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The Truman Show (1998)

by Andrew Niccol.
Shooting Script.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


A FOGGED MIRROR

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

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

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

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

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

INT.  KITCHEN - MORNING

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

			TRUMAN
	What's that?

			MERYL
	It's a surprise.

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

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

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

Truman returns Meryl's kiss.

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

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

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

EXT.  TRUMAN'S HOUSE - DAY

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

			SPENCER
	Morning, Truman.

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

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

			TRUMAN
		(petting the dog)
	Hey, Pluto.

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

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

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

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

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

			RADIO ANNOUNCER
	Another glorious morning in Seahaven,
	folks.

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

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

EXT.  SEAHAVEN ISLAND TOWNSHIP - DAY

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

EXT.  OCEANSIDE STREET - DAY

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

PLAYBACK - EXT.  LONG, WIDE BEACH - DAY

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

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

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

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

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

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

			FATHER
	Come down now!

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

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

			TRUMAN
	Why?  What's there?

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

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

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

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

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

			VENDOR
	How are ya, Truman?

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

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

PLAYBACK - INT.  SEAHAVEN ELEMENTARY SCHOOL - CLASSROOM - DAY

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

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

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

			MARLON
	I want to be an entrepreneur like
	my dad.

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

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

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

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

			SCHOOL MISTRESS
	What about you, Truman?

Truman rises to his feet, gathering his nerve.

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

The School Mistress smiles benevolently.

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

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

EXT.  PARKING LOT - DAY - PRESENT

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

EXT.  DOWNTOWN SEAHAVEN - DAY

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

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

			VENDOR
	Is that all for you, Truman?

			TRUMAN
	That's all.  Thanks, Errol.

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

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

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

EXT.  SEAHAVEN LIFE AND ACCIDENT.  INC - DAY

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

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

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

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

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

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

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

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

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

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

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

			CO-WORKER
	What do you know, Truman?

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

The Co-Worker disappears back into his own cubicle.

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

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

INT.  LOCAL ITALIAN DELI.  - LUNCHTIME

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

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

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

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

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

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

Truman forces a half-smile and exits.

			TYRONE
	See you tomorrow, Truman.

			TRUMAN
	You can count on it.

EXT.  SECLUDED PARK - DAY

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

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

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

INT.  A CONFERENCE ROOM SOMEWHERE - DAY

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

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

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

INT.  INSURANCE COMPANY - DAY

TRUMAN sits at his desk, making a cold call.

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

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

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

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

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

			LAWRENCE
		(sarcastic)
	You know another one?

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

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

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

EXT.  SEAHAVEN - DAY

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

INT.  SEAHAVEN FERRY TERMINAL - DAY

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

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

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

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

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

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

PLAYBACK - EXT.  SEAHAVEN HARBOR - DAY

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

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

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

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

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

			TRUMAN
		(entreating his father)
	Please!

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

INT.  SEAHAVEN FERRY TERMINAL - DAY - PRESENT

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

EXT.  ROADWAY ADJACENT TO THE FERRY TERMINAL - DAY

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

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

Truman hangs up the phone.

INT.  TRUMAN'S CAR - DAY

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

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

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

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

His companion smirks.

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

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

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

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

			WOMAN
		(reaching for the book)
	Please...

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

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

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

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

			WOMAN
	Help!  Please help!

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

			TRUMAN
	Hey!  Let her go!

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

EXT.  PARKLAND - WOODS - DAY

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

			WOMAN
	Thanks.

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

			WOMAN
		(pointing the incident)
	He did nothing.

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

EXT.  TRUMAN'S HOUSE - DUSK

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

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

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

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

			TRUMAN
	Gee, that's great.

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

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

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

INT.  TRUMAN'S HOUSE - LIVING ROOM - NIGHT

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

			TRUMAN
	How did it go today?

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

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

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

			TRUMAN
	I won't be late.

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

Truman turns to her too sharply, his guilt showing.

			TRUMAN
	What could happen?

Truman exits.

EXT.  UNFINISHED BRIDGE - NIGHT

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

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

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

			MARLON
	Whose nuts were those?

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

			TRUMAN
	I'm thinking of getting out, Marlon.

			MARLON
		(mild interest only)
	Yeah?  Outta what?

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

Marlon takes a practice swing.

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

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

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

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

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

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

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

Truman gulps his beer as he prepares his answer.

			TRUMAN
		(unable to disguise
		 his reverence)
	Fiji.

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

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

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

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

			MARLON
		(still dubious)
	So when are you leaving?

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

			MARLON
	Nursery?

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

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

			MARLON
	I never knew anybody who wanted to
	leave Seahaven.

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

INT.  A DIMLY-LIT ROOM SOMEWHERE - NIGHT

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

EXT.  BRIDGE - NIGHT

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

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

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

			TRUMAN
		(interest piqued)
	Yeah, what happened?

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

			TRUMAN
	You think so?

			MARLON
	Trust me.

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

			MARLON
		(checking the ball)
	You win.

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

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

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

			TRUMAN
	I can't tonight.

INT.  LIGHTHOUSE - NIGHT

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

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

PLAYBACK - EXT.  OCEAN - DAY

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

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

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

			TRUMAN
		(crying out)
	Daddy!!  Daddy!!

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

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

EXT.  BEACH - NIGHT - PRESENT

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

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

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

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

INT.  A LIVING ROOM SOMEWHERE - NIGHT

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

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

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

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

EXT.  BEACH PARKING LOT - NIGHT

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

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

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

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

INT.  TRUMAN'S HOUSE - NURSERY - NIGHT

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

			MERYL
	Where have you been?

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

			MERYL
		(rolling her eyes)
	Oh, God.

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

			MERYL
		(exasperated)
	Every time you and Marlon --

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

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

			TRUMAN
	Maybe I feel like a teenager.

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

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

			TRUMAN
	It'd be an adventure.

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

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

Meryl gives a derisive laugh.

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

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

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

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

INT.  AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT

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

			GUARD 1
	How can they have a child?

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

			GUARD 1
	Why not?

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

			GUARD 1
	Sure she would.

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

EXT.  TRUMAN'S STREET - DAWN

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

INT.  TRUMAN'S BEDROOM - MORNING

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

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

INT.  A BEDROOM SOMEWHERE -- MORNING

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

EXT.  CAR -- DAY

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

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

Truman mutters to himself as is his custom.

EXT.  DOWNTOWN SEAHAVEN -- DAY

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

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

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

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

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

			TRUMAN
		(calling out)
	Stop!  Stop!!

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

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

They are escaping.

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

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

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

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

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

INT.  MOTHER'S HOUSE - DAY

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

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

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

			MOTHER
	Well, I made it through another
	night.

			TRUMAN
	How's your hip?

			MOTHER
	Oh, just so.

Truman supports Mother.

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

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

Truman helps her into an overstuffed armchair.

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

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

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

He kneels beside her.

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

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

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

Mother smiles condescendingly.

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

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

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

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

			MOTHER
	-- Darling --

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

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

Mother kisses Truman on the cheek.

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

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

INT.  TRUMAN'S BASEMENT - DUSK

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

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

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

			MERYL
	What're you doing down here?

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

			MERYL
	I know.

			TRUMAN
		(suspicious)
	How do you know?

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

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

			TRUMAN
	What did you want?

			MERYL
	I made macaroni.

			TRUMAN
	I'm not hungry.

Meryl nods, not at all convinced.

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

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

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

INT.  A KITCHEN SOMEWHERE - NIGHT

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

			DAUGHTER
	What's he doing?

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

			DAUGHTER
	The memory of who?

			MOTHER
		(finger to lips)
	Shhh!

PLAYBACK MONTAGE - EXT.  COLLEGE CAMPUS - STEPS - DAY

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

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

PLAYBACK - INT.  DANCEHALL - NIGHT

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

PLAYBACK - EXT.  COLLEGE CAMPUS - STREET - DAY

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

The montage ends at a scene in a college library.

	PLAYBACK - INT.  COLLEGE LIBRARY - NIGHT

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

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

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

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

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

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

			TRUMAN
	Konichi-wa.

Lauren looks blank.

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

			LAUREN
		(quickly closing the book)
	Oh, yes.

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

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

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

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

Truman is not surprised.

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

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

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

Lauren looks about her, unsure.

			LAUREN
	No... I, er...

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

			LAUREN
	No.

			TRUMAN
	Saturday?

Lauren looks around the almost-deserted library.

			TRUMAN
	Actually, I'm free Sunday.

			LAUREN
	Now.

			TRUMAN
	Right now?  We've got finals
	tomorrow.

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

Truman hesitates.

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

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

PLAYBACK - EXT.  VARIOUS LOCATIONS NEAR SEAHAVEN COLLEGE - NIGHT

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

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

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

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

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

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

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

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

Lauren suddenly stops splashing.

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

She wades out of the water.

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

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

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

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

INT.  A BAR SOMEWHERE - NIGHT

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

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

PLAYBACK - EXT.  BEACH - NIGHT

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

			SYLVIA
	They're coming.  Any minute.

			TRUMAN
		(looking around the
		 deserted beach)
	Who?

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

			TRUMAN
		(confused)
	There's no one here.

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

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

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

			TRUMAN
	Were you there -- how do you know?

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

			TRUMAN
	I don't understand.

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

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

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

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

			SYLVIA
		(scared)
	I told you, Truman!

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

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

Truman jumps in.

			TRUMAN
	Hey, who the hell are you?!

			MAN
	I'm her father!

			TRUMAN
	We weren't doing anything.

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

			MAN
	Come on, Sweetheart.

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

			TRUMAN
	I'll take care of her!

The Man takes Truman aside and whispers in his ear.

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

Doubts start crowding into Truman's head.

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

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

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

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

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

PLAYBACK - EXT.  BEACH - NIGHT

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

INT.  TRUMAN'S BASEMENT - NIGHT - PRESENT

TRUMAN carefully places the cardigan back into the trunk.

INT.  A KITCHEN SOMEWHERE - NIGHT

MOTHER, DAUGHTER and BABY stare into camera.

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

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

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

INT.  BASEMENT - NIGHT

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

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

INT.  AN APARTMENT SOMEWHERE - NIGHT

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

EXT.  TRUMAN'S STREET - EARLY MORNING

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

EXT.  STREET OUTSIDE TRUMAN'S HOUSE - MORNING

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

			SPENCER
	How's it going, Truman?

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

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

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

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

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

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

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

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

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

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

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

EXT.  PARKING LOT - MORNING

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

INT.  SEAHAVEN ELEMENTARY SCHOOL - MORNING

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

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

EXT.  STREET - DOWNTOWN - DAY

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

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

EXT.  DOWNTOWN STREET - DAY

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

EXT.  CITY STREET - DAY

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

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

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

INT.  A DIMLY-LIT ROOM SOMEWHERE - DAY

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

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

EXT.  CAFE - DAY

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

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

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

The Joggers attempt to sidestep Truman.

			JOGGER 1
	Excuse me.

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

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

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

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

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

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

EXT.  DOWNTOWN STREET - DAY

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

INT.  OFFICE BUILDING - DAY

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

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

			SECURITY GUARD 1
		(to Truman)
	Can I help?

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

			SECURITY GUARD 1
	They went bust.

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

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

			TRUMAN
	What's going on?

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

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

			SECURITY GUARD 2
	You've got to leave.

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

			TRUMAN
	Just tell me what's going on?

			SECURITY GUARD 2
	We're re-modeling.

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

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

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

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

			SECURITY GUARD 2
	For what?  You're trespassing!

EXT.  DOWNTOWN STREET - DAY

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

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

			TRUMAN
	I want to...

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

			BANK OFFICIAL
	... Open an account?

			TRUMAN
	Yes.  Er, why not?

			RECEPTIONIST
	Savings or checking?

			BANK OFFICIAL
	Let's go up to my office.

Truman hurriedly exits the bank.

EXT.  STREET - DAY

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

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

INT.  A BATHROOM SOMEWHERE - DAY

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

			MAN
	Don't look at me, pal.

EXT.  STREET - ELECTRONICS STORE - DAY

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

INT.  SUPERMARKET - DAY

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

			TRUMAN
	Marlon--

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

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

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

			MARLON
	Sorry, I'm way behind.

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

			MARLON
	Are you okay?  You look like shit.

			TRUMAN
	I think I'm mixed up in something.

			MARLON
	Mixed up?  Mixed up in what?

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

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

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

			MARLON
	Your Dad?!

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

			MARLON
		(looking around, instantly
		 protective)
	Who?

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

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

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

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

			TRUMAN
	I've got to show you something.

Truman fixes Marlon with a look of deadly seriousness.

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

EXT.  SEAHAVEN ELEMENTARY SCHOOL - DAY

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

INT.  SCHOOL CORRIDOR - DAY

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

INT.  CLASSROOM - DAY

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

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

EXT.  CLIFFTOP - DUSK

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

			MARLON
	What're we doing here, Truman?

			TRUMAN
	This is where it started.

			MARLON
	What exactly?

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

			MARLON
		(blank)
	No.

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

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

			TRUMAN
		(in a daze)
	Yeah...

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

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

			MARLON
	Really?

INT.  LIVING ROOM - TRUMAN'S HOUSE - NIGHT

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

			TRUMAN
	We ought to be getting you back,
	Mother.

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

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

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

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

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

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

Mother turns to a blank page in the album.

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

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

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

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

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

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

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

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

INT.  A LIVING ROOM SOMEWHERE - NIGHT

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

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

			OLD LADY 2
	Started howling when they took
	their vows.

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

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

INT.  KITCHEN - MORNING

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

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

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

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

			TRUMAN
	What's the hurry?

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

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

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

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

			TRUMAN
	Arrah!

			MERYL
	Oh, my God!

			TRUMAN
	What do I do?

			MERYL
	I don't know--

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

			MERYL
	Put some butter on it -- or once?

She looks up the kitchen clock.

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

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

EXT.  SEAHAVEN STREET/HOSPITAL/PARKING LOT - DAY

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

INT.  HOSPITAL - DAY

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

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

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

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

			NURSE
	I'll try.

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

			NURSE
	When you get to Fiji?

			TRUMAN
	You got it.

			NURSE
	Fine.  I'll tell her.

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

INT.  VARIOUS HOSPITAL CORRIDORS - DAY

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

INT.  OUTSIDE OPERATING THEATRE - DAY

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

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

			SURGEON
	Scalpel.

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

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

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

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

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

INT.  AGENCY - DAY

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

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

			TRUMAN
	I want to book a flight to Fiji.

			AGENT
	Where exactly?

			TRUMAN
		(believing she is being
		 deliberately obtuse)
	Fiji.

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

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

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

			TRUMAN
		(finding the question suspicious)
	One.

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

			TRUMAN
	Today.

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

			TRUMAN
		(suspicious)
	A month.

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

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

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

			TRUMAN
	Why wouldn't I?

			AGENT
	I thought you were in a hurry.

			TRUMAN
		(calming down)
	That's right.

			AGENT
	You want to book the flight?

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

EXT.  CITY STREET - DAY

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

EXT.  GREYHOUND BUS STATION - DAY

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

			BUS DRIVER
	Last call for Chicago.

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

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

INT.  GREYHOUND BUS - DAY

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

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

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

			SUPERVISOR
	Everybody off.  We've got a problem.

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

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

INT.  A BAR SOMEWHERE - DAY

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

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

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

			PATRON 1
	Wasn't his father from Chicago?

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

EXT.  STREET - TRUMAN'S BICYCLE - DAY

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

EXT.  TRUMAN'S BACKYARD - DAY

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

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

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

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

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

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

Meryl's attention wavers.  Truman tightens his grip.

			TRUMAN
	Look!

Following the VW is a school bus.

			MERYL
		(mocking)
	Where's the motorcycle?

Truman is momentarily disappointed.

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

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

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

			TRUMAN
	I won't be here Sunday.

			MERYL
	-- we need more charcoal.

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

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

Truman is puzzled by her conciliatory tone.

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

She turns away.

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

			MERYL
	What?!

Despite her protests, Truman drags Meryl towards his car.

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

INT.  TRUMAN'S CAR - DAY

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

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

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

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

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

			MERYL
	So why do you want to go?

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

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

Truman roars off down the street.

			TRUMAN
	Me too.

Almost immediately, Truman encounters a traffic snarl.

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

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

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

			MERYL
		(incredulous)
	You blaming me for the traffic?

			TRUMAN
	Should I?

Truman reverses suddenly and makes a U-turn.

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

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

			MERYL
	Would you please slow down, Truman?

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

			MERYL
	Truman, that was our house!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Truman roars on, almost bowling over the concerned motorist.

			MERYL
	Truman, I took the "hypocrite" oath!

			TRUMAN
	I bet you did.

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

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

INT/EXT.  CAR - DAY

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

			MERYL
	Truman, what about that sign?

			TRUMAN
	I'm sure they're just exaggerating.

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

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

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

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

Meryl also now appears to be resigned to the journey.

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

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

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

Truman appears very unsure of himself.

EXT.  ROADWAY - DAY

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

Truman is forced to slow at the police barricade.

			TRUMAN
	Now what?

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

			TRUMAN
	Is there any way around?

			OFFICER
	The whole area's being evacuated.

			TRUMAN
	Well, thank you for your help.

			OFFICER
	You're welcome, Truman.

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

			MERYL
	Truman!!  Come back!!

Truman flees into the forest.

INT.  A LIVING ROOM SOMEWHERE - DAY

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

EXT.  FOREST NEAR SEAHAVEN NUCLEAR POWER PLANT - DAY

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

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

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

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

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

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

			FIJI WOMAN
	Did he see us?

			WASTE WORKER
		(into microphone)
	Negative.

INT.  TRUMAN'S HOUSE - KITCHEN - NIGHT

MERYL sows TWO SEAHAVEN POLICEMEN out the back door.

			MERYL
	Thank you.

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

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

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

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

			MERYL
	That's not true.

Meryl picks up a package and holds it to camera.

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

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

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

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

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

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

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

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

			MERYL
	Truman, you're scaring me!

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

			TRUMAN
	No, you're scaring me, Meryl!

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

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

			MERYL
	Do something...

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

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

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

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

			MERYL
	Truman, stop it!

Suddenly, the front door chimes.

			TRUMAN
	Right on time.  Cops must be
	telephatic.

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

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

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

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

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

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

EXT.  UNFINISHED BRIDGE - NIGHT

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

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

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

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

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

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

Truman chimes in, nodding fondly at the memory.

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

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

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

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

INT.  CONTROL ROOM - NIGHT

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

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

EXT.  FREEWAY - NIGHT

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

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

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

			TRUMAN
	What's that?

			MARLON
	The thing that started all of this.

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

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

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

			MARLON
	Go to him.

INT.  CONTROL ROOM - NIGHT

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

			CHRISTOF
	Go wide, LightCam Eight...

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

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

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

			CHRISTOF
	... RingCam...

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

			CHRISTOF
	... ButtonCam Three...

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

			TRUMAN
	I never stopped believing.

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

			CHRISTOF
	And wide...

SIMEON looks to his director.

			SIMON
	Close up?

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

The CREW watches Kirk and Truman embrace.

			KIRK
	All those years, wasted.

			TRUMAN
	We have a lot of years ahead.

INT.  CONTROL ROOM - NIGHT

CHRISTOF allows himself a smile of satisfaction.

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

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

EXT.  FREEWAY - NIGHT

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

INT.  CONTROL ROOM -- NIGHT

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

			MOSES
	Well done.  Well done, everyone.

INT.  A BEDROOM SOMEWHERE - NIGHT

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

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

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

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

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

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

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

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

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

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

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

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

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

INT.  LUNAR STUDIO - NIGHT

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

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

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

The Interviewer turns to Christof.

			INTERVIEWER
	Welcome.

			CHRISTOF
	Thank you.

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

			CHRISTOF
	We have had our close calls in the
	past.

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

PLAYBACK - INT.  TRUMAN'S HOME - CHRISTMAS MORNING

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

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

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

PLAYBACK - EXT.  CITY STREET - DAY

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

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

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

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

PLAYBACK - EXT.  CITY STREET - DAY

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

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

			CHRISTOF
	-- a dead one at that.

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

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

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

			CHRISTOF
	That and a fat, new contract.

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

			CHRISTOF
	Amnesia.

			INTERVIEWER
		(impressed, nodding
		 in agreement)
	Of course.

The Interviewer consults his note.

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

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

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

			CHRISTOF
	It has to be the reality.

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

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

			INTERVIEWER
	A window onto the human condition?

			CHRISTOF
	I prefer to think of it as a mirror.

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

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

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

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

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

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

			INTERVIEWER
	Charlotte, North Carolina, for
	Christof.

			MALE CALLER 1 (O.S.)
	Hello?

			INTERVIEWER
	You're on, Caller.  Go ahead.

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

			CHRISTOF
	Thank you.

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

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

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

			CHRISTOF
	Certainly a nomination.

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

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

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

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

			CHRISTOF
	Who can?

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

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

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

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

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

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

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

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

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

			CHRISTOF
	That's correct.

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

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

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

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

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

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

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

Christof nods.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Interviewer hangs up on the caller.

INT.  A BEDROOM SOMEWHERE - NIGHT

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

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

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

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

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

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

INT.  TRUMAN'S BASEMENT - MORNING

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

INT.  CONTROL ROOM - NIGHT

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

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

INT.  BATHROOM -- MORNING

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

INT.  CONTROL ROOM -- MORNING

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

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

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

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

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

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

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

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

Truman sighs as he exits the bathroom.

EXT.  STREET -- MORNING

TRUMAN exchanges a cheery greeting with SPENCER.

			SPENCER
	How are ya, Truman?

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

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

INT.  OFFICE - DAY

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

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

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

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

EXT.  TRUMAN'S BACKYARD - DUSK

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

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

INT.  STUDIO - CONFERENCE ROOM - NIGHT

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

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

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

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

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

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

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

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

			MOTHER
	I loved your Ophelia.

			CLAUDIA
	Why thank you.

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

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

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

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

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

			CHRISTOF
	This will simply be duplicate
	coverage.

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

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

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

INT.  TRUMAN'S BASEMENT - NIGHT

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

INT.  VARIOUS VIEWER LOCATIONS - NIGHT

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

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

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

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

INT.  CONTROL ROOM - NIGHT

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

			SIMEON
	...Ready two.  Go to two.

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

			SIMEON
	And back to the medium...

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

			SIMEON
	... and wide...

			OPERATOR
		(aside to Simeon)
	What a loser.

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

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

			CHRISTOF
	Why is he in the basement?

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

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

			SIMEON
	What's to see?

			CHRISTOF
	What's on the ClockCam?

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

			OPERATOR
	There's an obstruction.

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

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

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

Apparently satisfied, Christof turns to an Operator.

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

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

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

			CHRISTOF
	Give me a shot from Truman's ring.

			SIMEON
	He gave it back to his father.

Christof nods.

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

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

			CHRISTOF
	Isolate the audio.

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

			SIMEON
		(shrugs)
	He's still breathing.

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

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

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

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

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

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

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

INT.  AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT

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

INT.  CONTROL ROOM - NIGHT

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

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

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

Simeon types the appropriate command.

			CHRISTOF
	Enhance... there!

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

Simeon points out an angle of the empty staircase.

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

EXT.  TRUMAN'S HOUSE - NIGHT

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

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

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

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

Marlon hurls the flower pot through the window.

INT.  TRUMAN'S HOUSE - BASEMENT - NIGHT

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

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

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

INT.  CONTROL ROOM - NIGHT

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

			CHRISTOF
	Find him, Marlon!

INT.  BASEMENT - NIGHT

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

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

EXT.  TRUMAN'S HOUSE - NIGHT

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

INT.  CONTROL ROOM - NIGHT

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

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

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

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

			CHRISTOF
		(enraged)
	I said, "Cut!"

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

INT.  A LIVING ROOM SOMEWHERE - NIGHT

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

INT.  A BAR SOMEWHERE - NIGHT

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

INT.  AN APARTMENT SOMEWHERE - NIGHT

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

INT.  CONTROL ROOM - NIGHT

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

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

			CHRISTOF
	All prop cars accounted for?

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

EXT.  SEAHAVEN - MAIN STREET - NIGHT

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

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

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

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

EXT.  BRIDGE - NIGHT

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

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

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

			POLICE OFFICER
	Any sign of him?

			DERELICT
		(gravelly voice)
	Not yet.

			POLICE OFFICER
	Take it easy.

INT.  CONTROL ROOM - NIGHT

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

EXT.  BRIDGE - NIGHT

The disguised TRUMAN heads back to town.

INT.  CONTROL ROOM - NIGHT

CHRISTOF turns to a LIGHTING TECHNICIAN.

			CHRISTOF
	We need more light.

EXT.  SEAHAVEN STREETS - NIGHT

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

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

INT.  CONTROL ROOM - NIGHT

CHRISTOF glances impatiently at his watch.

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

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

			CHRISTOF
	It doesn't matter.  Cue the sun.

EXT.  STREETS - NIGHT/DAY

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

INT.  CONTROL ROOM - NIGHT

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

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

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

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

INT.  BAR - NIGHT

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

EXT.  ELECTRONICS STORE - NIGHT

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

INT.  CONTROL ROOM - NIGHT

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

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

			CHRISTOF
		(deadpan)
	We tell him the truth.

CHLOE looks askance at CHRISTOF.

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

EXT.  HARBORSIDE - DAY

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

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

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

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

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

EXT.  DOCKSIDE -- DAY

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

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

INT.  CONTROL ROOM - NIGHT

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

			CHRISTOF
		(distracted)
	What have we missed?

			SIMEON
	It's just a matter of time.

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

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

			SIMEON
		(confused)
	Why would we--

			CHRISTOF
	Sweep the harbor.

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

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

			SIMEON
	That's got to be him!

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

			CHRISTOF
	Resume transmission.

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

INT.  OLD WOMEN'S APARTMENT - NIGHT

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

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

INT.  CONTROL ROOM - NIGHT

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

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

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

EXT.  HARBOR - DAY

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

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

INT.  A BATHROOM SOMEWHERE - NIGHT

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

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

EXT.  HARBOR - DAY

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

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

INT.  CONTROL ROOM - NIGHT

CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from a
buoy's POV as he sails by.

			CHRISTOF
	Get another boat.

			CHLOE
	The ferry.

EXT.  FERRY TERMINAL - DAY

A PRODUCTION ASSISTANT runs down the dock towards the FERRY
CAPTAIN and his CREW.

			PRODUCTION ASSISTANT
	Get that boat out there!

			FERRY CAPTAIN
		(who also played
		 the bus driver)
	I don't know how.  We were just
	told to put on these clothes.

EXT.  HARBOR - DAY

The sea choppier now, rising and falling steeply beneath his
boat, TRUMAN nears a large buoy bobbing clumsily in the
strong swell.  An official-looking sign on the buoy reads --
"DANGEROUS WATERS.  DO NOT ENTER." We see an extreme close-up
of the nautical signpost where a disguised miniature camera
tracks Truman's progress.

INT.  CONTROL ROOM - NIGHT

			ROMAN
		(anxious)
	How do we stop him?

			CHRISTOF
		(glancing to Simeon)
	How else?

Christof nods to controls on the mixing desk marked, "WIND"
and "RAIN."

EXT.  HARBOR - DAY

Storm clouds roll towards TRUMAN's boat at an alarming speed.
He looks back towards the Seahaven skyline, rapidly receding
behind him.  Doubts invade Truman's head but he shuts them
out and steers into the teeth of the storm -- a look of
resolve in his eyes we have never witnessed before.

INT.  CONTROL ROOM - NIGHT

MOSES and ROMAN pace at the back of the control room.
CHRISTOF is focused on his monitor.  Like Truman, he steels
himself for a fight.

			CHRISTOF
	Cue music...

			SIMEON
		(hesitant)
	What music?

			CHRISTOF
		(irritated)
	Storm music... Wagner...

			CHLOE
		(watching the monitor)
	There's no rescue boat in the area.
	He won't know what to do.

			MOSES
		(trying to appeal to
		 Christof's sense of
		 reason)
	For God's sake, Chris.  The whole
	world is watching.  We can't let
	him die in front of a live audience.

			CHRISTOF
	He was born in front of a live
	audience.
		(never taking his eyes
		 from the screen)
	Don't worry, he's not willing to
	risk his life.  His doubts will
	turn him back.

Simeon reluctantly winds the controls for "WAVE," "WIND" and
"RAIN" towards their maximum settings.

			CHRISTOF
	Kill the lights.

EXT.  HARBOR - DAY

Darkened suddenly descends.  High winds and horizontal
driving rain buffet the boat.  TRUMAN fights the tiller.
Hurricane force winds shake the mast and keel, ripping the
sails to shreds.

Suddenly, the mast of Truman's boat is truck by a bolt of
lightning -- snapping the rigging and knocking Truman
overboard.  Flailing in the tempest, Truman manages to grab
hold of a trailing rope from the mast and hand-over-hand
drags himself back on board.  Truman takes the rope and
lashes himself to the wheel.

Monstrous waves continually submerge the boat.  With what
little is left of his rigging, Truman continues to head into
the gale.

			TRUMAN
		(shouting above the
		 storm, screaming
		 up to the sky)
	Come on, is what the best you can
	do?  You're gonna have to kill me!

INT.  CONTROL ROOM - NIGHT

In contrast to his panic-stricken COLLEAGUES, CHRISTOF gives
an outward appearance of calm.  Only we witness the minute
bead of sweat appearing at his temple that betrays him.

			SIMEON
		(shocked at the sight of
		 Truman binding himself
		 to the boat)
	Is he out of his mind?

			MOSES
		(to Christof)
	On behalf of the studio, I demand
	that you cease transmission.

			CHRISTOF
		(defiant, to Operators)
	Keep running!

			MOSES
	-- That's not for you to say.

			CHRISTOF
	I take full responsibility--

			MOSES
	-- I'm telling you for the last time.

			CHRISTOF
		(to OPERATOR in front of
		 radar-style-screen)
	How close is he?

			OPERATOR
	Very close.

			CHRISTOF
	Capsize him! Tip him over!

			MOSES
		(overlapping)
	For God's sake, Christof!

			CHLOE
		(unable to contain herself
		 any longer, entreating
		 Christof)
	You can't!  He's tied himself to
	the boat.  He'll drown!

			SIMEON
		(staring at Truman on the
		 monitor, becoming
		 affected his display of
		 courage)
	He doesn't care.

			CHRISTOF
		(enraged, to the Operator)
	Do it!

All eyes turn in Christof's direction.  None of the Operators
is willing to touch the controls.

Christof reaches to the panel and does it himself, turning
the "WAVE" controls to their maximum settings.

EXT.  OCEAN - DAY

A series of giant breakers march in formation across the sea
-- arising from an unseen source.

EXT.  OCEAN - DAY

The waves break across Truman's vessel.  TRUMAN appears to be
losing his fight against the storm, each successive wave
taking its roll on his body, sapping his strength, his
bindings the only thing keeping him upright.  His head slumps,
the tiller goes loose in his grasp, rocking out of control.
Truman's will is draining away.

INT.  CONTROL ROOM - NIGHT

The control room CREW watch the heroic image of Truman on the
ON-AIR monitor, awestruck, as if they too are now spectators
watching a movie.

EXT.  OCEAN - DAY

As he is about to be overcome by the next wave, TRUMAN clamps
the wheel with his whole body and braces for one last wave.

But the wave does not come.  A strange phenomenon is
occurring in the ocean.  A distinct division has appeared in
the ocean swell.  Between the large rolling waves lies a
corridor of calmer water, several hundred yards wide, a
curious escape lane.  The wind and the rain are also
subsiding, the darkness lifting.  A mist clings to the
surface of the water.  Truman steers his sail boat down the
eerie corridor.

Several large, dark shapes emerge on the horizon.  Land?
Islands?  The shapes, containing some enormous mechanism
including a huge wheel, only half exposed above water level,
appear to be the source of the peculiar wave formations.

Truman continues to steer his wrecked sailboat towards the
infinitely receding horizon.  All is calm until we see the
bow of the boat suddenly strike a huge, blue wall, knocking
Truman off his feet.  Truman recovers and clambers across the
deck to the bow of the boat.  Looming above him out of the
sea is a cyclorama of colossal dimensions.  The sky he has
been sailing towards is nothing but a painted backdrop.
Truman looks upward, straining his eyes to see the top of the
sky, but it curves away at a steep angle beyond his sight.

Clinging to the boat with one hand, he tentatively reaches
out towards the painted cyclorama.  He touches the sky.

He looks about him and simply laughs.

INT.  CONTROL ROOM - NIGHT

CHRISTOF and his PRODUCTION STAFF take in Truman's reaction
in stunned silence.

INT/EXT.  BARROOM/LAUNDROMAT/STOREFRONT/APARTMENT - NIGHT

Truman's laugh echoes around bars, offices, shops, homes and
streets -- wherever a television is to be hound -- no VIEWER
speaks.  They too are stunned into a hushed expectancy.  The
collective audience holds its breath.

EXT.  OCEAN/CYCLORAMA - DAY

As the boat drifts alongside the seemingly never-ending curve
of the cyclorama, TRUMAN's attention id drawn to an outline
in the otherwise flawless backdrop.  He retrieves the
identikit picture of Sylvia from his coat pocket and clambers
to the prow of the boat.

There, camouflaged in the painted skyscape just above the
water line, is a door.  Truman drabs hold of the recessed
doorhandle and halts the drifting boat.  He stands in front
of the door and closes his eyes in a silent prayer.

INT.  CONTROL ROOM - NIGHT

The control room CREW stare in silence at the monitor --
their very livelihood on the brink of vanishing.  CHRISTOF
opens a small panel on his desk, breaks a seal, and speaks
into the emergency P.A.  system that is linked to the entire
studio.

			CHRISTOF
	Truman!

INT/EXT.  OCEAN/CYCLORAMA - DAY

CHRISTOF's voice booms over the now calm ocean.

			CHRISTOF
	Truman!

TRUMAN drops the handle as if his hand has been burned.  He
looks all about him.

			CHRISTOF (O.C.)
	You can speak.  I can hear you.

Truman takes a moment to overcome his fear and astonishment.

			TRUMAN
	Who are you?

			CHRISTOF
	I'm the creator.

Truman looks up to the "heavens."

			TRUMAN
	The creator of what?

			CHRISTOF (O.C.)
	A show -- that gives hope and joy
	and inspiration to millions.

			TRUMAN
		(incredulous)
	A show.  Then who am I?

			CHRISTOF (O.C.)
	You're the star.

Truman struggles to take it all in.

			TRUMAN
	Nothing was real.

			CHRISTOF
	Nothing was real.  That's what made
	you so good to watch.

Truman takes out the drenched picture of Sylvia, recalling
her words at the beach.

			TRUMAN
		(to himself)
	"The eyes are everywhere."

INT.  CONTROL ROOM - NIGHT

CHRISTOF picks up a slim, flat monitor.  He swivels in his
chair and gazes intently at the image of Truman he now holds
in his hands.

			CHRISTOF
	Listen to me, Truman--

On the screen, Truman again reaches for the door handle.

EXT.  CYCLORAMA - DAY

We focus on TRUMAN's hand.  CHRISTOF's voice echoes across
the water.

			CHRISTOF
	You can leave if you want.  I won't
	try to stop you.  But you won't
	survive out there.  You don't know
	what to do, where to go.

A wave of doubt washes over Truman's face.

			TRUMAN
		(referring to the photo)
	I have a map.

			CHRISTOF
	Truman, I've watched you your whole
	life.  I saw you take your first
	step, your first word, your first
	kiss.  I know you better than you
	know yourself.  You're not going to
	walk out that door--

			TRUMAN
	-- You never had a camera in my
	head.

INT/EXT.  VARIOUS LOCATIONS - NIGHT

The VIEWERS stare into camera in fascination.

INT.  CONTROL ROOM - NIGHT

TRUMAN turns back to the sky, looking up towards CHRISTOF.

			CHRISTOF
	Truman, there's no more truth out
	there than in the world I created
	for you -- the same lies and deceit.
	But in my world you have nothing to
	fear.

Truman seems to be considering the possibilities.  He looks
to the identikit picture of Sylvia in his hand.

			CHRISTOF
		(suddenly angry)
	Say something, damn it!  You're
	still on camera, live to the world!

INT.  A ROOM SOMEWHERE - NIGHT

SYLVIA gazes at the picture of herself on her television
screen as if it is her reflection in the mirror.

EXT.  CYCLORAMA - DAY

TRUMAN hesitates.  Perhaps he cannot go through with it after
all.  The camera slowly zooms into Truman's face.

			TRUMAN
	In case I don't see you -- good
	afternoon, good evening and good
	night.

He steps through the door and is gone.  Silence.  Then--

INT/EXT.  VIEWERS - NIGHT

Spontaneous jubilation from VIEWERS in their various
locations -- bars, homes and offices.  We follow the figure
of SYLVIA, running through the streets.  Some of the viewers
outside an electronics store glimpse her as she runs by.

INT.  CONTROL ROOM - NIGHT

Even the cynical SIMEON jumps out of his seat -- for the
first time in the film -- and lets out a joyous whoop,
forgetting himself for a moment, caught up in the drama.

			SIMEON
	Yes!

Self-conscious, he takes his seat again almost immediately.
His COLLEAGUES are transfixed by the live ON-AIR monitor
continuing to play its only available shot, the open door in
the sky.

Gradually, the attention of those in the control room shifts
from the monitor to CHRISTOF.  He sits slumped, staring at
the open door in the sky.

Eventually MOSES looks to Simeon.  Moses nods to the "ON AIR"
button.  Simeon presses the button and the screen -- the
movie screen -- goes to static.

MONTAGE/END TITLES

			FADE OUT

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