Broadcast News

ERNIE
Aaron, I've never seen them like
this -- I think Paul's nervous
about his own job and for some
reason he thinks you only appeal to...

AARON
Wait.  Bullshit me a little...I'm
beginning to appreciate it.

ERNIE
I'm no suggesting the worst will
happen...but someone with your
brilliance gets nibbles about other
jobs and maybe, the next time that
happens, down the road -- you should
look into it.

AARON
(emotional)
Ah, damn -- the fucking jerks -- My,
God.  They want to fire me.

ERNIE
All I know is that they've got to
fire a large number of people...
and they're not going by seniority.
There's a recklessness in the air. 
They...

AARON
(interrupting)
Do one thing to me?  Get me one shot
at anchoring the Weekend News -- they've
never seen me do it.  I think it could
turn them around.

ERNIE
I could do it this Saturday -- everyone
wants off for the Correspondents' Dinner.

Aaron turns -- his spirit lifted by the unexpected ray of hope.

AARON
Do it then.

ERNIE
Please prepare carefully.  This
couldn't come at a better time.

AARON
Prepare what?  You have Saturday's
news handy?

ERNIE
It's been a while since you read
the news -- I'll have somebody work
with you.  Just on superficial
performance things.

Several beats.

ERNIE (cont'd)
Please.

AARON
Okay.  I think I'd better be alone
for a while.

ERNIE
I understand.  I'll go with you.

AARON
Thanks.

INT. SMALL TELEVISION STUDIO - NIGHT

Aaron is seated behind a desk -- some old news copy in
his hand.  An unmanned camera is pointing at him.  Tom
is standing a few feet further back studying him.

AARON
This is uncomfortable for me --
because, well, I don't mean it as
a knock, but we approach this
differently.

TOM
We sure do.  I don't mean it as a
knock either.
(he smiles)
Go ahead.  I'll just say what I think
and you can disregard it if you want.

AARON
It just might not work for me because
of our different approaches.

Tom nods and gestures that he proceed.  Aaron begins reading
the news.  Barely a sentence in, he is interrupted.

TOM
Wait.

AARON
What?

TOM
Your coat jacket is rising up in
back.

Aaron ignores the tip.

TOM
When you sit down -- sit on your
jacket a little -- that gives you
a good line.  Look at yourself in
the monitor.

Aaron looks but is unimpressed and resumes reading the news.
Tom, not about to be ignored when he knows it's important, moves
behind Aaron and begins to force his jacket down.

AARON
(very uncomfortable)
I don't like being handled.

TOM
Sit on it!  Now look.

AARON
Just don't physically...
(he sees himself in the
monitor and is suddenly
  enthusiastic)
Fantastic tip -- fantastic.

He starts to read again.

TOM
No.  That's not going to tell us
anything.  Let's get this prompter
going.

AARON
It's not loaded.

TOM
I'll find some copy.  Be right back.

Tom exits -- Aaron looking after him, clearly taken with the
genuine camaraderie... the unmistakable joy Tom derives from
helping out.  Several beats and Tom comes back with a CAMERAMAN in
tow.

TOM
I got copy, I got Ellen to heat up
the camera and I got Master Control
taping so you can study it later.

He puts the roll of copy in the prompter.

AARON
Hey, Tom...

Tom turns.

AARON
I'm very appreciative.

SAME SCENE - LATER

Tom totally focused on him down one knee checking him from
various angles.  He interrupts.  Aaron reading from the prompter.

TOM
No.  No.

AARON
No?

TOM
Don't let your eyes go from the
beginning of the sentence to the end
like that.  You don't want to look
shifty, do you?

AARON
Oh, God, no!

TOM
And the left side of your face is the
good one.  Go again.  And try to punch
one word or phrase in every sentence --
punch one idea a story.  Punch -- come
on --

Aaron does same with the story he is reading...

TOM
Good...very nice.

Aaron acknowledges the compliment in news mode.  Punching the
first words.

AARON
Thank you for the compliment, Tom.

He draws a laugh from the Cameraman as he goes right into the
next story.

TOM
Try not to move your head or wrinkle
your forehead...this is good, very
good...

EXT. NEWS BUREAU - NIGHT

Aaron, tape in head, is saying his farewell to Tom.  He is facing
his left side as he will do for the rest of his life on earth.

TOM
You were smokin' toward the end there.

AARON
The pointers were great.  I'll study
the tape.

Tom is into helping Aaron he finds himself delivering a locker
room pep talk:

TOM
And remember -- you're not just reading
the news or narrating.  Everybody has to
sell a little.  You're selling them this
idea of you.  You know, what you're sort
of saying is, 'trust me.  I'm, uh,
credible.'  So whenever you catch yourself
just reading...stop and start selling a
little.  So long.

He moves off -- Aaron watching him go, feeling decidedly
uncomfortable by this last piece of advice and vaguely corrupted.

INT. JANE'S APARTMENT - NIGHT

Jane FLIES INTO FRAME, carrying her dress, two large shoulder
pads clipped to her bra-straps.  She is obviously running a little
late.  Now she slips on the dress -- her pace so quickened that
it momentarily dulls the effect of seeing her in a pretty formal
gown; the kind good girls wear on special nights.  The DOORBELL
RINGS... She opens the door while trying to put on her necklace...
Aaron enters carrying four bulging garment bags and a fistful
of neckties.

AARON
I spilled some rum on the outfit you
picked out.  Let me show you the
alternates.

She eyes the amount of clothing, goes to the phone and dials.

JANE
(into phone)
Tom...why don't I meet you there?
I've got some last minute stuff I've
got to take care of...Hey, how did
you resolve your dilemma -- did you
rent the tux or buy it...I knew it.
How much?  Wow...Okay...See you
there...

AARON
I didn't know you were going with him.

JANE
Did you bring your grey suit?

AARON
Yes...I was thinking that way too...
Which tie?

She holds them in her hand -- indicates with the necklace that
she wants him to help her... he fastens her necklace while looking
over her bare right shoulder as she riffles through his tie
collection.

JANE
(the clasp in place)
Thanks.  Try this one.

She hands him the tie and he extracts his grey jacket from a bag --
puts it on and ties the tie... She reaches into a white paper bag
full of fresh purchases and takes out a vial of perfume with a
built-in atomizer and sprays the air in front of hr and walks into
the mist.  ON Aaron's reaction:

JANE
I read about it -- that's how you can
make sure you don't put on too much
perfume...

AARON
Could you at least pretend that this
is an awkward situation for you --
me showing up while you're getting
ready for a date.

JANE
(flaring)
It's not a date.  It's co-workers going
to a professional conclave.

Jane, unnoticed, reaches into the paper bag, takes a small box
of condoms and drops it into her evening bag.

EXT. WASHINGTON STREET - NIGHT

Jane on a public phone, Aaron standing nearby within sight
of a taxi stand.

JANE
(on phone)
How long will it tale you to send
one?...

She hangs up... paces... Then looks at Aaron, relaxes.

JANE
You look terrific.

Aaron poses a question which he feels in his deepest core:

AARON
Really?

Jane nods.

AARON
Because this is important -- so don't
just be polite.  I'd really like to
look...what's the word I'm looking for?...

JANE
As good as humanly possible.

AARON
Yes.

JANE
Well, the line of the jacket -- No
really....just very nice...just right.
I wish I could be there.

AARON
Me too...Hey...if it gets dull a little
before 11:00, drop by the studio.

JANE
I'm not sure I'll be able to...I...

AARON
If...if not, I'll have the tape...I'll
wait for you at my apartment.

JANE
Okay, great -- good luck.

Before she can deal with that, a cab arrives.

AARON
Thanks, Jane.  Have a good time tonight.

JANE
You too.

Aaron takes her in -- she looks lovely.

AARON
I'd hug you, but why risk mussing
either of us?

She half-laughs... kisses him, wipes the slight lipstick mark
from his cheek and, in a sudden decision, takes each of her
shoulder pads from her jacket and puts them in his -- improving
his look while diminishing her own.  She gets in the cab.

AARON'S P.O.V.

Jane, leaning all the way over the front seat, giving detailed
instructions to the DRIVER as the cab pulls away... As Aaron
turns and walks off.

INT. CAB - NIGHT

Jane, in her formal, sitting back -- anticipating her date.

EXT. WASHINGTON HOTEL - NIGHT

A hefty percentage of the Washington journalism industry's
men and women dressed formally for one of those evenings where
they can finally assert their own glamour.  Jane ENTERS THE SCENE.

INT. WASHINGTON HOTEL - ATRIUM - NIGHT

As Jane enters, lost momentarily in the lobby -- greenhouse,
the majority of the throng passing through in formal clothes.
A bit of DIALOGUE OVERHEAD from TWO MEN in dinner jackets.

MAN ONE
The L.A. times is a great outfit.  Best
severance pay in the business.