Executive Producer: Meredith Stiehm Co-Executive Producer: Tom Smuts Producer: Frank Siracusa

THE TOWER

“Pilot”

Written by Meredith Stiehm

Directed by Davis Guggenheim

Copyright @ 2008 CBS Paramount Network Television, a division of CBS Studios Inc. All Rights Reserved This script is property of CBS Paramount Network Television, a division of CBS Studio Inc. and may not be copied or distributed without the expressed written permission of CBS Paramount Network Television. This Copy of the Script remains the property of CBS Paramount Network Television. It may not be be sold or transferred and it must be returned to CBS Paramount Network Television promptly upon demand. THE WRITING CREDITS MAY NOT BE FINAL AND SHOULD NOT BE USED FOR PUBLICITY OR ADVERTISING PURPOSE WITHOUT FIRST CHECKING WITH LEGAL DEPARTMENT

Network Draft: 3/31/08

The Tower

“ Pilot”

CAST LIST

SEAN CASTLEMAN OLIVIA STEELE RICHARD MARCH ZOE CAFRITZ ANYA HOLLIS BOURGET BRAIN DENNISON D.A. BEN SHEFFER DETECTIVE BASS SONIA TAYLOR CHELLE JENKINS MAYOR HARPER ELLEN HARPER PROFESSOR SARAH WATERS MIGUEL PALLY GARRITY

THE TOWER

“PILOT”

SET LIST

INTERIORS EXTERIORS CAR CRACK HOUSE BROWN COW COFFEE SHOP CHICAGO FOUR SEASONS HOTEL CHICAGO – LAKE MICHIGAN BAR CHICAGO RIVER BRIDGE ELEVATOR THE MIRROR CRACK HOUSE NEWS ROOM BROWN COW COFFEE SHOP BALCONY

THE MIRROR POLICE STATION LOBBY BILLY GOAT TAVERN NEWS ROOM DD’S LIQUOR STORE BALCONY ROYCE’S DINER RICHARD’S OFFICE COLUMBIA UNIVERSITY WOMENS ROOM CHICAGO STREET CONFERENCE ROOM ANYA’S OFFICE HOTEL BALLROOM BILLY GOAT TAVERN POLICE STATION HOLDING CELL CITY HALL DISTRICT ATTORNEY OFFICE MAYORS OFFICE OLIVIA’S APRATMENT LAZY CAFÉ TIKI’S BUILDING STAIRWELL APARTMENT ROYCE’S DINER COLUMBIA UNIVERSITY LUNCHEON HALL CAMPUS

THE TOWER (draft 3/31/08)

1 INT. CAR - MOVING - NIGHT (NIGHT ONE)

April in Chicago. Three guys drive through a shitty area inChicago. Two black, one white. A sense of tension; menace. SEAN CASTLEMAN, the white guy, is 35, crime reporter for TheChicago Mirror -- our hero. He rides in the back seat ofthe beat-up car. He's good looking in a hard-bitten way,has a stillness about him, but his mind races like crazy, 24-7. He's currently killing the last inch of his Marlboro,staring out the window --

His phone vibrates. He hits ignore. There's someplace he'ssupposed to be, and it sure ain't here. Next to him is asilent, lanky, 20-year old, a mean fucking look on his face.

Driving is PALLY, 30, ex-con, street guy -- Sean's best sourcein this neighborhood --

SEANYou see her tonight?

PALLYJust the car.

(beat)Hangs around a white dude sometimes. Billy Love.

SEANKnow where he stays?

PALLYNah.

SEANWork on that for me?

Pally nods. Sean texts in his phone: "Billy Love". Sendsit. Looks at the guy next to him who's staring right back...doesn't trust Sean. Sean looks out the window as Pally slowsthe car. Points to a car parked in front of a crack house --

PALLYThat's it.

SEANCity plates.

He gets out of the car --

2.

2 INT. CHICAGO FOUR SEASONS HOTEL - NIGHT

An opulent wedding rehearsal dinner. Dinner's over, drinksflowing. Well-to-do, mostly white, expensively dressed crowd. OLIVIA STEELE, politics reporter for the Mirror, is 30, blond,beautiful in a smart, offhand way, fearless to the point ofrecklessness. Her green dress looks great on her, matchesher eyes. There as a guest, she's getting her drink on atthe bar. She toys with a pretty little silver pill box,then puts it in her purse. Looks at the text message shejust received on her phone: "Billy Love".

She's approached by BRIAN DONOVAN, cocky banker. He's 32,probably a dickhead but cute --

BRIANWhat're you, working?

OLIVIANo.

(puts her phone away)Bad habit. Rude, too.

BRIANI'm Brian.

OLIVIAThe groom. I know. Olivia.

BRIANI don't know you, so you must be afriend of Julie's.

OLIVIAHer family invited me. I cover themayor's office.

BRIANCover it?

OLIVIAFor the Mirror.

BRIANAh.

He indicates Olivia's drink to the bartender --

BRIAN (CONT'D)One of those?

(then)I hate these things. Rather be homereading.

(CONTINUED)

3.

2 CONTINUED:

OLIVIAAren't you a banker?

BRIANBankers read.

OLIVIAOh.

He looks at her, amused. Gets his drink, sips it. Olivialooks over at the bride, JULIE HARPER -- black hair, slim,gorgeous. Surrounded by guests --

OLIVIA (CONT'D)So how'd you and Julie meet?

BRIANBook club.

(off her look)Her dad. My firm handled a bondoffering for the city.

OLIVIAYou know the mayor well?

BRIANGetting there. It's intimidating.

OLIVIAI bet.

(then, casual)Ever met his friend Billy Love?

Off Brian --

3 EXT. CRACK HOUSE - NIGHT

Sean approaches the house. MIGUEL, 32 -- knit cap tippedoff his head, prison inked all to hell -- gets in front ofhim. Two THUGS linger in the b.g. Miguel parts his hoodieand makes sure Sean see the 9mm ghetto stick he's strappin'. Sean doesn't blink --

MIGUELHey Five-O.

SEANI'm not police.

MIGUELNo, huh?

(CONTINUED)

4.

3 CONTINUED:

SEANJust looking for someone.

Miguel ain't moving. Neither is Sean. A stand off thatends when Sean tries to push past him to the door. Miguelpops Sean in the jaw. Messy, unglamorous fighting ensues. Finally Sean pushes past Miguel, gets into the house --

4 INT. CHICAGO FOUR SEASONS HOTEL - BAR - NIGHT

Olivia and Brian are now side by side at the bar, two drinkslater --

BRIANI was an English major. Wrote athesis on Hemingway.

OLIVIASo what went wrong?

BRIANNo jobs.

OLIVIAI have a job.

(off his look)No good jobs.

BRIANThe world is cruel to men who don'tmake money.

OLIVIAAw. Cry me a river.

BRIANWhatever. You're noble. I'm ajackass.

They smile, having a good time. But, Olivia gets up --

OLIVIAWell, Brian. Good luck.

BRIANWhere you going?

OLIVIAI'm supposed to track someone down.Named Sherry?

BRIANDon't know her.

(CONTINUED)

5.

4 CONTINUED:

OLIVIANever heard of her?

BRIAN(shakes head)

Why do you ask?

OLIVIAIt's for a story on line items inthe city budget... it's boring.

BRIANSo forget it. Stay here.

OLIVIAI think it's bad form to flirt withthe groom at the rehearsal dinner.

BRIANYou already said you were rude.

She smiles. Both are feeling the booze --

5 INT. CRACK HOUSE - NIGHT

Sean walks through the house. Glass vials crunch underfoot,little baggies in every corner like dead leaves. He movesthrough halls, rooms with mattresses on the floor -- womenand men, black and white, smoking rock. He takes a closelook at each white woman he finds --

SEANSherry? Hey, you know Sherry? Whitegirl?

No luck. His phone vibrates again; this time he takes it --

SEAN (CONT'D)Castleman.

ANYA (V.O.)Where are you?

SEANThe gym.

ANYA (V.O.)Got a shooting on the wires. BrownCow Coffee Shop. You want it?

SEANI'm there.

(CONTINUED)

6.

5 CONTINUED:

Off Sean --

6 INT. CHICAGO FOUR SEASONS HOTEL - ELEVATOR - NIGHT

Olivia and Brian on opposite sides of the elevator, a pleasantlooking couple in their 60s between them. The door opens,the couple gets out. Door closes. Alone now --

OLIVIAYou're getting married tomorrow.

BRIANThat's tomorrow.

He moves toward her. She doesn't resist --

7 EXT. BROWN COW COFFEE SHOP - NIGHT

Crime tape, cop cars. Sean arrives, notebook open, smoking. Blood, welts on his face. Looks through the window at themurder scene; white guy shot, slumped over at a booth. Seanapproaches DETECTIVE BASS -- 40s, work-a-day drone --

SEANHey Bass.

BASSSeany.

(nods)Armed robbery turns homicide. DOA'sa fancy lawyer, William Valentine.

SEANWhat's a fancy lawyer doing on theSouth Side?

BASSBuying it.

(then)Nice face.

SEANLooks good on me, right? What'smissing?

BASSRegister take. Jewelry off the painin the balls cashier.

SEANCan I talk to her?

(CONTINUED)

7.

7 CONTINUED:

BASSShe's all yours. Sonia Taylor.

Sean moves over to SONIA -- 22, black, highly invested inher long painted nails, flat-iron extensions and gaudy makeup. She's sloppy, loud, thinks a lot of herself --

SEANSean Castleman, Chicago Mirror.

SONIAI had a gun put in my face!

SEANTell me about it, Sonia.

SONIAIt was a girl, black. Took theregister money and my rings. Theywere gold, too.

SEANWhy'd she shoot the guy?

SONIAHe was like I ain't giving up mywallet, my briefcase. She said bam! He's dead.

SEANOnly you two in the place?

SONIAYeah. I coulda died. I coulda died!

SEANHey, you're brave Sonia.

Now a cop car pulls up. In the back seat is CHELLE -- 20,black, gray sweatshirt, knit cap. Dead eyes, fucked up teeth. The cop, GARRITY, gets out --

GARRITYPicked her up two blocks away. Gunon her.

(to Sonia)You recognize her?

Sonia walks up to the car, takes a look. She and Chellestare each other down --

SONIAThat's her.

(CONTINUED)

8.

7 CONTINUED: (2)

CHELLEBitch!

The girls start screaming shit at each other. Bass, amused --

BASSThere's your happy ending.

SEANJust writes itself.

Sean goes inside the coffee shop --

8 INT. BROWN COW COFFEE SHOP - CONTINUOUS

Cops, techs are processing the scene. They see Sean, knowhim; it's cool he's there. He approaches the body. The DOA is 40s, well dressed -- Rolex watch, wedding ring. Seanjots something in his notebook. Sees two glasses of wateron the table. Makes another note. Sean looks all aroundthe booth, the floor. Looking for something. Doesn't findit. Which bothers him. Off Sean --

MAIN TITLES.

END TEASER

9.

ACT ONE

9 EXT. CHICAGO - LAKE MICHIGAN - DAY (DAY TWO) (CHICAGO SHOOT)

Early Sunday morning. Olivia, barefoot, in her dress fromthe night before, takes a photo of the sunrise. Shoes onthe ground next to her. Serene. Yet, wide awake --

10 EXT. BRIDGE - CHICAGO RIVER - DAY (CHICAGO SHOOT)

Empty streets and sidewalks. Sean drinks a cup of coffee,waiting for Olivia. Face still mangled from last night. She arrives, shoes in hand --

OLIVIAHey.

SEANHey. Aren't you that big Pulitzerwinner?

OLIVIAYeah, they mob me in the street. Anything last night?

SEANSaw the car. No Sherry.

OLIVIAI didn't get any takers on "BillyLove".

SEANWork on anyone?

OLIVIAThe groom, mostly.

A beat. She can't quite meet his eye --

OLIVIA (CONT'D)So who is he? This Billy?

SEANWhite guy. Some connect to Sherry.

OLIVIAWe really think the mayor's mixed upwith this girl?

SEANSomeone gave her keys to a city car.

(MORE)

(CONTINUED)

10.

10 CONTINUED:

SEAN (CONT'D)And she signed into the residencethree times this month.

OLIVIAMoving between the mayor's mansionand a crack house. Pretty weird.

SEANBuying? Delivering?

OLIVIAWhatever it is, it's shady. So webetter be right.

SEANAnd we better be fast. I'm afraidRichard's gonna flinch.

OLIVIAShut us down?

Sean shrugs. Then --

SEANYou coming to the Tower?

OLIVIANah, I got this wedding.

He looks at her. Her eyes are darting, not meeting his --

SEANWhy you acting hinky?

OLIVIAI'm not.

SEANThat dress is inappropriate for Sundaymorning.

OLIVIASo's that face.

They head off, different directions --

11 EXT. THE MIRROR - DAY (CHICAGO SHOOT)

The building that houses the prestigious newspaper where ourguys work, The Chicago Mirror. Sean approaches, tosses hiscigarette butt, goes inside --

11.

12 INT. THE MIRROR - LOBBY - CONTINUOUS

Sean catches up with Managing Editor, ANYA, 45, brainy, no-nonsense, used to doing ten things at a time. He hands hera print-out of his story --

SEANThat's some snappy reporting rightthere Anya.

As she takes it, walking with him toward the elevators --

ANYACalled you nine times before youpicked up last night.

SEANHey I'm in demand.

ANYA(speed reading)

DOA's William Valentine... partnerat Shelton, Arndt and Bellamy...

SEANBig wheel with Chicago Democrats.

ANYAJust bad luck, caught in a robbery?

SEANThat's what the cops think.

ANYATake it down five inches?

SEANThing is... I don't like it.

ANYASurprising.

SEANSomething was off.

ANYALike?

SEANWell it's a robbery, but he's stillgot his shiny watch and wedding band.

(CONTINUED)

12.

12 CONTINUED:

ANYAUh huh.

SEANShooter took the cashier's cheapbling, left the good stuff.

They step on the elevator as Anya peruses his copy --

13 INT. THE MIRROR - NEWS ROOM - MOMENTS LATER

Anya and Sean enter the news room, walk and talk --

ANYAThis would be A-1, but there wasanother murder last night. MonicaBaker.

SEANDo I know who that is?

ANYAWife of Cliff Baker, golfer. Theycall him the Eagle?

SEANYeah, yeah.

ANYAPregnant. Stabbed to death in herhusband's Porsche.

SEANPretty and white?

ANYAWhich means front page, so go seeStuart and knock it out.

Sean nods; she moves off. A beat, then he follows her --

SEANThere's more to this shooting, Anya.

ANYASean...

SEANThis guy's law firm is on MichiganAvenue. Coffee shop's in murdertown. He wasn't there by accident.

(CONTINUED)

13.

13 CONTINUED:

ANYALose five inches and get into thegolf story.

SEANYeah. Okay.

She moves off. But instead of going to see Stuart, Seanheads right back to the elevator --

14 EXT. POLICE STATION - DAY

Sean emerges from the precinct, looks around. Finds DetectiveBass from last night out having a cigarette --

SEANBass. You got a smoke?

Bass tosses him a pack --

BASSLast one.

SEANHow's the Brown Cow going?

BASSDone. Got the ID, notified the widow. Onto the next body.

SEANEver figure out who Valentine wasmeeting?

BASSWho said he was meeting someone?

SEANTwo glasses of water. Two placesettings.

BASSThat neighborhood? Drug buy or tail.

SEANYou sit down for coffee with a hooker?

BASSI wouldn't personally blame him. The wife's a linebacker.

SEANYou guys find the briefcase?

(CONTINUED)

14.

14 CONTINUED:

BASSWhat briefcase?

SEANHe had one.

BASSI didn't hear about that.

SEANI did. The cashier saw it.

BASSTell it the D.A.'s office. Theyswooped in, took it over this morning.

SEANSheffer grabbed it?

BASSSomeone in his camp.

SEANFast work for the weekend.

BASS(shrugs)

Bottom line, Brown Cow's over. Ijust got a fresh one in Back of theYards. Happy Sunday, huh?

He tosses his cigarette butt, heads off. Off Sean --

15 INT. HOTEL BALLROOM - WEDDING - DAY

A beribboned, flower-filled affair -- only the best for themayor's daughter. All the guests are there, expectant. Restless, actually, 'cause they've been waiting quite a while.

Olivia, cleaned up and dressed down, sits in the back row,trying to lay low. By contrast, HOLLIS BOURGET -- 20s,beautiful, Yale grad, Style reporter, considers herself TinaBrown in the making -- wears a flashy dress and commands alot of attention as she arrives late, sits next to Olivia --

HOLLISHow late am I?

OLIVIAPretty late.

Hollis scans the program, looks around. Eyes land on Olivia'splain dress. Disapproval --

(CONTINUED)

15.

15 CONTINUED:

HOLLISWhy are you wearing that?

OLIVIA'Cause I have really bad taste.

Looks between them. They work together but sure don't likeeach other. The buzz of the crowd quiets as a matronly womanin a lovely gown, ELLEN, 62, stands before the guests. Motherof the bride. She's shaken up, red eyes --

ELLENLadies and gentlemen. I don't knowquite how to say this.

(beat)The groom has... called off thewedding.

Gasps, surprise from the crowd. Hollis opens her glam purse,whips out a notebook. Off Olivia, more stunned than anyone --

END ACT ONE

16.

ACT TWO

16 INT. BILLY GOAT TAVERN - NEXT DAY (DAY THREE)

Olivia and Sean are paying for breakfast to go at this Mirrorhang out. She's holding two photos of sunrises -- shufflesthem back and forth. Sean is preoccupied, watching DISTRICTATTORNEY BEN SHEFFER on TV, holding a press conference --

OLIVIAI have to tell you something.

SEANWhy is Ben Sheffer talking about theBrown Cow?

OLIVIANot here. Come on.

They grab their food, head outside --

17 EXT. BILLY GOAT TAVERN/STREET - CONTINUOUS (CHICAGO SHOOT)

They exit, and walk and talk. Up the stairs, to the streetlevel, toward the Tower --

SEANIt was a small time shooting. Whydoes the D.A. care?

OLIVIAHe's running for mayor. Vote forme, white guys don't get killed inthe hood.

SEANYears too early for that.

OLIVIAMaybe he plans ahead.

SEANMaybe it's not small time.

They've reached the Tower. She makes him focus --

OLIVIAI have to tell you something.

They go inside --

17.

18 EXT. THE MIRROR - NEWS ROOM - BALCONY - MOMENTS LATER

She's told him --

SEANThe groom?

OLIVIAIt was just a fun thing.

SEANUh huh.

OLIVIABut then he's a no show at thewedding.

SEANWhere is he now?

OLIVIANo one knows. In the wind.

SEANFunny.

OLIVIANot really.

SEANWhose story is it?

OLIVIAHollis.

SEANWell she's a terrible reporter, she'll never find out.

OLIVIATrue. Okay.

(few beats, then)So what's our next move on the Mayor?

SEANRun the street name Billy Love?

OLIVIAI got it.

He's distracted, still thinking about the Brown Cow --

(CONTINUED)

18.

18 CONTINUED:

SEANI'm gonna work this other thing awhile. This shooting.

OLIVIAYeah. Sure.

She nods. Then, a beat as he studies her. Some concern --

SEANHey. Why'd you do that?

OLIVIAI don't know.

SEANYou're okay, right?

OLIVIAYeah.

Anya comes out --

ANYANine thirty. You got budget lines?

They follow her inside --

19 INT. THE MIRROR - CONFERENCE ROOM - DAY

The daily Page One Budget meeting. About 20 editors andreporters. Anya runs it. Sean, Olivia, Hollis, all at thetable. Sean hates these meetings, would rather be on thestreet. Restless, he jots in his notebook: "BROWN COW/DASHEFFER?" --

ANYANational -- Senate confirmationhearings. Metro -- two homicides,fire at Lincoln Park zoo. Style?

HOLLISRunaway groom follow up.

OLIVIADo we really need day two of that?

HOLLISMayor's daughter stood up in frontof 200 guests? Yes.

Sean writes in his notebook: "BRIEFCASE?" --

(CONTINUED)

19.

19 CONTINUED:

ANYAYou talk to the bride, Hollis?

HOLLISStill in seclusion.

ANYA(to Olivia)

You're talking to Mayor Harper today.

OLIVIAThat's about city spending. Not thewedding.

ANYANow it's about both.

OLIVIAOkay.

Hollis doesn't like that. Neither does Olivia --

ANYAPlus international, we got a frontpage. We'll see art at 3:30.

She starts to end the meeting. Sean closes his notebook --

SEANSo where's Richard?

ANYAA meeting.

SEANWith?

ANYAZoe Cafritz.

Glances exchanged. Everyone's heard the rumors --

OLIVIAIs it true, she's gonna buy us?

ANYAI don't know.

OLIVIAWe're going to be owned by a tabloidqueen?

(CONTINUED)

20.

19 CONTINUED: (2)

ANYAOlivia, I'm not inside on this --

OLIVIAWe're the Mirror, Anya --

ANYAHey, I wouldn't like it either. Idon't run the world. See you guysat 3:30.

Sean and Olivia exchange looks, as the meeting breaks up --

20 INT. POLICE STATION - HOLDING CELLS - DAY

Sean walks with Bass to the holding cells --

BASSWhy you wanna talk to this chick? All she's gonna do is stare at thefloor, tell you to screw.

SEANKicks.

They reach the cage where Chelle is. Bass lets Sean in --

BASSSean Castleman, Chelle Jenkins. Maybe you two'll fall in love.

He moves away as Sean sits opposite Chelle. Offers her abusiness card --

SEANI'm with the Mirror.

She takes the card --

CHELLEYou write reports?

SEANYeah I do.

CHELLEWell I got something for you.

SEANFirst I got something for you. Questions.

She folds her arms, waits --

(CONTINUED)

21.

20 CONTINUED:

SEAN (CONT'D)What'd you do with the briefcase,Chelle?

CHELLEBriefcase?

SEANBelonged to the guy you shot.

CHELLEI didn't shoot no one.

SEANRight, right.

CHELLEYou seen my jacket? I do robberies. Liquor stores, not restaurants. Andnever murders.

SEANGotta graduate some time.

CHELLEThat cashier got reason to lie onme.

SEANChelle, I care about the briefcase. You took it from the scene --

CHELLEAnd I care about that bitch nottellin' stories, 'cuz what I did toher man.

SEANWhich was?

Chelle buttons up --

SEAN (CONT'D)Between us.

CHELLEI robbed her stupid boyfriend, DoubleD.

(off look)Three times. So the other night,she snitch me out when someone killedthe white dude.

(CONTINUED)

22.

20 CONTINUED: (2)

SEANI gonna get traction if I look intothis?

CHELLEYou look into that, maybe I see aboutyour briefcase.

SEANThought you weren't involved, Chelle.

CHELLEWasn't. But I know what goes on.

SEANSo maybe we help each other.

Off Sean and Chelle --

21 INT. MAYOR'S OFFICE - DAY

Olivia with MAYOR HARPER. He's 52, white, formidable, andpresently, furious. Compulsively reading blogs on his laptop --

MAYOR HARPERYou want a quote? I'll give you aquote. I'm going hunt this guy down.

OLIVIANot very mayoral.

MAYOR HARPER(off computer)

"Julie Harper, scorned woman." "Mayor's daughter humiliated." Damnit.

OLIVIAMaybe "She's better off without him"?"She dodged a bullet"?

MAYOR HARPERMore like took a bullet. She driftsaround the house, doped up on Xanax.

OLIVIAYou don't want me to write that.

He snaps down the top of his laptop, walks to the window --

MAYOR HARPERWhat a mess. And makes me look likea weak son of a bitch.

(CONTINUED)

23.

21 CONTINUED:

OLIVIAMaybe it's too soon for a statementon this.

The mayor exhales, change gears --

MAYOR HARPERSo. What're you writing about?

OLIVIAPayroll records.

MAYOR HARPERWhat about 'em?

OLIVIAThere's a line item in your personnelbudget for a Sherry Worthington?

She watches him closely --

MAYOR HARPERUh huh.

OLIVIAI don't know that name.

MAYOR HARPERI think she's janitorial.

OLIVIAAt 90 thousand a year?

MAYOR HARPERI really don't know. I'll havesomeone find out.

OLIVIAIt's a lot of money to not know about.

MAYOR HARPERThis is a bad time, Olivia. I shouldbe with my family.

OLIVIASo you don't know this Sherry.

MAYOR HARPERThat's what I just said.

OLIVIARight. Thank you, Mayor.

(CONTINUED)

24.

21 CONTINUED: (2)

Olivia gets up --

MAYOR HARPERDo you know this guy? Brian?

OLIVIA(quick)

Brian? No. Not at all.

MAYOR HARPERWho does he think he is, doing thatto my girl?

OLIVIAI don't know.

MAYOR HARPERI'm going to find him. Get to thebottom of what the hell happened.

Off Olivia nodding, hiding her sinking feeling --

22 INT. CITY HALL - DISTRICT ATTORNEY'S OFFICE - DAY

Sean paces in the waiting area, been there a while. A careerSECRETARY watches him warily. He tries to disarm her with asmile. Unsuccessful. Suddenly from the inner office D.A.BEN SHEFFER blows out -- late 40s, a distinguished, confidentcharmer in an expensive suit. Sean falls in step with him --

SEANSean Castleman, Chicago Mirror.

SHEFFERMost people make an appointment.

SEANI'm here about Valentine.

SHEFFERMy days, nights, all very tight --

SEANCan we walk?

As they do --

23 INT. CITY HALL - CONTINUOUS

They walk through the magnificent, bustling building --

(CONTINUED)

25.

23 CONTINUED:

SEANI'm following up on the Brown Cowshooting.

SHEFFERSenseless. Tragic.

SEANI know you're pretty interested inthis one.

SHEFFERI'm interested in any crime thatoccurs in our city.

SEANBut also, you and the victim wereassociates at the same law firm,sixteen years ago.

SHEFFERYes. I knew William.

SEANAny idea what he was doing so farfrom his own backyard?

Sheffer stops, sighs. Finds a private alcove to duck into --

SHEFFERIt isn't pretty.

SEANI can take it.

SHEFFEROff record.

(off Sean's nod)I know exactly what he was doing.

SEANOkay.

SHEFFERHe had a girlfriend. Black. A courtreporter who lives on the South Side.

SEANUh huh.

SHEFFERThere's a lovely wife and two kidsthat don't need to hear that.

(CONTINUED)

26.

23 CONTINUED: (2)

SEANThen why hold a press conference?

SHEFFERRich white guy killed by randomviolence, attention must be paid.

(beat)This isn't news, Sean. It's unsavory,human weakness.

SEANI just don't think that's the wholestory.

Sheffer considers Sean. Then shrugs, friendly --

SHEFFERYou don't owe me anything. I'lljust ask, one guy to another -- don'tfollow this. It'll just embarrassgood people.

SEANWell we have different jobs.

SHEFFERUnderstood.

(beat)I sure enjoy your articles.

He saunters off --

24 INT. THE MIRROR - NEWS ROOM - DAY

Olivia works at her computer. Hollis, impeccably dressed asalways, slides her chair over to Olivia's --

HOLLISGuess who's in Richard's office?

OLIVIAPretty busy here, Hollis.

HOLLISZoe Cafritz.

Olivia looks up. Through the glass windows in a corner officewe see the Mirror's Editor-in Chief RICHARD CHASE, 50,rumpled, revered -- talking with ZOE CAFRITZ -- 50s, chiclydressed and coifed, a scrappy, gutsy broad beneath the polish --

OLIVIASo that's the dragon lady.

(CONTINUED)

27.

24 CONTINUED:

HOLLISShe's self-made. Gotta admire that.

OLIVIAI do?

HOLLISI think things would be a lot lessstodgy around here with her in charge.

OLIVIAYou don't care that we've been family-owned for three generations?

HOLLISNo. Time for a change.

OLIVIAI don't see why.

HOLLISEveryone's online. Not readingpapers. We need an injection.

OLIVIAHollis.

HOLLISWhat?

OLIVIAYou and I shouldn't talk about this.

HOLLISThey're coming this way.

Hollis intercepts Richard and Zoe as they approach --

HOLLIS (CONT'D)Ms. Cafritz, I'm Hollis Bourget,Style reporter.

ZOEHi Hollis.

HOLLISCame from the Star Ledger last year. J-school at Columbia.

But Zoe's looking past her, at Olivia. Who doesn't look upfrom her computer --

(CONTINUED)

28.

24 CONTINUED: (2)

RICHARDOlivia?

OLIVIAHi. I got a straight denial fromthe mayor on Sherry.

RICHARDLet's meet on that later.

OLIVIAI think we're ready to run.

RICHARDSomeone I want you to meet.

Zoe puts out her hand. Olivia takes it --

ZOEZoe Cafritz.

OLIVIAOlivia Steele.

ZOEThe Pulitzer winner.

Hollis steps back, bruised --

OLIVIAThat's me.

ZOEThat was a very smart series.

OLIVIAOh, you read it?

A beat. Zoe ignores what may have been an insult --

ZOEYou didn't get nervous when AldermanRusso threatened to sue?

OLIVIANo.

RICHARDI got nervous. She could have gonefurther. We reined her in.

Zoe nods; studies Olivia. Then --

(CONTINUED)

29.

24 CONTINUED: (3)

ZOEI look forward to New York.

OLIVIANew York?

RICHARDZoe will be at the luncheon.

OLIVIAAre the Moores going?

RICHARDI don't know about that.

OLIVIAActually I'm not sure I'm going,either.

Zoe stares. Hollis reacts; what is she doing? --

OLIVIA (CONT'D)Nice meeting you.

She moves off. Richard watches her, displeased --

25 EXT. DD'S LIQUOR STORE - DAY

Sean with Sonia the cashier, outside her boyfriend's crappyliquor store. She's all decked out with new rings and shit --

SONIACitizen Profile?

SEANThat's right.

SONIAI get my picture in the paper?

SEANMaybe.

SONIA'Cause sometimes people ask me ifI'm a model.

Sean has a police report --

SEANI see your boyfriend's store gotrobbed three times this year, Sonia.

(CONTINUED)

30.

25 CONTINUED:

SONIAThat's Double D's business.

SEANYou know who did the robberies?

SONIANope.

SEANWell it's a real coincidence. ChelleJenkins. Who you ID'd for shootingthat white man.

SONIASo?

SEANYou know lying about something likethat's a crime, Sonia?

SONIAIs this for my Citizen Profile?

SEANYeah. Maybe I profile you as ascumbag --

SONIAForget you!

SEAN-- who tried to get revenge for herman by making a false ID on Chelle.

She starts shaking, getting scared --

SONIAYou gonna tell the police?

SEANThinking about it.

SONIAI can tell you something! If I canbe helped on this.

SEANI'm tight with Bass.

SONIA(exhales, few beats)

It wasn't for real a robbery.

(CONTINUED)

31.

25 CONTINUED: (2)

SEANNo?

SONIASomeone dropped me two hundred bucks. Showed me a picture. Said call thisnumber when he gets here.

SEANAnd you did.

SONIATen minutes later this girl blowsin.

SEANSo Valentine was targeted.

SONIAShe wanted the briefcase. And hedidn't want to give it up for nothing.

SEANWho was she, Sonia?

SONIATiki. Mean, crazy girl. Shooterfor hire.

SEANThat's real helpful.

SONIAThis mean Chelle's getting out?

SEANYeah. So Double D better lock up.

Off which --

26 INT. OLIVIA'S APARTMENT - NIGHT

Olivia puts her two photos of sunrises up on her refrigerator. Labels them: #1 and #2. Doorbell rings. Checks the clock:past midnight. Opens the door. It's the groom, Brian --

BRIANHi.

OLIVIAYou... can't be here.

(CONTINUED)

32.

26 CONTINUED:

BRIANWhy not?

Olivia rushes him inside --

OLIVIACome in here. Come in!

She shuts the door behind him --

BRIANThat was easy.

OLIVIANo. That's not what that was.

A few beats. He smiles --

BRIANHow are you?

OLIVIAThe whole city's looking for you.

BRIANI know.

OLIVIAWhy did you do that?

BRIANBecause of you.

OLIVIAWe met that night!

BRIANAnd it was great. Right?

OLIVIAWell.

BRIANI'm on my way to Julie's. I'm goingto tell her there's someone else.

OLIVIANo! Don't do that.

BRIANI have to. I can't hide out forever.

(CONTINUED)

33.

26 CONTINUED: (2)

OLIVIABrian, I write about the mayor. Ican't be involved in this.

BRIANWe can't keep that up.

OLIVIAWe?

BRIANYeah. Olivia. I'm deranged overyou.

OLIVIAWell stop it. You're a slick, cocky,banker. Why are you acting likethis?

BRIANI don't know.

He laughs. Walks a few steps into her apartment, which alarmsher --

OLIVIACan we talk tomorrow? When you'renot crazy anymore?

BRIANWe can talk.

OLIVIAOkay. Good.

He should leave now. But --

BRIANCan I sleep on your couch?

OLIVIANo.

BRIANCan I sleep in your bed?

OLIVIANo!

BRIANNo?

He looks at her. She weakens --

(CONTINUED)

34.

26 CONTINUED: (3)

OLIVIAI mean...it's a bad, bad idea.

BRIANNo worse than what we already did.

OLIVIANo. That takes the cake.

BRIANI won't tell.

A few beats. The guy's charming --

OLIVIAOh, crap. Me neither.

Off Olivia, letting him stay --

END ACT TWO

35.

ACT THREE

27 INT. THE MIRROR - NEWS ROOM - DAY (DAY FOUR)

Olivia enters, checks the clock; after ten. She's frazzled,not looking her best. Finds an IM waiting on her computerscreen: "Olivia: please see me. Richard". She looks overto his office. Sean's in there with Anya and Richard. Throwsdown three photos on her desk... three sunrises --

28 INT. THE MIRROR - RICHARD'S OFFICE - DAY

Sean, with Richard and Anya --

SEANThe ID was tossed, Chelle Jenkinsgot out last night. Street name onthe real shooter is Tiki.

ANYAWhy didn't I know you were stillworking this?

SEANWell.

He searches. No adequate answer --

RICHARDShe's your editor, Sean.

ANYAAnd I don't like cowboys.

SEANI know.

(beat)There's a bigger story. I know it.

ANYABut that's not publishable.

SEANSo I'm working on it.

ANYAAnd I got a paper to fill every day. I need copy from you. Inches.

SEANThis Brown Cow thing's a heater. The D.A.'s whitewashing something.

(CONTINUED)

36.

28 CONTINUED:

RICHARDSheffer's involved?

SEANHe shut the cops down on it. Doesn'twant the briefcase pursued. Doesn'tcare that Valentine was set up.

ANYAEven though he knew the guy.

SEANTried to float me a story about agirlfriend -- doesn't check out. Ithink he knows why Valentine waskilled. I think it's all about thatmissing briefcase, and Sheffer doesn'twant it found.

RICHARDWell. If you can blow it up...

SEANIt'll be a lot of inches, Anya.

ANYAGet some facts involved.

He nods. Olivia appears in the doorway --

RICHARDCome in, Olivia.

She enters, a nod to Sean as he exits. To Anya --

OLIVIASorry I missed Budget.

(off her nod)What's up?

RICHARDThe Pulitzer luncheon.

OLIVIAYeah?

RICHARDYou're going.

OLIVIANot if the Moores aren't.

(CONTINUED)

37.

28 CONTINUED: (2)

RICHARDThe Moores don't own the paperanymore. Zoe Cafritz does.

It's like a gut shot --

OLIVIAIt's official?

RICHARDYes.

OLIVIAShe's not even a journalist.

ANYAShe's a business woman.

RICHARDWe can't control it, Olivia. We canonly navigate it.

OLIVIAIt's embarrassing.

A few beats. None are happy about it; but Anya and Richardare practical --

RICHARDBook a ticket to New York, plan aspeech, be there.

Olivia bites her tongue; faintly --

OLIVIAYeah.

RICHARDAnya?

Olivia looks at Anya. Didn't know this meeting was a two-parter. Quietly --

ANYAYou've been wearing the same blousea few days now.

OLIVIASo?

ANYASo are you sleeping?

(CONTINUED)

38.

28 CONTINUED: (3)

OLIVIAYes.

ANYAAnd you're doing what you're supposedto do?

OLIVIAYes.

(to both)It was three years ago.

RICHARDOkay.

OLIVIAI'll change my shirt.

She moves off, defensive --

29 INT. THE MIRROR - WOMEN'S ROOM - DAY

Olivia buttons up a fresh shirt. Dutifully takes three pillsfrom her silver pill box, fills a paper cup with water. Amoment, then she tosses the pills down the drain. Pours thewater down after them. Exits --

30 INT. THE MIRROR - NEWS ROOM - AFTERNOON

Sean and Olivia step off the elevator, take-out salads inhand. They walk through the news room --

OLIVIASo you think this dead lawyer was adelivery boy for Sheffer.

SEANBut Anya won't print it.

OLIVIACarrying what? What's in thebriefcase?

SEANDrugs? Money?

OLIVIASpeculation.

SEANWhich is why she won't print it.

(CONTINUED)

39.

30 CONTINUED:

OLIVIAI don't think Sheffer's that dirty.

SEANEveryone's dirty.

OLIVIABut he's the D.A., wants to be mayor. He's not dealing.

Richard and Zoe Cafritz come to the center of the news room --

RICHARDGather around, everyone?

Sean and Olivia exchange looks. As people hang up phones,get up from their desks --

SEAN(re: Richard)

What'd he say about Sherry?

OLIVIAI think he's hedging.

SEANUh oh.

She nods. By now everyone is quiet, gathered around. Anyaand Hollis among the crowd --

RICHARDIt's no use trying to keep secretsfrom journalists, so I imagine youall know Zoe Cafritz is the new ownerand publisher of the Mirror.

A pause. Where applause might be expected. Doesn't happen --

RICHARD (CONT'D)Zoe?

He gives the floor to Zoe --

ZOEHi everyone. I'm Zoe Cafritz. AndI know my reputation precedes me. Ipublish gossip rags. Make pots ofmoney off movie stars knocking uptheir nannies. I don't care aboutreal news, I don't even understandreal news. I probably don't evenread the paper.

(CONTINUED)

40.

30 CONTINUED: (2)

This is aimed at Olivia. Olivia gets it --

ZOE (CONT'D)You're worried I'll tarnish theprestigious Mirror. Because I'm soshallow. Stupid. Well guess what? You don't become a female CEO, whowas not to the manor born, by beingignorant. I know some things.

Some guilty faces. Some still defiant --

ZOE (CONT'D)I don't need another tabloid, I havethree. The value of this newspaperis it's prestige. It's excellence. Pulitzers. I want more of that. SoI'm gonna throw my money at thispaper. Reopen the bureaus that havebeen closed, freeze the buy outs. My goal is not to tart up the Mirror,but for the Mirror to be the best. Pure and simple.

Surprised faces. Then, some applause. People gather aroundZoe, shake her hand.

Olivia hangs back with Sean --

OLIVIARichard's making me go to the luncheonwith her.

SEANHe's right. Don't let her ruin thatfor you.

OLIVIAYeah.

SEANShe bought the paper. She can't buythe Pulitzers.

Off Olivia --

31 INT. LAZY CAFE - NIGHT

Olivia enters the tiny, dim cafe. Finds Brian at a cornertable. Sits with him --

BRIANRomantic lighting. I get it.

(CONTINUED)

41.

31 CONTINUED:

OLIVIABrian.

BRIANOlivia.

OLIVIAWe gotta settle this thing.

BRIANAnd do what?

OLIVIASay goodbye. Never tell anyone.

BRIANThat doesn't work.

OLIVIAThe mayor is furious. He'd murderme if he found out.

BRIANYou and me both.

OLIVIALook, Brian. you know I'm not thereason you didn't get married.

BRIANI do?

OLIVIAYou sabotaged your wedding.

BRIANCome on.

OLIVIAYou wanted to screw things up. Youwanted out.

A few beats. Then --

BRIANI loved her. A lot. She got meninety-six percent of the way there.

OLIVIABut not a hundred.

(CONTINUED)

42.

31 CONTINUED: (2)

BRIANAnd then meeting you, I thought here'ssomeone who could get me all theway.

OLIVIALook, talk to her. But don't tellher about this. That just twiststhe knife.

BRIANAnd gets the mayor pissed off atyou.

She looks at him a beat. Then --

OLIVIAI'm gonna tell you something sincewe're not going to see each otheragain.

(beat)I'm sick. And sometimes I do thingsI shouldn't. And that was part ofthis.

He absorbs this --

BRIANOh.

OLIVIAIt's complicated.

He nods. Then gets up, starts to go. But turns back. Bothfeeling the regret --

OLIVIA (CONT'D)It'll fade.

BRIANIf it doesn't... I might be back.

He goes. Off Olivia, watching him --

32 INT. TIKI'S BUILDING - STAIRWELL - NIGHT

Dingy, dirty building. Sean follows Bass and two officersup the stairs to Tiki's floor --

BASSYou gonna tell me how you put thistogether?

(CONTINUED)

43.

32 CONTINUED:

SEANDepends on if you're gonna make mehang back.

BASSAin't sitting in the car, are you?

They've arrived at the door. Bass indicates for Sean tocrouch. Bass and two other officers bang on Tiki's door --

BASS (CONT'D)Chicago P.D.! Open up, Tiki!

Scuffling from inside. The cops kick in the door, chargein. Shouts, a window opening. A moment later, Bass runsback down the stairs, past Sean --

BASS (CONT'D)She's out the fire escape.

A beat as Sean looks at the busted down door. He reallyshouldn't go in, but --

33 INT. TIKI'S APARTMENT - CONTINUOUS

Sean goes in. The place is small, crappy -- and empty. Hecrosses to the window, sees the police cruiser in the alley. Bass and the other officers, guns out, pursue Tiki on foot.

He looks around the apartment, his gaze settling on abriefcase. Etched initials on the clasps: WFV. WilliamValentine's briefcase. Few beats. Should he?

He looks around, to be sure he's alone... then opens thebriefcase. Inside he finds: Baby photos. A smiling littlegirl. He sifts through them, baffled. What the fuck dothese mean?

Then, he hears gunshots on the street. Looks out the window --

END ACT THREE

44.

ACT FOUR

34 INT. ROYCE'S DINER - MORNING (DAY FIVE) (CHICAGO SHOOT)

A cramped diner where the city's movers and shakers gatherfor coffee and breakfast. D.A. Sheffer sits with severalcity cronies. Sean approaches him, envelope in hand --

SEANHow do you want to do this?

SHEFFER(to his cronies)

Excuse me a minute.

He stands, follows Sean outside --

35 EXT. ROYCE'S DINER - CONTINUOUS (CHICAGO SHOOT)

As they exit --

SHEFFERWhatever you think you know, it'swrong.

SEANThat so.

SHEFFERI said leave Valentine alone.

SEANI don't always follow instructions.

Sean opens the envelope, takes out the baby photos fromValentine's briefcase. A long beat as Sheffer absorbs them --

SEAN (CONT'D)Cute kid.

SHEFFERNo comment.

SEANFunny you don't ask where I got these.

SHEFFERWe're past that. What do you want?

SEANAnswers.

(CONTINUED)

45.

35 CONTINUED:

SHEFFERLast guy who knew all the answersended up dead in a coffee shop.

SEANWho's the kid?

SHEFFERYour problem is you think you have astory. But you don't know what itis.

SEANIs she yours?

SHEFFERCome on.

SEANYou got unsavory weaknesses, Sheffer? Had your pal Valentine covering upyour mess?

SHEFFERYou got the wrong guy.

SEANBut the right story.

SHEFFERWhatever you have, it's the shortplay.

SEANWhat's the long?

Sheffer looks at a newspaper machine with the Mirror displayedthe window; small smile --

SHEFFERRead your own paper.

Sheffer goes back into the diner. Off Sean, vexed --

36 INT. THE MIRROR - CONFERENCE ROOM - DAY

Page One meeting. Anya at the helm, Zoe observing. Sean,Olivia, Hollis all there. The front page from that morningis on the table, huge headline: "Two Years With A Killer: MyConversations With Eagle Baker" by Stuart Yosowicz --

(CONTINUED)

46.

36 CONTINUED:

SEANWhen did "Conversations with EagleBaker" make A-1?

ANYALate edition.

ZOEIt'll sell a lot of papers.

OLIVIAThought we just wanted to be thebest.

ZOEWe also want to keep the lights on.

Olivia and Zoe look at each other. This could be war --

ANYAAny other budget lines? Sean?

SEANNo.

Which displeases Anya --

HOLLISI'm on to something. A maid at theFour Seasons saw a blond woman goinginto Brian Donovan's room with him,night of the rehearsal dinner.

Olivia blinks --

ZOEReally.

HOLLISAnd the bride is decidedly brunette.

ZOEHm.

HOLLISSo the hunt is on for the mysteryblond.

ANYABack at three-thirty.

The meeting breaks up. Sean exits quickly, Anya watchinghim. Hollis approaches Olivia --

(CONTINUED)

47.

36 CONTINUED: (2)

HOLLISWho was wearing green that night?

OLIVIAGreen?

HOLLISThe blond was wearing a green dress. You were there, right?

OLIVIAThat's not something I'd notice.

HOLLISWell there have to be photos.

Hollis start to go. Olivia calls after her --

OLIVIANever seen you jump like this, Hollis. Thought we were just a stop on yourway to Vanity Fair.

HOLLISThat's the hope.

OLIVIASo why you treating this likeWatergate?

HOLLISBecause Zoe takes me seriously.

OLIVIAUh huh.

HOLLISAnd this is the kind of story I couldsell to Vanity Fair.

OLIVIATrashy.

HOLLISI'm actually a good reporter, Olivia.

Olivia doesn't respond, which insults Hollis. She goes. Off Olivia, aware that she's about to be exposed --

37 EXT. THE MIRROR - BALCONY - DAY

Sean looks out at Chicago. Lights a cigarette. A fewmoments, then Anya comes out --

(CONTINUED)

48.

37 CONTINUED:

ANYAWhere's my big story?

SEANSorry.

ANYAWhat happened last night?

SEANTiki's dead. Shot by the cops.

ANYAGood for Valentine's murder?

SEAN(nods)

I'll write a few inches.

ANYAAnd the briefcase?

SEANStill missing.

He looks at her, standing by the lie. He's going undergroundon this. She stares back, hoping she can believe him --

SEAN (CONT'D)I didn't get the story, Anya. I waswrong.

ANYASo you gonna let it go? Get back onthe streets for me?

SEANYeah. Absolutely.

She nods, goes back in. Off Sean, just getting started --

38 INT. OLIVIA'S APARTMENT - NIGHT

Sean works at his lap top at Olivia's kitchen table as Oliviagets ready to leave town. He's poring over old headlinesfrom the Mirror --

SEANWhat did Sheffer mean, read your ownpaper?

(CONTINUED)

49.

38 CONTINUED:

OLIVIAYou shouldn't have shown him thepictures.

SEANWhy not?

OLIVIAYou weren't ready.

SEANI was.

OLIVIAYou didn't get much for it.

He sighs, frustrated. Watches as she lines up four photosof sunrises on her refrigerator --

SEANWhat's with those pictures?

OLIVIASunrises.

SEANI can see that.

OLIVIAFour in a row. And not a wink inbetween.

SEANOlivia.

OLIVIAI feel fine.

SEANThat's not okay --

OLIVIAI'm fine, and I don't want to talkabout it.

She leaves the kitchen. He doesn't like it, but lets it go. Returns to the articles. Finds something that grabs hisattention --

SEANWhat's Sheffer's relationship toMayor Harper?

(CONTINUED)

50.

38 CONTINUED: (2)

Olivia returns, pulling on a coat --

OLIVIAGood soldier.

SEANBut he wants to be mayor, eventually.

OLIVIAHe's waiting in line.

SEANMaybe he's sick of waiting.

He shows her a headline from an old Style section. Reads --

SEAN (CONT'D)"Mayor's Daughter Engaged."

OLIVIADo we have to bring that up?

He shows her a photo of about twenty smiling family membersat an engagement party. Reads the caption --

SEAN"The Harper and Donovan families atthe engagement party at the ArtInstitute."

OLIVIAOkay.

He points to a young woman in the photo, far off to the side. About six months pregnant --

SEANWho's that?

OLIVIADon't know.

SEANShe's pregnant.

A few beats --

OLIVIAYou think it's the mayor's baby?

SEANAnd maybe that's Sherry.

(CONTINUED)

51.

38 CONTINUED: (3)

OLIVIASean.

SEANConnects our cases.

OLIVIAI think it's a leap.

SEAN(beat)

Yeah. Crap.

He slumps. Exhausted, and nothing to show for it --

OLIVIAI gotta get to O'Hare.

He nods, closes his lap top --

39 INT. COLUMBIA UNIVERSITY - LUNCHEON HALL - DAY (DAY SIX)

The Pulitzer luncheon at Columbia Journalism School. Eleganttables, an academic crowd. Olivia, Richard, Zoe, Anya, andSean are seated at the Chicago Mirror table. Olivia andSean finally have Richard's attention --

OLIVIAWe getting the go ahead on Sherry?

RICHARDIt's not a story yet.

She and Sean exchange looks --

OLIVIAHe signs her into the mansion. Paysher 90K a year. Yet told me flatout he doesn't know her.

RICHARDTell me why, then it's news.

SEANHe's lying. That's news.

Zoe's been chatting with Anya, but listening in. Now --

ZOEYou two are going after a big fish.

OLIVIABiggest in the city.

(CONTINUED)

52.

39 CONTINUED:

ZOEThe mayor's an old friend of mine.

ANYA(beat)

Nice man.

ZOELovely.

RICHARDLet's talk back in Chicago.

Olivia and Sean exchange looks; is Zoe's connection going toshut them down on this?

Now PROFESSOR SARAH WATERS, 50s, classy, takes the podium --

WATERSOn to Distinguished Local Reportingby an Individual.

That's Olivia. Sean smiles at her --

WATERS (CONT'D)New York Times columnist Nina Fein was scheduled to present this awardbut was called out of town. But amost welcome substitute has steppedin... Zoe Cafritz.

Zoe approaches the podium as the crowd applauds. Oliviacan't believe it; she's livid --

OLIVIAOh this is wrong.

SEANEasy.

OLIVIADoesn't get more wrong than this.

Sean sighs, has to agree. Zoe, at the podium --

ZOEIt's wonderful to be so warmlywelcomed by this community. Thankyou.

Olivia blinks. Looks at Sean --

(CONTINUED)

53.

39 CONTINUED: (2)

OLIVIAIt's too much.

SEANJust get through it.

ZOEFrom the Chicago Mirror, my new home,for her series on Alderman Russo'stax evasion trial -- the Pulitzer isawarded to Olivia Steele.

Olivia moves toward the podium amidst applause. Zoe movesoff, as Olivia takes a moment. She could probably hold ittogether despite four days of no sleep and no meds; but shelets her recklessness take over --

OLIVIAIt's an honor, thank you.

(beat)I dedicate this to the Moore family,who just sold the Mirror after 81years. Yes, like most newspapers inthe country, we're being bought andsold like commodities. Corporateminds seem to have decided thatjournalism should be a business,instead of a service. That salesmatter more than stories. That'snot our tradition -- I hope it's notour future.

Richard, Sean, Anya react; what is she doing? --

OLIVIA (CONT'D)In our case, our new owner is atabloid mogul. She's here today,basking in glory she had nothing todo with. But may have a lot to dowith ending.

The crowd is hushed, people exchanging glances. Richardstarts to get up, to shut her up. Zoe stops him --

OLIVIA (CONT'D)I won't be around to watch that, Ijust couldn't. But I do have aparting story. It's appropriatebecause it's trashy, sordid, someonerespectable falling from grace. Inthis case, it's me.

(MORE)

(CONTINUED)

54.

39 CONTINUED: (3)

OLIVIA (CONT'D)I may have won a Pulitzer, but I'malso the "mystery blond". Yes, Islept with Brian Donovan at hisrehearsal dinner. I'm the reasonthe mayor's daughter was jilted onher wedding day. I'm a whore.

Gasps, laughs, uneasy silence. This chick has gone haywire. Olivia looks at Zoe --

OLIVIA (CONT'D)That'll keep the lights on.

She leaves the podium, heads for the exit --

40 EXT. COLUMBIA UNIVERSITY CAMPUS - DAY

Olivia leaves the Journalism building, happily liberated. Manic, elated. Crazed eyes. She takes off her shoes, startswalking barefoot. Zoe appears behind her, on her heels --

ZOENo way, Olivia. Nice try, but noway.

OLIVIAI don't work for you.

ZOEOh yes you do. You're not fired andyou're not quitting. And you'regoing to stop moping and mouthingoff like a damn baby.

Olivia stops, faces her --

OLIVIAExcuse me?

ZOEPull yourself together. See yourdoctor, take your pills, clean thehell up. Then get back to work.

OLIVIADon't act like you know me.

ZOEYou're talented. And sharp. Butyou have no discipline. And thatcould screw your whole career.

(CONTINUED)

55.

40 CONTINUED:

OLIVIABoy, you know a lot.

ZOEYeah I do.

(beat)I want your story on the mayor.

OLIVIAThought he was your friend.

ZOEAnd I want you to break it, and winanother prize for it.

OLIVIAMaybe I will, for someone else.

ZOENo other paper's gonna let you tellthat story. It's too frightening. Too expensive if a lawsuit comesfrom it.

OLIVIASo why would you take it on?

ZOE'Cause I'm bold. Like you.

(beat)You want to do fearless journalism? You need me. A publisher who doesn'tget nervous. Who's willing to getsued, and has the money to fight it. Someone with a big wallet and bigballs, and I've got both.

A face off. Two hard as nails women, taking each other in --

OLIVIALet's see about that.

She walks away, shoes in hand. Zoe watches her, not surewhat she means --

Sean has come from the building. He waits for Olivia, whoheads toward him. As she reaches him --

SEANWhere's your silver box?

OLIVIAI gotta do something first.

(CONTINUED)

56.

40 CONTINUED: (2)

Off Olivia and Sean, as they start walking --

41 INT. THE MIRROR - NEWS ROOM - NIGHT

Olivia and Sean are back in the news room, Olivia typing ata computer, Sean going through their various notes on theMayor story. We see key phrases in their written notes, andup on Olivia's screen: "Mayor authorized payments" "SherryWorthington drug arrests" -- "Mayor denies knowing her".

After a final huddle, Sean nods. Olivia hits "Send". Thestory is delivered. And now she takes out her silver pillbox, and swallows her three pills, as Sean watches.

42 INT. ANYA'S OFFICE - NIGHT

Anya receives Olivia's story on her computer. Headline:"Unknown 'Employee' Paid $90,000 Annually by Mayor." Offher reaction... it's a ballsy story --

43 INT. BILLY GOAT - MORNING (DAY SEVEN)

A clerk fills the newspaper rack with copies of the Mirror,with Olivia's story up front. Richard's in line with a cupof coffee, glances at the bold headline --

44 EXT. DD'S LIQUOR STORE - MORNING

Sonia with Double D as he lifts the cage that covers hisstore, opening up for the day. A bound stack of Mirrors isout front. Sonia primps and gabs away as Double D hauls thestack of papers inside --

45 INT. SHEFFER'S OFFICE - MORNING

The career secretary brings Sheffer his morning paper andmessages. Sheffer takes the stack, eyes the headline with apoker face. Then disappears behind the doors of power --

46 EXT. POLICE STATION - MORNING (CHICAGO SHOOT)

Bass chats with other cops, his coffee on top of a Mirrorbox, a stack of that morning's papers inside, waiting to bebought --

47 INT. MAYOR'S OFFICE - MORNING

Mayor Harper reads the story online, fuming...and nervous. His phone lines lighting up like crazy on his desk --

57.

48 EXT. CHICAGO STREET - MORNING

Brian walks to work among a bustling crowd, reading Olivia'sarticle on his Blackberry --

49 INT. THE MIRROR - NEWS ROOM - MORNING

Hollis sifts through the newspaper, passing by Olivia's storyas she searches for her own article. Deep in the Metrosection, there it is: "Fiancee Of Mayor's Daughter Linked ToLocal Reporter". Buried. Zoe arrives for the day, a foldedMirror tucked into her purse. Hollis smiles dutifully, asZoe passes her --

50 INT. OLIVIA'S APARTMENT - MORNING

Olivia is fast asleep in bed. The sun rising outside herwindow --

51 EXT. THE MIRROR - LATE AFTERNOON

Sean leaves work, the front page tucked under his arm. Thensees Chelle, leaning against the building. Waiting for him --

CHELLEI didn't forgot ya.

SEANI'm covered on the briefcase.

CHELLEI know. Just saying I was gonnakeep my part.

SEANThat's cool.

Chelle looks up at the Tower --

CHELLEThis where they make the paper?

SEANYeah. The Tower.

CHELLEHow you get a job like that?

SEANGrad school. Start at a small paper. I worked in a London bureau before Igot here.

(CONTINUED)

58.

51 CONTINUED:

CHELLELondon.

He nods. She lingers --

SEANYou know, I always need contacts. Sources.

CHELLEUh huh.

SEANEspecially in your neighborhood.

CHELLEWhere all the crap goes down.

He nods; it's true --

CHELLE (CONT'D)I hear a lot.

SEANSo maybe we could stay in touch.

CHELLEI don't got one of them cards.

SEANNo, huh?

CHELLEBut I could give you my cell.

SEANWhy don't you put it in?

He hands her his phone. She puts in the number. As shefinishes, the phone rings. Shows the name "Pally" --

CHELLESomeone named Pally.

SEANI better take that.

CHELLESee you then.

She moves off. Sean watches her go, as he talks to Pally --

(CONTINUED)

59.

51 CONTINUED: (2)

SEANHey.

PALLY (V.O.)Hey I got a photo for you. Of thatBilly Love.

SEANNo kidding.

PALLY (V.O.)Send it to your phone?

SEANYeah, thanks.

PALLY (V.O.)Coming now.

Sean hangs up. Lights a cigarette. The phone rings, a photocomes in. He looks at it...can't believe his eyes. It'sWilliam Valentine -- the Brown Cow DOA.

THE END