AERIALPHOTOGRAPHS. Otherwise the rooms are primitive and
stand out in stark contrast to this high-tech invasion.
Philips and Schaefer enter the room.
(CONTINUED)
------------------------------------------------------------------------
3
3 CONTINUED 3
PHILIPS
(growing serious)
Weve got a real problem here,
something right up your alley.
They cross to the center of the room to a folding table,
cov
AERIALPHOTOGRAPHS. Otherwise the rooms are primitive and
stand out in stark contrast to this high-tech invasion.
Philips and Schaefer enter the room.
(CONTINUED)
------------------------------------------------------------------------
3
3 CONTINUED 3
PHILIPS
(growing serious)
Weve got a real problem here,
something right up your alley.
They cross to the center of the room to a folding table,
cov
Photography JOHN HOOPER
Thelma is peeking in the exposed corner of a window of a
boat shed where her brother Richard is with Miss Marissa,
who is stroking his face and begins taking his shirt off.
Music by LAURENCE JUBER
Screenplay by ANTHONY SIMMONS
Thelma takes her paper bag of groceries and leaves the
window where she was spying, and goes into her house. Aerial
view of Roberts car driving
photographs seems just on the edge of wistful. The dog frolics
around them as they wave to the press and smile for the world.
Ozzie and Harriet for the Nineties with a bow to FDR and some
Camelot thrown in.
MOVING WITH them...
They stride arm in arm beneath the portico that leads to the
West Wing. The band is still playing as they head under the
archway, disappearing from public view. Then, insta
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 its 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
st