"Sally"
by
Rachel Sweet
and
Aaron Sorkin
Directed by
Robert Berlinger
Table Draft - 11/08/98
1st rev. - 11/9/98 (Blue)
2nd rev. - 11/9/98 (Pink)
3rd rev. - 11/10/98 (Yellow)
4th rev. - 11/12/98 (Green)
5th rev. - 2/4/99 (Salmon)
6th rev. - 2/4/99 (White)
7th rev. - 2/5/99 (Buff)
8th rev. - 2/11/99 (Lilac)
SPORTS NIGHT
"Sally"
Cast
Sports Night
(TEASER)
INT. DAN AND CASEY'S OFFICE/ISAAC'S OFFICE - DAY - (DAY 1)
(Dan, Casey, Isaac, Dana, Jeremy)
DAN AND CASEY ARE SITTING AROUND.
DAN
Was it your favorite?
CASEY
The shirt?
DAN
Was it your favorite shirt?
CASEY
I don't have a favorite shirt.
DAN
The white J. Press.
CASEY
That's not my favorite shirt.
DAN
The white J.Press isn't your favorite
shirt?
CASEY
No.
DAN
What's your favorite shirt?
CASEY
I don't have a favorite shirt.
DAN
What shirt are you missing?
CASEY
I'm missing the white J. Press.
DAN
Your favorite.
CASEY
Shut up.
DAN
How did you lose it?
CASEY
I didn't lose it.
DAN
Then why can't you find it.
CASEY
I didn't say I couldn't find it. I
said I didn't have it.
DAN
Wait. (BEAT) Wait.
CASEY
Dan--
DAN
Wait--
CASEY
Leave it alone.
DAN
Oh my goodness gracious.
CASEY
Danny--
DAN
You had sex with a woman.
CASEY
No.
DAN
Yes.
CASEY
No.
DAN
You did.
CASEY
I didn't.
DAN
You went to a woman's apartment, and
there you had win. And there you had
sex.
CASEY
You are way off base. That is not what
happened. Except, yes, that's what
happened.
DAN
(SMILING) Casey--
CASEY
Fine.
DAN
I'm so proud.
CASEY
Thanks very much.
DAN
I have such love for you right now.
CASEY
I've never liked you at all.
DAN
You've got that rosy glow about you.
RESET TO:
INT. ISAAC'S OFFICE - DAY - (DAY 1)
ISAAC SITS AT HIS DESK, DANA IN THE CHAIR, JEREMY STANDS
BEFORE THEM.
JEREMY
So here's the thing. Natalie's invited
me to spend Easter at her parents'
house in Ohio. It would be three days
and two nights that would include
various family and holiday oriented
events such as dinners and trips to
church. Now. I'm Jewish.
DANA
No kidding?
JEREMY
Right. And I need some guidance.
'Cause I don't mind telling you, I'm
feeling just a little anxious about
this. Number-1: Is it too early in our
relationship for me to be spending
three days at her parents'. I mean,
it's not like I'm Pacino going back to
Corleone and bringing gifts to
Appolonia's family. And Number-2: I'm
Jewish. And her family is, you know,
incredibly not. Which isn't, by the
way, any sort of problem for me, but I
do think it might be a problem for
them, because I did, after all, kill
their Lord, Jesus Christ. (BEAT) Not
me directly, I didn't drive the
getaway car or anything. In fact, my
family's from Latvia, so we've got a
pretty solid alibi, but anyway, Isaac,
what do you think?
ISAAC
Oh my God, were you talkin' to me that
whole time?
JEREMY
You want me to start again?
ISAAC
Yeah. But first, could you just hit me
over the head with that blunt
instrument over there?
DANA
Jeremy, is there any news to report?
JEREMY
On what?
DANA
On the news.
JEREMY
Is there any news to report?
DANA
Sports, the news, your job, I'm saying
is there any news to report!
JEREMY
I gotta tell you, there really isn't.
DANA
Isaac's got a lot of work to do.
JEREMY
How 'bout we talk about it later.
ISAAC
Excellent.
JEREMY EXITS--
DANA
You must be getting tired of hearing
everyone's personal problems.
ISAAC
Just a little.
DANA
It's an office, after all.
ISAAC
That's right.
DANA
You're our boss, not our bartender. We
shouldn't be leaning on you like this.
ISAAC
Just as long as we're professional.
DANA
Gordon stood me up last night.
ISAAC
You were supposed to go out?
DANA
We were supposed to go out.
ISAAC
Ah.
DANA
Is that all you have to say?
ISAAC
I'm surprised I could muster up that
much.
DANA
We were gonna go to dinner and a late
show at Rainbow and Stars. But he had
to work late. Which--look--I'm not
gonna be one of those women. He's got
an important job, which he loves. He
had to work late.
ISAAC
When I was eleven, I had a pet fish
that died.
DANA
What does that have to do with Gordon
standing me up?
ISAAC
Nothing. I thought you were finished.
DANA
Isaac--
ISAAC
Dana, go do your show.
DANA
Right.
DANA TURNS AND LEAVES, PASSING CASEY ON HIS WAY IN--
CASEY
(TO DANA) Hey.
DANA
Hey.
CASEY
How was it last night?
DANA
Great. It was great. Dinner at Rainbow
and Stars, dessert at Cafe Luxembourg,
then we stayed up all night and we
laaauuughed.
DANA IS GONE. CASEY TURNS TO ISAAC...
CASEY
What was that about?
ISAAC
There's nothing like Tuesdays at non. No
news, nothing to keep your minds busy.
CASEY
Everyone coming in here with their
personal problems.
ISAAC
As if--
CASEY
I had sex last week for the first time
since Lisa and I split up.
It was with a woman I hardly know, and
I'm feeling kind of conflicted about
it. For many reasons, I suppose, not
the least of which is that I obviously
hae to confront some unresolved
feelings for Dana.
ISAAC STARES BLANKLY AT CASEY...
CASEY (CONT'D)
Plus, I really miss my shirt.
ISAAC GETS UP--
ISAAC
Keep talking. I'm just going to start
drinking now.
CUT TO:
ACT I
(A)
INT. NEWSROOM - DAY - (DAY 1)
(Kim, Elliot, Chris, Will, Dave)
KIM AND ELLIOT SIT AT THEIR DESKS. DAVE, CHRIS AND WILL SIT
AROUND. NOBODY SAYS ANYTHING. WHEN THEY DO SPEAK, IT'S IN
THE DELIBERATE WAY THAT PEOPLE MIGHT SPEAK IN THEIR 17TH
DAY ON A LIFEBOAT AT SEA.
DAVE
It's noon.
KIM
Yes.
ELLIOT
High noon.
KIM
That's right.
CHRIS
This is no time to be awake.
KIM
It's not.
ELLIOT
It's an eleven p.m. show.
KIM
Yes.
ELLIOT
We're creatures of late-night.
DAVE
The midnight hour.
WILL
We're late-night creatures.
ELLIOT
And yet we're here.
CHRIS
Here we are.
ELLIOT
Here at noon.
CHRIS
Every day of our lives.
THERE'S A LONG PAUSE BEFORE...
ELLIOT
Is it me, or is this an incredibly
slow news day.
CHRIS
It's very slow.
DAVE
It's excrutiatingly slow.
WILL
Yet here we are.
KIM
Here we be.
CHRIS
Waiting for the news to happen.
ELLIOT
Waiting for the games to start.
KIM
What time does the first game start,
Elliot?
ELLIOT
In seven hours.
KIM
Wow.
CHRIS
What is it, Kim?
KIM
I was just thinking.
WILL
What?
KIM
Sometimes this job really sucks.
CUT TO:
ACT I
(B)
INT. EDITING ROOM - DAY - (DAY 1)
(Dana, Jeremy, Natalie)
NATALIE IS SITTING AT THE MONITOR. DANA IS STARING OUT THE
GLASS PARTITION. THROUGH THE GLASS, WE CAN SEE JEREMY AT
THE CRAFT SERVICE TABLE WITH A PITCHER, SPOON, A CARTON OF
SOMETHING...HE'S WORKING ON A CONCOCTION OF SOME SORT.
NATALIE
Aren't we supposed to be featuring the
box-and-one?
DANA
Yes.
NATALIE
Well we can probably find a better
example of a box-and-one.
DANA
Why?
NATALIE
'Cause this isn't a box-and-one.
DANA
What's Jeremy doing out there?
NATALIE
He's making egg-nog.
DANA
He's making egg-nog?
NATALIE
Isn't he sweet?
DANA
Why's he making egg-nog?
NATALIE
'Cause he hates it.
DANA
He doesn't like egg-nog.
NATALIE
It makes him sick.
DANA
Does he know that no one drinks egg-
nog at Easter?
NATALIE
He thinks that we do.
DANA
You don't want to set him straight?
NATALIE
He's just getting the hang of it.
DANA
Let's talk about work.
NATALIE
Alright, the box-and-one, especially
if we're talking about North Carolina--
DANA
Everything's good now.
NATALIE
I'm sorry?
DANA
Everything's good.
NATALIE
With Gordon.
DANA
Yes.
NATALIE
Excellent.
DANA
The ski weekend was good.
NATALIE
Good.
DANA
That was all I had to say.
NATALIE
Okay. The North Caroline--
DANA
I meant that it was right.
NATALIE
The ski weekend.
DANA
It was the right thing to do. Two
people talk, they straighten things
out--
NATALIE
So everything's good.
DANA
It is.
NATALIE
Excellent. North Caroline has--
DANA
It's better than good.
NATALIE
I'd have settled for good.
DANA
This is better.
NATALIE
Good.
DANA
North Carolina.
NATALIE
Yes.
DANA
Here's the thing:
NATALIE
Dana--
DANA
It's just this one thing.
NATALIE
What?
DANA
It's this. And I preface this by saying--
NATALIE
--that everything's good?
DANA
Everything's very good.
NATALIE
But here's the thing:
DANA
He stood me up last night.
NATALIE
(BEAT) Ah.
DANA
Yes.
NATALIE
Why?
DANA
He said he had to work late.
NATALIE
Maybe he had to work late.
DANA
I'm sure he had to work late. Gordon
doesn't lie. He wouldn't lie to me.
And, plus, he oftentimes has to work
late. So...I am just a ridiculous
person.
NATALIE
You want to talk about it?
DANA
No. No I don't. I want to work.
NATALIE
When North Carolina throws the box and
one--
DANA
My instinct is to call him.
NATALIE
Don't.
DANA
I know.
NATALIE
Repel that instinct.
DANA
I'm trying.
NATALIE
Dana?
DANA
Yeah?
NATALIE
You don't want to be that kind of
woman.
DANA
I don't.
NATALIE
You don't want to make that call.
DANA
It's not attractive.
NATALIE
It's not attractive.
DANA
It's not attractive, and I'll tell you
what else: It's no fun.
NATALIE
That's right.
DANA
"Were you really working last night or
can I just turn you off a little more
by being insane?"
NATALIE
You don't want to be that.
DANA
I do not.
NATALIE
That's right.
DANA
And yet it seems I am.
NATALIE
Yes indeed.
DANA
I am that woman.
NATALIE
But you can grow.
DANA
That's right.
NATALIE
You can grow.
DANA
I can grow. I'm ripe for growth. I'm
nothing if not potential.
NATALIE
Yes.
DANA
But I don't think it's gonna happen
today.
NATALIE
You're gonna call him?
DANA
I wouldn't put it past me.
NATALIE
I don't think you should call him.
DANA
I don't think so either.
NATALIE
Things are good.
DANA
They're very, very good.
NATALIE
It wouldn't be attractive.
DANA
No.
NATALIE
It won't be endearing.
DANA
That's right.
NATALIE
It's a bad idea.
DANA
Yet here I go.
DANA PICKS UP THE PHONE AND BEGINS TO DIAL AS WE:
CUT TO:
ACT I
(C)
INT. DAN AND CASEY'S OFFICE - DAY - (DAY 1)
(Dan, Casey)
DAN
How exactly did the shirt get left
behind?
CASEY
We don't really have to talk about
this do we?
DAN
I think we do.
CASEY
Yeah?
DAN
I think it's good for you.
CASEY
Thanks.
DAN
How did the shirt get left behind?
CASEY
I spilled wine.
DAN
She offered to throw it in the
laundry.
CASEY
I told her not to go to any trouble.
DAN
Oh it's no trouble.
CASEY
But then morning comes around--
DAN
And you don't feel like sticking
around for the shirt to come out of
the drier.
CASEY
So I put my jacket on over my tee-
shirt--
DAN
And slink on home.
CASEY
I didn't slink.
DAN
What time was it?
CASEY
About six a.m.
DAN
Just getting light outside?
CASEY
Yeah.
DAN
Jacket over the tee-shirt?
CASEY
Like I said.
DAN
You slinked.
CASEY
Danny--
DAN
You slinked, my young friend. I've
never felt closer to you in my entire
life.
CASEY
I want my shirt back.
CUT TO:
ACT I
(D)
INT. EDITING ROOM/STUDIO/CRAFT SERVICE AREA - DAY - (DAY 1)
(Dana, Jeremy, Natalie)
NATALIE IS SITTING ON THE SOFA, DANA IS ON THE PHONE.
DANA
(INTO PHONE) I'll tell you why I
called, and this is going to sound silly:
NATALIE
Abort, Dana.
DANA
There was no reason for this call.
(LISTENS) There was absolutely no
reason. This was a call in the middle
of the day to say hello. (LISTENS)
Because that's the cut of my jib.
NATALIE
Would you please?
DANA
(INTO PHONE) That would be great.
That would be really good. (TO
NATALIE) This is really good. (INTO
PHONE) That's really good. I'll see
you later. Goodbye.
DANA HANGS UP THE PHONE--
DANA (CONT'D)
He's coming over here tonight for the show.
Then we're gonna go out. The tone in his
voice, his tone of voice, it was all I needed
to hear. I could tell right away.
NATALIE
I'm glad.
DANA
You see what I'm talking about?
Communication.
NATALIE
Yes.
DANA
Between two people.
NATALIE
Yes.
DANA
"Not the cut of my jib." I've never
said that before.
NATALIE
It sounded good.
DANA
Jeremy's still at it with the eggnog?
NATALIE
He badly wants to be accepted by my
parents.
DANA
Yes.
NATALIE
Come to think of it, so do I.
DANA
Sure.
NATALIE
Look. An editing machine. We could work.
DANA
His tone of voice--
NATALIE
You guys'll have a great time tonight.
DANA
Things are very good right now.
NATALIE
That's right.
DANA
I was feeling strange, and now I'm not
feeling strange anymore.
NATALIE
Good. North Carolina.
DANA
I still feel strange.
NATALIE
I know.
DANA
Why do I feel strange?
NATALIE
I have a theory.
DANA
You have a theory about this?
NATALIE
I have a theory about why you're
feeling strange.
DANA
I know you do, but I choose not to
hear it.
NATALIE
Well life's not quite like that, is
it, though?
DANA
No it's not.
NATALIE
Here's my theory:
DANA
Yes?
NATALIE
You don't like Gordon.
DANA
That's an interesting theory, and
you'd be completely right except for
the fact that you're totally wrong.
NATALIE
Dana--
DANA
Natalie--
NATALIE
This is you and me talking Dana. I'm
not other people. This is our little
coven of women.
DANA
A coven is a group of witches.
NATALIE
I thought a coven was just a group.
DANA
It's a group of witches.
NATALIE
All right, then it's our little
something else.
DANA
Also, because a coven is more than
two.
NATALIE
A coven is more than two?
DANA
Yes.
NATALIE
Are you sure?
DANA
Yes.
NATALIE
Are you absolutely sure?
DANA
Yes.
NATALIE
Then thank you, William Safire.
DANA
I'm just saying, if you're gonna mis-
use the word, you should do it
properly.
NATALIE
You don't like Gordon.
DANA
That's not true.
NATALIE
It is true, and you happen to be the
only one who doesn't know it.
DANA
I like Gordon a lot. I love Gordon.
I'm telling you--
NATALIE
And I'm telling you that when you use
that word in a romantic context you
have absolutely no idea what you're
talking about.
DANA
(BEAT) Well now.
NATALIE
The box-and-one.
DANA
That was a lousy thing to say about
Gordon.
NATALIE
I didn't say it about Gordon, I said
it about you.
DANA
Let's work.
NATALIE
That'd be fine.
DANA
I'm calling him again.
NATALIE
To hear his tone of voice?
DANA
That's right.
NATALIE
Imagine my surprise.
DANA
I'd like some privacy.
NATALIE
I'll go get some Fritos.
DANA
Thank you.
NATALIE
Would you like any Fritos?
DANA
No, I'm fine.
NATALIE
I'll be the judge of that.
DANA
Apparently you will be.
NATALIE STEPS OUT AS WE:
RESET TO:
INT. STUDIO/CRAFT SERVICE AREA - CONTINUOUS - (DAY 1)
NATALIE COMES OUT OF THE EDITING ROOM. JEREMY IS STILL
STANDING BY THE CRAFT SERVICE TABLE. HE HAS A BLANK
EXPRESSION ON HIS FACE.
NATALIE
(TO JEREMY) I have to say, this is one
of those moments I'm compelled to tell
you how wonderful you are. Every once
in a while I'm reminded how lucky I am
that I'm dating a solid, mature man.
(PAUSE) Jeremy, swallow the egg-nog.
EGG-NOG SPILLS OUT OF JEREMY'S MOUTH AS HE DROOLS THE
WORDS--
JEREMY
I just can't.
END OF ACT I
ACT II
(E)
INT. NEWSROOM - DAY - (DAY 1)
(Jeremy, Kim, Elliot, Chris, Will, Dave)
KIM, ELLIOT, DAVE, CHRIS AND WILL ARE STILL SITTING
AROUND. LIFE HASN'T GOTTEN ANY MORE EXCITING. THEY DO
THE
CROSSWORD, PLAY SOLITAIRE, KIM DOES HER NAILS, ETC.
KIM
Anybody remember Salanio and Salerio.
WILL
Yes.
KIM
Chris?
CHRIS
Salanio and Salerio?
KIM
From The Merchant of Venice.
CHRIS
Yes.
KIM
Yes you remember them?
CHRIS
Yes.
KIM
Elliot?
ELLIOT
What.
DAVE
She wants to know if you remember
them.
ELLIOT
I don't believe I do.
KIM
They brought news. News of Antonio and
his ship and the state of Shylock's
loan to Bassanio. They helped to keep
the audience up to date. The
"Venticelli", they were called. "The
Little Winds."
DAVE
Man, this is about as bored as I've
ever been in my life.
JEREMY ENTERS--
KIM
Jeremy. Good Jeremy. What ho.
JEREMY
What ho?
KIM
What news, Jeremy?
JEREMY
Why is she talking like this?
ELLIOT
She thinks she's Sacco and Vanzetti.
KIM
Salanio and Salerio.
WILL
The Little Winds.
JEREMY
The Venticelli.
KIM
Yes.
JEREMY
Dana's having second thoughts about
Gordon. Dana thinks it's because
Gordon stood her up last night under
suspicious circumstances, but Natalie
thinks it's because Dana really likes
Casey. Casey's a little out of sorts
because sometime last week he spent
the night with someone. Casey thinks
it's because it was too soon after his
marriage broke up, but Dan thinks it's
because Casey's in love with Dana.
That's pretty much it.
THERE'S A LONG PAUSE BEFORE...
DAVE
Would it be wrong for you guys to just
make up a news story?
ELLIOT
It would be fundamentally wrong.
JEREMY
Can any of you tell me anything about
the Host wafer?
CUT TO:
ACT II
(H)
INT. DAN AND CASEY'S OFFICE - DAY - (DAY 1)
(Dan, Casey)
DAN AND CASEY ARE STILL SITTING AROUND.
DAN
So you made her breakfast?
CASEY
No.
DAN
You didn't make her breakfast?
CASEY
I just left.
DAN
'Cause you were uncomfortable.
CASEY
Yes.
DAN
Something wasn't right.
CASEY
Yeah.
DAN
You coulda fried her an egg, dude.
CASEY
Danny--
DAN
Haven't you noticed that there's a
question I haven't asked you.
CASEY
Yes.
DAN
I haven't asked you who it was.
CASEY
No you haven't.
DAN
I haven't asked you her name.
CASEY
I appreciate it.
DAN
You know why I haven't asked?
CASEY
It was a week ago, Danny. Let's drop
it.
DAN
I haven't asked, because that's not
what men do.
CASEY
It's really not.
DAN
We don't ask. We don't tell. We don't
do a lot of the things that women
think we do.
CASEY
That's what makes us men.
DAN
Was it Victoria?
CASEY
Who's Victoria?
DAN
From your building?
CASEY
That's Leslie.
DAN
Was it Leslie?
CASEY
I'm not telling you her name.
DAN
We can do this the hard way or we can
do this the easy way.
CASEY
What's the hard way?
DAN
I don't know, but the easy way is you
telling me her name.
CASEY
Danny--
DAN
What's the big deal?
CASEY
It's not a big deal, and that's why
I'm not telling you her name.
DAN
Just whisper it in my ear.
CASEY STARES AT DAN FOR A MOMENT BEFORE...
CASEY
Well you know that's not gonna happen.
DAN
If it's easier, you could write it
down.
CASEY
Why would that be easier?
DAN
(BEAT) Maybe the name's difficult to
pronounce.
CASEY
The name's not difficult to pronounce.
DAN
Now we're getting somewhere.
CUT TO:
ACT II
(J)
INT. EDITING ROOM - DAY - (DAY 1)
(Dana, Natalie)
DANA
Can I ask you a question?
NATALIE
Is it about the box-and-one?
DANA
Yes.
NATALIE
Sure.
DANA
Do you think Casey's been seeing
Sally?
NATALIE
No.
DANA
You don't?
NATALIE
No.
DANA
You don't think he's been seeing
Sally?
NATALIE
No.
DANA
Just like that?
NATALIE
What do you mean?
DANA
I mean it seems like you didn't have
to think about it at all. You didn't
have to consider it.
NATALIE
I didn't.
DANA
Why not?
NATALIE
'Cause I know he's not seeing Sally.
DANA
How do you know?
NATALIE
'Cause if he was, I'd know.
DANA
That's what I thought, too.
NATALIE
Yeah.
DANA
I thought, if he was, I'd know. But
then I thought, Casey's very discreet.
He's extremely discreet.
NATALIE
Discretion is very big with Casey.
DANA
Very big. And then I also thought, why
wouldn't he be seeing Sally. Sally is
maybe the best looking woman, I don't
know, in the world. He's just gotten
done with a ten year marriage to--now
don't get me wrong, 'cause she's an
old friend--a pretty hideous wench.
Wouldn't you be seeing Sally? I'd be
seeing Sally.
NATALIE
He's not seeing Sally.
DANA
Sally's body is ridiculous.
NATALIE
You have a very good body, Dana.
DANA
You bet your ass I do.
NATALIE
That's right.
DANA
And you do, too.
NATALIE
Tell me about it.
DANA
But that woman's body is over the
line.
NATALIE
He's not seeing Sally.
DANA
Then he's out of his mind.
NATALIE
You really like my body?
DANA
She'd be receptive to his advances.
She's made that quite known.
NATALIE
I grant you that.
DANA
She is Sally-the-Willing.
NATALIE
You know how I know Casey isn't seeing
Sally?
DANA
How?
NATALIE
Because he really cares about you. And
he knows it would hurt your fingers.
CUT TO:
ACT II
(K)
INT. DAN AND CASEY'S OFFICE - NIGHT - (NIGHT 1)
(Dan, Casey, Sally)
DAN AND CASEY ARE DRESSED FOR THE SHOW NOW. THEIR JACKETS
ARE OFF. CASEY SITS TYPING. DAN IS ON THE COUCH.
DAN
I, for example, have had, from time to
time, trouble pronouncing the name
'Moira'. Also, we know someone named
'Kirsten', and many people pronounce
it 'Keersten'.
CASEY
It's not Kirsten and it's not Moira.
DAN
Jane's an easy name to pronounce.
CASEY
It's not Jane.
DAN
So's Pam.
CASEY
Hey, I've got an idea. Let's talk
about this a lot more.
DAN
I have literally nothing to do.
CASEY
Get a score on Michigan/Michigan
State.
SALLY POKES HER HEAD IN--
SALLY
84-66 Michigan.
DAN
Look at that.
CASEY
Hey Sally.
DAN
Sally had the score.
SALLY
What's going' on?
CASEY
Virtually nothing.
DAN
Sally was right there with the score.
SALLY
You got a problem with me today, Dan?
DAN
You're 19 feet tall, why are you
wearing heels?
SALLY
Are you feeling diminutive?
DAN
No. But now I have to look up that
word.
SALLY
Casey--(TRYING TO BE DISCREET) I can't
find it.
CASEY
You can't find it?
SALLY
The thing.
CASEY
Yeah.
SALLY
You know what I'm talking about?
CASEY
Yeah.
SALLY
I can't find it anywhere.
CASEY
That's okay.
SALLY
I'll keep looking.
CASEY
You know, if it turns up.
SALLY
Maybe it got mixed up with someone
else's laundry.
CASEY
It's no big deal.
SALLY
Maybe I'll see you later.
CASEY
I'll be here. Or on the air. I'll be
here or there.
SALLY
I know.
CASEY
Of course.
SALLY
Have a good show.
SALLY LEAVES...
CASEY TRIES TO GO CASUALLY BACK TO WORK. DAN JUST STARES
AT HIM...
CASEY
Alright, you only think you know what
she was talking about.
DAN
I have a hunch I cracked her code,
yes.
CASEY
She was talking about a pair of cross-
country skis that she borrowed.
DAN
That may have gotten mixed up in the
laundry.
CASEY
(GOING FOR IT) Yes.
DAN
While I applaud your initiative, while
I like that you're moving forward, and
while I admire your having climbed Mt.
Sally--
CASEY
Danny--
DAN
This is a recipe for disaster.
CASEY
It's not a big deal.
DAN
Moreover--
CASEY
What.
DAN
You shouldn't tell Dana.
CASEY
Of course I'm not gonna tell Dana.
DAN
I mean Dana shouldn't find out.
CASEY
I know.
DAN
Do you?
CASEY
Yes.
CUT TO:
ACT II
(L)
INT. CONTROL ROOM - NIGHT - (NIGHT 1)
(Casey, Dana, Gordon)
DANA AND GORDON ARE IN THE ROOM ALONE, STANDING VERY CLOSE
AS IF THEY'VE JUST SHARED A KISS. THEY SPEAK TO EACH OTHER
IN LOW TONES THAT WE CAN'T HEAR.
PULL BACK TO REVEAL:
CASEY, WHO'S WATCHING THIS THROUGH THE WINDOW. HE WAITS A
MOMENT BEFORE HE BANGS ON THE GLASS. GORDON LOOKS UP AND
WAVES AS CASEY COMES INTO THE CONTROL ROOM.
CASEY
Get a room, for cryin' out loud.
GORDON
How're you doin'?
CASEY
It's a very slow news day.
GORDON
A bunch of Congressmen are about to
vote to roll-back entire sections of
the '77 sub-B.
CASEY
Are any of them gonna be
holding basketballs when they do it?
GORDON
Probably not.
CASEY
You're here early.
GORDON
I like watching Dana in action.
CASEY
Who doesn't?
DANA
Listen, I better get in action. (TO
GORDON) Shout if you need me.
GORDON
I need you.
DANA
Just like that.
DANA EXITS--
CASEY
Hey. Gordon. Have you met a woman who
works downstairs named Sally?
GORDON
Really tall?
CASEY
Yeah. She's the executive producer on
West Coast Update. The two a.m.
GORDON
Yeah, we've talked a couple of times.
CASEY
Yeah. (BEAT) Yeah.
CASEY CAN'T THINK OF ANYTHING ELSE TO SAY. THERE'S AN
UNCOMFORTABLE MOMENT. CASEY TURNS TO LEAVE, BUT THEN TURNS BACK.
CASEY (CONT'D)
Don't take my friendship with Dana for
granted.
GORDON
What do you mean?
CASEY
I know you think that I'm in love with
her and I know she thinks that I'm in
love with her, and that's fine as long
as it's all fun and games. But I want
you to know that Dana's important to
me. I've known her a long time and I
like her a lot. And I want you to know
that there are certain lengths I'd go
to to avoid seeing her get hurt in any
way.
GORDON
What's on your mind, Casey.
CASEY
You're wearing my shirt, Gordon.
THEY STARE AT EACH OTHER FOR A LONG MOMENT BEFORE...
GORDON
I was wondering why it felt so tight.
CASEY
(BEAT) Yeah.
CASEY TURNS AND LEAVES.
CUT TO:
ACT II
(M)
INT. ISAAC'S OFFICE - NIGHT - (NIGHT 1)
(Isaac, Jeremy)
ISAAC IS SITTING AT HIS DESK WHEN JEREMY TAPS ON THE OPEN
DOOR. ISAAC DOESN'T HAVE TO LOOK UP TO KNOW WHO IT IS.
ISAAC
What is it, Jeremy?
JEREMY
Interesting thing. Did you know that the
word 'Easter' never appears in the Bible?
ISAAC
Is that right?
JEREMY
The Bible is absent any mention of a
celebration of the resurrection of Christ,
save for one verse. Acts 12, Verse 4, and
that's only in the King James Bible, where
the word 'Passover' was mistranslated as
Easter. However, the New King James, The
American Standard, and even the New
International Version, all translate the
word correctly as 'Passover'.
ISAAC
That's a relief.
JEREMY
I did a search on the word 'resurrection'.
ISAAC
Excellent.
JEREMY
Want to hear more?
ISAAC
Not at all.
JEREMY
Can I ask a question?
ISAAC
Sure.
JEREMY
Jesus said, "Behold my hands and my
feet, that it is myself: handle me
and see; for a spirit hath not flesh
and bones, as ye see me have."
ISAAC
What's your question?
JEREMY
This relates to the bunny rabbit how?
ISAAC
Get out.
JEREMY
No problem.
JEREMY LEAVES AS WE:
CUT TO:
ACT II
(P/R)
INT. DAN AND CASEY'S OFFICE/NEWSROOM - NIGHT - (NIGHT 1)
(Casey, Dana, Kim, Elliot, Chris, Will, Dave, Atmosphere)
CASEY'S WORKING AT HIS DESK WHEN DANA COMES IN.
DANA
Hey.
CASEY
Hey.
DANA
Before?
DANA
Yeah.
CASEY
Nothing.
DANA
No, really.
CASEY
Really. It was--
DANA
You guys are getting along well now.
CASEY
Yeah.
DANA
I like that.
CASEY
Me too.
DANA
Things are going so good now, Casey.
I mean with the two of us.
CASEY
You and Gordon.
DANA
Yeah.
CASEY
(BEAT) That's great.
DANA
Isn't it?
CASEY
Yes.
DANA
What?
CASEY
Nothing.
DANA
Really?
CASEY
Yeah, I was--
ELLIOT POPS IN--
ELLIOT
The games have started.
DANA
What?
ELLIOT
The games.
DANA
Right. (BEAT) Let's go.
DANA WALKS OUT AS WE:
RESET TO:
INT. NEWSROOM - CONTINUOUS
AS DANA COMES OUT AND BEGINS THROWING INSTRUCTIONS. THE
NEWSROOM HAS TRANSFORMED INTO WORK MODE.
CASEY STANDS THERE, WATCHING DANA FROM HIS OFFICE DOOR...
DANA (CONT'D)
I wanna see the people who work here
work here. Kim, stay on the DePaul
game, we're gonna back it up to the
feature. Elliot, get a wire summary and the cut
footage on the 40's and make sure that
Natalie sees it. Chris, Will, Dave, I
need a sound test and a color pattern
before ten. It's showtime, let's move.
CASEY CAN'T TAKE HIS EYES OFF DANA, AS SHE DISAPPEARS
AMIDST THE ACTIVITY.
FADE TO BLACK.
END OF SHOW