ELECTION by Alexander Payne & JIM Taylor
Third Draft July 22,1997
Based on the novels by Tom Perotta
EXT. MILLARD HIGH -- DAWN
The school stretches out before us, slumbering in the overcast morning
air.
Along the front sidewalk, a lone JANITOR trundles a garbage bin filled
with overstuffed hefty bags.
A weathered FORD ESCORT pulls into the empty PARKING LOT and comes to
a stop near the athletic field.
A TEENAGE GIRL'S VOICE -
TRACY (VO)
None of this would have happened if Mr.
McAllister hadn't meddled the way he
did. He should have just accepted
things as they are instead of trying to
interfere with destiny. You see, you
can't interfere with destiny. That's
why it's destiny. And if you try to
interfere, the same thing's going to
happen anyway, and you'll just suffer.
JIM MCALLISTER, a teacher in his mid to late-thirties, emerges from
the car in running clothes and carrying a briefcase, gym bag, and
coffee mug. On his way to the field, he crosses paths with the
janitor.
JIM
Morning, Lowell
Lowell nods, hoists a bag and tosses it into a dumpster.
EXT. ATHLETIC FIELD -- DAWN
JIM CIRCLES THE TRACK, sweating and panting.
ON THE GROUND JIM does sit ups
JIM
Twenty-one... twenty-two.
He collapses onto his back. His head rolls to one side, and he
glances past the fence at --
THE PARKING LOT
Where a second CAR is just arriving. JIM watches as TRACY FLICK, a
junior, and her MOTHER get out.
The mother helps remove a CARD TABLE and a big plastic sack from the
trunk before Tracy heads toward the school.
MOTHER
(distant)
Good luck!
JIM turns his gaze toward the sky, closes his eyes, sighs.
INT. BOYS' LOCKER ROOM -- DAY
Naked in the showers, JIM pumps liquid soap from the wall- mounted
metal dispenser.
INT. HILLARD HALL DAY
THE LEGS OF A CARD TABLE - as Tracy spreads them open and locks them
into place.
STICKS OF GUM from a Plen-T-Pack are emptied into a FISHBOWL-
SCOTCH TAPE is wrapped around the end of a pen to attach a piece of
string
INT. BOYS' LOCKER ROOM DAY
AT THE MIRROR
JIM adjusts the knot of his tie, notices a little shaving cream in his
ear.
INT. MILLARD HALL DAY
FOUR CLIPBOARDS with pens and lined sheets of paper are being placed
in a row like little soldiers. The top of every sheet reads "Tracy
Flick for President: Official Nomination Signatures."
INT. FACULTY LOUNGE -- MORNING
AT THE REFRIGERATOR
JIM tries to place his lunch inside, but the shelves are too crammed
with old take-out containers. He opens one and smells it. Disgusted,
he drags a garbage can over and begins throwing things away.
Lowell appears in the doorway wheeling his squeaky maintenance cart
and watches JIM conduct his purge as A CHINESE FOOD BOX misses the can
and rolls on the floor.
INT. MILLARD HALLWAY -- DAY
Tracy is seated behind her card table strategically placed near the
school's main entrance. A sign taped to the wall behind her reads,
TRACY FOR PREZ. SIGN UP FOR TOMORROW, TODAY! She checks her watch,
readies herself.
JIM walks around the corner whistling vaguely.
TRACY
Good morning, Mr. McAllister.
JIM
Not wasting any time, are you, Tracy?
TRACY
(chirping)
You know what they say about the early
bird.
JIM
Yes, I do.
An awkward moment passes between them.
JIM
Well, good luck there, Tracy
TRACY
Thanks, Mr. M.
AS JIM turns and walks away, Tracy watches him. He stops and picks up
some litter, tosses it in a nearby garbage can.
TRACY (VO)
No matter what he says, Mr. McAllister
had it out for me from the start. Oh
sure, he was all smiles and good wishes
and everything, but underneath he was
just as unfair and petty as anybody
else.
INT. JIM'S CLASSROOM DAY
Alone in his room, JIM studies the Omaha World-Herald
TRACY (VO CONT'D)
He'll probably tell you how committed
he was to teaching and democracy and
integrity and all. Don't be fooled.
After laying the paper down to circle an article, JIM leans back in
his chair and momentarily loses himself in thought.
JIM (VO)
It's hard to remember how the whole
thing started, the whole election mess.
What I do remember is that I loved my
job. I was a teacher, an educator, and I
couldn't imagine doing anything else.
Suddenly a VOICE --
VOICE (OS)
Hey, Mr. M. Mr. M.!
JIM glances OUT THE WINDOW and sees a kid -- PAUL METZLER -- pointing
at him. Paul walks with a LIMP. Behind him, other STUDENTS approach
the school.
PAUL
Stop daydreaming! Get back to work!
JIM enjoys the affectionate joshing and gives the kid a wave. He
returns to his newspaper, a contented man.
JIM (VO)
The students knew it wasn't just a job
for me.
EXT. MILARD HIGH FOOTBALL STADIUM -- NIGHT
JIM sits in the bleachers, clapping his hands over his head.
JIM
C'mon, wolverines! Defense! Let's
hold 'em back!
JIM (VO)
I got involved. And I cared.
INT. MILLARD GYM DAY AT A PEP RALLY -
JIM is dressed as a WESTERN VILLAIN, and his black hat reads "Lincoln
South." With a menacing grimace he approaches a group of FOOTBALL
PLAYERS at a poker table.
JIM (VO CONT'D)
And I think I made a difference.
A CORNER OF THE SCHOOL DAY
JIM has a comforting hand of the shoulder of a CRYING GIRL
JIM (VO CONT'D)
I knew I touched the students' lives
during their difficult young adult
years, and I took that responsibility
seriously.
INT. AUDITORIUM -- NIGHT
JIM trots up the stairs to receive a plaque. He beams.
JIM (VO CONT'D)
In the twelve years I taught U.S.
History, Civics and current Events at
Millard, I was voted Teacher of the Year
three times - a school record.
INT. JIM'S CLASSROOM -- DAY
Mr. McAllister reads aloud from the newspaper as he paces in front of
his class of high school juniors, Tracy Flick among them. The seats
are arranged in a SEMI-CIRCLE.
JIM (VO CONT'D)
Standing in front of a room full of
young people, trying to make them think
that's how I wanted to spend the rest
of my life,
JIM slaps the newspaper for emphasis and addresses the class
JIM
So would this be an ethical situation
or a moral situation? What's the
difference between ethics and morals,
anyway?
Tracy shoots her hand into the air. JIM notices but keeps looking
around.
JIM (CONT'D)
Anybody
Other hands rise tentatively
JIM (CONT'D)
Derek
DEREK
Uh, ethics is like when you, uh, do
what society tells you is right and
morals are like, uh...
JIM
You're on the right track, who can
help him out?
DEREK
..morals are when...
Tracy's hand goes higher.
JIM
Michelle?
MICHELLE
Morals are like lessons, you know, like
the moral of a story; it's what you
learn from a story or a fable or
something. . .
JIM
Or a life experience. Good. And
ethics?
MICHELLE
That's more like, urn... Ethics is how
you use the morals... that you learn
from a story?
JIM weighs the answer, tries to be encouraging.
JIM
Okay. But we're still missing
something key here. What are we
missing?
TRACY
(hand still raised)
I know.
JIM
(finally)
Tracy.
TRACY
Ethics are...
FREEZE FRAME on Tracy, her hand lowering, her mouth agape.
JIM (VO)
Tracy Flick. Tracy Flick. I've never
met anyone quite like Tracy Flick.
INT. STUDENT COUNCIL ROOM -- DAY -- ONE YEAR PREVIOUS
JIM sits to one side, monitoring the student council MEETING about to
convene. A younger Tracy enters briskly and, unlike her casual teen
comrades, has made an attempt to dress for success. She takes a seat
right up front and opens her backpack.
After preparing her notepad and pen, Tracy puts a MICROCASSETTE
RECORDER on the table in front of her and pushes RECORD.
JIM (VO CONT'D)
She first showed up in my life as a
freshman delegate in student council.
I'd seen a lot of ambitious students
come and go over the years, but I could
tell right away Tracy Flick was
different.
JIM observes Tracy, trying to size her up.
ON TRACY -- putting all her little things in order, finally folding
her hands to wait.
JIM (VO CONT'D)
It wasn't long before everyone knew who
Tracy Flick was. She made sure of that.
Her drive was astonishing. Even scary.
A FAST-PACED MONTAGE BEGINS UNDER TRACY'S VOICE-OVER:
INSERT HILLARD HIGH YEARBOOK It fans open to the INDEX.
PAN DOWN to Tracy's name followed by countless page references
TRACY (VO CONT'D)
Some people say I'm an overachiever,
but I think they're just jealous.
A page number turns BOLD, and the other numbers drop away
Suddenly we are on that page, and we PAN to a headline: "Spanish Club
says Oh La!"
PAN to the group shot and ZOOM in on Tracy smiling in a big SOMBRERO.
TRACY (VO CONT'D)
My Mom always tells me I'm different --
you know, special. And if you look at
all the things I've accomplished so far,
I think you'd have to agree.
We see Tracy on other pages too: "Yearbook Staff goes for it!" "Junior
Achievers put on the dog!" "Student Council meets the challenge;"
Oklahoma's a hit!
TRACY (VO CONT'D)
Here I am in Oklahoma.
The STILL of Tracy in Oklahoma suddenly COMES TO LIFE.
INT. MILLARD HIGH AUDITORIUM NIGHT
On stage, Tracy wears a cowgirl outfit and hams it up with exaggerated
gestures.
TRACY
(off-key)
I'm just a girl who can't say no...
TV INSERT/INT. CAFETERIA DAY
It's the closed-circuit school NEWS BROADCAST. Tracy is delivering a
stand-up report from the crowded cafeteria. Her dress and makeup are
an obvious if lame emulation of a professional newswoman.
TRACY (VO)
And here I am on KMHS, our student-run
TV station.
TRACY (ON TV)
..that's why Principal Hendricks made
the controversial announcement that the
littering must stop. Tracy Flick
reporting.
INT. STUDENT COUNCIL MEETING ROOM -- AFTERNOON
A Student Council meeting is underway led by the president, LARRY
FOUCH. A girl, ASHLEY, is speaking. JIM observes from the side.
TRACY (VO)
But it was in SGA, the Student
Government Association, where I made my
biggest mark. I never missed a meeting,
and I volunteered for every committee as
long as I could lead it.
Before Ashley can finish, Tracy STANDS UP
TRACY
I agree with Ashley. We should rent
the barrels at least a day beforehand.
What happened last time was a travesty,
I mean, we were --
LARRY FOUCH
(trying to quiet
her)
Yeah, no, I know, Tracy. That's why
we're -- Look, can we just take a vote
on this?
INT. JIM'S CLASSROOM DAY
BACK TO TRACY still frozen mid-sentence, waiting to finish her answer.
JIM (VO)
Now at the end of her junior year,
Tracy was poised to win the presidency
of the student body. And so far she was
running unopposed.
TRACY COMES BACK TO LIFE
TRACY
...the rules of conduct determined by a
culture at a...
SHE FREEZES AGAIN
JIM (VO)
Oh. There's one more thing about Tracy
I think you should know.
INT. MILLARD STAFF-ROOM -- DAY
CLOSE ON DAVE NOVOTNY, another teacher in his mid-thirties
DAVE
Her pussy gets so wet you can't believe
it.
WIDE -
Dave is leaning across his desk to speak with JIM at an adjacent work
area. They eat sack lunches.
JIM (VO)
A few months before the election, she'd
had an affair with my best friend Dave
Novotny.
JIM
Don't tell me that. I don't want to
know that.
DAVE
She's incredible. Everything just gets
soaked.
INT. JIM'S BASEMENT DAY Dun-dun-DUN... Dun-dun-DUN
JIM and Dave are playing the opening notes of "Foxy Lady" through
cheap, distorting amps. JIM plays bass. Dave plays guitar and sings
into a microphone. They're bad. As in not good.
The basement is typical of a Midwest middle-class young couple -- half
storage and laundry, half makeshift roc-room.
JIM (VO)
Dave came to Millard the year after I
did, and we hit it off right away. We
backed each other up in teachers'
meetings and shared an interest in 60's
music and micro-breweries.
CLOSE ON DAVE really getting into it, playing to an unseen stadium.
Behind him JIM is very careful with his chords.
JIM (VO CONT'D)
You could tell Dave was one of those
guys who taught because they never
wanted to leave high school in the first
place, and that could get a little
irritating sometimes, but basically he
was a real good guy.
DAVE
(singing)
Foxy. . . Foxy. . . You know you're a
cute little heartbreaker... Foxy... You
know you're a sweet little love maker...
CAMERA DRIFTS toward the stairs leading up.
INT. JIM'S KITCHEN
CAMERA DRIFTS from the open basement stairway door and toward DIANE
MCALLISTER and SHERRY NOVOTNY seated at the kitchen table. They are
fussing over little six-month-old DARRYL NOVOTNY in his highchair.
JIM (VO)
Our wives became best friends too. And
when Dave and Sherry's son Darryl was
born, they asked us to be godparents.
At a particularly grating note from downstairs, Diane gets up and
closes the basement door.
INT. GEOMETRY CLASS
AN ISOSCELES TRIANGLE is being drawn on the blackboard and bisected.
PULL OUT to reveal Dave explaining.
The class is taking notes, and we zero in on a younger Tracy.
TRACY (VO CONT'D)
YOU probably think the worst - that Mr.
Novotny was just taking advantage of one
of his students, but it wasn't like that
at all. Our relationship was based on
mutual respect and admiration. I mean,
during my sophomore year in geometry it
was strictly professional between us --
I mean, nothing.
EXT. GODFATHER'S PIZZA -- NIGHT The parking lot, the neon lights, the
promise of good times.
TRACY (VO CONT'D)
It wasn't until junior year when we
worked together on the yearbook that
things got serious.
INT. GODFATHER'S PIZZA -- NIGHT Dave and Tracy are at a booth along
with six other students.
TWO KIDS DISSOLVE OUT OF FRAME,
and the others shift positions. Others continue to disappear in the
same way, until only Dave and Tracy remain.
TRACY (VO CONT'D)
One night he took us editors out to
celebrate after a deadline. Eventually
Dave and I were left alone and we got to
talking - not like teacher and student,
but like two adults.
DAVE
You know, Tracy... I don't know how to
say this, but...
Dave's finger traces the rim of his frosty root beer mug.
TRACY
what?
DAVE
Well, I notice you don't seem to have
any close friends at Millard. You seem
to be kind of a loner.
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 STAIRCASE DAY
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 BEDROOM DAY
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 BASEMENT DAY
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 OFFICE DAY
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 ROOM NIGHT
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 fucking 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
Tracy is miffed as she puts her things away: slam, stuff, zip. She
slings her backpack over her shoulder and heads toward the door. She
looks back at --
MR. MCALLISTER who himself now FREEZES as he talks to a couple of
students
TRACY (VO)
Now that I have more life experience, I
feel sorry for Mr. McAllister.
CLOSE-UP FROZEN DETAILS - of Jim's appearance - his slightly frayed
collar and bad tie; the heels of his old docksiders worn down at
irritating angles; the faded impression his too-big wallet has made in
his khakis; his growing bald spot; his ear hairs.
TRACY (VO)
I mean, anyone who's stuck in the same
little room saying the exact same things
year after year for his whole life,
wearing the same stupid clothes, while
his students go on to good colleges and
move to big cities and do great things
and make loads of money has got to be at
least a little jealous. It's like my
room says - the weak always try to
sabotage the strong.
Tracy turns and walks out the door.
INT. TRACY'S HOUSE -- DAY
CLOSE ON A SMILING LITTLE TRACY - in a Sears-style portrait. PAN
across a wall full of other framed photos of Tracy accepting awards,
dancing in a recital, poised to dive at a swim meet.
TRACY (VO CONT'D)
One thing that's important to know
about me is that I'm an only child. So
my Mom is really devoted to me, and I
love her so much. She wants me to do
all the things she wanted to do in life
but couldn't.
AT THE DINING ROOM TABLE
Tracy's mother, BARBARA FLICK, finishes a letter and puts it in an
envelope.
TRACY (VO CONT'D)
See, Mom used to be a stewardess for
Northwest and now works as a para-legal.
She likes to write letters to successful
women like Janet Reno and Elizabeth Dole
and ask them how they got to be where
they are and what advice do they have
for me, Tracy, her daughter.
CLOSE ON BARBARA'S TONGUE as the envelope flap slides across it.
INT. MILLARD HALLWAY DAY
A politician's SMILE plastered to her face, Tracy is at her card table
vigorously gathering signatures.
TRACY (VO CONT'D)
Nine times out of ten they say you have
to hold on to your dreams no matter
what. The pressures women face mean you
have to work twice as hard, and you
can't let anything or anyone stand in
your way.
A shabbily dressed BURNOUT -- DOUG SCHENKEN -- walks past and grabs a
huge handful of gum.
TRACY
One per person! Put those back I
John just keeps on walking away, and his two BUDDIES take great
delight in his nimble-witted, quick retort.
DOUG SCHENKEN
Eat me
INT. HILLARD LIBRARY -- DAY
While other students sit in groups around her, Tracy sits apart at her
own table, concentrated and alone. She is writing little numbers by
her signatures.
TRACY
Ninety-seven.. .ninety-eight.
TRACY (VO)
But you know, winning isn't
everything. If you play fair and follow
all the rules thoroughly, you'll always
come out ahead. Win or lose, ethical
conduct is the most important thing.
Just ask Mr. McAllister.
EXT. PARKING LOT -- DAY CLOSE ON TRACY'S EXCITED FACE
TRACY
Mr. McAllister? Mr. McAllister! Wait up
I
Jim, his tie loose and his sleeves rolled up, looks up from unlocking
his car. Tracy runs toward him holding out a TERM PAPER FOLDER.
TRACY
I got all my signatures. One hundred
and fifty-eight -- way more than I need!
JIM
Hey, that's super
TRACY
Here they are.
JIM
You can put those in my box. I'll look
at them tomorrow.
TRACY
Could you approve them now? I'd like
to kick off my campaign right away, you
know, in the morning.
JIM
(resigned)
Right
He cursorily flips through the bound pages and offers them back to
Tracy.
JIM (CONT'D)
Looks good to me.
TRACY
Aren't you supposed to keep them?
JIM
NO, that's fine
TRACY
I thought you were supposed to keep
them.
JIM
Okay, fine. Sure
JIM throws his briefcase and Tracy's folder into the backseat.
TRACY
Thanks for everything.
JIM
You bet.
Tracy stays put as JIM climbs in, shuts the door and fastens his seat
belt.
TRACY
(cheery, awkward)
I can't wait to start campaigning.
JIM
Should be easy. So far no competition.
TRACY
Hell, you know, Coca-Cola's the world's
number one soft drink, but they spend
more money than anybody on advertising.
I guess that's how come they stay number
one.
JIM
Yeah. Okay. well, good luck Tracy
They exchange a long, curious stare. There's a tone at once
confrontational and vaguely sexual about this moment.
TRACY
You know, Mr. M., when I win the
presidency, that means you and I are
going to be spending a lot of time
together next year. And I for one would
like that time to be harmonious and
productive. Wouldn't you?
JIM
Sure
TRACY
Okay. That's good. I just wanted to
make sure.
JIM
Good luck, Tracy.
JIM pulls away and heads for the parking lot exit.
INT.EXT. JIM'S CAR ON STREET -- DAY
JIM drives stone-faced, unblinking. Something about the music on the
radio mocks him.
JIM (VO)
I don't blame Tracy for what happened
with Dave. How could I? Dave was an
adult more than twice her age.
EXT. GROCERY STORE PARKIKG LOT DAY
JIM pulls to a stop next to a giant DUMPSTER
Out of his window come yellowed newspapers, balled-up fast food bags,
and other detritus. He speeds away.
JIM (VO CONT'D)
Sure, she got on my nerves once in a
while, but I admired Tracy. I really
did.
INSIDE THE DUMPSTER we see Tracy's little bound book of signatures.
INT. MCALLISTER DIKING ROOM - MIGHT
JIM and his wife Diane sit at their dining room table, eating chicken
pot pies, baked potatoes with sour cream, salad with Lite Ranch
dressing. Not a word passes between them.
JIM (VO CONT'D)
Thank God for Diane. She was my best
friend, my source of love and strength.
Oh sure, we'd had our share of bumpy
times, but we'd always seen them
through. After nine years of marriage,
we were closer than ever. And the
secret? Good communication.
DIANE
Anything wrong?
JIM
Everything's fine. Just, you know,
school.
INT. MCALLISTER BEDROOM - NIGHT
JIM lies awake in bed while Diane snores beside him. Something seems
to be echoing in his head.
TRACY'S VOICE
...You know, Coca-Cola's by far the
number one soft drink... When I win the
presidency we're going to be spending a
lot of time together... a lot of time...
lots and lots and lots of time...
president and advisor. . .
CLOSE ON JIM'S EAR as Tracy's LIPS magically whisper into it.
TRACY
...harmonious and productive... close
and special... you and I... so close...
so intimate... together...
INT. MCALLISTER BASEMENT NIGHT
In the darkness a light pops on, and JIM quietly pads down the stairs.
He opens an old CEDAR TRUNK, lifts out a few blankets and a piece of
cardboard to reveal a row of PORNO TAPES cleverly concealed in the
bottom of the trunk.
ON THE TV SCREEN -
A FOOTBALL PLAYER in uniform and helmet filets a CHEERLEADER in a
locker room.
JIM watches with detachment, as though watching the news. He sips a
can of PEPSI. The football stud continues to bump and grind. Looking
at his Pepsi can, JIM is suddenly inspired.
JIM
(quietly)
Paul.
EXT. SKI SLOPE (REAR PROJECTION) DAY
PAUL METZLER is SKIING in goggles and scarf. Behind him is a cheesy
dated rear projection of other skiers. Suddenly Paul loses his balance
and FALLS.
CLOSE ON PAUL writhing in the snow.
PAUL
Why. . . ? Why. . . ?
PAUL (VO)
I was so mad at God when I broke my leg
at Shadow Ridge over Christmas break.
INSERT X-RAY LIGHT BOX
CLOSE ON AN X-RAY of a multiple FRACTURE.
PAUL (VO CONT'D)
The doctors told me I'd have to quit
sports for at least a couple years if
not forever.
INSERT YEARBOOK PICTURE
Paul kneels in his FOOTBALL UNIFORM. The photograph erupts in flames.
Bonanza-style.
PAUL (VO CONT'D)
...which meant no first-string
quarterback in the fall. It was like the
end of my life!
EXT. MILLARD HIGH FRONT STEPS DAY
Paul stands talking to FRIENDS in a very typical high school tableau.
All wear backpacks or carry books. A GIRL kneels to sign his cast.
PAUL (VO CONT'D)
When I got back to school everybody was
so supportive, and they all wanted to
sign my cast and everything...
EXT. MISSOURI RIVER LOCKOUT -- DAY Alone, Paul leans on his crutches
and watches the river
PAUL (VO CONT'D)
... but I still couldn't shake the
feeling that now my life had no purpose.
What did God want from me?
THE VAST MISSOURI - always flowing, never stopping, no beginning, no
end
PAUL (VO CONT'D)
Why did I exist?
INT. LIBRARY DAY
Paul is sleeping slumped over a table, his head cradled on crossed
arms. The Celestine Prophecy is open face down next to him.
PAUL (VO CONT'D)
Sometimes you can search everywhere for
answers. Then one day destiny just taps
you on the shoulder. I know, because it
happened to me.
A FINGER reaches down and taps Paul's shoulder. Paul comes to and
looks -- it's Mr. McAllister.
JIM
Paul, could I talk to you for a minute?
MILLARD HALLWAY - DAY
His arm on Paul's shoulder, JIM walks Paul down a deserted hall and
into Jim's classroom. JIM picks up some scrap paper off the floor and
puts it in the proper place.
PAUL (VO)
Mr. McAllister changed my life. And no
matter what they say he did or did not
do, I believe he is a good man.
JIM'S CLASSROOM - DAY Paul sits in a chair, while JIM stands
JIM
Paul, I know you've been pretty down
since your accident.
PAUL
I wanted to play next year so bad I
could taste it. And maybe go on to...
JIM
I know. I understand disappointment.
I really do.
PAUL
Yeah.
JIM
But you've got a big choice right now.
You can choose to be depressed about it
for the rest of your life. Or you can
choose to see it for what it really is:
an opportunity. I personally think you
have a big future ahead of you, and I
don't mean the fleeting glory of sports.
PAUL
What do you mean?
JIM
Let me give you a clue. You're a born
leader. You're one of the most popular
students at Millard. You're honest and
straightforward. You don't choke under
pressure, as we all saw in that amazing
fourth quarter against Westside. The
other kids look up to you. What does
that spell?
Paul furrows his brow and looks around, searching for an answer. His
lower lip is wet.
JIM
Student... council... president.
It takes a moment for this to sink in. Finally
PAUL
Who, me? Nooo. I never... I don't
know anything about that stuff, Mr. M.
Besides, that's Tracy Flick's thing.
She's always working so hard and --
JIM
Yeah, no, she's a go-getter, all right.
PAUL
And she's super-nice
JIM
Yeah. But one person assured of
victory kind of undermines the whole
idea of a democracy, doesn't it? That's
more like a... well, like a
dictatorship, like we studied.
JIM
Paul, what's your favorite fruit?
PAUL
Huh? Oh. Uh... pears
JIM
takes a piece of chalk from the lip of
the blackboard.
JIM
Okay, let's say
PAUL
No, wait -- apples. Apples.
JIM draws illustrative circles on the board as he speaks.
JIM
Fine. Let's say all you ever knew was
apples. Apples, apples and more apples.
You might think apples were pretty good,
even if you occasionally got a rotten
one. Then one day there's an orange. And
now you can make a decision. Do you want
an apple, or do you want an orange?
That's democracy.
PAUL
I also like bananas.
JIM
Exactly. So what do you say? Maybe
it's time to give a little something
back.
INT. STUDENT COMHON AREA DAY
Tracy directs her friend ERIC OVERHOLDT on a ladder as he hangs a
large POSTER high on a wall.
TRACY
The right side is too high. The right
side. Just a smidge.
Suddenly she notices a small COMMOTION in the adjacent cafeteria and
goes to investigate.
INT. CAFETERIA DAY
A small crowd of students compete to sign Paul's nomination petition
taped to the wall.
GUY
(signing)
Hey Paul, you going over to Anthony's
on Friday, or what did you decide?
PAUL
I gotta talk to him first.
Tracy watches the hubbub, none too pleased, and pushes her way to the
front of the group.
TRACY
Who put you up to this?
PAUL
Huh? Oh, hi, Tracy
Tracy stares at him.
TRACY
Who put you up to this?
PAUL
What do you mean?
TRACY
You just woke up this morning and
suddenly decided to run for president?
PAUL
No. Uh... I just... you know, I just
thought --
TRACY
Thought what?
PAUL
Well, see, I was talking to Mr.
McAllister about my leg and
everything... and how I still want to,
you know, do something for the school
and --
TRACY
So Mr. McAllister asked you to run.
PAUL
Well, I mean, you know, I talked to him
and everything, but he just said he
thought it was a good idea... and how
there's all different kinds of fruit
and... It's nothing against you, Tracy.
You're the best. I just thought --
TRACY
Okay, Mr. Popular. You're on.
With that Tracy turns and SIGNS Paul's sheet
THE "I" IN "FLICK" is dotted with a STAR
CLOSE ON TRACY'S FACE - as she walks away, Paul and his fans receding
behind her
TRACY (VO)
You might think it upset me that Paul
Metzier had decided to run against me,
but nothing could be further from the
truth. He was no competition for me: it
was like apples and oranges. It just
meant I had to work a little harder,
that's all.
INT. TRACY'S BASEMENT NIGHT
CLOSE ON TRACY'S FACE --
in a xeroxed photograph. "Vote Tracy!" is written at the bottom.
Tracy is making campaign buttons with her BUTTON MACHINE. She
manufactures her buttons with almost alarming intensity. PATRIOTIC
MUSIC begins to rise.
TRACY (VO CONT'D)
You see, I believe in the voters. They
understand that elections aren't just
popularity contests. They know this
country was built by people just like me
who work very hard and don't have
everything handed to them on a silver
spoon.
THE TRACY BUTTONS
drop one by one into a box. All the little round Tracys smile up at
us.
EXT. MILLARD PARKING LOT DAY
Paul is in the driver's seat of his hitching big-wheeled PICKUP TRUCK.
His door is open, and his radio blasts a SONG carefully selected to
boost soundtrack album sales. Various FRIENDS OF PAUL'S hang around.
Tracy watches the scene from her seat on the SCHOOL BUS
TRACY (VO CONT'D)
Not like some rich kids who everybody
likes because their fathers own Metzier
Cement and give them trucks on their
sixteenth birthday and throw them big
parties all the time. They don't ever
have to work for anything.
The .bus pulls away.
INT. TRACY'S LIVING ROOM AFTERNOON
CLOSE ON TRACY'S FACE -
staring into camera as she exercises on a NORDIC TRAC, Drenched in
sweat, she moves in a hypnotic frenzy.
TRACY (VO CONT'D)
They think they can all of a sudden one
day out of the blue waltz right in with
no qualifications whatsoever and try to
take away what other people have worked
for very, very hard their entire lives.
No, it didn't bother me at all I
INT. PAUL'S PICKUP -- DAY
Paul drives home, his stereo thumping. Silent, he appears lost in
thought, as though a little gopher idea were burrowing its way to the
surface. Oh, look -- there's its snout now.
PAUL
Paul... Paul... power... Paul... Paul
for President... progress... promise...
peanut... Paul-i-tics... yeah...
President Paul... Punt for Paul! No.
EXT. METZLER HOME DAY Paul pulls into the driveway and hops out of
his car.
INT. TAMMY METZLER'S BEDROOM DAY
Two GIRLS are kissing on the bed. They are TAMMY METZLER and LISA
FLANAGAN, fifteen and seventeen respectively. Lisa breaks away. Tammy
tries to kiss her again, but Lisa resists.
TAMMY
(softly)
What?
LISA
I told you ... I can't. I just -- It
doesn't feel right anymore, you know?
INT. METZLER KITCHEN DAY
Whistling a cheerful tune, Paul tosses his backpack on a chair, grabs
a banana, and opens the refrigerator.
INT. TAMMY METZLER'S BEDROOM DAY
Tammy is still trying to comfort Lisa.
TAMMY
If you could just get out of your head.
Tammy leans forward, puts her palm on Lisa's cheek. Lisa looks at
Tammy as though at a stranger. Tammy leans forward and .kisses Lisa's
eyes. Lisa jerks her head out of Tammy's hands.
LISA
I said no!
Suddenly, there's a quick KNOCK at the door, and Paul enters. The
girls rise quickly.
PAUL
Hey, Tammy, guess what happened today.
TAMMY
Don't you fucking knock?
PAUL
Yeah. So guess what happened. So Mr.
McAllister, he --
(noticing Lisa)
Oh hi. Lisa.
TAMMY
Paul, get out!
PAUL
So Mr. M. calls me in and tells me --
LISA
I gotta go.
Lisa pushes her way past Paul and runs down the hall
TAMMY
(to Paul)
You dumbshit!
PAUL
What'd I do?
THE SCENE FREEZES.
TAMMY (VO)
You know how they say one day a big
meteor might come and crash into the
Earth and kill everybody? Well, I think
that would be a good thing.
BACK TO LIFE - Tammy turns away from Paul in disgust and runs after
Lisa
INT. METZLER LIVING ROOM AND FOYER CONTINUOUS
Tammy finds the front door flung open and through it sees Lisa
slamming the door of her beat-up Honda Civic and starting the engine.
TAMMY
Lisa
EXT. RESIDENTIAL STREET CONTINUOUS
Tammy runs up to the car as it pulls away. She pounds on the window.
TAMMY
Stop! Wait!
Lisa stops the car, rolls down the window
TAMMY (CONT'D)
Where 're you going?
LISA
I'm not like you.
TAMMY
What...?
LISA
I'm not a dyke, okay, and we're not in
love. We were just... I was just
experimenting.
Lisa speeds away, and we watch her car grow smaller and smaller.
CLOSE ON TAMMY'S FACE -
as we see the greatest disappointment of her short life break across
her face.
TAMMY (VO)
How can something that seems so true
turn out to be such a lie?
EXT. ELMWOOD PARK -- DAY
Lisa and Tammy are swinging synchronized on a swingset, smiling and
laughing. The image is slightly OVEREXPOSED as though to suggest an
ideal memory.
CLOSE ON TAMMY looking over at Lisa
TAMMY (VO CONT'D)
I mean Lisa and I were destined to be
together. It was so obvious. Of all the
people on the planet who had ever lived,
somehow we'd found each other.
CLOSE ON LISA
in SLOW MOTION, swinging next to us. She looks back, her face so
happy.
TAMMY (VO CONT'D)
Lisa...
INT. TAMMY'S ROOM -- DAY
CHOMP-CHOMP-CHOMP Tammy eats an asparagus spear.
GNAW-GNAW-GNAW Lisa eats an asparagus spear
TAMMY drinks a big glass of water. She giggles a little.
LISA drinks a big glass of water. She giggles too.
TAMMY (VO CONT'D)
I remember one time Lisa and I did an
experiment with asparagus to see how
long it takes your pee to smell. We peed
a little every five minutes.
AN EGG TIMER: Ding I Tammy and Lisa, very serious now, smell little
Dixie cups
TAMMY (VO CONT'D)
For her it took about fifteen minutes,
and for me it was twenty.
INT. LIBRARY DAY
Lisa studies at a table, surrounded by other busy students.
TAMMY (VO)
Everyday I found some new way to tell
Lisa I loved her.
Suddenly Tammy walks by, drops a folded NOTE in front of Lisa, and
walks on. Lisa opens it.
NOTE
(Tammy's voice)
If you died right now, I would throw
myself into one of my Dad's cement
trucks and get poured into your tomb.
Lisa looks over her shoulder at Tammy, who is now at the door of the
library. Tammy nods at her with quiet loving reassurance.
TAMMY (VO)
But it just seemed like the closer we
got, the more she pulled away.
INT. MILLARD HALLWAY DAY
Lisa watches Tammy open her locker and notices a four-frame PHOTO-
BOOTH PHOTOGRAPH taped to the inside of the door. In the photos Lisa
and Tammy are clowning and smooching. Lisa reaches over and YANKS the
photos off the door.
LISA
Are you crazy?
TAMMY
What?
LISA
People can see this.
TAMMY
So?
LISA
These are private -- these are for us.
TAMMY
I know.
LISA
But other people can see them too.
TAMMY
I don't care.
LISA
Well, I do.
Lisa walks away with the photos
EXT. ELMWOOD PARK DAY
CLOSE ON LISA SWINGING -- next to us, a final reprise of Tammy's
favorite memory
TAMMY (VO)
What did I do to make her change?
What's wrong with me?
Lisa swings out of frame, and the swing returns EMPTY.
TAMMY (VO CONT'D)
(a whisper)
Lisa.
EXT. HILL ABOVE A POWER PLANT TWILIGHT
Tammy sits on a promontory overlooking an Omaha Public Power District
station -- towers, wires, insulators, a loud HUM.
TAMMY (VO CONT'D)
Sometimes when I'm sad, I sit and watch
the power station.
Tammy lifts a pair of BINOCULARS to her eyes, sees THE POWER PLANT.
TAMMY (VO CONT'D)
They say if you lie between two of the
main wires, your body just evaporates.
You become a gas. I wonder what that
would feel like.
TAMMY'S STREET -- EVENING
Lisa's car speeds away, growing smaller and smaller. We're back at the
BREAK-UP. CLOSE ON TAMMY'S FACE as she stares down the street, unable
to move. It starts to rain. Tears roll down her cheeks, mixing with
the rain. very French, very sad.
TAMMY (VO CONT'D)
I don ' t know what I did to make Lisa
hate me so much, but somehow she decided
to hurt roe. And she knew exactly what
to do.
LISA'S BEDROOM DAY
CLOSE ON PAUL'S FACE --
matched in size to Tammy's. He is moaning, gasping.
FROM OVERHEAD --
Paul is sprawled on Lisa's bed, surrounded by stuffed animals. His
legs dangle over the edge of the bed, and Lisa kneels between them,
her head bobbing up and down.
PAUL (VO)
I sure was surprised the day Lisa
Flanagan asked me for a ride home and
ended up blowing me.
Lisa pauses and looks up at Paul.
LISA
I've wanted this for so long.
She resumes with renewed vigor
PAUL
Uhhh... teeth. Teeth.
LISA
Sorry.
INT. MILLARD HIGH CAFETERIA DAY
Paul and Lisa sit with some other friends at a lunch table. Paul has
one arm around Lisa as he eats with his other hand.
PAUL (VO)
Life is so weird. First Lisa has a big
fight with my sister, and the next thing
you know she's my girlfriend.
Lisa turns around to look at
TAMMY seated at another table directly behind them. She and Lisa lock
eyes before they both turn around again.
EXT. FOOTBALL FIELD DAY
Paul poses for a campaign photo in his football uniform. He freezes
in position as though about to throw a pass. Lisa adjusts his
position -- CLICK.
PAUL (VO CONT'D)
Since Lisa knew all about public
relations and stuff, she offered to help
me with my campaign. We made a great
team!
Tammy spies from underneath the bleachers
INT. MILLARD HALLWAY DAY
Paul is on all fours as Lisa stands on his back to hang a poster with
Paul's football picture reading: "Paul Metzier You Bet-zier!"
PAUL (VO CONT'D)
It seemed so natural, the two of us
together. It was like destiny.
Tammy watches from a nearby classroom door, her nose and cheek pressed
against the window.
EXT. LISA'S HOUSE DAY
Paul's truck pulls up, and Paul and Lisa get out
PAUL (VO CONT'D)
That spring was perfect. My leg wasn't
bugging me too much, and the weather was
so nice. And every afternoon after
school. Lisa and I would go to her house
to fuck and have a swim. It was like we
were in a world all our own.
Tammy emerges from behind a tree. She's on her bike. Angry and
fragile, she watches the couple enter Lisa's house.
EXT. LISA'S BACKYARD DAY
Tammy peeks OVER THE FENCE and sees --
LISA AND PAUL swimming. Paul dives off the board and resurfaces right
into Lisa's arms.
MOVE CLOSER TO TAMMY as she dies a thousand deaths.
TAMMY (VO)
I had to do something. I didn't know
what, but I had to do something.
FADE OUT
INT. SHERRY NOVOTNY'S BACKYARD -- DAY
A laughing BABY BOY is lowered into frame and pulled back up again.
Then he swings across frame. It's little DARRYL NOVOTNY.
WIDE -
JIM has Darryl by the ankles and is swinging him between his legs.
Diane and Sherry are setting the picnic table. Stacked charcoal
briquettes burn off in a nearby barbecue.
JIM (VO)
Around that time Diane and I were
hanging out a lot at Sherry Novotny's
house, giving her our love and support
and helping her make it through a
difficult time.
DIANE
Jim, don't. You're scaring him.
JIM
He likes it.
Darryl's laughter suddenly turns into CRYING
DIANE
Here. Give him to me.
(as she takes
Darryl)
is little Darryl dizzy? That's it. .
come here. . .
SHERRY
You got him?
DIANE
Yeah.
Sherry heads into the house. JIM watches her walk, then turns toward
Diane and Darryl. It's as though Diane, not Sherry, were the infant's
real mother, so loving and attentive is she, so swelled with maternal
piety.
JIM (VO)
Diane really wanted to have kids -- and
so did I -- but it seemed like there was
always a reason to wait: she had to
finish nursing school, I had to get my
masters, we needed a new house, we
needed more money. Finally we just
decided to go for it...
INT. JIM'S BEDROOM NIGHT
A DIGITAL THERMOMETER reads 99.3. Behind it Diane lies in bed reading
a copy of Self.
JIM (VO)
...but for over a year we hadn't had
any luck. And Diane was getting
desperate.
INT. JIM'S HOME OFFICE NIGHT
At his desk, JIM studies a High Society magazine. He is naked.
JIM closes his eyes and bites his lip as though feeling something he
wished not to leave him. He quickly replaces a stack of magazines in
his desk and goes across the hall to --
INT. BEDROOM CONTINUOUS
where 'Lisa''s car speeds away, growing smaller and smaller. We''re
back at the BREAK-UP. CLOSE ON TAMMY''S FACE as she stares down the
street, unable to move. It starts to rain. Tears roll down her
cheeks, mixing with the rain. very French, very sad.' waits in bed.
She puts aside her magazine and welcomes Papa Bear. Lisa pauses and
looks up at Paul. closes the door behind him.
INT. MCALLISTER BEDROOM LATER
JIM and Diane copulate. Although ostensibly near climax, JIM seems to
be struggling. Diane's exhortations, once forbidden and exciting, now
seem routine.
DIANE
You gonna do it? You gonna do it?
JIM
Yeah, uh, just a minute
DIANE
Come on, doit. Doit. Fill me up. Come
on, fill me up
JIM
Yeah, just --
DIANE
Do it!
JIM finally climaxes
DIANE (CONT'D)
Okay!
With that JIM rolls off of her. Diane immediately hoists her knees to
her chest.
CLOSE ON JIM - on his side of the bed facing away from Diane.
DIANE
Could you hand me the remote?
EXT. NOVOTNY BACKYARD AS BEFORE
JIM is snapped out of his reverie by Sherry's voice
SHERRY
Say, Jim. Jim.
JIM looks. Sherry is walking out the patio door holding a big bottle
of wine with a corkscrew sticking out of it.
SHERRY (CONT'D)
Could you get this? I can't
JIM
Sure.
JIM takes the bottle. CLOSE ON the neck as the cork emerges: POP!
INT. NOVOTNY KITCHEN -- DAY
Sherry stands at the base of a stepladder as JIM climbs up and points
to a spot on the ceiling.
JIM (VO)
Without Dave around. Sherry needed a
lot of help around the house.
JIM
Here?
SHERRY
(indicating)
More this way.
JIM
Okay. Give me the drill.
JIM looks down at Sherry as she hands it up. Her blouse reveals a bit
more than it should, and JIM pauses to get an extra glimpse.
THE POWER DRILL BIT penetrates the ceiling.
EXT. HOVOTHY FRONT YARD -- DAY
A shirtless JIM is MOWING the lawn on a hot day. He shuts it off as
Sherry emerges from the house with lemonade. She wears culottes, a
halter top, and flip-flops.
JIM
I'd always liked Sherry, but we'd never
had a chance to spend any time alone
together. How with Dave out of the
picture, I began to see what an
incredibly sensitive and giving person
she was.
JIM downs his glass in big thirsty gulps and hands her back the glass.
He watches her walk back to the house.
JIM (VO CONT'D)
Plus she had finally dropped all that
weight from her pregnancy, and really
she looked great.
THE RIPCORD of the lawnmower is pulled a couple of times until it
starts.
INT. YOUHKERS DEPARTMENT STORE -- DAY
IN WOMEN'S ACCESSORIES -
Sherry looks at herself in the mirror modeling a colorful floppy hat.
She spins around for Jim's approval.
JIM (VO)
We got to be pretty good buddies. I
even took her to the mall one time while
her car was in the shop.
JIM smiles and nods. She puts on another. Sherry is like a young
girl on a date. She grabs Jim's hand and pulls him in another
direction.
AT THE MAKEUP COUNTER - Sherry spreads on lipstick.
SHERRY
What do you think?
It's clear what JIM thinks.
JIM
You look great
INT. JIM'S CAR -- DAY
They're driving home. There are packages on Sherry's lap and in the
backseat.
SHERRY
I can't afford this stuff right now.
JIM
Oh, come on. You've had a hard year,
you're cooped up with the kid all the
time. Let go; live a little.
SHERRY
You sure?
They come to a stop at a red light. Out one window JIM spots a MOTEL.
JIM
So what do you think? Should we get a
room?
SHERRY
Should we get a what?
JIM
points at the motel.
SHERRY (CONT'D)
Oh.
Her smile fades, and she stares straight ahead. There's an icy,
uncomfortable silence.
SHERRY (CONT'D)
(stiffly)
That's not funny.
The light changes. JIM swallows, accelerates
INT. JIM'S KITCHEN DAY
JIM walks in through the backdoor. Diane is loading the dishwasher.
They peck-kiss.
DIANE
How'd it go?
JIM
Fine. You know. We just went to
Crossroads.
DIANE
You guys have fun?
JIM picks an apple out of a bowl.
JIM
(between bites)
Yeah. No. I mean, you know.
DIANE
What?
JIM
Well, Sherry's great. But she can be a
little much sometimes.
INT. MCALLISTER BEDROOM NIGHT
Diane lies face-down, and JIM is on top of her. JIM makes spirited
love with her.
DIANE
Oh, Jim! Oh, God!
SHERRY'S HEAD, like a cut-out from a tabloid cover, floats in from
off-screen and lands on the back of Diane's head. At the right moment,
her face COMES TO LIFE and vaguely mouths the words that Diane is
saying, like a badly-dubbed movie.
DIANE/SHERRY
Oh, God. Just like that. Oh yes. Fill
me up...
Jim's wicked desire increases with each movement
Now TRACY FLICK'S FACE floats over and replaces Sherry's. Tracy mouths
Diane's words.
DIANE/TRACY
Do it, Jim. Fuck me.
JIM is at once in deep-space ecstasy and surprised at himself.
Diane's voice now changes: it's Tracy's VOICE.
TRACY (OS)
Fuck me, Mr. McAllister
FADE OUT
UNDER BLACK
JIM (VO)
So like I was saying, things were going
pretty well in my life.
INT. MILLARD HALLWAY -- DAY
It's passing period, and hundreds of students clog the halls
JIM (VO)
... that is, until things started going
all haywire with that damn election.
A distant DING-DING grows louder and louder. Everyone turns toward the
source, far down the hall, and eventually TAMMY emerges wearing a
makeshift SANDWICH BOARD that reads "Tammy Metzier For President."
Smiling a perverse smile, she rings a hand bell. Salvation Army style.
Paul is at his locker and watches Tammy go by.
PAUL
Tammy? Tammy, what are you doing?
Tammy ignores her brother and keeps walking directly toward us,
finally INTO CAMERA.
INT. MILLARD TEACHERS' OFFICES -- DAY Tracy sits opposite Mr.
McAllister.
TRACY
You're the advisor. You should stop
her. She's not qualified. She's just a
sophomore.
JIM
Calm down, Tracy. Just calm down.
TRACY
Are you sure all her signatures are
real? It's not easy to get all those
signatures.
JIM
As far as I know, they--
Suddenly LISA AND PAUL are sitting where Tracy was.
PAUL
We can't both run, can we? We're
brother and sister. Can we?
LISA
It's a conflict of interest. And Paul
was first.
JIM
Anyone who gets signatures in on time
can run. And she got in just under the
wire. Nothing I can do.
Now TRACY replaces Lisa and Paul
TRACY
Let me see them. Let me see them
Sighing, JIM fishes in his drawer and hands Tracy some sheets
TRACY
These are a bunch of burn-outs. And
look at this one, I can't even read this
one.
JIM
(taking the sheet)
Looks like Tim Kobza.
LISA AND PAUL again
LISA
She's doing this to get back at me
PAUL
For what?
LISA
I mean at you.
PAUL
For what?
LISA
I don't know. You're her brother you
should know.
TRACY returns.
TRACY
Tim Kobza? Tim Kobza! Who's he? I've
never heard of him!
JIM
Look, why don't we just forget about
Tammy? We'll have the assembly
tomorrow, everybody'll make their
speeches, and I'm sure everything will
be fine.
INT. MILLARD GYMNASIUM DAY
The entire student body is assembled on the bleachers. There is a
palpable mood of boredom and apathy.
JERRY SLAVIN, a handicapped kid in a wheelchair, is at the
microphone. His head lists to one side, and he takes long breaths as
he speaks.
JERRY
I love Millard High, and I will be a
dedicated vice President. A vote for
Jerry Slavin is a vote for good
government. And even if I can't really
stand up for you, I will.
(cracks himself up)
Thank you.
Jerry motors away amid scattered applause and coughs. JIM steps
forward, clapping, and raises the mike.
JIM
Thank you, Jerry, and good luck. Again,
Jerry is running unopposed for Vice
President. So we'll move on now to the
presidential race with three candidates
running. The first in alphabetical order
is Tracy Flick.
Tracy steps forward with a small stack of index cards. During her
speech she flips the cards over one by one but rarely looks at them.
TRACY
Poet Henry David Thoreau once wrote, "I
cannot make my days longer, so I strive
to make them better." With this
election, we here at Millard also have
an opportunity to make our high school
days better. During this campaign I
have had the opportunity to speak with
many of you about your concerns. I
spoke with freshman Eliza Ramirez, who
told me how alienated she feels from her
own homeroom. I spoke with sophomore
Reggie Banks, who said his mother works
in a cafeteria and can't afford to buy
him enough spiral notebooks for his
classes. I won't bore you with long-
winded promises about all the new and
innovative things I will definitely
achieve during the year in which it will
be my honor and privilege to represent
each and every one of you, but I can say
that my years of experience on the
student council have taught me the three
most important attributes the president
needs to possess; commitment -
DOUG SCHENKEN
Eat me
DOUG'S BUDDY
Eat me raw!
There is scattered laughter. Tracy pauses, wait Hendricks bounds up
and grabs the mike.
WALT
If you can't be adults and give these
candidates the courtesy they deserve,
then you don't deserve to be called
adults but children* Because that's what
children are. And you'll be treated like
children. So let's all listen up.
Walt backs away to his seat. Tracy resumes
TRACY
The three most important attributes the
president needs to possess are:
commitment, qualifications, and
experience. I'll add one more; caring.
I care about Millard, and I care about
each and every one of you, and together
we can all make a difference. One of
the things I would like to establish is
a regular open forum where any student
can come and voice their concern about
issues we face here at Millard. I and
the rest of the student council would
then interface with the faculty and
staff, so a continuous dialogue would
exist.
Walt whispers to Jim.
WALT
I'd say she knows a thing or two about
student-faculty dialogue.
JIM nods solemnly
TRACY
When you cast your vote for Tracy Flick
next week, you won't just be voting for
me. You'll be voting for yourself and
for every other student Our days won't
be any longer, but they can sure be
better. Thank you.
Tracy smiles and walks back to her folding chair. There is polite
applause and a few whistles. JJJB comes back to the microphone.
Tracy takes her seat next to Paul and glances at him. Paul scares
straight ahead, a fat bead of sweat on his forehead. One of his legs
is jiggling.
JIM
The next candidate for student body
president is Paul Metzier. Paul?
Paul awkwardly makes his way to the mike. Though by no means
thunderous, his applause clearly exceeds Tracy's. A small cluster of
jocks "woof" for him, shaking their fists in the air. Paul manages a
weak grin for his buddies.
Tracy shifts in her chair, her smile stiff and forced
Lisa smiles and nods at Paul from the bleachers, giving him
encouragement and a silent reminder to remember what they talked
about.
Tammy's eyes dart between Lisa and Paul. She shows no emotion, reveals
nothing.
The applause quickly dies, and after a moment Paul remembers to look
at the white paper in his hand. He speaks in a barely audible
monotone, never once glancing up.
PAUL
As many of you know I broke my leg
pretty bad thi3 year and the experience
has made me reevaluate what I want to do
with my life and that is help people
when you think about it a school is more
than a school it's our second home where
we spend all cur time and grow as
individuals and a community but is our
school everything it could be I want our
school to reach its true potential that
is why I am running for president.
JIM pinches the bridge of his nose, clearly pained
A few loud SOUND EFFECT SNORES saw through the air, and Walt points a
stern finger at - you guessed it -- Doug Schenken.
PAUL
I know what it is to fight hard and win
like when we almost went to state last
fall and I threw that fourth-quarter
pass against Westside for the touchdown
that won the game by three points I
won't let you down like I didn't then I
promise we can all score a winning
(big breath)
touchdown together. Vote Paul Metzier
for president thank you.
Paul now gets considerably less applause, but his jock friends remain
loyal.
JIM
Okay, Paul. Now our final candidate for
President - another one of the Metzier
clan -- sophomore Tammy Metzier.
Tammy approaches the mike. There are scattered mocking whistles and
catcalls.
Tammy calmly looks over the crowd, waiting for the jeers to subside.
She makes eye contact with Lisa, who stares back.
WALT
People. People I
The room quiets down. Tammy puts her lips close to the mike,
TAMMY
Who cares about this stupid election?
NOW there's something worth listening to.
TAMMY (CONT'D)
We all know it doesn't matter who gets
elected president of Millard. You think
it's going to change anything around
here, make one single person happier or
smarter or nicer? The only person it
matters to is the one who gets elected.
The same pathetic charade happens every
year, and everyone makes the same
pathetic promises just so they can put
it on their transcripts to get into
college. So vote for me, because I
don't even want to go to college, and I
don't care, and as president I won't do
anything. The only promise I make is
that if elected I will immediately
dismantle the student government, so
that none of us will ever have to sit
through one of these stupid assemblies
again!
There is a sudden huge cathartic eruption of cheers and applause.
Tammy has set them free. Even cynical old Doug Schenken and his
buddies join in.
STUDENTS
Tammy! Tammy! Tammy!
In total control, she steps back from the mike and CURTSIES.
Walt shoots an angry, confused look at Jim, who shrugs. Tracy is
clearly upset, but her smile remains eerily fixed Paul just looks
confused and ashamed. Jerry Slavin is convulsed in laughter and
chants along with the multitude.
Tammy quickly grabs the mike for one final exhortation.
TAMMY
0h don't vote for me I Who cares?
Don't vote at all!
The students go nuts.
INT. WALT HENDRICK'S OFFICE DAY
Dr. Hendricks is in a serious post-assembly discussion with JIM and
VICE-PRINCIPAL RON BELL.
WALT
That little bitch made a fool of us I
want her out of the election. Getting
everybody all riled up like that. She's
finished, you hear me? Washed up.
JIM
Walt, we can't throw her out of the
election just because we don't like her
speech. That's not what student
government's about.
WALT
(grumbling)
Yeah... whatever. All I know is she's
a troublemaker. She's on my list.
RON
All we need to do is send a message, so
maybe we should just suspend her.
WALT
Right. That's it. She's suspended for
a week!
To emphasize his point, Walt throws his STYROFOAM CUP at the
wastepaper basket and misses. Lowell the janitor, passing by outside
the door, notices the cup bouncing on the floor.
JIM
I think that's a little strong Walt.
Ron?
RON
We don't want to make a martyr out of
her. Three days sounds right to me.
WALT
Okay. Three days. Take care of it.
EXT. STREETS DAY
Tammy rides her bike on this crisp sunny spring day. The music is
buoyant. Tammy is all smiles.
TAMMY (VO)
Being suspended is like getting a paid
vacation. Too bad it was only three
days
EXT. 7-11 DAY
Tammy is hanging out by the entrance. A DUDE emerges from the store
carrying a 12-pack of beer. En route to his car, he throws Tammy a
pack of CIGARETTES.
DUDE
Here you go.
Tammy looks at the pack
TAMMY
Hey -- I said lights I
EXT. SACRED HEART ACADEMY -- DAY
A cigarette hanging out of her mouth, Tammy rides by the front of this
Catholic girls' school.
NOW AT THE ATHLETIC FIELD -
Tammy gets off her bike, goes to look through the surrounding fence at
GIRLS PLAYING LACROSSE
in their cleats, short skirts, jerseys. LITURGICAL MUSIC accompanies
SLOW-MOTION close-ups of the girls in action.
Tammy seems to breathe them in
INT. TAMMY'S ROOM -- DAY
Wearing headphones. Tammy DANCES to music only she can hear. She
happens to glance toward her door and notices a MANILA ENVELOPE
sliding under it. She opens the door and finds a startled Paul.
TAMMY
What do you want?
PAUL
Oh. Hi, Tammy. I was just, you know,
I went to all your teachers and got your
assignments.
Tammy looks at him, picks up the packet.
PAUL (CONT'D)
I just thought, well, last time you got
suspended you fell so behind and -
TAMMY
Okay, Paul. Thanks. Thanks a lot.
Paul smiles at the acknowledgment of his good deed.
TAMMY (CONT'D)
Now could you leave me alone?
PAUL
Yeah. Oh, one more thing. Tammy. You
know, all this election stuff. 'Cause,
you know, everyone is saying it's so
weird that you're running against me,
and, well, it is kind of weird, and you
haven't really told me why you're doing
it and didn't tell me in advance or
anything. But that's okay, you know. l
respect your privacy. I just want you
to know that no matter who wins, if it's
you or me, there's no hard feelings.
We're still brother and sister. Okay?
Cause... and I hope you feel the same.
TAMMY
Sure, Paul. No hard feelings.
PAUL
Okay. Great. I feel good.
Paul is about to leave again but
PAUL
Oh. Oh. Yeah. Right. One other
thing. Since you know Lisa so well,
could you give me some advice? I want
to get her something for helping me with
the election. You know, something
really special -- like flowers or candy
or flowers and candy. Or is that too
typical? I mean, can you think of
something? Something really special?
You know, something she'd really like?
Tammy looks as though she'd like to push the button on all the world's
atomic bombs.
EXT. TRACY'S DRIVEWAY DAY
CLOSE ON A GIANT OUTLINED "0" --
drawn on white paper. A hand enters frame with a brush and begins to
fill in the outline with blue tempera-paint.
Camera RISES to reveal the "0" as part of a giant banner. Tracy is
working on some letters, while ERIC OVERHOLDT is working on others.
TRACY (VO)
What happened at the speeches was an
unconscienceable travesty. That little
bitch Tammy Metzier wanted to make a
fool out of me. Well, it wasn't going to
work. People do care who wins. Things do
matter.
Finally, we're high enough to read:
WHO CARES? I DO: VOTE TRACY!
TRACY
Eric, the "r" is supposed to be green,
not blue.
ERIC
Oh. Okay.
Eric carefully paints over his mistake, then works up some courage.
ERIC (CONT'D)
So, Tracy, I was wondering if after we
finish with these you'd like to go to a
movie or something.
TRACY
That's okay. I'm too busy.
Ouch.
INT. MILLARD YEARBOOK OFFICE -- NIGHT A haggard Tracy sits alone at a
computer monitor
TRACY (VO CONT'D)
People are so ungrateful. If all those
students who cheered for Tammy Metzier
only knew how hard I worked for Millard.
Like all the late nights I spent at the
yearbook office just to give them their
memories.
THE MONITOR
displays a DIGITIZED PHOTO of the Millard yearbook staff. DAVE
NOVOTNY peers proudly from behind two of the taller students. A CURSOR
in the shape of tiny SCISSORS makes a small circle around Dave's face.
Suddenly, the cursor turns into a tiny HAND and drags Dave's dislodged
head into the TRASH.
Tracy concentrates as she deftly controls the mouse.
TRACY (VO CONT'D)
One of my duties was to clean up the
group photos. It was a cinch with our
new software.
THE COMPUTER MONITOR AGAIN --
as Tracy outlines a piece of the WALL and places it in the void where
Dave used to be, blurring the edges for a perfect effect, voila!
Satisfied, Tracy taps on the keyboard.
TRACY
(under her breath)
Let's see... "save" is Command "S."
Okay.
INT. MILLARD HIGH HALLWAY -- NIGHT
Tracy is heading down the hall toward the exit when she rounds a
corner and, suddenly deeply troubled, sees that
HER NEW "WHO CARES?" BANNER has come loose on an upper corner and is
drooping.
Tracy puts down her things and JUMPS up to slap the corner back into
place. Satisfied, she turns away. But then - SHOOP! The banner
fights back, peeling even further from the wall. Tracy prepares for
battle.
INT. YEARBOOK OFFICE NIGHT
Tracy enters and grabs a long aluminum STRAIGHT-EDGE.
INT. HALLWAY NIGHT
Standing on an overturned GARBAGE CAN and wielding the straight-edge,
Tracy tries to smooth the banner. But she's not holding the ruler flat
against the wall and -- RIP! -- she slices the banner lengthwise. Now
the plastic garbage can begins to buckle. Struggling to retain her
balance, Tracy accidentally hooks the banner and as she TUMBLES yanks
the whole thing down.
Overcome with anger and frustration, she thrashes around on the ground
and TEARS UP what remains of her banner.
PAUL METZLER smiles down at Tracy from his poster across the hall.
Tracy looks up at it. Instantly she is on her feet, lunging for the
poster. She jumps up, TEARS it down, and RIPS Paul's head into pieces.
Blood issues from a thin paper cut on one hand. Tracy regards it at
first without comprehending, then raises it to her mouth. While
sucking her wound, her gaze falls on --
ANOTHER SMILING PAUL mocking her pain.
ANGLE FROM WAY DOWN THE HALL
Hurricane Tracy begins a savage assault on the fragile coast of
Millard High. Paul's campaign posters fill the air, shredded to pieces
by the powerful winds of jealousy and rage.
TIME DISSOLVE --
to Tracy even farther down the hall, still jumping, still ripping.
TRACK FROM OVERHEAD - THE HALLWAY FLOOR - where a thousand bits of
Paul lie scattered -- a grinning mouth here, an eye there.
TILT UP finally to Tracy, sweating, panting. She finishes ripping a
poster and looks to find another. But there are no more Paul posters:
she has destroyed them all. Tracy raises her hands and sees they are
streaked with Blood.
INT. GIRLS ' BATHROOM NIGHT
Tracy is at the sink, washing away the blood. She pats her hands dry
with paper towels. The gravity of what she's done now sinks in, and
she panics.
TRACY
I didn't do this. I didn't do it.
She lifts the top off a garbage can, removes the PLASTIC LINER.
INT. MILLARD HALLWAY NIGHT
With frantic haste, Tracy stuffs the evidence of her awful deed into
the garbage bag.
EXT. BACK OF HILLARD HIGH -- MIGHT
Tracy's face is half-obscured by the bulging bag she carries down the
sidewalk.
EXT. HILLARD PARKIMC LOT - MIGHT
Tracy opens her TRUNK and heaves the garbage bag inside slamming the
trunk, she looks around - no one.
INT. TRACY'S CAR NIGHT
Tracy drives, sucking on a wounded hand. She glances frequently in the
rear-view mirror.
EXT. STREET MIGHT
Tracy's car drives down a REMOTE ROAD. There are no sidewalks here,
and the surroundings consist of scrubby vegetation and industrial
structures. In the background looms a POWER PLANT.
INT. CAR - CONTINUOUS
We now sense that Tracy has a plan. She throws the car into reverse,
backs up and turns onto -
EXT. A SMALL ACCESS ROAD -- CONTINUOUS
Tracy stop the car near an EMBANKMENT. She gets out and pulls the
garbage bag from the trunk.
With a big shove Tracy sends the bag cartwheeling down the hill
Breathing hard but clearly relieved, Tracy watches the evidence of her
deed tumble into obscurity.
NOW THROUGH BINOCULARS Tracy's shadowy figure runs back to the car.
EXT. HILL ABOVE POWER PLANT NIGHT
Tammy momentarily drops her BINOCULARS before raising them again.
THROUGH THE BINOCULARS - Tracy's car speeds away.
Tammy drops her binoculars and mounts her bike
EXT. EMBANKMENT -- NIGHT
Tammy skids to a stop, drops her bike, and heads down the embankment.
CLOSE ON THE HEFTY BAG
as Tammy draws near. She pauses at first, but intrepid curiosity
conquers her fear. She unties the knot.
FROM INSIDE THE BAG we see Tammy's sudden look of HORROR
PAUL'S MANGLED FACE smiles up at her. Tammy raises it toward camera
INT. NOVOTWY BATHROOM -- MORNING
CLOSE ON A DRAIN
as a hand extracts a huge WAD OF HAIR -- stringy, mucousy. fetid.
JIM holds it up for Sherry, who stands behind him in her bathrobe.
JIM
There's your culprit
He examines it from different angles. Both scrunch their faces
JIM (CONT'D)
Shall we give it a name?
SHERRY
(not missing a
beat)
Dave.
CLOSE ON AN OPEN TOILET - Plop! The hairwad joins several smaller
stringy friends.
NOW AT THE SINK
JIM washes his hands. Sherry glances between JIM and the water
running in the shower. It's getting steamy.
SHERRY
Did you know Dave's a bed wetter?
JIM
No, I... uh, didn't know that
SHERRY
All his life. He's tried everything.
JIM
(about the shower)
Still clear?
SHERRY
Yep.
JIM
We'll let it run awhile
JIM turns off the faucet and reaches for a towel. Sherry offers him
another.
SHERRY
This one's clean.
JIM takes it and dries his hands. Sherry now stands very close to
him. JIM
sets the towel on the sink. It's a little awkward as they look into
each other's eyes, standing so near.
SHERRY (CONT'D)
I guess you'd better get to work huh?
You're going to be late.
She slowly wraps her arms around Jim's neck and pulls him to her, a
hug of gratitude and warmth -- nothing sexual here, just the embrace
of two people in need of shelter from the storm of life. No, nothing
sexual at all.
SHERRY (CONT'D)
Thank you, Jim.
Now sherry begins to cry a little, and things begin to change -- hands
wander, cheek brushes cheek. Finally lips meet, tenderly at first.
And then it is a deluge.
INT. NOVOTNY LIVING ROOM DAY
JIM and Sherry stumble in from the hallway locked in an embrace. They
rove around the room, barely able to keep their balance. Finally,
they fall to the ground.
CLOSE ON LITTLE DARRYL --
playing with his foot in the CRIB. Through the bars behind him we can
discern the murky shape of Sherry and JIM rutting and grunting like
wild boars.
EXT. NOVOTNY DRIVEWAY DAY
JIM starts his car. Sherry leans into his window. She looks around
the neighborhood before kissing him firmly on the mouth.
SHERRY
Hey Yeah?
SHERRY
Take me to that motel. Like you
wanted.
JIM
Right now?
SHERRY
Easy, tiger. Come by after school.
I'll leave Darryl with the sitter.
JIM
Three twenty-five.
SHERRY
Three twenty-five.
EXT. HILLSIDE ROAD -- DAY
VROOM! JIM roars past us in his new RED FERRARI CONVERTIBLE
EXT. ITALIAM RIVIERA (REAR PROJECTIOH) CONTINUOUS
JIM wears a BLACK SUIT and hip HRAPAROUND SUNGLASSES as he drives. He
lights a cigarette. Behind him is a cheesy dated REAR PROJECTION Of a
curvy MOUNTAIN ROAD. Next Stop: portofino!
JIM (VO)
What had blossomed between Sherry and
me was too real, too powerful to deny.
For the first time in years, I felt free
and alive!
EXT. MILLARD HIGH PARKING LOT DAY
JIM'S Ferrari heads up the driveway and into his assigned space He
opens the Ferrari door.
JIM'S FOOT touches the pavement - not a shiny Salvatore Ferragamo
loafer but a worn out Dexter.
WIDE -
JIM is back in his own clothes, and his car has reverted to a Ford
Escort in need of a wash. He heads toward the school.
INT. HILLARD LIBRARY -- DAY
JIM enters the library, walks among the stacks.
JIM (VO CONT'D)
So as you can imagine, my thoughts
weren't on the election that Monday
morning.
JIM takes a BOOK from the shelf
JIM (VO CONT'D)
My thoughts were only on Sherry, on how
perfect she felt inside. There was a
special poem I wanted to read to her
later, at the motel, as she lay next to
me.
Jim flips through the book and finds the poem he seeks. His lips move
silently.
JIM'S VOICE (VO CONT'D)
Close, close the lovers keep. They stay together in their sleep. Close
as two pages in a book That read each other in the dark..
Suddenly -- a grating VOICE from the loudspeakers.
VOICE (OS)
Mr. McAllister to the Principal's
Office. Mr. McAllister to the
Principal's office.
JIM smacks the book closed
INT. WALT ' S OFFICE - DAY
LISA FLAMAGAN - her face streaked with tears from outrage and
confusion.
LISA
It's not fair. It's not fair
Paul sits next to Lisa on the vinyl sofa. He wants to console her,
but he doesn't know how.
PAUL
I just don't think anybody would do
something like that on purpose. It must
have been some kind of mistake. Like a
maintenance thing.
JIM enters.
WALT
Jim, where the hell have you been?
JIM
Nowhere. I don't have class until
second period.
WALT
Even tried you at home. We've got a
situation here.
LISA
If Paul loses tomorrow, it's not fair.
There has to be another election, with
posters.
JIM
What's the problem?
LISA
Didn't you see?
WALT
Somebody tore down their posters.
LISA
Those posters cost a lot of money we
don't have I There's no time to make
any more posters, there's no --
WALT
We'll get to the bottom of it.
PAUL
(to Lisa)
We still have some extra ones, don't
we? Maybe we can just --
LISA
It was Tammy I That's who it was.
PAUL
Oh, no, hey. Like I said. Tammy
wouldn't... she...
WALT
Well, that speech she gave -- it was
pretty, you know, pretty out there. But
we'll get to the bottom of it. Don't
you worry. Mr. McAllister is going to
see to that. Right, Jim?
JIM
(his thoughts
elsewhere)
Oh yeah, you bet.
LISA
She should be expelled. Or worse!
WALT
You two just go back and focus on your
studies. Mr. McAllister's going to
handle this.
INT. CHEMISTRY CLASSROOM DAY
A BUNSEN BURNER --
as a VIAL containing blue liquid is held to the flame. The solution
magically changes from blue to yellow.
Wearing goggles, Tracy holds the beaker with chemist's tongs Her two
LAB PARTNERS observe.
The classroom door and a STUDENT approaches the teacher, MR. BECKMAN,
to deliver a note.
MR. BECKMAN
Tracy?
Tracy looks up through her goggles.
INT. MILLARD HALLWAY DAY
LONG TRACKING SHOT . - of Tracy as she leaves the classroom. AS
she walks through the .desolate halls and descends a flight of stairs,
she holds her head high, suggesting a serene, almost regal confidence.
TRACY (VO)
When I arrived at school that morning,
I was shocked to find that one of my key
banners had been removed by vandals. I
noticed that a few of my rival's posters
had also been tampered with. Of course,
I was outraged, but one day before the
election is not the time to lose your
head over a couple of posters. When
you're in the public eye, attacks like
that just come with the territory.
Finally she reaches the
INT. SCHOOL OFFICE DAY
Upon seeing Tracy, MISS LINDA BEEDER, the "They 're-all-my-kids office
administrator, points wordlessly to an open door of a conference room.
JIM
is inside.
JIM
Tracy. Come on in. And shut the door
behind you.
She goes in and closes the door in our face.
INT. LITTLE CONFERENCE ROOM -- DAY
Tracy is seated in a chair. JIM hovers above her, alternately leaning
on a desk and pacing.
JIM
I guess you know why you're here
TRACY
If it's about the posters, I think it's
so awful. It's a travesty.
JIM
A travesty. Huh. That's interesting,
because I think you did it.
TRACY
Wait - are you accusing me? You're not
serious.
(indignant)
I can't... Mr. McAllister, we have
worked together on SGA for three solid
years and... I mean, I can't believe it.
I'm... I'm shocked!
JIM stares at her.
TRACY (CONT'D)
Mr. M., I am running on my
qualifications. I would never need to
resort to, you know, to vandalism like
a, you know... Plus, my own best banner
was torn down. Did I do that too?
JIM
Were you or were you not working in the
Watchdog office over the weekend?
TRACY
I was. So? Mr. Pecharda let me in.
As you know, with all my
responsibilities I often come in on the
weekend and have permission to do so.
But I left very early, around 6:30.
JIM
6:30. How do you know what time the
posters were torn down?
TRACY
I don't. I just know they were there
when I left. I'm giving you helpful
information is all. You know, instead
of wasting time interrogating me, we
should be out there trying to find out
who did this.
JIM
Okay, Tracy, so who do you think did
it? Whom should we "interrogate?"
TRACY
well, I don't know. It could have been
anybody. There are a lot of, you know,
subversive elements around Millard. You
know, like Rick Thieson and Kevin Speck
and those burn-outs. Or Doug Schenken -
what about him? Or what about Tammy
Metzier? Her whole thing is being anti-
this and anti-that.
JIM shifts gears
JIM
You're a very intelligent girl, Tracy.
You have many admirable qualities. But
someday maybe you'll learn that being
smart and always being on top and doing
whatever you need to do to get ahead,
and yes, stepping on people to get
there, well, there's a lot more to life
than that. And in the end, you're only
cheating yourself.
TRACY
Why are you lecturing me?
JIM
This isn't the time or the place to get
into it, but there is, for just one
example, a certain former colleague of
mine, who made a very big mistake, a
life mistake. I think the lesson there
is that, old and young, we ail make
mistakes, and we have to learn that our
actions, all of them, can carry serious
consequences. You're very young, Tracy
underage, in fact -- but maybe one
day you'll understand.
TRACY
I don't know what you're referring to,
but I do know that if certain older and
wiser people hadn't acted like such
little babies and gotten all mushy,
everything would be okay.
JIM
I agree. But I also think certain
young and naive people need to thank
their lucky stars and be very, very
grateful the whole school didn't find
out about certain indiscretions which
could have ruined their reputations, and
chances to win certain elections.
TRACY
And I think certain older persons like
you and your "colleague" shouldn't be
leaching after their students,
especially when some of them can't even
get their own wives pregnant. And they
certainly shouldn't be running around
making slanderous accusations.
Especially when certain young, naive
people's mothers are para-legal
secretaries at the city's biggest law
firm and have won many successful
lawsuits. And if you want to keep
questioning me like this, I won't
continue without my attorney present.
JIM draws a long breath as he tries to control himself
JIM
Okay, Tracy. Have it your way.
There's a KNOCK. JIM and Tracy turn to see
TAMMY METZLER timidly poking her head in.
TAMMY
You wanted to see me, Mr. M.?
JIM
Just wait outside. Tammy.
TAMMY
Okay. But is this about the posters?
JIM
Possibly. Please just wait outside.
TAMMY
Okay.
(looking at Tracy)
Because I know who did it. So.. I'll
just be outside.
Tammy manages to squeeze in a naughty little smile before closing the
door.
INT. OUTER OFFICE DAY
Tammy sits patiently in a chair, bobbing to an unheard song. The door
opens, and Tracy emerges.
JIM
Tracy, don't go away. Come in, Tammy.
As Tammy and Tracy cross, Tracy speaks in a low voice but loud enough
for JIM
to hear.
TRACY
This ought to be good
INT. CONFERENCE ROOM -- DAY
Tammy sits facing Jim, cradling her backpack.
JIM
So... what do you have to tell me?
TAMMY
Well, this is hard for me, but I think
it's important to be honest. Don't you?
JIM
(impatient)
What is it. Tammy?
TAMMY
I'm the one. I did it. I tore down
Paul's posters.
JIM
Looks at her skeptically doesn't say a
word.
TAMMY (CONT'D)
I did it.
JIM
And when did you do it?
TAMMY
This weekend.
JIM
Exactly when?
TAMMY
I don't know. Yesterday. Sunday.
JIM
And how did you get in the school?
TAMMY
Door was open.
JIM
Which door?
TAMMY
I don't know. All I know is I did it I
JIM
I don't believe you.
TAMMY
I have proof.
She burrows in her backpack.
INT. OUTER OFFICE -- CONTINUOUS
Tracy stands up from her seat and manages to PEEK THROUGH THE WINDOW
of the conference room. She sees --
pulling out a handful of POSTER SHREDS from her backpack and handing
them to Jim.
Tracy turns away and covers her mouth with one hand.
INT. CONFERENCE ROOM CONTINUOUS
THE POSTER FRAGMENTS in Jim's hands. TILT UP to Tammy really hamming
it up.
TAMMY
You don't know what it's like to grow
up in the shadow of an older brother
like Paul. it's always Paul, Paul,
Paul, Paul. Never Tammy. I'm only
Paul's little sister. You must be
Paul's little sister. He's so perfect,
and I'm so troubled. I hate him! I
hate him! And I tore down his posters,
It was a horrible, cowardly act, but I
did it,.. I did it... l did it... And
I'm not sorry...
JIM watches her performance until he can't take it anymore he's got
other fish to fry.
JIM
Final I don't know what your problem
is, but if that's the way you want it,
that's the way it'll be. I don't have
time. You're out of the election, and
I'm turning you over to Dr. Hendricks.
He throws the door open.
JIM (CONT'D)
Tracy?
INT. OUTER OFFICE CONTINUOUS
Tracy is frightened but still plays the indignant victim.
TRACY
Yes?
JIM
Looks like today's your lucky day
What does he mean?
TRACY
What do you mean?
JIM
You're off the hook. Tammy here has
confessed.
It takes Tracy a second to figure out how to react. But once she's got
it, she runs with it.
TRACY
I told you! I told you!
(pointing at Tammy)
You're going to pay for my banner!
JIM
That's enough, Tracy. Quit while
you're ahead, okay? I'll handle this.
(to Hiss Seeder)
Could you ask Walt to come in?
STAFFROOM DAY
JIM is feverishly TYPING.
JIM (VO)
The rest of the day was unbearable. I
kept smelling Sherry on my clothes and
on my fingers and I just couldn't wait
to get out of there.
He yanks the paper out of the carriage and hurries away.
INT. XEROX ROOM -- DAY
A PHOTOCOPY COLLATOR in operation.
JIM pulls sheets out and stacks them.
JIM (VO CONT'D)
I wanted everything to be perfect that
afternoon, so I decided to give myself a
little time to prepare during eighth
period.
INT. JIM'S CLASSROOM DAY
Students are settling into their seats. JIM breezes in, a sheaf of
papers fucked under his arm.
JIM
Pop quiz, everybody
The class groans.
JIM (CONT'D)
No whining. If you've done your
reading, this is an easy one.
JIM peels off a stack of papers for each row
JIM (VO)
I'd have exactly forty-eight minutes to
make all the arrangements.
JIM glances at the clock: 2:08
JIM
If you finish early, just sit quietly
and check your work. I'll be right
back.
POOF -- he's gone I
EXT. MILLARD HIGH DAY
TRACK WITH JIM as he SPRINTS toward the parking lot, fumbling for his
keys.
EXT. WALGREEN'S -- DAY
JIM exits with a bouquet of flowers and a plastic bag.
EXT. SAFARI MOTEL -- DAY
Jim's car speeds into the driveway and parks
INT. SAFARI MOTEL ROOM -- DAY
JIM opens the door, sets his things down, and gets to work.
THE SINK --
JIM dumps a bucketful of ICE and wedges in a bottle of cheap
CHAMPAGNE.
THE BEDSIDE TABLE -
JIM props up his flowers in the ice bucket and puts a small box of
Russell Stover's CANDY next to it. He unwraps the motel's plastic
cups and places them just so. Perfect.
JIM'S BOOK OF POETRY -- open to that special poem. He marks it with a
carnation.
UNDER THE BED --
Jim's face appears as he kneels down and slides the book into place,
ready for that perfect moment.
THE BATHROOM -
Where JIM is NAKED now, squatting in the bathtub, frantically washing
his undercarriage. He checks his watch.
EXT: SAFARI MOTEL ROOM DAY
JIM shuts the door and with jaunty confidence slips the key into his
pocket.
EXT. SAFARI MOTEL DAY
Jim's car speeds toward the street.
EXT. MILLARD HIGH PARKING LOT -- DAY
JIM gets out of his car and races back toward the school.
INT. MILLARD HALLWAY DAY
JIM skids around a corner.
INT. JIM'S CLASSROOM DAY
With feigned coolness, he saunters into class just as the BELL RINGS.
JIM
Okay, everybody, pass them forward.
Stephanie, put down your pen.
The class begins to rise.
JIM (CONT'D)
I'll see you all on Wednesday. And
don't forget to vote tomorrow.
FROM BEHIND - Jim's back has a large vulva-shaped patch of SWEAT
EXT. MILLARD HIGH PARKING LOT -- DAY
JIM hurries back to his car, weaving his way through students
EXT. SHERRY'S HOUSE -- DAY
JIM pulls to a stop in Sherry's driveway.
INT. JIM'S CAR
JIM checks his watch: 3:24 turns into 3:25
Bingo
EXT. SHERRY ' S HOUSE DAY
JIM'S FINGER on the doorbell. DING-DONG.
JIM waits, rings again. Ho answer. He knocks. No one. He tries the
door. Locked. Maybe she's out back. He walks around the house to --
EXT. SHERRY'S BACKYARD CONTINUOUS
It's a lovely little backyard. Springtime flowers bloom. Bees buzz
among the peonies.
JIM opens the gate, approaches the back door, and knocks.
JIM
Sherry I
He rears back and aims his yell toward the second floor.
JIM (CONT'D)
Sherry I It's Jim!
No response. He tries the door. It's locked. JIM cranes his neck for a
last look at the house. As he starts to leave, he calls out one final
time, not really expecting a response.
JIM
Sherry
Suddenly A WASP STINGS him above his right EYE
JIM (CONT'D)
Oww! Fuck! Jesus fuck!
Cursing and holding his head, JIM stumbles out the gate
INT. SAFARI MOTEL LOBBY - DAY
Through the glass windows, we see Jim's car pull into the lot and
park. JIM enters the lobby. His eye is puffy and red.
A MOTEL EMPLOYEE watches TV behind the counter
JIM
By any chance, has a woman shown up in
the last half-hour or so? Maybe she was
looking for me.
EMPLOYEE
Nobody's come in here looking for
anybody. Just you.
JIM
Are you sure?
EMPLOYEE
(indicating Jim's
eye)
You okay?
INT. SAFARI MOTEL ROOM DAY
THE TELEPHONE - as JIM punches in Sherry's number.
JIM holds the phone against his ear and the champagne bottle against
his eye.
JIM
Sherry, it's me. Are you there? Pick
up. Okay, it's 4:32. I came by at 3:25
like we said and waited, but you weren't
there. Anyway, I hope you're okay --
I'm worried about you. So now I'm just
at the... at the place we talked about.
Suite 219. So I'm here. Everything's
all set. You can just come over. Can't
wait. Okay. Bye.
EXT. SAFARI MOTEL DAY
TIME LAPSE - as the sky darkens, the motel's NEON SIGN turns on.
JIM now descends the motel stairway carrying his Walgreen's sack. He
puts the key into the drop box and gets in his car.
INT. METZLER KITCHEN -- NIGHT
Dick Metzier and his wife JO are at the breakfast table Tammy sits
across from them, her eyes lowered.
DICK METZIER
I don't get it. What you have against
your mother and me, against your brother
Paul, is completely beyond me. And your
mother is extremely upset, she's at the
end of her rope. Your behavior gets
crazier and crazier and wilder and
wilder, and who knows what the hell else
you're doing out there that we don't
even know about?
TAMMY
Dad, I
DICK
(jabbing his
finger)
Don't you smartass me! Don't you dare
smartass me! You just shut your mouth I
(taking a breath)
Now your mother and I have had a long talk
with Halt Hendricks --- we just got off
the phone with him at home. You know, he
doesn't want you back at Millard. He's
fed up with you. Fed up! And I don't
blame him!
JO
Dick... Dick,..
DICK
What?
JO
(calmly)
Tammy, now we've come to a decision.
He just think it would be best --
DICK
You're going to Catholic school next
year. You're going to Sacred Heart.
Maybe they'll straighten you out!
ANGLE FROM UNDER THE TABLE - Her head low. Tammy SMILES to herself
EXT. JIM'S HOUSE NIGHT
JIM'S car pulls into the driveway.
INT. JIM AND DIANE'S KITCHEN NIGHT
JIM enters the back door and sets his satchel down in the usual place.
He opens the refrigerator, grabs a beer. As he closes the door,
something catches his eye. He reaches inside and throws a plastic
container away. Rooting around noisily, he finds other things to
dispose of. Suddenly --
A BABY CRY stops him cold.
JIM stiffens, his good eye widening as the horrible truth sinks in.
He carefully closes the refrigerator and tiptoes toward the living
room.
INT. LIVING ROOM -- CONTINUOUS
Jim's face slowly appears around the corner, bad eye first. Finally,
he's able to see --
SHERRY AND DIANE
together on the living room sofa, staring at him. Their eyes are red
from crying. Little Darryl squirms in Sherry's lap.
Caught, JIM emerges from his hiding place. No one speaks. Finally, he
looks down, sucks in air, blows it out again, nods a little.
JIM
(very softly)
Okay
He turns to leave, and nobody stops him.
EXT. JIM'S HOME -- NIGHT
JIM wanders out the front door and stands in his driveway, bewildered
and alone. The camera slowly CRANES UP, eventually looking down on
him from a great height.
JIM (VO)
As I walked out of my home that
evening, unsure if I'd ever return, my
entire life in question, I somehow
discovered within myself a place of
perfect peace. Oddly, in my solitude I
felt more than ever a sense of communion
with every human being - past, present
and future. Because no matter what we
tell ourselves, no matter what illusions
of friendship and family we create, each
of us is always and forever profoundly
alone.
INT. TRACY'S BEDROOM NIGHT
FROM OVERHEAD - Tracy slides out of her bed and kneels beside it
TRACY
Dear Lord Jesus, I do not often speak
with You and ask for things, but now I
really must insist that You help me win
the election tomorrow, because I deserve
it and Paul Metzier doesn't, as You well
know. l realize that it was Your divine
hand that disqualified Tammy, and now
I'm asking that You go that one last
mile and make sure to put me in office
where I belong, so that I may carry out
Your will on Earth as it is in Heaven.
If elected I promise that I will pray
more often. Okay? Amen.
EXT. TAMMY'S BEDROOM -- NIGHT
FROM OVERHEAD --
Tammy wears a white t-shirt and underwear and kneels at her bedside.
TAMMY (VO)
Dear God, I know I don't believe in
you, but since I'll be starting Catholic
school soon, I thought I should
practice. Let's see... what do I want?
I want people to be nicer to each other.
I want Lisa to realize what a bitch she
has been and feel really bad and
apologize for how she hurt me and know
how much I still love her. In spite of
everything, I still want Paul to win the
election tomorrow, not that cunt Tracy.
I also want a really expensive pair of
leather pants... and someday I want to
be really good friends with Madonna.
Love, Tammy
INT. PAUL'S BEDROOM
FROM OVERHEAD -- Paul lies in bed looking at the heavens beyond his
ceiling,
PAUL (VO)
Dear God, thank You for all Your
blessings. You have given me so many
things, like good health, nice parents,
a nice truck, and what I've been told is
a large penis, and I'm very grateful.
But I sure am worried about Tammy. In
my heart I still can't believe she tore
down my posters, but sometimes she does
get so weird and angry. Please help her
be a happier person, because she's so
smart and sensitive, and I love her.
Also, I'm nervous about the election
tomorrow, and I guess I want to win and
all, but I know that's totally up to
You. You'll decide who the best person
is, and I'll accept it. And forgive my
sins, whatever they may be. Amen.
FADE OUT
INT. JIM'S CAR -- NIGHT
JIM sits parked outside of Sherry's house, a SLURPEE held against his
now grotesquely swollen eye. He is so tired and pain-ridden that he
practically gasps for breath.
JIM (VO)
Sherry never came home that night. I
know, because I spent the entire night
in her driveway.
INT. TRACY'S KITCHEN -- DAWN
Tracy and her mom are hard at work frosting cupcakes.
TRACY (VO)
Mom and I got up at five AM, and
together we custom-iced three hundred
and fifty cupcakes.
CLOSE ON A CUPCAKE - as "PICK FLICK" is written on it with a yellow
icing tube.
MRS. Flick cheerfully performs her task. She hums.
TRACY (VO CONT'D)
I remember she was so happy, like there was nothing in the world she'd
rather be doing. Besides me and her job, I guess my mom doesn't have
much of a life. She hasn't dated anyone since Frank, and she hardly
ever buys new clothes for herself or travels.
TRACY
Mom?
MRS. FLICK
Hmmm?
TRACY
I think I'm going to lose today
MRS. FLICK
What are you talking about? This time
tomorrow, you'll be president
TRACY
You really think so?
Mrs. Flick puts an arm around her daughter
MRS. FLICK
Tracy Flick's a winner.
EXT. SHERRY'S HOUSE DAWN
Jim's car has not moved from its spot on the driveway. Its windows are
now fogged. A LOUD GARBAGE TRUCK rumbles by.
INT. JIM'S CAR -- CONTINUOUS
Reclined in his car seat, mouth open as he sleeps, JIM is awakened by
the truck. His breath steams. His eye has turned bluish. He tries to
wipe the condensation from the windshield, but it's on the outside.
EXT. SHERRY'S DRIVEWAY -- CONTINUOUS
JIM opens the door and looks around -- no sign of Sherry's car. He
stiffly walks to the side of the garage and unzips his pants to pee.
Now cradling his head on the roof of his car, JIM gathers what little
strength he has, gets in, and tries to start the cold engine.
JIM (VO)
I had no choice but to go home. I
needed to shower, get fresh clothes,
explain what I could to Diane. But what
was I going to say? That our marriage
had become a charade? That making love
with Sherry had given me a vision of a
better life?
THE TAILPIPE finally coughs out a cloud of exhaust
INT./EXT. JIM'S CAR DAWN
JIM drives, bleary-eyed. He creeps along his tree-lined middle-class
block.
JIM (VO CONT'D)
Then again, maybe I could slip in and
out without waking her up.
JIM slows to a stop, looks with dread at his home
EXT. JIM'S HOUSE CONTINUOUS
On the front porch sits A GYM BAG. JIM approaches, stares numbly at
the bag. Drawing a long breath, he bends over and picks it up.
Attached is a NOTE reading: "Don't come in."
EXT. MILLARD HIGH DAWN
At the foot of the main walk to the school, Tracy and her mother are
setting up a CARD TABLE covered with little pink cakes.
Jim's Ford Escort chugs its way through the fog and comes to a stop.
Looking like a war refugee, JIM emerges from his car carrying the gym
bag and heads toward school.
TRACY
(chirping)
Good morning, Mr. M.
JIM stops, turns slowly, regards mother and daughter with a crazed,
one-eyed, uncomprehending stare.
TRACY (CONT'D)
(holding one out)
Looks like you could use a cupcake!
JIM takes it wordlessly. AS he heads up the walkway, he eats it in
two huge bites, like a feral animal.
TRACY (CONT'D)
(calling out)
What's wrong with your eye? Are you
OK?
INT. BOYS' LOCKER ROOM -- DAY
IN THE SHOWERS JIM scrubs himself as if to wash his whole life away.
JIM (VO)
Cupcakes. Jesus Christ. Cupcakes? My
life was crumbling, and I was expected
to care about these ungrateful kids and
their pathetic little dreams. As if my
only purpose in life were to serve them.
JIM
(mocking)
Mr. McAllister. Mr. McAllister.
Somebody tore down my posters. It's not
fair. It's not fair. Can I have an A?
Can I have a recommendation? Can I?
Can I?
AT THE MIRROR JIM adjusts his tie, tries to smooth his wrinkled shirt.
JIM (VO CONT'D)
Well, fuck them. Didn't I have my own
life? Didn't I have my own dreams?
He coughs up phlegm and spits it into the sink
JIM (VO CONT'D)
Cupcakes
INT. MILLARD HALLWAY DAY
JIM exits the BOYS' LOCKER ROOM door and bumps into Mr. Beckman.
MR. BECKMAN
Hey, Jim. Big day today
JIM
(putting on a
smile)
Oh, yeah. Big day.
INT. SCHOOL OFFICE DAY
MISS BEEDER of the school office is at the P.A. MICROPHONE. Walt is
behind her. She looks over her shoulder, and Walt gives her the go-
ahead.
MISS BEEDER
Attention, everyone. We have an
important announcement from our
principal. Dr. Hendricks.
Walt gives Miss Beeder a courtesy smile and takes the mike
WALT
Good morning, students. It, uh,
behooves me to inform you of an
important change in today's elections.
Effective this morning...
INT. TEACHERS' OFFICES DAY
BALLOT AFTER BALLOT -- as a black magic marker crosses out Tammy's
name.
JIM sits at his desk and carries out his absurd task. He stops and
stares. His thoughts wander far, far away.
WALT (OS CONT'D)
. .. sophomore Tammy Metzier has
been... Metzier has been determined
ineligible - I repeat: ineligible -- for
SGA president. You may not vote for
Tammy Metzier. All other candidates are
eligible. Now please pay attention to a
very important, uh, audio-visual
presentation.
(irritated,
thinking he's off)
Linda, who typed this thing? I said I
need all caps....
INT. TV AND MILLARD CLASSROOMS DAY
CLOSE ON A TV-- mounted in the corner. An educational video is just
beginning. Host CLARK NAYLOR sits on the edge of a desk in a generic
office set.
During the video, we cut to CLASSROOMS, where from the TV's point of
view, we see the students watching: English class shop class, gym
class, biology class.
CLARK (ON TV)
Hello, students, I'm Clark Naylor of
Joslyn's Educational Resources. It's
election day, and how you vote will make
a big difference in the activities,
events, and perhaps even the policies of
your school. Over the past few days or
weeks, you've heard candidates for the
various offices make their speeches and
tell you where they stand. You've
probably seen their posters. Maybe
you've even had a chance to speak with
them personally.
CLOSE-UPS OF STUDENTS
Now replace the wider shots of classrooms. Photographed as though
from a Soviet propaganda film, some students look up nobly and
attentively, while others watch with dead eyes and open mouth, and
still others goof off.
CLARK (ON TV CONT'D)
Well, today marks the end of
campaigning, and now the spotlight turns
to you. Voting is your privilege and
your responsibility. Remember, no one
needs to know for whom you've voted.
That's between you. . . and you.
An AFRICAN-AMERICAN TEENAGER walks up to Clark.
CLARK (ON TV CONT'D)
Now I'd like to introduce you to Tony.
Tony's going to show you how to cast
your vote. Are you ready, Tony?
TONY (ON TV)
I think s0
CLARK (ON TV)
Good. Let's get started
INT. MILLARD HALLWAY NEAR OF-PICE -- DAY
JIM slinks down the hall and ducks into a PHONE BOOTH. He fishes
change out of his pocket and dials. We hear the echo of the video
emanating from all the classrooms.
SHERRY'S VOICE (VO)
Hi. You've reached the Novotnys. We're
not around, but we'll call you back real
soon. Have a nice day.
JIM
Are you there? Sherry, are you there?
It's Jim.
(suddenly angry)
Why did you do that? I trusted you.
Completely. You've ruined my life. Do
you know that? Do you realize that?
Huh? Do you? You've ruined Diane's
life. You ruined my life. is that what
you wanted?
(recovering)
I'm sorry. It's just... I'm going nuts
here. Okay, all right, so... Really,
I'm sorry. I just think we should talk,
okay? I love you.
INT. TEACHERS' OFFICES -- DAY
JIM crosses out more ballots, this time with perverse intensity.
JIM (VO)
If only my own life could be corrected
so easily, with nice fat black lines
drawn neatly through my sins.
CLOSE ON TAMMY'S NAME -
as it is blackened. We WIPE with the motion of the magic marker to:
INT. LITTLE SALLY ANN SHOP DAY
SWISH!
The curtain of the dressing room is drawn back, and there's Tammy. She
beams and walks toward --
A THREE-PANEL MIRROR,
where she takes herself in, dressed in her new Catholic schoolgirl
UNIFORM.
The SALESLADY converses nearby with Jo Metzier.
SALESLADY
And Sacred Heart is such a good school.
Excellent school. The public schools are
going downhill, as far as I'm concerned.
JO
Well, we've had good luck at Millard,
but for this one it's time for a change.
Tammy spins and admires the flip of the skirt.
SALESLADY
So what do you think? Sacred Heart has
the prettiest. They have that nice hint
of purple.
TAMMY
(lying)
I hate it.
JO
You're just going to have to get used
to it.
TAMMY
Please, morn. Please don't make me go
to Sacred Heart. I beg you.
JO
(to saleslady)
We'll take two.
INT. MILLARD HIGH CAFETERIA DAY
Makeshift POLLING BOOTHS are set up just outside the cafeteria. Behind
two tables sit TWO TEACHERS who cross out voters' names on big master
computer lists. Tracy stands in line, not-so-patiently waiting her
turn.
TRACY (VO)
When the time came to cast our votes, I
stood in line just like everyone else.
She finally reaches the front of the line.
TEACHER
Hi, Tracy
TRACY
Tracy Enid Flick.
TEACHER
I know.
Tracy goes into a VOTING BOOTH and quickly hands her ballot. sophomore
PHIL CHOY stands nearby with his CAMERA.
TRACY
Phil you ready?
PHIL
Ready.
Tracy exits the booth and heads toward the BALLOT BOX. She inserts
her ballot halfway and freezes, smiling. Phil snaps a picture, but -
PHIL
Just a second. My flash.
Tracy remains perfectly still while Phil fiddles with his camera. A
STUDENT stands behind her, waiting to put his ballot in the box.
STUDENT
Come on, Tracy.
TRACY
(through her smile)
Just wait.
FLASH! Phil gets his shot and Tracy drops her ballot in.
TRACY
Thanks, Phil.
On her way out Tracy passes Paul at the end of the line. He gives her
an enthusiastic THUMBS UP.
PAUL
Way to go, Tracy! Isn't this exciting?
TRACY
(awkward)
Yeah.
PAUL
Hell, good luck!
TRACY
(reluctant)
Good luck to you too, Paul.
PAUL
Thanks!
INT. VOTING BOOTH Paul scans his ballot, struggles with his decision.
PAUL (VO)
It's so weird. DO people always just
vote for themselves? 'Cause looking at
my own name on the ballot, I just... I
don't know, I just felt like it's not
right to vote for yourself.
THE BALLOT - as Paul's pen puts an "X" next to the name "Tracy Flick
INT. MILLARD HALLWAYS DAY
THE BALLOT BOX is being carried through the halls and up some stairs
by Larry Fouch and three other STUDENT COUNCIL MEMBERS. The music
suggests the weighty importance of its contents and the sacred mission
of its bearers.
INT. JIM'S CLASSROOM - DAY
JIM is hunkered over his desk. He's a wreck: dark, dark circles under
his eyes; his hair didn't dry right -- frizzy here, matted there.
And he's near tears.
Larry Fouch and his retinue enter cheerfully
LARRY
Okay, Mr. M.
Larry drops the ballot box on Jim's desk
JIM
What? Right. So let's start counting.
LARRY
Well, I thought that... well, the way
it always works is that SGA president
does a count, then the SGA advisor, you
know, for the two independent counts.
JIM
Fine. So do your count. Start with
president, and I'll be right back.
LARRY
You have the key, Mr. McAllister.
JIM doesn't understand at first, then
JIM
Right. I know.
JIM proceeds to sort through his cluttered desk drawers but can't seem
to find the key. The council members exchange concerned looks as
Jim's search becomes frenzied.
LARRY
Are you okay, Mr. M.?
ANOTHER STUDENT
What happened to your eye?
JIM
I'm fine. It's just a bee sting, a
simple little everyday bee sting. Some
people, they get stung, it's no big
deal. Me, I swell up. Okay?
JIM emerges from the drawer wielding a VISE GRIP. He goes to the box
and TEARS the entire hardware assembly off. Holding the mangled lock,
he turns to the students, who look back STUNNED.
JIM (CONT'D)
I just want to get this over with, so
we can have the assembly and go home.
We don't have much time until eighth
period. I have other things going on,
too, you know.
LARRY
Okay. Yeah. We know
JIM
All right. I'll be back
INT. HALLWAY OUTSIDE SCHOOL OFFICE DAY
JIM slinks up to a PAY PHONE, inserts a coin, dials
SHERRY'S VOICE
(cheery)
Hi. You've reached the Novotnys. We're
not around, but we'll call you back real
soon. Have a nice day.
JIM it's me again. I'm sorry for all the calls. But Sherry, if I
could just hear your voice, if you'd only acknowledge that I...
SHERRY (OS)
(picking up phone)
What do you want, Jim?
JIM
You're there.
SHERRY (OS)
Yeah. I'm here.
JIM
Sherry... I love you.
SHERRY (OS)
(loud exhale)
Don't say that. You know it's not
true.
JIM
It's the only true thing I know
anymore.
SHERRY (OS)
We made a mistake. Let's not make it
worse.
JIM
A mistake? That was no mistake.
SHERRY (OS)
I was lonely. You took advantage
JIM
Me? I took advantage of you? You
hugged me! You kissed me! You're the
one who --
CLICK.
INT. MILLARD HALLWAY -- DAY
It's PASSING PERIOD, and the halls are jammed with students at their
lockers and walking to class.
JIM is walking quickly back to his classroom. He passes Paul.
PAUL
Hey, Mr. M. Big day, huh?
Jim doesn't even hear.
INT. CLASSROOM DAY
Larry is just finishing his count. The ballots are on a desk in front
of him, neatly organized into three piles. JIM enters.
JIM
(impatient)
What d'you got?
LARRY
I'm not supposed to tell. Not until
you've counted too. We're each supposed
to make an independent count.
JIM
You're kidding, right?
LARRY
I thought those were the rules, Mr.
McAllister. If they've changed in any
way --
JIM
Larry, we're not electing the fucking
Pope here. Just tell me who won.
Jim's use of profanity scares Larry, and he responds reluctantly
LARRY
It's a squeaker, Mr. M. I've got Tracy
by a vote. Just one vote.
Jim, who hasn't cared about any of this today, suddenly takes note. He
stares blankly at Larry as the news sinks in.
LARRY (CONT'D)
Mr. M.?
JIM
Huh. Okay. Well, I guess I'd better
do my count.
Jim-scoops up the three piles of ballots and takes them to his desk.
INT. HISTORY CLASS DAY
CLOSE ON DALE -
a junior honors student. He is thinking. The wheels are turning,
grinding. Finally --
DALE
Sputnik.
MR. FLAGG is lecturing, really trying to make history come alive.
Tracy takes notes, but she is noticeably distracted.
MR. FLAGG
Right. And what year was that?
DALE
1958?
MR. FLAGG
Almost. 1957. So the point here is
when we found out about Sputnik, we got
really scared. It seemed like no matter
what we had and kept secret, they could
develop it too. A-bombs, h-bombs,
rocket ships. And this time we were
behind them. So -- February 1961,
Kennedy tells Congress and the American
people he wants to go to the moon. May
1961, the Apollo program is announced...
Tracy just can't take it anymore. She abruptly stands up, takes the
GIANT HALL PASS off the lip of the blackboard, and starts to leave.
Mr. Flagg gives her a small nod.
INT. RAILWAY DAY
Tracy nears a room, a special room. She slows down and peeks in the
window of the door. She sees --
LARRY FOUCH sitting at the back of the classroom, staring front.
Tracy presses her face to see what Larry is staring at --
JIM at his desk counting ballots
LARRY catches sight of Tracy in the window.
TRACY crosses her fingers by her ears and gives a questioning look
LARRY sneaks a guilty look at Jim, absorbed in his counting. Then,
against his better judgment flashes Tracy a quick, furtive double
THUMBS-UP.
TRACY suddenly disappears from the window.
IN THE EMPTY HALLWAY - Tracy pogos with unbridled joy
TRACY (VO)
You know that moment when they announce
the winner of a beauty pageant? When
Miss Texas or whoever suddenly realizes
she's Miss America, and all she can do
is scream and weep and hug the losers?
I had my moment in the hallway that
Tuesday afternoon with no one to hug but
myself.
She pulls herself together enough to peek through the window of the
OTHER DOOR to Jim's classroom, the window behind which JIM
is still busily doing his count.
INT. JIM'S CLASSROOM -- DAY
JIM counts out the last of the ballots, mouthing the numbers to
himself.
JIM (VO)
I was at the end of my count when it
happened. I'd come up with exactly the
same numbers as Larry: Tracy had won
the election by a single vote, 256 to
257. I was about to announce my tally
when...
JIM looks up and sees
TRACY in the window, her face exploding with joy. She FREEZES.
We move closer to Jim in SLOW-MOTION. What actually occurs in a
split-second is suspended in time
JIM (VO CONT'D)
The sight of Tracy at that moment
affected me in a way I can't fully
explain. Part of it was that she was
spying, but mostly it was her face.
Looking at her, you might think she was
a sweet, innocent teenage girl. But she
wasn't sweet. And she wasn't innocent.
She was selfish and cynical and
ambitious and thought nothing of
destroying the lives of others to get to
the top. who knew how high she would
climb in life, how many people would
suffer because of her? I had to stop her
now.
Tracy UNFREEZES and darts out of sight. JIM glances at Larry. Larry is
writing in a notebook.
JIM'S HAND
creeps up from his lap and onto the pile of TRACY VOTES. His fingers
nimbly count two ballots and pull them off the desk.
JIM coughs as beneath his desk he CRUMPLES THE BALLOTS into a ball and
drops them into the wastepaper basket.
JIM
Larry?
LARRY
(looking up)
Yeah?
JIM
I think we've got a problem.
INT. WALT HENDRICKS'S OFFICE DAY
Walt is just finishing counting the ballots on his desk. Larry and JIM
stand over him.
WALT
253... 254... 255. I get the same as
you Jim. Looks like Paul's our
president.
LARRY
No way I It doesn't make sense.
WALT
Sorry. My figures work out exactly the
same as Jim's. 256 for Paul, 255 for
Tracy.
LARRY
And 290 "disregards," right?
WALT
If you say so.
JIM
Mostly Tammy fans
LARRY
See, it doesn't add up. There are only
801 ballots but 803 people voted. Two
votes are missing. Check the register.
JIM
He's right. Two people must have
pocketed their ballots. Usually it's
more.
LARRY
But, they were there I counted 803
votes.
JIM
It happens, Larry. People make
mistakes.
LARRY
I didn't make a mistake. Every vote was
there when you sac down
WALT
Whoa! Easy, Fouch. I don't like where
you're going.
LARRY
I'm telling you. Dr. Hendricks, every
vote was accounted for.
JIM
(stern)
Larry? We've got twenty-five minutes
until the assembly, and we still have to
do counts for VP, Treasurer and
Secretary. Mr. Hendricks and I have both
verified the numbers, and unless you can
come up with the ballots you claim are
missing -
LARRY
But, Mr. M. -
WALT
Fouch, that's enough! End of story.
INT. MILLARD HIGH GYMNASIUM -- DAY
AN ASSEMBLY - The students are taking their seats on the bleachers.
ON THE FLOOR
are all the candidates: three for secretary, two for treasurer, one
for vice-president, two for president.
PAUL AND TRACY sit side-by-side. Paul seems a little overwhelmed by
the whole thing. Tracy leans over and offers her hand.
TRACY
Paul, I just want you to know that no
matter how this turns out, you've run a
wonderful campaign. It's been fun
competing with you.
PAUL
Yeah, you too, Tracy. I'm just glad
it's over.
TRACY
Yeah.
CLOSE ON PAUL
PAUL (VO)
You know, I don't understand why
everybody bad-mouthed Tracy all the
time. She was always super- nice to me.
JIM approaches the microphone
JIM
If we could get started. People! Once
the winners are announced, we can all go
home, okay?
The students quiet down
JIM (CONT'D)
Some contests are so well fought that
is seems unfair for someone to win and
someone to lose. I think that's the
case with all the candidates you see
before you today. All of them are
highly qualified and embody the, uh, the
integrity we expect from our school
leadership.
OS TRACY - Jim's voice momentarily recedes.
TRACY (VO)
Act surprised. Walk slowly to the
podium. Be modest. Thank them for this
incredible honor.
JIM
That said, the whole point of an
election is to choose winners, and that
you have done. We'll begin with
president.
JIM pulls a folded paper from his back pocket
JIM (CONT'D)
Let me add that this was an
extraordinarily close race. It's my
pleasure to announce the next president
of Millard High School.
Tracy just can't wait. Smiling, she STANDS UP.
JIM
Paul Metzier!
The crowd breaks into applause -- and laughter
ON TRACY - AS she sits, her smile belies her horror and humiliation
Paul begins his acceptance speech. We cut alternately to a thrilled
Lisa; a stunned Tracy, tears forming at the corners of her eyes; and
to JIM, who watches the events with shifty eyes, his mouth dry and
tasting of metal.
PAUL
Geez, you guys, thanks a lot. I mean,
wow, thanks. I promise to do my best
and really do a good job and be a good
president. And I want to thank Lisa
Flanagan for being a super campaign
manager. And I just want to say that I
think Tracy would have made a great
president too and that she really
deserves a big hand.
The auditorium erupts into applause and whistles, and JIM takes the
microphone again.
JIM
And now, for vice-president.
EXT. COCO'S BAKERY/RESTAURANT DUSK
In the growing darkness, the restaurant radiates its distinctive
orange glow. The parking lot is nearly empty.
INT. COCO'S BAKERY/RESTAURANT DUSK
JIM sits alone at a booth by the window, finishing a slice of berry
pie. He gets the attention of a WAITRESS and holds up his coffee cup.
JIM
Could I get a...?
As JIM gets his warm-up, in walk the Metziers: Paul, Dick and Jo. JIM
notices them as they wait to be seated. He wishes he were
invisible.
As a PERKY HOSTESS leads the family to a table, Paul spots Jim. Here
it comes.
PAUL
Wow! Mr. McAllister! This is so wild.
We came to celebrate my victory, and I
can't believe it. Here, these are my
parents.
JIM stands up awkwardly.
DICK METZLER
(extending his
hand)
Hi. Dick Metzier. My wife --
PAUL
This is great.
JIM
(extending his
hand)
JIM McAllister.
JO METZLER
(extending her
hand)
JO Metzier. You know, Paul just thinks
the world of you. Oh, if you could just
hear him...
DICK
Yeah, say, apparently you've really
come behind him, really helped him out
there with the student council thing and
all.
PAUL
I never would have ran if it wasn't for
Mr. M.
JIM
Paul doesn't need any of my help. He's
going places. You should be very proud.
JO
We are
DICK
Having a problem with your eye there?
JO
Dick.
JIM
Just a bee sting.
DICK
You ought to get that looked at. Shot
of cortisone or something.
JIM
Thanks, I'll be fine.
DICK
Anyway, we're awful sorry about what
went on with our other one, you know,
our Tammy.
JO
We were mortified...
JIM
Oh, she's not a bad girl. She'll come
around.
JO
... but we've had some good talks, and
I think we're sorting things out. We're
starting her at Sacred Heart in the
fall.
JIM
Good school.
DICK
Say, you're all alone, why don't you
join us?
PAUL
Yeah!
JIM
Oh, no. No. I'm just finishing up
here, and I've got to get home.
PAUL
(to his parents)
Why don't you guys go sit down, okay?
I'll catch up in a minute? I want to
talk to Mr. M. about some important
stuff.
DICK
All right. Well, sure nice to meet
you.
JO
So nice
JIM
You bet.
The Metziers go, and- Paul slides in across from Jim.
PAUL
So, Mr. M, I was starting to think
about ideas for next year. I was
thinking it would be cool to have, like
a carnival. With rides. And, you know,
it could be for, like. Muscular
Dystrophy.
JIM tries to smile and seem attentive, but we sense his profound
fatigue and his profound sadness.
PAUL (CONT'D)
And on Halloween we could have a
haunted house. But a really good
haunted house, not like those cheesy bad
ones. You know, more like the radio
station ones. This one would be really
scary. And for Homecoming -- well, you
know how last year's theme was -
JIM
Paul... Paul.... We'll have plenty of
time to get into all this later. A
whole year, in fact. Right now I just
need to finish my pie and get home.
PAUL
Oh, okay. Yeah, sorry.
The wind out of his sails, Paul gets up and is about to go when
PAUL (CONT'D)
Just one more thing. So, Mr. M., uh,
do you think Tracy's going to be okay?
I saw her face after the assembly, and I
think she's taking it pretty hard.
JIM
Don't worry about Tracy. She'll be
fine.
INT. TRACY'S BEDROOM NIGHT
CLOSE ON TRACY -
her face drained and pallid, her eyes red and bleary: she is exhausted
from crying.
TRACY
One vote... one vote
She falls again headlong again into the throes of despair. Her mouth
contorts into a rictus of agony, and there issues an almost feral cry
of pain. Her anguish grows convulsive.
Barbara Flick comes in and sits on the bed. She's carrying a
PRESCRIPTION BOTTLE and a glass of milk.
BARBARA
Why don't you take a couple of my
pills, darling? You'll feel better.
Tracy takes the pills and sips the milk weakly. Her mother kisses her.
BARBARA (CONT'D)
Don ' t worry. .. don ' t worry. . .
sshhhhh... that's it, baby... that's it,
darling. Everything's going to be fine.
She lays Tracy on the bed, and Tracy begins to quiet. Barbara kisses
her again and rises to leave. At the door she pauses to add a few
final words of comfort.
BARBARA (CONT'D)
Maybe you needed more posters, honey.
Or if you'd taken my suggestions about
your speech. I don't know. We'll figure
it out.
EXT. MCAILISTER HOME NIGHT
JIM stands at his own back door, beaten and ashamed. He lifts a hand
and knocks. After a moment the door opens, and there is Diane.
JIM
Diane, I...
Diane looks at JIM in silence. Her face reveals nothing, but there is
a deadness in her eyes. After a moment, she turns back inside,
leaving the door open.
JIM follows his wife inside, closes the door. The camera moves to
peek in the kitchen window, from where we watch JIM and Diane but
cannot make out anything they say.
JIM (VO)
I don't know how Diane and I made it
through that night, but we did. Our
marriage had gone right to the brink,
but in the end I guess it was saved by
one simple fact: we truly loved each
other. So we made a commitment to begin
the painful process of piecing our lives
back together. The worst was over; the
mistakes of the past were behind us.
INT. MILLARD HIGH JIM'S CLASSROOM -- NIGHT
A WASTE BASKET peeks out from under Jim's desk.
We hear a distinctive rhythmic squeak, and a shadowy head appears in
the window. Keys jingle. The door opens, and Lowell turns on the
lights. He approaches the waste basket and slides it out.
EXT. MILLARD HIGH TRACK DAY
FROM OVERHEAD - JIM circles the track.
ON THE GROUND -- JIM does pushups. Then sit-ups.
JIM (VO)
The next day held the promise of a new
beginning. After all, what harm had
really been done? No one was dead.
INT. MILLARD OFFICE DAY
Now all clean and refreshed and whistling a merry tune, JIM pops in to
check his box, giving a wave to Miss Seeder.
JIM
Hi, Linda.
JIM continues to whistle as he looks through his mail.
JIM (VO CONT'D)
Life would go on, and I would certainly
be a stronger and wiser person from the
experience.
MISS BEEDER
Uh, Jim?
JIM
Hmm?
MISS BEEDER
Walt needs to see you.
JIM
Oh. Okay.
Still absorbed in his papers, JIM heads over to Walt's door.
INT. WALT'S OFFICE CONTINUOUS
JIM
You rang?
JIM stops cold. Walt is not alone. Barbara Flick and a bleary-eyed
Tracy are there. So are Larry Fouch, Ron Bell, and Lowell the janitor.
Prominently displayed on Walt's desk are TWO CRINKLED BALLOTS. JIM
takes an eternal few seconds to absorb what is happening.
WALT
Mr. McAllister, I hope you can help us
clear something up.
BARBARA
Look at his face! He knows he's been
caught. Look at his face!
(to Jim)
Your ass is grass, Mister!
LARRY
You said I was a liar You're the
liar, you're the --
WALT
Larry, you just take it easy
All turn and stare at Jim. Come to think of it, he does look awfully
guilty.
INT. SPANISH CLASS-- DAY
MS. HOY leads the class in recitation. Paul responds along with his
companeros.
MS. HOY
Yo --
CLASS
pierdo.
MS. HOY
Tu
CLASS
pierdes.
MS. HOY
El/ella -
CLASS
pierde.
A STUDENT AIDE enters the classroom and hands a note to the teacher,
who upon reading the note looks up at Paul
MS. HOY
Senor presidente?
The class laughs fondly. Paul looks around, beaming with
embarrassment and pride.
MS. HOY (CONT'D)
Quieren verte en la oficina.
PAUL
Huh?
INT. MILLARD HALLWAY DAY
Paul walks down the hall, a bounce in his step on this fine spring
morning.
PAUL
Senor presidente. Yo soy senor
presidente... El grande presidente...
PAUL (VO)
I don't know why, but finding out there
was a mistake and I hadn't won the
election after all didn't bother me that
much. Winning had seemed kind of unreal
anyway. I guess I should have voted for
myself. Oh, well.
Paul reaches the --
INT. SCHOOL OFFICE CONTINUOUS and enters Walt's office. Everyone
is there
WALT
(standing up)
Take a seat, son. We've got something
hard to tell you.
PAUL
Is Tammy okay?
WALT
She's okay. It's about the election.
Walt closes the door in our faces. We hold on the door.
JIM (VO)
After Paul got the bad news, Walt asked
for a few minutes alone with me. It was
very simple, really. I offered my
resignation, and he accepted. Very
quietly, it was all over for JIM
McAllister at Millard High - twelve
years of hard work down the drain.
The door opens revealing that only wait and JIM remain. The office
staff is hushed as JIM the Zombie Cyclops emerges into the office and
walks somberly toward Miss Boeder. His voice quavers at half-volume.
JIM
Walt will be speaking with you about
this, but I need you to find someone to
take over my classes. The lesson plans
for the rest of the year are in my top
right drawer.
MISS BEEDER
Okay, Jim. I understand.
JIM
Thanks. Well. I'm going home now.
EXT. HILLARD HIGH (REAR PROJECTIOH) -- DAY
As JIM moves toward the parking lot, the school recedes in an odd REAR
PROJECTION that suggests he is floating. The MUSIC here reinforces the
gravity of the moment, the inevitability of his fate.
JIM stops walking, and a disembodied STEEPING WHEEL floats into his
hands. The scene behind changes to:
INT./EXT. JIM'S CAR REAR PROJECTION - DAY
The city passing by outside is another strange REAR PROJECTION. JIM
grips the floating steering wheel and makes turns wildly out-of-sync
with the background.
JIM (VO)
I don't remember driving home, or much
of anything that happened in the next
few days.
JIM lets go of the steering wheel, and it drifts away. JIM turns his
back to camera to face -
INT. MCALLISTER HOUSE (REAR PROJECTIOH) -- DAY
JIM drifts toward his house, and it absorbs him through the front
door.
INT. MCALLISTER LIVING ROOM - DAY
We're no longer in rear-projection land: reality has caught up with
Jim. As he walks across the room, he strips off his shirt, shoes,
socks, and finally pants. Left only in his underwear, he walks through
the house and out into the -
EXT. MCALLISTER BACKYARD DAY and flops down in the grass, facing
the sky.
JIM (VO CONT'D)
There were news stories in the paper
and on television, former students
calling with their support, endless
hours of doing nothing, thinking
nothing.
A shadow falls over Jim's face, and a hand offers him a glass of iced
tea. Grateful, JIM takes it, and looks up at -
DIANE, her head blocking the sun.
JIM (VO CONT'D)
Diane stood by me through the entire
humiliating ordeal, in a way, it sort of
evened things out between us.
Diane leaves. JIM looks up at the sky.
JIM (VO CONT'D)
Soon school was over, and summer
stretched out in front of me as it
always had. Funny how the rhythm of the
school year remains ingrained in you for
life. in mid-June we found out Diane was
pregnant.
FADE OUT
UNDER BLACK we hear the opening bars of a bouncy TIJUANA BRASS SONG.
EXT. METZLER CEMENT PLANT NIGHT
PAUL IS DANCING,
twisting to the music at a PARTY, a giant grin on his face, a big
sombrero with tassels on his head. Behind him we can see an enormous
illuminated GRAVEL CONVEYOR. SUPER-IMPOSED: "ONE YEAR LATER."
PAUL (VO)
Senior year was great I Sure, I didn't
get to play ball or be president, but I
got elected homecoming king and prom
king anyway. I got into Nebraska like I
wanted and early-rushed Phi Delts. At
the end of the year me and my buddies
threw a hitching Mexican party down at
the cement plant. Shit, that was a good
party. That was a good party!
LATER --
Paul is at a KEG, pumping it up and serving himself a beer. He takes
a sip, seems to grow pensive.
PAUL (VO CONT'D)
The only really bad thing about senior
year was Lisa. Right before Christmas
she dumped me. One minute she's totally
in love with me and then boom she's
going out with my football buddy Randy.
Paul looks over at
LISA dancing suggestively with RANDY
Paul looks sad, takes another gulp, waves at unseen friends.
PAUL (VO CONT'D)
Sometimes I wonder what would've
happened if I'd actually won the
election. Maybe my whole life would be
different. Like I might never have gone
to Yosemite with Greg and Travis.
Paul takes a BIG GULP and looks into camera.
PAUL (VO CONT'D)
Or maybe I'd be dead.
FADE OUT
UNDER BLACK we hear a distinctive AIRY HISS.
INT. SACRED HEART BATHROOM DAY
Tammy takes a big toke off a JOINT.
TAMMY (VO)
Catholic school was great!
Tammy and JENNIFER, a Sacred Heart schoolmate, are jammed into a
bathroom stall.
TAMMY (VO CONT'D)
I mean, the teachers kind of sucked,
and they were supposedly way more
strict, but you could get away with
murder.
Tammy hands off the doob to Jennifer, who takes a huge hit.
TAMMY (VO CONT'D)
The best thing about Sacred Heart was
meeting Jennifer.
Jennifer looks at Tammy. Tammy looks at Jennifer
JENNIFER MONTAGE -
accompanied by the early '70's song, "Jennifer." SUPER-8 style
glimpses of Tammy and Jennifer in the Sacred Heart hallways, Jennifer
in the park, Jennifer dancing in Tammy's room, and finally, Jennifer
SWINGING.
TAMMY (VO CONT'D)
All those feelings I had for Lisa were
just preparing me for the real thing.
Jennifer and I are soul mates, and we're
never, ever, ever going to be apart.
FADE OUT
UNDER BLACK
we hear the MURMUR of a small crowd, interrupted by the BANG, BANG,
BANG of a GAVEL.
TRACY (VO)
Senior year was very productive for me
and full of personal achievement.
INT. STUDENT COUNCIL OFFICE DAY
Tracy officiates a MEETING. Next to her at the head table is Jerry
Raynor and other council members.
TRACY
Order. Order. Order I Can we vote on
this? Those in favor.
TRACY (VO)
On top of a very successful student
council year, I got into Cornell like I
wanted, with scholarships, and I was in
the top 7th percentile of my graduating
class.
TRACY Approved
EXT. PARK DAY
Tracy walks along the edge of a pond on this overcast day, Her arms
are crossed, and she wears an oversized woolen sweater. Wind blows
softly through her hair.
TRACY (VO CONT'D)
But sometimes I got lonely, and I'd
think about Dave. I missed our talks.
Maybe it could have worked out between
us. I don't know.
INT. REAL VALU HARDWARE DAY
Wearing the red vest and "Ask me" button of a Real Valu foot soldier,
Dave stands above a case of SPRAY PAINT. He is stamping prices on
every cap.
TRACY (VO CONT'D)
I wonder what he's doing now. Maybe he
finally finished his novel
INT. MILLARD CAFETERIA - DAY
It's ANNUAL distribution time, and crowd of excited students are lined
up to get their precious book of memories. Many have already received
theirs and are crowded around dining tables, gleefully exchanging bans
mots.
Tracy takes her annual and quickly opens it to the INDEX.
CLOSE ON TRACT'S NAME - followed by a whopping list of page references
TRACY (VO)
When the yearbooks came out, I was on
almost every page.
EXT. MILLARD PARKING LOT - DAY
Tracy walks outside hugging her yearbook and sees
PAUL AT HIS TRUCK, surrounded by supplicants.
Tracy stops for a moment and watches. She gathers her courage and
heads toward him. Paul doesn't even notice her, so occupied is he
with his friends and admirers.
TRACY
Paul, will you sign my yearbook?
PAUL
Sure, Tracy.
Paul takes the book, efficiently finds the page with his picture, and
goes to work.
TRACY
Can I sign yours too?
PAUL
Oh, yeah, sure.
(to a friend)
Hey Nolan, give my book to Tracy when
you're done*
Nolan finishes and hands the book over. Tracy turns to the front
pages and finds them completely filled, as are the end pages. Now she
looks for her picture. When she finds it, it's almost completely
obscured by part of some ASSWIPE 'S long, illegible, exclamation
point-filled message. Finally, she locates an available space and
begins to write.
TRACY (VO)
I thought very carefully about what to
write. Because despite everything that
had happened with the election, I really
wished him well. I even signed it...
CLOSE ON - Tracy writing: "Love, Tracy" beneath her inscription
Tracy takes Paul's book back to him. He's already working on another
annual and barely looks up when he swaps with her.
PAUL
Thanks, Tracy.
Tracy starts to walk away and Paul stops her
PAUL (CONT'D)
Hey, Tracy I..
She turns around expectantly
TRACY
Yes, Paul?
PAUL
Have a great summer. And good luck at
college.
TRACY
(genuinely moved)
Thanks. You too. It was great working
with you.
Tracy opens the book as she walks and stops when she finds
AN ALMOST BLANK PAGE with Paul's puny inscription at the bottom:
Have a great Summer! Good luck at college Paul Metzier'
INT. TRACY'S ROOM DAY
Tracy looks at herself in a mirror, as though dispassionately
assessing her own face. Then she begins to put on lipstick.
TRACY (VO)
After graduation, I don't know. ;
somehow felt empty inside. I guess high
school just seemed so meaningless now
and I couldn't wait to get out of Omaha.
Next year I was going to make all new
friends. Smarter, more ambitious
friends. It was time to move on. There
was nothing left for roe here. I just
had one more thing to take care of.
FADE OUT
UNDER BLACK comes the sound of a BUSY COMMERCIAL STREET.
JIM (VO)
After two months of sitting on my ass
and two months helping out at my
brother-in-law's travel agency...
EXT. GRIFFITH SATURN DAY
A standard-issue car dealership: banner-draped lot, glass enclosed
showroom.
JIM (VO CONT'D)
...I landed a position at a Saturn
dealership.
INT. GRIFFITH SATURN DAY
All those cars and that new-car SMELL
IN HIS CUBICLE JIM is typing at his desk across from a 55-ish MALE
CUSTOMER.
JIM (VO CONT'D)
I never thought I'd end up selling
cars, but it's not so bad. I like the
Saturn philosophy -- it really is a
different kind of company.
A FRAMED SNAPSHOT on Jim's desk shows Diane and him with the LITTLE
ONE.
JIM (VO CONT'D)
I'm just relieved to have a steady
income now that there are three of us.
INT./EXT. GRIFFITH SATURN DAY QUICK MONTAGE
OUTSIDE ON THE LOT JIM saunters toward a client reading stickers.
INSIDE THE DEALERSHIP JIM explains features of a CROSS-SECTIONED
SATURN
THE CLIENT IS IN A DRIVER'S SEAT while JIM leans in from the opposite
window, pointing out dashboard features.
JIM (VO)
Actually, it wasn't so difficult making
the transition from teaching to selling.
It's like I tell my customers: my role
is just to educate people so they can
make informed decisions.
THE GLASS DOORS TO THE SHOWROOM OPEN, and JIM watches a satisfied
customer drive slowly away in a new Saturn Twin Cam.
JIM (VO CONT'D)
When I send someone home with a new
unit, I feel a genuine sense of pride.
INT. GRIFFITH SATURN EMPLOYEE BREAK ROOM DAY
The room consists of mismatched sofas and chairs around a coffee
table. There's a TV that no one watches.
Sleeves rolled up and tie loosened, JIM eats a sandwich next to TWO
OTHER SALESMEN and a FEMALE ACCOUNTANT who like him are eating lunch
and watching TV. NO one speaks.
JIM (VO CONT'D)
So that's about it. Maybe I'll get
back to teaching someday, but for the
time being, I guess I'm pretty happy
where I'm at.
A SALESMAN pokes his head in the door.
SALESMAN
(to Jim)
Hey, Professor. There's a young gal
out here asking for you.
JIM
Oh
JIM chews quicker and wipes his mouth as he stands up, straightens his
tie.
SALESMAN
(low, as JIM
passes)
She's a real hot tamale.
INT. SHOWROOM DAY
JIM walks among the shiny new cars and sees the back of an attractive
young woman in a red dress and heels. She turns around: it's Tracy.
JIM is truly surprised.
TRACY
Hello, Mr. M.
JIM
Hello, Tracy.
JIM waits for Tracy to lead the way, but she doesn't
JIM (CONT'D)
So what brings you here?
TRACY
I'm looking at new cars.
JIM
Oh. New cars. I see. Well, you came
to the right place
TRACY
My mother's buying me a new car for
college.
JIM
Huh. Right. College. Wow. Where are
you going? Where 'd you get into?
TRACY
Well, I got in everywhere I applied,
but Cornell is my first choice.
JIM
Good for you. Good for you
An uncomfortable pause. JIM shifts gears.
JIM (CONT'D)
So, are you looking for something
sporty or more practical?
TRACY
Sporty.
INT./EXT. THE SPORTY SATURN -- DAY
A test drive. JIM is in the passenger seat. Tracy nears the end of the
dealership's driveway.
TRACY
Where to?
JIM
Anywhere you want.
(checks his watch)
Just so long as we're not gone more
than a half-hour.
Tracy turns right. They drive a moment in silence.
JIM
Handles pretty good, don't you think?
TRACY
Yeah.
JIM
Plenty of pep, too.
TRACY
Uh-huh.
JIM
And this model comes with ABS and dual
air bags standard.
TRACY
That sounds good.
A silence
JIM
So Tracy?
TRACY
Yes?
JIM
Why are you doing this?
TRACY
Doing what?
JIM
Coming to see me. Are you trying to. .
humiliate me?
TRACY
Nooo. I just thought... l mean, I am
looking for a new car. But I just
thought, well, I'm going away soon, and
you'll be stuck here and, I don't know,
I just think maybe if things had been
different we might have been, well,
friends. Real friends. And then things
would be different. Don't you think?
JIM just looks at Tracy - it's so very odd
JIM
Well, I... I... that's very nice of
you.
TRACY
(excited)
I've got an idea.
Tracy suddenly signals and takes a right.
EXT. OMAHA STREET -- DAY
Tracy and JIM and the Saturn zoom by.
INT./EXT. SATURN -- DAY
Tracy takes a corner and pulls to a stop in front of a modest middle
class house.
JIM
What's this?
TRACY
My house.
Tracy sets the parking brake. Jim's eyes register a suppressed panic.
JIM
I don't understand. What's the deal?
Tracy looks deeply into Jim's eyes.
TRACY
I want you to do something for me.
JIM
Swallows, unsure what heaven or hell
awaits him.
TRACY
(getting out)
I just have to get something. I'll be
right back.
Tracy heads toward the house. JIM sits and waits. He scans Tracy's
house, notices the chipped and peeling paint, the rusting lawn
furniture, the bowed porch steps.
NOW TRACY opens the door and gets in. She carries her YEARBOOK and
gives it to Jim.
JIM
Oh, is this...?
(thumbing through
it)
God. First one of these I haven't been
in for a long time.
TRACY
Would you sign it for me?
Tracy reaches over the parking brake and flips the yearbook to the
blank pages at the beginning.
JIM
What a surprise.
TRACY
Take as much room as you want
JIM removes a pen from his breast pocket and uncaps it. He considers
what to write.
TRACY (CONT'D)
I'm scared, Mr. M. I kind of don't feel
ready for college.
JIM
You'll be fine.
TRACY
I hope so
JIM
You will.
CLOSE ON JIM
He looks at the yearbook. He looks at Tracy. He looks out the
windshield. It's all so odd.
CLOSE ON THE BLANK PAGE JIM begins to write:
"Dear Tracy,"
