Screenplay

by

Robert Benton

Based on the novel by Avery Corman

Revised Third Draft

July 14, 1978

----------------------------------------------------------------

FADE IN:

1 INT. OFFICE, ADVERTISING AGENCY, MIDTOWN - EVENING

WIDE SHOT--A large and very comfortable office over-

looking St. Patrick's Cathedral. At the moment the

office is filled to bursting with men and women, slumped

in chairs, sitting on desks, all of them very tense.

Among the crowd of people we note: MURRAY FISHER, a

young and very ambitious junior executive and PHYLLIS

BERNARD, an attractive woman in her early thirties.

She is a lawyer with the agency.

At the moment, TED KRAMER, nice-looking without being

what you would call a matinee idol, paces back and

forth. His tie is loosened, he checks his watch every

fifteen seconds. Clearly he is very distraught.

TED

(predicting the worst)

They're not gonna call...I tell

you they're not gonna call. I

blew it. I don't know what I

did wrong, but I--

REVERSE ON JIM O'CONNOR--Ted's boss and good friend.

He is in his middle fifties, nattily dressed with the

slightly bleary look of a heavy drinker. He sits back

in his chair with his feet propped on the desk and a

drink in one hand.

O'CONNOR

(not unfriendly)

Ted, will you take it easy?

Revlon's not about to drop an

account that represents more

than two million in gross

billing receipts in a small

agency like this, without making

us sweat. Now just relax, okay?

Everything's gonna be fine.

TED

(at this stage,

nothing will help)

I don't think so, Jim. Maybe I

shouldn't have--

Sound-effect: the phone rings.

Everyone freezes. As O'Connor reaches for the phone,

CUT TO:

2A INT. CHILD'S ROOM, KRAMER APT. - EVENING

The room is dark, the only light coming from a small

night light. We SEE a beautiful five year old boy

(BILLY KRAMER). He lies in bed, half asleep. HOLD

FOR A BEAT as a beautiful woman (JOANNA KRAMER) leans

over, kisses the child and hugs him tightly to her.

JOANNA

(intense)

I love you, Billy...

BILLY

(drowsy)

I love you too, mommy...Good-

night...

ON JOANNA--She gets up from the bed and starts toward

the door of the child's room.

JOANNA

Sleep tight...

BILLY

Don't let the bedbugs bite...

Joanna stops in the doorway, silhouetted against the

light. She turns, takes a last look at her son, then

steps outside.

CUT TO:

3 INT. HALLWAY - EVENING

ON JOANNA--Now that the light is brighter, we can SEE

her more clearly. In her mid-thirties, she is beauti-

ful, dressed in a style that can best be described as

Bloomingdale's. HOLD FOR A BEAT as she leans against

the door. It is clear from her expression that she

is terribly upset. Then, making up her mind, she

crosses to a closet and takes out a suitcase.

4 THE CAMERA TRACKS WITH HER as she carries it into the

bedroom, lays it out on the bed and opens it. PAN WITH

HER as she crosses to a closet, grabs an armload of

clothes and dumps them helter-skelter into the

suitcase.

CUT TO:

5 INT. O'CONNOR'S OFFICE - EVENING

It is a few minutes later, the news has obviously been

good because there is a general celebration in progress.

Jim O'Connor, now standing, raises one hand for

silence, then making a toast.

O'CONNOR

Here's to Ted Kramer.

Cheers and good-natured jokes.

O'CONNOR

(putting an arm around

Ted squeezing him tight)

I wanna tell you something about

this little runt. He went out

there and sold the shit out of

Revlon and that's why we got

the account. It was his idea,

it was his concept, right down

the line...

More hoots and cheers. People start to yell "Speech."

TED

(embarrassed, but

cannot stop grinning)

All I can say...All I can say

is this is maybe one of the five

best days of my whole life...

CUT TO:

6 INT. BATHROOM, KRAMER APT. - EVENING

Joanna stands at the medicine cabinet, going through

it, packing things in a travel kit: rollers,

deodorant, makeup, birth control pills. She starts

to take a small bottle of perfume that has only an

eighth of an inch of fluid left inside, hesitates,

then puts it back.

CUT TO:

7 INT. O'CONNOR'S OFFICE - EVENING

Now some time has passed, most of the crowd has gone

and only the regulars are left.

TED

(in the middle of

a story)

So anyway Jim and I are making

the pitch, right? And all of

a sudden this old guy starts to

cough and I keep on going and

he keeps on coughing and I

keep on going and he keeps on

coughing and--

Murray Fisher leans over, shakes Ted's hand.

MURRAY

(interrupting)

Congratulations, Ted. That was

a hell of a job.

TED

(surprised)

Where you goin' Murray, it's

early?

MURRAY

Got to get home.

TED

(glancing at his

watch)

Oh, Christ, I'm late...I gotta

get out of here.

(however, instead

of going, he

settles back and

resumes his story)

So anyway, I look over and this

old geezer is starting to turn

blue and I swear to God the only

thing I can think about is that

this poor sonofabitch is gonna

die on me and screw up the pitch.

CUT TO:

8 INT. KITCHEN, KRAMER APT. - EVENING

INSERT: A long and meticulous list that Joanna is making

out of the phone numbers and addresses of doctors and

hospitals, of what the various medicines are for, and

of the foods that Billy is and isn't permitted to eat.

WIDER ANGLE--as Joanna puts the finishing touches on

the list and carefully arranges it on top of the kitchen

counter next to a box of unsweetened, whole grain cereal

and a jar of honey.

Note: It is this same set of notes that Ted will later

unthinkingly throw away.

CUT TO:

9 EXT. OFFICE BUILDING, MIDTOWN - NIGHT

WIDE SHOT--as the doors to the outer lobby open and

Ted and O'Connor appear. Ted starts to hail a cab,

O'Connor stops him.

O'CONNOR

Hey, what's the rush? C'mon,

walk me a couple of blocks.

TED

Jim, I've got to go. I'm

already late--

O'CONNOR

Listen, Ted...I just want to tell

you, when old man Schmidt retires

next year, I've got a pretty

good feeling they'll kick me

upstairs...

He turns and starts to walk off down the street, Ted,

of course, follows.

O'CONNOR

...and when they do, I just want

you to know I'm takin' you along

with me.

CUT TO:

10 INT. BEDROOM, KRAMER APT. - NIGHT

CLOSE ON JOANNA--as she goes through her jewelry case,

taking some things, leaving others. In the B.G. we

SEE a framed photograph of Billy, smiling, looking

into the camera.

CUT TO:

11 EXT. STREET - NIGHT

ON TED AND O'CONNOR--tracking with them as they walk.

O'CONNOR

(feeling no pain)

Y'know, Ted, I mean what I said

back there. You did a hell of a

job on this and I want you to

know I'm turning the whole

show over to you.

TED

(thrilled)

Wow!

O'CONNOR

I mean it Ted, you're running

this one.

CUT TO:

12 INT. BEDROOM, KRAMER APT. - NIGHT

WIDE SHOT--The suitcase is now full. Joanna zips it

shut and looks around to make sure that she hasn't

forgotten anything.

Then, she hefts her suitcase and starts out of the room.

CUT TO:

13 INT. FOYER - NIGHT

WIDE SHOT--Joanna carries in the suitcase, sets it by

the front door, then she crosses to the living room and

sits down at the dining table.

CLOSER IN ON HER--She takes out a list made on the back

of an old envelope. As she begins to review it, check-

ing off some items:

O.S. Sound: A key turning in the lock.

As Joanna looks up,

CUT TO:

HER P.O.V.: as the door swings open to reveal Ted Kramer,

an enormous grin on his face, a bottle of champagne in

his hand. He is so full of himself that he doesn't

notice there is anything wrong.

Note: Throughout the entire scene he carries the bottle

of champagne, never putting it down.

TED

I thought you might just like to

know that at five-fifteen this

afternoon we were officially

handed the Fire and Ice account

by Revlon.

CROSS-CUTTING BETWEEN THEM:

JOANNA

(she takes a deep

breath, then:)

Ted, I'm leaving you.

TED

That represents a gross billing

in excess of two million--

(hearing her)

What?!

Joanna opens her purse, takes out her keys and wallet.

JOANNA

Here are my keys. I won't be

needing them any more.

Note: Ted does not for a moment believe that his wife

will really leave him. All he can think of right now

is that he will have to spend the rest of the evening

coping with one of her moods.

TED

(sardonic)

I'm sorry I'm late, all right?

I'm sorry I didn't call--I was

busy making a living.

CROSS-CUTTING BETWEEN THEM: Joanna doesn't even bother

to look up at him. She opens her purse, takes out her

wallet and begins removing credit cards.

JOANNA

My American Express...My

Bloomingdale's Credit Card...

My check book--

TED

(the martyr)

Okay, okay...What is it this

time? What did I do now?...

JOANNA

(ignoring this)

I took two thousand out of the

savings account. That was what

I had in the bank when we got

married.

TED

Joanna, whatever it is, believe

me, I'm sorry.

JOANNA

Here are the slips for the laundry

and the cleaning. They'll be

ready on Saturday.

TED

(hard lining it)

Now listen, before you do something

you'll really regret you'd better

stop and think--

JOANNA

(not bothering to

look up)

I've paid the rent, the Con-Ed

and the phone bill, so you don't

have to worry about them.

She checks off the last item on her list as her husband

watches, dumbfounded.

JOANNA

There, that's everything.

Joanna gets to her feet and starts toward the front

door. In an instant Ted is after her.

TED

(panic starting)

For God's sake, Joanna, would

you at least tell me what I did

that's so terrible! Would you

do me that little favor?

ON JOANNA--at the door.

JOANNA

Look, it's not your fault, okay?

It's me. It's my fault--you

just married the wrong person.

TED

(placating her)

So we've got problems. Everybody's

got problems--that's normal--

Joanna opens the door and they step out into the hallway.

14 INT. HALLWAY OUTSIDE KRAMER APT. - EVENING

JOANNA

Ted, you're not listening to me.

It's over, finished.

TED

I'm listening, Joanna--believe me,

I'm listening. My wife is walking

out on me after eight years of--

JOANNA

(bitter)

You just don't get it, do you?

(as though to a child)

I - am - really - and - truly -

leaving - you.

TED

I heard you, Joanna. I promise

I heard you.

JOANNA

No you didn't.

(quietly)

You didn't even ask about Billy.

TED

(stiffening)

What about Billy?

JOANNA

I'm not taking him with me.

TED

What?

JOANNA

(tears start)

Ted, I can't...I tried...I really

tried but...I just can't hack it

anymore...

TED

C'mon, Joanna, you don't mean

that. You're a terrific mother--

JOANNA

(from her gut)

I am not! I'm a terrible mother!

I'm an awful mother. I yell at

him all the time. I have no

patience. No...No. He's better

off without me.

(unable to look

at Ted)

Ted, I've got to go...I've got

to go.

TED

(desperate)

Okay, I understand and I promise

I won't try and stop you, but you

can't just go...Look, come inside

and talk...Just for a few minutes.

JOANNA

(pleading)

NO!...Please...Please don't make

me stay...I swear...If you do,

sooner or later...maybe tomorrow,

maybe next week...maybe a year

from now...

(looking directly

at him)

I'll go right out the window.

Sound-effect: The elevator approaching.

CROSS-CUTTING BETWEEN THEM--There is nothing more that

can be done, this is the last moment of intimacy.

TED

(quiet)

Where are you going?

JOANNA

I don't know...

The elevator door opens, Joanna steps inside.

TED

Do you want me to help you get a

cab?

Joanna shakes her head. The elevator door closes behind

her and it starts to descend.

ON TED KRAMER--He stands for a moment, stunned, unable

to move. Then he turns and races back into the

apartment.

15 THE CAMERA TRACKS WITH HIM as he rushes across

to one of the living room windows, throws it open

and leans out.

16 HIS P.O.V.: looking down to the street from the

eighth floor. We SEE Joanna step off the curb and

hail a passing taxi.

TED

(calling out)

Joanna!?.. .Joanna?!

Either she doesn't hear him or else she pays no attention.

She gets into the cab, closes the door behind her and it

drives away.

CUT TO:

17 INT. APT. - NIGHT

ON TED--as he stands for a moment watching the taxi as

it disappears. Then, slowly, he closes the window,

turns, and AS THE CAMERA TRACKS WITH HIM, walks into

the bedroom.

The bedroom is a mess: the closet door stands open,

inside Joanna's section is empty except for some shoe-

boxes and a few dresses that are scattered across the

floor. Several dresser drawers have been pulled out

and their contents emptied. HOLD IN A WIDE SHOT-as Ted

wearily picks up one of the dresses and hangs it back

on its hanger in its proper place, ready for Joanna's

return. As he continues straightening up the room,

THE CAMERA SLOWLY FADES TO BLACK.

FADE IN:

18 INT. LIVING ROOM - VERY LATE AT NIGHT

WIDE SHOT--Ted Kramer paces back and forth, eyeing the

phone. Then, coming to a decision, he crosses to it,

picks up the receiver and starts to dial.

CUT TO:

19 EXT. APT. BLDG. - LATE AT NIGHT

WIDE SHOT--The building is dark except for the Kramer

apartment which is ablaze with lights. HOLD as we HEAR:

Sound: The phone ringing. Then:

WOMAN'S VOICE

(obviously asleep)

Huh.. .Hello?

TED

(righteous)

All right, Thelma...That's it.

I've had it. You can call your

good friend Joanna Kramer and tell

her enough is enough, okay? I

mean, I don't know what I did,

but you can tell her she's made

her point.

WOMAN'S VOICE

Ted, what are you talking about?!

TED

Don't play innocent with me,

Thelma. You know perfectly

well what's going on.

WOMAN'S VOICE

(exasperated)

Ted, I don't understand a word

you're saying. Where's Joanna?

TED

Ha! You tell me.

Sound-effect, as Ted slams down the receiver.

20 Instantly a light is turned on two floors below.

CUT TO:

21 INT. FOYER, KRAMER APT. - NIGHT

ON THE FRONT DOOR--as we HEAR:

Sound-effect: the doorbell rings.

A moment later Ted opens the door and THELMA PHILLIPS

enters. She is a neighbor (Apt. 6-B) and Joanna

Kramer's best friend. About four months ago Thelma

and her husband Charley were divorced. Until then the

two families had been very close, the Kramer's son

(Billy) being about the same age as the Phillips'

daughter (Kim). With the divorce, however, the Kramers

tried to remain friends with both Thelma and Charley

and that has caused a certain amount of friction.

Thelma is an attractive woman in her mid-thirties. She

dresses well, works out religiously at Jack LaLanne's

and goes to a therapist twice a week. She is also given

to acting the lay analyst with her friends. Thelma is

generous with her advice, sharing the wealth so to speak.

With all of this she is kind, loyal and a loving friend.

At the moment, however, she is all business.

THELMA

(looking around,

suspiciously)

All right. What's going on?

ON TED--From his attitude it is clear that there is no

love lost between them.

TED

All right, Thelma, you want to

know what's going on? I'll tell

you what's going on. I'll tell

you exactly what's going on.

THELMA

Look, Ted, all I--

TED

(starting to

really roll)

I came home tonight. We just got

the Fire and Ice account at the

agency. Do you know what that

means?! Do you understand

what that means? It means that

it was maybe one of the five

best days in my whole life.

THELMA

Ted, all I wanted to know was

where--

TED

(not letting her get

a word in edgewise)

I walk in the house and before

I can say "How are you?", "Did

you have a nice day?" before I

can say anything. Pow she's

out the door.

THELMA

OhmyGod. Didn't she say anything?

She must've said something.

TED

(sarcastic)

Yeah, she said it wasn't any

use talking anymore.

THELMA

Ted, don't be so hostile.

Ted draws himself upright with the dignity of the

Ambassador to the Court of St. James. However, during

the following, he begins pounding the pillows on the

couch into shape with real vehemence.

TED

Hostile?

(pow)

Me?

(whack)

Thelma, I'm not hostile.

(thud)

I am anything but hostile.

(sock)

But if you want to know what

I am. I'll tell you what I am.

What I am is, I am hurt. I am very

hurt. And I just want to know

one thing, okay? Just one thing

...Why? That's all I want to

know...Why?

THELMA

(how to say this)

Ted, Joanna and I used to talk a

lot and...well, she told me a lot

of...ah, things about the two of

you.

TED

(instantly nervous)

Things? What kind of things?

THELMA

(clearly she knows

more than she's

willing to say)

I mean...things. Ted, Joanna's

very unhappy and--

TED

(flash of anger)

Listen, Joanna Kramer's got a

goddamn good life. She's got a

husband that loves her. She's

got a terrific kid. She's got

a wonderful home--

THELMA

(getting mad herself)

What d'you know about how Joanna

felt? You went off to an office

every morning and you'd come

dragging home at seven or eight

every night and as long as dinner

was on the table you thought

everything was swell.

TED

Did it ever occur to you guys

that Joanna Kramer's not the

easiest person in the world to

live with?! Did it?! For one

thing she's always thirty minutes

late. You can set your watch

by it--

THELMA

(exasperated)

So she's late. What's the big

deal. That's just a way of saying,

"Pay attention to me."

TED

(not listening)

Two. She is getting to be a real

hermit or recluse or whatever it

is you call it. Thelma, do

you know where I could be in

this business if I had a wife

that entertained or went out

socially--

THELMA

Oh for shit's sake, Ted, you are

the most selfish human being I

have ever met. No wonder she

said you came first, then Billy,

then, if there was anything left

over, she got the scraps.

TED

Joanna said that?

Thelma nods.

TED

Then how come she never said

anything like that to me?

THELMA

Maybe she didn't feel like she

should have to. Maybe she

felt like if you'd been paying

any real attention to her to

start with, maybe you would've

noticed.

TED

(stung)

Boy, you guys are really something,

y'know? I'd like to know one

thing, okay--just one little

thing. Did you tell Joanna

she should leave me?

THELMA

(stiffly)

No.

She turns and starts toward the front door, Ted at

her heel.

TED

Y'know something Thelma--you are

the typhoid Mary of divorce.

I mean it. Joanna and I never

had any trouble until you and

Charley split up.

THELMA

Ted, divorce is a terrible thing.

I know, I went through it.

You've got to believe I did

everything I could to get Joanna

to stay.

(pause)

But I'll tell you something.

You may not want to hear it,

but it took a lot of courage

for Joanna to do what she just

did.

TED

I'd like to know what the hell

kind of courage it takes to walk

out on your husband and your child?

CLOSE ON THELMA--That stops her dead in her tracks.

She had always assumed that Joanna took Billy with her

when she left.

THELMA

Joanna left Billy? She didn't

take him with her?

Ted shakes his head. There is a long beat of silence.

THELMA

(stunned, quiet)

Oh Shit.

CUT TO:

FADE IN:

22 EXT. KRAMER APT. BLDG. - EARLY MORNING

WIDE SHOT--It is a beautiful sunny morning and the

super stands in front of the building hosing down the

sidewalk. HOLD as a garbage truck enters FRAME and the

garbage men begin loading sacks of trash into the back

of the truck. As it begins to grind up the garbage with

an ungodly sound, THE CAMERA PANS UP TO THE EIGHTH

FLOOR WINDOWS.

CUT TO:

23 INT. BILLY KRAMER'S BEDROOM - EARLY MORNING

MED. SHOT--Billy Kramer lies in his bed, fast asleep.

HOLD FOR A BEAT as we HEAR:

O.S. Sound: From the street below, the garbage truck

grinding up garbage.

A moment later, Billy opens his eyes, struggles to his

feet and, AS THE CAMERA TRACKS WITH HIM, trudges

sleepily out of his room, across the hall and into

the bathroom.

24 INT. BATHROOM - EARLY MORNING

As the child stands in front of the toilet, eyes closed,

we HEAR:

O.S. Sound-effect: as the child pees noisily.

Then, when he is finished, he turns and, without bother-

ing to flush the toilet, shuffles down the hall and

into his parents' bedroom.

25 HIS P.O.V.: The bed is empty, there is no sign

that anyone has slept in it.

ON BILLY--a look of suspicion on his face, he turns and

starts back down the hall toward the living room.

26 INT. LIVING ROOM - EARLY MORNING

As Billy enters, looks around.

HIS P.O.V.: Ted Kramer, still fully dressed, looking

like the wrath of God is asleep in the chair.

ON BILLY--as he marches across to his father.

BILLY

Where's mommy?

ON TED--His eyes open, he looks around startled.

TED

Huh?...Oh God...What time is it?

CROSS-CUTTING BETWEEN THEM:

BILLY

(suspicious)

The little hand is on the six and

the big hand is on the nine.

Where is mommy?

TED

(trying to pull

himself together)

Oh, Christ...Ah, yeah...you want

to know why mom's not here, right?

Billy nods.

TED

(bullshit)

Okay, I'm going to tell you...

It's like this. Mommy and daddy

had a little argument and mommy

decided she wanted to go off by

herself for a little while. You

know how sometimes you get mad

and want to go off and be by

yourself? Well, it's like that,

okay? Okay.

(subject closed)

Now how about some breakfast?

Ted struggles to his feet and THE CAMERA TRACKS WITH

THEM as they start toward the kitchen.

BILLY

When is mommy coming back?

TED

(lying)

Soon. Very soon.

By now they are inside the kitchen, Ted looks around.

27 HIS P.O.V.: There, on the kitchen cabinet is a

box of "natural grain" cereal, a jar of honey, some

wheat germ, and a banana, with carefully written

instructions from Joanna underneath.

ON TED--He takes one look at the note, crumples it

up and tosses it in the wastebasket.

TED

(the camp counselor)

I'll tell you what, kiddo--why

don't I fix us some French toast?

BILLY

(impressed)

Wow! French toast, really?

TED

(the camp counselor)

Sure. Didn't I ever tell you

French toast was my specialty?

I'll bet I never told you that.

Now then, the first thing we

need is...

(trying desperately

to remember)

... eggs! Right?

Billy nods. Ted opens the refrigerator and takes some

eggs.

TED

This is terrific ... isn't this

terrific?

As Ted begins the process of making French toast, it

soon becomes obvious that he has no idea of what he is

doing. What follows is a symphony in incompetence on

Ted's part. He breaks the eggs into a bowl and ends up

with most of the shell mixed up with the egg. Then he

takes a piece of bread and drops it into bowl.

TED

(saying it will

make it so)

I'm having a good time...Are you

having a good time?

ON BILLY--watching all of this with increasing

apprehension.

BILLY

You forgot the milk.

TED

(still the camp

counselor)

That's right. You're absolutely

right...It's been a long time

since I made French toast.

Ted takes a container of milk, pours it into the bowl

so that it is filled to the brim. Then he sloshes the

bread around until it is half-dissolved.

TED

Look at this, isn't this

something?!

He lops off a huge hunk of butter, drops it into an

omelet pan and turns up the flame.

ON BILLY--watching. He looks as though he is about to

throw up.

BILLY

What about my orange juice?

TED

(the counterman)

Right. One O.J. coming up.

He opens the refrigerator and starts to get the orange

juice. As he does, black smoke begins to billow

ominously from the frying pan.

BILLY

(scared)

Daddy!!!

Ted turns, spots the smoke.

TED

Don't worry.. .Everything's

fine...

He lunges for the handle of the frying pan, which by

now is very hot. He grabs it, lets out a howl of pain

and the whole mess, frying pan, butter, bread, goes

crashing to the floor.

CLOSE ON TED--Suddenly all the rage comes pouring out.

TED

Goddam! Son of a bitch!

REACTION, BILLY--terrified.

WIDE SHOT--as Ted kneels down and begins to clean up

the mess.

TED

(to himself as much as

to Billy)

It's okay. It's gonna be okay...

Everything's going to be all

right.

CUT TO:

28 EXT. STREET - DAY

ON A BUS--as it pulls to a stop. The doors open and a

stream of mothers and children get off. Among them

we spot Ted Kramer with Billy. As they start across

the street, Ted reaches down and takes hold of Billy's

hand. The moment they get to the far side, Billy

takes his hand away from Ted's and wipes it on his

pants. Clearly Ted's hands are very sweaty.

CLOSER IN ON THEM: As they start down the block toward

Billy's school.

CLOSER IN ON THEM

BILLY

When is mommy coming back?

TED

Soon. I told you before, very

soon.

BILLY

(nervous)

Will she pick me up after school?

TED

No. If I'm not here, you go

home with Thelma and Kim.

BILLY

What if she forgets?

TED

(weary)

I'll call Thelma and remind her,

okay? Don't worry.

They walk in silence for a few steps, then:

BILLY

But what happens if she's on

her way to school and she gets

runned over by a truck and killed?

What happens them?

Ted looks at Billy in amazement.

WIDE SHOT--as the two of them enter the school and

disappear from view.

CUT TO:

29 INT. OFFICE, TED'S AGENCY- DAY

ON THE ELEVATOR DOORS--as they open and Ted steps out

looking like the wrath of God. THE CAMERA TRACKS WITH

HIM as he crosses the waiting room toward the inner

offices.

ON THE RECEPTIONIST--glancing up as he passes.

RECEPTIONIST

(cheerful)

Congratulations, Mr. Kramer.

ON TED--looking at her like she has lost her mind.

Nevertheless he continues on, passing through swinging

doors into a long corridor lined with secretaries'

desks and offices leading off of it. Suddenly a

younger man rushes up, grabs Ted's hand and starts to

pump it vigorously.

YOUNG MAN

Terrific news, Ted.

Another nut. Ted smiles at the man, humoring him and

continues toward his office. O'Connor appears, throw-

ing his arm around Ted, squeezing him in a bear hug.

O'CONNOR

Hey...Look who was out celebrating

last night.

Suddenly Ted realizes that all these people are con-

gratulating him for getting the Fire and Ice account.

TED

(trying to appear

nonchalant)

Uh, Jim...Can I talk to you?

CUT TO:

30 INT. O'CONNOR'S OFFICE - DAY

Ted and O'Connor sitting across from one another.

O'Connor has just heard the news.

O'CONNOR

Jesus Christ. That's a real

blockbuster.

(shakes his head)

I always figured you guys had

it made.

TED

(morose)

You want to know the real

kicker? The real kicker is,

for the first time in my life--

the first time--I feel like a

loser.

O'Connor nods sympathetically. Actually he is praying

that Ted won't start to cry.

O'CONNOR

(stiff upper lip)

Listen, don't let it get you down.

(doesn't believe

it for a second)

You're going to be fine.

TED

(toujour gai)

Me? I've never been better.

I mean having my wife walk out

on me after seven years of

marriage agrees with me just

fine.

O'CONNOR

Look, Ted, I'm the oldest whore

on the beat, okay? Three

marriages, two divorces...You're

gonna be okay.

TED

(wishful thinking)

I'm going to be okay. The way

I see it, Joanna'll come home,

it's just a matter of time.

O'CONNOR

(emphatically)

She'll be back...

Ted nods in agreement. There is a beat of silence as

both men consider Joanna's imminent return. Then:

O'CONNOR

(trying to be tactful)

But...just in case...I mean,

just on the off chance she doesn't.

What are you going to do about

the kid?

TED

(the wind goes

out of him)

I don't know, Jim. This whole

thing has happened so...Pow--

like that.

O'CONNOR

(a friend having to

say something very

difficult)

Look, it's none of my business,

so you can tell me to butt out,

okay? But if you want my advice,

you'll send Billy away to stay

with relatives for a while. Just

until you get yourself straightened

out.

TED

(doubtfully)

I don't know, Jim...

O'CONNOR

(the Dutch uncle)

Ted, this may sound a little

rough, but we've just landed the

biggest account in the history

of this agency, right? And now

it's up to us--that's you and me

--to deliver the goods. Ted,

you're my main man, and if I

can't depend on you a hundred

and ten percent, twenty-four

hours a day, because you're

worried about a kid with a runny

nose--

TED

Jim, I appreciate what you're

saying. I mean it, but I really

think Joanna's coming back.

ON O'CONNOR--clearly he doesn't believe this.

O'CONNOR

I hope you're right, Ted...I

really hope you're right.

CUT TO:

31 INT. FOYER, KRAMER APT. - DAY

INSERT: TIGHT ON AN ENVELOPE: It is postmarked

Denver, Colorado. The letter is addressed to Billy

Kramer and it is from Joanna.

ON TED--as he rips open the letter.

TED

Billy!

ON BILLY--He sits in the living room watching television,

a chocolate doughnut in one hand and a remote control

device for watching television in the other.

Off-screen Sound: a Saturday morning kiddie program

from the television set.

BILLY

(focused on T.V.)

Uh, huh...

TED

You got a letter from mom.

Instantly, Billy turns down the volume of the

television.

BILLY

(excited)

When is she coming home?!

ON TED--as he starts to read, slowly, carefully, so

that Billy can absorb it.

TED

"My dear, sweet Billy: Mommy has

gone away. Sometimes in the

world daddies go away and mommies

bring up their little boys. But

sometimes a mommy can go away too,

and you have your daddy to bring

you up."

As Ted continues to read, Billy starts turning up the

sound on the television, using the remote control device.

TED

(raising his voice

so he can be heard)

"I have gone away because I must

find some interesting things to

do for myself in the world.

Everybody has to, and so do I.

Being your mommy was one thing,

but there are other things and

this is what I have to do. I

did not get a chance to tell you

this, and that is why I am writing

you now."

By now the volume from the television is so loud that

Ted has to shout to make himself heard over it.

TED

"I will always be your mommy and

I will always love you. I just

won't be your mommy in the house.

But I will be your mommy of the

heart. And I..."

(he looks up, about

to tell the child

to lower the volume)

Billy.

HIS P.O.V.: Billy sits, watching television with an

almost ferocious intensity on his face, doing his best

to block out Ted's voice.

ON TED--He watches his son for a second, then carefully

refolds the letter, puts it away.

TED

(as he reaches across,

turns down the sound

on the T.V.)

It's okay...It's okay. We'll talk

about it some other time.

CUT TO:

32 INT. KITCHEN, KRAMER APT. - LATER THAT DAY

CLOSE ON THELMA--reading Joanna's letter.

THELMA

Oh, God...OhmyGod...

She finishes the letter, looks up at Ted.

THELMA

What are you going to do?

TED

I don't know, Thel...This whole

thing has happened so...Pow,

like that.

THELMA

I mean, what are you going to do

about Billy?

TED

(stiff)

I'm gonna keep him, why?

THELMA

Look, this is nothing personal,

but I don't think you can do it.

TED

Thelma, I've lost my wife, I'm

not losing my child.

THELMA

(backing off)

All right...Okay...But let's

get something straight, right now.

I mean, I'm sorry about what

happened between you and Joanna,

but it's not my problem, understand?

REVERSE ON TED--he nods.

CROSS-CUTTING BETWEEN THEM:

THELMA

I'm not going to have you calling

every fifteen minutes just

because you can't find a hot

water bottle, understand?

Ted nods.

THELMA

I've got enough trouble raising

my own kid. I don't need another

one. Got it?

TED

Got it.

THELMA

You're on your own, understand?

TED

I understand.

THELMA

You're sure?

TED

I'm sure.

ON THELMA--a long pause, she looks at him with all the

warmth of a top sergeant facing a raw recruit. Then:

THELMA

All right. Who's Billy's

pediatrician?

ON TED--He hasn't the foggiest idea.

THELMA

(machine-gun delivery)

Ed Davies. 230 East 76th Street.

472-8227. Fifty bucks a house

call, thirty for an office visit.

Write this down: I'm not telling

you twice. What's the nearest

hospital?

ON TED--as he grabs a piece of paper and starts writing

frantically.

TED

Wait a minute! Wait a minute!

THELMA

(not waiting)

Lenox Hill. 77th Street between

Park and Lex. The emergency

number is 327-0800.

TED

Slow down...Slow down...

CUT TO:

33 INT. TED'S BEDROOM - DAY

WIDE SHOT--Ted stands in the middle of the room, sorting

out a huge pile of dirty clothes. Thelma sits on the

edge of the bed, watching.

THELMA

Colors in one pile, white things

in another and shirts in a third.

In the BACKGROUND we SEE the bathroom door as it opens

and Billy Kramer steps out, freshly bathed and wearing

clean clothes.

THELMA

(without looking

around)

Brush the teeth. Hang up the

towel and flush the toilet.

Billy immediately turns on his heels and heads back into

the bathroom.

CUT TO:

33A INT. LIVING ROOM, KRAMER APT. - DAY

CLOSE ON A SILVER CIGARETTE BOX--that is inscribed, "Ted

and Joanna Kramer, Married April 4, 1970." HOLD FOR A

BEAT then Ted's hand reaches into FRAME and picks it up.

MED SHOT TED--as he takes the cigarette box and balances

it on a stack of scrap books, photographs, ash trays,

etc., etc., that he is carrying. He crosses to another

table, picks up a framed photograph of Joanna and Billy

and piles that on top of everything. We realize that

Ted is going through the apartment from top to bottom

and methodically cleaning out every trace of Joanna that

he can find.

CUT TO:

33B EXT. APARTMENT BUILDING - NIGHT

ESTABLISHING SHOT

CUT TO:

33C INT. LIVING ROOM, KRAMER APT. - NIGHT

WIDE SHOT--as Ted goes through the room, picking up

Billy's clothes which have been strewn every which way.

THE CAMERA TRACKS WITH HIM as he carries them into

Billy's room.

33D INT. BILLY'S ROOM - NIGHT

Billy is fast asleep, the only light coming from the

night lamp on the dresser. Ted dumps the soiled

clothing in a hamper, hangs up Billy's jacket, then he

neatly folds the boy's sweater and crosses to the dresser.

CLOSER IN ON THE DRESSER--as Ted opens a drawer and

starts to put the sweater away. Suddenly he spots

something.

CUT TO:

HIS P.O.V.: There, in the drawer, sitting on top of a

pile of clothing is one of the photographs of Joanna that

Ted put away this afternoon. Billy has retrieved it and

hidden it here, hoping that Ted wouldn't find it.

CLOSE ON TED--as he takes a long look at the photograph,

then turns to his son.

HIS P.O.V.: Billy asleep, tangled up in the covers.

ON TED--He removes the photograph from the drawer,

crosses to the bed and places it on the nightstand

nearby so that Billy will be able to see the picture

of Joanna when he wakes up in the morning. He sits

for a moment longer on the side of the bed and reaches

across and smooths down his son's rumpled hair.

FADE TO BLACK:

34 INT. TED'S OFFICE - LATE AFTERNOON

ON TED--clearly in a rush, loading his briefcase with

work to do that evening. He starts for the door and

THE CAMERA TRACKS WITH HIM as he walks along the outer

office corridor, heading for the elevator. As he passes

the door to O'Connor's office:

TED

(calling out)

'Night, Jim.

O'CONNOR (O.S.)

(calling out)

Hey, Ted. C'mon in. I wanna'

talk to you.

Reluctantly Ted stops, turns around and walks back to

the door to O'Connor's office.

CUT TO:

35 INT. O'CONNOR'S OFFICE - LATE AFTERNOON

O'Connor sits back in his chair, his feet propped on the

desk a drink in one hand.

O'CONNOR

(jovial)

What's the big rush. C'mon in,

put your feet up, have a drink.

REVERSE ON TED--hanging in the doorway, clearly anxious

to leave.

TED

Can't do it tonight. Gotta

pick up Billy. I'm late.

O'CONNOR

(paying no attention

to that)

Listen, I heard a terrific joke

today. There's this Polish

skydiver--

TED

(urgent)

Sorry, Jim I've got to go. I'll

talk to you tomorrow.

And before O'Connor can say anything he is gone.

REVERSE ON O'CONNOR--Obviously displeased. He sits for

a moment, drumming his fingers on the desk top, then

reaches for the phone and starts to dial. A moment

later:

O'CONNOR

Murray? Jim O'Connor, why don't

you drop by and have a drink...

CUT TO:

36 EXT. OFFICE BUILDING - LATE AFTERNOON

WIDE SHOT--as Ted emerges from the building, starts

to hail a cab.

CUT TO:

37 EXT. APARTMENT HOUSE, EAST EIGHTIES -

LATE AFTERNOON

WIDE SHOT--as the cab pulls to a stop. Ted leaps out

and rushes inside.

CUT TO:

33 INT. HALLWAY, APARTMENT BLDG. - LATE AFTERNOON

The elevator doors open and Ted steps out. THE CAMERA

PANS WITH HIM as he crosses to the doorway of an

apartment, rings the bell.

CLOSER IN--as the door is opened by a pleasant-looking

woman in her thirties. This is MRS. KLINE. She has

the slightly haggard look of someone who has just sur-

vived a birthday party with eight five-year-olds. In

fact, behind her we SEE an abundance of crepe paper

and balloons.

TED

(apologetic)

Mrs. Kline, I'm sorry I'm late,

but--

MRS. KLINE

That's all right, but I'm afraid

Billy was a little nervous...

(she glances O.S.)

THEIR P.O.V.: Billy, his coat on, his goody bag in his

lap sits alone on a bench in the foyer.

The moment he sees his father, he gets up and starts

for the door.

BILLY

(to Ted, accusingly)

You're late.

TED

I'm sorry, pal, but I had a

meeting and--

BILLY

(to Mrs. Kline,

anxious to get

away)

Goodbye.

MRS. KLINE

Goodbye, Bill. Thank you for

coming.

(calling out to her

son in the next room)

Mark. Say goodbye to Bill.

MARK (O.S.)

(preoccupied)

Bye.

BILLY

Bye.

And he hustles his father out into the hallway. Once

door is shut behind them:

BILLY

(sullen)

I was waiting a long time.

By now they have crossed to the elevator. Ted rings

the bell.

TED

(this ain't exactly

the greeting he's

expected)

It wasn't so long, I'm only...

(checking his watch)

...twenty minutes late.

The elevator doors open.

BILLY

All the other mothers got here a

long time ago...

And the doors close, blocking them from view.

CUT TO:

39 INT. LIVING ROOM, KRAMER APT. - NIGHT

WIDE SHOT--Ted and Billy sit at the dining table, a

large pizza between them. Ted is working hard, trying

to establish some kind of rapport with his son. Billy

is silent, he picks at the slice of pizza in front of

him.

TED

(more of the camp

counselor)

How was school today?

BILLY

Okay...Same as usual...

TED

Billy, don't eat with your fingers.

BILLY

(morose)

Sorry.

There is a long beat of silence.

TED

(like pulling teeth)

Well, I see the Yankees finally

won a game.

BILLY

Mom, I mean dad?

TED

Yeah?

BILLY

Can I be excused? I'm not hungry.

I think I'll go to bed.

TED

Sure. Too much birthday cake,

right?

BILLY

(as he gets up from

the table)

I guess...

WIDE SHOT--as Billy shuffles off toward his room. Ted

sits for a beat picking at the food on his plate.

THE CAMERA TRACKS WITH BILLY--as he gets up from the

table and

40 walks into his room. HOLD IN THE DOORWAY as he

takes off his shirt and pants and leaves them lying

on the floor. The boy crosses to the closet, gets his

pajamas and puts them on.

REVERSE ON TED--standing in the doorway, watching.

TED

Goodnight.

ON BILLY--He starts to crawl into bed.

BILLY

(aloof)

'Night.

ON TED, THE CAMERA PANS WITH HIM--as he crosses to where

Billy dropped his clothes on the floor, picks them up.

TED

Listen, pal, I'm sorry, okay?

Silence.

TED

I know how you feel.

Silence.

Ted crosses, sits on the edge of the bed.

TED

Look, I remember one time when.

I was a couple of years younger

than you are now and...I was

staying with this cousin of mine

and my parents were supposed to

come and pick me up by three,

but it got later and later and

they didn't and they didn't show

up and I remember I got really

scared that something had happened

to them and I remember when they

finally came instead of being

happy to see them I was very

angry and...Billy, I promise I'll

never do that to you again,

okay?...

Silence.

TED

Billy? Okay?

C.U. BILLY--His face is turned to the wall. HOLD FOR A

BEAT as we SEE him nod.

41 INT. LIVING ROOM, TED KRAMER'S APT. - NIGHT

Note: The following scene, which is written as one,

is actually to be played so that each time we cut back

to the woman who is being interviewed as housekeeper,

it is a different woman: sometimes nervous and ex-

cited, sometimes large and lugubrious, with six shopping

bags, sometimes looking like a headmistress at Dachau.

They are uniformly (until the last) unappetizing.

Throughout this, we SEE Ted becoming increasingly

desperate.

WOMAN

(looking around

nervous)

It's very big...They didn't

tell me it was this big.

TED

(apologetically)

No...No, actually it's only two

bedrooms.

SECOND WOMAN

(sniffing)

Phew...This place is a real

pig sty.

TED

(defensively)

Look, my wife just walked out

on me. Okay? It's been a tough

week.

THIRD WOMAN

Don't tell me your troubles,

mister. I got enough of my own.

42 Note: With the FOURTH WOMAN we begin on a

CLOSE-UP and PULL BACK to REVEAL that we are in

Ted's office and it is the middle of the afternoon.

INT. TED KRAMER'S OFFICE - DAY

FOURTH WOMAN

The first thing is, I don't do

floors.

At that point the door behind her opens and O'Connor

pokes his head in.

O'CONNOR

Ted.

FOURTH WOMAN

(ignoring him)

Or windows. I come in at ten and

I get Wednesdays off.

O'CONNOR

Ted.

TED

(brisk)

I'll be with you in a minute,

Jim.

(back to the woman)

You couldn't make that Saturday,

could you?

CUT TO:

43 INT. LIVING ROOM, KRAMER APT. - NIGHT

ON THE FIFTH WOMAN (MRS. WILLEWSKA)--She is a slightly

built attractive woman in her early sixties. There is

a long pause as she looks around.

MRS. WILLEWSKA

What kind of boy is your son?

REACTION TED--This is the first person that ever asked

about Billy.

TED

(taken aback)

Well, he's...ah, he's a good kid.

He's shy and...I think he's

probably very creative and...

MRS. WILLEWSKA

Could I see him?

TED

Sure. He's right in here.

As they start toward the child's room.

CUT TO:

44 INT. BILLY'S ROOM - NIGHT

In the darkness we can SEE Billy, all scrunched up in

the covers. HOLD FOR A BEAT as the door opens and the

light from the hall falls across the sleeping boy.

ON THE DOOR--Ted and Mrs. Willewska stand silhouetted

against the light.

MRS. WILLEWSKA

Oh,...He's very beautiful.

ON BILLY--as he stirs, in his sleep.

MRS. WILLEWSKA (O.S.)

Mr. Kramer, you are a very lucky

man.

REACTION, TED--This is the first time since Joanna left

that this has occurred to him.

TED

Mrs. Willewska, could you start

on Monday?

CUT TO:

45 INT. SUPERMARKET - DAY

ON BILLY AND TED, TRACKING JUST IN FRONT OF THEM--as they

wheel a shopping cart along the aisle. Ted has a

shopping list in his hand.

Ted stops, takes a box of detergent off of the shelf,

starts to put it in the shopping cart, when:

BILLY

(worried)

Mom, I mean dad...

TED

(his mind elsewhere)

Uh huh...

BILLY

That's not the right soap. We

use the kind in the green and

yellow box.

TED

C'mon, there's not much difference--

BILLY

(firmly)

We use the green and yellow.

Ted looks at his son for a moment, then carefully

replaces the detergent that he had originally picked

and reaches for the green and yellow kind. They continue

on for several steps and Ted stops again, this time

looking for a dishwashing liquid. He starts to reach

for one, stops, looks around at Billy.

Billy shakes his head.

Ted points to another.

BILLY

(shaking his head

again)

The pink stuff.

Ted takes a bottle of the pink stuff, puts it in the

shopping cart and consults his shopping list.

TED

Okay, what color cereal do we

get?

CUT TO:

46 EXT. PLAYGROUND, CENTRAL PARK - DAY

WIDE SHOT--It is that same afternoon and Billy (his

clothes are much dirtier by now) is running back and

forth with a group of other children.

MAN'S VOICE (O.S.)

Walk him over to Bethesda Fountain

and buy him an ice.

ON TED--He sits on one of the playground benches, the

work he took from the office stacked beside him on the

bench. Sitting next to him is a personable-looking man

of about Ted's age. He is nattily dressed in a suit

complete with vest, tie and polished Gucci loafers.

We will call him THE SATURDAY FATHER.

Note: The Saturday Father and his daughter (a pretty

young girl of about ten) will appear from time to time

throughout the film. He is a divorced father, putting

in his time, not giving a shit about the child. The

Saturday Father insists on treating Ted as though they

were members of the same secret fraternity. And he

comes to represent Ted's nightmare of what might happen

to him.

TED

(looking in the

direction of the

voice)

What?

SATURDAY FATHER

Walk him over to Bethesda Fountain,

buy him an ice. It'll kill

twenty minutes.

TED

I've got a lot more than twenty

minutes to kill.

SATURDAY FATHER

Tough...

(checking his watch)

...I get off duty at five-thirty.

(bored, anxious to

make conversation)

How long you been divorced?

TED

(surprised)

Three months. How can you tell?

SATURDAY FATHER

You've got that look. My lady

and I split two years ago in

August and I'm an old pro at

this shit. First thing, stay away

from the Children's Zoo. It's

pure hell--if I never see another

chicken, I'll be happy.

(calling out to his

daughter O.S.)

I'm here, darling. Don't worry...

CLOSER ON TED--finding this distinctly unpleasant.

He glances around, looking for Billy.

HIS P.O.V.: The sprinkler area. Other children are

running around, but there is no sign of Billy.

TED

(calling out)

Billy?

HIS P.O.V.: Another area of the playground. Billy is

nowhere in sight.

WIDER ON TED--as he grabs his stuff and starts toward

the exit of the playground.

TED

(louder)

Billy?

HIS P.O.V.: Looking in another direction. Nothing.

WIDE ON TED--standing among a crowd of people just out-

side the entrance to the playground. He is looking

around wildly.

TED

Billy?!

HIS P.O.V.: There in the distance is Billy Kramer,

running as hard as he can away from Ted.

ON TED, TRACKING IN FRONT OF HIM--as he starts to chase

after Billy.

HIS P.O.V.: TRACKING FORWARD--It is clear that Billy

is running with a purpose.

TED (V.O.)

Billy!

Billy pays no attention to him.

ON TED, TRACKING IN FRONT OF HIM--as he continues to

chase his son.

HIS P.O.V.: TRACKING FORWARD--Closer now, we can SEE

that ahead of Billy is a woman that, from behind, looks

remarkably like Joanna.

CLOSER ON TED--as he realizes what is about to happen.

CLOSER ON BILLY--catching up to the woman.

BILLY

Mommy! Mommy!

A moment later he gets close enough to grab onto her

skirt. As the woman turns around:

C.U. WOMAN--quite clearly it is not Joanna.

CLOSE UP BILLY--His face becomes impassive again. All

the excitement vanishes.

BILLY

Oh. I thought you were my mommy.

C.U. TED--His face reveals all of the pain that

Billy's can't.

CUT TO:

47 INT. CLASSROOM, NURSERY SCHOOL - DAY

CLOSE ON A HOMEMADE CURTAIN--as it opens and Billy

Kramer, wearing an outsized moustache, a makeshift cape

and a stovepipe hat made from construction paper. He

stands for a moment, looking around, finally he spots

someone, grins and begins waving.

HIS P.O.V.: across the room eighteen to twenty

mothers (Ted Kramer is the only man present) are gathered,

sitting on tiny chairs and at work tables watching as

their children put on a show.

ON BILLY--Suddenly he forgets his lines, looks around

nervously. A moment later a very pretty young teacher

leans over, whispers in his ear.

TEACHER

Ladies and gentlemen...

BILLY

Ladies and gentlemen...

TEACHER

Welcome to the greatest show on

earth.

BILLY

Welcome to the...

(he forgets again)

REVERSE ON TED--He leans forward mouthing the words as

the teacher prompts Billy.

TEACHER

Greatest.

BILLY

Greatest...

TEACHER

Show.

BILLY

Show...

TEACHER

On earth.

BILLY

On earth.

Ted breathes a sigh of relief, his son having gotten

through it.

CROSS-CUTTING BETWEEN THE CHILDREN PUTTING ON THE SHOW

AND TED KRAMER SITTING IN THE AUDIENCE WATCHING--A look

of total pleasure on his face. From time to time when

Billy does something particularly difficult, Ted nudges

the woman next to him.

Note: In all of the shots of Billy we SEE the teacher

there guiding, helping, over and over and over we cannot

help but notice how attractive she is. Toward the end

of the show Ted's P.O.V. occasionally follows the teacher

rather than the child.

DISSOLVE TO:

WIDE SHOT--The show is over and the parents and children

mill around eating popcorn, drinking lemonade from paper

cups. Ted stands off to one side, talking to the teacher

as Billy runs around.

CLOSER IN ON THEM:

TEACHER

Mr. Kramer, I just wanted to tell

you what a wonderful boy your son

is.

TED

(clearly attracted

to her)

I don't know...I've been worried...

(glancing around,

making sure Billy

is out of earshot)

I mean, with what he's been through

and everything. I--

TEACHER

(solicitously)

No...No...Billy is doing just fine.

TED

(giving himself

a few points)

Well, you know it's not easy

raising a kid on your own and

I thought if we could get

together and, uh, discuss--

At that moment one of the class mothers interrupts,

reaches across Ted and takes hold of the teacher's hand.

WOMAN

(effusive)

Barbara! Congratulations! When

is the baby due?

TEACHER (BARBARA)

Oh, God. Not 'til August.

CLOSE ON TED--inadvertently glancing at the teacher's

stomach, nothing shows.

ON THE TEACHER--as she turns back to Ted.

TEACHER

Excuse me. You said you wanted

to talk, Mr. Kramer.

TED

(embarrassed)

Yes, but...ah, not now...

(checking his watch)

I've got an appointment...I forgot

all about it...

As Ted begins beating a hasty retreat,

CUT TO:

48 EXT. STREET - DAY

ON TED, TRACKING IN FRONT OF HIM--as he walks down the

street carrying a large and elaborate papier mache art

thing that Billy made in school.

CROSS-CUTTING BETWEEN TED AND HIS POV, as he manages to

notice every single pretty girl that passes, thread his

way through the crowd and still balance Billy's enormous

work of art.

CUT TO:

49 INT. AGENCY - DAY

ON THE ELEVATOR DOORS--as they open, Ted squeezes off

and AS THE CAMERA TRACKS WITH HIM, he crosses the

waiting room and enters the offices proper. He pauses

at his secretary's desk and deposits Billy's papier mache

thing. She jumps up from her desk, takes the papier

mache thing and her notebook in hand, and follows Ted

as he walks down the corridor towards O'Connor's office.

SECRETARY

Mr. O'Connor called. There's a

meeting with the Revlon people

in the board room and you're

fifteen minutes late.

TED

(in a rush)

I know....I know.

SECRETARY

Mr. Schmidt can't have the figures

on the television buy until Monday.

TED

No. Uh, uh. Tell him I asked for

it Friday. I want it Friday.

Period.

SECRETARY

Mr. Lombardo from packaging wants

to meet on Friday.

TED

Fine.

50 By now they have reached the board room. He

enters without knocking, his secretary still in tow.

SECRETARY

And Mrs. Kelsey called to ask

if Billy can come to Stephanie's

birthday party on Tuesday.

CUT TO:

50 INT. BOARD ROOM - DAY

The room is filled with executives in three piece suits

and O'Connor who is doing a lot of backing and filling.

TED

(as he enters)

Yes. Remind me to pick up a

"Crying Chrissie" doll at lunch

on Tuesday.

ON O'CONNOR--Clearly he is very irritated at this.

O'CONNOR

(sardonic)

If it's all right with you, Mother

Kramer, can we get down to work

now?

CUT TO:

51 INT. PHYLLIS BERNARD'S OFFICE - DAY

It is a real mess, legal files and law books scattered

everywhere. In the midst of all this chaos sits PHYLLIS

BERNARD, as we said before, she is about thirty, very

pretty in spite of her glasses.

ON PHYLLIS--She looks up as Ted enters. It is clear

from their attitude that they have known one another for

a long time and are very relaxed together.

PHYLLIS

Hello, Kramer.

ON TED--He drops into a chair and shoves a stack of

papers across the desk to her.

TED

Hiya, Phyllis. These are the

Revlon contracts. I thought

you ought to check them out.

PHYLLIS

Sure.

She takes the papers and starts to rifle through them,

stopping every so often and making a note in the margin.

As she does, we notice that the second and third buttons

of her blouse have come undone and that she is not wearing

a bra.

CLOSER ON TED--as he realizes this.

ON PHYLLIS--She glances up to ask Ted a question about

some point or other, notices the direction of his gaze

and, unselfconsciously buttons up her blouse.

She goes back to her papers as Ted continues to watch her.

ON PHYLLIS--not looking up from her papers.

PHYLLIS

Yes.

TED

(baffled)

Yes, what?

PHYLLIS

(looks up, serious)

Yes, I'll have dinner with you.

CUT TO:

52 INT. TED KRAMER'S BEDROOM - LATE AT NIGHT

ON THE BED--Although the room is dimly lit, we can SEE

quite clearly that Ted and Phyllis are in bed together.

They have finished making love and Ted lies back, half

asleep. Phyllis reaches across to the nightstand, puts

on her glasses and checks her watch.

PHYLLIS

Kramer, I've got to go. I've got

an eight o'clock closing tomorrow

down on Centre Street.

TED

(half asleep)

Mmmmnph...I'll get you a cab...

But he makes no move to get up.

Phyllis gets to her feet and in the dim light we can SEE

that, except for her glasses, she is naked.

PHYLLIS

(as she crosses the

hall on the way to

the bathroom)

That's okay. It's just that I've

got these clients that are--

CUT TO:

53 INT. BATHROOM - NIGHT

There is Billy Kramer, standing by the toilet, buttoning

his pajamas. He looks up at Phyllis.

His P.O.V.: There stands Phyllis, naked as the day she

was born, a look of stunned amazement on her face.

PHYLLIS

(softly to herself)

Oh, God.

Too startled to cover herself.

ON BILLY--He looks her up and down, then:

BILLY

(very serious)

Do you like fried chicken?

ON PHYLLIS--suddenly remembering to cover herself.

PHYLLIS

(hoping desperately

it is the right answer)

Ah.. .Yes.

SHOT--Phyllis and Billy.

BILLY

So do I...

And he shuffles off to bed. Phyllis waits, frozen until

he disappears into his room. Then, she turns and flees

back into the bedroom.

CUT TO:

54 INT. BEDROOM - NIGHT

ON PHYLLIS--as she bursts into the room, closes the door

behind her, leans against it.

PHYLLIS

(eyes wide)

I just met your son.

ON TED--who has leapt out of bed and is scrambling into

his pants.

TED

Like that?!

Phyllis nods.

TED

And?

PHYLLIS

He wanted to know if I liked

fried chicken.

TED

Do you?

Phyllis nods rather frantically.

TED

(grinning)

So what's your problem?

CUT TO:

55 INT. KITCHEN, KRAMER APT. - EVENING

ON TED AND THELMA--stand side by side. He is cutting,

chopping, making some kind of stew. Thelma stands

nearby watching, sipping a glass of white wine.

FROM O.S. we can hear Billy and Kim running around,

playing.

TED

You ever think about getting

married again?

THELMA

No, not really...

(she thinks for

a moment, then:)

I guess it's different if you

don't have children, but...I

dunno, even if Charley and I

don't live together, even if

we're sleeping with other people,

even if Charley was to marry

again...He'd still be my husband.

That stuff about "Till death do

you part?" That's really true.

TED

(nodding toward a

cookbook that is

propped open nearby)

How many onions does it say to

use?

THELMA

(without bothering

to look in the book)

Three. And add some basil.

TED

(as he does)

D'you think you and Charley'll

ever get back together again?

THELMA

No. I don't think so.

TED

C'mon, Thel. So Charley had a

little fling. So what? All in

all he was a pretty good husband.

THELMA

Look, I know this isn't gonna

make any sense, okay? I mean

forget the logic part...But I

keep thinking if Charley really

loved me, he wouldn't have let

me divorce him.

CUT TO:

56 EXT. CENTRAL PARK - DAY

WIDE SHOT--The Saturday Father and his daughter, clearly

with nothing to say to one another, stand eating ices

from a nearby vendor. THE CAMERA PANS AWAY FROM THEM

across to Billy, Ted and Phyllis. She is dressed in a

very nice suit, silk blouse, high heeled shoes and looks

distinctly out of place in Central Park on a Saturday

afternoon.

At the moment, Ted is trying to teach Billy how to bat.

TED

Now look, you hold it like this...

(he places Billy's hands

on the bat just so)

...and you swing like this...

(taking him through

the motions)

ON PHYLLIS--watching. She can't believe what she's

seeing. Finally, she can't stand it any longer.

PHYLLIS

(impatient)

No, no, no, Kramer. That's not

how you do it. Look....

She crosses to Billy, gently takes the bat from him and

demonstrates.

PHYLLIS

...you hold it like this...

(showing him her grip)

Farther down the bat. And you

swing like this...

(to Ted)

Throw me one.

ON TED--as he gives Billy a look that says, we have to

humor her. He throws a ball.

ON PHYLLIS--as she swings, connects and slams a ball in

a long, looping fly that goes at least two hundred feet.

ON TED--watching the ball disappear in the distance,

he turns back to Phyllis, open-mouthed.

CLOSE ON PHYLLIS--Embarrassed, she grins, shrugs and

hands the bat back to Billy.

CUT TO:

57 INT. O'CONNOR'S OFFICE - DAY

WIDE SHOT--O'Connor, Murray and the Art Director are

in O'Connor's office as the door opens and Ted enters,

carrying a pile of papers, charts, graphs, etc., etc.

TED

Okay, Jim. Here's the report

on.

He stops in mid-sentence, looks around.

HIS P.O.V.: On the walls are a series of mock-ups of

the various Fire and Ice ads, none of which are what

Ted and O'Connor had agreed upon.

TED

(surprised)

What the hell is this?

O'CONNOR

(innocent)

Murray had some ideas about the

Fire and Ice campaign and he had

the art department make up a

few roughs...

(weakly)

I think they're kind of interesting.

TED

(bugged)

I don't. Jim, this isn't

anything like what we talked

about. It's not even close.

MURRAY

(oily)

Ted, basically it's still your

concept.

O'CONNOR

(chiming in)

Murray just added a few things,

that's all.

TED

Now hold it right there, I'm

the one that went in and sold

Revlon on this idea to start

with, remember? You said I

was going to be--

Sound-effect: the phone rings.

O'Connor picks it up.

ON TED

O 'CONNOR

Yeah?

He listens for a moment, then hands the phone to Ted.

O'CONNOR

It's for you.

ON TED--as he takes the receiver.

TED

(puzzled)

Yes?

Then, embarrassed, he turns his back and lowers his

voice.

TED

Look, Billy, I told you before,

one hour of T.V. a day, that's

the rule...No...

(clearly, Billy is

giving him an

argument)

I don't care what the other

mothers do...Listen, I can't

talk now, I'm in a meeting...

(firm)

Billy, I'll talk to you later,

good-bye.

Note: during the phone call, the CAMERA PANS AWAY TO

MURRAY & O'CONNOR, looks of bored condescension and smug

superiority on their faces.

Ted hangs up the phone and turns back around.

MURRAY

(smooth)

Ted, I appreciate what you're

saying, but I really think you're

just too close to it right now.

O'CONNOR

(quickly)

Murray's right.

(reassuring)

Look it's just some ideas, okay?

I mean nothing's locked in cement.

I promise you this is your show...

ON TED--Not very reassured.

O'CONNOR

Trust me on this one, Ted...

CUT TO:

58 INT. LIVING ROOM, KRAMER APT. - NIGHT

Ted is sitting at the dining room table, working.

Spread out all across the table are layouts, rate

sheets, etc., etc. Billy sits across from him draw-

ing on a pad with felt-tipped pens. HOLD FOR A BEAT,

then:

BILLY

(worried about some-

thing)

Mom, I mean dad...

TED

(busy)

In a minute...

A beat of silence then:

BILLY

What do you do when an elephant

sits on your fence?

Silence.

BILLY

You get a new fence.

TED

(he hasn't heard a

word)

C'mon, Billy. I'm trying to

work for God's sake...

Another beat of silence, then Billy reaches for his

glass of Hawaiian Punch and accidentally tips it over,

spilling purple liquid across all of Ted's papers.

Instantly, Ted is on his feet, yelling.

TED

Goddamnit, can't you watch what

you're doing!

CROSS-CUTTING BETWEEN THEM:

BILLY

(quiet)

I'm sorry.

TED

Je-sus Christ! I catch all kind

of shit at the office because

I'm not pulling my weight

because I'm busting my butt

trying to be a decent goddamn

father and--

BILLY

I'm sorry.

TED

(sardonic)

That's terrific. That's really

terrific, but I notice I'm the

one that's cleaning up this--

(noticing an

important paper

covered with

grape juice)

Oh, crap, I'll have to do this

one over.

BILLY

(starting to help)

I'm sorry.

By now there is nothing the boy can do right.

TED

Look, it's after your bedtime,

okay? Just do me a favor and

go to bed, okay?

Billy gets to his feet, collects his stuff and

59 walks into his bedroom. HOLD ON TED who sits

for a moment, then gets wearily to his feet and

as THE CAMERA TRACKS WITH HIM crosses to the door of

Billy's room. He stops in the doorway, looks O.S.

HIS P.O.V.: Billy struggling to get his pajamas on,

having a hard time.

CROSS-CUTTING BETWEEN THEM

TED

Look, I'm sorry I yelled, okay?

BILLY

(quiet)

That's okay.

TED

It's just...I've been catching

a lot of flack at the office...

BILLY

That's okay...

60 INT. OFFICE - DAY

ON THE DOOR TO O'CONNOR'S OFFICE--as it opens and

Phyllis comes out. In the B.G. in O'Connor's office

we SEE O'Connor and Murray, talking, laughing. THE

CAMERA TRACKS ALONGSIDE PHYLLIS as she walks to Ted

Kramer's office and opens the door without knocking.

PHYLLIS

How about lunch, Kramer. I'm

buying.

CUT TO:

61 INT. RESTAURANT, MIDTOWN - DAY

ON TED AND PHYLLIS--as they sit across from one another.

A waiter stands over them, setting drinks in front of

them.

WAITER

Perrier and lime...

(placing a drink

in front of Phyllis)

...and scotch with soda.

(putting Ted's drink

in front of him)

The waiter bustles away.

TED

Okay, Phyllis, what's up?

PHYLLIS

Kramer...

She breaks off, uncertain whether or not to go on.

Then, making up her mind, she reaches across, takes

Ted's scotch and soda and drinks half of it down in

one gulp.

PHYLLIS

(in a rush)

O'Connor's out to get you. He's

going to take the Fire and Ice

account away from you.

TED

(stunned)

What?!?

Phyllis nods.

TED

(angry)

I don't believe it! That's

crazy! Why would Jim do something

like that?

Phyllis polishes off the rest of Ted's drink.

PHYLLIS

(angry herself)

You want to know why? I'll tell

you why...

(signaling to

the waiter)

Another scotch and soda for

the gentleman.

(back to Ted)

I'll tell you exactly why.

Because you're not his buddy

anymore. Because he can't

count on you to sit around the

office every night until eight

or nine and shoot the shit with

him.

TED

I can't. I've got Billy to

take care of.

PHYLLIS

(exasperated)

You dope. O'Connor doesn't

give a damn about Billy. All

he wants is somebody that'll

hang around with him every night

so he won't have to go home.

TED

(stiff)

I don't believe you.

The waiter sets Ted's drink on the table in front of him.

He starts to reach for it, but Phyllis is quicker.

PHYLLIS

(taking a stiff drink)

All right. Okay. But tell me

something, Kramer. Who do you

think is palling around with

O'Connor these days?

Ted shrugs.

TED

How should I know?

PHYLLIS

Murray.

REACTION, TED--stunned, but trying to be nonchalant.

TED

So...what's so terrible about

that?

PHYLLIS

(would like to take

him by the shoulders

and shake him until

his teeth rattle)

Oh, for God's sake, Kramer.

You have got to be the world's

most naive human being.

(leaning forward)

Murray has gone in and changed

every single ad you've done on

the entire Fire and Ice campaign.

Every layout...Every idea...Every

single thing, right down the line.

TED

No. No, I don't believe it.

Jim O'Connor would never let

anything like that happen. He

gave me my shot in this business.

If it wasn't for Jim O'Connor I'd

be--I don't know where I'd be.

He's a wonderful man...

PHYLLIS

(apologetic for

having upset Ted)

Kramer, I'm sorry. All I was

trying to do was--

TED

(cutting her off)

I don't want to hear another

word against him. Not another

word. He's a wonderful man

...a wonderful man...

CUT TO:

62 INT. TED KRAMER'S OFFICE - DAY

INSERT: The finished proof of the ad that Murray had

done, that Ted had seen in O'Connor's office.

ON TED, TRACKING WITH HIM as he steams out of his door

and marches along the corridor to O'Connor's office.

SECRETARY

(as Ted brushes past her)

I'm sorry, Mr. O'Connor is in

conference.

But it is too late. Ted barrels into O'Connor's office

without bothering to knock.

CUT TO:

63 INT. O'CONNOR'S OFFICE - DAY

O'Connor is alone in the office. He looks up startled

as Ted comes barging in.

TED

(furious)

All right, Jim. You said I was

running this show, right? You

said no decisions without my

approval, right?

(brandishing the ad)

Well what the hell is this?

What's going on, Jim?

O'CONNOR

(embarrassed)

Well, ah...I thought it over and

I decided we're doing it Murray's

way.

TED

Jim, this is garbage. This isn't

anything like what we talked

to Revlon about. None of it.

You can't--

O'CONNOR

(tough)

That's my decision, Ted and that's

final.

CUT TO:

64 INT. DINING AREA, KRAMER APT. - NIGHT

ON BILLY--who sits looking down at the plate of food in

front of him as though it was a coiled rattlesnake about

to strike.

BILLY

What is it?

ON TED--preoccupied, jumpy. He is eating, but he

doesn't taste a thing.

TED

Salisbury steak.

BILLY

I hate it.

TED

You don't hate it. We had

Salisbury steak last week

and you liked it fine.

BILLY

(stubborn)

No I didn't. I hate the brown

stuff. It's gross.

TED

(strained patience)

All it is is onions and gravy.

BILLY

I'm allergic to onions.

TED

You are not allergic of onions.

You've had them lots of times.

BILLY

(sullen)

I want a pizza.

TED

(trying not to lose

patience)

No. This is fine. Just take

a bite, you'll like it fine.

Reluctantly, Billy takes a tiny bite. He barely puts

it in his mouth before he spits it out with a great

show of being physically ill.

BILLY

I think I'm going to throw up.

TED

(getting pissed off)

Oh, for God's sake...Here.

He reaches across and scrapes most of the sauce off of

the meat.

TED

There, okay? Now that's just

plain old hamburger.

BILLY

Some of the brown stuff is still

there.

TED

(through clenched

teeth)

Then eat around it.

BILLY

No.

TED

(anger building)

Now listen to me, young man.

Do you know what I had to go

through to put this goddamn

food on the goddamn table?

BILLY

(obstinate)

I don't care. I hate it. I

want pizza.

TED

(blowing up)

Not on your life. That's it.

I've had it with crap around

this house. From now on, no more

pizza! Get it? Starting right

now you can eat real food like

a normal human being!

BILLY

No!

By now both of them are out of control.

TED

You want to know something?!

You are a spoiled selfish little

brat! Now eat--

Billy takes his plate and looking his father straight

in the eye deliberately overturns it, spilling food

everywhere.

ON TED--He is out of his chair like a shot, crosses to

Billy and jerks him to his feet.

TED

(yelling)

Goddamnit! Go to your room!

He half-carries, half-drags the child kicking and

screaming into his room. THE CAMERA TRACKS ALONGSIDE

THEM.

BILLY

(at the top of his

voice)

Owwww...You're hurting me...

You're hurting me...I hate you

...I hate you...

TED

(seething)

You're no bargain either, pal.

BILLY

I want my mommy...I want my

mommy..

65 By now they have reached Billy's room. Ted dumps

him on the bed unceremoniously and starts out of

the room.

BILLY

(sobbing)

I want my...mm...ommy...I want

mmmy...mommy...

TED

(at the door)

Tough shit. You're stuck with

me.

And he slams the door behind him.

CUT TO:

66 WIDE SHOT--the dining area. Ted sits down

and tries to resume his meal alone.

BILLY (O.S.)

(sobbing, fighting

to catch his breath)

I want my...mmmo...mmmy. I want

mmmy mmo...mmy...

CLOSER IN ON TED--as he lifts his glass to take a

drink and we can SEE that he is shaking like a leaf.

CUT TO:

67 INT. KITCHEN - NIGHT

ON TED--as he finishes doing the last of the dishes,

dries his hands and looks around to make sure that

everything has been put away. He flips off the light

and, as THE CAMERA TRACKS WITH HIM, he walks from room

to room, turning off the lights, until he reaches the

door to Billy's room which is still closed. Ted

hesitates for a moment, then eases open the door and

steps inside.

CUT TO:

68 INT. BILLY'S ROOM - NIGHT

TED'S P.O.V.: Billy lies sprawled across the bed, all

tangled up in the covers.

ON TED--as he crosses to the sleeping child and starts

to straighten the covers.

BILLY

(tentatively)

Daddy?

TED

(all anger gone)

Yeah?

BILLY

I'm sorry...

TED

(kisses him)

That's okay, pal. Go back to

sleep. It's very late.

He starts to get up, when:

BILLY

Daddy?

TED

Uh huh?

BILLY

(very quiet)

Are you...gonna go...away?

ON TED--stunned at the question.

TED

Of course I'm not going away.

I love you very much. I'll

be right here.

There is a beat of silence, then:

BILLY

(it comes pouring

out)

That's why mommy left...isn't

it? 'Cause I was bad...

The boy begins to weep.

TED

(he puts his arm

around Billy and

holds him close)

Oh, Christ...Oh, Christ...

(he thinks for

a moment, then:)

No, pal. Your mom loves you

very much. The reason she left

didn't have anything to do with

you.

(pause, this is

very painful)

Look, I don't know if this will

make any sense to you, okay?

But I'll try and explain. You

see the reason your mom left

was because...Well, I guess it

was because I kept trying to

make her into a certain kind of

person...Make her be the way I

thought a wife was supposed to

be. Only she wasn't like that.

She was...

(smiles to himself)

Well, she wasn't like that. And

now, when I think about it, I

can see she tried very hard to

be like I wanted--very hard.

And when she couldn't, then

she tried to tell me about it.

Only I wouldn't listen. I guess

I thought that if I was happy,

that meant she was happy too.

Only she wasn't. The truth is,

the only reason she didn't leave

a lot sooner was because she loves

you so much. Joanna stayed until

she couldn't stand me any longer

and then she left...But it wasn't

you, pal. It wasn't you.

There is a long beat of silence as Billy thinks about

this. Clearly an enormous burden has been lifted from

his shoulders. Finally:

BILLY

Is mom ever coming back?

TED

You mean for good?

Billy nods.

TED

I don't think so.

BILLY

(thoughtfully)

Oh...

Ted gets to his feet, starts for the door.

TED

Now go to sleep. It's very late.

BILLY

Good night.

TED

Sleep tight.

BILLY

Don't let the bedbugs bite.

TED

See you in the morning light.

BILLY

Dad?

Ted pauses in the doorway, smiles.

TED

Yes?

BILLY

I love you...

CUT TO:

69 EXT. CENTRAL PARK - DAY

A SERIES OF TRACKING SHOTS--as Ted runs along beside

Billy, who is learning to ride a bike. Then, in the

last shot, Ted lets go of the bike and runs along just

behind. Slowly as Billy gains confidence he speeds up,

leaving Ted farther and farther behind. Finally, as

Billy glances over his shoulders.

CUT TO:

TED'S P.O.V.: As the boy, by now a considerable distance

away, turns and waves.

ON TED--Waving back, a grin of enormous pride on his

face. He glances around, embarrassed to make sure no

one is watching and wipes tears from his eyes.

CUT TO:

70 EXT. STREET - DAY

ON A BUS--as it pulls to a stop and a mob of mothers

and children get off. Among them we spot Billy and

Ted Kramer. THE CAMERA PANS WITH THEM as they cross

the street and enter the school building. THE CAMERA

CONTINUES IT'S PAN across the street, to a Coffee Shop

with large plate glass windows facing the school.

There, standing in the window, watching, is Joanna

Kramer. HOLD As THE CAMERA SLOWLY ZOOMS IN ON HER and

we SEE a look of overwhelming pain on her face.

CUT TO:

71 EXT. PLAYGROUND, CENTRAL PARK - AFTERNOON

ON TED AND THELMA--sitting on a bench, the area around

them is stacked high with toys that the kids have

brought with them to the park.

O.S. we can HEAR Billy and Kim racing around, playing.

TED

(a little too casual)

Thel, you ever hear from Joanna?

THELMA

(also with deliberate

nonchalance)

Not for a couple of months.

The last time I heard from her

she was living in San Francisco.

TED

(surprised)

California?

THELMA

(watching him)

Uh, huh...She said she had a

good job, was playing a lot of

tennis. She wanted to know

all about Billy.

There is a beat of silence, then:

TED

(the real question)

She ever ask about me?

THELMA

(lying)

Uh, huh...Yeah...

TED

What d'you tell her?

THELMA

I told her you're doing a

pretty good job.

BILLY (O.S.)

Daddy! Daddy!

Ted glances around:

HIS P.O.V.: Billy and Kim are standing near the jungle

Jim. Billy has a toy airplane in his hand.

BILLY

Daddy, look! Presenting Billy

Kramer's Fantastic Superjet!

And he begins to race around the area, making jet

noises and holding the airplane in his hand.

REVERSE ON TED--watching him, smiling.

ON BILLY--weaving in and around the benches. He

turns and starts back towards Ted. As he does:

QUICK CUT: INSERT: Billy's foot, as he trips.

ON BILLY--as he starts to fall, still holding onto the

airplane.

QUICK CUT, TED--watching, horrified.

ON BILLY--as he hits the concrete.

ON TED--He leaps to his feet, starts toward the boy.

ON BILLY--as he looks up.

JUMP CUT IN, TO EXTREME CLOSE UP--There is a terrible-

looking gash running from his cheek into his hairline.

Kim screams at the sight of the blood.

BILLY

(terrified)

Daddy!

CUT TO:

72 EXT. ENTRANCE TO CENTRAL PARK - AFTERNOON

ON THE ENTRANCE--as Ted, carrying Billy, wrapped in his

coat, comes barreling out of the park, nearly knocking

over several people with shopping bags, and begins

running like hell WITH THE CAMERA TRACKING JUST IN

FRONT OF HIM. In the B.G. we SEE Thelma and Kim chasing

after him. THE LENGTH OF THE TRACKING SHOT SHOULD BE

MUCH LONGER THAN WE EXPECT. IT SHOULD, IN FACT, COVER

THE THREE CITY BLOCKS BETWEEN THE KRAMER APARTMENT AND

THE HOSPITAL, ACROSS STREETS WITHOUT STOPPING FOR THE

LIGHT, ALONG CROWDED SIDEWALKS WITHOUT STOPPING, ENDING

FINALLY ON THE EMERGENCY ENTRANCE TO THE HOSPITAL. IT

MUST BE GENUINELY SUPERHUMAN, GENUINELY HEROIC.

CUT TO:

73 INT. EXAMINATION ROOM, EMERGENCY SECTION,

HOSPITAL - DAY

ON TED KRAMER--He is covered with Billy's blood, it is

on his face, his shirt, his trousers. At the moment 'he

stands helpless, watching as, Off-Screen, a surgeon

examines Billy's wound.

SURGEON (O.S.)

(calm, reassuring)

That's good, Billy...That's a

brave boy...Now then, how's that?

Now we've cleaned it out...

WIDER SHOT--Billy lies on the examining table with the

doctor bending over him.

SURGEON

There. That wasn't so bad, was

it?

Billy doesn't say anything.

SURGEON

Now then, you just wait here,

Billy. I want to talk to your

dad for a minute.

The doctor motions for Thelma to wait with Billy and he

crosses to Ted who stands in the doorway.

CLOSER IN ON THEN

SURGEON

(low voice, again calm

and reassuring)

Your boy is very lucky, Mr.

Kramer. One inch over and it

would have caught the eye.

REACTION TED

SURGEON

But I'm going to have to take

some stitches.

TED

(flat)

How many?

SURGEON

Ten.

Ted closes his eyes, there is a sharp intake of breath.

SURGEON

Because of the position of the

wound and your son's age, I

don't think there will be much

of a scar. Otherwise I'd call in

a plastic surgeon.

Ted nods.

SURGEON

Now, I'd advise you to wait

outside. It'll be eas--

TED

(like a shot)

No.

SURGEON

(reasonable)

Mr. Kramer, there's--

TED

(softly, but with

real vehemence)

Fuck you. He's my son. I'm

staying with him.

CUT TO:

CLOSE ON TED--He holds his son tightly while the doctor

stitches up the boy's wound. From THIS CAMERA ANGLE

we can SEE Ted's face, but only the back of Billy's

head. Although we do not see the stitches being made,

we do SEE the doctor's hand, with the needle and

surgical thread as it moves into and out of view with

a slow, steady rhythm. Billy's hand clutches Ted's so

tightly that the knuckles are white.

BILLY

(softly, as each

stitch is taken)

Ohhh...Ohhhh...Ohhhhh...

TED

(whispering to his

child)

It's okay, son...I'm here...

Just a little more to go...

Don't worry, son...I'm here...

FADE TO BLACK:

74 EXT. KRAMER APT. BLDG. - NIGHT

WIDE SHOT--It is late, only a few lights are still on.

CUT TO:

75 INT. BILLY'S ROOM - NIGHT

ON BILLY--He lies in bed, fast asleep, his head swathed

in bandages. THE CAMERA PANS AWAY FROM HIM across to

Ted, who sits in a nearby rocking chair, watching his

son. HOLD FOR A BEAT, then Ted gets to his feet, walks

quietly to the door and steps out into the hall, closing

the door behind him.

CUT TO:

76 INT. KITCHEN - NIGHT

WIDE SHOT--Thelma having washed and dried the dishes is

now wiping off the top of the counter top, more to keep

busy than anything else. She looks around as Ted enters.

THELMA

How is he?

REVERSE ON TED--standing in the doorway. He hasn't

changed his clothes and he is still covered with blood.

TED

(nods)

He's okay...Thel, can I ask you

a favor?

THELMA

Sure.

TED

I don't mean a little favor.

mean a big F favor.

Thelma nods. She watches Ted closely. He doesn't look

at her.

TED

Thelma, if I die--

THELMA

(aghast)

What?

TED

(quickly)

I didn't say I'm going to die,

but if I should--

THELMA

(deeply upset)

Don't say that! I don't want to

hear you say that!

TED

(firmly)

Thel, listen to me. If, on the

million to one shot that I

should--

(correcting himself)

That anything should happen to

me. Would you take care of

Billy?

THELMA

(amazed)

Me?! You want me to take care

of Billy?!

TED

I thought about it a lot and

you're the only person I know

that I trust with him. I mean,

if anything happened to me,

he'd be okay with you. You're

a good mother.

Silence. Thelma looks away from him.

TED

(hastily)

I know it's not an easy thing to

answer.

Silence. She still cannot look at him.

TED

Look, if it's too much

responsibility--

Thelma nods, unable to speak.

TED

You're sure?

She nods again.

TED

Thank you, Thel. Thank you

very much.

CUT TO:

77 INT. BILLY'S ROOM - EARLY MORNING

MED. SHOT ON BILLY--as he lies in bed asleep. Some time

has passed and Billy's bandage is much smaller. HOLD ON

HIM as we HEAR

O.S. Sound: From the street below, the regular six-

forty-five garbage truck that serves as Billy's alarm

clock.

HOLD ON BILLY as he wakes up, struggles to his feet.

THE CAMERA TRACKS WITH HIM as, eyes closed, he stumbles

into the bathroom, pees, and still not remembering to

flush the toilet walks into the bedroom and wakes his

father. As the child turns and walks toward the

kitchen, THE CAMERA HOLDS ON TED. He heaves himself

to his feet and, eyes closed, in much the same manner

as his son, stumbles into the bathroom. He automatically

flushes the toilet without bothering to look, walks

into the living room, opens the front door and picks

up the paper. As he starts into the kitchen, he meets

Billy coming the other way carrying two plates, a

doughnut on each.

THE CAMERA NOW TRACKS WITH BILLY as he walks into the

living room, carefully sets the plates on the dining

table, crosses to the television set, and turns it on.

He returns to the table, and sits down as Ted appears

carrying two glasses of orange juice and vitamins. He

takes a seat in the chair opposite Billy and opens his

paper and starts to read.

HOLD ON THEM as they sit without talking, eating their

breakfast--the only sound, a children's cartoon program

coming from the T.V. From time to time Ted glances up

from his paper to look across at the cartoon.

HOLD ON THEM as we SEE that they have become roommates

in the best sense of the word.

78 EXT. TED'S OFFICE BLDG. MIDTOWN - DAY

WIDE SHOT--It is a gray, cloudy day in mid-November.

Snow is falling.

Sound-effect: a telephone ringing. Then:

TED'S VOICE

Hello?

JOANNA'S VOICE

Ted?

TED'S VOICE

Joanna?

CUT TO:

79 INT. RESTAURANT, ISLE OF CAPRI - NIGHT

ON THE DOOR--as Ted enters, looks around. The Maitre

d'hotel approaches. From his attitude, it is clear

that Ted and Joanna were regular customers.

MAITRE D'HOTEL

Good evening, Mr. Kramer. We

haven't seen you for a long time.

Mrs. Kramer, she waits for you

in the back.

TED

Thank you, John.

THE CAMERA TRACKS WITH TED as he walks toward the back

room of the restaurant. Several waiters approach and

say hello, the piano player looks up and smiles. As

he reaches the door to the back room.

CUT TO:

80 INT. BACK ROOM

TED'S P.O.V., JOANNA: She sits against the wall, a

glass of white wine in front of her. She is dressed

simply and no longer has a tan. Nevertheless, Joanna

is still stunningly beautiful. HOLD ON HER FOR A BEAT

as she looks up, smiles.

ON TED--He stands watching her, his knees weak. It is

impossible not to fall in love with her all over again.

TWO SHOT--as he crosses to her table, sits down.

JOANNA

Hello, Ted. You look well.

TED

So do you.

The waiter appears, carrying a scotch and soda. He

sets it down on the table in front of Ted.

WAITER

The usual, Mr. Kramer.

TED

(not taking his eyes

off Joanna)

Thanks, Gino.

The waiter nods and promptly disappears.

JOANNA

How's the new job?

TED

Fine.

There is a self-conscious pause. From the bar, the

piano player begins playing a new song. From Ted and

Joanna's reaction, it is clearly a song that has meant

a great deal to them in the past. They listen for a

moment, then:

TED

Look at us, Joanna. Just like

any old married couple having

dinner. Who would believe it.

JOANNA

Yes...How's Billy?

ON TED--The question he has been dreading.

TED

He's great...except...

(not looking at

her)

...Except he had...he fell and

he cut his face. He...He has a

scar, Joanna, from about here to

here.

(indicating where

and how big)

There is a beat of silence. A moment of shared feeling.

TED

(he has to say it

to someone)

I can't help but feel somehow...

it's my fault. I keep thinking

I could've done something--

stopped it...

JOANNA

You can't tell it from a distance,

Ted.

For the first time he looks up at her.

TED

What?

CROSS-CUTTING BETWEEN THEM

JOANNA

I've seen him.

TED

You have?

JOANNA

A few times. Sometimes I sit in

that coffee shop across the street

and watch when you take him to

school.

ON TED--speechless.

JOANNA

He looks like a terrific kid.

TED

He is...

(he still can't get

over it)

You sat in that coffee shop

across from school--

JOANNA

(completing the sentence)

Watching my son...Ted, I've been

living in New York for the past

two months.

TED

(amazed)

You've been living here, in

the city?

JOANNA

(a deep breath)

Ted...The reason I wanted to see

you...I want Billy back.

TED

You want what?!

JOANNA

(firm)

I want my son. I'm through

sitting in coffee shops looking

at him from across the street.

I want my son.

TED

Are you out of your mind?!

You're the one that walked out

on him, remember?

JOANNA

(trying to explain)

Ted, listen to me...You and I,

we had a really crappy marriage--

(hastily)

Look, don't get so defensive,

okay? It was probably as much

my fault as it was yours...

Anyway when I left I was really

screwed up--

TED

Joanna, I don't give a--

JOANNA

(she will be heard)

Ted, all my life I'd either been

somebody's daughter or somebody's

wife, or somebody else's mother.

Then all of a sudden, I was

a thirty-two-year-old, highly

neurotic woman who had just

walked out on her husband and

child. I went to California

because that was about as far

away as I could get. Only...

I guess it wasn't far enough.

So I started going to a shrink.

(leaning forward,

very sincere)

Ted, I've had time to think.

I've been through some changes.

I've learned a lot about myself.

TED

(like a shot)

Such as?

Silence.

TED

(boring in)

Come on, Joanna, what did you

learn? I'd really like to know.

Silence.

TED

(relentless)

One thing, okay? Just tell me

one goddam thing you've learned.

There is a beat of silence, then:

JOANNA

(quiet, determined)

I've learned that I want my son.

ON TED--He reacts as though he has been slapped.

TED

Joanna, go be a mother. Get

married, have kids. Don't get

married, have kids. Do whatever

you want. I don't give a damn.

Just leave me out of it--and

leave my baby out of it.

JOANNA

Ted, if you can't discuss this

rationally--

TED

(getting to his feet)

Joanna, go fuck yourself!

And with that he turns on his heels and stalks out of

the restaurant.

CUT TO:

81 INT. LAWYER'S OFFICE - DAY

WIDE SHOT--A large, very plush office: lots of

antiques, beautiful nineteenth century paintings on the

wall along with autographed photographs of at least

three ex-Presidents of the United States. Sitting

behind a large and imposing desk is JOHN SHAUNESSY,

a handsome, formidable man in his early sixties. He

is well-dressed, a cornflower in his buttonhole, that

sort of thing. At the moment, Shaunessy leans back

in his chair as Ted finishes his story.

TED

(leaning forward,

intense)

Look, she walked out on her own

child, right? That's desertion,

right? Mr. Shaunessy, I'm

telling you it's an open and

shut case.

SHAUNESSY

First, there's no such thing

as an open and shut case.

Especially where custody is

involved. Got it?

Ted nods.

SHAUNESSY

Second, the burden is on us to

prove your ex-wife is an unfit

mother. That means I'm going to

have to play rough and, if I

play rough, you can bet they

will too. Can you take that,

Mr. Kramer?

Ted nods.

SHAUNESSY

Third, it'll cost you five

thousand dollars.

REACTION TED--That's an astronomical amount of money

to him.

SHAUNESSY

That's if we win. If we lose,

you could end up having to pay

your wife's court costs as well.

TED

(determined)

Fine.

SHAUNESSY

Good. You've hired yourself

a hell of a lawyer, Mr. Kramer.

(down to business)

How old is the child?

TED

Six.

ON SHAUNESSY--He shakes his head.

SHAUNESSY

That's tough. In most cases

involving a child that young,

the court tends to side with

the mother.

ON TED--agitated. This is not what he wanted to hear.

TED

But she signed over custody.

Here...

He digs in his pockets, pulls out a piece of paper and

thrusts it at the lawyer.

SHAUNESSY

(glancing at it)

I'm not saying we don't have a

shot, but it won't be easy...

(thinks for a moment)

Mr. Kramer, do me a favor. There

is something I find very helpful

in matters like this. I sit

down and make a list of all the

pros and cons on an issue.

I actually write them down and

look at them. I want you to

do that, okay? Then, after

that, if you're really sure you

want to retain custody of

your child--then we'll go in

there and whip their asses.

CUT TO:

82 INT. LIVING ROOM, KRAMER APT. - LATE AT NIGHT

WIDE SHOT--Ted sits at the dining table, the supper

dishes have been pushed aside. He has a legal pad in

front of him and is writing. THE CAMERA DOLLIES IN

CLOSER.

INSERT, TED'S P.O.V.: The legal pad. On one side

Ted has written "Pro" and on the other, "Con." Under-

neath "Con" Ted has written a long list of the draw-

backs involved in keeping Billy: Sex Life, Money,

Possibility of Remarriage, Sleep, Emotional Dependence.

The "Pro" side of the list is empty.

ON TED--He sits for a moment, staring at the list, then

he crumples the paper, gets to his feet.

CUT TO:

83 INT. BILLY'S ROOM - NIGHT

ON THE DOOR--as Ted enters. He crosses to Billy's

bed where the child is fast asleep, sits down on the

edge, and starts to rub the child's back.

TED

I love you Billy Kramer.

BILLY

(half-asleep)

I love you too daddy.

Ted kisses the child, gets to his feet and starts

toward the door.

TED

Sleep tight. Don't let the

bedbugs bite...

BILLY

(almost asleep again)

See you in the morning light...

CUT TO:

84 - OMIT

87

88 INT. O'CONNOR'S OFFICE - DAY

WIDE SHOT--O'Connor stands with his back to Ted, looking

out the window. From the beginning this is clearly an

awkward and unpleasant moment.

O'CONNOR

(scared to do what he

is about to do)

Look, ah...Ted. I just got word

from the guys at Revlon and...ah

they did some marketing tests on

our campaign and the results were...

CLOSE ON TED: Hold on him listening as it slowly dawns

on him that he is being fired.

O'CONNOR

(stiff)

Disappointing. It only pulled a

fourteen share and they were

hoping for a twenty-five minimum,

and...ah...they're not very happy

and...Well, the guys have decided

they want to...ah, re-think the

entire concept and...Look, I don't

like having to do this, okay?...

But...I mean, what I mean is...ah,

I'm going to have to...ah, let you

go--

TED

(not really sure he

heard right)

Are you firing me, Jim?

ON O'CONNOR--He still has his back to Ted.

O'CONNOR

C'mon, Ted, don't get emotional.

Okay?

(whining)

Look, this isn't exactly an easy

thing for me to do, y'know? I

swear Murray and I did everything

we could, but those sons of bitches

were out for blood. I mean it was

all I could do to keep the account

inside the shop... Look, I promise,

if I hear of anything I'll let you

know first thing. Ted, I want--

O'Connor looks around.

O'CONNOR

Ted?...

HIS POV: The room is empty, the door stands open and

Ted is gone.

O'CONNOR'S VOICE

Ted?...

CUT TO:

88A INT. TED'S OFFICE - DAY

WIDE SHOT--as Ted grabs a picture of Billy from his desk,

takes his jacket and coat and stalks out the door.

CUT TO:

88B EXT. STREET - DAY

TRACKING ALONGSIDE TED--as he walks along the street in

a state of total shock. Behind him, in the windows of

expensive stores we note Christmas decorations.

CUT TO:

88C INT. INTERVIEW ROOM, EMPLOYMENT AGENCY - DAY

WIDE SHOT--Ted sits across from the interviewer, a

polished young man in his middle twenties, very

efficient, he sounds a bit like a tape recording.

INTERVIEWER

(glancing at a form

Ted has filled out)

Ummm, hmmm... umm, hmmm...

(the good news)

Well, this looks very good.. Of

course

(the bad news)

... you understand this is the

worst time of the year to look

for a job.

TED

(panic)

What?! What do you mean, I don't

understand.

INTERVIEWER

(patronizing)

Mr. Kramer, nobody even thinks

about leaving their job until

after they get their Christmas

bonus.

TED

Look, you don't understand. I

need a job. I've got a kid and--

INTERVIEWER

(smooth)

I understand and I'm absolutely

sure something wonderful will

turn up....

(ending any further

discussion)

...after the first of the year.

CUT TO:

88D EXT. STREET - DAY

ON A TELEPHONE BOOTH--Ted stands inside, talking on the

phone. AS THE CAMERA DOLLIES IN CLOSER, he hangs up

the receiver and takes the employment section of the New

York Times which is filled with listings he has circled

and crosses off one. He goes on to the next, takes a

dime from the stack on the shelf in front of him and

starts to dial.

CUT TO:

88E EXT. TED KRAMER'S APT. HOUSE - EVENING

ESTABLISHING SHOT

CUT TO:

88F INT. KITCHEN - NIGHT

ON TED--who stands at the sink doing the last of the

dishes. A dishtowel is tucked into his belt, serving

as an apron. HOLD ON HIM as we HEAR:

Sound-effect: the phone ringing.

Ted wipes his hands, picks up the phone.

TED

Uh, huh?

SECRETARY'S VOICE

(from the phone)

Mr. Kramer? Please hold for Mr.

Shaunessy...

Then, a moment later:

SHAUNESSY'S VOICE

Ted? They've set the court date.

I just heard today...It's...

(checking his notes)

January sixth.

TED

(despair)

Oh, Christ.. .John, there's some-

thing I ought to tell you. My...

ah, situation has...changed. I

lost my job.

There is a long pause, too long.

TED

John?

SHAUNESSY'S VOICE

(thoughtfully)

Ted, I won't lie to you, we don't

have a hope in hell of winning a

custody hearing if you're out of

work.

Ted doubles over the phone like he has been hit in the

stomach.

TED

(softly, but with

real feeling)

Good Christ, Joanna, just get the

hell out of my life.

SHAUNESSY'S VOICE

Ted? Are you there?

TED

Yeah.

SHAUNESSY'S VOICE

Any prospects?

TED

(trying to make

himself believe it)

Don't worry. I plan to have

something within twenty-four

hours, John.

SHAUNESSY'S VOICE

(amazed)

How the hell are you going to do

that?

TED

(grim)

I don't know.

89 INT. INTERVIEW ROOM, EMPLOYMENT AGENCY - DAY

WIDE SHOT--The same young man sits across the desk from

Ted.

INTERVIEWER

(smirk)

Mis-ter Kramer, as I mentioned

yesterday, this is a very bad

time of year to look for work.

Now I'm sure we'll have something

for you by mid-February, March

at the latest.

CLOSE ON TED--leaning forward, impatient.

TED

I need a job, now.

CROSS-CUTTING BETWEEN THEM--The interviewer gives Ted a

weary look. Then he starts to flip through the card

file.

INTERVIEWER

(going through the

motions)

No...No...No...

Finally he pauses at one card, pulls it out.

INTERVIEWER

(doubtfully)

There might be something at J.

Walter Thompson. But...

(shaking his head)

...I don't think they're really

serious. The position's been

open for two months and...

(shrugs)

They may just be on a fishing

expedition.

(cheerful)

I'm sure you'll be much happier

if you wait until after the

first--

TED

(checking his

watch)

Call up the people at J. Walter

Thompson. Set up an appointment

at four.

INTERVIEWER

(politeness strained

almost to the breaking

point)

Mis-ter Kramer, it's...

(checking his watch)

...almost four now. It's the

Friday before Christmas. Nobody

is going to want to--

TED

(leaning forward,

tough as nails)

Either you call and set up the

appointment, or I'll call. And

if I call, you lose the

commission.

INTERVIEWER

(arch)

My, we are a hot shot aren't we?

Ted is already on his feet and halfway out the door.

TED

You bet your ass.

CUT TO:

90 INT. OFFICE ADVERTISING MANAGER, J. WALTER

THOMPSON - LATE AFTERNOON

It is dark outside and the lights are on in the office.

From beyond the door, we can hear the sounds of a

Christmas office party in full swing.

ON JACK ACKERMAN--The advertising manager. A balding

man in his mid-forties, he wears a suit, complete with

vest. At the moment he sits behind his desk listening

to Ted's spiel, from time to time he glances at the

resume on the desk in front of him.

TED (O.S.)

So, Mr. Ackerman, as you can see

from my resume, my experience in

setting up the leisure package

concept means that I've spent a

lot of time working along the

same lines as your multiple buys

and your regional advertising

ideas. I know the pitfalls, but

--and this is more important--I

know the potential revenue for

the company inherent in these

programs.

ON TED--as he finishes. He sits back, pleased with

himself.

CROSS-CUTTING BETWEEN THEM

ACKERMAN

Well, Mr. Kramer, I must say this

has been very impressive. I'd

like to think about it and

get back to you.

TED

(leaning forward)

Mr. Ackerman, is there anyone

else that I should see before

you come to a decision.

ACKERMAN

Mr. Spencer, our Advertising

Director.

TED

(no time to waste)

Could I see him right away?

ACKERMAN

(taken aback)

I'm sorry, but he's leaving this

evening for a two-week vacation.

I'll set up something the moment

he gets back.

He gets to his feet, starts to shake Ted's hand, ready

to end the interview.

TED

I'd like to see him now--before

he leaves.

ACKERMAN

Mr. Kramer, I don't think--

TED

(means it)

I want this position very much.

Ackerman gives Ted a long, considered look, then:

ACKERMAN

Wait here.

He turns and goes out the door.

CUT TO:

91 INT. OUTER OFFICE, J. WALTER THOMPSON -

LATE AFTERNOON

The large room is crowded with secretaries, junior

executives, researchers, editors, ad-men, etc., etc.

They all have drinks in their hands and there is a good

deal of kissing and general conviviality going on.

THE CAMERA TRACKS WITH ACKERMAN as he steps out of his

office, closes the door behind him and makes his way

across the room to MR. SPENCER, the Advertising Director.

At the moment, Spencer stands with his coat over one

arm and a drink in his hand talking to a very pretty

young woman. Ackerman approaches him, whispers some-

thing in his ear. Spencer shakes his head and points

to his watch. Ackerman says something else and finally,

with a look of weary resignation, Spencer excuses him-

self from the pretty young woman and follows Ackerman

back to his office. THE CAMERA FOLLOWS THEM. As

Ackerman opens the door to his office, THE CAMERA IS

ANGLED so that we can SEE past them, into the office

where Ted stands waiting.

ACKERMAN

(as they enter)

Mr. Spencer, Mr. Kramer.

SPENCER

(not wasting any time)

So you're the go-getter. All

right, you've got ten minutes.

As the door closes behind them, blocking our view, THE

CAMERA PANS UP to a clock over the door. It reads

five-fifteen.

MATCH DISSOLVE TO:

92 INT. ACKERMAN'S OFFICE - LATE AFTERNOON

ON A CLOCK--which now reads five twenty-two. THE CAMERA

PULLS BACK TO REVEAL Spencer, now sitting in Ackerman's

chair, his feet on Ackerman's desk. Ted has just

finished his pitch.

SPENCER

(sipping his drink)

That's very interesting, Mr.

Kramer. I must say, it's very

interesting. Let me think about

it. I'll let Jack...

(indicating Ackerman)

...know and he'll get in touch

with you.

Spencer gets to his feet, starts to retrieve his coat.

ON TED--as he decides to take a gamble.

TED

Excuse me, I believe you said

I had ten minutes.

ON SPENCER--almost at the door, looking around.

SPENCER

Well?

ON TED--checking his watch.

TED

That means I've got two minutes

left. I understand you're paying

twenty-five.

Spencer nods.

TED

(a deep breath, then

a real huckster)

All right, I'll tell you what

I'm gonna do--I'll take the job

at twenty-two-five. Now, that's

twenty-five hundred less than

you're offering. The only thing

is, you have to say yes right

now. Not tomorrow. Not next

week. Not after the holidays.

It's worth it to me for a

yes right now and I'll take

twenty-five hundred less.

There is a long beat of silence as Spencer and Ackerman

look at one another. They were clearly not prepared

for this.

TED

(watching them)

Today only. One day only.

Twenty-two five.

SPENCER

Mr. Kramer, can we talk privately

for a moment?

TED

Certainly.

CUT TO:

93 OUTER OFFICE - LATE AFTERNOON

ON TED--as he steps out of Ackerman's office, sits down.

Now, all of the fear, all of the anxiety that he has

been fighting down comes welling up. What if he pushed

too hard? What will he do if he doesn't get a job?

If Ted Kramer could fall to his knees and pray, he

would.

CROSS-CUT WITH THE CHRISTMAS PARTY-- that swirls around

him. We notice in particular, one very pretty young

woman flirting with a number of men. She is wearing

a dress with straps, one of them has broken and she

has patched it with a piece of masking tape.

Finally the door to Ackerman's office opens and he

steps out.

ACKERMAN

Mr. Kramer?

Ted jumps to his feet, starts into the office.

CUT TO:

94 INT. ACKERMAN'S OFFICE - LATE AFTERNOON

ON SPENCER--He looks at Ted carefully for a long time,

then:

SPENCER

(grins)

Welcome aboard, Mr. Kramer.

C.U. TED--There is an instant of relief, then, with

astounding cool:

TED

Well, gentlemen, I'm pleased

to be with you.

ANOTHER ANGLE--as they shake hands, say their good-

byes. THE CAMERA TRACKS WITH TED as he makes his way

through the Christmas party that is still going strong.

Then, suddenly, as he passes the very pretty woman we

noticed earlier, he turns and kisses her.

QUICK CUTS--as a look passes between them, a sudden

chemistry, something we have not seen in Ted before.

TED

(steps back from

the astounded

girl, grins)

Merry Christmas.

CUT TO:

95 EXT. STREET - DAY

ON A BUS--as it pulls to a stop, the doors open and,

along with the usual flood of mothers and children we

SEE Ted and Billy. THE CAMERA TRACKS WITH THEM as they

walk to school. Billy is talking a mile a minute,

describing in minute detail the plot of an episode of

"I Dream of Jeannie." Ted listens intently, then,

almost involuntarily, he glances over his shoulder in

the direction of the Coffee Shop.

HIS P.O.V.: There, standing in the window, watching,

is Joanna.

ON TED AND BILLY--as they continue to walk. Ted's

eyes remain on Joanna. As they reach the door to the

school, Ted looks at his son.

TED

(kissing Billy

good-bye)

You're a terrific kid, Billy

Kramer.

He stands watching as Billy rushes off into the building.

Then he turns back and once again looks in the direction

of the Coffee Shop.

HIS P.O.V.: This time there is no one there.

CUT TO:

96 EXT. KRAMER APT. BLDG. - NIGHT

ESTABLISHING SHOT--HOLD FOR A BEAT as we HEAR:

O.S. Sound: a telephone ringing. Then, a moment later:

TED'S VOICE

Hello?

SHAUNESSY'S VOICE

Ted? John Shaunessy here. I

just got a call from your wife's

lawyer. She wants to see the

kid.

CUT TO:

97 INT. KITCHEN, KRAMER APT. - NIGHT

Ted Kramer, the phone cradled against his ear is clean-

ing up the remains of one of Billy's attempts to make

the perfect peanut butter sandwich.

CLOSE ON TED--horrified.

TED

What?! She wants what?!

SHAUNESSY'S VOICE

(he's been through

this a million times)

She's the mother. That means

she's within her legal rights.

TED

(agitated)

John, what if she kidnaps him.

I've heard all these--

SHAUNESSY

(the patience of a

saint)

Look, Ted, I don't honestly

think she would go to the trouble

of suing you for custody of

the child if she was planning

on kidnapping him.

TED

(doubtful)

I don't know, John...I mean,

to be brutally honest, I'm not

so sure what kind of mental shape

Joanna's in right now. Y'know

she admitted she was seeing

a shrink.

SHAUNESSY'S VOICE

(a flicker of

interest)

You ever see her talk to the

walls?

TED

No, but--

SHAUNESSY'S VOICE

Then you don't have a choice.

Have Billy at the Seventy-

Fifth Street entrance to Central

Park, Saturday at ten.

CUT TO:

98 EXT. FIFTH AVE. SIDE OF CENTRAL PARK - DAY

ON TED AND BILLY, TRACKING IN FRONT OF THEM as they walk

along the Central Park side of Fifth Ave. From their

attitude it is clear that each of them, for their own

reasons, is very nervous.

TED'S P.O.V., TRACKING FORWARD: about half a block

away Joanna paces back and forth. She hasn't seen them

and it is clear that she is as nervous as they are.

ANOTHER ANGLE ON TED AND BILLY--Ted stops, turns to

Billy and gives him a last-minute check. Then, spotting

a smudge he takes his handkerchief, spits on it and

wipes the child's chin. Now satisfied, he takes Billy's

hand and they continue. Suddenly:

C.U. BILLY--as he spots his mother.

BILLY

Mommy!

QUICK CUT JOANNA--as she turns, spots Billy, starts

to run.

ON BILLY, TRACKING WITH HIM--as he lets go of Ted's

hand and starts to run flat out toward his mother.

She kneels, opens her arms wide for him and he goes

barreling into her, almost knocking her down from the

impact.

JOANNA

(somewhere between

laughter and tears)

Oh, Billy...Oh my Billy...Oh

my son...

WIDER SHOT--Joanna gets to her feet and takes Billy's

hand.

JOANNA

(to Ted, but looking

at Billy)

I'll have him back at six.

And they start off in the opposite direction.

ON TED--realizing that Billy has not said good-bye, has

not looked at him once.

JUMP CUT TO:

WIDER SHOT--Ted stands helpless, watching them leave.

JUMP CUT TO:

WIDER SHOT--Ted, now almost lost from view on the

crowded street, still hasn't moved.

FADE TO BLACK.

99 OMIT

100 WIDE SHOT--Ted and Phyllis, getting ready to go to bed.

They look like a couple that has been married at least

five years. Ted is busy talking as he takes off his

tie, jacket and starts to unbutton his shirt. Phyllis

is getting undressed also, hanging things in the closet,

putting things away in drawers. But as Ted continues

to talk, she watches him apprehensively, it is clear

that something is wrong.

TED

(he has become an

armchair lawyer)

So, naturally, you assume that

since Joanna left, that would

be a compelling point against

her, right?

PHYLLIS

(thoughtful)

Right.

TED

But it doesn't work that way.

A major decision was handed

down by the Appellate Court in

1969--in the case of Haskins

vs. Haskins.

PHYLLIS

Kramer--

TED

Now in Haskins vs. Haskins the

court ruled in favor of the

mother, thus establishing a

precedent for awarding the child

to the mother even though she

previously abandoned the baby.

PHYLLIS

Kramer...There's something I

ought to tell you.

TED

Yeah?

PHYLLIS

I've been offered a job in

Washington with H.E.W.

CLOSE ON TED--lie stops what he is doing, turns to her.

TED

And?

PHYLLIS

(a deep breath)

I'm going to take it.

REACTION, TED--He sits down on the bed.

PHYLLIS

It's a very good job--too good

to pass up. I'll be handling

funding for the whole...

(she stops, sits

beside him on

the bed)

Look, I...

(she means love)

..."like" you a lot. And you...

(she means love)

..."like" me, okay? Maybe if it

was a year from now, maybe things

would be different...

TED

(quiet)

But it's not a year from now,

is it?

She shakes her head, then, reaches out and touches him.

PHYLLIS

I'll miss you, Kramer...

101 INT. KRAMER APT. - DAY

ON THE FRONT DOOR-- It is open and standing in the door-

way is an attractive woman, a bit overweight and very

serious. This is DR. ALVAREZ, the court-appointed

psychiatrist.

ALVAREZ

Mr. Kramer?

TED

Yes?

ALVAREZ

I'm Dr. Alvarez, Judge Atkins

asked me to look in on your son

and prepare an evaluation sheet.

TED

Oh, yes. Won't you come in.

Dr. Alvarez enters the apartment. Ted helps her off

with her coat.

ALVAREZ

Where is the child?

TED

He's in his room, playing.

ALVAREZ

Good. I'll see him in there.

As Ted carries her coat to the closet, Dr. Alvarez

walks into the living room, looks around.

ALVAREZ

Mr. Kramer, do you ever have sex

in here with anyone?

TED

Doctor, I attempt to conduct my

social life discreetly. At the

moment I am seeing no one.

CROSS-CUTTING BETWEEN THEM

ALVAREZ

Does that distress you?

TED

Not particularly.

ALVAREZ

What does?

TED

The prospect of losing my child.

ALVAREZ

(makes some notes, then:)

Very well, I'd like to see him if

I may.

They cross to the door of Billy's room. Ted opens it.

102 INT. BILLY'S ROOM - DAY

THEIR P.O.V.: The room is a mess, blocks are stacked

everywhere. Billy sits in the middle playing with his

toys.

ON TED AND DR. ALVAREZ--They stand in the doorway.

TED

Billy. This is Dr. Alvarez.

She would like to talk to you.

BILLY

(looking up from

his toys)

Sure.

There is an awkward pause as Ted remains in the doorway.

DR. ALVAREZ

(pointedly)

I'd like to talk to Billy privately.

TED

(embarrassed at

being caught)

Oh, yeah...

Reluctantly, Ted leaves, closing the door behind him.

103 THE CAMERA TRACKS WITH HIM as he crosses the living

room to the couch where he has a stack of legal books

and a number of note pads spread out. He is obviously

continuing his legal education. THROUGH OUT THE

FOLLOWING, THE CAMERA REMAINS ON HIS FACE.

ALVAREZ (O.S.)

What do you have here, Billy?

BILLY (O.S.)

Detroit.

ALVAREZ (O.S.)

Have you ever been to Detroit?

BILLY (O.S.)

No. But I've been to Brooklyn.

ALVAREZ (O.S.)

I see you have people there.

What are their names?

BILLY (O.S.)

That's Kim...and this one's

Thelma and that's Mrs. Willewska

and this is daddy and that's

Batman and over there is Robin.

ALVAREZ (O.S.)

What about your mommy?

BILLY (O.S.)

Oh, sure. Here, this can be

mommy.

ALVAREZ (O.S.)

Do you like to be with your mommy?

Ted by now has given up all pretense of working. He

wags his pencil in the direction of the door.

TED

(the defense attorney)

Objection. You're leading the

witness.

BILLY (O.S.)

Sure.

ALVAREZ (O.S.)

What do you like best about her?

BILLY (O.S.)

Lunch in a restaurant.

ALVAREZ (O.S.)

What do you like best about your

daddy?

BILLY (O.S.)

Playing.

ALVAREZ (O.S.)

Tell me, does your daddy ever hit

you?

REACTION, TED--eyes wide. He starts to get up.

TED

Objection.

BILLY (O.S.)

Sure. Lots of times.

This brings Ted all the way to his feet. He starts

across the living room headed for the door to Billy's

room.

ALVAREZ (O.S.)

(interested)

When does he hit you?

Ted has his hand on the doorknob, about to enter.

BILLY (O.S.)

He hits me on the planet Kriptarium,

when I steal the buried treasure

from the famous peanut butter

factory.

ALVAREZ (O.S.)

In real life when does he hit you?

BILLY (O.S.)

(laughing)

My daddy doesn't hit me, silly.

Why would my daddy hit me?

CUT TO:

104 EXT. MODERN OFFICE BUILDING, MIDTOWN - DAY

WIDE SHOT--It is a Saturday afternoon. HOLD FOR A

BEAT as we SEE Ted Kramer and Billy approaching. Billy

is talking a mile a minute. Ted listens intently,

absorbed in the boy's description. As they turn into

the entrance of the office building:

105 INT. CORRIDOR, J. WALTER THOMPSON - DAY

WIDE SHOT--A long corridor with desks for secretaries

lined up next to doors leading to smaller individual

offices. As they approach a door in the foreground

that bears a small sign reading, "Ted Kramer":

TED

(interrupting Billy,

who is still in the

middle of his story)

See. That's my name.

BILLY

(looking at the sign)

It's my name too.

TED

Right.

As he opens the door:

CUT TO:

106 INT. TED KRAMER'S OFFICE - DAY

It is a pleasant enough office, but nothing spectacular,

windows that look out over Fifty-seventh Street, simple

Formica furniture, that sort of thing.

ON THE DOOR--as they enter.

BILLY

(he stops dead in

his tracks at the

sight of the office)

Wow!

TED

(pleased)

You like it?

Billy crosses to the window, presses his nose to the

glass, looks out.

BILLY

Wow! Is this really where you

work?

Ted nods, walks over to the desk and begins collecting

paperwork to do over the weekend. As he does, Billy

goes through the office, sitting in every chair,

looking in every drawer.

BILLY

Is this really your desk?

TED

Yep.

BILLY

Is that really your chair?

TED

Uh huh...

BILLY

Wow! That's neat. Can I sit

in it?

TED

Sure.

Billy plops himself down in Ted's chair, swivels

around.

BILLY

Did mommy ever see this?

TED

No, she never did.

BILLY

Are you going to get remarried?

TED

I don't know. I hadn't thought

much about it.

BILLY

Are you going to remarried

Phyllis?

TED

(shaking his head)

No.

CLOSE ON BILLY--There is a long pause, then:

BILLY

Will you and mommy get remarried?

Ted stops what he is doing, looks across at Billy:

TED

No, son. Daddy and mommy will

never get remarried.

BILLY

(looking around Ted's

office)

Boy, I bet you if mommy ever

saw this she'd remarried you.

107 OMIT

CUT TO:

108 INT. BEDROOM - VERY EARLY IN THE MORNING

CLOSE ON AN ALARM CLOCK THAT SITS ON A NIGHTSTAND--As

it rings, THE CAMERA PANS ACROSS and we SEE Joanna

sitting in bed wide awake, smoking. As she puts out

the cigarette she has been smoking and starts to get

out of bed,

CUT TO:

109 INT. KITCHEN, TED KRAMER'S APT. - EARLY MORNING

ON TED--who stands with a cup of coffee in his hands,

looking out the window, but not seeing anything. HOLD

FOR A BEAT, then he checks his watch and starts for

the bedroom.

CUT TO:

110 INT. JOANNA'S BEDROOM - MORNING

ON: JOANNA--as she selects a very conservative suit from

her closet.

CUT TO:

111 INT. BILLY KRAMER'S BEDROOM - MORNING

WIDE SHOT--as Ted, now fully dressed, wearing a dark

blue suit, white shirt, conservative tie, leans over

Billy and wakes him.

CUT TO:

112 INT. COFFEE SHOP - MORNING

Joanna sits across from her lawyer as he talks to her,

intently, giving her last-minute instructions.

CUT TO:

113 EXT. STREET - MORNING

ON TED KRAMER--taking Billy to school. They stop at the

entrance, Ted kisses his son good-bye and stands for

a moment watching as the boy runs into the building.

CUT TO:

114 EXT. COURTHOUSE - DAY

WIDE SHOT--It is a bleak January morning, the streets

around the courthouse are mobbed with people on their

way to work. We SEE Ted Kramer, a tiny figure among

hundreds, coming out of the subway. He crosses the

street and starts up the steps of the large and

forbidding courthouse.

CUT TO:

115 INT. COURTHOUSE - DAY

WIDE SHOT--as Ted gets off the elevator and starts

down the corridor, toward the courtroom. In the F.G.,

--standing by the door of the courtroom itself is John

Shaunessy, he greets Ted, they shake hands and talk

together for a moment. Then, as they enter the

courtroom:

CUT TO:

116 INT. COURTROOM

ON THE DOOR--as Ted enters, looks around. Mrs. Willewska

sits in one of the back rows, wearing her best Easter

hat. Ted pauses by her, thanks her for coming.

Several rows in front of her is Thelma. Ted crosses

to her, they talk quietly between themselves for a few

moments. Then Ted moves on to a table at the front of

the room where John Shaunessy waits.

ON THE DOORS AT THE BACK OF THE COURTROOM--as they swing

open and Joanna, along with her lawyer, a MR. GRESSEN.

THE CAMERA PANS WITH THEM as they walk to the front of

the room and take their seats at the table opposite Ted

and his lawyer.

CLERK

Oyez, oyez...The third Circuit

Court of the State of New York,

Judge Atkins presiding is now in

session. All rise...

WIDE SHOT--as the judge enters, takes his seat.

Opening business of the court.

WIDE SHOT--as Gressen (Joanna's lawyer) gets to his feet.

GRESSEN

Your honor. As our first witness

I would like to call Joanna Kramer.

TWO SHOT, TED AND SHAUNESSY--The lawyer leans across

to Ted.

SHAUNESSY

(stage whisper)

Real direct. Motherhood...

They're going right for the

throat.

WIDE SHOT--as Joanna gets to her feet, crosses to the

witness stand and is sworn in.

Note: Throughout the following, we continually CROSS-

CUT to Ted Kramer, leaning forward, listening intently.

It becomes evident that, in spite of himself, there are

moments he feels great compassion for Joanna.

GRESSEN

Now then, Mrs. Kramer, would

you tell the court how long you

were married?

JOANNA

Six years.

GRESSEN

And would you describe those

years as happy?

JOANNA

The first couple, yes, but after

that it became increasingly

difficult.

GRESSEN

Mrs. Kramer, did you ever work

in a job while you were married

to your ex-husband?

JOANNA

No, I did not.

GRESSEN

Did you wish to?

JOANNA

Yes. I tried to talk to Ted--

my ex-husband--about it, but he

wouldn't listen. He refuses to

discuss it in any serious way.

I remember one time he said I

probably couldn't get a job that

would pay enough to hire a baby-

sitter for Billy.

GRESSEN

Tell me, Mrs. Kramer, are you

employed at the present time?

JOANNA

Yes, I work for Jantzen as a

sportswear designer.

GRESSEN

And what is your present salary?

JOANNA

I make thirty-one thousand

dollars a year.

REACTION TED--stunned.

GRESSEN

(switching tactics)

Mrs. Kramer, do you love your

child?

JOANNA

(emphatically)

Yes. Very much.

GRESSEN

And yet you chose to leave him?

There is a long pause, then:

JOANNA

(speaking carefully,

with great thought)

Yes...Look, during the last

five years we were married, I

had...I was getting more and

more...unhappy, more and more

frustrated. I needed to talk to

somebody. I needed to find out if

it was me, if I was going crazy

or what. But every time I

turned to Ted--my ex-husband,

he couldn't handle it. He

became very...I don't know,

very threatened. I mean, when-

ever I would bring up anything

he would act like it was some kind

of personal attack. Anyway, we

became more and more separate

...more and more isolated from

one another. Finally, I had no

other choice, I had to leave.

And because of my ex-husband's

attitude--his unwillingness to

deal with my feelings, I had

come to have almost no self-

esteem...

(with feeling)

At the time I left, I sincerely

believed that there was something

wrong with me--that my son would

be better off without me. It

was only when I got to California

and started into therapy I began

to realize I wasn't a terrible

person. And that just because

I needed some creative and

emotional outlet other than my

child, that didn't make me unfit

to be a mother.

GRESSEN

(to the judge)

Your honor, I would like to place

in evidence a report on Mrs.

Kramer's therapy by her therapist,

Dr. Elinore Freedman of La Jolla,

California.

And with that he hands both the judge and Shaunessy a

thick sheaf of papers. Then, turning his attention back

to Joanna:

GRESSEN

Mr. Kramer, why did you set up

residence in New York?

JOANNA

Because my son is here. And his

father is here. As a mother,

I don't want my child to be

separated from his father.

GRESSEN

Mrs. Kramer, can you tell the

court why you are asking for

custody?

There is a pause, then:

JOANNA

Because he's my child...Because

I love him. I know I left my

son, I know that's a terrible

thing to do. Believe me, I

have to live with that every

day of my life. But just because

I'm a woman, don't I have a right

to the same hopes and dreams as a

man? Don't I have a right to a

life of my own? Is that so awful?

Is my pain any less just because

I'm a woman? Are my feelings

any cheaper? I left my child--

I know there is no excuse for

that. But since then, I have

gotten help. I have worked hard

to become a whole human being.

I don't think I should be punished

for that. I don't think my son

should be punished for that.

Billy's only six. He needs me.

I'm not saying he doesn't need

his father, but he needs me

more. I'm his mother.

There is a beat of silence, then:

GRESSEN

Thank you, Mrs. Kramer. I have

no further questions.

ON SHAUNESSY--as he stands, collects his papers from

the table and, taking his own sweet time, crosses to

Joanna.

SHAUNESSY

Now then, Mrs. Kramer, you said

you were married seven years.

Is that correct?

JOANNA

Yes.

SHAUNESSY

In all that time did your husband

ever strike you or abuse you

physically in any way.

JOANNA

No.

SHAUNESSY

Did your husband strike or

physically abuse his child in

any way?

JOANNA

No.

SHAUNESSY

Would you describe your husband

as an alcoholic?

JOANNA

No.

SHAUNESSY

A heavy drinker?

JOANNA

No.

SHAUNESSY

Was he unfaithful?

JOANNA

No.

SHAUNESSY

Did he ever fail to provide for

you?

JOANNA

No.

SHAUNESSY

(wry smile)

Well, I can certainly understand

why you left him.

GRESSEN

Objection.

SHAUNESSY

(switching his line of

questioning)

How long do you plan to live in

New York, Mrs. Kramer?

JOANNA

Permanently.

Note: During the early part of Shaunessy's cross-

examination, Joanna has been very forthright, very sure

of herself. Now, as he starts getting tougher, she

begins to falter.

SHAUNESSY

Permanently?

(smiles, like a

shark smiles)

Mrs. Kramer, how many boy friends

have you had--permanently?

ON JOANNA--Her head snaps back as though she's been hit.

JOANNA

I don't recall.

SHAUNESSY

(boring in)

How many lovers have you had--

permanently?

JOANNA

(looks toward Gressen

for help)

I don't recall.

SHAUNESSY

More than three, less than thirty-

three--permanently?

ON GRESSEN--He is again on his feet, outraged.

GRESSEN

Objection!

JUDGE

Overruled. The witness will

answer, please.

JOANNA

(almost a whisper)

Somewhere in between.

SHAUNESSY

Do you have a lover now?

GRESSEN

(furious)

Objection!

SHAUNESSY

(to the judge)

Your honor, I would request a

direct answer to a direct

question. Does she have a

lover?

JUDGE

I'll allow that. The witness

will answer please.

JOANNA

(in a whisper)

Yes.

SHAUNESSY

Is that...permanent?

JOANNA

(by now she is be-

coming thoroughly

rattled)

I...I don't know...

SHAUNESSY

Then, we don't really know, do

we, when you say "permanently"

if you're planning to remain in

New York, or even to keep the

child for that matter, since

you've never really done anything

in your life that was continuing,

stable, that could be regarded

as permanent.

ON THE PETITIONER'S TABLE--Gressen jumps to his feet.

GRESSEN

Objection! I must ask that the

counsel be prevented from harassing

the witness.

JUDGE

Sustained.

SHAUNESSY

(a new attack)

Mrs. Kramer, how can you consider

yourself a fit mother when you

have been a failure at virtually

every relationship you have

undertaken as an adult?

GRESSEN

(red in the face)

Objection!

JUDGE

Sustained.

SHAUNESSY

I'll ask it another way. What was

the longest personal relationship

you have had in your life--other

than parents and girlfriends?

JOANNA

(rattled)

Ah...I guess I'd have to say...

with my child.

SHAUNESSY

(wonder, irony)

Whom you've seen twice in a year?

Mrs. Kramer, your ex-husband,

wasn't he the longest personal

relationship in your life?

JOANNA

(reluctantly)

I suppose...

SHAUNESSY

Would you speak up, Mrs. Kramer?

I couldn't hear you.

JOANNA

(louder)

Yes.

SHAUNESSY

How long was that?

JOANNA

We were married two years before

the baby. And then four very

difficult years.

SHAUNESSY

So, you were a failure at the

longest, most important

relationship in your life.

GRESSEN

Objection!

JUDGE

Overruled.

JOANNA

I was not a failure.

SHAUNESSY

(sarcastic)

Oh? What do you call it then

--a success? The marriage ended

in divorce.

JOANNA

(so angry she

forgets her cool)

I consider it less my failure

than his.

SHAUNESSY

(seizes on this)

Congratulations, Mrs. Kramer.

You have just rewritten matrimonial

law. You were both divorced,

Mrs. Kramer.

GRESSEN

(on his feet)

Objection!

SHAUNESSY

(to the judge)

Your honor, I'd like to ask

what this model of stability

and respectability has ever

succeeded at?

(to Joanna)

Mrs. Kramer, were you a failure

at the longest, most important

personal relationship in your life?

CLOSE ON JOANNA--who sits silently.

JUDGE

Please answer the question,

Mrs. Kramer.

JOANNA

(whisper)

It did not succeed.

SHAUNESSY

(suddenly fierce)

Not it...Not it, Mrs. Kramer--

you. Were you a failure at the

most important personal relation-

ship of your life?

CLOSER IN ON JOANNA--Silence.

SHAUNESSY

Were you?

EXTREME CLOSE UP JOANNA

JOANNA

(barely audible)

Yes.

WIDE SHOT--Shaunessy smiles, turns his back on Joanna

and walks back toward the respondent's table.

SHAUNESSY

No further questions.

CLOSER IN ON THE TABLE--as Shaunessy sits down next to

Ted.

TED

(leaning over,

in a whisper)

Jesus Christ. Did you have to

be so rough on her?

SHAUNESSY

(tough)

Do you want the kid or don't you?

ON JOANNA--shaken, she gets down from the witness stand,

crosses to the petitioner's table without looking at

Ted. She sits, leans across to her lawyer and whispers

something in his ear. As he nods,

CUT TO:

116A INT. COURTROOM, LATER IN THE DAY

ON JIM O'CONNOR--who sits in the witness stand. At the

moment he is being examined by Gressen.

GRESSEN

Now then, Mr. O'Connor, how long

did Ted Kramer work for you?

O'CONNOR

Eight, almost nine years.

GRESSEN

And did you have a close personal

relationship?

O'CONNOR

(in a whisper)

Yes...

GRESSEN

And how did you find his work?

O'CONNOR

It was good. He was a hard worker,

a lot of drive, a real hustler.

GRESSEN

And yet you fired him.

There is a long pause.

O'CONNOR

(looking down)

Ted was a good worker. But, ah...

... after his wife left him and he

was taking care of the kid on his

own, things started to change.

Look, I know he had problems, I

understand that. I've got problems,

everybody's got problems. But I've

got a shop to run, I can't let that

kind of thing get in the way...

(quietly)

I guess I felt that Ted was letting

his duties at home interfere with

his responsibilities in the office.

GRESSEN

Thank you. I have no further

questions.

Shaunessy stands up.

SHAUNESSY

Mr. O'Connor, does the agency still

have the Fire and Ice account?

O'CONNOR

(up tight)

No.

SHAUNESSY

Mr. O'Connor, can you tell me where

you are employed at the moment?

O'CONNOR

(stiff)

At the moment I am unemployed.

ON THE JUDGE

JUDGE

If the petitioner has no further

witnesses, we will hear the

respondent tomorrow morning at

9:30.

CUT TO:

117 INT. LIVING ROOM, KRAMER APT. - NIGHT

WIDE SHOT--Ted sits at the dining table poring over

law books, writing copious notes on a legal pad. Billy

sits across from him drawing in a pad with magic markers.

HOLD FOR A BEAT as Billy looks up at his father. It is

clear that something is bothering him.

BILLY

Mom--I mean, dad?

TED

(not looking up)

Uh, huh?

BILLY

What did you do when you were

little?

TED

(still involved

in his books)

I guess about the same kind of

things you do.

BILLY

Did you watch "I Dream of Jeannie?"

TED

(distracted)

Uh, uh...We didn't have television

then.

ON BILLY--eyes wide. He finds this hard to believe.

BILLY

You didn't have T.V.?

ON TED--He looks up for the first time, smiles.

TED

Nope. It hadn't been invented yet.

He starts to go back to work.

BILLY

(this is serious

business)

Was there apple juice when you

were little?

TED

Yeah, there was apple juice.

BILLY

Was there Burger King?

TED

Uh, uh. There was no such a thing

as Burger King.

BILLY

What else wasn't there?

ON TED--He takes a long look at his son, then closes the

law book, puts his notes away.

TED

Well, let's see...There wasn't

McDonald's. And there wasn't

astronauts...And there wasn't

frozen yogurt. And there wasn't...

As he continues on about what wasn't, we

FADE TO BLACK:

118 EXT. COURTHOUSE - DAY

ESTABLISHING SHOT

119 INT. COURTROOM - DAY

ON THELMA--She sits in the witness stand being examined

by Shaunessy. From her attitude it is clear that she

is very wrought up, that all of this is taking a heavy

emotional toll on her.

SHAUNESSY

Mrs. Phillips, how long have you

known Ted Kramer?

THELMA

Six years. Ever since Ted and

Joanna moved into the building.

SHAUNESSY

How often do you see Mr. Kramer

and his son?

THELMA

(to the judge, by

way of explanation)

Charley, my husband, and I are

...divorced and Kim, that's our

daughter is about Billy's age

and the children play together

a lot. So, I guess we see each

three or four times a week.

SHAUNESSY

Can you describe the relationship

between Mr. Kramer and his son?

THELMA

It's beautiful. It's just beautiful.

They have a beautiful relationship.

ON GRESSEN--getting wearily to his feet.

GRESSEN

(patronizing)

Objection, your honor. The answer

is, to be generous, very vague.

SHAUNESSY

Can you recall any particular

incident that relates to Mr.

Kramer's care of his child?

THELMA

(fighting a losing

battle with her

emotions)

Ted--Mr. Kramer, spends a great

deal of time with his child. I

don't just mean hours, I mean

good time, involved time. He

reads to Billy. They play together.

They talk all the time...

(tears start)

He is a very...kind man...a very

...devoted father, and...and...

(she turns to Joanna)

And Joanna if you ever saw them

together...there wouldn't be a

trial at all...

(she breaks down,

weeping)

Oh, shit...I'm sorry...I'm sorry...

Note: during this we cross-cut to Joanna, who sits,

staring at her friend, shaken.

SHAUNESSY

(gently)

No further questions. Thank you

Mrs. Phillips.

GRESSEN

(without looking

up from his notes)

No questions.

Thelma leaves the stand and walks back to her seat.

CUT TO:

120 INT. COURTROOM - DAY

ON TED KRAMER--sitting in the witness stand.

SHAUNESSY

Mr. Kramer, would you tell the

court exactly why you want to

retain custody of your child.

TED

(speaking quietly)

When Joanna--

(to the judge,

correcting himself)

my ex-wife--when she was talking

before about how unhappy she was

during our marriage...Well, I

guess most of what she said was

probably true. There were a lot

of things I didn't understand--

a lot of things I would do different

if I could. Just like I guess

there are a lot of things Joanna

wishes she could change...But we

can't. Some things, once they are

done, can't be undone. Joanna says

she loves Billy. I believe she

does. So do I. But the way it

was explained to me, that's not

the issue. The only thing that's

supposed to matter here is what's

best for Billy...When Joanna said

why shouldn't a woman have the

same ambitions as a man, I suppose

she's right. But by the same token

what law is it that says a woman

is a better parent simply by virtue

of her sex? I guess I've had to

think a lot about whatever it is

that makes somebody a good parent:

constancy, patience, understanding

...love. Where is it written that

a man has any less of those qualities

than a woman? Billy has a home with

me, I've tried to make it the best

I could. It's not perfect. I'm

not a perfect parent.

(unconsciously echoing

something Joanna said

earlier)

I don't have enough patience.

Sometimes I forget he's just a

little kid...But I love him...

More than anything in this world

I love him.

SHAUNESSY

Thank you, Mr. Kramer. No further

questions.

ON GRESSEN--as he gets up from the petitioner's table

and crosses to the witness stand.

GRESSEN

(hard-lining it)

Mr. Kramer, by any chance have

you ever had a woman in your bed

while your child was asleep in

the next room?

TED

I suppose.

GRESSEN

(pointedly)

So do I.

SHAUNESSY

Objection!

JUDGE

Sustained.

GRESSEN

(switching to another

line of attack)

Mr. Kramer, isn't it true that

you were fired from your last

job not more than six weeks ago?

TED

(not losing his cool)

Technically, the agency lost a

big account and seventy four

people were let go. I was one

of them.

GRESSEN

(snotty)

You were fired, correct?

TED

Yes, but I'm with J. Walter Thompson

now. I don't think that will happen

again.

GRESSEN

(snide)

Give them time...

SHAUNESSY

Objection, your honor! Counsel

is harassing the witness.

GRESSEN

(to the judge,

pettish)

Your honor, I'm only examining

the man's employment record. He

pretends to fitness when he cannot

hold a job.

JUDGE

Sustained.

ON GRESSEN--He is thoughtful for a moment, like a man

trying to decide whether or not to drop the bomb. Then,

turning back to Ted:

GRESSEN

(very tough)

Mr. Kramer, did your child nearly

lose an eye when he was in your

care?

REACTION, TED--stunned. He looks across at Joanna.

QUICK CUT, HIS P.O.V.: Joanna looks away.

GRESSEN

(boring in)

Mr. Kramer, did you, or did you

not tell the child's mother that

you were responsible for the

injury that permanently disfigured

your child?

Shaunessy is on his feet racing toward the bench.

SHAUNESSY

(vehement)

Objection! Your honor, counsel

is raising a question that is not

germane to these proceedings.

GRESSEN

(to the judge)

While the child was in the care

of the witness, he cut his face

badly and is now scarred.

JUDGE