Broadcast News Page #10

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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.

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