I'll Do Anything
Writers: James L. Brooks
"I'LL DO ANYTHING"
Screenplay by
James L. Brooks
1994
SHOOTING DRAFT
FADE IN:
INT. PASSAGEWAY - NIGHT
The CAMERA briskly retreats as FORTY, HIGHLY CHARGED,
ATTRACTIVE, YOUNG PEOPLE march towards it. Each side of the
frame is black as this troupe of young actors moves up the
middle, everyone talking, grinning, squealing,... everyone
having the "high" of their lives.
INT. NEW YORK CLUB - NIGHT
As the troupe, with geometric precision, spills into a large
room (containing a raised dance floor); the CAMERA begins to
move past dancing couples as a legend appears:
'This is 1975 and Matt Hobbs is singled out for the first
time.'
And now the CAMERA reveals MATT HOBBS. His open, friendly,
American face slips between some of the many cracks in his
profession. The face at 26, and forever more, not arresting
enough for a leading man; not quirky enough for a "character."
Matt must briefly walk on the dance floor to make his way
past a knot of people. He dances furiously for two seconds,
then steps down as THE DANCERS BEGIN TO SING "WOW", but just
as the song breaks out musically, we hear the SOUND OF PEOPLE
SHHHING; the singers falter and then stop as the party-goers
gather, in choreographed movement, at a ceiling mounted TV
set.
MAN ON TV
We can barely discern the words. . ."with his review is
Leonard Graff."
A FRANTIC ACTRESS yelps a command:
FRANTIC ACTRESS
I can't hear over this shhing.
Silence, then:
TV CRITIC
...a play about guess what? That's
right, young people.
ON MATT
He stands next to a ruggedly handsome and extremely nauseous
CONTEMPORARY.
HANDSOME CONTEMPORARY
I can't look.
MATT
Good idea, let's not.
He begins to walk, the Handsome Contemporary falling into
step. Everyone they pass is straining, upwards, at the TV.
HANDSOME CONTEMPORARY
How can we not listen to this?
MATT
We'll know all we need to from the
reaction.
At that moment, the rest of the party-goers turn from the TV
as one, looking mugged. (One girl briefly gets our attention
because she is particularly distraught; tears streaming down
her angry face. The mixture of tears and rage are, of course,
the chemical components of incredible sexiness. Her name is
BETH.) A TORTURED MALE DANCER offers an incantation.
TORTURED MALE DANCER
He should be shot, he should be dead,
he should rot in hell, then come
back as the soap cake in a urinal.
HANDSOME CONTEMPORARY
(to dancer)
He didn't like it?
The DIRECTOR moves through the group, bucking up spirits.
DIRECTOR
Don't worry. He doesn't count. We'll
just wait for the papers.
ON MATT AND FELLOW CAST MEMBERS - LATER
As they morosely watch the Director approach.
MATT
Hey, no matter what this review says,
the play was a great experience for
me.
Beth looks at him, puzzled.
MATT
(again)
I mean, it is about process, right?
HANDSOME CONTEMPORARY
Matt's right. Good Lord, it is what
we're alive for.
Beth turns from the conversation, finding it preposterous,
then rivets her attention on the Director, walking towards
them, holding a ridiculously thick sheaf of papers. Beth
begins to sob in anticipation.
MATT
You've just got to be tougher than
this.
BETH
(incredulous)
Tougher than this?!?
The Director reaches them.
DIRECTOR
I took it all down over the phone.
It's quite bad. And, unfortunately,
it's very, very long. I've got a
broken heart and writers' cramp.
He...
MATT
He's nuts.
DIRECTOR
He savages everyone.
MATT
I don't want to hear anymore. Let's
dance.
DIRECTOR
Except you, Matt.
They all look at him.
HANDSOME CONTEMPORARY
(fiercely to Matt)
You filthy bastard.
BETH
(drawing closer to
Matt)
What did he say?
The Director hunts for the paragraph.
MATT
Don't read it.
OTHER ACTOR
Oh, please. You can't wait to run
out of here, buy a flashlight, and
then go into some dark alley and
drool over every word.
MATT
(truthfully)
You're wrong. I'm maybe relieved and
curious. That's it.
BETH
(wildly exasperated)
What did they say about him?
DIRECTOR
(reading)
...'in the midst of this delirium of
pretension...'
MATT
Don't. This divisive crap won't...
DIRECTOR
(again)
'...one actor, rather miraculously,
manages to provide passion and, yes,
truth. Matt Hobbs, in the supporting
role of Jesus, manages to touch the
heart long after you thought it numbed
by boredom.'
The table of actors look at a sober Matt. A long beat and
then, against his will, he grins... then a short, involuntary
barking laugh of joy... then:
MATT
(to his colleagues
with sincerity)
Sorry.
MORPH TO:
ESTABLISHING SHOT - L.A. MODERATE INCOME STREET
As we HEAR the next lines of "WOW", BEGIN MAIN TITLES as the
CAMERA BOOMS UP to the outside of a small apartment as a
legend appears on screen:
'EMMY NIGHT - 1980'
Beth, now 27, is standing in front of a TV set showing the
Emmy dancers performing a phrase of "WOW". She screams out.
BETH
Will you get in here--for God's sake?
INT. ANOTHER ROOM
Matt, 30, is on the phone.
MATT
(into phone)
Come on, Ma, how could I show up
tonight when my union is boycotting
the Emmys? Look, I have to hang up.
BETH (O. S.)
(screaming voice)
It's on right now... right now...
right this second! You will miss
it!!
MATT
(into phone)
I gotta go. Watch!
Matt hangs up and tear-asses into the living room. Beth
screams as his name is read.
TV VOICE
(on TV)
...and Matt Hobbs for 'Caine Mutiny
Court Martial'... And the winner is
Powers Boothe for 'Jonestown--Story
of a Massacre.'
BETH
Shit! Fuck! Shit!
MATT
He was good.
BETH
(again)
Shit! Shit! Shit! Fuck! Shit! Look,
he even showed up.
TV INSERT - POWERS BOOTHE ACCEPTANCE SPEECH
MATT
That took courage. I wonder if they
send you something for just being
nominated?
BETH
Of all the pathetic questions.
MATT
(sharply)
Why are you being so damn foul?
Beth glares at him, on the verge of taking him on--but he is
looking at her very directly... the lack of any other agenda
giving him a temporary edge... Beth decides to state the
unadorned truth.
BETH
We've been going back and forth on
our status for so long. I was hoping
that if you won, it might mean
something for us.
MATT
Look, Beth... the only...
She is waving her hand in a circle... he is puzzled.
BETH
Please go fast. I can't take you
dragging it out.
MATT
(a bit faster)
The only reason I haven't...
BETH
I promised myself I wouldn't be so
bossy. Take your time!! Was that
bossy too?
MATT
(persisting)
The only thing I have against getting
married is that it might not be fair
because I'm going to stay with acting
forever and you know how erratic the
money's been and there's no resolve...
BETH
Do I get to vote? I'm going to tell
you something I never told you before.
Your feeling towards your work is
one of the things I love most about
you.
MATT
Really?
BETH
Maybe the most.
MATT
Hey, then we have no problem here.
Marry me.
They kiss, then break, murmuring to each other.
BETH
Stinker, I almost gave up on you.
MATT
I was just worried whether I could
make you happy.
MORPH TO:
INT. HOSPITAL WAITING AREA - FOUR A.M.
A SET FRAME showing several clusters of waiting people. A
man rushes to one of these clusters, cueing this group to
sing the next phrase of "WOW". As an extremely hyper Matt
enters, the SONG STOPS and a legend appears:
'1986'
MATT
(extremely hyper)
Everything's okay... Great... She's
six or eight pounds even. Oh, God...
Nothing like it. I'll tell you
something amazing. They really reach
right into her stomach and pull out
this baby. It's not just a rumor.
God. I understand the expression
'mind blowing' for the first time.
It means something so wonderful
happens that the top of your head
comes off and your brain pops out.
Part of it was terrifying, the baby
was turned and they couldn't budge
her. I kept looking at this one woman
doctor's eyes. And when Jeannie
finally came out, this doctor and I
each wiped away a tear at the exact
same time, caught ourselves doing
it, and then laughed together at the
same time. Nothing can prepare you
for it. You know why you're alive.
INT. CORRIDOR - DAY
As Matt walks with pep, accompanied by a burst of "WOW".
INT. BETH'S HOSPITAL ROOM - DAY
Beth holds BABY JEANNIE and wears a scowl.
MATT
How you doing? What's wrong?
BETH
My mother said you were flirting
with the doctor during the delivery.
On Matt's expression...
MORPH TO:
INT. MODEST ONE-BEDROOM APARTMENT - LATE NIGHT
Matt and Beth lie on an open sofa-bed. "WOW" is completed,
though with a dirge-like cadence. We hear a baby crying over
a cheap walky-talky near their bed.
MATT
Could you get her, honey? I have
that big reading tomorrow.
BETH
No, I have a lot to do tomorrow,
too. I have to borrow on our Christmas
Club, I have to...
MATT
Don't worry about money anymore.
(on her look)
I didn't want to tell you, because
it may sound a little strange when I
say it out loud. You know me, I'm
never that cocky. But I'm going to
get 'Spider Woman'. It's me or Raul
and I've never been so sure. It's
weird, but I just know it. I do.
BETH
(broadly)
Boy, am I reassured. What good news.
Isn't that a load off?
INT. BABY'S ROOM - NIGHT
Where we see the crying baby holding the walky-talky in front
of its mouth as it screams into the mouthpiece.
BACK TO SCENE
MATT
I am gonna get this part, Beth.
BETH
I can't stand this anymore.
END MAIN TITLES
FADE IN:
INT. MATT'S APARTMENT - MORNING
It's an awful place... the start-up apartment he's way too
old for... but we don't yet see his humble quarters. Rather:
A BLURRED IMAGE
Then, the screen is CLEARED ON ONE HALF so we see half of a
contact lens holder in focus--the other half blurred--until
Matt gets his second contact in.
MATT'S POV
A tube of tooth bleach. CLOSE ON THE DIRECTIONS, then:
ON MATT
Bleaching his teeth... finishing... smiling in the mirror...
This is the bleached smile of fear--true fear--the awful
state of having lost your way. The phone rings. Matt clears
his voice before answering.
MATT
(into phone)
Hello... Hi, Beth. I'm glad you
finally returned my call. What are
you so mad about?
(again, into phone)
YOU KNOW, YOU'RE NOT THE ONLY ONE
WHO CAN SCREAM, I CAN SCREAM, TOO.
Matt was so suddenly, emotionally extended that the anger
leaves him that quickly... just a strange atypical lightning
bolt of rage toward life and women.
MATT
(again, into phone)
You know what? I'm being a sort of
gutless wonder here. I'm yelling
back at you because I'm embarrassed.
I won't be able to take the kid when
I said... Why don't you listen for a
second?
He rubs his head with both hands, including the one holding
the phone. This allows us to hear his ex-wife repeat the
same sentence over and over again.
BETH (V. O.)
(from phone)
...You're taking her... You're taking
her... You're taking her...
MATT
Beth, I know exactly how long it's
been and I feel strange as hell not
seeing her but this isn't a choice.
I'm broke. It's the driest spell of
my life. I'm not saying it's your
problem, but it's no place for a six-
year-old. What can I do? The only
full-time job I seem to have is not
showing how scared I am. What? No,
that's not something I said before.
(accepting compliment)
Well, thanks.
Beth turns angry again. Matt finds, unfortunately, that he's
got one more act of bravado left.
MATT
(again, into phone)
Beth, Hey... hey. Never mind, I'll
do it.
He hangs up.
MATT
(again, to himself)
I must get work. I will take anything.
I must get work. I must not be
embarrassed by these pep talks to
myself...
EXT. SIDE STREET - DAY
As Matt walks from the outdoor parking lot, past inexpensive
homes. In the lot, on private lawns and every public bench,
at each street corner, are various actors doing the relaxation
exercises which will form the basis of A DANCE, as they go
over their "sides".
MIDDLE-AGED ACTOR
...feathers I'm blowing. What am I,
a duck?
We pass various actors going over alternate sentences for
the same speech so that we get a sense of the speech as a
whole from the sum of its parts.
VARIOUS YOUNG ACTORS
1) I'm not thinking about whether
I'm going to shoot you. I'm...
2)...trying to decide where.
3)...the little spot behind the ear
where you die before you hear the
shot...
4)...on the left side of the belly
which is a very mean place.
EXT. POPCORN PICTURES - DAY
An office building of clear architectural merit located in
an industrial area. Even the sign "Popcorn Pictures" has all
the artistic dignity the name itself lacks... MUSIC ENTERS...
Gradually, movement BECOMES CHOREOGRAPHED...i.e., the young
actor and actress running across the street do so with
uncommon grace. The area Matt passes is very crowded and we
still haven't reached the most congested area of all as we
STUDY FACES and HEAR snatches of the actors' preparation.
MIDDLE-AGED ACTOR
What am I, a duck?
OLDER ACTRESS
Sure I'll tell you... Favor first...
Do a nice middle-aged lady a favor...
A fair trade... tell you what you
want to know in return for a...
(grimaces over dialogue
she must say)
...a pity fu...
MUSIC BECOMING MORE INSISTENT as we approach the building--
the mumbling of the actors taking on the SOUND of a Wailing
Wall...
VARIOUS YOUNG HYSTERICAL ACTRESSES
...the height of ego. You think your
he-manness can make me get on that
elevator even though I'm phobic?...
I CAN'T GET ON THAT ELEVATOR. I don't
care if... they catch us. DO YOU
GET... IT. DO YOU GET IT! I CAN'T! I
CAN'T... three, please.
THREE HYSTERICAL ACTRESSES
SINGING the dialogue...
SINGING ACTRESSES
...can't get on the elevator... can't
get on the elevator... even if you
make me... even if you make me. Do
you get it?... do you get it?...
TWO ACTRESSES
Standing near each other--exchange glares as they break each
other's concentration and move apart... THEIR MOVEMENT SERVING
as our gateway to DANCING... The SONG "MAKE BELIEVE" enters
fully now and builds in intensity, reaching a repeated phrase,
as we move to Matt and he enters the building, thereby cutting
off the song.
ON MATT
As the SONG continues in intensity, Matt enters the building
at the end of a repeated phrase cutting off the song as we
move to:
ANGLE ON RECEPTION AREA
Where CATHY BRESLOW, age 30, waits. Hollywood is a bit of an
uphill struggle for Cathy. She is bright where others are
brilliant, pretty where others are gorgeous, enormously hard
working where others are obsessive-compulsive. She is clearly
waiting for someone while reading an enormously thick book
galley. Matt almost scoots by her, then stops.
MATT
Hi... See, I did recognize you. You
didn't have to wait for me.
CATHY
Well, I wanted to introduce you. As
if knowing me would help.
INT. POPCORN PICTURES - DAY
MOVING SHOT. Staircase packed with actors, an uphill slalom
almost impossible to navigate.
CATHY
It's a ridiculously awful movie.
MATT
Well, challenge. I wasn't sure you'd
remember me... let alone help...
CATHY
Stop. You're good. I'm doing them a
favor by getting you in.
MATT
Well, that's a fresh slant.
They reach the casting assistant, CLAIRE.
CATHY
Claire, this is Matt Hobbs.
As Matt is handed a set of sides, we SHOOT PAST Matt as he
watches Cathy move back down the stairs before he can say
another word. She moves with wit. He is struck by her. He
looks back at Claire, who has an intricate hairdo and a ready
smile.
CLAIRE
Hi. Sorry. We're running behind...
Please forgive us.
LONG DISSOLVE TO:
SAME SHOT - TWO HOURS LATER
Her hairdo wilted, her blouse soiled, her smile gone, the
tendons of her neck prominent.
CLAIRE
(fiercely)
Matt Hobbs? Matt Hobbs!
ON MATT
Going over his lines. Hearing his name, he rises. Claire
gestures him in.
INT. BURKE'S OFFICE - DAY
The walls are pockmarked with movie posters. THREE MEN sit
in an area some distance from the desk. The casting director,
MARTIN, makes the introduction:
MARTIN
This is Matt Hobbs... This is John
Earl McAlpine, the director.
MCALPINE
Good to see you.
He speaks with an Australian accent, gets half-up and extends
his hand.
MARTIN
...and Burke Adler, the producer.
BURKE
So, what have you been doing with
yourself...
(checking resume)
...the last few years?
MATT
(to Burke)
I'm real bad at interviews, so, if
you don't mind, I'd really prefer to
just read first.
BURKE
That's the way you want to do it?
MATT
Yes.
BURKE
Maybe we shouldn't even read. I'll
just take your word that you're good.
Matt smiles.
BURKE
No. I'm serious. There's all different
ways. Did you know Woody Allen never
reads actors? He just looks at them,
feels around a little and then decides
who he wants. That's his way. Doesn't
hear them do a line. I also have a
way. What I do is interview first--
then read--maybe do it all over again
the next day. I call up people the
actor has worked with--check him
out. If he's famous, I do an opinion
survey to test how much people like
him. If he's not famous, I put him
on tape and show it to everyone I
can grab. I believe in screen tests;
I believe in replacing if the dailies
are bad, in cutting people out if
the previews aren't there. Because
I'm not doing movies for theaters
where they serve cappucino in the
lobby. I'm doing popcorn movies. You
want to know what I like? Come to my
house, look at my lamps... you won't
find it in my movies. In my movies,
you'll find out what I know. I know
how to do detail. What I don't know,
I discover. Yesterday we finished
mixing a movie--the last scene is in
a field of windmills which blows up
and all the blades of these windmills
slice through the air, one of which
hits a four-story tank of propane
gas. A humongous explosion scene. I
kept on saying 'louder', and they
finally said to me they couldn't go
louder without distortion. We went
louder. We had to discover a thing,
a filter, but we went louder. I don't
question doing these things. I do
them. So if you want to know if it's
okay to do it differently--not to
talk--to just read first... I say...
(pointing to John
Earl)
Ask him--he's the director.
JOHN EARL
Whatever.
BURKE
Okay, let's do it. Do you have any
questions?
MATT
They only gave me these two pages.
I'd like to give this my best shot.
So if I could read the script and
come back...
BURKE
This part works tomorrow.
MATT
Oh. Who will I be reading with?
Burke indicates Martin.
MATT
(from his chair)
Can I read from here?
BURKE
I want you to do it wherever you're
comfortable, but I'd prefer it if
you were comfortable standing up.
Matt rises uncomfortably. A SECRETARY enters and hands a
note to the director.
JOHN EARL
Time for my buns to have visitors.
Matt looks astonished as the director leaves the room.
BURKE
(to Matt)
Go ahead.
MATT
Go ahead? The director left.
BURKE
That's okay, he trusts me, uh... And
we're just doing the first page.
MARTIN
(cueing him badly)
'Okay, darling Harry, here it is...
If someone were breaking up with me,
I'd like it short and sweet. What
about you?'
MATT
(reading--showing
pain)
'Incredibly drawn out...'
MARTIN
'I can't take care of you right now.
What am I, your mother?'
MATT
(intense)
'Well, what am I? Your duck?'
As he gets into the scene he begins to experience some release
of the desperate feelings he's been harboring.
MATT
(again)
'We've been together two years and
you act like all you're doing is
blowing away some feathers. So what
I'm asking...'
BURKE
You didn't do the quack.
MATT
Huh?
BURKE
The stage direction says for him to
quack.
MATT
I know, but why would he quack when
someone's breaking up with him?
BURKE
Hopefully because it's funny.
MATT
This isn't a comedy.
BURKE
Then we're in trouble, because they're
already fall down laughing at the
teaser-trailer in fifty-two hundred
and thirty theaters.
MATT
A comedy?
(rubbing his face)
I think I have to make an adjustment
here.
INT. CATHY'S OFFICE - DAY
We HEAR the strains of the theme of a past hit movie coming
from Cathy's cassette player. A rack of soundtracks clearly
visible. Cathy is frowning as she reads the last of the galley
pages. She overhears some conversation in the adjoining room
which begins to disturb her concentration.
FEMALE D PERSON (O.S.)
I'm not supposed to read TV pilots.
Don't call us D-Girls. We're
Development Persons!
Cathy closes the door, shutting her off. She now begins to
fill out a form with a felt-tipped pen. As she does so, the
pad is supered on the screen--action seen through it. As she
writes, we see the notations on the super.
It is marked COVERAGE--CONFIDENTIAL FROM: CATHY BRESLOW. TO:
BURKE ADLER. SUBJECT: (the pen writes out) "LITTLE DICK"
GENRE/CATEGORY (the pen writes out ACTION-ADVENTURE). Then
there are columns to check EXCELLENT, GOOD, FAIR, POOR for
the story. CHARACTERS, DIALOGUE... The pen checks FAIR for
story, POOR for all else, CHARACTER, DIALOGUE, etc. The form
then states--CHECK ONE OF THE FOLLOWING SENTENCES:
I DO NOT RECOMMEND THIS PROJECT
I RECOMMEND THIS PROJECT
I STRONGLY RECOMMEND THIS PROJECT
I'D STAKE MY ALL ON THIS PROJECT
I'D GLADLY STAKE MY ALL ON THIS PROJECT
The phone rings. As she picks it up and reaches to turn down
the volume of the motion picture soundtrack she's listening
to.
CATHY
(into phone)
Hi. I just finished. I'll have my
coverage right over. It's past
derivative... it's photocopying.
What a hoot! You're kidding, right?
There is truly active bidding for
this book? Really? 2.3 million? Okay,
see you.
She hangs up and begins to alter the form changing the
STORY/POOR to STORY/EXCELLENT, and all the other POORS to
GOOD... and now the Recommend section.
INSERT
The pen is poised.
ON CATHY
Her soul is poised. A beat and she allows "I DO NOT RECOMMEND"
to stand, the source music theme--"CHARIOTS OF FIRE"--
coincidentally celebrates this considerable act of heroism.
Cathy takes the sheet and walks to the door.
INT. OUTER OFFICE - DAY
As she approaches her secretary's desk, she overhears two
other members of Burke's Development Staff (a 27-year-old
well-dressed man and a woman younger than Cathy) as they
enthuse.
MALE D PERSON
Even the title "Little Dick"--it
means so many things.
FEMALE D PERSON
Story, story, story, story, story.
(seeing Cathy)
You loved it, right?
CATHY
I had some problems.
FEMALE D PERSON
Like what?
CATHY
Well, you know, it's a little
garbagey.
FEMALE D PERSON
So it has to be cast right.
MALE D PERSON
If Cathy doesn't like it, we know
it's a smash.
CATHY
(stung)
Hey. It's not like I didn't recommend
it.
She surreptitiously changes her "recommend" as Matt enters.
She looks up.
CATHY
How'd it go?
MATT
I didn't get it. He did say something
about wanting me back.
CATHY
Good. His saver is he means what he
says.
MATT
Yeah, I just wanted to say thanks.
She nods and starts to turn back towards her office.
MATT
...and I wanted to ask you out.
The other people in the office stare at Matt.
CATHY
(turns)
For when?
MATT
Any time.
CATHY
I never know when I'm free.
(Matt nods)
It sounds like I'm just... but it's
true.
MATT
Okay. Thanks again. I felt funny
asking.
CATHY
Well, don't please.
MATT
I meant asking you to get me the
audition.
CATHY
Oh... well, don't please.
He nods and starts to go. She looks at him.
CATHY
Don't be sad.
Matt smiles in astonishment and exits.
MALE D PERSON
Who is he?
CATHY
Oh, I was auditing this acting course
and he filled in teaching one night.
He did a scene himself and he was
awesome. For some reason, he can't
get arrested.
MALE D PERSON
Yeah. He does seem to have a layer
of loser dust on him.
EXT. PARKING LOT - DAY
Matt drives his faded, seven-year-old car into view.
INT./EXT. MATT'S CAR - EARLY EVENING
He looks off... sees something that arrests his interest and
pulls to the curb. It's a curious sight.
MATT'S POV
Burke Adler, standing at a street corner, palpably in pain.
He's trying to rein in his emotions, sucking in huge gulps
of air... and, then, a wave of emotion gets the better of
him as he looks at his watch. A sob escapes him--shocked
that he's so close to tears on a public street corner, he
battles for control... another sob as he looks to the heavens.
ON MATT
A split second to consider, then he's out of his car.
FULL SHOT - THE STREET CORNER
A flow of PEOPLE--in the foreground, the tortured figure of
Burke Adler--in the background, Matt Hobbs, pauses before
intruding. But Burke's spectacle is growing more public,
sounds of anguish escape him.
CLOSER SHOT - BURKE
BURKE
Oh, God... why? Why?...
(louder)
What am I going to do?
And now he begins to dissassemble, openly crying--on the
verge of a complete breakdown. Matt moves into frame, grabbing
Burke, trying to provide him with an anchor.
CLOSE ON MATT
His face--his eyes providing a beacon of strength.
MATT
Hey. Hey! HEY!!
ON BURKE
Totally fucked-up, wild-eyed. As he witnesses his own state.
BURKE
Look at me. You'd think I was a
writer.
(his story of travail
pours from him)
I hired this kid as a production
assistant. His father's a business
manager... a few good clients.
MATT
What happened?
BURKE
He's been driving for me two weeks...
all he has to do is pick me up on
time... he's twenty minutes late and
I have a test screening in the valley.
Everybody's gone from the office.
Burke flails at himself as Matt looks at him.
MATT
Is that it? You need a lift?
BURKE
Yeah.
MATT
I'm right over here.
Matt starts to lead him back, then realizes he's alone, Burke
having seen his car finally arrive.
MATT'S POV
Burke, berating the YOUNG DRIVER. Matt pauses, awed by the
wild gesticulating--the few screamed words...
BURKE (O.S.)
...Not just today... believe me,
there's no way you'll ever make it...
You are going to fail. Listen, listen--
I know about this; you are going to
be a failure.
CAMERA FOLLOWING MATT
As he joins Burke and the young man, Burke turns to Matt.
BURKE
(to Matt)
Let's get moving; you said you'd
give me a lift.
MATT
What the hell are you talking about?
Not in your car... I've got my own.
BURKE
I'll give you a hundred and twenty
dollars to take me... and it will
still be a favor.
(to Young Man)
Get out. Come on.
(to Matt)
Please. This is very important.
The driver gets out.
YOUNG MAN
(final plea)
A guy got shot on the freeway...
Traffic's tied up.
BURKE
You should leave time for that kind
of thing.
CUT TO:
INT. BURKE'S CAR
MATT
What do you need me for? Don't you
drive?
BURKE
(a mumble)
Yeah, I drive. I don't like to look
for parking.
EXT. GOLDEN STATE FREEWAY - EARLY EVENING
The sun setting on a nondescript slab of California.
INT. BURKE'S CAR - EARLY EVENING
The two men... Matt feeling very peculiar in this line of
work. Burke's tension renders him arresting, handsome even.
The look of generals who go forth against long odds. He takes
an enormous cleansing breath. It startles Matt.
BURKE
(explaining)
Yoga shit. I feel like barbed wire.
I don't know if you keep track, but
I'm the sixth independent producer
ever to have two big pictures
scheduled for Christmas, and tonight
we're testing the first one for the
first time... You get it?
MATT
Yeah. It's important to you.
BURKE
(laughing at the
understatement)
Yes. I don't think I would have put
it that way... but, yes...
EXT. MALL - EARLY EVENING
Burke's car moves toward the movie complex.
BURKE'S POV
Our first view of NAN MULHANNEY; middle-aged and pragmatic,
yet extraordinarily naive. She's a scientist of sorts--
monitoring the tastes and feelings of Americans, first in
Washington and now here. Though she just had a very rough
hour or so, she bends down to smile at Burke.
INT. BURKE'S CAR
BURKE
Keep driving. She runs the test
screenings. Very smart. Very. She
has a real case on me, but so far
I've been keeping it in the bank.
He stops talking, stops breathing, as he sees.
BURKE'S POV - THE TEST AUDIENCE
The line consists of disparate, disinterested people who are
focused on their own small, personal dramas--not at all
cognizant of the fact that they hold a life in their hands.
They are clearly growing impatient.
INT. CAR
BURKE
Go very slow.
MUSIC IN... Burke steels himself and exits the car.
EXT. MOVIE THEATRE - LATE DAY
NAN
We're 34 minutes late. The studio is
appropriately wild... people are
beginning to leave... but I knew how
upset you'd be if we started without
you.
BURKE
(distantly)
Yeah. Thanks.
But he pays her no mind as MUSIC CONTINUES and he moves
towards the line. Nan approaches the car.
NAN
How is he tonight?
MATT
I don't know him, so I have nothing
to compare it to.
NAN
Well, how would you say he is, anyway?
MATT
Not quite himself.
ANGLE ON BURKE
As he approaches the line, he BEGINS TO SING his love to
them, "I'll Do Anything." As he pours out his misdirected
heart to individuals on the line who DO NOT HEAR HIM.
ANGLE ON LINE
Their impatience gives rise to a VERY SLOW TAP DANCE, each
couple or cluster doing it differently--barely exaggerating
the normal shifting of a line... As BURKE CONTINUES TO SING...
the song builds as does the dance... Burke sings even more
passionately, his D-PEOPLE perhaps joining in as BACKGROUND
SINGERS. At a key point, the disparate groups turn and form
a SOLID UNIFIED LINE. They begin the rhythmic clapping of
impatience--having become a line, they now threaten to become
a mob. Burke sings one more Joe Cocker-like passionate plea
before turning to camera to shout over the mayhem:
BURKE
Let them in.
As they enter.
INT. MOVIE THEATER - EVENING
Nan is addressing the audience from down front.
NAN
The name of the picture you'll be
seeing is 'Ground Zero'... There may
be some scratches... some of the
colors may be off, there are no final
titles, and it has not been finally
mixed for sound, and the music is
temp, that means temporary...
As she says this:
ANGLE ON REAR OF HOUSE
Where Burke spies the STUDIO HEAD and leaves Matt's side.
ON STUDIO HEAD
As BURKE enters the frame behind him. He is right behind his
boss' ear. He leans in and offers an intimacy.
BURKE
I'm glad you came yourself instead
of sending your staff.
The boss is startled--jumps. BURKE eyes him... there must be
some way to profit from these stolen moments with a powerful
man.
BURKE
I wouldn't be surprised if tonight's
screening is a monster.
(emphatically)
Could happen, right?
STUDIO HEAD
Sure.
BURKE
Okay.
He moves back to Matt and Nan at the rear of the audience.
BURKE
(to Matt)
Eisner just said he thinks the
screening will be a monster.
Strangely, Burke seems truly buoyed by the words of
encouragement he himself manufactured. He moves down three
rows and sits in an aisle seat just as the film opens with a
series of violent explosions.
CLOSE ON NAN
NAN
Please, God, let tonight give him
peace.
Incredibly, Burke turns and gestures to her that the sound
of her small voice is interfering with the cacophony of his
movie. Nan is clearly stricken by her lapse as she whispers
to Matt.
NAN
We're short two card-counters, can
you two help out?
INT. MOVIE THEATER - 1:47:20 LATER
We are seeing one of the final moments of the film.
INT. WHOLESALE BUTCHER'S (THE FILM) - DAY
As the muscular hero moves with stealth through the giant
refrigerated meat door. He passes cows and dead men hanging
from alternate hooks. Suddenly, he is attacked by the villain
brandishing an electric meat dismembering tool. The hero
ducks, the machine ripping apart hanging cow flesh. The hero
grabs the only weapon he can find: a large piece of meat on
a large bone, which he uses as a mace. He clubs the other
man--then again--and again. Part of the audience is whooping
and applauding.
QUICK SHOT OF NAN
Standing with Matt and Cathy. At the sound of the applause,
Nan grins and mumbles with a connoisseur's knowledge.
NAN
Males, fifteen and under.
BACK TO SCREEN
Where the hero stands over the man whose face he has
shattered, holding a club from which hang strings of meat.
He is breathing heavily, and between breaths, states:
HERO
Sorry to bust your chops.
General audience laughter.
SERIES OF SHOTS ON NAN - FRONT OF AUDIENCE
NAN
If you'll just stay in your seats a
few moments and fill out these cards
for us...
ON AISLES
Matt and others handing out cards with pencils attached...
Folks filling them out. As an ADOLESCENT MALE fills it out;
PREVIEW CARD FILLS THE SCREEN as we view LIVE ACTION THROUGH
IT.
INT. THEATER MANAGER'S OFFICE
An office meant for two, containing twenty counters. The
counting is done with erasers rifling stacks, creating a
sound, a MUSICAL RHYTHM, as the GROUP CAPTAIN calls out with
gospel cadence.
GROUP CAPTAIN
Who has young males? Young women?
Older males?... Older males?...
Matt, his tally finished, squats on the floor, waiting. The
Group Captain approaches.
GROUP CAPTAIN
Older males... older males?
Matt looks blank.
GROUP CAPTAIN
(again)
Older males... over 25?
Matt now realizes that it is his category and hands over the
older male cards and exits.
INT. THEATER LOBBY - NIGHT
Burke, prowling the lobby as audience stragglers leave and
Studio Execs and Popcorn Development Staff wait. He looks
off to see Matt and Nan chatting in another part of the lobby.
ON MATT AND NAN
As they arrive... Nan looks off to see the Group Captain
approach.
NAN
How long since you've seen your
daughter?
MATT
A little over two years.
(on her look)
My wife insisted on moving back to
the Midwest--then I was in the
Philippines on the mini-series and...
NAN
(suddenly and loudly)
Oh, please. It's one thing being a
son-of-a-bitch, but you don't have
to be a stupid son-of-a-bitch. People
move heaven and earth to see their
kids. I don't care if she moved to
Pluto, it's abandonment.
MATT
(a pause, then)
Hey, we just met.
NAN
(realizing)
Oh. Sorry.
BURKE
Make a guess how we did.
NAN
It wouldn't mean anything.
BURKE
Nothing good that happens can make
it worth feeling the way I do now.
Nothing.
An OLDER WOMAN approaches them.
OLDER WOMAN
Excuse me.
BURKE
Who the hell are you? This is private.
OLD LADY
I'm Mr. Eisner's mother.
BURKE
Oh. Can I get you some water?
OLD LADY
No, thank you.
The Group Captain approaches and hands Nan a sheet.
FULL SHOT
Everyone, all the studio and Popcorn staff, is drawn to Nan.
ON NAN
As she glances at the figures.
ON NAN'S LEFT HAND
As she secretly reaches for and holds Burke's hand. Is it in
sympathy or congratulations?
TIGHT ON STUDIO EXECUTIVE FACES
As we see in ever-so-SLOWED ACTIONS, tense lips turning
gloriously upward to reveal gums--then a smile. More smiles
as we pan across teeth... bonded executives and bonded teeth.
The shot widens. The studio head mumbles to himself as he
carefully goes over the tally in every category. Then:
STUDIO HEAD
I don't need the numbers. I loved
it.
His smiling face takes us:
NAN
Burke, ninety in the top two boxes.
TO BURKE
A tear in his eye--a smile shyer than others. He turns to
the old lady, instinctively using this victory to settle his
most recent score as he says mockingly:
BURKE
Now can I get you some water?
EXT. THEATER - NIGHT
Cathy and Matt are leaning against Burke's car. Cathy is
distraught--temporarily, but horribly, unsure of herself.
Matt is looking at her. If he had a little more confidence
going for him right now, he would make his move. But, for
now, they are two self-doubters on different trips.
CATHY
I never thought it would do this
well. There were so many holes; I
told everybody it wasn't going to do
business. Why am I so public with my
opinions?
MATT
You might be right.
CATHY
Not with that score. You know, maybe
tonight's the night I'm losing my
entire mind, but weren't you in
'Platoon?'
MATT
Incredible. I was only there for a
minute in the rape scene, moving
past Charlie Sheen when I left the
hut... I had a great scene cut out...
I was...
CATHY
But there was that one long close up--
where you seemed ashamed of yourself
but still arrogant.
MATT
That's exactly what I was going for.
CATHY
It reminded me of my last boyfriend.
(indicating book bag)
Got to go.
She hefts the bag--puts it back down--crosses her eyes,
burlesquing the weight of the bag. He helps her put it on
her shoulder.
MATT
You have to read all that?
CATHY
Beast of burden.
MATT
(sincerely)
So what are you, totally wonderful
or what?
She smiles and is gone, staggering a bit under the weight of
her scripts. Matt looks after her. Burke and Nan approach.
BURKE
How come you haven't said anything?
This is great, right?
NAN
No.
BURKE
What no?
NAN
The definite recommends are way off
for a score this high and, even for
action-adventure, it's just too low
for women.
(Burke looks anguished)
I'm sorry.
He leans against the car for support.
BURKE
It was such a good score.
NAN
(extraordinarily
sympathetic)
I know... And, unfortunately,
yesterday's tracking wasn't...
(he reacts)
I'm sorry... They just don't seem in
the mood for action-adventure right...
(he reacts)
Sorry... May I tell you one more
thing?
(he looks up in
anticipatory fear)
I think it's so wonderful that you
don't worry about even trying to act
strong.
BURKE
Thanks. You want to eat something
sometime?
NAN
I'm, uh... I'm blushing from head to
foot.
BURKE
Good. I'll call you.
As Burke moves to his car. He SEES the Group Captain paying
Matt.
GROUP CAPTAIN
Thirty-two, thirty-three.
Burke is looking at Matt with some surprise.
BURKE
You want to do this regularly for
me? I was gonna offer, but I thought
it would humiliate you.
MATT
(straight at him)
I don't mind an occasional odd job.
But I can't work tomorrow. I have to
get my kid.
As they get in the car, Burke has the front door open, about
to get in--reconsiders, and gets in the rear door.
BURKE
Okay, I got the cards to look at--I
think I'll ride back here.
(to Nan)
Maybe I'll drop by your place
tomorrow.
Matt gets behind the wheel, thereby ending the day as a full-
fledged chauffeur. They drive off.
EXT. CORRIDOR - DAY
Burke and Nan returning from lunch.
NAN
So, thanks for lunch. I hope this
leads to an evening date. Though I
have to stay home with my daughter,
Leslie, on Saturdays.
BURKE
(sincerely)
Yeah, okay. You were very interesting
to talk to. I swear to God. Honest.
No kidding. You really were.
NAN
I believe you.
(sincerely)
And I was very surprised what you
were like when you weren't working.
There was absolutely no difference.
You want to see where we do the
tracking?
BURKE
(excited)
Is it okay?
INT. TRACKING ROOM - DAY
The enter the room containing a maze of telephone cubbies
with workers manning the phones.
NAN
Nobody ever wants to see how we do
the polling, but they're like little
starved puppies when the data comes
in--running at you, scrambling to...
Burke hardly hears. He is awed as if by a cathedral.
VARIOUS WORKERS
1) How often do you go to the movies?
2) I'm going to describe a movie in
one sentence and then ask you to
rate it on a scale of...
BURKE
(as the workers
continue)
I love this. This is what counts and
this is where you count it.
NAN
(soft and true)
That's the same way I feel.
BURKE
You phone all over--you know what
movies they're waiting to see, whether
your TV spots are working. You know
what the country thinks.
WORKER
...what feelings do you have about
Cher as a singer, an actress, or
potential date...
BURKE
(again)
...and it's accurate.
NAN
Within six-point-eight percent.
BURKE
And you can't fix it... right?
NAN
No... no... Sometimes just for myself,
I can't resist asking America a
personal question.
BURKE
Like?
NAN
(simply)
When do you feel more worthless--
mornings or afternoons?
BURKE
I gotta get back.
They pause by a workers to say goodbye.
WORKER
Assume Michelle Pfeiffer is the woman--
which of these 67 actors would you
most like to see her with... Patrick
Swayze, Keanu Reeves, Dustin Hoffman,
Johnny Dep, the guy from 'Major
Dad'...
NAN
There's something I meant to tell
you. You may have noticed something
unusual about me.
BURKE
I gotta get back.
NAN
I could never find the right time
to...
BURKE
Is this urgent?
NAN
Well, maybe not urgent, but
immediately significant and necessary
to tell.
(a deep breath)
You see, there's these pills...
BURKE
'Cause I gotta go. I'm listening
with an eighth of an ear now.
NAN
So long.
He exits as the telephone pollster continues with the list
of prospective Michelle Pfeiffer male co-stars.
INT. PLANE
Matt, wearing earphones, is in the middle of a row of five,
intent on what he is watching.
MATT'S POV
A recent example of a great actor in a regular movie...
something like Brando in "The Freshman." No sound.
ON MATT
Watching intently. Not watching--studying... not studying--
fully appreciating. Now he sees a particularly good moment--
looks around joyously for half a beat--a reflex to share
what he saw. His neighbors, not quite knowing what he's
smiling at; he returns his attention to the screen.
EXT. MID-WESTERN HOUSE - DAY
As Matt's cab pulls up. He opens the front gate and walks up
to the porch, noting a tricycle, stirred by old guilts. He
knocks on the door. A MAN answers.
MAN
Are you Matt?
MATT
Uh-huh.
MAN
I didn't know if we could wait much
longer. Come on in.
He lights a cigarette, takes three quick drags, then flicks
it away before walking inside behind Matt.
MAN
(again)
She's a real nut on smoking anywhere
near the kid.
INT. HOUSE - DAY
They enter. A bedroom down a narrow hallway from where they
stand. Remember "The Best Years of Our Lives"... Frederic
March coming home from the wars and seeing his wife just a
beat before she sees him. Here we have a wretched mutant of
that moment. Beth, still fierce and attractive, is packing
her daughter's suitcase when she senses him and looks up.
Shaking her head with a disapproval which will never die,
she walks to him.
BETH
Hello--did you two meet?
MATT
Not really. Is she ready? I have the
taxi waiting.
BETH
I just have to say goodbye. You have
no idea how difficult that is.
MATT
It's three weeks.
BETH
It's not three weeks.
MATT
Yes, it is.
BETH
No, it's not.
Several beats--Beth and the man staring at Matt.
MATT
It is.
MAN
He doesn't know?
BETH
You are not taking her for a visit.
You are taking her for a while.
MATT
Just because you want to go off with
him doesn't mean I...
MAN
You're getting the wrong idea.
MATT
I don't think so. No matter how you
put this...
MAN
Hey, look, I'm a United States
Marshal. I'm here because she didn't
show up yesterday to start serving
her time.
BETH
I don't have a choice. You don't
have a choice.
She turns and starts for the other room.
MATT
What did she do?
BETH
(turning)
I loved, helped and supported in
every possible way a business man
who committed the terrible crime of
being financially imaginative with a
pension fund.
She exits. He sits down, stunned in the headlights of his
fate.
INT. APARTMENT - DAY
Matt and the Marshal in the foreground as Beth talks to
Jeannie in the background. We see only glimpses of them.
Beth's face as she leans towards Jeannie from one side of
the doorway--just Jeannie's legs dangling on the other side.
BETH'S VOICE
Okay, listen carefully, Jeannie. Be
still. Now, what's the most important
thing in life to know?
JEANNIE
No one will ever love me as much as
you do.
Matt and the Marshal exchange a look of mutual horror.
BETH
Good. Now, concentrate with all your
muscles and remember everything I'm
about to say to you...
The Marshal and Matt shift uncomfortably.
BETH
Don't talk to strangers. They may be
killers. Take your vitamins so the
poison in the food can't hurt you.
What else now?
JEANNIE'S VOICE
Teeth.
BETH'S VOICE
Right. Thank you. Brush right after
you eat or your gums will start to
bleed in your sleep and choke you.
The Marshal and Matt can stand no more--they each call to
her... "Beth... Beth... Mrs. Hobbs... Beth." She looks out
and then walks to them.
BETH
What? I'm giving Jeannie her
reminders.
MATT
Reminders?!? You can't say things
like that to a little...
BETH
No. Don't. No. Don't dare. Don't
criticize the way I mother or I think
I'll start to scream and never st...
MARSHAL
Mrs. Hobbs.
BETH
(suddenly cheery)
Yes.
MARSHAL
You know, I've been involved with
this sort of thing for a long time.
BETH
You're not going to criticize me,
are you? Not in front of him--because
all he's done is send Jeannie these
long, stupid letters. He doesn't
even realize she can't read. He sends
letters to someone who can't read.
(laughs)
It's almost funny.
MATT
I thought you'd read them to her.
BETH
(realizing)
Oh.
MARSHAL
I'm not faulting you. You love your
daughter and this is a very tough
thing to go through. You feel guilty
and caring and it all gets mixed up
so that there's so much important
stuff going down that there's no
sure way of dealing with it, but the
best thing you can do is just make
sure you love her.
BETH
Typical cop talk.
(on his look)
But I understand what you're trying
to say. Thank you. Can I have another
minute with her?
She returns to the doorway which still only provides us with
glimpses as she SINGS, "DON'T TALK TO STRANGERS." The CAMERA
MOVES down the hallway to INTRODUCE JEANNIE, trying to puzzle
things out as she sits amongst a ridiculous number of
suitcases.
INT. SITTING ROOM - DAY
As the two females who bear his name approach. Matt doesn't
want a pregnant first moment with Jeannie, so he wards off
silence with chatter. Unfortunately, he can only think of
one word.
MATT
Hi, hi, hi, hi, hi, hi.
JEANNIE
(laughing mirthlessly)
Hello, monster-poop.
MATT
(to U.S. Marshal)
She has her mother's sense of humor.
Beth stops him with a look, then bends down.
BETH
Okay, love, Mommy's going to help
others who need her for a few years,
and you're going with Daddy as I
explained.
(to Marshal and Matt)
We'll all have to help with the
luggage.
EXT. BETH'S HOUSE - DAY - LONG SHOT
All three adults and Jeannie sharing the burden of the luggage
as they move towards the cab. Mother and child hug. Matt
struck by his child's plight, him.
BETH
(turning to Matt)
Beginning now, you must give less
value to your own happiness and well-
being, then hopefully, you will reach
the point where you give that no
value whatsoever. Give her everything.
There's no such thing as spoiling a
child.
MAN
Even if you have to steal to do it?
BETH
You don't really want to mess with
me, do you?
MAN
(simple honesty)
No.
MATT
(to Jeannie)
Okay, sweetie. We have to go.
JEANNIE
(to Beth)
I want to go with you.
BETH
Can't, pretty-heart. I'm sorry.
Tears fall from Jeannie's eyes.
JEANNIE
Not even a compromise?
BETH
(thinking)
The compromise will be that you don't
have to ride in back; you can ride
up front with the driver... okay?
MATT
What?
JEANNIE
Okay.
As Beth buckles Jeannie into the front seat, Matt gets in
the back, alone, feeling preposterous. Beth nods to the
Marshal, who surreptitiously handcuffs her.
MATT
(to driver)
Can we please go?
SHOT - JEANNIE
The cab pulls away. Matt leans towards her as she looks back
at the receding figure of her mother and grows still.
ON MOTHER AND MARSHALL
As she sings him one last line of "DON'T TALK TO STRANGERS."
EXT. SIDEWALK AREA - DAY
Matt checks Jeannie's luggage, then takes her hand. She lets
him. He is grateful.
MATT
It's going to be okay. I'm you're
dad, you know? So it will be okay.
You and I will make it okay. You
ever ridden in a plane before?
JEANNIE
(a sudden gust of
anger)
Yesssss!
INT. PLANE - DAY
Jeannie and Matt in the center two seats of a five seat row.
Jeannie is coloring in a book which Matt bought her; he is
holding some extra crayons.
JEANNIE
Don't stare at me.
MATT
Sorry.
JEANNIE
I want to put on my yellow dress
now.
MATT
It's underneath the plane. We can't
get it.
And just that quick, Jeannie screams.
JEANNIE
I want to put on my dress. I want to
put on my dress.
Other passengers turn around. This is pretty raw stuff we're
into. Temper in all its wildness, MUSIC UNDER... electric
guitar beginning to match the energy and naked emotion of
the child.
MATT
There's no way we can get the dress--
it's impossible.
Jeannie's feet start kicking in front of her--the person in
that seat turning sharply around.
MATT
Don't kick the seat!
JEANNIE
I want the yellow dress.
(a shriek)
Give me a compromise.
She is crying now.
MATT
As soon as we land. That's the
compromise.
MORE MUSIC
Without warning, Jeannie slaps herself in the face. All five
people in the row ahead turn and say in unison:
WOMEN IN ROW
Don't hit her.
MATT
God, I didn't hit her--she hit her.
ANGLE ON LIGHTS
As everyone starts pushing the cabin attendant call button.
These dings magnify until they're part of the music--as it
drives and drives... Matt takes Jeannie's hand and tries to
restrain her.
JEANNIE
Noooooo. Let go of me. Noooo. The
yellow dress... let go... let go.
She breaks away from him. He moves after her.
CAMERA MOVING
At breakneck speed, Jeannie dashes through the plane with
her father in pursuit... flashes of disapproving faces. The
seat belt sign goes on. A FLIGHT ATTENDANT blocks his path.
FLIGHT ATTENDANT
You'll have to sit down.
Jeannie takes advantage of Matt's being stopped and moves
into the toilet, locking the door behind her.
MATT
(yelling)
Jeannie, we have to sit down. Please.
CAPTAIN'S VOICE
We'll be having some turbulence for
the next twenty minutes or so. Will
the cabin attendants please take
their seats?
FLIGHT ATTENDANT
Sir.
MATT
(simply and utterly)
I have no idea what to do.
A sudden bump and Matt falls. He yells to the locked door.
MATT
Jeannie, you okay?
FLIGHT ATTENDANT
Go back to your seat. I'll get her.
As Matt makes his way back, the Flight Attendant uses a hidden
latch to open the door. Music building--then calming, the
worst is over. Matt makes his way back to his seat, shell-
shocked. The Attendant leans over him.
FLIGHT ATTENDANT
She wants to be alone. So we're
upgrading her.
He just nods.
FULL SHOT
Down the aisle--Jeannie lets an Attendant lead her as she
peers back at her dad.
EXT. PARKING LOT - NIGHT
Matt carrying the sleeping child like a sack over his
shoulder, also managing to hold onto all her luggage.
INT. MATT'S APARTMENT - NIGHT
He has propped her on the sofa, a cotton nightgown out. He
is unbuttoning her dress. She opens her eyes, the window's
protective bars PLACING A SHADOW ACROSS HER FACE. She attempts
to cover her fear.
JEANNIE
These are the wrong jammies.
MATT
Okay... so what do we do?
Jeannie mimics him perfectly under her breath. She goes to
an open suitcase and throws things on the floor until she
finds the right jammies.
JEANNIE
Where do I sleep?
MATT
I have a sleeping bag and bed. Which
one do you want?
She surveys her pitiful choice; then points to the sleeping
bag.
JEANNIE
That.
She gets into it. He zips her up--then she says something
remarkably unexpected.
JEANNIE
Hug.
Amazed, Matt hugs her. A half-beat, then:
JEANNIE
(sharply)
Let go.
He does--then stands and looks down at her. She looks back,
mocking his stare with one of her own.
INT. BATHROOM - DAY
Nan uncertainly enters this decidedly masculine bathroom.
She is wearing an evening gown. The sun streams through the
lush foliage outside a wall-sized window. MUSIC as she opens
her purse and removes a pillbox; at one point lightly singing
a snatch of lyric concerning the conflicts of being a single
woman and a single mother--this while totally focused on the
pills.
INSERT - PILL BOX
A major movie shot of this compartmentalized box. Each
burrowed nest clearly labeled for the pill it contains:
VITAMIN B, VITAMIN A, OSCILLOCOCCINUM, PROZAC, CALCIUM, TEST
DRUG, ASPIRIN, XANAX, ETC.
ON NAN
MUSIC CONTINUES. She dials a phone number while arching her
neck and swallowing one pill after another with little swigs
of water. This process continuing, even as she speaks into
the phone.
NAN
Monica--is Leslie up yet? Good. I
didn't want you to get worried when
you realized I wasn't there. I'm
still with that man. I'll tell you
about it later. But it's sure nice
to have wobbly legs again. Look,
today's recycling day for Leslie at
school, so give her some empty cans...
well, then dump some out for her!
Tell her I had to leave real early
for work and I'll pick her up at
school myself to make up for it and
we'll rent any cassette she wants
for tonight. Thank you... Take good
care.
She hangs up. Another snatch of lyric as she bends to brush
her teeth with her finger; prepares herself and opens the
door to greet her new lover.
INT. BURKE'S MASTER BEDROOM - DAY
Burke sits on the edge of the bed, fearful. He sees her.
BURKE
Oh, I thought you took off in the
middle of the night.
She moves quickly to him.
NAN
No. I just had to call home. Is that
why you're sad?
BURKE
No. It's Everett. This kid who used
to work for me. He was always crazy
to do his own movie.
NAN
(fearing worst)
What happened?
BURKE
(very down)
His movie not only opened to a three
million dollar Friday--it's gotten
great reviews.
Nan is dumbfounded; still she puts a hand on him, actually
consoling him for his hideous thought--Hollywood lovers: he,
wrapped up with ill thoughts of others; she, feeling intimate,
yet severely compromised. Cupid's work is done.
BURKE
(again)
Listen. I'm tremendously worried
about 'Ground Zero' because of the
bad 'want to sees' you sent over.
But that's just me being nervous
over nothing, isn't it?
NAN
No. That's just you correctly
assessing the situation. So stop
being so hard on yourself.
He eyes her, then:
INT. MATT'S HALLWAY - NIGHT
We hear a muffled argument between Matt and Jeannie coming
from inside their apartment. Then the door opens and Matt,
holding Jeannie by the hand, moves down the hall to the next
door and knocks. (NOTE: Jeannie is dressed in layers of varied
clothing--some of the layers play clothes, some fit for a
coronation. She is a pocket contemporary Annie Hall... her
style so much her own it transcends judgement. Her hair is
unkempt. The door opens revealing Lucy, an Hispanic woman in
her mid-30s.
MATT
How're you doing? I'm from next door.
I see you with your kids in the
laundry room...
LUCY
Hello.
(seeing Jeannie, turns
warmer)
...Who are you?
Jeannie is a bit shy.
MATT
Say, 'Hello, I'm your new neighbor
now too.'
Jeannie says nothing.
LUCY
I'm Lucy Crisala... What's your name?
Jeannie says nothing.
MATT
Say, 'Jeannie.'
The form of the conversation is forged. Jeannie not answering
anything. Matt bending over to Jeannie while he forms her
answers to Lucy.
LUCY
I have a little girl too.
MATT
Say, 'Isn't that nice... How old is
she?'
LUCY
She's four and a half and I have a
little boy who is not yet one year.
MATT
Say, 'That's nice... I'd like to
play with them... My Daddy didn't
know your phone number, so we just
decided to...'
LUCY
(interrupting)
What can I do for you?
MATT
Say 'Daddy has to go to work tonight
and...'
(catching himself and
looks directly at
Lucy)
I need someone to help me and her on
short notice. I've seen your around
with your kids and hoped you knew
someone in the building or close by.
I've got this new job that starts
now. Do you know anyone?
LUCY
Well, I'm always here. I could maybe
do it myself.
MATT
(there is a God and a
good one at that)
Oh, this is so great. Let's work out
a full-time schedule and...
LUCY
Wait. Jeannie, why don't you come in
for a minute and meet Ricky and Essa.
Come on, we're making fruit bars.
Jeannie walks into the apartment past her father.
LUCY
(again, to Matt)
Why don't you leave her for a while
and then we talk.
MATT
Sort of a test?
LUCY
We'll just see how it works.
INT. LUCY'S APARTMENT - NIGHT
Play-pen in the middle of the floor... Jeannie stands there
staring at Essa who is playing with her little brother. Matt
moves to embrace Jeannie who cranes away from him. He stays
with it, whispering in her ear.
MATT
Please behave, understand? I don't
know what we'll do if this doesn't
work, so behave, sweetheart. Behave,
behave.
As he exits towards his own apartment.
DISSOLVE TO:
INT. MATT'S APT. - 20 MINUTES LATER
Matt is extraordinarily anxious. Then he HEARS loud crying
and screaming from next door. There is a stab of despair.
Matt deflates, then resigned, exits.
INT. HALLWAY - NIGHT
The sound of screaming now louder. He walks to Lucy's door,
takes a breath and knocks. The door opens and Lucy stands
there looking rattled.
MATT
I'm sorry I bothered you.
(calling inside)
Jeannie...
LUCY
Could I have her a little bit longer?
My little boy just fell and Jeannie
is the only one he let hold him.
ON MATT
A devil's weight lifted from his shoulders. The slap-happy
smile of the just saved plastered on his face.
MATT
Your little boy fell, so he's
screaming. And you want her to stay.
Lucy, confused by his buoyant reaction, nods.
LUCY
Okay. Seven dollars an hour?
MATT
Great. Thank you. See you later,
Jeannie.
He tries to kiss her, but she shuns him. Lucy, now having an
official status, turns to admonish her.
MATT
No, that's okay. I'm fine with it. I
feel fine.
EXT. MOVIE THEATER - NIGHT
Burke walks tight little circles near Cathy and the rest of
his staff while a few feet away Studio Executives stand in a
cluster. There is a DISTANT, RHYTHMIC SHUFFLING SOUND. Burke
walks past Cathy.
BURKE
Nothing good that happens tonight
can make it worth feeling the way I
do right now. Nothing.
(turning to Cathy)
What do you think?
CATHY
(nervously taking the
plunge)
To be honest, I had problems with
'Ground Zero.' But this 'People Get
Hurt' one, while it might not be my
exact, exact thing, I think will
really work for an audience. It's so
over the top, you have a great time.
BURKE
So you think it'll score big?
CATHY
Yes.
INT. COUNTING ROOM - NIGHT
Where we discover the SOURCE OF THE SOUND. Some twenty card-
counters on the floor riffling through stacks of cards with
erasers. Matt and Nan stand in the doorway.
NAN
Don't worry. My daughter used to
throw fits in supermarkets when we
first moved here. It's all so
perfectly normal. Plus I know a great
psychiatric children's group.
MATT
That's what breaks your heart.
Jeannie's problem is that she's so
down on herself.
NAN
Well, she's lucky to have a daddy
who cares, believe me.
MATT
I don't know if lucky's the word.
I'm hoping she's asleep when I get
home so I won't have to deal with
her... I'm actually afraid of my own
kid.
NAN
Oh, my. I've had exactly that feeling
and never said it out loud. See,
there are men who talk my language
and I'm just cursed that I'm not
attracted to them because they are
so nice they remind me of myself.
Matt laughs. In the b.g., the counting is completed.
GROUP CAPTAIN
Excellents?
GIRL COUNTER
Seven.
GROUP CAPTAIN
Very goods?
BOY COUNTER
14.
GROUP CAPTAIN
Fairs?
SECOND BOY CARD COUNTER
30.
GROUP CAPTAIN
Poors?
SECOND GIRL CARD COUNTER
Just a second...
(finishes counting)
666.
The Group Captain notes the figure on a sheet, walks to the
doorway and hands it to Nan, who is still deep into
conversation with Matt. She begins walking back to the theater
without looking at the sheet in her hand.
NAN
I felt terrible about the way I blew
up at you when I first met you.
(before he can object)
Please.
FULL SHOT - THEATER AREA - NIGHT
Burke and others waiting as Matt and Nan come to a stop some
distance away.
BURKE
What are they doing?
NAN
I began taking anti-depressants when
we moved here from Washington. I had
some small reactions--sleeping 14
hours, no libido, I gained 17 pounds
in nine days--that sort of thing. So
they gave me pills to deal with the
side effects. And then pills to deal
with the side effects I was getting
from those pills. All this besides
the stuff the nutritionist was giving
me. The combination formed some sort
of potion so that I keep telling the
truth. I don't have a choice. That's
why I was so rude to you.
MATT
Your doctor says this?
NAN
Oh, yes. He's excited, but only
because he sees glory for himself in
it... See, ordinarily I wouldn't say
that about my doctor, but I can't
help it, it's the truth. He's
monitoring me for a while longer
before writing it up for this medical
journal...
Cathy has joined them.
CATHY
Burke's going crazy waiting for the
score.
NAN
Coming.
CATHY
(to Matt)
How are you, anyway?
Matt shifts, figuring out his answer.
CATHY
(a small laugh)
It's a tough one, huh? Me too.
Nan looks down at the score.
NAN
Oh, my. Matt, I'd better drive him
myself.
She starts for Burke.
ON BURKE AND OTHERS
As Nan arrives and hands the Studio Executives the score,
Burke looking over their shoulders.
BURKE
I can fix this... Get some narration
written. . .
(turning to Director)
You'll cut 30 minutes. It will come
out like butter.
DIRECTOR
We're only 77 minutes now...
BURKE
(mumbling to himself)
...a 47-minute movie... no, that
won't work...
FEMALE STUDIO EXEC
I have to go. I have a nanny problem.
Priorities, right?
BURKE
Thanks for the support.
She kisses his cheek and leaves. A beat of silence... Burke
turns to Nan.
BURKE
(again)
Can you help?
Exactly the moment Nan has been waiting for... she does have
a valuable observation to offer at this dark moment.
NAN
Yes, I can.
BURKE
(hopeful)
Go ahead.
NAN
It's only a movie.
As Burke looks at her from the depths of his pain and sees
her confidently believing that she has imparted something of
value, the movie's marquee lights go off giving us a:
BLACK OUT:
INT. MATT'S HALLWAY - NIGHT
As he carries an enormously resistant Jeannie, wearing a
borrowed T-shirt nightie, back towards his apartment... Matt
has Jeannie under one arm--her clothes and shoes in another...
Jeannie's arms are extended towards Lucy, who stands in the
open doorway of her apartment. She begins thrashing. Giant
tears come--the moment is operatic.
JEANNIE
Let go. Please, Lucy, don't make me
go.
MATT
Everyone's tired. You can come back
tomorr...
LUCY
Listen to me, Jeannie...
JEANNIE
I want to live here with these people.
God, let me live here.
MATT
Maybe if she stayed tonight she...
JEANNIE
I love it here so much that...
Now her father's last words have registered on her--she
immediately stops crying, though tears still roll down her
cheeks.
JEANNIE
Daddy says I can stay.
Jeannie wriggles away towards Lucy's doorway. Lucy takes
several steps toward Matt, who obviously fears the looming
exchange.
LUCY
I no think you can give her what
pleases when she act like this...
Because then she think...
Matt is very much like a fighter taking a great deal of
punishment, knowing he is beaten, but being told by his corner
he must make a fight of it. He nods his head repeatedly in
agreement...
MATT
I know... I know...
Now he sniffs the air in quick rhythm, hoping to draw in
some courage and resolve. He moves to Jeannie.
MATT
You'll see Lucy in the morning. We're
going home.
JEANNIE
No. I'm not! STOP!
INT. MATT'S APARTMENT - NIGHT
As they enter and Matt pushes her into the other room and
closes the door, placing her in there alone.
INT. BEDROOM - NIGHT
Jeannie, behind the double glass-paneled doors of the bedroom.
HER POV
Matt, upset in a way he has never imagined, as he pops a
beer--puts on some headphones for calming music and begins
to read a book on child behavior modification.
ON JEANNIE
Feeling the restrictions of her punishment, pacing and now
she begins to wail "THIS LONELY LIFE". Few adult women have
sung with such appropriate passion out of need and loss,
aloneness and confusion. The song finishes. Jeannie sits
huddled.
DISSOLVE TO:
EXT. ROOFTOP - DAY
This rooftop serves as an outdoor commissary for Popcorn
Pictures. There are a few tables, snack machines and
umbrellas. The whole "D" staff is there, including Cathy,
having lunch, along with Claire, the casting assistant. In
the b.g., we see Matt, huddled, sitting on the roof's awful
green outdoor carpeting, feeling much the same as Jeannie in
the previous scene.
ON MATT
Off in the distance, the Popcorn execs contentedly ply their
trade. As he overhears their conversation and the words begin
to register in all their horror.
MILLIE
Will somebody take a minute to look
over my casting list before Burke
gets here?