影视剧本：13 DAYS-1
|
DARKNESS. As the MAIN TITLES BEGIN, the theater thrums with a subsonic HISS which mounts in all the rattling power of THX, and we... BURN IN, BRIGHT LIVING COLOR: EXT. STRATOSPHERE - DAY The glory of stratospheric dawn. The engines of a silver Lockheed U-2F rasp upon the trace oxygen here at 72,500 feet. Scattered cloud formations hang over the blue brilliance of sea far, far below. In the haze, the looming edge of land. SUPER: FLIGHT G-3101. OCTOBER 14TH, 1962. OVER CUBA. The spy plane's CAMERA DOORS whine open. The glassy eye of the 36-inch camera focuses. And then with a BANGBANGBANGBANG, its high-speed motor kicks in, shutter flying. MATCH CUT TO: INT. O'DONNELL BEDROOM - DAY A simple CAMERA, snapping away furiously in the hands of a giggling MARK O'DONNELL, 4. He's straddling and in the face of his dad, KENNY O'DONNELL, 30's, tough, Boston-Irish, with a prodigious case of morning hair. Kenny awakens, red-eyed. HELEN (O.S.) Mark, get off your father! Kenny sits up to the morning bedlam of the O'Donnell house. KIDS screech, doors bang all over. Kenny pushes Mark over, rolls out of bed, snatches up the corners of the blanket and hoists Mark over his shoulder in a screaming, kicking bundle. INT. O'DONNELL HALLWAY - DAY Kenny, with Mark in the bundle on his shoulder, meets his wife HELEN going the other way in the hall with LITTLE HELEN, 1, in her arms. KENNY Hi, hon. They kiss in passing. Daughter KATHY, 12, races by in angry pursuit of her twin, KEVIN, 12. HELEN Don't forget, Mrs. Higgins wants to talk to you this afternoon about Kevin. You need to do something about this. KENNY Kids are supposed to get detention. Kenny dumps the bundle with Mark in a big pile of dirty laundry. SMASH CUT TO: EXT. MCCOY AIR FORCE BASE - FLORIDA - DAY A pair of massive FILM CANISTERS unlock and drop from the belly of the U-2. TECHNICIANS secure them in orange carrying cases, lock them under key, fast and proficient. They whisk them out from under the spy plane. The Technicians run for an idling Jeep. They sling the cases into the rear of the vehicle which in turn accelerates away hard, curving across the runway for another waiting plane. SMASH CUT TO: INT. O'DONNELL KITCHEN - DAY A kitchen out of the late 1950's. Kenny drinks coffee, ties a tie, rifles through a briefcase at the kitchen table. The horde of kids, ages 2-14, breakfast on an array of period food. Kenny grills the kids while he goes over papers. KENNY Secretary of Defense... KEVIN Dean Rusk! KENNY Wrong, and you get to wax my car. KENNY JR. smirk at Kevin. KENNY JR. Rusk is State, moron. Robert McNamara. HELEN Got time for pancakes? KENNY Nope. Attorney General? A PHONE RINGS as the kids cry out en masse. KIDS (chorus) Too easy! Bobby, Bobby Kennedy! Kenny glances up at the wall. There are two phones, side by side. One RED, one BLACK. It's the black one ringing. Helen answers. Kenny goes back to his papers. KENNY All right, wise guys, Assistant Secretary of State for Latin America... SMASH CUT TO: EXT. STEUART BUILDING - DAY A U.S. Navy truck lurches to a stop in front of the run-down, brick-faced seven-story Steuart Building on 5th and K. Rear doors BANG open, and out hop two MARINE GUARDS, side arms drawn, film canisters in a carrying case between them. SUPER: NATIONAL PHOTOGRAPHIC INTERPRETATION CENTER (NPIC), WASHINGTON D.C. As the Marines approach the building, front doors SLAM open. INT. OPERATIONS OFFICE, NPIC - DAY A bespectacled OPERATIONS MANAGER hands a clipboard to one of the big Marine Guards who in turn hands him a set of keys. The Manager unlocks the film cases. PHOTO INTERPRETERS swoop in, whisk away the contents: SPOOLS OF FILM. SMASH CUT TO: EXT. O'DONNELL RESIDENCE - DAY A black Lincoln pulls away from the modest white house on a tidy Washington D.C. residential street. EXT. WASHINGTON D.C., AERIAL - DAY The car threads its way through the Washington traffic, past the big administrative buildings, down tree-lined avenues, takes a turn into a gate. As the car stops at the gate, the CAMERA flies past, revealing it's the gate to the WHITE HOUSE. SMASH CUT TO: INT. NPIC - DAY CLOSE ON the five-thousand rolls of film spewing through processing equipment, its streaking passage leading us straight through the development machinery to: A SERIES OF VARIOUS SHOTS: Photo Interpreters power up light tables, stereoscopic viewers, zip across the floor in wheeled chairs. Flying switches, flickering lights, humming motors. It's an eerie dance of technological black magic. Another pair of Interpreters loom out of the darkness, side by side, ghostly looking, their glasses reflecting the glare of the light table, like magicians staring into a crystal ball. IMAGES FILL THE SCREEN Aerial shots, flashing by. Cuban countryside from 72,500 feet. A MAGNIFYING GLASS swings down on its arm in front of us, magnifying the carpet of trees... and a row of six canvas covered OBJECTS among them. SMASH CUT TO: EXT. WHITE HOUSE - WEST WING - DAY Kenny, in business suit and tie, trots up the steps, and a MARINE GUARD snaps the door open for him. INT. WEST WING - CONTINUOUS Kenny, briefcase in hand, weaves his way through the empty, ornate hallways of the West Wing. Past magnificent doorways, early American furniture, paintings. He finally reaches a doorway, goes through into: INT. KENNY'S OFFICE - CONTINUOUS A long, narrow affair, window at the back looking out into the Rose Garden. Kenny dumps his briefcase on the desk, shucks off his coat, removes a folder from his briefcase, turns and heads back out... INT. WEST WING HALLS - CONTINUOUS And into the warren of offices and halls that is the working White House. He takes a right, passes the doors to the Oval Office right next to his office, goes down a long, straight hall, into... INT. MANSION - CONTINUOUS The formal main building, the executive mansion. He passes the busts of Presidents past, turns left into an elevator. The doors close. INT. 3RD FLOOR - FAMILY QUARTERS - DAY The doors open. Kenny strides out onto a DIFFERENT FLOOR, the third. He heads down the long, posh hall of the family quarters. Fine furnishings, art. The living White House. He approaches the double doors at the end of the hall guarded by a cluster of SECRET SERVICE AGENTS. An agent opens one of the doors. KENNY Morning, Floyd. SECRET SERVICE AGENT Good morning, Mr. O'Donnell. INT. PRESIDENT'S BEDROOM - CONTINUOUS Kenny enters the elegant bedroom. The figure alone at a side table by the window, drinks coffee, breakfast still spread out before him, Washington Post obscuring his face. KENNY Top o' the morning, Mr. President. The figure lowers the paper. It is PRESIDENT JOHN F. KENNEDY. He's wearing boxers and a tank top. Unshaven. Bed-head. Kenny O'Donnell, former ward-pol and long-time Kennedy man, is his Chief of Staff... THE PRESIDENT Morning, Kenny. You see this goddamn Capehart stuff? The President rattles the paper. Kenny collapses in the chair opposite the President, sprawls, comfortable. KENNY Bayh's going to lose, but it's good groundwork for us for '64. Kenny steals a piece of buttered toast off the President's plate. The President spares him a glance. THE PRESIDENT I was eating that. KENNY No you weren't. THE PRESIDENT (scanning the paper) I was, you bastard. Kenny takes a defiant bite. THE PRESIDENT (CONT'D) So what've we got today? KENNY Today, for your information, is Pulaski Day. We're going to Buffalo... SMASH CUT TO: INT. HOTEL LOBBY - DAY SUPERIMPOSE: BUFFALO, NEW YORK A luxury hotel crowded with LOCAL POLS: the Democratic machine of Buffalo. Beyond the open floor-to-ceiling windows, a CROWD. The Pulaski Day Parade, a glimpse of '69s Americana. High School bands blare Sousa. The scene is deafening, boisterous. Pols trail Kenny as he crosses the room: fast, tough, on-the-go. |
