"See The Music"

by:

Harvey Laidman

See The Music

(A Film in Eight Movements)

The SCREEN IS BLACK, a TICKING IS HEARD, Suddenly, a BELL begins to RING.

INT. PIANO TUNER'S BEDROOM - DAY

AN ALARM CLDCK

The wind-up key on the clock twists as the bell rings. An alligator clip with a wire attached to it swings around and contacts another metal strip. THE CAMERA FOLLOWS the wires to a small electrical relay as its contacts close and ON to a tape cassette player which comes alive with the SOUND of RACHMANINOFF.

THE MAN

As he sits up at the side of his bed. The sun streams into the room, and he turns to feel it on his face. Dressed in his shorts and T-shirt, he stretches and yawns. (He’s not too old, maybe mid 20’s.) There are no pictures on the walls, no ever-present magazines. Nearby, a bench with tools literally thrown over it. On the floor, a formidable pile of tape cassettes. He slips on them as he rises and starts across the room. As he comes closer to the door of the room, WE HOLD ON HIS FACE FOR A MOMENT; the eyebrows perhaps a bit high, the nose too flat, the mouth too thin and long. Like olives, this is a face that will have to grow on us. As THE MAN with the empty eyes passes out of our view the camera HOLDS for a moment on the strange room.

THE BATHROOM

The MAN enters, plugs in his electric shaver, sits on the toilet seat, and in only a very slight beam of sunlight, that affords us only his PROFILE, he shaves, looking nowhere in particular in the dark room.

THE TAPE MACHINE

THE MAN'S HAND plucks out a cassette. The MUSIC STOPS. The hand takes the cassette recorder.

								CUT TO:

INT. LIVING ROOM - DAY

WIDE ANGLE

Of the dimly-lit room. A dusty upright piano, missing a lid and music holder, stands against a wall. The Man slides on to the bench, puts a tape in the recorder, presses the "record" key.

MERV

(To tape recorder)

Movement four, version five.

Possible new ending, inspired

by a dream. Here it is…

CLOSER ANGLE

PUSHES IN as he PLAYS the fourth movement of his symphony. It’s a warm, melodic and uncomplicated sound, very acoustic and perhaps old-fashioned.

DISSOLVE TO:

INT. KITCHEN - DAY

THE MAN

As he enters, now fully dressed in work shirt and slacks, buttoning his sleeve, a light jacket hanging from his mouth. He slips on the jacket.

ANOTHER ANGLE

Over the top of the counter, a black doctor’s bag in the foreground, the MAN in the background. He finishes zipping his Jacket and comes down to the counter, He pours himself a cup of black coffee from a small grimy percolator, then feels down the cord to an incredible jumble of plugs and sockets, extracts the plug from the coffee maker. Feeling along another cord, he comes to a toaster, where a half onion roll stands nobly awaiting its fate. He presses the lever, and the onion roll slips into the trap. For a moment, he drinks his coffee, humming his THEME, until he is interrupted by the smell of SMOKE from the toaster. He pulls the toaster plug, and extracts the charred onion roll, The CAMERA PANS him back to the black bag, he coils his fingers through the handle and crosses to the door.

AT THE DOOR

He stops at an umbrella stand and picks out a collapsible white cane, opens the door and exits.

EXT BUS STOP - DAY

SHELTER

A corrugated bus shelter. An African-American man, LEROY, sits reading The National Enquirer, drinking coffee from a paper cup, The MAN, who we shall now know as "MERV" is seen past Leroy tapping down the street with his cane. He finally comes down to the bench in the shelter, Leroy purposely doesn't make a sound. He sits quietly as he is prodded from knee to chest, finally the blind man falls into the space beside him.

MERV

'Morning Leroy.

LEROY

(Amazed)

Well...you did it again. How the

hell did you know it was me? For

all you knew it coulda been some

chick and youda had a fat lip by now.

 

MERV

(A sniff)

It’s your after-shave.

 

Merv reaches into his pocket, unfolds a slip of paper and hands it to Leroy. As Leroy looks at the paper, we are aware of the SOUND of the street, the autos passing, horns, sirens, children, radio music, dogs barking, etc.

LEROY

	(Looking at the paper)

	      I think this is a "C".

MERV

		   Capitol Records.

LEROY

	(Giving back the paper)

You been there before - Vine

above Sunset. Eighty-three bus,

transfer to a fourteen.

		   MERV

Thanks.

			     LEROY

No tape to mail today?

			MERV

		(Discouraged)

I’m gonna save the freight for a while.

		   LEROY

Sure. Give it a rest.

			    MERV

Yeah.

							CUT TO:

INSIDE BUS

Through the window, LOOKING TOWARD the bus structure. As it stops Merv rises and comes to the door.

MERV

Eighty-three bus?

DRIVER

Eighty-three, right.

 

He pats the seat behind him.

				DRIVER (Cont’d)

Sit down here.

ACROSS LEROY

Panning from the bus pulling away to him at his seat. The bus ROARS away, as the sound of the MUSIC from the preceding scene can be HEARD. Then the MUSIC ABRUPTLY ENDS.

INT RECORDING STUDIO - DAY

WIDE ANGLE

We see the white room, the Glass windows, a black piano standing in the center, surrounded by microphones and electronic equipment of sophisticated appearance. The door, like a giant refrigerator door, swings open and Merv feels his way through the equipment to the piano.

ON MERV

As he places his black bag on the bench and sits. He opens the piano, and neatly spreads his tools out, getting the feel of the instrument as he does. Then he sits and plays a few chords.We PUSH IN TIGHTER as he seems to hear something beyond the sound of the piano, and we are aware of a SUGGESTION OF ROCK MUSIC seeping into the room. Merv looks off toward:

A WALL PLUG

Where the music is heard SLIGHTLY LOUDER, the CAMERA TILTS UP to a window separating studios, a GROUP OF FOUR MEN can be seen through the window.

WIDER - TO INCLUDE MERV

As he comes to the window, puts his ear near it. The group inside has just finished an all-night session. There are food wrappings, cigarette butts and spilled-on sheets of music all around them. They wear sunglasses, their movements are slow and ethereal.

ON THE GROUP

They stop playing, but THE TRACK continues.

				GROUP LEADER 

			(Motioning to the Control Room)

			Kill it Frank.

FRANK - THE ENGINEER

Through the control room window. He looks as if he has just spent the night tumbling in an electric dryer. He reaches behind him, presses the button on the tape machine, and the TRACK SKIDS TO an inharmonious halt.

				GROUP LEADER

				(Voice-Over)

This is getting us nowhere, Frank.

Let’s listen to take eight again.

Frank winces with great pain. Finally he turns to the machine behind him, rewinds the tape. While the tape is rewinding, the four group members file into the control room behind Frank.

INT CONTROL ROOM - WIDER SHOT

Now we see that the control room is filled with GROUPIES, HANGERS-ON, AGENTS, GIRL FRIENDS, etc. The addition of the four group members seriously overcrowds the room and presses Frank against his console. Finally, Frank stops the tape, and presses the "play" button. The downbeat is given as:

				FIRST VOICE

			Turn it up a litt1e, Frank.

THROUGH THE GLASS

The overstuffed room can be seen, the entranced faces listening to the really loud music that we are spared thanks to the glass. WE PULL BACK FARTHER to reveal the Piano Tuner, aware only of the music, facing away from the window. Finally, he turns back to his work as we:

								DISSOLVE TO:

EXT CHURCH - DAY

LONG SHOT

A station wagon marked "GETHSEMANE BAPTIST CHURCH" comes down the street and turns into the church driveway. When it stops, Brother WALT, the pastor of the church, dressed in a fluorescent green suit gets out of the driver's side and comes around to get Merv out of the other door. The MUSIC from the previous scene continues over until:

TRACKING TWO-SHOT

They walk up the path to the church.

				BROTHER WALT

				(Exuberant)

I'm sure it's those little pads again

Merv. Right in the middle of choir

practice. You must lay upon your hands

and heal our piano.

They finally reach the chapel.

INT CHURCH - DAY

WIDE ANGLE

The CHOIR and the PIANO PLAYER stand around the wounded piano, they AD-LIB their greetings to Brother Walt and Merv as they come up to the instrument. Merv sits and tries a few notes. All crowd around, watching with great interest.

MERV

You were right, Brother Walt, the

pads are gone.

 

As Merv works, Brother Walt turns to the Choir:

		BROTHER WALT 

		(Intensely)

Pray with me Brothers and Sisters.

Even as this piano has fallen it

shall rise again.

							DISSOLVE TO: 

INT. CHURCH - MERV

As he finishes his repairs, reassembles the piano. PAN him to Brother Walt, the Choir and the Piano Player. His expression is apprehensive.

BROTHER WALT

(Fatherly)

What's on your mind, my son?

MERV

Take it easy on those keys, Okay?

 

				      BROTHER WALT

					(Nodding)

		   Touched by an angel.

ALL

AMEN!

Brother Walt takes Merv’s arm, leads him to the door.

BROTHER WALT

You'll bill us Of course?

AT THE DOOR

As Merv exits, the CAMERA PANS BACK to the Choir and the piano Player who sits demurely. Brother Walt raises his shiny-suited arms and the CHOIR BLASTS into a pacemaker-shattering rendition of "The Old Rugged Cross." The Piano Player blasts the keys with heaven-sent vigor! The MUSIC CONTINUES OVER as we:

								CUT TO:

EXT SUBURBAN STREET - DAY

FULL SHOT

Of a bus as it comes to a stop at a corner of a long, uphill street. Merv gets off and starts up the street. The GOSPEL MUSIC segues with the SOUND of dogs barking, lawn mowers, children p1aying, leaves sifting in the breeze, garbage cans being collected, LETTER CARRIER whistling, Merv turns and "sees" these sounds as he walks. Finally, he arrives at a home. A WOMAN, in a starched house dress greets him at the door, they go inside.

INT SUBURBAN HOUSE - DAY

THE LIVING ROOM

As the Woman leads Merv from the door to a beautiful upright spinet. She makes crisp SOUNDS as she walks. A Small girl, CINDY, is sitting at the piano, picking half heartedly at a scale. She looks up at Merv and is frightened, will be very happy to leave the piano, to be allowed to do anything but practice.

WOMAN

	(To Cindy)

You can stop now, Cindy.

Cindy jets from the room. Merv sits at the piano. The Woman excuses herself and exits to the kitchen. Merv turns to the piano, we MOVE IN CLOSE on a key as he presses it.

HIS EAR

As he hears the sound. then another sound, WATER RUNNING.

INT. KITCHEN - THE WOMAN

Washing celery under the water faucet. She reaches down and switches on the DISHWASHER. The disposal CHEWS up some celery leaves; a CAN turns in an electric can opener, a MIXMASTER mixes some cake batter. These sounds continue over the next scenes:

INT. LIVING ROOM

AN ANGLE

Out glass doors reveals Cindy singing and skipping rope....

THE WOMAN

Glides along with a VACUUM CLEANER

AT THE PIANO

Merv is rising. He has finished his work and is packing up his tools. Cindy and her Mother are first HEARD OFF SCREEN, arguing:

WOMAN

(Off-Screen)

C'mon, Cindy. Time to get back

to practicing.

					CINDY

			    (Off-Screen)

I don't want to

THREE SHOT

Including Cindy and her Mother, Merv as they come into the living room.

CINDY

(To Merv)

I hate you. Why did you have

to fix that dumb thing?

WOMAN

Cindy!

CUT TO:

EXT SUBURBAN HOUSE - DAY

MERV

Comes out, starts back down the street, His cane tapping:

WOMAN 						CINDY

Don’t you ever talk		I hate him. I
that way to anyone.		do. I hate this
I'm ashamed of you,		I won't practice
Cindy.		I don't care. I
Now, Just get back		won't. I don't
to your practicing		want to.
What do you mean,		I don't
you won't? I'm tell-		want to practice
ing you now....		I don't....

This dialogue CONTINUES over the next scenes, as it builds, the household sounds blend with it, until it is a cacophony of child-voice, woman-voice and machine-voice, with rustling trees and dogs barking.

INT TELEVISION STUDIO - DAY

WIDE SHOT

PUSH IN to the STAGE MANAGER, a frantic man wearing a headset, and carrying an illuminated clipboard. He crosses the studio to Merv, who stands looking slightly bewildered.

STAGE MANAGER

(looking at his watch)

You the piano tuner?

You're late.

Merv nods. The Stage Manager is interrupted by a call on his headset.

STAGE MANAGER 

(Into headset)

I know about that, Leon!

(Flaring)

Well, do you want the goddamn

piano fixed or not?

(Switching Off his intercom)

(To Merv)

Come with me.

And he starts off, leaving Merv behind, dragging his intercom cord. At first, Merv wants to ask the Stage Manager to guide him, but as the man's intercom wire brushes against Merv's leg, he gets the idea to take hold of the wire, and does, following the Stage Manager easily to the band area, where a small, slick COMBO is waiting to play for the television show. A MUSICIAN, headset on, sits at the piano. He moves aside so that Merv can work.

A.D. (Off-Screen)

			  (Filter)

Two minutes.

CLOSE - MERV

As he bends over the instrument. It is a broken string. He opens his bag to get out his tools, turns his head to feel the Stage Manager’s fruity breath.

MERV

(perspiring)

Two Minutes? It’s a broken

string.

OVER MERV - THE STUDIO

People scurrying, confusion. Make-up and hair people primp the talent, an ANNOUNCER goes through the TelePrompTer™ lines. Camera Operators dress cables and chatter on the intercom. A chart rolls by on SQUEAKY wheels. Merv is inside the piano like an ostrich, tools flying. Feedback SCREAMS.

STAGE MANAGER

(To Merv)

 

Hurry up...

(An Afterthought)

Please.

(Bitchy)

Leon, what can I tell you?

(Looking at his stop watch)

One minute!

He YELLS, and runs off into the crowd. Dancers fly by, TALKING loudly, the Musicians test the first few notes of the theme, some "SUITS" come close to the piano to see what the hold-up is, look at their watches and shake their heads. Finally...the Stage Manager rushes up to Merv who emerges from the piano, tries a few chords.

STAGE MANAGER

Are you through?

MERV

Just about…

A.D. (Off Screen)

	(Filter)

Twenty seconds.

STAGE MANAGER

(Pulling Merv away)

		   You're through.

					MERV

		   But…

Merv protests, but then just stands, moving away, shaking his head. The band takes its position, the Stage Manager kneels beneath a camera, the A.D. counts down to "three," then the Floor Manager finishes the count with his fingers, and gestures toward a camera as a light comes on. The band launches into a jazzy THEME. Every "D", however is a DULL THUD.

A.D. (Off Screen)

		(Filter)

Stop tape!

ON MERV

There is now DEAD SILENCE in the fraction-of-a-second ago hectic studio. With a stoic expression, Merv steps up to the piano, and deftly plucks a pair of pliers out of the works. As he drops these into his toolbox, we:

								CUT TO:

EXT STREET - DAY

LONG SHOT

A Neon street of pawn shops and used furniture stores. The signs BUZZ, television sets BLARE out of windows, many, many cars ROAR by. MERV steps out of a very bright diner. He stops at the entrance to collect his sense of direction. After a moment, in which he is jostled by several thoughtless people who look back at him with selfish disgust, he turns to the right, and begins to count his steps in cadence to the MUSIC. Even the tapping of his cane picks up the music. Finally, he comes to a store, "Pico Used Furniture," and enters.

INT FURNITURE STORE - DAY

THE STORE

Is packed with rickety used "bargains." It is dark, grimy and musty. We PICK UP Merv across jutting ends of old wrought iron and rattan pieces. There is a high ceiling and 1930's trim. A Man, HARRY, in a suit that may have come from the same kind of store, rushes to the door to meet Merv. He is the owner of the shop.

HARRY

		(Patting Merv's back)

I'm very thankful you could come.

		(Stops walking)

I hope you didn't think this was

an emergency call.

			  (A Pause)

There's an extra charge for

emergency calls?

MERV

No, not really.

HARRY

Okay, then it's an emergency

call.

INT BACK ROOM - CONTINUOUS

AT THE ENTRANCE

As the two men enter. The back room is the same as the front, except twice as crowded, twice as filthy, twice as abysmal. A bent-over man works with a furniture dolly in the background. We PAN WITH THEM to a neglected piano.

HARRY

Now, before you say anything,

hear me out.

Merv places his tools on the old piano, and it gives out an audible CREAK! He feels the broken wood, the missing keys, inside, the missing strings.

					HARRY

				(With some pride)

This instrument is a trade. I took

it in on an immaculate used dinette

set.

		    (Pointing to the casters)

I wish you could see the casters

on this piano. I'm not your piano

man, but I am your furniture man.

(Rubs his hand across

the top of the piano)

I know finishes. That's a high

quality finish. With a couple bucks,

a little initiative, someone could

fix himself up a really nice piano.

With this, Merv begins to 1ift the lid of the piano. The box shudders and sighs with instability.

HARRY

Maybe we better make it just

an estimate?

And he places his hand on the piano. The entire thing lets go and crashes to the floor! In the middle of the crash, there is an ARPEGGIO OF SNAPPING STRINGS. After a silent moment:

HARRY

			(Hardly a change of manner)

Like I said, I'm not your piano

man, but that sounded like a

pretty healthy tone, there.

 

MERV 

			(Packing his tools)

		   No charge, Harry.

And he exits.

INT - FRONT OF STORE - CONTINUOUS

As Merv comes through, feeling his way from the back room. Harry comes quickly after him, rushing. On his way, he picks up a beat-up old violin from a pile of rubble.

HARRY

			(Breathlessly) 

Wait a minute.

TWO SHOT

As Harry stops Merv at the door. He brings forth the violin and a smile:

HARRY

So forget the piano. How are

you with violins?

CLOSE - HARRY

Harry winces and shrugs as the DOOR SLAMS OFF SCREEN.

INT. BUS - DAY

MERV

PUSH IN as he dozes in his seat, indifferent riders surround him. We hear his THEME as he dreams and his EXPRESSION changes subtly. The music becomes sharper, more defined as it incorporates many of the SOUNDS Merv has heard today.

EXT. MANSION - DAY

AT THE GATE

The ornate iron divides and Merv walks through, tools in one hand, cane in the other. He is met by a slight fellow, a houseman in a white jacket, ITO.

				ITO

			Piano Man. Come with me.

AT THE HOUSE

A Grecian edifice, dripping with columns and ivy. As Ito and Merv walk the steps to the entrance, we can HEAR Piano Music. It is Ignace Jan Paderewski playing his "Nocturne". Merv stops for a moment.

				MERV

			Paderewski.

CUT TO:

INT. MANSION - MUSIC ROOM

ANGLE

As MERV and ITO enter the room. The CAMERA PULLS BACK TO REVEAL a magnificent grand piano, and a nineteenth-century contraption called a Welte Vorsetzer. The Vorsetzer is a large, ornate black box with wooden fingers that press each key on the keyboard. It uses a paper roll, and presently is PLAYING the piano using a roll recorded in 1906 by Paderewski.

DETAIL

The FINGERS delicately play the keys. Inside the box, gears and armatures, levers, idlers and ratchets duplicate the exact touch recorded long ago. A fine mist of machine oil permeates the space, the thick wood muffles the grinding SOUND of the works.

SCENE

Merv feels the vibrations, the fingers, the paper rolls. (He "sees" the machine with his hands.)

					MERV

			It’s the Vorsetzer. I’ve never seen one.

					ITO

Yes. Mr. Paderewski plays

tonight. Just like in 1906.

Piano must be perfect.

Merv hands the rolls to Ito.

					MERV

			Who else?

					ITO

				(Reading the rolls)

			Debussy, Franz Liszt, 1886…

					MERV

			Liebestraum?

					ITO

			Yes.

					MERV

Listen. You can almost

hear his fingernails hitting

the keys.

					ITO

			Should I turn it off?

					MERV

You’ll have to kill me to get

to it.

									CUT TO:

EXT. MANSION - DAY

PULL BACK FROM WINDOW

As the MUSIC continues over. A GARDENER on a riding mower rides up beneath the window, hears the music, stops and listens.

								DISSOLVE TO:

EXT. SKYLINE - NIGHT

THE CITY

As the last remnant of daylight fades, the MUSIC continues OVER:

								DISSOLVE TO:

INT LOUNGE BAR - NIGHT

WIDE ANGLE

This bar is located at the top of a downtown office building. Below, lights of many colors twinkle, traffic streams and the MUFFLED SOUNDS of the street just barely penetrate the wrap-around windows. MAX, the bartender, working behind the bar. To the right of the bar is a black padded grand piano that serves as a piano bar. There are seats all around it. A SINGER, ANNE in a black sequined gown sits at the piano bar, arranging her music, looking tired, taking a drink from a glass on the piano. She’s attractive, talented, thirties.

ANGLE - ENTRANCE

Merv appears, moves toward the bar.

SCENE

Max meets him, leads him to the piano bar.

					MAX

			Over here.

As they arrive, Anne takes Merv’s hand.

					MAX

			Merv, meet Annie. Annie, Merv.

				(Moves away)

			‘Scuse me.

					MERV

			Hi.

					ANNE

			Hi.

(After a moment) 

    Here, listen.

She plays a few chords, Merv nods.

					MERV

			Got it.

He opens the lid, leans inside the piano.

ANGLE - INSIDE THE LID

Merv feels around inside, Anne appears behind him.

					ANNE

I like a man who gets right

to work.

Merv smiles, sniffs.

					MERV

			Piña Colada?

Anne leans in next to him, sniffs.

					ANNE

			Creme de Menthe.

SCENE

Merv moves out, brushes against Anne for a moment as he moves to his toolbox. He extracts a rag and some cleaning solution, dips the open jar on the rag, leans in for a moment, then:

					MERV

			Try it now.

Anne sits on the stool, begins to play a song that makes full use of her colorful voice and range, perhaps the Patsy Kline hit, "Crazy". As she does, OTHERS at the bar come to the piano to watch and when Merv finishes with the rag, he moves toward his tool kit, extracts his wrench and tuning fork. Anne gently pulls him to the stool close to her and sings to him.

CLOSE - MERV

He feels her warmth.

								DISSOLVE TO:

EXT. CONCERT HALL - NIGHT

WIDE ANGLE

As the MUSIC CONTINUES OVER, SEGUES into the SOUNDS of CONCERT PATRONS in formal dress, chattering as they exit the hall. Nearby, a VENDOR hawks the morning paper, a STREET CLEANING VEHICLE ROARS and SPRAYS. Two JOGGERS pad by in complicated running shoes, and DOGS BARK at the ends of their leashes. Merv moves past the crowd and into the lobby.

INT. CONCERT HALL - CONTINUOUS

WIDE ANGLE - TOWARD THE STAGE

An incredible Steinway concert grand stands just to the left of center stage, a single SPOTLIGHT illuminates it. Several STAGEHANDS are striking music stands and placing folding chairs on a cart. A JANITOR squeezes a mop and SLAPS it on the stage floor, SWISHING it around, and SPLASHES it in the water again.

REVERSE ANGLE - MERV

As he enters, hears the sounds, touches the seat backs along the aisle as he moves to the stage.

MOVING WITH MERV

He finds the steps to the stage, moves up, and to the Steinway. It’s a friend, and he greets it silently, puts down his toolbox and starts to work.

INT. LIGHTING BOOTH

Overlooking the stage. We CLEARLY HEAR Merv working, moving up the octaves, tuning. The TECHNICIAN hits several switches and HOUSE LIGHTS go off, accompanied by HOLLOW THUMPS.

THE JANITOR

SMACKS his mop into the bucket and wheels it away with loud SQUEAKS.

THE STAGEHANDS

SLAP the last of the folding chairs on to two carts and wheel them away with a loud RUMBLE.

WITH MERV

As he finishes his work, the CAMERA GLIDES SILENTLY with him as he sits on the stool, is about to close the keyboard.

HIS FOOT

Pumps a pedal quietly.

MERV

Is aware of the total silence, he turns his head up, searching for the sound of a…

FAN

High in the fly gallery, turning idly in the moonlight.

SERIES OF CUTS/SOUNDS:

The Recording studio, Cindy and her Mother, The Combo at the TV Studio, The Church Choir, The Bus, the CRASH in the furniture store, the Vorsetzer, Annie, etc.

SCENE

In the stillness, Merv begins to PLAY his concerto, starting with a movement we have not heard before. It reprises the SOUNDS we have heard today.

MERV

Gains strength as he plays the images in his mind.

BACKSTAGE HALLWAY

Several MUSICIANS come out of the dressing room, they stop as they HEAR Merv playing OFF-SCREEN.

ON THE STAGE

As the MUSICIANS move in, see Merv playing.

ANGLE TOWARD MERV

He sits on the bench, playing, his toolbox next to him. The white SPOTLIGHT on him.

MUSICIANS

Move toward the piano, VIOLIN, CELLO, FLUTE, OBOE appear. The CELLIST pulls up a wooden utility box.

ANGLE

As the Musicians pick up the melody and seamlessly fold in.

MERV

MISSES A BEAT as he reacts to the accompaniment. The SOUND is full and round and wonderful.

LIGHTING BOOTH

The TECHNICIAN stops on his way out, moves to the window.

BACKSTAGE

The JANITOR comes out of the utility room, moves to the wings. The STAGEHANDS stop at the time clock, listen, move toward the stage.

PULLING BACK FROM

Merv - his eyes are no longer empty, they fill with tears, he PLAYS with strength and inspiration. WE SEE the MUSICIANS around him, the others moving on to the dark stage, the Piano in the single spotlight, becoming smaller as the shot WIDENS. THE MUSIC CONTINUES OVER:

							DISSOLVE TO:

EXT. CITY - DAWN

THE AIRPORT - SUNRISE

A Huge Jet takes off into the morning sun.

FREEWAY - EARLY MORNING

A few, then many cars, their sounds blend in with the piano

AN AMBULANCE - DAY

Its SIREN going

DOWNTOWN STREETS

People rushing every which way. The CAMERA TILTS UP to the sky, all the PREVIOUS SOUNDS, the music in the background, and as the SUN FLARES across the lens, blinding us, the music is alone and beautiful.

THE END

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