Day 9 Assignments

[Erica Miner]

Day 9: Set Your Script Up for Success

ASSIGNMENT

Print out your Beat Sheet.Looking at your script, make a note of every scene
that needs to be rewritten to match the Beat Sheet.One at a time, rewrite those scenes to include the improvements
you’ve made with the characters and structure. Don’t worry about
making them perfect…for now.

EXT. NEW YORK CITY/LINCOLN PLAZA – EVENING

A young woman’s face, alight with wonder.

JULIA KOGAN, early 20s, ingenuous, starry-eyed. She pivots around, stares wide-eyed at New York’s musical mecca, Lincoln Center, taking in every detail:

The signature FOUNTAIN shooting sparkling jets into the night air…

Three stately concert halls, anchored in the middle by the magnificent METROPOLITAN OPERA HOUSE, its monumental 40-foot Chagall murals gleaming through massive plate glass windows…

Crowds of PATRONS, elegant in their evening finery: tuxedos and designer gowns, jewels glittering.

Julia does a little dance of jubilation, holding tight to the violin case under her arm. Passersby stare. It doesn’t bother her in the least.

The violin case held tightly under her arm, labeled “Metropolitan Opera Orchestra Member,” belies her youthful appearance.

Julia zigzags through the Plaza, comes across a down-and-out STREET VIOLINIST, his violin case open but largely empty. Regarding him with sympathy, she unfastens her violin case, takes out her instrument and bow, plays exuberantly along with him.

Passersby stop, gawk, and listen. Bemused, impressed, astonished, they regale the players with bills. Smiling triumphantly, Julia scoops up the money, places it in the Street Violinist’s violin case, now overflowing. His eyes shine at her.

Julia carefully returns her instrument to the case, skips gleefully through the Plaza. More stares. She’s loving it.

At the opera house entrance, she to gaze at a 10-foot glass-enclosed POSTER: “METROPOLITAN OPERA OPENING NIGHT GALA PERFORMANCE. ‘DON CARLO‘ by GIUSEPPE VERDI, conducted by ABEL TRUDEAU — SOLD OUT.”

Her excitement bubbles over. She checks her reflection in the glass, impeccably smooths out her all-black concert attire.

JULIA
I can’t believe I’m here!

It’s real after all. She hurries into the opera house.

INT. OPERA HOUSE/ARTISTS ENTRANCE

A bustling, windowless space. Switchboard, upholstered chairs scattered about, Security Station with waist-high barrier gate. MUSICIANS with instrument cases crowd the checkpoint, waiting impatiently to pass through.

Julia stands closest to the SECURITY GUARD, fishes in her purse for her photo ID, can’t find it. Other Musicians glare at her, annoyed.

SIDNEY RICHTER, late 40s, wire-rimmed glasses, curly graying “wild man” hair, pushes through the mob of Musicians to get to the checkpoint.

He rushes by Julia, jostling her roughly, not stopping to apologize. Practically makes her drops her violin case. She glowers at Sidney.

JULIA
Hey! Where are your manners?

Sidney hurriedly waves his ID at the Security Guard, who buzzes Sidney in without checking. Julia gawks at Sidney, frowns at the Guard.

JULIA
How come Sidney gets in with a mere wave?

Hearing her complaint, Sidney wheels around.

SIDNEY
I’m a veteran of this venerable establishment, Julia. You’re just a kid, a newbie. Give it a couple of decades.

JULIA
Hey. I’m not a kid. And where’s my apology?

He regards her with affection.

SIDNEY
I duly apologize. But to me you’ll always be a kid. It’s what I love about you.

Her anger softens. They exchange fond looks, holding for a long beat.

SIDNEY
Haven’t had a chance to tell you yet, kid, but you’re the best thing that’s happened to this orchestra in years. Word of honor. And I stand by it.

JULIA
Stop it. You’re making me blush.

SIDNEY
You know I’ll always have your back, right? In and out of this orchestra.

JULIA
I know. The big brother I never had.

SIDNEY
The one you can always trust.

He gives her shoulder an affectionate squeeze.

SIDNEY
Solidarity forever?

JULIA
Solidarity forever.

He dashes out of sight. Julia finally manages to dig up her ID, shows it to the Guard, who buzzes her in.

INT. HALLWAY OUTSIDE CONDUCTOR’S DRESSING ROOM

On her way down the hall, Julia stops to watch as Sidney stomps toward the men’s locker room, practically knocking over Charles, who balances a full cup of coffee in his hand.

SIDNEY
Hey. Give me that. I need it more than you.

CHARLES
With your diverticulitis? Are you sure you can handle it…Maestro?

SIDNEY
It’s an understudy’s duty to provide overworked musicians with their fix, Charlie.

CHARLES
Since when?

SIDNEY
Since I have to be in the pit, and you don’t have to be anywhere, anytime soon.

CHARLES (grimaces)
I suppose you have a point.

Charles ceremoniously offers the cup to Sidney, who accepts it and downs it in one gulp.

SIDNEY
And don’t call me “Maestro.”

Charles spies Frank signaling him from down the hall.

CHARLES
Later, Sid.

He moves off toward Frank. Sidney tosses the empty cup in a bin and hurries away. Julia frowns, continues down the hallway.

INT. PIT

Tony and a SECURITY GUARD try to tug Julia away from Abel’s body. She shakes them off.

JULIA
Don’t touch me!

NYPD detective LARRY SOMERS, 40, unpretentious good looks and 100% efficiency, appears with partner BUDDY CRUSE, 30, more experienced than he looks. A bevy of COPS follow them.

Larry scowls at Julia, turns to a COP.

LARRY
Get this girl out of here.

Julia glowers at Larry. The Cop drags Julia away, kicking and screaming at him.

JULIA
I hate you!

She takes one last dismayed look at her fallen mentor. Catches a glimpse of Abel’s musical score still resting on the podium, smeared with blood.

INT. ORCHESTRA LOUNGE

A sizable, carpeted room, intimately lit, dotted with banquette sofas, tables, and chairs. Orchestra Members huddle together, numb, terrified, and in shock.

Tony ushers in Larry, installs him at a table with two chairs. Larry, his expression grim, clutches a list of orchestra members in his hand.

Julia huddles on a corner sofa with Sidney, her face stained with tears. Sidney offers her a handkerchief.

SIDNEY
I know you loved him, kid.

JULIA
Who could have done this? Who?

She takes his proffered handkerchief. Then, spying Larry, she glowers indignantly.

JULIA
That’s the cop who ordered that Officer to drag me away from Abel. Bastard.

She jumps up and starts to move in Larry’s direction. Sidney restrains her.

SIDNEY
He was only doing his job, kid.

He gently pulls her onto the sofa. Her indignance turns to distress.

JULIA
It’s not just that, Sid. I’m worried that he’ll find out you left the pit just before Abel was…was…

SIDNEY
Wait a minute, you don’t think I —

JULIA
Of course not.

Julia glances over uneasily toward Larry.

JULIA
But he might think otherwise.

Tony gestures to Sidney. Julia watches, quaking with fear, as Sidney rises and approaches the detective.

INT. JULIA’S APARTMENT

Julia’s cell phone rings. She ignores it.

KATIE
Are you going to get that or not?

Grimacing, Julia picks up.

KATIE
Put it on speaker.

JULIA
No way. (into phone) Hello?

CHARLES (O.S.)
Julia, I thought I’d check on you. Are you okay?

Katie leans over close enough to the phone. Recognizing Charles’s voice, she smirks knowingly. Julia scowls at her.

JULIA
I’m anything but okay, Charles. I’m too upset to perform tonight.

CHARLES (O.S.)
What’s troubling you?

JULIA
For starters? Matt. It’s so unlike him not to show up.

CHARLES (O.S.)
Don’t worry about Matt. He can take care of himself.

JULIA
And Sid’s annoyed with me.

CHARLES (O.S.)
How could anyone be annoyed with you? You’re such an angel.

JULIA
That’s nice of you, Charles, but I’m hardly that.

CHARLES (O.S.)
Most important is, you have to perform, Julia. We need you. Just muster your courage. Coraggio. I’ll be there to support you.

JULIA
You’re the second person who’s told me that today.

Katie mimes patting herself on the shoulder.

JULIA
Okay, Charles, you win, I’ll be there. But it would really help if you’d bring the first page of the song.

CHARLES (O.S.) (irritably)
Yes. Of course. If you insist.

He clicks off. Julia turns to Katie.

JULIA
I suppose you heard that?

KATIE
Every word.

JULIA
Did Charles sound annoyed to you?

KATIE
How could he be annoyed with you? You’re such an angel.

For the first time, Julia cracks a smile. Katie grins.

INT. LARRY’S LIVING ROOM – DAY

Julia picks up the envelope, rips it open, pulls out the page two, puts it together with her page one.

CHARLES
You found the other page? But where?

JULIA
Doesn’t matter. Just sing it with me.

Julia takes a breath, starts to sing. Charles sits next to her, joins in. She stops abruptly at the jarring dissonance.

CHARLES
Why did you stop?

JULIA (CONT’D)
Didn’t you hear that?

CHARLES
Hear what?

JULIA
That C-sharp. It totally doesn’t belong.

CHARLES
Julia, I think you’re fabricating something that isn’t there.

JULIA
How can you say that? It’s obviously a wrong note that Abel put in to bring attention to something important.

CHARLES
I’m not sure why you’re creating a quandary out of nothing. But if you’re convinced of it, you’re on your own.

JULIA
What do you mean? Why are you suddenly so angry?

CHARLES
I’m not angry. Just disillusioned. I thought better of you.

Julia looks at Charles in disbelief.

CHARLES (CONT’D)
I suggest you take the music to the Met and practice it there. Maybe you’ll be able to hear more clearly how mistaken you are.

Charles strides to the door, turns back to a confused Julia.

CHARLES (CONT’D)
By the way, I’m singing for Giuseppe tonight at Abel’s commemorative performance. In case you wanted to know.

JULIA
Charles, that’s fantastic. Of course I’d want to know.

CHARLES (CONT’D)
Oh? I have my doubts.

He lets himself out. Julia is devastated.