Broadcast News Page #7

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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.

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