Disclaimer

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Inside Sam's office, a tape of the previous "Sports Night" plays on a television. Sam sits at his desk and types on his laptop. He'll casually take a quick glance at the monitor and then return his focus to his laptop.

Dana walks into his office and holds a piece of paper.

Dana: You wanted to see me?

Sam turns away from his laptop and toward Dana.

Sam: Yeah.

Dana: Instead of walking down the hallway, coming to me directly, and asking me to see you, you decided to send a e-mail?

Dana hands the piece of paper to Sam.

Dana: This is utterly ridiculous.

Sam: What's this? (reads the paper)

Dana: Your e-mail summoning me to your office.

Sam: Why did you print it out?

Dana: Just to show you how utterly ridiculous this is.

Sam: Yeah.

Dana: So you understand that it would have been much easier to verbally communicate your wishes directly to me?

Sam: I realize it is utterly ridiculous- as you phrased it- to communicate with paperless technology, when you are going to just print it out anyway.

Dana: You summoned me, and I am here. Are you happy?

Sam: If I recall correctly, the note said "at your earliest convenience."

Dana: Well, it's damn late and this isn't convenient, so let's get this over with.

Sam: Okay. Have a seat.

Dana: I will not.

Sam: Suit yourself.

Dana: Oh, what the hell. It's been a long day.

Dana sits in a chair in front of Sam's desk. She notices a tape of her show is playing on the monitor.

Dana: You're taking a look at tonight's show? What have you found now, Sam? Or are you also going to keep that away from me?

Sam: For the life of me, I cannot think of what brought about this hostility.

Dana: What hostility? I don't have any hostility.

Sam: You've been like this for a while now.

Dana: I have not.

Sam smiles at Dana and stops the tape of the show.

Sam: What have you noticed about your show?

Dana: Okay, you want to talk about ratings-

Sam: I don't want to talk about ratings.

Dana looks momentarily relieved, then confused.

Dana: Oh. What have I noticed about my show?

Sam: Yeah.

Dana: Can you give me a clue as to what I should be looking for?

Sam: I'll cut to the chase. Your anchors have no chemistry.

Dana: Wha... what?

Sam gets up, walks around to the front of his desk, and sits on the edge of it.

Sam: It's like watching them do their own prerecorded tape live on television. They're not synchronous.

Dana: Dan and Bobbi do a fine job every night.

Sam: You question why your show runs long and how you struggle to keep the show tight. The answer is in front of your monitors. They pause one second between stories. Those seconds adds up, and they add up to a show which has to subtract stories.

Dana: There was a problem with the IRL audio tonight.

Sam restarts the tape. On the monitor, Dan is in the midst of a story.

Sam: Now look at this one. Good little story about a football player.

Dana: Jevon Kearse.

Sam: Whatever. As soon as it ends- (waits for Dan to finish his story and Bobbi to begin hers) -wait for a second, and there. The next story is up without any sort of transition or witty banter.

Dana: They're moving on. Danny concluded the story on Jevon Kearse, and Bobbi went directly into her story on horse racing.

Sam: There was no setup and no transition. One person ends the story; the next one starts up. It's like sitting in the middle of an intersection and watching a traffic light for 60 minutes. Red light. Green light. Red light. Green light.

Sam stops the tape.

Dana: So we had a bad night.

Sam: It's been pretty consistent of their performances. From the moment the girl stepped onto the set, the show has turned mechanical. Red light. Green light.

Dana: We can work on that. I have some acumen. I'll have a word with Bobbi and Dan. It's something we can improve on.

Sam: Right now, where's everybody else?

Dana: I don't know.

Sam: Everyone's down at their watering hole. Where's the girl?

Dana: Bobbi?

Sam: Yeah.

Dana: I... she had other plans.

Sam: Has she ever gone out with you guys?

Dana: Well I'm sure she has at some point... she has, I'm sure.

Sam: When?

Dana: Nothing is coming to mind. You're putting me on the spot here, Sam. It's very late.

Sam: That's fine.

Dana: Dan and Bobbi are professional in their jobs, and to toss out this accusation-

Sam: There's that hostility.

Dana: I'm not being hostile!

Sam: Let me ask you something else. What's the story on your associate producer?

Dana: Which one?

Sam: The nosy one.

Dana: Natalie? What story do you want to hear?

Sam: I hear she's contemplating a move to the West Coast.

Dana: She hasn't made up her mind.

Sam: And everybody on your staff is concerned that the network may be trying to replace Isaac.

Dana: I... I don't know. Isaac is an integral part of this network.

Sam: And you're concerned about the show's performance, and you feel you can blow off these concerns every time you look at a ratings book.

Dana: Is this why you wanted to meet with me? To browbeat me?

Sam: These are my observations. This is what I see when I take a look.

Dana gets up from her chair and points at Sam.

Dana: You're wrong.

Sam: I don't think so.

Dana starts to leave the office.

Dana: You're wrong, Sam.

Sam: Dana?

Against her intuition, Dana stops to listen to Sam.

Dana: What is it?

Sam: During the Mexican-American War there was a woman, Sarah Borginis. She had enlisted with her husband into the 8th calvary, and she had become the principal cook at Fort Brown. Now, when General Zachary Taylor moved most of his troops- his best troops and highly ranked officers- from Fort Brown to the mouth of the Rio Grande, very little defense was left behind. When the Mexicans began attacking, Sarah Borginis was issued a musket. Legend has it that she never missed a target or preparing a meal. When General Taylor received word of her heroics, he breveted her to colonel, making her the first female colonel in the U.S. Army.

Dana? If people end up leaving the network, you need to pick up a "musket" and fight the good fight because it is a fight worth winning. This is a fight you can win.

Dana takes a deep breath.

Dana: Maybe.

Dana leaves the office.

-----

Back at Anthony's, Casey, Dan, JoAnne, Jeremy, Michael, and Natalie sit at a table. They've finished the round of beers Jeremy eventually brought back to the table.

Dan: Wait. I'm trying to comprehend this. She came up to you. She liked you. She gave you her number.

Jeremy: For the seven-hundred-forty-seventh time we've been over this, yes.

Dan: Jeremy, I like you and everything and I trust that you like me and everything, but you need to realize one thing.

Jeremy: What's that?

Dan: I'm not going home with you tonight.

Jeremy: That's a relief.

Dan: We're eye-to-eye on this?

Jeremy: I suppose so.

Dan: Good.

Natalie looks at her watch.

Natalie: Guys, it's getting late. Michael and I should be going-

Casey: Hold on there, Natalie.

Natalie: What?

Dan: The night is young.

Casey: The night is young.

Natalie: Casey, it's been a long day. We need to be heading back-

Casey: Let's play some darts.

Natalie: Casey.

Casey: Just one game. Dan and myself can take on Jo and yourself.

Natalie: Well... Michael can be on my team.

Casey: We want even sides here.

Natalie: Jeremy can-

Casey: I think Jeremy wants to sit this one out.

Jeremy: Yeah, yes. I think I'll sit this one out.

Casey: So the teams are set. Dan and myself versus the ladies. The men versus the women.

Natalie: I don't know.

Dan: The night is young.

JoAnne: I'm game.

Dan: Ah, but Natalie is chicken. Afraid that we might beat you at this hour of the evening... or morning.

Natalie: You think you can take us?

Casey: Ask him if he has any fear.

Dan: No fear. None, whatsoever.

Natalie: I'll take this challenge. Are you sure Jeremy wants to sit this one out?

Casey: Jeremy?

Jeremy: I think I'm going to sit here at the table and watch you guys play.

Dan and Casey stand up and turn toward the dart board.

Dan: Wait.

Natalie: I thought you said you had no fear.

Dan: Somebody's already playing.

Casey: Let's go see if we can get next game.

Dan: No fear.

Natalie: Let's go.

JoAnne and Natalie get up, and the four head off to the dart board. Jeremy and Michael sit at the table. Jeremy switches seats and sits directly across from Michael.

Jeremy: So?

Michael: So.

Jeremy: How do you think the movie is going to turn out?

Michael: Awesome. It's going to be better than I expected.

Jeremy: That's what the producers, the director, the actors said?

Michael: Pretty much everybody has said that the shoot was great and the movie is going to be great.

Jeremy: In this movie, is it going to be a comedy, drama, adventure, mystery...

Michael: All the above.

Jeremy: All the above?

Michael: Yeah. A little bit of comedy, a little bit of drama, a little bit of adventure, and-

Jeremy: A little bit of mystery.

Michael: Exactly.

Jeremy: This movie experience has opened a few doors for you.

Michael: Not exactly.

Jeremy: You don't have another project lined up?

Michael: Not right now.

Jeremy: But you're moving out to L.A.?

Michael: If I'm going to be a serious movie writer, then I need to be out in L.A. I'm sure I'll be getting a few more offers once the movie comes out.

Jeremy: Yeah. Like an offer to write "Can't Stop the Music 2"?

Michael: I actually want to produce original writings.

Jeremy: Okay. What about Natalie?

Michael: What about her?

Jeremy: She's going to have to pick up, leave her career here, and move out to L.A.

Michael: There are plenty of studios out in Hollywood. I have confidence she would be able to get a job with one of them. Besides, she could get further ahead doing movies instead of just doing sports, no offense.

Jeremy: None taken.

Michael: Plus, if all else fails, she could become a writing partner.

Jeremy: A co-writer.

Michael: She could help me do research and rehearse scenes. She'd be perfect.

Jeremy: So you feel you have a better chance at success out on the West Coast instead of working here in New York?

Michael: I want to be a serious movie writer.

Jeremy: Screenwriter.

Michael: Exactly.

Jeremy: And Natalie's prepared to move out there with you?

Michael: Yes.

Jeremy: So you're absolutely certain she's going to move out there.

Michael: Nothing is for certain, but I'm pretty confident.

Jeremy looks at Michael.

-----

Dana takes a slow walk down the corridor toward Isaac's office. On her right side, she carries her slingback heels loosely by a finger. She gently knocks on Isaac's door. The assumption Isaac has left for the work day is made because there is no light coming from under his door. Dana opens the door and the hinges barely make a noise as Dana's assumption is proven true.

Dana walks inside and takes a careful look at the awards placed behind Isaac's desk. Her attention is distracted when she hears a noise from outside the window. She walks over to the window and watches the skyline, completely forgetting what got her attention and caused her to walk over there. Dana takes a deep breath and crosses her arms with her shoes dangling down and gently tapping her hip.

Fast forward ahead, and Dana is standing inside the studio. The dimmed lights give the room and eerie feeling, a momentary absence of a life and soul. As she walks through the studio, there is a click with each step. Dana realizes she put her heels back on, but she doesn't recall when or where she put them on.

As she walks through the darkened control room, she pauses to look at the empty chairs next to the control board. She pays little attention to the adjoining sound room as she makes her way out of the room.

Dana picks up the pace as she walks through the newsroom. A few people walk around the room, but everybody is oblivious of each other's presence. Dana notices life coming from the conference room. She realizes a rundown meeting is taking place- the "West Coast Update" makes their final preparations and the sound of Sally Sasser's voice sends piercing pains down her spine.

She quickly walks by the conference room and notices the darkened and empty office belonging to Dan Rydell. When she stops walking, Dana realizes she is standing next to Natalie's desk. She looks at her desk and is amused by the little drawings Natalie has made on the edges of her desk calendar. She picks up a picture frame and admires the photograph of Natalie and Michael together. Their smiles remind Dana of happy places and times and special moments. She sets the frame back on the desk and is reminded of something missing from Natalie's desk top. Dana opens a drawer, pushes aside a bag of Tootsie pops, and finds what she was looking for- a vase made of clay. Dana clutches the vase and reminisces about her first date with Casey, when he made his coaster and she made the vase she holds dearly for the moment.

Dana finds herself sitting inside her office and in her chair. She gazes out her window and gently rocks her chair back and forth. She finds her slingbacks dangling off a finger once again. Her cherished vase sits on her desk, illuminated only by the city lights coming through her window.

Dana is awaken by the sound of a knock on her door frame. She quickly sits up and turns toward her door.

Dan: Hey.

Dana: Hey.

Dan: Did you get caught up on all your work?

Dana: Uh... yeah. I'm all caught up. What are you doing here?

Dan: I thought I'd stop by and say 'hello.' Hello.

Dana: Hello.

Dan: Do you mind if-

Dana: Not at all.

Dan flips on the light switch. Dan shields his eyes and Dana squints as they adjust to the light.

Dana: How did it go at Anthony's?

Dan: We laughed and talked and drank... and laughed and talked some more and drank a lot more. Hey, Michael's in town.

Dana: I heard.

Dan: Natalie was surprised.

Dana: I bet she was.

Dan: It was a good time.

Dana: I... I'm sorry I missed out on it.

Dan: And Jeremy was hit on by an underwear model.

Dana laughs.

Dana: Jeremy?

Dan: Inside a crowded bar. Go figure.

Dana: Go figure.

Dan: Also, you may hear a story about a game of darts, and let me set the record straight. The final tally was much closer than you may be led to believe.

Dana: Natalie beat you, didn't she?

Dan: I wouldn't necessarily say she beat me. It was a good contest and, unfortunately, a team had to prevail.

Dana: Who beat you? Or shall I ask who was the prevailing team?

Dan: Natalie and Jo.

Dana: And you, Jeremy, and Michael lost.

Dan: Actually, Jeremy and Michael sat that one out.

Dana: Who was on your team?

Dan: Casey.

Dana: I thought Casey wasn't going to be there.

Dan: I thought you had already solved Natalie's little ruse.

Dana: Right.

Dan: It was a good time.

Dana: You and Casey make a good team.

Dan: Yeah. We have a little experience with working together.

Dana: I saw Sam Donovan after the show tonight.

Dan: I thought he was supposed to be blending into the background.

Dana: Huh?

Dan: Nothing. What about Sam?

Dana: He says you and Bobbi lack chemistry.

Dan: I wouldn't necessarily say that I'm the N-a and she's the C-l.

Dana: It's something we've got to work on.

Dan: I'm trying.

Dana: We need to try harder.

Dan: Okay.

Dana: You and Casey are a great team.

Dan: We've been elevated from 'good' to 'great' in a matter of seconds.

Dana smiles.

Dana: Yeah.

Dan: You and Casey are a great team.

Dana: Danny.

Dan: Seriously.

Dana turns her chair and faces her window.

Dana: Casey and I... it's nothing right now.

Dan: He asked about you tonight.

Dana: Danny, please.

Dan: He wanted to come up, but I suggested that it wouldn't be such a good idea.

Dana: Thank you.

Dan: He wants to know if there is a message you would like for me to deliver to him.

Dana: Is this why you came up here?

Dan: There's a few reasons, first of which was to stop by and say 'hello.' Hello.

Dana: We've already done that.

Dan: Yeah.

Dana: I don't have a message for Casey.

Dan: Okay.

Dana: Okay?

Dan: I'm sure Natalie will be trying to do some arm twisting.

Dana: I'm not sure Natalie will be around to do some arm twisting.

Dan: Are you certain she is going to L.A.?

Dana: I have to consider it to be a great possibility. It will be difficult to run the show without her.

Dan: Elliott and Jeremy are more than adequate replacements.

Dana: Just like Bobbi is an adequate replacement for... Casey?

Dan: We're still trying to nail down that chemistry thing.

Dana: Yeah.

Dan: We'll survive.

Dana: And Isaac.

Dan: You're worried about him.

Dana: Of course I'm worried about him.

Dan: All of us are concerned, but Isaac can surely hold his own.

Dana: So you have to understand there is a lot going on right now.

Dan: Understand what?

Dana: That... me and Casey... there's a lot going on right now with work. I can't deal with his stuff right now.

Dan: Stuff? You're calling it stuff.

Dana: He has to understand there has to be consequences for his actions. He lied to the networks, he lied on his resumé, and he lied to me. He's been living in this alternate reality.

Dana stands up toward the window. Her chin trembles in her hand.

Dan: He's missing one college credit. It isn't like he's a bank robber on the lam, and he's changed his name, his hair color, and the way he talks.

Dana: I had a different impression of him.

Dan: Everybody seems to have forgiven Casey for his transgression, except for you.

Dana: Well, maybe I'm not that forgiving.

Dan walks over to the front of Dana's desk.

Dan: Dana.

Dana: I wanted everything to be perfect. I had everything planned out.

Dan: Nothing's perfect.

Dana: I know.

Dan: And no man or woman is an island.

Dana: I know that also.

Dan: Then what's the problem?

Dana: It didn't work out.

Dan: This is nothing compared-

Dana: It didn't work out.

Dan: Dana.

Dana: It didn't work out.

Dan: Why didn't it work out?

Dana: Because of Casey.

Dan: You need to forgive and move on.

Dana: I can't.

Dan: I think you can.

Dana: I can't.

Dan: Dana.

Dana: I LOST OUR BABY!

Dana sobs as Dan walks over to her. He puts her arm around her, and Dana cries into his shoulder.

Dana: I lost her. *sob*

Dan: I'm sorry.

Dana: I'm... *sob* I'm so sorry.

Dan: Let it all out.

Dana presses her face harder into Dan's shoulder. She then slowly pushes away from him and begins taking deep breaths.

Dana: It's just... it's just... it's just when she... when she... you know... everybody felt so sorry for me... they cried with me... they knew my pain... they knew how much I hurt...

Dan: We all do.

Dana: That's... that's where you're wrong. Dammit, Danny! Do you know what it's like to carry a child?! To bring her to term?! To give birth?! Do you know the feeling?! Dammit! Do you know what it's like to lose a child?! Do you?!

Dan: I can't relate directly, but I can relate in a way.

Dana: How?!

Dan: My brother, Sam.

Dana pauses for a moment.

Dana: *sob* Everybody needs to understand.

Dan: Yeah.

Dana: After a few weeks... everybody... everybody carried on... like... like it never happened... like my pain never existed... like she never lived... they moved on.

Dan: People do, in order to survive.

Dana: Danny, I can't...

Dan: You know who would understand?

Dana: *sob* Casey?

Dan: Casey.

Dana: Danny... *sob* I can't...

Dan: I'll go with you. C'mon. Let's go.

Dan, with one hand, gently takes Dana's hand. With his other arm, he puts it around her shoulders.

Dana: Danny-

Dan: Listen. No one is an island.

Dana: I know. *sob*

Dan quietly leads Dana out of her office.