"How Are Things in Glocca Morra?"
Written by
Aaron Sorkin
Directed by
Marc Buckland
Table Draft - 1/11/99
1st rev. - 1/11/99 (Blue)
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
Gordon................Ted McGinley
Sally....................Brenda Strong
Rebecca.......................Teri Polo
Angela.............Suzanne Palanuk
SPORTS NIGHT
(TEASER)
INT. DAN AND CASEY'S OFFICE/NEWSROOM/CSC HALLWAY/
STUDIO/CONTROL ROOM/STUDIO/CONTROL ROOM - NIGHT - (NIGHT 1)
(Dan, Casey, Dana, Jeremy, Natalie, Kim (VO), Elliot, Chris,
Will, Dave, Angela)
DAN AND CASEY ARE IN SHIRTS AND TIES AND GETTING READY TO HEAD TO
THE STUDIO. THEY'RE CLEARLY IN PRE-SHOW MODE AS THEY GET EACH
OTHER PSYCHED FOR THE SHOW. THEY EXIT TOWARD THE STUDIO.
KIM (VO)
Five minutes to air. First team in the
studio please. Five minutes.
INT. NEWSROOM - CONTINUOUS - (NIGHT 1)
DAN
I'm pumped.
CASEY
Yes.
DAN
I'm ready.
CASEY
Excellent.
DAN
Five minutes to air.
CASEY
Best words in the English language.
DAN
Yes.
CASEY
Cinq minutes avant d'être en direct.
DAN
Best words in the French language.
CASEY
Yes.
DAN
Oui.
CASEY
Cinco minutos para salir al aire!
INT. CSC HALLWAY - CONTINUOUS - (NIGHT 1)
DAN
Si.
CASEY
Absolutely.
DAN
There's an internal clock.
CASEY
There is.
DAN
It's like athletes.
CASEY
It just like that.
DAN
When that gun goes off--
CASEY
When the bell rings--
INT. STUDIO - CONTINUOUS - (NIGHT 1)
IN THE MIDST OF THE PRE-SHOW ACTIVITY, A FEW PEOPLE ARE
KEEPING AN EYE ON A TENNIS MATCH THAT'S BEING PLAYED OUT ON A
FEW OF THE MONITORS.
DAN
It's game time my friend.
CASEY
Most beautiful sound in the world?
DAN
"Five minutes to air."
CASEY
"Funf minuten bis sendungzeit."
DAN
Well now you're just showin' off.
CASEY
Yeah.
DANA
This guy won't die.
NATALIE
He won't.
DANA
He will not die.
NATALIE
He just won't.
DANA AND NATALIE EXIT TO CONTROL ROOM.
INT. CONTROL ROOM - CONTINUOUS - (NIGHT 1)
THE PRE-SHOW SWIRL AS WELL AS THE DISCUSSION OF THE TENNIS
MATCH CONTINUE MOS UNDER JEREMY'S VOICE OVER--
JEREMY (VO)
"Dear Louise, Here's what's going on
right now. CSC is carrying the
Continental Challenge live. Sampras is
playing a first round match against a
guy named Alberto Fedrigotti, who's
ranked 178th in the world tennis
standings and who Sampras should've
easily finished off by now. Sampras
won the first two sets in a walk and
was up four-love in the third. The
crowd filed out to the parking lot a
half-hour ago. The match was over.
Except nobody told Alberto
Fedrigotti."
DANA
This guy won't die.
NATALIE
He really won't.
JEREMY (VO)
"He'd battled back and was up a break,
and to Sampras's astonishment, was
serving for the set."
DANA
Please don't win this point.
JEREMY (VO)
"Now the thing is, we're suppose to
go on the air at eleven, and if
Fedrigotti holds his serve and forces
a new set, that means we've gotta hold
for at least 45 minutes while Sampras
makes this guy say 'uncle'. And nobody
here likes to hold."
DAVE
Two minutes to VTR.
CHRIS
Stand by 2, 2A and 3.
WILL
Preview animation, stand by F/X-1.
IN THE STUDIO, THE MAKE-UP WOMAN (ANGELA) IS PUTTING
FINISHING TOUCHES ON DAN.
ANGELA
You're all set, good show, guys.
DAN
Thank you, Angela. Good show,
everybody.
CASEY
Eat 'em up, folks.
JEREMY (VO)
"There's an energy that Dana builds
into the show. Eight hours ago we
weren't much more than scattered notes
on index cards, but throughout the
afternoon and evening, she coaxes the
whole thing to a critical mass that's
designed to ignite at eleven o'clock."
DAVE
Ninety seconds to VTR.
JEREMY (VO)
"Nobody likes to hold."
DANA
(RE: THE TENNIS) Let's go, my Italian
friend, I've got a show to do and
mine's better than yours.
JEREMY (VO)
"In the studio, Dan and Casey were
waiting for the cue: 60 seconds to
VTR, two minutes live.
Dan was doing what he always does when
it's two minutes to air. He was
annoying Casey."
DAN
I don't think you should be this way.
CASEY
I'm bein' this way.
DAN
Yes, but I don't think you should be
this way.
CASEY
I am this way.
DAN
Seriously--
CASEY
Danny--
DAN
Seriously--
CASEY
No. No seriously. We're doing a show.
DAN
You don't want to talk about it at
all?
CASEY
You're wired.
DAN
No I'm not.
CASEY
You're wired.
DAN
I'm perfectly calm.
CASEY
(GRABBING DAN'S LAPEL AND INDICATING
THE MICROPHONE) You're wired. I don't
want to talk about it.
JEREMY (VO)
"In the control room, Dana was
resigned to going up three or four
minutes late to allow Sampras to close
out the match, but she just wasn't
emotionally prepared for the thing to
get thrown to a fourth set."
DANA
Can you believe this guy is doing this
to me?
JEREMY
I don't think it's personal, Dana.
DANA
Oh it is personal, Jeremy.
NATALIE
Don't worry, my Pete's gonna take care
of him.
JEREMY
(TO NATALIE) Your Pete?
NATALIE
Pete Sampras has a little crush on me.
JEREMY
Really?
NATALIE
Yeah.
JEREMY
In Natalie World or the actual--
NATALIE
In Natalie World.
JEREMY
Ah.
NATALIE
He sends me flowers a lot. One time he
came over and cooked me dinner. He was
wearing the most beautiful charcoal
grey--
JEREMY
Hang on.
JEREMY IS LOOKING AT A MONITOR, AS IS EVERYONE ELSE--WE
GATHER FROM THEIR REACTION THAT A NEW SET HAS BEEN FORCED.
ALL
Damn!/Ah!/Oh man!/etc.
JEREMY (VO)
"I didn't see the forehand passing
shot that Fedrigotti made to force the
new set. Neither did Sampras."
ELLIOT
This guy won't die.
DAN
(TO CASEY) You want to talk about it
now?
CASEY
No.
DAN
I mean now that I'm not wired.
DANA COMES INTO THE STUDIO--
DANA
We're gonna hold.
DAN
No.
DANA
Yes.
CASEY
Why?
DANA
Just to bother you.
CASEY
Why are we holding?
DANA
'Cause some guy named Fettuccine
Alfredo just--(CALLING) Jeremy, what's
his name?
JEREMY (OS)
(CALLING BACK) Alberto Fedrigotti.
DANA
--Alberto Fedrigotti just took Sampras
to a fourth set.
DAN
Ah for the love of Mike.
CASEY
Dan was pumped.
CASEY
I was. And Casey was speaking in
tongues.
CASEY
'Cause of the internal clock.
DAN
Like an athlete.
CASEY
Yeah.
DAN
Tell her about the internal clock.
DANA
I'm really happy 'cause I get to spend
this extra time with the two of you.
(TO THE FLOOR CREW) Folks, listen up.
IN THE CONTROL ROOM--
NATALIE
All right, Dave, I guess take us down
from stand-by. Kim, Elliot, why don't
you talk to the field. Let's stay on
top of the late scores and don't
anybody go too far.
DANA COMES IN--
DANA
Dave, you should take us down from
stand by. Kim, Elliot, you should get
on the phone with our people in the
field and back them up about 45
minutes. Obviously we'll keep updating
the late scores and please don't
anybody go too far.
NATALIE
Dana?
DANA
Yeah?
NATALIE
We just did this.
DANA
Ah.
KIM AND ELLIOT EXIT. CHRIS, WILL AND DAVE GET UP AND
STRETCH THEIR LEGS, MAYBE ONE OF THEM EXITS.
NATALIE
I'm gonna grab a doughnut. You want a doughnut?
DANA
Nah.
NATALIE
Okay.
DANA
Natalie?
DANA
I have nothing to do.
NATALIE
You sure you don't want to come with
me to get a doughnut?
DANA
Nah.
NATALIE EXITS. DANA LOOKS AT JEREMY, WHO'S TYPING AT
HIS
LAPTOP. JEREMY DOESN'T STOP TYPING OR LOOK UP MUCH AS DANA
TALKS TO HIM.
DANA (CONT'D)
What're you doin'?
JEREMY
I'm writing a letter.
DANA
To your sister?
JEREMY
To my sister.
DANA
That's nice. (BEAT) Louise is a nice
name.
JEREMY
She's named for our grandmother.
DANA
Yeah?
JEREMY
Yeah.
DANA
My grandmother's name was Alice. On my
mother's side. On my father's side
it's Penelope. Which is a name you
don't hear much anymore.
JEREMY IS STILL TYPING AWAY--
DANA (CONT'D)
Beatrice is a nice name. (BEAT) So's--
JEREMY
You know what's hard? Writing here and
talking there.
DANA
I have unscheduled time on my hands.
JEREMY
And I know how difficult that must be
for you, but I want to write this
letter.
DANA
Okay.
JEREMY CONTINUES TO WRITE--
DANA (CONT'D)
Wanna play garbage can basketball?
JEREMY
Dana--
DANA
A little garbage can basketball.
JEREMY
No.
DANA
That's fine.
DANA STANDS THERE AS JEREMY CONTINUES TYPING--
JEREMY (VO)
"Anyway, I know you're concerned about
what's going on with mom and dad, and
we're on this hold right now, so I
thought I'd take your mind off things
with some Tales of Sports Night. I'm
gonna have to get up for a second
though, cause I know what's about to
come from Dana."
DANA
Is it 'cause you're chicken?
JEREMY (VO)
"Be right back".
JEREMY FOLLOWS DANA OUT THE DOOR AS WE
FADE OUT.
END OF TEASER
ACT I
(A)
INT. CONTROL ROOM - NIGHT - (NIGHT 1)
(Isaac, Jeremy)
JEREMY SITS IN THE EMPTY CONTROL ROOM,
TYPING AWAY.
JEREMY (VO)
"I'm back. I should tell you, in the
interest of full disclosure, that
Dana's a surprisingly good garbage can
basketball player."
ISAAC WALKS THROUGH--
ISAAC
Hey, Jeremy
JEREMY
Hey Isaac.
ISAAC
What's going on?
JEREMY
They're both holding serve.
ISAAC
Ah.
JEREMY GOES BACK TO TYPING--
ISAAC (CONT'D)
What're you doing?
JEREMY
I'm writing to my sister, Louise.
ISAAC
Ah.
JEREMY CONTINUES TYPING...
ISAAC (CONT'D)
Where's Natalie?
JEREMY
Last I heard, she went to get a
doughnut.
ISAAC
Hm. (BEAT) Where are Dan and Casey?
JEREMY
I think they're in their office.
JEREMY GOES BACK TO TYPING--
ISAAC
You wanna play some chess?
JEREMY
Nah, I don't think so. I think I'm
gonna finish this letter.
ISAAC
Sure.
JEREMY GOES BACK TO TYPING. ISAAC STANDS THERE FOR A LONG
MOMENT BEFORE--
ISAAC (CONT'D)
(SINGING) "I LIKE NEW YORK IN JUNE HOW
ABOUT YOU?"
JEREMY LOOKS UP AT ISAAC, WHO SIMPLY STARES BACK A MOMENT
BEFORE--
ISAAC (CONT'D)
(SINGING) "I LIKE A GERSHWIN TUNE HOW
ABOUT YOU?"
JEREMY
Isaac?
ISAAC
That was a song by Mr. Ralph Reed,
written for the movie Babes on
Broadway starring Mickey Rooney and
Judy Garland. Ask me another.
JEREMY
I didn't ask you that one.
ISAAC
Ask me one.
JEREMY
I tell ya, Isaac--
ISAAC
I have a comprehensive command of
American musicals. People don't know
that about me.
JEREMY
And you want them to?
ISAAC
Name a song.
JEREMY
I was--
ISAAC
Name a song. Name any song. I'll sing
it.
JEREMY
I was sort of in the middle of--
ISAAC
Name a song.
JEREMY
"How are Things in Glocca Morra".
ISAAC STANDS THERE, STONE-FACED. THEN HE TURNS AROUND AND HEADS OUT--
ISAAC
(ON HIS WAY OUT) Well this is gonna
bug the crap outa me.
ISAAC'S OUT THE DOOR AND JEREMY RESUMES HIS TYPING--
JEREMY (VO)
"I'm likely to have a random visitor
or two while I write this, but for the
most part, everyone here has gone to
some neutral corner for a little bit."
CUT TO:
ACT I
(B)
INT. STUDIO/NEWSROOM/CRAFT SERVICE/DAN AND
CASEY'S
OFFICE/NEWSROOM/CONTROL ROOM - NIGHT - (NIGHT-1)
(Dan, Casey, Isaac, Dana, Jeremy, Natalie, Kim, Elliot,
Chris, Will, Dave, Rebecca, Atmosphere)
DAN AND CASEY ARE AT THE CRAFT SERVICE TABLE. CASEY'S
MAKING HIMSELF A SANDWICH.
DAN
Casey--
CASEY
I'll tell you what the problem is
here.
DAN
No provolone cheese?
CASEY
No provolone.
DAN
You're saying you don't want to talk
about it?
CASEY
I'm saying I'd like, just once, for
there to be provolone.
DAN
Is this one of those times when you
say you don't want to talk about it
but you really do?
CASEY
No, but it's shapin' up into one of
those times when I say I don't want to
talk about it but we talk about it
anyway.
CASEY FINISHES MAKING HIS SANDWICH AND HE AND DAN BEGIN
THE WALK THROUGH THE CORRIDORS AND NEWSROOM TO THEIR
OFFICE. THEY PASS BY DANA PLAYING GARBAGE CAN BASKETBALL
WITH WILL, CHRIS AND DAVE.
JEREMY (VO)
"You'll be happy to know that Dan
finally got a date with Rebecca.
They've been out to dinner twice, but
because of a kind of emotionally
abusive marriage that Rebecca just got
out of, she's been very cautious with
Dan."
DAN AND CASEY ARRIVE AT THEIR OFFICE AS WE
RESET TO:
INT. DAN AND CASEY'S OFFICE - CONTINUOUS - (NIGHT-1)
DAN AND CASEY ARRIVE TO SEE REBECCA SITTING WITH HER LEGS
UP ON THE DESK.
REBECCA
Hey, Casey. Hey, Dan.
DAN
Hey, look at this.
CASEY
Hey.
DAN
You're here.
REBECCA
I know.
DAN
We're actually in a hold. The tennis
coverage is running over.
REBECCA
I know.
DAN
Am I in trouble?
REBECCA
Casey, do you remember the reason why
Dan came up to my office in the first
place?
CASEY
Please, oh please, don't drag me into
this.
REBECCA
It was to tell me that he couldn't ask
me out because he'd started seeing a
woman named Elaine. Am I right, Casey?
CASEY
See I'm sittin' here with no
provolone.
REBECCA
The when he became helplessly in love
with me, as men are prone to do, he
said he'd tell Elaine that they
couldn't see each other anymore.
DAN
Rebecca--
REBECCA
Tell us, Dan. How did Elaine take it
when you told her? Was she very upset
when you told her that you couldn't
see her anymore?
DAN
I think I see what you're getting at.
REBECCA
By the way, I took a couple of phone
messages while I was sitting here.
DAN
Did my father call by any chance,
cause I was expecting--
REBECCA
(HOLDING UP THE MESSAGE) Elaine
called!
DAN
(PAUSE) Hey, look at that Casey.
Elaine called for you.
REBECCA
You're pitiful.
DAN
Hey. There has not been the kind of
time necessary--
REBECCA
You've got a little time on your hands
right now. Doesn't he, Casey?
CASEY
This is big time television. Guy puts
out Swiss cheese. Nothin' else.
DAN
Here's the thing. I would do it right
now. I would do it right this second.
But I'm in a sort of pre-show mode.
It's a very delicate energy that can't
be tampered with. All anyone here is
thinking about is the broadcast.
ISAAC STEPS IN--
ISAAC
Excuse me. Hello Rebecca. By any
chance, do any of you know the lyrics
to "How are Things in Glocca Morra"?
DAN STARES A ISAAC FOR A LONG MOMENT BEFORE...
DAN
(PAUSE) I do not.
CASEY
(TO DAN) It starts out "How are things
in Glocca Morra", I know that, but I
don't know the rest.
DAN
(TO ISAAC) We don't know the lyrics.
ISAAC
(TO REBECCA) I usually know these
things.
ISAAC EXITS--
DAN
(TO REBECCA) See, the thing about the
pre-show mode--
REBECCA
I'll see you after the show.
DAN
You bet.
REBECCA IS GONE. DAN STANDS THERE FOR A MOMENT BEFORE--
DAN (CONT'D)
(SHOUTING) Kim! (TO CASEY) Here's
what's interesting about sports.
None of that would've happened if
tennis-boy had gotten beat when he was
supposed to.
KIM STEPS IN--
KIM
Yeah.
DAN
The next time I step out of the office
and I ask you to catch my phone calls,
could you do me a favor and, you know,
do it?
KIM
Still can't get the green light from
Rebecca?
DAN
Shut up.
WE FOLLOW KIM BACK INTO THE NEWSROOM AS WE
RESET TO:
INT. NEWSROOM - CONTINUOUS - (NIGHT-1)
THE GARBAGE CAN BASKETBALL IS STILL UNDERWAY, INCLUDING
SPECTATORS.
DANA
Dave, you've got "H", Kim, you've got
"H-O", Will, you've got "H-O-R-S",
which is sad. I'm winning, which was
inevitable. Natalie, your shot.
NATALIE
(CALLING IT) From Elliot's desk, off
the conference room glass, into the
garbage can.
THE GAME GOES ON MOS--
JEREMY (VO)
"Meanwhile the Sampras/Fedrigotti
match is deep in the fourth set."
THE CAMERA FINDS ITS WAY FROM THE NEWSROOM BACK INTO THE
CONTROL ROOM AS WE
RESET TO:
INT. CONTROL ROOM - CONTINUOUS - (NIGHT-1)
JEREMY IS TYPING AWAY. WE SEE A COUPLE OF CREW PEOPLE
WORKING IN THE STUDIO AND FROM TIME TO TIME SOMEONE MIGHT
WALK THROUGH THE CONTROL ROOM.
JEREMY (VO) (CONT'D)
"I'm starting to see signs that we'll
be going on the air soon. Everyone's
assuming that Sampras'll finish off
this guy in just a few minutes. But
there's a look on Sampras's face now
that you have to be around sports long
enough to recognize: He's scared. He's
the greatest player in the world and
he's been on the court with this guy
way too long."
ELLIOT COMES IN--
ELLIOT
What's going' on?
JEREMY
He just broke his serve.
ELLIOT
It's about time. I'll go tell
everybody.
JEREMY
Elliot?
ELLIOT
Yeah.
JEREMY
Fedrigotti just broke his serve.
ELLIOT TAKES THIS IN AND SHAKES HIS HEAD. HE HEADS OUT TO
THE NEWSROOM AS WE
CUT TO:
ACT I
(C)
INT. NEWSROOM - CONTINUOUS - (NIGHT-1)
(Dana, Natalie, Elliot, Chris, Will, Dave)
DANA
All right, from the Fiddlely-fig,
ricochet off Will's head--
ELLIOT COMES IN--
ELLIOT
Guys? We got a ball game
EVERYONE STOPS WHAT THEY'RE DOING FOR A MOMENT AND LOOKS AT
ELLIOT.
DAVE
(TO CHRIS) She's not gonna like this.
CHRIS
No.
DANA HEADS INTO THE CONTROL ROOM--
DANA
Doesn't this guy understand that I'm
in television?
DANA IS GONE...
END OF ACT I
ACT II
(D)
INT. CONTROL ROOM/STUDIO/EDITING ROOM/CORRIDORS/NEWSROOM -
NIGHT (NIGHT-1)
(Dana, Jeremy (VO), Natalie, Kim, Chris, Will, Dave, Gordon,
Sally, Atmosphere)
THE TENNIS MATCH IS ON MOST OF THE MONITORS. PERHAPS THE
GAME GOES TO COMMERCIAL DURING THE FOLLOWING.
DANA
I really don't believe it.
KIM
He just absolutely will not die.
NATALIE
Elliot, call the field. Back 'em up
another 45 minutes.
DANA
This man is ruining my night.
WILL
You're up fifty dollars.
DANA
I have plans tonight. I have plans
tonight with people who aren't any of
you. (BEAT) He just won't die.
DANA EXITS INTO THE STUDIO AND NATALIE FOLLOWS AS WE
RESET TO:
INT. THE STUDIO - CONTINUOUS - (NIGHT-1)
DANA AND NATALIE ARE HAVING A PRIVATE CONVERSATION.
JEREMY (VO)
"This was a bad break for Dana.
Gordon's coming by to take her to
dinner with some of his friends. Their
relationship's been on thin ice
lately, due mostly to Gordon's feeling
that Dana's more involved with the
show than with him."
NATALIE
He'll understand.
DANA
No.
NATALIE
He will.
DANA
I'm meeting his friends. They're at
the restaurant. This is just the kind
of thing--
DANA STOPS TALKING AS SOMEONE PASSES BY--
NATALIE
There's another option.
DANA
What?
NATALIE
Look at the time.
DANA
No way.
NATALIE
Dana--
DANA
There's no way.
DANA AND NATALIE KEEP DISCUSSING THIS MOS--
JEREMY (VO)
"Dana has another problem. It's almost
midnight right now, and if the fifth
set of the Sampras/Fedrigotti match
goes long, it'll be past one. She'll
be in danger of losing the show
altogether and having to let the two
a.m. pick up the scores and
highlights. The only thing Dana likes
less than holding, is losing the show
to the two a.m."
DANA
That is a worst case scenario, that is
a last resort.
NATALIE
I know.
DANA
A very last resort.
NATALIE
Yes.
DANA
Handing the show over to West Coast
Update is the nuclear weapon of last
resorts.
NATALIE
I understand.
DANA
Good.
NATALIE
I'm just wondering.
DANA
What?
NATALIE
Would you care this much if Sally
wasn't involved?
DANA
Involved in what?
NATALIE
Involved in this. Would you care this
much if Sally wasn't involved in this.
DANA GOES OFF IN FRUSTRATION AND NATALIE FOLLOWS HER,
FIRST
INTO THE EDITING ROOM AS WE
RESET TO:
INT. EDITING ROOM - CONTINUOUS - (NIGHT-1)
THE DISCUSSION CONTINUES MOS--
JEREMY (VO)
"Sally Sasser has Dana's job on the
two a.m. show, which is called West
Coast Update. And while West Coast
Update may be considered the ugly step-
sister around here, Sally Sasser is
considered anything but. And it hasn't
escaped Dana's notice that Sally's
looks haven't escaped Casey's."
DANA HEADS OUT OF THE EDITING ROOM AND HEADS TO THE
CORRIDORS WITH NATALIE IN TOW AS WE
RESET TO:
INT. CORRIDORS - CONTINUOUS - (NIGHT-1)
DANA
We have a good show tonight. And
that's all I'm saying. And everything
was fine until your Pete started
playing like two pounds of stuffed
cabbage.
NATALIE
Do not blame this on Pete.
DANA
Yes, yes, I would care if Sally wasn't
involved in this.
THEY CONTINUE INTO THE NEWSROOM AS WE
RESET TO:
INT. NEWSROOM - CONTINUOUS - (NIGHT-1)
GORDON IS SITTING AT A DESK BUT DANA WON'T SEE HIM YET.
NATALIE
Okay.
DANA
I would care because this is what I
care about. I care about this. And not
the things I think you think I care
about. I care about this show. (SEEING
GORDON AND RAISING HER VOICE FOR HIS
BENEFIT) And my honey-dew!
GORDON
What's goin' on?
DANA
We're in, right now, what we call a
hold. And I'll you way:
GORDON
Dana--
DANA
The tennis coverage.
GORDON
They're gonna be sitting at the
restaurant.
DANA
Gordon, I'm so sorry, but there's
nothing I can do.
GORDON
Natalie can't do the show?
DANA
No.
GORDON
What about--
DANA
Listen, when I say there's nothing I
can do, I'm not lying.
GORDON
I didn't say you were--
DANA
No. Natalie can't do the show. Natalie
didn't put it together.
NATALIE
I can always--
DANA
Hey. Guys. I have to do the show.
SALLY STRIDES INTO THE NEWSROOM--
SALLY
(TO ALL) Here are some people who are
staying late after school.
DANA
Hey Sally.
SALLY
Startin' to get late.
DANA
I'm not dumping the show Sally.
SALLY
And that's the kinda can-do spirit we
all love to see from you, Dana.
DANA
Thank you. You've met my boyfriend,
haven't you?
SALLY
(EXTENDING HER HAND) Gordon.
GORDON
That's funny. My name's Gordon, too.
DANA
Yes that was hilarious, dear.
CUT TO:
ACT II
(E)
INT. DAN AND CASEY'S OFFICE - SAME TIME
(Dan, Casey, Dana, Jeremy, Natalie, Gordon, Sally)
CASEY HAS BEEN LOOKING THROUGH THE GLASS AT THE
CONVERSATION BETWEEN DANA, SALLY, GORDON AND NATALIE. DAN
IS LYING ON THE COUCH--
CASEY
Gordon had my shirt.
DAN
What?
CASEY
He was actually wearing it.
DAN
What do you mean?
CASEY
I'm sayin' he had my shirt.
DAN
Start from the beginning.
CASEY
I'm talking about it.
DAN
I know.
CASEY
You were asking me to talk about it
and now I'm talking about it.
DAN
Gordon had your shirt?
CASEY
Yes.
DAN
The shirt you left at Sally's.
CASEY
Yes.
DAN
Gordon's sleeping with Sally.
CASEY
Yes.
DAN
You're sure.
CASEY
Yes.
DAN
How are you sure?
CASEY
He told me.
DAN
He told you?
CASEY
I'd figured it out. He had my shirt.
DAN
And you've known this for how long?
CASEY
A week.
DAN
And you told me when?
CASEY
I'm telling you now.
DAN
Does Dana know?
JEREMY POPS HIS HEAD IN--
JEREMY
Hey.
DAN
What's goin' on?
JEREMY
Two games a piece in the fifth.
DAN
You finish the letter?
JEREMY
I'm takin' a break.
CASEY LOOKS BACK OUT THROUGH THE GLASS. DANA IS STANDING IN
BETWEEN SALLY AND GORDON AND STROKING GORDON'S ARM.
JEREMY (CONT'D)
There's no way Dana's gonna dump the
show, right?
DAN
That's not Dana's call, it's Isaac's.
CASEY IS STILL LOOKING OUT THE GLASS--
CASEY
(MORE TO HIMSELF) She's gonna dump it.
JEREMY
Hm?
CASEY
I said Isaac won't make up his mind
for a little bit.
JEREMY
You guys need anything?
DAN
No.
JEREMY EXITS TOWARD ISAAC'S OFFICE. CASEY'S LOOKING OUT
THE GLASS...
CASEY
No, I don't want her to find out.
CUT TO:
ACT II
(H)
INT. EXECUTIVE CORRIDOR/ISAAC'S OFFICE - NIGHT - (NIGHT-1)
(Isaac, Jeremy)
JEREMY WALKS TOWARD ISAAC'S OFFICE AND KNOCKS ON THE CLOSED
DOOR.
ISAAC (OS)
Come in.
JEREMY ENTERS AS WE
RESET TO:
INT. ISAAC'S OFFICE - CONTINUOUS - (NIGHT-1)
AS JEREMY COMES IN. THE TENNIS MATCH IS ON ONE OF THE
MONITORS BEHIND ISAAC'S DESK.
ISAAC (CONT'D)
This man just won't die.
JEREMY
I thought you'd be singing "How are
Things in Glocca Morra" by now.
ISAAC
I can't remember the lyrics. Isn't
that something? I used to know these
songs. I used to sing them with my
friend Rudy.
JEREMY
Well why don't you call Rudy and ask
him the lyrics?
ISAAC
He died about a year ago.
JEREMY
I'm sorry.
ISAAC
Man smoked like a chimney. Do you
smoke?
JEREMY
No.
ISAAC
Don't.
JEREMY
Okay.
ISAAC
Anyway, I can't remember the lyrics to
"How are Things in Glocca Morra".
JEREMY
I wouldn't worry about it. I've never
known them at all.
ISAAC
I forgot my grandson's name this
morning.
JEREMY LOOKS AT ISAAC AND SEES THAT THIS IS MORE SERIOUS...
ISAAC (CONT'D)
Just for a moment. But it seemed
longer than that. I completely forgot
his name.
JEREMY
Isaac, when I was growing up and my
father was calling upstairs to my
brother and my sister and me, he'd go
through such a Roladex of names before
he hit on anything in the vicinity of
something belonging to one of his
children...you work a long day, Isaac.
It's okay.
ISAAC
Yeah. (BEAT) Yeah. (BEAT) What can I
do for you?
JEREMY
I was wondering. I may need a few days
off next week.
ISAAC
Is everything all right?
JEREMY
It looks like my parents are splitting
up. I'd like to spend a few days with
my mother.
ISAAC
(BEAT) That's not a problem.
JEREMY
Thanks. (BEAT) I'll ask around about
the song.
ISAAC
Thanks.
JEREMY LEAVES THE OFFICE AS WE
CUT TO:
ACT II
(J)
INT. STUDIO - NIGHT - (NIGHT 1)
(Dan, Jeremy, Rebecca)
REBECCA AND DAN COME FROM BEHIND THE SET. REBECCA IS
LISTENING TO DAN PLEAD HIS CASE.
DAN
I have called Elaine. I have told her
that while she seems like a very nice
woman, I've met someone else. I've met
a woman named Rebecca, and Rebecca is
who I'm dating right now.
REBECCA
Really?
DAN
No, but I left a message on her
machine to call me.
REBECCA
Dan--
DAN
Rebecca--
REBECCA
Listen to me--
DAN
Do you like "Beck"? Can I call you
"Beck"?
REBECCA
No.
DAN
Rebecca's fine.
REBECCA
It's okay if you want to go out with
Elaine.
DAN
I don't want to go out with Elaine.
REBECCA
It's okay if you do.
DAN
I don't.
REBECCA
This isn't school.
DAN
I know.
JEREMY COMES IN--
JEREMY
I'm sorry--Dan?
REBECCA
Hey, Jeremy.
JEREMY
Hey.
DAN
What's up?
JEREMY
There's a sort of impromptu meeting in
the conference room going on. You
might want to get in on it.
DAN
What's goin' on?
JEREMY
It's a quarter to one.
DAN
Sally?
JEREMY
Yeah.
DAN
(TO REBECCA) I gotta go.
JEREMY GOES INTO THE STUDIO.
REBECCA
I want to see a show. I was told
there'd be a sports show of some kind,
and I want to see it.
DAN
You and me both.
DAN STARTS TO LEAVE--
DAN (CONT'D)
Rebecca?
REBECCA
Yeah.
DAN
I'd never make a fool out of you.
REBECCA
(BEAT) Okay. (BEAT) What made you say
that?
DAN
(BEAT) Nothing. No reason. I'll see
you in a few minutes.
DAN GOES OFF AS WE
CUT TO:
ACT II
(K)
INT. CONFERENCE ROOM/NEWSROOM/CONFERENCE ROOM - NIGHT -
(NIGHT 1)
(Dan, Casey, Isaac, Dana, Jeremy, Natalie, Kim, Elliot,
Chris, Will, Dave, Gordon, Sally)
CASEY, NATALIE, JEREMY, SALLY, ELLIOT AND KIM ARE IN THE
MIDST OF A DISCUSSION IN THE CONFERENCE ROOM. DANA AND
GORDON STAND OUTSIDE THE DOOR AND HAVE A HUSHED
CONVERSATION.
DANA
Gordon--
GORDON
This is the kind of--
DANA
Hey--
GORDON
This is the kind of thing--
DANA
Please lower your voice.
GORDON
This is the kind of thing I'm talking
about.
DANA
I'm very sorry that I can't spend time
with your friends tonight.
GORDON
No, you can spend time with my friends
and you can spend time with me.
You just heard Sally tell you that you
can.
DANA
Okay, and why don't we just have one
of the guys in your office take over
your case load.
GORDON
I'm talking about one night. In the
middle of the damn night. Dana, who
the hell's gonna be watching?
THAT STUNG DANA A LITTLE MORE THAN SHE WANTS TO SHOW, BUT
DANA'S STINGING FROM A NUMBER OF THINGS.
DANA
This isn't my hobby. And I'd
appreciate it if you didn't come in
here and try to broker deals between
Sally and me.
DAN COMES THROUGH ON HIS WAY TO THE CONFERENCE ROOM--
DAN
What's goin' on?
DANA
I'm waiting for Isaac.
DANA GOES INTO THE CONFERENCE ROOM. DAN STANDS THERE WITH
GORDON A SECOND.
DAN
How you doin'?
GORDON
Late night for you guys.
DAN
Yeah.
GORDON LOOKS AT DAN JUST LONG ENOUGH TO LET US KNOW THAT
HE KNOWS THAT DAN KNOWS...
GORDON
Yeah.
GORDON GOES INTO THE CONFERENCE ROOM, FOLLOWED BY DAN, AS
WE
RESET TO:
INT. CONFERENCE ROOM - CONTINUOUS - (NIGHT-1)
SALLY
...fold the ninety-second segments
into the 4-block, use the same control
room team with Dan and Casey anchoring
a modified version of the eleven
o'clock script.
DAN
Say Sally, you must've slept with this
guy, Fedrigotti. How long can he keep
at this?
SALLY
You know I was just thinking, I can't
remember the last time Dan said
something charming to me, and there it
was.
DANA
(TO SALLY) And that plan has who
running the show?
SALLY
You.
DANA
Good.
SALLY
It's your show.
DANA
I know.
SALLY
It's totally up to you.
DANA
Yes.
SALLY
I'm saying that it's no problem for me
to run the show. Especially with
Natalie. So if you want to make your
late dinner with your friends...I'm
saying this is a friendly gesture.
DANA
I can't. And please let's keep my
personal life out of this.
GORDON
Honey, she's saying--
DANA
I know what she's saying.
SALLY
I didn't mean to--
CASEY
(TO SALLY) You didn't. Dana, she just
meant--
DANA
Thank you, Casey.
DAN
I think we need to all calm down.
DANA
That's right.
NATALIE
Dana, I need--
DANA
What?
NATALIE
I need to start telling people
something.
DANA
Elliot, please get Isaac.
ELLIOT OPENS THE DOOR TO LEAVE AND ISAAC WALKS RIGHT IN--
ISAAC
(SINGING) "...SO I ASK EACH WEEPIN
WILLOW, AND EACH BROOK ALONG THE WAY,
AND EACH LAD THAT COMES A WHISTLIN
TURALAY..."
ELLIOT
Isaac's here.
ISAAC
(SINGING) "HOW ARE THINGS IN GLOCCA
MORRA THIS FINE DAY."
EVERYONE STARES AT HIM, NOT REALLY KNOWING WHAT TO SAY...
ISAAC (CONT'D)
That was a little song by the Messrs.
Harburg and Lane written for the
musical Finian's Rainbow, a magical
love story which incorporated elements
of social and political satire as well
as the romance of mystical Ireland. By
the way, my grandson's name is
Matthew.
JEREMY
Nice goin' Chief.
ISAAC
Ask me anything.
DANA
Isaac?
ISAAC
Go ahead.
SALLY
It's almost one.
ISAAC
(BEAT) Don't know it.
SALLY
No, it's really--
ISAAC
That was a joke, Sally. What's
happening in the match?
NATALIE
Sampras is up two breaks. It's over in
ten minutes.
ISAAC
We're gonna do Sports Night.
CASEY, DAN, DANA, NATALIE, ELLIOT AND KIM REACT HAPPILY.
ISAAC (CONT'D)
Sally, we're gonna bump West Coast
update tonight. Gordon, did I ruin
your plans?
DANA
Of course not.
GORDON
We were gonna meet some people for
dinner.
DANA
Gordon--
ISAAC
Well--
DANA
Isaac, it's okay.
ISAAC
It's up to Sally, but as long as her
show got scratched, she can run the
room.
SALLY
Dana'd rather stay.
DANA
It's not that I'd rather stay--
ISAAC
What's it gonna be?
DANA'S CLEARLY ON THE SPOT. SHE GLANCES AT GORDON FOR A
MOMENT.
ISAAC (CONT'D)
Dana, somebody's got to put the show
on. Are you going out or are you
staying here?
DANA TRIES NOT TO CATCH CASEY'S EYE.
DANA
(TO SALLY) You sure you don't mind?
KIM, ELLIOT AND DAN EXIT THE ROOM TO GET TO WORK.
JEREMY (VO)
"Dana ended up going out with Gordon
And his friends. I'm not sure that's
what she really wanted to do."
ISAAC AND NATALIE LEAD SALLY AWAY.
GORDON
I'll call the restaurant.
GORDON EXITS. DANA AND CASEY ARE LEFT ALONE FOR A MOMENT.
DAVE (OS)
Roll VTR, 60 seconds live.
THE SHOW MUSIC BEGINS AS WE--
CUT TO:
ACT II
(L)
INT. STUDIO/CONTROL ROOM - NIGHT - (NIGHT-1)
(Dan, Casey, Dana, Jeremy, Chris, Will, Dave, Gordon, Sally,
Rebecca, Angela)
CHRIS
Preview 2, 2A and 3.
WILL
Stand by F/X 3.
SALLY
Show me Cincinnati and get me Judy in
Oakland.
IN THE STUDIO--
REBECCA IS STANDING AT THE ANCHOR DESK AMIDST THE
WARDROBE, HAIR AND MAKE-UP CREW.
JEREMY (VO)
"Rebecca stuck around and watched the
show live from the studio. My guess is
that either she's never seen a live
television broadcast or she really
likes Dan. Either way, she was very
excited."
REBECCA
Oh my God. It's happening.
DAN
Yes.
REBECCA
The show's starting.
DAN
Yes.
ANGELA
Guys, you're all set. Have a good
show.
CASEY
Thank you, Angela.
REBECCA
(SEEING THE DIGITAL CLOCK COUNTDOWN)
Oh my God, you have 30 seconds.
DAN
Yes.
REBECCA
Aren't you nervous?
DAN
Rebecca?
REBECCA
Yeah?
DAN
Remember when I was talking to you
about being in show mode?
REBECCA
Yeah?
DAN
Show mode! Show mode!
REBECCA
I'll stand over there.
DAN
Excellent.
REBECCA GOES AND STANDS BEHIND THE CAMERAS.
CASEY
(TO DAN) Hard not to like her.
DAN
Tell me about it.
BACK IN THE CONTROL ROOM, THE PRE-SHOW ACTIVITY CONTINUES MOS--
JEREMY (VO)
"Fedrigotti lost his match as the whole world
knew he would. But I wish you could've seen
the look in his eyes when Sampras hugged him
at the net. It was a sight to see."
DAVE
Ten seconds live.
SALLY
Good show everybody.
JEREMY (VO)
"Maybe things are gonna be a little
rough for a little while, but Lou, I
want you to keep your head in the
game. We'll come out the other side of
this no problem."
CASEY SEES DANA AND GORDON, IN OVERCOATS, HEADING TOWARD
THE EXIT BEHIND THE CAMERAS. DANA CATCHES CASEY'S EYE
BEFORE SHE DISAPPEARS.
JEREMY (CON'TD)
In the meantime, stay out of trouble,
Louise. Love, Jeremy."
DAVE
In three...two...
CASEY
Good evening from New York City, I'm
Casey McCall alongside Dan Rydell.
Those stories plus--
FADE TO BLACK
END OF SHOW