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. Jane turns and is a bit blown away by his gesture -- life
	threatens to be good.  And now Jane bumps a bit at the top of JANE
		Good.  That's it...See you.

	She walks off.  He runs a few steps to stop her. As Jane passes through and sets off the buzzer.  She stands
	there -- the heel of her hand pressed to her brow trying to JANE
		Jennifer.  Hey, Jennifer.

	ON STAIRCASE

	Jennifer turning as Jane whips up the stairs. away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. 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: As he passes Jane he leans next to her and WE HEAR him WHISPER. JANE
			(dumbly)
		Thank you.
			(then)
		They hated me.  I don't hate them. TOM'S P.O.V.

	Jane across the room hugging one person after another.

	ON JANE

	AS she embraces an older secretary. ON JANE JANE
		Right, right -- Isn't she fun to
		tease?

	He leans forward and speaks softly and truly. JANE
			(that quickly)
		Please forgive what I said.
			(to Tom)
		Sorry.

	As she retreats: Jane, because of the proximity to Tom is speaking in whispered
	intensity. Jane looks at her and, in a moment of atypical merriment, does
	a choking gesture at her own throat as the monitors flash a JANE
			(to herself)
		Well, why not?
			(as they arrive)
		Hey, what is this?  My life's
		rushing in front of my eyes. JANE
			(voice over; as
			 she types)
		Dear Felatzia, it's truly amazing 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 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
			(much, much too quickly)
		Jennifer.

	The men look at her curiously.  She repeats herself more
	rationally.
AARON
		Good.

	He grabs her and hugs her exuberantly -- takes her face in his
	hands and kisses her full on the lips. 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. These watching struck -- perhaps embarrassed but riveted.  Aaron
	is aghast.  Aaron approaches the set. 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
		Holy shit, Aaron.

	He claps him on the back... Aaron is as pleased as he is
	uncomfortable with the attention. 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. AARON
		Look at her.
			(to Jane)
		If anything happens to me tell every AARON
		Yes.

				GEORGE
		Yes.

				ERNIE
		Me too. Her eyes meet Aaron's.

				JANE
		Uh-uh.
			(to Aaron)
		He says you could hardly notice it. They kiss.

	INT. AARON'S APARTMENT - NIGHT

	The phone rings.  He answers. AARON
		Thanks, Jane.  Have a good time tonight.

				JANE
		You too.

	Aaron takes her in -- she looks lovely. TOM
		Okay...It's so good to see you.

	She gives him a quick kiss.  He shakes hands with Aaron. AARON
		Yeah.  Well...I think it is
		important for you too.  Sit down.

	She sits.  He walks to a desk and looks at her briefly... Silence. AARON
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. Tom and Lila shaking hand.  Aaron, his son in his arms, wait.

	ON TOM

	As he sees Aaron... he is clearly delighted. AARON
		You didn't say anything to her?

	He shakes his head.

				ERNIE
		My instincts tell me not to. AARON
		I know you care about him.  I've
		never seen you like this about AARON
			(voice over)
		You're welcome.  Sow how does it
		feel to...I know you gotta go --
		Me too.  We're very busy here. AARON
		No.  You know that I'm not.

				JANE
		How? Aaron has come over to join them now in time to HEAR.
Aaron has come over to join them now in time to HEAR. Aaron is having a hard enough day,  He is visibly annoyed. These watching struck -- perhaps embarrassed but riveted.  Aaron
	is aghast.  Aaron approaches the set. They kiss.

	INT. AARON'S APARTMENT - NIGHT

	The phone rings.  He answers. AARON
		Yeah.  Well...I think it is
		important for you too.  Sit down.

	She sits.  He walks to a desk and looks at her briefly... Silence. It is at the top of a flight of steps.  She KNOCKS on the DOOR.
	RINGS.  KNOCKS.  Aaron opens it.  He is wearing a sweatshirt
	and cords. 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
		Yes.

				GEORGE
		Yes.

				ERNIE
		Me too. AARON
		Good.

	He grabs her and hugs her exuberantly -- takes her face in his
	hands and kisses her full on the lips. AARON
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. Aaron deflates. Her eyes meet Aaron's.

				JANE
		Uh-uh.
			(to Aaron)
		He says you could hardly notice it. Aaron directs him behind a screen and looks at his notes.

				AARON
		It's Mr. Buddy Felton? Aaron looks up -- takes a breath.  He's done well -- he's
	punched his words and his one thought for the story.  His gaze 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
		Holy shit, Aaron.

	He claps him on the back... Aaron is as pleased as he is
	uncomfortable with the attention. As Aaron walks to his office.

	INT. AARON'S OFFICE - DAY

	As he enters and finds Ernie bent over his desk. TOM
		Okay...It's so good to see you.

	She gives him a quick kiss.  He shakes hands with Aaron. 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 ON AARON

	He blots his face -- some makeup streaked -- by the towel.

				FLOOR MANAGER
		Five seconds.
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. Tom walks away.  He's a good twenty yards away when Aaron looks up
	to see his son running after Tom. 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. Tom is enjoying himself immensely.

				TOM
		Isn't this a great date?

	We HEAR the SOUND OF SCRATCHING as we: She is obviously in pain but still alert enough to catch Tom's
	answer.

	INT. TOM'S OFFICE - 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. 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. looks for Tom.  Tom rises from a table and is immediately at
	her side. AS Tom enters from his office, a wake is slowly igniting.  Tom
	moves along the edge of the room, carrying his wastebasket full
	of belongings, not really a part of the mournful festivities. 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. He exits.

	INT. TOM'S OFFICE - DAY TOM
		I don't write.

	Jane laughs or, more accurately, scoffs as Tom Continues. TOM
		Oh, sure.  Okay.

	His heart racing, Buddy attempts casual matter-of-factness. 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. As Tom savors the moment.

	INT. TELEVISION STUDIO - EVENING 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. INT. TOM'S OFFICE - DAY 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 TOM
		Holy shit, Aaron.

	He claps him on the back... Aaron is as pleased as he is
	uncomfortable with the attention. and scratches his back in friendship... Tom approaches an she
	moves off -- not wanting to deal with him.  She takes a few
Tom, Aaron and the boy walking along.  Tom plays with Cliff
	as they move.  The boy is delighted.  Jane is in a park -- a They leave -- Aaron waving to Tom who stands in the b.g.  The
	others leave.  Tom approaches Jane. 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? As he answers and we have the following conversation between
	Jane, who is using the phone, with Aaron seen just a few feet
	away.  Tom in his apartment. JANE (cont'd)
		Jennifer.

	INT. TOM'S OFFICE - LATE AFTERNOON LONG SHOT

	Aaron in the f.g. -- his BACK TO CAMERA... Beyond him
	Tom being approached... then joining Jane. JANE
		It's started.

	Bobbie sticks his head out of his office...

				BOBBIE
		Tom -- Paul wants to see you. Jane's cab pulls up to the curb.  She gets out -- she is
	carrying no luggage.  She sees Tom who hurriedly walks up
	to her.  Jane is fighting to maintain a calm. AARON
		Hello.

	INT. JANE'S OFFICE - NIGHT

	Jane -- still at the office -- it is quite late. JANE
			(turning to leave)
		We'd better get moving.

	As they move out... Jane goes to Aaron... He moves with her
	towards the door. 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. Much the same place where Jane and Tom first met.  The
	words "SEVEN YEAS LATER" appears on the screen. INT. TOM'S CAR - DAY

	As it moves off.

				JANE
		Nervous? JANE
		I think so...They've been talking
		to me about being Tom's Managing
		Editor.

				AARON
		Really? AARON
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. AARON
		He excels at gratitude.

				TOM
			(to Jane)
		Are you any closer to a decision? Tom nods and gestures that he proceed.  Aaron begins reading
	the news.  Barely a sentence in, he is interrupted.

				TOM
		Wait. On Tom moving past the metal detector.  He too is frustrated
	-- pissed off at her.

	INT. OTHER TERMINAL AREA

	Jane moving quickly along towards the metal detectors. TOM
		Okay...It's so good to see you.

	She gives him a quick kiss.  He shakes hands with Aaron. 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.
They leave -- Aaron waving to Tom who stands in the b.g.  The
	others leave.  Tom approaches Jane. Tom, Aaron and the boy walking along.  Tom plays with Cliff
	as they move.  The boy is delighted.  Jane is in a park -- a 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? As he answers and we have the following conversation between
	Jane, who is using the phone, with Aaron seen just a few feet
	away.  Tom in his apartment. JANE
		I think so...They've been talking
		to me about being Tom's Managing
		Editor.

				AARON
		Really? AARON
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. 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 AARON
		He excels at gratitude.

				TOM
			(to Jane)
		Are you any closer to a decision? 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. TOM
		Okay...It's so good to see you.

	She gives him a quick kiss.  He shakes hands with Aaron. JANE
			(turning to leave)
		We'd better get moving.

	As they move out... Jane goes to Aaron... He moves with her
	towards the door. LONG SHOT

	Aaron in the f.g. -- his BACK TO CAMERA... Beyond him
	Tom being approached... then joining Jane. JANE
		It's started.

	Bobbie sticks his head out of his office...

				BOBBIE
		Tom -- Paul wants to see you. JANE (cont'd)
		Jennifer.

	INT. TOM'S OFFICE - LATE AFTERNOON Tom nods and gestures that he proceed.  Aaron begins reading
	the news.  Barely a sentence in, he is interrupted.

				TOM
		Wait. JANE
			(into phone)
		Just a minute.

	Her finger hits the "Tom" button. Tom walks away.  He's a good twenty yards away when Aaron looks up
	to see his son running after Tom. TOM
			(to Jane as he leaves)
		Bye...boss. AARON
		Hello.

	INT. JANE'S OFFICE - NIGHT

	Jane -- still at the office -- it is quite late. The special report ended, Jane breathes a breath -- she and
	Blair momentarily grasp hands.  The first talk concerns Tom.
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. Jane turns and is a bit blown away by his gesture -- life
	threatens to be good.  And now Jane bumps a bit at the top of JANE
		Okay.
			(she hugs him)
		Sorry. JANE
		Right, right -- Isn't she fun to
		tease?

	He leans forward and speaks softly and truly. He laughs self-consciously and turns briefly away.

				JANE
		I love that turn away.

	INT. AUDITORIUM - DAY JANE
			(that quickly)
		Please forgive what I said.
			(to Tom)
		Sorry.

	As she retreats: Jane looks at him and nods slightly -- an unconscious spasm of
	truthfulness. As he passes Jane he leans next to her and WE HEAR him WHISPER. ON TOM

	His spirits lifted.

	ON JANE

	Behind the door, trying to hide the glow in her eyes. 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. Aaron poses a question which he feels in his deepest core:

				AARON
		Really?

	Jane nods. JANE
		Good.  That's it...See you.

	She walks off.  He runs a few steps to stop her. away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. ON JANE

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

				TOM
		Hi. 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. AARON
		Thanks, Jane.  Have a good time tonight.

				JANE
		You too.

	Aaron takes her in -- she looks lovely. She hands him a toy.

				AARON
		What do you say, Cliff?

	The boy kisses Jane's hand. 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
			(dumbly)
		Thank you.
			(then)
		They hated me.  I don't hate them. JANE
			(interrupting)
		I'm sorry.  But look at how
		wonderful his face is.

	She points to the derelict.
BUDDY
		I was there two years and was promoted
		on merit nine times.

				AARON
		Eventually rising to... JANE
		It made me ill.  You could get
		fired for things like that.

				TOM
		I got promoted for things like that. TOM
			(suddenly hopeful)
		That would be great.
			(worried)
		It better help.  What can you do with
		yourself if all you do is look good? in town called him up with death
		notices, he cried.  He was till
		that way when they promoted him TOM
		Maybe I haven't been here long
		enough.
			(great)
		But, hey, congratulations on the
		promotion. GERALD
		You know, Tom, I feel a little
		proud when people comment on your
		looks.  Maybe you should feel that
		way. AARON
		You're saying the fact that you're
		gay had something directly to do with
		your promotions? AARON
		You're saying the fact that you're gay had
		something directly to do with your promotions? 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. TOM
		He -- uh -- said he liked you because
		you looked like you had -- fire and
		honesty. JANE
			(interrupting)
		I'm sorry.  But look at how
		wonderful his face is.

	She points to the derelict. AARON
		Because nobody invites a bad-
		looking idiot to their bedroom.

	She smiles. AARON
			(agreeably)
		He must have been great-looking, right?

				JANE
		Why do you say that? 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. BLAIR
		Ernie, you missed his close... He smiled.
			(mimicking)
		Thank you...Good night.

	She smiles. 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. 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. 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. air.  And then he does something he's thought about many times
	before -- he briefly caresses her breasts -- while continuing
	to look at her. work and, by all appearances, doing it well.  As the General
	answers in the b.g. --
And now she sees Tom -- he mouths one word at her -- "London."
	She nods that she already knows and then lets her body sag a for a while and assign you to London. TOM
		London.

				AARON
			(incensed)
		London.  That's a promotion! 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. He walks to the People Eater and gets on, still holding his
	paper bags of bathing suits.  The bus pulls away.

	ON JANE

	Watching him go. Annie comes up.

				ANNE
		The office is phoning, honey.

	He EXITS SCENE as Anne watches him go. She half-laughs... kisses him, wipes the slight lipstick mark
	from his cheek and, in a sudden decision, takes each of her Blair leaves, as Jane gathers up her notes.  She charges out
	leaving Tom awkwardly along with Bobbie. Others start to board.  He sees Jane moving towards him.
	He walks to her, she gestures back towards the street. On Tom moving past the metal detector.  He too is frustrated
	-- pissed off at her.

	INT. OTHER TERMINAL AREA

	Jane moving quickly along towards the metal detectors. away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. As he passes Jane he leans next to her and WE HEAR him WHISPER. 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. She is obviously in pain but still alert enough to catch Tom's
	answer.

	INT. TOM'S OFFICE - DAY 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: He moves off -- Aaron watching him go, feeling decidedly
	uncomfortable by this last piece of advice and vaguely corrupted.

	INT. JANE'S APARTMENT - NIGHT TOM
		Yes, born to party.

	Paul enjoys the riposte, looks at Jane who is shrinking within
	herself. JANE
		It's started.

	Bobbie sticks his head out of his office...

				BOBBIE
		Tom -- Paul wants to see you. in town called him up with death
		notices, he cried.  He was till
		that way when they promoted him She starts to flurry with activity -- moves to the curb when
	out of nowhere Tom barks a sharp command, the first time any
	of his actions has been tinged with fury.
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. Earnest, nervous -- handsome...Just when she needed a mirage
	there it is.

				JANE
		Hi. 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. She stands there, genuinely frightened.  She must deal with him
	now.  He crosses to her. away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. 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. 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. As Jane passes through and sets off the buzzer.  She stands
	there -- the heel of her hand pressed to her brow trying to Tom the last person remaining in the room.  He approaches her --
	she is totally unaware of his presence, even when he casually 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. 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. FATHER
			(softly)
		Honey?...

	Jane SCREAMS, and grabs her heart, breathing heavily, babbles
	nervously at her Dad. She hangs up the phone.  Then compulsively hits the "Tom"
	button again.  Busy.  And again.  Busy.  She considers for
	a moment hitting the button next to Aaron's name. He walks to the People Eater and gets on, still holding his
	paper bags of bathing suits.  The bus pulls away.

	ON JANE

	Watching him go. sees Jennifer on the stairs and moves toward her calling in a
	too loud, anxiety-ridden voice as she goes. beckons nervously to the Makeup Woman -- who comes in and dabs --
	then dabs again as Aaron feels himself under his arms... TOM
		...that way we have someplace to go when 
		we cut.  And I just sit here, I nod my 
		head and look nerdy.

	Young Woman chuckles. Wedged into an uncomfortable position between two tape racks --
	He is wide-eyed at this circus of tension and fear.  His eyes J.D.
			(on tape; he smiles)
		Uh-uh.
			(then)
		I'm a little freaked right now about
		seeing my father though. 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
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. Jane turns and is a bit blown away by his gesture -- life
	threatens to be good.  And now Jane bumps a bit at the top of JANE
		Good.  That's it...See you.

	She walks off.  He runs a few steps to stop her. As Jane passes through and sets off the buzzer.  She stands
	there -- the heel of her hand pressed to her brow trying to JANE
		Jennifer.  Hey, Jennifer.

	ON STAIRCASE

	Jennifer turning as Jane whips up the stairs. away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. 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: As he passes Jane he leans next to her and WE HEAR him WHISPER. JANE
			(dumbly)
		Thank you.
			(then)
		They hated me.  I don't hate them. TOM'S P.O.V.

	Jane across the room hugging one person after another.

	ON JANE

	AS she embraces an older secretary. ON JANE JANE
		Right, right -- Isn't she fun to
		tease?

	He leans forward and speaks softly and truly. JANE
			(that quickly)
		Please forgive what I said.
			(to Tom)
		Sorry.

	As she retreats: Jane, because of the proximity to Tom is speaking in whispered
	intensity. Jane looks at her and, in a moment of atypical merriment, does
	a choking gesture at her own throat as the monitors flash a JANE
			(to herself)
		Well, why not?
			(as they arrive)
		Hey, what is this?  My life's
		rushing in front of my eyes. JANE
			(voice over; as
			 she types)
		Dear Felatzia, it's truly amazing 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 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
			(much, much too quickly)
		Jennifer.

	The men look at her curiously.  She repeats herself more
	rationally.
The anchor teams -- leaning forward.  They love this man,
	a humble specialist refusing the generalist trap.  Imagine
	the feeling -- you see, on the top of the mountain, a man
	not unlike yourself. ERNIE
		Any particular area you feel
		strongest in?

				TOM
		To be honest, I was best at anchor. Paul arriving with Bill Rorish.  The first time we have seen
	the multi-millionaire anchorman in the flesh.  He has the grace AARON
			(feigning casualness)
		The weekend news...anchoring...
		anchoring the weekend news.

				GEORGE
		Way to go. irony works nicely.  The network anchorman comes up for his close.  
	BILL RORISH, 50 years old and able to flutter much younger pulses. Anchor, a FLOOR PRODUCER and WRITER feeding him copy. 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. INT. NEWS BUILDING LOBBY - DAY

	Tom arrives for first day of work.

	INT. ERNIE MERRIMAN'S OFFICE She pauses half a beat for possible applause -- hearing none,
	she continues.  An anchorman sneezes -- four people shout
	"gesundheit" simultaneously -- they laugh. 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. 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. TOM
		Me!

	She laughs.  Almost completes an affectionate gesture -- takes
	his arm instead.

	INT. NEWSROOM - NIGHT SHOT CONTINUES

	Women playing with their hair, young man bored...one
	middle-aged anchorman fusses with a spot on his tie...

	ON JANE INT. BAR - EARLY EVENING

	Buddy and Tom watching the Evening News as Jennifer finishes
	her story. 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. Equally touched as he watches the world's most prominent
	journalist greet his Dad, who turns goofy with excitement.

				MR. GRUNICK
		Good-bye, Tom. ON MONITOR

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

	ON NEWSROOM As the regulars watch the Evening News, in particular the Date
	Rape piece which is now in progress.  Tom anxiously eyeing Jane David Brinkley and Walter Cronkite
		is being squandered in a desperate
		popularity contest.  Our profession
		is in danger: AARON
		I didn't sleep.  They're giving me less
		and less air time.  They don't think
		I'm at all anchor material.
Tom is enjoying himself immensely.

				TOM
		Isn't this a great date?

	We HEAR the SOUND OF SCRATCHING as we: And now she sees Tom -- he mouths one word at her -- "London."
	She nods that she already knows and then lets her body sag a looks for Tom.  Tom rises from a table and is immediately at
	her side. She is obviously in pain but still alert enough to catch Tom's
	answer.

	INT. TOM'S OFFICE - DAY and scratches his back in friendship... Tom approaches an she
	moves off -- not wanting to deal with him.  She takes a few She stops the tape -- summons herself.  She walks towards Tom's

	office and opens the door.  Tom is seated behind his desk. Tom the last person remaining in the room.  He approaches her --
	she is totally unaware of his presence, even when he casually 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. ON JANE

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

				TOM
		Hi. TOM (cont'd)
		I can't help it that they like me.
		And I like that they like me.  And 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 distracted -- his day has been a bit of a bummer.  Buddy
	self conscious -- the proximity creating an almost unbearable
	tension of romance and adventure. Tom half turns from her and moves back toward the bench.  Jane close 
	behind, stalking him. Tom is startled but cool -- nods his head -- Jennifer is amazed
	looking at Tom with new and even prettier eyes... Paul and Ernie TOM
		Yes, born to party.

	Paul enjoys the riposte, looks at Jane who is shrinking within
	herself. Jane shifts her position so that her back is to Tom... He is
	immobilized by the sudden turn.  Jane waits, just a bit longer JENNIFER
		But it's a party, right?

	Jane smiles back feigning female bonding -- Jennifer goes back
	down the steps and crosses to Tom. 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. BLAIR
		My gosh, and for a while there, I was
		attracted to you.

	She walks off. Jane turns -- sees that Tom is still looking at her from a few
	feet away.

				JANE
			(badly)
		Hi, Tom.
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. As he passes Jane he leans next to her and WE HEAR him WHISPER. Jane turns and is a bit blown away by his gesture -- life
	threatens to be good.  And now Jane bumps a bit at the top of Jane four steps ahead of him -- not yet aware of him.  He moves
	past one other man until he is standing directly behind her. 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
		Right, right -- Isn't she fun to
		tease?

	He leans forward and speaks softly and truly. 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. Seeing her.  -- He does a tap step -- a brief giddy burst, the
	meaning of which is not lost on Jane.  He is acting like her
	boyfriend.

	ON JANE JANE
			(dumbly)
		Thank you.
			(then)
		They hated me.  I don't hate them. 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. JANE
			(to herself)
		If he doesn't see me soon, we're not
		supposed to be together.

	ON TOM JANE
		Good.  That's it...See you.

	She walks off.  He runs a few steps to stop her. He laughs self-consciously and turns briefly away.

				JANE
		I love that turn away.

	INT. AUDITORIUM - DAY ON TOM

	His spirits lifted.

	ON JANE

	Behind the door, trying to hide the glow in her eyes. JANE
			(interrupting)
		I'm sorry.  But look at how
		wonderful his face is.

	She points to the derelict. Jane, because of the proximity to Tom is speaking in whispered
	intensity. 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 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. away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. 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.
And now she sees Tom -- he mouths one word at her -- "London."
	She nods that she already knows and then lets her body sag a He walks to the People Eater and gets on, still holding his
	paper bags of bathing suits.  The bus pulls away.

	ON JANE

	Watching him go. INT. ERNIE'S OFFICE - DAY

	George Weln, the black correspondent and Tom are seated in the
	office with Ernie -- they are in mid-meeting. Tom, Aaron and the boy walking along.  Tom plays with Cliff
	as they move.  The boy is delighted.  Jane is in a park -- a 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. Much the same place where Jane and Tom first met.  The
	words "SEVEN YEAS LATER" appears on the screen. FADE IN

	EXT. CITY STREET - DAY JANE
		Well, we met about three months ago.
		He works at the surgeon general office.
		He loves boating.  So, he's been 
		getting me into water skiing. Aaron and Ernie are off to the side in the newsroom -- People
	are packing their belongings -- as secretaries cry and embrace --
	from an office rumbles a shouted denunciation: clear them off so that she is literally sleeping with her work.  
	The PHONE RINGS. 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. 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 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. 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. In the mirror he SEES his wife making faces at him behind his
	back.  He EXITS his home without comment.

	INT. EDITING ROOM - DAY Sitting in groups of three -- NEWS TEAM from around the country,
	remarkably similar in comparison...a great looking woman, good A weeping woman bursts into their circle and sweeps Ernie away.
	Tom and Aaron stand there -- comrades at last -- victims of
	the same sword.

				TOM
		You packing up tonight? She is obviously in pain but still alert enough to catch Tom's
	answer.

	INT. TOM'S OFFICE - DAY away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. Jane four steps ahead of him -- not yet aware of him.  He moves
	past one other man until he is standing directly behind her.
Paul arriving with Bill Rorish.  The first time we have seen
	the multi-millionaire anchorman in the flesh.  He has the grace 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. She pauses half a beat for possible applause -- hearing none,
	she continues.  An anchorman sneezes -- four people shout
	"gesundheit" simultaneously -- they laugh. AARON
			(feigning casualness)
		The weekend news...anchoring...
		anchoring the weekend news.

				GEORGE
		Way to go. The anchor teams -- leaning forward.  They love this man,
	a humble specialist refusing the generalist trap.  Imagine
	the feeling -- you see, on the top of the mountain, a man
	not unlike yourself. INT. NEWS BUILDING LOBBY - DAY

	Tom arrives for first day of work.

	INT. ERNIE MERRIMAN'S OFFICE ERNIE
		Any particular area you feel
		strongest in?

				TOM
		To be honest, I was best at anchor. David Brinkley and Walter Cronkite
		is being squandered in a desperate
		popularity contest.  Our profession
		is in danger: irony works nicely.  The network anchorman comes up for his close.  
	BILL RORISH, 50 years old and able to flutter much younger pulses. they made him anchor.  I can't stand
		it -- they're grooming you for it
		all and you don't even know it. SHOT CONTINUES

	Women playing with their hair, young man bored...one
	middle-aged anchorman fusses with a spot on his tie...

	ON JANE 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
		Me!

	She laughs.  Almost completes an affectionate gesture -- takes
	his arm instead.

	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 Various bureau personnel standing at their desks watching Tom's
	piece being broadcast.  We SEE a TANK MISFIRING. INT. BAR - EARLY EVENING

	Buddy and Tom watching the Evening News as Jennifer finishes
	her story. AARON
		I didn't sleep.  They're giving me less
		and less air time.  They don't think
		I'm at all anchor material. Blair enters wildly into the scene.

				BLAIR
		They canned me.  Well, my brother
		will feel great -- now he's not the
		only screw-up. JANE
		I'm not sure.  It seems like he
		had sort of a mishap on the news.

				TOM
		I know.  I taped it. ON MONITOR

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

	ON NEWSROOM
AARON
		That's it.  I resign as of now.

				ERNIE
			(to Aaron)
		Stop it. 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. thereby good-naturedly helping with the destruction of all he
	holds dear.  As he hands Tom his credentials: He simply turns and walks away -- looking back once as Jane
	stands there mucked up by his sudden departure -- the lack
	of resolution to their confrontation is palpable.

	INT. TERMINAL - DAY 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. JANE
		I just found out.  You didn't say
		anything to me?  You just resign? away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. Aaron and Ernie are off to the side in the newsroom -- People
	are packing their belongings -- as secretaries cry and embrace --
	from an office rumbles a shouted denunciation: Bobbie stops the machine, turns in his chair and shakes hands.
	Then he smiles secretly and speaks his first full sentence. He exits.

	INT. TOM'S OFFICE - DAY 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. enough sense of duty to kiss him good night before storming from 
	the room.  She exits the room INTO BLACK. Annie comes up.

				ANNE
		The office is phoning, honey.

	He EXITS SCENE as Anne watches him go. Blair leaves, as Jane gathers up her notes.  She charges out
	leaving Tom awkwardly along with Bobbie. Equally touched as he watches the world's most prominent
	journalist greet his Dad, who turns goofy with excitement.

				MR. GRUNICK
		Good-bye, Tom. TOM
		Ah, I don't want any credit.  Bobbie
		and I serve anonymously.

	He pats Bobbie on the back... and exits. 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. Blair enters wildly into the scene.

				BLAIR
		They canned me.  Well, my brother
		will feel great -- now he's not the
		only screw-up. 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 SECRETARY
		He'll just be a minute.

	Tom sits down -- pats his tie in place... A beat and the door
	opens.  Paul leads out Martin Klein.  They shake hands.
And now she sees Tom -- he mouths one word at her -- "London."
	She nods that she already knows and then lets her body sag a for a while and assign you to London. TOM
		London.

				AARON
			(incensed)
		London.  That's a promotion! He walks to the People Eater and gets on, still holding his
	paper bags of bathing suits.  The bus pulls away.

	ON JANE

	Watching him go. 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. As he passes Jane he leans next to her and WE HEAR him WHISPER. Annie comes up.

				ANNE
		The office is phoning, honey.

	He EXITS SCENE as Anne watches him go. away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. 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. 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: Others start to board.  He sees Jane moving towards him.
	He walks to her, she gestures back towards the street. On Tom moving past the metal detector.  He too is frustrated
	-- pissed off at her.

	INT. OTHER TERMINAL AREA

	Jane moving quickly along towards the metal detectors. Jane four steps ahead of him -- not yet aware of him.  He moves
	past one other man until he is standing directly behind her. JANE
		It's started.

	Bobbie sticks his head out of his office...

				BOBBIE
		Tom -- Paul wants to see you. Jane's cab pulls up to the curb.  She gets out -- she is
	carrying no luggage.  She sees Tom who hurriedly walks up
	to her.  Jane is fighting to maintain a calm. Blair leaves, as Jane gathers up her notes.  She charges out
	leaving Tom awkwardly along with Bobbie. TOM
		Yes, born to party.

	Paul enjoys the riposte, looks at Jane who is shrinking within
	herself. She is obviously in pain but still alert enough to catch Tom's
	answer.

	INT. TOM'S OFFICE - DAY She half-laughs... kisses him, wipes the slight lipstick mark
	from his cheek and, in a sudden decision, takes each of her She stands there, genuinely frightened.  She must deal with him
	now.  He crosses to her.
Aaron and Ernie are off to the side in the newsroom -- People
	are packing their belongings -- as secretaries cry and embrace --
	from an office rumbles a shouted denunciation: ERNIE
		All I know is that they've got to
		fire a large number of people... BILL
		This is a brutal layoff...And all
		because they couldn't program Wednesdays. 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 ERNIE
		No.  They're firing even more people
		than they said.  Some will want to
		talk.  It could help. AARON
		Can you believe it?  I just risked my
		life for a network that tests my face
		with focus groups. I don't feel worse.  This has happened
		at every station I ever worked for.
		Look, I think it's crazy for you to clear them off so that she is literally sleeping with her work.  
	The PHONE RINGS. 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. 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
		We are being increasingly influenced
		by the star system.  The network
		anchormen are so powerful they 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. 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. people like this for network news.  For
		God's sake.  What's going on? PAUL
		We're having a severe cutback, Tom --
		17 people in this bureau including Blair enters wildly into the scene.

				BLAIR
		They canned me.  Well, my brother
		will feel great -- now he's not the
		only screw-up. Jane looks at her and, in a moment of atypical merriment, does
	a choking gesture at her own throat as the monitors flash a Various bureau personnel standing at their desks watching Tom's
	piece being broadcast.  We SEE a TANK MISFIRING. ERNIE
			(calls back to Jane)
		Great work, Jane, really -- You know?
		Really.

	She nods... totally depleted. 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
Tom, Aaron and the boy walking along.  Tom plays with Cliff
	as they move.  The boy is delighted.  Jane is in a park -- a 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? They leave -- Aaron waving to Tom who stands in the b.g.  The
	others leave.  Tom approaches Jane. As he answers and we have the following conversation between
	Jane, who is using the phone, with Aaron seen just a few feet
	away.  Tom in his apartment. LONG SHOT

	Aaron in the f.g. -- his BACK TO CAMERA... Beyond him
	Tom being approached... then joining Jane. AARON
		Hello.

	INT. JANE'S OFFICE - NIGHT

	Jane -- still at the office -- it is quite late. JANE
		I think so...They've been talking
		to me about being Tom's Managing
		Editor.

				AARON
		Really? JANE (cont'd)
		Jennifer.

	INT. TOM'S OFFICE - LATE AFTERNOON 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 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
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. Much the same place where Jane and Tom first met.  The
	words "SEVEN YEAS LATER" appears on the screen. Jane's cab pulls up to the curb.  She gets out -- she is
	carrying no luggage.  She sees Tom who hurriedly walks up
	to her.  Jane is fighting to maintain a calm. 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. He moves off -- Aaron watching him go, feeling decidedly
	uncomfortable by this last piece of advice and vaguely corrupted.

	INT. JANE'S APARTMENT - NIGHT INT. EDITING ROOM - NIGHT

	Jane up against it now -- but still seemingly calm.  Tom
	watching, keeps on glancing at the clock fascinated,
	impressed. 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. 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. AARON
		He excels at gratitude.

				TOM
			(to Jane)
		Are you any closer to a decision? INT. EDITING ROOM - DAY

	AS Tom enters and waits for Jane.  When she enters he closes
	the door.
ON JANE 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 turns and is a bit blown away by his gesture -- life
	threatens to be good.  And now Jane bumps a bit at the top of As Jane passes through and sets off the buzzer.  She stands
	there -- the heel of her hand pressed to her brow trying to away.  Jane finishes, notices him, makes a face by way of
	explanation, and exits the scene feeling measurably better. 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's cab pulls up to the curb.  She gets out -- she is
	carrying no luggage.  She sees Tom who hurriedly walks up
	to her.  Jane is fighting to maintain a calm. 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 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
		Good.  That's it...See you.

	She walks off.  He runs a few steps to stop her. 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, because of the proximity to Tom is speaking in whispered
	intensity. JANE (cont'd)
		Jennifer.

	INT. TOM'S OFFICE - LATE AFTERNOON 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 Jane moves quickly off, awed at the prospect of taking on the
	big boss.

	ON JANE ON JANE

	As she silently mouths the words -- "smile and move and smile
	and move."  Which is exactly what he's doing.  Then a contract
	with the gods. 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
			(immediately at work)
		Oh let's see -- wait a minute, well,
		I can think of two reasons. JANE
			(to Cameraman)
		Okay.

	He shoots the scene.

	INT. HAY ADAMS HOTEL 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.
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. 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. 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. thereby good-naturedly helping with the destruction of all he
	holds dear.  As he hands Tom his credentials: Tom walks away.  He's a good twenty yards away when Aaron looks up
	to see his son running after Tom. TOM
		Holy shit, Aaron.

	He claps him on the back... Aaron is as pleased as he is
	uncomfortable with the attention. TOM
		Oh, sure.  Okay.

	His heart racing, Buddy attempts casual matter-of-factness. 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. 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. TOM
		He -- uh -- said he liked you because
		you looked like you had -- fire and
		honesty. TOM
		No, I really got this job on a
		fluke and wait till you hear where
		it ends up.

	Jane smiles a calming smile. 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. 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. mounts the stage with an athletic leap.  It takes courage for
	Tom to fully intrude himself, which he now does: TOM (cont'd)
		And then when they heard my reaction --
		they thought I was kidding.  I told them BOBBIE
			(pausing in his work)
		You know, I like Tom, because hi...

				JANE
		Bobbie, please. ON TOM

	Standing alone and forlorn as his crew trots back.

				CAMERAMAN
			(observing Tom)
		What's wrong? JANE
		It made me ill.  You could get
		fired for things like that.

				TOM
		I got promoted for things like that. looks for Tom.  Tom rises from a table and is immediately at
	her side. TOM
		... when they told me Bill had decided
		to retire and offered me the Evening
		News, I thought it was the same kind
Aaron has come over to join them now in time to HEAR. Aaron is having a hard enough day,  He is visibly annoyed. These watching struck -- perhaps embarrassed but riveted.  Aaron
	is aghast.  Aaron approaches the set. 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
		Yes.

				GEORGE
		Yes.

				ERNIE
		Me too. Aaron deflates. AARON
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. Aaron directs him behind a screen and looks at his notes.

				AARON
		It's Mr. Buddy Felton? AARON
		Yeah.  Well...I think it is
		important for you too.  Sit down.

	She sits.  He walks to a desk and looks at her briefly... Silence. They kiss.

	INT. AARON'S APARTMENT - NIGHT

	The phone rings.  He answers. 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. Aaron seated in the main newsroom in shirt-sleeves, writing.  He
	takes the just-completed page out of the typewriter and walks over
	to the weekend news PRODUCER. (W.N.P.) Her eyes meet Aaron's.

				JANE
		Uh-uh.
			(to Aaron)
		He says you could hardly notice it. As Aaron walks to his office.

	INT. AARON'S OFFICE - DAY

	As he enters and finds Ernie bent over his desk. Aaron looks up -- takes a breath.  He's done well -- he's
	punched his words and his one thought for the story.  His gaze ON AARON

	He blots his face -- some makeup streaked -- by the towel.

				FLOOR MANAGER
		Five seconds. It is at the top of a flight of steps.  She KNOCKS on the DOOR.
	RINGS.  KNOCKS.  Aaron opens it.  He is wearing a sweatshirt
	and cords. TOM
		Holy shit, Aaron.

	He claps him on the back... Aaron is as pleased as he is
	uncomfortable with the attention. AARON
		Look at her.
			(to Jane)
		If anything happens to me tell every The INSERT MOVES OUT AT US TO FILL THE SCREEN -- WE SEE Aaron's
	dim outline and HEAR him say:
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. Tom walks away.  He's a good twenty yards away when Aaron looks up
	to see his son running after Tom. And now she sees Tom -- he mouths one word at her -- "London."
	She nods that she already knows and then lets her body sag a 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. 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. thereby good-naturedly helping with the destruction of all he
	holds dear.  As he hands Tom his credentials: Moving with Tom.  Nervousness growing, confidence gone, he
	proceeds down the hallway.

	INT. ERNIE'S OUTER OFFICE - DAY TOM
		Oh, sure.  Okay.

	His heart racing, Buddy attempts casual matter-of-factness. TOM
			(to Clifford)
		Go back to your daddy.

	The boy starts back. He exits.

	INT. TOM'S OFFICE - DAY AS Tom enters from his office, a wake is slowly igniting.  Tom
	moves along the edge of the room, carrying his wastebasket full
	of belongings, not really a part of the mournful festivities. She is obviously in pain but still alert enough to catch Tom's
	answer.

	INT. TOM'S OFFICE - DAY He looks directly at his father and talks quietly, and sincerely.

				TOM
		I got my report card.  Three Cs,
		two Ds and an incomplete. Equally touched as he watches the world's most prominent
	journalist greet his Dad, who turns goofy with excitement.

				MR. GRUNICK
		Good-bye, Tom. MR. GRUNICK
		I'm going to go back home and tell
		all your old teachers.

	Tom watches his father walk off and moves immediately to Jane's
	editing room. TOM
		I'll see you at the office.  Good night.

	Several beats of silence.  Finally: 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. Tom is enjoying himself immensely.

				TOM
		Isn't this a great date?

	We HEAR the SOUND OF SCRATCHING as we: mounts the stage with an athletic leap.  It takes courage for
	Tom to fully intrude himself, which he now does: TOM
		Me!

	She laughs.  Almost completes an affectionate gesture -- takes
	his arm instead.

	INT. NEWSROOM - NIGHT
AARON
		That's it.  I resign as of now.

				ERNIE
			(to Aaron)
		Stop it. 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. 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
			(turning to leave)
		We'd better get moving.

	As they move out... Jane goes to Aaron... He moves with her
	towards the door. Aaron deflates. Aaron is having a hard enough day,  He is visibly annoyed. Aaron has come over to join them now in time to HEAR. AARON
		Okay.  I think I'd better be alone
		for a while.

				ERNIE
		I understand.  I'll go with you. Tom walks away.  He's a good twenty yards away when Aaron looks up
	to see his son running after Tom. Aaron and Ernie are off to the side in the newsroom -- People
	are packing their belongings -- as secretaries cry and embrace --
	from an office rumbles a shouted denunciation: These watching struck -- perhaps embarrassed but riveted.  Aaron
	is aghast.  Aaron approaches the set. Blair and Aaron laugh appreciatively as he walks off to another
	group.

				BLAIR
		Goodbye, Paul. 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
		What did they do with you?

				TOM
		They booted me out of Washington. AARON
			(voice over)
		You're welcome.  Sow how does it
		feel to...I know you gotta go --
		Me too.  We're very busy here. As Aaron walks to his office.

	INT. AARON'S OFFICE - DAY

	As he enters and finds Ernie bent over his desk. AARON
			(thinks then)
		Oh, that's nice...
			(walking away)
		We'll need some new lines. 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. AARON
		Yes.  And I'm sorry that they're
		sending you down for a while, but
		you'll make it back...Where they
		sending you? They kiss.

	INT. AARON'S APARTMENT - NIGHT

	The phone rings.  He answers.
AARON
		Good.

	He grabs her and hugs her exuberantly -- takes her face in his
	hands and kisses her full on the lips. These watching struck -- perhaps embarrassed but riveted.  Aaron
	is aghast.  Aaron approaches the set. 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. 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. AARON
		Thanks, Jane.  Have a good time tonight.

				JANE
		You too.

	Aaron takes her in -- she looks lovely. Aaron has come over to join them now in time to HEAR. They kiss.

	INT. AARON'S APARTMENT - NIGHT

	The phone rings.  He answers. AARON
		Yes.

				GEORGE
		Yes.

				ERNIE
		Me too. 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. Aaron is having a hard enough day,  He is visibly annoyed. AARON
		Yeah.  Well...I think it is
		important for you too.  Sit down.

	She sits.  He walks to a desk and looks at her briefly... Silence. AARON
		Well, I felt something.

	He leaves her on the corner and walks back.

	ON JANE TOM
		Okay...It's so good to see you.

	She gives him a quick kiss.  He shakes hands with Aaron. TOM
		Holy shit, Aaron.

	He claps him on the back... Aaron is as pleased as he is
	uncomfortable with the attention. AARON
		Look at her.
			(to Jane)
		If anything happens to me tell every AARON
		No.  You know that I'm not.

				JANE
		How? AARON
			(to Jane)
		You write this?

				JANE
		I write for you sometimes. AARON
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. AARON
			(voice over)
		You're welcome.  Sow how does it
		feel to...I know you gotta go --
		Me too.  We're very busy here. JANE
		God, he loved the boots.

	Aaron reaches happily for the phone.
ON NEWSROOM

	As Aaron enters the scene.

				AARON
		Hi. 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. Tom nods and gestures that he proceed.  Aaron begins reading
	the news.  Barely a sentence in, he is interrupted.

				TOM
		Wait. SOUND OF MEN VOCALIZING NEWS THEME comes UP AND continues
	through:

	EXT. AARON'S APARTMENT - EARLY EVENING Aaron seated in the main newsroom in shirt-sleeves, writing.  He
	takes the just-completed page out of the typewriter and walks over
	to the weekend news PRODUCER. (W.N.P.) AARON
			(feigning casualness)
		The weekend news...anchoring...
		anchoring the weekend news.

				GEORGE
		Way to go. These watching struck -- perhaps embarrassed but riveted.  Aaron
	is aghast.  Aaron approaches the set. 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. AARON
		It depends on how big a news day it 
		is.

	They reach Jane.  She calls to him. AARON
		Can I turn on the news for a second?
		...Oh, wait a minute.  Sex -- Tears --
		This must be the news. 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
		Just a few questions?

				J.D.
		No.

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

	INT. SMALL TELEVISION STUDIO - NIGHT 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
		I didn't sleep.  They're giving me less
		and less air time.  They don't think
		I'm at all anchor material. Aaron and Ernie are off to the side in the newsroom -- People
	are packing their belongings -- as secretaries cry and embrace --
	from an office rumbles a shouted denunciation: Aaron looks up -- takes a breath.  He's done well -- he's
	punched his words and his one thought for the story.  His gaze Aaron nods, as the Producer finishes the copy.

				W.N.P.
		This is terrific news, Aaron.  It's
		a pleasure to read. ON AARON

	He blots his face -- some makeup streaked -- by the towel.

				FLOOR MANAGER
		Five seconds. The INSERT MOVES OUT AT US TO FILL THE SCREEN -- WE SEE Aaron's
	dim outline and HEAR him say:
They leave -- Aaron waving to Tom who stands in the b.g.  The
	others leave.  Tom approaches Jane. 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. 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? JANE
			(turning to leave)
		We'd better get moving.

	As they move out... Jane goes to Aaron... He moves with her
	towards the door. 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. Blair leaves, as Jane gathers up her notes.  She charges out
	leaving Tom awkwardly along with Bobbie. AARON
		Look at her.
			(to Jane)
		If anything happens to me tell every AARON
		Well, I felt something.

	He leaves her on the corner and walks back.

	ON JANE Tom walks away.  He's a good twenty yards away when Aaron looks up
	to see his son running after Tom. 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. He moves off -- Aaron watching him go, feeling decidedly
	uncomfortable by this last piece of advice and vaguely corrupted.

	INT. JANE'S APARTMENT - NIGHT AARON
		Come on, Cliff.  Come on.

	As Clifford runs back to his father, Aaron sits next to Jane. AARON
		He excels at gratitude.

				TOM
			(to Jane)
		Are you any closer to a decision? As he answers and we have the following conversation between
	Jane, who is using the phone, with Aaron seen just a few feet
	away.  Tom in his apartment. Her eyes meet Aaron's.

				JANE
		Uh-uh.
			(to Aaron)
		He says you could hardly notice it. Tom nods and gestures that he proceed.  Aaron begins reading
	the news.  Barely a sentence in, he is interrupted.

				TOM
		Wait. AARON
		No.  You know that I'm not.

				JANE
		How? TOM
		And it has nothing to do with the fact
		I left your room instead of staying 
		there?

	Jane looks at him. AARON
		Thanks, Jane.  Have a good time tonight.

				JANE
		You too.

	Aaron takes her in -- she looks lovely. AARON
		Aaach...Jane...
			(glancing at note)
		Let's take the part that has
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. 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. 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. 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. 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. He exits.

	INT. TOM'S OFFICE - DAY Tom walks away.  He's a good twenty yards away when Aaron looks up
	to see his son running after Tom. thereby good-naturedly helping with the destruction of all he
	holds dear.  As he hands Tom his credentials: TOM
		No, I really got this job on a
		fluke and wait till you hear where
		it ends up.

	Jane smiles a calming smile. TOM
			(to Jane as he leaves)
		Bye...boss. JANE
		It made me ill.  You could get
		fired for things like that.

				TOM
		I got promoted for things like that. TOM
		... when they told me Bill had decided
		to retire and offered me the Evening
		News, I thought it was the same kind TOM
			(to Clifford)
		Go back to your daddy.

	The boy starts back. She is obviously in pain but still alert enough to catch Tom's
	answer.

	INT. TOM'S OFFICE - DAY TOM
			(enormously pleased)
		Yeah.

	He walks back towards the area of the monitor.

	ON MONITOR 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. JANE
			(enormously pleased)
		No.  Did he really?

				TOM
		Yes.  Then he said a really weird
		thing... TOM
		Oh, sure.  Okay.

	His heart racing, Buddy attempts casual matter-of-factness. 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. INT. TOM'S OFFICE - DAY
Who is Jane's best friend? Who does Aaron secretly love? What does Aaron do for a living? What does Tom do for a living? What city does Tom, Jane, and Aaron work out of? Who do Tom, Jane, an Aaron work for? Who acknowledges their love to Jane? Who got promoted mainly because of their good looks? Who gets transferred to London? Who character is considered neurotic? Who is Jane's best friend? Which character used to be a sports anchorman? Which character is Tom attracted to? Which character is secretly in love with Jane? What city do all three character work in? Whose debut as an anchorman is a failure? Which character tenders his resignation? Which character is getting transfered to London? What is the cause of people at the network losing their jobs?  In which city do Jane, Aaron and Tom work together? What is Jane's job? Why was Tom hired? What is Aaron's job? Where is Tom transferring to? Where is Aaron going to go when he resigns? Who is Aaron in love with? What happens when Aaron gets to do a newscast? What does Aaron tell Jane about Tom before he leaves? What was Tom's previous job?
Aaron Altman Aaron Altman.
Jane Jane Craig.
Writer and Producer Writer and reporter.
local news anchorman news anchor
Washington, DC Washington D.C.
A national television network national television network
Aaron Aaron Altman.
Tom Tom Grunick.
Tom Tom
Jane Craig Jane Craig
Aaron Altman Aaron Altman.
Tom Grunick Tom Grunick
Jane Craig Jane Craig
Aaron Altman Aaron Altman
Washington D.C. Washington D.C.
Altman Altman
Altman Aaron Altman
Grunick Tom Grunick.
Layoffs Massive layoffs.
Washington D.C. Washington, D.C.
producer Producer
for his looks and charm. Good looks and charm.
writer Writer/reporter
London London.
Portland Oregon Portland, Oregon
Jane Jane
He's terrible and it is a disaster. he fails
he's commited an ethical breach Breach of ethics
sportscaster Sports anchorman