Election Page #3

Synopsis: Election is a 1999 American black comedy-drama film directed and written by Alexander Payne and adapted by him and Jim Taylor from Tom Perrotta's 1998 novel of the same title. The plot revolves around a high school election and satirizes both suburban high school life and politics. The film stars Matthew Broderick as Jim McAllister, a popular high school social studies teacher in suburban Omaha, Nebraska, and Reese Witherspoon as Tracy Flick, around the time of the school's student body election. When Tracy qualifies to run for class president, McAllister believes she does not deserve the title and tries his best to stop her from winning.
Genre: Comedy, Drama, Romance
Production: Paramount Pictures
  Nominated for 1 Oscar. Another 16 wins & 33 nominations.
 
IMDB:
7.3
Metacritic:
83
Rotten Tomatoes:
93%
R
Year:
1999
103 min
Website
1,762 Views


TRACY:

No, I'm not. I'm just really busy.

DAVE:

I know. I know its not by choice. I

just mean, well, being the kind of

person you are, it must be really

difficult to find someone you can talk

to.

TRACY:

What do you mean? What kind of person

am I?

DAVE:

What kind of person?

Dave looks directly into her eyes.

DAVE (CONT'D)

Tracy, I've been watching you for going

on two years now, and I think you are

one of the most talented, hard-working,

sensitive, attractive, brilliant

students -- no, human beings -- I have

ever met. I mean, you're the real

thing. Special.

TRACY:

(embarrassed, low)

Thank you.

DAVE:

And I know sometimes people like you

have to pay a price for their greatness,

and that price is loneliness.

Tracy nods in quiet recognition.

DAVE (CONT'D)

I don't know. Maybe I'm wrong. But it

seems like you might need a friend.

INT. MILLARD YEARBOOK OFFICE -- DAY

A DOOR with cloudy glass and a stenciled sign: YEARBOOK OFFICE.

DISSOLVE through the door and TRAVEL through an empty room to discover

another door with a sign that reads DARKROOM.

TRACY (VO)

Since I grew up without a dad, you

might assume psychologically I was

looking for a father figure.

DISSOLVE through the darkroom door to

DAVE AND TRACY bathed in red light. Tracy is sitting on Dave's lap as

they make out hungrily.

TRACY (VO CONT'D)

But that had nothing to do with it at

all. It was just that Dave was so

strong and made me feel so safe and

protected.

INT. DAVE'S CAR -- DAY

Dave drives. Tracy sits in the passenger seat.

TRACY (VO CONT'D)

It was the first time somebody ever saw

the real me, the me that nobody else

knows.

DAVE:

(looking around)

Here, get down.

EXT. NOVOTKY HOUSE - DAY

Dave wheels his car into the open garage. The automatic door closes

behind him.

INT. NOVOTHY LIVIMG ROOM

Dave stands up from his squat at the STEREO, and the sexy sounds of

Sade set the mood.

Tracy is seated awkwardly at one end of the sofa, a Diet Dr. Pepper in

one hand. Dave walks slowly toward her, a sexy, knowing look in his

eye. The music is sexy. Tracy is sexy. He's sexy. Keeping his eyes

locked on Tracy's, he takes the pop can from her hand and takes a sip

himself. Sexy.

INT. NOVOTHY STAIRCASEDAY

Dave and Tracy walk up the stairs and down the hall. Dave enters the

bedroom first, while Tracy pauses in the hall. His arm reaches out and

pulls her inside.

INT. NOVOTNY BEDROOMDAY

IN QUICK TIGHT CUTS we see Dave and Tracy DISROBING

Tracy's head and naked shoulders lay themselves on Dave's pillow. She

looks toward the foot of the bed at -- DAVE, unable to believe his

eyes. He looks at naked Tracy up and down, up and down, his breath

quickening. Sade wafts up the stairs.

DAVE:

Look at you.

He descends out of frame.

TRACY (VO)

When I think back on my relationship

with Mr. Novotny, what I miss most. is

our talks.

INT. DAVE'S BASEMENTDAY

JIM is riveted by Dave's story; he is both horrified and titillated

JIM:

You did it at your house? Your own

house?

DAVE:

Look, Jim... Okay. I know it all

seems crazy, and maybe it did start out,

you know, for the... for the sex and the

danger. But now it's different. Jim,

what I'm trying to tell you is that

Tracy and I are totally, totally in

love.

JIM:

In love?

DAVE:

Yeah, it's serious. I mean she

inspires me in ways Sherry never has.

She even wants to read my novel.

JIM:

But you haven't written your novel.

DAVE:

That's the whole point. It's all in my

head; it's right here. I just got to

get it out there. Tracy wants me to

write it so she can read it. It's

beautiful.

JIM:

Dave, I'm just saying this as your

friend. What you're doing is really,

really wrong, and you've got to stop.

Dave draws a heavy sigh and buries his head in his hands perhaps JIM

has reached him. Perhaps not.

DAVE:

You're not just jealous, are you? I

mean, we both used to talk about her

JIM:

(exploding)

That was just talk! Fantasy talk! What

are you, nuts? We talk about girls all

the time, but it doesn't mean anything.

I would never. . . I mean, I take very

seriously our strict moral code. The

line you've crossed is... it's illegal

and it's immoral.

DAVE:

I don't need a lecture on ethics, Jim,

okay? I know what --

JIM:

I'm not talking about ethics. I'm

talking about morals.

CLICK. SQUEAK. STEP STEP STEP.

SHERRY (OS)

Peek-a-boo!

Sherry comes down the basement stairs with Darryl in her arms.

DAVE:

(to Jim,

whispering)

Look, I appreciate your concern. I

really do. But like I said, I got it

under control.

As Sherry approaches them, Dave rises to take Darryl, the perfect

father:
hug, tickle, kiss.

JIM (VO)

I guess I don't have to tell you how

all this turned out.

INT. PRINCIPAL HENDRICK'S OFFICEDAY

CLOSE ON DAVE slumped in a chair. He is lost in agony: all he can do

is look down and draw short, gasping breaths.

Principal Walt Hendricks is at his desk, examining a little BOOKLET.

JIM:

sits on the vinyl sofa.

CLOSE ON -- the small makeshift booklet whose cover reads, "There's a

place for us" in overdone fancy cursive.

THE SECOND PAGE shows a cutout from a travel magazine of a swanky

BEACHFRONT HOTEL. One room has been circled with the words "you and

me" written next to it. Below: "A time and place for us." We HEAR

Walt clearing his throat, swallowing.

THE THIRD PAGE has glued to it a POSTCARD showing a couple hand-in-

hand on the beach at sunset and reading, "Maui is for lovers." Below:

Take my hand and we'll soon be there.

THE LAST PAGE has a cutout of a bouquet of flowers. It reads, "Tracy,

See you in paradise? Love, your 'teacher' David. P.S. I really,

really need you now." The booklet is lowered.

DAVE:

Tracy's Mom -- she doesn't understand.

WALT:

No, I'd say she doesn't. I don't think

I've ever seen a mother quite so upset.

We're all very, very lucky she doesn't

want this public.

Dave looks at JIM for help. JIM looks away. Dave's breaths grow more

convulsive. Finally -

DAVE:

But we're in love

WALT:

Dave. Dave, look at me

Dave looks slowly up.

WALT:

I want you to get some help.

DAVE & SHERRY'S LIVING ROOMNIGHT

Sherry cradles Darryl while Dave grovels at her feet.

JIM (VO)

After Dave got fired, Sherry kicked him

out of the house and filed for divorce.

SHERRY:

Your novel? Are you f***ing kidding me?

Dave follows Sherry as she takes the baby into their bedroom and slams

the door in Dave's face. Dave pounds on the door, eventually sinking

to his knees and crying.

DAVE:

Sherry Sherry Sheerrry. ...

JIM (VO)

He ended up moving back to Milwaukee to

live with his parents. I haven't heard

from him in a long time. Poor guy. I

warned him.

INT. JIM'S CLASSROOM -- DAY

Tracy, still frozen, THAWS OUT. Maybe now she can finish

TRACY:

...certain time in history and

RINGGGGG Maybe not.

At the bell, students instantly shut their textbooks and collect their

things.

JIM:

Okay. We'll pick up here next time

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Jim Taylor

Jim Taylor (born 1963 in Seattle, Washington) is an American producer and screenwriter who has often collaborated on projects with Alexander Payne. The two are business partners in the Santa Monica based Ad Hominem Enterprises, and are credited as co-writers of six films released between 1996 and 2007: Citizen Ruth (1996), Election (1999), Jurassic Park III (2001, with Peter Buchman), About Schmidt (2002), Sideways (2004), and I Now Pronounce You Chuck and Larry (2007, with Barry Fanaro and Lew Gallo). His credits as a producer include films such as Cedar Rapids and The Descendants. more…

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Submitted by aviv on January 26, 2017

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    "Election" Scripts.com. STANDS4 LLC, 2024. Web. 4 Oct. 2024. <https://www.scripts.com/script/election_852>.

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