CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE MAIN STAGE A graduate project submitted in partial fulfillment of the requirements For the degree of M aster of Arts in Screenwriting By Collin Bruce Wachter May 2012 The thesis of Collin Bruce Wachter is approved: Dr. Kenneth Portnoy, Chair Date Professor Jared Rappaport Date Professor Alexis Krasilovsky Date California State University, Northridge, ii DEDICATIONS The following work is written in dedication to Nancy Jeanne Wachter. Without her support and love I would not live with so much inspiration, passion, or happiness. Also, to my brother, Brent, for the fact that the shared love of music became the groundwork for an entire script. iii Acknowledgements I would like to acknowledge my professors and classmates as their invaluable notes and comments have magnified the artistry of this work far beyond what I could accomplish on my own. iv Table of Contents Signature Page ii Dedications iii Acknowledgements iv Abstract vi Script 1 v ABSTRACT THE MAIN STAGE By Collin Bruce Wachter Master of Arts in Screenwriting Kenny Price has been the only member of his band serious about music fo r far too long. After the band have a falling out, Kenny spends five years away from the stage working for his father's small music shop. One day a young talented musician proposes that Kenny join his band and get back into the world of music. Kenny tries to fi ght it, but the itch is too strong. Kenny sets out to form his old band with a few new pieces and work towards success. Kenny and the new line-up make it close to their goal, but quickly learn that to move anywhere further they'll need hot-headed egomaniac Tommy to sing for them like he used to. With Tommy on board Kenny and the old band fight to make it to the Main Stage, and the fi ght takes everything they have. vi FADE IN: CLOSE ON A GUITAR A beautiful Spanish guitar with ornate detail. Callused fingers STRUM across the taught strings. We pull back to... INT. WHIT E FORD VAN - NIGHT The van sits parked with almost nothing behind it. The guy playing guitar is KENNY PRICE - Early 20s, with long dark locks calling back to the Gods of arena rock, his eyes to the tortured, soulful singer-songwriters of generations past. He sits in the passenger seat and strums. He sings along quietly. KENNY We’re ready for a show tonight./ Playing to the drunken masses./ If t hey don’t love our songs./ Refer them to our asses. The tune gets a hearty CHUCKLE from the back seat. It comes from BEN - Mid 20’s. A Tattooed and pierced bear of a man. In the middle sits AARON - Mid 20s, Average build, bewildered, seems spacey and lost at all times - Next to him, SPIELMAN - almost ten years older than any other band member. He’s greasy and gritty like a drummer should be. He drums on the back of the driver side headrest. BEN Why don’t you make that into a real song? SPIELMAN Yeah. We’ll just become some limerick playing assholes who draw no crowds. Spielman reaches over Aaron and raps a drum stick across Ben’s leg. A voice from the driver’s seat calls order to the car. TOMMY Settle down. Are we here to play a show, or not? The backseat crew settle immediately. TOMMY (CONT’D) That’s what I thought. The voice belongs to TOMMY SIEGEL - Fashionable and a bit too handsome for his own good. A true frontman. 1 Kenny stops strumming. He rolls his eyes and looks at Tommy. Unlike the backseat group, Kenny has no fear of t he lead singer. KENNY Tell me Tommy, you say there’s a show now, but are you going to remember that later? TOMMY What fu ckin’ power trip are you on? Tommy opens his door and steps out. EXT. HARPER’S BAR - REAR LOT - NIGHT The band members pile out into a secluded dirt lot. The back of their van faces the building. KENNY It’s called the truth. Every night I’m here to play. I’m here to live and die on the stage. TOMMY We’re all here to do that. Enough of the self-righteous (mocking tone) “ I’m the only one who cares” shit. SPIELMAN He’s kinda right, K.P. We all come to play. Kenny looks at his boys in disbelief. KENNY Bullshit! I wear Levi jeans, and every fu cking show, they may as well be wranglers. AARON That reference makes no sense. Kenny’s face grows dumbfounded and he holds the look for a beat. KENNY I’m the fi rst one on the stage and I have to corral everyone else. I feel like the only one who wants to be here. The four other members stand opposite of Kenny. They view him as a kid throwing a bitch-fi t. BEN It’s not that big of a deal. We always come together. We end the night together. 2 KENNY I’m just asking for you to focus tonight, and stay together before our set. Ben shakes his head and walks past Kenny. BEN We don’t need to. You know where to find me. Tommy takes a step. Kenny stands in front of him to block the path. TOMMY Move. KENNY Wait til aft er the show. Party when we’re done. TOMMY Get the fu ck out of the way, Kenny. KENNY You think you’re already a rock star, don’t you? Tommy walks past and shoulder bumps Kenny. Spielman and Aaron offer apologetic smiles. Kenny grabs his guitar and walks towards the doors. INT. HARPER’S BAR - NIGHT Neon lit and crowded. Most of t he clientele are barely old enough to get past the door. It should hold 110 people, but 150 have crammed in. Three BARTENDERS fight to serve everyone. The back of the room has a small stage. A group of 40-year-old burn outs hold instruments, and stare out at the audience. The singer, LOU, steps to the mic. LOU It’s been a pleasure. We’ve got one more song for you fuckers. The audience members clap as the MUSIC plays. ANGLE ON SIDE OF THE STAGE Kenny holds his Spanish guitar and stands next to HARPER - Late 40s, wears shades inside, and still dyes the tips of h is hair blonde. HARPER Better get moving. Kenny shines on a fake smile. He steps away. Harper looks on at the burnout band and nods his head along. 3 EXT. HARPER’S BAR - REAR LOT - NIGHT Kenny walks to Aaron, they stand just outside the van, next to some AMPS and DRUMS. KENNY Aaron, they’re on their last song. AARON Are we on soon? KENNY Next. Kenny looks up inside the van. He watches Spielman wrap his hands around his bass-drum, then walk it awkwardly to the edge of the van. He hands the drum to Aaron, who sets it down. SPIELMAN You guys seen my sticks? Spielman looks all around the van, a bit frantic. KENNY Nope. Find em’. Spielman grabs two sticks off o f t he fl oor and smiles at Kenny. Kenny throws him a sarcastic “impressed” smile. INT. HARPER’S BAR - THE BAR - NIGHT Kenny fights through the crowd to make his way to Ben, who is slouched over three tequila shots. KENNY Right where you said you’d be. Ben takes one of the shots. BEN You know me too well. KENNY Can you leave those? We’ve got a set to play. BEN I already paid. KENNY You consider this laying off? Kenny looks at Ben inquisitively. Ben shows guilt and remorse, only befo re turning to the shots. He takes them back to back, then stands. 4 BEN See you on stage. KENNY Tommy? Ben blushes a bit. He glances over towards THE MEN’S ROOM. Kenny rolls his eyes. He walks away. INT. THE MEN’S ROOM TOMMY presses a DRUNK GIRL against the inside of a stall and takes her from behind. Her tube top has fallen to where it’s no longer a top at all. Kenny walks in and KNOCKS on the stall. He waits while the Tommy and his girl MOAN impolitely. KENNY Almost done? TOMMY Leave. Kenny KNOCKS again. Tommy doesn’t slow down and she doesn’t either. KENNY Tommy, get your ass on stage. DRUNK GIRL We’re busy. (Quieter, to Tommy) Don’t stop, baby. Kenny looks at the stall, not amused. Tommy keeps going. TOMMY Yeah, just like that. Kenny kicks the stall open. The door swings and barely misses the couple. Kenny stares red hot at Tommy. KENNY Fuck you. You selfi sh piece of shit. Tommy pushes the stall back closed, and continues working. TOMMY I can’t help it. I’m a fu cking rock star! Right Kenny!? Kenny walks out. He flips them off behind him. 5 INT. HARPER’S BAR - THE CROWD - NIGHT Kenny walks through the crowd towards the stage. His companions have things set up. Kenny brushes past people and bumps a guy. The patron, ZACH, looks far too young to be there, and spills a beer he probably shouldn’t have. KENNY Excuse me. Zach smiles and steps out of the way. His sister, HALEY, doesn’t shy away. She’s angry and wants justice. HALEY Excuse you is right. No cutting. ZACH Haley, it’s fine. HALEY No it’s not.