Broadcast News

AARON (in Spanish)
Are you guys kidding or do you really
think you'll run into something...?
I mean, do you feel that every time
and it never happens?  Or is it the
first time it felt that way and it's
going to happen?... I mean, how bad
can it be?... Are you nervous...?
What's the chances on a scale of one
to ten -- that we're going to be in
a war within the next few hours?...
Really?

He starts to walk towards Jane -- one of the men he was
talking with calling after him with an added thought.

AARON
Thanks, you speak English very well
too.
(to Jane)
Great news.  He says they've been
engaging the Sandinistas pretty
regularly and that he'd be really
surprised if we didn't take fire
tonight.

Jane reacts -- a flash of exhilaration.  Aaron is amazed at her
attitude.

AARON
Look at her.
(to Jane)
If anything happens to me tell every
woman I've ever dated I was talking
about them at the end.  That way they'll
have to reevaluate me.

Jane laughs out loud, attracting the Guerrillas' attention.
Aaron repeats his speech in Spanish.  The Guerrillas laugh.

EXT. JUNGLE - NIGHT

Aaron and Jane in line behind the Guerrillas.  They HEAR A SHOT.
The head of the patrol gestures -- deploying his men.  Aaron
grabs Jane and heads for some cover to the left.  As they run --
more SHOTS.  Jane in work mode.  As soon as they settle.

JANE
Let's tape.

CAMERAMAN
(Spanish accent)
Much too dark.  Black.

JANE
That's okay.

ON AARON BARELY DISCERNIBLE

As they start taping he is breathless with the nervousness of
the nearly gunfire.

AARON
The first shots were fired not thirty
seconds ago.  The Contras feel they
must be outnumbered this is so small
a unit:  that's a given.  Still they
hold their ground despite the fact
that their weapons have been acting
up -- misfiring or jamming.  A new
shipment of rifles is expected tomorrow --
all they got today were the shoes.

There is the SOUND OF GUNFIRE.

JANE
(to Cameraman)
Okay.
(to Aaron)
Great line at the end.

AARON
Did you shoot their boots?

JANE
Of course.

AARON
We can cut back at the end.

JANE
To the pan of the supplies boxes --

AARON
Can you believe it?  I just risked my
life for a network that tests my face
with focus groups.

EXT. GOVERNMENT BLDG - AFTERNOON

Tom, squashed in amidst a small mob of reporters... behind a
police line.  He HEARS a reporter next to him say:

REPORTER
I think he's coming out now.

TOM
(to his crew)
They say he's coming out now.

A surge.

TOM
(to Reporter)
Is that him?

TOM'S CAMERAMAN
Yes.

Tom checks his notes.

INSERT - TOM'S BLACK BOOK

The same model we've seen Jane use.  A list of questions
written in big color highlighted letters.  As he looks down
to study them, everyone else moves suddenly off.

TOM'S P.O.V.

The mass of journalists and technicians shouting questions.
"Will you dispatch troops?" after the Ambassador they've been
awaiting -- clumping on his limo and then being shaken by the
movement of the vehicle.

ON TOM

Standing alone and forlorn as his crew trots back.

CAMERAMAN
(observing Tom)
What's wrong?

TOM
I had a lot of questions here.  I
missed the story.

CAMERAMAN
Don't worry, it's okay.  I got
a piece of his face.

EXT. GUERRILLAS CAMP - MORNING

Jane is standing -- talking to her crew.  Others asleep
in b.g. -- a drowsy, morning-after feeling.

JANE
Are you all packed and ready?

CAMERAMAN
The stuff in the dark is not good.
Nobody wants news lit like that.

JANE
Will you just get packed?

She waves him off -- then she walks several yards away, holding
a knapsack in her hand.  She takes off a brush and runs it
through her hair -- opens a plastic case and takes out a travel
toothbrush, brushes her teeth and rinses her mouth with water
from her canteen.  She puts everything back in place, then looks
about, sobs for several beats.  One of the Guerrillas hears her
sobbing and enters the scene -- he stands a respectful distance
away.  Jane finishes, notices him, makes a face by way of
explanation, and exits the scene feeling measurably better.

INT. WASHINGTON CONTROL ROOM - NIGHT

The Washington Control Room.  Jennifer, Jane, Aaron, Blair stand
watching the intro to the Central American piece.  Tom stands in
the distant b.g.  There are over a dozen monitors -- including
one which is constantly on the anchor man, Bill Rorish.

ON TELEVISION MONITORS

Bill Rorish on camera -- an INSERT behind showing Aaron in
blackness planted into a Central American map bordered by rifles.
A separate monitor shows the INSERT alone.

BILL (voice over)
A fire fight along the Nicaraguan
border...in one minute.

The INSERT MOVES OUT AT US TO FILL THE SCREEN -- WE SEE Aaron's
dim outline and HEAR him say:

AARON (voice over; on camera)
The first shots were fired not thirty
seconds ago.

The MUSICAL "EVENING NEWS" SIGNATURE COMES IN ever-so-briefly.
The SCREEN GOES TO A COMMERCIAL -- as Blair screams
enthusiastically.

BLAIR
Great graphic, great graphic.

Ernie ENTERS THE  SCENE... He kisses Jane in greeting -- pats
Aaron on the back.

ERNIE
You finally got a piece in a few
minutes early and I hear Bill loved it.

Jennifer gives Jane a mock pat on the back.

ERNIE (continuing)
I have somebody downstairs who one of
the clerks brought in and vouches for.
He says he has something to say about
gays getting promotions at State...
It can't hurt to tape him.

ON JANE

As she feels Tom staring at her -- turns and notices him
for the first time.

TOM
Hi.

JANE
How's it going?

TOM
Can I buy you dinner sometime soon?

JANE
(thrown)
I just got back -- I don't know
which end is up.

TOM
Okay.

In the b.g. WE MAY HAVE NOTICED Bill Rorish on one monitor as he
picks up the phone at his anchor desk, during the commercial
break.

BLAIR
Jane!  Bill Rorish wants to speak
to you at the break.
(as she hands it to her)
I never heard of him handing over
compliments in the middle of the
show.

There is a stillness in the Control Room as Jane speaks to the
anchor man in New York who WE CAN VIEW on a monitor.

ON MONITOR

We see Bill Rorish.

BILL
(into phone)
Jane?

JANE
(into phone)
Yes.

BILL
(into phone)
Well, darling, if it gets any better than
that, I'm going to have to bring you up
here to New York.

JANE
(into phone)
Thanks.  I just wish you'd kept the first
twenty seconds.

Blair cringes at Jane's blunt reply.

JANE
(into phone)
But thanks.

BILL
(over phone)
Well, the visual with the boots at the
end was just perfect.

Jane covers the mouthpiece and turns to Aaron.

JANE
God, he loved the boots.

Aaron reaches happily for the phone.

JANE
(into phone)
Aaron should be hearing this so I
have an extra witness.

BILL
(over phone)
Well, you always want to give the
credit away, do you?

JANE
(into phone)
No, I don't.  He happens to deserve
the credit.  He's right here.

BILL
(over phone)
I'll speak to you soon

We see Rorish over the monitor.  He hangs up.

JANE
(to Aaron)
He had to read over some new copy.

We see on the monitor that this is not so.  It's a very eggy moment
Aaron.  Tom breaks the silence.

TOM
(to the rescue)
Okay if I watch you tape that interview
downstairs?

AARON
Yeah.

As he passes Jane he leans next to her and WE HEAR him WHISPER.

AARON
Please laugh so they think I'm not
dying inside but have so much style
I just said something funny.

Jane does her part enormously well -- laughing with amusement...
but her eyes blaze -- her friend has been needlessly humiliated.
Blair wants desperately to be inside Aaron's joke.

BLAIR
What did he say?

JANE
(as if still amused)
I'll never tell.

INT. SMALL TELEVISION STUDIO - NIGHT

BUDDY FELTON waits alone.  A CAMERA CREW watches him.  He is
well dressed, exceedingly nervous.  He summons the courage to
ask a question.

BUDDY
Could I see how I photograph?

CAMERAWOMAN
Huh?  Sorry?

BUDDY
'Cause for the interview they're
going to use a screen and disguise
me to protect my anonymity so could
I see myself before that?

CAMERAWOMAN
Sure.

The Camerawoman punches a button and immediately Buddy's image
comes up on a standing monitor on the studio floor.  He's not
happy with the image -- but works at concealing his reaction --
gasping a bit of air -- trying to touch it.  Aaron enters.
Tom smiles a friendly smile which flusters Buddy momentarily.
But again he almost manages to conceal his private rush.  Buddy's
internal drama is such he invariably finds himself covering up,
fearful roomfuls of people will simultaneously guess his
thoughts.

Aaron directs him behind a screen and looks at his notes.

AARON
It's Mr. Buddy Felton?

BUDDY
Yes.

AARON
That's your full name?

BUDDY
Yes.

AARON
I might as well ask you the questions
on tape.  Is that all right?

BUDDY
Yes.

AARON
You worked at one time as
Foreign Service Trainee in the
State Department.

BUDDY
I was there two years and was promoted
on merit nine times.

AARON
Eventually rising to...

BUDDY
Office Bimbo.
(curbing his amusement)
No, I'm sorry.

Aaron is having a hard enough day,  He is visibly annoyed.

AARON
You're saying the fact that you're
gay had something directly to do with
your promotions?

AARON
Eventually rising to?

BUDDY

G.S.  I don't know.
(scratches his head)
I don't know numbers.

Tom laughs.  Aaron shoots him a look.

AARON
You're saying the fact that you're gay had
something directly to do with your promotions?

BUDDY
I don't like the word gay.

AARON
Which would you prefer?

BUDDY
Ravenous homosexual.

AARON
Stop the tape, okay.  Forget it,
Ellen.  Let's call security and
get him out.

As Aaron walks out -- Tom is momentarily fixed on the sight of Buddy
walking in small circles giving himself a talking to.

BUDDY
(self flagellating)
Great time to act out, Buddy.  You
won't be happy until you turn the
whole world off.

He notices Tom.

BUDDY
They're not really going to call
security are they?

TOM
No, I don't think so.

BUDDY
How do I get out of here?

TOM
Follow me.

BUDDY
(dazzled)
You talked me into it.

INT. ELEVATOR - NIGHT

Tom distracted -- his day has been a bit of a bummer.  Buddy
self conscious -- the proximity creating an almost unbearable
tension of romance and adventure.

INT. BUILDING LOBBY - NIGHT

A Guard on duty -- a BLACK WOMAN.  She sees Buddy.

GUARD
Oh, you're the gay guy.  I was just
coming to find you.

BUDDY
I'm leaving.

TOM
(to Guard)
It's okay.

EXT. STREET - NIGHT

Walking.  Buddy in step with him.

BUDDY
Sir?

Tom turns.  Buddy talks rather quickly -- He cares very much
about leaving Tom with the right impression.  The last words
of his speech he hadn't expected to say.

BUDDY (cont'd)
Thank you for not shunning me and
all.
(more)
I really did have all that information
but I thought I might just be being
vindictive to get a little hunk of
the ol' spotlight.  I know, horrible --
but I didn't do it, so okay?  And
thanks again and would you like to
have a drink -- at a regular bar?

TOM
Oh, sure.  Okay.

His heart racing, Buddy attempts casual matter-of-factness.

BUDDY
Is there a regular bar around here?