The Truman show

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The Truman Show

The Truman Show

by

Andrew Niccol

Shooting Script


A FOGGED MIRROR

    Behind the fog we hear the sounds of a bathroom.  After a

    long moment, a hand wipes the condensation from the glass to

    reveal the face of TRUMAN BURBANK.  He wears a sleeveless

    Hanes undershirt and blue-stripes pajama bottoms, behind him

    a white glazed tiled bathroom wall.  It is immediately

    apparent that we are viewing him through a two-way mirror.

    Truman, expressionless, studies his reflection in the mirror. 

    For a long moment, he does nothing.  He continues to look

    impassively into the mirror for what becomes an uncomfortably

    long time.  Still nothing.  Finally he speaks, talking to

    himself in the mirror as if participating in a TV interview.

                 TRUMAN

        ... personally I think the

        unconquered south face is the only

        one worth scaling... of course it's

        a 20,000 foot sheer wall of ice but

        then when did that ever stop me

        before?  Naturally, I intend to make

        the ascent without the benefit of

        oxygen but also without crampons or

        even an ice pick... risks?

             (smug, TV smiles)

        ... sure I'm aware of the risks --

        why else do you think I would spend

        seven years as an adjuster in a life

        insurance company?

                 MERYL (O.S.)

        Truman, you're gonna be late!

    Truman resignedly opens the door of the

    cabinet and replaces his shaving tackle.  It

    partially obscures the lens of the hidden

    camera.  He closes the door and exits.

    INT.  KITCHEN - MORNING

    MERYL, wearing a stylish robe, sits at the kitchen table

    sipping coffee.  On the table in front of her lies a parcel. 

    TRUMAN enters and glances at the gift.

                 TRUMAN

        What's that?

                 MERYL

        It's a surprise.

    TRUMAN unwraps the parcel -- an expensive-looking set of

    exercise sweats.

                 MERYL

             (eager for his response)

        Well, what do you think?

                 TRUMAN

        They're...

             (the merest hesitation)

        perfect.  Thank you.

    Truman returns Meryl's kiss.

                 MERYL

             (handing him the sweat top)

        Try it on.

    Truman pulls the top over his head.  As he does so, a closer

    shot focuses on the manufacturer's name.

                 MERYL

        I thought you could wear them when

        you do your exercises.

             (afterthought)

        Pre-shrunk.  And they breathe.

    EXT.  TRUMAN'S HOUSE - DAY

    Wearing a business suit, briefcase in hand, TRUMAN emerges

    from his pleasant, Victorian-inspired, picket-fenced house

    into an idyllic suburban street of similarly picturesque

    homes.  A neighbor, SPENCER, is taking in trashcans,

    whistling a tune.  Spencer breaks off abruptly as Truman

    approaches his car.  His license plate reads, "Seahaven --

    A Nice Place To Live."

                 SPENCER

        Morning, Truman.

                 TRUMAN

        Morning, Spencer.  And in case I

        don't see you, good afternoon, good

        evening and good night.

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

                 TRUMAN

             (petting the dog)

        Hey, Pluto.

    Truman exchanges a polite nod with the WASHINGTON's, an

    African-American family across the street.  MR. WASHINGTON is

    farewelled by his WIFE and CHILD.

    Truman is about to climb into his car when he is distracted

    by a high-pitched whistling sound.  Suddenly, a large

    spherical glass object falls from the sky and lands with a

    deafening crash on the street, several yards from his car.

    The startled Truman looks to Spencer but he has abruptly

    disappeared inside his house with Pluto.  Mrs. Washington and

    Washington Junior has also made themselves scarce.

    Truman investigates.  Amidst a sea of shattered glass are the

    remains of a light mechanism.

    He looks around him but the street is deserted.  He checks

    that all the surrounding street lights are accounted for,

    even though the fallen fixture is far larger.  He looks up

    into the sky but there is no plane in sight.  With some

    effort, Truman picks up what's left of the crumpled light

    and loads it into the trunk.  A label on the light fixture reads,

    "SIRIUS (9 Canis Major)."  As he drives away, we hear the

    sound of his car radio.

                 RADIO ANNOUNCER

        Another glorious morning in Seahaven,

        folks.

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

    TRUMAN makes his way along the streets of Seahaven past a

    series of quaint, pastel-shaded cottages.

    EXT.  SEAHAVEN ISLAND TOWNSHIP - DAY

    A high-angle reveals an anonymous mid-sized town built around

    a small, pretty bay.  A cluster of high-rise buildings stand

    at the water's edge overlooking a marina.  Surrounding the

    commercial center lie neatly arranged suburbs.

    EXT.  OCEANSIDE STREET - DAY

    Pausing at a traffic light along a seaside road, TRUMAN looks

    through a curious wooden arch to the beach and ocean beyond. 

    The sight triggers a memory in his head.

    PLAYBACK - EXT.  LONG, WIDE BEACH - DAY

    Unlike a conventional flashback, the scene in his memory

    appears to be playing on a television screen.

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

    The boy's father, KIRK, late-thirties, beer bottle in hand,

    flirts with TWO TEENAGE GIRLS at the shoreline.  Suddenly,

    the father remembers his son.  He looks anxiously around. 

    The sight of the boy at the far end of the beach causes him

    to drop his bottle in the sand and run to Truman.

    The boy is near the top of the cliff before his agitated

    father comes within earshot.

                FATHER

             (out of breath,

              clutching his side)

        Truman!  Truman!  Stop!

    Truman turns from his perch and waves happily down to his

    father.  But the smile quickly vanishes when he registers the

    anger and distress on his father's face.

                 FATHER

        Come down now!

    His father's unnatural anxiety makes the next bay even more

    tantalizing.  The boy considers defying his father.  He puts

    his hand on the rock above him to stretch up and sneak a peek

    at the other side.  One good stretch would do it.

                 FATHER

             (reading Truman's

              mind, enraged)

        No!

                 TRUMAN

        Why?  What's there?

                 FATHER

             (unconvincing)

        Nothing.  It's... it's dangerous.

             (trace of desperation)

        Come down, now!  Please!

    Truman is suddenly aware that the hundreds of other

    BEACHGOERS have stopped their activities to stare at him. 

    Reluctantly, he starts to retrace his steps down the rocks. 

    When he finally jumps to the sand, his father embraces him

    and leads him away.

                 FATHER

        I told you to stay close.  Don't ever

        leave my sight again.

             (pause)

        You've got to know your limitations. 

        You could've fallen.

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

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

    streetside VENDOR.

                 VENDOR

        How are ya, Truman?

                 TRUMAN

             (placing his fingers

              to his pulse)

        Vital signs are good.

    He pulls into a parking space and sips on the coffee.  And he

    drinks, he becomes aware of a school bell summoning children

    to class in the adjacent Elementary School.  The image

    prompts another childhood memory.

    PLAYBACK - INT.  SEAHAVEN ELEMENTARY SCHOOL - CLASSROOM - DAY

    Once again, the flashback appears to be playing on a

    television screen.

    SEVEN-YEAR-OLD TRUMAN sits in the middle rrow of an Elementary

    School classroom surrounded by twenty-or-so othegr well-

    scrubbed, uniformed YOUNGSTERS.  MARLON, the boy next to Truman,

    is on his feet under the scrutiny of a kindly Norman Rockwell-

    style SCHOOL MISTRESS.

                 MISTRESS

        What do you want to do when you

        grow up, Marlon?

                 MARLON

        I want to be an entrepreneur like

        my dad.

                 SCHOOL MISTRESS

             (impressed)

        Tell the class what an "entrepreneur"

        does, Marlon.

                 MARLON

        He makes a lot of money, Ma'am.

                 SCHOOL MISTRESS

        A good one does, Marlon.

             (looking in her purse,

              hamming it up)

        Perhaps I'll be coming to you for

        a loan one of these days.

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

                 SCHOOL MISTRESS

        What about you, Truman?

    Truman rises to his feet, gathering his nerve.

                 TRUMAN

        I want to be an explorer...

             (with reverence)

        ... like Magellan.

    The School Mistress smiles benevolently.

                 SCHOOL MISTRESS

             (slightly condescending)

        I'm afraid no one's going to pay you

        to do that, Truman.  You might have

        to find something a little more

        practical.

             (glancing to a pulldown

              wall map behind her

              head)

        Besides, you're too late.  There's

        really nothing left to explore.

    The class roars with laughter as the crestfallen Truman takes

    his seat.

    EXT.  PARKING LOT - DAY - PRESENT

    TRUMAN, briefcase in hand, crosses from the parking lot to the

    town square, surrounded by similarly suited, briefcase-toting

    OFFICE WORKERS.

    EXT.  DOWNTOWN SEAHAVEN - DAY

    TRUMAN walks briskly down the bustling city street.  A snarl of

    taxis, buses and COMMUTER traffic.  A STREET VENDOR thrusts a

    pretzel under Truman's nose, a CAREER WOMAN tries to catch his

    eye.

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

    TIMES."

                 VENDOR

        Is that all for you, Truman?

                 TRUMAN

        That's all.  Thanks, Errol.

    Other CUSTOMERS also purchase the morning paper.  Tucking his

    copy under his arm, Truman selects a glossy magazine from a

    rack, quickly flicking through the pages.

    Glancing in the direction of the NEWSPAPER VENDOR and finding

    him busy with another CUSTOMER, Truman deftly tears a portion

    of the open page and pockets the cutting.  He hastily replaces

    the magazine and departs.

    As Truman hurries away, the vendor exits the kiosk and picks

    up the magazine, instantly turning to the torn page.  It is a

    cosmetics advertisement with the MODEL'S NOSE missing. 

    However, the vendor makes no effort to confront Truman,

    almost as if he were expecting it.

    EXT.  SEAHAVEN LIFE AND ACCIDENT.  INC - DAY

    Truman passes along a row of shops and offices, finally

    entering a building that proudly proclaims, "Seahaven Life &

    Accident Inc." above the entrance.  He has evidently taken

    his teacher's advice.

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

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

                 TRUMAN

             (into receiver)

        ...okay, okay, let's call it what it

        is...I'm not going to lie to you...

        life insurance is death insurance...

        you've just got to ask yourself two

        questions...one, in the event of

        your death, will anyone experience

        financial loss?... and two, do you

        care?

    A CLERK drops a large reference book on Truman's desk. 

    Truman checks the spine -- "MARITIME ACCIDENTS."

                 TRUMAN

             (into receiver)

        Hold on, will you?

             (to clerk, referring to

              the book)

        This is no good.  Lumps all maritime

        accidents together.  I need drownings

        as a separate category.

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

    his rounds.

                 TRUMAN

             (returning to his call)

        ... just think about what I've been

        saying and let me... hello?

    The person on the other end has hung up.  With an apathetic

    shrug, Truman replaces the receiver.  He looks over his

    shoulder and places another call.

                 TRUMAN

             (lowering his voice)

        Can you connect me with directory

        inquiries in Fiji?

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

                 CO-WORKER

        What do you know, Truman?

                 TRUMAN

             (embarrassed, mouthing

              the word)

        Can't talk.

             (waving off his neighbor,

              pretending to be on a

              business call)

        I'm sorry, ma'am.  If he's in a coma,

        he's probably uninsurable.

    The Co-Worker disappears back into his own cubicle.

                 TRUMAN

             (lowering his voice again)

        Hello, operator... yes, Fiji... Do

        you have a listing for a Lauren

        Garland?

             (pause)

        ... nothing listed? ... what about a

        Sylvia Garland, "S" for Sylvia...

        nothing?  Okay, thanks...

    The disconsolate Truman replaces the receiver.  Other

    INSURANCE AGENTS are heading to lunch.  Truman puts on his

    jacket and follows them to the elevators.

    INT.  LOCAL ITALIAN DELI.  - LUNCHTIME

    Behind a deli counter, TYRONE, fifties, is having his hair

    brushed by a YOUNG MAN.  The man fusses one final time, then

    swiftly departs through a rear door just as TRUMAN enters the

    store.  Tyrone has anticipated Truman's order and has already

    begun preparing a meatball and mozzarella sandwich on an

    Italian roll.  Truman gazes at the sandwich skillfully under

    construction, pained by his own predictability.

                 TYRONE

             (nauseatingly cheerful)

        How's it going, Truman?

                 TRUMAN

             (deadpan)

        Not bad.  I just won the State

        Lottery.

                 TYRON

             (not listening to Truman's

              reply)

        Good.  Good.

                 TRUMAN

        Tyron, what if I said I didn't want

        meatball today?

                 TYRON

             (not missing a beat,

              passing Truman his

              wrapped sandwich)

        I'd ask for identification.

    Truman forces a half-smile and exits.

                 TYRONE

        See you tomorrow, Truman.

                 TRUMAN

        You can count on it.

    EXT.  SECLUDED PARK - DAY

    TRUMAN eats lunch alone at a small, out-of-the-way park

    dominated by a gazebo.  From his briefcase he pulls out an

    old, hardcovered book, "To The Ends Of The Earth -- The Age

    Of Exploration." He reads to himself, his sandwich uneaten

    besides him.  Struck by a particular passage, he reads aloud.

                 TRUMAN

        "With a mutiny but half-repressed and

        starvation imminent, he pressed

        southward till he found the long-

        hoped-for straits..."

    Truman is interrupted by a TRANSIENT in a wheelchair.  It is

    the man's sneakers Truman notices first, over the top of his

    book -- they are distinctively initialed, "T.  S." Still

    under the spell of the account of Magellan, he hands the

    grateful man his sandwich.

    INT.  A CONFERENCE ROOM SOMEWHERE - DAY

    A group of a dozen MEN and WOMEN of varying ages sit around a

    circular conference table in a sterile, windowless meeting

    room.  All stare at a single telephone placed in the center

    of the table, anticipating a call.  On cue, the phone rings

    and one of the men, after waiting for the second ring, picks

    up.

                 MAN

        Hello?... I'm sorry, I've got more

        than enough life insurance.

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

    INT.  INSURANCE COMPANY - DAY

    TRUMAN sits at his desk, making a cold call.

                 TRUMAN

             (into receiver)

        ... this isn't about insurance, this

        is about the great variable -- when

        will death occur?  Could be a week, a

        month, a year.  Could happen today...

        A sunbather, minding his own business,

        gets stabbed in the heart by the tip

        of a runaway beach umbrella... No way

        you can guard against that kind of

        thing, no way at all...

    The prospect on the other end, unimpressed with Truman's

    pitch, hangs up.  Truman's supervisor, LAWRENCE, younger than

    Truman by several years, sharper suit, sharper haircut,

    appears around the corner of the cubicle.

                 LAWRENCE

             (handing Truman some

              documentation)

        Hey, Burbank, I've got a prospect in

        Welles Park I need you to close.

    Truman's face falls.  He stares out of his third floor window

    at the hazy skyline of a nearby island across the bay.

                 TRUMAN

             (referring to the island)

        Welles Park on Harbor Island?

                 LAWRENCE

             (sarcastic)

        You know another one?

                 TRUMAN

        I can't do it.

             (searching for a plausible

              excuse)

        -- I've got an appointment, er,

        dentist.

                 LAWRENCE

             (insistent)

        You'll lose a lot more than your

        teeth if you don't meet your quota,

        Burbank.

             (the threat in his voice

              is unmistakable)

        They're making cutbacks at the end of

        the month.  You need this.

             (as he exits the cubicle)

        Besides, a half hour across the bay. 

        Sea air.  Do you good.

    Truman sinks back into his seat and stares out at the distant

    skyline.  The buildings appear very still.  Truman picks up a

    photo of his wife, Meryl, deposits it in his briefcase and

    exits.

    EXT.  SEAHAVEN - DAY

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

    INT.  SEAHAVEN FERRY TERMINAL - DAY

    TRUMAN exits his car.  Mustering all his nerve, he marches

    into the Seahaven terminal and buys a token for the ferry.

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

    agitated behavior.

                 FERRY WORKER 1

        I got a feeling this is the day.

                 FERRY WORKER 2

        No way.  I say he makes it through

        the turnstiles but he never gets on.

    The two men shake on the wager.  Unaware of the scrutiny,

    Truman passes through the turnstiles with a herd of TOURISTS

    and COMMUTERS.  He makes his way across the terminal, but

    abruptly pulls up at the gangway.

    As the other PASSENGERS impatiently brush past him onto the

    boat, Truman remains frozen to the spot, mesmerized by the

    scummy water rising and falling beneath the dock.  It

    triggers a memory in his head.

    PLAYBACK - EXT.  SEAHAVEN HARBOR - DAY

    As always, the flashback appears to play on a television

    screen.

    SEVEN-YEAR-OLD TRUMAN, wearing a lifejacket, sits alongside

    his father, KIRK, in a small sailing dinghy, sailing into a

    stiff breeze.

    A second sail boat circles them.  We observe the father and

    son from an angle atop the mast of the neighboring vessel.

                 TRUMAN

             (shouting above the wind)

        Let's go further, daddy!  Let's go

        further!

                 KIRK

             (shouting back)

        It's getting rough, Truman.

                 TRUMAN

             (entreating his father)

        Please!

    Kirk shakes his head ruefully and indulges his son by heading

    towards the gathering storm clouds on the horizon.

    INT.  SEAHAVEN FERRY TERMINAL - DAY - PRESENT

    Truman turns and begins to fight his way back against the

    tide of PASSENGERS boarding the ferry, emerging back onto the

    street, gasping for air.  The FERRY WORKERS settle their

    wager.

    EXT.  ROADWAY ADJACENT TO THE FERRY TERMINAL - DAY

    TRUMAN stands at a payphone.  By stretching the payphone's

    receiver cord as far as it will go, he is able to reach his

    arm and leg into the driver's door of his car.  He punctuates

    his conversation with blasts on the car's horn while revving

    the car's engine with his outstretched foot.  The few passing

    MOTORISTS and PEDESTRIANS regard Truman curiously.

                 TRUMAN

             (shouting into phone)

        I tell you the traffic's insane.

             (blasting his horn

              several times to

              imitate the sound

              of gridlock)

        ... I'll never make the ferry in

        time.  What can I do?  What?...

        Lawrence, I can't hear you!

    Truman hangs up the phone.

    INT.  TRUMAN'S CAR - DAY

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

    secondary road.

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

    TRUMAN drives along a winding road through parkland.  He pulls

    up at a red light -- no other traffic around.  His attention

    is caught by an attractive YOUNG WOMAN, sitting on a park

    bench not far from the intersection.  She is being taunted by

    TWO THUGS.  She attempts to ignore the youths by concentrating

    on the book on her lap.

                 YOUTH 1

             (to woman)

        You wanna read to me?

    His companion smirks.

                 YOUTH 1

             (more insistent)

        You wanna read to me?

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

                 YOUTH 2

             (menacing)

        My friend asked you a question.

    The woman picks up her bag in a reflex and holds it to her. 

    She looks about for assistance, briefly catching Truman's eye. 

    The youths also look in Truman's direction, staring him down.

                 WOMAN

             (reaching for the book)

        Please...

    The boy returns the book to the woman, but before doing so

    rips out the last page from the novel and stuffs it in his

    shirt pocket.

                 YOUTH 2

        Now you're gonna have to ask me how

        it ends.

    One of the youths grabs the woman, dragging her toward the

    surrounding woods.

                 YOUTH 1

        We're gonna tell you how it ends,

        baby.

                 WOMAN

        Help!  Please help!

    As they drag towards the undergrowth, Truman, horrified, half

    gets out of the car -- fearful of his own safety as much as

    the woman's.  Truman shouts to the youths, his voice cracking

    with fear.

                 TRUMAN

        Hey!  Let her go!

    A huge truck suddenly appears behind Truman's car, its horn

    blasting, the DRIVER hurling abuse.  Truman hesitates as the

    youths drag the woman into the bushes, conflicted over whether

    or not to help.  The truck driver keeps his hand on the horn. 

    Truman retreats back into his car and reluctantly drives on.

    EXT.  PARKLAND - WOODS - DAY

    Truman's car safely out of sight, the YOUTHS promptly release

    the YOUNG WOMAN.  She calmly brushes herself off, no longer

    afraid.  The young men, no longer angry, retrieve her bag.

                 WOMAN

        Thanks.

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

    friends.

                 WOMAN

             (pointing the incident)

        He did nothing.

                 YOUTH 1

             (shrugs, suddenly

              more cough)

        Physical violence paralyzes him. 

        Always has.

    EXT.  TRUMAN'S HOUSE - DUSK

    Beyond the pretty picket fence at the end of the property

    flows a busy highway.

    TRUMAN is mowing the lawn.  From his expression it would seem

    that he's still reflecting on his inaction in the park.  He

    switches off the mower and leans on the handle.

    He is distracted by the arrival of his wife, MERYL, exiting

    the house.  She wears a nurse's uniform and carries a curious

    metal device attached to a card board backing.  She kisses

    Truman affectionately on the cheek.

                 MERYL

        Hi, honey.  Look at this.

             (proudly referring to

              the device)

        It's a "Chef's-Mate." Dicer, slicer

        and peeler in one.  Never needs

        sharpening.  Dishwasher safe.

                 TRUMAN

        Gee, that's great.

    Looking over Truman's shoulder, Meryl notices a small, uncut

    patch of grass missed by Truman in one of his passes.

                 MERYL

             (referring to the uncut

              grass)

        You missed a section.

    Meryl enters the house.  Truman restarts the lawnmower and

    obediently pushes it towards the offending patch of lawn.  As

    the mower brushes up against the unconforming blades of grass,

    Truman pulls back abruptly.  He checks the kitchen window for

    Meryl and wheels the mower away, leaving the patch uncut.

    INT.  TRUMAN'S HOUSE - LIVING ROOM - NIGHT

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

    enters.

                 TRUMAN

        How did it go today?

                 MERYL

             (matter-of-fact)

        A man tripped and fell on a chainsaw.

             (shrugs)

        We got three of his fingers back on.

    Truman retrieves a bucket of golf balls and a golf club from

    behind the door.

                 MERYL

             (disappointed at the sight

              of the golf equipment)

        I was hoping we could have a special

        evening.

                 TRUMAN

        I won't be late.

                 MERYL

             (sensing something odd

              in his demeanor)

        Did something happen today?

    Truman turns to her too sharply, his guilt showing.

                 TRUMAN

        What could happen?

    Truman exits.

    EXT.  UNFINISHED BRIDGE - NIGHT

    A half-constructed bridge, paved but unmarked, ends abruptly

    in mid-air -- reinforcing steel protruding from the concrete. 

    TRUMAN stands at the end of the unfinished bridge with MARLON,

    thirties, a well-filled physique.  Marlon drinks beer from a

    can while Truman addresses a teed-up golf ball with a number

    three wood.  The headlights of their two parked cars far end

    of the bridge proclaiming, "THE SEAHAVEN CAUSEWAY -- Linking

    Seahaven Island With The Rest Of The World -- Your Tax Dollars

    At Work" -- an upturned plastic cone at the foot of the sign

    is the "hole."

    Truman winds up and swings, making a healthy contact with the

    ball.  The ball arches away into the night sky.  From a new

    angle we see the ball take a huge hop on the outside lane of

    the abandoned freeway and continue down the asphalt beyond

    the sign.

    Marlon tosses Truman another off-white ball from a bucket of

    badly scarred golf balls.  Truman sets the ball up on the

    makeshift tee area and launches himself into his second shot. 

    With a slight fade, the second ball carries even further than

    the first.

                 MARLON

        Whose nuts were those?

    Truman hands Marlon their sole golf club without comment. 

    Marlon tees up a ball of his own He uses orange golf balls.

                 TRUMAN

        I'm thinking of getting out, Marlon.

                 MARLON

             (mild interest only)

        Yeah?  Outta what?

                 TRUMAN

        Outta my job, outta Seahaven, off

        this island... out!

    Marlon takes a practice swing.

                 MARLON

        Outta your job?  What the hell's

        wrong with your job?  You gotta great

        job.  You gotta desk job.  I'd kill

        for a desk job.

    Marlon addresses the ball and swings -- a sweeping hook shot

    that bounces off the freeway and into the water hazard.

                 MARLON

             (annoyed by the errant

              tee shot)

        Sonofabitch.

             (still looking in the

              direction of his ball)

        Try stocking vending machines for a

        living.  My biggest decision of the

        day is whether the Almond Joys look

        better next to the Snickers of the

        Baby Ruths.

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

    to Marlon.

                 TRUMAN

             (adamant)

        Haven't you ever gotten itchy feet?

    Overcompensating with his second shot, Marlon slices the ball

    in the other direction.  A lucky bounce keeps it on the "green."

    The ball rolls in the direction of the upturned cone.

                 MARLON

             (skeptical, picking

              up his beer)

        Where is there to go?

    Truman gulps his beer as he prepares his answer.

                 TRUMAN

             (unable to disguise

              his reverence)

        Fiji.

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

                 MARLON

             (impressed)

        Fiji?  Where the hell is Fiji

        exactly?  Near Florida?  You can't

        drive there, can you?

    Truman picks up a golf ball to demonstrate.  He points to a

    dimple on his make-shift globe.

                 TRUMAN

        See here, this is us.

             (sliding his finger

              around the other

              side of the ball)

        All the way round here, Fiji.  You

        can't get any further away before

        you start coming back.

             (tossing the world in

              his hand, warming to

              his subject)

        Y'know, there are still islands in

        Fiji where no human has ever set

        foot.

                 MARLON

             (still dubious)

        So when are you leaving?

                 TRUMAN

        It's not that simple.  Takes money,

        planning.  You can't just up and go.

             (heading off Marlon's

              skepticism)

        Oh, I'm going to do it, don't worry

        about that.  I've just got to move

        slow.  Pick my movement.  Bonus

        time's just around the corner. 

        Soon as I finish the...

                 MARLON

        Nursery?

                 TRUMAN

        Spare room -- I can start thinking

        about selling up... and I'll be

        gone.  Up and away on that big

        steel bird.

             (as if to convince himself)

        I'm going, don't you worry about

        that.

    Marlon nods even though the concept of taking flight is beyond

    his imagination.

                 MARLON

        I never knew anybody who wanted to

        leave Seahaven.

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

    INT.  A DIMLY-LIT ROOM SOMEWHERE - NIGHT

    A MAN looks up sharply.  He stares into camera.  CHRISTOF,

    late fifties -- a vitality in his eyes that belies his years. 

    A news anchor-style earpiece disappears down the neck of his

    suit.

    EXT.  BRIDGE - NIGHT

    TRUMAN and MARLON wander along the empty bridge, retrieving

    the golf balls.

    Marlon goes to say something to the disconsolate Truman, but

    is momentarily distracted.  He raises his hand to his ear. 

    Truman places another of the balls in the bucket.

                 MARLON

        Truman, you know, I did think about

        moving away one time.

                 TRUMAN

             (interest piqued)

        Yeah, what happened?

                 MARLON

        I figured, what's the point?  I

        knew I'd just be taking my problems

        with me.  Once the kids came along,

        it made me look at Seahaven with

        new eyes.

             (gazing out at the

              lights of Seahaven)

        I realized, what the hell could be

        better than this?

             (putting a hand on

              Truman's shoulder)

        I'm telling you.  What you really

        need is someone to carry on the

        "Burbank" name.

                 TRUMAN

        You think so?

                 MARLON

        Trust me.

    Marlon picks up the last ball at the mouth of the upturned

    cone.  The ball is white.

                 MARLON

             (checking the ball)

        You win.

    They approach Truman's car.  Truman opens the trunk to deposit

    their humble golfing equipment.  Inside are the remains of the

    fallen light fixture.

                 TRUMAN

             (referring to the light)

        You really think it could've

        dropped off an airliner?

                 MARLON

             (unimpressed)

        Sure.  It's halogen.  Shame it

        didn't hit you -- you could've

        sued.

             (quickly changing the subject)

        You coming for a drink?

                 TRUMAN

        I can't tonight.

    INT.  LIGHTHOUSE - NIGHT

    From the POV of the lighthouse's lantern room, we observe

    TRUMAN sitting on the beach staring out to sea.

    Closer on Truman.  He has a portable tape recorder slung over

    his shoulder and points a corded microphone at the surf.  We

    watch Truman's impassive face as he makes the recording of the

    lapping waves.  The lamp from the lighthouse occasionally

    falls upon Truman.

    PLAYBACK - EXT.  OCEAN - DAY

    As always, the flashback appears to play on a television

    screen.

    The sky is black with storm clouds.  Gale force winds lash

    rain into the faces of SEVEN-YEAR-OLD TRUMAN and his father,

    KIRK.  As Kirk stands up to get his hearings, a freak gust of

    wind catches the sail.  The boom whips across the stern and

    strikes Kirk flush in the head, knocking his overboard.

    Truman, wearing the sole lifejacket, desperately reaches for

    his father.  He momentarily has hold of his hold of his

    father's hand when Kirk is abruptly dragged beneath the

    surface.

                 TRUMAN

             (crying out)

        Daddy!!  Daddy!!

    His cries go unanswered.  Seven-year-old Truman finds himself

    alone -- the storm abruptly passed, the wind suddenly dropped,

    the water stilled.

    The frightened Truman examines the ring he holds in his open

    hand -- his father's ring -- wrenched from his finger in

    Truman's fight to keep him afloat.

    EXT.  BEACH - NIGHT - PRESENT

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

    Then, from the lighthouse POV, we observe Truman get to his

    feet and walk towards the dark water.  He stands at the

    water's edge.

                 TRUMAN

             (shouting at the surf)

        I'm sorry, Dad!  I'm sorry!

    As if in reply, a tongue of lightning flashes across the

    distant skyline, followed by a growl of thunder.

    INT.  A LIVING ROOM SOMEWHERE - NIGHT

    TWO OLD WOMEN, seventies, sit beside each other on a sofa

    looking directly into camera as they talk.

                 OLD WOMAN 1

             (playing amateur psychiatrist)

        It left him with more than his

        obvious fear of the water.

                 OLD WOMAN 2

        He was never the same curious

        little boy again.

                 OLD WOMAN 1

        Half the women I know named their

        children after him.

    EXT.  BEACH PARKING LOT - NIGHT

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

    car.

    From Truman's point-of-view, the shower appears quite normal. 

    However, viewed from a distance, we see that the shower is

    extremely localized, encircling only him, as if a small cloud

    is directly above his head, tracking his progress.

    As Truman crosses the parking lot, the shower crosses with him. 

    Sensing something amiss, Truman dances back and force across

    the street, intrigued by the curious phenomenon.  He hums a

    few bars of "Singin' In The Rain."

    The rain becomes heavier, covering a wider area.  Truman runs

    the remaining distance to his car.

    INT.  TRUMAN'S HOUSE - NURSERY - NIGHT

    The drenched TRUMAN enters to find MERYL, in the unfinished

    nursery, comparing wallpaper samples.  Meryl wears a robe, a

    glimpse of black negligee beneath.

                 MERYL

        Where have you been?

                 TRUMAN

             (wringing out his jacket)

        I've been thinking--

                 MERYL

             (rolling her eyes)

        Oh, God.

                 TRUMAN

             (ignoring the reception)

        -- I figure we could scrape

        together eight thousand.

                 MERYL

             (exasperated)

        Every time you and Marlon --

                 TRUMAN

        -- we could bum around the world

        for a year on that.

                 MERYL

        And then what, Truman?  We'd be

        back to where we were five years

        ago.  You're talking like a

        teenager.

                 TRUMAN

        Maybe I feel like a teenager.

                 MERYL

        We're mortgaged to the eyeballs,

        Truman.  There's the car payments. 

        After we just going to walk away

        from our financial obligations?

    Truman, still dripping on the floor, holds Meryl by the arms. 

    He talks excitedly to her the way we imagine he did when they

    were courting.

                 TRUMAN

        It'd be an adventure.

                 MERYL

        I thought we were going to try for

        a baby.  Isn't that enough of an

        adventure?

                 TRUMAN

        That can wait.  I want to get away. 

        See some of the world.  Explore.

    Meryl gives a derisive laugh.

                 MERYL

        You want to be an explorer?  You

        don't even have a passport,

        Truman.  I bet you don't even know

        how to get one.

    The words sting.  Truman turns away.  Seeing the pain she's

    caused, she changes tack.

                 MERYL

        This'll pass.  Everybody thinks

        like this now and then.

             (making an attempt at

              seduction)

        Come to bed.

                 TRUMAN

        I think I'm going to stay up for a

        while.

    INT.  AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT

    In the reception area of an office building, TWO UNINFORMED

    GUARDS drink coffee.

                 GUARD 1

        How can they have a child?

                 GUARD 2

        It's not gonna be his, you idiot.

                 GUARD 1

        Why not?

                 GUARD 2

        You think she'd go through with it?

                 GUARD 1

        Sure she would.

                 GUARD 2

             (reassessing his own opinion)

        Guess I always thought they'd

        adopt.

    EXT.  TRUMAN'S STREET - DAWN

    There is something peculiar about the way the sun rises over

    Seahaven Island -- the light appears in an arc that's slightly

    too perfect and well-defined.

    INT.  TRUMAN'S BEDROOM - MORNING

    In front of his bedroom window, TRUMAN, wearing his new sweats,

    performs an exercise routine of his own invention.  He counts

    off the exercises to himself -- cheating as he does so.  He

    counts five leg-lifts for every two he completes.

                 TRUMAN

        -- Five...

             (tow leg-lifting later)

        Then... fifteen... two more makes

        twenty.

    INT.  A BEDROOM SOMEWHERE -- MORNING

    A middle-aged MARRIED COUPLE in identical matching sweats

    repeat the same eccentric exercises in perfect sync, as if

    they were in a class led by Truman.

    EXT.  CAR -- DAY

    TRUMAN climbs into the car and switches on the radio.  He

    drives down the street.

                 RADIO ANNOUNCER

        Another glorious morning in

        Seahaven, folks.  Don't forget to

        buckle up--

    Truman mutters to himself as is his custom.

    EXT.  DOWNTOWN SEAHAVEN -- DAY

    TRUMAN emerges from the parking lot and as usual stops at the

    newspaper stand.  He picks up a glossy magazine and flips

    through the cosmetic ads, surreptitiously tearing a pair of

    EYES from one of the pages.  He returns the magazine to the

    rack.  As usual, the NEWSPAPER VENDOR fails to intervene. 

    Truman begins his daily pilgrimage to work through the rush

    hour pedestrian traffic.

    As he enters the street leading to his office, he glimpses a

    HOMELESS MAN reflected in the window of a parked car.  Truman,

    spellbound by the man, suddenly wheels around to face him. 

    The Homeless Man, late-fifties, more well-groomed and well-fed

    than the average vagrant, has a serene smile on his face.

    The Homeless Man places his hand ever so gently on Truman's

    cheek.  Truman makes no effort to withdraw.  He is transfixed

    by the man's eyes.  He appears to recognize him.

                 TRUMAN

             (almost to himself,

              mouthing the word)

        Dad...

    Suddenly an ELEGANT WOMAN SHOPPER walking a small WIENER DOG

    and A BUSINESS EXECUTIVE carrying a briefcase, walking in

    opposite directions along the sidewalk, grab the Homeless Man. 

    One under each arm, lifting the Homeless Man off the ground,

    they start to whisk the bewildered derelict down the street.

                 TRUMAN

             (calling out)

        Stop!  Stop!!

    Truman begins to give chase.  However, the shopper and the

    businessman are surprisingly fleet-footed.  Even more

    surprising as Truman embarks on the pursuit is the behavior of

    the PEDESTRIANS and COMMUTERS.  They appear to part for the

    fleeing trio, then close ranks in front of him.  Is it

    accidental, or are the pedestrians working together, running

    interference?

                 TRUMAN

             (shouting at the pedestrians)

        Outta way!  Outta way!

    They are escaping.

    Truman finally breaks through the pack, bowling over several

    of the pedestrians in the process.  Just as he gets within

    reach of the shopper and the businessman, a bus suddenly

    screeches to a halt beside the abductors, doors already open. 

    The Woman Shopper and the Executive bundle the Homeless Man

    onto the bus.  Truman lurches after them, but he is met by

    the bus doors, closing sharply in his face.

                 TRUMAN

             (to BUS DRIVER)

        Hey, stop!  Stop the bus!!

    Truman thumps against the doors, but the BUS DRIVER ignores

    his cries and the bus roars away.  The other PASSENGERS in

    the bus, apparently oblivious to the incident, keeps staring

    straight ahead.

    Truman continues to give chase when a taxi appears out of

    nowhere and cuts in front of him, blocking his path.  When he

    recovers, the bus has disappeared.  The mysterious crowd of

    pedestrians has also dissolved as if it never existed.

    Retracing his steps, head reeling, wondering if the could have

    imagined the whole incident, Truman discovers that the Woman

    Shopper has left her WIENER DOG behind.  The dog wanders

    aimlessly on the pavement, its leash trailing behind it.

    INT.  MOTHER'S HOUSE - DAY

    TRUMAN paces impatiently in the living room of his Mother's

    cramped, fussy, doilyed little house full of Burbank family

    memorabilia -- a cluster of framed photographs is dominated by

    one of his FATHER trimmed with a black ribbon.  A toilet

    flushes and Truman's MOTHER finally emerges from the next room.

    She presents something of a contradiction.  Although she walks

    with the aid of a "walker," she is actually a well-preserved

    sixty.  She wears a glamorous nightgown and a full head of

    bleached-blonde hair.

                 TRUMAN

             (kissing Mother on the cheek)

        How are you, Mother?

                 MOTHER

        Well, I made it through another

        night.

                 TRUMAN

        How's your hip?

                 MOTHER

        Oh, just so.

    Truman supports Mother.

                 MOTHER

        You know surprises aren't good for

        me.  You should really call before

        you come over, dear.

                 TRUMAN

        I've got something to tell you. 

        You'd better sit down.

    Truman helps her into an overstuffed armchair.

                 MOTHER

        You look very pale, Truman.  Are

        you taking your vitamin D's?

                 TRUMAN

             (exasperated)

        I spend half my life out in the

        sun, Mother, why would I need

        vitamin D?

                 MOTHER

        I feel certain my condition runs

        in the family.

             (putting the back of her

              hand dramatically for

              her forehead)

        Can't this wait, dear?

    He kneels beside her.

                 TRUMAN

        No, I'm afraid it can't.

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

                 TRUMAN

        I know this is going to sound

        insane, Mother, but... I saw Dad

        today on Lancaster Circle.  He's

        alive.

    Mother smiles condescendingly.

                 MOTHER

        It doesn't sound insane, Truman. 

        I swear I see him ten times a week

        -- in a hundred faces.  I almost

        hugged a perfect stranger in the

        salon last Thursday.

                 TRUMAN

        It was Dad, I swear, dressed like

        a homeless man.  And you know what

        else was really strange?  A

        businessman and a woman with a

        little dog appeared from nowhere

        and forced him onto a bus.

                 MOTHER

        About time they started cleaning

        up the trash Downtown.  We don't

        want to end up like the rest of

        the country.

                TRUMAN

        They never found Dad's body --

        maybe somehow --

                 MOTHER

        -- Darling --

                 TRUMAN

             (already doubting himself)

        I'm telling you, if it wasn't him,

        it was his twin.  Did Dad have a

        brother?

                 MOTHER

        You know he was an only child, like

        you.

             (placing a comforting

              arm around him)

        I know how bad you feel about what

        happened -- sailing into that

        storm.  But I don't blame you,

        Truman.  I never have.

    Mother kisses Truman on the cheek.

                 MOTHER

             (referring to her platinum

              blonde hair)

        I was thinking about going lighter. 

        What do you think?

    Truman regards his Mother.  Her hair is already impossibly

    blonde.

    INT.  TRUMAN'S BASEMENT - DUSK

    The basement is cluttered with junk -- ships in bottles, a

    train track without trains, an oxygen mask, a stringless

    guitar, many abandoned projects.  The basement is dimly lit

    by a single, naked bulb.  TRUMAN looks over his shoulder

    before opening a large walk-in cupboard.  On the cupboard door

    is a wall map of the Pacific Ocean -- the Fiji Islands are

    carefully circled.  Amongst the many tools and household

    implements inside the cupboard is a trunk under a dusty

    canvas sheet.  He pulls the trunk into the room, unfastens

    the lock and opens the lid.

    Inside, mementoes from his youth.  A "HOW TO SAIL" book, a

    stack of "GREAT EXPLORERS" magazines, and beneath it all, a

    garment in a drycleaning bag.  Truman carefully lifts up the

    plastic to reveal a young woman's cardigan sweater.  He puts

    the cardigan to his nose and takes in its scent.

    Footsteps.  Truman hastily drops the cardigan in the trunk and

    shuts the lid.  MERYL's legs appear on the stairs.

                 MERYL

        What're you doing down here?

                 TRUMAN

             (turning attention to an

              upturned mower on the

              basement floor)

        Fixing the mower.

             (matter-of-fact)

        I saw my father today.

                 MERYL

        I know.

                 TRUMAN

             (suspicious)

        How do you know?

                 MERYL

        Your mother called.  You shouldn't

        upset her like that.

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

                 TRUMAN

        What did you want?

                 MERYL

        I made macaroni.

                 TRUMAN

        I'm not hungry.

    Meryl nods, not at all convinced.

                 MERYL

        We really ought to toss that mower

        out.  Get one of those new Elk

        Rotaries.

    Truman does not reply.  After an uncomfortable pause, she

    turns back up the stairs.

    Truman waits a moment before re-opening the trunk.  He removes

    the cardigan and holds it up, reminiscing.

    INT.  A KITCHEN SOMEWHERE - NIGHT

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

    into camera.

                 DAUGHTER

        What's he doing?

                 MOTHER

        They removed all physical trace of her

        but they couldn't erase the memory.

                 DAUGHTER

        The memory of who?

                 MOTHER

             (finger to lips)

        Shhh!

    PLAYBACK MONTAGE - EXT.  COLLEGE CAMPUS - STEPS - DAY

    Once again the images appear to be playing on a television

    screen.

    On the steps of a typical college campus, TRUMAN, 21, in a

    college band uniform, participates in a football pep rally. 

    MARLON, 21, a member of the football team, and MERYL, 21, a

    cheerleader, are nearby.  Truman observes an ethereal-looking

    young woman walk by -- LAUREN.

    PLAYBACK - INT.  DANCEHALL - NIGHT

    At a college dance, TRUMAN dances with MERYL.  LAUREN dances

    by with a PARTNER of her own.  However, Truman only has eyes

    for Lauren.  Suddenly, she is escorted from the dance floor.

    PLAYBACK - EXT.  COLLEGE CAMPUS - STREET - DAY

    TRUMAN almost trips off the curb as he waves to LAUREN, riding

    towards him on a bicycle.  However, she rides right by with

    her nose in the air, not even acknowledging his presence --

    Truman puzzled by her change of heart.

    The montage ends at a scene in a college library.</PRE>

<BR>

<PRE>   PLAYBACK - INT.  COLLEGE LIBRARY - NIGHT

    In the school library, TRUMAN, 21, sits with MARLON, 21, and

    wife-to-be, MERYL, 21, doing a final cram for a test.  The

    STUDENTS begin to pack up their books.  Meryl gives Truman a

    peck on the cheek.

                 MERYL

        Come on, Truman.  Haven't you

        studied enough?

                 TRUMAN

        I still want to look over a couple

        of things.

                 MARLON

             (punching Truman in a chummy

              way on the arm, referring

              to Truman's book)

        Take the "C" average.  That's what

        I do.

    Truman looks up from his books.  The library is almost

    deserted.  He spies a GIRL's hand around the table divider.

    Truman musters the nerve to poke his head over the divider. 

    He find LAUREN on the other side, buried in a book.

                 TRUMAN

        Konichi-wa.

    Lauren looks blank.

                 TRUMAN

             (referring to the Japanese

              text in front of her)

        You take Japanese.

                 LAUREN

             (quickly closing the book)

        Oh, yes.

                 TRUMAN

             (glancing to the name

             carefully written on

             the front of the book)

        Lauren, right?

                 LAUREN

             (as if unaware of her own name)

        That's right.  Lauren.

                 TRUMAN

             (extending his hand)

        I'm Truman, Truman Burbank--

                 LAUREN

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

    Truman is not surprised.

                 TRUMAN

             (resigned)

        It's okay.  I probably wouldn't

        talk to me either.

                 LAUREN

             (softening)

        I'm sorry.  It's not up to me.

                 TRUMAN

             (crestfallen)

        You have a boyfriend?  Of course

        you do.

    Lauren looks about her, unsure.

                 LAUREN

        No... I, er...

                 TRUMAN

             (hopeful once again)

        No?  Really?  Good, I mean, I

        thought possibly a pizza.  How

        about Friday?

                 LAUREN

        No.

                 TRUMAN

        Saturday?

    Lauren looks around the almost-deserted library.

                 TRUMAN

        Actually, I'm free Sunday.

                 LAUREN

        Now.

                 TRUMAN

        Right now?  We've got finals

        tomorrow.

                 LAUREN

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

    Truman hesitates.

                 LAUREN

             (impatient, looking

              anxiously around)

        Well, what do you want to do?

                 TRUMAN

             (closing his books, still a

              little uncertain)

        I think I've studied enough.

    PLAYBACK - EXT.  VARIOUS LOCATIONS NEAR SEAHAVEN COLLEGE - NIGHT

    LAUREN, taking TRUMAN by the hand, runs down various streets

    and paths through the campus.  She occasionally pauses and

    looks about her, often changing direction or looking up at

    streetlights and the towers of houses along their route, as if

    trying to elude an unseen pursuer.

    The excited and apprehensive Truman runs with her although he

    is unsure exactly who, or what, they are running from.

    The further they get from the campus, the higher, wider and

    less effective the coverage of the scene -- some camera angles

    are even partially obscured.

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

    TRUMAN and LAUREN eventually cross an empty highway on the

    edge of town.

    They run over the dunes onto a strangely deserted beach and

    down to the water's edge under a hyper-real full moon.  Lauren

    throws off her cardigan and hitches up her skirt, wading out

    into the inviting water without another thought.  Truman

    stares down, transfixed by the shimmering water.

                 LAUREN

             (splashing)

        It's beautiful!  What are you

        waiting for?

                 TRUMAN

             (nervous)

        I... I can't.

    Lauren suddenly stops splashing.

                 LAUREN

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

    She wades out of the water.

                 TRUMAN

             (confused)

        Why, Lauren?  You've got nothing

        to be sorry about?

    Lauren, dripping wet, stands besides Truman at the shoreline. 

    She meets his gaze.

                 LAUREN

        My name's not Lauren.  It's a

        Sylvia.

    Truman looks into her eyes and believes her.  Truman wipes the

    water from her face, then leans forward and gently kisses her

    lips.  She kisses him back.

    INT.  A BAR SOMEWHERE - NIGHT

    In a quiet bar room, a WAITRESS explains her viewpoint to the

    BARMAN.  A PATRON on a barstool eavesdrops.

                 WAITRESS

        Don't you get it?  She was willing

        to lose him, lose everything, if

        it meant he could find himself.

             (registering the barman's

              blank look)

        Never mind.  You wouldn't understand.

    PLAYBACK - EXT.  BEACH - NIGHT

    As we return to Truman's reminiscence, TRUMAN and SYLVIA (as

    she is now called throughout the remainder of the movie) sit

    on the sand at the water's edge.  With great delicacy, Truman

    traces the outline of her nose with his finger, at the same

    time inhaling her scent.  Sylvia looks nervously around her. 

    Truman goes to say something, but Sylvia hushes him.

                 SYLVIA

        They're coming.  Any minute.

                 TRUMAN

             (looking around the

              deserted beach)

        Who?

                 SYLVIA

        They're going to stop me talking

        to you.

                 TRUMAN

             (confused)

        There's no one here.

                 SYLVIA

             (looking over her shoulder

              nervously)

        Just listen.  You remember when

        you were a little boy, you stood

        up in class and said you wanted to

        be an explorer like Magellan--

                 TRUMAN

             (incredulous)

        -- How do you know about that?

                 SYLVIA

        -- And your teacher said, "You're

        too late, Truman.  There's nothing

        left to explore."

                 TRUMAN

        Were you there -- how do you know?

                 SYLVIA

        -- It doesn't matter.  Everybody

        knows about it.  They know

        everything you do.  The point is,

        you got scared.

                 TRUMAN

        I don't understand.

                 SYLVIA

             (looking over her shoulder,

              increasingly nervous)

        You must listen.  Everybody's

        pretending, Truman.

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

                 SYLVIA

        You think this is real?  It's all

        for you.  A show.

             (frustrated, raving)

        The eyes are everywhere.  They're

        watching you -- right now.

    Suddenly a car's headlights come bouncing over the dunes.  The

    car roars across the beach towards he couple.

                 SYLVIA

             (scared)

        I told you, Truman!

    The car skids to a stop and a large MAN, 40ish, with a shock

    of red hair, jumps from the car.  The man yanks the frightened

    Sylvia to her feet, causing her cardigan to fall to the ground.

                 MAN

             (to Sylvia, oddly sympathetic)

        Lauren, sweetheart, not again. 

        Get in the car!

    Truman jumps in.

                 TRUMAN

        Hey, who the hell are you?!

                 MAN

        I'm her father!

                 TRUMAN

        We weren't doing anything.

                 SYLVIA

        He's not my father!  He's just

        saying that!  Does he look

        anything like me?!

                 MAN

        Come on, Sweetheart.

    The Man gently, but firmly, pushes Sylvia towards his car. 

    Sylvia resists.  Truman crosses to them.

                 TRUMAN

        I'll take care of her!

    The Man takes Truman aside and whispers in his ear.

                 MAN

             (whispered, out of

              Sylvia's earshot)

        Schizophrenia.  She has episodes.

    Doubts start crowding into Truman's head.

                 SYLVIA

             (calling out from the car)

        Don't listen to him, Truman.  I'm

        telling you the truth!

                 MAN

             (getting into the car)

        Don't bother!  We're moving to...

        Fiji -- the Fiji Island!  This

        place has done something to her

        head.

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

    CHRISTOF stares intently into camera.  Beside him is his

    assistant, CHLOE, an androgynous-looking young woman.  She too

    stares into camera.

                 CHRISTOF

        At least he didn't say "New York

        City."

    PLAYBACK - EXT.  BEACH - NIGHT

    TRUMAN stares after the car as it roars away.  He turns back

    toward the ocean where his attention is caught by an object

    lying on the sand -- Sylvia's cardigan.

    INT.  TRUMAN'S BASEMENT - NIGHT - PRESENT

    TRUMAN carefully places the cardigan back into the trunk.

    INT.  A KITCHEN SOMEWHERE - NIGHT

    MOTHER, DAUGHTER and BABY stare into camera.

                 DAUGHTER

        But why didn't he just follow her

        to Fiji?

                 MOTHER

        Because his mother got sick -- very

        sick.  He couldn't leave her.  He's

        a kind boy, maybe too kind.

                 DAUGHTER

        I can't believe he married Meryl on

        the rebound.

    INT.  BASEMENT - NIGHT

    TRUMAN turns his attention to the framed photograph of Meryl

    that he carries everywhere.  Hidden behind her photo is a

    composite picture of Sylvia which Truman has constructed by

    pasting together individual facial features -- nose, mouth,

    ears, chin, hair -- gathered, presumably, from women's

    magazines.  He attempts to put the jigsaw puzzle together --

    although he has particular difficulty finding a pair of eyes

    that match.

    From his pocket he takes a recent collection of eyes which,

    like a detective working on an identikit picture, he tries to

    match.  They are still not quite right.

    INT.  AN APARTMENT SOMEWHERE - NIGHT

    The eyes of a YOUNG WOMAN -- blue-green eyes.  She turns

    slightly, looking directly into camera.  We pull back to reveal

    her face -- SYLVIA.

    EXT.  TRUMAN'S STREET - EARLY MORNING

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

    EXT.  STREET OUTSIDE TRUMAN'S HOUSE - MORNING

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

    out the trash.

                 SPENCER

        How's it going, Truman?

    Truman hardly acknowledges Spencer.  PLUTO the dog fails to

    receive his usual pat.  The wave from the WASHINGTON's across

    the street is also not returned.

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

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

    usual.

                 RADIO ANNOUNCER

        -- Don't forget to buckle up out

        there in radioland.  It's another

        glorious... morning... innn...

        Seaaa... haaaa... vennn... f...

        o... o... k... k...

    The Announcer's voice slows down -- now revealing itself to be

    a tape that has worn out.  Truman, perplexed, looks at the

    radio and pushes buttons in an attempt to find another station. 

    He finds one.

                 FEMALE VOICE

             (from radio)

        ... west on Stewart... he's making

        a right on Holden...

    Truman glances up at the street signs along his route and finds

    that they correspond exactly with the streets quoted on the

    radio.  Distracted, he almost bowls over an OLD LADY on a

    crosswalk.

                 MALE VOICE

             (from radio)

        ... God, he almost hit Marilyn! 

        He's on the move again, passing

        the library...

    Truman, readjusts the radio as it starts to fade out.

    Suddenly, there is a piercing blast of feedback.  He looks up

    and, as far as the eye can see, every PEDESTRIAN, MOTORIST and

    SHOPKEEPER along the street suddenly winces in pain and holds

    their right ear at exactly the same moment.

                 MALE VOICE

             (from radio, in distress

              himself)

        ... Something's wrong.  Change

        frequencies...

    Truman tries to pick up the channel once again but without

    success.

    EXT.  PARKING LOT - MORNING

    TRUMAN sits in his car, drinking his coffee, taking in the

    recent incident.  From inside the adjacent school, he hears

    the familiar, excited squeals and chatter of SCHOOL CHILDREN. 

    Truman suddenly throws aside his coffee and sprints across the

    parking lot and into the school.

    INT.  SEAHAVEN ELEMENTARY SCHOOL - MORNING

    TRUMAN slams through the front doors into the reception area. 

    It is deserted, no one stationed at the administration desk,

    the corridors empty.  He runs down a vacant corridor, finally

    standing outside a classroom.  The children's' voice can still

    be heard from inside.  Truman bursts through the door.

    The room is empty save for a large reel-to-reel tape recorder

    on the teacher's desk playing a continuous tape of children's'

    voices.  The recorder is attached to speakers on tall stands

    facing the ventilation ducts.  Truman stares at the machine in

    disbelief.

    EXT.  STREET - DOWNTOWN - DAY

    TRUMAN, still lost in thought, exits the school.  He stops at

    the newsstand and picks up a magazine to resume his ritual

    search, but his heart is not in it.  He replaces the magazine

    without taking a cutting -- much to the surprise of the NEWS

    VENDOR.

    Truman starts his trek to work, pausing to stare at his

    reflection in the mirrored building, hoping that the Homeless

    Man will appear once again at his side.  No one joins him.

    EXT.  DOWNTOWN STREET - DAY

    Entering his own building with fellow OFFICE WORKERS, TRUMAN

    remains in the revolving door and re-emerges on the street.

    EXT.  CITY STREET - DAY

    TRUMAN wanders aimlessly through a city park, observing.  We

    sense, truly observing for the first time.

    A YOUNG WOMAN walks a pair of AFGHAN HOUNDS.  An OLD MAN

    answers the incessant questions of his GRANDCHILD.  Nothing

    appears amiss, Truman takes a seat at a small, outdoor cafe. 

    He fidgets with his father's ring on his finger that contains

    one large stone, still looking for a false move.

    A DELIVERY MAN unloads boxes from the back of his truck and

    carries them into a store.  Further down the street

    CONSTRUCTION WORKERS take their time tending to an electrical

    repair in an exposed manhole.  A POSTAL WORKER does his rounds. 

    An OLD WOMAN struggles with two heavy shopping bags. 

    Everybody appears natural, places to go.

    INT.  A DIMLY-LIT ROOM SOMEWHERE - DAY

    CHRISTOF and CHOLE stare into camera.  Christof leans forward

    and speaks.

                 CHRISTOF

        ... Everybody stay focussed. 

        Remember who you are.

    EXT.  CAFE - DAY

    TRUMAN turns his attention to a group of CUBAN-LOOKING MEN at

    the only other occupied table at the cafe.  We see extreme

    close-ups as Truman scans the men's faces for any sign of

    phoniness.  They are talking loudly, making suggestive

    comments to the WAITRESS.  Their behavior passes the test --

    all seems genuine.

    Then, Truman notices TWO JOGGERS out for a morning run, making

    their way down the street towards him.  Truman happens to

    glance at the sneakers of one of the joggers.  He suddenly

    springs to his feet.  Truman blocks the joggers.

                 TRUMAN

        It's you... isn't it?

    The Joggers attempt to sidestep Truman.

                 JOGGER 1

        Excuse me.

                 TRUMAN

        Remember?  Two days ago I gave you

        my meatball sandwich in the park. 

        You were in a wheelchair.  Same

        sneakers.

    The jogger looks down at his distinctive sneakers bearing the

    initials, "T.S.", and visibly blanches.

                 JOGGER 2

             (coming to his companion's

              aid)

        Get the hell out of here.

    The second jogger roughly shoves Truman aside.  Truman calls

    out after the two men.

                 TRUMAN

             (ironically referring to

              the jogger's new-found

              mobility)

        It's a miracle!

    Truman picks himself up, dusting dirt from his suit.  He

    retrieves his briefcase and continues down the street with

    renewed purpose.

    EXT.  DOWNTOWN STREET - DAY

    Wandering down the bustling street, TRUMAN suddenly bolts into

    a building at random.

    INT.  OFFICE BUILDING - DAY

    An imposing office building clad in the kind of reflective

    glass that shields its occupants from the world -- a building

    Truman passes every day.  A steady stream of EMPLOYEES and

    VISITORS enters and exit the building's high-ceilinged lobby

    past an intimidating security desk manned by TWO UNIFORMED

    GUARDS.  Beyond security are banks of elevators, ferrying

    executives, clerical staff and delivery personnel to and from

    their floors of business.

    Truman abruptly enters reception and strides confidently past

    the security desk trying to look as if he belongs.

                 SECURITY GUARD 1

             (to Truman)

        Can I help?

                 TRUMAN

             (sneaking a glance at the

              building directory)

        I have an appointment at, er,

        Gable Enterprises.

                 SECURITY GUARD 1

        They went bust.

    The second Security Guard is rising from his seat to block

    Truman's path to the elevators, but Truman reads his mind and

    makes a dash for it -- into one of the elevators.

    A YOUNG WOMAN in the elevator looks in horror at Truman --

    the cause of her concern all too apparent.  Looking beyond the

    Woman, Truman discovers that there is no back to the elevator

    car.  The PEOPLE Truman has just witnessed entering other

    elevators are milling around a refreshment table, primping or

    sitting on folding chairs.  Gradually, they all turn to gape

    at Truman, who in turn stares back, appalled.  Truman's view

    is abruptly blocked as a rear panel is hastily attached to the

    elevator.  A Security Guard pulls Truman from the car.

                 TRUMAN

        What's going on?

                 SECURITY GUARD 1

             (glancing to the lights above

              the elevator, trying to

              appear innocent)

        Nothing.

    Truman observes the upward progress of the elevator via the

    light display above the doorway.  Before he has time to make

    sense of it, the guards drag him away.

                 SECURITY GUARD 2

        You've got to leave.

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

    Emergency Exit.

                 TRUMAN

        Just tell me what's going on?

                 SECURITY GUARD 2

        We're re-modeling.

                 TRUMAN

        No, you're not!!  What were those

        people doing in there?

                 SECURITY GUARD 1

             (shrugs)

        It's none of my business.

             (ushering Truman off the

              property)

        None of yours, either.

                 TRUMAN

             (not going quietly)

        You don't tell me what's really

        going on, I'll report you.

    TRUMAN continues to struggle as he GUARDS usher him to the

    street.

                 SECURITY GUARD 2

        For what?  You're trespassing!

    EXT.  DOWNTOWN STREET - DAY

    TRUMAN continues to struggle as the GUARDS unceremoniously

    dump him on the pavement.  He picks himself up, head reeling,

    and starts to run along the street.  He suddenly enters

    another building at random.  An office blocck with a bank on

    the ground floor.

    Truman rushes to the elevators.  The lights above the doors

    show all the elevator on upper floors.  Frantic pressing of

    the elevator button gets no response.  A RECEPTIONIST rises

    from her desk.  Truman heads for the stairs, but is

    intercepted by a BANK OFFICIAL barring his way.

                 TRUMAN

        I want to...

    The Bank Official, the Receptionist, and a BANK TELLER back

    Truman towards the door.

                 BANK OFFICIAL

        ... Open an account?

                 TRUMAN

        Yes.  Er, why not?

                 RECEPTIONIST

        Savings or checking?

                 BANK OFFICIAL

        Let's go up to my office.

    Truman hurriedly exits the bank.

    EXT.  STREET - DAY

    Back on the street, TRUMAN feels the eyes of the PEDESTRIANS. 

    Is he simply drawing attention to himself by his behavior? 

    Truman wheels around, trying to make eye contact with

    passersby.  They shy away.  He continues to run down the

    street.

    Finally, Truman finds himself standing in front of the window

    of an electronics store staring at his own face on a TV set. 

    It is taking a feed from a camcorder aimed out the store

    window.

    INT.  A BATHROOM SOMEWHERE - DAY

    A MAN stares into camera from a bath of stale water -- a layer

    of soap scum on the top.

                 MAN

        Don't look at me, pal.

    EXT.  STREET - ELECTRONICS STORE - DAY

    TRUMAN shudders at his video reflection.  Further down the

    street, he notices Marlon's van parked outside a supermarket.

    INT.  SUPERMARKET - DAY

    The door of a vending machine is open.  MARLON, half inside

    the machine, loads a stack of Baby Ruth candy bars into one

    of the dispensing slots.  The paranoid TRUMAN appears at his

    shoulder.

                 TRUMAN

        Marlon--

                 MARLON

             (startled)

        -- Truman, what are you doing here?

    Truman looks nervously around him.  Even the STORE OWNER's

    friendly nod from behind the counter is cause for suspicion in

    Truman's mind.

                 TRUMAN

             (whisper)

        I've got to talk to you.

                 MARLON

        Sorry, I'm way behind.

                 TRUMAN

        I'm onto something, Marlon --

        something big.

                 MARLON

        Are you okay?  You look like shit.

                 TRUMAN

        I think I'm mixed up in something.

                 MARLON

        Mixed up?  Mixed up in what?

                 TRUMAN

        There's no point in trying to

        explain it, but a lot of strange

        things have been happening --

        elevators that don't go anywhere,

        people talking about me on the

        radio, you know what I mean?

                 MARLON

             (bemused)

        No.  Truman, if this is another

        one of your fantasies...

                 TRUMAN

        I think it's got something to do

        with my dad.

                 MARLON

        Your Dad?!

                 TRUMAN

             (looking around nervously)

        I think he's alive.  I'll tell you

        about it later.  I'm definitely

        being followed.

                 MARLON

             (looking around, instantly

              protective)

        Who?

                 TRUMAN

        It's hard to tell.  They look just

        like regular people.

                 MARLON

             (referring to an OLD

              COUPLE entering the deli)

        How about them?

                 TRUMAN

             (seriously considering

              the possibility)

        Could be.  Beard looks phony.

             (leaning closer to Marlon)

        It's when I'm unpredictable.  They

        can't stand that.  That's why we've

        got to get out of here.  Can you

        come with me?

                 MARLON

             (closing up the vending

              machine)

        I told you I can't.

                 TRUMAN

        I've got to show you something.

    Truman fixes Marlon with a look of deadly seriousness.

                 MARLON

             (weakening)

        Christ, Truman.  You're gonna get

        both our asses fired.

    EXT.  SEAHAVEN ELEMENTARY SCHOOL - DAY

    TRUMAN hurries MARLON up the school steps.  The sound of

    children's voices continues to drift out from inside the

    building.  Truman and Marlon storm into the school reception

    area -- still empty.

    INT.  SCHOOL CORRIDOR - DAY

    TRUMAN and MARLON stand outside the classroom, the source of

    the children's voices.  Truman throws his friend an "I-told-

    you-so" look and swings open the door with a flourish.

    INT.  CLASSROOM - DAY

    The once-empty classroom is now full of SCHOOL CHILDREN in an

    art class.  A hush falls over the students and all eyes turn

    to TRUMAN and MARLON.

                 TEACHER

             (gesturing to two unoccupied

              easels)

        Would you care to join us?

    EXT.  CLIFFTOP - DUSK

    Hand-over-hand, TRUMAN climbs the cliff he once scaled as a

    seven-year-old.  Finally, he sits on the clifftop, staring out

    at the view his father had been so desperate for him not to

    see twenty-six years earlier.  However, the deserted bay

    beyond is identical to its neighbor.  MARLON, laboring, crests

    the rise and joins his friend on the clifftop.

                 MARLON

        What're we doing here, Truman?

                 TRUMAN

        This is where it started.

                 MARLON

        What exactly?

                 TRUMAN

        Things.  Things that doesn't fit.

             (another thought occurs)

        Maybe I'm being set up for

        something.  You ever feel like

        that, Marlon?  Like your whole

        life has been building to something?

                 MARLON

             (blank)

        No.

                 TRUMAN

             (ignoring the remark)

        When you were hauling chickens for

        Kaiser Poultry, what was the

        furthest you ever went off the

        island?

                 MARLON

        I went all over but I never found

        a place like this.

             (nodding to the setting sun)

        Look at that sunset, Truman.  It's

        perfect.

                 TRUMAN

             (in a daze)

        Yeah...

                 MARLON

             (glancing heavenwards)

        That's the "Big Guy." Quite a

        paintbrush he's got.

                 TRUMAN

        Just between you and me, Marlon,

        I'm going away for a while.

                 MARLON

        Really?

    INT.  LIVING ROOM - TRUMAN'S HOUSE - NIGHT

    Truman sits cramped on his sofa.  Pulling wider, we discover

    the cause of his discomfort.  He is sandwiched between MERYL

    on one side and MOTHER on the other.  Mother, the family

    historian, a stack of photograph albums at her feet, turns the

    pages of the album on Truman's lap.

                 TRUMAN

        We ought to be getting you back,

        Mother.

                 MOTHER

        Hold on a minute, dear.

             (pointing out a photo

              in the album)

        Here's us at Mount Rushmore.  You

        remember, Truman -- when Dad was

        still with us -- that was quite a

        drive.  You slept all the way

        there.

                 TRUMAN

             (taking an interest in

              the monument)

        It looks so small.

                 MOTHER

             (quickly turning the page)

        Things always do -- when you look

        back.

    Mother skips several pages in the album, finally stopping at a

    spread of wedding photos.

                 MERYL

        Look, Truman, there's my cousin

        Errol putting the bouquet down his

        pants -- it was the happiest day

        of our lives.

                 MOTHER

             (referring to Meryl)

        Didn't she look beautiful, Truman? 

        She still does.

    Mother turns to a blank page in the album.

                 MOTHER

        And there's plenty of room for baby

        photos.  I'd like to hold a

        grandchild in my arms--

             (dabbing her eye with

              a handkerchief)

        -- before I go.

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

                 MERYL

        I'll take you home, Angela.

             (referring to the album)

        Why don't you leave those with us

        for a while?

                 TRUMAN

             (kissing his emotional

              mother)

        Good night, Mother.

                 MERYL

             (a wink to Truman)

        See you in a minute, sweetheart.

    Meryl departs with Mother.  Left alone in the living room,

    Truman slumps back down onto the sofa and switches on the

    television set -- an old-fashioned model with rabbit-ears.  He

    idly studies the photograph album as an over-earnest

    television HOST announces the upcoming program.

                 TV HOST

        -- Tonight's golden-oldies is the

        enduring, much-loved classic,

        "Show Me The Way To Go Home." A

        hymn of praise to small-town life

        where we learn that you don't have

        to leave home to discover what the

        world is all about and that no one

        is poor who has friends...

    However, when we turn our attention away from the television,

    we find that Truman is peering intently at a wedding

    photograph of Meryl and himself taking their vows in a civil

    ceremony in a beachside gazebo.  Under the scrutiny of a

    magnifying glass, he discovers that Meryl has her fingers

    crossed.

    INT.  A LIVING ROOM SOMEWHERE - NIGHT

    The TWO LADIES sit on their sofa, a rug across their knees,

    sipping a night cap of hot chocolate.  They stare into camera.

                 OLD LADY 1

        Remember at the wedding -- that

        dog?

                 OLD LADY 2

        Started howling when they took

        their vows.

                 OLD LADY 1

        And the plastic horseshoe fell off

        when they cut the cake.

                 OLD LADY 2

             (shaking her head ruefully)

        They never had a chance.

    INT.  KITCHEN - MORNING

    TRUMAN, dressed casually in weekend attire, is at the stove

    preparing an omelette.  MERYL hurries into the kitchen in her

    nurse's uniform.  She gulps down a cup of coffee and reaches

    for her nurse's cap.

    However, she still has time to adjust the position of a pack

    of "FibreCon Cereal" -- squaring it a little more to camera.

                 TRUMAN

        I have to talk with you.

             (looking about, suspicious)

        But not here.  Let's go for a

        walk.

                 MERYL

             (kissing him on the cheek)

        I'm sorry, I'm late.

                 TRUMAN

        What's the hurry?

                 MERYL

        Surgery.  The elevator disaster

        downtown on the new last night. 

        Cable snapped, a car dropped ten

        floors.  Non-union contractors. 

        Monsters.  We're starting with an

        amputation.

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

                 MERYL

        That building's near yours. 

        Imagine it you'd been in there for

        some reason.  It doesn't bear

        thinking about.

    Truman, lost in thought, picks up the scalding frying pan with

    his bare hand.  Letting out a howl of pain, he drops the pan.

                 TRUMAN

        Arrah!

                 MERYL

        Oh, my God!

                 TRUMAN

        What do I do?

                 MERYL

        I don't know--

                 TRUMAN

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

                 MERYL

        Put some butter on it -- or once?

    She looks up the kitchen clock.

                 MERYL

             (hurrying out the door)

        Oh, look at the time.

    Truman stares after her, the pain of his hand forgotten for

    the moment.  He watched Meryl ride her bicycle down the

    driveway.  Truman exits the house.

    EXT.  SEAHAVEN STREET/HOSPITAL/PARKING LOT - DAY

    Riding a bicycle of his own, TRUMAN follows MERYL to work,

    staying a safe distance back.  He watches her enter the

    hospital.

    INT.  HOSPITAL - DAY

    TRUMAN makes his way along various corridors.  All seems as it

    should -- DOCTORS confer with NURSING STAFF and PATIENTS,

    gurneys are wheeled about with their PASSENGERS looking

    suitably traumatized.  Truman approaches a NURSING SISTER.

                 TRUMAN

        I'm looking for my wife -- Nurse

        Burbank.  It's important.

                 NURSE

             (checking her clipboard)

        I'm afraid that's impossible --

        she's in pre-op.

                 TRUMAN

        Sure.  Okay.  Fine.  Can you pass

        on a message?

                 NURSE

        I'll try.

                 TRUMAN

        Tell her, tell her... I had to go

        to Fiji.  I'll call her when I

        get there.

                 NURSE

        When you get to Fiji?

                 TRUMAN

        You got it.

                 NURSE

        Fine.  I'll tell her.

    The nurse walks off, disappearing through a set of doors. 

    Truman hesitates before following her.

    INT.  VARIOUS HOSPITAL CORRIDORS - DAY

    The NURSE walks briskly -- fewer people about, TRUMAN

    discreetly following behind.  The nurse breaks into a jog. 

    Truman hurries to keep up with her -- dodging around gurneys,

    JANITORS mopping floors.

    INT.  OUTSIDE OPERATING THEATRE - DAY

    The NURSE, hastily scrubbed and gowned, enters the theatre. 

    TRUMAN hesitates but dares not enter.  He grabs a mask of his

    own.

    Looking through the glass window in the operating theatre

    door, he sees the YOUNG WOMAN (seen in the hastily fixed

    elevator car the day before) lying on the operating table, a

    blood-soaked bandage covering her left leg.  MERYL, wearing a

    surgical gown and mask, assists the SURGEON.  The SISTER

    hovers nervously in the background.

                 SURGEON

        Scalpel.

    Meryl very slowly selects a scalpel from a tray of instruments

    and awkwardly hands it to the surgeon.

                 SURGEON

        I'm now making my primary incision

        just above the left knee.

    The patient's eyes blink open in horror.  The ANESTHETIST

    steps in Truman's view before he can get a good look. 

    Suddenly, a SECURITY GUARD appears beside Truman and takes

    him by the arm.

                 SECURITY GUARD

             (referring to the operation)

        This isn't gonna be pretty.  Unless

        you're family of the patient, I'll

        have to ask you to leave.

                 TRUMAN

        No problem.  I don't want to cause

        any trouble.

    INT.  AGENCY - DAY

    TRUMAN takes a seat at the only desk in an empty travel

    agency.  The travel brochures and posters that adorn the

    walls all feature destinations that bear a striking

    similarity to picturesque Seahaven.  Another poster spells

    out the dangers of travel -- "TRAVELLERS BEWARE -- Terrorists,

    Disease, Wild Animals, Street Gangs." A female TRAVEL AGENT

    enters from a rear door.

                 AGENT

        I'm sorry to keep you.  How can I

        help?

                 TRUMAN

        I want to book a flight to Fiji.

                 AGENT

        Where exactly?

                 TRUMAN

             (believing she is being

              deliberately obtuse)

        Fiji.

                 AGENT

             (a grace of condescension)

        Where in Fiji?  What island?

                 TRUMAN

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

                 AGENT

             (entering the destination

             in her computer)

        Viti Levu.  For how many?

                 TRUMAN

             (finding the question suspicious)

        One.

                 AGENT

        When do you want to leave,

        remembering, of course, you do lose

        a day on the way there?

                 TRUMAN

        Today.

                 AGENT

             (reading off her computer

              screen)

        I'm sorry.  I don't have anything

        for at least a month.

                 TRUMAN

             (suspicious)

        A month.

                 AGENT

             (patently explaining)

        It's the busy season.

                 TRUMAN

             (paranoia showing)

        You are a travel agent, aren't you?

             (reading her nametag)

        "Doris"?  Your job is to help

        people travel.

                 AGENT

             (showing amazing restraint)

        I do have a fabulous rate on a

        cruise ship departing for Fiji

        tomorrow.  But you wouldn't want

        to do that.

                 TRUMAN

        Why wouldn't I?

                 AGENT

        I thought you were in a hurry.

                 TRUMAN

             (calming down)

        That's right.

                 AGENT

        You want to book the flight?

                 TRUMAN

        It doesn't matter.  I'll make other

        arrangements.

    EXT.  CITY STREET - DAY

    Emerging onto the street, TRUMAN looks across to the building

    which he entered the previous day.  It is now cordoned off

    with police tape after the elevator disaster.  Flowers have

    been laid at the doorway.

    EXT.  GREYHOUND BUS STATION - DAY

    A Greyhound Bus, bound for "CHICAGO" according to its

    destination sign, sits idling at the stop.  Just as a burly

    SUPERVISOR is about to wave the bus on its way, TRUMAN dashes

    into the station.

                 BUS DRIVER

        Last call for Chicago.

    Truman jumps onto the bus behind the last boarding passenger

    -- a YOUNG SOLDIER.

                 TRUMAN

             (to the Bus Driver, as he

              boards the bus)

        Windy City, here we come.

    INT.  GREYHOUND BUS - DAY

    TRUMAN takes a seat by a window.  An awkward silence descends

    over the bus.  The other passengers -- a MOTHER with a

    restless CHILD, several TOURISTS, an OLD COUPLE and the YOUNG

    SOLDIER -- all stare stiffly straight ahead, averting their

    eyes from Truman.

    No one is more uncomfortable than the BUS DRIVER.  Beads of

    perspiration on his head, he fumbles for the gear shift,

    apparently unsure how to operate it.  The gears grind.

    The OTHER PASSENGERS try not to notice.  The CHILD, tugging

    her MOTHER's sleeve, points to Truman.  Her mother makes her

    face the front of the bus.  Finally the SUPERVISOR enters the

    bus.

                 SUPERVISOR

        Everybody off.  We've got a problem.

    The relieved passengers hurriedly exit until Truman is the

    only one remaining on the bus.  The Bus Driver looks almost

    sorry for Truman who sits resolutely in his seat -- the hint

    of a tear of frustration in his eyes.

                 BUS DRIVER

             (softly)

        I'm sorry, son.

    INT.  A BAR SOMEWHERE - DAY

    The bar seen earlier.  A small group of PATRONS discuss

    developments.  The WAITRESS seems upset, occasionally

    glancing to camera as se pours a beer.

                 PATRON 1

        Why would he want to go to Chicago? 

        Who does he know from there?

                 PATRON 2

        His doctor came from Chicago, didn't

        he?

                 PATRON 1

        Wasn't his father from Chicago?

                 WAITRESS

             (upset)

        He's not going to Chicago.  He's not

        going anywhere.  He has to have it

        out with Meryl.

    EXT.  STREET - TRUMAN'S BICYCLE - DAY

    As TRUMAN rides home with his bicycle, he stares wildly about

    him -- the rearview mirror on his bicycle is suddenly cause

    for concern, so are the trees and streetlamps lining the

    roadway.

    EXT.  TRUMAN'S BACKYARD - DAY

    TRUMAN, staring at the highway from the bottom of the garden,

    doesn't bother to look up as MERYL, still wearing her nurse's

    uniform, approaches.

                 TRUMAN

             (referring to a distant

              car on the expressway)

        See that car way down there?  I bet

        it's a Suburu station wagon.

    Meryl looks idly over the fence at the approaching car. 

    Finally, a Suburu station wagon motors by.  Meryl is

    unimpressed.  Truman turns his back on the highway to

    continue his game.

                 TRUMAN

        I predict the next four cars will

        be a white Honda Civic, a blue and

        white Dodge Dart with the front

        hubcap missing, a Volkswagen

        Beetle with a dented fender and a

        motorcycle.

    Meryl doesn't wish to participate in the game and makes for

    the house.  Truman holds her arm, forcing her to watch.  He

    turns to check his prediction.  A convoy of cars approaches.

                 TRUMAN

        There's the Honda... the Dodge...

        here comes that dented Beetle...

    Meryl's attention wavers.  Truman tightens his grip.

                 TRUMAN

        Look!

    Following the VW is a school bus.

                 MERYL

             (mocking)

        Where's the motorcycle?

    Truman is momentarily disappointed.

                 TRUMAN

        Don't you want to know how I did

        that?

    A motorcycle putters by.  Meryl turns and walks back to the

    house.  He hurries after her.

                 MERYL

        I invited Marlon and Rita for a

        barbecue Sunday.  I thought I'd

        make my potato salad.  Remind me--

                 TRUMAN

        I won't be here Sunday.

                 MERYL

        -- we need more charcoal.

                 TRUMAN

        Are you listening to a word I'm

        saying?

                 MERYL

        You're upset because you want to go

        to Fiji.  Is that it?

    Truman is puzzled by her conciliatory tone.

                 MERYL

        Okay, do it.  Get it out of your

        system.  Save for a few months and

        go.  There.  Happy now?  I'm going

        to take a shower.

    She turns away.

                 TRUMAN

             (catching her wrist)

        Let's go now.

                 MERYL

        What?!

    Despite her protests, Truman drags Meryl towards his car.

                 TRUMAN

             (as he shoves her

              into the car)

        I'm ready to go now.  Why wait?

    INT.  TRUMAN'S CAR - DAY

    TRUMAN holds MERYL's wrist to stop her exiting the car and

    accelerates out of the driveway in reverse without looking --

    almost running over PLUTO the dog and SPENCER with his

    garbage can.

    Truman starts circling a gazebo at the center of a roundabout,

    faster and faster.

                 TRUMAN

        Where shall we go?  Where shall we

        go?  Spontaneity is what it's all

        about.  Forget Fiji.  We can't very

        well drive to Fiji, can we?  What

        about Atlantic City?

                 MERYL

             (trying to mask her

              anxiety)

        You hate gambling.

                 TRUMAN

        That's right.  I do, don't I?

                 MERYL

        So why do you want to go?

                TRUMAN

        Because I never have.  That's why

        you go places, isn't it?

                 MERYL

        Truman, I think I'm going to throw

        up.

    Truman roars off down the street.

                 TRUMAN

        Me too.

    Almost immediately, Truman encounters a traffic snarl.

                 TRUMAN

             (a magic edge to his voice)

        So much traffic, this time of day. 

        Does that strike you as peculiar?

    Without warning, Truman suddenly drives down a sidestreet. 

    But his move is anticipated.  At the end of the street, a

    pack of cars suddenly appears.  Other vehicles fill the gap

    behind.

                 TRUMAN

             (to Meryl, marveling)

        Blocked at every turn.  Beautifully

        synchronized, don't you agree?

                 MERYL

             (incredulous)

        You blaming me for the traffic?

                 TRUMAN

        Should I?

    Truman reverses suddenly and makes a U-turn.

                 TRUMAN

        You're right.  We could be stuck

        here for hours.  Could be like this

        all the way to Atlantic City.  Let's

        go back.  I'm sorry.  I don't know

        what got into me.

    Truman starts heading back the way they came, the roadway now

    relatively free of traffic.

                 MERYL

        Would you please slow down, Truman?

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

                 MERYL

        Truman, that was our house!

                 TRUMAN

        I've changed my mind again.  What's

        New Orleans like this time of year? 

        Mardi Gras.  Or let's just see where

        the road takes us.

                 MERYL

             (pleading)

        Let me out, Truman.  You're not

        right in the head.  You want to

        destroy yourself, you do it on your

        own!

                 TRUMAN

             (eerily calm)

        I think I'd like a little company.

    As he speeds erratically, Truman glances at the streets on

    either side of the main road where he discovers a distinct

    lack of moving traffic.

                 TRUMAN

             (to the anxious Meryl

              at his side)

        Look, Meryl.  No cars!  I don't run

        into traffic.  The traffic follows

        me around.

             (excited by is discovery)

        We're in a moving pack, don't you

        see?

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

    But TRUMAN 's clear path is short-lived.  He is forced to

    slow once again behind a line of other cars at a bridge.

                 TRUMAN

             (to Meryl)

        It's hard to go places, isn't it?

                 MERYL

             (looking up ahead at

              an overturned car)

        There's been an accident, Truman.

                 TRUMAN

        Uh-huh.  There's no accident.  It's

        just more stalling.

    Truman floors the car again and swerves into the oncoming

    lane.  He roars along the bridge on the wrong side of the

    road.  Near the end of the bridge, a distraught MOTORIST

    dashes into the middle of the road, waving his arms.  Truman

    slams on the brakes.

                 MOTORIST

             (pointing to a small BOY

              lying very still on the

              ground beside a wrecked

              car)

        -- is there a doctor, a nurse?

                 MERYL

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

        help--

                 TRUMAN

             (hardly glancing to the boy)

        He'll be fine.

    Truman roars on, almost bowling over the concerned motorist.

                 MERYL

        Truman, I took the "hypocrite" oath!

                 TRUMAN

        I bet you did.

    Truman roars past a sign that reads, "YOU ARE NOW LEAVING

    SEAHAVEN -- Are you sure that's a good idea?"

    Back at the accident scene, the little boy, apparently

    uninjured, sits up.

    INT/EXT.  CAR - DAY

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

    Extreme Danger"

                 MERYL

        Truman, what about that sign?

                 TRUMAN

        I'm sure they're just exaggerating.

    Suddenly, a 20-foot high wall of flame shoots across the

    roadway in front of them -- as if someone flicked on a gas

    switch.

                 MERYL

        What about that -- do you believe

        that?!

    TRUMAN experiences his first moment of doubt.  He looks to

    the terrified MERYL, then closes his eyes tightly and

    accelerates through the fire wall.  He is startled to find

    that they have emerged on the other side, singed but

    unscathed.

    However, the open road in front of them now disturbs Truman

    for a different reason -- its sheer lack of anything unusual. 

    Signs along the road advertise motels and give directions to

    other destinations -- "I-6211 -- 2 miles," "Notel Motel --

    Pool, Color TV."

    Meryl also now appears to be resigned to the journey.

                 MERYL

        So what do we do for money when we

        get to New Orleans?

                 TRUMAN

             (not so confident now)

        I've got my Seahaven Bankcard.

                 MERYL

        So we just eat into our savings, is

        that the idea?  I'd better call your

        mother when we get there.  She'll be

        worried sick -- I don't know how

        she's going to take this.

    Truman appears very unsure of himself.

    EXT.  ROADWAY - DAY

    However, there is still a barrier between TRUMAN and Bourbon

    Street.  The highway, leading to a cloverleaf freeway

    junction in the distance, is completely blocked off by

    Seahaven police cars.  No way past.  Nuclear silos in the

    distance spew out an ominous puff of smoke.  A sign reads,

    "SEAHAVEN ISLAND NUCLEAR POWER STATION -- Clean, Safe,

    Economical -- More Power To You!"

    Truman is forced to slow at the police barricade.

                 TRUMAN

        Now what?

                 OFFICER

             (grim-faced, indicating

              the nearby power plant)

        Leak at the plant.  They had to shut

        her down.

                 TRUMAN

        Is there any way around?

                 OFFICER

        The whole area's being evacuated.

                 TRUMAN

        Well, thank you for your help.

                 OFFICER

        You're welcome, Truman.

    Truman's eyes widen at the mention of his name from an

    apparent stranger.  As the officer turns, Truman bolts from

    the car, leaving MERYL in the passenger seat.

                 MERYL

        Truman!!  Come back!!

    Truman flees into the forest.

    INT.  A LIVING ROOM SOMEWHERE - DAY

    The TWO OLD LADIES we have observed before are almost

    overcome with tension.  One lady reaches out for her

    companion's hand.

    EXT.  FOREST NEAR SEAHAVEN NUCLEAR POWER PLANT - DAY

    TRUMAN bursts past the alien-looking HAZARDOUS WATER WORKERS

    in their protective suits carrying detection instruments. 

    The workers give chase in their cumbersome suits, trying to

    cut off his path.

    Nearing the edge of the forest, Truman hears the sound of

    hammers and saws.  But before he has time to see the source

    of the sound, he is tackled to the ground.

    As SEAHAVEN POLICE OFFICERS drag him away, one of the WASTE

    WORKERS walks the remaining few yards, pushing aside a wall

    of tropical foliage.  We now see what Truman was prevented

    from seeing.

    A Polynesian island is under construction by dozens of

    RIGGERS, PAINTERS and SET DECORATORS.  Large cranes are

    lifting palm trees into place, a fake volcano is being

    tested in the distance and rehearsals for a firewalking

    ceremony are underway complete with hot coals, DRUMMERS and

    FIREWALKERS in native dress.

    The wings and fuselage of an airliner are being constructed

    on a hydraulic gimbal.  Leading into one side of the airliner

    is a covered walkway, emblazoned with a sign, "Seahaven

    Island -- Departures." Emerging from the opposite side of the

    airliner is an old-fashioned airline stairway with the sign,

    "Welcome to Fiji."

    At the foot of the steps, TWO WOMEN in Fijian dress are being

    shown the correct way to present a floral lei.

                 FIJI WOMAN

        Did he see us?

                 WASTE WORKER

             (into microphone)

        Negative.

    INT.  TRUMAN'S HOUSE - KITCHEN - NIGHT

    MERYL sows TWO SEAHAVEN POLICEMEN out the back door.

                 MERYL

        Thank you.

                 POLICEMAN 1

        You're lucky he's no glowing, Ma'am. 

        Next time we'll have to file charges.

    Meryl joins TRUMAN at the kitchen table.  Truman applauds

    ironically.

                 MERYL

        Let me get you some help, Truman. 

        You're not well.

                 TRUMAN

             (ignoring her

              medical advice)

        Why do you want to have a child with

        me?  You can't stand me.

                 MERYL

        That's not true.

    Meryl picks up a package and holds it to camera.

                 MERYL

        Why don't I make you some of this

        new Mococoa Drink?  All natural. 

        Cocoa beans from the upper slopes

        of Mount Nicaragua.  No artificial

        sweeteners--

                 TRUMAN

             (incredulous)

        -- What the hell are you talking

        about?!

                 MERYL

        I've tasted other cocoas.  This is

        the best.

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

                 TRUMAN

        What the hell has that got to do with

        anything?  Tell me what's happening?!

                 MERYL

             (frightened but

              remaining poised)

        You're having a nervous breakdown,

        that's what's happening.

                 TRUMAN

             (backing her up against

              the kitchen bench)

        You're part of this, aren't you?!

    Meryl grabs the "Chef's-Mate" from the counter to protect

    herself.  She points the potato peeler at him.

                 MERYL

        Truman, you're scaring me!

    Truman looks into her eyes and, with surprising swiftness,

    grabs her wrist and disarms her.

                 TRUMAN

        No, you're scaring me, Meryl!

    Truman grabs Meryl and turns the Chef's Mate on her.  He

    stares wildly about him.

                 TRUMAN

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

                 MERYL

        Do something...

    Upon hearing her remark, Truman's eyes widen.  Sensing that

    she too is addressing a third person, he jerks her head

    around to read her face.

                 TRUMAN

             (wild-eyed)

        Who were you talking to?!

                 MERYL

             (incredulous)

        You're the one talking to the walls!

                 TRUMAN

        No.  You said, "Do something."  Who

        were you talking to?  Tell me!

                 MERYL

        Truman, stop it!

    Suddenly, the front door chimes.

                 TRUMAN

        Right on time.  Cops must be

        telephatic.

    Truman grabs is peeler and marches Meryl down the hallway to

    the front door.  The doorbell chimes a second and third time,

    more insistently.

                 TRUMAN

             (shouting through

              the closed door)

        Stay where you are!

             MARLON (O.C.)

        Truman?  It's me, Marlon.  I need to

        talk to you.

    Truman flinches.  He was so convinced it would be the police. 

    He takes a step back against the hallway wall.  Before he can

    decide what to do, MARLON has opened the unlocked front door

    to be confronted with the sight of Truman holding the peeler

    to Meryl's throat.

    Marlon locks eyes with Truman.  Sizing up the situation, he

    slowly but decisively removes the peeler from Truman's hand. 

    Meryl wrenches herself free from Truman's now limp grasp and

    collapses into Marlon's arm, sobbing.

                 MERYL

             (distraught)

        How can anyone expect me to carry

        on under these conditions?  This

        is... unprofessional.

    EXT.  UNFINISHED BRIDGE - NIGHT

    MARLON and TRUMAN, both nursing bottles of beer, sit on the

    end of the unfinished bridge.

                 TRUMAN

        I don't know what to think, Marlon. 

        Maybe I'm going out of my mind,

        but I get the feeling that the

        world revolves around me somehow.

                 MARLON

        It's a lot of world for one man. 

        You sure that's not wishful thinking,

        you wishing you'd made something

        more of yourself?  Christ, Truman,

        we hasn't sat on the Jon and had an

        imaginary interview on "Seahaven

        Tonight"?  Who hasn't wanted to be

        somebody?

                 TRUMAN

        This is different.  Everybody seems

        to be in on it.

    Marlon looks around as if drawing inspiration from somewhere

    in the night.

                 MARLON

        Tru, we've known each other since

        before we were in long pants.  The

        only way we ever made it through

        high school was cheating off each

        other's test papers.  Jesus, they

        were identical.  I always liked that,

        because whatever the answer was--

    Truman chimes in, nodding fondly at the memory.

                 TRUMAN &amp; MARLON

        -- we were right together and we

        were wrong together.

                 MARLON

        The only night either of us ever

        spent in jail, we spent together

        and I wet myself but you never told

        anyone.  I was best man at your

        wedding and my brother was best man

        at my wedding and you didn't talk

        to me for a month over that and I

        didn't blame you because you've

        been more of a brother to me than

        he's ever been.

    Truman is slowly coming around -- Marlon's speech from the

    heart soothing away his pain.

                 MARLON

        I know things haven't worked out

        for either of us like we used to

        sit up on Monroe Avenue all night

        and dream they would.  We all let

        opportunities pass us by.  None of

        us asks for the dance as often as

        we should.  I know that feeling

        when it's like everything's

        slipping away look for answers

        someplace else.  But, well, the

        point is, I would gladly step in

        front of traffic for you.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF stares intently into camera, holding his distinctive

    earpiece to his head.  Beside him, his ever-present assistant,

    CHLOE.

                 CHRISTOF

             (hushed tones)

        And the last thing I'd ever do is

        lie to you.

    EXT.  FREEWAY - NIGHT

                 MARLON

             (staring into Truman's eyes)

        And the last thing I'd ever do is

        lie to you.

             (pause)

        Think about it, Truman, if

        everybody's in on it, I'd have to

        be in on it too.  I'm not in on it,

        because there is no it.

                 TRUMAN

        So what are you saying, Marlon, the

        whole thing has been in my head--?

                 MARLON

             (meeting his gaze)

        Not the whole thing, Truman.  You

        were right about one thing.

                 TRUMAN

        What's that?

                 MARLON

        The thing that started all of this.

    TRUMAN looks up in the direction of MARLON's gaze.  A FIGURE

    stands at the end of the freeway -- a homeless man.  It is

    his father, KIRK.

                 MARLON

        Yes, he survived somehow.  He's got

        quite a story to tell.

    Marlon helps Truman to his feet -- Truman still transfixed by

    the figure.

                 MARLON

        Go to him.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF continues to direct the action from what is now

    revealed to be the control room of a television studio.

                 CHRISTOF

        Go wide, LightCam Eight...

    In a wide shot, from one of the streetlights lining the

    empty freeway, we see TRUMAN walking towards his long-lost

    FATHER.

                 CHRISTOF

        ... CurCam Twelve... and ... cue

        music... Beethoven, Third Symphony,

        Second Movement.

    Music swells.  Kirk and Truman embrace in the middle of the

    freeway.  Truman takes his father's ring from his own finger.

                 CHRISTOF

        ... RingCam...

    We see a close up of Kirk from the ring's POV.  Truman places

    the ring in the palm of his father's hand.

                 CHRISTOF

        ... ButtonCam Three...

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

                 TRUMAN

        I never stopped believing.

                 KIRK

             (gazing the ring, then

              up to Truman's face)

        Thank you... my son.

                 CHRISTOF

        And wide...

    SIMEON looks to his director.

                 SIMON

        Close up?

                 CHRISTOF

             (staring intently

              at his monitor)

        No, hold back...

    The CREW watches Kirk and Truman embrace.

                 KIRK

        All those years, wasted.

                 TRUMAN

        We have a lot of years ahead.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF allows himself a smile of satisfaction.

                 CHRISTOF

        And fade up music... now go in close

        ...

    As a tight two-shot of father and son fills the screen, the

    orchestra swells with triumphant music.

    EXT.  FREEWAY - NIGHT

    FATHER and SON remain in the embrace.  Over Truman's shoulder,

    we see a flash of guilt flicker across MARLON's face.

    INT.  CONTROL ROOM -- NIGHT

    CHRISTOF, emotionally drained by the events, slumps in his

    chair.  CHOLE rests a supportive hand on his shoulder.  The

    head of the network, MOSES, a man in his seventies, enters

    with his young assistant, ROMAN -- their faces full of

    admiration.

                 MOSES

        Well done.  Well done, everyone.

    INT.  A BEDROOM SOMEWHERE - NIGHT

    A YOUNG WOMAN reclines on a bed, her back against the wall. 

    Propped up on her knees is a book.  However, she's not

    reading but staring straight into camera -- a look of

    profound sadness on her face.  It is SYLVIA.

    From her point-of-view, we see a portable television set on a

    table at the foot of the bed.

    On the television is a live picture of TRUMAN -- the first

    time we have seen him on a television screen.  He is sitting

    at his kitchen table, unaware of the camera recording him.

    The shot is static.  He just sits there in silence, a

    steaming cup of cocoa in front of him and a plate of

    untouched cookies.

    At one point, a sponsor's border, appears on the screen,

    tastefully framing the "action," with the message, "MOCOCOA

    -- Cocoa beans from the upper slopes of Mount Nicaragua."

    After several seconds the border disappears.

    Suddenly, the live picture of Truman shrinks into a window on

    the screen to accommodate a title sequence that begins to

    play around the edge of the image.  "The Truman Show" theme

    music begins.

    The camera cranes up and over the Hollywood sign, the

    flatlands of Burbank stretching into the distance.

                 ANNOUNCER (V.O.)

        From the network that ever sleeps --

        broadcasting live and unedited 24

        hours a day, 7 days a week, around

        the globe...

    During this continuous aerial shot, overlapping scenes from

    Truman's life appear in chronological order, from infancy to

    adolescence and finally adulthood.  Photographs of leading

    CAST MEMBERS also appear in individual frames.

                 ANNOUNCER (V.O.)

        ...with Hannah Gill as Meryl Burbank,

        Louis Coltrane as Marlon, Alanis

        Montclair as Mother, re-introducing

        Walter Moore as her husband, Kirk...

    The music swells as the camera approaches a mammoth structure

    at the base of the mountains -- a dome so vast it dwarfs

    everything around it.  At the top of the dome is a huge

    painting of Truman's face encircled by satellite dishes --

    inside each dish is a single letter spelling out, T-H-E T-R-U-

    M-A-N S-H-O-W -- a banner proclaims, "30th Great Year."

                 ANNOUNCER (V.O.)

        ...and Truman Burbank as Himself,

        taped in the world's largest studio,

        one of only two man-made structures

        visible from space, comes the

        longest running documentary soap

        opera in story, now in its 30th

        great year -- "The Truman Show"!

    The camera rushes towards the outside wall of the gigantic

    dome bathed in sunlight.  When we emerge on the other side,

    it is night.  The camera cranes up from a calm, moonlit ocean

    to the night sky above.  As we near the crescent-shaped moon,

    we discover that it is actually a window overlooking Seahaven. 

    Standing in the "crater" window is the suited CHRISTOF.

    INT.  LUNAR STUDIO - NIGHT

    Pulling back from the window we reveal an INTERVIEWER, mid-

    forties, conservative suit and hair.  A large television

    shows a live picture of Truman.  Immersed in his book.

                 INTERVIEWER

        I'm your host, Mike Michaelson,

        coming to you live from the Lunar

        Room on the 121st story of the

        OmniCam Ecosphere, 2800 feet above

        Seahaven Island.  Tonight, a

        special edition of "Tru Talk," the

        forum where we discuss and analyze

        recent events on the show.  We are

        honored to bring you a rare and

        exclusive interview with the show's

        conceiver, creator, televisionary,

        the Man-In-The-Moon himself --

        Christof.

             (referring to the

              image of Truman

              between them)

        I remind viewers that as "The

        Truman Show" is a living history,

        it is our practice to keep the

        image of Truman on screen at all

        times.

    A TITLE APPEARS: Due to the Live and Unedited nature of the

    program, viewer discretion is advised.

    The Interviewer turns to Christof.

                 INTERVIEWER

        Welcome.

                 CHRISTOF

        Thank you.

                 INTERVIEWER

        Te catalyst for the recent dramatic

        events was, of course, Truman's

        father, Kirk, and his infiltration

        onto the show.  Before we discuss

        that, it's worth reminding viewers

        that this isn't the first time

        someone from the outside world has

        tries to reach Truman.

                 CHRISTOF

        We have had our close calls in the

        past.

    Behind the two men, the constantly playing image of Truman

    engrossed in his book is relegated to a window of the screen.

    PLAYBACK - INT.  TRUMAN'S HOME - CHRISTMAS MORNING

    TRUMAN, 7, is opening present under the tree -- KIRK and

    MOTHER proudly looking on.

                 INTERVIEWER

        Who can forget the infamous

        "Christmas Present" incident in the

        seventh season?

    Suddenly, a small MAN bursts from a large, Christmas parcel. 

    Kirk and the man grapple on the floor in front of the stunned

    seven-year-old.  Kirk drags him away.

    PLAYBACK - EXT.  CITY STREET - DAY

    As the adult TRUMAN makes his way to work, a PARACHUTIST

    drops from the sky into the main street, only yards behind

    him.

                 INTERVIEWER

        And only last summer "Billie

        Blackbird" made his third attempt,

        leaping from a lighting gantry.

    The parachutist is dressed entirely in black with a message

    emblazoned on his chest, "TRUMAN, YOU'RE ON TV." COMMUTERS

    grab the man and drag him away -- Truman blissfully unaware

    of the incident.

                 CHRISTOF

             (dismissive)

        These people have their own agendas. 

        Many just want to be on television

        themselves.

    PLAYBACK - EXT.  CITY STREET - DAY

    The encounter between TRUMAN and the homeless KIRK is

    replayed up to the point where Kirk is bundled onto the bus.

                 INTERVIEWER

        Of course, there has been anything

        to compare with this -- the first

        time an intruder has been a former

        cast member--

                 CHRISTOF

        -- a dead one at that.

                 INTERVIEWER

        -- and certainly the first time that

        an intruder has been rewarded with

        a starring role.

             (gushing)

        I really must congratulate you on

        writing Kirk back in.  A master

        stroke.

                 CHRISTOF

        Since Kirk started this whole crisis

        in Truman's life, I came to the

        conclusion that he was the only one

        who could end it.

                 INTERVIEWER

        I understand he's hardly had a life

        of his own since he left the show. 

        How did you convince him -- was it

        the opportunity to be close to

        Truman again?

                 CHRISTOF

        That and a fat, new contract.

                 INTERVIEWER

        How do you intend to explain his

        twenty-two year absence?

                 CHRISTOF

        Amnesia.

                 INTERVIEWER

             (impressed, nodding

              in agreement)

        Of course.

    The Interviewer consults his note.

                 INTERVIEWER

        Let's talk ratings.  "Truman" has

        always enjoyed top ten status but

        the huge surge over the last few

        days -- how do you hope to sustain

        that audience now that Truman

        appears to have reconciled himself?

                 CHRISTOF

        As you know ratings have never been

        our primary goal.  I imagine we'll

        lose those voyeurs only interested

        in witnessing Truman's latest

        torment.  However, I'm certain that

        our core audience will remain loyal.

                 INTERVIEWER

        But recent events have been so

        dramatic, it does raise the

        perennial question.  What keeps us

        watching this one man twenty-four

        hours a day -- eating, sleeping,

        working, sitting for hours in

        contemplation?

                 CHRISTOF

        It has to be the reality.

    During this segment, we cut to a cross-section of VIEWERS --

    the WAITRESS and BARMAN in the bar, the TWO OLD WOMEN on

    their sofa, the TWO SECURITY GUARDS, and the MAN in the bath

    -- listening to Christof's theories on their viewing habits.

                 CHRISTOF

        We've become tired of watching

        actors give us phony emotions,

        bored with pyrotechnics and special

        effects.  While the world he

        inhabits is counterfeit, there's

        nothing fake about Truman himself. 

        No scripts, no cue cards.  It's not

        always Shakespeare but it's genuine. 

        That's how he can support an entire

        channel.

                 INTERVIEWER

        A window onto the human condition?

                 CHRISTOF

        I prefer to think of it as a mirror.

    At that moment, Truman -- still live on the screen --

    unwittingly punctuates the pretentious remark with a belch. 

    Christof and the Interviewer try not to notice.

                 CHRISTOF

        Not only does he give us a glimpse

        of the truth, he gives us a glimpse

        of ourselves.

                 INTERVIEWER

        But how do you account for the

        popularity of those eight hours a

        day when Truman sleeps?

                 CHRISTOF

        We find many viewers leave him on

        all night for comfort.  Haven't you

        ever watched your child or your

        lover sleep?

                 INTERVIEWER

        Let's go to some of those viewers'

        calls.

    The Interviewer presses a blinking, illuminated button on his

    desk's high-tech phone terminal.  During this segment,

    various windows open on the screen advertising products from

    the "Truman" catalogue.

                 INTERVIEWER

        Charlotte, North Carolina, for

        Christof.

                 MALE CALLER 1 (O.S.)

        Hello?

                 INTERVIEWER

        You're on, Caller.  Go ahead.

                 MALE CALLER 1

        Christof, it's a great honor to

        speak with you.

                 CHRISTOF

        Thank you.

                 MALE CALLER 1

        How much of a strain has the last

        few days placed on the actors?

                 CHRISTOF

        Working on "Truman" has always been

        a huge commitment for an actor, not

        just in terms of separation from

        friends and family, but since Truman

        essentially drives the plot, it is

        a never-ending improvisation --

        witness Marlon's extraordinary

        performance in the recent "Father

        And Son Reunion" episode.

                 INTERVIEWER

             (cutting off the call)

        Are we talking Emmies?

                 CHRISTOF

        Certainly a nomination.

                 INTERVIEWER

        Of course, Truman has always been

        very much in on casting.

                 CHRISTOF

        As with our own lives, the only

        people he can't cast are his family. 

        Otherwise he has final approval,

        able to elevate an extra into a

        lead role as was the case with his

        only real friend, Marlon, or

        alternatively relegate a star to a

        bit player.

                 INTERVIEWER

             (presenting another line)

        Istanbul, Turkey, you're on with

        master videographer, Christof.

                 FEMALE CALLER 1 (O.S.)

        Christof, I've admired your work my

        whole life, although I can't say

        I've seen it all.

                 CHRISTOF

        Who can?

                 FEMALE CALLER 1

        Can you settle an argument for me? 

        What's the longest time Truman has

        been off-camera?

                 CHRISTOF

             (trace of pride)

        In his entire life, forty-two minutes. 

        A technical fault in the twelfth

        season accounts for most of that time. 

        The remainder generally results from

        blindspots, in the early days, when

        Truman would stray out of range of

        our cameras.

                 INTERVIEWER

        We should remind viewers that Truman,

        especially as a child, presented a

        challenge for the production.

                 CHRISTOF

             (turning to the screen)

        Let me demonstrate some examples.

    Footage of TRUMAN as a baby appears on the screen -- as a

    newborn INFANT, held in a pair of anonymous latex-gloved

    hands, and as a TODDLER, dressed in various baby outfits --

    on one occasion looking through the bars of his crib.

                 CHRISTOF

        He was curious from birth --

        premature by two weeks, as if he

        couldn't wait to get started.

                 INTERVIEWER

        Of course, his eagerness to leave

        his mother's womb also meant he was

        the one selected.

                 CHRISTOF

             (enthusing)

        In competition with five other

        unwanted pregnancies -- the casting

        of a show determined by an air date

        -- he was the one who arrived on cue.

                 INTERVIEWER

        Who knew that a show originally

        meant to last one year -- "Bringing

        Up Baby." -- would turn into a

        "cradle to grave" concept.  He is

        in face the first child in the world

        to be legally adopted by a

        corporation.

                 CHRISTOF

        That's correct.

                 INTERVIEWER

        And the show now generates a yearly

        income equivalent to the gross

        national product of a small country.

                 CHRISTOF

        People forget it takes the

        population of an entire country to

        keep the show running.

                 INTERVIEWER

        No, of course not.

             (quickly changing

              the subject)

        And since the show runs 24 hours a

        day with no commercial breaks the

        staggering profits are all

        generated from product placement.

                 CHRISTOF

        Yes, everything you see on the show

        is for sale -- from the actors'

        wardrobe, food products, to the

        very homes they live in--

                 INTERVIEWER

        All products carefully chosen and

        tested by you for quality and

        aesthetic value.

                 CHRISTOF

        There's nothing on the show I don't

        use myself.

                 INTERVIEWER

        And it's all available in the

        "Truman Show" catalogue.  Operators

        are standing by.

    Christof nods.

                 INTERVIEWER

        Why do you feel that Truman's never

        come close to discovering the true

        nature of his world?

                 CHRISTOF

        We accept the reality of the world

        with which we're presented.  As the

        show expanded, naturally we were

        forced to manufacture ways to keep

        Truman in Seahaven -- demonstrating

        that every venture is accompanied

        by a risk.

    The SEVEN-YEAR-OLD TRUMAN have seen in other flashbacks

    appears on the screen.  Wearing a cowboy outfit, he goes to

    cross the walkway of a bridge when he is suddenly confronted

    by a savage DOG wearing a spiked collar.

                 CHRISTOF

        Later, Kirk's drowning made much of

        this kind of intervention unnecessary.

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

                 INTERVIEWER

        You've never actually met Truman,

        yourself.  Never thought about doing

        a cameo -- playing a veterinarian,

        or a priest, something like that?

                 CHRISTOF

        I've been tempted.  But I think it's

        important to retain objectivity.  I

        wouldn't want to get emotionally

        caught up.

                 INTERVIEWER

        The Hague for Christof... The Hague?

        ... Lost them.

             (pressing another line)

        Hollywood, California, you're on

        "Tru Talk."

                 FEMALE CALLER 2 (O.S.)

        How can you say he lives a life like

        any other?

                 CHRISTOF

             (sensing the thinly disguised

              resentment in the Caller's

              voice)

        As the Bard says, "All the world's

        a stage, and all the men and women

        merely players." The only

        difference between Truman and

        ourselves is that his life is more

        thoroughly documented.  He is

        confronted with the same obstacles

        and influences that confront us all. 

        He plays his allotted roles as we

        all do --

                 FEMALE CALLER 2

        -- He's not a performer.  He's a

        prisoner.

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

    him.

                 CHRISTOF

             (rising to the challenge)

        And can you tell me, caller, that

        you're not a player on the stage of

        life -- playing out your allotted

        role?  He can leave at any time. 

        If his was more than just a vague

        ambition, if he were absolutely

        determined to discover the truth,

        there's no way we could prevent him. 

        I think what really distresses you,

        caller, is that ultimately Truman

        prefers the comfort of his "cell"

        as you call it.

                 FEMALE CALLER 2

             (as if trying to convince

              herself, giving herself

              away)

        -- No, you're wrong!  He'll prove

        you wrong!  He can still do it!

    The Interviewer hangs up on the caller.

    INT.  A BEDROOM SOMEWHERE - NIGHT

    In a darkly lit room, we see SYLVIA.  It is she who is the

    confrontational Caller -- phone still in her hand.

                 CHRISTOF

        We've learnt about life as Truman

        has and, despite the complaints of

        a minority, it's been an

        overwhelmingly positive experience,

        for Truman and for the viewing

        public.

                 INTERVIEWER

        Let's take another call.

             (pressing a line)

        London, England, you're on "Tru

        Talk."

                 MALE CALLER 2 (O.S.)

        Christof?  Congratulations on the

        way you've always handled Truman's

        "sex" life -- the classical music,

        soft lighting and so on.  But has

        the recent violence caused a

        problem for the show's sponsors?

                 CHRISTOF

        The sponsors know the risks going

        in, although we do try to maintain

        standards -- a level of decorum. 

        For instance, I've never put a

        camera in the toilet.

    Still in silhouette, SYLVIA turns down the volume on the

    television.  Focusing on the window on the screen that

    displays TRUMAN, she comes close to the screen, catching is

    melancholy, saddened by his regression.

    INT.  TRUMAN'S BASEMENT - MORNING

    TRUMAN breathes in the scent of Sylvia's sweater one last

    time before reluctantly replacing it in the trunk, together

    with his book, "To The Ends OF The Earth -- The Age Of

    Exploration" For a final time, he regards his unfinished

    picture of SYLVIA inside -- two holes where the eyes should

    be.  As he does so, he finds two lost paper cuttings -- a

    pair of eyes on the basement floor.  He tries them. 

    Ironically they fit -- the picture completed.  He closes the

    trunk anyway.  With a sense of finality, he fastens the lock.

    INT.  CONTROL ROOM - NIGHT

    The giant ON-AIR monitor in the control room plays a close-up

    shot of Truman sleeping.

    CHRISTOF comes close to the monitor and almost touches the

    screen.  As he does so, Truman twitches in his sleep.

    INT.  BATHROOM -- MORNING

    TRUMAN wipes the mist from the mirror of the bathroom cabinet

    and stares into it in a way he has never done before.

    INT.  CONTROL ROOM -- MORNING

    Close up on the giant ON-AIR monitor in the control room.  It

    displays a wide shot of Truman staring into the bathroom

    mirror.

    We slowly pull back to reveal SIMEON and the other VIDEO

    OPERATORS sitting at the mixing desks arranged in tiers

    reminiscent of an auditorium or NASA's Mission Control. 

    Each mixing desk contains dozen-or-so built-in monitors

    and is designed with a location such as "Truman's House

    -- Interior," "Truman's Office -- Cubicle," "Tyrone's Deli."

    The operator at each desk, sitting in a swivel chair and

    wearing the slimmest of headsets, is responsible for

    monitoring a particular location.

    The monitors cover virtually every facet of Truman's life. 

    Camera angles from the interior of Truman's house, his

    backyard, car, office, the deli he frequents, the seashore

    to which he is drawn, the unfinished bridge where he golfs

    with Marlon -- many of the locations strangely devoid of

    people.

    Simeon, seated in the front row of mixing desks, stares back

    at Truman's image on the monitor, slightly unnerved.

                 SIMEON

             (to a nearby COLLEAGUE)

        Is he looking at us?

    As if to reassure the technician, Truman begins one of his

    familiar monologues.  He talks to the mirror as if being

    interviewed.

                 TRUMAN

        -- What are my plans now?  Well,

        next I'm thinking of tackling the

        Yuba River in a authentic canoe

        from the Algonguin tribe.  I'm

        talking about the north fork, a

        class five rapid -- only I'm not

        going down the Yuba, I'm going up. 

        Do you honestly think for one

        minute I'd go back to some dreary

        office to rubber stamp meaningless

        documents... do you?

                 MERYL (O.C.)

        -- Truman, you're gonna be late!

    Truman sighs as he exits the bathroom.

    EXT.  STREET -- MORNING

    TRUMAN exchanges a cheery greeting with SPENCER.

                 SPENCER

        How are ya, Truman?

                 TRUMAN

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

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

    dog.

    INT.  OFFICE - DAY

    Back at work at the insurance company, TRUMAN sits in his

    cubicle making another of his cold calls.

                 TRUMAN

        -- a forty-five-year-old woman

        sitting in the second row at an

        amateur production of Hamlet,

        Hamlet's dagger slips from his hand

        and flies into the audience...

    A YOUNG WOMAN, carrying a stack of files, catches Truman's

    eye as she passes.  VIVIEN.  She is faintly reminiscent of

    SYLVIA at the same age -- even wearing a similar sweater.

                 TRUMAN

             (returning to his call)

        -- what I'm saying is, life is a

        fragile thing... hullo?

    EXT.  TRUMAN'S BACKYARD - DUSK

    TRUMAN wheels his lawnmower, deliberately averting his eyes

    from the back of the house.  Staring out of the kitchen

    window, a tall glass of iced tea in her hand, MERYL has been

    anticipating her husband's appearance.  She wears a neckbrace,

    we sense more as a reminder to Truman than for any medical

    benefit she might derive.

    Feeling Meryl's eyes burning into his back, Truman fires up

    the mower and heads directly towards the symbolically uncut

    section of grass.  We focus on the errant blades of grass as

    they are severed by the mower -- a new Elk Rotary.  The lawn

    is now uniformly trimmed -- Truman's final act of defiance

    laid to rest.

    INT.  STUDIO - CONFERENCE ROOM - NIGHT

    CHRISTOF stands at a large, specially screened window,

    silhouetted against the twinkling stars and full moon of a

    hyper-real nightsky.

    Members of the cast enter the room -- principal characters in

    Truman's life -- MERYL, MOTHER, KIRK, TYRONE, LAWRENCE and

    the new actress, VIVIEN.  They take their places around a

    long, oval table for a story conference -- Vivien sitting

    slightly apart from the rest of the cast.

    We glimpse over Christof's shoulder at what he sees -- the

    town of Seahaven far below, bathed in moonlight.  He comes

    out of his reverie and joins his cast, sitting at the head of

    the table.  In front of him, a TV "tablet" plays silently --

    showing Truman drinking a glass of milk in hi kitchen.

                 CHRISTOF

             (to the assembled cast)

        First of all, I'd like to welcome

        Walter back onto the show.

             (nods in Kirk's direction)

        You may have done us more of a

        favor than you ever imagined.

             (turning to Meryl,

              using her real name)

        Regrettably, I also have to inform

        you that Hannah has chosen not to

        renew her contract.

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

                 CHRISTOF

        I'm sure we can all respect her

        reasons.

    Meryl receives a sympathetic squeeze of the hand from her co-

    star Marlon, now out of wardrobe, wearing an Armani suit.

                 CHRISTOF

        As you all know, we have already

        begun to orchestrate her break-up

        from Truman.

             (more up-beat)

        However, on a more optimistic note,

        I'm pleased to announce that

        television's first on-air conception

        will still take place.  You

        witnessed the initial contact this

        morning.

             (glancing to Vivien,

              once again using

              her real name)

        You all know Claudia from her work

        in theatre.

                 MOTHER

        I loved your Ophelia.

                 CLAUDIA

        Why thank you.

    The rest of the cast nod politely in Claudia's direction. 

    CHLOE passes out a bound document to each cast member.

                 CHRISTOF

             (referring to the documents)

        This is a copy of Claudia's back

        story.  Her character's name is

        "Vivien."

    The cast idly flips through the documents, prominently

    stamped on the cover, "NOT TO BE TAKEN ON SET."

                 CHRISTOF

        We intend to entice Truman into the

        affair as soon as possible.  Claudia

        will make a pass at the insurance

        seminar Truman's attending.  Details

        are in your schedules.

             (pause for effect)

        I don't have to tell you how

        critical the next few weeks will be. 

        This takes us into the next

        generation.  When Truman's child is

        born, the network will be switching

        to a two-channel format to

        chronicle both lives.

                 CLAUDIA

        What happens when Truman and the

        baby are both on camera together?

                 CHRISTOF

        This will simply be duplicate

        coverage.

                 CLAUDIA

             (mischievous)

        Let's just hope we don't have twins.

                 MARLON

             (uncharacteristically

              flippant)

        When Truman dies do we go back to

        the single channel?

    The cast returns in his direction.  Christof shoots him a

    disapproving look.

    INT.  TRUMAN'S BASEMENT - NIGHT

    TRUMAN sleeps on a cot bed in his basement -- more cluttered

    than usual.  A virtual bombsite -- dozens of cardboard boxes

    stacked everywhere.  Although he is covered in bedding, his

    sock-clad feet stick out of the bed covers.  The outline of

    his body is still clearly visible.  He snores quietly.

    INT.  VARIOUS VIEWER LOCATIONS - NIGHT

    The TWO OLD LADIES have nodded off on their sofa in front of

    the television, their breathing and occasional snores echo

    those of Truman.

    In the BAR, the WAITRESS -- normally an avid viewer -- only

    idly glances to the screen as she passes with a tray of

    drinks.

    The MAN in the bath resignedly lets the water out of the tub

    and goes to get out.

    The MOTHER only occasionally glances to the screen as she

    feeds her BABY.  Her DAUGHTER has her eyes closed, bopping to

    her Walkman.

    INT.  CONTROL ROOM - NIGHT

    SIMEON sits at his control desk, directing the "night-shift."

    He pays scant attention to the big screen, giving his

    instruction in a lethargic, metronomic manner.

                 SIMEON

        ...Ready two.  Go to two.

    An OPERATOR, eating a slice of pizza, presses one of the

    illuminated buttons on the panel and the camera angle changes

    to a close shot of Truman's covered head.  The camera stays

    on the blanketed head for a long moment.

                 SIMEON

        And back to the medium...

    Another button is pressed and the angle changed.  A trace of

    frustration is evident in the control room.  Recording a

    sleeping subject is unrewarding enough without also having to

    contend with Truman's recently acquired camera-shyness.

                 SIMEON

        ... and wide...

                 OPERATOR

             (aside to Simeon)

        What a loser.

                 SIMEON

        Who cares?  Makes life easier for us. 

        He is what he is.

    At the far end of the control room, one of the largest

    double doors opens and CHRISTOF enters, dressed in a smoking

    jacket.  Simeon and the Operators subtly straighten in their

    chairs.  Christof pretends not to notice.  He is staring

    intently at the ON-AIR monitor.

                 CHRISTOF

        Why is he in the basement?

                 SIMEON

        He moved down there after Meryl

        packed up and left.

                 CHRISTOF

        Why wasn't I told?  Any

        unpredictable behavior has to be

        reported.

             (returning to the screen)

        Is that the best shot we can get?

                 SIMEON

        What's to see?

                 CHRISTOF

        What's on the ClockCam?

    The operator punches up the camera hidden inside a broken

    cuckoo clock.  A box obscures the view.

                 OPERATOR

        There's an obstruction.

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

    CHLOE enters.

                 CHRISTOF

             (referring to the debris

              in Truman's basement)

        What happened down there?

                 SIMEON

        He was tidying up is garbage.

             (sensing Christof's

              concern)

        I was going to call you.  But half-

        way through, he gave up and fell

        asleep.

    Apparently satisfied, Christof turns to an Operator.

                 CHRISTOF

        I want to check the set-ups for

        tomorrow's insurance convention.

    Reading off the notes in Chloe's folder, the Operator punches

    up a batch of camera angles on smaller preview monitors. 

    They show a generic-looking hotel, devoid of actors.  A

    banner in reception reads, "Welcome Seahaven Life and

    Accident."

    The Operator looks to Christof for approval and realizes his

    producer's attention has wandered.  Christof has wandered

    down to the front of the room to stand beside the giant ON-

    AIR monitor still displaying the sleeping figure of Truman.

                 CHRISTOF

        Give me a shot from Truman's ring.

                 SIMEON

        He gave it back to his father.

    Christof nods.

                 CHRISTOF

             (a trace of concern)

        Why is he so still?

    Christof picks up a spare headset from the panel and puts it

    to his ear.

                 CHRISTOF

        Isolate the audio.

    An Operator pushes up an audio fader on the panel.  Christof

    and his colleagues listen to Truman's steady breathing in

    their headphones.

                 SIMEON

             (shrugs)

        He's still breathing.

    Simeon and the Operator nod, reassured that nothing is amiss. 

    Christof is not so easily convinced.

                 CHRISTOF

        Give me a preview.  An ECU on his

        torso.

    A camera in the room's lamp zooms in to Truman's prone

    outline.  While the breathing remains steady, the body does

    not rise and fall.  Christof, still listening to his

    headphones, detects a faint scratching sound followed by a

    strange thud.

                 CHRISTOF

             (anxious, barking a

              command to Chloe)

        Phone him.

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

                 CHRISTOF

             (anticipating Chloe's

             question)

        Tell him it's a wrong number.

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

    INT.  AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT

    The TWO SECURITY GUARDS are intrigued by Truman's unanswered

    phone on their television set.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF and SIMEON concentrate on another, separate monitor

    playing in fast-rewind, time code in the bottom right-hand

    corner.  It is a recording of the night's transmission. 

    Simeon pauses on the last on-camera appearance by Truman.

    They watch Truman, on-screen, switch off the basement light

    and climb into the cot bed fully clothed, immediately pulling

    the covers over his head.  As the light is switched off, the

    recording camera automatically switches to night vision. 

    Simeon continues to play at normal speed, now and then

    scrolling forward in fast-forward mode.  Christof suddenly

    points to screen.

                 CHRISTOF

        There.  Freeze... Zoom into the

        chair...

    Simeon types the appropriate command.

                 CHRISTOF

        Enhance... there!

    On the blown-up screen, between a cardboard box and a chair

    leg, it is barely possible to make out Truman's hand as he

    crawls commando-style from beneath the covers and behind a

    cardboard box near the large tool cupboard.

    Simeon points out an angle of the empty staircase.

                 SIMEON

        He hasn't gone up the stairs.  He's

        still in the room.

    EXT.  TRUMAN'S HOUSE - NIGHT

    MARLON's car squeals to a halt outside Truman's house. 

    Hurriedly dressed in jeans and coat over a bare chest, he

    dashes barefoot up the porch to the front door.  He tries the

    doorhandle, pounds on the door and rings the doorbell

    simultaneously, shouting Truman's name all the while.

                 MARLON

        Tru!  Tru! ... Earthquake alert...

        flood!  We've gotta get outside

        onto the street!  Tru?!

    Frustrated, Marlon picks up one of Meryl's carefully nurtured

    flower pots from beneath the porch window.

                 MARLON

             (shouting a warning)

        I'm coming in, Tru!

    Marlon hurls the flower pot through the window.

    INT.  TRUMAN'S HOUSE - BASEMENT - NIGHT

    MARLON switches on the light and clambers down the wooden

    stairs to the basement.

    He pushed away the clutter and finally stands at his co-

    star's bedside.  He gingerly lifts the covers.  Beneath the

    bedding, clothes have been carefully piled to resemble a

    sleeping figure -- socks placed on the end of two tree

    branches.

    Buried amongst the clothes is Truman's portable tape recorder. 

    Marlon places the recorder next to his ear.  The cassette

    plays the sound of TRUMAN BREATHING.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF stares, wide-eyed, at the image on the On-Air

    monitor of MARLON.

                 CHRISTOF

        Find him, Marlon!

    INT.  BASEMENT - NIGHT

    MARLON starts frantically pushing aside the clutter, sending

    Truman's model ships and other hobbies crashing to the floor. 

    Eliminating all over possible hiding places, he confronts

    Truman's tool closet, the wall map of the Fiji Islands still

    hanging on the door.  Marlon rips open the door and is hit

    with a shaft of light -- moonlight.

    The top of the closet has been removed and a crude tunnel

    containing a ladder heads almost directly upwards to the

    outside of the house.  The bottom of the closet is ankle deep

    with dirt.  Embedded in the tunnel wall is Meryl's Chef's

    Mate -- Truman's digging implement.

    EXT.  TRUMAN'S HOUSE - NIGHT

    MARLON's head pops up outside the house.  Unable to help

    himself, Marlon looks directly into a wide shot camera

    concealed in a streetlight.

    INT.  CONTROL ROOM - NIGHT

                 CHRISTOF

        Marlon, don't look at the camera! 

        Say something!

                 MARLON

             (to streetlight, stunned,

              breaking the fourth wall)

        What?  He's gone!

                 CHRISTOF

             (to Simeon, quiet but firm)

        Cut transmission.

    Simeon hesitates, unsure if he has heard correctly.  He looks

    to Christof for confirmation, his finger poised over an

    "EMERGENCY" button.

                 CHRISTOF

             (enraged)

        I said, "Cut!"

    Christof lunges forward and presses the button himself.  The

    scene in Truman's bedroom playing on the on-air monitor is

    abruptly replaced by the "TRUMAN" logo and the message,

    "TECHNICAL FAULT.  PLEASE STAND BY."

    INT.  A LIVING ROOM SOMEWHERE - NIGHT

    The TWO OLD WOMEN on the sofa are stunned to see their TV

    screen go black.

    INT.  A BAR SOMEWHERE - NIGHT

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

    channel.

    INT.  AN APARTMENT SOMEWHERE - NIGHT

    The other loyal viewer transfixed by the test card is SYLVIA,

    alone in her darkened apartment.

    INT.  CONTROL ROOM - NIGHT

    Reminiscent of a military headquarters in wartime, the

    control room is a scene of barely controlled panic.  SECURITY

    GUARDS come and go, phones ring, lights flash, every

    available VIDEO MIXER is working.  The monitors -- the "eyes"

    of the searchers -- are systematically scrutinized for any

    sign of Truman.  CHRISTOF orchestrates operations from his

    position at the center of the control panel.

                 SIMEON

             (nervous)

        We've declared a curfew.  Everyone

        else is at first positions.

                 CHRISTOF

        All prop cars accounted for?

                 SIMEON

        He has to be on foot.  He has the

        world's most recognizable face.  He

        can't disappear.

    EXT.  SEAHAVEN - MAIN STREET - NIGHT

    We pan down one empty street after another.  The town center

    is totally, eerily deserted.  Suddenly, a line of PEOPLE

    comes around the corner, fanned out cross the street -- man-

    hunt.

    PEOPLE of every description, shoulder to shoulder, marching

    down the otherwise empty streets the way a search is

    conducted at a crime scene.  The lines includes PRINCIPALS

    and EXTRAS lined arm and arm, wardrobed for their usual roles

    as EXECUTIVES and SECRETARIES, STORE CLERKS, TELEPHONISTS,

    MAINTENANCE and CONSTRUCTION WORKERS, WAITERS and WAITRESSES,

    COOKS, SHOPPERS, HEALTH WORKERS, SECURITY GUARDS, POSTAL

    WORKERS, POLICE OFFICERS, FIRE FIGHTERS and HOMELESS PEOPLE.

    We occasionally glimpse Truman's friends and colleagues

    amongst the searchers -- MARLON, LAWRENCE, MOTHER &amp; KIRK,

    VIVIEN and TYRONE.  Even the WASHINGTON's and SPENCER and

    PLUTO have joined the search -- a snarling Pluto straining at

    the leash has now assumed the role of tracker dog -- Truman's

    pajamas waved in front of his nose (clearly miscast as the

    friendly, neighborhood pooch).

    Searchlights from Seahaven's many towers sweep the town. 

    Once, the light falls on a blackened face cowering in the

    bushes beside a picket fence -- the fence now faintly

    reminiscent of prison bars.  Even the beam of the full moon

    appears to be sweeping the town like a searchlight.

    EXT.  BRIDGE - NIGHT

    Barriers have been erected at the bridge leading out of

    Seahaven, guarded by several Seahaven police cars.

    An extra dressed as a DERELICT wheels his shopping cart

    toward the bridge.

    The derelict takes a look along the walkway alongside the

    bridge as if participating in the search.  He finds a POLICE

    OFFICER standing on the walkway.

                 POLICE OFFICER

        Any sign of him?

                 DERELICT

             (gravelly voice)

        Not yet.

                 POLICE OFFICER

        Take it easy.

    INT.  CONTROL ROOM - NIGHT

    A VIDEO OPERATOR in the sixth row watches the scene on one of

    his monitors -- the derelict standing with his back to camera. 

    Just as the derelict turns toward camera the Operator turns

    away to take a sip of coffee.  He misses what we see on his

    monitor -- the derelict's blackened face belongs to TRUMAN.

    EXT.  BRIDGE - NIGHT

    The disguised TRUMAN heads back to town.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF turns to a LIGHTING TECHNICIAN.

                 CHRISTOF

        We need more light.

    EXT.  SEAHAVEN STREETS - NIGHT

    A building-to-building, floor-to-floor, office-to-office

    search is also being conducted, each structure secured as

    they go -- the SEARCHERS paying special attention to

    potential blind spots such as closets, dumpsters, manholes,

    sewers, car trunks, trees and shrubbery.

    We focus on one of the waves of searchers.  TRUMAN has linked

    arms in the middle of a row, his disguise still holding up.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF glances impatiently at his watch.

                 CHRISTOF

        We'll never find him like this. 

        What time is it?

                 CHLOE

             (anticipating the request)

        It's too early.

                 CHRISTOF

        It doesn't matter.  Cue the sun.

    EXT.  STREETS - NIGHT/DAY

    The sun instantly rises over Seahaven.  CAST and EXTRAS shade

    their eyes from the sudden glare.

    INT.  CONTROL ROOM - NIGHT

    While his COLLEAGUES monitor the bank of screens, CHRISTOF

    has been joined by the two anxious studio executives, MOSES

    and ROMAN.

                 MOSES

            (to Christof who is

              still studying the

              faces in a row of

              SEARCHERS)

        Rumors are circulating he's dead. 

        The media is in a feeding frenzy. 

        The phone lines are jammed.  Every

        network has a pirated shot of

        Marlon in the closet.

                 ROMAN

             (pacing nervously)

        The sponsors are threatening to rip

        up their contracts.

                 CHRISTOF

             (unconcerned, referring

              to the static "STAND BY"

              graphic, now accompanied

              by soothing classical

              music)

        Why?  We're getting higher ratings

        for that graphic than any time in

        the show's history.

    INT.  BAR - NIGHT

    The television above the bar carries the test card.  PATRONS

    animatedly discuss Truman's fate over their drinks.  Some

    place bets with each other on Truman's fate.

    EXT.  ELECTRONICS STORE - NIGHT

    A CROWD of passersby hover around a display of televisions in

    the window of an electronics store, awaiting developments.

    INT.  CONTROL ROOM - NIGHT

    THE fan of EXTRAS reaches the harbor and automatically turns

    to make another sweep.

                 CHLOE

             (referring to the

              empty streets)

        When we flush him out how do we

        explain this?

                 CHRISTOF

             (deadpan)

        We tell him the truth.

    CHLOE looks askance at CHRISTOF.

                 CHRISTOF

             (joking darkly)

        We're making a movie.

    EXT.  HARBORSIDE - DAY

    However, as he bypasses the entrance to a ticket box, he

    hasn't bargained on coming face to face with another

    straggler from the search.

    MARLON.  Truman freezes in front of his childhood companion --

    Marlon instantly seeing through Truman's homeless disguise.

    Truman glances nervously in the direction of the searchers. 

    Their backs to the two men, they are beginning their next

    sweep.  One shout from Marlon will give Truman away -- he is

    at Marlon's mercy.

    Without a word, Marlon walks past Truman and rejoins the

    search.

    Truman glances back to Marlon's retreating figure but Marlon

    never looks back.

    EXT.  DOCKSIDE -- DAY

    TRUMAN reaches the edge of the dock.  He looks out over the

    bay.  There, riding at anchor some two hundred yards out, is

    a sail boat -- the same boat that circled Kirk and Truman's

    sail boat many years earlier.

    We see a close-up of Truman's terrified eyes in his blackened

    face, staring down at the lapping water.  He steels himself,

    shuts out the doubts and dives into the water.

    INT.  CONTROL ROOM - NIGHT

                 SIMEON

             (hopeful)

        I'm sure we'll get him on this next

        sweep.

                 CHRISTOF

             (distracted)

        What have we missed?

                 SIMEON

        It's just a matter of time.

    CHRISTOF concentrates on a monitor displaying a view of the

    harbor.

                 CHRISTOF

             (to Simeon)

        We're not watching the sea.

                 SIMEON

             (confused)

        Why would we--

                 CHRISTOF

        Sweep the harbor.

    His COLLEAGUES begin to flick through dozens of waterborne

    hidden camera shots -- in moored craft, lighthouses and buoys

    -- trying to locate Truman.

    Suddenly on one of the monitors there appears a single sail

    etched against the horizon.

                 SIMEON

        That's got to be him!

                 ROMAN

        How can he sail?!  He's in

        insurance!

                 CHRISTOF

        Resume transmission.

    Simeon punches a button and the image of the sail boat is

    instantly transferred to the large ON-AIR monitor.

    INT.  OLD WOMEN'S APARTMENT - NIGHT

    The TWO OLD WOMEN doze against each other on the sofa in

    front of the TV.

    The classical music on the television is abruptly replaced by

    the sound of the wind and the sea.  One Old Lady blinks her

    eyes open, her breath taken away by the sight of Truman at

    the wheel of the sail boat.  She rouses her companion.

    INT.  CONTROL ROOM - NIGHT

                 CHRISTOF

             (staring intently at

              the ON-AIR monitor)

        What do we have on that boat?

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

    A camera from the mast of Truman's sail boat activates. 

    Truman, unaware of the camera, is concentrating on his

    sailing.

    EXT.  HARBOR - DAY

    By now the ocean spray has washed most of the dirt from

    TRUMAN's face -- only a residue remains.  The rags he wears

    are soaked.

    As he steers, he occasionally refers to a "HOW TO SAIL" book

    from his coat pocket.

    INT.  A BATHROOM SOMEWHERE - NIGHT

    The MAN in the bath we have seen earlier continues to watch

    from his tub.

                 MAN

             (to himself)

        I knew he wasn't dead.

    EXT.  HARBOR - DAY

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

    sails.

    Seahaven left far behind, his is the only craft afloat in the

    harbor.  He sets a course for the open sea as he and his

    father did long ago.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from a

    buoy's POV as he sails by.

                 CHRISTOF

        Get another boat.

                 CHLOE

        The ferry.

    EXT.  FERRY TERMINAL - DAY

    A PRODUCTION ASSISTANT runs down the dock towards the FERRY

    CAPTAIN and his CREW.

                 PRODUCTION ASSISTANT

        Get that boat out there!

                 FERRY CAPTAIN

             (who also played

              the bus driver)

        I don't know how.  We were just

        told to put on these clothes.

    EXT.  HARBOR - DAY

    The sea choppier now, rising and falling steeply beneath his

    boat, TRUMAN nears a large buoy bobbing clumsily in the

    strong swell.  An official-looking sign on the buoy reads --

    "DANGEROUS WATERS.  DO NOT ENTER." We see an extreme close-up

    of the nautical signpost where a disguised miniature camera

    tracks Truman's progress.

    INT.  CONTROL ROOM - NIGHT

                 ROMAN

             (anxious)

        How do we stop him?

                 CHRISTOF

             (glancing to Simeon)

        How else?

    Christof nods to controls on the mixing desk marked, "WIND"

    and "RAIN."

    EXT.  HARBOR - DAY

    Storm clouds roll towards TRUMAN's boat at an alarming speed. 

    He looks back towards the Seahaven skyline, rapidly receding

    behind him.  Doubts invade Truman's head but he shuts them

    out and steers into the teeth of the storm -- a look of

    resolve in his eyes we have never witnessed before.

    INT.  CONTROL ROOM - NIGHT

    MOSES and ROMAN pace at the back of the control room. 

    CHRISTOF is focused on his monitor.  Like Truman, he steels

    himself for a fight.

                 CHRISTOF

        Cue music...

                 SIMEON

            (hesitant)

        What music?

                 CHRISTOF

             (irritated)

        Storm music... Wagner...

                 CHLOE

             (watching the monitor)

        There's no rescue boat in the area. 

        He won't know what to do.

                 MOSES

             (trying to appeal to

              Christof's sense of

              reason)

        For God's sake, Chris.  The whole

        world is watching.  We can't let

        him die in front of a live audience.

                 CHRISTOF

        He was born in front of a live

        audience.

             (never taking his eyes

              from the screen)

        Don't worry, he's not willing to

        risk his life.  His doubts will

        turn him back.

    Simeon reluctantly winds the controls for "WAVE," "WIND" and

    "RAIN" towards their maximum settings.

                 CHRISTOF

        Kill the lights.

    EXT.  HARBOR - DAY

    Darkened suddenly descends.  High winds and horizontal

    driving rain buffet the boat.  TRUMAN fights the tiller. 

    Hurricane force winds shake the mast and keel, ripping the

    sails to shreds.

    Suddenly, the mast of Truman's boat is truck by a bolt of

    lightning -- snapping the rigging and knocking Truman

    overboard.  Flailing in the tempest, Truman manages to grab

    hold of a trailing rope from the mast and hand-over-hand

    drags himself back on board.  Truman takes the rope and

    lashes himself to the wheel.

    Monstrous waves continually submerge the boat.  With what

    little is left of his rigging, Truman continues to head into

    the gale.

                 TRUMAN

             (shouting above the

              storm, screaming

              up to the sky)

        Come on, is what the best you can

        do?  You're gonna have to kill me!

    INT.  CONTROL ROOM - NIGHT

    In contrast to his panic-stricken COLLEAGUES, CHRISTOF gives

    an outward appearance of calm.  Only we witness the minute

    bead of sweat appearing at his temple that betrays him.

                 SIMEON

             (shocked at the sight of

              Truman binding himself

              to the boat)

        Is he out of his mind?

                 MOSES

             (to Christof)

        On behalf of the studio, I demand

        that you cease transmission.

                 CHRISTOF

             (defiant, to Operators)

        Keep running!

                 MOSES

        -- That's not for you to say.

                 CHRISTOF

        I take full responsibility--

                 MOSES

        -- I'm telling you for the last time.

                 CHRISTOF

             (to OPERATOR in front of

              radar-style-screen)

        How close is he?

                 OPERATOR

        Very close.

                 CHRISTOF

        Capsize him! Tip him over!

                 MOSES

             (overlapping)

        For God's sake, Christof!

                 CHLOE

             (unable to contain herself

              any longer, entreating

              Christof)

        You can't!  He's tied himself to

        the boat.  He'll drown!

                 SIMEON

             (staring at Truman on the

              monitor, becoming

              affected his display of

              courage)

        He doesn't care.

                 CHRISTOF

             (enraged, to the Operator)

        Do it!

    All eyes turn in Christof's direction.  None of the Operators

    is willing to touch the controls.

    Christof reaches to the panel and does it himself, turning

    the "WAVE" controls to their maximum settings.

    EXT.  OCEAN - DAY

    A series of giant breakers march in formation across the sea

    -- arising from an unseen source.

    EXT.  OCEAN - DAY

    The waves break across Truman's vessel.  TRUMAN appears to be

    losing his fight against the storm, each successive wave

    taking its roll on his body, sapping his strength, his

    bindings the only thing keeping him upright.  His head slumps,

    the tiller goes loose in his grasp, rocking out of control. 

    Truman's will is draining away.

    INT.  CONTROL ROOM - NIGHT

    The control room CREW watch the heroic image of Truman on the

    ON-AIR monitor, awestruck, as if they too are now spectators

    watching a movie.

    EXT.  OCEAN - DAY

    As he is about to be overcome by the next wave, TRUMAN clamps

    the wheel with his whole body and braces for one last wave.

    But the wave does not come.  A strange phenomenon is

    occurring in the ocean.  A distinct division has appeared in

    the ocean swell.  Between the large rolling waves lies a

    corridor of calmer water, several hundred yards wide, a

    curious escape lane.  The wind and the rain are also

    subsiding, the darkness lifting.  A mist clings to the

    surface of the water.  Truman steers his sail boat down the

    eerie corridor.

    Several large, dark shapes emerge on the horizon.  Land? 

    Islands?  The shapes, containing some enormous mechanism

    including a huge wheel, only half exposed above water level,

    appear to be the source of the peculiar wave formations.

    Truman continues to steer his wrecked sailboat towards the

    infinitely receding horizon.  All is calm until we see the

    bow of the boat suddenly strike a huge, blue wall, knocking

    Truman off his feet.  Truman recovers and clambers across the

    deck to the bow of the boat.  Looming above him out of the

    sea is a cyclorama of colossal dimensions.  The sky he has

    been sailing towards is nothing but a painted backdrop. 

    Truman looks upward, straining his eyes to see the top of the

    sky, but it curves away at a steep angle beyond his sight.

    Clinging to the boat with one hand, he tentatively reaches

    out towards the painted cyclorama.  He touches the sky.

    He looks about him and simply laughs.

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF and his PRODUCTION STAFF take in Truman's reaction

    in stunned silence.

    INT/EXT.  BARROOM/LAUNDROMAT/STOREFRONT/APARTMENT - NIGHT

    Truman's laugh echoes around bars, offices, shops, homes and

    streets -- wherever a television is to be hound -- no VIEWER

    speaks.  They too are stunned into a hushed expectancy.  The

    collective audience holds its breath.

    EXT.  OCEAN/CYCLORAMA - DAY

    As the boat drifts alongside the seemingly never-ending curve

    of the cyclorama, TRUMAN's attention id drawn to an outline

    in the otherwise flawless backdrop.  He retrieves the

    identikit picture of Sylvia from his coat pocket and clambers

    to the prow of the boat.

    There, camouflaged in the painted skyscape just above the

    water line, is a door.  Truman drabs hold of the recessed

    doorhandle and halts the drifting boat.  He stands in front

    of the door and closes his eyes in a silent prayer.

    INT.  CONTROL ROOM - NIGHT

    The control room CREW stare in silence at the monitor --

    their very livelihood on the brink of vanishing.  CHRISTOF

    opens a small panel on his desk, breaks a seal, and speaks

    into the emergency P.A.  system that is linked to the entire

    studio.

                 CHRISTOF

        Truman!

    INT/EXT.  OCEAN/CYCLORAMA - DAY

    CHRISTOF's voice booms over the now calm ocean.

                 CHRISTOF

        Truman!

    TRUMAN drops the handle as if his hand has been burned.  He

    looks all about him.

                 CHRISTOF (O.C.)

        You can speak.  I can hear you.

    Truman takes a moment to overcome his fear and astonishment.

                 TRUMAN

        Who are you?

                 CHRISTOF

        I'm the creator.

    Truman looks up to the "heavens."

                 TRUMAN

        The creator of what?

                 CHRISTOF (O.C.)

        A show -- that gives hope and joy

        and inspiration to millions.

                 TRUMAN

             (incredulous)

        A show.  Then who am I?

                 CHRISTOF (O.C.)

        You're the star.

    Truman struggles to take it all in.

                 TRUMAN

        Nothing was real.

                 CHRISTOF

        Nothing was real.  That's what made

        you so good to watch.

    Truman takes out the drenched picture of Sylvia, recalling

    her words at the beach.

                 TRUMAN

             (to himself)

        "The eyes are everywhere."

    INT.  CONTROL ROOM - NIGHT

    CHRISTOF picks up a slim, flat monitor.  He swivels in his

    chair and gazes intently at the image of Truman he now holds

    in his hands.

                 CHRISTOF

        Listen to me, Truman--

    On the screen, Truman again reaches for the door handle.

    EXT.  CYCLORAMA - DAY

    We focus on TRUMAN's hand.  CHRISTOF's voice echoes across

    the water.

                 CHRISTOF

        You can leave if you want.  I won't

        try to stop you.  But you won't

        survive out there.  You don't know

        what to do, where to go.

    A wave of doubt washes over Truman's face.

                 TRUMAN

             (referring to the photo)

        I have a map.

                 CHRISTOF

        Truman, I've watched you your whole

        life.  I saw you take your first

        step, your first word, your first

        kiss.  I know you better than you

        know yourself.  You're not going to

        walk out that door--

                 TRUMAN

        -- You never had a camera in my

        head.

    INT/EXT.  VARIOUS LOCATIONS - NIGHT

    The VIEWERS stare into camera in fascination.

    INT.  CONTROL ROOM - NIGHT

    TRUMAN turns back to the sky, looking up towards CHRISTOF.

                 CHRISTOF

        Truman, there's no more truth out

        there than in the world I created

        for you -- the same lies and deceit. 

        But in my world you have nothing to

        fear.

    Truman seems to be considering the possibilities.  He looks

    to the identikit picture of Sylvia in his hand.

                 CHRISTOF

             (suddenly angry)

        Say something, damn it!  You're

        still on camera, live to the world!

    INT.  A ROOM SOMEWHERE - NIGHT

    SYLVIA gazes at the picture of herself on her television

    screen as if it is her reflection in the mirror.

    EXT.  CYCLORAMA - DAY

    TRUMAN hesitates.  Perhaps he cannot go through with it after

    all.  The camera slowly zooms into Truman's face.

                 TRUMAN

        In case I don't see you -- good

        afternoon, good evening and good

        night.

    He steps through the door and is gone.  Silence.  Then--

    INT/EXT.  VIEWERS - NIGHT

    Spontaneous jubilation from VIEWERS in their various

    locations -- bars, homes and offices.  We follow the figure

    of SYLVIA, running through the streets.  Some of the viewers

    outside an electronics store glimpse her as she runs by.

    INT.  CONTROL ROOM - NIGHT

    Even the cynical SIMEON jumps out of his seat -- for the

    first time in the film -- and lets out a joyous whoop,

    forgetting himself for a moment, caught up in the drama.

                 SIMEON

        Yes!

    Self-conscious, he takes his seat again almost immediately. 

    His COLLEAGUES are transfixed by the live ON-AIR monitor

    continuing to play its only available shot, the open door in

    the sky.

    Gradually, the attention of those in the control room shifts

    from the monitor to CHRISTOF.  He sits slumped, staring at

    the open door in the sky.

    Eventually MOSES looks to Simeon.  Moses nods to the "ON AIR"

    button.  Simeon presses the button and the screen -- the

    movie screen -- goes to static.

    MONTAGE/END TITLES

FADE OUT

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