Broadcast News

Jane is distracted by the noise... Tom leaning over towards her.

TOM
They said it would be okay if...

JANE
(incredulous)
We're working here!!  You can stand
over in the uh, uh, uh...

She momentarily can't think of the word 'corner.'  Then back
to Bobbie:

JANE
Play back the last line...

BOBBIE
He said something about...

JANE
(sharply)
Let me hear it!

Bobbie, taking the sharp commands with ever increasing,
yet still repressed resentment.

The Assistant Director, BLAIR LITTON, enters the editing room.
She is about 26 and every night since she got her job as
Assistant Director she has been the first to crack under pressure.

BLAIR
We'll need it in ten minutes.  We're
putting it directly into...

Jane holds up a finger of warning to Blair as she picks up a
ringing phone and talks to Bobbie at the same time.

JANE
(into phone)
Craig, just a second --
(to Bobbie)
Let me hear it!

Through much of this chaos we focus on:

TOM

Wedged into an uncomfortable position between two tape racks --
He is wide-eyed at this circus of tension and fear.  His eyes
dart around constantly -- trying to take in as much as he can,
always returning with wonder to focus on Jane.

MERCENARY
(voice over)
It's been a long time since I've seen
my folks and all but...I don't expect
any big-deal homecoming.

JANE
Stop there.
(into phone she's
been holding)
I want to shoot a picture from
a book I have in the office.

BLAIR
You don't have time.  Not a chance.

JANE
(into phone)
I'll be right down.  It's right tight.

She crosses out.

BLAIR
I've got to tell Ernie...because
there isn't enough time.

JANE
Yes, there is.

Blair leaves, as Jane gathers up her notes.  She charges out
leaving Tom awkwardly along with Bobbie.

TOM
I'm Tom Grunick.  I started on
General Assignment today.

Bobbie stops the machine, turns in his chair and shakes hands.
Then he smiles secretly and speaks his first full sentence.

BOBBIE
I don't think she's going to make it.

Tom exits.

INT. BUREAU NEWSROOM

Aaron is having a theoretical discussion with Ernie and
JENNIFER MACK, a correspondent in her early 40's, a pioneer
beauties in news.  She is well-schooled, bred, trained and
known... GEORGE WEIN, a black correspondent in his 40s, and
MARTIN KLEIN, formerly with the Johnson administration --
State Department correspondent for the network.

KLEIN
Okay, what about this?  Here's a
tough ethical one.  Would you tell
a source that you loved them just
to get some information?

AARON
Yes.

GEORGE
Yes.

ERNIE
Me too.

JENNIFER
Sure.

AARON
Jennifer didn't know there
was an alternative.

Jennifer laughs that laugh one always hopes beautiful women
will laugh when one says something funny.  Aaron smiles at her.

AARON
Here's one.  They allow us to have
cameras at an execution in Florida.
Do you broadcast tape of the guy  in
the chair when they turn on the
voltage?

KLEIN
Sure.

JENNIFER
Why not?

ERNIE
Absolutely.

GEORGE
You bet.

AARON
Nothing like wrestling with a
moral dilemma is there?

Blair enters the scene, Tom trailing several feet behind,
continuing to monitor the budding deadline crises.

BLAIR
Excuse me, Ernie, we're several minutes
to air and Jane's shooting an insert
still for tonight's piece.

ERNIE
She knows how much time she has.

Blair flashes a tortured smile -- panic is growing.

BLAIR
Okay.  I just wanted you to know.

AARON
What is she shooting?

BLAIR
Norman Rockwell's 'Homecoming.'

AARON
(thinks then)
Oh, that's nice...
(walking away)
We'll need some new lines.

INT. EDITING ROOM - NIGHT

Jane up against it now -- but still seemingly calm.  Tom
watching, keeps on glancing at the clock fascinated,
impressed.

JANE
Okay, Bobbie, just a two-second
dissolve to the Rockwell.

BOBBIE
Should I...

JANE
(interrupting)
Just a two-second dissolve.

BLAIR
(hurting)
Oh, Jesus, we have three minutes...
Why do you do this to me.  Is it
because I won an award?

INT. RECORDING BOOTH - NIGHT

Where Aaron is writing his last line on a folded over piece of
paper even as he gets ready to record.  He times it with a
stop watch.

AARON
Norman Rockwell's enduring portrait
of a Homecoming  The return of a
fighting man has always been one of
the more moving ceremonies of war...
Tearful women, proud men, excited
children.  But J.D. Singer was right --
his homecoming was no big deal.

INT. EDITING ROOM - NIGHT

BLAIR
We have a minute and a half.  It's my
responsibility to tell them we won't
be ready.

JANE
Uh-uh.  We're be ready.

Blair glances frantically at her watch.

BLAIR
In 84 seconds?

ON CLOCK

Sweeping from 28 minutes to -- 84 seconds from deadline.  Aaron
walks in, Jane looks up.

JANE
(hopefully)
Nine seconds.

AARON
Eleven and a half.

JANE
Oh, God.  Back it, Bobbie -- Bobbie?

ALMOST SIMULTANEOUS DIALOGUE FOLLOWS.  IT BUILDS UNTIL IT
DUPLICATE THE SOUND OF LOUD AND BAWDY SEX.

BLAIR
You're saying 'Oh, God..."  They are
going to go to up and the screen will
be black -- they're going to go to black
because we're not there.  How about
careers, huh?  How about careers?

ON CLOCK

42 seconds away.

BLAIR
We're not going to make it.

Bobbie makes a small bobble -- Jane giving the merest evidence
of the strain, scratching her face repeatedly.

BOBBIE
Whoops.

BLAIR
(unravelling)
Whoops?!?  Whoops?!?  No, please...
no, ooh, ahhh, ohhh.

AARON
Shit, shit, shit...

TOM
(caught up)
You're almost there, you can do it --
can do -- can do.

And as the pitch reaches its zenith, 27 seconds left.  Bobbie
hands the tape to Blair.

BOBBIE
Ready.

INT. NEWSROOM - NIGHT

Blair hikes up her skirt and takes off.

VARIOUS SHOTS

Our "chase scene" as Blair soars through the newsroom, leaping a
chair smoothly, smashing her leg against a table in full flight,
the adrenaline deadening the pain -- she arrives at a waiting
elevator -- uses a key dangling from her neck to unlock it... jumps
nervously during the ride and now, in FULL EXTENDED FLIGHT, barrels
down the long corridor heading to the control room where she
arrives; slamming the tape into a technician's hand even as it is
introduced on the air.

INT. NEWSROOM - NIGHT

Aaron, Jane, the others looking at the end of the piece on the
air -- Tom in the b.g. as Blair enters -- relaxed, almost jaunty.

BLAIR
I was a little nervous there for
a minute.

AARON
Oh, come on -- tell us another.

ON MONITOR

The end of the piece -- the Rockwell painting giving way to the
mercenary's actual homecoming which matches the portrait.  The
irony works nicely.  The network anchorman comes up for his close. 
BILL RORISH, 50 years old and able to flutter much younger pulses. 
He is able and experienced -- a reporter who has become a
journalistic king.

BILL
(on monitor, smiling)
Bill Rorish...Thank you...Good night.

JENNIFER
Look at that smile.  Oh, that was
good and oh my, Bill smiled -- he
liked it.

AARON
He loved it.  Big smile.

He gives Jane a congratulatory sock in the shoulder which she
returns -- Tom in the b.g. of the SHOT.

BLAIR
I haven't seen Bill smile like that
in weeks.

Ernie has walked a few steps to the office.

BLAIR
Ernie, you missed his close... He smiled.
(mimicking)
Thank you...Good night.

She smiles.

ERNIE
I saw the smile -- good piece.

AARON
I'm gonna go look at it again.

They leave -- Aaron waving to Tom who stands in the b.g.  The
others leave.  Tom approaches Jane.

TOM
I'm sorry if I was in the way.  It
was totally impressive.  Great piece.

JANE
(somewhat formal)
You weren't.  Thanks.  How does it
feel being here?

TOM
I can't believe I'm really here.  No
kidding.  If you're through work now --

JANE
No.  Aaron and I go to Central America
on Wednesday -- so I'm cramming.

TOM
I thought you were incredible in there.
I know how much I have to learn.  I'd
really -- a lot -- appreciate it...if...

JANE
'Really a lot appreciate it...'

TOM
You  make me nervous.  Anyway if I
can pick your brain --

Jane grimaces at "pick your brain."

JANE
I can't help you, sorry.  I'm not
here to teach remedial reporting.

TOM
And it has nothing to do with the fact
I left your room instead of staying
there?

Jane looks at him.

JANE
Oh, please.
(then, almost gently)
You're gonna have to understand
something.  This isn't personal.

She exits.

EXT. CENTRAL AMERICAN JUNGLE - MORNING

As Aaron, Jane and their CREW march along with a CONTRA SQUAD deep
in their own conversation.  Except for the DIN of TROPICAL BIRDS
they seem almost like a cranky married couple on their way to work.

AARON
I didn't sleep.  They're giving me less
and less air time.  They don't think
I'm at all anchor material.

JANE
If we don't get to their camp soon,
we won't be able to tape the supplies
coming in.

AARON
Last time Paul was sick they gave
Connie the weekend news instead of me.

JANE
You spend too much time -- much too
much worrying about that crap...
(suddenly reacting)
Oh good.

They have entered a clearing where supplies have been dropped,
the Guerrillas already tearing apart boxes with army boots
inside.

ANGLE ON

A guerrilla soldier rubbing his shoeless foot.  A pair of new boots
sit alongside him.  Jane's Cameraman prepares to shoot, saying in
Spanish, then English:

CAMERAMAN
Put on the boot.

Jane rushes into the scene incensed.

JANE
Stop!  We are not here to stage the news.
Wait and see what he does.

Then to the totally confused soldier.

JANE (cont'd)
Sir, you do whatever you want.  It's
your choice.

By now there is a fair-sized cluster of armed men as well as
the news team staring at the guerrilla, who is at loss as to
what is expected.  He looks to Jane, who can offer no help
save her own determination not to interfere.  Finally he puts
on the boot.

JANE
(to Cameraman)
Okay.

He shoots the scene.

INT. HAY ADAMS HOTEL

Tom, in shirt and tie, is on the phone.  This is a big day.

TOM
Okay, I'll meet the crew there then.
Could you give me that address again?
Great.  Yes, it's good to finally be
getting to work.  Okay that's
17204?  1-7-2-0-4.  Thanks.

INT. HOTEL LOBBY - DAY

As Tom gets directions from the CONCIERGE.

CONCIERGE
It's only ten minutes if you prefer
to walk...
(as he walks away)
I'll look for you on the news tonight.

EXT. HOTEL - DAY

Tom has a real sense of the moment -- of having arrived.  The
strange bubble of pleasure rises to the surface as he walks off
to cover his first story.  He laughs out loud, loving his lot.

EXT. CENTRAL AMERICAN JUNGLE - LATER AFTERNOON

Jane in the f.g. with her crew while Aaron talks in rapid Spanish
to the GUERRILLA LEADERS.