TROIKA - Full Screenplay - Final

8/16/2019 TROIKA - Full Screenplay - Final

1/96

Note: the script is not sacred, it is a tool to tell astory. Modifications will be necessary. Innovation isencouraged.

TROIKA by Aswar Rahman

1 EXT. FIRST AVENUE MUSIC CLUB. NIGHT 1

Malek--covered in a knee-length belted black raincoat, herhair worn up--broods infront of the iconic Wall of Stars,talking on her cell phone, taking occasional nervous puffsfrom her half-spent cigarette.

1. MALEK--I hear you... yeah, I hear you, Iknow it was supposed to be doneby--...

Malek takes a puff, waiting for her uncle to finish his bit.The bass from inside First Ave hums through the brick,

making it hard for Malek to concentrate.

2. MALEKI don't... it's a simple thing, andit's taking a while... I wish Icould, I really wish I could, butyour money is in the paperwork now,it went to a very big fee-- yeah, we're good for money, I'm good for money... Unc, I'm sorry, I wish Icould, but we're just taking alittle longer to get off the ground, we'll start paying out in two months... one month, tops... couldyou put Aunt Jenny on the phone?...oh, I'm sorry I didn't know she wassleeping...

Malek takes another nervous drag of her cigarette.

JUMP TO: Malek's cigarette now done. She's pressing hereyelids, waiting for the phone call to end:

3. MALEKPlease don't do that... I

understand, you need--... yes, Iunderstand... I'll see what I cando... talk to you later.

Malek hangs up. The bass inside First Ave is still booming.

She takes out another cigarette, puts it between her lips,pulls out a cheap lighter, flicks it-- nothing. Again, andit works this time.


2/96

She takes a long drag,

and slowly breathes out a billow of smoke.

2 EXT. POOL HALL. NIGHT 2

A poorly-lit brick facade of a one-story building. Neon

lights advertise beer and pool. Trash lines the corners.

3 INT. POOL HALL. NIGHT 3

GOYA, in her late 20s, wearing a friendly bright-coloredsweater, stands near a pool table, stick over her shoulders.

She looks around the room with an innocent look at thetoughs, the drunks, and the lowlifes.

Goya's eyes lock with a tall, intimidating man in his 30s--he looks like a COWBOY. The Cowboy slowly moves towardsGoya, and holds up two fingers. Goya nods. Cowboy pulls out

the triangle from underneath the table and starts rackingup.

4 INT. UPSCALE RESTAURANT BATHROOM. NIGHT 4

REMI, in her mid-20s, dressed elegantly in a pastel pinkdress, stands at the sink alone.

She's holding a small white pill between her teeth.

In one swift motion, she turns the faucet on,

4. REMI(muttering)

The location--

cups her hand under it,

5. REMIThe location is--

drinks out of her palm,

and turns the faucet off.

Remi looks at herself in the mirror and continues talking,almost as if she is about to be interviewed:

6. REMIThe location is only going to beavailable for about six months...it's ideal for what we are trying todo-- what we are doing...


3/96

Remi considers her wording.

7. REMI...the location is only going to beavailable for about four months--

5 INT. UPSCALE RESTAURANT. NIGHT 5

The only waitress working the floor, DANA, watches Remiemerge from the bathroom, looking dispirted.

Also watching from the only occupied table in the restaurantis CINDY, Remi's mother, in her 50s. She is dressed in heroffice clothes, not having had the time to go home andchange. Her Martini is half-drunk. The other glass on thetable holds red wine.

A few yards from the bathroom door, Remi stumbles, almostfalling to the ground. Dana jolts forward to go help, butstops when Remi stands up straight again.

Cindy is unmoved by her daughter's near fall.

Remi, not trusting her shoes, cautiously approaches thetable and takes a seat.

6 INT. FIRST AVE. NIGHT 6

Malek meanders through the crowd. The bright stage lightsher silhouette. All around her, fans dance along to the music, arms raised, but Malek is calm as she steps aroundthem and continues towards the middle of the hall.

White text briefly appears in the middle of the shot:Troika, and disappears.

7 INT. MALEK CAR. NIGHT 7

A much calmer song plays on the radio as Malek drives northon Hiawatha Avenue.

She passes the large granaries, the new apartment buildings,the super-bright Moto-Mart gas station...

We see the details of the interior of the car: its keys, its

side mirrors, its worn gear-shift, the back seat emptyexcept for a few crumpled fast food bags.

We see Malek's sharp, intense, worried eyes in the rearview mirrors.

8 INT. APARTMENT HALLWAY. NIGHT 8


4/96


5/96

Coyboy twirls his finger to suggest "one more"?

Goya smiles nervously, and shrugs lightly.

Cowboy's eyes light up in joy, but he reins them back in--he shows five fingers, making Goya even more concerned.

Goya kindly nods.

Cowboy gets the triangle rack out. Goya reaches into thenearest pocket and starts pulling out pool balls and rollingthem over.

Cowboy wears a small grin.

Out of sight from the Cowboy, so does Goya.


Dana, who has been watching Cindy and Remi talk for a while

now, decides it's time to approach the table.

Dana stops a few yards away to be respectful.

Cindy looks over and gestures at Dana to come all the way upto the table, so Dana does.

12. CINDY(to Dana)

I think we might be ready to orderbut hey --what's your name?

13. DANA Dana, ma'am.

14. CINDYDana, a lovely name... Dana, I am having a problem, maybe you can help me with.

15. DANA Absolutely, Ms. Blakely.

16. CINDY Ah! Miss Blakely! You know who I am?

17. DANA Yes, ma'am, of course I know who youare.

18. CINDYOh really? That's so nice.

Remi senses that all this is a prelude to something


6/96

crushing.

19. CINDYI hope you've only heard goodthings.

20. DANA

Only good things, ma'am.

21. CINDYThat's wonderful, darling. (pointingto her hand) I see you're married,do you have children Dana?

22. DANA Yes, ma'am, I have a son.

23. CINDY Ah! So maybe you really can help me.... Well, Dana, here's my...

predicament... imagine this: let'ssay that your son goes through highschool, and he's a smart boy whoshows plenty of promise... so you doyour best, and you've been veryfortunate, you've been verysuccessful, and, like any good mother, you simply want what's bestfor you child-- isn't that right,Dana?

24. DANA Yes, ma'am.

25. CINDYGood, good, well say you doeverything, everything, that a mother can be asked to do, withoutthe help of a husband, without everhiring a nanny... but you get herthe best tutors, send her to everycamp, every trip to Europe, younever miss a PTA meeting... say youdo all that, and all you want, allyou really want, is for your child

to do something great with theirlife and their talent... and thenone day, poof! She's gone... shedoesn't want to stay anymore... sheleaves you a note saying she "wantsto travel the world, see itscultures, learn about its music"...

Cindy takes a sip of her Martini.


7/96

26. CINDY And she jumps from country tocountry, continent to continent,doing what? Only she knows... and,of course, she runs out of money...she calls you-- oh, I'm sorry, it'sa boy, isn't it?-- he calls you,

never to say hello, but always toask for money-- and you send it tohim... eventually your boy realizeshow the world works, so he movesback to the country where you don'thave to boil your water... yearspass, she finishes college, makessome friends, friends want to open abusiness, she says she wants to opena business, but she probably meansthey want to open a business,... sheasks you a question that she knowsyou can't say no to...

Remi can't look Cindy in the eyes. Dana has clammed up, shestepped into something she shouldn't have.

27. CINDY--and it's a fickle business too,Dana, relies entirely on the whimsof young, fickle people... would yougive her the money?

A silence.

28. DANA Um...

The silence continues, as Dana stands by the table. Remilooks over to the side. Cindy looks at her daughter withscorn that turns into pity.

11 INT. POOL HALL. NIGHT 11

Cowboy is very frustrated. Goya only has to hit a sequenceof two shots to win the game.

She hits the first one expertly into a pocket. Now it's just

the 8-ball left.

Goya stands up straight, walks around the table-- Cowboy isstanding in her way...

Goya uses the cue stick to gently move Cowbow to the side--

--Cowboy moves out of the way, and Goya sets up for theshot.


8/96

Just as she is about to strike, Cowboy COUGHS LOUDLY.

Goya stops and looks up at Cowboy.

Cowboy looks dead into her eyes.

Goya sets up for the shot again. Cowboy coughs again as Goya

strikes, but Goya gets the pocket nonetheless.

She stands up straight in calm victory.


Cindy writes out a check expertly, not missing a beat, as ifshe's written tens of thousands in her life.

13 INT. GOYA CAR. NIGHT 13

Goya sits in the back of the car counting her cash. She is wrapped in a plush duvet, with a black bedsheet over the

duvet.

The radio plays a slow, indie rock song with a slightlyirregular beat.

14 EXT. RADIO STATION. NIGHT 14

The station is tucked away on the top floor, above a coffeeshop, with one window brightly lit.

15 INT. RADIO STATION. NIGHT 15

The three members of Night Moves play their instruments. The music from the pool hall and Malek's radio carries over.

Night Moves finishes playing their piece.

29. MICKYWell, we fucked that one up.

_________________________________________________________

16 INT. MUSIC VENUE. DAY 16

The venue is dark.

The main door creaks open, letting in a dull light.

30. BRENNER(off-camera)

...so here's the old beast, the old"Republic"-- speakeasy in the 20s,


9/96

Jazz club through the wars, coke denfor a decade... then they shut itdown, and some punks bought it toopen up a music club for all theskinheads in town-- called it"Republic" to be ironic orsomething, I don't know... then my

father bought it, along with theauto shop. Now it's my burden. It'snot much to look at, but you can useyour imagination.

A few switches are heard, and the room is filled with strongbeams from worklights, revealing a large, black room filled with cobwebs and miscellaneous trash.

31. BRENNERNow, like I said, the place needs abit of work, a couple of galsbrought in an architect a few weeks

back, so it's do-able--

We see the details of the room as Brenner speaks: the oldstudio lights still attached to the ceiling, the ventilationshafts covered in cobwebs, pieces of trash still lyingacross the ground.

32. BRENNERSo those girls, they're on adeadline... I don't know much aboutyour industry but if you think youcan open a bar here, by all meansdo... just know that I don't getinvolved in the paperwork... I ownthe building, but once I sign thelease over to you, it's all yours, Inever bother you again, simple asthat... you get the city coming inhere asking for a liquor license,it's on you, I'm not refundinganything, I'm keeping the deposit,and frankly, I'm kicking you out thenext day...

We now get a clear understanding of the dimensions of the

room: the length of the walls, the height of the ceiling,the space for the tech booth, the elevation of the risers...

33. BRENNERBut all that's far in the future, wegotta see what these gals do. Ifthey back out, then you're first onthe list--


10/96

34. ENTREPRENEUR(off-camera)

When are they supposed to get backto you?

35. BRENNERThey're a week late.

17 INT. GOYA CAR. DAY 17

Goya is sitting in a parked car infront of Malek's apartmentbuilding, talking on the phone.

36. GOYA (on phone)

Look, we're waiting for Remi to comeback, and if everything's in order,then we're good!

37. BRENNER

(via phone)I've been holding the place for toolong, Goya! How long is that gonnatake? Give me a solid deadline.

In the background, Malek emerges from her building and walkstowards Goya's car.

38. GOYA You said we'd have 'til the end ofthe week.

39. BRENNERI don't remember saying that.

Malek opens the door and takes a seat in the passenger side.

40. GOYA You're saying you didn't say it?

41. BRENNERNo, I just don't remember it.

42. GOYA To answer your question: give us a

day. Can you do that for me, Mr.Brenner?

43. BRENNERYeah, I can do that for you Ms.Goya.

44. GOYA Thank youuuu.


11/96

45. BRENNERYou're welcome.

Goya hangs up and starts the car.

46. MALEKShould you really be talking to him

like that?

47. GOYA What?... that's how he likes totalk.

Goya puts her seatbelt on--

JUMP TO: Goya and Malek are now driving south on Hiawathaand talking.

48. MALEKNow they're calling just about every

day, saying they've got openpositions.

49. GOYA Why don't you go back?

50. MALEKI don't like it... besides, I gottafocus on this.

51. GOYA Yeah, I hear ya.

52. MALEKHow's your job?

53. GOYA It's good.

54. MALEKYou look tired.

55. GOYA Nah, I just gotta drink more water... but yeah, job is alright,

took the day off obviously.

A silence.

56. GOYA Hell, if she comes back with goodnews I'll quit tomorrow... Focus onthe venue.


12/96

A silence.

18 INT. UNION DEPOT. DAY 18

Malek and Goya look through the arrival board for incomingtrains.

Goya looks around for the clock as Malek sighs infrustration.

19 INT. RESTAURANT. DAY 19

Malek and Goya share an appetizer plate.

Malek watches as Goya takes more than her fair share.

20 EXT. PARK. DAY 20

Goya sits on a bench and looks out at the park vacantly.

Malek walks back and forth behind the bench, dragging herfeet in the grass.

21 INT. CAFE. DAY 21

Goya and Malek sit at high table and listen to an unseen musician play an acoustic guitar at the far end of the shop.

22 INT. UNION DEPOT. DAY 22

Goya and Malek wait on a bench in bored silence.

Malek stares out directly infront of herself, but Goya isfidgety, constantly looking around the hall, wondering ifthey are waiting at the right gate.

The gate infront of them opens and out comes Remi with asmall suitcase and a wide smile on her face.


Remi sits in the middle of the backseat as Goya drives. Sheis overjoyed to be home.

57. REMI

I am never leaving Minneapolisagain, dear god, what's the point?

58. GOYA It's that bad, huh?

59. REMIIt's the air, y'know? The air'sdifferent.


13/96


14/96

Hey, Goya, question.

73. GOYA Yeah?

74. REMIWhy do you have a pillow back here?

A silence.

75. REMI--two pillows! And a blanket?

Malek looks back to see Remi holding the two pillows up.

A beat.

76. REMI(to Goya)

Have you been sleeping back here?

Goya doesn't answer. Malek looks at Goya and sees the mixture of anger and embarrasment.

77. GOYA No.

Remi sees more things on the backseat floor.

78. REMIYour toothbrush is back here! Areyou broke??

79. MALEKRemi...

80. REMI(to Malek)

No, wait a minute, (to Goya) how areyou sleeping out here?! It's, what,fifty degrees at night!

81. GOYA That blanket's rated to negativeten.

Malek has withdrawn from the conversation. There is nothingfor her to contribute, and, more importantly, she feelsguilty for not having checked in on Goya more often.

82. REMIYou been going to the pool halllately?


15/96

83. MALEK(mutters)

Jesus Christ...

84. GOYA Don't worry about it.

The three drive in silence for a brief moment.

They pass a few buildings.

85. REMIYou are not smart, Goya... you arenot smart.

24 INT. REMI APARTMENT DINING ROOM. NIGHT 24

The apartment looks like it should belong to a mid-leveldowntown banker in his late thirties. Very tastefully lit with the most modern light fixtures.

The dinner table is large, made from a dark hardwood.

From left to right, Goya, Remi and Malek sit at the dinnertable. Malek is on her phone, ordering pizza off an app.

[THE FIRST PART OF THE SCENE IS REMI ASKING IMPROVISED QUESTIONS ABOUT LIVING IN A CAR-- INTERRUPTED AT:]

86. MALEK--hey, mushrooms?

87. REMIYea.

88. GOYA No.

89. GOYA Fine.

90. REMILet's do half.

91. GOYA

Fine.

92. MALEKOkay.

93. GOYA How long are they saying for it toget here?


16/96

94. MALEKI haven't sent it yet.

95. REMIProbably, what, half an hour?

96. GOYA

Brenner is at his shop 'til 10tonight.

97. REMI Are we meeting with him?

98. MALEK(focusing on her phone)

I didn't think we were.

99. GOYA Yeah, we probably will.

100. MALEKWhy tonight?

101. GOYA Why not?

Remi shrugs. Malek puts her phone down, having finished theorder.

102. REMIThat's a good point.

103. MALEKShould we recap?

104. GOYA What's to recap? The lady got the money--

--Goya holds her hand up and Remi high fives it--

105. GOYA All the paperwork is in place

--Goya holds her hand up and Malek high fives it--

106. GOYA And we've got the talent roster set, we just gotta go sign 'em, now that we have money for the bonus--

--Goya holds her hand up and high fives it herself--

107. GOYA


17/96

We're probably a month away from opening the place-- (frustrated atMalek's glumness) Malek, what's the problem?

108. MALEKWhat?

109. GOYA Why're you all depressed and shit?

110. MALEKI'm not depressed.

111. REMILook fine to me.

112. GOYA Mhmm.

A long silence.

113. REMISo Brenner's there 'til ten?

114. GOYA Yeah.

A silence.

115. REMISo should we go?

116. MALEKPizza.

117. GOYA After pizza.

25 INT. SMALL DINGY OFFICE. NIGHT 25

Brenner sits at his desk, fingers interlocked behind hishead.

118. BRENNER

License.

Malek, Remi, and Goya are all standing infront of him,because there is only one chair.

119. MALEKWe have the license.

120. BRENNER


18/96

No, what you've got is theentertainment license. You need theoperational license.

121. MALEKNo we don't, it's part of yourbuilding, your building is

licensed--

122. BRENNERMy business is licensed, thebuilding isn't--

123. REMIWait, so you don't have anoperational license, but we need toget one?

124. BRENNERWe talked about this, I offered all

my help, I said I would point outall the licenses you need--

125. MALEKYeah, but this is something you werealready supposed to have.

126. BRENNERI've been in business longer thanthe rule's been in place

127. MALEKStill...

128. BRENNER(sighs)

GRANDFATHERED IN-- guys, I've beenholding the place for too long,either shit or get off the pot--I've got people asking me everyother day to come look at it... soare you going to get the license ornot?

26 EXT. LARGE PARKING LOT, INFRONT OF GOYA'S CAR. NIGHT 26

Goya leans against her car, with Remi at her side.

Malek nervously lights a cigarette.

129. GOYA Operational license?

130. MALEK


19/96

I looked into it, we're not supposedto need it-- every complex inMinneapolis with an operationalbusiness in it is covered-- thatdude runs an auto shop next door,he's supposed to have the wholebuilding covered under an

operational license... we did ourpart. I think he's just trying topass on an expense to us, you know?He's supposed to license thebuilding himself--

131. GOYA You wanna go tell him that?

A silence.

132. REMIHow much does that license cost?

133. MALEKSomewhere around six kay.

134. REMIJesus.

135. GOYA And how long is it going to take?

136. MALEKIf we get lucky, a day or two, but we'd have to get lucky.

Goya cracks a smile.

137. GOYA He offered to help, you could'vecome and asked him to make sure--

138. MALEKNo, this... this is on him, he'ssupposed to have an operationallicense, this is against city rules.

Goya chuckles again.

Malek takes a puff of her cigarette.

139. REMIWell let's just take care of it... we should have enough money for it--

140. MALEK


20/96

I'll go tomorrow and get all thepaperwork and turn it in asap.

141. GOYA You want some help?

142. MALEK

No, I've got this.

143. GOYA Of course you do.

144. MALEKI've got another thing...

Goya raises her eyebrows, excited to hear what else Malekhas to offer. Remi is concerned.

145. REMIWhat?

146. MALEKI... I've got an uncle, lives out inFlorida...

147. GOYA Sorry to hear.

148. MALEKYeah, well he put in about eight wayin the beginning. We spent it on thesewage access fee--

149. GOYA Right...

150. MALEKWell, he screwed up his taxessomehow and he wants that moneyback.

A silence.

Goya's facade drops. She stares at the ground with anger.

Malek takes a puff of her cigarette and looks away.

Remi is caught in the middle.

151. REMIEight thousand?

152. MALEKYeah.


21/96

153. REMII don't know if we have that muchleft after all the signingbonuses...

154. MALEKEven a part of it would be good...

Goya's anger isn't going away. She turns and opens her cardoor.

155. GOYA (to Remi, gesturing at Malek)

She can drive you home.

156. REMIGoy...

Goya gets into her car, shuts the door, and starts theengine.

Remi taps on her window, so Goya rolls it down.

157. REMI After you've cooled off, come overto my place. You're not sleeping inyour car tonight.

Goya nods, and drives off.

Malek finishes her cigarette.


Malek and Remi drive north on Hiawatha.

158. MALEKI swear, he's supposed to have alicense for the whole building, we're only using one part of it.

159. REMII hear ya.

Remi feels around the back seat.

160. REMIYou got some water in here?

161. MALEKYeah, in the pouch behind you.

Remi reaches in the pouch and pulls out a crumpled waterbottle, only slightly filled.


22/96

Remi takes a pill container out of her purse, puts a whitetab on her tongue and drinks the water.

Malek watches out of the corner of her eye.

162. MALEK And the uncle thing... that's just

something to be expected.

163. REMIMhmm.

164. MALEKI told him no, but he's in anemergency.

165. REMIMhmm.

166. MALEK

I think Goya took it all the wrong way, I'm doing my best...

167. REMII think so, too.

A silence. Remi looks out the window.

Malek focuses on the road.

28 EXT. MALEK CAR INFRONT OF REMI APARTMENT TOWER. NIGHT 28

Malek stops the car, and Remi gets out.

Before Remi closes the door:

168. MALEKHey tell Goya I'm going in firstthing tomorrow morning, and I'm turning everything in by 5pm, okay?

169. REMI(absently)

Okay.

Remi closes the door and walks towards her building.

Malek drives off.

29 EXT. APARTMENT BUILDING. NIGHT 29

Malek is at her building door.

She fumbles for her keys, finds them, and opens the door--


23/96

170. MICHAELHey!

Malek turns to see Michael about fifty yards away,approaching the building. He's hold two overfilled grocerybags, one in hand, another against his chest.

171. MICHAELHey could you hold the door for me?--

Michael's loses balance and drops the bag on his chest,causing a glass jar to crash, and scattering cans of foodand boxes of pasta.

Malek lets the door close and goes to help him.

30 INT. MICHAEL APARTMENT. NIGHT 30

Malek brings in one of the grocery bags and Michael brings

in the other.

172. MICHAELThank you so much, you can put it onthe counter.

Malek does. She looks around the apartment. It's quaint,sparsely decorated, and charming.

Michael reaches into one of the bags and pulls out thecracked jar-- it's empty now, but the label reads KalamataOlives.

173. MICHAEL Agh, I was looking forward to those.

Malek reads the label before Michael throws it in the trash.

174. MICHAELThank you again!

Malek nods.

175. MALEKLet me know if you need anything.

176. MICHAELWill do.

Malek nods again, then slowly walks out of the apartment.


Malek shuts Michael's door slowly.


24/96

INT. KOWALSKI'S. NIGHT 32

Montage: Malek walks through the aisles of Kowalski'slooking for the section of olives.

Jump to: Malek finds the section and looks for the samebrand of olives.


Malek puts a jar of olives infront of Michael's door and walks over to her own.

34 INT. REMI APARTMENT LIVING ROOM. NIGHT 34

Goya and Remi sit on the couch and watch a public domain movie on the television.

Remi is eating straight out of a carton of ice cream. Goyahas nothing.

177. REMIThat was really stupid, bud, if youneeded a place to stay, youshould've called me, I'd've sent youthe keys by mail--

178. GOYA Where would you send it to?

179. REMII don't know... Malek or whoever.That's not the point. And you've gotto quit the pool hall thing, I don'tknow what you get out of it, butit's not worth it.

They watch TV in silence.

Remi holds the carton of ice cream, spoon inside, out forGoya.

180. REMIYou want some?

Goya looks at Remi,

then at the spoon that she has salivated over,

then remembers that she hasn't had ice cream in a while.

Goya begrudingly takes the carton of ice cream and startseating.


25/96

A few moments pass.

181. REMII can get you a bowl, you animal.

CUT TO:

Later that night, the room is barely lit:

GOYA tries to go to sleep on the couch.

Goya tosses and turns.

She looks over at Remi's bedroom door-- the lights are offin there.

She sits up.

35 INT. REMI APARTMENT DOORWAY. NIGHT 35

With all the lights still off, Goya quietly puts her jacketand shoes on.


Goya drives, listening to a melancholic song.

37 INT. SECOND POOL HALL. NIGHT 37

A slow montage of:

- Goya waiting by a pool table.

- Goya gesturing to a SUCKER with three fingers raised.

- Goya expertly breaks to start the game.

- Goya expertly sinks the 8 ball and keeps the cue ball safeon the table.

- SUCKER counts out three hundred dollars in $20 bills, andhands them to Goya.

- Goya looks over to the side wall and sees COWBOY standingthere, eyeing her calmly. Goya taunts him with a emotionless

kiss in his direction.

38 INT. REMI BUILDING ELEVATOR. NIGHT 38

Back to normal speed, Goya goes up the elevator.

39 INT. REMI APARTMENT LIVING ROOM. NIGHT 39

Goya, with her jacket and boots off, falls onto the couch


26/96

and goes to sleep.

-------------------------------------------------------

40 EXT. CITY HALL MAIN DOOR. DAY 40

Malek, in her black peacoat, goes into City Hall.

41 INT. CITY HALL HALLWAY. DAY 41

Malek examines a directory, then walks down the corridor.

42 INT. ZAMELA OFFICE. DAY 42

Malek arrives at the office door of ZAMELA, who is sittinginside, working away at his desk.

182. MALEKExcuse me.

183. ZAMELA (kindly)

Yes?

184. MALEKIs this the right place for anoperational license?

185. ZAMELA This is the right place.

43 INT. REMI APARTMENT DINING ROOM. DAY 43

Remi and Goya are having cereal.

Goya is on the phone.

186. GOYA (on phone)

I'm done!... I mean I don't need to work there anymore... yeah, today,

starting today... well, I wasn'tsure two weeks ago, but I'm surenow... no, just mail it to me, I'llgive you the address...

44 INT. MALEK CAR. DAY 44

Malek sits in the driver's seat and eats a breakfast burrito with one hand and flips through a stapled form on her lap.


27/96

On the passenger's seat are the rest of the stack of forms,and the paper bag of fast food.

45 INT. LIBRARY. DAY 45

Malek sits at the desk with the thick stack of papersinfront of her, and a laptop with a white headphone chord

connected to it.

A few beats as Malek eyes the size of the stack of papersinfront of him.

Malek takes the earbuds and puts them in. He opens upSpotify and plays a Greg Grease track.

Malek, now pumped up, starts to fill out the first of theforms.


Goya drives and with Remi in the passenger seat. Remidoesn't like being talked down to, but also knows Goya won'tstop.

187. GOYA If I do most of the talking, itseems like we're on message-- makesit seem like we know exactly what we want... I say we keep it clean, yoube the crazy guy in the back corner.No one knows what you're capable of,you could be the boss as far as theyknow--

188. REMIIs this a yakuza hit?

A silence.

189. REMI'cause if somehow we turned into a--a Triad hit-squad, I say "fine,let's do it like that" but if it'sreal people meeting up and talkingabout a potential partnership, then

how about we easy up--

190. GOYA They're different--

191. REMI--Huh?--

192. GOYA


28/96

They're different, Yakuza areJapanese, Triads are Chinese, yougotta pick one.

193. REMIWhat's the difference?

194. GOYA Thousands of years of culture,that's the difference!

195. REMIWhat culture?!

196. GOYA Their separate cultures! It's twodifferent countries!

Hard cut to:

47 INT. LIBRARY. DAY 47

Completely silent. Malek looks out at the library and almost wishes for a ruckus.

Malek looks back down at the remaining stack of papers.

Comparison of the finished and unfinished piles shows shehas made substantial progress but still has over half the work to do.

Malek leans back in her chair, cracks her knuckles, then herneck, and jolts her shoulders upward, like an athlete.

She goes back to work.

48 INT. KID LUKE LIVING ROOM. DAY 48

Goya and Remi sit with KID LUKE.

Kid Luke is his stage name, and his real life is anythingbut a gangster rapper "with a soft side". Here, LUKE sits wearing a nice cardigan, hair combed, hands folded on hislap.

197. GOYA I don't get it. I mean, you wearsocks, right?

198. KID LUKEYeah.

199. GOYA Are you wearing them right now?


29/96

200. KID LUKEYeah.

201. GOYA Then why're you getting cold feet,Luke?!

202. KID LUKEI'm not, I just don't want to betied down to performing in onelocation all the time--

203. GOYA --you won't be. If you sign with us,all it means is that, for yourstandard shows, you'll come to usfirst. You're not exclusive, butyou're on what we call the "roster," meaning when you have a show in the metro, it's at our venue, unless we

have a scheduling conflict, simpleas that! It's good for you! Listen,it's good for you, because you get aregular location, and it gives yourfans a physical space to identify with your art--

204. KID LUKE And I don't like the signing bonus.

Goya smiles, happy to know that money is his main motivationhere.

205. GOYA Well we went over this, the signingbonus isn't even where the moneyis-- that's in profit sharing, whichno one else does--

206. KID LUKEYeah, I've heard that before-- "give me you album, I'll give you apercentage", then suddenly my album is on the Current top five but thepublisher says he's losing money--

207. GOYA That's publishing, we're a venue.How are we gonna screw you out of money if you count the audienceyourself?

208. KID LUKETrue...


30/96

A silence.

Kid Luke looks at Remi. Remi smiles. Kid Luke smiles backnervously.

Kid Luke gets a sudden surge of excitement.

209. KID LUKEYou guys want to hear my new mixtape?

Goya doesn't answer.

210. REMISure.

Goya looks over at Remi.

211. KID LUKE Alright, hold on--

Kid Luke gets up and goes to the far end of the room, to anMP3 player connected to speakers.

212. GOYA (mutters to Remi)

You asked for it.

Kid Luke starts the first track. It starts off with a prefabdrum beat.

213. KID LUKEThis is the intro!

And the song plays-- it's like hearing Vanilla Ice's nephewrap about how hard life is in the banality of the suburbs.

214. KID LUKEIt's five minutes long!

The song continues. Remi wears the fakest smile she can butGoya is making no attempt to hide the disgust on her face.

JUMP TO: Kid Luke signs the dotted line on a few forms.

49 EXT. GOYA CAR ON SUBURBAN RESIDENTIAL ROAD. DAY 49

Goya and Remi come out of the house, looking like they just witnessed a murder.

They slowly walk over to the car, open their respectivedoors, sit, and close the door.

A moment passes.


31/96

215. REMIGoya, that... do we even want him?

216. GOYA Yeah--

217. REMI

I would take fingernails on achalkboard--

218. GOYA Yeah, I know--

219. REMIThe Barney song on repeat--

220. GOYA I hear ya.

221. REMI

Why? Why do we want that guy ?

222. GOYA You ever Google him?

Remi shakes her head.

223. GOYA He's got more fans than there arepeople in Richfield.

224. REMIReally?

225. GOYA Depends on how many peope live inRichfield, but yeah, he can fill thevenue on a weeknight...

226. REMIOh... the music though--

227. GOYA Yeah, I can take it or leave it.

228. REMIHow's Malek feel about it?

229. GOYA Hates him.

230. REMIFigures.


32/96

231. GOYA But Malek has weird tastes.

Goya starts the car.

50 INT. FAST FOOD RESTAURANT. DUSK 50

Malek sits at a table and works on yet another form. Next toher: a tray with a crumpled up sandwich wrapper and a drinkcup.

Next to the tray: two stacks that show about a third left todo.

Next to the papers: a headphoned MP3 player, playing Atmosphere's You Make Me Wanna. Malek bobs her headrhythmically as she finishes the form.

Her phone buzzes--

232. MALEK(to phone)

Yo.

233. GOYA (via phone)

You turn it in?

234. MALEKIt's a lot of paper, I'm going toneed all night.

Goya sighs.

235. GOYA Yeah, let us know if you take morethan that.

Malek scowls.

51 INT. CAFE WITH A SMALL STAGE. NIGHT 51

In the audience, only two tables are occupied, one by GOYA and REMI, the other by A MARRIED COUPLE out on a date night.

They are all waiting for someone to take the stage.

Remi looks like she's lost all enthusiasm. Goya notices, andis worried that if Remi is too disheartened, she might backout completely, and funding would be jeopardized.

She leans over.

236. GOYA


33/96

Ey, we...

Remi looks at Goya.

237. GOYA That guy was shit, but we needpeople like him, you know?... We

need to have a mix of good and bad,not everyone's going to be a genius,nor should they be... This nextgirl, though, this is a real artist.

238. REMIKerry?

239. GOYA Yeah.

240. REMIWhen did you talk to her?

241. GOYA While you were gone. I got lucky--

242. REMIWhat'd she say?

243. GOYA She said-- wait...

A young woman, KERRY, takes the stage with her guitar. Shenervously sits on the stool at center stage and pulls the mic close.

244. KERRYUh... hello, everybody. I'm, uh...I'm going to play you a song here...[improv]...

When Kerry begins playing her guitar, Goya and Remi both situp straighter.

When Kerry's voice joins in, its almost as if the radiatorsturn off, not wanting to interrupt her.

Goya and Remi sit, having left their bodies to get closer tothe sound.

52 INT. BEAT COFFEEHOUSE. NIGHT 52

Malek sits at a table and vigorously works on another form.She is working on the last fifteen pages, without musicbecause it is now beginning to lull her towards sleep.


34/96

The barista, JENNY, makes an annoucement from behind thecounter.

245. JENNYHey folks, we'll be closing in aboutten minutes... ten minutes.

Malek looks around and sees that she is the only customerleft in the store.

53 INT. CAFE WITH A SMALL STAGE. NIGHT 53

Kerry gets off the stool, and starts packing her guitar.

Remi and Goya stand up and approach the stage.

Kerry notices them, but continues putting her guitar away.She doesn't like talking to people right after shows, infear that they will criticize her.

246. GOYA Kerry?

Kerry turns and puts on a genuine-but-nervous smile.

247. KERRYHey, hello.

248. REMIThat was lovely.

249. GOYA Have you been thinking about ouroffer?

250. KERRYI have, I just... it's not the bestdeal

251. GOYA Well we got good news for you. Wecan double the signing bonus.

Kerry stops moving, but is still calm.

252. KERRY And the profit-share?

253. GOYA We're maxed on that, look-- it'sthree of us running this, we are alltaking the bare minimum. If we upyour share, everyone else will findout and we'll have to up theirs, and


35/96

pretty soon, there'll be no one toadminister the whole--

254. KERRYI get it, I just... it's the band,they want to make sure we haveenough income to go around.

Remi nods her head.

255. GOYA Are you serious? We just doubled thesigning bonus.

256. KERRYI... it's the band.

Goya sighs.

54 INT. MALEK KITCHEN. NIGHT 54

MALEK swings the fridge door open and takes out a two-literbottle of cola.

She opens it, then proceeds to chug the cola until the burnin her throat is unbearable.

She puts the cap back on, and puts the bottle back in thefridge.

55 INT. MALEK LIVING ROOM. NIGHT 55

MALEK plops down on her couch and goes back to working onthe last forms.


Goya and Remi drive.

257. REMISo, if the math's right, we've gotenough for the larger bonuses, butnothing for profit-shares.

258. GOYA

Signing bonus is nothing compared toprofit-share. Profit-share's gold.

259. REMIRight, and that's what she wants.


Malek is on one of the last forms, but exhaustion is adding


36/96

to her struggle.

Despite her eyes begging to close, Malek forces herself to write, until-- a knock on her door.

58 INT. MALEK DOORWAY. NIGHT 58

Malek opens the door to see Michael.

260. MICHAELHey, did you get me olives?

Malek nods.

261. MICHAELThank you! I... I wanna get yousomething, too, what do you like?

Malek looks over at the stack of papers on the couch shestill has to finish.

262. MALEKI... I'm a little busy at the moment--

263. MICHAELCool! No, sorry, I just--

264. MALEKYeah I'll think about it and getback to you

265. MICHAELOkay! Sounds good, sorry again forbothering you.

266. MALEKOh, you're not bothering me--

267. MICHAELNo I just meant... you know what,you probably know what I meant. Havea good one!

Michael smiles wide, then leaves.

Malek closes her door.

59 INT. REMI APARTMENT DOORWAY. NIGHT 59

Remi and Goya come into the apartment. Remi turns the lightson as they both take off their shoes.

268. REMI


37/96

We could just not sign her.

269. GOYA Kerry's got some weight. We gottafind a way around this.

270. REMI

Well we shouldn't give up ourshares, we're barely going to makeany money as it is--

271. GOYA Yeah.

272. REMI--we don't even have that big of aroster, I don't know where all thesepercentage points keep going.

273. GOYA

Little here, little there.


Malek has fallen asleep on the couch, surrounded by papers.

____________________________________________________________

61 INT. REMI BEDROOM. DAWN 61

REMI wakes up to the faint sound of a TV in the living room.

62 INT. REMI APARTMENT LIVING ROOM. DAWN 62

Goya sits and watches TV in a fluffy robe.

On TV: A scene from Mehdi and Priya.

Goya expressionless as she watches the subtitled film.

REMI enters.

274. REMI

Good morning.

275. GOYA (not looking away from TV)

Good morning.

Remi goes to the kitchen to see what the breakfast optionsare.


38/96

Goya checks her phone: the time is 8:22.

276. REMIDid she call?

277. GOYA No.

278. REMIShould we call?

279. GOYA No.

280. REMIMaybe we should call her--

281. GOYA Or maybe you should let me watch thegoddamn movie Remi!

Remi rolls her eyes and goes back to looking for food.

282. GOYA She's probably had a long night. I'm going to let her sleep as long asshe can-- matter of fact, going tocall her in ten minutes, so you holdyour horses and let me watch this movie.

Remi, having found a tempting yogurt cup, brings it to thecouch and takes a seat next to Goya. All tensions arediffused.

283. REMIHow is it?

284. GOYA Weird.

63 INT. MALEK LIVING ROOM. DAY 63

Malek wakes up to the sound of the phone buzzing.

285. MALEK(to phone)Hello?

286. GOYA Hey, how's the paperwork going?

287. MALEKSHIT!


39/96

Malek gets up frantically and starts looking around for herkeys.

288. MALEKI'm heading out right now.

289. GOYA

Okay, but--

Malek hangs up, puts the phone in her pocket, and startscollecting all the forms together.

JUMP TO: Malek sitting and looking through the form papersone after another, rapidly shuffling them into the correctorder.

She pauses every few sheets to make a small correction withher pen.

64 INT. MALEK CAR. DAY 64

Malek drives north on Hiawatha with wide eyes.

JUMP TO: Malek now in downtown Minneapolis, driving around,looking for an open parking spot.

65 EXT. CITY HALL. DAY 65

On the large street infront of the Minneapolis City Hall.

Though it is not a marked parking spot, Malek stops, putsthe hazard lights on, and rushes out of the car with a stackof papers.


Malek frantically walks down the corridor.


Malek comes into the office and places the papers onZamela's desk.

290. ZAMELA Hello again!

291. MALEKHello.

292. ZAMELA (stunned)

You finished it?

293. MALEK


40/96

Yeah.

294. ZAMELA All of it? (whistles) Wow.

295. MALEKYes, are we still okay for the

expedited option?

296. ZAMELA Well, yes, like I said yesterday,"if you can demonstrate that there will be financial hardship if youtake the non-expedited route, then we can look to fast track this"--

297. MALEKYes, there will be extreme financialhardship if this takes more than aday or two.

298. ZAMELA Oh... did you include that in theforms?

299. MALEKThere wasn't a form for that.

300. ZAMELA Well, usually it's a writtenaddendum.

Malek's face turns to a scowl.

Zamela has an apologetic look. He reaches in his desk andtakes out a pen and a piece of paper.

He puts the paper on the table infront of him, and holds thepen out for Malek.

JUMP TO: Malek has finished writing a written explanationand looks up at Zamela.

301. MALEK Anything else I can do? I'm parked

out there with the blinkers on.

302. ZAMELA Nope! We should be fine here, I'llgive you a call once it's all done,or if there's a problem.

303. MALEKThank you.


41/96

Malek rushes off.

304. ZAMELA You're welcome.


Malek rushes out of Zamela's office.

305. ZAMELA (off camera)

Ms. Reinhardt!

Malek grudgingly stops and goes back to Zamela's office.


Malek comes back into the office. Zamela is examining on ofthe many pages in the stack.

306. ZAMELA You forgot to initial this form.


Malek comes out of the building.

Her car is gone.

Malek looks down both sides of the street-- nothing, no signof her car...

She balls up her fist and pounds the walls of City Hall.

71 INT. CITY BUS. DAY 71

Malek rides in the back of the bus, stewing in anger andfrustration.

72 INT. BASEMENT STUDIO. NIGHT 72

MICKY, JOHN, and JARED are all seated, lightly playing theirinstruments, waiting to get back to rehearsal.

REMI and GOYA are standing.

The space is too small for all five of them.

307. MICKYEmails?

308. GOYA Yeah, every day this past month,basically.


42/96

309. MICKYGee, you think we might not beinterested?

310. GOYA You don't know what we have tooffer.

311. MICKEYChrist-- how'd you guys even know we were here?

312. GOYA (gestures to Jared in theback)

Your bassist posted about it oninstagram.

Micky looks over at John.

313. JOHNWhat?

314. MICKYYou don't know how to turn locationoff?

315. JOHNI didn't think we were beingstalked.

316. JAREDOh my god, JUST LET THEM SAY THEIRTHING SO THEY CAN GET OUT OF HERE.

317. MICKY(towards Goya and Remi)

Fine, let's hear it.

Goya clears her throat.

318. GOYA Well--

319. MICKY

(points to Remi)We want her to say it--

320. JOHNMicky, what the hell?

321. MICKYShe seems nicer and she didn't justbarge in here like her (gesturing at


43/96

Goya).

322. JAREDJesus Christ...

323. GOYA (gritting her teeth)

No, that's fine.

324. MICKYThank you.

325. REMIOkay... um, so we're making a musicvenue, where the old Republic was--

Jared whistles in amazement.

326. JAREDThat's a big place, you guys loaded?

Goya shakes her playfully.

327. REMIWe've put in all our savings, and we're getting a good deal on it--and we need a talent roster-- I mean we need talent--

328. MICKYNo you don't. You need audience...you're calling it talent but youneed people who can pack the place,right?

A silence.

329. MICKYJust be clear with us, man, we don'tneed to code our words.

330. REMIWell, we prioritize talent, but,yes, we need to have the necessaryticket revenue--

331. MICKY(sighs)

There we go, it's like a foreignlanguage--

332. GOYA Yeah, we need you for youraudience-- you get down to it, we


44/96

need the thousand or so regularalbum buyers you got--

333. MICKYTwo thousand, and thank you-- (looksat Jared, gestures at Goya) I likeher now.

Micky looks back at Goya and Remi.

334. MICKY Alright, we're listening, what'reyou offering?

Remi and Goya smile slightly.


Malek drives south on Hiawatha, tired and angry.

74 INT. MALEK BEDROOM. NIGHT 74

Malek enters, walks over to her bed, and plops down facefirst.

75 INT. BASEMENT STUDIO. NIGHT 75

Goya, Remi, Mickey, John, and Jared all have beers now, butthe conversation has lost steam.

335. JOHNIt's a good deal--

336. MICKYIt's a shit deal--

337. JAREDI think it will work but--

338. MICKY--You've got nothing.

A silence.

339. JOHN

The venue isn't open, and we're justnot comfortable signing up withsomething without much of abackground--

340. GOYA We can do a non-binding agreement

341. MICKY


45/96

So we have to back out later? Wedon't want that on our reputation,if we sign our name down, we are inone hundred percent.

342. JOHNSo as nice as the plan is, we gotta

see it in action first. No rush.

A silence.

343. REMIWe need talent for the opening week-- a successful first week isone of the biggest correlators to--

344. MICKY--Ey, are we the first group?

345. GOYA

No.

346. MICKYSo, okay, who else have you got onthe list?

347. GOYA About a dozen different acts.

348. MICKYLike?

349. REMIMiranda Oarbright, Zealot therapper, another rapper, Kid Luke.

MICKY, JOHN, and JARED laugh right away. GOYA shakes herhead.

350. JAREDYeah, we're not gonna be on the samelist as that guy.

351. GOYA We've got Kerry Vernier.

352. MICKYWait, Kerry? She's with, uh...(gesturing at Jared) what's her bandcalled?

353. GOYA Yeah, that Kerry.


46/96

A silence.

354. MICKYShe signed? Really?

355. GOYA Yes.

356. MICKYLet me see it.

Goya doesn't answer. Micky extends his arm, ready toreceive.

357. MICKYI wanna see her contract.

358. GOYA It's private.

359. MICKYKerry and I are friends, she won't mind.

No response. Micky puts his arm down.

360. MICKYKerry and I talk all the time,actually. She told me she talked tosome folks trying to start a venue,but she didn't mention signing withthem... so I'd appreciate it if youlying mucks wouldn't mind gettingout of here--

361. JAREDCAN WE PLAY SOME MUSIC ALREADY?

A silence.

Remi and Goya head towards the door.

362. REMIThank you for your time.

363. MICKY(in a high British accent)No, thank you.

Remi and Goya leave.

Jared starts playing a beat...

John and Micky join in.


47/96

INT. MALEK BEDROOM. NIGHT 76

Malek wakes up in the darkened room. She slepth on her chestthe entire time.

She reaches out and turns on a lamp. Her eyes narrow at thebrightness.

Malek rolls onto her back and takes out the cell phone from her jacket pocket. Time is 9:15. Two missed calls, three messages, all from Goya.

Message one: You get em in?

Two: Need help?

Three: Call me.

Malek types out a quick response: Submitted right after wetalked

Her phone rings. She checks the name and answers--

364. MALEKI just said I turned it in thisafternoon--

Malek sniffles again, perplexed by the smell.

365. GOYA V.O.You couldn't have told us thatearlier?

366. MALEKEy, my car got towed, alright? It'sbeen a long day--

367. GOYA V.O.Did they say anything?

368. MALEKSaid it'll take a day or two.

369. GOYA Which one is it?

370. MALEKI don't know you pushy bastard!

371. GOYA Mal, we just talked to six bandstoday, signed three of them, I don'tthink it's too much to ask that youkeep us in the--


48/96

Malek hangs up.

She tosses the phone to the side and smells her shirt...

it's not good.


Remi and Goya drive through downtown Minneapolis.

Goya, having been hung up on, coldly tosses the phone intothe backseat.

A silence.

372. REMIWell?

A silence.

373. GOYA Yeah, she got it in.

78 INT. MALEK BATHROOM. NIGHT 78

The bathroom mirror fogs up with steam from the shower.

79 INT. COFFEE SHOP. NIGHT 79

Malek sits in the softly-lit cafe and sips a cup of tea, with the pot on the table in front of her.

She looks to the far end of the shop and sees Michael,reading a book, "The Stranger" by Albert Camus, with a cupof coffee next to him.

Malek watches him for a moment.

80 INT. REMI APARTMENT. NIGHT 80

Remi and Goya are now watching television.

374. REMIDid you go to the pool hall lastnight?

Goya doesn't respond, eyes fixed to the screen.

375. REMILet's go.

376. GOYA No.


49/96

377. REMII wanna play pool.

378. GOYA Not where I go.

A silence.

379. REMI Alright, well I have somequestions--

380. GOYA I'm sure you do.

381. REMI--yeah, what do you get out of it?It sure as hell isn't money...

A silence.

382. REMIYou got friends that do it orsomething?

383. GOYA (scoffs)

No.

She has anything but friends who play pool.

384. REMIThen what?

A silence.

385. GOYA Where do you feel most powerful?... where is the one place you can goand you know you're in control?

386. REMILosing all your money is being incontrol?

387. GOYA I don't lose money.

388. REMIYeah you do.

389. GOYA No I don't. I barely ever lose, and when it is, it's usually to bait a


50/96

sucker--

390. REMIGoy, you were living in your car--

391. GOYA Yeah, so?

A silence.

392. GOYA The winter was cold, but now itisn't. And I barely went homeanyways...

Remi pinnned to her seat.

Goya glances over at her.

393. GOYA

Why pay damn near a thousand a monthfor a thing I don't need?

Goya looks back at the road.

394. GOYA You offered, I accepted... but ifyou hadn't-- well what's the problem with staying in a car you own forthe summer?... it's got windows...

Remi's mouth opens slightly in confusion. She turns her eyesback to TV just to get a chance to decipher what Goya issaying.

81 INT. COFFEE SHOP. NIGHT 81

Malek watches as Michael closes his book, gets up, buses hiscoffee mug, and leaves-- all without seeing her.

_____________________________________________________________


Zamela sits and looks over the paperwork submitted by Malek.

He holds a corded phone at one ear.

395. ZAMELA (on phone)

So it looks like things are stillbeing processed, Ms. Reinhardt, if Ihad to guess, maybe later tomorrow we'll have everything ready to go.


51/96

INT. GOYA CAR. DAY 83

Goya is driving, Remi is in the passenger seat, and Malek isin the back.

396. GOYA So why'd you have to tag along?

397. MALEKThe paperwork's going to take allday, I've got nothing to do!

398. REMIWell I'm glad, this'll spice thingsup a bit.

399. GOYA Me and Remi--

400. REMI

--Remi and I--

401. GOYA --have a system, alright? Remi, tellher the system.

402. REMIThe system is Goya talks, I have thepapers, I'm the crazy guy in thecorner, so I stay silent most of thetime, and I don't know what that would make you...

403. GOYA You're an associate, Malek. Not as much of a wildcard. More like ahighschooler on a campus tour.

404. MALEKGot it.

Remi quickly checks the list of musicians they're supposedto see tonight.

405. REMI

Who's Sean Davidson?

406. GOYA New kid. Malek and me saw him whenyour train got delayed.

407. REMI(mutters)

Malek and I--


52/96

408. GOYA Getting sick of you, Remi. Gettingreally sick of you.

Remi smiles. Malek looks out the window.

84 INT. DINER. DAY 84

Malek, Remi and Goya sit with SEAN, in a sweatshirt, with anervous look.

Goya, as usual, leans forward and talks. Remi sits to theside. Malek is the furthest from Sean.

409. GOYA (matter-of-factly)

It's great that you've heard of us,and it's even better that you met up with us, because we're not reallyinto taking unestablished acts

but... we think you've got talent.

JUMP TO:

410. GOYA (fear mongering)

Ten years from out, probably one ofevery five hundred musicians in theTwin Cities will still be active,and very few of those will be makingany sizeable income--

JUMP TO:

411. GOYA (stern)

We don't have much time before weopen, and unfortunately there isn'tanother meeting scheduled with you--

412. SEANI heard something about a signingbonus.

413. GOYA

Yes, you did.

414. SEANHow much is it?

415. GOYA For you? Nothing.

Sean taken aback. So is Malek and Goya.


53/96

416. SEANNothing?

417. GOYA Sean, you're new. We're going tohave to put all that money into justmarketing you.

418. SEANOh... but you said something aboutpercentage points?

419. GOYA Yes. This will be proportional tothe number of people you're able tobring into the venue with yourshows.

420. SEANOh.

Sean's eyes are hurt and helpless.

A silence.

421. SEANOkay...

85 INT. GOYA CAR. DUSK 85

Goya drives, Remi on the passenger side, Malek in the back.

422. MALEKYou know a signing bonus means a lotto these guys right? That's a month's rent for most of them...

Goya doesn't respond. Remi is trying to stay out of it.

423. MALEKIs this how you guy's have beendoing this?

A silence.

424. MALEK And you said his percentage pointsare going to be dependant on thecrowd he draws in-- since when did we start basing it on that?

425. GOYA Since one of your investors wantedtheir money back.


54/96

A silence. Malek sits back in resignation.

426. GOYA That kid's lucky we're even lettinghim be part of the startinglineup... besides, he signed, didn'the?

____________________________________________________________

86 INT. GRETA DINING ROOM. NIGHT 86

Malek is getting angry as she watches and hears Goya talk toGRETA and HALEY, two young musicians listening intently toGoya.

On the table infront of them is an assortment of papersrelated to the venue planning.

427. GOYA

(muffled)So we have a profit-share plan inplace, but that is going to dependon a probationary period for thefirst month or so. I'm sure youunderstand, we are a business, and we want as little financialobligation as we can especially inthese early stages...

428. MALEK(clear)

But we have the signing bonus.

Greta and Haley look at Malek, then back at Goya.

429. GRETA Oh! There's a signing bonus?

430. GOYA Well...

431. MALEKSure! The profit share bit is alittle tricky, Goya's right-- but we

make up for it with a signing bonus.

432. HALEYGreat! That is very nice of youguys.

433. GRETA How much is it?


55/96

Goya straightens out her papers with a wounded smile on herface.


Complete silence.

Goya drives, Remi in the passenger seat, Malek in the back.

Silence continues.

Remi looks over her shoulder at Malek and maintains herstare.

434. REMII don't think you should've donethat Malek.

435. MALEKWhat? Are you serious?

436. REMIYeah, you just cost us a thousanddollars.

Goya stays silent.

437. MALEKThat's the signing bonus! We allagreed to it! I don't get why we'reswitching things up all of a sudden.

438. REMI(stern)

Because we're having to give youruncle's money back AND save up forthe extra licensing fees--

439. MALEK--Yeah, sure, but--

440. REMI--and Goya had a plan, and if shehas a plan and you don't, I say wego with the person who has a plan...

Remi sits back straight.

441. REMII'm sorry, but I feel like youdidn't have to put Goya out likethat.

Goya is proud of Remi, but is trying not to interfere.


56/96

A silence.

442. MALEK(apologetic)

I've got money invested in this,too, you guys. I just don't feelright holding money back from the

musicians. I feel like it will comeback to bite us soon enough.

A long silence.

JUMP TO: The car comes to a stop outside of Malek'sapartment.

A silence as Malek doesn't move.

443. MALEKGoya...

Goya turns and looks at Malek in the back seat.

444. GOYA Yes?

445. MALEKI... I didn't mean to do that.

446. GOYA (grinning)

That's fine bud. Just make sure thepaperwork gets done alright. Alright?

Malek nods, then gets out of the car.

____________________________________________________________


Malek parks her car at a legal spot.

CUT TO: Malek pays for parking at the kiosk.

89 INT. COFFEE SHOP. DAY 89

Kerry is waiting at a table alone, looking over a stapleddocument in front of her. It was left for her by Goya andRemi last time.

Goya and Remi enter-- Kerry smiles at them but doesn't getup.

Goya and Remi take a seat.


57/96

447. REMISo you got a chance to think itover?

448. KERRYYeah, yeah, plenty of time.

449. GOYA Great! We don't want you to rushinto anything--


Malek is sitting across from Zamela.

450. ZAMELA Speed can be useful and detrimental,but like I said in the phone call,there are some questions I haveabout your applications, so I hope

it's fine that we slow down just abit--

451. MALEKWhat sort of questions?


452. KERRY(looking at Remi)

Are you a Blakely?

Remi's face drops. Goya stays calm.

A silence.

453. KERRYI looked you up, you're a Blakely,your mother is Cindy Blakely out inChicago, right?

A silence.


454. ZAMELA Malek, I... so the good news is,everything you did everything righton your end, but... it's thebuilding.

455. MALEKYes.


58/96

456. ZAMELA It's the old Republic building,right? The, um... punk club?

457. MALEKYes.

458. ZAMELA Right... well, Malek there's um...did you know the building's out ofcode?

A silence. Malek expression blank.

459. MALEKOut of code? There's a auto shopthere.

460. ZAMELA Yeah, they got grandfathered in. But

the part of the complex that you'relooking to build the concert venuein, that's not covered...

Malek smiles incredulously.

461. MALEKThe building's been like this sincethe thirties...

462. ZAMELA --right, right right... but-- andhere's the thing: the city startedthe whole remodernization effort inthe mid-90s, updated the code forevery building.

463. MALEKBut, I still don't understandthere's an auto shop in thebuilding, why can't we have a venuethere?-- is this just, like... atechnicality?

464. ZAMELA

Well it's all a technicality, butthe fact is the fact, the part ofthe complex you want to start yourbusiness in is just simplyunauthorized by the city.


Remi frantically trying to defend herself, Goya stoic, and


59/96

Kerry smiling like someone who can't be duped.

465. REMI(urgently)

It's not my money, my mother and Ibarely talk to each other--

466. KERRYBut she gave you the money for thisvenue, right?

467. REMII had to grovel, we probably won'ttalk again for another year!

468. KERRYUnless you needed more money--

469. REMI(taken aback)

What's that supposed to mean?

Goya knows what that means but doesn't react to it. That'sRemi's business, and if Remi is offended enough, she canstand up for herself.

470. KERRYGuys... I'm not here to, you know,pull the rug out or anything, I likethe Republic building, my school bus went past it every day all throughelementary-- I would love to be aregular there...

A silence.

471. GOYA But?

472. KERRYBut... (looking at Remi) you're aBlakely... Your mother's one of therichest women in the country... doyou really think it's fair thatyou're paying me two month's rent

for signing up?


Malek disheartened, sunk back into her seat. Zamela eagerlydescribing the red tape:

473. ZAMELA It's not impossible to start your


60/96

business though: you'll just have totake some additional steps. Get areview done by an architect--aspecialized architect, not the onesyou used, I can give you a list from the city. Draw up some renovationplans. Repairing isn't enough, we'll

need major overhauls. Then we'llneed to have a community hearing--the Republic has been shut down fartoo long, maybe the neighbors don'teven want a music venue there, whichis why the city needs to have ahearing--

474. MALEKHow long does would the wholeprocess take?

475. ZAMELA

No way to tell really--

476. MALEKBallpark, please.

477. ZAMELA I'd say a few months.

Malek's eyes widen.

478. ZAMELA I'm sorry, Malek. Just... maybe youneed to slow down and think thingsover.


479. GOYA How much do you want?

480. KERRYThe profit share can stay the same,I think that's all fine--

481. GOYA

(impatient)For signing, how much do you wantfor signing?

Kerry sits back, thinks about whether or not it's too boldof a request, but she does it--

482. KERRYEight thousand.


61/96

Goya calm, but Remi's face shows a small terror.

483. KERRYI'll earn more than that for youguys in six months.


Malek sits in front of Zamela in silence, distraught,afraid, desperate.


Remi thinks the fight is lost, but Goya is standing firm,looking Kerry in her smiling eyes.

484. GOYA Five.

485. KERRY

Seven.

486. GOYA We're not haggling.

Kerry smiles.

487. KERRYFair enough. But then I want anotherpercentage point...

Goya looks down. Kerry isn't backing off at all, and Goya istempted to storm out-- but Goya needs Kerry, and Kerry knowsthat.

488. KERRYI hate to be doing this to you,guys, but... you know... you've beenpassing yourselves off as somethingyou're not... so we have to adjustto what you actually are... richkids with rich parents.

Goya smiles.

489. GOYA Alright, Ms. Vernier, we'll get youthat extra percentage point.

Kerry smiles. Remi distraught.


Malek nods slowly and at length.


62/96

She gets up.


491. ZAMELA You're welcome-- where do we stand?

Do you want to continue with theprocess?

Malek sighs.

492. MALEKCan I get a day or two?

493. ZAMELA Sure... I'll deprioritize this,though... while you decide on thenext steps.


Malek walks out of the room, her eyes turning red and teary.

99 INT. REMI APARTMENT DINING ROOM. NIGHT 99

Remi and Goya sit at the dinner table.

Remi holds her head up with both hands. Goya sits back inher chair, unfazed-- the stress has forced her into a stoic mindset, or maybe she has a plan?

A silence.

495. REMII can't get any more money, Goya.

A silence.

496. REMIIf I go back to her, she'll knowthere's trouble... she might even want the money back if she thinksthat... Goya...

A long silence.

497. REMIGoya...

A silence.

498. GOYA


63/96

In about three minutes Malek will becoming in through that door carryinga bag of Chinese food. You're goingto be happy to see her, and we'regoing to eat. DO NOT, Remi, DO NOTDO ANYTHING that hints at the Kerry situation, got it?

Remi listening intently, as if Goya is the savior they need.

499. GOYA We're going to let Malek talk... andthen I'll talk... I need you to stayout of it, okay?

No reaction from Remi.

500. GOYA Okay, Remi?

Remi nods quickly, perplexed as to what Goya has in mind...

There is a knock on the door. Remi looks at Goya forinstructions.

501. GOYA Go open it.

Remi gets up and dutifully opens the door to let Malek in.

Remi smiles wide at Malek as she enters with the one largepaper bag of Chinese food.

502. MALEK(as a greeting)

Fellas...

Malek brings the bag to the table and starts taking out thedifferent meals, along with three cans of soda..

Remi brings three forks, places them on the table, and takea seat.

Goya half smiling.

Malek puts the food containers, one to a person.

503. MALEKWe need plates?

Remi gets up and goes to the cabinet.

504. MALEK(mutters to herself)


64/96

Guess we need plates.

Malek takes a seat.

Remi comes back with the plates and distributes them,

then takes a seat herself.

505. MALEK Alright, anyone find god today? No?Let's dig in then.

All three start to eat.

...

They share a little amongst each other.

Pop cans are opened, and sipped.

...

The meal has now progressed to the halfway mark. Remi looksdown at her meal and sees that it's almost gone.

Goya knows, so she stares at Malek, who is focused on herfood.

506. GOYA So?

Malek looks up, still chewing her food.

507. GOYA Good news or bad?

Malek shrugs, takes a sip of cola, then sits back in herseat.

508. GOYA What's that mean?

509. MALEKIt means we'll see, they're going toget back to me.

Remi looks at Goya and is now sure that the forewarnedconflict has begun.

510. GOYA You met with the guy today, right?

511. MALEKYeah. But it's complicated, there's


65/96

a couple things I have to figureout.

512. GOYA You have to figure out? Solo?

513. MALEK

Yeah, it's complicated.

514. GOYA Yeah, you've been saying that, buthey, why don't you try explaining tous simpletons what kind of complexproblem you're dealing with?

Malek smiles.

515. MALEKMaybe after dinner?

516. GOYA No, no, let's talk and eat, I liketalking, we don't talk enough thesedays--

517. MALEK Alright, let's talk.

518. GOYA Let's.

519. MALEKI met with the Operational Licenserep.

520. GOYA (condescendingly)

Good, good, like you were supposedto--

521. MALEK And he said...

Malek takes a sip from the can and puts it back down.

522. MALEK... he said the building's out ofcode.

Goya drops the facade. She is now the leader. This isofficially an emergency and there needs to be a clearauthority at a time like this.

523. GOYA


66/96

(flatly)What.

524. MALEKWe need an architect to look at theplace.

525. GOYA We already had one look at it.

526. MALEK Another one-- a specialized one. Igot a list of options... and we needa neighborhood meeting.

527. GOYA What.

528. MALEKThat's what he said.

529. GOYA What's the timeline?

530. MALEKHe said a few months more.

A silence.

531. GOYA Did you tell him we're in a crisis?

532. MALEKYeah.

533. GOYA Did you use the word "crisis"?

534. MALEKNo... I told him we got a lot of money invested--

535. GOYA Yeah, so does anyone who startsanything, the nice thing about a

word like crisis is that it invokesempathy... how long did you spend inthere?... ten minutes?

536. MALEKSomething like that.

537. GOYA About a year of our efforts, every


67/96

penny any of us has invested inthis... and you talked to the guyfor ten minutes...

All still and silent at the table.

Goya stares at Malek. Malek stares at her food. Remi stares

at Goya.

It stays like this for a moment...

then Goya goes back to eating.

Remi starts eating too.

Malek starts eating too, albeit most cautiously.

...

Goya finishes her plate first (leaving a piece of chicken on

the plate) and waits for Remi and Malek.

...

Remi finishes.

...

Malek finishes.

Back to stillness and silence.

Remi breaks the tension by taking the plates from both Goyaand Malek and taking them to the kitchen sink.

At the table, Goya and Malek alone.

538. GOYA Remi and I will be going to CityHall tomorrow. What's the rep'sname?

A silence. Malek stares at Goya with anger, but concedes:

539. MALEK

Zamela... Chris Zamela.

540. GOYA Good. You'll be sitting this oneout--

541. MALEKWhy?


68/96

542. GOYA --and we don't want you doinganything on the talent rostereither--

543. MALEKWHY.

544. GOYA Because we need to handle this ourown way.

545. MALEKWhy can't I be there?

546. GOYA I'm afraid you're going to do whatyou did when I was negotiating withHaley and Greta last night--

547. MALEK(point-blank)

Are you gonna bribe him?

Remi comes over to take Malek's drink can away, feels thatit is not empty, and puts it back in place.

Remi goes to take a seat to the side. Doing so signifiesthat she is entering the conversation on Goya's side.

548. GOYA I'm not going to bribe him.

549. MALEKYeah you are. You're going to bribehim and get us caught and jailed.

550. GOYA No... I'm going to see what ouroptions are and I'm going to makesure we have a music venue in ourpossession before we run out of money.

551. MALEK

Goya--

552. GOYA Malek.

A silence.

553. GOYA You got a chance to do all this on


69/96

your own, you said you could handleall the paperwork if Remi and Ifocused on the talent. Look at where we are no... so--with all duerespect--it's time for you to shutthe fuck up.

A silence.

Remi expressionless.

Goya with a taunting quarter-smile.

Malek with nothing but rage behind her eyes.

554. GOYA Sit out, take a few days, and we'llcall you back into the game.

A long silence.

Goya finishes the last piece of chicken.


Malek lays in bed, staring up at the ceiling, with largeheadphones on.

She doesn't blink as she listens.

She feels a buzz, and pulls her headphone off. It's thecellphone in her pocket.

101 EXT. MALEK APARTMENT BUILDING DOOR. NIGHT 101

Remi is on the phone, near the buzzers, holding a largeglass bottle of Orangina.

555. MALEK(via phone)

Hey.

556. REMIHey! Are you home? Your car'soutside.


557. MALEK(on phone)

Um... yea.

558. REMILet me in.


70/96

INT. MALEK LIVING ROOM. NIGHT 103

>>> TO BE FULLY IMPROVISED, LED BY REMI


71/96

No, no... I want to go to theTroubador--

568. ZOGBYPlace we just passed?

569. REMI

Yeah. I'll pay for the full fare.

570. ZOGBYFine by me.

571. REMIOkay.

572. ZOGBYOkay then.

Zogby starts the car up.

573. REMIHey...

574. ZOGBY(sighs)

Yes, miss?

575. REMI Are you... would you want to listento some music with me?

576. ZOGBYExcuse me?

577. REMIWould you want to just go listen tosome music with me?

A silence. Zogby turns his car back off.

578. ZOGBYWhy?

579. REMII don't... I just need to listen to

some music and I'd rather not do italone... I need a break... it's beena rough few...

Zogby sighs and looks out at the road infront of him.

580. ZOGBYYeah, I hear you miss...


72/96

581. REMII'll pay you however much you'dusually make in the next hour or two

582. ZOGBYNo, it's not that, I should... Ihave to get back home... my kids and

my wife, you know...

Zogby starts the car.

583. ZOGBYI'll drop you off. No extra charge, miss.

Remi looks out her window. She is hurt by the failure to make a friend so much that she forgot to say, "thank you."

105 INT. MUSIC HALL 105

Remi sits in the audience with six others. She smiles wide,being in the sort of place she loves most.

The musicians are a man and a woman, playing a song in thestyle of Camera Obscura, particularly "My Maudlin Career".

Remi's expression is simultaneously childlike and world- weary.

____________________________________________________________


Zamela sits behind his desk. Remi and Goya face him.

Goya is examining a picture on the wall behind Zamela, ofZamela and another man. It could be any picture of twopeople, but Goya sees this as a crucial opportunity.

584. GOYA Is that Simo Haya? In the picturethere.

Zamela looks over his shoulder, then back at Goya.

585. ZAMELA Yeah! You know about him?

586. GOYA One of the best alive.

587. ZAMELA


73/96

Yeah... so listen, I wish I couldsomething guys, but like I toldMalek, there's really not much to dohere--

588. GOYA Do you play?

A silence.

589. ZAMELA Yes, actually, I placed fifth at theChicago Open 9-Ball--

590. GOYA The diamond, huh?

591. ZAMELA Yeah!... do you play?

592. GOYA More of a eight baller myself.

Remi is having trouble keeping up with the lingo, but smilesto cover it.

593. ZAMELA We should play sometime!

594. GOYA Maybe we should... in fact, Remi andI have to get going, are you freetonight?

595. ZAMELA Uh...

596. GOYA Yeah, we need advice on this stuff,and we can get a game in there,too...

A silence.

Zamela cracks a smile and puts his hands up slightly, as if

to say, "I don't see why not."

107 EXT. SPYHOUSE. DAY 107

Malek sits at a metal table and talks on her phone. She hasa plastic cup of iced coffee on the table, and a litcigarette in one hand.

597. MALEK


74/96

(on phone)So if I was to back out now, how much of the deposit would I lose?...that's not fair... yeah, Iunderstand, but I only moved inthree months ago... but I'd be outof the lease?... okay, let's do it.

108 INT. MALEK BEDROOM. DAY 108

Malek goes through her closet and pulls out an emptysuitcase.

JUMP TO: Malek starts filling the suitcase indiscriminately with clothes from her closet.

JUMP TO: Malek sits on her bed and stares at her closet.There are far too many clothes in there.

____________________________________________________________

109 EXT. WILLIAMS PEANUT BAR. NIGHT 109

The giant bar sign glows over the dark sidewalk.

110 INT. WILLIAMS PEANUT BAR. NIGHT 110

Remi sits off to the side, next to three pints of beer, and watches Goya and Zamela play a game of pool.

Only two balls left on the table-- Zamela takes one shot,sinks it. Takes another and sinks it to.

Goya shakes her head in playful shame, then high fivesZamela. Zamela goes towards Remi, takes a swig of beer, thenturns to Goya-- he makes a round motion with his indexfinger to indicate another game.

JUMP TO: Goya puts more money into the pool table.

The pool balls roll out of their secure compartment.

Zamela starts racking up the balls as Goya chalks her cue.

111 EXT. LAKESIDE TRAIL. NIGHT 111

Malek walks and coyly talks into her phone.

598. AUNT CLARA (via phone)

Jim-- your uncle Jim-- says you'regoing to send him his money back.

599. MALEK


75/96

It's only because of an emergency Aunt Clara.

600. AUNT CLARA Well none of us thought we'd be waiting so long, Mal, I mean... wetrust you and all, it's just, you

said we'd start getting someresidual checks a month ago--

601. MALEKI said... I said best case scenariothat would happen. We ran into somepaperwork around Easter that we justdidn't see coming.

112 EXT. SIDEWALK UNDER STREETLIGHT. NIGHT 112

Malek sits on the curb and continues to talk on the phone.

602. AUNT CLARA You need how much, then?

603. MALEKHonestly... however much you canspare.

A silence.

604. MALEK Aunt Clara?--

605. AUNT CLARA I'm here, it's just... well, itain't much...

606. MALEK(sighs)

Whatever it is, I would reallyappreciate it, and I promise I'llget it back to you as soon as thisthing is up and running.

607. AUNT CLARA Okay...


Zamela is in the back seat as Goya drives, with Remi in thepassenger side.

608. ZAMELA (slurring)

Hey thank you guys, I just-- I'm new


76/96

to the city, and this was really myfirst night out...

609. REMIIt was our pleasure, Chris.

610. ZAMELA

Agh, look at me-- I'm drunk! How didI get drunk?-- I think I know how Igot drunk...

611. GOYA Chris, you ever think about gettinga Brunswick?

612. ZAMELA A Brunswick!

613. GOYA Yeah, you're basically a pro, you

should get one--

614. ZAMELA --I wish--

615. GOYA They're sposd'ta last a lifetime.Fine stitching, hardwood, thepockets are durable... top of theline really... you want one?

A silence.

616. ZAMELA Where would I put it?

617. GOYA You can figure it out...

A silence.

Zamela has caught on, despite his drunkenness.

618. GOYA I can get you a gift card, for a

Brunswick...

619. ZAMELA Uh...

620. GOYA I'd love to do that for you.Wouldn't be a problem at all... noone would have to know...


77/96

Zamela thinks it through with a slight scowl.

621. ZAMELA What kinda Brunswick?

A silence. Goya smiles.

622. GOYA Whatever kind you want...

A silence. Zamela looks out the side window.


Malek, utterly dispirited, is on the phone with Great-UncleCARTER.

623. CARTERNo, Malek! Enough is enough! I don'tknow where you're spending all this

money!

624. MALEKMost of it went into licensing andhiring architects--

625. CARTERThen why do you need more?

626. MALEKWell... a small obstacle came up--

627. CARTERObstacle or no obstacle, I hearyou're giving Jim back his money,and I think that's completelyunfair, I was the first one toinvest in you!!

628. MALEKYes, but Uncle Jim had anemergency--

629. CARTERWe're all in an emergency!! Where's

our money, Malek?! Why are youasking for more?!

Malek at a loss for words...

630. CARTERMal?!

Malek hangs up the phone. Her eyes water and she starts


78/96

crying in shame.

_________________________________________________________

115 EXT. REMI BUILDING. DAWN 115

The first rays of sunlight hits the apartment tower.

116 INT. REMI APARTMENT DINING ROOM. DAY 116

Remi sits alone, in her pajamas, and eats cereal.

Goya enters, fully clothed, and is startled to see Remiawake. She has a victorious smile on her face.

631. GOYA You're up early!

632. REMIMhmm.

633. GOYA Good! I just talked to Zamela, we're meeting in an hour.

634. REMIOkay.

Goya takes her shoes off and goes towards the kitchen.

635. GOYA What's that, the choco crunch?

Goya takes out a bowl from the cupboard.


Zamela sits behind his desk, with a small hint ofresentment.

Goya looks through a stack of papers in her hands. It's thecertificates, issued by the city.

Goya smiles in satisfaction, and hands over the papers toRemi, who starts looking over them herself.

636. GOYA So... about the--

637. ZAMELA Yeah, let's not talk about thathere... I'll give you a call--

638. GOYA


79/96

Maybe we can get a round in atWilliams?

A silence. Zamela's resentment turns into a friedlyhalf-smile.

639. ZAMELA

Documents

TROIKA - Full Screenplay - Final