056809 jirector: Joshua srand NORTHERN EXPOSURE #78701 written by Joshua Brand and John Falsey V. April 27, 1990 May 3, 1990 pink pgs May 7, 1990 yellow pgs May 8, 1990 green pgs May 14, 1990 gold pgs May 15, 1990 buff pgs Copyright 1990 CINE-NEVADA, INC. All Rights Reserved. No portion of this script may be performed, reproduced, or used by any means, Or quoted or published in any medium without the prior written consent of Cine-Nevada, Inc. 11850 Wilshire Blvd. #100, Los Angeles, CA 90025.

(78701) NORTHERN EXPOSURE - "Pilot" REGULARS JOEL FLEISCHMAN MAGGIE O’CONNELL MAURICE MINNIFIELD HOLLING VINCOEUR SHELLY CHRIS ED GU CAS MARILYN RUTH-ANNE PEDERSON STEWARDESS BUSINESSMAN PETE GILLIAM TEENAGER PATIENT #12 LOGGER WIFE CAST 5/7/90

{73701) NCRTHEIRN EXPCSURZ - w ACT ONE FADE IN: INT. PLANE - NIGHT We slowly PAN an aisle of seats, past darkened rows of sleeping passengers. JOEL (0.C.) Don’t get me wrong, I‘m not kidding myself. Anchorage isn’t New York City but it’s not Cambodia, right? Do you have any idea how many Chinese restaurants there are in Anchorage? Five. Fourteen movie theaters, two practically kosher delis and if we’re talking about our buns off, the median temperature is only five degrees lower th=2= Frenchlick, Indiana, despite the differential in precipitation. A STEWARDESS passes into frame as we HOLD on JOEL FLEISCHMAN who reaches out, stopping her. He’s twenty-seven, verbal, quick-witted, who’s never been west of the Mississippi. ruddy-faced, beefy BUSINESSMAN sits next to Joel, magazine in his hands. JOEL (to Stewardess) One more ginger ale and another... (indicating businessman) ...Scotch for the buisnessman. Stewardess reaches across Joel, picks up three liquor bottles off the Businessman’s tray and exits. JOEL (CONT’D) So, anyway, it’s not as if Alaska was in my game plan. But the fact is I always felt medicine was for me ever since I played ‘doctor’ with Katie Kaplan in the second grade. Businessman looks at Joel, who smiles. JOEL (CONT’D) I had the desire, the grades, I didn’t have the bucks. Do you have any idea what it costs to go through medical school? Alot. I know what you’re thinking -- scholarship, right? Let’s face it, Jewish doctors are not exactly an endangered species. (CONTINUED)

(78701) NORTHERN EXPOSURE - "Pilot" 1 CONTINUED: Stewardess Stewardess returns with the scotch and ginger ale. STEWARDESS Three dollars, please. JOEL (reaching into pocket) So, seventy-five scholarship applications later, seventy-four turn downs -- only one comes through. Alaska. BUSINESSMAN (despite himself) Whatdya mean? leaves. JOEL Well, the State agreed to finance my medical education to the tune of 125,000 dollars and in return I agreed to be their indentured slave for the next four years. [S] Beat, as Joel eyes the Businessman, waiting for a reaction. None comes. JOEL What? BUSINESSMAN Have you ever been to Alaska? JOEL Of course, of course -- what kind of a schmuck do you think I am? (pulls photo out of wallet, hands to Businessman) ...Elaine -- she’s a third-year law student at N.Y.U. -- we came out last summer and we loved the place. Well, not loved, but we agreed that it’s definitely doable. (pulls out brochure) We’ve rented a brand-new two-bedroom condo on Chicataqua Lane: Olympic pool, sauna, racquetball and tennis courts -- the whole schmear -- not to mention PGA-approved 18-hole golf course, which in the winter is perfect for cross-country skiing. (CONTINUED)

1 2 CONTINUED: 2 Joel smiles, nods expectantly, eyeing the Businessman as he holds the photo of Elaine in one hand, the brochure in the other, looking from one to the other, weighing them. JOEL So, whatdya think? Businessman stares at photo of Elaine, burning a hole through it. BUSINESSMAN Not bad. Joel grabs the photo of Elaine from him. BUSINESSMAN Do you hunt? JOEL No. BUSINESSMAN Fish? JOEL I’ve eaten themn. - Businessman smiles, hands the brochure back to Jcel. JOEL What’re you saying? What‘re you trying to say? trying to tell me something? BUSINESSMAN Good luck. Joel nods, gauges the Businessman, who sips his scotch, then clicks off his overhead light. Eyes darting, Joel leans back... A long beat, then he clicks off his overhead lighting, throwing the plane into darkness. DISSOLVE TO: EXT. AIRLINE TERMINAL - ANCHORAGE over the din of airplanes, we see Joel, bags in hand, golf clubs over his shoulder, exit the terminal. JOEL (calling) Taxi! Joel continues as two cabs fly by. He sees another cab and lets out a ferocious whistle.

ANOTHER. ANGLE As the taxi passes out of frame, then stops, and pulls back into view. The trunk pops open. On Joel tossing stuff into the open trunk =-- CUT TO: INT. HALLWAY - DAY Joel sits with his suitcases and golf clubs on a hard wooden bench in a long empty hallway. We see a man, PETE GILLIAM, a mid-thirties yuppie, approaching. GILLIAM (cheerful) Joel! Sorry, it’s been crazy. They shake, Pete picks up the golf clubs, enters his office. Joel stands, grapples with the suitcases. GILLIAM (0.C.) Great seeing you again. How was the flight? As Joel enters the office. CUT TO: INT. OFFICE Joel sits across from Gilliam, who sits behind his desk. JOEL I’'m gonna need a day or two to get settled in at the condo -- phone, cable, that sort of thing. GILLIAM (studying paperwork) Uh-huh, uh-huh. JOEL You know, before I check in at the hospital. GILLIAM (smiling, looking up) I’'ve got some very exciting news, Joe. JOEL Joel. Really? Gilliam bends down, reaching into lower desk drawer. (CONTINUED)

(78701) NORTHERN EXPOSURE - "Pilot" 5/3/30 o 5 CONTINUED: GILLIAM Have you ever been to the French Riviera? JOEL In France? Gilliam rises up with folder. . GILLIAM My lady and I were doing Europe. Did the Rivieras -- French and Italian -- then jumped up to scandinavia -- she’s Danish, a model -- before jumping down to Zermat... It’s in Switzerland. JOEL Sounds pretty good. GILLIAM You’d think. Actually it was incredibly unbelievably disappointing. . JOEL Really? Why? GILLIAM Because, Joel, after you’ve experienced Alaska -- and I'm talking about the Real Alaska -- everything pales in comparison. Joel nods, impressed. GILLIAM Which brings me to my big surprise. (smiling) We don’t need you. JOEL What are you talking about? GILLIAM You’re expendable, Joel. You’re superfluous. JOEL You’re yanking my chain, right? GILLIAM (smiling) A Nope. We over-funded and at present have more physicians than we need. (CONTINUED)

5 CONTINUED: Joel looks 2 JOEL (stunned) This is great news. (standing) I mean, that is just -- that’s incredible! So what saying is you don’t need me. GILLIAM (smiling) That’s right. JOEL (beside himself, sitting) This is incredible news. GILLIAM So we’ve decided to set you up in Cicely. up confused, smile fading. GILLIAM (smiling) Situated in the area we Alaskans refer to as the Alaskan Riviera. Oon this, Gilliam opens the folder, turns it to Joel. GILLIAM Ideal weather, breathtaking scenery -- shopping, dining -- Aspen has nothing on this place. JOEL (studying brochure) Where is this Cicely? GILLIAM A bus ride from Anchorage. JOEL Uh--huh, uh-huh... GILLIAM We’ve arranged for lodging, an office facility and the city is extremely excited. JOEL Uh, huh. Uh, huh... what if I don‘t like it? GILLIAM Then you leave. (CONTINUED)

(78701) NCRTHERN EXPOSURE - "Pilot" 5/7/30 CONTINUED: 3 Joel looks at him. A beat. JOEL So, what you’re saying is, if I don‘t like it, I can leave? GILLIAM Absolutely. Joel takes brochures. JOEL It does look pretty. GILLIAM It’s gorgeous. I don’t mean to be rude, Joel, but I have a meeting and you have a bus to catch. Gilliam stands, Joel stands. GILLIAM (CONT’D) We’ll take care of your bags. Maurice Minnifield, the head of the Cicely Chamber of Commerce, will be there to welcome you and help get you settled in. Great seeing you again, Joel. Gilliam exits. Joel stands a moment, then, JOEL Pete! INT. OUTER OFFICE JOEL My ticket. GILLIAM No flies on you. ) (hands Joel ticket) We’ll talk. How is that pretty lady of yours? JOEL She’s fine, thanks. GILLIAM You’re a lucky guy. Give her my love. CUT TO: (CONTINUED) Ui » »

(78701) NORTHERN EXPOSURE - "Pilot" 5/,7,30 TAL 6 CONTINUED: Gilliam heads down the corridor. We HOLD on Joel as he smiles, looks down at brochures and ticket. CUT TO:

(78701) NCRTHERN EXPOSURE - "Pilot" S/8/90 6A 7A 10 10A 11 11A 12 THRU 14 14A EXT. BUS TERMINAL - DAY 6A As Joel, relaxed, boards along with other passsengers. The door closes and the bus rolls out of the terminal. We see the Alaskan skyline in the b.g. OMITTED 7 EXT. DOWNTOWN STREET - DAY 7A We see the skyline of Anchorage in the background as a bus approaches over the hill. As the bus passes out of frame, we: CUT TO: INT. BUS 8 Almost filled. ANGLE - JOEL 9 Relaxed, looking out the windows. DISSOLVE TO: OMITTED 10 TRACKING ANGLE BUS 10A Past cascade mountain lake. CUT TO: INT. BUS 11 Half filled. We see Joel looking across to lake. As he gets up to change seats: TIGHTER JOEL 11A sitting by window, he cranes his head to get full view of lake and mountains as tighter Joel becomes Joel’s POV. DISSOLVE TO: 12 OMITTED THRU 14 EXT. BUS - FRONT ANGLE 14A 1/4 filled. As the bus moves down a two-lane highway we hear 0.C. a loud blaring HORN. CUT TO: * *

(78701) EXPOSURE - "Pilot" 14B 14C 14D 14E 14F 14G 14H 15 kg INT. BUS 148 1/4 filled. Joel sits, looking concerned, a MAN sleeping on his shoulder. JOEL’S POV l14C out front windshield. As a logging truck barrels down the highway toward the bus, HORN BLARING. ANGLE - FROM REAR OF BUS 14D As bus slides off road as logging truck zooms past camera. DISSOLVE TO: EXT. BUS - ONE LANE ROAD 14E As the bus passes by. CUT TO: INT. BUS 14F We see three Native Americans scattered about the bus. We don’t see Joel’s face, but his leg is sticking into the aisle. CU JOEL 14G From floor as he studies map. The bus jolts to a stop as Joel is thrown forward, bumping his head against the seat in front of him. ANGLE 14H Joel looking up. EXT. BUS - AFTERNOON 15 The bus is stopped, engine idling in the middle of nowhere. We hold a few beats. The driver appears around the rear of the bus. He slams shut the luggage compartment, gets in the bus, doors close. Then the bus takes off in a cloud (CONTINUED)

(78701) NORTHERN EXPOSURE - "Pilot" 5/8/90 9. 15 16 17 17A 18 18A 19 22 CONTINUED: of fumes, revealing Joel on the far side of the road, standing under a bus-stop sign -- golf clubs and luggage around him. CUT TO: ANGLE - TREETOPS - LATER Lush, green. Woodpecker hammering away as the sun sinks. ANGLE - JOEL sitting on suitcase eat a candy bar, directly under the "BUS-STOP" sign. His foot tapping, checking his watch. He squints up at the treetops. He picks up a rock and throws it up at the trees. The woodpecker’s hammering stops. Joel sits. Beat, as the hammering starts up again. ANGLE - WOODPECKER’S POV ANOTHER ANGLE He stands, moves into the open road and peers down it. Then sits again. ANGLE - JOEL takes out NY Times and begins to read. Hear a truck in the distance. As Joel looks up. Omitted (19-21) ANGLE - TRUCK As the driver’s window is rolled down, revealing Ed the Indian, eighteen years old. ED Dr. Fleischman? JOEL Yeah? (hesitantly) eah?... (CONTINUED) 15 16 17 17A 18 18A 19 22 » *

(78701) NORTHERN EXPOSURE - "Pilot" 5/8/90 22 CONTINUED: ED (smiling) Hi. I'm Ed. Oon Joel -- CUT TO: 23 INT. PICKUP TRUCK - DAY 23 As Ed the Indian and Joel bounce down the one-lane blacktop, in the middle of nowhere. ED Do you like black music? JOEL Huh? Yeah, sure... Ed the Indian reaches back, pulls a cassette-carrying case up to the front seat. JOEL (CONT’D) So, how do you know Mr. Minnifield? ED I work for him. What about rap? JOEL what about it? ED (indicating cassette) Are you into it? JOEL Not particularly. He puts the cassette down, holds up another, smiling. ED Richard Berry, R & B. He slips in the cassette. We hear: "Louie, Louie." ED (singing, softly) ‘Louie, Louie...’ Ed turns, smiling to Joel.

24 25 26 27 ANGLE - .JOEL 4 staring, as Ed softly sings. ED You’re a doctor, right? JOEL Yeah. Where are we? ED Not like Doctor Toni Grant. (Joel looks confused) She’s on the radio. She helps you with your personal problems. (beat, quickly) ‘He’s in sinus tach, give me an X-ray stat: cervical, spin, chest and abdomen. ortho for his leg and give thoracic a call. Tell them we’ve got a penumo-thorax, possibly secondary to fragment.’ (beat, smiling) St. Elsewhere. I loved that show. CUT TO: EXT. TRUCK - AFTERNOON 25 As it drives on, then abruptly stops, in the middle of nowhere. CUT TO: INT. TRUCK 26 As Ed gathers up his tapes, opens the door and climbs out, shutting the door behind. ED See you. ANOTHER ANGLE - JOEL 27 Ed starts walking off as Joel slides quickly across the driver’s seat. JOEL Hey! You! Where you going?! ED (over shoulder) Home. (CONTINUED)

(78701) NORTHERN EXPOSURE - "Pilot" 5/8/90 27 28 29 30 31 32 33 34 35 CONTINUED: JOEL What’re you talking about? You’ve gotta take me to Mr. Minnifield. Ed stops, turns, smiling, points up the road. ED You can return my box to me later. on that, Ed vanishes into the woods. ANGLE - JOEL Looking around, panicked. A beat, and with great difficulty he grinds the truck into gear. CUT TO: EXT. TRUCK As it lurches down the road, gears grinding. CUT TO: INT. TRUCK Joel, drivifig, léaning foward -- tense, alert. JOEL’S POINT OF VIEW - NOTHING BUT TREES CUT TO: EXT. TRUCK (FROM REAR) As it screeches to a stop. Gears grind, and it backs up. JOEL’S POINT OF VIEW - MAILBOX With the name Minnifield on it, on the side of a dirt road. ANOTHER ANGLE - TRUCK As it turns onto the dirt road. CUT TO: INT. TRUCK Joel, bouncing hard, as the truck rolls down the rocky dirt road, hands clenched around the steering wheel. 28 29 30 31 32 33 34 35

(78701) NORTHERN EXPOSURE - 5/3/5%0 36 37 38 39 40 41 41A JOEL’S POINT OF VIEW log house. an Alaskan flag flaps on a pole in front of the house. A large satellite dish looms on the roof. EXT. TRUCK stopping in front of the house. Joel exits the truck, locks around. Silence. We TRACK him up to the steps toward the front door. Then: MAURICE (0.cC.) (loud, calling) Dr. Fleischman! ANGLE - JOEL stopping, turning. JOEL’S POINT OF VIEW - MAURICE MINNIFIELD Backlit, standing on the roof of opposite building hoisting flag. ANGLE - JOEL confused, JOEL Minnifield? ANGLE - MAURICE Rappelling down the face of the building and starting toward Joel. ANGLE on Joel, FADE OUT: OF ON 37 38 39 40 41 41A »

(78701) NORTHERN EXPCSURE - "Pilot" 5/8/90 P ACT TWO FADE IN: 42 INT. MAURICE’S LIVING ROOM A spacious room decorated like a hunting lodge: stone fireplace, moose head mounted above it. There is an astronaut’s helmet with NASA and MINNIFIELD emblazoned on the front, next to Joel. We hear a shower turn off. 43 ANGLE - JOEL sitting in an oversized chair, taking in the room and the helnmet. MAURICE (0.C.) What part of New York you from, son? JOEL Flushing. 44 ANOTHER ANGLE As Maurice enters buck naked, carrying his clothes. MAURICE What part’s that? The Bronx? JOEL Queens. Do you know New York? 45 ANGLE - MAURICE dropping his clothes on the couch, he drops to the floor, begins to do PUSHUPS. MAURICE Can’t say I do. I’ve only been to New York once. For a Parade. JOEL Macy’s Day? MAURICE Ticker-tape. We were riding down Fifth Avenue in an open Caddy. (stopping in mid-pushup, with gravity) I was an astronaut, son. 46 TWO SHOT - JOEL AND MAURICE JOEL Really? No kidding? (CONTINUED) 42 43 44 45 46

—~ 16 o CONTINUED: O Maurice resumes pushups. Joel watches him, Maurice’s face reddening, muscles straining. JOEL Ever go into Outer Space? MAURICE I took my ride. By the way, let me be the first to take this opportunity to welcome you, Jocel. When I heard that we had a crack at a Jew doctor from New York city, well, as I'm sure you can imagine -- I jumped. You boys do outstanding work. - JOEL Thanks, I guess... On that Maurice stops, stands. MAURICE Lot of cpportunity in this corner of the world, Joel. Maurice then sits on couch across from Joel, begins to dress. MAURICE When I came here twenty years ago, it was nothing but untouched natural surroundings that hadn’t seen a white man since time began. First thing I did is I bought fifteen-thousand acres of land. The second thing I did was start a newspaper and radio station. Why? Communications. Maurice stands, putting on blue jeans. MAURICE A man’s got something to sell, something to say, you better let the world know about it. And, by golly, I had both. Still do. Now we’re finally getting things right. We’ve got an outstanding town that’s ready to step up, and we’ve got resources -- wildlife, land -- just crying out to be fondled. And now, Joel, we’ve got you.

(78701) NORTHERN EXPOSURE - "Pilot" 5/8/90 47 48 ANGLE - MAURICE 47 dressed, standing, he pulls a cigar out of a beautiful cigar box. MAURICE C’mon, son. Let’s do it. Maurice heads to the door. Joel follows. CUT TO: EXT. CADILLAC (MOVING SHOT) - DAY 48 Baby blue, top down, white leather interior, racing down the road. Maurice is driving, Joel, wind plastering back his hair, holds on. Joel’s luggage sticks out of the back seat. MAURICE (smiling, over wind) What do you think? JOEL (over wind) About what? MAURICE (over wind) The car. JOEL (over wind) It’s fast. Maurice laughs heartily. MAURICE (over wind) Nothing like the feel of a V-8 vibrating under your ass. (Joel looks at him) This is what a car is supposed to be. Not like those rice cookers you can put your boot through. That’s what screwed it all up, Joel. JOEL (over wind) Screwed what up? MAURICE The U.S. of A. We were at the top of our game until the turban dwellers squeezed us in ’‘72. This car’s got a hearty appetite, no doubt (MORE) (CONTINUED)

(78701) NORTHERN EXPOSURE - "Pilot" 5/3/90 17, 48 49 50 CONTINUED: 438 MAURICE (cont’d) about it. America can’t live on just lean cuisine. (patting stomach) Our belly’s too big. Now, we’re reined in, like a stallion with a bit in its mouth. Except for this baby, Joel, (pounds dashboard) and On Maurice speeding up, Joel pinned against the white leather, CUT TO: EXT. TOWN - DAY 49 A dinky town set against a breathtaking backdrop of snow-peaked mountains in the middle of nowhere. A single traffic light swings in the wind. A banner is strung across the street, welcoming visitors to the Summer Wonderland Festival. ANGLE - CADILLAC 50 As it pulls up Joel’s office. Maurice turns off the engine. JOEL (looking around) Is this it? Is this the town? MAURICE This is it. JOEL Where’s the rest of it? MAURICE It’s coming, son. (looking off) Burgers Kings, Shopping Malls, 31 Flavors -- it’s all gonna be here. Maybe not today or tomorrow, but it’s coming. I can guarantee you that. Maurice climbs out of the car, strides erect and: purposefully up the sidewalk, Joel following Maurice stops at a door, it open.

(78701) NORTHERN EXPOSURE - "Filot" 5/8/%0 1 51 52 53 [} INT. OFFICE A large, empty space with a couple of rooms off to the side, in dire need of extensive repair: It‘s a pit. Maurice, pathed in light, looms in the doorway, Joel beside him, a step behind, as we see a cat scurry across the floor. TIGHT SHOT - MAURICE squinting. MAURICE Son of a ---. ANOTHER ANGLE - MAURICE AND JOEL stepping into the rcom, Maurice casually kicking a folding chair out of his way. MAURICE I told that Ed I wanted him to throw a new coat of paint on. JOEL This place needs more than a paint job, 1f you ask me. MAURICE son, I had no idea that this wouldn’t be taken care of before you got here. JOEL Before I got here? (beat, sinking in) This is my office? MAURICE A few curtains... (flips light switch, nothing happend) ...a couple heads on the walls, a table to operate on and you’re in business. MAURICE Here, have a seat... (moves a chair upright with his foot) ...relax, get a feel for the place, while I find out what the hell Ed has been up to. Maurice exits. 52 53

56 57 58 59 60 ANGLE - JCEL 4 exhales deeply, runs his hand through his hair. He leans his head back, closes his eyes, rubbing his temples with his fingers. He HEARS something. He stops rubbing, opens his eyes. POINT OF VIEW - LARGE INDIAN WOMAN ur w standing in an inner doorway, staring stoically at him. JOEL Who are you? MARILYN Marilyn. I’m here for the job. CUT TO: EXT. OFFICE - DAY 56 As Joel bursts through the door, looking left then right, he begins to move quickly down Main Street, passing people on the sidewalk. A few more steps, then he starts to run. We TRACK him until he reaches a Sporting Goods Store with rifles and hunting and fishing gear in the window. ANOTHER ANGLE 57 as Joel stops, opens the door, poking his head in. JOEL Phone! VOICE (0.C.) Try the Bar. on Joel continuing quickly down the street -- CUT TO: INT. HOLLING’S BAR - DAY 58 Pool table, dart board, booths and tables and a long bar. Twenty men: tough-looking loggers, trappers, fishermen and Indians play pool and eat. ANGLE - FRONT DOOR bursting open, Joel appears, panting. . JOEL’S POINT OF VIEW - THE PATRONS not bothering to look up. ANGLE - JOEL panting, stopped dead in his tracks.

(78701) NCRTHERN EZIXPOSURE =- "Pilct" 5/14/30 62 63 64 65 e} ANOTHER ANGLE 62 as Joel composes himelf, gently closes the door and walks to the back of the bar. ANOTHER ANGLE 63 He approaches a pay phone hanging on a wall across from the men’s restroom. He reaches deep in one pocket for a handful of coins, then into another pocket for a crumpled piece of paper. Unfolding the paper, he cradles the phone and dials. A few rings, then he pumps in a half-dozen coins. JOEL Pete Gilliam... (beat) Pete, Joel Fleischman. I’m in Cicely, I’ve taken a long look around, checked out the place, thought about it long and hard and I want out... No, I don’t have my contract with me. I’m at a pay phone in a bar in the middle-of-nowhere. (beat) What?... It says what?... Hey, you -- you told me if I didn’t like it I could leave! Well, I don’t ‘don’t like it!’ I hate it!! And I (louder) You’re not the one who’s supposed to spend the next FOUR YEARS OF HIS LIFE IN A GODFORSAKEN HOLE-IN-THE-WALL-PIGSTY WITH A BUNCH OF DIRTY, PSYCHOTIC, REDNECKS!! ANOTHER ANGLE 64 as we see the patrons, looking up. ANGLE - JOEL 65 realizing, he turns his back to them, continuing on phone. JOEL (yelling, sotto) I am a graduate of Columbia University College of Physicians and Surgeons! I finished my residency at Beth Zion Hospital, one of the finest medical facilities in New York city if not the world, and I will under no conditions spend the best years of my life in the worst place on earth!! And if you think --- »

66 67 68 69 70 71 72 [N} ANGLE - JOEL stopping, looking at the phone, clearly being hung up cn. ANOTHER ANGLE 5= as the patrons lock and listen to Joel with interest. A toilet flushes and a three-hundred pound bear of a MAN slides past Joel into the bar as Jcel punches in numbers on the phone. A beat, then -- JOEL (excited) Collect call from Joel. (beat, downshifting sweetly) Hi, honey. Well, I'm here...oh, yeah, it’s lovely, it’s...listen, sweetheart, would you take a quick run through my contract and see if there’s any stipulation as to actual location of medical practice?... Well, such as, you know, suburban Anchorage. Do you think you could do that for me? Today. I miss you, too... The number? (reading number off phone) 907-555-7823. Thanks. wait for your call. Me, too. ANOTHER ANGLE 68 Joel hangs up. He exhales. He looks up. JOEL’S POINT OF VIEW - THE PATRONS 69 staring at him. ANGLE - JOEL 70 forced ease, smiling weakly. JOEL (to patrons) Women... TRACKING ANGLE - JOEL 71 moving through the room to the long bar where he takes a seat, smiles at Holling Vincoeur. ANGLE =- HOLLING VINCOEUR 72 The owner. Sixty-two, rugged. He approaches Joel from behind the bar. (CONTINUED)

78701 NORTHERN EXPOSURE - "Pilot" 5/8/90 22. ( ) 72 CONTINUED: 72 JOEL Stomach’s a little sour. How about a seltzer. HOLLING Seltzer? JOEL Yeah... You know seltzer -- water with bubbles in it. 73 ANOTHER ANGLE 73 Holling exits frame as Ed the Indian enters. ED (to Joel) Oh, hi. Say, have you heard the new Milli vanilli? JOEL No. ED It’s gone platinum. Ed smiles to Joel who just looks at him, as Holling enters with seltzer. ED (to Holling) Maurice wants to know if you got the sixteen cases of lemon-lime for me and Festival, Holling. HOLLING I couldn’t get lemon-lime so I got orange. ED Oh, okay. That’ll do. HOLLING I was gonna give Maurice a call to let him know about the change myself. 73A ANGLE - HOLLING’S POV 73A of Maurice leaning on Caddy. 74 ANOTHER ANGLE 74 Holling resumes business as Ed and patrons all REACT to this last statement. (CONTINUED)

5] (78701) NORTHERN EXPOSURE - "Pilot" 5/8/590 74 CONTINUED: ED You’re going to call Maurice? HOLLING (nonchalant) I‘m thinking about it. JOEL (to Holling) Happen to have a couple of aspirin? Holling gets the aspirin. ED I don’t think you should do that, Holling. HOLLING Do what, Ed4? ED Call Maurice. HOLLING And why’s that? ED It will set him off and the next thing you know he’s blowing your brains out and we’ll have to bury you, which will ruin the Festival for me and everybody. Joel looks from Holling to Ed, back to Holling as he pops four aspirins into his mouth. HOLLING (beat) I’11 take that into consideration, Ed, but there’s a time for everything and in my opinion it’s time for me and Maurice to settle things once and for all. ED Well, I hope you don’t do that. Ed exits as Joel stares at Holling. CUT TO: 75 OMITTED w ~1 PN 75

(78701) 76 NORTHERN EXPOSURE - "Pilot" 5/8/90 INT. BAR - NIGHT Crowded, noisy, lively music on the jukebox: the dinner and We TRACK Holling across through the crowded room darts set. to Joel, sitting on a stool, hunched over working on a NY His luggage next to him. Beat. HOLLING You’ve been perched here for a couple hours now, thought you might have worked up an appetite. JOEL Oh...Thanks. What do I owe you? HOLLING My pleasure. JOEL (putting his hand out) Joel Fleischman. HOLLING (shaking) Holling Vincoeur. Pleased to make your acquaintance. JOEL I guess you heard when I was -- before -- anyway, no offense intended. I was a little upset. HOLLING (nodding) You haven’t heard back from your Attorney yet, huh? JOEL Well, as I’m sure you know, it takes time to sort out these complex legal issues... Besides, got finals. HOLLING (nodding, turning) Well, best of 1luck... JOEL Excuse me, Mr. Vincoeur -- HOLLING Holling. next to the pay phone, Times crossword puzzle in pen. (CONTINUED) ~1

(78701) NORTHERN EXPOSURE - "Pilot" 5/3/90 76 CONTINUED: JOEL Mind if I ask you a personal question? Why is Maurice gonna kill you? HOLLING Well, it’s a long story. (beat, pointing) See that young lady over there? O

t o 77 JOEL’S POINT OF VIEW - SHELLY, 18 YEAR OLD INDIAN GIRL drop-dead, beautiful, waiting on tables. HOLLING She quite something to look at, isn’t she? JOEL She sure is. HOLLING Miss Northwest Passage. Maurice brought her down to marry him. At that time, Maurice and I were best of friends. Like most folks, he and Shelly spent a lot of time in this establishment. One day, Shelly appeared at the bar without Maurice and said if I wanted her, she was mine. I did. Well, Maurice hasn’t stepped in here since, and said if I ever tried talking to him again, he’d blow my brains out. JOEL (under his breath) Wow. .. Joel looks from Holling to Shelly, back to Holling. JOEL (CONT'’D) And you haven’t talked since? HOLLING Not yet. (beat) Can I get you something else? JOEL No, thanks, this is fine. Holling nods, walks off. Joel stares off at Shelly as he bites into his hamburger. 1In the b.g. we SEE MAGGIE CASEY, twenty-eight, pretty, enters. We SEE her stop Holling, talk to him. The phone RINGS. Joel grabs it. JOEL (quickly) Hello? (pissed) Just a second. (beat, calling out) Clem Tillman, telephone.

78 ANOTHER ANGLE - MAGGIE approaches Joel. MAGGIE Dr. Fleischman? JOEL (ignoring, impatient) Clem Tillman! MAGGIE I’'m Maggie Casey. JOEL Yeah, so? MAGGIE So, I’ve been looking for you. JOEL (scanning the bar, thinking) kind of name is Clem, anyway? wWhat’s it short for? Clemton, Clemlock? MAGGIE Look, I really haven’t got the time to -- Clem, the TRUCKER appears. Clem nods. JOEL You Clem? JOEL (handing him receiver) It’s about time. Let’s try to keep it short, Clem. I’m expecting a very, very important long distance call. Clem eyes Joel, takes the phone. MAGGIE Look, if you’d rather spend the night here than at my place, don’t let me get in your way. (CONTINUED) w

78 79 80 CONTINUED: JOEL (snickering) Where’d you go to trade school? (off Maggie’s angry look) Look, I want to tell you how to run your business, lady, but this petulant, aggressive attitude is a real turn-off. MAGGIE (with bite) Look, buddy -- JOEL (looking her up and down) And second of all, I'm engaged to be married to a knockout that I‘m madly in love with. So, why don’t you do yourself a favor and take your business someplace else. Beat, as Maggie glares at him with contempt and disdain. MAGGIE I’'m not a hooker, you jerk, I‘m your landlorad. Maggie heads for the door. On Joel, CUT TO: INT. CABIN - NIGHT rustic, one-bedroom, electically furnished. is second-hand. on a light, passes CAMERA, exiting into kitchen. We HEAR the outside kitchen door open. ANGLE - FROM INSIDE CABIN illuminated by porch light, Joel, at the truck, unloading gear. JOEL (calling out, unloading) Look, I wasn‘t trying to be rude. If you’d been direct there wouldn'’t have been any misunderstanding. (staggering toward door) By the way, I appreciate your help with the luggage. The furniture Door opens, Maggie enters, jaw-set, turns As Joel enters, we HEAR the outside kitchen dcor slam shut. A beat, and Maggie re-enters, arms loaded down with firewood and a green plastic bag. She walks directly to (CONTINUED) 79 80

w (78701) NORTHERN EXPOSURE - "Pilot" 5/8/¢%0 80 CONTINUED: 80 the fireplace, begins to make a fire. JOEL (indicating fire) Good idea, it is a little nippy. But what do you do for heat? MAGGIE (making fire) This is the heat. And there’s a wood-burning stove in the kitchen. JOEL What do you do for wood? MAGGIE Chop it. 81 ANGLE - JOEL 81 wanting to break the ice, he walks deeper into the cabin. JOEL (friendly) You know, this place really is charming in a sort of, you know, that sort of way -- although I'm not really big on the great outdoors, I can see how a lot of people... so, what, the state pays you to rent this place out to me? MAGGIE (standing) Maurice pays me. JOEL Interesting profession... MAGGIE It’s an investment. I fly. JOEL Oh, a stewardess -- flight attendant. Which airline? MAGGIE I have my own plane. I’m a pilot. JOEL (surprised) Oh. (CONTINUED)

™ 81 82 CONTINUED: MAGGIE (dryly) . . It’s not a 747. I run an air taxi. There’s clean linens in the closet. JOEL Great. Does the phone work? (she nod) Just in case I get hungry, want to order in some take-out. Joel smiles, she remains stoic. Joel puts his hand out to her, shakes it. JOEL Listen, again, sorry about the - brouhaha. I’m leaving tomorrow and if I don’t get a chance to say goodbye, thanks for your hospitality. MAGGIE Good-bye. Maggie turns, heads toward door. Joel notices the Hefty trash bag, picks it up. JOEL What about this? MAGGIE (exiting) Drop it out back. I reset the trap in the kitchen. Joel, with a look of confusion, looks in the bag, recoils, ‘flinging the bag. He throws the door open. JOEL’S POINT OF VIEW -~ MAGGIE in truck, engine loud. JOEL (yelling over engine) It’s a gigantic dead rat! MAGGIE (smiling) Yeah. Maggie drives off. On Joel, CUT TO: 82

83 INT. JOEL’S CABIN - NIGHT w w Lights out. We HEAR the scurry of little rodent feet as the CAMERA moves off the floor onto the foot of the bed and slowly up the blanketed outline of Joel’s body, stopping on Joel’s face, eyes as wide as saucers, following the SOUND of the scurrying feet. Long moments and we HEAR the loud SNAP of a trap, and the scurrying feet sounds stop. on Joel, relaxing, closing his eyes, FADE OUT END OF ACT TWO

78701) NORTHERN EXPOSURE - "Pilot" 5/8/90 31. ( 84 85 86 87 88 89 ACT THREE FADE IN: EXT. CABIN - MORNING 84 We HEAR: JOEL (0.C.) (horrified) Oh god oh god oh god oh god -- Oomitted (85) . 85 EXT. CABIN 86 A cabin in the middle of nowhere as the front door opens and Joel appears. He steps off porch, turning left, then right, not knowing where or how to dispose of the rat. JOEL (relieved) Oh god. He looks up, looks around. JOEL’S POINT OF VIEW - A FOREST 87 that goes on forever. Mountains rising to the heavens. JOEL (queasy, insecure) Oh, god... CUT TO: EXT. TOWN - DAY 88 One road leading into town. Empty, then a solitary figure in soft focus emerges in the distance, running towards town. Then slowly, the figure reveals himself to be Joel. EXT. GENERAL STORE 89 Joel running, in a sweatshirt, pants and sneakers. Sweating, face red, he runs into town. Exhausted, he stops running, panting as he walks towards the General Store. He opens the door.

30 INT. GENERAL STORE A little bell over the door rings as Jcel enters and jces directly to the refr.gerated section. He grakts two ccntainers of orange the check-cut counter. stands tenind scng frsm Zavid Byrne’s Momo" album ceming frem cren cre, as RUTH-ANNE, sixty-f.v the counter. We e radio. As the song ends, we HEAR the disc jockey, CHRIS STEVENS. .. RUTH-ANNE you run all the lnto town, Doctor rlelschman? neds, guzzlirg. RUTH=-ANNE That’s a seven-mile run. Joel nods. RUTH=-ANNE You must be a serious runner. JOEL Not since the seventh grade. (impressed) Just the juices then? JOEL ‘Yeah, == no, a bagel and cream cheese. RUTH-ANNE What’s a bagel? JOEL (looking around) take the jerxy instead. CHRIS (southern accent) This is Chris Stevens coming to you on KBEAR radio from Cicely, Alaska, in the heart and soul of Arrowhead and you were listening to a cut off of David 8yrne’s ‘Rei Momo’ This morning we’re starting our annual countdown toward the Summer Wonderland Festival. On a sorry note, Ray Onetka’s prize dogfish, Bonnie, tassed away last night. As ycu all know, Bonnie was two-tine defending champion of the Ugly Fish Contest. On a happier note we’d like to congratulate Greg and Marsha Weed on their ninth wedding anniversary, Annie O’Shea on her sixth birthday, and we here at the Minnifield Communications Network would also like extend a hearty welcome to New York City’s Joel Fleischman -- Arrowhead very own physician. This one’s for you, Doctor Fleischman. Cn that we hear Frank Sinatra belt out "New York, New York." Joel looks at the radio. (CONTINUED)

(78701) NORTHERN EXPOSURE - "Pilot" 5/8/90 [ 90 CONTINUED: RUTH-ANNE Try the spicy one. That’s six dollars and forty cents. JOEL (handing over money) I heard a rumor out there on the road that the first bus out of here leaves today. RUTH-ANNE Today? No, I haven’t heard that. Would you like a schedule? Joel nods. CUT TO: 91 INT. OFFICE "New York, New York" still plays on the radio as Joel enters. An assortment of twelve PEOPLE and one BEAVER sit quietly against a wall. Joel stops short at the sight of them. The office has been spruced up, furniture in place. JOEL What are you all doing here? MARILYN They’re waiting to see the doctor. JOEL (to everyone) Well, I am the doctor, but I'm very sorry I can’t see any of you because I’m not staying. Beat. No response. Joel pulls out a bus schedule. JOEL See, I’ve got a bus schedule so although I'm a doctor, I‘m not really the doctor and I think it might be improper for me to establish relationships -- doctor-patient -- in a situation that’s... that’s, uh... going nowhere. Beat. No response. No one moves. JOEL Anyway, it was nice meeting all of you. I wish you the very best. (CONTINUED)

(78701) NORTHERN EXPOSURE - "Pilot" 5/14/530 91 CONTINUED: Beat. No one moves. JOEL (CONT’D) Suit yourselves. He turns, walks, stops. JOEL (CONT'’D) (to Marilyn) There is no job. on that, Joel turns, exits. 92 EXT. JOEL’S OFFICE _He closes the door behind him. He considers, head, exhales, then re-enters office. 93 INT. OFFICE w shakes his Joel moves quickly down the line of patients pointing, CALLING OUT numbers one through twelve as he exits into office room. 94 INT. JOEL’S OFFICE He sits behind desk. JOEL Number One! A few beats, then patient Number #1, robust, rugged man enters, sits. JOEL What’s you problem? PATIENT #1 I'm feeling achy and hot. JOEL How long? PATIENT #1 three years. Joel gets up, touches Patient #1’s cheek. JOEL You do feel a little warm. Let’s get a temperature. (stopping; to Patient #1) How the hell am I gonna get your temperature without a thermometer? (CONTINUED) 92 93 94

94 CONTINUED: Vel 4~ On that, Marilyn enters, tray of medical basics in hand. she sets down tray, hands Joel thermometer. JOEL (shrugging) There’s no job. Marilyn exits, serene. Joel sticks thermometer under man’s tongue. JOEL Take a seat out there for a few minutes. Patient #1 exits. JOEL Number Two! Patient #2, a teenager enters, sits holding a beaver in her lap. JOEL Hello. (indicating beaver) that? TEENAGER It’s a beaver. JOEL Really? 1I’ve seen those before on P.B.S. Cute. Joel leans down to look at beaver as a MAN knocks on door. JOEL (looks up, annoyed) What number are you? MAN Twelve. JOEL Then go out there, Number Twelve and wait your turn like everybody else. Number Twelve, turns, exits. ~ JOEL (to Teenager) So, anyway, what’s your problem? TEENAGER I think his teeth hurt. (CONTINUED)

(78701) NORTHERN EXPOSURE - 5/8/530 94 95 96 97 98 [} CONTINUED: 2 JOEL The beaver’s? TEENAGER Yeah, he hasn’t been gnawing on any wood lately. A knock on the door, Joel looks up, see Patient #12 again. " JOEL (angry) Look, Number Twelve, 1 told you to sit down and wait your turn like everybody else. If you can’t do that, gonna ask you to leave. Patient #12, looks down, exits. JOEL (to Teenager) I’d like to help you with the beaver, but I’m not a dentist. TEENAGER Couldn’t you just look at him? JOEL (beat) All right. Lift his lip. She does, revealing the full-figure of his enormous teeth. ANGLE - JOEL bending down, he looks at beaver, then eyes widening past peaver to expanding pool of blood in the doorway. JOEL Oh my god... ANOTHER ANGLE as Joel moves to doorway, hops the pool of blood into outer office. INT. OUTER OFFICE as he quickly follows trail of blood to Patient #12 who sits, ha .: folded in lap, waiting, his left leg now soaked with blcca. ANGLE - JOEL (CONTINUED) 94 95 96 97 98 * %

(78701) NORTHERN EXPOSURE - "Pilot" 37. 98 99 99A CONTINUED: JOEL Number Twelve, you’re bleeding all over the floor!! CUT TO: INT. JOEL’S OFFICE - EXAMINING ROOM - DAY CLOSEUP - BULLET JOEL (0.C.) I‘ve seen this caliber before. PULL BACK TO SHOW: THE EXAMINING ROOM patient #12 lies on old, wooden operating table, pants off, legs dangling. Joel holds the bullet in a pair of calipers. Marilyn stands next to them, holding a stainless-steel bowl. JOEL (CONT’D) saturday night special, but nowadays you see it seven days a week. Joel turns, drops the bullet into the bowl. It pings. He applies a gauze pad. JOEL Gun of choice for your basic pimps, drug dealers and pre-AK 47 gangsters. Joel picks up a bandage. MARILYN I’11l wrap him. JOEL 1711 wrap him. Marilyn shrugs, exits with bullet. JOEL So what happened? PATIENT #12 My wife shot me. JOEL Why? PATIENT #12 she said, "loud doesn’t work with me anymore." (off Joel’s look) We’ve been married seventeen years. (CONTINUED) 98 99 99A

(78701) NORTHERN EXPOSURE - "Pilot" 5/8/90 99A 100 101 102 CONTINUED: 39A We HEAR a KNOCK on the door, it opens and Ed enters. ED Excuse me, Doctor Fleischman. (to Patient #12) Oh hi, walter. PATIENT #12 Hello, ED What happened to you? PATIENT #12 Edna shot me. ED Man, oh man... JOEL (annoyed; to Ed) What are you doing here? ED Maurice wants to talk to you. JOEL Yeah, well, tell him to take a number. I’ve got people out there. ED Okay, wait. Ed exits. On Joel, wrapping Walter: CUT TO: EXT. LAKE - DAY - JOEL’S POINT OF VIEW 100 Serene, beautiful, quiet. MAURICE sits in a rowboat, rifle cradled in his arms. A golden retriever sits poised, erect, behind him. We HEAR the WHIRR of an outboard motor. ANGLE - JOEL AND ED 101 approaching in a boat, Ed seated in the back, steering. ANOTHER ANGLE - ED’S BOAT 102 as he cuts the engine and the boat drifts up to the rowboat. Maurice takes hold of it. MAURICE Hop in, Joel. Joel climbs out of the boat and into the rowboat, rocking it as he does.

“\ 102 CONTINUED: - Joel climbs out of the boat and into the rowboat, rocking it as he does.

w w 103 ANOTHER ANGLE - ED’S BOAT as it re-starts, heads back for shore. As the sound cf tre engine recedes: MAURICE (looking to the sky) Ever do much hunting, Joel? JOEL on the lower East Side. (Maurice looks at Joel) For bargains. Maurice squints back up at the sky, brings a duck whistle, dangling around his neck, to his mouth and blows. Long moment of pristine silence. MAURICE What I value most in life is friendship. 1I’ve never believed the written word was necessary when a rock-steady handshake would do. A man’s word is his honor. I’m talking about loyalty, son, commitment. I believe your people refer to it as "The Ethics of the Fathers." Do you get my drift? JOEL Well, I'm sure I will. MAURICE You signed a contract, Joel, but more important than that, you gave your word. And I intend to hold you to that word within the bounds of the law or, if need be, without the bounds of the law. JOEL Are you threatening me? Maurice looks from the sky to Joel. MAURICE The reason you’‘re in Cicely is because I wanted a doctor here -- JOEL (shocked; indignant) I don’t believe this! -- (CONTINUED)

103 104 105 106 CONTINUED: MAURICE and if you have any notion of running, there’s the matter of $125,000 that the good people of Alaska paid for your medical education. As far as I’m concerned, Fleischman, that’s my money. ANGLE - MAURICE 104 glaring at Joel, steely-eyed. JOEL (controlled rage) I don’t know who you think you’re talking to, Minnifield, but I’m not some putz just off the caribou farm. I’'m from New York City. walked down 42nd Street at midnight. 1I’ve ridden the Lexington Avenue Line at two a.m., stiffed cabbies, so don‘t you try this strong arm cowboy crap with me ‘cause it doesn’t do squat! TWO SHOT - MAURICE AND JOEL - 105 eyeball to eyeball. ANOTHER ANGLE 106 We HEAR the sound of ducks overhead and in one rapid motion the gun comes up, pointing at Joel. Joel screams. Maurice fires directly over Joel’s head. Jocel clamps his hands over his ears. The dog turns, barks. We HEAR a far-off splash into the water. The dog leaps into the water, swimming strongly, swiftly. FADE OUT. END OF ACT THREE

73701 MORTHERN EXPOSURE - "Pilot" 5/8/90 ( ) ACT FOUR FADE IN: 107 INT. HOLLING’S BAR - NIGHT A full crowd of diners and drinkers, engrossed in serious talk. 108 ANGLE - BOOTH Chris Stevens, 27, the radio D.J., sits across from Maggie and Ed the Indian. MAGGIE (to Chris) He said he’s going to do it? CHRIS (southern accent) That’s what he said. MAGGIE Not that maybe he’ll do it, or that he’s thinking about doing it, but that he’s actually going to do it? CHRIS What Holling said to me, Maggie, was the following: "I am going to talk to Maurice." (beat) It left little room for doubt. ED (shaking head) Maybe there’s something you can say on your radio show that’ll talk him out of it. CHRIS I don’t think that would work, Ed. suddenly, they all loock up, then become quiet. 109 ANGLE - HOLLING standing in front of them, holding food. (CONTINUED) 107 108 109

(78701) NCRTHERN EXPOSURE - "Pilot" 5/8/90 109 CONTINUED: 103 HOLLING (aware of silence) Everything all right here? Concurrences, as Holling places the food on table. HOLLING Enjoy. 110 ANOTHER ANGLE 110 Their eyes follow Holling as we TRACK him past booths and customers, all of whom stop in mid-sentence and stare up at Holling as he passes by. 111 ANOTHER ANGLE 111 Marilyn sits in a booth with her two children. MARILYN (calling) Holling. Holling stops. MARILYN 0dds are five to one Maurice is going to blow your brains out when you talk to him tomorrow. (beat) Should I take it? HOLLING (considering) Five to one... pretty good odds. We TRACK Holling to bar, then down length of bar where he stops, looking at Joel who sits at the bar, nursing a beer, reading the paper. HOLLING (wiping off bar) As you were saying, Joel... JOEL Listen to this... (reading) "Arrowhead County extends a hearty welcome to Joel Fleischman, a Jew doctor from back East who we know will be with us for a long time to come." (MORE) (CONTINUED)