To Catch a Falling Star- Revised

8/3/2019 To Catch a Falling Star- Revised

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To Catch a Falling Star

1

TO CATCH

A FALLING STAR




as produced script

ACT ONE

FADE IN:

INT. LOG CABIN -- NIGHT

A fire CRACKLES in the fireplace. A WOMAN lovingly strokes a MAN.

MANConstance, you're still here.

WOMANI couldn't leave you, Daniel.

MANHe'll wonder where you are.

WOMAN

He doesn't care about me.

MAN

He's your husband.

WOMAN

He's your brother. I have nothing else in my life. I can't lose you, Daniel.

MAN

What are we--? This is so wrong.

WOMAN

I know...

(They move to kiss then loudly)

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Can we cut?!?

Pull back to reveal we're in a film studio. The Man (RYAN STEELE) is given a robe.

The Director, HARRY GOLDBERG, rushes up to the Woman (SYDNEY CLARKE).

HARRY

Cut!

BRENDA (O.S.)

That's a cut! Back to first positions!

HARRY

What is it, Sydney? Is it the lips? The lips look fine. They're fine. Can somebody please

her down?

Two People rush in to wipe sweat from her face.

SYDNEYIt's not the lips, Harry. It's my face.

MAKE-UP GIRLI powdered it, Harry. I swear.

SYDNEYThe lights, Harry. You've got a million watts... all focused on my face.

HARRY

What are you, the lighting director now, Sydney?

SYDNEY

Harry, fix the light. I'll be in my trailer.

Sydney strides off the set.

HARRY

Sydney!!!... Brenda, call lunch, will you, please?

BRENDA, the First A.D. appears next to Harry.

BRENDA

We already took lunch, Harry.

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HARRYThen call dinner, call five... just get me a tranquilizer.

BRENDA(bellowing)

That's a five everybody! Let's not wander away from the set! Tell the actors to take five!

the fire!

VICTOR, the lighting director, sidles over to Harry.

HARRYGive me playback. She's killing me, Victor.

VICTOR

It's the Pinocchio factor, Harry.

HARRY

What?

VICTOR

The Pino--never mind. The light, I checked the grid. We were missing a gel. It was like afloodlight on Sydney's nose.

HARRYWhat the hell is the Pinocchio factor?

BRENDA

Her nose, Harry. She thinks her nose is too long.

VICTOR

Code word: Pinocchio factor.

HARRY

What about the "pain in the butt" factor?

VICTOR

You'd have to reshoot if she hadn't caught it.

HARRY

Well, fix it. Whatever you do, don't let her know she was right. Brenda, aspirin. Fruit bas

to Sydney's trailer A.S.A.P.

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BRENDADone!

EXT. MUSEUM -- NIGHT

Sydney wades through throngs of fans.

SYDNEYExcuse me... Excuse me...

FEMALE FANHey, Ms. Clarke! I'm from Mississippi.

SYDNEY

I'm from Mississippi too!

FEMALE FAN

Ah! I know, I know. Me too! Pushmataha.

FRAN

(over Female Fan and Sydney)

dney! We have to go inside! McAndrews is waiting for us.

SYDNEY

Pushmataha! Oh! I want to talk to you!(to FRAN)

Wait, I want to talk to her!

FRAN

I know she's from Mississippi but she'll be there when you get out. Okay, now. I'm going find McAndrew. You wait right here, okay?

The assembled crowd APPLAUD as Sydney enters.

INT. MUSEUM -- NIGHT

RYAN and SYDNEY stand for photo pos.

RYAN

Just talked to the guys from the studio.

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SYDNEYYeah?

RYANThey're ready to greenlight the script that I wrote for us. All you have to do is say yes.

SYDNEY

Look, I told you, I don't like the role.

RYAN

Sweetheart, this is a chance for us to work together again. They're willing to hold off the stdate 'til after the honeymoon.

SYDNEY

Ryan, I've played a psychopath in two of my last three movies. I'm beginning to worry abowhat that says about me.

RYANJust... Read it one more time.

SYDNEYFine.

RYANFine.

Fran sweeps in.

FRAN

Sydney, I found him. Come on. Ryan, you stay. The curator's name is McAndrew and I ju

talked him into going National with this spot.

Ryan looks over some other women as Fran takes Sydney away.

EXT. SYDNEY'S MANSION -- DAY

A car pulls up.

FRAN (V.O.)

The art gallery spot is beautiful. And here is the wedding spread in Puree.

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Sydney works out on a rowing machine while Fran looks on.

SYDNEYUgh! Fran, we don't need any more publicity! This wedding is going to be a media circus is!

FRAN"Event", darling. Event of the century.

SYDNEYWish we could just elope.

FRAN

Elope!? Sydney, you're a star. You're royalty. People want to know every detail and we agoing to disappoint them.

Sydney GROANS.

FRAN (CONT'D)

What's the matter, honey?

SYDNEY

I don't know, maybe just jitters.

FRANEveryone gets the jitters.

SYDNEY

I don't know why we're getting married in the first place.

FRAN

You're a great couple. The press loves you. Now, Harry says he's found the perfect locatio

the cabin scene and there's a four star hotel right on the lake.

SYDNEY

(softly)

I can't believe this.

(then genuine)

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I don't know why we have to go on location, Fran. It's a colossal pain. It's almost May. Th

not gonna be any snow in New England in May.

FRAN

He just looking for authenticity, that's not so bad. They're expected a freak storm.

SYDNEY

Yeah, well, they'll get their freak storm when Harry gets there, that's for sure.

FRAN

Oh, stop pouting. Henry's film means a shot at a nomination. Right, Ginger?

GINGER

Oh, absolutely.

FRANBetter parts, better money. I already got an offer from the studio at double your fee.

SYDNEYA comedy?

FRANAnother psychopath, but Sydney, who cares!? It's double the money. DOUBLE the money

And as your best friend, I advise you to take it.

SYDNEY

Oh, how many best friends do you know get ten percent?

FRANAll right, as your manager I advise you to stay on track.

Fran snaps her fingers and Ginger hands over a pile of scripts.

FRAN (CONT'D)

Just leaf through these tonight so I can at least get the agents off my back. Oh, flight at sevlimo at five. And don't worry about the snow in New England, you'll have snow up to your

wahzoo and it'll be the real stuff.

SYDNEY

(not convinced)

Yeah...

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EXT. MOUNTAINSIDE CABIN -- DAY

Sydney and an 8-year-old CHILD ACTOR play their parts.

HARRYOkay, action on the snow, action on the camera.

Sydney SOBS loudly.

CHILD ACTOR

Don't cry, Mother.

SYDNEY

Oh, I can't help it, Miles. If I don't marry Nathaniel -uh, uh, pfft- Daniel...

HARRYCut! Cut! Miles!

CHILD ACTOR

I didn't screw up! She did!

HARRY

Camera, you call that a dolly move? It was pathetic! Okay, cut the machines! I said turn o

the machines, now!

The machine dies down.

SYDNEYDoesn't look like a snowstorm, Harry, it looks like a dandruff commercial. Didn't your

weatherman call for snow today?

HARRY

Yes, he did. He called for it yesterday. He's calling for it tomorrow. The guy is a liar.

Brenda enters.

BRENDAWe're into overtime, Harry.

HARRY

Get me a Valium.

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BRENDA None left.

HARRYThen an aspirin.

BRENDA

We're out.

HARRY

That's it. It's a wrap. We're going back to L.A..

BRENDA

(through megaphone)

That's a wrap, people. Thank you!

SYDNEYHarry! You're kidding me, right?

HARRYDon't start with me, Sydney.

SYDNEYYou fly me thirty-five hundred miles to wait for snow when we could've gone sixty miles t

Bear or Arrowhead or the ten other mountains in California. Now we want to turn around fly back to L.A.?

HARRY

I can't make it snow, Sydney! I'm not God.

SYDNEY

Have you ever heard of snow blowers, Harry? They make snow, real snow, not potato chip

'Course, it's eighty-two degrees. We can't make snow, now can we, Harry?

HARRY

Give it a rest, Sydney. We will shoot the snow after the next location.

SYDNEY

(fuming)

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You want to shoot the snow, you do it without me.

Harry SIGHS, exasperated.

SYDNEY (CONT'D)Call Glenn Close. That's who you wanted in the first place.

Sydney walks away. Harry keeps pace.

HARRY

Now, Sydney, come back, darling! Please come back. Look, try and keep it together. We

find the snow. The writer will make adjustments. It will turn out fine.

SYDNEY

'It will turn out fine.' What's 'it', Harry? Another pointless film that no one will remember?

HARRY

Sydney, the public buys tickets to see you.

Sydney SIGHS.

HARRY (CONT'D)We film this, we film that. In the end, it doesn't matter.

SYDNEYOh God. Nothing ever matters. When will it matter? I keep waiting to see what that feels

Thunder RUMBLES.

HARRY

Sydney, come back, darling. Sydney, please come back.

Sydney stomps over to Ryan's trailer.

EXT. RYAN'S TRAILER -- MOMENTS LATER

Sydney opens Ryan's trailer door and sees Ryan and a Stand-In groping each other.

The Stand-In GASPS.

RYAN

Syd? Oh... We were... rehearsing. Well, she's your stand-in. It makes sense, Sydney... Sy

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Sydney walks away, disgusted. She marches toward a nearby forest. It begins to rain.

RYAN (O.S.; CONT'D)

Sydney!

CREW MEMBER

Sydney, your coat. It's raining.

ANGLE ON HARRY AND BRENDA:

BRENDA(to Harry)

She's going into the woods. Should I go after her?

HARRYThe hotel's five hundred yards away. Let her go. If we're lucky, there'll be some big, hairy

hungry thing in there. Brenda, do you not have anything?

BRENDA

Midol?

HARRY

Sold.

Brenda runs off.

EXT. HOLLYWOOD CITYSCAPE -- DAY

Establishing.

INT. FRAN'S OFFICE -- DAY

Fran is on the phone, watching Sydney's performance on a monitor, when GINGER

barges in.

FRAN

(into phone)

I'm watching it right now. It's fabulous. Oh Quenton, she's perfect.

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GINGER

Fran, it's -uh- Harry's office.

FRAN

(cupping receiver)

Yeah, I'm busy.

GINGER Uh- You should take it.

FRANI'll call them back, comprende?

GINGER

Sydney's walked again.

FRAN

Quenton, I'll call you back.(takes another line)

Harry! How's my favorite director...? You did what ? Oh my God...

(to Ginger)They lost Sydney in the woods. They've sent out a search party.

(to Harry)

Harry, are you crazy? Big Foot's probably eaten her by now.... Find her!

Fran hangs up.

EXT. MOUNTAINSIDE -- NIGHT

Thunder RUMBLES. It's raining heavily. Sydney slips in the mud. 1234

SYDNEY

(approaching us)

Sydney, you're such an idiot! Idiot, idiot, idiot... to be or not to be an idiot. (GROAN)... Okay. You can do this. (BREATH)

You can do this. (BREATH)

You can do this. (BREATH, GASP, GASP)Which way is up and which way is down?!?

Thunder RUMBLES.

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SYDNEY (CONT'D)Oh God, I think I'm losing it. Oh, I don't believe you did this, Sydney. You're an idiot. Yo

walk off a movie in Manhattan... walk off a movie in Beverly Hills. You don't walk off a m

in a godforsaken mountainside in the middle of nowhere! (GASP, GASP, GASP)Wait 'til the Actor's Guild hears about this. Oooo. Whew. Oh. Oh.

EXT. MOUNTAINSIDE -- PER-DAWN

Sydney sleeps. A truck horn BLOWS and ROARS past. She awakens and follows the

direction of the sound.

SYDNEY

Ah! Hello! Hello? Hello?!?! Hello?!!!! Help!!! Hello! Stop! Help! Stop! Help me, pl

Stop! Lady with a baby! Help! Don't leave--

She GRUNTS, GASPs and CRIES OUT as she stumbles down a hill to the side of a

road.

EXT. HILLSIDE AND HIGHWAY -- PER-DAWN

Sydney GRUNTS, and HOOTS as she crosses to the roadway. A truck slow to pick up a Hitch-hiker. Sydney jumps ahead of him and climbs into the truck.

SYDNEY (to Hiker)This one's mine! You take the next one.

Sydney jumps in. The truck pulls away.

DRIVER (V.O.)

Where're you headed?

SYDNEY (V.O.)

What's the name of that town?... Deerview?

DRIVER (V.O.)

Deerview? Lady, that's back over the mountain. I'm headed for Lincoln, about two hours a

Take it or leave it.

HITCH-HIKER

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What? I can't even ride in the back of the truck? No honor among hitch-hikers anymore. M

as well take the damn bus.

The Hitch-hiker picks up his bag and exits.

EXT. HIGHWAY -- DAY

Scenery races past.

SYDNEY

What's that over there?

DRIVER

That's the Lincoln steel mill. We're coming into town now.

EXT. LINCOLN / MAIN STREET -- DAWN

The truck pulls up to the movie theater. Sydney gets out.

SYDNEY (to Driver)

Thanks a lot.

The truck pulls away. Sydney looks at the steel mill that is down the road. A

WHISTLE BLOWS. A church bell CHIMES. She turns back to walk down the

street. A family walks by and the kids notice her muddy clothes.

MOTHER (O.S.)Oh dear.

KID (O.S.)

Mommy, is that a big lady?

An ELDERLY MAN and Woman stand on the street corner.

ELDERLY MANGood morning.

SYDNEY'Morning.

The Elderly Man looks to his wife - who's that?

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EXT. DOOLY'S BOWL -- CONTINUOUS

Sydney enters the bowling alley.

INT. DOOLY'S BOWL -- CONTINUOUS

Sydney enters the NOISY bowling alley and finds a pay phone.

INT. DOOLY'S BOWL / DINING AREA -- LATER

A cook (WALTER) and a waitress (JOYCE MCMURPHY, 30s) watch the lanes withinterest.

JOYCE

Picked up the spare!

WALTER

Oooo Joycie, he's on fire. What's he at?

JOYCE

He's gonna nail a six-fifty series for sure...(pointing to Sydney)Who's this?...

WALTER She could bowl in our bag lady league.

Joyce and Walter share a smile.

ANGLE ON SYDNEY

SYDNEY (into phone)Oh!... Answering machine. It's four in the morning in L.A.... Fran, it's me. Don't call out th

National Guard. I'm all right. But don't tell Harry... or Ryan. Tell 'em that I am... lost and

feared dead. Actually, don't tell-- don't tell Harry that, he'll get Glenn Close. I'm cominghome... I've gotta -um... actually, I-- I can't come home. I need to get money. You gotta ge

Fred to wire me some money. I'm in -um... Wonder what the hell this place is... I can't read

number on the telephone... So I'll call you back, nevermind, bye.

Sydney hangs up and walks to the counter.

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SYDNEYWhat are those weird things behind me?

JOYCEYou mean the bowlers?

SYDNEY (LAUGH)

No. No, I mean the skinny pins and the tiny balls.

JOYCE

Oh. Candlepin. It's an East Coast thing. Uh- It's English. Can I get you anything else?

SYDNEY

A plane ticket out of here? (off Joyce's look)

Did I mention that I have no money?

JOYCE

Coffee I can get you on the house, but you're on your own for the plane ticket.

SYDNEY

Thank you.

JOYCE

You in some kind of trouble?

SYDNEY Now why would you think that?

JOYCE

Want to talk about it?

SYDNEY

...No.

JOYCE

Okay. You can use the phone in the office for free.

SYDNEY

... I don't know who I'd call.

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JOYCE

That's trouble, all right. Look -um- for starters, how about I loan you some clothes?

SYDNEY

You would loan me some clothes? Why would you loan me clothes?

JOYCE (isn't it obvious)

'Cause... you need 'em.

WALTER (O.S.)

Joycie!

Joyce walks over to Walter.

WALTER (CONT'D)

Get rid of her. She's a bag lady.

JOYCE

She's not a bag lady.

WALTER

She's broke. She's wearing baggy clothes. She's a bag lady.

JOYCE

It's a new look. It's that Elizabethan thing.

Joyce rolls her eyes and walks away.


Fran and Ginger barrel into the office.

FRAN

Okay, so we R.S.V.P.'d 'yes' to the Streisand latke party...

GINGER

Fran--

FRAN

...'No' for the Thanksgiving Day parade. Who were they kidding?...

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GINGER

Fran, listen...

Ginger SIGHS.

FRANAnd a 'maybe' to the ozone replenishment benefit.

GINGER Fran, Sydney called.

FRANWhat?

GINGER

Yeah. She left a message. She -uh- doesn't know the name of the town she's in, she doesn'have any money, and she didn't know the number that she was calling from, but she's gonna

back.

FRAN

Oh, that's insane.

GINGER

So what's new?

FRAN

Okay, zip it. Get me Harry on the phone and then get me the studio.

GINGER No, no. Harry already called. He knew she was out of the woods because some gas station

attendant saw her with a truck driver.

FRAN

A truck driver? Good for her.

GINGER

I'll call the studio.

FRAN

Yeah.

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Fran bolt into action.

INT. DOOLY'S BOWL / STORAGE ROOM -- MOMENTS LATER

Sydney, dressed down, brushes her hair. Joyce studies her.

JOYCE

Anyone ever tell you you look like Sandra Bullock?

SYDNEY

I don't think I look anything like Sandra Bullock.

JOYCE

Um- Well, her or a little bit like that actress Sydney Clarke... except for the blonde hair and

those pouffy lips. She had 'em injected with sheep fat, you know.

SYDNEY

Oh, she did not.

JOYCE

I read it in a magazine. It's true... So what is your name?

SYDNEY

Uh... Cheryl. Cheryl Belson.

JOYCE

Well, it's nice to meet you, Cheryl. I'm Joyce McMurphy.

SYDNEYMe too.

JOYCECheryl, promise me one thing.

SYDNEYWhat?

JOYCEThat one day you'll tell about that dress... and the last couple of days.

SYDNEY

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It's a long story, but I will.

WALTER (O.S.)

I don't know what you're doing in there, Joycie, but we're backed up out here!

JOYCECome on.

They exit.

INT. DOOLY'S BOWL / DINING AREA -- MOMENTS LATER

Walter has orders backed up as Joyce and Sydney enter.

WALTER

Only cook it once, kiddo.

JOYCE

I know, I know. (to Sydney)All cooks are the same, persnickety group of people. Cheryl, hold your arm out... Palms u

Thank you.

Joyce hands Sydney a plate. And another.

SYDNEYWhoa-whoa-- What are-- what are you doing?

JOYCE

Do me a favor, run this down to lane three.

SYDNEY

Me? Oh, I don't think so.

JOYCE

What's your problem?

SYDNEY

You're asking me to wait tables?

JOYCE

No, I'm asking you to do me a favor.

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SYDNEYHow's a person supposed to carry all this? Haven't you ever heard of a tray?

JOYCESure. There you go. Okay, go. Lane three. Lose the attitude, you might get a tip.

Sydney hobbles away.

INT. DOOLY'S BOWL / LANE 3 -- CONTINUOUS

PETE CAMERON and his brother BEN bowl. Pete's pregnant wife CEECEE lookson. Sydney arrives laden with plates. Pete gets a strike. His teammates HOLLER!

PETE

Yes!

BEN

See you later, buddy. See you later, buddy.

SYDNEY (O.S.)

Could somebody give me a hand, please...

TEAMMATE

Save our drinks! Save our--!

The threesome rescue Sydney's plates.

SYDNEYAhhh, thank you.

BENHow much do we owe you?

A beat as Ben and Sydney take each other in.

SYDNEY

I don't know. I'm not a waitress.

BEN

Well, that's apparent. (to Joyce)

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Hey Joyce! How much?

ANGLE ON JOYCE:

JOYCEUh-- Ten fifty.

BEN (handing Sydney the money)

Ten... Fifty.

SYDNEY (irked she didn't get a tip)

Ah, the Bill Gates of bowling.

Ben CHUCKLES.

SYDNEY (CONT'D)Tipping is not a city in China, you know.

BENThat's good. Thank you. (off her name tag)

"Peaches"...

SYDNEY

It's Cheryl and I'm leaving tomorrow.

BEN

I wasn't asking.

SYDNEYYes, you were.

BENWhat's your hurry?

SYDNEY (off lack of tip)Hard to make a living here.

BEN (CHUCKLES)You're telling me. Maybe you're in the wrong line of work.

SYDNEY (CHUCKLES)

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You got that right.

BEN

So, stick around anyway.

SYDNEY Now why would I want to do that?

BEN... Because I'm here.

SYDNEYThat's why I'm leaving.

Sydney exits. Ben's teammates LAUGH.

TEAMMATE

Youch! God, chewed him up and spit him out.

PETE

That hurt. Total annihilation, brother.

BEN

You know something, she really likes me.

PETE

Yeah...

END OF ACT ONE

ACT TWO

FADE IN:

INT. DOOLY'S BOWL / DINING AREA -- NIGHT

Joyce closes up for the night as Sydney sips coffee and reads the local newspaper.

SYDNEY

A lot of houses for sale.

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JOYCE

Well, people are scared. Every time there's another rumour about the mill closing, someboleaves.

WALTER (as he passes)Lock up, will ya, Joycie?

JOYCE

Sure, no problem. Goodnight, Walter.

WALTER

Goodnight.

SYDNEY

You don't mind if I hang here 'til the rain stops, do you?

JOYCE

No, not at all -um- but can you give me a hand here or are you gonna stand there like the Q

of England, watch me drop this stuff?

SYDNEY

Sure. What do you need me to do?

JOYCE

I'm just kidding ya. (off a coin)Here, take this. Push A-1 on the jukebox.

SYDNEY

Oh, I can handle that.

Sydney does as instructed.

SINGER (V.O.)

With this ring I promise...

JOYCE

Well, good.

So, where are you from, Cheryl?

SYDNEY

... Mississippi. Pushmataha.

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Wooo!

Joyce HOOTS A LAUGH.

SINGER With this ring I promise...

SYDNEY / JOYCE (singing) I'll always love you, always love you.

They LAUGH.

SYDNEY

Get ready now.

JOYCEWhat?

Sydney spins Joyce around. Joyce spins out of control and CRASHES off-screen.Sydney runs to her.

EXT. JOYCE'S HOUSE -- NIGHT

Sydney and Joyce drive up to Joyce's house. Joyce hops out on one foot.

JOYCE

I'll get my crutches.

SYDNEYHang on. Wait-wait-wait--JOYCE

Okay, I'm fine, I'm fine...

SYDNEY

Don't move without me... Just a second.

JOYCE

Ow!

SYDNEY

Oh, Joyce, I'm so sorry.

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JOYCE

It's okay. I just bumped it.

SYDNEY

Are you okay?

JOYCE

Yes-yes-yes-yes!--

SYDNEY

I'll get the bag.

JOYCE

Just grab my bag. Thank you.

SYDNEYAll right. Take it easy.

JOYCEOops! Shhh--!

SYDNEYWhoa! Joyce, just wait a second.

JOYCEI've got it, I've got it!

SYDNEY

Have you got it?

JOYCE

I can't remember when I've had so much fun.

SYDNEY

I am so sorry.

JOYCE

If you say you're sorry--

SYDNEY

Okay--

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JOYCE-- one more time, I will whack you, okay?

SYDNEYEasy.

JOYCE

So where are you gonna stay tonight?

SYDNEY

I haven't figured that out yet.

JOYCE

Well, you're welcome to stay on my couch.

SYDNEY

Joyce, you're such a nice person, I don't know what to make of it. You're sure you're not

Southern?

JOYCE (HUFFS A LAUGH)

If that means 'thank you', you're welcome. Go on.

SYDNEY

Is it locked?

JOYCE No, we don't lock it.

SYDNEY

Oh, small town. I love it.

EXT. JOYCE'S HOUSE -- MORNING

Establishing.

INT. JOYCE'S HOUSE / BEDROOM -- CONTINUOUS

Sydney finishes up a drawing of a sleeping Joyce. Joyce SIGHS and wakes up.

SYDNEY

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How do you feel?

JOYCE (EXHALE)

I'll live.

Sydney holds up a sign that reads "Sorry!"

JOYCE (CONT'D)(LAUGH; off drawing)

Can I see that?

SYDNEY

Sure.

JOYCE

Thanks. That is so good.

SYDNEY

Thank you.

JOYCE

Is that what you did back in Pushmawhoha?

SYDNEY

Pushmataha. No. Worked at a tropical fish store.

JOYCE

That's the job you walked out on? Guppies got to you, huh?

SYDNEY (HUFFS A LAUGH) No, the piranhas. Not to mention a cheating fiancée.

JOYCEOuch. So now what'll you do? I mean, what would you like to do, if you had your choice?

SYDNEY... Pffoof. What a question. If I could do anything, what would I do?... Thirty-six years old

I don't know the answer to that.

JOYCE

Can I give you a little advice?

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SYDNEY

Sure.

JOYCE

I don't think you're quite cut out to wait tables.

SYDNEY

No kidding. I like my food brought to me, thank you very much. What about you? You g

hang out with the midnight humpers the rest of your life?

JOYCE

No, actually. Some day I'd like to open up a little cafe down by the lake. Own my own business.

SYDNEY

What a wonderful idea! Why don't you do that?

JOYCE

Risky. Mill closes down, so does everything else.

SYDNEY

Well, risks are meant to be taken, right?

JOYCE

Well, one step at a time, if I'm lucky. First, I gotta figure out how to wait tables walking onhands.

Sydney CHUCKLES. Joyce SIGHS.

SYDNEY

I gotta figure out how to get out of here. No offense. Where's the nearest big airport?

JOYCE

Boston.

SYDNEY

Okay. I have friends in Boston. How do I get to Boston? Do I take a train, bus - what?

JOYCE

We got a train station. Train leaves tonight, I think around eight o'clock.

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SYDNEY

Oh, I just have one little problem.

JOYCE

Oh...

Joyce mouths the word "Perfect."

EXT. LINCOLN TRAIN STATION -- NIGHT

Joyce hands Sydney some money.

SYDNEY (O.S.)

Joyce, I don't know how to thank you.

JOYCE (O.S.)Would you stop it? Just keep it.

SYDNEYI practically break your foot off and you lend me a week's worth of tips...

JOYCECheryl, the way I was raised, somebody needs help, you give it to them. You'll pay me bac

You've got my address.

SYDNEY (EXHALE)

I sure thank you. I'll get your clothes back to you right away. Promise.

JOYCE (smiling)Did I mention the interest payments?

A train WHISTLE BLOWS.

JOYCE (CONT'D) (HUFFS A LAUGH)

I gotta get back to work.

SYDNEY

Thank you so much. I'll be in touch. You take care.

JOYCE

Yeah, you too.

3

3




SYDNEYSee you.

JOYCEBye.

EXT. LINCOLN TRAIN STATION -- LATER

Sydney is waiting for the train, sits beside a MAN.

MANThis train should be here any minute.

They CHUCKLE nervously.

SYDNEY

Where are you heading?

MAN

Not me. My daughter's coming home.

SYDNEY

Oh, that's nice.

MAN (CHUCKLES)

Yeah, she's... thirty-three now. I haven't seen her for almost four years. Nothing's better thcoming home.

SYDNEY

She must have traveled a lot, huh?

MAN

Oh, she's been a place or two... Greece, the island of Crete, Italy...

MAN

Switzerland, well most of Europe really... England... as far up as Norway. Now that's not

counting the Arctics, both up and down.

The trains starts to pull in.

3

4






WALTER (CONT'D) (points to phone)Geez, look at that.

Sydney places a call at a telephone booth.

SYDNEY

Ah, Fran, you're never there. (HUFFS A LAUGH)

It's Sydney. Listen, I'm not going to come back right away. I've gotta... I've gotta... I don'tknow what I gotta do. Something. I'll-I'll... call you in a few days. Bye.

Sydney hangs up, sits down heavily at a table. Joyce limps over on crutches to her.

JOYCE

Hey.

SYDNEY

Hey.

JOYCE

You all right?

SYDNEY

I don't know...

JOYCE

I thought you were going home.

SYDNEYRight now, here seems better than there.

JOYCEOkay... Well, what are we going to do with you then? Besides fish food, what have you do

SYDNEYWhat have I done? You mean, work?

JOYCEYeah, work. I think we've exhausted the waitress thing.

SYDNEY

3

6




Yeah.

SYDNEY (LAUGHS)

Well, I've... I've done a lot of things. When I was a teenager, I flipped burgers.

JOYCEMm-hm.

SYDNEYI was a nurse's aide once. Sorta.

JOYCEThat's how you knew to put ice on my foot.

SYDNEY

Yeah.

JOYCE

I tell you what, my friend Darlene is the nurse at the mill and she is dying to visit her sisterFlorida.

SYDNEYOh, I don't know...

JOYCEYou could cover for her during her vacation. Pay is pretty good.

SYDNEY

I can't do that!

JOYCE

Just 'til she gets back. Look, it'll put money in your pocket, get your confidence back. I'mgoing to set it up right now. All you've got to do is charm the boss. You'll get along great.

DISSOLVE TO:

EXT. STEEL MILL -- DAY

Establishing. A WHISTLE BLOWS.

INT. STEEL MILL / FOREMAN'S OFFICE -- DAY

3

7




Sydney waits to meet the foreman. We hear a man's voice as he approaches.

BEN (O.S.)

I know we have to make the shipment but I can't speed it up without slacking on safety andnot gonna do that...

As the Man enters, Sydney is surprised to see it's Ben.

SYDNEY

Mr. Cameron?

BEN

Peaches! Well, I thought you were leaving town!

SYDNEYYou're the boss?

BENYeah. Ben, remember?

SYDNEYYeah.

Sydney CHUCKLES.

BENWow, a waitress, now a nurse. If this keeps up, you'll be mayor by the end of the week.

Ben looks over Sydney's job application.

BEN (CONT'D)(with fake Southern accent)

Ah, Belson... Mississippi... Hmm... Pushma...?

SYDNEY

Pushmataha.

BEN (with fake Southern accent)

You know, I never actually met anyone from Mississippi before.

3

8




SYDNEY

Yeah? Well, most of us are wearin' shoes now. We've got indoor plumbing too.

BEN (LAUGH)

You look very familiar... Huh. Uh-Let's see... Work history: sold tropical fish supplies, gouchef, part time nurse...

SYDNEY

Well actually, it was more like a nurse's aide.

BEN

Well, how are you with splinters? That's about as serious as it gets around here. Of coursethere was that one time that Guy Hilliar got decapitated with an hydraulic drill.

SYDNEY

You're kidding, right?

BEN

Yeah.

SYDNEY

Very funny. Steel mill humor?

BEN

You're hired.

SYDNEYJust like that?

BEN

Steel mill intuition. You've got a certain, big city, something about you, but not entirely. I

it. I thought you were leaving town?

SYDNEY

I-- thought so too.

BEN

Well, lucky for us. Come on Peaches, I'll show you around.

INT. STEEL MILL -- DAY

3

9




Ben shows Sydney around.

BEN

The mill has six divisions employing -uh- over a thousand men. This division makes -uh- s

products: bridges, stuff like that.

SYDNEY

Mm-hm.

BEN

My grandfather helped build this place in the twenties.

SYDNEY

Did he really?

BENYeah, the town was really prosperous then.

SYDNEYWell, it seems busy enough now.

BENWell, what you're seeing are guys working double-shifts in order to keep the mill in the bla

What everybody has to do these days to compete with foreign steel. The -uh- nurse's statio

the lunch room are up there.

INT. STEEL MILL / LUNCH ROOM -- DAY

A BUZZER BUZZES. Workers go back to work. Sydney and Ben enter to find theshop foreman, DICK BAKER. He's tense.

BENDick, this is Cheryl Belson. She'll be taking over for Darlene until she comes back.

SYDNEYHi. Nice to meet you.

DICK Very nice to meet you, and welcome... (CLEARS HIS THROAT)

Can you give us a second?

4

0




SYDNEY

Oh, sure. No problem.

DICK

Thank you. (to Ben)Ben, did you -uh- did you send in that report to New york yet?

BEN

No. I was hoping output would improve this week so I could send something more optimisWhy?

DICK Good, 'cause I wa--I want to go to the accounts receivable, see if I can shake loose a few do

from some of these guys that owe it to us, you know, and tip the numbers in our favor a litt

BENOkay.

DICK Good, great.

BENHey, Dick, everything okay?

DICK Uh- I just got a call. Elaine fell again. (to Sydney)

It's my wife. She's been pretty sick.

SYDNEYMmm...

BENShe all right?

DICK Well, nothing's broke but -uh- I can't say she's okay. It's been a pretty tough go for the last

years. She's getting tired.

BEN

Well, what are you doing here? Go be with her.

4

1




DICK

Ah, I can't do that. You know what's on my desk.

BEN

Look, if I need you, I'll call you. Go ahead. Go!

DICK

Thanks, Ben.

Dick exits.

SYDNEYThat was a nice thing to do...

BEN

Well, I'm a nice guy.

SYDNEY

A lot of people I know wouldn't have done that.

BEN

It sounds like you're hanging out with the wrong crowd. Here's your office... What do youthink?

SYDNEYLooks like home to me.

END OF ACT TWO

ACT THREE

FADE IN:

INT. FRAN'S OFFICE -- EVENING

Fran listens to the last part of Sydney's message.

SYDNEY (V.O.)... I don't know what I gotta do. Something. I'll call you in a few days. Bye.

FRAN

4

2




In a few days?!? (to Ginger)

Get me the Studio. Executives are going to be hemorrhaging all over the lot.

GINGER

Ryan's on two and your mom's still on hold.

FRAN (into phone)

Mom, hold on. (clicks to another line)

Ryan! ... Oh... Of-of course she's coming. I talked to Sydney this morning. Everything wilfine. You too. Kiss, kiss.

INT. STEEL MILL / NURSING STATION -- DAY

Sydney examines Otis's butt.

SYDNEYI don't see any splinters, Otis.

OTISI don't know. I felt something. Metal filing maybe.

SYDNEYLet me get some aspirin. (she takes the pill)

You can go back to work now.

OTIS

Well, what about checking out that splinter in my butt?

SYDNEYSit on a mirror and check it yourself.

OTISSit on a mirror and check it yourself. What kind of a nurse is that?

Otis walks into the hallway. Other men wait to see Sydney. Otis gives them thethumbs up.

OTIS (CONT'D)Yeah!

They rush to her.

4

3




SYDNEY (GASP)

WORKER

Ow.

SYDNEY (LAUGH)

Come on in.


The workers file out. Ben catches up with his brother Pete.

BEN

Hey, you think about my idea?

PETE

Ben, it doesn't work. Guys doing these jobs, they don't make enough money to buy back th

plant. Hey John, I need that <mig-gun?> by tomorrow. Where do you come up with theseStreet strategies?

BENWell, we've got to do something.

PETERelax, brother. They've been threatening to close this plant down since we were kids.

BEN

Yeah, well, this time it might happen.

PETE

Look, just because they shut down Ithaca doesn't mean we're going down.

PETE

Hey, you saved New Bedford, you'll save us as well. Stop worrying.

BEN (frustrated)

Yeah...

Peter moves off as young JIMMY BAKER runs towards them with a football.

4

4






BEN--they got to celebrate.

SYDNEYI don't have anything planned, really.

BEN

Well, in that case, how about dinner at my house?

SYDNEY (CHUCKLE)

BEN

What?

SYDNEYYou don't quit, do you?

BENWell, I haven't heard you say no.

SYDNEYAnd if I did?

BENI'd be perfectly fine with it.

SYDNEY

Nah, I don't think so.

BEN

Come on! You just got a new job.

SYDNEY

Ah, it's very sweet of you. I just don't think so.

BEN

Aw, how can you--how can you say II don't think so'? It's impossible. Just say 'yes.' Com just 'yes,' a simple 'yes.' What else you gonna-- who else--what else are you gonna do? Wh

you know in town?

4

6




SYDNEY

Okay, all right already. As long as I don't have to carry more than one plate at a time.

BEN

Actually, I was hoping you'd cook.

SYDNEY

... I have to cook?!?

BEN

Well, your--your resume says you're a--a gourmet chef. Besides, I got a couple of trout I c

yesterday. Need a little loving hand, little imagination, culinary skill. Where do you live?

SYDNEY (CHUCKLES)

I'm staying at Joyce's.

BEN

Really? Well -uh- I'll pick you up at seven.

SYDNEY

Okay. See you at seven.

BEN

Right.

Ben exits. Sydney smiles.

EXT. JOYCE'S HOUSE -- DAY

Establishing shot.

JOYCE (O.S.)I just don't understand how you could tell him you were a chef when you really weren't.

INT. JOYCE'S HOUSE -- DAY

Joyce paints her nails while she and Sydney look for a fish recipe.

SYDNEY

So, I wasn't lying. I just... didn't stick with it for very long.

4

7






Joyce CHUCKLES.

CARTER (CONT'D)

How are you?

JOYCEGood. How are you?

CARTER I'm okay.

Joyce CHUCKLES.

SYDNEY (friendly)

Ahhh, the boyfriend!

JOYCE

Carter, this is Cheryl Belson. She's visiting from... somewhere in Mississippi. This is Cart

CARTER (condescending)

Yes, the boyfriend.

SYDNEY

It's so nice to meet you, Carter.

CARTER

Likewise. She is a bit like Sydney Clarke. But -uh- Sydney's a little more zaftig.

SYDNEY (raising an eyebrow)Zaftig?

CARTER It means chunky.

SYDNEYI know what it means.

JOYCE (proud)Carter's the director of our community theater.

SYDNEY

4

9






I just can't tell whether you know what you're doing or you're the best con artist I've ever se

SYDNEY

If the con is done well enough who's to say it isn't the truth?

BENWhat if you don't pull it off?

SYDNEYThe spell is broken.

BENWe're having a conversation and I don't know what the hell we're talking about.

Sydney LAUGHS.

BEN (CONT'D)

You're driving me crazy.

SYDNEY

I have to check the trout.

BEN

Uh-Nuh-It-it-it-- The trout is fine. I have never seen such beautiful brown eyes in my life.

SYDNEY

On me or the trout? Speaking of trout.Watch out.

BEN

Yes-- Uh- All right. Let's....

Sydney pulls the trout out of the oven.

SYDNEYOh. Oooo... Voila.

BENGood, good.

SYDNEY

5

1








BENBringing up the fish tank at this particular moment is -uh- bloody frustrating.

SYDNEYWell, I think we hardly know each other and I don't fool around on the first date.

BEN

Well, it's early. Come on! Let's have our second date. Come on.

Ben yanks Sydney away.

EXT. CHURCHYARD CEMETERY -- NIGHT

Sydney and Ben walk past a church and cemetery.

SYDNEY (O.S.)

You really love this town, don't you?

BEN

Well, I grew up here. There's four generations of Camerons buried here. My mother and f

are right over there.

SYDNEY

You loved them too, huh?

BENMy parents? Yeah, they were my parents. Why, you don't have -uh- warm feelings about

Pushamatahari?

SYDNEY

Pushmataha! Would you guys give me a break? Just 'cause you live in clichéville LincolnJeez!... Pushmawhatdyacallit was wonderful. I loved it. I can't say the same thing about m

father. Fortunately, he left when I was nine.

BEN

Hm... I guess I've lived the American dream.

SYDNEY

Do you know what's great about you, Ben?

5

4




BEN

Yeah. My broad shoulders and irresistible grin?

SYDNEY

No. You are who you are. Rock solid. Genuine. Straightforward.

BEN

That sounds so boring.

Sydney LAUGHS.

BEN (CONT'D)You know what I like about you? It's just the opposite. You see, I-I look at you and I see

something more. I know there's something more. You got me curious.

SYDNEYIs that something new for you? A woman that makes you curious?

BENWell, maybe there was one or two when I lived in New York.

SYDNEYYou lived in New York?

BENYeah. You're surprised?

SYDNEY

Yeah, I am a little... You didn't like the big city.

BEN

Well... Nah, it was all right. I just -uh- moved back when I had the chance. Never really feright anywhere else.

SYDNEY (looking up at the sky)Whoa! Did you see that falling star?

BENOh yeah. You don't see those too often.

SYDNEY

5

5




Where I come from, you see them all the time.

BEN

You cold?

SYDNEYYeah, I am a a little bit.

Ben puts his arm around her.

SYDNEY (CONT'D)

Oh, thank you.

BEN

So -uh- what's your policy on third dates?

INT. MOVIE THEATER HOUSE -- NIGHT

Ben and Sydney purchase movie tickets.

BEN

Hi. Two please.

TICKET GUY

Enjoy the show.

BENYeah. (to Sydney)

You want anything to eat?

They walk into the movie theater.

SYDNEY

No, I'm okay right now.

BEN

Okay... Let's sit up on the stage.

SYDNEY

No, I like to sit right in the middle... Right here.

5

6




BEN

Wow. You're such a control freak.

They sit.

SYDNEYAhhh...

BENWhat are you so happy about?

SYDNEYOh, I love this.

BEN

It's just a movie theater.

SYDNEY (bliss)

Ordinary and wonderful.

BEN

Oh well, you know, if it make you so happy going to the movies, we should do it more ofte

Sydney CHUCKLES. The lights go dow, the curtains part and, on the screen, a movie

trailer starts to play - one for Sydney's upcoming movie.

BEN (CONT'D)I think this date is going really well. I'm having fun.

SYDNEY

So am I.

ANNOUNCER (on screen)

Now, in the role you've been waiting for her to play...

SYDNEY (on screen)

Frankly, I need some help.

ANNOUNCER

Sydney Clarke...

5

7




SYDNEY

I need someone who knows the game, Who can point the way for me.

ANNOUNCER

Sydney Clarke - more beautiful and more dangerous than ever.

SYDNEY

If the con is done well enough who's to say it isn't the truth?... I could use a real friend righ

now. (SNIFF)And I know that I can't just ask you to--

Ben realizes "Cheryl" is really Sydney Clarke.

BEN

You're...

SYDNEY

-- drop everything and run up here, but...

ANNOUNCER

First, you see her, then you don't. And what happens in between--

Ben CHUCKLES and leaves.

ANNOUNCER (CONT'D)-- will have you screaming bloody murder.

SYDNEY

Ben...

Off screen, a woman in the trailer SCREAMS. Sydney chases after Ben.

ANNOUNCER

No matter how many nightmares you've had, you'll never have one like this...

They exit the theater.

INT. THEATER LOBBY -- CONTINUOUS

Ben bursts out into the lobby. Sydney follows, explaining.

5

8




SYDNEY

Ben...

BEN

Well, I guess the joke's on me, huh?

SYDNEY

Ben, come on...

BEN

Well, am I gonna make fan mags now?

SYDNEY

Let me explain at least.

BEN (running over her) No, you've got me. That was a good one. I mean, you really-- I gotta hand it to you. You

did.

SYDNEY

It's not like that.

BEN

Really? What is it like? What is it? Oh, it's an acting experiment. Is that what it

is? Like -uh-research? Let's hang out with the little people.

SYDNEY No, this isn't what this is about!

BEN

Then what is it about?

SYDNEY

I just wanted to know what it felt like to be Cheryl Belson again.

BEN

Oh. Oh, I see. So you -uh- what, you show up in some little hick town and look for the big

sap in it? Is that what it is? Thanks for the date.

He exits, leaving Sydney alone.

5

9




END OF ACT THREE

ACT FOUR

FADE IN:

EXT. LINCOLN / MAIN STREET -- DAY

Sydney checks out a boarded up house.


Sydney and other Steel Workers file into work.

SYDNEY

Morning.

STEELWORKERS

Morning.

SYDNEY

Oh... Oh, you don't mind if I butt in, do you?

The Workers waves her through. Sydney goes to punch her time card and notices it

isn't there.

INT. STEEL MILL / FOREMAN'S OFFICE -- MOMENTS LATER

Sydney barges into Ben's office.

SYDNEY

Are you telling me something? My time card's gone.

BEN

Yeah, I figured you had bigger and better things to do.

SYDNEY

Okay. All right. But for the record? I didn't mean to hurt anyone and I didn't mean to hurtI was doing my job here. I think I was doing it well. That was the idea, right?... One more

thing, actors may get paid to play emotions, but they've got real ones too.

6

0




Sydney storms out of Ben's office and...

BEN

Don't slam that...

SLAMs the door shut.

BEN (CONT'D)

...door.

EXT. DOOLY'S BOWL -- DAY

Establishing shot.

INT. DOOLY'S BOWL -- DAY

Sydney finishes a drawing of Walter.

SYDNEYHere you go.

WALTER Wow, that's amazing. Listen, I don't think Joyce is going to be back for at least thirty minu

so if you want to wait, I'll make you a grilled cheese sandwich.

SYDNEY

Nah, I'm not hungry. Thank you though.

WALTER Thank you.

Sydney walks over to the bowling lanes.


Ben enters, saying hello to workers as he passes. Ben is getting the cold shoulder.

BENGood morning... Hey Todd, good morning, how ya doing, buddy? Ronny, Mark, how ya g

doin'? I can see how this is going. Good morning, Kevin. (SIGH)

6

1





Ben approaches Sydney who bowls terribly.

SYDNEYMaybe I should try those wussy balls.

BEN

Yeah, maybe you should.

SYDNEY

You waiting for this lane?

BEN (shakes his head)

The guys at the mill want you back.

SYDNEY

There you go. I have never had trouble at the box office.

BEN

Yeah, they're actually threatening to go on strike unless you come back.

SYDNEY

Ah! Really?--

BEN

Yeah.

SYDNEY--I am so flattered....

BENWell, they are the only reason I'm here, so what do you say?

SYDNEYYou didn't tell them who I am, did you?

BENHa! How could I? How could I tell them their laying their jobs on the line for some Holly

movie star? It's a joke.

6

2






BENWhat's the difference?

SYDNEYTell me the answer and find out.

BEN (struggles, miserable, then:)

Why is my fish tank so sick?

SYDNEY

You're such a coward.

BEN

I know. So, Sydney Clarke, huh?

INT. STEEL MILL / OUTSIDE NURSE'S STATION -- DAY

Ben and Sydney arrive into the corridor crowded with workers.

BEN (to steel workers)

All right, you happy?

WORKERS

Yeah!

The Workers APPLAUD and HOOT.

SYDNEYAll right. Let's get the worst over first. Come on, Otis.

The Workers LAUGH and HOOT.

INT. STEEL MILL / FOREMAN'S OFFICE -- DAY

Meanwhile, Ben and Dick flip through their books.

BENYeah, I've already seen these. If we show these to Remsburg, they're definitely gonna shut

down.

6

4




DICK

Well, that's why we don't show those to Remsburg. We show Remsburg these.

BEN

What are these?

DICK

Ever since the Ithaca plant closing, I've been... inflating the numbers... just enough, y'know

BEN

Dick, if-- if they see these, you'll lose your job.

As Dick locks away the ledgers.

DICK

If they see these, we will all lose our jobs. You think those guys in New York care about thtown, Ben? We're numbers... Look, I'm not proud of this, but I've got a thousand guys to w

about... Welcome home, pal.

BEN (shakes his head)

I don't know, Dick.


Sydney massages Otis's shoulder.

OTIS (groaning)Ahhh, yeah....

SYDNEY

How long have you been married, Otis?

OTIS

Ah, listen, do we have to talk about that?

SYDNEY

I'm just wondering.

OTIS (SIGH)

Seventeen long years.

6

5




SYDNEY

You love each other?

Otis CHUCKLES painfully.

SYDNEY (CONT'D)I know. I haven't figured it out either. It always starts out so good and then, ends up awful

Men and women, huh? What a mix.

OTIS

I wouldn't know where to start. Even if I did, I don't think she'd care.

SYDNEY

Ah, I guess life is a gamble that way, huh?

OTISI suppose I could try. Start out small. Bring her a little something, a little present maybe.

used to do that.

SYDNEY

Yeah?

OTIS

Yeah.

SYDNEY

Back in the days when she'd rub away your aches and pains?... Okay, there you go. How's shoulder now?

OTIS (SNORTS A LAUGH)

It's better... Oh -uh- thank you for -uh- y'know, puttin' up with me. Friends?

SYDNEY

Yeah, as long as you do the splinter checks yourself.

OTIS (CHUCKLES)

I'm gonna have to nominate her for nurse of the year.

INT. BEN'S HOUSE -- NIGHT

Ben opens his front door to reveal Sydney.

6

6




BENHello.

SYDNEYHi.

BEN (off package)

What's that?

SYDNEY

Special fish food. I used to do that stuff, remember?

BEN

Oh yeah. Come on in... Can I ask you a question?

SYDNEY

Yeah.

BEN

What -uh- exactly brings you to town anyway?

SYDNEY

I was shooting a movie, I walked off the set and blah, blah, blah, I ended up here. I'll tell y

later, but your fish need me.

BENMm-hm.

They arrive at the fish tank.

SYDNEYThey have ick.

BENIck?

SYDNEYFish disease. See, look. You have to raise the temperature and treat the water every time y

change it. I brought the medicine too, so...

6

7




BEN

When do we start?

SYDNEY

Now. They're suffering. I'll show you.

BEN

I meant us.

SYDNEY

Ah... Well, you asked me who I thought I was and I'm looking for an answer to that too. I w

I had something profound to say, but... I got a problem: I'm lost without a script. You askeme, "When do we start?" And I'm asking you "How?".

BEN

Well... It may be crazy, but -uh- I'd say 'now'.

SYDNEY

Hm?

BEN

And, after giving your second question a considerable amount of thought, here's 'how.'

They KISS. FADE OUT

END OF ACT FOUR

ACT FIVE

FADE IN:


Two days later. Joyce rehearses from a copy of "A Midsummer Night's Dream."

Horace and Kirby listen respectfully.

JOYCE

How happy some o'er other some can be--

Bowling NOISE distracts her.

6

8




JOYCE (CONT'D) How happy some o'er other some can be! Through Athens I am thought as fair as she. Bu

what of that? Demetrius thinks not so.

The others APPLAUD.

JOYCE (CONT'D)What a person does for love.

Joyce realizes this speaks of her too. Sydney enters.

SYDNEYI can help you with that.

JOYCE

Oh, I don't think anybody can help me.

SYDNEY

First, you have to answer the big question: what does Helena want?

JOYCE

Want?

SYDNEY

Not just want... Want! (with feeling)WANT! (pulls it from her gut)

WAAAAANNNNT!!!

Joyce CHUCKLES.

SYDNEY (CONT'D)

'Cause when your working on a character in a play, you have to know what it is they want, that you can want it too. Otherwise, the lines you speak have no meaning. So you have to

it so much that you could burst.

JOYCE

Sounds like a lot of work.

SYDNEY

6

9




Well, yeah, it is. But I'll tell you a secret Joyce, everybody in the world envies this - knowi

what you want - because they wish they knew it too. That's why they sit in the audience anwatch. Why they cannot take their eyes off you.

JOYCEWe're talking community theater here.

SYDNEY (LAUGH; hugs Joyce)

I love you, Joyce. Come here. I love you.

JOYCE

Okay...

They LAUGH.

EXT. COMMUNITY THEATER -- DAY

Establishing.

INT. COMMUNITY THEATER -- DAY

A small gathering listens to auditions, including Sydney, Joyce, Carter and others.Allison does a monologue.

ALLISON I, in the temple in the town in a field, you do me mischief. Aye Demetrius, your wrongs do

scandal upon my sex...

And under as we find Sydney and Joyce:

SYDNEY

She's not very good.

JOYCE

She's had the lead every year since Carter started directing here.

SYDNEY

What about you?

JOYCE

I've never been cast.

7

0




SYDNEYYou're sleeping with the director and you've never been cast?

Joyce LAUGHS.

SYDNEY (CONT'D)

Please...

ALLISON

We cannot fight for love, as men may do. We should be wooed, and were not made to woo. follow thee and make a heaven of hell, to die upon the hand I love so well.

Carter EXHALES with joy. The audience APPLAUDS.

CARTER (O.S.)Wonderful. Thank you.

SYDNEYHe loved it. Go figure. I'm sorry for the poor sucker who has to follow that.

Joyce HUFFS A LAUGH.

CARTER

Uh- Joyce McMurphy.

SYDNEYJust break a leg.

JOYCE

You've already taken care of that, thank you very much.

Sydney taps her playfully. Joyce CHUCKLES and hobbles onto stage.

CARTER And you are...?

JOYCECarter...

CARTER

7

1




Uh-uh- Joyce McMurphy. Begin when ready.

JOYCE (EXHALES)

Oh, I'm out of breath in this fawn chase. The more is my prayer, the lesser is my grace. Ha

is Hermia where I swear she lies, where she--

CARTER

Uh-uh- Thank you. That's very good.

Sydney shoots daggers at Carter.

JOYCE (embarrassed)Blessed is--- Oh...

Joyce hobbles off the stage. Sydney APPLAUDS solo.

CARTER (SIGH; to assistant)

Let her play the first fairy.

JOYCE

How was I?

SYDNEY

Oh, very convincing.

JOYCE

I wasn't to lah-dee-dah.

SYDNEYRegal, not lah-dee-dah.

JOYCEOh.

CARTER Next, uh... Cheryl Belson.

JOYCEOkay, big-shot, you get up there and don't pee in your pants, I'll buy you a beer.

CARTER

7

2




Cheryl Belson, are you here?

Sydney goes towards stage.


Fran is on the phone.

FRAN (into phone)Well, listen buster, you think I'm afraid of a twenty-six year old executive?... Yeah, well th

goes for twenty-eight year old lawyers too. Well, you're just going to have to shoot around

for a couple of days... What about reciprocity? She's had three hits in a row!

Fran hangs up the phone.

FRAN (CONT'D)Oh, they're going to sue the pantaloons off us. (to the Gods)

Sydney, wherever you are, I hope you're enjoying this!


Sydney prepares her monologue.

SYDNEY

I just -uh- need a moment, please... what's here? A cup closed in my true love's hand? Poisee, hath been his - what kind of end?

JOYCE

Timeless!

SYDNEY

Timeless end... Oh, churl, drunk all and left no friendly drop to help me after! I will kiss thlips. Haply some -what?...

JOYCEPoison!

SYDNEYHaply some poison yet doth hang on them. (she KISSES her hand)

Thy lips are warm... Yea, noise. Then I will be brief. O, happy dagger...

7

3




JOYCE

Give me thy sheath.

SYDNEY

This is thy sheath. There rust, and let me die.

She pantomimes stabbing herself.

SYDNEY (CONT'D)Ahhh!

CARTER (to assistant)I hope she doesn't give up the day job. (to Sydney)

Thank you, that's very good.

SYDNEYThank you.

CARTER Next! Horace!

Sydney joins Joyce.

SYDNEY

Well, Carter looks less than impressed.

JOYCEWell, I thought you were wonderful.

SYDNEY

Thank you.

JOYCE

He's the pro.

CARTER

Horace!

JOYCE (counting on her fingers)

Waitressing, no. Acting, no.

7

4




SYDNEY (nudging her)

Oh! I didn't quite pee in my pants, but I owe you a beer anyway. Come on.

Joyce CHUCKLES. They exit.


Establishing.


A Steel Worker, SWEENEY, suffers a heart attack and falls over. Pete and othersrush to him.

SWEENEY

Ughhh...

PETE

Sweeney, guys!

WORKER (O.S.)

Sweeney's down! Hey, get over here! We need somebody! Call the paramedics!


Sydney examines a female worker when Pete rushes in.

PETE

Cheryl!

SYDNEY

What?

PETE

Sweeney! He's having a heart attack or something. It's no joke! Come on!

SYDNEY (grabbing a medical kit)

Oh my God.


7

5




Sydney runs after Pete towards Sweeney.

SYDNEY

Pete, call the paramedics!

PETEAlready did! Follow me!

Workers surround Sweeney. She wades through them.

SYDNEY

Excuse me, excuse me, excuse me... Okay, he's not breathing and there's no pulse. Somebohelp me. Quick.

WORKER

What do I do?

SYDNEY

Put your hands right here. And pump five times for every breath I do.

The Workers look on as Sydney gets on Sweeney.

SYDNEY (CONT'D)

Hand me that. Okay. Thank you. Ready?

WORKER

... three, four five...

Sydney breathes into a respirator.

WORKER (CONT'D)

One, two, three, four, five.

Sydney breathes into a respirator again.

WORKER (CONT'D)

One, two, three, four, five.

SYDNEY

He's breathing.

7

6




The other Workers MURMUR their relief.

SYDNEY (CONT'D)

He's breathing...

Pete rushes in with the Paramedics.

PETE

Come on, guys!

SYDNEY

Hang on, Sweeney, here they come. (to Paramedics)He wasn't breathing and he had no pulse. We now got him breathing.

Sydney moves away.

PARAMEDIC (O.S.)

All right, I got a good pulse.

PARAMEDIC (O.S.)

I want the cardiac monitor, I want to start an I.V. right away. I'm gonna need the portable

oxygen tank.

PARAMEDIC TWO (O.S.)

No problem.

Ben runs in.

PARAMEDIC (O.S.)Oh, bring me the nitroglycerin...

BENHe gonna be all right?

PETEHe was a goner. Cheryl brought him back.

Ben runs after Sydney.


7

7




Sydney sits, shaken, as Ben walks in.

BEN

Hey.

SYDNEYHey.

BENYou did great.

SYDNEYI hope he makes it.

BEN

You sure you're okay?

SYDNEY

Yeah. Wow. No mistaking that.

BEN

What?

SYDNEY

Something that mattered. I did something that mattered.

They HUG.

SYDNEY (CONT'D)Whoof!

Ben HUFFS A LAUGH.

INT. HOSPITAL -- DAY

Sydney walks in to Sweeney's room with flowers in hand.

SYDNEYSweeney...? Don't quit on me, Sweeney. I got a lot riding on you. Okay?

SWEENEY'S WIFE

7

8




I don't think he's gonna die. It's just not like him to die. No, he's a fighter. That's what got

here and that's what'll get him out. I'll tell him you came by. I know he'd like that. And -uthank you.

SYDNEYOh...(EXHALE)

EXT. PETE AND CEECEE'S HOUSE -- DAY

Establishing.

INT. PETE AND CEECEE'S HOUSE -- DAY

The door bell RINGS. Pete opens the door to reveal sydney and Ben.

PETECome on in!

BENHey!

SYDNEYHey!

PETEWow, Cheryl, you look beautiful.

SYDNEY

Awww... gee, thank you.

PETE (to Ben)

What's she doing with you?

Ben and Sydney lean close, nearly kissing.

BEN

You know, you are beautiful.

SYDNEY

Well...

7

9




PETE (CLEARS THROAT)

Are you two having a moment here, 'cause I-I could leave.

BEN

That'd be great, Pete.

Sydney HUFFS A LAUGH.

PETEYeah. Come on, I'll show you the joys of fatherhood. Cheryl, CeeCee's in the kitchen.

SYDNEYOkay, I'll give her a hand.

BEN

Don't cook. Whatever you do, do not cook.

Pete CHUCKLES.

SYDNEY

Oh, very funny.

BEN (O.S.)

CeeCee, don't let her near the stove!

As Sydney rounds the corner, CeeCee blocks access to the stove.

CEECEE

Oh, uh- supper's all ready! I don't need any help!... I can let you stir. That's it.

SYDNEY

Oh, give me that.

CeeCee LAUGHS.

INT. PETE AND CEECEE'S HOUSE / NURSERY -- DAY

Pete and Ben enter. Pete picks up his toddler. A baby CRIES.

PETE

Hey buddy! Come on, we'll do a diaper change. Yeah, let's go.

8

0






What -uh- you mean not work at the mill?

BEN

Yeah.

PETEI don't know. You know it's the only job I've ever done. You know what dad used to say, h

steel gets in your blood?

BEN (nods)

Mm-hm.

PETE

I think he was right. (to his toddler)

Hey buddy, all done. There you go.

Pete's toddler COOS.


Sydney and Joyce walk toward the boarded-up house.

SYDNEY

You have to use a little imagination, all right?

JOYCE

Okay.

SYDNEYI want to show you this. Come look, right here. First of all, you clean up this whole area h

for drinks. Come follow me. Over here.

JOYCE (MUMBLE)

SYDNEYThat would be so beautiful. You have this porch that goes all the way around.

JOYCEMm-hm.

SYDNEY

8

2




I don't think we can get in here. It's probably locked. Hah! It's open! Look how charming

is! Look at the view people would have eating.

INT. BOARDED UP HOUSE -- DAY

Sydney and Joyce BREATHE in the atmosphere.

JOYCE

I hate it when somebody calls my bluff.

SYDNEY

Well?

JOYCE

So, it would work fine. Counter over here, deli case, some tables and chairs, a view of the

some guaranteed business from the hunters and fishermen.

SYDNEY

Well?

JOYCE

Well what?

SYDNEY

Well, what do you think?

JOYCEI don't know! I don't know if I'm ready for this.

SYDNEY

Oh...

JOYCE

What would happen if it doesn't work out?

SYDNEY

But it will work out.

JOYCE

Easy for you to say. I got that feeling again. Like right before I danced with you.

8

3




SYDNEY

Oh well, maybe we'll just do a waltz next time.

They exit.

FADE OUT.

END OF ACT FIVE

ACT SIX

FADE IN:


Establishing.


Sydney greets Ben outside the house.

SYDNEYHey.

BENWell, hi.

SYDNEY

Were you gonna leave without saying goodbye?

BEN

No, I was just coming in to wake you up.

SYDNEY

Where are you going?

BEN

Going on a little business trip.

SYDNEY

Okay.

8

4




BENMm-hm. No big deal. Just something I gotta take care of and I'll tell you all about it when

back.

SYDNEYFair enough.

BENWill you feed my fish?

SYDNEYI'd love to feed your fish.

They KISS.

EXT. COMMUNITY THEATER -- DAY

Establishing.


Allison acts on stage.

ALLISON...in the temple, in the town, in a field, you do me mischief.

DEMETRIUS (departing) I do.

ALLISON Aye, Demetrius, your wrongs do set a scandal upon my sex.

Camera finds Sydney who sees Otis cuddling up to his wife.

ALLISON (CONT'D)

We cannot fight for love, as men may do. We should be wooed, and were not made to woo.

follow thee and make a heaven of hell, to die upon the hand I love so well.

The audience APPLAUDS.

8

5




LATER -

Joyce, as a fairy queen, enters on stage to join Puck. When she forgets to close a door,

the audience LAUGHS.

JOYCE From hill or dale or bush or briar, or park or pale, through flood, through fire, I do wandereverywhere, swifter than the moon's sphere.

LAUGHTER as Joyce points in the wrong direction. Sydney leaps to her feet to

CLAP. LAUGHTER.

PUCK

So goodnight unto you all. Give me your hands, if we be friends, and Robin shall restoreamends.

Puck bows. The audience APPLAUDS the end of the play.

INT. COMMUNITY THEATER -- LATER

Flowers in hand, Sydney enters the empty theater. Behind a door, she sees Carter

kissing Allison. Carter closes the door on her. Joyce enters.

JOYCE

Cheryl!

SYDNEYHey. Oh, you were so wonderful.

JOYCE

Oh, get out. Oh, you're too much.

SYDNEY

Let's go celebrate. Get a beer.

JOYCE

Okay, good idea. Oh, I should've used my crutches. My foot is killing me.

SYDNEY

Yeah, you weren't even limping.

8

6





Sydney and Joyce walk side-by-side.

JOYCEOkay, so how did I do? Be honest.

SYDNEY

Brilliant.

JOYCE

Wasn't much of a part. Blinked and you would have missed it.

SYDNEY

I could not take my eyes off you.

JOYCE

Oh yeah? Well, Hollywood, watch out. (CHUCKLE)

Hey, did you see Carter anywhere?

SYDNEY

Yeah. I did, actually. Joyce, how well do you know Carter?

JOYCE

Pretty well. How come your face is saying not well enough?

SYDNEYWell when a bad actress gets a lead role, don't you wonder?

JOYCE

Allison?

SYDNEY

Yeah. (CHUCKLE)

Don't you wonder?

JOYCE (CHUCKLE)

You are really something, Cheryl Belson from Mississippi. You sure stir up a pot.

SYDNEY

Oh no, I didn't mean...

8

7




JOYCEDance up a storm, Joyce. Open up that restaurant, Joyce. Figure out that Shakespeare, get

on that stage, Joyce. Look at your boyfriend, see who he is, Joyce. Know what you want!

Know what you really want! God, you ask a lot out of people!

Fighting tears, Joyce hobbles away.

SYDNEYJoyce, that's not... Ugh...

EXT. NEW YORK CITY SKYLINE -- DAY

Establishing.

REMSBURG (V.O.)Ben, it's been over half a year now.

INT. MR. REMSBURG'S OFFICE -- DAY

Ben meets with Mr. Remsburg.

REMSBURG

Only took you three months to make the call on Ithaca and New Bedford. You sure you're

letting a little -uh- hometown sentiment cloud your vision?

BENActually, I don't know if it's clouding my vision or giving me clarity. Look, I want to reinv

Lincoln.

BEN

Modernize, I think if we put enough money into this plant, it can turn a profit in eighteenmonths.

REMSBURGWhy would I want to risk that kind of financial exposure?

BENBecause I know the people who work in Lincoln. They are literally giving their lives to ke

this place open. I think we should match that effort with our own, give them a fighting cha

You close that place, that town will die.

8

8




REMSBURGAnd the people will get severance, extended health, job placement programs. Ben, it's the

numbers.

BEN No, it's not numbers, it's lives, it's peoples lives, thousands of people.

REMSBURGLook, maybe it was a little unfair of me to send you back into your own hometown with thi

mission. But Lincoln's failure was not my doing. Economics is second only to a force of

nature. My decision to close that plant is only a reaction to something that has alreadyhappened on its own.

Ben nods, defeated.

EXT. BEN'S HOUSE -- DAY

Establishing.

INT. BEN'S HOUSE / LIVING ROOM -- DAY

Sydney is cleaning the fish tank when Ben's phone RINGS and his answering machine

picks up.

BEN (ON ANSWERING MACHINE)

Hi, this is Ben. Leave a message and I'll call you back as soon as I can.

The machine BEEPS.

REMSBURG (OVER SPEAKERPHONE)

Ben, you understood going in that we probably were going to have to close the Lincoln pla Now, accounting is telling us we have to shut down more abruptly than we thought... We're

re-routing orders. As of now, Lincoln is a liability every moment it stays in operation. Do

disappoint me, Ben.

The phone CLICKS off. The machine WHIRRS, rewinds and play the message again.

REMSBURG (OVER SPEAKERPHONE; CONT'D)

Ben, you understood going in that we probably were going to have to close the Lincoln pla

Now, accounting is telling us we have to shut down more abruptly than we thought...

8

9




Sydney can't believe what she's hearing.

INT. BEN'S HOUSE / LIVING ROOM -- LATER -- NIGHT

Sydney is deep in thought when Ben enters.

BEN

Hey.

SYDNEY

Hey.

BEN

This is a surprise.

Sydney starts the answering machine, which BEEPS.

REMSBURG (OVER SPEAKERPHONE)Ben, you understood going in that we probably were going to have to close the Lincoln pla

Now, accounting is telling us we have to shut down more--

Ben stops the machine, cutting off the message.

BENI asked you to feed the fish, not listen to my messages.

SYDNEY

I was not listening to your messages, I was cleaning your tank, and I happened to over hearmessage. Who are you?

BEN (Overlapping)Uh- What?... What are you talking about?... You know, wait a sec-- you

just...

(SIGH)

SYDNEY

(overlapping)Are you the prodigal son that comes back to save the town and has a secret agenda held

to the last second. I don't know how you can be party to this. All these

people are your friends, not to mention your family.

9

0




BENI know that! Don't you think I know that? You think this is easy for me? I close this place

down, that's a thousand people out of work.--

SYDNEY(overlapping)Well, don't do it.--

BEN (overlapping)--There are only six thousand people in this town!

SYDNEY--Just quit.

BEN

It won't do any good.

SYDNEY

Quit.

BEN (SIGH)

And do what? Express my sympathy by living in a ghost town?

SYDNEY

Quit!

BENYou don't know anything! Y'know, you come here, you think this is some charming little p

SYDNEY

Oh...

BEN

Fine, how charming is it gonna be when everyone in it is out of work and on food stamps?

charming will it be when you have to hire a steel worker as your gardener?!? Y'know, whydon't you stick to your little telethons and you won't have to get your hands dirty.

SYDNEY (shakes her head; SIGHS)If that's who you think I am, Ben, I guess... That's who I am. I got it.

Sydney walks out. Ben regrets what he said.

9

1




INT. DOOLY'S BOWL -- NIGHT

Sydney walks up to Joyce.

JOYCEBe with you in a sec.

SYDNEYJoyce...

JOYCEI've got a meatloaf special tonight, four ninety-nine with super salad...

SYDNEY

Joyce...

JOYCE

... beverage included. So, what'll it be? I don't have all night.

SYDNEY

I didn't mean to hurt you. God, I say that a lot.

JOYCE

I don't know what you're talking about.

SYDNEY... Okay, I need to make a call. Do you mind if I use your phone?

Joyce shakes her head. Sydney walks away.

INT. DOOLY'S BOWL / STORAGE ROOM -- NIGHT

Sydney dials out. She HUFFS A LAUGH on seeing her face on a magazine.

SYDNEY (into phone)

Fran, it's me...

EXT. AIRPORT -- DAY

An airplane touches down.

9

2




EXT. HIGHWAY -- DAY

A limo passes by.

FRAN (V.O.)And what was in that horrible little town that you can't find here?

SYDNEY (V.O.) Nothing. Fran, I'm going to tell you something and then let's not talk about it anymore, oka

FRAN (V.O.)I suppose.

INT. LIMOUSINE - TRAVELING -- DAY

Sydney, Fran and Ginger sit in the back of the limo.

SYDNEYI caught Ryan with my stand-in.

FRANCaught, as in the biblical sense 'caught'?

SYDNEY (nods)That's right.

FRAN

Well, the guy's a pig anyway. You want me to dump him?

SYDNEY

No.

FRAN

Is there a guy in Hicksville?

SYDNEY

No.

GINGER

Then what did you do for two weeks?

9

3




SYDNEYGot a job at a steel mill.

FRAN (LAUGHS)You're yanking my chain, right?

SYDNEY

No, I was a nurse. Oh, and I tried out for a play. Didn't get cast.

FRAN

We -uh- pushed back the Vanity Fair shoot but -um- the Albert Brooks film isn't going tohappen for us. They went with Michelle Pfeiffer.

SYDNEY (nods)

Ah...

FRAN

I said they went with Michelle Pfeiffer.

SYDNEY

I heard you.

FRAN

Instead of you.

SYDNEYI know. Don't worry about it.

FRAN

You know... Sydney, you might want to schedule another session with that shrink.

SYDNEY

I probably made the biggest mistake of my life.

FRAN (NOISE OF DISGUST)

Boy, this is going to be a doozy. What?

SYDNEY

Nevermind.

9

4




INT. BEN'S HOUSE / LIVING ROOM -- DAY

Ben sits on his couch as his phone RINGS. His answering machine answers the call.

BEN (ON ANSWERING MACHINE)Hi, this is Ben. Leave a message and I'll call you back as soon as I can. Thank you.

The machine BEEPS.

REMSBURG (OVER SPEAKERPHONE)

Ben, I've left two messages already. They say you're not at the plant and we need to talk. B

repeat, we need to talk!

CLICK. Remsburg hangs up.

END OF ACT SIX

ACT SEVEN


There's a party going on. Sydney is on the phone when Ryan walks up to her.

SYDNEY (into phone)

No. Yeah, but--

RYAN (approaching)Sydney!

SYDNEY

-- I understand, Dick. That's what I thought. If you can put that information together for m

that would be great. I'll call back.

Sydney hangs up.

RYAN

You have no idea what you put us through. We've been worried sick.

SYDNEY

Oh, I just needed some time to think.

9

5




RYAN

Don't ever do a thing like that to us again. I want you to promise me that. I missed you somuch.

SYDNEYYou missed me.

RYAN

You kidding? It was agony. Fran and I are hosting this party, just to show you how happyare that you're back. I -uh- I made some changes I thought you'd be happy with.

SYDNEYMm...

RYAN

We can look at that later. Right now, we have a wedding to plan and those annoying decisiand, you know me... Woodgie-woodgie!

Ryan CHUCKLES.

SYDNEY

Ryan, there's not going to be a wedding.

RYAN

What do you mean?

SYDNEYThis is not easy to say... I don't love you. Actually, that was pretty easy to say... Yeah!

RYAN

Sydney! Our plans. Oh, this isn't about... Me and your stand-in, is it? Because there was

nothing. Sydney, we have a wedding... okay? There are a thousand guests.

SYDNEY

Ryan, I don't love you. What else can I say?

RYAN

You mean it?

SYDNEY

Yeah.

9

6




RYAN (looking hurt)Okay... Fine... How do you want the publicist to handle the spin on this thing?

SYDNEYWe'll tell them you dumped me.

RYAN (pleased)

We will?

Sydney walks away.

RYAN (CONT'D) (EXHALES)

Great! But I guess you won't be doing my script now.

SYDNEYWe'll see.

RYANOh yeah!

Sydney approaches Fran.

SYDNEY

What was I thinking?

FRANHow did he take it?

SYDNEY

He was crushed.

Fran sees Ryan happy as a clam.

FRANWhat a truly sensitive human being...

Fran chases after Sydney and sets her up for a photo shoot.

FRAN (CONT'D)

9

7




Sydney! Snappers? Okay, the trades are here. They just want to take a few pictures. Oh,

is nice. This is a nice background. Gentlemen, cue the star.


Ben gives the workers the bad news.

BEN

Well, uh- it's been about six months since I came back home to run this place. I jumped at chance. I grew up here. You guys are my friends, my father's friends. I knew that togethe

we'd put up a hell of a fight...'cause I know what you're made of.(CLEARS HIS THROAT)

Well... I haven't been totally honest with you. You see -uh- this plant was slated to be closedown long before I ever got here. And I know that's true because -uh- it was my job to clos

Not to run it, to shut it down. I just thought that -uh- if we had a little more time, I could

straighten things out, but -uh- that's not what they pay me for. You see, New York pays me

of money to shut down plants.

BEN

You all did the best you could. It's not your fault. It's my fault. I thought I could save it, bcouldn't. And I'm sorry. Uh- Dick and I will be getting to the various departments about th

shutdown. That's it.

Disappointed, the workers disperse, MUMBLING.

DICK You did your best, Ben. They'll figure that out eventually.


Harry rushes up to Sydney.

HARRYSydney, darling, I'm so sorry about what happened. We sent out search parties--

SYDNEY No, no-no-no-no-no, it's okay. I was out of line.

HARRYYou're joking me, right?

SYDNEY

9

8




No, I'm really sorry. Listen, Monday, I've a very important meeting. Can we have a later

HARRY

Yes, we're in a studio--

SYDNEY (pleased)Ah!

HARRYWe'll make it a five o'clock call.

SYDNEYI love you.

Sydney darts off.

HARRY

I-I'll be on my toes for the Gepetto factor, Sydney. It was the Gepetto factor, I think... yes.


CeeCee, Otis, sweeney and other Steel Workers crowd around a magazine featuringSydney's photo.

OTISDoesn't look anything like her. How're we supposed to know?

CEECEE

I'm telling you, she stood right in my kitchen.

A Worker WHISTLES.

SWEENEY

Yeah, well, she kissed me.

The others LAUGH.

OTISThat was artificial respiration, you idiot.

SWEENEY

9

9




You're just jealous.

OTIS

Of what? She pulled a splinter out of my butt.

WALTER Yeah well, in Hollywood, I'll bet that's one thing she'd've used a stunt double for.

The others LAUGH.

WORKER

Yeah and they would've used a stunt butt for Otis.

JOYCE (as she passes)

Otis is a stunt butt.

The others LAUGH even harder.

OTISWhat's that supposed to mean?...

Ben passes by.

OTIS (CONT'D)

Hey, Ben...

INT. SYDNEY'S MANSION -- DAY

Sydney bustles into her home office, followed by her assistant. Sydney picks up the phone and dials.

SYDNEYGet my lawyers and accountants on the phone. I want to meet them this weekend.

SYDNEY'S ASSISTANTLawyers, this weekend?

SYDNEYYeah, this weekend.

1

0

0




SYDNEY'S ASSISTANT

Yeah, right.


Joyce sidles up to the counter. The phone RINGS and she answers.

JOYCE (into phone)

Dooly's.

INTERCUT WITH:

INT. SYDNEY'S MANSION -- DAY

Sydney is on the phone.

SYDNEY

Joyce, don't hang up on me.

JOYCE

I won't hang up on you.

SYDNEY

How are you?

Ben sits at a table.

JOYCE

Well, we're knee deep to tell you the truth. The plant closed down today.

SYDNEY

Yeah, I know.

JOYCE

Damn it, Cheryl -- Sydney, whatever. Why didn't you just tell me? If I'd gotten you on the phone with my mother, it would've made her day.

SYDNEY'Cause I liked Cheryl Belson better than Sydney Clarke, okay?

1

0

1




JOYCE

Well, we liked them both. Who cares if you're famous?

SYDNEY

Well, for starters, the six hundred people in my living room.

JOYCE

Is Matt Damon there?

SYDNEY

As a matter of fact, yes.

JOYCE

Oh! Why didn't you just tell me?!? I could've called my sister. She's a Sydney Clarke frea

Okay, okay, so I'm the last one to know. Big deal.

SYDNEY

You okay?

JOYCE

I think I knew about Carter all along, I just... I just didn't want to believe it.

SYDNEY

We never do.

JOYCE (HUFFS)

Well, um- i-it m-made me do a lot of thinking.

SYDNEYAbout what?

JOYCEAbout want. No, sorry, WAAANT! Is that better?

Joyce CHUCKLES.

SYDNEY (LAUGHS)

That-a-girl! I've been doing a lot of thinking myself.

JOYCE

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Ben, you ever wonder why people sit in that audience?... Well, I'll tell you why. 'Cause a

character's got a big want... right?... You know, like you and me. So you gotta decide whatyou want and how much. And that's all I gotta say, okay? Okay. Did I make any sense at

BENYeah.

JOYCE

Good.

Joyce exits.

INT. LOG CABIN -- NIGHT

A fire CRACKLES in the fireplace. SYDNEY, in Elizabethan dress, walks to a

window... that gives onto a studio. Sydney smiles at the sight of Ben walking into thestudio. She runs to greet him.

HARRY (O.S.)Ah! Sydney where are you going?

BRENDA (O.S.)Okay, that's a wrap...

SYDNEYAren't you supposed to be shutting down the mill?

BEN

I quit.

SYDNEY

Big risk.

BEN

It's worth it. I'll do anything for what I want.

SYDNEY

What do you want, Ben?

BEN

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I want my fish to get better.

Sydney smiles.

BEN (CONT'D)I want you.

SYDNEY

I want you too.

HARRY

Sydney, we have a movie to make. Do you mind? If you quit again...

SYDNEY

Can't quit, Harry. I need the money. I bought a steel mill.

BEN

You what?

SYDNEY

Me, and about twenty other people. I'm looking for the right guy to run it.

Ben shakes his head. They kiss.

HARRY (O.S.)Cut!

The assembled crew APPLAUDS and WHISTLES. Ben and Sydney kiss again.


MATCH TO: Steel workers APPLAUD and WHISTLE, as Workers change the signoutside the mill.

BEN Never thought I'd see that.

EXT. PETE AND CEECEE'S HOUSE -- DAY

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Ben CHANTS a drum roll as he puts Pete and Ceecee's name on their mailbox. Pete

LAUGHS and CHEERS.

SYDNEY

It's officially yours.

They all CHANT a DRUM ROLL.

SYDNEY (CONT'D)Wooo!

PETEYes!

BEN

Look after the old homestead, buddy.

MUSIC COMES UP:

A singer SINGS "Catch a Falling Star"

EXT. JOYCE'S RESTAURANT -- NIGHT

Patrons file into Joyce's new restaurant.

SINGER (V.O.) (singing)

Catch a falling star and put in your pocket, never let it fade away. Catch a falling star and pyour pocket, save it for a rainy day.

Camera finds Sydney and Ben enjoying a romantic dinner. Joyce walks up to them,

greeting patrons as she goes.

SINGER (V.O.; CONT'D)

For love may come and tap you on the shoulder, some starless night. Just in case you feel y

want to hold her, you'll have a pocket full of starlight. Catch a falling star and put in your pocket, never let it fade away. Catch a falling star and put in your pocket, save it for a rain

day....

EXT. LINCOLN / SYDNEY'S HOUSE -- DAY

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Sydney comes out onto her porch and yells:

SINGER (V.O.)

For love may come and tap you on the shoulder, some starless night.(and under)

SYDNEY (over music & singing)I love my new house! I love New England!

A cell phone RINGS.

SYDNEY (CONT'D) (SIGHS)

I hate my cell phone.

Sydney, beside Ben, answers the phone.

SYDNEY (CONT'D) (into phone)Hello?

FRAN (OVER PHONE; filtered)Syd, it's me. It's heating up.

SYDNEY (into phone)Hm?

FRAN (OVER PHONE; filtered)I've sent you a script. I want you to read it over the weekend. It's a comedy.

SYDNEY (to Ben)

It's a comedy. (to Fran)That's great. I'll read it right away. And Fran, after today, I won't have the cell phone anym

FRAN (OVER PHONE; filtered)What?

Sydney hangs up. Ben throws it away.

BEN

Now where were we?

SYDNEY

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Remind me.

They kiss.

END OF ACT SEVEN

Documents

To Catch a Falling Star- Revised