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<TITLE>Broadcast News</TITLE>

Broadcast  Newsby James L. Brooks.

 FADE IN EXT. CITY STREET -DAY A restaurant supply truck is curbside, near a small restaurant.  GERALD GRUNICK, forty-one, is closing the back door of his truck, feeling good about the world, a common state for him.  He moves towards thecab of the truck and gets inside as we SUPER: KANSAS CITY, MO. - 1963 INT. TRUCK - DAY As he sits down beaming over his recent good fortune... now we REVEAL his twelve-year-old son, TOM,seated quietly beside him. He seems a bit down.  Gerald glances at his son. GERALD I don't know a recent Saturday I've sold more.  You didn't think I'd sell that health restaurant, did you? TOMNo.  Not even you. GERALD Why so glum? TOM I don't know. GERALD (a beat) Go ahead. TOM No, nothing.  I've got a problem, I guess. GERALD Were you bothering bythose waitresses making a fuss? TOM No.  But, honest.  What are you supposed to say when they keep talking about your looks?  I don't even know what they mean -- "Beat them off with a stick." Gerald stiffsa grin. GERALD You know, Tom, I feel a little proud when people comment on your looks.  Maybe you should feel that way. TOM Proud?  I'm just embarrassed that I like when they say thosethings. GERALD As long as that's your only problem you're... TOM It's not. He looks directly at his father and talks quietly, and sincerely. TOM I got my report card.  Three Cs, two Ds and anincomplete. GERALD Oh my.  I see you studying so hard, Tom.  What do you think the problem is? TOM I'll just have to try harder.  I don't know.  I will. (talking himself into it) I will.  I will.  I will. Heshakes his head for emphasis, glad he's received this pep talk from himself -- he hands the card to his father. TOM Thanks, Dad, this talk helped.  Will you sign it, please? GERALD (as he signs)Would it help if I got you a tutor? TOM (suddenly hopeful) That would be great. (worried) It better help.  What can you do with yourself if all you do is look good? SUPER THE LEGEND -- "FUTURENETWORK ANCHORMAN" FADE OUT FADE IN BOSTON, MASS. - 1965 INT. HIGH SCHOOL - AUDITORIUM - DAY AARON ALTMAN, looking almost preposterously young in hisgraduation gown -- is delivering his valedictory.  He is a rare bread -- a battle-scarred innocent. AARON ...and finally to the teachers of Whitman High School, I don't have the words to express my gratitudewhich may have more to say about the quality of the English Department here than my own limitations... He awaits a laugh and gets only the weird sound of collective discomfort. AARON ...that was, ofcourse, not meant to be taken seriously.  A personal note.   I am frequently asked what the special difficulties are in being graduated from High School two months shy of my fifteenth birthday.  I sometimes think it wasthe difficulties themselves which enabled me to do it. If I'd been appreciated or even tolerated I wouldn't have been in such a hurry to graduate.  I hope the next student who comes along and is able to excel isn't madeto feel so much an outcast.  But I'm looking forward to college; this is the happiest day I've had in a long time.  I thank you and I forgive you. This is very little applause. ANGLE ON TEACHERS MALETEACHER I'm always so confused by Aaron. Is he brave and earnest or just a conceited little dick-head? BACK TO AARON AS WE SUPER: "FUTURE NETWORK NEWS REPORTER" ANGLE ONSTAGE As Aaron walks to his seat past three full grown tough looking semi-literate high school graduates. YOUTH #1 Later, Aaron. EXT. SCHOOL YARD - DAY Clusters of graduates at the fencebordering the sunken school yard looking down as the tough cap and gowners seen earlier cuff Aaron around. CLOSER IN Aaron feeling from a blow -- his lip bleeding -- his teeth covered with blood...as hegets to his feet.  He is livid -- something primal triggered by this brutality. AARON Go ahead, Stephen -- take your last licks. (points at his face) But this will heal -- what I'm going to say to you will scar youforever.  Ready?  Here it is. He dodges as they come after him.  They catch him by the hair and hurl him to the ground.  As he gets up he hurls his devastating verbal blow. AARON You'll never make more thannineteen thousand dollars a year. Ha ha ha. They twist his arm and grip him -- his face scraped on the concrete. AARON Okay, take this:  You'll never leave South Boston and I'm going to see the whole damnworld.  You'll never know the pleasure of writing a graceful sentence or having an original thought.  Think about it. He's punched in the stomach and sinks to the ground.  As the Young Toughs walk off Aaron catches aphrase of their conversation. YOUTH TOUGH Nineteen thousand dollars... Not bad. FADE IN ATLANTA, GEORGIA - 1968 INT. SUBURBAN HOME - NIGHT JANE CRAIG, ten years old,is in her room typing.  Above the desk where she works is a bulletin board with letters and pictures tacked to each one.  Her desk has several file racks which contain bulging but neat stacks of air mail envelopes -- a rollof stamps in a dispenser is to one side.  Jane types very well in the glare of her desk lamp. JANE (voice over; as she types) Dear Felatzia, it's truly amazing to me that we live a world apart and yet have thesame favorite music. I loved the picture you sent and have it up on my bulletin board. You're growing so much faster than I am that I... OTHER ANGLE SHOWING Jane's FATHER standing near the door.JANE (voice over) ...am starting to get jealous. I read in the newspapers about the Italian strike and riots in Milan.  I hope you weren't... FATHER (softly) Honey?... Jane SCREAMS, and grabs her heart,breathing heavily, babbles nervously at her Dad. JANE Oh God -- Daddy -- don't...don't... don't ever scare me like that -- please. We SUPER:  "FUTURE NETWORK NEWS PRODUCER" Her father is himself takenaback with the shock of her reaction. Falling back towards the door: FATHER Jane -- For God's sake... (recovering) Look, it's time for you to go to sleep. JANE I just have two more pen pals and thenI'm done. FATHER You don't have to finish tonight. JANE (he doesn't get in) Nooo.  This way the rotation stays the same. FATHER Finish quickly.  I don't want you getting obsessive aboutthese things.  Good night. We REMAIN WITH Jane who has obviously become disconcerted and troubled. INT. HOUSE - NIGHT As Jane moves to room at the other end of the hall -- a family room where herFather reads the latest Rolling Stone of the mid-60's -- Hunter Thompson, the New Journalism, the slim Jann Wenner -- Jane bursts into the room. JANE Dad, you want me to choose my words socarefully and then you just throw a word like 'obsessive' at me.  Now, unless I'm wrong and... (enunciating) ...please correct me if I am, 'obsession' is practically a psychiatric term... concerning people who don't haveanything else but the object of their obsession -- who can't stop and do anything else.  Well, Here I am stopping to tell you this.  Okay? So would you please try and be a little more precise instead of calling a personsomething like 'obsessive.' She advances furiously on her Father since even this strung out, even with two additional pen pal letters to get off, she had enough sense of duty to kiss him good night before storming fromthe room.  She exits the room INTO BLACK. Stay on BLACK as we begin MAIN TITLES: OVER EXT. SMALL MID-WESTERN CITY - DAY Emerging from the blackness -- Jane Craig -- now a twenty-eight-year-oldwoman -- a long speed walker wearing a jacket to which reflecting stripes have been glued -- the kind of gear only possessed by someone who runs at off-hours.  The Jacket itself is a wish-I-had-it souvenir from someimportant news assignment, the sort of treasure you love about all else yet never mention.  She stops running as she feeds quarters into the first of a phalanx of newspaper machines -- getting seven different papersbefore moving on. INT. MOTEL ROOM - DAY As she enters from the bathroom, having showered and dressed. The sun is jus now rising.  She sits next to her phone. INSERT:  JANE'S ROOM TheFilofax book is almost an additional character -- a crucial hand-fashioned tool of Jane's trade.  She flicks at a page -- takes down a typewritten sheet scotch-taped to it showing the room number of her crew andreporter. ON JANE As she dials one room number. JANE (into phone) Hi...It's me... INT. DUPLICATE MOTEL ROOM - DAY ANGLE ON CAMERAMAN -- his equipment in evidence thoughessentially asleep holding his bedmate's hand, as he listens to Jane. JANE'S VOICE (voice over) It's thirty minutes before you have to meet me in the lobby -- nudge your wife. BACK TO SCENEJANE There's probably no time to eat... but there's a cafeteria at the bus depot once we get down there.  I love working with you two...It saves me a call. She dales. INT. DUPLICATE MOTEL ROOM WhereAaron is switching his TV from station to station, monitoring the early morning news.  His PHONE RINGS. AARON Hi.  Turn on your TV... Good Morning America, the Morning News andToday are all about to talk to Arnold Schwarzenegger and I think he's live on at least two of them. BACK TO SCENE JANE At six o'clock on the wake-up news they used the wrong missilegraphic. AARON (Austrian accent) Now listen, Arnold just said that he's been making three million a movie now.  But he's not ever gonna change.  He's still the same person when he was making two milliondollars a movie.  He feels no different.  He also bought a brand- new condo with Maria, they gonna furnish tastefully. JANE A half hour in the lobby. AARON (Austrian accent) Okay, I'll see you in thelobbies [sic]. She hangs up -- takes the phone off the hook and lays it on the bed for a moment's solitude.  She sits stiffly, palms on top of her legs.  It looks like someone with unusually good posture, waitingfor something, and now we BEGIN TO SEE the first signs redden and she begins to cry.  Now she sobs -- then miraculously shakes it off and exits quickly to the bathroom.  This crying episode is clearly part of hermorning routine. INT. BUS STATION - DAY Jane standing behind her husband-wife - camera-sound team as they train their attention on Aaron; who is getting ready to do a stand-up.  There is a DERELICT offto one side.  Aaron holds his microphone at the ready. AARON Ready.  CAMERAMAN Your hair's a little funny. AARON It's an ethnic curl, I can't do anything about it.


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                         SPARTAN                     a screenplay by                       David Mametcopyright (c) 2002by David MametFADEIN:EXT. WOODED HILLSIDE. DAY.We see the drawn face of a young woman. Camera tracks withher as she runs through the thick woods. She is exertingherself heavily as she moves up a steep hillside.She looksbehind her quickly, and continues.ANGLE, we see a young man, and then another, running throughthe woods, out of breath. They are dressed in filthy BDU's,and show several days growth of beard. The leaderstops fora moment, and looks around. The two men separate.ANGLE, the  young woman, who has come to a small ledge, overa ravine.  She stops, panting, and bends over, to attempt tocatch her  breath. She looksaround, and looks back, her backto a steep  wall, a steep drop before her.ANGLE, the first young man, having come up to the spotvacated by the young woman. In the BG we see his colleague.He looks down, and seesmovement in the brush below him, inthe ravine. He starts to descend, and then looks up.ANGLE, the young woman, pulling herself up the steeprockface. The young man regains the ledge and looks up.Camera takeshim around a bend in the ledge.Standing here we discover ROBERT SCOTT. He is somewhat olderthan the two men, he is very fit, also dressed in filthyBDU's. He is making a note in a small notebook, which hecloses.Now, the two men look across the ravine at the youngwoman, seen disappearing over a ridge.                       SCOTT                  (quietly)             ...you better catch her...The man looks around, and beginsclimbing up the rockfacebehind him, pulling himself up, hand over hand by the rootsof trees. Several feet up, he falls on his back. He tries towork himself to his knees and winces in pain. He looks toScott forhelp.                       SCOTT             ...your Dad's napping on the             sofa, your Mom's watching Let's             Make A Deal, and God is Dead.             What do you expect me todo...?                       YOUNG MAN                  (very weakly)             ...I'm tired, Sir...Sir, there's             noway...                                                              2.                      SCOTT            There's always a way...Don't You            tell me there's no way...A pause, as the man tries again to get tohis feet. Scottlooks up at the young woman on top of the ridge and givesher a "hold" gesture. She stops, at his command. Scott nods,as if to himself, and then kicks the young man in the ribs.The man starts, his eyesgrow, and he gets to his feet.                      SCOTT            How 'bout that? That's called            'Adrenaline'. You said you Wanted            In.He moves into the now-standing young man, and hits him,notheavily, but convincingly, several times.                      SCOTT            This is where you get in. The            mugger don't care. The shooter            don't care...get up...Or I will            beat you to death onthis fucken            hill...Now: you better Catch her...He motions with his head. In the BG we see the young womannod, and begin running again. We see her, for a moment,breast a hill, and disappear again...ANGLE, onthe young man, as he looks at Scott, empty, now,of self-pity, as if he just realized something.                      SCOTT                 (responding to his look.                 As if to say "That's right.")            There'snothing but the mission...The young man begins to climb the rockface.HOLD on Scott for a moment.INT. TRAINING FACILITY. DAY.A large, hand-painted sign hangs on the cinderblock wall ofthe roughbuilding. It reads:                    These are the precincts of pain.                    A goddess lives here.                    Her name is Victory.In front of the sign walks the young woman we saw earlier.She is exhausted, she hasa towel wrapped around her neck.Camera takes her to Scott, who is holding a cup of coffee,and making notes in the small notebook we saw earlier.                                                             3.Shestands, waiting, as she finishes his note.                         SCOTT            Well done.                      YOUNG WOMAN (JACKIE BLACK)            A signal honor to work withyou,            sir.                      SCOTT            Thank you, Sergeant.He starts away from her, and she raises her hand slightly,to indicate she has something more to say. He turns back toher.                      JACKIE BLACK            Sir: Day or Night. Black or White.            You reach out for me. "Black,            Jaqueline A. US 24191489."                      SCOTT            I'll remember,Sergeant.She nods, and walks off. Scott walks toward a mess tent. Heis joined by George Blane, a very military-looking figure ofan older man. He wears an informal fatigue outfit, mismatchedjacket and trousers,without insignia. Scott is greeted byhim, as they walk toward the mess tent. Scott shows thenotebook to Blane, and Blane refers from the notebook towhat we see are a group of eighty young men, in the messtent, twoof them the men we saw on the hill. Blane takesthe notebook and walks off, as Scott enters the mess tent.ANGLE HIS POV, Scott enters the tent. Several of the youngmen react to him. He nods to them. Among them,we see theyoung man Scott berated on the hill, who rises and comesover to Scott.ANGLE, on Scott, who sits, as a uniformed man brings him atinfoil tray with some food on it. Scott takes out astiletto from his pocket,presses a button and the bladeemerges. He begins to use it to cut up his meat. The youngman from the hill, Anton, stands sheepishly near Scott, tillScott turns, acknowledging him.Anton takes a card out of his pocket,the size of a creditcard, old, creased cardboard: It reads, "Rogers Rangers,Rules for Engagement. 1782". There is a line drawing of aman with a musket, and we read, on the card, beneath it,boldtype rules for fightingguerilla style. Written on thecard, in old faded ink, "SGT. Anton, M. US. 3149584, UnitedStates Special Forces." The young man (Anton) shows the cardtoScott.                                                           4.                      SCOTT                 (of the card)            What's this then?                      ANTON            It was my father's,sir.                      SCOTT            He carry it Over There?As they speak, we see, in an insert, the printed rules -"Dated 1759". "Rule 4: Tell the truth about what you see andwhat you do - there is an armydepending on us for correctinformation. You can lie all you please when you tell otherfolks about the Rangers, but don't never lie to a Ranger oran Officer".                        ANTON            Yes,sir.                      SCOTT            He come back?                      ANTON            Yes, sir. He did.                      SCOTT                 (nods. Pause)            Well, so.Scott pauses again. As helooks at the young man, who isobviously unable to express his gratitude, and sense ofoccasion.                      SCOTT            You carry that card, son. It            might save your life.                 (Antonnods)            ...You could use it to light a            fire, or something...Blane's Aide calls the men to order.                      BLANE'S AIDE            The Candidate Cadre will fall in            on the White Line...Themen start to come to their feet, and leave the mess tent.                      ANTON            I just wanted to say, sir...That,            to meetyou...                                                              5.                      SCOTT                 (rising, as he gives                 the Ranger card back                 to Anton)            You never met me.You've been up            for a week. You're seeing Snakes...The exhausted men come to their feet, and into a line. Theyare happy, and joking with one another. In the BG we seethose who failed the course, sitting apart,file onto a buswhich has just pulled up.ANGLE on a young man, who looks out of the window.ANGLE HIS POV. Twenty or so similarly exhausted men, withdufflebags, are being shuffled onto the bus.ANGLE, on the youngman, Anton, as he exits the tent, whostands next to Scott, outside the tent. Scott stands next toan old, but pristine Mustang Cobra. He withdraws a smalldufflebag from the front seat, and looks up to see Antonstandingnext to him.                       ANTON                 (looking after the                 departing, failed men)            ...I can't imagine how they live            with it...ANGLE on Scott. As he thinks a very brief moment, asifreluctant to become philosophical, and then turns back to Anton.                      SCOTT            Make sure you can't imagine it,            cause, if you can, it's just one            step to doing it.Anton shakes hishead, sadly, at the spectacle of the failedmen.                      SCOTT                 (pause)            ...they'll be back where they            came from by Morning, and all            this is just a BadDream.                      ANTON            My name is...                                                             6.                      SCOTT            Do I need to know?                 (pause)            If Iwant Camaraderie, I'll join            the Masons.                 (pause. Then, summing                 it all up:)            There's just the mission.Beat. Anton steps away.                      BLANE'S AIDE                 (as heglances down at                 his clipboard)            Congratulations on completion of            this evolution. I know you would            probably like some sleep, but I            do not think you'd mind sparing            tenminutes for Induction.The camera pans over the smiling faces of the eight veryproud young men.ANGLE on Blane and Scott, off to the side.Beyond them, we see the bus holding the failed candidates,fillingup.                      BLANE            Thank you, Bobby.                      SCOTT            Not at all, Sir...                      BLANE            ...You goinghome?                      SCOTT            ...weather permitting, Sir...                      BLANE'S AIDE                 (in the distance. As                 camera tracks with                 Blane and Scott)            ...as Icall your names:                 (he consults his clipboard)            Grossler, Anton...These two men steps forward.ANGLE, on Anton, nodding to himself at the proudest momentof his life.ANGLE, CU Scott, looking athim.                                                                7.Camera takes Blane and Scott into a cinderblock buildingwhich houses a shooting range. We see various housefronts,and storefronts, and targets.A long table along one wallholds a coffee urn. Blane draws two cups of coffee.Through the open door we see Anton and Grossler, smiling,entering the building. Anton comes into the room, and smilesat Scott.We seeScott look away, sadly. He shares a look with Blane,drains his coffee cup, crumples it, throws it away. Blanegestures to Scott, meaning, "Shall we begin?" Scotthesitates for a moment, and thennods.FOCUS.ANGLE, on Scott, in the BG, as Blane steps forward toaddress the two candidates.                        BLANE                  (over his shoulder, to                  an Aide)             ...would you bolt


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                                  WHEN A STRANGER CALLS                                       Written by                                Steve Feke and FredWalton                                                         SHOOTING DRAFT                               FADE IN:               EXT. SUBURBAN STREET - NIGHT               A quiet upper-middle classneighborhood. The CAMERA is at                the curb, looking down the street. There are no sidewalks.                Trees arch overhead. CICADAS drone on the soundtrack.               The OPENING TITLES briefly FADE INand OUT, framed by the                trees on either side of the street. Footsteps are heard                approaching.               As the picture TITLE FADES, out of the dark emerges a GIRL                17 years old, carryingschoolbooks. This is JILL. CAMERA                PANS with her ninety degrees as she comes to the front of a                house and stops.               Lights are on in the bottom half of the house, and the                curtainsacross the windows are open. A single light burns                in the upper right side of the house, presumable in a bedroom,                but the curtains in the room are drawn.               A scene TITLE appears on thelower half of the screen:                               8 pm Tuesday, March 23, 1971               The TITLE FADES, and Jill heads up the walk to the front                door of the house.               The light in the upper floor of thehouse is turned off.               INT. HOUSE - FRONT HALL               A middle-aged DOCTOR is standing at the foot of the stairs.                His WIFE is descending the stairs, putting on herearrings.                She is in an obvious hurry.                                     WIFE                         Where's the girl?                                     DOCTOR                         I only called her ten minutes ago--                                     WIFE                              (passing into living                               room)                         I made our reservation for 8:15.                          We're going to be late.               Thedoorbell rings.                                     DOCTOR                         Here she is now.               He crosses to the front door and opens it. The girl smiles                at him uncomfortably fromoutside.                                     JILL                         Dr. Minakis?                                     DOCTOR                         Mandrakis. It's okay. Everyone gets                          it wrong the first time.You're Jill?                          Come on in.                                     JILL                              (entering)                         Thank you.               The wife comes back into the fronthall.                                     WIFE                         I've written the number of the                          restaurant on the notepad by the                          phone.                              (toDoctor)                         Zip me up, will you please?                              (to Jill)                         If we aren't home in two hours, it                          means we've decided to go on to a                          movie and won'tbe back until after                          midnight. Is that all right?                                     JILL                         Sure.                                     DOCTOR                              (helping wife onwith                               her coat)                         I've told my service to pick up any                          calls coming in to my office phone.                                     WIFE                         The children areasleep upstairs --                          first door on your left at the top                          of the landing. They're both just                          getting over a cold -- so try not to                          wakethem.                                     JILL                         Okay.                                     WIFE                         Do you have any questions?               Jill shakes herhead.                                     WIFE                         We have to go now. We're late.               They cross to the front door and begin to exit.                                     DOCTOR                         Makeyourself at home. The                          refrigerator's loaded.                                     WIFE                              (pulling doctor through                               the door)                         Goodbye.               Thedoctor pokes his head back through the door.                                     DOCTOR                         We even have some low-fat yogurt.                                     WIFE (O.S.)                         Will youplease come on!                                     DOCTOR                         Bye.               The doctor pulls the door shut behind him. Jill turns toward                the living room. Pause. She walks into the living roomand                sets her books down on a table with the telephone on it.               O.S. we hear the car doors close, the engine start up, then                the car backing out the driveway and heading down thestreet.                                                                    CUT TO:               INT. DINING ROOM - LATER               It is dark. O.S. we hear the phone in the living room being                lifted off itsreceiver, a dial tone, then a number is dialed.                Pause, then ringing. CAMERA SLOWLY DOLLIES from the dining                room, across the front hall and into the living room where                we see Jill talkingover the phone to a girlfriend, NANCY.                                     NANCY (O.S.)                         Hello?                                     JILL                         Nancy?                                     NANCY(O.S.)                         Hello, Jill? How's it going?                              (out of phone)                         I got it, Dad!                              (beat)                         Father!                              (into phoneagain)                         Jesus Christ! My father's in one of                          his moods again. Male menopause, you                          know. So how are you?                                     JILL                         Allright.                                     NANCY (O.S.)                         Are you over at Dr. Mandrakis'?                                     JILL                         Yeah, I've been here for about an                          houralready.                                     NANCY (O.S.)                         Isn't it a neat house?                                     JILL                         I guess... I haven't looked around                          verymuch.                                     NANCY (O.S.)                         Did you see his kids?                                     JILL                         No, they were asleep when I gothere.                                     NANCY (O.S.)                         They're really cute. So what can I                          do for you?                                     JILL                         You didn't happen to talkto Billy                          today, did you?                                     NANCY (O.S.)                         Yeah, I talked to him.                                     JILL                         Did he say anything aboutme?               Pause.                                     NANCY (O.S.)                         I don't know what you did to him, or                          said to him, or what... but he's                          really pissed off at you!What did                          you do?                                     JILL                         It's what I didn't do.                                     NANCY (O.S.)                              (sarcastic)                         Yeah, Ican imagine.                                     JILL                         Do me a favor, Nance.                                     NANCY(O.S.)                         What.                                     JILL                         Do you think you'll be talking with                          Billy some time tonight?                                     NANCY(O.S.)                         Prabably. I'm going to the library                          in a few minutes. I just have to get                          out of this house!                              (beat)                         Hey! Why don't Billyand I come over                          there? He'll come along if I tell                          him to.                                     JILL                         That isn't what I had in mind.                                     NANCY(O.S.)                         You'll be safe with Billy. I'll be                          there. Come on.                                     JILL                         Nancy, all you want to do is come                          over here andget drunk.                                     NANCY (O.S.)                         Who? Me?                                     JILL                              (mimicking)                         Who?Me?                                     NANCY (O.S.)                         You want to see Billy, don't you?!                                     JILL                         I've got a lot of work to do. I don't                          wantyou coming over!               Long pause.                                     NANCY (O.S.)                         You know what your problem is, Jill,                          is you're so straight. I really mean                          that.You go to a private school,                          you wear a bra. No one can have a                          good time with you!                              (beat)                         You know, Billy asked me to goout                          with him this weekend, and I was                          really really tempted because I like                          Billy... a lot... as much as you do.                          But I told him I couldn't, thatI                          didn't think it was right because                          you were my friend --                                     JILL                         You are myfriend.               Pause.                                     NANCY (O.S.)                         Yeah. I guess so.                                     JILL                         Listen, just give Billy thenumber                          here, but don't tell him I told you                          to. Okay?               Pause.                                     NANCY (O.S.)                         Okay. I've got to gonow.                                     JILL                         Okay, Nancy. Bye. And thank you.                                     NANCY (O.S.)                         Yeah. Bye.               Jill makes a face at the phone andhangs up. She tries to go                back to her homework, but she cannot.                                                                    CUT TO:               INT. LIVING ROOM - LATER               Jill is working now,diligently. The phone rings. She picks                it up.                                     JILL                         Hello?               There is a brief pause; then the line goes dead and a dial                tone cuts in. Jill hangsup and goes back to work.               Pause.               The phone rings again. Jill picks it up.                                     JILL                         Billy?...               A VOICE speaks on the other end of thephone.                                     DUNCAN (O.S.)                         Have you checked the children?                                     JILL                         What?               The line goes dead. Dial tone. Jill


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                  THE CURIOUS CASE OF BENJAMIN BUTTON                               Written by                                EricRoth             Based on the short story by F. Scott Fitzgerald                                                         10/30/07                                As all things do, it begins in the dark. EYES blink    open. Blueeyes. The first thing they see is a WOMAN    near 40, standing looking out a window, watching the wind    blowing, rattling a window.                            A WOMAN'S (V.O.)              What are you lookingat?                            CAROLINE              The wind, Mother... They say a              hurricane is on its way... You've              been asleep... I was waiting to              see you...1   INT. HOSPITAL ROOM,NEW ORLEANS - MORNING, PRESENT          1    Now we see we're in a hospital room with layers of white    enamel paint trying without success to hide the years...    An old WOMAN, past 80, withered, still regalwith a green    turban around her bald head is propped by pillows, her    blue eyes looking out at us from her bed... She's    connected to an intravenous for sustenance and a morphine    drip... Her name, is DAISYFULLER. She speaks with a    Southern lilt.                            DAISY              If it wasn't for hurricanes we              wouldn't have a hurricane season.                            CAROLINE              I'veforgotten what the weather              can be like here. I've lived with              four seasons so many years now.    We see a young Black Woman, a "caregiver," DOROTHY BAKER,    in a corner, thumbing a magazine,with one eye at the    window...                            DOROTHY BAKER              I saw on the news they're              predicting trouble...                            DAISY              1928 they stacked peoplelike              firewood to close a hole in a              levee.    But Daisy has other things on her mind... murmuring...                                                  (CONTINUED)                                                                    2.1   CONTINUED:                                                      1                               DAISY (CONT'D)                 It all runs together... like a                 fingerpainting... I feel likeI'm                 on a boat, drifting...                               CAROLINE                      (tenderly)                 Can I do anything for you, Mother?                 Make anythingeasier?                                DAISY                 Hmmm. There is nothing to do,                 Caroline. This is what it is...                 I'm finding it harder to keep my                 eyes open... my mouth allfilled                 with cotton...    And agitated, feeling confined, she scratches at her    nightgown as if it were sticking to her... she starts to take    it off... Dorothy gets up and straightens it forher.                               DOROTHY BAKER                 There, there, Miss Daisy... you'll                 scratch yourself to ribbons...                      (to Caroline)                 It's their way of lettinggo...                      (the finality)                 ...prob'ly today.    Caroline is well aware of it, but the words, her    admonition of death being so close at hand, makes    everything even morepresent...                               CAROLINE                 Do you want more medication,                 Mother? The doctor said you can                 have all you want.    Daisy is quiet, looking into the distance.Caroline,    seeking closure, sits on the bed with her and starts to    cry. Daisy puts her thin arms around her daughter,    comforting her.                               CAROLINE (CONT'D)                 A friend told meshe never had a                 chance to say goodbye to her                 mother.                      (grateful to have the                       chance)                 I wanted to thank you, Mother, for                 bringing me into thisworld. For                 raising me sowell.                               (MORE)                                                      (CONTINUED)                                                                3.1   CONTINUED:(2)                                              1                            CAROLINE (CONT'D)              I wanted to tell you how much              you've meant to me. I'm going to              miss you so much...    They holdeach other for some time... They separate...    And there's an awkwardness they have nothing left to talk    about... nothing left to say to each other... a hole in    their relationship... Caroline fills it with theeternal    question...                            CAROLINE (CONT'D)              Are you afraid?                             DAISY              Curious.   What comes next...    She winces at some physicalpain.                            DOROTHY BAKER              The pain's coming more steadily...              Her breathing will falter soon...              No need for her to suffer..    She raises the morphine level... Daisycloses her eyes...    drifting with the morphine... and a thought, a dream, a    sound, crosses her mind... and she says...                            DAISY              They built that train station in              1918. Yourfather was there the              day it opened... He said a tuba              band was playing...Oom-pah-pah...2   EXT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918         2    And we see a TUBA BAND isplaying while a ribbon cutting    ceremony is taking place across the steps of the new    TRAIN STATION...                            DAISY              Oom-pah-pah, oom-pah-pah...The              finestclockmaker in all of the              South built that clock...3   INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT, 1917           3    We see an old French Quarter storefront with an endless    array of clocks andwatches...                            DAISY'S (V.O.)              His name was Mr. Gateau. Mr.              Cake.                                                                3A.4   INT. THE HOSPITAL ROOM, NEWORLEANS - MORNING, PRESENT       4    The slightest of smiles crosses Daisy's lips... saying to    herself again... "Mr. Cake..."5   INT. CLOCKMAKER'S SHOP, NEW ORLEANS - MORNING,PRESENT       5    We see a diminutive man in a frock coat with small,    delicate hands, "Mr. Cake," working in his downstairs    workshop. More than a few clocks stroke midnight, a    handsome Creole Womancomes into the workshop...                                                  (CONTINUED)                                                                   4.5   CONTINUED:                                                     5                               DAISY'S (V.O.)                 He was married to a Creole of                 Evangeline Parish and they had a                 son.    Taking his arm, she helps him up to show him to hisbed.                               DAISY'S (V.O.) (CONT'D)                 Did I mention, Mr. Gateau was from                 birth, absolutely blind.6   INT. CLOCKMAKER'S SHOP, NEW ORLEANS - NIGHT,1917              6    ...The clockmaker his fine hands blindly working...                                DAISY'S (V.O.)                 And when their son came of age,                 like boys will do, he joinedthe                 army. They saw him off at the old                 train station.7   EXT. OLD TRAIN STATION, NEW ORLEANS - DAY, 1917                7    An old wooden barn of a building. Their son, hugginghis    parents, getting on a flatbed train crowded with other    soldiers, pulling away... Mr. Gateau, blindly waving his    hat goodbye to his son...                               DAISY'S (V.O.)                 Oh how heworked, for months he                 did nothing but work on the clock                 for the great train station.8   INT. WORKSHOP BELOW THE CLOCKMAKER'S HOME - NIGHT, 1918        8    The sound of clocksconstant ticking. Mr. Gateau at    work...                               DAISY'S (V.O.)                 One day a letter came...    Blanche comes into the workshop... a letter in her    hand... She reads to her blindhusband...                               BLANCHE DEVEREUX                 "I am sorry to inform you that                 your son was killed fighting for                 his country, at the battle of the                 Marne. In thedeath of Sgt.                 Martin Gateau I lose one of my                 most trusted men.                               (MORE)                                                     (CONTINUED)                                                                    5.8    CONTINUED:                                                     8                                BLANCHE DEVEREUX (CONT'D)                  When I informed members ofour                  company he had fallen, on every                  face could be seen the mark of                  sorrow... ...we were in hope the                  Lord would spare him to return                  home together... Alas thiswas not                  to be. I send along his pants,                  shirt, cavalry pin, kerchief, and                  haircomb."                                DAISY (V.O.)                  Mr. Gateau, done for thenight,                  went up to his bed.     Mr. Gateau, blindly feeling his way up the stairs...                                DAISY'S (V.O.)                  And their son came home.9    EXT. OLD TRAIN STATION, NEWORLEANS - DAY, 1918                9     We see "Mr. Cake" in his familiar hat, his wife holding     his arm, standing among the rows of coffins.                                DAISY'S (V.O.)                  They buriedhim where the Gateau                  family had been buried for a                  hundred and seven years...10   EXT. NEW ORLEANS CEMETERY - DAY, 1918                          10     An old New Orleans cemetery,vines crawling the     sepulchers.                                DAISY'S (V.O.)                  Mr. Cake went back to work on his                  clock... laboring to finish...11   INT. THE CLOCK WORKSHOP, NEWORLEANS - LATE NIGHT, 1918        11     Mr. Gateau blindly setting the last spring, closing up     the clock back... finished at last.                                DAISY'S (V.O.)                  It was a morning toremember...                  Papa said there were people                  everywhere...12   INT. THE NEW TRAIN STATION, NEW ORLEANS - DAY, 1918            12     And we see a large throng gathered to watch theunveiling     of the clock. Politicians, citizens, and pickpockets     alike...                                                      (CONTINUED)                                                                  6.12   CONTINUED:                                                  12                                DAISY'S (V.O.)                  Even Teddy Roosevelt had come.     And we see the distinctive figure of Theodore Roosevelt,     in overcoatand hat, the war heavy on his shoulders. We     watch Mr. Cake, with the aid of an assistant, climbing     the scaffolding to his clock covered by a velvet drape...     He stands for a moment... and with a simple tug,


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REAL GENIUS

EXT. SKY-DAY

A Black B-1 Bomber banks steeply exposing its underside tous.

MAN (V.O./FILTERED)
Slingshot this is Watchdog. Rabbit's home.

Rolling out of its bank, the bomber begins a steep climb revealing the fact that it iscarrying a small delta winged shuttle on it back. The bomber's wings slide back.

BOMBER PILOT (V.O./FILTERED)
Roger watchdog. Understand we are go forcrossbow.

Suddenly a rocket engine on the back of the modified bomber fires thrusting the plane into steep climb.

INT. B-1 FLIGHT DECK-DAY

THEPLANE VIBRATES. The pilot and co-pilot are busy in their seats. Behind them sits a third pilot wearing a space suit. He gives them a thumbs-up signal, rises and crawls to the rear.

BOMBERPILOT
(into the mike/ over the roar)
Watchdog, Slingshot. let us know when the rabbit's in the hole.

EXT. A CROWD-DAY

A blond haired,blue-eyed man with a small walkie-talkie is standing in the midst of a group of cheering Central American peasants and townsfolk. He is disguised as one of them.

ANGLE ON VILLABALCONY

The uniformed President of this formerly sleepy, now strategically critical nation is waving to his people. He is flanked by military guards. He turns and walks into the villa.

<pID="slug">EXT. B-1 BOMBER-DAY

The bomber approaches the top of it's arc.

ATHERTON
The shuttle pilot climbs into his seat, straps in and checks hisinstruments.

SHUTTLE PILOT
All systems check. Crossbow is armed.

BOMBER PILOT (V.O.)
Roger, Ignition sequence, start, separationin five...

EXT. TOP OF THE BOMBER

The explosive bolts blow on the shuttle mount.

INT. BOMBER FLIGHT DECK

The pilotpushes his yolk forward.

EXT. BOMBER

As the bomber falls way, the shuttle's booster ignites with a roar, thrusting it toward space.

EXT.SPACE-LOOKING BACK

We see a tiny glowing speck coming towards us. very quickly it gains in altitude and we see that it is the shuttle. Suddenly it is upon us and blasts over ourheads.

ANGLE FROM BEHIND

We follow the shuttle. The engine stops. There is a small explosion, which pushes the booster rocket away. Small maneuvering rockets fireand the shuttle establishes itself in a nose down altitude.

SHUTTLE PILOT (V.O. FILTERED)
Crossbow is established.

BOMBER PILOT(V.O./FILTERED)
Roger, we have ground confirmation. Reference grid seven. Check pathfinder, on.

SHUTTLE PILOT (V.O. FILTERED)
Roger, I'm going on the scope.Moving Target Indicator, engage.

Behind and above the cockpit a large hatch opens and a large circular spinning mirror rises and locks into position.

INT.SHUTTLE

The pilot reaches above him and pulls down a viewfinder and begins looking through it.

EXT. THE SHUTTLE.

A target sighting lens movesfrom right to left, stops, and then moves back but this time with the mirror moving in unison.

INT. THE SHUTTLE

While still looking through the viewfinder, the pilotmanipulates the targeting controls.

INSERT

PILOT'S POV OF THE SCREEN

Crosshairs, a grid patter and digital, rangefinder readouts appear overvarious parts of the Earth's topography as the pilot searches for his target. Then it steadies on a polarized image of a group of people. One of the images seems to stand out brighter than the others.

<pID="slug">EXT. VILLA PATIO-DAY

The president and his aide are chatting with a group of visiting dignitaries. There is a jovial atmosphere as they order drinks from a waiter. The president isproudly displaying one of his medals to his guests. it has a very unique jewel-like object in its middle.

INT. THE SHUTTLE

The pilot is watching through theviewfinder.

PILOT
(into mike)
Scanner on. Target locked. Tracking locked.

EXT. THE SHUTTLE

The mirror andsighting lens adjust as they track the target.

EXT. VILLA PATIO

The President is served a cup of coffee. He asks the waiter for sugar. The waiter turns back to hiscart.

INT. THE SHUTTLE

The pilot puts his hands on the joysticks and flips open the trigger covers.

PILOT
Nice and easy doesit.

EXT. THE SHUTTLE

Dead silence, then the mirror erupts in brilliant light and sends an incredibly bright beam toward the Earth. Behind the shuttle we see exhaust gasesventing in giant plumes into space.

EXT. VILLA PATIO

The beam strikes the president like the finger of god. He vaporizes. The waiter turns back with the asked-for sugar tofind a smoking hole where the President once stood.

EXT. SPACE

The shuttle finishes its work and the beam shuts down. The mirror folds away and the shuttle arcs acrossthe screen preparing for re-entry, firing small retro rockets.

PILOT (V.O)
I'm coming home. Just like shooting ducks in a barrel.

PULL BACK TOREVEAL

INT. A HIGH-LEVEL GOVERNMENT CONFERENCE ROOM-NO WINDOWS

A large screen at one end of the room continues to show the re-entry.

<PID="speaker">ANNOUNCER (V.O.)
The Crossbow Project. There's no defense like a good offense.

In the middle of the room is a giant donut of a round conference table. Anothercircle hangs above and casts light downward in such a way as to light the table-top but caser those sitting around it in shadow. We can see them but not well. There are SIX MEN in suits. The look is sinister as Hell; butthe talk is for Rotary Club meeting.

A MAN, sitting at three o'clock, wearing an Air force major's uniform, points at a remote control device at the screen and stops the film. The lighting does notchange. he turns to the man sitting at twelve o'clock.

CARMICHAEL
Nice little weapon isn't it, Dave?

DECKER
Well, I guess so, but gosh,Don, it's a movie. You want me to start buying weapons from George Lucas?

Polite laughter all around.

CARMICHAEL
Now that would be somethin',wouldn't it?

DECKER
Well, sometimes I think I might as well.
(to one of the others)
What do you think of what you saw, Roy?

<PID="speaker">ROY
I think there weren't enough girls.

More polite laughter. Then Roy turns ice cold in a flash.

ROY (cont'd)
Is this thing forbiological targets only?

CARMICHAEL
No, Sir, this thing would take the skin right off, of Air Force One if you wanted. Not that I'm saying we'd ever want to kill our own President,but, you know, for example.

ROY
Our studies indicate that this type of weapon is totally useless for warfare.

DECKER
It's not intendedfor use in your kind of warfare, Roy. This is a perfect peace time weapon.

ROY
What's the kill potential?

CARMICHAEL
As soon as thesize-to power ratio is licked we'll have about seven bangs for the buck.

ROY
When that?

Carmichael shrugs the sign for "who knows?"

<PID="speaker">DECKER
Seriously, Don, I have to report to the Secretary that everything's on schedule. We have plans for your little ray's gun this summer.

CARMICHAEL<PID="spkdir">(Trying to cover)
As I understand it, guys, there's some major practical difficulties. I'm pushing as hard as I can.

DECKER
Well, Don, you tell thosegeniuses you've got until the end of the next fiscal quarter to come up with a working model or I'm pulling the plug on the funding.

CARMICHAEL
(very nervous)<PID="dia">I'm assured they're on the verge of a major breakthrough.

DECKER
Good. Just as long as we get a working weapon out of it by June. Right, general?

<PID="speaker">ROY
I wouldn't know, Dave. I haven't had a working weapon since Korea.

DECKER
Right.
(to assistant)
Larry, let's see


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                             UP IN THE AIR                              Writtenby                    Jason Reitman & Sheldon Turner          Secure your own mask before assistingothers.                                                                                - Common Pre-Flight Instruction           1.                                                            ASPOTLIGHT reveals RYAN BINGHAM standing at a PODIUM.                                   He unzips a BACKPACK and sets it down beside him.                                                   RYAN           Howmuch does your life weigh?                                   Ryan pauses to let us consider this.                                                   RYAN (CONT'D)           Imagine for a second thatyou're           carrying a backpack... I want you           to feel the straps on your           shoulders... You feel them?           (gives us a beat)           Now, I want you to pack it with all           the stuff you have in yourlife.           Start with the little things. The           stuff in drawers and on shelves.           The collectables and knick-knacks.           Feel the weight as it adds up. Now,           start adding the larger stuff.Your           clothes, table top appliances,           lamps, linens, your TV. That           backpack should be getting pretty           heavy at this point - Go Bigger.           Your couch, your bed, your kitchen           table.Stuff it all in... Your car,           get it in there... Your home,           whether you have a studio apartment           or a two story house, I want you to           stuff it into thatbackpack.                                   Ryan takes a beat to let the weight sink in.                                                   RYAN (CONT'D)           Now try towalk.                                   We hear people around us chuckling. Ryan smiles. Reveal:                                                            INT. HOTEL CONFERENCE ROOM -AFTERNOON                                   The kind that shifts between lower income corporate retreats          and lower income weddings.                                   The few dozen people seem to bevisualizing as told.                                                   RYAN (CONT'D)           Kinda hard, isn't it? This is what           we do to ourselves on a daily           basis. We weigh ourselves down           untilwe can't even move. And make           no mistake - Moving is living.           2.                                                            We see nodding. People's gearsturning.                                                   RYAN (CONT'D)           Now, I'm going to set your backpack           on fire. What do you want to take           out of it? Photos? Photos are for           peoplewho can't remember. Drink           some gingko and let the photos           burn. In fact let everything burn           and imagine waking up tomorrow with           nothing.           (a beat of emphasis)           It's kind ofexhilarating isn't it?           That is how I approach every day.                                   A titter through the crowd.                                                            INT. BOEING 757 -DAY                                   A FEMALE FLIGHT ATTENDANT is looking directly at us.                                    FEMALE FLIGHT ATTENDANT           Do you want thecancer?                                   Turn to see RYAN looking back.                                   Handsome. Anonymous. Right now -Confused.                                                   RYAN           Excuse me?                                    FEMALE FLIGHT ATTENDANT                          (SAMEDELIVERY)           Do you want the cancer?                                   Ryan furrows - What the hell is going on here?                                   The flight attendant raises her hand to reveal a CANOF SODA.                                    FEMALE FLIGHT ATTENDANT           The can, sir?                                                   RYAN           Oh... No. Um, no thankyou.                                   The flight attendant moves to the next aisle. Ryan takes a          beat, then returns to his work.                                                            INT. SMALLCONFERENCE ROOM, SUN CASUALTY - DAY                                   Two words - Subordinate chic.           3.                                                            Seated at a tiny table isRYAN. The Grim Reaper in a suit.                                   We see a series of REAL PEOPLE react to the news of being          fired. They should be non-actors (actual victims of recent          layoffs) that canreact organically to the news with          authenticity. Some are hurt. Others are upset and even          abusive. The series concludes with...                                                            STEVE (ANACTOR)                                   ... who's on the verge of tears.                                                   STEVE           Who the fuck are you?                                   FREEZE onRyan.                                    RYAN (V.O.)           Excellent question. Who the fuck am           I? Poor Steve has worked here for           sevenyears.                                                   FLASH IMAGES:                                                            INT. STEVE'S CUBICLE -DAY                                    RYAN (V.O.)           He's never had a meeting with me           before...                                                            INT. CONFERENCE ROOM -DAY                                   Steve in a small meeting.                                    RYAN (V.O.)           ...or passed me in thehall...                                                            INT. ELEVATOR BRIDGE - DAY                                   Steve passes a femalecoworker.                                    RYAN (V.O.)           ... or told me a story in the break           room....                                                            INT. BREAK ROOM -DAY                                   Steve laughs at a coworker's story.           4.                                                             RYAN (V.O.)           And that's because I don'twork           here. I work for another company           that lends me out to pussies like           Steve's boss...                                                            INT. STEVE'S BOSS'S OFFICE -DAY                                   Steve's BOSS sits at his desk. Subtitle reads - "A Big Pussy"                                    RYAN (V.O.)           ... who don't have the balls to           sack theirown employees. And in           some cases, for good reason.           Because, people do crazy shit when           they get fired.                                                  FLASHIMAGES:                                   Steve wipes off his boss's desk.                                   Steve shreds sensitive documents.                                   Steve pours bleach into thecommunal coffee pot.                                   Steve loads an assault rifle. He stands up to get a view of          his coworkers on a coffee break.                                                   BACKTO:                                                            INT. SMALL CONFERENCE ROOM - DAY                                   Steve is trying to hold ittogether.                                    RYAN (V.O.)           And that's where I come in.                                                   STEVE           What did I... do? What could Ihave           done differently here?                                                   RYAN           This is not an assessment of your           productivity. It's important not to           personalizethis.                                   Steve scoffs at this.                                   Ryan slides Steve aPACKET.           5.                                                                            RYAN (CONT'D)           Steve, I want you to review this           packet. Take it seriously. Ithink           you're going to find a lot of           answers in there.                                                   STEVE                          (DISMISSIVE)           Oh, I'm sure it's going bereally           helpful.                                                   RYAN (CONT'D)           Look, anybody who ever built an           empire, or changed the world, sat           where you are now. And it'sbecause           they sat there that they were able           to do it.                                   And just for a moment, Steve looks hopeful.                                                   RYAN(CONT'D)           I'm going to need your key card.                                                   STEVE           Right...                                   Steve begins removing it from hiswallet.                                                   RYAN           Take the day. Put together your           personal things. Talk to your co-           workers. Tomorrow, go out and get           some exercise. Gofor a jog. Give           yourself routines and pretty soon           you'll find your legs.                                   Steve nods and gets up to leave. Just as he's about to walk          out, he stops and turnsback.                                                   STEVE           Wait, how do I get in touch with you?                                                   RYAN           Don't worry. We'll be intouch           soon. This is just the beginning.                                   Steve nods and exits the room.                                    RYAN (V.O.)           I'll never see Steveagain.           6.                                                            INT. RYAN'S ROOM - PHOENIX HILTON - DAY                                   The choreography of Ryan's packing isworthy of Tchaikovsky.                                   A coat slides off a hanger... A travel toothbrush folds          closed like a switchblade... A briefcase clicks onto a roll-          away bag... A hand flips a light switchwithout looking.                                                            INT. LOBBY, PHOENIX HILTON - DAY                                   Ryan is at the check out


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          ?                             FIELD OF DREAMS                                                        Written by                          PhilAlden Robinson                                                  March 9, 1988                                         FINAL DRAFT SCREENPLAY                                                  1                         FADEIN          MONTAGE OF PHOTOS          RAY (V.O.)          My fathers name was John Kinsella.          A faded, sepia shot of a dirty little kid on a farm.          RAY (V.O.)          Its anIrish name. He was born in          North Dakota, in 1896...          Young man in doughboy uniform.          RAY (V.O.)          ...and never saw a big city until he          came back from France in1918.          Chicago. Tenement. Comiskey Park. Ballgames.          RAY (V.O.)          He settled in Chicago, where he quickly          learned to live and die with the White          Sox. Died a little when they lostthe          1919 World Series...          Newspaper headlines. Photo of Shoeless Joe Jackson.          RAY (V.O.)          ...died a lot the following summer when          eight members of the team wereaccused          of throwing that Series.          Dad (a catcher) playing ball. At work. Weeding.          RAY (V.O.)          He played in the minors for a year or          two, but nothing ever came of it.Moved          to Brooklyn in 35, married Mom in 38,          and was already an old man working at          the Naval Yards when I was born in 1949.          Ray as an infant. With his father. In front of EbbetsField          in miniature Dodger uniform, etc.          RAY (V.O.)          My names Ray Kinsella. Mom died when          I was three, and I suppose Dad did the          best he could. Instead of MotherGoose,          I was put to bed at night to storiesof                         (MORE)                         CONTINUED                                                                                2                         1CONTINUED                          RAY (CONT'D)          Babe Ruth, Lou Gehrig...and the great          Shoeless Joe Jackson. Dad was a Yankees          fan then, so of course I rooted for          Brooklyn. But in'58 the Dodgers moved          away, so we had to find other things to          fight about. We did. And when it came          time to go to college, I picked the          farthest one from home I could find.          Berkeley inthe 1960s: hippies, protesters, etc.          RAY (V.0.)          This, of course, drove him right up the          wail, which I suppose was the point.          Officially my major was English, but          really it was theSixties.          Ray looking foolish in long hair and tie-dye.          RAY (V.O.)          I marched, I smoked some grass, I tried          to like sitar music... and I met Annie.          Annie: blue jeans, T-shirt,freckles. Their courtship.          RAY (V.0.)          The only thing we had in common was that          she came from Iowa and I had once heard          of Iowa. We moved in together. After          graduation, wemoved to the Midwest, and          stayed with her family as long as we          could.          Unsmiling American Gothic types.          RAY (V.O.)          Almost a full afternoon.          The apartment, Ray atdifferent jobs, the wedding.          RAY (V.0.)          We rented an apartment and I took a job          selling insurance. I also drove a cab          and worked in a pizza parlor. Dad died          in June of 1 74.Annie and I got married          that fail.          Baby pictures.          RAY (V.O.)          A few years later Karin was born. She          smelled weird, but we loved her anyway.          Then Annie got the crazy ideathat she          could talk me into buying a farm.                         CONTINUED                                                                                3                         1CONTINUED (2)                         1          Ray, Annie, and four-year-old Karin by the "SOLD" sign of          their farm. Ray in a cornfield.          RAY (V.0.)          I'm thirty-eight years old and I'mabout          to become a farmer. I love my family,          I love baseball, and I miss New York.          Moving in on Ray's face.          RAY (V.0.)          But until I heard The Voice...I'd never          done a crazything in my whole life.                         DISSOLVE TO          2 THE CORNFIELD - DUSK                         2          It is dusk on a spring evening. The sky is a robin's-egg          blue, and thewind is soft as a day-old chick. Ray          Kinsella is working in the cornfield when a voice -- like          that of a public address announcer -- speaks to him.                         THE VOICE          'If you build it, hewill come.'          Ray looks up and around, but sees nothing that could be the          source of this sound. All around him are empty fields.          He stands quietly for a few moments, then goes backto          work.                         THE VOICE          'If you build it, he will come.'          Ray jerks his head in all directions to see where this          voice is coming from, but again, he sees nothingunusual          -- just the furrowed fields and a few hundred feet away,          the massive old farmhouse with a sagging veranda on three          sides. On the north veranda is a wooden porch swing where          Annieand Karin sit, sipping lemonade and dreaming.                         RAY                         (CALLS)          Annie, what was that?                         ANNIE                         (CALLSBACK)          What was what?                         RAY          That voice.                         ANNIE          Whatvoice?                         CONTINUED                                                                                4                         2CONTINUED                         2                         RAY          Just now. Like an announcement.          Annie confers briefly with Karin, then calls back toRay.                         ANNIE          We didn't hear anything.                         RAY          Oh.          Ray thinks for a second, then shakes it off, trying to          dislodge that thought from his mind, andgets back to work.                         THE VOICE          'If you build it, he will come.'          Again, he bolts upright and looks around. Again, he sees          nothing. This is beginning to bug him. Hecalls:                         RAY          Okay, you must've heard that.          3 ON THE PORCH                         3          Annie and Karin lock at each other and exchange a shrug.          Annieextends her arms palms upward, and calls to Ray.                         ANNIE          Sorry. Come on. Dinner.          Annie leads Karin inside.          4 -IN THEFIELD                         4          Ray looks all around him with an "Okay, fellas, what's the          joke?" look on his face. But there is no one there. He          puts down his tools and walks toward thehouse.          5 INT. KITCHEN          Ray enters, looks at his wife skeptically and joins his          wife and daughter setting the table.                         RAY          Was there like a sound truck onthe          highway, or something?                         ANNIE          Nape.                         CONTINUED                                                                                5                         5 CONTINUED                         5                         RAY          Kids with a radio?                         ANNIE          Nope. You really hearingvoices?                         RAY          Just one.                         ANNIE          Ah. God?                         RAY          More like a. . .ballpark announcer.          Annie shoots him an "Are youkidding?" look. Ray responds          with a shrug. They sit down to eat.                         ANNIE          What'd it say?                         RAY          'If you build. it, he willcome.'                         ANNIE          If you build what, who will come?                         RAY                         (SHRUGS)          He didn't say.                         ANNIE          Ooh, Ihate it when that happens.                         RAY          Me too.                          CUT TO          6 RAY AND ANNIE'S BEDROOM - NIGHT                         6          They are snuggledtogether, asleep. All is quiet. Then:                         THE VOICE          'If you build it, he will come.'          Ray's eyes pop open. He looks at Annie, who does not stir.          Without moving, he looks aroundthe room. There is no one          there. Very quietly, he crosses to the window and looks          out. He whispers out toward the cornfield:                         RAY          Build what? Forwho?                         CONTINUED                                                                                6                         6 CONTINUED 6          Behind him, Anniestirs.                         ANNIE          Ray?                         RAY          It's okay, honey, I'm just-talking to          the cornfield.          He sighs and goes back to bed. Annie cuddles up to him.          Hereyes are closed, but Ray's eyes remain open. He is          puzzled and concerned.                         CUT TO                         7 TELEVISION SCREEN           A scene from the 1950 movie Harvey, inwhich James Stewart          insists he is conversing with an invisible rabbit.          8 RAY AND ANNIE'S KITCHEN MORNING                         L          ittle Karin is watching Harvey while she eatsher          breakfast. Ray enters, looking like he had very little          sleep, and promptly turns the TV set off.                         KARIN          Why'd you do that? It wasfunny.                         RAY          Trust me, Karin, it's not funny. The          man is sick. He's very sick.          Annie enters, putting on her coat.                         ANNIE          Karin, if you'refinished, get your coat          and school bag. Let's go.          Karin bolts from the table.                         RAY          Uh honey, I'll take her today. I'v-e got          some errands intown.                         ANNIE          Far out.          She takes off her coat and kisses Ray as he takes-the car          keys and heads outside. Annie sits at the kitchen table.                         CONTINUED                                                                                7                         CONTINUED                         8                         ANNIE          What ifthe voice calls while you're          gone?                         RAY          Take a message.                         ANNIE          Right.          He exits. She grins, turns on the TV and watches