a corridor of the white house, as ames and the man in the ratty jacket
brean looking on, as ames reads, and shakes his head sadly. brean takes the
in the foreground, brean, in a taxicab, which drives away, in the b.g., the man in the bathrobe, reentering his house.
back at his seat, the woman in the seat across the aisle to him is talking in
down at the deserted pool area. one nanny type, with a young kid in waterwings, frolicking in the water, and brean, and ames, who are sitting in pool chairs. brean rises, and walks to greet moss, leaving ames in the b.g.
on moss and brean, as moss approaches a bit tentatively.
on the television we see sklansky, and see that he is the chap in the
the group, moss, brean and three more, watching the tv
over a sleeping brean, stretched out on a poolchair, grace, the secretary, comes out on to the pool area, holding the shot of a small, foreign looking child, in front of a pile of rubble.
on ames and brean, in the control room.
business people queuing up, at the tv, beyond them, the departure gate, showing a sign, american airlines flight _____ to washington d.c. in the foreground, brean, on a cellphone, pays no attention to the screen, as
from the jetway the door about to close, brean in the b.g. watching the infomercial. the ticket taker calls to him, ". sir?" brean turns and rushes to the closing door. on the tv, in the bg, we see the logo: "re-elect the president. this message paid for by" et cetera.
tight on brean and ames, and a fellow passenger, as all scan their newspapers.
brean, and another passenger.
brean, given the tour by ames.
the jeep, as brean settles himself in he turns to look at the chaos in the
wider, on the group at the tv, all shaking their heads sadly. an aide hands the phone to moss, who gives it to brean.
at the tv, moss is watching the television which is showing the "change horses campaign." we see two kids with soapbox racers.
at the drivethrough portico, ames waiting, we see the van, on which someone has spraypainted "fuck albania."
brean, and ames, in the corridor. pacing. pause.
the president, continuin to speak.
cain, mouthing along, with the speech, she looks down, and we see written, on
as we look up, we see the president biting his lip, and continuing with the
on cain, as she looks around.
cain, as she smiles to herself.
cain looks down at her script. shrugs, and looks up.
on the presscorp, the reporters, listening widemouthed, to the president's
on liz, as she walks through the h.q., on a board we see "days till election 6" and % in favor 82%. a huge tv shows the president.
the president, holding the photograph
young person's apartment, night.
on the young man, as he turns. we see, behind him, an unmade bed, and a young woman, the aide from the shoestore h.q., wrapped in a sheet.
one worker, with a t-shirt reading, "courage, mom," and a photo of schumann, checks her watch, and switches the channel to a newscast.
another small group of workers, several wearing, "fuck albania" t-5hirts. one
brean, moss, and ames, in a skyhox, watching the spectacle.
int the plane. as the two unbuckle, and stretch.
on brean, who is doodling.
ext the plane, the officer retreating, in the rain, to the truck, ames,
int, the plane, brean, looking at schumann. hold. moss enters the plane.
on moss, as he moves to his briefcase, and extracts the telephone-like book, he turns to the front page, and we see the title is "military special prisons."
the plane, in a violent rainstorm, bucking wildly. ames, on his knees, gathering up the pills, replaces them in the vial, shakes out two, and gives
a beaten-up brean struggles from the plane, finishing a bottle of scotch, he flings it from him, reaches in his back pocket, opens another, and, as he does so, he sings drunkenly.
the crowds at andrew's airkorce base, the "old shoe" banners, the "courage, mom," banners. the still band. a shot of the bandmaster, surreptitiously,
brean, shaking his head. in the b.g., moss, drinking.
moss still talking, the harvester continuing down the endless rows of wheat,
on brean and moss, who walk schumann across the highway. in the b.g. we see ames talking to the driver of the harvester, who is a small, hispanic man.
on moss, as he walks the groggy schumann toward the gas station.
on brean and moss, as they cluster up to the television. in the b.g., schumann, sitting on a stool at the counter.
on the three, as they watch the television.
schumann, as he looks away, and mutters to himself.
on schumann, who has cone to the back of the counter, and is emptying the
cu. on schumann, leering.
on schumann, leering.
on the men, in the room, arguing about the illegal alien, schumann in the b.g.
on the gas station owner, who has retreated to his counter and produces a shotgun, and starts to load it.
brean and moss, dishevelled, unshaven, looking on.
brean and moss, they swivel their heads, and we see, beyond the doors of the hangar, a vast crowd, flashbulbs begin popping.
on brean, as he proceeds to the back room, where we see ames, standing with the man, who now has on his black robe, and holds a bible out to the hispanic
on this room, with the huge hangar, and the casket in the far room. angle, on brean as he shakes his head sadly.
on various spectators, weeping, many of them with old shoes hung around their