Annie (20130524).Pdf

May 24, 2013 FADE IN: 1 INT. CLASSROOM - AFTERNOON 1 A Harlem classroom filled with kids and an overmatched teacher. A cherubic little girl with red hair and a short dress over-enunciates her essay in front of the class-- RED HAIR ...So even though he wanted to do a lot as president, he died after 32 days in office from pneumonia. So we can all learn from William Henry Harrison to wear our coats, wash our hands and eat healthy, so we have better immune systems. The end. She smiles widely and flourishes with a Shirley Temple tap dance bow. TEACHER Good job, Annie. As she skips back to her seat the other kids roll their eyes. TEACHER (CONT'D) Okay. Annie B. Your turn. We find our Annie, sitting in a middle row. ANNIE You sure there's time? I don't wanna keep anyone from vacation. TEACHER Get up here. (Annie approaches) Where's your essay? ANNIE (taps her head) Up here. It's more of a performance * piece. The teacher sighs. This isn't the first time. ANNIE (CONT'D) My president is Franklin Delano Roosevelt. He was elected in 1932 * when most people had no money. So just like now, but with no texting. (MORE) 2. ANNIE (CONT'D) (gestures to the class) Everyone except the front row, you be the poor people. Won't be a stretch. (laughter) You're all hungry and mad so stomp your feet. She demonstrates and they all follow. ANNIE (CONT'D) The front row are the rich people. (they cheer) Laugh and beat your chests like you're better than everybody. (they follow) * Mr. Diaz, you be Franklin Roosevelt. * (off his look) He was very smart. Annie ushers him next to the "poor people." ANNIE (CONT'D) He passed a bunch of laws called the New Deal that helped people get back to work. He had people build new roads. She takes Diaz's hand and taps a girl. She gestures for her to become "rich" -- laugh and beat her chest. She does. ANNIE (CONT'D) And new bridges... She nods to Diaz to continue tapping kids as she chants/sings over the beat created by the kids-- ANNIE (CONT'D) ...He made it easy to buy a house... To go to college... Soon almost all the class are rich, rubbing and smacking. ANNIE (CONT'D) Soon the whole country was happy. They got their hands up, payin' their bills. And it's all gonna be okay, yeah, it's a party in the USA! (to the front row) Don't worry, rich people, you're still better than everyone, 'cause you got even richer. (MORE) 3. ANNIE (CONT'D) Yeah, it's a party in the USA! Everyone... EVERYONE Yeah, it's a party in the USA! The bell rings. Mr. Diaz shoots Annie a look. Annie smiles. 2 EXT. EAST HARLEM SCHOOL - MOMENTS LATER 2 Kids stream out of school ad-libbing "Vacation!" and "have * a fun break," etc. Annie rushes through two of her foster sisters: Isabella (11 and girly) and Pepper (12 and angry). PEPPER * Gonna make it in time? * ANNIE I always do. ISABELLA We'll cover for you. * (they slap hands) * Good luck. * ANNIE Luck's for suckers. She bursts through the scrum and runs down the street. The sounds of the city become a beat and "score" her movement. Cars, steam, jackhammers, sirens, yelling, etc. join together to form a melody and then (seamlessly) song elements from our movie start to creep in. Our overture. Over the following-- Annie jumps on the back of a friend's bicycle and zooms down the street. (The sounds of the bell and the spokes start to incorporate themselves into the "score.") She spots a street sweeper up ahead and, timing it perfectly, jumps on the back as it makes a wide turn. She waves to her friend as the sweeper barrels down 125th street. (Its sound now part of the "score.") She rides until it turns onto Broadway where she jumps off and hustles toward the elevated subway just as a train approaches the station. 3 EXT. 125TH STREET SUBWAY STATION - CONTINUOUS 3 She sprints up the (broken) escalator and gets there just as the train opens its doors and disgorges mobs of people. Annie waits for her moment: just when the turnstiles are at their busiest, and the token clerk's view is blocked, she * rushes in, and ducks under the turnstile. * 4.* She dashes across the platform as the train's doors are * closing. She's not going to make it. Like a Ninja, she hurls her backpack at the doors. Direct hit. The doors close on it, giving her just enough time. As the doors reopen she slips onto the train. And smiles a $10,000 smile at the passengers. Who can be mad at that? Surely not the image of Teddy Stacks who appears in ads for his Stacks Mobile * throughout the subway: "Never-Drop-A-Call with Stacks!" And * sure enough, many passengers are on Stacks-branded phones. 4 INT. SUBWAY - MOMENTS LATER 4 As our "score" continues (now incorporating subway sounds), Annie hurries through the train cars, making her way to the front. She gets to the first car just as the train is about to go underground. WIDE SHOT of Annie from outside. Her little face in the front window. Smiling. 5 EXT. CANAL STREET - LATER 5 * Annie sprints up the stairs from the subway. QUICK CUTS as * she runs through the masses of people. She passes different * street musicians playing stand-up bass, drums, and a woman singing (a dangling lyric which also becomes part of the overture -- "I think I'm gonna like it here"). Hurrying around a corner she looks up at a huge Stacks Mobile * billboard. "It's 5:48, and No One's Dropped A Call with * Stacks." She looks back down and... almost hits a Chinese * food delivery man on his bicycle. (With the screeching and * bell ringing in the score) she nods her apology and takes * off. 6 EXT. SOHO STREETS - LATER 6 * QUICK CUTS as she runs down the street. She sees a clock in * a store window: 5:53. More running as she dodges a car and * in the distance we hear: "9..8..7..6.." It's the opening of * a brand new Stacks Mobile retail store. A crowd is gathered * under a sign: "FIRST 500 PEOPLE GET A FREE STACKS PHONE." * "5..4..3.." Annie runs to the barricades and... keeps on * running. As she sprints past we put a face to the voice-- * STACKS * ...2..1.. Light it up! * The store illuminates, spelling "STACKS" in bright lights. * STACKS (CONT'D) * Who wants a free phone? * The crowd roars, Annie couldn't care less. This isn't what * she came for. Onward she goes. (With the crowd's crescendo matching the score's, signaling the overture's end.) 5.* 7 EXT. SOHO STREET - MOMENTS LATER 7 * Annie turns the corner and runs up a relatively quiet block. No tourists, very little activity. She stops at a small, * dingy Italian restaurant. "Brunello's." A waiter turns the * sign to OPEN, sees her through the window and comes out. * WAITER * Tonight's reservations. He hands her their reservation list. She doesn't take it, * just asks-- ANNIE Any Bennetts? WAITER Sorry. (off her down look) I'm guessing you're gonna wait anyway. She smiles and he shakes his head. Not the first time. LATER. Annie sits on the sidewalk opposite the restaurant, watching people. She fingers the silver locket she wears. * Then she unwraps a PB&J. * 8 EXT. STACKS MOBILE STORE - SAME 8 * Stacks is finishing giving out free phones. * WOMAN * Thank you. I love your phones. I'm * totally gonna vote for you now. * STACKS * This isn't a campaign event, but * (whisper-winks) * I'd totally love that. * She laughs and shakes his hand. Grace, his beautiful and * whip-smart vice president, steps in. * GRACE * That's it. You're done. * As security guards step in front of him, Stacks instantly * drops his smile. Karl, his bulldog political consultant, * holds out Purell. * STACKS * Hose me down. Like I'm on fire. * Put me out. * 6.* He starts to lather himself up. Hands, face, everything. * GRACE * You kissed a couple babies. I'd get * the tongue, too. * STACKS * Really? I can use it on my tongue? * GRACE * Absolutely. Dip it in there. Lather * it up. * Stacks realizes she's messing with him. * STACKS * You shake 500 hands. I feel like a * zookeeper. * GRACE * Your next mayor of New York City, * ladies and gentlemen. * STACKS * I said I wanted to help 'em, not * touch 'em. * KARL * We gotta go. You're giving a speech * to the iron worker's union. * STACKS * Iron workers? We taking our time * machine? * KARL * If we get their support, the others * will follow. * STACKS * Who, the blacksmiths? How am I * polling with the witches? * GRACE * They find you unlikable. * He shoots her a look. She clearly has his number. * 9 EXT. BRUNELLO'S RESTAURANT - SAME 9 * Annie sits alone on the curb, sandwich eaten. She draws her * name in the sidewalk with a pebble: a curly, cursive ANNIE. A taxi arrives and a couple get out. * 7. African-American, late 30s. Annie jumps up and rushes across * the street into-- * 10 INT. BRUNELLO'S - CONTINUOUS 10 Annie runs in and the waiter points to the couple, being seated by the host. She sizes them up, excited. But the * host heads over, shaking his head. HOST * They're German. ANNIE Maybe they had me here and went back? HOST First time in America. Just came back from The Lion King. The man holds up his napkin a la The Lion King. The woman finds this really funny. Annie grimaces at how lame this is-- ANNIE Not my parents. LATER. Annie sits by herself at a table. The restaurant is * closing. The waiter brings her a cannoli. WAITER Sorry. ANNIE I just come for the cannoli. * WAITER (laughs, then) See you next Friday? Another smile. Yup. WE SEE the laminated specials card on the table: "FRIDAY - HOMEMADE CANNOLI." 11 EXT. EAST HARLEM/HANNIGAN'S BLOCK - LATER 11 Annie walks by herself, passing a bodega where a man (40s) * sits behind the counter. This is Lou. Annie taps the window and waves. He taps his watch a la "It's late!" She bats her eyes then gestures "is it okay?" He nods. Not the first time. She picks up a bucket with a few sad flowers. LOU Give those to my lady! Annie nods and off she goes with the bucket. * 8. Down the block she approaches a brownstone. If this were 87th and Park it would be worth millions. But it's 117th and Park so it's not. And instead of a single family, it's divided into ten apartments. The fire escape ladder hangs five feet above the sidewalk. No trouble for Annie, who climbs up on the bucket and pulls herself up. WIDE SHOT as she shimmies up the ladder and then the steps. All the way * up to the third floor, where she climbs in a window. 12 INT. HANNIGAN'S APARTMENT - CONTINUOUS 12 Annie sneaks down the dark hall. She turns the knob of her door when... the lights go on. She freezes as she hears-- VOICE Everybody everybody! Everybody everybody! Everybody dance now! Annie turns and sees the woman who belongs to the voice. Late 30s, in boy shorts, smudgy makeup, and smelling of failure, this is Miss Hannigan. And she might have had a few glasses of kahlua, because she doesn't notice Annie. She continues to sing-- * HANNIGAN Come on let's sweat, baby. Let the music take control. Let the rhythm move you. Sweat, sweat... Annie slowly turns the knob and opens her door-- HANNIGAN (CONT'D) Freeze! (she doesn't) I said freeze, you little rat! I know you heard me. ANNIE I thought it was part of the song. Hannigan yanks her into the hallway. On the wall are framed pictures of a young Hannigan in various singing performances. Annie takes out the now crumpled old flowers from her backpack-- ANNIE These are from Lou. HANNIGAN They look like they're from Lou. She throws them away. 9. ANNIE I'll tell him you loved them. HANNIGAN You always gotta be smart. Run your mouth. ANNIE No, Ma'am. HANNIGAN You think the world wants a little smart-mouthed girl? No or you * wouldn't be here. (off her look) And the only reason you are here is 'cause I get $157 a week from the * state. Which is not even near worth the torment you put me through. ANNIE Sorry I was a little late. HANNIGAN A little late?! It's three hours past curfew! Out all by yourself in the city. And if something happens to you... I don't get my money. (moves menacingly to Annie) I should put you on a leash! Just before it looks like she might come at her, Annie grabs * a picture off a shelf. It's a framed album cover of the '90s band C+C Music Factory. Hannigan's face is just visible in the background. ANNIE You're so pretty. This immediately disarms her. Not Annie's first time. Hannigan grabs the album and falls down memory lane. HANNIGAN I used to be a bright star. Had the number one song in the country. Went on the Arsenio Hall Show-- ANNIE September 16th, 1991. * HANNIGAN "And here they are, with their number * one song... C+C Music Factory-- * 10. ANNIE --Featuring backup by Colleen Hannigan!" * HANNIGAN Lead backup. Everybody dance now, * da da da da da da da da da da da da! (Annie makes crowd noise) But I was too good for them. They were intimidated. Wouldn't let me * sing on Things That Make You Go Hmmm. * You know what makes you go hmmm? * Why that song sucked so much without me. ANNIE You have a pretty voice. HANNIGAN (sad/drunk) I'll die with my secret. Annie takes this opportunity to ease back down the hall. Hannigan turns and lunges at her-- HANNIGAN (CONT'D) Get back here, you monster. I'm not done with you! Annie slips in the room and closes the door. Hannigan grabs the doorknob. Too late. She beats on the door-- 13 INT. ANNIE'S ROOM - CONTINUOUS 13 HANNIGAN (O.S.) Double chores for you tomorrow! You * hear me? I'm gonna make you sweat! The tiny room is lined with bunk beds filled with girls. All awake, all waiting for Annie. Tessie (10, worrier)-- TESSIE You find them? ANNIE Nah. But it's okay. * The girls all groan and offer their sorrys. * TESSIE Sssh. She'll hear us. 11. PEPPER They're never gonna be at that restaurant. ISABELLA Be quiet. Yes they are. * PEPPER You be quiet. Annie's never gonna * find her family. None of us are. The youngest one Mia (8, lispy) starts to cry. MIA Don't say that. TESSIE Pepper! ANNIE Don't listen to her, Mia. You're gonna get adopted, I promise. * PEPPER You keep saying that. I'm almost 13. No one wants a teenager. ANNIE Yes they do! We all have families * somewhere. * MIA Can you read your note again? * PEPPER Oh god. For the millionth time. Isabella hurls a pillow at Pepper. TESSIE Yeah, read it, Annie. But quietly. They look at her eagerly, except for Pepper who smothers herself with the pillow. Annie gets a Ziploc bag out of her cubby. In it is an old receipt from "Brunello's." On the back is a note. Annie recites, not even looking at it-- ANNIE “Please take care of our baby. Her name's Annie. We'll be back to get her soon. * (MORE) 12. ANNIE (CONT'D) There's half-a-locket around her * neck and we have the other half, so * when we come for her you'll know * she’s our girl.” They never get sick of hearing it. Even secretly Pepper. MIA Can I see it? Annie lets her. The others gather around. Mia looks at the note then turns it over. The Brunello's receipt is dated Oct. 28 and reads: "2 cannoli." ANNIE They're gonna come back for all of us. Annie starts to sing "Maybe." Clean, unadorned, emotional: ANNIE Maybe far away/ Or maybe real nearby/ He may be pouring her coffee/ She may be straightening his tie... She moves around the girls as she continues--- ANNIE Maybe in a house/ All hidden by a hill/ She’s sitting playing piano/ He’s sitting paying a bill... She picks it up a little and the girls counter with moves of their own-- ANNIE Betcha they’re young, betcha they’re smart/ Betcha they collect things like ashtrays and art/ Maybe they’re strict/ As straight as a line/ Don’t really care/ As long as they’re mine... Maybe now this prayer’s/ The last one of its kind/ Won’t you please come get your “baby”... And now the girls sing along with her. Except for Pepper. ANNIE/GIRLS Maybe.... Annie wills Pepper to join in. And she does. 13. ANNIE/GIRLS (CONT'D) Maybe. Mia is now asleep. Annie tucks her in. Then she gets in her own bed and fingers her locket, looking out the window in determination. All alone. 14 EXT. ANNIE'S BLOCK - EARLY MORNING 14* A newspaper truck drops off papers in front of Lou's bodega. Lou looks at the New York Post. Stacks is on the cover, his * poll numbers dropping in his bid for mayor. "Never-Drop-a- * Poll Stacks?" HANNIGAN (O.S.) Wake up, rats! Wake up! 15 INT. ANNIE'S BEDROOM/APARTMENT - SAME 15* Hannigan bursts in, wearing the same clothes from last night. HANNIGAN Out of bed! PEPPER (groggy) It's 6:30. ISABELLA (groggy) And it's Saturday. HANNIGAN Thanks for the time and date. Now over to Stormy with the weather. * "It's raining!" She splashes water out of a pot on the girls. They jump up. * HANNIGAN (CONT'D) The city's coming to inspect. You gotta clean the whole place up. ANNIE Aren't they supposed to give notice? * HANNIGAN And aren't I supposed to be married * to George Clooney? Sorry if some * people have intimacy issues. (rips the covers off Tessie) Wake up! 14. TESSIE (startled) Aah! HANNIGAN Start cleaning! If they dock me for unsanitary conditions again, I'll ground you all for a month. MIA Who's George Clooney? HANNIGAN Exactly! (as she leaves) No breakfast 'til it's spotless. She slams the door. PEPPER * I hate her so much. * TESSIE * I was having the best dream. I was ice skating. On real live ice. And * I didn't fall once. * ISABELLA * Save your dreams for good stuff. * Like shopping on 5th Avenue. With * an unlimited credit card... MIA * Or swimming in candy. Gummy bears, * jellybeans, Swedish Fish, those little * dot things on paper-- * PEPPER Or flying to Mars in a rocket ship-- * all things that'll never happen. * Hannigan opens the door and hurls cleaning supplies at them. HANNIGAN Clean like your life depends on it. 'Cause it does. She stalks out. Tessie comforts Mia as Annie picks up a broom and bangs it on the ground, starting a beat. ANNIE It's the hard knock life for us. 15. She tosses a broom and mop to Isabella and Tessie who bang away. ISABELLA/TESSIE It's the hard knock life for us. Annie tosses buckets to Mia and Pepper. They join. MIA/PEPPER It's the hard knock life for us. MIA Wait. What does "hard-knock" mean? PEPPER * Real sucky. MIA Oh. Then yeah, it's the hard knock life for us. They all bang to the beat-- ANNIE Steada treated/ We get tricked/ Steada kisses... GIRLS We get kicked! The music starts to go along with their beat and the number begins. It's Stomp-esque, upbeat, and syncopated. Gymnastic and bordering on Cirque du Soleil as they clean the entire apartment. Hannigan sits on the couch, grouchy as ever. * HANNIGAN Less singing, more cleaning. Make sure you get my bathroom, too. But * don't touch my medicine cabinet! * The girls look at each other: they know what that means. Pepper mimes drinking alcohol. * GIRLS It’s the hard knock life, for us. They eventually spill out onto the fire escape-- 16 EXT. HANNIGAN'S BUILDING - SAME 16 Almost acrobatic, they shimmy up and down the ladders as they sing and toss cleaning implements back and forth to each other. Two even clean the windows. 16. ANNIE Don’t it feel like the wind is always howling/ Don’t it seem like there’s never any light... GIRLS Once a day, don’t you want to throw the towel in?/ It’s easier than putting up a fight. ANNIE No one’s there when your dreams get creepy/ No one cares if you grow.. GIRLS ...Or if you shrink! ANNIE/GIRLS Empty belly life, rotten smelly life! ANNIE Fulla sorrow life, no tomorrow life! ANNIE AND GIRLS It’s the hard-knock life! The girls, now all on the street outside, try to cajole a few early morning pedestrians to dance with them. But they look at the girls like they're crazy and walk on. ISABELLA Santa Claus we never see. ANNIE Santa Claus, what's that? Who's he? GIRLS No one cares for you a bit when you're a foster kid! As they sing the chorus again, Isabella and Pepper launch Mia back up to the fire escape. Then they use their brooms * and mops to hoist themselves up. It's awesome. * GIRLS It's the hard knock life for us! Suddenly Hannigan appears-- HANNIGAN I said no singing and dancing! * She goes back inside. 17. GIRLS (whisper) It's the hard knock life. * HANNIGAN (O.S.) I heard that. The girls finish the dance silently - yet tremendously. 17 INT. HANNIGAN’S LIVING ROOM - LATER 17 It's clean. The girls are there, dressed nicely. Hannigan enters with a stack of props: books, a recorder, ribbons, jigsaw puzzle etc. She tosses them out and assigns tasks-- HANNIGAN You, read a book. You, braid her hair. Practice for a recital. (dumps out jigsaw puzzle) Put it together. It's a kitty cat. * ANNIE * What should I do? * HANNIGAN Pray. TESSIE (to Annie) * I've tried. It doesn't work. There's a knock at the door. HANNIGAN Game time. Act well-cared-for. GIRLS (sweet, a la the musical) We love you, Miss Hannigan! HANNIGAN Take it down. No one's gonna believe that. Hannigan opens the door to find a good-looking, fresh-faced * guy in his 20s. This throws Hannigan. HANNIGAN * Whoa. Well, hello there. * INSPECTOR Excuse me? 18. HANNIGAN Nothing. It's just, most inspectors are old and not rockstar handsome. INSPECTOR Are you Colleen Hannigan? HANNIGAN My maiden name. But I'm not married to it. If you know what I mean. INSPECTOR Sorry to give such short notice. We * started a surprise visit program. * HANNIGAN If you're my surprise, I fully endorse the new policy. Come on in. (he does) * The girls are just recreating. The girls go into overdrive. It's over-the-top, loud, bad acting. Hannigan gestures for them to take it down. They do. Too much, almost becoming zombie-like. Hannigan gestures to bring it up. They do. INSPECTOR How's everyone doing? * ANNIE Living the dream. The inspector hands Hannigan his clipboard. INSPECTOR Are these the children under your care? HANNIGAN Yes. My angels. * INSPECTOR Mind if I take a look around? HANNIGAN Can I offer you something to drink? Skim milk? Kale smoothie? Fresh * squeezed orange juice? * GIRLS I'll have some!/Yes!/Juice? No way!! 19.* INSPECTOR I'm fine, thanks. Let's start in the bathroom? HANNIGAN After you. She watches his butt as they walk down the hallway. Pepper * notices the inspector left his clipboard. * PEPPER This has all our information. They run and look. ISABELLA Damn, I've been in a lot of homes. TESSIE Not as many as me. Double digits. Annie traces a line between her name and some numbers. * ANNIE My social security number! I can * get my records, find my parents. * ISABELLA I'll copy it down. Plan your exit. 18 INT. BATHROOM - SAME 18* Hannigan crowds the inspector as he looks around. HANNIGAN * People come for the bathroom, but * they stay for the bedroom. * INSPECTOR * What? * HANNIGAN * You know it. * Annie's head appears in the doorway. * ANNIE Can I go to the library to study? * HANNIGAN * (gritted teeth) Let's talk about it after the nice inspector is gone, okay? Run along. * 20.* ANNIE Okay. * (new tactic) * Can I have some floss? I got some * nutritious breakfast stuck in my teeth. HANNIGAN What? ANNIE Pretty sure I saw some in the medicine cabinet. INSPECTOR * (points to the cabinet) * In here? ANNIE Pretty sure. Hannigan scurries in front of the inspector, before he can * open it. She looks at Annie. If looks could kill. * HANNIGAN I think we're out. Why don't you * pick some up on the way to the library. ANNIE * Thank you, Miss Hannigan! And out she goes. Hannigan holds herself back from lunging * after her, and then turns on the charm for the inspector-- * HANNIGAN * They give me such joy. I don't do * this for them, they do this for me. * You have a strong chin, like a Viking. * 19 EXT. HANNIGAN'S APARTMENT - MOMENTS LATER 19 Annie races down the street to Lou's bodega. 20 INT. TAKE-HOME BODEGA - CONTINUOUS 20 Lou is behind the counter. Vintage head shots of Hannigan are in full display. Also an old photo of her and Lou: "Lou, * Thanks for always looking out, Colleen." Annie runs in. * LOU Uh-oh. I know that run. How much * you need, mija? 21. ANNIE $43.55. LOU By when? ANNIE Now? * LOU Try robbing Citibank. I can loan you a mask. ANNIE Please, Lou. I think I'm close to finding my parents. Lou looks at her. How can he not help her? LOU Take out the expired drinks from the * cooler. ANNIE * Thank you thank you thank you. * She starts dragging a garbage can to the cooler. LOU What are you doing, girl? Don't throw 'em out. Change the date. * He tosses her a pen. LATER. Annie is working away, stacking drinks as she and Lou watch TV. Teddy Stacks is being interviewed-- 21 INTERCUT W/ INT. WNBC NEWS CHANNEL 4 - SAME 21 Chuck Scarborough sits across from Stacks. CHUCK SCARBOROUGH ...You're worth $12.6 billion, run a * fortune 500 company, one of the city's * most eligible bachelors; the obvious question: why run for mayor? STACKS I've always wanted to throw out the first pitch at Yankee Stadium. 22.* CHUCK SCARBOROUGH Just buy the Yankees, it would certainly be less stressful. STACKS I don't believe in stress. I believe * in hard work and being the best at * what you do. Which is what I am. * CHUCK SCARBOROUGH * That sounds a little arrogant. * STACKS * It's not arrogant if it's true. * (then) * Chuck, I lost my parents when I was * very young. What I remember is how * hard they worked to provide for me. I honor them by working just as hard. * The fact that I built my company * into a worldwide leader is a testament * to that. And I plan on doing the * same thing with this city. * CHUCK SCARBOROUGH * You're trailing in the polls by a * fair amount, how do you plan on * changing people's minds? * STACKS * At Stacks Mobile I made a cellular * network that never drops a call. As * mayor, I'm going to make a government * that never drops a citizen. * BACK to TAKE-HOME BODEGA-- LOU As long as those citizens live below 96th Street! (to Annie) You're lucky you can't vote yet, mija. * Politicians are all liars. * ANNIE (re: juice bottles) What date should I change these to? LOU Next week for the milk, two weeks for the juice. 23.* 22 INT. WNBC NEWS CHANNEL 4 OFFICES - LATER 22* Stacks shakes hands with Chuck Scarborough post-interview. CHUCK SCARBOROUGH Good luck. If there's anyone who * can pull this off it's you. * STACKS Ours is a fickle city. Things can * change over night. * He heads off and is met by his two confidants. * KARL In your next interview say you want to throw out the first pitch at a Mets game. Gotta give equal time. GRACE You're kidding, right? * KARL I don't kid. You only smiled four * times, you gotta bump that up. Voters * really respond to teeth. * STACKS * (huge, fake smile) * Is this how you got the governor * elected? * KARL * And five senators, eleven congressmen, * two Top Chefs-- * STACKS * Am I gonna win, Karl? 'Cause I don't * like wasting time. * KARL * You hired me to win, you're gonna * win. * 23 EXT. ROCKEFELLER CENTER - MOMENTS LATER 23* They exit to encounter a group of reporters and passersby. MAN Yo! Never-Drop-A-Call! WOMAN Marry me, Teddy! * (MORE) 24.* WOMAN (CONT'D) I want half your money! * REPORTER * Why do you hate the Mets? Do you * not care about the outer boroughs? * KARL Mr. Stacks likes the Mets, Yankees, Giants, Jets, and Knicks. Equally. * REPORTER * What about the Nets? * STACKS * No one really likes the Nets. The * tickets are just cheaper. * REPORTER #2 * What about your opponent's claim that * you're trying to buy the election? * STACKS If it was for sale, I would've bought * it already. * He shakes some hands as they walk to his black SUV. "STACKS: NITROGEN" is painted on it. The driver, Nash, opens the door and they get in and drive off through the now larger crowd. Stacks waves to them and tries to smile. 24 EXT. MANHATTAN/INT. STACKS NITRO - MOMENTS LATER 24 Stacks coats his hands with more Purell. * STACKS I hate this. For the record, I really hate this. GRACE Let me just check the record. Oh look, there I am, last year saying: "you shouldn't do this, you will hate this, you will really hate this." * STACKS * Why can't they just anoint me mayor? * GRACE * Or how about pope? * 25.* STACKS * You know how long it takes for them * to decide on a pope? The black smoke, * the white smoke-- and where am I * during all that, just hanging out at * some hotel in Rome waiting? Pass. * GRACE * (deep breath, then) * What's our next stop? * KARL A soup kitchen in the Bronx. * STACKS You serious? Now I gotta shake hands * with the hobos? Why? GRACE 'Cause for some crazy reason everyone thinks you're a rich elitist who can't connect with regular people. STACKS That's absurd. GRACE You just said "abzurd." Like a * monarch. Not like someone who grew * up in Queens. * STACKS You're telling me to keep-it-real? Miss Harvard Business School. GRACE Listen, Gatsby. I'm just telling * you that if you want any chance, you * have to remember where you came from. STACKS * (re: limo) * Here is much better. * KARL Make sure you compliment the food, * but not too much. Say it's good, don't say great. And take seconds, but only eat half, or it'll seem * like pandering. GRACE How do you sleep at night? 26. KARL On silk sheets and Ambien. Stacks looks out the window at the city. They pass a few * taxis with "STACKS FOR MAYOR" ads. Then a bus with a "STACKS MOBILE: Never-Drop-A-Call" ad. Right above that ad, in the bus window is... Annie. Two ships passing... 25 INT. BUS - SAME 25 Annie rides the bus, clutching an already-filled-out form: * "REQUEST FOR BIRTH CERTIFICATE." She looks up and sees the * Stacks Nitro heading uptown. * 26 INT. BRONX SOUP KITCHEN - LATER 26 Reporters and photographers cover the event. Stacks serves people in the food line. Flashes go off. He's making small talk, smiling, seemingly doing great. Karl shares a look with Grace, all good. MAN IN LINE Bet you never had mashed potatoes. STACKS You kidding? My mom made the best mashed potatoes. The best in Queens. * (for Grace's benefit) * Did you know I was from Queens? * Born and raised. On the playground's where I spent most of my days. Grace can't help but smile. * STACKS (CONT'D) These look pretty good though-- not * amazing, but not terrible. He tries a spoonful. Almost like a cartoon, he gags and spits it out all over the people in line. Snap! Flash! STACKS (CONT'D) (gagging) Went down the wrong pipe. ...And he spits again. Snap! Flash! STACKS (CONT'D) These are terrible. * 27 INT. STACKS NITRO/EXT. UPPER MANHATTAN STREETS - LATER 27* Stacks, Karl and Grace return from the horror show photo-op. * 27.* GRACE * That didn't take long. * She holds up her iPad. The picture of Stacks spitting on a * homeless man has already gone viral. She swipes through all the different angles on different sites. Stacks sighs. * KARL * I'll spin it. Butter in the mashed * potatoes. You're lactose intolerant. * STACKS * No, I'm not. * KARL * You are now. * GRACE * The intolerant part no one's gonna * argue with. * (he shoots her a look) * This might be a blessing in disguise. * Just because you can run for mayor * doesn't mean you should. * STACKS * This city needs my help. * GRACE * Okay, Batman. * KARL * You let all your employees talk to * you like that? * STACKS * Just the ones who've made me billions * of dollars. * The car jerks to a halt. Nash tries to restart the engine. * To no avail. Other cars start to honk. 28 INT. NYS OFFICE OF FAMILY SERVICES (HARLEM BRANCH) - LATER 28* It's jammed. Like the DMV, but with more desperation. Annie waits patiently in line, her backpack by her feet. The lone child amid a sea of parents and families. Her number is finally called and she jumps up to the desk, behind which sits a dour government worker, Mrs. Gilmartin. ANNIE I'd like to get my records please. * 28. MRS. GILMARTIN You need D.O.H. form number 4380-- ANNIE (slams down a form) --Point 7 dash A. MRS. GILMARTIN And a money order for $43 and-- ANNIE (slams down a money order) --Fifty-five cents. MRS. GILMARTIN Signed by a parent or-- ANNIE Guardian. She points to the signature line where it reads "Colleen Hannigan." It looks a little child-like, but okay. She * enters the information in her computer as Annie stares. * MRS. GILMARTIN You gonna stare at me the whole time? ANNIE Sorry. She looks down, but peeks up at Gilmartin. After a moment, * paper spits out of a printer. She hands it to Annie. * ANNIE * Can you read it? I'm too nervous. * MRS. GILMARTIN Annie Bennett, abandoned January * 19th outside 26th Precinct. Age * estimate: four years. Placed in state foster care, no further data. ANNIE What does "no further data" mean? * MRS. GILMARTIN That's all there is to know about * you. Sorry, honey. * Ouch. Her parents are still a mystery. But ever the optimist--* ANNIE * It's okay, I'll figure it out. * 29. 29 EXT. NYS OFFICE OF FAMILY SERVICES (HARLEM BRANCH) - LATER 29* Annie walks out of the building, clutching her records. She * looks around and sees nothing but families, parents and kids * together. She joins the mass of people on the sidewalk. * WE GO long lens on her as she's swallowed up by the crowd. WE HEAR a small, hopeful voice singing "Tomorrow"-- * ANNIE The sun'll come out tomorrow/ Bet your bottom dollar/ That tomorrow there'll be sun. WE FIND HER in the crowd. The people next to her (without acknowledging her) drop in lock step with her. Her singing brightens a little-- ANNIE (CONT'D) Just thinkin' about tomorrow/ clears away the cobwebs and the sorrow/ 'Til there's none. She starts to incorporate some dance into her walking. As she does, the people around her match her moves, but again, in their own world -- not dancing with her, but rather along her. The group gets larger and larger as they "dance" down the street. Not just pedestrians now, construction workers on the street, police, and even the cars now seem to move in sync. Her singing gets even brighter, and so do the movements-- ANNIE (CONT'D) When I'm stuck with a day that's gray, and lonely, I just stick out my chin and grin, and say, oh! * She turns the corner and it's now hundreds of people dancing in lockstep with her as she continues down the street. She's literally bringing joy to the city. Even more people now-- ANNIE (CONT'D) The sun'll come out tomorrow/ So ya gotta hang on 'til tomorrow/ Come what may/ Tomorrow! Tomorrow!/ I love ya Tomorrow!/ You're always a day away! Shot from every angle, it looks like a giant wave of * undulating people. And in the middle is Annie, now belting-- * ANNIE (CONT'D) Tomorrow! Tomorrow!/ I love ya Tomorrow!/ You're always a day away! 30.* A big finish as everyone finishes along with her. Then she turns the corner and, immediately, everyone goes back to their regular lives, like nothing happened, albeit a little * bit happier. * She looks up and sees something. A dog. Spinning around, * chasing its own tail. Then a few sticks sail in, almost * hitting it. The dog takes off and Annie sees the source of * the sticks: two bullying teenagers. * ANNIE * Hey! * The teens laugh and chase after the dog. * ANNIE (CONT'D) * Leave it alone! * They laugh at her, ignoring. Annie takes off after them. * 30 EXT. 125TH AND LENOX - MOMENTS LATER 30* Nash and Karl are huddled around the hood of the car peering into the nitrogen engine. It looks like a chemistry set. Grace and Stacks approach. STACKS What's wrong with it? NASH I don't know, I'm not a chemist. GRACE (to Karl) You had to get this car. KARL It signals he cares about the * environment, looking to the future. * (to Stacks) * That guy's taking your picture, do * something whimsical. Quick, start a * leaf fight. * Sure enough, a guy is excitedly taking his picture. Karl * goes to gather some leaves. * GRACE * I'll call for a car. * STACKS I'm gonna walk. 31. KARL/GRACE What? STACKS I want the air. KARL I'll go with you. STACKS No. I want to be alone. GRACE I'll text you directions. STACKS I know how to walk down a street. And off he goes, leaving a stunned Karl and Grace. A construction worker calls out-- CONSTRUCTION WORKER Your phone bill's killing me, bro! * Stacks turns up his collar and hurries his pace. 31 EXT. 125TH AND EIGHTH AVENUE - MOMENTS LATER 31* Annie has almost caught up to the teens chasing the dog. * ANNIE * I told you to stop! * She reaches out to grab him as she runs, but the boy just * shoves her away. Undeterred, she chases after them. * 32 EXT. 125TH AND SEVENTH AVENUE- MOMENTS LATER 32* Stacks, now with his collar up and his head down, walks down the street, doing everything he can to go unrecognized. A * few people still do. Some whisper, others call out. A taxi * driver snaps a photo with his cell phone. * TAXI DRIVER I'm taking a picture of Stacks on my Stacks! Stacks can barely muster a meek wave. A young man in a Knicks * hat also snaps a picture of him. 33 EXT. 125TH B/W SEVENTH AND EIGHTH AVENUES - MOMENTS LATER 33* Annie runs full speed after the teens and the dog. * 32.* The dog darts across the street, the boys on its tail. A * bus zooms by, forcing Annie to stop. When it clears, she * sees that the boys have the dog cornered. It starts spinning * again, chasing its tail. * ANNIE * Hey! * She sprints across the street and onto the sidewalk and... * smacks right into Stacks -- eyes down, oblivious. Stacks * stumbles, but Annie gets knocked into the street. A van * barrels towards her and slams on the brakes. But it's not going to stop in time. Without hesitation, Stacks lunges and yanks Annie to safety. * VAN DRIVER Watch where you're going! And he drives off. * STACKS You okay? ANNIE (stunned) Yeah. Are you? * She sees that the commotion has caused the teens to stop, * giving the dog enough time to escape. Just before it * disappears around the corner it looks back at Annie. * STACKS You coulda got run over. * ANNIE Sorry. * STACKS * Don't be sorry, just be careful. * Why are you running? * ANNIE * Gets me places quicker. * Stacks can't help but smile. There's something about this * girl. Annie picks up her backpack and takes off. Behind * them the man in the Knicks hat snaps another picture. * 34 EXT. HANNIGAN'S APARTMENT - EVENING 34 Annie drags down the street, beat and beaten. 33.* 35 INT. HANNIGAN'S APARTMENT - MOMENTS LATER 35 Annie enters. Hannigan is waiting for her, kahlua in hand. * HANNIGAN How was the library? ANNIE Educational. HANNIGAN Here's some more education for you: I told Family Services I don't want * to foster you anymore. As of next week, you're somebody else's problem. ANNIE Did they say who? HANNIGAN Not a who, sweety. A what. Group home. I think it's in Albany. Or Schenectady. Some place ending in Y. As in "why are there 300 kids sharing one room?" Annie's world is now officially crushed. But she refuses to * show it. She heads into her room. * HANNIGAN Maybe this will teach you to stop being a little smart ass! Annie slips into her room. The door closes. Hannigan takes * a drink. Did she go too far? Maybe a little, even for her. 36 INT. STACKS OFFICE - DAY 36 It's a stunning full-floor office with views of 42nd Street * and Bryant Park. Stunningly modern, mid-century furniture, * hip art (Banksy), images of CNN, MSNBC, etc. projected on * the walls. Stacks and Grace are working on the cellular * network on a screen-top desk (basically a gigantic iPad). * STACKS * Where are we on our new phone? * Grace swipes the desk and a model of the new Stacks Phone * pops up. Stacks moves it around with his hands. * GRACE * We got the battery up to 150 hours. * 34.* STACKS * That's not a week. I wanted a full * week without a recharge. * GRACE * I know. We'll get there. But right * now it's burning people's hands. * She swipes the desk again, bringing up some focus group * footage. A woman is on the new Stacks phone: * WOMAN (ON VIDEO) * ...that's what I told Mom. And she * says to me, she says....Aaaah! * She drops the phone and grabs her hand in agony. * GRACE * Don't worry, she signed a waiver. * Just then a chime sounds and Karl's face appears on another * wall, eight feet high in perfect HD. * STACKS * What's up, Karl? * KARL * You're up. Five points in the polls. * GRACE * People liked that he vomited on a * homeless man? KARL * You saved a little girl from getting hit by a van. Someone recorded it * and it's gone viral. Another projection pops up. It's a cell phone video of Stacks * saving Annie from the van. Stacks yells, "Look Out!" * KARL It's up to 500,000 hits. And there're * already parodies. He brings up different photos of Stacks saving different * people/things: Channing Tatum, the Mona Lisa, Mr. Potato * Head, Joe Biden, etc. And then a remixed video with Stacks's voice auto-tuned and set to a beat. STACKS This is why China's winning. 35.* KARL * No it's not. He brings up a Chinese website: Stacks saving Chinese specific * things: a panda, Mao Tse Tung, a boy band, Yao Ming, etc. * KARL This is fantastic, Teddy. First time * this campaign you've done anything vaguely human. All due respect. * GRACE You didn't tell me you saved a little * girl yesterday. * STACKS * I did a lot of things yesterday. * KARL * We gotta capitalize on this. You * invite her to lunch, see how she's * doing, snap a few pics. Press'll eat it up. Stacks swipes through some more images: he's everywhere. * STACKS Do we know who she is? KARL That's the best part. She's a foster kid. Lives in Harlem. How perfect * is that? Harlem! Harlem! * GRACE * Relax. Your neck vein is bulging. * STACKS * Go get her. KARL On my way. * STACKS * Not you. Grace. * GRACE * Why me? * STACKS * (re: a jacked-up Karl) * Would you want that showing up at * your door? * 36. 37 EXT. HANNIGAN'S APARTMENT - LATER 37* Stacks's newly repaired Nitro pulls up. Grace gets out and * rings the intercom. Nash keeps an eye out. HANNIGAN (O.S.) Yeah? * GRACE I'm looking for Colleen Hannigan. HANNIGAN (O.S.) Are you a bill collector? GRACE No. HANNIGAN (O.S.) IRS? GRACE No. HANNIGAN (O.S.) American Idol? Am I going to Hollywood?? GRACE I want to talk to you about a girl in your care. Annie. HANNIGAN Oh. She buzzes her up. 38 INT. HANNIGAN'S APARTMENT - MOMENTS LATER 38* Hannigan throws open the door. Grace is there. HANNIGAN You can take her today, but I want to get paid for the month. I already bought her food. GRACE I work for Stacks Mobile. HANNIGAN You are a bill collector! It's not my fault I went over last month. I didn't know I was calling Greece. 37.* GRACE I'm here on behalf of Teddy Stacks. * He'd like to invite Annie to lunch. * HANNIGAN * Teddy Stacks? Why? * GRACE * They ran into each other yesterday. * Didn't Annie tell you? * HANNIGAN * We didn't get a chance to have our * girl-talk jawbone last night. Annie! * (then) * He ran into her, huh? Now that you * mention it, her neck did seem a little * whiplashy. * GRACE * We'd also like to make a donation to the charity of your choice. * HANNIGAN So many to choose from. Save the Whales... Clean Water... You know what? Just make it out to "cash" and I'll divvy it up. Annie! Get * out here! Annie comes out. HANNIGAN (CONT'D) You're going with this lady. GRACE * Hi, I'm Grace. I'd like to take you * to lunch. I promise I won't keep * you long. ANNIE You can keep me as long as you want. * 39 EXT. HANNIGAN'S BUILDING - MOMENTS LATER 39 Annie and Grace exit with the kids. Hannigan is on the fire * escape holding a check. Nash opens the door. TESSIE No way! ISABELLA Is this for real? * 38.* MIA (reading "Nitrogen") * What's Nirotogana? * PEPPER You're so lucky! Annie climbs into the car. * 40 INT. STACKS NITRO/EXT. STREET - SAME 40 Annie looks around and can't believe what she sees: bottled * water, soda, candy, gum, magazines, etc. GRACE Help yourself to whatever you want. * ANNIE * Really? Thanks! * Grace emails Stacks and Karl: "ON OUR WAY." As she does, * Annie opens the window and passes out all the bounty to the girls. Nash sees this in the rear view mirror and smiles. Hannigan, a little jealous, calls down from the fire escape-- * HANNIGAN * Maybe I should come with? Make sure * everything's USDA Grade A Awesome? * ANNIE * I'm good! * They drive off, leaving the girls freaking out over all the * goodies they have. Hannigan watches them drive away, wary. * Lou has ambled over. He yells up-- * LOU Hey, gorgeous. How does it feel to have a famous kid? HANNIGAN What? He holds up a copy of El Diario. The cover is a photo of Stacks saving Annie with the headline "EL SUPERHÉROE STACKS." This is clearly news to her. LOU Wanna get a drink tonight? HANNIGAN * I haven't hit that rock bottom yet. * 39.* She heads back inside. * LOU You know I love it when you throw me shade! 41 INT. STACKS NITRO/EXT. MANHATTAN - MOMENTS LATER 41 Annie plays with the entertainment system. It's touch screen. * She turns on the sound: It's talk radio about the election, * specifically Stacks's recent upsurge in the polls. * GRACE * Mr. Stacks would like to take a few pictures with you if that's alright. ANNIE I guess so, why? * GRACE People want to know you're okay. ANNIE What people? GRACE Everyone who saw that. She points outside to an electronic billboard for WNBC Channel 4 News. It has the picture of Stacks saving Annie. ANNIE Whoa. * The radio talks about Annie as the "mystery girl." * GRACE * You sure you don't want to listen to * some music? * ANNIE * I love talk radio. It calms me. * Grace looks at her. Who is this girl? * 42 INT. STACKS MOBILE BUILDING LOBBY - LATER 42 It's a huge imposing modern lobby. Annie takes it all in * as Karl approaches with a few photographers. * KARL Annie! Thanks for coming. Mr. Stacks * is waiting for you upstairs. * 40.* They usher her into the elevator. The photographers snap * away. Annie sees two women whispering to each other-- WOMAN That's the girl! 43 INT. STACKS OFFICE - MOMENTS LATER 43* A table has been set up with full, over-the-top catering. * Stacks is there working, surrounded by a few photographers. * STACKS Annie! * He stands and takes her hand. Then turns out towards the cameras for a photo-op. Annie puts her hand up-- ANNIE Slow your roll. STACKS Excuse me? * ANNIE Can we sit down first? * Stacks looks at Karl and Grace. They're just as confused. He motions the photographers away and they both sit. * STACKS * Are you okay from yesterday? ANNIE I'm fine, thanks. Are you? * STACKS * Yeah, I think I'm gonna make it. * ANNIE So what's the hustle? * STACKS What? ANNIE You picked me up in a space car, * brought me to James Bond's house, to * eat... * (looks at a lobster) * ...giant bugs. I'm guessing it's * got to do with that photo of us. * (off his look) I'm ten, I'm not an idiot. 41.* STACKS I didn't say you were. An idiot. * Or ten. I have no idea how old you * are. * ANNIE * Ten. * STACKS * Okay, so you're not an idiot. But a lot of people are, and when they saw that photo they thought I'd be a good mayor. * ANNIE Why? * STACKS * I'm a rich guy, you're a foster kid-- * the more that people see us together the better it is for my campaign. ANNIE That's how a mayor gets elected? STACKS I know, it's insane. * He takes a drink of water. ANNIE I bet if I moved in with you you'd become president. He spits out his water, laughing and choking. ANNIE (CONT'D) I saw that photo, too. Why do you do that. Is it like a throat thing? Karl starts to wildly signal Stacks. Stacks doesn't get * what he's trying to say. Annie turns and sees this. * ANNIE * I think he wants to tell you * something. * Stacks waves him over. * KARL * That's not a bad idea. Annie staying * with you. * 42.* STACKS/ANNIE * What? * KARL * From what I understand it's pretty * crowded where you live now. How * about a little more space? Is that * something you might like? * ANNIE * Living with a billionaire? Yeah, * that's something I might like. * KARL * See? It's perfect. * STACKS * What are you doing? * Karl bends over and whispers to Stacks-- * KARL * It'll just be for a few weeks then * she'll go back. Take in a foster * kid? Fifteen point jump in the polls, guaranteed. STACKS * (aloud) * I don't have time to take care of a * kid. * ANNIE * It's easy. All I need is a bed and * meals, you don't have to do anything * else. And you get $157 a week. * Stacks looks to Grace, a la "what do you think?" * GRACE * Don't look at me. I don't understand * politics. * ANNIE * You want photos, right? This is a * way to get a lot of photos. * She gets up, puts her arm around him, and gives a big thumbs- * up for the photographers, who snap away. She's a natural. * STACKS * There are easier ways of getting * photos. * 43.* ANNIE * Not with me in 'em. * She sits back down. Stacks looks at her. What is happening? * 44 EXT. STACKS MOBILE HEADQUARTERS - LATER 44* They all walk out. * GRACE * Are you really doing this? You're * gonna play Daddy? * STACKS * I won't even know she's there. * He picks a piece of lint off Grace's shoulder. There's a * certain intimacy between these two. * KARL * I wonder if she has her shots? * GRACE You're a moron. More people snap their photo. Reporters, too. * REPORTERS * How was your lunch?/What's your name? * KARL * Her name's Annie. And she'll be staying with Mr. Stacks for a while. REPORTER * He's gonna adopt you? * ANNIE * No! I have parents. This is just * temporary. If he gets approved. * STACKS * What? * 45 INT. NYS OFFICE OF FAMILY SERVICES (HARLEM BRANCH) - LATER 45* Annie, Stacks, Karl, and Grace wait in line. * STACKS I can't remember the last time I stood in line. 44. ANNIE That's the kind of stuff you need to-- (gestures "lock it down") --if you wanna get elected. * Their number is called and they walk over to Mrs. Gilmartin, who doesn't look up. ANNIE I need a temporary guardian approval. * MRS. GILMARTIN There's a six week waiting period and you need form NYS 84 dash-- (looks up and sees Stacks) Sweet Lord. ANNIE Recognize. * 46 INT. STACKS MOBILE LOBBY - LATER 46* Annie, Stacks, Karl, Grace, and Mrs. Gilmartin head to the elevator. MRS. GILMARTIN I normally don't do site visits, but I've taken a liking to young Annie. Annie rolls her eyes. 47 INT. ELEVATOR - MOMENTS LATER 47 Mrs. Gilmartin checks her clipboard-- * MRS. GILMARTIN Does the guardian have adequate income * to provide basic shelter? Grace hits "PENTHOUSE." MRS. GILMARTIN (CONT'D) Check. 48 INT. STACKS APARTMENT - MOMENTS LATER 48 The doors open. Annie and Mrs. Gilmartin are stunned. We REVERSE to see why: it's amazing. A full floor penthouse with wall-to-ceiling windows. State-of-the art technology with incredible furniture. They look around in awe. * STACKS * Come on in. * 45. They see the apartment come to life: The window blinds go * up, art pops on the walls, the espresso machine starts * brewing, Stacks's email is projected on a wall. * ANNIE Whoa. GRACE It's a smart house. It recognizes him and changes accordingly. * MRS. GILMARTIN * Is there a co-temporary guardian? * STACKS No. * MRS. GILMARTIN (flirty) Would you like a co-temporary * guardian? * He shoots her a look. She goes back to her clipboard-- MRS. GILMARTIN (CONT'D) I need to see the kitchen, ventilation, * at least one sink per four persons-- * GRACE (senses Stacks's frustration) Why don't I take you on a tour? STACKS Best idea I've heard today. Karl. He heads off with Karl. GRACE Let's get it to learn your voice. Speak into this. She holds up her phone. ANNIE What should I say? GRACE Anything. Annie looks around. Then-- ANNIE I think I'm gonna like it here. 46. Grace checks her phone-- * GRACE Got it. The apartment automatically changes to what it thinks a ten year-old girl would like. Including a contemporary (and * our) version of "I think I'm Gonna Like it Here." * ANNIE * I think I'm gonna like it here. Grace leads Annie and Mrs. Gilmartin throughout the massive two-story apartment as Annie sings and dances. As she enters each room, the lights go on, new art pops up, and the music changes to accommodate the tempo-- 49 INT. KITCHEN - MOMENTS LATER 49 Annie plays around with the automatic appliances. She waves her hand in front of a machine, hot cocoa instantly shoots out into a cup. Then whipped cream. Then chocolate flakes. GRACE Just think it and it shall appear. Annie sips her chocolate, getting whipped cream on her face. ANNIE I think I'm gonna like it here. Mrs. Gilmartin helps herself to some whipped cream. 50 INT. SCREENING ROOM - LATER 50 GRACE It knows just what you want to see. The curtain springs open and a cartoon appears. ANNIE Please please anything but Disney. It changes to a music video. Mrs. Gilmartin helps herself to some popcorn from the machine. 51 INT. INDOOR SWIMMING POOL - LATER 51 GRACE It knows the temp you're comfy in. 47. ANNIE That's great, can it teach me to swim? GRACE We'll get a coach, no need to fear. ANNIE I think I'm gonna like it here. Mrs. Gilmartin drinks some cucumber-infused spa water. 52 INT. VARIOUS ROOMS - LATER 52 Annie dances around the apartment and balcony. Once, she * ducks her head in Stacks's home office. Stacks is there * working. Annie waves, Stacks musters a semi-annoyed return. * ANNIE I think I'm gonna like it here./ Who wouldn't like here?/ The president of the world would like it here./ I think I'm gonna like it here. 53 INT. ANNIE'S NEW ROOM - LATER 53* It's massive: king bed, sitting area, like a suite at the Peninsula with a view of the Empire State Building. ANNIE Is this Mr. Stacks's room? GRACE No, Annie, this... is your room. It changes to a little girl's room. Pink walls, art, lights, * etc. (All projected). * MRS. GILMARTIN Sweet Lord. ANNIE I think I'm gonna like it here. No, I know I'm gonna like it here. GRACE I know you're gonna like it here. MRS. GILMARTIN Damn right you're gonna like it here. She walks to her bed. The bedspread rolls down automatically. 48. ANNIE I know I'm gonna like it here! Annie ends her dance by jumping on her bed. She's launched * into the air, that's how good a mattress it is. Mrs. * Gilmartin helps herself to a Godiva chocolate as Annie takes in her new home. Jackpot. 54 INT. ANNIE'S ROOM/HANNIGAN'S APARTMENT - LATER 54* Annie holds court, shoving her stuff into her backpack. ANNIE * The closet was so big I thought it * was the living room. They all ooh and aah. ISABELLA * How big was the living room? * ANNIE * I thought it was the street. * TESSIE * Is he nice? * ANNIE * Did you hear what I said about the * closet? That's all the nice I need. * MIA I'm gonna miss you. PEPPER I'm not. Finally get a little space in here. ANNIE Well, whenever you miss me all you gotta do is call... She dumps out four brand new Stacks phone. ANNIE (CONT'D) Bam. With unlimited everything. Even for you, Pepper. I know you're gonna miss me. She jumps on her and gives her a big hug, Pepper resists. The girls go crazy -- even Pepper. 49.* GIRLS No way!/Thanks!/Cool! * PEPPER It's not an iPhone? She smiles, just joking. Hannigan appears at the door. HANNIGAN What are you rats yapping about? They all hide the phones like prisoners. She sees Annie. * HANNIGAN (CONT'D) If it isn't Baby Jessica. GIRLS Huh?/What? HANNIGAN (scorned lover) What are you doing here? Why aren't you with your new foster friend? ANNIE Just picking up my stuff. HANNIGAN Then pick it up and get out. * ANNIE * I just want to thank you for * everything you've done for me-- I can't even do it with a straight face. Peace out. * Hannigan lunges for her, but she skirts away. Calls after-- * HANNIGAN You think your life's a fairy tale? There is no happily ever after! * (turns back to the girls) * The worst thing in this world is a * little taste of something good. * 'Cause it never lasts, and all you * taste from then on is not-that-taste. * MIA * Huh? * TESSIE * Sssh. Just let her talk when she * gets like this. Remember? * 50.* 55 EXT. HANNIGAN'S APARTMENT - MOMENTS LATER 55 Nash stands next to the Nitro, holding the door for Annie. * She gets in and sees the bounty has gotten even better: bags * of candy, full chocolate bars, even new pillows and blankets. * NASH * Restocked. * ANNIE * (eyes-wide) * Thanks. * She passes out all the goodies to the girls as Lou ambles * over. She hands him a new Stacks phone. * ANNIE (CONT'D) * I got this for you. * LOU * (jumps back) * Aaah! Those things are evil. They * just steal your private information * so big business can spy on you and * crush your soul. * TESSIE * (looking at her phone) * What button does that? * LOU * I'm happy for you, though, mija. * Getting off the block. * Nash Starts the Nitro and they drive off. The girls run * after her yelling their thank-yous and good-byes. WE SEE Hannigan on the fire escape, seething. Annie turns on the * music system. It's a version of "I Think I'm Gonna Like it Here" which segues into a different song that plays over the PHOTO-OP MONTAGE: 56 EXT. RIVERSIDE PARK - DAY 56 Stacks pushes Annie on the swings as a few photographers snap away. Karl reminds Stacks to smile. * LATER. They kick a soccer ball. Stacks is actually pretty good and rifles a kick past Annie. Whoops. Karl tells Stacks * not to smile. * 57 EXT. STREET - DAY 57* Stacks and Annie walk down the street. * 51. More photographers now. Karl gestures for Stacks to put her on his shoulders. He reluctantly does. But he's never done it before, nor has Annie, and she flips backward. Stacks barely catches her in time. Snap snap. Uh-oh. Grace checks her phone. Pictures are going viral. Including the one of the botched shoulder-ride. But even that appears like they're having fun, all good. 58 EXT. STREET - DAY 58* Stacks buys Annie a pretzel. There's now a scrum of reporters * and photographers. REPORTER Annie! You having fun? ANNIE (mouth full of pretzel) * Mr. Stacks is the best. I just wish I was old enough to vote for him. They all laugh. Stacks whispers to her-- STACKS That was a bit much. ANNIE I'm still finding it. * 59 INT. WNBC NEWS CHANNEL 4 - DAY 59 Harold Gray (Stacks's opponent, disheveled, mid-50s) is being interviewed by Chuck Scarborough. HAROLD GRAY My opponent wants to be mayor for * two reasons: feed his ego and bolster * his business interests. And he'll * stop at nothing. He has no connection * to the people of New York, now he * coincidentally takes in a foster * kid? Come on, Chuck. Don't pee in * my ear and tell me it's hot-raining. * CHUCK SCARBOROUGH Are you saying Annie is a political move? HAROLD GRAY I'm surprised he hasn't gotten a dog yet. 52. PULL OUT to reveal Karl is watching this on his phone as-- 60 EXT. BROADWAY - DAY 60 Stacks gives Annie cash to put in a homeless man's cup. The hoard of photographers is now huge. Karl considers what Harold Gray just said... 61 INT. ASPCA - DAY 61 Annie and Stacks survey a pen of dogs, all yipping. It's a full-on photo-op: reporters, camera crews, even TV lights. ANNIE How do you choose? ASPCA VOLUNTEER (spiritual) You don't choose a dog, a dog chooses you. Stacks rolls his eyes as she enters the pen. The dogs all swarm, tackling her. It's nuclearly cute. ANNIE They all chose me! STACKS Just one. As Annie plays with the dogs she sees one off to the side, * running in circles. It looks just like the one Annie saved. * Could it possibly be? She gets up and heads over. It is! * STACKS * You gotta be kidding me. * He takes out Purell and furiously lathers himself with it as * Annie pets the dog... and it stops spinning. * ANNIE * (to Sandy) * Hey, girl. We found each other. * I'll never leave you again. Promise. * She licks her face. Insanely cute. * 62 EXT. ASPCA - MOMENTS LATER 62* Annie now holds the dog at a spontaneous press conference. REPORTER Annie! What are you gonna name it? 53. The dog starts spinning around again, chasing its tail. Annie and Stacks get tangled up in the leash. STACKS She's like a hurricane. ANNIE Sandy. Her name's gonna be Sandy. Snap! Snap! Karl nudges Grace and shows her his phone: * it's a Huffington Post mayoral poll. Stacks is now only three points behind Harold Gray. Two girls come up to Annie-- * GIRL #1 Can we take a picture with you? ANNIE (a bit taken aback) Uh, sure. She takes a photo with them. GIRL #2 You are so cool! They run away, giddy. Annie is over the moon. STACKS Let's go. He leads off down the sidewalk. WE STAY on their backs as Stacks, Annie, and Sandy walk together. With paparazzi running backwards in front of them. MUSIC ENDS OVER-- 63 INT. ANNIE'S NEW ROOM - NIGHT 63 Annie gets in her huge bed. Sandy is in a crate on the other side of the room. Her phone gets a text. It's from Tessie: a photo of all the girls in their room with their new stuff, smiling (except Pepper, frowning as always). She gets another text: a picture of Hannigan passed out, taken surreptitiously. Annie snaps a photo of Sandy and sends it back. Then she reaches down and gets out her locket and Ziplocked note from her backpack. Her old life, flooding back. 64 INT. STACKS KITCHEN - LATER THAT NIGHT 64* Annie walks in with Sandy. Stacks is there working. They're * both in pajamas. * ANNIE Hey. * 54.* STACKS * Something wrong? * ANNIE * Couldn't sleep. It's so quiet up * here. Whatcha doing? * STACKS * Working. * ANNIE * This late? * STACKS * Always. * ANNIE * When do you have fun? * STACKS * This is fun. * ANNIE * No, like fun fun. * STACKS * This is fun fun. * Annie gives him a look. * STACKS (CONT'D) * You hungry? I can order in. * ANNIE * You don't have a cook or something? * Or like a million servants? STACKS I like to be alone. ANNIE So why do you need all this space? STACKS I like to be alone in a lot of space. * She just looks at him. He feels the need to explain. * STACKS (CONT'D) Everyone surrounds themselves with * all these people so they feel loved. When really, you can count the people who truly matter on one hand. 55.* ANNIE * Why are you making a fist? * He is. He opens his hand and gets up. * STACKS * You hungry? * ANNIE * Always. * He gestures to the fridge. She opens it to find only take- * out containers. * ANNIE (CONT'D) * I can make a meal out of anything. Pick five ingredients. * She opens the containers. Stacks isn't that interested. * ANNIE (CONT'D) * Come on. This'll be fun fun. * STACKS * (sighs, then points) * That fruit, pancetta, I think that's risotto, steak, and the fusilli. ANNIE I've heard of two of those things. * She feeds some food to Sandy as she gathers the ingredients. LATER. Annie is cooking away. She seems to know what she's * doing. Stacks is impressed. Annie plates the food. They * each take a bite. Stacks immediately spits out his food. * ANNIE (CONT'D) It's gross. Sorry. (then) But you gotta learn to stop spitting. * You're not a camel. STACKS You looked like you knew what you * were doing. * ANNIE That's how I do. Stacks laughs. There's something about this kid. 56.* STACKS I have a movie premiere tomorrow * afternoon. Karl thinks you should * come. ANNIE Karl's right. Can I bring my friends? STACKS There's more of you? ANNIE More photos? * Stacks smiles and notices Sandy has stopped spinning. * STACKS She stopped spinning. * He goes to pet her. She starts spinning again. * STACKS (CONT'D) * Good night. * He heads off. 65 INT. ANNIE'S BEDROOM - LATER 65* Annie in her gigantic bed, in her gigantic room, tosses and * turns. She gets up and heads into her closet, surveys it. * LATER. Annie sleeps on the floor of the closet. Sandy next * to her. * 66 INT. STACKS ELEVATOR/STACKS LOBBY - DAY 66* Annie rides down the elevator. She makes funny faces in the * mirrored doors a la a fun house. A kid being a kid. The * doors open and two women catch her mid-face. * ANNIE * This elevator is the best! * MAN/WOMAN * (laughing) * Morning, Annie./Hey, Annie. * Annie looks at all the people in the lobby and outside the * windows. All on their phones. Talking, texting, phoning. * Nash taps her on the shoulder. * NASH * Need a ride somewhere? * 57.* ANNIE * I know this sounds crazy, but do you * guys spy on people with your phones? * 67 INT. STACKS MOBILE CONTROL ROOM - LATER 67* It's the worldwide control room. Every mobile call is * depicted on a projected map. It's like a war room. * NASH * Stacks Mobile Control Center. We * can trace every call and data * transmission made on every carrier for the past twenty years. ANNIE * Whoa. * NASH * People shouldn't be scared of the * government, they should be scared of cell phone companies. ANNIE * Lou was right. * (then) * Can I ask you a favor? Could you * search for my parents? * NASH * I guess so. Bennett, right? * She nods and Nash motions for a technician to zoom in on the * map. Moving "pin drops" track cell phone usage. As he moves * the cursor, names pop up over the dots. * ANNIE * Can you go back five years? Around * the 26th Precinct? That's where * they dropped me off. * It hits Nash. The hopefulness. Of course he'll help. * NASH * It'll take awhile. I'll let you know. * ANNIE * Thanks. * 68 EXT. ZIEGFELD THEATER - THAT AFTERNOON 68* It's a world premiere. A black limo pulls up and Tessie, * Isabella, Pepper, and Mia get out in their finest. * 58.* Annie runs up to greet them. * ANNIE * Did Hannigan catch you? * TESSIE * Nah, she's passed out. * ISABELLA * (makes drinking motion) * Things that make you go glug-glug. * They take in the huge pageantry that is a Hollywood premiere. * ANNIE * I know, right? * LATER. Stacks and Annie walk the red carpet. Grace and * Karl and the girls are off to the side. PHOTOGRAPHERS Annie! Annie! Annie! It's a feeding frenzy. Annie is taken aback. PHOTOGRAPHERS (CONT'D) Smile over here! OVER HERE! REPORTER Who are you wearing? ANNIE This is my friend Isabella's and * this I found somewhere. * PHOTOGRAPHERS OVER HERE! LOOK OVER HERE! REPORTER #3 Did you like the French toast you * had for breakfast this morning? ANNIE * So good. Wait, how'd you know that? * REPORTER #3 You tweeted it. @TheRealAnnieBananie. Annie is getting a little overwhelmed. Stacks ushers her * off the red carpet. KARL We made you a twitter account. (MORE) 59.* KARL (CONT'D) You already have 1.3 million followers. ANNIE (horrified) I'm Annie Bananie? KARL No. You're The Real Annie Bananie. It's the only thing that wasn't taken. They start to walk into the street. ANNIE Where are you going? STACKS I don't stay for the movie. GRACE We just walk the red carpet to get * the press. No one stays. All of * this is just for show. * PEPPER * (to the girls) * Like Annie. * The Nitro pulls up. * ANNIE * I invited my friends to see a movie. Can't we stay and see the movie? * STACKS ("I don't care") * Sure. Go ahead. * He heads to the car. A lone reporter calls out-- REPORTER #4 Aren't you staying with Annie? More reporters amble over. Stacks is caught. * KARL Want me to cut the power? I can * take out the whole city block. * STACKS * Who are you? * 60. Stacks turns back to the press, with a big smile-- * STACKS (CONT'D) * Just forgot my phone. Seething, he heads back, passing Grace. STACKS (CONT'D) You're coming with me. Make sure I don't kill anyone. He and Grace take Annie and her friends inside. * 69 EXT. MOONQUAKE LAKE - DAY 69* Two heartthrobs sit by a lake, dangling their feet in the * water. A mist hangs in the air. TEENAGE BOY Things happen for a reason. TEENAGE GIRL Said the boy who doesn't have to go home to the moon every night. TEENAGE BOY Then don't go. TEENAGE GIRL (tearing up) You know it's not my choice. She floats up into the air ever so slightly. He grabs her. * TEENAGE BOY I'll make it my choice. * PULL BACK. Stacks, Grace, Annie, and the girls are watching-- * 70 INT. ZIEGFELD THEATER - SAME 70 They whisper as they scarf down popcorn and soda-- * STACKS What the hell is happening? ANNIE * Her gravity rocks are running out. STACKS Of course they are. On the screen, a close up of a Stacks phone, buzzing. * 61. STACKS (CONT'D) * Hey, there's one of our phones! * GRACE * We paid $500,000 for that. * STACKS * What?! * 71 EXT. MOONQUAKE LAKE - NIGHT 71* The boy and the girl are swimming in the lake. * TEENAGE BOY You ready? TEENAGE GIRL Never been more. * Their fish-friend emerges from the water. FISH-FRIEND We're all ready down there. Soon as the sun sets we attack. TEENAGE GIRL Thanks, Sakana. You're a true friend. 72 INT. ZIEGFELD THEATER - SAME 72* STACKS What's going on? * ANNIE * The fish are gonna attack the moon. STACKS No, I know. Why don't they start already? There's not gonna be enough time for Kyle and Saffron to escape the Luna Monsters! Grace gives him a look a la "you're really into this." STACKS (CONT'D) * As long as I paid $500,000... * Grace smiles at him. He does have another side. STACKS (CONT'D) (to the screen) Attack! Sakana, attack! 62.* 73 EXT. ZIEGFELD THEATER - LATER 73 Stacks and the girls walk out elated. ISABELLA I want to be Saffron so bad! TESSIE I can't believe Sakana told on 'em. * STACKS Of course she did. You can't trust the fish people. Gwarklark warned them. He was very specific. ANNIE They come back in the next movie. STACKS There's a next movie?! ANNIE There're four more. And three before * this one. * STACKS Shut up! He playfully shoves Annie and picks her up. Like a father would a daughter. But this isn't staged, it's instinctual. He puts her down as they've arrived at the Nitro. * GIRLS Thanks!/So much fun!/Thank you! * TESSIE * We never get to do things like this. * STACKS * (getting in the Nitro) * Let's go, Annie. ANNIE * It's so early. Can't we all do * something else? * The girls look up, excitedly. STACKS I haven't worked in two hours. * ANNIE * Oh, no! You're melting... * (MORE) 63.* ANNIE (CONT'D) (the girls laugh) * Please? I guarantee you'll have a * good time. * Stacks looks at Annie. She's impossible to resist. * STACKS * You have this crazy way of turning * "no's" into "yes's." What is that? * ANNIE * I think when people say no, they're * really just scared of the yes. * STACKS * (sighs) * What do you want to do? * The girls cheer. * ANNIE More things other people get to do. * MUSIC starts. It's an original song: "Other People" about * all the things people who aren't foster kids get to do. It starts with Annie-- ANNIE (CONT'D) Tonight I want to be other people... The girls join in and start dancing. As they continue to sing/dance they get in the Nitro. * 74 INT. NITRO - CONTINUOUS 74* More song, more fun. Stacks and Grace chaperone. They both * do work on their phones. * 75 EXT. ROCKEFELLER PLAZA ICE SKATING - LATER 75 They dance and sing and go ice skating. The dream Tessie * had. They ask Grace and Stacks to join them. Stacks passes, * Grace decides "what the heck" and does. The song continues... * 76 INT. MACY'S - LATER 76 Isabella's dream. They dance and sing and shop and try on different outfits. Shoppers ignore them. Grace is now fully * engaged, trying on clothes, participating. Stacks is off to * the side on his phone. Annie sneaks up and puts a hat on * him. Annoyed, he starts to take it off, but catches a glimpse * of himself in the mirror. * 64.* And then tries on more hats and scarves. * 77 INT. DYLAN'S CANDY BAR - LATER 77* Mia's dream. They dance and sing and eat candy all over the * gigantic candy store. Mia even swims in it. Stacks and * Grace are now both fully engaged. Having fun even... * 78 EXT. VICTORIA GARDENS IN CENTRAL PARK - LATER 78* The song continues as the girls go on rides, eat cotton candy, * etc. All the while singing and dancing. It ends as they go * on a roller coaster. Right before the final chorus Annie * pokes Pepper and points to the roller coaster they're riding. * It's a rocket ship, destination: Mars. * ANNIE * See? Your dream came true. Even Pepper softens. GIRLS Other people! The MUSIC ENDS. Stacks's phone rings. Again. Again. * GRACE * Teddy. Your phone. * Distracted, Stacks didn't realize it was ringing. He answers. * STACKS * Yeah... Okay... I'm coming. * (hangs up) * I gotta get back. Karl's going crazy. * GRACE * Karl is crazy. * STACKS * But he's good at his job. * GRACE * So was Napoleon. * STACKS * He actually wasn't. He's * misunderstood. * GRACE You go ahead. I'll take 'em back. * (then) * This was kinda fun. * 65.* He smiles as much as he's able, and heads for the Nitro. * Annie notices him driving off. A little bummed. * 79 EXT. HANNIGAN'S APARTMENT - LATER 79 They exit a cab, laden with bags of clothes, etc. They dance * up the fire escape and wave good-bye. * ANNIE * Can we make one stop? * 80 INT. HANNIGAN’S LIVING ROOM - SAME 80* Hannigan, passed out on the couch with the radio on, is * awakened from music and noise coming from the girls room. She gets her bearings. Yup, still in her old life. * 81 INT. GIRLS' ROOM - MOMENTS LATER 81 The girls are listening to "I Love it" by Icona Pop and dancing around in their new clothes. Hannigan bursts in and * shuts off the music-- * HANNIGAN Why are you still up? Where'd you get all this stuff?! They're all quiet. Hannigan zones in on Mia, who breaks-- * MIA * We went with Annie to a premiere and * ice skating and shopping and a candy * store and a 'musement park and it * was so cool and I love her so much. * PEPPER Nice, Mia. MIA I can't keep a secret! HANNIGAN Well, you don't have to keep this a * secret: pack it up. It's going back. * ISABELLA Why? HANNIGAN 'Cause you don't deserve it. PEPPER Yes we do. It's from our friend. * 66.* HANNIGAN She thinks she has it all figured out. Her ticket outta here. There is no ticket outta here. You rats * need to start realizing that. MIA You're being mean! HANNIGAN I'm being educational. I used to be a dopey little girl like you. Now PACK THIS STUFF UP! She marches out, slamming the door. A DJ is on the radio-- * RADIO DJ (O.S.) * The city's most famous girl, Annie, * was spotted tonight out on the town * with her friends. * They play a clip of Annie singing "Other People" from earlier. * RADIO DJ (O.S.) * Not only is she smart and cute, sounds * like she can really sing. Not long * before she gets a record contract. * Hannigan hurls a pillow at the radio, changing its station. * It plays the opening of "Little Girls." Hannigan sings a * soulful yet upbeat version as she struts around the apartment-- * HANNIGAN Little girls, little girls/ Everywhere * I turn I can see them./ Little girls, * little girls/ Night and day I eat * sleep and breathe them./ I should be * anywhere but here/ Private planes, * on the stage and TV/ But I find myself * here at the snot house/ Little shoes, * little socks, please kill me... I'm * serious, please kill me, I'm not * singing i'm asking. * (then) * Locked in a cage with all the rats/ * I've slipped through the cracks/ And now I'm stuck with the scraps/ And I can't seem to find my way back/ Get me out get me out of here/ Throw me a rope/ I'm ready for stardom after all these years./ Yes I wanna tear my hair out/ I should be famous, a part of history./ * 67.* HANNIGAN (CONT'D) Come on I sang "Everybody Dance Now"/ * Da Da da da da da da da!/ I'm done with little girls/ I wanna be someone in this world/ Little girls, little girls. * A lone man claps from the street below. It's Lou. * LOU That was beautiful! (then) * I got you a T-shirt. * He hurls it up. It's Annie's face and "@TheRealAnnieBananie." * HANNIGAN Aaaah! * She throws it back and heads into the apartment, enraged. * 82 EXT. BRUNELLO'S RESTAURANT - LATER 82* Annie and Grace sit on the curb opposite the restaurant. * GRACE * You come here every Friday? * ANNIE * It's the only day they serve cannoli. * GRACE * That's all you have to go on? * (off her nod) * Do you remember what they look like? * ANNIE * I think I'll just know. * The waiter comes to the door. He shakes his head "no." * Annie starts to draw her name on the street with a rock. * LATER. Annie and Grace have both drawn their names all over * the street. It's been a while. The waiter comes out holding two take-out boxes. WAITER * Cannolis. One for your pretty friend. * They take them and watch as he heads back inside, turning * the OPEN sign to CLOSED. Grace looks at Annie, making sure * she's okay. Annie gives her a look, "don't worry, I'm fine." * They get up. As they do-- * 68.* ANNIE * Can you not tell Mr. Stacks? I don't * want to bother him with it. * GRACE * Sure. * 83 INT. STACKS’S APARTMENT - SAME 83* Sandy runs around, annoying Stacks as he and Karl watch a * commercial for his opponent Harold Gray narrated by Michael * J. Fox, making it clear he's by far the right person for the * job. Over images of Gray working throughout the years-- MICHAEL J. FOX (V.O.) He's worked selflessly his entire * life for New York. From his first * job teaching in inner city schools, to his 25 year stint on the city council, all the while working as a volunteer EMT and serving on the boards of 18 charities, Harold Gray * is the only honest choice for mayor. * HAROLD GRAY As mayor I will do everything that's right for the people of New York, * not the business of New York. * MICHAEL J. FOX (V.O.) Harold Gray. Endorsed by the New York Times, El Diaro, the Citizens Commission on Human Rights, and me, Michael J. Fox. Michael J. Fox shakes hands with Gray as they both pick up trash in an innercity park. * STACKS * Michael J. Fox? That's dirty tricks. * (then) * Do I have any shot of winning? * KARL You've plateaued. Karl swipes his iPad and a graph of the latest poll appears on the wall. Stacks is losing by seven points to Gray. And it's been the same for awhile. Karl highlights the graph-- KARL Annie's gotten you here, but I think this is as far as she'll take you. * 69.* Sandy runs around him, almost knocking him over. KARL (CONT'D) But it's not over yet. How bad do * you want this? You told me becoming * mayor would really help your business, * right? * STACKS * Among other reasons. * KARL So how far are you willing to go to * get it? Or should I say, how far do * you want me to go? * STACKS * I pay you a lot of money not to ask * me those questions. * KARL * Roger that. * Annie and Grace enter. * GRACE We're back. ANNIE * I brought you a cannoli. * She hands him the take-out box. * STACKS * Because you're an Italian grandmother. * Makes perfect sense. * Annie laughs. * KARL * We have a charity event tomorrow. * You should go to bed. ANNIE * Okay, K-Money. Keep your shirt on. * (to Stacks/Grace) * This guy. * Stacks smiles at her and she heads out. * KARL * Did she just sass me? How come no * one respects me? * 70.* GRACE * I think you know the answer to that. * 84 INT. HALLWAY/INT. ANNIE’S ROOM - LATER 84* Stacks walks past Annie's room. The door is open and he * peeks in. She's not in her bed. * STACKS * Annie? * He goes in, looks around; she's not there. He hears heavy * breathing. He walks to the closet and sees Annie sleeping * on the floor with Sandy. He watches her, concerned. * 85 INT. STACKS APARTMENT - THE NEXT MORNING 85* Annie is eating breakfast with Sandy. Stacks enters. * STACKS * Do you get airsick? * ANNIE * Don't know. I've never been in the * air. I threw up on the swings once. 86 EXT. DOWNTOWN MANHATTAN HELIPORT - LATER 86* Annie and Stacks get out of the Nitro and walk to the Stacks * helicopter. Sleek and big and infinitely cool. * ANNIE * Whoa. * STACKS * Cool, right? * 87 INT. STACKS CHOPPER - MOMENTS LATER 87* Stacks is at the controls, Annie next to him. * STACKS * We're doing a cell tower check. * Make sure they're all working. ANNIE * You do that yourself? * STACKS * I told you work is fun fun. * Stacks smiles and takes off into the sky above New York City. * 71.* 88 INT. STACKS CHOPPER/EXT. NEW YORK CITY SKY- LATER 88* They fly over the city, giving Annie a vantage she has never * seen. She's rapt. They speak through their headphones-- STACKS * You want to know the secret to Never- * Drop-A-Call? ANNIE * Not really. * (off his look) * Yes, yes I do. Desperately. * STACKS * We have five times as many cell towers * as the other guys. But we hide 'em in plain sight. Like right there. He points to the Statue of Liberty, right in front of them. * STACKS (CONT'D) * Do you see it? It's on her crown. * ANNIE * No. * STACKS * Exactly. * LATER. They're above the Brooklyn Bridge. * STACKS * See 'em? They're on every wire. * It's all about connecting everything. * With everyone. * ANNIE * Which is weird, 'cause you don't * connect with anyone. STACKS * Yes, I'm cold and aloof; it's been * pointed out, thanks. * ANNIE * No, I didn't mean-- * STACKS * It's fine. You can't hurt my feeling. * She smiles. They fly around for a bit. * 72.* STACKS * Know why I love this city? It doesn't * care who you are, what you are, where * you came from. All it cares is if * you want it bad enough. And what * you do with what you got. * The helicopter blades begin the beat of the new song "The * City's Yours." A melody kicks in as Stacks sings and flies-- * STACKS * I don't wanna hear a sob story/ If * you got guts you'll get glory/ Anyone can make their dreams come true in New York City/ And I don't wanna see another tear drop 'cause if you work hard you can rise up/ Anyone can make it even you in New York City/ Look at me I'm just blood pumping/ you and me are two hearts thumping/ We are two souls feeling the same beat/ So take it all this city's yours/ Ask it for more when it rains it pours/ It's worth fighting for * it's all mine and it's all yours/ In New York City, in New York City. The helicopter is now over Harlem. She points it out-- * ANNIE * It's worth fighting for, it's all * mine and it's all yours/ In New York City, in New York City. STACKS * So take it all this city's yours/ * Ask it for more when it rains it pours. STACKS/ANNIE * In New York City. * The music continues as Stacks banks over 96th street, heading * back downtown. ANNIE * Why don't you go above 96th street? * STACKS * No reason. * He turns back heading uptown, over East Harlem. * 73.* ANNIE * This is my New York City. * STACKS * Show me where you lived. * ANNIE * Everywhere. * (then) * I see a cell tower! * STACKS * Where? * ANNIE * On that building. See it? Right * there. * Annie points as Stacks flies close. He finally sees it. * STACKS * Sometimes what you're looking for is * right in front of your face. SHOT FROM straight on (outside the windshield) we can see * Stacks and Annie looking at their own reflections. STACKS * It's worth fighting for, it's all * mine and it's all yours/ In New York City, in New York City. STACKS/ANNIE * In New York City. * 89 INT. STACKS OFFICE - LATER 89* Stacks is at his desk as Grace enters carrying a box. * GRACE * Is Annie here? I have her dress for * tonight. * Stacks points out the window at Bryant Park. Annie is playing * with Sandy in the middle of the huge grass field. Like it's * her backyard. They watch her, almost like parents. * STACKS * I'll get her. * LATER. Grace watches as Stacks walks across the field and * gets Annie. They walk back together with Sandy. * 74.* 90 INT. ANNIE’S ROOM - LATER 90* Grace sits on the bed. Annie is changing in the closet. * ANNIE (O.S.) * Ready? * GRACE * Very excited. * ANNIE (O.S.) * I don't know... * GRACE * It's a collaboration between Zac * Posen and Rodarte. They designed * it specially for you. * Annie emerges in a crazy over-the-top gown that makes no sense. * ANNIE * They really get me. * GRACE * (laughs) * Let's get you something else. * ANNIE * Thank you. * 91 INT. APARTMENT HALLWAY/INT. BATHROOM - LATER 91* Annie walks past an open door. She peers in and sees Stacks * washing his face. When he looks up Annie sees that * he's...bald. Daddy Warbucks bald. Annie gasps. Stacks * hears this, looks up and sees her in the mirror. She quickly averts her eyes and scurries off. Sitting on the vanity is Stacks's wig on a mannequin head. He reaches for it... * 92 INT. LIVING ROOM - LATER 92* Stacks walks out in a tuxedo and his usual full head of hair. * Annie is there playing with Sandy. It's super awkward. STACKS * Hey, Annie... Did you just see-- * ANNIE * I didn't see anything. * STACKS * 'Cause I thought I saw you in the-- * 75.* ANNIE * Nope. Here the whole time. * The door opens and Grace, in a stunning dress, walks in * carrying a garment bag. STACKS * Wow. You look... * GRACE * So do you. * There's something between these two. Annie clocks it. Grace * breaks the stare-- GRACE * Got your dress. * 93 INT. ANNIE'S ROOM - LATER 93* On Grace as she takes in Annie. * GRACE * That's more like it. * WE REVEAL Annie. She's in a stunning, iconic, and, yes, red * dress. She looks at herself in the mirror, elated. GRACE (CONT'D) * Made exclusively for you. By Targé. * Annie laughs and slides her locket around her neck. Grace * goes behind her and starts doing her hair. ANNIE * Why don't you ask out Mr. Stacks? * Grace pulls her hair, accidentally? * ANNIE (CONT'D) * Ouch! * GRACE * Sorry. That's a complicated question. * ANNIE * Not really. Do you like him? I * think he likes you. GRACE * I work for him. Liking him doesn't * come into play. 76.* ANNIE * Okay. * GRACE * I mean, do I find him attractive? * Sure. Not just physically-- though there's no question he's good looking, tall, broad shouldered, and that hair-- ANNIE * Well... * GRACE * I can't afford to like people I work * with. There're enough obstacles as it is for women. I'll have time for that when I retire. ANNIE * When my friend Pepper liked this boy * at school she punched him in the face. She got suspended, but they play together in the park now. * Grace smiles. * 94 EXT. NEW YORK PUBLIC LIBRARY - NIGHT 94* It's a formal charity event. The Nitro pulls up and Stacks * and Grace get out as photographers flash away. Annie holds * back and leans into Nash-- * ANNIE * Did they find anything on my parents? * NASH * Not having much luck. And they dug * pretty deep. Sorry. * ANNIE * Thanks for trying. * NASH * You're gonna find your family, Annie. * I promise. She nods and heads out into the madness, passing Karl, who * seems curious about what she and Nash might be talking about. * Stacks ushers her up the stairs. * 77.* 95 INT. NEW YORK PUBLIC LIBRARY - LATER 95* Stacks is on the dais mid-speech. Annie is at a table mid- * plate of shrimp, in heaven. ANNIE * These are ridiculous! * STACKS * ...New Yorkers face many challenges * every day, challenges that seem * insurmountable. We all tell ourselves * "no" a lot. "No, I won't get that * job." "No, I can't afford college." * "No, no, no." Well, it's time to * turn the "no's" into "yes's." Because * when we say no, we're really just * scared of the yes. * (applause) * Say yes to yourselves and say yes to * a brighter life. * (then) * Many of you know I've had a visitor * staying with me recently. She only * knows the word "yes." * He points to Annie and the spotlight finds her, mouth full * of shrimp. Big applause. * STACKS * Annie, can you come up here? We all * know you're not shy. Everyone laughs. Karl nudges her to go up. Annie looks at * Grace, who nods "it's okay." Annie walks up to the dais. STACKS * Do you mind saying a few words? * He points to the teleprompter. "Stacks: DO YOU MIND SAYING * A FEW WORDS. Annie: "I'D LOVE TO! THANKS, DADDY." Stacks ushers her to the microphone. But Annie freezes. ANNIE * I don't wanna... * STACKS * Go ahead. Just read it. * She looks out at the crowd, Stacks points at the teleprompter. * STACKS (CONT'D) * It's fine. Don't be nervous. * 78.* She takes one more pause, and then steps up to the mic. And * just speaks from the heart. Ignoring the teleprompter-- ANNIE * I'm so lucky to be with Mr. Stacks. * Two weeks ago I didn't know shrimp * could get this big. The crowd laughs. Karl is not happy. * KARL * That's not what I wrote. * GRACE * Obviously. It was funny and warm. * ANNIE * He's taught me so much opportunity. * And I'll never forget it. She looks at Stacks, who nods. Is he touched? * ANNIE (CONT'D) * (still looking at Stacks) * But now it's up to me. * Annie turns to the orchestra behind her and signals for them * to play. They do, starting with classical and segueing into * contemporary. It's a new song, "Opportunity." * ANNIE * Under the glow of warm lights/ Feels * like a dream in the night/ I turn my * head to the sky/ You must believe I * know why/ It's just 'cause I know * I'm the luckiest kid in the world/ * No never thought I'd be here/ Made a * wish, it appeared/ I turn my head to * the floor/ Thankful for all that's * what's for/ It's just 'cause I know * I'm the luckiest kid in the world./But * it's now all up to me/ To make it * count for good/ Today It's all about * Opportunity/ 'Splayed right in front * of me/ Opportunity, it doesn't come * for free/ Noh-oh-oh-oh-oh I can't go * back back back. * (MORE) 79.* ANNIE (CONT'D) No, it's all on me now/ Golden, I * found my church key/ Sweet Opportunity I've gotta make it count/ Oh-oh-oh- oh-oh-oh/ It's on me Oh-oh-oh-oh-oh- oh/ It's all about Opportunity/ 'Splayed right in front of me/ Opportunity It doesn't come for free/ Noh-oh-oh-oh-oh I can't go back back back/ Sweet Opportunity I've gotta make it count/ Oh-oh-oh-oh-oh-oh/ It's on me/ Oh-oh-oh-oh-oh. * Everyone applauds, moved. Most of all Stacks. Karl has * made his way up to the dais. * KARL * Read the speech now. * (shakes her head) * Come on, Annie. Read it. * ANNIE * I don't want to. * KARL * Annie! You have to read it! * ANNIE * Leave me alone! * She runs off the stage, passing Grace and Stacks. Cameras * flash. Karl looks like he's going to be sick. * 96 EXT. NEW YORK PUBLIC LIBRARY - SAME 96* Annie runs down the steps, with Stacks and Grace on her tail. * Stacks signals to Grace that he's got it and he runs after her, catching up down the block. * STACKS * Annie! * ANNIE * Leave me alone! * (he grabs her) * I sang, wasn't that enough? * Annie just stands there. Stacks senses something. * STACKS * Are we asking you to do too much? * Annie looks at him. He seems to really care. * 80.* ANNIE * I can't read. * STACKS * What? * ANNIE * Nope. * STACKS * I've seen you read. * ANNIE * Nope. * (then) * Sorry I ruined your shrimp event. * She grimaces when a flash goes off. Then another. * Photographers are taking her picture. With a fury we haven't * seen before-- * STACKS * No pictures! She's a little girl! * Stacks shields her and walks her back to the Nitro. * Meanwhile, Karl goes up to Nash. * KARL * What was she talking to you about * earlier? * NASH * She asked us to try and find her * parents. But it's a dead end. I * even called my old buddies on the * force. There's nothing on that kid. * KARL * That's genius. * He hurries off leaving a confused Nash. As he runs he pounds * away on his phone, at work on something. Nash helps Annie * and Stacks into the Nitro. * 97 INT. HANNIGAN'S APARTMENT - LATER THAT NIGHT 97* Hannigan is watching a video of her C+C Music Factory * performance on the Arsenio Hall Show from 1991. The intercom * buzzes. She stumbles to the door. HANNIGAN * Who is it? * 81.* KARL (O.S.) * Karl Danlily. From Stacks Mobile. * She looks out the window. Good-looking man in a tuxedo. * SECONDS LATER. She's quick-changed into a dress. She checks * herself in the mirror and spritzes herself with what we hope is perfume. She strikes a pose and opens the door. HANNIGAN * Hello there. * KARL * Colleen Hannigan? * HANNIGAN * My maiden name. But I'm not married * to it. If you know what I mean. KARL * Sorry to bother you so late. Can I * buy you a drink? HANNIGAN * God yes. * 98 EXT. HANNIGAN APARTMENT - MOMENTS LATER 98* Hannigan and Karl walk to a waiting Towncar. The girls see * this from their fire escape. GIRLS * (kissy noises) * Woooooh! * HANNIGAN * Get back inside! * 99 INT. TAKE-HOME BODEGA - SAME 99* Lou watches through the window, crushed. * 100 INT. ANNIE'S ROOM - LATER 100* Stacks and Grace look in. Annie and Sandy are asleep in the * closet. * 101 INT. STACKS LIVING ROOM - LATER 101* Stacks and Grace are mid-conversation. * 82.* STACKS * ...I've been telling her she can do * anything she wants in this city, but we haven't even taught her to read. * (then) * We gotta get her a tutor. * GRACE * For her though, right? Not the P.R. * STACKS * For her. * (off her smile) * What? * GRACE * Your secret's safe with me. * (off his look) * That you care. * STACKS * About kids in New York, yeah I care. * GRACE * It's not kids in New York. It's * Annie. * 102 INT. RED ROOSTER RESTAURANT - LATER 102* Karl and Hannigan are mid-drink at the famous Harlem eatery. * A jazz band plays. The Leaping Lizards. * HANNIGAN * You have pointy earlobes. You know * what they say about men with pointy * earlobes... * KARL * I don't. I want to talk to you about * Annie. HANNIGAN * (crushed/disgusted) * Of course you do. * She downs her drink and signals for another. * KARL * What do you know about her parents? * And what does she know about them? * Any and all details. * Hannigan just stares at him. * 83.* HANNIGAN * What's your game, dude? * KARL * What? * HANNIGAN * I know who you are. You're that guy * in all the photos who lurks in the background, pulling strings, cleaning * up messes. * KARL * I don't lurk. * HANNIGAN * So what is this: are you pulling, or * are you cleaning? * He looks at her. Then drains his drink. * LATER. Hannigan and Karl have both been drinking. * KARL * ...So if he wins, I get paid a * fortune. More than anything I've * ever made, combined. * HANNIGAN * Why so much? * KARL * It's like getting paid long odds on * a dark horse. You know how hard it * is to get Teddy Stacks elected? * HANNIGAN * There've been worse politicians. * KARL * I know. I've got them elected. But * I'm over it. Over being the cockroach * everyone needs but treats like... * HANNIGAN * A cockroach. * KARL * Exactly. This is my last roll at * the table. Get paid and I'm out. * HANNIGAN * There's no such thing as a way out. * (MORE) 84.* HANNIGAN (CONT'D) Trust me. KARL * There's always a way out. Trust me. * And in this particular case, it's all * about finding Annie's parents. * HANNIGAN * They don't exist. * KARL * But we can make 'em exist. We fake * 'em. Get two people to pretend to * be her parents. They'll know every * detail and miraculously show up right before the election. Add water, * instant parents. HANNIGAN * Rinse and repeat. * KARL * What? * HANNIGAN * I don't know, I'm just getting really * excited. What's in it for me? KARL * Same as me. Ka-ching. And no more * being the cockroach. * HANNIGAN * I knew I liked you. * She leans over to kiss him. He pulls back, confused. * HANNIGAN (CONT'D) * We're not doing that now? Got it. * He raises his glass. * KARL * To a way out. * HANNIGAN * To easy street. * They toast. The band starts playing a jazz version of "Easy * Street." 85.* HANNIGAN (CONT'D) * Easy Street, Easy Street/ Where you * sleep till noon/ Easy Street/ Better get there soon. KARL * You don't get there/ By playing from * the rule book/ You stack the aces/ You load the dice/ HANNIGAN * Not by listening to your priest's * advice. (then, to Karl) * Is it priest? Rabbi? What are you? * KARL * I'm nothing. But I know where I'm * going... The band changes from jazz to current as they get up and * sing and dance throughout the restaurant. HANNIGAN/KARL * Easy Street, Easy Street/ Where the * rich folks play/ Yeah yeah yeah. HANNIGAN * (re: dancing) * You're really good. * KARL * I did musicals in high school. I * was Danny Zuko. HANNIGAN * I was Sandra Dee! * KARL/HANNIGAN * A wop ba-ba lu-mop, a wop bam boom! * KARL * We found our ticket out. * HANNIGAN * Time to end the drought. * KARL * Move your feet. * HANNIGAN * To Easy Street. * 86.* Big dance number. Acrobatic, athletic, artistic. Hannigan * leading the way -- she's really great. And Karl is surprisingly nimble. KARL/HANNIGAN * Easy Street, Easy Street/ Where you * sleep till noon/ Easy Street/ Better get there soon. They dance out of the club and the music drops out, and they * go a cappella-- 103 EXT. RED ROOSTER RESTAURANT - CONTINUOUS 103* KARL/HANNIGAN * Easy Street, Easy Street/ Where the * rich folks play/ Yeah yeah yeah./ Easy Street, Easy Street/ That's where we're gonna be! She twirls in and ends in his arms. Two passing teens notice * this and throw them a look. Hannigan and Karl immediately break and it gets super awkward-- KARL * So, see you tomorrow? * HANNIGAN * Yup. * They head off in different directions. * 104 INT. STACKS MOBILE LOBBY - THE NEXT MORNING 104* Annie walks off the elevator with Sandy. Stacks approaches. * STACKS * Can I walk with you? * ANNIE * Uh, sure. Here you go. * She hands him a plastic bag. * STACKS * What's this for? * ANNIE * You'll find out. * 105 EXT. 6TH AVENUE - LATER 105* Annie and Stacks walk Sandy. 87.* STACKS * But I saw you sign your name. * ANNIE That's all you gotta know how to do. Then they just assume you can read. STACKS None of your teachers know? How is * that possible? ANNIE I'm good at hiding it. * A bus goes by with some ads on it. ANNIE (CONT'D) That's an uptown bus, you can tell * by the numbers. That's an ad of you * running for mayor. * It's been graffitied with a moustache and glasses. * STACKS * I like that mustache. Glasses are a * bit Harry Potter. * ANNIE * I also listen to the news. "The Dow * is up 56 points today and Teddy Stacks * is sinking in the polls." So people * think I'm smart. * STACKS * You are smart. And it won't take * you long to learn to read. I'm * getting you a tutor. * ANNIE * That's okay, I don't-- * STACKS * (stern) * You're getting a tutor. * ANNIE * That was more Voldemort than Harry * Potter. * STACKS * My knowledge of Harry Potter ends at * Harry Potter. Is Baldercat bad or * good? * 88. Annie laughs and accidentally drops Sandy's leash. She takes * off. STACKS Sandy! He starts after her. Annie stays put. After two steps Sandy stops, turns around, and sits. STACKS Why didn't she run away? ANNIE She knows how good she's got it. Stacks pets Sandy. She doesn't spin in circles, bonded. ANNIE (CONT'D) * ...And you're about to learn what * that plastic bag's for. * 106 EXT. STACKS MOBILE BUILDING LOBBY - LATER 106 They return from their walk. Nash is there with the Nitro. * STACKS Hungry? I know a good place. Annie starts for the car. STACKS (CONT'D) Slow your roll. I got a faster way. * Stacks hands Sandy's leash to Nash. 107 INT. SUBWAY - LATER 107 Annie and Stacks ride the subway. Stacks looks uncomfortable. ANNIE Act like you've been here before. STACKS I used to ride the subway all the time. ANNIE When you backpacked through Europe? Stacks throws her a look as an old woman pipes up-- OLD WOMAN Are you someone famous? 89. STACKS Kind of. I'm Teddy Stacks. * OLD WOMAN * Oh. I'm not voting for you. You're * not likable enough. * ANNIE (laughs) He's getting better. The subway emerges from the tunnel. They're in Queens. 108 EXT. ROOSEVELT AVENUE, QUEENS - LATER 108 Annie and Stacks eat falafel at a street vendor. STACKS This is where I grew up. Haven't * been back here in forever. * ANNIE Why not? STACKS Nobody to come back to. ANNIE You don't have any family? * STACKS * (makes a fist) * Remember? * She takes his hand and puts up one finger. For her. * 109 EXT. HANNIGAN'S APARTMENT - DAY 109* Karl pulls up to see a line of people (African-American) outside the apartment. Pepper and Tessie are at a card table checking people in. Karl walks in the door. PEPPER Yo, suit. You gotta sign in. KARL For what? TESSIE You here for the auditions? KARL Oh my god. * 90. 110 INT. HANNIGAN'S APARTMENT - MOMENTS LATER 110* It's filled with people holding scripts, going over lines. * Karl runs in and down the hall. Mia is stationed outside * Hannigan's room-- * MIA * You can't go in there. Karl ignores her and opens the door to see-- * 111 INT. HANNIGAN'S ROOM - SAME 111 Another man and woman are auditioning (terribly) for Hannigan as Annie's parents. "Annie" is a mop with a red dress. MAN Oh, darling girl! It's so good to see you after all these years. WOMAN We've been trying so hard to find you and then we saw pictures of you with that nice man running for mayor. She fingers a half-locket around her neck. MAN Let's sing our special song only us three know-- MAN/WOMAN The sun'll come out pronto/ Bet your sweet bottom fella/ That pronto/ There'll be sun! KARL What the hell is this? HANNIGAN A disaster. (to actors) You're garbage. And pitchy. Next! They react and leave. KARL What are you doing? HANNIGAN You told me to find two people to play her parents. 91. KARL I meant some friends or some neighborhood toughs, not open auditions. HANNIGAN These are call-backs actually. I know, right? From that performance you're thinking, "what?" * KARL And why are they singing? HANNIGAN People love musicals. Bursting into song for no reason, it's magical. (sings) It's a magical world, it 'tis it 'tis! She rises and starts to dance with him. He's not having it. HANNIGAN (CONT'D) From the leaves of the trees, to the bottom of the-- KARL Stop! Do the kids know what you're doing? HANNIGAN No. I told 'em I'm staging an updated * production of Oliver. (side of her mouth) The update is that they're all black. KARL You're done. I'll get the parents. * Don't do anything else. I'll call you when I need you. HANNIGAN But-- KARL No buts. We're running out of time. He exits, leaving her alone. She walks over to "Annie" and strokes her "hair." She sings, melancholy-- HANNIGAN It's a magical world, it 'tis it 'tis. * 92. 112 EXT. QUEENS PARK - LATER 112* Stacks and Annie kick around an old tennis ball. Unlike in the earlier photo-ops they're both actually having fun. 113 INT. SUBWAY - LATER THAT NIGHT 113 Annie is asleep on Stacks's shoulder. The train stops and * the doors open. A street musician's saxophone wafts in. It's the melody to "Something Was Missing." Very quietly he sings to her-- STACKS I've made me a fortune/ That fortune made ten/ Been headlined and profiled again and again/ But something was missing/ I never quite knew/ That something was someone, but who? 114 EXT. SUBWAY STATION - LATER 114 Stacks carries a sleeping Annie up the stairs. Music continues-- 115 INT. STACKS APARTMENT - LATER 115 Stacks carries Annie in the front door. The lights turn on, the art changes, and the music becomes more present. STACKS My speeches are greeted with thunderous acclaim/ At two universities bearing my name/ Yes, something was missing each time I got through/ That something was someone, but who? 116 INT. ANNIE'S BEDROOM - MOMENTS LATER 116 Stacks puts Annie in her bed and takes off her shoes. He sits on her bed and sings-- STACKS Who could that someone be?/ How could she make it known?/ Who would need me for me?/ Need me for me alone?/ Her world was my oyster, but where was the pearl?/ Who dreamed I could find it?/ Yes something was missing/ But dreams can come true/ That something is no one but you. He goes to the walk-in closet and gets Sandy, who's sleeping. He pets her and scoots her on Annie's bed, as-- 93.* STACKS (CONT'D) Who would need me for me?/ Need me for me alone/ The world was my oyster But where was the pearl?/ Who'd dream I would find it in one little girl?/ Yes, something was missing/ But dreams do come true/ That something is no one.....but you. He takes one last look and leaves. 117 INT. STACKS APARTMENT - LATER 117* Stacks looks out the window at the city. He calls Grace. * STACKS * Let me ask you something. How hard * is it to become a foster parent? I * don't mean temporary, I mean, like a * permanent situation. * 118 INTERCUT WITH: INT. GRACE'S APARTMENT - SAME 118* GRACE * You mean adopt her? * STACKS * Whatever the word is. * GRACE * That's the word. * Grace smiles. * 119 INT. ANNIE'S ROOM - THE NEXT MORNING 119 Annie wakes up and realizes she's slept in the bed. For the first time. And kinda likes it. * 120 INT. STACKS OFFICE - SAME 120* Stacks and Grace are working, looking at a map on the wall of upper Manhattan. Through the glass they can see Annie * working with a tutor in the bullpen. Karl rushes in. * KARL We got our game-changer! Every * election needs a game-changer, and * we got our game-changer. * GRACE * Stop saying game-changer. * 94.* KARL Annie's parents. * (hands him a file) They saw a picture of Annie and called * us. * He hands Stacks a file, complete with pictures. * KARL (CONT'D) * They've been trying to find her for * years but there's nothing in the * system. * GRACE How do they know she's their daughter? * KARL * Well, they're the right age, kinda * look like her, they believe in * unicorns and dreams-coming-true. * And, oh yeah, I ran a DNA test. * (in Grace's face) * Boom goes the dynamite. * Stacks just stares at the file. * STACKS * I want to meet them first. Before * Annie finds out. * Unseen by Stacks, Karl sees Annie get up and head in. * KARL I wouldn't have it any other way. * You should totally be the one who... * tells Annie we found her parents. * Annie enters, having heard this. * ANNIE You found my parents?! * Stacks shoots daggers Karl. * GRACE Yes, honey. I think so. ANNIE No way! Really? KARL * We're meeting them this afternoon. * At this place called... Brunello's? * 95.* ANNIE * That's where the note is from! * KARL They also said something about a * locket? * ANNIE * I knew they'd come for me! * STACKS * This is great. I'm happy for you, * Annie. * ANNIE It's all because of you. Thank you * so much, Mr. Stacks. * She runs and hugs him. Stacks is dying inside. * 121 INT. STACKS NITRO/EXT. BRUNELLO'S - LATER 121* Annie, Stacks, Grace and Karl drive to Brunello's in silence. * Stacks cleans his hands with Purell. Back on it. * ANNIE Why are they all here? Stacks looks out the window to see a mass of people and press. * STACKS I said no press until after it's * confirmed. * KARL This isn't me. Someone must've leaked it. Grace? GRACE (threatening) * Say my name again. * ANNIE I don't get why people wanna be famous. STACKS They think it means people like them. They get out, hounded by the media. Stacks shields Annie. * 122 INT. BRUNELLO'S RESTAURANT - SAME 122 They enter to find Annie's "parents" sitting in the back. * 96.* Hannigan and Mrs. Gilmartin (both dressed to the nines) sit off to the side. The waiter and host come up. WAITER Very happy for you. She smiles and they walk back. The "parents" stand up. "DAD" * Annie! "MOM" * My girl! They hug her. Mom compares lockets with Annie. It's a match. * "MOM" * We thought we lost you forever. ANNIE Me, too. This is excruciating for Stacks to watch. * "DAD" * We were going through some tough * times and thought it'd be best if * someone else looked after you. * "MOM" * I've never forgiven myself for it. * "DAD" * When we got back on our feet we * couldn't find you. * "MOM" * But the angels were looking out. * Annie blanches a bit, "angels?" Hannigan comes up to Stacks. * HANNIGAN Hi, I'm Colleen Hannigan. From * Annie's old life. * STACKS * Yeah. Annie speaks highly of you. * HANNIGAN * She does? * STACKS * Wait. Do you own the bodega? * 97.* HANNIGAN * No, I was her foster mom. * STACKS * Oh. The singer. Annie said you * have a great voice. * HANNIGAN * She did? * ANNIE * You do. * STACKS * I loved C+C Music Factory. I did a * lot of damage to those songs. * KARL * Should we get started? * He signals for Mrs. Gilmartin. * MRS. GILMARTIN * Everything is in order, DNA test, * the judge signed it... We just need * signatures from the parents... * As the parents sign, Stacks takes Karl aside. * STACKS * Are we sure about this? * KARL * That this is gonna win you the * election? Yeah. Game-changer. * STACKS * No, this. * KARL * It's time to let go, Teddy. * Stacks shoots him a look. * MRS. GILMARTIN And the current temporary guardian... * Stacks lock eyes with Annie. She smiles, almost reassuring, * making him feel better. Stacks signs. * MRS. GILMARTIN (CONT'D) * ...And according to the state of New * York, you are officially reunited. 98.* KARL * Hooray! * ANNIE * Where do you live? "MOM" * New Jersey. ANNIE Ouch. * "DAD" * But we're moving to Argentina for my job. * "MOM" * I think you're gonna like it there. * She brushes some hair from Annie's face. Something feels * off about the whole thing to Annie. * ANNIE * Can I go back with Mr. Stacks? Say * good-bye? * "DAD" * Uh, we were kinda hoping to get on * the road... * "MOM" * It's fine. We'll pick you up at * four. She hugs Annie. Annie is happy, but yet... * 123 EXT. BRUNELLO'S - MOMENTS LATER 123* They all exit through the throng of press, now yelling out * questions about how it feels to be reunited. From Annie's POV, it's a horror movie. Hannigan hangs back with Karl. HANNIGAN How'd you do that DNA test? KARL You can do anything with money. * She looks at him, then over at Annie, who looks more * vulnerable than ever. HANNIGAN Who are those people? * (MORE) 99.* HANNIGAN (CONT'D) What's your plan with her? KARL * Doesn't matter. She served her * purpose. * HANNIGAN * She's still a little girl. * KARL Why do you care? Just go home and * keep your mouth shut. * HANNIGAN You can't talk to me like that. I know things. Karl gets right in her face. KARL Then if you know what's good for * you, you'll go home and keep your mouth shut. * And off he goes, leaving Hannigan stunned. What has she * done? She watches as Annie fights her way through the crowd. 124 INT. TAKE-HOME BODEGA - SAME 124 Lou is watching this on TV with the girls. * PEPPER She look happy to you? * LOU Oh, mija. They're all concerned. 125 EXT. BRUNELLO'S RESTAURANT - SAME 125 Annie, Grace, and Stacks are in the Nitro. * KARL (to the press) * Mr. Stacks is thrilled for Annie and her parents. Never-Drop-A-Citizen. Vote Stacks on Election Day. He gets in and they drive off, photographers running after. * 100.* 126 INT. STACKS NITRO/EXT. BROADWAY AND 69TH STREET - LATER 126 They ride in silence. Nash looks at Annie in his rear view mirror. Then at Stacks. They both look the same. Down. 127 EXT. HANNIGAN'S APARTMENT - LATER 127* Hannigan walks slowly up the block, something on her mind. * The girls are playing handball outside. Mia mis-hits and * the ball flies toward Hannigan. The girls wince. But * Hannigan just catches it and tosses it back. * HANNIGAN * Be careful in the street, honey. * They all look at each other. Whaaaat? She continues to * Lou's bodega. 128 INT. TAKE-HOME BODEGA - SAME 128* Hannigan walks in. Lou is watching TV. Annie and Stacks * are on the news: "MAYOR STACKS? GRAY LEAD CUT TO 1 POINT." * LOU Hey, baby. Haven't seen you in here * for a minute. How you doing? * HANNIGAN Not good. LOU You want me to make you a sandwich? Roast beef? HANNIGAN You ever do something you think is a good idea at the time, but then after, you're not so sure? LOU Three ex-wives. Yes, yes, and si. (then) What happened, baby? Whatever you * did, you know I'll help. HANNIGAN Why are you so nice to me, the way I treat you? * LOU * 'Cause under all that bitter, there's a sweet lady with a big heart. She's * just been gone for awhile. * 101.* 129 EXT. TAKE-HOME BODEGA - MOMENTS LATER 129* Hannigan walks out and starts singing a new song "Who am I?" * HANNIGAN * Who am I, what have I become?/ Do I * stand for something or for money?/ * Who am I and where's my good girl gone?/ You know I had a good heart * once you see. * 130 INTERCUT W:/INT. STACKS APARTMENT/ANNIE'S ROOM - CONTINUOUS 130* Stacks walks through the apartment, looking out the window * at his city. STACKS * Who am I now that the armor's gone?/ * You gave me what I didn't know I needed./ Who am I now that my heart * is won?/ I didn't know I needed * anyone. * STACKS/HANNIGAN * But I got today./ I gotta make the * best I can of it./ 'Cause yesterday * is dead and gone./ And me along with * it./ I want to start again./ So I * look within, remember what I wanted/ * 'Cause I don't know who I've become./ * But I will trust in it, but I will * trust in it. As Annie packs in her room-- * ANNIE * Who am I? I've spent my life alone./ * Forever looking for someplace to call home./ And who am I, about to * meet myself./ This should feel right * but something don't./ I want to start * again./ So I look within, remember * what I wanted. * STACKS/HANNIGAN/ANNIE * 'Cause I don't know who I've become./ * But I will trust in it./ But I will * trust in it./ Oh I will trust in it./ * But today I gotta make the best I can of it./ 'Cause yesterday is dead and * gone./ And me along with it./ I want * to start again. * 102. It ends with Hannigan looking up at the fire escape at the * girls; Stacks looking at a picture of him and Annie; and * Annie sitting on her bed with Sandy, holding her locket. * 131 INT. STACKS KITCHEN - LATER 131* Annie and Stacks enter the kitchen from different sides. * Awkward silence. There's so much to say, and yet... * STACKS Want something to eat? ANNIE Always. * LATER. They both stare into the refrigerator. * STACKS My turn. LATER. All the containers are on the counter. Annie picks-- ANNIE That stuff, that, whatever that is, that liquidy thing, and that goo. STACKS I think that's mold, but I'll work around it. LATER. Stacks tries to use the kitchen equipment. He has no idea what he's doing but he gives it his best. Annie laughs hysterically. He eventually plates the food. * STACKS Be prepared to change the way you look at food. ANNIE (looking at it in disgust) I think I already have. They both take a bite. And then, in unison, both spit it * out across the kitchen. Two of a kind. Sandy laps it up. Stacks steels a glance at Annie. His heart aches. 132 INT. STACKS LIVING ROOM - LATER 132 Annie sits on a couch with her backpack and Sandy at her feet. She texts her friends good-bye: frowny-face and waving- * hand emoticons. Stacks walks in and sits next to her. * Melancholia. Annie hands him her cell phone. * 103. ANNIE * This won't work in Argentina. STACKS Not yet. We're only in Venezuela, Ecuador, parts of Colombia, actually mostly Southern Colombia, Bogota's tough to penetrate-- (off her look) Not that interesting? ANNIE I got you something. She hands him a terribly wrapped present with a note attached to it. He looks at the note as emotion floods. It's a drawing of Annie and Stacks, holding hands. Underneath it reads "Annie (heart symbol) Stacks" in Annie's handwriting. Annie points to the "Stacks"-- ANNIE I copied my phone. He can barely contain himself. So he does what all men do when they don't want to show emotion: busy themselves. He opens the gift. It's a Moonquake Lake DVD box set. * STACKS I get to find out where Gwarklark came from?! Is he part-fish? Don't say anything, don't say anything. Just hug already. But they don't as Grace walks in. They're * here. Stacks nods. Karl enters with the "parents." "MOM" * Annie! You ready? * Annie nods, gets up, and walks to her "parents." "DAD" * We're going right to the airport. GRACE It's been so great getting to know * you. You're a special girl. She hugs her. Annie whispers in her ear-- ANNIE You should punch Mr. Stacks in the face. So you can play in the park. * 104.* Grace laughs and gives her a kiss. * STACKS * I'd like to help you out. "DAD" * Very nice of you, but we don't believe in hand-outs. Just hand-ups. (re: Annie) And you already gave us one. * Stacks goes to Annie and... shakes her hand. * STACKS * Bye, Annie. * He holds her as they lock eyes. Heart crushing. * STACKS (CONT'D) * Never slow your roll. * Annie nods and heads out, Sandy following. * "DAD" * What a cute dog. Sandy immediately starts running in circles. Annie grabs * her leash and heads out with her "parents." There is silence * as they hear the door close. Karl checks his iPad-- KARL The press is eating this up! We're * gonna crush. Goodbye, Harold Gray. * Go back to your lame life as a non- * profit do-gooder. * Grace looks at Stacks. He's in pain. * 133 EXT. STACKS MOBILE BUILDING - MOMENTS LATER 133 Annie, Sandy, and her "parents" emerge to a throng of paparazzi. Nash clears the way for them as they get in their car. As Nash closes the door-- * NASH Give 'em hell, kid. And they're gone. 134 INT. "PARENTS" CAR - MOMENTS LATER 134 They drive west. Parents in front, Annie in back. 105.* ANNIE Is it cold in Argentina? Mom and Dad whisper to each other. Odd. Sandy's on edge. * 135 INT. STACKS MOBILE OFFICE - LATER 135 Stacks, Karl, and Grace work away. Karl notices something through the glass. It's Nash with Hannigan, Lou, and all the girls. They walk in. NASH I think you should hear this. * TESSIE * Annie's in trouble. HANNIGAN * Those weren't her parents. * GRACE * What's going on? * KARL Ignore her, Teddy. She's clearly * insane. * LOU Watch your mouth, essé. STACKS * What do you mean, those weren't her * parents? Where's Annie? * (gets in his face) Where is Annie? 136 EXT. 10TH AVENUE - MOMENTS LATER 136* Annie's scared, clutching Sandy. ANNIE Can we stop? I gotta go to the bathroom. "MOM" * Can you hold it? * ANNIE * I really gotta go. * "DAD" * Just shut up! * 106. 137 INT. STACKS MOBILE OFFICE HALLWAY - MOMENTS LATER 137* They all bustle down the hallway. * HANNIGAN * I'm so sorry. I didn't know what * would happen. GRACE * (hangs up) * Just talked to the police. They're putting everyone on it. STACKS How could you not know who has her? KARL Plausible deniability. I have a guy who just takes care of it. STACKS Why doesn't that guy know? KARL 'Cause he has a guy. It's what keeps our hands clean, trust me. * STACKS * Trust you? I can't trust you! What * the hell is wrong with you? * KARL * I did what you told me to. * STACKS I never told you to do this. KARL Whatever it takes, remember? You just don't want to know how it gets done. This is just as much on you. They turn the corner and open the door to the-- 138 INT. STACKS MOBILE TELECOM HUB - SAME 138 TECHNICIAN We got her cell phone. The map shows the cell phone is... in the building. Zooming * in, it's actually in Stack's living room. * 107. ISABELLA * She's upstairs! STACKS No. She gave me back her phone. * (slams the console) * Let's call the press. * KARL No! You're gonna undo everything * we've done. Just wait 'till the election's over. MIA * What about Annie? KARL Who cares? She's just one girl. * Grace punches him in the face. He screams like a kid. * PEPPER That's not 'cause she likes you. 139 INT. CAR - LATER 139 They speed uptown. ANNIE Where are we going? "MOM" * We're just gonna take you somewhere for awhile. ANNIE * You're not my parents are you? The parents glance at each other, not responding. The car has come to a stop in traffic. Annie tries to open the door. Locked. She tries the other door. Locked. Windows? Locked. ANNIE Let me go! When Mr. Stacks finds out about this, you're-- "DAD" * He doesn't need you any more! Why * do you think we're taking you? Mom jabs Dad, "be quiet!" 108. ANNIE You work for Mr. Stacks? No answer. Annie can't believe it. Betrayed. The car starts * to move. She looks out the window, tearing up. A car pulls up next to her, with two kids in the back. They brighten, recognizing Annie. They roll down the window and start snapping away with their phones. ANNIE Help! Help me! "DAD" * Hush! Dad peels out, going through a red light. Flash. "DAD" * Don't do anything stupid. Annie looks out the window as the car is forced to slow again. She gets an idea -- and taps on the window getting the attention of some pedestrians. It's Annie! They snap away... 140 INT. STACKS MOBILE TELECOM - CONTINUOUS 140 They're huddled around the screens. Nash has Karl in a chair, nursing his eye. STACKS Listen to every call within a two mile radius. LOU I knew you could do that. * ISABELLA * Someone posted a picture of Annie on twitter! They all look at her phone; it's the picture those kids took. * STACKS Where was it taken? ISABELLA Doesn't say. PEPPER Another one! On an Annie blog. She shows her phone. Another picture. 109.* PEPPER (CONT'D) 56th and 7th! * STACKS Let's go. They all head out. * 141 INT. HALLWAY - CONTINUOUS 141* They march down the hall. * KARL * You do this and everyone's gonna * find out what happened. Forget about * mayor, it's gonna kill your business. * STACKS * (to Nash) * Take this cockroach to the police. * NASH * Happily. * He grabs Karl as Stacks et al keep hustling down the hall. * KARL * You're making a huge mistake! Think * about everything you've worked for. * STACKS * That everything means nothing to me * now. * Nash shoves Karl against the wall. * 142 EXT. DOWNTOWN MANHATTAN HELIPORT - LATER 142* Stacks heads for his helicopter with Grace, Hannigan, Lou * and the kids in tow. They exchange looks, how cool. LATER. They take off, Stacks at the controls. * 143 INT. STACKS CHOPPER/EXT. NEW YORK CITY SKY- LATER 143 They rise into the sky. TESSIE (off her phone) Instagram. 57th and 7th! HANNIGAN * Is anyone else dizzy? 110.* Lou puts a comforting arm around her. * 144 INT. CAR/EXT. NEW YORK STREETS - SAME 144 Annie is doing everything she can to be noticed by the public, * but not the "parents." This involves a lot of bobbing and * ducking, but she's succeeding. Until-- * "DAD" * What are you doing?! He looks out and sees some people taking her picture. He * reaches back and tries to grab her, but she eludes him. * Sandy starts barking. The car swerves. * 145 INT. STACKS CHOPPER/EXT. NEW YORK SKY - LATER 145* They fly after Annie. MIA (off phone) Just posted on Central Park South. WE GO CLOSE on Stacks and Grace. She puts her hand on his, * comforting. * GRACE We'll find her, Teddy. She reaches over and rubs his shoulder. They fly in silence. * 146 INT. CAR/EXT. CENTRAL PARK - CONTINUOUS 146 They drive up Central Park South. "MOM" * Oh no. She sees what Annie sees. The police have found them. He peels into the park. They can see the helicopter approaching. * ANNIE Just let me go! He speeds up. A police car appears up ahead. Dad veers * over the curb, through a fence, and onto the Great Lawn. * SHOT FROM ABOVE we see the car gain distance on the police. * 147 INT. STACKS CHOPPER - SAME 147 PEPPER There they are! 111. LOU Cut 'em off, bro! HANNIGAN I am crazy dizzy. * Stacks pilots the chopper in front of the speeding car. Through the window he can see Annie in the back seat. STACKS Annie! He lands right in front of the car, forcing it to slam on the brakes. Dad then tries to reverse, but Stacks takes off again and blocks them from behind. He stays there as the police cars speed up and box them in. Game over. 148 EXT. CENTRAL PARK'S GREAT LAWN - CONTINUOUS 148 Stacks shuts off the copter as they all jump out. Dad and Mom try to run off, but Lou gives chase and tackles Dad just as the police arrive. They grab him and Mom. Stacks runs * up to Annie, Sandy by her side. STACKS Annie! Are you okay? He goes to hug her. But she shoves him away, eyes filled with tears. ANNIE Get away from me! You don't care * about me. I was just an opportunity to you. STACKS That's not true. ANNIE It is true! You did all this to me * just so you could be stupid mayor. STACKS No, honey. You gotta trust me. ANNIE I can't trust you. I can't trust anybody. She runs away, but Stacks doesn't let her go. * ANNIE Just leave me alone! 112.* STACKS I'm so sorry this happened to you. I can't look you in the eye and say I had nothing to do with this. But * I swear to you, I did not know those * weren't you real parents. You gotta * believe me. * Annie just looks at him. She wants to believe him. STACKS (CONT'D) I thought that working hard was all * that mattered; it's what my parents * did. But you made me realize it all * means nothing if you don't have * someone you can count on your hand. * (puts out one finger) * This is you, Annie. This is you. * He draws her into a hug. She resists at her first, but * quickly succumbs. They hug, emotional, cathartic. Finally. * Then he turns to the assembled press-- * STACKS (CONT'D) I officially withdraw from the mayoral election. The city needs a better person than me as its leader, I need * to focus on what matters most. And that's an amazing little girl named Annie, my family. Everyone reacts. LOU I wasn't gonna vote for him anyway. Stacks sings to Annie-- STACKS Yes, something was missing/ But dreams do come true/ That something is no one... but you. * He gets right up close to Annie. Everyone is watching, the press filming away. * ANNIE I need one more thing from you. STACKS (laugh/cries) Always on the hustle. Let's hear it. * 113. She holds up two fingers and nods to Grace. * ANNIE Stop playing games. * STACKS That's an easy one. * He walks over to Grace. STACKS (CONT'D) Not knowing what I have in front of me has been a problem of mine for a long time. But I'm learning. (takes her hand) Will you go out with me? GRACE What? * STACKS I can't function without you. And I don't mean at work. (then) And you were right about this whole mayor thing. And about Karl. And about last quarter's earnings. And about-- She kisses him. The girls all go "Whoooo!" Stacks goes to * Annie and takes her hand. * STACKS Family? (off her nod) Together at last. ANNIE Together forever! And they start to sing, magically-- STACKS We're tying a knot/ They never can sever! ANNIE I don't need sunshine now/ To turn my skies to blue. STACKS/ANNIE I don't need anything but you! 114. STACKS You've wrapped me around that cute little finger./ You've made life a song/ You've made me the singer! ANNIE Today was just plain awful. STACKS (speaks) Today was a straight-up nightmare. (sings) But that's not now. ANNIE That's then./ You're not warm and fuzzy. STACKS And you're not the most shyest. STACKS/ANNIE But nothing on earth could ever divide us! I don't need anything but you! Annie does a dance. Then nudges Stacks to copy her. Begrudgingly, he does. And he's fantastic. Then they dance together to the delight of everyone watching-- * 149 INT. MCSORLEY'S TAVERN - SAME 149 Guys at the bar are watching this on TV. They're shocked-- GUY He keeps singing and dancing, there's no way he was gonna win. 150 EXT. CENTRAL PARK'S GREAT LAWN - SAME 150 Annie and Stacks dance some more. STACKS/ANNIE Together at last./Together forever. Hannigan and Lou sway with the music. HANNIGAN Everybody dance now! LOU (shushes her) It's their thing, mami. 115. HANNIGAN Sorry. GRACE Annie, you filled our life with a song/ You're two of a kind The happiest pair now/ You're floating on air now/ And what's the title of the dream? STACKS I don't need anything. ANNIE Anything. STACKS/ANNIE Anything. I don't need anything but you. They dance a duet, what we've been waiting for. It's fantastic: dynamic, gymnastic, fluid, and just plain awesome. In the background, the police take the "parents" away. WE GO CLOSE ON Annie and Stacks. The music changes to the beat * of "Tomorrow." * 151 EXT. CENTRAL PARK 59TH STREET ENTRANCE - MOMENTS LATER 151* STILL CLOSE ON Annie and Stacks. PULL BACK to reveal they're now at the entrance off 5th Avenue, and they're with Hannigan, Lou, Grace, and all the girls. In a real-time, large scale reprise of "Tomorrow" they sing and dance as they walk to Stacks Headquarters. Like earlier, as they move, people around them mimic their dance. Annie in the lead, literally bringing happiness to New York City. It becomes massive. Shot from above and all sides it's a citywide dance number with pedestrians, cyclists, cabbies, cops, construction workers, etc. all dancing. ALL * The sun'll come out tomorrow/ Bet * your bottom dollar/ That tomorrow there'll be sun./ Just thinkin' about * tomorrow/ clears away the cobwebs and the sorrow/ 'Til there's none. * Just thinkin' about tomorrow/ Clears * away the cobwebs and the sorrow/ 'Til there's none./ When I'm stuck with a day that's gray, and lonely, I just stick out my chin and grin, and say oh!/ The sun'll come out * tomorrow! So ya gotta hang on 'til * tomorrow/ Come what may/ Tomorrow! * (MORE) 116.* ALL (CONT'D) Tomorrow!/ I love ya tomorrow!/ You're * always a day away! * CLOSE ON our cast as the music continues-- * 152 EXT. STACKS LITERACY CENTER OF NEW YORK - MONTHS LATER 152* PULL BACK at a ribbon cutting ceremony at the brand new Stacks * Literacy Center in Harlem. The high school marching band * augments "Tomorrow" and gives it a brassy tone as Annie reads * the teleprompter-- * ANNIE * ...The city is full of opportunity, * it's yours to take. EVERYONE * Tomorrow! Tomorrow!/ I love ya * Tomorrow!/ You're always a day away! * Tomorrow! Tomorrow!/ I love ya Tomorrow!/ You're always a day away! Big finish. Except for-- * HANNIGAN Tomorrow!/ I love ya Tomorrow!/ You're always a day away! (scats) To-ma-ma-ma-ro-ro-ro. Just a day- day-day-day, just a day-day-day, awaaaaaaaaaaaaaaaaaay! Scibilabapbop babadoooo! She realizes they're all looking at her. She clears her throat, chastened. The music continues... FADE OUT: *