“IN THE KEY OF LOVE”
Written by, Vincent Angell
At last, my love has come along
My lonely days are over
And life is like a song
- Etta James
1.
EXT. NEW YORK CITY - ESTABLISHING SPLIT SCREEN
OPEN on a SPLIT SCREEN -- Two IDENTICAL SHOTS approaching the island of Manhattan from the south. THE STATUE OF LIBERTY is off to our left, then ELLIS ISLAND --
When we reach the southern tip of the city we continue to head north over the financial district --
That’s where we pick up BROADWAY just above Canal then follow it all the way to UNION SQUARE --
The city looks magical from up here. Like a city from a FAIRY-TALE where ANYTHING can happen and you’d BELIEVE it. ESPECIALLY EVERYTHING THAT’S ABOUT TO TAKE PLACE.
Continuing up Broadway, through the GARMENT DISTRICT and we finally reach TIMES SQUARE, intersection of the world. This is where our two SHOTS DIVERGE --
One SHOT hangs a left and heads for HELL’S KITCHEN, the OTHER SHOT continues up Broadway to the UPPER WEST SIDE --
They both start to zero in on a particular BUILDING in each neighborhood --
EXT. HELL’S KITCHEN - MORNING
It’s a five story walk up and we begin to FOCUS ON a top floor WINDOW --
EXT. UPPER WEST SIDE - MORNING
Here we find a twelve story doorman building and we’re moving in on an apartment on the eighth floor.
As the camera arrives at BOTH WINDOWS at the SAME TIME we hear the sound of and ALARM going off and then we -- CUT TO:
INT. MICHAEL’S APARTMENT - MORNING
It’s a small studio apartment, stuck in the far corner is a bed and buried under the covers is MICHAEL MURPHY,(20’S). Michael’s hand reaches out from under the blanket and silences the offending alarm --
2.
INT. KATE’S APARTMENT - MORNING
This is a slightly larger one bedroom, very meticulously decorated. Tucked in the bed like a princess is KATE ADAMS(20’S) --
Kate’s wearing a SLEEP MASK and as the alarm chimes on, she casually reaches over and silences it. Kate’s cat, SUNSHINE, jumps up on her bed and begins to nuzzle her favorite human. As Kate pulls off her mask --
KATE
Good day, Sunshine.
Kate extends for a full body stretch, as does Sunshine, then she slides out of bed and glides towards her desk where she studies her VISION BOARD. There’s PHOTOS of FAMILIES, COUPLES, designs for GREETING CARDS surround them.
The top of the board has the header - "REVIVING CONNECTIONS" After a moment of frustration -- she spins the board to face the wall. Off her sigh --
INT. MICHAEL’S APARTMENT - MORNING
Michael sits on the edge of his bed trying to join the land of the living. The CONSTRUCTION crew outside his window isn’t helping matters --
MICHAEL
(groggy)
I’d rather be a hammer than a nail.
As he gets to his feet he shuffles towards the kitchen table, it’s covered with various BOOKS on FIRE FIGHTING along with a PROMOTION APPLICATION FORM which he quickly flips over, not wanting to deal --
EXT. TIMES SQUARE - DAY
In the midst of the tourist and office workers late for meetings, we find ALBERT(50’S), He’s dressed as an ASTRONAUT and is handing out PAMPHLETS for a SPACE MUSEUM to passersby. He’s on a rant to nobody in particular --
ALBERT
Love is like an Astronaut, rare and brave.
As Albert continues to preach we -- CUT TO:
3.
EXT. BELASCO THEATER - DAY
A MATINEE has just concluded -- the audience spills out onto the sidewalk -- joy etched on their faces --
AUDIENCE MEMBERS
What a beautiful production/The music and
lyrics were brilliant/I’ve never been so moved.
As they continue to share their reactions we find a YOUNG GIRL, 7 -- she seems particularly enthralled --
ALBERT (V.O.)
Of the billions of people throughout history,
only a few have truly ventured to the heavens.
The YOUNG GIRL’s world has been changed by what she just witnessed -- shifted a bit, love and emotion and passion all tied up in song.
ALBERT (V.O.)
Only a few have genuinely experienced the
weightlessness of a full heart.
As she moves through the crowd searching for her parents she bumps into a YOUNG BOY the same age -- he seems to have had the same transformative experience --
ALBERT (V.O.)
But these days, love is commerce and
transactional. It’s a rare fruit that’s
dying on the vine. Hate and anger reign.
But without love the world is doomed.
The two children hold each other’s euphoric look, two souls colliding at a moment in time -- forever changed --
ALBERT (V.O.)
What the world needs to save it is
that unique kind of love --
the kind that slips the surly bonds
of earth and dances on the surface of the moon.
The children’s panicked parents finally find them in the dense crowd -- oblivious to the connection being formed --
ALBERT (V.O.)
This is the magical story of TRUE LOVE --
the Neil Armstrong kind.
As the new young soulmates are callously ripped from their respective destinies --
4.
EXT. TIMES SQUARE - DAY
Back with Albert --
ALBERT
Because that’s the only kind of
love that can save the world --
Albert turns and looks DIRECTLY INTO THE CAMERA --
ALBERT
-- and the world’s in desperate need of saving.
Just then an ASSHOLE IN A SUIT slaps the FLYERS out of Albert’s hand. As they flutter to the sidewalk Albert holds his look to the CAMERA. OFF: Albert’s sad face --
EXT. FDNY ENGINE 5 - DAY
A MID-CENTURY brick building nestled between two bland apartment complexes. Michael dodges pedestrians with their faces buried in their phones as he makes his way down the sidewalk --
Across the way TWO MEN argue over a PARKING SPOT. Just as it looks like they might come to blows -- a COP approaches diffusing the conflict allowing Michael to head into --
INT. FDNY ENGINE 5 - CONTINUOUS
Michael enters and is met by THOMAS “BAGS” BAGNELL(50’S), Bags is the Chief of the house, and big brother to all his crew --
BAGS
Morning, Michael.
MICHAEL
Morning, Chief.
BAGS
How were your days off?
MICHAEL
Okay, I guess.
BAGS
Get some studying done?
5.
MICHAEL
(not really)
Some.
BAGS
Did you leave your apartment?
MICHAEL
Once maybe.
(then)
It’s so hard when you can get anything
you want delivered these days.
BAGS
Michael, I’m worried about --
MICHAEL
Tommy, I’ll be fine. It’s just gonna take
some time.
BAGS
Hey --
(choosing his words)
She’s not worth it.
MICHAEL
See, that’s the problem -- I always
thought she was.
As that confession settles --
BAGS
You know we’re all her for you?
MICHAEL
Of course I do.
Michael heads up the stairs, Bags ducks into his office.
INT. HALLMARK GREETING CARD OFFICE - DAY
The elevator doors open with a DING and Kate steps out into an office space that has more empty cubicles than occupied ones. Posters of top selling GREETING CARDS adorn the walls.
As Kate makes her way to her workspace, her coworker, ROMA(30’S), the office gossip rushes over --
6.
ROMA
Kate.
KATE
Oh no, not more layoffs?
ROMA
What, no -- actually we have a new girl today.
KATE
How is that possible? They fired three people
last month.
ROMA
She’s the sole survivor of the Jersey office.
They shuttered the whole place and shipped
her here.
KATE
All those poor people.
ROMA
My father said it’s our fault for
entering a dying industry. Now people
just send birthday GIF’s and call it a
day. Who has time to go to the store
and purchase an actual card?
(then)
How’s your plan to save the company?
KATE
Lacking... harmony --
As Kate settles into her cubicle --
ROMA
Never-mind that -- I have more
important issues to talk to you about.
KATE
What’s going on?
ROMA
Hypothetically, you go to meet your date
at his apartment and his roommate answers
the door and he’s ten times hotter. You then
find out that your date is running late at work.
Would you A - get the roommate’s number and
go out with him on a different night? B -
Drag him out of the apartment and go to the
club with him and stand up your date?
Or C - have sex with the roommate before your
date gets home from work?
7.
KATE
Why do I have a feeling you
managed to do all three?
Roma gives Kate a big grin, you can see the canary feathers stuck between her teeth. Before Roma heads off --
ROMA
Kate, you doing better?
KATE
Some days.
ROMA
He wasn’t worthy of you -- you know I never
liked him.
KATE
You may have mentioned that.
Kate forces a smile then starts her work day --
INT. FDNY ENGINE 5 - KITCHEN - DAY
Michael enters and begins prepping breakfast for the guys. Bags sits at the table with the rest of the crew. Amongst them are COLIN(20’S), boy next door. RICHIE(30’S), the calm in any storm and STAN(30’S), the lovable teddy bear.
BAGS
Michael, this is Colin our new probie.
Michael crosses over and shakes Colin’s hand then heads back to the stove.
RICHIE
Colin, you should talk to Michael over here.
He of the recently broken hearted.
Bags and Stan begin to motion for Richie to shut the hell up. Michael freezes, then turns back to the guys --
STAN
He didn’t mean anything by it.
MICHAEL
It’s okay.
8.
RICHIE
It’s been months, don’t tell me you’re still
hung up on Sarah?
Bags and Stan hold their breath. Is Richie really this dumb?
BAGS
Richie, zip it.
MICHAEL
It’s fine.
(moving on)
Colin, what’s going on?
COLIN
I don’t want to bother --
MICHAEL
Hey. You’re family now. We’re all your
brothers here.
Colin quickly begins to feel more comfortable. He looks at the faces of his new family, relaxes --
COLIN
I was supposed to get married in
two months but last night my
girlfriend calls off the wedding...
INT. OFFICE - BREAK ROOM - DAY
Roma sits around a large table with her co-workers. There’s BETH(20’S), wide eyed and innocent and JEN(30’s), the flake. Beth is visibly upset --
ROMA
I don’t understand, why did you call it off?
Kate enters in the middle of this drama. She takes note of Beth’s emotional state --
KATE
Hey, what’s going on?
ROMA
Kate this is Beth, our Jersey import I mentioned.
Not only was her whole office shut down but
last night she called off her wedding.
9.
BETH
(through sobs and snot)
Nice to meet you.
Kate takes Beth’s hand and sits next to her.
KATE
You poor thing. What happened?
BETH
We were planning the wedding and I called his
sister to get some addresses and she asked me
if we were inviting Colin’s dad.
Beth loses it for a second -- then slowly calms --
KATE
Why is that upsetting?
BETH
I thought his father was dead.
As the tears begin to flow again --
INT. FDNY ENGINE 5 - KITCHEN - DAY
The guys are listening to Colin’s side of things --
COLIN
I never told her my dad was dead. I just
never talked about him. He was a shitty
dad, there wasn’t much to say.
STAN
So now what?
COLIN
The wedding’s off. She’s blown this whole thing
out of proportion. I can’t spend my life with
someone like that. She always makes a big deal
of little things -- it’s like she just enjoys
arguing.
INT. OFFICE - BREAK ROOM - DAY
Everyone has given Beth a little room. She’s regained her composure. Looks like she’s going through the stage of anger now --
10.
BETH
I don’t want to spend the rest of
my life with a liar.
(beat)
It’s over.
INT. FDNY ENGINE 5 - KITCHEN - DAY
Michael is leaning against the counter, listening to Colin get his anger on --
COLIN
I think I finally saw her true
colors.
(beat)
It’s over.
Everyone is quiet for a beat, then it begins. It starts soft and low but it slowly grows louder and louder --
MICHAEL
Mm ba ba de
Um bum ba de
Um bu bu bum da de
Michael has begun to SING. He’s singing “UNDER PRESSURE” by QUEEN and he’s got a voice from heaven --
MICHAEL
Pressure pushing down on me Pressing down
on you no man ask for Under pressure - that
burns a building down
Splits a family in two
Puts people on streets
The guys all roll their eyes. Colin just looks confused. Richie leans over to Bags and whispers --
RICHIE
It’s been over a week, I thought he
stopped doing this --
BAGS
(quietly)
It’s your fault. You had to bring up Sarah.
11.
INT. OFFICE - BREAK ROOM - DAY
Kate leans against the counter watching the rest of the women comforting Beth --
BETH
No -- It’s definitely over.
Uh, oh. Now Kate’s doing it. She slowly begins to SING as well. It’s also “UNDER PRESSURE” by QUEEN -- and she too is blessed with a beautiful voice --
KATE
Um ba ba be
Um ba ba be
De day da
Ee day da - that's o.k. It's the terror of knowing
What this world is about
Watching some good friends Screaming '
Let me out'
Beth is speechless, mouth agape. The other women just sigh and shake their heads as in “here we go again”. Roma leans over and whispers to Jen --
ROMA
We need to call that shrink.
JEN
I'm on it.
INTERCUT WITH KATE AND MICHAEL
MICHAEL
Pray tomorrow - gets me
higher
Pressure on people - people
on streets
Day day de mm hm
Da da da ba ba
O.k.
12.
KATE
Pray tomorrow - gets me
higher
Pressure on people - people
on streets
Day day de mm hm
Da da da ba ba
O.k.
INT. FDNY ENGINE 5 - KITCHEN - DAY
Michael is moving around the table, he starts to zero in on Colin --
MICHAEL
Chippin' around - kick my brains around
the floor
These are the days it never rains but it pours
Ee do ba be
The Guys duck their heads trying to avoid eye contact with Michael, worried they’ll be pulled into his “performance” --
MICHAEL
Ee da ba ba ba
Um bo bo
Be lap
People on streets - ee da de da de People on
streets - ee da de da de da de
As Michael gets closer, Colin starts to slowly lean away from him -- like he might be contagious --
INT. OFFICE - BREAK ROOM - DAY
Kate begins to direct all her attention to Beth, the other women cautiously clear a path --
KATE
It's the terror of knowing
What this world is about
Watching some good friends Screaming 'Let me out'
Pray tomorrow - gets me higher high high
Pressure on people - people on streets
Kate circles Beth whose expression hasn’t changed since Kate began singing -- she’s bewitched. The other women just seem like they can’t wait for it all to end --
13.
INT. FDNY ENGINE 5 - KITCHEN - DAY
Michael lifts Colin to his feet. Colin joins him with all the enthusiasm of an audience member at a second rate magic show.
MICHAEL
Insanity laughs under pressure we're cracking
Can't we give ourselves one more chance
Michael begins to circle Colin, then he jumps up on one of the chairs.
MICHAEL
Why can't we give love that one more chance
Why can't we give love give love give love
give love give love give love give love give
love give love
INTERCUT WITH MICHAEL AND KATE.
Kate has been singing directly to Beth and Beth continues to soak it all in. Roma is actually checking her e-mail on her phone, Jen is waiting for the right moment to try and sneak out of the room.
MICHAEL
Cause love's such an old
fashioned word
And love dares you to care
for
The people on the edge of the
night
And love dares you to change
our way of
Caring about ourselves
This is our last dance
This is ourselves
Under pressure
Under pressure
Pressure
14.
KATE
Cause love's such an old
fashioned word
And love dares you to care
for
The people on the edge of the
night
And love dares you to change our way of
Caring about ourselves
This is our last dance
This is ourselves
Under pressure
Under pressure
Pressure
When Kate finishes singing, she just looks into Beth’s eyes and smiles --
KATE
It’s all going to work out.
She kisses Beth on the forehead and walks out of the room.
INT. FDNY ENGINE 5 - KITCHEN - DAY
Michael has his arm around Colin’s shoulder.
MICHAEL
(whispers)
Give love a chance.
Michael turns and leaves the room. Everyone is quiet for a beat. Finally Colin speaks up --
COLIN
What in the fresh hell was that?
BAGS
What?
COLIN
What? All that -- that -- singing?
RICHIE
That’s Michael.
15.
COLIN
What’s wrong with him?
Bags takes offense to that comment --
BAGS
There’s nothing wrong with him, he’s just going
through some stuff.
STAN
His girl, Sarah, walked out on him a few
months ago. He’s taking it kinda hard.
Colin continues to stare at his new “family”, he can’t believe they’re so unaffected by what just happened.
He decides to slowly state the obvious --
COLIN
Ok, just so I have this right, his way of
coping is to -- Break. Into. Song?
The guys all look to each other, finally Stan speaks up --
STAN
Not all the time -- just every once and a while.
COLIN
And you guys don’t find that odd?
RICHIE
Kind of used to it.
STAN
Speak for yourself.
COLIN
He seems like a nice guy and all,
but maybe he needs to see somebody, get some help.
BAGS
He’ll be fine.
Bags crosses to Colin, puts his arm around him.
BAGS
We’ll take care of him. We’re
family. We look out for our own.
16.
INT. OFFICE - BREAK ROOM - DAY
The women are all huddled around the table trying to figure out how to help their friend.
Beth is still staring at the door, where Kate has just exited. She can’t get over what she just witnessed --
ROMA
What was that doctor’s name?
JEN
Doctor Marcus --
Beth finally turns back to the women --
BETH
I don’t know what you’re all concerned about.
I thought it was magical. I mean honestly,
I’ve never felt like that before. Her voice
is beautiful.
(then)
Big deal, she likes to sing. That doesn’t mean
there’s something wrong with her.
JEN
Look, I don’t care how great her
voice is. It’s not normal to walk around
New York Cityand suddenly bust out a musical
number.
ROMA
She’s our friend and she needs our help.
BETH
Has she always done this?
ROMA
Only for about the last six months or so.
She walked in on her boyfriend with another woman.
(beat)
It was their couple’s therapist.
BETH
That’s horrible.
17.
JEN
Look, I’m going to go see the psychologist
tomorrow to see what he thinks.
(to Roma)
Come with?
ROMA (RELUCTANT)
Sure -- whatever will put a stop to this.
They get up and head back to work. Beth is giddy --
BETH
Why put a stop to it?
(then)
I hope she sings another song later.
Roma and Jen just groan as they head out --
EXT. APARTMENT BUILDING - DUSK
WE’RE TIGHT on a WINDOW, it’s surrounded by a red brick facade. There’s a FLOWER BOX at its base. Raindrops tap on the glass -- then cascade down to the waiting sunflowers.
We slowly start to PULL BACK from the window and take in more of the building. A FIRE ESCAPE is off to the right. None of the lights are on inside the apartments --
Still PULLING BACK we see the top floor of this four story walk up is GUTTED BY A FIRE. It’s not raining after all but residual water from the fire hoses.
As we DRIFT DOWN to the street we see THREE FIRE TRUCKS parked outside. Off to the side, TWO MEN covered in soot are arguing about the cause of the fire as a COP tries to calm the situation --
We then FIND Bags as he moves through the chaos and approaches Colin who’s packing up a hose --
BAGS
Hey kid, nice job.
Colin smiles at the praise. Bags crosses to Richie and Colin who are removing their --
18.
RICHIE
Hey Colin, how many firemen does it take to
screw in a light bulb?
COLIN
How many?
Stan joins Richie, lays his helmet down on the truck.
STAN
Four. One to change the bulb and --
STAN/RICHIE
Three to chop a hole in the roof.
Stan and Richie can never get tired of that joke -- they crack themselves up -- every-time.
BAGS
And people wonder why you’re both single.
Michael moves over to Colin --
MICHAEL
Hey, you had good instincts in there - but when
you got to the second floor you needed to
check that landing before you moved on.
COLIN
Got it. Won’t happen again.
As Michael heads off, Bags falls in step --
BAGS
You still think you want my job some day?
MICHAEL
You think I’m ready?
BAGS
More than. I know you’ve been doubting
yourself lately, but you were born to lead.
OFF: Michael taking that in --
19.
INT. OFFICE - NIGHT
It’s the end of the work day. Everyone is packing up their stuff. But Kate’s still hard at work. Roma approaches --
ROMA
Time to go.
KATE
Just finished up.
She tosses papers into a file --
ROMA
You ever going to let me in on your big plan?
Kate wavers - then --
KATE
I’ve been thinking about how our cards make
people feel. It’s not the words inside but the
connection it reminds people of that’s important.
(then)
Kind of like a great song.
Before Roma can chime in, the other women approach -- Kate quickly takes note of Beth’s demeanor. She pulls her aside --
KATE
How are you doing?
BETH
Not good. I’m so confused.
KATE
No you’re not.
Beth looks puzzled.
BETH
I’m not?
Kate gets in close, locks eyes with her. Beth gets a bit excited, maybe she’s going to SING again --
20.
KATE
I’m going to ask you a question and I want you to
answer it without thinking. First answer that
pops into your head.
(beat)
Okay?
BETH
Sure.
Kate quickly blurts out --
KATE
Do you love him?
BETH
(with out thinking)
Yes.
A slight pause, then they both break into smiles --
KATE
See, you’re not confused at all.
Roma and Jen join them --
ROMA
Is tonight margarita night or
daiquiri night?
JEN
I thought it was Wine and Cheese
night.
Roma checks the calendar on her phone --
ROMA
Daiquiri night. I was right. That
means Temple Bar.
JEN
You’re coming with us, right Beth?
Beth’s not sure --
21.
BETH
Are you going Kate?
ROMA
Of course Kate’s going. What else does she
have to do?
JEN
Roma!
ROMA
What. I wasn’t being mean.
Roma turns to Kate --
ROMA
Kate, sweetheart. I wasn’t being
mean. I just meant, what else could possibly be
more fun than hanging out with the hottest,
funnest --
JEN
That’s not a word.
ROMA
-- most exciting women in all of New York City?
Kate smiles, she loves her friends --
KATE
Nothing.
INT. SCARPETTA RESTAURANT - NIGHT
Bags, Richie, Stan, Colin and Michael are sitting at the bar, waiting for a table. They all drink club sodas.
Bags and Michael are seated next to each other --
BAGS
You’re better off, you know.
Michael twists his head at Bags --
MICHAEL
How do you mean?
22.
BAGS
Sarah leaving you.
MICHAEL
This should be interesting.
BAGS
I’m just saying. Say you stayed
together, got married. Then after awhile, after
years of you bending over backwards to make
her happy, going out of your way to bring a
smile to her day. After fifteen years of marriage
you find out... you’re not enough --
Bags trails off, he’s clearly getting emotional --
MICHAEL
What’s going on? Is this about you and Jenna?
Bags just nods his head in the affirmative.
MICHAEL
For how long?
BAGS
Which time?
MICHAEL
I’m so sorry, Thomas.
Michael puts his arm around his friend --
MICHAEL
You and I are suffering from the
same ailment, Takotsubo cardiomyopathy.
BAGS
Sounds serious.
MICHAEL
It can be. It’s more commonly known as a
broken heart. The good news it that it will heal,
in time it will heal.
BAGS
Do you have a cure?
23.
MICHAEL
Love. It’s really all any of us want.
EXT. SCARPETTA RESTAURANT - NIGHT
We see the guys through the front window as they are being led to a table by the hostess.
As a CAB WIPES FRAME: We REVEAL: The ladies heading down the sidewalk dodging pedestrians -- and as per usual, most with their faces buried in their phones.
ROMA
(so the universe can hear)
We live in a world of zombies.
JEN
Does anyone watch where they’re going anymore?
Just then Roma gets bumped into by a clueless BUSINESS BRO, also engrossed in his phone --
ROMA
Hey, pay attention --
He ignores her and continues on --
ROMA
Hey! You!
That stops the Business Bro in his tracks --
BUSINESS BRO
Who? Me?
Roma marches over to him, the girls right behind, watching her back --
ROMA
You just bumped into me.
BUSINESS BRO
It’s New York, people bump into each other.
24.
ROMA
People also get murdered here -- and sometimes
those two are connected.
As a look of confusion and fear washes over his face Roma grabs the man’s phone and snaps a picture of his expression, then hands him back the phone --
ROMA
Now whenever you look at this picture you’ll be
reminded that danger can come from the most
unexpected places.
The Business Bro just takes that all in and then --
BUSINESS BRO
Would you like to go out some time?
ROMA
I’d rather attend a twenty-four hour accordion
concert.
Her reply followed by her death stare is enough to move the Business Bro along. As he heads off Roma turns to find concerned looks all her around --
JEN
Are you okay?
ROMA
Yeah, why?
KATE
You just threatened to murder a man for bumping
into you.
ROMA
That’s not murder that’s justifiable homicide.
JEN
This city’s getting to you.
ROMA
It’s not just this city, the whole world is
falling apart.
Beth, who’s been quiet the whole time finally speaks up --
25.
BETH
Maybe I should go home.
All the women in unison weigh in --
ALL
No. Boo. You’re stuck with us.
BETH
I just want to make things right
with Colin.
ROMA
You can do that after a daiquiri. I know I
could use a few -- dozen.
KATE
Didn’t you say he’s on shift? You can tell
him tomorrow. Let him miss you,
he’ll realize he was wrong.
Beth sees the wisdom in that --
BETH
I guess you’re right.
As they all head off in the direction of daiquiris --
INT. SCARPETTA RESTAURANT - NIGHT
Michael sits at the bar staring at a PHOTO on his phone.
COLIN (O.S.)
So what’s the whole story with
Michael? How did all this start?
AT THE TABLE -- the guys finishing their coffees --
RICHIE
Sarah.
COLIN
Sarah’s his ex?
They all glance over to their friend sitting alone, finally Richie speaks up --
26.
RICHIE
So much more than that. Sarah was his best friend
since they were ten. They grew up together,
high school sweethearts. Broke up before
college, they were going to be on
opposite sides of the country --
BAGS
If you love something set it free
and all that.
Those words have meaning for Bags as well and we can see that on his face --
RICHIE
Then one day, six years later, they run into
each other at the Denver airport.
COLIN
Are you serious?
STAN
Talk about fate, right?
RICHIE
Yep. Fall back in love, move in together, Mikey
buys a ring. Goes home to ask her to marry
him and she’s gone. No note. Nothing.
COLIN
Jesus.
STAN
A week later she sends him an
e-mail, something about not knowing who she
was outside the boundaries of their
relationship.
As Colin realizes the scope of Michael’s sadness --
INT. TEMPLE BAR - NIGHT
As four Daiquiri glasses clink together we PULL BACK to find our WOMEN tucked in the corner, all having a great time -- except for Kate.
27.
After the toast Kate turns to look out the window. As she watches TWO BIKE MESSENGERS argue about the right-of-way a past memory begins to push it’s way forward. Jen moves next to her friend --
JEN
He’s out there somewhere.
Kate snaps out of it.
KATE
Who?
JEN
The man you deserve.
KATE
Sometimes I wonder. Not everybody
finds “the one”. Some people find “almost the
one” and I guess that’s okay. I asked my mom
once if my father was the love of her life. She
said, no, but he filled her life with love and
that was what mattered to her.
JEN
What matters to you?
Kate gives it some thought.
KATE
Someone I can trust --
Jen waits for more.
JEN
That’s it?
KATE
That’s it. But it’s a big word and it’s the
foundation everything else is built on.
As Jen nods in agreement --
28.
INT. SCARPETTA RESTAURANT - NIGHT
As the Guys continue to talk we slowly PUSH through the restaurant towards Michael. He’s just staring down at that PHOTO --
Then he begins to SING again. “WITH OR WITHOUT YOU” by U2.
MICHAEL
See the stone set in your eyes
See the thorn twist in your side
I wait for you
Some of the customers begin to take notice. The Guys all hide their heads -- “here he goes again.” They want to act like they don’t know him, but the fact that they’re all Firemen makes it tough.
MICHAEL
Sleight of hand and twist of fate
On a bed of nails she makes me wait And I
wait without you
As we continue to push in on Michael we come all the way around to look over his shoulder. We see the PICTURE of SARAH on his phone. She’s beautiful -- in the “girl you grew up with and always wanted to marry kind of way” --
INT. TEMPLE BAR - NIGHT
Kate continues to stare out the window at the busy New York street -- the Bike Messengers have come to blows.
Kate turns away, takes a deep breath and begins to SING. “ONE” by THREE DOG NIGHT. We’re going to MASH the two classic songs together in a MAGICAL way --
KATE
One is the loneliest number that you'll ever do
Two can be as bad as one
It's the loneliest number since the number one
No is the saddest experience you'll ever know
Yes, it's the saddest experience you'll ever know
29.
The people at the bar all look to Kate. Her friends all look to each other, trying to figure out what to do. They hate when she does this in public.
Beth is excited that Kate is singing again. She claps her hands together like a little kid --
BETH
This is going to be great, I know it.
INT. SCARPETTA RESTAURANT - NIGHT
The whole restaurant is now watching Michael sing. The Guys are still trying to pretend they don’t know him but finally decide they need to do something --
MICHAEL
With or without you
With or without you
Through the storm we reach the shore
You give it all but I want more
And I'm waiting for you
With or without you
With or without you
I can't live
With or without you
The Guys get up and begin throwing money down on the table for the bill. Believe it or not, most of the DINERS are enthralled. It’s not something you see everyday --
INT. TEMPLE BAR - NIGHT
Kate has begun to weave her way through the crowd. As she sings to each person she passes, they’re incredibly moved.
KATE
Cause one is the loneliest number that you'll
ever do
One is the loneliest number, whoa- oh, worse
than two
It's just no good anymore since you went away
Now I spend my time just making rhymes
of yesterday
One is the loneliest number
One is the loneliest number
One is the loneliest number that you'll ever do
30.
She makes her way through the crowd and begins to head for the DANCE FLOOR in the back. Roma and Jen panic and move after her -- Beth hangs back and watches -- she can’t get enough of this singing stuff --
INT. SCARPETTA RESTAURANT - NIGHT
The Guys are all standing by the door, waiting for Michael to finish so they can get the hell out of there.
MICHAEL
My hands are tied
My body bruised, she's got me with Nothing to
win and
Nothing left to lose
And you give yourself away
And you give yourself away
When Michael finishes the song, everything is silent in the restaurant -- complete silence. Richie and Stan seize the opportunity and gently take Michael by the arms and lead him out the door.
After the guys leave, there’s another moment of silence then the whole place breaks out in applause. Some of the women are moved to tears--
INT. TEMPLE BAR - NIGHT
As Kate sings she walks down the center of the DANCE FLOOR --
KATE
One is the loneliest
One is the loneliest
One is the loneliest number that you'll ever do
It's just no good anymore since you went away
number)
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you'll ever do
Kate moves across the DANCE FLOOR and then heads back toward the front door.
31.
KATE
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you'll ever do
When she’s finished singing she walks right out of the bar. Kate’s friends walk through the crowd along the path that Kate created --
JEN
Come on guys, you have to admit
that was pretty cool.
ROMA
I still say we need to take her to
the shrink.
BETH
Oh, that would ruin everything.
INT. COLIN AND BETH’S APARTMENT - BEDROOM - MORNING
It’s a small space, the bed takes up most of the room. The morning light has begun to spill through the windows. Buried under the covers is Beth, she’s slowly coming to --
She hears a NOISE from the other room and her eyes pop open. As she leaps out of bed she begins to search for a weapon.
Not finding anything of use she pulls down the curtain-rod and wrestles off the curtains. Now armed, she heads out --
HALLWAY
Beth creeps down the corridor, curtain-rod at the ready. As she turns the corner into the --
KITCHEN -- she screams when she sees a man at the stove.
Colin turns around and calms her --
COLIN
It’s just me.
(then)
Sorry I startled you.
32.
BETH
What are you doing here? Aren’t
you on shift at the firehouse.
COLIN
The guys let me take some time this
morning.
BETH
What for?
COLIN
To make you breakfast and tell you
I’m and idiot.
Beth is moved by the gesture. She’s done being angry.
BETH
No. I’m the idiot. I’m so sorry,
They run into each others arms and hold on tight.
COLIN
I’m sorry I didn’t tell you about
my father, I just never felt like I had one --
BETH
It’s okay. You don’t have to
explain. I love you.
She kisses him. After a beat Colin pulls away --
COLIN
Is that the curtain rod from the bedroom or
are you just happy I’m back?
BETH
That makes no sense at all.
COLIN
None whatsoever.
BETH
Yet I still want to have sex with you.
COLIN
It’s all part of my charm.
33.
She grabs Colin and pulls him into a passionate embrace. As they begin to devour each other we slowly PAN off them --
We CONTINUE the PAN and realize we are now in their --
INT. BETH AND COLIN’S APARTMENT - BEDROOM - DAY
And we find them in the bed, cuddled together in post coital bliss. We might notice the hastily rehung curtains --
BETH
Can’t believe we almost threw that
away.
COLIN
Tell me about it.
Beth gives him a kiss and hops out of bed. We stay on Colin.
BETH (O.S.)
What do you want to do today?
COLIN
I’ve got to get back to the station.
BETH (O.S.)
BOOOOO!
Colin laughs.
BETH (O.S.)
Mm ba ba de
Um bum ba de
Um bu bu bum da de
Beth is humming in the bathroom. Colin recognizes the tune --
COLIN
What are you singing?
The bathroom door flies open. Beth stands there with a towel wrapped around her --
34.
BETH
Oh. My. God. I totally forgot to
tell you. At my new job there’s this woman --
and she -- sings.
Colin twists his head at that -- it can’t be.
COLIN
Like in a band? Karaoke?
BETH
No.
(beat)
In Life.
Beth lets that hang in the air for a moment -- the beauty of it all --
BETH
She just breaks into song. It’s
the most beautiful thing I’ve ever seen. I can’t
wait for you to meet her.
Colin leans forward, this is weird --
COLIN
You are not going to believe this.
INT. NYFD ENGINE 5 - BAGS’ OFFICE - DAY
BAGS
Run that by me again.
We PULL BACK to reveal Colin sitting across from Bags --
COLIN
This woman, Kate. She does the
same thing as Michael.
BAGS
You’re kidding.
COLIN
Beth said they were out at a bar
last night and she just started singing, right in
the middle of the place.
35.
EXT. ISABEL’S RESTAURANT - DAY
Roma, Jen and Beth are having brunch on the sidewalk patio. It’s a beautiful spring day. The city’s alive with possibility --
ROMA
Hold on a second. You’re telling
me there’s a fireman out there, in the city
somewhere, that has the same affliction as
our Kate?
BETH
Stop saying that -- It’s not an
affliction, it’s a gift. It’s divine.
Just then at the table over a customer is berating a WAITRESS, we can’t hear what he’s saying but he’s got her near tears --
ROMA
(noticing)
What is wrong with people?
As the Waitress heads back to the kitchen Roma moves to teach the customer a lesson until Jen stops her --
JEN
Can’t we just enjoy our meal without
righting every wrong?
As Roma relents Jen turns her attention back to Beth --
JEN
So, what’s this guy like?
BETH
Colin said he’s great.
Recently got his heart broken, hasn’t
been the same since.
ROMA
Like Kate.
JEN
I think it’s obvious what we need
to do.
ROMA
Don’t --
36.
BETH
We need to set them up.
Beth and Jen love the idea. Roma is skeptical.
ROMA
I’m not sure the cure for a crazy
person is another crazy person.
As Jena and Beth shake their head in disappointment at Roma’s negativity --
INT. NYFD ENGINE 5 - BAGS’ OFFICE - DAY
The rest of the guys have crowded into Bags’ small office. Everyone except Michael --
COLIN
Beth and I think we should get them
together. What do you guys think?
Bags, Richie and Stan give it some thought --
COLIN
It just seems so -- obvious.
RICHIE
What if they start singing duets all over the city? Someone’s going to throw them in Bellevue.
BAGS
No one is getting thrown in
Bellevue.
(beat)
I think we should do it.
STAN
You sure Chief?
BAGS
Our Mikey’s got a broken heart.
There’s only one cure I know of to mend it.
As all the guys get on board with the crazy idea.
37.
EXT. ISABEL’S RESTAURANT - DAY
Back with the ladies --
JEN
So what’s your plan?
Jen and Roma look to Beth with anticipation --
EXT. EMPIRE HOTEL - ROOF TOP - NIGHT
CLOSE ON -- a BANNER which reads, “WELCOME TO THE TENTH ANNUAL FIREMAN’S BALL” --
We PULL BACK from the BANNER to see we are twelve stories up on an eight thousand square foot ROOF TOP LOUNGE --
The ‘joint is jumping’, hundreds of guest mingle -- the night SKYLINE glows in the background and frames all the action.
Off in one corner is Bags, his wife JENNA (30’s), Colin, Richie and Stan.
COLIN
Where’s Michael?
BAGS
He said he’d be here, he’ll be
here. Don’t worry.
JENNA
How do you know she’s even
Michael’s type?
BAGS
Trust us. They’re made for each
other.
ANGLE: OPPOSITE SIDE OF THE ROOM -- the WOMEN convene, all except Kate.
BETH
You sure she’s coming?
38.
JEN
I talked to her today, she said
she’d be here.
Roma raises her glass for a toast --
ROMA
To the worst idea ever.
She downs a big gulp of white wine.
BETH
Stop being so negative --
EXT. EMPIRE HOTEL - NIGHT
A cab pulls up out front, and KATE steps out with grace. As it pulls away, TWO WOMEN immediately begin fighting over it, their scuffle escalating into a shoving match.
Unfazed, Kate, looking stunning, moves toward the entrance. Heads turn as she glides into --
INT. EMPIRE HOTEL - LOBBY - NIGHT
Kate makes her way towards the elevators in the back. When she lands, she taps the UP BUTTON and waits --
ANGLE ON MICHAEL -- as he enters the lobby and takes in the crowd. He’s cleaned up nicely. We FOLLOW Michael as he now heads for the elevators --
ANGLE ON KATE -- as the NORTH ELEVATOR doors slide open, she enters and hits ROOF BUTTON --
ANGLE ON MICHAEL -- as he nears the elevators. The doors are beginning to slide closed. Kate is the sole occupant --
ANGLE ON KATE -- as the doors are about to meet -- she and Michael LOCK EYES -- it’s the briefest of moments but the whole world slows down for that instant --
But it is QUICK and FLEETING and as soon as the doors close the world gets back to normal speed.
39.
Michael’s not even sure what happened, he just feels different and he’s not sure why. The other elevator arrives and he gets in --
INT. EMPIRE HOTEL - ELEVATOR - NIGHT
Kate’s not sure what happened either but all the colors in the elevator seem a little bit brighter. Isn’t that odd.
EXT. EMPIRE HOTEL - ROOF TOP - NIGHT
Kate makes her way through the crowd looking for her friends. As she passes the bar she looks to her LEFT. Michael passes by on her RIGHT. Fate is having fun with them --
We HANDOFF to Michael as he spots the GUYS in the corner. He heads over --
COLIN
Worried you weren’t going to come.
MICHAEL
Here I am.
(then)
Hey, Jenna.
Michael gives Bags’ wife a quick hug and kiss --
JENNA
I heard you’re putting in for Fire Chief?
MICHAEL
That was the plan.
JENNA
Was?
BAGS
Is -- that is the plan. He’s got exams
coming up.
JENNA
Well, good luck.
(then)
I’ll leave you boys alone to talk.
As Jenna moves off, Bags watches her go --
40.
MICHAEL
What’s going on? Why did she need
to leave us alone to talk?
Richie tries to cover --
RICHIE
Nothing, just having a ball.
STAN
Get it. As in Fireman’s --
MICHAEL
I got it.
Michael turns to Bags --
MICHAEL
Thomas? You guys are up to something.
I can tell.
RICHIE
How can you tell?
MICHAEL
Because every one of you is a terrible at
lying. Why do you think I take all of
your money on poker nights?
STAN
He’s not wrong --
Bags can’t take it --
BAGS
The kid here wants to set you up
with his fiancé’s friend. They think you were
meant to be together and it is your destiny.
(then)
Something like that.
Colin, Richie and Stan are just staring at their Chief. He folded like a cheap card table --
RICHIE
You should give classes on how to endure an interrogation.
MICHAEL
Absolutely not. Call it off.
41.
COLIN
I can’t, I think she’s here already.
ANGLE ON THE BAR -- All the women are together. They’re staring at Kate with a look of hopeful anticipation on their faces. Kate just looks pissed --
KATE
Why would you do that?
Obviously not the reaction they were hoping for.
BETH
Trust me Kate. This is the right
guy for you.
KATE
Beth, no offense but we just met.
How would you know who the right guy for me is?
Beth is a little stung by that. Jen can see that her friend is starting to get upset. She pulls Kate off to the side --
JEN
Everyone’s just trying to help.
KATE
I’m not a charity.
JEN
It’s not that, you just haven’t been
yourself lately. We all just love you and
are concerned.
KATE
How haven’t I been myself?
Jen looks at Kate, does she really want her to bring up all the singing --
KATE
Forget it, I’m just going to go home.
42.
BETH
No don’t, please. Kate it’s going to
be okay.
There’s an uncomfortable moment, then Kate breaks it --
KATE
Look guys, I know you meant well.
I’m just not ready to meet someone right now.
(beat)
Sorry guys.
Kate turns and heads for the exit.
ROMA
It’s so hard always being right.
You think it’s easy telling your friends,
”I told you so”. I don’t enjoy this --
The rest of the gang just walk away leaving Roma to ramble on about how hard it is to be her --
EXT. EMPIRE HOTEL - NIGHT
Kate exits and pauses briefly out front, then turns LEFT and walks into the night. Behind her the TWO WOMEN who were fighting over the taxi are now being arrested.
We HOLD on the FRONT of the Hotel for another beat then Michael exits. He too pauses out front for a moment then he hangs a RIGHT and disappears --
EXT. COLUMBUS CIRCLE - NIGHT
By the entrance to CENTRAL PARK is a HOMELESS MAN playing an UPRIGHT PIANO. A small crowd has gathered around to listen. He’s not too bad.
We pick up Kate as she approaches the scene and joins the crowd for the impromptu concert. As we move through the “audience” to the other side we reveal MICHAEL standing there. Both are unaware of each other --
43.
That is until the HOMELESS MAN starts to play a different melody. That’s when KATE and MICHAEL slowly look in each others direction. The crowd of people between them casually move out of the way to allow their eyes to meet --
When their gaze does land on each other they’re slowly drawn together -- like magnets. It’s kismet, chemistry, fate, destiny all rolled into one --
They stop when they’re mere feet apart. They hold the look for a long beat and then they begin to SING, “BLESS THE BROKEN ROAD” by RASCAL FLATTS’ --
KATE
I set out on a narrow way, many years ago
Hoping I would find true love along the
broken road
MICHAEL
But I got lost a time or two
Wiped my brow and kept pushing through
I couldn't see how every sign pointed
straight to you
As they continue to sing the crowd forms a circle, surrounding them --
KATE
Every long lost dream led me to where you are
Others who broke my heart,
they were like northern stars Pointing me on
my way into your loving arms
MICHAEL
Every long lost dream led me
to where you are
Others who broke my heart,
they were like northern stars Pointing me on
my way into your loving arms
Michael holds out his arms, Kate takes his hand and they begin to WALTZ as they sing.
KATE
This much I know is true
That God blessed the broken road That led me
straight to you
Yes He did
44.
MICHAEL
I think about the years I spent, just
passing through
I'd like to have the time I lost, and
give it back to you
But you just smile and take my hand
You've been there, you understand
It's all part of a grander plan that
is coming true
Michael spins Kate out and they stand apart from each other for a moment, then they’re drawn back together. They’re dancing in the center of the crowd, SPINS and TURNS and PIROUETTES --
KATE
But now I'm just rolling home into my
lover's arms
This much I know is true
That God blessed the broken road
That led me straight to you
MICHAEL
But now I'm just rolling home into my
lover's arms
This much I know is true
That God blessed the broken road
That led me straight to you
The song ends and they stand there in each others arms, eyes locked as they take in their destiny standing before them --
MICHAEL
Hi, I’m Michael.
KATE
I’m Kate. Nice to meet you.
Michael twists his head --
MICHAEL
Kate, have we met before?
KATE
Not that I remember --
MICHAEL
Then why does it feel like we have?
45.
FLASHBACK: Our TWO YOUNG THEATER GOERS from the opening -- caught in each other’s orbit -- inexplicably drawn together until they’re unceremoniously ripped apart --
BACK WITH ADULT KATE AND MICHAEL -- as they feel this past connection but can’t place it. But it’s enough history to warrant what happens next -- A KISS -- a KISS to build a musical around ---
As their lips touch the crowd goes wild. They all think they just witnessed some sort of street theater. Not realizing what they actually saw was MAGIC -- the birth of a GREAT ROMANCE --
EXT. EMPIRE HOTEL - ROOF TOP - NIGHT
Colin finally finds Beth in the crowd. They embrace and share a kiss --
COLIN
I’ve missed you.
BETH
It’s only been a few hours.
He just smiles and kisses her again.
BETH
Where’s Michael?
COLIN
He left. Kate?
BETH
I was so sure this was going to work.
The GUYS have gathered behind COLIN and the WOMEN are behind BETH. They both turn and notice their respective crews --
COLIN
Hey. This is Bags, his wife Jenna.
Richie and Stan.
BETH
And this is Roma and Jen.
As they exchange greetings we notice RICHIE and ROMA pay special attention to each other, as does STAN and JEN.
46.
As the group begins to mingle we pull up and away from the ROOF-TOP, leaving the party far below --
EXT. WASHINGTON SQUARE - NIGHT
Michael and Kate walk Side-by-side through the park.
KATE
I love this city, it’s so musical.
And indeed it is. All different melodic sounds drift through the air. There’s some kids playing drums on buckets, a FOLK SINGER playing a tune -- CD’s spread out in his open guitar case --
MICHAEL
I love the way you can walk from
downtown to the upper west side and be
carried by the rhythm of the city.
KATE
It’s like your life has a sound track.
MICHAEL
Exactly.
They stop walking and turn to face each other. As they lean in for a kiss, the city does in fact provide the soundtrack. A VIOLIN PLAYER stands off to the side playing a beautiful piece of music. As their lips part --
MICHAEL
And to think, my friends tried to set me
up tonight --
KATE
(eyes wide)
Wait, my friends tried to set me up tonight
as well. At the Fireman’s ball.
As they realize it’s destiny’s hand at work we --
ANGLE ON: ALBERT, who’s standing on a milk crate and now dressed in SHAKESPEARIAN GARB. A SIGN for a SHAKESPEARE FESTIVAL beside him. As he recites some the Bard’s words --
47.
ALBERT
If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.
That strain again! it had a dying fall:
O! it came o’er my ear like the sweet sound
that breathes upon a bank of violets,
stealing and giving odour.
The CAMERA tilts up til we find the SKYLINE, then we hold on it til NIGHT becomes DAY --
NT. DR. MARCUS CHO’S OFFICE - RECEPTION - DAY
The door opens to a sleek, modern psychiatrist’s waiting room. Jen and Roma enter, Roma immediately scanning the space with a skeptical eye.
ROMA
So who is this quack?
JEN
Dr. Marcus Cho. He’s one of the most
respected Transformational Life slash
Executive Coaches in Manhattan. He’s guided
some of the richest and most powerful people
to a better version of themselves.
ROMA
Obviously, you haven’t used his services.
JEN
(rolling her eyes)
Well, that’s just mean.
(then)
No, I haven’t. I met him at that stand-up
comedy class.
Roma didn’t expect that revelation --
ROMA
Hold on, you took a stand-up class? You?
Before Jen can respond, the door opens, and DR. MARCUS CHO (40s) steps out. He’s polished and confident, with an easy smile that hints at his ability to disarm even the most guarded people.
48.
DR. MARCUS CHO
Hello, ladies.
JEN
Hey, Dr. Cho. This is my friend, Roma.
We really need to talk to you about Kate.
DR. MARCUS CHO
Ah, yes. Kate. Is she still --
JEN
Yes.
DR. MARCUS CHO
Why don’t you both come into my office?
Roma hesitates, visibly uncomfortable.
JEN
Please, we need to do this for Kate.
After a beat, Roma sighs and relents --
INT. FDNY ENGINE 5 - REC ROOM - DAY
Bags is in the middle of a ping-pong match against Richie and Stan, taking them both on --
Richie is distracted, mid-rally, talking about one of the women from the other night --
RICHIE
You remember that girl from the Gala?
The one with the dark hair, sharp wit
-- what was her name?
Stan’s eyes widen, his paddle lowering for a second.
STAN
(nervous)
Uh... dark hair? Smart? You’re not
talking about Jen, are you?
RICHIE
Jen...Jen, that doesn’t sound right.
Had this --
I don’t know, edge to her. She was intense.
49.
STAN
That doesn’t sound like Jen. She was more
quiet and had this delicate beauty.
Stan, visibly relieved, refocuses on the game, but the lapse costs them the rally as Bags slams a shot across the table, winning the game.
BAGS
(smirking)
Maybe focus on the game next time, lover
boy. Richie glares at Stan.
RICHIE
I can’t believe you missed that!
STAN
It was on your side! And you’re the one
daydreaming about some mystery woman.
Bags spots someone entering the room. This is DALE --
BAGS
Dale! Over here!
Dale, a man in his forties, crosses the room. Richie, curious, turns to Stan --
RICHIE
So that’s him? The shrink?
STAN
Yep. He’s a psychologist with the department.
Handles a lot of grief counseling.
He and Bags go way back.
RICHIE
Hope he can work some magic. I’m getting
tired of playing backup dancer for Michael.
Richie throws a quick look back at Stan --
RICHIE
So, you’ve got a thing for Jen?
As Stan begins his denial --
50.
INT. DR. MARCUS CHO’S OFFICE - DAY
The office is minimalist but inviting. Dr. Cho sits in an ergonomic chair, exuding calm authority. Roma sits stiffly, her arms crossed, while Jen appears more at ease.
DR. MARCUS CHO
So, tell me what’s going on with Kate.
JEN
She’s just going through a hard time
right now and --
DR. MARCUS CHO
She’s finding comfort in music. I remember.
ROMA
She’s not just whistling a happy tune to
hide her tears. She’s busting out top
forties in restaurants.
Dr. Cho leans back, considering this.
DR. MARCUS CHO
And how does that make you feel, Roma?
ROMA
Whoa, whoa, whoa -- make me feel? Don’t
turn this around on me. I’m fine.
Dr. Cho gives her a knowing smile, the kind that sees straight through her.
DR. MARCUS CHO
You’re fine, but you came here today for
your friend’s problem?
Roma shifts uncomfortably but holds her ground.
ROMA
Yes. It’s Kate. She’s the one with the
issue.
DR. MARCUS CHO
(ignoring the deflection)
Let me ask you this: How do other people
react when she sings?
51.
Jen glances at Roma, hesitant to admit it, but speaks up.
JEN
They actually seem to enjoy it.
ROMA
(reluctantly)
Yeah. They seem entertained.
Almost -- grateful to be there.
(then)
As if their life was better
for having witnessed it.
Dr. Cho leans forward, his tone softening.
DR. MARCUS CHO
Music has been around since the dawn of
time. Animals use it to communicate,
Humpback whales are said to sing sonatas to
woo a mate. Early man made whistles out of
bones. Mothers sing lullabies to their babies
and are able to put them to sleep. It’s in our
DNA and is as important as the air we breathe.
ROMA
That’s all great but she’s not a Humpback
whale.
DR. MARCUS CHO
I’m still having a hard time seeing
how this is getting in the way of your
friend having a full life. This -- thing she
does --it seems like it adds to her life. Not subtracts.
(then)
If you two wanted to schedule a time and come
in, maybe next week. We can to try and get to
the root of all this. I’d be happy to help you
find out why your friend’s joy makes you
uncomfortable.
Roma stiffens, her guard going up again.
ROMA
It doesn’t make me uncomfortable.
I just think she’s acting ridiculous.
DR. MARCUS CHO
Do you, though? Or does it bother you
because she’s expressing something you wish
you could?
52.
Roma’s jaw tightens, but she says nothing. Dr. Cho presses gently.
DR. MARCUS CHO
Roma, you strike me as someone who has a
lot of walls up. You care about your friend,
or you wouldn’t be here. But this might not
be about her. It’s okay to feel lonely,
guarded, even disconnected. The important
thing is understanding where that comes from.
Roma looks like she might snap, but Jen interjects.
JEN
Dr. Cho, maybe we could schedule another
time for Roma to --
ROMA
No, no. I don’t need his help. Kate’s the
one who needs fixing. She’s embarrassing
herself, not me.
Dr. Cho leans back, hands folded, unfazed. Roma stands abruptly, her chair scraping the floor.
ROMA
Okay. We’re done here.
Jen stands too, looking apologetic.
JEN
Thank you, Dr. Cho. We’ll, uh, be in touch.
Dr. Cho nods as the two women leave. His calm gaze lingers on Roma, sensing there’s more to uncover.
INT. FDNY ENGINE 5 - KITCHEN - DAY
Bags, Stan, Richie and Dale sit around the table --
DALE
So what’s going on with your friend?
The guys exchange looks, as if to say, how the hell do we explain this?
BAGS
About six months ago, he had his heart
broken. It hit him hard. Ever since, he’s
been… well, he’s kind of...
53.
RICHIE
Singing.
Dale raises an eyebrow.
DALE
Okay -- and?
STAN
In public.
DALE
Alright, still not seeing the issue.
RICHIE
It’s not like he’s doing gigs at CBGB’s.
STAN
He thinks his life’s a musical. It’s
embarrassing.
DALE
For who?
STAN
(throwing up his arms)
Everyone involved!
DALE
So let me get this straight -- your friend
Michael’s heartbroken, he’s walking around
singing, and you two see this as a problem?
Stan groans, frustrated --
STAN
He’s not getting it.
As the guys sit, stumped on how to convey their point, Richie decides to switch gears --
RICHIE
Ya know, since we’ve got Dale here, maybe
it’s time for Bags to open up about what’s
going on with him.
54.
DALE
Thomas, you know I’m here for you.
Bags shoots Richie a glare, blindsided. Now all three guys are staring at him, waiting for him to spill.
BAGS
Whoa, hold up -- why are we turning this
on me? What about you two? If anyone needs
relationship advice it’s these two idiots.
Richie and Stan glance at each other, caught off guard.
STAN
Come on, Bags, we’re talking about you
right now.
BAGS
Oh no, we’re talking about the love lives a
round here. And as far as I can tell, you
and Richie are in way worse shape. I can’t
remember the last time either of you took a
chance -- went on a date --
RICHIE
(deflecting, embarrassed)
This isn’t about us, Bags. Dale’s here,
why not take advantage of his help?
Bags rolls his eyes, realizing he can’t dodge it forever --
BAGS
(slowly)
Fine. I don’t know what to do, okay?
I know she’s seeing someone else.
DALE
How do you know that?
BAGS
I can tell by the way she looks at me --
like she wishes I’d just disappear. It’s not
cruel or anything, just -- pity. I know
she’d be happier if we never met.
Off this heartbreaking admission --
55.
EXT. MICHAEL’S APARTMENT BUILDING - MORNING
Michael comes bursting out of the front door and immediately breaks into song. He’s SINGING, WALKING ON SUNSHINE, by KATRINA AND THE WAVES.
MICHAEL
Oh! Ohhhh yeeeh
I used to think maybe you loved me
now baby I'm sure
And I just cant wait till the day
when you knock on my door
Now everytime I go for the mailbox gotta hold
myself down
Cos I just wait till you write me your c
oming around
As Michael moves along the sidewalk singing, his energy is contagious. All the anger around him dissipates as he passes. A YOUNG COUPLE arguing reach out to hold hands mid fight --
MICHAEL
I'm walking on sunshine , wooah
I'm walking on sunshine, woooah
I'm walking on sunshine, woooah and don't it
feel good!!
Hey , alright now
and dont it feel good!!
hey yeh
EXT. KATE’S APARTMENT BUILDING - MORNING
SAL, Kate’s DOORMAN, opens the front door as Kate comes breezing through with a song in her heart as well --
KATE
I used to think maybe you loved me,
now I know that its true
and I don't want to spend all my life ,
just in waiting for you
now I don't want u back for the weekend
not back for a day , no no no
I said baby I just want you back and I
want you to stay
Kate’s presence has the same calming effect on those around her as Michael’s. As she moves down the sidewalk, even the energy of barking chihuahuas shifts -- two that were at each other's throats moments ago suddenly become best friends.
56.
KATE
I'm walking on sunshine, wooah
I'm walking on sunshine, woooah
I'm walking on sunshine, woooah
and don't it feel good!!
EXT. CITY STREET - MORNING
Michael moves along the crowed sidewalk, grabbing the occasional angry pedestrian and pulling them into his world. They always seem confused and start looking around for the hidden cameras --
MICHAEL
Hey, alright now
and don't it feel good!!
hey yeh, oh yeh
and don't it feel good!!
walking on sunshine
walking on sunshine
EXT. CITY STREET - MORNING
Kate comes to an intersection, she proceeds to cross, even though the sign says, “Don’t Walk”. Her SONG carries her across the street as CARS speed by -- it’s as if she’s magically protected --
KATE
I'm on sunshine baby oh
I'm on sunshine baby oh
I'm walking on sunshine wooah
I'm walking on sunshine wooah
I'm walking on sunshine wooah
and don't it feel good!!
INT. FDNY ENGINE 5 - REC ROOM - DAY
The GUYS are all watching TV when they begin to sniff the air. What is that smell? They’re drawn out of their seats like some cartoon characters, lead onward by their noses --
INT. FDNY ENGINE 5 - KITCHEN - DAY
Laid out on the table is a breakfast feast -- apparently Michael has been cooking like crazy --
57.
MICHAEL
Hey guys.
They all immediately notice Michael’s demeanor, he’s got a glow about him. He’s not the same guy that’s been sulking around the station for the past few months --
BAGS
Michael, how’s it going?
MICHAEL
Great Bags. Try the french-toast.
It’s stuffed with cream cheese.
Richie hears that and dives in. Bags moves to Michael --
MICHAEL
Hey, you’ll be pleased to hear that I signed
up for the Emergency Management exam next
week. And I finally turned in that
application for promotion.
BAGS
Hey, kid, that’s great. What changed?
MICHAEL
I met a woman.
Everybody freezes, turns to Michael --
COLIN
What? Who?
MICHAEL
Your friend, Kate.
COLIN
What, when did that happen?
MICHAEL
We ran into each other on the
street. Spent the whole night together,
just walking around the city and talking.
Greatest night of my life.
58.
All the Guys look to each other. Proud of their cupid-like- skills. It seems their plan worked after all --
INT. OFFICE - DAY
The DING of the elevator doors announce the arrival of Kate. The doors slide open and she breezes into the office.
She glides a few feet above the carpet and all her friends take notice. They immediately rush over --
ROMA
Who is he?
JEN
Where did you meet him?
BETH
I don’t understand. Just last
night --
KATE
How long until the meeting?
ROMA
We’ve got five minutes -- talk.
Kate gives Beth a big hug and kiss,
KATE
Thank you.
Beth seems confused as they all walk and talk --
BETH
For what?
(getting it)
Michael?
KATE
(through a big smile)
Michael.
They all reach the --
59.
INT. OFFICE - CONFERENCE ROOM - CONTINUOUS
-- and file in. Kate sits at the head of the long table and everyone gathers around for a story.
KATE
I left the party and just walked
around for a while. There was a man playing
the piano near Columbus Circle -- and as I
was standing there listening to the music --
(a thoughtful beat)
And I just felt him -- standing on the
other side of the crowd. It’s hard to explain.
JEN
Then what happened?
KATE
We just spent the whole night together.
All the ladies ooh and ahh --
KATE
Not like that. We walked around the city
and talked.
ROMA
You just talked?
KATE
Yes, what do you think we did?
They all look at each other, they don’t think they SLEPT together -- what they do think is they SANG together. Roma decides to ignore the obvious --
BETH
I knew it. I knew you guys would
be perfect together.
ROMA
Way to go out on a limb. Stevie
Wonder could have made that match.
Beth shoots Roma a look.
60.
JEN
When are you going to see him again?
KATE
Tonight.
Just then a CORPORATE EXECUTIVE appears on the large screen at the end of the room as he takes a seat for the ZOOM MEETING --
CORPORATE EXECUTIVE
Whenever you’re ready Ms. Adams --
Kate stands and begins --
KATE
We all know the truth -- greeting cards
aren’t what they used to be. Sales are
declining because people want more than
just a card; they want something that feels
personal, unique, and unforgettable.
Kate holds up a mock-up card with a QR code --
KATE
Now imagine this -- a customer picks up one
of our cards, not just for the message
inside, but for what happens next. They
scan the QR code, and suddenly, they’re
watching a personalized video message from
their loved one. We’re not just selling cards
anymore; we’re creating moments of joy that
people will remember. It’s not about ink on
paper -- it’s about connection, emotion, and
the stories people share. With one simple
scan, we’re turning a card into an experience
that goes beyond the envelope. This is how
we stand out. This is how we breathe new
life into the greeting card industry.
OFF: Kate’s confident smile --
EXT. KATE’S APARTMENT BUILDING - NIGHT
Kate exits ready for her date with Michael. She looks up to find him standing in a horse-drawn-carriage.
MICHAEL
Your carriage awaits my lady.
61.
Kate looks up at her “Knight”. She takes a breath then begins to SING, “IT TAKES TWO” by MARVIN GAYE and KIM WESTON.
KATE
One can have a dream, baby
MICHAEL
Two can make that dream so real
KATE
One can talk about bein' in love
MICHAEL
Two can say how it really feels
Kate’s about to step into the carriage, then stops -- and so does the music. Michael can see Kate looks conflicted --
MICHAEL
Something’s wrong?
KATE
Not a big fan of these --
(aside)
Don’t like how they treat the horses.
MICHAEL
Looks like we’re walking.
As Michael hops out, the music starts again --
MICHAEL
One can wish upon a star
KATE
Two can make that wish come true, yeah
KATE
Two can make the light shine through
(NOTE: As Kate and Michael sing their DUET, we’ll go through a series of shots to establish the passage of time.)
62.
EXT. FARMERS MARKET - DAY
They walk hand in hand, through the crowd, checking out the vendor’s wares. It’s the usual mixed reaction to them singing. They’re either ignored, looked at like they’re crazy or people are enchanted --
MICHAEL/KATE
It takes two, baby
It takes two, baby
Me and you, just takes two
It takes two, baby
It takes two, baby
To make a dream come true, just takes two
As they sing we FOCUS on a guy zeroing in on a pocket to pick. But once he gets pulled into Michale and Kate’s musical he begins to question his career choice.
EXT. CENTRAL PARK - DAY
They ride along on their bicycles --
KATE
One can have a broken heart, livin' in
misery
MICHAEL
Two can really ease the pain like a
perfect remedy
KATE
One can be alone in a car, on a night like
these all alone
MICHAEL
Two can make just any place seem just like
bein' at home
INT. KATE’S APARTMENT - DAY
The two of them are making dinner together. They move about the kitchen totally in synch, anticipating each other’s moves.
MICHAEL/KATE
It takes two, baby
It takes two, baby
Me and you, just takes two
It takes two, baby
It takes two, baby
To make a dream come true, just takes two
63.
KATE
One can go out to a movie, lookin' for a
special treat
MICHAEL
Two can make that single movie somethin'
really kinda sweet
KATE
One can take a walk in the moonlight,
thinkin' that it's really nice
MICHAEL
But two walkin' hand-in-hand is like
addin' just a pinch of spice
INT. KATE’S APARTMENT - BEDROOM - DAY
The last shots are of them getting ready for bed. Clearing the many pillows from Kate’s bed, folding back the sheets. They climb into bed together.
MICHAEL/KATE
It takes two, baby
It takes two, baby
Me and you, just takes two
It takes two, baby
It takes two, baby
To make a dream come true, just takes two
After they finish singing they begin to kiss, Michael reaches up and turns out the light which takes us to -- BLACK.
INT. CARNEGIE HALL - DAY
We’re looking at the stage, it’s empty. Kate appears from the wings and slowly makes her way to center stage -- Michael is right behind her --
MICHAEL
When I was a kid, I saw my first musical
here in the city. It wasn’t just a show --
it was a doorway. I didn’t know life could
feel that -- big.
64.
KATE
For me, it was Les Miz. I sat there, this
little kid in a big theater, and suddenly
I wasn’t just watching -- I was in it. Like
every note was carrying me somewhere I’d
never been.
They glance at each other, a shared moment of vulnerability.
MICHAEL
It’s crazy how something like that sticks
with you, shapes you.
Kate nods, looking out at the vast, empty hall.
KATE
Makes you wonder if... maybe we were ever
in the same theater, feeling the same
thing.
There’s a beat, are they about to realize they had met years ago outside a Broadway theater as children??? -- Kate shakes it off and grins, breaking the tension --
KATE
How did you pull this off?
MICHAEL
Bob the security guy is a volunteer at
our station.
KATE
I guess it doesn’t take, practice,
practice, practice. All it really takes
is -- Bob.
MICHAEL
Clever.
They both stand center stage and look out over the empty house. A look of reverence on their faces as if they’re at a church --
KATE
Imagine all the people who have
been on this stage.
MICHAEL
Pretty impressive. Now they can
add your name to the list.
65.
KATE
Is this all real?
MICHAEL
Which part?
KATE
You and me -- these last few weeks?
MICHAEL
Feels pretty real to me.
Michael takes Kate’s hand raises it above her head as she spins a few pirouettes. He lets go and she drifts a few feet away --
KATE
I sort of resigned myself that I
would never find this -- and now that
I have -- I’m scared.
MICHAEL
Me too.
KATE
So what do we do?
Michael moves to her, takes her hands in his.
MICHAEL
We trust in the harmony.
She smiles.
KATE
Can I trust you?
MICHAEL
Like a bridge over troubled water.
Kate plays along.
KATE
All you need is love, love is all
you need.
66.
MICHAEL
How wonderful life is when you’re
in the world.
KATE
Caught in a trap, I can’t walk out.
Michael gets a laugh out of that one.
MICHAEL
If you don’t eat your meat how can
you have any pudding?
Kate cracks up. They look into each others eyes, feels like a SONG might be coming, they are at Carnegie Hall after all -- but instead they just kiss.
INT. WILSON’S BAR - NIGHT
All the Gang’s here. Both Michael’s and Kate’s side of the family. The Bar is about to begin their KARAOKE NIGHT. A couple of EMPLOYEES are setting up the equipment.
MICHAEL
(to Bags)
Hey, where’s Jenna?
Bags just shrugs his shoulders, he’s got the look of a man who can’t take much more. Michael puts his hand on his friend’s shoulder.
MICHAEL
Sorry.
Everyone starts looking at the song list, trying to decide what to sing. Roma is not having any of it, she slips away from the group and heads outside -- Richie notices --
Kate points out a song on the list to Michael, he smiles at the recognition of it.
The KARAOKE HOST gets up on stage with a list of singers for the evening.
HOST
Okay, first up is a duet, Michael and
Kate you want to come up here.
67.
Michael grabs Kate’s hand and leads her to the stage. As they get up to sing -- Richie moves off to go find Roma --
ANGLE STAGE -- Michael tells the HOST their song choice, the Host cues it up. He and Kate step up to the microphones and just as they’re about to sing --
EXT. WILSON’S BAR - NIGHT
Richie comes out the front door -- looking for Roma. He spots her off to the side checking her phone --
RICHIE
Hey.
(beat)
You’re not going to sing a song?
Roma throws him a look --
ROMA
I’ve had just about enough of that,
if you know what I mean.
(then)
Who the hell chose a Karaoke bar after
the nonsense we’ve been through.
RICHIE
Someone with a twisted sense of
humor, clearly.
She chuckles, caught off guard by his easygoing vibe. Richie notices her easing up and steps a little closer --
ROMA
(almost to herself)
You know, I was thinking, maybe we
could --
She trails off, second-guessing herself. Richie senses her hesitation and takes charge --
RICHIE
Maybe we could get the hell out of
here, together? Is that what you
were going to say?
68.
Roma really takes him in --
ROMA
There’s something about you.
RICHIE
Natural charm --
ROMA
Overconfidence.
RICHIE
Let me make things easier for the both
of us.
Before she can protest, he steps to the curb and raises his hand, hailing a cab. The cab pulls over, and Richie opens the door, giving her a look that’s equal parts confidence and mischief --
RICHIE
After you.
Roma rolls her eyes but can’t help smirking.
ROMA
Is this the part where I pretend to
hesitate?
RICHIE
Or you could skip right to the part where
you’re impressed.
She slides into the cab with a sly grin. Richie follows, and as the door closes, they exchange a charged look.
As the cab pulls away: HOLD ON THE BAR -- and the passing pedestrians begin to speed by as if in fast-forward. When time slows back down ---
EXT. WILSON’S BAR - NIGHT
The GANG comes spilling out. They give good night hugs all around, Kate and Michael jump into one cab. Colin, Beth and Bags snag another.
It all happens so fast and after the cabs pull away -- Stan and Jen are left standing on the sidewalk, just the two of them. After an awkward beat --
69.
STAN
Want to share a cab?
JEN
I just live a few blocks uptown. I’m
gonna walk.
STAN
I’m heading that way. I can walk with
you -- if that’s okay?
JEN
Oh, where do you live?
STAN
Tribeca.
JEN
That’s the other way.
Stan blushes, oops.
STAN
Right, um -- there’s a store this way
I need to stop at.
Jen smiles at his awkwardness
JEN
Sure, that’d be nice.
They turn and head up the block.
INT. MICHAEL’S APARTMENT - NIGHT
Michael and Kate enter the dark apartment. They’ve had a few but they’re not drunk --
KATE
That was fun. I really love your
friends.
MICHAEL
They love you.
He pulls her in, they kiss. Kate pulls back a bit, to look in his eyes --
70.
KATE
And I love you.
MICHAEL
I love you too.
Another kiss. Then Kate heads off to the bathroom. As she does Michael looks down on the floor and notices an envelope.
He picks it up and opens it to find a letter. As he begins to read it his expression changes from joy to utter confusion --
INT. BAG’S OFFICE - DAY
Michael sits across from Bags who’s holding the letter --
MICHAEL
After all this time not a word from
her. Then she slips some note under my
door -- wants to see me.
(beat)
What do you think it means?
BAGS
Not sure. What do you think it means?
MICHAEL
I don’t know -- I’m so confused.
Michael twists it around in his brain for a bit --
MICHAEL
What should I do?
BAGS
What do you want to do?
MICHAEL
Really? That’s how you’re going to
deal with this? Answer my questions
with questions.
BAGS
And your plan was to come to me for
advice? Seriously, me?
71.
Michael realizes the truth in that.
MICHAEL
Good point. She’s really messed me
up --
BAGS
Look. Go see her. See what she
wants. Otherwise you’re just going to drive
yourself crazy. Maybe you can finally
give this thing an end.
MICHAEL
Closure?
BAGS
Sure, whatever.
MICHAEL
That’s actually good advice.
You’re better at this then you thought.
BAGS
When’s the exam?
MICHAEL
In an hour, then I guess I’ll go see
Sarah.
BAGS
Good luck with both.
Bags smiles, feeling proud of himself as Michael heads off --
INT. ROMA’S APARTMENT - BEDROOM - MORNING
Richie, face planted in a pillow, slowly wakes up. He rolls over to look for Roma, she’s not there --
RICHIE
Hello?
He hears some noises from the other room. He climbs out of bed and heads towards the sounds --
72.
INT. ROMA’S APARTMENT - KITCHEN - MORNING
Roma is dressed and ready for the day -- she’s making some coffee --
RICHIE
Yes. Coffee please.
ROMA
Sorry, just have enough for one cup.
There’s a Starbucks at the end of the block.
Richie twists his head, that was odd.
RICHIE
You just have enough for one cup of coffee?
ROMA
That’s what I said.
Richie decides on a new tact --
RICHIE
Okay, c’mon, I’ll buy you breakfast
before work.
ROMA
Not big on picking up the hints, are
you?
RICHIE
Did I do something wrong?
ROMA
Please don’t do that.
RICHIE
Do what? Treat you nice. Offer to buy you
breakfast? Are you not used to that
from the men you date?
ROMA
Date? Date? What we did does not mean
we’re --
RICHIE
Stop it. You know what I meant.
(a beat, then)
I thought last night was exceptional --
and not for the reason you might think.
I’ve never laughed like that with anyone.
73.
He moves closer to her, holds her look --
RICHIE
Tell me you didn’t feel a connection.
A spark --
ROMA
It doesn’t matter. Connection’s break,
sparks die out --
RICHIE
What a sad way to go through life.
ROMA
Excuse me --?
RICHIE
I can tell you’re afraid. I get it, it’s
rough out there. Most men are terrible,
I’m not blind -- but I’m not like most men.
Roma studies him for a beat -- then --
ROMA
Just pull the door closed when you
leave, it will lock itself.
And with that she’s gone, leaving a confused and befuddled Richie behind.
INT. OFFICE - BREAK ROOM - DAY
Roma sits alone at a table, picking at her lunch, clearly preoccupied. Kate wanders in and notices her friend’s distant look --
KATE
Hey, you okay?
ROMA
Fine.
Kate pulls up a chair, undeterred.
KATE
No, you’re not.
Roma glances at her, then looks away, reluctant but eventually relenting --
74.
ROMA
Ever feel like someone just -- gets
under your skin?
KATE
Ah, so that’s what this is. Spill
it -- who is he?
Roma hesitates, not ready to drop the Richie bomb. So she covers for now --
ROMA
I met someone -- but I’m not like you.
KATE
What does that mean?
Roma considers her words carefully --
ROMA
I don’t find love easy. Letting go,
trusting someone, giving them the power
to hurt you -- it terrifies me. I’m the
‘no-strings’ expert, but suddenly I’m
worrying about -- I don’t even know what.
KATE
I never thought you were afraid of
anything.
ROMA
Welcome behind the curtain.
KATE
Look, I’ve had my heart broken and
been in love a few times. When you’re
in love, it softens the blows of this life.
And no heartbreak can erase that --
if anything, it makes you stronger.
Roma seems to absorb this, the words resonating. Kate gives her a soft smile, then stands.
KATE
(leaning in with a smile)
If he’s already under your skin, maybe
he’s worth letting in a little.
75.
Kate kisses Roma on the top of her head and leaves, leaving Roma to ponder, a thoughtful smile creeping onto her face.
As Kate exits the kitchen she pulls out her phone and calls Michael --
KATE
Hey, it’s me.
INT. FDNY ENGINE 5 - SAME
Michael is walking down the stairs talking to Kate --
MICHAEL
Hey, me.
INTERCUT AS NECESSARY
MICHAEL
What’s up?
KATE
Just missing you. Want to grab some
lunch?
Michael stops at the bottom of the stairs, we can see on his face that he’s about to lie to Kate --
MICHAEL
I can’t today, I have my exam then...a
meeting. I’ll see you later for dinner,
right?
KATE
Yes you will. Good luck.
MICHAEL
Thanks, bye.
Michael hangs up, he’s not happy with himself. He goes to call back Kate but then changes his mind. He pockets his phone and heads out --
75.
EXT. UNION SQUARE - DAY
Michael holds the note from Sarah -- as he approaches the fountain he sees her. SARAH looks as beautiful as he remembers. Michael pauses and takes a breath, this is going to be harder than he thought.
Sarah sees Michael as he a makes his way over. She gets up and moves to meet him. They stop about a few feet apart --
SARAH
Hi.
MICHAEL
Hey, got your note. Is everything
okay?
SARAH
Yes, no -- thanks for meeting me.
MICHAEL
Your parents okay?
SARAH
They’re fine --
MICHAEL
So what’s --
SARAH
I miss you.
Wow, Michael wasn’t expecting that. He just stares at her --
MICHAEL
You just disappeared.
(off her look)
It’s been six months, with no
explanation, and now you’re telling me --
(beat)
Wait, what are you telling me?
Sarah takes his hand and leads him to the edge of the fountain and they sit.
76.
SARAH
I’m telling you -- I’m sorry. I
thought I wanted something different -- but
I guess I didn’t know what I wanted.
MICHAEL
What about the other guy?
SARAH
He never meant anything. I guess
I just had to go out there and find out
what was important to me.
As Sarah continues to talk, Michael’s anger begins to grow. How dare she. Turn his life upside down and now this --
Michael turns to the BUSINESS GUY sitting next to him and all his growing anger comes out in a song. He SINGS, “DROPS OF JUPITER” by TRAIN.
MICHAEL (TO BUSINESS GUY)
Now that she's back in the atmosphere
With drops of Jupiter in her hair, hey
She acts like summer and walks like rain
Reminds me that there's a time to change,
hey
Since the return from her stay on the moon
She listens like spring and she talks like
June, hey, hey
The business guy is a little confused. He gets his stuff together and walks away.
Michael turns his attention to Sarah. She’s not sure what the hell is going on. She looks around, she’s embarrassed to be part of this moment.
MICHAEL
But tell me, did you sail across the sun?
Did you make it to the Milky Way
To see the lights all faded
And that heaven is overrated?
Tell me, did you fall for a shooting star?
One without a permanent scar
And then you missed me
While you were looking for yourself out there?
77.
SARAH
Michael what are you doing?
ANGLE ON KATE -- She’s walking along the opposite side of the park, enjoying the day when she sees Michael singing to Sarah.
She can’t hear him so she doesn’t know the context of the song. All she can see is he’s singing with another woman. And all she can feel is betrayed. She turns and runs in the opposite direction --
BACK TO MICHAEL
He brings his attention back to Sarah and begins to slowly move towards her --
MICHAEL
Was it everything you wanted to find?
And then you missed me
While you were looking for yourself out
there
Sarah now just looks embarrassed. Michael finishes his song and just stands there, glaring at Sarah --
SARAH
Wow. I didn’t realize how much I hurt
you. I’m sorry.
MICHAEL
Me too.
SARAH
Are you getting help?
MICHAEL
For what?
SARAH
You -- just --
MICHAEL
I just needed to tell you how I felt.
Goodbye, Sarah.
Michael walks away, leaving Sarah standing there. She certainly didn’t expect that response --
78.
EXT. CENTRAL PARK - DAY
Stan and Jen walking along, still trying to feel each other out. When suddenly a pigeon drops a present on Stan’s shoulder --
STAN
Shit.
JEN
What?
STAN
Shit.
JEN
What? What’s wrong?
STAN
Pigeon shit.
Stan turns to show Jen the droppings on his shoulder --
JEN
AWW. It’s okay, it’s good luck.
She takes out some tissues from her purse and begins to wipe it off. Stan just looks at her and smiles --
JEN
What?
STAN
Nothing.
He leans in and gives her a kiss. He pulls back and now she’s smiling. She continues to clean off his shoulder. Sometimes, it’s that easy --
INT. FDNY ENGINE 5 - DAY
Richie is standing in the middle of the garage, staring at a roll of firehose. Just standing there staring. Michael walks through and catches him lost in thought --
79.
MICHAEL
Earth to Richie.
Richie snaps out of it.
MICHAEL
You okay?
RICHIE
Yeah, fine.
MICHAEL
You want to talk about it?
RICHIE
Not really.
MICHAEL
Okay.
Richie goes back to staring at the hoses as Michael heads out of the station --
INT. SCARPETTA RESTAURANT - NIGHT
Michael is sitting at a table alone. Some of the WAIT STAFF subtly point to him -- they obviously remember his performance from the other night.
As he checks his watch - Kate enters and makes her way to Michael’s table. He lights up at the sight of her but he can tell right away that something’s wrong --
MICHAEL
Hey, what’s going on?
Kate doesn’t sit down.
KATE
I saw you.
Michael gets up, moves to her.
MICHAEL
What are you talking about?
80.
KATE
Sarah, I believe her name is. I saw
you --
MICHAEL
It’s not --
KATE
...singing with her.
That stops them both immediately.
KATE
I thought that was -- our thing. I
thought what we had was --
Kate is starting to get upset, she’s trying to keep it together. Her eyes begin to well with tears --
MICHAEL
Kate. It’s not what you think.
She doesn’t want to hear it, she turns and runs from the restaurant --
EXT. SCARPETTA RESTAURANT - NIGHT
Taxis drop off diners, the streets are alive. Kate comes rushing out of the restaurant, Michael is right behind her. He finally catches up to her halfway down the block. Gets her to stop --
MICHAEL
Kate, I was telling her I wasn’t
interested. She wanted to come back but
I told her no.
KATE
You lied to me, you said you had a
meeting.
MICHAEL
I did, but then I went to see Sarah.
I’m sorry that was stupid.
KATE
How can I trust you now?
81.
MICHAEL
You can trust me. I just didn’t
want you to get the wrong idea --
KATE
So you lied? It may seem like a simple
little white lie to you but not to me.
It’s how it all started with my ex --
small lies, the absence of truth and then --
I’m not doing that again. I can’t.
MICHAEL
I’m sorry.
Kate takes a breath, calms a bit.
KATE
It doesn’t matter, this was a
mistake.
(beat)
Michael I believe you, but I just can’t
do this. My heart isn’t ready. I thought
I was but I’m not.
Michael steps in close to Kate, lifts her gaze with his hand. As soon as they lock eyes, Michael begins to SING, “I’LL STAND BY YOU” by the PRETENDERS.
MICHAEL
OH, WHY YOU LOOK SO SAD?
TEARS ARE IN YOUR EYES
COME ON AND COME TO ME NOW
DON'T BE ASHAMED TO CRY
LET ME SEE YOU THROUGH
Kate holds his gaze then turns away and begins to sing, “GO YOUR OWN WAY” by FLEETWOOD MAC. We blend these to classics together --
82.
KATE
Loving you
Is it the right thing to do?
How can I ever change things
That I feel?
If I could
Maybe I'd give you my world
How can I
When you won't take it from me
Kate begins to walk away from Michael, but he stays on her heels --
MICHAEL
CAUSE I'VE SEEN THE DARK SIDE TOO
WHEN THE NIGHT FALLS ON YOU YOU DON'T KNOW
WHAT TO DO
NOTHING YOU CONFESS
COULD MAKE ME LOVE YOU LESS
He grabs Kate and spins her toward him --
MICHAEL
I'LL STAND BY YOU
I'LL STAND BY YOU
WON'T LET NOBODY HURT YOU I'LL STAND BY
YOU
KATE
You can go your own way
Go your own way
You can call it
Another lonely day
You can go your own way
Go your own way
Kate pulls herself free and heads toward the road looking for a cab to make her escape --
KATE
Tell me why
Everything turned around
Packing up
Shacking up's all you wanna do
If I could
Baby I'd give you my world
Open up
Everything's waiting for you
83.
Michael stays with her.
MICHAEL
SO IF YOU'RE MAD, GET MAD
DON'T HOLD IT ALL INSIDE
COME ON AND TALK TO ME NOW
HEY, WHAT YOU GOT TO HIDE?
I GET ANGRY TOO
WELL I'M A LOT LIKE YOU
WHEN YOU'RE STANDING AT THE CROSSROADS
AND DON'T KNOW WHICH PATH TO
CHOOSE LET ME COME ALONG
CAUSE EVEN IF YOU'RE WRONG
A cab stops, Kate opens the door to get in but Michael blocks her and sends the cab on its way.
KATE
You can go your own way
Go your own way
You can call it
Another lonely day
You can go your own way
go your own way
MICHAEL
I'LL STAND BY YOU
I'LL STAND BY YOU
WON'T LET NOBODY HURT YOU I'LL STAND BY
YOU
TAKE ME IN, INTO YOUR DARKEST
HOUR AND I'LL NEVER DESERT YOU
I'LL STAND BY YOU
The songs end and they both just stand there staring at each other -- chests heaving with emotion. Finally another CAB approaches and Kate sticks out her arm. As she climbs in she looks back to Michael -- he doesn’t stop her this time.
The CAB drives off into the night, leaving Michael standing in the middle of the street.
Off to the side a STREET MUSICIAN, raises his trumpet to his lips and starts to play but no sound comes out. He checks the mouthpiece, makes sure it’s clean, then tries again. Nothing. No music. That’s weird, wonder what it means --
84.
INT. NYFD ENGINE 5 - LOCKER ROOM - DAY
Bags enters to find all the guys huddled in there. Something’s up --
BAGS
What’s going on?
RICHIE
Michael’s been up in the storage room all
night. Hasn’t moved.
BAGS
Why? What happened?
STAN
No idea. He told us to give him some space.
BAGS
Well, that’s not going to happen.
Bags turns and exits --
INT. FDNY ENGINE 5 - ATTIC - CONTINUOUS
It’s mostly a storage attic. At the far end of the room is a large twenty foot circular window. Michael leans against the window as Bags approaches --
BAGS
Michael, you alright? This can’t be
about the exam, I heard you aced it.
MICHAEL
No, it’s not that.
(beat)
I messed up.
BAGS
What happened?
MICHAEL
I went to see her.
BAGS
Sarah?
Michael nods.
85.
BAGS
That was your first mistake. Why would
you do that?
MICHAEL
Because you told me to.
BAGS
What are you doing listening to me?
Bags manages to get a small smile out of Michael --
MICHAEL
Kate saw us -- together. She didn’t
take it well.
BAGS
What were you doing?
MICHAEL
Nothing. It was just a misunderstanding.
BAGS
Look, Kate seems like a level
headed woman. Just tell her the truth.
MICHAEL
She’s too mad to hear anything right
now.
BAGS
Then just give her a little time.
Michael takes that in. After a beat he gets up from the window and Bags gives him some room. It feels as if Michael’s about to launch into a SONG -- Bags waits expectantly -- then nothing -- no song.
MICHAEL
I’m gonna get something to eat. You
hungry?
Bags thinks it’s odd, he was sure a SONG was coming on --
86.
BAGS
No, I’m good.
(then)
Is there anything else you want to
say? A different way you want to say it?
MICHAEL
Nope.
(then)
You sure you’re not hungry? I was gonna
make that Bolognese you like.
BAGS
Yeah, sure, why not.
They both head down --
INT. FDNY ENGINE 5 - DAY
When Michael and Bags reach the bottom of the stairs, they find Stan and Richie who were trying to listen in.
Stan tries to play it off by popping in his EAR BUDS. He taps play on his phone but nothing happens. He pulls the BUDS from his ears and blows in them, trying to clean them out. Still nothing --
STAN
(to Richie)
I just bought these I can’t believe
they’re broke already.
Stan tosses the BUDS into the nearby garbage. He and Richie head off to join Bags and Michael. As move down the hall we slowly PUSH IN on the broken EAR BUDS --
INT. OFFICE - BREAK ROOM - DAY
Kate sits by herself staring at her cup of coffee. All the women slowly appear at the door --
ROMA
Did you hear? Corporate loved your idea.
They want us to run with it.
KATE
(emotionless)
That’s great.
87.
ROMA
Kate, sweetie, what’s going on?
KATE
It’s my own fault.
They all rush into the kitchen --
BETH
What is?
KATE
I saw him with his old girlfriend.
JEN
What were they doing?
KATE
He was -- he was -- singing to her?
All the WOMEN gasp and cover their mouths. It’s like they just heard the most horrible news ever.
JEN
Why would he do that?
ROMA
Because he’s a guy.
KATE
I don’t know. All I know is I
thought I was ready -- but I’m not. I
thought I could trust him -- he could have
told me he was going to see her.
(beat)
It doesn’t matter.
She stands up from her seat. All the Women back up a bit to give her room for her MUSICAL NUMBER. But Kate just walks over to the coffee pot and gets a refill --
KATE
Back to work.
Kate sulks out of the kitchen leaving every one behind.
88.
ROMA
That was odd.
JEN
Yeah I thought she was going to --
BETH
Me too.
They all stand there, trying to figure out why there’s a shift in the time space continuum. Or more specifically why Kate didn’t sing a song.
As they all ponder that, they hear a banging coming from outside the door. They all stick their head in the doorway.
Emma, one of their coworkers is at her desk beating her computer with a plastic BACK-SCRATCHER
ROMA
Unless your computer has an itch, stop
that.
Emma slides her headphones off --
EMMA
What?
JEN
What’s wrong with it?
EMMA
(getting worked up)
It won’t play my music. I can’t work if
I can’t listen to my music. It relaxes
me. Somebody needs to fix this.
As the women gather around to see what the problem is we slowly push in on Emma’s HEADPHONES lying on the desk -
INT. BAGS’ APARTMENT - KITCHEN - NIGHT
Bags sits at the table. It’s late at night, or early in the morning depending on how you look at it. He’s got a bottle of Jack in front of him. He’s watching the news --
89.
REPORTER
First it was the failure of millions of
wireless speakers and headphones and other
musical devices causing the stock market
to plummet. Now we have word of concerts
being cancelled with no explanation given.
Last week Adele cancelled her upcoming tour,
now Harry Styles and Randy Travis have
followed suit. Something is happening
to the world’s music --
Suddenly he hears a key in the lock, downs what’s left in his glass and steals himself for what’s to come. Jenna stumbles into the apartment --
JENNA
What are you doing up?
BAGS
Where were you?
JENNA
Out with Shelly.
Bags shakes his head then hurls his glass across the room.
JENNA
Oh great -- you’re drunk.
BAGS
What do you want from me? I work
my ass off day and night. I try to give
you everything you want and you make
me look like a fool.
JENNA
What are you going on about?
BAGS
You don’t think everybody knows.
All the guys at the house look at me
with pity in their eyes.
(beat)
I love you so much isn’t that enough.
90.
For the first time Jenna can see the pain she’s causing, her shoulders sink with the weight of it. But she pushes back her guilt and remains defiant --
JENNA
You go to work. Hallelujah. You clean the
dishes. Hallelujah. You do laundry.
Hallelujah. I. Need. More.
Bags drops to his chair and buries his head in his hands. Then it starts, low and soft. He begins to SING, HALLELUJAH by LEONARD COHEN --
BAGS
Now I've heard there was a secret chord
That David played, and it pleased the
Lord
But you don't really care for music,
do you?
JENNA
What are you doing?
BAGS
It goes like this
The fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Bags lifts his head and look directly at Jenna.
JENNA
Knock it off Thomas. Enough.
Bags rises to his feet now -- moves to his wife but she backs away.
BAGS
Baby I have been here before
I know this room, I've walked this floor
I used to live alone before I knew you.
I've seen your flag on the marble arch
Love is not a victory march
It's a cold and it's a broken Hallelujah
Hallelujah, Hallelujah Hallelujah,
Hallelujah
91.
JENNA
Stop. I don’t have to listen to this.
You’ve lost your mind.
Jenna grabs her stuff and walks out of the apartment --
BAGS
I did my best, it wasn't much
I couldn't feel, so I tried to touch
I've told the truth, I didn't come to fool
you
And even though
It all went wrong
I'll stand before the Lord of Song
With nothing on my tongue but Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah Hallelujah
INT. FDNY ENGINE 5 - KITCHEN - DAY
The guys are all there except Michael. Bags is just staring down at his coffee, no one is really saying much. Until --
BAGS
Jenna left me.
They all react.
STAN
When?
BAGS
Last night, it’s over.
RICHIE
What happened? What did you do?
Bags takes a moment, he can’t believe it himself --
BAGS
I sang.
RICHIE/STAN
You what?
92.
BAGS
I sang a song.
RICHIE
Like, Mikey?
BAGS
Just like Mikey. It was the strangest
most amazing feeling in my life.
RICHIE
Great. I hope it’s not contagious.
Stan has moved to refill his coffee. As he’s pouring another cup he looks to the PORTABLE SPEAKER. The song that’s playing is fading in and out. Stan taps the side of the speaker which causes it to stop playing altogether --
STAN
Great.
INT. FDNY ENGINE 5 - DAY
Michael’s polishing all the chrome on the ladder truck. He’s just trying to keep busy, keep Kate from his mind --
Richie comes down the stairs and he’s purposefully whistling a tune -- trying to cheer up Michael, trying to get him to take the bait and SING. Just then Stan turns the corner, whistling as well. Ritchie approaches --
RICHIE
I just tried that.
STAN
Nothing?
As Richie shakes his head no, Colin joins them --
COLIN
Well?
They all look to their friend, lost for an answer.
93.
Bags arrives at the top of the stairs. He sees Michael mindlessly polishing away. He takes a deep breath then begins to SING, OOH CHILD by The FIVE STAIRSTEPS --
BAGS
Ooh-oo child
Things are gonna get easier
Ooh-oo child
Things'll get brighter
Ooh-oo child
Things are gonna get easier
Ooh-oo child
Things'll get brighter
Michael stops what he’s doing. He watches as Bags heads down the stairs -- singing. He lands by the other guys. Stan spontaneously joins in -- he’s not sure why -- he’s just moved to sing --
STAN
Some day, yeah
We'll get it together and we'll get it
all done
Some day
When your head is much lighter
Some day, yeah
We'll walk in the rays of a beautiful
sun
Some day
When the world is much brighter
As Stan is finishing up his verse he looks to Richie, who’s shaking his head, no -- as in, “I’m not singing you idiot.” But then he does, like Stan, he’s caught up in the moment --
RICHIE
Ooh-oo child Things are gonna Ooh-oo
child
Things'll get be Ooh-oo child Things are
gonna
Ooh-oo child Things'll get be
be easier brighter be easier brighter
Now it’s Colin’s turn, he figure what the hell, really digs into his part --
94.
COLIN
Some day, yeah
We'll get it together and we'll get it all
done
Some day
When your head is much lighter
Some day, yeah
We'll walk in the rays of a beautiful sun
Some day
When the world is much brighter
Michael just sits there and listens, the guys are expecting him to join in, but he doesn’t. So now they all bring home the final verses together --
ALL
Some day, yeah
We'll get it together and we'll get it all
done
Some day
When your head is much lighter
Some day, yeah
We'll walk in the rays of a beautiful sun
Some day
When the world is much brighter
Ooh-oo child
Things are gonna get easier
After the guys big finish they stand there waiting for Michael’s reaction. He slowly gets up and stands before them.
MICHAEL
(sadly)
Thanks guys.
Then he heads up the stairs, leaving the group behind.
BAGS
I can’t believe that didn’t work.
RICHIE
What just happened?
STAN
We just did a kick ass version of
Ooh Child.
95.
RICHIE
I’ve never sang in my life.
COLIN
Really, you were good.
RICHIE
You think so?
(then)
I kind of impressed myself.
As the GUYS begin to revel in their performance --
INT. OFFICE - DAY
Kate sits at her desk staring off into space when she is suddenly surrounded by her friends --
ROMA
We’re all going out for a drink and
you’re coming with.
KATE
Not tonight guys.
ROMA
We’re not taking no for an answer.
Roma grabs Kate’s chair and begins to roll her down the aisle.
KATE
Stop, please.
Roma spins the chair so Kate is facing her.
ROMA
You need to forget about him. You
use to light up a room when you entered,
now all you do is drop the wattage.
KATE
He just --
96.
ROMA
He just made you miserable. Look at
yourself. That is not love. You may have
thought it was but it wasn’t.
Jen and Beth swoop in, to spare Kate Roma’s directness. They gently nudge Roma aside, she paces in the background, clearly frustrated.
BETH
She just means, you use to be so full
of -- joy --
ROMA
I hate to admit this but things
have been different since you stopped --
stopped seeing Michael. It’s like the
world slowed down a bit.
JEN
Yeah, it just hasn’t been the same.
KATE
Guys, I’m sorry. I don’t know what
to say.
Roma does. She pushes through the WOMEN, stands right in front of Kate. After a beat she begins to SING, “HIGHER LOVE”, by STEVE WINWOOD --
ROMA
Think about it
there must be higher love
Down in the heart or hidden in the stars
above.
Without it life is wasted time
Roma is as surprised as the rest of the group about what she just did.
ROMA
Look inside your heart
I'll look inside mine.
Things look so bad everywhere in this
whole world what is fair?
Now it’s Jen’s turn.
97.
JEN
We walk blind and we try to see
falling behind in what could be.
Bring me a higher love
They all join in on the chorus, except Beth. She’s feeling a little shy about all this.
ALL
Bring me a higher love
Bring me a higher love -
where's that higher love I keep thinking
of?
World's are turning and we're just
hanging on
Facing our fear and standing out there
alone.
All the women grab Beth and push her forward, egging her on. She’s reluctant for a moment, then really grabs hold of the moment --
BETH
A yearning
and it's real to me
There must be someone who's feeling for me.
Things look so bad everywhere
in this whole world
what is fair?
We walk blind and we try to see
falling behind in what could be.
Beth is just beaming, she can’t believe she did it. She’s never felt so alive. She joins the rest of the WOMEN on the chorus --
ALL
Bring me a higher love
bring me a higher love
Bring me a higher love -
I could rise above on a higher love
I will wait for it
I'm not too late for it.
Until then I'll sing my song to
cheer the night along
They’re all dancing and really enjoying themselves. Kate’s just sitting there though, not even tempted to join in. Just then EMMA stands on a desk behind all the women and takes the song home. The EXTRA gets her moment --
98.
EMMA
I could light the night up with my soul
on fire
I could make the sun shine from pure
desire.
Let me feel that love come over me let
me feel how strong it could be
Bring me a higher love
Bring me a higher love
Bring me a higher love
Bring me a higher love
They’re all shocked and delighted by Emma’s ability. The women jump around and congratulate themselves, a few high-fives here and there.
When they all finally turn back to Kate they realize she’s halfway out the door.
ROMA
Kate.
Kate just keeps moving, and heads out the door.
KATE
Good night guys. See you tomorrow.
Her friends can’t believe that didn’t work --
JEN
Did we just -- I mean did that
really happen?
BETH
I don’t know but it was amazing.
The air tastes sweeter, who knew a
person could feel like this.
ROMA
It’s almost like that five minute
orgasm I had that time.
They’re all both shocked and amused by Roma’s over-share. On their uncomfortable laughter we -
INT. FDNY ENGINE 5 - REC ROOM - NIGHT
The guys are sitting around watching TV. Depressed about their failure to help Michael --
99.
STAN
I could use a song -- you know what
I mean?
RICHIE
Yeah. It’s weird, whenever Mikey
would do “it” out in public -- I was
embarrassed. But sitting here right now,
I couldn’t tell you why.
As they ponder that Bags picks up the remote and begins to channel surf, when he lands on a serious looking KAITLAN COLLINS he stops.
KAITLAN COLLINS
...right now some of the greatest musicians
of our time have begun to gather in
Carnegie Hall, all of this has been
put together by Sting and Bono trying
to find out why music is dying...
The three guys heads whip back and forth --
RICHIE
Did she just say what I think she
said?
BAGS
That music is dying?
RICHIE
This has nothing to do with Michael
and Kate, that would be crazy. Right?
Right?
INSERT TV:
KAITLAN COLLINS
We have from the University of
Texas noted Physicist and Nobel
prize winner Steven Weinberg.
(beat)
Steven can you shed any light
on these strange events?
100.
STEVEN WEINBERG
Well Kaitlan, music is caused by vibrations,
whether it be the skin of the drum, or
the string of a guitar, or even our own
vocal cords. For instance our cords
oscillate at 440 times per second when
singing A above middle C. We’re
looking to see if there are atmospheric
changes going on that might be
limiting the vibration rate.
BACK TO THE GUYS
STAN
That makes perfect sense.
RITCHIE
So you concur with the world renown
physicist?
STAN
Yeah.
RITCHIE
Shut up.
BACK TO KAITLAN
KAITLAN COLLINS
In trying to figure out how and where
this all started the closest we can
narrow it down to is sometime last
night and it began to spread in lower
Manhattan and is now quickly
becoming a global problem.
BACK TO THE GUYS
RICHIE
Didn’t Mikey say they had their
fight last night --
STAN
At Scarpetta’s downtown.
Now they all look concerned, is this really happening?
101.
INT. BETH AND COLIN’S APARTMENT - NIGHT
Kaitlan’s still on the TV talking, we pan off her to the women who are staring at the set, jaws dropped --
JEN
How does music die?
ROMA
It can’t.
JEN
So Kaitlan Collins is lying?
BETH
This is because of Michael and
Kate, it has to be.
ROMA
I want both of you to listen to the
words coming out of your mouths.
Just then Beth’s phone rings.
BETH
It’s Colin.
(answering)
Did you see the news? What are we going
to do? Where? We’ll be there in twenty
minutes.
Beth hangs up and heads for the door.
BETH
Let’s go.
JEN
Where?
BETH
To meet the guys to figure out what
the hell is going on.
They all head for the door but Roma’s not happy about it.
ROMA
I’ll tell you what’s going on.
You’re all losing your minds.
102.
EXT. COLUMBUS CIRCLE - NIGHT
Richie, Stan and Bags are approaching from the east, Roma, Jen and Beth from the west. They all meet near the entrance to the park --
Colin and Beth embrace. Richie gives Roma her space.
ROMA
Why are we here?
COLIN
This is where they met, I thought
it might be important -- mean something.
Roma just stares at him, then --
ROMA
Oh, for crying out loud. Am I the
only sane one?
BETH
What are we going to do?
RICHIE
I don’t know but we have to fix
this.
COLIN
This is crazy. This can’t be
because of them.
JEN
What else could it be?
STAN
Say it out loud, I know it might
make sense in your head but say it out
loud and you’ll see how absurd this all
is.
Finally Stan does it, he says what everybody is thinking but is too embarrassed to utter.
STAN
(quickly, as fact)
All the music is dying in the world
because Michael and Kate broke up.
103.
They all just stare at each other as that hangs in the air. Finally someone speaks, but it’s not any of them --
VOICE (O.S.)
The world is in trouble.
They all spin to find ALBERT. Now he’s a Rasafarian, standing behind a set of STEEL DRUMS --
ALBERT
Music is dying.
Albert bounces his pansticks on his Steelpan and there is no sound.
ROMA
Oh come on. A Rastafarian prophet --
is this really happening?
ALBERT
I’m no prophet, only a witness. I
was here when your friends met.
EXT. COLUMBUS CIRCLE - NIGHT - (FLASHBACK)
We’re back to the night Kate and Michael met. When they first spotted each other across the crowd --
ALBERT (V.O.)
I witnessed the birth of a pure love, a
rare luminous force that keeps the world
from slipping into darkness. This love
isn’t just powerful; it’s life itself.
It can heal wounds that medicine can’t
touch, silence guns, and mend fractured
souls. But now, this love is fading, and
the music fades with it. And if the
music dies, the world dies, because in
a universe starved of light, love and
music are the only things keeping us
alive.
As Kate and Michael sing, their voices intertwine, lifting each other and filling the space with a warmth that cuts through the surrounding darkness. Albert stands nearby, watching with quiet awe. He sees it for what it truly is -- a perfect moment, a duet that radiates a light strong enough to push back the shadows.
104.
A nearby couple, caught in a heated argument, slowly stop, their anger dissolving as they’re drawn to the melody. Further down, a man about to break into a car pauses, captivated by the harmony. One by one, they feel it too: the rare beauty of a love so pure it transforms everything it touches.
EXT. COLUMBUS CIRCLE - NIGHT
Back with the gang as they all just take that in, then Roma can’t help herself.
ROMA
(to Albert)
You win. You’re the craziest person
I’ve ever met and that’s saying a
lot because I use to work on Wall Street.
ALBERT
You of all people know this to be
true Roma --
ROMA
Who told you my name?
ALBERT
You want nothing more than to trust
someone with your heart, to lift your
soul into the light -- but you’re so
afraid you refuse to jump because
if you jump you’re afraid you’ll fall.
Not realizing there’s another possibility.
ROMA
Which is?
ALBERT
You could fly.
He touches a nerve with Roma, she can’t decide if she wants to cry or punch him. She decides on the latter, but Richie stops her.
As he holds her in his arms, their eyes meet his steady gaze begins to push through her defenses --
105.
ALBERT
There, the spark of love, did you
see it. It’s beautiful.
Roma becomes self-conscious, she pulls away from Richie. There does seem to be some kind of glow in the air but before you can notice it -- it’s gone.
ALBERT
You need to save your friends, you
need to save love, you need to save
music -- you need to save the world.
They all look to each other.
BETH
I’m a little freaked out right now.
COLIN
It’s going to be okay.
JEN
That was like so weird.
STAN
What are we going to do?
They all look back to Albert, who is now gone, drum and all. Roma is in a daze, there’s a change going on inside her.
BAGS
We’re going to save the world.
Everyone’s slowly getting pumped.
Roma steps into the middle of the group.
ROMA
Bet your ass we’re going to save
the world.
The converted Roma has fired up the group --
ROMA
We’ll check Kate’s apartment, you
guys head to Michael’s. We have to
get these guys back together.
106.
The group splits up, but not before Beth and Colin share a kiss, then Stan and Jen.
Finally Roma and Richie lock eyes and slowly move toward each other. They embrace and share a passionate kiss. Then they’re all off to save the world.
INT. KATE’S APARTMENT - HALLWAY - NIGHT
The WOMEN arrive at Kate’s door, Roma knocks -- there’s no answer --
BETH
Where can she be?
ROMA
Try her cell again.
As Jen dials she begins to have a mini breakdown --
JEN
What are we going to do? This is
too stressful. I can’t save the world --
I can’t remember where the hell I put
my keys -- this is too much responsibility.
(re:phone)
It went to her voicemail.
ROMA
Hey, pull it together.
Roma casually tries the knob and to her surprise it opens.
JEN
That’s not safe -- what is she
thinking?
ROMA
Obviously she’s not.
They all head into the apartment.
INT. KATE’S APARTMENT - NIGHT
The lights are on, the TV can be heard in the living room.
107.
ROMA
Kate?
As they make their way through the apartment it becomes obvious nobody’s home. Jen dials Kate’s cell again and a phone begins to ring on the Kitchen counter. It’s Kate’s.
BETH
Now we know why she’s not answering.
JEN
I can’t believe she would leave her
TV on, that’s such an energy drain.
As Jen moves to get the remote to turn the TV off, Roma stops her.
ROMA
Wait.
(then)
I think I know where she is.
They all focus their attention on the TV, it’s a live broadcast from Times Square. There’s Kaitlan Collins again.
ON THE TV:
KAITLAN COLLINS
People have been gathering for the last
couple hours -- thousands of people
all here to watch the live feed from
Carnegie Hall as try to get to the
bottom of this most unusual occurrence.
We see the growing masses all looking up at the JUMBOTRON which is showing an image of an empty stage. Jen and Beth look to Roma, who points to the TV --
ROMA
She has to be there.
And they’re off --
108.
INT. FDNY ENGNIE 5 - NIGHT
Bags, Stan and Richie all enter from different directions, then meet at the center of the floor.
RICHIE
He wasn’t at his apartment.
STAN
He wasn’t at McSorley’s.
Richie and Bags shoot Stan a look.
BAGS
Why would you check there, he never
goes there.
STAN
You never know.
More dirty looks.
STAN
I stopped in for a quick beer.
RICHIE
The world is ending and you stopped
for a beer.
STAN
It’s not really ending -- right? I
mean that guy was being metaphorical.
RICHIE
The fact that you used that word
correctly is shocking, secondly I don’t
know if the world is really ending but
I don’t think we should sit back and
wait to see if the Rastafarian
Prophet was right.
STAN
Witness.
RICHIE
What?
109.
STAN
He said he wasn’t a prophet,
just a witness.
Before Richie can hit Stan his phone rings. He sees it’s Roma on his caller I.D.
RICHIE
(into phone)
Did you find her?
EXT. BROADWAY - SAME
Roma and the Women are walking down the street heading toward Times Square.
ROMA
Sort of. Turn on the TV.
INTERCUT AS NECESSARY
The guys move to a small TV in Bag’s office and turn it on. They see the scene at Time Square --
ROMA
Everyone is gathering to see what
the hell is going on. I think Kate’s
there somewhere.
(then)
Where’s Michael?
RICHIE
We haven’t found him yet.
ROMA
Well get off the phone and find him.
She hangs up the phone and picks up her pace, Jen and Beth struggle to keep up.
INT. FDNY ENGINE 5 - NIGHT
The guys continue to stare at the TV.
110.
BAGS
I can’t believe this is happening.
MICHAEL (O.S.)
Believe what’s happening?
Three heads snap their attention to the doorway, where Michael casually leans --
MICHAEL
What’s going on?
RICHIE
Where the hell have you been?
MICHAEL
Just out for a walk, needed to clear
my head. Sorry.
RICHIE
The world is ending and he goes for
a walk.
MICHAEL
What are you talking about? The
world is ending?
Bags gestures for Michael to come look at the TV. He moves into the office and stands in front of Bags.
MICHAEL
(re: television)
What’s going on there?
Bags moves closer to Michael, he’s positioned behind him, right over his shoulder. He begins to quietly explain what’s going on as Michael stares at the TV --
111.
BAGS
What I’m about to say is not going
to make any sense but we believe since
you stopped singing -- since you and
Kate broke up -- that the music in
the world is slowly dying. And if
you don’t somehow try and make things
right with Kate that the music will
stop forever and maybe even the fate
of the world is in jeopardy.
Michael takes his eyes off the TV and slowly turns to Bags.
MICHAEL
(heartfelt)
That makes perfect sense.
RICHIE
(pointing to the TV)
She’s there, now. You have to find her.
You don’t have to tell him twice, Michael’s out the door and off to find Kate --
STAN
I don’t know about you guys but I
find this very exciting.
BAGS
What are we standing here for.
Boom. They rush from the Firehouse after Michael.
EXT. CITY STREET - NIGHT
Michael is sprinting up Broadway, weaving in and out of the pedestrians.
EXT. TIMES SQUARE - NIGHT
Michael comes running up to the crossroads of the world, his pace slowing as he takes in the sight before him. Thousands of people are packed into the square, a restless sea of bodies shifting and jostling. How the hell is he going to find her in this mess?
112.
The crowd’s attention is fixed on the JUMBO SCREEN at ONE TIMES SQUARE, which shows the live feed from CARNEGIE HALL. Dozens of musicians are gathered on stage, frantically trying to coax sound from their instruments.
KAITLAN COLLINS (V.O.)
This is a last desperate step as some
of the greatest musicians have gathered
here to try and find out what has
happened to the music in the world.
I can see Yo-Yo Ma working furiously
just to get a single note.
JUMBOTRON: Yo-Yo Ma struggles with his cello, his movements urgent but fruitless. His frustration is palpable.
ON MICHAEL -- as he pushes his way through the crowd, but the growing tension is evident. People bump into him harder now, some shoving each other in frustration. Heated arguments break out nearby. A man shouts as he’s jostled by another, and a small scuffle breaks out a few feet from Michael.
The mob’s restlessness spreads like a ripple through the crowd. A woman trips and curses as someone shoves past her. A group of teenagers yells at each other over who pushed who first. Michael dodges a pair of arguing men as he climbs onto a MAILBOX, scanning the crowd for Kate.
MICHAEL’S POV: The crowd churns and shifts. A cacophony of voices grows louder. No sign of Kate.
Michael jumps down, landing awkwardly as someone shoulders past him. He glances up at the JUMBOTRON, the musicians’ struggles mirrored in the chaos around him. His gaze drops back to the crowd—an idea sparks.
Taking a deep breath, he plants his feet firmly on the ground, closes his eyes for a moment, and calms himself. Slowly, he begins to sing the opening line of “WITH A LITTLE HELP FROM MY FRIENDS” by THE BEATLES.
MICHAEL
What would you think if I sang out
of tune.
113.
The way Michael sings the line, it feels like a prayer -- soft, steady, and full of hope. The restless energy around him begins to shift. The MAN standing directly in front of Michael turns and softly repeats the LINE. The WOMAN in front of him hesitates, then joins in, her voice tentative but clear.
A ripple of calm spreads outward, like a wave washing over the chaotic crowd. Arguments die down as people pause to listen captivated by the growing harmony.
The first line of the song moves through the crowd like a whispered secret, gathering strength with every repetition. Each voice that joins seems to carry a sense of unity, of something larger than themselves. The tension dissipates, replaced by an almost reverent stillness.
As the line gently falls on Kate’s ear, her heart skips a beat. She quickly spins toward the sound, eyes scanning the crowd, searching.
At that exact moment, a single note explodes from Yo-Yo Ma’s CELLO on the JUMBOTRON, resonating powerfully through Times Square. The crowd collectively gasps --
KAITLAN COLLINS (V.O.)
Peter I think we might have something
here.
Everyone in TIMES SQUARE is now frozen with anticipation. From a WIDE SHOT we hear Michael sing the second line.
MICHAEL
Would you stand up and walk out on me.
His voice echoes above the crowd.
KATE -- As she continue to search the crowd for Michael. She can hear him, she just can’t see him.
MICHAEL
Lend me your ears and I'll sing you a
song,
And I'll try not to sing out of key.
MICHAEL -- as he slowly moves through the crowd.
114.
MICHAEL
Oh I get by with a little help from my
friends,
Mmm, I get high with a little help from
my friends,
Mmm, I'm gonna try with a little help from
my friends
After the last line Michael freezes. There’s a long beat then in unison the whole crowd, all ten-thousand of them sing --
CROWD
Do you need anybody?
After the crowd sings the LINE they part like the Red Sea and create a path that leads from Michael to Kate --
MICHAEL
I need somebody to love.
CROWD
Could it be anybody?
MICHAEL
I want somebody to love.
As Kate begins to sing, the MUSICIANS at CARNEGIE HALL are beginning to find the notes and play along to the song --
KATE
What do I do when my love is away.
CROWD
Does it worry you to be alone?
MICHAEL
How do I feel by the end of the day.
CROWD
Are you sad because you're on your own?
MICHAEL/KATE
No, I get by with a little help from my
friends,
Mmm, get high with a little help from my
friends,
Mmm, gonna to try with a little help from
my friends
115.
Michael and Kate are slowly moving towards each other --
As they move along the path the crowd has created their friends slowly start to join them. First Bags slips through the crowd and falls in behind Michael.
MICHAEL
Would you believe in a love at first sight?
KATE
Yes I'm certain that it happens all the
time.
MICHAEL
What do you see when you turn out the
light?
KATE
I can't tell you, but I know it's mine.
Now Beth and Roma join Kate and Colin finds his way behind Michael.
MICHAEL/KATE
Oh, I get by with a little help from my
friends,
Mmm I get high with a little help from
my friends,
Oh, I'm gonna try with a little help from
my friends
Finally Michael and Kate have reached each other, they embrace. Jen and Stan push their way through the crowd to join their friends.
CROWD
Do you need anybody?
MICHAEL/KATE
I just need someone to love.
CROWD
Could it be anybody?
MICHAEL/KATE
I want somebody to love.
Michael and Kate fall into a kiss, one of the greatest kisses since lips first touched -- a kiss to build a dream on. A kiss powerful enough to save the world.
Now everyone gets into the singing, all ten-thousand of them bring it home.
116.
CROWD
Oh, I get by with a little help from my
friends,
Mmm, gonna try with a little help from
my friends
Ooh, I get high with a little help from
my friends
Yes I get by with a little help from my
friends, with a little help from my
friends
As we pull back through the crowd we find ALBERT. A MAN dressed as JESUS handing out flyers for “JESUS CHRIST SUPERSTAR” steps up --
JESUS
Dad wanted me to congratulate
you on a job well done.
ALBERT
Just doing my job.
As the crowd continues to sing we PUSH IN on Albert’s smile --
CROWD
Oh, I get by with a little help from
my friends,
Mmm, gonna try with a little help from
my friends
Ooh, I get high with a little help from
my friends
Yes I get by with a little help from
my friends, with a little help from
my friends
As the crowd continues to sing, we begin to PULL BACK, drifting upward above the streets where more VOICES join the CHORUS. The rooftops of the city come into view—bars, apartments --
The city glows beneath us, the streets winding like veins, and as we continue our ascent, the song spreads outward. The landscape below widens -- rivers, highways, mountains, and seas -- blurring the lines between places as voices from different languages and cultures merge into one.
The view expands further, continents taking shape beneath us, the Earth curving at the horizon. From the vast silence of space, we see it now -- our planet, a glowing blue sphere wrapped in a song --
As the chorus of billions swells into something bigger than any one place, any one person - a single, unbroken song that belongs to the world. And then, just as it reaches its crescendo silence. The Earth spins slowly in the void, the song lingering for one final moment before fading into eternity --
FADE OUT: