Thirteen Days Page #2

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:

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 sh*t. 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 sh*t!

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.

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