"Smoky"
Written by
Aaron Sorkin
Directed by
Robert Berlinger
Table Draft - 11/28/98
1st rev. - 11/30/98 (Blue)
2nd rev. - 12/01/98 (Pink)
3rd rev. - 12/01/98 (Yellow)
SPORTS NIGHT
"Smoky"
#N313
Cast
Dan........................Josh Charles
Casey.....................Peter Krause
Isaac..............Robert Guillaume
Dana................Felicity Huffman
Jeremy....................Josh Malina
Natalie.................Sabrina Lloyd
Kim.........................Kayla Blake
Elliot........................Greg Baker
Chris.........Timothy Davis-Reed
Will..........................Ron Ostrow
Dave.....................Jeff Mooring
Sally...................Brenda Strong
SPORTS NIGHT
REMINDER: THIS EPISODE WILL AIR WELL BEFORE THE
"SALLY" EPISODE, IN WHICH CASEY, GORDON AND SALLY
HAVE ALL SLEPT TOGETHER IN VARIOUS COMBINATIONS.
(TEASER)
FROM THE DARKNESS WE HEAR:
(Dana (VO))
DANA (VO)
Three minutes to air, people, this
a three minute call.
INT. DAN AND CASEY'S OFFICE/NEWSROOM/CORRIDORS/CONTROL
ROOM/STUDIO - NIGHT - (NIGHT 1)
(Dan, Casey, Dana, Jeremy, Natalie, Kim, Elliot, Chris, Will,
Dave, Atmosphere)
CASEY AND DAN ARE DRESSED FOR THE AIR. CASEY IS GOING
THROUGH
SOME PAPERS.
DAN
Casey?
CASEY
(DISTRACTED) Yeah.
DAN
I've made a decision.
CASEY
What is it?
DAN
It's time.
CASEY
It is?
DAN
It's time.
CASEY
(CALLING OUT) Natalie!
DAN
It's absolutely time.
CASEY
We're having some very bizarre
computer problems, have you noticed
that? The LC wire's getting numbers
wrong.
NATALIE COMES IN--
NATALIE
What do you need?
CASEY
(READING) Messersmith won the Gold
Medal in the pole vault with a leap of
238 feet, six inches?
NATALIE
That doesn't sound right.
CASEY
It lacks a ring of truth, yes.
NATALIE
(LOOKING OVER THE PAPER) 238 feet, six
inches in the pole vault. (BEAT)
That'd be a record, wouldn't it?
CASEY
Yes it would.
NATALIE
(AS SHE LEAVES) Elliot!
NATALIE'S GONE. CASEY GOES BACK TO HIS PAPERS. DAN IS
STARING
AT HIM.
CASEY
Why are you staring at me?
DAN
Because it's time.
CASEY
It's not time.
CASEY HEADS TO THE STUDIO, FOLLOWED BY DAN, AS WE
RESET TO:
INT. NEWSROOM/CORRIDORS - CONTINUOUS - (NIGHT 1)
DAN
It is time. It's past time.
CASEY
It's not past time.
DAN
It's well past time. You need to start
meeting women.
CASEY
I've met many women.
DAN
No you haven't. You haven't met many
women. And that's why I'm here.
CASEY
Boy, I like the sound of this.
DAN
You got married at 23 to a woman you
met when you were 19.
CASEY
I know. I was there.
DAN
So you agree.
CASEY
To what?
DAN
You agree that it's time.
CASEY
You said it was past time.
DAN
It is past time.
CASEY
Then I'm screwed.
DAN
But I'm gonna help you out.
CASEY
Thank God for that, Danny. Thank God
for you.
DAN
Thank God indeed.
CASEY
Indeed I do.
DAN
You know why I can help you out?
CASEY
Why.
DAN
Because there's still time.
BY NOW DAN AND CASEY HAVE LANDED AT THE ANCHOR DESK AND WE
RESET TO:
INT. CONTROL ROOM/STUDIO - CONTINUOUS - (NIGHT 1)
DAVE
60 seconds to VTR, two minutes live.
CHRIS
Loading F/X BF-4.
WILL
Preview animation 1, 1A and 4.
CHRIS
BF-4. Boston-Foxhole.
JEREMY ENTERS FROM THE STUDIO--
DANA
Jeremy.
JEREMY
Yes.
DANA
Tell me the story so far on
UCLA/Arizona.
JEREMY
The story, Dana, is shooting
percentage. Shooting percentage and
offensive glass. Last I checked, UCLA
was 12 for 24 from the field, one for
six at the stripe. Arizona's press
forced 12 turnovers which led to 15
points. The 'Cats,' needless to say,
were dominant in the paint and
McDuffy's got four fouls. That is the
story.
NATALIE
Jeremy?
JEREMY
Yeah.
DANA
What's the score?
JEREMY
Wow.
DANA
Jeremy--
JEREMY
The devil's in the details.
DANA
Jeremy.
JEREMY
66-50 Arizona.
DANA
Thank you.
JEREMY
No problem.
DAVE
Stand by audio, stand by VTR.
ELLIOT
Preview 6 and 16.
KIM
Will, lemme hear sound F/X 7. Just me.
DAVE
Here we go.
NATALIE
Good show.
DAVE
Roll VTR.
DANA
Good show everybody.
DAN
The time is right, Casey, the time is
now. You strike while the iron is hot.
CASEY
What iron?
DAN
The iron. You're gonna strike it.
CASEY
'Cause it's hot right now.
DAN
It's scorching hot.
CASEY
Okay.
DAN
It is.
CASEY
Natalie, can I have a re-cal time on
seven.
NATALIE
1:20, but we've got wiggle room.
CASEY
How much?
NATALIE
(TO DANA) How much?
DANA
On seven?
NATALIE
Lee Trevino.
DANA
Casey, don't make a meal out of it.
CASEY
How much?
DANA
Five seconds. You go to ten, I kick
your ass.
CASEY
You ever hear of artistic freedom?
DANA
You ever heard of me kicking your ass?
CASEY
Yes I have.
DANA
Five seconds.
DAVE
15 live.
DAN
A lot's changed since the last time
you were out there.
CASEY
Out where?
DAN
There. Out there. Where women are.
CASEY
Everybody still wears shoes, right?
DAN
Do they ever.
DAVE
In three, two--
CASEY
Good evening, from New York City I'm
Casey McCall alongside Dan Rydell,
those stories, plus we'll show why if
you haven't seen Davis Love play
Pebble Beah, then you haven't seen
Shakespeare the way it was meant to be
played.
DAN
College hoops? You want college hoops?
How 'bout Syracuse, N.Y., where the
Orangemen blew the roof off the
Carrier Dome. How 'bout Oklahoma,
where the corn's not the only thing
high as an elephant's eye.
CASEY
All that, comin' up after this. You're
watching Sports Night on CSC, so stick
around.
DAVE
We're out.
KIM
90 seconds back.
DAN
(TO CASEY) You know the biggest
difference?
CASEY
The biggest difference between what?
DAN
The biggest difference between women
then and women now.
CASEY
What?
DAN
You're on television.
DAVE
Stand by.
FADE OUT.
END OF TEASER
ACT I
(A)
INT. ISAAC'S OFFICE/EXECUTIVE CORRIDOR - DAY - (DAY 2)
(Isaac, Dana, Natalie, Atmosphere)
ISAAC IS AT THE WINDOW. DANA KNOCKS ON THE DOOR.
ISAAC
Come on in.
DANA
You wanted to see me?
ISAAC
Yes. Siddown.
DANA KEEPS STANDING.
DANA
I got a note that said you wanted to
see me.
ISAAC
Yeah, have a seat.
DANA
Is anything wrong?
ISAAC
No. Siddown.
DANA
You never send me a note.
ISAAC
I usually call your office.
DANA
Yes. Or you have Marsha find me or you
grab me at the run down and say can I
see you.
ISAAC
Why don't you have a seat.
DANA
But this time you sent me a note.
ISAAC
Please sit.
DANA
It said you needed to see me.
ISAAC
Dana, I need to move my day along just
a little bit faster than this.
DANA
I'm just saying if this is gonna be
bad news, I'd like to sit.
ISAAC
Feel free.
DANA
Thank you.
DANA FINALLY SITS.
ISAAC
I want to start grooming you.
DANA
(BEAT) I don't understand.
ISAAC
You heard me.
DANA
You want to start grooming me?
ISAAC
Yes.
DANA
(PAUSE) You better be talkin' about my
hairstyle, Isaac, 'cause--.
ISAAC
Don't go nuts.
DANA
I'm not going nuts, I'm just saying
that's the only kind of grooming I'm
prepared to talk about at this
particular moment. Was there anything
else?
ISAAC
When the time comes, I want the show
to go where I want the show to go. And
I want the show to go to you.
DANA
Isaac--
ISAAC
Dana, I'm not foolin' around.
DANA
Fine then, we'll have this
conversation 15 years from now. Is
there anything else?
ISAAC
You want to be in a position where
it's a smart choice for Luther to
make.
DANA
I don't want to position myself.
ISAAC
You're gonna start coming to the
monthly lunches at Continental Corp.
DANA
No I'm not.
ISAAC
Yes you are.
DANA
How do you know I even want your job.
ISAAC
Everybody wants my job.
DANA
Not me. I think your job stinks. You
get to create your own show and make
all the decisions and have a big staff
and make a lot of money. That's not
for me, Isaac. I like to answer to
people. I don't want to create. When I
get a thought in my head, I like it to
die right there.
ISAAC
These monthly lunches, at first--
DANA
I'll tell you what else: Living on a
budget builds character. And I've got
character up the whazoo, mister.
ISAAC
Yes you do.
DANA
When you hired me, when you hired me,
didn't you swear that you weren't
going to leave. You did. I remember
you swearing. You swore.
ISAAC
I'm talking about down the line.
DANA
How far down the line.
ISAAC
Far.
DANA
Then stop sending me notes.
ISAAC
Dana, that was a near death experience at Christmas.
I don't know if I've ever seen Luther so mad.
DANA
You embarassed him on television.
He'll get over it.
ISAAC
He might get over it, but he won't
forget it.
DANA
Look, he yelled, he screamed. But he
didn't fire you. If he was gonna fire
you, he'd have fired you.
ISAAC
You don't fire a black executive
during a race-related public relations
problem. You wait a while.
DANA
See? That's the kinda thing I don't
know. So... you know... stop grooming.
ISAAC
Start coming with me to the lunches.
And the budget meetings.
DANA
What are you gonna do if you don't
work here?
ISAAC
I've been thinking a lot about
gardening.
DANA
Gardening?
ISAAC
I think I'd like to try organic
gardening.
DANA
(PAUSE) Do you even know what it is?
ISAAC
No. But I was gonna get a book.
DANA
Good plan.
ISAAC
Let's keep this our little secret.
DANA
I shouldn't tell anyone you're
grooming me?
ISAAC
You shouldn't tell anyone that I'm
grooming you.
DANA
What if people ask?
ISAAC
Dana--
DANA
I'm serious. What if someone askes me a
direct question about the grooming?
ISAAC
Dana, I'm serious.
DANA
Alright, alright, I won't tell anyone
that you're grooming me.
ISAAC
Thank you.
DANA
Goodbye.
DANA CLOSES THE DOOR BEHIND HER AS SHE LEAVES AND WE
RESET TO:
INT. EXECUTIVE CORRIDOR - CONTINUOUS - (DAY 2)
NATALIE IS WAITING OUTSIDE THE DOOR AND FALLS IN STEP WITH
DANA AS SHE COMES OUT OF THE OFFICE. AS THEY TALK, THEY'LL
MOVE UP THE CORRIDOR.
DANA (CONT'D)
He wants to groom me.
NATALIE
What'd you say?
DANA
I told him I didn't want to be
groomed. Everyone here's very happy
with the jobs they've got right now,
right?
NATALIE
Sure.
DANA
Natalie?
NATALIE
Yeah?
DANA
You're thinking about how you'd re-
decorate my office right now, aren't
you.
NATALIE
I was not.
DANA
Yes you were.
NATALIE
I was totally not at all.
DANA
In your little mind, you were
measuring for new curtains.
NATALIE
I was not measuring for curtains.
DANA
You'd keep the curtains?
NATALIE
And dump the plants.
NATALIE EXITS TOWARD THE NEWSROOM
DANA
Thank you.
AND DANA EXITS INTO AN OFFICE AS WE
CUT TO:
ACT I
(B)
INT. DAN AND CASEY'S OFFICE - DAY - (DAY 2)
(Dan, Casey, Sally)
CASEY IS SITTING IN A CHAIR IN THE MIDDLE OF A CONVERSATION
WITH SALLY.
SALLY
You're wrong.
CASEY
No I'm not.
SALLY
You want to make a bet?
CASEY
I don't want to take your money.
SALLY
They weren't gonna play Virginia in
the next round, they were gonna play
Louisiana Tech.
CASEY
You were gonna play Louisiana Tech.
SALLY
We were gonna play Clemson. That's
when I injured my ankle.
CASEY
It was your knee and it was against
Louisiana Tech.
SALLY PUTS HER LEG UP ON THE CHAIR AND PULLS HER PANT LEG UP
SLIGHTLY.
SALLY
This is my ankle.
CASEY
(PAUSE) No doubt about it.
SALLY
It was injured playing Clemson.
CASEY
It came out of it okay.
SALLY
You think?
DAN ENTERS HAVING QUICKLY TAKEN IN THE SCENE--
DAN
Whoa, whoa, whoa. What have we here?
SALLY
Hello Dan.
DAN
Sally, put your leg on the floor.
SALLY
I was telling Casey that I injured my
ankle against Clemson.
DAN
It was your knee.
SALLY
It was my ankle.
DAN
And you see how you were able to tell
me that without taking your clothes
off?
SALLY
I just assume you do that in your
head. I'll see you later, Casey. Dan's
gonna want to warn you about me.
SALLY'S GONE--
CASEY
(CALLING) Bye.
DAN
What were you just doing?
CASEY
Nothing.
DAN
You were flirting with Sally.
CASEY
I wasn't conscious of it.
DAN
Conscious or not, you were doing it.
CASEY
Was Sally flirting with me?
DAN
Yes indeed she was.
CASEY
I missed the whole thing.
DAN
Thank God I got here when I did.
CASEY
I'm not gonna go out with Sally.
DAN
You don't have to go out with her, she
was strippin' down right here.
CASEY
We were talking about women's college
basketball.
DAN
Casey. Please. I'm not other people.
CASEY
I know.
DAN
And I know I said it was time, but
just to be clear, it's not time for
that. It's not time to dally with
Sally.
CASEY
"To dally with Sally".
DAN
That was an unfortunate rhyme, but
still--
CASEY
What's your problem with Sally?
DAN
Look at her, Casey. I don't think
she's of this world.
CASEY
You don't think she's of this world?
DAN
I do not.
CASEY
What world do you think she's of?
DAN
She scares me, Casey. She's too good
looking. Nobody's that good looking.
I'm not that good looking.
CASEY
You really think she was flirting with
me?
DAN
And her beauty comes from a very
strange place, have you noticed that?
CASEY
The places her beauty comes from
weren't all that strange to me. I can
identify almost all of them.
DAN
Don't do it, Casey, she's got an
agenda.
CASEY
You think she wants a job on Sports
Night?
DAN
No, I think she wants to rule all of
Metropolis.
CASEY
You've seen the job she does on West
Coast Update. She's a very skilled
producer.
DAN
Of course she's skilled, she's Satan's
handmaiden.
CASEY
She's not Satan's handmaiden.
DAN
On the entire planet, have you ever
seen anyone with eyes like that? She's
a Steppford Producer.
CASEY
I say she's a very nice person.
DAN
I say she has no reflection.
CASEY
You're worrying about nothing. She
wasn't flirting with me, I wasn't
flirting with her.
DAN
This is a well-oiled machine here. I
don't want to see anyting interfere
with that.
CASEY
(LOOKING AT A PIECE OF PAPER) Did a
high school girl from East Lansing run
the Boston Marathon in 2.6 seconds?
DAN
Doesn't sound right.
CASEY
We're not as well-oiled as you think.
END OF ACT I
ACT II
(C)
INT. NEWSROOM - DAY - (DAY 2)
(Jeremy, Natalie)
NATALIE SITS AT ONE OF THE COMPUTERS AND JEREMY STANDS BEHIND
HER.
NATALIE
See, it says "Minus-1, SM Trunc, err."
JEREMY
You should really call technical
support.
NATALIE
I like it when you fix it. IT's so
cute and nerdy. I could just lick you
up.
JEREMY
This is a serious computer problem, I
don't want to fool around with this.
NATALIE
What does "err" mean?
JEREMY
Call technical support.
NATALIE
What does "err" mean?
JEREMY
It means a mistake.
NATALIE
Is it Latin?
JEREMY
It's "E-R-R". It means error. Call
technical support.
NATALIE
"Minus-1, SM Trunc", what does it
mean?
JEREMY
Natalie--
NATALIE
C'mon, just one.
JEREMY
(BEAT) It means the truncation
indicator alone is wider than the
specified width. IT probably also
indicates a "Minus-5 Type SCP" which
is an invalid queue element.
NATALIE
(A LITTLE TURNED ON) Okay. Then it
says "Minus-15, out of range." What
does that mean?
JEREMY
It means it's out of range.
NATALIE
You're not doing this right.
JEREMY
What the hell are we doing?
NATALIE
Well I thought we were having phone
sex, but I guess you just weren't
interested.
JEREMY
We were having phone sex?
NATALIE
Well not phone sex, but whatever. We
were having sex.
JEREMY
I didn't even know.
NATALIE
And frankly, it showed up in your
performance.
JEREMY
I wasn't having sex.
NATALIE
I know that, Jeremy, I was sitting
here having sex all by myself.
JEREMY
You were having sex.
NATALIE
Yes.
JEREMY
Well I think maybe you're not doin' it
right.
NATALIE
Call technical support.
CUT TO:
ACT II
(D)
INT. NEWSROOM/EXECUTIVE CORRIDOR/ISAAC'S OFFICE - DAY-
(DAY 2)
(Isaac, Sally)
ISAAC COMES OUT OF DAN AND CASEY'S OFFICE. SALLY IS IN
THE
NEWSROOM. SHE RUSHES TO CATCH UP WITH ISAAC AND THEY WALK
TOWARD HIS OFFICE.
SALLY
Hello Isaac.
ISAAC
Hello Sally.
SALLY
Sharp suit!
ISAAC
Thank you, Sally.
SALLY
I mean it. That is a sharp suit.
ISAAC
Thank you again.
SALLY
Who makes that suit?
ISAAC
I have no idea.
SALLY
Is it Armani?
ISAAC
I honestly have no idea.
SALLY
Could be Hugo Boss.
ISAAC
You never know.
SALLY
But either way, it's a very sharp
suit.
ISAAC AND SALLY EXIT TO ISAAC'S OFFICE
RESET TO:
INT. ISAAC'S OFFICE - CONTINUOUS - (DAY 2)
ISAAC
I'm awfully happy with it, thanks.
SALLY
Sure.
ISAAC
What do you want?
SALLY
Are you quitting your job?
ISAAC
No.
SALLY
You're not?
ISAAC
No.
SALLY
I heard you were.
ISAAC
You heard wrong.
SALLY
I keep my ear to the ground.
ISAAC
I have no doubt about it.
SALLY
And I'm happy for Dana.
ISAAC
She'll be glad to hear it.
SALLY
May I be blunt?
ISAAC
There is evidence to suggest that
you're capable of it, yes.
SALLY
I think I'm the right person for the
job.
ISAAC
Who's job?
SALLY
Dana's job.
ISAAC
I think Dana wants Dana's job.
SALLY
Dana's gonna have your job.
ISAAC
No, sadly, I'm gonna have my job.
SALLY
I want to executive produce Sports
Night. May I give you my credentials?
ISAAC
I don't see any way of stopping you.
SALLY
I've been executive producer of West
Coast Update for 16 months. Our show
has never failed to win its time slot.
ISAAC
You're on at two a.m., Sally, you're
competition is a Bonanza re-run and
four guys making cheese.
SALLY
To say nothing of Fox on Sports and
CNN/SI, both of which were on top of
us to the tune of a share point before
I came in. My shows are tight, my
shows are hot and my shows are paced
to within an inch of their lives. My
staff is aggressive and they place a
premium on professionalism.
ISAAC
My staff is professional, Sally.
SALLY
As we speak, One of your LC-SportsWire
frames is misprocessing data while two
of your associate producers stand over
the monitor attempting to have phone
sex.
ISAAC
God please don't tell me which two.
SALLY
Just think about it.
ISAAC
Alright, my guess is it's Jeremy and
Natalie.
SALLY
I meant think about me for the job.
ISAAC
Dana's job.
SALLY
Yes.
ISAAC
When Dana takes my job.
SALLY
Yes.
ISAAC
And tell me again what I'll be doing?
SALLY
I heard organic gardening.
ISAAC
You can leave now.
SALLY
Sharp suit.
ISAAC
Thanks very much.
SALLY LEAVES AS WE
CUT TO:
ACT II
(E)
INT. DAN AND CASEY'S OFFICE/NEWSROOM/STUDIO/COFFEE AREA -
NIGHT - (NIGHT 2)
(Dan, Casey, Dana, Natalie, Atmosphere)
CASEY AND DAN ARE IN SHIRTS AND TIES. CASEY SITS AT THE TABLE
IN FRONT OF THE COMPUTER. DAN SITS AT THE DESK MAKING NOTES
ON A PAD.
CASEY
(READING CASUALLY) "Good evening, from
New York City. I'm Casey McCall
alongside Dan Rydell, those stories
plus we've got a Major League Baseball
trade that brought some birds home to
roost." (BEAT) That's you.
DAN
What?
CASEY
"... Major Leage Baseball trade that
brought some birds home to roost", and
then you say:
DAN
Yoko Ono.
CASEY
(BEAT) Really?
DAN
Yes.
CASEY
Okay, but it might be better to say
something about hockey.
DAN
I'm gonna fix you up with Yoko Ono.
CASEY
(BEAT) I don't think so.
DAN
Yeah, I really am.
CASEY
No, you're really not.
DAN
Are you concerned about the age
difference?
CASEY
Do you even know Yoko Ono?
DAN
I am a fan of her music, yes.
CASEY
"...a Major League Baseball trade that
brough some birds home to roost."
DAN
You'll get away with that if you want,
but it's not birds, it's chickens.
CASEY
You really think Dana was flirting
with me?
DAN
Dana?
CASEY
Sally.
DAN
You said Dana.
CASEY
I meant Sally.
DAN
Stop thinking about Sally.
CASEY
I'm not thinking about Sally.
DAN
This is science fiction. I'm all alone
on this. I stand completely alone.
Sally is an alien, do you undersand
me? At night she peels her body off
and lives on Steve Guttenberg's boat.
CASEY
And you can't get anybody to rally
around that theory?
DAN
My point is you said "Dana".
CASEY
Pigeons roost, don't they?
DAN
Yes.
CASEY
What's wrong with birds?
DAN
What's wrong with the unmistakable
human frailty of Yoko Ono?
DANA WALKS BY THE OFFICE AND CASEY CALLS TO HER--
CASEY
(CALLING) Dana--
CASEY EXITS THE OFFICE AS WE
RESET TO:
INT. NEWSROOM - CONTINUOUS - (NIGHT 2)
CASEY CROSSES TO DANA--
DANA
You're still a minute-twenty fat in
the 40's.
CASEY
We're getting there. Can I say "birds
come home to roost"?
DANA
Yeah, I saw that.
THEY MOVE TOWARD THE CONTROL ROOM.
CASEY
Can I say it?
DANA
It's chickens.
CASEY
But I think it's also pigeons.
DANA
Do pigeons roost?
CASEY
I think they do.
DANA
I think they perch.
CASEY
I think they roost.
DANA
Look, it's fine with me.
DANA AND CASEY ENTER THE STUDIO AS WE
RESET TO:
INT. STUDIO - CONTINUOUS - (NIGHT 2)
CASEY
Hey, you know what? I think someone
was flirting with me today.
DANA
I'm sorry?
CASEY
Someone might've been flirting with me
today.
DANA
Sally?
CASEY
How did you know?
DANA
Sally's always flirting with you.
CASEY
No she's not.
DANA
Yes she is.
CASEY LOOKS DISTRAUGHT...
DANA (CONT'D)
It's okay.
CASEY
Have I been flirting back?
DANA
You're kinda feeble, aren't you?
CASEY
Have I?
DANA
I really don't know.
CASEY
I don't want to look foolish.
DANA
Not much chance of that.
CASEY
Do I flirt badly?
DANA
You flirt fine.
CASEY
Seriously.
DANA
You flirt fine.
CASEY
Dana--
DANA
Flirt with me now.
CASEY
Flirt with you now?
DANA
Yes.
CASEY
I will.
DANA
Start.
CASEY
(PAUSE) How 'ya doin'?
DANA
That's good, Casey, how many years of
college?
CASEY
I'm just saying "Hi". I've got more.
DANA
Lay it on me.
CASEY
What's your name?
DANA
Casey, I'm saying flirt with me. I'm
not playing somebody else.
CASEY
You're not helping.
DANA
Start again. Flirt with me.
CASEY
I'm starting now. What's your name?
DANA
My name's Dana you unbelievable moron,
you've known me for 15 years. Flirt
with me. Tell me why you like me
better than Sally.
CASEY
I do like you better than Sally.
DANA
Tell me why.
CASEY
I don't understand.
DANA
I don't think you're ever going to
have sex again. I gotta go.
DANA STARTS TO GO OFF--
CASEY
You're smoky.
DANA TURNS AROUND...
DANA
I'm sorry?
CASEY
The difference between you and Sally,
you're smoky.
DANA
I'm smoky?
CASEY
You're smoky. You're a lot of other
things too, but you're smoky.
DANA
(BEAT) I don't know what that means, but I like
the sound of it. (BEAT) Tell me what it means.
CASEY
It's hard to translate.
DANA
Try.
CASEY
You'll make a joke.
DANA
We're flirting. That's okay.
CASEY
Are we really flirting, or ar you
just pretending to be you flirting
with me actually being me?
DANA
You think I'm smoky?
CASEY
Classy. Impressive. Sexy. (BEAT) Was
sexy going too far?
DANA
It was fine.
CASEY
You're smoky.
DANA
Thank you.
NATALIE WALKS BY--
DANA (CONT'D)
Natalie, wait up. (TO CASEY) I'm
sorry, I gotta talk to Natalie.
CASEY
That's fine.
DANA
We're on the air in--very soon-- and
Natalie's there.
CASEY
Okay.
DANA
I'll see you later.
CASEY
In just a little bit in fact.
DANA
'Cause we're going on the air.
CASEY
And you're okay with birds roosting?
DANA
I'm okay with birds doing anything you
tell 'em to.
DANA FALLS IN STEP WITH NATALIE--
NATALIE
(QUIETLY) Were you two flirting?
THEY WALK TOWARD THE COFFEE AREA AS WE
RESET TO:
INT. COFFEE AREA - CONTINUOUS - (NIGHT 2)
DANA
No.
NATALIE
You were.
DANA
We were, but it was a rehearsal of
sorts. It was a class.
NATALIE
If you guys aren't too far along,
could Jeremy join?
DANA
Sure.
CUT TO:
ACT II
(H)
INT. ISAAC'S OFFICE - NIGHT - (NIGHT 2)
(Isaac, Kim, Elliot)
ISAAC SITS BEHIND HIS DESK AS KIM AND ELLIOT ENTER--
ELLIOT
Isaac? You got a minute?
ISAAC
Kim. Elliot. How can I help you?
ELLIOT
I'm a team player, Isaac. Always have
been. Always will be. But everyone
here moves up one notch and you make
Kim senior associate, I'll lead a
mutiny the likes of which will sink
this show for good.
ISAAC
Okay. Kim?
KIM
When I get Natalie's job, is there a
union regulations that prevents me from
making Elliot my man-slave?
ISAAC
Alright, that's it. Follow me.
ISAAC GETS UP AND LEADS ELLIOT AND KIM OUT OF THE OFFICE
AS
WE
CUT TO:
ACT II
(J)
INT. NEWSROOM/CONFERENCE ROOM - NIGHT - (NIGHT 2)
(Dan, Casey, Isaac, Dana, Jeremy, Natalie, Kim, Elliot,
Sally, Atmosphere)
NATALIE AND JEREMY ARE ARGUING OVER THE COMPUTER--
JEREMY
I'm saying it.
NATALIE
Let's just forget about it.
JEREMY
I'm saying it right now.
NATALIE
Far be it from me to be adventuresome
in our sex life.
JEREMY LOOKS AROUND AT THE NEWSROOM FULL OF PEOPLE, MANY OF
WHOM JUST HEARD THAT...
JEREMY
Thanks very much, folks, be sure and
tip your waitresses.
ISAAC COMES OUT, FOLLOWED BY KIM AND ELLIOT. ISAAC CALLS OUT--
ISAAC
(CALLING OUT) Dan. Casey. Dana.
Jeremy. Natalie. In the conference
room. Right now.
DAN, CASEY AND DANA APPEAR AND WILL GO INTO THE CONFERENCE
ROOM ALONG WITH NATALIE, JEREMY, KIM AND ELLIOT.
CASEY
What's goin' on?
ISAAC
In there.
SALLY APPEARS--
ISAAC (CONT'D)
Sally. Why don't you join us as well.
SALLY
What are we doing?
ISAAC
We're having a little meeting.
SALLY
Is this what I think it is?
ISAAC
Probably not.
THEY GO INTO THE CONFERENCE ROOM AS WE
RESET TO:
INT. CONFERENCE ROOM - CONTINUOUS - (NIGHT 2)
AS ISAAC IS THE LAST TO WALK IN--
ISAAC (CONT'D)
Good evening, how are you all?
EVERYONE STARTS TO VOICE COMPLAINTS AT ONCE--
ISAAC (CONT'D)
Who really gives a damn. My name is
Isaac Jaffee. I run this place.
Anybody else who runs this place,
please raise your hand.
NOBODY DOES.
ISAAC (CONT'D)
Good. Couple a things: I'm not
quitting and I'm not getting fired. At
least not today and probably not
tomorrow. Let me add, Dana, that
things that I say in my office, stay
in my office.
DANA
Natalie's my second in command, she's
the only one I told.
NATALIE
Jeremy's my boyfriend and he's the
only one I told.
JEREMY
I told many, many people.
ISAAC
Elliot? Kim? The production team is,
in fact, a team, and you will work
with and for whomever Dana tells you
to.
DANA
Thank you.
ISAAC
Shut up.
DANA
Okay.
ISAAC
Finally, I'd like to say that while
there are many programs here at CSC,
and there's nothing wrong with healthy
competition, we are all a family and
we are to treat each other with
professional respect.
SALLY
I think I can speak for everyone on
the West Coast Update team when I say
we have nothing by respect for each
and every man and woman who works on
Sports Night.
DAN
He's talkin' about you, ya freak!!
ISAAC
Thank you, Daniel.
DAN
I'm the one you love the most, aren't
I, Isaac?
ISAAC
No. I hope this meeting has cleared up
any confusion. It's five minutes to
eleven. Please go do my show.
EVERYONE GETS UP AND BEGINS TO DISPERSE AS WE
CUT TO:
ACT II
(K)
INT. STUDIO/CONTROL ROOM - NIGHT - (NIGHT 2)
(Dan, Casey, Dana, Jeremy, Natalie, Kim, Chris, Will, Dave)
IT'S A FEW MINUTES BEFORE THE SHOW AND THE PLACE IS STARTING
TO HOP. DANA IS IN THE AUDIO ROOM--
DAVE
Stand by audio, stand by VTR.
CHRIS
Preview 3 and 13.
CHRIS
13's standing.
DANA
(ENTERING) Get me Holly in L.A.
NATALIE
(QUIETLY TO DANA) He said you were
smoky?
DANA
Yes he did.
KIM
Holly.
DANA
(INTO HEADSET) Holly, you were right,
it's fourteen points off the fast
break and send it back to the studio.
NATALIE
I like that.
DANA
Smoky?
NATALIE
Yes.
DANA
It was very complimentary.
NATALIE
It was very complimentary?
DANA
Yes.
NATALIE
Well how good of you to come to tea.
DANA
Hey, I talk the way I talk. I'm smoky.
NATALIE
You are smoky.
DANA
I am.
DAVE
Roll VTR.
CHRIS
We're live in 60.
DANA
Good show everybody.
JEREMY
Good show.
NATALIE
(ELBOWING JEREMY) Casey said she's
smoky.
JEREMY
She is smoky.
NATALIE
Am I smoky?
JEREMY
You better believe it. I'll tell you
what else you are: You're a slow drink
of whiskey.
NATALIE
(BEAT) Say some computer things. Right
now.
JEREMY
Listen, seriously. Those new herbs
that you're taking? I think you should
stop.
NATALIE
I'm a slow drink of whiskey.
JEREMY
Among other things, yes.
DANA
Preview 6 and 6A.
IN THE STUDIO--
CASEY
It wasn't flirting. It wasn't actual
flirting.
DAN
I don't like you going off on your own
like this.
CASEY
I know.
DAN
You gotta listen to what I tell you.
CASEY
I am.
DAN
You could be having sex with Yoko Ono
right now.
CASEY
Please don't ever say that again.
DAN
I've made a decision.
CASEY
What?
DAN
I don't think it's time.
DAVE
In three...two...
CASEY
Good evening, from New York City I'm
Casey McCall alongside Dan Rydell,
those stories plus we've got a Major
League Baseball trade that brought
some birds home to roost.
DAN
The ACC was the place to be in college
hoops last night and we'll take you to
the Dean Dome after a quick stop in
the Land of Lincoln. You're watching
Sports Night on CSC, so stick around.
FADE TO BLACK
END OF SHOW