Broadcast News Page #16

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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 beats and Tom comes back with a CAMERAMAN in

tow.

TOM:

I got copy, I got Ellen to heat up

the camera and I got Master Control

taping so you can study it later.

He puts the roll of copy in the prompter.

AARON:

Hey, Tom...

Tom turns.

AARON:

I'm very appreciative.

SAME SCENE - LATER

Tom totally focused on him down one knee checking him from

various angles. He interrupts. Aaron reading from the prompter.

TOM:

No. No.

AARON:

No?

TOM:

Don't let your eyes go from the

beginning of the sentence to the end

like that. You don't want to look

shifty, do you?

AARON:

Oh, God, no!

TOM:

And the left side of your face is the

good one. Go again. And try to punch

one word or phrase in every sentence --

punch one idea a story. Punch -- come

on --

Aaron does same with the story he is reading...

TOM:

Good...very nice.

Aaron acknowledges the compliment in news mode. Punching the

first words.

AARON:

Thank you for the compliment, Tom.

He draws a laugh from the Cameraman as he goes right into the

next story.

TOM:

Try not to move your head or wrinkle

your forehead...this is good, very

good...

EXT. NEWS BUREAU - NIGHT

Aaron, tape in head, is saying his farewell to Tom. He is facing

his left side as he will do for the rest of his life on earth.

TOM:

You were smokin' toward the end there.

AARON:

The pointers were great. I'll study

the tape.

Tom is into helping Aaron he finds himself delivering a locker

room pep talk:

TOM:

And remember -- you're not just reading

the news or narrating. Everybody has to

sell a little. You're selling them this

idea of you. You know, what you're sort

of saying is, 'trust me. I'm, uh,

credible.' So whenever you catch yourself

just reading...stop and start selling a

little. So long.

He moves off -- Aaron watching him go, feeling decidedly

uncomfortable by this last piece of advice and vaguely corrupted.

INT. JANE'S APARTMENT - NIGHT

Jane FLIES INTO FRAME, carrying her dress, two large shoulder

pads clipped to her bra-straps. She is obviously running a little

late. Now she slips on the dress -- her pace so quickened that

it momentarily dulls the effect of seeing her in a pretty formal

gown; the kind good girls wear on special nights. The DOORBELL

RINGS... She opens the door while trying to put on her necklace...

Aaron enters carrying four bulging garment bags and a fistful

of neckties.

AARON:

I spilled some rum on the outfit you

picked out. Let me show you the

alternates.

She eyes the amount of clothing, goes to the phone and dials.

JANE:

(into phone)

Tom...why don't I meet you there?

I've got some last minute stuff I've

got to take care of...Hey, how did

you resolve your dilemma -- did you

rent the tux or buy it...I knew it.

How much? Wow...Okay...See you

there...

AARON:

I didn't know you were going with him.

JANE:

Did you bring your grey suit?

AARON:

Yes...I was thinking that way too...

Which tie?

She holds them in her hand -- indicates with the necklace that

she wants him to help her... he fastens her necklace while looking

over her bare right shoulder as she riffles through his tie

collection.

JANE:

(the clasp in place)

Thanks. Try this one.

She hands him the tie and he extracts his grey jacket from a bag --

puts it on and ties the tie... She reaches into a white paper bag

full of fresh purchases and takes out a vial of perfume with a

built-in atomizer and sprays the air in front of hr and walks into

the mist. ON Aaron's reaction:

JANE:

I read about it -- that's how you can

make sure you don't put on too much

perfume...

AARON:

Could you at least pretend that this

is an awkward situation for you --

me showing up while you're getting

ready for a date.

JANE:

(flaring)

It's not a date. It's co-workers going

to a professional conclave.

Jane, unnoticed, reaches into the paper bag, takes a small box

of condoms and drops it into her evening bag.

EXT. WASHINGTON STREET - NIGHT

Jane on a public phone, Aaron standing nearby within sight

of a taxi stand.

JANE:

(on phone)

How long will it tale you to send

one?...

She hangs up... paces... Then looks at Aaron, relaxes.

JANE:

You look terrific.

Aaron poses a question which he feels in his deepest core:

AARON:

Really?

Jane nods.

AARON:

Because this is important -- so don't

just be polite. I'd really like to

look...what's the word I'm looking for?...

JANE:

As good as humanly possible.

AARON:

Yes.

JANE:

Well, the line of the jacket -- No

really....just very nice...just right.

I wish I could be there.

AARON:

Me too...Hey...if it gets dull a little

before 11:
00, drop by the studio.

JANE:

I'm not sure I'll be able to...I...

AARON:

If...if not, I'll have the tape...I'll

wait for you at my apartment.

JANE:

Okay, great -- good luck.

Before she can deal with that, a cab arrives.

AARON:

Thanks, Jane. Have a good time tonight.

JANE:

You too.

Aaron takes her in -- she looks lovely.

AARON:

I'd hug you, but why risk mussing

either of us?

She half-laughs... kisses him, wipes the slight lipstick mark

from his cheek and, in a sudden decision, takes each of her

shoulder pads from her jacket and puts them in his -- improving

his look while diminishing her own. She gets in the cab.

AARON'S P.O.V.

Jane, leaning all the way over the front seat, giving detailed

instructions to the DRIVER as the cab pulls away... As Aaron

turns and walks off.

INT. CAB - NIGHT

Jane, in her formal, sitting back -- anticipating her date.

EXT. WASHINGTON HOTEL - NIGHT

A hefty percentage of the Washington journalism industry's

men and women dressed formally for one of those evenings where

they can finally assert their own glamour. Jane ENTERS THE SCENE.

INT. WASHINGTON HOTEL - ATRIUM - NIGHT

As Jane enters, lost momentarily in the lobby -- greenhouse,

the majority of the throng passing through in formal clothes.

A bit of DIALOGUE OVERHEAD from TWO MEN in dinner jackets.

MAN ONE:

The L.A. times is a great outfit. Best

severance pay in the business.

Jane keeps looking for Tom -- passing another MAN, talking to

his SHARP-LOOKING DATE.

MAN THREE:

He was lecturing me and finally

I just said -- I'm sorry, I refuse

to look at it as a negative that

I'm young and my news appeals to

people my age.

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