GEORGETOWN - CITY STREETS: We are transformed from the blazing suns of Iraq to the dusk of Washington. As the cross fade is made, the caption GEORGETOWN appears at the bottom of the screen. We slowly zoom in on a house in the distance.
MACNEIL HOUSE - CHRIS' BEDROOM: A small light is switched on by Chris MacNeil, a woman in her mid thirties, mother and famous actress. She is clad in her night clothes lying in bed, examining lines from a script. She is disturbed by a scratching noise that seems to be coming from outside her room. She looks over her shoulder to hear for it again. When it does happen again she climbs out of bed and puts her robe on. She walks toward the bedroom door and exits to the hall.
HALLWAY: Chris walks through the dark hallway toward her daughters room, as she passes the attic hatch she hears the noise again and it appears to be coming from the attic. She walks into Regan's (her daughter) room and sees that the window is wide open and the bed covers are pushed away, no longer covering Regan. Chris walks in and shivers because of the cold night air which enters through the open window.
As Chris approaches the window, another scratch is heard from the attic. Chris takes no notice and closes the window. She then walks round Regan's bed and puts the covers back over her, she tucks her in and strokes her face.
CHRIS (Whispering): I sure do love you.
Chris kisses Regan and turns away.
KITCHEN: Chris walks into the kitchen in her robe, with a pen in her mouth and her script in her hands. She is greeted by Willi an elderly, Swiss housemaid.
CHRIS: Good morning.
WILLI: Good morning, Mrs. MacNeil.
CHRIS: How are you today?
WILLI: Fine, thank you.
CHRIS: That's good.
Chris puts the script and pen on the table and lifts the coffee pot to pour herself a mug. Willi offers to do it for her.
CHRIS: It's okay, I got it, thanks.
Willi returns to making breakfast as the elderly, Swiss butler Karl, walks in . . . .
KARL: Good morning, Madam.
CHRIS: Good morning Karl. Oh Karl, we've got rats in the attic, you better get some traps.
CHRIS (walks to the fridge with her cup of coffee): Uh huh. 'Fraid so.
KARL: But the attic is clean.
CHRIS (takes a carton of milk out of the fridge and pours some into her coffee): All right then we've got clean rats.
KARL: No, no rats.
CHRIS: I just heard them, Karl.
KARL (shrugs his shoulders): Maybe plumbing.
CHRIS: Or maybe rats. Now would you just get the traps?
KARL: Yes, I go now.
CHRIS: Well don't go now Karl, the stores aren't open yet.
KARL (picks up a huge jar, heads out the door): I'll go see.
WILLI (shouting at Karl): They're closed!
UNIVERSITY OF GEORGETOWN - FILM SET: We are looking at the building of Washington University when suddenly we are transported to the film set on campus. Lights, camera's, crew members all over the place. A group of crew members are surrounding one man, the director Burke Dennings. Burke doesn't respond to any of them until he hears a voice calling from a trailer.
CHRIS (calling): Burke? oh Burke?
CREW MEMBER: Is this scene really essential, Burke?
Burke turns to see Chris walking toward him. He walks to her.
CREW MEMBER: Can you just consider on whether or not we can do without it?
CHRIS (walks to Burke with her script in hand): Burke, take a look at this damn thing will you, it just doesn't make sense.
BURKE: Why it's perfectly plain, you're the teacher at the college, you don't want the building torn down.
CHRIS: Come on, I can read for Christ's sakes
BURKE: Well, what's wrong?
CHRIS: Well, why are they tearing the building down?
BURKE: Shall we summon the writer? He's in Paris, I believe.
We see a crowd of people looking on. Standing out is a young, dark, handsome Jesuit Priest.
Chris bursts into laughter and hugs Burke as the crowd including the priest, burst into laughter. We cut to a crew member with a clapper board.
CREW MEMBER: Scene 39, hotel, take 4!
As he claps the board we hear the assistant director's voice on a mega phone.
CREW: Allright, hustle background and... Action!
The crowd of movie extras cheer and chant as an actor with a mega phone plays his part. Chris is being touched up with make up before she makes her appearance. She walks toward the set.
ACTOR (with mega-phone): Hasn't there been enough killing?
After the actor says each line, the crowd cheers. Chris walks into the crowd of extras, as we see Burke on the director's chair smiling and laughing.
Chris reaches the guy with the mega-phone and turns on character. She takes the mega-phone and begins.
CHRIS (with mega-phone): Wait a minute, please, hold it! Hey c'mon we're all concerned with human rights for god's sake, but the kids who wanna get an education have a right too! (the crowd cheers) Don't you understand it's against your own principles for gods sake. (the crowd cheers) You can't, you can't accomplish anything by sending kids out........
The crowd cheers, cutting her short. We focus on the young priest who is walking away from the campus.
CHRIS (with mega-phone): Order! Order! If you wanna effect any change you'll have to do it within the system....
The crowd cuts her short again with an almighty cheer. We move in front of the young priest who continues to walk from the set.
CREW: Okay, cut! That's a rap!
GEORGETOWN UNIVERSITY - ENTRANCE: We see Chris descending a flight of stairs walking toward a car.
CHRIS: I think I'll walk home tonight, Mike.
CHRIS (hands her leather case to him): And take that and drop it by my house.
She walks off and waves goodnight to the crew across the road. As she turns the corner and walks down the road, Mike Oldfield's Tubular Bells begins to play. She walks through the leaf covered street on Halloween and sees a group of kids in costume run past her. She carries on walking and sees two nuns walking in the wind, with their gowns blowing. She approaches the local chapel and overhears a voice.
KARRAS: There's not a day in my life when I don't feel like a fraud. I mean priests, doctor, lawyers I've talked to them all, I don't know anyone who hasn't felt that.
She sees that it's the young Jesuit who was at the campus earlier, and that he is talking to another priest. We don't hear the rest of the conversation because of a low flying airplane.
MACNEIL HOUSE - DINNING ROOM: We cut to the dinning room where Chris' housesitter and nanny, Sharon, is sitting at a typewriter eating an apple. Chris enters.
SHARON: In here!
CHRIS (smiles): Hi.
SHARON: Hi, how'd your day go?
CHRIS: Oh not too bad, kinda like the Walt Disney version of the Ho Chi Minh story, but other than that, it was terrific.
Chris sorts through her mail as Sharon hands her a letter.
CHRIS: Anything else?
SHARON: You also got an invitation.
CHRIS: What's this?
SHARON: Dinner at the White House.
CHRIS: You're kidding me. What is it a big party or something?
SHARON: Just five or six people.
CHRIS: No kidding.
Chris walks toward the cabinet and pours herself a drink. We hear a small voice call from the hall.
REGAN: Hi mom.
Regan runs in, hugs and kisses Chris.
CHRIS: What did you do today?
REGAN: Well, me and Sharon played a game in the back yard, and a picnic down by the river. Oh mom, you should have seen, this man came along on a beautiful grey horse. It was so pretty.
CHRIS: Really, what kind was it, a mair or guilding?
REGAN: I think it was a guilding, it was grey, oh so beautiful. And the guy let me ride it all around for a half hour. It was so nice. Oh I loved it. . . Oh mom, can't we get a horse?
CHRIS: Well, not while we're in Washington.
A whimper and a grumpy face from Regan.
CHRIS: We'll see when we get home, okay?
REGAN: When can I have one?
CHRIS: We'll see Regan, we'll see. (to Sharon) : Now about those party invitations.......
Regan opens the jar of candy for the trick or treaters and takes some candy.
Regan runs off and Chris chases her.
CHRIS: Regan, come back here!
Chris catches Regan and wrestles her to the floor.
CHRIS: All right give it up, give it up, now! You'll be sorry.
Regan is giggling constantly.