Ready here.

The door opens and the boys, with their hair tucked under baseball caps, file out and climb into the back seat. Joey pushes the passenger seat back into place. Michael climbs in and shuts the door.

Okay guys, get down.

Michael turns and sees Lucas on the floor and Stephen and Mike each crouched behind a seat.

Right. Right. This is new for me. Not for you. Okay Joe...go.

EXT. MORA’S. EVENING

Joey parks the Bronco a few feet from the door. He and Michael get out at the same time. Michael lets the boys out of the backseat.

Do we really need the hats?

Michael looks at Joey questioningly.

Nah, ‘sokay, I know everybody around here. C’mon.

The boys remove their hats and follow Joey. Michael brings up the rear.

INT. MORA’S. EVENING

Joey opens the door for the boys, who enter first. The place is homey, with a wooden interior and furniture, solid color tablecloths, and family photos on the wall. It is also deserted.

Aunt Gloria!

The kitchen door flies open as Michael enters and the street door closes behind him. Gloria Mora – a small, round woman with an outgoing nature – appears in a well-used apron. Dinner preparations have begun and she’s been interrupted. Despite this fact, she oozes maternal nature.

Joey! Your father said you were working tonight...

I am.

And they put you in charge of the children?

No Aunt Gloria, this is them.

Gloria sizes up the boys.

You boys make records?

Uh, yes...ma’am.

Good records?

We try our best ma’am.

That’s what counts. Try your best and be proud of what you do.

Gloria walks over to Michael.

You in charge of this outfit?

For the time being.

Father?

Uncle ma’am.

Uncle what?

Uncle Mike.

Well Uncle Mike, let’s feed these boys. Especially this one...

Child, you are beyond skinny. A strong wind could knock you right over. Do you like spaghetti?

Yes ma’am?

Spaghetti then. Spaghetti all round. What do you say?

Yeah! Spaghetti!

INT. MORA’S. LATER

The boys are seated at a round table – Mike, Stephen and then Lucas. Gloria sits next to Lucas, Joey next to Gloria, and Michael between Joey and Mike. Two pots are in the middle of the table. One has strands of spaghetti hanging over the edge. The other has sauce stains on it. They are nearing the end of the meal. Gloria checks each plate, but pauses when she gets to Mike. When Mike sees her looking at him, he stops chewing.

Eat up honey, or there’ll be no pie for you.

Mike swallows abruptly.

Pie?

Uncle Mike? What time is it?

Five to seven.

Lucas holds out his hand. Michael takes out his cell phone, dials a number, hits send and hands the phone to Lucas.

Hi Dad! Guess where we are?

Of course Houston. I mean where in Houston. Guess! Nope. Nope. Ho way. Say hi to my dad Auntie Gloria!

What’s his name?

Bryan.

Gloria takes the phone.

Bryan, Gloria Mora. I got a little Italian place here. My nephew’s workin security for your kids and he brought ‘em by. Good thing, too. I don’t know what you’re feeding the middle one, but it’s not enough.

Mike starts to blush. He looks down at his plate and begins eating again. Lucas motions for the phone and Gloria hands it back to him.

She makes real great spaghetti Dad. What’d you have tonight?

Mom made steak and twice-baked potatoes.

And for dessert?

Chocolate cake and ice cream. My dad really likes chocolate cake.

We’re gonna have pie if Mike ever finishes.

Mike drops his fork.

Alright Lucas, wrap it up. It’s my turn.

‘Kay, bye Dad. I love you.

He passes the phone to Mike. Mike gets up and walks away from the table with it. Michael watches him sharply.

Don’t worry Uncle Mike. They do this every once in a while. Dad just has to remind Mike of the role he plays in this organization.

Michael watches as Mike paces and has what appears to be a very focused conversation with his father.

What kind of pie is it that you have Mrs. Mora?

Auntie Gloria sweetie and it’s peach.

Peach. I could do peach.

Honey, is there anything you don’t eat?

Very little Auntie Gloria.

Mike returns to the table and holds out the phone in Stephen’s direction.

Your turn.

Stephen takes the phone.

Hiya Dad. No. Of course. Yeah, we finished the song from San Antonio. Mike calls it Don’t Say Goodbye. With a title like that? Of course it’s a ballad. Well, it’s not that standard, Lucas actually suggested a really cool arrangement. We’re gonna try and get a demo done here. Uh-huh, and then I’ll work on something a little more upbeat. Promise. Okay. Love you, get some rest.

He holds the phone in Michael’s direction.

Your turn.

Michael takes the phone from him.

Hey Bry. Sounds like you made it home safe and sound. She told you, Italian. No, it was easy. More stressful on me than them. No. It’s only been one day...

Not even.

Not even. Of course I thought about calling you. But I didn’t. Sure, we even got some schoolwork done. Yes, I’ll stay on top of that. You bet. Get some rest and we’ll talk to you tomorrow.

EXT. MORA’S. LATER

Mike lurches out, looking extremely full. Joey exits next, holding the door open for Stephen, Michael and last, but not least, Lucas.

Bye Auntie Gloria! It was great, really!

Oh, uh-huh, yeah...

Stephen shakes his head as he opens the door on the Bronco and Mike climbs in.

You better not spew on me buddy.

INT. JOEY MORA’S BRONCO.

Joey climbs in, starts the engine and pulls away from the curb.

You got any more relatives for us to meet?

Yeah, like an uncle with a video arcade?

Nah, nuthin that exciting.

Joey drives for a bit before speaking again.

Listen you guys, I was wondering, I mean you can say no if you wanna...

Three phrases and no full sentences. Something’s bothering this boy. Spit it out Joe.

My niece is in the hospital. She hasta have her tonsils out tomorrow and she can’t come to the concert.

Sucks.

Let’s go to the hospital then.

Michael’s eyes widen. Stephen likes the idea.

Tonsils and no concert? Yeah, let’s go. What you think Luke?

I vote go!

Whoa! Don’t I get a say in this?

Keep your shorts on Uncle Mike. Joe, you think we can get in and out of the place without too much hassle?

Oh yeah. I know the uniforms there. We could do it.

Joe says we could do it. And we want to do it. Right guys?

Yes.

Yes.

And do you always get what you want?

Pretty much.

To the hospital Joe.

INT. PEDIATRIC WARD. NIGHT

Joey stands with a HOSPITAL SECURITY GUARD near a stairwell door.

I’m just sayin, you coulda told us.

I didn’t know myself until 10 minutes ago.

‘Kay.

A NURSE approaches.

Visiting hours are over. Everyone’s leaving. But I asked your family to stay though Mr. Mora.

Great.

He opens the stairwell door and the boys step out, followed by Michael. Lucas sets eyes on the young nurse.

This is your niece Joey? She looks a little old...

Haha. You are the funny one, aren’tcha kid? Come on.

Joey picks Lucas up and tosses him over his shoulder fireman style. Lucas looks up and waves at his brothers.

Come on guys, this way!

INT. CELESTE MORA’S HOSPITAL ROOM. NIGHT

CELESTE MORA, a pale 13-year-old with dark hair and dark eyes, is in bed. Her mother CONSTANCE sits next to her. Celeste’s father FRANK, an older version of Joey, paces. Celeste motions for some water and Constance hands her a glass. Celeste sips out of the straw and watches her father.

The nurse said Joey was coming?

Yes, and we’re supposed to wait.

I thought he was working tonight.

Constance shrugs. Joey appears in the doorway with a big grin on his face.

I am working!

Then what are you doing here?

I brought Celeste a surprise.

Celeste smiles as Joey approaches her bed.

Hi Uncle Joey.

Joey hugs Celeste.

Hey Monkey Face. You know I’m gonna be back tomorrow with ice cream, right?

Celeste nods.

But I brought you something tonight because you can’t go...

Joey looks at a picture of the Hawthorne brothers taped to the wall near the bed.

...you know.

Celeste looks at the picture and a sad expression crosses her face.

Now would be a good time guys.

The boys file into the room in order of age – Lucas, Mike and then Stephen. Michael hangs back in the doorway. Celeste’s expression changes instantaneously when she recognizes Lucas. Her eyes widen, her mouth drops open and she begins to cry. Constance, whose mouth is also open, hands her daughter a Kleenex.

How in the hell did you manage this?

You’re not the first family we visited tonight. They didn’t want room service or takeout, so I took ‘em to...

Gloria’s.

Joey smiles and nods. The boys gather around Celeste’s bed – Mike and Lucas on one side, and Stephen next to Constance on the other side.

Hi, I’m...

It’s okay kid. I know who you are. I have a teenage daughter. I have to know who you are.

The comment embarasses Stephen a little. Celeste’s eyes are still full of tears. Lucas grabs another Kleenex and hands it to her. She can’t take her eyes off of him.

Does it hurt?

Celeste nods.

Yuck. I’m sorry you can’t come to the concert.

Yeah, it was his idea we come here.

Lucas turns to question Mike. Celeste brightens and dabs at her tears. Mike turns Lucas’ head back towards Celeste.

We thought we’d give you a private show.

So what should we sing?

Celeste grabs a CD case off her nighttable and scans the songs.

I think “we” should do Lucy.

Celeste looks up from the CD and hopefully at Lucas.

Lucy...please...

Yeah, Lucy.

Come on Lucas. You could use the practice anyway.

Okay.

Softly, Lucas begins singing the lead vocal part to Lucy. Stephen and Mike blend in the harmonies. When they finish, Mike leans close to Lucas and whispers in his ear.

Kiss her.

What?

On the cheek if you want, but kiss her.

Lucas immediately, and without really understanding, kisses Celeste’s left cheek.

It’s too bad we don’t have a camera.

We do.

A crowd of nurses has joined Michael at the door. The one who spoke steps forward carrying a Polaroid instant camera.

INT. HOTEL ROOMS. LATER

Michael opens the door to his room and the boys enter. He follows and closes the door.

Joey was pretty cool. Is he working tomorrow?

Yep. He’ll be with us while we’re doing the media stuff.

Mike opens the adjoining room door and goes into the other room. Lucas pulls a Polaroid out of his pocket. It is of him and a beaming Celeste.

Mike!

Mike sticks his head back into the room.

What?

Why did you want me to kiss her though?

Oh God.

What?

It is your turn to try Mike.

Lucas, man, didja happen to see the way she was looking at you?

She was happy, I guess.

Lucas, Lucas, Lucas...she adores you. You could see it in her eyes. You gotta start watching the eyes. They say so much.

About girls?

Yes!!

Michael watches the whole exchange with a look of amusement.

Forget it. Let’s go to bed.

But...

Bed. We have a big day tomorrow.

Lucas goes into the other room. Michael and Stephen are alone in this one. Stephen looks at his uncle for a second and then goes over and boots up his laptop.

I’m...uh...

Cori?

How do you know about Cori?

Mike.

I’m gonna kill him.

Calm down. He doesn’t know much. He only told me her name and that it was a private thing.

It is.

Does Lucas know?

I think so.

Oh...

He’s under orders not to mess with you about it though.

Oh...’kay...um, I’m gonna write now, then...

Go ahead.

Stephen sits down in front of the computer and logs on to the internet. He brings up the Hotmail page and opens his box. There is, of course, a letter from Cori. He opens it.

It’s kind of dull around here. A friend wants me to go and see You’ve Got Mail. But I told her no. I can’t go see that, ‘cause I’m sure Tom and Meg end up with each other in the end, and it just makes me think of how far away we are from each other.

Stephen hits reply and begins to type an answer.

I’m not that far away, Cori. Physically, yes. But we can occupy other places...the mind...the heart...I’ve been working on a...

...a poem. For you. It’s not done yet. But I’ll send it to you when it is. You are my muse, my precious muse. Yours...Stephen.

He types “Mind over matter” in the subject box and sends the letter. Stephen logs off, shuts down the computer and walks away, leaving the computer on its own.

INT. HOTEL ROOM. MORNING

Michael and Joey have the binder open at the table and are going over the day’s schedule. Stephen comes out of the bathroom buttoning up a long-sleeved, dark green shirt. Lucas comes racing through the adjoining doors and zooms into Stephen and Michael’s bathroom, slamming the door behind him. Michael looks up.

What was that?

A full bladder deterred by a man and his hairdryer.

Joey laughs.

So everything’s gonna happen at this one place?

Well, sounds like a better idea than dragging them all over.

True. Your brother has everything planned out.

He’s been doing this a while.

Lucas exits the bathroom.

Cut that one close.

I thought he was almost done. Interview days...

INT. HARD ROCK CAFE. MORNING

The place is closed to the public, but that hasn’t stopped legions of Hawthorne fans from surrounding the restaurant. Vehicles with TV and radio station logos line the street. The boys are watching the hysteria from a corner booth. Joey stands nearby, also watching the scene outside.

Is it like this all the time?

Pretty much.

This is nowhere hear what happened in San Fransisco.

Stephen looks at Lucas like “Not now.” But Joey is curious.

What happened in San Fransisco?

Mike pulls a notebook out of his knapsack, open it up and begins writing something.

He got hurt...bad...

Michael scurries over at this moment.

15 minutes, okay guys?

Chill Uncle Mike. Please. We’ve done this...

Before...sorry, I will remember...move over. I need to sit down.

Stephen slides over in the booth and Michael slides in. He puts his arms in front of him on the table.

I think I can...

He is about to rest his head on his arms when he notices Mike.

What are you doing?

Writing.

Duh. Now?

Yes. Now. It has to be now.

Michael opens his mouth to say something, but both Lucas and Stephen are shaking their heads as if to say, “Not a good idea.” Michael stops himself and looks at his watch.

Media. Lunch. Sound check. School. Concert. Easy.

INT. HARD ROCK CAFE. LATER.

Joey stands next to the small platform/stage erected for the event. As the boys approach the stage, a TECHNICIAN hands then each hand-held mics. As they climb onto the stage, a blinding array of flashbulbs go off and TV lights are turned on. The light momentarily stuns Michael, who was following close behind the boys. He chooses to stick close to Joey. The boys position themselves in front of the stools set out for them, but do not sit.

Hi everybody. I’m Stephen Hawthorne and on behalf of my brothers, I want to say thanks for this great welcome to Houston!

Yeah, we’re having a cool time and we’re really looking forward to the show tonight!

Any surprises planned?

If we told you, it wouldn’t be a surprise now, would it?

We are working on a new song, but we haven’t discussed adding it to the show.

What’s it called Mike?

Oh, um, Don’t Say Goodbye. But, uh, like my brother said, we’re not sure when you’ll actually hear it.

Have you had a chance to do much here in Houston?

Ooh, we had a really great dinner last night!

Where? Where?

It’s called Mora’s. I don’t really know where it was ‘cause I was lying on the floor in the backseat...

Lucas stops when he hears Joey hissing at him.

Just a second people.

Lucas goes over to the edge of the stage and crouches down. Joey whispers in his ear. Lucas stands up when Joey is finished and goes back to his spot.

Okay, it’s on Woodhaven. Ask for Gloria. She makes super spaghetti and her peach pie rocks!

How do you feel about Weird Al Yankovic’s recent parody of you?

We liked it! We helped him!

Really?

Sure. He called us to get permission and stuff, so we said the only way we’d agree is if we could participate!

So we did! The video shoot was outstanding and Weird Al is awesome.

Any truth to the rumor Mike is going to do a movie?

First off...

...if I did appear in a movie, it would be alongside my brothers. We’re a band. We’re Hawthorne, not Mike Hawthorne and his brothers. So, no, I’m not making a movie. And second, we’ve got an album we’re very proud of, so we’re touring to support it and all the fans who’ve stood by us and helped us get to where we are today.

Mike waves out the window to the fans.

EXT. REAR OF HARD ROCK CAFE. DAY

Joey’s Bronco is parked near the exit. The passenger door is open and Mike is visible sitting in the backseat, again writing in his notebook. Joey lingers on the driver’s side. Lucas exits the restaurant and climbs into the back of the Bronco. As Stephen and Michael exits the restaurant, Michael restrains him.

In a second. What’s up with Mike?

Who can say? He’s such a deep kid sometimes. Just leave it for now. If he hasn’t worked it out by show time, I’ll talk to him.

Sure?

Nope. But let’s go with that for now.

Stephen climbs into the Bronco and pulls the seat back for Michael, who climbs in and closes the door.

Cut to:

EXT. REAR OF HOTEL. DAY

Joey’s Bronco is parked behind the hotel. Michael opens the passenger door and climbs out. He pushes back the passenger seat and Stephen and Lucas climb out. Mike remains inside, writing.

Mike?

Almost finished.

Joey is still in the driver’s seat.

Reg is just inside the door. You guys go on up. I’ll stay with him.

Okay.

Michael opens the hotel door and delivers Stephen and Lucas into the arms of the waiting security guard, REG. Reg leads the boys away from the door and Michael follows, letting the door close behind him.

Cut to:

INT. HOTEL CORRIDOR. DAY

The elevator opens and Michael, Stephen and Lucas step out on their floor. The boys’ road manager, TOBY ENSLEY, is waiting for them. He’s a tall, bearded, bear of a man in his late 30s.

Thank God. Where’s Mike?

Downstairs.

Why?

I got studio time, but we have to go now.

Now?

Flow Uncle Mike. Go with the flow or you’re gonna pop a gasket.

So we’re goin’ back down?

Before Mike comes up.

Reg pushes the elevator button. The doors open immediately, much to Michael’s relief. Stephen, Lucas, Michael, Reg and Toby climb on. Reg pushes a button inside the elevator and the doors close.

Cut to:

INT. HOTEL LOBBY. DAY

The elevator opens in the lobby. Toby gets out, followed by Michael, Lucas, Stephen and finally Reg.

Mark’s bringing the bus ‘round back.

The group turns and begins walking towards the hotel. Just before they reach the final set of doors, Joey and Mike come through them.

What’s up?

Toby scored us a studio. But we gotta go do it now. You ready? Mike?

Yeah. You bet.

I have something I need you to fax. Okay?

To my office?

Can you?

Of course, but after you guys get set up at the studio.

Cut to:

INT. RECORDING STUDIO. DAY

The boys, Michael and Toby are in the studio. Stephen carries his acoustic guitar, in case; Mike carries his notebook and Lucas fidgets with his brushes.

Okay, I’m lunch.

And the fax.

Mike opens his notebook on top of the piano and rips out three pages full of writing.

You’re probably gonna have to trim the edges.

Not a problem.

Tobe, keep your eye on the engineer, okay? Follow the master. NO dubs.

I’m there.

Toby leaves the studio to go to the control booth.

So, we’re gonna do it like on the bus? Guitar and brushes?

But with a snare? What do you think?

I liked the sound of the pad.

Where is it?

On the bus.

Uncle Mike?

I’m there...

How are we gonna mic it though?

Bus, art pad, fax, lunch...

He exits the studio through an outer door.

EXT. STUDIO. DAY

The bus is parked outside the studio. Mark is talking to Joey. The door of the bus is open. Michael exits the studio and climbs onto the bus.

INT. BUS. DAY

Michael climbs onto the bus. He has Mike’s three pages of notebook paper clutched in his hand. He goes to Lucas’ bunk and visually scans it. After a few moments, he lifts up the mattress and finds the pad underneath.

Art pad.

He pulls it out and goes to hold onto it with the hand the notebook paper is in. The sheets are a little crumpled, so Michael puts the pad on the table, puts the sheets on top, writing side up, and smoothes them out. He doesn’t read the writing, but you can tell from his expression that he wants to. He stops, thinks for a moment and his expression changes. He really wants to read. He picks up the first page.

Danielle, it feels like such a long time has passed since San Antonio. I didn’t realize until today how much I enjoyed just eating pizza and watching TV. There were so many fans during the interviews today. It reminded me of San Fransisco, and scared me a little. Sometimes, I close my eyes and I can feel myself falling backwards, I can hear the sound of my head hitting the sidewalk, and I can see Lucas’ face when he saw the blood. I really do love what I’m doing. Sometimes I can’t wait to get on the stage, and it’s like I don’t wanna get off, but...

Michael stops reading.

He’s having doubts. Natural. Big doubts though...?

He raises the letter.

It’s like I’m three Mikes – Mike onstage, Mike with my family, and Mike...the 16-year-old guy who likes pizza, movies and soccer.

Michael stops reading again. He thinks for a moment.

Fax it now. Worry about it later.

Michael grabs the letter pages and the pad, and exits the bus.

INT. RECORDING STUDIO. DAY

Michael enters. Stephen is setting up mics. One hangs down at mid chest level. Lucas stands near it. The other mic is set up for Stephen’s guitar. Stephen sees Michael come in.

Great. Mike, grab the pad and hold it for Lucas again like you did on the bus, okay?

Mike takes the pad from his uncle.

Fax...

I’m going. There’s only one of me.

Mike opens the pad and goes over to where Lucas is standing. Michael leaves the studio via the control room.

Cut to:

INT. OFFICE. DAY

Michael trims the notebook pages with a pair of scissors. He puts the pages into the fax machine, dials the number and hits send. Then he takes out his cell phone, dials another number and hits send.

Hey Francie? It’s me, Michael. Yeah. We’re in Houston. Listen, is there a fax coming through? Okay, it’s gonna be three pages. When you’ve got all three pages, put them in an envelope and messenger them out today, okay? Denise Ferguson’s house. But they’re not for Denise, they’re for Danielle. Got it? Call me if there are any problems. Thanks Francie. Say hi to Andrea and Charlie for me. I’ll talk to you soon.

INT. CONTROL BOOTH. DAY

Michael enters with Mike’s papers, folded, in hand. Toby is hovering over the engineer. The tape is being rewound. Mike is in an isolation booth preparing to record lead vocals. A sheet of notebook paper is taped to the window. He sees Michael and looks at him questioningly. Michael gives him the thumbs up. Mike smiles with satisfaction.

You ready kid?

Hit me with your best shot.

The engineer presses play on the tape recorder.

Cut to:

INT. BUS. LATER

Mike bounds onto the bus, obviously happy, followed by his brothers.

That was excellent.

But I’m gonna have to use a snare live. I mean the pad will sound really cool on an album cut. But we’ll never reproduce it live and they...

...will never hear it.

You could use a stand-up snare during the unplugged segment.

Like Paul Hester.

Michael boards the bus, followed by Mark, Toby and Joey.

Who’s Paul Hester?

Drummer for Crowded House.

Mike and Stephen look at Michael curiously.

What? It was only ten years ago! And he...

...knows!

I’m hungry.

Lunch.

Sound check.

Now?

Now.

Shit.

Language Uncle Mike.

You should talk.

Now what are we gonna do?

If you could lend me your phone, I can handle the lunch problem.

Deal.

He hands Joey his phone. Joey opens the phone and dials.

How do you feel about lasagna kid?

I’d feel better if it was in my stomach.

I’ll put a rush on it.

INT. HOUSTON CONCERT VENUE. LATER

The boys are running through Ever Lonely as part of sound check. Gloria and Constance come walking down one of the aisles towards the stage. Each are carrying styrofoam containers. When they reach the front row, they are met by Joey and Michael.

Nice to see you again Aunt Gloria.

You too, Uncle Mike.

Gloria hands Michael her cooler. Constance hands hers to Joey.

There are three pans in each. I hope that it going to be enough.

We’ll make it work. I can’t thank you enough Aunt Gloria.

Sure you can darling. My bill’s under the lid.