Written by
Paul Redford
and
Aaron Sorkin
Directed by
Thomas Schlamme
Final Draft -- 12/08/98 (Yellow)
1st rev. -- 12/9/98 (Green)
2nd rev. -- 12/9/98 (Goldenrod)
(TEASER)
INT. STUDIO/CONTROL ROOM/FRONT HALLWAY/CONFERENCE
ROOM/NEWSROOM/DAN AND CASEY'S OFFICE/NEWSROOM/EXECUTIVE
CORRIDOR/ISAAC'S OFFICE/EXECUTIVE CORRIDOR/DAN AND CASEY'S
OFFICE/NEWSROOM/CONFERENCE ROOM HALLWAY - NIGHT - (NIGHT 1)
(Dan, Casey, Isaac, Dana, Jeremy, Natalie, Kim, Elliot,
Chris, Will, Dave)
WE'RE TOWARD THE END OF THE BROADCAST -
DAN
It was the fourth second-round knockout
recorded by the middle weight, who's next
fight will be in June against Ramon
Castilla at the MGM Grand in Las Vegas,
Nevada; a city, I'm told, that recently
legalized gambling. Our producer, Dana
Whitaker, is telling me to fill for 15
seconds, but I honestly don't have
anything to say.
DANA
Dan.
DAN
She's begging me now.
DANA
Dan.
DAN
Now she seems pretty mad.
DANA
Dan.
DAN
You'd all like her a lot if you met
her.
DANA
You're a funny boy, Daniel.
DAN
And that was 15 seconds. Casey?
CASEY
That does it for us. I'm Casey McCall alongside
Dan Rydell. I'm off tomorrow but I'll be back
Friday. You've been watching Sports Night on
CSC, see you later.
DAN
G'night.
DAVE
Music.
CHRIS
Go.
DAVE
Animation.
WILL
Go.
DAVE
We're out.
CASEY AND DAN ARE UNHOOKING THEMSELVES AND GETTING UP
FROM THE DESK --
CASEY
So here's the thing.
DAN
Yes.
CASEY
I don't have to take tomorrow night
off.
DAN
Yes you do.
CASEY
I'm saying I could do the show with
you tomorrow night.
DAN AND CASEY HEAD INTO THE FRONT HALLWAY/CONFERENCE
ROOM AS WE RESET TO:
INT. FRONT HALLWAY - CONTINUOUS - (NIGHT 1)
DAN
I'm saying when your night off comes
up in the rotation, you take the night
off.
CASEY
Yes, but I'm saying that I'm willing
to waive that tradition and not take
the night off.
DAN
No, what you were saying was that
you're a big wuss who wants to get out
of his date tomorrow night.
INT. CONFERENCE ROOM - CONTINUOUS - (NIGHT 1)
CASEY
I don't believe I was saying that.
DAN
I believe you were.
CASEY
And it's not a date.
DAN
I believe it is.
CASEY
No, I'm saying it's not an actual
date.
DAN
Right, and I'm saying you're a wuss.
CASEY
Look, can we be men for a second?
DAN
Alright, but just a second.
CASEY
I really don't want to go.
DAN
No kidding?
INT. NEWSROOM - CONTINUOUS - (NIGHT 1)
CASEY
I really don't want to go out on a
date, and there's no question that
there's a way to look at this that
makes it appear a lot like a date.
DAN
Yes.
CASEY
Plus it's a double-date, and it's a
blind date, on top of which, let's not
forget, it's a date, so there's about
three different ways this thing is
bad.
INT. DAN AND CASEY'S OFFICE - CONTINUOUS - (NIGHT 1)
DAN
Wow.
CASEY
What?
DAN
You're just a real big wuss.
DAN EXITS TO THE NEWSROOM AS ISAAC AND DANA CROSS BY
INT. NEWSROOM/EXECUTIVE CORRIDOR - CONTINUOUS - (NIGHT 1)
ISAAC IS PREPARING TO GO HOME AS DANA MAKES HER CASE --
DANA
I'm just saying I don't have to take
the night off.
ISAAC
Tomorrow?
DANA
Yes.
ISAAC
It's your night off.
DANA
It is my night off, but I don't have
to take the night off.
ISAAC
But then it wouldn't be your night
off.
DANA
And I'm saying I'm okay with that.
ISAAC
I thought you had plans with Gordon.
DANA
I did.
ISAAC
You don't anymore?
DANA
No, but now Gordon fixed Casey up with
a woman from his office and it's the
four of us.
ISAAC
What are you all doing?
DANA
We're going to see a modern dance
concert at City Center and then we're
having dinner.
INT. ISAAC'S OFFICE - CONTINOUS - (NIGHT 1)
ISAAC
It'll be nice.
DANA
Casey hates modern dance.
ISAAC
So do I.
DANA
This is the Holly Dixon Dance Company.
These were very hard tickets to get.
ISAAC
I'm sure you'll all have a good time.
DANA
I would've had a good time. I would've
had a wonderful time sitting with
Gordon and watching the Holly Dixon
Dance Company and then having some
dinner, but I don't think I'll have a
good time doing the same thing with
Gordon, Casey, and blind-date-lawyer-
woman.
ISAAC
Does she like modern dance?
DANA
Who cares, Isaac?
ISAAC
Certainly not me.
DANA
The point is I can work tomorrow night
if you want.
ISAAC
No, the point is you don't want to see
Casey out with another woman.
DANA
Another woman?
ISAAC
Yes.
DANA
Another woman other than whom?
ISAAC
Can I please go home.
DANA
That is not true.
ISAAC
I love my home.
DANA
You are wrong.
ISAAC
Then enjoy the Holly Dixon people.
DANA
The Holly Dixon Dance Company, and I
can't believe that you, of all people,
have joined those who believe that I
have anything but a friendly interest
in Casey. I can't believe it.
ISAAC
I can't believe I've been standing
here talking to you this long.
CASEY ENTERS WEARING STREET CLOTHES AND A JACKET--
CASEY
Hey Isaac?
ISAAC
I'm going home, Casey.
CASEY
Yeah, I was just thinking, tomorrow
midnight's the trade deadline.
ISAAC
Yes.
CASEY
There might be an eleventh hour trade.
ISAAC
There won't be.
CASEY
There might be.
ISAAC
There won't be.
CASEY
There could be.
ISAAC
Casey--
CASEY
Natalie's running the room for the
first time. If there's breaking news,
I should be there.
ISAAC
To do what?
CASEY
The things I do.
ISAAC
G'night.
ISAAC WALKS OUT OF THE OFFICE, FOLLOWED BY CASEY AND DANA
AS WE RESET TO:
INT. EXECUTIVE CORRIDOR - CONTINUOUS - (NIGHT 1)
CASEY
Isaac--
DANA
Casey's right.
CASEY
I am?
DANA
Yes. Except I'm the one who should
stay. Because of the trade deadline.
And because Casey won't be here.
CASEY
I will be here.
DANA
You don't have to be here. I can be
here.
ISAAC
Is there any chance I can not be here?
DANA
Isaac--
ISAAC
I talked to four people in the G.M.'s
office including the G.M., they're not
making the trade. Nothing's gonna
happen at the eleventh hour. Natalie's
show'll be simple. Both of you are
off. Is there anything else?
CASEY/DANA
The thing is that I can/I'm just
saying since it's her first--
ISAAC
Good. I'll see you both Friday.
ISAAC EXITS
DANA AND CASEY LOOK AT EACH OTHER....
DANA
You seemed awfully eager to bail on
your date.
INT. DAN AND CASEY'S OFFICE - CONTINUOUS - (NIGHT 1)
CASEY
It's not a date.
DANA
It is a date. And it seems to me your
reason for wanting to work tomorrow
night has a lot to do with not wanting
to see Gordon and me on a date.
CASEY
It seems to me the reason you're
practically tackling Isaac to the
ground is that you don't want to see
me on a date with anyone who isn't
you.
INT. NEWSROOM - CONTINUOUS - (NIGHT 1)
DANA
Casey--
CASEY
I'm excited for this date.
DANA
No you're not.
CASEY
Particularly the Hickory Dickory
Dancers.
DANA
The Holly Dixon Dance Company, and
don't think I don't know you're M.O.
CASEY
I don't have an M.O.
DANA
You do have an M.O.
CASEY
My M.O. is to experience lively
conversation, fine dining, and some of
the best interpretive dancing money
can buy.
INT. CONFERENCE ROOM HALLWAY - CONTINUOUS - (NIGHT 1)
DANA
No, you think at some point in the
evening you'll say something wonderful
to me and I'll melt and that'll teach
me for going out with Gordon instead
of you.
CASEY
I'll settle for you spilling something
on yourself.
DANA
I'll see you tomorrow.
CASEY
Yes you will.
THEY GO THEIR SEPARATE WAYS AS WE FADE OUT:
END OF TEASER
ACT I
(A)
INT. CONFERENCE ROOM/CONFERENCE ROOM HALLWAY/CONTROL
ROOM/STUDIO - 2PM - (DAY 2)
(Dan, Jeremy, Natalie, Kim, Elliot, Chris, Will, Dave)
NATALIE IS LEADING A MEETING WITH JEREMY, ELLIOT, KIM
DAVE, CHRIS AND WILL.
JEREMY
I really can't believe they're not
gonna make the trade.
NATALIE
They're not.
JEREMY
Am I the only one who thought they
were gonna make the trade?
NATALIE
Yes.
JEREMY
I really thought they were gonna make
the trade.
NATALIE
And I was pretty certain they weren't.
JEREMY
I know.
NATALIE
In fact I'm pretty sure I bet you five
dollars they weren't gonna make the
trade.
JEREMY
Yes I know.
NATALIE
You took the position that they were
gonna make the trade, and I was an
advocate for the notion that they were
not.
JEREMY
These are all things that I know.
NATALIE
Do you know you owe me five dollars?
JEREMY
The trade deadline's midnight.
NATALIE
I'm gonna want a crisp five dollar
bill. Not some raggedy-ass thing from
the newsstand.
JEREMY
Yeah, yeah.
NATALIE
Bumpers in and out of ten, we'll tease
Villanova for now but that might
change. Elliot, where are we on time?
ELLIOT
We need a buck-fifty back.
NATALIE
What can we cut?
DAN
Formula 1.
NATALIE
That's good film. Let's bump Oksana
Baiul.
DAN
Oksana Baiul?
NATALIE
Lose her.
DAN
The Ukrainian Jewel, Oksana Baiul?
NATALIE
Yes.
DAN
You can't bump Oksana Baiul.
NATALIE
(GETTING UP) And yet look how I just
did.
JEREMY
Back here at six.
NATALIE
Will, Chris, Dave? I can count on you
guys tonight.
WILL
Absolutely.
CHRIS
Big night.
DAVE
Natalie's runnin' the room.
NATALIE
(GETTING UP) Back here at six.
EVERYONE STARTS TO EXIT
DAN
Natalie, wait up.
DAN GOES OUT THE DOOR AS WE RESET TO:
INT. CONFERENCE ROOM HALLWAY/CONTROL ROOM/STUDIO - CONTINUOUS
- (DAY 2)
DAN FALLS INTO STEP WITH NATALIE AND KIM
NATALIE
(TO DAN) One second. Kim, should we
hold off in the 40's.
KIM
Tampa Bay?
NATALIE
Should we wait?
KIM
I'd wait 'till ten.
NATALIE
Tell Elliot.
KIM PEELS OFF AS NATALIE AND DAN EXIT TO THE CONTROL ROOM
INT. CONTROL ROOM - CONTINUOUS - (DAY 2)
NATALIE (CONT'D)
How can I help you?
DAN
First let me say that this is an
exciting night for you.
NATALIE
Yes.
DAN
We're all very excited for you.
NATALIE
Thanks.
DAN
'Cause it's exciting.
NATALIE
What do you need, Dan?
DAN
Special night.
NATALIE
It's no big deal.
DAN
It's a very big deal.
NATALIE
What do you need?
DAN
You know I'd never question your
choice of substitute anchor, right?
NATALIE
Right.
INT. STUDIO - CONTINUOUS - (DAY 2)
DAN
I mean it's your first time stepping
in for Dana, these are your decisions
tonight, I would never second-guess
you, and I would certainly never
question your choice of substitute
anchor.
NATALIE
So what's on your mind?
DAN
I question your choice of substitute
anchor.
NATALIE
Bobbi's fine.
DAN
She's better than fine.
NATALIE
She's very good.
DAN
She's very, very good.
NATALIE
So what's the problem?
DAN
There is no problem.
NATALIE
It sounded like there was a problem.
DAN
I'm not spreading ill-will, okay. This
should be clear. I'm not dropping a
dime on anybody. Where I come from,
you don't say things about people.
NATALIE
You come from Connecticut.
DAN
That's right.
NATALIE
You don't say things about people in
Connecticut?
DAN
We do not.
NATALIE
What's the problem?
DAN
Bobbi's a lunatic.
NATALIE
Dan--
DAN
She's an off-the-charts lunatic.
NATALIE
Why don't you like her?
DAN
I like her fine. Talented. Smart. Very
professional.
NATALIE
But?
DAN
Total nut bar.
NATALIE
Got it.
DAN
She's convinced we slept together once
and I never called her again.
NATALIE
Did you?
DAN
Did I sleep with her?
NATALIE
Did you call her?
DAN
I didn't sleep with her.
NATALIE
Why does she think you did?
DAN
It's hard to say, but it could have a
lot to do with the fact that she's
psychotic.
NATALIE
It's gonna be Bobbi.
NATALIE HEADS TOWARD THE AUDIO ROOM
DAN
It's your decision.
NATALIE
(CALLING BACK) Yes it is.
DAN
(CALLING) Very exciting.
NATALIE
(CALLING) Thank you.
NATALIE'S GONE AS WE CUT TO:
ACT I
(B)
INT. TONY ANTHONY'S - NIGHT - (NIGHT 2)
(Dan, Casey, Dana, Gordon, Leesa, Waiter)
CASEY, DANA, GORDON AND A WOMAN NAMED LEESA ARE SEATED AT A
TABLE IN THIS TRENDY MID-TOWN RESTAURANT. IN REASONABLE
PROXIMITY IS THE BAR, WHERE A TELEVISION HANGS ON THE WALL.
A WAITER IS PLACING DRINKS DOWN IN FRONT OF THEM.
DANA
(TO THE WAITER) Actually I asked for
an olive instead of a lemon twist. I
hate to bother you, but I'll tell you
why: I'm allergic to lemon twists. Not
lemons themselves, just the peels. And
not always. Just recently.
GORDON
Honey?
DANA
Yeah.
GORDON
That's my drink.
DANA
Ah.
GORDON
Yes.
DANA
Are you allergic to lemon peels?
GORDON
No.
DANA
(TO THE WAITER) Then we're fine.
WAITER
I'll get some menus.
GORDON
Thanks.
CASEY
So I was telling Gordon that it's funny that
you're name is Lisa, because my ex-wife's
name was Lisa. (PAUSE) In fact it still is.
I was married to a woman named Lisa for a
little over ten years, but now I'm not anymore.
LEESA
My name's "Leeza."
CASEY
Leeza?
LEESA
Yes.
CASEY
With a "z"?
LEESA
It's spelled with an "s".
CASEY
But pronounced with an "s".
LEESA
Yes.
CASEY
Interesting. My ex-wife spelled it
with an "s". (BEAT) Pronounced it with
an "s", the whole nine yards.
DANA
You know maybe Leesa doesn't want to
hear all that much about Lisa.
CASEY
Oh, I'm sorry.
LEESA
That's fine.
GORDON
(LIFTING HIS GLASS) Well it's sure
nice being out like this. Cheers.
CASEY/DANA/LEESA
Cheers/Yes/Cheers
THEY ALL TAKE A SIP OF THEIR DRINKS. THERE'S A SHORT PAUSE
BEFORE--
CASEY
So the name of this restaurant is Tony
Anthony's. (BEAT) Anthony Anthony.
EVERYONE IS LOOKING AT CASEY, ASSUMING THERE'S MORE. AND
THERE IS...
CASEY (CONT'D)
In Cuba, Ricky Ricardo would've been
Ricardo Ricardo. And Lucy would've
been pronounced "Loozy".
DANA
Hey you know what might be fun? If you
didn't talk for like, a minute and a
half.
CASEY
Well I definitely will if it means we
can hear more about your citrus
allergies.
DANA
(TO GORDON) Are you gonna let him talk
to me like this?
GORDON
(TO CASEY) It would've been Ricardo
Ricardo.
DANA
Thank you.
CASEY'S CELL PHONE BEEPS.
CASEY
That's me.
DANA
Is it Natalie? If it's Natalie let me
speak to her right away. If it's
anyone from the show, let me speak to
them. Is it someone from the show?
CASEY
I think I'm gonna have to answer the
phone before I can say for sure.
DANA
Yes. Good. Answer the phone.
CASEY
Thank you.
CASEY PUSHES A BUTTON AND SPEAKS INTO THE PHONE--
CASEY (CONT'D)
(INTO PHONE) Hello?
DAN
(OVER PHONE) Hey.
DANA
Is it Dan? If it's Dan I need to talk
to him. No, that's silly, Natalie's
got it under control. Is it Dan?
DAN
(OVER PHONE) What's happenin'?
CASEY
(INTO PHONE) Dana's about to pull a
hamstring, which is more than I
could've hoped for during the Humpty
Dumpty Dancathon.
DANA
The Holly Dixon Dance Company and they
were off their game tonight. Gimme the
phone.
DANA GRABS FOR THE PHONE--
CASEY
Ah, ah, ah...someone forgot the magic
word?
DANA
Please. Would you please give me the
phone?
CASEY
No. (GETTING UP) Leesa would you
excuse me for a second? I'm gonna take
this over where it's quieter.
LEESA
Sure.
CASEY GETS UP AND MOVES OVER TO THE BAR.
DANA
Gordon could I have your phone please?
GORDON
Honey, why don't you just relax
tonight.
DANA
I am relaxed. It's just that it's five
minutes to air, and I'm a little
nervous for Natalie.
GORDON
I'm sure Natalie's fine.
DANA
I'm sure she is. Can I have your
phone?
GORDON
You need to let the show go once in a
while.
DANA
(HUMORING HIIM) Yes I do.
GORDON
You know I'm right.
DANA
(STILL HUMORING) You are right.
GORDON
Then let's just have a good time.
DANA
Let's do. But first, how 'bout you
gimme the damn phone.
GORDON
(HANDING IT OVER) Or I could just
give you the phone.
DANA
Thanks pumpkin. (DIALING--SMILING) I'm
having a really good time. This is
nice.
END OF ACT ONE
ACT II
(C)
FROM THE DARKNESS WE HEAR:
(Kim (VO))
KIM (VO)
Five minutes to air. Five minutes
please.
INT. STUDIO/RESTAURANT - NIGHT - (NIGHT 2)
(Dan, Casey, Dana, Kim, Gordon, Leesa, Redhead, Waiter)
DAN IS STANDING BEHIND THE BACKDROP, TALKING ON THE
PHONE AND EYEING BOBBI BERNSTEIN WHO'S SITTING IN
CASEY'S CHAIR.
DAN
I don't know, man, she's got the crazy
eyes.
CASEY
You shoulda called her.
DAN
I never slept with her.
INTERCUT WITH:
INT. RESTAURANT - CONTINUOUS - (NIGHT 2)
CASEY HAS FOUND A DARK CORNER OF THE PLACE.
CASEY
You should've slept with her and then
called her.
DAN
How's Lisa?
CASEY
(INTO PHONE) I'm having some trouble
pronouncing her name.
DAN
Lisa?
CASEY
It's Leeza.
DAN
With a "z"?
CASEY
No.
DAN
I don't understand.
CASEY
Yeah, me neither.
CASEY IS APPROACHED BY AN ATTRACTIVE RED-HEAD HOLDING A
PEN AND A COCKTAIL NAPKIN--
REDHEAD
I'm sorry, Mr. McCall?
CASEY
Hi.
REDHEAD
I'm so sorry to be uncool like this,
but it's for my boyfriend.
CASEY
What's his name?
REDHEAD
Joe.
CASEY HANDS HER THE PHONE SO HE CAN SIGN THE NAPKIN--
CASEY
Here, say hi to Dan Rydell.
REDHEAD
Seriously?
CASEY
(WHILE WRITING) Tell him to straighten
his tie.
REDHEAD
(INTO PHONE) Oh my God, Dan. I'm
talking to Dan.
CASEY
Like a dream come true.
CASEY TRADES THE PEN AND PAPER FOR THE PHONE--
REDHEAD
Thank you.
CASEY
You bet.
THE REDHEAD WALKS OFF--
CASEY (CONT'D)
(INTO THE PHONE) Tall, pale skin, red
hair.
DAN
Don't tease me.
CASEY
Boyfriend named Joe.
DAN
That's what they say Casey.
CASEY
Hey, you know who looks good tonight?
Dana.
DAN
How does Gordon look?
CASEY
Have a good show.
DAN
Thanks.
CASEY CLOSES HIS CELL PHONE, BUT LOOKS A MOMENT LONGER AT
DANA AS WE RESET TO:
THE TABLE, WHERE DANA IS ENGAGED IN CONVERSATION WITH
GORDON AND LEESA WHILE HOLDING GORDON'S CELL PHONE TO HER
EAR.
DANA
Please understand that it's not that I
don't think Natalie isn't capable.
She's extremely capable. Her
capability really can't be questioned.
But Natalie's young and she's from a
very small town in Ohio. A very small
town. There were 32 people in her high
school class. Her town was so small
it's almost hard to believe she's kept
me on hold this long.
CUT TO:
ACT II
(D)
INT. STUDIO/CONTROL ROOM/RESTAURANT - NIGHT - (NIGHT 2)
(Dan, Casey, Dana, Jeremy, Natalie, Kim, Elliot, Chris, Will,
Dave, Gordon, Leesa, Bobbi)
DAVE
Stand-by audio, stand by VTR.
NATALIE
Elliot, get me F/X-4.
ELLIOT
Comin' to you.
NATALIE
Thank you. Show me San Diego and preview 7.
CHRIS
Seven's up.
WILL
San Diego on 2.
KIM
Dana's still on hold.
NATALIE GRABS A PHONE--
NATALIE
(INTO PHONE) This is a comfortable
chair.
INTERCUT:
INT. RESTAURANT - CONTINUOUS - (NIGHT 2)
DANA
You took your sweet time.
NATALIE
Hey, could you put Casey on the phone
for a second?
DANA
But--
NATALIE
Just for a second, then right back to you.
CASEY HAS WALKED BACK TO THE TABLE IN TIME FOR--
DANA
(TO CASEY) She wants to talk to you.
CASEY
(INTO PHONE) Hey, Nat.
NATALIE
Keep her off the phone.
CASEY
You bet.
CASEY CLOSES THE PHONE AND HANDS IT BACK TO GORDON--
DANA
Hey, hey!
GORDON
Thank you.
CASEY
Hey what do you know about the fennel
salad here?
GORDON
What do you need to know?
CASEY
Well...like...what's fennel?
DANA
Excuse me.
DANA GETS UP AND GOES TO THE BAR--
LEESA
Where's she going?
GORDON
She's going to tell the bartender to
change the channel to the CSC.
CASEY
You see, Leesa, unlike Dana, I'm able
to enjoy a relaxing night out. What
time do you have?
LEESA
It's about--
CASEY
I mean the exact time, don't gimme
about.
GORDON
(RESIGNED) It's eleven o'clock.
WE HEAR THE WHOOSH OF THE SPORTS NIGHT OPENING AND SEE THE
LOGO FLY ACROSS THE SCREEN.
CASEY
Eat 'em up, Danny.
CASEY LOOKS BACK AT LEESA, WHO'S STARING AT HIM...
CASEY (CONT'D)
(TO LEESA) How ya doin.
CUT TO:
ACT II
(E)
INT. STUDIO/CONTROL ROOM - NIGHT - (NIGHT 2)
(Dan, Jeremy, Natalie, Kim, Elliot, Chris, Will, Dave, Bobbi)
DAN AND BOBBI SIT BEHIND THE ANCHOR DESK. BOBBI IS LOOKING
DOWN, MARKING UP COPY.
DAN
Listen. Please. Listen to me. You're
obviously mixing me up with someone
else.
BOBBI
You know something, Dan? I'm a
professional broadcaster and I have a
broadcast to do. You got me at a time
in my life when I was very vulnerable,
but you'll be happy to know that I'm
not that silly little girl anymore.
No. Those days are over.
DAN
It wasn't me.
BOBBI
Let's not play these games.
DAVE
In three...two...
DAN
Good evening, from New York City I'm
Dan Rydell alongside Bobbi Bernstein
sitting in for Casey McCall. Those
stories plus, we're takin' you to
Talladega, Tallahassee and Tuscaloosa,
where the ball had trouble finding the
basket.
BOBBI
We'll take you to Salt Lake, Westlake
and Westwood, where the team had
trouble finding the bus. All that
comin' up after this. You're watching
Sports Night on CSC, so stick around.
DAVE
We're out.
KIM
Two minutes back.
ELLIOT HANGS UP THE PHONE.
ELLIOT
Natalie?
NATALIE
Yeah.
ELLIOT
I just talked to my guy at
LAX.
NATALIE
Yeah.
ELLIOT
Are you ready for this?
NATALIE
What?
ELLIOT
They weren't on the charter.
NATALIE AND JEREMY LOOK AT EACH OTHER A MOMENT--
NATALIE
Are you sure?
ELLIOT
Yeah.
NATALIE
I mean is he sure? The guy in LA.
ELLIOT
He says they weren't on the plane with
the team.
JEREMY
Did I call it?
NATALIE
(TO ELLIOT) Who else knows?
ELLIOT
I don't know.
JEREMY
She means the guy at the airport. Who
else has him?
ELLIOT
Nobody.
JEREMY
You trust him?
ELLIOT
Yeah.
NATALIE
Kim. The Breakfront Hotel in Vero
Beach. Ask for housekeeping. When you
get housekeeping, as for Angela. Tell
Angela that Natalie Hurley would like
her to go to Mr. McDermott's room to
see if he'd like turn down service.
KIM
Do I wait?
NATALIE
She'll call back.
KIM GOES OFF--
JEREMY
(TO NATALIE) Let's get this.
NATALIE
Stand by five.
CUT TO:
ACT II
(H)
INT. RESTAURANT - NIGHT - (NIGHT 2)
(Casey, Dana, Gordon, Leesa, Waiter)
THE WAITER IS PLACING FOOD IN FRONT OF THEM. ALCOHOL IS
BEGINNING TO HAVE ITS EFFECT ON DANA.
DANA
Ah. Nothing like a good shrimp
cocktail. Shrimp cocktail is comfort
food. Shrimp cocktail and a couple of
vodka martinis.
GORDON
I'm glad you're starting to relax.
DANA
I love shrimp cocktail. You're out of
town covering a game, you're in a
strange hotel, you know what you do?
GORDON
Order a shrimp cocktail.
DANA
You order a shrimp cocktail.
GORDON
Leesa, tell Casey about what that guy
said this morning.
DANA
Casey's not paying attention.
CASEY
Yes I am.
DANA
In your head, you were counting
yourself back from the commercial.
CASEY
No I wasn't.
DANA
You were counting yourself back in
that big block head of yours.
CASEY
Dana's a lot of fun, isn't she?
DANA
I, on the other hand, am relaxing and
enjoying a shrimp cocktail.
CASEY
(TO LEESA) Tell us the story.
DANA
It's just that there's this trade
deadline.
GORDON
I know.
DANA
And there could be a last minute
trade.
GORDON
There's not gonna be a last minute
trade.
DANA
You're an expert all of a sudden?
GORDON
Natalie can handle it.
CASEY
(TO LEESA) Tell me the story about the
guy.
DANA
Did I mention that the place where
Natalie grew up is very small?
CUT TO:
ACT II
(J)
INT. STUDIO/CONTROL ROOM - NIGHT - (NIGHT 2)
(Dan, Isaac, Jeremy, Natalie, Kim, Elliot, Chris, Will, Dave,
Bobbi)
KIM ENTERS--
NATALIE
(INTO PHONE) Stevie, that's a slow
ten. Kim, what do you got?
KIM
The housekeeping woman said there were
five men in the room and she described
them this way: (READING FROM NOTES)
Tall, balding man with a mustache and
slightly tinted glasses--
JEREMY
That's Marvin Kaufman.
NATALIE
Who else?
KIM
Late 20's, tan, Pat Reilly hair.
JEREMY
Don't know.
NATALIE
Who else?
KIM
Heavy set, beard--
NATALIE
That's Rudin.
JEREMY
They're making the trade.
IN THE STUDIO--
BOBBI
You know, Dan, it was Spain. I was
young, and wide-eyed, and in Spain.
And I don't mind so much that you took
advantage of what was obviously a very
vulnerable time in my life. I don't
mind that you danced with me and held
me and whispered your lies in my ear,
but to not call me again...
DAN
In my entire life, I've never been to
Spain.
BOBBI
LIES!
DAN
(CALLING) Natalie!
NATALIE'S ALREADY COMING TO THE STUDIO--
NATALIE
Dan--
DAN
Would you tell her that--
NATALIE
We've got a situation.
DAN
What's goin' on?
NATALIE
Elliot's contact at LAX says someone
never got on the charter and Kaufman,
Rudin and two other guys are sitting
in McDermott's hotel room in Vero
Beach.
DAN
Let's get it.
NATALIE
Work the phones.
NATALIE GOES BACK--
DAN
(TO BOBBI AS HE DIALS A PHONE) Who do
you know with the Dodgers?
BOBBI
Flowers, I'm sure, would've been too
much to ask from the great Dan Rydell.
DAN
Hey. Crazy Lady. We've got breaking
news, are you up for this?
BOBBI
Sure Dan. Whatever you say. Women are
just here for you.
DAVE
In three...two...
BOBBI
Thank you Tracy Heller. We'll be going
back to the Garden later in the show,
but first--
CUT TO:
ACT II
(K)
INT. RESTAURANT - NIGHT - (NIGHT 2)
(Casey, Dana, Gordon, Leesa)
ON THE TELEVISION ABOVE THE BAR, THE SHOW IS PLAYING.
BOBBI (ON TV)
--a little trip to Cameron Indoor
Stadium, where the Duke Blue Devils
played host to their cross-town
rivals. The University of North
Carolina Tar Heels, coming off the win
against LSU, had their sights set on--
DANA
She's going fine.
CASEY
Yes she is.
DANA
Ooh.
CASEY
What?
DANA
Jealous?
GORDON
Guys.
DANA
The fill-in's doin' fine.
CASEY
I agree.
DANA
Then why did you say what you said?
CASEY
What did I say?
DANA
You said she's doing fine.
CASEY
You said she's doing fine.
DANA
What'd you say?
CASEY
I said "Yes she is".
DANA
And what'd you mean by that?
CASEY
I meant that she was doing fine.
LEESA
(TO DANA) Listen, I don't know you two
very well, and maybe it's because
you're drunk, but I think you're
unnecessarily intense about your show.
Gordon's right. It's just sports, for
cryin' out loud, it's not the Paris
Peace Talks.
DANA
Hey, why don't you get yourself a real
name.
CASEY
(RE: THE TV) Nice!
GORDON
Food's here.
CUT TO:
ACT II
(L)
INT. STUDIO/CONTROL ROOM - NIGHT - (NIGHT 2)
(Dan, Isaac, Jeremy, Natalie, Kim, Elliot, Chris, Will, Dave,
Bobbi)
ISAAC IS IN THE ROOM NOW AND IS STANDING BEHIND
NATALIE. ELLIOT IS ON THE PHONE.
ELLIOT
We just want you to confirm or deny.
ISAAC
We're not gonna make it.
NATALIE
Isaac--
ELLIOT
We don't want to use your name, can we
just say "confirmed" is what I'm
asking.
NATALIE
Chris, gimme a preview of 66 and 70.
ISAAC
You need 68.
DAVE
Stand by 60.
CHRIS
You want 68?
NATALIE
Just 66 and 70.
ISAAC
And 68.
NATALIE
Isaac--
CHRIS
68's coming.
NATALIE
I don't need 68.
ISAAC
You need 68.
NATALIE
No I don't.
ISAAC
Chris, show her 68.
NATALIE
Chris, preview 66 and 70. Isaac,
please stay quiet.
ISAAC
Please stay quiet?
NATALIE
We blew off 68 in the ten o'clock run
down, now please stay quiet.
DAVE
Go 60.
NATALIE
Isaac--
ISAAC
May I ask why?
NATALIE
Not right now you can't. Right now you
can either fire me or stay quiet.
ISAAC
You're very good.
ELLIOT
He won't comment, but it's happening.
JEREMY
You let him up off the mat.
NATALIE
Jeremy--
ELLIOT
He wouldn't comment.
JEREMY
You let him up off the mat, Elliot.
Dammit! This guy's calling Vero Beach
right now and everyone in Florida's
gonna shut the hell up.
NATALIE
Cool it, Jeremy.
JEREMY
That is, until they can feed it to
anyone who works for Rupert Murdoch.
NATALIE
Cool it.
JEREMY
That was a blown phone call.
NATALIE
And I said cool it! (BEAT) Elliot, you
feel okay saying "unconfirmed
reports"?
ELLIOT
Yeah.
NATALIE
Kim?
KIM
Yeah.
JEREMY
Natalie, you can't run any report.
You've got a baggage handler and a
chamber maid. No one's saying this is
happening.
NATALIE
(TO JEREMY) You want to leave the
room?
JEREMY
No.
NATALIE
Then allow for the possibility that
from time to time, other people might
be at least as smart as you are.
Isaac?
ISAAC
Yeah.
NATALIE
"Unconfirmed reports" and I call
McDermott?
ISAAC
Absolutely.
NATALIE
(TO KIM) Get me the hotel.
JEREMY LEANS INTO ELLIOT...
JEREMY
(QUIETLY) Sorry about that.
ELLIOT
Yeah.
JEREMY
Elliot, we don't even have unconfirmed
reports.
ELLIOT
McDermott doesn't know that.
NATALIE
(INTO HEADSET) Dan.
IN THE STUDIO, WE WATCH DAN LISTENING TO NATALIE THROUGH
HIS EARPIECE, THEN--
DAN
Sources inside the Dodger
organisation?
NATALIE
Say "Sources in the General Manager's
office".
DAN
You sure you wanna do this?
NATALIE
Yeah.
DAN
Okay.
NATALIE
Talk to me.
DAN
Do it.
KIM
(TO NATALIE) You've got the hotel.
NATALIE
McDermott?
KIM
Yeah.
DAVE
10 seconds back.
NATALIE PICKS UP THE PHONE--
NATALIE
(INTO PHONE) Mr. McDermott, this is
Natalie Hurley over at Sports Night
and I'm very sorry to bother you this
late, but we've got two people from
your office who say you're about to
close a seven player trade. (BEAT)
Well you don't have to take my word
for it, sir, you can turn on your
television set right now.
DAVE
In three, two--
AS THE SHOW COMES BACK A BREAKING NEWS GRAPHIC RUNS ACROSS
THE BOTTOM OF THE SCREEN.
DAN
Welcome back, we have an unconfirmed
report involving the Los Angeles
Dodgers and a seismic seven player,
eleventh-hour deal.
NATALIE
Nice Dan.
DAN
The trade they say was dead, has, it
appears come back to life.
CUT TO:
ACT II
(M)
INT. RESTAURANT - NIGHT - (NIGHT2)
(Casey, Dana, Gordon, Leesa)
CASEY IS AT THE BAR WITH LEESA, TRYING VERY HARD NOW TO BE
A GOOD DATE, AS THE TELEVISION PLAYS OVER THE BAR.
DAN (ON TV)
Sources close to the General Manager's
office have--
LEESA
I think it was a good idea that we
stepped over to the bar for a drink.
CASEY
Absolutely.
LEESA
The environment was getting hostile at
the table.
CASEY
And I really haven't been a very good
date.
LEESA
No you haven't.
CASEY
But we have the whole rest of the
night, and I think I can make a
comeback.
LEESA
Well okay then.
CASEY
Can I just ask you a question?
LEESA
Sure.
CASEY
(RE: THE TV) Did he just say something
about unconfirmed reports of a trade?
LEESA
Yes.
CASEY
(PAUSE--TENSE) Okay.
AT THE TABLE--
DANA
Have you noticed how I haven't looked
at the television for a while?
GORDON
Yes I have.
DANA
I've been rotten tonight.
GORDON
Yes you have.
DANA
I'm not the world's greatest
girlfriend, am I?
GORDON
There's some room for improvement.
DANA
(PAUSE) That actually wasn't the
response I was hoping for.
GORDON
Look, Dana, I don't know if--
GORDON'S INTERRUPTED BY CASEY WHO'S COME OVER TO THE TABLE
CASEY
Dana.
DANA
(ANNOYED) What?
CASEY
Unconfirmed reports out of Vero Beach.
DANA
(BEAT) Excuse me.
GORDON
Go.
DANA
I'll be right back.
GORDON
Go.
DANA HEADS TO THE BAR WITH CASEY AS WE CUT TO:
ACT II
(P)
INT. STUDIO/CONTROL ROOM - NIGHT - (NIGHT 2)
(Dan, Isaac, Jeremy, Natalie, Kim, Elliot, Chris, Will, Dave,
Bobbi)
NATALIE'S ON THE TELEPHONE, WAITING FOR ANSWER.
ISAAC
Bristol's got nothing?
ELLIOT
Yeah.
ISAAC
Fox?
KIM
Nothing.
DAN
Fox isn't going with it?
NATALIE
No.
ISAAC
We're lookin' awfully alone out here,
Natalie, let's be right.
NATALIE
(ON PHONE) Yeah, I'm still holding.
BOBBI
I guess my only question for you Dan is why.
DAN
Oh for God's sake.
BOBBI
Is it so hard for you to be with a
woman who's your equal?
DAN
I didn't sleep with you. If I'd have
slept with you I'd have called you.
If I'd slept with you, you'd know it.
If I'd have slept with you, I'd know
it.
NATALIE HANGS UP THE PHONE--
NATALIE
Confirmed.
ISAAC
What?
NATALIE
Confirmed.
JEREMY
You're kidding.
NATALIE
Danny?
DANNY LISTENS FOR A MOMENT BEFORE--
DAN
Fantastic. Way to go Natalie.
BOBBI
Are you sleeping with Natalie?
DAN
Would you shut up.
DAVE
In three, two--
WE COME BACK TO THE SHOW WITH THE BREAKING NEWS BANNER--
DAN
The Lady Tigers have won seven in a
row at home and ten of their last
twelve. The unconfirmed reports from
the Dodger camp have now been
confirmed, and CSC is now reporting
that--
CUT TO:
ACT II
(R)
INT. RESTAURANT/STUDIO/CONTROL ROOM - NIGHT - (NIGHT 2)
(Dan, Casey, Isaac, Dana, Jeremy, Natalie, Kim, Elliot,
Chris, Will, Dave, Gordon, Leesa, Bobbi)
AS DANA AND CASEY WATCH FROM THE BAR
DAN (ON TV)
--a seven player trade, including three All-
Stars, has beaten the trade deadline by a
scant four minutes. For more, let's go to
Kelly Kirkpatrick in Atlanta. Kelly?
DANA
She did it.
CASEY
Yeah. What was Gordon about to say?
DANA
When?
CASEY
Just now.
DANA
Nothing.
CASEY
(PAUSE) You looked really nice tonight, Dana.
DANA LOOKS AT CASEY FOR A LONG MOMENT, CASEY TAKES OUT HIS
CELL PHONE, DIALS, AND HANDS IT TO DANA
DANA
Thanks. (INTO PHONE) Hey girl. Look what you did.
INTERCUT WITH:
INT. STUDIO/CONTROL ROOM - CONTINUOUS - (NIGHT 2)
NATALIE
How's dinner.
DANA
Casey doesn't like fennel salad.
DAN
Thank you Kelly Kirkpatrick. Once again,
in a stunning last minute trade--
DANA
Take a bow, Natalie.
NATALIE
You think?
DANA
Absolutely.
NATALIE
(INTO HEADSET) Tag it, Dan.
DAN
(SMILES) ...for a total package in
excess of 120 million dollars. That
was a CSC exclusive--
AND ON THE WORD "EXCLUSIVE", A CHEER GOES UP IN THE
CONTROL ROOM--
DAN (CONT'D)
--and you've been watching Sports
Night.
I'm Dan Rydell alongside Bobbi
Bernstein, that's all for us, have a
good night.
DAVE
Music.
WILL
Go.
DAVE
Animation.
CHRIS
Go.
DAVE
We're out.
ANOTHER CHEER AS THE SHOW ENDS.
NATALIE
Nice show everybody. Way to go.
DAN
Natalie, there's beer for you in my
office right now.
ISAAC
This woman gets scotch in my office.
NATALIE
I'll be right there, guys.
EVERYONE'S ON THEIR WAY OUT--
BOBBI
You see. And that's what's cruel. To
lift a woman's spirits and then dash
them to the ground.
DAN
Well it's the only way I can get them
to my laboratory.
DAN AND BOBBI ARE OUT THE DOOR NOW, AND THE CONTROL ROOM IS
EMPTY EXCEPT FOR NATALIE AND JEREMY.
JEREMY DOESN'T QUITE KNOW WHAT TO SAY...
JEREMY
You're good, Natalie.
NATALIE
Yeah.
JEREMY
I'm sorry.
NATALIE
What'd you think I was around here,
Jeremy, some Gal Friday?
JEREMY
(STARING AT HER) No. (BEAT) I just
didn't know you were that good.
NATALIE
Well... you were right about the trade.
NATALIE TAKES OUT A CRISP FIVE DOLLAR BILL AND
CEREMONIOUSLY PLACES IN JEREMY'S BREAST POCKET. SHE LEAVES
HER FINGERS IN HIS POCKET AND PULLS HIM TOWARD HER AND
KISSES HIM.
NATALIE (CONT'D)
Go log the floor manager's report and
then come have a drink.
JEREMY
(NODS) You bet.
JEREMY LEAVES THE CONTROL ROOM. NATALIE IS ALONE. SHE
TAKES A LONG MOMENT, DRINKS IT IN, THEN PUMPS HER FIST AND
SLAPS THE CONSOLE. WE'RE LISTENING TO THE MUSIC OF MR.
JOHN COUGAR MELLENCAMP AS WE:
FADE TO BLACK:
END OF SHOW