"NETWORK" (1976)

Written by Paddy Chayefsky

Xi:is 7 : 14P.M. ,Y..onday,September 23 1,1974 ,and we are watching the network news progra.I:l.SonCBS,NBC, ABC a.n.d traS-TV,t..11.enet:rlorkofourstory. ThE!AUDIO is OFF: and head shots of WALTER CRONKITE, JOUN CSt..'-tc:,,I.OR, EOWA.RDK. S?-lITHand HAR.l:U:;REASONER,a.J:ld,ofcourse, the anchorman of our network, HOWARD JSEALE, silent1y flit and flicker across the four tele•.risionsc::eens, interspersed with the news of the day -- a hurricane in Honduras, Teddy Kennedy renounces his candidacy for President, Kissinger will address the UN General Assembly tomorrow on the energy crisis. NA."q.,UTION ~ontinues OVER --

CJ\MERAMOVES m to isolate .BOWARD BE:t.LE,who is everything an anchorman should be -- 58 yea.rsold, silver-haired, magisterial., dignified to the point o_f div~nity. NAR..~'I'IONcontinuesOVER ··- ... NARRATOR (Contd) --·:In196 9 ,however ,he fe.ll to a 22 share, and, by 1972, he was dc-.m to a lS share. In 1973, h.iswife died, and he was li::£tachildless widower with an 8 rating and a 12 share. He became morose and isolated, began to drink heavily, ar.dron

effective in ~do weeks. The news was broken to him.by Max Schu::iacher--

11: 30 P.M. The area is deserted exc:eptfor a fe-11 STROLLERS window-shopping the departrrent stores. And way down near 55th Street, TWO roaring drunk middle- aged men, HOWA..11.DBEALEa?ldMAXSCHU~1.l\CHER,reeling along and hooting it up. NARRATION continues OVER -

CLOSER SHOT of HOWARD and MAX (who is a craggy, lm:lbering, rough-hewn, Sl-year-old r:2an),t.'"'.o=oughl.y plastered and on a drur..kenlaughing jag -- i I .

(c!utcn;ng t.~eco:ner mailbox to keep froc 'falling) When was this?

produce:. I was a kid, t-,.;enty-si.x years old. Anyw·ay,they we.J::-e building the lower level on t.11.e George Washington Bridge, and we were doing a re=ote there. Except nobody told me! --

For sone reason, this knocks them out.. EOWARD, wheezing with supp=essed laughte:, clutches the mailbox. MAX has to shout to get the rest of t...'"le story out

It's too r.iuchagain. The TWO MEN dissolve i.-itosile:1t wheezing spas~s of laughter --

Ee can't go on.· Be stomps around on the sidewalk. BOWARD clutches the mailbox.

Any bar. Mostly e.Tllpty.MAX and BO""A.RDin a booth, so sodden drunk they are scl:er-

They snigger and snort. HOWARD lays his head dcwn on the boot.~•s table and verges on sleep --

BOWA..tm,'fully clothed, spraw"led asleep on his still- covered bed in the dark bedrocm. Suddenly, he sits bolt upright, SCREA."1.INGout against unseen terrors --

S • INT: BOWAP.D'S J\PA.'q,TMf:NTHOUSE-I..Ai.'ID,ING 5.

OOTSIDE HIS DOOR - 8: 00A.M. - TUESDA.Y,SE.PT. 24

-- as HOWARD'S HOUSEKEEPER, .a middle·•aged lady; lets herself into -

IN'l':BOWARD' S APARTHENT - ENTRAUCE E•OYER

The HOUSEKEEPER, unbuttoning her coa1:, is greeted by . the sound of a raucous clock ALA.t:tM,J:elentlessly sozzniG o.s. She crosses the

- INT: LIVING ROO?·l

- and opens the blinds letting in an eruption of daylight. The shrill BUZZING gettin•; louder, she proceeds into the --

-- where she pauses to look into the bedroc::i,t.h,edoor

s

BOOSEKEEPER'S P.O.V. -- BOWARD BEALE,

still wearing the clothes he wore Last night, curled in a position of fetal helplessness on the f1oor in

:-liJ!!tthefarcorner of the rcom --

-

With some effort, he cont.rives to g·et tohis feet as the HOUSEKEEPER c:osses to the ala.r;:iclockand tu:ns it off --

6. CREDITS A.i.'mMUSICERUPT ONTO TSE sc::RE~N 6.

':ITLE:

• N E T W C R X •

- ONCER AND INTERSPERSED 'WITH C!i.EOITS,amontage of scenes, occasional.ly audible, on tl'i.isseemingly routine day --

7. :INT: BOWARD BEALE'S OF::'ICE:--STSJ:OI,OQR- 7.

9:20 A.M.

A small, unpretentious office, clu'f:.teredwithbooks, ~ magazines, pe=iodicals, photograph!3 and awarc.son t.":e walls, various mementoes here a."'l.d1:.here.HOWARD (necktied and in shirtsleeves), behind his desk, rattli."'lgaway hiscopy fo= that evening's broadcast on his typewriter -- pauses to pour hir.tSelfa quick shot of Scotch·--

a. INT: THE NIGHTLY NEWS ROOM - ROOM 517 - s.

10:30 A.M.

'l'hecommon room off which Howard's office debouches. A large room compactly filled with t..~edesks of

- producers, as~c~iate produce:s, head writer and

writers, production assistants, etc. The walls are festooned like bul.letin boards wit~ sheaves of newspaper pages and cutouts and rear.isof wire releases

rl_ blowups of HOWARD BEALE are procinently displayed.

directories and maga=ines hare and there. And the ever-present bank of· four television monitors; and, aincc it is 10:30 A.!1., '!'uesd~y,Septe!"'...!::.)e::-24,1974,

and, since the AUDIO is OFF, the s:creens silently flicker with whatever was on that day at that time. BOWARD cc:nesout of his office, c:::ossesth:::oughthe general HUM of informal indust..ry,anoccasional : 'rYPEWRI'I'ERcuc~n:G, .a c.orethan c~ccasiona.lphone ringing, as t.."'ieNightlyNewsRoen PERSONNEL, al.lin their 20's and 30 •s, move, MOP.MOR,confer about t."leir businesses. HC'/::\..tu:>BE:·'T'."!'.rna.~esfc:,raledge of reference books to cheek out some fact. He spreads the reference beck out on an unoc1:uDied desk.. SC:1.E0!1E in b. g. te.llshiI:lheIs wanted on ·t:hephone. He nods, takes the call. at the desk he is at. Through.cut, he belts away at his glass cf booze --

9. IN'l': OFFICE OF THE EXEC. PRODUCER OF UBS- 9.

NETWOR..ttNE1''1S-UBSBOILDillG- 5TH FLOOR - l: 00P .M. - ':OESDAY

Another smallish office debouching off t."lemain rcom like Howard's, absolutely ja:n:-..edwithninePEOPLE, a couple of them stanc.ing,the othe:rs si":ti...,,gwherever ·they can. The executive produce!:',?.AR.'tl;{EU?-lTER(early 40•s) , is behind the desk. BO't~r\DBEJ;'T','r:sits ont..1-ie small, Finnish mcdern couch, fla::1..'-:edbya.,ASSOC!ATE PRODUCER and aH.A..'11f:rcmtheGrachicsOe'C'ar-:..-:ient.AsidE frcm BEALE and EU'NTER,everybcdy else is in their 20's or early 30's, ar~, with the samE!e~ceptior.s, they a.re all casuall~tdressed. This is the daily run-down meeting at which the schedule for that evening's broadcast is roughed out, and it sou....,,dssomet."l.inglike this --

BOt'U\RD (reaching for the bottle of booze on HUNT:E:R'sdesk to refill his glass) -- let's de Rockefeller at t..~eend of two -

HAR.."YiiUNTER 'l'hatetrong_enough to bump?

'thenYamani?

PRODUCTICN ri.SSISTA..'iT(GIRL) 'l'hat•sforty-five -

HOWARD

?'· -~ What dces that ccme out?

About four-fifty --

Let•s do t.liatin t-...ro--Rumsfeld-- J.ockefeller-- bu.~0. Now, we using a map going into L.A ..?

BOWARD J?OurS himself another shot of booze and sips it --

PRODOCTIO~ ASS:rSTA.i."ff Nuclear thing, Nixon-hospital, Ford a:nnesty, Watergate t=:ial--

6:28 P .M. - TUESDAY

LOOKI:?1G·DlTOthe small network-news r:ia.t:e-uprcor:twhera BOWARD BE..i\LEissta..'1.di."lg,Kleenextui::kedi."ltohis shil:t collar, ge~ting a few last whisks ::::-oothe.i:·1..~..!'~Z- OP LADY. Fi.'lished,HOWA..RDpulls the Kleene:-:f=cr.:,.his collar, takes a last sip frcm a glass of bcoze on t~e make-up shelf, gathers his papers and exits, tu...-:::.s and enters --

u. INT: NETWOR..-ctNE"i'i'S·STUDIO-4THFLOOR 11.

Typical Newsroc."Ilstudio --cameras, -cables,wall maps, flats and propping, etc. HOWARD nods, Sr.1.ilesto various l?ERSOffi,EL--CA.HERAHEN, ASSISTA..'ITOia.EC'.:'CRS, ASSOCIATE PF..ODUCEP..S--ashe makes his way to his desk facing Camera One. Ee sits, prepares his papers, leeks up to the control roo:.:i,nods --

MOSIC ABRUPTLY OUT:

END OF CREDITS:

The wall cloc~ reads: 6:39. Typicai control ro.:::i.A room-length double ban.'<.oftelevisic1nmonitors

including two color monitor screens, the sha~ monitor and the pre-set monitor. Before thi~; array of TV screens si-:s the DIP.ECTOR, flanked on his leit by the PRODt."CTIONA.SSISTA.'lT(GIRL),who stop-watch.es the show, and on his right by t..l-ieTECHNICALDIR.ECTORwho opera tns ·a.special board of buttons and knobs,. (On t~e , TECHNICAL DIRECTORIs right sits the LIGh"TING DIP.:::CTO~.) At the moment, the snow monitcr has the network's ; Washington corresponden"t, JA!!.."{S!lOWDJ:::N,doingalead-.:..n to the second day of Nelson Rocke£el:le.r•shearings : before the Senate Rules Canm.ittee on his nomination for the Vice-P esidency --

'l'heshew monitor screen has switched over to show fil~ of Nelson Rockefeller testifying before the Rules Co:nra.ittee-

(murmurs) -- forty seconds -

9 I.

In the bac.~half of the control room, seated behind his shelf i? HAR..i:tfHUNTER,whois f1i.rti."l;gwithhis SECRETARY -- '

(to SECRETARY)° Bow the hell do you always get mixed up witb married men? --

PRODCCTION ASS!STJ\.."-tT -- ten seconds -- •

(back to his rnike) - ten seconds cor:iingtocine --

ROCKEFELLER {ClNHONITCR) -- which, in my opinion -··

BOWARD BEALE's image suddenly flips on-screen

PRODUCTION ASSISTA..~T -- fifteen seconds to ccr.:~ercial "freeze --

DIRECTOR

....

-- head roll --

The DIRECTOR and TECSNic.;u.OIREC=OR tur.iin their'seats to join HARRY HUNTER and his SEC..~'l'ARYina brief. gossip - ,

-

The DIRECTOR has whispered something to P.ARRY Hu~TER'S SECRETARY'which cccasions sniggers f~:-c::i.t.11.eSEC?.ET;i.-~!! and f:romH.A.R.tl..:lBUNTER.TheTEC:·:.'1·l!CAJ::.DIRECTORstands to get i...'lon thejoke --

I HARRY HUNTER S SEC.RETARY mu....-:nursscmethingwhichcauses HARRY HUNTER to burst into laughter --

TECHNIC~..LDIRECTOR (to the DIRECTOR) -- so what'd she say? --

- PRODUCTION ASSIST;...'lT

(frowning and very puz:led indeed by this divel=sion from the script) -- ten seconds to cor:ir.:ercialfreeze--

A bewildered FP-OOUCTIO!lASSIST&"'JTnudges t..'leDIRECTOR, who wheel.s back to his mi.~e --

DIBECTOR

-

(into mike) - and•-

PRODUCTION .ASSISTA.~T (to the CIR.ECTOR) · Listen, did you hear t.'lat?--

DllECTOR - two -

The monitor screen erupts into a corcrnercialfor a cat- food chow-chew-chow --

l

PRODUCTION' AS.SIST.n!IT (to the OI~CTOR) Howard just said he was going to blow his brains out next ·ruescay.

Pru::lDUCTIONASSISTANT Didn't you hear him? He just said -- .

-

HARRY HUNTE~ What do you mea.T1Howard j1Jst said he was going to kill himself next Tuesday?

Everybody's attention is now on t.."ledoubleban..'k:.of black-and-white ~c~it::i:sc:eens showing various parts cf the studio, all cf which show agitated behavior. Several of the sc:eens shew HOt·lARDat his desk in vehement discussion with a clearly startled FLOOR MANAGER with headset and no less startled ASSOCIATE PRODUCER -- .

(on mike to FI.CCR?-'..ANAG'J::R) What the hell's going on?

On the pre-set monitor sc:een, t..~eFLCOR MANAGER with headset looks up

(roaring into the mike) What the fuck's going on, Hciward?

HOWARD {ON MONI'.rOR) I can't hear you --

PRODUCTION ASSIS~:.A.."fr (stop-watching) ,- ten seconds --

'.rECHNICALOIRZC'!OR (mu:r:iiursinto hismike) We start with 31 -- 32 --

HARRY Ht.n-.~ER (roaring at the AUDIO !1..~~) 'rum the mike offl

AUDIO. ?-tA..~ (now back in the control rcorn) What the hell's going on?

PRODUCTION ASSISTA..'rt (stop-watching) Three -- two -- one --

At which FOint, the TECHUICA.L OIREC'!'OR.pushesa·butt:::; the jangling cat:cod cc~.r::e:cialflipsoff the show monitor to be instantly replaced by a scene of , gathering bedlam around HOWA...~•sdesk. The ;,:~.,'":):0:.;;.:: flees in panic bac.~ to his cu..bicleto turn of: t~e audio but not before EA..~RYHUNTERand the DIREC~CR going out live to 67 affiliatss can be heard beaning:

HAR...~YHUNTER Chrissakesl Black it outl This is going out live to sixty-seven fucking af:iliatesl Shit1

ROCH 509

MAX SCHtJM.ACHER,~ehind his desk staring petrified at his off ice console on which pandemoni.u.."!lhasbrokenout.

~d l4 I The FLOOR M.A.."'lAGERand theASSCC!ATEf1RODUCER now an ELECTRICIA!? are t:yi.."lgtopull.HOWARD away frat l his desk and HOWA.:m is t=ying to hit anybody he can with an ineffective right hand haymaker --

OTHER VOICES (ON MONI'!'OR)

-

(coming frornall di:ec:tio:is) - cut the shcwl -- -- g~t him out of t.1:.ere!-·· - go to standby! -- -- for Chrissal:es, you stupid

HAX'S PHONE RINGS --

On the !-!ONITORSCREE:1,hysteria is clearly dominating. The SCRE:S~has suddenly leaped i."ltO,afra~e:it of t!":.e just-done catfocd cc:~1ERC!r.L,t.~ena jarring shot of the bedla'.'1oft!":.estudio!loor. Thi:spar~icular ca=e:::-a seems unattended as it beg~,s t.:::,PA.~d~~entedlyback and forth showi.."lgtheccn::usion on t;:-iest:::.di.oflco=- Then abruptly t!":.eSC~~:-:is filled w:i.th VicePresic:.en~: designate Nelson Rcckef eller testifying befcre t."le Senate Rules Com."1ittee--

The SCREEN abruptly goes into BI.AC!<asl-4.AXslasheshis phone back into its cradle. His PHONE prc;::;ptlyRI~GS again, but HAX is already headed for the door. The SCREEN goes into STAf~DBY. His SQUAWK BOX suddenly blares

He sttides into --.

14. ntT: ROOM SO 9- COMMON ROOM OF NEWS

EXECUTIVE OFFICES

A large ccmr::.onroom where all theSl~CRET~.RIESof the News Division EXZCUTIVES have their desks. It is empty now except for one SECRETARY just new putting the cover on her typewriter. ~AX strides through and exits 1 into --

A long instituticnal corridor -- part of an endless ina.zeof similar corridors -- wit.~ offices and technical rooms debauchir.gon both sides.· The cor=idor has begun to fill up with video-tape OPEP.ATORS and other News Division PE?~ONNEL who happen to be worki..~glate -- all of whcm are eit.~erwonderi~g· what happened or are telling ot=.ers what happened. HAX yank.san exit door open and disappears down a flight o: steps to emerge into --

16._ !NT: FOURTH FLOOR CORRIDOR 16.

- which leads directly to the doo:s !or the cont:ol room and for t.i.,.estudio.Cooing ou~ of t~e cont:ol room is the TECP.N!CAL DI?.:SCTORrwh1:::>tonspotti:lgMAX striding down the corridor to hL~, says --

T:ECHNIC..-:U.DIRECTOR Jesus Christ, :1.r.Schu.~acher!

He follows HAX i.'1.t:.Othe --

Everything seems to have quieted a bit, the hysteria down to mumbles and murr:1.1..:.rsandoc::asic!"!alsoundsof laughter. TELEFSONES are shrilly and incessantly RINGI~G. In the far cor:'lerof the:studio sits HCWA.RD SEALE surrounc.ec!by p.AR,..-qyHtm·rER,theDI?.ECTOR,the J\.SSCCI.A.TEPRODUCER,the?ROOUCT!O:-1ASSIST~'fr, and t."ie FLOOn !!ANA.GER. C.P-.!·1ER:.l·1E!~,GRIPSandotherE'LCOR ~ PERSONNEL are gathered i:'la FLUX c,flittle clu~ps around the studio murmuring and r:mttering and giggling over the whole absurd episode. a.A.:cheadsst=aight for the GROUP arol..ndHOHARD. They pa:ctto let h.i.'ttin--

MAX nods, stares at HOWARD

VOIO:: (O.S .) Harryl Joe Sweeney on the phoneJ --

•

_ ..

Boward, you have got to be 1outof your everloving mind. Are :roud:unk? (to the others) Bow much boozing has he bee:n doing today?

PBONES O. S. RING and RI?-1G.VOICES O. S.SHOUT --

HOWARD slowly looks up to ~.AXwho is still staring at him. He suddenly smiles broadly at ~LAXand winks.

, MAX (to HARRY HUNTER) You better get hold of Mr. Chaney and Frank Hackett --

AREA - 10:47 P.M.

FRANR HACKETT, Executive Senior Vice President of t.~e network, 41 years old, one of the new cool :youngbreed of manage:nent/rr.erchandisi."1gexecutivias,wearinga · tuxedo -- (he had been pulled out of a dinner pa=ty in Westchester by this unfortunate busi::iess)-- comes Ol.:t; cf the elevator and turns briskly ir..t.c--

-- which is clotted with network EXECUTI\i'ESof asserted sizes and ages. H.MCKETT, en route to Roc."':l509,which is clearly the humming hub of activity up here, pauses to comrr.entto one of the EXECUTIVES --

LOO ·..-~ now'm I going to clear them out, Frank?

SACKETT mur.:'lursandpeels his way into --

NEWS DIVISION

HACKETT enters the comnon room, off which debouch the offices of the President of News UO..XSCHU:·l.l\CSER),the VP News Division (ROEE?-1'MCOC!:OUG:~),t.~eVPPublic Relations News Division (HIL'!ONSTEim•lA.N),t..J.ieV?Legal _Affairs News Division (Hn!.TERGIA!H~U) , V? Owned Stations News {EHIL DUBROV?:I:<),General Manager News, Radio (41ICH..i\.ELSA!mIES)--allof whmn are here and.a nur.-.l::lerof othernetworkEXECUTIVES. Tae VP Sales (JOE DONNELLY) is just taking the phc:ine.fro::itheVP News Sales (R.ICE.!·!ONDKETTER!!.;'G)whoisseated at the desk of the secretary :or VP Public Relations News Division -- ·

HACKE'!'T (to·ARTHUR ZAtJGi-lILL,VP

· office) Is Nelson in there?

HACKETT ·:•·:, (mutters) · Shit -- I • P.R. MAN (in b.g. on phone) - come on, Mickey,·what page are·you putting it on?l --

BACK:t'l'Tisal:eady crossing into -

·- which is pretty well ja.~ed wit..11NELSONCEM."EY (President of the netNork), 52, a pat:ician, sitting behind MAX's desk and on the phone, lcok.L"'lgup to note HAC.l-~ETT'san:iVal --

Ml:LTONST:!::INHAN{VPPu!:JlicRelations News Division), early SO's, a ri.:::.pled,ordinarilyal:liabler.~n,is standing by the desk on t.~e phone to someone at CBS --

A P.R. MAN sticks his head into the <:>ffice--

CHANE"! .I ' (extending his phone to HACKETT) i. Be wants to taL~ to you --

HAC!G:!Tr (to MAX, 1eani.11.g against a wal.l)

- Who's replacing Bea.le tc::ior::ow?

MAX We're flying up Snowden from Washington.

Be is referring to the four television m::initors-- three on the wal.l and a la.=ge office console rr.onitcr of OBS-TV, now blurti..,,.9outtheirrespective CO!:I:%l.ercials --

TH.ACKERA"l

lounging in the coorw·ay} The ten c'clcck news opened with it --

HACKETr (on phone) Halter's drafted a state.merit,I haven't seen it yet;.._I just got ·here, John, I was at a dinner party --

Suddenly, the faces of DAVE MA.R.;sua:r.dROLANDs:•1ITHa..i--:d ·CHUCK SCARBOROUGH and ROGER GRI!·lSBYand BILL 5EOTZL and the UBS local news a..Tlchcr:nan,TI:1P..ALLOWAY,areon the screen. Affable DAVE a.A.RASHon t..~eCBSr:ionitor is saying:

-

ROGER GRI:·lSBY r (alrr.ostsir:\ultaneously) Howard Beale, one of television's most esteemed r.ewscasters --

CHUCX SCARB0R0U(;i!

I Boward Beale interrupted hi:i network '

news prog:ra.:itonight toan."'lcunce-- I I BACXETr (mutters) \ Shit - . l ..1.

- 'rIMHALLOWAY

Secretary of State Henry Ki:isi.,ger made .aforceful. address befc:,rethe United Nations General Assec.bly --

HACKE'IT reaches to click off the ban.":.of monitor screens. They abruptly go black.

- MAX

(back to leaning against the wall) Mr. Beale has been under great personal and professiona.l prE!ssures ~

....__ HACKETT

(explod.i:tg) I've got sc.--:1egoddamsurp:isesfor you too, Sch~~achert I'Ve had i-:. (MORE)

WEDNESDAY, lO:oo·A.M. - DAY

BZGH WIDE A:.~GLESHOT and/or SHOTS shewing Television Row - that qua.rter mile of Sixt.'lAver..uewhere the £01.:r television nei::workshave their ch::cme,ma.r~le a.."'ldglass buildings rearing futuristically into the sky -- 30 Rock (NBC-TV), Black Reck (CBS-TV), ar..dHard Rock {A.EC- TV), and, of cou:se, the network of our story, OBS-TV. It is a nice, su."l.nyday--

23. IN'l':OBS BUILDI:lG - 5TH FLOOR MAX'S OFFICZ 23.

- WEDNESDAY - l0:00 A.M. - DAY

SUNLIGHT streaming in. MAX at his desk, shirtsleeved, on the phone -

( p a

MAX hangs up, stands , gat.":.ershis jacket off chair

,_... and heads for the door --

I l MAX If John Wheeler calls, switch hi::l to Screening Rocm.Seven -- \ Be exits -- l I

A middling-sized screening rcom with ,a=out20 seats. The.re are two people already there -- a whippet-like, casually-dressed !Tl.anof36, BILL HERRON, and t."leVP Progra."ns,DIANA CH...~ISTE!-150?1,dressed:Lnslacksand blouse, 34, tall, willowy, and wit."lthe best ass ever seen on a Vice President i."lcharge of Prcgran::.iing--

MAX and DIA..~exchange nods and professionally polite greetings --

BER..T{ON (buzzi.-i.gtheprojectionist) Diana asked if she cculd si1:in on this•-;_

DI.ANA shrugs, smiles. The lights i."ltheroom go down. • A shaft of light shoots out frc::it.11.eprojection:rccm. 'l'hePHONE at HA.X's elbow BUZZES. BE picks it up --

He hangs up, leans back, watches the docl:lentary fil:II ·-which has just begun. ON ScaEE'!?,a ha..'"ldsoceblack

::.-wcmanin hez ear'J.y30's -- .. :. ..::.

Yeah.

-

- is sitting in a typical pa."'leldisc.'1lssiongrouping, flanked by t..i...::-eeMENandaWO?-'.AN,t-..:owhite,t:'..to black, all very urban guerilla, in fatig--~es,sun glasses and cc~~at boots. MISS EOBBS looks calcly into ca.I:leraa."'ldsays:

'?he PHON:sBUZZES softly. ~.AX picks it up --

Rcom still dark. ON Scu:EN, NUMBERED WRITE LEADER is rolling down -

black and white , but wait~ ll you see it --

'l'heSCREE'!1sude.enlyerupts into fi1.!lloft.'-:.einterior of a ban.w;beingentered in t..~ewa.kE~ofTF-~.E:r~~, two of them black, a.ndTWO WCl~, one black and one white. They disperse to various pa:ts o:.:1:he!:la.~asif t.'1.ey were here en legiti.".'..atebusiness-··

DIA."1A The Ec1:.1enicalLiberation Ar:::';! - is that the one that kidnapped Patty Hearst?

':his last in reference to t.i.eyoung white woman on screen who is luggi."lgashopping bag as she joins a

line at a teller s window --

DIJ\NA You mean, they actually shot this fiL'nwhile they we.::erippi."'l.g off the bank?

1i

I ON SCREEN, the film has gone out of foC"'~sa couple of times and bounced meaninglessly arou.."ldthebar..kand finally settled on a larg-e,powerful black :.-.anatone cf the desks, prest:rmablywriting out a series of deposit slips -- I J)J:ANA I ;. This is terrific stuff. Where did you get it?

ON SCREEN., the CA.MER.'.\haswhooshed a,.-r;..ateurishlyabout, unfocuses and focuses again to pick up !'-~Y.n.:mG!ITO:..O bending over her shopping bag a.."ldpu.l.li.."lgoutaC::ech service· sul:ro.achi..,egun9?a.:-a.be.llu::::iwhic.~shepoi=.t:.sto the ceili.."lga."ldapparently:ires; t.""l.ei:IL.:1issilent, but the reactions of everyone a:ou.'1.dsuggestclea=!y something was fired. The FIL..'1getsfrag:..entedand - panicky al:louthe::e,as does the act.ivit7.;nthe l:::JZlr-'<. The PHONE at MA.X's elbow BUZZES. MAX picks i~ up.

HARRY HOHTER, on phone, is using an e."llptydesk int.i.e main room. No:cm.a.lnewsroan activity in b.g. --

The silent fcotage of the frenetic bar.k robbery is still going on in b.g.

29. mT: BOWARD 'S OFFICE 29.

30. IN'l': NIGHTLY NEWS ROOM 30.

'I

ACROSS HARRY HUNTER on phone ,looking t."lrought..'leope:1 door of HOWA.RD's office to HOWARD at his desk in b.g.

l21 I

31. nl'r: SCF.EENING ROOH 7 31.

I The show is over, t.~eroc:::1lightsare on. In b.g., DIANA and H2R.RCNstand, mur.:iurtoeach. ot.1i.er--

- And no bco:e today, Howard --

In b. g. ,DIANA and HERRON move for the door, wave gccd- byes. MAX waves slackly in rettl!:'n.He can't help noticing as DIA..'1Aleaves that shehas the ?%:Ost beautiful ass ever seen on a VP Prog:::am.s--

32. Im : HOW~..RD'SOFFICE 32.

And hangs up. For a moment, he just sits, scoYling and making curious little grimaces. Then he sta..-:_ds, removes his jacket, du.."'npsit ona ch,:!.ir.Herolls his sleeves up and suddenly ::iakesastrar1ge lit-tleGR~:T. Be sits behind his desk, fits a piece of paper into the machine and then, again, sudc.enly, he r.-.akesa strange little GROt'7I,--

Ou.r PRCOUCTIO~ ASSISTANT, reme~~ered perhaps fro~ the control room scene, casses How;...?.D'so::endeerar.d:.s given pause by the strange little noises coillingfro~ HOWARD• s of:ice. She stands in tl1edoorway a :no:::1ent watching HOWA.i.1.0GRt.l":-lTI::G,GRO:·iL!NGa..-idS.N.A..':i.!.I~:Gashe CLACKS away at the typewriter --

PROOUC'J.'IONASSIST..~'1T You all right, Hr. Beale? (BEALE nods) You want rne to close your door, Mr• .Beale? (HOWARD nods ,types away, G:ROWl'S, .GROt·iLS)

The PRODUCTION ASSIST.ANT closes the door.

34• INT: 14TH FLOOR - UBS BUILDING - EL.c.-VATORAREA34.

·DIA.i.~AandHERRONcc.":teoutof one of t.heelevato:s and turn left to the glass dcors marked: DEP..!\..~Z·!ENTOF PROGRAMHING. They continue into --

--- ------

(Needless to say, there is no one at the receptionist's desk.) cz;um.and HERRON head dc-..m--

• 36.. INT: PROGaAMMING DEPARTMENT - CORRIDOR 36 •

.. DI.ANA pauses en route to lean into one of the offices --

She and BER.RONcc:itinue on, tw:n into --

Where the SECRETARIES are all slaving away, reading magazines and chattir.g among tha~selves. An occasior~l PHOt-.TERI:NGS.At the far end of the =oo=i,a chun.'<y t-.'"0?-11¼..Nin her late30'sisi:ist:".lctingherSEC~TARY.::..::. scmething. oI;..NAhails her

l

DIA..~ Barbara, is Ton::nyaround anywhere?

O:t.A.i.'&\ I'd like to see t.~e two of you for a moment --

She leads HER...ttOMnewinto-

'l'heSECRETARY har.dsa sheaf of telephone n:essages to DIANA which she carries with her into --

D.IA.."'lAenters,followedbyHER.~0~1. She sits, ski.ms through her r.:essages.The office is 1executive-si:e, windows looking out on the canyons of glass and stone skyscrapers on Sixth Avenue, desk pil,edhigh with scripts. GEORGE 20SC!! (VP ?rog:::arnDevelopmentEas-: Coast), a slight, b~lding man of 39, enters the 0£:!c~, nods to HERRON, takes a seat: and is i:=:iediately

Depart..'":'lent),thechunkyladyjust cal:ledin by DI;,.!:A, ~d 'l"OZ·1WfPEU..EG?.!~,O(.AssistantV??r::g::a.'"ls),36, swarthy, coif£ ed and rr.oust.a.chicsd.':'heyf.i.."'ldseats0!'1 the chairs , the small couch. H.E&..ttONreir.ai."lsstar..di.-ig--

... DIANA (introduci...,_g) This is Sill Herron frc::iour West c~ast Special Progr~~s Depart::ent -- Bar!::laraSc!llesir.lger

Pellegrino -- Look, I just saw some rough footage of a special Bill's doing on the revolutiona:y underground. Most of it's tedious stuff of Laureen Hobbs and four fatigue jackets rr.ut~ering mutilated ~.arxisrn. But he's got about eight mi..,utesof a bank robbery that is absolutely sensational. Authentic stu:£:. Actually shot while·the robbery ·was going on. Re.member the Mary Ann Gi:ford kidnapping? Well, it's that bur..chof nu~s. She's in the film shooti."lgof: rnachi:i.e guns. Really ter=ific footage. I thi..."'l..~weC.'.:i.~geta hell ofa movie of the week out of it, maybe even a series.

FELLEGR:C~O I A series out of what'? What re we talking about?

DIA.~~ Look, we've got a bunch of hobgoblin radicals called the Ecumenical Liberation Army who go a.roundta.king home ~'lies of themselves robbing bar.ks. Maybe they'll ta]<emovies o:f themselves kidnapping heiresses, hijackL"lg747's, bc::-~ingbridges,

We d open each week's segment with that authentic footage, hire a couple of writers to write some story behir.dthat footage, and we've got ourselves a series.

J

--------· -----·------- ---··--·-··-------·---·-- ------·-- ------

·- Well, in a nutshell, it said the

J\mericanpeople are turning su1len. They've been clobbered on all sides by Vietnam., Watergate, the inflation, the depression. They've turned off, shot up, and they've fucked the.~selves limp. And nothing helps. Evi1 still triu.'"lt::hsover all,Christ is a dope-de a.lingpi::p,e\.-enSi.."l turned out to be ir.:rcotent.The whole world seems to be goi.."'l.g nuts and flipping of£ i.."'l.tospace like a.."labandonedba.llcon. So -- this concept analysis report concludes -- the .Ar-..ericanpecple want someboc.y to articula-t:etheir rage for t..1i.em.I'vebeen telling you people since I took this jcb six mont..,,sagothat I want a..~~=y I shows. I don t wa.,tccrlve::.tional programming on this network. I want counter-c,.1lture. ! want anti-establish..~ent.

She closes the door.

WEDNESDAY - 3:00 P.H.

LONG SHOT. A·stock.holders•meeti.."lg.Standing roe~ only. Some 200 STCC:-<F.OLDERSseatedin the aucience; others star.ding arou~d the walls. On the rcst='l.l.~,a phalanx of uss CCRPORnTE ::::;e::ctrrrJEs,sea""t:.edi.,t.1iree ·rows, includi."lgEDWARD RUDO;!, Cnair.::1anc:.:t!le3oarc., the PRESIDE!n'S and SE!IIO?..V'!CE-PRESICE~1TSoftb.eot.i.:.e:: divisions and oth~r g=oups - the U3S Records Group, the UBS Publishir.g GrCU?, the U3S Theater Chain, etc. Representing the network a::eNELSON CH~.N'EYa::.dt."'le divisional heads -- GEORGE NICHOLS, ?resident of the R~io o ivisicn; NOR!·~.!-1MOLDA.NI.~..!1,PresidentC'..med Stations; Ge::.eralCou::-:.selWALTE?.l-2·:tHmSE:-I,and,cf cou:rse,MA.X SCEU:1.;c1-=..EP.,?:eside~to::t..'1eNewsDivisio:"!. FRANK HACXETT, Senior Exec~tive Vice President 03S-'!'V, is at the lecte::nmaki..""lgt.-iean...""lualreport--

Hli.CRETI' (in the drcning manner of such reports) ••• but the business of manage~~nt is manage..-nent;and,-atthe tirr.e C. C. ar.dA. took control, t..~e OBS-TV network was founderi.."lg with less than seven oercent of national television revenues, most network progra.~sbeing sold at station rates. I arn therefo=e pleased to announce I cl1':lsu.bmitti.."lg to the Bc~rd of Directors a plan for the organization of t..~enetwork with the intention of creating a subco:rporate second li.."lecf authority, for the coordination of the main profit cente.r·s,and with the soecific i.r:.t~n~ionof ma.kingeach division ~ore: responsive to rnanage..~ent--

AUOTHER ANGLE SINGL:r~;GOOT MA.XSCBU!1ACEER in the second

row of the phalanx of EX:::CUTIV'ES,bo:redwith t."le proceedings, and whispering to NELSC:.lC-iA.NEYseated beside hi!'!'l.I~lCLUDEi:if=a::-.et.~e67yea:::-old,silve:- haired brah:::ti.nof television,EDWARD RUDDY, who is seated in t.~efront re;,,. HAC:-t.::.Tl'inb.g.It issome twenty minutes later --

MAX suddenly begins paying attention

BAQa:TT (Cont:!) -- with its 98 million dollar b~d;et and itsaverage annual deficit of 32 mi1lion. To rne,it is inconceivable suc.11awanton fiscal affront; go unresisted

ANOTHER ANGLE ACROSS RACKETT with a s::,.clde:ingMAX SCHOMAC3.ER in b.g. --

MAX in b. g.,stares angrily dc-...-nhisrcwtowards NC?.!-!;..'..'i

HAC:-<E'l'(Contd)(inb.g.) - and, in effect, t.~eNews Division would be reduced

-(.AXleaningfor..,ardt:"'Jir.gtocatch t.~eeye of Em·irlRD RUDDY in the front rcw. RUDDY is staring stonily ahead --

llACKE'l'T(Contd) -- from an indeoendent division to a depart.~ent accountable to network --

MAX is about ready to blew his stack --

WEDNESDAY - 5:30 P.M.

The stockholcers' meeting is over. The floor is a swirling CRUSH 9£ STCC.,.dOL:lE?.Sminglingwit.1i.EXZC~TrJES. ·MAX SCHOMAC:r.E:Riselba...-inghisway t.'-l=ought.1i.ecrc-,i1c.ed aisle to get to where E~WARD RUDOY is c.~a-:.tinga:way with a COUPLE of STOC:-a:IOLDEPS-

RUDOY turns back to t..1leclutchof STOC:{EOLD:::RSa:ot.:.."'l.d him. MAX wheels away in a rage -

DUSK

The.Sixth Avenue entrance to the hotel. Taxis ;:ulling in, disgorging PEOPLE; taxis pulling cut wit.~new fa:es. MAX comes striding out of the hotel, sore as a boil. PAN HIN as he bulls his way through t.l-ie linec=taxis and across jammed, clanging 5:50 P.M. Sixth Avenue --

MAX, steaming, strides dcwn the cor:ridor to --

44., IUT: ROOM 509 - NEWS DIV. EXEUCTIVE CFF!CES 44.

ertptyexcept for perhaps one S~CRE~~nY pecking a~ay At her typewriter. ~AX strides across and into --

M1i.Xtakes off his jacket, throws it on the couc.11,sits behind his desk. sut he's too stear:ed to stay t.~ere

a caged lion •. He t.~U.~FShis desk angrily, strides around, t.'lenwh.::::shis.jac.1<.etupfro:nt.~ecouchand strides out -

· 46. INT: CONTP.OL R00?-1-NETWORK NEWS SEOW 46.

'l'hewall CLOCK reads 6:28. The DIRECTCR, T:::CE?::ICAL DJ:lU::CTOR,LIGHT!!-:GDIRECTORa."ldPRODCC'.:.I0!,1;...ss!STr.:~T are at their long shelf in front cf t.1ledoubleban.~ of television rnonitors. The AUDIO M..'l',,Niso'!:i."'lhis glassed-in cubicle. HARRY Ht.'1;TERanc.hisSEC:?.ET~.~ and the UN:tTM.~"iAGERare on t."leraised 1e,1elin t.11e back. HUNTER is on t.~e phone, looks up as t."ledoor to the control roe!':\opens,and MAX, car::-yinghis jacket, comes in. Curious looks frcr::.t.'i.ePE?.SC!i!•:::::::.!'lere: presidents of news rarely cor:-:ec.owntot.~eco~t:cl

- room. HUNT.::Rfi.,isheshis phone call, o=fers his seat

to Z.I11.X,but?-'.AXprefersstandi:,.gi.~t.~e:Oack--

PRODOCTION ASSIS':..~:T ••• five seconds --

'DIRECTOR -- cet.1ingto - and one - 'nleshow monitor, which has been showir.gcolor patter~s, new suddenly flicks on to shew HC"~A?.DEEA!Z as he locks up from t..11.esheaf ofpaperson his desk and says: ,

HARR!!HUNTER All right, cut hi.~off.

The MONITOR SCREE!Z goes black.

BOWARD's i:.agepromptly flicks back on --

Everybody in the control room lcoks to MAX -

~e PHONE Rl:NGS. HUNTER picks it up. A.l-'10TSERPHONE RINGS. Htr.iTERIsSEC:R;;TAR":'.'pic~situp.

BUH'n:R (on fi%'stphone) Look, Mr. Sch~~acher's rigbt here, do you want to talk to hi.--:,.?

HUNTER'S SEC:RSTARY (awe) Holy Mary Mother of Christ -- • MAX (on phone) Yeah, what is it, Tom? --

- HOWARD (ON MONITOR)

We don't kr.owwhy t."'lehell we're going through all this point.less pain, humiliation and decay, so there better be scmeone son-.ewheres I who dces know; t."'latsthe God bullshit -

He hangs up. T.:e.PSCTE p::-O~'?tlYRINGSa.gain. Bml'l'ER.s SECRETA.RY picks it up. (BU?iTERis on ·t:..~ephonet.~at

- rang before.)

BUNTER'S SECRST~.RY (toMAX) Mr• .Amundsen for you, Mr. sc:hur.ac!'le::.

BC11lARD(CNMONITOR) Well,.if t.'1-iere'sa.."'lyboc.youtt.":ere who can look arou..'ldt.i.isc.e!r.ented slaughterhc~se of a world wtali·Je in and tell rr.ema.-iisancb:!.e creature, t.~atr..a..,is::ull1:>f bullshit --

A PHONE RINGS. HUtiT!:RIsSECRETA..~Ypicks it up.

HJ'..Rro!'HUNTER Max, this is going out live to sixty-seven affiliates --

A breat.11lessand dist:auc;ht YOUllGWOMAN bursts into the control room.

DI.ANA,sitting alone in her office, wa.tching ECWARD BEALE on her office console --

-- as FR;i..NKHACKETTand his assistant, TO~ c..;;azLL,

The TECHNICAL.DIRECTOR taps a button,, a.'"ldtheSC?.EEN mercifully gees black.

White-haired, 'Oatricia."'lECWARORUDDY, Chai~a."i.of the Board, i~peccably grocrr.ed,fastidious in a light

- topcoat, making his way through the absolute CRUS~

cf NEWSPAPER PEOPLE, WIRE SERVICE ?EOPLE, CA!·!ER.~CR::WS from CBS ,NBC, ABC, from the local stations, WPIX, WOR-TV, METROMEDIA, and £:om C..1.a.··mel13,tb.eeduca- tional cha.~nel. A half dozen SECURITY GUn?.DSprotect the elevators, and three more help 'RUDDYget throug:i the GLARING CA!-U:R..'.\LIGHTSandt..'iehc,rdeof?..El?ORTE?..S thrusting mikes at him

so. INT: 20TH FLCOR - LOBBY, LOtJHGE, COR..tUCOR so.

MAX, standing by t.":.ecesertedrecepticn cesk,.in the empty, silent lou.."l.ge.Thisis the top-rr.anage:r.entfleer, and t."ledecor,which is pcsh-aus tere, :refleets t.i-:.e eminence of t.,.etop executives who have t.,.eirof=ices here. It is all silent and er:-:-:Jtvnew,cat.~edral, hushed, echoing. Way dcwn at t,.,.efar,endcf t.'"le corridor, t."i.edoubledeers of t:..":.eco:n,e::.-officeopen, and NELSON C:":1'.;...~EYleans outandbeckcnsto~.;..:,:,who starts down t...":.eplushcarpeti..."l.gi..,res:ponse

Sl. INT: MR. RODDY'S OFFICE 51.

Large, regal. Impressionist originals en t.":.osewalls which are not glass t...,.roughwhicht.,ec:epusc~lar grandeur of New York at nioht can be seen. ?.UOCY sits behind his ces~. JOHN'WHEELER, 59, silent, :orce:~l, lounges in one of t:..,eseveralleat.,.erchai=s. ~~e door opens, a.'ldNELSON CH.~'-'""EYandM..-=\XsC:--iL~·!..~.cE:::?.co.r.a in. Everybocy noes at everybody else. HA.."{sli.r.1ps into a leat...":.erc.."lair.

CH.ANEY promptly picks up a cor.ie::.-phoneandcalls d~..n'i to the Fourteenth Floe:.-.

- debaser::entof.t:i.eNe-.-1sDivision

announced at t..~estockholders• meeting tc:::aywas kept secret; f=t=i me,. You and I go back t"llent-,1 \ years, Ed. I tcok t..~isjobwith your parsonal assurance that: you would back my autonomy agai~st any enc=oachrr.ent. But ever since \ CC and A acquired cont:'olo:f:t.1-te •I UBS Systecs ten ~onths ago, \ Hackett's been taking over every- thing. Who the hell's running this network, you or cc and A? I· mean,you're t..'1.eC.~air::::tan,and Fran.~Hackett's just CC and A's hatchet man. Nelson here -··for Pete's sa~e, he's the p:esicent of the network --· he hasn't got a...._y- thing to say about anything a.~y more. Who t.."lehell'sru.,ni:1c:r this cornpa.~y,you or CC and A?

D

I told you at t..~estcckholeE:rs' meeting, Max, that we would discl.lss

(-· all that at our :egular ~eeting

to~rrcw r:-.or::L,g.If you h,idbeen patient, Iwould've explair..~:?dto you that I tco t..'1.oughtFra..""lJ-:Racket-:. precipitate and ~~at t..~ereorgani- zation of t:ieNe;.,isDivisionwoulc. net be executed until eve:yone, specifically you, Maxr had been consulted and satisfied. I~stead, you suL~ed off like a child and engaged th is net",1orkin a snecking and disg=aceful episode. Your position he=a is no lon~er tenable, regardless of how management is restructured. I expect you to bring in your resignation at ten

0 clock tomor=cw r::orning,and we

-

will coordinate our statements to the least detrirr.entof evervone. (to WHEELER) - Bob McConough will take over the News Division till we sort all this out. (WHEELER nods. RUDDY turns to CHANEY still in ~"lecorner of the.room on t..~ephone) (MORE)

- 52. INT: LOBBY - UBS BUILDING 52.

HOWARD BEA!Z, bleached al~ost white by t.1-ieGL\..-=.Eof the 0 ...:-!ERALIGHTS,a.."ldaL--nosttotallyobsc-..1redbythe tidal CRUSH of cameras I REPORTEP.S,SECURITY GUAitDS around him

I

53. DiT: DI;;.."ASAPA..~T?lE::T-BEDRCOH 53.

DI.ANA,na.~ed, sitting en t.~eedge of her bed i..~a I dark bedroom, watching HCWARD BEALE s i::rprc:::-.pt:.ipress conference en television --

HOWA.~D (Contd) (on TV screen) -~ reporting with see~ly Cetaeh~ent the daily pa=ace of li..:...~aciest.~at. constitute t.~e;:iews-- and -

Also on the bed is a naked you.~g STUD, who isn't =~ally that interested in the 11:00 News. He is fcncling, ~ fingering, noodling anc nu~zling DIANA wit~ ~~e clear intention of ~ountL~g her --

SEPT. 20 - CAY

Sright ~orning su.,shi~e. DIANA, in a pants suit and carrying hal: a dozen scripts, enters the building --

ss. INT: UBS BUILDI!IG - LOBBY ss.

' I>IANA,pausi."'l.gatthenewssta.,d to pie..'<:upt.'i.er..or::i.'"lg papers, which she reads en route to the elevators --

56. :INT: OBS BUILDING - 14TH FLOOR - 9:15 A.a. 56.

' I>IANAbriskly enters t..,roughthecoor marked: OEPART:-~~T CF PROGR:111HI~G,and whisks c::,f!dcwnt.'i.e corridor --

57. · INT: PROG?.A!·1MINGDEPA:\'!'ME!s1T-CCHMO~P.00!·1 57.

I>IAr.'tAcrosses to her~..moffice. TSP.EESECRE':'rt.?.!:SS, including DI~~tA's,are abuzz in a comer ever last night's Heward Beale! show. DIA.'1A'sszi:?.E':';...?.YsC".:rries

- to follow D!;...N;;as,inb.g., BAR:SA?..ASCHL::::'S!:;GERcc:-:es

out of her office car::'j'ingfourscript.:s--

ss. INT: DIA.'lAIsOUTER OF:':tC::: 58.

DIA.'lA,ru.rri!!:agi..~gt..1i.rought.~epapersonto:;,oft.--:.e SECRETAR:l's desk as t..~eSEC?..STARYcnte.:-s-

OI.A..~A Did the overnight ratings co:rr:e in yet?

SECRETARY

~hey re on your desk.

She exits into

S9. INT: DIANA'S OFFICE 59.

1-'.orningS1'.h~LIGHTblasting in. DIANA moves to her desk, stancs behind it, scanning the ::cnt pages of

the newspapers piled on her desk, then sits and studies the overnight ratings also on her des::<.The SECRETA-'=CT enters with yest~rcay's overnights, a sheet of paper, which she 13xter:.dstoOI.:;.:1;..,,whopro:nptlystudiest.i,.em. The SECR:::TP..RYaxitsas BA.P-SARAscsusn1GER enters, , sinks cnto a chair with a sigh --

• r SCHLESINGER - 'l'heseare th~se four outlines

submitted by Universal for an hour

t series • You needn't bot.1-ie::-to

read thee. I'll tell them to you. ,The first one is set in a large Eastern law·school, pre- sumably Harva:::d. The seri,;sif irresistably entitled The Young Lawyers. The ru.~ning characters are a crusty but beni~ ex-Supre~e Cou::tJustice, -presu.~a.blyOliver Wendell Holrees by way of Or. Zo=.!::)a. There is a beautiful girl graduate student and t,.i,.elocaldistrict atto:rneywho is brillia..~tand sometimes cuts corners --

·SCHLESINGER The second cne is called The ~~azon Squad --

DD\.t.'lA (studying the overnights) Lady cops?

-- a brilliant aridbeautiful young

girl cop fighting the feminist battle en ~~e force --

.. page of t.'li.e Daily:-Te-;.1s)

We're up to our ears in lady cop shows.

··--·---·.

SCHLES'.niGER The next one is another investi-

ti gat.iverepor~r shew. A c:rJ.sty

I but benign r.:a.""laginqeditorwhos always getti::g heat frcm thei publisher --

OIA!lA You k.~ow, Ba::-bara,today is.Yorn Kippur, and they're worriec. about a.netherwar in t..~eMiddle E.ast. They've discovered a blood ,clot in Nixon's right lung, there's a

:l hurricane in Honduras, drought

among the Tauregs, crop failure in

their priree rate and -- (she flips t.~eDaily News over so BA.REA..'tu\

can read it) - the whole front page of t.."le Daily News is Heward Beale ..

,\CROSSBAR9ARA SC:-!LES!'!'!GER,half-stanc:ingsoshe can raad t."ienewspapar anc.showing t..'lef::-ontpageof the 0.ailyNews -- which consists of a 3/·4page blcwup of IIOtiA..'=mBEALEto?;:ed.bya52point black bar--r:e=headlin-a: •- BEAI.EFIRED

lUT: ROOM 520 - THE NE'l't'1ORKNENSRCOl:-1 60. • 1130 A.M.

~x ~':"°nUMACHERa.,dBOBMcCONOOG"d (mid-40 's)enter.

;· lili!t'l:'-..rork.NewsRocwis·sor.:.ethinglesst.'1-ian Front ·•'113'tut,nevert.11.eless.anews rocm. It's a long, ,;r,.,.,•windowlessroom,some 40 desks, mcstl•, U..'1.- ¥l~~~1~1, wire room, typewriters anc:banks-of ~ele-

at,,~_.:":'IOnito::sc::-.t..~ewall.1\tt.i,.emor:-:en-c,war.-< has

,..1,:ir:~'PEOPLE--E~CUT!VES and SE:C~T.;..ttIES,?RODCCZ:S! M ~t~.J'lTPRODUCERS, HE.ADNRIT:::RS,W?.!TZ?.S,OtJTY,;..!10 rt f.,,'".7::~TEDITORS,andDESKASSIS'l~A!JTS,ARTISTS, and

i ,A."::>.,.:-,TA.PEEDITORS,RE?ORTE:?..S,N'EHSCASTZ:RS..a.--id ,..,:,

·""""'1 .,A.NOAUDIOHE!-:--a.reall aa1:heredsta.r:t!i:,.g

f ··•1 . -

• ng about to haar MAX say •·-

i

·------

VOICE (in b •g.) Louder \ I MAX I (louder) -- and I want to t."'iank you all. Bob McDonough here will be taking over for rnefor.the tirnebeing, and, much as I hate to admit it, I '-msure everythi~g will go along just fine wit..~out~e --

OIAr.'l.lAturning into-

62 •_ INT: BAC..'".{ETT'S.OUTEROFFICE 62.

'rheSECn:E:TARYwaves DIANA straight into --

..

where an:c.t{ETTsitsur.happily at his de~sk t=oringover memos from his St~tions Rela~ions Depa=t.~e!ltane reports frc::ihis Sales Depart:::ent.

:j-- I

can tell you right now t..~attonight s

\r,;..,::

show will get a 30 share at least. I think we've lucked i~to sor.ething.

DIANA I Yes, I think we should put Beale I bac~ on the ai= tonight and keep I him on. Did you see the Tirne.s 1 this rr~rning? Did you see ~1e \ News? We've got press coverage on this you couldn't buy for a millicn dollars. Frank.,t."lat:dur:".b show jur..pedfive rating points in one night! Tonight's show has got to be at least:.fifteen 1 We just:. increased cur audience by ~Nenty or thirty million people in cne night. You're not going to get so~ethi~g like this dur.',pedinyour lap for the rest of your days, and you just can't piss it awayl Howard Beale go-c up t.1.erC?last night a."'ldsaid whateve-::y.;.~erican feels -- that he's tired of all t.,e bullshit. He's artic~lating the popular rage. Iwant that shew, Frank. I can turn that shew into t..l-iebiggestsmash in televisicn.

I see Howard Beale as a latt::erday prophet, a nagnificent messianic figure, inveighing against t:..'"le hypocracies of our ti~es, a strip Savonarola, Honday throush 1=-riday. I tell you, Frank , t."latcould just go through t.,e reef. A.~dI'm talking about a six dollar cost oar t.~ousand shawl !'rntalking about·a hur.dred, a hundred t.1-iirtyt.1-iousanddi:,llar minutes 1 ·Co you want to fi,;u.:eout the revenues of a st::-ipshew that sells for a hundred t.11ousand· bucks a minute? One shew like th,3.tcould pull this whole net-,;orkright out of the hole 1 New, F=.3.."'lk,it:.'sb~ing handed to us on a plate: let's not blow itl

; EAC:-<ETT's intercom BUZZES,. 1•

HAC:-<ETT (on intercom) Yes? ••• Tell hi..~I'll be a few minutes. (clicks off, regards DIANA) Let ~~ t.."lir.kit over.

A large rocrnof white-linened tables, aL~ost empty save for th(?fi•.1e:::.enat cne ofthe wi.nc.::wt.ables, wit.11the soectacu.:!.arv·iewofmidtown !-'.:a..'1ha":.tan. The f .1..vearc•ft:>""-'N-.,•..::-u.-..~A,..,_.-..,,,.,......•..:..i.-,,~T••.::.....SC''~,cu"""J-V.......::.-,,:1.....n..;..,T.,....::....~.... AMONOSE!-I(General Counsel !-1etwork,):U:lTEURZANG·r:i:U.. (VP Standards and Practices,) and JOE cct-r:-IELLY(VP Sales).

CRANEY sits.

AMUNDSE~ I don't even want to think about the litigious pcssi~ilities, Frank. We could be up to our ears in lawsuits.

BAC'~TT The affiliates will kiss your ass

~ ·if you can hand t..1'1e.,uahit show. ('y(

(stands) All I kr.cwis t.~at this violates every canon of respectable ~road- easting.

CHA?lEY (Contd) I don't fancy myself t.~epresident of a.whorehouse.

CB.ANEYsits.

HAC:-<ETT (flagging a NAITER) Max Schumacher doesn't work at this ne~...rorkanyrr:ora.M.r. Ruddy fired hL~ last night. (to the WAIT~R) A telephone, please -- (to his COLLEAG"vES) Bob McDonog-..ih'sru."'ll1ingt.JleNews Division now --

A phone is placed before HACKETT, who promptly picks it up and mur.nurs:

.. MAX is on th~ phone and cleaning out his cesk and

offica at the same ti~e. There are e~otv cartons avcr;whc:-e into which MAX is dur:i.pinghis..files. There are piles of files on his desk, •.-.,hichhaisski::T.iing th::oufi:ihevc:1ashe tzlks on the phone?--

BOWARD BEAIZ walks in, carrying an 8 x 12 phot::::,graph--

-BOWAlID puts t."i.ephotographon t..11.edesk infro:i.tcf.MAX.

A.AX(Contd) (studying t.~ephotograph) My God, is t."latme? Was I eve:: that you.."1g? (on ohone) BO"...rardjustshowedme a pic:tu=e of t.."lewhole:::d!1crrcwgang when I was at CBS. My Gcd, Bob T=out, Barry Reaso:i.er,Cronkite, Holle~...beck, and that's you, Heward, right:?-- I'll see you, Dick (hangs up)

They both begin wheezing with laughter. MILTON STE!!\!·1AN pokes his head in --

STEINMru-: What the h~ll's so funny? ...

so

DIVISI0!1

BOB McDONOUGH (VP Network News and i.,teri:':'1head oft.'-:e division) enters, frowning. ~here is a clot of ?EOPLE spilling out f==~ M.?\.XSCF.c:~;cHER'sofficefrc~ whence sounds of LAUG!''!'SRa.--:.dSHOtJT!!lGe..'!lanate.Eventhe SECRETARIES have left their desks to share the fun. McDONOUGH, wondering what the hell it'~:iall about, makes his way tr.roughthe C?JJSH at the dcor, mt.1..-::-.tJ.:i~g: •Excuse rne••• sorry, honey ••• etc.n When he fir:.ally gets through the. outer office and into --

-- what he sees is a room filled wit.'i.NewsExe:-..1tives -- M.1\X,HOWARD, I-1..2l-~YHUNTER,WALTERG!~..N!!l!(Legal Affairs) , MICH..~!,SA..'ID!::.:s,HILTONSTEI!J!-'(_:!..!i',ar:.da COUPLE of your.ger PRODUCERS, delightedly liste.ni~gto this gang of middle-aged men rer.:.e::iberir.gthei:~averi:k days --

BO'i-lLofLAOGHT!:":R--

The room RCCKS.with L~lJGHTER. When it subsices, BC3 McDONOUGH, stand;ng·in the doorway, says:

McDONOUGH Well, if you thi!'l.kthat'sfunny, wait'll you hear this. I've just co:r..edC"".-lnfro::::1Fra..'1.k Hackett's office, and he ~ants to put Heward back on t.1ie~i= tonight. ·Apparently,. the :rati."'lgs jumped five points last night, and he wants Heward to go back on and do his angry-ma.."'\thing.

STEIN...-....A.'l What're you talking about?

Sl

McDOtlCUGn I'm telling you -- they want Howard to go on yelling bullshit. They want Howard to go on I spontaneously letti..,gout his

I anger, a lat~erc.ay prophet,

denouncing the hypocrisies of '1urtimes -- \ I

' \

McOO?:OUGH Hackett. Char.ey was t."lere,the Legal Affairs guy, and that girl fro~ Prog=amr.li.r.g.

GIA.~IN! (inb.g.) You're kidding, aren't you, Bob?

McDONOUGH I'm not k.icdi..~g.I told them: •we're runn.ir.ga news depa:::t.--:tent down there, r.ota circus. And Howard Beale isn't a bea=ded lady. And if you t."1in.~!'llgo along with this bastardi:aticn of the news, you can have rayresisna~ion I along wit."1!·1a-...:Schu."':lachers=ight now. ~..r.dIt~ink !'~ s;ea<ing for Howard Beale and everybc<iy

else down there in News.

68. Drr: 5TH FLOOR CORRIDOR - 3:00 P.M. 68.

Ma. RUDDY, slim, slight, white-haired, i."'=l;,erially elegant i.."lba."l.\i;.er'sgray,cc.-nesdow'Tlt.1-ieco:::::-ic.or towards Rcom 509. A VIDECTl-.PEH.-;.~,poppingout of one cf the rco::i.st.~atdebcuch offthis ccrricor, quickly stops, sta."'ldsstill--

VIDEOTAPE :,..A."1 (muxmurs) Afternoon, Mr. Ruddy -

Be passes on towards

IMT: ROOM 509 69.

as RUDOY enters. The SIX SEC?.:S':']!.-~IESpecki...,_gawayat their t;r9Fewriter·sallpause to :::n.J-~u:awed--

SECRETA..~!ES Good afterncon, M=. Ruedy -- Gocd afternoon, Mr. Ruddy etc.

•• as RUDOY passes t.'1-iroughto --

Where MITZI (MAX'S SECRETARY), at her desk, mur.:turs:

MITZI· He's waiting for you, Mr. Ruddy --

Ha goos into --

(

71. INTt M.t\XS OFFICE 71.

•- And closes the door.

--. ;.,C· RODDY

Nelson Claney tells me 3eale may actually go en ~he air t..~isevening.

,

to do it. Are you goi..,gto sit utill for this, Ed?

mmoY (takes a folded piece ,of paper fro~ his inside jacket poc~et) Yes. I thi.."'lkHackett'soverstepped

,

himself. T~ere's some kind of ccrpo:ate ma.,euver:L~ggoing on, Max. Hackett is clea::ly forc:L,g a confrontation. T~at would, account :or his behavior at the stockholcers' meeting. However, I thir..khe's ca~ing a serio~s mistake wit.~t.~isSeale business. c. c. ar.dA..would never ma'l.:esuch an open act of briga..,dage, especially against the News Division. They are s~eci:ically enjoined against e.~yr:ianipulation of t.~e News Division in the consent decree. I suspect c. C. and A.·will be upset ~y Hackett's presumpt~ousness, cer-:.ainly~.r. Jensen will~ So I'n gci.,gto let Hackett have his head for awhile. He just I:.ightlose it over this Beale business. (places the paper '' on .t,1.A.X'sdesk) I'd like you to reconsider your resignation. (moves to t.~ecouch, sits, crosses his legs, • murmurs) I have to assume Hackett wouldn't take such steps without so~e support on the c. c. and A. t~ard. I'll have to go di=ec~ly t:i~.r. Jensen. · When t.11.athaoi::ens,I'm going tc need every friend I've got. And I ce:tainly don't want Hackett's people in ali the divisional positions. So I'd like you to stay on, ~ax.

Be opens the door and leaves.

7sO0 P.M.

MAX sitting alone behind his desk in a dark of:ice lit only by his desk la:::.p,watching the Network News Sho-J starring HOWt\EDBE.iU..E onhisot:ice console -

but.Monday s ratj:.g drcpped two points, clearly suggesting the novelty had worn o:f --

On the office console, HCWA.."=IDBE..U.Edoesn'tsee.~~o much different tha.'1he had always been. He scowls,

J···

frat'llls,seemsto be cutte.ri.-:.g--

\.._

73. 73.

On the office console, the Network ~ews She~ has cc~e to an end; the CLOsz:;GTSE:·!:.:MOS!Ce=:ergesin-:.o SOUND, and t..~eshow'sCREDITS begin to roll. !·!A:< clicks of= t~e set, folds his hands en the cesk a:1d sits glu..~lyregarding his folded hands. A.ftera moment, he becc~es aware of a.~otherpresence in t~e room and looks to the doorway where OI.;..'iAC?_,:s-::z:-:s::: is standing, wearing a white blouse and dark slacks I and car.::yi:,.gherjadcet:and purse. If we haven t already not.icedhow att:..ract:.vesheis, we do new -- ··standing as she is, :ra.:-::edinthedocrway, backli~ by t.~elights o= the ceser~ed cc~.:nonroe:'!\,suddenly sensuous, even voluptuous.

-

all pretty successful, even in a \ bear market and selli.'1gshc:t. I met or:.eof the.-rnaccuple of weeks ago and thought of doing a show around her -- The WaTNard Witch of Wall Street, sotr.et.,.ing like that. But, of course, if her tips were any good, she could wreck the ~.arket. So I called her this morning and asked her how she was en predic~ing the :utu=e. She said she was occasionallv crescient. •For exa."ilple,"shesaid, "I just had a fleeting vision of you sit~:L~g in an office with a craggy middle-aged re.anwit..~ whom you are or will be emotionally i.,volved." And here I am.

' DIA.NA No, this one operates on parapsychology. She has trance- li.x.eepiscc.esand feels things in her er.ersyfield. I think this lady ca..,bevery usef.ul to you, Max.

O:tA.NA Well, you put on news shows, and he=e's someone who can predict tcr:torr~~•snews for,you. Her na.me,aptly enough, i.sSibyl. Sybil the Soothsayer. You could give her two minutes of t=ance at the end of a Howard Beale show, say once a week, Friday, which is (MORE)

MAX.

:1. ...,-"' are you?

( ' DI:wn

I watched your six o'clcck news today -- it's straight tabloid. You had a mi~ute and a halt on {MORE)

rest ,ofus. All I m saying is, if you're going to hustle, at least do it right. I'm going to bri.~gthis up at tcmorrcw's network meeting, but I don't like network hassles, and I was hcpi.~g you a.~dI could work t.~is out between us. That's why I'ra here right now.

They appraise each other for a m=ent; clearly, there are the FOssibilities of sc~et.~i..~gr:orethan a professional relationship here.

MAX ' Well, Diana, you bring all your ideas up at the meeting tc::lo:row.' Because, if you don't, I will. I thin.tcHoward is ::takinga godda"n fool of hi..~self,and so does everybody Heward and I know in this indust=Y• It was a flu..~e. It didn't work. Tomorrow, Howard goes back to the old format and this gutter depravity comes to an end.

She leans forward to flick her ash L~to ~.A.X'sdesk ash tray. Half-shaded as she is by the cone of ligh~

issuing from the desk lamp, it is nipple-clear she is era-less, and I1A.Xcannot help but note t~e asse.::tive swells of her body. DUNA moves languidly to t..-iedoor and would le~ve but M..AXsuddenly says:

Dl:ANAmoves back to t..~edesk and crushes her cigaret~e out in the desk tray.

I think I once gave a lect~:e at the University of Missouri.

I was in the audience. I had· a terrible schoolgirl c::ush on you for a couple of ~on~hs.

She smiles, glides to the doorway agaL~.

DIANA pauses in the doorNay, and then QOves back briskly to th.edesk, picks up the telephone receiver, taps out a tele:hcne r."~ber, waits for a mc::..ent--

She returns t.~ereceiver to its cradle, looks at MAX; their eyes lock.

We'll see.

She moves for the door. MAX stares down at his desk •

• MAX (mutters) Sc.11.muck,what'reyou getting L~to?

Be sighs, sta.,ds, flicks off his desk laI:lp•

MJ\X and DIANA at the end of thei.::'dinner. In.fact, ·MAX is flagging a WAITE:Rfor t•,..;ocoffees,black --

- middle-aged man reaf£ir::1inghis

middle-aged r:1a..'"ihocdanda· terrified young wc::i.anwitha father complex. What sort of script do you t.'lin.~wecan make out of this?

··~

greening of ,i!!..r.:ierica,oa.."'l,

'/'-'

remember all t.h.at'.?God,what

year at college, I lived in a con::nune,drop;ed ·aciddaily., joL-,,ed·four=adical g=ou?s ,:..'"7.d fucked myself silly on a ba=e wooden floor while scr.ie.body chanted Sufi su.ras. I lost six weeks of my so?homore year because they ~u~ me away for trying to jc.mpoff the top floor of the Ad..~inistrationBuildi~g. I've been on the top floor ever I since. Don t open any windc-..:s around me because I just might jump out. ArnI_scari."'lgyou.of:?

,, six years of analysis and pretended

to be sane. My husband railoff with his boyfriend, and I had a.."l af.fai.rwith -::-.y analyst.Hi~told (MORE)

me I was the worst lav he had ever had. I ca.'"l'tteilyou hcr...r many men have told me what a I lousy lay I am. I apparently ' have a masculine ter.pera~ent. I I arcuse qui~~ly, consu.tmnate l prem~~u=ely, a.ndcan't wait to I get my clothes back on and get out of that bedrocm. I see."11 to be inept at everything except my work. I'm goddam good at my work and so I confine myself to that. All I want out of life is a 30 share and a 20 rating.

'rheWAITER bri.."'l.gSt.11ecoffee.

They s:nileat each other.

-- DIANA

Is your wife in t.:wn?

Dark. Blinds drawn. MAX and DU.NA lying na.~edon a maelstrc::nof sheets, both still puffing f:cm what must have been an ebullient bout in the sack --

She bounces out of be::iandsta."'!dsnakedi."1t.."'leshadowec.

-,....,,. darkness, a.J:rnsakimbo,looking happily down at MAX on i( the bed. \..

All right, enough of this love-ma~ing. A.reyou going to.let ne ta<e ever your net:'«orknews shew or not?

HOWARD BEALE, fast asleep in his dark, e:cpty, hushed room.

(sudde.."lly) I can •t hea.:you. You 1 11 have to ·speak a little louder.

He gets up on one elbc~, eyes still closed, ~cks his head as if he were listeninq to soceone mum.bli~g ===~ the rocking c.,airacrcsa the roOQ.

r

He sits up, gets out of bed, walks around ar.d?erches on the fcot of the bed, stares at the ~~pty rocker, nods his head. as if he is following a cc.:1?licated argument --

Whoever he thin..li;she istalkingto apparently gets up and crosses the rocrnto the overstuffed cha.i=and sits there, si.,ceEOWA..'P.!'lfollcws thismove~€nt:.wit..~hiseyes and finally gets up a.r:.dpe::-cheson-c.r.esic.aofh.isbed in order to continue -::.."lecuriousconversation.

BOWA?.O listens, sighs, shrugs:

A.M. DAY

Bright sunny day to establish the next ~orning.

MAX enters. The usual morning h\linof act:.ivity. PHO:::::s RING. HARRY HUNTER, goi.,gover scme w:..:ereleases ·..,.:.t..n his HEAD w"'R.ITSR,looksup as :--1.?\Xapproaches--

MAX Veers off for --

E~ at his typew-riter, clicking away. MAX leans in through t~e open doorway --

-

propnet any core.

SO"'l'lruaJtu.-nstoregardMAX i.'"1thedcor..;aywit."l.asweet adle.

'?his gives MAX pause, to say the least.

,.. lead the peopie fro~ the waters.

I must stay thei= sta~pede to the sea.

MA.~takes a step into the office a..~dcloses the door.

...f';'

MAX

'~ You have heard voices. Swell. -· What kind of voices, Howard?

(MORE)

I MAX (contd) i. Still small voices in ~~e night i or the mighty thunder of Gcd? Boward, you've finally done it. I You've gone over the edge. \ You're nuts. II BOWARD I I have been called. This is my witness, and Imust make it.

Be opens the door, goes back L,tc --

- where he stops, tu:ns and wheels back to HOiZA...""qD's office -

BOWARD see.msnot to have heard hi..~,continues peck.i..~9- ·awayat his typewriter. MAX scowls, turns, exits --

~he wall CLOCK says 6:29. The control rcom STA:~ are all at their posts mu_·•-r.uiringa:;ay.HAR.~YHUNTERis on the phone --

82. 82.

On the SHOW MO!-lITOR,w:~·iJ'iJ'U::>BEALEathisdesk, shuffles his p~pers, leeks up fo= his cue. The wall CLOCK clicks to 6:30, the DIRECTOR rnur:.tu.=sinto

his mike. HOWA:imlooks out from the sc:een tc his vast audience and says:

talk a little louder. And the Voice said to me: "Iwant you to tell the people the truth, not an easy thing to do; because t.~e people don't want to knew t..~e truth." I said: nYou're kiddi:lq. How the hell w·ould I knew what

the tru-:.his'? I mean, you have to picture me sitting the.reon the f cot of t.hebed tal..t:.i.,gto an empty rocking chair. I said to myself: n?.oward, you are son-.eki."ldofbanjo-brain sitti."lg here talkinc to an e."n':::tvchair." But the Voice said to-me: "Don't worry about the truth. I'll put the words i."lyou:::mouth." And I said: "w1latis this, the bur::inc; bush? For Gcd' s·sake, I'm 11ot Moses."· And the Voice said to me: ..AndI'm not God, what's that got to do with it "

BARRY HUNTE~ still on the phone as the rest of the control roc:n STA.F~just sit t.'.erestar::...--:.;atEC~O.?.!:> on the MONITOR --

MAX behind his desk on his phone, chin cupped in his right hand, staring gl\.lr.l.lyatHOWARD onhis CONSOLE --

- goddamit, you're at least capable \

of self-preservation! That's \ / good enough! I want you to go out and tell t.'i.epeopleto preserve themselves - "

as. INT: STUDIO - NET"riOR..T{NEWS ss.

TIGHT SHOT OF HO'Nn..-=to, his voicerising,hiseyes glowing with increasing fervor --

DIANA watching EOWARD on her CONSOLE --

IN'l':MAX'S OFFICE 87.

,..,-...1;--, ~, MAX, no longer on the phone, is leafi..~gt.'l.rougha

loose-leaf add=ess book --

MAX taps out a telephone number on his private li~e --

as. INT : FIFTH FLOOR CORRIDOR 88.

as BOWARD and E..~~yHUNTER, fo.llowedby the rest of the cont:::"olroomSTAFF, ccme out of the staL""Wayand head down the corridor to -

89. - INT: ROOM S17 - NIGHTLY NEWS ROOM 89.

where HUNTE~ and HOWARD move towards HOWARD's office while the re~t of the control roci C?.ZW disperse to their own desks and to e.~cha.~gemut~ered cc.T.=entswith those Nightly News PERSON?-1ELstil.l at t."':.eirdesks. BOWA.IU) walksst=aight·as a ra.ilrod,eyes uplif~ed, serene to the point.of beatitude. He and HUNTER. go into --

where MAX is sitting, waiting on the couch. He stands --

HUNTER does so.

MAX (Contd)

·-

Sit down, Howard. Howard·, I'm taking you off the air. I called your psychiatrist.

,.r;;:: .... behind his desk) ..

What's happening to me, Max, isn't mensurate in psychiatric ter::s.

- I einimbued , ~.a."<.Iam imbued

with sc:nes~ecia.l s~irit. 'It's not a religious feeiing at all. It is a shocking eruption of grea~ elect=ical energy! I feel vivid ar.dflashing as if suddenly I had been plugged into so~e great cosmic elect=o~agnetic field. I feel connected to all living things, to flowers, birds, to all the ani.uals of the world and even to some great unseen living force, what I thir..k. the Hindus call prana. (he stands rigidily erect, his eyes stari.""lg

·~

face revealing the

,,,.J-.. anguish of so

transcendental a

l (

state) It is not a breakdc·.-m.I have never felt so orderly in my lifel It ·is ashatteri.~g and beauti:ul sensation! It is the e..~alted flow of the space-ti::lecontinuWil, save that it is spaceless and timeless and of such loveliness! I feel on the verge of some great ultimate truth. {he stares haggardly at MAX, his breath coming with great difficulty now: he shouts)· You will not take me off the air

- for now or for any other

spaceless time!

Be promptly falls in a dead swoon onto the floor.

---.....--___..._....-·--

A CRASH OF THUNDER -

~BONDER CRASHES.outside. RAIN pelts agai.,stthe windows. The room is dark. MAX and his wife, LOOISE, are fast asleep in their hushed room. CA:-!ERAPA.'?11S, COLLIES slowly out of the bedroan and i..,to--

Dark, hushed, sleeping. HOWARD is asleep on the livi."'lg rccm.couch. Or rather he was asleep, fo::he now slowly s'its up, then stands i.."1hisborrowed paja:!:las,goesto the hall closet, fetches out a ra:L,coat, ur.chains, unbolts and unlocks the front dcor of t.~eapa::t=.ent, and goes out --

9 3. EXT : A STREET I?:TH:E:EA.ST6 0'S - OVEP..C.M.STDAY9 3 •

- WEDNESDAY, OCTOBER 2 - 7:30 A.M.

Another cR.;.sHand·Rt.D!BLEofTHU!-i"DER.RAI?:slashes through t.""l.estreets.The sky is dark and lowering --

~"1 CLOC:-<BUZZING. MRS. LOUISE SCHUM..::..C3ER,a handsome mat::onof 50, clic~s it off and gets out of bed. MAX tu::nsin the bed, sleeps on. TEu~;DER·a.,d :RAZN o.s. LOO!SE star~s sleepily for the bat.7.rcom, pa.uses, t.~engoes out into the -- ·

-- and down that to

- where she stands, frowning. The couch, which had been made up for a bed, has clearly been slept in but is now empty. She looks back up the hallway to the guest bat..~roc:n.The door is open, a.~dthere is obviously nobody in the bath.rccm. She pads ac::oss the living ream-dining rocm area and pokes her head

·-·-··-

pauses a moment outside her daughter's closed bedrccm door, opens it, locks in, closes it ar.d then retu...~s tc --

llrr:·THE BED ROO:•t

She sits on MA.X'sside of the bed, shakes hie awake.

She moves off.

He slowly sits up.

HACKE'l."1'inarage, shouting at ~.AX slur:ipedina soft chair. Others in the room are OIA..~Aand r-::E.R.3 THACKERAY.

HACKE'l'T {rage) What do you mea..~you don't k~ow where he is? The son cf a bitch is a hit, gcddg-:..~it1Over two thousand phone c·alls1 C--odC"...-n to the cailroo::ii As of this minute, over fourteen thousand telegramsl The response is sensational! Herb, tell h~~1 (TllA.C.KE:RAYstartsto tell him, but HACKETT roars on) Herb's phone hasn't stepped ringingl Every godda~ affiliate from Albuquerque to Sa:ldusky1 The response is sensational! (the PHONE RINGS, HACKETT seizes it) What? ••• All right ••• (he-hangs up, snaps at 'l'HAC!<ERAY')· It's your office, Herb. You better get back there. --- THACKERAY exits. HACKETT roars on - - . -·- ..

) EACXETT (Contd) \,(~ Mcldanian called me1 Joe

Donnelly called me! We've get a godde."tlhit,gcddam itl Diana, show hir:it.11.eTi.,:ies1We even \ i got an editorial in the holy goddam New York Ti:r..es."A Call to 1".cralityl" That crazy sen of \ a bi~ch, Beale, has caught onl I So don't tell me you don't know I where he isl

tomorrow, he ll have a 50 share, maybe even a 60 share. Howard Beale is processed insta.11tGod, and right new it looks like he

- may just go over bigger than

M~y Tyler Moore.

,, MriX

(toDIA.~A) And you go along wit.~t.~is?

Well, let s just say, fuck you toe, honey. (to HACKETT) Howard Beale may be my best friend! I'll go to court. I'll put hi:n in a hospital before I let you exploit hL~ li~e a carnival freak.

RACKE:'!'T

.... Greatl We need all the press

we can get.

HAC.~TT (his PHONE BUZZES, he picks it up) T~~, Heward Beale has disappeared. Tell Ha=r~-:-.anto preparea big stata~ent for t.~e news =.edia. And call the cccs and tell them to find t.~ec:aZy· son of a bi-:ch ~-

6:40 P.M.

THUNDER CF.A.SHES-- R.11.!Nlashest..1iestreet. l?EDES'?RI:-.NS struggle agaL~st the slashing rain. The streets glear.1 wetly, the heavy TAAF;IC heading uptc-..mcrushes and HONKS along, erratic enfilades of headlights in t..~e shiny, black streets --

97. CLOSER ANGLE 97.

0£ entrance to UBS Buildi.--ig..HOWARD BE'.;I,"=:, wearing a coat ever his pajamas, c..renchedto the skin, his ~op of gray hai= plastered i.--istreaksto his brow, hu..~chedagai~st the :ai..~,cli::-.=st.~esteps a.nd pushes the glass door at the ent:ance a.~dgoes into --

T'r10SECURITY GUA...ttOSat":hadeskwatch HO'iVrk..~pass....

'""

SECURIT'!GUARD How do you do, :,1r.Beale?

BOWARD stops, tu=ns, stares haggardly at the SECURITY GUARD.

- I

I SECURITY GuAP.D I (an agreeable fellow) I. Sure thing, Mr. Beale.

HOWARD plods off to the elevators.

Murmured, efficient activity as L, previous scenes. DIANA stands in the back in the shadows. On the SHOW MONITOR, JAC:{ S!1C1:-iDEN,BE;..:.z'sreplacer.ent, has been doing the news st=aight --

PRODUCTION ASS!STA!~T Five sec;onds--

All.this is UNDER and OVER!..APFEDby HA.~RY HTJNT.=:R answering a BUZZ·on his phone

....

DIR!:CTOR Get ready to roll her

T

1 Ten seconds corningto one --

Dl'.ANA Tell Snowden if he comes in the studio to let hi.r.lgoon.

'rhe DIRECTOR r.ods, passes on the L~st=uctions to his A..D. on the studio flcor.. On t.."'leSEOW!-!C!H:--0:R.,weare seeing footage o= Rockefeller crowdi..~ghis way t.:it..~e I speaker s rost::'u..":i,andwearehearir..gt.'i.eVOICEof Edwa:d Douglas in Provo, Uta.~ --

On the SHOW XC::UTOR, Roc.~efeller flips onto the screen to say--·

Nobody in t..~econtrolroom is paying tee much attenticn to Rockefeller; they are all watching t~e double ba!lk of black-and-white monitors which show ~CWARO 3:::A.!.E entering the studio, drenched, hu:ichad, sta=ing gaun-=1.y off into his o,;.,-nspace,r:i.ovingwit..'-lsingle-r.unc.ed purpose ac=oss ~~e.studio floor past ca.-::.e=asand Cal:lesand nervous CA1·fERAMEN,SOU!-:0~iS~,ELEC':'?..ICIA:is, ASSIST.'\..NTDIRECTORSand ASSCCIATE PRC!::t.:CER.S,tohis desk which is bei.~gvacated !or hi.-::.byJAC:-<s:;c.•,'DE!:.. On tho SHOW MmaTCR, the filr.1clipon Roc}cefeller has ccmo to an end.

DIR!::CTOR And one

-- and, suddenly, the obsessed face of HCWA.R.OB?:AI.E, gaunt, haggard, red-eyed with unworldly fervor, hai: streaked and plastered on his br~~, ma.,i:estly ~ad, fills the MONITOR SC?.ZE!l.

Worse than bad. ·rhev re cra:zv. It's like everythingis going· crazy. So we don't go out any more. We sit in the house, a~d slowly the world-we live L~ gets smaller, and all we ask is please, at least leave us alcne in ou:.-cwnlivL-ig :.-corns.Let ::-.e have my toaster and my tee-•1ee and my hair-dryer and my steel-

belted radials, and I won t say anything, just leave us alone • I

alone. I want you to get rna.d--

ANOTHER A...~GLEshewingt.1-ieraptattention of t.~ePEOPLE in the control room, especially of o:c;.•..NA

going to take t.~is any morel

But DIA.~A has already left the control rcon and is scurrying c.own

-- yanking doors open, looki..,gfor a phone, which she finds in --

lOl. INT: AN OFFIC:: 101.

DIANA bursts -:iutoft..1iejust-arrivedelevate= ar.d. strides down to where a clot of EXECUTIVES anc!OFF!CE PERSC~'''NELareblocking an open doorr1ay. DIA..~Apushes through to --

10 3. mT: TEAC:<ERAY':;CITICE - STATIO!i'SRELAT!C!1S 103.

HERB THACKERAY on the phone , stari."l.gup atEow;._tU:) BEALE on his wall monitor --

Both THACKERAY'S SECP.ETARY's office ar.dhis cwn office a.refilled with his ST.AF~. The Assistant VP Stations Relations, a 32-year-old ·fellowna.-:i.edRAY?ITO:FS~'?, is at the SEC?.ETA?.Y'sdesk, also on the ?hone. Ar.ot..~e:- ASSISTAllT V? is standing behind hi.:lon t.~eS:E:C:2.:ET.?.RY•s other phone --

DIA.~A (shouting to TEACKER.~Y) Whom are you talki.,gto?.

THACKER.~Y

BOWA.tm (ONCONSOLE) -- we'll figure out what to do about the depression --

- ATLA...~TA

The GENERAL MA...~AGZRofh"CGG,Atlanta, a pcr-:.ly58-yea:- old man, is standing by the open windows of his office, staring out into the gathering dusk, holci..~g his phone. The station is loc~ted in an Atlanta subur~, but f:om far otf across the foliage surroundi..~gthe station, there can b• heard a faint RUMBLE. On his office console, HOWARD BEALE is saying --

·~ HOWARD {CN CONSOLZ)

- and the in.flation and the oil crisis -

G:E:NE...ttALMA.'iAc;-.c.R. (into phone) Berl:>,so help me , I th.in.if:they' re yelling -- \

- 10S. I 10S. :mT: T.BAC..~~'S OFFIC

PllOFSXY (at SEC!'.E.T.h..~Y'sdesk, ,on the phone) ~y•re yelling in Baton Rouge.

·DJ:ANA grabs t.."1.ephonefrcmhi::1a."ldliste.."lstohe

people of Eaten Rouge yelling their anger i.."lt..'le st:eets

BOWARD {ON CONSOLE) - Things have got to cha.."lqe. But you can't cha..11get.11emU."lless ycu're mad. You have to get mad. Go to t.11ewindo-..r--

D:IANA (gives phone back to PITOFSKY; her eyes glow with e..~cite=.ent) ~ next ti::lescr..ebccvasks you to e..~plain~hat rat.:.."lgSare, I you tell t.~ern: t.'latsratings! (e.."<Ul.ts) Son of a bitch, we st.rue..~the mother lode l

MAX~ }IRS. Sc:n:n-11'.CHE:R,andtheirl7-year-olddaughter, CAF.:OLJ:nE,watchi.,gthe Uet"..rorkHewsShow --

take this ar.y more!

CJ\nOLnlE gets up from he.rchair ar:.dheads for the living roe;::,.-wi.r.dow.

LOUISE~ Where are you going?

'l"!--~~'-·""'...-.....L!.'ll@""P~-IIIIJZZ!:9/""IZRCPIIPl!i-~,--~(!"!.._~_.,..,il"!".Ql!l'l4'1114""'""1#A12'.-.a•.....==..us~.,,.epi;,._._.,.__,______________---

BOWARD {ONT'l SET) Right nc-..1.Get up. Go to your window

-

CAROLrnE opens the•windcw ar.dlooks out on the rain-swept streets of the upper East Side, the bulking, ar..onymousapa:~~e.""l.thousesar.dt~eoccasior.al brownstones. It is thu..""l.derdark:adista~tclap o: 'rS'CJh"DERCRASHES50?::-;f!Whereo::and!.IGh"':"':;:r:;Gshat't.e::-s the dank dark.~ess. In the sudden HUSH :cllcwi~g 't.~e thunder, a thin voice do·..rn.theblcckcan ~e tea:: shoutir..g:

BOW"r...RD(ONTVSET) -- open your wi...""l.dow--

MAX joins his daug::.terat t,.;.ewinda:.;.RAI?-tsprays against his face

108. MAX'S P.o.v. 108.

He sees occasional wi..""l.dcwsopen,a..""l.d,justac=oss from his apart=.enthouse, a~-:\..~openst.~ef:cnt door of a brownstone -- • ~.AN (shouts) I'm mad as hell and I'm not going to take t.~isany morel

OTP.ERSHOUTS are heard. From his twenty-third floor vantage point, MAX sees the erratic la..~cscapeof Manhatta.~ buildings for sc~e blccks, and, siL~cuetted HEADS in window after wineow, here, there, anc t~en aee."l\inglyeverywhe=e, SHOUT:n2Gout i."'l-::..ot..'.eslashing

- black RAIN of tr.e streets --

A terri~v.;""C'--••~..,,e..,o.,....·ous....t,....rT~-::i__...._,...,;:--.............------...,1":"'UT_,_.......•,.,,.,-....,'=',::,....,_....,,::...,,,,.....,ed___ by a frantic brilliant :ULGUP,.A.'~IC!Icfr.:G~':'!lI!:G;a.."1d now t..1.egat.":.eringCHORUSofscatterec.SnOU':'Ssee.T;1sto bo coming===~ the ~hole, h~ddl~d, blac~ ho:de of ~~e

J~ city• s people, SC?..E..';,H.INGtogetherinfu:y,an

indistingui!lh.a.bletidal roar of htr"'anrage as

:r:-.-

for:::::iidableast..-ien.atu:.:.l.TS'U!,"'DERa;ai.~ROARI!?G, TmnIDE?J.!lG,Fl.i:1.EL!!iGabove.It sounds like a llure:::l:lergrally,t..."'.eairt.."'lic::kandt=en:,lingwithit -

•109. FOLL SHOT - MAX 109.

- st:1.ndingwith :.!Q DACCRTZ~ by the open ter:ace window-

doors, RAiltspraying against t..~e.:i,listeningto the

him. He clcses his eyes, sighs, t."'.ere sr...othir.qhe can do al:Joutit,any ~ore, it's out of his har..ds.

WEONZSOAY, CC':OBER 16 - 12:00 NOON - DAY

A jt::ll:)o747touchesd~.m at L.A. Air~rt --

I

NAR..t>.ATION Sy mid-OCtober, the Hawa:d Beale show had settled in at a 42 share, core t..11.anequallingall the other ne~..rorknews shows canbined --

111; lll.

DIANA ar.dB..'\..~ARASCF"",'F:SI!~ER,ca.rryingattachecases, scripts, ha.."'l..d.baggage,deplane--

NAA.~TION ?n the Septe."':'.be:ratingbook, the Howard Beale shew was listed as the fourth hiqhest-rated show cf the r..ont:,.,sur:,assedonlvbv All in t.li.eFa.":lily·,Rhoda,and- Chicc and t..~eMa.~-- a phenc:enal state of affairs fo:ra news progra..iu-

A towering glass buildi..~gen Santa Monica Boulevard. IDE!rI'IFY.

And, on October the·Six~eent..~, ·DiAn.a Christenson flew to Los Angeles --

l.13. nrrI l't"ESTCOASTUBS BUI1'....0ING-ACONFERENC:E: 113.

NJOH

DIA."'V\ata luncheon moetL~g (sandwiches and containers

of coffee),with her West Coast Programming Depa.rt:nent-

-.for what the trade calls I \ pow-wows ar.dconfabs wit.'lhe.r West Coast progrz::::mingexecs -- \ I These a.:eFOOR ME!land TWO WO!€-l: GLE..'mKOSSOFE'and l ' :BARB.AP.ASCHUSI~GEE.: the TH?,,:,F.:O'I'EERHENaret..11e Assista.~tV? ?reg=~~ Develo~ent West Coast, Head of the Story Depar=-:emtWest Coast, and a !1.r.Nfrom Audience Resea:ch ~ the ¼OP-~1 is VP Oayt.i:.eP:ogra..'!ni:,.g West Coast. They are all sitting around a tY?ical mod-shaped con=e:er.ce table except for DV..:-IAwhois moving towards a large display boa:d at the far end of the table st:et.:::hi.."lgthelengt..~oft!:ewall.This is an i.."':i:provisedp=ogra.'1.."iing"boa:-d."Itshows-- through movable heavy cara=oard pieces -- what all four net'~"'Orkshaveon by the half hour for all seven days of the week --

BILL HERR.ON pokes his head L~to the room --

HER.~ON (toDIA.'1A) I've get Laureen Hobbs' lawyer on the phone. Is five-thirty okay, e.ndwhere would you like to ?:l.eet, here or at the hotel?

-

(to SCHLESI~GE.R) Let's put Hy Non:-..anat five -- (tc HERRON) Five-thirty is iine, a..,datcy ----office, if t~ey can't ~ind. · · \'bac,.,....._'"'"'...,q.,,......,..,.,4.. ..'-"-'··~-..,__..,'---- and her exhor~ation - ...._ . to the orogram.":'l.i.ng - .-··-·people)- · (MORE)

An utterly bland of:ice kept for visiti~g fi:e~en. OI1'.NAis behind the desk. BA?..BARASCHLES!~GZR is sitting en the couch. GLE~"NKOSSOFF is ushering TWO GE?;TLE!1ENout, spots so:::ieoneint.~eouter office --

Ee ushers in a silver-haired, suntanned, f:esh-f:om- the-tenniscourt ma..~dressed in Califor:1ia elegance, rakish blazer, archetype of all L.A. television pack- agers -- HY NORMAN --

Schlesinger, but I don t know if you k..~owDianaC.~ristenscn --

NO!t.11.A.."i (sinking casually into·

the visitor s chair, crossing his legs, flashing a fully-capped set of teeth) As a matter of fact, I t.~inkwe met during the 1972 McGovern-fo=- President ca..-npaign,of which,I am proud to say, I was a principa.l. fund raiser --

DIA.'-:A (leaning a~ross the desk to shake his hand) No, I'm afraid not. Now, Hy, we're running a little late, so I'd like

-

to get right to it. I have en icea for an hour television series, and I'd like to lay it in your lap. Here's the back-up story. The hero is white-calla: middle-class, an architect, aviation engineer, dllyt.hing,adece~t l~~-abidi~; tian. Ee lives wit.~his wife and daugh~er ~n a large city. His

( DIANA (Contd) \

wife and daughter are raped and he's mugged. He appeals to the police, but their hands are tied by·t.heWarren Court decisions. There's not.~ing but pornography in the movies , and va."ldalsbo::::.b his church.. The anir:1alsare I

taking over. So he decides to take the law into his o-..mhands. Be buys a gun, practices till he's an expert. He takes up karate, becomes a black belt, an adept in Kung Fu and all the ot..11.ermartial arts. Now, he starts walking the streets of t.~ecity, decoying muggers into preying on hi~. He ku.r.gfu's them all. Pretty soon, he's joined by a couple o: neighbors. What we've got now is a vigilante g=oup. That's th.e name o: the show -- t."".e Vigilantes. The idea is, if the law won't protect t..~edecent people, they have to ta~e t..~elaw into their own hands.

NORi.'iAN That may be he ~est fascistic idea I've heard in years.

NOR.J.tAN And a shameless steal from a I!:Ovie called "Death Wish."

-

are helpless to deal with it. The victim turns to our group o= vigi- lantes. What the hell, it's FSI, Mission Ir.:possible,Kojack, except the heroes are orcina::--~citi:ens, your neighbors and mine.

'NORi."1A!J (standing) I find the w:1olething repulsive.

DIA..'iA Ycu give me a pilot script we can use as a movie of t.~e.wee~for Jan.'.Jary ,andI•11 co:.::::.ittotwelve segments on the basis oft.hat script.

NOR..'Wl (turns) You'll ccrr.:iiton thebasis of t.~e pilot script?

- slot you on Wednesday nights at

eight cor::ungrightof! the Ho~~-=d :Beale Show, a.~dt..,at'st.~ebest lead-in you'll ever get.

NORMAN opens the door to leave, looks out into the outer of!icc, closes ~~e door, tll.r:ls toDIANA.

-

NOR..'O.N

Iwculd."1 tdoubt it for a :ninute.

115. llS.

Ee opens the door and goes out. On his heels, GI.-~N KOSSOFF is already ushering in BILL EER?.C!-1,LAURE.E!l HOBBS, (a ha...-i.dsc~eblackwomanof35 in Afro and das- hil:i);SAM H.i\'::."'WOOD,{late SO's,ashaggy,U..'l!<.e:.1ptlaw- yer in the Clarence Darrow tradition, gall~ses, st=ing- tie, folksy drawl and all)_;a you..-i.c;erl·a;,;yer,ROBERT MORPHY, (early 30 •s, Rarvar:::intellectu..altype);anc. '!'BREEAGE~TS £:om the Willia."':lMcr=isO.f:f!cena."':ledLZ:~r:t:::, WALLIE and ED, (all in thei: m.id-30's, all wearing t=i~ blue suits and all indistinguishable f=c~ each other). DIA..~Arises to greet t..11ec.,ex-t.endsher handtoLAUREE!~ HOBBS --

DIA..~A Christ, you brought hal: t..~eWillia=i Morris.West Coast.of:::icewit.."1you. I'm Diana c~=istenson, a racist lackey of the i::r.perialistruling ci~cles.

In b.g., meanwhile, SC~LESINGER is exc~anging hellos with the THREE WILLI;..1.1l·10R.RISAGENTSand is being in- troduced to "'.!'leLAWiE.RSandlooking at baby pictures preferred to her by one of the agents. It's all jolly as hell, a lot of c::huc..~lingandsmiling

:,-

SCHLESI~GER (inb.g.) Anybody Yant coffee?

KOSSOFF. and a SECRET.ARY are ha~ling in chai.rs --

Handshakes, ncds, smiles, everybcdy begins to sit. The SECRETARY goes around taking coffee orders --

\ television, I have to regard this :,,,

askance --

More chairs are brought in. DIA!lAwould answer HAY"WCOD

'l'henecessary chairs are in by new, and everyone is seated. The SEC?.ETARY has cone off to fetch t.~eco:=ee. A sudden HUSH fcllc-..1sHAT,..;ro6o•sHeaelianinst:uction, and DIANA would answer, but:.HAYWOOD is nc-..ce·nter-stage:, into the full swell of rhetoric --

A morr~ntof HUSH, in which everybody digests this open- ing statement.

OIAJ.~A She can have it. I don't give a damn about the political content.

WALL!E What kind of show'd you have in mind, Diana?

I We open ~~is two-hcu= scecial with

that bank ripoff footage, which is terrific stuf:, and then we tell (MORE)

Everybody looks to LAUREEN HOBBS.

) napped by ult:a-left sect. She

falls in love with t..~eleader o! the gang, converts to his ir:espon- sible violence. But t..~enshe ceets you, unc.ersta."'ldst..~etr.1enature of the ongoing people's str.lggle for

a bett.er society, an-, in an emo-ion- drenched scene, she leaves her cevia- tional lover and dedicates herself to you and t..~ehistorical inevitability of the socialist state.

We'!l sive you our top deal, which I think is two fifteen and twenty- five. You'll have to talk to Charlie Kinkaid about t..~at. But as long as we're talki~g series now, I'll tell you what I want. I want a lot =.ore f.~ln like t..~e ban.~ripoff the Ecu.T.:enicalssent (MORE)

DIANA

I·suppose tha~•s what 1 scalled ba~ancad prog:ar::ming~

STREET - NIGHT

LAUREEN HOBBS, sitting on ~~e stoop of a pealing cot- tage taL~ing to another cem.ber of the Central Co~.rn.ittee, a middle-aged white man na'T:edWITH.ERSPCON. The door behind t...'-1.e:riopens,andDOWLING,ayoung white man in his 20 's, wearir.;a fatig,..1ejacketaod tern levis and dark sunglasses, pokes his head out:

\. DOWLING Okay --

LAUREEN and WITP.:ERSPOONrise, go up the steps and follow DOWLING into --

FOYER

Dark. An absolute shambles. Cartons, c=ates, news- papers and scraps of food have been littered about. A young black man, WATXINS, (early 20's, sta.~ding on

- the stairway to ~~e second fleer holding a.~ ar:-:~rifle),

watches ·LAt.,7-E:::HandWITE::SRSPOO~lfollowingDOtiLING, and himself follcws t..~eminto --

- or what had been t..~edining room. A naked overhead BULB is t..~eonly light in here. Sitting on a wooden folding chair is the GREAT ;._-q~oKli;..N,a powerful., brooding black man in his early 30's. He wears a hussar's shake ar.dthe crescent .:.conof t.i.e!-1idia.,,it:e:3 hanging pendant az-ound his neck. The chair he sits o~ is the only visible piece of furniture. There a=e tw,::, tattered slee?i.~g bags on t.~efloor, part of a general welter of torn newspapers, empty grocery bags, ham- burger leftovers, etc. The walls are bare except for blowups of Che Guevara, Mao, !-!a.rlonBrando and Jane Fonda, scotch-taped to the torn wall-paper. Cartons and crates here and there, automatic gu.~s leaning against the walls. Boxes of ammunition and grenades and mortar shells stacked against a wall. In atten- dance on the GR.EAT;._'l-f!-1:EDKHANisayou.r.gblackwoma..'l in her late 20 's,r.a."'JedJE::KINS,andayour1g white woman in her early 20 's, MARY A.'i~GIFFORD, who is a fire-eating militant with a bandolier of cartridges across her torn shirt and with a B.A.R. held in her hands. LAU~:S!~ pulls up an empty cra!:e, sits, waves a limp hand of hello to t~e others and regards the

..., ,, GREAT KH.?-..i.'1--

'What the fuck are you tal.king about?

MOSIC:. A RATAPLA..'lOFRETI'U:DF.W..SA.~DA TAnA.."iTARAOF TRUMPETS.

119 • INT: UBS BUILDI!~G - NEW YORE - A CONTROL ROOM - 119 •

MONDAY, JA.."iTJA..qj'.'27,1975

Everybody murmuring away --

'l'heShew Monitor cuts to a beaming A?~rotJNCER--

SHOW MONITOR now shows.pac}_cedAUDIE~CE happily roaring:

'l'heANNOUNCER bee..~ng away in front of a curtain

Ladies and Gentleir.en1 The Network News Hour! --

·-

The SHOW MONITOR --

ANNOtJNCER (CNMONITOR) -- with Sybil the Soothsayer, Ji..~ Webbing a..~dhis It 1 s-t.he-~--:=es- Truth Depar-:..~.ent,Missnata Ha.ri, tonight anc-::.herseg:n.antofVox , Populi, and starring

MUSIC: A FLOURISH OF DRUMS.

ANNotr.;CER (Contc) •- the mad prophet of the air;1ays, Boward Bealel --

MUSIC: A FULL SY}~E'.O!-IYORCR'?':STP-1\.SOARSINTOAN IMPERIAL CRES~lW --

122. 122.

-- as the HOUSELI~dTS go to BLACK. The curtain slowly rises. An absolutely bare stage except for one stai..~ed glass window, suspended by wires high above stage left through which shoots an overpowering SF~':\FTo:LIGHT as if emanating !'::-omheaven. HCWA..P..O:SE.1!..LE,ina., austere black suit with black tie sh&i!bles on f:::-omthe wings, finds the SPOTLIGHT and sta..~dsthere for a ~o=~nt shielding his eyes f:::-omt.~eblindinglight. TUMULTUOUS APPL'\USE f=orn the AUDI3'NCE.

,.. I is the gospel! This tube is the (

ultimate revelation! This tube can make or brea~ presidents, popes, and prime ministers! This tcbe is the most awesome goddamned force in the whole godless world! (MORE}

( BOWARD (Contd)

And woe is us if it ever :alls in t.heha.~ds of t.~e w=cng people. And that's why woe is us t.~at Edward George Ruddy died. Because this network is now in the hands of CC and A the Col:".:nunicat.ions Corporation of i.merica. ~e•ve got a new Chair.:-:a."'loftheBoard, a man named Frank Hacket-:.r.cw sitting L"'lMr. Ruddy's office on the twentieth floor. And -when the twelfth largest compa..'1yirt the world controls the mos-:.a•..;eso::r.e godda.~ned propaganda force in t."le whole godless wcrld, who knows what: shit will be pecidled for trut:2.1en this tube? So, listen to me! Television is not t::etrut.'11 Tele- vision is a godda.-n..,edazr:usement park, that•s what t.elevision is! Television is a circus, a carnival, a travelling troupe of acroba.ts and story-tellers, singers a.~dda~cers, jugglers, side-show freaks, lion- taxters and football olavers. We're

'

in the boredcrn-:<illing :SusinE?SSl If you wa..,tt.:-ut.:i,go toGod.,go to your guru, go to yoursel£ =ecause that's the only place you'll ever find any real truth! But, t1.a.~, you' re never going to get a."'l:ytrut.11 from us. We'll tell you anyt.~ing you want to h4ear. We l ie•1i~e••~e•11-·I We'll tell you Kojack always gets the killer, and nobody eve.:-ge~s

cancer in Archie Bunke= s hc,use. And no matter how much t=ou.ble t.11e hero is in, don't wor~: just lcok at your watch -- at the end of the hour, he's going to win. We'll tell you any shit you want to hea:-! We deal in illusion, rna."'11Noneof

it s truel But you people sit t.~e:e -- all of you -- day after day, night after night, all ages, colors, creeds -- we're all you knew. You're beginning to believe this illusion we're spinning here. You're be- ginning to think the tube is reality and your O\m lives are unre!al. You do whatever the tc.betells you. You dress like the tu.be, you eat like

At whic."lpcint, HOWARD BEALE, sweating an.d red-eyed with his prophetic rage, collapses to t.."lefloc,rina pro- phetic swoon.

BUILDING - MONDAY, JA.'-iUARY27

A_Valhalla of a room taking up the 43rd and 44t.."lfloors of the CC and A Building. It is da:k a.~d t.~eat=ical, the lighting at the moment being p=cvic.ed by the sha!t of LIGnT issuing froo a slide p=ojector at t.~eback of the .rocmonto a large SCREEN on t..11erai~;edpodiu.":1where FRA.'-iKHACKETT in ba..'1..'l(erI sgraysta."'lcsrn,?.3tinghisannual report. On the SCREEN, we see C.."'lartsof:igures, one after the other, which accompany E..;C.~TT'sexplicatio~. A little red AR...qcwdartsf=on one figu.:::etoano-:...:,eras HAC.XETT drones on. Seated in a seo.i-ci:::culara==a."lge- ment like a niniature United Natio:.s a=·e214 SENIOR EXECUTIVES, (late 40's, SO's, and 60's). T~ey each have their own little desks wi-:..."lswiveJ:.chairs,pin- spot lights, ?iles of bound coffi?a."ly~eports,and na=:e- plates giving their na.-nesand cc:::;,aniesthey::ep=esent:. NOTE one specific CHAIR in t.~edead center of t.~efirst:. row that swivels back and forth, back and :ort..~.--

A..~OTHERCLOSER ANGLE on the C?..A.IRint..~efirst row that keeps swivelling back and fort.~.

ANOTHER .A.i.'i'GLEcloser on theswivelli.."lgC".:.A.IRbut still not revealing its occupant.

FTJLL SHOT of P.AC:{ETTbarely concealing his pride

BACl<'ETT(Contd) -- and, based upon t..~eprojected rate of return on invested cat:oita.l,andi:f tnerc;eris eventually accor.-:;:il.is!'led, the cc.-.:..~u..-i.icationsco:::plexmay"'ell beco~e the towering and rr:-0st~p=ofi-:- able center in the entire cc: a.-i.dA empire. I await.you.= (iUest.:i.o.."'lsa.."'l.d COICir£nts. Mr. Jensen?

CAMERA PANS ACROSS the huge dark room of tiered seats to the swivelling CHAIR in the front ::owwhich now swivels to face CA...~RA,'reveali:-iga short, balding, besoectacled ::.:anwit..'1-iaGrantWoodsface. This is ARTHUR JENSEN, the l?resic.entand Chairr:-.anof the Bea.re.

TIGHT SHOT cf HACKETT, basking in th:i.spraise, suffused ( with pride --

JANUARY 28 - l0:30 i.M.

ECWA..t:mGEORGE RUDDY lying in state.

A.~OTHER Al"IGLEshowing the vaulted reache:s of t.'leTernple packed with a sta.~di:igroon audience o: condolers wi~~ ( the white yarr..alka-ed R.A.BBIin b.g. officating. All the NETi•;OP..KB:RASSarespot"t;edaround t."lE!congregation.

CLOSER A..~GLEACROSS t11.AXamongthe condolers, following his eyes to several rows of pews down on t.'leot.."'l.er·side

I

of the aisle where DI.P-.NAissitting. Aware of MAX s eyes on her, she tt:=ns her face a bit s10 t.~attheir eyes meet briefly. She smiles, turns back ·to the ?.ABBI'S eulogy --

EHANUEL - DAY - SNOW

SNOW drifting down. CROWD of overcoate!d condolers flood- ing the sidewalk. A cortege of black l.ir::ousineslined up in front of the temple as FUNER~ OJ::RECTORSguic:e condolers into t."'leirrespective limousines. A cu:ious crowd of PASSERSBY watch. MAX SCEU!·!ACEERt::.::eadshis way through the CRUSH to where Dir..NACHP..!STENSONsta.i-:.cs, murmuring to NELSON CHA..~EYand WALTER ,;l·1Ul{DSS:;, all bundled uo in winter coats. There are rnut-::e=ed"Hello,

II 11

-Max, how a.re you's a.."ldHow' severything, Walter," etc.

DIANA· He~l, yes.

Goodbyes all around, and !1.A..XandDI.Al-:Z;~moveofft.'1:ough the frin<;e of the CRUSH on the sidewa:Lk. C..:;!·:EP..ACOL!...I~S with them. They turn the corner onto --

'rheyhead downtown. They walk silently. SNOW drifts down on them. CANER.ADOLLIES ·.-:iththem.

They walk on silently.

Are you keeping busy?

I wish you had • .

They both suddenly stop on Fifth Avenue between 65th

and 64t.~Streets and regard each othE?r. ~,.occas.:.onal snowflake moistens their cheeks, wet~; their hair.

DIA.~A I bumped into Sybil the 501::,thsayer in the elevator last week. I said: "You know, Sybil, about four rr~ntbs ago, you predicted I would get involved with a middle-aged ~an, and, so far, all that's happened is one many-splendored night. I don't call that getting involved." And she ;said: "Don•t worr:y. You will." It was a rnany-splemco::-ed night, wasn't it, Max? .

Yes, it was.

They stare at each other, bemused by the a.br~?tfragile explosion of their feelings. The SNOW d=ifts dc·.m. PEDESTRI;..11smove back and fort..loiarou."'ldthe:?1.TheFift.h Avenue TRAFE'IC honks and grinds its w,iydowntown.

She laughs, then he. A PASSERBY dart:sthem a curio·..is glance.

127 • l.NT: MAX'S APART!-1ENT- LIVING ROOH - }:C!IDAY, 127.

FEBB.UARY 25TH

MAX and his wife, LOUISE, in the middle of an ugly domestic scene. LOUISE sits erect or:Lan ove::-st.uf::ed Chair, her eyes wet with imminent teau:s: M..~Xstrides around the rocr::i.Ee is clearly undel:great stress.

I don• tknow how I feel. I 'u1 grateful I still feel anything. I know I'm obsessed with her.

'unr.iersta..'"ldt.1-iat?I'rnhurtbadly!

She stares, her cheeks streaked with 1:.ears,at MAX standing at t~e terrace glass door, s1:a.::-ingbli.ndly out, his own ey~s wet and welling. A:Eter a mc:.ent, he turns and regard3 his anguished wi;fe.

He enfolds her; she sobs on his chest.

Be struggles to testrain his tears. She releases her- self from his embrace~ ·

MAX

I m not sure she's capable of any real feelings. She's the television generation. She learned life from Bugs Bu.~ny. The only reality she knows is what comes over her teevee set. She has devised a v2ziety of scenarios for us all to play, as if it were a Movie-of the Week. And, my God!, look at us, Louise. Here we are going through the obli- gatory middle-of-Act-Two ~icorned wife throws peccant husba11d out scene. But, riofear, I'll come back home (MORE)

128. IHT: OBS BUILDING - 1-1.Y.- OIAi:lA'SOF!'ICZ, 128. FRIDAY, FEBRUARY 2S, 1975

DI.AWA, murmuring into her squawk box and, at t.-iesa..--:1e -time, putting last minute things into i!weekend. bag. She is ebullient --

Clicks off her squawk box, snaps her weekend ba_g s!::.:.-:., whisks her sh~ep wool-lined coat out c,fher closet anc strides out in·i:o--

-- where there is no one sitting, and continues out into --

where a fe·w SECRETARIES are still at t.'i.eirdesks• TOM.r-r.lP~LLEGRINOis just coming out of his office

" PELLEGRIHO

(calls to DIA1'1A) Jim.-nyCaan •s agent just cc1.l.led and says absolutely nix.

You ca.'1.twL"lt.'lemall.

PE~GRI!i0 Where can I reach you later today?

D:I.ri.NA _ (exiting) You can't. I'll be gone all weekend.

PELLEGRINO turns ·toBARBARA SCELESI!lGER ·new poking her head out of her office --

PELLEGR!N0 z think the Dragon Lacy got her- self a dragon fellow.

SCHLESI~GER Poor bastard.

131. _EXT: OBS BUILDING - SIXTH AVE:WZ - A:'3:ER!1CO!J131. - DAY

DZA:..'-.A,nowwearingher sheep wool-lined coat and car:y- ing her weekend bag, cc:nesstriding haJ??ily out t."lroug::. the ent:ance c.oors,heads for SSt.'lStr1;?.et,spotsa double-parked ca:::,and heads heedless c:>ftra::fic across t.."lest:eetto --

MAX SOIUMAC:-tERin a rented Chevy, leaning ac:oss to _ ope~ the deer for her. She slips into t.~efront seat, slams the door shut, nestles her head en }L?...X'sover- coated shoulder, as he s~arts the ignition

(happy and in love) NBC's offering three point t~o and a half mil per for a package of five Ja~es Bond pictures, and I think I'm going to steal '!:;her:,. for three point five wit., a t..'li=d rtJn --

'rhey move out into the heavy traffic c)fSixt..,Avenue

133• EXT: DESERTED BEACH IN THE H.i\.'1:?TONS••DUSK 133.

'l'raditional lyric love scene. The t-..;<:>r..ackL""law-ed lovers walking hand-in-'ha.'1.dona lo'V"elystretch of deserted winter beach. The tide is c;:,mingin ---

DIA.'tA (bubbling) The Vigilante snow is sold fi::::=1. Ford tco~ a coraplete position at, so help~~, five-fifty CPM. In fact, I'~ moving the.Vigilante show to nine and I'~ going to stick the M~o Tse Tung Hour in at eight because we're having a lot of trouble selling the Hao I ·Tse Tung Hour. This way we give it a terrific lead-in fro~ the Boward Beale Show and we'll back into the Vigilantes, a.,dit certainly ought to carry its own t:L":l.eslot ··-

'.theobligatory Italian restaurant, checkered table- cloth, candles, wine, etc. DI.ANAand MA..Xat c..:L,ner, utterly rapt in each other --

DIANA and MAX getting out of their car and heading for one of t.~e ground-level rooms, MAX u.nlockir.g t.~e door --

They go int:o --

MAX flicks t.~e light on, kicks the dcor shut, a:ndt...~ey

embrace.

She busily removes her shoes and unbuttons her.blouse and whisks out of her slacks: and, dcwn to her b£~ini panties, she is new scouring the walls :fer a t.~er::1ostat.

N\lhile and nearlv naked, she en t"...,ineshersel::arou.'"ld MAX, who, by new~ has strip~ed cown to his t=ousers; and the two hu.,;e=ing bodies slide dcwn on~o t:..ebed where t.~eyco=i.ence an af!able mcment of aI!lative foreplay --

Groping, grasping, gasping and fondling, t:..~eycont::'ive to denude each other, and, in a fever of sexual hu~ger, t>IA.~Amou.,ts M}\..'C,andth.eSC;t;;E'!Iisfilledwit.~ t.'-!e voluptuous writ.."-lingsoflove, D!A!tAcrying out wit:.. increasing exulta.ncy --

..

She screams in ~onsurnrnation,sighs a long, deliciously

shuddering sigh, and sinks softly down into MAZ s embrace. For a mor:-.snt,sherests her head on MA.."<:'s chest, eyes closed in feli.'1econtent:.:.ent.

- NIGHT

A black LI!!OUSINE winds its way up t.'iE!dirtread to - the front porch, where t.'iecar is halted and checked out by an ar.iiedguard (DC'r'lLING)--

NARR~'!'ION" -- It received a 4 7 share il'lits first hour, clir:.bingto a 5:1.during · its second hour --

Sli:vers of lights slit.1i.erout f:om behind t."ledrawn shades of the far:nhouse, and we can hear t..'lesou..'1dsof ANGRY VOICES •

young man in his early JO's, FREDDIE, car:::yinga la=;e manila envelope, and a fat yoc.ng wo~~n in her :nid-30's, BELEN MIGGS, carrying a.~attache case --

MIGGS and FREDDIZ go up the porch a.'1din'to-

This is the current headquarters of the Ecur:ienical Liberation Army,, and it is no less a shambles than their previous one in Watts. Cartons, crates, news- papers, scraps of food, torn c;rocery bags, stacks of pamphlets, cases of weapons and ar.-.rnunition,broken furniture and sleeping bags are littered every which way about. There seems to be some sort of cc~ference going on.in the living room, o.s. left --

NARRATIO~ -- with an option for ten more --

139. - As the TWO IC..'1A~NTS head for t.."'lelivingrocm, 139. we can see LAUREEN HOBBS and t.~e three Willia~ Morris agents, WALLIE, L~rNIE and ED; perhaps remembe::-edfrom earlier scenes. We can also see the GREAT A..9!·8DKHA..'t,still wearing hisshake, p_;p_~ ANN GI:FORD, still wearing her ba.'1doliersof bullets, and OTHZR HZM.SE?S.of t."ieK.'1-ian'sgroupinfat:.igt:.es and l:aaring ar::is. There is also a raic.dle-ac;ed~';-T'fE?. f::romICM nan:edWILLI~ ST:s!~l. Everybody -- with the exception of t.~e GREAT KEAN's retinue -- is seated on broken chairs and cartons and crate.s--

Everybody in the living room conferenc1e is stl.ldying 80-page contracts from which one of th1eagents· (WALLIE) is reading --

ill

There is a gen~al excha.~ge of helloes and waves be~~een the phalanxes of AGE~TS -~

(whisking through her copy of the contract) Have we settled t.1.atsub-li1:ensing thing? We want a clear def .i.~ition here. Gross proceeds should consist of all funds the sublicense1a receives not rr,erelyt.1;.e neta..":lOU.."'ltr1:::nitted after pay:r.entto sublicense1a or distributor.

LAUREEN (Contd)

And, Helen, don t start no sh:it with me al::loutapiece again1 1•m paying ~etro t-,.;entyperce:ntof all fo:eign ar.dCanadian dis~:i.bution, and that's a£-tsr :ecoupr.-.entlThe Commu.-,istPa::ty's not going t;osee a nickel out of t."lisgcdda-:ie;hcw until we s-ointo syndicatic.nl.

MARY Ah"NGI F:OR~

(screaming in -:on the back) Fugginfascistl Have you seen t.~e movies we took at t.~e Sa.~~~rino jail break-out dan:.onst:ati~;gt:..~e rising up.of a s~~inal prisoner- class inf:rast=ucturel

'rhe GREAT KHA.~ decides to offer an c,pi:u.cnby SHCOTI'!:G his PISTOL off in-:.othe air. This crives every?ccy something to consider, especially wiLL!E STEI'Nwho alr.i.osthas a heart attack. ·

\ ,J THE GREAT KHAN

(flipping through his copy) . Let's get to page t-..1enty-tw·o, five, small a, subsidiary ric;;rhts.

Everybody starts flippi."lgt.'irought.~eiz:cont=acts.

I WALLIE Page twenty-two, middle of t:.1e page, subsidiary rights (begins to read) "As used herein, 'subsidiary rights ' rr.eans,wit..11.outli::ti.t~lt.:.on, any and all rights with respect to theatrical motion cict~=e •rights, ~adio broadcasting, legiti- mate stagcaper :.:or::ia."lces,prir.Lted publications (inc!uding, but not limited ta, hard-cover books, but excluding paperback books a..""ldccr:dc books) and/or any ot..1,.erusesof a

) similar er dissi:nilar nature -- "

141. A HOTEL MARQUEE which reads: 141.

WED!iESDAY, HAY 28 - 6:00 P.M. - DAY

Across the marquee, looking down on the~ cr.U!;Eof station managers, prog-ra.-nexecutives a.r.1dsales vice-pre sic.ents f:c:n th.evarious affil:i.a-:::.es,all tuxedce-ed and evening-gowned and r:till!.ngabout. Spotted in the cheerful CRUSH can be se~en DI.n.~A, MR. AND MRS. A.Mt.'NCSER,MR.AND !-1.RS.ZA.NG:iILL, jollying it up with the affiliates• e:-::ecutives. and their wives --

CENTURY PLAZA HOTEL

A huge BANNER reading UBS AFFILIATES lS175hanging high over the ballroom.

PAN DOWN to shew 1000 tu.xedo-ed and eveini~c;-gcwned PEOPLE, rr.ostlymiddle-aged in t.11.evastsh~ifle o: cocktail ti~e -- HU9Bt.~,interminalina flux ar.d a slow general shuffling surge through t:iecco=s leading into -

1-tl. INT: GRANO BALLROOM 143.

Cl'..C)SERANGLEof t."leCRUSH of PEOPLE at t."ledcors. B3RBERT T:-:AC:-<1::R.AY,(VP StationsRelations,)and NO.R..'WlMOLD.;;:~IA:l(VPCwnedStations,) wit.'i.t.~ei::- WIVES and ca::-rying t."leirdrir-.ksande~cha.."lging pleasant:ies wit."lt..'i.eGE!-IERALMANAGERofKGI.M Cincinnati and his WIFE and t.."leGENE~AL MA.NAGZR of WGGK Albuc;uer~ue and his.WIFE as well as t..~e SALES MF-..NAGERoft."latstation and his; Wl:F:E:.Eigh Cl:IMTER and HUBEUB, lots of hea.::.L.ychucklesand general Rotarian bonhomie. In b .g.,FR.l'l.!T.KHAC:<ETT and his WI:E exchanging Rcta:ian bonhomie wit."lsc::r.e other GZ~E:RA.LMA..'-lAG:::RSandI?ROG?X1DJ:RECTCRSand SALES ~..A..'-:AGERSofvarioc..saffiliatesand t.."iei: WIVES --

144. ANOTSER P..NGU:as DIA.."'ZA,evening-gcwm~d, beau- 144.

tiful, glowing and ef:ulgent, lea..'1.sdowni:c::i.her place on t..'1.edais toaccept cong::-atulatorycoi=-:.ent.3 fro:uthe S.ALESMANAGER of w'"LET,:Sois,e,and his WIFE standing on the floor level --

SALES M.~'"{AG'ER I just want to tell you WE! saw your great stuff this afternco:1, Di -- it was great --

She turns to accept some more ent."lusiastic greetings from another GENERAL M.Ji....'lAGERandhisWIFEbging· brought down the dais to her by WALTER Al·tUNDSE~; ·(General Cou.'1.salNet-.,;,o=k)--

14S. WIDE A.."'ZGLESHOTof t.."lewhole ballrc,om,da:k, 145.

everybody seated at t..~eirtables new, listening to an address by NELSON CHA.NEY (P:e:sic.en-:USS Network), a spotlighted figure at the podiu::i--

CLOSER SHOT of CHA.NEY

An OVATIO~ from t.,eAUDIENCE. In reso(:mse to cs;...NEYIs beckoning, DI.A.NArises frcm her chair·in t.~egliste:;;,- ing shadcrls of t.,edais and comes dcwn t~ t.,epoc..:.~~- She star1ds t."lere showered with A.?PLl~GSE,bea."':li:ig, exultant

telling you we 'IJe<;ott.hetop five! (tumult}

ANOTHER A.'lGLEACROSS HAC:-<ETTat the da:i.swit..~DI?-.:·!~ in b. g. An ASS!STA::NT !·!;,.NAGERleansac:·cssHAC:-<ETT and murmurs to him --

HACRETT rises, murr:'lursapologies to his neighbors, follows t.1-ie.ASS!STA...~TM.ANAGERt."lroughtheshadows of the dais and heads out --

MUSIC: A RATAP!...M...'IOFKETT!.EORU:1SAN:OATAR.'!\..'1'!'A.RA OF TRUMPETS.

14 6• 'INT: CCCZTAIL A.REAOF THE GR/-.liOBALLROOM 146..

A portable TeeVee set perched en a bar -

STUDIO AU'DI~1C:S( ONTV) (happily roaring out) We 're rr.adas hell, and we ':e not going to take t.11isany rro:ce1

POLL BACK to shew we are in t.,evast cocktail area of the Gra.."ldBall:::oc::i.,now beingclear1edawaycy a·sta::: of WAITERS and 3US30'l[S-- hors d'oeuv:-es, spreads a."'l.c:. booze being carried away, table a..~dchairs being packed off, linens being whisked and folded. A couple of WAITEP..Sare watching the Heward Beale show - on the portable TV set perched on the room's bar

STODIO A..~OUNCER (ON TV)

(_ Ladies and gentle~en -- t~e mad

prophet of the air..,,.ays--·Hcwal:'d Beale 1

On t.11eTV set, t.11ehouselights go dc..;n,t.'1.ecurtain rises, and, as before, bare stage, shi::-=eringstai~ec glass w in.......:icw,anet.'lerea•1sha:::-.....o=.-1·:..g......:..-,a.."lc..-t:c•·'""'!'),..,..-.n..-....., BEALE in his austere black suit trudges out a.."ld explodes --

147. LONG W!DE ANGLE SHOT wi t.1-iTVset in f.g. show- 147. ing the spacious cocktail area being cl1:?ared away, as far ac=c::;st.i.ercc=tthe deers t.ot..'1.e Bal.lrcornocen and HACKETT follows the >..SSIST;.NT M.'1\NAGERin: HACKETT lingers at t..~edoo~:::-swhile the ASSISTANT MA.NAGERgets a WAITER to bring a jack phone to one. of the tables still s1:a."'lding

REVERSE AC?.OSS HAC::E'!Tas a jack -chone is brcucht to his table; t.'1.eclust.eraround t.i.e..TVse1:inb. g.

REVERSE AC?.OSS TV set with HJ..CKE':Tin b..g•

(volume a bit down)

Well, I 11 tell you who they' I.·e

buying c.c. and A. for. They re buying it for the Saudi-Ara!:,ii=~ Inves t.i".entCorporaticn1 They're buying it for the A.rabs1

REVERSE ON HACKETT.

llS

REVERSE ACROSS TV set. In b.g., HAC:-<ETJ~has h-.::.."'lgl:.P and is slowly walking tcward the group a.round t.~eTV set --

HACKETT peers over the shculde:- of a w;\IT.::Rtowatch the television show

LOS ANGEL;'.:S

HACKETT, !lELSO~iCH~..NEYand WALTER AMUNDSE~, all tuxedo-ed, and DIA..~A,evening-gowned, sit and stand in the dark srr.allish:::oc:n,cluttered wit..'lelect:onic equiprr.ent,watching a replay of ~e Howard Saale s!1cw on the big screen. T.·:oTECH~.JICI:i.!1Sfic.dlewit.11t..,ei:: equipment --

Now, listen to ~e, godda."!II':litlThe Arabs are si::nplybuyi~g usl They're buying all cur lanci, our whole economy, the press, ~1-iefactories, fi."lancialinstitutions, t.11.eg·overn- mentl. They're going to ~,.;n~s1 A handful. of agas, sha.'r).sa.'1.der.iirs -who despise t~is cou...,tryan~·every- thing it stands for -- dernc,cJ::acy, freedom, the right for ~e to get up on television and tell yotl about it -- a couple of dozen medie:val fanatics are going to c-wnwhe:re you work, whe:e you live, whclt.you read, what you see, ycur carEl, your bowling alleys, your mort;ac;e~s,your schools, your churches, your l.ibraries, your kids, you::whole life 1 ··-

I

HACKETT, who's seen all t.11.isalready,:lsn t even wa:t.::t.- ing. He is sprawled in his chair, eye~;closed, nc..-:-.bed, even serene with despair.

·• want ~~em wading knee-deep in tele-

grams at the t-/11.iteHouse1c.;.atup1 (MORE)

l20

as hell and I m not going to ta.~e I this any morel I don t want the ban.'l.;sselling mycount::y to t.11.e \ Arabs l I want t.ii.isC.c.and A. I deal stopped ncwl -- "

HACKETT \ Oh, God -- \ I

At which point, HC·WARDkeels over in his now far:'1.iliar prophetic swoon. On SCREE:1, ATT.E:;oA.::.;i:scorr.eanc!.car-:"/ BOWARD off --

TECHNIC~'l That's it. This is or.e oft::.ose shows he j~st zonks out.

'I'heother TECH!~ICIA...'loushesa butt.onand the SC~EN goes white. The first· TECH!~ICIA..."-{flickstherco:n lights on.

HACKETT stares silently into space.

CHA.'-lEY

Look, could we have the room?

TECHNICIA.'i Sure.

149. The two TECHNICIA!lS exit. SII.ENC::fills the 149. cluttered .room. J\.!·rt.i1'1DSE~andHA.C:.--<ETTsitintheir chairs, CHA!lEY lea.,sagainst a side wall, DIANA lcu..~gesagainst a =ear wall. A!ter a =~~ent, AMUNDSEN stretches, stands --

BACKET-1:'sighs •

knell. I 'raruined, I ':ndead, I ::1 finished.

CHA?tEY Maybe we•re o-verstating Beale's clout with t..~epublic.

HAC.t{ETT They can hold it up. The SEC could

if they wa.,t.::dto. I'rnfinisced. (!nRE)

HAC:-<ETT (Cont::.) I Any seccnd t..,,,atphones goin9 to ring and Clarenc~ McElheny's going to tell r.:.eMr.Jensen wants i.r.ein his·office tc:-:iorrcw:r.orn::..."1.g:sohe can personally chop my head ,off. (tears st=eam shama- lessly do.m his cheeks as he shuffles, a broken man, arou."1.dt..11.e.roo~). Four hours ago, I was th.eSun God at c.c. and A., Mr. Jensen's hand- picked golden boy, the heir apparent. Now I'm a man wit..11.outaco::porationl

OIA.i.~A (co:nesof:: the back wall)

You• re not ser.:..ouslygoir.gt.o pull Beale off t.1-leair.

OIA..~A He may be u..~happy,but he isn't stupid enough to wit..11.d=awthenu::-~er one show 9n television out of piq,.;.a.

HAC:-<ETT (explodes) . Two billion dollars isn't ~,ique! That's the wrath of God! ;:.ndt.11.e wrath of God wants Howard Beale fired!

DIM~A No, I don't t.11ir...v..J'ensenis,r;oing to fire a."'l.ybody.He's sitti::-igcp there in his of ::ice su:=ou."';.:::.•adby lawyers and senior vies.pres.ic.sn-::s, and right about now, t.~ey'vebegtl."1 to realize the extrao=cina::v i~oact o_.;:telev:i.s.ion.',,,,..___a.:·::...":".pac-:...-ca.,-be focussed, rna.,ipulated,utilized. If Howard Beale can hu=~ t.~em, he can help t.11em.

The PH0!1E RI~GS. _A mc:-nento! a..,xioussilen:e. E:Aa:E':':' picks it up --

Be returns t.11ephone to its cradle, re~gards DI;...'-:Afor a m:.,t:1ent.

lSO. EXT: THE C .C. ~.NDA. BUILDING - PAR..~Av'T.. 150. ANO 46TH STREET - MORNI!-1G

A black limo\.'!.sine pullstot."lec:urbin f:::-ontoft.~e

124 \

) c.c. and A. Building, disgorging HACK:2'!"::',and,amo:-:-:en·~ \ later, HOWARD BEAL:'.::,bothdrcssed in banker's qray. I (•...... As they r..ovefer t..~ebuilding's entrance, HAC-G:':'T

0 1

herd .ing..~0· 1 "'··•n...0Da_ong,11..t.oecc::-:esc1°_a_-·........._::1•..:;0·~·,"l.""\.-...J~T"\• is in a beatified state. His eyes gli.sten t=a.,s- cendentally, and he sciles the smile c1::t~e elevated spirit. He suddenly pulls up abruptly, raises his arms over his head, a."'ldannou..,cesatthe to? of his lungs:

This outburst dcesn 't seem to bot.:,e:-most of the P:::O?!.E

passing by except :or ONE or TWO who mur.:-.ur:"!-:ey,

that s Howard Seale, isn't it?" T~e outburst cces appall ?RA.j,'{KnAC:-<:::TT,w~os1:aresindi.s-:.ressanden- treaty to scme god in t.'1e heavens,and clu-=ches at

HOWARD's ar.n to get him moving again.

An enor:nous o::ficewit.l-it-..;owalls of•,,d=1dc~st=.werir.; over the Ma.rihattanla..,dscape a.'1dt.11=ot:'.S':1whichS~'1~- LIGHT st=ea."":'\.Sin •.ART!-:U?...n:~;s:::~isri.si:ig====behi::.::. his massive desk --

CAMERA DOLLIES to include HOWARD just coming in-to t..':c room.

JENSEN

Who isn't?. Con t sit ccwn. (HORE)

Be takes HOWARD' s ar.ua."'ldTr.eveshim to,3la:ge oa.'L:en door leading out of JE!-1SEN•soffice -- •

~hey pass into --

BUILDI!-lG

-The over..:hel.."':'l.ingcat."'ledralofaconfere:ncercc.-::1 rerr.ernberedperhaps f:om an earlier seer.lewhe!:'eFrar.!t Hackett gave his a."'lnualreport. When 1.astseen, it was in pitch darkness, but now t.,e eno?:::ouscur~ains are up, and an al~.ostcelestial light !:curs in t.l-:..rough the huge winc.cws...;;;ie.inge•ent...'I..e43rda::-1c.-=-="A-'I......1:_oo_s,-,.,.. the sky-outside is only sporadically inte!:'ruptedby the towers of ot..,erskysc=ar?ers. The c:.oubleser...i.- circular bank of seats are all empty, and t.-ieger.e:-al effect is one of hushed vast.~ess

uENSEN Valhalla, Mr. Beale, please isit down --

He leads HOWARD down the steos to the flcor level, himself ascer.ds again to the-small stage a.~d t.~epodi~=.. HOWARD sits in one of the 200 oc.d seats. JE'!-:SENpcshes a button, and the enormous drapes slowly fall~ slicing away layers of light u..~tilthe vast room is utterl~ dark. Then, the little p~nspots at each of the desks, including the one behind which HOWA.."q0is seated, pop en, creating a miniature HiL'<yWay effect. A shaft of white LIGHT shoots ou~ from the rear of t.~eroom, spotting JENSEN on the podicm, a sun of its own little galaxy. Behind him, t.,e shadcwed whit.e of t.r,.electure screen. JENSEN suddenly wheels to his audience of c:;.e and roars out:

• 126

i:rENSEN You get up on your little twenty- one inch screen, r-i.r.Beale,a..."ld howl about A..~ericaand cemocracy. Th.ere is no A.!r.erica.There is no democracy. There is only IB:-tand ITT and A T a.-i.dTand Dupont:,Dow, Union Carbide and Exxon. What do you think the Russians taL1<about in .their councils of state ..,.,_ Karl Marx? They pull out their linear prograr.1..-r-:tingcharts,s:tatistical decision t.'i.eoriesandmini=mx solu- tions like the geed little ;1ystems- analysts ~'i.eyare '1nd co~pute t.11.e (MORE)

(hurr.blewhisper) Why me?

J'ENSE~ Because you're on televis!ion, dur.:ny. Sixty million people watch you every night of t.~e·week, !-'.onc.ay through Friday.

HOWAP.D slowly rises from the black:ness of his· seat so t."iathe is lit cnlv bv t.~e ethereal c.i:::1,:sic."lof light shooting out f=o~ t-~e rear of t.~e roe~. He stares at JE~JSENspotted on t.1-iepodit.:..."':1.,transfixed.

In b.g., up on t.~e podiu..~,J'E~S~ considers tl-iis curious statement for a mome.'lt.

JE?ISE'N You jus't m.i;;htbe richt, ?-'.r.Beale.

NAR..'C)JI.T!ON That evening, Howard Beale wezit en the air to preach ths corpc:irate cosmology of ;...:::t."1u:Je.."'lsen.

1S3. INT: NETWOM NE"l'lSCONTROLROOM 1S3.

The CREW at thsir various control oanel:s. Business as usual. If any1:..'1.ing,Ev'"E~Y30DYint.'1.1:accnt=ol::-co:i appears a little mo:e bored.· on the SHCW !•:ONI'!'OR, BOWARD BEALF: stands in his stained-crlass-filtered spotlight, but, rat.'1.ertha."'lhisold-enraged self, he ·seems sad, resi;ned, weary --

finished. It s t.'1esL-igle,solitary human being who's finished •. It's every single one of you out t.1-iere who's finished. Because t.'1:i.sis no longer a naticn of indepenc;~nt individuals. This is a nation of (MORE)

It was a perfectly ad~issable argurr,entt.~atHoward Beale advanced in the days t.,at foll~ved; it was, hawever,· also a very tedious and depressing one. By the end of the first week in June --

JONE lO - 3:30 P.M •

DIAi.'iA,carrying a small booklet, stridi~.g down t.~e corric.or.

NA..~TION - the Howard Beale show had dropped cne point in t.~e ratings,

r and its trend of shares dipped

under fort-:-eicht for t.'1.efirst time since·last Noverr~er

l.55• INT: Thr!NIGIIT!.YNEWS RCOM - ROOM 517 155.

-- quietly busy. Typewriters, telephoneis. strai ght for Hew;_~' s o f:::ice--

NARRATI0:-1 Hysteria swept t.,rough the ne1::-..,;rork

DIAi.~Awrenches the door to HOWARD' s office open and strides into -- ·

l.56. INT: HOWARD'S OFFIC:.: 156 •.

•- as DIANA s~=ides in, interruntina an urgent colloquy between HOWARD at his desk and his .igen·t,an ur!:::ia..,~ gentleman in his late 60 's,LEW WEISROP:? --

DIA.~A (drops the !:::iccklet she's carrJing on HOWARD's desk) In case you.haven't seen ~~is week's rating book, your shar1! is down another point. (MORE)

OIA..'lA(Contd) (to WEISKOPF) I asked you to be here, L~~, because you'=e his goc.c.a..-n.agent, and I'm cou.,ting on you to talk I screesense into t.i.islunatic. I I'm sick of arguing with you::: I client, Lew. \

II u;w· · Patience, ·sweetheart, patience ~-- I

acr,qARD

r (agitatec)

I only say what my voices tell me to say.

a thousand voices. We ll get you the best voices in t.~e business! We want you to go back to being crazy, HC"..;ard1

DIANA throws up her hands in frustration -

7:15 P..M.

-- as MAX lets hi=:i.selfintothe apztrtr:-ent.!1.~see:-:-.s

l31

\ depressed. EOWARD'S VOICE en-.a.'1atesf:~c::itheo.s. bedroom --

MAX has crossed the living rcom, looks into -

158. ntT: THE BEDROOM 158.

-- where DIA!;rlis perched or:.her bed, mu~u:ing into the phone --

0IA:."7i\ (on phone) Yeah ••, Yeah ••~

DIANA leeks uo to droo a surlv alance on ~..AXin t.~e door,..,ay,and retur::-:.stomutt:.eringi:,.t:)t.~ephone. They are both clearly in foul terr:pers-- ·

DI.Ai.~A,mu=uring into the phone, dcesn't even see= to have heard him. MAX turns away -- \

DIAa.~Aclicks the remote control t..~ingon her bed, a.'1d the TV set goes black.

159 • INT: THE LIVING ROC:•1 l59.

M.~ sprawled morosely on one cf the soft chairs. We notice that in ~~e back of the living rocm, a bricge tcl:>lehas been set uo as a ma~eshift desk. !t has a typewriter on it and·a welter of pa:;::ersand books anc. filing folde:s. DIA.i.~Aappea:sin the bedroOI:ldoo::-way, regards MAX coldly --

(icily) Every· time you see sor.:ebodyi:1 your fa:nily, you corr.eback in one of t.,esemorbid r.1idcle-aaedmoods. I'm tired of your gcc.da::medr.1orbid, :middle-aged moods, Ha..x.

(

l33

Storming about t.1ieroo::iin hissudc.en ~.;rolcanicrage, Mi~X finds hi...--::.selfbyt..'1-:.eupsta~ty-pewrite:~,•,,;hie::.hesweeps crashing off t.i.ebridge.table, sending t.'lewelter of papers t.'lerefly~~; of! in a stor:n

DIA.."tA Terrific, Max, terri!ic. Maybe

/!'"''"'· you can start a whole new career

as an actor.

\.... For a mc~ent, it looks as if ~.AXis goi:1g to slug her. Then he deflates

MAX (Contd)

doubts, Diana, and you've got to cope with it. Because I'c not some guy discussing male menopause on t..i.eBa:-baraWaltens shew. I'm the man you presur:,a.blylove. I live ri;ht here. I'm part of your life. I'm real. You can't switch to another channel •.

Well, what exactly is it you want me to do?

MAX

I just want you to love me, Diana. I just want you to love ree, primal doubts and all. You uncers'Cand

For one brief moment, vou could almost believe she does u.~derstand. She stares, eyes-locked with MAX, her eyes t..'":.rE;at~ningto wellwithtea::s. The.re are certainly tears in M.~ts eyes.

I don't know hew to do that.

'rhen,shatteringly, the PHONE o.s. in the bed:com FaNGS; and DIA..~Aorc~~tlv tu=ns to an~~er it -- - - ..

DIAi.~A (matter-of-factly as she exits into the bedroom)

I'll be wit.~ you i.~ a minute, Ma.~ --

Be sighs, the inchoate moment of love evanesced

NARR.~TION

By the first week in July, the Boward Beale shew was down eleven points, and the panic had spread to even t.~ose people who had only a contractuai connection to t..~e nei:'..;ork--

:.::'l•INT: DIANA'S OFFICE - MONDAY, JOLY 7 - 160. 2:30 P..M.

LAO~EN EOBBS in a shrill, wide-eyed panic, raging all over DI.:\:;_;\Isoffie~asDI.A.NA'sphone RINGS, and DI.~lA _answers :.t:.--

LAUREE~ (in a raging panic) -- He's a plague! He's s~all~ox! Be's t-.n::hoid!! dcn't wa."1tto follO"rlhis goddarn shc,.,.r1Iwant out of that eicht o'clock s=ctl I'got enough t=ocbles wit.~cut Howard· Beale for a lead-i:i.. Yc:,u guys ha¥a ~checu.!.ed~e up against Tony Orla."i.doa."i.dDawn1NEC •·sc;ot Little House on t.-ie?rairie! J;BC's got that new Mel Brooks shcH! You got to help me out! You got tc::>do something about Ee-ward Beale! Get rid of t.'leplague1 Get him of! the 'ai:rl Do sc:net..l'1inglDoan:it.,ing!

t)IA.."{A (hanging up and yelling back} We're trJing to fi:i.dareplace~ent for hi:r.l1I•m going do·..mto look at audition tapes right :,.owl

She is already out of her o:fice -- ·

C.O. of an i:-:posi:i.gMOSAIC FIGL'1E, fully bearced a."'ld wearing ankle-le-""lg-:..,blad;.==besa."1dt.."'lcn-:.gedsanc.als, standi:,.gon a lonely ::-,o\.':...-i:::.ainspu=ir:veighir.gagai:1st the idolatries of t.-ieworld. PULL BAC~ to show the screeni:,.groom half-filled wit.h.r.et-,..,orkandprcqr2.=.-.i::1q executives, spotted a:=O'..l."'ldt.1-:.erec::,.DIANAist,.:.,.ere- and her top assista."'ltS-- EAR3AR.:\SCEU:SI:'lG:s?.~d:-o:-:::.~ PELLEGRI!m. :P..A:-H·~HACKETTist.~erej N"ELSO:{cs~;::::y, • t:n::o-nn,....,=TH'c··-RAV••"1.:..::..•(s+-...a........ions:.e--'"'1:::>t'~c:i.s};and.,;-c--~""C'~•-I.LV1.1.,..'t.r.·- and HAR..~YHUNTER. In b. g. ,the rantir.g!-!OSAICF!GU~ on the wall console roars out his inveighi~g U."1til otherwise indicated --

OIA.~A (suddenly sta."1dinginto the shaft of light coming from the projector) No, dar:-.nit! If we wanted he:ll- fire, we'd get Billy Gra.11.a.'":\!We don't want fait.~-healers, teritshow

( evangelists or Cbera.-n;.;argaupassion-

players 1 Hhat a:ioi..:ttb.atte::-J:ific new rr.essia.'1ABCwas supposed to ha"V"e signed up as our cor..-.petition'.?

PELLEG'RI!:O (indicating th.e monitor screen) That's hi."'::l.

PELLEGRINO \ Yeah. I l. DIANA Jesus, .tu..."'"nhimoff.

The MONITOR ~C?~EN c;oesblank.

PELLE G'RI~O

I've got t..'"lreemore, butyo,lve already seen t.~ebest ones. I've got a gu~~ frcm Spokane and ~~o more hell=ires who see visions of the Virgin ~-ia::y.

DIANA sinks down in a chair and tu...-nstoHli.C:-<ETTint.,,e

ra..,rJ..."":tme1...1.a._e_ye ..::..nc..

Apparently it is.

I

I

8:00 l?.M. I

I .

DIA.~A letting herself into her apartment.

Dark, shadc-,.;ed.She moves da.vn to --

16 4• INT: LIVING ROOM 164.

MAX has fallen asleep in one of t.""lesoftchairs • The newspaper he .wasreading has fallen to his lap. His mout."1is a bit acare a.'1dhe wheezes a lit-:le. I!'lthe -stark lighting of the lamp behind the chai=, he see~s suddenly an old ma."l. DI1i..NAstandsand :regarcshi.-n with perceptible distaste. She slips out of her jacket, crosses to ~~e bedroo::1..

Al.l t."lelichts are on. DIA.'-1.A,freshlysc:-u!:l:,edand in a she7.,;errcbe, is pac.1<.ingM..r.•xIsth:i.ngs.Alarge valise lies opened on the bed, and D!.f..!JAisfet:::iing MAX's suits f:::c::lt..~ecloset,!'oldi~gt..-:e:-:ia.-id?a.eking them away. M&'< appears ru..'!Cpledandin his shi=t- sleeves in the dcor.,.,aybehind her. She senses him there, glances at him, contin~es with her packing.

DIA..'iA I think the ti:-:.ehascorr.e,Hax, to re-evaluate our :r-::laticn:ship.

1-'.i\X So you'v-e decided to cancel t."le shew.

Be lI':C"J'eSto the bedtota.'l:eovert.'le1:iacking. She sits in one of the bedroom chairs.

and t.'iat sbeautiful. But I'm incaoa.ble o: anv such co..:.,1it."':".ent. All you'll get frcm me is ar..ot.~er couple of r::cnt.'isofinte~ttent sex and recritina ta and ugly litt:.le scenes like t.~e one we had last night. I'm sor~J for all t~ose vicious t:..l-iin~sIsaidto VClUlast

( night. YouI::-enot t:..--ieworstfuck

I've ever had. Believe r..e1•!•~"e had worse. A.."'ldyoudon't pu!::a.""ld snorkle and ma.t.;eceath-likE~rat-:::.les.. As a matt~fr of fact, vcu 'r£?rat.":.er serene in t.~esack. -

MAX, who had gone into t:..,ebat.'iroo:-nforhistoile-: articles, ccrnes out with t:..,e:n,sta.""lc.s,rogarc.sD!.~l~A.·

DIA.'iA I•m sorry I impugned your coc.~s- manship.

~.AX Hell, Dic...~a,Iknew it was over between us weeks ago.

DIA..""1A

Will you go back to your wife7

X go, you 11 be back i:1t."'le~ye of your cwn desolate ter=o=s. Fifty dollar studs and t."'le nightly sleepless cor.templation of suicide. You're not t.1ie boozer type, so I figure a year, maybe t:..tobefo=eyou cr:.ckup or jump out your fourteent:..~floc1r office wine.cw.

She ex.its out into --

166• INT: THE LIVING P.001-i 166.

-- and across t.1iatto th.e--

1G7. INT: THE KITCHEN 167.

-- where a kettle is stea~ing. She fetc::es a cup and saucer from t."'lecu;boardand would rna::.esc:neinstant. coffee but she is over-:.a.1<enb,,acu=ic;uslitt::.eSt:)as::-... Her hand holding the cup a..T'lc!.sauceris;sh.aki:'lgso.;:,:.::.ch she has to put t."'ler:i.down.Wit."1visibleef::o::t,she pulls herself together. She moves out o: t.'1.ek.i-tc::::::-:. to the --

- where she stands in t.":.~middleof the rcorn and shouts at HA...Xt.liroughtheOE=enedbedroc:n dcor,.,;ay.

OIJ\NA (cries out) % don't want your pain! I don't want your menopausal decay and death! I don't need you, Max.

M.l\X You need rr~badly! I'm your last contact wit~ hu..-n.anree1lityl (XORE)

Be slams the valise shut.

MAX

It's too late, Diana! The:re s nothing left in you t.~s.tJ:can live witht You':re one of Howard's humanoids, and, if I stay wi t..l-i

you, I ll be destroyed. Like • Howard Beale was destrovei=! Like Lau:reen.Ecbbs was destroy1:dl Li.i.i:e everything you a.."ldthewhole institution of television touch gets dest::-cyedl You are t.ele- visicn incarnate, Diana, indif:erent to suffering, insensitive to joy. A1l of life is :reducec to t.i.e corr.:rrt0nri.:.bbleofbanality.War, murder, death are all t.i.:.esar:1e to you a,sbottles of beer. The daily business of li:e is a corrupt comedy. You even shatte::·t.i.e sensations of ti:r.ea.."ldsc,aceinto jagged fragments of r:.i.nut:es,SFlit- seconds and insta..'l'ltreplays.You a:remaci."less,Diana, virulent T:".adr.ess, and whatever you touch di.es wit.Ji.you. Well, not rr.e1 Nat while I can st.ill · feel pleasu:e and pain an::.love l ,

Oh, hell, Diana, it ::oVE~r wit..11.us • :r•mnot sure it ever really happened, but I know it's over.

He turns back to. his valise and buckles it. DI~lA finds a chair, sits in it. A moment later, ~-:\.:<cc=.es out cf t.11ebed:::::~,lugging a rain·i:oatas well as t.11e valise. He lugs his way across the living rccm, t.~en pauses for a moment, :reflects -- - MAX (Contd} It's a happy ending, Diana. Wayward husband comes to his senses, returns to h~s wife wit.11.whomhe has built a long a..~dsus~aining lovd. (MOBE)

·S:e disappears dcwTi t.1,.efoyer. We can hear t..1,.eCL!C:< of t.'liefrontdoo: being opened and the CUC{ o: t.~e door closing. DIA!1A sits in her c~ai=, pulling t..~e shower robe a:ou."1dher, alone in her a:.·cticdesolaticn.

169• ntT: 20TH FLOOR -'UBS BU'ILDillG- LOE:SY, 169. LOUNGE, COR.~IDOR - 10: 15P. M.

A solemn FR..~~KHAC:{ETTin blue suit walks ccwn the lcng, empty, hushed co::ric.o=to t..~elarge dc1i!:iledeersof his office (which had originally bee:i;;'.::JWJ..RDR!:DCY'soffice)• At the doors, NELSON C?'..1-..i.'iEYis waiting forhim.

CHA..~EY Bow'd it qo?

S:Aa:ETT sighs, enters --

170. :INT: SECRE:T:UiY'S OFFICE 170.

-- where HERB T.r!AC~?J\Y ar1dJOE DC~ti-."':EI..!:ta::elou.,ging• Everybody follows HA~~ETT into --

l 71. INT: P...AC"lCET"T'SOFFICE(O!:iCERUDDY'SOF'F!C'.E:) 171.

Nighttime outside, the crepuscular g:ce.n<leurof Manhatta.~ glitte=ing belcw us. Waiti~g i::i.t.~ecf:ice, - seated here and there, are WALTER ;...M'.;'NCS:S:1ar..dDI~\~. HACKETT sits behind his desk. The othe=s all :i::i.d places around t..~eroom.

Nobody has anything to say to this.

Illl.C:-IB'I'T(Contd) week. Mr. Jensen said he did not like vol a tileindust:ricasan.d suggested wit.°'1a certain sinister sil.ki.."'less that volatil.:.tvin business usuallv reflected bad ~ai~age~ent. He did..,'t really ca::-ei= Heward :Seale:was the nu."'nberone:ihC"n"intele:vision or the f!ftiet.,. He didn't: really care if t.'1-ieBealeShow lost money. The net-..10rkshould be stabilized so that it can carry a losing shew and still maintain an overall p:ofit. Mr. Jensen has an irr.oorta."'l.t.message he wants conveved to-th.e.American people, and Hc;,ard Beale issconveying it·. He wants Howard Beale on 't...~e air, and he wa.'1.tshimkept on. 1d ..:i •• h' ... I wou_ ~esc:i=e. is posi~ion on this as i.nflexi!:Jle.W"'ne::edces that put us, Diana?

( (holds uo r:.er

sheaf of papers) Do you want r..eto go t.'1--,.rcu9hthis?

DIANA {Contd) should be able to maintain a very respectable share in t.lie high twenties, possibly t."i.i=ty, with a co~pa=able Q level. The ot.."lersegr.-.ent.sont.'1-ieBealeshow -- Sybi.t t."i.eScot..'1.sayer,Ji:ri Webbing, t.'1.eVox.Populi -- have all d·eveloped t.lieircwn audiences. Our AR repor~s show wit..~out exception t.~at it is Howard Beale that's the destructive force here. Minimally, we are talking about a ten po'itnd·~~i_.ere~-ia~·l..in shares. I t.."i.inkJoeought to spel.t it out for us. Joe?

And you would describe M.r.JE:nsen's position on Beale as inflexil)le?

CHk"'l'EY So what' re we going to do abcn.::.t this Beale son of a bitch?

A sad silence settles over t."letop ~an:1ge:r.entof UBS-TV as they lounge about t.l-:.eenor:rr.ous:roc::i..

Another long conte:nplative silence.

DIANa Well, what would vou fellows say to an assassL,ation? --

172 • INT: THE LOEBY - t"'3SBUILDING - A FEW o;;Ys 172.

LATER - 6:00 P.M.

Bustling and cr~~ded. Long lines of PEOPLE, fo~r abreast, roped off a."'ldwaitir.gto get into t.~e BOWA.qoBEALE ShC"'w. Oniforr..edUSHERS here a.,dt.~ere, occasionally·chatting with t.~ewaiting CRCWD. OVER THIS, t.'1-ieVOICESoft.~e neto..:or.kmeetingjust inter- :rupted CO~TI~UE:

Dih~A'S VOICE (Conte) -- I th.i."'lkIcan get t.'"le?"..aoTse Tung ~eople to kill Beale for us. As one of their 'OrOc::'ams.In fact, it' 11 na~e- a hell o!:a kick- off shew for t.11eseason. We're facing heavy cppositicn f=o~ the other ne t-N'o=!-..sonWec..."i.esC.,;lynic;ht:.s, and t.lieMao Tse Tu..,gHour could use a ser:.sationalshow ~o~:-a..,o-cener•

on caoera in t..t:estt:.dio.Neouc;ht to get a fantastic look.-i:nauc.ience wit.~ the assassination of Howard Beale as our opening show --

-- as the waiting AUDIE!1CE is hC:?=cadinto t::.eele'l;at=::-r;. OVER THIS, t.~e VOICES o::the meetin•3'C0!-1T~~UE:

-- as the elevator load of AUDIENCE is led out of the elevator and down ~~e long, carc:etedco=rido=s, past t..~elarge wall photographs of TV sta:s, glass-enclo~ed

ccntrol rooms, and ot..'i.ersho-..rpiecesofthenet'.·1ork•s electronic glory. CVER THIS, the V'OIC::SCONTI1H.1""E:

EACR:E:TT'SVO!C:S There mu.st be a fo::nula for the comp-..itaticnof the purchase pl:ice.

The meeti~g is still going on --

AMUNDSE!I (Conte.) (continuing above speech) -- multi ':)liedbv t."'leU.."lexoireid portion of t."lecontract. .I don't think t."leshew has ar1ysu.bsta~tial syndication val~e, would you say, Diana?

THACKE P..i'\.Y (mutters to --DONNELLY) Sey, we're not seriously goi~g to kill him, are we?

176. IN'r: THE BEALE SHOW STUDIO AND AUDIENCE .AREA 170.

The new load of AUDIE~CE finds seats :i.nt."'i.erapidly- filling auditc=iu=::. On the floor of t:.'"lestudio,t."le ·cREw is setting t.~ecameras, checki~g the bcc~s. T~e stage curtain is do-.-ln.OVER Tl!IS, t.1.E!VOICESof t.11e meeting cm1TINUE :

AMUNDSEN'S VOIC:~ (chuckling) ~ hope you don't ha•.rea."'lyhicden tape rnachi::.esinthis of::ic1:?, 'Fran.~\--

177. :nrr: TSE BE:s.L::SEOWSTODIO SF.CWTI:1.'E 177.

'!'hewarinupis o~rer1t.'li.estage footlights a::eon; t."'ie AODI:E:N'CEsits expecta.91tly. T.he big wall CLCC.~shews: 6:29, clicks to 6:30. On the studio stage, t."'ie ANNOUNCER st::ides out :::o~the wings, bellcws happily at the audience·--

ANNOtlNCER Ladies and gentlemen, let's hear it -- how do you feel?

178. '.REVERSESF.OT of the AODIE~CE. Sude.enly S~OT 178.

t.'leGREAT .P..:-IMEDKEA!-1a."'ldsorr.eofhisFOLLCiS?.S, right in th.e r..ic.dle,happily joining all the ot.~e::s in their cor..r.:.c.."'lalresponse:

AUDIENCE AND TF1E K?"...A;.~

\ We're r..adas hell, a..~dwe're not

going to ta~e this any morel

MUSl:C: A FLOURISH OF DRUMS

MUSIC: A FULL SYMPHONY ORC.t!ESTRASOARS INTO A...'lI!-!:?::::'tI;'>.L CRESCEilDO --

179. -- as the HOUSELIGHTS go to BLACK. The cu=tain 179.

slowly rises. The ba=a stage, the stained glass window, t.11ecelestial SHAFT of light. HO~iARD BE::.L:S, in his black suit a..~dtie, strides on f::c~ t.~ewinss, stands basking in t.~eSPOTLIGHT. APPLAUSE UP.

The r..eetingis still going on.

1en that --

- 1

Frank. Let s kill the sen of a bitch ..

' 'l'heAPPLAUSE for HOWAP.O BEALE has died. HUSH suddenly, t.11.eHUSHis shattered by a HORRENDOUS ENFILADE of GL'"~1F'I?.E.;..nembroideryof red bullet

holes perforate HOWA?..0 sshirt a.~djacket, a.~dwe might even see t.~ei~pact of a head wou..""!das he pitches Qackwards dead.

182. A BM.lC OF FOUR COLOR TEI.EVISION MC!;ITOP.S 182.

- It is 7:14 P.M., WEDNESDAY, Julv 9, 1975, and we

are watching t.1,.enet'..,.o:-k.newsprograr..senCSS,NBC, ABC a.."'ldU'3S-TV.T:lei.UDIOis O!:f:heacshots of WALTER CRONKITE, JC:-~ C~ANCE!..!.OR,HC'NA..~K.S!·UTS, HARRY RE~.S0~1ER,anc. JAC?.SNOWDEN, si.:.bstit~tingfor HOWARD BEALZ, inte=spersed wi t..1-i tapesof~1,.ehcr::-ible happening at traSt..1-iec.avbe:.:or-;,flita.""!d::licker across t.~e four televislon screens. Televisic~ continues relentlessly en.