Broadcast News

TOM
(considering, then)
Then give me a minute...

JANE
(fully realizing)
You fucking...

As Jane watches we SEE Tom work up the tears we saw in the
Evening News piece -- as he does so:

YOUNG WOMAN'S VOICE
Oh, that's amazing.

ON Jane's shocked reaction:

EXT. BWI AIRPORT - DAY

Jane's cab pulls up to the curb.  She gets out -- she is
carrying no luggage.  She sees Tom who hurriedly walks up
to her.  Jane is fighting to maintain a calm.

TOM
Look who's the organized one.
I've got everything.

He briefly opens a paper gift shop bag he is holding and shows
her he has bought them each a bathing suit.

JANE
I'm not going.

He looks at her with anticipatory distaste evident on his face.

TOM
Why?

JANE
I saw the taped outtakes of the
interview with the girl.  I know
you 'acted' your reaction after
the interview.

Tom half turns from her and moves back toward the bench.  Jane close
behind, stalking him.

TOM
I felt funny about it afterwards.  It's
verboten, huh?  I thought since I did
it for real the first time -- but I get
you.  That's not the reason you're not
coming?

JANE
(raising her voice)
Of course it's the reason.  It's
terrible what you did.

TOM
We disagree on how God-awful it
was.  Why don't you come with me
and we can disagree and get a tan
at the same time?

JANE
(livid)
Jesus, if you're glib about this
I'm going to lose it.  I was up
all night and...

TOM
(calmly)
Jane, Jane, Jane, Jane, Jane...

JANE
It made me ill.  You could get
fired for things like that.

TOM
I got promoted for things like that.

JANE
Working up tears for a new piece
cutaway...You totally crossed the
line between...

TOM
It's hard not to cross it; they keep
moving the little sucker, don't they?

JANE
(distaste)
It just proves that the difference we
have are...

TOM
This is a one-way argument.  We've got
six days; if you go and we fight and
we hate it -- we'll come home.  If you
don't go?  Well, that's a much bigger
deal.  I go to London right after that.
So, it'd be very big deal if you stay
here.  The plane's boarding.  You're
good at deadline.  Here's your ticket.

JANE
(taking ticket)
It's amazing.  You commit this
incredible breach of ethics and
you act as if I'm nitpicking.  Try
and get this.  When you edited that...

TOM
(deliberately)
I'm leaving now.  Gate 43.

He simply turns and walks away -- looking back once as Jane
stands there mucked up by his sudden departure -- the lack
of resolution to their confrontation is palpable.

INT. TERMINAL - DAY

On Tom moving past the metal detector.  He too is frustrated
-- pissed off at her.

INT. OTHER TERMINAL AREA

Jane moving quickly along towards the metal detectors.

INT. METAL DETECTOR

As Jane passes through and sets off the buzzer.  She stands
there -- the heel of her hand pressed to her brow trying to
stem the tears.  As others look on, she takes a huge key ring
from her pocket -- deposits it in the box -- walks through
without a buzzer and moves on.

INT. BOARDING RAMP - DAY

Tom waiting while in the b.g.  "People Eater" busses ferry
passengers to the plane.

As one full "People Eater" pulls away and another empty one arrives.

TICKET AGENT
(to Tom)
This is the last one.

Others start to board.  He sees Jane moving towards him.
He walks to her, she gestures back towards the street.

JANE
That's not going to be the way
we say good-bye.  Even though I
think what you did was rotten --
it's not all impersonal.  You mean
something to me.

TOM
(interrupting)
You keep coming after me and
looking down on me.  It's starting
to make me batty.

She looks at him.

TOM (cont'd)
I can't help it that they like me.
And I like that they like me.  And
I think there's a lot of this job that
I do well.  What do you think it takes
to do this job -- the way they have
it now?

JANE
I don't wan to discuss work.

TOM
Well, let's do a special report on
that...I mean that's news.

JANE
I knew what you meant.

TOM
What I don't know, I can learn and
what I know, nobody can teach.
Excuse me for saying it about myself,
but I think it's true.
(old habit)
What do you think?
(catching himself)
Never mind what you think.

They look at each other.

JANE
You're lucky I came after you so
you got that off your...

TOM
Yes, I am.  Thanks.  I mean it.

JANE
It's okay.

TICKET AGENT
Sir?

The pressure begins to bend Jane's resolve.

JANE
So you have an extra bathing suit, huh?

TOM
(wary but hopeful)
You want to come?

JANE
(totally open)
It's just that one of the few things
I'm not confused about is what I
was saying downstairs, that...

TOM
(giving up -- sadly,
finally)
Then you should stay here.

JANE
(softly)
It's better when you let me say it.

He hugs her.  Now that it's over, they can each openly care
for each other.  While in the embrace:

TOM
Take it easy.

JANE
Why did I have to do this to
myself?  Watch you take off.
(then)
Call me if you need anything.

He kisses her lightly -- looking at her... Then heartfelt:

TOM
Oh, honey.

He walks to the People Eater and gets on, still holding his
paper bags of bathing suits.  The bus pulls away.

ON JANE

Watching him go.

JANE'S P.O.V.

Tom standing at the front window of the bus -- framed very
much as he is when on television.

INT. AIRPORT TAXICAB - DAY

Jane gets quickly into cab.

CABBIE
Good morning.

JANE
Good morning.
(after collecting herself)
Dupont Circle, please.

The cab pulls away.

JANE
Don't take the beltway, because at this
time of day there's gonna be a lot...
(stops herself, then)
...Go any way you want.

She sits back in the seat (containing herself) before finally and
quietly adding what she knows to be true:

JANE
But New York Avenue's faster.