"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? MALE D PERSON (scanning list) This isn't so great, Millie. MILLIE Well, I wanted to put in people we had a shot at getting. MALE D PERSON (reading from list) F. Murray Abraham, Jeff Daniels, Ed Harris, John Lithgow, Rip Torn, Willem Dafoe, John Malkovich... For an action lead? MILLIE Could you at least take it one person at a time instead of... MALE D PERSON Okay. Let's play 'State the Obvious'... F. Murray Abraham has a nose as long as an Aspen ski line, Ed Harris is losing his hair, Joe Mantegna has never played the lead in a big movie... Willem Dafoe's teeth... Bob Hoskins looks fur bearing when he takes off his shirt... Malkovich... Matt can take it no more. He hears a loud voice coming from his own throat. He wigs out. MATT I can't stand it anymore. I can't. CATHY What's wrong? What happened? MATT What, in God's name, are you doing in this job you have? SHOT As they all start to answer at once. MATT I mean him. What, in God's name, do you know about casting? MALE D PERSON Me? Matt rises and walks towards the Male D Person. MATT Yes. What do you know? About anything? You don't even know you have a habit of touching your tongue with a finger like you want to lick yourself. (note: this is his little habit) Yet, you talk like you actually know something... So I want you to tell me... (louder) ...what you know. MALE D PERSON I'm not going to be drawn into this. MATT I've been an actor most of my life and this is the first time I've ever heard what the people calling the shots sound like when they're casting. So I really want to find out what, if anything, you know because what if nothing you know. FEMALE D PERSON I don't think the yelling is necessary. MATT Oh, you couldn't be more wrong. And I'm not talking to you. And I don't like you. MALE D PERSON How about you just mind your own business? Matt is very close to him--he shakes his chair. MATT You're minding my business. That's the problem... so, just tell me, what do you know? ON MALE D PERSON Matt's manner is threatening. The Male D Person looks around for some support and finds little... then Matt's tone changes... it's reasonable, almost seductive. MATT Just tell me and I'll shut up. MALE D PERSON (taking the bait) First of all, I've been going to movies since I was six, for God's sake... MATT What you know is the size of a schnozz. What you don't know is that these guys... (indicates list) ...are for real... ON CATHY She is a ricochet victim of every word Matt says, as he continues to indict the Male D Person and unknowingly reach her instead. His fury grows and becomes more complicated, containing an element of mourning. MATT (again) ...that they can make something happen, and even they don't know what that is till they get in there and play a little... they can make something happen that you can't even imagine... and it's not your fault, this stupidity... 'cause you're just this scared little prick who gets to say he's making movies, and the only thing they ever taught you is that what you like doesn't matter. MALE D PERSON (frightened) Thanks for understanding. The anger leaves Matt. He is depleted. MATT But isn't it almost good manners for you to feel a little shame? Cathy rises and begins to exit. MATT (again) I didn't mean you. CATHY If you didn't, you sure should have. She exits. The D Person's Colleagues have taken advantage of the beat to egg him on. MALE D PERSON You talk about manners--are you actually so bitter you don't realize how you acted just now? You're gone, pal. But at least know that we can't help that we're making it. MATT Oh, shit. You win. You got lucky with 'bitter.' That word just scares me to death. INT. STAIRWELL - DAY A distraught Cathy is walking down as Burke bounds up. BURKE You look down. CATHY I am. BURKE Thank you. I appreciate the support. CATHY I'm not down for you. I'm down about myself. BURKE (not hearing) Oh. What if 'Ground Zero' doesn't do well this weekend? CATHY Please listen to me. He nods, but she pauses, disconcerted. BURKE What? CATHY I just got this feeling of seeing myself talking to you and how this is the most important moment of... ever. BURKE (brusquely) Okay. Good. What is it? CATHY I've been watching this company make movies that cost tens of millions of dollars and all the while I've known about this wonderful script which we can somehow own and we could make for about $14,000,000... $3,000,000 if you can live without stars or a name director. BURKE Is that it? Okay, send me... CATHY I've sent you coverage on it nine times. I swear to you, Burke, it will work. You've never heard me say that. BURKE How about last night? CATHY (an unexpectedly fierce outburst) I don't know anything about action- adventure!! (on his look, she gains control) I have no idea where that came from. Hey, I know everyone thinks I don't have any commercial sense because of what I said at the 'Gremlins' preview and all... And you think I can't put myself on the line. Well, if this picture doesn't work, fire me. Have me killed if it doesn't get good reviews. If this doesn't get a 70 percent definite recommend from women 49 and under, I promise to be your sex slave until they drop ticket prices back to five bucks and start enforcing the R rating. BURKE You're selling very excellent. Very excellent presentation. CATHY You've got to do this. I think this movie can save me. BURKE (disgusted) Oh, please... What's the script? CATHY 'Mr. Deeds Goes to Town.' EXT. MATT'S APARTMENT - EVENING As Matt exits his car with beaten down body language. INT. APARTMENT BUILDING - EVENING As he leads Jeannie briskly down the hall from Lucy's apartment and into his own. JEANNIE Why couldn't you even look at th