


Philadelphia (1993)

FADE IN:

VARIOUS SHOTS OF PHILADELPHIA EXTERIORS (EXT./DAY) ...

which may include the Liberty Bell, the Italian Market,
scenes along the Delaware and Schuylkill Rivers,
Independence Square, the Russian Orthodox neighborhood, the
ghettos of North Philly.

MAIN TITLES PLAY OVER THIS SEQUENCE which culminates in a
SHOT OF...

						CUT TO:

PHILADELPHIA'S GLORIOUSLY ORNATE CITY HALL (EXT./DAY) ...

TITLE: "Philadelphia City Hall."

CITY EMPLOYEES, JUDGES, COPS, LAWYERS, CRIMINALS, TOURISTS
pour into City Hall, into...

						TO:

TWO STORY HIGH CORRIDORS THAT REEK OF HISTORY (INT-DAY).

Young lawyer JAMEY COLLINS darts through the crowd, carrying
an accordion file under his arm like a football.

Jamey elbows his way through a JAPANESE TOUR GROUP.

Jamey trots up a marble staircase, two steps at a time

						TO:

JAMEY RUNS LIKE HELL DOWN A THIRD FLOOR CORRIDOR, FOOTSTEPS
making a racket...

Jamey rushes toward a door marked "JUDGE TATE."

RAISED VOICES from inside Judge Tate's chambers:

			JOSEPH MILLER (OS)
	This construction site is
	causing mortal and irreparable
	harm to an unsuspecting public!

			ANDREW BECKETT (OS)
	My client has one of the finest
	and most respected safety records
	in the business, Your Honor!

Jamey shoves open the door, REVEALING TWO LAWYERS (BACKS TO
CAMERA) STANDING BEFORE JUDGE EUNICE TATE: ANDREW BECKETT
(in conservative gray) and JOSEPH MILLER (in pinstripes).

			JUDGE TATE
	One at a time. Mr. Miller?

			JOE
	Your Honor, since Rockwell Corp.
	began construction, the
	surrounding residential
	neighborhood has been enshrouded
	in a cloud of foul-smelling,
	germ-carrying, pestilent dust.
	My client is being forced to
	breathe known carcinogens daily!
	Other residents are coming forth
	on a daily basis to add their
	voices of outrage!

			ANDREW
	Your Honor, I submit there were
	no complaints until Counselor
	began knocking on doors,
	drumming up business. And the
	dust, which Counselor refers to,
	has appeared on only three
	occasions. Each time it has
	been examined and the results...

Behind his back, Andrew wiggles his fingers. Jamey stuffs
a document into Andrew's hand.

			ANDREW (CONT.)
	Limestone. Messy, but innocuous.

Andrew submits the report to the Judge.

			JOE
	Innocuous?

			ANDREW
	Defined by Webster's as harmless.

			JOE
	I know what it means. Your
	Honor, imagine how the children
	in this neighborhood have been
	made to feel. The pounding of
	construction ringing in their
	ears as this skyscraper, a
	tribute to mankind's greed,
	grows daily, casting an ominous
	shadow over their lives, filling
	them with dread even as they are
	surrounded in a black, toxic
	fog, blocking out the sun while
	poisoning their lungs! And
	Counselor calls it harmless?!

His back turned momentarily to the JUDGE, Andrew mouths to
Jamey: "Not bad." But he whips around, serious again:

			ANDREW
	Your Honor, Counselor is
	attempting to portray my client
	as a hideous manifestation of
	evil and corruption. But
	nothing could be further from
	the truth. Rockwell has
	generously contributed ten
	thousand dollars to this
	neighborhood's schools, clinics
	and youth centers! Granting a
	restraining order on the
	construction site will throw
	hundreds of Philadelphians out
	of work, and will lend
	validation to this contemptible
	and groundless nuisance suit,
	which speaks directly to the
	kind of greed and treachery that
	today is threatening the very
	fabric of our society.

Judge Tate looks skeptically at both lawyers.

			JUDGE TATE
	Let's not go off the deep end,
	gentlemen. I thought we were
	talking about some dust.

						CUT TO:

A MAN ON CRUTCHES HOBBLES INTO A COURTHOUSE ELEVATOR AND IS
joined by Andrew and Joe, crowding inside (INT./DAY) ...

As soon as the doors close, Andrew whips out a micro-
cassette recorder, making notes, and Joe, in the opposite
corner of the elevator, does exactly the same thing.

       ANDREW			JOE
... plaintiff seeks to re-     ... whereas decedent had
strain defendants from con-    pre-existing asthmatic
tinued improper use of trade   condition and ride on
name without...	    Ultra Loop caused sub-
			      sequent death...

Andrew and Joe stop at the same time, look at each other...

And turn toward the corner, seeking privacy.

       ANDREW (CONT.)	  JOE (CONT.)
... plaintiff's permission or  ... complainant seeks
authorization...	   relief...

There's a PERSISTENT BEEPING, Andrew and Joe pull out their
portable telephones at the same time.

They look at each other: which phone is ringing?

			ANDREW
	You.

Andrew resumes his telephone conversation.

			JOE
	Right.
		(into phone)
	Miller.

The ELEVATOR OPENS: Andrew breezes past the MAN ON
CRUTCHES, saying to Joe:

			ANDREW
	Client of yours?

			JOE
	Funny.

Andrew hurries down the corridor. Joe waits a moment... then
pursues the MAN ON CRUTCHES.

			JOE (CONT.)
	Excuse me..? Sir? Yo!

						CUT TO:

ANDREW EKERGES FROM CITY HALL, ONTO DILWORTH PLAZA BUSTLING with
PEDESTRIANS (EXT./DAY) ...

... DARTS into the street, hailing a cab.

						CUT TO:

THE CAB PULLS UP TO A BROWNSTONE ON A RESIDENTIAL STREET,
Andrew hopping out, stuffing papers into his briefcase
(EXT./DAY) ...

RUSHING to the door marked "Dr. Roberta Gillman, Internal
Medicine."

Coming out is a YOUNG ASIAN MAN with a cotton ball taped to
the inside of his elbow.

						CUT TO:

CLASSICAL MUSIC (INT./DAY) ... AS CAMERA PANS PATIENTS
(MOSTLY YOUNG MEN) in a cheerful room... some, like a UPS
DELIVERY MAN, are attached to IV's, some sit with arms
extended, waiting to be hooked to an IV by TYRONE, a BLACK
PHYSICIAN'S AID.

CAMERA FINDS ANDREW sitting quietly, with an IV drip running
into his arm. Andrew is wearing a Walkman, the source of
the CLASSICAL MUSIC, and he's reading a legal brief. Most
of the people in the room look SICKER than Andrew.

DIALOGUE CAN BE HEARD under the CLASSICAL MUSIC (although
MUSIC dominates the SOUNDTRACK).

			TYRONE
		(slapping a thin
		PATIENT'S wrist)
	Gonna have to start looking for
	veins in your feet, sweetheart.

DR. ROBERTA GILLMAN, passes through, speaking to Andrew:

			DR. GILLMAN
	Andy. Can you stop at my office
	on your way out?

			ANDREW
	Sure.

Andrew is distracted by A HISPANIC MAN across the room,
rolling up his sleeve for an IV -- his bare arms, hands,
face and neck are marked with PURPLE BLOTCHES.

Andrew closes his eyes, concentrating for a moment on the
CLASSICAL MUSIC... then goes back to work.

						CUT TO:

ANDREW HURRIES OUT OF THE DOCTOR'S OFFICE, HAILING A CAB
(EXT./DAY) ...

						CUT TO:

ANDREW HOPS OUT OF THE CAB, IN FRONT OF AN IMPRESSIVE
skyscraper in downtown Philly, at the end of the work day
(EXT./DAY) ...

Andrew pushes through glass doors into the plush "Wheeler
Building," pressing through the tide of WORKERS headed home.

						CUT TO:

A BLACK PARALEGAL, ANTHEA BURTON, LEADS A YOUNG, BLACK LAW
CLERK (in suit and tie) to the elevators, at the sedate,
expensively appointed offices of Wyant Wheeler Hellerman
Tetlow and Brown (INT./DAY) ...

			ANTHEA
	... up to Tax, on fourteen, and
	get right back, I need you.

Andrew BLASTS out of the elevator, flashing Anthea a four-
star smile. They stride down the corridor together.

			ANDREW
	Just the dazzling paralegal I
	wanted to see.

			ANTHEA
		(friendly)
	I know what that means, and the
	answer is no. I have a class
	tonight. Exploit someone else.
	And since you've asked ...

They pass a silver-haired partner, KENNETH KILLCOYNE.

			KILLCOYNE
	Solid work on the Rockwell
	situation, Andy. Top-notch.

			ANDREW
	Thanks, Kenneth.
		(to Anthea)
	Your exam!

			ANTHEA
	Thank you. 98. I gotta go...

			ANDREW
	Ninety-eight?! Ninety-eight!

Andrew reaches the secretaries' station. A cheerful
secretary, SHELBY, shoves documents at him.

			SHELBY
	Conference call's up. They just
	started the roll call. Here's
	the settlement agreement, the
	red-lined copy's on your desk.
	Need me in there?

			ANDREW
	No. Great. Thanks, Shelby.
		(checking his watch)
	It's 6:30, go home.

Andrew passes a colleague on her way out, RACHEL SMILOW:

			ANDREW (CONT.)
	Rach.

			RACHEL
	I'm late, I have to pick up Amy
	from her afterschool but I want
	to talk to you about that Hansen
	thing.

			ANDREW
	Catch me later, I'll be here.
	And tell Amy, I love her
	painting, it's on my wall.

Andrew SAILS toward his office.

			          CONTINUOUS CUT TO:

ANDREW ENTERS HIS OFFICE, KICKING THE DOOR SHUT (INT./DAY).

... DROPPING the documents on his desk, SCANNING them.

... ADMIRING a child's painting taped to the wall.

... PUNCHING into the speaker phone on his desk.

The SCREEN SPLITS, REVEALING A TELECONFERENCE OPERATOR:

			OPERATOR
	... Karen Hargreave, representing
	Lloyd Management Corporation?

The SCREEN SPLITS INTO THIRDS: Andrew, the OPERATOR, and
HARGREAVE (a sharp, California lawyer.)

			HARGREAVE
	Present.

As the OPERATOR continues the roll call, the SCREEN
CONTINUES TO SPLIT and HARGREAVE is replaced by a SERIES OF
LAWYERS in offices around the country, (MOSTLY WHITE MALES)
saying "Present" while in Andrew's section of the screen...

... Andrew dials a number on another telephone line,

			OPERATOR
	Andrew Beckett, representing
	Saunders International?

Andrew punches into the conference call

			ANDREW
	Present.

The MULTI-IMAGE SCREEN is now joined by SARAH BECKETT, a
suburban, 60ish American MOM, in her backyard garden,
answering a portable phone.

			SARAH
	Hello?

			ANDREW
	Hi, Mom. It's me.

The LAWYERS are into the conference, in their portions of
the screen, (their VOICES HEARD underneath Andrew's
conversation with his mother).

			SARAH
	Andy! This is a nice surprise.
	How are you, hon?

			ANDREW
	I'm fine.

			SARAH
	What's Dr. Gillman say?

			ANDREW
	Hold on, Mom.
		(punching into the
		conference call)
	There's no way my client will go
	along with that.

			HARGREAVE
	Who's this?

			ANDREW
	Andrew Beckett. Hi, Karen. I'm
	sorry I interrupted...

He punches out of the conference, back to his Mom (glancing
over his shoulder to make sure the door is shut).

			ANDREW (CONT.)
	Gillman says I'm fine. My blood
	work is excellent. T-cells are up.
	Just a sec ...
		(conference call)
	Yes, I think that would alleviate
	most of our concerns.
		(back to Mom)
	My platelets look good too.

			SARAH
	Are you on one of those conference
	calls? I hate when you put me on
	hold.

			CUT ON ANDREW'S LAUGHTER TO:

THE MOON ABOVE THE WHEELER BUILDING LATE AT NIGHT (EXT.)

TITLE: "One-thirty a.m."

						CUT TO:

ANDREW AT WORK IN THE FIRM'S LIBRARY (INT./NIGHT) ...

Andrew's fingers FLY across the keys of a notebook computer.

Needing a reference, he shoves his rolling chair away from
the computer... opens a reference book... grabs a carton of
Chinese food... (NOTE: The library may be equipped with a
computer terminal which Andrew uses for reference, rather
than a book.)

Andrew eats sauteed string beans with chopsticks, finding a
relevant citation:

			ANDREW
	Ah hah! Yes!
		(chewing a string bean)
	Rentworth v. Pennsylvania...
	court of appeals affirms jury
	award of punitive damages for
	wrongful interference with
	prospective economic
	relations...

A SHADOW falls across Andrew. He IGNORES IT.

ANGLE: TWO MEN IN SILHOUETTE. WALTER KENTON says:

			KENTON
	Look at this fucking guy. He's
	an animal.

Andrew's hands DO NOT LEAVE the keyboard.

			ANDREW
	Walter.

The SECOND MAN steps forward, a silhouette becoming visible
This is BOB SEIDMAN. He and Kenton wear tuxedos.

			SEIDMAN
	Are we interrupting, Andy?

			ANDREW
	In a word, Bob...

			SEIDMAN
	Charles is right behind me.

ANOTHER SILHOUETTED FIGURE APPEARS. This image has a
horror-film feeling to it.

Andrew WHIPS AROUND to face them.

			ANDREW
	I was just about to take a
	break. Good evening, Charles.

CHARLES WHEELER, also in tuxedo, remains in shadow.

			WHEELER
	Andy? Could you step into my
	office for a sec?
		(deadpan)
	I feel like firing someone
	tonight.

Andrew throws an arm over Seidman's shoulder.

			ANDREW
	We're gonna miss you around
	here, Bob...

			          CUT ON LAUGHTER TO:

THE RECEPTION AREA (INT./NIGHT): A DOMINO'S PIZZA DELIVERY
MAN, waiting for clearance from a SECURITY GUARD, on
Andrew's dim and quiet floor, WATCHES AS...

Seidman, Kenton and Andrew follow Charles Wheeler up a wide,
carpeted staircase. Wheeler finishes a story and everyone
LAUGHS...

						CUT TO:

A BOX OF CIGARS BEING HANDED AROUND (INT./NIGHT) ...

			SEIDMAN
	Andy's expressed a keen interest
	in the Kronos Inc. situation,
	Charles. Is that correct, Andy?

The lawyers have gathered in Wheeler's spacious office, with
its floor-to-ceiling view of the Philadelphia skyline.

			ANDREW
	The fate of the participants
	interests me, yes sir.

Wheeler, Kenton and Seidman proceed with the male ritual of
preparing cigars to be smoked: snipping the ends with a brass
clip, rolling them over their tongues to wet them, sliding the
cigars in and out of their rounded mouths.

Andrew, holding a cigar but NOT preparing to light it, watches
with a not completely concealed twinkle in his eye.

Wheeler leans back in his chair, swirling a brandy snifter.
He exhales cigar smoke with a great deal of pleasure.

			KENTON
	It's good to be King, hey
	Charles?

			WHEELER
	Kings are out of fashion. I'd
	rather be thought of as a
	benevolent tyrant.
		(prompting Andrew)
	It's an anti-trust action.

			ANDREW
	It is, and it isn't, Charles.
	Macrosystem's new software
	copies all the best-known
	elements of Kronos' spreadsheet
	program. If they're allowed to
	sell it, Kronos will get undersold
	right out of business. For me, the
	legal principle, involved is
	copyright infringement.

			WHEELER
	Bearing in mind that Bill
	Wright, the chairman of
	MacroSystems, is a close, personal
	friend of mine... which side of
	this mess would you desire to be
	on, Andy? And don't allow my very
	tight, personal relationship with
	Bill to influence your answer in
	any way.

Andrew knows this is a test. And he loves it.

			ANDREW
	Sorry, Charles, but...

Andrew is distracted -- BY A LIGHT FALLING ACROSS HIS FACE.

			ANDREW (CONT.)
	I'd like to see Kronos win.

Walter Kenton has shifted a lamp, so that its LIGHT FALLS
ACROSS ANDREW'S FACE, REVEALING: a faint purple blotch
about the size of a quarter, much like the blotches we saw
on the HISPANIC PATIENT in Andrew's doctor's office.

			KENTON
	Why, Beckett?

			ANDREW
	Because they deserve to, Walter.

Andrew lifts his hand, finding that his hair has been pushed
back, revealing the blotch.

He stands, nonchalantly running a hand through his hair to
cover the blotch.

			ANDREW (CONT.)
	If MacroSystems wins, an energetic,
	young company will be destroyed,
	five thousand Americans will be
	out of work. Moreover, the laws of
	copyright and anti-trust were
	enacted to prevent exactly the
	kind of bullshit Macrosystems is
	trying to pull.

			SEIDMAN
	Andy, do you know who reps Kronos
	Inc.?

			ANDREW
	Bailey, Brackman.

			WHEELER
	Get with the program, Andy. As
	of this evening, about 8:05 this
	evening, right after the soup
	course... Kronos Incorporated is
	represented by Wyant Wheeler
	Hellerman Tetlow and Brown. Or,
	more specifically, senior
	associate Andrew Beckett.

A moment before it sinks in, then: Andrew clenches his fist
in a victory salute.

			ANDREW
	Yes!

			SEIDMAN
	You'll have to get right on it,
	Andy, we're up against the
	statute of limitations.

An ASSOCIATE LAWYER in shirtsleeves taps on the office door.

			ASSOCIATE LAWYER
	Tokyo on four, Bob.

			SEIDMAN
	Great. Excuse me, fellas.
		(picking up a phone,
		speaking Japanese)
	Connichiwa. Itsumo osewa ni nari
	mashita. Arigato gozaimasu.

Andrew offers his hand to Walter Kenton.

			ANDREW
	Thanks, Walter.

			KENTON
	What's that on your forehead,
	pal?

			ANDREW
	Whacked with a racquetball.
		(taking Wheeler's hand)
	I appreciate your faith in my
	abilities.

			WHEELER
	Faith, Andy, is the belief in
	something for which we have no
	evidence. It doesn't apply to
	this situation.
		(slapping his shoulder)
	Go home. I mean, get back to
	work.

Andrew and Wheeler are eye-to-eye, an intimate moment.

			ANDREW
		(warmly, softly)
	Thanks, Charles.

			WHEELER
		(with a father's
		affection)
	No sweat, buddy.

Smiling, Andrew exits the office.

CLOSE ON WALTER KENTON, THINKING...

			          CONTINUOUS CUT TO:

ANDREW STEPPING INTO THE EMPTY CORRIDOR, TAKING A FEW STEPS
away from Wheeler's office (INT./NIGHT), then...

... DOING a JOYFUL END ZONE DANCE, running in place the way
football players do when then score a touch down, saying
"Yes! Yes! Yes!" to himself, soundlessly.

The SOUND OF CLANGING METAL interrupts Andrew: HELENA, a
maintenance worker is emptying a trash can. She's seen his
little dance and starts to laugh.

Smiling, Andrew puts the unlit cigar into his mouth, WINKS
at Helena and says:

			ANDREW
		(in a funny, kind of
		medieval way)
	It's good to be King.

						CUT TO:

ESTABLISHING: ANDREW'S LOFT BUILDING (EXT. DAY)

TITLE: "Ten days later."

						CUT TO:

CLOSE ON ANDREW'S FACE MARKED WITH FOUR BLOTCHES (WE'RE IN
Andrew's loft -- INT./DAY)

It's a mirror image. The BLOTCHES vary from the size of a
dime, to the size of a half-dollar. He looks awful.

A YOUNG, BLACK WOMAN'S FINGER applies makeup to Andrew's
face, trying to cover the blotches. This is his friend
CHANDRA.

			CHANDRA (O.S.)
	You want to apply the foundation
	as evenly as you can, Andy. You
	don't want to look like you've
	thrown it on with a spoon.

			ANDREW (O.S.)
	Uh huh.

CAMERA PULLS BACK REVEALING Andrew sitting at a table in his
loft, a towel around his neck, protecting his shirt from makeup.
Chandra applies the makeup gently, supervised by another friend
named ALAN. (Andrew's loft has been turned into a lawyer's
command post: stacks of books, documents, etc.). A third friend,
BRUNO, sits in the corner, flipping through channels on the TV.

			CHANDRA
	Okay. You try.

Andrew tries applying makeup to his face.

			ANDREW
	Chandra? Don't you think this
	color's a little... orange for me?

			CHANDRA
	Tahitian Bronze works best on
	lesions.

			ALAN
	Think of it as the "I just back
	from Aruba" look.

IN THE BACKGROUND: Andrew's fax machine receives a fax in
Andrew's "work area": desk, personal computer, etc.).

			BRUNO
	I got it.

Bruno removes the fax from the machine, walking it over to
Andrew, handing Andrew the fax, while munching an apple.

			ANDREW
		(giving the fax
		a quick scan)
	Thanks, Bruno.
		(to Alan and Chandra)
	I've been out of the office four
	days. I don't want them to
	think I've been to the beach.
		(searching for something)
	Okay. Check this out.

Andrew puts on a pair of big glasses with tortoise shell
frames, meant to help conceal the blotches.

			ANDREW (CONT.)
	Hides everything, right? What
	do you think?

			CHANDRA
	You know who you look like,
	Andy? That actor, in that
	movie. Not the one where he was
	autistic, the one where he
	dressed up like a lady on a soap
	opera...

			ALAN
	Dustin Hoffman.

			ANDREW
		(horrified)
	Tootsie!

			BRUNO
	Right.

			CHANDRA
	You want to try Light Egyptian?

Suddenly, Andrew winces, gripping his gut.

			CHANDRA (CONT.)
	What?

			ANDREW
		(clearly in pain)
	Excuse me a sec...

Andrew starts out of the room -- suddenly HAVING TO RUN.

			CHANDRA
	Just like my cousin Fredo.

CAMERA HOLDS ON Chandra, Alan and Bruno. SOUND OF BATHROOM DOOR
slamming shut.

Bruno saunters across the room and knocks on the bathroom
door.

			BRUNO
	You okay, Andy?

			          CONTINUOUS CUT TO:

TIGHT SHOT ON ANDREW, FACE TWISTED IN PAIN (INT./DAY) ...

Andrew rests his head against the wall, sweat covering his
face. A storm of fire has passed through him, and he's hoping
it's over for now.

			ANDREW
	I think I need to go to the
	hospital.

						CUT TO:

MIGUEL ALVAREZ RUNS URGENTLY DOWN SPRUCE STREET, DODGING
traffic as he crosses Eleventh Street, toward Jefferson
Hospital (EXT./DAY). He hustles up the ramp toward the
Emergency Entrance...

						CUT TO:

MIGUEL SHOVES THROUGH GLASS DOORS, INTO THE BUSTLING
Emergency Room (INT./DAY), FINDING

ANDREW sitting on a gurney, holding a cotton ball against
his arm, where blood has been drawn, wearing a blanket over
his shoulders, fighting chills.

Chandra and Bruno are waiting with Andrew. They exchange
quick hugs with Miguel and Andrew, ad libbing greetings and
goodbyes.

			ANDREW
	Thanks, you guys.

			MIGUEL
	Yeah. Thanks, guys.

Miguel puts his arms around Andrew.

			ANDREW
	Gillman's out of her office today.
	I told her to take a day off, and
	she did, can you believe it? Did
	you get someone to cover your
	class?

Miguel touches Andrew's face, checking for fever.

			MIGUEL
	Don't worry about it. They took
	blood? A specimen?

Andrew holds an empty specimen cup.

			ANDREW
	Aren't you giving an exam?

			MIGUEL
	I said, don't worry about it.

Miguel places a gentle kiss on Andrew's sweaty forehead.

			MIGUEL (CONT.)
	You got a fever, baby.

Suddenly, the facade cracks and TEARS STING Andrew's eyes.

			ANDREW
	I almost didn't make it to
	the bathroom, Miguel. I almost
	lost control right in front
	of everybody.

			MIGUEL
		(holding him)
	So what? It's nothing to be
	ashamed of. You have nothing to
	be ashamed of, okay?

Andrew pulls himself together, brushing aside tears, in
control of his emotions once more.

			ANDREW
	Wait, here's my guy... Hey!

Andrew catches the attention of a harried INTERN, whose
surgeon's greens are covered with blood.

			INTERN
	Mr. Beckett, I'm sorry...

			ANDREW
	About my blood work?

			INTERN
	We're waiting...

Miguel opens a small notebook, making notes.

			INTERN
	... meanwhile, I'd like to
	prepare you for a colonoscopy,
	so we can take a look inside.

			ANDREW
	Sounds delightful.

			MIGUEL
	Why do you need to do this?

			INTERN
	Who are you?

			MIGUEL
	Who are you? Doctor... ?

			ANDREW
	This is my partner. We keep
	records of hospital visits.
	Nothing personal.

			INTERN
	Dr. Klenstein.
		(to Andrew)
	It's not a pleasant procedure,
	but if the KS is causing the
	diarrhea, we ought to know right
	away.

			MIGUEL
	It could be parasites, an
	infection...

			ANDREW
	A reaction to AZT...

			KLENSTEIN
	That's possible, but.

			MIGUEL
	He's not going through some
	painful procedure until we've
	cancelled out everything else.

			INTERN
	I'm trying to help your
	"partner." You're not a member
	of his immediate family, I could
	have you removed from the ER.

			ANDREW
		(to the Intern)
	He's upset, he's sorry.

			MIGUEL
	Don't apologize for me.

			ANDREW
	He's not sorry, okay, fine.
		(the diplomat)
	Why don't we see what we find
	out from the blood work? I'll
	work on getting a specimen, I'm
	sure hospital food could help in
	that direction. Maybe, by then,
	we'll hear from my doctor, and
	we'll go from there. Okay?
	Everybody happy?

			INTERN
	Allright. I'll get on the lab
	about the blood work.

			MIGUEL
		(to the Intern)
	I'm sorry.

The INTERN walks away. Andrew's BEEPER BEEPS.

			ANDREW
	That's the third time. I better
	call the office.
		(smiling at Niguel)
	Would you relax, please?

			MIGUEL
	I am relaxed.

Andrew HOBBLES toward a pay phone, outside a VISITOR LOUNGE,
where weary relatives are watching TV.

Andrew drops a quarter into the phone.

			JOE MILLER'S VOICE
	"If you or someone you know..."

ANDREW'S POV ON TELEVISION: Joe Miller on the screen, with the
words "Negligence... Malpractice... Auto accidents"... and in
the background, PHOTOS of MAIMED, BURNED, INJURED CLIENTS.

			JOE (CONT.)
	"... has been injured through
	the fault of others, you may be
	entitled to legal remedy...

Andrew LAUGHS. Then, his call is answered:

			ANDREW
	Shelby? It's me. Jamey's been
	beeping me, I... Okay, okay,
	calm down. Put Jamey on.

			          INTERCUT WITH:

FIRST YEAR ASSOCIATE JAMEY COLLINS, SITTING AT ANDREW'S DESK
(INT/DAY), GRABS THE PHONE when Andrew's intercom BUZZES...

			JAMEY
		(frantic)
	Andy?! This is a disaster! We
	can't find your revisions on
	the Kronos complaint!

			ANDREW
	Slow down, Jamey, for Christ's
	sake!

			JAMEY
	I went down to Word Processing
	to pick up the corrected copy,
	but they said you haven't
	delivered the corrections.
	I told them you've been working on
	it at home, and...

Andrew forgets his physical pain, this is more important.

			ANDREW
	I brought it in last night, around
	midnight. It's in my computer.

			JAMEY
	What did you file it under?

Jamey puts his hands on Andrew's computer keyboard.

			ANDREW
	K-R-O-one.

Jamey types the file name.

			ANDREW (CONT.)
	Jamey, I don't have to mention,
	do I, that we're up against a
	statute of limitations on this
	complaint which runs out in...
		(checks his watch)
	Seventy-five minutes.

Jamey stares dumbfounded at the computer monitor.

			JAMEY
	It's not here, Andy.

Andrew closes his eyes. He can't believe this.

			ANDREW
	You go down to Word Processing
	and tell those motherfuckers
	they better come up with that
	complaint, now! Or they are
	fucking dead! You tell them that
	comes from me!

Andrew SLAMS the phone into its cradle.

He pauses, takes a deep breath, and says to himself:

			ANDREW (CONT.)
	Every problem has a solution.
	Every problem... has... a...
	solution.

Calmer, Andrew returns to the gurney, putting on his shirt.

			ANDREW (CONT.)
	Every problem has a solution...

Miguel approaches with tea purchased at the canteen.

			MIGUEL
	Why are you getting dressed?

			ANDREW
	You're not going to like this.
	Please try to smile...

Andrew puts his arms around Miguel.

			ANDREW (CONT.)
	Thanks for leaving school, and
	coming here, and...
		(pulling back, putting
		on his jacket)
	I will be back. An hour, tops.

			MIGUEL
	You're going to the office?!

			ANDREW
	You're not smiling.

Andrew rushes toward the exit doors.

			MIGUEL
	You're leaving the hospital?
	You're going into the office
	looking like that? Are you
	insane?

			ANDREW
	One hour!

			MIGUEL
	Drew!

			ANDREW
	I promise!

			          CONTINUOUS CUT TO:

ANDREW RUSHES TO THE STREET, HAILING A CAB (EXT./DAY) ...

						CUT TO:

ANDREW STEPS OUT OF THE TAXI IN FRONT OF THE WHEELER
Building, heading for the entrance (EXT./DAY) ...

But he changes his mind, darting to the corner of the block.

Andrew stops to buy a baseball cap from a VENDOR.

He trots down an alley, past bags of garbage, entering the
building through a garage door.

						CUT TO:

FROM A HIGH FLOOR, ANDREW CAN BE SEEN CLIMBING THE STEPS OF
an emergency stairwell (INT./DAY) ...

Andrew passes CAMERA, out of breath. He's wearing the ball cap
PULLED TO HIS EYEBROWS to hide blotches on his forehead.

						CUT TO:

ANDREW OPENS THE FIRE DOOR ON HIS FLOOR AT WYANT WHEELER, removing
the ball cap, baring the purple blotches. (INT./DAY)

He walks quickly down the hall. Passing a COLLEAGUE, Andrew
pretends to scratch his face, attempting to hide the blotches
as nonchalantly as possible.

He dashes past an office, ignoring Anthea.

			ANTHEA
	Didn't expect to see you... ?

He ducks into his office.

			          CONTINUOUS CUT TO:

SECRETARY SHELBY AT ANDREW'S DESK, FRANTICALLY SEARCHING
through papers (INT./DAY) ...

Startled when he sees Shelby, Andrew spins toward the wall.

			SHELBY
	I'm looking through the files but...

			ANDREW
	Call the messenger service, have
	someone standing by...
		(she reaches for the phone)
	Your phone.

			SHELBY
	Sure.

Andrew keeps his face averted, until she's out of the room. He
goes to his computer, the monitor already glowing.

			ANDREW
	Think. You brought the discs in, you
	transferred...

Rachel comes into his office.

			RACHEL
	I thought I was supposed to be
	covering for you.
		(blurts out)
	God, Andy, you look awful.

			ANDREW
	Fucking Word Processing lost my
	Kronos complaint. Which must be
	filed by fucking five o'clock!
	If it's late, there's no case...
		(the mantra)
	Every problem has a solution.

			RACHEL
	What can I do?

			ANDREW
	Get down to Word Processing.
	Help Jamey look.

She rushes out.

Andrew begins shoving floppy discs into the slots on his
computer, bringing up each disc's directory.

			ANDREW (CONT.)
	No.

He throws the disc to the floor. Shoves in another.

Shoves in another, bending it in half.

			ANDREW (CONT.)
	No, goddammit!

He pulls open a file drawer, dumping legal briefs onto the
floor, frantically spreading them around with his foot.

Andrew THROWS a document across the room, takes a breath.

He picks up the telephone.

			ANDREW (CONT.)
	Bob? Something's come up. With
	Kronos. I don't want to
	upset Charles, but...
		(letting down his guard)
	Oh, shit, Bob, the complaint's
	due in forty minutes and I can't
	find it.
		(suddenly)
	No, you don't have to come...
		(hanging up the phone)
	Great. Fucking great.

Andrew rubs his eyes, this is a nightmare.

He switches off the overhead light. He slants the window
blinds, filling the room with shadow

Bob Seidman comes into the office, typically cheerful.

			SEIDMAN
	C'mon, Andy, you didn't lose
	anything...

Seidman is struck by the mess in the office, and Andrew's
disheveled appearance.

			SEIDMAN (CONT.)
	Jesus.

			ANDREW
	I don't know what to do, Bob.

			SEIDMAN
	You'll never find it in the dark.

Seidman FLIPS ON the overhead light. Andrew flinches.

Seidman approaches. Andrew gives up trying to hide the
purple blotches, facing his mentor straight on.

			SEIDMAN (CONT.)
	What in God's name... ?

			ANDREW
	Bob...

			SEIDMAN
	What's wrong with your face?

			ANDREW
	What's wrong with my face? You
	want to know what's wrong with
	my face? I've got a skin
	condition. Next question, Bob?
	No more questions? Fine. Now
	can you help me find the complaint?

			SEIDMAN
	Allright. Calm down.

			ANDREW
	Sorry...

Seidman sits in front of Andy's computer.

			SEIDMAN
	What was the file name?

			ANDREW
	K-R-O-one.

			SEIDMAN
	Maybe you mistyped the name when
	you were saving it. We'll try
	combinations of those letters...

Seidman goes to work. Andrew leans over his shoulder.

			ANDREW
	You're right, I probably just
	misfiled...

			KENTON (O.S.)
	Andy?

Walter Kenton is standing at Andrew's door. His demeanor is
casual. So casual it seems a little forced.

			KENTON (CONT.)
	Some sort of problem?

Andrew has kept his face averted. But now he TURNS DIRECTLY
TOWARD CAMERA, showing his face to Kenton.

			ANDREW
	Yeah, Walter. Yeah. Some sort of
	major problem.

HOLD ON THIS CLOSE UP OF ANDREW...

SOUND OF A BABY CRYING CROSSES THE CUT TO:

A NEWBORN BEING LIFTED INTO A DOCTOR'S HANDS (INT./DAY) ...

			DOCTOR
	There she is, okay. You can relax
	now, Lisa.

LISA MILLER has just given birth to a baby girl. She
collapses on her pillow, gasping for breath, moaning in
pain, quietly crying a little.

TITLE: "One month later."

The NURSES and the (FEMALE) DOCTOR move professionally
around the bed, doing their jobs.

At Lisa's side, Joe fumbles with a camera while darting
amazed looks back and forth between Lisa and the baby.

			JOE
	Oh my god... a girl... oh my
	god... Lisa... oh my god...

He's frantic.

			JOE (CONT.)
	You load the film... ? No, on
	this side... or this side?
	Don't move the baby!

			LISA
	Give me the camera, Joe.

Lisa pops the film into the camera, hands it back.

			JOE
	Thanks, hon. Oh my god...

With wildly trembling hands, Joe begins SNAPPING PHOTOS.

			JOE (CONT.)
	Oh my god... oh my god, look at
	her... oh my god...

						CUT TO:

JOE, WALKING THE HOSPITAL CORRIDOR, STILL WEARING SURGEON'S
greens, SPEAKING INTO HIS PORTABLE PHONE (INT./DAY) ...

			JOE
	Go to Famous Fourth Street and
	buy a pound of Nova. No! She
	likes Scotch salmon better. Ah
	heck, get a pound of both! Get
	a dozen onion rolls. Get some
	bagels. Get a dozen. Get a
	bottle of champagne. Dom
	Peringon... A hundred bucks a
	bottle?! Better get a good
	California...

Passing a PATIENT IN TRACTION, ROLLING BY ON A GURNEY, Joe
drops a business card into the PATIENT'S broken hand.

			JOE (CONT.)
		(to the PATIENT)
	Give me a call.
		(into the phone)
	Get everything over here as soon
	as you can, she's starved. No,
	not the baby! Lisa! ... Iris,
	listen: any calls I should know
	about? ... Uh huh... Uh huh...
	Beckett? Who's Andrew Beckett?

Turning a corner, Joe comes face to face with HIS RELATIVES,
who charge at him joyfully:

			JOE'S MOTHER/AUNTS/UNCLES, ETC.
	Congratulations! How is Lisa?!
	When can we see the baby?!

						CUT TO:

QUIET... JOE, LISA AND THEIR BABY CUDDLED TOGETHER IN
Lisa's hospital bed, surrounded by debris from a party,
paper plates, empty champagne bottle (INT./NIGHT) ...

The relatives have gone. It's late at night.

Lisa holds the baby. Joe holds them both.

						CUT TO:

AN INTERSECTION IN THE HEART OF OLD, DOWNTOWN PHILLY: A
movie palace (now a six-plex) across the street from the
Peter Pan Coffee Shop, PHILADELPHIA WORKERS going about the
business of the day (EXT./DAY) ...

TITLE: "One week later."

Above the Peter Pan Coffee Shop is a string of large
windows, each of which is painted with a question:

HEART ATTACK? ACCIDENT? MEDICAL MALPRACTICE? DOG BITE?

In bigger letters, across several windows:

D I A L	1	8 0 0	A - L A W Y E R

We hear JOE MILLER'S VOICE-OVER:

			JOE (OS)
	How big was this hole you fell
	into?

			          CONTINUOUS CUT TO:

A HALLWAY BULLETIN BOARD ANNOUNCING THE VARIOUS DEPARTMENTS of
"Macready and Shilts Legal Services" (INT./DAY), including
"Auto/DUI/Collisions with Deer... Product liability... Medical
malpractice... Pet bites..."

The bulletin board stands at the entrance to a warehouse of
lawyers' cubicles formed by office dividers and plastic ferns...

PHONES JANGLING... INJURED CLIENTS LIMPING ABOUT...

			JOE (OS) (CONT.)
	And this hole was right in the
	middle of the street?

			          CONTINUOUS CUT TO:

JOE IS IN HIS OFFICE, A BOX OF CIGARS ON THE DESK WITH PINK
bands announcing "It's a girl!" (INT./DAY). On the walls are
photos of INJURED CLIENTS (the same photos we saw in the
background of Joe's TV commercial)...

A FEMALE CLIENT (MRS. FINLEY) faces Joe, her arm in a sling.

			MRS. FINLEY
	Right.

			JOE
	Why didn't you cross at the
	crosswalk?

			MRS. FINLEY
	Why should I?

			          CONTINUOUS CUT TO:

ANDREW IS SEEN FROM BEHIND, SITTING ON A SOFA IN THE WAITING
area. Very little hair shows beneath a Phillies ballcap...

A MAN WEARING A NECKBRACE, sitting next to Andrew, RISES,
MOVING to a seat opposite Andrew. From this new position the
MAN WITH THE NECKBRACE STARES at Andrew.

MAN WITH NECKBRACE'S POV:

The PURPLE BLOTCHES on Andrew's face are beginning,to recede,
not as angry looking as before, thanks to chemo therapy.
Andrew is dressed casually, in jeans and a softball jacket
(from the Wyant Wheeler team) with "Andy" embroidered over the
heart.

Joe's assistant, IRIS, approaches.

			IRIS
	Mr. Beckett?

Andrew rises, following Iris past office dividers, HARRIED
SECRETARIES and overflowing file cabinets.

Iris cannot look at Andrew as she walks beside him.

(Outside Joe's door is a sign: "Beware Mad Dog" with "Mad"
written by hand.)

			IRIS (CONT.)
	In here.

			ANDREW
	Thank you.

			          CONTINUOUS CUT TO:

ANDREW STEPS INTO JOE'S OFFICE (INT./DAY). ANDREW GLANCES
at the photos while Joe wraps up...

			JOE
		(to the FEMALE CLIENT)
	Explain this to me like I'm a
	six year old, okay? The entire
	street is clear except for one
	small area under construction,
	with a huge hole that is clearly
	marked and blocked off, and you
	decide you must cross the street
	at this spot. You fall into the
	hole and you want to sue the
	city for negligence? ...

			MRS. FINLEY
	Yeah. Do I have a case?

			JOE
	Of course you have a case! Now,
	I want you to go with my
	assistant, Iris, and fill out
	some forms. She'll tell you
	about our fee arrangement.
		(as they're leaving)
	Mrs. Finley? Any back pain
	since the accident? Dizziness?
	Nightmares?

			MRS. FINLEY
	Now that you mention it...

			JOE
	Tell Iris all about it.
		(leading her out)
	Take good care of Mrs. Finley,
	Iris.
		(to Andrew)
	Beckett, come in.

Joe offers his hand, getting a look at Andrew's face.

			JOE (CONT.)
	Jesus Christ, what happened to you?

			ANDREW
	I have AIDS.

Joe WITHDRAWS his hand, before it touches Andrew's.

			JOE
	Whoa-oh!
		(beat)
	Sorry, I...

			ANDREW
	It's okay. Can I sit down?

			JOE
	Uh, yeah.

Andrew hesitates. Joe doesn't sound sure.

			JOE (CONT.)
	Go ahead.

Andrew sits, Joe returns to his desk. (Joe finds himself
acutely aware of where Andrew places his hands.)

			ANDREW
		(the cigars)
	New baby?

			JOE
	One week old.

			ANDREW
	Congratulations.

			JOE
	Little baby girl.

			ANDREW
	Kids are great.

			JOE
	Thanks, Beckett. I'm real
	excited about it.
		(glances at his watch)
	What can I do for you?

			ANDREW
	I was fired by Wyant Wheeler. I
	plan to bring a wrongful
	termination suit against Charles
	Wheeler and his partners.

			JOE
	You want to sue Wyant Wheeler
	Hellerman Tetlow and Brown?

			ANDREW
	Correct. I'm seeking
	representation.

			JOE
	Continue.

			ANDREW
	I misplaced an important
	complaint. That's their story.
	Want to hear mine?

			JOE
	How many lawyers did you go to,
	before you called me?

			ANDREW
	Nine.

			JOE
	Continue.

			ANDREW
	I was diagnosed with AIDS eight
	months ago. During a bout of
	pneumonia. I recovered quickly
	and was back at work in ten
	days. Since I was doing so well
	on the AZT, we decided against
	telling anyone about it.

			JOE
	We?

			ANDREW
	My lover and I.

			JOE
	Your... lover?

			ANDREW
	Miguel Alvarez. We've lived
	together for nine years.

			JOE
	Continue.

			ANDREW
	I dove back into work,
	everything was fine. Until the
	lesions started...

			SUDDENLY PICTURE CUTS TO:

TIGHT ON ANDREW WAUKING THROUGH THE LOBBY OF THE WHEELER
Building (INT./DAY). He's wearing MAKEUP, which sort of
covers the blotches. (NOTE: PICTURE and ANDREW'S VOICE OVER
do NOT match up. This is no ordinary flashback) ...

			ANDREW (VO) (CONT.)
	First on my leg. Then my
	forearm, my back. Then... my
	face. For a short period, I
	avoided the office during the
	day, waiting for the chemo
	therapy to clear up the
	lesions...

IMAGE: ANDREW RIDING THE CROWDED ELEVATOR ON A WORKDAY.

			ANDREW (VO) (CONT.)
	But I never let anything slide.
	I made all my calls from home.
	I worked sixteen hour days on a
	complaint for a 350 million
	dollar copyright infringement
	suit.

IMAGE: JOE IN HIS OFFICE, ABSORBED IN ANDREW'S STORY.

			ANDREW (OS) (CONT.)
	But the day the complaint was
	due, it disappeared. Erased
	from my computer. I thought I
	was losing it, mentally...

IMAGE: ELEVATOR DOORS OPENING, ANDREW STEPPING INTO WYANT
WHEELER OFFICES. NOW HE SPEAKS DIRECTLY TO CAMERA:

			ANDREW (CONT.)
	That can happen, it's called
	AIDS dementia when it gets into
	your brain. But miraculously, a
	copy of the complaint was
	located at the last minute, and
	we got it to court on time...

IMAGE: ANDREW'S POV OF COLLEAGUES, STAFF IN THE OFFICES,
GIVING HIM LOOKS, WHISPERING. ANTHEA BURTON NODS HELLO.

			ANDREW (OS) (CONT.)
	The next morning, I was called
	to the office for a meeting with
	the managing partners. Walking
	down that corridor was strange.
	Felt like everyone was staring.

REVERSE ANGLE ON ANDREW AND JOE WALKING AT ANDREW'S SIDE.

			JOE
	Hell, they are staring. What's
	that shit on your face?

			ANDREW
	Makeup.

ANDREW'S POV: RACHEL OUTSIDE HER OFFICE, SAYS "GOOD LUCK."

			ANDREW (CONT.)
	The partners were waiting for me
	in the main conference room.

			          CONTINUOUS CUT TO:

CAMERA TRACKS INTO THE CONFERENCE ROOM, GIVING US ANDREW'S
POV as he enters the room where Wheeler, Kenton, Killcoyne,
Bob Seidman are waiting (INT./DAY) ...

			WHEELER
	Sit down, Andy.

Wheeler's secretary, LYDIA, takes notes.

			WHEELER (CONT.)
	Thanks for coming in.

			ANDREW
	Of course.

Bob Seidman CANNOT look directly at Andrew.

			WHEELER
	Andy. Before we begin, I'd just
	like to say: everyone in this
	room is your friend.

			JOE
	You're in trouble.

(NOTE: Joe IS SEEN IN HIS OFFICE, or LEANING AGAINST A
WINDOW IN THE CONFERENCE ROOM whenever he speaks.)

			ANDREW
	I know that, Charles.

			WHEELER
	More than your friend. Family.

			JOE
	Big trouble.

			ANDREW
	Charles, I must apologize again,
	for the Kronos mishap.
		(smiling)
	It was a scary few minutes
	around here. Wow. But thank
	God, the complaint was found.
	And no damage was done.

			KENTON
	This time. What about next time?

			ANDREW
	There won't be a next time, I
	guarantee it.

			WHEELER
	Andy. It seems that something
	has come over you, lately: A
	kind of... stupor, a fogginess,
	a lack of focus... Earth to
	Andy. Anybody home?

			KENTON
	Helloooo...

			KILLCOYNE
	That's right, Andy. The last
	four, five months you've seemed
	really out of it...

			SEIDMAN
	At least... different, somehow.

			ANDREW
		(keeping it positive)
	Perhaps... you're right. I've
	certainly been busy. With the
	Kronos complaint, a preliminary
	injunction hearing and the
	Saunders trial all falling at the
	same time...

			KENTON
	Some people think you have an
	attitude problem, Beckett.

			ANDREW
	Really? Who thinks that, sir?

			WHEELER
	I do.

Wheeler seems very grave.

			ANDREW
	I had no idea there was a concern
	in that area. Hey:
		(a smile)
	I'll get to work on it right away.

NO ONE else smiles.

			WHEELER
	We've been talking it over, Andy.
	Your future that is... We feel that,
	because we respect you so much, we
	have to be honest with you.

			ANDREW
	Honesty is always best.

			SEIDMAN
	Do you really think so, Andy?

			ANDREW
	Yes, Bob, I do.
		(to the group)
	Excuse me? Am I being fired?

			WHEELER
	Let's put it this way, Andy:
	your place in the future of this
	firm is no longer secure.

			JOE
	In a word, yes.

			WHEELER
	We don't think it's fair to keep
	you here, where your future is
	limited. But we wish you luck,
	Andy, all the luck in the world.

Wheeler rises, wearing a friendly smile.

			WHEELER (CONT.)
	And I hate to rush you out of
	here, but...

			JOE
	But he's got lots of other
	people's lives to ruin...

			WHEELER
	... we've got a committee meeting.

			ANDREW
	Excuse me, Charles. With all
	due respect... this is...
	preposterous! It doesn't make
	any sense, it sounds as if we're
	talking about someone else.
	Pardon the lack of humility, but
	I've had the distinct impression
	I was kind of... one of the
	rising stars around here. And I
	feel that wasn't just my
	imagination. And I also think I
	deserve to know what's really
	going on here, Charles.

			KENTON
	Oh, you're right, Beckett, you
	don't have an attitude problem.

			WHEELER
	Take it easy, Walter.

			ANDREW
	If you'd lost confidence in me,
	why did you give me the Kronos suit?

			WHEELER
	I hoped the challenge would
	improve your performance. You
	could say it was a carrot.

			ANDREW
	A carrot?!

			JOE
	I buy that.

			ANDREW
	As in, the vegetable?

			SEIDMAN
		(suddenly emotional)
	Andy, you nearly blew the case,
	for God's sake! That alone is
	inexcusable. It would have been
	catastrophic for us. Put
	yourself in our shoes, Andy.
	There's no coming back from an
	error like that, regardless of
	who you are!
		(softer)
	I'm sorry, Andy.

Andrew FREEZES -- the full nature of this situation hitting
home. He looks each of the PARTNERS in the eye...

			ANDREW
	Uh huh... Okay... I see...

... at last LOOKING DIRECTLY AT Wheeler's secretary Lydia,
whose pen is poised above her notebook, waiting for someone
to say something.

Wheeler breaks the silence.

			WHEELER
	Good luck, Andy.

Wheeler, Kenton, Killcoyne, Seidman and Lydia file out.

Andrew doesn't move.

A SECURITY GUARD enters the room.

			ANDREW
	Who are you?

			SECURITY GUARD
	I'm here to escort you to your
	office so you can organize your
	belongings.

						CUT TO:

CAMERA PULLS BACK FROM ANDREW, WE'RE IN JOE'S OFFICE (DAY) ...

			JOE
	Okay. Explain to me like I'm a
	two year old, because there's an
	element to this I can't get
	through my thick head: Didn't
	you have an obligation to inform
	your employer you had this
	dreaded, deadly, infectious
	disease?

Andrew removes his ballcap -- his hair is cut short, to
disguise the effects of chemo.

			ANDREW
	The law says people with
	disabilities cannot be
	terminated, so long as they can
	perform the duties required by
	their position...

			JOE
	Okay, okay... They discover you
	have this horrible, disgusting,
	terminal illness, and they
	panic, for any number of
	perfectly valid reasons.
	They're frightened for
	themselves, their families...
	Maybe it's the homo angle.
	Maybe they don't want to rub
	elbows with someone who's just
	popped out of the closet with a
	terminal case of acne. And how
	do they explain your status to
	the client for Chrissake?

			ANDREW
	Joe, from the day I arrived to
	the day they fired me, I
	performed consistently,
	thoroughly and with absolute
	excellence. And if they hadn't
	fired me, that's what I'd be
	doing today.


			JOE
	Okay... They want you out. It's
	against the law to fire you for
	having AIDS, so they make you
	look like a fuck up. Which
	leads us to the mysterious, lost
	file.

			ANDREW
	They sabotaged me.

			JOE
	I knew you were going to say
	that. I don't buy it, and I
	don't see a case.

			ANDREW
	Look. I know I have a case. If
	you don't want to take it for
	personal reasons...

			JOE
	Correct. I don't.

Andrew rises, thoroughly business-like.

			ANDREW
	Thanks for your time.

			JOE
	Beckett? I'm sorry about...
	what's happened to you. It's a
	fucking kick in the head.

			ANDREW
		(a smile)
	Don't send flowers, Joe. I'm
	not dead yet.

Andrew exits.

			          CONTINUOUS CUT TO:

ANDREW LEAVES JOE'S OFFICE, MOVING DOWN THE CORRIDOR
(DAY) ...

			IRIS
		(still uncomfortable,
		as Andrew's leaving)
	Have a nice day.

Andrew nods, passing one of Joe's colleagues, a hustler
named FILKO, who STARES SHAMELESSLY.

Joe approaches Iris's desk.

			JOE
	Find out if Armbruster can see
	me this afternoon.

			FILKO
		(still staring)
	What the hell's wrong with him?

						CUT TO:

THE STREET: ANDREW EMERGES FROM THE LAWYER'S BUILDING
(EXT./DAY). CLOSE ON ANDREW, standing there as an endless flow of
people passes by. He watches them go, thinking...

						CUT TO:

A SUBURBAN DOCTOR'S OFFICE IN A MIDDLE-CLASS NEIGHBORHOOD
(EXT./DAY) ...

			DR. ARMBRUSTER (OS)
	You had contact with someone who
	has AIDS, and you're worried.

			          CONTINUOUS CUT TO:

A DOCTOR UNRAVELLING A BLOOD PRESSURE GAUGE (INT./DAY)

			JOE
	I'm not worried. What are you doing?

Joe sits in his shirtsleeves on the examining table.

			DR. ARMBRUSTER
	Checking your blood pressure,
	relax.

The DOCTOR wraps the blood pressure unit around Joe's arm.

			JOE
	I didn't have contact. What do you
	consider "contact?" We were sitting
	in the same room, three, four
	feet... What if you shake hands?
	Wait. I know the answer. Only sex,
	or sharing needles. I know that.
	We didn't shake hands, anyway.

Dr. Armbruster squeezes the blood pressure pump,

			DR. ARMBRUSTER
	The HIV virus can only be transmitted
	through the exchange of bodily
	fluids, namely blood and semen.

			JOE
	Right.

Joe begins rolling down his sleeve.

			DR. ARMBRUSTER
	Leave that.

			JOE
	Yeah, but Doc, isn't it true they
	keep finding out new things about
	this disease? So you tell me, today,
	there's no danger, and I go home,
	and I hold my baby, and six months
	from now I hear on the news: "whoops!
	We were wrong.' You can carry it on
	your clothes, your skin, and now I've
	got to worry about my kid. What
	are you doing?

Dr. Armbruster has been preparing a syringe.

			DR. ARMBRUSTER
	We're going to draw blood.

			JOE
	Why are we going to do that?

			DR. ARMBRUSTER
	Joe. I don't care a whit about your
	private life.

			JOE
	You want to give me an AIDS test?!

Joe HOPS off the table.

			JOE (CONT.)
	The guy sat in my office! You can't
	get AIDS that way, right?

			DR. ARMBRUSTER
	Right.

			JOE
	It doesn't travel through the
	air, by breathing, or touching,
	right?

			DR. ARMBRUSTER
	Not by touching, or shaking hands,
	or hugging, using the same toilet...
	Even kissing someone with AIDS is
	safe. But it there's something in
	your past you're worried about...

			JOE
	Thanks, Doc, but I don't need an
	AIDS test. Are you crazy? But
	thanks for the information. Really.

Joe throws on his jacket, opens the door... then TURNS BACK:

			JOE (CONT.)
	In my past?

			ARMBRUSTER
	IV drug use.

Joe shakes his head.

			DR. ARMBRUSTER (CONT.)
	A homosexual encounter.

			JOE
	Get real.

			DR. ARMBRUSTER
	Unprotected sex with a prostitute.

			JOE
		(thinking it over)
	Uh.... No. Not really.

			DR. ARMBRUSTER
	Or unprotected sex with someone you
	didn't know very well, any time
	during the last twelve years.

A MOMENT.

Joe returns to the examining table, and rolls up his sleeve.

						CUT TO:

ESTABLISHING: JOE'S HOUSE IN THE SUBURBS (EXT./NIGHT) ...

			LISA (VOICE OVER)
	You have a problem with gays,
	Joe.

			          CONTINUOUS CUT TO:

JOB CRADLES HIS BABY AGAINST HIS CHEST (INT./NIGHT) ...

			JOE
	Not especially.

Lisa eats standing up, at the stove, while Joe walks the
BABY in their modern kitchen.

			LISA
	How many gays do you know?

			JOE
	How many do you know?

			LISA
	Lots.

			JOE
	Who?

			LISA
	Karen Berman. Aunt Teresa. My
	cousin Tommy who lives in
	Rochester. Eddie Meyers from the
	office. Joe Cantwell, he's one of
	the partners. His lover, Greg.
	Stanley, the guy who's putting in
	our kitchen cabinets.

For a moment, Joe is struck dumb. Then he says:

			JOE
	Your Aunt Teresa is gay? That
	beautiful, sensuous woman is a...
	lesbian?

			LISA
	Duh...

			JOE
	Since when?

			LISA
	Probably since she was born.

			JOE
	Allright. I admit it: I'm
	prejudiced. I don't want to work
	with a homosexual. You got me.

			LISA
	Okay, Joe...

			JOE
	I mean, two guys, doing the
	horizontal thing? I don't get
	it. Don't they get confused?
	"Is that mine? I thought it was
	yours." Hey, call me old
	fashioned, call me
	conservative... I think maybe
	you have to be a man to get just
	how nauseating the whole basic
	idea really is.

			LISA
	Fine, Joe.

			JOE
	And the way they work out,
	pumping up, so they can be macho
	and faggot at the same time... I
	can't stand that shit. Now I'm
	being totally honest with you.

			LISA
	That's perfectly clear.

CLOSE ON JOE, LOOKING DIRECTLY INTO CAMERA:

			JOE
	Would you take a client if you
	were constantly thinking: "I
	hope this guy doesn't touch me.
	I don't even want him to breathe
	on me?"

						CUT TO:

THE STREETS OF PHILLY ARE DUSTED WITH SNOW, STORE WINDOWS
decorated for Christmas. Joe steps out of the Famous 4th
St. Deli, with a package (EXT./DAY) ...

TITLE: "Two weeks later."

						CUT TO:

JOE SITS AT A TABLE IN THE PUBLIC LAW LIBRARY, SURROUNDED BY
books and legal pads, hard at work. He's eating a pastrami
sandwich which he hides behind a reference book when a LIBRARIAN
saunters by (INT./DAY) ...

A CHAIR SQUEAKS and Joe LOOKS UP TO SEE:

Andrew taking a seat across the room (the blotches have been
reduced by chemo, but he's struggling with a cold). Andrew
removes notepads and pens from his briefcase. He takes out a
package of tissues, blowing his nose.

			JOE
		(under his breath)
	Shit...

Joe slides to the far end of his table, stacking seven or
eight HUGE REFERENCE BOOKS in front of him.

JOE'S POV, PEERING THROUGH THE REFERENCE BOOKS:

Andrew opens a book, taking notes. Rubs his eyes. Writes
something. Sneezes.

A LIBRARIAN delivers a book to Andrew.

			LIBRARIAN
	This is the supplement. You're
	right, there is a section on...
		(lowers her voice)
	... HIV related discrimination.

			ANDREW
	Thank you.

Andrew takes the book from her -- but she remains.

			LIBRARIAN
	We have a private research room
	available.

			ANDREW
	I'm fine, thanks.

Andrew BLOWS HIS NOSE. Now other PATRONS are watching.

			LIBRARIAN
	Wouldn't you be more comfortable in
	a research room?

			ANDREW
		(pleasantly)
	No. But would it make you more
	comfortable?

			LIBRARIAN
	Whatever, sir.

The LIBRARIAN turns away, shrugging to a PATRON, indicating
she's done all she can do.

As Joe continues to watch: one of Andrew's NEIGHBORS picks
up his books and moves away.

Joe rises, gliding down an aisle of books, keeping one eye
on Andrew, who concentrates on his work.

Joe approaches, nonchalantly, as if he just happens to be
sauntering by. Suddenly he "notices" Andrew.

			JOE
	Oh, Beckett. How's it goin'?

			ANDREW
	Fine.

Andrew goes back to his work.

			JOE
	Who'd you get?

			ANDREW
	What?

			JOE
	Find a lawyer?

			ANDREW
	I'm a lawyer. How's your baby?

			JOE
	Huh? Oh. Great. She's great.

			ANDREW
	What's her name?

			JOE
	Rayisha.

			ANDREW
	Rayisha. Very nice.

Andrew focuses on his work. Joe steps away.

Joe comes back.

			JOE
	How did they find out?

			ANDREW
		(a second, then:)
	One of the partners spotted a
	lesion on my forehead.

Nearby, a CHINESE PROFESSOR looks up, startled, when she
hears the word "lesion."

			JOE
	Uh huh...

Andrew concentrates on his work once more.

			JOE (CONT.)
	How do you get from one lawyer
	spotting a lesion, which could
	have been a bruise, to the
	partners deducing you had AIDS
	and basing a decision to
	terminate you on that
	conclusion?

The CHINESE PROFESSOR moves away.

			ANDREW
	Good point.

Andrew removes a legal pad with "KENTON" written in big
letters across the top, and lots of notes underneath.

			ANDREW (CONT.)
	The partner who spotted the
	lesion, Walter Kenton, used to
	work for Benton, Myers, in D.C.
	There's a paralegal there, Maria
	Torres. She's had lesions on
	and off for three years. She
	says it was common knowledge
	around the office that her
	lesions were caused by AIDS.

			JOE
	They didn't fire her?

			ANDREW
	No. They didn't fire her.

Andrew goes back to his work. Joe stands there.

			JOE
	So Kenton connected the... lesion,
	and whatever suspicions he had about
	your personal life... to this
	woman, Maria... and blew the
	whistle on you. Suddenly you're
	losing files, and it's time to
	let you go. But, up to this
	point, you've been their Golden
	Boy, their rising star... Their
	behavior is... inconsistent.

			ANDREW
	Thank you.

Andrew goes back to work.

			JOE
	There is no relevant precedent.

			ANDREW
		(not looking up)
	Arline decision. Supreme Court.

			JOE
	Arline?

Andrew SHOVES the legal book toward Joe.

CLOSE ON ANDREW'S HANDS (with one blotch) on the book's white
pages.

The book is still facing Andrew. If Joe wants to read it,
he'll have to turn it around.

Joe looks at Andrew's hands. A MOMENT.

Joe turns the book around, begins to read:

			JOE
	"The Federal Vocational
	Rehabilitation Act of 1973 prohibits
	discrimination..."

CAMERA CRANES UP, TOWARD THE CEILING... JOE CONTINUES
READING IN VOICE-OVER:

			JOE (VO) (CONT.)
	"... against otherwise qualified
	handicapped persons who are able
	to perform the duties required by
	their employment..."

CAMERA GOES HIGHER, LOOKING DOWN ON THE ROWS OF BOOKS AND THE
LONG TABLES DOTTED WITH PEOPLE...

			JOE (VO) (CONT.)
	"Although the ruling did not
	address the specific issue of
	HIV and AIDS discrimination..."

DISSOLVE TO SAME ANGLE AN HOUR LATER: Andrew and Joe face each
other at their table, but NO ONE ELSE remains at that table,
or at the table next to it...

			ANDREW (VO)
	"Subsequent decisions have held
	that AIDS is protected as a
	handicap under law, not only
	because of the physical
	limitations it imposes..."

DISSOLVE TO A SAME ANGLE AN HOUR LATER (DAY IS TURNING INTO
NIGHT): Joe pacing, Andrew reading. Their section of the
library is COMPLETELY EMPTY but for Andrew and Joe.

			ANDREW (VO) (CONT.)
	"But because the prejudice
	surrounding AIDS exacts a social
	death which precedes the actual,
	physical one..."

DISSOLVE TO SAME ANGLE, LATER: Andrew and Joe sit on the
same side of the table, reading the same book.

			JOE (VO)
	"This is the essence of
	discrimination: formulating
	opinions about others not based
	on their individual merits but,
	rather, on their membership in a
	group with assumed characteristics...

The library is QUIET. Andrew SNEEZES.

Joe scoots his chair away from Andrew by eight inches.

DISCO MUSIC RISES ACCOMPANIED BY THE SOUNDS OF GRUNTING,
HEAVY BREATHING AND SLAPPING FLESH AS WE...

						CUT TO:

MUSCULAR, SWEATY MALE BODIES SLAMMING INTO EACH OTHER, sounds of
GRUNTS, skin SLAPPING against skin (INT./NIGHT) ...

... Hand SLAPPING a butt under satin shorts

... Sweaty armpits... the ROAR OF A CROWD...

... BASKETBALL PLAYERS embracing, twirling each other around, high
fiving...

WIDE ANGLE REVEALS: A basketball game in progress, Sixers
versus the Celtics in Philly's Spectrum Arena.

ON CLOSED CIRCUIT TV: ROBERT PARISH going for a lay-up...

			WHEELER/KENTON/OTHERS
	Watch this guy! Nail him! Ouch!

Charles Wheeler, Walter Kenton, Kenneth Killcoyne, Bob Seidman
and SEVERAL LAWYERS and SPOUSES watch the game from a plush,
private box, complete with TV, bar, snack table. The lawyers wear
Ralph Lauren polos, chinos and ball caps. The place reeks of
cigar smoke. Walter Kenton has a twentyfive year old WIFE.

Charles Wheeler's nine year old GRANDSON sits nearby.
Wheeler turns the GRANDSON'S ballcap around, smiling
lovingly at the boy.

JUST BEYOND WHEELER: The door to the box is opened by a SECURITY
GUARD and a well-dressed, charismatic MAN looks in.

			WHEELER
		(spotting him)
	Julius!

			KENTON
	Dr. J.!

			DR. J.
	Gentlemen... Ladies...

JULIUS ERVING enters, greeted by the LAWYERS.

			LAWYERS
	How's it goin', Doctor?/This is
	an honor!/etc ...

The door is opened again, by the SECURITY GUARD, REVEALING
Joe Miller (in jeans and basketball jacket) and a MARSHALL.

			JOE
	Excuse me. Charles Wheeler?

Wheeler turns. Joe SLAPS a document into Wheeler's hand.

			JOE (CONT.)
	Summons. For you.

NOW the box is QUIET.

			DR. J.
	Say. What's up, Chuck?

						CUT TO:

THE BRIGHTLY LIT, RESTRICTED, INNER CORRIDOR OF SPECTRUM
Stadium (INT./NIGHT) where Wheeler walks beside Bob Seidman,
with Walter Kenton and Kenneth Killcoyne just behind. SOUNDS
OF THE GAME STILL IN PROGRESS can be heard, but FAR AWAY.
Occasionally the lawyers are passed by FOOD SERVICE or LAUNDRY
SERVICE EMPLOYEES...

			WHEELER
	... interview every employee,
	support staff, associates, partners.
	Did any of them know Andy was sick?
	How did they know? Did he tell them?
	Did they notice something was wrong
	with his appearance? None of this
	information got to the managing
	partners. We know that. Make sure
	everyone else does too... And
	Beckett: I want to know everything
	about his personal life. Did he
	frequent those pathetic bars on
	Camac Street?

			SEIDMAN
	Jesus.

			WHEELER
		(ignoring Seidman)
	What about other homosexual
	facilities, whatever they are?

			SEIDMAN
	Charles...

			WHEELER
	What deviant groups or
	organizations did he secretly
	belong to?
		(with irritation)
	What is it, Bob?!

			SEIDMAN
	Let's settle with Andy and put
	this whole tragic mess behind
	us.

They arrive at a quiet, semi-private cul de sac.

			WHEELER
	Andrew brought AIDS into our
	offices, into our men's room.
	He brought AIDS to our annual
	goddamn family picnic.

			KENTON
	We ought to be suing him.

			SEIDMAN
	For Christ's sake, where's your
	compassion?

			KENTON
	Compassion? Andy sucks cocks,
	Bob. He takes it up the ass.
	He's a pervert.

Only Seidman shows any kind of REACTION.

			SEIDMAN
	That's kind of... extreme, Walt.
	Andy's private life is none of
	our business.

			WHEELER
	Bob. You're trying my patience.
	Andrew Beckett is making his
	private life our business. We
	gave him Kronos. Did he say,
	"I'm sick. I might not be able
	to see this through?"

			SEIDMAN
	He was doing a great job.

			WHEELER
	Bob. I must ask you to shut the
	fuck up. Did Andrew Beckett say
	"I might not be able to serve our
	clients to the best of my ability?"
	He said nothing. And now, Andrew
	Beckett proposes to haul me into a
	court of law, to sling accusations
	at me, in full view of the entire,
	Philadelphia, judicial
	establishment. My God.

			KILLCOYNE
	Beckett doesn't want to go to court,
	he's hoping for a quick tasty
	settlement.

			SEIDMAN
	A jury might decide that Andy has a
	case.

			WHEELER
	Wait a minute. The man was fired for
	incompetence, not because he has
	AIDS. You didn't know he was sick,
	did you, Bob?

			KENTON
	Holy Shit. Did you, Bob?

			SEIDMAN
		(after a moment)
	No. Not really.

Wheeler walks away, followed by Kenton and Killcoyne.

Bob Seidman stands alone in this dark place.

	CITY SOUNDS ON A WORK DAY AS WE CUT TO:

EXTERIOR, JOE'S OFFICE BUILDING, ON A THURSDAY MORNING.

			          CONTINUOUS CUT TO:

JOB'S COLLEAGUE, FILKO, LOOKING DIRECTLY INTO CAMERA (in
Joe's offices, INT./DAY):

			FILKO
	Charles Fucking Wyant Wheeler?!

Joe sweeps by, just arriving for work.

			JOE
	Morning, Filko.

Filko keeps pace with Joe down the corridor. ANOTHER
COLLEAGUE calls out from an office as Joe passes:

			COLLEAGUE
	Hey, it's the local chapter of
	the ACLU!

			FILKO
	You're a Republican, Joe! You
	belong to the NRA!

			JOE
	How many toilet stalls are there
	in the women's restroom on this
	floor, Filko?

			FILKO
	How many... what?!

Filko follows Joe into Joe's office.

			JOE
	Two. How many toilet stalls are
	there in the men's room? Two,
	plus four urinals. How many
	wheelchair accessible toilets in
	either of those restrooms?
	Zero. In this entire building?
	Zero. Get the picture, Filko?
	Discrimination! You find
	yourself a female, paraplegic,
	legal assistant who is qualified
	to work here, except she can't
	take a leak... and you've got
	yourself a sex discrimination
	suit and a handicapped
	discrimination suit. Not
	handicapped. What do you call
	someone who can't use a normal
	restroom? "Gastro-intestinally
	challenged!"

Behind Joe, out a large window: PAINTERS on a scaffold.

Iris comes into the office and says:

			IRIS
	Wyant Wheeler's asking for a
	postponement on the prelim, Joe.

Joe is dialing the phone.

			JOE
	Low-life, sleazy scumbags. Of
	course they want a postponement,
	I've got a client with a terminal
	disease. They're going to drag
	their heels every step of the way,
	the rotten bastards.
		(tapping on the window, to the
		PAINTERS)
	Is that spelled right?

			          CONTINUOUS CUT TO:

EXTERIOR, JOE'S OFFICE BUILDING, WHERE PAINTERS ARE ADDING A new
question to the line of windows (DAY):

D I S C R I M I N A T E D A G A I N S T ?

			JOE (VO)
	Hey, Beckett. This is Miller.

			          CONTINUOUS CUT TO:

JOE'S VOICE COMES THROUGH, ON THE ANSWERING MACHINE IN
Andrew and Miguel's loft (INT./DAY)

			JOE (VO) (CONT.)
	I just wanted to tell you...

CAMERA DRIFTS THROUGH the loft, finding Andrew in the rooftop
solarium, sitting crosslegged in front of a candle.

			JOE (VO) (CONT.)
	... we're trying to set a date for
	the prelim. Hang in there.

Andrew's eyes are closed. Next to him rests a tape player. A
WOMAN'S VOICE IS HEARD, accompanied by NEW AGE MUSIC:

			WOMAN'S VOICE
	I can heal myself.

			ANDREW
	I can heal myself.

			WOMAN'S VOICE
	I can heal myself.

			ANDREW
	I can heal myself.

						CUT TO:

ANDREW AND MIGUEL IN THEIR BEDROOM AT NIGHT, LYING CLOSE TO
each other in bed (INT./NIGHT) ...

			MIGUEL
	I was coming out of the gym
	today, and I ran into Jimmy. Do
	you know what he asked me?
	"What's it like knowing your
	boyfriend's going to die?"

			ANDREW
	Jerk... What did you say?

			MIGUEL
	I said, "Everyone's going to
	die, Jimmy. But Drew's not
	going to die of AIDS. There's a
	cure around the corner, and he
	plans to be around to take
	advantage of it."

Miguel strokes Andrew's hair.

			ANDREW
	You got that right, Mikey...
		(beat)
	You still believe that, don't
	you?

			MIGUEL
	Yes. I think it will be a
	simple solution. They'll put it
	in a syringe, inject it into
	your bloodstream. It'll
	neutralize the virus. It'll
	revitalize the immune system,
	and people with AIDS will become
	healthy again.

HOLD ON MIGUEL AND ANDREW, ON THIS QUIET MOMENT.

FADE OUT.

FADE IN: ESTABLISHING, EXT. PHILADELPHIA COURT HOUSE
(DAY) ...

TITLE: "Three months later."

						CUT TO:

A LONG CORRIDOR IN A CITY COURT BUILDING -- FAR DOWN THE
corridor TWO FIGURES WALK TOWARD CAMERA (INT./DAY) ...

The figures APPROACHING CAMERA are Andrew and Joe, stepping
into and out of sunlight falling through tall windows.

TITLE: "Pre-trial settlement conference."

REVERSE ANGLE -- DOWN AN OPPOSITE CORRIDOR:

A PHALANX OF LAWYERS -- at least ten -- APPROACHING CAMERA, a
bulwark of white shirts and dark ties.

ON ANDREW AND JOE:

Andrew's hair is short, but growing back, the blotches have
receded,his weight is up. He's in a stage of recovery.

ON THE OTHER LAWYERS:

Charles Wheeler (seeming ironic) and Walter Kenton (he's
pissed) lead the battalion.

Behind them, walk young lawyers BELINDA CONINE and JEROME
GREEN. Belinda is white, Jerome is black.

						CUT TO:

HUSHED VOICES (INT./DAY) ...

A JUDGE'S CHAMBERS, with couches, soft chairs scattered in a
loose circle, like a casual living room.

Joe and Andrew whisper to each other. The Wyant Wheeler team
takes up several chairs. Belinda Conine and Jerome Green sit
next to Wheeler and Kenton. Some of their ASSISTANTS stand.

Wheeler is looking across the room at...

Andrew, who catches Wheeler's stare.

			WHEELER
	You're looking better, Andy.
	How do you feel?

SILENCE. Everyone watches Andrew for his reaction.

			ANDREW
	Fine, thanks, Charles.

JUDGE LUCAS GARNETT enters his chambers (not wearing a
Judge's robe). He shakes hands with Wheeler and Kenton.

			JUDGE GARNETT
	Charles, Walter...

			WHEELER
	Congratulations on the new
	grandson.

			JUDGE GARNETT
	Thank you. We're very happy.

The Judge brushes by Joe and Andrew without a word. The room
becomes SILENT as the Judge takes a seat.

			JUDGE GARNETT
	Attorney for the plaintiff?

			JOE
	Joseph Miller, Your Honor.
	Macready and Shilts Legal Services.

			JUDGE GARNETT
	I've seen your television commercials.
	"If you or anyone you know has
	been injured through the fault of
	others... It should say, "through
	the negligence of others."

			JOE
	I'll take that under consideration,
	Your Honor.

			JUDGE GARNETT
	On behalf of the defendants?

			BELINDA CONINE
	Belinda Conine. Of Petersen,
	Lehigh, Monroe and Smith.

			JEROME GREEN
	And Jerome Green.

And a WASPISH lawyer wearing round glasses:

			DEXTER SMITH
	Dexter Smith.

A white-haired lawyer next to Belinda:

			RALPH PETERSEN
	Ralph Petersen.

			JUDGE GARNETT
		(to Joe)
	You're outnumbered four to one.
		(to the others)
	Whom do I address?
	I can't talk to four lawyers at
	once.

			BELINDA
	I'm chief litigator, Your Honor.

			JUDGE GARNETT
	Fine. I've asked the litigants to be
	present for this conference, in the
	hope we can settle this matter
	today, among ourselves... There is
	nothing I hate more, than to see
	lawyers suing each other. If you
	look at the opinion polls, when Mr.
	John Q. Citizen is asked to rank
	professions according to the
	respect he holds for them... Where
	are the lawyers? Somewhere below
	personal fitness trainers and only
	slightly above child pornographers.
	If we keep suing each other, if we
	fail to settle the smallest
	difference among ourselves with
	mutual respect, if we continue to
	scrap like bucks in heat, we'll
	fall lower on that list. And when
	people lose respect for lawyers,
	they lose respect for the law. And
	when this society loses all respect
	for the law, we'll be murdered in
	our beds, my friends, our cherished
	institutions will be burned to the
	ground and our children and our
	grandchildren will live like
	savages.

			JOE
	If it please Your Honor, we hope to
	settle this matter.

			JUDGE GARNETT
	By God you will settle it! If you
	force this case to trial, young man,
	you'll regret it for the rest of
	your natural-born days...
	Now, Joseph. What would you
	require to settle this matter
	today?

			JOE
	Reinstatement at full salary.
	Back pay covering the period of
	unemployment and...

			JUDGE GARNETT
	Hold it, Joe.
		(to Wheeler)
	He wants to come back to work,
	Chuck.

			WHEELER
	That's impossible, Your Honor.

			JUDGE GARNETT
	That's impossible, Joe.

			BELINDA CONINE
	If it please Your Honor, we're
	prepared to offer a cash
	settlement of twenty-five
	thousand dollars.

			JOE
	Your generosity overwhelms me,
	Belinda, considering my client
	was earning over a hundred thou
	when he was terminated almost six
	months ago.

			JUDGE GARNETT
	Give me a break, Joe. Let's cut
	through these false attitudes.
	Give them a figure. How much do
	you want?

			ANDREW
	I want to go back to work, Your
	Honor.

			JUDGE GARNETT
	You're here at my indulgence,
	young man. I'm waiting for a
	figure, Joe.

Andrew and Joe confer with each other.

			JOE
	Based on what my client would
	have earned over the next three
	years, including benefits and
	projected raises, and the
	extraordinary cost of medical
	care for someone with Acquired
	Immune Deficiency Syndrome...
	We would settle today for the
	very fair amount of one million
	five hundred thousand dollars.

			JUDGE GARNETT
	Very good, Joe. Now, Belinda,
	I've got a figure over here, of
	one million, five. I...

Andrew WHISPERS to Joe, who interrupts the Judge:

			JOE
	One more thing, Your Honor...

			ANDREW
		(jumping in)
	Any settlement agreement must
	include, and this is critical,
	a letter of exoneration, making
	clear my termination had nothing
	to do with the quality of my work.

Charles Wheeler WHISPERS to Belinda Conine.

			BELINDA CONINE
	Your Honor, Mr. Beckett's
	incompetence nearly sabotaged a
	350 million dollar suit.

			ANDREW
	I was the one who was sabotaged.

			BELINDA CONINE
	We have complaints about Mr.
	Beckett's lack of preparation,
	his disorganization, his
	arrogant, defensive attitude...
	The list goes on.

			JEROME GREEN
	We have letters.

			JOE
	Why haven't you produced these
	letters?

			JUDGE GARNETT
	Take it easy.
		(to Wheeler)
	What's the big deal, Chuck? The
	boy wants a letter, to show to
	his mother, for her to keep after
	he's gone. Why are you being hard-
	assed about this?

			WHEELER
	I wish I could exonerate you, Andy.
	But I'd have to lie to do it.

			ANDREW
		(very calm)
	You can save it for the jury,
	Charles. I want to hear you say,
	under oath, in front of a judge and
	a jury, I'm a bad lawyer.
		(rises)
	Gentlemen.
		(to Belinda)
	Counselor.

			WHEELER
	Don't do this, Andy.

			JOE
	Whoa, whoa...
		(to Andrew)
	What do you expect them to say,
	you're Alan Dershowitz?

			KENTON
	A trial takes time, Beckett. Do
	you know what I'm saying?

			ANDREW
	I think I catch your subtle drift,
	Walter.

Andrew saunters out.

			KENTON
	You'll be sorry, Beckett.

			WHEELER
	Andy, you don't want this.

Joe scans the room, all eyes are on him. His frown turns into
a grin. He faces the Judge.

			JOE
	With all due respect, Your Honor,
	my client chooses to pursue his
	constitutionally guaranteed
	right to a trial.

Joe exits.

						CUT TO:

HAND HELD CAMERA SHOT OF: THE FRONT YARD OF A TWO-STORY
Colonial house in Downington, Pennsylvania (EXT./DAY) ...

Andrew walks toward the house, TALKING DIRECTLY TO CAMERA.

			ANDREW
	This is the house where I grew up.
	In Downington, Pennsylvania.
		(pointing to the ground)
	See this... ?

The CAMERA POINTS to SEVERAL PAIRS OF CHILD'S HAND PRINTS in the
sidewalk, then, BACK TO ANDREW IN CLOSE UP, SMILING.

			ANDREW (CONT.)
	Those are my cute little hand
	prints. And my brother's and my
	sister's.

			MIGUEL'S VOICE
		(BEHIND CAMERA)
	And today is... ?

			ANDREW
	Today is my parents' fortieth
	wedding anniversary.

Andrew goes inside, speaking to the CAMERA:

			ANDREW (CONT.)
	This is the front door. I caught a
	finger in this door, once...
		(holds it up)
	This one. Broke it.
		(stepping inside)
	This is the hallway, my mother
	calls it a foyer...

INSIDE THE HOUSE (INT./DAY):

CHILDREN are running through the house, while WOMEN sporting
corsages confer in the kitchen. A SIX YEAR OLD GIRL jumps into
Andrew's arms.

			ALEXIS
	Uncle Andrew!

			ANDREW
		(to CAMERA)
	This is my niece, Alexis. Say
	hello, Alexis.

			ALEXIS
	Mommy's pregnant again.

			ANDREW
		(doing Walter Cronkite)
	You heard it here first, folks.
	News as it happens.

Andrew's older and very down to earth sister JILL, puts her
arms around Andrew, squeezing tight.

			JILL
	Hello, darlin'.

			ANDREW
	This is my sister, Jill, the most
	fertile woman on the planet. She's
	married to Reverend Jim.

			JILL
	You feel thin.
		(over Andrew's shoulder)
	Hello, Miguel.

As Jill leaves Andrew's arms, the CAMERA IS TRADED OFF TO
ANDREW, who SHOOTS JILL GIVING MIGUEL A HUG.

			MIGUEL
	Hey, Jill. Nice to see you,
	sweetheart.

			JILL
		(hugging Miguel)
	Handsome devil.
		(referring to Andrew)
	Is he eating?

			MIGUEL
	We don't discuss his weight.
		(to Andrew, behind CAMERA)
	Do we?

CAMERA MOVES DOWN THE CORRIDOR...

			ANDREW (OS)
	And what will we find in... da duh
	da duh da duh... the KITCHEN!

A GROUP OF LADIES SCREAM when CAMERA ENTERS KITCHEN.

			LADIES
	There he is! Hi, Andrew! Don't
	point that thing at me! etc...

Andrew's mother Sarah wears an unpretentious flowery dress.

			ANDREW
	Hi, Mom. How do you feel on your
	fortieth anniversary?

			SARAH
	Ancient. How do you think I feel?
	Put that thing down and give me a
	hug.
		(he keeps it pointed at her)
	Andrew, stop! ... He still
	doesn't listen.

			ANDREW
	Where's Dad?

			SARAH
	He's out in his shed showing your
	uncle his new riding mower.

One of Andrew's YOUNG NEPHEWS SHOVES HIS FACE into the
CAMERA, UNTIL SCREEN GOES BLACK.

						CUT TO:

QUIET (INT./DAY) ...

Andrew and his immediate family are gathered in the den, sitting
quietly, facing each other. Andrew's father, BUD, with an
American flag pin in his lapel, sits next to Sarah. Jill holds
the hand of her husband, REVEREND JIM. Two of Andrew's brothers,
MATT and RANDY, (big, athletic guys with mustaches) are there.

Andrew sits next to Miguel.

			ANDREW
	Things might be said, at the
	trial, that... are not going to
	be easy for you to hear. Things
	about me, about my private life.
	And I want to make sure it's
	okay with everybody.

			MATT
	I appreciate you asking, Andy,
	but really, it's your call.

			ANDREW
	What do you think, Jill?

			JILL
	To be honest, I'm worried about
	Mommy and Daddy. They've had to
	go through so much already...
	And, we all know...
		(very difficult to say)
	There's going to be even worse
	things to deal with, eventually.
	I wonder if it's fair to put
	them through this.

Andrew's father STARES at his folded hands.

			ANDREW
	Mom?

			SARAH
	All I know is, you got through
	your diagnosis fine, like a
	trooper. But when they fired
	you... you were so devastated,
	Andy... I don't expect any of
	my kids to sit in the back of
	the bus. Fight for your rights.

			ANDREW
	Thanks, Mom... Dad?

There's a pause before Bud Beckett speaks.

			BUD
	Supposedly, the Lord doesn't
	give you more trouble than you
	can handle. But I'm having a
	hard time believing that these days.

Andrew's construction worker brother, RANDY, wipes tears
from his eyes. Clearly their father is in alot of pain.

			BUD (CONT.)
	Andy, the way you've faced this
	whole thing, you and Miguel, with
	so much courage... your mother and
	I have been so very impressed...

Andrew gazes at his father with incredible love. Miguel puts
an arm around Andrew.

			BUD (CONT.)
	I can't imagine there is anything,
	that anyone could say, that would
	make us feel less proud of you.

			ANDREW
		(full of emotion)
	Thanks, Dad. I love you guys. How
	about you, Randy?

			RANDY
	Hey. You're my kid brother, Andy.
	That's the bottom line. I mean,
	what are those bastards going to say?
	You're gay? Shit, I knew that
	when you were five years old.

Everyone LAUGHS. Andrew and Randy high five.

			MIGUEL
	Wait a minute...
		(to Andrew)
	You're gay?

More laughter. But Jill speaks seriously:

			JILL
	What about you, Andy? You're not a
	militant type. You've always
	been so private.

CLOSE ON ANDREW:

			ANDREW
	I guess... I don't have time for
	that any more.

			SARAH
	Jim? Will you lead us in a
	prayer?

Everyone bows heads, holding hands in a circle.

			REVEREND JIM
	Dear Lord. Sometimes it is
	difficult to remember to be
	grateful...

CAMERA PANS THE CIRCLE, THE PRAYING FACES.

			REVEREND JIM (CONT.)
	To remember, in our times of
	sorrow and confusion, that we
	have You to turn to, and each
	other. Bless and keep Andrew
	and Miguel, dear Lord, deepen
	and strengthen their love as
	they face the struggles that lay
	ahead. Bless and watch over all
	of us, fill us with Your love,
	Your light, and Your peace,
	which passeth all understanding.
	In Jesus' name, we pray...

			EVERYONE
	Amen.

ROMANTIC MUSIC CROSSES CUT TO:

BECKETTS' LIVINGROOM, SEEN THROUGH THE VIDEO CAMERA (DAY) ...

A local entertainer (GUIDO PAONESSA) launches into a
standard, accompanied by a single guitar player, and Bud and
Sarah begin to dance, surrounded by family and friends.

			GUIDO
	"After all the days of Spring
	have flown..."

VIDEO CAMERA PANS: RELATIVES eating cake, KIDS chasing each
other, a GRANDMOTHER in a wheelchair holding a NEWBORN,
watching silent, video home movies.

CAMERA FINDS Andrew and Niguel eating anniversary cake
(Andrew barely touches his). Playing for the camera, Miguel
dips his finger into icing and smears it onto Andrew's nose.
Andrew tries to reach the icing with his tongue.

CAMERA PANS WITH ANDREW as he comes forward to dance with his
mother, while Jill dances with their father.

CAMERA RETURNS TO MIGUEL. MATT (behind the camera) says:

			MATT (OS)
	Hey, Miguel, can you imagine any
	two people being together for forty
	years?

ZOOM IN CLOSE ON NIGUEL (who's watching Andrew):

			MIGUEL
	Yes. I can.

VIDEO CAMERA PANS to Andrew dancing with his Mom, lingering on
this IMAGE...

			JOE (VOICE OVER)
	Forget everything you've seen on
	TV, and in the movies...

						CUT TO:

HELICOPTER SHOT, REVEALING ALL OF PHILADELPHIA (DAY) ...

TITLE: "Eight months later."

			JOE (OS) (CONT.)
	There won't be any last minute,
	surprise witnesses...

						CUT TO:

A MAN LOOKING INTO CAMERA: HE'S YOUNG, CONFIDENT, ALL
American, a Marine (INT./DAY) ...

TITLE: "Opening statements."

The MARINE is a JUROR. CAMERA PANS others: a BLACK LADY
SCHOOLTEACHER, a POSTAL WORKER, an ASIAN COLLEGE STUDENT.

			JOE (OS) (CONT.)
	No one will break down on the stand
	with a tearful confession...

REVERSE ON JOE, ADDRESSING THE JURY.

			JOE (CONT.)
	You are presented with a simple
	fact: Andrew Beckett was fired.
	You will hear two explanations for
	why he was fired. Ours. And
	theirs...

Joe crosses the courtroom, coming to stand in front of...

ANDREW, whose appearance has changed: thinner, paler than we've
ever seen him, some blisters on his lips. But the most disturbing
thing about his appearance is the way he moves, slowly, like a
much older man. He's taking notes (which he will do
relentlessly throughout the trial.) And he has a cane at his
side, which he'll use throughout the trial.

			JOE (CONT.)
	It's up to you, to sift through
	layer and layer of truth, and
	determine for yourselves the
	version that sounds the most true.

Charles Wheeler, Walter Kenton, Bob Seidman, Kenneth Killcoyne
sit BEHIND their lawyers, Belinda Conine and Jerome Green, and
SEVERAL ASSISTANTS at the defense table.

JUDGE GARNETT presides from his bench.

Among the spectators, Miguel sits next to Sarah, and
Andrew's sister Jill. AIDS ACTIVISTS in the background.

			JOE (CONT.)
	There are certain points in our
	version, that I must prove to
	you... Point number one: Andrew
	Beckett was... is a brilliant
	lawyer. A great lawyer. Point
	number two. Andrew Beckett,
	afflicted with a debilitating
	disease, made the legal,
	understandable, personal choice
	to keep the fact of his illness
	to himself... Point number three:
	His employers discovered his
	illness. And ladies and gentlemen,
	the illness I'm referring to, is
	AIDS...

Joe pauses, letting that sink in.

			JOE (CONT.)
	Point number four. They panicked.
	And, in their panic, they did what
	most of us would like to do with
	AIDS... Get it, and the people
	who have it, as far away from us
	as possible.

Joe walks away from Andrew.

			JOE (CONT.)
	The behavior of Andrew Beckett's
	employers may seem reasonable to
	you. It does to me. After all, AIDS
	is a deadly, incurable, disease...

CLOSE ON MEMBERS OF THE JURY.

			JOE (CONT.)
	But however you come to judge the
	behavior of Charles Wheeler and
	his partners in moral, ethical,
	human terms... When they fired
	Andrew Beckett because he had
	AIDS, they broke the law.

With a swift, direct glance at the Judge, Joe speaks with
considerable power and emotion:

			JOE (CONT.)
	And, when lawyers break the law,
	when this society loses respect
	for the law, when that day comes,
	our cherished institutions will be
	burned to the ground, and our
	children and grandchildren will
	live like savages.

						CUT TO:

BELINDA CONINE ADDRESSING THE JURY (INT./DAY) ...

			BELINDA
	Fact. Andrew Beckett performed
	at a consistently mediocre
	level. Fact. He made a grievous
	error on a multi-million dollar
	lawsuit... Fact. He claims he is
	the victim of lies and deceit.
	Fact. Andrew Beckett lied to his
	employers, going to great efforts
	to conceal his disease from them.
	Fact. He was successful in his
	duplicity. The partners at Wyant
	Wheeler did not know Andrew
	Beckett had AIDS when they fired
	him...

Belinda pauses in front of the plaintiff's table

			BELINDA (CONT.)
	Fact. AIDS is a tragedy...

Andrew looks directly at Belinda.

			BELINDA (CONT.)
	Fact. Andrew Beckett is dying.

Joe watches Andrew for his reaction.

			BELINDA (CONT.)
	Fact. Andrew Beckett is angry.
	Because his "lifestyle," his
	reckless behavior, has cut short
	his life... And in his anger, his
	rage, he's lashing out. And he
	wants someone to pay.

						CUT TO:

ON THE WITNESS STAND: A SOLIDLY BUILT EXECUTIVE FROM A
large insurance company, MR. LAIRD (INT./DAY) ...

			JOE
	Andrew Beckett represented your
	company in a lawsuit in 1990, is
	that correct?

			LAIRD
	Wyant Wheeler represented us.

Andrew glances toward the jury box: the MARINE JUROR writes in a
tiny notebook.

			JOE
	But, Andrew Beckett was in charge of
	litigation for the suit.

			LAIRD
	That's correct.

			JOE
	Were you pleased with his work?

			LAIRD
	We were satisfied.

Joe and Andrew exchange a LOOK -- Laird's response surprises and
disappoints them.

			JOE
	Were you satisfied, or were you
	pleased?

Laird glances toward Charles Wheeler before answering.

			LAIRD
	We were satisfied.

Joe refers to legal documents.

			JOE
	Mr. Laird, when I approached you
	about being a witness at this
	trial, and you agreed, you gave
	sworn testimony in a deposition.
	Is that correct?

			LAIRD
	That's correct.

			JOE
	According to the deposition, you
	said you were "thrilled, impressed,
	overwhelmed" by the quality of
	Andrew Beckett's work. Do you
	remember saying that?

			LAIRD
	I may have said something like
	that. But that's not how I feel at
	this moment.

Joe takes on a street-tough tone:

			JOE
	Okay, Mr. Laird. Explain this to
	me like I'm a four year old: Did
	Andrew Beckett win your lawsuit
	for you or not?

			LAIRD
	We won.

			JOE
	Did that thrill, impress and
	overwhelm you?

			LAIRD
	It satisfied me.

Joe STARES at the guy.

			JOE
	It's a long way between being
	overwhelmed and being satisfied.
	A cheeseburger may be satisfying
	whereas caviar and champagne and
	roast duck and baked Alaska for
	dessert might be considered
	overwhelming. Do you agree?

			LAIRD
	I might.

			JOE
	Five months ago you characterized
	Andrew Beckett as caviar and now
	you're calling him a cheeseburger.
	Your standards have shifted a
	great deal, and I'd like to know
	why you've changed your mind.

			LAIRD
	Since that time I've devoted more
	thought to the subject, and that's
	how I feel now.

			          QUICK CUT TO:

JEROME GREEN CROSS-EXAMINING LAIRD (INT./DAY).

			JEROME GREEN
	Partner Robert Seidman was the
	supervising attorney for your
	lawsuit?

			MR. LAIRD
	That's right.

			JEROME GREEN
	Does the supervising attorney guide
	the litigating attorney during
	the trial?

			MR. LAIRD
	Often, he does.

			JEROME GREEN
	As far as you know, in the handling
	of your lawsuit, Andrew Beckett was
	simply following orders.

			LAIRD
	That's a fair assessment of the
	situation.

Andrew glances over his shoulder: at Robert Seidman, who
meets his gaze.

						CUT TO:

SPECTATORS STREAM OUT OF CITY HALL INTO THE HUBBUB OF TWO
DISTINCT GROUPS SHOUTING AT EACH OTHER (EXT/DAY): GAY RIGHTS
ACTIVISTS in T-shirts with pink triangles, denouncing
discrimination; BORN AGAIN ACTIVISTS waving placards citing AIDS
as God's punishment for homosexuality; POLICEMEN keeping them
apart; A MEDIA CIRCUS getting it on videotape.

Joe and Miguel FLANK Andrew, who walks weakly. with a cane.
Sarah and Jill follow close behind, running the gauntlet of
ACTIVISTS and REPORTERS.

Andrew's POV on a placard: "We Die - They Do Nothing!"

Jill's POV on a placard: "AIDS Cures Homosexuality!"

A TV CREW shines HOT LIGHTS on Andrew.

			TV REPORTER (ANGELA MEDINA)
	Do you see this as a gay rights
	issue?

			ANDREW
	I'm not political. I just want
	compensation for being fired.

			REPORTER MEDINA
	But you are gay, aren't you?

IMAGE: ANDREW SEEN ON A TV SCREEN (INT./NIGHT):

			ANDREW
	"I don't see how that's any of
	your business...
		(a smile)
	But yes, I am."

WIDE ANGLE: WE'RE IN A SPORTS BAR WHERE JOE WATCHES THE SIX
O'CLOCK NEWS WITH FILKO, A LOCAL COP, OTHERS (INT./NIGHT) ...

ON THE TV SCREEN: A microphone is shoved at Joe.

			REPORTER MEDINA
	"Do you believe that homosexuals
	deserve special treatment?"

			FILKO
	Hell, no!

			JOE (on TV)
	"Angela, we're standing in
	Philadelphia, the City of
	Brotherly Love, the birthplace
	of freedom, where our Founding
	Fathers authored the Declaration
	of Independence. And I don't
	remember that glorious document
	saying "All straight men are
	created equal." I could have sworn
	it says, "All men are created
	equal."

			CHARLIE THE COP
	Give me a goddamn break!

ON THE TV SCREEN: The REPORTER wraps up her story.

			REPORTER MEDINA
	"This case is sending a cold chill
	through the legal community. One of
	Wyant Wheeler's key clients, the
	Grace Foster Foundation, which
	supports several AIDS charities,
	has taken its business to another
	firm until this matter is
	resolved..."

As the TV DRONES ON, CHARLIE THE COP, OTHERS GLARE at Joe.

			FILKO
		(chuckles)
	Hey, Joe.
		(a wink to the COP)
	You're not starting to get a
	little... light on your feet
	here on us, are you?

Joe does not laugh.

			JOE
	Yeah, Filko. I am.
		(stepping toward Filko)
	I'm on the prowl, Filko. I need
	a man. Not just any man. I need
	a hunk. A hunk like you. How
	about it, Filko? Want to play
	sailor? This time, I'll be first
	mate and you can be Columbus.

			FILKO
	Chill out, Joe.

			JOE
		(angry)
	Those people make me
	sick, Filko! But a law's been
	broken, okay? The law. Remember
	the law?

CHARLIE THE COP has relaxed a bit.

			CHARLIE THE COP
	At least we agree on one thing,
	Joe... They make me sick too.

HOLD ON JOE, but WE HEAR THE TV REPORTER in the BACKGROUND:

			TV REPORTER MEDINA
	"... now the public knows that
	your son has AIDS and he's gay.
	How does that make you feel?"

All eyes turn to the TV: SARAH BECKETT IN CLOSE UP.

			SARAH
	"This is a world full of war,
	famine, poverty, homelessness...
	and people make a fuss because
	two men or two women want to
	live together, or make love.
	Seems kind of silly, doesn't
	it?"

The bar ERUPTS with a CHORUS OF BOOS AND CATCALLS.

						CUT TO:

JOE ADDRESSING A WITNESS IN COURT (INT./DAY) ...

			JOE
	And Walter Kenton knew the
	lesions on your face and arms
	were caused by AIDS?

The witness: MARIA TORRES, Hispanic, 35, healthy-looking.

			MARIA
	Definitely. People were going
	around, whispering things. I
	figured I didn't have anything
	to lose, so I told all the
	partners.

			JOE
	How did Walter Kenton treat you,
	after you told him you had AIDS?

CLOSE ON KENTON, looking confident.

			MARIA
	Every time he came into contact
	with me, he'd get this look on
	his face. I called it, the
	"Oh God" expression. As in "Oh
	God, here comes that woman with
	AIDS."

Andrew LAUGHS.

			JOE
	Ms. Torres? Have your employers
	fired you for having AIDS?

			MARIA
	No. When I need time off, for
	medical reasons, we work it out.

			JOE
	Thank you. No more questions.

Jerome Green rises.

			JEROME GREEN
	Miss Torres. How did you contract
	the AIDS virus?

			MARIA
	During a transfusion. I lost
	a lot of blood giving birth to my
	second child.

			JEROME GREEN
	In other words, in your case
	you happen to be an innocent
	victim of the AIDS tragedy.

			MARIA
	Look. I'm no different from
	everyone else who has this
	disease: I'm not guilty, I'm
	not innocent. I'm just trying
	to survive.

			          QUICK CUT TO:

JOE, APPROACHING A WITNESS (INT./DAY) ...

			JOE
	Beyond noticing the marks on
	his face, were there other
	things about his appearance
	that made you suspect he had
	AIDS?

THE WITNESS: Paralegal Anthea Burton.

			ANTHEA
	He was losing weight. He looked
	kind of tired sometimes. But he
	was working so hard... Still, I
	felt something was wrong.
		(looking at Wheeler)
	And I can't believe they're
	saying they didn't notice
	anything.

			BELINDA
	Objection.

			JUDGE GARNETT
	Just answer the question.

			ANTHEA
	Sorry.

			JOE
	Ms. Burton. You're black.

			ANTHEA
	Is that a question?

			JOE
	No. Have you ever felt
	discriminated against, at Wyant
	Wheeler?

			ANTHEA
	Yes.

Wheeler shakes his head, disgusted. Kenton fumes, outraged.
Seidman looks surprised.

			JOE
	In what way?

			ANTHEA
	Well... One time, Mr. Wheeler's
	secretary, Lydia, told me Mr.
	Wheeler had a problem with my
	earrings.

			JOE
	Your earrings?

Anthea is wearing large, dangling African-style earrings.

			ANTHEA
	Apparently, Mr. Wheeler felt
	they were too... "ethnic" is the
	word she used. She said he
	would like it if I wore
	something smaller, less garish,
	and... more "American."

			JOE
	What did you say?

			ANTHEA
	I said my earrings are American.
	They're African-American.

			JOE
	Thank you. No more questions.

Belinda Conine approaches Anthea.

			BELINDA
	Miss Burton? Do you still work at
	Wyant Wheeler?

			ANTHEA
	Yes.

			BELINDA
	Were you recently promoted?

			ANTHEA
	Yes. I'm now in charge of the
	paralegal department.

			BELINDA
	Thank you.

						CUT TO:

A PHILADELPHIA EXTERIOR, A FALL AFTERNOON (LATE DAY) ...

						CUT TO:

JOE COMES DOWN AN AISLE OF A DRUG STORE, EXAMINING THE BABY
cold medicines, carrying a box of Pampers (INT./DAY) ...

A YOUNG MAN in grass-stained sweats, carrying a football under
one arm, buying a tube of toothpaste, speaks to Joe:

			YOUNG MAN
	How's the trial going? It's
	a great case.

Joe looks up surprised. The YOUNG MAN smiles.

			YOUNG MAN (CONT.)
	I saw you on television. I'm a
	law student. At Penn.

Joe is flattered by the YOUNG MAN'S interest.

			JOE
	Good school. What year?

			YOUNG MAN
	Second.

			JOE
	Great.

			YOUNG MAN
	Would you like to have a drink
	with me? I just finished a
	game, I could use a beer.
		(a smile)
	I don't pick up people in drug
	stores every day.

			JOE
	Whoa, whoa, whoa, whoa... do you
	think... ? You think I'm...
		(low)
	... gay?

			YOUNG MAN
	Aren't you?

			JOE
	What's the matter with you? Do
	I look gay to you?

			YOUNG MAN
	Do I look gay to you? Relax.

			JOE
	Relax? I ought to kick your
	faggoty little ass for you!

			YOUNG MAN
	Take it as a compliment. Geesh.

But Joe is really upset. People are watching.

			JOE
	Don't you know this is exactly
	the kind of bullshit that makes
	people hate you guys?

			YOUNG MAN
	Fuck you! You want to kick my
	ass? You want to try?
		(walking away)
	Asshole.

			JOE
	You're the asshole, buddy.

			YOUNG MAN
		(going out)
	Get a life.

Joe stands there, holding the Pampers, people STARING.

						CUT TO:

LISA'S WORKING ON HER COMPUTER, AT HOME, WHILE JOE PACES
around her desk, really upset (One year-old Rayisha sits on
the desk playing with wooden salad spoons.) (INT./NIGHT) ...

			JOE
	But what was it?! What was this
	guy thinking... ?!

			LISA
	Don't know, Joe.

			JOE
	Is there some kind of expression
	I've picked up from Beckett?!
	Some kind of fairy attitude I've
	unconsciously adopted?! Am I
	walking different?! Some kind
	of vocal thing?! Have I picked
	up some kind of homo vibe?!

			LISA
	Have you changed your aftershave?

			JOE
	Very funny. I had a box of
	Pampers under my arm for
	Chrissake!

						CUT TO:

LISA AND JOE'S DARKENED BEDROON, WHERE THEY LIE IN BED,
almost completely obscured by shadow (INT./NIGHT) ...

They speak softly, careful not to wake the baby.

			LISA
	Joe?

			JOE
		(sleepy)
	Yeah... ?

			LISA
	Two men making love... ? Now
	tell me again... why is that
	disgusting?

			JOE
		(a tired sigh)
	Lisa, c'mon. One guy sticking
	his dick in another guy's mouth?
	It's disgusting.

They lie in silence for a moment. Then:

			LISA
	Okay, so... help me with this
	one, Joe... Is it disgusting for
	someone to put his dick into
	someone's mouth? Or, is it
	disgusting for someone to take
	a dick into their mouth?

			JOE
		(after a beat)
	Great, Lisa. Thank you.

						TO:

EXTERIOR: CITY HALL, AN AUTUMN DAY...

			JOE (VO)
	"But, ultimately, the complaint
	was found, wasn't it?

			          CONTINUOUS CUT TO:

WIDE ANGLE ON COURTROOM: JAMEY COLLINS ON THE STAND (DAY).

			JAMEY
	Yes. We found a copy. It been
	incorrectly filed...

TITLE: "Plaintiff's case, day ten."

			JAMEY (CONT.)
	We got it to court on time.

ANGLE ON THE JURY: Several JURORS write in notebooks like the
Marine's; he's been handing them out...

Joe seems ill at ease today, a little off his game. When he
glances at Andrew, it's with irritation.

			JOE
	Has a file ever disappeared like
	that before? Vanished into thin
	air, all of a sudden, only to
	reappear in the nick of time?

Jamey answers nervously:

			JAMEY
	I've never known that to happen
	before. No.

			JOE
		(fires this question)
	Did you have something to do
	with this file being lost
	accidentally-on-purpose?

			BELINDA
	Objection!

			JOE
	I'll rephrase.
		(to Jamey)
	Did you have anything to do with
	this file being... misplaced?

			JAMEY
	Absolutely not.

Joe stands, staring at Jamey. Too long. Jamey squirms.

			JOE
	Are you a homosexual?

			JAMEY
	What?!

Joe pressing forward, toward Jamey.

			JOE
	C'mon, Mr. Collins. Are you
	homosexual? You know, gay?

The COURTROOM ERUPTS: ACTIVISTS booing Joe, Wheeler's crowd
expressing OUTRAGE, JURORS looking confused.

Andrew takes in the commotion, as the JUDGE BANGS HIS GAVEL.

			JUDGE GARNETT
	Hold it, hold it!

Andrew trains his attention on Joe.

			BELINDA
	Objection! Where has this come
	from?! Suddenly Counsel is
	attacking his own witness. Mr.
	Collins' sexual orientation has
	absolutely no relevance to this
	case.

			JUDGE GARNETT
	I said, HOLD IT!
		(the courtroom QUIETS)
	Mr. Miller. Could you kindly share
	with me exactly what's going on
	in your brain, because I don't
	have a clue at the moment.

Joe faces Andrew, also curious to know what Joe's up to.

			JOE
	Your Honor, everyone in this
	courtroom is thinking about sexual
	preference, sexual orientation,
	whatever you want to call it.
	They're looking at me, and
	wondering about it...
		(looking at Andrew)
	They're looking at Mr. Beckett, and
	wondering about it. They're looking
	at Mr. Wheeler and wondering about
	it. They might even be looking at
	you and wondering about it. So,
	let's get it out in the open. Let's
	talk about what this case is really
	about: the general public's
	hatred... our loathing, our fear of
	homosexuals.

DEAD SILENCE while the Judge thinks it over.

CLOSE ON ANDREW.

			ANDREW
		(to himself)
	Very good.

CLOSE ON BELINDA CONINE.

CLOSE ON CHARLES WHEELER.

CLOSE ON MIGUEL.

CLOSE ON WALTER KENTON.

CLOSE ON BOB SEIDMAN.

CLOSE ON THE MARINE JUROR.

CLOSE ON JAMEY COLLINS, sweating bullets on the stand.

			JUDGE GARNETT
	In this courtroom, Mr. Miller,
	justice is blind. To matters of
	race, creed, color, religion.
	And sexual orientation.

			JOE
	With all due respect, Your Honor...
	We don't live in this courtroom,
	do we?

			JUDGE GARNETT
	No. We don't... However, as
	regards this witness, I'm going to
	sustain the defense's objection.

						CUT TO:

COURTHOUSE MEN'S ROOM, FIVE URINALS, THREE SINKS (INT./DAY).

The MARINE JUROR, the RETIRED POSTAL WORKER JUROR, and AN
UPTIGHT BUSINESSMAN JUROR stand at the urinals, with an empty
urinal between each of them. The MARINE JUROR whistles while
he pees (a classic rock tune, like "Radar Love.") The
BUSINESSMAN sighs, "Ahhhhhh."

The RETIRED POSTAL WORKER JUROR jingles change.

The ROCK MUSICIAN JUROR enters, stepping up to the urinal
between the BUSINESSMAN and the MARINE. He unzips, and it seems
to take him an incredibly long time to extricate his urinary
organ. This does not escape the MARINE'S notice.

			ROCK MUSICIAN JUROR
		(innocently, to Marine)
	I have some gay friends. What's
	the biggie?

The MARINE says nothing.

			ROCK MUSICIAN JUROR (CONT.)
	Everybody has a couple of gay
	friends. Don't you?

			MARINE
	No, sir. I do not.

The MARINE moves closer to the urinal, so that no one can see
his private parts.

			ROCK MUSICIAN JUROR
	You might have them, and just
	not know they're gay.

The MARINE shakes, zips, flushes, turns away. He pauses to look
directly at the ROCK MUSICIAN JUROR.

			MARINE
	I know.

						CUT TO:

WALTER KENTON ON THE WITNESS STAND (INT./DAY) ...

			JOE
	And how many weeks at a time
	would you be out to sea, without
	stopping at port?

			KENTON
	Anywhere from two weeks, to
	several months.

			JOE
	Any women on board?

Kenton glances at the MARINE JUROR.

			KENTON
	Not when I was in the Navy.

			JOE
	So during those long voyages,
	months at a time, out to sea, no
	women in sight, a hundred,
	hardworking, robust, young men,
	in the prime of their life, at
	the peak of their natural
	appetites, desires, their god-
	given, hormonal instincts...
	Anything going on?

			KENTON
	Going on... like...?

			JOE
	Like... two sailors playing hide
	the salami.

Andrew covers his face with his hands.

			BELINDA
	Objection!

			JUDGE GARNETT
	Mr. Miller!

			KENTON
		(can't resist)
	We had one guy like that.

			BELINDA
	You haven't ruled on my
	objection, Your Honor.

Kenton seems eager to tell his story. Joe stands with
crossed arms, waiting.

			JUDGE GARNETT
	Let's continue.

			JOE
		(to Kenton)
	You had one guy "like that?"

			KENTON
	Yeah. But we took care of him.

			JOE
	How did you do that?

			KENTON
	We stuck his head in the
	latrine, after ten of us had
	used it.

LAUGHTER and SOME APPLAUSE from some SPECTATORS, and some
JURORS. ACTIVISTS BOO and HISS.

The JUDGE POUNDS HIS GAVEL.

			JOE
	You taught him a lesson.

			KENTON
	Yes, we did.

			JOE
	Like firing Andrew Beckett
	taught him a lesson?

			BELINDA
	Objection!

			JOE
	I'll withdraw.
		(moving on quickly)
	You were aware, when you worked
	with Maria Torres, that she had
	AIDS, correct?

			KENTON
	She didn't try to conceal it.

			JOE
	So you are aware of the
	difference between a lesion and
	a bruise, is that correct?

			KENTON
	I know the difference. That
	doesn't mean I'm always able to
	recognize the difference.

			JOE
	But didn't you avoid contact
	with Ms. Torres, after you found
	out she had AIDS? She says you
	acted repulsed by her and you
	avoided her, is that correct?

			KENTON
	I felt, and still feel, nothing
	but the deepest sympathy and
	compassion for people like
	Maria, who have contracted this
	terrible disease through no
	fault of their own.

			CUT TO LOUD CLASSICAL MUSIC:

IN THE KITCHEN OF THEIR APARTMENT, MIGUEL POURS MEDICINE
into an IV drip unit (INT./NIGHT) ...

LOUD CLASSICAL MUSIC IN THE BACKGROUND.

Miguel glances at a chart on the wall, in which a day is
broken into hours, with medical instructions for each hour

			MIGUEL
		(shouting over MUSIC)
	Drew! Are you ready? If we
	start at eight, we'll be done by
	twelve.

Miguel taps the IV bag, getting the drip started.

A cat jumps onto the counter. Miguel holds it.

						CUT TO:

ANDREW SITS AT THE DININGROOM TABLE, MAKING NOTES ON A LEGAL
pad, holding out his left arm (INT./NIGHT). A catheter is
imbedded into Andrew's arm, and Miguel is trying to get the
IV drip started through the catheter. The MUSIC is lower...

			MIGUEL
	It's not going through.

			ANDREW
		(focused on his work)
	We'll have to flush it again.

Andrew reaches for a law book.

			MIGUEL
	Hold still. Shit.
		(trying again)
	The goddamn vein's clotted. We
	have to go the goddamn hospital,
	so they can change the goddamn
	catheter.

			ANDREW
	I have too much work to do.
	Skip the treatment.

			MIGUEL
	We're not skipping this
	treatment.

			ANDREW
	I said, skip it, Michael. It's
	my treatment.

			MIGUEL
	Fuck you.

			ANDREW
	Fuck you. This shit's probably
	not doing me any good anyway.

			MIGUEL
	That shit's saving your life,
	you asshole!

Miguel shoves away from the table.

			ANDREW
	What's wrong with you?

			MIGUEL
	Close the law book.

			ANDREW
	I'm not going to close the--

			MIGUEL
	CLOSE THE FUCKING LAW BOOK!

Andrew slams it SHUT.

			ANDREW
	ALLRIGHT IT'S CLOSED!
		(beat)
	Jesus!

			MIGUEL
	The least you can do is look at
	me, while I'm sticking this shit
	into your arm. Forget the
	fucking case, one hour a day,
	and give me a little of your
	time.

			ANDREW
		(very quiet)
	You don't think there's much
	time left, do you?

			MIGUEL
	That's not what I said.

			ANDREW
	You're scared. You think we're
	near the end.

			MIGUEL
	No.

			ANDREW
	Maybe I should start making plans, is
	that what you think? Start
	planning my memorial service?
	"Begin to prepare for the
	inevitable."

			MIGUEL
		(low)
	Maybe you should think about it.

			ANDREW
	What's that mean?!

			MIGUEL
		(very difficult)
	Maybe you should think about it.

A MOMENT.

			ANDREW
	I'm not going to die.

			MIGUEL
	That's right. We're on the
	Positive Plan. You
	don't have a Fatal Disease, you
	have Manageable Illness.

			ANDREW
	You want me to give up? Let this
	thing turn us into victims?

			MIGUEL
	Then, what are we, Drew?! The
	winners? "Ladies and gentlemen,
	the first prize of AIDS goes to
	Andrew Beckett and his lover
	Miguel..." Excuse me, I'm not
	your lover. I'm your Care Partner.
	FUCK!

			ANDREW
	I'm not ready to die.

			MIGUEL
	Do you think I'm ready for it?!
	I hate this shit. I'm not a
	fucking martyr! I hate every
	goddamn part of it!

Miguel slides down the wall, sitting in a heap.

Andrew goes to him. They hug. Miguel holds him tight.

			MIGUEL (CONT.)
	Please don't leave me. I love
	you so much. Don't die, don't
	leave me, please...

Miguel rocks in Andrew's arms. Andrew kisses the top of his
head, holding tight.

			ANDREW
	I am so scared. I am so fucking,
	incredibly, fucking scared...

A MOMENT. Andrew stroking Miguel's hair, as he calms down.

			ANDREW (CONT.)
	You know, there's only one thing to
	do.
		(beat)
	We have to have a party.

						CUT TO:

JOE AND LISA STAND OUTSIDE ANDREW'S APARTMENT -- IN COSTUME.
DANCE MUSIC is playing inside (INT./NIGHT) ...

Lisa is dressed as a giant sandwich. Joe's costume looks quickly
thrown together: he's wearing a suit, but has pages from a legal
document stapled all over the suit.

			JOE
	Did I ever tell you, I hate
	costume parties?

			LISA
	My lettuce is wilting.

The DOOR IS OPENED -- by the LEAD SINGER OF WHITE SNAKE: big
hair, leather, guitar.

			ANDREW (AS ROCKER)
	PARRTYY!

			JOE
	We're friends of Beckett's.

			ANDREW
	It's me, you dork.

			LISA
	I'm Lisa Miller.

			ANDREW
	Glad to finally meet you. Come on in.

			          CONTINUOUS CUT TO:

JOE AND LISA FOLLOW ANDREW INTO THE APARTMENT (HE LIMPS, relying
on his cane, but he's got A LOT OF ENERGY). The room is filled
with two Madonnas, an M.C. Hammer, three nuns, a can of soup
(INT./NIGHT) ...

			ANDREW
		(to Lisa)
	I have to introduce you to the
	can of soup. You can enter the
	costume contest together as a
	lunch special.

Miguel approaches, dressed as a MEMBER OF MEGA-DEATH or ANTHRAX.
He strikes a pose, contorts his face and hits an air guitar riff.
Andrew crosses guitars with Miguel. Then:

			ANDREW
	This is Lisa Miller. Miguel Alvarez.

Miguel's sister MARIA is passing by with a GROUP OF FRIENDS.
Everyone ad libs greetings.

			MIGUEL
	My sister, Maria.
		(to Lisa)
	Pastrami on rye?

			LISA
	Corned beef.

			MIGUEL
	Want to dance?

			LISA
	Sure!

Miguel leads Lisa away. Joe is reluctant to give her up.

			JOE
	Beckett. You seem... better.
	Energized, more alive...

			ANDREW
	I had a blood transfusion today.
	I feel great.

Andrew studies Joe, trying to figure out the costume.

			JOE
	I'm a law suit.

			ANDREW
	Not bad.

			JOE
	Get it?

			ANDREW
	Let's find you a drink.

Andrew leads Joe through the crowd, greeting Rachel, skin
painted blue (SMURFETTE) her daughter AMY (BART SIMPSON),
Anthea, TYRONE from Dr. Gillman's office (A COWBOY), and
TYRONE'S LOVER (A HORSE) ... Some of Dr. Gillman's PATIENTS
are here too, including the YOUNG ASIAN MAN who is now in a
wheelchair. And, one or two of ANDREW'S SIBLINGS may be
present as well. And Alan, Bruno and Chandra, and some arty
friends and neighbors.

			ANDREW (CONT.)
	What do you want?

			JOE
	Beer.
		(patting his briefcase)
	We need to go over your Q and A.

			ANDREW
	Excuse me, I'm having a goddamn
	party, is that allright with you?

			JOE
	Sure. It's fine.

			ANDREW
	No, we have to do it. But
	later, allright?

			JOE
	Thank you.

A MAN dressed as LA TOYA JACKSON (with fake snake) squeezes
past Joe, reaching for a beer.

			LA TOYA
	'Scuse me, darling.

Andrew is SMILING at Joe.

			JOE
	You think I'm uncomfortable...

			ANDREW
	Correct.

			JOE
	You're right.

Joe spills beer down his shirt.

			ANDREW
	Thank you.

  CUT TO A SERIES OF PARTY MOMENTS OVER LOUD MUSIC:

--Andrew and Miguel ROCKING to HEAVY METAL MUSIC, playing a
battle of the guitars. At one point, Andrew has to sit
down, but he doesn't stop "playing," while Miguel jumps all
around him.

--Joe talking to a MAN DRESSED AS MARIE ANTOINETTE:

			MARIE ANTOINETTE
	I'm an accountant. What do you do?

			JOE
	I'm a lawyer.
		(points to Lisa)
	That's my wife!

--Andrew's mother Sarah, as Marge Simpson, delivers a tray
of hors d'oeuvres to Joe (standing next to a POLICEMAN):

			SARAH
	Have a cocktail wienie.

			JOE
	Thanks, Sarah.
		(to the POLICEMAN)
	Nice costume.

			POLICEMAN
	It's not a costume, I just got
	off work. You're cute.

			JOE
		(pointing to Lisa)
	That's my wife. Want to see a
	picture of my baby?

			POLICEMAN
		(reaching for his wallet)
	Absolutely. Want to see a
	picture of my baby?

--Everyone SLOW DANCES to the Talking Heads tune "Heaven"
(Simply Red cover version): Joe and Lisa, Andrew and
Miguel, Rachel with a sleepy Amy in her arms, the POLICEMAN
and TYRONE, Sarah Beckett and MARIE ANTOINETTE, LA TOYA and
her snake.

			"HEAVEN" CONTINUES OVER:

A CAB IDLING IN THE STREET, LISA KISSING JOE (NIGHT).

			JOE
	I'll see you in an hour, max.

			LISA
	Night, honey.

Lisa climbs into the cab which she is sharing with the NUN
and MARIE ANTOINETTE and LA TOYA.

			NUN/MARIE ANTOINETTE/LA TOYA
	Night, Joe!

			"HEAVEN" CONTINUES OVER:

QUIET IN ANDREW'S CONDO, THE PARTY LONG OVER (INT/NIGHT).

Joe opens his briefcase, removing a legal pad with notes.

			ANDREW
	Congratulations, Miller.

Andrew clears away party debris from the table, making space
for his legal work. He is attached to an IV line, which is
connected to a drip bag on a rolling stand, that can move
with him. He is no longer in costume.

			ANDREW (CONT.)
	You survived your first gay
	party intact.

			JOE
	Let me tell you something, okay?
	When you're brought up, like the
	rest of us, in a place like where
	I was brought up, there's not a
	whole lot of discussion about...
	homosexuals.
	As a kid, you're taught right away
	that queers are weird, queers are
	funny, they're a danger to kids,
	they're afraid to fight, and they
	all want to cop your joint. And
	that pretty much sums up the
	general thinking out there, if you
	want to know the truth.

			ANDREW
	Thank you for sharing that with me,
	Joe.

			JOE
	Let's review these notes for your
	testimony. We have a big day on
	Monday.

Joe begins ticking off a list of courtroom reminders:

			JOE (CONT.)
	When you refer to Wheeler, call him
	Charles, to show how you'd been
	admitted to the inner circle, you
	were considered one of them.

			ANDREW
		(distracted)
	Uh huh...

			JOE (CONT.)
	Beckett?

			ANDREW
	Charles. Okay. Miller?

			JOE
	What?

			ANDREW
	Do you... pray?

Joe hesitates. They're having a personal conversation?

			JOE
	Yeah. Sure.

Joe goes back to the notes:

			JOE (CONT.)
	Then we establish how Wheeler's
	boys recruited you after law
	school...

			ANDREW
	What have you prayed for?

			JOE
	For a healthy baby. For Lisa to
	make it through the delivery.
	For the Phillies to get into the
	playoffs.

			ANDREW
		(no self-pity)
	There's a possibility I won't be
	around for the end of this
	trial.

			JOE
	I've considered that.

			ANDREW
	What happens?

			JOE
	We proceed, representing your
	estate.

			ANDREW
	I've made provisions in my will
	for some charities. Miguel will
	need a lawyer. I know it's not
	your area...

			JOE
	I know a good probate lawyer.

			ANDREW
	Thanks.
		(a beat)
	Do you like opera?

Andrew moves to the stereo, pulling the IV line with him.

			JOE
	Opera?

			ANDREW
	Want to hear my favorite aria?

			JOE
	Opera?

SUDDENLY, AN ARIA BY MARIA CALLAS FILLS THE ROOM --
startling Joe with its VOLUME.

			ANDREW
		(over the MUSIC)
	Andrea Chenier, by Giordano.
	This is Madeleine. She's
	telling how, during the French
	revolution, a mob set
	fire to her house. Her mother
	died, saving her.

	"I look...
	The place that cradled me was
	burning!"

	Do you hear the heartache in her
	voice? Then, here come the
	strings. Everything changes.
	The music fills with hope.
	Madeleine says...

Andrew sways through the room to the music, pulling the IV
at his side. He seems truly free and relaxed.

			ANDREW (CONT.)
	"It was during that sorrow that
	love came to me!

	A voice filled with harmony
	That said...
	Live still, I am Life!"

	"I am the god that descends
	From the heavens to the earth
	To make of the earth
	A heaven!"

ANGLE ON JOE: Shifting, uncomfortable.

			ANDREW (CONT.)
	"I am Oblivion!
	I am Glory!
	I am Love, Love, Love!"

The MUSIC ENDS.

Joe sits there, fidgeting. He reaches for his briefcase
organizing his notes.

			JOE
	I think I'll... I told Lisa.

Andrew collects himself, as Joe rises from his chair.

			ANDREW
	Right.

Andrew follows Joe to the door.

			ANDREW (CONT.)
		(businesslike)
	I'll look over the Q and A.

			JOE
	You're ready, don't worry.

An awkward moment, both men standing with their hands at
their sides -- will one of them initiate a handshake?

Joe gives a little "salute," then leaves.

			          CONTINUOUS CUT TO:

JOE COMES DOWN THE HALLWAY OF THE MODERN CONDO BUILDING
(INT./NIGHT) ...

			JOE
	Jesus.

Suddenly, Joe HEARS: OPERA MUSIC PLAYING AGAIN.

He pauses, listening.

			          INTERCUT WITH:

ANDREW MOVES THROUGH THE ROOM, DRINKING IN THE BEAUTIFUL,
passionate MUSIC (INT./NIGHT) ...

The IV stand catches against the sofa, tugging the line.

Andrew pulls the line out of his arm. He moves, freer now.

			          INTERCUT WITH:

JOE STANDS OUTSIDE ANDREW'S DOOR, OPERA MUSIC PLAYING
(INT./NIGHT) ...

Joe lifts his hand to KNOCK.

He changes his mind.

			JOE
	Fucking guy...

Joe moves down the corridor, rings for the elevator.

			          INTERCUT WITH:

ANDREW MOVING THROUGH SHADOWS, IN THE APARTMENT, LETTING THE
MUSIC pull him along (INT./NIGHT) ...

			          INTERCUT WITH:

JOE STEPPING INTO THE ELEVATOR (INT./NIGHT).

The doors closing.

			          INTERCUT WITH:

ANDREW AND THE MUSIC (INT./NIGHT).

	MUSIC FADING, CROSSES THE CUT TO:

EXTERIOR: JOE'S SUBURBAN HOUSE LATE AT NIGHT...

Joe crosses the yard to his dark house.

	MUSIC DISTANT, CROSSES THE CUT TO:

JOE'S BABY LIES SLEEPING IN HER CRIB (INT./NIGHT).

Joe looks down on the baby, adjusting the blanket.

			          CONTINUOUS CUT TO:

LISA FACES CAMERA, ASLEEP IN THE DARK BEDROOM (INT./NIGHT).

Joe doffs his jacket, sinking quietly onto the edge of the
bed, careful not to disturb Lisa.

With his BACK TO CAMERA, Joe puts his head into his hands...

And begins to weep.

FADE OUT.


FADE IN: PANORAMIC SHOT OF PHILADELPHIA EXTERIORS...

						CUT TO:

HIGH, WIDE ANGLE ON THE COURTROOM, IN SILENCE (INT./DAY) ...

Andrew moves very slowly with his cane across the courtroom,
toward the witness stand.

--JUDGE GARNETT crosses his arms, waiting.

--JOE glances at some notes.

--MIGUEL and SARAH BECKETT look on anxiously.

--WHEELER and the others observe in silence.

CAMERA HOLDS ON BIBLE BEING CARRIED IN GLOVED HANDS, ACROSS
THE COURTROOM. OVER THIS SHOT IS A...

TITLE: "Plaintiff's case. day fourteen."

The BAILIFF places the Bible in front of Andrew (a purple
blotch is showing in front of Andrew's ear.)

			BAILIFF
	Place your left hand on the
	Bible and raise your right hand.

Andrew places his hand on the Bible.

			BAILIFF
	"Do you swear to tell the truth...

	DIALOGUE OVERLAP AND DISSOLVE TO:

ANDREW ANSWERING A QUESTION AN HOUR OR SO LATER (INT./DAY).

			ANDREW
	Wyant Wheeler had aggressively
	recruited me. They were the
	most prestigious firm in
	Philadelphia, full of
	opportunity. And I was
	impressed by the partners.

			JOE
	Including Charles Wheeler?

(Andrew frequently wipes sweat from his forehead with a
handkerchief. His voice is hoarse, raspy.)

			ANDREW
	Particularly, Charles.

ANGLE ON WHEELER.

			JOE
	What impressed you about him?

			ANDREW
	He was... the kind of person I
	thought I wanted to be.

			JOE
	What kind of person is that?

			ANDREW
	Possessed of an encyclopedic
	knowledge of the law. A razor
	sharp litigator, a genuine
	leader, gifted at bringing out
	the very best in others. An
	awesome ability to illuminate
	the most complex of legal
	concepts to colleagues,
	courtrooms, the person on the
	street.
		(a smile)
	The kind of person
	who plays three sets of tennis but
	doesn't sweat. But underneath the
	elegant surface, was an
	adventurous spirit.

Belinda Conine MAKES A NOTE ABOUT THAT.

			JOE
	Obviously, at this time, you
	weren't sick.

			ANDREW
	It's possible I was infected with
	the HIV virus at that time, but I
	wasn't diagnosed until several years
	later.

			JOE
	You didn't look then, the way you
	look now?

REVERSE -- ON ANDREW IN THE WITNESS STAND, BUT NOW HE LOOKS
COMPLETELY DIFFERENT (The healthy. pre-AIDS Andrew.)

			ANDREW
	No. I was thirty pounds heavier.
	I was athletic.

			JOE
	A regular all-American guy?

			ANDREW
	I suppose you could say that.

			JOE
	Except... you were gay?

			ANDREW
	I still am.

SPECTATORS CHUCKLE.

			JOE
	In the years you worked at Wyant
	Wheeler, did you ever tell
	Charles Wheeler you were gay?

			ANDREW
	No. I didn't.

			JOE
	Can you explain why you didn't?

			ANDREW
	You don't bring your personal
	life into a law firm. You're
	not supposed to have a personal
	life, really. Anyway, I did
	plan to tell Charles,
	eventually. But then, this
	thing happened at the tennis
	club...

IMAGE: WHEELER. ANDREW. SEIDMAN. OTHERS IN A LOCKER ROOM OF
A TENNIS CLUB, WEARING TOWELS, ENTERING A SAUNA (INT./DAY).

			WHEELER
	Longstreet's interested in the
	Harrisburg deal.

			ANDREW
	I'm seeing him this afternoon.

INSIDE THE SAUNA: CAMERA PANS SEVERAL MEN.

			ANDREW (VOICE OVER)
	"Somebody started telling jokes."

			FIRST MAN
	What do you call a woman who has
	PMS and ESP at the same time?.

			SECOND MAN
	What?

			FIRST MAN
	A bitch who knows everything.

LAUGHTER. Andrew keeps his eyes closed, leaning against the
wall of the sauna, next to Wheeler, relaxing.

			CHARLES WHEELER
	How does a faggot fake an orgasm?

Andrew opens one eye.

			CHARLES WHEELER (CONT.)
	He spits on your back.

			SEIDMAN
	Charles, that's revolting!

All the men LAUGH, and Wheeler LAUGHS THE HARDEST.

			JOE (VOICE OVER)
	How did that make you feel?

IMAGE: BACK TO THE COURTROOM. ANDREW IN THE WITNESS STAND (And
it's the sick, thin Andrew with AIDS).

			ANDREW
	Relieved. That I'd never told
	him I was gay. Very relieved.

ANGLE ON CHARLES WHEELER: shakes his head, a denial.

			JOE
	Are you a good lawyer?

			ANDREW
	I'm an excellent lawyer.

			JOE
	What makes you an excellent
	lawyer?

			ANDREW
	I love the law. I know the law.
	I excel at practicing it. It's
	the only thing I've ever wanted to do.

			JOE
	What do you love about it?

			ANDREW
	Well... many things. But I
	think the thing I love the most,
	is that every once in a while,
	not that often, but
	occasionally... you get to be
	part of justice being done.
	It's really quite a thrill when
	that happens.

						CUT TO:

BELINDA CONINE STANDS BEFORE ANDREW (INT./DAY).

			BELINDA
	You said earlier you aspired to
	be the kind of person who had
	"an adventurous spirit." Is
	that correct?

			ANDREW
	Something like that.

			BELINDA
	Do you take risks?

			ANDREW
	In my work? Yes. Calculated
	risks. You have to.

			BELINDA
	In general. Do you take risks
	in other areas of your life?

			ANDREW
	Not unnecessary ones.

			BELINDA
	Have you ever been to the Apollo
	Cinema on Sansom Street?

Joe cringes a little with discomfort.

			ANDREW
		(looking Belinda right
		in the eye)
	A few times.

IMAGE: FLASHING LIGHTS AT THE "APOLLO" THEATER ENTRANCE
(EXT./NIGHT).

			BELINDA (OS)
	What kind of movies do they show
	there?

			ANDREW (OS)
	Gay movies.

BACK IN COURT (INT./DAY):

			BELINDA
	Gay pornographic movies?

			ANDREW
	Yes.

			BELINDA
	Do men have sex with each other
	in that theater?

			ANDREW
	Yes.

IMAGE: MOVING POV SHOT PAST ROWS OF GAY PORN MAGAZINES
(INT./NIGHT).

			BELINDA (OS)
	How about you, Mr. Beckett?

IMAGE: MOVING POV SHOT PAST FACES OF THE JURORS (INT./DAY)

			BELINDA (OS) (CONT.)
	... Have you ever had sex with
	someone in that theater?

IMAGE: MOVING POV SHOT PAST A GLASS COUNTER HOLDING SEXUAL
DEVICES, LUBRICANTS, CONDOMS (INT./NIGHT).

			ANDREW (OS)
	Yes.

BACK IN COURT, ON ANDREW:

			ANDREW (CONT.)
	Once.

IMAGE: MEN LURKING OUTSIDE PRIVATE SCREENING BOOTHS (THEY
VARY IN AGE. TYPE. ETC. -- MOST LOOK PRETTY DAMN NORMAL)
(INT./NIGHT).

IMAGE: ANDREW (PRE-AIDS) SMILES AT A FRIENDLY YUPPIE, STANDING
INSIDE A PRIVATE BOOTH (INT./NIGHT).

			YUPPIE
	I'm Robert.

			ANDREW
	Andrew.

Andrew steps into the booth.

			ANDREW (CONT.)
	Now what do we do?

Robert laughs, closing the door of the booth.

			ROBERT
	I think we'll figure it out.

BACK TO THE COURTROOM (INT./DAY):

Joe sits with a stone-sober expression: this isn't easy.

			BELINDA
	When? Approximately what year did
	this event take place?

			ANDREW
	I guess it was 1984, 85.

			BELINDA
	Were you aware in 1984 or 1985
	that there was a fatal disease
	out there, called AIDS, and that
	you could contract it through
	sexual activity?

			ANDREW
	It's impossible to know exactly
	when or how I was infected with HIV.

			BELINDA
	But you were having anonymous
	sex in porno theaters in 1984
	and 1985?

			ANDREW
	That happened once. People
	weren't talking about AIDS then,
	the way we are now. Or safe
	sex.

			BELINDA
	You'd heard of AIDS in 1984, 85?

			ANDREW
	I'd heard of something. The gay
	plague, gay cancer, but... we
	didn't know how you could get it,
	or that it could kill you.

CLOSE SHOT ON ANDREW -- losing strength.

			BELINDA (OS)
		(sounds far away)
	Do you need a break?

			ANDREW
	No.

			BELINDA
	While you were employed at Wyant
	Wheeler, you did everything you
	could to make sure no one knew
	you were an active homosexual,
	correct?

			ANDREW
	That is not correct. I never lied
	about it.

			BELINDA
	Did you keep a picture of your
	lover on your desk?

			ANDREW
	No.

			BELINDA
	Do other lawyers at the firm keep
	pictures of their spouses or
	fiances on their desks?

IMAGE: ANDREW IN BOB SEIDMAN'S OFFICE, WORKING, SPOTTING A
PHOTO ON THE WALL OF BOB'S WIFE AND CHILDREN (INT./DAY).

			ANDREW
	Some do. I didn't.

			BELINDA
	As a homosexual, one is often forced
	to conceal one's sexuality, is
	that right?

			ANDREW
	In some situations.

			BELINDA
	Isn't it true you have spent your
	life pretending to be something
	you're not, so much so that the
	art of concealment and dishonesty
	has become second nature to you?!

			JOE
	Objection!

			BELINDA
	I'll withdraw it. Mr. Beckett?
	Were you living with Miguel
	Alvarez in 1984 or 1985 when you
	had your anonymous sexual encounter
	in the porn theater?

ANGLE ON MIGUEL, sitting next to Sarah.

			ANDREW
	Yes.

			BELINDA
	You could have infected him, isn't
	that right?

			ANDREW
	Miguel has not been infected. As
	I said, we weren't aware of AIDS,
	then, or how it is spread.

			BELINDA
	Really?

			ANDREW
	Yes.

Andrew wipes sweat from his forehead.

			BELINDA
	You've testified the lesions on
	your face were visible to the
	people you worked with, correct?

			ANDREW
	That's right.

			BELINDA
	And it's your contention, that
	when the partners were made
	aware of the lesions, they
	jumped to the conclusion you had
	AIDS and fired you.

			ANDREW
	Absolutely.

			BELINDA
	Do you have any lesions on your
	face at this time?

			ANDREW
	One. Here, in front of my ear.

An ASSISTANT hands Conine a shaving mirror. She holds it
before Andrew.

			BELINDA
	Remembering you are under oath,
	answering truthfully, can you
	see the lesion on your face, in
	this mirror, three feet away?
	Answering truthfully.

Andrew looks in the mirror: the lesion is NOT very visible.

			ANDREW
	By the time I was fired, there
	were four lesions on my face,
	much bigger...

			BELINDA
	Answer the question, please.

			ANDREW
	No. I can't really see it.

			BELINDA
	Thank you.

Andrew rubs his eyes.

			JUDGE GARNETT (OS)
		(far away)
	This would be a good time to
	break for the day...

			JOE (OS)
		(far away)
	Your Honor? May I have ten
	minutes in re-direct?

			JUDGE GARNETT (OS)
		(far away)
	Beckett?

Andrew finds the Judge looking at him.

			JUDGE GARNETT (CONT.)
	Can you go on for ten minutes?

			ANDREW
	Yes sir.

Joe JUMPS UP from the plaintiff's table.

			JOE
	I only need five!
		(to Belinda, reaching
		for the mirror)
	May I?

Joe approaches Andrew, with the mirror.

			JOE (CONT.)
	Do you have any lesions on any
	part of your body, at this time,
	that resemble the lesions that
	were on your face at the time
	you were fired?

			ANDREW
	Yes. On my torso.

			JOE
	If it please the court, I'd like
	to ask Mr. Beckett to
	remove his shirt, so that the
	jury can have an accurate idea
	of what we're talking about.

			BELINDA
	We object, Your Honor. It would
	unfairly influence the jury.

			JOE
	Your Honor, if Mr. Beckett was
	forced by his illness to use a
	wheelchair, would the defense
	ask him to park it outside?
	We're talking about AIDS, we're
	talking about lesions. Let's
	see what we're talking about.

ANGLE ON MEMBERS OF THE JURY -- LOOKING APPREHENSIVE.

			JUDGE GARNETT
		(a moment, then)
	I'll allow it. Would you mind
	removing your shirt, Mr.
	Beckett?

ANGLE ON MIGUEL -- TENSE.

			ANDREW
	Allright.

The COURTROOM TURNS SILENT.

Andrew removes his suit jacket. He's weak, so the smallest
gesture requires effort.

ANGLE ON BOB SEIDMAN -- WATCHING.

Andrew undoes his tie.

ANGLE ON THE MARINE JUROR -- WATCHING.

Andrew unbuttons his collar buttons, working his way down.

ANGLE ON SARAH BECKETT -- WATCHING.

Andrew stands, pulling his shirttails out of his trousers.

ANGLE ON CHARLES WHEELER -- WATCHING.

Andrew removes his shirt -- THERE ARE PURPLE BLOTCHES
SPLAYED ACROSS HIS CHEST AND ABDOMEN AND ARMS.

The SCHOOLTEACHER JUROR GASPS.

Sarah Beckett is silently crying.

The LESBIAN JUROR closes her eyes.

			JOE
	Can you see the lesions on your
	chest in this mirror?

			ANDREW
	Yes.

			JOE
	Thank you.

CAMERA MOVES IN ON CHARLES WHEELER...

						CUT TO:
COURTHOUSE CORRIDOR, ACTIVITY (INT./DAY) ...

Charles Wheeler strides down the corridor, flanked by
Kenton, Killcoyne and Belinda, discussing strategy.

Bob Seidman steps to Wheeler's side, keeping pace.

			SEIDMAN
	I've discovered something
	interesting, Charles.

			WHEELER
		(to Belinda)
	... keep them from that area,
	on grounds of relevancy.
		(to Seidman)
	What, Bob?

			SEIDMAN
	No matter how hard I try, I
	can't lose a file in my
	computer.

NOW he's got EVERYONE'S attention.

			SEIDMAN (CONT.)
	The system automatically makes a
	backup.

Belinda holds up both hands, interrupting with:

			BELINDA
	I don't think I should hear this.

She walks away, giving a glance over her shoulder as:

			SEIDMAN
	You can erase the backup...
		(a challenge to Wheeler)
	But why would you?

			KENTON
		(venomous)
	What's the point, Bob?

			WHEELER
		(calm)
	Very interesting, Bob. Let's make a
	note of that. Andy didn't lose the
	complaint in his computer. He
	never put it in. He lied about
	that, too.

			SEIDMAN
		(weary)
	Charles...

			WHEELER
	If you feel differently, Bob, you
	should say so, when you're called
	to the stand. After all, this
	isn't a conspiracy.

Wheeler and the gang moves on, leaving Seidman alone in the
high-ceilinged corridor.

Belinda hesitates, before re-grouping with Wheeler and the
rest, casting a curious glance toward Bob Seidman.

						CUT TO:

CAMERA PULLS BACK FROM CHARLES WHEELER -- ON THE STAND...

			BELINDA
	Why did you recruit Andrew Beckett
	to your firm?

Andrew uses all his strength to concentrate.

Charles Wheeler speaks with great sincerity.

			WHEELER
	If you're the owner of a major
	league ball club, you recruit the
	hot rookie. And Andy was tremendously
	promising as a young attorney.
	That's why we went after him,
	that's why we hired him, and
	that's why we stuck with him,
	year after year... waiting for
	the promise to be fulfilled. But
	it never was.

			BELINDA
	You kept giving him another chance?

			WHEELER
	Of course we did. When you've
	groomed someone they way we groomed
	Andy, nurturing him, lavishing all
	kinds of special treatment on him...
	you've made quite an investment.
	We were waiting for his promise to
	kick in, and deliver. But,
	ultimately, we could no longer
	ignore the gap between the promise
	and the reality... This is one of
	the saddest times in my life. To
	sit in this court, testifying to
	Andy's ultimate failure to make
	the grade. To discover that he is
	one of those people who wants to
	benefit by the system, but doesn't
	want to play by the system's
	rules. To think you know someone,
	only to find out... you don't know
	them at all. It's heartbreaking.

			BELINDA
	Thank you. That's all for now,
	Your Honor.

			JUDGE GARNETT
	Mr. Miller?

Joe rises. Adjusts his jacket. Wheeler waits.

			JOE
		(very gentle)
	Explain to me, if you can, Mr.
	Wheeler, explain this to me like
	I'm a ten year-old. This trial is
	not about a disease, is that what
	you're saying? Not about your
	understandable, if unfounded, fear
	of catching AIDS through casual
	contact with someone who has it?
	You're saying, this trial is about
	Andrew Beckett's character. Am I
	getting this right?

			WHEELER
	Yes, character. To the extent that it
	affects a person's ability to do
	a great job.

Andrew looks away -- face shiny with sweat, breathing
difficult. He takes in the rest of the court, while
Wheeler's words THROB THROUGH THE AIR...

			WHEELER (CONT.)
	Andy worked when he wanted to work,
	telling us what he thought we
	needed to know about his
	lifestyle...

ANDREW'S POV -- ON RACHEL, sitting among the spectators. Rachel
begins speaking, her WORDS OVERLAPPING Wheeler's (we should get
the feeling she's giving her testimony).

			RACHEL
	I didn't mind covering for Andy,
	but I did wonder... when was he
	planning to deal with his problem?

Andrew blinks... what's going on?

Looking back to the court: Joe presses in on Wheeler.

Everything seems normal.

			WHEELER
	Sometimes it seems like society
	is run by these kinds of people.

			JOE
	What kind of people?

			WHEELER
	People who want to bend the rules...

ANDREW'S POV -- KENNETH KILLCOYNE at the defense table:

			KILLCOYNE
	If you want to be a leader in this
	society, you have to make
	certain sacrifices.

Wheeler keeps speaking:

			WHEELER
	... to suit their personal desires,
	and the rest of us have to live
	with it.

ANDREW'S POV -- WALTER KENTON:

			KENTON
	You have to make a decision: is
	this guy partner material?

			JOE
	Who makes the rules, Mr. Wheeler?
	You?

ANDREW'S POV -- BOB SEIDMAN:

			SEIDMAN
	Yes, I did see the lesions. I
	suspected he was sick...

CLOSE ON ANDREW: closing his eyes.

THE VOICES GET LOUDER, FIGHTING WITH EACH OTHER:

			WHEELER
	The everyday, common person with
	decent values...

			RACHEL
	It seems like he wasn't willing to
	face the reality of his situation...

Andrew slowly rises, the VOICES GETTING LOUDER:

			SEIDMAN
	I didn't tell the others, I
	was afraid to...

			WHEELER
	... But now, we're standing up for
	ourselves...

			SEIDMAN
	... But we shouldn't have fired
	him...

			WHEELER
	... It's time to get this society
	back on track!

Andrew OPENS HIS EYES... WE SWITCH TO HIS POV:

The Judge, the Jury -- everyone silent, looking concerned.

ANDREW'S POV of the courtroom floor.

Andrew falls into his own POV SHOT. In slow motion.

He lies on the floor, looking up.

ANDREW'S POV -- Joe steps over him.

			ANDREW
	Could you call an ambulance,
	please?

						CUT TO:

A CRISIS IN A HOSPITAL ROOM (INT./DAY) ... MEDICAL STAFF
working frenetically, trying to intubate Andrew, who IS
HAVING SERIOUS TROUBLE BREATHING, his body HEAVING. The
tube they're trying to put in place seems to be making
matters worse.

Miguel stands to the side, furious:

			MIGUEL
	It's making it worse. Take it
	out. Take it out!

Dr. Gillman RUSHES into the room, in street clothes,
obviously having answered an emergency call. She tries
assessing the situation, just as the tube is removed and
Andrew GASPS for breath. A NURSE places an oxygen mask over
Andrew's face and he drinks in the air. His eyes are wide
open with fear, sweat covering his face.

						CUT TO:

PHILADELPHIA CITY HALL, A BUSINESS DAY (EXT./DAY).

TITLE: "Two weeks later."

			LESBIAN JUROR (VO)
	If he was "mediocre," why did
	they gave him this major
	assignment three weeks before
	they fired him?

			POSTAL WORKER JUROR (VO)
	They were testing him.

						CUT TO:

JURORS SITTING AROUND A LONG TABLE IN A ROOM WITH TALL,
grimy windows (INT./DAY) ...

TITLE: "Jury deliberations."

			WAITRESS JUROR
	They wanted to see if he'd rise
	to the challenge.

An American flag hangs on the wall.

			SCHOOLTEACHER JUROR
	They wanted to give him a final
	chance.

			POSTAL WORKER JUROR
	Makes sense.

			BUSINESSMAN JUROR
	I'd still love to know what
	happened to that missing file.

			HOMEMAKER JUROR
	Wouldn't we all?

			POSTAL WORKER JUROR
	Ask the computer.

			COLLEGE STUDENT JUROR
	They say he wasn't competent. But,
	you heard him on the stand.

			ROCK MUSICIAN JUROR
	He sounded pretty smart to me.

			BUSINESSMAN JUROR
	Why would they fire him? Why
	not a medical leave, or...

			COLLEGE STUDENT JUROR
	They freaked out over the AIDS.

			SCHOOLTEACHER JUROR
	They hate homosexuals.

			BUSINESSMAN JUROR
	It's not against the law to
	disapprove of homosexuals.

			LESBIAN JUROR
	It is against the law to fire someone
	for having AIDS. That's why we're
	here.

			BUSINESSMAN JUROR
	You're the foreman. You haven't said
	anything. What do you think?

ANGLE ON -- THE MARINE, sitting at the head of the table.

CAMERA MOVES IN SLOWLY ON HIM:

			MARINE JUROR
	They're saying he wasn't a good
	lawyer. He was mediocre. And the
	fact that they gave him the most
	important lawsuit they'd ever had,
	for one of their most important
	clients... they say that doesn't
	prove anything, because that was
	just a test. What did they call
	it? A carrot. To see if he'd rise
	to the occasion... Okay... Say
	I've got to send a pilot into
	enemy territory, and he's gonna
	be flying a plane that cost 350
	million dollars...
	Who am I going to put into that
	plane? A rookie who can't cut the
	grade, because I want to see if
	he'll rise to the challenge? Or am
	I going to give that assignment to
	my best pilot, my most experienced,
	my sharpest, my top gun... The very
	best I've got?

CLOSE ON THE MARINE:

			MARINE JUROR (CONT.)
	Could somebody please explain that
	to me... like I'm a six year old?

HOLD ON THE MARINE, AS THE JUDGE'S VOICE FADES IN:

			JUDGE GARNETT (VO)
	Members of the jury, have you
	reached a verdict?

						AND CUT TO:

THE COURTROOM -- NO ONE STIRRING (INT./DAY).

Joe is utterly cool. Sitting beside Andrew's empty chair.

Among the spectators, Andrew's siblings, Jill, Matt, Randy, and
his parents, Bud and Sarah... Rachel, Anthea and Miguel's
sister Maria.

The Marine rises to his feet.

			MARINE
	We have, Your Honor...

Charles Wheeler looks the Marine in the eye.

			MARINE (CONT.)
	We find for the plaintiff,
	Andrew Beckett.

Joe smiles, just barely, remaining calm.

Charles Wheeler whispers to Belinda Conine.

			JUDGE GARNETT
	Have you awarded any damages?

			MARINE
	Yes, we have, Your Honor.
		(referring to a list)
	For back pay and loss of benefits
	... one hundred fortythree
	thousand dollars.

Joe shakes his head, disappointed, writing down the amount.

Wheeler and his crew SMILE -- THIS IS THEIR VICTORY.

			MARINE JUROR (CONT.)
	For damages related to mental
	anguish and humiliation... we give
	no award.

Joe is extremely disappointed.

			MARINE JUROR (CONT.)
	And punitive damages we award...
	Four million, eight hundred and
	eighty two thousand dollars.

Joe throws his pen over his shoulder.

COURTROOM BURSTS INTO AN UPROAR.

Andrew's supporters, Joe's colleagues from his office rush
forward, pounding him on the back. Andrew's family members
hug each other...

CAMERA CRANES AWAY FROM THIS GROUP, RISING TOWARD THE
CEILING AS THE SOUNDS OF THE CROWD FADE...

OPERA MUSIC FADES IN, TAKING US TO...

ELEVATOR DOORS OPENING... JOE STEPPING INTO THE CORRIDOR OF
a hospital (INT./NIGHT), carrying two shopping bags from the
Famous 4th Street deli...

Joe moves down the corridor, looking for a particular room.

Dr. Gillman stands outside a hospital room, talking in a low
voice to Bud and Sarah Beckett. As Joe passes them,
entering Andrew's room, he hears:

			DR. GILLMAN
	... if he comes out of the
	hospital this time, you mustn't
	expect him to be like he was
	before...

Joe steps into...

ANDREW'S HOSPITAL ROOM (INT./NIGHT) ...

A hand-painted banner is strung over Andrew's bed:
"Victory."

OPERA MUSIC plays on a portable CD player. ANDREW lies in a
hospital bed, with a pressurized oxygen mask on his face.

JILL sits on the edge of Andrew's bed, holding his hand,
smiling, speaking to Andrew in low tones. With his free
hand, Andrew gently strokes Jill's forearm. (Andrew has an
amazing assortment of tubes and IVs running into various
parts of his body.)

Andrew's brothers MATT and RANDY are sipping beers with REV.
JIM, MIGUEL, Miguel's sister MARIA, Bruno and Chandra, while
Matt does a dramatic re-creation of the Marine Juror rendering
the judgment. Matt's audience is loving it.

As Joe comes into the room, Jill rises to take the shopping bags
from him. Joe exchanges nods and greetings with the others.

People KEEP THEIR VOICES LOW, but there's a certain energy, and
happiness evident in the room.

ON ANDREW: Watching his friends and relatives with sparkling
eyes and a weak, but grateful and peaceful smile.

ON JOE: Glancing across the room, catching Andrew's look.

Andrew smiles at Joe and pats his hospital bed, indicating he
wants Joe to sit there.

Joe crosses the room, sits on the edge of the bed.

With some difficulty, Andrew removes his oxygen mask. His
voice is raspy, weak:

			ANDREW
	What do you call a thousand lawyers
	chained together at the bottom of the
	ocean?

			JOE
	What?

			ANDREW
	A good start.

Joe smiles.

			ANDREW (CONT.)
	Excellent work, Joe. I thank
	you.

			JOE
	It was good working with you, Andrew.
	You're welcome.
		(sees the oxygen mask)
	Hey. Shouldn't you put
	that thing back on?

Andrew begins fitting the mask back in place, but his hands are
weak. Joe helps adjust the straps behind Andrew's ears.

			JOE (CONT.)
	I better get home. Lisa and I
	are having some friends over.

			ANDREW
		(muffled by the mask)
	Sure thing.

Joe stands.

			JOE
	I'll see you, Beckett.

Andrew nods, weakly. But he's still smiling and his eyes
are dancing.

			ANDREW
		(through mask)
	Thanks for coming by.

			JOE
	You bet. We'll see you later.

Joe heads for the door, meeting Miguel there.

			JOE
		(to Miguel)
	He's looking good. I wouldn't
	be surprised if he gets out of
	here soon.

			MIGUEL
	We just want to get him home.
	Thanks for stopping by, Joe.

Miguel puts his arms around Joe and hugs him. Joe slaps
Miguel's back.

			JOE
	Night.

Joe leaves.

Miguel begins circulating among the "guests," saying:

			MIGUEL
	He's tired. He ought to sleep.

			          CONTINUOUS CUT TO:

JOE STEPPING INTO THE HOSPITAL ELEVATOR (INT./NIGHT), AND
saying to a GROUP OF DOCTORS and NURSES:

			JOE
	What do you call a thousand
	lawyers chained together at
	the bottom of the ocean?

The elevator doors close.

			          CONTINUOUS CUT TO:

ANDREW'S HOSPITAL ROOM...

Matt gives Andrew's hand a squeeze, before leaving.

			MATT
	Night, Andy. See you tomorrow,
	buddy.

Rev. Jim pats Andrew's shoulder.

			REV. JIM
	God bless you, Andy.

Bud Beckett kisses Andrew on the cheek.

			BUD
	Goodnight, son.
	Get some rest, okay?

Sarah Beckett is strong, kissing Andrew on the forehead.

			SARAH
	Goodnight angel, my sweet boy...

Randy Beckett loses control of his emotions as he bends to hug
his brother. He begins to sob.

			RANDY
	Andy.

Andrew puts his weak arms, with the IV lines connected,
around his brother Randy, to comfort him.

			ANDREW
		(through mask)
	I'm okay, bro. I'll see you tomorrow.

Jill hugs Andrew, giving Miguel a kiss as she leaves the room.
Maria waves goodnight from the doorway, closing the door.

Miguel sits on the edge of the bed, kicking off his shoes.

Miguel stretches onto the bed next to Andrew, picks up the
remote control, and TURNS ON THE TV.

Andrew pulls aside the oxygen mask, to say:

			ANDREW
	I'm ready...

			MIGUEL
	Ready for what, baby?

			ANDREW
	Whatever.

			MIGUEL
	I hope you're ready for "Studs,"
	because that's what's on.

Andrew replaces the oxygen mask.

They lie next to each other, watching television.

			          FADE OUT/FADE IN:

EXTERIOR: JOE'S HOUSE AT NIGHT, ESTABLISHING...

From inside the house: the phone rings.

						CUT TO:

JOE AND LISA'S DARK BEDROOM, QUIET (INT./NIGHT) ...

Lisa is sitting up in bed, having answered the phone.

Joe is just waking up.

			LISA
		(to Joe)
	It's Miguel.

Joe sits bolt upright.

			JOE
	Miguel?

						CUT TO:

EXTERIOR: ANDREW AND MIGUEL'S LOFT BUILDING, DAY.

A TAXI ARRIVES and an elegant, well-dressed older COUPLE
step out.

						CUT TO:

RACHEL OPENS THE DOOR OF THE LOFT, FINDING MIGUEL'S FAMILY
on the other side: very dignified, handsome people who have
just arrived from Spain. They enter the apartment, where...

A wake is in progress. Lots of food. People sharing stories
about Andrew. Some people laughing. one or two softly crying
as they hug each other.

Someone has set up a "memento" table, with pictures of Andrew
at various stages of his life, and things that meant something
to him, like programs from the opera, a ballcap, photos of his
favorite cat, etc.

THEME MUSIC PLAYS, but we hear BITS OF DIALOGUE under the
music ("You're Miguel's parents?" "Do you remember when
Andy..." "I went to college with Andy..." etc.)

Bud Beckett sits alone, very quiet.

Miguel leads his parents over to Bud. Bud looks up, rises,
extending his hand to MIGUEL'S DAD. Miguel's father shakes his
head in sadness, reaches for Bud and pulls him into his arms for
an embrace.

CAMERA MOVES THROUGH THE CROWD, SEEMING TO SEARCH FOR
SOMETHING...

CAMERA ZEROS IN ON THE TV SET, across the room, where BLACK AND
WHITE IMAGES ARE FLICKERING, ignored by everyone...

AS CAMERA GETS CLOSER TO THE TV, it becomes apparent that the
images are BLACK AND WHITE HOME MOVIES, converted to video...

THE HOME MOVIES FEATURE a bright-eyed LITTLE BOY...

Andrew...

Riding a bike with training wheels...

Swinging wildly at a wiffle ball...

AS CAMERA TRACKS INTO THE TV, PARTY SOUNDS AND THEME MUSIC
FADES... People are still talking, still laughing, still
crying, but we CAN'T HEAR THEM ANY LONGER. Instead...

We hear only the SOUNDTRACK from the HOME MOVIES...

Andrew SHOUTING GLEEFULLY as he chases a new puppy...

Andrew SQUEALING as he jumps into a tiny swimming pool...

Andrew on a swing, going higher and higher...

And laughing.

FADE TO BLACK.


