A cat scampers past a house and down the driveway, passing a
rusting yellow VW Rabbit, to a small garden patio outside a
coach house. Deena, white, (40s) sits in her bathrobe at a
small table, flipping through the tarot cards on it.
Deena turns over the ominous The Tower card and is jolted
when the cat jumps on the table next to it. Deena gazes at
the card and appears worried and concerned. She lowers the
cat off the table and enters her eclectically furnished home.
SFX PRE-LAP --A girl singer belts out Michelle Branch's
"Breathe," which filters into the living room.
INT. BATHROOM -- CONTINUOUS
GIA, white, (16), a stunning teen beauty in a lace bra puts
on the finishing touches to her makeup as she sings the song.
Gia slips on tight butt-ripped jeans and a sheer midriff
top. She checks her rear in the mirror and uses scissors to
cut the rip a touch larger and then playfully winks.
Gia snares her cell and records an Instagram video.
GIA
Hey, guys, your girl Gia here. Heading
out for my callback audition with
Rod Mansfield for American Voices.
(beat)
If my look slays, let me know.
She strikes various poses, flaunting her outfit.
INT. KITCHEN -- MOMENTS LATER
Gia grabs a carton of orange juice from the fridge and takes
a long gulp. Deena, dressed in a business suit, applies makeup
to her elegant, angular face at the kitchen table. Despite
being a British expatriate, her accent still lingers.
DEENA
If I would've had a son, I might get
time in the loo in the morning.
GIA
And give up telling people we're
sisters... I think not, Mom.
2.
DEENA
Men just assume that.
GIA
You encourage it.
Deena notices Gia drinking out of the carton.
DEENA
Use a bloody glass.
Gia returns the carton to the fridge and joins Deena at the
table. She reaches over and takes a bite of Deena's toast.
DEENA (CONT'D)
If you are hungry, Gia, make your own.
GIA
I'm, like, too nervous to eat.
She then takes another large bite of Deena's toast.
GIA (CONT'D)
Can you take pictures of me for my
social media? If you don't do it
everyday they forget about you.
DEENA
(playful)
Who could ever forget you?
Gia slides her cell from her jeans and places it on the table.
Deena fumbles with it and Gia guides her.
Gia rises and turns on the sexy charm as Deena snaps photos.
DEENA (CONT'D)
If you dress like a tart who gives
it away, no one will respect you.
GIA
And you don't respect my brand.
DEENA
Your brand?
GIA
Yes, my brand. I've got 20 thousand
new followers in three months.
Gia proudly shows Deena reactions on her cell.
CELL SCREEN -- Gia's pictures of her audition outfit with
likes and floating hearts flood the screen.
3.
DEENA
The slutty pictures you post on that
Gram thing, that's your bloody brand?
GIA
Why are you always so fucking negative
with me? Like you want me to fail.
DEENA
If that was true I wouldn't have
fought so hard to get you a
scholarship at Marborough--
GIA
It's full of snobby Hancock Park
bitches and no boys, so boring--
DEENA
Gia, with your grades you can get a
free ride at any Ivy League college.
Gia grabs her guitar in the corner and places it in a case.
She is about to leave, then returns to Deena at the table.
GIA
(empathically)
I have a damn good voice and something
to say. I wish you'd open your mind
and heart and hear it and me once.
Deena lifts The Tower card and forces Gia to look at it.
DEENA
I did your cards and this came up.
The Tower foretells danger.
Gia grips the guitar case and heads out.
Once alone, Deena slowly reaches for her cell.
SCREEN
Deena's fingers scroll to Gia's self-made video of her song
"Lost Love." Gia sings with heartfelt emotion beside the
grave of JERRY VEE, a rock star commemorated by a tombstone
adorned with a guitar engraving.
DEENA AT KITCHEN TABLE
Gia's voice moves Deena deeply, tears streaming down her
cheeks as she gazes over to The Tower Card.
Genres:
["Drama","Family","Music"]
Ratings
Scene
2 -
Gia's Home and Recording Session
EXT. TUDOR HOUSE -- MORNING
Gia stands in front of a stunning home. ALEXIS, a well-
tailored woman, (40s), exits with CLAY, (12), a perky boy
with a backpack on and a skateboard hanging from his hands.
4.
ALEXIS
Hurry Clay, we'll be late.
They climb into a luxury Lexus SUV, and drive off.
Gia strides to the front door. She pushes the buzzer and
MARIA, (50), a Latina housekeeper, opens the door. She flashes
her a warm smile and gives Gia a long, loving hug. Maria
spins Gia around and examines her flashy outfit. She speaks
with a Puerto Rican accent.
MARIA
Oh, you look so beautiful. And my
sweet güera, you have the JLO booty--
GIA
María, estás segura de que no eres
and sure that mi verdadera Mamacita?
MARIA
In my heart, tu eres mi hija, my
daughter. They now let you dress
this way at Marborough?
INT. TUDOR HOUSE -- CONTINUOUS
Gia follows Maria through the luxurious living room furnished
with class, style, and reeking of money.
HOME OFFICE
Gia steps into a wood-paneled office decorated with awards
and photos of rock stars.
Gia carefully takes an electric custom guitar off a rack.
She gently touches a "Jerry Vee" insignia emblazoned on it.
The door swings open, and an irritated PAUL FORD, white,
late (40s), stands in the doorway.
Paul impatiently holds out his arms, and Gia hands over the
guitar and he carefully places it back in its rack.
GIA
I won't hurt my Daddy's guitar--
PAUL
Gia, if you need a new guitar I will
buy it for you.
GIA
You could never buy what that means
to me, never...
Gia gets weepy and Paul takes her in his arms.
5.
EXT. TV STUDIO -- DAY
Gia stands among a group of hopeful performers near a
fluttering AMERICAN VOICES sign, recording a video.
GIA
Knowing this callback is for the man
Rod himself makes this stressful.
But your girl is so ready to rock.
JOHNNY RAY, (18), a pretty boy white rocker, looms behind
Gia. He sticks his face into her shot.
JOHNNY
Can you play that or is it a prop?
Gia, like an old pro, continues to tape her post.
GIA
I'm streaming live on Gram, and yes
I play it. Where are you from, dude?
JOHNNY
The Inland Empire.
GIA
It shows, dude.
Johnny stares into the camera--
JOHNNY
We're not all rednecks. Sammy Hagar
hails from there. Frank Zappa too--
Gia ends her post and glares at him.
GIA
Seriously, dude?
JOHNNY
I'm Johnny Ray, and you're IG will
explode with likes about me.
GIA
Why are cute guys so bloody dumb?
Johnny, undeterred, flashes her a flirty grin.
Genres:
["Drama","Musical","Comedy"]
Ratings
Scene
3 -
Awkward Audition
INT. TV STUDIO LOBBY -- CONTINUOUS
EVA, (20s), a dressed-for-success assistant, leads Gia through
the hallway. Eva has a chilly, matter-of-fact, direct manner.
EVA
Congratulations on making it to the
second audition. You will get five
minutes today to sell Rod on yourself.
6.
Eva notices Gia's pants and lingers, watching Gia's sway.
EVA (CONT'D)
(sarcastic)
Who styles you?
GIA
I was going to ask you the same thing.
INT. AUDITION ROOM -- LATER
Eva enters with Gia and she is surprised that only CAMERAMAN
is in the room and the judge's table is empty.
EVA
Where did the boys go?
The Cameraman shrugs and shoots Gia a flirty grin. Eva seems
jealous of the attention Gia is getting.
EVA (CONT'D)
You can sit and wait.
Gia ignores her, kneels to open her case, and puts on a little
show for the Cameraman, who can't keep his eyes off her. Eva
cheats a look at Gia's body but looks away to reacting to--
SFX- PRE-LAP -- Two Brit men yelling out in the hallway.
MAN#1 (O.S.)
Rod, I won't fuckin' do it.
MAN# 2 (O.S.)
What's the big deal? Ian, it's the
least you can do for me.
ROD MANSFIELD, (40,) masculine and handsome, enters. His
cocky eyes check out Gia's curvy figure. Eva shows Rod Gia's
paperwork to distract him.
GIA
I'm Gia.
ROD
You ready to rock'n'roll?
Gia offers a nervous, but playful grin.
GIA
I sure am, Rod.
Gia lifts her guitar from the case and places it over her
shoulder with sensual confidence.
IAN LAKE, (late 50s), a bit disheveled, enters preoccupied
checking a message on his cell and doesn't notice Gia.
7.
ROD
Did Stevie text you back?
IAN
Sod off, mate.
Gia senses the tension between them.
EVA
Guys, we are, like, so behind now.
ROD
Ian, meet, Gia.
Ian makes eye contact with her and flashes her a warm smile.
Gia plays guitar and sings with a heartbreaking voice.
Midway through the bridge, a string snaps on Gia's guitar.
She struggles to regain focus, but the embarrassment
overwhelms her. Unable to continue, she abruptly stops playing
and hastily exits the room, leaving her guitar behind.
Genres:
["Drama","Music","Comedy"]
Ratings
Scene
4 -
Gia and Johnny's Moment
EXT. TV STUDIO -- MOMENTS LATER
Gia runs past the contestants waiting for their chance. Johnny
can see is distraught and chases after her.
EXT. TV STUDIO PARKING LOT -- MOMENTS LATER
Johnny catches up to Gia and gently takes her arm.
JOHNNY
I was kind of a jerk before. My bad.
Not all cute guys are so dumb.
Johnny has warmed her a bit and she manages a small smile.
EXT. FOREVER HOLLYWOOD CEMETERY -- AFTERNOON (CONTINUOUS)
Gia wanders with Johnny through this resting place for stars.
GRAVESTONES
Gia leads Johnny past the sites for stars such as Judy
Garland, Jayne Mansfield, and the iconic Johnny Ramone.
Gia hovers over a small gravestone for the rocker, Jerry
Vee, with its small guitar engraved on it.
GIA
He died before I was born, but I
come here to like talk to him.
JOHNNY
You know, I kind of look like him.
8.
GIA
Not really...
Gia is amused by him, leans over, and kisses him.
GIA (CONT'D)
That's for being cool and shining on
your audition to hang with me.
EXT. VIPER ROOM -- NIGHT
CELL SCREEN OF A INSTAGRAM LIVE STREAM.
The trendy small nightclub on Sunset Blvd. hums with
excitement as it hosts the incomparable Stevie Nicks, her
name displayed in small letters on the modest marquee.
Gia, who is shooting the scene, points the cell at herself.
GIA
Hey guys, your girl is hanging at
The Viper Room to see Stevie Nicks.
Paul Ford double parks and exits his Mercedes. He approaches
Gia who is checking out the celebs piling into the club.
PAUL
The Viper Room is no place for an
underage girl to be hanging out. I'm
taking Clay and Alexis to Big Bear.
Deena said it was OK for you to come--
CLUB ENTRANCE
Ian and Rod are in the middle of a heated argument, while
Eva is between them trying to keep the peace.
IAN
I told you I won't beg Stevie Nicks
to be a judge on your bloody show.
ROD
My bloody show is saving you from
the dustbin, mate.
IAN
You and your show can fuck off.
Ian breezes past the BUFF DOORMAN and into the club. Eva
holds on to Rod's arm hoping to appease him.
EVA
Rod, chill out. Ian is drunk and
tomorrow you'll both forget it.
9.
ROD
Eva, don't try to fuckin' manage me
unless you want the sack.
The intimidated Eva, nods as Rod enters the club alone.
Eva shapes her finger into a mock gun and shoots it in Rod's
direction. Amused, the flirty Doorman exchanges a high-five
with her before ushering her inside the club.
BACK TO GIA AND PAUL OUTSIDE THE CLUB
Gia beams at him coquettishly and touches his arm.
GIA
Uncle Paul, get me in the club?
PAUL
Gia, you're getting too old to still
call me that.
Gia releases his arm, peers at the marquee, and then back to
Paul with an adult intensity.
GIA
Am I'm old enough for you to start
taking my music seriously?
PAUL
Who paid for your voice lessons?
GIA
Stevie Nicks was my age when--
PAUL
For every Stevie Nicks, there's
thousands of girls who never made
it. For now, concentrate on school.
GIA
Why don't you sign me?
PAUL
Gia, please, I handle stars.
GIA
My daddy wasn't a star when you
started to rep him at seventeen.
Paul smiles, impressed with her tenacity.
PAUL
If I get you in tonight, promise me
you will go right home after, and
come join me and Alexis in Big Bear?
10.
GIA
You like to negotiate?
PAUL
It's how I make my living.
GIA
I know you follow me on Gram with
your finsta, "Boy Wonder."
PAUL
You are a smart girl. But girls like
you get themselves in trouble.
GIA
Boy Wonder "likes with hearts" every
time I slay, doesn't he, Uncle Paul?
PAUL
How long have you known it was me?
GIA
It's all chill, I'd never dime you
out to Alexis. It's kind of hot...
Paul's embarrassed smile reveals he's trapped by Gia.
Genres:
["Drama","Music","Romance"]
Ratings
Scene
5 -
The Viper Room Encounter
INT. VIPER ROOM/MAIN SHOWROOM -- LATER
The place is packed as STEVIE NICKS performs on stage.
Gia eases into the chair next to Ian, busy watching Stevie
Nicks and sipping champagne. Seeing Gia, he does a double
take, trying to place her, then...
IAN
Nia...
GIA
Gia.
IAN
Would you like a glass?
GIA
Sure, and another shot at the show.
Ian points across the room where Rod sits with Eva.
IAN
I'm sacked, love. But you don't need
me. Rod drove Eva crazy talking about
you after your little--
GIA
Meltdown?
11.
Ian whispers in Gia's ear. She lights up, then kisses him.
Ian watches with delight as Gia works her way through the
crowd to Rod's table. Eva shoots Gia a bitchy stare, but Rod
is delighted and has Gia join them.
Eva's eyes glare across the room at Ian, who toasts her with
the flute and leans back to enjoy Gia's moves on Rod.
THE STAGE
Stevie Nicks has a big finish to her song, "Gypsy."
ROD'S TABLE
The wowed Gia applauds. Rod leans in close and whispers in
her ear. Eva watches, both threatened and concerned.
INT. VIPER ROOM BATHROOM -- LATER
Gia stares in the mirror putting on lip gloss. Eva nudges
next to her and retouches her makeup.
EVA
You think you are the first girl
that Rod has invited to his house?
GIA
What's with the attitude?
EVA
(softens)
You are a pretty girl. And have
talent. Until the guitar strings
broke you had us. Wait until--
GIA
Next year or maybe the year after--
EVA
Gia, breaking in as a producer is
just as hard as a singer. And girls
like us can make mistakes with men
like Rod, looking for the fasttrack.
GIA
I'm hip to fuckboys like Rod.
EVA
You grew up fast didn't you?
GIA
I had no choice.
Eva can sense the pathos under Gia's glib response.
12.
EVA
Make an excuse and cancel with Rod.
We can hang out. I've got to know a
few agents I can hook you up with.
GIA
You making a play to be my new bestie?
EVA
You could do a lot worse.
Eva looks at her with the empathy of a caring friend.
Genres:
["Drama","Music","Romance"]
Ratings
Scene
6 -
The Murder at Malibu Beach
EXT. PAUL FORD'S HOUSE -- NIGHT
Deena's yellow Rabbit pulls to the curb across the street,
and the lights are immediately shut off. It's too dark to
see who's behind the wheel.
Maria, lugging a shopping bag, exits the house's front doors.
Gia, dressed in a white lace dress, slips out of the Rabbit
and stares as Maria disappears down the darkened street.
Gia's cell buzzes, and she lifts it to glance at the screen.
CELL SCREEN
A text from Eva -- Girl's night out, hang with me.
GIA
She smiles and loosely holds the cell in her hand as she
gazes at the house across the street.
SFX PRE-LAP -- Stevie Nicks's haunting voice sings "Landslide"
which continues into the next scene--
DISSOLVE TO:
EXT. MALIBU BEACH -- DAY
STEVIE NICKS (V.O.)
And if you see my reflection in the
snow-covered hills...
Two UNIFORM POLICE OFFICERS and GATES, (40s), a plain-clothed
detective walk across the sand until they find Gia, in a
torn, bloodstained dress unconscious near the water.
STEVIE NICKS (PRE-LAP) (CONT'D)
A landslide brought me down---
Gates kneels and checks Gia's pulse. She opens her eyes and
sees Gates and the Police officers looming over her.
13.
INT. MALIBU BEACH HOUSE -- LATER
It's plush with an amazing view of the ocean. Photos of rock
stars with Rod Mansfield and Emmy Awards on the walls.
Gia is being attended to by a FEMALE COP and a PARAMEDIC.
Gates looms over the dead body of Rod Mansfield on the floor,
where Kela (30), an Asian female coroner, checks the body.
KELA
He's been dead for over eight hours.
He was hit with a blunt object.
GATES
Divers are searching in the water
and we've looked everywhere in the
house and on the beach. So far, nada.
KELA
Scratches on his neck appear to be
from a woman's--
GATES
You pulled scrapings from her nails?
KELA
Yes. Anything more from her?
GATES
She doesn't remember much.
KELA
My guess is that we will find Ketamine
in her system. Popular date rape-
drug that can cause memory loss.
GATES
Mansfield drugs her and has his fun,
but she fights back, hits him in the
head, and wanders to the beach.
KELA
It could have been a paperweight.
Enough weight to make this, and light
enough to float in the ocean.
GATES
Could Gia, even in that state, have
thrown the murder weapon in the ocean?
KELA
We have a survivor instinct that
even drugged can sense danger and
act to protect us. But with the trauma
and Ketamine in her system, she may
never remember any of it.
14.
GATES
Never?
KELA
Things can trigger it, who knows?
Gates steps over and sits next to Gia who is pale, shivering,
with a blank faraway look on her traumatized face.
GATES
Gia, do you recall anything more
now? A sound or a smell, the smallest
detail might--
GIA
I'm not sure.
GATES
You drove yourself here, then what
happened? He gave you a drink?
GIA
I don't know, please stop asking me
that. Did you find Daddy's guitar?
The woozy Gia tries to rise and Gates lowers her back down.
Genres:
["Mystery","Drama","Crime"]
Ratings
Scene
7 -
Contemplating Gia's Situation
EXT. MALIBU/LOST HILLS SHERIFF’S STATION -- DAY
A modern building located in Calabasas, CA.
INT. MALIBU/LOST HILLS SHERIFF’S STATION -- MOMENTS LATER
Ian and Eva fidget in chairs, quietly waiting.
Paul sits next to a distraught Deena, trying to comfort her.
Deena has a pack of tarot cards and keeps glancing at them.
DEENA
Before Gia left I had her pick a
card. She drew The Knight of Swords--
PAUL
It's on me, not you. I should have
made her come home with me that night
at The Viper Room. Gia has a way to
make me do -- the wrong thing.
Deena reacts to Paul's remark.
DEENA
How so, Paul?
Paul defects Deena with a small smile, then he looks away
from her and across the room at Ian and Eva.
15.
INT. DETECTIVE GATES OFFICE -- AFTERNOON
Gates sits at his desk, gazes at the seated Paul and Deena,
and refers to his notes, as he delicately explains--
GATES
DNA tests prove Mansfield raped her,
but Gia has no memory of it.
DEENA
I blame myself for letting her leave
that night. She's so independent, I
forget she's still a young girl.
GATES
While driving to his house, Gia posted
about meeting a producer without
naming him. He didn't have security
cameras at home, so we had to rely
on forensic evidence and her memory.
DEENA
Gia told me she had an audition at
this club in Santa Monica and I let
her use my Rabbit--
PAUL
What about the murder weapon?
DEENA
Murder? You can't charge her--
GATES
There will be a formal investigation,
but it's clear that if Gia did kill
him, it was in self-defense.
PAUL
Do you have any other suspects? Is
that why Ian Lake is here?
DEENA
Ian Lake? What's he have to--
GATES
We are talking to everyone who had
contact with Rod in the last few
weeks.
PAUL
I saw Ian and Rod fighting outside
The Viper Room the night before.
GATES
We know about that.
16.
DEENA
Check her Instagram. I've seen the
cheeky comments men make about her.
Paul, aka Wonder Boy, reacts to Deena's remark. Paul realizes
Gates has noted Paul's expression and he covers it with--
PAUL
Can we take Gia home?
GATES
In a few days. The rape therapist
brought up something that Gia said
to me about her father's guitar?
PAUL
What about it?
GATES
She seems to think she had it. The
guitar is the one thing she remembers.
PAUL
That guitar is locked at my house,
so there was no way she had it.
GATES
And the night it happened you were
in Big Bear?
PAUL
With my wife, Alexis, and my son
Clay.
(beat)
Am I, like, a suspect?
DEENA
That's ridiculous. Paul has been
like a second father to Gia.
GATES
I can see that.
(pause)
Did Gia have any boyfriends that
have exhibited signs of jealousy?
DEENA
Gia was a flirt, but never had a
steady. What will become of my little
girl now? She's like a pane glass
window that looks strong, but one
sharp jolt and she will shatter.
GATES
Hopefully, with the proper therapy
and love she will recover from this.
17.
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
8 -
Tense Confrontation at the Sheriff's Station
INT. MALIBU SHERIFF’S STATION -- EXAMINATION ROOM -- LATER
SONYA, (30s), a trauma therapist guides Deena, Paul, and
Gates into the room. Gia, pale and jittery, fidgets in a
chair.
Deena is overcome with emotion and lunges to hug Gia, who,
after a few beats, stands up and steps away from her.
Deena takes out a tissue to wipe her eyes and offers one to
Gia, who shakes her head and refuses it.
DEENA
I was once, you know, taken advantage
of by the drummer from, it doesn't
matter the group. My Mum blamed me--
GIA
Like you do to me. I dress like a
tart and had it coming, right?
DEENA
I never said that--
GIA
You think every post on my Instagram
is an invitation for this--
DEENA
I did warn you--
SONYA
Gia needs your support right now,
without judgments or blame.
DEENA
I wish you'd stop talking about her
as a victim. Gia, OK, you had a bad
break, but you block it out and move
on. My girl isn't a victim who will
fall apart as you seem to expect--
GIA
Right, Mom, move on like the Brits
do. Don't mess with shrinks, they're
for the weak, pampered Americans. I
was fucking raped. But I don't
remember it. They think I killed
Rod, which I also don't remember.
What I do remember, Deena, is that
since I was 12 years old you've
accused me of sleeping around and
made me so damn ashamed of being
pretty because when we went out all
the men stopped looking at you and
were more interested in me.
18.
DEENA
Enough with your psychobabble. It's
nonsense. Who put that in your head?
GIA
My life, Deena, my life.
DEENA
I was a young woman when I had you,
and I gave up my youth to raise you.
If I failed you, baby, I'm sorry...
Gia lifts her cell and shoves it in Deena's face.
GIA
My followers, show me love, not shame.
Read them, Deena... read them.
Gia becomes emotional, fighting her tears. Sonya places her
arms around her to comfort Gia, which makes Deena envious.
Paul takes Deena by the arm to lead her out.
INT. GIA'S BEDROOM -- MORNING
Gia lowers her mascara and stares at herself in the mirror,
noticing the drastic layers of foundation. She grabs a wipe
and rubs off the makeup, leaving her face red and blotchy.
Gia raises her cell and checks Instagram notifications.
CELL SCREEN
Heartfelt caring posts with hearts, but then deepfake
grotesque images of Gia with Whore and Slut written on them.
GIA
She is crushed by these hurtful cyberbullying posts.
INT. DEENA'S KITCHEN -- MORNING
Deena is fixing breakfast of scrambled eggs and toast.
A sullen Gia emerges from her bedroom in her school uniform:
a crisp white shirt, tie, and black skirt. Her makeup appears
more natural, but she retains the heavy mascara on her lashes.
DEENA
Sit down, baby.
Gia sits and gazes uninterestedly at her breakfast. Deena
reaches across the table and touches her hand.
DEENA (CONT'D)
You look outstanding, really, love.
19.
Gia pulls her hand away from Deena's.
GIA
Why didn't you tell me you were raped?
Was the drummer dude charged?
DEENA
I went to this rave in London and
had too many vodkas, so I wasn't
sure it was him. I blame myself for--
GIA
I hear you, Mom. You try to block it
out but get into this headspace where
you hate yourself for being so stupid.
(beat)
Did you ever feel like killing
yourself?
DEENA
No, and don't you go there. It's a
blessing that you don't remember.
GIA
A blessing? Not for me, it isn't.
There is a long, awkward silence. Deena admires Gia's makeup.
DEENA
I like the eyes, they have a bit of
a punk rock vibe. If any catty girls
pry about your, you know, little
problem, just change the subject--
Gia's fork toys with her eggs, but doesn't eat any.
GIA
Did the show call about my guitar?
DEENA
No, not yet.
Gia raises her cell and starts to scroll blocking her face.
DEENA (CONT'D)
What would you like for dinner?
GIA
Deena, don't overdo it.
Deena lowers Gia's cell and forces her to make eye contact.
DEENA
Maybe if I started to follow you on
that Gram thing, you'd believe that
I love you. Because -- I do, love.
20.
Gia shoots her a doubting look, then glances at her cell.
Genres:
["Drama","Family"]
Ratings
Scene
9 -
Navigating the Maze
EXT. MARBOROUGH SCHOOL -- MORNING
GIRLS in school uniforms pile out of luxury SUVs as they
arrive for classes at the majestic campus in Hancock Park.
A hesitant Gia stands on the sidewalk, frozen with anxiety
as the GIRLS stare at her, mumble gossip, and then pass.
CRYSTAL, (16), a striking Latina girl with too much makeup,
steps over to Gia and glares at the girls' passing.
CRYSTAL
(Latina accent)
Ignore these jealous bitches and
haters. I got your back, girl.
Crystal takes Gia by the arm and leads her to the entrance.
INT. ENGLISH CLASS -- LATER
Gia sits in the back with Crystal as JESSIE, (16), a striking
blonde, cheats looks and whispers to others about her.
Crystal glares at Jessie.
CRYSTAL
Jessie, get a life.
BRUCE LANG, (40), the outgoing instructor writes on the
blackboard. "Breakfast at Tiffany's. Book vs Movie regards
Holly Golightly and the ending."
LANG
Girls, what do you think?
The girls laugh and trade looks. Jessie raises her hand.
JESSIE
Mr. Lang, I took a deep dive and
found out that none other than the
Hubert De Givenchy designed the killer
costumes for Audrey Hepburn.
LANG
Let's get past fashion and look at
the differences between the book and
movie regards the ending. Which did
you girls prefer, the movie or book?
CLASS
The movie... the movie.
21.
CRYSTAL
Holly was estúpida for ending up
with the writer when New York City
is filled with all those rich men.
The girls laugh and rap on their desks.
LANG
Did anyone prefer the book's ending?
Gia slowly raises her hand, but she's the only one.
LANG (CONT'D)
Why, Gia?
GIA
It was more honest. You girls focus
on Holly's wardrobe and miss what
she felt like when she woke up alone.
JESSIE
My old lady hasn't slept with Daddy
for years and she loves it.
The girls giggle and smile at Jessie.
GIA
Holly is lonely.
JESSIE
Girls that hot don't get lonely.
GIA
(heartfelt)
They do, Jessie.
Mr. Lang is mesmerized by Gia's penetrating insights.
EXT. MARBOROUGH SCHOOL -- AFTERNOON
Gia sits with Crystal on the steps sharing a bag of chips.
Lang spots them, walks over, and kneels beside them.
LANG
Mind if I join you, girls?
GIA
Be careful Mr. Lang, older men don't
live long around me.
Crystal and Gia slap five as Lang eases on the steps.
LANG
Gia, knowing what you'd face here,
it took guts to come back to school.
22.
CRYSTAL
My girl has real cajones.
LANG
Your take on Holly was impressive.
CRYSTAL
What, Mr. Lang, you didn't like mine?
LANG
No, Crystal, you made a good point.
Gia, what you felt was personal.
GIA
Dude, why do older men think they
know what a younger girl feels?
CRYSTAL
Because they want a piece of ass.
The girls laugh and slap another high-five.
LANG
Next quarter, I am directing a play
based on Capote's book and I'd love
you to audition.
GIA
I'm a singer, not an actress.
LANG
It's a musical. You'd be perfect and
with that voice and your passion,
you'd turn heads doing that role.
GIA
I'd sell tickets. Gia, the tabloid
queen plays the escort Holly.
CRYSTAL
Girl, it could go viral. So, would
my girl get a piece of the box office?
LANG
(amused)
Are you her agent?
(beat)
Gia, it'd give you a creative outlet
for your talent... think it over.
(beat)
And for the record, I'm a gay man
and I'm interested in a piece of
your heart, not your body.
Lang steps away and the surprised girls look at each other.
23.
CRYSTAL
Now I see why he didn't hit on me
even when I flashed my panties trying
get a better grade in class.
GIA
Wow, I never clocked him as gay.
EXT. HANCOCK MANOR CONDO -- AFTERNOON
Gia and Crystal enter the stylish building.
INT. HANCOCK MANOR CONDO LOBBY -- MOMENTS LATER
Crystal hits the elevator and turns and smiles at Gia. JORDAN
RADFORD, distinguished, (late 50s), steps to the elevators
and stares at Gia. Crystal picks up on it.
CRYSTAL
Mr. Radford, nice to see you again.
RADFORD
Crystal, who is your friend?
CRYSTAL
Gia.
The elevator arrives and the girls and Radford enter it.
INT. ELEVATOR -- CONTINUOUS
Radford keeps cheating looks at Gia which Crystal notes. The
elevator stops, and the door opens, but nobody exits.
CRYSTAL
Mr. Radford, it's your floor I think.
RADFORD
It is. I hope to see you again, Gia.
Crystal, you guys drop by sometime.
Radford exits and the girls break out laughing and hug.
INT. HANCOCK MANOR CONDO/CRYSTAL'S BEDROOM-- LATER
Gia and Crystal sit on her bed, stripped down to their bra
and panties, sharing a joint.
CRYSTAL
You could have made two or three
hundred this afternoon with Radford.
GIA
I don't put out for money.
24.
CRYSTAL
It's LA, Gia. This building has two
highly paid mistresses living here.
I mean, living in style, baby.
GIA
Would you do that?
CRYSTAL
You get high and think about someone
you want to fuck. They pop a Viagra,
cum fast, and you leave rich.
GIA
That sounds so gross.
CRYSTAL
My mama was fired from Vanity Fair
and she couldn't get a job last year.
I started to escort, it was cool.
GIA
Crystal, how can you bring this up?
You know what shit I'm going through?
CRYSTAL
It's a way to get your power back.
Gia turns away from her and starts crying.
GIA
My mom thinks I'm a slut who had it
coming. I'm so fucked up, maybe she's
right...
CRYSTAL
No, no, baby. The men, they be the
fucked-up ones. You did nothing wrong.
Let me protect you, baby.
Crystal touches Gia's face, leans close, and then kisses
her. Gia kisses her back for a moment, then pulls back.
Genres:
["Drama","Coming-of-age","Teen"]
Ratings
Scene
10 -
Shattered Dreams in the Studio Lobby
INT. TV STUDIO -- AFTERNOON
Gia strides with Crystal to the entrance.
INT. TV STUDIO LOBBY -- MOMENTS LATER
Gia and Crystal wait in the foyer. Gia is quiet and sullen,
while Crystal playfully scrolls Instagram posts.
Eva carries Gia's guitar case and a clipboard with legal
papers in a businesslike manner. She crosses to them with a
cold look and never makes direct eye contact with Gia.
25.
GIA
Hi, Eva. I know you and Rod were
close. I'm, like, so sorry.
EVA
I tried to warn you.
CRYSTAL
Hey, chill with my girl before I
bitch slap your nasty white ass.
EVA
Here is your property.
Eva's hand shakes and tears begin to roll down her face as
she holds out the form and pen for Gia to sign. Gia studies
Eva's face and tries to make eye contact with her.
GIA
Eva, you know what Rod was like. You
were right, and I should have hung
out with you. My bad all around.
(sarcastic)
I guess we're not besties anymore.
Eva silently takes the signed form and hurries away.
EXT. TV STUDIO PARKING LOT -- MOMENTS LATER
A disturbed Gia briskly strides as she carries her guitar.
Crystal hurries to catch up, but trips a moment on her heels.
EXT. STREET OUTSIDE STUDIO -- MOMENTS LATER
Gia arrives at a sheltered bus stop and eases down.
Crystal, tired of running in heels, plops on the bench.
CRYSTAL
Let's Uber. My treat.
Gia doesn't respond. Crystal gently caresses Gia's hair.
CRYSTAL (CONT'D)
Baby, don't let bitches like Eva
drag you down with their drama.
Gia ignores her, clicks open her case, and takes out her
guitar. She begins to strum it and hum a song.
CRYSTAL (CONT'D)
That's nice. A new song?
Gia stops playing. She glares, then pulls at the broken
string, overcome with anger and raw emotion.
26.
CRYSTAL (CONT'D)
My Mom writes for The National
Enquirer now, right? Unlike these
other papers or TV stations, they
will pay you for your story.
GIA
It's just what I need to forget.
CRYSTAL
Bitches like Eva, or Jessie they
won't let you forget it. Tell the
world your story and expose this
creep Rod as the predator he was.
Gia notices the bus shelter has a promo for American Voices
featuring a photo of Rod Mansfield. The tagline above her
picture reads, "You can be the next Superstar."
Gia swings her guitar like an axe at the promo poster.
Genres:
["Drama","Musical","Mystery"]
Ratings
Scene
11 -
Gia's Flashbacks and Rebellious Behavior
INT. ROD'S MALIBU BEACH HOUSE -- EVENING (FLASHBACK)
In slow motion, Gia is violently attacked by Rod. She pushes
him away, snares the Jerry Vee guitar off the chair, swings
it toward his head, and just as it is about to smash him--
CUT TO:
EXT. BUS SHELTER (PRESENT DAY)
Gia's guitar slams into the American Voices poster and the
tempered glass image of Rod Mansfield shatters.
Gia's body stands frozen as she stares at the remains of
Rod's face in the last remains of the poster.
INT. DEENA'S HOUSE -- NIGHT
Deena, in a snug, glittery outfit, checks her figure and
makeup in an antique full-length mirror in the living room.
INT. GIA'S BEDROOM
Gia sits alone in her darkened room, holding a razor near
her wrists ready to cut herself, when there is a knock on
the door. As Deena enters, Gia lowers the razor.
DEENA
Say the word and I will cancel this
date.
GIA
No need for that. I told you that
you could pull a man off the internet.
27.
DEENA
It's hardly a pull.
The doorbell rings and Deena and Gia both react.
GIA
Most women on internet hookups meet
for the first time at a bar or coffee
shop, but you trusted--
DEENA
Love, it's not a bloody hookup, and
you can't stop trusting men because
one man hurt you.
Gia's eyes reveal that her wounded soul doubts Deena.
INT. LIVING ROOM
Deena hurries to the front door, where Logan (late 50s),
clad in a stylish leather jacket, awaits. He's a nice-looking
man with splashes of grey in his thick hair. An excited Deena
lights up and hurries to let him in the house.
LOGAN
Wow, am I at the right address? You
look amazing. Your photos on Match
don't do you justice. I work in the
ad biz, and, girl, you could model.
Deena gives him a small kiss on the cheek.
DEENA
I modeled some back in London.
Gia steps out of her bedroom in baggy sweats and a midriff
Tee showing off her tight abs. She makes eye contact with
Logan, then checks his jacket, then his shoes.
She strides to the fridge, pulls out a bottle of OJ, opens
it, and is ready to pour into a glass, but instead drinks it
from the bottle, which gets a stern reaction from Deena.
LOGAN
I'm Logan, and you are--
DEENA
She's my--
GIA
I'm Gia -- the daughter.
LOGAN
No way. You two could pass for
sisters. I bet I could get you booked
together in an ad as the "hot mom
and her smokin' daughter."
28.
GIA
Chill, dude, my Mum is old-fashioned,
so don't get fresh on the first date.
Deena glares at Gia for her cheeky remarks.
LOGAN
And what are you up to tonight?
GIA
I was planning on killing myself.
Logan, not sure how to react, chuckles.
DEENA
Gia has a dark sense of humor.
LOGAN
Dark can be hot.
(beat)
Have you ever been to the Spagos?
GIA
My dates are strictly In'N'Out, dudes.
Gia drops the plastic bottle to the floor, bends, and as she
does the sweats ride down, exposing her panties and butt.
Logan's hungry eyes almost pop out.
LOGAN
Why not join us? Spagos is a pretty
cool place, full of celebs.
DEENA
She can't do that, Logan.
Deena latches on to Logan's arm, wanting them to leave.
LOGAN
You could chaperone us and make sure
I don't get "fresh" with your mom.
GIA
Sounds hot, Logan, but I can't.
Nothing to wear. But if I don't kill
myself tonight, maybe another time.
With that remark, Deena ushers Logan out of the house and
she glares at Gia at the door as they exit.
Gia rummages through the kitchen drawer and finds a pair of
kitchen shears, crosses to the full-length mirror, stares at
her sad face, and then begins to chop off her hair.
Deena storms in and glares at Gia, who watches her mother in
the mirror's reflection.
29.
Deena snares her cell off a dresser, then steps to the mirror
and stares at her.
DEENA
You just can't stop yourself. You
see an older man and act like a tart.
GIA
After a few dates he will sneak into
my room looking for Lolita action.
DEENA
I almost canceled tonight because I
was worried about your mental state,
but I see you have recovered.
Gia glares at her and then quickly chops off more hair.
DEENA (CONT'D)
Cut it all bloody off. I love you
Gia, but you're a whore for attention.
GIA
When I was a little girl and you
serial-dated one creep after another
almost every night, I learned.
DEENA
Excuse me, but I was looking for a
decent man so you'd have a father.
GIA
I had a father. You wanted to feel
like a young, hot chick and party.
DEENA
I was young, Gia.
GIA
Better hurry, Mum, Logan is waiting.
Deena looks at her with a mixture of anger and empathy.
DEENA
I've tried, Gia. I did my best as
your Mum. If Daddy didn't die it all
might have been different.
A honking horn blasts from the street.
GIA
Logan won't wait all night.
(beat)
Take an umbrella, it might rain.
DEENA
It never rains in LA.
30.
GIA
But when it rains, man it pours.
Deena gives Gia a perplexed look of empathy as if she might
stay. She touches Gia's hand, but then releases it and leaves.
Genres:
["Drama","Family","Relationship"]
Ratings
Scene
12 -
Rain-Soaked Encounter and Sunset Strip Tension
EXT. 7-11 STORE -- NIGHT
A slight mist falls on the pavement. With messy, short, poorly
cropped hair and a backpack slung over her shoulder, Gia
leans on the windows, smoking a joint. There is white adhesive
tape on her wrists with a bit of blood leaking from the edges.
DELMAR, a wiry white truck driver in his (late 20s), exits
the store with a six-pack and a pizza. He slows and eyes Gia
like he is at a single bar.
DELMAR
Hey, pretty lady, it's about to pour.
Gia ignores him and takes another drag, but the joint is now
soaked and useless, so she stuffs it in her jacket.
DELMAR (CONT'D)
How about a brew? My rig is over
there and it's dry, you know?
Gia blankly glances at his truck.
INT. DELMAR'S TRUCK CAB -- MOMENTS LATER
Gia sits in the front seat, quietly sipping on a beer. Delmar
takes a long swing and offers her a piece of his pizza.
GIA
Where are you headed?
DELMAR
Near San Diego, then a run to Tijuana.
GIA
Cool.
As Gia takes a piece of pizza, Delmar notices the tape and
dried blood on her wrists.
DELMAR
Did ya hurt yourself there?
Gia ignores him and takes a long swig of beer.
DELMAR (CONT'D)
Are you, like, running away? I don't
need no more trouble with the law.
GIA
Chill, man, I'm over eighteen.
31.
EXT. 405 FREEWAY -- LATER
Delmar's truck, with Gia in the cab, waits in a traffic jam
to get on the freeway.
Gia's sad eyes stare out as the pouring rain rushes down and
obliterates her face until Gia goes totally out of focus.
DISSOLVE TO:
EXT. LOS ANGELES SKYLINE -- NIGHT
Over the glittering view -- LOS ANGELES -- PRESENT DAY
EXT. SUNSET STRIP -- NIGHT (CONTINUOUS)
Gia, now (30) clearly with a working buzz, strides with a
sway that solicits hungry stares from the boys on the prowl.
A few steps behind, Johnny, now in his (early 30s), passes a
joint to FRANKIE, (30), his wiry, pale-faced bestie.
Lingering behind them, striding in four-inch heels is JADEN,
(30s), with pretty face, tats, but is a touch overweight.
Johnny jogs up to Gia, puts his arm around her and kisses
her. Jaden eyes it with a tinge of jealousy.
Gia nears the velvet-roped entrance of a rock club called
BLASTERS, guarded by a DOORMAN and BLAZE, 20s, the tatted
club manager, who undresses Gia with his lounge lizard eyes.
BLAZE
I like a hot fucking lead singer.
Gia steps up to Blaze, smiles, then laughs and strides away.
Johnny hurries after Gia and clutches onto her arm.
GIA
No stars play at his nothing club.
JOHNNY
He'll give us a prime spot. Blaze
has got a hard-on for you--
GIA
(playful)
His hard-on is way too soft for me.
You and Frankie can kiss Blaze's
nasty ass. Not this girl. It's
headlining at The Viper Room, or
nothing for me.
JOHNNY
I'm close to getting us an audition
for The Viper Room, too, but a gig
here gets us a rep in Hollywood.
32.
Frankie tugs Johnny away toward the entrance. Standing behind
them is Jaden, who seems happy Gia has left them.
JADEN
Johnny, you will never tame her. I'm
a chick and know girls like Gia.
JOHNNY
Jaden, you've been hating on Gia
since she joined the band.
Jaden marches to the entrance of the club, and smiles at
Blaze, who ignores her as his eyes search the night for Gia.
Frankie stops Johnny from chasing after Gia.
FRANKIE
Gia is batshit crazy. I'll never get
why you bailed her out of the mess
in San Diego and asked her to be in
our band. Jaden can still sing our
songs without Gia's drama.
JOHNNY
We were going nowhere with Jaden.
Gia has star power, and she's worth--
FRANKIE
Go ahead, dude. Track her down and
we'll miss a shot of us playing here.
Johnny sighs and accompanies Frankie into the club.
Genres:
["Drama","Music","Thriller"]
Ratings
Scene
13 -
Despair at Sunset Karaoke Club
EXT. SUNSET KARAOKE CLUB -- NIGHT
Gia slows at the Karaoke bar/restaurant. A KOREAN man in his
(50s), looms behind her and gazes longingly at Gia's body.
KOREAN MAN
(accent)
You -- like -- a karaoke?
Gia notices his Rolex watch and offers a playful glance.
GIA
No, baby. I like Champagne.
The encouraged Korean man's eyes light up.
INT. SUNSET KARAOKE CLUB -- NIGHT
Gia, at a table with the Korean, nods to his broken English
as she checks out a table of USC kids who are out on the
town to party. As she chugs champagne, a bearded YOUNG MAN
does a terrible rendition of "Born in The USA."
33.
KOREAN MAN
You like -- a sing?
GIA
Me? No, I hate like a sing.
He nods with a happy glint, not understanding her.
KOREAN MAN
Me too, I love the karaoke.
GIA
You're cute, honey, but you don't
know what the fuck I'm saying. It's
cool, neither does my boyfriend--
KOREAN MAN
Ah, you like me to be boyfriend?
A WAITRESS passes by, and Gia waves to get her attention.
GIA
Another bottle, babe. Make it Moet.
The Young Man singer is so off-key that Gia covers her ears.
The Korean man imitates her gestures and facial expressions.
Gia jets up and dances with a USC guy. He grabs her waist,
and she breaks away, snares the champagne from the waitress,
pops it open, screams, and carries it with her.
INT. SUNSET KARAOKE LADIES ROOM -- MOMENTS LATER
Gia sits in a stall, drinking. A small, tinny speaker
broadcasts the singers. Gia is suddenly overcome with despair.
In the depths of her emotional meltdown, she makes a call.
INT. CRYSTAL'S CONDO -- CONTINUOUS
Crystal, (30s), lounges in a beautifully decorated bedroom.
She picks up her cell and answers Gia's call.
INTERCUT GIA IN STALL WITH CRYSTAL IN HER BEDROOM
GIA
Hey, Crystal, come get me.
CRYSTAL
Where are you, baby?
GIA
(sarcastic)
Westwood Towers looking over the
city and feeling like a fucking queen.
34.
CRYSTAL
I hear music.
GIA
That's not music, it's static. I'm
running out of time, Crystal, and I
can't take this life in LA anymore.
CRYSTAL
You haven't been back in LA that
long. Call an Uber and come over.
GIA
(needy)
Can you invite Ian Lake over?
CRYSTAL
It's one in the morning.
GIA
When the fuck will I ever meet him?
He really liked me back in the day.
CRYSTAL
Chill out. He's a busy man. I am
working on it for you, unlike your
Johnny, who is just using you.
(beat)
Gia, are you still there? Gia?
Gia hears a woman singing Stevie Nicks' Landslide. It's so
grating that she drops her cell phone to the tile floor,
grips the champagne, and bolts out of the stall.
GIA
(to the speaker)
Stop that now. Please stop it!
Gia bangs on the door and screams just as the female TOURIST,
(60s), exits a stall and gawks at the hysterical Gia.
GIA (CONT'D)
What's your problem, lady?
Genres:
["Drama","Comedy"]
Ratings
Scene
14 -
Gia's Redemption
INT. SUNSET KARAOKE CLUB -- MOMENTS LATER
Gia strides toward the SINGER, emphatically shaking her head.
GIA
No, no, baby, no. Respect the song.
GIRL
Who are you, bitch?
Gia whispers in her ear. The woman laughs out loud, points
to the USC kids, and then hands Gia the mic.
35.
GIRL (CONT'D)
The bitch is Stevie Nicks--
GIA
No, I'm Gia, and I'm a star.
The girl's date, a good-looking USC JOCK, struts to the stage.
JOCK
Hey, Gia, if you sing and get applause
from my crew, I'll pay you 50 bucks.
GIA
Make it a hundred, cheapskate.
He pulls out a crisp 100. The USC KIDS surround the stage.
Gia, champagne in one hand, the mic in the other, stalks
across the stage like a rock star as the intro plays.
She launches into the song with such a beautiful,
heartbreaking voice that it quickly silences the crowd and
even makes the BARTENDER and waitress turn to listen.
GIA (CONT'D)
(singing)
I took my love, and I took it down.
The frisky USC crowd are transfixed as she nails it like a
pro. The Korean man, enthralled by Gia, edges closer. The
tourist lady watches with her amazed mouth wide open.
Gia knocks them all out with a big finish. The kids applaud
and whistle. The Jock steps on stage waving his 100. He darts
the bill away from her hands until she finally snares it.
JOCK
What else do I get for it?
Gia gives him a small peck on the cheek, and the kids howl
except his pissed girlfriend, who was singing. He leans in
for another kiss, and Gia laughs, then shoves him away.
GIA
I don't do my groupies.
He smiles and flashes two more hundreds. Gia eyes them as if
she might snare them, too, but pushes his hand away.
GIA (CONT'D)
Don't insult a fuckin' star.
Gia steps off the stage, loses her balance, and falls.
INT. CONDO BEDROOM -- MORNING
Gia's bloodshot eyes pop open. Gia slowly realizes she's in
a luxuriously decorated bedroom of a high-class condo.
36.
Crystal, clad in an elegant silk robe, brings her coffee on
a silver tray.
CRYSTAL
Dios Mío! What am I going to do with
you, Gia?
Gia takes a sip of her strong brew.
GIA
(sincere and sober)
Crystal, how did I get here?
CRYSTAL
Luckily, the owner of the club is a
friend and client. A boy from USC
paid you to sing, and you passed
out. Does any of this ring a bell?
GIA
Wow, not really.
CRYSTAL
Time to get your ass back to AA.
GIA
I went that route, and my sponsor
was forever promoting my panties.
CRYSTAL
Then, get a female sponsor.
GIA
I had one in San Diego. She claimed
to be sober for twenty years. She
lied in her shares and still did
drugs. I can get clean myself.
CRYSTAL
Like last night? You don't even
remember the kid paying you--
GIA
(sarcastically)
So, Crystal, like what, you expect
me to fork over your usual 30 percent?
Deeply hurt by her remark, she turns and steps to the window.
CRYSTAL
You push away the ones who love you
while you cling, for dear life, to
the ones like Johnny who don't.
Gia steps to the moody Crystal, who stands staring at the
gardens below. Gia rests her head on Crystal's shoulder.
37.
GIA
Don't be pissed at me, Mommy.
Crystal leans in to Gia, caresses her face, and kisses her.
Crystal begins to lead Gia toward her bed. Gia gives her a
long, deep kiss, then backs off and searches for her dress.
CRYSTAL
I did call Ian Lake last night. He
listened to your tape and wants to
meet you.
GIA
(excited)
Seriously? Did he remember me?
CRYSTAL
Who could forget you, baby?
Gia lights up, hearing this glimmer of hope.
Genres:
["Drama","Music"]
Ratings
Scene
15 -
A Tense Reunion
INT. GIA'S CAR -- NIGHT
Gia stares longingly at Paul Ford's house and then flicks at
her guitar ordainment that hangs from her rearview mirror.
EXT. PAUL'S FRONT DOOR -- MOMENTS LATER
Gia rings the bell several times and impatiently waits. She
then peeks into the front windows. MARIA, now (60s), greets
her. They exchange affectionate looks and a loving embrace.
GIA
Maria, you never change.
MARIA
Miss Gia... you can't--
With quiet determination, Gia steps past Maria and into the
house. Now worried, Maria hastily closes the door.
INT. PAUL FORD'S HOUSE -- CONTINUOUS
Maria follows Gia through the beautifully decorated home.
INT. PAUL'S DEN -- CONTINUOUS
Maria flips on the lights of the wood-paneled home office.
Gia's attention is on a framed photo of an attractive young
man in a Naval Officer's uniform on the desk.
GIA
Clay's a real looker.
38.
MARIA
He's all grown up now. My baby boy
is a pilot. I could cry.
GIA
You were more of a mother to him
than Alexis.
Gia refocuses on the guitar and turns to get it.
MARIA
No, Miss Gia--
GIA
Chill, Maria.
MARIA
Please, Miss Gia, be careful.
Gia's eyes indicate that she wants Maria to leave.
GIA
Do you mind?
Maria exits. Gia's fingers glide across the guitar and linger
at the "Jerry Vee" logo emblazoned on it.
Gia cautiously lifts it from the rack. She strums it and
begins to sing a ballad with her lovely, throaty voice.
GIA (CONT'D)
(singing)
If one time you saw me, oh, what
would you say? Would you look at me
strangely or send me away?
An irritated PAUL FORD, now (60s), stands in the doorway.
PAUL
Gia, are you high?
GIA
No way, Paul.
Paul impatiently holds out his arms, and Gia hands over his
precious guitar, which he then places back in its rack.
He peels off three hundred-dollar bills and slides them on
the desk toward her. Gia's wounded eyes stare at the cash.
Paul, without a word, places the bills in her purse. Gia's
needy eyes beam at the guitar with a deep longing.
GIA (CONT'D)
I need it for an audition I have--
39.
PAUL
That guitar doesn't leave this house.
Gia eases onto his desk, causing her skirt to ride up. As
Paul reaches to touch her leg, she eludes him, slips off the
desk, and picks up Clay's photo, giving it a kiss.
GIA
Richard Gere has got nothing on this
Navy boy. Damn. Clay is so stoked
about passing flight school--
PAUL
(surprised)
How do you know?
GIA
Instagram and texts.
Paul seems oddly threatened and takes the photo from Gia.
PAUL
Did you ever tell him--
GIA
Chill, dude. He'll never know about
us in San Diego.
Paul seems relieved and lovingly strokes her hair.
Headlights from the driveway slash through the window and
illuminate her face. A car door slams, then a woman's voice
filters into the room.
ALEXIS (O.S.)
Paul, could you help me with the food?
Gia peers out the window at Alexis in the driveway.
GIA
She must be in serious fuckin' denial
to have never figured out why you'd
come to San Diego to see me.
PAUL
She knew I'd go there to check on
you as a favor to Deena since she
was remarried and had her hands--
GIA
She bought that? When Deena married
that Logan dude, I was the last thing
on her mind. Alexis didn't even
suspect you'd come to party with me?
PAUL
Don't cheapen it like that.
40.
GIA
You saved my ass a few times and I
appreciate it. But I'm back in LA to
make it happen with my singing. If
you love me, love my dream.
PAUL
I do. Baby, can you slip out the
back way so Alexis doesn't see you?
Gia swallows her hurt and glides her hand across the guitar.
Genres:
["Drama","Music"]
Ratings
Scene
16 -
Desperate Escapism
INT. GIA'S CAR -- MOMENTS LATER
Gia stares at the house like a lost child as she watches
them eat takeout food at the dining room table.
Overwhelmed by the exchange with Paul, Gia reaches into her
glove compartment for a pint of Jack Daniels. She then dials
her cell and tries to hide her emotions in the call.
GIA
Crystal, hook me up for a date
tonight. Yes, Jordan Radford is fine.
INT. CRYSTAL'S CONDO -- CONTINUOUS
Crystal sits on a couch next to a GIRL (20s), who tenderly
massages Crystal's neck as she talks on her cell to Gia.
CRYSTAL
(concerned)
What's wrong with you, baby?
INTERCUT GIA AND CRYSTAL
GIA
(unconvincing)
Nothing. I need the cash.
CRYSTAL
You need a good night's sleep. You
have the meeting tomorrow with Ian.
GIA
(calm and direct)
I know. Book me the date.
EXT. HANCOCK MANOR -- LATER
Gia opens the front entrance with her own keys and enters
the marbled-floored lobby of this upscale building.
INT. HANCOCK MANOR-- MISTRESS CONDO -- LATER
Jordan Radford, now (late 60s), sips on his cocktail in a
plush one-bedroom with all the amenities of a hotel suite.
41.
Gia struts out of the bathroom and shoots him a flirty look.
RADFORD
I'm on a short leash tonight.
Gia smiles and saunters to the dimmer switch. The lights go
out, leaving them in total darkness.
RADFORD (CONT'D)
In the dark, you could be anyone.
GIA
So could you, baby.
EXT. THE HOLLYWOOD SIGN -- MORNING
The morning light rolls over the Hollywood Hills.
INT. MISTRESS CONDO -- BEDROOM -- MORNING
Gia wakes up alone in the bed. Her bloodshot eyes check her
cell is blowing up with texts from Johnny.
She quickly texts him back--
GIA'S CELL
Chill. Had a date. Love ya.
EXT. ECHO PARK COURT APT BUILDING -- LATER
A rundown residence housing struggling artists and Latinos.
Gia, sipping on 7-11 coffee, struts through the courtyard.
The weathered-face manager, MEL GARRICK, (60s), watering the
bushes and flowers, stops working and focuses on Gia. He
lowers the lawn hose and lustfully glares at her.
MEL
Late night, Gia?
GIA
(playful)
Mel, you're not my daddy.
MEL
I could be.
GIA
You can't afford me.
MEL
Well, Ms. Material Girl, I need a
taste of the rent you owe me.
(beat)
Or, we could work it off... you know?
42.
Gia digs in her purse and hands him two crisp hundreds.
MEL (CONT'D)
Not even close.
GIA
(flirty)
It's the best I can do, Daddy.
She kisses him on the cheek, which softens Mel's resolve.
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
17 -
Gia Confronts Johnny, Auditions for Ian Lake
INT. GIA'S APT. -- LATER
It exudes warmth with a touch of kitsch, accentuated by dashes
of feminine style.
Gia, in a tight mini, rummages through clothes and spots a
pair of heels. Beneath them, she catches sight of a gun.
BATHROOM
Johnny poses and vamps in front of the mirror as Gia enters,
lays the gun on the vanity, and glares at him.
GIA
I told you to get rid of this.
JOHNNY
Baby, in some dude's minds, you're
the girl who killed Rod Mansfield,
and with all the conspiracy freaks
out there, we need protection.
She shoves him aside with her butt to check her makeup.
JOHNNY (CONT'D)
You don't dress like that for me.
GIA
Ian Lake is a big deal.
JOHNNY
Like our audition at the Viper Room
isn't?
She appeases him with a long kiss.
EXT. HOLLYWOOD HILLS -- LATER
Gia's car lumbers up a steep, winding road.
INT. GIA'S CAR -- CONTINUOUS
Gia digs through the ashes, discovers the longest butt, lights
it, and takes a deep puff.
43.
EXT. LARGE TWO-STORY HOUSE -- MOMENTS LATER
As Gia arrives at the front door, she tosses her cigarette
down and snuffs it out with her heels. She then checks her
makeup in a small mirror and straightens her mini.
Gia tentatively knocks on the door and waits. No response.
She hits hard, then even harder, now banging on it. Touching
the knob, the door cracks open, and she enters.
INT. IAN LAKE'S LIVING ROOM -- DAY
Gia gazes at photos of Ian's glory days of rock on the walls.
Her fingers glide across a Grammy Award. The plate reads:
"Ian Lake. Producer. Best Album. 1986."
Gia moves across the room to a piano. Her hands float onto
the keys, and she plays a sweet intro to a ballad.
She sings a song and her voice is raspy and soulful.
The bathroom door swings open. IAN LAKE, now early (70s),
with a pale, bloated face and long stringy hair tied in a
ponytail, stands in the doorway in a silk robe.
He steps toward her, clutching a bottle of Cristal champagne.
Gia looks at him and appears confused.
GIA
Ian Lake? You are the Ian Lake?
IAN
That's the rumor, love. You're Gia?
GIA
Do you remember me?
IAN
Yes, love, I remember you.
Gia starts coughing, attempting to conceal it.
GIA
I tried to contact you, like, so
many times and never heard back. I
think you were ignoring me.
IAN
I was. I'm not so proud of it.
GIA
Crystal said you listened to my demo?
IAN
I did. Let's sit down.
44.
As the two lower onto the couch, he eyes her toned thighs.
Sensing his interest, she grins and yanks down her mini.
He pours champagne into a flute and hands Gia a glass.
Gia guzzles the champagne in one gulp, lets out a nervous
laugh, and then sets the flute down on the table.
GIA
I can't stay long. Johnny finally
got us an audition at The Viper Room.
IAN
Johnny should consider a new career.
GIA
Girls go for him.
IAN
Like you did?
There is a long, awkward silence. She gets up and wanders to
the wall. Gia spots a photo of a younger Ian Lake in a studio
talking to Jerry Vee, who looks smoking hot in leather pants.
Gia lifts the photo off the wall and brings it back to him.
GIA
Do you know who that is?
IAN
Me, darling. A bit younger--
GIA
No, the hot guitar player.
(beat)
He looks like my Johnny.
IAN
That's a reach. It's Jerry Vee.
GIA
He had a kid, you know.
IAN
Please, love, don't tell me your
Johnny is his long-lost son.
GIA
No, Jerry Vee is my father. I was
born after he died.
(beat)
My mother is Deena.
IAN
The Brit who read tarot cards?
45.
GIA
Yes.
IAN
She claims that Jerry was your father?
GIA
We have the same lips.
IAN
Not to be a bore, love, but Jerry
had a new girl or boy every night.
GIA
He was, like, bi?
IAN
He was almost everything but stable.
Gia looks away, then back at him.
GIA
I'm here about me.
IAN
Your Johnny is no Jerry Vee. The
band is a lounge backup band. Most
of the songs are ordinary. Who wrote
that one, heart something...
GIA
"My Lonely Heart."
IAN
That tune popped for me.
GIA
Wow, thanks.
(beat)
I wrote that.
IAN
What's the story behind it? Did a
badboy break your heart?
(beat)
Or is it about your father?
Her vulnerable look reveals the meaning is deeply personal.
CLOSE ON GIA as we push in on her eyes.
Genres:
["Drama","Music"]
Ratings
Scene
18 -
Haunted by the Past
INT. BASEMENT -- AFTERNOON (FLASHBACK)
Gia, stunning at (14) stands in white lace lingerie and heels,
appearing awkward, tentative, and nervous.
46.
PULL BACK to reveal the back of a MAN who sits in an
overstuffed chair watching her. Gia tentatively steps toward
him. The man gently places his hands on her toned thighs.
MAN
You can never tell your mother.
His hand advances up -- as a small tear runs down Gia's face.
INT. IAN LAKE'S LIVING ROOM (PRESENT DAY)
Gia pulls out of her memory and regains her composure. She
glances at her father's photo for a moment, then at Ian.
GIA
(hopeful)
You really liked my song?
Ian holds up and waves his empty flute.
IAN
There's more in the fridge.
Gia playfully gets that it's her cue to wait on him.
INT. IAN'S KITCHEN -- MOMENTS LATER
Gia opens the fridge and finds bottles of champagne, beer,
and aging take-out. Her cell buzzes; it's a call from Crystal.
CRYSTAL (V.O.)
How's it going?
GIA
Cool. He's still a trip.
Gia gets a request to go on Facetime.
EXT. SMALL BALCONY
Crystal sits in a wrought iron chair.
INTERCUT CRYSTAL AND GIA
CRYSTAL
I'm thrilled you're with Ian, but I
have a date for you at four.
GIA
I'm due at the Viper by five. I want
to chill it with--
CRYSTAL
Please don't disappoint me, Gia.
47.
INT. IAN'S LIVING ROOM
Ian snorts a line of coke.
Gia walks back into the room with a bottle of champagne,
places it on the table, and sits beside him.
He offers a line to Gia, but she's not interested.
GIA
Produce me. You won't regret it.
IAN
I know it's hard to believe, but I
made a good lover back in the day.
(beat)
I don't demand much now. I'll be
fast asleep in no time.
The hurt and pissed Gia pushes his hand away.
GIA
Crystal sold you the wrong girl.
The upset Gia gathers up her purse to hurry out. Ian reacts,
rises, and blocks Gia's path.
IAN
I meant what I said about your song.
GIA
Sure thing.
As she moves to pass him, her purse falls open and the
contents spill onto the floor. A small bottle of Jack Daniels
slides toward Ian. He looks at her with kindness and empathy.
IAN
(kindly)
You can still sing but need to care
of your pipes, love. I don't have
any clout in this town anymore, but...
GIA
I won't sleep with you.
IAN
Understood.
GIA
I need a producer, not a client.
IAN
I haven't slept for days. Lay with
me for a while. We don't have to do
anything. Just lay next to me.
48.
Gia sighs and looks at him with compassion and knows that
even a burned-out Ian can open a few doors for her -- maybe.
Genres:
["Drama","Music"]
Ratings
Scene
19 -
Arrival at the Viper Room
EXT. SUNSET STRIP -- NIGHT
Gia, parked on a steep hill off Sunset, jumps out of her car
and pulls a large shoulder bag out of her trunk. She lugs
the bag as she climbs toward Sunset in spiked heels.
EXT. VIPER ROOM -- MOMENTS LATER
Valet parkers set up their sign and podium.
INT. VIPER ROOM
Empty. Chairs are stacked on tables.
On stage: Johnny's goth punk band -- The Toy Guns.
Sitting at a table watching is Jaden. The drummer pounds out
an intro -- flips up his sticks, and catches them in the air
as the band plays a hard-driving tune.
LIZARD, the tatted manager isn't digging them.
LIZARD
Stop, stop.
JOHNNY
What's the problem, bro?
LIZARD
(beat)
Where's the girl?
Frankie, the bass player, steps to the edge of the stage and
points to Jaden.
FRANKIE
Jaden, get up here.
LIZARD
Can she sing?
JOHNNY
We're waiting on Gia.
Lizard throws up his hands, about to walk away.
FRANKIE
Jaden knows our songs.
JOHNNY
Get real, Frankie!
JADEN
Chill, Johnny, and give me a shot.
49.
Johnny runs after Lizard, who glares at him.
LIZARD
Your band has one thing I like and
she's not here, so forget it.
JOHNNY
Lizard... come on, dude.
LIZARD
It's after six, and I got shit to
do.
JOHNNY
She's on the way.
LIZARD
Dude, you bang a chick like Gia, but
you can't depend on them.
FRANKIE
Let's do our old set with Jaden. She
was nails before you found Gia.
JOHNNY
Cool it, Frankie. I know what I'm
doing. I got us this far.
LIZARD
No girl? No gig.
EXT. VIPER ROOM -- MOMENTS LATER
Gia approaches the front door with beads of sweat running
down her stressed face. ERICA HOLMES, Black,(30s), a toned
former athlete and the nonsense security guard, smiles at
Gia and lifts the robes to let her enter.
GIA
Am I too late?
ERICA
(concerned)
What happened to you, baby girl?
Erica reaches to take Gia's bag, their fingers brushing
lightly as Erica protectively guides Gia into the club.
INT. VIPER ROOM -- NIGHT
Lizard at the bar sips on a beer as Toy Guns readies on stage
to play. Gia strolls in with Erica right behind her.
Johnny signals for Gia to approach Lizard and calm him down.
50.
GIA
(energetic)
I know I'm late, but it's not my
fault. I was coming out of Starbucks,
right? This random tweaker grabs my
ass and tries to snatch my purse.
Lizard motions for her to join the group on stage. Gia
casually sways a few steps, then stops, bends over to
straighten her skirt, and hikes up her thigh-high stockings.
She turns back to see if he's staring at her -— he is.
GIA (CONT'D)
Lizard, I need a few moments.
LIZARD
OK, baby, get pretty for me.
Erica frowns at Lizard for flirting and escorts Gia toward
the dressing room.
Frankie glares at Johnny, who quickly moves to Gia.
JOHNNY
You look fine, so get on stage. Where
were you? Fucking Ian Lake?
ERICA
The girl was attacked, dude.
Johnny and Erica square off as if one might throw a punch.
GIA
Chill, guys. Johnny, I need a few
seconds to get myself together. Relax,
Lizard is not going anywhere now.
JOHNNY
If you fucked Lizard for the gig,
I'd be all cool with that, but Ian--
GIA
I've got this under control.
Johnny turns and strides away, leaving Gia to exchange a
meaningful glance with Erica.
GIA (CONT'D)
Be a sweetheart and get me a Coke?
Genres:
["Drama","Music"]
Ratings
Scene
20 -
Amidst Trauma and Determination
INT. VIPER ROOM/DRESSING ROOM -- MOMENTS LATER
Gia sits at the vanity, staring blankly at a glass of Coke.
SFX-- PRE-LAP -- The sound of crashing waves and jazz music.
51.
INT. ROD'S MALIBU BEACH HOUSE -- EVENING (FLASHBACK)
Gia (16) uncomfortably settles onto the couch, taking a big
sip of her Coke, while Rod watches her lustfully.
GIA
Did you add rum to this? Tastes weird.
ROD
No rum in that, babe.
Gia becomes giddy and appears drugged.
GIA
Can I play for you now?
Rod grins and guides Gia to her knees.
ROD
This is why you're here Gia--
INT. VIPER ROOM/DRESSING ROOM -- (PRESENT DAY)
Gia snaps out of it, shaken up and terrified.
In a fit of anxiety, she empties her shoulder bag and a mini
dress, heels, and her Jack Daniels spill on the floor.
She pours a shot of Jack into her Coke and downs it.
INT. VIPER ROOM STAGE -- LATER
Gia performs an upbeat song with the band. She moves and
dances like a rock star, selling a high-energy song.
Lizard's hungry eyes are glued on Gia while the smitten Erica
gawks like a lovesick fan.
EXT. SNAKEPIT LOUNGE -- NIGHT
A loud and busy local dive bar on Melrose.
INT. SNAKEPIT LOUNGE -- NIGHT
The music blasts as the crowded room of struggling artists
make the scene, down drinks, and hit on girls.
Gia and Johnny sit close together at a booth. Frankie and
Jaden sip Coronas across the table. Gia jots notes on a
cocktail napkin and speaks to them with determination.
GIA
We have two days to get a crowd.
Everybody has to hit their social
media hard. I'll drop a video and
blast it on Instagram and TikTok.
Oh, and Ian Lake will be coming.
52.
JOHNNY
We've got to find a better producer--
FRANKIE
Yeah, when was his last hit?
GIA
He's won five Grammys.
JADEN
In like what -- the "60s?"
GIA
Excuse me, guys, but what producers
do you have lined up to come?
Gia slides Frankie a crisp hundred-dollar bill.
GIA (CONT'D)
Buy us another round of beers and
get us all shots of Patron.
Frankie snares the cash, kisses Jaden, and heads for the
bar. Gia eyes the quiet Jaden and holds her hand out to her.
GIA (CONT'D)
Hey girl, let's go to the ladies'
room and talk trash about our men.
Genres:
["Drama","Music"]
Ratings
Scene
21 -
Untitled Scene
INT. SNAKEPIT LOUNGE/LADIES ROOM -- MOMENTS LATER
Gia and Jaden carefully touch up their makeup. Jaden then
turns to Gia and applies a bright red lip gloss to her lips.
JADEN
I'd kill for your lips.
GIA
(playfully)
You should -- they cost me enough.
JADEN
I see why he dumped me.
GIA
Johnny didn't dump you.
JADEN
You're hot as shit and got that voice.
GIA
Frankie is a chill guy.
JADEN
Yeah, and he doesn't cheat.
53.
GIA
You're saying that Johnny--
JADEN
Guys like Johnny always do.
GIA
That's the one thing I can't deal
with. He can look but not touch.
JADEN
How can you say that shit when you,
like, escort and fuck--
GIA
It's a business transaction, not
love. Yes, I fucking escort. I
wouldn't say I like it, but it keeps
a roof over our heads so Johnny can
write songs and hustle our gigs.
JADEN
Maybe you get off on escorting and
controlling men more than you know.
Her words hit Gia hard, but she deflects with...
GIA
We all like attention, don't we?
EXT. WAREHOUSE -- DAY
An industrial area, located deep in the valley.
INT. REHEARSAL HALL -- MOMENTS LATER
It's a rundown space used by struggling bands. Johnny, Gia,
Frankie, and the Toy Guns are in a rehearsal. Gia, in Daisy
Dukes, sheer top, and heels, dances to the beat.
Jaden enviously sits on the sidelines and listens.
RAFFY, (40s), the Iranian owner of the space, barges in,
points at his watch, then waves his arms for them to stop.
RAFFY
No mas, boys.
GIA
Come on, dude!
RAFFY
It's way past quitting time and the
room is booked.
Frankie and the band abruptly halt their performance, and
the guys begin to break down their equipment.
54.
Gia, not accepting the situation, steps forward toward them.
GIA
Frankie, guys, please wait.
(beat)
Raffy, we need more time.
RAFFY
Baby, this is a business.
FRANKIE
Who's running this band? We worked
two hours. Now, like, what, Gia is
calling the shots here?
JOHNNY
Chill, Frankie.
(beat)
Gia, we did say two hours.
GIA
Our harmonies still suck.
FRANKIE
We did loads of gigs before you,
with much less rehearsal time.
GIA
You were a big fuckin' hit in Hemet.
JADEN
They packed 'em in there.
GIA
This is LA, guys.
Johnny takes Gia aside and speaks to her in a hushed tone.
JOHNNY
We can't afford another hour.
Gia swaggers to Raffy and shoots him a flirty smile.
GIA
Raffy, help us out, babe?
RAFFY
Gia, you always hustle me. I've
already given you a free half hour.
Gia reaches into her jeans and hands him a crisp hundred.
GIA
That buys us three more hours.
RAFFY
One more hour.
55.
GIA
Come on, baby, work with me here.
Raffy weakens to her charms and takes the money.
An agitated Frankie glares at her.
FRANKIE
I'm due at work at three.
GIA
We're all making sacrifices for this.
(beat)
We've been working for a gig at The
Viper with a decent time slot forever.
We got one shot to make them notice
us. I bought us three more hours to
get us tight and ready to kick ass.
The band exchange looks and picks up their instruments.
GIA (CONT'D)
You guys are awesome.
As the band readies for the next song, Gia sneaks a swig of
Jack Daniels, and Jaden shoots her a judgmental stare.
Genres:
["Drama","Music"]
Ratings
Scene
22 -
Unresolved Conflicts
EXT. VIPER ROOM -- AFTERNOON
The marquee proudly displays the lineup, prominently featuring
Toy Guns. Gia leans against a nearby post, smoking, her gaze
fixed on the sign.
Erica approaches a take-out food bag dangling from her hand.
ERICA
Pretty cool, huh?
GIA
Yeah, very cool.
ERICA
Did you sleep last night at all?
GIA
Not really.
ERICA
Join me for a bite? I have plenty.
INT. VIPER ROOM -- MOMENTS LATER
The club is empty except for the girls sitting at a small
table near the stage. Gia and Erica share a Chinese chicken
salad and pot stickers. Gia effortlessly uses chopsticks,
while Erica eats hers with a fork.
56.
ERICA
I'm so clumsy with those.
GIA
You have to be patient, baby.
ERICA
That's not this girl. When I see
what I want, I go for it.
Gia takes Erica's hand and positions one of the chopsticks
in her right hand between her thumb and forefinger.
GIA
Now, hold it, but too tight. OK,
girl, try it. Just take it easy.
Erica dabs at the salad, squeezes, and lifts it to her mouth.
A drop of sauce dips down Gia's mouth. Erica picks up a
napkin. Gia takes it from her and cleans her face.
Erica's attention makes Gia uncomfortable, and she jumps up
onto the stage. She sways her body and then busts into dance
combinations. Erica watches her, bedazzled by Gia.
GIA (CONT'D)
I used fake IDs at fifteen here to
see Pink do a set with Steven Tyler.
Gia dances and Erica jumps on stage and joins her. Erica
places her arms around Gia and leans in close to kiss her.
Gia backs off and jumps off the stage. She gathers her
belongings off the table and heads for the exit.
Erica catches up with Gia, hoping to stop her from going.
ERICA
Have you ever been with a woman?
GIA
Sure, and she wanted to control me
and own my body, like every man I've
known since I was thirteen.
ERICA
She was the wrong woman.
GIA
(hurting)
Can't anyone in LA just be my friend?
As Gia struts to the exit, her sway eats away at Erica.
57.
EXT. IAN LAKE'S HOUSE -- AFTERNOON
Gia's car is parked outside.
INT. IAN'S LIVING ROOM -- DAY
Ian is fast asleep on the couch. Gia tugs at his arm.
GIA
Wake up, dude. It's tonight.
IAN
Tonight? Already? What are you talking
about? The sun is still out.
GIA
No, my gig is tonight.
Ian rubs his sleepy eyes.
IAN
What time is it now?
GIA
Four-thirty.
IAN
What time is your set?
GIA
Midnight.
IAN
That's a lifetime away.
GIA
I'm so nervous I'll mess it up.
IAN
You'll be fine.
His body eases back on the couch to go back to sleep.
INT. GIA'S CAR -- NIGHT
Gia sits alone in her car in front of Deena's building and
nervously talks on her cell.
GIA
Did you work with the lighting guy
to get all the cues for my song tight?
EXT. VIPER ROOM -- CONTINUOUS
Johnny stands in front of the club on his cell phone, talking
with Gia. Erica, busy managing the crowd, hears bits of their
conversation and cannot conceal her dislike of Johnny.
58.
JOHNNY
Yes. Where the hell are you?
INT. GIA'S CAR -- CONTINUOUS
GIA
I'll see ya soon.
INT. DEENA'S HOUSE. -- MOMENTS LATER
It is nicely decorated with eclectic furniture and vintage
pieces. Gia enters and offers a small, anxious smile.
Deena ignores her and stays busy with her tarot cards.
Gia crosses to the wood cabinet. She finds a bottle of TJ's
"Charles Shaw Merlot," and pours herself a large glass.
DEENA
Sit down so we can finish.
Gia reluctantly joins her. The mystical cards are spread out
on the table with their face down, so Gia can't see them.
GIA
(hopeful)
Mom, are you coming tonight?
DEENA
Lift the bottom card. Go ahead, Gia.
The picture depicts a man with his back to us, walking up a
rocky incline with eight cups in the foreground.
GIA
Eight of cups?
DEENA
It means stress and health problems.
GIA
I'm, like, so clean.
Gia coughs, then clears her throat and coughs again.
GIA (CONT'D)
Our set is at midnight. I will leave
you a couple of tickets at the door.
DEENA
I have to take Genesis to the vet
first thing tomorrow. She's so sick.
Gia firmly lifts Deena's cat, holding it aloft.
59.
GIA
Mom, I was in San Diego all those
years, and you came to see me like
three times, but for this cat--
Gia tosses the cat on the floor, and Deena retrieves it,
glaring at Gia as she pets it like a protective mother.
DEENA
I was married to Logan, and he was
battling his thyroid cancer.
GIA
It's not just fucking, Logan, who
grabbed my ass at your wedding. You
miss things, like letting Paul take
me to Cabo when I didn't want to go.
The room shakes, and dishes rattle as an earthquake hits.
Gia becomes terrified. The calm Deena takes Gia's trembling
hand in hers. In a second, the shaking stops.
DEENA
(lightheartedly)
It's like life, Gia. Sounds bad,
shakes you up, then it's over.
The cat pops up his head, then slithers back under the couch.
DEENA (CONT'D)
See, Genesis knew before we did.
GIA
Fuck your cat. Why did you insist I
go with Paul to Cabo? What lame hookup
did you party with that year?
DEENA
(heartfelt)
I was alone and broke, and I wanted
you to have a decent holiday.
A hurt Deena steps to the table and pours herself a wine.
Gia joins her, pours a glass as we MOVE IN on Deena's face.
SFX -- PRE-LAP -- Michael Bublé's sings "The Christmas Song."
Genres:
["Drama","Music"]
Ratings
Scene
23 -
Gia's Changed Behavior
INT. DEENA'S HOUSE -- NIGHT (FLASHBACK)
Deena (40) sits at the kitchen table with a small lit
Christmas behind her, flipping through her tarot cards. She
lights up seeing Gia (14) at the front door, wearing a Cabo
T-shirt, cut-off shorts, and a glowing tan.
A sullen Gia enters, lugging a suitcase. Paul(40) shyly
lingers in the doorway and manages a small smile.
60.
Gia doesn't say a word and rushes into her room.
Deena peers at Paul with a growing concern.
DEENA
What's wrong with her?
Paul nods and shrugs as Deena crosses to Gia's room. She
knocks on the door, waits, and then knocks again.
DEENA (CONT'D)
Gia?
Deena opens the door and finds Gia lying on the bed, crying.
She enters the room as Paul lingers in the bedroom doorway.
GIA'S BEDROOM
Deena turns Gia to face her and tries to change the mood.
DEENA (CONT'D)
You look great. I bet you got killer
tan lines to make me all jealous.
(beat)
Did something happen in Cabo?
Gia silently stares at Paul in the doorway.
PAUL
She met this older Mexican boy--
DEENA
You didn't do anything silly--
GIA
Chill, Mom. Diego was sixteen, and
we surfed and hung out at the beach.
He never touched me in that way.
Deena strokes Gia's hair and lowers her to the bed. She rises,
quietly exits the room with Paul, and closes the door.
LIVING ROOM
Deena walks with Paul to the front door. As he is about to
leave, she tugs at Paul's arm and peers at him. Deena's eyes
implore that she needs an explanation.
DEENA
Gia exaggerates but never lies.
Paul's eyes dart away, but Deena isn't satisfied.
DEENA (CONT'D)
What aren't you telling me?
61.
PAUL
I got rid of Diego by paying him a
few bucks to stay away from her, and
now Gia is all pissed at me, Okay?
INT. DEENA'S HOUSE (PRESENT DAY)
Deena's peering eyes look at Gia with empathy.
DEENA
You changed after that Cabo trip.
You started dressing tarty and was
fresh-talking me all the time.
GIA
You were so busy dating all your men
that I didn't think you noticed.
DEENA
I did, love. Gia, after Cabo,
everywhere we went, you'd act like a
bitch in heat to get men's attention.
GIA
I was just me, the men did the rest.
DEENA
You bloody encouraged them.
(beat)
Love, I'm not shaming you for being
pretty, but if something happened in
Cabo that time, please, tell me.
Gia is about to open up, then stops and deflects with...
GIA
Are you coming to my gig? If not,
it's all chill, just tell me.
(long beat of silence)
Maybe it would be better if you stayed
home with your sick cat.
DEENA
You must drive men crazy with all of
your mixed messages.
GIA
I got it from you, Deena.
DEENA
If I closed my eyes it's like hearing
your father. He'd want me at his
shows unless he was going to sing--
GIA
Daddy was a singer?
62.
DEENA
He could have been a big solo act,
like Sting. He had the voice like
you do. Daddy feared failing, so he
became famous as the hot guitar man
backing up stars, where he felt safe.
(beat)
Gia, you'll never fail until you
quit-- so never bloody quit.
GIA
Is that what Daddy did?
DEENA
He quit on me and you and his whole
life. If he had only lived long enough
to see you, he might have...
GIA
What?
DEENA
Knew that he belonged with us.
A teary-eyed Gia tentatively and awkwardly hugs Deena. Deena
breaks the embrace, then silently lifts Gia to her feet,
leading her out the door. Gia lingers, then utters--
GIA
I'll leave you a ticket.
Genres:
["Drama","Family"]
Ratings
Scene
24 -
Gia's Heartbreaking Performance
EXT. VIPER ROOM -- MOMENTS LATER
A crowd is lined up, with Erica in charge. Gia moves toward
the entrance, a cigarette hanging from her mouth.
Erica gushes, seeing her, but slips the smoke from her mouth.
INT. VIPER ROOM/DRESSING ROOM
Gia sits at the mirror and applies the final touches to her
makeup as her cigarette burns in an ashtray.
She takes a long drag, then exhales. Erica slips into the
dressing room, and Gia grinds out the cigarette.
GIA
Did you see Ian Lake?
ERICA
Yeah, he's here.
Erica lingers, admiring Gia, then exits. Gia finds the burning
cigarette butt, and she takes a last drag.
63.
INT. VIPER ROOM -- NIGHT
The Toy Guns are on stage performing a hard-driving song.
BACKSTAGE
Gia stands next to Jaden and waits for her cue.
Jaden offers Gia a hit of her vape, but Gia refuses and her
eyes scans the crowd.
THE AUDIENCE
The crowd lounges at tables and sips on drinks. An older
WOMAN at a table with her back turned waves at the waitress.
GIA BACKSTAGE
Her face lights up when she sees what she thinks is Deena.
WOMAN IN CROWD
Turns and is joined by her OLDER MALE DATE. She's not Deena.
GIA BACKSTAGE
She is disappointed and takes a big hit with Jaden's vape.
MAIN CLUB AND STAGE
Ian Lake sits at a table, half-listening to the band.
Crystal leans close to an attractive YOUNG GIRL in her 20s.
The song ends, and it gathers a small, polite applause.
The room goes dark as a quiet, eerie keyboard intro plays.
Gia's robust and heartfelt voice cuts into the dark.
GIA
She was alone. She was soooo alone.
A spotlight illuminates Gia, center stage and on her knees.
GIA (CONT'D)
Who was this dead girl? Who was this
dead girl? She. Was. Me!
The stage lights pop up! The band drives home the contagious
beat. Gia dances, moving her supple body with utter grace.
Ian enthusiastically grins and nods his approval. The song
reaches a crescendo and then stops, filling the room with
total silence. All lights go out except for the bright spot
on Gia, who sings a capella and lowers to her knees.
64.
GIA (CONT'D)
Who loved this dead girl, tonight!
Gia tries to force the following lyric, but her voice cracks.
Gia has lost her voice. Johnny's worried eyes dart to her.
THE AUDIENCE -- VARIOUS SHOTS
Ian's enchantment fades to concern.
Crystal grabs her date's hand, crestfallen.
A FACE shrouded in shadows, its staring eyes filled with
pain, observes Gia and silently cries out its sadness.
ON STAGE
Gia struggles to rebound. She rises to her feet, but her
mouth only produces a high-pitched squeal.
Johnny motions for the band to stop playing. The whole room
is now deadly silent. Ian watches, deadly worried.
BACK OF THE CLUB
The Face steps out of the shadows -- it's Deena. She is
devastated, fighting her emotions as she watches Gia.
ON STAGE
Gia clings to the mic, unable to move. The spotlight on her
fades until the room is once more ushered into darkness.
Genres:
["Drama","Music"]
Ratings
Scene
25 -
The Aftermath
INT. VIPER ROOM/DRESSING ROOM -- LATER
Gia stares at the mirror as a cigarette burns in the ashtray.
Ian leans on the door, crosses, and sits next to her.
IAN
For whatever it's worth, the audience
didn't know the difference.
Gia isn't buying it for a moment.
IAN (CONT'D)
Sinatra lost his voice for years.
Imagine losing that voice? But his
came back. As will yours, darling.
He takes the cigarette from the ashtray.
She lunges for it, but he steps away and glares at her.
Crystal steps into the room with her girlfriend. She
approaches Gia and gives her a big hug.
65.
CRYSTAL
Let me take you home. We can go on a
trip to Mexico and forget all this.
GIA
(raspy voice)
I ran away and lost fourteen years.
And with that, she begins to cough.
EXT. VIPER ROOM BACKDOOR/ALLEY -- LATER
Gia kneels by the dumpster, alone and broken. A disappointed
Johnny looms above her, sipping on a beer and staying quiet.
GIA
Chill, Johnny. Ian is hooking me up
with a doctor and says my voice will
come back. Take me home, baby?
Gia reaches for Johnny to lift her, but he turns away.
JOHNNY
I'm crashing at Frankie's tonight.
GIA
Seriously, dude?
JOHNNY
Gia, this disaster didn't just happen
to you. The whole band lost out.
(beat)
Let me know what the doctor says.
GIA
Get Jaden to sing for you again.
Hurry up, Frankie is waiting.
The guilty and confused Johnny slowly edges away, his
movements tentative as he retreats from the scene.
INT. VIPER ROOM -- LATER
The bright house lights expose the worn chairs and tables. A
BARTENDER quietly polishes wine glasses.
Gia sits alone on the stage, her face buried in her trembling
hands. A hand reaches out to her and the surprised Gia sees
it's Deena.
Gia lifts herself up and they stare silently at each other.
DEENA
I saw your Johnny boy run out. Fuck
him and come home with me tonight.
Gia pushes past her and strides toward the bar.
66.
GIA
Thanks for missing my show. You would
have loved it, I flopped.
Gia eases in a bar stool, lifts a rock glass, and points at
the Bartender. Deena steps over and leans on the bar.
DEENA
I saw the whole show from the back
and you didn't flop for a second.
GIA
Why didn't you sit at a front table
like Crystal so I could see my own
mother out there pulling for me?
DEENA
I was, love, with all my heart.
Gia reaches across the bar, finds a bottle of Jack Daniels,
pours a stiff drink, and takes a long gulp.
GIA
I'm stronger than you or Jerry Vee.
DEENA
Believe it, and things will change.
(caring tough love)
Until then, drinking will convince
your self-medicated mind that Gia's
problems are everybody else's fault
but yours. I went through this with
your father. I love you, Gia, and
always have, but I can't be any part
of your life until you get sober.
Deena lovingly touches Gia's hand and slowly exits.
Gia watches Deena leave and steps to follow, but then she
stops and pours herself another drink instead.
Genres:
["Drama","Music"]
Ratings
Scene
26 -
Gia's One Year of Sobriety
EXT. HOLLYWOOD HILLS -- DAWN
The hazy morning light settles on the multimillion-dollar
homes clinging to dramatically rising hills.
EXT. SUNSET STRIP -- MOMENTS LATER -- CONTINUOUS
Daybreak. Gia wanders down the abandoned street barefoot.
Gia returns to the spot where she parked her car. A sign
reads, "No overnight parking. Cars will be towed."
Gia wanders into the middle of Sunset. A bus bears down toward
her. She doesn't move, and the bus screeches to a halt.
DISSOLVE TO:
67.
TITLE -- ONE YEAR LATER
EXT. MELROSE SENIOR CITIZEN CENTER -- DAY
Gia hurries up the steps with little makeup, in a Dodgers T-
shirt, jeans, and track shoes.
INT. MELROSE SENIOR CITIZEN CENTER -- MOMENTS LATER
A crowded hall in the middle of an AA meeting. Gia, in the
front row, drinks a bottled water.
Next to her sits JAI JONES, (Black, mid-30s). He is handsome,
muscular, and has a classy style that screams success.
A FEMALE CHAIRPERSON at a podium holds out a bronze chip.
FEMALE CHAIRPERSON
Gia, please come up here.
Gia steps to the podium with a bashful smile. The Chairperson
hands Gia a bronze chip and gives her a small hug.
Gia clasps it and beams with pride and humility. She turns
to the members, who smile with love and loudly applaud.
PARKER CAIN, (50s), carefully watches Gia. He possesses
masculine features, with a scar on his aging face.
The Chairperson steps back, leaving Gia alone at the podium.
Gia sighs and reaches for words.
GIA
I'm Gia, and I'm an alcoholic. One
year sober today.
The crowd applauds and gives her love and support.
GIA (CONT'D)
I've been living in a state of anxiety
since I was fourteen. I was hurting
so badly inside and covered it by
playing the sexy bitch on Instagram.
The likes and attention felt good,
but never healed me. I drank and did
coke so I could stay in denial and
never admit that being the victim of
sexual abuse had damaged my soul.
Jai Jones, visibly moved, bows and nods in agreement.
GIA (CONT'D)
I blamed my mother, being raped, and
the music industry for my all of
problems. Staying drunk was a safe
place to shut down my fear.
68.
The Chairperson sitting behind Gia gleams at her.
GIA
I take responsibility for myself
now. It's pretty scary owning up to
yourself, and you guys inspire me.
Cain watches and takes in each word by Gia.
GIA (CONT'D)
Last night, I woke up from this dream.
I was alone on stage trying to sing,
and the audience laughed at me.
(beat)
Wow, I still have issues, right?
SHAY, 50s, a man with sadness in his eyes, is touched by her
honest share. He wants to show Gia love--
SHAY
(Southern accent)
The question is Gia, are you still
gonna get back up on that stage?
GIA
Anytime, they let me.
Genres:
["Drama"]
Ratings
Scene
27 -
After AA: A Chance Encounter with Music Promoters
EXT. MELROSE SENIOR CITIZEN CENTER -- LATER
The meeting is over. AA people linger on the steps. Gia trots
down toward the sidewalk, looking for someone. AA people
give her loving hugs and pats on the back.
GIA
Anyone see Jai Jones?
(disappointed)
Did he go already?
Shay, who moves with a limp, tentatively touches her arm.
SHAY
Gia, I'm Shay. It takes guts to start
over. I'd like to hear your demo.
GIA
Are you, like, a producer?
SHAY
I've written a few songs.
Gia is polite but not overly impressed. There is an awkward
pause. Cain approaches her from behind and touches her arm.
Gia jerks around. She notices Cain's scarred face, and her
eyes meet him for a second, then dart away.
69.
CAIN
I was moved by your share.
GIA
Wow, OK, thanks.
Shay stands a few feet away -- looking left out.
SHAY
(blurts)
Hey, Parker.
CAIN
(bitchy)
Shay Daley -- I didn't know you were
still alive, dude.
SHAY
I'm here, and I'm still making music.
Cain takes control and guides Gia away from Shay.
CAIN
I was wondering if we could talk?
GIA
I have to meet up with my band.
CAIN
I'll walk you to your car. If you
don't mind the company?
GIA
(apprehensively)
No, it's fine, I guess.
She turns to Shay and offers him a friendly glance.
SHAY
I'll see you around.
GIA
Are you always at this meeting?
SHAY
A few days a week. You can find my
music on SoundCloud under Shay Daley.
I'd like to hear your demo.
Cain firmly ushers Gia away from Shay.
CAIN
Don't waste your time with him. He's
a burnout who drives an Uber.
GIA
He seems chill.
70.
CAIN
He's a songwriter with one lame hit
in the 80s. He's nothing now.
The two proceed down Melrose Avenue.
CAIN (CONT'D)
I'm in the P.R. business and handle
big music clients and a few up-and-
comers like you. Do you mind giving
me a lift to Century City? I've got
no car since I lost my license.
GIA
I have a session in North Hollywood.
CAIN
A session? What, like, singing?
GIA
I hope, yes.
CAIN
Very cool.
GIA
My first one since I had my meltdown.
CAIN
Maybe I can help promote you.
GIA
I've got no funds for that.
CAIN
Who mentioned anything about money?
We're both in the program. We have
to pay it forward, right? Drop me in
Century City, and you can shoot up
the 405. Come on, what? Are you too
scared to accept a helping hand?
Genres:
["Drama","Music"]
Ratings
Scene
28 -
Strength and Redemption
INT. GIA'S CAR -- LATER
Gia drives as Cain stares at her with a quiet intensity.
CAIN
You know, we've met before.
GIA
At a meeting? I don't recall.
CAIN
No, through Crystal.
Gia veers to the shoulder stops the car and glares at him.
71.
GIA
What the fuck do you want?
CAIN
I'm hurt you don't remember. We did
the Sky Bar then two days in Vegas.
GIA
(coldly)
If you say so.
CAIN
I get paid big to promote people's
careers. We can work something out.
GIA
I'm in AA to work on my shit.
CAIN
Are you retired?
Gia swings out, walks around the car, and opens his door.
GIA
Get an Uber, dude.
He grabs onto her arm and yanks her back into the car.
CAIN
Stop acting like a hard ass. Part of
you would like to get down on your
knees now. It's where you belong.
GIA
I'm so over that life. I'm a singer
and a damn good one.
Cain waves a small ziplock bag full of cocaine.
CAIN
The Gia I knew before was hot. I can
open doors for you. You know you
can't sing without a little lift.
Gia struggles to resist but can't, so she fingers the bag.
CAIN (CONT'D)
Nobody at AA will know.
Gia lays a line on her cell phone and entices Cain to snort
it off. As he does, she flings the coke in his face while
the rest flies in the air. An enraged Cain rises, his watering
eyes blinded, and slams her against the car's window.
A POLICE CAR veers to the shoulder. They stop fighting and
play nice in hopes of distracting the cop.
72.
As the BLACK OFFICER struts toward them, Gia flashes him a
disarming smile and whispers sharply to the nervous Cain.
GIA
Keep your nasty mouth shut, and I'll
get your sorry ass out of this.
(perky to the Cop)
Hey, how are you doing, Officer?
INT. REHEARSAL HALL -- AFTERNOON
The band is reunited and plays in this bare-bones space.
Johnny, at the electric keyboards, peers to Gia, who is still
shaken up, and hears Cain's voice echoing in her head.
CAIN (V.O.)
On your knees now. It's where you
belong. You can't sing without a
little lift.
Jaden notices that Gia has trouble plugging her mic into the
mixer. Johnny takes her hand and pops the mic into the input.
JOHNNY
(warmly)
You, OK?
Gia covers herself with a small, forced smile. Johnny returns
to the keyboards and plays the intro and Gia begins to sing.
The song ends with an emotional belt from Gia, who is
exhilarated and exhausted. Feeling dizzy, she suddenly feels
unsteady on her feet. Johnny rises from the keyboard and
catches her. Jaden's hurting eyes reveal a touch of envy.
JOHNNY (CONT'D)
That rocked.
GIA
Did I go off-key?
JOHNNY
Not once. It's back.
(points to her throat)
Did something happen at AA?
Gia, unwilling to discuss it, fakes a smile.
JOHNNY (CONT'D)
You did the year and got the award.
It's time for you to, like, move on.
GIA
It's not a class.
73.
JOHNNY
So how long will--
GIA
My whole life.
JOHNNY
That sucks.
GIA
You don't stop being a drunk, you
just stop drinking. Johnny, it means,
like, everything you waited for me.
JOHNNY
I am a jerk at times. Lots of times.
I can't make it without you, baby.
Gia holds him tightly as if she could die in his arms. As
they embrace, Jaden jealously watches them. Frankie's hurting
eyes see Jaden's reactions to their romantic reunion.
FRANKIE
(abrupt)
Can we break this up and do a song?
INT. IAN LAKE'S LIVING ROOM -- EARLY MORNING
Ian is fast asleep, sprawled out on the couch. An empty bottle
of Ketel One vodka rests on the floor.
Gia sits in a comfy leather chair and eats cold cereal.
GIA
Get up, dude. I'll fix you breakfast
and then sing my new tunes for you.
She crosses to Ian and nudges his arm -- which hangs limp.
GIA (CONT'D)
(playful)
Ian? Wake up, dude.
He's still. Gia tentatively feels his chest and grabs his
wrist to feel his pulse. She's now freaking out.
A panicking Gia on her cell--
911 (V.O.)
911, what is your emergency?
GIA
He's not breathing.
911 (V.O.)
Who's not breathing?
74.
GIA
Ian.
911 (V.O.)
Was Ian taking drugs?
Gia glances over to him. He's still, with no signs of life.
GIA
Get over here. Ian Lake's house. I
don't know the address. In the hills.
I am calm. I don't know where I am.
No, I haven't done any fucking drugs.
Gia shuffles through his cluttered desk and knocks over stacks
of papers and demo tapes, searching for his address.
GIA (CONT'D)
I'm calm. I'm fucking calm, OK? I'm
looking for the address.
Ian's body falls off the couch. Gia moves closer to him,
about to touch him, when Ian's bloodshot eyes crack open.
IAN
What's all the bloody racket?
GIA
You're alive?
IAN
(dry Brit humor)
That's debatable, isn't it?
EXT. IAN LAKE'S HOUSE -- LATER
Gia leans on her car and smokes a cigarette. She struggles
with her building emotions of anger and disappointment.
Ian wanders out in his silk robe.
GIA
(cool and direct)
Ian, we have a meeting with Jai Jones,
like now, about you producing me.
He takes her cigarette away.
IAN
These have to go, love.
Ian takes a puff himself, then tosses it away.
GIA
My voice is fine.
75.
IAN
(heartfelt)
I have to get back to London or I
really will die. When I'm sober--
GIA
Get sober here. I did.
IAN
You are stronger than me. You are,
love. You don't need me. Believe in
your talent, I do. Now, get the hell
out of here and kick some ass.
EXT. SUNSET STRIP -- AFTERNOON
Gia, dressed to impress, jets out of her car and races down
the street. Her heel gets caught on the sidewalk, and she
stumbles. She regains her footing and hurries down the street.
EXT. STAIRWAY OF SUNSET RECORDS -- MOMENTS LATER
Gia races up the stairs. She has to dodge two SECRETARIES
blocking her path as they gossip and smoke on their break.
INT. SUNSET RECORDS -- LATER
Gia leans toward KEEKIE, a pretty Black receptionist in her
(20s) who is busy answering a text on her cell phone.
GIA
Please call Jai and tell him I'm
here? We have a meeting.
Keekie ignores Gia and returns to her texting.
Gia lowers back into a chair. She eyes the numerous publicity
shots of rock stars, posters, and awards on the walls.
Parker Cain struts into the office like he owns it. Gia spots
him and her eyes dart away. He steps up to Keekie.
CAIN
Hey, Keekie, what's up? Tell Jai
Jones, I'm here for my 11 o'clock.
Keekie grins and lights up for Cain.
KEEKIE
Sure, Parker.
CAIN
(flirting)
You're looking great.
76.
KEEKIE
Thanks, Parker. Wait till you see my
new headshots.
Cain enters the waiting area, spots Gia, and flashes a phony
smile. He then plops down next to her, but she ignores him.
CAIN
You know Gia, you have to stop
stalking me like this.
Gia glares at him and then moves over to another chair. He
follows and eases into the one next to her.
She tries to ignore him, but he's giving her the creeps.
CAIN (CONT'D)
(apologetic)
My bad. The incident in your car.
(beat)
So, who are you here to see?
GIA
Jai Jones.
CAIN
Small world. Are you here early?
(beat)
I can put in a good word with Jai
for you if you stop acting--
GIA
I don't need your help with Jai.
CAIN
Girls like you have a short window
in this business. Very short.
KEEKIE
Jai will see you now.
Gia rises and smirks at Cain.
GIA
Stay the fuck away from me.
KEEKIE
He wants to see Parker -- not you.
Cain rises, sporting a cocky grin. He glides his hand along
her arm, and Gia jerks his hand away and glares at him.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Confrontation and Heartbreak
EXT. STAIRWAY OF SUNSET RECORDS -- LATER
Gia follows Jai, who moves at a quick pace, down the stairs.
77.
GIA
How can you meet a creep like Parker
Cain and keep me waiting?
JAI
He's handling a new artist and was
on time. How come you were late and
where the hell is Ian Lake?
GIA
He's got a conflict.
JAI
A conflict? Like he bailed on you?
GIA
I'm here, and I'm the talent.
JAI
I got people waiting three months
for five minutes on the phone with
me, and you and Ian had a conflict?
GIA
Jai, how long you been sober?
JAI
Four years next month.
GIA
(vulnerable)
You've heard my old demo, so do you
think I've got talent?
JAI
What do you think? Inside?
GIA
When I'm on stage something clicks.
JAI
I've seen your act.
GIA
(blown away)
When? Why didn't you come over?
JAI
I wasn't there to socialize.
GIA
(vulnerable)
Ok, so, do I have it?
JAI
How old are you, baby?
78.
GIA
Thirty.
JAI
I took you for like thirty-five.
They like'em young now, baby.
GIA
What? I'm too old?
JAI
Forget Ian, depend on yourself and
make a new demo. Whatever it takes.
INT. GIA'S APT. -- CONTINUOUS
Gia opens the front door and steps into the living room.
GIA
Johnny?
Johnny steps out the bathroom, surprised and disheveled.
JOHNNY
What are you doing here?
GIA
I live here.
Gia steps toward the bedroom. Johnny quickly stops her, takes
Gia in his arms, and hugs her.
JOHNNY
I've been cooped up here all day.
(beat)
Let's score some sushi.
GIA
OK, that sounds cool.
She takes another step toward the bedroom.
JOHNNY
No need to change. You look awesome.
(beat)
Let's bounce.
Gia's eyes peer down, and she spots a high-heeled shoe. She
lifts it and scrutinizes it.
GIA
Not my size. Johnny, you've been
crossing-dressing behind my back or--
Gia cracks open the bedroom door. Jaden stands there, mussed
and ashamed, in her panties and bra. Gia calmly eyes Jaden's
colorful tats all over her thighs and shoulders.
79.
GIA (CONT'D)
I never saw all your ink before.
JADEN
I'm, like, so sorry, Gia.
GIA
(to Johnny)
At least you didn't fuck a stranger.
JOHNNY
She came over because Frankie gave
her a bad time and--
JADEN
That's a lie. We've been seeing each
other for a long time.
JOHNNY
Chill, Jaden.
JADEN
She should hear it.
GIA
And you guys hooked up when--
JADEN
You did all those meetings.
GIA
When I was at AA?
JOHNNY
You have been so into this sober
thing it was like you never wanted--
GIA
You want to do something for me right
now that will change all this?
JOHNNY
Anything.
GIA
Just... disappear.
JOHNNY
Cut with the drama. I was in your
corner even when you was a mess.
She gazes at Jaden with a knowing empathy.
GIA
The hot rockers do it to you every
time, don't they?
80.
Jaden sheepishly nods in agreement.
GIA (CONT'D)
Being delusional, I saw my father in
him. We girls play these head games
with ourselves.
(coldly at Johnny)
You didn't have his talent, but I
hoped you'd be a better man.
JOHNNY
You're so hung up on him.
(beat)
He's dead, and I'm alive!
GIA
You're dead to me now.
Gia opens a dresser, finds Johnny's gun, holds it in her
hand, and stares at him. He defiantly glares at her.
JOHNNY
Shoot me bitch. Yeah, kill me like
you did that Rod Mansfield.
GIA
You're not worth the lead. You never
did believe I was innocent, did you?
Gia holds the door open, waiting for them to leave. A guilty
Jaden nods and exits, while Johnny lingers in the doorway.
JOHNNY
You should've never gone to AA.
Getting straight fucked you up. I
liked you better when you was high.
GIA
I bet you did.
(beat)
And by the way, your songs suck.
Gia slams the door shut.
Genres:
["Drama","Romance","Music"]
Ratings
Scene
30 -
Unveiling the Past
INT. CRYSTAL'S CONDO/BALCONY -- AFTERNOON
Pinot Noir is poured into an elegant wine glass. Crystal
sips her wine and gazes across the table at Gia.
CRYSTAL
You should try one glass.
GIA
I can't have just one glass.
Gia pours Evian water into a wine glass.
81.
CRYSTAL
You always had discipline.
(beat)
How much do you need?
GIA
Enough to get my demo made.
CRYSTAL
I don't invest in showbiz ventures.
Back in the day, when I called myself
an "actress," for a minute, every
producer told me that. They never
used their own coin on a movie. Never.
GIA
You know lots of rich people. Come
on, Crystal. You can sell anything.
Crystal rises and peers at the peaceful tree-lined street.
CRYSTAL
(mischievous)
I might know one person.
EXT. ROD'S MALIBU BEACH HOUSE -- NIGHT
Gia, dressed in a little black dress and heels, appears
confused and uneasy as she stands on the porch.
EXT. ROD'S MALIBU BEACH HOUSE -- EVENING (FLASHBACK)
Gia yanks a guitar case from the back of a yellow VW Rabbit,
moves to the door, and rings the bell.
In an unbuttoned shirt, loose white slacks, and a cocktail
in hand, Rod opens the door and grins invitingly at Gia.
ROD
Gia, you found my little shack.
Gia takes a peek at his dimly-lit living room.
ROD (CONT'D)
Come in, love.
Gia hesitates a moment as we hear--
A MAN'S VOICE (PRE-LAP)
Gia... Gia.
EXT. ROD'S MALIBU BEACH HOUSE (PRESENT DAY)
Gia snaps out of her memory. DEVIN, (Black 20s), with dreads
and a purple sports jacket, looms in the doorway.
82.
DEVIN
Hi, Gia, I'm Devin. Look at you.
Your pictures don't do you justice
because, in person, you slay, girl.
He holds the door and waits for the hesitant Gia to enter.
INT. ROD'S MALIBU BEACH HOUSE -- CONTINUOUS
Gia cautiously enters, greeted by a breathtaking ocean view.
DEVIN reappears with a wine bottle in hand and two glasses.
GIA
I don't drink, just water.
DEVIN
Do you like coke?
GIA
Sure, Devin, the kind you drink,
right? No offense, but what is a gay
boy wanting to hook up with me?
Devin exits with a smile. Gia stands, eyes tracing the walls
adorned with artwork and promotional photos of five women in
glamorous gowns for "RICH HOUSEWIVES OF LA" reality show.
EVA (O.S.)
Are you a fan of the show?
Gia turns, startled, to find EVA, Rod's former assistant,
transformed into a polished woman in her (mid-30s).
GIA
Eva?
She warmly gestures for Gia to join her on the couch, where
the table with the wine awaits.
Devin, carrying a leather briefcase and a bottle of Coke
strides over to them and places the bottle on the table.
DEVIN
Anything else?
EVA
Not tonight. Oh, get back to CAA
about that contract first thing.
DEVIN
Will do. Good night, ladies.
Devin exits, leaving Eva and Gia alone.
GIA
You live here now?
83.
EVA
I always loved Rod's house and The
Housewives of LA have been good to
me. They are all bitches, but--
GIA
How did you and Crystal--
EVA
LA is a small town. And for ladies
like me who prefer the company of
other women, it's even smaller.
Eva raises her wine glass, Gia the Coke, and they toast.
GIA
You've changed -- I mean you were
into guys and in love with Rod--
EVA
As much as you were. I did have a
"the Daddy thing" for him. You helped
me get over that lapse of judgment.
GIA
Me?
EVA
Do you think you were the first girl
he brought here to drug and rape?
GIA
Eva, I had a feeling that you had--
EVA
Back in the day, it was the price
girls like us paid for access into
showbiz. Then, being young and fucked
up, I fell in love with my abuser.
Maybe that's happened to you Gia?
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Confrontation and Revelation
INT. PAUL'S DEN -- EVENING (QUICK FLASHBACK)
Gia (14) sits on his desk, and then kisses Paul on the cheek.
INT. EVA'S BEDROOM (PRESENT DAY)
Eva peers into Gia's telling eyes, sensing her pain.
GIA
Is it that obvious?
EVA
Damaged girls can see it in others.
GIA
Like me, Rod raped you here?
84.
EVA
MeToo stories are boring, don't you
think? We got the last laugh and
took care of Rod, didn't we, Gia?
Gia's mind ponders Eva's words and she remembers--
INT. ROD'S MALIBU BEACH HOUSE -- EVENING (FLASHBACK)
Gia desperately fights Rod who is on top of her. She digs
her nails into his neck.
GIA'S POV
Through her blurry, tear-drenched eyes, Gia sees a woman's
legs entering the living room.
INT. EVA'S LIVING ROOM (PRESENT DAY)
Gia's jogged memory has invoked a new realization.
GIA
Eva, did I kill him or was it--
EVA
We need to both bury that night.
(beat)
Crystal said you need funding for a
demo tape. I can make it happen.
As Gia gazes at Eva, she blinks, and her vision blurs
slightly, yet she fights to maintain focus.
GIA
What happened to my Daddy's guitar?
EVA
Paul Ford told the police it was
never here.
GIA
But you know different.
Eva defects with a coquettish gleam and extends her hand.
INT. EVA'S BEDROOM -- MOMENTS LATER
It's a feminine paradise from the pages of a romance novel
illuminated by a roaring fireplace. A queen-size bed with a
lace canopy sits atop a rich, white carpet.
Gia sprawls out on a velvet pillow on the floor, the soft
glow of the fireplace reflecting on her face. Clad in designer
lingerie, Eva gazes at Gia with longing eyes, which confuses
the woozy Gia.
85.
EVA
My heart raced the first time I saw
you in those jeans at the audition.
GIA
You acted so bitchy to me--
EVA
Jealousy, baby. I was closeted, and
it took a long time before I knew--
Eva leans in to kiss Gia, who returns the kiss and then nudges
her away. Eva's face is blurry and appears double to Gia.
GIA
What was in my Coke?
EVA
Relax, baby.
GIA
Wasn't making me come here like a ho
enough humiliation for you?
EVA
Please, don't see it like that.
GIA
Do you have a fucking clue of what
my life has been since that night?
Gia lifts her scarred wrists and pushes them into Eva's face.
GIA (CONT'D)
Committing suicide in slow motion.
EVA
Enough, Gia. Do you think you are
the only one who has suffered?
Gia attempts to stand up, but she sways and is wobbly.
Eva easily guides her down to the bed.
EVA (CONT'D)
You are safe now. Both of us are
totally safe. Chill with me, baby.
She playfully slips off Gia's heels and tosses them away.
EVA (CONT'D)
Can I please undress you now? We can
make this night so hot and special.
GIA
When I was drunk, I had sex for money,
but my love, it isn't for sale.
86.
EVA
(raw and revealing)
I had a lover once, but she left me
for a fucking man. She used me. Unlike
you, I can't enjoy love now unless--
GIA
You are in total control. Like Rod
needed to be. I feel sorry for you.
The outraged Eva paces to the fireplace, grabs the poker,
and slams it into the wood embers, causing sparks to fly.
EVA
You feel sorry for me? Look how I
live. You're a burnout who can't
even afford a demo tape. I'm on the
top of my game with a hit show--
GIA
And still think about offing yourself?
You've hated Rod so much you didn't
just kill him, you became him.
Gia jerks up, attempts to leave, but passes out.
The shamed Eva lowers the poker, eases next to Gia in bed,
and lovingly pushes the hair from her face. She glides her
fingers on Gia's scarred wrists and then gently kisses them.
EVA
I did use that guitar to protect you
from Rod. I was so freaked out that
I ran out. When I came back, it was
gone. I suspected a few people, but
I was so scared the police would
figure out that I killed Rod, I never
said a word. Can you hear me, baby?
Eva looks down at Gia's drugged, sleeping face.
EVA (CONT'D)
(sorrowful)
You are so right, us damaged girls
can clock each other.
Genres:
["Drama","Thriller"]
Ratings
Scene
32 -
Morning of Tragedy and Discovery
INT. EVA'S BEDROOM -- DAWN
Gia's eyes crack open as she wakes and rubs her pounding
head. Sitting up, she realizes she's fully clothed. Alone in
the room, she notices the other side of the bed untouched.
INT. EVA'S LIVING ROOM -- CONTINUOUS
Barefoot, Gia steps onto the floor, scanning the room for
any sign of Eva. Peeking through the windows, she observes
the ocean pounding against the shore.
87.
GIA
Eva? I need an aspirin.
INT. EVA'S BATHROOM -- CONTINUOUS
Gia cautiously cracks open the door, only to find her feet
drenched in bloody water.
Shocked, she stares at Eva's lifeless body, clad in lingerie
in the tub, her wrists slashed and hanging over the edge.
On the mirror, written in lipstick: "Gia forgive me."
INT. EVA'S LIVING ROOM -- LATER
In the bustling crime scene, POLICE swarm the house,
meticulously collecting evidence. A sullen Devin is being
questioned by a POLICEWOMAN, offering shrugs and tears.
Detective Gates, now in his (60s), sits with Gia on the couch,
jotting down notes.
GATES
So, Eva tells you, "We got the last--
GIA
Laugh and took care of Rod, didn't
we? When Eva worked for Rod, he had
drugged and raped her too.
GATES
Eva had his keys, and when she came
in that night, she saw him raping
you and hit him over the head--
GIA
With my Daddy's guitar.
GATES
No, Gia. I tested it and found no
signs of blood or his DNA. Why did
Eva do this? She had everything.
The case was closed for me.
GIA
When you have been raped like that,
the case is never totally closed.
INT. GIA'S APT. -- MORNING
Gia sits at her vanity, her gaze fixed on her reflection in
the mirror. She carefully examines the scars on her wrists,
lost in a moment of despair as she reflects on her past.
Her cell buzzes, and she glances at a mysterious message.
CELL SCREEN -- Can I C U 2day?
88.
A slight, wondrous grin lights up her face.
EXT. PAUL'S HOUSE -- DAY
Alexis piles into her Mercedes and drives off.
A GARDENER is busy putting up CHRISTMAS LIGHTS.
Gia approaches the house, and the gardener tips his hat.
Gia peeks into the window and sees a decorated Christmas
tree. Gia rings the bell, and Maria answers.
GIA
Feliz Navidad, Maria.
Maria gets emotional and hugs and kisses Gia, but she becomes
concerned when Gia begins to step into the house.
MARIA
You better not. Mister Paul isn't
here, and if Alexis finds you--
GIA
It's cool.
Maria weakens, and Gia enters the house.
INT. PAUL'S DEN -- MOMENTS LATER
Gia snaps cell pictures of the "Jerry Vee guitar." She then
lifts it from the rack and strums it.
EXT. PAUL'S HOUSE -- MOMENTS LATER
Alexis exits the car with Clay, now in his (20s), who wears
a navy uniform. He's boy-next-door handsome with an athletic
build. Clay lifts his navy-issue duffel bag out of the trunk.
ALEXIS
Don't they feed you in the Navy?
Clay smiles, and he moves toward the house.
CLAY
Maria will fatten me up.
INT. PAUL'S HOUSE -- MOMENTS LATER
Clay drops his duffel bag near the Christmas tree.
ALEXIS
I'm so happy you made it home.
CLAY
Me too, Mom.
89.
Clay warmly hugs Alexis. She hears her cell phone ringing,
breaks loose from Clay, and wanders to the kitchen.
ALEXIS
(joyous)
Clay is here.
A faint guitar playing catches Clay's attention.
INT. PAUL'S DEN -- CONTINUOUS
Clay stands in the doorway and lights up as he watches Gia
strum on the guitar and sing a soulful tune.
Maria enjoys the singing but is a nervous wreck.
MARIA
Please, Miss Gia, put it back.
CLAY
Let her be.
When she sees Clay, Gia lowers the guitar and hurries over
to him. They embrace, and then she steps back and gives him
the once-over, admiring his svelte figure in his navy uniform.
GIA
Wow, you're a real heartbreaker.
CLAY
Would you marry a guy like me?
GIA
In a second.
Alexis strides into the den, her gaze piercing at Gia.
ALEXIS
Maria, call 911.
CLAY
Mom, chill out.
(strong)
I invited her.
ALEXIS
(taken aback)
You didn't tell me--
CLAY
Do I have to?
The alarmed Alexis sees the guitar lying on the desk. She
steps over and carefully returns it to the rack.
ALEXIS
You know what this is worth?
90.
GIA
No, tell me, Alexis, what's it worth?
ALEXIS
Keep your hands off it.
The cold, controlling Alexis exits.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
33 -
The Guitar Center
EXT. GUITAR CENTER/SUNSET BLVD -- AFTERNOON
Gia enters the famed store with Clay.
INT. GUITAR CENTER/SUNSET BLVD -- MOMENTS LATER
It's a wonderland for musicians, with racks of guitars, drums,
and amplifiers. Posters of rock legends on the walls -- a
rock hall of fame and a guitar store all under one roof.
CLAY
This place is a trip.
Gia brings Clay over to a photo of Jerry Vee playing at a
packed concert hall with Linda Ronstadt.
GIA
He played with everybody.
CLAY
My dad sure has a thing for him.
GIA
More than you'll ever know--
CLAY
What do you mean?
Gia smiles, kisses him warmly, then looks at him with a
playful glint in her eyes.
GIA
Navy, you might be a Top Gun in the
sky, but you're still so innocent.
Clay takes her in his arms and kisses her. Gia reciprocates,
then abruptly steps back and walks away, shaking her head.
Clay hurries after her and spins her around.
CLAY
Girl, I fly a F/A-18 worth 80 million
in a war zone, so innocent I'm not.
GIA
I'm in the program and I am this
close to having a drink every day.
She opens her purse--inside is a small bottle of Jack Daniels.
91.
GIA (CONT'D)
I keep it in here to remind me that
the drunk Gia is still inside me and
to stay strong. Ending it with Johnny
was a matter of self-love, so I can't
get into a dysfunctional, long-
distance relationship with you--
CLAY
I'm Clay, not Johnny.
Gia takes his arm and leads him through the store.
GIA
Just be my friend, Navy.
INT. GUITAR CENTER/GUITAR COUNTER -- MOMENTS LATER
Gia shows the salesman, Renny (20s), a cell phone photo of
Jerry Vee's guitar. He admires it and smiles at Gia.
RENNY
Clapton still misses his, which was
ripped off fifty years ago.
GIA
What's it worth? Like twenty grand?
RENNY
Are you serious? A Les Paul Sunburst
owned by Jerry Vee? Is this all real?
This is no Photoshop deal here?
GIA
How much?
RENNY
Seven-fifty -- maybe a million.
CLAY
Dollars?
RENNY
Yeah. In an auction -- may be higher.
CLAY
Are you sure about that?
EXT. GUITAR CENTER/SUNSET BLVD -- LATER
Gia stands with Clay as a drunk HOMELESS MAN looms behind
them. The Man begins to act crazy, mumbling and clutching
onto Gia's arm. Clay pushes him away, but Gia stops him.
Glancing at the Man, Gia hands him a few dollars.
92.
CLAY
You're an easy touch--
GIA
I was homeless in San Diego for a
while and did things to get by. I'm
not a girl for a Navy Officer--
CLAY
Gia, nothing you can say will shock
or freak me enough to scare me away.
An Uber pulls to the curb, and Gia nudges Clay toward it.
INT. DEENA'S HOUSE -- NIGHT
Gia stares at Deena, who gazes away and pets her cat.
DEENA
Your father had nothing. He owed
money to everyone in town, and I was
expecting you in a few months.
GIA
Even back then, it was worth more--
DEENA
It was like a fortune to me. I also
put a down payment on this place,
and by renting the front house, we
were able to get by all those years.
Gia nods and lovingly touches Deena's hair.
GIA
(kind)
My bad. You did right, Mom.
DEENA
Getting sober has changed you.
GIA
In a good way, I hope?
DEENA
Yes, baby, and I'm so proud of you.
Gia, let go of the baggage weighing
you down, like Daddy's guitar.
GIA
You had him in your life, so it's
easy for you to not care who owns it
now. When I hold it in my hands and
play it, it's like he's with me.
Deena is moved by Gia and rests her head on Gia's arm.
93.
Genres:
["Drama","Romance"]
Ratings
Scene
34 -
Christmas Reflections and Conflicting Emotions
EXT. HANCOCK PARK STREET -- NIGHT
As a fine mist and fog roll in, Gia stands under a dim street
light across from Paul's house, fixating on the brightly lit
home adorned with colorful lights.
GIA'S POV
Christmas music wafts through the dense night air as she
watches Paul and Alexis host a small holiday gathering in
their festively decorated living room.
INT. PAUL'S HOUSE -- CONTINUOUS
Clay politely nods at the guests but appears preoccupied. He
steps away from them and stands by a window. He raises his
cell, pauses, deliberates, and then starts to write a text.
EXT. STREET OUTSIDE PAUL'S HOUSE
Gia gazes at his arriving text.
CELL SCREEN -- From Clay -- Where are you???
Gia's cell dangles in her hand as her mind drifts--
SFX -- PRE-LAP -- Christmas music.
SERIES OF FLASHBACK SCENES
INT. PAUL'S DEN -- NIGHT
As the holiday music drifts in from the living room, Gia
(14) slips the guitar off the rack in a cute Santa's Helper
outfit. She begins to strum it and hums a song.
A tipsy Paul, holding a drink, enters. Gia seems frightened,
stops playing, and is ready to return the drink to the rack.
PAUL
No, please play.
Gia quietly strums it as Paul inches close and looks at her
with an intensity that makes her uncomfortable.
Paul goes through a desk drawer and finds an old, faded photo
of a pretty teen boy with longish hair playing guitar. He
shows it to Gia, who looks at it carefully.
PAUL (CONT'D)
Jerry at fourteen.
GIA
He looks like my twin.
Paul glides his fingers down Gia's hair and kisses her. She
jerks up back, confused and wanting to leave.
94.
PAUL
It's a Christmas kiss.
Gia relaxes slightly but remains tense as Paul takes the
guitar out of her hands and returns it to the rack. He reaches
into a drawer in his desk and reveals a wrapped present.
GIA
I should get back to Mom.
He shushes her to stay quiet and motions to Gia to sit on
her lap. She tentatively sits and he hands her the gift.
He leans to Gia, gazes at her, and kisses her again with
more passion. The confused, fragile Gia returns the kiss and
then jerks back her head as tears stream down her face.
INT. GIA'S BEDROOM -- NIGHT
Gia (14) sits alone in her room, packing a suitcase.
DEENA (O.S.)
Gia, hurry, Paul is on his way to
take you to the airport.
Gia opens the Christmas gift from Paul. She glides her hands
over a pair of designer white lace lingerie and matching
pump heels with a mixture of fear and excitement.
Deena (40) knocks on the door and sticks her head in the
room. Gia quickly stuffs her present into the suitcase.
DEENA (CONT'D)
I am jealous, Gia. You get New Year's
Eve in Cabo, while your Mum brings
in the New Year with Dick Clark.
Gia quietly nods as she zips her suitcase. The new shoe gets
caught in the zipper, and Deena steps over to help. Gia frees
the shoe and hides it under her clothes.
DEENA (CONT'D)
Got everything you need?
Gia covers her nerves with a small smile.
FLASHBACK SERIES ENDS
EXT. STREET OUTSIDE PAUL'S HOUSE (PRESENT DAY)
Gia's memory has upset her. She opens her purse and fingers
the bottle of Jack Daniels, so tempted to take a sip. Instead,
she gets her cell and taps out a text.
CELL SCREEN -- Meet me at The Snakepit -- if you dare!
95.
INT. PAUL FORD'S HOUSE -- MOMENTS LATER
Clay reads Gia's text and smiles.
INT. SNAKEPIT LOUNGE -- LATER
Amidst the rocking music and noisy crowd, Gia sits quietly
alone at a table, lost in self-reflective emotions.
REMA, 20s, a tatted waitress brings over a shot of Patron.
GIA
What's this? I ordered a plain Coke.
REMA
The dude at the bar said to buy you--
Gia stares longingly at the shot, ready to down it. Then she
stops and peers to Johnny, sitting at the bar.
GIA
Thanks, but no.
A drunk Clay enters the bar, works through the crowd, and
joins her at the table, holding a beer.
CLAY
Hey, Merry Christmas, Gia. I had a
few cocktails before I came.
GIA
I see. How did you get out of Santa
Barbara with Alexis and Daddy?
CLAY
Trips with Paul and dear Alexis are
a total drag without my babysitter.
GIA
Naval officers don't get babysitters.
Jaden exits the bathroom in a sexy "Santa's Helper" outfit.
Johnny guides Jaden onto his lap and shares a deep kiss.
Gia reacts with a tinge of jealousy. Clay notices Gia's
distress, and sensing the moment, he leans over and kisses
her, and Gia responds with passion.
Clay notices Gia cheating a glance at the jealous Johnny.
CLAY
Was that kiss for me or him?
GIA
My bad, Clay. I'm still a hot mess.
Wise up and forget me.
96.
CLAY
Fuck that talk. Alexis is so damn
afraid I'll fall for you, and my Dad
says you're nothing but trouble.
GIA
I guess he should know.
CLAY
He knows Jack. I take you with me
whenever I fly missions. See--
Clay reaches for his cell and shows it to her.
SCREEN
A cute photo of Gia and Clay hugging each other at the beach.
BACK TO GIA AND CLAY AT TABLE
CLAY (CONT'D)
It was shot the day before my final
flight test, and I was so scared--
GIA
You hid it well--
CLAY
You calmed me down that day, and
now, on every mission I fly. I didn't
tell you, but you are my beneficiary
if, like, I get shot down—
GIA
Why did you do that?
CLAY
A soldier needs someone, and you
have always been that someone to me.
Gia leans across the table and kisses Clay. Their eyes meet,
and the feeling between them feels genuine and honest.
Genres:
["Drama","Romance"]
Ratings
Scene
35 -
A Bittersweet Farewell
INT. PAUL'S HOUSE/LIVING ROOM -- LATER
Gia and a buzzed Clay sit under the bright Christmas tree.
Clay lifts a small gift and hands it to Gia.
CLAY
Open it.
Gia tears off the wrapping and discovers it's a Native
American Turquoise and silver bracelet. Gia is touched, slips
it on, holds her wrist up, smiles, and then kisses him.
GIA
I don't have anything to give you.
97.
CLAY
Yes, you do.
Their longing eyes meet.
Clay places his arms around her shoulders.
GIA
Ever make love in your parent's bed?
CLAY
You are a naughty girl.
GIA
I asked you to make love to me.
Gia helps the woozy Clay to his feet. He begins to kiss Gia,
who reciprocates, and she steadies him on his feet.
CLAY
Right now, baby, I'm flying so high
on the ground...
Gia smiles and starts to hum as she holds him up.
GIA
(sings)
I'm flying so high on the ground--
CLAY
Are you stealing my lyrics?
GIA
Would you still love me if I did?
CLAY
Absolutely.
INT. PAUL AND ALEXIS'S BEDROOM -- CONTINUOUS
In the lavish and dimly lit room, Gia kisses him. Clay
stumbles, loses his balance, and falls onto the bed. She
sits beside him, gently shaking his limp arm.
GIA
Clay?
He's out cold. She admires her new bracelet, gently slides
it off her wrist, and places it next to him.
INT. PAUL'S DEN -- MOMENTS LATER
Gia carefully lifts the guitar from its rack just as Clay,
rubbing his eyes, stumbles into the room. He holds the
bracelet in his hands as his hurt eyes stare at her.
98.
CLAY
This was a gift -- without conditions.
Gia reaches into the closet, retrieves Jerry Vee's sticker-
covered guitar case, and places the guitar in it.
GIA
Please change your beneficiary. I'm
a fucked-up girl trying to stay sober,
and not right for you.
CLAY
Pilots have groupies, too. I had me
plenty of hot girls begging to get
married. When we kissed in the club,
it was real, and you know it.
Clay slips the bracelet back onto her wrist. Gia kisses him
quickly and hurries out of the den with the guitar.
INT. GIA'S APT. -- LATER
She opens the guitar case and lifts out her Dad's Sunburst.
Her fingers touch and glide across the Jerry Vee insignia.
INT. GIA'S APT. -- DAY
Gia and Shay collaborate on a song. Shay works his magic on
an electric keyboard, and Gia plays her Daddy's guitar.
She holds the final note, ala Linda Ronstadt.
The thrilled Shay beams at her.
SHAY
I heard my song sung before, but
never like that -- damn, girl.
Gia flips open the guitar case and hovers over it.
GIA
I see Paul replaced the padding.
SHAY
With all those stickers, the case
must be worth a pretty penny, too.
Gia carefully places the guitar back in the case.
GIA
Can I trust you with this?
Shay knows it's wrong -- but he can't refuse her.
SHAY
You can crash by me if you like.
99.
GIA
You know what's so chill about you?
I know you have a thing for me, but
you always make it about the music.
SHAY
They'll come looking for you. I mean,
is there any safe place for you?
Gia ponders, then flashes him a confident smile.
Genres:
["Drama","Romance"]
Ratings
Scene
36 -
Guitar Confrontation
EXT. HANCOCK MANOR CONDO -- AFTERNOON
A PIZZA DELIVERY MAN holds a pizza in a warmer.
INT. HANCOCK MANOR CONDO -- LAUNDRY ROOM -- MOMENTS LATER
Busy at a sink, Gia rubs a stain out of a sheet. Her eyes
snap to alert when she sees the man entering with the pizza.
PIZZA MAN
(shyly)
Gia, right?
GIA
Gia, yeah, that's me.
(beat)
Let me get my purse.
Gia moves to a counter -- hunting for her wallet.
She turns and is startled by Pizza Man standing right behind
her. Gia senses trouble and reaches for her cell.
PIZZA MAN
You've got no one to call.
GIA
If you're from Wilshire Vice, I'd
like to see your ID and the name of
your watch commander.
PIZZA MAN
You've been around, huh?
He takes out his ID and shows it to her. She examines it
carefully and then glares at him.
GIA
Mr. Riley? You're no cop.
PIZZA MAN
Retired. LAPD for over twenty years.
They stalk each other in the stark light.
100.
GIA
How'd you find me?
PIZZA MAN
It's no trouble to track a cell.
GIA
Paul is too spineless to deal with
his messes. Always has been.
PIZZA MAN
(calm, but direct)
Give me the guitar. End all this
now, and you will walk away free.
He holds out an envelope and places it on the counter.
GIA
What's that?
PIZZA MAN
(firm)
I'm leaving with the guitar.
Gia opens the money-filled envelope. She nods, drops the
bills into the soapy sink, and runs water over them.
GIA
Why do you think Paul didn't call
the police and instead sends you?
PIZZA MAN
He's doing you a favor.
Gia snatches the wet money and defiantly tosses it into a
dryer, then turns to him with an undaunted glint in her eye.
INT. PAUL'S DEN -- LATER
The Pizza Man stands as Paul sits at his desk and listens.
Clay stands silently near the empty guitar rack.
PIZZA MAN
You want your guitar back? Let me
get tough with this, Gia.
PAUL
This requires finesse. I want to
protect Gia from... a bad scene.
Paul stares down at the curled bills on his desk that he
returned. He lifts one and stares at it with amusement.
PIZZA MAN
Can you believe that?
101.
Clay quietly listens -- growing more upset.
PAUL
(fondly)
You don't know Gia.
PIZZA MAN
What was your relationship with her?
PAUL
(covers)
She was just our babysitter.
Clay makes eye contact with Paul, revealing his hurt and
doubt. Paul's guilty eyes dart away from his son's glare.
PIZZA MAN
I've seen this before. What, you
made her feel like family? She flips
out and steals from you. This girl
is unstable. Call the LAPD.
PAUL
(firm)
No. This stays in the family.
Clay steps to the money. He glances at it, then back at Paul.
EXT. PLAYGROUND -- AFTERNOON
Clay sits on the jungle gym. A cute five-year-old WHITE BOY
plays on the swings with his Latino nanny.
Gia approaches. Clay gives her a hug that lingers as the
playful laughter of children echoes in the background.
She backs off from his embrace. He notices Gia is wearing
the turquoise bracelet. Clay holds out the envelope.
She won't take it. He steps up on the jungle gym and glances
at the boy, who giggles as he plays with his nanny.
CLAY
You made me climb this blindfolded.
I was afraid of heights. It worked.
(beat)
I was trying to impress you.
GIA
You knew me through the eyes of a
sheltered child. When I left your
house, I went back to my own life.
CLAY
You never said anything about it.
102.
GIA
Your house was my private Disneyland.
Food in the fridge and HBO on a wide
screen. I lied to boys and said it
was my house. Back at home, when
Deena's boyfriends came over for the
night, little Gia slept in the car--
CLAY
My dad changed that.
GIA
Did he, really?
(fights emotion)
On the Cabo trip, the day you went
sailing with Alexis -- he made me
wear the lingerie he gave me for
Christmas and touched me....
CLAY
Why didn't you report it?
Gia steps close to him, forcing him to face her. In Gia's
wounded eyes, he sees the undeniable truth of the story.
GIA
Report it to whom? He's got money,
connections, and power. Nobody was
looking out for me. No one. He made
it seem to Deena that it was that
surfer boy Diego who messed with me.
(beat)
You tell him he can keep his money,
but I'm keeping my Daddy's guitar.
Genres:
["Drama","Thriller"]
Ratings
Scene
37 -
Invitation to the Viper Room
INT. GIA'S CAR -- MOMENTS LATER
Gia drives, attempting to recover from Clay and the haunting
memories when her cell phone rings.
GIA
(voice quivers)
Ian, what's up? Thought you were--
IAN (V.O.)
Drop by the house, will you?
GIA
Not a good day.
IAN (V.O.)
Just fucking get here, love.
EXT. IAN LAKE'S HOUSE -- LATER
Gia exits the car and moves to the front door.
103.
INT. IAN'S LIVING ROOM -- MOMENTS LATER
It's clean and orderly. Gia looks around. Amazed.
Ian steps out, sipping a Perrier. He's dressed in pressed
slacks and a crisp white shirt. He's cold-stone sober.
IAN
Have a seat, love. So, my little
meltdown was a wake-up call to me.
GIA
Aren't you going back?
IAN
Yes. Next week. Something came up
that I'd like you to be part of.
GIA
No way, Ian. My party girl days are
over.
IAN
This involves your voice.
GIA
Phone sex?
IAN
Will you sit down and shut up?
GIA
I'm warning you, no funny stuff.
IAN
A few Brits in bands back in the day
are doing a set at the Viper Room
tonight. Stevie Nicks was singing
with us, but she had a conflict. So,
I want you to take her place.
Gia paces and pulls a cigarette out of her purse.
GIA
Come on, Ian. Me? Sing in place of
Stevie Nicks? I'm, like, so not buying
that one. I've had a tough day, and
I'm not in the mood to--
IAN
How well do you know 80s music?
Gia smiles -- wondering if this is a gag or a genuine offer.
GIA
Mom had the Fleetwood Mac album, and
I'd sing Landslide over and over.
104.
IAN
Let's hear it.
Ian slips the cigarette from her hand and tosses it aside.
Gia is apprehensive, but then she launches into it.
GIA
(singing)
Took this love and I took it down.
IAN
Brilliant. Be there by ten. And we'll
do your song too.
GIA
My friend Shay has this great tune,
but the band doesn't know it.
IAN
Darling, the boys can punt through
it. The set starts at 11PM. The
word is out, so it'll be a mob scene.
GIA
This is for real?
IAN
Totally.
GIA
Wow. Do we get a rehearsal?
IAN
No. Gotta wing it. Can you do it?
GIA
(determined)
Text me the songs we're doing.
IAN
Absolutely.
GIA
I don't know how to thank you.
IAN
If I recall -- you already have.
Genres:
["Drama","Music"]
Ratings
Scene
38 -
Confrontation outside Gia's Apartment
INT. GIA'S CAR -- LATER
Gia talks a mile a minute on her cell phone while driving.
GIA
Jai, I'm singing with all those guys.
105.
EXT. SUNSET RECORDS -- CONTINUOUS
Jai, genuinely thrilled about her news, stands in the street
on his cell, talking to Gia.
JAI
I'm so there and will invite a few
folks. Geffen, if I can get him.
(beat)
Gia, stay straight. This could help
more than any demo. Doing a gig with
big names can freak ya, so stay cool.
INT. GIA'S CAR
She screams joyfully, turns on a tune on the radio, and pounds
out a rock beat on the steering wheel.
EXT. PAUL'S HOUSE -- MOMENTS LATER
Clay looks at his cell and brings it to his face to read.
CELL SCREEN -- text from Gia -- Gig at Viper Room. Be there.
BACK TO CLAY
Her message makes the thrilled Clay smile.
INT. 7-11 STORE -- LATER
Gia opens the refrigerator case, grabs a ROCKSTAR and a Coke,
and places them on the counter.
GIA
Pack of Marlboro.
The clerk places the cigarettes on the counter, but Gia
changes her mind and pushes the Marlboro back toward him.
GIA (CONT'D)
Just the drinks.
She checks her cell and reads a text from Johnny.
CELL PHONE --"Viper 2'night a bust." "You'll die Bitch!."
His threatening, violent message rattles her.
EXT. GIA'S APT. -- CONTINUOUS
Gia walks, her head down, as she digs for her keys. Then her
eyes come up, and she stops dead in her tracks.
GIA
What are you doing here?
106.
VIEW OPENS TO REVEAL--
Clay and Paul are waiting at her door. No words are said,
and the vibe becomes tense as the silence grows.
Gia wants to move past them and go into her apartment.
GIA (CONT'D)
I'm in a hurry--
Paul defects the tension by shooting her a warm smile.
PAUL
Clay says you have been staying sober,
and that makes me happy to hear.
GIA
Ian Lake got me booked--
PAUL
At The Viper Room tonight.
GIA
It's a big gig -- with stars. It'd
be so chill if you come and root--
PAUL
I wish you luck, really, I do. After
all, I was the one paying the bills
at Marborough, and I've always wanted
the best for you.
(beat)
You need to return my guitar.
Gia shoves at Paul, and he retaliates.
Clay negotiates between them in hopes of calming things down.
CLAY
Let's all chill out.
PAUL
I had enough of her drama.
(beat)
Hand over my guitar.
Clay takes Gia's house keys and opens the door. Gia enters,
and Clay blocks the door and stays outside with Paul.
CLAY
This isn't the way to work this out.
PAUL
You don't know this girl like I do.
107.
Genres:
["Drama","Music"]
Ratings
Scene
39 -
Family Confrontation
INT./EXT GIA'S APT. -- CONTINUOUS
Gia hears hushed, raised voices through the door. She moves
to the closet and pulls out the guitar case.
CLAY (O.S.)
Give it to her, for just tonight.
PAUL (O.S.)
Why?
CLAY (O.S.)
You owe it to her.
A tense Gia strums the guitar and gazes up at Paul and Clay
entering her living room.
GIA
Tonight means everything to me--
CLAY
She's got a show to do, so let's
give her space to get ready.
PAUL
You ask me for favors after you lie
and pin my own son against me?
Paul pushes past Clay and lunges for the guitar. Gia struggles
to hold on, but Paul wins and rips it from her hands.
Clay shoves Paul down to the couch and takes the guitar.
CLAY
It wasn't until this moment that I
believed what she said was true.
PAUL
She's lying about Cabo and what
happened that weekend--
GIA
Clay, think about when you found me
alone and crying by the ocean -- and
remember that Paul stopped having me
babysit you when we got back--
PAUL
Because she was taking drugs.
CLAY
She never was, Dad--
PAUL
You want this burned-out bitch, take
her. But give me back what's mine.
108.
CLAY
Not until you admit what you did to
Gia's face and apologize.
PAUL
She and you can both fuck-off.
CLAY
If you want to hold onto the little
respect I still have for you, come
clean with Gia right now.
Clay glares at Paul and waits and waits for his father to
own up to his sins. Clay has had enough and marches out to--
THE SECOND-FLOOR LANDING
Paul follows Clay out as Gia looms behind, watching them.
Clay leans over the railing -- ready to drop it.
PAUL
OK, I might have kissed her a few
times. This girl had been with plenty
of men before me, and she coaxed me--
Clay lets the guitar dangle from one hand.
CLAY
Apologize.
GIA
I fuckin' trusted and loved you--
PAUL
And you betrayed me like your father.
GIA
How did Daddy betray you? By not
listening to you and marrying Deena?
CLAY
Apologize, or I toss it--
GIA
You can't even give me that--
PAUL
Fuck this, I'll call LAPD, and you
will spend the night in jail, not at
the fucking Viper Room.
GIA
You would ruin my one night I have
to show people I am more than a mess?
109.
PAUL
In a heartbeat.
The angry Gia runs inside, gets the guitar case, and slams
it on the pavement so hard that the padding falls out.
GIA
Take it and leave me the fuck alone.
Paul kneels to gather the padding.
Gia's attention is caught by seeing something in the case.
CLOSE -- INSIDE THE CASE
Faded blood stains on the weathered, ragged cloth bottom.
Gia drags the case away from Paul as her mind drifts to--
Genres:
["Drama","Thriller"]
Ratings
Scene
40 -
Confrontation and Catharsis
INT. ROD'S MALIBU BEACH HOUSE -- NIGHT (FLASHBACK)
A dazed Gia lays next to Rod, his head drenched in blood.
GIA'S POV
Her blurry vision notices Paul looming over her, and she
jerks up and raises her head toward him.
He gently lowers her head, pushes the blood-matted hair from
her forehead, reaches for the blood-dripping Jerry Vee guitar
next to the dead man, and holds it in his hands.
EXT GIA'S APT. -- (PRESENT DAY)
She glares at Paul, who stuffs the padding back in the case.
GIA
Yes, Paul, call the police and try
to explain these blood stains.
PAUL
(reeling)
I was in Big Bear that weekend.
GIA
Wonder Boy saw my post. Didn't he?
Clay glares at Paul, who rises, and gazes away.
GIA (CONT'D)
Alexis was doped up on Valium, and
Clay was asleep. When "Wonder Boy"
arrived at Rod's, Eva was gone, but
not the guitar. You took it home and
cleaned off the blood.
110.
PAUL
You can't prove any of that.
GIA
(heartfelt)
You were in love with my father and
used me to keep him alive. I blamed
myself for you making me into your
private little whore. I nearly drank
myself to death trying to kill that
memory and shame away. I'm taking
back what was his and what's mine.
Gia steps over to Clay, takes the guitar from him, and strums
it in Paul's face, waiting for him to make a move.
INT. VIPER ROOM/DRESSING ROOM -- LATER
Ian and the three 80s Brit rockers, including David A Stewart,
(The Eurythmics) crowd around the nervous Gia. She touches
her bracelet, fingers her cell, and taps out a text to Clay.
CELL SCREEN-- "Please come- Luv ya."
DRESSING ROOM
Ian eases Gia's cell out of her hands.
IAN
(encouraging)
Listen, love -- I'll do a short set
with my mates then you come on and
kill it. You can do this, OK?
The band members filter out of the dressing room.
GIA
(insecure)
How do I look?
IAN
Smashing.
Gia starts to cough, and she takes a long gulp of water.
GIA
What if my voice goes?
He calmly shakes his head, shoots her a comforting smile,
then leaves. Then, Erica pops her head in the doorway.
ERICA
No sign of that creep, Johnny, but
if he shows, I got your back.
GIA
Is Clay here?
111.
ERICA
Nope, I haven't seen him. I think
David Geffen is here, though.
After Erica leaves, Gia sighs, attempting to calm her
performance anxiety. She opens her purse and retrieves a
pint of Jack Daniels. After staring at it for a long moment,
she tosses it into the garbage can.
INT. VIPER ROOM STAGE -- LATER
The band finishes an 80s hit song, and the crowd goes wild.
Ian smiles and steps to the microphone.
IAN
Cheers. Thank you. Really nice.
Johnny sits in the back of the club with Jaden. When she
reaches out to touch him, he rudely pushes her away.
JADEN
You know what sucks more than you?
(beat)
That I hurt Gia.
Jaden's moral compass wins over her "Johnny obsession," and
she gets up and finds a place in the back of the club.
Johnny slips his hand under his shirt and touches his gun
tucked underneath it.
A PURPLE-HAIRED WAITRESS brings Johnny beers and a shot.
Erica, who stands a few feet away, is locked on him.
BACK TO IAN ON THE STAGE
IAN
Ladies and gentlemen, please give up
a little love for -- Gia.
The crowd applauds and whistles. Gia hesitantly steps to the
mic, tentative and humbled. She nervously taps the mic and
tightly holds onto her father's guitar.
GIA
I hope you feel the same about me
after I sing.
(beat)
My daddy, Jerry Vee, once played
here.
The crowd cheers and applauds.
GIA (CONT'D)
Thanks for remembering.
Her eyes scan the crowd as we do a 360 pan of the room.
112.
Jai Jones, at a table, beams up at Gia. Lizard at the bar
grips a beer and toasts Gia. Crystal, with Deena both beam
with pride, while Johnny glares at her with drunken hate.
A standing Shay nervously watches while Jaden, in the back
of the club, shows Gia love and support.
The CAMERA swings back to Gia on stage. Her eyes scan the
crowd, and she glances at Ian and Dave Stewart, who begin
playing the moody intro for "Landslide."
Gia, paralyzed by fear, misses her cue.
Various FACES in the crowd react -- is Gia having a meltdown?
The spiteful Johnny happily taps on the table.
Ian shoots Gia a reassuring smile at Gia. Dave Stewart is
right on top of it and repeats the intro. He glances at Gia
when it's her time to start singing.
GIA (CONT'D)
(raspy voice)
Took my love and I took it down--
DISSOLVE TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
41 -
A Song of Love
INT. VIPER ROOM STAGE -- LATER
Gia dances and sings a driving 80's tune with Ian, lighting
up the stage with her energy and charisma. As the song
concludes, the impressed crowd erupts in applause.
IAN
Cheers. Thank you. We're going to do
a new tune. Written by...
GIA
Mister Shay Daley.
IAN
Brilliant.
Gia begins to play a solo of the song on her guitar. The
band picks up on it and chimes in. These pros can punt!
BACK OF THE ROOM
Johnny makes a drunken scene. He knocks over his chair, and
his shot glass flies to the floor.
Erica swings over to him and gets into his face.
ERICA
I will have to ask you to leave.
113.
Erica puts Johnny in a necklock and hauls him out of the
club. Jaden loves every moment of his "forced exit."
EXT. VIPER ROOM -- MOMENTS LATER
A BUFF DOORMAN grabs Johnny and shoves him to the curb. Johnny
lifts his shirt, displaying his gun, and steps forward. The
Doorman pulls back his jacket -- he's armed, too. It gets
tense, but Johnny backs down and stumbles away into the night.
Erica spots Clay approaching the club entrance.
CLAY
Are you Erica?
Erica promptly leads Clay into the club.
INT. VIPER ROOM STAGE -- MOMENTS LATER
The stage goes black -- then a small spot finds Gia.
BACK OF THE CLUB
Clay watches with growing anticipation.
ON THE STAGE
Gia leans on the mic stand and fondly touches her bracelet.
GIA
This is a song for a special man. I
call it, "Flyin' High on The Ground."
Clay... this is for you.
Gia strums Jerry Vee's guitar and confidently sings the song.
MONTAGE
Clay looks at Gia with affection in his eyes.
We cross-fade to the faces that have been part of Gia's life:
Jai, Erica, Jaden, Deena, Crystal, and finally, Clay.
INT. VIPER ROOM/DRESSING ROOM -- LATER
Ian walks over to Gia at the mirror and places his arms around
her as Shay watches them a few feet away.
IAN
Nice work, dear. The boys were
impressed, and they'd seen it all.
He gives her a little kiss just as Crystal and Deena enter.
Ian steps over, nods to Crystal, and then looks at Deena.
IAN (CONT'D)
I'm not sure if you remember me?
114.
DEENA
I'm old but not so daft.
IAN
Cheers. I never really bought that
Gia was Jerry's child. Tonight makes
me believe in miracles, you see.
Ian exits, leaving Shay, Crystal, and Deena alone with Gia.
Gia rises, steps over to Deena, takes her mom by the hand,
and sits Deena next to her chair at the dressing table.
Shay grins and backs up toward the door.
SHAY
You slayed tonight, girl.
GIA
It was your song.
SHAY
I wrote it, but you owned it. And
that new song of yours, it got to
me, girl, and the whole crowd.
Shay exits. Crystal knows Gia and Deena need a moment and
leaves, too. Gia and Deena look at each other with love.
Deena reaches for words -- and fondly strokes Gia's hair.
GIA
(deflects)
That band of Brits was awesome.
DEENA
I only saw my daughter.
GIA
I could've gotten through the night
without Daddy's guitar.
Deena touches it, bringing back memories--
DEENA
I first saw him at The Cavern Club.
He was pretty as Morrison and played
like Clapton. His eyes met mine--
GIA
And you fell in love with him.
DEENA
Gia, what I saw wasn't about his
guitar. Tonight, you gave that
audience what your Daddy, with all
his talent and charisma, lacked and
never gave me or anyone else.
115.
GIA
What's that?
DEENA
Love.
Gia lovingly touches her mother's hair.
Genres:
["Drama","Music"]
Ratings
Scene
42 -
Affection in the Dressing Room
INT. VIPER ROOM/MAIN SHOWROOM -- LATER
The house lights are on, Lizard sips on a beer as waitresses
and bartenders count money and a Latino man sweeps the floor.
INT. VIPER ROOM/DRESSING ROOM -- LATER
Now alone, Gia wipes off makeup with a sponge. Lowering it,
she leans toward the mirror and looks at herself.
She picks up the Jerry Vee guitar and holds it fondly.
A KNOCK on the door snaps Gia out of this dreamy moment.
Clay shyly steps in, and he and Gia trade longing looks.
Gia holds out the guitar for Clay to take.
GIA
Return this to Paul.
Clay tentatively crosses to Gia. He takes the guitar from
her hands and lowers it back into the case.
CLAY
It's yours to keep.
She continues to clean off her makeup.
Clay sits beside her, takes the sponge from her, and wipes
Gia's face. The poetry of the simple task says it all.
Slow PULL BACK -- as Clay and Gia lovingly beam at each other.