RENT
A screenplay by Swamp Thing
Based upon the rock opera by Jonathan Larson
We see burnt, scratched old film stock running through the projector. An amateur version of the standard movie countdown (10…9…8…7…6…5…4…3…2) is shown. It seems to have been created using index cards or something very similar. The film itself continues to pop and fizzle. It seems that whoever has made this movie has done so using discarded bits of film that he found in the dumpster. A title card appears:
A MARK COHEN FILM
And a second one:
AT HOME WITH ROGER
EXT. AN OLD, RUNDOWN MUSIC FACTORY- NIGHT (MARK'S FILM)
The scratched footage reveals the remains of what was once, several hundred lifetimes ago, probably a prosperous place of industry. Now, it is a dump. Quick cut to:
INT. THE LOFT- NIGT (MARK'S FILM)
As Mark's voice-over describes various items, we see them in his film: an overly stuffed electrical socket, an illegal wood-burning stove and walls onto which there have been unevenly scattered posters and flyers of a band called The Well Hungarians. On each of these posters and flyers is the smiling face of ROGER DAVIS.
MARK (VO)
We begin on Christmas Eve with me, Mark, and my roommate, Roger. We live in an industrial loft on the corner of 11th street and Avenue B, the top floor of what was once a music publishing factory. Old rock 'n' roll posters hang on the walls. They have Roger's picture advertising gigs at CBGB's and the Pyramid Club. We have an illegal wood burning stove; its exhaust pipe crawls up to a skylight. All of our electrical appliances are plugged into one thick extension cord which snakes its way out a window. Outside, a small tent city has sprung up in the lot next to our building. Inside, we are freezing because we have no heat.
INT. THE LOFT- NIGHT (REALITY)
For the first time we see our filmmaker, MARK COHEN. He is everything you expect from a young New York City artist. Square glasses, outlandish clothing, etc. He is holding an old camera. Off in the corner is Roger Davis, whom we recognize form the Well Hungarian posters that decorate the apartment, but only just. He is thinner now, has let his beard grow out some, and from the looks of things, he has not flashed his rock star smile in some time. He begins tuning up the guitar that sits in his lap. Mark trains the camera on himself and turns it on.
MARK
Smile!
INT. THE LOFT- NIGHT (MARK'S FILM)
We see that Mark is filming footage of himself, video diary style.
MARK
December 24. 9 PM. Eastern Standard Time. From here on in, I shoot without a script. See if anything comes of it. Instead of my old shit.
The camera moves within Mark's hands (hand held shot) to where Roger is sitting, completely ignoring him.
MARK (VO)
First shot: Roger. Tuning the Fender guitar, he hasn't played in a year.
ROGER
(pissed, to himself) This won't tune!
MARK (VO)
So we hear!
Although Roger was, in fact, talking to himself, Mark sees this as an opportunity to continue documenting him. The camera moves closer to where Roger is seated.
MARK (VO)
He's just coming back from half a year of withdrawal…
Furious, Roger turns around to face the camera.
ROGER
Are you talking to me?
MARK (VO)
Not at all!
The camera begins to back up, slightly.
MARK (VO)
Are you ready? Hold the focus! Steady!
As Mark sings the next line, the camera once again approaches Roger.
MARK (VO)
(tentatively) Tell the folks at home what you're doing, Roger.
An expression of strange peace comes onto Roger's face. He decides to play along. If nothing else, a document of his life can exist.
ROGER
I'm writing one great song-
In an instant, the camera cuts off with the blaring sound of a phone ringing. We return to:
INT. THE LOFT- NIGHT (REALITY)
Mark is holding the camera, standing near Roger. The phone is blaring.
MARK
The phone rings!
ROGER
(whispering to himself) Saved.
MARK
We screen. Zoom in on the answering machine.
ANSWERING MACHINE
SPPPPEEEAAAAK.
INT. COHEN FAMILY HOME- THAT MOMENT
A traditional-looking holiday setup is in place. The Cohen family is gathered around a small Hanukah Bush. A fire is going in the fire place. MARK'S MOTHER is on the phone. A group of children are on the floor, moving giddily. CINDY COHEN, Mark's sister, sits there, bored. MARK'S FATHER nurses a beer.
MARK'S MOTHER
That
was a very loud beep
I don't even know if this is working
Mark
-- Mark -- are you there
Are you screening your calls --
It's
mom
We wanted to call and say we love you
And we'll miss you
tomorrow
Cindy and the kids are here -- send their love
Oh, I
hope you like the hot plate
Just don't leave it on, dear
When
you leave the house
Oh, and Mark
We're sorry to hear that
Maureen dumped you
I say c'est la vie
So let her be a
lesbian...
INT. THE LOFT
Her message ends in the recorded, mechanical voice of an answering machine recording.
MARK'S MOTHER (VO)
There are other fishes in the sea. Love Mom!
Sighing, Mark picks up the camera and again trains it on Roger. We return to the scratchy footage of Mark's film. Again, Roger is sitting there, tuning the guitar. It's take two.
MARK (VO)
Tell the folks at home what you're doing, Roger.
ROGER
I'm writing one great song-
Again, an interruption from the phone. We return to reality with Mark dangling the camera at his side now and Roger looking passively amused with the whole thing.
MARK
The phone rings!
ROGER
Yes!
MARK
We screen…
ANSWERING MACHINE
SPPPEEAAKK.
KINDLY VOICE (VO)
Chestnuts roasting…
Excitedly, Mark picks up.
MARK
Collins!
COLLINS (VO)
I'm downstairs!
MARK
Hey!
COLLINS (VO)
Roger picked up the phone?
MARK
No, it's me!
COLLINS
Throw down the key.
Mark cups his hand to the phone and turns to Roger, who looks rather excited himself.
MARK
A wild night is now preordained.
EXT. Phone Booth
We see TOM COLLINS a man who looks like an outsider in every sense. In the distance, the small figure of another man furiously street drumming can just barely be made out. A group of STREET THUGS is approaching the booth.
COLLINS
I may be detained.
He rapidly hangs up the phone and makes a move to defend himself as we cut back to:
INT. LOFT
Confused, Mark listens to the dial tone for a second before hanging up and turning to an equally confused Roger.
MARK
What did he mean?
Again, the phone rings. Mark picks up.
MARK
What did you mean, detained?
SMUG VOICE (VO)
Ho ho ho!
Mark cups his hand over the phone and whispers to Roger.
MARK
Benny.
ROGER
Shit.
BENNY (VO)
Dudes, I'm on my way.
MARK
Great!
MARK AND ROGER
(whispered) Fuck.
BENNY(VO)
I need the rent.
MARK
What rent?
BENNY (VO)
This past year's rent, which I let slide.
Overhearing some of this, Roger gets up and storms over to the phone.
MARK
Let slide? You said we were golden!
Roger grabs the phone.
ROGER
When you bought the building!
Mark takes the phone back.
MARK
When we were roommates.
ROGER
(Yelling into the phone) Remember -- you lived here!?
BENNY (VO)
How
could I forget?
You, me, Collins and Maureen
How is the drama
queen?
MARK
She's performing tonight
BENNY (VO)
I know. Still her production manager?
MARK
Two days ago I was bumped.
BENNY (VO)
You still dating her?
MARK
Last month I was dumped.
ROGER
She's in love.
BENNY (VO)
She's got a new man?
MARK
Well…no.
BENNY
What's his name?
MARK AND ROGER
(they've
told people this a million times) Joanne.
INT. BENNY'S CAR- THAT MOMENT
We see BENNY, a very rich, well-dressed man driving a very fancy car, talking into a cell phone. His car interior is littered with a solitary, clearly intentional, empty Starbucks cup.
BENNY
Rent,
my amigos, is due. Or I will have to evict you.
Be there in a
few.
He hangs up.
INT. THE LOFT
Dejected, hangs up.
ROGER
(Sarcastically) So how's Collins doing?
MARK
I don't know. (he buries his head in his hands) We are so FUCKED!
Trying his best to ignore reality, Roger starts playing Musetta's Waltz on the guitar. With a spark, everything goes black.
MARK
And now… the power blows.
The hard-hitting opening strains of "Rent" begin. During this sequence, the opening titles are shown unobtrusively. They appear in the scenery, mostly as graffiti on the walls.
EXT. MAKESHIFT TERRACE- NIGHT
Mark is standing on what passes for a balcony. It is, for all practical purposes, just a fire escape, and yet Mark and Roger have placed some potted plants out there as if to give themselves a sense of home. The plants are now withered and dying. Mark films down toward the tent city.
EXT. THE STREET- NIGHT (MARK'S FILM)
The song begins with bird's eye view grainy footage of the homeless, gathered in a circle, warming themselves around a trash can fire.
MARK (VO)
How do you document real life
When real life is getting more
Like fiction each day?
Headlines -- bread-lines
Blow my mind
And now this deadline
"Eviction -- or pay"
Rent!
EXT. TERRACE
Roger comes out, picking out the song on his unplugged electric guitar.
ROGER
How do you write a song
When the chords sound wrong
Though they once sounded right and rare?
When the notes are sour
Where is the power
You once had to ignite the air?
MARK
And we're hungry and frozen!
ROGER
Some life that we've chosen!
BOTH
How we gonna pay?
How we gonna pay?
How we gonna pay?
LAST YEAR'S RENT?
Mark has an idea.
MARK
We'll light candles!
ROGER
(gesturing to the streets below) This is BULLSHIT, man. The homeless can keep warm and we're freezin' our fuckin' asses off! How do you start a fire when there's nothin' to burn and it feels like something's stuck in your flue?
He storms inside. Mark follows.
INT. The Loft
Our heroes come inside. Roger is pissed off. Mark is just trying to help out. Business as usual.
MARK
How can you generate heat when you can't feel your feet and they're turning blue?
In a fit, Roger tears down a wall length poster of his smiling face, and throws it in the trash can along with a lit match. It goes up instantly.
ROGER
Ya light up a mean blaze with posters!
That instant, Mark takes an old script of his labeled "Tick… Tick… BOOM!" and throws it into the blaze!
MARK
And screenplays!
BOTH
How we gonna pay?
How we gonna pay?
How we gonna pay?
LAST YEAR'S RENT?
EXT. PAY PHONE- Night
Same as before. The crooks and Collins are long gone. In the distance, the figure of a street drummer continues to pound his heart out. On the phone now is JOANNE, a 30-year-old, no nonsense lawyer. She is most frustrated at this moment, as she is talking on the phone with Maureen, whose equipment has broken.
JOANNE
Don't screen, Maureen
It's me -- Joanne
Your substitute production manager
Hey hey hey! (Did you eat?)
Don't change the subject Maureen
But darling -- you haven't eaten all day
You won't throw up
You won't throw up
The digital delay ---
Didn't blow up (exactly)
There may have been one teeny tiny spark
You're not calling Mark!
EXT. A FEW FEET AWAY- NIGHT
Writhing on the floor in pain, we once again see Collins. He is bruised, bleeding and missing his coat.
COLLINS
How do you stay on your feet
When on every street
It's "trick or treat?"
And tonight it's trick!
Oh, welcome back to town…
Ohhhh… I should lie down…
Everything's brown and
OHHHH
I feel sick!
INT. Loft
The boys continue their orgy of fire. Mark is just about to throw in an old group photo of himself, Roger, Benny, Collins and a woman whom we must assume to be Maureen. Suddenly, he remembers.
MARK
Where is he?
EXT. Street- Night
Collins continues to writhe in pain.
COLLINS
Gettin' dizzy!
INT. Loft
It's a mad frenzy of burning things.
ROGER AND MARk
How we gonna pay?
How we gonna pay?
How we gonna pay?
LAST YEAR'S RENT?
EXT. Starbucks-Night
Inside through the glass door we see Benny picking up a cup of coffee with one hand and talking on his phone on the other. He is singing his verse as he walks out to the parking lot and into his car.
BENNY
Alison, baby
You sound sad
I don't believe those two
After everything I've done!
Ever since our wedding, I'm dirt!
They'll see
I can help them out
In the long run.
He sets his coffee in the cup holder and shuts the door.
For the overlapping portion of the song we cut between:
INT. Benny's Car
Benny is driving with one hand, drinking his coffee with the other, all the while reciting his mantra-
BENNY
Forces are gathering…
Forces are gathering…
Forces are gathering…
And:
EXT. Street
Collins could really use some medical attention.
COLLINS
Uggghhh…. Can't think
Uggghhh… I need a drink!
INT. Loft
The boys have come to some old reviews from local newsletter-type publications, which they read mockingly before throwing into the flames.
ROGER
"The music ignites the night with passionate fire!"
EXT. Pay Phone
Joanne is frantic.
JOANNE
Maureen, I'm not a theatre person!
INT. Loft
Same as before.
MARK
"The narration crackles and pops with incendiary wit!"
EXT. Pay Phone
She is now, some how, even more frantic.
JOANNE
Could never be a theatre person!
INT. Loft
The fire now fairly steady, Mark stands at the window, watching and filming the homeless. Roger warms himself.
MARK
Zoom in as they burn the past to the ground.
EXT. Phone Booth
SFX: Dial tone.
JOANNE
Hello? Goddammit!
INT. Loft
As before.
MARK AND ROGER
And feel the heat of the future's glow!
The phone rings. Mark goes to answer.
MARK
Hello? Maureen? Your equipment won't work? Okay, all right, I'll go!
He and Roger exchange a look of disgust. During the next few lines, we cut among all the locations we've seen so far as everyone sings in unison. At one point, for a fraction of a second, we see a close-up of the street drummer who has been glimpsed in the distance.
EVERYONE
How do you leave the past behind when it keeps finding ways to get to your heart? It reaches way down deep and tears you inside out til you're torn apart! RENT! How can you connect in an age when strangers, landlords, lovers, your own blood cells betray? What binds the fabric together when the raging, shifting winds of change keep ripping away?
We end on:
INT. Benny's Car
Benny looks really motivated now. A man about to get things done.
BENNY
Draw a line in the sand and then make your stand!
INT. Loft
Both Mark and Roger are singing furiously. Roger is upset because of the cold, Mark because of the situation with Maureen.
ROGER
Use your camera to spar!
MARK
Use your guitar!
EXT. Street
For the first time, we see the tent city without the lens of Mark's aged camera. It is a depressing site. Men, women and children all filthy, huddled for warmth.
HOMELESS CHOIR
When they act tough, you call their bluff!
INT. Loft
Mark and Roger are slam dancing with energy and fury.
MARK AND ROGER
We're not gonna pay!
We're not gonna pay!
We're not gonna pay!
Last year's rent!
This year's rent!
Next year's rent!
Rent, rent, rent, rent
Rent, rent!
We're not gonna pay rent!
EXT. The Old Factory
We see the homeless gathered once again. Roger steps out onto the balcony and yells into the night.
ROGER
Cause everything is RENT!
EXT. Street- A few feet away- Night
For the first time, we get a good look at the street drummer. He is ANGEL, a uniquely beautiful young man. With maddening energy, he is pounding out a funky, catchy beat on a plastic pickle jar that he holds between his knees. A HOMELESS MAN, sitting nearby, picks up on the beat. At first he headbangs a little. When Angel gives him an encouraging smile, he starts singing a song to Angel's beat.
HOMELESS MAN
Christmas bells are ringing
Christmas bells are ringing
Christmas bells are ringing
Somewhere else
Not here.
The beat grows in intensity and complexity. One gets the sense that Angel is too talented for life as a street performer. But, from his energy and the content expression on his face, one also gets the sense that he does not mind terribly. The beat is interrupted by the painful moans of someone coming around the corner. It is Collins. He collapses near where Angel is seated. The homeless man takes one look and runs. Angel picks up a blanket and approaches this suffering stranger.
ANGEL
You okay, honey?
COLLINS
I'm afraid so.
ANGEL
(Going for his own pocket) They get any money?
COLLINS
No. Had none to get. But they purloined my coat. (Calling out into the night) Well, you missed a sleeve.
Angel wraps the blanket around him and holds him for a moment.
COLLINS
Thanks.
ANGEL
Hell, it's Christmas Eve. I'm Angel.
COLLINS
(Flirty) An Angel indeed. An Angel of the first degree. Friends call me Collins. Tom Collins. Nice tree.
ANGEL
Let's get a Band-Aid for your knee, I'll change. There's a Life Support meeting at 9:30. Yes, this body provides a comfortable home for the Acquired Immune Deficiency Syndrome.
COLLINS
As does mine.
ANGEL
Oh, we'll get along fine! Get you a coat, grab a bite, make a night, I'm flushed!
COLLINS
Ah, my friends are waiting…
ANGEL
(oozing with sexiness) You're cute when you blush. The more the merrier. And I do not take "no."
INT. Loft
Roger is, once again, tuning his guitar. Mark is headed out the door. He opens it, causing Roger to look up.
ROGER
Where're you headed?
MARK
(evading the obvious) The thing…
ROGER
Thing?
MARK
The thing on the phone.
ROGER
You're actually going to go help Maureen fix her shit? You're a bigger sucker than I thought.
MARK
Come on, I don't expect anything out of it. She's an old friend and I'm helping her out, period.
ROGER
Yeah, right.
MARK
You know, you're welcome to come with me. Get some fresh air. We could get something to eat before Maureen's show.
ROGER
Zoom in on my empty wallet.
MARK
Touché. Take your AZT.
INT. A previous residence of Roger's (Mark's Film)
Through Mark's scratchy lens, we see a younger, healthier Roger picking up a piece of paper, reading it and being overcome by an expression of horror.
MARK (VO)
Close of Roger. His girlfriend, April, left a note saying "We've got AIDS…"
INT. Bathroom (Mark's Film)
We see a pretty young girl in the tub. She is lifeless. He eyes are staring. The tub is filled with blood.
MARK (VO)
…before slitting her wrists in the bathroom.
INT. Loft
Same as before. Back to present times.
MARK
Well, all right, then. I'll be back in a little bit. Please change your mind. You need to get out of the house.
Mark exits. Roger plucks out a few chords on the guitar.
ROGER
I'm writing one great song before I…
He plucks out Musetta's Waltz and a few other notable riffs before finding an original one that he likes.
ROGER
One song
Glory
One song
Before I go
Glory
One song to leave behind
Find one song
One last refrain
Glory
From the pretty boy front man
Who wasted opportunity
One song
He had the world at his feet
Glory
In the eyes of a young girl
A young girl
Find glory
Beyond the cheap colored lights
One song
Before the sun sets
Glory -- on another empty life
Time flies -- time dies
Glory -- One blaze of glory
One blaze of glory -- glory
Find
Glory
In a song that rings true
Truth like a blazing fire
An eternal flame
Find
One song
A song about love
Glory
From the soul of a young man
A young man
Find
The one song
Before the virus takes hold
Glory
Like a sunset
One song
To redeem this empty life
Time flies
And then - no need to endure anymore
Time dies
There is a knock at the door.
ROGER
(surprised) The door?
He gets up to answer it. On the other side is MIMI, a gorgeous young Latina girl wearing nothing but an overcoat and a smile that could launch a countless number of ships. She is carrying an unlit candle. Roger opens his mouth before noticing who it is.
ROGER
What'd you forget?
MIMI
Got a light?
ROGER
I know you! You're- you're shivering.
MIMI
It's nothing they turned off my heat. And I'm just a little weak on my feet. (she extends the candle) Would you light my candle?
Roger is gawking.
MIMI
What are you staring at?
ROGER
Nothing. Your hair in the moonlight. You look familiar.
Mimi stumbles just a little.
ROGER
Can you make it?
MIMI
Just haven't eaten much today. At least the room stopped spinning. Anyway- (on Roger's gaze) What?
ROGER
Nothing. Your smile reminded me of-
MIMI
I always remind people of… who is she?
ROGER
(quickly) She died. Her name was April.
Discreetly, Mimi blows out the candle.
MIMI
It's out again! Sorry about my friend. (she extends the candle once again) Would you light my candle?
With a timid sort of confidence, he approaches, lighting the candle with his arms almost around her. They look at each other for a beat.
ROGER
Well?
MIMI
Yeah? (she suddenly looks down at her hands) Ouch!
ROGER
Oh, the wax, it's-
MIMI
-dripping. (suggestively) I like it between my-
(she starts reaching for Roger's nether regions when he grabs her hand and cuts her off)
ROGER
Fingers, I figured. Oh well. Good night.
A little surprised that a man would reject her advances, she turns to leave. When she's half way out the door, she reaches into her coat pocket and looks surprised to find it empty. She knocks on the door again.
ROGER
It blew out again?
MIMI
No. I think that I dropped my stash.
ROGER
I know I've seen you out and about when I used to go out… (just noticing) Your candle's out…
MIMI
(her mind elsewhere) I'm illin'! I had it when I walked in the door. It was pure! Is it on the floor?
ROGER
The floor?
She gets down to look for it. As she does, the coat lifts up just enough in the back to reveal that she really is wearing nothing underneath. She looks up to catch Roger staring and smiles playfully.
MIMI
They say that I have the best ass below 14th Street. Is it true?
ROGER
(laughing, trying to play it off) What?
MIMI
You're starin' again.
ROGER
Oh, no… I mean… you do have a nice… I mean… you look familiar.
MIMI
Like your dead girlfriend?
ROGER
Only when you smile, but I'm sure I've seen you somewhere else.
MIMI
Do you go to the Cat Scratch Club? That's where I work. I dance. Help me look!
Roger gets down on the ground to do so. As he does, Mimi notices a Well Hungarians flyer that, apparently, survived the fire. She quickly snatches it and hides it in her cleavage while he's not looking. Realization comes over Roger. He looks up.
ROGER
Yes! They used to tie you up.
MIMI
It's a living.
Roger looks away, continues the search.
ROGER
I didn't recognize you without the handcuffs.
MIMI
We could light the candle. Oh, won't you light the candle?
All at once, the severity of what he's doing hits Roger. He needs to do what's right. He stands up.
ROGER
Why don't you forget that stuff? You look like you're sixteen.
MIMI
I'm nineteen, and I'm old for my age. I'm just born to be bad.
ROGER
I once was born to be bad. I used to shiver like that.
MIMI
I have no heat I told you.
ROGER
I used to sweat.
MIMI
I got a cold.
ROGER
Uh-huh. I used to be a junky.
MIMI
And now and then I like to-
ROGER
Uh-huh.
MIMI
Feel good…
Looking down for a second, Roger sees a small bag of a familiar white powder. Reacting, he picks it up before realizing his mistake.
ROGER
Oh, here it is-
MIMI
What?
Roger quickly puts the bag in his pocket.
ROGER
A candy bar wrapper.
Mimi knows exactly what's going on.
MIMI
We could light the candle. Oh what'd you do with my candle?
Playing dumb, Roger strikes a match and literally lights her candle. In that pouty, flirty way, she blows it out.
ROGER
That was my last match.
MIMI
Our eyes will adjust. Thank God for the moon.
ROGER
Maybe it's not the moon at all. I hear Spike Lee's shootin' down the street.
MIMI
Bah humbug. (looking into his eyes and taking his hands) Bah humbug.
ROGER
Cold hands.
MIMI
Yours, too. Big, like my father's. (she manipulates his arm so that he twirls her) You wanna dance?
ROGER
With you?
MIMI
No. (she gets very close and whispering breathily, seductively) With my father.
Roger backs off and extends his hand.
ROGER
I'm Roger.
She gets close again and grabs his ass, reaching into his pocket and taking the bag of heroin.
MIMI
They call me… they call me… Mimi.
She slinks out the door. Roger collapses on the couch.
INT. Maureen and Joanne's Apartment
It is devoid of people, but filled with things. From the way the place is decorated, it is clear that an odder couple there could never be. One wall is covered with diplomas, certificates, plaques, etc. The other is covered with posters of B-movies and popular musicals of the 30s and 40s. The answering machine beeps. As we hear the recordings, we see various locations around the apartment and see various contractions (half clean, half trashed, real meat hidden under a vegetarian boxed dinner, etc.) and wonder how these two can ever possibly make it work.
MAUREEN(VO)
Hi. You've reached Maureen and Joanne. Leave a message and don't forget "Over the Moon." That's my performance, protesting the eviction of the Homeless, not to mention the artists, from the Eleventh Street Lot. Tonight at midnight in the lot between A and B. Party at
Life Cafe to follow. (BEEP)
JOANNE'S FATHER (VO)
Well, Joanne, we're off. We tried you at your office, and they said you're stage managing or something.
JOANNE'S MOTHER (VO)
Remind her that those unwed mothers in Harlem
Need her legal help too.
JOANNE'S FATHER (VO)
Call Daisy for our itinerary or Alfred at Pound Ridge
Or Eileen at the state department in a pinch
We'll be at the spa for new year's
Unless the senator changes his mind.
JOANNE'S MOTHER (VO)
The hearings!
JOANNE'S FATHER (VO)
Oh yes! Kitten, Mummy's confirmation hearing begins on the tenth. We'll need you, alone, by the sixth.
JOANNE'S MOTHER (VO)
Harold!
JOANNE'S FATHER (VO)
You hear that? It's three weeks away, and she's already nervous!
JOANNE'S MOTHER (VO)
I am not!
JOANNE'S FATHER
For Mummy's sake, Kitten, no Doc Martens this time and wear a dress ...Oh, and Kitten…have a merry-
JOANNE'S MOTHER
-and a bra!!
INT. The Loft- A while ago- Mark's film
The scratchy camera lens is blocked by a cloud of pot smoke. When it clears we see a younger, very happy face of Collins. Mark's hand reaches in front of the lens, passing the joint, which Collins playfully takes with his mouth and begins smoking. Also gathered in the circle are Benny, Roger, and two women. One we recognize from the group photo we saw earlier, and we continue to assume this person is Maureen. The other woman we recognize as April, whose fate is sealed. But this is footage of happier times among friends. Mark narrates, introducing his friend.
MARK (VO)
Tom Collins, computer genius, teacher, vagabond anarchist, who ran naked through the Parthenon.
EXT. The Old Factory- Night- Reality and the present
Collins, with Band-Aids on his face and Angel's pickle jar filled with goodies, approaches the front door. Before he gets there, Mark steps out. Collins spots him and calls out.
COLLINS
Mark Cohen like a motherfucker! You are the man and I'm just visiting!
Mark looks over to see who's calling out. He spots Collins, laughs, runs over and they hug.
MARK
Collins! (they break the hug but hold each other in that friendly, let-me-look-at-you way for a moment) What the fuck happened to you, man?
COLLINS
Some little fuckers kicked the shit out of me is what happened. But I feel great! Where's Roger? I have some stuff for you guys.
Mark cranes his neck, cups his hands and shouts.
MARK
Roger! Come on down, man, Collins is here! (on the full pickle tub) What've you got there?
COLLINS
Tidings for the New Born King of Pop, man!
MARK
Holy shit!
Collins hands the tub to Mark, who opens it and begins to sift through it.
MARK AND COLLINS
Bustelo, Marlboro
Banana by the bunch
A box of Captain Crunch will taste so good!
COLLINS
And firewood!
Roger comes down, looking passive.
MARK
(on Collins and all the stuff) Look, it's Santa Claus!
COLLINS
Hold your applause.
ROGER
Oh, hi.
COLLINS
"Oh, hi" after seven months?
ROGER
Sorry.
COLLINS
This boy could use some Stoli!
He takes a vodka bottle from the tub, opens it and they pass it around as they carol.
ALL THREE
Oh, Holy Night…
MARK
You struck gold at MIT?
Collins shakes his head.
COLLINS
They expelled me for my theory of actual reality, which I'll soon impart to the couch potatoes at New York University. (on Roger's shabby appearance) Still haven't left the house?
ROGER
(laughing, playing it off) I was waiting for you, doncha know?
COLLINS
Well, tonight's the night! Come to the Life Café after Maureen's show!
ROGER AND MARK
No flow.
COLLINS
Gentlemen, our benefactor on this Christmas Eve, whose charity is only matched by talent, I believe, a new member of the Alphabet City avant garde: Angel Dumott Schunard!
From behind a nearby dumpster, Angel emerges. Now, Angel is decked out in fantastic, DIY drag as Santa's sexy mistress and is carrying her drumsticks. She approaches our boys and makes very pretty eyes at them.
ANGEL
Today for you… tomorrow for me!
Salsa music starts.
ANGEL
Today for you, tomorrow for me!
She flings a wad of cash, making it rain money, which Mark and Roger eagerly jump and catch.
COLLINS
And you should hear her beat!
ROGER
You earned this on the street?
ANGEL
It was my lucky day today on Avenue A
When a lady in a limousine drove my way
She said, "Dahling -- be a dear -- haven't slept in a year
I need your help to make my neighbor's yappy dog disappear"
"This Akita-Evita just won't shut up
I believe if you play non-stop that pup
Will breathe its very last high-strung breath
I'm certain that cur will bark itself to death"
Today for you -- tomorrow for me
Today for you -- tomorrow for me
We agreed on a fee -- A thousand dollar guarantee
Tax-free -- and a bonus if I trim her tree
Now who could foretell that it would go so well
But sure as I am here that dog is now in doggy hell
After an hour -- Evita -- in all her glory
On the window ledge of that 23rd story
Like Thelma & Louise did when they got the blues
Swan dove into the courtyard of the Gracie Mews
Today for you -- tomorrow for me
Today for you -- tomorrow for me
In a manner that would make any STOMP performer jealous, Angel wildly dances about using anything she sees-- walls, trash cans, etc.—as percussion instruments.
ANGEL
Then back to the street where I met my sweet
Where he was moaning and groaning on the cold concrete
The nurse took him home for some mercurochrome
And I dressed his wounds and got him back on his feet
Sing it!
Today for you -- tomorrow for me
Today for you -- tomorrow for me
Today for you -- tomorrow for me
Today for you -- tomorrow for me.
She does a superhuman back flip and throws her arms open. Collins, Roger and Mark applaud wildly.
ROGER
Hole-lee shit!
MARK
You've got a keeper there.
ROGER
Limber.
They all laugh. Suddenly, menacingly, Benny's big black Range Rover appears. He parks about a block away and begins walking up to the boys.
ANGEL
Who's that?
EXT. The Lot- A while back- Mark's Film
We are watching footage of a groundbreaking ceremony. Benny is standing with a group of wealthy looking men and their women, smiling in that cheesy, photo op way for a group of flashing newspapers cameras. The rich men and their trophy wives are gathered around a sign reading "Future Home of CyberArts- A Digital, Virtual, Interactive Studio!" Just out of sight of the mainstream cameras, but right where Mark's camera can see them, are Collins, Roger, Maureen and April. They do not look happy. Once again, Mark narrates.
MARK (VO)
Benjamin Coffin the third, our ex-roommate who married Alison Grey, of the Westport Greys -- then bought the building and the lot next door from his father-in-law in hopes of starting a cyber-studio.
EXT. The Lot- Exactly the Same Place- The present
Mark and Roger look a little uneasy. Angel playfully whispers to Mark.
ANGEL
You know, he's kind of cute.
MARK
He's a complete asshole, trust me.
ANGEL
Maybe, but I like my men like I like my coffee. Strong and black.
MARK
Oh, come on…
ANGEL
I'm only joking. (on Collins, whispering even lower) I am really into your friend over there, though.
Benny is approaching rapidly.
BENNY
Joy to the world, the lord is come
Let Earth receive Her King
Let every heart prepare him room
And heaven and nature sing
Good evening, gentlemen. Merry Christmas. Peace on earth. Good will toward men.
ROGER
Benny, check out your car.
Benny turns around. A HOMELESS MAN is seated on the hood of his car, drinking a beer out of a paper bag. Benny is horrified.
BENNY
(yelling) Hey! Ya bum! Yeah, you, move over! Get your ass off that Range Rover!
MARK
That attitude toward the homeless is exactly what Maureen is protesting tonight.
BENNY
Maureen is protesting
Losing her performance space
Not my attitude
ROGER
What happened to Benny?
What happened to his heart?
And the ideals he once pursued?
BENNY
The owner of that lot next door
Has a right to do with it as he pleases
COLLINS
Happy birthday, Jesus!
BENNY
The rent.
MARK
You're wasting your time!
ROGER
We're broke!
MARK
And you broke your word! This is absurd.
BENNY
There is one way you won't have to pay.
ROGER
I knew it!
BENNY
Next door, the home of Cyberarts, you see
And now that the block is re-zoned, our dream can become a reality
You'll see boys
You'll see boys
A state of the art, digital, virtual interactive studio
I'll forego your rent and on paper guarantee
That you can stay here for free
If you do me one small favor
MARK
What?
BENNY
Convince Maureen to cancel her protest
MARK
Why not just get an injunction or call the cops
BENNY
I did, and they're on stand by
But my investors would rather
I handle this quietly
ROGER
You can't quietly wipe out an entire tent city
Then watch 'It's a Wonderful Life' on TV!
BENNY
You want to produce films and write songs?
You need somewhere to do it!
It's what we used to dream about
Think twice before you pooh-pooh it
You'll see boys
You'll see boys
You'll see -- the beauty of a studio
That lets us do our work and get paid
With condos on the top
Whose rent keeps open our shop
Just stop the protest
And you'll have it made
You'll see -- or you'll pack
Benny hurriedly runs back to his car. In the distance, we see and hear him confronting the homeless man, who has yet to move.
ANGEL
That boy could use some Prozac!
ROGER
Or heavy drugs.
MARK
Or group hugs!
COLLINS
Which reminds me, we have a detour to make tonight. Anyone who wants to can come along
ANGEL
Life Support's a group for people coping with life.
You don't have to stay too long. Come along, Mark?
MARK
First I've got a protest to save.
ANGEL
Roger?
ROGER
I'm not much company, you'll find.
MARK
Behave!
ANGEL
He'll catch up later, he's just go other things on his mind. You'll see boys.
Mark and Collins attempt a group hug with Roger.
MARK AND COLLINS
We'll see boys.
Roger breaks away.
ROGER
Let it be boys!
Collins moves toward Angel, making lusty eyes at her.
COLLINS
I like boys.
Angel makes lusty eyes right back.
ANGEL
Boys like me.
ALL
We'll see.
Collins, "accidentally" bumping into Angel, notices the time on her watch.
COLLINS
Ah, shit, is that the time? We've only got a few minutes. You guys gotta either come or not, we've gotta head out.
ROGER
No, not tonight.
He heads inside.
COLLINS
Mark, you sure you don't wanna come along?
ANGEL
Doesn't matter if you're not sick or queer.
COLLINS
You can get the kind of footage that makes a career.
MARK
It's down at the church?
ANGEL
The little mission, yeah.
MARK
Okay, I'll head over in a few minutes. (he points across the lot.)
Angle on: Joanne struggling with electrical equipment.
Back to our boys.
COLLINS
Do not even tell me that's the famous Joanne.
Mark shrugs.
MARK
I guess it must be.
COLLINS
My friend, you have got balls of cast iron. All right, then, we'll see ya in a bit.
They leave.
EXT. Maureen's Makeshift Stage- Night- Mark's Film
Grainy footage of a platform, serving as a stage in the center of a tent city. The sort of thing Jesus would use if he were to preach today.
MARK (VO)
And so into the abyss: The lot, where a small stage is partially set up.
Mark's camera pans over to Joanne who is just having a hell of a time.
JOANNE
Line in. I went to Harvard for this?
The camera moves closer to where Joanne is struggling.
MARK (VO)
Close on Mark's nose dive.
EXT. The Lot- Reality
We see Mark and Joanne standing side by side. It becomes instantly clear that if Joanne ever found Mark to be in any way threatening, she could snap him in two and be done with it.
A group of street musicians has gathered around the lot area and are playing a tango.
MARK
(to himself) Will he make it out of here alive?
Joanne looks up, notices him.
JOANNE
Oh, don't even tell me. Mark?
MARK
(sheepish) Uh, hi.
JOANNE
I told her not to call you.
MARK
That's Maureen, but can I help since I'm here?
JOANNE
I've hired an engineer.
MARK
Great! Well, nice to have-
JOANNE
-wait! She's three hours late.
MARK
All right, let's have a look. What's the problem, exactly?
JOANNE
The samples won't delay, but the cables-
MARK
-there's another way. Say something. Anything.
Joanne speaks into the mic.
JOANNE
Test: 1, 2, 3.
Mark flinches. He hates clichés.
MARK
Anything but that.
As they make the next exchange, Mark ties two wires together, there is a small spark, and the machine is fixed.
JOANNE
This is weird.
MARK
It's weird.
JOANNE
Very weird.
MARK
Fuckin' weird.
JOANNE
I'm so mad that I don't know what to do. Fighting with microphones, freezing down to my bones, and to top it all off, I'm with you.
MARK
Feel like going insane, got a fire in your brain, and you're thinking of drinking gasoline?
JOANNE
As a matter of fact-
MARK
-honey, I know this act. It's called: The Tango Maureen.
He dances over to her.
MARK
The Tango: Maureen! It's a dark, dizzy, merry-go-round. As she keeps you danglin'-
JOANNE
-you're wrong-
MARK
-your heart she is manglin'
JOANNE
It's different with me…
MARK
So you toss and you turn, cause her cold eyes can burn, yet you yearn and you churn and rebound.
JOANNE
I think I know what you mean.
BOTH
The Tango: Maureen.
MARK
Has she ever pouted her lips and called you… Pookie?
JOANNE
Never.
MARK
Have you ever doubted a kiss or two?
JOANNE
This is spooky. Did you swoon when she walked through the door?
MARK
Every time, so be cautious.
JOANNE
Did she moon over other boys.
MARK
More than moon.
JOANNE
I'm getting nauseous.
MARK
Look, that's the girl, okay. It's the way she is.
JOANNE
I feel like I'm just a phase.
MARK
Like girls and horses?
JOANNE
Did you feel that way?
MARK
There were days…
JOANNE
I feel like she'd leave me for anyone if she had the chance.
MARK
You have to let it go. (on the musicians) May I have this dance?
She approaches him, tentatively. Together, they strike a pose and begin to tango.
MARK
Where'd you learn to tango?
JOANNE
With the French Ambassador's daughter in her dorm room at Miss Porter's. And you?
MARK
With Nanette Himmelfarb. The Rabbi's daughter at the Scarsdale Jewish Community Center.
They switch.
MARK
It's hard to do this backwards.
JOANNE
You should try it in heels!
She spins him.
JOANNE
She cheated!
MARK
She cheated?
JOANNE
Maureen cheated!
MARK
Fucking cheated!
JOANNE
I'm defeated, I should give up right now.
MARK
Gotta look on the bright side with all of your might.
JOANNE
I'd fall for her still, anyhow.
BOTH
When you're dancing her dance, you don't stand a chance. Her grip of romance makes you fall.
MARK
So you think, "Might as well-
JOANNE
-dance a tango to hell-
BOTH
-at least I'll have tangoed at all." The Tango: Maureen. Gotta dance til your diva is through. You pretend to believe her. Cause in the end you can't leave her. But the end it will come. Still you have to play dumb, til you're glum and you bum and turn blue.
MARK
Why do we love when she's mean?
JOANNE
And she can be so obscene…
MARK
Try the mic!
Joanne talks into it.
JOANNE
My Maureen…
The "een" echoes repeatedly into the night.
MARK
Patched!
JOANNE
Thanks!
MARK
Ya know, I feel great now.
JOANNE
I feel lousy.
The pay phone rings. Joanna answers it.
JOANNE
Hello? Oh, hi hon- POOKIE? You've never called me "Pookie!"
Mark makes a "what'd-I-tell-ya" face.
JOANNE
No, forget it, we're patched.
She hangs up.
BOTH
The Tango: Maureen.
MARK
Ya need anything else?
JOANNE
Look, I realize you've been Maureen's friend for years and I don't want things to be awkward between you and me. It's gotten pretty serious with Maureen and me.
MARK
Has it, now.
JOANNE
Yes, actually, we're living together.
MARK
Living together. Wow.
JOANNE
Oh, come on, you two used to live together.
MARK
She and I used to share an apartment with a broke philosopher, an overambitious yuppie asshole and a pair of punk songwriters who were usually so strung out on smack they weren't even sure where they were.
Joanne laughs.
JOANNE
Well, whatever. The point is, we've all gotta get along. (she puts out her hand) Friends?
MARK
Yeah, friends.
They shake hands.
JOANNE
Good. Glad we have that settled. Look, I have a million different things to do in a million different places before the show, so I'll catch ya there, all right?
MARK
Absolutely. It really was nice to meet you.
JOANNE
You too.
She leaves.
INT. Life Support Meeting
A group of folding chairs in arranged a circle. Everyone is clutching a cup of stale coffee as though it were their last surviving friend. They go around the room introducing themselves.
STEVE
Steve.
GORDON
Gordon.
ALI
Ali.
PAM
Pam.
SUE
Sue.
ANGEL
Hi, I'm Angel.
COLLINS
Tom. Collins.
PAUL
I'm Paul. Let's begin
ALL
There's only us
There's only this ...
Mark opens the door too loudly and, to boot, bumps a chair.
MARK
Sorry ... Excuse me ... oops.
PAUL
And you are?
MARK
Oh -- I'm not --
I'm just here to --
I don't have --
I'm here with --
Um -- Mark
Mark -- I'm Mark
Well -- this is quite an operation
PAUL
Sit down Mark
We'll continue the affirmation
ALL
Forget regret or life is yours to miss
GORDON
Excuse me Paul -- I'm having a problem with this
This credo -- My T-cells are low --
I regret that news, okay?
PAUL
Alright
But Gordon - How do you feel today?
GORDON
What do you mean?
PAUL
How do you feel today?
GORDON
Okay
PAUL
Is that all?
GORDON
Best I've felt all year
PAUL
Then why choose fear?
GORDON
I'm a New Yorker!
Fear's my life!
Look - I find some of what you teach suspect
Because I'm used to relying on intellect
But I try to open up to what I don't know
For a moment we cut back to the loft. Roger has placed an old picture of April between his guitar strings and is weeping over it.
ROGER
Because reason says I should have died
Three years ago
INT. Life Support Meeting
As before.
ALL
No other road
No other way
No day but today
INT. Mimi's Apartment
Mimi has placed the Well Hungarians flyer she stole on her vanity mirror. She kisses it. Cut to the opening riffs of "Out Tonight," Mimi primps and prepares. By the time she is done, anyone would kill just to look at her. As she sings, she seduces and humps various objects around her apartment.
MIMI
What's the time?
Well it's gotta be close to midnight
My body's talking to me
It says, "Time for danger"
It says "I wanna commit a crime
Wanna be the cause of a fight
Wanna put on a tight skirt and flirt
With a stranger"
I've had a knack from way back
At breaking the rules once I learn the games
Get up - life's too quick
I know someplace sick
Where this chick'll dance in the flames
We don't need any money
I always get in for free
You can get in too
If you get in with me
Let's go out tonight
I have to go out tonight
You wanna play?
Let's run away
We won't be back before it's Christmas day
Take me out tonight (meow)
When I get a wink from the doorman
Do you know how lucky you'll be?
That you're on line with the feline of Avenue B
Let's go out tonight
I have to go out tonight
You wanna prowl
Be my night owl?
Well take my hand we're gonna howl
Out tonight
In the evening I've got to roam
Can't sleep in the city of neon and chrome
Feels too damn much like home
When the Spanish babies cry
So let's find a bar
So dark we forget who we are
And all the scars from the
Nevers and maybes die
Let's go out tonight
Have to go out tonight
You're sweet
Wanna hit the street?
Wanna wail at the moon like a cat in heat?
Just take me out tonight!
She jumps down the stairs to Rogers front door and bursts in. She goes up to him and repeats the same act on him she did on her furniture. Toward the end, she does a very seductive dance with his guitar.
MIMI
Please take me out tonight
Don't forsake me -- out tonight
I'll let you make me -- out tonight
Tonight -- tonight – tonight
Roger looks at her. For a moment, we see his POV. From where he's sitting Mimi's face is right next to that of April, who is still in his guitar strings.
ROGER
Who do you think you are?
Barging in on me and my guitar
Little girl -- hey
The door is that way
You better go you know
The fire's out anyway
Take your powder -- take your candle
Your sweet whisper
I just can't handle
Well take your hair in the moonlight
Your brown eyes -- goodbye, goodnight
I should tell you I should tell you
I should tell you I should -- no!
Another time -- another place
Our temperature would climb
There'd be a long embrace
We'd do another dance
It'd be another play
Looking for romance?
Come back another day
Another day
MIMI
The heart may freeze or it can burn
The pain will ease if I can learn
There is no future
There is no past
I live this moment as my last
There's only us
There's only this
Forget regret
Or life is yours to miss
No other road
No other way
No day but today
ROGER
Excuse me if I'm off track
But if you're so wise
Then tell me -- why do you need smack?
Take your needle
Take your fancy prayer
And don't forget
Get the moonlight out of your hair
Long ago -- you might've lit up my heart
But the fire's dead -- ain't never ever gonna start
Another time -- another place
The words would only rhyme
We'd be in outer space
It'd be another song
We'd sing another way
You wanna prove me wrong?
Come back another day
Another day
MIMI
There's only yes
Only tonight
We must let go
To know what's right
No other course
No other way
No day but today
Mimi leaves in a huff.
INT. Life Support
The moment the scene begins, everyone is signing. Mimi enters and joins them.
MIMI AND SUPPORT MEMBERS
I can't control
My destiny
I trust my soul
My only goal is just
To be
There's only now
There's only here
Give in to love
Or live in fear
No other path
No other way
No day but today...
INT. Loft
Roger is violently punching a pillow. As the audio overlaps, we cut between the majority of our heroes at Life Support, finding peace, and the exception, Roger, working it all out his way.
ROGER
Control your temper
She doesn't see
Who says that there's a soul?
Just let me be...
Who do you think you are?
Barging in on me and my guitar
Little girl, hey
The door is that way
The fire's out anyway
INT. Life Support
ALL
No day but today
No day but today
No day but today
No day but today
No day but today
ROGER
Take your powder; take your candle
Take your brown eyes, your pretty smile, your silhouette
Another time, another place
Another rhyme, a warm embrace
Another dance, another way
Another chance, another day
The Life Support Choir's voice echoes "No Day But Today" in Roger's head.
Roger picks up his guitar and plays a simple riff.
ROGER
I'm writing one great song before I…
Will I lose my dignity?
Will someone care?
Will I wake tomorrow from this nightmare?
Will I lose my dignity?
Will someone care?
Will I wake tomorrow from this nightmare?
Roger puts down his guitar and steps outside of the house.
EXT. Street
A crowd of homeless have gathered outside the mission. They are ringing Salvation Army-style bells.
HOMELESS CHOIR
Christmas bells are ringing
Christmas bells are ringing
Christmas bells are ringing
Out of town
Santa Fe
Mark, Collins and Angel come out of the building. Angel gives a homeless person a small wad of bills. The homeless person looks stunned.
ANGEL
Dee-dee-dee-dee-dee-dee-dee.
As they go about their merry way, they pass a man with a sqeeguee attempting to wash someone's windshield.
SQUEEGEEMAN
Honest living, man!
The guy in the car revs the engine. The squeegeeman jumps off just in time.
SQEEGEEMAN
Felìz navidad?
ANGEL
Dee-dee-dee-dee.
Soon, they come upon a homeless woman trying to sell someone stolen coats. The police approach and the potential customer flees, so as to avoid an incident. Our heroes, however, decide to confront the cops. They approach.
COLLINS
Evenin' officers.
Mark points his camera at the scene.
MARK
Smile for Ted Koppel, Officer Martin!
The cops blow them off, turn and leave.
COLLINS
(calling after them) And a Merry Christmas to your family!
COP
(calling back) Right!
The homeless lady looks furious.
HOMELESS LADY
Who the fuck do you think you are?
I don't need no goddamn help from bleeding heart cameraman.
My life's not for you to make a name for yourself on!
ANGEL
Easy, sugar, easy. He was just trying to-
HOMELESS LADY
Just trying to use me to kill his guilt! Well, it's not that kind of movie, honey! Let's go. This lot is full of motherfucking artists! (beat) Hey! Artist! Got a dollar?
Mark looks embarrassed.
HOMELESS LADY
I thought not.
She picks up her pile of coats and storms off. Collins thinks he notices something as she leaves.
COLLINS
Was that my— never mind.
ANGEL
So why did your little friend not want to come along tonight?
MARK
He's not having an easy time.
ANGEL
How do you mean?
MARK
Well, you could say he's coming off a bad relationship.
ANGEL
Bad breakup?
MARK
Worse.
COLLINS
You talking about April?
MARK
Yeah.
ANGEL
Who's April?
COLLINS
Suicidal girl who od'ed.
He says he loved her, what he loves is to bleed.
MARK
Yeah, she died ugly. Full of drugs, slash marks on her wrists. It's… it's real hard on all of us.
ANGEL
So this boy is still stuck on a girl when she's moved on all the way to the other side.
MARK
That's a way to put it.
ANGEL
I like him already. Another freak in the freak kingdom.
MARK
Freak kingdom?
ANGEL
New Your City. Center of the universe.
COLLINS
Sang it, girl!
ANGEL
Times are shitty, but I'm pretty sure they can't get worse.
MARK
I hear that.
ANGEL
It's a comfort to know, when you're singing the Hit The Road Blues, that anywhere else you could possibly go after New York would be… a pleasure cruise!
COLLINS
Now you're talkin'!
They pause for a while. Angel starts a tribal sort of drum beat, and Collins begins a dance to match. Mark stands there and films.
COLLINS
Well, I'm thwarted by a metaphysic puzzle
And I'm sick of grading papers -- that I know
And I'm shouting in my sleep, I need a muzzle
All this misery pays no salary, so
Let's open up a restaurant in Santa Fe
Oh sunny Santa Fe would be nice
Let's open up a restaurant in Santa Fe
And leave this to the roaches and mice
The homeless choir gathers around them.
COLLINS AND THE CHOIR
Whoah oh whoah oh whoah oh whoah ohhh whohhh.
Like the Pied Piper, Collins leads Angel and Mark away from the scene, with all the homeless following them.
ANGEL
You teach?
COLLINS
Yeah, I teach.
Computer Age Philosophy
My students would rather watch TV
ANGEL
America.
ALL
America.
Collins suddenly stops. The crowd stops with him. He is a natural leader. He begins addressing the crowd, giving everyone specific jobs at the restaurant. Angel gets the drum job, of course.
COLLINS
You're a sensitive aesthete
Brush the sauce onto the meat
You could make the menu sparkle with rhyme
You could drum a gentle drum
I could seat guests as they come
Chatting not about Heidegger, but wine!
Let's open up a restaurant in Santa Fe
Our labors would reap financial gains.
HOMELESS CHOIR
Gains, gains, gains!
COLLINS
We'll open up a restaurant in Santa Fe
And save from devastation our brains
HOMELESS
Save our brains
ALL
We'll pack up all our junk and fly so far away
Devote ourselves to projects that sell
We'll open up a restaurant in Santa Fe
Forget this cold Bohemian hell
Oh--
ALL
Oh--
COLLINS
Do you know the way to Santa Fe?
You know, tumbleweeds...prairie dogs...
MARK AND ANGEL
Yeah.
The crowd of homeless breaks up, each going their separate ways.
MARK
All right, I'll meet you guys at the show. I'll try and convince Roger to go.
He leaves.
ANGEL
Ah, alone at last.
COLLINS
He'll be back, I guarantee.
ANGEL
I've been hearing violins all night.
COLLINS
Anything to do with me? Are we, uh, are we a, a thing?
ANGEL
Darling, we're everything! Live in my house, I'll be your shelter, just pay me back with 1,000 kisses. Be my lover and I'll cover you…
COLLINS
Open your door
I'll be your tenant
Don't got much baggage
To lay at your feet
But sweet kisses I've got to spare
I'll be there -- I'll cover you
As the song continues, Collins and Angel run through the streets, which are fantastically decorated for Christmas. There are lights in all directions. Gigantic snowmen, animated Santas, etc. The city is beautiful and they are very much in love.
BOTH
I think they meant it
When they said you can't buy love
Now I know you can rent it
A new lease you are, my love,
On life -- be my life
Just slip me on
I'll be your blanket
Wherever -- whatever -- I'll be your coat
ANGEL
You'll be my king
And I'll be your castle
COLLINS
No you'll be my queen
And I'll be your moat
BOTH
I think they meant it
When they said you can't buy love
Now I know you can rent it
A new lease you are, my love,
On life -- all my life
I've longed to discover
Something as true as this is
COLLINS
So with a thousand
sweet kisses
I'll cover you
With a thousand sweet kisses
I'll cover you
When you're worn
out and tired
When your heart has expired
ANGEL
If you're cold
And you're lonely
You've got one nickel only
With a thousand sweet kisses
I'll cover you
With a thousand sweet kisses
I'll cover you
BOTH
Oh lover I'll cover you
Oh lover I'll cover you
The last display they pass is an unusually large Nativity scene. Above it are neon lights that read "Jesus Loves You." As they gaze upon it, the message changes to read "Collins Loves Angel." The pair kisses, sweetly.
EXT. Pay phone
Joanne is talking into her cell.
JOANNE
Steve -- Joanne
The Murget case?
A dismissal!
Good work counselor
The pay phone rings. JOANNE answers it and begins a conversation with MAUREEN
simultaneously juggling two other calls on her cellular phone.
We're okay
Honeybear -- wait!
I'm on the other phone
Yes, I have the cowbell
We're okay
(into cellular phone)
So tell them we'll sue
But a settlement will do
Sexual harassment -- and civil rights too
Steve, you're great
(into pay phone)
No you cut the paper plate
Didja cheat on Mark a lot would you say?
We're okay
Honey hold on...
(into cellular phone)
Steve, hold on...
(JOANNE presses the call-waiting button on the cellular phone)
Hello?
Dad -- yes
I beeped you
Maureen is coming to Mother's hearing
We're okay
(into pay phone)
Honeybear - what?
Newt's lesbian sister
I'll tell them
(into cellular phone)
You heard?
(into pay phone)
They heard
We're okay
(into cellular phone)
And to you dad
(JOANNE presses the call-waiting as she speaks into the pay phone)
Yes -- Jill is there?
(into cellular phone)
Steve gotta --
(into pay phone)
Jill with the short black hair?
The Calvin Klein model?
(into cellular phone)
Steve, gotta go!
(into pay phone)
The model who lives in Penthouse A???
We're
We're okay
I'm on my way.
INT. Loft
Mark is sitting at his editing bay. We see a close up of what he is working on:
A shot of the Life Support circle becomes the circle of homeless gathered the trash can fire.
MARK (FAINT VOICE OVER FROM PLAYBACK MACHINE)
Desperation forms rings. Loss exists in a circle.
Roger suddenly enters.
MARK
Where have you been?
ROGER
(evasive) I just went for a walk. Clear my head.
MARK
Are you okay?
ROGER
Maybe.
MARK
What happened?
ROGER
This girl…
MARK
Hold on, I just gotta get this take finished.
INT. Puppet Stage of the exterior shot
We see a Claymation set of the old music factory, the stage, the pay phone, etc. The entire number is done in one shot, with animated versions of the people we've seen moving in and out of it. As the number opens, the Homeless Choir appears, one animated figure at a time, as they join the harmony.
HOMELESS CHOIR
Christmas bells are ringing
Christmas bells are ringing
Christmas bells are singing
On TV - at Saks
An car drives by with the Squeegueeman chasing it.
SQUEEGUEEMAN
Honest living, honest living
Honest living, honest living
Honest living, honest living
A well-to-do man strolls by the choir.
HOMLESS CHOIR
Can't you spare a dime or two
Here but for the grace of God go you
You'll be merry
I'll be merry
Tho merry ain't in my vocabulary
No sleighbells
No Santa Claus
No yule log
No tinsel
No holly
No hearth
No
Just then, the familiar figure of RUDOLPH THE RED-NOSED REINDEER comes frolicking over.
SOLOIST
(flipping him off) 'Rudolph the red nosed reindeer'
HOMELESS CHOIR
(all flipping him off) 'Rudolph the red nosed reindeer'
Rudolph walks away, looking a little hurt.
HOMLESS CHOIR
No room at the Holiday Inn
Oh noooo
And it's beginning to snow.
As the last line comes, large, cartooney snowflakes descend on the scene.
Small stages with vendor figures ascend on the stage.
VENDORS
Hats, bats, shoes, booze
Mountain bikes, potpourri
Leather bags, girlie mags
Forty-fives, AZT
VENDOR #1
No one's buying
VENDOR # 2
Feel like cryin?
ALL
No room at the Holiday Inn, oh no
And it's beginning to snow
The adorable, cuddly, animated versions of Angel and Collins come around the corner and approach one of the vendors. It is the cartoon version of the Blanket Lady from earlier, the one Collins suspected of having his coat.
BLANKET LADY
How about a fur --
In perfect shape
Owned by an MBA from uptown
I got a tweed
Broken in by a greedy
Broker who went broke
And then broke down
Collins pulls Angel aside.
COLLINS
You don't have to do this.
Angel leads him back to the vendor.
ANGEL
Hush your mouth, it's Christmas
COLLINS
I do not deserve you, Angel
They sing the next part simultaneously.
COLLINS
Give--give
All you do
Is give
Give me some way to show
How much you've touched me so
Angel ignores him, talks to the vendor.
ANGEL
Wait--what's on the floor?
Let's see some more...
No--no--no...
ANGEL
Kiss me -- it's beginning to snow.
They kiss.
The animated figures of Mark and Roger appear on their fire escape.
MARK
She said "Would you light my candle" and she put on a pout, and she wanted you to take her out tonight?
ROGER
Right.
MARK
She got you out!
ROGER
She was more than okay, but I pushed her away
It was bad, I got mad, and I had to get her out of my sight.
MARK
Wait, wait, wait!
You said she was sweet!
ROGER
Let's go eat. I'll get fat
It's the one vice left when you're dead meat.
At that moment, in the streets below, the animated version of Mimi, along with a bunch of dope fiends and their dealer, THE MAN walk by. Roger points.
ROGER
There!
That's
Her!
MARK
Maureen?
ROGER
Mimi!
MARK
Whoah!
ROGER
I should go.
BOTH
Hey, it's beginning to snow!
A cop car drives up, two COPS get out.
COPS
I'm dreaming of a white, right Christmas!
MIMI AND THE DOPE FIENDS
Follow the man -- follow the man
With his pockets full of the jam
Follow the man -- follow the man
Help me out, daddy
If you can
Got any D man?
THE MAN
I'm cool
MIMI & DOPE FIENDS
Got any C man?
THE MAN
I'm cool
MIMI & DOPE FIENDS
Got any X?
Any smack?
Any horse?
Any jugie boogie boy?
Any blow?
The Roger figure steps out of the building and pulls Mimi aside.
ROGER
Hey
MIMI
Hey
ROGER
I just want to say
I'm sorry for the way --
MIMI
Forget it
ROGER
I blew up
Can I make it up to you?
MIMI
How?
ROGER
Dinner party?
MIMI
That'll do
THE MAN
Hey lover boy -- cutie pie
You steal my client -- you die
ROGER
You didn't miss me -- you won't miss her
You'll never lack for customers
DOPE FIENDS
I'm willin'
I'm illin'
I gotta get my sickness off
Gotta run, gotta ride
Gotta gun, gotta hide -- gotta go
THE MAN
And it's beginning to snow
The animated figure of Benny flies by on a hang glider, talking on his cell.
BENNY
Wish me luck, Alison
The protest is on
All the singing and movement begins to happen simultaneously. Angel continues to barter with the Blanket Person, cops arrest dope fiends, Mimi is introduced to Mark. Every now and then, a car drives by with Squeegeeman in hot pursuit. And Benny continues back and forth on his hang glider. At a certain point, Rudolph and Santa can be seen joining the dope fiends, buying shit from The Man.
BLANKET PERSON
L.L Bean
Geoffrey Beene
Burburry zip out
Lining
DOPE FIENDS
Got any C man?
Got any D man?
Got any B man?
Got any crack?
Got any X?
SQUEEGEEMAN
Honest living --
ROGER
Mark, this is Mimi --
MARK/MIMI
Hi
ROGER
She'll be dining with us
BLANKET PERSON
Here's a new arrival
THE MAN
That is an ounce
VENDORS
Hats, dats, bats
COLLINS
That's my coat!
BLANKET PERSON
We give discounts
MARK
I think we've met
ANGEL
Let's get a better one
COLLINS
It's a sham
MIMI
That's what he said
THE MAN
I said it's a gram!
COLLINS
But she's a thief!
ANGEL
But she brought us together
BENNY
Which investor is coming??
COLLINS
I'll take the leather
BENNY
Your father? -- Damn!
HOMELESS & VENDORS
Christmas bells are swinging
Christmas bells are ringing
Christmas bells are singing
In my dreams -- next year
Once you donate you can go
Celebrate in Tuckahoe
You'll feel cheery
I'll feel cheery
Tho' I don't really know that theory
No bathrobe
No steuben glass
No cappucino makers
No pearls, no diamonds
No 'Chestnuts roasting on an open fire'
Chestnuts roasting on an open fire
No room at the Holiday Inn, oh no --
POLICE OFFICERS
I'm dreaming of a white Christmas
Just like the ones I used to know
Jingle bells -- prison cells
Fa la la la -- fa la la la
You have the right to remain
Silent night holy night
Fall on your knees oh night divine
You'll do some time
Fa la la la la
Fa la la la la
DOPE FIENDS
Got any C man?
Got any D man?
Got any B man?
Got any X? -- Crack?
I'm willin' -- I'm illin'
Gotta get my sickness off
C-D help me
Follow the man -- follow the man
Follow the man
Jugie boogie -- jugie boogie
Follow the man -- follow the man
Any crack any X any jugie boogie boy
Any blow any X any jugie boogie boy
Got any D man, got any C man
Got any crack -- any X -- any jugie boogie?
BLANKET PERSON
Twenty-five
ANGEL
Fifteen
BLANKET PERSON
Twenty-five
ANGEL
Fifteen
BLANKET PERSON
No way
Twenty-four
ANGEL
Fifteen
BLANKET PERSON
Twenty-four
ANGEL
Fifteen
BLANKET PERSON
Not today
Twenty-three
ANGEL
Fifteen
BLANKET PERSON
Twenty-three
ANGEL
Fifteen
It's old
BLANKET PERSON
Twenty-two
ANGEL
Fifteen
BLANKET PERSON
Twenty-one
ANGEL
Fifteen
BLANKET PERSON
Seventeen
ANGEL
Fifteen
BLANKET PERSON
Fifteen
ANGEL & BLANKET PERSON
Sold!
MARK & ROGER
Let's
Go
To
The lot -- Maureen's performing
MIMI
Who's Maureen?
ROGER
His ex
MARK
But I am over her
ROGER
Let's not hold hands yet
MIMI
Is that a warning?
ALL THREE
He/You/I
Just
Need(s)
To take it slow
I should tell you I should tell you
I should tell you I should tell you
I should tell you I ...
ALL
And it's beginning to
And it's beginning to
And it's beginning to ---
With the blasting sound of a motorcycle engine, we are brought back to:
EXT. The Lot- NIGHT- Reality
Everyone is gathered in the same positions they were in the animated sequence. MAUREEN (yes, it's her, who we've seen in photos and old bits of film) pulls up on a motorcycle.
MAUREEN
Joanne, which way to the stage?
ALL
SNOW!!!
The film shakes and starts to run out. As it does, there is a flash (a few frames) of April talking to the man.
APRIL
You got any pure?
THE MAN
Fuck off, bitch, you give me a bad name.
As this film runs out, we again, as in the very beginning, see title cards:
A MARK COHEN FILM
CREATING DESTRUCTION, DESTROYING CREATION
MARK (VO)
Maureen's performance!
EXT. The lot- Night- Mark's Film
Maureen is standing on the stage, dressed in a black turtle neck. She looks basically like every other performance artist ever.
MAUREEN
Last night I had a dream.
EXT. Nightmare Desert- NIGHT
Maureen's performance space suddenly becomes a fairy tale kingdom after a nuclear explosion. Red sky, the whole bit. The homeless she was once performing for have become classic fairy tale characters: Little Bo Peep, Red Riding Hood, Pinocchio, The Three Little Pigs, etc. In the front are Dorothy, The Scarecrow, The Tin Woodman and the Cowardly Lion, sitting among our regular heroes: Mark, Collins, Roger, Angel and Mimi.
MAUREEN
I found myself in a desert called Cyberland.
It was hot. My canteen had sprung a leak and I was thirsty.
A fairy tale cow, resembling Joanne, comes galloping over. Maureen pets her lovingly.
MAUREEN
Out of the abyss walked a cow -- Elsie.
I asked if she had anything to drink.
She said, "I'm forbidden to produce milk.
In Cyberland, we only drink Diet Coke."
She said, "Only thing to do is jump over the moon"
"They've closed everything real down ... like barns, troughs, performance spaces ...
And replaced it all with lies and rules and virtual life.
But there is a way out ...
ELSIE/JOANNE
Leap of faith, leap of faith
Leap of faith, leap of faith
MAUREEN
"Only thing to do is jump over the moon"
EXT. Apocalyptic Street- NIGHT
A yellow truck comes tearing out of the ruined landscape. Maureen is bound by rope to the hood. At the wheel is a demented vision of Mickey Mouse, laughing wickedly with a crack pipe firmly clenched between his teeth.
MAUREEN
I gotta get out of here! It's like I'm being tied
to the hood of a yellow rental truck, being packed
in with fertilizer and fuel oil, pushed over a cliff
by a suicidal Mickey Mouse! -- I've gotta find a way
Back to the desert
MAUREEN
"To jump over the moon
Only thing to do is jump over the moon"
ELSIE/JOANNE
Leap of faith, leap of faith…
A small scene appears behind Maureen. It includes a small, rundown cottage and a very nicely furnished dog house with the name "BENNY" on it in gold lettering. Two bulldogs, one looking a great deal like Benny and the other a female, emerge.
MAUREEN
Then a little bulldog entered. His name (we have learned) was Benny.
And although he once had principles,
He abandoned them to live as a lap dog to a wealthy daughter of the revolution.
Out of the rundown cottage come the dish and the spoon, who resemble Roger and Mark, respectively. They act out the scene as Maureen describes it.
MAUREEN
That's bull," he said.
"Ever since the cat took up the fiddle, that cow's been jumpy.
And the dish and the spoon were evicted from the table -- and eloped ...
She's had trouble with that milk and the moon ever since.
Maybe it's a female thing.
'Cause who'd want to leave Cyberland anyway?...
Walls ain't so bad.
The dish and the spoon for instance.
They were down on their luck - knocked on my doghouse door.
I said, "Not in my backyard, utensils! Go back to China!"
The scene disappears.
MAUREEN
"The only way out is up," Elsie whispered to me.
"A leap of faith. Still thirsty?" she asked.
Parched. "Have some milk."
I lowered myself beneath her and held my mouth to her swollen udder
And sucked the sweetest milk I'd ever tasted."
(She does so.)
"Climb on board," she said.
(She does so.)
And as a harvest moon rose over Cyberland,
We reared back and sprang into a gallop.
Leaping out of orbit!!!
(Elsie runs toward the background and jumps over the moon, which smiles at her.)
EXT. The Lot- Night- Mark's film.
We return, once again, to reality. Maureen is on her stage performing for the homeless.
MAUREEN
I awoke singing.
RECORDED VOICE
Leap of faith, leap of faith…
MAUREEN
Only thing to do
Only thing to do is jump
Only thing to do is jump over the moon
Only thing to do is jump over the moon
Over the moon -- over the
Moooooooo
Moooooooo
Moooooooo
Moooooooo
Moo with me.
MAUREEN encourages the audience to moo with her. She says, "C'mon, sir, moo with
me," etc. The audience responds. When the "moos" reach their climax, she cuts them off with a big sweep of her arms.
MAUREEN
Thank you.
There is thunderous applause.
The homeless gradually break up, returning to their tents. Maureen jumps down from the stage. She smiles. Mark avoids her eye.
MAUREEN
Was I good?
MIMI
You were fucking awesome!
MAUREEN
Oh, why, thank you, and who might you be?
Mimi throws her hand forward.
MIMI
I'm Mimi.
She puts her free arm around Roger, who recoils a little.
MIMI
I'm Roger's date for the after party.
Maureen shakes her hand.
MAUREEN
Well, it's very nice to meet you, then.
Maureen leans in and whispers to Mimi.
MAUREEN
That boy needs to get laid.
MARK
Well, shall we go to the Life Café?
COLLINS
(sarcastically) Are you paying?
They all start to walk.
INT. Life Café- Night
Our heroes enter excitedly. Benny, along with the people we've seen earlier in the film of the groundbreaking, are already seated at a table. The host looks very nervous as our heroes enter.
HOST
No please no
Not tonight please no
Mister -- can't you go --
Not tonight -- can't have a scene
ROGER
What?
HOST
Go, please go;
You -- Hello, sir --
I said, "No"
Important customer
MARK
What am I, just a blur?
HOST
You sit all night and never buy!
MARK
That's a lie!
That's a lie!
I had a tea the other day
HOST
You couldn't pay!
MARK
Oh yeah…
Collins looks into the dining room and sees Benny.
COLLINS
(shouting) Benjamin Coffin, the Third? Here?
HOST
Oh no!
OUR HEROES
WINE AND BEER!
Maureen looks over and locks eyes with Benny.
MAUREEN
The enemy of Avenue A. We'll stay.
HOST
Oy vey!
Our heroes move over and take a table right next to Benny's.
COLLINS
What brings a mogul in his own mind to the Life Café?
Benny stands, glass in hand.
BENNY
I would like to propose a toast, to Maureen's noble try. It went well.
MAUREEN
Go to hell.
BENNY
Was the yuppie scum stomped? Not counting the homeless, how many tickets weren't comped?
ROGER
Why did Muffy-
BENNY
ALLISON!
ROGER
-miss the show?
BENNY
There was a death in the family, if you must know?
ANGEL
Who died?
BENNY
Our Akita.
Angel, Roger, Mark and Collins make the connection.
BENNY, ANGEL, MARK, ROGER, COLLINS
Evita!
Benny notices Mimi and makes eye contact. She looks away.
BENNY
Mimi -- I'm surprised
A bright and charming girl like you
Hangs out with these slackers
Who don't adhere to deals
They make fun -- yet I'm the one
Attempting to do some good
Or do you really want a neighborhood
Where people piss on your stoop every night?
Bohemia, Bohemia's
A fallacy in your head
This is Calcutta
Bohemia is dead
With the piano riff that follows this line, the Life Café becomes:
INT. Fantasy Banquet Hall
Benny is now dressed as Hitler and his father in law is dressed as Napoleon. Our heroes' table has expanded greatly: they are now joined by various historical and pop culture figures who have inspired them: great Greek philosophers, legendary filmmakers, punk rock icons, Pee-Wee Herman, and, once again, Dorothy, the Scarecrow, the Tin Woodman and the Cowardly Lion. All the persons mentioned in the song are present, and when their names come up, they are pointed out. Mark is addressing the entire crowd, with a shawl wrapped around his head, making him resemble a Russian Jewish grandmother.
MARK
Dearly beloved we gather here to say our goodbyes
COLLINS & ROGER
Dies irae -- dies illa
Kyrie eleison
Yitgadal v' yitkadash, etc.
MARK
Here she lies
No one knew her worth
The late great daughter of mother earth
On this night when we celebrate the birth
In that little town of Bethlehem
We raise our glass -- you bet your ass to --
(MAUREEN flashes hers.)
La vie Boheme
ALL
La vie Boheme
La vie Boheme
La vie Boheme
La vie Boheme
Mark jumps up on the table and, as he sings begins kicking silver serving trays off it, which Hitler/Benny and Napoleon/Mr. Grey dodge.
MARK
To days of inspiration
Playing hookie, making something out of nothing
The need to express --
To communicate,
To going against the grain,
Going insane
Going mad
To loving tension, no pension
To more than one dimension,
To starving for attention,
Hating convention, hating pretension
Not to mention of course,
Hating dear old mom and dad
To riding your bike,
Midday past the three piece suits
To fruits -- to no absolutes --
To Absolut -- to choice --
To the Village Voice --
To any passing fad
ALL
La vie Boheme
La vie Boheme
JOANNE enters.
MAUREEN
Is the equipment in a pyramid?
JOANNE
It is, Maureen
MAUREEN
The mixer doesn't have a case
Don't give me that face
MAUREEN smacks JOANNE's ass as she exits. Napoleon/Mr. Grey reacts.
NAPOLEON/MR. GREY
Ahhemm
MAUREEN
Hey Mister -- she's my sister
Mark jumps down from the table, leaving one silver serving tray intact. Out from it pops the host, holding a pad and pencil with which to take the order.
HOST
So that's five miso soup, four seaweed salad
Three soy burger dinner, two tofu dog platter
And one pasta with meatless balls
PEE-WEE
Ewww!
COLLINS
It tastes the same.
MIMI
If you close your eyes.
HOST
And thirteen orders of fries. Is that it here?
ALL
Wine and beer!
Mimi and Angel jump up on the table. They simulate mutual cunnilingus on each other as they sing.
MIMI AND ANGEL
To hand-crafted beers made in local breweries
To yoga, to yogurt, to rice and beans and cheese
To leather, to dildos, to curry vindaloo
To huevos rancheros and Maya Angelou
COLLINS AND MAUREEN
Emotion, devotion, to causing a commotion
Creation, vacation
MARK
Mucho masturbation
MAUREEN & COLLINS
Compassion, to fashion, to passion when it's new
COLLINS
To Sontag
ANGEL
To Sondheim
FOUR PEOPLE
To anything taboo
COLLINS & ROGER
Ginsberg, Dylan, Cunningham and Cage
COLLINS
Lenny Bruce
ROGER
Langston Hughes
MAUREEN
To the stage
PERSON #1
To Uta
PERSON #2
To Buddha
PERSON #3
Pablo Neruda, too
MARK & MIMI
Why Dorothy and Toto went over the rainbow
To blow off Auntie Em
ALL
La vie Boheme
JOANNE returns.
MAUREEN
And wipe the speakers off before you pack
JOANNE
Yes, Maureen
MAUREEN
Well -- hurry back
MAUREEN and JOANNE kiss.
NAPOLEON/MR. GREY
Sisters?
MAUREEN
We're close
ANGEL jumps on top of COLLINS, who's on the table. They kiss.
ANGEL, COLLINS, MAUREEN, MARK, MR. GREY
Brothers!
MARK, ANGEL, MIMI & THREE OTHERS
Bisexuals, trisexuals, homo sapiens,
Carcinogens, hallucinogens, men, Pee Wee Herman
German wine, turpentine, Gertrude Stein
Antonioni, Bertolucci, Kurosawa
Carmina Burana
ALL
To apathy, to entropy, to empathy, ecstasy
Vaclav Havel -- The Sex Pistols, 8BC,
To no shame -- never playing the Fame Game
COLLINS
To marijuana
ALL
To sodomy,
It's between God and me
To S & M
NAPOLEON/MR. GREY walks out.
HITLER/BENNY
Waiter...Waiter...Waiter
ALL
La vie Boheme
Collins picks up an announcer's microphone.
COLLINS
In honor of the death of Bohemia an impromptu salon will commence immediately
following dinner...
Mimi Marquez, clad only in bubble wrap, will perform her famous lawn chair-handcuff
dance to the sounds of iced tea being stirred.
He passes the mic to Roger.
ROGER
Mark Cohen will preview his new documentary about his inability to hold an erection
on high holy days.
He tosses it to Mark, then picks up his guitar and tunes it.
MARK
Maureen Johnson, back from her spectacular one-night engagement at the eleventh
street lot,
Will sing native american tribal chants backwards through her vocoder,
While accompanying herself on the electric cello --
Which she has never studied.
Hitler/Benny walks up to Mimi, pulls her aside.
HITLER/BENNY
Your new boyfriend doesn't know about us?
MIMI
There's nothing to know.
HTLER/BENNY
Don't you think that we should discuss –
MIMI
It was three months ago.
HITLER/BENNY
He doesn't act like he's with you.
MIMI
We're taking it slow.
BENNY
Where is he now?
MIMI
He's, um-
BENNY
Uh huh.
MIMI
Where'd he go?
The focus returns to the rest of the group, who have been reveling all this time.
MARK
Roger will attempt to write a bittersweet, evocative song.
With passion and gusto, Mark plays Musetta's Waltz.
MARK
That doesn't remind us of "Musetta's Waltz!"
Mark tosses the mic to Collins.
COLLINS
Angel Dumott Schunard will now model the latest fall fashions from Paris
While accompanying herself on the 10 gallon plastic pickle tub.
Angel enthusiastically grabs the mic.
ANGEL
And Collins will recount his exploits as an anarchist --
Including the successful reprogramming of the M.I.T. virtual reality equipment
To self-destruct, as it broadcast the words:
ALL
"Actual reality -- Act Up -- Fight AIDS."
HITLER/BENNY
Check!
Mimi runs up to Roger angrily and knocks the guitar out of his hands.
MIMI
Excuse me, did I do something wrong? I get invited then ignored all night long!
ROGER
I'm tryin', I'm not lyin', no one's perfect! I've got baggage!
MIMI
Life's too short, babe, time is flyin'. I'm lookin' for baggage that goes with mine.
ROGER
I should tell you-
MIMI
-I've got baggage, too.
ROGER
I should tell you-
MIMI
-baggage-
ALL
Wine and beer!
A pager goes off.
Close Up: Roger's hand grabbing his pager. It is not beeping.
Close Up: Mimi's hand grabbing her pager. It is beeping and flashing the message "Take your AZT."
Back to two-shot of Mimi and Roger.
MIMI
AZT break.
Roger realizes what is going on.
ROGER
You?
MIMI
Me. You?
The pain in Roger's face speaks volumes.
ROGER
Mimi-
INT. Closed Wax Museum- Night
The banquet hall has become a wax museum after hours. Our heroes, their idols and their enemies have become wax figures above them is a banner reading:
THE LAST DAYS OF BOHEMIA
Here until January 25
Mimi and Roger stand in front of the display.
ROGER
I should tell you I'm disaster. I forget how to begin it.
MIMI
Let's just make this part go faster. I have yet to be in it. I should tell you-
ROGER
-I should tell you-
MIMI
-I should tell you-
ROGER
-I should tell you-
MIMI
I should tell I blew the candle out, just to get back in.
ROGER
I'd forgotten how to smile, until your candle burnt my skin.
MIMI
I should tell you
ROGER
I should tell you
MIMI
I should tell you
BOTH
I should tell
Well, here we go
Now we --
MIMI
Oh no
ROGER
I know -- this something is
Here goes --
MIMI
Here goes
ROGER
Guess so
It's starting to
--Who knows?
MIMI
Who knows
BOTH
Who knows where
Who goes there
Who knows
Here goes
Trusting desire -- starting to learn
Walking through fire without a burn
Clinging -- a shoulder, a leap begins
Stinging and older, asleep on pins
So here we go
Now we --
ROGER
Oh no
MIMI
I know
ROGER
Oh no
BOTH
Who knows where -- who goes there
Here goes -- here goes
Here goes -- here goes
Here goes -- here goes
The lights in the museum come back and it transforms back into:
INT. Fantasy Banquet Hall- That moment
All is the same, only now Mimi and Roger are much cuddlier toward one another, and the table that once held the oppressors is now vacant. Joanne enters.
MAUREEN
Are we packed?
JOANNE
Yes, and by next week I want you to be.
MAUREEN
Pookie?
JOANNE
And you should see: They've padlocked your building. And they're rioting on Avenue B. Benny called the cops.
MAUREEN
That fuck!
JOANNE
They don't know what they're doing. The cops are sweeping the lot, but no one's leaving. They're just sitting there, mooing!
Everyone explodes in cheers.
ALL
To dance!
A think skeleton girl in a tutu jumps onto the table.
THE GIRL
No way to make a living, masochism, pain, perfection
Muscle spasms, chiropractors, short careers, eating disorders!
ALL
Film!
Mark jumps up on the table, camera firmly in hand.
MARK
Adventure, tedium, no family, boring locations,
Dark rooms, perfect faces, egos, money, Hollywood and sleaze!
ALL
Music!
Angel jumps up there.
ANGEL
Food of love, emotion, mathematics, isolation,
Rhythm, feeling, power, harmony, and heavy competition!
ALL
Anarchy!
Collins and Maureen jump up there and do a dance that combines the movements of fornicating and homicide.
COLLINS AND MAUREEN
Revolution, justice, screaming for solutions,
Forcing changes, risk, and danger
Making noise and making pleas!
Everyone not on the table yet jumps up there and begin dancing wildly.
ALL
To faggots, lezzies, dykes, cross-dressers, too!
MAUREEN
To me!
COLLINS & ANGEL
To me
ALL
To you, and you and you, you and you
To people living with, living with, living with
Not dying from disease
Let he among us without sin
Be the first to condemn
La vie Boheme
La vie Boheme
La vie Boheme
MARK
Anyone out of the mainstream
Is anyone in the mainstream?
Anyone alive--with a sex drive
OTHERS
La vie boheme
La vie boheme
La vie boheme
MARK
Tear down the wall
Aren't we all?
The opposite of war isn't peace...
It's creation!
ALL
La vie Boheme
EXT. The Street Outside- Night- Mark's Film
We see absolute pandemonium. Rioters with signs, throwing tomatoes and blood, etc. In the center of it all is a burning Christmas tree. Roger and Mimi stand in front of it all, kissing passionately.
MARK (VO)
The riot continues. The Christmas tree goes up in flames. The snow dances. Oblivious,
Mimi and Roger share a small, lovely kiss.
INT. Life Café
It is as it was at the very beginning of the sequence. Our heroes, minus their idols are standing on the tables. They throw their fists in the air as they shout the last line:
ALL
Vive La Vie Bohem!
INT. The Loft
Roger is sitting on the table, holding his guitar. He takes out April's picture and replaces it with one of Mimi. He then begins to tune.
ROGER
I'm writing one great song before I-
He starts to play "Musetta's Waltz" again, but quickly chances it to the opening strains of "Seasons of Love."
ROGER
Five hundred twenty five thousand, six hundred minutes
Five hundred twenty five thousand moments so dear
Five hundred twenty five thousand minutes
How do you measure?
Measure a year?
As he continues to thing, everyone we've seen so far, divided into two groups gather around him and join the song.
ALL
In daylights?
In sunsets?
In midnights?
In cups of coffee?
In inches?
In miles?
In laughter?
In strife?
In
Five hundred twenty five thousand minutes?
How do you measure a year in the life?
How about love?
How about love?
How about love?
Measure in love.
Seasons of love.
Seasons of love.
FEMALE SOLOIST
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand
Journeys to plan
Five hundred twenty-five thousand six hundred minutes
How do you measure the life
Of a woman or a man?
MALE SOLOIST
In truths that she learned
Or in times that he cried
In bridges he burned
Or the way that she died?
ALL
It's time now
To sing out
Though the story never ends
Let's
Celebrate
Remember a year
In the life of friends!
Remember the
Love
Remember the
Love
Measure in love
Seasons of love.
FEMALE SOLIST
Measure your life.
Measure your life.
Measure your life in love.
Roger stands and hugs each of his friends individually as we fade out.
We again see burnt bits of film onscreen and the title cars.
A MARK COHEN FILM
Seasons of Love, Moments of Loss
Or
What Did You Earn Today?
EXT. The Street- Night- Mark's Film
We see, through Mark's camera, the padlocked door to Roger and Mark's loft.
MARK (VO)
Pan to the padlocked door. New Year's Rocking Eve. The breaking-back-into-the-
building party...
EXT. Street- Reality
Like two giddy children, Roger and Mimi are kicking at the door.
MIMI
How long 'til next year?
ROGER
Three and a half minutes.
MIMI
I'm giving up my vices
I'm going back -- back to school
Eviction or not
This week's been so hot
That long as I've got you
I know I'll be cool
I couldn't crack the love code, dear
'Til you made the lock on my heart explode
It's gonna be a happy new year
A happy new year
Mark walks up to the two, filming.
MARK
Coast is clear
You're supposed to be working
That's for midnight
Where are they?
There isn't much time
MIMI
Maybe they're dressing
I mean what does one wear that's apropos
For a party -- that's also a crime
Maureen, as if in answer to the question, walks up, dressed as the Catwoman and carrying a party bowl of potato chips with dip in the middle.
MAUREEN
Chips, anyone?
MARK
You can take the girl out of Hicksville, but you can't take Hicksville out of the girl!
MAUREEN
My riot got you on TV. I deserve a royalty.
Mimi playfully waves around a champagne bottle.
MIMI
Be nice you two
Or no god awful champagne
MAUREEN
Don't mind if I do! No luck?
ROGER
Bolted plywood, padlocked with a chain
A total dead end.
MAUREEN
Just like my ex-girlfriend!
She walks up to the payphone. She is standing in precisely the same position Joanne was when Joanne had her phone conversations.
MAUREEN
Honey...?
I know you're there ...
Please pick up the phone
Are you okay?
It's not funny
It's not fair
How can I atone?
Are you okay?
I lose control
But I can learn to behave
Give me one more chance
Let me be your slave!
I'll kiss your Doc Martens
Let me kiss your Doc Martens
Your every wish I will obey
Joanne walks over and taps her on the shoulder.
JOANNE
That might be okay.
Down girl
Heel...stay
I did a bit of research
With my friends at legal aid
Technically, you're squatters
There's hope
But just in case…
She provides a length of rope.
MARK AND JOANNE
Rope!
MARK
We can hoist a line --
JOANNE
To the fire escape --
MARK
And tie off at...
MARK & JOANNE
That bench!
MAUREEN
I can't take them as chums
JOANNE
Start hoisting...wench
As they start to do that, Roger and Mimi start up with some hardcore canoodeling.
ROGER
I think I should be laughing
Yet I forget
Forget how to begin
I'm feeling something inside
And yet I still can't decide
If I should hide
Or make a wide open grin
Last week I wanted just to disappear
My life was dust
But now it just may be a happy new year
A happy new year
Collins and Angel, dressed as drag versions of James Bond and Pussy Galore, approach the group. Angel is carrying a blowtorch.
COLLINS
Bond. James Bond.
ANGEL
And Pussy Galore: In person.
MAUREEN
Pussy, you came prepared!
ANGEL
I was a Boy Scout once. And a Brownie, 'til some little brat got scared!
COLLINS
(to MIMI) Aha! Moneypenny -- my martini!
MIMI
Will bad champagne do?
ROGER
That's shaken -- not stirred
COLLINS
Pussy -- the bolts
COLLINS takes a swig of champagne as ANGEL grabs the blowtorch.
ANGEL
Just say the word!
ANGEL turns on the blowtorch.
MIMI
Two minutes left to execute our plan
COLLINS
Where's everyone else?
ROGER
Playing Spiderman
INT. The Loft- Mark's Film
We see the grainy footage of the answering machine. It is blinking, indicating that there are messages.
MARK (VO)
Ironic close up: tight
On the phone machine's red light
Once the Boho boys are gone
The power mysteriously comes on
INT. Cohen Family Home
We see the wreckage of a family Christmas. Wrapping paper still strewn about, the place half decorated. There is a Happy New Year banner posted above the television. On the television we see the familiar footage of the rioters surrounding the burning Christmas tree with Roger and Mimi kissing in front. Mark's mother, wearing a party hat, is talking on the phone as she looks at the TV.
MARK'S MOTHER
Mark, it's the wicked witch of the west your mother
Happy new year from Scarsdale
We're all impressed that the riot footage
Made the nightly news
Even your father says Mazeltov
Honey -- call him
Love, Mom
INT. Alexi Darling's Office
It's a standard office for someone who produces a successful TV program. The place is filled with merchandise of her show, Buzzline: flags, mugs, t-shirts, stuffed animals, etc. She is watching the same footage that Mark's Mother was on her TV and has a cell phone to her ear.
ALEXI DARLING
Mark Cohen
Alexi Darling from Buzzline
INT. The Loft
Everyone is gathered around the machine, listening to the messages. In the background, we see that the door has been smashed. Everyone reacts when they hear the name of the show.
MARK
Oh, that show's so sleazy!
ALEXI DARLING
Your footage on the riots: A-one
Feature segment -- network -- dealtime
I'm sending you a contract
Ker-ching ker-ching
Marky give us a call 970-4301
Or at home try 863-6754
Or -- my cell phone at 919-763-0090
Or -- you can e-mail me
At Darling Alexi Newscom dot net
Or -- you can page me at --
INT. The Loft
The machine beeps loudly as Alexi is cut off. Mark looks disgusted. Maureen looks overjoyed.
MAUREEN
I think we need an agent!
MARK
We?
JOANNE
That's selling out
MARK
But it's nice to dream
MAUREEN
Yeah -- it's network TV
And it's all thanks to me
MARK
Somehow I think I smell
The whiff of a scheme
JOANNE
Me too
MAUREEN
We can plan another protest
JOANNE
We?!
MAUREEN
This time you can shoot from the start... (to MARK)
You'll direct (to JOANNE)
Starring me!
EXT. The Building
We see the New Year's ball descend.
INT. The Loft
As before. Collins discards the bottle of champagne he has finished just as Angel produces a new one. She opens it as everyone counts down.
ALL
5, 4, 3... Open sesame!!
Happy new year
Happy new year
Happy new...
We see Benny approaches the door and half-knocks on the doorframe, then enters.
BENNY
I see you've beaten me to the punch.
ROGER
How did you know we'd be here?
BENNY
I had a hunch
MARK
You're not mad?
BENNY
I'm here to end this war
It's a shame you went and destroyed the door
MIMI
Why all the sudden the big about face
BENNY
The credit is yours
You made a good case
ROGER
What case?
BENNY
Mimi came to see me
And she had much to say
MIMI
That's not how you put it at all yesterday
BENNY
I couldn't stop thinking about the whole mess
Mark -- you want to get this on film
MARK
I guess!
He picks up the camera.
Close up- Benny- Mark's Film
BENNY
I regret the unlucky circumstances
Of the past seven days.
Back to reality.
ROGER
Circumstance? You padlocked our door!
Back to Benny in the film.
Benny
And it's with great pleasure
On behalf of CyberArts
That I hand you this key
Still in the film, Benny hands Roger a key.
Back to reality. Everyone looks really pissed off.
ANGEL
Golf claps.
Everyone golf claps. Marks taps his camera.
MARK
I have no juice in my battery
BENNY
Reshoot
ROGER
I see -- this is a photo opportunity
MAUREEN
The benevolent god
Ushers the poor artists back to their flat
Were you planning on taking down the barbed wire
From the lot, too?
ROGER
Anything but that!
BENNY
Clearing the lot was a safety concern
We break ground this month
But you can return
MAUREEN
That's why you're here with people you hate
Instead of with Muffy at Muffy's estate
BENNY
I'd honestly rather be with you tonight than in Westport --
ROGER
Spare us old sport, the soundbite
BENNY
Mimi -- since your was are so seductive
MIMI
You came on to me!
BENNY
Persuade him not to be so counterproductive
ROGER
Liar!
BENNY
Why not tell them what you wore to my place?
MIMI
I was on my way to work
BENNY
Black leather and lace!
My desk was a mess
I think I'm still sore
MIMI
Cause I kicked him and told him I wasn't his whore!
BENNY
Does your boyfriend know
Who your last boyfriend was?
ROGER
I'm not her boyfriend
I don't care what she does
ANGEL
People! Is this any way to start a new year?
Have compassion
Benny just lost his cat
BENNY
My dog -- but I appreciate that
ANGEL
My cat had a fall
And I went through hell
BENNY
It's like losing a --
How did you know that she fell?
COLLINS
(Handing Benny a glass of champagne)
Champagne?
BENNY
Don't mind if I do
To dogs!
ALL BUT BENNY
No, Benny -- To you!
ANGEL
Let's make a resolution
MIMI
I'll drink to that
COLLINS
Let's always stay friends
JOANNE
Though we may have our disputes
MAUREEN
This family tree's got deep roots
MARK
Friendship is thicker than blood
ROGER
That depends
MIMI
Depends on trust
ROGER
Depends on true devotion
JOANNE
Depends on love
MARK
(to ROGER)Depends on not denying emotion
ROGER
Perhaps
ALL
It's gonna be a happy new year
ROGER
I guess
ALL
It's gonna be a happy new year
ROGER
You're right
Angel brings Mimi and Roger together.
ANGEL
It's gonna be a happy new year.
Everyone but Mimi and Roger exit.
ROGER & MIMI
I'm sorry.
ROGER
Coming?
MIMI
In a minute -- I'm fine -- go
Roger exits. Moments later, the Man enters.
THE MAN
Well, well, well. What have we here?
The Man sells Mimi a small bag of heroin.
THE MAN
It's gonna be a… a happy New Year!
VARIOUS LOCATIONS- DAY- MARK'S FILM
We see Mark's footage of various Valentine's Day displays around the city.
MARK (VO)
Valentine's Day... And where are they now? Roger's down at Mimi's, where he's been
for almost two months now -- although he keeps talking about selling his guitar and
heading out of town...Still jealous of Benny... God knows where Collins and Angel are...Could be that new Shanty Town near the river or a suite at the Plaza...Maureen
and Joanne are rehearsing...
INT. Maureen and Joanne's Living Room
The place is as we saw it before. Maureen and Joanne are both holding stacks of papers.
JOANNE
I said once more from the top!
MAUREEN
I said no!
INT. The Loft
Mark is at his editing bay, cutting footage.
Close up: Mark's footage of Maureen and Joanne in happier times.
MARK
That is, if they're speaking this week.
INT. Empty Loft- MARK'S FILM
The place is barren. All posters taken down.
MARK (VO)
Me? I'm here. No where.
INT. Maureen and Joanne's Living Room
JOANNE
The line is 'Cyber Arts and its corporate sponsor, Grey Communications, would like
to mitigate the Christmas Eve riots.' What is so difficult...?
MAUREEN
It just doesn't roll off my tongue. I like my version.!
JOANNE
You -- dressed as a ground hog. To protest the ground breaking!
MAUREEN
It's a metaphor!
JOANNE
Well, it's less than brilliant!
MAUREEN
That's it, Ms. Ivy League!
JOANNE
What?!
MAUREEN
Ever since New Year's, I haven't said boo. I let you direct, I didn't pierce my
nipples because it grossed you out! I didn't sta and dance at the Clit Club that
night, 'cause you wanted to go home...
JOANNE
You were flirting with the woman in rubber!
MAUREEN
That's what this is about!? There will always be women in rubber, flirting with
me... Gimme a break.
Every single day
I walk down the street
I hear people say,
"Baby's so sweet"
Ever since puberty
Everybody stares at me
Boys - girls
I can't can't help it baby
So be kind
Don't lose your mind
Just remember that I'm your baby
Take me for what I am
Who I was meant to be
And if you give a damn
Take me baby or leave me
Take me baby or leave me
A tiger in a cage
Can never see the sun
This diva needs her stage
Baby - let's have fun!
You are the one I choose
Folks'd kill to fill your shoes
You love the limelight too, baby
So be mine
Or don't waste my time
Cryin' -- "Honeybear -- are you still my baby?"
Take me for what I am
Who I was meant to be
And if you give a damn
Take me baby or leave me
No way -- can I be what I'm not
But hey -- don't you want your girl hot!
Don't fight -- don't lose your head
Cause every night -- who's in your bed?
Who's in your bed, baby?
(Pouts in JOANNE's direction)
Kiss, Pookie.
JOANNE
It won't work.
I look before I leap
I love margins and discipline
I make lists in my sleep
Baby what's my sin?
Never quit -- I follow through
I hate mess -- but I love you
What to do
With my impromptu baby?
So be wise
This girl satisfies
You've got a prize
But don't compromise
You're one lucky baby
Take me for what I am
MAUREEN
A control freak
JOANNE
Who I was meant to be
MAUREEN
A snob -- yet over-attentive
JOANNE
And if you give a damn
MAUREEN
A lovable, droll geek
JOANNE
Take me baby or leave me
MAUREEN
And anal retentive
BOTH
That's it!
JOANNE
The straw that breaks my back
BOTH
I quit
JOANNE
Unless you take it back
BOTH
Women
MAUREEN
What is it about them?
BOTH
Can't live --
With them --
Or without them!
Take me for what I am
Who I was meant to be
And if you give a damn
Take me baby or leave me
Take me baby
Or leave me
Guess I'm leavin'
I'm gone!
Maureen throws down her papers, picks up a suitcase and storms out.
INT. Mimi's Apartment
Roger is sitting on the double bed. It is clear from the presence of his posters on the wall that he has moved in here. He is working on the song he started earlier.
ROGER
In diapers -- report cards
In spoke wheels -- in speeding tickets
In contracts -- dollars
In funerals -- in births
In -- five hundred twenty-five thousand six hundred minutes
How do you figure
A last year on earth?
Figure in love
Figure in love
Figure in love
Measure in love
Seasons of love
Seasons of love
Mimi enters.
ROGER
Where were you?
MIMI
I'm sorry I'm late...
ROGER
I know. You lost your keys. No, you went for a walk; you had to help your mother.
(As he picks up the guitar) And how's Benny? I'm gonna work upstairs tonight.
MIMI
Wait...
I should tell you
I should ...
Never mind...
ROGER
Happy Spring
Roger exits.
Mimi takes out a bag of heroin and throws it across the room, where it explodes, spreading dust. She throws herself on the bed, crying.
INT. The Loft
Roger enters. We see him converse with Mark, but do not hear it, as we are hearing the song.
MIMI (VO)
Without you
The ground thaws
The rain falls
The grass grows
Without you
The seeds root
The flowers bloom
The children play
The stars gleam
The poets dream
The eagles fly
Without you
The earth turns
The sun burns
But I die
Without you
Without you
The breeze warms
The girl smiles
The cloud moves
Without you
The tides change
The boys run
The oceans crash
The crowds roar
The days soar
The babies cry
Without you
The moon glows
The river flows
But I die
Without you
EXT. Street- Night
Mark and Roger are walking toward a motel.
EXT. MOTEL- Night
Maureen, standing on the balcony, waves to the boys, who head up the stairs.
INT. Motel
Maureen, Roger, and Mark shares drinks, pot and laughs.
Through these three shots, the song continues.
ROGER (VO)
The world revives
MIMI (VO)
Colors renew
BOTH (VO)
But I know blue
Only blue
Lonely blue
Within me, blue
Without you
MIMI (VO)
Without you
The hand gropes
The ear hears
The pulse beats
ROGER (VO)
Without you
The eyes gaze
The legs walk
The lungs breathe
BOTH (VO)
The mind churns
The heart yearns
The tears dry
Without you
Life goes on
But I'm gone
Cause I die
ROGER (VO)
Without you
MIMI (VO)
Without you
ROGER
Without you
BOTH (VO)
Without you
Mimi enters.
ROGER
Mimi-
MIMI
Baby, we gotta put our shit aside tonight, we gotta get to the hospital right now.
MARK
What's going on?
MIMI
I just got a call from Collins-
INT. Hospital
Collins is carrying a very sick Angel to the receptions desk.
RECEPTIONIST
May I help you sir?
COLLINS
Please… she's very sick. She needs a bed. Please.
RECEPTIONIST
We'll see what we can do, sir. Please have a seat in the waiting room.
INT. Waiting Room
Angel is lying on Collin's lap, very, very sick. She speaks in a weak, whispering voice.
ANGEL
Baby…
COLLINS
Yes?
ANGEL
I love you. I want you to know that. You've meant more to me than anyone else ever has.
Collins is fighting back tears.
COLLINS
You… I love you so much.
ANGEL
That's wonderful, my dear. Go love some more.
COLLINS
Don't say that. You're… you're going to be just fine.
ANGEL
I'm at peace, darling. I just wanted you to know how deeply I care for you before I say farewell.
COLLINS
No…
ANGEL
Goodbye, love.
INT. Alexi Darling's Office
As before, only now there are a group of Yes Men gathered around her grinning like idiots at the riot footage. Alexi is, once again, on her cell phone.
ALEXI DARLING
Mark Cohen
Labor Day weekend
In East Hampton
On the beach
Just saw Alec Baldwin
Told him you say hi
Just kidding
We still need directors
You still need money
You know you need money
Pick up the phone
Don't be afraid of ker-ching ker-ching
Marky -- sell us your soul
Just kidding
We're waiting...
INT. Hospital Waiting Room
Collins is cradling Angel and weeping. An old man is wheeled by with a heart monitor attached to him. The old man flatlines. The sound of his flatlining heart monitor becomes the opening notes of "Contact" as Collins looks up to find that his waiting room seat has become a red, heart shaped bed with persons of all sexes and genders writhing around on it. Angel has disappeared. Collins looks around to find himself in…
INT. Fantasy Gay Club
It is your standard gay dance club. Dimly lit with flashing lights. On the dance floor half naked men and drag queens dance together, acting out every sexual act imaginable, and a few that aren't. Dancing in the crowd are our couples: Mimi and Roger getting really nasty, Joanne and Maureen getting even nastier and Mark, of course, filming. April can be seen as well, dancing with The Man. Benny is dancing with Allison, who we've seen in the footage of the groundbreaking. Above the dance floor is a stage. The curtain is closed and a sign on it reads:
FAREWELL PERFORMANCE TONITE
GROUP A (ROGER, MARK, JOANNE, BENNY)
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat
Please don't stop please
Please don't stop stop
Stop stop stop don't
Please please please please
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat
Sticky-licky-trickle-tickle
Steamy-creamy-stroking-soaking
GROUP B (MIMI, THE MAN, MAUREEN, APRIL)
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat
THE MAN
Touch!
MAUREEN
Taste!
MIMI
Deep!
THE MAN
Dark!
MAUREEN
Kiss!
THE MAN
Beg!
MIMI
Slap!
MIMI, MAUREEN & THE MAN
Fear!
THE MAN
Thick!
THE MAN, MIMI & MAUREEN
Red, red
Red, red
Red, red -- please
MAUREEN
Harder
APRIL
Faster
MAUREEN
Wetter
MIMI
Bastard!
THE MAN
You whore!
MAUREEN
You cannibal!
MIMI & APRIL
More!
MAUREEN
You animal!
MAUREEN, THE MAN & MIMI
Fluid no fluid no contact yes
No contact
ALL
Fire fire burn--burn yes!
No latex rubber rubber
Fire latex rubber latex bummer
Lover bummer
Onstage, a hand reaches out and pulls away the sign. The curtain opens to reveal Angel, and she has never looked better. If Marilyn Monroe, Jane Fonda and Britney Spears somehow produced a daughter, she would look about a third as good as Angel does at this moment. Everyone stops dancing and looks at her, transfixed. As she is singing her solo, Collins, shirtless, gets up onstage and begins writhing with her.
ANGEL
Take me
Take me
Today for you
Tomorrow for me
Today me
Tomorrow you
Tomorrow you
Love
You
Love you
I love
You I love
You!
Take me
Take me
I love you
Collins trips and falls off the stage, down through and abyss. As he is falling he hears echoing voices:
ROGER'S VOICE
Um
JOANNE'S VOICE
Wait
MIMI'S VOICE
Slipped
THE MAN'S VOICE
Shit
JOANNE'S VOICE
Ow!
ROGER'S VOICE
Where'd it go?
MIMI'S VOICE
Safe
THE MAN'S VOICE
Damn
MAUREEN'S VOICE
I think I missed
Don't get pissed
ALL
It was bad for me -- was it bad for you?
JOANNE
It's over
MAUREEN
It's over
ROGER
It's over
MIMI
It's over
INT. Hospital Reception Area
Collins is right in the receptionist's face
COLLINS
It's over.
EXT. Suburban neighborhood-Day
The entire street is decked out for Halloween. Mark is talking on his cell phone.
MARK
Hi. It's Mark Cohen. Is Alexi there?…No need to bother her. Just tell her I'm running a little late for our appointment… I have my friend's… Yes, I'm still coming... Yes, I signed
the contract... Thanks...
He hangs up and begins walking as he sings. The sequence parallels the one in which Collins and Angel walked around various upbeat Christmas displays as Mark walks around the most macabre Halloween displays ever seen. Plastic bodies, fake blood, crucified witches, etc.
MARK
How did we get here?
How the hell...
Pan left -- close on the steeple of the church
How did I get here?
How the hell...
Christmas
Christmas Eve -- last year
How could a night so frozen be so scalding hot?
How can a morning this mild be so raw?
Why are entire years strewn
On the cutting room floor of memory
When single frames from one magic night
Forever flicker in close-up
On the 3D Imax of my mind
That's poetic
That's pathetic
Why did Mimi knock on Roger's door
And Collins choose that phone booth
Back where Angel set up his drums
Why did Maureen's equipment break down
Why am I the witness
And when I capture it on film
Will it mean that it's the end
And I'm alone
As he ends the song, he jogs up to:
EXT. Real Cemetery- Day
Not macabre at all, contrasting with the fantasy displays glimpsed earlier. Our heroes are all dressed in black, gathered around Angel's coffin. Mark walks over to the group.
MIMI
Angel was one of my closest friends. It's right that it's Halloween, because it
was her favorite holiday. I knew we'd hit it off from the moment we met. That skin
head was bothering her, and she said she was more of a man than he'd ever be, and
more of a woman than he'd ever get...
MARK
...and then there was that time that he walked up to this group of tourists... and,
they were petrified, because, a) they were obviously lost, and b) they had probably
never spoken to a drag queen before in their lives...and he...she just offered to
escort them out of Alphabet City, and then she let them take a picture with her,
and then she said she'd help 'em find the Circle Line...
MAUREEN
...so much more original then any of us...you'd find an old table cloth on the
street and make a dress...and next year, sure enough -- they'd be mass producing
them at the Gap. You always said how lucky you were that we were all friends. But
it was us, baby, who were the lucky ones.
COLLINS
Live in my house
I'll be your shelter
Just pay me back
With one thousand kisses
Be my lover
And I'll cover you
Open your door -- I'll be your tenant
Don't got much baggage to lay at your feet
But sweet kisses I've got to spare
I'll be there -- I'll cover you
I think they meant it
When they said you can't buy love
Now I know you can rent it
A new lease you were, my love, on life
All my life
I've longed to discover
Something as true
As this is
(The following is sung simultaneously.)
JOANNE & SOLOIST
So with a thousand sweet kisses
I'll cover you with a thousand sweet kisses
I'll cover you with a thousand sweet kisses
I'll cover you iwht a thousand sweet kisses
I'll cover you
COLLINS
If you're cold and you're lonely
You've got one nickel only
When you're worn out and tired
When your heart has expired
COMPANY
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand six hundred moments so dear
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand six hundred -- measure a year
Oh lover I'll cover you
Oh lover I'll cover you
COLLINS & COMPANY
Oh lover
I'll cover you
Oh lover
COLLINS
I'll cover you
COMPANY
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand seasons of love
COLLINS
I'll cover you
ROGER
I can't take it. I've gotta get out of here.
He walks away. Mimi follows him. Benny follows her. Everyone else follows him.
MIMI
It's true you sold your guitar and bought a car?
ROGER
It's true -- I'm leaving now for Santa Fe
It's true you're with this yuppie scum?
BENNY
You said you'd never speak to him again
MIMI
Not now
MAUREEN
Who said that you have any say
In who she says things to at all?
ROGER
Yeah!
JOANNE
Who said that you should
Stick your nose in other people's ...
MAUREEN
Who said I was talking to you?
JOANNE
We used to have this fight each night
MARK
Calm down
JOANNE
She'd never admit I existed
MARK
Everyone please!
MIMI
He was the same way -- he was always
"Run away -- hit the road
Don't commit" -- you're full of shit
JOANNE
She's in denial
MIMI
He's in denial
JOANNE
Didn't give an inch
When I gave a mile
MARK
Come on
MIMI
I gave a mile
ROGER
Gave a mile to who?
MARK & BENNY
Come on guys chill!
MIMI & JOANNE
I'd be happy to die for a taste of what Angel had
Someone to live for -- unafraid to say I love you
ROGER
All your words are nice Mimi
But love's not a three way street
You'll never share real love
Until you love yourself -- I should know
Collins glares at everyone, and they fall silent.
COLLINS
You all said you'd be cool today
So please -- for my sake...
I can't believe he's gone
(to ROGER) I can't believe you're going
I can't believe this family must die
Angel helped us believe in love
I can't believe you disagree
ALL
I can't believe this is goodbye
EXT. Church Yard
Benny, Mark and Collins sit on a bench beside a concrete statue of an Angel, smoking cigarettes.
BENNY
So, I hear you signed the contract for that news show.
MARK
Yeah.
COLLINS
You okay with that?
MARK
Eh, fuck it. Even Da Vinci sold out when the Church wouldn't publish his shit.
COLLINS
That's a way to put it.
The PRIEST steps outside.
PRIEST
Thomas B. Collins…
Collins follows him inside the church.
BENNY
Excuse me a minute.
MARK
Sure.
Benny walks away. Roger approaches and sits beside Mark.
ROGER
Hey.
EXT. Another Grave Other Than Angel's
Joanne and Maureen kiss passionately.
JOANNE
I missed you...
MAUREEN
I missed your smell...
JOANNE
I missed your mouth...Your...
They kiss, but MAUREEN pulls away.
MAUREEN
Ow!
JOANNE
What?
MAUREEN
Nothing, Pookie.
JOANNE
No, baby, you said ow...What?
MAUREEN
Well, you bit my tongue...
JOANNE
No, I didn't.
MAUREEN
You did -- I'm bleeding.
JOANNE
No, it isn't...
MAUREEN
I think I should know
JOANNE
Let me see--
MAUREEN
You don't believe me!
JOANNE
I was only trying to...
MAUREEN
I love you, you cunt.
JOANNE
I love you too, you twat!
They cuddle.
EXT. Church Yard
Roger and Mark sit awkwardly.
MARK
I hear there are great restaurants out west
ROGER
Some of the best. How could she?
MARK
How could you let her go?
ROGER
You just don't know ... How could we lose Angel?
MARK
Maybe you'll see why when you stop escaping your pain
At least now if you try -- Angel's death won't be in vain
ROGER
His death is in vain
MARK
Are you insane?
There so much to care about
There's me -- there's Mimi
ROGER
Mimi's got her baggage, too
MARK
So do you
ROGER
Who are you to tell me what I know, what to do
MARK
A friend
ROGER
But who, Mark, are you?
"Mark has got his work"
They say "Mark lives for his work"
And "Mark's in love with his work"
Mark hides in his work
MARK
But from what?
ROGER
From facing your failure, facing your loneliness
Facing the fact you live a lie
Yes, you live a lie -- tell you why
You're always preaching not to be numb
When that's how you thrive
You pretend to create and observe
When you really detach from feeling alive
MARK
Perhaps it's because I'm the one of us to survive
ROGER
Poor baby
MARK
Mimi still loves Roger
Is Roger really jealous
Or afraid that Mimi's weak
ROGER
Mimi did look pale
MARK
Mimi's gotten thin
Mimi's running out of time
Roger's running out the door
ROGER
No more! Oh no!
I've gotta go
Roger gets up to leave. Mark jumps up and grabs him.
MARK
Hey, for somebody who's always been let down
Who's heading out of town?
ROGER
For someone who longs for a community of his own,
Who's with his camera, alone?
Roger breaks away from Mark and starts to storm away. He softens a bit and turns back.
ROGER
I'll call
I hate the fall
As he begins to walk away he sees Mimi standing beneath a tree.
ROGER
You heard?
MIMI
Every word.
You don't want baggage without lifetime guarantees
You don't want to watch me die
I just came to say
Goodbye, love
Goodbye, love
Came to say goodbye, love, goodbye
They sing simultaneously.
MIMI
Just came to say
Goodbye love
Goodbye love
Goodbye love
Goodbye!
ROGER
Glory
One blaze of
Glory
Have to find...
Roger runs off. Benny approaches and hands Mimi a pack of cigarettes. As he does, he tries to physically comfort her.
MIMI
Please don't touch me
Understand
I'm scared
I need to go away
MARK
I know a place -- a clinic
BENNY
A rehab?
MIMI
Maybe -- could you?
BENNY
I'll pay
MIMI
Goodbye love
Goodbye love
Came to say goodbye, love, goodbye
Just came to say
Goodbye love
Goodbye love
Goodbye love
Hello disease
The priest and Collins come out of the church, as if in a fight.
PRIEST
Off the premises, we give no handouts here!
MARK
What happened to Rest In Peace?
PRIEST
Off the premises, queer!
COLLINS
That's no way to send a boy to meet his maker!
They had to know we couldn't pay the undertaker.
Benny turns to Collins.
BENNY
Don't worry 'bout him.
Benny walks over to the priest, handing him a wad of money.
BENNY
I'll pay for it.
Satisfied, the priest goes back in the church.
MARK
Must be nice to have money.
ALL
No shit!
Collins turns to Benny.
COLLINS
I think it's only fair to tell you, you just paid for the funeral of the person who killed your dog.
BENNY
I know... I always hated that dog...
We've paid him off, let's go get drunk.
MARK
I can't... I have a meeting.
BENNY & COLLINS
Punk! Let's go.
Mimi, Collins and Benny walk away, leaving Mark standing by himself. He kisses the Angel statue on the forehead.
The screen suddenly explodes into:
BUZZLINE GRAPHIC
Bright, flashing text shows the word BUZZLINE 10,000 feet high on the screen.
ANNOUNCER (VO)
You're watching Buzzline, bitch!
EXT. Santa Fe Street Corner- News Footage
Roger is sitting on the street corner, playing music while people drop change in his guitar case.
ANNOUNCER (VO)
Tonight, the pain and heartache of being homeless in good ol' New Mèxico. We'll talk to a real live street musician about how it feels to be a failure at your craft.
INT. Mark's Dressing Room- News Footage
Mark is surrounded by makeup people, powdering and poofing him.
ANNOUNCER (VO)
Plus, we'll meet Buzzline's kick-ass new correspondent Mark Cohen. He'll tell us how it feels to be a sellout and completely abandon what you once loved for a few goddamned dollars.
Mark waves the makeup people away.
MARK
If I threw my body out the window,
Brain all splattered guts all steaming in the snow,
I wouldn't have to finish shooting films that no one wants to show!
RENT!
EXT. Santa Fe Street Corner- News Footage
As before.
ROGER
If I studied something that paid a salary
wouldn't have to do the shit I do for cash
My guts all steaming, fuck this dreaming,
speed, metal rocks, songs for the trash
Back to Mark.
MARK
The wheels aren't turning.
ROGER
It's worthy of burning!
How now can I pay?
How now can I pay?
How now can I pay?
Last year's rent!
The BUZZLINE GRAPHIC again flashes by.
ANNOUNCER (VO)
Yeah, Buzzline, sucka!
INT. News Studio
Mark, dressed as a news correspondent, is sitting at a news desk. Alexi is next to him.
ALEXI
Well, Mark, that certainly was a doozey of a report!
MARK
Thanks, Alexi! Coming up next, vampire welfare queens who are compulsive bowlers: all the week on…
MARK AND ALEXI
Buzzline, bitch!
DIRECTOR (OC)
We're clear!
ALEXI
That was great, Mark. Really.
MARK
Thanks.
Alexi gets up and leaves.
MARK
Oh my god, what am I doing?
He gets up and begins singing. As he does so, he walks through halls where various people try to hand him things that he blows off. This cross cuts with Roger still in Santa Fe, doing various odd jobs: as he sings his section:
Fixing a pipe
Sitting a motel room counting money, clearly having just whored himself
Peeling chickens in a factory
MARK
Don't breathe too deep
Don't think all day
Dive into work
Drive the other way
That drip of hurt
That pint of shame
Goes away
Just play the game
You're living in America
At the end of the millennium
You're living in America
Leave your conscience at the tone
And when you're living in America
At the end of the millennium
You're what you own
ROGER
The filmmaker cannot see
MARK
And the songwriter cannot hear
ROGER
Yet I see Mimi everywhere
MARK
Angel's voice is in my ear
ROGER
Just tighten those shoulders
MARK
Just clench your jaw till you frown
ROGER
Just don't let go
BOTH
Or you may drown
You're living in America
At the end of the millennium
You're living in America
Where it's like the Twilight Zone
And when you're living in America
At the end of the millennium
You're what you own
So I own not a notion
I escape and ape content
I don't own emotion -- I rent
MARK
What was it about that night
ROGER
What was it about that night
BOTH
Connection -- in an isolating age
MARK
For once the shadows gave way to light
ROGER
For once the shadows gave way to light
BOTH
For once I didn't disengage
MARK
Angel -- I hear you -- I hear it
I see it -- I see it
My film!
ROGER
Mimi I see you -- I see it
I hear it -- I hear it
My song!
By now, Mark has reached Alexi's office, into which he storms.
MARK
Alexi, call me a hypocrite, I need to finish my own film! I quit!
ROGER
One song--glory
Mimi
Your eyes...
BOTH
Dying in America
At the end of the millennium
We're dying in America
To come into our own
And when you're dying in America
At the end of the millennium
You're not alone
I'm not alone
I'm not alone
EXT. Buzzline Studios- Day
Roger is sitting on the front steps, smoking a cigarette. Mark walks out carrying a bag of his possessions.
MARK
Hey.
ROGER
Hey.
MARK
What are you doing here?
ROGER
Home for Thanksgiving. And thereafter.
Mark sets his box down and they embrace.
INT. Roger's Mother's Kitchen
Close up on kitchen counter, piled high with cigarette butts and post cards.
We then see ROGER'S MOTHER standing above the stack. She wears a pink robe and tons of curlers. She has a fairly old phone wrapped around herself and the receiver tucked under her head, as she is reading a post card with one hand and tapping cigarette ash into the pile with the other.
ROGER'S MOTHER
Roger, this is your mother
Roger, honey, I don't get these postcards
"Moving to Santa Fe"
"Back in New York
Starting a rock band"
Roger, where are you? -- Please call
INT. Mimi's Mother's Home
MIMI'S MOTHER is on the phone, standing under a massive statue of Jesus.
MIMI'S MOTHER
Mimi, chica, donde estas?
Tu mama esta llamando
Donde estas Mimi – Call
INT. Limo
We see JOANNE'S FATHER talking into a car phone.
JOANNE'S FATHER
Kitten, wherever you are, call.
INT. Cohen Family Dining Room
In the background, people wait for dinner to begin. The kids fling cranberry sauce at each other. Mark's mother is on the phone in the foreground.
MARK'S MOTHER
Mark -- are you there -- are you there
I don't know if he's there
We're all here wishing you were here too
Where are you Mark are you there are you where are you
Mark -- are you there -- are you there
I don't know if -- Please call your mother
The screen splits, allowing space for each of these scenes as the mothers continue to try to reach their children.
INT. Loft
Outside, homeless can be heard caroling. Inside, Mark is setting up for the screening of his film.
HOMELESS CAROLERS (OS)
Christmas bells are ringing
Christmas bells are ringing
Christmas bells are ringing
How time flies
When compassion dies
No stockings
No candy canes
No gingerbread
No safety net
No loose change
No change no
HOMELESS SOLIST (OS)
"Santy Claus is coming"
HOMELESS CAROLERS (OS)
Cause Santy Claus ain't coming
No room at the Holiday Inn -- again
Well, maybe next year --
Or -- when
Mark looks giddy as he excitedly sets up.
MARK
December 24th, ten p.m. Eastern standard time
I can't believe a year went by so fast
Time to see what we have time to see
Turn the projector on
TITLE CARD: Today 4 U Proof Positive
INT. Loft- Mark's Film
Roger tuning his guitar, flipping off the camera.
MARK (VO)
First shot Roger
With the fender guitar he just got out of hock
When he sold the car
That took him away and back
INT. Loft- Reality
Roger enters with his guitar.
ROGER
I found my song.
MARK
Now if he could just find Mimi.
ROGER
I tried. You know I tried.
INT. Loft- Mark's Film
Mark is lying on the floor.
MARK (VO)
Fade in on Mark, who's still in the dark.
ROGER (VO)
But he's got great footage!
Various clips from Mark's film appear rapidly.
MARK (VO)
Which he's cut together.
ROGER (VO)
To screen tonight.
INT. Country Club- Mark's Film
Benny and a group of yuppies are smoking cigars, cuddling with their women, etc.
MARK (VO)
In honor of Benny's wife.
ROGER (VO)
Muffy.
MARK (VO)
Allison. Pulling Benny from the East Village location.
The film goes black.
ROGER (VO)
Then again, maybe we won't screen tonight.
INT. Loft
The two are staring, stunned, at the broken projector.
MARK
I wonder how Allison found out about Mimi.
ROGER
Maybe a little bird told her.
Collins climbs in through the window, holding a wad of money.
COLLINS
Or an Angel. I had a little hunch that you could use a little flow
ROGER
Tutoring again?
COLLINS
Negative
MARK
Back at N.Y.U.?
COLLINS
No, no, no
I rewired the ATM at the food emporium
To provide an honorarium to anyone with the code
ROGER & MARK
The code --
Well...?
COLLINS
A-N-G-E-L
Yet Robin Hooding isn't the solution
The powers that be must be undermined where they dwell
In a small, exclusive gourmet institution
Where we overcharge the wealthy clientele
ALL THREE
Let's open up a restaurant in Santa Fe
With a private corner banquette in the back
COLLINS
We'll make it yet, we'll somehow get to Santa Fe
ROGER
But you'd miss New York before you could unpack
ALL
Ohh—
Maureen is heard yelling off screen.
MAUREEN (OS)
Mark! Roger! Anyone! Help!
MARK
Maureen?
MAUREEN (OS)
It's Mimi! I can't get her up the stairs!
ROGER
No!
MARK
Oh my god!
They run out and quickly return with Maureen and Joanne, carrying Mimi.
MAUREEN
MAUREEN
She was huddled in the park in the dark
And she was freezing
And begged to come here
ROGER
Over here
Oh, God --
They lay her down carefully on the table.
MIMI
Got a light -- I know you -- you're shivering...
JOANNE
She's been living on the street
ROGER
We need some heat
MIMI
I'm shivering
MARK
We can buy some wood and something to eat
COLLINS
I'm afraid she needs more than heat
MIMI
I heard that
MAUREEN
Collins will call for a doctor, honey
MIMI
Don't waste your money on Mimi, me, me
Collins picks up the phone and calls.
COLLINS
Hello -- 911?
I'm on hold!
MIMI
Cold...cold... would you light my candle?
ROGER
Yes -- we'll -- oh God -- find a candle
MIMI
I should tell you
I should tell you
ROGER
I should tell you
I should tell you
MIMI
I should tell you
Benny wasn't any--
ROGER
Shhh--I know
I should tell you why I left
It wasn't cause I didn't --
MIMI
I know
I should tell you
ROGER
I should tell you
MIMI (whispering)
I should tell you
I love you—
MIMI fades
ROGER
Who do you think you are?
Leaving me alone with my guitar
Hold on there's something you should hear
It isn't much but it took all year
MIMI stirs and ROGER begins playing acoustic guitar at her bedside.
ROGER
Your eyes
As we said our goodbyes
Can't get them out of my mind
And I find I can't hide
From your eyes
The ones that took me by surprise
The night you came into my life
Where there's moonlight I see your eyes
(Band takes over)
How'd I let you slip away
When I'm longing so to hold you
Now I'd die for one more day
'Cause there's something I should have told you
Yes there's something I should have told you
When I looked into your eyes
Why does distance make us wise?
You were the song all along
And before this song dies
I should tell you I should tell you
I have always loved you
You can see it in my eyes
(We hear Musetta's Theme, played correctly and passionately. MIMI's head falls
to the side and her arm drops limply off the edge of the table.)
Mimi!
Close on Mimi's hand. Suddenly, it twitches.
MIMI
I jumped over the moon!!
ROGER
What?
MIMI
A leap of mooooooooooooooo--
JOANNE
She's back!
MIMI
I was in a tunnel. Heading for this warm, white light...
MAUREEN
Oh my god!
MIMI
And I swear Angel was there -- and she looked GOOD! And she said, "Turn around,
girlfriend, and listen to that boy's song..."
COLLINS
She's drenched
MAUREEN
Her fever's breaking
MARK
There is no future -- there is no past
ROGER
Thank God this moment's not the last
MIMI & ROGER
There's only us
There's only this
Forget regret or life is yours to miss
ALL
No other road no other way
No day but today
As they did for Seasons of Love, everyone we've seen gathers.
WOMEN
I can't control
My destiny
I trust my soul
My only goal is just to be
MEN
Will I lose my dignity?
Will someone care?
Will I wake tomorrow
From this nightmare?
Mark clicks on the projector and we see his cut together footage, ending on the now-famous shot of the riot.
WOMEN
Without you
The hand gropes
The ear hears
The pulse beats
Life goes on
But I'm gone
'Cause I die
Without you
I die without you
I die without you
I die without you
MEN
There's only now
There's only here
Give in to love
Or live in fear
No other path
No other way
No day but today
No day but today
No day but today
No day but today
ALL
No day but today
The film ends. We see end cards. The very last thing we see is a shot of Angel blowing a kiss to the camera.