英语剧本《收播新闻》

FADE IN



EXT. CITY STREET - DAY



A restaurant supply truck is curbside, near a small

restaurant.  GERALD GRUNICK, forty-one, is closing the back

door of his truck, feeling good about the world, a common

state for him.  He moves towards the cab of the truck and gets

inside as we SUPER:



	KANSAS CITY, MO. - 1963



INT. TRUCK - DAY



As he sits down beaming over his recent good fortune... now we

REVEAL his twelve-year-old son, TOM, seated quietly beside him.

He seems a bit down.  Gerald glances at his son.



			GERALD

	I don't know a recent Saturday I've

	sold more.  You didn't think I'd

	sell that health restaurant, did you?



			TOM

	No.  Not even you.



			GERALD

	Why so glum?



			TOM

	I don't know.



			GERALD

		(a beat)

	Go ahead.



			TOM

	No, nothing.  I've got a problem,

	I guess.



			GERALD

	Were you bothering by those

	waitresses making a fuss?



			TOM

	No.  But, honest.  What are you

	supposed to say when they keep

	talking about your looks?  I don't

	even know what they mean -- "Beat

	them off with a stick."



Gerald stiffs a grin.



			GERALD

	You know, Tom, I feel a little

	proud when people comment on your

	looks.  Maybe you should feel that

	way.



			TOM

	Proud?  I'm just embarrassed that

	I like when they say those things.



			GERALD

	As long as that's your only problem

	you're...



			TOM

	It's not.



He looks directly at his father and talks quietly, and sincerely.



			TOM

	I got my report card.  Three Cs,

	two Ds and an incomplete.



			GERALD

	Oh my.  I see you studying so hard,

	Tom.  What do you think the problem is?



			TOM

	I'll just have to try harder.  I don't

	know.  I will.

		(talking himself

		 into it)

	I will.  I will.  I will.



He shakes his head for emphasis, glad he's received this pep

talk from himself -- he hands the card to his father.



			TOM

	Thanks, Dad, this talk helped.  Will

	you sign it, please?



			GERALD

		(as he signs)

	Would it help if I got you a tutor?



			TOM

		(suddenly hopeful)

	That would be great.

		(worried)

	It better help.  What can you do with

	yourself if all you do is look good?



SUPER THE LEGEND -- "FUTURE NETWORK ANCHORMAN"



						FADE OUT



FADE IN



BOSTON, MASS. - 1965



INT. HIGH SCHOOL - AUDITORIUM - DAY



AARON ALTMAN, looking almost preposterously young in his

graduation gown -- is delivering his valedictory.  He is a

rare bread -- a battle-scarred innocent.



			AARON

	...and finally to the teachers of

	Whitman High School, I don't have the

	words to express my gratitude which

	may have more to say about the quality

	of the English Department here than

	my own limitations...



He awaits a laugh and gets only the weird sound of collective

discomfort.



			AARON

	...that was, of course, not meant to

	be taken seriously.  A personal note.

	I am frequently asked what the special

	difficulties are in being graduated

	from High School two months shy of my

	fifteenth birthday.  I sometimes

	think it was the difficulties

	themselves which enabled me to do it.

	If I'd been appreciated or even tolerated

	I wouldn't have been in such a hurry to

	graduate.  I hope the next student who

	comes along and is able to excel isn't

	made to feel so much an outcast.  But

	I'm looking forward to college; this is

	the happiest day I've had in a long

	time.  I thank you and I forgive you.



This is very little applause.



ANGLE ON TEACHERS



			MALE TEACHER

	I'm always so confused by Aaron.

	Is he brave and earnest or just

	a conceited little dick-head?



BACK TO AARON AS WE SUPER: "FUTURE NETWORK NEWS REPORTER"



ANGLE ON STAGE



As Aaron walks to his seat past three full grown tough looking

semi-literate high school graduates.



			YOUTH #1

	Later, Aaron.



EXT. SCHOOL YARD - DAY



Clusters of graduates at the fence bordering the sunken school

yard looking down as the tough cap and gowners seen earlier

cuff Aaron around.



CLOSER IN



Aaron feeling from a blow -- his lip bleeding -- his teeth

covered with blood...as he gets to his feet.  He is livid --

something primal triggered by this brutality.



			AARON

	Go ahead, Stephen -- take your

	last licks.

		(points at his

		 face)

	But this will heal -- what I'm

	going to say to you will scar you

	forever.  Ready?  Here it is.



He dodges as they come after him.  They catch him by the hair

and hurl him to the ground.  As he gets up he hurls his

devastating verbal blow.



			AARON

	You'll never make more than

	nineteen thousand dollars a year.

	Ha ha ha.



They twist his arm and grip him -- his face scraped on the

concrete.



			AARON

	Okay, take this:  You'll never

	leave South Boston and I'm going

	to see the whole damn world.  You'll

	never know the pleasure of writing

	a graceful sentence or having an

	original thought.  Think about it.



He's punched in the stomach and sinks to the ground.  As the

Young Toughs walk off Aaron catches a phrase of their

conversation.



			YOUTH TOUGH

	Nineteen thousand dollars...

	Not bad.



FADE IN



ATLANTA, GEORGIA - 1968



INT. SUBURBAN HOME - NIGHT



JANE CRAIG, ten years old, is in her room typing.  Above the

desk where she works is a bulletin board with letters and

pictures tacked to each one.  Her desk has several file racks

which contain bulging but neat stacks of air mail envelopes --

a roll of stamps in a dispenser is to one side.  Jane types

very well in the glare of her desk lamp.



			JANE

		(voice over; as

		 she types)

	Dear Felatzia, it's truly amazing

	to me that we live a world apart

	and yet have the same favorite music.

	I loved the picture you sent and

	have it up on my bulletin board.

	You're growing so much faster than

	I am that I...



OTHER ANGLE



SHOWING Jane's FATHER standing near the door.



			JANE

		(voice over)

	...am starting to get jealous.

	I read in the newspapers about

	the Italian strike and riots in

	Milan.  I hope you weren't...



			FATHER

		(softly)

	Honey?...



Jane SCREAMS, and grabs her heart, breathing heavily, babbles

nervously at her Dad.



			JANE

	Oh God -- Daddy -- don't...don't...

	don't ever scare me like that --

	please.



We SUPER:  "FUTURE NETWORK NEWS PRODUCER"



Her father is himself taken aback with the shock of her reaction.

Falling back towards the door:



			FATHER

	Jane -- For God's sake...

		(recovering)

	Look, it's time for you to go

	to sleep.



			JANE

	I just have two more pen pals and

	then I'm done.



			FATHER

	You don't have to finish tonight.



			JANE

		(he doesn't get in)

	Nooo.  This way the rotation stays

	the same.



			FATHER

	Finish quickly.  I don't want you

	getting obsessive about these

	things.  Good night.



We REMAIN WITH Jane who has obviously become disconcerted and

troubled.



INT. HOUSE - NIGHT



As Jane moves to room at the other end of the hall -- a family

room where her Father reads the latest Rolling Stone of the

mid-60's -- Hunter Thompson, the New Journalism, the slim

Jann Wenner -- Jane bursts into the room.



			JANE

	Dad, you want me to choose my words

	so carefully and then you just throw

	a word like 'obsessive' at me.  Now,

	unless I'm wrong and...

		(enunciating)

	...please correct me if I am, 'obsession'

	is practically a psychiatric term...

	concerning people who don't have anything

	else but the object of their obsession --

	who can't stop and do anything else.  Well,

	Here I am stopping to tell you this.  Okay?

	So would you please try and be a little

	more precise instead of calling a person

	something like 'obsessive.'



She advances furiously on her Father since even this strung out,

even with two additional pen pal letters to get off, she had

enough sense of duty to kiss him good night before storming from

the room.  She exits the room INTO BLACK.



Stay on BLACK as we begin MAIN TITLES:



OVER EXT. SMALL MID-WESTERN CITY - DAY



Emerging from the blackness -- Jane Craig -- now a

twenty-eight-year-old woman -- a long speed walker wearing a

jacket to which reflecting stripes have been glued -- the kind

of gear only possessed by someone who runs at off-hours.  The

Jacket itself is a wish-I-had-it souvenir from some important

news assignment, the sort of treasure you love about all else

yet never mention.  She stops running as she feeds quarters into

the first of a phalanx of newspaper machines -- getting seven

different papers before moving on.



INT. MOTEL ROOM - DAY



As she enters from the bathroom, having showered and dressed.

The sun is jus now rising.  She sits next to her phone.



INSERT:  JANE'S ROOM



The Filofax book is almost an additional character -- a crucial

hand-fashioned tool of Jane's trade.  She flicks at a page --

takes down a typewritten sheet scotch-taped to it showing the

room number of her crew and reporter.



ON JANE



As she dials one room number.



			JANE

		(into phone)

	Hi...It's me...



INT. DUPLICATE MOTEL ROOM - DAY



ANGLE ON CAMERAMAN -- his equipment in evidence though

essentially asleep holding his bedmate's hand, as he listens

to Jane.



			JANE'S VOICE

		(voice over)

	It's thirty minutes before you have

	to meet me in the lobby -- nudge

	your wife.



BACK TO SCENE



			JANE

	There's probably no time to eat...

	but there's a cafeteria at the bus

	depot once we get down there.  I

	love working with you two...It

	saves me a call.



She dales.



INT. DUPLICATE MOTEL ROOM



Where Aaron is switching his TV from station to station,

monitoring the early morning news.  His PHONE RINGS.



			AARON

	Hi.  Turn on your TV...

	Good Morning America, the

	Morning News and Today are all

	about to talk to Arnold

	Schwarzenegger and I think he's

	live on at least two of them.



BACK TO SCENE



			JANE

	At six o'clock on the wake-up

	news they used the wrong missile

	graphic.



			AARON

		(Austrian accent)

	Now listen, Arnold just said that

	he's been making three million a

	movie now.  But he's not ever

	gonna change.  He's still the same

	person when he was making two

	million dollars a movie.  He feels

	no different.  He also bought a brand-

	new condo with Maria, they gonna

	furnish tastefully.



			JANE

	A half hour in the lobby.



			AARON

		(Austrian accent)

	Okay, I'll see you in the lobbies [sic].



She hangs up -- takes the phone off the hook and lays it on the

bed for a moment's solitude.  She sits stiffly, palms on top of

her legs.  It looks like someone with unusually good posture,

waiting for something, and now we BEGIN TO SEE the first signs

redden and she begins to cry.  Now she sobs -- then miraculously

shakes it off and exits quickly to the bathroom.  This crying

episode is clearly part of her morning routine.



INT. BUS STATION - DAY



Jane standing behind her husband-wife - camera-sound team

as they train their attention on Aaron; who is getting ready to

do a stand-up.  There is a DERELICT off to one side.  Aaron holds

his microphone at the ready.



			AARON

	Ready.



			CAMERAMAN

	Your hair's a little funny.



			AARON

	It's an ethnic curl, I can't do

	anything about it.



			CAMERAMAN

	In front of a little -- it's a bit...

	You want a mirror?



			AARON

	No -- Don't worry about it.  Let's

	do this.



Jane nods her assent.



			CAMERAMAN

	Okay.



AARON SEEN THROUGH CAMERA



			AARON

	In other times, for other purposes,

	there might be a band and bunting

	here at the bus depot for J.D. Singer's

	return from war.  He...



			JANE

		(interrupting)

	I'm sorry.  But look at how

	wonderful his face is.



She points to the derelict.



			AARON

	Oh, you mean use him...That's

	nice.  Okay.



			CAMERAMAN

	I'll put him in the low corner of

	the frame -- good.



			AARON

	In other times, with other purposes,

	there might be a band and bunting

	here at the bus depot for J.D. Singer's

	return from war.  Last week he was

	decorated by a president for heroism

	in a war.  But it was the civil war --

	in Angola -- and he was in it for the

	money.



He puts the microphone down.



			AARON

	Thanks.



He passes a vending machine and checks the stray hair.



INT. GATE AREA - DAY



Jane in the distant b.g. on the phone.  Aaron and crew shooting

as the bus pulls up, hisses to a stop and tired, rumpled

passengers exit the bus.  J.D. SINGER, strong, 9'6" figure

emerges and is displeased to find a camera trained on him.

He reacts with all the grace of a short mercenary.



			J.D.

	Go 'way.



J.D. gets his luggage from the compartment under the bus.  The

crew shooting.



			AARON

	Just a few questions?



			J.D.

	No.



He starts walking -- the four person newsteam staying with him.



			AARON

	We came from Washington.



			J.D.

	Move away from me.



			AARON

		(holding out

		 microphone)

	How long has it been since you've

	been home.



			J.D.

		(moving)

	Fuck.  Fuck.  Fuck.  Fuckes.  Snot...

	Fuckee.  You want to use that?



			AARON

	It depends on how big a news day it

	is.



They reach Jane.  She calls to him.



			JANE

	J.D.  I'm Jane Craig.  I spoke to

	you in Angola.  I gave you some

	sugarless gum and Handi-Wipes.



As he reacts to her:



INT. JANE'S ROOM - NIGHT



Jane sitting next to Aaron making detailed timing notes as she

screens the material shot that day on a portable monitor unit.



			AARON

	Where's where I asked him about

	being scared?

		(then)

	You should work on your speech.



			JANE

	No.  It makes me nervous to think

	about it.  Let's do this.



She consults her notes and goes back to the exact spot.



			AARON

		(on tape)

	All this business of war -- do you

	get scared?



			J.D.

		(on tape; he smiles)

	Uh-uh.

		(then)

	I'm a little freaked right now about

	seeing my father though.



He laughs self-consciously and turns briefly away.



			JANE

	I love that turn away.



INT. AUDITORIUM - DAY



Jane is at the lectern in the darkened auditorium as two large

monitors display some taped news pieces she has assembled.  On

the lectern is a sign telling us we are at the Conference of

Local Television News Broadcasters.



			JANE

		(in darkness)

	There's a point I'm trying to make

	about these pieces coming up.



A WOMAN'S OUTLINE blacked out from behind -- her VOICE

ELECTRICALLY DISGUISED.



			WOMAN

		(o.s.; angrily)

	I don't think any client of mine

	makes less than fifty thousand dollars

	a year which means they can afford the

	best and you're damn right I feel good

	that that includes me.



						CUT TO:



ANOTHER ANGLE - ANOTHER WOMAN

in blackness, her VOICE DISGUISED.



			WOMAN TWO

		(o.s.)

	No.  You'd be surprised at who a

	working girl meets.  I've been a

	working girl for what? -- over a year

	anyway and that must be a thousand

	men and I don't think there's an age

	or type that hasn't been in there.



			INTERVIEWER'S VOICE

		(voice over)

	Policemen?  -- Doctor? -- Lawyer...?



			WOMAN TWO

		(o.s.)

	Oh, sure.  Television reporters.



A laugh from the audience.  There is a:



						CUT TO:



ANOTHER ANGLE - FULL FIGURE

A WOMAN in blackness.



			WOMAN THREE

		(o.s.)

	I'm seventeen now and I've been

	working the streets for two years

	and I guess to be honest -- I stopped

	thinking of it as temporary.



The lights come up on the room.  The two screens go black...

there is general APPLAUSE.  Jane blinks nervously.



			JANE

	Please don't applaud.



ON AUDIENCE



Sitting in groups of three -- NEWS TEAM from around the country,

remarkably similar in comparison...a great looking woman, good

looking man (either young or attractively avuncular) and a Black

or Hispanic.  They still APPLAUD -- not yet having grasped the

sincerity of Jane's plea which she presses with more urgency.



			JANE

	Please.  Don't!!

		(she yells)

	I gathered these pieces as an

	example of what's WRONG with local

	television news.



The applause stops.



			JANE

	The excerpts from THREE SEPARATE

	SERIES on prostitution were

	SIMULTANEOUSLY broadcast by all

	stations in one city during sweeps

	week.  By what bend of either or

	suspension of duty is that broadcast

	news?



She pauses half a beat for possible applause -- hearing none,

she continues.  An anchorman sneezes -- four people shout

"gesundheit" simultaneously -- they laugh.



			JANE

	The legacy of Edward R. Murrow,

	Eric Sevareid, William Shirer,

	David Brinkley and Walter Cronkite

	is being squandered in a desperate

	popularity contest.  Our profession

	is in danger:



TRACKING SHOT



As Jane continues, REVEALING that the news team now have even

more in common.  They do not like Jane.



			JANE

	Yesterday's compliment has somehow

	managed to become today's kiss of

	death.  To be considered a serious

	journalist is no longer flattering.

	It presents the risk of being labeled

	ponderous, or worse yet, elitest,

	right?



SHOT CONTINUES



Women playing with their hair, young man bored...one

middle-aged anchorman fusses with a spot on his tie...



ON JANE



Briefly departing from text.



			JANE

	All of you know what I'm talking about.

	We're all trying to act together than

	we are.  But we care.  So, we're all

	secretly terrified, aren't we?



Not a peep -- she is thrown but doggedly presses on with her

prepared speech though her throat constricts a bit, her voice

begins to rasp.



			JANE

	We are being increasingly influenced

	by the star system.  The network

	anchormen are so powerful they

	compromise our last best hope.  The

	current group is clearly qualified,

	tied still to our best traditions, but

	who follows these men?



TRACKING SHOT MOVES TO TOM GRUNICK



Seated with other members of his news team, a young blonde

woman whose hand is resting on his inner leg, a good looking

Hispanic.  Tom feels a growing excitement -- Jane is not just

a speaker, she seems a savior.



			TOM

	Wow.



His female colleague looks at him.



			FEMALE COLLEAGUE

	Oh, I've known so many women like

	that.  They don't like their looks

	so they're angry.



BACK TO JANE



Fumbling with her cards, sunk but game -- gamer than she would

wish.



			JANE

	I was going to talk about other

	trends but...

		(mumbling)

	...the magazine shows, news at

	profit, influence of

	Entertainment Tonight, the danger, the

	hope, the dream, the question...Oh, I

	was going to show you a tape -- a story

	that was carried by all networks on the

	same night -- the same night -- not one

	network noted a major policy change in

	Salt Two nuclear disarmament talks...

	Here's what they ran instead...Go ahead.

	Show the tape.



ON MONITORS



Showing the Japanese Domino Championships as broadcast by all

networks in the Spring of 1985.  It is quite spectacular -- the

dominoes falling into one another provoking waves, crossing tiny

bridges, setting off little fireworks.  JANE'S AUDIENCE applauds

loudly and squeals with delight.



ON SCENE



Jane between the two monitors.  She begins to speak loudly OVER

the AUDIENCE NOISES of approval.



			JANE

		(loudly)

	I know it's good film.  I know it's

	fun.  I like fun.  It's just not news.

		(as they continue

		 to applaud)

	Well, you're lucky you love it --

	you're going to get a lot more just

	like it.



STRAY VOICE - SHOUT "GOOD"



OTHER ANGLE



Jane sitting rocked into momentary catatonia, by the event.

Dazed as an animal stung by a tranquilizer dart.  She takes

some irregular breaths waiting for normal life to return.



WIDER



Tom the last person remaining in the room.  He approaches her --

she is totally unaware of his presence, even when he casually

mounts the stage with an athletic leap.  It takes courage for

Tom to fully intrude himself, which he now does:



			TOM

	Hello.



She looks up at him.



ANGLE ON TOM



Earnest, nervous -- handsome...Just when she needed a mirage

there it is.



			JANE

	Hi.



			TOM

	I just wanted to tell you  how great

	you were.  My name's Tom Grunick.



			JANE

		(dumbly)

	Thank you.

		(then)

	They hated me.  I don't hate them.



			TOM

	Well, they say if you can reach

	even one person, it means something...

	And you did that.



Jane looks up at his smile -- a beat then:



			JANE

	Would you like to have dinner

	with me?



INT. HOTEL RESTAURANT - NIGHT



Jane arrives at the maitre d' stand.  She has attempted to dress

up to the extent that  packing for a short-day trip allows.  She

looks for Tom.  Tom rises from a table and is immediately at

her side.



			JANE

	Hi.  I was worried I was early.



			TOM

	I was a lot earlier.



They are lead to a table and sit down.



			TOM

	I kept thinking what a great break

	it was for me to get to see you

	tonight.  More than a great break,

	maybe just what I needed...just when

	I needed it...Angel of mercy --

	godsend...lifesaver...what?



			JANE

		(picking one)

	I like "godsend."



			TOM

	I haven't been in news that long.

	I've just been looking for the

	right person to talk to.  I have

	about two thousand questions for you.



He notices that her head has gone into her hands where it

continues to rest.  He looks at her a beat.



			TOM

	It's possible now's not the right

	time.



She lifts her head.



			JANE

	If we could just eat first.



			TOM

	Totally understood.  Totally

	wrong of me to talk shop after

	the day you've had.  Totally

	sorry.



			JANE

	Nooo.  If I could just have a

	roll, I'd be okay.



She takes a roll from the roll plate.  He smiles at her.  She

takes a bite.



			JANE

	Thank you.



EXT. CONVENTION HOTEL - NIGHT



As they walk along -- dumping occasionally and self-consciously.

Jane is feeling a version of being turned on -- that is, a little

adrift and temporarily free of obligations.  She is open to

making a memorable mistake.



			JANE

	Another thing I can't stand --

	Is this dull?



Tom shakes his head almost violently.



			TOM

	No, no, no, no...



Jane looks at him curiously -- then:



			JANE

		(broadly)

	Another thing I can't stand is

	...when White House reporters

	bullshit with each other after

	a briefing and then one of them

	has a theory and the other quotes

	it in his story as "White House"

	sources say...



			TOM

	That actually goes on...



			JANE

	Yes.  My room is down here --

	I'm not tired.  Do you want to

	keep talking?



			TOM

	Yes, sure.



INT. JANE'S ROOM - NIGHT



A small good room -- her working paraphernalia very much in

evidence...the quality briefcase...the reams of well organized

notes...the thick contact book -- Jane is sitting on the bed --

Tom, not far away in the room's only chair.  One lamp is on

and it serves to place Jane in the shadows and cast Tom in an

enormously flattering light.  MUSIC comes from her miniature

portable STEREO system.



			JANE

	Come on...Even I'm not that

	hard on myself.



			TOM

	No, I really got this job on a

	fluke and wait till you hear where

	it ends up.



Jane smiles a calming smile.



			JANE

	I was doing sports at the station.

	The newspaper ran this untrue story

	that I was leaving and they got all

	these tons of protest mail.  So they

	made me anchor.



			JANE

	So great -- right?



			TOM

	Except I'm no good at what I'm being

	a success at.



			JANE

	How are you at back rubs?



Jane shifts her position so that her back is to Tom... He is

immobilized by the sudden turn.  Jane waits, just a bit longer

than it would take a man to run from the chair to her side before

experiencing the ghost-like clutch of rejection.  She moves

briskly past the moment -- grabbing a "good night" chocolate

from the pillow and munching it as she return to his agenda.



			JANE

	It's sort of normal -- the way you

	feel.  In graduate school everyone

	thought the only mistake the

	admission committee made was letting

	them in.



He moves to the bed.



			TOM

	Listen to me.  You keep on thinking

	I'm somebody ho lacks...confidence.

	That's not it.  I know I can talk well

	enough and I'm not bad at making contact

	with people, but I don't like the

	feeling that I'm pretending to be a

	reporter.

		(cont'd)

	And half the time I don't really get

	the news I'm talking about.  It isn't

	that I'm down on myself.  Trust me,

	I stink.



			JANE

		(levelly)

	I trust you.



			TOM

	I didn't even have the chance to get

	really good at sports.  I wasn't bad.

	I thought I was starting to do

	interesting features but hockey is

	big at the station and...



			JANE

		(interrupting)

	What about the obvious remedy?

	Reversing things.  Maybe getting a

	job on a newspaper.



			TOM

	I don't write.



Jane laughs or, more accurately, scoffs as Tom Continues.



			TOM

	But that didn't stop me from

	sending out audition tapes to

	bigger stations and the networks.



			JANE

	Well, come on -- it is your life.

	Nobody is tying you to the fast

	track.  Did you go to college?



			TOM

	One year...almost one year.



			JANE

	So, you're not well educated and

	you have almost no experience and

	you can't write.



He nods agreement.



			TOM

	And I'm making a fortune.



Jane laughs very briefly -- then rubs her face vigorously with

her hands... He's making her feel a little crazy.  She gets off

the bed.



			JANE

	It's hard for me to advise you

	since you personify something that

	I truly think is dangerous.



			TOM

	Uh-huh.



			JANE

		(holding it in)

	I agree with you -- you're not qualified.

		(letting it out)

	So get qualified.  You can insist on

	being better prepared.  You don't have

	to just leave it as...

		(mimicking him)

	'I don't write.  I'm not schooled.

	I don't understand the news I'm reading.

	But at least I'm upset about it, folks.'



A beat, then he mumbles softly to himself.



			TOM

	Whoa, this was a mistake.



			JANE

	Just what do you want from me, anyway?

	Permission to be a fake?  Stop whining

	and do something about it.



He gets up to leave.  She follows him.



			JANE

	Well, you don't have to start right now.



He turns to her.



			TOM

	I hated the way you talked to me just

	now...and it wasn't just because you

	were right.



He exits.



INT. JANE'S HOTEL - NIGHT



She is on the phone.



			JANE

		(into phone)

	No.  It wasn't just the speech --

	the same thing happened with this

	guy.  I have passed some line some

	place.  I am beginning to repel people

	I'm trying to seduce.



INT. AARON'S APARTMENT - NIGHT



As he talks with Jane.



			AARON

		(agreeably)

	He must have been great-looking, right?



			JANE

	Why do you say that?



			AARON

	Because nobody invites a bad-

	looking idiot to their bedroom.



She smiles.



			AARON

	Okay.  Let's do me.



			JANE

	Sure.



			AARON

	Okay.  I feel like I'm slipping but

	do people who are actually slipping

	feel that way or is it always the

	really good people who are moving up

	who invariably think they're slipping

	because their standards are so high?



			JANE

	This conversation is not worthy of you.



			AARON

	I'd give anything if that were true.



			JANE

		(laughing)

	Good night.



			AARON

	Wouldn't this be a great world if

	insecurity and desperation made us

	more attractive?  If needy were a

	turn-on?



			JANE

	Call if you get weird.



INT. JANE'S HOTEL - NIGHT



She hangs up -- pulls back the bedspread on the double bed --

on the other half are papers, schedules -- tapes.  She doesn't

clear them off so that she is literally sleeping with her work.

The PHONE RINGS.



			JANE

		(answering)

	I was just thinking it was the

	shortest phone conversation we

	ever had.



EXT. PHONE BOOTH



A deserted well-lit area.  Tom on the phone.



			TOM

	I never told you the reason I was

	telling you everything for.



			JANE

		(pleasantly surprised

		 it's him)

	Hey?



INTERCUT:



ON TOM



			TOM

	Those audition tapes I sent out...

	I've been hired by your network for

	the Washington bureau.  So I'll

	probably see you at work.  Sorry.



Jane is rocked and soured.



			JANE

	What???



EXT. WASHINGTON D.C. STREET - MORNING



Jane and Aaron walking to work -- agitated.



			AARON

	They didn't hire Peter Stiller from

	the Times and he had a great

	audition tape.



			JANE

	You want to start going over who they

	could have gotten?  They can't take on

	people like this for network news.  For

	God's sake.  What's going on?



INT. NEWS BUILDING LOBBY - DAY



Tom arrives for first day of work.



INT. ERNIE MERRIMAN'S OFFICE



ERNIE MERRIMAN is the network's Washington Bureau Chief.  He

is in his early 60's, has worked for the network about 40 years

-- part of the golden age -- a family man, an honorable man,

a good guy.  Right now he is welcoming Tom to the network

thereby good-naturedly helping with the destruction of all he

holds dear.  As he hands Tom his credentials:



			ERNIE

	Any particular area you feel

	strongest in?



			TOM

	To be honest, I was best at anchor.



Ernie gives him a long look -- is he kidding?



			ERNIE

	Why don't you take a few days observing

	the system?  Then we'll put you on

	general assignment.



EDITING ROOM - NIGHT



Two small TV monitors -- a smallish room.  Jane goes over her

timing notes which correspond to the time code SUPERED on the

monitors.  BOBBIE -- an extraordinarily silent man -- is doing

Jane's bidding.  On the monitor we SEE the mercenary piece

which Jane is editing against a tightening deadline.  The

PHONE RINGS periodically -- Jane conducting abrupt conversations

which continuing to edit.  The pressure is palpable to begin

with but builds and builds; almost like a family fight getting

out of hand and threatening to bend lives.  Through it all, Jane

remains remarkable calm.  Her focus is amazing; her command sexy.



			JANE

		(consulting notes)

	Go back to 316, Bobbie.  The sound

	bite in the cab -- it starts, 'I

	don't know how I'll feel...'



			BOBBIE

	We could...



			JANE

		(interrupting)

	Please, Bobbie, we're pushing.



As Bobbie expertly reverses the tape, Tom's face appears in

the glass doorway and then he enters the already crowded room --

Jane's eyes click to him briefly.  She makes not a move to

welcome him.  He pauses, but is committed and tries to find

a piece for himself against the wall.



			TOM

	They said I should observe the...



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.



			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?



INT./ENT. REGULAR BAR - NIGHT



Tom and Buddy on adjoining stools.  For Tom, the last weeks have

been humbling, antagonistic.  He's enjoying Buddy who listens

attentively and wholeheartedly endorses every word Tom speaks.



			TOM

	I've been doing some morning show

	stuff, but mostly radio -- that doesn't

	bother me.  I'm in no rush for

	anything.  It's just the snotty

	attitude, even if I have it coming,

	it's still...



			BUDDY

	Bad manners.



			TOM

	Yes.  That's right.



			BUDDY

	I know...I mean you didn't do anything

	special for me tonight.  You just had

	what I think are good manners, decency.

	And it really makes me want to be nice

	back and it has nothing to do with any

	homosexual thing.

		(looks right at him)

	Honestly.

		(then away)

	Because I don't know if you've

	homosexual or not and -- you're not,

	are you?



			TOM

	No...no.



			BUDDY

	One's enough.



Tom signals for the check.



			BUDDY (cont'd)

	I wasn't doing anything.



			TOM

	I really have to go.



			BUDDY

	Okay.  At least let me show my

	appreciation.  The Secretary of Labor

	is going to be indicted on Wednesday.

	For the graft thing he supposedly did

	before he was appointed.



			TOM

	What?



			BUDDY

	Yes, it's true.  They're going to

	make it public Wednesday but isn't

	it a big deal for you to have it a

	day and a half early?



			TOM

	Yes.  How do you know?



			BUDDY

		(shrugs)

	My roommate's very social -- somebody

	from Justice was over and...I always

	hear things before they happen.  Hey,

	and from now on, so do you.



INT. ERNIE'S OFFICE - DAY



George Weln, the black correspondent and Tom are seated in the

office with Ernie -- they are in mid-meeting.



			GEORGE

	I'm virtually certain it's not true.

	He may be indicted eventually, but I

	don't think it will be this month.



			ERNIE

		(to Tom)

	You want to be alone with me --

	tell me your source?



			TOM

	If I told you I'm not sure it would

	totally convince you, but I totally

	believe the guy.



			GEORGE

		(insufferable)

	Labor is my Department -- I can't

	conform it and my contacts go very

	deep.



			TOM

	So if it's true -- I'm terrific,

	right?



			ERNIE

	It's not even a close call.  Of

	course we can't go with it.



INT. EDITING ROOM - FOLLOWING DAY



Jane is working with Bobbie the editor... Snatches of the tape

make it obvious that the Labor Secretary has been indicted --

George Weln stands behind Jane, who is dialing a number.



			BOBBIE

	Do you want him all the way to the

	car?



			JANE

	No stop where he's all besieged.



			BOBBIE

	Because...



			JANE

		(to Bobbie)

	Right there, Bobbie.



Tom enters.



			TOM

	So he was indicted?



			JANE

	Yes.



			GEORGE

	We were right not to go with it.



			TOM

	But I was right -- just somebody give

	it to me.  I had a good story.



			JANE

		(to George)

	Give it to him -- so we can concentrate.



			TOM

	Ah, I don't want any credit.  Bobbie

	and I serve anonymously.



He pats Bobbie on the back... and exits.



			BOBBIE

		(pausing in his work)

	You know, I like Tom, because hi...



			JANE

	Bobbie, please.



INT. METRO BUS - DAY



Crowded rush hour... Buddy and Tom stand next to each other.



			BUDDY

	...and the White House is hoping to

	keep a lid on it for a few days till

	they figure out what to do.



			TOM

	Thanks a lot, Buddy.



			BUDDY

		(brushing it off)

	Oh, please.  So they were really

	impressed with you at work.



			TOM

	Not impressed exactly -- but a break

	in the clouds.



			BUDDY

	I see the change in you -- I see it.



INT. WHITE HOUSE PRESS ROOM - DAY



The 10 A.M. briefing just breaking up -- Jennifer leaves her

network seat in the front row, only to be grabbed by Tom who

steers her outside.



EXT. WHITE HOUSE EAST WING - DAY



In the near distance a circular driveway and a silent armed

MARINE GUARD, standing at attention.



			TOM

		(to Jennifer)

	So he bought this Peugeot sedan at

	a greatly reduced price while he was

	there in charge of the White House

	Advance Team.



			JENNIFER

	How come you're not chasing it down

	yourself?



			TOM

	Look, I'm junior man -- and it's

	your beat.



			JENNIFER

	Boy, that's nice...I wish we could

	all deal with each other like this.

	I'll check it.  Anything I can do

	for you?



			TOM

	This is my first time at the White House.

	Is there any chance to look at where

	he works and the rest of it?



			JENNIFER

	I didn't have the guts to ask when

	I first came up.  I'll get you a

	great tour.



INT. BAR - EARLY EVENING



Buddy and Tom watching the Evening News as Jennifer finishes

her story.



			JENNIFER

		(voice over; on TV set)

	The President says it's not a violation

	but nonetheless White House sources

	say the full price will be paid for the

	Peugeot and new rules will put future

	bargain hunting off limits for

	Presidential Aides.  This is Jennifer Mack

	at the White House.



Tom and Buddy smile at each other... energized -- up.



			BUDDY

	Forgive me, but it really is intoxicating

	being a news source.



			TOM

	Nobody else had it.



			BUDDY

	I wish it were you giving the story.



			TOM

	That's okay.



			BUDDY

	What if we just don't tell them

	anything anymore unless they let

	you do the story?



			TOM

	No.  Really...don't worry about it.



			BUDDY

	Okay.  And look, in the future I can

	call you when I have news for you.

	Don't feel you have to spend time

	with me just to get the information.

		(a breath; then

		 to himself)

	Well, that wasn't as hard to say as

	you thought, was it, Buddy?



			TOM

	What do you mean?  You're one of the

	few people in this town I can talk

	to.



Buddy puts his hand to his heart and makes a LOUD SOUND OF

RAPTURE.



			BUDDY

	Hoooo.



The BARTENDER and some nearby patrons turn and look.  Tom shifts

with discomfort.



			TOM

	Hey, Buddy, don't do that anymore.



			BUDDY

		(simply)

	Okay.



INT. WASHINGTON BUREAU - NIGHT



Jane waiting for an elevator... It comes and she steps on just

as Tom clearly excited comes around the bend from Ernie's office

calling for her.  He goes to the stairs.



INT. WALKWAY - NIGHT



He runs out and sees Jane in the lobby below, then takes off

after her.



INT. LOBBY - NIGHT



As he enters and runs outside, looking in both directions then

running off to the right.  A BEAT -- REVEALING Jane has stopped

to talk with Blair -- now she exits.



EXT. WASHINGTON STREET - NIGHT



Tom on the street, ahead of her, thinking he's behind her...

He runs another half a block and stops dejected... Turns to walk

back to the office.  He keeps looking back to see if he missed

her, so that his head is turned as Jane reaches him, says a

fairly social:



			JANE

	Hi, how are you?



She keeps moving -- Tom spinning after her.



			TOM

	Wait -- I need you.



She stops.



			TOM

	I've got another story.



			JANE

	Some public official skipped a week

	on his Christmas Club?



			TOM

	The House Armed Service Committee

	has a secret report which says that

	the General Stillwell tank the Army

	has dumped a fortune into plain

	won't work.  I have it cold,

	confirmed.  They have five million

	dollars in this thing already.



			JANE

	Billion.



			TOM

	Okay, billion...right, of course.

	They told me I could have any producer

	I wanted -- and I want you.



As Tom savors the moment.



INT. TELEVISION STUDIO - EVENING



Various bureau personnel standing at their desks watching Tom's

piece being broadcast.  We SEE a TANK MISFIRING.



			TOM

		(voice over)

	One source referred to it as a

	five billion dollar metal sculpture

	to ugly to look at and too big to bury.



			AARON

		(to Jane)

	You write this?



			JANE

	I write for you sometimes.



			AARON

	Not because you have to.



ON MONITOR



We SEE a General walking away from Tom.



			TOM

		(voice over)

	General Elton McGuire is in charge of

	the weapon system.



ON MONITOR - TWO SHOT



			GENERAL

	I've been in the Army twenty-seven

	years -- so I'll let the Army ask

	the questions, not you.



			TOM

	General, I don't want to bother you

	anymore or your family.  But tomorrow

	there will be a mob of me back here --

	so, if you have anything to say, why

	not say it now, sir, the way you want?



ON TOM



He is a study.



Looking at himself -- and though it's far from his first time on

television -- it's the first time he's seen himself doing serious

work and, by all appearances, doing it well.  As the General

answers in the b.g. --



			BLAIR

	I think it's great of us to have left

	in what you said -- just great of us.



Tom smiles modestly.



			AARON

	Yeah, let's never forget.  We're

	the real story.  Not them.



Tom and Jane look over -- then Tom looks to Jane for a verdict.

In the b.g., the news goes to a commercial.



			JANE

	Yeah, I know, I went back and forth

	on it.



			BLAIR

	I liked it.  He's not afraid to be

	human.



Ernie ENTERS THE SCENE with his fourteen-year-old DAUGHTER

in tow... He approaches Tom.



			ERNIE

	My youngest wanted to meet you.

	This is Ellie.



			TOM

	Hi, Ellie.



			ERNIE

	You should be honored -- she

	never cares about meeting

	anyone here.  But she liked you

	on television just now.



			AARON

		(entering scene)

	Hi, Ellie -- remember me?



			ELLIE

	I'm sorry -- from where?



			AARON

	I've been to your house a lot...



			ERNIE

		(helping)

	And Aaron went on that fourteen

	day raft trip with us last year.



			ELLIE

		(vaguely)

	Oh yes -- hi.



INT. NEWSROOM - NIGHT (LATE)



Tom is on the phone.



			TOM

		(into phone)

	Hi, Dad...Did you see it?  Great --

	I'll send you a tape...I'm sorry I

	haven't called.  Things were a little

	bumpy for a while.  It's not important...

	I'm fine now.

		(what he's been

		 wanting to say aloud)

	Hey, Dad -- I just may be able to

	do this job...Well, I'm glad you

	were sure.



INT. ERNIE MARRIMAN'S VIRGINIA HOME - DAY



Ernie is hosting the news staff for Sunday brunch -- they stand

around drinking in small groups... Aaron is standing with Blair

and a MAN in his fifties we have not seen before.



			BLAIR

	I don't know why we have to feel

	defensive about it.  Newspapers

	are in business to make money --

	why not us?



Aaron looks at her in amazement.



			BLAIR

	They criticize us for supposedly

	pandering while they run WINGO

	Games.



			GREY HAIRED MAN

		(amused)

	Exactly right.  Excuse me.  I'm

	paid to mix.



Blair and Aaron laugh appreciatively as he walks off to another

group.



			BLAIR

	Goodbye, Paul.



			AARON

	Take care, Paul.

		(back to Blair)

	It takes a certain kind of courage

	for you to say that in front of

	the President of the News Division.



			BLAIR

	You think anyone who's proud of

	the work we do is an ass kisser.



			AARON

	No.  I think anyone who puckers their

	lips and presses it against his boss'

	buttocks and then smooches is an ass

	kisser.



			BLAIR

	My gosh, and for a while there, I was

	attracted to you.



She walks off.



			AARON

	Wait a minute -- that changes

	everything.



ON JANE



At the bar getting a drink.



Jennifer ENTERS THE SCENE... and leads Jane down the hall until

they are standing alone.



			JENNIFER

	This is very awkward.



			JANE

	Go ahead -- what?



			JENNIFER

	Ummm -- it's dumb dorm stuff but

	I see Tom around you a lot and this

	is such a small office and I'd like

	to see him outside of work, unless

	there's some reason for you to mind...

	in which case I just won't do anything.



			JANE

	God Almighty -- Whew.  Do I mind?

	Why do I mind?  I do mind.  What

	a shock -- I don't have a right to...

	I don't think I like him.  I know

	I don't respect him...So what am

	I talking about -- what am I saying

	to you?



			JENNIFER

	You're saying stay away from him.



			JANE

		(stupefied)

	I can't be.



She blinks in wonder.



			JENNIFER

	We don't have to settle this

	definitively right now.



Jennifer moves toward the drinking table -- Jane, unsteadied

by the dose of self-revelation, moves towards Aaron's circle

and scratches his back in friendship... Tom approaches an she

moves off -- not wanting to deal with him.  She takes a few

breaths as she keeps walking.  We HEAR snatches of PARTY

CONVERSATIONS, i.e:



			GEORGE WELN

	Tell me one person who ever left

	television news to work on a

	newspaper.



She moves on; Tom still following.



			ERNIE'S WIFE

		(holding Paul's arm)

	I felt so proud when he turned

	down News Vice President so we

	could stay here.  Suddenly, after

	all these years, we have a life.



Jane turns -- sees that Tom is still looking at her from a few

feet away.



			JANE

		(badly)

	Hi, Tom.



She stands there, genuinely frightened.  She must deal with him

now.  He crosses to her.



			TOM

	It's the firs time I've seen

	you dressed like this.  You look

	so clean and pretty.



			JANE

	What do you mean clean?



			TOM

	At work there's always this

	sort of film over you.



			JANE

	Well, thumps like me leave appearance

	to guys like you.



			TOM

	You're great at taking the edge

	off a good time.



Jane starts twitching.  She pauses -- holds a hand lightly on

his arm to steady herself.



			TOM

	You okay?



			JANE

	Yes.  Just don't say anything mean

	for a while.  Thanks.



She meets his gaze for an instant -- and, in that instant, loses

control for the first time in her memory.  She looks strange as

she retreats from this glimpse of upheaval.



			JANE

	I've got to find someone.  It's

	important.  Excuse me.



She walks away.



ON AARON AND ERNIE



			ERNIE

	I had the strangest thing happen

	yesterday.  Anne and I have been

	married what? -- Thirty-six years...

	Everything fine -- two days after the

	promotion came through, I was checking

	myself in the mirror and she was

	making a face at me behind my back.

	So yesterday I looked in the mirror

	and she was doing it again.



			AARON

	You didn't say anything to her?



He shakes his head.



			ERNIE

	My instincts tell me not to.



Annie comes up.



			ANNE

	The office is phoning, honey.



He EXITS SCENE as Anne watches him go.



			ANNE

	I hope he moves that fast when

	it's me on the line.



ON JANE



As she passes a chair with an afghan shawl on the back -- she

picks it up and wraps it around herself, a bit chilled.  She

sees Jennifer on the stairs and moves toward her calling in a

too loud, anxiety-ridden voice as she goes.



			JANE

	Jennifer.  Hey, Jennifer.



ON STAIRCASE



Jennifer turning as Jane whips up the stairs.



			JANE

	Forget what I said -- you do

	whatever you want to with him.



She pushes at Jennifer a little.



			JENNIFER

	Well, there's nothing I'm going

	to do right this second.



Jane pushes her again.



			JENNIFER

	But it's a party, right?



Jane smiles back feigning female bonding -- Jennifer goes back

down the steps and crosses to Tom.



FULL SCENE



Aaron takes in Jane, who is taking in Jennifer and Tom -- then

Aaron begins to sense a new dynamic in the room as Ernie re-enters

and huddles briefly with Paul... The News President is intent...

The two of them walk over to Tom and Jennifer.  We PICK UP just

a few words:



			ERNIE

	This would be a good time to tap

	that source of yours.  He could

	have an angle or something.



AARON'S P.O.V.



Tom is startled but cool -- nods his head -- Jennifer is amazed

looking at Tom with new and even prettier eyes... Paul and Ernie

now move toward Jane, a whole flow of movement creating a new

energy in the area.  Jane sheds her Afghan as she rises to meet

them.



			ERNIE

		(to Jane)

	We want you to exec produce a

	Special Report...



			JANE

	What?



Aaron has come over to join them now in time to HEAR.



			ERNIE

	A Libyan plane shot up one of our

	bases in Egypt.  It's all still

	happening.



			JANE

	Let's figure out the field.



			ERNIE

	Unfortunately, since Paul's here,

	he's made out the assignments...

	Jennifer at the White House...

	George at the Pentagon...Martin

	at State...and we need an anchor

	since Rorish is in his boat, so we're

	gonna do the whole report this

	afternoon from here...with Tom.



			AARON

	That's it.  I resign as of now.



			ERNIE

		(to Aaron)

	Stop it.



			AARON

	I'll tell you what.  I'll stay if

	Tom knows how to spell Gaddafi.



			JANE

	Ernie, as much as I like you, I

	think I have to tell Paul what I

	think, because this is really sort

	of obscenely stupid.



			ERNIE

	Jane, if you want to, go ahead.  I

	don't disagree with you.



Jane moves quickly off, awed at the prospect of taking on the

big boss.



ON JANE



As she moves past Tom who is talking on the phone, eventually

catching up with Paul.  In the b.g. Tom has just HEARD the

"BEEP" of an ANSWERING MACHINE.



			TOM

	Hello, Buddy.  It's 1:35 -- and

	this is Tom.  You can reach me

	at the office.  It's important.

	I can use a little help.



Jane, because of the proximity to Tom is speaking in whispered

intensity.



			JANE

	Tom isn't ready for the job

	you're about to hand him.  Not

	near ready.  Not by the longest

	shot.  Aaron's spent six weeks

	in Tripoli, he's interviewed

	Gaddafi -- he reported on the

	Eight-one story.  I think he's

	essential to do the job we're

	capable of and I think it's my

	responsibility to tell you that.



			PAUL

	Okay, that's your opinion.  I

	don't agree.



			JANE

	It's not opinion.



			PAUL

	You're just absolutely right

	and I'm absolutely wrong?



She nods.



			PAUL

	It must be nice to always believe

	you know better.  To think you're

	always the smartest person in the

	room.



			JANE

		(from her depths)

	No, it's awful.  Oh my, it's awful.



			JANE

		(turning to leave)

	We'd better get moving.



As they move out... Jane goes to Aaron... He moves with her

towards the door.



			AARON

	What happened?



			JANE

	I'll tell you later -- where

	you going to watch from?



			AARON

	Watch? --



			JANE

	I'll come by your place, right

	after...drink, take pills...

	Love you.



She runs out the door.  Aaron turns mean and mocks Jane's

last words -- screwing up his face in a savage burlesque.



			AARON

	Yeah, love you, too.



EXT. DRIVEWAY - DAY



As Jane briefly pauses to see which war has room.  Tom opens

the passenger seat of his car -- she gets in.  It moves off.



INT. TOM'S CAR - DAY



As it moves off.



			JANE

	Nervous?



			TOM

	Excited.



Jane looks over at him -- there's no question he's just told

the truth.



INT. TOM'S OFFICE - DAY



In the b.g. we SEE the Bureau Newsroom beginning to pulse with

activity.  Tom closes the door.  He sits down behind his desk

and opens a bottom drawer -- a clean whit shirt lies there.

He opens the center drawer -- two ties are inside.  He picks

one.  He reaches for a package of new red suspenders.  He takes

off the shirt and puts on the new one -- all of this the work

of an expert craftsman.  By the time he finishes he looks like

the authority figure we know he's now.



INT. BUREAU NEWSROOM - JANE AND BLAIR



Jane is NOT hyper.  She is purposeful -- organized -- even

calming Blair with a little physical contact -- a touch on

the arm, to still her colleague's hysterical demons.



			JANE

	Tell George and Jessica to try

	and cover everything without

	Tom having to ask additional

	questions.



			BLAIR

	And Bobbie says...



			JANE

	Did you hear what I just said --

	do you have that?  Take a breath.



			BLAIR

		(a breath, then)

	Yes.



In the b.g. Tom has exited his office and looks about --

waiting for some indication as to what to do next.



			JANE

	And the most important thing

	make sure his earpiece works,

	have back-ups ready.  That's

	never been more vital.  He

	must be able to hear me at

	every second and clearly.



Jane sees him.  She moves across the room -- takes Tom by the

arm.



			JANE

	We have twenty minutes -- you can

	wait in the studio.



Tom coughs nervously into his hand and takes a pen from a

nearby desk, clips it into his inside pocket and walks off.



GRAPHICS ROOM - DAY



Jane is screening and asking corrections in a graphic

representation of an F-14 shooting down a Libyan Air Force

Mirage Fighter.



			JANE

	Put in the radar plane that spotted

	them to begin with.



			GRAPHIC ARTIST

	We have no pictures on file.



			JANE

	I can't draw -- but this is a

	rough idea.



She uses the stylus from the ELECTRONIC PAINT MACHINE to outline

an American Air Force E-2C Hawkeyes Radar Plane.  Her work is

stunning.



INT. AARON'S APARTMENT - DAY



He has a glass in hand -- some chips on the table with a

bottle of wine as he selects a Cassette Desk to play.  He picks

a French song -- looks at some of his books.  He might even

read.  He is feigning disinterest for an audience of no one.

He SINGS ALONG with the RECORD in perfect French.



INT. STUDIO HALLWAY - DAY



Tom checking copy in the long hallway leading to the studio --

there is the merest of hubbubs causing him to look up.  Buddy

is being stopped at the other end of the hallway.



ON BUDDY AND SECURITY GUARD



			GUARD

	I have to check first.



			BUDDY

		(a bit frantic)

	Well, then check -- but hurry --

	There he is!!!



Buddy runs the length of the hallway to Tom's aide despite Tom's

gestures to slow down.



			BUDDY

	Is everything all right?



			TOM

	Yes.  You didn't have to come here.

	It's just that I'm going to anchor

	this special report on this Libyan

	thing...



			BUDDY

		(delighted)

	Anchor?



			TOM

		(amused despite

		 situation)

	Yes, stop!  I wondered if you could

	find out anything about what's

	happening.

		(on Buddy's reaction)

	What's wrong?



			BUDDY

	I broke up with my roommate --

	He was really the magnet for

	everyone who knew anything.



			TOM

	Oh.



			BUDDY

	Look, I can start up with him again

	if you really...



			TOM

	No.  I'm doing fine...Look.



Tom stands there -- a man at home in this media castle.



			BUDDY

	Good.  He's on the world's longest

	ego trip, let him take it alone.



			TOM

	Hey, okay.  Look Buddy -- I've

	got to go to work.



			BUDDY

		(to Tom)

	...good-bye then.



			TOM

	I'll speak to you.



			BUDDY

	Well, who knows.  Just let m tell

	you what my favorite teacher ever,

	told me -- 'Don't be afraid to be

	wonderful.'



He leans forward, gives Tom a quick embrace, a small kiss on

the cheek.  Tom turns and walks off down the hallway to meet

his immediate destiny as Buddy looks on.



INT. CONTROL ROOM - DAY



Jane mounts some steps in the control room -- she moves past

the DIRECTOR and TECHNICAL CREW up to the next level where the

two news execs, Ernie and Paul stand with their backs to the

wall, and then up one more step slightly above the desk and

table occupied by Blair.  Now she slips into the large well

paddled throne-like seat -- as WE BEGIN MUSIC CUE.



Literally at her fingertips is the row of buttons which provide

immediate access to the field reporters at the Pentagon, State

and the White House.  In front of her the bank of monitors, the

Technical Team and past them the studio where Tom is seated at

Anchor, a FLOOR PRODUCER and WRITER feeding him copy.



ANGLE FAVORING BLAIR



As she looks at Jane, poised to control the complicated apparatus

of minds and machines comprising the big time network news.

And Jane Craig is at the helm.  Blair experiences a flash of

emotion which transcends envy and verbalizes it.



			BLAIR

		(sotto to Jane)

	Executive Producer -- wow.



Jane looks at her and, in a moment of atypical merriment, does

a choking gesture at her own throat as the monitors flash a

graphic reading:  SPECIAL REPORT... We HEAR an ANNOUNCER'S VOICE

say, "This is a Special Report from..."



INSERT:  JANE'S CONTROL PANEL



Each of four buttons labeled so that the microphone can connect

her to Tom and the Field Reporters.  She presses the button

marked "Tom."



			JANE

	You hear me, Tom?  Tom?  Tom?

	Damn it...He can't hear me...

		(to Blair)

	I told you if there was one thing...



Tom's VOICE on speakers.



			TOM

		(voice over; relaxed)

	I can hear you.  I was just teasing.



Gulping the air in relief, she slumps nonetheless impressed by

the macho cool as:



Tom smiles towards her then -- poises himself just as the

Announcer's last words clear.



			ANNOUNCER'S VOICE

		(voice over)

	...in Washington, Tom Grunick.



He begins his report.  He seems authoritative, compelling, even

in a low key way.  We trust him.



			TOM

	Good afternoon.  A Libyan fighter

	plane attacked a United States

	Military Installation early this

	morning and was, itself, shot down

	by American F-14 Interceptors.



Another monitor shows the Graphic running.  In the b.g. two

men approaches Paul.  They look out of place, decidedly

non-business like.



			MAN ONE

	Mr. Moore, I'm Marvin Usher and this

	is my brother, Stuart.



			PAUL

	Not now!!!

		(gesturing)

	Look.



			TOM

	The Libyan Missile destroyed an Army

	Warehouse which, just thirty minutes

	earlier, had been crowded with

	servicemen.  No one was injured.



INT. AARON'S APARTMENT - DAY



Aaron is seated, feet up, drinking, listening to MUSIC -- reading

a book, two remote controls are on the cushion next to him.  He

SINGS OUT LOUD with the record as he reads -- at one point

providing his own lyric line OVER THE MUSIC.



			AARON

		(SINGING LOUDLY)

	And I can read while I sing.



He picks up the television remote-control device an puts the

television on, the SOUND OFF.



ON TV



We SEE the graphic of the Libyan plane's flight route, its

missile firing -- the U.S. planes taking off and the shooting

down of the Mirage jet... At one point Aaron lowering the MUSIC

and raising the TV SOUND hearing Tom.



			TOM'S VOICE

		(voice over)

	The heat seeking missile virtually

	disintegrated the  plane on...



Aaron turns down the TV SOUND and turns up the MUSIC.



INT. BOOTH



Jane's hand flicks at the button marked "PENTAGON."



			JANE

	George, you're ready.



ON PENTAGON MONITOR



We SEE George and HEAR him through Jane's voice box.



			GEORGE

		(voice over)

	Should I cover everything or should

	I save something for Tom to ask about?



			JANE

	Cover everything!



George nods.



			JANE

		(hitting Tom's button)

	We're going to George.  Say 'the

	Joint Chiefs are meeting -- we have

	George Weln at the Pentagon'.



ON TOM



			TOM

	George Weln is at the Pentagon where

	the attack launched by the lone

	Libyan pilot has resulted in a massive

	movement of military might.



INT. AARON'S APARTMENT - DAY



Where he still balances STEREO and TV SOUND.



			AARON

	A lot of alliteration from anxious

	anchors placed in powerful posts.



He picks up the phone.



INT. CONTROL ROOM - DAY



As Blair hands it to Jane.



			BLAIR

	It's Aaron.



			JANE

	Yes?



			AARON

	I think the pilot that shot down the

	Libyan in 1981 is stationed right

	here.  Maybe you could get him --

	and maybe Tom should say that our F-14

	is one of the hardest planes to fly.

	They're nicknamed 'Tomcats'.



			JANE

	Thanks.

		(to Tom)

	The F-14 is one of the most difficult

	planes to master.

		(remembering)

	Oh, you call them 'Tomcats' and in

	the 70's the first crop had a number

	of crashes.



			TOM

	George, isn't the F-14 Tomcat one of

	the most difficult machines for a

	pilot to master?



			GEORGE

	I think you're right -- it's certainly

	one of our hottest planes.



INT. AARON'S ROOM - DAY



			AARON

	I say it here -- it comes out there.



He giggles.



			TOM

		(voice over)

	There was trouble with them in the

	early days -- back in the 70's.



Aaron dials again... As we SEE Jennifer standing at the

White House.



			AARON

		(into phone)

	Me again.  Hi.  Listen Gaddafi doesn't

	foam at the mouth or anything.  When

	you speak to him he's not at all nuts.

	He seems like a leader -- very

	impressive, self-control...that's

	what's so strange.



ON JANE



			JANE

	Right and we have the '81

	pilot on the way in -- Nobody else

	will have him.



			AARON

		(voice over)

	You're welcome.  Sow how does it

	feel to...I know you gotta go --

	Me too.  We're very busy here.



He hangs up -- LONG SHOT... Aaron with his remote controls.

The picture switches back to Tom.  He turns UP the VOLUME.



			TOM

		(voice over)

	...outlaw nation but strangely those

	who have interviewed Gaddafi find

	him, in a phrase we like to use in

	this country, very 'presidential'.



			AARON

	Nice, Jane.



INT. CONTROL ROOM - DAY



Jane is on the phone.  The atmosphere buckling with strain.



			JANE

		(into phone)

	Just a minute.



Her finger hits the "Tom" button.



			JANE

		(to Tom)

	To State for the message from Libya,

	then you'll have the carrier pilot

	from the Sidra in time to...

		(a sudden shriek)

	What?  No!



ON TOM



Jolted by the shriek in his earpiece but nonetheless continuing.



BACK TO JANE



As she SCREAMS INTO the phone -- this is more than volume, she

is over-the-top livid, her face red, neck cords popping.



			JANE

	We only have ten minutes left --

	how can you talk to me about parking

	problems?  No, not you'll try...you'll

	do it -- do it or I'll fry your fat

	ass, Estelle.  Good-bye.



As she BANGS the PHONE down.  Paul comments sotto to Ernie.



			PAUL

		(sotto)

	I had no idea she was this good.



			JANE

		(hitting Tom's button)

	Fill for a second.



			TOM

		(fluidly)

	The latest message seems to indicate

	that the Libyan pilot was acting on

	his own without authority from anyone

	else.

		(into camera directly)

	In other words, I think we're okay.



INT. STUDIO - EIGHT MINUTES LATER



MOVING CAMERA FROM Tom's left profile TOWARDS HIS RIGHT PROFILE,

TAKING IN THE Production Assistant who madly shuffles pages,

even as Tom talks on camera, the monitor through which he sees

the subject of his interview at the Pentagon, the clusters of a

assistants on the floor and now WE CONTINUE TO CIRCLE BEHIND him,

beginning to SEE the Control Room in the b.g. and as we MOVE IN

TOWARDS HIS EAR, the white ear piece firmly in place, we BEGIN

TO HEAR, the barely audible crackle of Jane's VOICE as she tells

him roughly what to say and how long he has to say it.



			TOM

	...So, Commander, it must have been

	a bit tougher today -- shooting down

	the French-made Mirage Jet.  The one

	you got was a SU-22...etc...



And NOW ALL IS OBSCURED EXCEPT THE ANCHOR'S EARS, the ear piece

and the RED LIGHT on the CAMERA and beyond... almost an abstract

vision.



INT. CONTROL ROOM - DAY



			TOM'S VOICE

	...Once again:  The Libyan Government

	has disavowed any prior knowledge of

	the flight.  This has been Tom Grunick

	reporting from Washington.



The special report ended, Jane breathes a breath -- she and

Blair momentarily grasp hands.  The first talk concerns Tom.



			PAUL

	He was brilliant.  I've never been

	as proud of one of my decisions.



			ERNIE

		(calls back to Jane)

	Great work, Jane, really -- You know?

	Really.



She nods... totally depleted.



			JANE

	Well, there were no major gaffs anyway.



Ernie scoffs in her direction.



			JANE

	Thanks, everybody.



She exits the scene.



			PAUL

		(to the Usher brothers)

	This was important for Tom -- there's

	that bonding thing that happens with

	the public and an anchorman during a

	crisis.  It's not the conventions

	anymore; it's this kind of moment.



Tom enters.  He is exuberant.



			PAUL

		(to Tom)

	What a baptismal.  Congratulations.



			TOM

	Thanks.  With all the help you get,

	it's sure easier than local.



Paul and Ernie exchange a glance.



			TOM (cont'd)

	Where's Jane?  I'm still juiced.



Ernie points off... as Tom exits.  The Usher brothers hover.



			ERNIE

		(to the Usher brothers)

	Can I help you?



			MARVIN

	We're here to play the new news theme.



			ERNIE

	New theme?  You don't need me for this.



			PAUL

	Stay.  Why should I be the only one

	to feel silly?



			MAN ONE

	We need a synthesizer -- but this

	will give you an idea.



			PAUL

	Go ahead.

		(to Ernie)

	Wasn't he great?



			ERNIE

	It worked.



Man Two has the keyboard out and begins playing the prospective

news theme:  a suite meant to have majesty and drive, a towering

composition -- the effect of it somewhat lessened by the fact

that the two men VOCALIZE OTHER INSTRUMENTS over the keyboard.



INT. NEWSROOM - DAY



As Tom makes his way across it -- crews are drifting in... He

enters Jane's cubby, flushed with the electricity of the "win"

the most noteworthy moment of his working life.



INT. JANE'S CUBBY - DAY



			TOM

	You're an amazing woman.  What a feeling

	having you inside my head.



			JANE

		(a bit thrown)

	Yeah.  It was an unusual place to be.



			TOM

	Indescribable -- you knew just when to

	feed me the next thing, just a split

	second before I needed it.  There was a

	rhythm we got into, like great sex.



Jane looks at him and nods slightly -- an unconscious spasm of

truthfulness.



			TOM

	You have to celebrate with me, don't

	you?  Everybody's going to that bar

	on the corner, 'Caps.'



			JANE

	I'm going over to Aaron's.  Maybe I'll

	hoop up with all of you later.  How

	long do you think you'll be there?



Tom indicates that it's an impossible question to answer.  They

enters the elevator.



EXT. NEWS BUILDING - NIGHT



As several people cross the street towards the bar.  Tom has

been holding back on one question.



			TOM

	It's tempting to ask you how you think

	I did.

		(she starts to reply)

	No.  I'm enjoying myself.  Take it easy.



He starts across the street.



			JANE

		(trying to be casual)

	Maybe I'll see you over there.



Indicates Bar.



			TOM

	You'll never show up.



He starts across the street -- then turns and calls to her.



			TOM

	Jane?



			JANE

	Yeah?



			TOM

	I'll wait for you till seven.



			JANE

		(shouting back)

	Okay.



Tom races to catch up with the others -- Jane in the distant b.g.

pauses a beat before walking off in the opposite direction.  Jane

moving quickly along.



SOUND OF MEN VOCALIZING NEWS THEME comes UP AND continues

through:



EXT. AARON'S APARTMENT - EARLY EVENING



As Jane approaches and is surprised to find him sitting on the

stoop outside.



ON AARON



Happy to see her, rising fairly soberly to his feet.  He APPLAUDS

as she comes toward him.



			JANE

	Really?  It was good.



He nods and APPLAUDS some more.



			JANE

	Your calling in that information --

	you're the classiest guy I know.



He waves her off... And sits down on the stoop.



			AARON

	It was strange to watch him.  What's

	the next step?  Lip synching?



She sits a step or two above him, waiting to gauge his mood.



			AARON

	I've been doing some of the most

	important thinking of my life.  I

	wonder if this is the right time to

	tell you about it.



She steals a glance at her watch.



			JANE

	Well, whatever you think.



			AARON

	I figured out exactly why it is I'm so

	hung up on getting a chance at weekend

	anchor...It's because if I do that well,

	they'll pay me more, treat me great and

	my life will be better.  That's why.



			JANE

	Sounds like you may be on to something.



			AARON

	Which means I'm at their mercy and who

	wants that?...I'm not going to tell

	you where this thought led me...

	Anyway, well, why not  tell you? --

	it's a happy thing.  In the middle of

	all this I start to think about something

	that does nothing but make me feel good

	and makes immediate sense and that's you

	...And I'll stop here but, Jane, I'd give

	anything if you were two people so I could

	call up the one who's my friend and tell

	her about the one I'm in I...I don't think

	I should go any further.  Come on --

	I'll walk you to the corner.



He tales her by the arm and leads her to the corner.



			JANE

	You know you've had a strange day...

	I'd sleep on all these things you've

	been thinking.



			AARON

	Absolutely...You go have a good time...

	You have some place to go?



			JANE

	Yes.



			AARON

	Good.



He grabs her and hugs her exuberantly -- takes her face in his

hands and kisses her full on the lips.



			AARON

	Well, I felt something.



He leaves her on the corner and walks back.



ON JANE



As the SOUND OF NEWS THEME VOCALIZING PICKS UP ONE MORE...

Jane moving quickly, hailing a cab.



INT. CAB - EVENING



			JANE

	We're going to Caps Bar at

	Seventeenth and Vermont;

	Connecticut is clear on Sunday...

	take that over to Fifteenth, then

	around Vermont and we'll bypass

	the circle that way...if you don't

	go over forty we should catch mostly

	green lights.



ON the DRIVER'S annoyed look.



			JANE

	Come on -- don't take it the

	wrong way.  I just know about

	things.



He hits the meter.



EXT. CAPS BAR - EVENING



As the cab pulls up, Jane gets out and pays him.



			DRIVER

	Great route.  I never made

	anywhere near that fast before.



			JANE

	Thanks -- good driving --



			DRIVER

	Thanks.  Coming from you I

	appreciate it.



			JANE

	Thanks.



As she turns to enter the restaurant -- Tom and Jennifer exit.

As they confront each other:



			TOM

	I didn't think you'd make it.



			JANE

	Well, I thought I'd check if all

	of you were still here.  I'll just

	go in and join the gang and you

	two go on.



			TOM

	There's no gang in there -- We

	were the last ones.



			JANE

	Well, I'll go in and have a bite.



			TOM

		(to Jennifer)

	Jennifer, you want to have another

	drink?



			JANE

	Hey, I know how to have a burger by

	myself.  I feel like a little solitude.



			JENNIFER

		(as they move off)

	I sure know that feeling.  Terrific

	work today.



			JANE

		(too jock-like)

	Right back to you.



			TOM

	Thanks for getting me through.



He puts his hand behind her neck in an awkward gesture of

camaraderie.  She awkwardly disengages... waves and steps

inside the door to the restaurant... standing there between

the two sets of doors watching Tom and Jennifer walk away.



ON TOM AND JENNIFER



As they walk to his car, first exchanging a look of reflection

over Jane... then bumping accidentally, then bumping back, a

look, then kissing with passion, wrapped around each other.



INT. JENNIFER'S APT - NIGHT



As Tom and Jennifer rush in locked in an embrace, shedding

clothes even as they enter.



INT. JENNIFER'S APT - NIGHT



We are aware of MOVING FORMS.



			JENNIFER

		(intense shout)

	Damn all you sons-of-bitches.  Oh

	shit, you bastards...



They finish.  A beat, then:



			JENNIFER

	Sorry.



ON TOM AND JENNIFER



Tom taken aback by the outburst from this woman he's just made

love to.



			TOM

	No, it's okay...People say different

	things.  They do...the plural threw

	me.



She laughs.



			JENNIFER

	The last time I was with someone we

	went through this awful mutual disease

	questionnaire but I guess it beats

	getting paranoid the next day.  Okay,

	I'll go first.  I haven't...



			TOM

		(stopping her)

	It would never occur to me to worry

	at all about you.



Jennifer is touched...



			JENNIFER

	You know something?  I'm deeply

	complimented.   Isn't it strange to

	be deeply complimented because the

	man you're with doesn't think you

	have a venereal disease?...



Tom slides out of bed naked -- she moves quickly across the bed

one outstretched hand reaching for his ass, a free -- even lusty

sort of motion punctuated by her comment:



			JENNIFER

	Give me some of that.



He dances away -- out of range -- liking the action, a stupid

grin on his face.



			TOM

	Where's the bathroom?



			JENNIFER

	Through the closet.



He opens the door and turns on the light in the closet.



INT. CLOSET - NIGHT



It is a converted room -- given over the racks of clothes and

shoes extraordinarily well organized.  Tom stands there agape.

Various rain coats -- clothes for all climates -- lots of

luggage.



She joins him in the closet -- holding out a sheet in front of

her.



			JENNIFER

	I converted a bedroom -- this

	stuff builds up.  Wait till

	you've been doing this sixteen

	years.



			TOM

	I'm not knocking it.  It's a

	great solution.  Not only the

	storage but you can see everything

	you have.



Jennifer laughs -- he follows her gaze and sees himself in

silhouette against the door -- his penis prominent in outline.



			JENNIFER

	Do you do bunny rabbits?



Tom is enjoying himself immensely.



			TOM

	Isn't this a great date?



We HEAR the SOUND OF SCRATCHING as we:



INT. JANE'S EDITING CUBICLE - MORNING



Jane feeds another tape in -- she is taking editing notes alone

and SCRATCHING her arm.  She looks worn out -- STOCK FOOTAGE OF

STATESMEN move across the small screen.  She sighs and, without

realizing, implores the heavens to help cure a malady she's yet

to recognize in herself.



			JANE

		(to herself)

	God help me.



People have begun to filter into the newsroom in the b.g.



			AARON

	Jesus, Jane.  How long have you

	been here?



			JANE

	A long time.  I was restless.

	Will you crack my neck?



He starts massaging her neck as the phone rings.  she lets it

ring for a beat as Aaron works on her.  As she picks up the

receiver we HEAR a CRACK.  She reacts to it at the same time

she utters a greeting.



			JANE

	Aaah --

		(into phone)

	-- ello.  You sure they said the

	management meeting?

		(hangs up; then

		 to Aaron)

	They want me to be at the

	management meeting.



			AARON

	They're not that dumb, after all.



He pats her on the back.



INT. WALKWAY - DAY



			BLAIR

	Do you know you're the second woman

	in network news history to produce?



			JANE

		(though distracted)

	No, I'm not.  I'm the fourth.

	Joan Richmond.  Pauline Fredericks

	got that credit once on a U.N.

	special and there's Susan Zirinsky.



INT. MANAGEMENT MEETING - DAY



Paul is running the meeting from behind Ernie's desk.

TWO OTHER NON-EDITORIAL MEN are in attendance.  As Paul

discusses the more pressing problems of the network news

division, Jane sits near the window strangely unmoved by

her first moment at the seat of power.  She has the blues.



			PAUL

	Anyway, they seem to be very serious

	about making me out eight million from

	the budget and that means massive firings.

	I'm doing everything I can... It's too

	early to make up a 'death list' but I

	just wanted you to be aware of the

	situation... We're also going to cover

	the Alaskan serial killer trial on a

	continuing basis.  I'd like it done out

	of Washington which means we've got to

	get somebody on a plane for Anchorage.

	We can't fool around anymore...Jane...



She looks up at him -- a bit sleepy-eyed.



			PAUL (cont'd)

	This is going to be high-profile on

	the Evening News -- who do you think?

	George Weln or Jennifer?



			JANE

		(much, much too quickly)

	Jennifer.



The men look at her curiously.  She repeats herself more

rationally.



			JANE (cont'd)

	Jennifer.



INT. TOM'S OFFICE - LATE AFTERNOON



He has been reading from a respectable stack of mail -- Jane

appears in his doorway.  For the first time, we notice that

she is woefully ba at at least one endeavor -- flirting.



			JANE

	Come on, I'll buy you a drink.

	There's a big thing over at the

	Italian embassy.



			TOM

	I'm not sure I'd be good

	company tonight.



			JANE

		(self-conscious joke)

	I'll be the judge of that.



INT. ITALIAN EMBASSY - NIGHT



As they walk in -- one MAN looks at Tom with a glint of

recognition.  Then another -- a handshake -- A WOMAN introduces

herself.  A small knot of people form.



			JANE

	It's much too soon for you to have

	this kind of buzz around you.



			TOM

	Do I have to stand here in the middle

	and meet them all?



			JANE

	I'll get you through.  Move and smile.

		(she pushes him

		 a little)

	And smile and move...



They start crossing the room -- he is moving now, making progress.

But an EGYPTIAN BUSINESSMAN stops him.



			EGYPTIAN BUSINESSMAN

	Is it safe for me to fly home?



			TOM

	Yes.  We're fine now.



			JANE

	AND SMILE.



He smiles -- people smile back.



			JANE

	AND MOVE.



ANGLE ON STAIR LANDING



Where Aaron (Pimm's Cut in hand -- a cucumber sticking out)

stands with Martin Klein.  Martin is eating from a huge platter

of appetizers.



			MARTIN KLEIN

	The Italians serve the second best

	things right after the Chinese...I

	could do an article comparing Embassy

	food...Gourmet free-loading...sell it

	anyplace.  I'm sure not getting the

	assignments.



			AARON

	Who the heck could that be?



AARON'S P.O.V.



From the excited group of people blocking his view,

it's clear there is some personage in attendance.



ON AARON



And now he sees that it's Tom.



			AARON

	Is God testing me or something?



			MARTIN KLEIN

	Paul loves him.  I heard him give

	him the most poetic compliment in

	his command.  'He's hot.'  Sometimes

	groups of executives get together just

	to say that work back and forth...'He's

	hot, oh, she's hot.  Oh, he's really

	hot.'  Hot-hot-hot-hot-hot-hot-hot...

		(looking at Aaron)

	And here we are.



			AARON

	Martin, you're not allowed to use the

	word 'we' or I'm moving.



			MARTIN KLEIN

		(sudden thought)

	Maybe Jane would like my food idea as

	a spot...Try the one in the middle.



He moves off to intercept Jane -- as he stops her... Tom is

stranded -- then sees Aaron and moves over to his side.



			TOM

	Hi, Aaron...What's doing?



			AARON

	Same old stuff.  I'm watching a man

	who won three Overseas Press Awards

	pitch an hors d'oeuvre idea.



A MAN stops and introduces himself to Tom -- shaking his hand:



			TOM

	You want to go out there --

		(indicating balcony)

	get out of this for a second?



			AARON

	Why don't you lead?  I'll just

	follow the flurry you cause.



Tom turns -- the sharpness of the tone unsettles him.



			TOM

	What did I do to you?



			AARON

	You've made my dreams silly.



Tom decides not to deal with the remark.  He's jolted by the

hostility.  He leads the way out French Doors to a ground floor

terrace, where Aaron joins him, closes the door and the two men

stare at the party.



			TOM

		(gesturing at the

 			 party)

	Heavy hitters.



Aaron nods.



They look inside.



			AARON

		(several beats; then)

	How you doing?



			TOM

		(warming)

	Great.  Network news, Washington...

	I love it.  What do you do when your

	real life exceeds your dreams?



			AARON

	Keep it to yourself.



			TOM

	You know the other day I really wanted

	your reaction to how we did with the

	Libyan report -- I was going to ask but

	I guess I feel a little intimidated with

	you.



			AARON

	Oh, stop it.



On Tom's reaction.



			AARON

	You can't talk about feeling

	intimidated when you're on top of

	the world.  It's unseemly.



			TOM

	I'm not buying into any of that.  I

	have a load to learn.  I'm not going

	to act as if...



			AARON

		(finishing for him)

	You have the job you have...



The sudden debate is important to Tom -- but it's moving too

fast for him.



			TOM

	Shut up a second...



			AARON

		(amiably)

	Okay.  Pretty petty party, isn't

	it, pal?



			TOM

		(picking his words)

	I made one rule for myself when this

	started and I realized I was going

	to take a lot from you people because

	of being from sports...



			AARON

	And the rule was...



			TOM

	Never to pretend to know more than

	I did.



			AARON

	Can you name all the members of the

	Cabinet?



			TOM

		(flustered)

	Okay, let's drop it.  I didn't mean

	I'd take a test for you -- I mean if

	that came up in conversation I'd...



			AARON

	We're conversing...Oh my, the names

	of the entire Cabinet has slipped my

	mind.  What are they?



Tom is getting pissed.



			AARON

		(compromising)

	Don't name them.  Just tell me if

	you know.



			TOM

	Yes, Aaron.  I know the names of

	the Cabinet.



			AARON

	Okay.



A beat.



			AARON (cont'd)

	All twelve?



			TOM

	Yes.



			AARON

	There are only ten.



Aaron's suddenly a good deal happier -- damned if it

isn't a little infectious.



			TOM

	You're feeling good, aren't you?



			AARON

		(sincerely)

	I'm starting to... We may do

	the capitols of the states.



			TOM

		(dry)

	Fifty, right?



Aaron almost smiles.



Tom enters the party leaving the door open.



LONG SHOT



Aaron in the f.g. -- his BACK TO CAMERA... Beyond him

Tom being approached... then joining Jane.



EXT. JANE'S STREET - NIGHT



As Tom's car comes to a stop.



INT. TOM'S CAR - NIGHT



			TOM

	I'm so exhausted.  Punchy.  Sick

	tired.  I can't think and I can't move.

	I'm just a dead lump of poured out

	flesh.

		(then)

	Would you like to come up?



Tom thinks -- then:



			TOM

	Maybe we could just sit here --

	talk a little?



			JANE

	Okay.  You didn't like the party, huh?



			TOM

	Too many smart people in one room --

	it's not healthy...



Jane's confused by this.  She looks at him.



			TOM

	I'm going to have to do a story

	from beginning to end on my own.



			JANE

	Eventually.  Does it have to be

	right now?



			TOM

		(nodding)

	Believe me, I wouldn't be doing this

	unless it was absolutely necessary.

	I have an idea for something.



			JANE

	What?



			TOM

	I just read about it in a magazine

	and it affected me.



			JANE

	Well, what is it?



			TOM

	If I tell you, can you manage not

	to put it down or tell me why it

	won't work or is in bad journalistic

	taste or anything like that?



			JANE

		(broadly)

	Yes, Tom -- I think I can manage.



He turns towards her -- about to stick his chin out.  Hesitates.



			JANE (cont'd)

	I promise.



			TOM

	It's about women who are attacked

	by someone they know on a date...

	'Date-rape,' that's the piece...

	Well?



Jane clamps a hand over her own mouth.



			TOM

	Okay -- good move.  Keep it there.



She continues to clamp her mouth shut as he exits the car,

opens her door and then begins to half carry, half pull her out.

She keeps her hand clamped over her mouth.  Laughing from

behind her door and runs for it.



ON TOM



His spirits lifted.



ON JANE



Behind the door, trying to hide the glow in her eyes.



INT. JANE'S APARTMENT - NIGHT



The phone rings... Jane's hand bounces off her nightstand to

turn on the light knocking over and breaking the clock radio

instead.  Three alarm clocks stand next to the clock radio...

Finally the light comes on.  Jane's voice is so thick with

sleep the words she utters are just barely distinguishable.



			JANE

	Hello.



			TO

		(uncertain)

	Hello?



			JANE

	Hello...Who is it?



INTERCUT:



INT. TOM'S APARTMENT - NIGHT



			TOM

	I'm not sure I dialed right --

	Jane?



			JANE

	Jane, yes.  Tom?  Tom, is that you?

	Is this Tom?



			TOM

	Yes.



			JANE

	I had to sleep fast so I took two

	allergy pills to help me...I'm

	sorry...Hey, you called me.



			TOM

	It's not important.



			JANE

	Says who?  Not important -- ha-ha-ha.

	I was dreaming -- Oh, no -- can't

	tell -- how embarrassing for me.

	Gosh.



			TOM

	What pills did you take?  You

	sound more like someone on a general

	anesthetic.  Maybe I'd better speak

	to you tomorrow.



			JANE

	Nooo.  Is it your story?



			TOM

	No.  Are you going to the

	Correspondents' Dinner on Saturday?



			JANE

	Why, you need me for the story?



			TOM

	No.  Were you going to you?



			JANE

	Uh-huh.



			TOM

	Maybe I'll get off work.  I'd like

	to go.



			JANE

	Oh, good.



			TOM

	We can go together.





			JANE

	So you like me, huh?



			TOM

	I like you as much as I can like

	anyone who thinks I'm an asshole.



INT. JANE'S EDITING ROOM - DAY



Tom editing a piece with Bobby -- He also has a little typewriter

table set up.  He is reading from the page in the typewriter as

he looks at the piece he has written.



			TOM

		(reading)

	But cops on the street continue to

	view it as...

	Shit -- too long.  But street cops

	say...that fits.  That last cut work

	for you, Bobbie?



			BOBBIE

	Yes, and thanks for asking.



INT. NEWSROOM - NIGHT



As the regulars watch the Evening News, in particular the Date

Rape piece which is now in progress.  Tom anxiously eyeing Jane

out of the corner of his eye as she watches the monitor.  Her

face impossible to read as she studies the screen.



ON MONITOR



			UNIFORMED COP

	What can you do?  If a woman invites

	a man in and he says they uh, had

	sex and she says he raped her and

	then you find out they've been out

	together two, three times...how can

	you prove a crime?



NEW SHOT ON MONITOR



Tom and a woman of about thirty -- dignified but fragile -- she

looks like someone who might be cast for a church production

of "Glass Menagerie."



			YOUNG WOMAN

	It will be a year next month since it

	happened...I never thought I'd talk

	about it outside of counseling...



ON NEWSROOM



As Aaron enters the scene.



			AARON

	Hi.



He is shushed by every woman in the room, accepts this and takes

up a position near Tom and Jane to watch them.



ON MONITOR



			YOUNG WOMAN

	We'd gone out twice and I hadn't

	enjoyed myself that much but it gets

	to a point -- I don't know if you can

	appreciate this but where you don't

	want to sit home or be with your

	girlfriends and people had always been

	telling me that I was 'too picky.'

	I'm not.  It's just you want to meet

	a nice guy...So anyways, it was that

	'give-him-a-chance' thing.  No, it

	wasn't.  I was lonely.  So we went

	to a movie and when he brought me home

	he said could he just come up and have

	one beer and then he'd go.  How do you

	say 'no', to that?  So first it was

	this wrestling match which was awful

	enough because it got to be really

	a fight...because I'm a modest person...

	then he ripped my clothes and he

	forced me to...make love.  He stayed in

	my apartment and forced me more times

	-- he didn't leave until...

		(she has started to cry)

	I promised myself I wouldn't cry...

	It's just hard not to --

		(ruefully)

	You sure have a sympathetic face.

		(she cries a bit more)

	...I was so sure I wouldn't do this --

	but the whole thing messed me up --

	maybe more than it should...



ON MONITOR



As the news piece cut to:  Tom's face -- he turns clearing a tear

from his eyes.



ON NEWSROOM



These watching struck -- perhaps embarrassed but riveted.  Aaron

is aghast.  Aaron approaches the set.



			AARON

	Can I turn on the news for a second?

	...Oh, wait a minute.  Sex -- Tears --

	This must be the news.



Tom stares daggers at him as a public official appears on the

monitor.



ON MONITOR



			PUBLIC OFFICIAL

	I don't think you can overestimate it --

	on any given Saturday night tens of

	thousands of women are being attacked

	and there isn't much they or we can do

	about it...



			TOM

		(on monitor)

	The victims often remain too terrified

	to talk -- the police powerless and all

	the social welfare groups can finally do

	is monitor this epidemic of crime without

	punishment.  This is Tom Grunick in

	Annandale, Virginia.



As his piece concludes.



NEWSROOM



Tom continues to glare at Aaron.



			AARON

	I'm in a pissy mood.  I'm sorry.



			TOM

	What's wrong with it?



			AARON

	Nothing.  I think you really blew

	the lid off nookie.



Blair moans with displeasure.  Aaron exits scene.  Others start

to congratulate Tom on the piece -- in the b.g. on the:



MONITOR



We SEE frozen wilderness -- men digging in the ground -- clumps

of people watching them work.



ON JANE



Probing her own ambivalence -- or, to be more accurate, working

towards a positive stance.



			JANE

		(to Tom)

	Nice work...

		(checks watch)

	I've got to get a crew off the clock.



She starts off -- Tom stopping her.



ON TOM AND JANE



Now off a bit by themselves.



			TOM

	So what did you think?



			JANE

	It moved me.  I did relate to it -- I

	really did.  It was unusual for you to

	cut to yourself when you tear up -- and

	that might not have been my choice...but

	it's real and it got me...and I think a

	lot of the time I'm too conservative about

	that kind of stuff.  Okay?



			TOM

		(enormously pleased)

	Yeah.



He walks back towards the area of the monitor.



ON MONITOR



			JENNIFER

	Tomorrow the jury returns to this

	site as each day brings more revelations

	of horror, four more bodies now taken

	from the frozen earth...This is Jennifer

	Mack in Wota Hamlet, Alaska.



INT. NEWSROOM - TWO WEEKS LATER (SPRING) - DAY



			BLAIR

	Ernie's been looking for you.



As Aaron walks to his office.



INT. AARON'S OFFICE - DAY



As he enters and finds Ernie bent over his desk.



			ERNIE

	Oh, I was just writing you a note.

	What do you say we take a walk?



			AARON

		(puzzled)

	Outside?



			ERNIE

	Yeah --



EXT. WASHINGTON STREET - DAY



Ernie is silent... He's having difficulty.  Aaron is feeling knots

form.  Finally Ernie breaks his silence.



			ERNIE

	I don't know if we have any

	younger man more respected in our

	operation than you.



			AARON

	Just tell me what's really going

	on.  I think we know each other

	well enough for me to expect that.



			ERNIE

		(agitated)

	We know each other well enough

	for me to care how I put something

	to you which could wipe you out.

	So I will phrase things the way I

	think they should be phrased.  All

	right?



			AARON

	Wipe me out?



Ernie sits on a bench.



			ERNIE

	Anyway.  I want you to think of this as...



			AARON

	Just blunt talk, okay?  I'd really

	appreciate bluntness.



			ERNIE

	Upper management thinks you're dull.



Aaron deflates.



			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 be