September 5
Executive Summary
Poster
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Overview
Genres: Drama, Thriller, Sports, Historical, Comedy
Setting: 1972, Munich, Germany during the Summer Olympics
Overview: Set against the backdrop of the 1972 Munich Olympics, the story begins in the control room of ABC Sports, where the excitement of live broadcasting is palpable. As Olympic swimmer Mark Spitz competes, the atmosphere shifts dramatically when gunshots signal a crisis unfolding in the Olympic Village. The narrative follows Geoff Mason, a confident and somewhat arrogant journalist, as he navigates the chaos of a hostage situation involving Israeli athletes. Throughout the unfolding events, Geoff and his colleagues grapple with the ethical dilemmas of live reporting, the emotional toll of witnessing tragedy, and the clash of cultures between American and German perspectives. As the crisis escalates, the crew must make difficult decisions about what to broadcast, ultimately leading to a profound realization of their responsibilities as journalists. The story culminates in a somber reflection on the human cost of conflict and the impact of their coverage on public perception.
Themes: The ethical dilemmas of live broadcasting during a crisis., The contrast between the carefree atmosphere of the Olympics and the horrific reality of the terrorist attack., The cultural clash between German and American perspectives on the event., The personal toll of witnessing trauma and the human cost of conflict., The power of live television to shape public perception and influence events.
Conflict and Stakes: The primary conflict revolves around the urgent and chaotic situation of the hostage crisis during the Olympics, with the stakes being the safety of the hostages and the ethical implications of broadcasting the events live.
Overall Mood: Tense and urgent, with moments of somber reflection.
Mood/Tone at Key Scenes:
- Scene 1: The mood is exhilarating and tense as the live broadcast begins amidst the chaos of the Olympics.
Standout Features:
- Unique Hook: The real-time coverage of a hostage crisis during a major international sporting event, blending sports and journalism.
- Major Twist: The unexpected escalation of the hostage situation, leading to tragic outcomes that challenge the characters' moral compasses.
- Distinctive Setting: The backdrop of the 1972 Munich Olympics, a historically significant event that adds depth and urgency to the narrative.
- Innovative Ideas: Exploration of the ethical dilemmas faced by journalists in crisis situations, highlighting the impact of media on real-world events.
Comparable Scripts:
- The Killing Fields
- All the President's Men
- Spotlight
- The Report
- The Day the Clown Cried
- The Newsroom
- The Munich Massacre
- The Siege
- The Bourne Ultimatum
Writing Style:
The screenplay demonstrates a consistent style characterized by fast-paced, sharp dialogue, high-stakes situations, and a focus on complex character interactions within intense, often professional, settings. Ethical dilemmas and moral ambiguities are frequently explored, adding layers of depth to the narrative. While action and suspense are present, the driving force of many scenes is the dialogue itself, revealing character motivations and power dynamics.
Style Similarities:
- Aaron Sorkin
- David Mamet
Pass/Consider/Recommend
Recommend
Explanation: September 5 is a compelling and well-structured screenplay that masterfully recreates the tension and drama of the 1972 Munich Olympics hostage crisis. While the pacing is excellent and the character development is strong, particularly for Geoff Mason, the narrative occasionally veers into melodrama and needs some tightening. However, the unique perspective and the focus on the television production aspect make this script stand out. With minor revisions to address pacing and thematic consistency, this screenplay has strong commercial potential.
USP: The screenplay's USP lies in its ability to artfully blend real-world historical events with a deeply personal and emotionally resonant story. By focusing on the experiences of the ABC Sports crew, the writer creates a unique perspective that allows the audience to witness the unfolding tragedy through the eyes of those tasked with reporting on it. The screenplay's strong character development, particularly the journey of Geoff Mason, and its exploration of the moral and ethical dilemmas faced by the crew, make it a compelling and thought-provoking piece of storytelling that sets it apart from other sports-related dramas.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, particularly those interested in historical dramas, political thrillers, and sports.
Marketability: The screenplay has strong historical relevance and dramatic tension, appealing to audiences interested in real-life events and ethical dilemmas.
The unique blend of sports, journalism, and political drama can attract a diverse audience, including sports fans and those interested in historical narratives.
The emotional depth of the characters and the high stakes of the situation can resonate with viewers, though it may face competition from other high-profile projects.
Profit Potential: High, due to the potential for critical acclaim, award nominations, and a strong audience draw from both sports and historical drama enthusiasts.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a compelling blend of realism and high stakes drama, particularly within the context of live television broadcasting during a crisis. It's marked by sharp, authentic dialogue that reveals character dynamics and internal conflicts, detailed scene descriptions that immerse the reader in the technical aspects and tense atmosphere of a newsroom, and a focus on the ethical dilemmas faced by journalists in high-pressure situations. The voice is both witty and serious, capable of capturing both the camaraderie and the intense pressure of the environment.
Best representation: Scene 3 - Technical Turmoil in the Control Room. Scene 3 best encapsulates the writer's unique voice because it masterfully blends several key elements: the sharp, witty dialogue that captures the characters' personalities and the high-stakes environment; the detailed scene description that establishes the setting and atmosphere; and the implied tension and pressure that informs the characters' interactions. It perfectly showcases the writer's ability to create a realistic and engaging portrayal of a high-pressure situation without sacrificing the nuances of character or the underlying dramatic tension.
Memorable Lines:
- HOWARD: These Israeli athletes are leaving the Olympic Village -- not as free and proud competitors of their country -- but as victims of a brutal act of terror. (Scene 48)
- McKay: Our worst fears have been realized tonight. They’ve now said there were eleven hostages; two were killed in their rooms this morn-- yesterday morning, nine were killed at the airport tonight. They're all gone. (Scene 58)
- BADER: If you screw this up, I’m the one in trouble with Roone. (Scene 3)
- ROONE: Ask him how it feels to win Gold in Hitler’s backyard... Walk with me... (Scene 5)
- Roone: Not politics, Bader. Drama. Emotions. (Scene 6)
Characters
Geoff Mason:An ambitious and energetic sports reporter navigating the chaos of the Olympic Games.
Roone Arledge:The president of ABC Sports, focused on delivering impactful coverage amidst the crisis.
Marianne Gebhardt:A translator and crew member who provides crucial insights and emotional depth.
Marvin Bader:The VP of Sports Operations, dealing with the pressures of live broadcasting and crisis management.
Jim McKay:The lead announcer, tasked with delivering news during the unfolding hostage situation.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - The Emotional Victory: A Moment at the 1972 Olympics | Excitement, Tension, Disappointment | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
2 - The Drive to Ambition | Intense, Determined, Contemplative | 8.2 | 9 | 8 | 8 | 9 | 6 | 8 | 7.5 | 6 | 7 | 7 | 8 | 8 | 8 | 8 | 8.5 | 8.5 | 9 | 9 | |
3 - On Air Antics | Sardonic, Humorous, Professional | 8.2 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
4 - Technical Turmoil in the Control Room | Serious, Exciting, Informative | 8.5 | 8 | 8 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
5 - Tensions in Transition | Tense, Humorous, Serious | 8.2 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
6 - The Boxing Match Decision | Serious, Humorous, Tense | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | |
7 - Echoes of the Past | Reflective, Hopeful, Respectful | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
8 - Frustration in the VTR Room | Tense, Frustrated, Humorous | 7.5 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
9 - Echoes of Tension | Tense, Mysterious, Intense, Dramatic | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
10 - Echoes of Gunfire | Suspenseful, Mysterious, Tense | 8.5 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
11 - Urgent Inquiry | Tense, Suspenseful, Investigative | 8.2 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
12 - Tension in the Control Room | Tense, Suspenseful, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
13 - Awakening to Crisis | Tense, Urgent, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
14 - Crisis in the Control Room | Tense, Urgent, Serious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
15 - Breaking News: Crisis at the Olympic Village | Tense, Serious, Urgent, Shocking | 8.7 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
16 - Urgent Preparations in the Control Room | Urgent, Tense, Serious, Excited | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 9 | 9 | |
17 - Chaos in the Studio | Tense, Urgent, Serious, Mysterious, Anxious | 8.5 | 8 | 9 | 7 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | |
18 - Camera Challenge and Professional Focus | Tense, Urgent, Serious | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | |
19 - Heavy Burdens | Tense, Serious, Urgent | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
20 - Negotiating Chaos | Tense, Urgent, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
21 - Urgent Broadcast Preparations | Tense, Urgent, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
22 - Tension in the VTR Library | Tense, Serious, Focused | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
23 - Tension in the Control Room | Tense, Urgent, Suspenseful | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
24 - Tension in the Control Room | Tense, Urgent, Serious, Exciting | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
25 - Taking Charge of the Story | Tense, Serious, Urgent | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
26 - The Haunting Opener | Tense, Urgent, Fascinated, Unsettled | 8.5 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
27 - Tension in the Control Room | Tense, Urgent, Serious | 8.5 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
28 - Ethics on the Edge: The Broadcast Dilemma | Tense, Serious, Thoughtful | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
29 - Live Coverage of Crisis: Terrorist Attack at the Olympics | Tense, Urgent, Serious, Professional | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
30 - Tension in the Control Room | Tense, Serious, Urgent | 9.2 | 9 | 9 | 9 | 9 | 7 | 8 | 7.5 | 9 | 8 | 10 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
31 - Negotiation in the Editing Room | Tense, Suspenseful, Analytical | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | |
32 - Contrasting Realities at the Olympics | Tense, Urgent, Serious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
33 - Lost in Translation | Tense, Urgent, Frustrated | 8.2 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
34 - Tension on Connollystrasse | Tense, Excited, Concerned | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
35 - Tension at the Control Room | Tense, Excited, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
36 - Tension and Humor in the Control Room | Tense, Serious, Excited | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
37 - Broadcast Under Siege | Tense, Urgent, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
38 - Broadcast Interrupted: The Weight of Emotion | Tense, Emotional, Urgent | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
39 - Urgent Warning in the Transmission Room | Tense, Alarmed, Confused | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
40 - Tension at the Munich Olympics | Tense, Urgent, Suspenseful | 8.5 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
41 - Tension in Transmission | Tense, Alarming, Intriguing | 8.5 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
42 - Confrontation in the Control Room | Tense, Intense, Dramatic, Suspenseful | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
43 - Tensions Rise in the Hallway | Tense, Serious, Concerned | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
44 - Frustration in the Control Room | Tense, Urgent, Frustrated | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
45 - Broadcasting Horror | Tense, Serious, Urgent, Emotional | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
46 - Tensions Rise in the Control Room | Tense, Urgent, Serious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
47 - Urgent Preparations for Helicopter Landing | Tense, Urgent, Suspenseful | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
48 - Tension at the Olympic Village | Tense, Urgent, Emotional | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
49 - Night Watch: The Helicopter Crisis | Tense, Serious, Urgent | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
50 - Crisis in the Control Room | Tense, Desperate, Shocked, Somber | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
51 - Chaos in the Streets | Tense, Chaotic, Urgent | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
52 - Breaking News: Tension at the Airport | Tense, Excited, Anxious | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 10 | 9 | 9 | 9 | 8 | 8 | |
53 - Tension and Triumph in the Control Room | Tense, Relieved, Anxious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
54 - Broadcast Breakthrough Amidst Crisis | Tense, Anxious, Celebratory | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | |
55 - Crisis in the Control Room | Tense, Shocking, Desperate | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
56 - Desperate Plea Amidst Chaos | Tense, Anxious, Ominous | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
57 - Echoes of Loss | Tense, Desperate, Anxious, Hopeful, Serious | 9.2 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 10 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
58 - Devastating News in the Control Room | Devastation, Tension, Shock, Sadness | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
59 - Shared Shadows | Somber, Reflective, Regretful | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 3 | 6 | 7 | 6 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
60 - Dawn of Responsibility | Tense, Somber, Devastating | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 9 | 9 | 9 |
Scene 1 - The Emotional Victory: A Moment at the 1972 Olympics
CLOSE UP: A gun is raised. BANG.
VOICE (O.C.)
Cut to 1.
WIDE SHOT: An Olympic swimming pool. The swimmers dive off
their blocks. Freestyle. High speed.
SPORTS COMMENTATOR (V.O.)
That’s a good start for Mark Spitz.
VOICE (O.C.)
Cam 2, close up Spitz. Cut to 2.
CLOSE UP: U.S. swimmer superstar Mark Spitz glides through
the water with powerful strokes.
Camera pulls back to reveal we’re looking at one of many
screens on a monitor wall.
Focused STUDIO TECHNICIANS sit at a large console. Headphones
over ears. Hands rest on buttons. Shirts soaked with sweat.
All eyes on the numerous monitors up front.
An excited commentator’s voice sounds from the speakers.
SPORTS COMMENTATOR (V.O.)
Now Spitz takes the lead. Look at
that style. Those powerful moves.
A LIVE BROADCAST DIRECTOR gives camera instructions.
DIRECTOR
Cam 1 tighten in! Dolly, show me
Spitz.
Mechanical chatter echoes every command: Copy that! Confirm.
It feels like we’re in the heart of a huge machine, supplying
the world with vital information. Every move perfectly
coordinated. A masterpiece of timing and teamwork.
SPORTS COMMENTATOR (V.O.)
Spitz leaves the German swimmer far
behind. He is about to write
Olympic history here by winning his
seventh gold medal... and he did
it! Spitz wins!
DIRECTOR
Cam 2, ready for Spitz’s close up.
Someone intervenes in a soft voice.
VOICE
No, the German first.
The command comes from a man in a tailored suit sitting right
behind the director: ROONE ARLEDGE (41), President of ABC
Sports. A visionary storyteller who knows how to captivate
his audience. He speaks quietly and rarely, so his words have
power. There is, however, something fragile about him.
The director looks back at Roone.
DIRECTOR
Sure? The German?
Roone confirms with a calm nod.
DIRECTOR (CONT’D)
(into headset)
Cam 2 - change of plans. Give me
the German swimmer.
On the main monitor: the hopelessly exhausted face of the
German swimmer. The commentator immediately understands
Roone's decision and rounds out the narrative.
SPORTS COMMENTATOR (V.O.)
Werner Lampe is devastated. He
trained for years, but nothing
stops history. Spitz left him
behind. He left them all behind
today.
The monitor shows the winner, his joy radiates all the more
against the background of the disappointed competitors.
But Roone isn't satisfied yet.
ROONE
Tighter.
DIRECTOR
(into headset)
Cam 2, push in.
CAM 2
That’s as far as she goes.
On the monitor Spitz runs towards his parents. Hugs them.
ROONE
I want to be in that hug.
The director is at a loss, but someone else has an idea:
JACQUES (O.S.)
We could try the mobile unit.
All eyes on the crew’s freelance technical director: JACQUES
LEMAIRE (50s). Experienced pro.
DIRECTOR
They’re not prepared. It’s gonna be
too shaky.
ROONE
I don’t care.
DIRECTOR
(into headset)
Alright 6, run over there.
JACQUES
(into headset)
Back him up, Charlie.
DIRECTOR
Put 6 in preview.
Preview monitor: The image starts shaking, camera moves
towards Spitz.
On a different preview monitor a man with a camera and
backpack that looks like he's from Ghostbusters crosses the
frame. Two assistants trying to catch up with the cabling
behind him.
Director doesn’t even look at the monitor anymore, but at
Roone who motions to push in.
DIRECTOR (CONT’D)
(into headset)
Tighter... Tighter... Tighter...
(off Roone’s signal)
That’s it, hold it. Now take 6!
Main monitor: Spitz collapsed in the arms of his parents. The
camera is right in the middle, lens fogged up by Spitz’s
breath. This is the most important moment of his life. And
we’re part of it.
CUT TO:
Ratings
Scene 2 - The Drive to Ambition
It’s the middle of the night.
We’re in a small hotel room. The TV is on. Muted. Sports
images flicker on the screen.
A MAN sits at the edge of the bed. Fully dressed. We can only
make out his silhouette. In his hand a page scribbled with
cryptic times, names and nations.
A phone rings. The Man picks it up. Clears his throat.
MAN
Thanks, I'm already awake.
He hangs up. Puts on one of two watches lying on the bedside
table. Winds it. Reaches for the second one.
CLICK. He switches off the TV on his way out.
EXT. HIGHWAY / INT. RENTAL CAR - NIGHT
CLACK. A car radio is switched on.
The Man speeds down Munich’s empty expressway. And for the
first time we see his face. Intelligent eyes behind thick
glasses. Tousled hair. Cigarette hanging in his mouth.
This is GEOFF MASON (27). A junior producer at ABC Sports,
determined to keep climbing the ladder. He’s energetic.
Smart. And yes, a bit arrogant, but his enthusiasm is so
contagious, that you can’t help but like him.
As CCR’s “Fortunate Son” starts playing on the radio, Geoff
turns up the volume and takes the next exit.
EXT. PARKING LOT / INT. RENTAL CAR - NIGHT
Geoff parks in the Olympic Village’s “press corps” area.
He throws on a pre-tied tie, looks in the mirror, smoothes
his hair. Realizes this is as good as it gets.
He takes out the scribbled note. Now we see it’s a schedule
of Olympic events.
One last look, then he puts it down and gets out.
EXT. PARKING LOT - NIGHT
We follow Geoff to the ABC studio building. In the background
is the mighty “Olympiastadion”. Masts with the flags of all
nations rise behind it.
Ratings
Scene 3 - On Air Antics
Geoff walks down a dark corridor into the hallway.
ABC Sports Operations’ VP MARVIN BADER (45) already waits for
him. Despite two decades in the TV business, Bader hasn’t
lost his moral compass. He exudes great kindness, with an
occasionally sardonic sense of humor.
They instantly launch into a walk-and-talk.
BADER
You were supposed to be here before
the show ends.
Geoff looks at the two watches on his wrist.
GEOFF
Right, I’m a minute and thirty
seconds early.
(taps second watch)
Hell, in New York I’m five hours
early.
Geoff steers towards a table with lousy catering. Grabs a
styrofoam cup and pumps himself a coffee.
BADER
(not in the mood)
Funny. If you screw this up, I’m
the one in trouble with Roone.
(hands Geoff a schedule)
We need to go over the sche-
GEOFF
Day starts with Volleyball at 0930,
Group D, covered by C Unit while B
prepares the soccer pre-match at--
BADER
(convinced)
Alright, alright...
They stop at a heavy door with a glowing red “On Air” light.
Bader puts down his clipboard, and looks at Geoff, who seems
a little bit overdressed.
BADER (CONT’D)
Going on a date?
GEOFF
Just got off one. Your wife says
hello.
Bader can’t help but grin, quietly opens the door and they
slip in.
Ratings
Scene 4 - Technical Turmoil in the Control Room
An unexpected heat smacks Geoff in the face as he enters.
BADER
(whispers)
AC’s broken.
Geoff loosens his tie knot and looks around the room.
The show is still on. It may be four in the morning here in
Munich, but it’s still prime time in New York.
The excitement of live reporting is gone and the crew works
with half staff. Routine is in the air.
On the main monitor: A slow motion shot of young Soviet
Gymnast Olga Korbut performing the backflip from the higher
bar that would make her a legend. Sportscaster Jim McKay and
Gordon Maddox are commenting:
GORDON (O.S.)
... It’s been a week since we
witnessed this already historical
performance. But it still takes my
breath away...
MCKAY (O.S.)
Gordon, I think I speak for all of
us here at ABC Sports when I say:
What a sensation is Olga Korbut!
GORDON (O.S.)
I’ve said it before and I’ll say it
again: She deserved an Eleven!
MCKAY (O.S.)
She certainly did... Ladies and
Gentleman at home...
DIRECTOR
Take 5.
On the screen we now see an aerial view of the Olympic
Stadium at night. The floodlights are on, the stadium empty.
McKAY
...this concludes our daily report,
here at the Twentieth Summer
Olympics.
DIRECTOR
Fade in bird caption.
Yellow letters appear on the monitor: LIVE VIA SATELLITE FROM
MUNICH, GERMANY.
DIRECTOR (CONT’D)
(into headset)
Back to 1.
The main monitor cuts to McKay in the studio.
DIRECTOR (CONT’D)
(into mic)
Jim, set up the Spitz presser.
McKay smoothly slides in the information:
McKAY
Mark Spitz, the American athlete
who set an all time Olympic record
by winning seven gold medals...
DIRECTOR
(into headset)
Roll highlight tape.
On the main monitor the highlights of the swimming race start
playing again, as McKay continues his comment:
MCKAY
...the last one just hours ago will
be interviewed tomorrow. Only here,
on ABC Sports.
Suddenly, the monitor goes black. Only audio keeps playing.
Nervous murmurs among the crew.
DIRECTOR
Not again... Jacques, what’s going
on? Is this on our feed?
JACQUES
No.
DIRECTOR
Then why is my screen black?
JACQUES
(shrugs)
Feed is clean.
He points at two consumer TVs positioned besides the monitor
wall still showing the feed. These are the “network return
monitors”, which mirror the signal as people see it at home -
one in color, one in black and white.
ROONE
Close with the trailer.
On the network return monitors, ABC Sports’ 1972 Olympic
trailer plays:
Dynamic shots of athletes in a wide variety of disciplines.
Real time and in slow motion.
Over it, a powerful voice:
ABC ANNOUNCER (V.O.)
This summer we’re sending two teams
to the Olympics. America’s finest
young athletes. Plus the finest
television sports team in the
world.
Images of impressive camera setups at sporting events.
ABC ANNOUNCER (V.O.)
ABC’s unprecedented coverage of the
Olympics will be the most
comprehensive in history. You’ll be
able to experience as never before.
Through ABC’s exclusive color slow
motion and stop action videotape.
And for the first time in the
history of television...
Insert graphic: a satellite circles the Earth.
ABC ANNOUNCER (V.O.)
Using a brand new satellite
technology...
INT. TRANSMISSION ROOM - NIGHT
ABC ANNOUNCER (V.O.)
... we will bring the Games from
another continent directly into
your homes. Live and in color.
Technicians plug cables into a huge console. Connect Munich
with the world.
ABC ANNOUNCER (V.O.)
The Summer Olympics: History being
made!
Ratings
Scene 5 - Tensions in Transition
The ASSISTANT DIRECTOR says the crew’s favorite phrase:
ASSISTANT DIRECTOR
And we’re clear.
COMMUNICATOR
(into telephone)
Back to you, New York. Have a good
evening, Skip.
DIRECTOR
(puts down headset)
Great job. It's B-Unit's turn
tomorrow. Enjoy your day off.
Tension drops. People start moving everywhere again. Monitors
now display color bars.
At the rear of the room a CR TECHNICIAN pulls a black
curtain, revealing a large glass window. Behind it is the
actual studio set where McKay is being filmed. We only catch
a glimpse of him as he’s walking off the stage.
The Director walks past Geoff on his way out.
DIRECTOR (CONT’D)
Good luck on your day, Mase.
GEOFF
Thanks Don, enjoy the alps.
Bader gestures to Geoff to come with him. They approach
Roone, who has his eyes fixed on a paper.
BADER
Roone, I'd like to do a handover
with Geoff, who--
ROONE
(not interested)
You check Jennings’ Dachau piece?
BADER
Not yet.
ROONE
Watch it. See if it’s any good.
BADER
Roone... Frankly, I do have some
concerns about cutting from sports
to the Holocaust.
Roone ponders for a moment, then:
ROONE
Spitz is Jewish, right?
Bader is irritated:
BADER
Since when am I ABC’s expert on
Judaism?
Geoff jumps in.
GEOFF
He is. Spitz.
ROONE
What time is the presser?
GEOFF
Four PM.
ROONE
(to Bader)
There’s your lead-in.
Roone grabs his jacket and walks towards the door:
BADER
So you want to ask a Jew about the
Holocaust... On live television?
Roone turns around, shrugs:
ROONE
Yeah. Ask him how it feels to win
Gold in Hitler’s backyard... Walk
with me...
Roone opens the door into the:
Ratings
Scene 6 - The Boxing Match Decision
Roone walks fast, Bader next to him, Geoff follows, trying to
find space for himself in the hallway.
Roone turns around to Geoff.
ROONE
So? Talk me through the day.
Geoff is startled for a moment, then:
GEOFF
We start with volleyball, could be
quite excit--
ROONE
No US Team.
GEOFF
Um, soccer, intermediate round.
ROONE
Who?
GEOFF
GDR vs Mexico. Denmark vs Morocco.
Birma against Malaysia.
Roone sighs: really? He walks into his office. Grabs his
briefcase. Geoff keeps on talking:
GEOFF (CONT’D)
But then there is boxing. The Great
White Hope is in quarters. Against
Teófilo.
Roone steps back into the hallway and continues towards the
exit. Bader and Geoff follow.
ROONE
The Cuban?
GEOFF
Yeah. This guy’s the real deal.
Knocked down Denderys in thirty
secs.
BADER
So we’ll lose and the thing is over
in thirty seconds?
ROONE
Doesn’t matter. It’s Cuba... versus
the United States of America...
BADER
Sure you want to bring in politics?
ROONE
Not politics, Bader. Drama.
Emotions.
Geoff had that one prepared:
GEOFF
“The Cold War Heats up Again. Cuba
Launches a Missile at America’s
Hope”
ROONE
Little long. But good direction.
They arrive at the studio’s exit. Car waiting for Roone. The
driver holds the door open.
Roone, facing Bader, points a thumb at Geoff.
ROONE (CONT’D)
What’s his live coverage
experience?
GEOFF
I-
Roone lifts a hand: I’m not asking you.
BADER
He’s done golf tournaments. And
minor league baseball.
Beat.
ROONE
I’ll come in for the boxing match.
Roone steps out into the night:
ROONE (CONT’D)
No calls before 10. Promised my
daughters.
He gets into the car and drives off. Bader and Geoff walk
back into the studio complex.
Jacques passes by with a roll of cables.
GEOFF
Problem solved?
JACQUES
On it.
BADER
(to Geoff)
Alright. So you prep that tease
while I go rest my eyes on the
demise of my fellow Jews?
Geoff gives him a thumbs up. Bader checks his watch. Sighs.
BADER (CONT’D)
Guess I’m spending another night
here.
(mimics Roone as he heads
off)
No calls before ten. I promised
myself.
Ratings
Scene 7 - Echoes of the Past
A room full of videotapes and film rolls.
Geoff’s fingers are gliding over the shelves. Looking for
something specific.
INT. EDITING ROOM - NIGHT
Bader opens a film can labeled “Dachau Report”. Threads audio
and film strips into an editing table’s rollers. Hits play.
The screen flickers and shows the Dachau concentration camp’s
entrance. On it the words “Arbeit macht frei.”
JENNINGS (V.O.)
Only about nine miles lie between
the “Serene Games”’s center and
Germany’s darkest chapter in
history. Unimaginable atrocities
were committed at the Dachau
concentration camp.
Now we see ABC journalist PETER JENNINGS (34) on site.
JENNINGS
(holds microphone, looks
at camera)
(MORE)
JENNINGS (CONT’D)
And yet, 27 years after the war,
it’s become a place of remembrance,
a place of reconciliation. Thanks
to the Olympic spirit.
(beat)
A spirit that makes images possible
that seemed impossible before.
Now visible on screen: the Israeli Olympic team lays wreaths.
Bader, moved, watches the young athletes’ faces.
A young man looks sympathetically into the camera. It’s
weight-lifter DAVID BERGER. A microphone is pointed at him.
DAVID BERGER
That’s exactly what the Olympics
are all about, you know. Like our
fencing coach Andrei says, we’re
here and can talk to Germans, chat
with athletes from Lebanon or
Egypt. This is what we were
dreaming about.
Now a German Official is speaking:
HANS KLEIN
Die Bundesrepublik Deutschland
begrüßt die Welt zu diesen heiteren
Spielen als Freunde. Mit offenen
Armen. Nicht geschichtsvergessen,
aber mit dem Blick fest auf eine
gemeinsame, friedliche Zukunft...
Bader pauses the reel and turns to the woman sitting at the
screening table behind him.
She is watching an interview with the overjoyed 16-year-old
Ulrike Meyfarth, whose gold medal stands out radiantly
against the green BRD-tracksuit.
BADER
You’re German, right?
The woman turns around. Meet MARIANNE GEBHARDT, 20s,
translator for the German Olympic Center. She has a timeless
look and a modern personality.
MARIANNE
(takes off her headphones)
Excuse me?
BADER
You’re the new translator, right?
Marianne nods.
BADER (CONT’D)
Can you do me a favor? What’s Hans
saying here?
Bader rewinds the reel. Plays the segment again.
MARIANNE
He is saying that the games are an
opportunity to welcome the world to
a new Germany, to move on from the
past.
BADER
Yeah, sure.
Marianne hesitates a beat, then:
MARIANNE
I mean, it’s what we all hope
for... What else can we do but move
on? Try to be better?
The Dachau report flickers behind them. You can see the
barracks. A watch tower.
BADER
Your parents still around?
MARIANNE
Yes.
BADER
Let me guess, they didn’t know
either?
She searches for words, then:
MARIANNE
Well, I’m not them.
Bader respects her will.
BADER
No, you’re not.
He gets up to leave, reaches out his hand.
BADER (CONT’D)
I’m Marvin Bader.
MARIANNE
I know. Head of operations. I’m
Marianne Gebhardt... Nice to meet
you.
BADER
(nods)
Welcome to ABC.
Ratings
Scene 8 - Frustration in the VTR Room
Geoff skillfully threads a magnetic tape into the VTR
machine. Hits fast forward. Images of Fidel Castro, Cuba,
communist parades fizzle across the machine’s monitor.
JACQUES (O.S.)
I need to swap out all of the
wiring.
Jacques is at the door behind him, frustrated.
GEOFF
(without taking eyes from
monitor)
Then do it.
JACQUES
Grumpy has no spares.
GEOFF
(turns around)
He doesn’t?
JACQUES
At least not for me.
INT. STUDIO STAGE - NIGHT
Geoff walks up to HERMANN JÄGER, examining the broken air
conditioner system.
GEOFF
Hermann, you really don’t have any
cables?
No reaction.
GEOFF (CONT’D)
Hey, I’m talking to you. We need
cables.
Hermann glares at him.
HERMANN
Nein. No Kabel.
GEOFF
That’s crazy. What about--
Hermann turns back to the air conditioner.
HERMANN
Your boss fills out paper. Gives
paper to my boss. You get Kabel.
Jacques gives Geoff an I-told-you-so look.
INT. EDITING ROOM - NIGHT
Marianne is typing on her typewriter when Geoff appears at
the door.
GEOFF
Hey you, where’s the old man?
MARIANNE
I’m afraid he already left.
GEOFF
Damn.
MARIANNE
Any way I can help?
CUT TO:
Ratings
Scene 9 - Echoes of Tension
Close up on Hermann ranting.
HERMANN
Wo dad ma denn da hin kommen, wenn
ein jeder nur noch mehr Zeug will?
Wissens was uns Deutsche die Spiele
kosten? Zwei Milliarden Mark. Und
dann würden die Amis daherkommen
und sich permanent nur beschweren.
We cut to see who’s receiving this tirade.
MARIANNE
Ja, das verstehe ich natürlich. Sie
müssen sicher permanent auf viele
Befindlichkeiten eingehen.
Jacques and Geoff watch, excited by the stand-off. Neither
understands a word.
Meanwhile Marianne gets through to Hermann.
MARIANNE (CONT’D)
Aber wissen Sie was: Die GANZE WELT
schaut hierher. Auf unser München.
Und SIE helfen maßgeblich dabei, es
möglich zu machen.
Hermann brightens. Pride in his gaze.
Geoff pats Jacques on the shoulder.
GEOFF
You got this, right?
INT. HALLWAY, CORRIDOR - NIGHT
Hermann leads Marianne and Jacques through the corridors. The
place is now completely empty, except for a cleaning man
wiping the floors.
Hermann unlocks a door, signals Marianne and Jacques to wait
and disappears in the storage room.
Dimly lit. Marianne lights a cigarette and opens the studio
back door. A gentle breeze blows in.
Hermann exits the supply room, cables in hand.
JACQUES
(plasters on a smile)
Merci!
The German nods - when suddenly there’s an unusual noise:
TACK-TACK-TACK.
Mechanical clatter in the dark. Muffled. Far away. Scary.
Jacques, Hermann and Marianne pause. Listen.
Then again:
TACK-TACK.
Silence.
Jacques and Marianne exchange a look.
JACQUES (CONT’D)
Were those... shots?
Hermann waves it off. Shakes head at Marianne.
HERMANN
Sag dem Franzosen, dass ich noch
ganz genau weiß wie sich Schüsse
anhören.
Marianne stares out into the night.
We follow her gaze. Our eyes take a second to adjust to the
dark.
Then the Olympic Tower rises from the shadows. Its television
antennas soar high into the blackened night sky.
Fade in main title:
SEPTEMBER 5
Ratings
Scene 10 - Echoes of Gunfire
A RED LIGHT flashes on a phone.
Geoff doesn’t notice it. He’s hard at work editing. Rewinding
an atomic bomb explosion. The mushroom shrinks in on itself.
All we hear is the music in his headphones.
At last, Geoff sees the light, takes off his headphones. Now
we hear the phone RINGING. He picks it up.
GEOFF
ABC. Mason.
He listens. Raises an eyebrow. Skeptical.
GEOFF (CONT’D)
No, we haven’t heard anything.
(beat)
Sure, I’ll let you know, Mr. Moore.
Thank you.
Geoff exits.
INT. HALLWAY - NIGHT
Sees Marianne and Jacques coming towards him.
GEOFF
Weird. Kenny Moore just called.
JACQUES
The marathon runner?
GEOFF
Yeah. He wanted to know if we heard
gunfire.
Jacques’ eyes widen.
JACQUES
We heard that, too.
GEOFF
What? Wait, what did you hear?
MARIANNE
Gunshots. In the distance.
No one says anything.
Then finally:
GEOFF
Maybe we should call the police?
Ratings
Scene 11 - Urgent Inquiry
Geoff hands Marianne a phone. She dials.
MARIANNE
Ja hallo, mein Name ist Marianne
Gebhardt, ich rufe aus dem Studio
der ABC an. Wir haben hier Schüsse
gehört...
(listens)
Wissen Sie bereits Näheres?
(listens)
Verstehe. Danke.
She hangs up. Geoff eyes her eagerly.
MARIANNE (CONT’D)
Police already received several
calls and are investigating the
matter.
GEOFF
And?
MARIANNE
That’s all they said.
(thinks)
The only ones working this late are
the radio people. I could walk over
to Bayerischer Rundfunk. See what
they know.
Geoff nods: great. He grabs a walkie talkie from the table
and hands it to her.
GEOFF
Do you know how these work?
MARIANNE
(flicks on the walkie)
I’m on channel two.
She heads out the door.
INT. HALLWAY - NIGHT
Marianne hurries along, almost collides into ABC Intern/
Runner, GARY SLAUGHTER (20), headphones over ears.
GARY
Sorry!
Marianne sees the portable radio in his hands.
MARIANNE
Hey, can I borrow that?
Ratings
Scene 12 - Tension in the Control Room
Geoff sits behind the console. Jacques calls out from behind
the monitor wall.
JACQUES
Still getting dropouts?
GEOFF
Yes.
JACQUES
How often?
GEOFF
(looks at black monitor)
Constantly. Can’t we-
Gary enters. Geoff turns to him.
GEOFF (CONT’D)
Did you hear shots being fired?
GARY
What? No.
GEOFF
(to Jacques)
Maybe it was fireworks? Or, what
did it sound like?
JACQUES
It sounded like gunfire, Geoff.
GARY
...what’s going on?
The walkie crackles. Geoff snatches it. Jacques steps forward
to listen.
GEOFF
(into walkie)
You there yet?
MARIANNE
(over walkie, sirens in
the background)
No, I’m walking over the bridge.
But I can see dozens of police cars
already.
GEOFF
What!? Driving into the village?
MARIANNE
Yes. Whatever happened, it happened
here.
Geoff puts down the walkie. Stunned: this is really
happening. Gunfire. At the Olympics.
Then remembers he has a job to do.
GEOFF
I have to wake Bader.
Ratings
Scene 13 - Awakening to Crisis
Bader lies on a cot, asleep.
The door flings opens. Light slashes into the dark room,
startling Bader awake.
GEOFF
Marv! Get up! There’s been-
BADER
What the hell, Geoff? I’m-
GEOFF
Shots were fired in the Olympic
Village! Fucking shots!
Bader shoots up. Wide awake now.
BADER
What? You serious?
GEOFF
Yeah. There’s a ton of police and--
The walkie in Geoff’s hand crackles:
MARIANNE
Can you hear me?
GEOFF
(into walkie)
Listening.
MARIANNE
The phones won’t stop at the
Rundfunk. A friend here heard the
shots were fired in the Israelis’
apartments.
Bader grabs Geoff’s walkie:
BADER
This is Bader. What are we talking
about here? Is anyone hurt?
MARIANNE
Rumor is hostage taking.
BADER
What? Who?
MARIANNE
I don’t know. But the BR will say
something on their 6 o'clock news.
Geoff and Bader look simultaneously at their watches: 05:50.
BADER
(to Geoff)
Go to the control room and call
Roone.
GEOFF
Roone? I thought...
BADER
Call him! I’ll get Jennings!
Bader reaches for the nearest phone. Geoff rushes to the
door, grabbing a radio on the way.
Ratings
Scene 14 - Crisis in the Control Room
Geoff returns, hands Jacques the radio.
GEOFF
Tune in on BR.
He picks up the phone. Dials. Puts it on a phone amplifier.
RECEPTIONIST
Sheraton München. Was kann ich für
Sie tun?
GEOFF
I need to speak to Roone Arledge,
right away.
RECEPTIONIST
Mr. Arledge asked we block his
calls until-
GEOFF
Trust me, Mr Arledge wants to be
woken up for this.
The Receptionist hesitates.
GEOFF (CONT’D)
I need you to connect me. Now.
RECEPTIONIST
One moment, please.
More rings. Taking forever.
We hear Roone’s deep voice.
ROONE
(throat cleared, into
phone)
I said not to disturb me.
GEOFF
There’s a hostage situation in the
Olympic Village right now.
ROONE
What’re you talking about?
GEOFF
A hostage situation. And it gets
worse. Word is it’s in the
Israelis’ quarters.
ROONE
(long beat, then)
Is this confirmed?
GEOFF
No, but--
Jacques turns up the volume on the radio. A jingle announces
the news.
GEOFF (CONT’D)
They’re about to say something on
the radio now.
Geoff wants to make sure Roone can hear. He holds the phone
towards the radio’s speakers.
NEWS REPORTER
Guten Morgen meine Damen und
Herren, die Sechs-Uhr-Nachrichten.
The door opens. Bader, visibly exhausted, puts on his
glasses. Runs a hand through his hair. Listens.
The newscaster’s serious voice is a bad omen.
Geoff picks up the walkie:
GEOFF
Mary-Ann, can you translate this?
MARIANNE
Sure, let me check my radio.
Geoff now holds the walkie in one hand, the phone receiver in
the other. He shrugs, puts them together. Now Marianne’s
voice and the radio crackle simultaneously.
NEWS REPORTER MARIANNE (CONT’D)
.... erreichen uns immer mehr There have been reports of
Meldungen, dass es einen shots being fired inside the
Schusswechsel innerhalb des Olympic Village.
Olympischen Dorfes gab.
Everyone hangs on Marianne’s words.
NEWS REPORTER (CONT’D) MARIANNE (CONT’D)
Von der Polizei noch nicht Reports that have not yet
bestätigte Meldungen besagen, been confirmed by the police
dass es zu einem Überfall von say that the Israeli team may
sogenannten Terroristen auf have been attacked by so-
die israelische Mannschaft called terrorists.
gekommen sein könnte.
Breathless seconds pass.
ROONE
I’ll be there in 20.
CLICK. Roone’s already hung up.
Geoff and Bader look at each other.
BADER
Get the crew in.
Geoff nods and reaches for the phone again.
Ratings
Scene 15 - Breaking News: Crisis at the Olympic Village
Through a cloud of nicotine we follow a tall, good-looking
man down the hall. A certain confidence in his attitude.
PETER JENNINGS (34) is the only reporter from the ABC News
division on the Sports crew here, one who believes being a
newscaster is a noble and truly important role in society.
INT. CONTROL ROOM - DAY
The mood here has changed. The air’s electric.
Geoff speaks eagerly into the phone.
GEOFF
Grab as many as possible. Priority
are camera ops. Bus leaves in 10.
And make sure you get Carter.
He hangs up as Jennings enters.
JENNINGS
Is it confirmed yet?
GEOFF
Yes. Definitely shots, definitely
the Israelis.
JENNINGS
And this is from...?
GEOFF
The German radio.
JENNINGS
We can’t quote another station?
Second source?
GEOFF
Um...
Suddenly, there’s a rattle from the AP Wire.
Gary moves to the teleprinter. Rips off the paper. Reads:
GARY
“One, Possibly Two, Israeli
Athletes Killed at Olympic Village.
Arab Guerrillas Likely Took
Hostages.”
A beat, as everybody lets this sink in: People are dead.
Murdered. Just a few hundred meters away.
BADER
Peter, what’re we dealing with
here?
JENNINGS
Could be PLO. PFLP.
(beat)
Or worst case Black September.
Bader takes a deep breath. Time to focus.
BADER
(to Jennings)
You know the political background;
you report from the inside.
CUT TO:
A MAP IS SLAMMED DOWN ON A TABLE.
Everyone hunches over it.
JENNINGS
Where are the Israelis housed?
BADER
Connollystrasse 31.
Bader points it out on the map. Jennings taps the building
across from it.
JENNINGS
This should give us a good angle.
The walkie crackles.
MARIANNE
Anyone there? Seems like the police
will seal the Village. Reporters
here are rushing off to get in now.
JENNINGS
Fuck.
He immediately zips out the door.
Ratings
Scene 16 - Urgent Preparations in the Control Room
His gait is fast.
At the other end, Roone enters. Instead of his suit, he’s now
in an ABC crew windbreaker, sleeves rolled up.
ROONE
Hey, Peter, what’s the-
JENNINGS
(as he crosses)
Can’t talk. Searching for a
cameraman.
Roone hurries to the control room.
INT. CONTROL ROOM - DAY
Roone steps in, sees how empty it is. Goes to Bader.
ROONE
Where’s the crew?
GEOFF
First shuttle gets here any minute.
ROONE
When’s Jim coming in?
GEOFF
It’s his day off so I didn’t-
ROONE
(to Bader)
We need Jim for this.
Bader nods to Geoff: do it. Geoff dials a number. Quietly
talks into it while Roone continues with Bader.
ROONE (CONT’D)
When do we have the bird today?
BADER
3pm. 10am Eastern.
ROONE
We need the breakfast slot.
BADER
Then you need to sweet-talk CBS.
Roone rolls his eyes.
Geoff covers his phone receiver, calls out to Bader:
GEOFF
Jim is in the pool, doing his
morning laps.
BADER
Who’re you talking to?
GEOFF
His wife.
Bader takes the phone, indicates he’s got it.
BADER
Margaret, it’s Marv. Will you
please be so kind and get him out
of the pool for me?
(beat)
Thanks, I’ll stay on the line.
Jennings comes back in. Accompanied by a Camera Assistant
(BEN, 21) carrying robust, silver cases.
JENNINGS
We’re ready to go, but still no
cameramen here yet.
Roone glares at Geoff, incredulous: you didn’t get the
cameramen here first?
Roone addresses the Camera Assistant.
ROONE
What’s your name?
CAMERA ASSISTANT
Ben.
ROONE
Can you hold a camera, Ben?
Ben nods.
ROONE (CONT’D)
Know how to change film?
BEN
Definitely.
ROONE
(to Jennings)
Ben‘s your cameraman. Go.
Ben is thrilled.
JENNINGS
(about to go, to Roone)
I guess News will want to take over
soon.
ROONE
I’ll talk to them. But right now
Sports is here.
Jennings nods, waves Ben to come with him.
Bader hears a noise on the phone, lifts it to his ear.
BADER
Yes, Margaret, I’m still here. Did-
(beat)
As soon as he can. Thank you so
much. I hope we didn't ruin your-
She’s hung up.
BADER (CONT’D)
Jim’s gonna anchor.
Roone nods to Bader: nice work.
ROONE
(next topic)
We need someone at the press
center.
BADER
I doubt Hans is releasing anything
at this point.
ROONE
Then maybe you should go. You know
him. If anything happens, we need
to be the first to know.
BADER
Alright. Let’s have Geoff
coordinate the setup while I’m
gone.
ROONE
Not on his first day. Where’s
Ohlmeyer?
BADER
Hiking trip in the Alps.
ROONE
Maddocks?
BADER
We keep trying him. No answer. I
mean it’s 5 in the morning.
Roone looks at Geoff, seems this is who he’s stuck with.
ROONE
(starts walking out)
I'll handle CBS and the satellite.
You make sure we have something to
feed that bird.
And with that he’s gone.
Bader turns to Geoff, who’s already planing ahead, excited to
be in charge:
GEOFF
So what do we air?
BADER
Whatever info I get from Hans
Klein.
GEOFF
I’m talking visual. We can’t just
have Jim talking. The footage Ben
shoots on his 16 mil takes twenty
minutes to develop... and we need
live images of what’s going on.
GARY
Can we use that mobile unit? The
guys with the backpack?
GEOFF
They can only do wide-angle. We
need a long lens... I mean it’s
happening right there!
He points at a spot on the map.
They pause, thinking. Then Geoff’s finger starts to move on
the map.
GEOFF (CONT’D)
That’s us, right?...Let’s roll out
one of the studio cams.
(marks another spot)
Place it somewhere over here.
(looks at Bader, excited)
And we get a live shot of the
apartment.
Bader gives a thumbs up: Good thinking.
Ratings
Scene 17 - Chaos in the Studio
Bader walks down the hall, sees Marianne enter from outside.
BADER
Anything about the hostages yet?
MARIANNE
Only mixed information.
BADER
Then call around to get things
double checked.
He hands her a walkie as he reaches her.
MARIANNE
I already have one.
BADER
Let’s open our own channel. Run
things by me before you pass
anything on.
(heads off)
Channel four.
INT. ROONE’S OFFICE - DAY
Roone goes straight to the phone and dials an extension.
ROONE
Coffee, aspirin and a timetable of
today’s slots on the sat.
He quickly hangs up, instantly dials the next number.
While waiting for someone to answer the phone, he switches on
the television in the corner. A color TV, rare in Germany for
the early 70s. ABC plays on the screen.
INT. BACKSTAGE AREA - DAY
The first swarm of crew arrives at the studio, emerging from
a shuttle bus that has stopped outside.
Geoff hurries up to welcome them.
GEOFF
You heard what happened. Get to
work. I need four men in the
studio.
But nobody seems to listen to him.
CARTER (O.S.)
You’re the big boss now?
Geoff turns, relieved to see CARTER JEFFREY (mid-20s), an
innovative tech from the camera department.
Ratings
Scene 18 - Camera Challenge and Professional Focus
Geoff and Carter stare at one of the three gigantic studio
cameras.
CARTER
You know how heavy those are?
GEOFF
Let’s find out.
He grabs the camera by its wheeled pedestal, starts pushing.
Carter helps him.
CARTER
Wiring could be tricky.
GEOFF
You’ll figure it out.
He sees Jacques watching them, skeptical.
GEOFF (CONT’D)
C’mon. You, too.
Jacques rolls his eyes.
INT. VTR LIBRARY - DAY
Marianne picks up a phone from the desk and dials a number.
MARIANNE
Ja, hallo, hier ist Marianne vom
DOZ. Könnten Sie mich zu Michael
Korth durchstellen?
(beat)
Ja, danke, ich warte.
She clamps the receiver to her ear. Grabs a press kit showing
headshots and short bios of the Olympic participants.
Ratings
Scene 19 - Heavy Burdens
Geoff, Jacques and Carter wiggle the heavy camera out of the
studio into the corridor. Geoff’s walkie crackles:
BADER
Geoff, you there?
GEOFF
(into walkie)
Talk to me, Marv.
BADER
I’m at the press center. Hans Klein
got word from the Olympic
Committee: “The Games must go on.”
CARTER
Do they really think anyone will
care about sports today?
BADER
Good news is that two Israelis
escaped during the attack. Also I-
(noise in his background)
Hold on a sec.
Over the walkie we hear a distant voice.
BADER (CONT’D)
They just confirmed the injured
coach died. Mosche Weinberg. Shot
twice in the head, once in the gut.
They look at each other in horror.
BADER (CONT’D)
The terrorists demanded Israel
release 200 Palestinian prisoners
by noon. If not they kill one
hostage every hour.
GEOFF
Jesus Christ. Are there
negotiations happening?
BADER
Don’t know.
GEOFF
So should I pass all that on to
Roone?
BADER
Geoff, you have to be the center of
everything now! Not just the
control room. All communication,
everything.
This is more than Geoff was prepared for.
BADER (CONT’D)
Geoff?
GEOFF
Got it. All communication,
everything.
Ratings
Scene 20 - Negotiating Chaos
Roone, electric shaver in his hand, listens to the phone on
loudspeaker. This is the part of the job he hates.
CBS
.... I’m sorry, there is nothing I
can do about it. We've had that one
booked for months.
ROONE
(into phone)
But this is a story of public
interest. People need to see this.
And they need to see this live! And
right now, we’re the only ones who
can do that.
His ASSISTANT enters the room, puts down a coffee and a
timetable of the booked satellite slots in front of Roone.
ROONE (CONT’D)
(into phone)
Hold on, Claire. I got the schedule
now.
(to Assistant)
The aspirin?
ASSISTANT
We ran out of them.
Roone holds in his anger.
ROONE
Never mind.
(back to phone, checks
timetable)
This is what we’re going to do: We
swap slots. You get 3, we get noon.
CBS
You’re sure it’ll be done by then?
ROONE
(into phone)
You know the Germans. They’ll have
the situation quickly under
control.
His AP Wire starts rattling. Roone reaches for it. Starts
reading.
ROONE (CONT’D)
(into phone)
So we got a deal?
CBS
(beat, then)
They're all asleep now, but I'm
doing my best.
ROONE
(into phone)
Appreciate it, Claire. ABC owes CBS
on this one.
He hangs up. His Assistant still stands there. Knows Roone
won’t like what he has to say:
ASSISTANT
Starger’s office called. They want
News to take over.
ROONE
(waves it off)
Tell them I’ll be in touch.
He continues reading, as a loud noise is heard from the-
Ratings
Scene 21 - Urgent Broadcast Preparations
The enormous camera is shoved down the hall by Geoff, Jacques
and Carter.
ROONE
What the hell are you guys doing?
GEOFF
We’re going to get a live shot of
the apartment. It’ll be cutting
edge--
ROONE
Who are the hostages?
GEOFF
Bader just confirmed that one of
them died. A coach. Um-
ROONE
Mosche Weinberg. I read the Wire.
But who’s inside that apartment?
GEOFF
I don’t think we know yet.
ROONE
Then we find out. Who are they?
What’s their background. Do they
have family?
(re: camera)
There's no point aiming that thing
at a building if the viewer doesn’t
know the people inside.
Geoff knows Roone is right. How could he not think of this?
The Assistant appears in the doorframe behind Roone.
ASSISTANT
News is on the line again. Can’t
hold them back anymore.
Roone doesn't turn around. Keeps his gaze fixed on Geoff.
ROONE
Don’t fuck it up, Mason. I got the
bird. Live at noon.
Geoff glances at the clock.
GEOFF
(Fuck)
No problem.
ROONE
(heads back to office)
I have to deal with this bullshit.
He closes the door behind him. Geoff pulls his walkie.
GEOFF
Marv, do we have any info on the
hostages yet?
But another voice responds.
MARIANNE
I’m on it.
GEOFF
Where are you?
MARIANNE
VTR Library.
GEOFF
(into walkie)
Coming.
(nods at camera)
Get this mother outside.
He hurries off. Jacques and Carter look at the massive
camera: Great.
Ratings
Scene 22 - Tension in the VTR Library
Marianne has the Israeli delegation in front of her. She
circles profiles and takes notes, while on the phone:
MARIANNE
Du hast von zehn Geiseln
gesprochen, in Apartment eins?
Geoff charges in.
GEOFF
What you got?
MARIANNE
(motions: one second)
Dann bleiben exakt fünf
Kraftsportler übrig.
She circles another headshot. Geoff realizes what she’s
doing, eagerly turns the page so he can see it.
MARIANNE (CONT’D)
(beat)
Danke, Michael. Ich schulde dir
was.
Marianne hangs up. She gently turns the page back to herself.
MARIANNE (CONT’D)
I need to confirm this first.
GEOFF
Do that later. I need it now.
MARIANNE
I’m sorry. It shouldn’t take long.
(into walkie)
Mister Bader, can you read me?
Geoff, ready to burst, realizes he just has to wait this out.
BADER
Marianne, what’ve you got?
MARIANNE
(into walkie)
My source at the BR told me there
are ten hostages. Five coaches.
Five athletes.
BADER
OK. Lines up with my info.
MARIANNE
(into walkie)
Also...
(scans Olympic housing
map)
We’ve been told the Palestinians
attacked apartment 1 and 3...
Geoff bounces on his toes, impatient.
MARIANNE (CONT’D)
(into walkie)
After cross-referencing that with
the housing plans and who slept
where...
Now Geoff’s walkie crackles:
JACQUES
Jennings made it inside!
GEOFF
(into walkie)
Great. Coming.
(to Marianne)
I want all this information in the
control room when you’re done.
He speeds off. Marianne moves on, stays focused:
MARIANNE
(back into walkie)
So I’d say the five athletes being
held are Romano, Slavin, Friedman,
Berger and Halfin.
BADER
Berger? David Berger?
MARIANNE
Yes. Why?
Ratings
Scene 23 - Tension in the Control Room
The crew people have started up their work again. A Stage
Runner (”JJ”) passes coffee mugs around.
As Geoff rushes in, Jacques hands him the phone. Geoff puts
it on the amplifier.
GEOFF
Jennings, it’s Geoff Mason.
JENNINGS
You’re running things?
GEOFF
Yeah. So tell me, where are you?
JENNINGS
A balcony in the Italian compound.
It’s a good spot. I’ve a direct
view of 31. And I’m not alone up
here. The other balconies are full
of reporters and photographers, all
waiting for something to happen.
GEOFF
So nothing’s going on?
JENNINGS
No. Police are just milling around.
Doesn’t seem like they even started
negotiating yet...There’s an eerie
silence; you can actually hear the
clicking of the cameras.
Marianne enters, hands Geoff the pages of the hostages. He
takes a quick look at the headshots.
GEOFF
Too small.
He passes the pages to JJ:
GEOFF (CONT’D)
Get these to Judy. Three times
bigger.
The Assistant nods and rushes out. Geoff turns back to the
phone, when he realizes Marianne’s still standing there. Is
she waiting for him to say thanks?
MARIANNE
There’s a report Mister Bader
watched earlier that has an
interview with one of the hostages.
David Berger, a former American.
This helpful info catches Geoff off-guard. Before he can
respond, Marianne heads for the door, when-
JENNINGS
There’s movement at 31...
Everyone in the control room stops to listen. Even Marianne.
JENNINGS (CONT’D)
... the door on the second floor
balcony is opening... Someone’s
peering out... And-
For a moment, Jennings loses his voice.
GEOFF
Jennings, what’s happening?
JENNINGS
Someone’s on the balcony. Wearing
some kind of mask, slowly looking
around... going back in now...
(beat)
That... that was terrifying. Ben
down there caught it on 16 mil. I
wish you could get this shot,
Mason.
GEOFF
I’ll send a runner.
JENNINGS
No chance. Police sealed off the
entire area. Only athletes can get
past.
Geoff’s mind whirrs: what to do, what to do.
INT. BACKSTAGE AREA - DAY
Gary stands uncomfortably. A US weightlifter’s tracksuit
hangs on him. It’s way too big.
GLADYS DEIST (29), ABC Graphics, cuts out a narrow green
stripe from an official Olympic catalog. Places it over the
blue stripe on Gary’s press ID badge.
Fits perfectly. She reaches for tweezers and glue. Her every
move deliberate, as if defusing a bomb.
Nothing ever ruffles Gladys Deist.
Carter hands Gary a USA sports bag, containing:
CARTER
Loaded mags, walkies, eight rolls,
long lens, changing bag, sandwiches
... and cigarettes.
GARY
So what if they search me?
GLADYS
Don’t worry. You’re now officially
an athlete.
She hands him the fake ID, adjusts his enormous tracksuit.
Can’t help but smile.
DARK ROOM - DAY
MONTAGE: An ASSISTANT EDITOR (Judy) places the headshot of a
hostage under a table camera -- CLICK -- Next one -- CLICK --
The enlarger projects light through the negative on a
photographic paper -- an enlarged headshot starts to emerge
in the developer bath.
Ratings
Scene 24 - Tension in the Control Room
The room is increasingly filling up with staff. Hermann sets
up fans to counter the rising heat.
Everyone listens intently to Jennings’ descriptions:
JENNINGS
A man is stepping out of the
apartment now. White suit, white
hat, face painted black. Could be
the group’s leader... Cameras
clicking like machine guns now...
He looks around at all the press,
waves his hand. Seems like he
enjoys the attention.
JJ returns with the headshots of the hostages. Geoff signals
him to put them on the wall.
JENNINGS (CONT’D)
A policewoman’s walking up now. All
by herself. Unarmed. Looks like
she’s handling the negotiations.
(beat)
And, oh God, he seems to have a
grenade in his hand.
Silence, as everyone realizes even fellow crew are in danger.
GEOFF
(concerned)
Jennings, how close are you?
JENNINGS
Maybe 100, 130 feet.
GEOFF
You should get away from there.
JENNINGS
Kill radius is only 16 feet. I’ve
been in the Middle East.
GEOFF
Ok. But be careful.
Gladys enters the control room.
GLADYS
Gary’s on his way.
Geoff turns to Jacques.
GEOFF
Are there operators on the tower
yet?
JACQUES
(nods)
Channel 6.
GEOFF
(switches channels on his
walkie)
Tower - show me the western gate.
TOWER CAMERAMAN
Copy that.
On the monitor we see the tower cam pan over the Village.
Focuses on the gate at the fence. Lots of photographers,
cameramen and onlookers, all desperate to get in.
Gladys points at someone in a tracksuit sprinting up.
GLADYS
Yeah. Go, Gary!
Gary’s in the thick of the fray outside the gate. He fights
his way to the front guard. Shows his ID.
Then he’s allowed in and immediately begins to run again.
Some of the crew clap. Another win for Geoff. The team’s
alive with excitement. It all feels like a great adventure.
The camera pans with Gary.
Bader bursts in, returning from the press center:
BADER
BR’s airing the police chief’s
first official statement. Now.
Jacques immediately snaps on the radio, turns it up. The
press conference is already running. The voice of Munich’s
police chief, Manfred Schreiber, echoes from the speakers.
Marianne, not missing a beat, simultaneously translates:
SCHREIBER MARIANNE
Die Täter fordern, dass 200 The terrorists demanded 200
Personen freigelassen werden. prisoners be freed from
Sie sind in israelischer Isreali prisons. If not,
Hand. Wenn diese 200 Personen they’ll start killing one
nicht freigegeben würden, hostage every hour starting
dann würde man ab zwölf Uhr at noon.
jede Stunde eine Geisel
erschießen.
GEOFF
Yeah, yeah. Can’t he tell us
something we don’t know?
A question from a journalist is heard:
JOURNALIST MARIANNE
Warum waren die Someone’s asking if the chief
Ordnungskräfte nicht of police thinks it was a
bewaffnet? Und würden Sie mistake that the Olympic
sagen, dass das ein Fehler village had no armed police.
war?
Jacques is quicker with his answer:
JACQUES
Of course, it was!
Marianne eyes the floor briefly. It builds in her. She can’t
let that comment slide.
MARIANNE
... I guess they didn’t want the
world to be reminded of the last
time armed Germans patrolled
fences.
JACQUES
So Germany’s shiny new image was
more important than people’s
safety?
Bader feels the tension. Doesn’t want it to escalate.
BADER
People, this isn’t our business.
That is our business:
He points to the two clocks with Munich and New York time.
BADER (CONT’D)
In less than an hour we go live.
INT. ROONE’S OFFICE - DAY
Roone, upset, phone on speaker.
ABC HEADQUARTERS
Roone, this is not your field. Just
send News the highlights.
ROONE
You kidding? I’m here in Munich.
Hundred yards away from where it’s
happening. We’re not giving it to
News. We’re not giving it to
anybody. Sports is keeping this.
That’s it.
He hangs up and rushes out of the room in anger.
Ratings
Scene 25 - Taking Charge of the Story
Jennings continues to report over the phone:
JENNINGS
Now it looks like there are
negotiations happening. German
politicians and the leader in the
white suit are talking. But
whatever they’re discussing, I
can't imagine Prime Minister Golda
Meir and her parliament, the
Knesset, will respond in any way to
blackmail.
Roone enters, nods hello to Bader, as Jennings continues:
JENNINGS (CONT’D)
It’s ironic. I have been a Middle
East expert in Beirut for 5 years,
yet I have never gotten this close
to the Arab–Israel conflict.
ROONE
Peter, I want your voice live when
we go on air.
Geoff eyes sound engineer HANK HANSON (40): can we do that?
HANK
I’ll give it a shot.
He grabs the next rotary phone and starts unscrewing the
earpiece.
BADER
Jennings, any idea how many
Palestinians are inside?
JENNINGS
We’ve seen a lot of heads popping
out of the windows. These men are
clearly professionals. I suspect
they’re deliberately trying to
create confusion.
(beat)
Now a second commando is at the
window. Brandishing his submachine
gun like a threat.
HANK
(without looking up)
Fucking Arabs.
JACQUES
Hey watch it. My mom is from
Algeria.
HANK
Come on, you know I'm not talking
about your mom.
JACQUES
Ah, just the bad Arabs?
JENNINGS
What he’s saying is that whatever
conception you have of Arabia or
Arabs is... you need to understand
how sensitive this situation is. Do
you realize what is at stake here?
This is no longer the Olympics...
Bader interrupts Jennings:
BADER
Thank you for clarifying Peter. And
it actually does bring up a
question: What should we call them
on air?
JENNINGS
In News we would refer to them as
commando guerrillas.
Bader looks questioningly at Roone.
ROONE
(shakes head)
Sounds like we're in the jungle.
Geoff has an idea, turns to Marianne.
GEOFF
What did the Germans call them? On
the radio?
MARIANNE
They used “terrorists”.
Roone is immediately convinced.
ROONE
Perfect. Let’s go with that.
JENNINGS
That's a charged term, Roone.
Terrorism is the organized and
systematic use of violence against
civilians to effect a political
goal.
A beat as everybody tries to make sense of what he just said.
BADER
(hesitant)
But... isn't that pretty much
what's happening here?
JENNINGS
Look, nobody knows yet what is
happening here. So we have to be
very careful about everything we
say on air. We have a journalistic
responsibility here.
(finally says it)
And no offense guys, but you’re
Sports. You’re in way over your
head. News should take over.
Roone’s had enough.
ROONE
Standby, Peter.
He cuts off the connection.
BADER
He might be right.
Roone’s struck. He looks around the room. Sees the crew’s
faces. Many clearly agree with Jennings too.
ROONE
Look, I know this isn’t a
responsibility that everybody
wants. But does it make more
sense to have a talking head from
News take over from halfway
across the fucking world?
He looks at his crew.
ROONE (CONT’D)
Our job is to tell the stories of
these individuals. Whose lives
are at stake. A hundred yards
away. And our job is really
straightforward. We put the
camera in the right place. And we
we follow the story as it unfolds
in real time. News can tell us
what it all meant after it’s
over. And I’m sure they’re gonna
try.
He looks each and every one of his crew in the eyes as he
continues.
ROONE (CONT’D)
This is our story. And we’re
keeping it.
Roone rushes out and Geoff steps forward.
GEOFF
Alright everyone, you heard the
boss. We have 45 minutes left. Do
we have an opener yet?
Ratings
Scene 26 - The Haunting Opener
WHAM - The large studio door flies open. Gary swoops in, gym
bag in hand.
The Assistant Editor already waits for him.
Gary hands her the film magazines from the gym bag. She
disappears with it into a darkroom.
INT. DARKROOM - DAY
Pitch black except for a weak green light.
Film strips run through a developer bath. In the emulsion the
images slowly form. Still shadowy.
ASSISTANT EDITOR
(into walkie)
Footage ready for review in five.
INT. EDITING ROOM - DAY
The Assistant Editor skillfully threads the newly developed
film into the Steenbeck.
Behind her stand Geoff and Jacques. Nobody says a word.
Eagerly awaiting the first images.
The Assistant Editor steps on the foot pedal. The film
platter whirrs.
The playback monitor projects the perforated blank film
leaders, frames with flares, scratches, the Kodak logo
briefly pops up, and then finally:
FLASH -- Jennings holds a clapboard -- FLASH -- police cars
driving into the village -- the Connollystrasse 31 building
from outside -- FLASH -- police officers setting up barriers -
- PAN across to reporters and photographers crowding on
opposite balconies, all lenses pointed at building 31 --
Then a hectic SWISH PAN -- ZOOM to 31’s balcony door just as
it opens -- a figure steps out -- so blurry he almost looks
like a ghost --
Then the camera focuses on an image that would become the
day’s most famous one.
An image that would be burnt into the collective
consciousness. A symbol of this atrocity. An icon of terror:
The masked man on the balcony.
All eyes are fixed on the monitor. Fascinated and unsettled
simultaneously.
No one can speak.
Until:
GEOFF
That’s our opener.
CUT TO:
11:50 AM
Ratings
Scene 27 - Tension in the Control Room
INSERT: An unscrewed phone earpiece. Next to a stripped audio
cable. Hank aims the soldering iron at the earpiece. A thin
thread of smoke rises.
The control room is now packed. The entire crew is back.
Only minutes until they go live.
CAM 2’s monitor now shows a live view of the apartment. But
Geoff’s not satisfied yet. He grabs one of the three walkies
lined up in front of him.
GEOFF
Cam 2 - good, but the balcony needs
to be at the very center, Charlie.
CAMERA OPERATOR
You got it, Kubrick.
GEOFF
(into second walkie)
Tower cam, get nice and close on
that roof.
The tower monitor’s image zooms in until the roof of the
Israeli housing fills the frame.
Roone and Bader enter.
BADER
(takes off his jacket)
Jesus, it’s even hotter here than
yesterday.
Roone sits right by Geoff, demands:
ROONE
Talk me through.
Geoff takes a quick breath, then begins, pointing to each
corresponding monitors as he mentions them:
GEOFF
We got Cam 1 covering Jim. Cam 2’s
outside with live images from the
apartment. Tower cam has the
Village aerial and can zoom in.
16mm footage is on tape machines 3
to 6.
He reveals Hank’s finished telephone receiver construction.
GEOFF (CONT’D)
We now can hear Jennings live on
the air. And...
Points to the pages of the Israeli athletes on the wall.
GEOFF (CONT’D)
We have an overview of the
hostages.
(MORE)
GEOFF (CONT’D)
And a pre-recorded interview with
one of them, David Berger, ready
for playback.
A beat. Then Roone actually nods approvingly.
ROONE
Good work.
Geoff only allows himself a second to enjoy it. Then he turns
to the crew.
GEOFF
Five minutes, everybody.
People scurry about, finish last-minute touches.
Geoff puts on his headset.
GEOFF (CONT’D)
Tower cam, I want you to start with
an establishing pan over the
spectators. And then push in. I
want a gut-punch close-up of that
terrorist.
Bader leans towards Geoff, speaks softly. His concerns should
not be noticed by anyone.
BADER
Uh, Geoff, can you turn it down a
notch? It's not track and field.
They threatened to kill people.
Geoff turns to Bader, covering the mic of his headset.
GEOFF
Is the noon deadline confirmed?
Bader nods.
GEOFF (CONT’D)
What do I tell the cameras?
BADER
What do you mean?
GEOFF
(matter of fact)
Can we show someone being shot on
live television?
Simple question. Long silence.
ROONE
We can’t control what happens...
BADER
No, wait, wait, wait. We’re the
only station going live with this.
Which means everyone will be
watching us. Including the
hostages’ families.
Roone hates being second-guessed in public.
ROONE
Okay, okay. Hallway.
Bader and Roone exit.
GEOFF
(to the crew)
Alright, everyone, stay on your
headsets.
Ratings
Scene 28 - Ethics on the Edge: The Broadcast Dilemma
Bader and Roone step out into the hallway.
BADER
You don’t want anybody to see their
kid being executed on live
television.
ROONE
Of course not, Marv.
BADER
I don’t know about the Israelis,
but David Berger’s folks are in
Ohio. So I’m pretty sure they’ll
watch.
ROONE
Then somebody should tell them not
to watch it. We have a bigger
responsibility here.
BADER
What about the sponsors?
ROONE
The sponsors are not gonna be
concerned. All they care about are
viewers.
Geoff opens the door behind them:
GEOFF
Guys. We have two minutes.
Roone senses he needs backup. Signals Geoff to come out.
BADER
So, is that what we’re trying to
achieve here? Ratings?
ROONE
No. We just...We’re following the
story wherever it takes us.
Gives Bader a thought.
BADER
Alright, then let me ask you this:
Black September; they know that the
whole world is watching, right?
That’s why they chose the Olympics.
A beat.
BADER (CONT’D)
If they shoot someone on live
television, whose story is that? Is
it ours, or is it theirs?
This makes Roone think.
Geoff eyes his watch. Time to be practical:
GEOFF
How about this: If things get tense
we only leave the 16mm running.
That’ll give us plenty of time to
decide whether we air it or not.
A long beat. Then:
ROONE
Alright.
Bader is relieved. They go back in.
INT. CONTROL ROOM - DAY
The three men burst in. Geoff resumes control.
GEOFF
30 seconds to the open. Is Jim
ready?
A Stage Assistant (LARRY) standing at the stage door shouts
in:
LARRY
Last looks.
Geoff glances at the preview monitor: Jim McKay sits in his
announcer’s seat, covered by a MAKE-UP PERSON adjusting his
hair.
GEOFF
(into headset)
Cam 1, tight on Jim. 2 on preview.
Tower, stay wide on building 31.
(switches channel)
Gladys, opening title on 1.
Ratings
Scene 29 - Live Coverage of Crisis: Terrorist Attack at the Olympics
Gladys sits at the Title Generator. Headset on, eyes focused
on the preview monitor.
GLADYS
Title 1 ready for insert.
INT. CONTROL ROOM - DAY
A caption appears on one of the screens on the monitor wall.
Geoff shifts his gaze to the “network return monitors”. On
them we catch the ending of a commercial: camera flies
towards New York’s Twin Towers as the Texaco logo appears.
ASSISTANT DIRECTOR
Aaand in ten, nine, eight...
As the countdown continues, Roone leans forward to Geoff,
whispers:
ROONE
If someone’s shot, have the live
cams pan to the onlookers for
reaction shots.
Geoff glances at Bader uncomfortable, but:
ASSISTANT DIRECTOR
... three, two, one.
(to Geoff)
And we’re hot.
All eyes on Geoff. A beat. Then.
GEOFF
(into headset)
Roll 5. Insert title 1.
FULLSCREEN LINE MONITOR: The masked man on the balcony.
Title appears: TERRORIST ATTACK AT THE OLYMPICS
GEOFF (CONT’D) ASSISTANT DIRECTOR
(into headset) In 3... 2... 1
Ready 1... take 1.
(into mic)
Jim, you’re on.
CLOSE UP: Jim McKay looks at us professionally.
McKAY
Good Morning, I’m Jim McKay
speaking to you live at this moment
from ABC Headquarters just outside
the Olympic Village in Munich, West
Germany. The peace of what’s been
called the “Serene Olympics” was
shattered just before dawn this
morning around 5 o’clock when...
GEOFF
Cam 2 on preview. Balcony pan.
(checks preview)
Ready 2, take 2.
Live Cam 2: Pan across the balcony of building 31.
McKAY (V.O.)
...a group of terrorists armed with
submachine guns, faces blackened...
GEOFF
Dissolve to 3.
Crossfade: Tower cam. Wide shot Connollystrasse.
McKAY (V.O.)
...climbed the fence into the
Olympic Village...
GEOFF
2, close up door. Good. Hold it,
hold it.... And take 2.
Crossfade Live Cam 2: The entrance door.
McKAY (V.O.)
...headed to the Israeli team’s
quarters...
GEOFF
Studio on deck. Take 1.
McKAY
...and immediately killed one man:
Moshe Weinberg, a coach. Two shots
to the head, one to the stomach.
They are holding ten more hostages
and the latest report is that one
more has been killed.
(beat)
Peter Jennings is inside the
Village. Let’s go to Peter now.
GEOFF
Ready 2, Take 2.
The telephone receiver construction sends Jennings’ voice
over the air.
JENNINGS
Jim, I’m directly across from the
Israeli building. It will be a
famous number before long. It is
31. It is on Connollystraße. The
reports here vary dramatically as
to what is going on.
MCKAY
Peter, do we already know who is
responsible for the attack?
Geoff signals the SOUND TECHNICIANS in the audio booth to
turn up the volume on Jennings.
JENNINGS
There is a great deal of
speculation one could indulge in,
which would be risky, but if I were
to guess I would most likely
narrow in on a group called “Black
September”. That however is pure
speculation.
GEOFF
Back to 1.
Jim KcKay in the studio:
MCKAY
Thank you, Peter. Something that is
not speculation is that one of the
hostages is David Berger, 26 years
old, a former United States
citizen, we are told by the
Israelis. Moved there about two
years ago. Is in the light
heavyweight class.
GEOFF
Roll tape 5.
Ratings
Scene 30 - Tension in the Control Room
A VTR TECHNICIAN stands at one of one of the gigantic VTR
Machines. Tape starts rolling.
MCKAY VTR TECH
(over speakers) (quietly into headset)
After receiving a law degree Rolling, ready in seven,
from Columbia University, six,
Berger failed to qualify for five,
the US team. To fulfill his four,
dream of the Olympics, he three,
emigrated to Israel. Two days two,
ago, he was interviewed by one. 5 ready to go.
Peter Jennings for an ABC GEOFF
color piece. (over headset)
Hit it.
The Technician pushes a button on the machine.
INT. CONTROL ROOM - DAY
David Berger now appears on the main monitor. The segment
from the Dachau report:
DAVID BERGER
That’s exactly what the Olympics
are all about, you know. Like our
fencing coach Andrei says, we’re
here and can talk to Germans, chat
with athletes from Lebanon or
Egypt. This is what we were
dreaming about. It is not just
about sports, you know?
(smiles into camera)
Or as my mother always says: You
may not be the world’s best
weightlifter, but you’re certainly
the smartest!
GEOFF
Back to 1 clean.
Bader’s satisfied to see Geoff’s really good at this. He
stands up, whispers to Roone:
BADER
I’ll get back to Hans Klein, wait
for the latest.
Roone nods, focuses back on Geoff who’s going full-steam.
GEOFF
Bird caption on my cue... And now.
Caption: LIVE VIA SATELLITE FROM MUNICH, GERMANY
MCKAY
Ladies and Gentlemen, these dreams
have been shattered by this
terrible, terrible attack.
(MORE)
MCKAY (CONT’D)
The terrorists have demanded the
release of some 200 Arab guerrilla
prisoners in Israel in exchange for
the lives of Israeli athletes. They
had set a deadline of noon. That
deadline obviously has passed.
Nobody knows what is going to
happen now.
Tension builds as everybody watches the screen. Waiting for
something to happen.
Ratings
Scene 31 - Negotiation in the Editing Room
Marianne listens to the radio in the quiet room. Taking
notes. Behind her Hank scans the shelves, looking through
audio tracks. Carter enters with newly developed film rolls.
He threads the film into the Steenbeck. Hits play.
Marianne quiets the news as both she and Hank turn to watch
the Steenbeck’s monitor:
Next to the Leader we now see for the first time the
Policewoman who is handling the negotiations.
HANK
Can you believe this lady’s the
negotiator? She doesn’t strike me
as the hard boiled type.
MARIANNE
(sees something else)
If the terrorists underestimate her
like you do, she might have a
chance to get inform--
HANK
Just look. She’s asking him for
cigarettes! Can you believe that?
The white-suited Leader gives the Woman a cigarette. She
takes it. He lights hers, then lights one up for himself.
MARIANNE
No, no, she’s earning his trust.
Hank shakes his head, sure, returns to his work.
On the screen the Leader goes back inside. The Policewoman
pulls out a walkie.
MARIANNE (CONT’D)
I just wish I could hear what she’s
saying.
Carter looks at Marianne, inspired.
Ratings
Scene 32 - Contrasting Realities at the Olympics
Geoff stares at the Main Monitor:
MCKAY
The Olympics at this moment are
still continuing.
GEOFF
(nods, into headset)
Take 3. Roll Tape 4.
The screen now shows aerial shots of the Olympic village.
MCKAY
There is a very strange atmosphere,
we’re only 500 yards away from this
building here. And within 200 yards
from that building there is a man-
made pond, very lovely, with little
ducklings, where the athletes lay
out and take sun.
Images of athletes sunbathing.
MCKAY (CONT’D)
And that’s what they’re doing right
now. They’re swimming, talking
technique with other athletes and
yet this grim terrible thing is
taking place right there inside the
village.
Roone glances at the clocks beside the monitor wall.
ROONE
(gets up, to Geoff)
I’ll make sure we can stay on the
bird.
He walks out. Geoff looks at the two clocks. Then he turns to
the COMMUNICATOR.
GEOFF
What is he talking about? Don't we
still have 3pm?
COMMUNICATOR
(shakes head)
He swapped slots.
All of a sudden:
TECHNICIAN (O.S.)
Ufffffff!
Geoff turns around to see what’s going on. TWO TECHNICIANS in
the back row are watching a table monitor, excited.
One of them turns the monitor, so Geoff can see: It’s the
boxing match between Téofilo and Bobick. Téofilo has just
landed a knock-out. The referee is counting down.
Ratings
Scene 33 - Lost in Translation
INSERT: The housing of a transistor radio is removed.
Hank twiddles with the condenser, while Carter connects the
antenna to an improvised extension wire.
Marianne stands nearby, surveys the huge transmitting console
flowing with cables, sending out images across the globe.
Hank can’t get more than static from the radio.
HANK
Damn it!
(deep breath)
Can you get us some coffee, please?
He fixes on Marianne. She looks around. Yes, he means her.
MARIANNE
Um, okay.
Marianne goes.
Hank keeps tweaking. Suddenly, the policewoman’s voice comes
out of the radio:
POLICEWOMAN (CB)
Der Anführer verlangt Verpflegung.
Hank and Carter turn their heads to room’s control monitor:
The live image shows the policewoman speaking into her walkie
talkie. They receive her message simultaneously over the
radio:
POLICEWOMAN (CB) (CONT’D)
Laut seinen Angaben für insgesamt
20 Personen.
Carter looks at Hank.
CARTER
Great. And you sent away the one
person who could understand this.
A beat. Then Hank rushes out.
Ratings
Scene 34 - Tension on Connollystrasse
Jennings excitedly reports over the phone:
JENNINGS
Something’s happening here in
Connollystrasse.
Geoff and the crew take their eyes off the boxing match back
to the monitor wall: the live cameras show German officials
walking up to the terrorist Leader. Followed by two Men in
chef’s hats carrying baskets of food.
JENNINGS (CONT’D)
It seems like they’re bringing food
now. If you ask me, these are
policemen dressed up as cooks.
GEOFF
(into headset)
Tower keep tracking them.
(aside to Jacques)
Jesus Christ, my half-blind grandma
could see that those “cooks” are
cops.
INT. ROONE'S OFFICE
Roone has the phone to his ear. Tense.
ROONE
Change it! That’s my fucking
suggestion. They can’t have the
slot. You guys think of something,
I have to keep going.
He hangs up and looks at the TV: The German officials taste
the food as the Leader watches.
JENNINGS
Looks like they’re proving the food
isn’t poisoned. Now the cooks seem
eager to carry in the food... but
the leader takes it from them, goes
in alone...Whatever the Germans
tried to achieve here, it failed.
Roone shakes his head and changes channel. Sees something
that triggers his interest.
INT. CONTROL ROOM
Phone in front of Geoff rings.
ROONE
(over amplifier)
Check Channel 11. Who is he?
Geoff turns to the table monitor behind him. The BACKROW
TECHNICIAN switches channels: Israeli station Channel 11’s
Anchorman interviews a tired-looking heavyset man.
Geoff checks the profiles up on the wall.
GEOFF
Looks like Tuvia Sokolsky. One of
the Israelis who escaped.
ROONE
Why don’t we have him?
GEOFF
(turns to crew)
Damn. Someone run over to their lot
and grab him!
Larry runs off.
GEOFF (CONT’D)
(shouts after him)
And tell JJ we’re hungry.
Ratings
Scene 35 - Tension at the Control Room
JJ is at the catering table, peanut buttering slices of toast
at impressive speed.
INT. TRANSMISSION ROOM - DAY
The CB by Marianne crackles:
POLICEWOMAN
Der Anführer hat das Ultimatum auf
17 Uhr verlängert.
Steaming coffee cups are placed in front of her and Carter.
By Hank, who looks at Marianne apologetically.
HANK
What’s all that mean?
MARIANNE
New ultimatum is 5pm.
INT. CONTROL ROOM - DAY
The crew watches the main monitor: Zoom in on the balcony.
MCKAY
We’re moving in now on the windows,
behind which nine terrified living
human beings are being held
prisoner. And the demands are--
The window opens and someone peeks out.
MCKAY (CONT’D)
Peter, there is someone right now.
(beat)
Certainly has to be one of the
terrorists. One of them is believed
to be a woman.
JJ enters the room. Handing out sandwiches to the crew.
MCKAY (CONT’D)
And this has happened time and time
again. The door opening, the head
coming out to see what is going on.
Geoff takes a bite of his sandwich, while looking at the
monitor: The terrorist’s head disappears behind the window
again.
GEOFF
(into headset; chewing)
Hey Chuck, play that back to us in
slo-mo, will ya?
Ratings
Scene 36 - Tension and Humor in the Control Room
The VTR Technician stops the tape. Grabs two checkers. Sticks
one in each roll. Uses them as handles to pull the tape
through the rollers in a steady, slow movement.
VTR TECHNICIAN
(into headset)
Take it.
INT. CONTROL ROOM - DAY
Main monitor: The shot plays forward in slow motion. Marked
with a big flashing REPLAY.
MCKAY
We see the moment again here in our
slow motion.
JENNINGS
It’s been such a terribly
tantalizing symbol of this
situation. What’s going on inside
of that head and that mind...
COMMUNICATOR
(phone receiver in hand)
Master Control wants a block of
five. Now.
GEOFF
(into mic)
Jim, commercial break in 10.
MCKAY
We’re going to take a very short
station break at this point. And
hopefully when we get back we have
at least some answers for you.
ASSISTANT DIRECTOR
And we’re off. Back in three
minutes.
The commercial starts: A young Michael Douglas rushes through
The Streets Of San Francisco, the new ABC crime show starting
soon.
A Technician switches on the fans. The propellers begin to
whirr.
Geoff turns to the table monitor in the back row.
GEOFF
Let’s check the competition.
He flips through the channels. Most TV stations report on the
situation in the Olympic Village, but Geoff is happy to see:
GEOFF (CONT’D)
Seems like we’re still the only
ones providing live images.
Jacques stops at German Broadcaster ZDF, showing a special
report from inside the village.
ZDF COMMENTATOR (O.S.)
Unterdessen wächst der Druck auf
das Olympische Komittee, die Spiele
abzubrechen.
We see a crowd of protesters holding up "stop the games"
signs. One of the protesters is interviewed:
PROTESTER
(broken English)
That is the best solution towards
the situation if you stop the game.
You focus the attention on the
situation and make the people
realize at the games that two
athletes were killed…
Now we see an athlete being interviewed. Title caption:
“Mohamed Tarabulsi, Lebanese Weightlifter”.
MOHAMED TARABULSI
My heart is very heavy today... As
an athlete and as an Arab, I would
like to express my solidarity with
my Israeli colleagues. I pray that
everything ends well.
Gladys walks in, as the ZDF reporter interviews the next
athlete:
ZDF REPORTER
May I ask you if you heard anything
this morning in the village?
Suddenly everyone in the control room starts smiling, as they
realize it’s:
GARY
Um, no.
ZDF REPORTER
You're here with the US delegation?
Gary’s obviously uncomfortable with the situation, but nods
to keep his cover.
ZDF REPORTER (CONT’D)
What is your discipline?
And poor Gary in his oversized tracksuit can't think of
anything better to say than...
GARY
Weightlifting.
Everyone in the room laughs, until:
LARRY
(serious voice)
He’s here.
Geoff gets up. Goes to the rear of the room. Takes the
curtain and pulls it open, revealing the large pane of glass.
Beyond it:
McKay left his seat. He stands with his back to us and
welcomes someone who just walked in the door: we catch a
glimpse of TUVIA SOKOLSKY, followed by a TRANSLATOR.
More crew appear next to Geoff. Like police officers
observing through a one-way mirror, they watch how Sokolsky
slowly takes Jim's hand.
McKay leads the surprisingly small weightlifting coach to a
chair. The man squints against the spotlight.
Geoff turns to the crew.
GEOFF
Somebody bring him some water.
Larry goes through the door to the stage.
Geoff returns forward to his chair. Sits down. Obviously more
comfortable watching over the monitor.
He waves behind him. The curtain is drawn again.
Ratings
Scene 37 - Broadcast Under Siege
GEOFF
(back to business)
30 seconds.
Roone comes in for this. He sits next to Geoff.
ROONE
(into mic)
Jim, this is as close as we get to
the hostages. Make something out of
it.
Slight nod from McKay on the monitor.
ASSISTANT DIRECTOR GEOFF
Back to us. On my cue.
FULL SCREEN LINE MONITOR
McKAY
We’re coming to you live from ABC
hHeadquaters in Munich, West
Germany. I’m sitting right now with
a man who has just come in to the
studio. His name is...
GEOFF
(into headset)
1, open up on all three.
Zoom out: McKay, Sokolsky and his translator.
MCKAY
Tuvia Sokolsky. He is on the
extreme left here. The gentleman in
the middle is Nasim Javidi,
translator for the Israeli team.
Mr. Sokolsky does not speak
English. He is the coach of the
weightlifters and came out of that
room today...
The Communicator quietly addresses Roone, telephone receiver
in hand.
COMMUNICATOR
Roone... They want to talk to you.
Roone has the receiver handed to him.
ROONE
(into phone)
Arledge.
(listens)
That's your solution? Seriously?
(listens)
I’m not gonna do that. This is our
story.
He covers the receiver.
ROONE (CONT’D)
(to Geoff)
We're losing the sat. Tell Jim.
GEOFF
What!? We can't stop this now.
ROONE
In a few seconds, all viewers in
the US will see a black screen. Jim
has to say something. Now.
Geoff still hesitates. Roone pushes him aside. Presses the
intercom.
ROONE (CONT’D)
(into intercom)
Jim?
CUT TO:
FULL SCREEN LINE MONITOR
Sokolsky talks in Hebrew, when suddenly McKay interrupts him,
as he received the information over his earpiece.
MCKAY
I’m sorry, we’d like to continue
the interview on tape. And we’re
having it later. We are losing the
satellite right now.
He turns to the camera. Sokolsky beside him is confused.
MCKAY (CONT’D)
The Arab Guerillas are still in the
Israeli quaters. One man is dead.
Mr. Javidi tells me another man is
now definitely dead. We don’t know
his identity yet.
(MORE)
MCKAY (CONT’D)
The tension regarding the 5 o’clock
deadline continues, which is in an
hour an 45 minutes.
(beat)
Jim McKay, as the Olympics continue
in Munich, West Germany.
And after an intense look from Jim McKay, the monitor
switches to a colorful ABC logo. Beeping can be heard.
Back to: Turmoil in the control room. Everyone is talking at
once. Shouts, shaking heads, frustration fill the room.
GEOFF HANK
What are we doing here? We can't just choke that poor
man off.
ROONE
CBS insisted on their slot. They’ll
only give it to us if we share our
feed. I’m not gonna do that.
Gladys approaches Roone and Geoff through the chaos:
GLADYS
We can give it to CBS, but show our
logo in the stream.
ROONE
What do you mean?
GLADYS
Put “ABC” up there. And leave it
in. Constantly. In the top corner.
GEOFF
What signal are we talking?
GLADYS
Output only. Put a permanent
superimpose on it.
Roone’s already sold.
ROONE
Do it.
Gladys rushes out.
Ratings
Scene 38 - Broadcast Interrupted: The Weight of Emotion
Gladys speeds to the Title Generator. Carefully lays a tiny
“ABC Sports” Logo on the top corner of the board. Swiftly
slides it underneath the table camera. Frames it.
INT. CONTROL ROOM - DAY
Gladys reports over the walkie:
GLADYS
Logo ready on 4.
Geoff looks intently at Roone, who is on the phone.
ROONE
Then we are in agreement.
He hangs up. Looks at Geoff without expression.
ROONE (CONT’D)
Back on the bird within the minute.
Start with the interview. As if
nothing happened.
COMMUNICATOR
10 seconds ‘til they take us.
On the main monitor an ABC jingle plays. Logo fade-in. And
the interview with Sokolsky begins again.
GEOFF
(to Jacques)
Fly logo in.
Jacques pulls a lever - and there it is: the “ABC Sports”
logo appears in the network return screen’s corner.
GEOFF (CONT’D)
(to Roone)
You own the story now, Roone.
CUT TO:
FULL SCREEN LINE MONITOR
Close up Sokolsky. He speaks Hebrew. Struggles with his
emotions.
TRANSLATOR
He hasn’t got any real practical
suggestions. He feels that one
should not give in. And he leaves
the whole affair in the hands of
the professionals. On the other
hand he yearns for the moment his
friends and all his colleagues,
these athletes whom he had known
for so many years, family men, will
be outside safely.
A beat. Everyone in the room is looking at the broken man on
the monitor.
MCKAY
I can see the emotion, that he’s
feeling. It’s very high in this
room. I can’t tell you how much I
appreciate Mr. Sokolsky taking the
time to tell the story to us.
(beat)
Thank you!
TRANSLATOR / SOKOLSKY
Thank you.
The moment is disturbed when the AP Wire rattles. Phones
ring. The Communicator looks at the news wire.
COMMUNICATOR
They’re suspending the Games!
Ratings
Scene 39 - Urgent Warning in the Transmission Room
The CB by Marianne crackles:
POLICE CHANNEL
(Voice #2)
Die Massen ausm Stadion laufen alle
rüber in Richtung Connollystrasse.
(Voice #3)
Tor 30 bestätigt. Die Situation
wird unkontrollierbar.
(Voice #2)
An alle Einheiten. An alle
Einheiten. Grünes Licht für
Sonnenschein.
She reaches for the walkie. Alarmed.
MARIANNE
(into walkie)
The police just gave green light
for some action.
INT. CONTROL ROOM - DAY
But Hank doesn’t hear her on his walkie. He stares at the
monitor, as does everyone in the room:
Footage of crowds gathering on a hill overlooking the
apartment. Police officers shout through megaphones, trying
to keep the situation under control.
MCKAY
The important thing right now is
that the games of the 20th Olympiad
have now been officially suspended
and as you can see from this
footage that has just reached us,
the situation around the apartment
is becoming increasingly confusing.
INT. TRANSMISSION ROOM - DAY
Marianne continues to listen to:
POLICE CHANNEL
(Voice #1)
Olympischer Ordnungsdienst in die
umliegenden Gebäude. Die Presse
muss weg.
MARIANNE
Scheiße!
Marianne jumps up and runs out of the room--
Ratings
Scene 40 - Tension at the Munich Olympics
-- bumps into ABC staff in the hall. No time to apologize.
She rushes to the control room door, wrenches it open.
INT. CONTROL ROOM - DAY
MARIANNE
Police are clearing all press out
of the buildings.
Everybody looks at her.
Then Geoff grabs the phone:
GEOFF
You need to hide, Peter.
JENNINGS
What, why?
At that moment over the speaker we hear violent knocking and
muffled shouts:
POLICE MARSHALL
German Police. Open up! Aufmachen.
Click. Beep.Beep.Beep.
The call’s disconnected.
The whole room looks at the phone.
Absolute silence. Just the fan’s whirring.
JACQUES
Guys, check the tower cam.
All eyes flash to the Tower Camera’s monitor:
Men in tracksuits climb onto the apartment’s roof. They carry
weapons, some wear WWII steel helmets.
Geoff looks at Marianne.
GEOFF
Get back to the police scanner. Do
not take your ears off it.
She speeds off, as the phone finally rings. Geoff answers it.
GEOFF (CONT’D)
What happened?
JENNINGS
We’re ok. We managed to hide.
GEOFF
Great, but it looks like now the
police are making a move. Get back
on the balcony.
(into mic)
Jim? Check your preview.
PREVIEW MONITOR: the Men in tracksuits carefully cross the
roof gravel, assault riffles in hand.
McKAY
We’re told that there are men on
the roof.
(beat)
I… I’m not sure if these men have
guns or cameras?
GEOFF
(into headset)
Tower. Push in.
The camera zooms in.
McKAY
Those are guns alright.
JENNINGS
They’re walking cautiously on the
roof. Hopefully not being heard in
the rooms below.
The control room team observes on screen how the gunmen move
across the roof. One loses part of his gear on the roof
gravel. Another drops a gun magazine.
GEOFF
They don’t seem prepared at all.
MCKAY
This is happening now. If you can
possibly believe it. At the Games
of the 20th Olympics.
GEOFF
(into headset)
Gladys. Bird caption.
The yellow caption appears on the main monitor: LIVE VIA
SATELLITE FROM MUNICH, GERMANY.
Ratings
Scene 41 - Tension in Transmission
Marianne arrives out of breath. Sits by the CB radio,
listening to the German police communicate.
POLICE CHANNEL
(Voice #3)
Gitter ist entfernt.
INT. CONTROL ROOM - DAY
The disguised police give hand signals to each other, take
positions. Their tracksuits glow on screen in bright colors.
Jacques looks at the B/W monitor on network return.
JACQUES
What a shame that most people see
this in black and white.
GEOFF
Not in the US, buddy. By now, every
bus driver has his color TV.
HANK
And the athletes here. The Germans
placed a color TV in every
apartment.
This gives Geoff a thought.
GEOFF
So, are they’re seeing what we’re
seeing?
HANK
What are you talking about?
GEOFF
Are they watching us in this
apartment?
He points at the monitor.
Silence.
COMMUNICATOR
They don’t receive ABC here.
HANK
Oh, they do. There’s an inner
circuit, so everyone can watch
their home station.
The control room crew exchange looks.
INT. TRANSMISSION ROOM - DAY
More waves of German voices rustle over the CB radio.
POLICE CHANNEL
(Voice #4)
Hier Reich. Habe freie Sicht auf
das Fenster. Hier flackert Licht.
Könnte von einem Fernsehgerät
kommen. Wolf, habt ihr den Strom
nicht ausgeschaltet?
(Voice #2)
Negativ.
(beat)
Eine Einheit ist unterwegs zur ABC.
Marianne freezes. Carter looks at her alarmed.
CARTER
Did... did they just say “ABC”?
Ratings
Scene 42 - Confrontation in the Control Room
Four uniformed German POLICE OFFICERS storm down the hall --
run to the door with the glowing “On Air” light.
INT. CONTROL ROOM - DAY
Door slams open as the Police charge in. Geoff and the crew
look at the armed men, shocked. Geoff gets up.
A Policeman points to the tower monitor --
POLICE OFFICER
Die Kameras aus. Aus.
GEOFF
What’s the Problem?!
POLICE OFFICER
Die Kameras aus!
GEOFF
Calm down! What’s going on here?
POLICE OFFICER
(tone building)
Ausmachen. Jetzt!
The Officer points his gun at a Technician by the monitors.
Geoff immediately steps in front of the Technician. Defending
his team.
GEOFF
Have you lost your fucking mind?!
Don’t point your gun on my crew!
POLICE OFFICER
AUSMACHEN. AUSMACHEN! AUSMACHEN!
Geoff looks around the room at his crew. Debating. Jacques
shakes his head: let it go.
GEOFF
...Alright, for God’s sake.
(into headset)
All live cams off. Turn it off,
Charles. Same for tower.
The live cam monitors go gray.
GEOFF (CONT’D)
Happy?
Roone bursts in. Sees the Police Officer still aiming the gun
at Geoff. Roone charges up to the Officer. Right in his face.
ROONE
Get the fuck out of my studio.
He glares at the Officer until the cop finally leaves with
his men.
Jennings’ voice echoes from the phone:
JENNINGS
The policemen are climbing down
from the roof now. They seem to be
calling off their attack. Looks
like this was yet another failed
attempt by the Germans to get the
situation under control.
The room’s mood has changed. For the first time maybe they’ve
actually had an effect on these proceedings.
Jacques voices the question that’s hanging in the air.
JACQUES
Was that... our fault?
Silence. Guilt washes over them.
ROONE
(walking out)
Certainly not.
But Geoff doesn’t seem so certain.
GEOFF
Um, ok everybody, commercial break.
Back in five.
He gets up, grabs a walkie:
GEOFF (CONT’D)
Marv, can we talk?
Ratings
Scene 43 - Tensions Rise in the Hallway
Geoff and Bader talk quietly in the hall.
BADER
They should have cut the
electricity in the apartment. It’s
not up to us to double-check on
them.
GEOFF
That doesn’t mean it’s okay if we
made it worse. We don’t interfere
with what’s happening. Even Roone
says that.
BADER
Listen, we don’t know why they
called it off. The Germans seem
generally pretty overwhelmed.
MARIANNE (O.S.)
They are.
They turn to see Marianne walking up to them, angry.
MARIANNE (CONT’D)
I heard it all on the police radio.
It’s local cops doing things
they’ve never done before.
(MORE)
MARIANNE (CONT’D)
The German Army gave them sniper
rifles and had to instruct them on
how to use them.
GEOFF
Why not use the army itself?
MARIANNE
They’re not allowed to operate
here. German constitution.
GEOFF
That’s crazy.
BADER
Rumor is Israel even offered to
send a special unit to help out.
But Germany refused it.
MARIANNE
They’re just making one mistake
after another. Trying to act like
they’ve got it all under control.
Any doubts from Geoff and Bader have vanished. No more time
to dwell on this.
GEOFF
They can turn off our cameras, but
they can’t take us off the air.
BADER
(nods, heads for exit)
Everyone, back to your stations!
Ratings
Scene 44 - Frustration in the Control Room
McKay is on the main monitor, while the live monitors show
nothing but black. Geoff listens to Jennings descriptions.
JENNINGS
(over phone)
The Germans are back to
negotiating. This time Interior
Minister Genscher is joining them.
Marianne and Carter enter with the CB. Geoff motions for them
to set it up right next to him. Hank grabs his tools.
JENNINGS (CONT’D)
The leader only seems willing to
talk to Gensch...
(beat)
Wait. Put me live!
GEOFF
(into mic)
Jim, Peter has breaking info.
On the screen, McKay reacts immediately.
McKAY
I just got word something’s
happening at Connollystrasse.
Peter, you have news?
JENNINGS
Thanks, Jim. Yes. Moments ago a
window opened. And for the first
time now we’re seeing some of the
hostages.
GEOFF
No, we’re not. We might as well be
listening to fucking radio.
He looks at black monitors, frustrated. Presses the walkie:
GEOFF (CONT’D)
Cam 2, Tower, either of you have an
angle on this?
CAM 2
Clear shot, Mase.
TOWER CAM
Clear as crystal.
Great. And Geoff can’t use either one.
Ratings
Scene 45 - Broadcasting Horror
Roone’s TV shows McKay in the studio as we hear Jennings:
JENNINGS
We’ve seen two hostages so far.
They were led to the window one
after the other. One guerrilla with
an AK-47 behind them. It’s a
terrible sight....
ROONE
This is ridiculous.
Roone grabs the phone. Short number.
INT. CONTROL ROOM - DAY
Phone rings. Geoff snaps it up. Hears what he wanted to hear.
GEOFF
You got it, Roone.
He hangs up. Hastily speaks into the headset.
GEOFF (CONT’D)
All cams back on!
Jacques eyes him skeptically, but Geoff doesn't notice.
The whole crew looks at the monitor, excited to be back in
the game.
Seconds later it blinks on - and shows a horrific image:
A defeated man stands at the apartment window. Torn
undershirt. Hands tied. Behind him a masked man holds a
machine gun to his back.
All conversations fall silent.
Geoff stares at the monitors.
This is real. This is about people’s lives.
Geoff pushes away his feelings before they can overpower him.
GEOFF (CONT’D)
Anyone know who that is?
MARIANNE
...the fencing coach.
She goes to the profiles on the wall, takes down his photo
and hands it to Geoff.
MARIANNE (CONT’D)
Andrei Spitzer. Age 27.
GEOFF
(turns to Gladys)
Can you make a caption?
He passes her the photo.
INT. EDITING ROOM - DAY
Gladys hurries to the title generator. In record speed she
pins letters to the board.
Ratings
Scene 46 - Tensions Rise in the Control Room
Jennings continues to describe the events at the scene.
JENNINGS
It looks like Spitzer wants to tell
Genscher something.
Geoff hears Gladys come in over the walkie:
GLADYS
Caption ready!
GEOFF
Air it.
The finished caption pops up: ANDREI SPITZER, FENCING COACH
On the monitor we see Andrei Spitzer standing at the window.
Seeming to talk to Interior Minister Genscher.
Then Spitzer is roughly yanked back into the room.
JENNINGS
Now he’s dragged away from the
window and the curtains are closed
again. Genscher is talking to the
leader. He seems furious.
TSCHHHHHH. The now connected CB roars away.
HANK
Police CB ready!
On the monitor: the Policewoman from earlier stands next to
Genscher, talking into her walkie. We hear her over the CB.
POLICEWOMAN MARIANNE
Minister Genscher hat sich Genscher offered to swap
als Austauschgeisel himself for the Israeli
angeboten. Das Gesuch wurde hostages, but the terrorists
abgelehnt. Er bestand jedoch refused the offer... Now
darauf, persönlich nach dem Genscher insists on going in
Wohl der Geiseln zu sehen. to see how the hostages are.
The monitor shows Genscher enter the building.
JENNINGS
The leader’s taking Genscher and
another official into the apartment
now.
The monitor shows the apartment’s facade. All stands still.
POLICE RADIO
(Voice #1)
Wurde bereits ein Ziel für den Flug
genannt?
(Voice)
Negativ.
MARIANNE
They just mentioned they’re flying
them out of the country!
Questions come at her all at once, like “They’re flying
out?”, “With hostages?”, “Where to?”
Marianne waves them off as she futilely attempts to focus on
the CB. She switches to headphones to hear. But still can’t.
People’s discussions are only getting louder. It’s enough-
MARIANNE (CONT’D)
EVERYBODY SHUT THE FUCK UP!
Instantly calm returns. All eyes aimed at her. Damn, she’s
taken it to the next level.
Marianne puts her hands on her headphones. Listens intently.
MARIANNE (CONT’D)
They’re giving orders... The
policewoman has to delay, tell the
leader it takes time to prepare the
plane... they mentioned two
helicopters... to take terrorists
and hostages to an airport...
GEOFF
Airport? Which airport?
MARIANNE
They didn’t say.
At that moment Jennings’ voice is heard:
JENNINGS
They’re coming back out. Genscher
seems shocked. God only knows what
horrors he saw in there.
On the screen we see a devastated Genscher in talks with the
policewoman. She speaks into her CB again.
Marianne listens, then:
MARIANNE
Cairo!... They named Cairo as their
destination.
GEOFF
(adrenaline back)
All right, guys, listen up - I need
to know where in the village these
choppers can land and which airport
they will fly to for the transfer!
Ratings
Scene 47 - Urgent Preparations for Helicopter Landing
An Assistant rushes through the aisles. Maps under her arm.
We follow her into the buzzing control room --
INT. CONTROL ROOM - DAY
Carter runs towards her and takes the maps.
CARTER
Thanks!
He prepares them on the console in the middle of the room.
Marianne looks at it, the cable of her CB headphones is taut.
It’s a map of Munich and the surrounding area.
GEOFF
Riem airport is the obvious choice,
but I doubt it... too much plane
traffic.
CARTER
Augsburg?
MARIANNE
Too far away...
Marianne presses the headphones tighter to her ear, she
intercepts a radio message.
MARIANNE (CONT’D)
... they mentioned a flight time of
5-7 minutes for the helicopters.
HANK
(turns to Carter)
What was the name of that small
airport in the middle of nowhere?
Where we picked up the equipment?
Something like Farsteenfeld Bragg.
MARIANNE
Fürstenfeldbruck!
CARTER
Exactly!
MARIANNE
That’s a military airport.
GEOFF
It’d make sense. No people nearby.
CARTER
Guys!
(looking up)
...Do you hear that?
A low whir. Quiet, distant. Then it gets louder...
GEOFF
The choppers!
It builds...
INT. ROONE’S OFFICE - DAWN
... becomes a booming noise, coming from all sides. Roone
looks at the ceiling lamp. It’s slightly shaking.
Ratings
Scene 48 - Tension at the Olympic Village
The roars become deafening. The action outside has come very
close to the small studio. Gladys comes back in, followed by
Roone:
ROONE
(over the noise)
Do we have eyes on these choppers?
GEOFF
(into headset)
Tower?
TOWER OPERATOR
Negative.
GEOFF
(into walkie)
Guys, we’re blind here.
At that moment a new voice pops up on the walkie. Sharp.
Forward. A tinge unpleasant. HOWARD COSELL (54), ABC Sports
commentator.
HOWARD
Gentlemen, can you read me?
GEOFF
(picks up walkie)
Loud and clear, Howard.
HOWARD
I see them! They just came around
that tall administration
building... slowly descending-
GEOFF
Where exactly are you? Are you
inside the village?
HOWARD
Yes. They let me in after the
boxing match. Ran into Gary here,
I’m taking over his channel.
CAM 2 OPERATOR
Mase, I got them. Take me.
Geoff gives Jacques a sign. The main monitor shows a
helicopter quickly descending on the Olympic Village.
Captured in a hectic pan.
The Police Channel crackles in Marianne’s headphones.
MARIANNE
They’re talking about a bus now...a
bus escorting them to the
helicopters.
GEOFF
(into walkie)
Howard, are the police clearing the
area?
HOWARD
No, it’s packed. There are people
with cameras everywhere. It’s like
Elvis has landed...
MARIANNE
They’ll use the parking level below
the apartments!
(points to map)
There’s the next staircase.
Building 12.
GEOFF
Howard, turn around. Do you see a
staircase?
HOWARD
Yeah.
GEOFF
Head down there and look for a bus.
HOWARD
Got it.
Jennings’ voice is on the phone:
JENNINGS
The second floor light is on. Looks
like they’re leaving the building.
HOWARD
I’m on the stairs and... It’s a
madhouse down there.... Police and
press everywhere... Men with
cameras next to men with guns.
ROONE
Put him on the air.
Geoff turns to Hank.
HANK
There’s no connector.
Geoff considers. Then shrugs and holds the walkie to a
microphone. Gives a sign to the audio booth.
ROONE
(into intercom)
Jim, Peter, we’ve got Howard in the
loop.
McKay begins his introduction:
McKAY
Word is they’re flying out both the
hostages and the terrorists. Let’s
hear Peter Jennings on this.
JENNINGS
Thank you, Jim. My colleagues and I
are scrambling to put the pieces
together. But Howard Cosell is
currently on location.
(beat)
Howard, this is Peter. Do you have
something to report from there?
Geoff’s mic sends Howard’s voice from the walkie out live:
HOWARD
I certainly do, Peter. I’m in the
parking garage... Terrorists and
hostages are arriving. Their hands
tied together. The police are here
in almost platoon-like numbers.
We’re building up to what I think
will be quite the clim-
(beat)
The bus just came in! They’re
bringing the hostages to the bus.
The terrorists have submachine
guns. Pushing the young athletes
onto the bus.
(beat)
And off they go!
McKay bridges the break.
McKAY
According to unconfirmed reports,
Cairo was named as the flight
destination. There are helicopters
waiting to bring the hostages and
the terrorists to a military
airport for the changeover.
TOWER CAM
I have eyes on the bus.
Main monitor: the image of a bus coming out of an underpass,
flanked by police cars. Journalists and spectators are
crowded on the bridge above.
A little further away, a helicopter is waiting. Red light
flashes on the rotors.
HOWARD
(breathes heavily)
Jim, I just ran on the bridge.
I can see them. One Arab is getting
out. Flashes from the cameras are
hitting him from every direction.
He almost looks like a rock star
walking on stage...
(beat)
Now I can see the Israelis.
(beat)
I hear something. People shouting
from the windows and balconies.
They’re...What are they saying?
We also hear the shouts that echo in the night between the
houses of the Olympic Village.
HOWARD (CONT’D)
Shalom. It’s shalom. The Hebrew
word for peace.
His words hang in the air. The room’s crew pauses, touched.
HOWARD (CONT’D)
The propellers begin to turn... A
chopper is lifting off.
(beat)
These Israeli athletes are leaving
the Olympic Village -- not as free
and proud competitors of their
country -- but as victims of a
brutal act of terror.
The crew watches the tower monitor: a shaky image of a
helicopter launching into the Munich night.
JENNINGS
The first helicopter now proceeding
out over the main Olympic stadium.
(MORE)
JENNINGS (CONT’D)
The second helicopter’s following
him. Flying around this
tremendously high Olympic Tower.
Flying to what seems like the last
chapter of a nerve-racking day.
The crew watches the helicopters disappear into the night on
the screen.
Suddenly the thumping sound is heard again. Getting louder.
ROONE
For once I want to see history
through more than just a camera.
(goes towards door)
Stretch the show with sports until
we have news from the airport.
GEOFF
Sports!?
ROONE
(as he heads off)
Jim’ll make the transition smooth.
Ratings
Scene 49 - Night Watch: The Helicopter Crisis
Geoff turns to Jacques.
GEOFF
Sports? Is he fucking serious?
JACQUES
(shakes head)
It’s nuts.
The droning noise of the helicopters gets louder.
JACQUES (CONT’D)
Screw it, I want to see it, too.
He goes towards the door.
Gladys shrugs and follows him. More and more crew leave the
room.
CAM 3
Mase, we’re losing the choppers.
Geoff grabs Carter and waves at Marianne:
GEOFF
Carter! Marianne!
Both turn towards him.
GEOFF (CONT’D)
(to Carter)
Grab a 16mm. Get footage from the
airport.
Carter nods: Got it! and rushes off.
GEOFF (CONT’D)
(hands Marianne car keys)
Mary-Ann, I need you to go with
Carter. You’re the only one who
speaks German. Take my car.
(off her hesitation)
You got this?
Marianne nods, takes the keys.
MARIANNE
Where is it parked?
GEOFF
Back lot. Blue BMW.
(pauses, thinks)
Do you think they’ll fly them out?
MARIANNE
We can’t “fly out” the problem. It
would be even more of an
embarrassment than it already is.
GEOFF
So they might finally use those
sniper rifles?
Marianne thinks. Hesitates. Nods.
Geoff looks at her worried. We expect him to tell her to be
careful. But:
GEOFF (CONT’D)
You’ll need sound.
EXT. STUDIO MAIN ENTRANCE - NIGHT
The ABC studio crew gathers around Roone at the studio’s
front door. For the first time since the early hours of the
morning we catch a glimpse of the outside.
They all look up. See the flashing dots floating in the sky.
The helicopters fly away behind the Olympic Tower.
Marianne exits, pushes her way through the troupe. Followed
by Carter, carrying camera cases, and Hank with a boom.
INT. CONTROL ROOM - NIGHT
Geoff, alone in the room, has his eyes still fixed on the
monitor.
GEOFF
(into headset)
Tower, keep tracking them.
CUT TO:
22:23 PM
Ratings
Scene 50 - Crisis in the Control Room
On the main monitor Jim struggles making the transition from
terror to sports:
MCKAY
ABC Sports News will be keeping you
informed as this day and evening go
on. We will be here whenever
whatever is going to happen...does
happen. But nonetheless, we have a
responsibility as a sports channel.
Especially when the biggest
sporting event in the world has
been taken hostage. So we decided
to show a summary of the
competition that actually did
continue until mid-afternoon before
the Games were suspended.
GEOFF
(into headset)
Roll...
(to Jacques; covering mic
on headset)
Which machine has the damn boxing
match?
JACQUES
(into headset)
Roll tape 4.
In the background we see Gary who has returned. He takes off
his track jacket.
Geoff picks up the walkie.
GEOFF
Peter? We need you here in the
studio. To provide some analysis.
JENNINGS
Already on my way.
GEOFF
(into headset)
Let’s roll 2 back in. We need her
in the studio.
GLADYS (O.C)
Hey Geoff! You want to see this.
She turns up the sound on one of the monitors showing the
international channels.
It’s an American local TV station: We see a man stand on his
porch. Surrounded by journalists, microphones and cameras.
INTERVIEWER
Mr. Berger, you’ve sat in front of
your TV set most of the day, trying
to get information. Have you gotten
any help from the government?
DAVID BERGER’S FATHER looks haunted, lost.
DAVID BERGER’S FATHER
No. All the information we have has
come from the news on television.
(an anguished plea)
I just hope they get the situation
under control and we hear from our
son soon.
Bader was right after all, whatever happens, this man will
hear it from them first.
Geoff, desperate for answers, grabs his walkie:
GEOFF
Mary-Ann, can you hear me?
No answer.
JACQUES
Forget it, they’re out of range.
On the main monitor the highlights of the boxing match keep
playing.
MCKAY
Duane Bobick, the American
heavyweight, had his toughest
scheduled bout in the boxing
competition meeting. Teófilo
Stevenson of Cuba.
Geoff can’t believe the absurdity of them airing this now.
Impatient, he again grabs a walkie:
GEOFF
Marv, what have you got?
BADER
Hold on just a second.
Through the walkie we hear a muffled announcement, but can’t
make out what it is.
Then there are gasps and shocked voices.
BADER (CONT’D)
(voice nearly cracking)
Geoff... supposedly hell has broken
loose at the airport. There’s
shooting.
GEOFF
Oh god.
Everybody stops what they’re doing.
All hope for a bloodless resolution is gone.
Now the other walkie crackles.
CARTER
(distorted)
... am I back in range... guys?
Ratings
Scene 51 - Chaos in the Streets
The mighty studio camera is being rolled back in when Carter
appears behind it and runs into the hallway, carrying a film
can.
Geoff rushes to meet him.
CARTER
(takes off motorcycle
helmet)
It’s crazy out there. Massive
traffic jam, hundreds of people
blocking the road. Police couldn’t
even get through with their tanks.
GEOFF
Tanks!?
INT. EDITING ROOM - NIGHT
FULL SCREEN. We’re in a car. Marianne is driving, Hank sits
shotgun with the boom. Filmed from the backseat.
MARIANNE
Was zur Hölle ist denn hier los?
The camera pans, now looks out of the windshield, reveals a
massive traffic jam ahead.
We hear Carter’s voice from behind the camera:
CARTER (O.S.)
Are those journalists?
MARIANNE
I don’t know. But I think the ride
ends here.
White flash. New footage: We’re outside now. Hundreds of cars
block the road. People with binoculars stand on car roofs.
They all stare at a distant glow across the fields.
CARTER (O.C.)
See those lights? That’s the
airport.
We cut to see Geoff watching the screen. Carter stands next
to him, biker helmet under his arm.
CARTER (CONT’D)
Everyone just left their cars
behind and walked there.
GEOFF
How did you get here?
CARTER
Marianne convinced some guy to lend
us his moped.
(points to the screen)
There they are!
Camera pan to two police tanks that roll towards the
gridlock. No way through. The lead tank swivels its steering
axle. Drives onto a field. The other tanks follow.
GEOFF
That’s great stuff, Carter. We need
more of it.
Carter nods, puts his helmet back on.
CARTER
But this is useless there.
(tosses Geoff the walkie)
Saw some pay phones. We’ll call as
soon as there’s any news.
As he speeds off, Geoff looks at the monitor, where the
camera chases...
MATCH CUT TO:.
Ratings
Scene 52 - Breaking News: Tension at the Airport
Fullscreen main monitor:
...the camera chases silhouettes through the night. Towards
the faint glow in the distance. Tanks roll across the fields,
heading in the same direction.
It looks like scenery from a war movie.
FLASH.
Marianne stands in the midst of a densely packed crowd at the
airfield’s fence. Camera flashes everywhere. Excited voices.
Suddenly the same eerie noises we heard in the morning. Shots
of AK-47s. This time it's not just one shooter.
The camera zooms in on the airport. Catches muzzles flashing
in the dark.
McKAY
That was the footage we’ve gotten
so far. Our reporters on site will
keep us updated on any new
developments.
Then the footage ends.
The studio camera now shows Peter Jennings.
McKAY (CONT’D)
With me now is Peter Jennings, who
reported the whole day for us
directly out of the Village. Peter,
what conclusions do you draw from
these recordings?
Jennings nods thoughtfully.
JENNINGS
Clearly, the German authorities
want to end this here and now, Jim.
But now they have to improvise. And
so far, they haven’t proven
themselves to be very good at that.
Geoff’s phone rings.
GEOFF
Yeah?
(beat)
Yes, we have the footage on the air
right now...What?!
(beat)
Mary-Ann, that’s huge. Hold on.
(stands up)
Everybody! Listen to this!
The crew senses Geoff's excitement.
He puts the phone on the amplifier.
GEOFF (CONT’D)
Go again, Mary-Ann.
MARIANNE
For the last hour we’ve been
hearing gunshots. A few minutes ago
the shooting suddenly stopped. Then
a man from Hans Klein’s office came
up from the airport and said the
hostages are all free.
Geoff and Jacques look at each other, smiles growing.
GEOFF
Is that confirmed?
MARIANNE
I don’t know, Geoff. People are
celebrating. Everyone here is––
Over the phone we hear people knocking against the phone
booth. We hear them shouting.
MARIANNE (CONT’D)
Verdammt nochmal, such Dir doch
Deine eigene scheiß Telefonzelle!
(beat)
I have to go, Geoff. This phone
booth‘s in high demand.
Another phone rings. It’s Roone:
ROONE
Check the Germans. ZDF. Now. Don’t
know what they’re saying, but they
sound damn happy.
GEOFF
(into phone 1)
What?
(into phone on amplifier)
Wait, Mary-Ann.
Geoff turns to see the backrow monitor: ZDF’s news anchor
listens to a correspondent excitedly report live over the
phone.
GEOFF (CONT’D)
Turn it up!
The Backrow Technician turns up the volume on the TV. Geoff
grabs the phone from the amplifier and holds the receiver
towards the TV so Marianne can hear.
ZDF CORRESPONDENT
...es scheint festzustehen, dass
bei einem Schusswechsel alle
Geiseln entkommen sind.
Geoff puts the phone to his ear to hear Marianne:
MARIANNE
He says it too. They’re all free!
GEOFF
(into other phone)
Roone? ZDF says they’re free. Let
me check with Bader.
The excitement in the room grows.
Geoff tucks one of the two phone receivers between ear and
shoulder and grabs the walkie.
GEOFF (CONT’D)
Marvin?
BADER
Yeah. We’re watching it.
GEOFF
So, it’s official?
BADER
Not yet. I can see Klein’s press
staff buzzing on the phone. Seems
that they have serious doubts.
(beat)
Don’t air it yet. Wait for the
confirmation.
GEOFF
(into phone)
It’s not confirmed yet.
ROONE
Then we have Jim use the phrase “as
we’re hearing”.
Feeling it’s settled, Roone hangs up.
GEOFF
(into walkie)
Marvin, we need to go on air now.
I’ll have Jim use “as we’re
hearing” for wording.
BADER
Where is Roone? Let me talk to him.
(no response)
Geoff, do you read me? Don’t air
it. We need two confirmed sources.
GEOFF
It’s on ZDF. They’re airing it.
Roone just called anxious to get it
out.
BADER
Geoff, if we air it, then everybody
else will.
GEOFF
So we let NBC or CBS get the scoop?
BADER
This isn’t a competition. Wait for
confirmation.
GEOFF
(thinks)
Sorry Marv, we need to go on air
now.
Geoff clicks off the walkie-talkie and speaks into the mic:
GEOFF (CONT’D)
Jim...
Over the main monitor we see McKay push on his earpiece.
GEOFF (CONT’D)
We’ve got good news. It seems like
the hostages are free. But use the
phrase “as we are hearing”.
We stay on Geoff's face. Notice his unease as he listens to:
McKAY
As we are hearing now it appears
that the Germans were able to free
all hostages, but we don’t know
just yet what exactly happened
there.
Ratings
Scene 53 - Tension and Triumph in the Control Room
Bader storms in, walks straight towards Geoff.
BADER
Everybody is reporting it now. They
are all following our lead.
GEOFF
Good thing we were first, then.
BADER
Klein can’t even find that man at
the fence who broke this. We’re
talking major worldwide news. Based
on the word of one mysterious man.
And no one has been able to confirm
it.
GEOFF
(starting to be unsure)
But Roone wanted-
BADER
You! You pulled the trigger. Not
Roone.
GEOFF
It’s on ZDF, Marvin! That’s German
state television.
BADER
And this is ABC! I vouched for you,
Geoff!
GEOFF
But we used “as we’re hearing”...
BADER
That’s a fucking technicality!
Geoff looks around the Control Room. Anxious: What if he
really was wrong?
Everyone’s uncomfortable.
The AP wire’s rattle breaks the tension.
Jacques rips off the paper, reads. Beaming, hands the paper
to Geoff. Geoff looks at it, eyes wide:
ALL ISRAELI HOSTAGES HAVE BEEN FREED. BRUNDAGE CONGRATULATES
GERMAN CHANCELLOR.
GEOFF
(to Bader)
It’s official. Look! THEY’RE FREE!
Jacques is the first to clap. Little by little everyone joins
in. Applause rings through the control room.
GEOFF (CONT’D)
Marvin...
BADER
Forget it. I’ve gotta find Roone.
He grabs the Wire and jogs out of the room.
Geoff watches his colleagues cheering and clapping, looks
into the relieved faces of the entire team.
Then falls back in his chair. All the day’s tension releasing
in one fell swoop.
Ratings
Scene 54 - Broadcast Breakthrough Amidst Crisis
Bader charges in, excitedly waving the AP Wire. Roone is on
the phone, smiling, showing the AP Wire in his hands.
ROONE
(covers phone, to Bader)
It’s Starger.
Bader nods knowingly: this could be big.
EXT. CONTROL ROOM - NIGHT
The Assistant Director, phone in hand, announces:
ASSISTANT DIRECTOR
German Press Secretary is on his
way.
Jacques hands a beer to Geoff, smiles.
Geoff turns to the room. More beers are passed around. Geoff
raises his bottle:
GEOFF
Cheers, everyone. Good job!
Everyone raises a beer.
GEOFF (CONT’D)
But we’re not done yet. Conrad
Ahlers is here any second. We need
access to the cops from the
airfield. I’m talking interviews,
behind the scenes information,
anything.
(thinks)
Maybe we can even talk to the
hostages. So get on your phones and
start making calls.
INT. ROONE’S OFFICE - NIGHT
Roone hangs up the phone. Can’t stop smiling.
BADER
What? What’d he say?
Roone savors the moment, enjoys keeping Bader in suspense.
ROONE
He said that we made broadcast
history. Probably more people have
seen this than Armstrong stepping
on the moon.
BADER
So you gonna get a big bonus now?
Roone gets up and grabs a bottle:
ROONE
I’m getting a fucking drink,
Marvin.
Roone finds two glasses. Wants to start pouring:
ROONE (CONT’D)
Mason still on deck?
Bader nods. Roone starts pouring.
ROONE (CONT’D)
Kid’s good.
The two men toast.
BADER
Ahlers is here.
On the TV screen CONRAD AHLERS (49) sits now next to Jim
McKay in the studio.
Roone turns up the volume on the TV. The two men start
watching:
McKAY
With us in our studio is Chancellor
Brandt’s Press Secretary, Conrad
Ahlers. It’s an honor.
Ahlers looks uncomfortable on screen. Nods politely.
ROONE
Actually Starger mentioned that
they could use some help at ABC
News.
Bader is not surprised.
McKAY
Mr. Ahlers, when was it agreed to
allow the guerrillas to go from the
building to the helicopters?
Bader and Roone now focus on the screen.
AHLERS
Well, just two hours ago. Of course
that was part of the game. We never
meant to let them go free out of
this country...
Ahlers struggles awkwardly as he continues to speak:
AHLERS (CONT’D)
..and I’m very glad, as far as we
can see now, this police action was
successful.
Bader turns to Roone, concerned.
BADER
“As far as we can see”?
AHLERS
(struggles even more)
Of course, it’s an unfortunate
interruption of the Olympic Games,
but if all comes out as we hope it
will or has come out, I think it
will be forgotten after a few
weeks.
MCKAY BADER
And if the reports, as we “As we hope it will”...
hear them, are true, the
Games will continue probably
by tomorrow.
AHLERS
Well I’m quite sure and you must
understand that..ahm.. for us
Germans it was a tragic situation
that all that happened to Jewish
people... You know after all our
past of course it was our main idea
to get these Israelis free,
otherwise some of the old memories
might have come back.
MCKAY BADER
And I think the people of the This doesn’t sound right.
world are well aware that
those volunteers who were
trying to free the Israelis
today were German.
AHLERS
Yes I hope that they won’t, that
they won’t forget it.
MCKAY ROONE
Thank you very much, Mr. Hmm...It’s the Chancellor’s
Secretary. Appreciate the Press Secretary.
time you took to talk to us.
BADER
The IOC really wanted the games to
continue.
ROONE
Not even Brundage is that cold-
blooded.
BADER
(shrugs)
Maybe they were just a little bit
too optimistic about the situation.
(beat)
Can I use your phone?
Roone nods.
Ratings
Scene 55 - Crisis in the Control Room
On the line monitor McKay finishes with Ahlers. The
commercial break starts.
GEOFF
Ok. Thanks, everyone.
(speaks to back row)
Where are we at with the airport
police?
COMMUNICATOR
Can’t get through.
CONTENT MANAGER
Same here. Been on hold for twenty
minutes.
GEOFF
What about the hostages?
JACQUES
Don’t you think we should give them
a break?
GEOFF
You might be right there.
(thinks)
What about the bus drivers or
helicopter pilots? Guys, get
creative, we have a story to tell.
The crew gets busy again.
INT. ROONE’S OFFICE - NIGHT
Bader’s on the phone. The tension’s back.
BADER
No, let me talk to Hans. Why-
(beat)
What do you mean?
(MORE)
BADER (CONT’D)
Conrad Ahlers just announced it on
live television. In our studio!
Bader can’t believe what he’s hearing.
BADER (CONT’D)
What’d you just say?!
Bader’s eyes widen. He turns to Roone. Horrified.
INT. HALLWAY - NIGHT
Roone sprints down the hallway. Faster, more desperately,
than anyone we’ve seen today.
He bends the corner -- bumps into a crew member -- throws
open the control room door --
INT. CONTROL ROOM - NIGHT
Bursts in, immediately delivering the news:
ROONE
They’re still shooting at the
airport!
A collective shock hits the room.
ROONE (CONT’D)
Bader just got the info directly
from Klein’s office.
Geoff looks at him. Face deathly white.
Murmurs of horror and disbelief.
ROONE (CONT’D)
Jim has to correct it. Immediately.
This is no longer about “wanting to be first.” We can see how
distraught he is.
Geoff is stunned. Roone runs to his station and grabs the
mic:
ROONE (CONT’D)
Jim, Peter, this is Roone.
Ratings
Scene 56 - Desperate Plea Amidst Chaos
Bader screams into the phone:
BADER
... I know that’s not true! I got a
fucking TV set too!
(MORE)
BADER (CONT’D)
Just tell me what happened!
(beat)
Don’t give me that shit.
Bader realizes he’s getting nowhere with this.
Calms down, breathes deep. Then appeals in clear words:
BADER (CONT’D)
Hans...
His voice shakes.
BADER (CONT’D)
... I’m asking you. As a friend.
Please tell me what happened.
INT. CONTROL ROOM - NIGHT
The crew watches McKay reporting on the unclear situation:
McKAY
The latest word we get from the
airport is that quote “all of Hell
was broken loose out there,” that
there's still shooting going on,
that there’s a report of a burning
helicopter, but all seems to be
confusion. Nothing is nailed down.
We have no idea what has happened
to the hostages.
Then Bader’s at the door. Completely pale.
BADER
Geoff...Roone...hallway. Please.
Geoff and Roone start walking to the door.
They don’t want to spread any nervousness, but this silent
procession feels ominous to everyone in the room.
We follow them into--
Ratings
Scene 57 - Echoes of Loss
--the empty hallway. Roone closes the door behind them.
Bader looks at the ground. Removes his glasses. Can’t even
start to talk.
ROONE
How many?
An endless beat, until Bader finally says it:
BADER
... All of them.
Silence.
Roone stops breathing. Feels the world is spinning.
Geoff jumps in. Can’t just accept this.
GEOFF
What if this is just another rumor?
There was an explosion, gunfire, no
one--
BADER
Klein heard it from three separate
sources.
GEOFF
We-- We can’t rely on other people
anymore, we-
BADER
Geoff, it’s over.
GEOFF
(losing it)
You don’t know that! We have to
investigate-- And what about
Marianne? Why haven’t we heard from
her?
As Geoff rambles on, Bader looks at him helplessly.
GEOFF (CONT’D)
Lets send another team out –– I’ll
go with them!
JACQUES (O.S.)
... Geoff?
GEOFF
(not hearing)
We have a journalistic
responsibility here. This is our
chance, right here, right now.
Roone.
JACQUES
Geoff!
Finally Geoff turns. Jacques stands stoically in the control
room doorway. Never has he seemed so serious.
JACQUES (CONT’D)
Marianne is on the phone.
Those words slam into Geoff. Takes a moment for him to move.
Ratings
Scene 58 - Devastating News in the Control Room
He walks to the phone like a man about to be hung. All eyes
on him. He picks up the receiver.
GEOFF
Marianne?
He listens. Dips his head. Hangs up.
Feeling the crew’s questioning looks, he faces them.
Then, with a slight nod, he gives the horrifying answer.
On the monitors, Jim McKay is discussing with Jennings, but
the room falls into vacuum-like silence.
Geoff struggles not to fall apart. From the corner of his eye
he sees Bader and Roone. Devastation has hit everywhere.
Geoff, fighting back emotions, sits down by the intercom.
Just now notices how much his hand shakes--
Roone sits next to him.
A moment later, Bader joins them.
The three men just sit silently looking at the monitor.
Finally Geoff pushes the button. Hand shaking.
CUT TO:
FULL SCREEN LINE MONITOR
JENNINGS
...small groups of people, with a
maximum of power over a minimum
period of time to control the
destinies of so many other people.
McKay suddenly interrupts him. Cut to:
McKAY
I’ve just gotten the final word.
(beat)
When I was a kid, my father used to
say‚ “Our greatest hopes and our
worst fears are seldom realized.”
He breathes deep, then stares straight at the camera. At us.
McKAY (CONT’D)
Our worst fears have been realized
tonight. They’ve now said there
were eleven hostages;
(MORE)
McKAY (CONT’D)
two were killed in their rooms this
morn-- yesterday morning, nine were
killed at the airport tonight.
They're all gone.
We see the faces of the crew. They still can't believe what
happened. Perplexed, they listen to McKay. Some with tears in
their eyes.
MCKAY (CONT’D)
It’s all over. The Israeli Olympic
team is destroyed. Much of it. But
what will happen to the Games of
the Twentieth Olympiad? None of us
know what effect this will have on
the course of world history.
Ratings
Scene 59 - Shared Shadows
The show is over.
Geoff watches the crew members leave the building, dejected.
He looks through the storage room window to see two worn
faces:
Hank and Carter unloading equipment, drawn from their mission
at the airport.
He walks to the room, stops in the doorway.
INT. STORAGE ROOM - NIGHT
Geoff notices Marianne at the Steenbeck. She’s packing up her
typewriter.
GEOFF
Are you alright?
Marianne looks at Geoff, her gaze reveals how deeply shaken
she is.
MARIANNE
No. Innocent people died. In
Germany. Again. And we failed.
Germany failed.
GEOFF
Marianne, I’m sorry I sent you out
there. I can only imagine the
things you saw.
MARIANNE
I saw nothing. I was there with
hundreds of people.
(MORE)
MARIANNE (CONT’D)
We stared into the night. We were
waiting for something to happen,
because we wanted to take a picture
of it.
Geoff lets this sink in, feeling the weight and scale of all
they’ve reported today.
ASSISTANT (O.S.)
Geoff, Roone would like a word.
Roone’s Assistant appears in the doorframe behind them.
Marianne grabs her bag and walks past Geoff toward the exit.
She stops. Pulls out car keys from her jacket pocket. Puts
them in Geoff’s hand.
They look at each other. A brief moment of recognition that
they have been through this together.
GEOFF
See you tomorrow?
MARIANNE
Yes.
Marianne leaves.
Ratings
Scene 60 - Dawn of Responsibility
Geoff enters. Roone’s on the phone.
ROONE
(into phone)
Hold on one second.
Roone puts his hand on the receiver, hands Geoff a wire.
ROONE (CONT’D)
There will be a commemoration at
the stadium. Tomorrow at 10 am. I
got us the bird. Jim and Jennings
will anchor.
(beat)
And you’ll be in charge.
Geoff has no idea how to deal with that. He is completely
perplexed.
Roone notices. Wants to clear things up.
ROONE (CONT’D)
I know it doesn't feel like it, but
you did a hell of a job today.
GEOFF
But... But it was a catastrophe.
ROONE
Get some rest.
Geoff is stunned. Doesn’t know how to respond.
Someone knocks. It’s Jennings.
JENNINGS
Roone, I wanted to talk to you
about an hour-long special for
tomorrow. I have a few approaches.
Geoff realizes Roone’s already moved on to Jennings.
Geoff leaves.
INT HALLWAY - NIGHT
Geoff walks out of Roone’s office.
He hears Jennings continuing through the open door behind him
as he walks down the hall.
JENNINGS (O.S.)
I’d take a flash unit out to the
airport to see the place in
daylight. The helicopters will
certainly still be there. At least
what is left of them....
INT. CONTROL ROOM - NIGHT
Geoff grabs his jacket. About to go when he pauses. Looks
back.
The room’s completely empty now. Like a ghost town. Pieces of
paper scattered on the floor. Half-empty coffee mugs
everywhere. One screen still flashes, showing ABC NY’s live
late night programming.
On the wall the pictures of the Israeli delegates still hang.
Geoff goes up to them. Tries to take it in. Can’t.
EXT. PARKING LOT - DAWN
The front door opens. Geoff steps outside for the first time
on this long journey. Almost 24 hours later.
The night is clear like yesterday. But the world is
different.
Geoff heads toward the parked cars.
INT. RENTAL CAR - DAWN
Geoff drops into the driver’s seat.
He closes his eyes. Needs to.
CUT TO BLACK
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
geoff | Geoff's character arc follows a trajectory from a confident and somewhat arrogant journalist to a compassionate and responsible leader. At the beginning of the screenplay, he is characterized by his humor and casual demeanor, often deflecting tension with wit. As the crisis unfolds, he is thrust into a leadership role, where he must confront the realities of high-stakes journalism. His initial arrogance is challenged as he faces ethical dilemmas and the emotional weight of reporting on tragic events. Throughout the narrative, Geoff learns to balance his assertiveness with empathy, ultimately becoming a more grounded and reflective individual. By the end of the screenplay, he emerges as a principled leader who prioritizes the truth and the well-being of his team, showcasing resilience and emotional depth. | While Geoff's character arc is compelling, it could benefit from a clearer emotional throughline that connects his initial arrogance to his eventual compassion. The transition from a light-hearted, somewhat self-centered journalist to a responsible leader feels somewhat abrupt in places. Additionally, the emotional stakes could be heightened by exploring more of Geoff's internal conflicts and vulnerabilities earlier in the narrative, allowing the audience to connect with his journey on a deeper level. The screenplay could also delve into his relationships with other characters, particularly how they influence his growth and decision-making. | To improve Geoff's character arc, consider incorporating more scenes that highlight his internal struggles and the consequences of his initial arrogance. This could involve flashbacks or moments of reflection that reveal his motivations and fears. Additionally, developing his relationships with key characters, such as a mentor or a colleague who challenges his views, could provide a richer context for his growth. Introducing a pivotal moment where Geoff must confront the impact of his decisions on others would enhance the emotional stakes and make his transformation more impactful. Finally, ensuring that his journey is mirrored in the reactions and growth of his team members could create a more cohesive narrative that emphasizes the themes of responsibility and integrity in journalism. |
bader | Bader's character arc begins with a calm and collected demeanor, showcasing his professionalism and attention to detail. As the crisis unfolds, he is initially startled but quickly shifts into a mode of alertness, taking charge and coordinating the team's response. His journey through the screenplay sees him grappling with the ethical implications of their coverage, transitioning from a pragmatic producer to a more emotionally invested character who experiences frustration, helplessness, and despair. By the end of the feature, Bader emerges as a more reflective individual, having navigated the complexities of crisis management and the moral responsibilities of journalism, ultimately finding a balance between professionalism and emotional engagement. | While Bader's character arc is compelling, it could benefit from deeper exploration of his internal conflicts and motivations. His transition from a pragmatic producer to an emotionally invested character is evident, but the screenplay could further develop the nuances of his relationships with other characters, particularly in moments of tension. Additionally, the emotional range he exhibits could be more effectively tied to specific events or decisions he makes, allowing the audience to witness the evolution of his character in a more impactful way. | To improve Bader's character arc, consider incorporating flashbacks or moments of introspection that reveal his past experiences and how they shape his current decisions. This could provide context for his cautious nature and ethical concerns. Additionally, enhancing his interactions with key characters, such as Geoff and Marianne, during critical moments could create more emotional stakes and highlight the impact of the crisis on his relationships. Finally, allowing Bader to make a pivotal decision that reflects his growth—balancing professionalism with empathy—could serve as a powerful climax for his character development. |
roone | Throughout the screenplay, Roone evolves from a bold and somewhat detached executive focused solely on the impact of storytelling to a more empathetic and responsible leader who understands the weight of his decisions on both the audience and his team. Initially, he prioritizes drama and controversy, often making decisions without fully considering their emotional ramifications. As the story unfolds, particularly in the face of a tragic event, Roone learns to balance his assertiveness with compassion, recognizing the importance of ethical decision-making and the responsibility of the media in crisis situations. By the end of the feature, he emerges as a more rounded character who values both the power of storytelling and the human element behind the news. | While Roone's character arc demonstrates significant growth, it may benefit from a clearer internal conflict that drives his transformation. The initial portrayal of Roone as detached and solely focused on storytelling could be more pronounced, allowing the audience to witness his struggle between ambition and empathy. Additionally, the transition from a bold leader to a more compassionate figure could be more gradual, with specific moments that challenge his initial beliefs and force him to confront the consequences of his decisions. This would create a more compelling narrative and deepen the audience's connection to his character. | To enhance Roone's character arc, consider introducing a pivotal moment early in the screenplay that highlights his detachment and ambition, such as a controversial decision that leads to negative consequences for a team member or the audience. This moment could serve as a catalyst for his internal conflict. Throughout the feature, include scenes that challenge his views on storytelling, perhaps through interactions with team members who emphasize the human side of the news. Finally, ensure that his transformation culminates in a decisive moment where he must choose between a sensational story and ethical reporting, solidifying his growth into a more empathetic leader. |
marianne | Marianne's character arc begins with her as a hopeful and resourceful translator, eager to assist her team and navigate the complexities of the crisis. As the story progresses, she faces escalating challenges that test her composure and resolve. Her initial calm demeanor is challenged by the urgency of the situation, leading her to take on more responsibility and act decisively. However, as the crisis unfolds, she becomes increasingly emotionally affected, grappling with feelings of helplessness and failure. This culminates in a poignant moment of introspection where she confronts the ethical dilemmas of her role and the impact of her actions on the lives of others. By the end of the feature, Marianne emerges as a more complex character, having transformed from a hopeful translator to a deeply introspective individual who understands the weight of her responsibilities and the importance of empathy in her work. | While Marianne's character arc is compelling, it could benefit from more distinct moments of growth and change throughout the screenplay. Her transition from a calm and resourceful translator to a deeply introspective individual is well-defined, but the emotional stakes could be heightened by incorporating more personal conflicts or relationships that challenge her perspective. Additionally, her vulnerability is introduced later in the story, which may lessen the impact of her emotional journey. The screenplay could explore her backstory earlier on, allowing the audience to connect with her struggles and motivations more deeply. | To improve Marianne's character arc, consider introducing flashbacks or dialogue that reveals her personal history and the experiences that shape her worldview earlier in the screenplay. This would create a stronger emotional foundation for her character and enhance the audience's investment in her journey. Additionally, incorporating a mentor or a close colleague who challenges her views or provides support could create opportunities for meaningful interactions that drive her growth. Finally, ensure that her emotional turmoil is woven throughout the narrative, allowing for a gradual build-up to her poignant realization, making her transformation feel more organic and impactful. |
jacques | Jacques begins as a skeptical and cautious observer, hesitant to engage fully in the team's efforts due to his wariness of the situation. As the crisis escalates, he gradually becomes more involved, using his technical expertise to support the team while maintaining a critical perspective. His character arc culminates in a moment of personal growth where he overcomes his initial hesitations, embracing a more active role in the team's efforts. By the end of the feature, Jacques transforms into a supportive and reliable member who not only contributes technically but also boosts morale, celebrating victories and fostering a sense of unity within the team. | While Jacques' character arc demonstrates a clear progression from skepticism to support, it may lack emotional depth and personal stakes that could enhance audience engagement. His transformation feels somewhat linear and could benefit from more internal conflict or a personal challenge that he must overcome. Additionally, the character's connection to the Arab world is mentioned but not deeply explored, which could provide a richer context for his skepticism and insights. | To improve Jacques' character arc, consider introducing a personal backstory that ties into the crisis, such as a past experience that influences his skepticism or a relationship that is tested during the events. This could create more emotional stakes and allow for a deeper exploration of his character. Additionally, incorporating moments of vulnerability or doubt could add complexity to his transformation, making his eventual support for the team feel more earned and impactful. Finally, ensure that his connection to the Arab world is woven into the narrative, allowing him to challenge stereotypes in a way that resonates with both the team and the audience. |
carter | Carter begins as a supportive and practical team member, showcasing his problem-solving skills and calm demeanor in high-pressure situations. As the story progresses, he faces increasingly challenging obstacles that test his reliability and resourcefulness. Initially focused on assisting others, he gradually evolves into a more proactive leader, taking charge of strategic planning and contributing valuable insights. By the climax, Carter's bravery is put to the test as he risks his safety to capture crucial footage, ultimately solidifying his role as a key player in the team's success. His journey reflects a transformation from a supportive technician to a courageous and resourceful leader, culminating in a newfound confidence in his abilities. | While Carter's character arc is well-defined, it may benefit from deeper emotional exploration. His transition from a supportive role to a leadership position feels somewhat abrupt and could use more development. The screenplay could further emphasize his internal struggles and motivations, particularly regarding his bravery and resourcefulness. Additionally, the playful interactions with his colleagues could be expanded to showcase his personality more vividly, allowing the audience to connect with him on a deeper level. | To improve Carter's character arc, consider incorporating flashbacks or moments of introspection that reveal his past experiences and motivations for becoming a technician and cameraman. This could add depth to his character and explain his initial hesitance to take charge. Additionally, include more scenes that highlight his relationships with teammates, allowing for character development through dialogue and shared experiences. This would create a more gradual transition into his leadership role, making his eventual bravery and resourcefulness feel earned and relatable. Finally, consider adding a pivotal moment where Carter must confront his fears or doubts, reinforcing his growth and solidifying his transformation into a confident leader. |
jennings | Throughout the screenplay, Jennings evolves from a reporter focused solely on delivering the news to a more nuanced character who grapples with the ethical implications of his work. Initially, he is driven by the urgency of the situation, eager to report and provide insights. However, as the crisis escalates, he begins to confront the moral dilemmas of journalism in a conflict zone, questioning the impact of his reporting on the people involved. By the end of the feature, Jennings emerges as a more reflective and responsible journalist, advocating for ethical reporting and understanding the human stories behind the headlines. | While Jennings is a well-rounded character with a strong foundation, his arc could benefit from more personal stakes and emotional depth. The transition from a purely professional focus to a more ethical consideration feels somewhat abrupt and could be better developed. Additionally, the character's internal conflicts and motivations could be explored further to create a more compelling narrative. | To improve Jennings' character arc, consider introducing a personal connection to the crisis, such as a family member or friend affected by the conflict. This would provide a stronger emotional anchor for his transformation. Additionally, incorporating moments of doubt or conflict with other characters regarding journalistic ethics could enhance the complexity of his character. Finally, showing the consequences of his reporting on individuals involved in the crisis could deepen his understanding and commitment to ethical journalism. |
hank | Throughout the screenplay, Hank undergoes a significant transformation. Initially, he is portrayed as a skeptical and blunt technician who often alienates his colleagues with his directness and underestimation of their abilities. As the story progresses, he faces a series of escalating technical challenges that force him to confront his own limitations and biases. Through collaboration with his team, he learns to appreciate their strengths and begins to communicate more effectively, fostering a sense of unity. By the climax, Hank evolves from a solitary figure into a supportive team player, ultimately leading to a successful resolution of the crisis. His journey culminates in a moment of vulnerability where he acknowledges his past insensitivity and embraces a more empathetic approach, solidifying his growth as both a technician and a colleague. | Hank's character arc is compelling, but it could benefit from deeper emotional exploration. While his transformation from skepticism to camaraderie is clear, the screenplay may not fully delve into the reasons behind his bluntness or the impact of his remarks on his relationships. This lack of depth can make his evolution feel somewhat superficial. Additionally, the arc could be strengthened by incorporating more specific moments of conflict or failure that challenge his beliefs and force him to confront his flaws. | To improve Hank's character arc, consider adding backstory elements that explain his blunt nature, such as past experiences that shaped his communication style. Introduce key moments where his insensitivity leads to tangible consequences, prompting him to reflect on his behavior. Incorporating a mentor or a pivotal character who challenges Hank's views could also facilitate his growth. Finally, ensure that his transformation is gradual and believable, with clear milestones that showcase his development, leading to a more satisfying and relatable conclusion. |
mckay | Throughout the screenplay, Jim McKay evolves from a composed and authoritative broadcaster to a more emotionally invested individual as the events unfold. Initially, he is focused solely on delivering information and maintaining professionalism. However, as the situation escalates and the stakes become personal, McKay begins to grapple with the emotional weight of the events he is reporting on. By the climax, he confronts his own vulnerabilities and the impact of the chaos on those involved, leading to a more empathetic and humanized portrayal of a journalist. In the resolution, McKay emerges as a more rounded character, having learned the importance of balancing professionalism with emotional connection. | While Jim McKay's character is well-defined as a professional broadcaster, his emotional journey could be more pronounced. The initial portrayal of him as calm and authoritative risks making him feel one-dimensional, especially in a feature-length screenplay where character development is crucial. The transition from a detached reporter to someone who feels the weight of the events could be more gradual and nuanced, allowing the audience to connect with his internal struggles. | To improve McKay's character arc, consider incorporating moments that reveal his personal stakes in the unfolding events, such as connections to individuals affected by the chaos. Flashbacks or internal monologues could provide insight into his past experiences that shape his current demeanor. Additionally, introducing a subplot that challenges his professional ethics or forces him to confront his biases could add depth to his character. By allowing McKay to experience moments of doubt or vulnerability, the audience can better relate to his journey and witness a more compelling transformation. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High 'Overall Grade' correlates with strong 'Concept', 'Plot', 'Characters', and 'Dialogue' | Scenes with higher overall grades (8 and above) tend to have consistently high scores across concept, plot, characters, and dialogue. This suggests a strong foundation in storytelling elements contributes significantly to a scene's success. Conversely, lower overall grades often show weakness in one or more of these areas. Consider reviewing scenes with lower overall grades to pinpoint areas for potential improvement. For example, while scene 3 scores highly in concept and characters, it is significantly lower in emotional impact and conflict. Strengthening those aspects could boost the scene's impact. |
'Emotional Impact' and 'Conflict' are not always correlated with 'Overall Grade' | While one might expect a strong correlation between high emotional impact and conflict and a high overall grade, the data show some inconsistencies. For example, scenes with high tension and suspense (common in many scenes) achieve high overall scores but can show moderate scores in emotional impact and conflict. This suggests that while high tension might be engaging, the emotional core and resolution of the conflict might need to be more effectively conveyed. Scenes such as 3, 8, and 9, demonstrate this - focusing on tightening the emotional impact and conflict in such scenes will improve them significantly. |
'Move Story Forward' is consistently high regardless of other scores | Most scenes (with the notable exception of scene 59) effectively 'Move Story Forward', suggesting good pacing and scene progression throughout the screenplay. However, this does not always translate into a higher overall score, implying that while the story advances, emotional resonance or other elements may be lacking in some scenes. Review lower scored scenes to see if this is the case and whether the forward movement is substantial or just incremental. |
Late-Act Scenes Dominate in 'High Stakes', 'Conflict', and 'Emotional Impact' | The final act (scenes 50-60) shows a significant surge in scores for 'High Stakes', 'Conflict', and 'Emotional Impact', indicating a well-structured climax. The preceding scenes build tension, but the resolution is stronger in terms of these elements in later acts. Whilst good, this may indicate a slow burn to the climax that could be tightened up to ensure the pacing is consistently engaging for the audience. |
Dialogue scores are surprisingly consistent | The dialogue scores remain relatively consistent across the screenplay. It would be good to consider whether scenes with strong emotional impact (e.g., scenes 57 and 58) could benefit from even stronger dialogue to heighten those moments. Scenes where dialogue scores are lower (e.g., scenes 59 and 60) could benefit from a re-evaluation of their dialogue effectiveness to heighten their impact. |
Tone Shifts Indicate a Well-Defined Narrative Arc | The screenplay uses a variety of tones, starting with a mix of excitement, intensity, and humor in earlier scenes that gradually shift towards suspense, tension, and urgency in the latter half. This gradual shift in tone effectively reflects the narrative arc, building towards the climax and resolution. However, the very abrupt shift to somber and reflective tones in scene 59 could be jarring to the audience. Consider smoothing the transition between intense action and reflective moments for better emotional flow. |
Character changes are relatively infrequent and improve around the climax | Character changes are not a primary driver of scene scores, suggesting the screenplay may focus on external conflict and plot progression rather than significant character arcs within individual scenes. The slight increase in character change scores around the climax suggests a more profound character development occurs during the final resolution. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong grasp of creating tension, urgency, and suspense, particularly in high-pressure environments like newsrooms and live broadcasts. The writer excels at crafting sharp dialogue and fast-paced action sequences, effectively conveying the emotional stakes and moral dilemmas faced by the characters. However, there's room for improvement in deepening character development, exploring nuanced relationships, and refining the overall narrative structure.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Screenplay: The Foundations of Screenwriting' by Syd Field | This book provides foundational knowledge of screenplay structure, scene construction, and character development, addressing several key improvement areas identified in the scene analyses. |
Book | 'Save the Cat!' by Blake Snyder | This book offers practical advice on creating compelling characters and structuring a screenplay for maximum impact, addressing the need for stronger character development and narrative structure. |
Screenplay | 'Broadcast News' screenplay by James L. Brooks | Repeatedly recommended, this screenplay provides a masterclass in balancing technical details, character dynamics, and dramatic tension in a high-pressure newsroom setting, directly relevant to the writer's style. |
Screenplay | 'Spotlight' screenplay by Tom McCarthy and Josh Singer | This screenplay offers insights into investigative journalism and ethical dilemmas, which are prominent themes in several of the analyzed scenes. |
Video | Behind-the-scenes footage of live broadcasts and newsrooms | Observing real-world dynamics in these settings will enhance the writer's ability to create authentic and immersive scenes. |
Exercise | Write a scene with two characters with drastically opposing viewpoints, focusing solely on subtext and unspoken communication. Avoid direct exposition. Practice In SceneProv | This exercise directly addresses the need for deeper character development and more effective use of subtext. |
Exercise | Adapt a scene from a well-regarded screenplay (e.g., from 'Broadcast News' or 'Spotlight') but rewrite it with a focus on exploring the emotional inner lives of the characters. Practice In SceneProv | This allows for direct comparison between established techniques and the writer's current approach, highlighting areas for improvement in character depth. |
Exercise | Write a scene with a ticking clock, forcing the characters to make high-stakes decisions under intense time pressure. Pay close attention to pacing and the gradual escalation of tension.Practice In SceneProv | This exercise directly focuses on pacing, structure, and creating effective suspense in high-stakes situations, a strength and area for potential growth in the writer's style. |
Stories Similar to this one
Story | Explanation |
---|---|
The Killing Fields | This film depicts the harrowing experiences of journalists covering the Cambodian genocide during the Khmer Rouge regime. Similar to the screenplay, it explores the tension between reporting on a major event and the moral implications of that coverage, particularly in the face of violence and tragedy. |
All the President's Men | This film follows journalists Bob Woodward and Carl Bernstein as they uncover the Watergate scandal. The structure of investigative journalism under pressure mirrors the control room dynamics in the screenplay, where the crew must navigate breaking news and ethical dilemmas in real-time. |
Spotlight | Spotlight chronicles the Boston Globe's investigation into child abuse within the Catholic Church. The film shares themes of journalistic integrity, the emotional toll of uncovering dark truths, and the impact of media coverage on society, paralleling the emotional weight felt by the characters in the screenplay. |
The Report | This film focuses on the investigation into the CIA's use of torture post-9/11. It shares a similar tone of urgency and moral complexity, as characters grapple with the implications of their findings and the responsibility of reporting on sensitive issues, akin to the challenges faced by the ABC Sports crew. |
The Day the Clown Cried | Though controversial, this film features a clown in a concentration camp during World War II, highlighting the juxtaposition of entertainment and tragedy. The screenplay's exploration of the Olympics amidst a terrorist attack reflects a similar tension between celebration and horror. |
The Newsroom | This television series centers on a fictional news team navigating the complexities of reporting in a fast-paced environment. The show's focus on ethical journalism and the personal lives of reporters resonates with the dynamics in the control room during the Olympic crisis. |
The Munich Massacre | This documentary recounts the events of the 1972 Munich Olympics, focusing on the terrorist attack on the Israeli team. It provides a direct historical context to the screenplay, exploring the real-life implications of media coverage during a crisis. |
The Siege | This film deals with a terrorist attack in New York City and the ensuing chaos. It shares themes of fear, media coverage, and the moral dilemmas faced by those in power, paralleling the urgent decisions made by the ABC Sports crew during the hostage situation. |
The Bourne Ultimatum | This action thriller involves a journalist uncovering a conspiracy while navigating a dangerous environment. The tension between personal safety and the pursuit of truth mirrors the experiences of the characters in the screenplay as they confront the unfolding crisis. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Heroic Journalist | Geoff Mason takes charge during the crisis, coordinating the broadcast and ensuring the crew is informed and prepared. | This trope involves a journalist who rises to the occasion during a crisis, often putting their own safety at risk to report the truth. An example is the character of Edward R. Murrow in 'Good Night, and Good Luck,' who bravely confronts McCarthyism through his reporting. |
Breaking News | The control room is filled with tension as the crew receives updates about the hostage situation, leading to live broadcasts. | This trope highlights the urgency and chaos of live news reporting, often showing the behind-the-scenes efforts to deliver breaking news. A classic example is the film 'The Newsroom,' which portrays the challenges faced by a news team during a breaking story. |
The Scrappy Underdog | Geoff and his team work with limited resources and face numerous challenges while trying to cover the unfolding crisis. | This trope features characters who are at a disadvantage but strive to succeed against the odds. An example is the film 'The Pursuit of Happyness,' where the protagonist faces numerous obstacles but perseveres. |
Tension and Release | The atmosphere in the control room fluctuates between high tension during the crisis and moments of relief when updates are received. | This trope involves building tension through conflict and then providing moments of relief, often used in thrillers. An example is 'A Quiet Place,' where moments of silence are punctuated by sudden scares. |
The Emotional Climax | Geoff receives devastating news about the fate of the Israeli Olympic team, leading to an emotional outburst. | This trope refers to a pivotal moment in a story where characters confront their deepest emotions, often leading to a cathartic release. An example is in 'Schindler's List,' where the weight of loss culminates in a powerful emotional scene. |
The Power of the Media | The crew grapples with the implications of broadcasting the hostage situation live, questioning their responsibilities. | This trope explores the influence of media on public perception and events, often highlighting ethical dilemmas. An example is 'Network,' which critiques the sensationalism of news media. |
The Call to Action | Geoff rallies his team to prepare for the live broadcast, emphasizing the importance of their role. | This trope involves a character motivating others to take action, often in a time of crisis. An example is in 'Remember the Titans,' where the coach inspires his team to overcome adversity. |
The Unlikely Ally | Marianne, a translator, becomes an essential part of the team, providing critical information during the crisis. | This trope features characters who form unexpected alliances to achieve a common goal. An example is 'The Avengers,' where heroes from different backgrounds unite to fight a common enemy. |
The Countdown | Tension builds as the crew races against time to prepare for the live broadcast amidst the unfolding crisis. | This trope involves a looming deadline that creates urgency and suspense. An example is 'Speed,' where the characters must act quickly to prevent disaster. |
The Aftermath | The story concludes with the characters reflecting on the events and their emotional toll. | This trope deals with the consequences of the main events and how they affect the characters moving forward. An example is 'The Hurt Locker,' which explores the psychological impact of war on soldiers. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
The ethical dilemmas of live broadcasting during a crisis. | The constant tension between the desire to inform the public and the need to avoid exploiting the tragedy, the debate on what to broadcast, and when. | This theme explores the moral complexities faced by the broadcasters as they grapple with decisions about what to show and how to report on a live unfolding tragedy involving hostages. | ||||||||||||
Strengthening The ethical dilemmas of live broadcasting during a crisis.:
| ||||||||||||||
The contrast between the carefree atmosphere of the Olympics and the horrific reality of the terrorist attack. | The juxtaposition of celebratory sports events with the grim events of the Munich massacre creates a stark contrast, underscoring the fragility of peace and the unexpected intrusion of violence. | This stark contrast amplifies the emotional impact of the narrative, showcasing the surreal and jarring experience of those present. | ||||||||||||
The cultural clash between German and American perspectives on the event. | The differences in communication styles, cultural sensitivities, and perceptions of the crisis between German and American characters influence their interactions and responses. | This highlights the varying cultural interpretations of the crisis, affecting communication and decision-making during the event. | ||||||||||||
The personal toll of witnessing trauma and the human cost of conflict. | The characters' emotional responses to the unfolding events – their shock, grief, fear, and exhaustion – underscore the human cost of the massacre. | This offers a more personal and intimate perspective, moving beyond the journalistic aspects to reveal the deeply emotional impact of the tragedy on individuals. | ||||||||||||
The power of live television to shape public perception and influence events. | The screenplay highlights how ABC's broadcast of the event played a crucial role in shaping public understanding and impacting the immediate course of events at the Olympic Village. | This illustrates how live television can function as a powerful tool for both informing and influencing events in real-time. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is characterized by a compelling blend of realism and high stakes drama, particularly within the context of live television broadcasting during a crisis. It's marked by sharp, authentic dialogue that reveals character dynamics and internal conflicts, detailed scene descriptions that immerse the reader in the technical aspects and tense atmosphere of a newsroom, and a focus on the ethical dilemmas faced by journalists in high-pressure situations. The voice is both witty and serious, capable of capturing both the camaraderie and the intense pressure of the environment. |
Voice Contribution | The writer's voice contributes to the script by creating a palpable sense of tension and urgency throughout. The realistic portrayal of the newsroom environment and the technical details enhance the authenticity and realism of the story. The sharp dialogue and focus on character dynamics add depth and complexity to the characters' relationships, making them relatable and compelling. The exploration of ethical dilemmas and the human cost of the crisis elevate the themes beyond a simple procedural drama, adding layers of emotional weight and moral ambiguity. |
Best Representation Scene | 3 - On Air Antics |
Best Scene Explanation | Scene 3 best encapsulates the writer's unique voice because it masterfully blends several key elements: the sharp, witty dialogue that captures the characters' personalities and the high-stakes environment; the detailed scene description that establishes the setting and atmosphere; and the implied tension and pressure that informs the characters' interactions. It perfectly showcases the writer's ability to create a realistic and engaging portrayal of a high-pressure situation without sacrificing the nuances of character or the underlying dramatic tension. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh and nuanced perspective on the world of sports broadcasting during a historical crisis, particularly the 1972 Munich Olympics. It explores the ethical dilemmas faced by journalists and producers in real-time, blending personal and political narratives with authentic character interactions. The originality is further enhanced by the unique settings, such as the control room and the behind-the-scenes dynamics of live broadcasting, which are rarely depicted with such depth in sports-related narratives.
- Most unique situations: The most unique situations in the screenplay are the ethical considerations of broadcasting a hostage crisis live, the juxtaposition of Olympic festivities with the unfolding tragedy, and the personal connections formed among the crew members as they navigate the chaos. Additionally, the blending of historical events with the personal struggles of the characters adds layers of complexity that are not commonly explored in traditional sports dramas.
- Overall unpredictability score: 7.5
- Overall unpredictability explanation: The screenplay maintains a level of unpredictability through its portrayal of real-time events and the characters' responses to rapidly changing situations. The tension between the urgency of live broadcasting and the ethical implications of their coverage creates a suspenseful atmosphere. While some outcomes may be anticipated due to the historical context, the emotional depth and character-driven moments keep the audience engaged and uncertain about how the characters will navigate the unfolding crisis.
Goals and Philosophical Conflict | |
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internal Goals | Throughout the script, the protagonist Geoff Mason's internal goals evolve from seeking recognition and success as a junior producer to grappling with the weight of responsibility and emotional turmoil amid a developing crisis. Initially focused on professional ambitions, his goals shift towards upholding journalistic integrity and dealing with the traumatic consequences of a hostage situation. |
External Goals | As the crises escalate, Geoff's external goals transition from simply covering sports events to ensuring accurate and responsible coverage of the rapidly deteriorating situation involving hostages. He strives to manage broadcasts effectively while responding to high-stakes developments. |
Philosophical Conflict | The overarching philosophical conflict entails the tension between the authenticity of journalistic responsibility and the spectacle of broadcast entertainment. This is manifested in the contrasting priorities of delivering compelling narratives versus the ethical implications of covering traumatic events. |
Character Development Contribution: Geoff's character development is marked by his journey from ambition-driven producer to a responsible journalist who confronts the ethical implications of his work. His internal and external struggles lead to profound growth, as he learns the importance of prioritizing truth over personal recognition.
Narrative Structure Contribution: These goals and conflicts propel the narrative forward, establishing stakes that drive character interactions and decisions, ultimately building tension as the protagonist navigates a crisis that impacts both him and his team.
Thematic Depth Contribution: The exploration of goals and conflict adds thematic depth, engaging with issues of media responsibility, the ethics of journalism in times of crisis, and the human cost of sensational news, leading to a reflective commentary on the role of media in society.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay is primarily set within the confines of the ABC Sports broadcasting facilities during the 1972 Munich Olympics. Locations include a high-tech control room, VTR library, editing rooms, hallways, a hotel room, the Olympic Village itself, and even the streets of Munich. The physical environments range from the sterile, technologically advanced spaces of the television studios to the more chaotic and dangerous external settings of the Olympic Village during the terrorist attack.
- Culture: The screenplay portrays the culture of 1972, specifically the atmosphere surrounding the Munich Olympics. It highlights the international nature of the Games, showing flags of various nations and the diverse nationalities of the athletes and crew. The cultural clash between the celebratory spirit of the Olympics and the horrific reality of the terrorist attack is central. There is also a subtle exploration of German culture through the interactions of German characters and their perspectives on hosting the Olympics and grappling with their nation's past (the Dachau footage).
- Society: The societal structures are multifaceted, showing the competitive world of television news and sports broadcasting. We see a hierarchical structure within ABC Sports, with Roone Arledge at the top, followed by Bader, then Geoff. The film also depicts the societal response to the terrorist attack—the urgency and chaos of law enforcement's response, the international political implications, and the global media's coverage of the crisis.
- Technology: Technology plays a crucial role, showcasing the relatively advanced technology of the early 1970s in broadcasting. This includes videotape machines, television cameras, satellite transmission, teleprinters, walkie-talkies, telephones, and even the simpler technologies like car radios and typewriters. The contrast between this relatively new technology and the brutality of the events underscores the human vulnerability within an advanced technological world.
- Characters influence: The physical environment of cramped, high-pressure control rooms creates a tense atmosphere that affects the characters' actions and decision-making. The fast-paced nature of live broadcasting necessitates rapid responses and collaboration. The cultural context of the Olympics, intertwined with the tragedy of the attack, shapes the characters' emotions, motivations, and professional choices. The hierarchical societal structure influences the characters' interactions and roles, while the technological limitations and challenges necessitate teamwork and problem-solving.
- Narrative contribution: The world-building elements are integral to the narrative. The setting of the Olympics provides the backdrop for the crisis. The physical locations, such as the control room, function as dynamic spaces where the tension builds and where crucial decisions are made. The technological elements drive the narrative forward as the characters race to capture, process, and broadcast the news of the unfolding tragedy.
- Thematic depth contribution: The world-building creates thematic depth by contrasting the celebratory spirit of the Olympics with the stark reality of violence. The tension between the technological advancements and the human cost is explored. The cultural clash and the hierarchical societal structure deepen the exploration of journalistic ethics, international politics, and the human response to tragedy. The juxtaposition of the past (Dachau) with the present (the Olympics) highlights themes of memory, reconciliation, and the ongoing struggle for peace.
central conflict
The central conflict revolves around the tension between the Olympic spirit and the tragic events of the hostage crisis, highlighting the clash between sports and political violence.
primary motivations
- Geoff Mason's desire to report the truth and maintain journalistic integrity.
- Roone Arledge's ambition to ensure ABC Sports remains at the forefront of Olympic coverage.
- The crew's commitment to delivering accurate information amidst chaos.
catalysts
- The gunfire heard in the Olympic Village signaling the start of the crisis.
- The decision by the terrorists to take Israeli athletes hostage.
- The urgency of the situation prompting the crew to adapt their broadcast strategy.
barriers
- Technical difficulties in the control room that hinder communication.
- The police's restrictive actions and the chaotic environment limiting access to information.
- The emotional toll on the crew as they grapple with the gravity of the situation.
themes
- The intersection of sports and politics.
- The impact of media on public perception and crisis management.
- The fragility of peace and the human cost of violence.
stakes
The lives of the Israeli athletes and the integrity of the Olympic Games are at stake, alongside the reputations of the media involved.
uniqueness factor
The story uniquely combines the high-stakes environment of live sports broadcasting with a real-life terrorist crisis, showcasing the challenges faced by journalists in unprecedented situations.
audience hook
The unfolding tension of a live hostage situation during a globally celebrated event keeps viewers engaged, as they witness the real-time decisions made by the media.
paradoxical engine or bisociation
The juxtaposition of the Olympic ideals of unity and peace against the backdrop of violence and terror creates a paradox that drives the narrative.
paradoxical engine or bisociation 2
The conflict between the desire for sensational coverage and the ethical responsibility to protect lives illustrates the complex relationship between media and morality.
Engine: Gemini
Recommend
Executive Summary
September 5 is a compelling and well-structured screenplay that masterfully recreates the tension and drama of the 1972 Munich Olympics hostage crisis. While the pacing is excellent and the character development is strong, particularly for Geoff Mason, the narrative occasionally veers into melodrama and needs some tightening. However, the unique perspective and the focus on the television production aspect make this script stand out. With minor revisions to address pacing and thematic consistency, this screenplay has strong commercial potential.
- The screenplay excels at building tension and suspense, particularly in the control room scenes where the immediacy of live television is palpable. The opening scene effectively establishes the central conflict, and the later scenes maintain a constant sense of urgency and high stakes. high ( Scene 1 Scene 4 Scene 26 )
- The character of Roone Arledge is well-developed, showing a complex blend of ambition, vulnerability, and a deep understanding of the power of storytelling. His decisions drive the narrative, and his interactions with other characters create significant conflict and tension. high ( Scene 5 Scene 6 Scene 19 Scene 20 )
- The screenplay effectively depicts the collaborative spirit and dedication of the ABC Sports team. The characters work together to overcome technical challenges and maintain composure under extreme pressure, showcasing their professionalism and resilience. medium ( Scene 10 Scene 12 Scene 19 Scene 21 Scene 29 )
- The screenplay effectively uses the tools of television production to enhance the narrative. The use of multiple cameras, live feeds, and editing techniques create a sense of realism and urgency. This adds layers of complexity to the story. high ( Scene 21 Scene 22 Scene 24 Scene 29 )
- The ending of the film is emotionally resonant and leaves a lasting impact on the audience. The aftermath of the tragedy is poignantly portrayed, highlighting the emotional toll on the characters and reflecting the lasting impact of the event. high ( Scene 58 Scene 59 )
- The screenplay occasionally lapses into melodrama, particularly in some of the dialogue and emotional reactions of the characters. Some scenes feel overly sentimental, detracting from the overall tension and realism. medium ( Scene 7 Scene 56 )
- The pacing in the latter half of the screenplay feels a bit rushed, particularly during the climax and resolution. Some plot points are resolved too quickly, leaving the audience with a sense of incompleteness. medium ( Scene 50 Scene 54 )
- The thematic consistency could be strengthened. While the screenplay explores themes of journalistic responsibility and the human cost of conflict, these themes aren't consistently emphasized throughout. Some scenes are more focused on the technical aspects of the broadcast than the human drama. medium ( Scene 20 Scene 36 )
- Some supporting characters, while functional to the plot, feel underdeveloped. Giving more depth to these individuals would strengthen the overall narrative. low ( Scene 8 Scene 18 Scene 22 )
- A more detailed exploration of the aftermath and long-term consequences of the Munich massacre would add depth and resonance to the screenplay. The immediate aftermath is addressed, but the longer-term effects could be explored further. medium
- More character backstory, especially for the supporting characters, would enhance their relatability and provide a richer understanding of their motivations. low
- The screenplay creatively uses the ABC Sports logo as a symbol of the network's relentless pursuit of the story, even when facing ethical dilemmas. high ( Scene 29 Scene 55 )
- The use of multiple narrative threads, including the main plot in the control room, the reports from Peter Jennings, Howard Cosell, and Marianne Gebhardt's investigation, adds layers of complexity and suspense to the story. high ( Scene 49 Scene 50 )
- Underestimation of the emotional impact on the audience. While the screenplay captures the emotional intensity of the events, it occasionally underestimates the potential emotional impact on the audience. The swift transitions between tense scenes and lighter moments, particularly towards the end, can disrupt the emotional flow and undermine the gravity of the situation. medium
- Inconsistent character motivations While Roone Arledge's character is well-developed, some supporting characters' motivations feel inconsistent or under-explained. For instance, some crew members' reactions to the unfolding crisis seem abrupt or lack sufficient emotional depth, potentially disrupting the audience's connection to the story. low
Engine: GPT4
Recommend
Executive Summary
The screenplay of 'September 5' effectively captures the tension and urgency surrounding the events of the 1972 Munich Olympics. It excels in character development, particularly through the arcs of Geoff Mason and Roone Arledge, showcasing their growth amidst a chaotic backdrop. The narrative is compelling, with a strong focus on the interplay between sports and politics, though it could benefit from tighter pacing in certain sequences. Overall, it presents a powerful exploration of human emotion and the impact of historical events on individual lives.
- The screenplay effectively establishes a high-stakes environment, immersing the audience in the urgency and pressure of live broadcasting during a crisis. high ( Scene Sequence number 1 (INT. ABC SPORTS’ 1972 OLYMPICS STUDIO, CONTROL ROOM - DAY) Scene Sequence number 4 (INT. CONTROL ROOM - NIGHT) )
- Character development is strong, particularly for Geoff Mason, whose journey from an ambitious junior producer to a key player in a crisis is compelling and relatable. high ( Scene Sequence number 2 (INT. HOTEL SHERATON, MUNICH - NIGHT) Scene Sequence number 6 (INT. HALLWAY - NIGHT) )
- The dialogue is sharp and realistic, effectively conveying the tension and urgency of the situation while also revealing character motivations. medium ( Scene Sequence number 11 (INT. CONTROL ROOM - NIGHT) Scene Sequence number 25 (INT. CONTROL ROOM - DAY) )
- The screenplay successfully captures the emotional weight of the events, particularly in scenes depicting the aftermath of the crisis and its impact on the characters. high ( Scene Sequence number 39 (INT. TRANSMISSION ROOM - DAY) Scene Sequence number 56 (INT. ROONE’S OFFICE - NIGHT) )
- The pacing is generally effective, with a good balance between action and character moments, keeping the audience engaged throughout. medium ( Scene Sequence number 10 (INT. VTR ROOM - NIGHT) Scene Sequence number 60 (INT. ROONE’S OFFICE - NIGHT) )
- Some scenes feel slightly rushed, particularly in the early sections where character introductions could be more fleshed out to enhance emotional investment. medium ( Scene Sequence number 3 (INT. ABC TV STUDIO, CORRIDOR, HALLWAY - NIGHT) Scene Sequence number 5 (INT. CONTROL ROOM - NIGHT) )
- There are moments where the technical jargon and operations could be simplified for broader audience understanding without losing authenticity. medium ( Scene Sequence number 12 (INT. CONTROL ROOM - NIGHT) Scene Sequence number 14 (INT. CONTROL ROOM - DAY) )
- The screenplay could benefit from deeper exploration of secondary characters to provide a more rounded perspective on the events. medium ( Scene Sequence number 19 (INT. HALLWAY - DAY) Scene Sequence number 28 (INT. CONTROL ROOM - DAY) )
- Some plot threads, particularly regarding the motivations of the terrorists, could be more clearly defined to enhance narrative clarity. medium ( Scene Sequence number 22 (INT. VTR LIBRARY - DAY) Scene Sequence number 47 (INT. HALLWAY - DAY) )
- The resolution of character arcs, particularly for supporting characters, feels somewhat abrupt and could be more satisfying. medium ( Scene Sequence number 30 (INT. CONTROL ROOM - DAY) Scene Sequence number 59 (INT. HALLWAY - NIGHT) )
- There is a lack of exploration into the personal lives of the characters, which could add depth and relatability to their motivations. high ( Scene Sequence number 7 (INT. VTR LIBRARY - NIGHT) Scene Sequence number 15 (INT. CONTROL ROOM - DAY) )
- The screenplay could benefit from more visual storytelling elements to enhance the emotional impact of key scenes. medium ( Scene Sequence number 8 (INT. VTR ROOM - NIGHT) Scene Sequence number 18 (INT. STUDIO STAGE - NIGHT) )
- There is a missed opportunity to delve into the historical context of the events, which could enrich the narrative. medium ( Scene Sequence number 24 (INT. CONTROL ROOM - DAY) Scene Sequence number 34 (INT. CONTROL ROOM - DAY) )
- The screenplay lacks a clear thematic resolution, leaving some questions about the implications of the events unanswered. medium ( Scene Sequence number 40 (INT. HALLWAY - DAY) Scene Sequence number 52 (INT. CONTROL ROOM - NIGHT) )
- The emotional aftermath of the events could be explored more deeply, particularly in relation to the characters' futures. medium ( Scene Sequence number 50 (INT. CONTROL ROOM - NIGHT) Scene Sequence number 58 (INT. CONTROL ROOM - NIGHT) )
- The opening sequence is particularly strong, setting the tone and urgency for the entire screenplay while introducing key characters effectively. high ( Scene Sequence number 1 (INT. ABC SPORTS’ 1972 OLYMPICS STUDIO, CONTROL ROOM - DAY) Scene Sequence number 4 (INT. CONTROL ROOM - NIGHT) )
- The use of real historical footage and references adds authenticity and weight to the narrative, enhancing its impact. high ( Scene Sequence number 10 (INT. VTR ROOM - NIGHT) Scene Sequence number 30 (INT. CONTROL ROOM - DAY) )
- The screenplay effectively balances the technical aspects of broadcasting with the emotional stakes of the characters, creating a rich narrative tapestry. medium ( Scene Sequence number 12 (INT. CONTROL ROOM - NIGHT) Scene Sequence number 22 (INT. VTR LIBRARY - DAY) )
- The emotional weight of the events is palpable, particularly in scenes depicting the aftermath and the characters' responses to tragedy. high ( Scene Sequence number 39 (INT. TRANSMISSION ROOM - DAY) Scene Sequence number 56 (INT. ROONE’S OFFICE - NIGHT) )
- The screenplay's ability to maintain tension and suspense throughout, particularly in the lead-up to the climax, is commendable. high ( Scene Sequence number 44 (INT. CONTROL ROOM - DAY) Scene Sequence number 59 (INT. HALLWAY - NIGHT) )
- Character Depth The screenplay occasionally neglects to provide deeper insights into the motivations and backgrounds of secondary characters, which could enhance the overall narrative. For instance, while Geoff Mason's character is well-developed, others like Jacques and Bader could benefit from more backstory to enrich their roles. medium
- Pacing Issues Certain sequences feel rushed, particularly in the early parts of the screenplay where character introductions could be more gradual. This can lead to a lack of emotional investment from the audience in those characters. For example, the transition from the excitement of the Olympics to the unfolding crisis could be smoother to maintain engagement. medium
Engine: Claude
Recommend
Executive Summary
The screenplay "September 5" is a captivating and emotionally charged drama that takes the audience on a gripping journey through the tragic events that unfolded during the 1972 Munich Olympics. With its strong character development, compelling narrative, and masterful incorporation of real-world events, the screenplay showcases the writer's ability to craft a powerful and thought-provoking story. While there are a few areas for improvement, the overall strengths of the screenplay, including its consistent themes, well-paced structure, and unique stylistic choices, make it a strong contender for adaptation and production.
- The screenplay opens with a strong sense of character and setting, introducing Geoff Mason and establishing the high-stakes, fast-paced environment of the ABC Sports crew. This lays the groundwork for the narrative and character development that follows. high ( Scene 2 (INT. HOTEL SHERATON, MUNICH - NIGHT) Scene 3 (INT. ABC TV STUDIO, CORRIDOR, HALLWAY - NIGHT) )
- The screenplay's handling of the unfolding crisis, with the crew's attempts to report on the situation in real-time, is particularly well-executed. The tension and emotional weight of the events are palpable, and the characters' reactions feel genuine and grounded. high ( Scene 25 (INT. CONTROL ROOM - DAY) Scene 27 (INT. CONTROL ROOM - DAY) )
- The screenplay's use of visual storytelling, with the integration of news footage, camera angles, and technical elements, effectively immerses the audience in the high-stakes, chaotic environment of the ABC Sports crew's coverage. high ( Scene 38 (INT. EDITING ROOM - DAY (FORMERLY 55)) Scene 52 (INT. CONTROL ROOM - NIGHT) )
- The character development of Geoff Mason, particularly his evolution from an ambitious and eager young producer to a more thoughtful and reflective individual by the end of the screenplay, is a strength that grounds the narrative and adds emotional depth. high ( Scene 29 (INT. CONTROL ROOM - DAY) Scene 58 (INT. CONTROL ROOM - NIGHT) )
- The screenplay's attention to detail and the inclusion of the behind-the-scenes technical aspects of live television production enhance the authenticity of the story and provide a unique perspective on the unfolding events. medium ( Scene 8 (INT. VTR ROOM - NIGHT) Scene 31 (INT. EDITING ROOM - DAY) )
- While the screenplay effectively portrays the chaos and uncertainty of the situation, there are moments where the decision-making process of the ABC Sports crew could be more clearly defined and explored. Providing additional insight into their thought processes and the rationale behind their choices could further strengthen the narrative. medium ( Scene 25 (INT. CONTROL ROOM - DAY) Scene 52 (INT. CONTROL ROOM - NIGHT) )
- The screenplay could benefit from additional development and exploration of the German authorities' perspective and their attempts to respond to the crisis. Providing more insight into their decision-making and the challenges they faced could add complexity to the narrative and create a more balanced portrayal of the events. medium ( Scene 40 (INT. CONTROL ROOM - NIGHT) Scene 41 (INT. TRANSMISSION ROOM - NIGHT) )
- The emotional impact of the tragedy and the aftermath could be further explored, particularly in terms of the long-term consequences for the characters and the broader impact on the Olympic Games and the world. Expanding on these elements could enhance the screenplay's thematic depth and resonance. medium ( Scene 55 (INT. ROONE'S OFFICE - NIGHT) Scene 58 (INT. CONTROL ROOM - NIGHT) )
- While the screenplay effectively portrays the experiences of the ABC Sports crew, it could benefit from a more balanced exploration of the perspectives and experiences of the Israeli athletes and their families. Providing additional insight into their stories and the human impact of the tragedy could further strengthen the narrative. medium ( Scene 29 (INT. CONTROL ROOM - DAY) Scene 52 (INT. CONTROL ROOM - NIGHT) )
- The screenplay could potentially benefit from a more explicit exploration of the broader historical and political context surrounding the 1972 Munich Olympics, particularly in terms of the tensions between Israel and the Arab world. Providing additional context and background information could enhance the thematic depth and relevance of the story. medium ( Scene 1 (INT. ABC SPORTS' 1972 OLYMPICS STUDIO, CONTROL ROOM - DAY) Scene 60 (INT. ROONE'S OFFICE - NIGHT) )
- The screenplay's portrayal of the ethical and moral dilemmas faced by the ABC Sports crew, particularly in their decision-making around the coverage of the crisis, is a notable strength. The characters' struggles to balance their journalistic responsibilities with the human impact of the tragedy adds complexity and depth to the narrative. high ( Scene 29 (INT. CONTROL ROOM - DAY) Scene 52 (INT. CONTROL ROOM - NIGHT) )
- The screenplay's use of technical elements, such as the integration of live television production, camera angles, and editing techniques, is a notable strength that enhances the authenticity and immersive quality of the story. high ( Scene 1 (INT. ABC SPORTS' 1972 OLYMPICS STUDIO, CONTROL ROOM - DAY) Scene 38 (INT. EDITING ROOM - DAY (FORMERLY 55)) )
- The screenplay's exploration of the emotional impact and aftermath of the tragedy, particularly through the lens of the characters' personal journeys, is a notable strength that adds depth and resonance to the narrative. high ( Scene 51 (INT. EDITING ROOM - NIGHT) Scene 59 (INT. HALLWAY - NIGHT) )
- Lack of Diverse Perspectives While the screenplay effectively portrays the experiences of the ABC Sports crew, it could benefit from a more balanced exploration of the perspectives and stories of the Israeli athletes and their families. Providing additional insight into their experiences and the human impact of the tragedy could enhance the screenplay's depth and resonance. medium
- Underdeveloped Side Characters In some instances, the secondary characters, such as the German officials and the police officers, could be further developed to provide a more well-rounded portrayal of the various perspectives and challenges involved in the crisis. Strengthening these supporting characters could add complexity and nuance to the narrative. low
Memorable lines in the script:
Scene Number | Line |
---|---|
48 | HOWARD: These Israeli athletes are leaving the Olympic Village -- not as free and proud competitors of their country -- but as victims of a brutal act of terror. |
58 | McKay: Our worst fears have been realized tonight. They’ve now said there were eleven hostages; two were killed in their rooms this morn-- yesterday morning, nine were killed at the airport tonight. They're all gone. |
3 | BADER: If you screw this up, I’m the one in trouble with Roone. |
5 | ROONE: Ask him how it feels to win Gold in Hitler’s backyard... Walk with me... |
6 | Roone: Not politics, Bader. Drama. Emotions. |