T H E   T R U M A N   S H O W

	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

	SCHOOL MISTRESS sits in the middle row of an Elementary School
	Classroom surrounded by twenty-or-so other 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.

	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
		Share 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
	fleet 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.

	The montage ends at a scene in a college library.

	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.

	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 Megallan--

				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 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)
		So.

				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)
		Vita 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 came.

	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 a little company.

	As e 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
	unscratched.

	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 Meryl's throat.

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

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

	EXT.  UNFINISHED BRIDGE - NIGHT

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

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

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

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

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

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

	Truman chimes in, nodding fondly at the memory.

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

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

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

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

	INT.  CONTROL ROOM - NIGHT

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

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

	EXT.  FREEWAY - NIGHT

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

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

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

				TRUMAN
		What's that?

				MARLON
		The thing that started all of this.

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

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

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

				MARLON
		Go to him.

	INT.  CONTROL ROOM - NIGHT

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

				CHRISTOF
		Go wide, LightCam Eight...

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

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

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

				CHRISTOF
		... RingCam...

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

				CHRISTOF
		... ButtonCam Three...

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

				TRUMAN
		I never stopped believing.

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

				CHRISTOF
		And wide...

	SIMEON looks to his director.

				SIMEON
			(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.)
		...wit Hannah Gill as Meryl Burbank,
		Louis Coltrane as Marlon, Alanis
		Montclair as Mother, re-introducing
		Walter 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 his 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 Micaelson,
		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, televionary,
		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 did 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 ow 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 technician 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 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 wife...

				OPERATOR
			(aside to Simeon)
		Want 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
	recording camera automatically switches to night vision.
	Simeon continues to play at normal speed, now and then
	scrolling forward in fast-forward mode.  Christof suddenly
	points to screen.

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

	Simeon types the appropriate command.

				CHRISTOF
		Enhance... there!

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

	Simeon points out an angle of the empty staircase.

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

	EXT.  TRUMAN'S HOUSE - NIGHT

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

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

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

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

	Marlon hurls the flower pot through the window.

	INT.  TRUMAN'S HOUSE - BASEMENT - NIGHT

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

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

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

	INT.  CONTROL ROOM - NIGHT

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

				CHRISTOF
		Find him, Marlon!

	INT.  BASEMENT - NIGHT

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

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

	EXT.  TRUMAN'S HOUSE - NIGHT

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

	INT.  CONTROL ROOM - NIGHT

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

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

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

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

				CHRISTOF
			(enraged)
		I said, "Cut!"

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

	INT.  A LIVING ROOM SOMEWHERE - NIGHT

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

	INT.  A BAR SOMEWHERE - NIGHT

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

	INT.  AN APARTMENT SOMEWHERE - NIGHT

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

	INT.  CONTROL ROOM - NIGHT

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

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

				CHRISTOF
		All prop cars accounted for?

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

	EXT.  SEAHAVEN - MAIN STREET - NIGHT

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

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

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

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

	EXT.  BRIDGE - NIGHT

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

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

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

				POLICE OFFICER
		Any sign of him?

				DERELICT
			(gravelly voice)
		Not yet.

				POLICE OFFICER
		Take it easy.

	INT.  CONTROL ROOM - NIGHT

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

	EXT.  BRIDGE - NIGHT

	The disguised TRUMAN heads back to town.

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF turns to a LIGHTING TECHNICIAN.

				CHRISTOF
		We need more light.

	EXT.  SEAHAVEN STREETS - NIGHT

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

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

	INT.  CONTROL ROOM - NIGHT

	CHRISTOF glances impatiently at his watch.

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

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

				CHRISTOF
		It doesn't matter.  Cue the sun.

	EXT.  STREETS - NIGHT/DAY

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

	INT.  CONTROL ROOM - NIGHT

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

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

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

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

	INT.  BAR - NIGHT

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

	EXT.  ELECTRONICS STORE - NIGHT

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

	INT.  CONTROL ROOM - NIGHT

	A 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
	head 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.

	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
	door handle 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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