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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
本文发布在演艺圈门户网，演艺吧，请勿转载．域名www.yanyi8.com .8年10月05日21:25不久前,首届中国相声小品大赛第四
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.
POL #1
We're putting up Potowski next time.
Will you guys come out for him?
KENNY
Who else you got?
POL #2
There's Richardson. Good kid.
KENNY
Got the touch?
POL #2
Yeah. Still moldable, too.
KENNY
Everyone likes a good kid...
And like that, a congressional candidate is made... Kenny
accelerates, leaving the Pols behind. Suddenly, outside the
windows, the crowd swells forward with a collective ROAR.
CROWD
MR. PRESIDENT! PRESIDENT KENNEDY!
EXT. HOTEL - DAY
Kenny heads down the steps with New York Times Washington
Bureau Chief, SCOTTY RESTON. Anonymous, they weave their way
through the crowd for a police car on a side street.
RESTON
How's my favorite President?
KENNY
Busy. But you've got his heart.
RESTON
I want an hour with him.
KENNY
I said his heart, not his attention.
RESTON
Three weeks before midterm elections?
You need me.
KENNY
Well. There is a new civil rights
initiative he wants to talk about.
RESTON
I'm doing a piece on Skybolt. I hear
Macmillan's meeting with him in Nassau.
Kenny just sighs as they make their way up to the police car.
A Secret Service Agent opens the door for him, another is
behind the wheel.
KENNY
We're giving the Brits Polaris instead.
But a story'll just aggravate things.
Scotty stares at Kenny, determined. Kenny looks away. And
his eye catches a tall, willowy BEAUTIFUL WOMAN. She is
talking, excited, embarrassed, to two more SECRET SERVICE
AGENTS. What they're saying is lost in the noise.
Scotty follows Kenny's gaze. Then the two men share a look,
a silent understanding. Kenny glances at the Secret Service
guy holding the car door, tilts his head at the woman.
KENNY (CONT'D)
Not today. He's got tight schedule.
The Agent nods, heads for the other Agents and the Beautiful
Woman. Scotty acts like nothing has happened.
RESTON
Pretending there isn't a problem won't
fix it. He can clear the air on Anglo
American relations.
KENNY
Forget it, Scotty.
RESTON
Let him talk to me, he makes Macmillan
look good, I print it, the British
public likes it, Macmillan owes you.
The formula's exactly what Kenny wants to hear. He pretends
to consider, pretends to cave as he gets in the car.
KENNY
All right, you're in. Half hour.
Reston's won. But so has Kenny, and he's made Scotty feel
tough in the bargain. People like Kenny.
INT. POLICE CAR - DAY
In the back seat, Kenny stares out the window at the parade
goers. The Secret Service Agents leave the Woman.
Disappointed, the Woman turns and vanishes into the crowd.
It's an eerie moment. Something troubles Kenny, and he
glances up at the sky. A premonition. But it's a clear,
clear blue. A day like this, all is right with the world...
SMASH CUT TO:
岸观影时2018年10月04日22:11刚刚结束的《中国相声小品》大赛,来自天津的杨仪、杨少华父子为我们奉献了一段相声,作为今晚大赛的压轴戏。正如在相声中杨仪所说,他已经十几年不说相声了。那这些年《相
INT. NPIC - NIGHT
Six Interpreters huddle around IMAGES on a light table. One
of them shoulders his way into the group and THUMPS a black
BINDER on the table. There are grim nods of agreement.
The book is open to a PICTURE of an SS-4 BALLISTIC MISSILE.
A photo from Moscow Mayday parade. An icon of the nuclear
age escorted like some devil-god to a holocaust...
END MAIN TITLE SEQUENCE
EXT. THE WHITE HOUSE - DAY
The White House casts long shadows this gorgeous October
morning. Blue sky; the first flash of color in the trees.
SUPER: TUESDAY, OCTOBER 16TH, 1962. DAY 1.
INT. KENNY'S OFFICE - CONTINUOUS
Briefcase and coat in hand, Kenny enters his office - and
finds THREE MEN. Standing there. Thin-haired, bespectacled,
academic-looking MCGEORGE BUNDY, 43, the National Security
Advisor. The two men in the background: PHOTO INTERPRETERS.
Kenny hangs up his coat, sees the Interpreters' large black
display cases. And suddenly the world is slightly off
kilter.
KENNY
Hey, Mac. You're up bright and early.
BUNDY
No, Ken. I need to see him now...
INT. WHITE HOUSE - RESIDENTIAL FLOOR - DAY
Kenny emerges from the elevator with Bundy. They head down
the long, posh 3rd floor hall, the Presidential Detail
guarding the doors at the end. But the familiar route feels
strange, and lasting an eternity. Kenny eyes the package
under Bundy's arm, its TOP SECRET stamp visible.
KENNY
Morning, Floyd.
SECRET SERVICE AGENT
Good morning, Mr. O'Donnell. Mr. Bundy.
The Agent opens the door. Bundy pauses, Kenny with him.
KENNY
What's it about?
BUNDY
Cuba.
Bundy is tense. But Kenny relaxes.
KENNY
Just Cuba? Okay, I got work to do, see
you guys downstairs.
INT. KENNY'S OFFICE - CONTINUOUS
Kenny's office is a raging beehive of activity. Kenny works
the phone as ASSISTANTS come and go with files.
KENNY
(to phone, scary calm)
Listen to me, you worthless piece of
disloyal shit. You will pull Daly's man
on the circuit. You owe your goddamn
job to this administration.
(beat, listening)
There is a word you need to learn. It
is the only word in politics. Loyalty.
LOYALTY you motherfucking piece of shit!
As Kenny THROWS the phone down at the receiver, and the
PRIVATE DOOR to the Oval Office suddenly opens. Kenny
glances up. President Kennedy stands there in the doorway.
Kenny thinks he's reacting to the tirade.
KENNY (CONT'D)
What're you looking at? This isn't the
blessed order of St. Mary the Meek.
Kenny stops.
KENNY (CONT'D)
Excuse us.
The Assistants leave, shutting the door after them. Kenny
rises.
THE PRESIDENT
I think you should come in here.
Kenny starts for the door.
THE PRESIDENT (CONT'D)
Still think Cuba isn't important?
KENNY
Not as far as the election goes.
The President lets Kenny by into...
INT. OVAL OFFICE - CONTINUOUS
WE ENTER from a different angle than we usually enter in
movies: through the side door. The President's ornate desk
sits on the right, windows looking out on the Rose Garden
behind it. Kenny's gaze swivels to:
THE OTHER END OF THE ROOM where the Interpreters, their
crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him.
They're surrounded by PRESENTATION BOARDS propped up around
the fireplace. The President's rocking chair and sofas.
THE PRESIDENT
You used to look down a bomb sight for a
living, Ken. What do you see?
In eerie silence, as all eyes follow him, Kenny makes his way
among the presentation boards with the U-2 imagery, stops in
front of the picture of the six canvas-covered objects. It
unleashes a wave of memories.
KENNY
We hit a Nazi buzz bomb field in '45.
(beat, incredulous)
It looks like a rocket base...
He puts his hand out to touch the image, then turns and looks
to the President, knowing what they must be.
BUNDY
On Sunday morning, one of our U-2s took
these pictures. The Soviets are putting
medium range ballistic missiles into
Cuba.
Shock. Silence. Kenny glances to the other men.
LUNDAHL
They appear to be the SS-4: range of a
thousand miles, three-megaton nuclear
warhead.
KENNY
Jesus Christ in Heaven...
INT. WHITE HOUSE OPERATOR'S CENTER - DAY
A bank of WHITE HOUSE OPERATORS work the switchboard, fingers
flying, voices overlapping in a babble of:
VARIOUS OPERATORS
Please hold for the White House...Mr.
O'Donnell for Secretary McNamara...
White House Operator... please hold...
INT. KENNY'S OFFICE - DAY
Kenny carries the phone with him as he paces hard from his
desk to his window.
KENNY
The principals are assembling in an
hour. See you then.
Kenny hangs up. The President enters. A beat. And in that
beat, there's a void. The two men are off their emotional
stride, trying to grope their way out of shock.
THE PRESIDENT
Where's Bobby?
Kenny nods, acknowledging the feeling
KENNY
Should be here any minute.
THE PRESIDENT
Good.
And we glimpse the chemistry of these guys by Bobby's
absence. It's like they're missing their third wheel.
THE PRESIDENT (CONT'D)
Good.
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