THE NETWORK NEBULA

 

                  SCRIPT             

                      Scenes 12-17

   

     HOME      ANGRY PROPHET        DEM/REP COALITION        NEW HORIZONS        THERSITES         RULES         F.A.Q.      ABOUT US     WHAT'S NEXT?

Under Construction

WE WANT TO HEAR FROM YOU!

 

CREDITS


PADDY CHAYEFSKY

SIDNEY LUMET

PETER FINCH

NED BEATTY

CINDY GROVER

WILLIAM HOLDEN

FAYE DUNNAWAY

OTHER CREDITS

NETWORK SCRIPT

Scenes 1-2

Scenes 3-11

Scenes 12-17

Scenes 18-25

Scenes 26-39

Scenes 40-46

Scenes 47-59

SOUND OFF?

CHAT

LETTERS - current

LETTERS - archived

ESSAYS - current

ESSAYS - archived

POLLS - current

POLLS - archived

CURRENT
  PROBLEMS

 Better to light a candle than curse in the dark.

 

TERRORISM

Zarqawi Killed

MIDDLE EAST WAR

TAX REFORM

NATIONAL DEBT

MEDICAL CARE

 SOCIAL SECURITY

ILLEGAL IMMIGRATION

OVER POPULATION

 

UNEMPLOYMENT

COST OF LIVING

GLOBALISM

POLITICAL DIVISIVENESS

ENERGY SOURCES

OTHER PROBLEMS

THERSITES REPORTS

 

RAMBO GRANNY

and other Droll  Stories

POPULATION CONTROL

* * *

PLEASE READ THIS

This is a hell of a lot of work, I'll kid you not, and we are getting far to old to continue doing much of anything besides paying the bills.

  So if any of you website experts out there would like to take over managing this website, please contact us at the  address in in the Contact box at the bottom of this page. 

 

We'd really like to hear from you.

* * *

  
Back to Scenes 3-11.
 
12.   INT. CONTROL ROOM - 4th FLOOR
 
The clock wall reads:  6:30.  Typical control room.  
A room-length double bank of television monitors 
including two color monitor screens, the show 
monitor and the pre-set monitor.  Before this array 
of TV screens sits the DIRECTOR, flanked on his left 
by the PRODUCTION ASSISTANT (GIRL) who 
stop-watches the show, and on his right by the 
TECHNICAL DIRECTOR who operates a special board 
of buttons and knobs.  (On the TECHNICAL 
DIRECTOR's right sits the LIGHTING DIRECTOR).  At 
the moment, the show monitor has the network's 
Washington correspondent, JACK SNOWDEN, 
doing a follow-up on the attempted assassination of 
President Ford in San Francisco --
 
              SNOWDEN (ON MONITOR)
       -- the first attempt on President
       Ford's life was eighteen days ago --
       and again yesterday in San Francisco --
 
              DIRECTOR
              (murmuring into his mike)
       -- Lou, kick that little thing shut
       on ground level --
 
              SNOWDEN (ON MONITOR)
       -- In spite of two attempts --
 
The show monitor screen has switched over to show 
film of President Ford arriving at the San Francisco 
airport --
 
              SNOWDEN (V.O. ON MONITOR)
       -- Mr. Ford says he will not become --
 
              PRODUCTION ASSISTANT
              (murmurs)
       -- forty seconds --
 
              DIRECTOR
              (murmurs into mike)
       -- twenty seconds to one --
 
              DIRECTOR
       -- one --
 
HOWARD BEALE'S image suddenly flips on-screen --
 
              PRODUCTION ASSISTANT
       -- thirty seconds to commercial freeze --
 
              DIRECTOR
       -- head roll --
 
              TECHNICAL DIRECTOR
       -- rolling--
 
The DIRECTOR and TECHNICAL DIRECTOR turn in 
their seats to join HARRY HUNTER and his SECRETARY 
in a brief gossip --
 
              HOWARD (ON MONITOR)
       Ladies and gentlemen, I would
       like at this moment to announce
       that I will be retiring from
       this program in two weeks' time
       because of poor ratings --
 
The DIRECTOR has whispered something to HARRY 
HUNTER'S SECRETARY which occasions sniggers from 
the SECRETARY and from HARRY HUNTER.  The 
TECHNICAL DIRECTOR stands to get in on the joke --
 
              ASSISTANT DIRECTOR
              (to DIRECTOR)
       --  what'd you say? --
 
              HOWARD (ON MONITOR)
       -- and since this show was the
       only thing I had going for me
       in my life, I have decided to
       kill myself --
 
 
HARRY HUNTER'S SECRETARY murmurs something 
which causes HARRY HUNTER to burst into laughter --
 
              ASSISTANT DIRECTOR
              (to the DIRECTOR)
       -- so what'd she say? --
 
              HOWARD (ON MONITOR)
       -- I'll tell you what I'm going
       to do.  I'm going to blow my brains
       out right on this program a week
       from today --
 
              PRODUCTION ASSISTANT
              (frowning and very puzzled
              indeed by this diversion
              from the script)
       -- ten seconds to commercial --
 
              HOWARD (ON MONITOR)
       -- so tune in next Tuesday.  That'll
       give the public relations people a
       week to promote the show, and we
       ought to get a hell of a rating
       with that, a fifty share easy --
 
A bewildered PRODUCTION ASSISTANT nudges the 
DIRECTOR, who wheels back to his mike --
 
              DIRECTOR
              (into mike)
       -- and --
 
              PRODUCTION ASSISTANT
              (to the DIRECTOR)
       Listen, did you hear that? --
 
              DIRECTOR
       Take VTA.
 
The monitor screen erupts into a commercial for cat
food.
 
              AUDIO MAN
              (leaning in from his
              glassed-in cubicle)
       What was that about?
 
              PRODUCTION ASSISTANT
              (to the DIRECTOR)
       Howard just said he was going to
       blow his brains out next Tuesday.
 
              DIRECTOR
       What're you talking about?
 
              PRODUCTION ASSISTANT
       Didn't you hear him?  He just said --
 
              HARRY HUNTER
       What's wrong now?
 
              PRODUCTION ASSISTANT
       Howard just said he was going to
       kill himself next Tuesday.
 
              HARRY HUNTER
       What do you mean Howard just
       said he was going to kill himself
       next Tuesday?
 
              PRODUCTION ASSISTANT
              (nervously riffling through
              her script)
       He was supposed to do a tag on
       Ron Nesson and into commercial --
 
              AUDIO MAN
              (from his doorway)
       He said tune in next Tuesday, I'm
       going to shoot myself --
 
Everybody's attention is now on the double bank of
black-and-white monitor screens showing various 
parts of the studio, all of which show agitated 
behavior. Several of the screens show HOWARD at 
his desk in vehement discussion with a clearly startled 
FLOOR MANAGER with headset and no less startled 
ASSOCIATE PRODUCER --
 
              DIRECTOR
              (on mike to FLOOR MANAGER)
       What the hell's going on?
 
On the pre-set monitor screen, the FLOOR MANAGER
with headset looks up --
 
              FLOOR MANAGER (ON SCREEN)
              (voice booming into
              the control room)
       I don't know.  He just said he
       was going to blow his brains out --
 
              DIRECTOR
              (into mike)
       What the hell's this all about,
       Howard?
 
              HOWARD (ON MONITOR)
              (shouting at the floor
              PERSONNEL gathering
              around him)
       Will you get the hell out of here?
       We'll be back on air in a couple
       of seconds!
 
              DIRECTOR
              (roaring into the mike)
       What the fuck's going on, Howard?
 
              HOWARD (ON MONITOR)
       I can't hear you --
 
              DIRECTOR
 
              (bawling at the AUDIO MAN)
       Put the studio mike on!
 
              AUDIO MAN
       We're back on in eleven seconds --
 
              SLOCUM (on floor)
       They want to know what the fuck is
       going on, Howard.
 
              HOWARD (on monitor)
       I can't hear you.
 
              DIRECTOR
              (bawling at the Audio man)
       Put the studio mike on!
 
              AUDIO MAN
       We're back on in eleven seconds.
 
              ASSOCIATE PRODUCER
       Harry, I think we better get him off --
 
              HARRY HUNTER
              (roaring at the Audio Man)
       Turn his mike off!
 
              AUDIO MAN
              (now back in the control room)
       What the hell's going on?
 
              HARRY HUNTER
              (raging)
       Turn the fucking sound off, you stupid
       son of a bitch!  This is going out live!
 
              PRODUCTION ASSISTANT
              (stop-watching)
       Three -- two -- one --
 
              DIRECTOR
       Take 2 --
 
At which point, the TECHNICAL DIRECTOR pushes 
a button; the jangling cat food commercial flips off 
the show monitor to be instantly replaced by a scene 
of gathering bedlam around HOWARD'S desk.  The 
AUDIO MAN flees in panic back to the cubicle to turn 
off the audio but not before HARRY HUNTER and the 
DIRECTOR going out live to 67 affiliates can be heard 
booming:
 
              HARRY HUNTER
       Chrissakes! Black it out! This is
       going out live to sixty-seven fucking
       affiliates ! Shit!
 
              DIRECTOR
       This is the dumbest thing I ever saw! --
 
 
13.   INT. MAX SCHUMACHER'S OFFICE - FIFTH 
      FLOOR -        ROOM 509
 
MAX SCHUMACHER, behind his desk staring 
petrified at his office console on which pandemonium 
has broken out.
 
The FLOOR MANAGER and the ASSOCIATE PRODUCER 
and now an ELECTRICIAN are trying to pull HOWARD 
away from his desk and HOWARD is trying to hit 
anybody he can with an ineffective right hand 
haymaker --
 
              HOWARD (ON MONITOR)
       Get the fuck away from me!
 
              OTHER VOICES (ON MONITOR)
              (coming from all directions)
       --  cut the show! --
       --  get him out of there! --
       --   go to standby! --
       --  for Chrissakes, you stupid --
 
MAX'S PHONE RINGS --
 
              MAX
              (grabs the phone)
       How the hell do I know? --
              (he hangs up, seizes
              another phone, barks:)
       Give me the network news
       control room!
 
On the MONITOR SCREEN, hysteria is clearly 
dominating.  The SCREEN has suddenly leaped into a 
fragment of the just-done cat food COMMERCIAL, 
then a jarring shot of the bedlam of the studio floor.  
This particular camera seems unattended as it begins 
to PAN dementedly back and forth showing the 
confusion on the studio floor.  Then abruptly the 
SCREEN is filled with Vice President designate Nelson 
Rockefeller testifying before the Senate Rules 
Committee --
 
              MAX
              (shouting into phone)
       Black it out!
 
The SCREEN abruptly goes into BLACK as MAX 
slashes his phone back into its cradle.  His PHONE 
promptly RINGS again, but MAX is already headed 
for the door.  The SCREEN goes into STANDBY.  His 
SQUAWK BOX suddenly blares --
 
              SQUAWK BOX
       What the hell happened, Max? --
 
              MAX
              (shouting as he exits)
       How the hell do I know?  I'm going
       down now!
 
He strides into --
 
 
14.   INT. ROOM 509 - COMMON ROOM OF NEWS
 
EXECUTIVE OFFICES
 
A large common room where all the SECRETARIES of 
the News Division EXECUTIVES have their desks.  It 
is empty now except for one SECRETARY just now 
putting the cover on her typewriter.  MAX strides 
through and exits into --
 
15.   INT. FIFTH FLOOR CORRIDOR
 
A long institutional corridor -- part of an endless
maze of similar corridors -- with offices and technical
rooms debouching on both sides.  The corridor has
begun to fill up with video-tape OPERATORS and 
other News Division PERSONNEL who happen to be 
working late -- all of whom are either wondering what 
happened or are telling others what happened.  MAX 
yanks an exit door open and disappears down a flight 
of steps to emerge into --
 
16.   INT. FOURTH FLOOR CORRIDOR
 
-- which leads directly to the doors for the control 
room and for the studio.  Coming out of the control 
room is the TECHNICAL DIRECTOR, who, on spotting 
MAX striding down the corridor to him, says --
 
              TECHNICAL DIRECTOR
       Jesus Christ, Mr. Schumacher! --
 
He follows MAX into the --
 
 
17.   INT. STUDIO
 
Everything seems to have quieted a bit, the hysteria
down to mumbles and murmurs and occasional sounds 
of laughter.  TELEPHONES are shrilly and incessantly
RINGING.  In the far corner of the studio sits HOWARD
BEALE surrounded by HARRY HUNTER, the DIRECTOR, 
the ASSOCIATE PRODUCER, the PRODUCTION 
ASSISTANT, and the FLOOR MANAGER.  CAMERAMEN, 
GRIPS and other FLOOR PERSONNEL are gathered in a 
FLUX of little clumps around the studio murmuring and 
muttering and giggling over the whole absurd episode. 
MAX heads straight for the GROUP around HOWARD.  
They part to let him in --
 
              HARRY HUNTER
              (to MAX)
       Tom Cabell wants you to call as
       soon as you come in --
 
MAX nods, stares at HOWARD --
 
              VOICE (O.S.)
       Harry!  Joe Sweeney on the phone! --
 
              HARRY HUNTER
              (bawls back)
       I'm not taking any more calls!
       Tell them Mr. Schumacher's here!
       They can talk to him!
 
              MAX
              (staring at HOWARD)
       Howard, you have got to be out of
       your ever-loving mind.  Are you drunk?
              (to the others)
       How much boozing has he been doing
       today?
 
PHONES O.S. RING and RING.  VOICES O.S. 
SHOUT --
 
              VOICES (O.S.)
       -- Mr. Schumacher, Mr. Cabell
       on the phone! --
       -- Mr. Schumacher!  Mr. Zangwill
       for you! --
       -- Harry!  Mr. Thackeray on Three! --
 
HOWARD slowly looks up to MAX who is still staring 
at him.  He suddenly smiles broadly at MAX and 
winks.
 
              VOICES (O.S.)
       -- Harry!  Thackeray wants to
       talk to you right now! --
       -- Mr. Schumacher! Mr. Gianini
       wants to talk to you! --
 
              MAX
              (to HARRY HUNTER)
       You better get hold of Mr. Chaney
       and Frank Hackett --
 
 
			       Continue to Scenes 18-25.
 
  
 

 

ADVERTISEMENTS

This site is being built  from the ground up by a total amateur using MS Front Page.  And, please,

 no wise cracks, such as

"It looks like it."    

              * * *    

Are you interested in marketing your novel, screenplay or other literary product?

See   

    Aventura

   Productions              

               * * * 

Help support this site by

purchasing your Amazon products -- and they have a lot of them -- by ordering through their link below.  It won't cost you any more and it will be a great help for us.

              

 

 

 

Contact

     

      Postal: The Howard Beale Memorial Society 

                   237 Town Center West, #252   

                    Santa Maria, California 93458

     Webmaster: lewwarden@pronet.net.

     See: ABOUT US  for complete contact list.

           Copyright 2005

          Page last modified: 09/20/2012

   

                                   Memberships and Contributions       

      Memberships click   APPLICATION   (Annual Dues  $20.00)

       Donations  click   BUT NOT UNTIL FURTHER NOTICE

                By check, mail to our postal address.  PAY PAL SCREWED UP

 An Aventura Productions  Client.