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. This asshole needs to know he’s not special. What gives you the right to have a better view of t he band?

Kenny stops, more amused than anything.

KENNY Actually, if I don’t make it to the stage, no one sees the band. I kinda sing for them.

Haley fi ghts but can’t hide all her embarrassment. Kenny shines on a grin and squeezes past.

INT. HARPER’S BAR - THE STAGE - NIGHT

Spielman sits behind his drums. Aaron holds his guitar, and Ben his bass. Kenny hops up onstage, by a mic. He looks at his watch, then back at the bathroom door.

In the audience, BIG MIKE, his size implied in his nickname, waits impatiently.

BIG MIKE Play some fucking music.

Kenny looks out, then back at his band. The band members seem unsure. Kenny shrugs, then steps to his mic.

KENNY Thanks for your patience. Our singer decided to be a dick, so we’ll play without him.

BIG MIKE Fuck him.

6 Kenny nods to Big Mike. Spielman COUNTS time in on his sticks. The GUITARS and BASS come in together. Kenny jumps around on stage. The bathroom door opens. After the drunk girl sneaks out in shame, Tommy looks at his band playing without him.

Tommy fights his way though the crowd. He pushes Big Mike out of his way. Mike spills a man’s beer behind him and riles the crowd.

Tommy rushes the stage and grabs a mic. The music stops.

TOMMY The fu ck do you think you’re doing.

KENNY Nice of y ou to join us.

Tommy sees red. He drops his mic, and charges. Tommy tackles Kenny. They take a CYMBAL down with them and it CRASHES.

Tommy gets a punch or two in before Kenny rolls him over and takes his shots.

In the audience, Big Mike fi ghts, and a large brawl breaks out.

On stage, the other three band members free themselves to break up Tommy and Kenny. Harper runs up to the stage, and gets on a mic.

HARPER Show’s over. We’re closed fo r the night. Everyone out!

Tommy pushes Spielman and Aaron away. He walks out through the dispersing crowd. Kenny picks himself up and looks at Harper, guilty and disappointed.

HARPER (CONT’D) Pack your shit.

Kenny nods apologetically. He puts a mic back on its stand. He traces a cord back to where it’s plugged in. He looks at his other band members. They all share disheartened, blank expressions. Kenny pulls the cord out.

CUT TO BLACK

FADE IN:

INT. PRICE’S MUSIC ROOM - DAY

A small boutique music store. It has a warm mom and pop feel that separates it from a Guitar Center or Sam Ash.

SUPER TITLE: FIVE YEARS LATER

At the front counter, SHANE PRICE - 50’s, thin and fit, strong resemblance to Kenny - looks over his books. The front door opens, causing a bell to JINGLE. Shane looks up at a GUY and GIRL who enter.

7 SHANE Kenny?

No response. Shane grows irritable.

SHANE (CONT’D) Kenny, we’ve got customers.

Still no response, and the two customers eye guitars on the wall. They don’t seem interested in being helped.

Shane stands, then walks back to a small door in the store. He opens to reveal:

KENNY

Now five years older with a short professional hair-cut. He strums a Spanish guitar in a claustrophobic practice room.

Kenny pauses. He looks at his father, a bit aggravated.

SHANE (CONT’D) Remind me why I’m paying you?

KENNY Cause you wanted to hire me? Who knows?

SHANE Who else would hire a twenty-seven year old without a damn G.E.D.? Show some respect, son.

Kenny stands up.

KENNY What do you need. (Playful mocking) Dad?

SHANE Customers on the fl oor.

Shane turns his back and walks away. Kenny sets his guitar down in the practice room, then proceeds to the guests. While they have their backs to him he speaks.

KENNY Anything I can help you two with?

They both turn. They are ZACH and HALEY, the brother and sister that Kenny bumped at the show.

ZACH (23) has boyish charm - kind and shy. HALEY (27) is a beautiful fl ower. Soft and warm with piercing eyes that don’t hide her self-confidence or individuality.

8 Kenny doesn’t recognize them at all, but they smile at him.

ZACH Are you... Kenny Price?

KENNY Yeah, but I don’t think you need to be so impressed.

ZACH You kidding? We used to love your shows.

KENNY Used to.

Kenny takes a long look at Zach’s shirt. A picture of F ive ROCKERS, front and center is TOMMY. The words read “BLUE SKY ALIBI”

KENNY (CONT’D) And you kept fo llowing him?

Zach looks down guiltily, then offers an apologetic smile of sorts.

KENNY (CONT’D) What were you two looking for today?

Haley steps forward and finally talks. Her directness surprises Kenny.

HALEY Zach’s band needs a singer with experience, and talent. You’d be perfect.

Kenny smiles at Haley, then looks at a wide-eyed, anxious Zach.

KENNY Does the girlfriend always do your talking?

ZACH She’s my --

HALEY - Sister. And I stick up for the kid when he’s star-struck.

Kenny blushes, and looks directly at Haley. It doesn’t phase her one bit.

KENNY (Modestly, to impress her) I wouldn’t really say I’m a star.

HALEY He’s star-struck. I didn’t say I was.

9 Haley offers a sarcastic grin, she knows this hit Kenny’s ego, and she doesn’t mind.

KENNY I haven’t played with anyone else since the fi ght. Don’t know that I’m your guy.

ZACH Give us one practice. Just think it over.

KENNY I’ve moved on.

Haley eyes the merchandise in the store.

HALEY Yeah. These new digs are so much better. Have fun selling three guitars a month.

Haley steps away, she motions for Zach to follow her. Zach smirks as a last chance to ask Kenny. He steps away and follows his sister.

Just befo re they make it to the door...

KENNY One practice. I’ll give you one practice and see how it feels.

Haley smiles at him sweetly. Zach walks back and hands him piece of paper. Kenny nods.

Zach and Haley exit the store. Shane looks up from behind the counter and removes his reading glasses.

SHANE I hope you’re not planning on leaving.

KENNY It’s just one practice.

Kenny walks over to the counter.

SHANE That ship has sailed.

KENNY I’ve always thought about going back. Maybe this is my chance.

SHANE Just remember, you’re set here.

KENNY You think I should never try again?

10 SHANE Kenny, music can be your hobby, but it won’t be your career. You’re not cut out for it.

KENNY Thanks for the support.

SHANE It’s honesty. You haven’t played a show in years. If you don’t chase a dream, you can’t reach it.

Behind his father, Kenny spots a signed “ Blue Sky Alibi” poster. Tommy, again, front and center.

KENNY Why the hell is this shit up in the store?

Kenny reaches at the poster, pulls it off, and tears it in two.

SHANE That’s what success looks like.

KENNY You know he never deserved any success.

Shane shakes his head at his son.

SHANE Deserved or not, he got it. He went after it. He wasn’t running from it.

KENNY I’m not running.

SHANE No? I hope you were just planning to spend your days selling guitars to guys with half your talent, cause now you’re stuck.

Kenny stares at his father, the words are stinging.

Kenny puts the poster pieces on the counter.

SHANE (CONT’D) Kenny, you leave me now, I won’t take you back.

KENNY Just one practice.

Kenny walks out of the store.

11 INT. CRAPPY DRUMMER’S HOUSE - GARAGE - DAY

Zach and his band practice in a messy and cramped garage, while Haley watches. Zach plays GUITAR with a lot of talent. The other three guys can’t keep up.

The CRAPPY DRUMMER can’t keep time. A DOPEY GUITARIST doesn’t know chords, and the BORING BASS PLAYER stands still and plucks the same note over and over.

Kenny approaches from the street and stands behind Haley.

KENNY Let me ask you a question.

She turns, a bit surprised.

HALEY What’s up?

KENNY You really think these guys can make it?

She bites her lip to hide a grimace.

KENNY (CONT’D) You think your brother could make it?

Her smile grows and eyes widen.

The band finish their rendition of what isn’t really a song. Kenny motions Zach over.

KENNY (CONT’D) Hey. I thought about what you said.

Zach’s face brightens.

KENNY (CONT’D) But if I’m going to jam with you, we need guys who can keep up. What would you think about piecing some of m y old band together?

Zach thinks for a minute. He looks at Haley and sees her smile.

ZACH For sure.

Zach and Kenny shake hands.

12 INT. AARON’S HOUSE - KITCHEN - DAY

Warm and homey. This isn’t a 30 year-old bachelor pad though, it’s his mom’s house right down to the fl oral patterns and watercolor paintings.

Aaron sits across from Kenny and Zach at a small round table.

KENNY What’s it going to take to get you back?

AARON Let me write songs.

KENNY We’ll write them together.

AARON Don’t yell at us.

KENNY I don’t yell.

Aaron looks at Kenny, testing him.

KENNY (CONT’D) Alright. I’ll fix that.

AARON I don’t know. I’m just not into it much anymore.

AARON’S MOM sets a plate of s andwiches on the table.

AARON’S MOM You boys shouldn’t talk on a hungry stomach.

KENNY Thanks, misses Petigrew.

AARON’S MOM You’re very welcome, K.P. It’s so nice to see you. Aaron, I wish you’d have friends over more oft en.

Aaron waits for his mom to get out of ear shot.

AARON I do need to get out of this house more.

KENNY If you play with us, you may not have to come back here at all.

Kenny smiles. Aaron does too.

13 INT. HARPER’S BAR - DAY

Kenny and Zach walk up to the bar. The same place they played at years ago. Ben works as a bartender, but doesn’t notice Kenny right away.

KENNY Hey, bartender, let me have three shots of tequila. My set starts in two minutes.

Ben looks across the bar and sees Kenny. He ambles over as fast as his massive frame will let him.

BEN Kenny fu cking Price. Good to see you.

KENNY Don’t act so surprised, I’m in here once a month.

BEN Not at noon.

Kenny grins slightly.

KENNY Ben, this is Zach.

Ben and Zach shake hands.

KENNY (CONT’D) He’s one of my guitar players. Aaron’s the other.

BEN New band?

KENNY Almost. Still missing bass and drums. But there’s only one real bass player I know.

BEN Isn’t that something. Thought you gave up on bands.

KENNY I guess I went back on that. What do you say?

BEN Depends. Are you going to let me drink still?

KENNY Are you going to hold your liquor.

BEN Always.

14 They smile warmly.

EXT. SPIELMAN’S HOUSE - DAY

Kenny, Zach, and Ben make their way to the door of an old 70’s built home. Suburbia sits behind them. Kenny SIGHS and looks at Ben. He asks “ are you ready?” with his eyes. Ben nods and Kenny KNOCKS.

After a beat, the door opens to reveal PAIGE - (34) A bit gothic and tattoo covered, but still pretty - holding a two year old girl, MOLLY.

Kenny and Ben don’t hide their surprise to see a woman at the door. They stand silent.

PAIGE Can I help you?

Kenny and Ben hesitate, still off g uard. Zach gathers courage.

ZACH Excuse me. We’re looking for Spielman?

PAIGE I’m misses Spielman.

Kenny nods, the news sets in.

KENNY We’re looking for...

Kenny takes a moment to think.

KENNY (CONT’D) Your husband.

PAIGE Chris? Just a minute.

Kenny turns to Ben and mouths the word Chris in wonderment. Ben shrugs. Neither man knew it.

Paige turns and looks behind the door and yells into the house.

PAIGE (CONT’D) Chris! Get out here. Some guys are here to see you.

Paige turns to the boys at the door and smiles awkwardly. After a moment, Spielman comes to the door. He marvels at the sight.

SPIELMAN You guys look like shit.

15 Paige eyes her husband in confusion and aggravation.

PAIGE Language, Chris!

Spielman apologizes with his eyes. Paige walks away, Molly still in tow.

SPIELMAN What’s up?

KENNY You still have your kit?

SPIELMAN Really? Five years, a wife and a kid, and that’s the fi rst thing you ask me?

KENNY We’re not here for tea time.

SPIELMAN The kit’s in the garage. It’s a nice dust holder.

He motions his head towards the garage.

BEN Maybe you need these.

Ben takes out two drumsticks, and offers them to Spielman. Spielman doesn’t take them.

SPIELMAN I’ve grown up. I’m beyond that.

KENNY I grew up too, but it didn’t work for me. I know you’re dying to play.

SPIELMAN Even if I am, I’ve got a family. It’s not just me.

KENNY Fair enough. We’re doing this for ourselves. Going back to what we want, what we care about. I hope you’re still doing things for yourself.

This slaps Spielman in the face. Kenny, Zach, and Ben turn, the walk a few steps.

SPIELMAN Wait!

They turn back and give him their attention.

16 SPIELMAN (CONT’D) I don’t know if we can practice here, and we’ll have to have a tight schedule.

Ben throws the sticks to Spielman. He catches them and twirls them.

INT. SPIELMAN’S GARAGE - DAY

In intermittent CUTS

Aaron and Ben push amps into the garage.

Kenny carries in a small P.A. System.

They plug in and hook up mics and guitars.

Cuts stop, as Spielman sits on his throne and looks around, a bit anxious.

KENNY Thanks for cleaning out the garage for us, Spieley.

Spielman feigns a smile, still just as anxious.

Paige walks out from the door leading into the house. She looks out at the instruments and boys, unimpressed.

PAIGE My daughter is down for her nap. If y ou wake her, so help me!

Spielman stands from his throne and walks to her. He takes her back into the house. Kenny looks at Zach, Aaron, and Ben. They all share amusement.

KENNY Grown ups.

Spielman walks back out and takes his seat again.

SPIELMAN We can’t play here.

Kenny looks at Spielman, frustrated.

KENNY She said yes, and now it’s no?

SPIELMAN K.P. What do you want me to say? I’ve got a two year old daughter. We can’t practice while she’s napping.

17 Kenny nods.

KENNY Fine. We have to decide what we’re playing anyway. Let’s work out ideas, and when she’s up, we’re on.

Spielman hesitates. He still doesn’t like it.

SPIELMAN Can I ask you something?

KENNY What’s on your mind?

SPIELMAN Where’s Tommy? Everyone’s here, why didn’t he get the invite?

Kenny puts his head down in disgust.

KENNY We’re better without him.

AARON Better without a star?

Kenny turns quickly to Aaron.

KENNY We don’t need a star. We have each other. Having a so called star brought us down to begin with.

BEN K.P.’s right. Tommy didn’t bring anything that Kenny doesn’t have.

KENNY Isn’t this something we could have talked about earlier?

Spielman rolls his eyes.

SPIELMAN It was just a question.

Kenny sits on an amp.

KENNY Anyone remember our songs.

Kenny looks around. Everyone nods.

18 KENNY (CONT’D) Good. Let’s get a show as soon as we can. Ben, you work at Harper’s. Talk to them.

Ben smiles, a bit uneasy.

KENNY (CONT’D) Do it.

INT. HARPER’S BAR - NIGHT

A smaller crowd than normal. Kenny helps set up cords on stage. Zach practices guitar RIFFS that play over the amps.

Paige, Haley, and Aaron’s mom stand at the front of the stage. Aaron blushes at his mom’s presence.

Spielman goes to his wife and gives her a kiss. He walks up to Kenny on stage.

KENNY You nervous yet?

SPIELMAN Have been fo r days.

KENNY Just like old times. We’ve got it.

Spielman looks at him blankly for a moment.

SPIELMAN Let’s hope so.

Spielman walks to his drum set, and sits. The others all look ready. Kenny steps up by his microphone and looks at the small crowd.

KENNY It’s been a few years for us, so thanks for having us back. We’re Surrender the Sunset. This song’s called “ It All Starts Tomorrow.”

Spielman COUNTS them in with his sticks, then a DRUM ROLL. Zach plays guitar as if it were second nature. Aaron struggles to hit his notes. He sporadically STRUMS. Kenny looks at Aaron, a bit unnerved.

Ben rocks on stage but STEPS on KENNY’S CORD. The cord comes undone. Kenny starts singing into the mic but no sound comes out.

The crowd grow restless and BOO the performance.

Kenny goes to the amp where is mic is plugged in, and attempts to fi x it.

19 Aaron stops playing his part. Kenny looks up and sees people walking out. He gets the mic plugged back in and walks to the front of the stage.

KENNY (CONT’D) Just a small problem. Bear with us. The show will go on.

Kenny watches the remaining crowd head to the bar. They don’t care. Haley looks on sympathetically.

EXT. HARPER’S BAR - REAR LOT - NIGHT

Kenny helps Spielman get his drums in the van. Ben and Zach stand by the Van, in silence. Paige and Haley are also there.

KENNY Nobody has anything to talk about?

HALEY At least you didn’t get punched this time?

Kenny stares at her with a sarcastic “thanks.”

BEN We need more practice.

PAIGE You need a lot of practice.

Aaron walks out to the van.

AARON I’m done.

The band members all look at him in shock.

KENNY Done?

AARON I wasn’t sure about playing to begin with. If we’re going to have nights this bad, it’s not worth it.

Kenny puts his hands on his hips and bites his lip. Aaron walks away. The guys watch, speechless.

Kenny walks over behind the van, only Haley fo llows.

KENNY What the fu ck do we do now?

Haley puts a calming hand on Kenny’s shoulder.

20 HALEY You move on. I’ve been booed off s tage countless times.

KENNY You play?

HALEY Yeah. And every time something goes wrong, I pick myself back up.

KENNY Not always possible.

HALEY No, it’s not always easy, but it’s possible. Don’t run again, not now.

Haley offers a very comforting smile. Kenny glows with appreciation.

KENNY Let me know when you’re playing sometime.

They smile at each other.

INT. SPIELMAN’S GARAGE - DAY

Zach, Ben, and Spielman wait in the garage.

A car door SLAMS in the distance, and the guys look out. Kenny struts up the driveway with a big grin, a gorgeous Fender Stratocaster in tow.

KENNY I found our new guitar player.

Kenny puts on his guitar strap, and plugs in to an amp.

Kenny STRUMS. The guys look at him a minute, then join in on their instruments.

SERIES OF SHOTS

The SONG Kenny started plays over all shots.

INT. HARPER’S BAR - NIGHT

They play another show, the crowd a little bigger and a little more enthused.

21 INT. SPIELMAN’S GARAGE - DAY

Molly walks and claps as only an ecstatic two-year-old can. Paige and Haley watch happily. The guys rock in the garage.

INT. PRICE’S MUSIC ROOM

Kenny practices on his Spanish Guitar. Shane looks on at his son with disappointment.

EXT. OUTDOOR PARK - DAY

The guys play on a tiny stage outdoors. A large family atmosphere. Booths with food line the park. The crowd is again larger.

INT. HARPER’S BAR - NIGHT

The guys rock Harper’s bar again. This time, the crowd has grown, and so has the energy.

At the back of the bar, Shane walks in. He stops by a pylon and listens. He can’t help but smile a bit.

INT. PRICE’S MUSIC ROOM

Kenny sits and plays more. Shane stands at the counter with JERRY - 35, A well-dressed executive with slicked back hair and sunglasses. Jerry watches, impressed with what he sees.

Shane hands Jerry a flyer advertising a show.

INT. UPSCALE BAR - NIGHT

A bigger bar with a wider range of audience. The guys rock the stage and still impress the fans.

Jerry and Shane watch from the back of the room. Jerry smiles at Shane and pats him on the back.

END SERIES OF SHOTS.

INT. SPIELMAN’S GARAGE - EVENING

Spielman stands from his drums. Paige waits by the door and holds Molly. Spielman grabs his daughter, who smiles up at him.

Kenny, Zach, and Ben all unplug their instruments. They wrap cords up.

Jerry walks up the driveway and stops. Spielman spots him first. He hands Molly back to Paige and approaches Jerry in a very protective way.

22 SPIELMAN You looking for someone?

Jerry puts up his hands to show he comes peacefully.

JERRY Looking for you guys.

Kenny looks up. He recognizes his father’s friend.

KENNY Jerry? You’re here for us?

JERRY You guys sound about as good as you used to.

KENNY But not better?

JERRY There’s always room for improvement.

Spielman steps closer to Kenny.

SPIELMAN K.P. Want to tell us who this is?

KENNY Jerry Garrison. Antithesis records. Dad’s passed a few bands to him.

JERRY Including Blue Sky Alibi. You guys all know Tommy?

Kenny grits his teeth.

JERRY (CONT’D) It might be your turn. I’ve been to some of the shows. I like the sound.

KENNY Thanks.

JERRY I was thinking. Maybe I could sit on a recording session?

Kenny smiles, but hesitates.

KENNY We don’t have money to record.

23 JERRY No one said anything about money. We’ve got a studio, and I’ve got time. One or two songs, that’s it.

Kenny nods. He looks around at his band-mates. All three are wide eyed and ready. Kenny extends his hand to Jerry, they shake.

INT. ANTITHESIS RECORDS - STUDIO - PRODUCER’S SIDE

Any medium sized studio. Jerry stands by QUINN - 50’s, bald, not as hip as he thinks. Quinn works the sliders on the soundboard. Jerry looks on through the window at Kenny, Zach, Ben, and Spielman.

QUINN O.K. Guys. We’ll be ready soon. One more time, from the top.

Kenny nods and gives a thumb up through the window. Spielman counts in on his drum. Their SONG begins again.

Jerry nods along to the song. Quinn likes it too.

JERRY I knew they’d be good, but they’re missing that edge.

QUINN Something in their dynamic doesn’t sell yet.

Jerry gives a proud, evil-genius grin. He walks to the door of the booth and pokes his head out to the hallway. He looks left , then right.

JERRY Come on in.

Jerry walks back to Quinn, followed by TOMMY. Quinn recognizes him immediately.

JERRY (CONT’D) I give you, their edge.

QUINN Jerry, you sly bastard! Tommy, good to see you.

TOMMY You too, Quinn, man.

Quinn pushes the mic button and speaks to the band through the intercom.

QUINN Jerry’s gonna step in there to talk with you.

The band stop playing and wait.

24 INT. ANTITHESIS RECORDS - THE STUDIO

Kenny and his band-mates wait. The door opens. Jerry steps in, fo llowed by Tommy.

Kenny’s eyes light up with anger.

KENNY What the fu ck is he doing here?

JERRY Hear me out.

KENNY Get him out. We don’t want him here.

TOMMY Nice to see you too.

Kenny stares harder.

JERRY You guys are almost perfect. The edge that you’re missing now is the edge you had all those years ago.

KENNY Like hell it is.

SPIELMAN We’re sounding pretty good to me.

Jerry smirks.

JERRY Pretty good and amazing are two very different things, boys. Amazing bands get record labels. Amazing bands play the biggest shows.

Kenny takes his guitar off, and sets it down.

KENNY Adding him doesn’t get you amazing. No, you get a guy who had two bands and broke both up.

JERRY That happens. It’s part of music.

TOMMY I’ve grown, maybe you need to learn to.

KENNY Jerry, he’s a “rock star” and we’re artists.

25 Jerry walks over to Kenny and puts an arm on his shoulder. He talks to him gently.

JERRY That’s where you’re confused. An artist sits in his loft and struggles. People don’t see his work.

Jerry removes his hand and smiles wide.

JERRY (CONT’D) Van Gogh. Picaso. Well known guys. Hell, think how famous Michelangelo was to paint the Sistene Chapel. The real artist is a fucking rock star.

Kenny looks at him, uneasy.

KENNY Not the same.

JERRY If you want to be heard, you have to put yourself out there.

KENNY The music should be what puts us out there.

JERRY The music gets better with him, and the fans follow.

Kenny hesitates. Tommy steps closer.

TOMMY Jagger and Richards. McCartney and Lennon. Jimmy Page and Robert fu cking Plant. Rock is about duos, man.

BEN So what’s in it for the rest of us?

Jerry smiles. He’s got them on the hook.

JERRY Records. National radio play. Tours.

KENNY What kind of tours?

JERRY Picture it. Thousands of kids, singing your lyrics back to you, every day, all Summer. The Warped Tour.

KENNY That big?

26 JERRY That’s just the beginning.

Jerry looks over at Tommy.

JERRY (CONT’D) But you only get there with him. Think it over.

Kenny nods. He walks out of the room.

EXT. ANTITHESIS RECORDS - DAY

Kenny, Spielman, Ben, and Zach march out towards the van.

Behind them, Tommy pushes the Antithesis building door open hard and storms out.

TOMMY K. P. Let’s talk about it.

Kenny turns back to look at Tommy. He stops and motions for his friends to go on. Spielman, Zach, and Ben climb into the van.

Tommy catches up to Kenny, just outside the van. They share an all too familiar, and not so warm look.

KENNY Tell me why you’re in this.

TOMMY Same reason as you.

KENNY You’ve never been in this for the same reason as me.

They pause a beat and continue their stare-down.

INT. THE VAN - SAME

With the van parked and the engine off, Zach and Ben stare out from the backseat window. Spielman steals his glances from the driver’s seat.

ZACH Those two ever get along?

BEN Not since Katie.

ZACH Who’s --

27 SPIELMAN Don’t even ask. Don’t bring it up to either of t hem.

Ben and Spielman look physically ill. Zach, a bit perplexed, sits back quietly. He looks back out at the argument.

EXT. ANTITHESIS RECORDS

Tommy’s eyes still pierce Kenny. Kenny gives the same in return.

KENNY Tell me straight, and we’ll consider it. Why are you here?

TOMMY To make music.

KENNY That’s a given. Why are you making the music?

Tommy shows nervous confusion. Kenny lights up at having his old nemesis cornered.

KENNY (CONT’D) Money? Parties? Women?

TOMMY Artistic direction. Purpose.

KENNY How do you figure?

Tommy bites his lip, and bows his head fo r a second to humble himself. He picks his head up, no longer angry.

TOMMY Honestly, the best music I ever made was with you. You bring what a lot of others can’t.

KENNY That’s cause me and the guys in that van, (points behind himself) We play with passion.

TOMMY And I want that back. Blue Sky didn’t have heart, and we didn’t last.

KENNY You want that back? I don’t know if you ever had it, Tommy.

28 TOMMY I was a stubborn kid, but I wasn’t the only one.

KENNY Are you trying to make this about me?

TOMMY It’s about both of us.

Kenny turns his head in disbelief.

KENNY I’ve always been in control of my dream, you let it get the better of you.

TOMMY Fine, you want me to say it, I’ll say it. I wanted to be a rock- star. Let me back and you’ll have an artist.

Kenny eyes him pensively. He turns without saying a word, and walks to the van. Kenny gets in and closes the door. The ENGINE STARTS. Tommy watches a beat, before Kenny rolls the window down.

KENNY Practice is tomorrow. Five p.m. Spielman’s place.

Kenny rolls the window up, and the van drives away.

I/E SPIELMAN’S GARAGE AND STREET - DAY

Kenny plays his guitar alongside Zach. Ben strums the bass while Spielman hammers away on his kit. They jam as usual.

Just outside of Spielman’s house, a SILVER NISSAN ALTIMA parks by the curb. It’s nice and new. Luxurious, but not too lavish. The music stops as they watch...

Tommy step out of the car wearing sunglasses. He scans them as if he’s superior.

Kenny glances up at the digital clock that reads 5:43pm, then looks out at Tommy in frustration.

TOMMY Sorry, I know. I’ll make sure I’m on time next practice.

Kenny ignores Tommy. He turns back to Spielman.

KENNY Count us in again.

Spielman counts them in on his sticks and the music begins again. Tommy walks up the driveway and into the garage.

29 TOMMY I like it. Sounds pretty good.

Kenny looks away from Tommy. He stares down at his lyrics that he’s put next to his foot pedals.

Tommy looks on. They play as if he’s not even there. He leans against the wall in a low-key manner.

Kenny steps up to his mic and glances at his lyrics. He sings a bit unsure.

KENNY Tomorrow, everything is new again.

He grimaces as he gets the words out. He then HUMS the melody without actually singing. He looks over at Ben who has his own mic set up. He SCREAMS into it.

BEN My past is now behind me.

Ben’s scream sounds closer to harsh yelling without matching tempo or melody of the song. Kenny stops strumming, and lets his guitar hang by its strap. The rest of the guys stop as well.

KENNY Something with this song isn’t working yet.

Kenny bends down and grabs his lyrics. He takes a pen from his pocket and scratches at the paper with it. Tommy steps fo rward.

TOMMY For one, Ben’s not allowed to scream anymore.

Ben looks over at Tommy, the shot hits him in the gut. Kenny takes a second, befo re looking up from his lyrics.

KENNY Oh, Tommy. You made it?

TOMMY That’s fair. I deserve that.

KENNY You’re hoping to get into our band. It would be considerate if you showed up on time. (beat) But I don’t mind input, if it’s valuable.

Tommy smiles at Kenny, he accepts the challenge.

TOMMY Let’s start by switching the tempo of this song and not playing it in four-four time like everything else.

30 Ben and Spielman look at each other, they agree.

TOMMY (CONT’D) Let’s lay off o f t he power chords for rhythm guitar and focus on playing a riff t hat actually compliments Zach’s lead.

Zach smiles at the compliment.

KENNY And let me guess. You write the lyrics as the frontman?

TOMMY No. There’s no frontman. We’re in this together. You write the lyrics if it means something to you, but if I’m screaming with you, maybe I can help.

Kenny lightens up and nods.

INT. SPIELMAN’S GARAGE - LATER

The sun has now set outside. Moths swarm the lights in the garage. The guys show their work through their sweat drenched clothes. Empty beer and water bottles line the fl oor.

The band play the same song in a different tempo and with a different riff, just as Tommy suggested. Tommy holds a mic and moves around the garage as part of the band. Everyone smiles while playing.

The song ends and the guys put their instruments down.

KENNY That about does it, so I say we vote.

Kenny looks over to Ben on his right.

BEN In.

SPIELMAN Keep him.

ZACH Yeah, man. I think it’s gold with Tommy in.

Kenny looks up at Tommy and hesitates.

KENNY Guess it doesn’t matter what I think, but I’d say we’re better off with you here.

Kenny extends his hand to Tommy, they shake with enthusiasm.

31 INT. ANTITHESIS RECORDS - JERRY’S OFFICE - DAY

A roomy offi ce lined with gold album plaques and band posters. Kenny and Tommy sit opposite Jerry in the offi ce. Tommy signs his name on the contract and slides it over to Jerry. Jerry mulls it over for a second, then looks up.

JERRY Congratulations boys. You are now a member of t he Antithesis Records family.

Jerry shakes hands with Kenny and Tommy.

INT. PRICE’S MUSIC ROOM - DAY

Shane Price stands behind the counter and reads a magazine. Kenny walks in the front of the store.

KENNY Just signed the record deal.

Shane doesn’t look up.

SHANE That so?

KENNY I just wanted to say thank you.

Shane looks up with a small smile.

KENNY (CONT’D) So, thanks.

Shane nods to his son. His smile grows. They look at each other a beat. Kenny turns, and exits the store in excitement.

EXT. STREET - DAY

A small street with mom and pop shops and eateries. Kenny stands outside his dad’s store, looks up at the sky and lets out a big SCREAM of joy.

Kenny approaches a car with Zach in the driver’s seat. He hops in.

INT. HALEY’S APARTMENT BUILDING - DAY

Kenny and Zach run down the hall of a bland apartment building. The chipped paint says this place hasn’t been renovated in years.

Zach POUNDS his fist on a door. Haley opens up.

32 INT. HALEY’S APARTMENT - SAME

Zach and Kenny step in quickly. Zach throws a bear hug around his sister, lifts, and twirls.

ZACH We got our record deal!

Kenny looks around at a small chic apartment. Haley doesn’t have much money based on the limited furniture, but she’s got coordination and modern design flair in spades. She’s also got Bob Dylan, Genesis, Beatles, Led Zeppelin, Janis Joplin, Fiona Apple, and other music posters lining the walls.

Zach sets her down and she smiles at her two guests.

HALEY Tell me you’re not kidding?

ZACH Not kidding at all. We got a fu cking record deal.

Haley SCREAMS with excitement along with Zach and Kenny. She reaches out and hugs Kenny so hard she nearly tackles him. As she squeezes, he looks at Zach a bit surprised. Zach smiles as to say “ it’s cool.” Kenny embraces the squeeze.

Haley steps away, then locks eyes and shares a brief moment with Kenny.

INT. SPIELMAN’S HOUSE - KITCHEN - DAY

Paige stands at the counter and puts a lid on a sippy-cup. She walks the cup over to Molly in her high chair. Spielman enters the room and stands with a giddy and childish grin.

PAIGE Can I help you?

SPIELMAN Got some good news.

PAIGE What’s that?

Spielman approaches his two girls. He kisses his daughter’s head, then gives his wife a smooch too.

SPIELMAN We. (small kiss) Got. (small kiss) Signed!

It shocks Paige. Good, and bad.

33 PAIGE Really? That’s amazing, babe.

SPIELMAN You’re not happy?

PAIGE Of course I’m happy.

SPIELMAN Then what is it?

PAIGE We agreed to settle down together. Now you’re doing things for yourself.

Spielman looks at her with guilt all over his face.

PAIGE (CONT’D) You’re doing great things, but you made a decision to have a family.

Spielman picks Molly up from the high chair. She smiles at her father.

SPIELMAN I’m not going to change, or ever leave you two. We’re going to see where this goes.

Paige hugs Spielman, Molly smiles down at both of her parents.

INT. SPIELMAN’S GARAGE - DAY

Kenny, Tommy, Ben, Zach, and Spielman sit in the garage.

KENNY The first step we take is to get all of our songs lined up.

TOMMY When I was with Blue Sky --

Kenny GROANS and rolls his eyes.

TOMMY (CONT’D) What? I have experience. Can I share it please?

Kenny holds out his hand, a wordless “ carry on.”

TOMMY (CONT’D) When I was with Blue Sky, we bought a house together and wrote the songs from there. No one but us.

34 KENNY Let’s go find a house then.

ZACH I know a house we can use. My uncle rents a crappy one out in the middle of nowhere. We could get it cheap.

KENNY Why didn’t you say so sooner?

EXT. ZACH’S HOUSE - DAY

An old dilapidated wood home. No neighbors on either side, and no real sign of landscaping or plant-life. It’s a great renter that needs no attention, it has fallen on tough times.

En media res, the guys unload boxes and instruments from a UHAUL truck into the crappy house.

Tommy and Kenny smile at each other as they work together.

INT. ANTITHESIS RECORDS - DAY

Kenny walks down the hall happily. He leads Tommy, Zach, Ben, and Spielman. They walk to an open door and turn in.

INT. ANTITHESIS RECORDS - JERRY’S OFFICE

Jerry sits and waits for the fi ve guys to pile in.

JERRY Glad you could come by. We have a few things to discuss.

KENNY Anytime.

JERRY With you being part of the Antithesis family now, we need to make sure things are in order moving on.

Kenny looks on blankly, waiting fo r more information.

JERRY (CONT’D) Do you guys have a manager?

KENNY Figured you’d take that role.

JERRY I can help for now, but you’ll need one in time.

35 Jerry sits up and gives more attention to the guys.

JERRY (CONT’D) The second, and more pressing matter, would be the album.

KENNY We’re excited to get started.

JERRY Good to hear. We need to be on the same page befo re you write or record anything.

KENNY What page is that?

Jerry hesitates. He looks at Tommy. Tommy sits up.

JERRY We’re hoping for something hard, with edge. Think about Alesana or We Came As Romans.

KENNY That’s not what I want. I want to play something catchy that gets the crowds energized. I don’t want to scare fans off.

TOMMY (To Kenny) We have a versatile group, we should play to our strengths.

Kenny looks over at Tommy, caught a bit off guard.

KENNY Have you two already talked about this?

Tommy and Jerry share a glance for half a second.

JERRY There’s a niche out there that is perfect for your line-up.

KENNY We already play what we want. I’m not changing what got us here.

TOMMY But that might play against our strengths.

Kenny looks at Jerry, appalled.

KENNY Is this just a ploy to use Tommy as a vehicle again?

36 JERRY I’m a businessman. If you think I’d go against a sure-thing, you’re wrong.

KENNY I thought we were a sure thing?

JERRY With Tommy. With the right music. If y ou want to be heard, you have your chance.

Kenny shares uneasy looks with Zach, Ben, and Spielman.

KENNY Fine. If I’m being forced to compromise, then I’ll compromise.

Tommy sits up to join the conversation more.

TOMMY I’m going to compromise too. This isn’t just about me.

KENNY Good. Do it soon, we’re already compromising for you.

Tommy nods, he gives a guilty frown. Kenny stands.

KENNY (CONT’D) We can start tomorrow.

BEN See you tonight.

KENNY And guys, the house is for writing. No parties.

Kenny smiles like a parent with a fi rm directive.

INT. ZACH’S HOUSE - KENNY’S ROOM - NIGHT

Kenny sits in a practically empty room with a fu ton, and a desk. He writes on a note pad at the desk.

The walls RATTLE as BASS pounds through the room. Kenny looks up from his note pad, frustrated. He looks down at a calendar with a date circled that reads “ HALEY’S SHOW.”

Kenny stands and grabs a coat from the back of his chair.

37 INT. ZACH’S HOUSE - CONTINUOUS

Kenny walks out of the room and down the hall. The music BUMPS, and a large group of people stand around the house. Some bring in beer and liquor. Some blow smoke from cigarettes and joints.

Tommy and Zach smoke at a table and watch Kenny walk by.

TOMMY K.P. Are you gonna join us?

Kenny walks out through the living room and exits the house.

INT. ARTSY COFFEE SHOP - NIGHT

A small room fi lled with trendy on-lookers. They watch Haley play guitar on a make-shift stage. The tables are packed. As Kenny enters the place, he stands at the back of the room.

En media res, Haley already plays FAST CAR by Tracy Chapman. Kenny eyes her with deep respect and interest.

HALEY We won't have to drive too far / Just across the border and into the city / You and I can both get jobs / And finally see what it means to be living.

Haley looks up and sees Kenny. He smiles at her. She shows some embarrassment, then sings even more vulnerable.

HALEY (CONT’D) My old man’s got a problem / He live with the bottle / that’s the way it is / He says his body’s too old for working / I say his body’s too young to look like his / My mama went off and left him / She wanted more from life than he could give / I said somebody’s got to take care of h im / So I quit school and that’s what I did.

The small audience claps along for her.

HALEY (CONT’D) You got a fast car / But is it fast enough so we can fl y away? / We gotta make a decision / We leave tonight, or live and die this way / See I remember we were driving / Driving in your car / Speed so fast / Felt like I was drunk / And your arm felt nice wrapped ‘round my shoulder / And I had a feeling that I belonged / I had a feeling / I could be someone / Be someone / Be someone.

Haley strums the next section and Kenny smiles up at her.

38 EXT. THE ARTSY COFFEE SHOP - NIGHT

En media res, Kenny and Haley walk out of the shop together. Haley LAUGHS. Kenny waits for her to fi nish.

KENNY Done?

HALEY Sorry, I was enjoying myself. (beat) Were you?

KENNY Yeah, I’d say you were pretty good up there.

This offends her a bit.

HALEY Pretty good? Not great? What was I missing?

KENNY I said you were pretty good. Don’t get mad.

HALEY I know what you said. That’s why I’m asking. What would you change?

Kenny hesitates. Haley fo lds her arms and waits impatiently.

KENNY Was expecting you to play your own songs. I wouldn’t get up there and play someone else’s work. That’s not the kind of artist I am.

Haley scans him, the tension is clear in her eyes.

HALEY Can I tell you something?

KENNY Go for it.

HALEY No one cares how you would do it. I did it my way, and that’s my right. (No response) All your talk about being an artist, but you never listen to anyone else or consider their advice.

39 KENNY Why would I?

HALEY Who wants to listen to someone who won’t listen back?

KENNY The last time I listened to someone else, I wound up out of a band working five shitty years fo r my dad.

HALEY Maybe you weren’t really listening then.

Kenny stares at Haley. She’s harsh, but she’s right. He likes that about her.

KENNY Want to go somewhere?

HALEY No. I did, but I think I’m too upset now.

KENNY Fine. You played really well --

HALEY Of course I did. Don’t patronize me. It’s late, go home.

Kenny looks at her pensively, he doesn’t want to leave. Haley walks the opposite direction of him. He stands and watches her go.

INT. ZACH’S HOUSE - GARAGE - DAY

Kenny sits out in the garage. The drums aren’t there, but everything else is. He sits on an amp, reads a newspaper, and sips coffee.

The door from the house opens. Tommy, Zach, and Ben all come out. Each looking more hung-over than the next.

TOMMY Morning K.P.

Kenny keeps his nose tucked behind the paper.

KENNY Afternoon. How was the party?

ZACH Is it really aft ernoon?

40 KENNY Figured I’d let you all sleep it off. (beat) But I’m still wondering where Spiely is.

Tommy smacks his head. He SIGHS. Kenny puts the paper down and gives Tommy his attention.

TOMMY He came by last night. He was talking about the wife, the baby, the pressure. He’s not gonna’ be in, man.

KENNY Like hell he isn’t. He signed the contract. We need a fucking drummer.

Tommy stands up from the stool. He throws his arms up.

TOMMY What am I supposed to do about it, huh K.P.?

KENNY Did anyone talk to him about it?

Zach and Ben look at Kenny like deer in headlights.

ZACH I don’t really know him, I figured one of you guys had a better shot.

BEN You know how he gets. That guys a pain to deal with when he’s got his heart set on something. If he wants to be free, let him be free.

Kenny stares at Ben and Zach fu riously.

KENNY Well I care about this band. I’m not going to sit back and lose our drummer. I’m not going to lose my fucking record deal.

Zach winces and shows an apologetic smile. Ben could care less.

EXT. ZACH’S HOUSE - EVENING

Kenny gets in his van and drives off.

EXT. SPIELMAN’S HOUSE - NIGHT

Kenny speeds down the street and pulls into the driveway. He parks poorly, then hops out.

41 Kenny walks to the door and POUNDS against it hard with his knuckles.

After a beat, the door opens and Spielman stands on the other side. He GULPS and shows guilt to Kenny.

KENNY Get your drums in my van, and let’s go.

SPIELMAN I’m a father now, K.P.

KENNY You’re still a drummer.

SPIELMAN My family is my priority.

Kenny stares at him stone-faced.

KENNY Where was the priority when you signed your name on our contract?

SPIELMAN I should’ve decided befo re we did any of that.

KENNY Damn right.

From behind Spielman, Paige walks up to the door.

PAIGE What’s going on here, Chris?

SPIELMAN Nothing. It’s just Kenny.

Paige pushes Spielman to the side and looks out at Kenny.

PAIGE Listen. I need my husband, and Molly needs her father. You’re not going to steal him from us.

KENNY I understand, but right now, Spielman is part of something bigger.

PAIGE Our family is bigger than anything you have. That man looked in my eyes and promised his life with me.

Kenny winces and takes a moment to think.

42 KENNY Have you ever had a dream? Something that you wanted to achieve?

PAIGE I’ve sacrifi ced dreams to stay with him. He can make sacrifi ces too.

KENNY What about the short term? Let us have the drummer who got us to where we are.

Spielman steps back to the door.

SPIELMAN Kenny, come in and we’ll talk about this.

Kenny smiles and walks in. Paige stares needles at her husband.

INT. SPIELMAN’S KITCHEN - NIGHT

A modest kitchen with a small round breakfast table in the room. Kenny sits opposite Spielman and Paige.

KENNY Let’s forget touring and shows. What about working with us in the day, staying here at night, and recording with us. Just to start.

Paige holds a scowl fi rmly in place. Spielman looks unsure.

KENNY (CONT’D) This is your band, man. We don’t want another drummer. Not yet.

SPIELMAN Record by day, and be here by night?

KENNY Your name’s on the contract, you have the chance to finally record and make something of this.

Spielman smiles.

SPIELMAN Don’t hold me to anything more, but I’m in to record.

Kenny lets out a SIGH of relief. He hugs Spielman. Paige rolls her eyes, clearly upset.

43 SERIES OF SHOTS

EXT. ZACH’S GARAGE

En media res, Spielman and the guys finish the set-up of the drum kit. They look around, satisfied and ready to begin.

-- Spielman COUNTS them in with his drum sticks.

-- The SONG begins and overlays the shots in the sequence.

-- They jam. Slow, a bit unsure, but all looking around and excited to be playing together.

INT. ZACH’S LIVING ROOM

The band members sit around writing on note pads. Tommy and Kenny concentrate hard. Ben shows Zach his phallic doodling skills. Spielman drums lightly with his sticks on the fu rniture.

EXT. ZACH’S GARAGE

Haley and Paige stand outside by the garage door and watch.

The band play some more, but don’t look happy about it. Kenny stops playing guitar, and the OVERLAID MUSIC stops. Tommy looks at Kenny with intense disgust and throws his mic stand down.

TOMMY Why the fu ck are you stopping?

KENNY This shit’s not working.

TOMMY Sounds pretty fu cking good to me.

KENNY That’s cause all you hear is your own voice. There’s a lot more to this band.

Zach steps between Kenny and Tommy before they get any closer to each other.

ZACH Kenny, there really is more to the band, but you’re not supporting us either.

TOMMY You haven’t given us anything to support.

44 ZACH The fu ck we haven’t. Tommy, we’re bringing the best riffs we can and you’re shitting all over them.

BEN Yeah. Why don’t you grab the fu cking axe if y our ideas are so much better than ours?

KENNY I’m already playing your riffs (shows his guitar) And I’m singing too. I should have the most input.

Kenny looks over at Haley. She looks away from him in disappointment, and he gets it.

ZACH That’s bullshit. Kenny, those are your riffs , more than anyone else’s.

Kenny and Tommy stand down. Both look guilt-ridden.

KENNY Fair enough. We all need to like what we’re doing here. I’m open to suggestions.

TOMMY Me too. This is supposed to be fu n.

KENNY We’re supposed to support each other, not go to war with each other.

Tommy nods.

TOMMY Support.

He smiles at them.

EXT. GARAGE - THE NEXT DAY

The SONG plays again. They rock with a little more energy and a higher level of comfort together. Tommy and Kenny both enjoy themselves.

INT. COFFEE SHOP - NIGHT

Kenny sits opposite Haley. She reads over his note-pad and smiles at him. As she puts it back on the table, he hands her a pen. She questions him with her eyes, “are you sure?”

Kenny moves to sit next to her. She scoots over and welcomes him there, then writes on the note-pad.

45 INT. HALEY’S APARTMENT

Haley and Kenny sit on the small couch in her apartment.

A bottle of wine sits next to a wine glass on the coffee table. A few empty beer bottles sit in front of Kenny.

The MUSIC cuts out.

KENNY If I ask you a question, will you tell the truth?

HALEY I always do. But if I answer, then I get one question too.

KENNY (beat) What do you write your songs about?

Haley takes a moment, she is caught off g uard.

HALEY I write about where I came from. My dad who left my mom, even though she gave him everything. My younger brother who got all the attention. (takes a deep breath) I write about the fact that if I wanted anything, I had to get it done fo r myself.

KENNY This, from the girl who tells me to listen to and rely on others.

HALEY You can’t learn if you don’t listen. But, you can’t let anyone walk all over you.

KENNY Trying to justify it?

HALEY Life isn’t easy, and it won’t hand you anything. You have to take what you can, but you can’t force anything more. (sips her wine) You have to know when you need others, and when they need you. I’ve made my own way, but I won’t let people in my life down. Not the way I was let down.

Kenny sits back and admires her. She smiles at him.

46 HALEY (CONT’D) My turn. Explain the name Surrender the Sunset. I know it’s yours.

KENNY How do you know that?

HALEY Because you don’t listen, you wouldn’t let anyone else pick a name. What does it mean?

KENNY To me, it’s the thought of being on stage, with everything you dreamed of, in front of you. You look out to a sea of hands. The hands of fans reach fo r miles, and behind them, all you see is the horizon.

Kenny sits forward now and grabs Haley’s hand. He’s into his explanation.

KENNY (CONT’D) At the right time of night, as the sun goes down and the last set is played, the horizon rests on their hands. The audience gives you this gift of purple, orange, and pink sky. They surrender the sunset to you. It’s your dream and only yours.

HALEY That’s beautiful. I think you’ll get there, but you have to let others help. You can’t force it.

Haley curls up on the couch next to Kenny. She kisses his cheek.

KENNY Come watch us record?

HALEY (yawning) O.K.

She puts her head on his shoulder and closes her eyes.

PRODUCTION STUDIO

The MUSIC picks up again.

A large studio with all the best equipment. Kenny stares at it like a kid lost in his own dream world. The rest of the guys, other than Tommy, share the excitement. Tommy acts too cool for school, he’s been there before.

Kenny shakes hands with RUSS, a classic rock connoisseur type, with slicked back grey hair and a look that says he was hip in the 60’s.

-- Spielman DRUMS in the studio. The rest of t he band members watch from the outside and enjoy it.

47 -- Zach lays down his LEAD GUITAR track.

OUTSIDE THE STUDIO

Kenny paces in the parking lot. He holds his hand to block out the sun. He watches cars drive by. One car comes to the parking lot. Kenny lights up with excitement, but quickly falls, it’s not Haley.

He walks back to the studio.

INT. MCDONALDS - DAY

The guys sit at a table together. They LAUGH and enjoy themselves. Spielman drums with his fries, against the table.

INT. RECORDING STUDIO

Ben PICKS AND PLUCKS BASS in the studio. Kenny watches with his band-mates.

EXT. RECORDING STUDIO BUILDING

Kenny holds his phone up to his ear.

KENNY Hey, you said you were going to come watch me record, but you’re not here. Hope you’re O.K.?

Kenny hangs up the phone and SIGHS. He walks back in.

INT. THE STUDIO

Kenny plays his GUITAR track.

BY THE SOUND BOARD

Kenny looks at his phone in the engineer room. He reads the screen “NO NEW ALERTS”

RECORDING STUDIO

Tommy stands in front of the mic. He looks into the booth and gives his band-mates a thumbs up.

BY THE SOUND BOARD

Russ nods his head along to the music. The band members nod along too. They watch Kenny as he stands by the mic.

The song ends and Kenny walks from the recording area into the production booth.

48 KENNY Did we get it?

RUSS You boys just cut a sick-ass record.

Kenny smiles. He gives Russ a high-fi ve befo re hugging his band-mates. The boys enjoy themselves and celebrate with more hugs, fi ves, and handshakes.

Kenny looks at the instruments in the studio, and then to the door. His face falls in disappointment.

END SERIES OF SHOTS

INT. ANTITHESIS RECORDS - MEETING ROOM - DAY

The band members sit down at a table in a board room. It’s lined with posters of bands and plaques of record sales.

Jerry enters.

JERRY Just got done talking to the distributors. Your album will be packaged and good to go soon.

The guys smile and high-fi ve each other.

JERRY (CONT’D) The next step is to get you out on the radio. What song do you want to go with?

Jerry looks at Kenny. Kenny then looks over to Zach and gives him a nod, “the fl oor is yours.”

ZACH (clears throat) We all decided, together, that our best song is “ The Revolution Is Now.”

Tommy rolls his eyes. Jerry looks over to him.

JERRY Were you thinking something different?

TOMMY “ Faceful of Fist” is a better song, and defi nes more of who we are.

Kenny stares hard at Tommy.

TOMMY (CONT’D) But, we voted.

49 JERRY Then it’s decided. I’ve lined up an interview for Tommy and he’ll release the single.

Kenny gives a sour look.

KENNY Just Tommy?

JERRY He’s a name the stations can use. They want him for now. Once you guys are a hit, then they take everyone.

KENNY I don’t like it.

JERRY That’s all we’re getting, I don’t know what to tell you.

Tommy looks at Kenny.

TOMMY Are you ever going to trust me? I’m not gonna fu ck this up, man. It’s my music too.

KENNY Fine.

JERRY It will go smooth, and aft er that, we worry about the CD release. When that happens, you boys will already be out touring.

Kenny nods. He stands and walks past Jerry’s outstretched hand defi antly. The guys all exit the room.

INT. ANTITHESIS RECORDS - JERRY’S OFFICE - DAY

Jerry sits behind his desk. The door cracks open and Tommy sticks his head in.

TOMMY Jerry, can I talk to you a minute?

JERRY Come on in.

Tommy gives a crooked smile.

50 INT. SPIELMAN’S HOUSE - LIVING ROOM - DAY

Kenny sits in the living room next to Haley by a radio, along with Zach, Ben, Paige, and Spielman, who holds his daughter.

DEEJAY JAY (ON RADIO) So we’ve got a treat for you listeners today. In studio with us is Tommy Siegel.

INT. RADIO STATION - SAME

Tommy sits with headphones on and a mic in front of him. He looks across at DEEJAY JAY, a bald and burly host.

DEEJAY JAY Tommy, formerly of “Blue Sky Alibi,” is now in a band called “ Surrender the Sunset.”

TOMMY Thanks for having me in, Jay.

DEEJAY JAY Tell us about the new band.

SPIELMAN’S HOUSE

Ben and Zach have idle CHATTER. Kenny gives them a look and a quick SHUSH with a finger on his lips.

TOMMY (ON RADIO) Actually, it’s the guys from my first band with one new member.

DEEJAY JAY (ON RADIO) So you guys have had some time off and now you’re back?

THE RADIO STATION

Tommy smiles at Deejay Jay’s question.

TOMMY Back, and better than ever.

DEEJAY JAY Great. Tell us about the single.

SPIELMAN’S HOUSE

Kenny stares at the radio in nervous anticipation.

51 TOMMY (ON RADIO) We had some debate about what song to go with, we really liked all the music we put together.

Kenny leans forward more.

KENNY Where’s he going with this?

TOMMY (ON RADIO) We decided to go with a sound we knew people liked. This single is one of our harder songs that I wrote myself.

Kenny stands up.

KENNY Son of a bitch!

THE RADIO STATION

Tommy smiles in the chair, very sure of h imself.

TOMMY It’s called “ Faceful Of Fist.”

DEEJAY JAY Sounds painful.

TOMMY Yeah, that’s the point.

DEEJAY JAY So here it is, the premiere of S urrender the Sunset with their single “ Faceful of Fist”

Deejay Jay hits a button and the MUSIC plays. Jay takes his headset off and extends his hand out to Tommy.

DEEJAY JAY (CONT’D) Great to have you back.

TOMMY Thanks.

Tommy takes his headset off and steps out.

INT. SPIELMAN’S HOUSE - LIVING ROOM

Kenny throws the radio across the room.

KENNY I’m going to kill him.

52 Molly CRIES in Spielman’s arms. Paige goes over and takes their daughter. The rest of the gang stare at Kenny, all a bit intimidated by his anger.

Kenny storms out of the house and SLAMS the door behind himself.

INT. ZACH’S HOUSE - NIGHT

Kenny paces in the living room, all his attention focused on the door. Tommy walks into the house. Kenny turns to him immediately.

KENNY What’s the idea?

TOMMY You were wrong. I picked the right song, and it’s a hit.

KENNY That’s not the point.

TOMMY How is that not the point? You’re big dream of making the main stage and singing for the world is closer now.

Kenny walks closer to Tommy.

KENNY Playing for the world doesn’t matter, when I’m not playing with people I trust. Hell, if I’m not playing something I like, then why am I playing?

TOMMY Cause that’s what we do, K.P. We are fu cking rock stars. Aren’t you dying to be noticed?

KENNY No. I’m dying to be heard.

Tommy steps closer too.

TOMMY All the time I’ve known you, you’ve never had one good thing to say. What the fu ck is the world waiting to hear from you?

KENNY They should hear how important it is that they fight for what they believe in.

TOMMY One, you don’t believe in shit all, Kenny. And two, I think we’ve heard that message a couple thousand times.

53 KENNY And we can hear it a thousand more.

Kenny and Tommy push their fo reheads against each other and stare hard.

KENNY (CONT’D) If I take that stage with you, it’s with purpose and heart. I want to hear you can commit to that.

TOMMY I’m on the stage to play, I’m not up there to preach.

KENNY You want us with you, or do you want to lose all of t his again?

Tommy separates and steps back.

TOMMY You’ll lose a lot more than me.

Kenny’s face grows a bit amused.

KENNY No, Tommy. I don’t have anything to lose. You’ll fall a lot farther than me.

TOMMY You make it sound like I can’t handle it.

KENNY Can you? We’ll walk right now.

Tommy hesitates.

KENNY (CONT’D) You said Blue Sky lacked direction and passion. It’s about time you brought that to your music. We tour. We play with purpose, we sing with passion, we are artists first.

TOMMY Fine.

KENNY We work together, and we trust each other.

TOMMY I hope you mean together, when you say it. This isn’t your show.

54 Tommy gives a half-hearted nod at best. He walks out of the house. Kenny holds guilt over Tommy’s last remark.

EXT. OUTDOOR PARK - STAGE - DAY

A medium sized stage stands erected in the center of t he same park the guys played before being signed. Their crowd has grown from last time.

Spielman’s drums are set up, but the guys move everything else on stage. Tommy is nowhere to be found.

Kenny puts his guitar on top of an amp and looks at Zach, Ben, and Spielman.

KENNY Got a minute, guys?

Kenny walks over to Spielman by the drums. Ben and Zach join him. They huddle up and put their arms around each other in a circle.

KENNY (CONT’D) First, I want to say thanks to our brother. For all we’ve been through, and all your work, Spielman, it’s been an honor.

SPIELMAN Don’t get too sappy, fucker.

KENNY I mean it.

BEN Yeah, it’s been real.

ZACH We owe you a lot, man.

SPIELMAN Can it. You’ll all be fine.

Kenny stands back from the huddled group. They all separate.

KENNY Secondly. We need to make our set-list.

Ben looks out over the crowd.

BEN Not going to wait for Tommy?

KENNY It’s his record and his song out on the radio. He’s going to cooperate with us, and it’s going to be our show.

55 Kenny looks to Spielman for back-up.

SPIELMAN I’m still not taking sides. Don’t look at me.

KENNY It’s not about sides. This is what’s right. If we want to play the songs we like, we have to make the list and do it.

ZACH Sounds good. Let’s pick our songs befo re Tommy picks his own again.

Ben and Spielman hesitate but nod.

EXT. OUTDOOR PARK - THE CROWD - DAY

Tommy stands on the edge of the crowd with WES - mid 20s, scrawny and barely looks old enough for high school.

TOMMY Get as close as you can, and make sure you pay attention.

Wes gives a confident nod of the head.

Tommy and Wes walk towards

THE STAGE

Tommy climbs up and Wes stands at the front.

Kenny walks over to Tommy and hands him a piece of paper. Tommy reads it with a bitter look.

KENNY Set list’s ready. You good?

Kenny smiles slickly, testing his rival. Tommy eyes the list quickly.

TOMMY Let’s kick ass.

Tommy shakes Kenny’s hand and pulls him in for the one arm “ bro-hug” they lock eyes and smile.

THE PARK - LATER

The guys ROCK on stage and play the tail end of a song. Sweat fl ies off of a shirtless Spielman as he pounds against his drums. Zach jumps out and crowd surfs on the hands of rowdy fans.

Ben stands in one spot and rocks out by himself as he plucks the bass. Kenny plays in front of his mic and Tommy stands near him.

56 The SONG ENDS. The guys pant and stand on stage drained of energy. Kenny removes his guitar and puts it back on top of the amp.

Kenny steps up to his microphone and looks out at the crowd.

KENNY Thanks for coming out. We’re Surrender the Sunset.

TOMMY You can grab our CD soon, and catch us on tour this Summer.

KENNY But before any of that, tonight we say goodbye to our drummer, Spielman.

Spielman holds up and twirls his sticks. The audience members APPLAUD and CHEER him.

KENNY (CONT’D) Thanks, Spiely fo r bringing so much to this band.

Spielman stands up on the bass drum. The audience CHEER LOUDER. Spielman jumps off o f t he drum and lands on the stage by Tommy and Kenny.

CROWD Spielman! Spielman! Spielman!

Spielman smiles out at the hometown fans. He steps back fo r a second, gets ready to run, then bolts forward and jumps out to crowd surf.

Spielman lands on his back amongst a sea of h ands. He looks back at Kenny and Tommy. He playfully fl ips them his middle fi ngers.

SPIELMAN Thanks for the ride, fu ckers!

The fans carry Spielman to the back of the crowd. He dismounts with a look of bliss and accomplishment.

Wes, Tommy’s friend, walks on to the stage and approaches Tommy. Tommy smiles and turns to Kenny.

TOMMY K.P. This is Wes.

KENNY Nice to meet you. You a fan?

Kenny puts his hand out to shake, but Wes doesn’t move.

WES I’m a drummer.

57 KENNY A drummer?

WES Tommy said you guys could use me.

Kenny flashes his aggravation to Tommy.

KENNY Not the best timing.

TOMMY How long did you want to wait?

KENNY Shit, Tommy. I at least figured we’d look for people together.

WES I guarantee you won’t find anyone better.

Kenny turns back to Wes, he’s not impressed in the slightest.

KENNY Are you even old enough to drive? Your parents will have to sign for you to tour with us.

TOMMY Wes was in Blue Sky. The kid kills the drums.

Wes looks at the drums. He eyes sticks, sitting in a pouch connected to the cymbals. He sits, grabs the sticks, and unleashes a DRUM ROLL and a DRUM SOLO.

Kenny watches for a beat. Tommy raises his eyebrows to the perplexed Kenny. A proverbial “ I told you so” look. Audience members who witness the drum roll APPLAUD and CHEER.

Kenny motions for Wes to stop.

KENNY You’re in.

WES Cool.

KENNY (To Tommy) You’re lucky he’s so damn good. Son of a bitch. I don’t like having to give you credit.

TOMMY You’re starting to trust me.

58 KENNY Only a little bit.

Kenny and Tommy smile and go in for a hug. Kenny puts his hand out for Wes again, and this time Wes shakes it.

EXT. R.V. LOT - DAY

Kenny stands in an R.V. Sales lot with Tommy, Zach, Wes, Ben, and Haley. They all pay attention to WILLIE - a flashy salesman just as southern as his hat and boots.

WILLIE I don’t suppose any of you know how lucky you are. You came to the right place.

Willie walks the group down an aisle of the top model R.V.s

WILLIE (CONT’D) Best selection you’re gonna fi nd. Yes sir, we got anything you need.

KENNY We don’t need anything too big.

WILLIE That’s not what I heard. Word is you’re big rock stars. Of course you need something big.

TOMMY Practical would be a better word.

Willie stops, fl ustered.

WILLIE If you boys --

Haley looks at him, offended. He catches himself.

WILLIE (CONT’D) And lady. Work with me, I’ll work with you.

KENNY All due respect, it would work best if you show us what we want.

Willie smiles wide. He puts his arm around Kenny’s shoulder to lay it on thick.

WILLIE Thing is, you don’t know what you want. I’ve sold thousands of these things. I know how it all works.

59 TOMMY So do we. I’ve toured befo re, so don’t try to hardball us.

WILLIE I wouldn’t do that. Listen, I know you’re young and excited, and hell, I’m excited for you. I want to give you the best time on the road, and to do that, I want to lease you the best R.V.

KENNY Lease?

WILLIE Of course. Think of her as a rental. You get paid everyday, she’s taken out of that allowance. Just don’t treat her too bad.

Willie looks happily at a massive model as if it were his own kid. He opens the door and motions for the guys to step in.

INT. THE R.V. - DAY

The guys and Haley pile in to the R.V. behind Willie. Luxury on wheels. A full kitchen and nice dining room. A pair of bunk beds on one of the walls. A king-sized bed in the back. Another bed above the driver and passanger seats, and a table that folds into a bed.

All of the band members admire the surroundings.

KENNY You sure we can afford this?

WILLIE Let’s go crunch some numbers.

Willie smiles like a kid on Christmas Day.

EXT. ZACH’S PLACE - EVENING

The massive R.V. sits parked outside the house, next to the white Ford Van.

Zach and Haley bring a few suitcases each to the R.V. Zach opens the door and steps inside. Haley hands him a suitcase.

Kenny walks outside and approaches Haley.

KENNY That’s a lot of suitcases for one guitar player.

Haley turns and smiles at Kenny.

60 HALEY Some of them are for the guitar player’s sister.

KENNY Didn’t realize we invited you.

HALEY You didn’t, but I like you enough to tag along.

Kenny blushes.

KENNY I can’t say I mind. Maybe you could be my co-pilot.

HALEY Well... I’m actually driving myself, sorry.

Kenny looks down, but she goes for a quick save.

HALEY (CONT’D) But I’ll be sure to spend time with you on tour.

KENNY Right.

They pause fo r a beat. Kenny looks down at her bags.

KENNY (CONT’D) Want help with those?

HALEY I think we’ve got it.

Kenny turns and walks away.

EXT. ZACH’S BACKYARD

Kenny walks out to the backyard. Tommy, Wes, and Ben stand by the house with a cooler at their feet. Tommy holds up a beer as a question to Kenny, who nods. Tommy grabs him one from the cooler.

BEN Been a long time coming, hasn’t it?

TOMMY You’re going to love it. Being on the road is like nothing else.

Kenny lifts his bottle up.

61 KENNY Cheers boys.

The guys CLINK their bottles and drink together.

Zach walks out back with Haley and grabs two beers.

ZACH Can I drive the R.V. tomorrow?

KENNY & TOMMY No!

ZACH Why not?

KENNY I’m driving the R.V.

Zach looks glum but accepts it. He sips his beer.

INT. THE R.V. - MORNING

Kenny sits in the driver’s seat of the R.V. and looks out the window. He fidgets in place, a bit anxious. He looks back behind him to see Ben and Zach sitting at the table.

KENNY Any idea how long they’ll be?

ZACH Tommy said they were almost ready.

KENNY When did he say that?

BEN About thirty minutes ago.

KENNY You’ve got to be kidding.

Kenny stands from the seat and gets out of the vehicle.

INT. ZACH’S HOUSE - HALLWAY

Kenny walks through the hallway and KNOCKS loudly on a closed bedroom door. Aft er a beat, the door opens and Tommy stands on the other side.

The room behind Tommy sits in disarray, as if a tornado emptied his dresser’s contents. A suitcase takes up half the bed and is just as messy.

62 KENNY Are you ready?

TOMMY We can’t leave yet.

KENNY Because you can’t pack on time?

Tommy looks puzzled, not what he meant at all.

TOMMY No. Because our road crew haven’t shown up yet. Who do you think is driving?

KENNY Since when do we have a road crew? You and I should drive.

TOMMY We have guys for that. They’ll be here soon. I’ll meet you outside.

EXT. ZACH’S DRIVEWAY

Kenny walks out to the R.V. where he sees a new vehicle. An old sedan parks by the curb. Two ratty guys step out from the car. CREW - 30s, an all too fitting beer gut and hair that may not have been washed since grunge started - steps out from the driver’s side.

The passenger, TRACKS - looks like boy-band singer with a body-builder’s physique - approaches Kenny fi rst.

TRACKS How’s it going, man?

KENNY You two are the road crew?

TRACKS Name’s Tracks.

Tracks sticks out a hand for Kenny. He delivers a crushing handshake. Kenny winces. Crew makes his way over.

CREW They call me crew.

KENNY Why’s that?

63 TOMMY (O.C.) Cause he’s a one man crew. Good enough to do anything we need.

Tommy walks out from the house and hugs his two old friends. Wes follows behind.

TOMMY (CONT’D) Good to see you guys.

KENNY Let’s finish the reunion on the road.

Kenny hints with an eyebrow raise.

INT. THE R.V. - DAY

Kenny sits in the R.V. with Ben, and Zach while Tracks drives.

ZACH K.P. I thought only you drive the R.V.?

KENNY Right. Me, or Tracks.

Zach scoffs like an upset child. Kenny looks out the window and sees

THE WHITE VAN

From the driver’s seat, Crew looks up at Kenny and obscenely sticks his tongue between his index and middle fi ngers.

IN THE R.V.

Kenny rolls his eyes and looks away. Kenny looks down at a map in front of him, then glances at his watch. He lets out a large SIGH.

Kenny looks back out and sees

HALEY’S CAR

Roll past. She looks up and smiles at him.

IN THE R.V.

Kenny smiles back.

EXT. WARPED TOUR ARENA ONE - NIGHT

Stages fill the parking lots around a sports arena. Thousands of fans watch the various sets, and walk back and forth between stages.

64 The R.V. pulls past a security check-point and goes behind one of the stages.

EXT. ARENA ONE - BEHIND THE STAGE - NIGHT

Kenny steps out of the R.V. In front of them, the van sits parked. Crew already holds a guitar in hand and tunes it. Tommy walks over to Kenny.

KENNY You know we’re supposed to be on in about five minutes.

TOMMY K.P. They’ll wait.

KENNY That’s not how it works.

Tommy smiles confidently.

TOMMY We’re the stars, of course it is.

Tommy peeks his head around the stage to see a large restless audience. He looks up at the stairs leading to the stage and sees EDDIE - 40s, a nervous fast talking stage manager - stepping down towards him.

EDDIE Surrender the Sunset?

KENNY That’s us.

EDDIE I need you up there now. You guys should’ve been here for sound-check an hour ago.

KENNY Won’t happen again.

EDDIE No. It won’t.

Kenny sees the stern look in Eddie’s eyes clearly. Kenny grabs his amp and moves it up the stairs on to

THE SMALL STAGE

He looks out and the crowd was smaller than he thought, but still nice. Crew and Tracks move up drums quickly. Wes follows behind with some cymbals.

TOMMY We already got the instruments tuned. Crew is really good at what he does, let’s move everything up and get going.

65 Kenny looks over at Crew and Tracks. The two push each other like juveniles still trapped in high school. He looks back at Tommy unsure, but agrees. There’s no time to argue.

Kenny steps down off t he stage.

BY THE R.V.

Ben and Zach grab their own gear. Kenny grabs his guitar and walks back up.

ON THE STAGE

Tommy stands in front of the mic already. Tracks and Crew step to the side of t he stage.

Kenny stands in front of his mic and STRUMS on his guitar. He adjusts the tuning.

KENNY Mic check. Mic check.

Tommy walks over to Kenny.

TOMMY We’re supposed to play already. I told you, Crew got you set up. Let’s rock.

Tommy looks back to Wes and nods. Wes COUNTS them in with his sticks.

Zach and Ben try to keep up, but are caught off guard at the quick start. Kenny looks over at Tommy, frustrated. He PLAYS guitar but has horrible FEEDBACK.

The audience members GROAN and BOO. Kenny moves away from his amp and his guitar is silent. He sings into the mic but no sound comes out.

BOOS continue to poor out from the crowd. Some people leave and go to another area.

Kenny unplugs his guitar from the amp and walks off s tage, carrying the guitar.

EXT. ARENA ONE - BEHIND THE STAGE

Eddie stands at the bottom of the stairs and looks at Kenny with understanding.

EDDIE First big show?

KENNY Not an excuse. We owe you, and we owe those fans.

EDDIE You can fi x it.

66 KENNY I know.

Kenny waits at the bottom of t he stairs. Tommy comes down in frustration, fo llowed by Zach and Ben.

TOMMY You can’t walk off t he fu cking stage.

KENNY I can’t play like that either. For now on, they’re out. We don’t need a crew. We’re better off l ooking out for ourselves.

TOMMY You have no idea how stupid --

KENNY It’s not a discussion, Tommy. I’m not going to have them fuck us up again.

Zach sees an opening and jumps with excitement.

ZACH If they’re done, does that mean I can drive the R.V.?

Kenny shakes his head, turns around and walks to

EXT. THE R.V.

Haley stands by the side of t he R.V. and waits for Kenny.

HALEY Want to talk about it?

KENNY Not much to talk about, but thanks.

HALEY No problem. Figured I’d inspire you, just like the last time you were booed off s tage.

Kenny smiles at the joke.

KENNY I’ll fix it.

He steps into the R.V.

HALEY (sotto) Of course. Why would you ever need someone else’s help?

SERIES OF SHOTS

67 IN THE R.V.

Kenny sits and tunes his guitar. He puts it down and grabs Ben’s bass.

ON STAGE - ARENA 2

Kenny helps Wes set up drums. Tommy watches but doesn’t help.

OFF STAGE

Kenny shakes hands with Eddie, the stage manager.

ON STAGE

The guys play for a slightly bigger crowd than the one that booed them off s tage.

IN THE AUDIENCE

Haley watches Kenny intently. He catches her eye, but she looks away.

MERCHANDISE BOOTH ON TOUR

Kenny sells merchandise himself at the booth. He shakes hands with fans.

ON THE ROAD IN THE R.V.

Kenny drives. Tommy sleeps in the back.

ARENA 3 - ON STAGE

Kenny and the band play to a bigger crowd again.

SIDE OF THE STAGE

After the show ends, Kenny walks past the front row high-fi ving fans along the way. Tommy storms off stage without paying anyone any attention.

Kenny steps off s tage to a smile from Eddie.

PARKING LOT AT NIGHT

A group of R.V.s and buses. Kenny, Zach, and Ben chat with MEMBERS of OTHER BANDS.

ARENA 4 - IN A CROWD OFF STAGE

Kenny watches another band from the crowd.

ARENA 5 - ON STAGE

Kenny sings on stage. He looks out at

THE CROWD

68 Larger than any befo re. Hundreds of people jumping up and down, singing along.

SIDE OF THE STAGE

Kenny looks over at Haley. She stands and watches from the side next to Eddie. Kenny puts his mic down on stage and looks over at her. She walks away from the stage.

END SERIES OF SHOTS

EXT. SIDE OF THE STAGE - SAME

A sweaty Kenny rushes over to the side of the stage and looks for Haley.

KENNY Haley. Wait up.

He watches Haley walk on without a response or turn.

Eddie approaches Kenny from behind.

EDDIE Great set, kid. You’re getting yourself noticed.

KENNY Not by the right people, though.

Kenny looks longingly where Haley left .

EDDIE No, you’re getting noticed by exactly the right people.

Kenny turns to Eddie with inquisitive eyes.

EDDIE (CONT’D) The show runners want to shake your hand. Just got word.

Kenny glows with excitement.

KENNY Really? Where do I have to go?

EDDIE They’re on their way.

Kenny hugs Eddie tight. Tommy approaches the two with distaste.

TOMMY Did I miss something?

69 EDDIE Kenny’s been impressing the brass.

TOMMY I hope you mean our band. Kenny’s not the only member.

EDDIE Look at it how you want, but there’s been some recognition.

From the stairs, two men in suits approach. NEWSOME - 50’s, clearly a businessman behind the tour - and VALERO - 30’s, a more hip relatable assistant of sorts - reach our their hands for Tommy and Kenny.

NEWSOME Surrender the Sunset. Nice to meet you boys. You’ve been pulling quite the crowd.

Kenny smiles wide and spaces out, he takes a moment to realize they’re talking to him.

KENNY Thank you. It’s been a lot of fu n playing the tour.

NEWSOME I’m sure it has. You are what rock n’roll is about.

TOMMY We try our best.

Newsome and Valero look at Tommy a beat, but they’re clearly more intrigued by Kenny.

VALERO You’ve done a great job getting in touch with a fan base. I don’t remember seeing a band grow so fast.

TOMMY It was only a matter of t ime.

KENNY Couldn’t have done it without this tour, so thanks.

Newsome and Valero smile at each other. They turn back to Tommy and Kenny.

NEWSOME Glad you’re enjoying yourselves. We were thinking about sweetening the deal.

VALERO You guys get a nighttime set on stage one tomorrow.

KENNY You mean --

NEWSOME The main stage, boys!

70 Kenny hugs Tommy as a knee-jerk reaction. Tommy doesn’t completely share the excitement. Kenny lets go and shakes Newsome’s hand.

KENNY Thank you so much.

Eddie smiles at Kenny from behind the two suits.

EDDIE Congrats, kid. You earned it.

Kenny moves past and hugs Eddie too. He lets go and heads toward his R.V.

EDDIE (CONT’D) Where you running off t o?

KENNY Got a fo ur hour drive. We may as well make it there and celebrate tonight.

EDDIE Kid, you may as well celebrate now and drive in tomorrow.

Kenny looks at Eddie a bit off g uard. He hadn’t thought of that, but it’s completely right.

CUT TO:

EXT. PARKING LOT - NIGHT

Most R.V.s and buses from the tour stay parked behind the arena. Music BOOMS from most of the vehicles. It’s a veritable block party comprised of bands on tour rather than suburban houses.

EXT. PARKING LOT - THE BAND’S R.V. - NIGHT

Kenny stands by a cooler outside of his R.V. He holds a beer and looks out at Ben and Wes who have their own.

KENNY We made it. Here’s to the future.

All three sip from their beers.

Tommy walks through their circle and into the R.V., clearly agitated. Kenny rolls his eyes and follows Tommy in.

INT. THE R.V.

Tommy sits at the table and waits for Kenny.

71 KENNY What now?

TOMMY For all your talk about “ we’re not rock stars,” you seem really fu cking proud of yourself.

Kenny sits at the table across from Tommy.

KENNY I’m surprised you’re not happy with me.

TOMMY Must be a role reversal.

KENNY Hardly. You’re just pissed that you’re not getting the recognition you deserve.

Tommy waits a beat.

TOMMY I guess I see how you felt with me showing you up all those years.

KENNY I don’t blame you. It’s hard not to love the life.

They sit silent a beat, more understanding of each other than ever before.

KENNY (CONT’D) Thank you.

TOMMY For what?

KENNY Wouldn’t be here without you. Whatever the past may have been, you pulled this off.

Kenny stands. He holds up his beer as an invitation.

KENNY (CONT’D) I can’t drink all of them myself. It would be a shame to celebrate alone.

Tommy smiles.

CUT TO:

72 EXT. OUTSIDE THE R.V.

Tommy and Ben shotgun cans of beer for a small crowd of on-lookers. Kenny and Wes applaud within the group.

CROWD Chug! Chug! Chug!

Ben finishes first and immediately grabs a second can. He pops it and drinks it in mere seconds. Tommy fi nishes and watches Ben in admiration.

TOMMY Slow down, Ben. You’re a beast.

Ben smiles at Tommy as he grabs two more cans and downs them just as fast.

Kenny approaches Ben and takes him aside from the group.

KENNY Ben, you need to slow down.

Ben looks him in the eyes with clear concentration and determination.

BEN K.P., I know what you’re doing. Thanks, but I’m good.

KENNY If you’re drinking at all we’re not good.

BEN You’re not going to let me celebrate this?

KENNY Celebrate, have fu n, but don’t drink anymore.

Ben looks down at his feet.

KENNY (CONT’D) Promise me.

Ben looks up and nods.

BEN I’ll slow down.

KENNY You need to cut it. Things are getting better, we don’t need you missing out on them.

BEN You’re right. Promise. I’ll have fun without it.

73 Ben hugs Kenny.

BEN (CONT’D) Thanks for caring.

Kenny looks out at the crowd in front of the R.V.

Tommy flirts with a TALL BLONDE by the R.V. She LAUGHS and he leans close to whisper in her ear.

Ben walks back by the cooler and looks down at it. He looks back and catches Kenny’s glance, then steps away from the cooler and stands by Wes who talks with other MUSICIANS.

In the distance, Kenny sees Zach approaching the R.V. with Haley. Kenny walks over to them.

KENNY Look who it is.

HALEY Nice to see you too.

ZACH Whatever’s going on between you two, I’m going to let you deal with it.

Zach smiles at them awkwardly and walks away.

KENNY What is going on between us exactly?

HALEY Nothing. There was never anything going on.

KENNY I know. Mainly because you’ve been avoiding me.

Haley looks away, annoyed.

HALEY I’m not ignoring you. You make it sound like there was a spark and I’ve blown you off.

KENNY No, you’ve been blowing me off b efore any spark could build.

HALEY Kenny, you’re here to play music. Isn’t this all you ever wanted? (beat) Don’t make it seem like I’m more important than the concerts. I’m not, and I don’t want to distract you.

74 Kenny nods to agree with her reasoning.

KENNY I wanted to enjoy this new experience with someone. You seem like a good enough girl to share it with. But I understand.

HALEY Good. I’m here to support Zach. I don’t need a relationship.

KENNY Fair enough. But can you do me a favor?

HALEY What’s that?

KENNY Spend tonight celebrating with me?

HALEY Depends on how you were planning to celebrate.

KENNY Just talk with me. Let’s take the time to relax and talk.

HALEY I’d say you’ve earned that.

Haley smiles at him and holds out her hand. She takes it and leads him away from the loud crowd.

EXT. ROCK STAR BUS - SAME

Wes, Ben, and Zach approach the bus with the largest party in the place. There are four tables set up where ROADIES and ROCKSTARS play beer pong.

People sit around, drink, and smoke. Wes walks past someone who offers him a JOINT and takes it.

ZACH This is what a party is supposed to be.

Wes hands the joint over to Zach.

WES You’ve offi cially made it. Welcome.

Zach takes a hit. He COUGHS befo re smiling at his companions. He hands off t o Ben who isn’t shy with a large hit followed by an exhale.

ZACH This isn’t the only perk, I hope.

75 Wes scans the area. A few handfuls of ATTRACTIVE GIRLS stand around. Some of them on the arms of rockers, others in groups together.

WES That’s not even close to the best perk.

Wes walks over towards a group of four girls. Ben and Zach fo llow. The girls whisper to each other and smile at the guys. Zach blushes. Wes looks at the beer cups the girls hold.

WES (CONT’D) Where do we get the drinks at, ladies?

KIMMY, a tattoo loving girl, points in the beer’s direction.

KIMMY They’ve got some over.

WES Thanks. I’m Wes, drummer for Surrender the Sunset.

KIMMY I know. I watched you guys today.

Kimmy eyes Zach and makes him blush even more.

WES This is Zach and Ben. Why don’t you talk to them while I grab some refreshments?

Wes walks away from the group. The four girls seem enamored by Zach and could care less about Ben. Ben looks at the beer pong game and steps away from Zach.

Kimmy sticks her hand out to shake with Zach.

KIMMY I’m Kimmy, this is Alex, Taylor, and Christa.

ZACH Are you in a band?

The girls all LAUGH.

KIMMY That’s cute. No, we’re not in a band.

One of t he other four girls, TAYLOR, looks at him like prey fo r the taking.

TAYLOR And we’re not dating guys in bands either.

76 ZACH That’s nice to know. So, do you date guys in bands at all?

The four girls smile at him again.

EXT. BEHIND THE R.V. - SAME

Kenny and Haley sit on a towel, on the ground behind the R.V. They look out at a star filled sky.

HALEY How do you like the whole rock-star status?

KENNY Hasn’t really set in yet.

HALEY Really? All the screaming teens wanting your autograph? The people yelling fo r an encore every time you step off s tage?

KENNY It’s been crazy.

HALEY Everything you ever wanted, right?

KENNY I’ve always wanted to be heard. I’m fi nally making an impact, but I can’t settle yet.

HALEY Of course not. We have to keep growing. That’s what makes us human.

Kenny turns and eyes Haley with contentedness. He puts his arm around her and she lets him. She leans in closer and rests her head against him.

KENNY What are you looking for on this tour?

HALEY Nothing.

KENNY Are you sure? You’re not running from anything?

HALEY What would I be running from?

KENNY There’s got to be something that keeps you following us.

77 HALEY I want to see you guys.

Kenny moves his arm, they sit up and concentrate more.

KENNY You’ve seen us. You’ve watched the same set for two weeks. At some point you’ve had enough, but there must be something you don’t want to go back to.

Haley turns away from Kenny. A tear rolls down her cheek.

HALEY Let’s not talk about it.

KENNY You sure?

HALEY Yeah.

Kenny’s phone RINGS in his pocket. He hesitates, then takes it out. He reads the screen: INCOMING CALL, WES.

HALEY (CONT’D) You can answer that.

Kenny picks up the call.

KENNY What’s up? This better be important.

WES (PHONE) It’s Ben. Get here quick!

Kenny hangs up the phone and stands.

KENNY Can you wait here?

Haley nods. She stays seated and watches Kenny run off.

EXT. THE ROCK STAR BUS - SAME

The crowd in front of the bus has grown larger and has formed a circle. Kenny runs to the circle.

In the center of t he circle, Ben stands across from two guys half his size.

One of t he two guys charges and puts his shoulder in Ben’s stomach. Ben grabs around the guy’s head and throws him down to the ground.

78 The second opponent gets in range and throws a hard right hook to Ben’s jaw. Ben staggers befo re stepping in and delivering a haymaker of h is own.

Kenny runs into the circle and meets Wes. The two men do their best to get Ben away.

BEN Don’t fucking touch me.

Ben pushes Wes off, hard. Wes falls to the ground.

KENNY Calm down.

BEN It’s their fault.

KENNY I don’t care how this started. You promised you’d be good tonight.

Ben looks at Kenny in front of him. He sobers up quick and guilt washes over his face.

BEN I’m sorry, K.P.

KENNY Yeah. Let’s get to the R.V., please.

Ben turns and skulks back towards the R.V.

Kenny helps Wes up.

KENNY (CONT’D) You clearly weren’t watching him?

WES Didn’t realize I was supposed to.

KENNY You weren’t. I should have.

Kenny puts his head down in guilt.

EXT. BEHIND THE R.V.

Tommy steps out behind the R.V. with a lit cigarette. He sees Haley crying where Kenny left her.

TOMMY Haley? You O.K.?

79 Haley looks up and notices that Tommy has joined her.

HALEY I’m fine.

TOMMY I’m going to ignore that. Let’s get you inside and warm you up.

Haley shakes her head and looks away. Tommy steps closer to Haley and sticks out a hand to help her up. He’s not taking no for an answer.

After a beat, she lets him help her up. They walk around the front of the R.V.

INT. THE R.V. - SAME

Ben sits with his head down at the table. Tommy walks in with Haley holding his hand.

TOMMY Ben, you need to get out, buddy.

Ben looks up slowly. Tommy gives a demanding look, Ben stands and doesn’t argue.

EXT. THE ROCK STAR BUS

Zach stands with Kimmy and Taylor outside of the large party. All three of t hem sip from cups of beer.

KIMMY Zach. Are you going to show us your band’s R.V. soon?

ZACH Didn’t know you wanted a tour.

KIMMY We were thinking we needed somewhere to have fun.

Kimmy and Taylor smile seductively. Zach gulps.

ZACH The R.V. is probably taken already. Sorry.

Taylor grabs Zach by the arm.

TAYLOR That’s not a problem. No one else will know if we use theirs.

Kimmy and Taylor lead Zach up the entrance of t he large bus.

80 EXT. THE R.V.

Kenny and Wes walk to the front of the R.V. and see Ben sitting on the ground with his back against the vehicle. His head slumps into his lap.

KENNY Ben, you alright?

Ben looks up.

BEN I’m sorry, K.P.

KENNY Don’t worry about it. Let’s get you inside though.

BEN Can’t.

KENNY Why not?

BEN Tommy’s in there.

Kenny rolls his eyes.

KENNY Of course he is.

BEN Yeah. Haley’s with him.

Anger crosses Kenny’s face immediately. Kenny opens the door and bolts into...

INT. R.V.

Haley and Tommy sit at the table across from each other. Kenny eyes them holding hands at the center of the table.

KENNY The fu ck are you two doing?

TOMMY We’re talking. How about some privacy?

KENNY Like hell I’m leaving you alone with her. I know exactly what you’re trying to do. Katie all over again.

81 TOMMY This is nothing like Katie.

Haley stands up.

HALEY I should go.

TOMMY No, he needs to.

Haley walks out and brushes past Kenny. Tommy and Kenny stare daggers at each other. They both exit after Haley.

EXT. OUTSIDE THE R.V.

Haley hurries away in the dark. Kenny and Tommy watch her.

KENNY Haley! Don’t go.

She speeds up without looking back.

TOMMY Great. I still can’t believe how bad you can get things mixed up sometimes.

KENNY There’s no mixing up what you want, Tommy. You haven’t changed.

TOMMY No, you haven’t.

Tommy storms away in the opposite direction.

KENNY Where are you going now?

TOMMY Don’t know, don’t care. Fuck you!

Kenny looks in both directions. The side where Haley left and the one where Tommy leaves. Kenny helps Ben up and they make their way into the R.V.

FADE TO BLACK.

FADE IN:

82 INT. R.V. - DAY

Kenny wakes up in the back of the R.V. He walks out to the center room where Ben sleeps hunched over on the table. He GROANS.

Wes sleeps in the passenger seat with his feet kicked up on the dash.

EXT. OUTSIDE THE R.V.

Kenny steps outside and sees the sun directly overhead. It’s the middle of the day.

Most of the other buses and R.V.s have left . The large bus that hosted the party sits parked. The parking lot has been trashed. Cups, cans, and trash strewn around everywhere. It was one hell of a party.

INT. R.V. - DAY

Kenny steps back into the R.V. He shakes Wes awake, then moves over to Ben.

KENNY You guys know where anyone is?

BEN I don’t even know where I am.

Ben lets out an even louder GROAN, then holds his jaw.

BEN (CONT’D) Who hit me with a sledgehammer last night?

KENNY I told you not to drink.

BEN Why didn’t I listen?

Kenny raises his eyebrows, “Itold you so.”

WES Did Tommy not come back?

Kenny shakes his head, “no.”

KENNY And I didn’t see Zach at all last night.

WES I think he was busy.

Wes nods his head in the direction out of the window.

83 Kenny looks out the window and sees:

Zach leaving the bus with both Kimmy and Taylor. He heads towards the R.V.

KENNY That just leaves Tommy.

The door opens and Zach steps in.

The guys all smile at him and he blushes.

KENNY (CONT’D) You seen Tommy anywhere?

Zach shakes his head just as Kenny did.

KENNY (CONT’D) Great. Just a few hours befo re a show and the singer has walked off.

BEN What’s new?

KENNY We’ll have to leave soon, even without him.

The guys all look at Kenny, anxious and worried.

Kenny hands a pair of keys to Wes.

KENNY (CONT’D) We’ll go now. You wait for him, and if he’s not here in two hours, you have to come without him.

WES You don’t want to take the van and the instruments.

KENNY We can play without him, but not without you. You have to be there with the van anyway. And I’m the driver of t his rig.

Wes nods.

INT. THE R.V. - ON THE ROAD - DAY

Kenny drives the R.V. and glances at the clock anxiously. He looks over at Zach in the passenger seat.

KENNY Any response?

84 ZACH Not from them. But Haley said she’s going home.

Kenny looks away from Zach and bites his lip.

KENNY Let me know if y ou hear from Wes or Tommy.

Kenny looks out at the road sullen.

EXT. WARPED TOUR ARENA SIX - DUSK

The sun sets behind the Arena as the R.V. parks in the band area.

EXT. ARENA SIX - PARKING LOT

Kenny steps out of the R.V. With his phone by his ear.

KENNY Wes, have you even left yet?

WES (PHONE) Tommy called me. He told me to wait for him. We’re on our way now, though.

Kenny looks down at his feet.

KENNY We’re on in three hours and it takes you four to get here.

WES (PHONE) We can make it. We’ll get there.

Kenny hangs up the phone. He SIGHS.

EXT. WARPED TOUR - STAGES

Kenny stands out by a stage and watches a band PLAY. He looks down at his watch anxiously.

INT. THE R.V.

Kenny steps into the R.V. Ben and Zach both sleep in chairs across from the table.

Kenny sits down in the passenger seat.

KENNY Don’t think we’re going to make it.

85 Zach lifts his head up.

ZACH Can’t use someone else’s instruments?

KENNY We don’t have our drummer.

BEN Can’t use another drummer?

KENNY Not likely.

Kenny stands and exits the R.V.

EXT. WARPED TOUR - ROW OF TRAILERS

Kenny walks down a row of m oveable trailers that act like offi ces fo r the Warped tour management. Kenny stops in front of a door and takes a deep breath.

INT. NEWSOME’S OFFICE

Kenny opens the door and knocks. Behind a desk sits Newsome.

NEWSOME Come in.

KENNY Hi, Mr. Newsome.

Newsome looks up from his desk.

NEWSOME Kenny Price, right? What can I do for you?

KENNY Wanted to talk to you about our situation.

Newsome looks worried.

NEWSOME What situation would that be?

KENNY Our singer, drummer, and instruments still being a few hours away and our set coming up soon.

Newsome looks back down at his paperwork, disenchanted.

86 NEWSOME Shame. I was looking forward to what you’d do on the main stage.

KENNY Well, is there any way we can use anyone else’s instruments? Anything the tour can do?

NEWSOME No.

Newsome looks up again, agitated.

NEWSOME (CONT’D) If you can’t make your set time, you’re letting me down and you’re letting your fans down. No, you can’t have special treatment.

KENNY But sir --

NEWSOME No but anything. You think you’re hot shit cause we gave you a nice spot. We can take that away just as quick.

Kenny stares at Newsome dumbfounded.

NEWSOME (CONT’D) Now get out. You’re not playing tonight, and I’ll have to decide if I let you back at all.

Kenny stands and walks out of the make-shift offi ce.

EXT. THE R.V.

Ben and Zach hang out by the R.V. Kenny storms past them inside. He pokes his head back out fo r a second.

KENNY We need to talk.

Ben and Zach watch as he closes the door immediately. They step inside.

INT. THE R.V.

Kenny sits at the table with his head down. Ben and Zach slowly sit down.

ZACH What’s up?

87 Kenny looks up, but doesn’t say anything.

ZACH (CONT’D) You said we need to talk?

KENNY I think we’re done, guys.

ZACH What? They can’t do that!

KENNY If we’re not on the stage we’re losing them money. Newsome kicked me out of the offi ce, and essentially said we’re not going back on stage.

ZACH What did you do?

KENNY What could I do?

BEN You could’ve fo ught for us. The whole time I’ve known you K.P., all you’ve ever done is fight.

Kenny’s face falls, defeated.

KENNY Some fi ghts you can’t win.

ZACH Fuck that. We haven’t come this far to walk away. I’ve sat and watched you and Tommy bitch back and forth. You guys aren’t going to ruin this for me.

Kenny looks up at Zach, surprised at the show of courage.

ZACH (CONT’D) This is my dream too, and I’ll fight for it.

Zach stands up.

ZACH (CONT’D) It would mean a lot if you come with me.

KENNY Zach, man, we’ve got no gear. No singer. No drummer. We’re not going to convince them of anything.

88 ZACH I wondered where you went five years ago aft er the band broke up. I totally get it now. You ran away. You love to run because it’s the easiest thing to do.

KENNY Don’t act like you’ve got me fi gured out. You don’t know anything about me.

ZACH I know everything I need to.

Zach walks out of the R.V. Kenny looks up at Ben for his opinion.

BEN You know I have faith in you. This isn’t your fault.

Kenny SIGHS and looks out the window.

KENNY’S POV

Just out of the window, the Van pulls up and parks.

BACK TO SCENE

Kenny stands up and makes his way to the door.

EXT. THE R.V.

Kenny walks from the R.V. over to the van. He waits and watches Wes get out.

KENNY Where’s Tommy?

WES Not here.

KENNY Clearly. You came hours late but without him?

WES I’m late cause I waited for him. He’s part of the band.

KENNY Wes, we may not have a band soon because of you two.

Wes stares at Kenny blankly.

89 KENNY (CONT’D) They told us not to worry about coming back. So where is he?

WES Some shithole diner in Barstow. He stopped driving halfway here and said he’s done.

KENNY Just like that?

Wes stares down at his shoes.

WES You know how he is.

KENNY Yeah, I know all too well how he is. You should’ve gone after him.

WES You just said yourself we probably don’t have a band. I think he knew that already.

KENNY Did he say that he quit?

WES No.

KENNY Fair enough. He’s basically finished us though.

Wes stares at Kenny hard.

WES Really? Would you stop for a second and look in a mirror man?

KENNY What? Am I missing something?

WES All the time I’ve been here and you’ve been bad mouthing Tommy, you’ve been just as bad as him.

Kenny looks at him in anticipations, “go on.”

WES (CONT’D) You think he just wants to be a rock star, and all I hear from you is “ my art is important.” “ I want to play the main stage.” You only think about yourself too.

90 KENNY That’s not true. I think about my music.

Kenny notices what he said.

WES Exactly. Your music, Kenny. This is my music, Zach’s music, Ben’s music. You treat us like your puppets. You act like Tommy is your enemy. It’s a wonder we made it this far.

Kenny looks on at Wes guiltily.

Wes heads to the R.V. and walks in.

INT. THE VAN - MORNING

Kenny sleeps in the backseat of the van with his head against the window. Through the window, on the outside, Eddie looks in the van. Eddie knocks and startles Kenny awake.

EXT. THE VAN

Kenny slowly opens the door and looks out at Eddie and Jerry standing next to him. Kenny quickly goes from tired to alert.

KENNY Jerry! What are you doing here?

JERRY Hopefully not wasting my time.

Jerry smiles very sarcastically.

INT. THE R.V.

Jerry sits at the table in the R.V. opposite Zach and Ben. Kenny brings a steaming cup of coffee to Jerry and sits next to him. Wes sits in ear shot.

JERRY You boys realize the damage that can be done by your little stunt?

ZACH All do respect sir, it wasn’t a stunt.

JERRY I know it wasn’t a stunt. It was a down-right fu ck up!

91 KENNY There’s a lot of stuff t hat’s been going --

JERRY Kenny, I’m not here for excuses. I came here as the last courtesy you will receive.

Kenny nods and waits for more information.

JERRY (CONT’D) You made fo ols of the Warped Tour, and as far as I’m concerned, you made a fool of me. My reputation can’t come back from that.

KENNY Are we done as a band?

Jerry sips his coffee and hesitates.

JERRY That’s going to be up to you. Honestly, I’ll save money if you give up now.

ZACH And if it’s up to us, what’s the alternative?

JERRY You guys can fi gure your situation out and stay together, but you better do it quick.

KENNY We still have to have Tommy with us?

JERRY Figure your situation out, maybe that’s a yes, maybe it’s not.

Kenny smiles at Jerry, a bit surprised.

KENNY What about the tour? Have you talked to Newsome?

Jerry smiles cunningly.

JERRY Of course not. I’m not your fucking baby-sitter. You get your act together and you stand up like men. Fix it yourselves.

Jerry stands up, fi nishes his coffee, and sets the mug down.

JERRY (CONT’D) Thanks for wasting my time and dragging me out here.

92 Jerry exits the R.V.

EXT. THE R.V.

Jerry walks a few steps away towards a sleek BMW. Kenny steps out behind him.

KENNY Jerry, I just wanted to say thank you for all the chances you’ve given us.

Kenny extends a hand for Jerry. They shake. Jerry smiles at the respect Kenny gives him.

JERRY You’ve earned those chances kid, now do the right thing and make the most of i t. No more fighting, no more running. Just make some fu cking music.

Jerry gets in his BMW and drives off.

INT. BACK IN THE R.V.

Kenny steps in with new energy. Zach, Ben, and Wes look up at him and don’t share the enthusiasm.

KENNY You were right. I’m ready to fight. I’m in, just tell me you’re all in too.

BEN I Always have been.

Wes nods to agree. Kenny looks at Zach. Zach remains glum.

ZACH I don’t know, I’m thinking maybe you were right.

KENNY Not even close. You just heard Jerry. We fi gure this out and we make the situation ours.

ZACH And you want us to get you back on stage, right?

KENNY You want me to say it? I need you, man. We need you. I need all of you. Without each other, we don’t have any of this. This isn’t my band, it’s our band. What do you say.

Kenny throws keys to Zach who barely reacts in time to catch them.

93 KENNY (CONT’D) You’re part of the team. Want to drive the R.V.? I need to go pick up Tommy.

Zach glows with excitement with the keys in his hand. He looks as though he was never to upset to begin with.

EXT. DESERT ROAD - DAY

The van speeds down a secluded desert highway.

INT. THE VAN

Kenny drives with one hand on the wheel and the other holding his phone up to his ear.

KENNY Pick up. Pick up. Pick up.

The phone RINGS but no one picks up. Kenny hangs up in frustration.

He looks out at the road and sees A BARSTOW EXIT SIGN.

EXT. DESERT ROAD

The van takes the Barstow exit.

INT. THE VAN

Kenny holds his phone up again. It RINGS. The call is picked up.

TOMMY (PHONE) What do you want?

KENNY Tommy, where are you?

TOMMY (PHONE) It’s happy hour in Barstow. Where the fuck are you?

KENNY On my way to pick you up.

INT. BARSTOW BAR - DAY

A small dive bar with an absolutely dead atmosphere. Tommy sits at the bar and holds a beer. He stares blankly at the liquor bottles in front of him.

94 Kenny opens the door and walks in. He takes a seat next to Tommy.

A BARTENDER walks out from the back and looks at Kenny. Kenny shakes his head.

TOMMY You’re a dedicated son-of-a-bitch aren’t you? Driving all the way out here just to yell at me.

KENNY Somebody’s got to do it.

Kenny takes a beat. Tommy just sips his beer.

KENNY (CONT’D) What is it this time? Are you walking away?

TOMMY I don’t know yet.

KENNY We’re basically fucked thanks to your stunt.

Tommy finally turns and actually looks at Kenny.

TOMMY What do you want? Want me to say sorry?

KENNY How about you to take some responsibility.

TOMMY I’ll take responsibility if you give me respect, Kenny.

KENNY Are we going to do this? Right here, right now? Let’s do it. Cards on the table.

TOMMY Isn’t this all you do.

Kenny smirks, agitated.

KENNY Yeah, all those times I believed that you changed, and you always come back to this.

TOMMY Why do I have to change? You should know who I am. You always pressure people with what you want as if it’s the only right answer.

95 KENNY Tommy, you said you wanted to be dedicated.

TOMMY But I never said I wanted to be told what to do every step of the tour.

KENNY I never did anything like that --

TOMMY The set list is made by you. The road crew was fi red by you. The R.V. leaves when you say. You even decide who I can or can’t talk to in the R.V.?

KENNY I was only trying to keep us together.

TOMMY You were only driving us apart.

Tommy finishes his beer.

TOMMY (CONT’D) We’re different people K.P. It’s clear that we want different things, and it’s not going to work out.

KENNY I’m not going to let you ruin our band. And I’m not going to help you ruin it.

TOMMY You call it our band, like that means something. For all intents and purposes, it’s your fucking band!

KENNY We got signed cause you’re here. It’s your band, Tommy!

TOMMY And you only let me in cause it would help you make it in the long run.

Kenny stares at Tommy intensely.

KENNY And why did you join? You signed the contract so you could stay on the road.

TOMMY You blame me for that? Why do you act like enjoying life is such a fu cking crime?

96 KENNY Cause you’ve always done it without regard for where it leaves the rest of u s. You are selfi sh.

Tommy glares at Kenny, about ready to hit him.

KENNY (CONT’D) But so am I.

Tommy and Kenny look back at each other. The Bartender pokes his head out at the two raised voices. Kenny holds his hand up for two beers. The bartender enters slowly and supplies them.

KENNY (CONT’D) I came to apologize, Tommy.

TOMMY Apologize?

KENNY I never saw that you and I are the same.

Kenny takes a sip of his beer. Tommy looks at the new bottle but pushes it away.

TOMMY We’re not the same.

KENNY Of course we are. We’re both self-centered. We have sacrifi ced our friends and bands because of it. All the time you want to be a star, I want to be an artist. If we worked together we could share both.

TOMMY Forget it. We’re in the middle of nowhere and this band is done too.

KENNY We’re only done if we say so. I’m not letting you quit. I know you can change, and we can fi x all of this.

TOMMY How do you know that?

KENNY Cause, like I said, we’re the same. Tommy it took a lot for me to drive out here and apologize. If I can change, then so can you.

Tommy grabs the beer in front of him. He holds it up as a toast. Both men sip from their bottles.

97 TOMMY Are we off t he tour?

KENNY They haven’t decided. We can fi ght for our music though. We can fi ght, together.

TOMMY You mean it?

KENNY I can’t do it alone. And besides, it might be fu n to be a rock star.

Kenny throws cash on the bar and the two walk out together.

EXT. DESERT ROAD - DUSK

The sky grows darker as the van speeds back the opposite way.

EXT. WARPED TOUR ARENA SEVEN - BACK LOT - NIGHT

The van parks next the R.V. Ben, Zach, and Wes get out of the R.V. Kenny and Tommy greet them with smiles and hugs.

EXT. NEWSOME’S OFFICE - NIGHT

Tommy and Kenny approach the trailer door. Kenny takes a moment, then KNOCKS.

The door opens. Newsome stares quietly at the two, then lets them in.

INT. NEWSOME’S OFFICE

Newsome walks around to his desk. Kenny and Tommy sit across from him.

KENNY We apologize for the fact that we missed the last two shows. We are well aware that you are out money for that.

NEWSOME Is this some sort of beggar’s plea for one last chance.

Kenny looks at Tommy and lets him do the talking. Tommy, surprised, hesitates, then turns to Newsome.

TOMMY That’s exactly what it is. We know we haven’t earned it, but we’re hoping you can still let us play on the tour.

98 NEWSOME So I should put you on the main stage because you asked nicely?

KENNY No. We don’t deserve the main stage. Give us any spot, even the open. We just want to play, together as a band.

Newsome looks down at some papers on his desk.

NEWSOME There are only a few days left on tour. You guys open tomorrow. Make the most of it.

Newsome offers a half-hearted smile.

EXT. WARPED TOUR STAGE - DAY

On the smallest stage they’ve played, the guys huddle together.

KENNY What do you guys want to play? You decide.

ZACH Really?

KENNY Yeah. This is our band. For now on we do it together. That’s the only way we can last.

The guys all smile at each other.

EXT. THE CROWD

A large crowd gathers as the guys PLAY. They really don’t have enough room for all the fans to see. Some fans stand at the side of the stage out of range.

EXT. SIDE OF THE STAGE

Newsome and Valero watch the crowd grow, with wide eyes.

EXT. THE STAGE

The last song rings out. Kenny walks over to Zach and stands behind him.

KENNY This is your set. You tell them who we are.

99 Zach’s eyes light up. He steps up to a mic.

ZACH Thanks for coming out, guys. We’re Surrender the Sunset. It was a fu cking honor to play for you.

Kenny smiles at all of his band-mates.

EXT. THE CROWD

Tons of FANS stay at the stage and fight for handshakes and autographs. From the back of the crowd, Haley pushes her way up to the front.

EXT. ON THE STAGE

Kenny looks out and spots Haley in the crowd. He points her out to a SECURITY GUARD who nods.

EXT. SIDE OF THE STAGE

Kenny waits for Haley as the guard lets her backstage.

KENNY What are you doing here?

Haley grabs Kenny and kisses him deep.

HALEY Zach called. He told me all about you going to pick Tommy up. About playing the opening set.

KENNY And that made you kiss me?

HALEY I’m so proud of you. You listened to everyone around you. K.P. You’re not in this for yourself anymore. You’re the kind of guy I can see myself with.

KENNY And I bet you don’t mind being with a rock-star?

HALEY Of course not.

Haley leans in and they share another kiss. The rest of the band members come down the stairs and smile at the sight.

Newsome and Valero approach the group. Kenny breaks from Haley and sees Newsome. He blushes.

100 VALERO Congratulations. You guys really proved yourselves.

NEWSOME As much as we want to punish you, you draw too big of a crowd. I’m afraid the only place you can play tomorrow is on the main stage.

Kenny’s eyes light up. He looks at his band-mates. They all SCREAM with excitement and share high fi ves and hugs. Kenny and Tommy hug each other the longest. Ben grabs Newsome and hugs him. Newsome shows fear, then accepts the hug.

Kenny hugs Haley last and smiles as he holds her.

EXT. THE MAIN STAGE - DUSK

En media res, Kenny and the band set their instruments up on the main stage. Haley watches from the side and smiles over to Kenny.

Kenny walks up to his microphone with a wide smile.

KENNY Who’s ready for some fu cking rock’n’roll?

The crowd members SCREAM.

KENNY’S POV

He looks out at a sea of h ands. Thousands of arms reached up in the sky. Just past their fi ngertips lies the horizon. The hands all surrender the sunset to him.

FADE OUT.

THE END

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