BUSINESS ENGLISH SPECIAL SERIES

SPEECHMASTERS

UNTITLED EPISODE(S): "GRABBING THE BRASS RING"

(WORKING TITLE) -- BESS SERIES

By Ezrha Jean Black -- for -- SPEECHMASTERS

FADE IN:

1 INT. OFFICE BUILDING -- NIGHT 1

LONG SHOT in foreground the silhouette of woman standingover a Xerox machine, in background the corridor stretchingback deep into a large office floor.

CLOSE SHOT her POV, looking down on the copy machine console,she is setting up the machine.

EXTREME CU beautifully manicured fingers adjusting the controlsettings.

CLOSEUP putting pages into the feeder.

CLOSEUP the output slot shooting out copies into the tray.

SUPER: OPENING CREDITS over CLOSEUPS and EXTREME CLOSEUPSSEQUENCE of: (NOTE: THE CREDITS "SHOOT IN" and "SHOOT OUT"from the left and right of FRAME, mimicking the action ofthe papers shooting left into the feeder and shooting rightout into tray.) Paper spitting out of machine, various "bellsand whistles" on the machine, the controls, the rollers, theeerie green light of the scanner moving under the edge ofthe lid, etc.

CLOSEUP her POV the file folder in one hand, her fingersflipping furtively through the file selecting the mostimportant pages and sections to copy.

EXTREME CU her eye movement, behind glasses, rapidly scanningthe content of pages.

EXTREME CU PANNING RIGHT across the "...text to be insertedlater..." of the page.

CLOSEUP her hand feeding a page into the feeder.

CLOSEUP her eyes again, frowning in urgent thought.

EXTREME CU finger goes to teeth, bite down on fingertip,considering.

EXTREME CU of text on page, as it shoots from the feed tray.

CLOSEUP another page shooting out of the output.

MEDIUM SHOT her near-silhouette profile, reading the file.

EXTREME CU LED Readout on control console is flashing: "ERROR CODE 35800774" MUSIC: and OPENING CREDITS come toABRUPT HALT.

2.

FULL SHOT CHARLOTTE over the copy machine, still mostly asilhouette.

CHARLOTTEOhhhhhh…….Right!

EXTREME CU her hand pulling out the card key.

CLOSE SHOT throwing originals into folder and adroitly tappingthe file even on the copier countertop.

CLOSE SHOT pulling the copies from the output tray.

CLOSEUP her feet and ankles, one extremely expensive Italianhigh heel shoe poised on the ball of her foot like a sprinter,and sprint off FRAME RIGHT.

EXTREME CU her hand pushing in the card key.

MUSIC and OPENING CREDITS ABRUPTLY RESUME

EXTREME CU of text on page, being fed into the feed tray.

CLOSEUP pages shooting out of the output.

FULL SHOT CHARLOTTE standing over a different copier in asmall room.

EXTREME CU her hand pulling out the card key.

CLOSE SHOT throwing originals into folder and adroitly tappingthe file even on the copier countertop.

CLOSE SHOT pulling the copies from the output tray.

CLOSE SHOT her POV she drops folder of originals into a desktop drawer, closes it, and turns the lock with a key on akeyring.

MEDIUM SHOT from corridor as she comes out of a private officecarrying a heavy briefcase and locks the door behind her.

MEDIUM CLOSE SHOT FROM ABOVE CHARLOTTE seated at her desk,has the side drawer open, puts in copies folder, pulls out apair of white running shoes.

CLOSE SHOT LOW ANGLE CHARLOTTE is kneeling below her swiveloffice chair, working hard at its base in a crowbar likemaneuver against the chair base, she breaks the heel off ahigh heel shoe.

CLOSEUP her feet and ankles, one extremely expensive whiterunning shoe poised on the ball of her foot like a sprinter,and sprint off FRAME LEFT.

3.

SHOT SERIES: CHARLOTTE running down long corridor, thenexpertly making a turn, then deftly opening a door withoutbreaking her stride. She is very athletic.

MEDIUM SHOT CHARLOTTE beside an exit door in a corridor. PUSH IN as she unfastens a little bundgie cord from aroundher waist and in one move tosses it into her handbag, whichhas swung around from behind her back. (The cord device hasenabled her to effectively strap her handbag and the briefcasetogether onto her back, freeing her arms.)

2 EXT. PARKING GARAGE -- NIGHT 2

LONG SHOT from VON EIDEN's drivers seat POV, we see CHARLOTTElimping toward the car on her broken high heels, seeming tostruggle with the handbag and heavy briefcase.

VON EIDEN(v.o. talking intohis cell phone)

She's coming now. Listen, I'm sorry,I don't know what has kept her... goahead and order something foryourself. I won't be long now, Ijust have to drop Charlotte at herhome.

SHOT from drivers POV to passenger door opening. CHARLOTTEtosses the bags onto the seat, pulling off her shoes andtossing them onto the floor.

CHARLOTTECan you believe this? Three-hundreddollar Dolce Givenches. Yeah, Dolcemy ass.

Then she smiles, not really upset.

MEDIUM SHOT from her POV of VON EIDEN sitting in the driversseat, he smiles at her sympathetically, as his outstretchedhand receives the key ring from her. He then hefts thebriefcase over into the backseat.

CHARLOTTE (CONT'D)What have you got in there?

VON EIDENEverything we need for the mergersand acquisitions meeting tomorrow. Budget proposals, debt assessments,equipment depreciation schedules...

CHARLOTTE climbs into her seat, and the door closes on herline:

4.

CHARLOTTE(interrupting)

I get the idea.

3 EXT. -- RESIDENTIAL STREET (UPSCALE) -- NIGHT 3

MED WIDE ANGLE VON EIDEN's sedan pulls into frame, CHARLOTTEemerges and waves "goodnight", walking toward the entranceof her building, as VON EIDEN's sedan glides off out of frame. Still in a WIDE ANGLE CHARLOTTE stops short as soon as thecar leaves, pulls off the broken shoes and slips on herrunning shoes from her bag. Car LIGHTS FLASH TWICE in asignal fashion from a vehicle just up the street, and a secondlater that vehicle (another luxury sedan) zips into frameand makes a short screech as it halts in front of CHARLOTTE,she jumps in, and the new sedan speeds off.

4 INT. -- LUXURY SEDAN -- NIGHT 4

Driven by IRVING. IRVING is a corporate officer at anothermajor corporation -- not quite the conglomerate Charlotte'scompany is, but large, well-diversified, powerful, prosperousand well-positioned in the economic climate they share.

He is not particularly physically prepossessing: balding,of more or less average stature, not particularly physicallytrim, perhaps slightly heavyset. He wears custom-tailoredclothes -- but he's still a bit rumpled looking -- the kindof guy whose tailored clothes still look as if they camestraight off the rack without much further attention orfinishing.

He is nevertheless a formidable (and acquisitive) businessman --intelligent, creative, shrewd and competitive. He is not,like Charlotte, in the strategic planning section of hiscompany, but is more of a polypragmatist: a director onseveral different boards in addition to being an officer ofhis own company, he has his own vision of the company hewants to build and the leading role he wants to play in it.

Beneath his rumpled facade, he is accomplished and well-educated, a polished professional, and capable of being quiteamiable. But above all he is acquisitive and power-hungryand is capable of ruthlessness to achieve what he determinesis his business bottom-line, the essentials of the businessstructure which are his life's work.

IRVINGAre you okay?

CHARLOTTEYes. (Fishing her broken shoe fromher bag; somewhat under her breathbut clearly audible) Dolce Givenches. (not taking eyes from shoes, butclearly addressing question to IRVING)

(MORE)

5.

CHARLOTTE (CONT'D)D'ya have any super-glue? Or gorilla-glue?

IRVING(Bemused and amused)

Uh -- no. Not in the car, anyway. Gorilla glue -- what's that?

CHARLOTTEOh, forget it. I wish I had a sparepair of pumps. I wish you had aspare pair.

IRVINGI don't think you'd have a much easiertime of it in my 10-Ds.

CHARLOTTEYeah, you're probably right.

She pulls a file folder from her shoulder bag, hands it overto him.

IRVINGWell, otherwise, you look fine. That's a beautiful skirt.

CHARLOTTEThanks -- Oscar de la Renta.

IRVINGThank you. (Opening and fingeringthrough papers.) Wow.

Pause of a few seconds; in the meantime, CHARLOTTE twiststhe rearview mirror in her direction and pulls herselftogether.

IRVING (CONT'D)Now the application hasn't been filedyet -- right?

CHARLOTTERight.

IRVINGAnd no one outside the Company hasany inkling of this research.

CHARLOTTEActually, very few people inside theCompany have any inkling of it --

6.

Inkling -- nice vocabulary. Also contrasting outside andinside the company is good. Actors call this "contrastemphasis" in terms of how the inflection is placed (you didit in italics), and in the Training Session we'll point thisout, as a good communication skill.

CHARLOTTE (CONT'D)even in research and development. Actually I could be wrong about thatif past experience is any guidance. Things zip around R. and D.

I just took out "that department" and substituted R and D. For obvious reasons--this way we give students a usefulacronym having defined it in advance. Of course, the term Rand D will be defined in the glossary on the DVD

CHARLOTTE (CONT'D)like particles in a cyclotron. Idon't know about your shop, but atours, it's hard for us to reallycontrol that bunch.

IRVINGWell now I'm wondering why you guysaren't already in play.

"In play" is beautiful vocab, because it's not only useful,it's hip streetsmart kind of idiomatic language kids love.

IRVING (CONT'D)(Starting the car, pulling away fromthe curb)

SHOT SEQUENCE: CAMERA STAYS ON CAR INTERIOR -- MEDIUM SHOTSCHARLOTTE AND IRVING; INTERCUT INTERMITTENTLY WITH BACKDROPOF PASSING STREETSCAPES -- SIDEWALKS, BUILDING DETAILS -- ORGENERAL PERSPECTIVE FROM MIDDLE OF STREET TRAFFIC DIRECTLYIN FRONT OF THEM. THEY ARE MOVING "DOWN-TOWN" [in thisinstance NYC Meatpacking district -- to be adjusted dependingupon locations].

CHARLOTTEThey sort of control it themselves. We've never had any problem with aleak from the department -- eventhough, to read any of the leaksthat have shown up in the Journal,you can't imagine where else theywould have come from.

IRVING(A little sarcastically)

Gee, that's assuring.

? Should it be "reassuring"?

7.

IRVING (CONT'D)So where do items like that comefrom?

CHARLOTTEMostly the second place you'd suspect: marketing. And even then, I think alot of that is from the salescontacts, not our own people. (Looking up -- out the windshield) So where are we going?

IRVINGI thought maybe Florent. It's closeenough to you.

CHARLOTTEOh please, Irving. It's too bright. My eyes are so tired.

IRVINGAlright. Where do you want to go?

CHARLOTTEI don't know. Someplace a littledarker, quieter.

IRVINGBed?

CHARLOTTE(sighing)

Perfect.

?OR: (a withering look) "Yeah, in your dreams, buster",also because the above line is a little OOC (that's my ownacronym for Out Of Character), Char doesn't admit weaknessor sigh.

IRVINGWhat I mean is that nothing's goingto be quiet exactly at this hour.

CHARLOTTEOne of the joys of living in ahappening neighborhood.

IRVINGHave you ever been to 5 Ninth?

CHARLOTTE(Perking up a bit)

That's a great place -- althoughthere's something a bit 'hit or miss'about it. But I have to say, thefood is damned original and, at itsbest, pretty amazing.

(MORE)

8.

CHARLOTTE (CONT'D)(pause -- a beat)

You know it's also pretty expensive,don't you?

IRVING(Thinking a moment)

Yeah, you're right.

CHARLOTTEYou weren't planning on picking upthe check -- were you?

IRVINGUh . . .

CHARLOTTEYeah well, let's not go there either. Not because it's so expensive -- butbecause it's exactly the kind ofplace Von Eiden would show up at. Not that he necessarily will tonight but I wouldn't want to take thechance. I've been to enough lunchesand dinners with him to know histastes. He's very adventurous; he'llgo just about anywhere at anytime;and the price is not much of an issue.

IRVINGSo he's a gourmand.

CHARLOTTEHe's a connoisseur.

IRVING(Mocking her [and vonEiden] a bit)

A connoisseur. Hmm. . .

CHARLOTTE(Quite perked up,even a bit schoolgirl-ish)

He is -- he really is. He's reallysmart and he's been around. I mean he's been everywhere.

IRVING(Quietly, though notunder his breath)

Wonder how he keeps himself in shape.

CHARLOTTE(Spinning it her ownway)

It is, isn't it?

9.

What does the above line refer to? Seems vague.

CHARLOTTE (CONT'D)Oh Irving -- are you jealous?

IRVING(scoffing)

"Jealous."

CHARLOTTEMaybe you should be. It's not justfood and restaurants. It's art,it's theater. Design, architecture. Movies, music, nightclubs. Science --though I have to say he's not alwaysup on the latest technology. I thinkbecause he feels he really needs toknow it in depth, and it's somethingthat changes so quickly.

(a beat, then continues)

Just added the parenthetical above, which is really adirector's note for the actor, to heighten the comedy, aslong a beat as sustainable.

CHARLOTTE (CONT'D)... gardening, travel.

IRVING(Annoyed, petulant)

This is great. My mole is in lovewith her leading adversary.

CHARLOTTE(Really annoyed)

Don't call me a mole. He's alsostill my boss right now. (Pause --a beat or two) I'm saying maybe youshould get to know your adversary.

IRVINGSounds like there's a lot to know.

CHARLOTTEThere is. (Another pause of at least3 beats) So I'm hungry.

IRVINGI've got it. Petite Abeille.

CHARLOTTE(Suddenly exuberant)

That is so perfect. Let's go. Abeille -- and à-bed. I feel cozyalready.

10.

IRVINGThought-ch-ya would.

Final note on this scene: They are largely discussing Whereto go, so it's very logical for this to be a car scene. Itindeed may be possible to shoot this as Camera Mount on car,Somewhere in Bombay, between 2 and 4am, but the city almostnever sleeps. I Have seen some very effective Process Shotsdone on low budget films lately, and I have to check withSwami to see if the technicians here know how to do this sothat it still looks very real, but was shot on a set.

ADDENDUM TO this note: Just spoke with Swami, and he knowsa part of South Bombay where we can shoot these scenes.

FADE OUT:

FADE IN:

5 INT. -- RESTAURANT -- AT PETITE ABEILLE [WELL-KNOWN 5MEATPACKING DIST. BISTRO] -- NIGHT

MEDIUM-LONG TO MEDIUM SHOT: CHARLOTTE AND IRVING AT THEIRTABLE, PETITE ABEILLE

A waiter stops at their table to refresh wine glasses andcheck on his customers.

CHARLOTTE(to Waiter)

This is so good.

WAITERGlad you like it.

Pours more red wine into her glass.

CHARLOTTE(a bit slowly,deliberately -- she'sdefinitely relaxing)

This was exactly what I needed.

IRVINGGlad to be of assistance. Feelingbetter?

CHARLOTTEMuch. (A bit hesitantly butcomfortably) So, uh, when are yougoing to take it to your board?

IRVINGWell, we still have a lot to go over.

(MORE)

11.

IRVING (CONT'D)The tech people have to analyze itand tell us whether it has any chanceof flying. Then the legal departmenthas to vet it -- not to mentionlooking at whatever our own offer isgoing to be. Then we've got to getsome approvals from the right people,the right bankers. Then we go tothe board.

CHARLOTTEHow long?

IRVINGI'd like to say two days. But I'mguessing it'll be more like two weeks.

CHARLOTTEThat sounds about right -- and workingnon-stop. Want a mussel? You knowyou do.

IRVINGSure -- but actually I was eyeingyour French fries.

CHARLOTTE(Schlurping her well-sauced food a bit)

Mmmm…... Go for it.

IRVING(Fingering them upand onto his plate;stuffing a coupleinto his mouth)

Makes you wonder why they calledthem "French fries" and not "Belgian"fries.

CHARLOTTEI know. They are totally the best. (self-conscious for a moment) Ilove this: is it the food or isjust because we're bone tired thatwe're turning into 16 year-olds?

IRVINGI'm fine -- but you have a right tobe exhausted.

CHARLOTTE(suddenly whimsical)

Yeah, Irv. But do I have the rightto be sixteen again?

12.

IRVING(humoring her)

In your dreams, of course, Charlotte. In your dreams.

FADE TO BLACK.

6 6

INT.: OFFICE BUILDING -- DAY

MEDIUM LONG SHOT:

INT. CONFERENCE ROOM.

A DEPARTMENT MEETING -- IN PROGRESS -- Now fairly crowdedwith mix of decorously suited and slightly more casuallydressed men and women. These are the Company's SALES andMARKETING professionals.

SHOT SEQUENCE: MEDIUM-LONG - MEDIUM SHOTS (INTERCUT WITHSOME CLOSE-UPS):

GENA, the vice president for sales and marketing, is in themiddle of a Power Point presentation. She stands near thehead of a table around which her executives are seated. There are also more account executives, marketingprofessionals and staffers in a double row at the rear ofthe room and standing against the walls around the table.

GENA is quite simply a "comer". As a marketing executive,she exemplifies a kind of business world ideal. She'sdynamic, assertive, and possesses beyond that a leadershipquality that can only be characterized as charisma: a specialcapacity for rapport with every level of personnel in herdivision and an ability to motivate them. Coupled with herdetermination and discipline and superb business skills andinstincts, she has the makings of a superb business leader --someone who might someday be leading her own company.

If she is not beautiful, she projects the aura of someonebeautiful (confidence is always sexy). She is of courseterrifically articulate and well-spoken, a poised and elegant --absolutely killer -- corporate warrior. But her talents,business and otherwise, hardly stop there.

GENA's performance makes it clear she's 'someone to watch'as a business magazine might put it. But we can see thatshe's also well-educated and tremendously worldly andsophisticated; yet relaxed and down-to-earth, affable,personable, companionable.

Beautifully coiffured and suited, always well-attired; yetGENA gives the impression she could look comme il faut

Enough with the French. I don't have a French dictionaryhere. Find a way to say it in English please.

13.

in gym sweats. We see her favoring a kind of relaxedtailoring: wardrobe classics with Italian elegance andEnglish wit -- Armani, Calvin Klein, Ralph Lauren -- with abit of Dolce & Gabbana or Paul Smith or simply Savile Row inthe mix.

But above all, she knows how to use her many personal andprofessional talents to GET RESULTS. There's no doubt abouther priorities. Her career, albeit in a modest and soft-spoken way, is her life.

After a rocky six months, GENA is about to hand her companya tremendous victory -- as she has before. Yet it may bemore important to her company -- and the fortunes of itsofficers, directors and major shareholders -- than even sheis aware of.

GENA(Deliberately)

. . . We knew we were going to see abit of a lift from the technologicaltransition we were seeing in ourmajor Indian markets. And we knewthat we had a fair chance of makingour quotas in most industrial marketsin China and Malaysia simply on thebasis of the almost severely depressedinventories. What we didn'tanticipate was the unprecedentedactivity in Malaysia and Singapore. The timing of the Changrae re-toolingcould never have been predicted andin a way, I'm glad we didn't try.

What's the underlining mean? (Not the underlying meaning!)

GENA (CONT'D)(With gatheringassurance)

We knew there would be a market forthese robot elements; but we alsoknew we didn't have them at a pricepoint which would be remotelyaffordable for production on thescale they're set up for. Fortunately, between the technologyrefinements -- swifter response,heat-reduction, new mountings andarticulation of the elements -- anda concomitant reduction in part price --the price point has been reducedsufficiently to bring it within reachof these key markets. That they cannow be deployed on the scale of aChangrae type of operation is not so

14.

I haven't read ahead, but I hope there's a scene where oneyoung initiate whispers to another: "What does Changraemean?"

GENA (CONT'D)much luck as the foregone conclusionof many thousands of man-hours ofthought, experimentation,implementation and re-implementation,and creative thinking.

(Confident, exultant)By not forcing it -- or wasting oursales force or travel dollars tryingto scatter these elements all overthe place -- in a way where our entirechain of quality control was likelyto break down -- we succeeded indelivering the highest quality productconsistent with the standards ourCompany has always insisted upon --for the greatest possible success inapplication, and the mutualsatisfaction of our respectivecompanies.

[REVERSE? ON:]

Scattered applause from the room.

MEDIUM-CLOSE SHOT:

GENA (CONT'D)We didn't create this "perfect storm"the market presented us. But ineffect, we guaranteed that we wouldbe in the perfect place to takeadvantage of it. The result was thehighest sales we have posted for anymonth in both Singapore and Malaysia,the best quarter we have ever had inSingapore and Malaysia --

P.O.V. -- MOVING AROUND TABLE

Cheers and hoots from sales people in back of conferenceroom.

MEDIUM-CLOSE ON:

GENA (CONT'D)-- and for that matter all ofSoutheast Asia, and what charts aspractically a quantum leap in bothprofits and revenue.

More scattered applause

15.

GENA (CONT'D)Everyone -- and I mean everyone --in the Company had a hand in thissuccess. But I want to personallythank our people in the eye of thathurricane. You guys are the best!

GENA applauds, and the whole room erupts in applause for thesales team.

GENA (CONT'D)Arthur, Sonny, Sandeep, Joe, Peggy,Jit-Li, Arundhati, Marco, Pilar,Maya -- You rock!

More applause and cheers. The Company President now risesfrom his seat near the head of the table.

DIETER CHRISTOPH VON EIDEN is yet another classic -- perhapseven, in a manner of speaking, 'classy' -- specimen ofcorporate warrior: subspecies -- 'Cavalier'. In the contextin which we observe him, we might almost be tempted to callhim a 'white knight' -- but 'white knights' are exactly whathe would like to do without. He is, of course, after hisown fashion, a kind of 'knight' in this culture (and givenhis name, possibly an actual descendant of one).

He is a kind of evolutionary exemplar of one aspect of theglobalized economy: the global, or international corporatechief executive. He has made the largest part of his careerin American corporations -- and, for a good part of it, atthe top. But he is the kind of executive who could commanda global corporate empire from any of three differentcountries and possibly a dozen.

Having worked amid American corporations as long as he has,his English is a polished Atlantic seaboard variety -- yetwith just enough clipped mid-Atlantic/Brit-damage ambiguityand the slightest acid edge to suggest his Europeanprovenance. He is (of course) German-born, secondary-schooledinternationally -- say, Switzerland and England both -- anduniversity-educated in both America and the UK. English ishis second language -- but it's the language he has spoken90 percent of the time since he was of high school age. Nowadays he probably speaks German less often than he speaksFrench or Spanish -- or Japanese or Chinese.

As CHARLOTTE has already indicated, he is a character oftremendous business acumen and accomplishment -- indeed,brilliant, a polymath. But what underscores his singularcharm and grace is a becoming modesty and discretion, anunassuming quality beneath his Teutonic steel. He is a superbbusiness leader and it's just possible that his Company'sfortunes have never been stronger. But there are some marketforces (as GENA has just pointed out) that can never beentirely controlled and some beyond anyone's control; and

16.

this is what VON EIDEN (also referred to occasionally as'Chris') must contend with.

We are introduced to him here in what is (certainly for GENA)a kind of 'golden' moment. But it's literally only a moment. This is a big company with any number of factors and elementshe must depend upon lieutenants to keep productive and undercontrol -- including its overall direction, and VON EIDEN'sambitions for it. Yet another factor is VON EIDEN's ownpersonal ambition -- which on the surface is far fromapparent. Having worked at the top, but always as an employeemore or less, VON EIDEN is ready to make what he considershis first big move. In fact, his project has been underwayin an incremental fashion for some time. He would like totake a controlling stake in the Company. It is a move hebelieves would be beneficial to the Company as well as himself --and he might be right. But in doing so, he has a 'tiger bythe tail.' All the while, he will remain responsible forthe day-to-day operations of the institution. And in themeantime, he is not the only one who would like to controlor take over the Company. The situation, quite simply, isthat the Company's stock is under-performing. The stock'smarket price is significantly below its book value -- andthere are many individuals and corporate entities poised totake advantage of this. At the very least, VON EIDEN wantsto ensure that the Company's stockholders are proportionatelyrewarded for its success. Beyond that, he would like topersonally increase his share of those rewards -- and puthis own stamp on the Company in perpetuity.

But, in the meantime, the sharks are gathering.

Again, haven't read ahead, but a lot of this description,like Von Eiden's plans for the company, the stock under-performing, etc. are interesting enough that it could berevealed in "watercooler" talk between employees. While I'mon the subject of watercooler talk, remember we need somescenes with just good SOCIAL INTERACTION with some easiervocab. These scenes should be interspersed so as to providesome relief from the "hard" scenes with all this businessverbiage.

VON EIDEN will use this moment to his advantage -- but rightnow, he's simply enjoying it, and sharing his delight at thegood news.

VON EIDENThank you, Gena. I don't thinkthere's anything I can add to that. Let me just say that I'm going to betalking with the analysts tomorrowand you've -- all of you -- havemade my job very, very easy. Let'sgive another round of applause toour -- my -- fearless leader, Gena.

17.

? Can you think of a funnier line to really spark thelaughter?

Laughter and applause that threatens to drown out the exchangebetween VON EIDEN and GENA.

CLOSE ON GENA:

GENA(to VON EIDEN)

This wouldn't be happening withoutJoe and Peggy -- I've gotta tell you --really everyone on the team.

VON EIDENIt is quite a team you have.

(to PEGGY)Yeah -- I heard you were here reallylate last night.

PEGGYYeah -- but isn't it like that everyquarter? The difference this timeis the payoff.

VON EIDENWell, congratulations.

MEDIUM SHOT -- CONFERENCE ROOM

Meeting breaks up. Laptops snap shut, screen folded up;people gather up their notebooks, papers, pens and devicesand head back to their offices and work-stations.

SHOT SEQUENCE: FROM MEDIUM/MEDIUM-LONG TO CLOSE -- TRACKINGDOWN CORRIDOR:

VON EIDEN and GENA move off away from the pack and wanderoff down the corridor together.

GENA. . . I mean -- look at this notebook. I think you could practically giveit to the analysts exactly the wayit is.

VON EIDENI think you might be right. Well, Ithink we can keep the proprietarystuff to ourselves, wouldn't yousay?

GENA(laughing)

I suppose I would.

18.

VON EIDENSeriously -- thank you again. I dowant to get together and chat withyou this afternoon about the analystsmeeting. Actually, I think I willjust take some pages directly fromthe book -- if Peggy doesn't mind.

GENAI don't think that'll be a problem. Of course you might have to take herout to lunch.

VON EIDENWhy not?

GENAI'm kidding -- but in a way, I'mnot. I'm taking her and Joe out tolunch today. They did such a greatjob. Ya know -- I count on Peggy todo it -- but sometimes even I wonderhow she does it. If she ever leavesus -- shoot me, will ya? No -- ifshe ever leaves us, I think she'llprobably start her own B-to-Bmagazine. Hey, I'd subscribe.

VON EIDENI think she'd be counting on you to. Where are you taking them to lunch?

GENA(coolly)

Le Bernardin.

VON EIDEN(Impressed -- and abit staggered)

Wow. Are we paying for it?

GENA(smiling, amused)

I was going to submit the expense. But I'm putting it on my own card.

VON EIDENWell, let me see what it is. Maybewe can cover it -- just this once,mind you.

GENA(Mock-superciliously)

Well that is where I'm taking them.

VON EIDENSpeaking of the analysts meeting --

19.

GENAWere we?

VON EIDEN-- Could I interest you in puttingin an appearance?

GENAWhither you say, whither I go. Ofcourse.

VON EIDENThanks. You wouldn't have to stay. Just 15 minutes or so: break downour performance in the Asian marketsmore or less the way you just did --and basically break the good news.

GENAIt would be a pleasure. Actually, Ilove meeting the analysts.

VON EIDEN steals a quick look at her -- not entirely believingher.

GENA (CONT'D)I'm serious. I really don't carewhether the news is good or bad. Well, I prefer good news -- but that'smy problem. What I mean is thatit's my choice. It's all abouteducating them. I mean, let's faceit. Half of those guys are wannabegunslingers.

VON EIDEN"Wannabe?"

GENAYou don't think so? Look -- if theirstomachs

? Instead of "stomachs" "guts" more colloquial and direct, gut-instinct etc.

GENA (CONT'D)-- not to mention their brains [asin -- are there any?] -- were intoit, they'd be traders. Right?

VON EIDENYou have a point there. AlthoughI've met a few specialists who havea certain "hired-gun" quality thatseems authentic.

20.

GENAI call them, the "post-docs." Youknow? Everything is a dissertation --but totally irreverent. Anyway --what they like is the speculativebuzz. And ya know what? I don'treally blame them. I do, too. That'swhy I am where I am.

You've lost me on this whole speech starting with "post-docs". Maybe it needs some clarification? Aren't analysts-typesmore like bean-counters? How do they like speculation? It's a little vague to me, and I had the chance to read itfour times, the audience won't.

GENA (CONT'D)But either way, I really like gettingtheir feedback one-on-one.

VON EIDENI'd say there were a whole lot ofreasons why you were where you are.

You may be more grammatically correct (I dunno), but insteadof "were where you are" "are where you are" sounds better tome, clearer.

GENA(Lightly)

Beginning with the fact that youhired me?

VON EIDENI just promoted you. That was a no-brainer.

Stopping in front of the door to GENA's office, VON EIDENtakes his leave.

GENAWell, thank you.

VON EIDENThank you -- and, uh, enjoy yourlunch.

GENASee ya, Chris.

GENA's assistant, STEPHEN,

Gotta tell ya, love it, that right away here we are breakingthe stereotypes and have a man assisting a woman.

is visible in this last shot -- in his office 'habitat' --an ample work-station that looks like the nerve-center it is --bristling with computers and various monitors, flat-screens,

21.

notebooks, a couple of printers, trays of file folders,binders and clipped documents. STEPHEN is good-looking,average-to-tall, slender -- with sandy-blond hair he wearscollegiate-long -- not quite to his shoulders, but at leastchin-length -- great cheekbones. He affects sweaters andvests over his tailored, but casually worn, clothes. He'sbusy -- as usual -- just this side of harried. There's nocoasting with the the dynamo GENA so clearly is.

What's wrong with this sentence? Besides the double the.

But they clearly have a good rapport and are pretty devotedto each other. GENA wastes not a second in getting rightdown to business.

GENA (CONT'D)Hey, Stevie -- I need to talk toPierre in the Paris office. Is hethere, or is he still on the road? Could you track him down for me? Actually -- just get him on his cell. He left a message for me, which ofcourse I dumped. Also, have we gottenthe proposal from Burling-Hackford[ad agency]? I want to look at theirpitch. They were supposed to sendthe agency reel with it.

STEPHENI think it's just an EPK.

EPK, wazzat?

STEPHEN (CONT'D)I opened the package and there's nodisc.

GENAYou called them?

STEPHENYeah. They said they were going toe-mail one version of it. But theyshould be messengering over the reelthis afternoon.

GENAI so love it when people followinstructions. They just want toedit it at the last minute. Damn it --I told them I wanted to seeeverything.

STEPHENExactly what I said.

22.

GENAI'm gonna check my e-mail. Do wehave the EC sales figures yet?

European Community? You could clarify this, by just addinga line at the end below after "...focus on, especiallyGermany." Use this technique to teach them an acronym byimmediately dropping a clue.

GENA (CONT'D)That's the next sector I want tofocus on . . . .

CAMERA TRACKS AWAY -- BACK UP CORRIDOR --

Camera needs a reason to track, so a MAILBOY drops mail intothe inbox at Gena's and the CAMERA FOLLOWS him pushing hismailcart, dropping mail, and the CAMERA FINDS VON EIDEN ashis mail is dropped off. (Mail which Marty could beginopening as she starts her first speech.)

Past offices and work-stations as people stream by and backand forth in its wake -- towards

MEDIUM-LONG - MEDIUM SHOT:

VON EIDEN -- continuing down corridor to his office. Pausesin front of a similarly ample work-station, though lesscluttered [and less harried] -- his secretary/personalassistant, MARTINA's. MARTINA (more often called MARTY) isforty-ish but still fabulous. Average height and probablymore or less average looks -- but attractive and well-dressed. She has worked for VON EIDEN for several years at more thanone company, and has become more or less a fixture in VONEIDEN's life. They trust each other perfectly and VON EIDENknows he can depend on her. They have a very relaxed butperfectly business-like rapport.

VON EIDENHi, Marty.

MARTYThere's a whole pile of faxes fromSteve Rosen and Peter Lewisohn onyour chair; and Greg Carlson's beencalling. He needs to talk to you assoon as possible.

VON EIDEN(walking into hisoffice)

It couldn't be just one of them.[under his breath] Christ.

Hmmm? Would the primetime censors pass that one? Let thembe the standard. If it could air on CBS between 8 and 10pm(not AFTER 10--no cheating!)

23.

VON EIDEN (CONT'D)(TO MARTY -- shoutingfrom his open office)

Could you see if Carlson's in hisoffice? [Softer -- TO HIMSELF asmuch as MARTY] That can't be goodnews.

VON EIDEN looks at his computer screen, reads over histelephone messages, hits button on his telephone console. Ringing is heard over the speaker at the other end of thetelephone connection.

[RECEPTIONIST VOICE]Good morning. Sterling-Layton.

VON EIDENSteve Rosen, please.

[RECEPTIONIST VOICE]Thank you. One moment, Sir.

Ringing at other end of connection.

STEVE ROSENSteve Rosen.

VON EIDENIt's Chris. What the hell is goingon? And why am I getting faxes fromboth you and Peter Lewisohn.

STEVE ROSENPeter's helping with the paperwork,and going over the corp ...

VON EIDEN(Beginning to getexasperated)

What paperwork? I thought we alreadywent through this.

STEVE ROSENLook, I still haven't seen the legalopinion letter. And I think we'regoing to try to get someone at theCorporate Division to --

VON EIDEN(Completely exasperated)

Wait -- what are you talking about? I hope you mean the SEC. At thesame time -- as we discussed -- whythe SEC?

24.

STEVE ROSENLook, Chris -- it's just to be onthe safe side. I'm gonna guess, wewon't have to do anything. But inthe meantime, it doesn't hurt tohave the legal opinion letter and tohave the SEC sign off on it.

VON EIDEN(On edge -- betrayingthe tension in hisvoice)

Two issues, Steve -- but before Iget to them, let me cut to the chase:can't we do this post facto? Okay,Number One -- it's --

STEVE ROSENLet me just answer that quickly: Because if the SEC notices this andthey call the transaction intoquestion, we're not only penalizedlegally and financially -- I mean,bottom line they can invalidate theentire transaction -- but we have tonotify the shareholders or at leasteveryone with voting stock. I'm notclear on this, myself.

VON EIDEN(Emphasizing his words)

All right. Let me finish. One --it introduces another party into thechain of communications on this --which seems, at the very least, risky. Two, I'm guessing it triggers furtherregistration or disclosurerequirements down the line forsubsequent stock purchases. Third --and I wish I could put this moredelicately -- but I'm assuming this --well, you've got Peter working onwhatever -- you're generating morefees. Am I right?

Very funny. Directors Note: Add parenthetical just beforeSteve Rosen's speech below (Pause you could drive a truckthrough)

STEVE ROSENWell, in a word, yes. But this isan issue of fiduciary responsibilityas well as legal compliance. . . .

25.

VON EIDEN(sighing just a bit)

All right. But let me assume thatyou're also taking my fiduciaryresponsibility into account -- andnot least -- my personal financialresources.

(Glancing at hisconsole)

Hold on a sec, Steve.

Shifting phone lines.

VON EIDEN (CONT'D)Marty -- is that Greg holding?

MARTYUh-huh.

VON EIDENAsk him to hold -- no, I'll pick itup here.

Pushes next button

VON EIDEN (CONT'D)Hi, Greg. Can you hold on for justa sec?

GREGORY CARLSON is the Company's Chief Financial Officer(CFO).

GREG CARLSONSure. Let me guess -- you're on thephone with Steve or Peter Lewisohn.

VON EIDENI am indeed. Hold on a sec.

Pushes another button.

VON EIDEN (CONT'D)Okay. So you've got Peter lookingover -- what? Our charter or, uh --right, the corporate by-laws.

STEPHEN

Who is Stephen? STEVE ROSEN? Are you using the easy dropdownmenus for character headings?

STEPHEN (CONT'D)Exactly.

VON EIDENAll right.

(MORE)

26.

VON EIDEN (CONT'D)Look -- have Peter fax me the letter,or draft schedules, and attachments --and any of his notes or legalauthorities. I hope you're not goingto an outside counsel on this.

STEVE ROSENI don't think so. . . .

VON EIDEN(Firmly)

Verify that. Because I'm just goingto send the package to Doug and lethim sign off on it. I will not --repeat NOT -- pay another attorney'sfee. I don't care if it's 200 bucks. [And if it's 200, it might as wellbe 2,000.]

STEVE ROSENAll right. Let me check with Peter.

VON EIDENCONFIRM with Peter. Well, it lookslike this transaction isn't going tobe accomplished today. So I'll bepaying even more.

STEVE ROSENNot if your stock doesn't go up.

VON EIDENTrust me -- it'll be going up. Aftertomorrow anyway.

STEVE ROSENWhat's tomorrow?

VON EIDEN(warily)

Look, I've gotta jump. We'll talkagain later. Have Peter fax me thestuff.

STEVE ROSENSure. Thanks, Chris.

VON EIDEN picks up GREG on other line.

VON EIDENSorry, Greg. Okay, let me guess: we're not buying anything today.

GREG CARLSONRight. I think we have to do an SECfiling.

27.

VON EIDENWhich is exactly what I thought wedidn't have to do.

GREG CARLSONIt's what we call a "creeping tenderoffer."

VON EIDEN

? How about Von Eiden responds: "Did Tennessee Williamswrite that?... But seriously, in theory..."

VON EIDEN (CONT'D)But, in theory, I'm just buying ablock of stock.

GREG CARLSONYou're buying a lot of stock -- at asubstantial discount. And you alreadycontrol about 5 percent of the Companystock. It's an issue of proportionateor potential control.

VON EIDEN(crisply)

Okay. Tell me. Is there a conflict? Or not?

GREG CARLSONNo. No conflict. But it does shiftthe distribution of power among theshareholders.

VON EIDENSo slightly.

GREG CARLSONBut oh-so-significantly. It's asignificant -- or at least potentiallyregistrable -- increase in leverage.

VON EIDENAll right. Have you had lunch yet?

GREG CARLSONActually, I have plans. I'm meetingmy daughter for lunch.

VON EIDENOh, good for you. Ya know -- I shouldorder in, anyway. I've got a coupleof meetings coming up. Gotta savemoney somewhere at the rate we'regoing.

28.

GREG CARLSONWell, who knows where the stock isgoing to go?

VON EIDENWell, it's probably going to go up.

GREG CARLSONYa think?

VON EIDENWell, let's put it this way -- Isure hope so, if I'm doing my jobright.

GREG CARLSONRight you are. We did have a goodsales quarter.

VON EIDENReally good. Okay. I'll buzz youafter I look at the stuff Peter'sgoing to send over.

GREG CARLSONOkay. See ya, Chris.

VON EIDEN rings off and takes a moment to reflect. (Two orthree beats.) He gets up from his desk and walks out of theoffice to MARTY's work-station.

VON EIDENMarty -- could you hand me the Bangkok-in-the-Battery menu?

MARTY fishes into a drawer in her desk, and pulls out a menu.

MARTYHere ya go.

VON EIDEN(Looking it over)

Hmmm. . . Are you going anywhere forlunch?

MARTYNothing interesting. Cathy and Iwere just going to get sandwichesfrom the Italian deli.

VON EIDEN(Abstracted)

Maybe I should get one of those take-out lunches from Pasta-and-Cheese.

VON EIDEN starts walking back into his office.

29.

DN (director's note): I like the way, in this little scene,we see that in this high-power environment, Von Eiden isusing perhaps 3 percent of his active brain power to decidewhere to eat lunch, while the other 97 percent of the "icebergbeneath the surface" is thrashing over the day's problems.

MARTYWasn't Charlotte Renssalaer supposedto be stopping by?

At his office door.

VON EIDENOh, right. I did call her. Now Ihave to find that lawsuit.

MARTYThe one we got off Pacer? I've gotan extra copy here.

VON EIDENYeah -- but I wanted the draft one,too.

MARTYShould be on your desk.

VON EIDENYeah, I'll find it. Thanks, Marty.

MARTYI'm gonna take off.

VON EIDENBy-eyee.

VON EIDEN walks back into his office; pushes his door half-way closed; and walks back to his desk.

[TO BE CONTINUED: AS VON EIDEN ORDERS LUNCH, CHARLOTTEARRIVES AND ANNOUNCES HERSELF. NEXT SCENE TAKES PLACE INVON EIDEN'S OFFICE. VON EIDEN SHOWS CHARLOTTE A LAWSUITABOUT TO BE FILED -- A PRODUCTS LIABILITY ACTION -- THATWILL HAVE A SERIOUS, PERHAPS DEVASTATING, IMPACT ON THECOMPANY BEING SUED. THE "BACK STORY" IS THAT CHARLOTTE'SDISCONTENT (MUCH MORE APPARENT TO THE AUDIENCE WHO HAVEWITNESSED HER CONSPIRACY WITH IRVING) IS BASED ON VON EIDEN'SREFUSAL TO AUTHORIZE A TAKE-OVER BID ON THIS COMPANY WHICHCHARLOTTE THOUGHT WOULD NOT ONLY BE ADVANTAGEOUS, BUTESSENTIAL TO THE COMPANY'S VALUE, ENHANCEMENT, AND FUTUREGROWTH. VON EIDEN, AHEAD OF THE CURVE -- AND FULLY INFORMEDOF THIS PENDING LEGAL CONTROVERSY -- DEMURS AND EVENTUALLYVETOES. THIS INFURIATES CHARLOTTE, WHO IS FEELING MORE ANDMORE INEFFECTUAL. SHE PONDERS DEFECTION -- AND, AS WE HAVESEEN -- CORPORATE SABOTAGE -- OR AT LEAST A SERIOUS CHALLENGETO VON EIDEN'S AND THE DIRECTORS' CONTROL OF THE COMPANY.

30.

VON EIDEN TAKES TIME WHILE WAITING FOR HIS LUNCH TO BEDELIVERED TO HAVE A FRANK DISCUSSION WITH CHARLOTTE -- ANDTO GIVE HER A BIT OF A PEP TALK.]

[NEXT UNWRITTEN SCENE: THE STOCK ANALYSTS MEETING: "THEWORD ON THE STREET"]

THERE ARE PROBABLY A COUPLE MORE SCENES THAT OCCUR BEFORETHE NEXT, AS WELL, BUT I HAVEN'T FIGURED THEM OUT YET --EJB]

Great. I think you are diagramming the arc of the wholeseries, more than just this one episode. Indeed, if "BrassRing" becomes the first episode in the chronology of theseries, here we are already at Page 30. With each episoderunning between 30 and 45 minutes, Episode One ought to beperhaps on the shorter side, so our audience doesn't havetoo much to digest in the first bite. Remember, it willtake at least an equal amount of video time to cover theTraining Breakdown, so that each episode will really runbetween 60 and 90 minutes. (Of course, you won't have toworry about the Training Breakdowns, as I will do those.) With a project this big, I think you will agree that it isthe scenes which spring to mind most strongly that you shouldflesh out first, and then write the bridges between later. A Note on SCW PROGRAM: have you tried using the "indexcards"? Nice thing is that anything you write there, on onecommand, the program will create a formatted scene,intuitively formatting dialogue, description, shots, etc. soyou never have to re-type those ideas to format them. It'spretty cool, and very handy for reshuffeling the order ofscenes, just by drag-and-dropping the virtual index cards. On the topic of key scenes, here is one image I would liketo see at the very end of one of the episodes: CAMERA SLOWLY PUSHES IN on CHARLOTTE alone, as we see therealization fill her eyes, she is about to be "caught", thenher jaw slowly drops open, and MUSIC 'SIRENS Up' forebodingly,and SMASHCUT TO: END TITLES, END MUSIC. (It's acliffhanger.)

THE FOLLOWING SCENE TAKES PLACE THREE OR FOUR DAYS AFTER THELAST.

[THIS IS ACTUALLY SECOND HALF OF THIS PARTICULAR SCENE --AGAIN ABOUT FOUR DAYS AFTER PRECEDING SCENE.]

7 INT. VON EIDEN'S OFFICE -- MID-MORNING 7

[Bear in mind, VON EIDEN will look very thoughtful andpenetrating in this scene; CHARLOTTE, quietly tense, a bitdoe-in-the-headlights.]

VON EIDENHave you ever eaten a wolf?

31.

CHARLOTTEWhat?

VON EIDENNothing.

CHARLOTTEI thought you said something aboutgetting something to eat. Did youwant some coffee?

VON EIDENNo, I'm fine. I'm having lunch withSteve Rosen. Want to come along? We're going to Chanterelle. I thinkDoug Aitken is going to join us.

CHARLOTTEI'd love to. I'm assuming this isabout the institutional holders?

VON EIDENYes -- not that I'm worried. Steveisn't going to have a problem roundingup enough cash.

CHARLOTTERight.

VON EIDENDo we have an update from Harry orNathanson, Weiss about theinternational patent?

CHARLOTTEI talked to Harry this morning. Apparently there is some problemwith the international patentapplication.

VON EIDENOh?

CHARLOTTEBut -- no worries -- it's a proceduralissue. I have no idea what exactly. Carla was going to fax him somethingthis afternoon. I'm sure it'll bestraightened out if not by thisafternoon, then by tomorrow morning.

VON EIDENIf anything makes me nervous, it'sthat. The deal is done long beforethis even sees publication.

(MORE)

32.

VON EIDEN (CONT'D)But this is the raison d'être. Idon't want the patent compromisedhere or abroad. And I don't want itheld up.

CHARLOTTEThere shouldn't be a problem. I'vegone over everything in the file. Everything's been vetted twelve timesover. The documentation isvoluminous.

VON EIDENI'm sure it is. You say you've seenthe entire patent file?

CHARLOTTEExactly. Harry has totally kept mein the loop.

VON EIDENHmm. Well, I guess I know where togo now for a tutorial on state-of-the-art digitized imaging to saynothing of the underlying lasertechnology. I had no idea you hadthat kind of grasp of the engineeringand the physics.

CHARLOTTEWell, if a lawyer can deal with it .. .

VON EIDENYes, of course. But we both knowHarry and Carla Carla even more so are hardly ordinary lawyers.

CHARLOTTEThis is true.

VON EIDENThat is understatement. Well, allright then.

Presses a button on his phone console, talks on speaker phone.

VON EIDEN (CONT'D)Marty?

MARTYYes, Mr. Von Eiden?

VON EIDENAsk Steve to bring the car round at12:15, will you?

33.

MARTYWill do.

VON EIDENThanks. Oh -- and confirm myreservation at Chanterelle. Tellthem we're going to be four.

MARTYFour -- you got it.

VON EIDENThanks. [OFF PHONE; TO CHARLOTTE] I'll meet you downstairs at 12:15. Now I have to deal with the fibergroup. I tell you that's one divisionI'll be shaking from top to bottom. Massimo is driving me crazy.

CHARLOTTE(In a slightly lightermood)

But what would we do without Massimoat the holiday parties?

VON EIDEN(Smiles)

Yes. Maybe I can just shuffle himoff to another division.

CHARLOTTEHospitality?

VON EIDENDoes that mean we have to buy a hotelchain? Alright, I'll see you at12:15. Don't be late.

CHARLOTTEWouldn't dream of it.

VON EIDENOh Charlotte?

CHARLOTTEYes?

VON EIDENWhat I asked you a minute or so agowas whether you had ever eaten awolf. A wolf, Charlotte. M.F.K.Fisher wrote a book you may haveheard of.

CHARLOTTEOh right -- the gastronome. What doyou mean by that?

34.

VON EIDENFrankly, I'm not sure. Just thatsometimes you look hungry enough toeat a wolf. And you did a minute orso ago.

CHARLOTTEOh?

VON EIDENYes, I think you did. So -- we'llbe eating heartily this afternoon

CHARLOTTEYes, Sir.

VON EIDEN smiles; CHARLOTTE exits. A few seconds pause. VON EIDEN buzzes his secretary, Marty, again on the speakerphone.

MARTYYes?

VON EIDENHi, Marty. Marty, pick up thehandset, will you? Better yet, wouldyou come in for a minute?

MARTYSure.

MARTY enters and sits down in front (or at side?) of VONEIDEN's desk.

VON EIDENMarty, do you know where Myra keepsthe patent files?

MARTYYeah -- I think so. I'm pretty sureall of them are in the hallway behindthe offices and secretarial stationson the north side of the floorupstairs.

VON EIDENYeah, that sounds right. But whatabout the international patent files? Are they in the same place?

MARTYAs far as I know. Are you lookingfor something in particular?

35.

VON EIDENWell I need the international file actually I need both patent filesfor the Digital Imaging Process 7497patent app.

MARTYYou want me to just pull them?

VON EIDENYes that's exactly what I want youto do and bring them to me directly.

MARTYOh--ya know, it just occurred to methat those files might not be there.

VON EIDEN(Suddenly tense --steeling himselfagainst panic)

Not there??

MARTYMyra's always complaining about it. Harry never has fewer than twentyfiles in his office at any one time. And then Myra ends up having to hoarda bunch at her desk or in her filecabinets, just to get her work done.

VON EIDENYou had me scared for a minute. Itell you what. Check the filecabinets first; but if you can'tfind them, wait until Harry -- and Iguess Myra, too -- have gone to lunch,and have a look in his office; andif you can't find it there, giveMyra's desk a peek.

MARTYOkay. Is that it?

VON EIDENThat's all.

MARTYChris -- just out of . . .?

VON EIDENWhat?

MARTYWell why the . . .?

36.

VON EIDENSecrecy?

MARTY NODS.

VON EIDEN (CONT'D)Well, there's nothing secret aboutit, of course. But you know howproprietary Harry is about thosefiles -- and I guess, Myra, too -- though who can blame her? Anyway, Ijust need to go over the internationalapp this afternoon. But I need bothfiles to make some comparisons.

MARTYOkay, no problem.

VON EIDENSo, when you get them, just put themon my chair. Actually, do me a favorand put them inside the credenzaover there, would you? But makesure you put them in the drawer.

MARTYYou got it.

VON EIDENI'm not going to be holding on tothem very long. But don't tell Myraif you run into her.

MARTYThat you can definitely count on.

VON EIDENGreat. Oh -- and buzz me on my cellas soon as you get them.

MARTYWill do.

VON EIDENThanks, Marty.

VON EIDEN stands up from chair and begins to walk towardsoffice door. MARTY gets up and follows.

VON EIDEN (CONT'D)Okay -- now I'm late. I'll be inthe big conference room downstairs. Shouldn't be more than an hour. IfMassimo calls, tell him I'll be therein a couple of minutes.

37.

MARTYUh-huh.

EXEUNT ALL.

Note EJB: What can I say? You hit the ball right out ofthe park with the preceding two scenes. (SOUND of batcracking) Sterling dialogue, the vocab., the sentenceconstructs, and even the intentions are textbook lessons forBESS students. A lot of it translates into useful typicalbusiness purposes (minus our dramatic subtext). Anddisregarding all of its study value, the scenes are smarter,funnier, more tense and intriguing than anything written forlast season's 'The West Wing'. Just write me another 500pages like pages 31 to 37, and it's a wrap.

DISSOLVE TO:

8 EXT. -- ANOTHER BUILDING (COULD BE BANK OR HOTEL OR?) AN 8ESPRESSO BAR OR COFFEE SHOP -- (1 OR 2 BLOCKS FROMHEADQUARTERS BUILDING)

LONG TO MEDIUM SHOT:

CHARLOTTE (IN JACKET, SUNGLASSES) ON CELL PHONE. SEATED ATTABLE OUTSIDE UNDER AWNING, SIPPING ESPRESSO OR CAPUCCINO. She's in the middle of a conversation that has been going onfor a few minutes.

CHARLOTTE(A bit nervous)

. . . I don't know. There wassomething off, something just a little I don't know weird. . . .

[INAUDIBLE OVER CITY TRAFFIC]. . .

CHARLOTTEYes weird. Or off.

[INAUDIBLE]. . .

CHARLOTTE(Annoyed)

How should I know?

[INAUDIBLE]. . .

CHARLOTTEWell, yeah I am.

[INAUDIBLE]. . .

38.

CHARLOTTEFirst off, I'm not sure about thepending technology. But one thing Iam sure of is you better haveleverage. I'm talking cash, I'mtalking about a lot of stock here --okay? You're not going to be gettingaway with some junk transaction --

[INAUDIBLE]. . .

CHARLOTTEAlright well maybe you can. ButI'm not on board with some golden .. . flotation device. What's myrole if the company is just brokenin pieces and then sold again? Arewe talking about one or two units orabout the same company everyone elseis looking at?

[INAUDIBLE]. . .

CHARLOTTEAll I can tell you is cash is nothis problem. The banks -- maybe;and he's striking some pretty solidalliances. The institutions -- maybe. We don't really know what the tenderprice is gonna be; but he's got somesolid backing and I just know he'slining up the directors one by oneto . . .

[INAUDIBLE]. . .

CHARLOTTE(Sounding more andmore fed-up)

Of course they're not all gonna gowith him, but . . .

[INAUDIBLE]. . .

CHARLOTTESterling, Layton.

[INAUDIBLE]. . .

CHARLOTTEWell, I might find that out thisafternoon.

39.

[INAUDIBLE]. . .

CHARLOTTEI don't know. We're meeting forlunch again in about an hour or so -- which reminds me -- I gotta go.

[INAUDIBLE]. . .

CHARLOTTEI'll call you later this afternoon. Or you can call me. On my cell.

[INAUDIBLE]. . .

CHARLOTTEYeah. . . I'm just tired.

[INAUDIBLE]. . .

CHARLOTTEOf this business.

[INAUDIBLE]. . .

CHARLOTTE(Exasperated)

Yeah the whole business what do youthink, Irving?

IRVING [INAUDIBLE]. . .

CHARLOTTEOkay. . . Yeah later.

CHARLOTTE folds her cell phone, drops it in her shoulderbag, finishes her coffee, stands up and walks away (presumablyback to the Company building).

TWO COMPLETED SCENES WITH ONE SHORT TRANSITIONAL SCENE FOLLOWTHIS SHORT SCENE: THE FIRST IS VON EIDEN'S MEETING WITH"MASSIMO" AND THE "FIBER" GROUP. THEN THERE IS A TRANSITIONALSCENE -- HIS EXIT AND MEETING CHARLOTTE; THEN THE LIMO RIDETO THE RESTAURANT ("CHANTERELLE") FOR LUNCH. THE SECONDSCENE (FAIRLY LONG AND INVOLVED) IS THE LUNCH SCENE ATCHANTERELLE.

THERE IS A SUBPLOT INVOLVING STEVE ROSEN OF STERLING-LAYTONINVOLVING AN IMPROPER TRADE ON HIS OWN ACCOUNT THAT WILLDEVELOP BOTH SEPARATELY AND JOINTLY WITH THE MAIN STORY LINE.

40.

Good, I'm glad we'll be seeing more of Steve Rosen. When Ifirst read the telephone scene I wondered if he could bejust a VOICE O.S., but before I finished reading the scene Isaw how much potential the character has. A lawyer willalso provide good vocab. for some students, and God isn'tthis guy material for some mind-twisting and funny stuff.

LATER SCENES INVOLVE THE ENTRY OF OTHER COMPANIES INTO THECOMPETITION FOR THE TAKE-OVER. THERE WILL BE A FEW SURPRISES --AND TURNABOUTS -- ALONG THE WAY.