La La Land Page #4

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TRACY (CONT'D) MIA

This looks familiar. I was going to give it

back!

Alexis moves from Mia's perfume to the dress, lighting up as

she grabs it --

Revision 7.

ALEXIS:

Come on, Mia. When else do you get to

see every Hollywood cliché crammed

into a single home?

TRACY:

(faux-offended)

Lex! I'm disappointed in you. There's

nothing to make fun of. This party will

be humanity at its finest.

Mia rolls her eyes -- and, with that --

Tracy BREAKS INTO SONG. [SOMEONE IN THE CROWD]

She play-acts the clichés this party will represent. Alexis

and Caitlin join in, giddy and playful. Mia can't help but

laugh. The roommates sing and dance, hoping to persuade Mia

to join the night's revelry...

Mia remains reluctant. Stays behind in her room as her

roommates head out the door. But she's starting to wonder: A

night at home, feeling sorry for herself -- or a night out

with her friends...?

9 EXT. APARTMENT BUILDING / STREET - NIGHT

We're outside now, and BACK with Tracy, Alexis and Caitlin,

marching across the courtyard and toward the street. They

sing, dance, half-assuming Mia is a no-go --

-- until Mia APPEARS, blue-dress-clad. Her roommates look at

her in surprise -- then delight. The energy swells and the

four characters dance their way together down the street.

They dive into a single CAR, and WE DISSOLVE TO...

10 OMIT.

A10 OMIT.

11 EXT. CITY - NIGHT

An old-fashioned MONTAGE of a night on the town: neon signs

and overflowing champagne glasses. Soon enough, we're at...

12 EXT. MODERN HILLTOP HOUSE - NIGHT

Valet cars lined up. We FOLLOW Alexis, Tracy, Caitlin and Mia

to the door...

13 INT./EXT. HILLTOP HOUSE - NIGHT

...and into a big-glass hilltop pad. We FOLLOW Mia as she

takes in her surroundings.

Revision 8.

A D.J. turning tables. A FAT OLD PRODUCER dancing with a

TWENTY-SOMETHING. A trio of AGENTS glad-handing each other in

rhythm by the bar. Yep -- every cliché is here...

Mia tries talking to a pair of WOMEN -- who promptly ditch

her.

Seeing she's now alone, a YOUNG MAN swoops in to hit on her.

She makes a hasty exit toward the bar -- but the line's

obscenely long.

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