside Mark and Roger’s

abandoned building. The CAMERA PUSHES IN SUPER QUICK and
HOLDS on the FACES of the occupants singing their challenge.
OCCUPANTS OF THE TENT CITY

The CAMERA PUSHES IN on Roger singing out one of his windows.
ROGER
SOMEONE CARE…
The CAMERA PUSHES IN on Mimi singing out one of her windows.
MIMI
WILL I WAKE TOMORROW/ FROM THIS
NIGHTMARE?
The CAMERA finds Mark filming Collins and Angel as they sing
their uncertainty together.
COLLINS & ANGEL

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

CAMERA PUSHES IN on Jonathan, with his eyes closed, standing

in the middle of the sidewalk, arm raised, fist in the air,
his bicycle beside him. He opens his eyes and sees people
gazing out their windows, smoking on the fire escapes, and
sweeping their stoops.
New Yorkers file past him on the street looking at him as

though he were crazy.
He looks up at his fist raised to the heavens. He slowly

brings down his arm.
Jonathan sees the young Latin Man on his fire escape looking
at him as he finishes his sandwich.
69.
The man raises his face to the sun absorbing its rays. He
then climbs back inside his apartment and Jonathan gets on
his bike and rides off.
EXT. THE VACANT LOT/TENT CITY OUTSIDE MARK AND ROGER'S

ABANDONED BUILDING - DAY
A group of homeless people keeps warm by a trashcan fire.
HOMELESS
CHRISTMAS BELLS ARE RINGING-/ OUT
OF TOWN/ SANTA FE
A SQUEEGEE-MAN tries to apply his trade to the cars that stop

at a traffic light. He quickly sprays the windshield of his
newest customer. He frenetically tries to wipe the glass
with his squeegee.
SQUEEGEE-MAN
Honest living, man! Honest…
The car drives away just as he starts to squeegee, almost

taking off his arm.
SQUEEGEE-MAN
Feliz Navidad.
Three police officers show up on the scene. One of them

pokes the Squeegee-man with his nightstick.
OFFICER
Don't harass the cars.
SQUEEGEE-MAN
Man, how can you harass a car?
The policeman raises his stick and the Squeegee-man takes off
running. The rest of the officers laugh. They continue
through the lot. A woman, wrapped in a blanket, is sleeping
on a bench. All three officers poke her with their sticks to
wake her up. She gets up groggily, and looks at the three
policemen. She is scared and angry. A couple of the
homeless men from the tent-city come over.
HOMELESS MAN
Evening officers.
ANOTHER HOMELESS MAN

She's just restin'.
The police turn their sites on the men. Mark, Collins and
Angel show up. Mark aims his Camera.
70.
MARK
Smile for Ted Koppel, Officer
Martin.
16MM POV
Mark ZOOMS IN right on Officer Martin's name tag and badge.
BACK TO SCENE
HOMELESS MAN
AND A MERRY CHRISTMAS TO YOUR
FAMILIES
OFFICER MARTIN
Right.
The officers walk off talking to each other and looking back
over their shoulders.
Mark continues to film the Blanket Person.
16MM POV
BLANKET PERSON
(right into Mark's Camera)
WHO THE FUCK DO YOU THINK YOU ARE?/
BACK TO SCENE
BLANKET PERSON
(to Mark as he puts down
his Camera)
I DON'T NEED NO GODDAMN HELP/ FROM
SOME BLEEDING HEART CAMERAMAN/ MY
LIFE'S NOT FOR YOU TO/ MAKE A NAME
FOR YOURSELF ON!
ANGEL
EASY SUGAR, EASY/ HE WAS JUST
TRYING TO-
BLANKET PERSON
LET'S GO - THIS LOT IS FULL OF/
MOTHERFUCKING ARTISTS/
(to Mark)
HEY ARTIST/ YOU GOT A DOLLAR?
(Mark shakes his head)
I THOUGHT NOT
71.
The Blanket Person and another Homeless person walk off.

Mark, Collins and Angel leave the lot.
ANGEL
NEW YORK CITY -
MARK
UH-HUH
ANGEL
CENTER OF THE UNIVERSE
COLLINS
SING IT GIRL -
ANGEL
TIMES ARE SHITTY/ BUT I'M PRETTY
SURE THEY CAN'T GET WORSE
MARK
I HEAR YOU
ANGEL (cont’d)
IT'S A COMFORT TO KNOW/ WHEN YOU'RE
SINGING THE HIT-THE-ROAD BLUES/
THAT ANYWHERE ELSE YOU COULD
POSSIBLY GO/ AFTER NEW YORK WOULD
BE A PLEASURE CRUISE
They stop at the edge of the lot, right by Mark and Roger's
abandoned building. Some of the people in the lot pay
attention to them and actually gather to listen, while still
others don't seem to even notice their presence.
COLLINS
NOW YOU'RE TALKING/ WELL, I'M
THWARTED BY A METAPHYSIC PUZZLE/
AND I'M SICK OF GRADING PAPERS -
THAT I KNOW/ I'M SHOUTING IN MY
SLEEP, I NEED A MUZZLE/ ALL THIS
MISERY PAYS NO SALARY, SO/ LET'S
OPEN UP A RESTAURANT/ IN SANTA FE/
SUNNY SANTA FE WOULD BE NICE/ LET'S
OPEN UP A RESTAURANT IN SANTA FE/
AND LEAVE THIS TO THE ROACHES AND
MICE/ OH - OH
SOME OF THE LOT PEOPLE - MARK, COLLINS

& ANGEL
OH -
ANGEL
YOU TEACH?
72.
COLLINS
I TEACH - COMPUTER-AGE PHILOSOPHY/
BUT MY STUDENTS WOULD RATHER WATCH
TV
ANGEL
AMERICA
SOME OF THE LOT PEOPLE - MARK &

COLLINS
AMERICA
INT. RESTAURANT - KITCHEN - FANTASY - DAY
Collins is walking Mark through the kitchen of "his

southwestern style restaurant" cradling some menus in his
arm, singing. (HIS ACTIONS FOLLOW THE LYRICS) The kitchen
staff is busy at work. Collins walks towards the dining
room. He picks up a little sauce brush, and brushes some
steaks with sauce. Mark inhales the fragrance of fine
dining.
INT. RESTAURANT - DINING ROOM - FANTASY - DAY
Walking into the dining room Collins delivers menus to a

table. Mark smiles to Angel playing an American Indian drum
in the corner. Collins seats guests and points to the wine
list.
COLLINS
YOU'RE A SENSITIVE AESTHETE/ BRUSH
THE SAUCE ONTO THE MEAT/ YOU COULD
MAKE THE MENU SPARKLE WITH RHYME/
YOU COULD DRUM A GENTLE DRUM/ AND I
COULD SEAT GUESTS AS THEY COME/
CHATTING NOT ABOUT HEIDEGGER, BUT
WINE!/
(spreading out his arms)
LET'S OPEN UP A RESTAURANT IN SANTA
FE
Mark sits a table.
CUSTOMERS, MARK & ANGEL

SANTA FE
COLLINS
OUR LABORS WOULD REAP FINANCIAL
GAINS

GAINS, GAINS, GAINS
73.
COLLINS
WE'LL OPEN UP A RESTAURANT IN SANTA
FE

SANTA FE
COLLINS
AND SAVE FROM DEVASTATION OUR
BRAINS
CUSTOMERS
SAVE OUR BRAINS
EXT. JUST OUTSIDE THE VACANT LOT/TENT CITY - DAY
COLLINS, MARK, ANGEL & SOME OF THE LOT

PEOPLE
WE'LL PACK UP ALL OUR JUNK AND FLY
SO FAR AWAY/ DEVOTE OURSELVES TO
PROJECTS THAT SELL/ WE'LL OPEN UP A
RESTAURANT IN SANTA FE
COLLINS
FORGET THIS COLD BOHEMIAN HELL/ OH -
SOME OF THE LOT PEOPLE, COLLINS, MARK

& ANGEL
OH -
COLLINS
DO YOU KNOW THE WAY TO SANTA FE?/
YOU KNOW, TUMBLEWEEDS… PRAIRIE
DOGS…/ YEAH
Collins high-fives Angel and Mark.
MARK
I'll meet you guys at the show
tonight.
Mark leaves his friends and enters his building.
Angel and Collins walk down the street together.
ANGEL
I've been hearing violins all last
night and today.
COLLINS
Anything to do with me? Are we a
thing?
74.
ANGEL
Darling - we're everything.
LIVE IN MY HOUSE/ I'LL BE YOUR
SHELTER/ JUST PAY ME BACK/ WITH ONE
THOUSAND KISSES/ BE MY LOVER - AND
I'LL COVER YOU
COLLINS
OPEN YOUR DOOR/ I'LL BE YOUR
TENANT/ DON'T GOT MUCH BAGGAGE/ TO
LAY AT YOUR FEET/ BUT SWEET KISSES
I'VE GOT TO SPARE/ I'LL BE THERE -
AND I'LL COVER YOU
COLLINS & ANGEL

I THINK THEY MEANT IT/ WHEN THEY
SAID YOU CAN'T BUY LOVE/ NOW I KNOW
YOU CAN RENT IT/ A NEW LEASE YOU
ARE, MY LOVE/ ON LIFE - BE MY LIFE
They begin to dance together.
COLLINS & ANGEL (cont’d)

JUST SLIP ME ON/ I'LL BE YOUR
BLANKET/ WHEREVER - WHATEVER -I'LL
BE YOUR COAT
ANGEL
YOU'LL BE MY KING/ AND I'LL BE YOUR
CASTLE
COLLINS
NO, YOU'LL BE MY QUEEN/ AND I'LL BE
YOUR MOAT
COLLINS & ANGEL

I THINK THEY MEANT IT/ WHEN THEY
SAID YOU CAN'T BUY LOVE/ NOW I KNOW
YOU CAN RENT IT/ A NEW LEASE YOU
ARE, MY LOVE/ ON LIFE/ ALL MY LIFE/
I'VE LONGED TO DISCOVER/ SOMETHING
AS TRUE AS THIS IS
COLLINS
SO/ WITH A THOUSAND SWEET KISSES
ANGEL
IF YOU'RE COLD AND YOU'RE LONELY
COLLINS
I'LL COVER YOU/ WITH A THOUSAND
SWEET KISSES
75.
ANGEL
YOU'VE GOT ONE NICKEL ONLY
COLLINS
I'LL COVER YOU
ANGEL
WITH A THOUSAND SWEET KISSES
COLLINS
WHEN YOU'RE WORN OUT AND TIRED
ANGEL
I'LL COVER YOU/ WITH A THOUSAND
KISSES
COLLINS
WHEN YOU HEART HAS EXPIRED
ANGEL
I'LL COVER YOU
COLLINS & ANGEL

OH LOVER I'LL COVER YOU/ OH LOVER
I'LL COVER YOU
Collins and Angel share a passionate kiss.
ANGEL
Come with me to St. Marks Place.
COLLINS
I'm with you Angel.
They walk off.
The CAMERA QUICKLY SCANS from Alphabet City just west and
south to 7th St. between 2nd and 3rd Ave.: ST. MARKS PLACE.
EXT. ST. MARKS PLACE - CHRISTMAS - AFTERNOON
Jonathan pulls up on his bike.
He enters the open-air bazaar of people, color, music, noise

and movement. Jonathan smiles.
As he makes his way through the crowd a bleach blond girl

shoves a flier into his chest, barking out, “Protest at
Eleventh St. Lot tonight… Protest at Eleventh St. Lot!”
76.
INSERT –
The paper reads: PROTEST TONIGHT - MID-NIGHT – THE LOT AT

11TH ST. AND AVE. B.
BACK TO SCENE
Jonathan jumps up on a bench to take in the spectacle of St.

Marks Place.
JONATHAN
(sotto voce)
Scenes de la vie de Boheme. It is
La Boheme.
Jonathan turns to see FIVE HOMELESS PEOPLE singing in front

of a hat scattered with a few coins.
FIVE HOMELESS PEOPLE

CHRISTMAS BELLS ARE SINGING/
(one of them peers into
the hat)
ON TV - AT SAKS
The SQUEEGEE-MAN is applying his trade to a windshield.
SQUEEGEE-MAN
HONEST LIVING, HONEST LIVING/
HONEST LIVING, HONEST LIVING/
HONEST LIVING, HONEST LIVING
The Five Homeless People are imploring a passerby.
FIVE HOMELESS PEOPLE

CAN'T YOU SPARE A DIME OR TWO/ HERE
BUT FOR THE GRACE OF GOD GO YOU/
YOU'LL BE MERRY/ I'LL BE MERRY/
THO' MERRY AIN'T IN MY VOCABULARY/
NO SLEIGH-BELLS/ NO SANTA CLAUS/ NO
YULE LOG/ NO TINSEL/ NO HOLLY/ NO
HEARTH/ NO/ RUDOLF THE RED-NOSED
REINDEER/ RUDOLF THE RED-NOSED
REINDEER/ NO ROOM AT THE HOLIDAY
INN - OH NO
(they look to each other
with foreboding
knowledge)
AND IT'S BEGINNING TO SNOW
77.
Jonathan jumps down and walks past all the different

offerings of the street vendors.
VENDOR
HATS
VENDOR 1
BATS
VENDOR 2
SHOES
VENDOR 3
BOOZE
VENDOR 4
MOUNTAIN BIKES
VENDOR 5
POTPOURRI
VENDOR 6
LEATHER BAGS
VENDOR 7
GIRLIE MAGS
VENDOR 8
FORTY-FIVES
VENDOR 9
AZT
Jonathan continues to look over the bazaar.
VENDOR 1
NO ONES BUYING
VENDOR 2
FELL LIKE CRYING
ALL VENDORS/ ALL HOMELESS/ AND

SQUEEGEE-MAN
NO ROOM AT THE HOLIDAY INN, OH NO/
Jonathan walks past a woman selling coats. Collins and Angel

sort through her merchandise.
78.
WOMAN VENDOR
HOW ABOUT A FUR -/ IN PERFECT
SHAPE/ OWNED BY AN MBA FROM UPTOWN/
I GOT A TWEED/ BROKEN IN BY A
GREEDY/ BROKER WHO WENT BROKE/ AND
THEN BROKE DOWN
COLLINS
(to Angel)
YOU DON'T HAVE TO DO THIS
ANGEL
HUSH YOUR MOUTH, IT'S CHRISTMAS
COLLINS
I DO NOT DESERVE YOU, ANGEL/ GIVE -
GIVE
ANGEL
(to vendor)
WAIT -
COLLINS
ALL YOU DO
ANGEL
(to vendor)
WHAT'S ON THE FLOOR?
COLLINS
IS GIVE/ GIVE ME SOME
ANGEL
(to vendor)
LET'S SEE SOME MORE
COLLINS
WAY TO SHOW
ANGEL
(to vendor who is holding
up three coats)
NO - NO - NO – NO…
COLLINS
HOW YOU'VE TOUCHED ME SO
ANGEL
KISS ME - IT'S BEGINNING TO SNOW
Collins looks to the sky and than at Angel. They kiss.

79.
INT. MARK AND ROGER'S - LOFT – LATE AFTERNOON
Mark and Roger stand by the windows.
MARK
…SHE SAID, "WOULD YOU LIGHT MY
CANDLE"/ AND SHE PUT ON A POUT/ AND
SHE WANTED YOU/ TO TAKE HER OUT
TONIGHT?
ROGER
RIGHT
MARK
SHE GOT YOU OUT?
ROGER
SHE WAS MORE THAN OKAY/ BUT I
PUSHED HER AWAY/ IT WAS BAD - I GOT
MAD/ AND I HAD TO GET HER OUT OF MY
SIGHT
MARK
WAIT, WAIT, WAIT, - YOU SAID SHE
WAS SWEET
ROGER
LET'S GO EAT - I'LL JUST GET FAT/
IT'S THE ONE VICE LEFT - WHEN
YOU'RE DEAD MEAT
(pointing out the window)
THERE - THAT'S HER
MARK
MAUREEN?
MARK'S POV
EXT. VACANT LOT/TENT CITY – THAT MOMENT - LATE AFTERNOON
He sees Mimi walking through the lot. Her beauty obscures

her guileful search for drugs.
ROGER (O.S.)
MIMI!
INT. MARK AND ROGER’S LOFT – CONTINUOUS - LATE AFTERNOON
MARK
(elbowing Roger in the
ribs)
WHOA!
80.
ROGER
(he knows exactly what she
is doing)
I SHOULD GO.
MARK AND ROGER

HEY - IT'S BEGINNING TO SNOW
EXT. POLICE STATION – LATE AFTERNOON
Police are getting prepared for a riot: They are putting on

riot gear; assembling the horses; lining up the patty-wagons;
etc.
POLICE OFFICERS
I'M DREAMING OF A WHITE CHRISTMAS
EXT. VACANT LOT/TENT-CITY - DUSK
Mimi and other junkies are following a drug dealer trying to

score some dope.
MIMI & JUNKIES

FOLLOW THE MAN - FOLLOW THE MAN/
WITH HIS POCKETS FULL OF THE JAM/
FOLLOW THE MAN - FOLLOW THE MAN/
HELP ME OUT, DADDY/ IF YOU CAN/ GOT
ANY D MAN?
THE MAN
(toying with his
clientele)
I'M COOL
MIMI & JUNKIES (cont’d)

GOT ANY C MAN?
THE MAN
I’M COOL
MIMI & JUNKIES

GOT ANY X/ ANY SMACK/ ANY HORSE/
ANY JUGIE BOOGIE, BOY/ AND BLOW?
Just then, Roger grabs Mimi and pulls her aside.
ROGER
HEY
MIMI
HEY
81.
ROGER
I JUST WANT TO SAY/ I'M SORRY FOR
THE WAY--
MIMI
FORGET IT
ROGER
I BLEW UP/ CAN I MAKE IT UP TO YOU?
MIMI
HOW?
ROGER
DINNER PARTY?
MIMI
THAT'LL DO
The drug dealer jumps in Roger's face.
THE MAN
HEY LOVER-BOY/ CUTIE PIE/ YOU STEAL
MY CLIENT - YOU DIE
ROGER
(pulling Mimi away from
him)
YOU DIDN'T MISS ME - YOU WON'T MISS
HER/ YOU'LL NEVER LACK FOR
CUSTOMERS
The other junkies enclose around the drug dealer.
JUNKIES
I'M WILLIN'/ I'M ILLIN'/ I GOTTA
GET MY SICKNESS OFF/ GOTTA RUN,
GOTTA RIDE/ GOTTA GUN, GOTTA HIDE -
GOTTA GO
The drug dealer takes out some little baggies of heroin and
waves them seductively in the air.
THE MAN
INT. BENNY'S RANGE ROVER - DRIVING - DUSK
BENNY
(talking into car
microphone)
WISH ME LUCK ALISON -/ THE PROTEST
IS ON
82.
EXT. ST. MARKS PLACE - BAZAAR - ON COAT VENDOR - DUSK
COAT VENDOR
L.L. BEAN, GEOFFREY BEENE, BURBERRY
ZIP-OUT LINING
JUNKIES (O.S.)
GOT ANY C MAN?
WHIP PAN TO
EXT. STREET - ON SQUEEGEE-MAN - DUSK
SQUEEGEE-MAN
HONEST LIVING -
JUNKIES (O.S.)
GOT ANY D MAN?
EXT. VACANT LOT/TENT CITY – DUSK
Mark joins Roger and Mimi.
ROGER
MARK, THIS IS MIMI -
MARK & MIMI

HI
ROGER
SHE'LL BE DINING - WITH US
JUNKIES (V.O.)
GOT ANY B MAN?
EXT. ST. MARKS PLACE - BAZAAR - ON COAT VENDOR - DUSK
COAT VENDOR
(holding up a coat to
Collins)
HERE'S A NEW ARRIVAL
JUNKIES (O.S.)
GOT ANY B MAN?
THE MAN (O.S.)

THAT IS AN OUNCE
ANOTHER VENDOR (O.S.)

HATS, DATS, BATS
JUNKIES (O.S.)
GOT ANY CRACK?
83.
COLLINS
THAT'S MY COAT!
JUNKIES (O.S.) (cont’d)

GOT ANY HORSE
COAT VENDOR
WE GIVE DISCOUNTS
EXT. VACANT LOT/TENT CITY - CONTINUOUS - DUSK
MARK
I THINK WE'VE MET
JUNKIES (V.O.)
GOT ANY C MAN?
EXT. ST. MARKS PLACE - BAZAAR - DUSK
ANGEL
LET'S GET A BETTER ONE
COLLINS
IT'S A SHAM
JUNKIES (O.S.)
GOT ANY D MAN?
EXT. VACANT LOT/TENT CITY - CONTINUOUS - DUSK
MIMI
THAT'S WHAT HE SAID
THE MAN (V.O.)

I SAID IT'S A GRAM!
EXT. ST. MARKS PLACE - BAZAAR - CONTINUOUS - DUSK
COLLINS
BUT SHE'S A THIEF!
ANGEL
THEN SHE BROUGHT US TOGETHER
JUNKIES (O.S.)
GOT ANY B MAN?
INT. BENNY'S RANGE ROVER - CONTINUOUS - DUSK
BENNY
(into car microphone)
WHICH INVESTOR IS COMING?
84.
JUNKIES (V.O.)
GOT ANY CRACK?
COLLINS
I'LL TAKE THE LEATHER
JUNKIES (O.S.)
GOT ANY HORSE
INT. BENNY'S RANGE ROVER - CONTINUOUS - DUSK
BENNY
(into car microphone)
YOUR FATHER? - DAMN!
JUNKIES (V.O.)
GOT ANY X MAN?
Jonathan hops back up on another bench. He looks around like

a kid in the middle of a three-ring circus.
THE REST OF THE SONG IS SUNG SIMULTANEOUSLY, AS THE FRAME

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

CHRISTMAS BELLS ARE SWINGING/
CHRISTMAS BELLS ARE SINGING/ IN MY
DREAMS - NEXT YEAR/ ONCE YOU DONATE
YOU CAN GO/ CELEBRATE IN TUCKAHOE/
YOU'LL FEEL CHEERY/ I'LL FEEL
CHEERY/ THO' I DON'T REALLY KNOW
THAT THEORY/ NO BATHROBE/ NO
STEUBEN GLASS/ NO CAPPUCCINO
MAKERS/ NO PEARLS, NO DIAMONDS/ NO
"CHESTNUTS ROASTING ON AN OPEN
FIRE"/ CHESTNUTS ROASTING ON AN
OPEN FIRE/ NO ROOM AN THE HOLIDAY
INN, OH NO -
85.
POLICE OFFICERS
(still organizing)
I'M DREAMING OF A RIGHT CHRISTMAS/
JUST LIKE THE ONES I USED TO KNOW/
JINGLE BELLS - PRISON CELLS/ FA LA
LA LA - FA LA LA LA/ YOU HAVE THE
RIGHT TO REMAIN/ SILENT NIGHT HOLY
NIGHT/ FALL ON YOUR KNEES OH NIGHT
DIVINE/ YOU'LL DO SOME TIME/ FA LA
LA LA LA/ FA LA LA LA LA
JUNKIES
GOT ANY C MAN?/ GOT ANY D MAN?/ GOT
ANY B MAN?/ GOT ANY X? - ANY
CRACK?/ I'M WILLIN' - I'M ILLIN'/
GOTTA GET MY SICKNESS OFF/ C-D HELP
ME/ FOLLOW THE MAN - FOLLOW THE
MAN/ FOLLOW THE MAN/ JUGIE BOOGIE -
JUGIE BOOGIE/ FOLLOW THE MAN -
FOLLOW THE MAN/ ANY CRACK ANY X ANY
JUGIE BOOGIE BOY/ ANY BLOW ANY X
ANY JUGIE BOOGIE BOY/ GOT ANY D
MAN, GOT ANY C MAN/ GOT ANY CRACK,
ANY X ANY JUGIE BOOGIE?
COAT VENDOR
TWENTY-FIVE
ANGEL
FIFTEEN
COAT VENDOR
TWENTY-FIVE
ANGEL
FIFTEEN
COAT VENDOR
TWENTY-FIVE
ANGEL
FIFTEEN
COAT VENDOR
NO WAY/ TWENTY-FOUR
ANGEL
FIFTEEN
COAT VENDOR
TWENTY-FOUR
86.
ANGEL
FIFTEEN
COAT VENDOR
TWENTY-FOUR
ANGEL
FIFTEEN
COAT VENDOR
NOT TODAY/ TWENTY-THREE
ANGEL
FIFTEEN
COAT VENDOR
TWENTY-THREE
ANGEL
FIFTEEN
COAT VENDOR
TWENTY-THREE
ANGEL
FIFTEEN/ IT'S OLD
COAT VENDOR
TWENTY-TWO
ANGEL
FIFTEEN
COAT VENDOR
TWENTY-ONE
ANGEL
FIFTEEN
COAT VENDOR
SEVENTEEN
ANGEL
FIFTEEN
COAT VENDOR
FIFTEEN
ANGEL & COAT VENDOR

SOLD!
87.
MARK & ROGER

LET'S/ GO TO/ THE LOT - MAUREEN'S
PERFORMING
MIMI
WHO'S MAUREEN?
ROGER
HIS EX
MARK
BUT I AM OVER HER
ROGER
LET'S/ NOT/ HOLD HANDS YET
MIMI
IS THAT A WARNING?
MARK & ROGER & MIMI

HE - YOU - I/ JUST/ NEED/ TO TAKE
IT SLOW/ I SHOULD TELL YOU I SHOULD
TELL YOU/ I SHOULD TELL YOU I
SHOULD TELL YOU/ I SHOULD TELL YOU
I…
NOW JUMP-CUTS BETWEEN ST. MARKS PLACE - JONATHAN, VENDORS,

COLLINS AND ANGEL; THE POLICE STATION - THE POLICE GETTING
READY FOR BATTLE; THE VACANT LOT/TENT-CITY – THE DRUG DEALER
AND JUNKIES, AND MARK AND ROGER AND MIMI; BENNY DRIVING IN
HIS RANGE ROVER.
EVERYONE
AND IT'S BEGINNING TO / AND IT'S
BEGINNING TO/ AND IT'S BEGINNING TO
EXT. VACANT LOT - PERFORMANCE SPACE - CONTINUOUS – EARLY

EVENING
Joanne is setting up chairs. A motorcycle roars into the

performance space. The motorcycle rider pulls off her
helmet. MAUREEN, sexy as hell, in all black leather, hops
off her bike.
MAUREEN
JOANNE, WHICH WAY TO THE STAGE?
88.
WHIP PANS TO: ST. MARKS PLACE - JONATHAN, VENDORS, COLLINS

AND ANGEL; THE POLICE STATION - THE POLICE GETTING READY FOR
BATTLE; THE VACANT LOT/TENT-CITY – THE DRUG DEALER AND
JUNKIES, AND MARK AND ROGER AND MIMI; BENNY DRIVING IN HIS
RANGE ROVER.
EVERYONE
SNOW!
EXT. ST. MARKS PLACE - BAZAAR - CONTINUOUS - EARLY EVENING
Jonathan is still standing on the bench.
The prophecy of snow comes to fruition as the white flakes

sparkle down from the sky above New York coating the ground
with a glistening white powder.
EXT. STREET - ON BENNY'S RANGE ROVER - NIGHT
Benny's parking his car right by the vacant lot.
EXT. VACANT LOT/TENT CITY - NIGHT
Mark, Roger and Mimi are walking towards the performance

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

NIGHT
Collins and Angel are just arriving. They enter the lot and
head for the performance space.
Jonathan enters the vacant lot/tent-city and walks toward the

performance space.
EXT. VACANT LOT - PERFORMANCE SPACE - NIGHT
The scattered chairs are all taken. The whole area is packed
to capacity with homeless people, punks, junkies, squatters,
and hippies. Scattered throughout the audience is Mark,
Roger, Mimi, Angel, Collins, and Benny. Jonathan is looking
on from just outside the packed area.
Joanne gets up on the stage and takes the microphone.
JOANNE
What you’ve all been waiting for…
Let's hear it for Maureen!
The audience applauds. Maureen comes to the microphone. She

has a large cowbell hanging form her belt. Maureen's backup
singers join her on stage.
89.
Mark holds up his Camera.
16MM POV
MARK (O.S.)
Maureen's performance.
MAUREEN
Last night I had a dream. I found
myself in a desert called
Cyberland.
BACK TO SCENE
MAUREEN
It was hot. My canteen had sprung
a leak and I was thirsty. Out of
the abyss walked a cow - Elsie. I
asked if she had anything to drink.
She said,
"I'M FORBIDDEN TO PRODUCE MILK. IN
CYBERLAND, WE ONLY DRINK DIET
COKE." (REVERB: DIET COKE, DIET
COKE, DIET COKE) SHE SAID, "ONLY
THING TO DO IS JUMP OVER THE MOON.
THEY'VE CLOSED EVERYTHING REAL
DOWN… LIKE BARNS, TROUGHS, AND
PERFORMANCE SPACES… AND REPLACED IT
ALL WITH LIES AND RULES AND VIRTUAL
LIFE. (REVERB: LIFE, LIFE, LIFE)
BUT THERE IS A WAY OUT…"
BACKUP SINGERS
LEAP OF FAITH LEAP OF FAITH/ LEAP
OF FAITH LEAP OF FAITH
MAUREEN
ONLY THING TO DO IS JUMP OVER THE
MOON/ I GOTTA GET OUTTA HERE! IT'S
LIKE I'M BEING TIED TO THE HOOD OF
A YELLOW RENTAL TRUCK, BEING PACKED
IN WITH FERTILIZER AND FUEL OIL,
PUSHED OVER A CLIFF BY A SUICIDAL
MICKEY MOUSE! - I'VE GOTTA, GOTTA,
GOTTA, GOTTA, GOTTA, GOTTA, GOTTA,
GOTTA, GOTTA, GOTTA FIND A WAY/ TO
JUMP OVER THE MOON
BACKUP SINGERS
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)
OF FAITH LEAP OF FAITH/ LEAP OF
FAITH LEAP OF FAITH/ LEAP OF FAITH
LEAP OF FAITH…
91.
MAUREEN
ONLY THING TO DO/ ONLY THING TO DO
IS JUMP/ ONLY THING TO DO IS JUMP
OVER THE MOON/ ONLY THING TO DO IS
JUMP OVER THE MOON/ OVER THE MOON -
OVER THE MOOOOOO/ MOOOOOO/ MOOOOOO -
MOO WITH ME
Maureen encourages the audience to moo with her.
MAUREEN
C’mon sir, moo with me.
Jonathan realizes Maureen is beckoning him. He begins to

moo.
MAUREEN (cont’d)
MOOOO/ MOOOO/ MOOOO/ MOOOOOO
Mark, Roger and Mimi moo. Collins and Angel moo. Joanne
moos. Benny walks away. The audience and Maureen continue
to moo together until the moos reach a vibrant crescendo, and
with a big sweep of her arms Maureen cuts them off.
MAUREEN (cont’d)
Thank you.
The audience applauds voraciously.
Jonathan is smiling and applauding. He notices movement out

of the corner of his eye. He walks out of the performance
space towards the edge of the vacant lot/tent-city.
EXT. STREET - JUST OUTSIDE THE VACANT LOT/TENT-CITY -

CONTINUOUS - NIGHT
Jonathan comes to the corner of 11th Street and Avenue B and

sees Police patty-wagons and other police vehicles amassing.
TIME CUT TO:
EXT. LIFE CAFE - ESTABLISHING - NIGHT
Maureen, Mark, Roger, Mimi, Collins and Angel with a large

group or friends bounce excitedly towards a hip earthy-
crunchy Alphabet City cafe.
INT. LIFE CAFE - NIGHT

92.
Benny is sitting at a small table with his father-in-law Mr.

Grey, (50's) white. The waiter is pouring them some wine.
Benny whips out a hundred-dollar bill and waves it in the
air.
BENNY
Garcon!
The waiter reaches for the premature tip and Benny snatches
it away.
BENNY
My Father-in-law and I are having a
very important business meeting.
We'd like this area to be as quiet
as possible.
WAITER
Yes sir.
BENNY
(handing over the money)
Remember, there’s more where that
came from.
WAITER
Thank you sir.
Just then the large group of revelers enter putting together

tables right next to Benny’s. The waiter quickly approaches
them.
WAITER
NO, PLEASE, NO/ NOT TONIGHT,
PLEASE, NO/ MISTER - CAN'T YOU GO -
/ NOT TONIGHT - CAN'T HAVE A SCENE
ROGER
(walking by him)
What?
WAITER
GO, PLEASE GO -/ YOU - HELLO, SIR -
/ I SAID NO/ IMPORTANT CUSTOMERS
MARK
What am I - just a blur?
WAITER
YOU SIT ALL NIGHT - YOU NEVER BUY!
93.
MARK
THAT'S A LIE - THAT'S A LIE/ I HAD
A TEA THE OTHER DAY
WAITER
YOU COULDN'T PAY
MARK
(making his way by the
waiter)
Oh yeah.
The whole group sits. Collins approaches Benny's table.
COLLINS
Benjamin Coffin The Third - here?
WAITER
(hurrying over to
intervene)
Oh no!
MARK & ROGER'S TABLE

(to the waiter)
WINE AND BEER!
MAUREEN
(taking a chair right next
to Benny's table)
THE ENEMY OF AVENUE A/ WE'LL STAY
WAITER
OY VEY!
COLLINS
What brings the mogul in his own
mind to The Life Cafe?
BENNY
(standing)
I would like to propose a toast: to
Maureen's noble try; it went well.
MAUREEN
Go to hell.
BENNY
(approaching their table)
Was the yuppie scum stomped? Not
counting the homeless, how many
tickets weren't comped?
Benny notices Mimi.

94.
BENNY
Mimi - I'm surprised/ A BRIGHT AND
CHARMING GIRL LIKE YOU/ HANGS OUT
WITH THESE SLACKERS/ (WHO DON'T
ADHERE TO DEALS)/ THEY MAKE FUN -
YET I AM THE ONE ATTEMPTING TO DO
SOME GOOD/ OR DO YOU REALLY WANT A
NEIGHBORHOOD/ WHERE PEOPLE PISS ON
YOUR STOOP EVERY NIGHT?/ BOHEMIA,
BOHEMIA'S/ A FALLACY IN YOUR HEAD/
THIS IS CALCUTTA/ BOHEMIA IS DEAD
Everyone at the table immediately begins to enact a mock

funeral, with Mark delivering "the eulogy."
MARK
DEARLY BELOVED, WE GATHER HERE TO
SAY OUR GOOD-BYES
COLLINS & ROGER

DIES IRAE - DIES ILLA/ KYRIE
ELEISON/ YITGADAL V'YITKADASH, ETC.
MARK
HERE SHE LIES/ NO ONE KNEW HER
WORTH/ THE LATE GREAT DAUGHTER OF
MOTHER EARTH/ ON THIS NIGHT WHEN WE
CELEBRATE THE BIRTH/ IN THAT LITTLE
TOWN OF BETHLEHEM/ WE RAISE OUR
GLASS - YOU BET YOUR ASS TO -/ LA
VIE BOHEME
EVERYONE AT THE TABLE

(to Benny and his father-
in-law)
LA VIE BOHEME/ LA VIE BOHEME/ LA
VIE BOHEME/ LA VIE BOHEME
95.
MARK
TO DAYS OF INSPIRATION/ PLAYING
HOOKY, MAKING SOMETHING/ OUT OF
NOTHING, THE NEED/ TO EXPRESS -/ TO
COMMUNICATE,/ TO GOING AGAINST THE
GRAIN,/ GOING INSANE,/ GOING MAD/
TO LOVING TENSION, NO PENSION,/ TO
MORE THAN ONE DIMENSION,/ TO
STARVING FOR ATTENTION,/ HATING
CONVENTION, HATING PRETENSION,/ NOT
TO MENTION OF COURSE,/ HATING DEAR
OLD MOM AND DAD/ TO RIDING YOUR
BIKE,/ MIDDAY PAST THE THREE-PIECE
SUITS-/ TO FRUITS - TO NO ABSOLUTES
-/ TO ABSOLUTE - TO CHOICE -/ TO
THE VILLAGE VOICE -/ TO ANY PASSING
FAD/ TO BEING AN US - FOR ONCE-/
INSTEAD OF A THEM -

LA VIE BOHEME/ LA VIE BOHEME
Joanne enters and joins Maureen at the table while the waiter
gets the party’s order.
MAUREEN
IS THE EQUIPMENT IN A PYRAMID?
JOANNE
IT IS, MAUREEN
MAUREEN
THE MIXER DOESN'T HAVE A CASE/
DON'T GIVE ME THAT FACE
Maureen smacks Joanne's ass, right next to Mr. Grey.
MR. GREY
AHHEMM!
MAUREEN
HEY MISTER - SHE'S MY SISTER
Joanne leaves the cafe to finish packing up at the

performance space.
WAITER
SO THAT'S FIVE MISO SOUPS, FOUR
SEAWEED SALADS/ THREE SOY BURGER
DINNERS, TWO TOFU DOG PLATTERS/ AND
ONE PASTA WITH MEATLESS BALLS
96.
ANGEL
UGH
COLLINS
IT TASTES THE SAME
MIMI
IF YOU CLOSE YOUR EYES
WAITER
AND THIRTEEN ORDERS OF FRIES/ IS
THAT IT HERE?

WINE AND BEER!
MIMI & ANGEL

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

EMOTION, DEVOTION, TO CAUSING A
COMMOTION/ CREATION, VACATION
MARK
MUCHO MASTURBATION
MAUREEN & COLLINS (cont’d)

COMPASSION, TO FASHION, TO PASSION
WHEN IT'S NEW
COLLINS
TO SONTAG
ANGEL
TO SONDHEIM
MIMI AND ANGEL

TO ANYTHING TABOO
COLLINS & ROGER

GINSBERG, DYLAN, CUNNINGHAM AND
CAGE
COLLINS
LENNY BRUCE
ROGER
LANGSTON HUGHES
97.
MAUREEN
TO THE STAGE
ANGEL
TO UTA
COLLINS
TO BUDDHA
MARK & MAUREEN

PABLO NERUDA, TOO
MARK & MIMI

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

LA VIE BOHEME
Joanne comes back into the cafe.
MAUREEN
AND WIPE THE SPEAKERS OFF BEFORE
YOU PACK
JOANNE
YES, MAUREEN
MAUREEN
WELL - HURRY BACK
Maureen and Joanne share a passionate kiss, again, right in

front of Mr. Grey.
MR. GREY
SISTERS?
MAUREEN
WE'RE CLOSE
Collins and Angel kiss.
COLLINS, MAUREEN, MARK & MR. GREY

BROTHERS!
MARK, ANGEL, MIMI & SOME OTHERS

BISEXUALS, TRISEXUALS, HOMO
SAPIENS/ CARCINOGENS,
HALLUCINOGENS, MEN, PEE-WEE HERMAN/
GERMAN WINE, TURPENTINE, GERTRUDE
STEIN/ ANTONIONI, BERTOLUCCI,
KUROSAWA/ "CARMINA BURANA"
98.

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

TO SODOMY/ IT'S BETWEEN GOD AND ME/
TO S&M
Mr. Grey has heard enough, he abruptly walks out. Benny

tries to hail the waiter.
BENNY
WAITER… WAITER… WAITER

LA VIE BOHEME
COLLINS
IN HONOR OF THE DEATH OF BOHEMIA,
AN IMPROMPTU SALON WILL COMMENCE
IMMEDIATELY FOLLOWING DINNER… MIMI
MARQUEZ, CLAD ONLY IN BUBBLE WRAP,
WILL PERFORM HER FAMOUS LAWN-CHAIR-
HANDCUFF DANCE TO THE SOUNDS OF ICE
TEA BEING STIRRED
ROGER
AND MARK COHEN WILL PREVIEW HIS NEW
DOCUMENTARY ABOUT HIS INABILITY TO
HOLD AN ERECTION ON THE HIGH HOLY
DAYS
Roger notices a guitar in the corner of the cafe. He goes

over to see if he can tune it.
MARK
AND MAUREEN JOHNSON, BACK FROM HER
SPECTACULAR ONE-NIGHT ENGAGEMENT AT
THE 11TH STREET LOT, WILL SING
NATIVE AMERICAN TRIBAL CHANTS
BACKWARD THROUGH HER VOCODER, WHILE
ACCOMPANYING HERSELF ON THE
ELECTRIC CELLO - WHICH SHE HAS
NEVER STUDIED
Maureen leans over and gives Mark a big sarcastic kiss.

Joanne enters just in time to catch the end of the smooch.
She turns around and leaves shaking her head.
99.
Benny pulls Mimi aside.
BENNY
YOUR NEW BOYFRIEND DOESN'T KNOW
ABOUT US?
MIMI
THERE'S NOTHING TO KNOW
BENNY
DON'T YOU THINK THAT WE SHOULD
DISCUSS -
MIMI
IT WAS THREE MONTHS AGO
BENNY
HE DOESN'T ACT LIKE HE'S WITH YOU
MIMI
WE'RE TAKING IT SLOW
BENNY
WHERE IS HE NOW?
MIMI
HE'S RIGHT - HMM
BENNY
UH-HUH
MIMI (cont’d)
WHERE'D HE GO NOW?
MARK
AND ROGER WILL ATTEMPT TO WRITE A
BITTERSWEET, EVOCATIVE SONG
Roger starts to play Musetta's theme on the guitar that he

was tuning.
MARK
THAT DOESN'T REMIND US OF
"MUSETTA'S WALTZ"
COLLINS
ANGEL DUMOTT SCHUNARD WILL MODEL
THE LATEST FALL FASHIONS FROM PARIS
WHILE ACCOMPANYING HERSELF ON THE
TEN GALLON PLASTIC PICKLE-TUB
100.
ANGEL
AND COLLINS WILL RECOUNT HIS
EXPLOITS AS AN ANARCHIST -
INCLUDING THE TALE OF HIS
SUCCESSFUL PROGRAMMING OF THE MIT
VIRTUAL-REALITY EQUIPMENT TO SELF-
DESTRUCT AS IT BROADCAST THE WORDS

"ACTUAL REALITY - ACT UP - FIGHT
AIDS"
BENNY
CHECK!
Mimi goes over to Roger who is still fiddling with the guitar
while joking with another girl. Benny walks past them in a
huff. The other girl goes back to the table.
MIMI
EXCUSE ME - DID I DO SOMETHING
WRONG?/ I GET INVITED - THEN
IGNORED - ALL NIGHT LONG
ROGER
I'VE BEEN TRYING - I'M NOT LYING/
NO ONE'S PERFECT - I'VE GOT BAGGAGE
MIMI (cont’d)
LIFE'S TOO SHORT - BABE - TIME IS
FLYING/ I'M LOOKING FOR BAGGAGE
THAT GOES WITH MINE
ROGER
I SHOULD TELL YOU -
MIMI (cont’d)
I'VE GOT BAGGAGE TOO - SHOULD TELL
YOU
ROGER & MIMI

BAGGAGE - WINE
ROGER, MIMI & EVERYONE AT THE TABLE

AND BEER!
Mimi's beeper BEEPS and she turns it off.
MIMI
AZT break.
Mimi pulls out her pills and swallows them.

101.
ROGER
YOU?
MIMI
ME. YOU?
ROGER
MIMI
They hold hands and stare into each other's eyes.
ROGER
I SHOULD TELL YOU I'M DISASTER/ I
FORGET HOW TO BEGIN IT
MIMI
LET'S JUST MAKE THIS PART GO
FASTER/ I HAVE YET - TO BE IN IT/ I
SHOULD TELL YOU
ROGER
I SHOULD TELL YOU
MIMI
I SHOULD TELL YOU
ROGER
I SHOULD TELL YOU
MIMI
I SHOULD TELL I BLEW THE CANDLE
OUT/ JUST TO GET BACK IN
ROGER
I'D FORGOTTEN HOW TO SMILE/ UNTIL
YOUR CANDLE BURNED MY SKIN
MIMI
I SHOULD TELL YOU
ROGER
I SHOULD TELL YOU
MIMI
I SHOULD TELL YOU
ROGER & MIMI

I SHOULD TELL/ WELL, HERE WE GO/
NOW WE -
MIMI
OH NO
102.
ROGER
I KNOW - THIS SOMETHING IS/ HERE
GOES -
MIMI
HERE GOES
ROGER
GUESS SO/ IT'S STARTING TO/ WHO
KNOWS -
MIMI
WHO KNOWS
ROGER & MIMI

WHO KNOWS WHERE/ WHO GOES THERE/
WHO KNOWS/ HERE GOES/ TRUSTING
DESIRE - STARTING TO LEARN/ WALKING
THROUGH FIRE WITHOUT A BURN/
CLINGING - A SHOULDER, A LEAP
BEGINS/ STINGING AND OLDER, ASLEEP
ON PINS/ SO HERE WE GO/ NOW WE -
ROGER
OH NO
MIMI
I KNOW
ROGER
OH NO
MIMI & ROGER

WHO KNOWS WHERE - WHO GOES THERE/
HERE GOES - HERE GOES/ HERE GOES -
HERE GOES/ HERE GOES - HERE GOES
Roger and Mimi leave together just as Joanne reenters and

approaches the large table where everyone is still drinking
and cavorting.
MAUREEN
Are we packed?
JOANNE
Yes. And by next week I want you
to be.
MAUREEN
Pookie?
103.
JOANNE
(pointing at Mark)
I saw you two. And to think we
tangoed together.
Joanne rushes towards the door with Maureen and Mark giving
chase. They grab Joanne and drag her back to the group.
MARK
Joanne we're just friends.
MAUREEN
Pookie, I may play, but you've got
to trust me, it's just you babe.
MARK
Drink some wine.
JOANNE
(to Mark)
WAIT! YOU SHOULD SEE/ THEY'VE
PADLOCKED YOUR BUILDING
(to the rest of the group)
AND THEY'RE RIOTING ON AVENUE B/
BENNY CALLED THE COPS
MAUREEN
THAT FUCK
JOANNE
THEY DON'T KNOW WHAT THEY'RE DOING/
THE COPS ARE SWEEPING THE LOT/ BUT
NO ONE'S LEAVING/ THEY'RE JUST
SITTING THERE, MOOING

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

FILM
MARK
ADVENTURE, TEDIUM, NO FAMILY,
BORING LOCATIONS,/ DARKROOMS,
PERFECT FACES, EGOS, MONEY,
HOLLYWOOD AND SLEAZE
104.

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

ANARCHY
COLLINS & MAUREEN

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

TO FAGGOTS, LEZZIES, DYKES, CROSS-
DRESSERS TOO
MAUREEN
TO ME
MARK
TO ME
COLLINS & ANGEL

TO ME

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

LA VIE BOHEME
MARK
IS ANYONE IN THE MAINSTREAM?

LA VIE BOHEME
MARK
ANYONE ALIVE - WITH A SEX DRIVE
105.

LA VIE BOHEME
MARK
TEAR DOWN THE WALL/ AREN'T WE ALL

LA VIE BOHEME
MARK
THE OPPOSITE OF WAR ISN'T PEACE…/
IT'S CREATION

LA VIE BOHEME
MARK
VIVA LA VIE BOHEME
Mark grabs his coat, scarf and Camera and tears out of the
Cafe. The rest of the gang follows him out.
EXT. VACANT LOT/TENT-CITY - CONTINUOUS - NIGHT
The scene is complete chaos. The police in riot gear are

chasing the homeless out of the vacant lot/tent city. There
are riot cops standing guard outside Mark and Roger's
padlocked building.
Jonathan watches from behind a police barricade. He sees

Mark sneaking around the barricades with his Camera.
The police are trying to hold back the throngs of punks and
anarchists flanking Jonathan behind the barriers.
PUNK
(pointing to the cops
badges, which are covered
with black tape)
Hey why are you taping your
badges?!
ANARCHIST
Stop the war on the poor!
Some of the masses are banging garbage cans on the ground and
others are throwing the lids at the police like Frisbees.
Jonathan is trying desperately to keep his eye on Mark.
He sees the police keeping the media from gaining access to

the area. He finds Mark in the thick of the riot shooting
his footage.
106.
16MM POV
Nightsticks are cracking down on hands and backs and heads;

riot police on horseback are wading through the mass of
people; CU a riot cop has his badge taped over.
MARK (O.S.)
(into make/shift camera
mike)
The police have taped their badges
so they can't be reported.
BACK TO SCENE
The TV Journalist Chris Hamilton runs over to Mark.
CHRIS HAMILTON
Hey kid, you recognize me?
MARK
Yeah, of course.
CHRIS HAMILTON
We can't get our cameras in here…
A bunch of riot cops point at the Journalist and Mark. "Get

that camera." They start running towards Mark and his
Camera. Mark and Chris Hamilton start running together.
CHRIS HAMILTON (cont’d)

Shit! Here they come. Kid; give
me your camera. I'll get it back
to you I promise.
MARK
This Camera's my life!
CHRIS HAMILTON
You can trust me. They'll destroy
it for sure. Come down to the
studio tomorrow!
Mark hands over his precious Bell and Howell to the

Journalist who immediately takes off in another direction.
The cops giving chase are closing in on him.
CHRIS HAMILTON
Brian!!
A young man runs up to the barricade jumping and waving his

hands.
107.
The Journalist heaves Mark’s Camera over the barricade just

as the police tackle him to the ground. Brian catches the
Camera and disappears out of sight. The cops carry off the
Journalist.
Mark watches Chris Hamilton getting taken away. He sees

Jonathan standing behind the barrier. They stare at each
other.
FADE OUT:
FADE IN:
MONTAGE OF DIFFERENT TV SETS THROUGHOUT THE CITY: IN

APARTMENTS – BARS - AND STORES - DAY
The TV Journalist Chris Hamilton is giving his news report.
CHRIS HAMILTON
Last night, the police, in full
riot gear, swept through some of
Alphabet-City's vacant lots, once
again clearing out the homeless
encampments that have amassed there
since the closing down of Tompkins
Square Park. The debate will
continue about whether or not the
city should be evicting the
homeless from these "Dinkinsvilles"
as they have been dubbed. I will
not address that issue here.
However, when our public servants,
our police force, feel that acting
like vigilantes is a necessary evil
to their task, then we as citizens
need to stand up and take action.
Last night, Mark Cohen was that
citizen for us all. The police
would not allow any news cameras
into the riot scene, and they taped
over their badges for anonymity.
Luckily Mr. Cohen decided to get
involved. The following footage is
our only recorded view of the
incident last night.
INT. DINER – DAY
Jonathan is wiping down the counter watching the TV
CUT TO:
108.
WHILE THE SONG - SEASONS OF LOVE - IS BEING SUNG - MONTAGE

OF:
1. Riot footage.
2. Different Homeless people all singing, Seasons of Love,

searching for a new place to live.
3. Mark walking the streets with his Camera singing.
4. Roger and Mimi walking together singing.
5. Joanne and Maureen leaning over their terrace singing.
6. Collins and Angel walking together singing.
EVERYONE
FIVE HUNDRED TWENTY-FIVE THOUSAND/
SIX HUNDRED MINUTES/ FIVE HUNDRED
TWENTY-FIVE THOUSAND/ MOMENTS SO
DEAR/ FIVE HUNDRED TWENTY-FIVE
THOUSAND/ SIX HUNDRED MINUTES/ HOW
DO YOU MEASURE - MEASURE A YEAR?/
IN DAYLIGHTS - IN SUNSETS/ IN
MIDNIGHTS - IN CUPS OF COFFEE/ IN
INCHES - IN MILES/ IN LAUGHTER - IN
STRIFE/ IN - FIVE HUNDRED TWENTY-
FIVE THOUSAND/ SIX HUNDRED MINUTES/
HOW DO YOU MEASURE/ A YEAR IN THE
LIFE?/ HOW ABOUT LOVE?/ HOW ABOUT
LOVE?/ HOW ABOUT LOVE?/ MEASURE IN
LOVE?/ SEASONS OF LOVE/ SEASONS OF
LOVE
7. A homeless woman, carrying her bags walking the streets of

New York alone.
HOMELESS WOMAN
FIVE HUNDRED TWENTY-FIVE THOUSAND/
TWENTY-FIVE THOUSAND/ JOURNEYS TO
PLAN/ FIVE HUNDRED TWENTY-FIVE
DO YOU MEASURE THE LIFE/ OF A WOMAN
OR A MAN
8. A homeless man pushing a shopping cart down a desolate

street.
HOMELESS MAN
IN TRUTHS THAT SHE LEARNED/ OR IN
TIMES THAT HE CRIED/ IN THE BRIDGES
HE BURNED/ OR THE WAY THAT SHE DIED
109.
JUMP-CUTS TO EVERYONE
EVERYONE
IT'S TIME NOW - TO SING OUT/ THO'
THE STORY NEVER ENDS/ LET'S
CELEBRATE/ REMEMBER A YEAR IN THE
LIFE OF FRIENDS/ REMEMBER THE LOVE/
REMEMBER THE LOVE/ REMEMBER THE
LOVE/ MEASURE IN LOVE
HOMELESS WOMAN
MEASURE, MEASURE YOUR LIFE IN LOVE
EVERYONE
SEASONS OF LOVE/ SEASONS OF LOVE
The homeless woman ambles down the lonely street.
FADE OUT:
FADE IN:
EXT. JONATHAN'S BUILDING - NIGHT
Sarah, dressed up in a funky short skirt and wearing a blonde

wig, is impatiently pressing the buzzer of the intercom.
JONATHAN (O.S.)
(through the speaker)
Happy New Year. I’ll be right
down.
Sarah rubs her hands together to stay warm. Jonathan emerges

from his building. His hair is colored white, and he is
wearing a short gray jacket and frilly white tuxedo shirt.
His knee-high white socks are pulled up over his pants.
JONATHAN (cont’d)
(kissing her)
I've always wanted to kiss Marilyn
Monroe.
SARAH
I'm Blondie. Musicians. Remember?
JONATHAN
Marilyn sang.
SARAH
And you… Ludwig?
110.
JONATHAN
Wolfgang.
TIME CUT TO:
EXT. STREETS - NIGHT
Jonathan and Sarah walking past the fenced up lot.
SARAH
It's like a ghost town now.
Jonathan looks up at a fifteenth floor terrace party

underway, in the one nice building on the block.
He notices a group of people dressed up in costumes coming

out of the building. They all go to the back of a large
catering truck parked right by the entrance. A man is
handing plastic covered trays of food to the costumed
servers.
MAN IN TRUCK
Hurry back up so it don’t get cold.
Jonathan looks up at the party, then back to the truck, then

back up at the party.
SARAH
What’re you looking at? We’re
gonna be late, and I’m freezing.
JONATHAN
Come with me.
SARAH
What are we doing?
Sarah follows Jonathan over to the catering truck. They get

behind the remaining servers on line. The man in the truck
is still barking out orders.
MAN IN TRUCK
Let's move it people. If you're
down here then you're not serving
the guests. Let's go.
Jonathan and Sarah step up to the truck.
Jonathan grabs a tray from the man followed by Sarah. She

awkwardly fumbles with a tray.
111.
MAN IN TRUCK (cont’d)

Come on Marilyn, it's gonna be the
New Year by the time you get back
up there.
Sarah gives him a disapproving scowl.
MAN IN TRUCK (cont’d)

Move it Blondie, move it.
Sarah smiles walking off with the food.
Sarah follows Jonathan around to the front of the truck.

They stealthily head down the street.
SARAH
(laughing)
I can’t believe you did that.
She kisses him.
SARAH (cont’d)
I don’t know what’s gotten into
you, but I like it. What now?
JONATHAN
We'll find someone to give these
to.
As they walk Jonathan looks over to the abandoned building

that is now boarded up, chained and padlocked. Jonathan and
Sarah walk around the corner.
Just then Mark, Roger and Mimi show up. Mark is carrying his
Camera, Roger is carrying a crowbar, and Mimi is carrying an
ice bucket with a bottle of champagne in it. Roger tries in
vain to pry open the padlock with the crowbar, while Mark
shoots his Camera.
16MM POV
Roger and Mimi are working on the door.
MARK (O.S.)
Pan to the padlocked door. New
Year's-Rocking Eve. The breaking-
back-into-the-building party.
112.
BACK TO SCENE
MARK
(putting down his Camera)
I'm gonna check on the cops.
Mark walks around the corner.
MIMI
How long 'till next year?
ROGER
Nine-and-a-half minutes…
MIMI
Too long.
Mimi grabs the champagne and pops the cork.
MIMI (cont’d)
(taking a swig)
I'M GIVING UP MY VICES/ I'M GOING
BACK - BACK TO SCHOOL/ EVICTION OR
NOT/ THIS WEEK'S BEEN SO HOT/
(pulling Roger away from
the door and singing
right to him)
THAT LONG AS I'VE GOT YOU/ I KNOW
I'LL BE COOL/ I COULDN'T CRACK THE
LOVE CODE, DEAR/ 'TILL YOU MADE THE
LOCK ON MY HEART EXPLODE/ IT'S
GONNA BE A HAPPY NEW YEAR/ A HAPPY
NEW YEAR
Roger and Mimi kiss and share some champagne.
Mark returns.
MARK
COAST IS CLEAR/
(noticing Roger and Mimi)
YOU'RE SUPPOSED TO BE WORKING/
(grabbing the bottle and
returning it to the ice)
THAT'S FOR MIDNIGHT/ WHERE ARE
THEY?/ THERE ISN'T MUCH TIME
MIMI
MAYBE THEY'RE DRESSING/ I MEAN WHAT
DOES ONE WEAR THAT'S APROPOS/ FOR A
PARTY - THAT'S ALSO A CRIME
113.
Maureen joins them wearing a skintight leather "cat-woman"

suit. She is carrying a bag of potato chips.
MAUREEN
CHIPS, ANYONE?
MARK
YOU CAN TAKE THE GIRL OUT OF
HICKSVILLE/ BUT YOU CAN'T TAKE THE
HICKSVILLE OUT OF THE GIRL
MAUREEN
MY RIOT GOT YOU ON TV/ I DESERVE A
ROYALTY
MIMI
BE NICE, YOU TWO/ OR NO GOD-AWFUL
CHAMPAGNE
MAUREEN
(taking a swig)
DON'T MIND IF I DO/
(gesturing to the door)
NO LUCK?
ROGER
BOLTED PLYWOOD, PADLOCKED WITH A
CHAIN/ A TOTAL DEAD END
Maureen takes out her cell-phone and dials a number.
MAUREEN
JUST LIKE MY EX-GIRLFRIEND
(talking into her cel-
phone)
HONEY…?/ I KNOW YOU'RE THERE…/
PLEASE PICK UP THE PHONE/ ARE YOU
OKAY?/ IT'S NOT FUNNY/ IT'S NOT
FAIR/ HOW CAN I ATONE?/ ARE YOU
OKAY?/ I LOSE CONTROL/ BUT I CAN
LEARN TO BEHAVE/ GIVE ME ONE MORE
CHANCE/ LET ME BE YOUR SLAVE/ I'LL
KISS YOUR DOC MARTENS/ LET ME KISS
YOUR DOC MARTENS/ YOUR EVERY WISH I
WILL OBEY
Joanne walks up right behind Maureen.

114.
JOANNE
THAT MIGHT BE OKAY/ DOWN GIRL/
HEEL… STAY/ I DID A BIT OF
RESEARCH/ WITH MY FRIENDS AT LEGAL
AID/ TECHNICALLY YOU'RE SQUATTERS/
THERE'S HOPE/ BUT JUST IN CASE
Joanne whips out a long rope from her bag.
MARK & JOANNE

ROPE!
MARK
(pointing to the fire
escape)
WE CAN HOIST A LINE -
JOANNE
TO THE FIRE ESCAPE
MARK
AND TIE OFF AT
MARK & JOANNE

THAT BENCH!
MAUREEN
I CAN'T TAKE THEM AS CHUMS
JOANNE
(throwing the rope to
Maureen)
START HOISTING… WENCH
Mark, Maureen and Joanne start to work on getting up to the

fire escape. Roger and Mimi are watching them laughing and
holding each other.
ROGER
I THINK I SHOULD BE LAUGHING/ YET I
FORGET/ FORGET HOW TO BEGIN/ I'M
FEELING SOMETHING INSIDE/ AND YET I
STILL CAN'T DECIDE/ IF I SHOULD
HIDE/ OR MAKE A WIDE-OPEN GRIN/
LAST WEEK I WANTED JUST TO
DISAPPEAR/ MY LIFE WAS DUST/ BUT
NOW IT JUST MAY BE A HAPPY NEW
YEAR/ A HAPPY NEW YEAR
Collins and Angel join Roger and Mimi by the front door.
Collins dressed in a used tuxedo carries a bottle of
champagne. Angel wearing a plastic dress and a blonde wig
carries a small blowtorch.
115.
COLLINS
BOND - JAMES BOND
ANGEL
AND PUSSY GALORE - IN PERSON
MIMI
(pointing to the
blowtorch)
PUSSY - YOU CAME PREPARED
ANGEL
I WAS A BOY SCOUT ONCE/ AND A
BROWNIE/ UNTIL SOME BRAT GOT SCARED
COLLINS
(to Mimi)
AHA! MONEYPENNY - MY MARTINI!
MIMI
WILL BAD CHAMPAGNE DO?
ROGER
THAT'S SHAKEN - NOT STIRRED
COLLINS
PUSSY - THE BOLTS
ANGEL
JUST SAY THE WORD
Collins takes a swig of champagne as Angel lights the

blowtorch and starts to work on the bolts of the door.
MIMI
FOUR MINUTES LEFT TO EXECUTE OUR
PLAN
COLLINS
WHERE'S EVERYONE ELSE?
ROGER
(pointing to the rope)
PLAYING SPIDERMAN
Mark, Maureen and Joanne are climbing in through the windows.
MARK
IRONIC CLOSE-UP: TIGHT/ ON THE
PHONE MACHINE'S RED LIGHT
116.
16MM POV
The phone/answering machine's red light is flashing. Maureen

presses the "play" button. The answering machine BEEPS.
ALEXI DARLING'S VOICE

MARK COHEN/ ALEXI DARLING FROM
BUZZLINE
BACK TO SCENE
MARK
(putting down his Camera)
Oh, that show's so sleazy.
INT. BUZZLINE OFFICE - CONTINUOUS - DAY
ALEXI DARLING, (30's), lots of make up, is sitting at her

desk with her feet up talking into the speakerphone.
ALEXI DARLING
YOUR FOOTAGE OF THE RIOTS: A-ONE/
FEATURE-SEGMENT-NETWORK-DEAL TIME/
I'M SENDING YOU A CONTRACT/ KER-
CHING, KER-CHING/ MARKY, GIVE US A
CALL/ 970-4301/ OR AT HOME TRY 863-
6754/ OR - MY CEL-PHONE, AT 919-763-
0090/ OR - YOU CAN E-MAIL ME/ AT
DARLING ALEXI NEWSCOM DOT NET/ OR -
YOU CAN PAGE ME AT-/
The answering machine BEEPS ending the message.
Mark, Maureen and Joanne head out into the hallway with their
flashlights lighting the way.
INT. MARK AND ROGER’S ABANDONED BUILDING HALLWAY – CONTINUOUS

– NIGHT
They continue down to the entrance of the building.
MAUREEN
I THINK WE NEED AN AGENT!
MARK
WE?
117.
JOANNE
THAT'S SELLING OUT
MARK
BUT IT'S NICE TO DREAM
MAUREEN
YEAH - IT'S NETWORK TV/ AND IT'S
ALL THANKS TO ME
MARK
SOMEHOW I THINK I SMELL/ THE WHIFF
OF A SCHEME
JOANNE
ME TOO
MAUREEN
WE CAN PLAN ANOTHER PROTEST
JOANNE
WE?!
MAUREEN
THIS TIME YOU CAN SHOOT FROM THE
START…/
(to JOANNE)
YOU'LL DIRECT/ STARRING ME!
They arrive at the entrance door and see the flame from
Angel's blowtorch cutting through the bolts.
MARK
(shouting out the door)
Are you almost done?
EXT. MARK AND ROGER'S ABANDONED BUILDING - THAT MOMENT -

NIGHT
COLLINS
(shouting back through the
door)
Almost. We'll tell you when.
ROGER, MIMI, ANGEL & COLLINS

(shouting)
FIVE, FOUR, THREE, TWO - OPEN
SESAME!!
Suddenly, the door is kicked out crashing to the ground right

in front of Roger, Mimi, Angel and Collins.
118.
EVERYONE
HAPPY NEW YEAR/ HAPPY NEW YEAR/
HAPPY NEW…
Benny pulls up to the front of the building in his Range

Rover. He joins the group.
BENNY
I SEE THAT YOU'VE BEATEN ME TO THE
PUNCH
ROGER
HOW DID YOU KNOW WE'D BE HERE?
BENNY (cont’d)
I HAD A HUNCH
MARK
YOU'RE NOT MAD?
BENNY (cont’d)
I'M HERE TO END THIS WAR/ IT'S A
SHAME YOU WENT AND DESTROYED THE
DOOR
MIMI
WHY ALL THE SUDDEN THE BIG ABOUT-
FACE
BENNY (cont’d)
THE CREDIT IS YOURS/ YOU MADE A
GOOD CASE
ROGER
WHAT CASE?
BENNY (cont’d)
MIMI CAME TO SEE ME/ AND SHE HAD
MUCH TO SAY
MIMI
THAT'S NOT HOW YOU PUT IT ALL
YESTERDAY
BENNY (cont’d)
I COULDN'T STOP THINKING ABOUT THE
WHOLE MESS/ MARK - YOU WANT TO GET
THIS ON FILM
Mark aims his Camera at Benny.
MARK
I GUESS
119.
16MM POV
BENNY
I REGRET THE/ UNLUCKY CIRCUMSTANCES
OF THE PAST SEVEN DAYS
ROGER (O.S.)
CIRCUMSTANCES
Mark quickly PANS his Camera towards Roger.
ROGER (cont’d)
YOU PADLOCKED OUR DOOR
BENNY (O.S.)
AND IT'S WITH
Mark quickly PANS back towards Benny.
BENNY (cont’d)
GREAT PLEASURE/ ON BEHALF OF
CYBERARTS/
(holding out a key)
THAT I HAND YOU THIS KEY/ we will
also be bringing in electricity and
heat.
BACK TO SCENE
ANGEL
GOLF CLAPS
Everyone lightly claps.
MARK
I RAN OUT OF JUICE IN MY BATTERY
BENNY
RESHOOT
ROGER
OH I SEE - THIS IS A PHOTO
OPPORTUNITY
MAUREEN
THE BENEVOLENT GOD/ USHERS THE POOR
ARTISTS BACK TO THEIR FLAT/ WERE
YOU PLANNING ON TAKING DOWN THE
BARBED WIRE/ FROM THE LOT, TOO?
120.
ROGER
ANYTHING BUT THAT!
BENNY
CLEARING THE LOT WAS A SAFETY
CONCERN/ WE BREAK GROUND THIS
MONTH/ BUT YOU CAN RETURN
MAUREEN
THAT'S WHY YOU'RE HERE WITH PEOPLE
YOU HATE/ INSTEAD OF WITH MUFFY AT
MUFFY'S ESTATE
BENNY (cont’d)
I'D HONESTLY RATHER BE WITH YOU
TONIGHT/ THAN IN WESTPORT -
ROGER
SPARE US, OLD SPORT, THE SOUNDBITE
BENNY (cont’d)
MIMI - SINCE YOUR WAYS ARE SO
SEDUCTIVE
MIMI
YOU CAME ON TO ME!
BENNY (cont’d)
PERSUADE HIM NOT TO BE SO
COUNTERPRODUCTIVE
ROGER
LIAR!
BENNY (cont’d)
WHY NOT TELL HIM WHAT YOU WORE AT
MY PLACE?
MIMI
I WAS ON MY WAY TO WORK
BENNY (cont’d)
BLACK LEATHER AND LACE!/ MY DESK
WAS A MESS/ I THINK I’M STILL SORE
MIMI
‘CAUSE I KICKED HIM AND TOLD HIM I
WASN’T HIS WHORE!
BENNY
WELL, DOES YOUR BOYFRIEND KNOW/ WHO
YOUR LAST BOYFRIEND WAS?
121.
ROGER
I’M NOT HER BOYFRIEND/ I DON’T CARE
WHAT SHE DOES
ANGEL
PEOPLE! IS THIS ANY WAY TO START A
NEW YEAR?
Collins hands Benny a glass of champagne.
COLLINS
CHAMPAGNE?
BENNY
DON’T MIND IF I DO/ TO US
ALL BUT BENNY

NO BENNY – TO YOU!
ANGEL
LET’S MAKE A RESOLUTION
MIMI
I’LL DRINK TO THAT
COLLINS
LET’S ALWAYS STAY FRIENDS
JOANNE
THO’ WE MAY HAVE OUR DISPUTES
MAUREEN
THIS FAMILY TREE’S GOT DEEP ROOTS
MARK
FRIENDSHIP IS THICKER THAN BLOOD
ROGER
THAT DEPENDS
MIMI
DEPENDS ON TRUST
ROGER
DEPENDS ON TRUE DEVOTION
JOANNE
DEPENDS ON LOVE
MARK
(To Roger)
DEPENDS ON NOT DENYING EMOTION
122.
ROGER
PERHAPS
EVERYONE
IT’S GONNA BE A HAPPY NEW YEAR
ROGER
I GUESS
EVERYONE
ROGER
YOU’RE RIGHT
Angel brings Roger and Mimi together.
ANGEL
The whole entourage, except for Roger and Mimi, go inside to

celebrate the New Year.
ROGER & MIMI

I’M SORRY
ROGER
COMING?
MIMI
IN A MINUTE – I’M FINE - GO
Roger kisses Mimi.
MIMI
I’ll be right in.
Roger heads into their building. Mimi runs to the edge of

the vacant lot/tent city. She glances over her shoulder to
make sure no one sees her. She sees her drug dealer and
whistles for him.
THE MAN
WELL, WELL, WELL. WHAT HAVE WE
HERE? HUH?
He hands Mimi a small plastic bag of powder, and pats her

hand to sooth her.
THE MAN (cont’d)

IT’S GONNA BE A HAPPY NEW YEAR/
THERE, THERE - HUH/ THERE, THERE…
YEAH
123.
Snow begins to fall heavily from the sky.
FADE OUT:
EXT. JONATHAN’S APARTMENT BUILDING – DAY
It is a sunny winter day.
INT. JONATHAN’S APARTMENT – BEDROOM – DAY
Sarah is sleeping. Jonathan enters the bedroom carrying a

tray that has on it: breakfast, a single rose, and a card.
JONATHAN
Happy Valentine’s Day sleepyhead.
Sarah awakens groggily, but with a big smile.
SARAH
Happy Valentine’s Day.
Jonathan places the tray over Sarah’s lap and they kiss. She
takes a sip of juice and opens her card. Jonathan watches
intently.
SARAH
This is an invitation to your play.
JONATHAN
They’re gonna make it.
Sarah and Jonathan joyfully embrace. Jonathan walks over to

his window and gazes out onto the city and the closed vacant
lot.
JONATHAN (cont’d)
They said it needs work - but
they’re gonna help me… and they’re
gonna make it.
SARAH
I’m so proud of you.
JONATHAN
I’m gonna work my ass off.
Sarah stares at Jonathan. She knows that he will.
Jonathan focuses his attention on the closed vacant lot.

124.
EXT. CLOSED VACANT LOT – DAY
Mark is standing just outside the chain link fence of the

lot. He is alone with his Camera. He Pans his Camera across
the vacant lot.
16MM POV OF THE VACANT LOT.
MARK (O.S.)
Valentine’s Day… pan across the
empty lot.
16MM CAMERA PANS to Mark and Roger’s Abandoned Building and

the windows of the second floor loft in which Mimi is
squatting.
MARK (O.S.) (cont’d)

Roger’s downstairs at Mimi’s where
he’s been for almost two months
now, although he keeps talking
about selling his guitars and
heading out of town. He’s still
jealous of Benny I think…
16MM CAMERA PANS down Eleventh Street towards the East River
which can be seen a few long blocks away in the distance.
MARK (O.S.) (cont’d)

God knows where Collins and Angel
are.
16MM POV CAMERA pivots to Mark.
MARK (cont’d)
I’m here. Nowhere.
16MM POV pivots back to the vacant lot.
INT. JOANNE’S LAW FIRM – DAY
Joanne is filing through papers on her desk while talking to

a client on the phone. Just then Maureen bursts in.
MAUREEN
I can’t say it.
Joanne holds her hand up for quiet. Maureen storms over and
grabs the phone.
125.
MAUREEN (cont’d)
(into the phone)
I’m sorry, Ms. Jefferson will have
to call you back.
Maureen slams down the reciever.
JOANNE
That was important.
MAUREEN
So am I. And you’ve been ignoring
me.
JOANNE
What can’t you say?
MAUREEN
“Cyberarts and its corporate
sponsor, Grey Communications, would
like to mitigate the Christmas
riots…” I like my version better.
JOANNE
You – dressed as a groundhog – to
protest the ground-breaking…
MAUREEN
It’s a metaphor!
JOANNE
It’s… less than brilliant.
MAUREEN
That’s it, Miss Ivy League!
JOANNE
What?
MAUREEN
Ever since New Year’s, I haven’t
said boo. I let you direct. I
didn’t pierce my nipples because it
grossed you out. I didn’t stay and
dance at the Clit Club that night
‘cause you wanted to go home…
JOANNE
You were flirting with the woman in
rubber.
126.
MAUREEN
That’s what this is about? There
will always be women in rubber
flirting with me. Give me a break.
EVERY SINGLE DAY/ I WALK DOWN THE
STREET/ I HEAR PEOPLE SAY/ “BABY’S
SO SWEET”/ EVER SINCE PUBERTY/
EVERYBODY STARES AT ME/ BOYS –
GIRLS/ I CAN’T HELP IT BABY/ SO BE
KIND/ AND DON’T LOSE YOUR MIND/
JUST REMEMBER THAT I’M YOUR BABY/
TAKE ME FOR WHAT I AM/ WHO I WAS
MEANT TO BE/ AND IF YOU GIVE A
DAMN/ TAKE ME BABY OR LEAVE ME/
TAKE ME BABY OR LEAVE ME/
INT. LAW OFFICE MAIN FLOOR - CONTINUOUS
Maureen runs out of Joanne’s office and into the main floor
of the firm. Lawyers and secretaries lean out of their
offices and cubicles to see what’s going on. Throughout the
song Maureen flirts and cavorts with Joanne’s coworkers and
Joanne follows her trying to rein her in.
MAUREEN
A TIGER IN A CAGE/ CAN NEVER SEE
THE SUN/ THIS DIVA NEEDS HER STAGE/
BABY – LET’S HAVE FUN!/ YOU ARE THE
ONE I CHOOSE/ FOLKS WOULD KILL TO
FILL YOUR SHOES/ YOU LOVE THE
LIMELIGHT TOO, NOW BABY/ SO BE MINE
OR DON’T WASTE MY TIME/ CRYIN’ –
“OOH HONEYBEAR – ARE YOU STILL MY-
MY-MY BABY?”/ TAKE ME FOR WHAT I
AM/ WHO I WAS MEANT TO BE/ AND IF
YOU GIVE A DAMN/ TAKE ME BABY OR
LEAVE ME/ NO WAY CAN I BE WHAT I’M
NOT/ BUT HEY – DON’T YOU WANT YOUR
GIRL HOT!/ DON’T FIGHT – DON’T LOSE
YOUR HEAD/ ‘CAUSE EVERY NIGHT –
WHO’S IN YOUR BED?/ WHO - WHO’S IN
YOUR BED?/ KISS POOKIE.
Joanne’s heard enough. She makes her case to her astonished

coworkers and Maureen.
127.
JOANNE
IT WON’T WORK/ I LOOK BEFORE I
LEAP/ I LOVE MARGINS AND
DISCIPLINE/ I MAKE LISTS IN MY
SLEEP/ BABY WHAT’S MY SIN?/ NEVER
QUIT – I FOLLOW THROUGH/ I HATE
MESS – BUT I LOVE YOU/ WHAT TO DO/
WITH MY IMPROMPTU BABY/ SO BE WISE/
‘CAUSE THIS GIRL SATISFIES/ YOU’VE
GOT A PRIZE – BUT DON’T COMPROMISE/
YOU’RE ONE LUCKY BABY/ TAKE ME FOR
WHAT I AM
MAUREEN
A control freak.
JOANNE
WHO I WAS MEANT TO BE
MAUREEN
A snob – yet over-attentive.
JOANNE
AND IF YOU GIVE A DAMN
MAUREEN
A lovable, droll geek
JOANNE
TAKE ME BABY OR LEAVE ME
MAUREEN
AND ANAL RETENTIVE!
JOANNE & MAUREEN

THAT’S IT
JOANNE
THE STRAW THAT BREAKS MY BACK
JOANNE & MAUREEN (cont’d)

I QUIT
JOANNE
UNLESS YOU TAKE IT BACK
JOANNE & MAUREEN

WOMEN
MAUREEN
WHAT IS IT ABOUT THEM?
128.
JOANNE & MAUREEN (cont’d)

CAN’T LIVE -/ WITH THEM – OR
WITHOUT THEM!/ TAKE ME FOR WHAT I
AM/ WHO I WAS MEANT TO BE/ AND IF
YOU GIVE A DAMN/ TAKE ME BABY OR
LEAVE ME/ TAKE ME BABY/ OR LEAVE
ME/ GUESS I’M LEAVIN’/ I’M GONE!
Maureen storms out of the office and Joanne marches into her
office and slams the door. The large room is silent.
Joanne’s coworkers look at each other befuddled. Slowly,
they go back to work.
(Note: “Seasons of Love B” has been moved to after “Contact”)
INT. MARK AND ROGER’S ABANDONED BUILDING – MIMI’S LOFT - DAY
Roger is sitting on the floor plucking the strings of his

electric guitar (unplugged), working on a song. Mimi enters
out of breath. Roger continues working on his song without
looking up.
ROGER
Where were you?
MIMI
I’m sorry, I’m late but--
ROGER
I know. You lost your keys. No,
you went for a walk; you had to
help your mother;
(rising from the floor)
And how’s Benny? I’m gonna work
upstairs tonight.
MIMI
Wait…/ I SHOULD TELL YOU/ I
SHOULD…/ Never mind…
ROGER
Happy spring.
Roger leaves with his guitar. Mimi pulls out a just-

purchased bag of heroin. She stares at it for a moment and
then angrily flings it across the room. She walks over to
the window and climbs out on her second story fire escape.
129.
MIMI
WITHOUT YOU/ THE GROUND THAWS/ THE
RAIN FALLS/ THE GRASS GROWS/
WITHOUT YOU/ THE SEEDS ROOT/ THE
FLOWERS BLOOM/ THE CHILDREN PLAY/
THE STARS GLEAM/ THE POETS DREAM/
THE EAGLES FLY/ WITHOUT YOU/ THE
EARTH TURNS/ THE SUN BURNS/ BUT I
DIE/ WITHOUT YOU
EXT. JOANNE’S APARTMENT – TERRACE - DAY
Joanne gazing over the city.
JOANNE
WITHOUT YOU/ THE BREEZE WARMS/ THE
GIRL SMILES/ THE CLOUD MOVES/
WITHOUT YOU
EXT. A RUNDOWN FLEABAG HOTEL – FIRE-ESCAPE – DAY
Collins is twisting the metal banister in his hands with all

his might, trying to wrench out added strength from the steel
grating.
COLLINS
THE TIDES CHANGE/ THE BOYS RUN/ THE
OCEANS CRASH/ THE CROWDS ROAR/ THE
DAYS SOAR/ THE BABIES CRY/ WITHOUT
YOU
EXT. MARK AND ROGER’S ABANDONED BUILDING – SECOND STORY FIRE

ESCAPE – DAY
Mimi still on her fire escape.
MIMI
THE MOON GLOWS/ THE RIVER FLOWS/
BUT I DIE/ WITHOUT YOU
INT. MARK AND ROGER’S LOFT – DAY
Roger standing by the windows.
ROGER
THE WORLD REVIVES
EXT. MARK AND ROGER’S ABANDONED BUILDING – MIMI’S FIRE-ESCAPE

– DAY
MIMI
COLORS RENEW
130.
CUT BETWEEN: ROGER; JOANNE; COLLINS; AND MIMI.
ALL
BUT I KNOW BLUE/ ONLY BLUE/ LONELY
BLUE/ WITHIN ME, BLUE/ WITHOUT YOU
MIMI
WITHOUT YOU/ THE HAND GROPES
JOANNE
THE EAR HEARS
COLLINS
THE PULSE BEATS
ROGER
WITHOUT YOU/ THE EYES GAZE
EXT. JOANNE’S APARTMENT BUILDING – DAY
Maureen arrives outside the building and stares up at Joanne

on her terrace.
MAUREEN
THE LEGS WALK
JOANNE
THE LUNGS BREATHE
CUT BETWEEN: ROGER; JOANNE; COLLINS; MAUREEN; AND MIMI.
ALL
THE MIND CHURNS/ THE MIND CHURNS/
THE HEART YEARNS/ THE HEART YEARNS/
THE TEARS DRY/ WITHOUT YOU
INT. RUNDOWN FLEA-BAG HOTEL-ROOM – DAY
Angel lies sweating in the bed. He has an IV hooked up to

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

131.
Roger climbs out on the fire escape. He sees Mimi below him
out on her fire escape.
ROGER
‘CAUSE I DIE/ WITHOUT YOU
INT. RUNDOWN FLEA-BAG HOTEL-ROOM – DAY
Collins comes in from the fire escape and sits down on the
bed with Angel.
ALL
WITHOUT YOU
INT. JOANNE’S APARTMENT – DAY
Joanne opens her door to Maureen standing in the hallway.

They embrace.
ALL (cont’d)
WITHOUT YOU
EXT. MARK AND ROGER’S ABANDONED BUILDING – FIRE ESCAPE – DAY
Roger climbs down to Mimi. They embrace.
ALL (cont’d)
WITHOUT YOU
FADE OUT:
DURING THE SINING OF “VOICE MAIL #5” CUT BETWEEN ROGER’S

MOTHER’S HOUSE - MIMI’S MOTHER’S APARTMENT – JOANNE’S PARENTS
ESTATE – AND MARK’S MOTHER’S HOUSE
INT. ROGER’S MOTHER’S HOUSE – DEN – DAY
ROGER’S MOTHER is dialing the phone. She hears SPEAK and a

BEEP.
ROGER’S MOTHER
ROGER/ THIS IS YOUR MOTHER/ ROGER,
HONEY, I DON’T GET THESE POSTCARDS/
“MOVING TO SANTA FE”/ ROGER, WHERE
ARE YOU?? PLEASE CALL
INT. MIMI’S MOTHER’S APARTMENT – KITCHEN - DAY
MIMI’S MOTHER is on the phone.

132.
MIMI’S MOTHER
MIMI, CHICA, DONDE ESTAS?/ TU MAMA
ESTA LLAMANDO/ DONDE ESTAS, MIMI,
CALL?
INT. THE JEFFERSON RESIDENCE – DAY
Joanne’s Father is on the phone.
JOANNE’S FATHER
KITTEN – WHEREVER ARE YOU – KITTEN
– WHEREVER ARE YOU - CALL
INT. MARK’S MOTHER’S HOUSE – DAY
Mark’s Mother is on the phone.
MRS. COHEN
MARK – ARE YOU THERE – ARE YOU
THERE?/ I DON’T KNOW IF HE’S THERE/
WE’RE ALL HERE WISHING YOU WERE,
TOO-/ WHERE ARE YOU, MARK, ARE YOU
THERE, ARE YOU, WHERE ARE YOU?/
MARK – ARE YOU THERE – ARE YOU
THERE?/ I DON’T KNOW IF – PLEASE
CALL YOUR MOTHER
A telephone begins to ring O.S.
INT. MARK AND ROGER’S LOFT – CONTINUOUS – DAY
The phone continues to ring in the empty apartment. Mark

rushes in just as the answering machine picks up. He stares
at the phone while he screens the message.
ROGER & MARK’S ANSWERING MACHINE

Speak…/ (Beeep!)
ALEXI DARLING (O.S.)

MARK COHEN/ ALEXI DARLING/ A
BEAUTIFUL WEEKEND/
EXT. EAST HAMPTON BEACH – CONTINUOUS - DAY
ALEXI DARLING, (40), is walking alone on the beach in a

leisure suit talking into her cell-phone.
ALEXI DARLING
IN EAST HAMPTON/ ON THE BEACH/ JUST
SAW ALEC BALDWIN/ TOLD HIM YOU SAID
HI/
133.
INT. MARK AND ROGER’S LOFT
Mark looks at the answering machine, moderately impressed.
ALEXI DARLING
JUST KIDDING/
Mark frowns.
EXT. EAST HAMPTON BEACH - CONTINUOUS - DAY
ALEXI DARLING
WE STILL NEED DIRECTORS/ YOU STILL
NEED MONEY/ YOU KNOW YOU NEED
MONEY/ PICK UP THE PHONE/ DON’T BE
AFRAID OF KER-CHING, KER-CHING/
MARKY
INT. MARK AND ROGER’S LOFT – CONTINUOUS – DAY
Mark is loading film into his camera.
ALEXI DARLING (O.S.)

– SELL US YOUR SOUL/
Mark looks over at the answering machine.
ALEXI DARLING (O.S.) (cont’d)

JUST KIDDING/ WE’RE WAITING…
Mark sighs and looks down at his Camera.
EXT. NIGHT-TIME FALLS ON MANHATTAN – NIGHT
The rhythm of the music pulsates as New York heats up.
CUT BETWEEN – the following scenes during the singing of

“Contact”.
INT. JONATHAN’S BEDROOM – NIGHT
Jonathan and Sarah making love.
EXT. A GRUNGY ALLEY IN NEW YORK – NIGHT
Couples having wild sex.
INT. JOANNE’S APARTMENT BEDROOM – NIGHT
Joanne and Maureen making love.

134.
EXT. ANOTHER SHANTY-TOWN TENT CITY – NIGHT
A couple making love.
INT. A GAY DANCE CLUB – NIGHT
Couples grinding.
INT. MIMI’S LOFT – NIGHT
Roger and Mimi make love.
COUPLES
Hmmm, hmmm… Well, well, well… Oh
yeah baby… It’s time to get my
freak on… You ain’t the only one.
EVERYONE
HOT-HOT-HOT-SWEAT-SWEET/ WET-WET-
WET-RED HEAT/ HOT-HOT-HOT-SWEAT-
SWEET/ WET-WET-WET-RED-HEAT/ PLEASE
DON’T STOP PLEASE/ PLEASE DON’T
STOP STOP/ STOP STOP STOP DON’T/
PLEASE PLEASE PLEASE PLEASE/ HOT-
HOT-HOT SWEAT-SWEET/ WET-WET-WET-
RED-HEAT/ STICKY-LICKY-TRICKLE-
TICKLE/ STEAMY-CREAMY-STROKING-
SOAKING HOT-HOT-HOT-SWEAT-SWEET-WET-
WET-WET-RED-HEAT/ TOUCH!/ TASTE!/
DEEP!/ DARK!/ KISS!/ BEG!/
SLAP!/ FEAR!/ THICK!/ RED, RED/
RED, RED/ RED, RED-PLEASE/ HARDER/
FASTER/ WETTER/ BASTARD/ YOU WHORE/
YOU CANNIBAL/ MORE/ YOU ANIMAL/
FLUID NO FLUID NO CONTACT YES NO
CONTACT/ FIRE FIRE BURN-BURN YES!/
NO LATEX RUBBER RUBBER/ FIRE LATEX
RUBBER LATEX BUMMER LOVER BUMMER
INT. RUNDOWN-FLEABAG HOTEL ROOM – BY THE EAST RIVER – NIGHT
Angel rises from his bed. Collins remains sleeping. He

climbs out onto the fire escape.
ANGEL
TAKE ME/ TAKE ME/ TAKE ME/ TAKE ME/
TAKE ME/ TODAY FOR YOU/ TOMORROW
FOR ME/ TODAY ME/ TOMORROW YOU/
TOMORROW YOU/ LOVE/ YOU/ LOVE YOU/
I LOVE YOU/ I LOVE/ YOU I LOVE/
YOU! TAKE ME/ TAKE ME/ I LOVE YOU
Angel collapses and dies out on the fire escape.

135.
INT. MIMI’S LOFT - NIGHT
ROGER
UHMM
INT. JOANNE’S APARTMENT - NIGHT
JOANNE
WAIT
INT. MIMI’S LOFT - NIGHT
MIMI
SLIPPED
INT. JOANNE’S APARTMENT - NIGHT
MAUREEN
SHIT
JOANNE
OW!
Roger and Mimi in the bed by the moonlit window.
ROGER
WHERE’D IT GO?
MIMI
SAFE
INT. JOANNE’S APARTMENT – BEDROOM – NIGHT
JOANNE
DAMN
MAUREEN
I THINK I MISSED – DON’T GET PISSED
MIMI & ROGER

IT WAS BAD FOR ME
INT. JOANNE’S APARTMENT – BEDROOM – NIGHT
Joanne and Maureen lying together in the bed. They turn to

look at each other.
MAUREEN & JOANNE

WAS IT BAD FOR YOU?
136.
JOANNE
IT’S OVER
MAUREEN
IT’S OVER
Roger sits up rapidly in the bed.
ROGER
IT’S OVER
Mimi quickly pops up into a seated position in the bed.
MIMI
IT’S OVER
EXT. RUNDOWN-FLEABAG HOTEL – FIRE ESCAPE – NIGHT
Collins kneels down on the hard metal grating and holds his
dead lover in his arms
COLLINS
IT’S OVER
EXT. NEW YORK CITY STREETS – DAY
Pedestrians are going about their day oblivious to and partly

hardened by the suffering of many of their fellow New
Yorkers.
PEDESTRIANS
IN DIAPERS–REPORT CARDS/ IN SPOKED
WHEELS-IN SPEEDING TICKETS/ IN
CONTRACTS-DOLLARS/ IN FUNERALS-IN
BIRTHS/ IN-FIVE HUNDRED TWENTY-FIVE
DO YOU FIGURE/ A LAST YEAR ON
EARTH?/ FIGURE IN LOVE/ FIGURE IN
LOVE/ FIGURE IN LOVE/ MEASURE IN
LOVE/ SEASONS OF LOVE/ SEASONS OF
LOVE
EXT. A LARGE CHURCH – DAY
Jonathan and Matthew run up the stairs towards the entrance.

They are dressed in dark clothes.
MATTHEW
Come on, it’s starting.
137.
Jonathan pauses for a moment and almost loses his balance.

Matthew hastens over to steady him.
MATTHEW (cont’d)
Are you okay?
JONATHAN
I caught a bug; I’ll be fine.
MATTHEW
You’re working too hard, that’s
what it is.
JONATHAN
I’m fine.
They enter the church.
INT. CHURCH – DAY
Angel’s Memorial is underway. The pews are filled with the

many differing people that populated Angel’s life. Seated in
the front row is Collins, Mark, Roger, Benny, Maureen and
Joanne. Mimi is at the podium. Everyone in attendance is
dressed up to the best of their limited means.
MIMI
Angel was one of my closest
friends. I knew we’d hit it off
the night we met – this skinhead
was bothering her and she told him
she was more of a man than he’d
ever be and more of a woman than
he’d ever get…
Mark at the podium.
MARK
…And then there was the time he…
she walked up to this group of
tourists – and they were petrified
because, A – they were obviously
lost, and B – had probably never
spoken to a drag queen before in
their lives… and she just offered
to escort them out of Alphabet
City… And then she let them take a
picture with her…
Maureen at the podium.

138.
MAUREEN
…So much more original than any of
us –
(lifting her gaze to
Angel)
you’d find an old tablecloth on the
street and make a dress – and next
year, sure enough – they’d be mass-
producing them at the Gap! You
always said how lucky you were that
we were all friends – but it was
us, baby, who were the lucky ones.
Collins approaches the podium. He stands for a moment

looking at all the people in attendance and smiles at the joy
Angel brought to all of them. Then he recalls the moment he
first met Angel.
COLLINS
(to Angel)
LIVE IN MY HOUSE/ I’LL BE YOUR
SHELTER/ JUST PAY ME BACK WITH ONE
THOUSAND KISSES/ BE MY LOVER/ AND
I’LL COVER YOU/ OPEN YOUR DOOR -
I’LL BE YOUR TENANT/ DON’T GOT MUCH
BAGGAGE/ TO LAY AT YOUR FEET/ BUT
SWEET KISSES I’VE GOT TO SPARE/
I’LL BE THERE – AND I’LL COVER YOU/
OHHH - I THINK THEY MEANT IT/ WHEN
THEY SAID YOU CAN’T BUY LOVE/ NOW I
KNOW YOU CAN RENT IT/ A NEW LEASE
YOU WERE, MY LOVE, ON LIFE/ ALL MY
LIFE/ I’VE LONGED TO DISCOVER
SOMETHING AS TRUE/ AS THIS IS
Collins buckles momentarily. Mark, Roger, Benny, Mimi,

Maureen and Joanne rush up to the podium to help him.
The whole congregation sings simultaneously with all of the

friends at the Podium.
EVERYONE AT PODIUM
SO WITH A THOUSAND SWEET KISSES
139.
CONGREGATION
FIVE HUNDRED TWENTY-FIVE THOUSAND
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
TWENTY-FIVE THOUSAND/ SEASONS OF
LOVE
COLLINS
I WILL COVER YOU
Collins slumps down on the podium drained. His friends

huddle around him and blanket him with hugs.
140.
EXT. CHURCH – DAY
Mark exits the church carrying a bag. He approaches a pay

phone right in front of the church and reluctantly drops in
some change. He dials.
MARK
(into phone)
Hi. It’s Mark Cohen. Is Alexi
there?… Uhh no need to bother her.
Just let her know that I’m running
late for my appointment, I’m at my…
Yes, I’ll still be there… Yes, I
signed the contract… Thanks…
He hangs up the phone and stares at the church. He pulls his

Camera out of the bag.
16MM POV – MARK DIRECTLY INTO HIS CAMERA.
MARK
HOW DID WE GET HERE?/ HOW THE
HELL…/ PAN LEFT-
16MM POV – PANS to the steeple of the Church.
MARK (cont’d)
CLOSE ON THE STEEPLE OF THE CHURCH
BACK TO SCENE
MARK
CHRISTMAS/ CHRISTMAS EVE – LAST
YEAR/ HOW COULD A NIGHT SO FROZEN/
BE SO SCALDING HOT?/ HOW CAN A
MORNING THIS MILD/ BE SO RAW?/ WHY
ARE ENTIRE YEARS STREWN/ ON THE
CUTTING-ROOM FLOOR OF MEMORY/ WHEN
SINGLE FRAMES OF ONE MAGIC NIGHT/
FOREVER FLICKER IN CLOSE-UP/ ON THE
3-D IMAX OF MY MIND
16MM POV – Mark directly into his Camera.
MARK (cont’d)
THAT’S POETIC/ THAT’S PATHETIC
BACK TO SCENE
Just then the others start to empty out of the church.

141.
Mark’s 16MM POV – PANS to each of his friends as he sings of

them.
MARK (O.S.)
WHY DID MIMI KNOCK ON ROGER’S DOOR/
AND COLLINS FALL ON THAT BUILDING/
BACK WHERE ANGEL SET UP HIS DRUMS?/
WHY DID MAUREEN’S EQUIPMENT BREAK
DOWN?
Mark’s 16MM POV – PANS to himself and sings directly into his
Camera.
MARK (cont’d)
WHY AM I THE WITNESS?/ AND WHEN I
CAPTURE IT ON FILM/ WILL IT MEAN
THAT IT’S THE END/ AND I’M ALONE?
BACK TO SCENE
Most of the rest of the congregation has departed leaving

only Mimi, Benny, Roger, Mark, Maureen, Joanne and Collins.
MIMI
(to Roger)
IT’S TRUE YOU SOLD YOUR GUITARS AND
BOUGHT A CAR?
ROGER
IT’S TRUE – I’M LEAVING NOW FOR
SANTA FE/ IT’S TRUE YOU’RE WITH
THIS YUPPIE SCUM?
BENNY
YOU SAID – YOU’D NEVER SPEAK TO HIM
AGAIN
MIMI
NOT NOW
MAUREEN
WHO SAID THAT YOU HAVE ANY SAY/ IN
WHO SHE SAYS THINGS TO AT ALL?
JOANNE
WHO SAID THAT YOU SHOULD STICK YOUR
NOSE IN OTHER PEOPLE’S--
MAUREEN
Who said I was talking to you?
142.
JOANNE
WE USED TO HAVE THIS FIGHT EACH
NIGHT SHE’D NEVER ADMIT I EXISTED
MARK
Calm down everyone, please!
MIMI
HE WAS THE SAME WAY – HE WAS
ALWAYS/ “RUN AWAY – HIT THE ROAD/
DON’T COMMIT” – YOU’RE FULL OF SHIT
BENNY
Mimi
JOANNE
SHE’S IN DENIAL
MIMI
HE’S IN DENIAL
MARK
Guys! Come on!
JOANNE
DIDN’T GIVE AN INCH/ WHEN I GAVE A
MILE
MIMI
I GAVE A MILE
ROGER
GAVE A MILE TO WHO?
MARK
COME ON GUYS CHILL!
MIMI & JOANNE

I’D BE HAPPY TO DIE FOR A TASTE/ OF
WHAT ANGEL HAD/ SOMEONE TO LIVE FOR
– UNAFRAID/ TO SAY I LOVE YOU
ROGER
ALL YOUR WORDS ARE NICE MIMI/ BUT
LOVE’S NOT A THREE-WAY STREET/
YOU’LL NEVER SHARE REAL LOVE/ UNTIL
YOU LOVE YOURSELF – I SHOULD KNOW
COLLINS
YOU ALL SAID YOU’D BE COOL TODAY/
SO PLEASE – FOR MY SAKE…/ I CAN’T
BELIEVE HE’S GONE
143.
COLLINS (cont’d)
(to Roger)
I CAN’T BELIEVE YOU’RE GOING/ I
CAN’T BELIEVE THIS FAMILY MUST DIE/
ANGEL HELPED US BELIEVE IN LOVE/ I
CAN’T BELIEVE YOU DISAGREE
ALL
I CAN’T BELIEVE THIS IS GOODBYE
Maureen approaches Joanne.
MAUREEN
Pookie.
JOANNE
Honeybear.
They embrace.
MAUREEN
I missed you so much.
JOANNE
I missed you.
MAUREEN
I missed your smell.
JOANNE
Your mouth/ your –
Joanne gives Maureen a firm kiss on the lips.
MAUREEN
Ow.
JOANNE
What?
MAUREEN
Nothing, Pookie.
JOANNE
No, baby – you said, “Ow!” – What?
MAUREEN
You bit my tongue.
JOANNE
No, I didn’t.
144.
MAUREEN
You did I’m bleeding.
JOANNE
No, it isn’t.
MAUREEN
I think I should know…
JOANNE
Let me see-
MAUREEN
She doesn’t believe me.
JOANNE
I was only trying to…
They immediately end the argument and quickly hug. They kiss
Collins and walk off arm and arm.
Just then the Priest comes out of the church.
PASTOR
Thomas B. Collins?
COLLINS
Yes sir.
PASTOR
May I please speak with you?
COLLINS
Yes, of course.
Collins follows the Priest into the church.
Mimi tries to connect with Roger but he turns away. She

joins Benny.
BENNY
Let’s go.
She hesitates for a moment and then leaves with Benny.
Mark and Roger are left outside the church waiting for
Collins.
MARK
I HEAR THERE ARE GREAT RESTAURANTS
OUT WEST
145.
ROGER
SOME OF THE BEST/ HOW COULD SHE?
MARK
HOW COULD YOU LET HER GO?
ROGER
YOU JUST DON’T KNOW… HOW COULD WE
LOSE ANGEL?
MARK
MAYBE YOU’LL SEE WHY WHEN YOU STOP
ESCAPING YOUR PAIN/ AT LEAST NOW IF
YOU TRY – ANGEL’S DEATH WON’T BE IN
VAIN
ROGER
HIS DEATH IS IN VAIN
Off to the side of the church Mimi returns. She stands in

the shadows listening to Mark and Roger.
MARK
ARE YOU INSANE?/ THERE’S SO MUCH TO
CARE ABOUT/ THERE’S ME – THERE’S
MIMI –
ROGER
MIMI’S GOT HER BAGGAGE TOO
MARK
SO DO YOU
ROGER
WHO ARE YOU TO TELL ME WHAT I KNOW,
WHAT TO DO
MARK
A FRIEND
ROGER
BUT WHO, MARK, ARE YOU?/”MARK HAS
GOT HIS WORK”/ THEY SAY, “MARK
LIVES FOR HIS WORK”/ AND, “MARK’S
IN LOVE WITH HIS WORK”/ MARK HIDES
IN HIS WORK
MARK
FROM WHAT?
146.
ROGER
FROM FACING YOUR FAILURE, FACING
YOUR LONELINESS/ FACING THE FACT
YOU LIVE A LIE/ YES, YOU LIVE A LIE
– TELL YOU WHY/ YOU’RE ALWAYS
PREACHING NOT TO BE NUMB/ WHEN
THAT’S HOW YOU THRIVE/ YOU PRETEND
TO CREATE AND OBSERVE/ WHEN YOU
REALLY DETACH FROM FEELING ALIVE
MARK
PERHAPS IT’S BECAUSE I’M THE ONE OF
US TO SURVIVE
ROGER
POOR BABY
MARK
MIMI STILL LOVES ROGER/ IS ROGER
REALLY JEALOUS/ OR AFRAID THAT
MIMI’S WEAK
ROGER
MIMI DID LOOK PALE
MARK
MIMI’S GOTTEN THIN/ MIMI’S RUNNING
OUT OF TIME/ ROGER’S RUNNING OUT
THE DOOR –
ROGER
NO MORE! OH NO!/ I’VE GOTTA GO
MARK
HEY, FOR SOMEBODY WHO’S ALWAYS BEEN
LET DOWN/ WHO’S HEADING OUT OF
TOWN?
ROGER
FOR SOMEONE WHO LONGS FOR A
COMMUNITY OF HIS OWN/ WHO’S WITH
HIS CAMERA, ALONE?
Roger takes a step to go, then stops, and turns back to Mark.
ROGER (cont’d)
I’LL CALL/ I HATE THE FALL
Roger turns to leave and Mimi steps out from the shadows.
ROGER (cont’d)
YOU HEARD?
147.
MIMI
EVERY WORD/ YOU DON’T WANT BAGGAGE
WITHOUT LIFETIME GUARANTEES/ YOU
DON’T WANT TO WATCH ME DIE?/ I JUST
CAME TO SAY/ GOODBYE, LOVE/
GOODBYE, LOVE/ CAME TO SAY GOODBYE,
LOVE, GOODBYE/ JUST CAME TO SAY
ROGER (cont’d)
GLORY
MIMI
GOODBYE LOVE
ROGER
ONE BLAZE OF
MIMI
GOODBYE LOVE
ROGER
GLORY
MIMI
GOODBYE LOVE
ROGER
I HAVE TO FIND
MIMI
GOODBYE
Roger runs off. Just then Benny enters and puts his arm
around Mimi.
BENNY
Come on babe. I’ve got people to
meet.
Mimi pulls away from him.
MIMI
PLEASE DON’T TOUCH ME/ UNDERSTAND/
I’M SCARED/ I NEED TO GO AWAY
MARK
I KNOW A PLACE – A CLINIC
BENNY
A REHAB!
MIMI
MAYBE – COULD YOU?
148.
BENNY
OF COURSE - I’LL PAY
MIMI
(towards the direction
that Roger went)
GOODBYE LOVE/ GOODBYE LOVE/ CAME TO
SAY GOODBYE, LOVE, GOODBYE/ JUST
CAME TO SAY/ GOODBYE LOVE/ GOODBYE
LOVE/ GOODBYE LOVE/ HELLO DISEASE
Collins comes out of the church. Benny and Mark turn towards
the front of the church.
COLLINS
That’s bullshit!
PRIEST
I’m very sorry. There is nothing I
can do.
MARK
What’s going on?
COLLINS
They won’t bury Angel here. He
didn’t realize that he had AIDS.
Mimi turns and walks off.
COLLINS
And he didn’t realize that we were
“together.” He won’t even say the
word gay.
MARK
(to the priest)
What happened to “Rest in peace”?
PRIEST
I am sorry.
COLLINS
You have no right, he was a
Catholic.
PRIEST
No, he wasn’t.
The priest goes back into his church.

149.
COLLINS
I don’t know what I’m gonna do.
They were going to handle it as
charity for the poor.
BENNY
I can help out.
Collins and Benny hug. Benny quickly pushes off.
BENNY
Mimi! Where’s Mimi? Fuck! I’ve
been tryin’ to talk her into goin’
for help. I thought Angel’s death
might, you know…
Collins puts his arms around Benny and Mark.
COLLINS
Let’s bury Angel and go find Mimi.
MARK
I can’t, I’ve got a meeting right
now.
COLLINS
A meeting?
BENNY
A meeting?
COLLINS
Whatever man.
(to Benny)
Let’s go.
Collins and Benny leave Mark standing alone with his Camera
in front of the church.
FADE OUT:
INT. JONATHAN’S APARTMENT – DAY
Jonathan swallows some pills while he’s talking on the phone.

He looks very fatigued.
JONATHAN
I just got back… What they said is
what I told you all along, I’ve got
the flu… Yes, I know, lots of OJ
and water, and vitamin C, and
aspirin… I will… Love you too
Mom.
150.
Jonathan, exhausted, plops down on the couch and rests his

feet on the coffee table. He turns on the TV with the remote
and lays it beside him. He lets his head fall back onto the
top of the cushion behind him.
TV ANNOUNCER
And now back to Buzzline.
Jonathan reaches for the remote and knocks it onto the floor.
He shakes his head and laughs, too tired to pick it up.
JONATHAN
Great!
INT. DRESSING ROOM - DAY
Mark is sitting in front of a mirror rehearsing. He holds

his Camera as a prop.
MARK
“Coming up next – vampire welfare
queens who are compulsive bowlers.”
I’m Mark Cohen for Buzzline… Back
to you, Alexi.
Mark pans his Camera in the direction where Alexi would be.
He notices in another mirror that he is using his Camera as a
prop.
MARK (cont’d)
Oh, my God, what am I doing?
He puts his Camera on the table in front of the mirror and

pushes it away disgusted.
MARK (cont’d)
(rising)
DON’T BREATH TOO DEEP/ DON’T THINK
ALL DAY/ DIVE INTO WORK/ DRIVE THE
OTHER WAY/ THAT DRIP OF HURT/ THAT
PINT OF SHAME/ GOES AWAY/ JUST PLAY
THE GAME/
Mark picks up his Camera and shoots himself in all the

mirrors of the room.
16MM POV
151.
MARK (cont’d)
YOU’RE LIVING IN AMERICA/ AT THE
END OF THE MILLENNIUM/ YOU’RE
LIVING IN AMERICA/ LEAVE YOUR
CONSCIENCE AT THE TONE/ AND WHEN
YOU’RE LIVING IN AMERICA/ AT THE
END OF THE MILLENNIUM/ YOU’RE WHAT
YOU OWN
EXT. BIRDS EYE VIEW – GEORGE WASHINGTON BRIDGE – DAY
Hundreds of cars pour out of the bridge heading west.
INT. ROGER’S CAR – DAY
Roger is driving on Highway 80.
ROGER
THE FILMMAKER CANNOT SEE
CUT BETWEEN 16MM POV OF MARK IN HIS DRESSING ROOM AND ROGER
IN HIS CAR.
MARK
AND THE SONGWRITER CANNOT HEAR
ROGER
YET I SEE MIMI EVERYWHERE
MARK
ANGEL’S VOICE IS IN MY EAR
ROGER
JUST TIGHTEN THOSE SHOULDERS
MARK
JUST CLENCH YOUR JAW ‘TIL YOU FROWN
ROGER
JUST DON’T LET GO
Mark runs out of his dressing room with his Camera.
INT. BUZZLINE - SET - DAY
Mark shoots behind the scenes of Buzzline: Make-up; props;

sets; rehearsals; corporate sponsor logos.
152.
CUT BETWEEN ROGER DRIVING HIS CAR FASTER AND FASTER AND
MARK’S SHOOTING HIS CAMERA AND HIS 16MM FOOTAGE OF BUZZLINE
MARK & ROGER

OR YOU MAY DROWN/ YOU’RE LIVING IN
AMERICA/ AT THE END OF THE
MILLENNIUM/ YOU’RE LIVING IN
AMERICA/ WHERE IT’S LIKE THE
TWILIGHT ZONE/ AND WHEN YOU’RE
LIVING IN AMERICA/ AT THE END OF
THE MILLENIUM/ YOU’RE WHAT YOU OWN/
SO I OWN NOT A NOTION/ I ESCAPE AND
APE CONTENT/ I DON’T OWN EMOTION –
I RENT
MARK
WHAT WAS IT ABOUT THAT NIGHT
ROGER
WHAT WAS IT ABOUT THAT NIGHT
MARK & ROGER

CONNECTION – IN AN ISOLATING AGE
MARK
FOR ONCE THE SHADOWS GAVE WAY TO
LIGHT
ROGER
FOR ONCE THE SHADOWS GAVE WAY TO
LIGHT
MARK & ROGER

FOR ONCE I DIDN’T DISENGAGE
MARK
ANGEL – I HEAR YOU – I HEAR IT/ I
SEE IT – I SEE IT/ MY FILM!
ROGER
MIMI I SEE YOU-/ I SEE IT/ I HEAR
IT – I HEAR IT/ MY SONG
INT. ALEXI DARLING’S OFFICE - DAY
Mark comes through the door without knocking.
MARK
Alexi… I need to finish my own
film. I quit.
153.
Mark smiles and raises his Camera.
16MM POV - OF ALEXI
Alexi stands up from behind her desk shaking her head.
INT. ROGER’S CAR - DAY
Roger screeches off the highway and then back onto the ramp
for the highway going back towards New York.
ROGER
ONE SONG – GLORY/ MIMI – YOUR EYES
MARK & ROGER

DYING IN AMERICA/ AT THE END OF THE
MILLENIUM/ WE’RE DYING IN AMERICA/
TO COME INTO OUR OWN/ AND WHEN
YOU’RE DYING IN AMERICA/ AT THE END
OF THE MILLENIUM/ YOU’RE NOT ALONE/
I’M NOT ALONE/ I’M NOT ALONE
EXT. BUZZLINE BUILDING - DAY
Mark runs out of the Buzzline building elated. He spins

around shooting his Camera.
EXT. THE BACK OF A THEATER – NIGHT
Jonathan and Matthew come out of the backstage door. There

is an energy between them, as if they had just witnessed
something special. They walk in silence for a few moments.
Matthew glances over at Jonathan repeatedly as if waiting for
him to say something or wanting desperately to say something
to Jonathan. They are obviously excited. Finally--
MATTHEW
You’ve got to be happy with that.
JONATHAN
It was good wasn’t it?
MATTHEW
It’s great. Tomorrow will be even
better.
JONATHAN
I hope so, Sarah and my parents are
coming.
154.
MATTHEW
Now, go home and get some rest.
JONATHAN
You know what? I will go home and
rest. I deserve it.
MATTHEW
Thank you.
Matthew hails down a cab. Just before Jonathan gets into the
cab, Matthew gives him a hug.
Jonathan smiles and gets into the cab. Matthew walks down
the wintry New York Street. He walks by a group of homeless
people warming themselves with a trash-can fire. They are
singing, and on the ground there is a hat with change in it.
Matthew stops to listen.
GROUP OF HOMELESS
CHRISTMAS BELLS ARE RINGING/ HOW
TIME FLIES/ WHEN COMPASSION DIES/
NO STOCKINGS/ NO CANDY CANES/ NO
GINGERBREAD/ NO SAFETY NET/ NO
LOOSE CHANGE/ NO CHANGE NO
SOLO HOMELESS MAN

SANTY CLAUSE IS COMING
Matthew drops some change in the hat and continues down the
street.
GROUP OF HOMELESS (O.S.)

‘CAUSE SANTY CLAUS AIN’T COMING/ NO
ROOM AT THE HOLIDAY INN – AGAIN/
WELL, MAYBE NEXT YEAR/ OR – WHEN
Matthew picks up some snow and packs a snowball as he walks.

He throws it at a street sign and continues on disappearing
into the night.
INT. MARK AND ROGER’S LOFT – NIGHT
Mark is setting up a projector and Roger is tuning his

guitar. Mark walks over to his 16MM Camera, which is set up
on his tripod, and turns it on.
16MM POV – directly into his Camera.

155.
MARK
DECEMBER 24, TEN P.M. EASTERN
STANDARD TIME/ I CAN’T BELIEVE A
YEAR WENT BY SO FAST/ TIME TO SEE –
WHAT WE HAVE - TIME TO SEE/
WHIP-PAN to Roger holding his guitar
MARK (cont’d)
FIRST SHOT ROGER/ WITH THE FENDER
GUITAR HE JUST GOT OUT OF HOCK/
WHEN HE SOLD THE CAR/ THAT TOOK HIM
AWAY AND BACK
ROGER
I FOUND MY SONG
BACK TO SCENE
MARK
HE FOUND HIS SONG/ IF HE COULD JUST
FIND MIMI
ROGER
I TRIED – YOU KNOW I TRIED
Collins enters holding out two handfuls of twenty-dollar

bills. Mark and Roger rush over to examine the loot.
COLLINS
I HAD A LITTLE HUNCH YOU COULD USE
A LITTLE FLOW
MARK
We can always use a little flow.
ROGER
TUTORING AGAIN?
COLLINS
Negative.
MARK
Back at NYU?
COLLINS
No, no, no
/ I REWIRED THE ATM AT THE FOOD
EMPORIUM/ TO PROVIDE AN HONORARIUM
TO ANYONE WITH THE CODE
156.
MARK & ROGER

THE CODE-/ WELL…?
COLLINS
A-N-G-E-L/ YET ROBIN HOODING ISN’T
THE SOLUTION/ THE POWERS THAT BE
MUST BE UNDERMINED WHERE THEY
DWELL/ IN A SMALL, EXCLUSIVE
GOURMET INSTITUTION/ WHERE WE
OVERCHARGE THE WEALTHY CLIENTELE
MARK & COLLINS & ROGER

LET’S OPEN UP A RESTAURANT IN SANTA
FE/ WITH A PRIVATE CORNER
BANQUETTE, IN THE BACK/ WE’LL MAKE
IT YET, WE’LL SOMEHOW GET TO SANTA
FE
ROGER
BUT YOU’D MISS NEW YORK BEFORE YOU
COULD UNPACK
MARK & COLLINS & ROGER (cont’d)

OHHHH – OHHHH – OHHHH
EXT. MARK AND ROGER’S ABANDONED BUILDING – NIGHT
Jonathan’s cab pulls up to the curb.
INT. CAB – CONTINUOUS – NIGHT
Jonathan pays the cabby.
JONATHAN
This is great… I can walk from
here, thanks.
EXT. MARK AND ROGER’S ABANDONED BUILDING – CONTINUOUS - NIGHT
Jonathan gets out of the cab and looks around. He smiles.

This is his home. He has grown here, come alive, filled each
moment, here.
He looks up to the third floor of the abandoned building and

sees the lights on. He walks towards the building. He is
being drawn now. He suddenly grabs a hold of the chain-link
fence that still surrounds the vacant lot. He falls to his
knees clutching his chest.
MIMI (O.S.)
No, I’m done.
157.
Jonathan looks over to the edge of the vacant lot and sees
Mimi struggling with her dealer.
MIMI
I’ve gotta get clean.
DEALER
You wanna get clean?
MIMI
Let me go!
The dealer backhands Mimi knocking her to the ground. He

drags her up to her feet and pulls her along.
Jonathan pulls himself to his feet and runs over to them. He

flies into the dealer knocking him to the ground. The dealer
pulls out a switchblade.
DEALER
Your hero days are over son.
Maureen and Joanne heading to Mark and Roger’s see the

commotion. Joanne runs over to them and Maureen calls for
help.
MAUREEN
MARK! ROGER! ANYONE – HELP!
Mark, Roger and Collins throw open the window and lean out.
MARK
Maureen?
MAUREEN
It’s Mimi we need help.
The dealer tries to drag Mimi with him. He sees Mark, Roger
and Collins bursting out the door and he kicks Jonathan to
the ground and takes off.
Joanne and Maureen try to hold up Mimi but she’s really out
of it. Roger, Mark and Collins grab Mimi from them. The
girls help Jonathan to his feet.
JOANNE
Thank you.
INT. MARK AND ROGER’S LOFT – NIGHT
Roger carries Mimi over to the table. Collins puts his coat
over her and Mark puts his coat under her head.
158.
Jonathan takes a step back away from the group and watches
them tend to their friend. Mimi looks up at Roger.
MIMI
GOT A LIGHT – I KNOW YOU – YOU’RE
SHIVERING…
ROGER
Turn up the heat.
MIMI
I’M SHIVERING
MARK
I’ll get a blanket.
COLLINS
I’M AFRAID SHE NEEDS MORE THAN HEAT
MIMI
I HEARD THAT
MAUREEN
COLLINS WILL CALL FOR A DOCTOR,
HONEY
Collins goes to the phone. Mark puts a blanket over Mimi.
MIMI
DON’T WASTE YOUR MONEY ON MIMI, ME,
ME
COLLINS
Hello – 911?/ I’m on hold.
MARK
Call Benny’s cell-phone, he’ll get
help.
MIMI
COLD… COLD… WOULD YOU LIGHT MY
CANDLE?
ROGER
YES, WE’LL, OH GOD – FIND A CANDLE
MIMI
I SHOULD TELL YOU/ I SHOULD TELL
YOU
ROGER
I SHOULD TELL YOU/ I SHOULD TELL
YOU
159.
MIMI
I SHOULD TELL YOU BENNY WASN’T ANY--
ROGER
SHHH – I KNOW/ I SHOULD TELL YOU
WHY I LEFT/ IT WASN’T ‘CAUSE I
DIDN’T –
MIMI
I KNOW/ I SHOULD TELL YOU
ROGER
I SHOULD TELL YOU
MIMI
(whispering)
I SHOULD TELL YOU/ I LOVE YOU –
Mimi is fading fast. She lies on the table and stirs

unconsciously.
ROGER
WHO DO YOU THINK YOU ARE?/ LEAVING
ME ALONE WITH MY GUITAR/ HOLD ON
THERE’S SOMETHING YOU SHOULD HEAR/
IT ISN’T MUCH BUT IT TOOK ALL YEAR
Roger sings to Mimi.
ROGER
YOUR EYES AS WE SAID OUR GOOD-BYES/
CAN’T GET THEM OUT OF MY MIND/ AND
I FIND I CAN’T HIDE/ FROM YOUR
EYES/ THE ONES THAT TOOK ME BY
SURPRISE/ THE NIGHT YOU CAME INTO
MY LIFE/ WHERE THERE’S MOONLIGHT I
SEE YOUR EYES/ HOW’D I LET YOU SLIP
AWAY/ WHEN I’M LONGING SO TO HOLD
YOU/ NOW I’D DIE FOR ONE MORE DAY/
‘CAUSE THERE’S SOMETHING I
SHOULD’VE TOLD YOU/ THERE’S
SOMETHING I SHOULD’VE TOLD YOU/
WHEN I LOOKED INTO YOUR EYES/ WHY
DOES DISTANCE MAKE US WISE/ YOU
WERE THE SONG ALL ALONG/ AND BEFORE
THIS SONG DIES/ I SHOULD TELL YOU/
I SHOULD TELL YOU/ I HAVE ALWAYS
LOVED YOU/ YOU CAN SEE IT IN MY
EYES
Mimi’s head falls to the side and her arm drops limply off
the edge of the table.
160.
ROGER (cont’d)
MIMI!
Roger, Mark, Collins, Joanne, Maureen, and Jonathan stand in

shocked silence.
Their eyes cast down to the floor.
Mimi’s head trembles slightly.
MIMI
I jumped over the moon!
ROGER
What?
Roger takes Mimi’s hand.
MIMI
A leap of MOOOOOOOOO –
Mimi’s eyes open as if seeing for the first time.
JOANNE
She’s back!
MIMI
I was in a tunnel. Heading for
this warm, white light…
MAUREEN
Oh, my God!
MIMI
And I swear Angel was there – and
she looked good. And she said,
“Turn around, girlfriend – and
listen to that boy’s song…”
COLLINS
She’s drenched.
MAUREEN
HER FEVER’S BREAKING
MARK
THERE IS NO FUTURE – THERE IS NO
PAST
ROGER
THANK GOD THIS MOMENT’S NOT THE
LAST
161.
Roger and Mimi embrace.
Mark walks over to Jonathan.
MARK
Thank you for helping, I’m Mark.
JONATHAN
I’m Jonathan.
MARK
Well, Jonathan, we’re screening my
movie; would you like to join us?
JONATHAN
I’d love to.
Mark goes to the film projector as the others set up chairs

around the table. Benny and Alison enter the loft to hugs
and hellos. At that moment many others start to file into
the loft to watch the film. Mark starts the projector.
Roger hugs Mimi tightly as they gaze up at Mark’s movie.
As Mark turns the projector on, a rough credit appears on the

blank wall - “Today 4U: Proof Positive,” followed by a shot
of Roger from last Christmas tuning his guitar.
MIMI & ROGER

THERE’S ONLY US/ THERE’S ONLY THIS/
FORGET REGRET OR LIFE IS YOURS TO
MISS
EVERYONE
NO OTHER ROAD NO OTHER WAY/ NO DAY
BUT TODAY
Jonathan sings and watches the movie along with everyone

else. As the entire song continues to the end CAMERA SLOWLY
PULLS OUT of the Loft and out into the New York night.
162.
EVERYONE (cont’d)
I CAN’T CONTROL/ MY DESTINY/ WILL
SOMEONE CARE/ I TRUST MY SOUL/ MY
ONLY GOAL/ WILL I WAKE TOMORROW/
FROM THIS NIGHT MARE/ IS JUST TO
BE/ WITHOUT YOU/ THERE’S ONLY NOW/
THERE’S ONLY HERE/ GIVE IN TO LOVE/
OR LIVE IN FEAR/ NO OTHER PATH/ NOT
OTHER WAY/ NO DAY BUT TODAY/ I DIE
WITHOUT YOU/ NO DAY BUT TODAY/ I
DIE WITHOUT YOU/ NO DAY BUT TODAY/
I DIE WITHOUT YOU/ NO DAY BUT
TODAY/ I DIE WITHOUT YOU/ NO DAY
BUT TODAY/ I DIE WITHOUT YOU/ NO
DAY BUT TODAY
THE END
We dedicate this and every performance to the memory of

Jonathan Larson. He lives with us always.

Rent Screenplay Script

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Rent Screenplay Script

Uploaded by

Copyright:

Available Formats

Jonathan Larson's

Glenn RippsWGA# 1003183

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

The map declares most of the famous landmarks, neighborhoods

EXT. BIRDS EYE VIEW – TOMPKINS SQUARE PARK – DAWN

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

EXT. TOMPKINS SQUARE PARK – DAWN

Raggedy blue and clear plastic drop cloths drape over

In the distance a low rumbling is heard.

From a wall mural perch, a skull-faced pharaoh with

THE FRAME DISSOLVES INTO – TV NEWS FOOTAGE

A large police raid is underway.

The voice of a TV reporter Chris Hamilton narrates the NEWS

CHRIS HAMILTON (O.S.)

INT. NEWS CONFERENCE - DAY

Subtitled: Mayor David Dinkins - at the podium.

More gauze-masked sanitation workers with sledgehammers crush

MAYOR DINKINS (V.O.)

A barbecue, a table, a chair, a mattress, and a large teddy

MAYOR DINKINS (V.O.)(cont’d)

EXT. TOMPKINS SQUARE PARK

People from the adjacent neighborhoods gather- curious…

One of the outraged is a young man, JONATHAN (30’s). He

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

The NEWS FOOTAGE picks up a heavy set older Homeless Man, as

CHRIS HAMILTON (cont’d)

INT. NEWS CONFERENCE

Subtitled: Deputy Mayor Bill Lynch – at the podium.

DEPUTY MAYOR BILL LYNCH

EXT. TOMPKINS SQUARE PARK

Jonathan sees a policeman butting his stick into the back of

He screams out at the cop, “Hey!”…

He glances around and realizes that his feeble effort wasn’t

He cranes his neck to view more of the fracas.

Chris Hamilton is reaching his microphone up to a very thin,

INT. NEWS CONFERENCE

Subtitled: Parks Commissioner Betsy Gotbaum – at the podium.

COMMISSIONER BETSY GOTBAUM

EXT. TOMPKINS SQUARE PARK

JONATHAN’S FANTASY SEQUENCE

Suddenly, Jonathan sprints past the police and jumps up onto

The whole park falls silent. Everyone gazes up at this new

One of the policemen begins to clap. Soon, the whole park is

His eyes are filled with pride.

Jonathan is standing anonymously in the middle of the crowd

He sees the police standing guard outside the perimeter of

A small group of yuppies applaud from the terrace of one of

Jonathan sees throngs of young, rowdy, tattooed, lip-ring -

Amidst the pack of youthful rabble-rousers is COLLINS, a

Jonathan looks away quickly and finds Chris Hamilton

Some of the protesters in the background shout and wave to

EXT. TOMPKINS SQUARE PARK

Jonathan walks away feeling powerless.

INT. NEWS CONFERENCE

Mayor Dinkins at the podium.

FADE UP ON - SATELLITE PHOTO/TOURIST MAP COMPOSITE OF

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

The CAMERA PANS from Tompkins Square Park to the bordering

EXT. ALPHABET CITY – NIGHT

Abandoned rundown buildings file by. Homeless people huddle