> The Truman Show

THE TRUMAN SHOW


BY

by Andrew Niccol

Shooting Script







	A FOGGED MIRROR

	Behind the fog we hear the sounds of a bathroom.  After a 
	long moment, a hand wipes the condensation from the glass to 
	reveal the face of TRUMAN BURBANK.  He wears a sleeveless 
	Hanes undershirt and blue-stripes pajama bottoms, behind him 
	a white glazed tiled bathroom wall.  It is immediately 
	apparent that we are viewing him through a two-way mirror.

	Truman, expressionless, studies his reflection in the mirror.  
	For a long moment, he does nothing.  He continues to look 
	impassively into the mirror for what becomes an uncomfortably 
	long time.  Still nothing.  Finally he speaks, talking to 
	himself in the mirror as if participating in a TV interview.

				TRUMAN
		... personally I think the 
		unconquered south face is the only 
		one worth scaling... of course it's 
		a 20,000 foot sheer wall of ice but 
		then when did that ever stop me 
		before?  Naturally, I intend to make 
		the ascent without the benefit of 
		oxygen but also without crampons or 
		even an ice pick... risks?
			(smug, TV smiles)
		... sure I'm aware of the risks -- 
		why else do you think I would spend 
		seven years as an adjuster in a life 
		insurance company?

				MERYL (O.S.)
		Truman, you're gonna be late!

	Truman resignedly opens the door of the 
	cabinet and replaces his shaving tackle.  It 
	partially obscures the lens of the hidden 
	camera.  He closes the door and exits.

	INT.  KITCHEN - MORNING

	MERYL, wearing a stylish robe, sits at the kitchen table 
	sipping coffee.  On the table in front of her lies a parcel.  
	TRUMAN enters and glances at the gift.

				TRUMAN
		What's that?

				MERYL
		It's a surprise.

	TRUMAN unwraps the parcel -- an expensive-looking set of 
	exercise sweats.

				MERYL
			(eager for his response)
		Well, what do you think?

				TRUMAN
		They're...
			(the merest hesitation)
		perfect.  Thank you.

	Truman returns Meryl's kiss.

				MERYL
			(handing him the sweat top)
		Try it on.

	Truman pulls the top over his head.  As he does so, a closer 
	shot focuses on the manufacturer's name.

				MERYL
		I thought you could wear them when 
		you do your exercises.
			(afterthought)
		Pre-shrunk.  And they breathe.

	EXT.  TRUMAN'S HOUSE - DAY

	Wearing a business suit, briefcase in hand, TRUMAN emerges 
	from his pleasant, Victorian-inspired, picket-fenced house 
	into an idyllic suburban street of similarly picturesque 
	homes.  A neighbor, SPENCER, is taking in trashcans, 
	whistling a tune.  Spencer breaks off abruptly as Truman 
	approaches his car.  His license plate reads, "Seahaven -- 
	A Nice Place To Live."

				SPENCER
		Morning, Truman.

				TRUMAN
		Morning, Spencer.  And in case I 
		don't see you, good afternoon, good 
		evening and good night.

	Spencer's dog, PLUTO, bounds happily over to Truman.

				TRUMAN
			(petting the dog)
		Hey, Pluto.

	Truman exchanges a polite nod with the WASHINGTON's, an 
	African-American family across the street.  MR. WASHINGTON is 
	farewelled by his WIFE and CHILD.

	Truman is about to climb into his car when he is distracted 
	by a high-pitched whistling sound.  Suddenly, a large 
	spherical glass object falls from the sky and lands with a 
	deafening crash on the street, several yards from his car.

	The startled Truman looks to Spencer but he has abruptly 
	disappeared inside his house with Pluto.  Mrs. Washington and 
	Washington Junior has also made themselves scarce.

	Truman investigates.  Amidst a sea of shattered glass are the 
	remains of a light mechanism.

	He looks around him but the street is deserted.  He checks 
	that all the surrounding street lights are accounted for, 
	even though the fallen fixture is far larger.  He looks up 
	into the sky but there is no plane in sight.  With some 
	effort, Truman picks up what's left of the crumpled light 
	and loads it into the trunk.  A label on the light fixture reads, 
	"SIRIUS (9 Canis Major)."  As he drives away, we hear the 
	sound of his car radio.

				RADIO ANNOUNCER
		Another glorious morning in Seahaven, 
		folks.

	INT/ EXT.  TRUMAN'S CAR - SEAHAVEN - DAY

	TRUMAN makes his way along the streets of Seahaven past a 
	series of quaint, pastel-shaded cottages.

	EXT.  SEAHAVEN ISLAND TOWNSHIP - DAY

	A high-angle reveals an anonymous mid-sized town built around 
	a small, pretty bay.  A cluster of high-rise buildings stand 
	at the water's edge overlooking a marina.  Surrounding the 
	commercial center lie neatly arranged suburbs.

	EXT.  OCEANSIDE STREET - DAY

	Pausing at a traffic light along a seaside road, TRUMAN looks 
	through a curious wooden arch to the beach and ocean beyond.  
	The sight triggers a memory in his head.

	PLAYBACK - EXT.  LONG, WIDE BEACH - DAY

	Unlike a conventional flashback, the scene in his memory 
	appears to be playing on a television screen.

	FOUR-YEAR-OLD TRUMAN runs towards a bluff on the beach.

	The boy's father, KIRK, late-thirties, beer bottle in hand, 
	flirts with TWO TEENAGE GIRLS at the shoreline.  Suddenly, 
	the father remembers his son.  He looks anxiously around.  
	The sight of the boy at the far end of the beach causes him 
	to drop his bottle in the sand and run to Truman.

	The boy is near the top of the cliff before his agitated 
	father comes within earshot.

				FATHER
			(out of breath, 
			 clutching his side)
		Truman!  Truman!  Stop!

	Truman turns from his perch and waves happily down to his 
	father.  But the smile quickly vanishes when he registers the 
	anger and distress on his father's face.

				FATHER
		Come down now!

	His father's unnatural anxiety makes the next bay even more 
	tantalizing.  The boy considers defying his father.  He puts 
	his hand on the rock above him to stretch up and sneak a peek 
	at the other side.  One good stretch would do it.

				FATHER
			(reading Truman's 
			 mind, enraged)
		No!

				TRUMAN
		Why?  What's there?

				FATHER
			(unconvincing)
		Nothing.  It's... it's dangerous.
			(trace of desperation)
		Come down, now!  Please!

	Truman is suddenly aware that the hundreds of other 
	BEACHGOERS have stopped their activities to stare at him.  
	Reluctantly, he starts to retrace his steps down the rocks.  
	When he finally jumps to the sand, his father embraces him 
	and leads him away.

				FATHER
		I told you to stay close.  Don't ever 
		leave my sight again.
			(pause)
		You've got to know your limitations.  
		You could've fallen.

	INT.  TRUMAN'S CAR - DOWNTOWN SEAHAVEN - MORNING - PRESENT

	Through his car window, TRUMAN buys a cup of coffee from a 
	streetside VENDOR.

				VENDOR
		How are ya, Truman?

				TRUMAN
			(placing his fingers 
			 to his pulse)
		Vital signs are good.

	He pulls into a parking space and sips on the coffee.  And he 
	drinks, he becomes aware of a school bell summoning children 
	to class in the adjacent Elementary School.  The image 
	prompts another childhood memory.

	PLAYBACK - INT.  SEAHAVEN ELEMENTARY SCHOOL - CLASSROOM - DAY

	Once again, the flashback appears to be playing on a 
	television screen.

	SEVEN-YEAR-OLD TRUMAN sits in the middle rrow of an Elementary 
	School classroom surrounded by twenty-or-so othegr well-
	scrubbed, uniformed YOUNGSTERS.  MARLON, the boy next to Truman, 
	is on his feet under the scrutiny of a kindly Norman Rockwell-
	style SCHOOL MISTRESS.

				MISTRESS
		What do you want to do when you 
		grow up, Marlon?

				MARLON
		I want to be an entrepreneur like 
		my dad.

				SCHOOL MISTRESS
			(impressed)
		Tell the class what an "entrepreneur" 
		does, Marlon.

				MARLON
		He makes a lot of money, Ma'am.

				SCHOOL MISTRESS
		A good one does, Marlon.
			(looking in her purse, 
			 hamming it up)
		Perhaps I'll be coming to you for 
		a loan one of these days.

	The Class titters.  Marlon sits down and winks to Truman.

				SCHOOL MISTRESS
		What about you, Truman?

	Truman rises to his feet, gathering his nerve.

				TRUMAN
		I want to be an explorer...
			(with reverence)
		... like Magellan.

	The School Mistress smiles benevolently.

				SCHOOL MISTRESS
			(slightly condescending)
		I'm afraid no one's going to pay you 
		to do that, Truman.  You might have 
		to find something a little more 
		practical.
			(glancing to a pulldown 
			 wall map behind her 
			 head)
		Besides, you're too late.  There's 
		really nothing left to explore.

	The class roars with laughter as the crestfallen Truman takes 
	his seat.

	EXT.  PARKING LOT - DAY - PRESENT

	TRUMAN, briefcase in hand, crosses from the parking lot to the 
	town square, surrounded by similarly suited, briefcase-toting 
	OFFICE WORKERS.

	EXT.  DOWNTOWN SEAHAVEN - DAY

	TRUMAN walks briskly down the bustling city street.  A snarl of 
	taxis, buses and COMMUTER traffic.  A STREET VENDOR thrusts a 
	pretzel under Truman's nose, a CAREER WOMAN tries to catch his 
	eye.

	Truman stops at a kiosk and buys a newspaper -- "THE ISLAND 
	TIMES."

				VENDOR
		Is that all for you, Truman?

				TRUMAN
		That's all.  Thanks, Errol.

	Other CUSTOMERS also purchase the morning paper.  Tucking his 
	copy under his arm, Truman selects a glossy magazine from a 
	rack, quickly flicking through the pages.

	Glancing in the direction of the NEWSPAPER VENDOR and finding 
	him busy with another CUSTOMER, Truman deftly tears a portion 
	of the open page and pockets the cutting.  He hastily replaces 
	the magazine and departs.

	As Truman hurries away, the vendor exits the kiosk and picks 
	up the magazine, instantly turning to the torn page.  It is a 
	cosmetics advertisement with the MODEL'S NOSE missing.  
	However, the vendor makes no effort to confront Truman, 
	almost as if he were expecting it.

	EXT.  SEAHAVEN LIFE AND ACCIDENT.  INC - DAY

	Truman passes along a row of shops and offices, finally 
	entering a building that proudly proclaims, "Seahaven Life & 
	Accident Inc." above the entrance.  He has evidently taken 
	his teacher's advice.

	INT.  INSURANCE COMPANY - SEAHAVEN LIFE AND ACCIDENT, INC. - DAY

	In a cramped, cluttered cubicle, TRUMAN talks on the telephone.

				TRUMAN
			(into receiver)
		...okay, okay, let's call it what it 
		is...I'm not going to lie to you...
		life insurance is death insurance...
		you've just got to ask yourself two 
		questions...one, in the event of 
		your death, will anyone experience 
		financial loss?... and two, do you 
		care?

	A CLERK drops a large reference book on Truman's desk.  
	Truman checks the spine -- "MARITIME ACCIDENTS."

				TRUMAN
			(into receiver)
		Hold on, will you?
			(to clerk, referring to 
			 the book)
		This is no good.  Lumps all maritime 
		accidents together.  I need drownings 
		as a separate category.

	The clerk shrugs, returns the book to his cart and continues 
	his rounds.

				TRUMAN
			(returning to his call)
		... just think about what I've been 
		saying and let me... hello?

	The person on the other end has hung up.  With an apathetic 
	shrug, Truman replaces the receiver.  He looks over his 
	shoulder and places another call.

				TRUMAN
			(lowering his voice)
		Can you connect me with directory 
		inquiries in Fiji?

	A CO-WORKER pokes his head over the neighboring cubicle.

				CO-WORKER
		What do you know, Truman?

				TRUMAN
			(embarrassed, mouthing 
			 the word)
		Can't talk.
			(waving off his neighbor, 
			 pretending to be on a 
			 business call)
		I'm sorry, ma'am.  If he's in a coma, 
		he's probably uninsurable.

	The Co-Worker disappears back into his own cubicle.

				TRUMAN
			(lowering his voice again)
		Hello, operator... yes, Fiji... Do 
		you have a listing for a Lauren 
		Garland?
			(pause)
		... nothing listed? ... what about a 
		Sylvia Garland, "S" for Sylvia... 
		nothing?  Okay, thanks...

	The disconsolate Truman replaces the receiver.  Other 
	INSURANCE AGENTS are heading to lunch.  Truman puts on his 
	jacket and follows them to the elevators.

	INT.  LOCAL ITALIAN DELI.  - LUNCHTIME

	Behind a deli counter, TYRONE, fifties, is having his hair 
	brushed by a YOUNG MAN.  The man fusses one final time, then 
	swiftly departs through a rear door just as TRUMAN enters the 
	store.  Tyrone has anticipated Truman's order and has already 
	begun preparing a meatball and mozzarella sandwich on an 
	Italian roll.  Truman gazes at the sandwich skillfully under 
	construction, pained by his own predictability.

				TYRONE
			(nauseatingly cheerful)
		How's it going, Truman?

				TRUMAN
			(deadpan)
		Not bad.  I just won the State 
		Lottery.

				TYRON
			(not listening to Truman's 
			 reply)
		Good.  Good.

				TRUMAN
		Tyron, what if I said I didn't want 
		meatball today?

				TYRON
			(not missing a beat, 
			 passing Truman his 
			 wrapped sandwich)
		I'd ask for identification.

	Truman forces a half-smile and exits.

				TYRONE
		See you tomorrow, Truman.

				TRUMAN
		You can count on it.

	EXT.  SECLUDED PARK - DAY

	TRUMAN eats lunch alone at a small, out-of-the-way park 
	dominated by a gazebo.  From his briefcase he pulls out an 
	old, hardcovered book, "To The Ends Of The Earth -- The Age 
	Of Exploration." He reads to himself, his sandwich uneaten 
	besides him.  Struck by a particular passage, he reads aloud.

				TRUMAN
		"With a mutiny but half-repressed and 
		starvation imminent, he pressed 
		southward till he found the long-
		hoped-for straits..."

	Truman is interrupted by a TRANSIENT in a wheelchair.  It is 
	the man's sneakers Truman notices first, over the top of his 
	book -- they are distinctively initialed, "T.  S." Still 
	under the spell of the account of Magellan, he hands the 
	grateful man his sandwich.

	INT.  A CONFERENCE ROOM SOMEWHERE - DAY

	A group of a dozen MEN and WOMEN of varying ages sit around a 
	circular conference table in a sterile, windowless meeting 
	room.  All stare at a single telephone placed in the center 
	of the table, anticipating a call.  On cue, the phone rings 
	and one of the men, after waiting for the second ring, picks 
	up.

				MAN
		Hello?... I'm sorry, I've got more 
		than enough life insurance.

	He hangs up.  After a moment the phone rings again.

	INT.  INSURANCE COMPANY - DAY

	TRUMAN sits at his desk, making a cold call.

				TRUMAN
			(into receiver)
		... this isn't about insurance, this 
		is about the great variable -- when 
		will death occur?  Could be a week, a 
		month, a year.  Could happen today... 
		A sunbather, minding his own business, 
		gets stabbed in the heart by the tip 
		of a runaway beach umbrella... No way 
		you can guard against that kind of 
		thing, no way at all...

	The prospect on the other end, unimpressed with Truman's 
	pitch, hangs up.  Truman's supervisor, LAWRENCE, younger than 
	Truman by several years, sharper suit, sharper haircut, 
	appears around the corner of the cubicle.

				LAWRENCE
			(handing Truman some 
			 documentation)
		Hey, Burbank, I've got a prospect in 
		Welles Park I need you to close.

	Truman's face falls.  He stares out of his third floor window 
	at the hazy skyline of a nearby island across the bay.

				TRUMAN
			(referring to the island)
		Welles Park on Harbor Island?

				LAWRENCE
			(sarcastic)
		You know another one?

				TRUMAN
		I can't do it.
			(searching for a plausible 
			 excuse)
		-- I've got an appointment, er, 
		dentist.

				LAWRENCE
			(insistent)
		You'll lose a lot more than your 
		teeth if you don't meet your quota, 
		Burbank.
			(the threat in his voice 
			 is unmistakable)
		They're making cutbacks at the end of 
		the month.  You need this.
			(as he exits the cubicle)
		Besides, a half hour across the bay.  
		Sea air.  Do you good.

	Truman sinks back into his seat and stares out at the distant 
	skyline.  The buildings appear very still.  Truman picks up a 
	photo of his wife, Meryl, deposits it in his briefcase and 
	exits.

	EXT.  SEAHAVEN - DAY

	Truman's car heads out of the city on its way to the ferry.

	INT.  SEAHAVEN FERRY TERMINAL - DAY

	TRUMAN exits his car.  Mustering all his nerve, he marches 
	into the Seahaven terminal and buys a token for the ferry.

	Out of his hearing, TWO FERRY WORKERS observe Truman's 
	agitated behavior.

				FERRY WORKER 1
		I got a feeling this is the day.

				FERRY WORKER 2
		No way.  I say he makes it through 
		the turnstiles but he never gets on.

	The two men shake on the wager.  Unaware of the scrutiny, 
	Truman passes through the turnstiles with a herd of TOURISTS 
	and COMMUTERS.  He makes his way across the terminal, but 
	abruptly pulls up at the gangway.

	As the other PASSENGERS impatiently brush past him onto the 
	boat, Truman remains frozen to the spot, mesmerized by the 
	scummy water rising and falling beneath the dock.  It 
	triggers a memory in his head.

	PLAYBACK - EXT.  SEAHAVEN HARBOR - DAY

	As always, the flashback appears to play on a television 
	screen.

	SEVEN-YEAR-OLD TRUMAN, wearing a lifejacket, sits alongside 
	his father, KIRK, in a small sailing dinghy, sailing into a 
	stiff breeze.

	A second sail boat circles them.  We observe the father and 
	son from an angle atop the mast of the neighboring vessel.

				TRUMAN
			(shouting above the wind)
		Let's go further, daddy!  Let's go 
		further!

				KIRK
			(shouting back)
		It's getting rough, Truman.

				TRUMAN
			(entreating his father)
		Please!

	Kirk shakes his head ruefully and indulges his son by heading 
	towards the gathering storm clouds on the horizon.

	INT.  SEAHAVEN FERRY TERMINAL - DAY - PRESENT

	Truman turns and begins to fight his way back against the 
	tide of PASSENGERS boarding the ferry, emerging back onto the 
	street, gasping for air.  The FERRY WORKERS settle their 
	wager.

	EXT.  ROADWAY ADJACENT TO THE FERRY TERMINAL - DAY

	TRUMAN stands at a payphone.  By stretching the payphone's 
	receiver cord as far as it will go, he is able to reach his 
	arm and leg into the driver's door of his car.  He punctuates 
	his conversation with blasts on the car's horn while revving 
	the car's engine with his outstretched foot.  The few passing 
	MOTORISTS and PEDESTRIANS regard Truman curiously.

				TRUMAN
			(shouting into phone)
		I tell you the traffic's insane.
			(blasting his horn 
			 several times to 
			 imitate the sound 
			 of gridlock)
		... I'll never make the ferry in 
		time.  What can I do?  What?... 
		Lawrence, I can't hear you!

	Truman hangs up the phone.

	INT.  TRUMAN'S CAR - DAY

	On his way home, a large "DETOUR" sign forces him onto a 
	secondary road.

	INT.  TRUMAN'S CAR - PARKLAND, SEAHAVEN - DAY

	TRUMAN drives along a winding road through parkland.  He pulls 
	up at a red light -- no other traffic around.  His attention 
	is caught by an attractive YOUNG WOMAN, sitting on a park 
	bench not far from the intersection.  She is being taunted by 
	TWO THUGS.  She attempts to ignore the youths by concentrating 
	on the book on her lap.

				YOUTH 1
			(to woman)
		You wanna read to me?

	His companion smirks.

				YOUTH 1
			(more insistent)
		You wanna read to me?

	The boy reaches over and snatches the novel from that grasp.

				YOUTH 2
			(menacing)
		My friend asked you a question.

	The woman picks up her bag in a reflex and holds it to her.  
	She looks about for assistance, briefly catching Truman's eye.  
	The youths also look in Truman's direction, staring him down.

				WOMAN
			(reaching for the book)
		Please...

	The boy returns the book to the woman, but before doing so 
	rips out the last page from the novel and stuffs it in his 
	shirt pocket.

				YOUTH 2
		Now you're gonna have to ask me how 
		it ends.

	One of the youths grabs the woman, dragging her toward the 
	surrounding woods.

				YOUTH 1
		We're gonna tell you how it ends, 
		baby.

				WOMAN
		Help!  Please help!

	As they drag towards the undergrowth, Truman, horrified, half 
	gets out of the car -- fearful of his own safety as much as 
	the woman's.  Truman shouts to the youths, his voice cracking 
	with fear.

				TRUMAN
		Hey!  Let her go!

	A huge truck suddenly appears behind Truman's car, its horn 
	blasting, the DRIVER hurling abuse.  Truman hesitates as the 
	youths drag the woman into the bushes, conflicted over whether 
	or not to help.  The truck driver keeps his hand on the horn.  
	Truman retreats back into his car and reluctantly drives on.

	EXT.  PARKLAND - WOODS - DAY

	Truman's car safely out of sight, the YOUTHS promptly release 
	the YOUNG WOMAN.  She calmly brushes herself off, no longer 
	afraid.  The young men, no longer angry, retrieve her bag.

				WOMAN
		Thanks.

	The threesome walks back towards the roadway as if life-long 
	friends.

				WOMAN
			(pointing the incident)
		He did nothing.

				YOUTH 1
			(shrugs, suddenly 
			 more cough)
		Physical violence paralyzes him.  
		Always has.

	EXT.  TRUMAN'S HOUSE - DUSK

	Beyond the pretty picket fence at the end of the property 
	flows a busy highway.

	TRUMAN is mowing the lawn.  From his expression it would seem 
	that he's still reflecting on his inaction in the park.  He 
	switches off the mower and leans on the handle.

	He is distracted by the arrival of his wife, MERYL, exiting 
	the house.  She wears a nurse's uniform and carries a curious 
	metal device attached to a card board backing.  She kisses 
	Truman affectionately on the cheek.

				MERYL
		Hi, honey.  Look at this.
			(proudly referring to 
			 the device)
		It's a "Chef's-Mate." Dicer, slicer 
		and peeler in one.  Never needs 
		sharpening.  Dishwasher safe.

				TRUMAN
		Gee, that's great.

	Looking over Truman's shoulder, Meryl notices a small, uncut 
	patch of grass missed by Truman in one of his passes.

				MERYL
			(referring to the uncut 
			 grass)
		You missed a section.

	Meryl enters the house.  Truman restarts the lawnmower and 
	obediently pushes it towards the offending patch of lawn.  As 
	the mower brushes up against the unconforming blades of grass, 
	Truman pulls back abruptly.  He checks the kitchen window for 
	Meryl and wheels the mower away, leaving the patch uncut.

	INT.  TRUMAN'S HOUSE - LIVING ROOM - NIGHT

	MERYL is removing the cap of her nurse's uniform when TRUMAN 
	enters.

				TRUMAN
		How did it go today?

				MERYL
			(matter-of-fact)
		A man tripped and fell on a chainsaw.
			(shrugs)
		We got three of his fingers back on.

	Truman retrieves a bucket of golf balls and a golf club from 
	behind the door.

				MERYL
			(disappointed at the sight 
			 of the golf equipment)
		I was hoping we could have a special 
		evening.

				TRUMAN
		I won't be late.

				MERYL
			(sensing something odd 
			 in his demeanor)
		Did something happen today?

	Truman turns to her too sharply, his guilt showing.

				TRUMAN
		What could happen?

	Truman exits.

	EXT.  UNFINISHED BRIDGE - NIGHT

	A half-constructed bridge, paved but unmarked, ends abruptly 
	in mid-air -- reinforcing steel protruding from the concrete.  
	TRUMAN stands at the end of the unfinished bridge with MARLON, 
	thirties, a well-filled physique.  Marlon drinks beer from a 
	can while Truman addresses a teed-up golf ball with a number 
	three wood.  The headlights of their two parked cars far end 
	of the bridge proclaiming, "THE SEAHAVEN CAUSEWAY -- Linking 
	Seahaven Island With The Rest Of The World -- Your Tax Dollars 
	At Work" -- an upturned plastic cone at the foot of the sign 
	is the "hole."

	Truman winds up and swings, making a healthy contact with the 
	ball.  The ball arches away into the night sky.  From a new 
	angle we see the ball take a huge hop on the outside lane of 
	the abandoned freeway and continue down the asphalt beyond 
	the sign.

	Marlon tosses Truman another off-white ball from a bucket of 
	badly scarred golf balls.  Truman sets the ball up on the 
	makeshift tee area and launches himself into his second shot.  
	With a slight fade, the second ball carries even further than 
	the first.

				MARLON
		Whose nuts were those?

	Truman hands Marlon their sole golf club without comment.  
	Marlon tees up a ball of his own He uses orange golf balls.

				TRUMAN
		I'm thinking of getting out, Marlon.

				MARLON
			(mild interest only)
		Yeah?  Outta what?

				TRUMAN
		Outta my job, outta Seahaven, off 
		this island... out!

	Marlon takes a practice swing.

				MARLON
		Outta your job?  What the hell's 
		wrong with your job?  You gotta great 
		job.  You gotta desk job.  I'd kill 
		for a desk job.

	Marlon addresses the ball and swings -- a sweeping hook shot 
	that bounces off the freeway and into the water hazard.

				MARLON
			(annoyed by the errant 
			 tee shot)
		Sonofabitch.
			(still looking in the 
			 direction of his ball)
		Try stocking vending machines for a 
		living.  My biggest decision of the 
		day is whether the Almond Joys look 
		better next to the Snickers of the 
		Baby Ruths.

	Truman selects another "M" ball from the bucket and tosses it 
	to Marlon.

				TRUMAN
			(adamant)
		Haven't you ever gotten itchy feet?

	Overcompensating with his second shot, Marlon slices the ball 
	in the other direction.  A lucky bounce keeps it on the "green." 
	The ball rolls in the direction of the upturned cone.

				MARLON
			(skeptical, picking 
			 up his beer)
		Where is there to go?

	Truman gulps his beer as he prepares his answer.

				TRUMAN
			(unable to disguise 
			 his reverence)
		Fiji.

	Marlon considers Truman's suggestion as he sips his beer.

				MARLON
			(impressed)
		Fiji?  Where the hell is Fiji 
		exactly?  Near Florida?  You can't 
		drive there, can you?

	Truman picks up a golf ball to demonstrate.  He points to a 
	dimple on his make-shift globe.

				TRUMAN
		See here, this is us.
			(sliding his finger 
			 around the other 
			 side of the ball)
		All the way round here, Fiji.  You 
		can't get any further away before 
		you start coming back.
			(tossing the world in 
			 his hand, warming to 
			 his subject)
		Y'know, there are still islands in 
		Fiji where no human has ever set 
		foot.

				MARLON
			(still dubious)
		So when are you leaving?

				TRUMAN
		It's not that simple.  Takes money, 
		planning.  You can't just up and go.
			(heading off Marlon's 
			 skepticism)
		Oh, I'm going to do it, don't worry 
		about that.  I've just got to move 
		slow.  Pick my movement.  Bonus 
		time's just around the corner.  
		Soon as I finish the...

				MARLON
		Nursery?

				TRUMAN
		Spare room -- I can start thinking 
		about selling up... and I'll be 
		gone.  Up and away on that big 
		steel bird.
			(as if to convince himself)
		I'm going, don't you worry about 
		that.

	Marlon nods even though the concept of taking flight is beyond 
	his imagination.

				MARLON
		I never knew anybody who wanted to 
		leave Seahaven.

	An awkward moment.  Truman, once again, not so sure of himself.

	INT.  A DIMLY-LIT ROOM SOMEWHERE - NIGHT

	A MAN looks up sharply.  He stares into camera.  CHRISTOF, 
	late fifties -- a vitality in his eyes that belies his years.  
	A news anchor-style earpiece disappears down the neck of his 
	suit.

	EXT.  BRIDGE - NIGHT

	TRUMAN and MARLON wander along the empty bridge, retrieving 
	the golf balls.

	Marlon goes to say something to the disconsolate Truman, but 
	is momentarily distracted.  He raises his hand to his ear.  
	Truman places another of the balls in the bucket.

				MARLON
		Truman, you know, I did think about 
		moving away one time.

				TRUMAN
			(interest piqued)
		Yeah, what happened?

				MARLON
		I figured, what's the point?  I 
		knew I'd just be taking my problems 
		with me.  Once the kids came along, 
		it made me look at Seahaven with 
		new eyes.
			(gazing out at the 
			 lights of Seahaven)
		I realized, what the hell could be 
		better than this?
			(putting a hand on 
			 Truman's shoulder)
		I'm telling you.  What you really 
		need is someone to carry on the 
		"Burbank" name.

				TRUMAN
		You think so?

				MARLON
		Trust me.

	Marlon picks up the last ball at the mouth of the upturned 
	cone.  The ball is white.

				MARLON
			(checking the ball)
		You win.

	They approach Truman's car.  Truman opens the trunk to deposit 
	their humble golfing equipment.  Inside are the remains of the 
	fallen light fixture.

				TRUMAN
			(referring to the light)
		You really think it could've 
		dropped off an airliner?

				MARLON
			(unimpressed)
		Sure.  It's halogen.  Shame it 
		didn't hit you -- you could've 
		sued.
			(quickly changing the subject)
		You coming for a drink?

				TRUMAN
		I can't tonight.

	INT.  LIGHTHOUSE - NIGHT

	From the POV of the lighthouse's lantern room, we observe 
	TRUMAN sitting on the beach staring out to sea.

	Closer on Truman.  He has a portable tape recorder slung over 
	his shoulder and points a corded microphone at the surf.  We 
	watch Truman's impassive face as he makes the recording of the 
	lapping waves.  The lamp from the lighthouse occasionally 
	falls upon Truman.

	PLAYBACK - EXT.  OCEAN - DAY

	As always, the flashback appears to play on a television 
	screen.

	The sky is black with storm clouds.  Gale force winds lash 
	rain into the faces of SEVEN-YEAR-OLD TRUMAN and his father, 
	KIRK.  As Kirk stands up to get his hearings, a freak gust of 
	wind catches the sail.  The boom whips across the stern and 
	strikes Kirk flush in the head, knocking his overboard.

	Truman, wearing the sole lifejacket, desperately reaches for 
	his father.  He momentarily has hold of his hold of his 
	father's hand when Kirk is abruptly dragged beneath the 
	surface.

				TRUMAN
			(crying out)
		Daddy!!  Daddy!!

	His cries go unanswered.  Seven-year-old Truman finds himself 
	alone -- the storm abruptly passed, the wind suddenly dropped, 
	the water stilled.

	The frightened Truman examines the ring he holds in his open 
	hand -- his father's ring -- wrenched from his finger in 
	Truman's fight to keep him afloat.

	EXT.  BEACH - NIGHT - PRESENT

	A close up of TRUMAN from KIRK'S RING that Truman now wears.

	Then, from the lighthouse POV, we observe Truman get to his 
	feet and walk towards the dark water.  He stands at the 
	water's edge.

				TRUMAN
			(shouting at the surf)
		I'm sorry, Dad!  I'm sorry!

	As if in reply, a tongue of lightning flashes across the 
	distant skyline, followed by a growl of thunder.

	INT.  A LIVING ROOM SOMEWHERE - NIGHT

	TWO OLD WOMEN, seventies, sit beside each other on a sofa 
	looking directly into camera as they talk.

				OLD WOMAN 1
			(playing amateur psychiatrist)
		It left him with more than his 
		obvious fear of the water.

				OLD WOMAN 2
		He was never the same curious 
		little boy again.

				OLD WOMAN 1
		Half the women I know named their 
		children after him.

	EXT.  BEACH PARKING LOT - NIGHT

	TRUMAN is forced to leg it through a sudden rain shower to his 
	car.

	From Truman's point-of-view, the shower appears quite normal.  
	However, viewed from a distance, we see that the shower is 
	extremely localized, encircling only him, as if a small cloud 
	is directly above his head, tracking his progress.

	As Truman crosses the parking lot, the shower crosses with him.  
	Sensing something amiss, Truman dances back and force across 
	the street, intrigued by the curious phenomenon.  He hums a 
	few bars of "Singin' In The Rain."

	The rain becomes heavier, covering a wider area.  Truman runs 
	the remaining distance to his car.

	INT.  TRUMAN'S HOUSE - NURSERY - NIGHT

	The drenched TRUMAN enters to find MERYL, in the unfinished 
	nursery, comparing wallpaper samples.  Meryl wears a robe, a 
	glimpse of black negligee beneath.

				MERYL
		Where have you been?

				TRUMAN
			(wringing out his jacket)
		I've been thinking--

				MERYL
			(rolling her eyes)
		Oh, God.

				TRUMAN
			(ignoring the reception)
		-- I figure we could scrape 
		together eight thousand.

				MERYL
			(exasperated)
		Every time you and Marlon --

				TRUMAN
		-- we could bum around the world 
		for a year on that.

				MERYL
		And then what, Truman?  We'd be 
		back to where we were five years 
		ago.  You're talking like a 
		teenager.

				TRUMAN
		Maybe I feel like a teenager.

				MERYL
		We're mortgaged to the eyeballs, 
		Truman.  There's the car payments.  
		After we just going to walk away 
		from our financial obligations?

	Truman, still dripping on the floor, holds Meryl by the arms.  
	He talks excitedly to her the way we imagine he did when they 
	were courting.

				TRUMAN
		It'd be an adventure.

				MERYL
		I thought we were going to try for 
		a baby.  Isn't that enough of an 
		adventure?

				TRUMAN
		That can wait.  I want to get away.  
		See some of the world.  Explore.

	Meryl gives a derisive laugh.

				MERYL
		You want to be an explorer?  You 
		don't even have a passport, 
		Truman.  I bet you don't even know 
		how to get one.

	The words sting.  Truman turns away.  Seeing the pain she's 
	caused, she changes tack.

				MERYL
		This'll pass.  Everybody thinks 
		like this now and then.
			(making an attempt at 
			 seduction)
		Come to bed.

				TRUMAN
		I think I'm going to stay up for a 
		while.

	INT.  AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT

	In the reception area of an office building, TWO UNINFORMED 
	GUARDS drink coffee.

				GUARD 1
		How can they have a child?

				GUARD 2
		It's not gonna be his, you idiot.

				GUARD 1
		Why not?

				GUARD 2
		You think she'd go through with it?

				GUARD 1
		Sure she would.

				GUARD 2
			(reassessing his own opinion)
		Guess I always thought they'd 
		adopt.

	EXT.  TRUMAN'S STREET - DAWN

	There is something peculiar about the way the sun rises over 
	Seahaven Island -- the light appears in an arc that's slightly 
	too perfect and well-defined.

	INT.  TRUMAN'S BEDROOM - MORNING

	In front of his bedroom window, TRUMAN, wearing his new sweats, 
	performs an exercise routine of his own invention.  He counts 
	off the exercises to himself -- cheating as he does so.  He 
	counts five leg-lifts for every two he completes.

				TRUMAN
		-- Five...
			(tow leg-lifting later)
		Then... fifteen... two more makes 
		twenty.

	INT.  A BEDROOM SOMEWHERE -- MORNING

	A middle-aged MARRIED COUPLE in identical matching sweats 
	repeat the same eccentric exercises in perfect sync, as if 
	they were in a class led by Truman.

	EXT.  CAR -- DAY

	TRUMAN climbs into the car and switches on the radio.  He 
	drives down the street.

				RADIO ANNOUNCER
		Another glorious morning in 
		Seahaven, folks.  Don't forget to 
		buckle up--

	Truman mutters to himself as is his custom.

	EXT.  DOWNTOWN SEAHAVEN -- DAY

	TRUMAN emerges from the parking lot and as usual stops at the 
	newspaper stand.  He picks up a glossy magazine and flips 
	through the cosmetic ads, surreptitiously tearing a pair of 
	EYES from one of the pages.  He returns the magazine to the 
	rack.  As usual, the NEWSPAPER VENDOR fails to intervene.  
	Truman begins his daily pilgrimage to work through the rush 
	hour pedestrian traffic.

	As he enters the street leading to his office, he glimpses a 
	HOMELESS MAN reflected in the window of a parked car.  Truman, 
	spellbound by the man, suddenly wheels around to face him.  
	The Homeless Man, late-fifties, more well-groomed and well-fed 
	than the average vagrant, has a serene smile on his face.

	The Homeless Man places his hand ever so gently on Truman's 
	cheek.  Truman makes no effort to withdraw.  He is transfixed 
	by the man's eyes.  He appears to recognize him.

				TRUMAN
			(almost to himself, 
			 mouthing the word)
		Dad...

	Suddenly an ELEGANT WOMAN SHOPPER walking a small WIENER DOG 
	and A BUSINESS EXECUTIVE carrying a briefcase, walking in 
	opposite directions along the sidewalk, grab the Homeless Man.  
	One under each arm, lifting the Homeless Man off the ground, 
	they start to whisk the bewildered derelict down the street.

				TRUMAN
			(calling out)
		Stop!  Stop!!

	Truman begins to give chase.  However, the shopper and the 
	businessman are surprisingly fleet-footed.  Even more 
	surprising as Truman embarks on the pursuit is the behavior of 
	the PEDESTRIANS and COMMUTERS.  They appear to part for the 
	fleeing trio, then close ranks in front of him.  Is it 
	accidental, or are the pedestrians working together, running 
	interference?

				TRUMAN
			(shouting at the pedestrians)
		Outta way!  Outta way!

	They are escaping.

	Truman finally breaks through the pack, bowling over several 
	of the pedestrians in the process.  Just as he gets within 
	reach of the shopper and the businessman, a bus suddenly 
	screeches to a halt beside the abductors, doors already open.  
	The Woman Shopper and the Executive bundle the Homeless Man 
	onto the bus.  Truman lurches after them, but he is met by 
	the bus doors, closing sharply in his face.

				TRUMAN
			(to BUS DRIVER)
		Hey, stop!  Stop the bus!!

	Truman thumps against the doors, but the BUS DRIVER ignores 
	his cries and the bus roars away.  The other PASSENGERS in 
	the bus, apparently oblivious to the incident, keeps staring 
	straight ahead.

	Truman continues to give chase when a taxi appears out of 
	nowhere and cuts in front of him, blocking his path.  When he 
	recovers, the bus has disappeared.  The mysterious crowd of 
	pedestrians has also dissolved as if it never existed.

	Retracing his steps, head reeling, wondering if the could have 
	imagined the whole incident, Truman discovers that the Woman 
	Shopper has left her WIENER DOG behind.  The dog wanders 
	aimlessly on the pavement, its leash trailing behind it.

	INT.  MOTHER'S HOUSE - DAY

	TRUMAN paces impatiently in the living room of his Mother's 
	cramped, fussy, doilyed little house full of Burbank family 
	memorabilia -- a cluster of framed photographs is dominated by 
	one of his FATHER trimmed with a black ribbon.  A toilet 
	flushes and Truman's MOTHER finally emerges from the next room.

	She presents something of a contradiction.  Although she walks 
	with the aid of a "walker," she is actually a well-preserved 
	sixty.  She wears a glamorous nightgown and a full head of 
	bleached-blonde hair.

				TRUMAN
			(kissing Mother on the cheek)
		How are you, Mother?

				MOTHER
		Well, I made it through another 
		night.

				TRUMAN
		How's your hip?

				MOTHER
		Oh, just so.

	Truman supports Mother.

				MOTHER
		You know surprises aren't good for 
		me.  You should really call before 
		you come over, dear.

				TRUMAN
		I've got something to tell you.  
		You'd better sit down.

	Truman helps her into an overstuffed armchair.

				MOTHER
		You look very pale, Truman.  Are 
		you taking your vitamin D's?

				TRUMAN
			(exasperated)
		I spend half my life out in the 
		sun, Mother, why would I need 
		vitamin D?

				MOTHER
		I feel certain my condition runs 
		in the family.
			(putting the back of her 
			 hand dramatically for 
			 her forehead)
		Can't this wait, dear?

	He kneels beside her.

				TRUMAN
		No, I'm afraid it can't.

	Truman takes a deep breath as he prepares to give her the news.

				TRUMAN
		I know this is going to sound 
		insane, Mother, but... I saw Dad 
		today on Lancaster Circle.  He's 
		alive.

	Mother smiles condescendingly.

				MOTHER
		It doesn't sound insane, Truman.  
		I swear I see him ten times a week 
		-- in a hundred faces.  I almost 
		hugged a perfect stranger in the 
		salon last Thursday.

				TRUMAN
		It was Dad, I swear, dressed like 
		a homeless man.  And you know what 
		else was really strange?  A 
		businessman and a woman with a 
		little dog appeared from nowhere 
		and forced him onto a bus.

				MOTHER
		About time they started cleaning 
		up the trash Downtown.  We don't 
		want to end up like the rest of 
		the country.

				TRUMAN
		They never found Dad's body -- 
		maybe somehow --

				MOTHER
		-- Darling --

				TRUMAN
			(already doubting himself)
		I'm telling you, if it wasn't him, 
		it was his twin.  Did Dad have a 
		brother?

				MOTHER
		You know he was an only child, like 
		you.
			(placing a comforting 
			 arm around him)
		I know how bad you feel about what 
		happened -- sailing into that 
		storm.  But I don't blame you, 
		Truman.  I never have.

	Mother kisses Truman on the cheek.

				MOTHER
			(referring to her platinum 
			 blonde hair)
		I was thinking about going lighter.  
		What do you think?

	Truman regards his Mother.  Her hair is already impossibly 
	blonde.

	INT.  TRUMAN'S BASEMENT - DUSK

	The basement is cluttered with junk -- ships in bottles, a 
	train track without trains, an oxygen mask, a stringless 
	guitar, many abandoned projects.  The basement is dimly lit 
	by a single, naked bulb.  TRUMAN looks over his shoulder 
	before opening a large walk-in cupboard.  On the cupboard door 
	is a wall map of the Pacific Ocean -- the Fiji Islands are 
	carefully circled.  Amongst the many tools and household 
	implements inside the cupboard is a trunk under a dusty 
	canvas sheet.  He pulls the trunk into the room, unfastens 
	the lock and opens the lid.

	Inside, mementoes from his youth.  A "HOW TO SAIL" book, a 
	stack of "GREAT EXPLORERS" magazines, and beneath it all, a 
	garment in a drycleaning bag.  Truman carefully lifts up the 
	plastic to reveal a young woman's cardigan sweater.  He puts 
	the cardigan to his nose and takes in its scent.

	Footsteps.  Truman hastily drops the cardigan in the trunk and 
	shuts the lid.  MERYL's legs appear on the stairs.

				MERYL
		What're you doing down here?

				TRUMAN
			(turning attention to an 
			 upturned mower on the 
			 basement floor)
		Fixing the mower.
			(matter-of-fact)
		I saw my father today.

				MERYL
		I know.

				TRUMAN
			(suspicious)
		How do you know?

				MERYL
		Your mother called.  You shouldn't 
		upset her like that.

	Meryl's response takes the wind out of Truman's sails.

				TRUMAN
		What did you want?

				MERYL
		I made macaroni.

				TRUMAN
		I'm not hungry.

	Meryl nods, not at all convinced.

				MERYL
		We really ought to toss that mower 
		out.  Get one of those new Elk 
		Rotaries.

	Truman does not reply.  After an uncomfortable pause, she 
	turns back up the stairs.

	Truman waits a moment before re-opening the trunk.  He removes 
	the cardigan and holds it up, reminiscing.

	INT.  A KITCHEN SOMEWHERE - NIGHT

	A MOTHER, DAUGHTER about 12, and a BABY in a highchair stare 
	into camera.

				DAUGHTER
		What's he doing?

				MOTHER
		They removed all physical trace of her 
		but they couldn't erase the memory.

				DAUGHTER
		The memory of who?

				MOTHER
			(finger to lips)
		Shhh!

	PLAYBACK MONTAGE - EXT.  COLLEGE CAMPUS - STEPS - DAY

	Once again the images appear to be playing on a television 
	screen.

	On the steps of a typical college campus, TRUMAN, 21, in a 
	college band uniform, participates in a football pep rally.  
	MARLON, 21, a member of the football team, and MERYL, 21, a 
	cheerleader, are nearby.  Truman observes an ethereal-looking 
	young woman walk by -- LAUREN.

	PLAYBACK - INT.  DANCEHALL - NIGHT

	At a college dance, TRUMAN dances with MERYL.  LAUREN dances 
	by with a PARTNER of her own.  However, Truman only has eyes 
	for Lauren.  Suddenly, she is escorted from the dance floor.

	PLAYBACK - EXT.  COLLEGE CAMPUS - STREET - DAY

	TRUMAN almost trips off the curb as he waves to LAUREN, riding 
	towards him on a bicycle.  However, she rides right by with 
	her nose in the air, not even acknowledging his presence -- 
	Truman puzzled by her change of heart.

	The montage ends at a scene in a college library.

	PLAYBACK - INT.  COLLEGE LIBRARY - NIGHT

	In the school library, TRUMAN, 21, sits with MARLON, 21, and 
	wife-to-be, MERYL, 21, doing a final cram for a test.  The 
	STUDENTS begin to pack up their books.  Meryl gives Truman a 
	peck on the cheek.

				MERYL
		Come on, Truman.  Haven't you 
		studied enough?

				TRUMAN
		I still want to look over a couple 
		of things.

				MARLON
			(punching Truman in a chummy 
			 way on the arm, referring 
			 to Truman's book)
		Take the "C" average.  That's what 
		I do.

	Truman looks up from his books.  The library is almost 
	deserted.  He spies a GIRL's hand around the table divider.

	Truman musters the nerve to poke his head over the divider.  
	He find LAUREN on the other side, buried in a book.

				TRUMAN
		Konichi-wa.

	Lauren looks blank.

				TRUMAN
			(referring to the Japanese 
			 text in front of her)
		You take Japanese.

				LAUREN
			(quickly closing the book)
		Oh, yes.

				TRUMAN
			(glancing to the name 
			carefully written on 
			the front of the book)
		Lauren, right?

				LAUREN
			(as if unaware of her own name)
		That's right.  Lauren.

				TRUMAN
			(extending his hand)
		I'm Truman, Truman Burbank--

				LAUREN
		-- I'm not allowed to talk to you.

	Truman is not surprised.

				TRUMAN
			(resigned)
		It's okay.  I probably wouldn't 
		talk to me either.

				LAUREN
			(softening)
		I'm sorry.  It's not up to me.

				TRUMAN
			(crestfallen)
		You have a boyfriend?  Of course 
		you do.

	Lauren looks about her, unsure.

				LAUREN
		No... I, er...

				TRUMAN
			(hopeful once again)
		No?  Really?  Good, I mean, I 
		thought possibly a pizza.  How 
		about Friday?

				LAUREN
		No.

				TRUMAN
		Saturday?

	Lauren looks around the almost-deserted library.

				TRUMAN
		Actually, I'm free Sunday.

				LAUREN
		Now.

				TRUMAN
		Right now?  We've got finals 
		tomorrow.

				LAUREN
		If we don't go now, it won't happen.

	Truman hesitates.

				LAUREN
			(impatient, looking 
			 anxiously around)
		Well, what do you want to do?

				TRUMAN
			(closing his books, still a 
			 little uncertain)
		I think I've studied enough.

	PLAYBACK - EXT.  VARIOUS LOCATIONS NEAR SEAHAVEN COLLEGE - NIGHT

	LAUREN, taking TRUMAN by the hand, runs down various streets 
	and paths through the campus.  She occasionally pauses and 
	looks about her, often changing direction or looking up at 
	streetlights and the towers of houses along their route, as if 
	trying to elude an unseen pursuer.

	The excited and apprehensive Truman runs with her although he 
	is unsure exactly who, or what, they are running from.

	The further they get from the campus, the higher, wider and 
	less effective the coverage of the scene -- some camera angles 
	are even partially obscured.

	PLAYBACK - EXT.  HIGHWAY - WESTERN END OF TOWN - NIGHT

	TRUMAN and LAUREN eventually cross an empty highway on the 
	edge of town.

	They run over the dunes onto a strangely deserted beach and 
	down to the water's edge under a hyper-real full moon.  Lauren 
	throws off her cardigan and hitches up her skirt, wading out 
	into the inviting water without another thought.  Truman 
	stares down, transfixed by the shimmering water.

				LAUREN
			(splashing)
		It's beautiful!  What are you 
		waiting for?

				TRUMAN
			(nervous)
		I... I can't.

	Lauren suddenly stops splashing.

				LAUREN
		That's right.  Oh, God, I'm sorry.

	She wades out of the water.

				TRUMAN
			(confused)
		Why, Lauren?  You've got nothing 
		to be sorry about?

	Lauren, dripping wet, stands besides Truman at the shoreline.  
	She meets his gaze.

				LAUREN
		My name's not Lauren.  It's a 
		Sylvia.

	Truman looks into her eyes and believes her.  Truman wipes the 
	water from her face, then leans forward and gently kisses her 
	lips.  She kisses him back.

	INT.  A BAR SOMEWHERE - NIGHT

	In a quiet bar room, a WAITRESS explains her viewpoint to the 
	BARMAN.  A PATRON on a barstool eavesdrops.

				WAITRESS
		Don't you get it?  She was willing 
		to lose him, lose everything, if 
		it meant he could find himself.
			(registering the barman's 
			 blank look)
		Never mind.  You wouldn't understand.

	PLAYBACK - EXT.  BEACH - NIGHT

	As we return to Truman's reminiscence, TRUMAN and SYLVIA (as 
	she is now called throughout the remainder of the movie) sit 
	on the sand at the water's edge.  With great delicacy, Truman 
	traces the outline of her nose with his finger, at the same 
	time inhaling her scent.  Sylvia looks nervously around her.  
	Truman goes to say something, but Sylvia hushes him.

				SYLVIA
		They're coming.  Any minute.

				TRUMAN
			(looking around the 
			 deserted beach)
		Who?

				SYLVIA
		They're going to stop me talking 
		to you.

				TRUMAN
			(confused)
		There's no one here.

				SYLVIA
			(looking over her shoulder 
			 nervously)
		Just listen.  You remember when 
		you were a little boy, you stood 
		up in class and said you wanted to 
		be an explorer like Magellan--

				TRUMAN
			(incredulous)
		-- How do you know about that?

				SYLVIA
		-- And your teacher said, "You're 
		too late, Truman.  There's nothing 
		left to explore."

				TRUMAN
		Were you there -- how do you know?

				SYLVIA
		-- It doesn't matter.  Everybody 
		knows about it.  They know 
		everything you do.  The point is, 
		you got scared.

				TRUMAN
		I don't understand.

				SYLVIA
			(looking over her shoulder, 
			 increasingly nervous)
		You must listen.  Everybody's 
		pretending, Truman.

	She points to the sky and scoops up the sea at their feet.

				SYLVIA
		You think this is real?  It's all 
		for you.  A show.
			(frustrated, raving)
		The eyes are everywhere.  They're 
		watching you -- right now.

	Suddenly a car's headlights come bouncing over the dunes.  The 
	car roars across the beach towards he couple.

				SYLVIA
			(scared)
		I told you, Truman!

	The car skids to a stop and a large MAN, 40ish, with a shock 
	of red hair, jumps from the car.  The man yanks the frightened 
	Sylvia to her feet, causing her cardigan to fall to the ground.

				MAN
			(to Sylvia, oddly sympathetic)
		Lauren, sweetheart, not again.  
		Get in the car!

	Truman jumps in.

				TRUMAN
		Hey, who the hell are you?!

				MAN
		I'm her father!

				TRUMAN
		We weren't doing anything.

				SYLVIA
		He's not my father!  He's just 
		saying that!  Does he look 
		anything like me?!

				MAN
		Come on, Sweetheart.

	The Man gently, but firmly, pushes Sylvia towards his car.  
	Sylvia resists.  Truman crosses to them.

				TRUMAN
		I'll take care of her!

	The Man takes Truman aside and whispers in his ear.

				MAN
			(whispered, out of 
			 Sylvia's earshot)
		Schizophrenia.  She has episodes.

	Doubts start crowding into Truman's head.

				SYLVIA
			(calling out from the car)
		Don't listen to him, Truman.  I'm 
		telling you the truth!

				MAN
			(getting into the car)
		Don't bother!  We're moving to... 
		Fiji -- the Fiji Island!  This 
		place has done something to her 
		head.

	INT.  A DIMLY-LIT ROOM SOMEWHERE - NIGHT - PRESENT

	CHRISTOF stares intently into camera.  Beside him is his 
	assistant, CHLOE, an androgynous-looking young woman.  She too 
	stares into camera.

				CHRISTOF
		At least he didn't say "New York 
		City."

	PLAYBACK - EXT.  BEACH - NIGHT

	TRUMAN stares after the car as it roars away.  He turns back 
	toward the ocean where his attention is caught by an object 
	lying on the sand -- Sylvia's cardigan.

	INT.  TRUMAN'S BASEMENT - NIGHT - PRESENT

	TRUMAN carefully places the cardigan back into the trunk.

	INT.  A KITCHEN SOMEWHERE - NIGHT

	MOTHER, DAUGHTER and BABY stare into camera.

				DAUGHTER
		But why didn't he just follow her 
		to Fiji?

				MOTHER
		Because his mother got sick -- very 
		sick.  He couldn't leave her.  He's 
		a kind boy, maybe too kind.

				DAUGHTER
		I can't believe he married Meryl on 
		the rebound.

	INT.  BASEMENT - NIGHT

	TRUMAN turns his attention to the framed photograph of Meryl 
	that he carries everywhere.  Hidden behind her photo is a 
	composite picture of Sylvia which Truman has constructed by 
	pasting together individual facial features -- nose, mouth, 
	ears, chin, hair -- gathered, presumably, from women's 
	magazines.  He attempts to put the jigsaw puzzle together -- 
	although he has particular difficulty finding a pair of eyes 
	that match.

	From his pocket he takes a recent collection of eyes which, 
	like a detective working on an identikit picture, he tries to 
	match.  They are still not quite right.

	INT.  AN APARTMENT SOMEWHERE - NIGHT

	The eyes of a YOUNG WOMAN -- blue-green eyes.  She turns 
	slightly, looking directly into camera.  We pull back to reveal 
	her face -- SYLVIA.

	EXT.  TRUMAN'S STREET - EARLY MORNING

	Dawn breaks over Truman's street.  On cue, the sound of birds.

	EXT.  STREET OUTSIDE TRUMAN'S HOUSE - MORNING

	TRUMAN leaves the house, lost in thought.  SPENCER is taking 
	out the trash.

				SPENCER
		How's it going, Truman?

	Truman hardly acknowledges Spencer.  PLUTO the dog fails to 
	receive his usual pat.  The wave from the WASHINGTON's across 
	the street is also not returned.

	INT/EXT.  CAR/STREET OUTSIDE TRUMAN'S HOUSE - DAY

	TRUMAN motors down the street, switching on the car radio as 
	usual.

				RADIO ANNOUNCER
		-- Don't forget to buckle up out 
		there in radioland.  It's another 
		glorious... morning... innn... 
		Seaaa... haaaa... vennn... f... 
		o... o... k... k...

	The Announcer's voice slows down -- now revealing itself to be 
	a tape that has worn out.  Truman, perplexed, looks at the 
	radio and pushes buttons in an attempt to find another station.  
	He finds one.

				FEMALE VOICE
			(from radio)
		... west on Stewart... he's making 
		a right on Holden...

	Truman glances up at the street signs along his route and finds 
	that they correspond exactly with the streets quoted on the 
	radio.  Distracted, he almost bowls over an OLD LADY on a 
	crosswalk.

				MALE VOICE
			(from radio)
		... God, he almost hit Marilyn!  
		He's on the move again, passing 
		the library...

	Truman, readjusts the radio as it starts to fade out.
	Suddenly, there is a piercing blast of feedback.  He looks up 
	and, as far as the eye can see, every PEDESTRIAN, MOTORIST and 
	SHOPKEEPER along the street suddenly winces in pain and holds 
	their right ear at exactly the same moment.

				MALE VOICE
			(from radio, in distress 
			 himself)
		... Something's wrong.  Change 
		frequencies...

	Truman tries to pick up the channel once again but without 
	success.

	EXT.  PARKING LOT - MORNING

	TRUMAN sits in his car, drinking his coffee, taking in the 
	recent incident.  From inside the adjacent school, he hears 
	the familiar, excited squeals and chatter of SCHOOL CHILDREN.  
	Truman suddenly throws aside his coffee and sprints across the 
	parking lot and into the school.

	INT.  SEAHAVEN ELEMENTARY SCHOOL - MORNING

	TRUMAN slams through the front doors into the reception area.  
	It is deserted, no one stationed at the administration desk, 
	the corridors empty.  He runs down a vacant corridor, finally 
	standing outside a classroom.  The children's' voice can still 
	be heard from inside.  Truman bursts through the door.

	The room is empty save for a large reel-to-reel tape recorder 
	on the teacher's desk playing a continuous tape of children's' 
	voices.  The recorder is attached to speakers on tall stands 
	facing the ventilation ducts.  Truman stares at the machine in 
	disbelief.

	EXT.  STREET - DOWNTOWN - DAY

	TRUMAN, still lost in thought, exits the school.  He stops at 
	the newsstand and picks up a magazine to resume his ritual 
	search, but his heart is not in it.  He replaces the magazine 
	without taking a cutting -- much to the surprise of the NEWS 
	VENDOR.

	Truman starts his trek to work, pausing to stare at his 
	reflection in the mirrored building, hoping that the Homeless 
	Man will appear once again at his side.  No one joins him.

	EXT.  DOWNTOWN STREET - DAY

	Entering his own building with fellow OFFICE WORKERS, TRUMAN 
	remains in the revolving door and re-emerges on the street.

	EXT.  CITY STREET - DAY

	TRUMAN wanders aimlessly through a city park, observing.  We 
	sense, truly observing for the first time.

	A YOUNG WOMAN walks a pair of AFGHAN HOUNDS.  An OLD MAN 
	answers the incessant questions of his GRANDCHILD.  Nothing 
	appears amiss, Truman takes a seat at a small, outdoor cafe.  
	He fidgets with his father's ring on his finger that contains 
	one large stone, still looking for a false move.

	A DELIVERY MAN unloads boxes from the back of his truck and 
	carries them into a store.  Further down the street 
	CONSTRUCTION WORKERS take their time tending to an electrical 
	repair in an exposed manhole.  A POSTAL WORKER does his rounds.  
	An OLD WOMAN struggles with two heavy shopping bags.  
	Everybody appears natural, places to go.

	INT.  A DIMLY-LIT ROOM SOMEWHERE - DAY

	CHRISTOF and CHOLE stare into camera.  Christof leans forward 
	and speaks.

				CHRISTOF
		... Everybody stay focussed.  
		Remember who you are.

	EXT.  CAFE - DAY

	TRUMAN turns his attention to a group of CUBAN-LOOKING MEN at 
	the only other occupied table at the cafe.  We see extreme 
	close-ups as Truman scans the men's faces for any sign of 
	phoniness.  They are talking loudly, making suggestive 
	comments to the WAITRESS.  Their behavior passes the test -- 
	all seems genuine.

	Then, Truman notices TWO JOGGERS out for a morning run, making 
	their way down the street towards him.  Truman happens to 
	glance at the sneakers of one of the joggers.  He suddenly 
	springs to his feet.  Truman blocks the joggers.

				TRUMAN
		It's you... isn't it?

	The Joggers attempt to sidestep Truman.

				JOGGER 1
		Excuse me.

				TRUMAN
		Remember?  Two days ago I gave you 
		my meatball sandwich in the park.  
		You were in a wheelchair.  Same 
		sneakers.

	The jogger looks down at his distinctive sneakers bearing the 
	initials, "T.S.", and visibly blanches.

				JOGGER 2
			(coming to his companion's 
			 aid)
		Get the hell out of here.

	The second jogger roughly shoves Truman aside.  Truman calls 
	out after the two men.

				TRUMAN
			(ironically referring to 
			 the jogger's new-found 
			 mobility)
		It's a miracle!

	Truman picks himself up, dusting dirt from his suit.  He 
	retrieves his briefcase and continues down the street with 
	renewed purpose.

	EXT.  DOWNTOWN STREET - DAY

	Wandering down the bustling street, TRUMAN suddenly bolts into 
	a building at random.

	INT.  OFFICE BUILDING - DAY

	An imposing office building clad in the kind of reflective 
	glass that shields its occupants from the world -- a building 
	Truman passes every day.  A steady stream of EMPLOYEES and 
	VISITORS enters and exit the building's high-ceilinged lobby 
	past an intimidating security desk manned by TWO UNIFORMED 
	GUARDS.  Beyond security are banks of elevators, ferrying 
	executives, clerical staff and delivery personnel to and from 
	their floors of business.

	Truman abruptly enters reception and strides confidently past 
	the security desk trying to look as if he belongs.

				SECURITY GUARD 1
			(to Truman)
		Can I help?

				TRUMAN
			(sneaking a glance at the 
			 building directory)
		I have an appointment at, er, 
		Gable Enterprises.

				SECURITY GUARD 1
		They went bust.

	The second Security Guard is rising from his seat to block 
	Truman's path to the elevators, but Truman reads his mind and 
	makes a dash for it -- into one of the elevators.

	A YOUNG WOMAN in the elevator looks in horror at Truman -- 
	the cause of her concern all too apparent.  Looking beyond the 
	Woman, Truman discovers that there is no back to the elevator 
	car.  The PEOPLE Truman has just witnessed entering other 
	elevators are milling around a refreshment table, primping or 
	sitting on folding chairs.  Gradually, they all turn to gape 
	at Truman, who in turn stares back, appalled.  Truman's view 
	is abruptly blocked as a rear panel is hastily attached to the 
	elevator.  A Security Guard pulls Truman from the car.

				TRUMAN
		What's going on?

				SECURITY GUARD 1
			(glancing to the lights above 
			 the elevator, trying to 
			 appear innocent)
		Nothing.

	Truman observes the upward progress of the elevator via the 
	light display above the doorway.  Before he has time to make 
	sense of it, the guards drag him away.

				SECURITY GUARD 2
		You've got to leave.

	The guards frog-march Truman out of the facade towards an 
	Emergency Exit.

				TRUMAN
		Just tell me what's going on?

				SECURITY GUARD 2
		We're re-modeling.

				TRUMAN
		No, you're not!!  What were those 
		people doing in there?

				SECURITY GUARD 1
			(shrugs)
		It's none of my business.
			(ushering Truman off the 
			 property)
		None of yours, either.

				TRUMAN
			(not going quietly)
		You don't tell me what's really 
		going on, I'll report you.

	TRUMAN continues to struggle as he GUARDS usher him to the 
	street.

				SECURITY GUARD 2
		For what?  You're trespassing!

	EXT.  DOWNTOWN STREET - DAY

	TRUMAN continues to struggle as the GUARDS unceremoniously 
	dump him on the pavement.  He picks himself up, head reeling, 
	and starts to run along the street.  He suddenly enters 
	another building at random.  An office blocck with a bank on 
	the ground floor.

	Truman rushes to the elevators.  The lights above the doors 
	show all the elevator on upper floors.  Frantic pressing of
	the elevator button gets no response.  A RECEPTIONIST rises 
	from her desk.  Truman heads for the stairs, but is 
	intercepted by a BANK OFFICIAL barring his way.

				TRUMAN
		I want to...

	The Bank Official, the Receptionist, and a BANK TELLER back 
	Truman towards the door.

				BANK OFFICIAL
		... Open an account?

				TRUMAN
		Yes.  Er, why not?

				RECEPTIONIST
		Savings or checking?

				BANK OFFICIAL
		Let's go up to my office.

	Truman hurriedly exits the bank.

	EXT.  STREET - DAY

	Back on the street, TRUMAN feels the eyes of the PEDESTRIANS.  
	Is he simply drawing attention to himself by his behavior?  
	Truman wheels around, trying to make eye contact with 
	passersby.  They shy away.  He continues to run down the 
	street.

	Finally, Truman finds himself standing in front of the window 
	of an electronics store staring at his own face on a TV set.  
	It is taking a feed from a camcorder aimed out the store 
	window.

	INT.  A BATHROOM SOMEWHERE - DAY

	A MAN stares into camera from a bath of stale water -- a layer 
	of soap scum on the top.

				MAN
		Don't look at me, pal.

	EXT.  STREET - ELECTRONICS STORE - DAY

	TRUMAN shudders at his video reflection.  Further down the 
	street, he notices Marlon's van parked outside a supermarket.

	INT.  SUPERMARKET - DAY

	The door of a vending machine is open.  MARLON, half inside 
	the machine, loads a stack of Baby Ruth candy bars into one 
	of the dispensing slots.  The paranoid TRUMAN appears at his 
	shoulder.

				TRUMAN
		Marlon--

				MARLON
			(startled)
		-- Truman, what are you doing here?

	Truman looks nervously around him.  Even the STORE OWNER's 
	friendly nod from behind the counter is cause for suspicion in 
	Truman's mind.

				TRUMAN
			(whisper)
		I've got to talk to you.

				MARLON
		Sorry, I'm way behind.

				TRUMAN
		I'm onto something, Marlon -- 
		something big.

				MARLON
		Are you okay?  You look like shit.

				TRUMAN
		I think I'm mixed up in something.

				MARLON
		Mixed up?  Mixed up in what?

				TRUMAN
		There's no point in trying to 
		explain it, but a lot of strange 
		things have been happening -- 
		elevators that don't go anywhere, 
		people talking about me on the 
		radio, you know what I mean?

				MARLON
			(bemused)
		No.  Truman, if this is another 
		one of your fantasies...

				TRUMAN
		I think it's got something to do 
		with my dad.

				MARLON
		Your Dad?!

				TRUMAN
			(looking around nervously)
		I think he's alive.  I'll tell you 
		about it later.  I'm definitely 
		being followed.

				MARLON
			(looking around, instantly 
			 protective)
		Who?

				TRUMAN
		It's hard to tell.  They look just 
		like regular people.

				MARLON
			(referring to an OLD 
			 COUPLE entering the deli)
		How about them?

				TRUMAN
			(seriously considering 
			 the possibility)
		Could be.  Beard looks phony.
			(leaning closer to Marlon)
		It's when I'm unpredictable.  They 
		can't stand that.  That's why we've 
		got to get out of here.  Can you 
		come with me?

				MARLON
			(closing up the vending 
			 machine)
		I told you I can't.

				TRUMAN
		I've got to show you something.

	Truman fixes Marlon with a look of deadly seriousness.

				MARLON
			(weakening)
		Christ, Truman.  You're gonna get 
		both our asses fired.

	EXT.  SEAHAVEN ELEMENTARY SCHOOL - DAY

	TRUMAN hurries MARLON up the school steps.  The sound of 
	children's voices continues to drift out from inside the 
	building.  Truman and Marlon storm into the school reception 
	area -- still empty.

	INT.  SCHOOL CORRIDOR - DAY

	TRUMAN and MARLON stand outside the classroom, the source of 
	the children's voices.  Truman throws his friend an "I-told-
	you-so" look and swings open the door with a flourish.

	INT.  CLASSROOM - DAY

	The once-empty classroom is now full of SCHOOL CHILDREN in an 
	art class.  A hush falls over the students and all eyes turn 
	to TRUMAN and MARLON.

				TEACHER
			(gesturing to two unoccupied 
			 easels)
		Would you care to join us?

	EXT.  CLIFFTOP - DUSK

	Hand-over-hand, TRUMAN climbs the cliff he once scaled as a 
	seven-year-old.  Finally, he sits on the clifftop, staring out 
	at the view his father had been so desperate for him not to 
	see twenty-six years earlier.  However, the deserted bay 
	beyond is identical to its neighbor.  MARLON, laboring, crests 
	the rise and joins his friend on the clifftop.

				MARLON
		What're we doing here, Truman?

				TRUMAN
		This is where it started.

				MARLON
		What exactly?

				TRUMAN
		Things.  Things that doesn't fit.
			(another thought occurs)
		Maybe I'm being set up for 
		something.  You ever feel like 
		that, Marlon?  Like your whole 
		life has been building to something?

				MARLON
			(blank)
		No.

				TRUMAN
			(ignoring the remark)
		When you were hauling chickens for 
		Kaiser Poultry, what was the 
		furthest you ever went off the 
		island?

				MARLON
		I went all over but I never found 
		a place like this.
			(nodding to the setting sun)
		Look at that sunset, Truman.  It's 
		perfect.

				TRUMAN
			(in a daze)
		Yeah...

				MARLON
			(glancing heavenwards)
		That's the "Big Guy." Quite a 
		paintbrush he's got.

				TRUMAN
		Just between you and me, Marlon, 
		I'm going away for a while.

				MARLON
		Really?

	INT.  LIVING ROOM - TRUMAN'S HOUSE - NIGHT

	Truman sits cramped on his sofa.  Pulling wider, we discover 
	the cause of his discomfort.  He is sandwiched between MERYL 
	on one side and MOTHER on the other.  Mother, the family 
	historian, a stack of photograph albums at her feet, turns the 
	pages of the album on Truman's lap.

				TRUMAN
		We ought to be getting you back, 
		Mother.

				MOTHER
		Hold on a minute, dear.
			(pointing out a photo 
			 in the album)
		Here's us at Mount Rushmore.  You 
		remember, Truman -- when Dad was 
		still with us -- that was quite a 
		drive.  You slept all the way 
		there.

				TRUMAN
			(taking an interest in 
			 the monument)
		It looks so small.

				MOTHER
			(quickly turning the page)
		Things always do -- when you look 
		back.

	Mother skips several pages in the album, finally stopping at a 
	spread of wedding photos.

				MERYL
		Look, Truman, there's my cousin 
		Errol putting the bouquet down his 
		pants -- it was the happiest day 
		of our lives.

				MOTHER
			(referring to Meryl)
		Didn't she look beautiful, Truman?  
		She still does.

	Mother turns to a blank page in the album.

				MOTHER
		And there's plenty of room for baby 
		photos.  I'd like to hold a 
		grandchild in my arms--
			(dabbing her eye with 
			 a handkerchief)
		-- before I go.

	Meryl rises from the sofa and helps Mother to her walker.

				MERYL
		I'll take you home, Angela.
			(referring to the album)
		Why don't you leave those with us 
		for a while?

				TRUMAN
			(kissing his emotional 
			 mother)
		Good night, Mother.

				MERYL
			(a wink to Truman)
		See you in a minute, sweetheart.

	Meryl departs with Mother.  Left alone in the living room, 
	Truman slumps back down onto the sofa and switches on the 
	television set -- an old-fashioned model with rabbit-ears.  He 
	idly studies the photograph album as an over-earnest 
	television HOST announces the upcoming program.

				TV HOST
		-- Tonight's golden-oldies is the 
		enduring, much-loved classic, 
		"Show Me The Way To Go Home." A 
		hymn of praise to small-town life 
		where we learn that you don't have 
		to leave home to discover what the 
		world is all about and that no one 
		is poor who has friends...

	However, when we turn our attention away from the television, 
	we find that Truman is peering intently at a wedding 
	photograph of Meryl and himself taking their vows in a civil 
	ceremony in a beachside gazebo.  Under the scrutiny of a 
	magnifying glass, he discovers that Meryl has her fingers 
	crossed.

	INT.  A LIVING ROOM SOMEWHERE - NIGHT

	The TWO LADIES sit on their sofa, a rug across their knees, 
	sipping a night cap of hot chocolate.  They stare into camera.

				OLD LADY 1
		Remember at the wedding -- that 
		dog?

				OLD LADY 2
		Started howling when they took 
		their vows.

				OLD LADY 1
		And the plastic horseshoe fell off 
		when they cut the cake.

				OLD LADY 2
			(shaking her head ruefully)
		They never had a chance.

	INT.  KITCHEN - MORNING

	TRUMAN, dressed casually in weekend attire, is at the stove 
	preparing an omelette.  MERYL hurries into the kitchen in her 
	nurse's uniform.  She gulps down a cup of coffee and reaches 
	for her nurse's cap.

	However, she still has time to adjust the position of a pack 
	of "FibreCon Cereal" -- squaring it a little more to camera.

				TRUMAN
		I have to talk with you.
			(looking about, suspicious)
		But not here.  Let's go for a 
		walk.

				MERYL
			(kissing him on the cheek)
		I'm sorry, I'm late.

				TRUMAN
		What's the hurry?

				MERYL
		Surgery.  The elevator disaster 
		downtown on the new last night.  
		Cable snapped, a car dropped ten 
		floors.  Non-union contractors.  
		Monsters.  We're starting with an 
		amputation.

	Truman's eyes widen.  Meryl adjusts her hat in the mirror.

				MERYL
		That building's near yours.  
		Imagine it you'd been in there for 
		some reason.  It doesn't bear 
		thinking about.

	Truman, lost in thought, picks up the scalding frying pan with 
	his bare hand.  Letting out a howl of pain, he drops the pan.

				TRUMAN
		Arrah!

				MERYL
		Oh, my God!

				TRUMAN
		What do I do?

				MERYL
		I don't know--

				TRUMAN
		-- you're a nurse, aren't you?

				MERYL
		Put some butter on it -- or once?

	She looks up the kitchen clock.

				MERYL
			(hurrying out the door)
		Oh, look at the time.

	Truman stares after her, the pain of his hand forgotten for 
	the moment.  He watched Meryl ride her bicycle down the 
	driveway.  Truman exits the house.

	EXT.  SEAHAVEN STREET/HOSPITAL/PARKING LOT - DAY

	Riding a bicycle of his own, TRUMAN follows MERYL to work, 
	staying a safe distance back.  He watches her enter the 
	hospital.

	INT.  HOSPITAL - DAY

	TRUMAN makes his way along various corridors.  All seems as it 
	should -- DOCTORS confer with NURSING STAFF and PATIENTS, 
	gurneys are wheeled about with their PASSENGERS looking 
	suitably traumatized.  Truman approaches a NURSING SISTER.

				TRUMAN
		I'm looking for my wife -- Nurse 
		Burbank.  It's important.

				NURSE
			(checking her clipboard)
		I'm afraid that's impossible -- 
		she's in pre-op.

				TRUMAN
		Sure.  Okay.  Fine.  Can you pass 
		on a message?

				NURSE
		I'll try.

				TRUMAN
		Tell her, tell her... I had to go 
		to Fiji.  I'll call her when I 
		get there.

				NURSE
		When you get to Fiji?

				TRUMAN
		You got it.

				NURSE
		Fine.  I'll tell her.

	The nurse walks off, disappearing through a set of doors.  
	Truman hesitates before following her.

	INT.  VARIOUS HOSPITAL CORRIDORS - DAY

	The NURSE walks briskly -- fewer people about, TRUMAN 
	discreetly following behind.  The nurse breaks into a jog.  
	Truman hurries to keep up with her -- dodging around gurneys, 
	JANITORS mopping floors.

	INT.  OUTSIDE OPERATING THEATRE - DAY

	The NURSE, hastily scrubbed and gowned, enters the theatre.  
	TRUMAN hesitates but dares not enter.  He grabs a mask of his 
	own.

	Looking through the glass window in the operating theatre 
	door, he sees the YOUNG WOMAN (seen in the hastily fixed 
	elevator car the day before) lying on the operating table, a 
	blood-soaked bandage covering her left leg.  MERYL, wearing a 
	surgical gown and mask, assists the SURGEON.  The SISTER 
	hovers nervously in the background.

				SURGEON
		Scalpel.

	Meryl very slowly selects a scalpel from a tray of instruments 
	and awkwardly hands it to the surgeon.

				SURGEON
		I'm now making my primary incision 
		just above the left knee.

	The patient's eyes blink open in horror.  The ANESTHETIST 
	steps in Truman's view before he can get a good look.  
	Suddenly, a SECURITY GUARD appears beside Truman and takes 
	him by the arm.

				SECURITY GUARD
			(referring to the operation)
		This isn't gonna be pretty.  Unless 
		you're family of the patient, I'll 
		have to ask you to leave.

				TRUMAN
		No problem.  I don't want to cause 
		any trouble.

	INT.  AGENCY - DAY

	TRUMAN takes a seat at the only desk in an empty travel 
	agency.  The travel brochures and posters that adorn the 
	walls all feature destinations that bear a striking 
	similarity to picturesque Seahaven.  Another poster spells 
	out the dangers of travel -- "TRAVELLERS BEWARE -- Terrorists, 
	Disease, Wild Animals, Street Gangs." A female TRAVEL AGENT 
	enters from a rear door.

				AGENT
		I'm sorry to keep you.  How can I 
		help?

				TRUMAN
		I want to book a flight to Fiji.

				AGENT
		Where exactly?

				TRUMAN
			(believing she is being 
			 deliberately obtuse)
		Fiji.

				AGENT
			(a grace of condescension)
		Where in Fiji?  What island?

				TRUMAN
		I'm sorry, er... the biggest one.

				AGENT
			(entering the destination 
			 in her computer)
		Viti Levu.  For how many?

				TRUMAN
			(finding the question suspicious)
		One.

				AGENT
		When do you want to leave, 
		remembering, of course, you do lose 
		a day on the way there?

				TRUMAN
		Today.

				AGENT
			(reading off her computer 
			 screen)
		I'm sorry.  I don't have anything 
		for at least a month.

				TRUMAN
			(suspicious)
		A month.

				AGENT
			(patently explaining)
		It's the busy season.

				TRUMAN
			(paranoia showing)
		You are a travel agent, aren't you?
			(reading her nametag)
		"Doris"?  Your job is to help 
		people travel.

				AGENT
			(showing amazing restraint)
		I do have a fabulous rate on a 
		cruise ship departing for Fiji 
		tomorrow.  But you wouldn't want 
		to do that.

				TRUMAN
		Why wouldn't I?

				AGENT
		I thought you were in a hurry.

				TRUMAN
			(calming down)
		That's right.

				AGENT
		You want to book the flight?

				TRUMAN
		It doesn't matter.  I'll make other 
		arrangements.

	EXT.  CITY STREET - DAY

	Emerging onto the street, TRUMAN looks across to the building 
	which he entered the previous day.  It is now cordoned off 
	with police tape after the elevator disaster.  Flowers have 
	been laid at the doorway.

	EXT.  GREYHOUND BUS STATION - DAY

	A Greyhound Bus, bound for "CHICAGO" according to its 
	destination sign, sits idling at the stop.  Just as a burly 
	SUPERVISOR is about to wave the bus on its way, TRUMAN dashes 
	into the station.

				BUS DRIVER
		Last call for Chicago.

	Truman jumps onto the bus behind the last boarding passenger 
	-- a YOUNG SOLDIER.

				TRUMAN
			(to the Bus Driver, as he 
			 boards the bus)
		Windy City, here we come.

	INT.  GREYHOUND BUS - DAY

	TRUMAN takes a seat by a window.  An awkward silence descends 
	over the bus.  The other passengers -- a MOTHER with a 
	restless CHILD, several TOURISTS, an OLD COUPLE and the YOUNG 
	SOLDIER -- all stare stiffly straight ahead, averting their 
	eyes from Truman.

	No one is more uncomfortable than the BUS DRIVER.  Beads of 
	perspiration on his head, he fumbles for the gear shift, 
	apparently unsure how to operate it.  The gears grind.

	The OTHER PASSENGERS try not to notice.  The CHILD, tugging 
	her MOTHER's sleeve, points to Truman.  Her mother makes her 
	face the front of the bus.  Finally the SUPERVISOR enters the 
	bus.

				SUPERVISOR
		Everybody off.  We've got a problem.

	The relieved passengers hurriedly exit until Truman is the 
	only one remaining on the bus.  The Bus Driver looks almost 
	sorry for Truman who sits resolutely in his seat -- the hint 
	of a tear of frustration in his eyes.

				BUS DRIVER
			(softly)
		I'm sorry, son.

	INT.  A BAR SOMEWHERE - DAY

	The bar seen earlier.  A small group of PATRONS discuss 
	developments.  The WAITRESS seems upset, occasionally 
	glancing to camera as se pours a beer.

				PATRON 1
		Why would he want to go to Chicago?  
		Who does he know from there?

				PATRON 2
		His doctor came from Chicago, didn't 
		he?

				PATRON 1
		Wasn't his father from Chicago?

				WAITRESS
			(upset)
		He's not going to Chicago.  He's not 
		going anywhere.  He has to have it 
		out with Meryl.

	EXT.  STREET - TRUMAN'S BICYCLE - DAY

	As TRUMAN rides home with his bicycle, he stares wildly about 
	him -- the rearview mirror on his bicycle is suddenly cause 
	for concern, so are the trees and streetlamps lining the 
	roadway.

	EXT.  TRUMAN'S BACKYARD - DAY

	TRUMAN, staring at the highway from the bottom of the garden, 
	doesn't bother to look up as MERYL, still wearing her nurse's 
	uniform, approaches.

				TRUMAN
			(referring to a distant 
			 car on the expressway)
		See that car way down there?  I bet 
		it's a Suburu station wagon.

	Meryl looks idly over the fence at the approaching car.  
	Finally, a Suburu station wagon motors by.  Meryl is 
	unimpressed.  Truman turns his back on the highway to 
	continue his game.

				TRUMAN
		I predict the next four cars will 
		be a white Honda Civic, a blue and 
		white Dodge Dart with the front 
		hubcap missing, a Volkswagen 
		Beetle with a dented fender and a 
		motorcycle.

	Meryl doesn't wish to participate in the game and makes for 
	the house.  Truman holds her arm, forcing her to watch.  He 
	turns to check his prediction.  A convoy of cars approaches.

				TRUMAN
		There's the Honda... the Dodge... 
		here comes that dented Beetle...

	Meryl's attention wavers.  Truman tightens his grip.

				TRUMAN
		Look!

	Following the VW is a school bus.

				MERYL
			(mocking)
		Where's the motorcycle?

	Truman is momentarily disappointed.

				TRUMAN
		Don't you want to know how I did 
		that?

	A motorcycle putters by.  Meryl turns and walks back to the 
	house.  He hurries after her.

				MERYL
		I invited Marlon and Rita for a 
		barbecue Sunday.  I thought I'd 
		make my potato salad.  Remind me--

				TRUMAN
		I won't be here Sunday.

				MERYL
		-- we need more charcoal.

				TRUMAN
		Are you listening to a word I'm 
		saying?

				MERYL
		You're upset because you want to go 
		to Fiji.  Is that it?

	Truman is puzzled by her conciliatory tone.

				MERYL
		Okay, do it.  Get it out of your 
		system.  Save for a few months and 
		go.  There.  Happy now?  I'm going 
		to take a shower.

	She turns away.

				TRUMAN
			(catching her wrist)
		Let's go now.

				MERYL
		What?!

	Despite her protests, Truman drags Meryl towards his car.

				TRUMAN
			(as he shoves her 
			 into the car)
		I'm ready to go now.  Why wait?

	INT.  TRUMAN'S CAR - DAY

	TRUMAN holds MERYL's wrist to stop her exiting the car and 
	accelerates out of the driveway in reverse without looking -- 
	almost running over PLUTO the dog and SPENCER with his 
	garbage can.

	Truman starts circling a gazebo at the center of a roundabout, 
	faster and faster.

				TRUMAN
		Where shall we go?  Where shall we 
		go?  Spontaneity is what it's all 
		about.  Forget Fiji.  We can't very 
		well drive to Fiji, can we?  What 
		about Atlantic City?

				MERYL
			(trying to mask her 
			 anxiety)
		You hate gambling.

				TRUMAN
		That's right.  I do, don't I?

				MERYL
		So why do you want to go?

				TRUMAN
		Because I never have.  That's why 
		you go places, isn't it?

				MERYL
		Truman, I think I'm going to throw 
		up.

	Truman roars off down the street.

				TRUMAN
		Me too.

	Almost immediately, Truman encounters a traffic snarl.

				TRUMAN
			(a magic edge to his voice)
		So much traffic, this time of day.  
		Does that strike you as peculiar?

	Without warning, Truman suddenly drives down a sidestreet.  
	But his move is anticipated.  At the end of the street, a 
	pack of cars suddenly appears.  Other vehicles fill the gap 
	behind.

				TRUMAN
			(to Meryl, marveling)
		Blocked at every turn.  Beautifully 
		synchronized, don't you agree?

				MERYL
			(incredulous)
		You blaming me for the traffic?

				TRUMAN
		Should I?

	Truman reverses suddenly and makes a U-turn.

				TRUMAN
		You're right.  We could be stuck 
		here for hours.  Could be like this 
		all the way to Atlantic City.  Let's 
		go back.  I'm sorry.  I don't know 
		what got into me.

	Truman starts heading back the way they came, the roadway now 
	relatively free of traffic.

				MERYL
		Would you please slow down, Truman?

	Truman floors the car.  The car flies past their house.

				MERYL
		Truman, that was our house!

				TRUMAN
		I've changed my mind again.  What's 
		New Orleans like this time of year?  
		Mardi Gras.  Or let's just see where 
		the road takes us.

				MERYL
			(pleading)
		Let me out, Truman.  You're not 
		right in the head.  You want to 
		destroy yourself, you do it on your 
		own!

				TRUMAN
			(eerily calm)
		I think I'd like a little company.

	As he speeds erratically, Truman glances at the streets on 
	either side of the main road where he discovers a distinct 
	lack of moving traffic.

				TRUMAN
			(to the anxious Meryl 
			 at his side)
		Look, Meryl.  No cars!  I don't run 
		into traffic.  The traffic follows 
		me around.
			(excited by is discovery)
		We're in a moving pack, don't you 
		see?

	INT/EXT.  TRUMAN'S CAR - BRIDGE - DAY

	But TRUMAN 's clear path is short-lived.  He is forced to 
	slow once again behind a line of other cars at a bridge.

				TRUMAN
			(to Meryl)
		It's hard to go places, isn't it?

				MERYL
			(looking up ahead at 
			 an overturned car)
		There's been an accident, Truman.

				TRUMAN
		Uh-huh.  There's no accident.  It's 
		just more stalling.

	Truman floors the car again and swerves into the oncoming 
	lane.  He roars along the bridge on the wrong side of the 
	road.  Near the end of the bridge, a distraught MOTORIST 
	dashes into the middle of the road, waving his arms.  Truman 
	slams on the brakes.

				MOTORIST
			(pointing to a small BOY 
			 lying very still on the 
			 ground beside a wrecked 
			 car)
		-- is there a doctor, a nurse?

				MERYL
		Truman, it's a child.  I've got to 
		help--

				TRUMAN
			(hardly glancing to the boy)
		He'll be fine.

	Truman roars on, almost bowling over the concerned motorist.

				MERYL
		Truman, I took the "hypocrite" oath!

				TRUMAN
		I bet you did.

	Truman roars past a sign that reads, "YOU ARE NOW LEAVING 
	SEAHAVEN -- Are you sure that's a good idea?"

	Back at the accident scene, the little boy, apparently 
	uninjured, sits up.

	INT/EXT.  CAR - DAY

	They roar pass an illuminated sign -- "FOREST FIRE WARNING -- 
	Extreme Danger"

				MERYL
		Truman, what about that sign?

				TRUMAN
		I'm sure they're just exaggerating.

	Suddenly, a 20-foot high wall of flame shoots across the 
	roadway in front of them -- as if someone flicked on a gas 
	switch.

				MERYL
		What about that -- do you believe 
		that?!

	TRUMAN experiences his first moment of doubt.  He looks to 
	the terrified MERYL, then closes his eyes tightly and 
	accelerates through the fire wall.  He is startled to find 
	that they have emerged on the other side, singed but 
	unscathed.

	However, the open road in front of them now disturbs Truman 
	for a different reason -- its sheer lack of anything unusual.  
	Signs along the road advertise motels and give directions to 
	other destinations -- "I-6211 -- 2 miles," "Notel Motel -- 
	Pool, Color TV."

	Meryl also now appears to be resigned to the journey.

				MERYL
		So what do we do for money when we 
		get to New Orleans?

				TRUMAN
			(not so confident now)
		I've got my Seahaven Bankcard.

				MERYL
		So we just eat into our savings, is 
		that the idea?  I'd better call your 
		mother when we get there.  She'll be 
		worried sick -- I don't know how 
		she's going to take this.

	Truman appears very unsure of himself.

	EXT.  ROADWAY - DAY

	However, there is still a barrier between TRUMAN and Bourbon 
	Street.  The highway, leading to a cloverleaf freeway 
	junction in the distance, is completely blocked off by 
	Seahaven police cars.  No way past.  Nuclear silos in the 
	distance spew out an ominous puff of smoke.  A sign reads, 
	"SEAHAVEN ISLAND NUCLEAR POWER STATION -- Clean, Safe, 
	Economical -- More Power To You!"

	Truman is forced to slow at the police barricade.

				TRUMAN
		Now what?

				OFFICER
			(grim-faced, indicating 
			 the nearby power plant)
		Leak at the plant.  They had to shut 
		her down.

				TRUMAN
		Is there any way around?

				OFFICER
		The whole area's being evacuated.

				TRUMAN
		Well, thank you for your help.

				OFFICER
		You're welcome, Truman.

	Truman's eyes widen at the mention of his name from an 
	apparent stranger.  As the officer turns, Truman bolts from 
	the car, leaving MERYL in the passenger seat.

				MERYL
		Truman!!  Come back!!

	Truman flees into the forest.

	INT.  A LIVING ROOM SOMEWHERE - DAY

	The TWO OLD LADIES we have observed before are almost 
	overcome with tension.  One lady reaches out for her 
	companion's hand.

	EXT.  FOREST NEAR SEAHAVEN NUCLEAR POWER PLANT - DAY

	TRUMAN bursts past the alien-looking HAZARDOUS WATER WORKERS 
	in their protective suits carrying detection instruments.  
	The workers give chase in their cumbersome suits, trying to 
	cut off his path.

	Nearing the edge of the forest, Truman hears the sound of 
	hammers and saws.  But before he has time to see the source 
	of the sound, he is tackled to the ground.

	As SEAHAVEN POLICE OFFICERS drag him away, one of the WASTE 
	WORKERS walks the remaining few yards, pushing aside a wall 
	of tropical foliage.  We now see what Truman was prevented 
	from seeing.

	A Polynesian island is under construction by dozens of 
	RIGGERS, PAINTERS and SET DECORATORS.  Large cranes are 
	lifting palm trees into place, a fake volcano is being 
	tested in the distance and rehearsals for a firewalking 
	ceremony are underway complete with hot coals, DRUMMERS and 
	FIREWALKERS in native dress.

	The wings and fuselage of an airliner are being constructed 
	on a hydraulic gimbal.  Leading into one side of the airliner 
	is a covered walkway, emblazoned with a sign, "Seahaven 
	Island -- Departures." Emerging from the opposite side of the 
	airliner is an old-fashioned airline stairway with the sign, 
	"Welcome to Fiji."

	At the foot of the steps, TWO WOMEN in Fijian dress are being 
	shown the correct way to present a floral lei.

				FIJI WOMAN
		Did he see us?

				WASTE WORKER
			(into microphone)
		Negative.

	INT.  TRUMAN'S HOUSE - KITCHEN - NIGHT

	MERYL sows TWO SEAHAVEN POLICEMEN out the back door.

				MERYL
		Thank you.

				POLICEMAN 1
		You're lucky he's no glowing, Ma'am.  
		Next time we'll have to file charges.

	Meryl joins TRUMAN at the kitchen table.  Truman applauds 
	ironically.

				MERYL
		Let me get you some help, Truman.  
		You're not well.

				TRUMAN
			(ignoring her 
			 medical advice)
		Why do you want to have a child with 
		me?  You can't stand me.

				MERYL
		That's not true.

	Meryl picks up a package and holds it to camera.

				MERYL
		Why don't I make you some of this 
		new Mococoa Drink?  All natural.  
		Cocoa beans from the upper slopes 
		of Mount Nicaragua.  No artificial 
		sweeteners--

				TRUMAN
			(incredulous)
		-- What the hell are you talking 
		about?!

				MERYL
		I've tasted other cocoas.  This is 
		the best.

	Truman rises from the table and backs her around the room.

				TRUMAN
		What the hell has that got to do with 
		anything?  Tell me what's happening?!

				MERYL
			(frightened but 
			 remaining poised)
		You're having a nervous breakdown, 
		that's what's happening.

				TRUMAN
			(backing her up against 
			 the kitchen bench)
		You're part of this, aren't you?!

	Meryl grabs the "Chef's-Mate" from the counter to protect 
	herself.  She points the potato peeler at him.

				MERYL
		Truman, you're scaring me!

	Truman looks into her eyes and, with surprising swiftness, 
	grabs her wrist and disarms her.

				TRUMAN
		No, you're scaring me, Meryl!

	Truman grabs Meryl and turns the Chef's Mate on her.  He 
	stares wildly about him.

				TRUMAN
		Stop this now.  I'll do it.  I swear.

				MERYL
		Do something...

	Upon hearing her remark, Truman's eyes widen.  Sensing that 
	she too is addressing a third person, he jerks her head 
	around to read her face.

				TRUMAN
			(wild-eyed)
		Who were you talking to?!

				MERYL
			(incredulous)
		You're the one talking to the walls!

				TRUMAN
		No.  You said, "Do something."  Who 
		were you talking to?  Tell me!

				MERYL
		Truman, stop it!

	Suddenly, the front door chimes.

				TRUMAN
		Right on time.  Cops must be 
		telephatic.

	Truman grabs is peeler and marches Meryl down the hallway to 
	the front door.  The doorbell chimes a second and third time, 
	more insistently.

				TRUMAN
			(shouting through 
			 the closed door)
		Stay where you are!

			MARLON (O.C.)
		Truman?  It's me, Marlon.  I need to 
		talk to you.

	Truman flinches.  He was so convinced it would be the police.  
	He takes a step back against the hallway wall.  Before he can 
	decide what to do, MARLON has opened the unlocked front door 
	to be confronted with the sight of Truman holding the peeler
	to Meryl's throat.

	Marlon locks eyes with Truman.  Sizing up the situation, he 
	slowly but decisively removes the peeler from Truman's hand.  
	Meryl wrenches herself free from Truman's now limp grasp and 
	collapses into Marlon's arm, sobbing.

				MERYL
			(distraught)
		How can anyone expect me to carry 
		on under these conditions?  This 
		is... unprofessional.

	EXT.  UNFINISHED BRIDGE - NIGHT

	MARLON and TRUMAN, both nursing bottles of beer, sit on the 
	end of the unfinished bridge.

				TRUMAN
		I don't know what to think, Marlon.  
		Maybe I'm going out of my mind, 
		but I get the feeling that the 
		world revolves around me somehow.

				MARLON
		It's a lot of world for one man.  
		You sure that's not wishful thinking, 
		you wishing you'd made something 
		more of yourself?  Christ, Truman, 
		we hasn't sat on the Jon and had an 
		imaginary interview on "Seahaven 
		Tonight"?  Who hasn't wanted to be 
		somebody?

				TRUMAN
		This is different.  Everybody seems 
		to be in on it.

	Marlon looks around as if drawing inspiration from somewhere 
	in the night.

				MARLON
		Tru, we've known each other since 
		before we were in long pants.  The 
		only way we ever made it through 
		high school was cheating off each 
		other's test papers.  Jesus, they 
		were identical.  I always liked that, 
		because whatever the answer was--

	Truman chimes in, nodding fondly at the memory.

				TRUMAN & MARLON
		-- we were right together and we 
		were wrong together.

				MARLON
		The only night either of us ever 
		spent in jail, we spent together 
		and I wet myself but you never told 
		anyone.  I was best man at your 
		wedding and my brother was best man 
		at my wedding and you didn't talk 
		to me for a month over that and I 
		didn't blame you because you've 
		been more of a brother to me than 
		he's ever been.

	Truman is slowly coming around -- Marlon's speech from the 
	heart soothing away his pain.

				MARLON
		I know things haven't worked out 
		for either of us like we used to 
		sit up on Monroe Avenue all night 
		and dream they would.  We all let 
		opportunities pass us by.  None of 
		us asks for the dance as often as 
		we should.  I know that feeling 
		when it's like everything's 
		slipping away look for answers 
		someplace else.  But, well, the 
		point is, I would gladly step in 
		front of traffic for you.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF stares intently into camera, holding his distinctive 
	earpiece to his head.  Beside him, his ever-present assistant, 
	CHLOE.

				CHRISTOF
			(hushed tones)
		And the last thing I'd ever do is 
		lie to you.

	EXT.  FREEWAY - NIGHT

				MARLON
			(staring into Truman's eyes)
		And the last thing I'd ever do is 
		lie to you.
			(pause)
		Think about it, Truman, if 
		everybody's in on it, I'd have to 
		be in on it too.  I'm not in on it, 
		because there is no it.

				TRUMAN
		So what are you saying, Marlon, the 
		whole thing has been in my head--?

				MARLON
			(meeting his gaze)
		Not the whole thing, Truman.  You 
		were right about one thing.

				TRUMAN
		What's that?

				MARLON
		The thing that started all of this.

	TRUMAN looks up in the direction of MARLON's gaze.  A FIGURE 
	stands at the end of the freeway -- a homeless man.  It is 
	his father, KIRK.

				MARLON
		Yes, he survived somehow.  He's got 
		quite a story to tell.

	Marlon helps Truman to his feet -- Truman still transfixed by 
	the figure.

				MARLON
		Go to him.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF continues to direct the action from what is now 
	revealed to be the control room of a television studio.

				CHRISTOF
		Go wide, LightCam Eight...

	In a wide shot, from one of the streetlights lining the 
	empty freeway, we see TRUMAN walking towards his long-lost 
	FATHER.

				CHRISTOF
		... CurCam Twelve... and ... cue 
		music... Beethoven, Third Symphony, 
		Second Movement.

	Music swells.  Kirk and Truman embrace in the middle of the 
	freeway.  Truman takes his father's ring from his own finger.

				CHRISTOF
		... RingCam...

	We see a close up of Kirk from the ring's POV.  Truman places 
	the ring in the palm of his father's hand.

				CHRISTOF
		... ButtonCam Three...

	We see a close up of Truman from a camera on Kirk's coat.

				TRUMAN
		I never stopped believing.

				KIRK
			(gazing the ring, then 
			 up to Truman's face)
		Thank you... my son.

				CHRISTOF
		And wide...

	SIMEON looks to his director.

				SIMON
		Close up?

				CHRISTOF
			(staring intently 
			 at his monitor)
		No, hold back...

	The CREW watches Kirk and Truman embrace.

				KIRK
		All those years, wasted.

				TRUMAN
		We have a lot of years ahead.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF allows himself a smile of satisfaction.

				CHRISTOF
		And fade up music... now go in close
		...

	As a tight two-shot of father and son fills the screen, the 
	orchestra swells with triumphant music.

	EXT.  FREEWAY - NIGHT

	FATHER and SON remain in the embrace.  Over Truman's shoulder, 
	we see a flash of guilt flicker across MARLON's face.

	INT.  CONTROL ROOM -- NIGHT

	CHRISTOF, emotionally drained by the events, slumps in his 
	chair.  CHOLE rests a supportive hand on his shoulder.  The 
	head of the network, MOSES, a man in his seventies, enters 
	with his young assistant, ROMAN -- their faces full of 
	admiration.

				MOSES
		Well done.  Well done, everyone.

	INT.  A BEDROOM SOMEWHERE - NIGHT

	A YOUNG WOMAN reclines on a bed, her back against the wall.  
	Propped up on her knees is a book.  However, she's not 
	reading but staring straight into camera -- a look of 
	profound sadness on her face.  It is SYLVIA.

	From her point-of-view, we see a portable television set on a 
	table at the foot of the bed.

	On the television is a live picture of TRUMAN -- the first 
	time we have seen him on a television screen.  He is sitting 
	at his kitchen table, unaware of the camera recording him.

	The shot is static.  He just sits there in silence, a 
	steaming cup of cocoa in front of him and a plate of 
	untouched cookies.

	At one point, a sponsor's border, appears on the screen, 
	tastefully framing the "action," with the message, "MOCOCOA 
	-- Cocoa beans from the upper slopes of Mount Nicaragua." 
	After several seconds the border disappears.

	Suddenly, the live picture of Truman shrinks into a window on 
	the screen to accommodate a title sequence that begins to 
	play around the edge of the image.  "The Truman Show" theme 
	music begins.

	The camera cranes up and over the Hollywood sign, the 
	flatlands of Burbank stretching into the distance.

				ANNOUNCER (V.O.)
		From the network that ever sleeps -- 
		broadcasting live and unedited 24 
		hours a day, 7 days a week, around 
		the globe...

	During this continuous aerial shot, overlapping scenes from 
	Truman's life appear in chronological order, from infancy to 
	adolescence and finally adulthood.  Photographs of leading 
	CAST MEMBERS also appear in individual frames.

				ANNOUNCER (V.O.)
		...with Hannah Gill as Meryl Burbank, 
		Louis Coltrane as Marlon, Alanis 
		Montclair as Mother, re-introducing 
		Walter Moore as her husband, Kirk...

	The music swells as the camera approaches a mammoth structure 
	at the base of the mountains -- a dome so vast it dwarfs 
	everything around it.  At the top of the dome is a huge 
	painting of Truman's face encircled by satellite dishes -- 
	inside each dish is a single letter spelling out, T-H-E T-R-U-
	M-A-N S-H-O-W -- a banner proclaims, "30th Great Year."

				ANNOUNCER (V.O.)
		...and Truman Burbank as Himself, 
		taped in the world's largest studio, 
		one of only two man-made structures 
		visible from space, comes the 
		longest running documentary soap 
		opera in story, now in its 30th 
		great year -- "The Truman Show"!

	The camera rushes towards the outside wall of the gigantic 
	dome bathed in sunlight.  When we emerge on the other side, 
	it is night.  The camera cranes up from a calm, moonlit ocean 
	to the night sky above.  As we near the crescent-shaped moon, 
	we discover that it is actually a window overlooking Seahaven.  
	Standing in the "crater" window is the suited CHRISTOF.

	INT.  LUNAR STUDIO - NIGHT

	Pulling back from the window we reveal an INTERVIEWER, mid-
	forties, conservative suit and hair.  A large television 
	shows a live picture of Truman.  Immersed in his book.

				INTERVIEWER
		I'm your host, Mike Michaelson, 
		coming to you live from the Lunar 
		Room on the 121st story of the 
		OmniCam Ecosphere, 2800 feet above 
		Seahaven Island.  Tonight, a 
		special edition of "Tru Talk," the 
		forum where we discuss and analyze 
		recent events on the show.  We are 
		honored to bring you a rare and 
		exclusive interview with the show's 
		conceiver, creator, televisionary, 
		the Man-In-The-Moon himself -- 
		Christof.
			(referring to the 
			 image of Truman 
			 between them)
		I remind viewers that as "The 
		Truman Show" is a living history, 
		it is our practice to keep the 
		image of Truman on screen at all 
		times.

	A TITLE APPEARS: Due to the Live and Unedited nature of the 
	program, viewer discretion is advised.

	The Interviewer turns to Christof.

				INTERVIEWER
		Welcome.

				CHRISTOF
		Thank you.

				INTERVIEWER
		Te catalyst for the recent dramatic 
		events was, of course, Truman's 
		father, Kirk, and his infiltration 
		onto the show.  Before we discuss 
		that, it's worth reminding viewers 
		that this isn't the first time 
		someone from the outside world has 
		tries to reach Truman.

				CHRISTOF
		We have had our close calls in the 
		past.

	Behind the two men, the constantly playing image of Truman 
	engrossed in his book is relegated to a window of the screen.

	PLAYBACK - INT.  TRUMAN'S HOME - CHRISTMAS MORNING

	TRUMAN, 7, is opening present under the tree -- KIRK and 
	MOTHER proudly looking on.

				INTERVIEWER
		Who can forget the infamous 
		"Christmas Present" incident in the 
		seventh season?

	Suddenly, a small MAN bursts from a large, Christmas parcel.  
	Kirk and the man grapple on the floor in front of the stunned 
	seven-year-old.  Kirk drags him away.

	PLAYBACK - EXT.  CITY STREET - DAY

	As the adult TRUMAN makes his way to work, a PARACHUTIST 
	drops from the sky into the main street, only yards behind 
	him.

				INTERVIEWER
		And only last summer "Billie 
		Blackbird" made his third attempt, 
		leaping from a lighting gantry.

	The parachutist is dressed entirely in black with a message 
	emblazoned on his chest, "TRUMAN, YOU'RE ON TV." COMMUTERS 
	grab the man and drag him away -- Truman blissfully unaware 
	of the incident.

				CHRISTOF
			(dismissive)
		These people have their own agendas.  
		Many just want to be on television 
		themselves.

	PLAYBACK - EXT.  CITY STREET - DAY

	The encounter between TRUMAN and the homeless KIRK is 
	replayed up to the point where Kirk is bundled onto the bus.

				INTERVIEWER
		Of course, there has been anything 
		to compare with this -- the first 
		time an intruder has been a former 
		cast member--

				CHRISTOF
		-- a dead one at that.

				INTERVIEWER
		-- and certainly the first time that 
		an intruder has been rewarded with 
		a starring role.
			(gushing)
		I really must congratulate you on 
		writing Kirk back in.  A master 
		stroke.

				CHRISTOF
		Since Kirk started this whole crisis 
		in Truman's life, I came to the 
		conclusion that he was the only one 
		who could end it.

				INTERVIEWER
		I understand he's hardly had a life 
		of his own since he left the show.  
		How did you convince him -- was it 
		the opportunity to be close to 
		Truman again?

				CHRISTOF
		That and a fat, new contract.

				INTERVIEWER
		How do you intend to explain his 
		twenty-two year absence?

				CHRISTOF
		Amnesia.

				INTERVIEWER
			(impressed, nodding 
			 in agreement)
		Of course.

	The Interviewer consults his note.

				INTERVIEWER
		Let's talk ratings.  "Truman" has 
		always enjoyed top ten status but 
		the huge surge over the last few 
		days -- how do you hope to sustain 
		that audience now that Truman 
		appears to have reconciled himself?

				CHRISTOF
		As you know ratings have never been 
		our primary goal.  I imagine we'll 
		lose those voyeurs only interested 
		in witnessing Truman's latest 
		torment.  However, I'm certain that 
		our core audience will remain loyal.

				INTERVIEWER
		But recent events have been so 
		dramatic, it does raise the 
		perennial question.  What keeps us 
		watching this one man twenty-four 
		hours a day -- eating, sleeping, 
		working, sitting for hours in 
		contemplation?

				CHRISTOF
		It has to be the reality.

	During this segment, we cut to a cross-section of VIEWERS -- 
	the WAITRESS and BARMAN in the bar, the TWO OLD WOMEN on 
	their sofa, the TWO SECURITY GUARDS, and the MAN in the bath 
	-- listening to Christof's theories on their viewing habits.

				CHRISTOF
		We've become tired of watching 
		actors give us phony emotions, 
		bored with pyrotechnics and special 
		effects.  While the world he 
		inhabits is counterfeit, there's 
		nothing fake about Truman himself.  
		No scripts, no cue cards.  It's not 
		always Shakespeare but it's genuine.  
		That's how he can support an entire 
		channel.

				INTERVIEWER
		A window onto the human condition?

				CHRISTOF
		I prefer to think of it as a mirror.

	At that moment, Truman -- still live on the screen -- 
	unwittingly punctuates the pretentious remark with a belch.  
	Christof and the Interviewer try not to notice.

				CHRISTOF
		Not only does he give us a glimpse 
		of the truth, he gives us a glimpse 
		of ourselves.

				INTERVIEWER
		But how do you account for the 
		popularity of those eight hours a 
		day when Truman sleeps?

				CHRISTOF
		We find many viewers leave him on 
		all night for comfort.  Haven't you 
		ever watched your child or your 
		lover sleep?

				INTERVIEWER
		Let's go to some of those viewers' 
		calls.

	The Interviewer presses a blinking, illuminated button on his 
	desk's high-tech phone terminal.  During this segment, 
	various windows open on the screen advertising products from 
	the "Truman" catalogue.

				INTERVIEWER
		Charlotte, North Carolina, for 
		Christof.

				MALE CALLER 1 (O.S.)
		Hello?

				INTERVIEWER
		You're on, Caller.  Go ahead.

				MALE CALLER 1
		Christof, it's a great honor to 
		speak with you.

				CHRISTOF
		Thank you.

				MALE CALLER 1
		How much of a strain has the last 
		few days placed on the actors?

				CHRISTOF
		Working on "Truman" has always been 
		a huge commitment for an actor, not 
		just in terms of separation from 
		friends and family, but since Truman 
		essentially drives the plot, it is 
		a never-ending improvisation -- 
		witness Marlon's extraordinary 
		performance in the recent "Father 
		And Son Reunion" episode.

				INTERVIEWER
			(cutting off the call)
		Are we talking Emmies?

				CHRISTOF
		Certainly a nomination.

				INTERVIEWER
		Of course, Truman has always been 
		very much in on casting.

				CHRISTOF
		As with our own lives, the only 
		people he can't cast are his family.  
		Otherwise he has final approval, 
		able to elevate an extra into a 
		lead role as was the case with his 
		only real friend, Marlon, or 
		alternatively relegate a star to a 
		bit player.

				INTERVIEWER
			(presenting another line)
		Istanbul, Turkey, you're on with 
		master videographer, Christof.

				FEMALE CALLER 1 (O.S.)
		Christof, I've admired your work my 
		whole life, although I can't say 
		I've seen it all.

				CHRISTOF
		Who can?

				FEMALE CALLER 1
		Can you settle an argument for me?  
		What's the longest time Truman has 
		been off-camera?

				CHRISTOF
			(trace of pride)
		In his entire life, forty-two minutes.  
		A technical fault in the twelfth 
		season accounts for most of that time.  
		The remainder generally results from 
		blindspots, in the early days, when 
		Truman would stray out of range of 
		our cameras.

				INTERVIEWER
		We should remind viewers that Truman, 
		especially as a child, presented a 
		challenge for the production.

				CHRISTOF
			(turning to the screen)
		Let me demonstrate some examples.

	Footage of TRUMAN as a baby appears on the screen -- as a 
	newborn INFANT, held in a pair of anonymous latex-gloved 
	hands, and as a TODDLER, dressed in various baby outfits -- 
	on one occasion looking through the bars of his crib.

				CHRISTOF
		He was curious from birth -- 
		premature by two weeks, as if he 
		couldn't wait to get started.

				INTERVIEWER
		Of course, his eagerness to leave 
		his mother's womb also meant he was 
		the one selected.

				CHRISTOF
			(enthusing)
		In competition with five other 
		unwanted pregnancies -- the casting 
		of a show determined by an air date 
		-- he was the one who arrived on cue.

				INTERVIEWER
		Who knew that a show originally 
		meant to last one year -- "Bringing 
		Up Baby." -- would turn into a 
		"cradle to grave" concept.  He is 
		in face the first child in the world 
		to be legally adopted by a 
		corporation.

				CHRISTOF
		That's correct.

				INTERVIEWER
		And the show now generates a yearly 
		income equivalent to the gross 
		national product of a small country.

				CHRISTOF
		People forget it takes the 
		population of an entire country to 
		keep the show running.

				INTERVIEWER
		No, of course not.
			(quickly changing 
			 the subject)
		And since the show runs 24 hours a 
		day with no commercial breaks the 
		staggering profits are all 
		generated from product placement.

				CHRISTOF
		Yes, everything you see on the show 
		is for sale -- from the actors' 
		wardrobe, food products, to the 
		very homes they live in--

				INTERVIEWER
		All products carefully chosen and 
		tested by you for quality and 
		aesthetic value.

				CHRISTOF
		There's nothing on the show I don't 
		use myself.

				INTERVIEWER
		And it's all available in the 
		"Truman Show" catalogue.  Operators 
		are standing by.

	Christof nods.

				INTERVIEWER
		Why do you feel that Truman's never 
		come close to discovering the true 
		nature of his world?

				CHRISTOF
		We accept the reality of the world 
		with which we're presented.  As the 
		show expanded, naturally we were 
		forced to manufacture ways to keep 
		Truman in Seahaven -- demonstrating 
		that every venture is accompanied 
		by a risk.

	The SEVEN-YEAR-OLD TRUMAN have seen in other flashbacks 
	appears on the screen.  Wearing a cowboy outfit, he goes to 
	cross the walkway of a bridge when he is suddenly confronted 
	by a savage DOG wearing a spiked collar.

				CHRISTOF
		Later, Kirk's drowning made much of 
		this kind of intervention unnecessary.

	We freeze on seven-year-old Truman's terrified face.

				INTERVIEWER
		You've never actually met Truman, 
		yourself.  Never thought about doing 
		a cameo -- playing a veterinarian, 
		or a priest, something like that?

				CHRISTOF
		I've been tempted.  But I think it's 
		important to retain objectivity.  I 
		wouldn't want to get emotionally 
		caught up.

				INTERVIEWER
		The Hague for Christof... The Hague? 
		... Lost them.
			(pressing another line)
		Hollywood, California, you're on 
		"Tru Talk."

				FEMALE CALLER 2 (O.S.)
		How can you say he lives a life like 
		any other?

				CHRISTOF
			(sensing the thinly disguised 
			 resentment in the Caller's 
			 voice)
		As the Bard says, "All the world's 
		a stage, and all the men and women 
		merely players." The only 
		difference between Truman and 
		ourselves is that his life is more 
		thoroughly documented.  He is 
		confronted with the same obstacles 
		and influences that confront us all.  
		He plays his allotted roles as we 
		all do --

				FEMALE CALLER 2
		-- He's not a performer.  He's a 
		prisoner.

	The Interviewer goes to cut off the call, but Christof stops 
	him.

				CHRISTOF
			(rising to the challenge)
		And can you tell me, caller, that 
		you're not a player on the stage of 
		life -- playing out your allotted 
		role?  He can leave at any time.  
		If his was more than just a vague 
		ambition, if he were absolutely 
		determined to discover the truth, 
		there's no way we could prevent him.  
		I think what really distresses you, 
		caller, is that ultimately Truman 
		prefers the comfort of his "cell" 
		as you call it.

				FEMALE CALLER 2
			(as if trying to convince 
			 herself, giving herself 
			 away)
		-- No, you're wrong!  He'll prove 
		you wrong!  He can still do it!

	The Interviewer hangs up on the caller.

	INT.  A BEDROOM SOMEWHERE - NIGHT

	In a darkly lit room, we see SYLVIA.  It is she who is the 
	confrontational Caller -- phone still in her hand.

				CHRISTOF
		We've learnt about life as Truman 
		has and, despite the complaints of 
		a minority, it's been an 
		overwhelmingly positive experience, 
		for Truman and for the viewing 
		public.

				INTERVIEWER
		Let's take another call.
			(pressing a line)
		London, England, you're on "Tru 
		Talk."

				MALE CALLER 2 (O.S.)
		Christof?  Congratulations on the 
		way you've always handled Truman's 
		"sex" life -- the classical music, 
		soft lighting and so on.  But has 
		the recent violence caused a 
		problem for the show's sponsors?

				CHRISTOF
		The sponsors know the risks going 
		in, although we do try to maintain 
		standards -- a level of decorum.  
		For instance, I've never put a 
		camera in the toilet.

	Still in silhouette, SYLVIA turns down the volume on the 
	television.  Focusing on the window on the screen that 
	displays TRUMAN, she comes close to the screen, catching is 
	melancholy, saddened by his regression.

	INT.  TRUMAN'S BASEMENT - MORNING

	TRUMAN breathes in the scent of Sylvia's sweater one last 
	time before reluctantly replacing it in the trunk, together 
	with his book, "To The Ends OF The Earth -- The Age Of 
	Exploration" For a final time, he regards his unfinished 
	picture of SYLVIA inside -- two holes where the eyes should 
	be.  As he does so, he finds two lost paper cuttings -- a 
	pair of eyes on the basement floor.  He tries them.  
	Ironically they fit -- the picture completed.  He closes the 
	trunk anyway.  With a sense of finality, he fastens the lock.

	INT.  CONTROL ROOM - NIGHT

	The giant ON-AIR monitor in the control room plays a close-up 
	shot of Truman sleeping.

	CHRISTOF comes close to the monitor and almost touches the 
	screen.  As he does so, Truman twitches in his sleep.

	INT.  BATHROOM -- MORNING

	TRUMAN wipes the mist from the mirror of the bathroom cabinet 
	and stares into it in a way he has never done before.

	INT.  CONTROL ROOM -- MORNING

	Close up on the giant ON-AIR monitor in the control room.  It 
	displays a wide shot of Truman staring into the bathroom 
	mirror.

	We slowly pull back to reveal SIMEON and the other VIDEO 
	OPERATORS sitting at the mixing desks arranged in tiers 
	reminiscent of an auditorium or NASA's Mission Control.  
	Each mixing desk contains dozen-or-so built-in monitors 
	and is designed with a location such as "Truman's House 
	-- Interior," "Truman's Office -- Cubicle," "Tyrone's Deli." 
	The operator at each desk, sitting in a swivel chair and 
	wearing the slimmest of headsets, is responsible for 
	monitoring a particular location.

	The monitors cover virtually every facet of Truman's life.  
	Camera angles from the interior of Truman's house, his 
	backyard, car, office, the deli he frequents, the seashore 
	to which he is drawn, the unfinished bridge where he golfs 
	with Marlon -- many of the locations strangely devoid of 
	people.

	Simeon, seated in the front row of mixing desks, stares back 
	at Truman's image on the monitor, slightly unnerved.

				SIMEON
			(to a nearby COLLEAGUE)
		Is he looking at us?

	As if to reassure the technician, Truman begins one of his 
	familiar monologues.  He talks to the mirror as if being 
	interviewed.

				TRUMAN
		-- What are my plans now?  Well, 
		next I'm thinking of tackling the 
		Yuba River in a authentic canoe 
		from the Algonguin tribe.  I'm 
		talking about the north fork, a 
		class five rapid -- only I'm not 
		going down the Yuba, I'm going up.  
		Do you honestly think for one 
		minute I'd go back to some dreary 
		office to rubber stamp meaningless 
		documents... do you?

				MERYL (O.C.)
		-- Truman, you're gonna be late!

	Truman sighs as he exits the bathroom.

	EXT.  STREET -- MORNING

	TRUMAN exchanges a cheery greeting with SPENCER.

				SPENCER
		How are ya, Truman?

				TRUMAN
		Inhale... exhale... same old thing.

	He waves to WASHINGTONS across the street.  He pets PLUTO the 
	dog.

	INT.  OFFICE - DAY

	Back at work at the insurance company, TRUMAN sits in his 
	cubicle making another of his cold calls.

				TRUMAN
		-- a forty-five-year-old woman 
		sitting in the second row at an 
		amateur production of Hamlet, 
		Hamlet's dagger slips from his hand 
		and flies into the audience...

	A YOUNG WOMAN, carrying a stack of files, catches Truman's 
	eye as she passes.  VIVIEN.  She is faintly reminiscent of 
	SYLVIA at the same age -- even wearing a similar sweater.

				TRUMAN
			(returning to his call)
		-- what I'm saying is, life is a 
		fragile thing... hullo?

	EXT.  TRUMAN'S BACKYARD - DUSK

	TRUMAN wheels his lawnmower, deliberately averting his eyes 
	from the back of the house.  Staring out of the kitchen 
	window, a tall glass of iced tea in her hand, MERYL has been 
	anticipating her husband's appearance.  She wears a neckbrace, 
	we sense more as a reminder to Truman than for any medical 
	benefit she might derive.

	Feeling Meryl's eyes burning into his back, Truman fires up 
	the mower and heads directly towards the symbolically uncut 
	section of grass.  We focus on the errant blades of grass as 
	they are severed by the mower -- a new Elk Rotary.  The lawn 
	is now uniformly trimmed -- Truman's final act of defiance 
	laid to rest.

	INT.  STUDIO - CONFERENCE ROOM - NIGHT

	CHRISTOF stands at a large, specially screened window, 
	silhouetted against the twinkling stars and full moon of a 
	hyper-real nightsky.

	Members of the cast enter the room -- principal characters in 
	Truman's life -- MERYL, MOTHER, KIRK, TYRONE, LAWRENCE and 
	the new actress, VIVIEN.  They take their places around a 
	long, oval table for a story conference -- Vivien sitting 
	slightly apart from the rest of the cast.

	We glimpse over Christof's shoulder at what he sees -- the 
	town of Seahaven far below, bathed in moonlight.  He comes 
	out of his reverie and joins his cast, sitting at the head of 
	the table.  In front of him, a TV "tablet" plays silently -- 
	showing Truman drinking a glass of milk in hi kitchen.

				CHRISTOF
			(to the assembled cast)
		First of all, I'd like to welcome 
		Walter back onto the show.
			(nods in Kirk's direction)
		You may have done us more of a 
		favor than you ever imagined.
			(turning to Meryl, 
			 using her real name)
		Regrettably, I also have to inform 
		you that Hannah has chosen not to 
		renew her contract.

	All eyes turn to Meryl.  She looks at the floor.

				CHRISTOF
		I'm sure we can all respect her 
		reasons.

	Meryl receives a sympathetic squeeze of the hand from her co-
	star Marlon, now out of wardrobe, wearing an Armani suit.

				CHRISTOF
		As you all know, we have already 
		begun to orchestrate her break-up 
		from Truman.
			(more up-beat)
		However, on a more optimistic note, 
		I'm pleased to announce that 
		television's first on-air conception 
		will still take place.  You 
		witnessed the initial contact this 
		morning.
			(glancing to Vivien, 
			 once again using 
			 her real name)
		You all know Claudia from her work 
		in theatre.

				MOTHER
		I loved your Ophelia.

				CLAUDIA
		Why thank you.

	The rest of the cast nod politely in Claudia's direction.  
	CHLOE passes out a bound document to each cast member.

				CHRISTOF
			(referring to the documents)
		This is a copy of Claudia's back 
		story.  Her character's name is 
		"Vivien."

	The cast idly flips through the documents, prominently 
	stamped on the cover, "NOT TO BE TAKEN ON SET."

				CHRISTOF
		We intend to entice Truman into the 
		affair as soon as possible.  Claudia 
		will make a pass at the insurance 
		seminar Truman's attending.  Details 
		are in your schedules.
			(pause for effect)
		I don't have to tell you how 
		critical the next few weeks will be.  
		This takes us into the next 
		generation.  When Truman's child is 
		born, the network will be switching 
		to a two-channel format to 
		chronicle both lives.

				CLAUDIA
		What happens when Truman and the 
		baby are both on camera together?

				CHRISTOF
		This will simply be duplicate 
		coverage.

				CLAUDIA
			(mischievous)
		Let's just hope we don't have twins.

				MARLON
			(uncharacteristically 
			 flippant)
		When Truman dies do we go back to 
		the single channel?

	The cast returns in his direction.  Christof shoots him a 
	disapproving look.

	INT.  TRUMAN'S BASEMENT - NIGHT

	TRUMAN sleeps on a cot bed in his basement -- more cluttered 
	than usual.  A virtual bombsite -- dozens of cardboard boxes 
	stacked everywhere.  Although he is covered in bedding, his 
	sock-clad feet stick out of the bed covers.  The outline of 
	his body is still clearly visible.  He snores quietly.

	INT.  VARIOUS VIEWER LOCATIONS - NIGHT

	The TWO OLD LADIES have nodded off on their sofa in front of 
	the television, their breathing and occasional snores echo 
	those of Truman.

	In the BAR, the WAITRESS -- normally an avid viewer -- only 
	idly glances to the screen as she passes with a tray of 
	drinks.

	The MAN in the bath resignedly lets the water out of the tub 
	and goes to get out.

	The MOTHER only occasionally glances to the screen as she 
	feeds her BABY.  Her DAUGHTER has her eyes closed, bopping to 
	her Walkman.

	INT.  CONTROL ROOM - NIGHT

	SIMEON sits at his control desk, directing the "night-shift." 
	He pays scant attention to the big screen, giving his 
	instruction in a lethargic, metronomic manner.

				SIMEON
		...Ready two.  Go to two.

	An OPERATOR, eating a slice of pizza, presses one of the 
	illuminated buttons on the panel and the camera angle changes 
	to a close shot of Truman's covered head.  The camera stays 
	on the blanketed head for a long moment.

				SIMEON
		And back to the medium...

	Another button is pressed and the angle changed.  A trace of 
	frustration is evident in the control room.  Recording a 
	sleeping subject is unrewarding enough without also having to 
	contend with Truman's recently acquired camera-shyness.

				SIMEON
		... and wide...

				OPERATOR
			(aside to Simeon)
		What a loser.

				SIMEON
		Who cares?  Makes life easier for us.  
		He is what he is.

	At the far end of the control room, one of the largest 
	double doors opens and CHRISTOF enters, dressed in a smoking 
	jacket.  Simeon and the Operators subtly straighten in their 
	chairs.  Christof pretends not to notice.  He is staring 
	intently at the ON-AIR monitor.

				CHRISTOF
		Why is he in the basement?

				SIMEON
		He moved down there after Meryl 
		packed up and left.

				CHRISTOF
		Why wasn't I told?  Any 
		unpredictable behavior has to be 
		reported.
			(returning to the screen)
		Is that the best shot we can get?

				SIMEON
		What's to see?

				CHRISTOF
		What's on the ClockCam?

	The operator punches up the camera hidden inside a broken 
	cuckoo clock.  A box obscures the view.

				OPERATOR
		There's an obstruction.

	Christof watches Truman, a trace of concern in his eyes.  
	CHLOE enters.

				CHRISTOF
			(referring to the debris 
			 in Truman's basement)
		What happened down there?

				SIMEON
		He was tidying up is garbage.
			(sensing Christof's 
			 concern)
		I was going to call you.  But half-
		way through, he gave up and fell 
		asleep.

	Apparently satisfied, Christof turns to an Operator.

				CHRISTOF
		I want to check the set-ups for 
		tomorrow's insurance convention.

	Reading off the notes in Chloe's folder, the Operator punches 
	up a batch of camera angles on smaller preview monitors.  
	They show a generic-looking hotel, devoid of actors.  A 
	banner in reception reads, "Welcome Seahaven Life and 
	Accident."

	The Operator looks to Christof for approval and realizes his 
	producer's attention has wandered.  Christof has wandered 
	down to the front of the room to stand beside the giant ON-
	AIR monitor still displaying the sleeping figure of Truman.

				CHRISTOF
		Give me a shot from Truman's ring.

				SIMEON
		He gave it back to his father.

	Christof nods.

				CHRISTOF
			(a trace of concern)
		Why is he so still?

	Christof picks up a spare headset from the panel and puts it 
	to his ear.

				CHRISTOF
		Isolate the audio.

	An Operator pushes up an audio fader on the panel.  Christof 
	and his colleagues listen to Truman's steady breathing in 
	their headphones.

				SIMEON
			(shrugs)
		He's still breathing.

	Simeon and the Operator nod, reassured that nothing is amiss.  
	Christof is not so easily convinced.

				CHRISTOF
		Give me a preview.  An ECU on his 
		torso.

	A camera in the room's lamp zooms in to Truman's prone 
	outline.  While the breathing remains steady, the body does 
	not rise and fall.  Christof, still listening to his 
	headphones, detects a faint scratching sound followed by a 
	strange thud.

				CHRISTOF
			(anxious, barking a 
			 command to Chloe)
		Phone him.

	Chloe picks up a phone connected to the desk and dials.

				CHRISTOF
			(anticipating Chloe's 
			 question)
		Tell him it's a wrong number.

	The upstairs phone begins to ring.  Truman doesn't flinch.

	INT.  AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT

	The TWO SECURITY GUARDS are intrigued by Truman's unanswered 
	phone on their television set.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF and SIMEON concentrate on another, separate monitor 
	playing in fast-rewind, time code in the bottom right-hand 
	corner.  It is a recording of the night's transmission.  
	Simeon pauses on the last on-camera appearance by Truman.

	They watch Truman, on-screen, switch off the basement light 
	and climb into the cot bed fully clothed, immediately pulling 
	the covers over his head.  As the light is switched off, the
	recording camera automatically switches to night vision.  
	Simeon continues to play at normal speed, now and then 
	scrolling forward in fast-forward mode.  Christof suddenly 
	points to screen.

				CHRISTOF
		There.  Freeze... Zoom into the 
		chair...

	Simeon types the appropriate command.

				CHRISTOF
		Enhance... there!

	On the blown-up screen, between a cardboard box and a chair 
	leg, it is barely possible to make out Truman's hand as he 
	crawls commando-style from beneath the covers and behind a 
	cardboard box near the large tool cupboard.

	Simeon points out an angle of the empty staircase.

				SIMEON
		He hasn't gone up the stairs.  He's 
		still in the room.

	EXT.  TRUMAN'S HOUSE - NIGHT

	MARLON's car squeals to a halt outside Truman's house.  
	Hurriedly dressed in jeans and coat over a bare chest, he 
	dashes barefoot up the porch to the front door.  He tries the 
	doorhandle, pounds on the door and rings the doorbell 
	simultaneously, shouting Truman's name all the while.

				MARLON
		Tru!  Tru! ... Earthquake alert... 
		flood!  We've gotta get outside 
		onto the street!  Tru?!

	Frustrated, Marlon picks up one of Meryl's carefully nurtured 
	flower pots from beneath the porch window.

				MARLON
			(shouting a warning)
		I'm coming in, Tru!

	Marlon hurls the flower pot through the window.

	INT.  TRUMAN'S HOUSE - BASEMENT - NIGHT

	MARLON switches on the light and clambers down the wooden 
	stairs to the basement.

	He pushed away the clutter and finally stands at his co-
	star's bedside.  He gingerly lifts the covers.  Beneath the 
	bedding, clothes have been carefully piled to resemble a 
	sleeping figure -- socks placed on the end of two tree 
	branches.

	Buried amongst the clothes is Truman's portable tape recorder.  
	Marlon places the recorder next to his ear.  The cassette 
	plays the sound of TRUMAN BREATHING.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF stares, wide-eyed, at the image on the On-Air 
	monitor of MARLON.

				CHRISTOF
		Find him, Marlon!

	INT.  BASEMENT - NIGHT

	MARLON starts frantically pushing aside the clutter, sending 
	Truman's model ships and other hobbies crashing to the floor.  
	Eliminating all over possible hiding places, he confronts 
	Truman's tool closet, the wall map of the Fiji Islands still 
	hanging on the door.  Marlon rips open the door and is hit 
	with a shaft of light -- moonlight.

	The top of the closet has been removed and a crude tunnel 
	containing a ladder heads almost directly upwards to the 
	outside of the house.  The bottom of the closet is ankle deep 
	with dirt.  Embedded in the tunnel wall is Meryl's Chef's 
	Mate -- Truman's digging implement.

	EXT.  TRUMAN'S HOUSE - NIGHT

	MARLON's head pops up outside the house.  Unable to help 
	himself, Marlon looks directly into a wide shot camera 
	concealed in a streetlight.

	INT.  CONTROL ROOM - NIGHT

				CHRISTOF
		Marlon, don't look at the camera!  
		Say something!

				MARLON
			(to streetlight, stunned, 
			 breaking the fourth wall)
		What?  He's gone!

				CHRISTOF
			(to Simeon, quiet but firm)
		Cut transmission.

	Simeon hesitates, unsure if he has heard correctly.  He looks 
	to Christof for confirmation, his finger poised over an 
	"EMERGENCY" button.

				CHRISTOF
			(enraged)
		I said, "Cut!"

	Christof lunges forward and presses the button himself.  The 
	scene in Truman's bedroom playing on the on-air monitor is 
	abruptly replaced by the "TRUMAN" logo and the message, 
	"TECHNICAL FAULT.  PLEASE STAND BY."

	INT.  A LIVING ROOM SOMEWHERE - NIGHT

	The TWO OLD WOMEN on the sofa are stunned to see their TV 
	screen go black.

	INT.  A BAR SOMEWHERE - NIGHT

	HEADS also turn in the bar permanently tuned to the "Truman" 
	channel.

	INT.  AN APARTMENT SOMEWHERE - NIGHT

	The other loyal viewer transfixed by the test card is SYLVIA, 
	alone in her darkened apartment.

	INT.  CONTROL ROOM - NIGHT

	Reminiscent of a military headquarters in wartime, the 
	control room is a scene of barely controlled panic.  SECURITY 
	GUARDS come and go, phones ring, lights flash, every 
	available VIDEO MIXER is working.  The monitors -- the "eyes" 
	of the searchers -- are systematically scrutinized for any 
	sign of Truman.  CHRISTOF orchestrates operations from his 
	position at the center of the control panel.

				SIMEON
			(nervous)
		We've declared a curfew.  Everyone 
		else is at first positions.

				CHRISTOF
		All prop cars accounted for?

				SIMEON
		He has to be on foot.  He has the 
		world's most recognizable face.  He 
		can't disappear.

	EXT.  SEAHAVEN - MAIN STREET - NIGHT

	We pan down one empty street after another.  The town center 
	is totally, eerily deserted.  Suddenly, a line of PEOPLE 
	comes around the corner, fanned out cross the street -- man-
	hunt.

	PEOPLE of every description, shoulder to shoulder, marching 
	down the otherwise empty streets the way a search is 
	conducted at a crime scene.  The lines includes PRINCIPALS 
	and EXTRAS lined arm and arm, wardrobed for their usual roles 
	as EXECUTIVES and SECRETARIES, STORE CLERKS, TELEPHONISTS, 
	MAINTENANCE and CONSTRUCTION WORKERS, WAITERS and WAITRESSES, 
	COOKS, SHOPPERS, HEALTH WORKERS, SECURITY GUARDS, POSTAL 
	WORKERS, POLICE OFFICERS, FIRE FIGHTERS and HOMELESS PEOPLE.

	We occasionally glimpse Truman's friends and colleagues 
	amongst the searchers -- MARLON, LAWRENCE, MOTHER & KIRK, 
	VIVIEN and TYRONE.  Even the WASHINGTON's and SPENCER and 
	PLUTO have joined the search -- a snarling Pluto straining at 
	the leash has now assumed the role of tracker dog -- Truman's 
	pajamas waved in front of his nose (clearly miscast as the 
	friendly, neighborhood pooch).

	Searchlights from Seahaven's many towers sweep the town.  
	Once, the light falls on a blackened face cowering in the 
	bushes beside a picket fence -- the fence now faintly 
	reminiscent of prison bars.  Even the beam of the full moon 
	appears to be sweeping the town like a searchlight.

	EXT.  BRIDGE - NIGHT

	Barriers have been erected at the bridge leading out of 
	Seahaven, guarded by several Seahaven police cars.

	An extra dressed as a DERELICT wheels his shopping cart 
	toward the bridge.

	The derelict takes a look along the walkway alongside the 
	bridge as if participating in the search.  He finds a POLICE 
	OFFICER standing on the walkway.

				POLICE OFFICER
		Any sign of him?

				DERELICT
			(gravelly voice)
		Not yet.

				POLICE OFFICER
		Take it easy.

	INT.  CONTROL ROOM - NIGHT

	A VIDEO OPERATOR in the sixth row watches the scene on one of 
	his monitors -- the derelict standing with his back to camera.  
	Just as the derelict turns toward camera the Operator turns 
	away to take a sip of coffee.  He misses what we see on his 
	monitor -- the derelict's blackened face belongs to TRUMAN.

	EXT.  BRIDGE - NIGHT

	The disguised TRUMAN heads back to town.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF turns to a LIGHTING TECHNICIAN.

				CHRISTOF
		We need more light.

	EXT.  SEAHAVEN STREETS - NIGHT

	A building-to-building, floor-to-floor, office-to-office 
	search is also being conducted, each structure secured as 
	they go -- the SEARCHERS paying special attention to 
	potential blind spots such as closets, dumpsters, manholes, 
	sewers, car trunks, trees and shrubbery.

	We focus on one of the waves of searchers.  TRUMAN has linked 
	arms in the middle of a row, his disguise still holding up.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF glances impatiently at his watch.

				CHRISTOF
		We'll never find him like this.  
		What time is it?

				CHLOE
			(anticipating the request)
		It's too early.

				CHRISTOF
		It doesn't matter.  Cue the sun.

	EXT.  STREETS - NIGHT/DAY

	The sun instantly rises over Seahaven.  CAST and EXTRAS shade 
	their eyes from the sudden glare.

	INT.  CONTROL ROOM - NIGHT

	While his COLLEAGUES monitor the bank of screens, CHRISTOF 
	has been joined by the two anxious studio executives, MOSES 
	and ROMAN.

				MOSES
			(to Christof who is 
			 still studying the 
			 faces in a row of 
			 SEARCHERS)
		Rumors are circulating he's dead.  
		The media is in a feeding frenzy.  
		The phone lines are jammed.  Every 
		network has a pirated shot of 
		Marlon in the closet.

				ROMAN
			(pacing nervously)
		The sponsors are threatening to rip 
		up their contracts.

				CHRISTOF
			(unconcerned, referring 
			 to the static "STAND BY" 
			 graphic, now accompanied 
			 by soothing classical 
			 music)
		Why?  We're getting higher ratings 
		for that graphic than any time in 
		the show's history.

	INT.  BAR - NIGHT

	The television above the bar carries the test card.  PATRONS 
	animatedly discuss Truman's fate over their drinks.  Some 
	place bets with each other on Truman's fate.

	EXT.  ELECTRONICS STORE - NIGHT

	A CROWD of passersby hover around a display of televisions in 
	the window of an electronics store, awaiting developments.

	INT.  CONTROL ROOM - NIGHT

	THE fan of EXTRAS reaches the harbor and automatically turns 
	to make another sweep.

				CHLOE
			(referring to the 
			 empty streets)
		When we flush him out how do we 
		explain this?

				CHRISTOF
			(deadpan)
		We tell him the truth.

	CHLOE looks askance at CHRISTOF.

				CHRISTOF
			(joking darkly)
		We're making a movie.

	EXT.  HARBORSIDE - DAY

	However, as he bypasses the entrance to a ticket box, he 
	hasn't bargained on coming face to face with another 
	straggler from the search.

	MARLON.  Truman freezes in front of his childhood companion -- 
	Marlon instantly seeing through Truman's homeless disguise.

	Truman glances nervously in the direction of the searchers.  
	Their backs to the two men, they are beginning their next 
	sweep.  One shout from Marlon will give Truman away -- he is 
	at Marlon's mercy.

	Without a word, Marlon walks past Truman and rejoins the 
	search.

	Truman glances back to Marlon's retreating figure but Marlon 
	never looks back.

	EXT.  DOCKSIDE -- DAY

	TRUMAN reaches the edge of the dock.  He looks out over the 
	bay.  There, riding at anchor some two hundred yards out, is 
	a sail boat -- the same boat that circled Kirk and Truman's 
	sail boat many years earlier.

	We see a close-up of Truman's terrified eyes in his blackened 
	face, staring down at the lapping water.  He steels himself, 
	shuts out the doubts and dives into the water.

	INT.  CONTROL ROOM - NIGHT

				SIMEON
			(hopeful)
		I'm sure we'll get him on this next 
		sweep.

				CHRISTOF
			(distracted)
		What have we missed?

				SIMEON
		It's just a matter of time.

	CHRISTOF concentrates on a monitor displaying a view of the 
	harbor.

				CHRISTOF
			(to Simeon)
		We're not watching the sea.

				SIMEON
			(confused)
		Why would we--

				CHRISTOF
		Sweep the harbor.

	His COLLEAGUES begin to flick through dozens of waterborne 
	hidden camera shots -- in moored craft, lighthouses and buoys 
	-- trying to locate Truman.

	Suddenly on one of the monitors there appears a single sail 
	etched against the horizon.

				SIMEON
		That's got to be him!

				ROMAN
		How can he sail?!  He's in 
		insurance!

				CHRISTOF
		Resume transmission.

	Simeon punches a button and the image of the sail boat is 
	instantly transferred to the large ON-AIR monitor.

	INT.  OLD WOMEN'S APARTMENT - NIGHT

	The TWO OLD WOMEN doze against each other on the sofa in 
	front of the TV.

	The classical music on the television is abruptly replaced by 
	the sound of the wind and the sea.  One Old Lady blinks her 
	eyes open, her breath taken away by the sight of Truman at 
	the wheel of the sail boat.  She rouses her companion.

	INT.  CONTROL ROOM - NIGHT

				CHRISTOF
			(staring intently at 
			 the ON-AIR monitor)
		What do we have on that boat?

	SIMEON scans a computer shot list.  He types in a code.

	A camera from the mast of Truman's sail boat activates.  
	Truman, unaware of the camera, is concentrating on his 
	sailing.

	EXT.  HARBOR - DAY

	By now the ocean spray has washed most of the dirt from 
	TRUMAN's face -- only a residue remains.  The rags he wears 
	are soaked.

	As he steers, he occasionally refers to a "HOW TO SAIL" book 
	from his coat pocket.

	INT.  A BATHROOM SOMEWHERE - NIGHT

	The MAN in the bath we have seen earlier continues to watch 
	from his tub.

				MAN
			(to himself)
		I knew he wasn't dead.

	EXT.  HARBOR - DAY

	TRUMAN is at the wheel of the sail boat, wind filling her 
	sails.

	Seahaven left far behind, his is the only craft afloat in the 
	harbor.  He sets a course for the open sea as he and his 
	father did long ago.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from a 
	buoy's POV as he sails by.

				CHRISTOF
		Get another boat.

				CHLOE
		The ferry.

	EXT.  FERRY TERMINAL - DAY

	A PRODUCTION ASSISTANT runs down the dock towards the FERRY 
	CAPTAIN and his CREW.

				PRODUCTION ASSISTANT
		Get that boat out there!

				FERRY CAPTAIN
			(who also played 
			 the bus driver)
		I don't know how.  We were just 
		told to put on these clothes.

	EXT.  HARBOR - DAY

	The sea choppier now, rising and falling steeply beneath his 
	boat, TRUMAN nears a large buoy bobbing clumsily in the 
	strong swell.  An official-looking sign on the buoy reads -- 
	"DANGEROUS WATERS.  DO NOT ENTER." We see an extreme close-up 
	of the nautical signpost where a disguised miniature camera 
	tracks Truman's progress.

	INT.  CONTROL ROOM - NIGHT

				ROMAN
			(anxious)
		How do we stop him?

				CHRISTOF
			(glancing to Simeon)
		How else?

	Christof nods to controls on the mixing desk marked, "WIND" 
	and "RAIN."

	EXT.  HARBOR - DAY

	Storm clouds roll towards TRUMAN's boat at an alarming speed.  
	He looks back towards the Seahaven skyline, rapidly receding 
	behind him.  Doubts invade Truman's head but he shuts them 
	out and steers into the teeth of the storm -- a look of 
	resolve in his eyes we have never witnessed before.

	INT.  CONTROL ROOM - NIGHT

	MOSES and ROMAN pace at the back of the control room.  
	CHRISTOF is focused on his monitor.  Like Truman, he steels 
	himself for a fight.

				CHRISTOF
		Cue music...

				SIMEON
			(hesitant)
		What music?

				CHRISTOF
			(irritated)
		Storm music... Wagner...

				CHLOE
			(watching the monitor)
		There's no rescue boat in the area.  
		He won't know what to do.

				MOSES
			(trying to appeal to 
			 Christof's sense of 
			 reason)
		For God's sake, Chris.  The whole 
		world is watching.  We can't let 
		him die in front of a live audience.

				CHRISTOF
		He was born in front of a live 
		audience.
			(never taking his eyes 
			 from the screen)
		Don't worry, he's not willing to 
		risk his life.  His doubts will 
		turn him back.

	Simeon reluctantly winds the controls for "WAVE," "WIND" and 
	"RAIN" towards their maximum settings.

				CHRISTOF
		Kill the lights.

	EXT.  HARBOR - DAY

	Darkened suddenly descends.  High winds and horizontal 
	driving rain buffet the boat.  TRUMAN fights the tiller.  
	Hurricane force winds shake the mast and keel, ripping the 
	sails to shreds.

	Suddenly, the mast of Truman's boat is truck by a bolt of 
	lightning -- snapping the rigging and knocking Truman 
	overboard.  Flailing in the tempest, Truman manages to grab 
	hold of a trailing rope from the mast and hand-over-hand 
	drags himself back on board.  Truman takes the rope and 
	lashes himself to the wheel.

	Monstrous waves continually submerge the boat.  With what 
	little is left of his rigging, Truman continues to head into 
	the gale.

				TRUMAN
			(shouting above the 
			 storm, screaming 
			 up to the sky)
		Come on, is what the best you can 
		do?  You're gonna have to kill me!

	INT.  CONTROL ROOM - NIGHT

	In contrast to his panic-stricken COLLEAGUES, CHRISTOF gives 
	an outward appearance of calm.  Only we witness the minute 
	bead of sweat appearing at his temple that betrays him.

				SIMEON
			(shocked at the sight of 
			 Truman binding himself 
			 to the boat)
		Is he out of his mind?

				MOSES
			(to Christof)
		On behalf of the studio, I demand 
		that you cease transmission.

				CHRISTOF
			(defiant, to Operators)
		Keep running!

				MOSES
		-- That's not for you to say.

				CHRISTOF
		I take full responsibility--

				MOSES
		-- I'm telling you for the last time.

				CHRISTOF
			(to OPERATOR in front of 
			 radar-style-screen)
		How close is he?

				OPERATOR
		Very close.

				CHRISTOF
		Capsize him! Tip him over!

				MOSES
			(overlapping)
		For God's sake, Christof!

				CHLOE
			(unable to contain herself 
			 any longer, entreating 
			 Christof)
		You can't!  He's tied himself to 
		the boat.  He'll drown!

				SIMEON
			(staring at Truman on the 
			 monitor, becoming 
			 affected his display of 
			 courage)
		He doesn't care.

				CHRISTOF
			(enraged, to the Operator)
		Do it!

	All eyes turn in Christof's direction.  None of the Operators 
	is willing to touch the controls.

	Christof reaches to the panel and does it himself, turning 
	the "WAVE" controls to their maximum settings.

	EXT.  OCEAN - DAY

	A series of giant breakers march in formation across the sea 
	-- arising from an unseen source.

	EXT.  OCEAN - DAY

	The waves break across Truman's vessel.  TRUMAN appears to be 
	losing his fight against the storm, each successive wave 
	taking its roll on his body, sapping his strength, his 
	bindings the only thing keeping him upright.  His head slumps, 
	the tiller goes loose in his grasp, rocking out of control.  
	Truman's will is draining away.

	INT.  CONTROL ROOM - NIGHT

	The control room CREW watch the heroic image of Truman on the 
	ON-AIR monitor, awestruck, as if they too are now spectators 
	watching a movie.

	EXT.  OCEAN - DAY

	As he is about to be overcome by the next wave, TRUMAN clamps 
	the wheel with his whole body and braces for one last wave.

	But the wave does not come.  A strange phenomenon is 
	occurring in the ocean.  A distinct division has appeared in 
	the ocean swell.  Between the large rolling waves lies a 
	corridor of calmer water, several hundred yards wide, a 
	curious escape lane.  The wind and the rain are also 
	subsiding, the darkness lifting.  A mist clings to the 
	surface of the water.  Truman steers his sail boat down the 
	eerie corridor.

	Several large, dark shapes emerge on the horizon.  Land?  
	Islands?  The shapes, containing some enormous mechanism 
	including a huge wheel, only half exposed above water level, 
	appear to be the source of the peculiar wave formations.

	Truman continues to steer his wrecked sailboat towards the 
	infinitely receding horizon.  All is calm until we see the 
	bow of the boat suddenly strike a huge, blue wall, knocking 
	Truman off his feet.  Truman recovers and clambers across the 
	deck to the bow of the boat.  Looming above him out of the 
	sea is a cyclorama of colossal dimensions.  The sky he has 
	been sailing towards is nothing but a painted backdrop.  
	Truman looks upward, straining his eyes to see the top of the 
	sky, but it curves away at a steep angle beyond his sight.

	Clinging to the boat with one hand, he tentatively reaches 
	out towards the painted cyclorama.  He touches the sky.

	He looks about him and simply laughs.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF and his PRODUCTION STAFF take in Truman's reaction
	in stunned silence.

	INT/EXT.  BARROOM/LAUNDROMAT/STOREFRONT/APARTMENT - NIGHT

	Truman's laugh echoes around bars, offices, shops, homes and 
	streets -- wherever a television is to be hound -- no VIEWER 
	speaks.  They too are stunned into a hushed expectancy.  The 
	collective audience holds its breath.

	EXT.  OCEAN/CYCLORAMA - DAY

	As the boat drifts alongside the seemingly never-ending curve 
	of the cyclorama, TRUMAN's attention id drawn to an outline 
	in the otherwise flawless backdrop.  He retrieves the 
	identikit picture of Sylvia from his coat pocket and clambers 
	to the prow of the boat.

	There, camouflaged in the painted skyscape just above the 
	water line, is a door.  Truman drabs hold of the recessed 
	doorhandle and halts the drifting boat.  He stands in front 
	of the door and closes his eyes in a silent prayer.

	INT.  CONTROL ROOM - NIGHT

	The control room CREW stare in silence at the monitor -- 
	their very livelihood on the brink of vanishing.  CHRISTOF 
	opens a small panel on his desk, breaks a seal, and speaks 
	into the emergency P.A.  system that is linked to the entire 
	studio.

				CHRISTOF
		Truman!

	INT/EXT.  OCEAN/CYCLORAMA - DAY

	CHRISTOF's voice booms over the now calm ocean.

				CHRISTOF
		Truman!

	TRUMAN drops the handle as if his hand has been burned.  He 
	looks all about him.

				CHRISTOF (O.C.)
		You can speak.  I can hear you.

	Truman takes a moment to overcome his fear and astonishment.

				TRUMAN
		Who are you?

				CHRISTOF
		I'm the creator.

	Truman looks up to the "heavens."

				TRUMAN
		The creator of what?

				CHRISTOF (O.C.)
		A show -- that gives hope and joy 
		and inspiration to millions.

				TRUMAN
			(incredulous)
		A show.  Then who am I?

				CHRISTOF (O.C.)
		You're the star.

	Truman struggles to take it all in.

				TRUMAN
		Nothing was real.

				CHRISTOF
		Nothing was real.  That's what made 
		you so good to watch.

	Truman takes out the drenched picture of Sylvia, recalling 
	her words at the beach.

				TRUMAN
			(to himself)
		"The eyes are everywhere."

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF picks up a slim, flat monitor.  He swivels in his 
	chair and gazes intently at the image of Truman he now holds 
	in his hands.

				CHRISTOF
		Listen to me, Truman--

	On the screen, Truman again reaches for the door handle.

	EXT.  CYCLORAMA - DAY

	We focus on TRUMAN's hand.  CHRISTOF's voice echoes across 
	the water.

				CHRISTOF
		You can leave if you want.  I won't 
		try to stop you.  But you won't 
		survive out there.  You don't know 
		what to do, where to go.

	A wave of doubt washes over Truman's face.

				TRUMAN
			(referring to the photo)
		I have a map.

				CHRISTOF
		Truman, I've watched you your whole 
		life.  I saw you take your first 
		step, your first word, your first 
		kiss.  I know you better than you 
		know yourself.  You're not going to 
		walk out that door--

				TRUMAN
		-- You never had a camera in my 
		head.

	INT/EXT.  VARIOUS LOCATIONS - NIGHT

	The VIEWERS stare into camera in fascination.

	INT.  CONTROL ROOM - NIGHT

	TRUMAN turns back to the sky, looking up towards CHRISTOF.

				CHRISTOF
		Truman, there's no more truth out 
		there than in the world I created 
		for you -- the same lies and deceit.  
		But in my world you have nothing to 
		fear.

	Truman seems to be considering the possibilities.  He looks 
	to the identikit picture of Sylvia in his hand.

				CHRISTOF
			(suddenly angry)
		Say something, damn it!  You're 
		still on camera, live to the world!

	INT.  A ROOM SOMEWHERE - NIGHT

	SYLVIA gazes at the picture of herself on her television 
	screen as if it is her reflection in the mirror.

	EXT.  CYCLORAMA - DAY

	TRUMAN hesitates.  Perhaps he cannot go through with it after 
	all.  The camera slowly zooms into Truman's face.

				TRUMAN
		In case I don't see you -- good 
		afternoon, good evening and good 
		night.

	He steps through the door and is gone.  Silence.  Then--

	INT/EXT.  VIEWERS - NIGHT

	Spontaneous jubilation from VIEWERS in their various 
	locations -- bars, homes and offices.  We follow the figure 
	of SYLVIA, running through the streets.  Some of the viewers 
	outside an electronics store glimpse her as she runs by.

	INT.  CONTROL ROOM - NIGHT

	Even the cynical SIMEON jumps out of his seat -- for the 
	first time in the film -- and lets out a joyous whoop, 
	forgetting himself for a moment, caught up in the drama.

				SIMEON
		Yes!

	Self-conscious, he takes his seat again almost immediately.  
	His COLLEAGUES are transfixed by the live ON-AIR monitor 
	continuing to play its only available shot, the open door in 
	the sky.

	Gradually, the attention of those in the control room shifts 
	from the monitor to CHRISTOF.  He sits slumped, staring at 
	the open door in the sky.

	Eventually MOSES looks to Simeon.  Moses nods to the "ON AIR" 
	button.  Simeon presses the button and the screen -- the 
	movie screen -- goes to static.

	MONTAGE/END TITLES

				FADE OUT