"What Kind of Day Has it Been"
Written by
Aaron Sorkin
Directed by
Thomas Schlamme
Final Draft - 3/09/99 (Yellow)
1st rev. - 3/10/99 (Green)
2nd rev. - 3/10/99 (Goldenrod)
3rd rev. - 3/11/99 (White)
SPORTS NIGHT
"What Kind of Day Has it Been"
#N323
Cast
Sports Night
TEASER
INT. MAKEUP ROOM/CRAFT SERVICE
AREA/STUDIO/CONTROL
ROOM/STUDIO/BACKSTAGE/CONTROL ROOM/STUDIO - NIGHT - (NIGHT 1)
(Dan, Casey, Dana, Jeremy, Natalie, Kim, Elliot, Chris, Will,
Dave, Alyson)
CASEY
There's a formality.
DAN
Why do you worry about it?
CASEY
'Cause I'm his father. You know what
he's started doing? He's started
shaking hands with me. He's nine.
You'll see when he comes by tomorrow.
He'll be like (EXTENDING HIS HAND)
"Hi, Dad." What is that?
DAN
Leave him alone.
KIM (VO)
Five minutes. First team and a sound
check. Five minutes to air, please.
CASEY
On the other hand, he's started
playing baseball well.
DAN
Yes.
CASEY
Did I mention yesterday's game?
DAN
Yes, you did. In fact I believe I know
the stats.
CASEY
3 for 3, two rbi's, two walks and a
stolen base.
DAN
Yes.
CASEY
You don't think that's impressive?
DAN
I think it's very impressive.
CASEY
You bet your butt it's impressive.
DAN
It is.
CASEY
My son may be little, but he's got
some game.
DAN
He does.
CASEY
My boy can play ball.
DAN
I'd think about takin' him outa
school.
DAN AND CASEY HEAD TOWARD THE STUDIO.
CASEY
See, you joke about this.
DAN
I'm not kidding. There's nothing he
can learn in the fourth grade that he
can't pick up in a good minor league
farm system.
CASEY
3 for 3 with two rbi's, two walks and
a stolen base.
INT. CRAFT SERVICE AREA/STUDIO - CONTINUOUS - (NIGHT 1)
DAN
And you should be his agent, 'cause
that usually works out well too.
CASEY
I'm just sayin'.
DAN
Wouldn't you think she'd have come
crawling back to me by now?
CASEY
Rebecca?
DAN
Yes.
CASEY
I would have thought so, but instead
she went crawling back to her husband.
DAN
It's a world gone mad, Casey.
NATALIE PASSES THEM ON HER WAY INTO THE CONTROL ROOM--
NATALIE
30's long.
CASEY
Dan fixed it, check the shot-sheet.
NATALIE GOES INTO THE CONTROL ROOM AS WE
RESET TO:
INT. CONTROL ROOM - CONTINUOUS - (NIGHT 1)
NATALIE
Dan fixed 30, show me Riverfront.
DAVE
Three minutes to VTR, four minutes
live.
WILL
Riverfront's up.
NATALIE
That's not Riverfront.
WILL
You're right.
KIM
That's Three Rivers.
WILL
I know.
ELLIOT
Riverfront's in Cincinnati.
WILL
I know where Riverfront is.
CHRIS
Three Rivers is in Pittsburgh.
WILL
Yes.
CHRIS
Pittsburgh's in Pennsylvania.
WILL
Thanks very much.
DANA ENTERS--
DANA
It works. My new camera works.
NATALIE
Excellent.
DANA
The Soshi/SunTac RTS-III, baby.
WILL
Riverfront's up.
DANA
And it works.
NATALIE
Thank you, gimme Phoenix.
DANA
Well, I don't know if it works, but it
looks incredibly good.
NATALIE
(TO DANA) What's the count-back in?
DANA
18 seconds.
NATALIE
(INTO HEADSET) Judy, that's 18 seconds
for 30 cold.
DANA
I'm going to take the inaugeral picture
tomorrow. The maiden photograph. I'd
like everyone to bring nice clothes.
ELLIOT
You're gonna take a picture of our
clothes?
KIM
I think she meant she wanted us to
wear the clothes.
DANA
That's exactly what I meant. Spread
the word.
KIM CROSSES TO THE STUDIO.
DAVE
Two minutes to VTR, three minutes
live.
INT. STUDIO
KIM
It's an 18 second count-back.
CASEY
From the Red Sox?
KIM
Yeah. And Dana wants to take
everyone's picture tomorrow.
DAN
Why?
CASEY
She bought a new camera.
DAN
I didn't know Dana took pictures.
CASEY
She doesn't. She doesn't know anything
about cameras. But she felt the sudden
need to own one.
DAN
Is this part of her psychotic episode?
CASEY
Yes.
DAN
(TO KIM) Well then sign me up.
KIM
18 back at 30.
KIM HEADS BACK TO THE CONTROL ROOM--
ALYSON
You guys are all set. Have a good
show.
ALYSON MOVES BACKSTAGE AND CASEY FOLLOWS.
INT. BACKSTAGE
DAN
Thank you, Alyson.
CASEY
Alyson, did you now my son, Charlie,
went 3 for 3 yesterday, with two
rbi's, two walks and a stolen base?
ALYSON
No.
CASEY
He did.
ALYSON
That's great.
CASEY
I wasn't there to see it, but that's a
different thing, and I'm not gonna get
morose right now.
ALYSON
Okay.
CASEY
I'm not gonna lay all that on you.
ALYSON
Okay.
CASEY
I'm not gonna get heavy with you.
ALYSON
Okay.
CASEY
Even though I can see you're feelin'
chatty right now.
ALYSON
Yeah.
CASEY
Good show.
ALYSON
Good show.
JEREMY'S CROSSING ON HIS WAY TO THE CONTROL ROOM--
CASEY
Jeremy--
JEREMY
Seven pitches, you believe that?
CASEY
Yes I do.
JEREMY
Seven pitches.
JEREMY ENTERS THE CONTROL ROOM AS --
INT. CONTROL ROOM
DANA
(TO JEREMY) Whaddya got?
JEREMY
Nothing. The bottom of the order went
down on seven pitches.
DANA
Maybe tomorrow.
JEREMY
Whatever happened to the ninth inning
rally, huh?
DANA
Yeah, and why don't we use semi-colons
anymore
JEREMY
This show needs a ninth inning rally.
DANA
I think, under the circumstances, the
show is doing fine.
JEREMY
I think so too.
NATALIE
Then why did you say we needed a ninth
inning rally?
JEREMY
(PAUSE) I wasn't speaking
metaphorically, I mean the show could
use an actual ninth inning rally.
DANA
The show hasn't even started yet.
JEREMY
I'm not talking about the show. I'm
saying wouldn't it be great if the
show we're about to do included a
ninth inning rally.
NATALIE
And we're saying that in order to have
a ninth inning rally, the show would
have to necessarily begin from a
disadvantageous position, which
neither one of us thinks would be
great.
JEREMY
I'm gonna start again because that's
how completely you've both missed the
point.
DAVE
Roll VTR. 60 seconds live.
WILL
Stand by.
CHRIS
Loading 1, 2 and F/X-2.
ELLIOT GOES INTO THE STUDIO WITH NOTES FOR DAN AND CASEY--
INT. STUDIO - CONTINUOUS - (NIGHT 1)
ELLIOT
(CALLING) Steppin' out now. We're live
in 60.
DAN
Elliot.
ELLIOT
What do you need?
DAN
Wouldn't you think that Rebecca
would've come crawling back to me by
now?
ELLIOT
If you love something, you gotta set
it free, Dan.
DAN
That's good advice, dude, thanks.
ELLIOT
30 seconds.
ELLIOT EXITS TO THE CONTROL ROOM.
CASEY
(TO DAN) Do me a favor, would you?
When he comes by tomorrow, make a big
deal out of the baseball thing.
DAN
I will.
CASEY
And try not to traumatize the new
nanny.
DAN
Why would I traumatize the new nanny?
CASEY
I don't know, but you always do.
DAN
I like nannies.
CASEY
I know.
DAN
I'm thinking of getting one for
myself.
CASEY
Good.
DAN
'Course she'd probably end up going
back to her ex-husband.
CASEY
You'll make a big deal?
DAN
I'll make a big deal.
CASEY
(PAUSE) He's shaking hands, Danny.
DAN
Stop it.
DAVE
In three, two--
DAN
Good evening, from New York City I'm
Dan Rydell alongside Casey McCall.
Those stories plus, we'll show you
what a long, strange trip it's been
for the Grateful Reds at Riverfront.
CASEY
And we'll show you how Geraldo Garcia
can just keep on truckin' at Three
Rivers.
All that comin' up after this, you're
watching Sports Night on CSC, so stick
around.
DAVE
We're out.
KIM
Two minutes back.
END OF TEASER
ACT I
(A)
INT. EXECUTIVE CORRIDOR/NEWSROOM - DAY - (DAY 2)
(Dan, Dana, Jeremy, Natalie, Kim, Elliot, Chris, Will, Dave)
JEREMY AND NATALIE EXIT FROM AN OFFICE AND HEAD TOWARD
THE NEWSROOM
JEREMY
Listen. This isn't hard. Forget we
work on a television show. We're just
sports fans and we work in a
haberdashery. A ninth inning rally
would be a fun thing to see.
INT. NEWSROOM - CONTINUOUS - (DAY 2)
NATALIE
Ahhhhhhhh.
JEREMY
Yes.
NATALIE
I understand.
JEREMY
Thank you.
NATALIE
The haberdashery.
JEREMY
Yes. That was all I was saying.
NATALIE
I was confused.
JEREMY
Yes I know.
NATALIE
But your haberdashery parable cleared
it up for me.
INT. NEWSROOM - CONTINUOUS - (DAY 2)
DANA HAS A CAMERA SET UP ON A TRI-POD AND IS CHECKING A
LIGHT METER.
DANA
Picture time!
JEREMY
Speaking of confused.
NATALIE
Be nice.
DANA
Kim, let's get everybody.
KIM
(CALLING) Dan!
JEREMY
Dana, do you have the first idea how
to operate any of this equipment?
DANA
(WAVING A BOOK) This is called an
owner's manual, my friend, and I've
read it cover to cover.
JEREMY
I've read Doctor Zhivago cover to
cover, it doesn't make me the Czar.
DANA
We've got a name for people like you
back hom in Denver. It's called
"sourpuss".
JEREMY
We've got a name for people like you
back home in Boston, too. It's called--
NATALIE TWISTS HIS EAR--
JEREMY (CONT'D)
Ow. Ow. Pain. Pain. Pain.
DANA
Dave, Chris, Will, you guys get over
here.
NATALIE
Is everything all set?
DANA
I've already loaded the film.
JEREMY
Say, you do know what you're doing.
DAN COMES OUT OF HIS OFFICE--
DANA
Dan. Good. Get over here.
DAN
Dana, what the hell--
DANA
Do you love it?
DAN
How much did you spend on this?
DANA
It's a little extravagant, but I think
a hobby's a good idea for me.
DAN
Annie Liebowitz doesn't have--
DANA
I'm treating myself.
DAN
Go to Vegas.
DANA
I don't like Vegas.
DAN
If you don't like Vegas, then you're
just crazy.
DANA
That's what I'm saying.
DAN
Dave, Chris, Will, you guys are
professionals. You couldn't talk her
out of this?
DAVE
We're just happy to be in the picture.
DANA
Great. Where's Casey?
DAN
Madison Square Garden.
DANA
What's he doing there?
DAN
Interviewing Michelle Kwan.
DANA
That was supposed to be you.
DAN
Michelle Kwan doesn't like me.
NATALIE
You're wrong.
DAN
She dissed me at the ESPY's.
NATALIE
She did not.
DAN
She dissed me.
NATALIE
Dan--
DAN
I gave her a little of this at the
ESPY's and she frosted me. Not unlike
Rebecca.
DANA
We can't do the picture without Casey.
DAN
I've gotta go someplace and weep.
EVERYBODY STARTS TO DISPERSE--
DANA
Hang on, hang on, you know what we're
gonna do? We're gonna do a practice
picture.
JEREMY
Dana--
DANA
Yes. Without Casey. That way I can
work out any kinks, and he won't be
able to make any jokes.
NATALIE
He wouldn't make any jokes.
DANA
Yes he would.
DAN
Dana--
DANA
Gather up.
DAN
We better do as she says.
DANA
Alright. Now. Just so you know. What
we're workin' with here today is the
Soshi/Suntac RTS-III with the built-in
databack and a 70mm--
DAN
Dana.
DANA
Okay, everybody hold still. Here's
what's gonna happen. You're gonna here
three beeps--beep, beep, beep--
followed by a one and one-half second
pause then a flash from my Exceter
220g strobe with the 18 inch parabolic
reflector. Ready?
JEREMY
Could you tell us again what the beeps
are gonna sound like?
DANA
Hold still.
DANA'S MADE HER FINAL FOCUS ADJUSTMENTS, PUSHES A BUTTON ON
THE CAMERA, AND RUNS TO TAKE HER PLACE WITH THE GROUP.
EVERYONE STANDS IN A STILL POSE.
WE HEAR THE THREE BEEPS.
NOTHING.
THEY HOLD.
NOTHING.
THEY HOLD.
DAN
Don't be impatient, now, 'cause a
second and a half is a lot longer than
you think.
DANA
Hm.
DANA STEPS TOWARD THE CAMERA AND THE CAMERA SUDDENLY TAKES
THE PICTURE.
DANA (CONT'D)
Well...a little timing problem. I can
fix that.
NATALIE
Also the flash didn't go off.
DANA
That's right.
DANA STEPS TOWARD THE STROBE AND IT BASICALLY EXPLODES.
DANA (CONT'D)
Hm.
DAN
Well I don't see where Casey could've
gotten any material here, Dana, I
don't think you have anything to worry
about.
ELLIOT ANSWERS A PHONE THAT'S RINGING NEXT TO HIM.
DANA
I'm gonna iron out these wrinkles, and
we're gonna do this later. We'll
gather.
EVERYONE BEGINS TO DISPERSE.
ELLIOT
Dana?
DANA
Yeah.
ELLIOT
Gordon's on your line.
DANA
Okay.
DANA PICKS UP A PHONE AND PUNCHES A LINE--
DANA (CONT'D)
(INTO PHONE) Hello?
JEREMY AND NATALIE ARE WALKING TOWARD THE CSC CORRIDOR--
JEREMY
There are 28 teams playing tonight.
What we want is for one of them to be
getting absolutely humiliated in the
late innings.
NATALIE
Why?
JEREMY
'Cause we're sports fans.
NATALIE
In a haberdashery.
JEREMY
Yes.
CUT TO:
ACT I
(B)
INT. STUDIO/CONFERENCE ROOM - DAY - (DAY 2)
(Dana, Jeremy, Charlie, Holly)
CHARLIE, CASEY'S 8 YEAR-OLD SON, WALKS IN CARRYING SOME
BOOKS AND ACCOMPANIED BY HOLLY, HIS NANNY.
HOLLY
This is quite a place.
CHARLIE
Holly, do you know what time it is?
HOLLY
It's half-past four. We're fine.
CHARLIE
'Cause it's just that my mother'll be
mad if I'm late.
HOLLY
We're fine.
DANA ENTERS. EVEN THOUGH SHE'LL COVER WELL, THE PHONE CALL
SHE'S GOTTEN HAS MADE HER ANXIOUS.
DANA
Charlie! I heard a rumor you were
paying a visit. (TO HOLLY) Dana
Whitaker.
HOLLY
I'm Holly, I'm the new nanny. Deborah
had to go back to--
DANA
I heard. Yeah, listen, Charlie, your
dad should be here any minute. He had
to go crosstown to interview an ice
skater.
HOLLY
Do you mind if we wait?
DANA
No, of course not. No, I'll just--I
have to be here because I got a phone
call. Someone's meeting me here. But
I'll meet you--I'll put you in the
conference room.
CHARLIE
(TO HOLLY) We shouldn't be late.
HOLLY
We're okay.
JEREMY IS PASSING BY--
DANA
Jeremy, come here. Meet Charlie
McCall.
JEREMY
Oh hey, nice to meet you. I'm Jeremy.
CHARLIE
Hi.
DANA
Jeremy, could you take Holly and
Charlie into the conference room.
JEREMY
Sure.
DANA
I've gotta wait here.
CHARLIE
Holly?
HOLLY
Yeah.
CHARLIE
I think my mom--
HOLLY
We're meeting her soon.
DANA
Charlie, no kidding, you're lookin'
fine.
JEREMY
Right this way.
HE LEADS HOLLY AND CHARLIE TOWARD THE CONTROL ROOM.
DANA
Jeremy?
JEREMY
Yeah.
DANA
I've gotta wait here. I'll be right
here.
JEREMY
Okay.
JEREMY FOLLOWS HOLLY AND CHARLIE INTO THE CONTROL ROOM.
RESET TO:
INT. CONFERENCE ROOM - MOMENTS LATER
JEREMY, CHARLIE, AND HOLLY ENTER THE CONFERENCE ROOM.
JEREMY (CONT'D)
Charlie, you're in fourth grade?
CHARLIE
Yeah, but next year I'll be in fifth
grade.
JEREMY
Well fifth grade's where the rubber
meets the road. You can look forward
to, for instance, the explorers.
CHARLIE
Yeah.
JEREMY
Can I give you a suggestion?
CHARLIE
Yeah.
JEREMY
Your classmates are gonna be
concentrating on Columbus and Magellan
and maybe some of the brighter ones'll
think about Ponce de Leon. Do yourself
a favor. Pick up a pamphlet published
in 1507 by German cartographer Martin
Waldesmuller and read what he has to
say about Amerigo Vespucci. (BEAT)
Anyway, settle in. You want to watch
TV? We get literally every channel
there is.
HOLLY
I think Charlie's gonna do his math
homework.
JEREMY
Well now we're talkin'. I'm a sports
producer by vocation. But, through
scholarly deeds, I'm a mathematician.
(BEAT--TO HOLLY) Really, I am. (BEAT)
So shout if you need me.
JEREMY STARTS TO GO--
CHARLIE
My dad likes you.
JEREMY STOPS--
JEREMY
I'm sorry?
CHARLIE
He said that he liked you right away.
JEREMY REGARDS THIS REMARK FOR A MOMENT...
JEREMY
Thanks a lot, Charlie.
CHARLIE
I'm gonna wait here for him now.
JEREMY
(BEAT--TO HOLLY) I'll be right
outside.
HOLLY
Thanks.
JEREMY EXITS.
END OF ACT I
ACT II
(C)
INT. STUDIO/CSC CORRIDOR/NEWSROOM/EXECUTIVE CORRIDOR/ISAAC'S
OFFICE - DAY - (DAY 2)
(Dana, Kim, Elliot, Gordon)
DANA IS STILL WAITING IN FRONT OF THE ANCHOR DESK. IT'S A
MOMENT MORE BEFORE SHE SEES GORDON BEHIND THE BACKDROP
WALKING INTO THE NEWSROOM.
DANA
(CALLING) Gordon.
GORDON
Dana?
DANA
I'm over here.
GORDON COMES AROUND THE BACKDROP IN FRONT OF THE DESK.
GORDON
Sorry it took so long. Something's
happening on Sixth Avenue.
DANA
I know. Casey's not back yet either.
GORDON
Yeah.
DANA
I was worried on the phone, 'cause it
sounded important.
GORDON
Yeah. I wanted to come over--
DANA
You wanna siddown?
GORDON
I wanted to come over, 'cause I know
we're supposed to go to that thing
tonight.
DANA
We're not going?
GORDON
Listen--
DANA
I'm not saying we need to go, but I
just though it would be fun 'cause we
don't get to get dressed up that much.
GORDON
I need you to stop talking.
DANA
Okay.
GORDON
(PAUSE) I wanted to come over--
DANA
What is it? (PAUSE) Unless you're
calling off the engagement, I can't
even imagine what it is that has you
so frazzled. (PAUSE) Why would you
call off the engagement?
GORDON
Because--
DANA
Actually, I'd prefer not to talk here.
GORDON
Should we go someplace?
DANA
Yes.
DANA AND GORDON BEGIN AN UNCOMFORTABLE WALK FROM THE STUDIO
TO ISAAC'S OFFICE. THE WALK IS UNCOMFORTABLE BOTH BECAUSE
OF ITS RELENTLESS LENGTH AND ITS SILENCE. DANA WILL BE
INTERRUPTED A COUPLE OF TIMES DURING THE WALK WITH
QUESTIONS, WHICH SHE'LL FIELD AS CASUALLY AS SHE CAN.
RESET TO:
INT. CSC CORRIDOR - CONTINUOUS - (DAY 2)
AS DANA AND GORDON COME THROUGH--
ELLIOT
Dana, how'd you feel about moving the
pre-fight coverage to the 4-block?
DANA
I think Kevin would need to give us 15
back.
DANA AND GORDON'S WALK CONTINUES INTO THE NEWSROOM AS WE
RESET TO:
INT. NEWSROOM - CONTINUOUS - (DAY 2)
DANA AND GORDON WALK THROUGH IN SILENCE AND TURN THE CORNER
INTO THE EXECUTIVE CORRIDOR AS WE
RESET TO:
INT. EXECUTIVE CORRIDOR - CONTINUOUS - (DAY 2)
KIM
Hey Gordon.
GORDON
Hi.
KIM
(TO DANA) I got what you wanted.
DANA
Thanks, Kim.
DANA AND GORDON CONTINUE DOWN THE HALL IN SILENCE AND TURN
INTO ISAAC'S OFFICE AS WE
RESET TO:
INT. ISAAC'S OFFICE - CONTINUOUS - (DAY 2)
DANA CLOSES THE DOOR.
DANA (CONT'D)
So.
GORDON
Yeah.
DANA
What were we talking about?
GORDON
Dana--
DANA
That was a joke.
GORDON
Look--
DANA
It was a joke.
GORDON
I know.
DANA
(PAUSE) I think I'm funnier than
you've given me credit for being in
the past.
GORDON
Here's what I've been thinking the
past few days--
DANA
I'm just saying that if you're calling
off the engagement because you don't
think I'm funny enough--
GORDON
Would you stop.
DANA
Are you angry right now?
GORDON
Dana--
DANA
Are you made at me?
GORDON
I'm not--
DANA
First you spend six months making me
feel guilty for liking my job, then
propose to me, two days later you tell
me that you've slept with the woman
who wants my job, I say fine. I say
"fine". Six days after that you tell
me you want to break off the
engagement? Here's the thing: I think
only one of us should be angry at a
time, and I have a hunch it's gonna be
me.
GORDON
I think you're hung up on Casey.
DANA
That's what this is about?
GORDON
That's what this is about.
DANA
I'm not.
GORDON
You are, and you don't cover it well.
DANA
This is a cheap excuse to get out of
marrying me which you never wanted to
do in the third place, and the only
reason you proposed in the second
place was out of guilt for having
slept with Sally in the first place.
GORDON
You say fine? I sleep with Sally and
you say "fine"? Casey sleeps with
Sally and that's a different story.
DANA
You're calling off the engagement
cause I wasn't mad enough when I found
out you were sleeping around? How
'bout if we do the whole thing again
and I just beat the living crap outa
you?
GORDON
I'm leaving.
DANA
Don't go.
GORDON
Dana--
DANA
Don't go.
GORDON STOPS AT THE DOOR--
DANA (CONT'D)
Ah, what the hell. Go.
GORDON
(PAUSE) Maybe we can talk more about
this later.
DANA
Yeah, let's talk about it as much as
humanly possible. (TAKING OFF THE
RING) This is yours.
GORDON
Thanks. I mean--
DANA
Gordon?
GORDON
Yeah.
DANA
I was a lot funnier than you ever gave
me credit for.
GORDON NODS AND GOES.
CUT TO:
ACT II
(D)
INT. CONFERENCE ROOM/CORRIDOR/CONFERENCE ROOM/NEWSROOM/DAN
AND CASEY'S OFFICE/NEWSROOM/CONTROL ROOM CORRIDOR - DAY -
(DAY 2)
(Dan, Casey, Charlie, Holly)
CHARLIE SITS AT THE TABLE WORKING FROM A MATH BOOK WHILE
HOLLY READS THE NEWSPAPER.
HOLLY
How's it going over there?
CHARLIE
I've got nine of them.
HOLLY
How many are there?
CHARLIE
Twenty.
HOLLY
You're almost halfway done.
CHARLIE
Maybe it's okay if I leave a note for
my father.
HOLLY
You don't have to leave a note, we're
gonna see him in a minute.
CHARLIE
Yeah, except we shouldn't be late to
meet my mom.
HOLLY
Charlie, you're a worry-wort, did you
know that? Why are you a worry-wort?
Say that fast, "Why are you a worry-
wort".
DAN COMES IN THE DOOR CARRYING A VIDEOTAPE--
DAN
Charlie--
CHARLIE
Hey, Dan.
DAN
What is up with you not coming by to
say hi?
CHARLIE
I was in here.
DAN
I can see that you're in here. Can you
see that over there? That's my office.
I make it a six and a half second walk
from here, what do you think?
CHARLIE
Sorry.
DAN
Yeah, sorry don't make the buttercup
shine. Who's your friend?
HOLLY
I'm Holly, I'm the new nanny. Deborah
had--
DAN
I lived through the trauma.
HOLLY
Yeah.
DAN
Listen, I need to talk to Charles for
a second if you feel like taking five.
HOLLY
Sure.
DAN
If you go out that way, there's a
table with coffee and tea and from
time to time Belgian Waffles.
HOLLY
(TO CHARLIE) I'll be right back.
HOLLY EXITS.
DAN
3 for 3 with two rbi's, two walks and
a stolen base.
CHARLIE
Yeah.
DAN
What's a stolen base?
CHARLIE SAYS NOTHING...
DAN (CONT'D)
There's no reason why you should know
the answer to that question, Charlie,
you're nine years old and there's no
stealing in your league. I'm gonna pop
this tape in here. It's the show your
father and I did night before last.
DAN HITS THE PLAY BUTTON--
DAN (ON TV)
...Ken Griffey, Jr., busting out of
his slump by going 3 for 3 with two
rbi's, two walks and a stolen base,
raising his season batting average to--
DAN TURNS OFF THE TAPE.
DAN (CONT'D)
What's going' on?
CHARLIE
What do you mean?
DAN
You know there's nothing wrong with
padding your stats over pizza after
the game, but I'm a little concerned
that you think you need to lie to your
Dad.
CHARLIE
I can't play very well.
DAN
Most people can't play very well.
CHARLIE
I strike out.
DAN
Well, God, Charlie, you mean to tell
me you're finishing up fourth grade
and you're not a good athlete yet?
CHARLIE
I can't play at all.
DAN
Are you hoping to earn a living one
day as a professional baseball player?
CHARLIE
No.
DAN
Then what do you care?
CHARLIE
I'm supposed to do these math
problems.
DAN
Charlie--
CHARLIE
And then I've gotta meet my mom.
DAN
Look who's here.
CASEY ENTERS--
CASEY
Hey, big man, I'm sorry I'm late.
CHARLIE
Hi dad.
CHARLIE EXTENDS HIS HAND. CASEY LOOKS AT HIM...
CASEY
Charlie, are you selling me an
insurance policy?
DAN
Hey Casey? Can I talk to you for just
a second about Cleveland?
CASEY
I just got here.
DAN
(TO CHARLIE) One second and he's
all yours.
CASEY
I'll be right back.
DAN GOES OUT THE CONTROL ROOM SIDE OF THE CONFERENCE ROOM
AND CASEY FOLLOWS AS WE
RESET TO:
INT. CORRIDOR - CONTINUOUS - (DAY 2)
DAN
Hey.
CASEY
Hey.
DAN
How'd the interview go?
CASEY
Fine.
DAN
Good. Say, listen, I think I know why
Charlie's behaving a little strange.
CASEY
Really?
DAN
Yeah, it's 'cause you're a jackass.
CASEY
What're you--
DAN
Casey, he can't play. You've seen him
play, you know he can't play. What
made you think that all of a sudden--
CASEY
He lied to me?
DAN
Yeah, and know what else? It's
actually the first time in history
that a son's lied to his father, so
I'd definitely go off the deep end.
CASEY
(CALLING) Charlie!
DAN
Casey.
CASEY
What?
DAN
He's such a good little guy.
CASEY GOES INTO THE CONFERENCE ROOM AS WE
RESET TO:
INT. CONFERENCE ROOM - CONTINUOUS - (DAY 2)
CHARLIE
Dad, I shouldn't be late for meeting
mom at the--
CASEY
Your mom can deal with it and if she can't,
she can learn how. Come with me please.
CASEY WALKS OUT THE OTHER SIDE OF THE ROOM WITH CHARLIE
FOLLOWING BEHIND AS WE
RESET TO:
INT. NEWSROOM - CONTINUOUS - (DAY 2)
AS CASEY AND CHARLIE WALK TO THE OFFICE AND
RESET TO:
INT. DAN AND CASEY'S OFFICE - CONTINUOUS - (DAY 2)
AS THEY WALK IN--
CASEY (CONT'D)
You know I don't like lying.
CHARLIE
I'm sorry.
CASEY
There's no need for it, Charlie. Did
you really think I was gonna be mad at
you 'cause you didn't play well in a
baseball game?
CHARLIE
I'm sorry.
CASEY
I've gotta find this out from Dan?
CHARLIE
Dad?
CASEY
And I also think you're old enough now
to have something more than I'm sorry.
CHARLIE
I can't play.
THIS STOPS CASEY IN HIS TRACKS.
CHARLIE (CONT'D)
(EXPLAINING SIMPLY) I really can't.
And I know that everyone knows who you
are because they watch you on
television. And I know you'd be
happier if I was good at sports. But I
can't play. And I lied 'cause I didn't
want to embarrass you. I'm sorry.
CASEY STARES AT CHARLIE FOR A MOMENT...
CASEY
Come here.
CHARLIE DOES AS HE'S TOLD.
CASEY (CONT'D)
That was really hard for you to say,
wasn't it. You were scared during
that.
CHARLIE
Yeah.
CASEY
It didn't show. You were really calm
and honest. But I knew you were scared
anyway, because I'm your father.
(BEAT) You were worried that you might
embarrass me? Man, there should be no
doubt in anyone's mind that you're my
son. And you can't even blame me,
cause grandpa started it, and I have a
hunch his dad was no picnic either.
So, Charlie, I'm nippin' this in the
bud right now. Pay close attention: In
your lifetime, you will never
embarrass me. (BEAT) It's not gonna
happen. I'm gonna use a word I don't
want to hear you use for another ten
years but Charlie I don't give a damn
if you strike out, fall down and set
the place on fire, in your lifetime,
you will never embarrass me. You're a
nine-year-old boy with much more to
think about than any nine year-old boy
should have to and I want you to take
this one off your plate, I want you to
do it right now. School is for you,
it's not for me.
You play baseball if you want to play
baseball. And the only thing you have
to do to make me and your mom happy is
come home at the end of the day. In
your lifetime, you will never
embarrass me. You know why?
CHARLIE GIVES HIS HEAD A SMALL SHAKE "NO".
CASEY (CONT'D)
'Cause I'm your father. Who'd you
think I was?
CHARLIE DOES SOMETHING WE HAVEN'T SEEN HIM DO YET. HE
SMILES. THEN LAUGHS.
HOLLY KNOCKS AND STEPS IN...
HOLLY
Casey? We've gotta meet Lisa.
CASEY
Then be gone with you both.
CHARLIE
Bye Dad.
CHARLIE HUGS HIS FATHER...
CASEY
Bye.
HOLLY AND CHARLIE HEAD OUT THROUGH THE NEWSROOM AS WE
RESET TO:
INT. NEWSROOM/CONTROL ROOM CORRIDOR - CONTINUOUS - (DAY 2)
DAN IS WALKING THROUGH AND FALLS IN STEP WITH THEM--
DAN
You guys takin' off?
CHARLIE
Yeah, but it's okay.
DAN
Charlie? I used to not be able to
ride a bike.
CHARLIE
What happened?
DAN
I kept riding my bike. Tell your mom
hi for me.
CHARLIE
I will.
DAN
(TO HOLLY) It was nice meeting you,
but I've forgotten your name. Is it
Rebecca?
HOLLY
Holly.
DAN
I thought it was Rebecca.
HOLLY
It's Holly.
DAN
I don't like girls named Rebecca. I
find they usually go back to their ex-
husbands.
HOLLY
We should go.
DAN
So long.
CUT TO:
ACT II
(E)
INT. STUDIO/CONTROL ROOM/NEWSROOM/DAN AND CASEY'S
OFFICE/NEWSROOM - NIGHT - (NIGHT 2)
(Dan, Casey, Isaac, Dana, Jeremy, Natalie, Kim, Elliot,
Chris, Will, Dave, TV Anncr)
KIM (VO)
15 minutes to air. Casey and Dan to
wardrobe, please.
JEREMY AND NATALIE WALK THROUGH THE STUDIO--
JEREMY
We're in business.
NATALIE
What business?
JEREMY
We're in the comeback business.
NATALIE
You told me we sold men's accessories.
INT. CONTROL ROOM
JEREMY
Try and be with me on this, would you?
Listen to me. Everybody. Stop you
work.
ALL WORK IN THE NEWSROOM STOPS AS JEREMY COMMANDS THEIR
ATTENTION.
JEREMY (CONT'D)
A writer once wrote, "As if it matters
how a man falls down.
When the fall is all that's left, it
matters very much." What did he mean by
that? He meant do not abandon blow-outs.
Watching proud and accomplished athletes
battle in the face of odds that are
virtually hopeless is one of the more
stirring sights in all of sports. The
Phillies have been down 14 to 1 since the
third inning, and I think it's the best
game we've got. that is all.
DANA ENTERS FROM THE STUDIO--
DANA
Picture time. Let's go.
JEREMY
Maybe you could start by just drawing
a picture, that way--ow, ow.
DANA
(TO NATALIE) Gather everyone up and
tell 'em it's picture time.
DANA EXITS TO THE NEWSROOM AS WE
RESET TO:
INT. DAN AND CASEY'S OFFICE - CONTINUOUS - (NIGHT 2)
DANA (CONT'D)
Hey.
CASEY
Hey.
DANA
Picture time.
CASEY
What happened to your ring?
DANA
What do you mean?
CASEY
What happened--
DANA
My engagement ring?
CASEY
Yeah.
DANA
It's being cleaned. It's at the ring
cleaners.
CASEY
I didn't know they had special places
for that.
DANA
Yeah. Charlie looked good.
CASEY
Didn't he?
DANA
Yeah.
CASEY
I don't understand, you leave the ring
there overnight?
DANA
Yeah.
CASEY
How does a ring cleaner carry the kind
of insurance premiums cover--
DANA
Don't worry about it. It's picture
time.
CASEY COMES OUT A FEW MOMENTS AFTER DANA AS WE
RESET TO:
INT. NEWSROOM - CONTINUOUS - (NIGHT 2)
PEOPLE ARE ASSEMBLING FOR THE PICTURE AMIDST THE BUSTLE OF
PRE-SHOW ACTIVITY.
DANA (CONT'D)
Picture time. I've fixed the glitch.
We're good to go and ready to roll.
Let's make some magic.
DAN
I've forgotten, do the three beeps
come before or after the strobe blows
up?
DANA
Hold still. Hold these positions. Here
we go.
DANA SETS THE TIMER AND TAKES HER PLACE WITH THE GROUP.
WE HEAR: BEEP, BEEP, BEEP.
AND NOTHING.
DANA (CONT'D)
All right, everybody just stay where
you are. This is nothing. This is a
small timing problem.
DANA TAKES A STEP TOWARD THE TRIPOD AS THE BACK OF THE
CAMERA POPS OPEN AND THE FILM FLIES OUT, STOPPING HER IN
HER TRACKS. SHE'S FROZEN, STARING AT THE MANGLED HEAP OF
FILM.
DANA (CONT'D)
Casey, if you even say a word--
NATALIE
At least the strobe didn't explode.
AND THE STROBE EXPLODES--
DANA
All right, that's it. That is it, that
is absolutely it!
DAN
Hey where's your ring?
CASEY
It's at the cleaners.
DANA
It's not at the cleaners, you idiot!
There's no such thing as an overnight
ring cleaner. Gordon and I broke up.
Just the most recent in a series of
recent humiliations. And I'm okay with
it. I can take it. But this is really
the livin' end. I have seen enough to
know I have seen enough, and now I
want something good to happen. I want
something good to happen before the
day is over, and I'll be the judge of
what's good.
CASEY
Dana--
DANA
One good thing before the day is over,
I swear that's all I want.
ISAAC (OS)
Hey lady.
DANA TURNS AROUND TO SEE ISAAC STANDING AGAINST THE WALL IN
JEANS, A TEE-SHIRT AND A SPORTS NIGHT JACKET.
ISAAC (CONT'D)
Are you thinkin' about getting my show
on the air anytime soon?
DANA
Isaac.
THE PLACE ERUPTS IN WHOOPS AND HOLLARS--
DANA (CONT'D)
You're back.
ISAAC
Yeah.
DANA
Is it okay to hug you?
ISAAC
Yeah.
SHE DOES--
DANA
Thank you.
EVERYONE BEGINS TAKING HIS TURN GREETING ISAAC AS THE PRE-
SHOW ACTIVITY RESUMES...
NATALIE
When did you get out of the hospital?
ISAAC
This morning.
KIM
(SHOUTING) Isaac! Would you like to
watch the show from your office?!
ISAAC
Why is she shouting at me?
DANA
Hang on, before anyone goes anywhere,
I'm gonna give it one more try.
DAN
Dana--
ISAAC
What the hell is all--
DANA
I'm taking a picture. You're gonna be
in it. I need a minute.
ELLIOT
Five minutes to air.
DANA
I need one minute. I know I can get
this to work.
JEREMY
Here it is. Last batter. 14-1. Here
comes your ninth inning rally. Guys,
can you get sound on 40?
CHRIS
40?
JEREMY
Yeah.
CHRIS AND WILL GO OFF. PEOPLE ARE MILLING ABOUT AS DANA
WORKS WITH THE CAMERA. CASEY AND DAN STAND OFF TO THE SIDE
WITH ISAAC.
DAN
So, you know, Isaac.
ISAAC
Yeah?
DAN
Casey and I were talkin' before and,
well...
ISAAC
What.
DAN
We think you're a bit of a cheese
danish.
ISAAC
Hey--
CASEY
A strawberry parfait, Isaac.
ISAAC
I had a stroke.
CASEY
Out six weeks on the D.L. with a
stroke? I've seen gored matadors get
up off the floor faster than you.
DAN
You're a bit of a crumbcake there,
aren't ya, pal?
ISAAC
Let me look at you both.
ISAAC LOOKS OVER THEM LIKE A FATHER LOOKING AT HIS SONS
ISAAC (CONT'D)
You look good, boys.
DAN
So do you, sir.
THE SOUND OF THE BASEBALL GAME ON TV COMES ON AS WE HEAR
THE CROWD AND THE PLAY-BY-PLAY ON THE LAST BATTER.
NATALIE
Dana, three minutes.
DANA
I'm almost there.
CASEY'S WANDERED OVER TO DANA...
CASEY
What's the problem?
DANA
Well, it's very complicated, Casey.
This is a sophisticated instrument.
It's not just any one thing and it
would be difficult to explain it to
someone who didn't have at least an
intermediate background in
photography, but by and large it's
that I put the film in backwards.
CASEY CRACKS UP JUST A LITTLE...
DANA (CONT'D)
What?
CASEY
Nothing. I just think you're funny.
DANA LOOKS AT CASEY...
NATALIE
Dana, we've really gotta move it.
DAN
Before we do this can I call my broker
real quick and tell him to buy some
Eastman-Kodak?
DANA
Get in your places.
THE PLAY BY PLAY CAN BE HEARD COMING FROM THE TV...
DANA (CONT'D)
Here we go.
DANA HITS THE TIMER AND GETS IN PLACE.
ANNOUNCER (ON TV)
Leeder winds up--
WE HEAR THE THREE BEEPS--
ANNOUNCER (ON TV)
--the oh-two pitch to Donovan--
AND WE HEAR THE FANTASTIC CRACK OF A BASEBALL BAT SMACKING
A SOLID LINE DRIVE.
JEREMY
(POINTING AT TV) Hey.
AT THE SOUND OF THIS, EVERYONE TURNS AND LOOKS UP AT THE
T.V., AND AT THAT INSTANT, THE PICTURE AND THE FLASH GO OFF
SIMULTANEOUSLY.
THE IMAGE STAYS FROZEN ON THE SCREEN AS WE HEAR THE WHOOSH
OF THE SPORTS NIGHT MUSIC. AS THE SNAPSHOT GRAINS UP
SLIGHTLY, WE HEAR AN OVERLAPPING MEDLEY OF ON-AIR INTROS,
ALL IN VOICE OVER.
CASEY (VO)
Good evening--
DAN (VO)
Good evening. From New York City I'm
Dan Rydell alongside Casey McCall--
CASEY (VO)
Good evening. From New York City I'm
Casey McCall alongside Dan Rydell--
DAN (VO)
Those stories--
CASEY (VO)
Those stories--
DAN (VO)
Those stories plus, we'll take you
live to the locker room at Arrowhead--
CASEY (VO)
--Tallahassee--
DAN (VO)
--Tuscaloosa--
CASEY (VO)
--through the ACC--
DAN (VO)
--a PAC-10 match up--
CASEY (VO)
--We'll bring you more on Jayson
Grissom--
DAN (VO)
--A.K. Russell--
CASEY (VO)
--Desmond Corey--
DAN (VO)
--Christian Patrick--
CASEY (VO)
--Leonard Mooker of Newton,
Massachusetts--
DAN (VO)
--Jack Jankowicz with the Marlins--
CASEY (VO)
--Ntozake Nelson's got something to
say about a world record--
DAN (VO)
--and Kelly Kirkpatrick in Green Bay.
THE PICTURE DISSOLVES TO THE BLACK SPORTS NIGHT CARD...
CASEY (VO)
All that comin' up after this. You're
watching Sports Night on CSC, so stick
around.
DAVE
We're out.
END OF SHOW