"BIG" (1988)

It glows an incandescent blue. Long rows of electronic type print rapidly across the screen.

"YOU ARE IN THE CAVERN OF THE EVIL WIZARD. ALL AROUND YOU ARE THE CARCASSES OF SLAIN ICE DWARFS. THE WIZARD STANDS ABOVE YOU AT THE TOP OF HIS PILLAR POINTING THE FROZEN SCEPTER."

The computer ressonds in an instant line of type:

“WHAT DO YOU WANT TO MELT THE WIZARD WITH?"

FULL SHOT = JOSHUA BASKIN - DAY

He is an average twelve-year-old boy, slightly short for his age. The cheeks are rosy and have never been shaved. His eyes are clear and bright with an intelligent twinkle. Josh stares earnestly at the screen of his home computer trying to figure out a way to terminate the Evil Wizard.

-MOTHER (OS) (from downstairs) Josh, I told you to take out the garbage.

-MOTHER (0S) Joshua Baskin ...

SHOT ~ COMPUTER SCREEN

"YOUR HESITANCY HAS COST YOU DEARLY. THE WIZARD, SENSING YOUR APPREHENSION, UNLEASHES A FATAL BOLT FROM THE ICE SCEPTER, FREEZING YOU INTO OBLIVION. WITH LUCK, YOU WILL THAW IN SEVERAL MILLION YEARS."

Joshua's mother, MRS. BASKIN, is busily cleaning the kitchen. Three Hefty garbage bags sit on the tile * floor. One-year~old RACHEL gurgles happily in her *

wearing his "DUKES" little league jacket.

Josh looks fromthe bags to his little sister, then * leansover and takes her toy. Rachel reaches out. with * a whimper.

Josh hesitates. Rachel lets out a cry. *

He flashes her a smile and gives Rachel a deliberate kiss on the cheek. Josh hands her the toy, then grabs * the garbage bags.

He heaves the bags into the metal canswith exaggerated effort. Josh glances back at the house, then grabs his * bicycle from against the fence.

REVISED 7/27/87

wd5&

He heads down the path that leads to the street. ie Josh jumps on his bike and is just about to shove off

when his father appears at the edge of the yard.

Josh looks back in amazement,

Josh rolls his eyes, then turns and heads back toward the house.

Josh's best friend BILLY KOPECHE dribbles a basketball at one end of the schoolyard. Jiving to himself, he 4 moves with elaborate motion toward a garbage can by +

&

the fence. Billy is three months older than Josh and

+

acts every one of them. He lets go a slam dunk that ricochets back in his face. +

(CONT.)

REVISED 8/18/87

CONTD . § WIDER

Josh comes riding up on his bike and circles around Billy. The boys exchange a high-five.

-BILLY What took you?

Billy turns toward the fence and steps on his skateboard as he glances back at Josh.

Billy grabs the back of vosh" sbike as they start out of the schoolyard.

CuT TO:

Billy drags his skateboard as Josh walks his bike down

the business district of the small suburb.

something and you can see right

down her shirt?

REVISED 8/18/87

CONTD

JOSH * Wow.

Josh leans his bike against a railing and looks down the street.

HIS POV - LOCAL HANGOUT : 7

A-group of teenagers hangs out around the entrance. CYNTHIA BENSON leans against the wall in all her eighth grade glory.

WIDER SHOT - JOSH AND BILLY

They approach the hangout.

| BILLY (staring at Cynthia) How'd a geek like Freddy Benson get a big sister like that?

FULL SHOT - ENTRANCE

They approach the door, as Billy makes his way quickly through the crowd. Josh stays right behind him and is alnost through when. a sweet voice calls after him.

CYNTHIA — Hi, Josh.

He turns around to see the source of the words and can't believe it when the smile comes back. Cynthia stands only a couple of feet away. Josh looks back at her, completely dazzled.

REVISED 7/27/87

Unable to move, Josh continues to smile as Cynthia and * C) her friends start down the block.

BILLY | (yelling) * He says hello! *

Billy grabs Josh by the back of the jacket and twirls * him around. *

8 OMIT cee | g

9 OMIT | 9 +

Ald INT. JOSH'S BEDROOM - NIGHT Ald *

Josh clutches his baseball glove and several computer * books protectively as he watches his father wheel a * pink baby crib through the door to his room. It is a * ae l2-year-old's paradise. A slot car track runs under * om _the bunk beds, and-a scale model of the Empire State * a Building stands in one corner. There is a life-size | * poster of Don Mattingly on the door and a green bed- * spread marked off like a football field. He winces * as the crib is wheeled over the tracks. *

JOSH * This isn't fair. *

MR. BASKIN * Sport, we've been talking about * this for months. You knew this * was going to happen when Rachel * got older. *

His mother comes in carrying Rachel and a pink elephant os mobile. She places her in the center of the bottom * bunk, then turns.to the door and pulls in a small * stepladder. *

JOSH * Why can't she stay in your room? *

His parents exchange a look. *

MRS. BASKIN *

J | Because. *

REVISED 7/27/87

Mrs. Baskin steps up the ladder and hangs the mobile * next to one of Josh's model spaceships. Mr. Baskin * moves aside the Empire State Buildingmodel as he * wheels the crib towareéthe corner. Josh quickly tries * to move it back, Mr. Baskin turns to his son and puts * a hand on his shoulder. *

MR. BASKIN * Josh, being part of a familymeans * sharing responsibilities, *

JOSH | | * Great. Do I have to share my room? *

Four siblings, of which Billy is the youngest, are gathered in the kitchen for dinner. Unwashed dishes * are piled up on the sink. MRS. KOPECHE, a tired-~ looking woman with streaks of gray in her hair, shrieks from the head of the table.

The CAMERA FOLLOWS Billy as he takes a platter of meatloaf from the oven, setting it on the table.

Billy gets a plate of potatoes and returns them to the table.

(CONTD)

REVISED 7/27/87

e.

a MRS. KOPECHE (contd) ‘*

Do you know what it's like to work

Sove

(she hits the table with her fist on each word) Every. Single. Day.

She looks from face to face around the table. Nobody meets her eye.

MRS, KOPECHE (contd) None of you ever offer to help me. Why?

Billy puts the vegetables on the table, turns back to the counter and gets an empty plate.

The CAMERA STAYS on Billy as he forks some mearloas on his plate and crosses to the kitchen door.

MRS, KOPECHE (contd) I just can't.

He disappears into the hall as the swinging doors shut behind him.

lil INT. JOSH'S ROOM ~ NIGHT . ll

Josh lies on the top bunk with a flashlight in one hand * and a walkie-talkie in the other. Rachel sleeps safely * inher crib; The boys talk in whispers as Josh aims the * beam of light out the window.

| 12 INT: BILLY'S ROOM 12

It is a disaster area. Billy lies on his bed in an explosion of dirty laundry with the other walkie-talkie wedged to his ear. He shines his flashlight at the ceiling, chasing the beam of light Josh is throwing into his room,.

Billy grins slightly, sitting up in bed.

CS JOSH

(sittingup) What about her?

CuT TO:

He leans forward on the bed clutching the walkie-talkie.

There is a long silence from the other walkie-talkie. Billy angles the flashlight at the window.

CuT To:

Beams of light play across his ceiling. Josh sits motionless in bed as the light from Billy's flashlight o dances over the wall.

‘He plunges the walkie-talkie under the covers as his mother opens the bedroom door.

Josh reluctantly pulls the walkie-talkie from under the covers and puts it back up to his ear.

A wet kissing around comes from the other end of the walkie-talkie.

CuT TO:

It is the Goliath of carnival rides. A series of metal cages are attached to long mechanical arms that lift and swirl them into the night. Desperate SCREAMS ECHO out of the darkened cars as they swing hundreds of feet up into the air, twisting and plummeting toward the carnival below.

CLOSE UP = JOSH

He stares up atthe towering machine. Josh's eyes are wide

KES

REVISED 7/27/87

WIDER SHOT - JOSH AND PARENTS

Mr. and-Mrs. Baskin walk beside their son in the midst of the carnival midway. Mr. Baskin holds Rachel. Mrs. % Baskin carries a camera. Tinny calliope MUSIC plays as + they move toward the massive ride.

7 MRS. BASKIN I don't: know,Bob.

Mr. Baskin tears off an orange midway ticket and hands it to his son. They are almost at the line for the Avenger when Josh stops dead in his tracks.

Oh my God.

HIS POV

Cynthia Benson stands alone at the end of the line, looking up at the ride.

WIDER ANGLE ~-JOSH AND PARENTS

He stands frozen beside his mother and father.

-”(CONTD)

Wm,aecae4aa

REVISED 7/27/87

tt

JOSH

: ; " a Hunh...Oh, no, I just...

(turnsto them and stares for a moment) I want to go on itmyself.

Mr. Baskin smiles proudly at his son, then shoots his * wife a look. She shrugs helplessly. *

Josh waits until they are several steps away before he * turns and starts toward the Avenger.

SHOT - JOSH

He moves quickly toward the ride. Josh cranes his neck * to see around the adults who are a foot taller than he is. He is just inside the archway when he spots x Cynthia. Josh takes a deep breath, stuffs his hands * in his pockets, and walks slowly up to the line.

WIDER SHOT INCLUDING CYNTHIA

She is looking up at the huge ride. Josh slides non- chalantly up beside her, staring in the other direction. He clears his throat. Cynthia turns and looks beside * her.

(CONTD)

, CYNTHIA ) ‘ Josh?h

He turns back to her with a frozen smile on his face. It takes a second or two before the words come out.

Now he's really frozen. Josh stares in wide-eyed panic looking for something to say.

‘JOSH Yes. (beat) Definitely.

\ ea Have you been on this before?

JOSH | Yes,

Cynthia nods and then glances out at the crowd.

REVISED 7/27/87

THEIR POV

The Baskins are standing over by the cotton candy stand. Mrs. Baskin gives a little wave, then raises her camera as a flash bulb goes off.

SHOT - JOSH AND CYNTHIA

All at once there is a deep male voice from behind her.

WIDER ANGLE

Josh looks up to see a strapping sixteen-year-old carrying two ice cream cones. Cynthia takes one of them, then puts her arm around his waist.

| DEREK How ya doin'?

Josh tries to nod.

Josh stares back with most of thecolor drained from * his face.

He is too stunned to move.

Josh turns around to see no one between him and the ticket taker. He holds out his midway ticket and moves slowly toward the turnstile.

REVISED 7/27/87

ena TICKET TAKER oN. Sorry, kid.

The man points next to him at a large sign. In bold * print it reads:

"YOU MUST BE AT LEAST THIS TALL TO RIDE THIS RIDE"

He stares in shock at the red linethat is just overhis * head. *

Josh turns around to Cynthia and Derek who are standing * a foot or two behind him. She smiles awkwardly.

ho He watches silently as they move past him through the * turnstile.

Josh nods quickly and tries to smile. Cynthia and Derek * disappear up the ramp as he turns to walk back down the + line.

He walks alone on the far side of the carnival kicking at the dirt. Josh continues past the modern video games * that line the side of the fun house. A group of teen- * agers are at the controls. He looks at them with a scowl and continues past them, when something catches his eye.

JOSH'S POV

Alone, facing the river is a small old carnival game standing by itself. There is a little glass booth with a wooden head inside. The hair is painted black. The eg beard comes to a point. Written across the top in old swirling script are the words: "ZOLTAR SPEAKS".

REVISED(7/27/87

L5A.

SHOT - JOSH

He walks up to the booth. There are two worn brass levers and a long metal ramp that leads to Zoltar's mouth. At the top of the ramp isa slot to put a quarter. Josh reads the faded lettering on the inside of the booth.

REVISED 7/31/87

He hesitates a moment, then fishes through his pockets and pulls out a quarter. Josh shoves the coin into the Slot. It drops to the top of the metal ramp and comes to rest there. Nothing happens.

WIDER SHOT ~ JOSH AND ZOLTAR

He looks at it then bangs the side of the machine. Still nothing happens. Josh bashes the booth again but the quarter just stays there. All at once, in a flurry of frustration, Josh wails against the side of the machine with both fists. Zoltar's eyes glow bright red. The small wooden head begins to nod. A red sign lights up reading: .

"AIM RAMP TOWARD ZOLTAR'S MOUTH" | *

Josh manipulates the lever until the ramp is pointed toward Zoltar's open mouth. *

"ZOLTAR SAYS: MAKE YOUR WISH"

Another sign lights up under the first one reading:

"PRESS BUTTON TO RELEASE COIN" *

He is taken aback by the unsolicited response but does as he is told. Josh aims the ramp carefully and pushes the button, releasing the coin. It rolls down the long railing and flies off the end, barely making it into Zoltar's mouth. The jaws close on the coin. The head stops nodding and stares straight at Josh.

All at. once a group of teenagers runspast him, laughing down the midway.

The SOUND of their laughter TRAILS OFF as a small card pops out of the bottom of the machine. Josh reaches down and pulls it from the slot.

JOSH'S POV =—CARD

"YOUR WISH IS GRANTED"

(CONTD)

REVISED 7/27/87

JOSH'S POV

At the base of the machine is a coiled wire attached toan old frayed plug. The plug is attached to...nothing.

SHOT - JOSH

He bends down slowly to pick up the plug. Josh examines the worn electrical wire for a moment, then rises slowly to meet Zoltar's eyes. The bobbing head continues to smile. A sudden breeze ruffles his hair.

What was a light breeze has turned into a dry gale, whistling through the yard and bending the trees in half. A sudden gust blows Josh's bike over. The front gate flies open, smashing against the fence. His little league. uniformrips from the clothesline and sails . across the yard....

Rachel howls alongwith the wind outside. The door + Opens and Mrs. Baskin comes into the room. She takes Rachel from her crib and rocks her from side to side as

+

her crying dies down. Mrs. Baskin looks at the face of

+

her son a few feet from hers. Hesleeps soundly under- neath the covers. She turns and carries Rachel out of + the room.

It is silent in theaftermath of the gale. Leaves and branches are scatteredacross the neighborhood front lawns.

It is bathed ina warm orange light. The CAMERA PANS SLOWLY from the window across the sun-drenched floor.

1?.

SHOT - JOSH

He stares at the card for a moment, when something catches his eye.

JOSH'S POV

At the base of the machine is a coiled wire attached to an old frayed plug. The plug is attached to ... nothing.

SHOT = JOSH

He bends down slowly to pick up the plug. Josh examines the worn electrical wire for a moment, then rises slowly to meet Zoltar's eyes. The bobbing head continues to smile. A sudden breeze ruffles his hair.

cuT TO:

What was a light breeze has turned into a dry gale, whistling through the yard and bending the trees in half. A sudden gust blows Josh's bike over. The front gate flies open, smashing against the fence. His little league uniform rips from the clothesline and sails across the yard ...

Zach howls along with the wind outside. The door opens and Mrs. Baskin comes into the room. She takes Zach from his bed and rocks him from side to side as his crying dies down. Mrs. Baskin looks at the face of her other son a few feet from hers. He sleeps soundly underneath the covers. She smiles and smooths back Josh's hair from his forehead, then turns and carries -Bach out of the room.

Itis silent in the aftermath of the gale. Leaves and branches are scattered across the neighborhood front lawns.

2i INT: JOSH'S ROOM . 21

It is bathed in a warm orange light. The CAMERA PANS SLOWLY from the window across the sunedrenched floor.

18,

There are the usual array of toys: his slot car tracks ese @ Skateboard ... a gleaming silver robot ...

The CAMERA CONTINUES TO PAN coming to rest on the empty bottom bunk.

There is a HEAVY CREAK of bedsprings as two huge feet swingout from the top bunk and dangle in mid-air. They are size twelve feet attached to big hairy ankles.

DIFFERENT ANGLE = HOLDING ON FEET|

They drop to the floor, hitting it sharply -- a little too soon. The feet stand motionless for a moment ...

The CAMERA FOLLOWS them as they pad slowly across the floor and into the hallway.

A man's hand hits the wall looking for the light switch. Joshua slides his hand up the wall, then pauses for a moment and slides it down. His hand makes contact with the switch, a foot lower than usual. He hesitates, then flicks on the light switch to reveal:

FULL SHOT - BATHROOM MIRROR

A hairy well-muscled torso fills the entire mirror. The chest is large --the waist is slim. Slowly -- very slowly -- Josh lowers himself into the mirror. First there are the broad shoulders ... then the neck....then finally ... the full face of a handsome thirty-five-year- old man stares back from the bathroom mirror. Joshua whirls around to see who is behind him, but there is no one there. He freezes for amoment, then turns back to face it.

Their eyes lock. Joshua winks once and the reflection does the same. He wrinkles his nose and so does the man in the mirror. A look of horror crosses Joshua's face.

ed

i A J stares in mounting horror. edvc

Josh leapsback and slams into the shower curtain,

He clamps his hand over his mouth,

Mrs. Baskin hears her son and cocks her head to the side, frowning slightly.

She looks. towardthe bathroom for a moment, then shrugs.

Josh is backed up against the medicine chest with a look of panic on his face. He hears the sound of his mother's footsteps moving down the hall.

The door to the bathroom flies open, and Josh rushes out. He darts across the hallway and intohis bedroom, shutting the door behind him.

| CcuT TO:

Josh grabs his jeans from the night before and fishes through the pockets. He pulls out the small card that was printed from the Zoltar machine.

JOSH'S POV = CARD

"YOUR WISH IS GRANTED."

SHOT - JOSH

He looks frantically arcund the room and grabs the clean pants that his mother left for him. Josh thrusts one foot into the leg forgetting it is a child's medium. -His leg gets stuck as he falls backwards onto the bottom bunk. Struggling on his back, Josh manages to get both feet in the jeans. He grabs the pants by the belt loops, rocks forward onto his feet, and then, leaning forward ...

Mae! Mrs. Baskin is standing at the kitchen stove making scrambled eggs when there is a loud thump from upstairs. She stops cooking and looks toward the ceiling.

He struggles. desperately on the floor, trying to remove the child's jeans.

The figure of a six-foot man wrapped in a bedsheet tiptoes quickly across thelanding toward his parents' bedroom.

ae

REVISED 7/27/87

Josh rifles through his father's clothing, while his °« * Sister stands in her baby walker. *

Mrs. Baskin spoons out the scrambled eggs. There is a * thundering sound of someone running down the stairs,

The front door shutswith a slam. Mrs. Baskin turns to * see:

Rachel in es, baby waior waddling into the room. *

Josh pedals his child's Stingray as fast as he can down the path that leads to the riverfront. Wearing his father's khakis and a New York Giantssweatshirt, he flies down the slope, knees hitting elbows. All at once * he hits.the handbrakes.

JOSH'S POV

The carnival is gone. There is now just a muddy lot with some tattered flags blowing inthe wind.

SHOT - JOSH

He stares in horror at the vacant lot. No fun house. No arcade. No Zoltar. His eyes grow wide in panic.

Josh's mother is vacuuming the living room singing quietly to herself. The front door shuts with a slam.

REVISED 7/27/87

Mrs. Baskin whirls around to see:

A strange man standing in her living room. His eyes ~° * are wild. He is breathing hard. There is mud all over his shoes.

Mrs. Baskin lets out a blood-curdling scream as Joshua starts toward her, tracking mud across the carpet.

‘JOSH (looking at the mud) * Oh, I'm sorry.

Mrs. Baskin looks at the psychopath claiming to be her * child. She backs Slowly past the piano into the kitchen * as he advances.

She moves all the way against the kitchen counter with a look of terror on her face.

She inches.down the counter.

Mrs. Baskin moves fartheraway. Josh grows more frustrated.

Josh grabs the vase and inhales deeply. Hewaits for the sneeze but nothing happens.

REVISED 7/27/87

- JOSH (contd) Okay, so I outgrew it--but I'm -telling you, it'sme. My little league team iscalled The Dukes. I just got a "B"on my history test. There's a.birthmark on the back of my left knee...

Mrs. Baskin reaches behind her and pulls out abutcher knife. . *+

‘Mrs. Baskin lunges at Joshua with the butcher knife. He whirls around and ducks out the door, fleeing across the yard.

| CUT TO:

‘The playground is empty.

Forty seventh graders are in the middle of gym class. Billy stands in the center of a circle, engaged ina furious game of dodge ball. Other students play hand- ball along the walls of the gym. A couple are shooting baskets. Red rubber balls come flying at him from

ee

several directions as Billy frantically gets out of the

+

way.

+

REVISED 7/27/87

Josh goes running down the empty third floor corridor, *

out of sight. +

C) disappearing

SHOT - BILLY t

He dives to the floor as ball whizzes over his head. *

BILLY * Nice shot, lame-o. *

SHOT - WINDOWS

Josh runs down the second floor corridor, a story lower.

RESUME - BILLY oo : *.

He deftly jumps over a ball that whizzes at his feet. *

BILLY * Ha! *

SHOT - WINDOW

Josh peeks his head out from the edge of the windows at * the end of the hall.

a | | JOSH: * CF Psst! *

SHOT - BILLY

He looks up to find the sound of the whisper as six * balls bombard him at once. The BELL RINGS ending the * period. Most of the students race for exit doors. *

*x

Billy looks a little dazed.

GYM TEACHER * Walk don't run. Ball monitors put + everything away this time.

36 OMIT 36 *

A37 INT. STOREROOM A37

F

The door opens as Billy enters carrying several balls

+

under his arms. He takes two steps forward when the

door is slammed shut behind him. Billy whirls around

his face. ++

to see a wild man inches from

JOSH

*eae”} It's me.

REVISED 7/27/87

2ua

Billy takes a step backward. Josh grabs his arm. ial

Ne - JOSH :

He breaks away, racing toward the staircase.

He throws the balls at Josh's stomach as he runs up the + stairs.

The space goes down down down baby Down down the roller coaster *

Billy freezes with his hand on the knob. He slowly *

+

turns and looks down the stairs. Josh quickly continues his rap, his eyes fixed on Billy, as he moves up the +. steps toward him.

) JOSH (contd)

Sweet sweet baby, HH Sweet sweet, don't let me go. Shimmy shimmy coco bop ee Shimmy shimmy rock HE Shimmy shimmy coco bop Shimmy shimmy rock I met a girlfriend, her name is Trisket et She said a Trisket's really a bisquit. Ice cream soda pop, vanilla on the top.

Oo sha-li-da + Walking down the street.

Ten times a week. + I met it, I said it, + Istole my mama's credit. + I'm cool, I'm hot,

Sock you in the stomach three more times.

Josh stops, out of breath. Billy continues to stare

at him.

(3 JOSH eats

Yes!

REVISED 7/27/87

} BILLY Ned (staring inwonder)

A crowd of spectators has gathered around the Baskin | home. Two of BILLY'S BROTHERS and Mrs. Kopeche stand at the edge of their yard. The red and amber lights + from the double-parked police cars reflect in thei faces. :

MRS. KOPECHE * If something happened tohin, * she'll be heartbroken. *

FIRST BROTHER _- * Bet he ran away. | *

SECOND BROTHER * Wish I could. *

FIRST BROTHER * Want me to pack your bags?

WIDER SHOT - STREET

Billy comes out of his house behind them, dragging a * large suitcase. He looks at them quickly, then hurries away from the crowd, down the street as:

The LIEUTENANT stands across from the Baskins who sit huddled together on the couch.

39 OMIT 39 *

REVISED 7/27/87

A40 EXT. RIVERFRONT - DUSK A40 *

There is.a low deisel HORN on the Hudson. Near the edge * of the old carnival ground water drips from the top of * an abandoned tunnel.

40 OMIT. 40 *

Al sINT. TUNNEL ee A4l *

Josh sits huddled against the damp cementwall, ok shivering in the evening chill. All at once there are * footsteps outside as Billy lumbers into the tunnel, + dragging the suitcase.

He tosses Josh an old hat and army fatigue jacket. *

JOSH * I'm gonna get in a lot of trouble for this. .

of it.

(grabbing the suitcase) + C'mon, we gotta get going.

Billy starts to move out of the tunnel as Josh hesitates.*

REVISED 7/27/87

~nomfot id

i BILLY (contd) * Loy : {callingback) : *

- Let's go. : Se

He rises slowly and starts to follow Billy, pulling on * the jacket as he goes. *

B4l EXT. BUS STOP - DUSK B4l *

Josh sits slumped on the bench next to Billy under a * flickering streetlamp. The hat is pulled down low over * his eyes. *

Billy pulls a wad of cash from his pocket and hands it to Josh.

BILLY * Here. *

3 Josh stares at the bills in awe.

: JOSH

Where'd you get that?

BILLY * It's his emergency fund.

+

The bus ROARS up to the bench and stops with a squeal of

of brakes. Josh looks at Billy as the doors open in front of him.

Josh and Billy move up the crowded aisle as the doors *

+

close behind them. 'The bus moves forward with a lurch, almost knocking them off their feet. Josh reaches up, + ue grabbing the metal handle for the first time in his (oo life. Billy stares at his best friend's stomach.

REVISED 7/27/87

29,

It roars toward the Lincoln tunnel with the New York skyline in the BG. *

Car horns blare. A municipal bus pulls away from the curb, revealing Josh and Billy standing awestruck in the middle of Times Square.. They look up at the huge buildings and flashing billboards. The suitcase sits between them.

It is a dark, foreboding part of town. A local pusher accosts the passers-by. A few prostitutes loiter on the corners. Josh and Billy stand in front of aseedy hotel that advertises "ROOMS BY THE DAY/WEEK."

CONTD.

REVISED 7/27/37

Josh looks at him for a moment.

They stand across the bulletproof partition from a dark * Pakistani man with one eye. There is a large sign * behind him that reads "FIREARMS KEPT ON PREMISES." Josh glances around nervously.

Billy reaches into his pocket. He counts out twenty- * seven-fifty and shoves it through the partition. The clerk hesitates for a moment, then pulls a room key off the wall.

Graffiti is scrawled on all the walls. Two derelects Stare as Josh and Billy follow the clerk down the corridor. Billy flashes a broad smile, pointing up at Josh.

Josh and Billy are standing in the middle of the room with the suitcases between them.

_ BILLY (edging for the door) You'll be fine. You go to sleep. (MORE)

REVISED 7/27/87

add

es

| BILLY | I can't help it, Josh, I'm supposed to be home by ten.

Josh bolts for the door as Billy grabs him by the back of the belt.

Josh stops. Billy slowly lets go of his belt.

Josh pauses, exhaling deeply. Billy punches him on the

Billy turns and moves for the door when Josh calls out after him. ;

’JOSH What if I can't sleep?

32,

| BILLY

Billy starts into the hall then turns back towards Josh.

Josh stands alone in the middle of the room as Billy shuts the door behind him. There is a single metal bed with a batten mattress on top. An old television is bolted to the floor. .

He crosses to the window and tries to lift the blinds with a single tug. They come crashing down on top of the. radiator.

A red neon light blinks on and off in his face, There is the screeching sound of a siren and the backfire of a car, Josh shuts the window with a slam.

He takes a yellowing sheet off the dresser and moves to the bed. Josh starts to unfurl it when there is the sudden ring of a telephone.

He jumps back as the sound of heavy footsteps come running down the hallway. Josh stands motionless next to the wall'as the conversation drifts through the door,

Josh bolts the door quickly.

_Josh rapidly puts the chain across the door and starts to drag the small dresser in front of it. A fist pounds the wall beside him.

REVISED 8/19/87

wo 33-36.

Josh dives headfirst onto the small bed. He grabs the pillow and hugs it tightly. A single tear runs down his cheek.

48 OMIT : 48

49 OMIT : | 49

50 OMIT | | 50

50A OMIT | | 50A

A51l EXT. HOTEL - MORNING AS1

Josh and Billy walk out of the hotel onto the sunny % street. Josh looks tired. %

The boys look up the block then turn and look down * the other way. +

cuT TO:

Sl OMIT | : 51

A52 OMIT — | AS2

Josh and Billy stand under a maze of directional arrows behind a small line of people at the Information Booth. Both boys look tired. +

BILLY OF So maybe they just don't say "arcade" on all the signs. You wouldn't even let me go into ee Madame Santi's. te

JOSH % It was a laundromat. +

Look, somebody's gotta have a eH + record. We'll.just get a list of carnivals and track it down. +

wort

REVISED 8/19/87 36A.

52 CONTINUED: | 52

They move up in line to the information booth. It is manned by an eighteen-year-old CLERK.

- BILLY

And fairs.

The clerks takes out a printed directory and scans down the list, turning the pages.

REVISED 7/27/87

va 53 DEPARTMENT OF CONSUMER AFFAIRS OFFICE 53

a Josh and Billy stand across thewindow from a woman in

her fifties. She hands Billy a form. *

Josh looks at the woman in shock.

~ 54 EXT. NINTH AVENUE LATER 54

Josh walks beside Billy with his hands stuffed in his pockets. He looks like he's going to cry.

JOSH * I'm going to be thirty years old for the rest of my life.

Josh kicks at a trash can. *

REVISED 7/27/87

ee JOSH C I'm dead. Mocs ws . . te

Josh sinks down to the curb in despair. He slumps against a trash can.

BILLY * (sittina beside him) We're getting the list. We just gotta hang on for a while.

| JOSH (turning) A what?

C7 I can't get a job.

| CUT TO:

Josh and Billy sit in a booth devouring a massive banana ‘split. Billy has the "Want Ads" spread out in front

(CONTD)

of him. Josh shovels marshamallow topping in his mouth.

at BILLY

Cardiological technician ... Civil engineer ...

Hey Billy?

Josh opens his mouth to reveal a glob of melted hot fudge and ice cream. Some of it dribbles onto the newspaper.

7 JOSH

Go to the other column.

MacMillan Toys ... (he looks up) Toys!

Fi JOSH

REVISED 7/27/87

JOSH

Billy looks at him in amazement as Josh takes the paper from him.

: BILLY Where dowe go?

Josh looks down at the ad,

| JOSH ; Apply in person--MacMillan Toys.

AS6 EXT. MACMILLAN TOYS A56 *

Establishing shot. Josh and Billy stare up at the looming office building.

REVISED 7/27/87

aCc?te

sy*vate 56 wankINT.PERSONNELOFFICE- MACMILLAN TOYS 56 get ~ "an +\ They sit side by side as they fill out the application. * Fifteen adults around the room are doing the exact same thing.

_ JOSH (whispering) Previous employment?

(CONTD)

Dene enCSSeAeTairasiahiii

Josh puts it on the application as Billy glances around the room.

Josh looks baffled.

What's that?

Josh grabs the clipboard and rises from the bench. Billy starts to get up as well.

RECEPTIONIST |

- Your son can wait for you out here. a ‘* Billy stops with a frozen smile on his face. Josh turns back to him...

JOSE

a Sport,

you sit right over there

eS

and don't give the lady any trouble,

Joshturns and follows the woman out of the roon.

Josh sits across the desk from a man in his mid-forties. He wears a navy blue suit and a large silver tie-clip. Josh's feet are crossed and one foot taps nervously.

JOSH

—

(nervous)

et Yeah, four years, that's right.

He looks back down at the application and tries to read the handwriting.

Oh, G.W. My brother-in-law got his doctorate there, —

Josh smiles and nods,

Ly PERSONNEL DIRECTOR (contd)

Did you pledge?

REVISED 7/27/87

“too<>

JOSH

[ Every morning.

At that moment, the door bursts open and SUSAN LAWRENCE enters the room. She marches all the way across the * room, oblivious of Josh's presence. : *

; PERSONNEL DIRECTOR Well, she came with the highest...

om : writing down her married name Zz) . over and over and over...Mrs. ae Judy Hicks. Mrs. David Hicks. *

Mrs. Judy Mitchelson<Hicks. + Sometimes with the hyphen, some- * times without the hyphen... sometimes she spells the hyphen.

Susan turns and whisks out of the room. The Personnel Director stares at the door for a moment, then turns back to Josh.

ao CUT TO:

44,

oa INT: CORRIDOR = MACMILLAN TOYS 58 o”:4 It is an upper floor of the building where the carpeting is thicker, the air thinner, the stakes higher. Susan rounds the corner briskly, moving toward her office. There are screams and girlish laughter OS.

SECRETARIAL AREA |

Susan moves into the secretarial area that is overflowing with women, balloons, crepe paper and party streamers. The receptionist sits at her phone console giggling to herself as she scribbles onto a steno pad.

cL See, when she opens her shower

presents everything she says is what she'll say on her wedding night. Only she doesn't know it, sowhen we read the list to her ...

Susan moves abruptly toward her office, shutting the door behind her as the laughter continues in the BG.

She crosses over to her desk and sits in the large swivel chair as voices from the shower play in the BG.

he There is a roar of laughter as Susan rocks back in her PO“aane chair staring at the wali. She pauses for a moment, then grabs the telephone, punching a two digit combination very hard.

There is a moment's pause when she whisks her hair back and shifts her weight in the chair.

Susan stares straight ahead, looking out over a desk that is perfectly immaculate. There is a vase with some silk flowers in it ... a crystal picture frame with two of her sisters, one holding a baby. She wraps the telephone cord around her fingers as she swivels slightly to her left. In front of her, sitting on the blotter is a Princess Gwendoline Doll replete with flowing blonde locks. Susan looks at her for a moment.

There is another peal of laughter from the other room as she reaches out to take the doll. Susan wedges the — receiver to her ear as she presses a small button on the back. A man's voice starts to come out of Princess Gwendoline.

There is a whirring sound and a long pause.

Pause.

REVISED 7/28/87

There is a longer pause.

There is the loudest roar of all coming from the outer office. Susan looks at the door for a moment, then hangs up the phone.

S9A EST. MACMILLAN TOYS - FOLLOWING MORNING 59K

Workers bustle in and out on the busy sidewalk.

A dozen people sit at a long row of identical desks with * computer terminals and telephones in front of each. Josh * is standing with the Supervisor in front of an empty work * Space. A pile of spread sheets is stacked on the desk. Josh wears a company I.D. badge clipped to his shirt.

REVISED 7/28/87

The Supervisor pats Josh on the shoulder.

Josh watches as the Supervisor disappears around a corner. He turns back to his desk and slowly pulls er out the Swivel chair. He glances around at the other employees. Most are working at their keyboards. A few are on the phone. Josh looks back at his computer and Le leans over to switch it on.

Josh turns to see SCOTTY BRENNAN grinning at him from. the next desk.

Josh tentatively extends his hand.

; JOSH How'd you know that?

JOSH

SCOTTY

Cream, right?

SCOTTY takes off and disappears downthe aisle without waiting for the answer. Josh looks at thefolders, then at the stack of spread sheets on his desk. He

OF

pulls one toward him and begins to work when a WOMAN'S LAUGHTER comes 0.S.

JOSH'S POV

%Suet A woman two desks down is huddled over her telephone, whispering and giggling into the receiver.

REVISED 7/28/87

° 47A.

SHOT - JOSH

He looks: backat the phone on hisdesk. Josh stares at it for a long moment, then slowlypicks up the + receiver and begins to dial. He looks around anxiously, + biting at his finger while the phone rings and rings. +

A61 INT. BASKIN KITCHEN A61

Mrs. Baskin tries to fasten Rachel intoher baby jumper as the phone continues to ring. She finally gets the belt on and races over to answer it.

INTERCUT WITH JOSH

His eyes go wide as he hears his mother's voice. Josh leans closer to the phone and speaks in a hushed voice.

\ oa MRS. BASKIN qi Yes?

Um, I just wanted you to know that Josh is fine and he's okay and veverything...

yt:Maan envyonmenim

REVISED 7/28/87

47B.

JOSH ee (he hesitates) Lee ..Well,he can't come to the phone ! rightnow. ©

Alright...

Josh puts his hand over the receiver and hums a few bars to himself. He shakes his head and tries another

‘tune. Frustrated, he swivels in his chair, whistling

through his teeth. Finally...

Mrs, Baskin begins to cry.

REVISED 7/28/87

A cup of coffee is placed on his desk. Josh looks up quickly.

HIS POV

Scotty is standing next to him, casually sipping his coffee. He is watching Josh with frank curiosity.

WIDER - INCLUDING JOSH

He slowly hangs up. Scotty nods his head.

SCOTTY * I know allabout it.

He nods again, then looks across the room.

Josh rises slowly fromhis chair. Scotty puts his arm around Josh and points toward the end of the aisle. —

(CONTD)

eeme

REVISED 8/20/87 4e.

A61 CONTINUED: | A6l

JOSH'S POV

A well-built woman in a short red dress is working at her cubicle.

ANGLE ON THE TWO OF THEM

‘Scotty looks at him a little oddly.

Susan walks out of her office carrying a manila folder, past Judy who iswriting hermarried name in different tt

+

coloured pens. She rolls her eyes slightly as she turns a corner in the hallway. +

HALLWAY

She moves briskly down the corridor past a group of nine- year-olds being led in theother direction by a TEST * MARKET RESEARCHER.

(TONTINUED)

REVISED 8/20/87

48A.

‘ 61 CONTINUED: 61 aati’V4 His voice fades as they turn the corner.

Susan walks all the way to the end of the hall, pausing in front of a door labeled: BRAD DAVENPORT - SENIOR VICE PRESIDENT. She straightens her hair for a moment then reaches down for the doorknob.

It is the next best thing to a corner suite. In the corporate kingdom, BRAD is a crown prince. He sits at his desk, examining the "Mitor" prototype when the door swings open.

ats

ee

REVISED 7/28/87

SUSAN

NA Huggybear took a nosedive.

Brad freezes behind the desk. Susan pulls a manila envelope from the briefcase and drops it in front of him.

Look at these numbers, Brad. Third quarter profits off forty percent. Preorders down fifty- five. I'm not talking about one toy, I'm talking about the whole goddamn line: Huggybear papa, Huggybear mama...The goddamn * baby is off sixty percent. *

, BRAD I think if you just go right ci in there and talk to MacMillan...

She looks up at him. Brad touches the side of her cheek.

63 FULL SHOT = ELEVATOR DOORS 63

The doors open and a tall man strikes out followed by © Brad and Susan at his heels. He is MACMILLAN, owner and chief patriarch of MacMillan Toys.

At that moment, Josh rounds the corner going full tilt and slams into Susan. She, in turn, bashes into MacMillan who is knocked from his feet. The papers Josh was carrying fly in every direction. Brad turns and glares at Josh.

REVISED 7/28/87

Mac reaches down to help Josh pick up the papers. Brad and Susan see him and follow suit. As Josh and Susan reach for the same sheet, he gets a full look down her blouse. Susan stares at Josh who looks away embarrassed.

Mac pats Josh on thearm as he hands him the papers, then starts down thehall.

Brad stares at him for a moment, then takes off after him . with Susan in tow. Josh watches them move down the corridor” as Scotty comes up quickly beside him. *

He moves away from Josh toward the opened elevator.

SCOTTY : (mouthingit silently as . - he points up) MacMillan. | *

Josh looks up at the MacMillan Toys logo above the elevator * as the doors close on Scotty. He turns to lookdown the . hall where Mac has disappeared.

Josh sits on the bed in front of the bolted down tele- vision set. The good guys massacre the bad guys ina loud volley of gunfire. After a while, Josh rises from

(CONTD)

REVISED 7/28/87

51A.

the bed and crosses to the TV set. The gunfire from the show continues: Bang Bang Bang. Josh shuts off the set and turns toward the bed when there is another loud Bang behind him. He looks back toward the window, and shrugs.

DISSOLVE To:

He is busily typing at his keyboard, settled into the routine, when:

Josh turns to see a male clerk handing out envelopes in the aisle. He rises from his desk and wanders over to where Scotty is already standing. The clerk hands him an envelope.

(CONTD)

"eral te

Josh tears open the envelope and takes out the check inside. His eyes go wide in disbelief,

cut To:

Josh and Billy stand fidgeting in front of a female teller.

<n Josh and Billy exchange a look. Josh leans down and whispers to Billy, who shakes his head and whispers back. After a moment of huddled conference, Josh turns back to the teller.

They burst out of the bank like they just robbed the place. Josh clutches the wad of bills. They get a little further up the block and let out a war shoop. Billy huddles over the money.

Josh sinks to his haunches.

REVISED 7/28/87

It is covered with garbage. Billy wears a baseball cap with a large phony turd on the brim labelled "SHITHEAD," Josh sits next to him in a t-shirt with an arrow, stencilled "I'M WITH STUPID."

| JOSH | * I'm never gonna eat again.

Josh mock-vomits with a can of Silly String.

It is silent. The door squeaks open and Josh tiptoes out in his pajamas toward the pay phone. Josh drops some change in the slot and dials a ten-digit number. As soon as he hears itconnect, Josh stretches thecord as far as it will reach and tiptoes back into his room.

in al

REVISED 7/31/87

He sits against the bed holding his stomach. Josh speaks guietly into the receiver.

There is a pause.

Josh pauses looking straight ahead.

Josh lowers the receiver and looks at it for a moment.

A beautiful new sailboat sits alone in the center of the window. The CAMERA PULLS BACK TO REVEAL Josh, alone with his hands in his pockets, pressing his nose against the glass.

He whirls around at the sound of the voice, to see: *

HIS POV

A MAN is running back to his five-year-old SON who is chasing after a big sheepdog on a leash.

REVISED 7/31/87

54A.

WIDER - INCLUDING JOSH *

He watches as the man swings his son up on his shoulder * and carries him into the store. *

Josh stands behind a circle of kids surrounding a salesman as he demonstrates a small balsa-wood glider plane. He tosses it toward them, and they all grab for it. He executes a loop over their heads and returns to the man. He flies it over hisaudience a second time.

(CONTD)

’

i*Ne

REVISED 7/28/87

A nine~year-old boy reaches out his hand. Josh pushes ” _Ne him aside and he turns to chase the plane down the aisle. The boy's mother glares as Josh goes running after it.

73 ANOTHER FLOOR =- STORE 73

Holding a laser-tag gun, Josh crouches behind a display of giraffes.

ANOTHER ANGLE - BOY

A fifteen-year-old BOY creeps around an aisle, his laser gun held ready.

SHOT - MACMILLAN

He stands at the top of the aisle, watching silently as the boy moves toward Josh's hiding place.

WIDER +

All at once Josh leaps out, aiming his gun. The boy % quickly steps aside and fires. Josh gasps and grabs his stomach. He drops his gun and stares at the boy ££ +

+

for a stunned moment. Then, with a hideous cry, he falls to the floor. +

CLOSE - JOSH *

Josh opens his eyes and begins to laugh. All at once he stops.

HIS POV

Two men's feet sporting a pair of loafers are standing inches from his nose. The CAMERA ANGLES UP TO REVEAL MacMillan, staring down at Josh with an intrigued smile on his face.

REVISED 7/28/87

S5A.

Josh climbs to his feet.

He studies Josh for a moment.

(CONTD.)

CN | JOSH ms What's a marketing report?

He examines Josh for another couple of seconds, then turns toward the shelves behind him.

He pulls a large box from the shelf.

He catches himself.

JOSH

ON Only thepieces don't move.

| CUT TO:

They walk side by side down the aisle of the toy store.

foo) »--See the Starfighters are good poe ‘causeyou can change the pieces

around. I don't like the Galacticons ‘causeyou just get one robotand it doesn't come with a vehicle.

At that moment, there isa musical note coming from beneath him. Josh stops and looks down.

WIDER ANGLE =-JOSH AND MAC

Josh is standing on a huge piano keyboard that is clearly meant to be walked on. He stepson a different key and another note comes out. Josh stepson two keys in succession and it's the beginning of a song.

DIFFERENT ANGLE

Mac watches as Josh starts into the first four note pro- gression of “Heart and Soul." After a couple of tries the familiar base line of the song begins to emerge.

- ANGLE ON MAC

He watches in amazement as Josh does a little two-step across the piano keys. Mac smiles slightly.

Macwatches him for -amoment, then glances over his shoulder. He pauses, then reaches out with his toe and taps the first three notes of the song.

"HEART -= AND -- SOUL" _

Josh looks up at him startled.

Mac steps onto the keyboard. He starts to tap out the melody, stepping nimbly across the keys. Josh grins at him and Mac sticks out his hand like an old vaudevillian. The two of them dance their duet across the keyboard

REVISED 7/28/87

something out of the Catskills. When they reach the crescendo, Mac sweeps his foot across the keyboard in. a huge flourish. He turns to Josh with a grin on his face.

The floor-to-ceiling shelves are filledwith toys. * There is a console telephone that looks like it can fly and a brand new VCR with stacks of cassettes.

DIFFERENT ANGLE

a Josh and Billy stand in the doorway staring at the new / \. office.

Billy sits down in the high-back leather desk chair.

' JOSH ; (proudly) I think a lot.

; BILLY Suckers.

He props his feet up on the desk like a little executive and pulls the phone receiver to his ear.

REVISED 7/28/87

{) BILLY (contd) “a,

: (playingcorporate modul) ; Henderson--you're fired!

The two boys crackup as Billy glances toward the far wall.

It is a large white test area built to look like a kindergarten classroom. There are kiddie-sized chairs and kiddie-sized tables and a dozen five-year-olds screaming and yelling. Each wears a set of foam rubber boxing gloves easily three feet indiameter. On the table in front of them is a box inscribed: "PILLOW FIGHT."

WIDER ANGLE - INCLUDING BRAD AND SUSAN

One child decks another one as they whisper near the back of the: room.

Several kids cluster together in something approaching a brawl.

REVISED 7/28/87

One kid gets leveled and starts tocry. Brad gestures to the boy as he leaves the room.

CuT TO:

Josh and Billy stand at opposite ends of the office, throwing a frisbee that emits musical tones as it flies. The floor is covered with toys.

The door opens and Josh's secretary MISS PATTERSON

OF

enters the room. She barely sidesteps the flying + frisbee and places a file on Josh's desk. The boys + stop and stare at her.

She hurries out of the room as Billy flings the frisbee * back to Josh.

There is a loud BUZZ from the intercom.

Josh goes over to the phone and picks up the receiver.

ie , REVISED 7/28/87

|

un) JOSH a (in a deep grownup voice)

Yeees? (beat-normal) Oh, sure. Great.

He hangs up and turns to Billy.

He picks up his. satcheland starts toward the door.

BILLY

| (incredulous)

: No.

eee

CS |

(whispering) That's what this whole place is like. You don't do anything yourself.

Billy shakes his head in amazement.

Brad and Susan sit at the breakfast table drinking coffee. A television set plays a news program in the background. Susan wears a wrinkled outfit from the night before. Brad wears a bathrobe. f ee BRAD m

Did you check Mattel?

REVISED 8/20/87

CONTINUED: 78

| BRAD Terrific. That's just terrific. That is really terrific...

Brad turns toward the television set fuming. "WEEK IN REVIEW" continues in the background.

CLOSE UP - T.V.

Several Wall Street executives are led handcuffed out of their office building.

ON BRAD

Sait to earn a living. .

Susan looks at Brad for a moment. She picks up the milk and pours some in her coffee as the CAMERA MOVES IN ON the side of the carton. A photo of twelve-year-old Josh Baskin smiles back. The caption above it reads: "HAVE YOU SEEN THIS CHILD?"

-- Joshsits ‘on the couch flanked on either side by two executiveswho are dressed almost identically. The CAMERA PULLS BACK TOREVEAL: a huge, wood-paneled office, informally furnished with comfertable sofas and chairs.

Every major executive in the company is seated around the room. Several hold prototypes of various toys, waiting their turn to present them. Brad stands at the front of the room, pointing at a large bar graph mounted on an easel. Mac slouches down in his chair listening to Brad present his toy,while Josh examines a prototype o ae? of it on the coffee table in frontof him. 4Ma

reyto.

ANGLE ON JOSH

He holds the prototype in his hands, staring at it with a baffled look on his face. It looks something like a skyscraper but not quite. Josh manipulates the upper stories and the sides fall away revealing robotic legs underneath. He tries to pry them out but they don't move.

ANGLE ON SUSAN

She sits upright in her chair, the only woman in the roon. Susan looks over at Brad as he continues with his report.

There are several seconds of silence, then ...

‘WIDE ANGLE = ENTIRE ROOM.

A hushed murmur goes through the room. Every eye turns toward Josh, who holds the Mitor prototype. It is an epic confrontation.

JOSH

i) (innocently) a Well, what's fun about that?

There is an even louder murmur. Susan glances back and forth between Josh and Brad. Brad's eyes narrow,

An aide hands him the figures,

MAC

ee What don't you get, Josh?

BRAD| A “bug?

od SECOND EXECUTIVE — So the building turns

into a monster.

FateRAISONetqeRemSTENNe|crethtoraymerrarerreereererrerr:enn:Amey¢8arma,smernyaxaetersSemen

REVISED 8/20/87

79 CONTINUED: |1O

yo ~JOSH ‘ }

I guess ...

CLOSE UP - MACMILLAN

As he nods slowly from his desk.

They sit in his living room. Brad clutches his drink.

a

SUSAN

{;

He's not vicious.

REVISED 7/28/87

a 81 INT. SOHO LOFT - Day 81

It is vast and empty. Josh and Billy stand beside a well-dressed real estate agent.

A large moving van pulls up to the curb with the words GORDON RENTS on the side of the truck.

JOSH (VO)

— "Dear Mom..."

A man in a jumpsuit hops out of the truck and pushes an: intercom button on the door of the building.

A large water balloon splats next to him on the sidewalk.

Josh flies by on askateboard, zigzagging through the columns.

Two more trucks are parked in front of the building, blocking traffic. Josh and Billy play stoopball on the * front steps as a pair of moving men wheel a pinball

REVISED 7/28/87

machine and full-sized basketball hoop down the ramp of the truck. :

85° OMIT 85

A86 EXT. BUILDING A86 *

Josh climbs out on the ledge of the loft to retrieve a * kite. *

They go into the club.

A group of four-year-olds with Josh in the center jump up and down on saturn=-shaped"Pogo Balls."

OTHER SIDE OF THE TWO-WAY MIRROR

MacMillan, Brad and Susan all watch Josh as he bounces up and down in the middle of the focus group.

—6BB INT. DINGY CORRIDOR | | | sgt

Billy stands alone, without Josh, in front of a nondescript wall. He glances to his right as:

WIDER

REVISED 7/28/87

io Josh enters the shot carrying two hot dogs. The CAMERA FOLLOWS THEM around a corner and up a long tunnel, as , + YANKEE STADIUM is suddenly REVEALED in all its splendour.

Josh and Billy sit in the front rowof the upper deck wearing their baseball mitts. Josh pounds his a couple of times.

Billy tries on a black satin Yankee jacketas Josh looks on admiringly.

Josh and Billy, both wearing jackets, exit the turnstiles with the post-game throng.

, JOSH (VOcontd) "I love you very much and I know I'll see you soon..."

CAMERA, blending in with the crowd.

Soon Josh and Billy disappear entirely, until there is just a sea of people.

: JOSH (VOcontd) "P.S....1Istopped biting my nails."

REVISED 7/28/87

68A.

90 OMIT 90

Josh and Billy enter through the front door. Several customers are in the store.

(CONTD.)

A salesman walks up to them with a tape measure around his neck.

-SALESMAN I see. Is there any particular occasion?

| ‘SALESMAN Well, then, you'd probably want something simple. Maybe a shawl collar with ...

Josh moves over to a mannequin displaying a powder blue tux in crushed velvet. He reaches up, feeling the lapels.

He runs over to a customer trying on a dark gray cutaway.

REVISED 8/20/87

70,

Billy and the salesmanturn toward Josh, who is pointing across the store.

The walls are linedwith a massive toy display. Living. versions of top-linetoys stroll amongst the guests. MacMillan Toys is throwing its annual black-tie bash to promote thefail line.

SHOT - SUSAN AND BRAD

They stand near thebuffet with a small group of people. Brad wears a singlebreasted tuxedo. Susan's gown -plunges down the back.

BRAD | : Oh come on George. You can't * sell to the parents, you sell * to the kids. *

_GEORGE | I disagree.

a ae ie

All at once, there is a familiar laugh behind her.

HER POV = MACMILLAN

He is sharing a joke with a group of people. They move along as Mac turns and heads for the bar.

FULL SHOT =~BAR

Mac leans against the bar and orders a drink. He gets a double Scotch and turns to see Susan standing to his lef:.. She flashes him a wide smile and touches his lapels.

Susan throws her head back in a trail of laughter, then comes right back to MacMillan, touching his arm.

-MAC Susan, have a drink.

| SUSAN What?

She looks at him baffled. Mac smiles at her.

He turns and walks away, leaving her alone at the bar.

FULL SHOT =~BRAD

All at once, a hush descends on the room, Brad glances around, then looks toward the door.

FULL SHOT ~ DOORWAY

Josh stands in the portico dressed from head to toe in white satin tails. The top hat iswhite. The shoes are white. Heclutches white gloves and an ivory walking stick.

FULL SHOT =-MACMILLAN

He lowers his drink and slowly starts to smile. Ali at once MacMillan begins to laugh.

WIDE ANGLE

They all stare at Mac as his laughter grows. Ee starts across the ballroom, smiling at Josh. MacMillan climbs the stairs and clasps an arm around Josh's shoulder, grinning like a proud father.

A murmur goes up from the crowd as he escorts Jcsh dcwn the stairs.

ANOTHER ANGLE =-PARTY - LATER

Josh and Mac are standing by the buffet having a liv2lyv conversation.

ANGLE ON BRAD

-He's on his fourth martini, Brad leans in close to the man he's talking to, oblivious of Susan as she glances across the room.

REVISED 8/20/87 72a,

JOSH

Well-I figured it out ‘cause the chimney was too small.

ANGLE ON BRAD

He's on his fourth martini. Brad leans in close to the man he's talking to, oblivious of Susan as she glances across the room.

REVISED 7/28/87

Susan glances back at Brad, then touches his elbow.

She leaves before he can react and is off across the ballroom, brushing her hair back in two quick strokes.

FULL SHOT - BUFFET

Josh stands at the salmon mold, chatting with a MAN * in his forties. *

MAN * So what do you do? *

JOSH * About what? *

The man walks away baffled as Josh pulls several grapes * from the buffet and tosses them up in the air, catching them in his mouth.

CLOSER SHOT - JOSH

Susan slides up beside him, moving INTO THE SHOT. She pauses by the buffet then turns to face the party.

Josh looks at her like she's speaking Susan turns to face him.

Josh mouths the word to himself trying to remember what it means. A waiter stops in front of them with a tray of canapes. Josh looks at them suspiciously.

He takes the canapé and pops it into his mouth. Josh chews twice before his eyes go wide in horror and he spits the entire mouthful all over the buffet.

He lunges for a drink on a nearby waiter's tray. Josh takes a huge gulp, then sprays the martini all over the floor.

, JOSH (contd) Achaaa!

| SUSAN Are you alright?

Josh continues to choke.

She glances across the room at Brad for a moment, then comes right back to Jesh.

She looks him in the eye, nodding slightly.

Josh turns and walks quickly toward the exit. Susan follows a step or two behind as they head up the marble stairs. Josh pushes open the door and steps outside. —

REVISED 8/20/87

Josh stops at the curb in front of a shiny new Subaru. Susan moves beside him.

Josh jumps into the passenger seat. The seat belt automatically slides up, wrapping itself around his shoulder.

That's the coolest thing I've ever seen.

Josh is engrossed in the electronic console as Susan drives. He raises and lowers the windows, clicks the electric door locks up and down, and plays with the lights on the vanity mirror. Susan stares straight ahead. There is a driven intensity to her speech.

Josh hits the switch that turns on the quadrophonic stereo, filling the car with sound.

He presses the station scanner as classical segues * to news and on to heavy metal. | . . *

REVISED 8/20/87 75A.

se SUSAN 4 eed It's hard in a business situation. % 4%

I mean, there's that invisible line + and even if you're attracted to + somebody ...

She glances at him as Josh reaches for the receiver.

Wo Josh suddenly opens his door a crack. His seatbelt slidesback as a computer voice warns them:

All at once the car hits a bump andJosh's door flies completely open. He reaches out to grabit.

ry | : 7 JOSH ae (pulling the door shut)

That was my apartment.

rs.te«atk6etersmasne

REVISED 8/20/87

94 CONTINUED | 94

Tires screech as Susan pulls a U-turn in the middle of the block.

The elevator doors open and they walk out into the small hallway.

Josh just looks at her.

Susan stares up into his eyes andhe stares back into hers. They stand like that for several seconds when Josh finally shrugs andfits his key in the door.

ae

He pauses for a moment and thinks about it.

FULL SHOT = BUNK BEDS 96

Two double bunkbeds sit stacked in the middle of th room. The CAMERA PULLS BACK TO REVEAL: A full child's paradise. Susan stands next to Josh in the doorway, with hermouth open in shock. There is a jungle of inflatable palm trees complete with blow-up flaningoes. The kitchen shelves are stocked with boxes of Kraft Macaroni and Cheese. There is a pinball machine in one corner with a Coke machine beside it. "THE REAL THING" flashes on and off while a fan in the shape of -a-sgpaceshiporbits the top of the room.

She moves forward into the room, staring in bewilderment.

Josh spins around and bashes the sideof the machine with his foot. A can spits out the bottom and he hands it to Susan.

She takes the Coke and glances around the room in dis- belief. Susan wanders over to a table and starts to pick up a model spaceship.

She pulls her hand away.

She looks over toward the corner,

Josh takes her by the arm and starts to pull her over to the trampoline.

Susan looks at Josh, then over at the trampoline.

Josh extends his hand, jumping up and down a couple of times. Susan hesitates for a moment, then pulls off her high heels. Slowly, tentatively, she steps up onto the trampoline.

JOSH AND SUSAN

They stand face to face. Josh bounces while Susan tries to balance. She hikes up her gown with one hand ano holds her shoes in the other,

She hands him her high heels. Josh flings them across the room, then all at once leaps from the trampoline.

It's a feeble attempt. Susan bounces on the trampoline no more than a|couple of inches in the air.

This time she leans into it. Susan pushes off the canvas, sending herself two or three feet in the air. She comes back down onto the trampoline and is catapulted even higher.

80,

Shebounces again.

CLOSE UP ~ SUSAN

She continues to jump higher and higher. Her hair comes loose. She begins to smile.

CUT TOs

They are sprawled out across a board game from eacn other. Susan lies on her stomach with her feet in the air. Between them sits a map of the world with different colored cubes, dencting occupying armies.

Okay, I'm attacking Kamchatka.

Josh yawns as she reaches over the board.

FULL ‘SHOT- BUNK BEDS - LATER | 98

Susan reclines against her pillow in the bottom bunk wearing one of Josh's football jerseys. The bathroom door opens. Susan looks upquickly:

HER POV

Josh stands in the doorway wearing bright yellow pajamas. All at once he starts running toward the bunkbeds.

SHOT - SUSAN

Her eyes open a little wider. abet “,Mince FULL SHOT - BUNK BEDS

Josh vaults onto the upper bunk as Susan remains frozen

EEEEEEESEEIEISEESSaSON

REVISED 8/20/87

Bl.

below. She looks up, then slowly slides toward the edge of her mattress. Two clenched hands appear in front of her.

Susan hesitates staring at the fists. She reaches out tentatively then taps the left hand. Josh opens itbut there's nothing inside. He pulls back his hands tomix them up again, then extends both fists in front of her.

She chooses the right which is empty again. Josh laughs as he mixes them up one more time and extends the two fists. Susan picks the right one as a small green object falls down to her mattress. She picks it up in her hand.

HER POV

It is an incandescent: compassring with a green glowing face--like the prize from a Cracker Jack box. Susan looks at it for a moment.

LATER | 99

The room is completely dark except for the dim red glow of the Coke machine. Susan lies under the covers clutch- ing her pillow.

REVISED 8/20/87 SlA.

an oaaf

washed my hands and I never caught another firefly again. Never. 4% (beat) Isn't that silly? +

REVISED 8/20/87

There's a long pause.

Silence.

She rolls over staring down at the compass ring as it glows a dull green in the dark.

Brad drives. Susan stares at the rain~soaked streets as the windshield wipers make a whooshing noise against the window.

~BRAD What do you mean? They're your friends. .

REVISED 8/20/87

100 CONTINUED: | 100

She starts to fiddle with the electric lock. *

Do you have to play with that thing? *

She looks over at the lock.

101 OMIT “101 me, oes.

cod

A single library lamp burns softly on the desk. Mac sits alone making friends with a bottle of Scotch. He lowers the glass and stares out into the darkness. There is a knock on the door.

ANGLE - DOORWAY

Josh enters the room tentatively, carrying a bundle of papers.

tS,

MacMillan stares at him for a moment.

Mac unocrks the bottle and pours out half a glass. He winces slightly as it goes down.

What're you doing here?

Mac nods at him, squinting across the desk.

‘Hetakes a swig of Scotch,

Mac looks out tne window.

REVISED 7/31/87

Josh just looks at him. Mac shakes his head and rocks back in his chair.

Mac pulls a thick pile of papers from the desk.

Hetosses down the report.

Josh stares at him silently for a moment.

Poepyataeaottatete,nstteheoeioneiheehneMMlsoeaiteAtentnieln,ttlBeske,er,svetektta

REVISED 8/20/87

A light mist is falling. Susan stands beneath the glow of a single street lamp, staring up at the fourth floor windows of Josh's loft. She looks at them for a time, then turns slowly and disappears down the block.

104 OMIT | 104

The door swings open as Brad sticks his head inside.

A chain link fence separatesthe sidewalk from the paddleball courts beyond it. Josh andBrad walk through the small gate, dressed intheir gym clothes. Brad wears N.Y. Athletic Club shorts and an NYPD t-shirt. Josh has on his football jersey. Each of them carries a wooden paddle.

There is a loud bang as the ball-slams off the concrete.

WIDER

WIDER

Josh stands flat footed as it bounces by him on its way to the fence. Brad pulls up his protective goggles and smiles over at hin.

SERIES OF SHOTS = HANDBALL GAME

Brad serves down the line and Josh misses entirely. He hits it again and this time,Josh whacks it back, grabbing at his bare hand in pain.

A few of the local players hang out against the fence. They watch as Brad racks up thepoints against Josh. He lobs. He taps a drop shot. He hits it wherever Josh isn't, The carnage continues to twenty-one.

cur TO:

109 BRAD AND JOSH 109

Brad lifts his goggles with an ear to ear grin.

Josh stands in the corner trying to catch his breath,

JOSH | Boy, you're good at that.

Brad hesitates @ moment, then throws the ball at him across the court. tat t

A SERIES OF SHOTS - GAME

Josh gets better as thegame goes on. He lobs over Brad's head. He makes a running shot in the corner. By the “time he hits a winner off the top of the wall, Brad is already fuming.

SHOT = BRAD

He hits a slicing low shot that bounces twice in front of Josh.

- BRAD No, I didn't.

‘Yes,you did. You said, "Above the line on a serve."

I did not. Now gimme the ball.

:

‘ JOSH

(yanking it back) That's cheating!

89,

WIDE SHOT =-THROUGH THE FENCE

Several of the other players and some pedestrians on the sidewalk watch in amazement as two grown men wrestle in the middle cf a playground. They roll on the asphalt, legs kicking and arms flailing. It is something out of a school yard.

Josh sits on the couch next to Susan. She dabs at the scrape. belowhis left eye with a piece of gauze, dipped in Bactine.

She peels off the Band-Aid and smooths itgently over Josh's scrape.

Susan smiles as she starts to work on his elbow.

90,

“oo JOSH “ } So how come you're so nice?

Susan freezes with the cotton in her hand.

She looks back at him.

| JOSH (contd) You're one of the nicest people I've ever met.

Susan takes a deep breath and looks toward the ceiling. After a second or two, she comes back to Josh, staring at him with a bit of wonder. She shakes her head slightiy. There is the faint trace of a smile.

“ SUSAN

How do you do it?

He doesn't answer. Susan just looks at him for a moment, then kisses him softly on the. cheek.

He sits at his desk with a Band-Aid across the bridge of his nose. All at once the door bursts open and Susan moves into the room dumping a shoe box in the middle of his desk.

Brad glances over at the shoe box.

SUSAN (contd)

OY Shampoo, razor, toothbrush, two a neckties, and your exercise tape.

REVISED 8/20/87

lil CONTINUED: lll

( (patronizing)

He reaches into his pocket and pulls out a set of keys, tossing them across the desk.

“Susan pauses and looks him right in theeve.

REVISED 8/20/87

iy+ wm: af

r~mA <

SHOT - JOSH

He ducks, as a huge circle of pizza dough flies right over his head. The room bursts into applause as...

WIDER *

‘Thedough is caught by a MAN on a platform in the middle * of the room. He quickly breaks it up into bails and * tosses them out into the audience. Josh and Billy catch * several, as the man leans over and gestures for them to * throw the balls back into his mouth. Billy lets his ball * go with so much force that it lands in the back of the * man's mouth, almost choking him. *

113 OMIT | 113 *.

All4 INT. SUSAN'S BEDROOM “alla *

Seven outfits are discarded in a- heapon the bed. Wearing * jeans and a big wool sweater, Susan leans in close to the * mirror as she tries to put on eyeliner. Her hand shakes * slightly. Susan tries to steady it but it only shakes * more. She lowers the brush. *

SUSAN * Stop it... *

B114 INT. ASTI'S = LATER Bl1l4*

The bill is placed on the table in front of Josh as a * tenor sings Verdi in the b.g. Josh looks quietly down * at the piece of paper as Billy grabs his arm, speaking * a mile a minute. *

REVISED 8/20/87

B1l14 CONTINUED: . Bl14

Josh looks out across the restaurant, avoiding Billy's stare.

WIDER

A group ofwaiters approach his table carrying a cake brightly litwith candles.

| EVERYONE Happy birthday to you. Happy birthday, dear Josh-u-aaa...

The cake isplaced in front of Josh.

The room bursts into applause as Billy pushes the cake closer to Josh. He stares at theglittering lights of + the candles.

Josh looks at Billy, then quickly blows out the candles.

REVISED 8/20/87 94-95.

a 114 OMIT 114 * “BioN SH 115 OMIT | 115

116 OMIT | 116

She lights two long candles on the mantlepiece and looks * at them for.a moment. The doorbell rings. Susan jumps, then quickly blows out the candles.

The door swings open. Josh and Susan stare at each other in silence. Susan smiles, but no words come out. Josh just looks at the woman in front of him: the eyes, the smile, the light on her hair ...

CS

Taking a deep breath, he walks past Susan into the center of the room and stops. Susan looks at him, then moves over to sit on the edge of the couch. Josh hesitates, and sits down on the opposite end. They both stare straight ahead in silence for a moment.

_ SUSAN (finally) * Ready to go? *

| JOSH Yeah. *

They stand up. Susan moves to the door as Josh follows * her out of the apartment. *

Excited screams carry over the glittering amusement park, blending into the sounds of metal grinding on metal.

SERIES OF SHOTS - ROLLER COASTER

Josh and Susan are thrown from side to side as the twisting roller coaster careens down the track. Their screams and laughter carry into the night as Josh keeps his hands high in the air.

They stumble through the turnstile, still laughing. Josh looks over at agroup of kids waiting in line to get onto the ride, and smiles to himself.

Josh and Susan walk onto the boardwalk past a row of game machines on the side of the arcade. All at once Susan stops infront of an old machine that calls itself a "LoveMeter." A series of red lightbulbs are houssd inside a dingyglass case with designations like "Boring," "So-So,"and “Intriguing.” Josh stares at the two brass levers on the front with a bit of apprehension.

Susan pulls out a shiny new quarter and holds it up to Joshua. He looks at it, then looks at her, They are no more than a foot apart and without the makeup, she looks almost like a schoolgirl. Josh nods slowly, then takes the quarter and puts it in the slot.

WIDER SHOT = INCLUDING MACHINE

Josh reaches out tentatively and grasps the brass handles. He hesitates for a moment then squeezes them tightly. The red lights start to flash. Josh looks up at the blinking bulbs, then suddenly lets go of the levers.

THEIR POV.

A single red light burns on top reading "DANGEROUS".

JOSH AND SUSAN

They look at it awkwardly for a moment, then glance at each other. It seems like each of them is about to say something, but neither one does. They stay like that for a second, when Susan cocks her head to the side.

The sounds of Big Band music drift out of the old dance Pavilion. Built near the turn of the century, it is part Mosque, part Opera Hall, part Seaside Pleasure Palace. All the obelisks have flagpoles for the banners that have long since gone away. The sound of "Moonlight Serenade" echoes up the boardwalk as the ocean pounds in the distance.

JOSH AND SUSAN 123

She looks up in the direction of the Pavilion, then suddenly back at Josh.

- JOSH Dance?

They look at each other. Susan nods.

| SUSAN | Okay.

CLOSER SHOT - JOSH AND SUSAN

They start down the boardwalk toward the dance Pavilion at the end. Josh looks over at Susan and doesn't even notice the small glass booth with the bobbing head inside.

REVISED 7/31/87

Zoltar smiles at them from the end of the arcade. His eyes glow bright red. His beard comes to a point. They continue past him as they follow the music down the shore.

A million pieces of moonlight swim across the walls as Josh and Susan walk in through the main entrance. Thirty couples drift slowly on the floor. Across the room, a live band concludes the song, then immediately segues to "Isn't It Romantic." The full sound of the string section fills the room.

JOSH AND SUSAN

They turn to face each other.

Susan extends a hand and leads him, stiff-legged, onto the dance floor. She rests the other hand on his shoulder as he almost instinctively puts an arm on her waist. Josh stands in front of her, completely frozen. They are half a foot apart.

CLOSER SHOT - JOSH AND SUSAN

She begins to lead him rigidly into a slow dance. Josh starts rocking with herto the music--all terror and no grace.

Josh stares straight ahead. She slides her hand further around his waist, drawing slightly closer.

REVISED 7/31/87

He doesn't say anything. They rock to the music for a long moment. .

Susan looks quickly away from him. Josh swallows once.

CLOSEUP - JOSH

His eyesgo wide. They continue to rock to the music.

FULL SHOT - INCLUDING SUSAN

Josh looks over at his left hand. It's clutching Susan's so there'snothing that can be done with it. He gingerly takes his other hand from Susan's waist and wipes it on Ais pants. Susan draws closer, pressing her body to his.

Josh doesn't say anything. She drapes her arm farther. around his neck, pulling him tight in an embrace.

asaa REVISED 7/31/87 ate melee saan ne 100. taka wee All at once they both freeze. Josh and Susan stand motionless for a long moment. SuSan looks up at him and smiles. Josh pulls away slightly, one leg bent like a toreador. He stares over her head, mortified.

JOSH'S POV

Her face isonly a few inches away. In the rose colored light of the dance hall her skin almost seems to glow. The eyes are wide and full of wonder. Her smile is open --almost innocent.

WIDER SHOT -JOSH

He hesitates fora moment, staring into her eyes, then, slowly shakeshis head. Josh leans forward and kisses her fully on the mouth.

They part tenderly from the kiss in the dim light of her bedroom. The CAMERA PULLS BACK TO REVEAL Josh and Susan standing face to face in front of Susan's bed. They are partially silhouetted from the small lamp burning on her end table. Susan reaches up and starts to slowly unbutton the front of her blouse. Josh stares, absolutely transfixed as she lets it fall open revealing her bare breasts. Susan reaches over and turns off the lamp. The SCREEN GOES BLACK for a moment ASeae

The light switches back on as Josh removes his hand from the lamp.

You want the light on?

(CONTD)

JOSH

uo (nodding emphatically)

Yeah ...

‘Susan moves toward him as Josh stares, mesmerized. Then he reaches up and slowly touches the side of her breast. He caresses it gently for a moment in absolute wonder, then pulls his hand away -- staring at his fingers. Josh begins to smile.

126= OMIT ) | 126-

The elevator doors open and Josh bounds down the hall- way, briefcase in hand. He gives a high-five toa startled Sparkletts water man.

ny

Aw, Josh turns the corner and gives a salute to his secretary.

He shuts the door behind him as she stares at it.

CUT TO;

Judy is transcribing at her typewriter with a dictaphone headset over her ears. All at once a large wicker picnic basket with a huge bow is placed in front of her. She looks up, startled,

WIDER

Susan is standing by her desk, smiling. She pulls the So headset away from Judy's ears.

REVISED 8/20/87

: SUSAN Congratulations, Mrs. Hicks.

131A OMIT | 131A

A doorbell RINGS. Josh and Susan turn to each other in the hallway of the apartment. Josh tugs at the ends of his new sportcoat.

| SUSAN Wear it unbuttoned. OF (she opens the front of his jacket and examines it for a moment) ee That's great. +

The door swings open to reveal a small dinner party in 4% thebackground. The host and hostess smile at Susan, + kissing her on the cheek.

| CUT TO:

Eight people are seated around thedinner table with Josh near one end between Susan and Karen.

we

REVISED 8/20/87

oe 133

oN 133. CONTINUED:

PHIL | (surprised) That's right.

Everyone nods, impressed,as an eleven-year-old BOY enters holding a textbook.

- PHIL Not now, Adam.

134 OMIT | 7 . 134

arraae _ Josh sits on the floor with Adam, pointing to the text- book spread between them.

FULL SHOT = DOORWAY

Susan and Karen stand quietly in the doorway watching Josh help Adam with his math.

136 OMIT 136

CuT TO:

He sits at his desk with the receiver to his ear. From downstairs comes the undertone of his parents arguing. Billy flops down on the bed with the phone still wedged to his ear as the number continues to ring.

His. phonerings again and again in a darkened apartment.

CUT TO;

They lie asleep in each other's arms,

CUT TO;

The doors burst open as executives pour out of the office, into the corridor. There is a louder buzz than usual,

Susan slams the door behind them.

SUSAN | Why not? Nobody knows more about toys in this entire company.

Josh stares at her frozen. She looks back, her eyes alive with excitement.

He sits at his desk, jotting some notes onto a yellow legal pad. Josh grows frustrated and tears off the top

sheet, throwing it into the waste basket. He stands

and paces around the room, then returns to the desk as he stares down at the blank page in front of hin.

He sits alone behind his desk, back to the door. All

atonce Brad turns in his chair and puts a briefcase on theblotter. He drums his fingers on the leather, then finds the clasps and snaps them open ...

SHOT - BRIEFCASE

Inside isa miniature electric trainset on tiny metal tracks. The train goes round and round, passing tiny

aone omeNeestematgatintsalenreerentn

106,

homes and tiny trees. A very thin stream of smoke comes from the engine.

WIDER = INCLUDING BRAD

He folds his armsand leans back slightly in his chair, his eyes following the train as it goes around and around and around and...

The door suddenlyopens as another executive walks inside. Brad quickly slams the lid shut and glares across his desk.

BRAD | Don't you know how to knock?

CurtTO:

143 OMIT | 143

| CUT TO:

Josh looks up at the massive electronic toy display on

the other side of the window. He stares at it, puzzled,

as boys and girls move in and out of the pre-Thanksgiving rush. Josh shakes his head and turns from the window, starting down Fifth Avenue, when all at once, he looks up and stops.

HIS Pov

A trio of eleven-year-old boys are standing at a street corner, poring over a comic book. Their heads are close together as they read ...

They sit on the floor of Susan's apartment. A pizza carton sits open beside them. Josh speaks a mile a Minute with a legal pad on his lap.

; JOSH -.. And depending on what button you push, a different story appears. See -- you're the one that's making it up.

SUSAN | A living comic book. "You decide where the action goes." (MORE)

Susan gazes into his eyes with a look of wonder on her face. All at once, she glances away from him, looking at the wall.

She shakes her head.

-JOSH Hunh?

He looks down at his notes <= trying to understand.

| JOSH How do I feel about what?

Josh looks at her, then suddenly understands. His face goes red with embarrassment as he ducks his head to the side, then, all at once, shoves ner over onto the carpet. Susan falls on her side, and looks at him, startled for a moment. Josh grins, still embarrassed. Susan begins to laugh and pulls him down in a giggling embrace.

REVISED. 8/20/87

A hand opens the mailbox and pulls out the morning bundle. The CAMERA PULLS BACK TO REVEAL: Billy, staring down at a large manila envelope on top. The return address says: DEPT. OF CONSUMER AFFAIRS, CITY OF NEW YORK. He lets out a happy “whoop” and races up the walk toward his house.

He paces up and down the floor, firing dictation at his secretary while she takes shorthand on a steno pad.

The receptionist speaks into her headset.

ea

| CUT TO:

He sits at his desk with the phone to his ear. The list of carnivals is spread out in front of him.

Well, tell him it's important.

Papers are strewn everywhere. Josh is Sitting cross- OM legged on the floor, huddled over a pile of work. He has a two day growth of beard. Susan is sitting behind He OM the desk making some notes on a pad. Her bare feet are » curled beneath her on the chair. She wears no makeup and 4

her hair is pulled back in a ponytail. Even with the 4 circles of fatigue under her eyes, Susan looks younger

than ever. uw

a

|

REVISED 8/20/87 108A.

CONTINUED: 150 tts:’ a nacane JOSH

Yep.

CLOSER - JOSH

He holds out his hand and launches a styrofoam airplane.

ee, WIDER

It makes a circle over Susan's head and curves back toward OF Josh. Laughing, she jumps up to chase it. Josh grabs her oF foot as she passes him, and a musical NOTE comes fromthe ob huge stack of papers in front of him. +

Josh grins and touches her big toe. A different NOTE emerges. Susan's eyes widen.

She sits down next to him as Josh shoves the papers aside % to reveal a round plexiglass dome, criss-crossed inside oF with silver and copper wires. Josh's other hand is tcuching + it. +

She does. Nothing happens. Susan looks up at Josh expectantly. ,

JOSH | Now touch my hand with your other hand.

She does, and a NOTE emerges.

Susan reaches up and touches Josh on the nose. Another note comes out. She holds it, giggling as Josh touches her nose, and there is harmony. .

REVISED 8/20/87

oo a 150 CONTINUED: 150

Susan leans over and kisses him quickly. A new note comes

+

out. Laughing, she gets to her feet and grabs her coffee cup from the desk. +

Susan crosses to the door as Josh looksdown at the papers spread around the room. He yawns again.

It's the middle of the night and the place is empty. The only sound is the neon buzz of an empty building. Susan emerges from the office in her stocking feet. She carries her coffee cup down the corridor and turns the corner.

The doors open and Mac walks out of the elevator carry- ing his briefcase and a raincoat. He starts down the hallway when Susan rounds the corner, almost slamming into him.

Mac looks at.her for a moment then nods slightly. There is a faint trace of a smile.

REVISED 8/20/87

pan 151 CONTINUED:

agY , MACMILLAN (contd)

(still nodding) Real good.

Mac examines her for a moment more, then smiles briefly and moves down the hall.

Susan stands by the elevators, watching him leave.

The phone rings and rings in the empty loft.

cuT TO:

He slams down the phone and looks at it for a moment.

Z | 3 CUT TO:

He sits at his desk scribbling furiously on the legal pad. There is a large mug of coffee sitting beside him. All at once the secretary's voice can be heard from the outer office.

~All at once, the door bursts open and Billy enters the room. He carries a large manila.envelope under his arm.

lili,

(on, JOSH (contd) \ } (beat) - Look, I can't right ...

Billy stops and looks at him, incredulous.

Billy shakes his head in amazement.

Ss - BILLY { , _ And I'myour best friend, what's

more important than that?

They stare at one another for a moment, then Billy grabs the envelope and heads for the door. He is all the way across the room with one hand on the doorknob when he stops and turns back toward Josh.

He walks out slamming the door behind him. Josh just stares at it with a stunned look on his face.

155 OMIT 155.

ANGLE ON TRASH CAN

A single antenna is sticking out the top.

SHOT - BILLY

He sits alone. athis desk, staring straight ahead at the wall. All at once, loud static comes from the corner of his room. Billy turns quickly in his chair.

WIDER SHOT =-BILLY

He looks down at it, disbelieving for a moment, then gets up and slowlywalks over to the trash can. Billy pauses then pulls out his half of the radio phone as he turns to look out thewindow.

156A HIS POV -JOSH'S ROOM 156A

Mrs. Baskin is standing at the window of Josh's room, holding the walkie-talkie. She motions to it a little apologetically as Billy walks closer to his window.

DIFFERENT ANGLE = INCLUDING BILLY

He slides it open as Mrs. Baskin does the same. Two heads poke out the windows as they speak across the driveway.

Mrs. Baskin hesitates for a moment.

She turns to go meet him downstairs, when Billy calls out after her.

He ducks back into his room and re-emerges a moment later with a long butterfly net. Billy extends it over the driveway to just under Josh's window. Mrs. Baskin looks down at it.

Billy doesn't say anything as she studies him for several seconds. Finally, she takes the bag of cookies and places them carefully in the net. Billy retracts it, and finishes one of the cookies in three quick bites. She looks at him for a moment more.

Billywatches as she starts to close Josh's window.

She pauses, looking over at Billy.

She nods slightly. Billy ducks back inside as Mrs. Baskin turns and walks out of the room, shutting the light off behind her.

REVISED 8/20/87

SHOT ~ BILLY

He holds the cookies in front of him for a moment, then turns back to the desk. Billy places the bag next to the walkie-talkie, and opens the top drawer. He pulls out the computer printout from the Department of Consumer Affairs and sits down in front of the phone. Billy picks up the receiver.

157 OMIT , 157. *

Josh sits alone at the computer by the faint glow of a desk lamp. He stares blankly at the screen with his hands at his sides.

CLOSE UP - JOSH

He looks at it quietly for a moment, then reaches down beside him and pulls a small computer disk from his briefcase. Josh holds it in his hands, staring at it for several seconds, then leans forward, pops out the old diskand slides it into the computer.

CLOSE UP -COMPUTER SCREEN

"YOUARE STANDING IN THE CAVERN OF THE EVIL WIZARD. ALL * AROUND YOU ARE THE CARCASSES OF SLAINICE DWARFS.

SHOT - JOSH

He just stares at it. Josh sits motionless in front of the computer while the Legendof the Evil Wizard flashes across the screen.

Autumn leaves litter the schoolyard. A bell rings as dozens of children pour out of the building, laughing and shrieking across the street.

SHOT PLAYGROUND

The children burst through the gate of the school on foot,

echoes through the %

bikes and skateboards. Their laughter neighborhood as they run down the sidewalk.

from across the street. Only his back can be seen as ONA he stands under an elm tree.

SHOT - PLAYGROUND

The children burst through the gate of the school on foot, bikes and skateboards. Their laughter echoes through the neighborhood as they run down the sidewalk.

CLOSE UP = JOSH

He watches silently from under the elm tree as their shrieks carry down the street.

L160 EXT: BASEBALL FIELD 160

It's late afternoon as the sun turns the field a light gold. Two boys stand alone on the grass, shagging flies in the fading light. There is silence, then the crack of a bat, then the distant pop of a ball hitting leather. Josh watches silently from the side of the field leaning back in his business suit. There is no conversation as the ritual continues between them <= just the swing of the bat and the long lazy arc of a fly hall as it goes Le from one boy to another. Josh loosens the knot of his tie as he stares at the boys in front of him. A light breeze ruffles his hair.

CUT TO;

It is a large brick building much bigger and more imposing than Josh's junior high.

A long row of orange highway cones has been set up for the drivers education class. Several students stand to the side as a car tries to negotiate the course.

WIDER ANGLE - INCLUDING JOSH

He moves in behind the group of students as the car ‘weaves through the cones. It clears out four cr five -before rolling forward into the chain link fence. ce Everyone in the class bursts into hysterics. Josh | begins to laugh too.

The girl turns out the window, red with embarrassment. It is Cynthia Benson behind the wheel for the first time in her life. Her smile is brilliant and white. Her blonde hair gleams in the sunshine.

CLOSE UP = JOSH

He stares at her for a moment or two.

163 OMIT Cs: 163

164 OMIT 164

There is a tray of sushi and bowls of cold rice on the dining room table. Susan fidgets nervously with a pair of chopsticks when the front door swings open. She jumps slightly as Josh moves into the room. He tosses his jacket on a chair in the foyer. It slides to the floor as he walks slowly over to the table.

'JOSH (softly) Out.

Susan watches as he eases into the chair across from her. Josh doesn't look up from the small pieces of raw fish on the tray. There is a faraway look in his eyes.

He doesn't answer. Josh looks out at the millions of lights shimmering over Manhattan. Susan touches his hand,

a | ( | He looks her in the eye for a long moment. It takes a “ while before the words can come out ... Finally:

Josh just looks at her. She leans forward.

He doesn't answer. Susan's eyes go wide.

— SUSAN (contd) cS Is it us?

She freezes across from him with a look of panic on her face.

He looks back out the window. His voice is far away.

She looksat him, a little baffled.

iA enough to be in Pony League. yo (he pauses, then turns a, back to her) , Susan, I'm too big to be in Pony

League.

She looks at him for a moment, then smiles slightly and fo a grabs his hand. . ii wi

_ SUSAN Then what is it?

She stops’and stares at him.

NR«Aine,utcsuntan

119,

_ JOSH (continuing) - And when I went to sleep that night I was twelve years old but by the next morning I was grown up. See, that's what I'm saying. I turned into a grownup but I'm really just a child.

Susan walks past him out of the room as he stares straight ahead.

The room is dark. Josh sleeps soundly underneath the covers, clutching onto the pillow. The CAMERA PANS slowly beside him to Susan’s side of the bed. She

sits upright, propped on her elbows, staring straight in front of her.

CLOSER SHOT = SUSAN

She turns and looks at Josh while he sleeps. In the dim light of the bedroom he looks like a child: his flushed cheek, his tousled hair, his eyes shut gently against the pillow ...

Susan emerges from the bedroom in her robe. She paces past the dining room table with her hands stuffed in her pockets. As she passes the front door, something catches her eye. .

HER POV

Josh's jacket is lying in a heap on the floor.

WIDER = INCLUDING SUSAN

She moves to the foyer and picks up the jacket. Susan holds it close for a moment, brushing the material lightly. She begins to hang it on the back of the chair then stops. Susan quietly fishes through the pockets until she finds Josh's wallet. She opens it and begins to pull out the contents.

HER POV

There's a ten dollar bill and two singles. A torn ‘ticket stub from a Yankee game. Josh's company I.D. badge with his face smiling out at her.

INCLUDE SUSAN

She pulls out a Bergen County library card with Josh's name and signature on it. It is stuck to another piece -of cardboardwith a big wad of bubblegum. She peels it away, revealing a baseball card of Don Maddingly. Susan stares at it fora moment, then pulls out an even smaller card with a single line of printing on it. She holds it closer, reachingout to turn on a small lamp.

HER POV

"YOURWISH IS GRANTED"

CLOSER SHOT = SUSAN tyad She turns and looks at the bedroom door.

Billy sits at the desk with the phone to his ear. The list of carnivals is open in front of him. He looks | disheveled but jubilant.

He slams down the phone and grabs his jacket, running out of the room.

Josh and Susan walk out of her apartment building and turn toward the garage at the corner. Both are wearing coats against the first chill of autumn. It is a gray, windy day. They move up the street when Susan glances over at a newsstand then back at Josh.

She heads to the stacks of newspapers at the side of the stand, then stops and turns back to him.-

Susan watches as he turns toward the candy section. She bends down by the papers, as Josh puts his hand out. toward the gum.

SHOT = JOSH

His finger scans the brands: Beechnut, Clorets, Dentine, Trident ...

WIDER - INCLUDINGSUSAN

Susan rises with theTimes in her hand as Josh turns toward her.

He's holding out a pink package of Bubble Yum. Susan looks at the gum then stares at him. She keeps looking at him for several seconds.

ra]fhto

A New Jersey municipal bus roars across the Hudson toward New York,

CLOSER SHOT = BUS

Billy stares out one of the windows as he gets closer to the city.

He stands near the doorway face to face with Susan. She holds some stapled pages.

She hesitates for a moment then picks up a large portfolio from the coffee table.

She pauses for a moment then kisses him softly on the cheek.

{\ The double doors slide open. Susan steps in just as Billy is stepping out.

He stands at his window, staring out over the city. All at once he hears the door shut behind him. Josh turns around to see:

BILLY

standing at Josh's desk with a piece of paper in his hand. He slams itdown on the desktop.

| BILLY Right there. Seapoint Park, New York,

There is a loud buzz on the intercom. They look at each other for a long moment before Josh pushes down the button.

a, JOSH

Yes?

Billy turns and walks out of the room. ‘Josh looks down at the piece of paper. .

Cut TOs:

Everyone is seated around theconference area. There is more of a hush than usual. Mac slouches inhis regular armchair. Brad sitson the edge of the couch.

WIDER

Josh and Susan sit side by sidenext to a large easel

illustrating the proposal. Josh uses apointer to explain the diagram in front of them. a QR

A small murmur goes around the room.

‘CLOSE UP - JOSH

He stares over at Susan.

FULL SHOT = ROOM

He just nods.

Susan glances over at Josh as he moves toward the door,

“SUSAN (lookingback) “Well, our initial figure is around seven dollars ...

She glances back toward the door as Josh snuts it behind fo—_ him. idae

All of a sudden she stops. Susan looks straight at Brad for a long moment. No one says anything. All at once, she pushes back her chair and rises from her seat.

The door to Mac's office bursts open as Susan goes running down the hallway. She rounds the corner just as the elevator doors are closing.

REVISED 8/20/87

meannan Mewane She pushes the button for a moment, then turns and takes the stairs.

176 OMIT 176-

177 OMIT 177

178 OMIT | Ce 178

179 OMIT | 179

180 OMIT | 180

, CUT TO:

A181 EXT. FIFTH AVENUE A181

Billy sits up the block staring out at the street. Josh emerges from the building and flags down a cab. Billy rises to his feet. -

WIDER SHOT:

Susan exits thebuilding and runs out onto the sidewalk

as the cab is pullingaway. She turns to face the

+

thirteen-year-old boy who just called Josh's name. Susan rushes up the block and grabs Billy by the shoulders, +

Billy hesitates.

He looks up into her eyes.

A yellow cab pulls up at the curb. Josh steps out and stands staring at the gates of the park as the taxi pulls away. He stares at them for a long time.

It isalmost desolate in the daytime. The huge dance palace stands shuttered and locked. The long row of booths isboarded in the daylight. The only sound is the pounding surf.

SHOT = JOSH

Josh walks slowly, very slowly, up the boardwalk. He moves past the looming iron Ferris Wheel ... past the cold latticework of the empty Roller Coaster. Josh pauses by the shuttered arcade and turns toward the ocean |

as a cold wind kicks up and blows across his face. All

of a sudden he stops,

CLOSER SHOT ~-JOSH

He freezes for amoment, his body completely rigid.

Josh waits for a moment, then turns back toward the

Side of the arcade.

HIS POV

There, nestled against thebuilding is the small glass booth with the wooden head inside. Zoltar's head is motionless. There is no life in the machine.

SHOT - JOSH

He stares at it for a moment, pulls a quarter from his pocket and @rops it intothe slot. It lands at the top of the ramp and comes to rest there. Nothing happens. Josh shakes the machine and still nothing happens. Josh glances down at the bottom. Zoltar is plugged into an electricai outlet built into the side of the arcade. He reaches down and pulls out the plug. Still no movement. All at once he remembers. Josh takes both fists and beats furiously against the side of the machine. Zoltar's eyes glow bright red. The small wooden head begins to nod. .

WIDER SHOT = JOSH AND ZOLTAR

He steps in front of it, meeting Zoltar at eye level. The smiling head continues to nod, answering an unasked question. Josh looks at it for a moment, then reaches forward and firmly grasps the handles. The bright red sign lights up on top.

"ZOLTAR SAYS: i#iAKEYOURWISH"

Susan's cab screeches up to the curb and she bolts from the passenger's door.

cuT TO:

Susan runs as fast as she can past the food stands and empty carnival booths. She passes the Ferris Wheel and turns down another empty avenue. The boardwalk looms in front of her. Susan starts to run toward the shuttered dance palace, when, all at once, she stops.

HER POV

Down at the endof the boardwalk, alone by the edge of the sea, Josh stands facing a small glass booth. He has his back toher.

ANGLE ON SUSAN

She starts to run up the length of the boardwalk to the booth where he is standing. As she approaches Josh turns around to face her, letting go of the brass levers.

WIDER SHOT - JOSH AND SUSAN

She looks first to him and then to the small glass booth with the bobbing head inside. The name ZOLTAR is written across the top. The eyes glow bright red.

She stares at Josh for a moment, when a small card punches out from the bottom. Susan reaches down and pulls it out.

HER POV = CARD

"YOUR WISH IS GRANTED”

WIDER SHOT - SUSAN

She looks up from the card and turns toJoshua. All at once she throws her arms around him, clinging on as tight as she can.

Josh pulls her close, stroking her hair as she begins to cry.

He pats her on the back as she continues to cry on his shoulder.

Susan pulls back to look at him. Tears are streaming down his cheeks. Josh reaches up to wipe them away, but a sob breaks from deep in his throat. Susan looks up into his eyes as Josh tries to avert his face. She nods slightly, then reaches up and gently pulls his head down on her shoulder.

JOSH | | oy I'm sorry.

WIDE SHOT = SEAPOINT PARK.

Two small figures hold onto each other in the middle of the empty boardwalk. The CAMERA PULLS BACK FURTHER until they are barely distinguishable against the park with the Atlantic Ocean beyond.

sat anes a

Meccan Singsee td OSangensweaelee a

Vy

JOSH (VO)

SeJ (quietly) Oe Will you drive me home?

| DISSOLVE TO:

Susan's car is parked at the top of the street. White steam from the hood of the car mixes together with the pre-dawnmist. :

They sit side by side in the car while the engine idles softly. Josh holds her hand.

_They look down the block for a moment. ed

Susan nods. Neither one says anything. They turn to stare at one another in one last look, then move slowly together ina kiss.

CUT TO: |

The car door opens and Josh steps out. He stands at the top of the street looking down the long row of houses. Josh hesitates for amoment then starts to walk slowly down the block.

“HISPOV

There is a tire suspended from a tree. A bicycle leaning against a neighbor's front gate. Further down the biock he can see porch lights shining through the morning mist.

unionistsupinanunastsonsetslcaiciatStaesnm

io) 188 INT: CAR 188 ee)

Susan wipes a tear from her face and looks into the rear view mirror.

CLOSE UP = SUSAN

Amazed by what she sees.

HER POV = THROUGH REAR VIEW MIRROR

A thirteen-year-old boy walks down the center of the street. His clothing hangs loose on him. He steps out

‘ofhis shoes and continues to walk.

The face has never been shaved ... The cheeks are bright and rosy.

Josh lifts one arm in its much too long sleeve and waves a floppy goodbye.

SHOT = SUSAN

She smiles through her tears and puts the car in gear.

WIDE ANGLE - NEIGHBORHOOD

Susan disappears up the street as Josh turns toward the house. He moves up the front walk, puts a lid back on

a trash can, and disappears through his front door, closing it behind him.

(4 Ve