Vice
Executive Summary
Poster

Overview
Genres: Drama, Political Drama, Political, Biographical, Biography, Thriller, Historical, War, Satire, Political Thriller, Family
Setting: 1963 to 2009, with significant events during the 2001 terrorist attacks and the Iraq War, Various locations including Wyoming, Washington D.C., the White House, and Iraq
Overview: The screenplay follows the life of Dick Cheney, from his reckless youth in Wyoming to his rise as one of the most powerful Vice Presidents in U.S. history. It opens with a glimpse of Cheney's wild early days, showcasing his struggles with alcohol and his tumultuous relationship with Lynne Cheney. As the narrative progresses, it shifts to pivotal moments in his political career, particularly during the 9/11 attacks, where Cheney seizes the opportunity to expand executive power. The story intertwines personal and political crises, revealing the moral ambiguities and justifications behind Cheney's decisions, ultimately leading to his controversial legacy and the impact of his actions on his family and the nation.
Themes: The Insidious Accumulation and Abuse of Power, Moral Ambiguity and Justification, The Manipulation of Truth and Information, The Corrosive Nature of Power on Individuals, Consequences and Reckoning, Personal Ambition vs. Public Service, Family Legacy and Sacrifice
Conflict and Stakes: The central conflicts revolve around the ethical implications of Cheney's decisions during the Iraq War, the personal struggles within the Cheney family regarding political actions, and the broader consequences of their policies on national and global scales.
Overall Mood: A mix of darkly comedic and tense, reflecting the absurdity and gravity of political life.
Mood/Tone at Key Scenes:
- Scene 1: The tone is satirical and humorous as it introduces Cheney's reckless youth, setting the stage for his complex character.
Standout Features:
- Unique Hook: The film's satirical portrayal of real-life political events and figures, blending humor with serious themes.
- Major Twist: The exploration of Cheney's personal life and family dynamics, revealing the human cost of political ambition.
- Innovative Ideas: The use of flashbacks and intercutting between personal and political events to highlight the interconnectedness of Cheney's life.
- Distinctive Settings: The contrast between the high-stakes political environment of Washington D.C. and the personal, intimate settings of the Cheney family.
Comparable Scripts:
- The Big Short
- Vice
- W. (2008)
- The West Wing
- Fahrenheit 9/11
- House of Cards
- All the President's Men
- The Trial of the Chicago 7
- The Ides of March
Writing Style:
The screenplay exhibits a consistent focus on sharp, rapid-fire dialogue, intricate political intrigue, and the exploration of complex power dynamics. There's a strong emphasis on character-driven narratives that delve into moral dilemmas, personal motivations, and societal themes within high-stakes environments. The writing often blends serious subject matter with elements of satire and humor, creating engaging and thought-provoking scenes.
Style Similarities:
- Aaron Sorkin
- Adam McKay
Pass/Consider/Recommend
Explanation:
USP: The screenplay's unique selling proposition is its radical departure from traditional biopic conventions, employing meta-narrative devices, anachronistic humor, and creative visual metaphors to deconstruct political power structures while maintaining a compelling character study of one of America's most secretive leaders.
Market Analysis
Budget Estimate:$30-50 million
Target Audience Demographics: Adults aged 25-54, particularly those interested in political dramas, historical narratives, and biopics.
Marketability: The screenplay's exploration of contemporary political issues and historical events is likely to resonate with audiences, especially given the ongoing relevance of its themes.
The film's satirical tone and character-driven narrative can attract viewers who appreciate dark humor and political commentary.
The film's focus on a controversial figure like Cheney can generate significant media attention and discussions, enhancing its visibility.
Profit Potential: Moderate to high, as the film could attract a wide audience and potentially receive awards recognition, boosting box office and home media sales.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a sharp, witty, and often darkly humorous blend of sharp dialogue, insightful narration, and a keen eye for the absurdities and ruthlessness of political power. This voice manifests in concise yet evocative scene descriptions, dialogue that crackles with subtext and reveals character motivations and power dynamics, and a narrative style that often interweaves personal moments with grand political machinations. There's a distinct ability to balance high-stakes drama with moments of levity, creating a tone that is both critical and engaging.
Best representation: Scene 9 - Power and Disappointment. Scene 9 best showcases the author's unique voice due to its potent blend of dark humor, sharp dialogue, and incisive commentary on political ambition and manipulation. The scene's satirical tone, evident in Cheney and Rumsfeld capitalizing on political chaos and the humorous suggestion of an absurd metaphor for bold action, perfectly captures the writer's ability to dissect the ruthless machinations of power with wit. The concise yet evocative narrative descriptions further enhance the tension and complexity of the characters' motivations, making it a quintessential example of the writer's distinctive style.
Memorable Lines:
- DICK: Go fuck yourself. (Scene 32)
- LYNNE: I’ve seen my Mother waiting up all night for my Father to come home. And I’ve seen him drunk in this house raising his voice and way worse, and I’m not dancing that dance anymore... I’m not! (Scene 4)
- DONALD RUMSFELD: Look, this is an opportunity. An opportunity to work in the halls of decision making for the most powerful country in the goddamn world. If that doesn’t give you a hard on I don’t know what will. (Scene 5)
- Dick: The Vice Presidency is a mostly symbolic job... (Scene 18)
- RUMSFELD: Don’t worry. I’m like bed bugs. You gotta burn the mattress to get rid of me! (Scene 8)
Characters
Dick Cheney:The central figure, a powerful and controversial political figure who serves as Vice President under George W. Bush.
Lynne Cheney:Dick's supportive yet strong-willed wife, who grapples with the implications of their political life on their family.
Donald Rumsfeld:Secretary of Defense and Cheney's ally, known for his aggressive approach to military strategy.
George W. Bush:The President during the Iraq War, depicted as somewhat naive and reliant on Cheney's experience.
Condoleezza Rice:National Security Advisor who navigates the complexities of the 9/11 attacks and subsequent military actions.
Mary Cheney:Dick and Lynne's daughter, whose personal life becomes a point of contention in the family's political narrative.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - From Recklessness to Crisis: Cheney's Dual Moments | Dramatic, Intense, Reflective | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 2 - Chaos and Opportunity: The Bunker on 9/11 | Tense, Serious, Reflective | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 3 - A Night of Recklessness | Gritty, Intense, Raw | 8.5 | 9 | 8 | 8.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 4 - Confrontation and Ultimatum | Confrontational, Intense, Emotional | 8.5 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
| 5 - Rumsfeld's Rise: A Political Apprenticeship | Serious, Intense, Informative | 8.5 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 7 | 8 | 8 | 9 | 8 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
| 6 - Loyalty and Pride in Power | Serious, Reflective, Proud, Emotional | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 7 - The Weight of Power | Intense, Cynical, Intriguing | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 8 - Shadows of Power | Tense, Emotional, Resolute, Dark | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8.5 | |
| 9 - Opportunistic Ambitions: The Rise of Cheney and Rumsfeld | Serious, Tense, Reflective, Humorous | 8.7 | 9 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 10 - Power and Disappointment | Serious, Reflective, Hopeful | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 11 - Resilience in the Face of Change | Serious, Dramatic, Satirical | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8.5 | |
| 12 - The Rise of Conservatism: Cheney's Triumphs and Trials | Serious, Historical, Satirical | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 13 - Family Ties and Political Choices | Serious, Reflective, Emotional | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8.5 | |
| 14 - From Family Bliss to Political Intrigue | Serious, Reflective, Tense | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 8.5 | 8.5 | 9 | 9 | |
| 15 - The Vice Presidential Proposal | Serious, Reflective, Tense | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7.5 | 7 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8.5 | |
| 16 - Ambition and Uncertainty | Contemplative, Introspective, Serious | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8.5 | |
| 17 - Kitchen Collaborations and Legal Insights | Serious, Humorous, Informative | 8.5 | 9 | 8 | 9 | 9 | 5 | 8 | 7.5 | 6 | 8 | 7 | 8 | 7 | 6 | 9 | 9 | 8.5 | 8 | 8 | |
| 18 - The Deal at Crawford Ranch | Serious, Tense, Reflective | 8.5 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 19 - Election Night Uncertainty and Transition Planning | Serious, Strategic, Tense | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 20 - Reflections in the Oval Office | Reflective, Intimate, Nostalgic | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 3 | 7 | 2 | 5 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 21 - Power Plays in the Oval Office | Serious, Strategic, Manipulative | 8.5 | 9 | 9 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 22 - The Rise of Cheney's Influence | Serious, Sarcastic, Informative | 8.5 | 9 | 8 | 9 | 9 | 6 | 8 | 7.5 | 7 | 7 | 8 | 8 | 8 | 6 | 9 | 9 | 8.5 | 8 | 8 | |
| 23 - Crisis and Conspiracy: The Day of 9/11 | Tense, Serious, Suspenseful | 8.7 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 24 - Crisis Command: Decisions in the Bunker | Tense, Serious, Chaotic | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 25 - Aftermath of Chaos | Tense, Serious, Suspenseful | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
| 26 - Legal Justifications for Torture | Intense, Serious, Suspenseful, Controversial | 9.2 | 10 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 27 - The Menu of War: A Satirical Feast | Serious, Intense, Manipulative | 8.7 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 28 - The Consensus for War | Serious, Satirical, Critical | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 29 - Tensions in the Oval Office: The Push for War | Tense, Serious, Confrontational | 8.5 | 9 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 30 - Contrasting Realities: The Prelude to War | Tense, Dramatic, Satirical | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 31 - Irony of Triumph and Tragedy | Tense, Satirical, Serious | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 32 - The Consequences of Power | Serious, Satirical, Tense | 8.5 | 9 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 33 - Power Struggles and Ironic Fates | Tense, Emotional, Reflective | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 8.5 | 8 | 8 | |
| 34 - Legacy and Division | Tense, Emotional, Serious | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8.5 | 8.5 | 8 | |
| 35 - Defending the Unjustifiable | Defiant, Emotional, Serious | 8.5 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 36 - Chaos in the Focus Group | Confrontational, Emotional, Satirical | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
Scene 1 - From Recklessness to Crisis: Cheney's Dual Moments
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Written and Directed by
Adam McKay
OPEN ON: BLACK
“The following is a true story.”
“Or as true as it can be given that Dick Cheney is one of the
most secretive leaders in history.”
“But we did our fucking best.”
INT. ROAD SIDE BAR WYOMING - 1963 - NIGHT
MUSIC: ROLY POLY by Bob Wills and His Texas Playboys.
The place is full of DRUNK LINE MEN, DRIFTERS, WEATHERED
RANCHERS and a few ROUGH PROFESSIONAL WOMEN who flirt and
dance.
Young DICK CHENEY, 21, liquored up and playing dice, screams
to the heavens in triumph.
EXT. DESOLATE ROAD - NIGHT - LATER
The RED TAIL LIGHTS of a battered 1949 Frazer Sedan SWERVE
BACK AND FORTH ERRATICALLY. Dick is at the wheel. Very drunk.
POLICE LIGHTS FLASH behind him.
POV A HARSH POLICE FLASH LIGHT HITS THE DRIVER SIDE WINDOW AS
DICK LEANS HIS HEAD OUT.
DICK
How you doing tonight?
OFFICER
I need you to get out of the car.
Dick gets out and IMMEDIATELY STUMBLES TO THE GROUND.
SFX: A LOUD BLARING ELECTRONIC SIREN
INT. WHITE HOUSE OFFICE OF VICE PRESIDENT - 9/11 2001 - DAY
Older Cheney, 60, CONDOLEEZZA RICE and MARY MATALIN are
watching CNN. ONE OF THE TWIN TOWERS IS SMOKING.
SUDDENLY A SECOND PLANE SOARS INTO FRAME AND HITS THE OTHER
TOWER. Everyone gasps.
SECRET SERVICE AGENT
MOVE!!!!!
2.
Secret Service Agent grabs Cheney and pushes him down the
hall to the underground bunker.
SECRET SERVICE AGENT #2
(into ear piece)
A plane just struck the Pentagon.
INT. HAIR SALON - SAME TIME
A TV in a hair salon shows the 9/11 coverage. LYNNE CHENEY,
59, stares at the twin towers in shock.
Scene 2 - Chaos and Opportunity: The Bunker on 9/11
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Cheney begins barking out orders.
DICK
Let’s make sure the phone lines are
working. SIVITS.
CONDI RICE
Phones are a go, Sir.
DICK
Let’s contact the FAA. Find out how
many planes are in the air.
JUMP CUT: Cheney, on the phone amidst the chaos, NORMAN
MINETA, DAVID ADDINGTON, Condi Rice, SCOOTER LIBBY, KAREN
HUGHES and a few others are there.
CONDI RICE
(into phone)
May I get the President on the
line, please?
STAFFER
That’s right. We’ve got planes in
the air and no where for them to
land.
The Twin Towers burn on the television as Dick lowers his
head into his hands.
CONDI RICE
Mr. Vice President, POTUS on line
1.
Council looks at Cheney as he is about to pick up a call from
POTUS.
3.
DICK
Mr. President, this situation is
extremely fluid. I am strongly
recommending you stay in the air.
I’ve sequestered Congressional
leadership and I’m coordinating our
response with the White House
team... Okay then...
Dick hangs up and we reveal Lynne, now standing behind him.
She has her hand on Dick’s shoulder. He touches her hand.
STAFFER
Sir, Don Rumsfeld on 3.
Cheney points to the speaker phone.
CHENEY
That?
He picks up the line.
RUMSFELD (V.O.)
Dick, there are still passenger
planes in the air. I need rules of
engagement.
CONDI RICE
Let’s get the President back on the-
Cheney holds up his hand.
DICK
You have authorization to shoot
down any aircraft deemed a threat.
Beat.
RUMSFELD
Presidential authority?
DICK
That’s correct. All orders are
UNODIR.
CONDI RICE
UNODIR?
KAREN HUGHES
Unless otherwise directed.
FREEZE on Dick Cheney.
4.
NARRATOR (V.O.)
(male, late 20’s)
By all accounts of what people saw
in that room on that terrible day,
there was confusion, fear,
uncertainty, but Dick Cheney saw
something else that no one else
did... he saw an opportunity.
Famous Photo of Men Playing Golf while the hillside behind
them is on fire.
NARRATOR (V.O.)
As the world becomes more and more
confusing, we tend to focus on the
things that are right there in
front of us. While ignoring the
massive forces that actually change
and shape our lives.
VT and Stills of people working at Amazon and Wal-Mart.
NARRATOR (V.O.)
And with people working longer and
longer hours, for less and less
wages, when we do have free time,
the last thing we want is
complicated analysis of our
government, lobbying, international
trade agreements.
VT of people partying and dancing.
Cheney clasps his hands thinking in the 9/11 Bunker.
NARRATOR (V.O.)
So it's no surprise that when a
monotone bureaucratic Vice
President came to power. We hardly
noticed. As he achieved a position
of authority that very few leaders
in the history of our nation ever
have.
Quick shots of the Iraq war, torture, the Senate passing tax
cuts etc.
NARRATOR (V.O.)
Forever changing the course of
history for millions and millions
of lives. And he did it like a
ghost. With most people having no
idea who he is or where he came
from.
5.
Lynne puts her hand on Dick’s shoulder as we SMASH CUT to Jet
Planes bombing a Middle Eastern Town with a ferocity.
FADE TO BLACK...
EXT. RIVER - DAY
Young Cheney fly fishes in a river ALONE. Working his rod and
the line... Over and over again.
NARRATOR
How does a man go on to become who
he is? Well it starts in 1963.
EXT. HIGH SCHOOL FOOTBALL FIELD - HOMECOMING
YOUNG LYNNE CHENEY, in the back of a fancy car: Miss Mustang,
in a sparkled cowboy outfit waving at the crowd in SLO MO.
She’s a cross between a movie star and a goddess.
NARRATOR
When Dick's best girl Lynne was
getting straight A's at Colorado
College,
INT. YALE DORM ROOM - DAY
Young Cheney passed out in bed. His sheets and floor covered
in vomit.
NARRATOR
Lynne had helped Dick get a
scholarship at Yale, where he did
way more drinking than class
attending. Pretty soon Dick got the
boot. So he went back home to
Wyoming to work as a lineman for
the state.
Scene 3 - A Night of Recklessness
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Dick strapped to a pole works on power lines with a cigarette
in his mouth. It’s rough hard work.
NARRATOR
Back then they would have been
called a guy like him a ne’er-do-
well. In today’s parlance they
would just call him a dirt bag.
6.
In the distance, a Man SCREAMS. Dick looks down below.
LINEMAN #1
Man down!
EXT. POWER LINE BASE - CONTINUOUS
Linemen gather around a FALLEN MAN who’s leg has snapped in
half, a bone sticking out of his torn pants.
LINEMAN #2
His leg looks like an Elvis dance
move.
The men laugh.
LINEMAN #1
Somebody give that poor son of a
bitch a shot of whiskey.
LINEMAN BOSS
Alright, back to work. I SAID, Back
to work!
Everyone walks away except Cheney who continues to stare at
the writhing man.
LINEMAN BOSS (CONT’D)
(to Lineman #3)
Take him into town, put $5 in his
pocket. Find another man for
tomorrow.
(to Cheney)
You got a problem Cheney?
DICK
No sir.
Cheney takes a drag of his smoke and walks away.
INT. ROAD SIDE BAR WYOMING 1963 - NIGHT
Dick dances around the bar drunk with a giant smile on his
face, taking shots and stumbling into other locals.
A SHIFTY CREW MEMBER keeps putting his arm around Dick’s
shoulder. He’s trying to agitate Cheney.
SHIFTY CREW MEMBER
Are we becoming friends?
7.
DICK
Will you stop touching me?
SHIFTY CREW MEMBER
What you gonna do about it, Mr.
Yale? Huh?
Cheney slaps Crew Member’s hand off his shoulder.
SHIFTY CREW MEMBER (CONT’D)
Woah! The fuck you gonna do about
it, Mr. Yale? Come on!
Dick shoves him back and PUNCHES HIM.
EXT. DESOLATE ROAD - NIGHT
From earlier, with the police officer’s help, Cheney stumbles
out of the car. The crackle of the police radio in the
background.
EXT. LYNNE’S HOUSE - THE NEXT MORNING
A lower middle class home. A dog barks in the distance.
Scene 4 - Confrontation and Ultimatum
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
DICK, WITH A BLACK EYE AND STAINS ON HIS SHIRT SITS ON THE
COUCH.
LYNNE, 21, pretty and sharp, stands over him with a fury in
her eyes.
LYNNE
Two times! Two times I had to drag
you out of that jail like a filthy
hobo!!
DICK
I’m sorry, Lynne...
LYNNE
What? What did you just say?
DICK
I’m sorry, Lynney.
8.
LYNNE
You’re sorry? Don’t call me
“Lynney!” One time is “I’m sorry.”
Two times makes me think I’ve
picked the wrong man! They kicked
your ass out of Yale for drinking
and fighting! Now are you just a
lush who’s going to hang power
lines for the state? Are we going
to live in a trailer and have ten
children!? Is that the plan?!
Dick looks like he might be sick.
DICK
Can we please... discuss this
later?
LYNNE
No. We discuss it right now while
you smell of piss and cheap booze!
EDNA, Lynne’s Mom, starts to walk in.
EDNA
Does Dick want some coffee?
LYNNE
Mother get out! Does Dick want some
coffee? Jesus Christ!
(back to Dick)
Here’s my plan. Either you stand up
and put your back straight and have
the courage to become someone or I
am gone! There are a dozen men and
a few Professors at school who
would date me!
DICK
I love you, Lynne. I’ve loved you
since the day I first saw you.
LYNNE
Then prove it! I can’t go to a big
Ivy League school! I can’t run a
company or be Mayor! That’s just
the way the world is for a girl! I
need you! And right now you’re a
big fat piss soaked zero!
(beat while she reloads)
I’ve seen my Mother waiting up all
night for my Father to come home.
(MORE)
9.
LYNNE (CONT'D)
And I’ve seen him drunk in this
house raising his voice and way
worse, and I’m not dancing that
dance anymore... I’m not!
QUICK FLASH BACK to Lynne’s FATHER yelling at her MOTHER in
the kitchen. Her dad is scary and has been drinking.
LYNNE (CONT’D)
Can you change? Or am I wasting my
goddamn time?
Beat as Dick looks up. There is a GROWLING DETERMINATION IN
HIS EYES.
DICK
I won’t ever disappoint you again
Lynne.
FADE TO BLACK
QUOTE AGAINST BLACK
“Beware the quiet man. For while others speak, he watches.
And while others act, he plans. And when they finally
rest...he strikes.” - ANONYMOUS
OPENING TITLES
Dick graduating from U of Wyoming.
Dick and Lynne’s Wedding Day.
Lynne stands pregnant and Dick signs Vietnam Deferment
papers.
Dick drives into Washington D.C.
MAIN TITLE: VICE
INT. RAYBURN HOUSE OFFICE BUILDING - DAY
A theater with a podium is filled with FELLOWS from around
the country. A MONOTONE CONGRESSMAN, 73 finishes a speech.
MONOTONE CONGRESSMAN
You are America’s best and
brightest. God bless you all... and
God bless... this great nation.
10.
The 100 or so interns looked bored. A few clap politely.
Cheney looks like he’s made a big mistake coming to DC.
MONOTONE CONGRESSMAN (CONT’D)
Next up is a young man from
Illinois who’s done quite well for
himself here at the Capitol...
Representative Donald Rumsfeld...
DONALD RUMSFELD, 36, strides over with brash confidence. HE
LIGHTS HIS PIPE and leans on the lectern.
DONALD RUMSFELD
So did Bob tell you this internship
is a great honor? Huh? Did he?
A few people murmur yes.
DONALD RUMSFELD (CONT’D)
Well, it’s not. It’s what we called
in the Navy “a shit detail.”
THE ROOM LAUGHS. Dick Cheney laughs. Rumsfeld oozes charisma.
FREEZE ON RUMSFELD.
NARRATOR (V.O.)
Donald Rumsfeld, or Rummy as they
called him, was the former captain
of the Princeton wrestling team...
INT. PRINCETON WRESTLING GYM - DAY - 1952
SUPER 8 FOOTAGE: A 20 year old DONALD RUMSFELD, in wrestling
singlet and head gear poses for camera in a wrestling pose
moving his hands around, ready for a take down.
NARRATOR (V.O.)
...and an elite navy jet pilot.
Scene 5 - Rumsfeld's Rise: A Political Apprenticeship
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
SUPER 8 FOOTAGE: 24 YR OLD RUMSFELD, in front of a jet plane,
removes his helmet, waves to camera and smiles.
NARRATOR (V.O.)
Most Congressmen used their power
like an axe, Rumsfeld used his like
a master of the Butterfly knives.
VT: We see expert hands flipping around a butterfly knife.
11.
NARRATOR (V.O.)
And like any master if you got in
his way, he would cut you.
VT: The knife slashes someone’s cheek. UNFREEZE: Rumsfeld
continues his speech.
DONALD RUMSFELD
Look, this is an opportunity. An
opportunity to work in the halls of
decision making for the most
powerful country in the goddamn
world. If that doesn’t give you a
hard on I don’t know what will.
Sorry to the few ladies in the
room. They used to not have girls
for this program... but now they
do. Anyway, I’m Don. Whatever you
do, don’t work for Bob over here.
He’s the most boring son of a bitch
in DC.
Bob chuckles, though it didn’t seem like good natured
ribbing.
DONALD RUMSFELD (CONT’D)
That’s it. Now scat! Go get a
Congressman a cup of coffee! And if
his wife calls, he’s always in a
meeting!
The STUDENT next to Dick turns to him. He’s got longish hair
and a mustache.
STUDENT
Hey, I’m Alan. You’re the other guy
from Wisconsin right?
DICK
That’s right...
STUDENT
One of us is supposed to start with
a Democrat, the other with a
Republican. Do you care if I go
with the Dem? I did a lot of work
with the DNC on campus.
DICK
What party was that guy we just
heard?
12.
STUDENT
(looking at the directory)
Rumsfeld is... a Republican.
DICK
Perfect. Because that’s what I am.
INT. RUMSFELD’S OFFICE - MONTHS LATER
Cheney knocks. Rumsfeld smoking a pipe, pours through papers.
He doesn’t answer. Cheney knocks again.
RUMSFELD
Don’t lurk! Come in dammit!
Cheney enters. Rumsfeld doesn’t look up as he talks to him.
DICK
It’s, uh Dick Cheney... Reporting
for work...
RUMSFELD
You’re Congressional relations for
my Office of Economic Opportunity.
And you’ll assist me in my job as
councillor to the President.
Cheney waits a beat.
RUMSFELD (CONT’D)
You want me to pin your mittens to
your sleeves so you don’t fucking
lose em? Go!
Cheney starts to leave.
RUMSFELD (CONT’D)
By the way Cheney, your two DUIs
showed up on your background check.
Don’t worry. I vouched for you.
DICK
Thank you sir.
RUMSFELD
Thanks are for when neighbor Dottie
pulls your pud for the first time.
You owe me.
DICK
Yes, sir.
13.
RUMSFELD
GO!
Cheney nervously exits.
INT. CONGRESSIONAL FLOOR
Montage of Cheney working for Rumsfeld 1) Flipping Cards for
a Congressional Committee 2) Flipping cards for Senators 3)
Talking to a WHITE HOUSE MEDIA ADVISOR, 30, in a hallway.
MEDIA CONSULTANT
You’re Rumsfeld’s lackey right?
Make sure he sees this.
FREEZE FRAME
NARRATOR (V.O.)
Roger Ailes, founder of FOX News.
He first pitched the idea as
conservative news when he worked
for Nixon as a media advisor.
UNFREEZE: Rumsfeld walks up as the Media Advisor leaves.
DICK CHENEY
Roger wants Nixon to start a
Republican TV news network.
Rumsfeld throws the memo in a waste basket.
RUMSFELD
Forget it. Roger knows TV. But he
doesn’t know politics.
4) Dick and Lynne having dinner with Rumsfeld and his wife.
LYNNE
So I would do this flaming baton
trick and Dick would wait around
with a bucket of water. So I’m at
the State Finals and I throw up the
baton....and it doesn’t come down.
RUMSFELD
Where have you been hiding her
Cheney!?
5) Flipping cards for Nixon in the Oval Office. 6) Flipping
cards for cabinet members.
14.
Scene 6 - Loyalty and Pride in Power
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
Rumsfeld continues down the hallway. Cheney follows.
RUMSFELD
You’re quiet. I like that. You’re
not blabbing to everyone what cards
you have. I missed my flush draw a
month ago but everyone still thinks
I have pocket kings. Except maybe
fucking Haldeman.
DICK
I mostly play hearts so I’m not-
RUMSFELD
No, no, no.
FREEZE
NARRATOR (V.O.)
For a man like Donald Rumsfeld he
only wanted three things from his
lackey: he had to keep his mouth
shut, do what he was told and
always be loyal.
They stop by Rumsfeld’s office.
RUMSFELD
So is it a yes or a no?
Half beat.
DICK
It’s a yes.
RUMSFELD
You don’t even know what the
question is do you?
DICK
I, uh, I assume it was-
RUMSFELD
Good. That’s exactly the kind of
“yes” I was looking for.
NARRATOR (V.O.)
Cheney had always been a so so
student and a mediocre athlete. But
now finally he had found his life's
calling, he would be a dedicated
and humble servant to power.
15.
INT. WHITE HOUSE - CHENEY’S OFFICE - DAY
Cheney enters his office. It’s basically a closet with a
desk, phone and a chair.
STAFFER
Here’s your new office. No windows.
But all you’d see is a bunch of
hippies flipping off Nixon.
He sits down and picks up his phone.
NARRATOR (V.O.)
Now at this point you're probably
wondering who exactly I am.
INT. MIDDLE AMERICA HOME - 2011 - DAY
A DAD, 29 and MOM, 28 play with their SON, 2, on the couch.
NARRATOR (V.O.)
Well my name is Kurt. My favorite
football team is the Steelers. And
me and my son love watching Sponge
Bob. And if you are wondering how I
know so much about Dick Cheney,
well let's just say we are kind of
related... We’ll get to that later.
BACK TO:
INT. WHITE HOUSE CHENEY’S OFFICE
Dick is talking to Lynne on the phone and beaming with pride.
DICK
Lynnie... guess where I’m calling
from?
INT. SMALL APARTMENT IN D.C. - SAME TIME
Lynne is on the phone holding her new BABY MARY while LIZ,
now 3 plays in the background with the TV on.
Intercut phone call:
LYNNE
I am so damn proud of you right now
Dick Cheney... I knew I picked the
right man. I knew it even when I
didn’t...
16.
DICK
We did it.
LYNNE
Have you seen Nixon?
DICK
I did. I met him. Shook his hand.
That impish smile of his.
FLASH TO ACTUAL STILL of Nixon with an odd smile posing for
camera.
DICK (CONT’D)
Pardon my French, but it’s the best
fucking feeling in the world.
LYNNE
I am so proud of you.
DICK
I love you.
LYNNE
WE are proud of you. Your girls are
proud of you.
(to girls)
Are you proud of your Daddy?
YOUNG LIZ
Yes!
Scene 7 - The Weight of Power
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
Rumsfeld and Cheney are walking down a hallway.
DICK
Now that I’m not just flipping
cards, I have a few ideas--
RUMSFELD
(suddenly)
Stop.
They both stop.
RUMSFELD (CONT’D)
You see that door?
He motions to an office door.
DICK
Isn’t that Kissinger’s office?
17.
RUMSFELD
Yes, but I happen to know that
Nixon’s in there right now. Now why
would Nixon not meet Kissinger in
the Oval Office?
DICK
He’s having a conversation he
doesn’t want to go on the record?
RUMSFELD
Very good.
DICK
What’s the conversation?
RUMSFELD
They’re going to bomb Cambodia.
DICK
That’s impossible. That would have
to be approved by Congress and I’m
over there every day-
RUMSFELD
Fuck Congress. Unless you’re in it.
Then it’s the greatest deliberative
body on earth. But we’re not, so
fuck it.
DICK
I thought the President campaigned
on ending the war?
RUMSFELD
Shhhh. Listen to me...
GLANCING PIECES OF NIXON AND KISSINGER TALKING: A cigarette
being put out in an ash tray. A polished shoe tapping, etc.
RUMSFELD (V.O.)
Because of the conversation Nixon
and Kissinger are having right
behind this door, five feet away
from us... in a few days, 10
thousand miles away...
EXT. CAMBODIAN VILLAGE - DAY - SAME TIME
A peaceful Cambodian Village goes about it’s day to day life.
We hear a WHISTLING SOUND far above.
18.
RUMSFELD (V.O.)
... a rain of 750 pound bombs
dropped from B-52s flying at twenty
thousand feet will hit villages and
towns across Cambodia...thousands
will die and the world will change
either for the worse or the better.
We SNAP BACK TO THE HALLWAY. Cheney enthralled by the sense
of power and reach Rumsfeld is expressing.
RUMSFELD
That’s the kind of power that
exists in this squat little ugly
building. But screw Kissinger, he’s
over rated. Come on!
MASSIVE EXPLOSION. WE SEE BLOOD AND LIMBS AND HEAR SCREAMS
JUST FOR A SPLIT SECOND, THEN CUT BACK to Cheney still
looking at the office door.
INT. WHITE HOUSE HALLWAY - RUMSFELD’S OFFICE - LATER
Dick is struggling to ask Rumsfeld a question.
DICK
So, uh, what do we... I mean are we
against spending, or are we, uh...
RUMSFELD
Come on... Out with it!
DICK
What do we, uh, believe?
Rumsfeld starts to laugh and then laugh harder and harder.
RUMSFELD
“What do we believe?” Good one
Cheney! Good one!
He slams his door shut leaving Cheney standing in the
hallway.
CUT TO:
EXT. BACK YARD - BETHESDA, MARYLAND - 1973
Dick teaches the girls how to string worms on a fish hook.
19.
DICK
We find out what the fish wants,
and in this case it’s a worm, and
then we use it to catch them.
8YR OLD LIZ
So is it a good trick we’re
playing?
DICK
It’s not good or bad. It’s fishing.
NARRATOR (V.O.)
Dick had taken a job as a political
consultant for a large financial
firm, where he was finally making
good money. He took the job because
Nixon’s inner circle had had enough
of Donald Rumsfeld.
INT. CHENEY’S BEDROOM - NIGHT - 1973
Dick and Lynne have just been awoken by the phone. They are
dazed and tired.
RUMSFELD
(on the phone)
I’m out. They’re sending me to
Brussels.
DICK
Wait, what?
Scene 8 - Shadows of Power
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
Rumsfeld is tearing up papers and throwing them out.
RUMSFELD
Nixon’s making me permanent
ambassador to NATO. It’s a fuck off
assignment. Kissinger and Haldeman
won. Come with me.
DICK
I have a four and a seven year old.
LYNNE
Tell Don we’re not moving just
because everyone at the White House
hates him!
20.
RUMSFELD
Good boy. I taught you well these
past few years.
DICK
I’m sorry, Don. I really am.
RUMSFELD
Don’t worry. I’m like bed bugs. You
gotta burn the mattress to get rid
of me!
Don hangs up.
CUT BACK TO:
EXT. BACK YARD - BETHESDA, MARYLAND - 1973
NARRATOR (V.O.)
Dick was becoming sharper and
sharper as a D.C. insider, and
Lynne had started to write articles
and explore ideas for her first
novel.
Lynne walks out across the backyard looking ashen.
LYNNE
Dick?... Something terrible has
happened...
NARRATOR (V.O.)
Then, she received news from back
home in Casper.
EXT. LAKE IN CASPER, WYOMING - DAY
By a LARGE LAKE there is a car with both doors left open, a
purse scattered all over and two Dachshunds running around
loose. Police Cars pull up in SLO MO with sirens blaring.
NARRATOR
Lynne’s mother Edna, who had
avoided the water her whole life,
was found drowned in the local
Caspar Lake. They said her and
Wayne, Lynne’s Dad, had had a nasty
argument an hour before.
21.
EXT. CHENEY HOME IN MARYLAND 1973
Dick holds Lynne in his arms.
LYNNE
(in shock)
She doesn’t swim, Dick. My Mother
doesn’t swim. She never swam.
EXT. GRAVE YARD - FUNERAL - DAY
About 20 MOURNERS including Lynne, Dick, Dick’s parents, Liz
and Mary and yes, Wayne, Lynne’s Father listen to a priest
read from the Bible as a coffin is lowered into the ground.
NARRATOR
There was never a serious
investigation into Lynne's Mom's
death.
THE FUNERAL HAS ENDED. WAYNE IS TRYING TO DO A HANDSTAND FOR
LIZ AND MARY. Lynne stops him.
LYNNE
Dad...Dad...
Dick walks over.
DICK
Girls, Lynne. Why don’t you go to
the car.
LYNNE
(raspy from crying)
Come on. Listen to your Father.
They leave. Dick is intense.
WAYNE
Heya Dick. You catching any fish?
THERE IS A RESOLUTE LOOK IN DICK’S EYES. He stares at Wayne.
WAYNE (CONT’D)
How’s it going in DC?
DICK
Don’t ever go near my daughters or
my wife again.
A tense beat. Then Wayne finally walks away.
22.
WAYNE
(yells)
Big shot! Big shot in D.C. Dick!
Dick stares straight ahead. He has a resolute quiet power
about him. He can feel it.
CUT TO:
INT. WHITE HOUSE OFFICE - 2003 - MORNING
CLOSE UP: a basket of plain brown donuts, flaking croissants
and one GLORIOUS DANISH WITH A BRIGHT YELLOW CENTER.
HANDS REACH IN and take a few brown donuts, a croissant. BUT
THEY STAY AWAY FROM THE DANISH WITH THE YELLOW CENTER.
Finally, Cheney TAKES THE LARGE TREAT. FOUR WHITE MEN IN
SUITS (CIA AGENT, SCOOTER LIBBY, DAVID ADDINGTON AND PAUL
WOLFOWITZ) ages 35 to 55, all wait for him to speak. The room
is his.
DICK
So what do you got?
The Unseen Man’s hand flips through papers marked CLASSIFIED.
CIA AGENT
(slightly nervous)
Hassan Mustafa Nasr. A cleric based
in Milan, Italy. He’s a member of
Al-Gama’s al-Islamiyya, the group
that killed Anwar Sadat.
SCOOTER LIBBY
That’s the blind sheik, right?
CIA AGENT
There’s some debate at Langley on
whether they’re a threat or not.
They claim to be peaceful now.
He holds up the danish he’s eating.
DICK
I “claim” to be eating healthy.
Everyone laughs a bit too hard.
DICK (CONT’D)
Okay... pick him up.
23.
EXT. STREET IN MILAN - DAY
POV: A DOOR OF A VAN SLAMS OPEN: A CLERIC, 40, with beard,
wearing a Muslim taqiyah (cap) walks down an Italian street.
THREE MEN IN ALL BLACK JUMP OUT, CHASE HIM DOWN AND PULL HIM
INTO THE VAN IN A MATTER OF SECONDS.
CLERIC
NOO! Help! Help me!
QUICK CUTS: 1. Scissors slice off the Cleric’s clothes 2. He
is struck hard in the face 3. A black hood is put over his
terrified bloodied face. 4. A diaper is then put on him.
THE VAN DRIVES AWAY.
BACK TO:
Scene 9 - Opportunistic Ambitions: The Rise of Cheney and Rumsfeld
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
DICK
What’s the next name?
CIA AGENT
Well Mr. Vice President, there’s
been some chatter about an
engineering student in Berlin...
FADE TO BLACK
RICHARD NIXON (V.O.)
I have never been a quitter.
INT. CHENEY’S LIVING ROOM - 1974 - DAY
TV in the Cheney’s living room shows Nixon resigning as
President.
RICHARD NIXON (SOT)
But I must put the interests of the
nation first...
DICK
Nixon forgot the voice activated
recorders were there. He got
sloppy.
LIZ
Mom, is the President being
punished?
24.
LYNNE
The President has a lot of enemies.
Never forget Lizzy: when you get
power they always try and take it
from you. Always.
LIZ
Yes M’am.
Dick dials the phone.
DICK
Donald Rumsfeld please...
LYNNE
I can’t believe this, this is our
President. This is a tragedy!
DICK
I actually think this could be
very, very good news.
MUSIC: Kicking 70’s horns come in. This is starting to feel
like good news.
EXT. DULLES PARKING LOT - SAME TIME
Rumsfeld gets into Cheney’s beat up black VW Bug in the
airport parking lot. Both toss their cigarettes.
RUMSFELD
What’s your read on things?
DICK
The way I see it, any Republican
not touched by Watergate is golden
right now.
RUMSFELD
Nice. Ford called me right before
my flight took off.
(sees black bug)
You’re still driving this chick
magnet, huh?
CHENEY
You can always take the bus.
CLOSE UP ON TELEVISION.
25.
RICHARD NIXON (SOT)
Effective immediately I will resign
the Presidency of the United States
and Vice President Ford will be
sworn in tomorrow at noon.
INT. VW BUG - PENNSYLVANIA AVE - SAME TIME
Both are smoking again as they pull up to the White House.
RUMSFELD
So what’s the plan?
DICK
The plan? Well the plan is to take
over the damn place...
RUMSFELD
Who lit a fire under your ass?
DICK
I haven’t flipped cards in a long
time Don.
INT. RUMSFELD’S NEW OFFICE - MOMENTS LATER
RUMSFELD CLOSES THE DOOR TO HIS BIG NEW OFFICE.
RUMSFELD
They gave me the damn keys to the
palace!
He pours two Glenlivet neats.
RUMSFELD (CONT’D)
Chief of Staff.
DICK
Holy shit. You salty son of a
bitch. You did it.
They clink and drink.
RUMSFELD
Now we have work to do. Kissinger
is trying to kiss and make up with
the Soviets.
DICK
Well, let’s make sure that shit
doesn’t happen.
26.
RUMSFELD
(laughing)
Yeah. Yeah.
INT. OVAL OFFICE - WHITE HOUSE - SAME TIME
Ford talks with Kissinger, Rumsfeld and Cheney.
CHENEY
If I may, I believe I may have a
way to put an ore in the water, on
Russia. What if-
KISSINGER
Mr. President-
FORD
Come on Henry let’s hear Dick out.
NARRATOR (V.O.)
One of Dick Cheney’s super powers,
was the ability to make the most
wild and extreme ideas sound
measured and professional.
DICK
What if on a unilateral basis, we
all put miniature wigs on our
penises, and we walked out to the
White House lawn, and we jerked
each other off. So, like a puppet
show, but much more enjoyable?
Long pause. Rumsfeld smiles a sly grin.
KISSINGER
I do like a good puppet show.
FORD
I say we do it!
MORE MEMOS THROWN IN THE GARBAGE, PHONES HUNG UP, NAMES
CROSSED OFF MEETING LISTS, LINES ON MEMOS REWRITTEN.
RADIO NEWS MONTAGE (V.O.)
They’re calling it the Halloween
Massacre. Donald Rumsfeld has
replaced Secretary of Defense James
Slessinger. And Dick Cheney has
been chosen as the--
27.
Scene 10 - Power and Disappointment
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Lynne spins around her husband’s well appointed office.
LYNNE
--the youngest Chief of Staff in
history! It’s like a dream.
DICK
It’s real. And Don is the youngest
Secretary of Defense ever.
LYNNE
Well, I’m not talking about Don,
I’m talking about you. And I’m
going to give you a kiss, right her
in the White House.
She holds Dick. They kiss.
A SECRET SERVICE AGENT peeks in the door with Liz and Mary in
tow.
SECRET SERVICE AGENT
Excuse me Mr. and Mrs. Cheney.
These girls tried to enter the Oval
Office.
They run into Dick’s arms.
DICK
Oh dear!
LYNNE
Girls this is not a playground,
please do not--
MARY
Daddy! Is this where Santa lives?
DICK
Better than Santa. It’s where the
leader of the greatest nation on
earth lives!
MARY
Are you one of his elves Daddy?
DICK
In a way, yes.
LYNNE
No he’s not Mary. Your Father is
Chief of Staff. Chief. Of Staff.
(MORE)
28.
LYNNE (CONT'D)
(to him)
Dick, if you’re silly with her
she’ll grow up to be a silly woman.
DICK
Right of course, I forgot, that’s
just silly, Mary.
INT. OFFICE OF LEGAL COUNSEL - DOJ - THE NEXT DAY
Cheney talks to a YOUNG LAWYER at the OLC.
NARRATOR (V.O.)
And as the new Chief of Staff and
with the Presidency weakened by
Watergate, Dick Cheney wanted to
find out exactly how much power did
the President have.
DICK
I would like to reinstate Executive
Authority. How?
NARRATOR (V.O.)
Antonin Scalia, a young lawyer with
the justice department who would
later go on to serve on the Supreme
Court, rocked Dick’s world.
YOUNG LAWYER
Have you heard of the theory of the
unitary executive?
DICK
No, tell me about it.
YOUNG LAWYER
It’s an interpretation a few, like
myself happen to believe, of
Article two of the Constitution
that vests the President with
absolute executive authority. And I
mean absolute.
Cheney and Scalia both smile. This is what Cheney has been
looking for.
MUSIC: GLORIOUS ORCHESTRAL STING.
VT footage of a Lion chasing a gazelle and catching it.
29.
INT. MIDDLE AMERICA HOME - DAY
Narrator Dad plays with his son on the floor.
NARRATOR
(to wife)
Honey, you wanna get Cole up to the
high chair? I gotta explain this to
the people.
WIFE
(picking up son)
Come on buddy!
IMAGES OF THE WHITE HOUSE, THE SCALES OF JUSTICE AND SOLDIERS
AT WAR.
NARRATOR (V.O.)
The Unitary Executive Theory.
Certain legal scholars believe that
if the President does anything it
must be legal because it’s the
President. To hell with checks and
balances, especially during times
of war. This was the power of
kings, pharaohs, dictators,
FREEZE ON DICK CHENEY
NARRATOR
Dick Cheney was a foot soldier in
the power games of Washington DC,
but with the Unitary Executive
Theory, he could become Galactus,
devourer of planets,
Image of the super villain... GALACTUS
NARRATOR (CONT’D)
But then it was Election Day and
there was one big problem...
INT. RESIDENTIAL QUARTERS - WHITE HOUSE - NIGHT
Ford, Betty Ford, Cheney, Lynne, Rumsfeld watch the returns
on ABC NEWS with BARBARA WALTERS and HARRY REASONER. Cheney
is chain smoking. They all sip cocktails.
TV SCREEN reports Carter winning presidential election
30.
BARBARA WALTERS (SOT)
...Which means that Jimmy Carter is
the next President of the United
States.
NARRATOR (V.O.)
And just like that it was all over.
LYNNE
That can’t be right. It got to be
some sort of a mistake.
RUMSFELD
Well...there goes the neighborhood.
FORD
(his voice is horse)
Thank you everybody.
TV REPORTER (V.O.)
The Republicans have lost the
Presidency, they are the minority
in Congress and in most states.
With America demanding change, I
don’t see a future for the GOP.
They are the party of the past.
Scene 11 - Resilience in the Face of Change
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Maintenance workers install giant solar panels on the roof of
the White House.
DAVID BRINKLEY (SOT)
President Carter went to the roof
of the White House today to
announce his new solar
initiative...
VT President Carter speaking to the press.
PRESIDENT CARTER (SOT)
We must end our dependence on
fossil fuels. And by the using the
energy God gave us in the sun, we
may have an endless source of power
with solar energy...
31.
EXT. WYOMING RIVER - 2012 - DAY
Cheney trudges through a river with fishing gear in hand in
slo-mo. He is older, unsteady, but determined and focused.
CUT TO:
EXT. SMALL TOWN IN WYOMING - DAY - SUMMER - 1978
A VFW IN A ONE STOP SIGN TOWN. A beat up Winnebago with a
shabby “Cheney for Congress!” on it parked out front.
INT. SMALL TOWN VFW - DAY - SUMMER - 1978
Cheney speaks to RANCHERS at a VFW. It’s hot.
DICK
...I will become the gentleman from
Wyoming. And hear this, taxes must
come down.
Lynne coaches from the back of the room.
LYNNE
(whispers)
Talk. Talk.
DICK
I’ll say it again, taxes must go
down, we must ameliorate pain for
the taxes of the working man....and
bring perspicacity to the fore.
Lynne watches, pained. He’s not good at this. The Campaign
Manager leans in.
CAMPAIGN MANAGER
(whispers)
Thank God for name recognition.
DICK
But enough of the horsing around.
Which is of course, what us cowboys
do. So uh, remember, vote Cheney
for Congress. Uhh, thank you and
vote for Cheney in Congress.
LYNNE
Either he drinks next time, or I
do.
32.
Crowd applauds tepidly. Dick walks over to Lynne and his
Campaign Manager. He’s rubbing his arm.
DICK
I don’t want anyone to panic. But I
do believe I have to go to the
hospital.
FADE UP ON AN ACTUAL HEART BEATING AND THEN STOPPING AND THEN
BEATING ERRATICALLY BEFORE FINALLY IT STOPS.
QUICK CUT: A CUCKOO CLOCK STRIKING TWELVE: A cuckoo pops out.
INT. HOSPITAL ROOM - DAY
Cheney is in bed, IV coming out of his arm, heart monitors
beeping. Lynne is there by his side. A DOCTOR, 39.
DOCTOR
It’s an inferior wall infarct.
LYNNE
But it can be fixed, right?
DOCTOR
If it was up to me you’d drop out
of the election. But you’ve both
made it clear that’s not an option.
So you must have a minimum of two
weeks bed rest.
DICK
Two weeks off. We’ll lose our lead.
LYNNE
The hell we will.
EXT. RANCH - DAY
A microphone stand on the back of a truck and a crowd of
fifty HARD FACED MALE FARMERS AND RANCHERS waiting. A good ol
boy RANCH OWNER, 59, intros.
MAYOR
Dick Cheney has an illness so he
can’t be here today. But we have
his wife and a heck of a pretty gal
here to fill in: Lynne Cheney!
Lynne walks up to the Podium. SHE IS TOO SMALL TO REACH THE
MICROPHONE. THE CROWD LAUGHS. Lynne takes the mic off.
33.
LYNNE
I grew up in Wyoming. But somewhere
along the line Washington DC
stopped listening to real folks
like us! And started only listening
to liberal snobs who want us all to
lose our jobs to affirmative
action!
Awkward silence. The Campaign Manager tries to usher her off.
CAMPAIGN MANAGER
Okay Lynne...
The crowd EXPLODES in applause. Lynne pushes the Manager’s
hand away.
LYNNE
When I was in New York City I saw
women burning their bras. Well you
know what women do with bras in
Wyoming? We wear them!
Crowd applauds lustily again. The Campaign Manager looks
around “What the hell is happening?”
EXT. WYOMING RURAL AREA
A VAN weaves through a windy dirt road.
LYNNE (V.O.)
Here in Wyoming we believe there is
a right and a wrong.
INT. CHURCH BASEMENT - DAY
A Ladies Auxiliary Meeting. Some women knit as Lynne gives a
speech.
LYNNE
Because I’m a mom and a wife from
Wyoming. And I know how it feels to
make every penny count. And not
only do I speak for you, my husband
Dick Cheney...
Crowd livens up, applauding hard.
34.
NARRATOR (V.O.)
A hard wind of change had been
blowing through America, civil
rights, Roe versus Wade,
environmentalism. But there was a
part of the country that didn’t
like this change and wanted it to
stop.
Scene 12 - The Rise of Conservatism: Cheney's Triumphs and Trials
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Lynne and Dick toast to a table of CONGRESSMEN AND WIVES.
DICK
Thanks to my amazing wife, it is
good to be joining you all here in
D.C. as Wyoming’s sole
Congressional Representative!
Everyone smiles and toasts.
EXT. DC STREET - DAY
CUTS OF: OLD MONEY PATRIARCHS getting out of limos in SLO MO.
NARRATOR (V.O.)
And then big money families like
the Kochs and the Coors that were
sick of paying income taxes, rolled
into Washington DC and started
writing fat checks to fund right
wing think tanks...
QUICK CUTS: the Heritage Foundation, the American Enterprise
Institute, the CATO Institute, ALEC, etc.
NARRATOR (V.O.)
...that would change the way many
Americans looked at the world.
INT. THINK TANK OFFICE - DAY
CU of a document on a desk: “TRICKLE DOWN ECONOMICS: A study
on reduced top tax rates as stimulus.”
PULL OUT to reveal a giant office with dozens of desks and
PEOPLE. A BIG SIGN READS “THE AMERICAN ENTERPRISE INSTITUTE”
LITTLE LINES TYPE IN THE AIR OVER EACH DESK: “Welfare Fraud,
America’s Hidden Epidemic” “OIL AND COAL: AMERICA’S FUTURE!”
“Regulations Are Costing us Billions!”
35.
NARRATOR (V.O.)
Finally in 1980, this unlikely
revolution of the super rich and
white conservatives found its
face...
INT. RNC CONVENTION - DETROIT - 1980
VT. STOCK: RONALD REAGAN giving his ACTUAL nomination speech.
REAGAN
For those who have abandoned hope,
we'll restore hope, and we'll
welcome them into a great national
crusade... to make America great
again!
Crowd goes NUTS.
EXT. WHITE HOUSE ROOF - 1980 - DAY
WORKERS unscrew solar panels from the roof and discard them
into a pile.
INT. HALLWAY - CAPITOL BUILDING - DAY - 1980’S
Cheney walks confidently talking to Congressmen and Aides.
NARRATOR
It was the fucking 1980’s, and it
was a hell of a time to be Dick
Cheney.
INT. FLOOR OF CONGRESS - DAY
QUICK CUTS: CHENEY INSERTING HIS HOUSE VOTING CARD, A FEW RED
“NAY” VOTES COMING UP ON THE BIG BOARD AGAINST A SEA OF GREEN
“YEA” VOTES.
CLERK
Vote on the Undetectable fire arms
Act to ban “plastic guns that can
evade metal detectors”... Clean
water act... endangered species
act... School lunch
program...Martin Luther King Jr
federal holiday...
ACTUAL CLIPS of Nancy Reagan on Mr. T’s lap, Donald Trump,
Aerobics.
36.
INT. HALLWAY - CAPITOL BUILDING - DAY - 1984
Dick COLLAPSES IN THE HALLWAY, going to his knees.
MUSIC: OUT
PANICKED AIDE
Someone call an ambulance!!
(to Cheney)
Can you breathe?
DICK
I’m having a heart attack you
idiot.
INT. WHITE HOUSE - EAST WING - NIGHT - 1986
White House CHRISTMAS PARTY. REAGAN AND NANCY (from behind)
meet and greet celebrities, leaders and friends like Royalty.
REVEAL: Lynne and Cheney ENTER like a Duke and Duchess. Dick
looks dashing in a tux and Lynne stunning in a tasteful gown.
ON SCREEN: “Dick Cheney House Minority Whip 1989” and “Lynne
Cheney Chair of the National Endowment for the Humanitites
1986-1993”
Quick shots of people at the party CATCHING GLIMPSES OF THE
CHENEYS, some whisper, some smile.
LYNNE
(finishing a conversation)
Thank you... I’m very excited.
The couple she was talking to walks away.
LYNNE (CONT’D)
They’re both brilliant, but broke.
VICE PRESIDENT GEORGE BUSH SR. walks up.
GEORGE BUSH SR
Hey Dick... Hello Lynne.
Congratulations on your
appointment.
LYNNE
Why thank you Mr. Vice President.
How is your lovely family?
37.
GEORGE BUSH SR
My son Jeb seems cut out for
office. We may be asking you for
endorsements in a few years.
LYNNE
If he’s half as charming as you
George, he’s got both our votes.
GEORGE BUSH SR
Dick. I just wanted to say thank
you for getting the House not to
override the President’s veto of
the fairness doctrine.
DICK
Not a problem. Happy to get rid of
any big government regulations.
FREEZE
NARRATOR (V.O.)
The fairness doctrine was a law
from the forties that required any
broadcast TV or radio news to
present both sides of an issue
equally. Its repeal would lead to
the rise of opinion news.
QUICK CLIPS OF MORTON DOWNEY JR, RUSH LIMBAUGH, AND THEN A
GIANT FOX NEWS ANIMATED LOGO “FAIR AND BALANCED.”
Scene 13 - Family Ties and Political Choices
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
30’S FEMALE BLONDE ANCHOR AT A NEWS DESK
NEWS ANCHOR
(To camera)
... And eventually to the
realization of Roger Ailes’ dream:
Fox News. Which would go on to
dominate all other news and swing
America even more to the right.
CUT BACK TO:
INT. CHRISTMAS PARTY - NIGHT
UNFREEZE: There’s a CRASH on the other side of the party. We
see a LANKY DRUNK GUY who’s knocked over a tray of champagne
glasses. A waitress is distraught.
38.
LANKY DRUNK GUY
Lighten up sweetie! It’s a party!
DICK
What’s that fella’s problem?
GEORGE BUSH SR
Let me go see if everything’s okay
over there. Great to see you both.
Love to the girls...
George goes over to the young drunk man and ushers him out.
LYNNE
(quietly)
That’s his son. George W. He’s the
black sheep of the family.
DICK
A little too much unconditional
love.
LYNNE
Can you feel it Dick? Half the room
wants to be us and the other half
fears us. I know George is up next
but after that, who knows?
She rubs her hand against his back.
DICK
(takes it in)
I respect the hell out of Reagan...
But no one’s really shown the world
the true power of the American
Presidency...
SMASH CUT TO:
EXT. VIRGINIA HIGH SCHOOL - DAY
MARY CHENEY, now 17, leaves school SOBBING HARD. A TEACHER
FOLLOWS HER.
TEACHER
Excuse me Ms. Cheney! You cannot
leave the grounds during school
hours! Mary! Come back!
She jumps in her 85 Honda Accord, tears out.
MARY CHENEY
No, no, no!!!
39.
Mary speeds through a stop sign and BAM!! IS HIT BY ANOTHER
CAR! She is dazed with blood coming down her face.
INT. HOSPITAL ROOM - AN HOUR LATER
Mary, in a hospital bed. Dick and Lynne are there.
LYNNE
I just don’t understand. You left
school? Why? It doesn’t make sense.
MARY
It was Susan...
LYNNE
Your best friend? Were you fighting
over a boy?
MARY
She broke up with me...
Beat.
MARY (CONT’D)
Mom, Dad, I like girls... I’m gay.
Dick and Lynne are silent for a long time. Everything they’ve
worked for hangs in the balance. Finally Dick moves towards
Mary and hugs her.
DICK
It doesn’t matter sweetheart. We
will always love you no matter
what.
MARY
Oh, I love you so much Daddy...
LYNNE
(tearing up)
It’s just going to be... so hard
for you...
INT. SHIPPING WAREHOUSE - 2011 - DAY
Kurt the Narrator, drives an electric pallet cart.
NARRATOR
When George Bush Sr. was elected
President, Dick Cheney was made
Secretary of Defense. Sixth in line
to the Presidency.
40.
Kurt the Narrator parks his cart and moves some boxes.
NARRATOR (CONT’D)
And after a few years, it was
Dick’s turn to run for President,
so they decided to do some early
polling numbers.
INT. CHENEY KITCHEN - DAY - 1992
CLOSE UP: early poll results in Cheney’s hands. They show him
dead last behind 11 other Republicans including Dan Quayle.
DICK
Well I guess that’s it.
Lynne is there.
LYNNE
We can move those numbers. We
attack the welfare state,
regulations, government waste...
DICK
It’ll be a war. I can’t put Mary
through that. Every primary
opponent will go after her...
LYNNE
We deny. Shame them for going after
the family...
He crumples the paper, leaves it on the table and exits.
Lynne looks at the paper.
SCORE: BITTER SWEET BUT STILL GLORIOUS ORCHESTRAL
EXT. MIDDLE EASTERN DESERT - DAY - 1993
CHENEY WALKS ACROSS THE DESERT WITH THE FAMILY OF SAUD.
ON SCREEN: “Dick Cheney would go on to become CEO of a large
oil service company: Halliburton”
Scene 14 - From Family Bliss to Political Intrigue
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Dick, Mary, now 30, her partner HEATHER POE and Liz, 33 and
her HUSBAND PHILIP (holding a newborn) with Lynne, all fish
and sit by a beautiful lake. A GRAND DAUGHTER KATE, 4, runs
around laughing with 2 DOGS.
41.
ON SCREEN: “Lynne would publish several books on American
History.”
Dick holds his newborn grand daughter and laughs with family.
ON SCREEN: “Dick had a choice between the Presidency of the
United States and his youngest daughter. He chose his
daughter.”
Mary chases Lynne with the fish, everyone laughs.
ON SCREEN: “The Cheneys would never again enter politics or
the public eye.”
ON SCREEN: “Lynne and Dick are happy and wealthy and live in
Virginia where they breed award-winning Golden Retrievers.”
The Cheneys walk together up to the their house for supper.
END CREDITS ROLL
SFX: Is that a phone ringing?
END CREDITS CONTINUE TO ROLL
The Phone ringing gets LOUDER.
END CREDITS KEEP ROLLING
THE PHONE RINGING IS NOW VERY LOUD.
SMASH CUT TO:
INT. CHENEY HOME OFFICE - 1999- DAY
A desk phone is ringing as Dick, now in his early 60’s moves
towards it.
DICK CHENEY
Okay, okay. I’m coming...
LYNNE (O.C.)
Who’s calling on a Sunday morning?!
DICK CHENEY
I don’t know!
He answers.
DICK
Hello. Cheney residence?... Uh-
huh...I understand... Anyway I can
be of assistance... Okay...
(MORE)
42.
DICK (CONT'D)
That should work... 3pm... Of
course... That goes without
saying...
He hangs up and stands there for a second. Lynne comes
walking out of the kitchen.
LYNNE
Who was it?!
DICK
It was someone from George Bush’s
son’s campaign.
LYNNE
Jeb?
DICK CHENEY
No. George W... Jeb’s Florida.
LYNNE
Right. I still can’t believe
they’ve got that poor boy running
for President.
Beat.
LYNNE (CONT’D)
So what did they want?
DICK
They want to talk to me about being
his running mate.
LYNNE
What?
DICK
They didn’t say it outright but
I’ve made that call myself and
that’s what they want.
Beat.
LYNNE
Vice President is a nothing job.
DICK
I’m just going to hear them out. I
owe his Father that...
Beat.
43.
LYNNE
VP just waits for the President to
die. You’ve said it yourself.
DICK
It’s just a meeting.
LYNNE
Is it just a meeting? Or is it just
a meeting?
DICK
It’s just a meeting.
LYNNE
Good.
She walks away. Cheney stands there still in thought.
EXT. AUSTIN, TEXAS - CAPITOL BUILDING - DAY - 1999
INT. GOVERNOR’S OFFICE - LOBBY - SAME TIME
CU: Cheney’s polished shoes. He reaches for a copy of Time
Magazine: The Cover a picture of Bush with the headline
“President Bush?” A receptionist, THERESA, 28 approaches him.
THERESA
The Governor will see you now
Secretary Cheney.
DICK
Sure.
Scene 15 - The Vice Presidential Proposal
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
CU of W Bush’s hand as it shakes Cheney’s. A signed Nolan
Ryan baseball on a shelf, papers on the desk with a copy of
Sports Illustrated, Cheney lowering himself into a chair,
Bush tapping his finger on the desk to an unheard beat.
W BUSH
Hello Dick.
DICK
Hello George.
W BUSH
It’s been awhile.
44.
DICK
Since last year. The foreign policy
sessions...
We see GEORGE W BUSH, 53. Handsome but boyish with a petulant
fidgety edge to him.
W BUSH
That’s right. Those meetings were
very engaging. I remember we both
agreed my Dad would have been re-
elected if he had taken out Saddam.
DICK
War time Presidents are always
popular.
W BUSH
That they are. That they are.
DICK
So... Congratulations on a
successful primary. I’ve been
through a few myself and they can
be... Shall we say-
W BUSH
Fucking exhausting?
DICK
(chuckles lightly)
Yes.
W BUSH
Buses, bologna sandwiches. I mean I
like people but enough’s enough. Am
I right?
DICK
(and then)
So uh, the call I received...
W BUSH
I forgot, you’re a brass tacks guy
aren’t you? I like that. Are you
surprised I’m running for
President? After my, shall we say,
wild years?
DICK
I sowed some oats myself back in
the day. Still enjoy a cold beer on
occasion.
45.
W BUSH
I bet you did. I bet you did you
rascal. Well I can’t anymore. It
got bad... Real bad.
DICK (V.O.)
What does he really want? What does
he need?
W BUSH
Do you want some brisket? Theresa
can we get some brisket?!
THERESA
Yes sir!
W BUSH
Get the burnt ends!
DICK
George... Listen...
W BUSH
(changes gears nervously)
So listen, I’ve got a lack of
experience problem in the polls and
you’re one of the most experienced
guys around. You wanna jump on
board and be my Vice?
QUICK FLASH: Cheney’s fishing line in a RIVER. He watches the
water with a patient focus.
DICK
...I’m honored.
W BUSH
Don’t be honored. Fucking say yes
Mr. Brass tacks.
DICK
...I have to say no at this time.
W BUSH
Come on. I know you love politics.
What are you in the private sector
now? Come on...
DICK
I can’t.
W BUSH
That’s a shame. It is. I really
need you near my campaign.
46.
Beat. QUICK FLASH: a satchel is opened revealing fly fishing
lures of all shapes and sizes.
DICK
Perhaps... I, uh, could help you
find the right running mate?
W BUSH
You mean run my VP search team?
DICK
No team. Me.
W BUSH
Yeah, yeah. That could work. I’ll
have to run it by Rove of course.
(and then)
This campaign’s gonna be a bitch.
But if I lose I can maybe become
commissioner of baseball, you know?
DICK
But the idea is to win, right?
W BUSH
I’m going to keep you in the back
of my mind.
Scene 16 - Ambition and Uncertainty
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Dick and Lynne brush and floss and prepare for bed. After a
long beat Lynne finally speaks.
LYNNE
So are you going to tell me how it
went today or not?
DICK
It was... interesting. He is
a...green. He’s very green.
Beat.
LYNNE
And you told him no?
DICK
I told him I’d help with the
search.
Beat. Dick gargles Listerine for a very long time. Painfully
long.
47.
LYNNE
What are you thinking? I can tell
you’re thinking.
NARRATOR (V.O.)
What was Dick Cheney thinking?
DICK
I’m thinking I’ve never seen
anything like this.
NARRATOR (V.O.)
After his first meeting with George
W.
LYNNE
We’ve had a lot of successes Dick.
Vice President is a nothing job.
NARRATOR (V.O.)
How many steps ahead was he
looking? How did he feel about the
opportunity that was in front of
him?
Cheney stares in the mirror.
NARRATOR (V.O.)
There are certain moments, that are
so delicate. Like a teacup and
saucer...
FLASH BACK of Dick hugging Lynne and the children after they
found out Lynne’s Mom died.
NARRATOR
Stacked on a teacup and saucer...
FLASH BACK of Lynne yelling at young Dick as he sits hungover
on the couch with his head hung in shame.
NARRATOR (CONT’D)
Stacked on a teacup and saucer....
Back to Dick and Lynne in the bathroom.
NARRATOR (CONT’D)
And on and on. That this moment
could fall in any direction and
change everything.
FLASH TO Tea cups wobbling as they are stacked higher and
higher.
48.
NARRATOR (V.O.)
Sadly there is no real way to know
exactly what was going on with the
Cheneys at this history changing
moment. We can’t just snap into a
Shakespearian Soliloquy that
dramatizes every feeling and
emotion. That’s just not the way
the world works.
CUT TO BLACK.
NARRATOR
You know what?
INT. CHENEY BEDROOM
Dick and Lynne get settled into bed.
LYNNE
My sweet Richard.
Dance’d nimbly round the King’s
hearth thou hath.
Even whilst clamored I for more,
more!
Parched maw craned towards the
drip, drip of imagined waters.
But I say to you now, rest, retire.
Thou hast honored thy vows to wife
and crown.
DICK
Has blindness usurped vision in you
my wife?
No mere treaty is our union!
Thou shared thy torch’s flame with
mine.
Revealing halls and spires of long
faded empires.
But now I hold aloft mine own fiery
cresset
To make flesh our bond of power.
LYNNE
Dare I?
Dare I let hope’s beak place
gathered bramble
Upon my heart for future’s nest?
Many winters past hath I let this
hope die,
cruel winds silencing tiny birds
needy cries
(MORE)
49.
LYNNE (CONT'D)
Now that it hath arrived I say yea,
yea!
Mine own blood and will, are yours
til pierced be the last soldier’s
breast plate,
spilling open its jellied ruby
treasures!
Lightening Strikes as they embrace and kiss passionately.
CUT TO BLACK.
Back to the Bedroom with non-Shakespeare Dick and Lynne. Long
beat of silence.
LYNNE (CONT’D)
So?
DICK
So...I think we proceed.
LYNNE
What about Mary?
DICK
It’s VP. It’s not the same
scrutiny.
Dick rolls over, finally ready to sleep.
LYNNE
He’s got allies Dick...
Connections. You’re new to his
world. You don’t know the
landscape.
DICK
Well, then I had better run a very
thorough search...
CUT TO:
Scene 17 - Kitchen Collaborations and Legal Insights
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
Liz, Lynne, Mary, Dick’s friend DAVID GRIBBIN and Dick work
on the VP questionnaire. Laptops, papers are everywhere.
DICK
Every stone. Hell, every grain of
sand needs to be looked under for
this questionnaire.
Mary is putting pizzas on the table.
50.
DAVID GRIBBIN
Dick we’re asking for all
financials, all medical, all
interviews, press, writings, legal
records, family medical and family
financials. Any more
“comprehensive” and we’d need a
rubber glove. Sorry Liz.
LIZ
That wasn’t offensive. Should I be
offended?
LYNNE
I’m offended Dave wasn’t worried
I’d be offended.
LIZ
Oh, a rubber glove. Like a
proctology exam. That’s...that’s
disgusting.
The phone rings. Dick answers.
DICK
Hey David. Any thoughts?
INT. LAW OFFICE - VIRGINIA - SAME TIME
David Addington at his desk, phone crook’d in his neck.
DAVID ADDINGTON
One big one.
FREEZE
NARRATOR (V.O.)
David Addington, Dicks main legal
advisor and a huge believer in the
Unitary Executive Theory. He was
known for telling people to their
face that they were stupid.
UNFREEZE
DAVID ADDINGTON
So the Vice Presidency is part of
the executive branch and because
the VP casts tie breaking votes in
the Senate, also part of the
legislative branch, right?
51.
DICK
Okay?
DAVID ADDINGTON
That means the VP is also not part
of the executive or the
legislative.
DICK
So one could argue neither branch
has oversight of the VP?
DAVID ADDINGTON
Not only can “one” argue that, I’m
arguing it right now.
DICK
Brilliant David.
DAVID ADDINGTON
I know! Right?
CUT TO:
Scene 18 - The Deal at Crawford Ranch
- Overall: 8.5
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Cheney and W walk towards a porch with a screen door slightly
ajar at W’s Crawford Ranch.
W BUSH
Rove made me buy this ranch. He
wanted to distance me from my years
at Yale and Harvard. Make me more
of a man of the people for the
election.
DICK
Smart.
They sit. W BUSH eats chicken while Cheney sips his ice tea.
W BUSH
So, we gonna do this thing or what?
Is this happening?
DICK
We’ve found some very interesting
candidates. I think if we could
schedule a three hour window to go
through each one-
52.
W BUSH
No. I meant are you going to be my
VP? I want you.
Beat.
DICK
I’m CEO of a large company. I’ve
been Secretary of Defense, Chief of
Staff... The Vice Presidency is a
mostly symbolic job...
W BUSH
Right, right. I can see how that
wouldn’t be enticing to you.
DICK
However... the Vice Presidency is
also defined by the President. If
we were to have a... different
understanding...
W BUSH
Uh-huh. Go on.
QUICK FLASH: a fishing line going TIGHT.
DICK
I get the sense you’re a, shall we
say, kinetic leader. You make
decisions based on instinct. You’re
very different from your father in
that regard.
W BUSH
(he likes that)
I am. People have always said that.
DICK
Maybe I could handle the more
mundane parts of the job. Managing
the bureaucracy, overseeing the
military, energy, foreign policy...
W BUSH
That sounds good.
QUICK FLASH: a fishing line reels out for another catch.
W BUSH (CONT’D)
I never want to be the kind of team
owner that pulls the starter in the
4th inning. That’s the manager’s
job.
53.
DICK
And one last thing. My daughter
Mary...
W BUSH
Right... Rove told me she likes
girls.
DICK
I know you’ll have to run against
gay marriage for the south and the
mid-west. But it’s my daughter and
that line in drawn in concrete.
W BUSH
So long as you don’t mind us
pushing that messaging. Sure, we’re
okay with you sitting that one out.
I think it’s important for all the
Marys in the world, you know? No
problemo.
DICK
Then I believe this can work.
W raises his glass.
W BUSH
Hot Damn! Well good, let’s
celebrate!
They cheers ice tea.
INT. FRANK ERWIN CENTER - AUSTIN - 2000 - DAY
BACKSTAGE: Dick and Lynne wait behind the curtains while we
hear W Bush speaking.
W BUSH (O.S.)
When I was searching for a Vice
President I turned to the
experience of Dick Cheney.
But I soon realized he was the best
choice. Please welcome, my friend
and my running mate: Dick Cheney!
And his lovely wife Lynne!
The Cheneys enter. On stage we see Dick’s shoes walk towards
the podium. A quick flash of the campaign’s slogan on the
podium: “RENEWING AMERICA’S PURPOSE”
54.
NARRATOR (V.O.)
Dick never filled out his own 83
question questionnaire. Full
medical records were never handed
over. No tax or corporate filings,
nothing.
Crowd starts chanting “Cheney! Cheney!”
Scene 19 - Election Night Uncertainty and Transition Planning
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
ON SCREEN: November 7, 2000, Bush vs. Gore
Room full of people watching the election results: Don and
Joyce Rumsfeld, Lynne, Mary and Heather, Liz and Philip,
Addington, Wolfowitz etc. In the back of the room Dick talks
to SCOOTER LIBBY.
SCOOTER LIBBY
Gore rescinded his concession.
They’re claiming Florida is too
close to call.
DICK
He can’t fucking rescind his
concession.
SCOOTER LIBBY
He just did. There’s going to be a
recount. What should we do?
Half beat as Cheney processes.
DICK
We play it like we’ve already won.
Which means we need to staff the
White House.
SCOOTER LIBBY
Who’s leading the transition team?
DICK
I’ll do it.
SCOOTER LIBBY
Um, that’s not really something a
Vice President does, is it?
DICK
It is now.
News reporting on election results.
55.
NEWSCASTER (V.O.)
Gore has called Governor Bush and
retracted his concession.
The room erupts. “No!” “He can’t do that!”
INT. CHENEY KITCHEN - A WEEK LATER - DAY
Addington, Liz, Mary, Lynne, Dick and AIDES work amidst tons
of folders, files, cell phones in the Cheney kitchen..
DICK
Wolfowitz. State or Pentagon?
ADDINGTON
Depends on who your Secretary of
Defense is.
DICK
Rummy.
ADDINGTON
100%
LIZ
Rumsfeld?
MARY
Doesn’t Bush Sr. hate Rummy?
DICK
That’s not a bad thing with W. He
wants to be his own man.
Dick checks his blackberry.
ADDINGTON
Rumsfeld believes in a robust
Executive. That’s good for us on
war powers.
LYNNE
(joking)
Just keep him out of state, he’ll
start World War three.
DICK
Halliburton gave us a 26 million
dollar exit package. Twice as much
as we were hoping for.
LYNNE
They’re no dummies.
56.
Cheney wiggles two fingers around on his right hand.
DICK
Uh. Sorry gang. But I think
perhaps... I should go to the
hospital...
LYNNE
Oh no. Are you kidding me?
Everyone circles around Dick.
INT. SUPREME COURT - DAY
MARSHALL
Oyez! Oyez! Oyez! All persons
having business before the
Honorable, the Supreme Court of the
United States, are admonished to
draw near and give their attention,
for the Court is now sitting. God
bless the United States and this
Honorable Court.
The Justices enter, sit. Whip pan reveal: JUSTICE SCALIA.
NARRATOR (V.O.)
December 12th 2000. Antonin Scalia,
remember him? And the Supreme Court
stopped the state of Florida from
completing their recount.
Clips of Washington D.C.
NARRATOR (V.O.)
George W Bush and Dick Cheney were
going to the Whitehouse by a margin
of 537 votes.
EXT. WASHINGTON DC. 2001 - DAY
OVERHEAD SHOT OF A PROCESSION OF 5 BLACK LIMOS DRIVING INTO
THE HEART OF DC.
Scene 20 - Reflections in the Oval Office
- Overall: 8.5
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
Cheney walks the halls of the White House alone.
He stops at a CLOSED DOOR. Looks at it. REACHES OUT AND TURNS
THE HANDLE. Reveal: THE EMPTY OVAL OFFICE.
57.
Dick doesn’t enter but looks at the office for a long beat.
As he stands there we FLASH BACK TO THE DAY DICK FIRST GOT
HIS OWN OFFICE IN THE NIXON WHITE HOUSE AND CALLED LYNNE.
YOUNG DICK
(to baby Mary on phone)
Hey little Mary. My little Mary.
How are you doing?
YOUNG LYNNE
They’re both doing really well.
Except I’m trying to make this
dinner and it’s this, uh, Macaroni
and Cheese that they said was easy,
but it just keeps coming out a
little watery.
YOUNG DICK
It’s the milk, remember. You gotta
add more milk. Yep, make it
thicker.
YOUNG LYNNE
There’s so much I want to say right
now. You just keep doing what
you’re doing. You’re doing so
great.
They laugh.
YOUNG LYNNE (CONT’D)
You have earned something very
special from your wife.
YOUNG DICK
Listen! Listen! I’m buying wine and
I’m picking something up. Chinese?
YOUNG LYNNE
I really love you.
YOUNG DICK
I love you.
They laugh and giggle. And then the memory is gone.
Dick stands in the doorway shrouded in darkness and silence.
INT. OFFICE OF THE VICE PRESIDENT - A FEW DAYS LATER
Cheney, Scooter, Addington, Mary Matalin, PAUL WOLFOWITZ, 52,
and Rumsfeld all sit in Cheney’s office.
58.
DICK
Scooter, why don’t you let everyone
know the lay of the land?
MUSIC: DRUM BEAT
SCOOTER LIBBY
Of course. As you all know, I’m
Scooter Libby, Dick’s Chief of
Staff...
Scene 21 - Power Plays in the Oval Office
- Overall: 8.5
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
A GIANT HAND PUTS A “GEORGE W BUSH GAME PIECE” (LIKE
STRATEGO) DOWN IN THE OVAL OFFICE.
SCOOTER LIBBY (V.O.)
But I’m also a special adviser to
the President.
A GAME PIECE OF SCOOTER APPEARS IN THE ROOM.
SCOOTER LIBBY (V.O.)
Mary Matalin will serve as an
adviser to the VP and to Bush.
GAME PIECE OF MATALIN APPEARS.
SCOOTER LIBBY (V.O.)
David Addington, Dick’s main legal
counsel, will play center field on
all matters relating to executive
power.
GAME PIECE OF ADDINGTON APPEARS.
SCOOTER LIBBY (V.O.)
The President has Alberto Gonzales,
Karl Rove and Karen Hughes as his
team.
GAME PIECES OF THOSE THREE APPEAR.
SCOOTER LIBBY (V.O.)
Quite frankly Gonzales has no clue,
Rove is a hack and Hughes should be
in double A ball.
Their PIECES GET SWEPT OFF THE BOARD BY A GIANT HAND. BUSH IS
NOW SURROUNDED BY CHENEY GAME PIECES.
59.
SCOOTER LIBBY
We will be automatically BCC’d on
all emails the President receives
or sends. As well as have access to
his schedule the second it is set
or changed.
DICK
We’ll also be receiving the daily
intelligence briefing before the
President so we can get inside the
decision curve.
RUMSFELD
Jesus. Bush approved all of this?
DICK
We have... an understanding.
RUMSFELD
What about the emails? Paper
shredders don’t work with emails.
DICK
The entire administration will run
off of the RNC’s private server.
ADDINGTON
And we’ve deactivated automatic
archiving. We’re clean.
SCOOTER LIBBY
Okay, so over at the Pentagon we’ve
got Don as Secretary of Defense.
Paul Wolfowitz, who worked with
Team B in the Ford days, as
Undersecretary of Defense.
More GAME PIECES GO ONTO A GAME BOARD that shows the
Pentagon, DOJ, White House, and all of DC.
DICK
Let’s check what kind of plans they
have to invade Iraq, okay Paul?
PAUL WOLFOWITZ
It’s already in the works.
SCOOTER LIBBY
We’ve got Ashcroft at the DOJ.
State seems to be the only tricky
department. That’s Colin Powell and
his guy Lawrence Wilkerson.
60.
PAUL WOLFOWITZ
We’ve got Bolton over there. He’s a
loose cannon but loyal.
DICK
I want to get Liz in there as well.
Let’s make sure that happens.
SCOOTER LIBBY
Consider it done.
(back to business)
And this list of “our” people
doesn’t include about 800 others
lobbyists and industry insiders we
placed in the regulatory jobs.
The game board is flooded with pieces everywhere. Some of
them have corporate logos on them.
RUMSFELD
Hey. What did you do with W’s
friends? Pataki, Ridge, Thompson? I
didn’t hear their names.
DICK
They were not offered jobs in this
administration at this time.
RUMSFELD
“Were not offered jobs at this
time?” Have you gotten more
ruthless Dick!? You must not be
getting laid!
Beat. It gets uncomfortable for a second.
SCOOTER LIBBY
Moving on!
INT. WHITE HOUSE HALLWAYS - LATER
Don and Dick walk through the hallways together just like old
times.
DICK
Listen Don, you haven’t been here
in over 20 years. Times have
changed. The softer touch is the
norm now. We have the conservative
radio and TV doing the yelling for
us.
61.
RUMSFELD
Is your old friend embarrassing
you? Is that it Dick?
DICK
Soft touch, that’s all.
(looks at watch)
Alright. I have to go to my office
over at the House of
Representatives.
RUMSFELD
You mean the Senate? Vice President
is the tie breaker in the Senate.
DICK
No. I mean the House.
EXT. WASHINGTON D.C. - DAY
QUICK FLASHES of a car racing around Capital Hill.
NARRATOR (V.O.)
Dick Cheney had used an old
connection with former wrestling
coach and speaker of the house
Dennis Hastert to get an office at
the House of Representatives. The
house is where revenue bills
originate and he wanted to be near
the money faucet.
Scene 22 - The Rise of Cheney's Influence
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
SPED UP TRACKING SHOT down the halls of the Capitol.
Tracking stops, door opens. It’s DENNIS HASTERT, 60.
DENNIS HASTERT
Hey Dick! Will this work for you?
Camera TRACKS AWAY SUPER FAST AGAIN DOWN HALLS TO THE SENATE.
INTERCUT: Curt the Narrator jogging and camera fast tracks
through Capital Hill.
NARRATOR (V.O.)
And not one, but two offices at the
Senate...
Door opens and SENATOR TRENT LOTT is there.
62.
TRENT LOTT
Hey Dick. I found this extra office
for you.
Camera tracks away FAST AGAIN.
NARRATOR (V.O.)
One in the Pentagon...
Down a HALLWAY OF THE PENTAGON. OFFICE door opens...
DONALD RUMSFELD
I picked out this one personally.
And I got you a welcoming gift!
Reveal a bottle of Glenlivet on the desk.
CAMERA SPEEDS AWAY AGAIN down the hall.
NARRATOR (V.O.)
And later when Cheney’s team was
combing through the intelligence on
Iraq, a conference room at the CIA.
CAMERA SPEEDS DOWN HALLWAY TO OPEN DOOR. GEORGE TENET 57, the
garrulous head of the CIA stands inside.
GEORGE TENET
The room is soundproof and secure
Mr. Vice President.
SPEEDS AWAY AGAIN...
GAME BOARD: ONE PARTICULAR BUILDING LIGHTS UP.
NARRATOR (V.O.)
But there was one relatively new
think tank that had become the
place to be in Washington DC.
Americans for Tax Reform.
INT. BIG CONFERENCE ROOM WITH PODIUM AT THE FRONT - DAY
HUNDREDS OF GOP CONGRESSMEN, LOBBYISTS AND MEMBERS OF THE
RIGHT WING MEDIA are seated and waiting.
NARRATOR (V.O.)
Grover Norquist ran the anti-tax
group with huge funding from the
Koch brothers network, big oil and
tobacco.
Dick and Lynne enter and THE WHOLE ROOM STANDS.
63.
NARRATOR
His Wednesday meeting as it was
called had become the center of the
Republican world.
GROVER NORQUIST, 48, roundish, bearded, starts the meeting.
GROVER NORQUIST
Let’s talk about the estate tax.
This has been hard to eliminate
because the tax only applies to
estates larger than 2 million
dollars. But marketing guru Frank
Luntz is here to help...
FRANK LUNTZ, 42 and portly stands up.
FRANK LUNTZ
Hello all. Getting regular people
to support cutting taxes for the
very wealthy has always been very
difficult. But I think we’ve had a
break through...
INT. FOCUS GROUP ROOM - DAY
FRANK LUNTZ, 42, stands in front of a DOZEN REGULAR PEOPLE.
FRANK LUNTZ
The Estate Tax kicks in for anyone
inheriting over $2 Million dollars.
How many of you have a problem with
that?
One guy raises his hand.
FRANK LUNTZ (CONT’D)
Now, how many of you would have a
problem with someone called a
“death tax?”
ALL TWELVE HANDS GO UP
Frank turns to the two-way mirror to give a DOUBLE thumbs up.
Then we flash to another focus group already in progress.
FRANK LUNTZ (CONT’D)
Instead of global warming, which we
all agree sounds very scary, we
call it... climate change?
ALL TWELVE HANDS GO UP
64.
EXT. LINE OF CARS STOPPED AT A RED LIGHT - DAY
Track past cars, hearing their RADIOS. A mixture of sports
talk, classic rock and a fair amount of RIGHT WING RADIO.
SNIPPETS OF TALK RADIO (V.O.)
Folks, the government is taking
your money AFTER you die!... It’s a
death tax... Death tax... The
liberals want you to pay a tax when
you die! etc.
QUICK CUTS TO WEB PAGES: DRUDGE REPORT, THE WASHINGTON TIMES,
NEWS MAX: “DEATH TAX MUST GO!”
INT. MIDDLE AMERICA HOME - DAY
Kurt the Narrator plays on the floor with his son while Mom
makes lunch in the kitchen. Reports on the Death Tax blares
on the TV with our BLONDE ANCHOR at the desk.
NEWSCASTER (SOT)
The liberals would tax you for
laughing or crying if they could.
NARRATOR
So with one of the biggest media
and political machines every
created behind him, Cheney was able
to squash action Global Warming,
cut taxes for the super rich and
gut regulations for massive
corporations.
CUT TO:
INT. NEWSROOM - DAY
30’S FEMALE BLONDE ANCHOR AT A NEWS DESK
NEWSCASTER
And then there was Cheney’s
National Energy Policy Development
Group. His first major test to
expand executive power.
Scene 23 - Crisis and Conspiracy: The Day of 9/11
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Libby, Addington and Cheney sit in Cheney’s office.
65.
DICK CHENEY
I don’t understand what the goddamn
problem is! I want to hear what the
energy CEOs need and I’m not
allowed to?
SCOOTER LIBBY
It’s called FACA.
DICK
What the hell is FACA?
DAVID ADDINGTON
It’s the Federal Advisory
Committees Act. Congress got their
panties in a bunch that elected
officials would just let CEOs roll
in and, you know, write the laws.
SCOOTER LIBBY
The Act demands that appropriate
government officials be present.
Tense beat
DAVID ADDINGTON
Hold on a second.
Addington picks up the phone and dials.
DAVID ADDINGTON (CONT’D)
Hello? What’s your name?... Doug?
Doug, how long have you been
working reception at the Department
of Energy? Three months? Perfect.
INT. WHITE HOUSE MEETING ROOM - DAY
CU: NAME TAG READING “DOUG.” Some guy in a Men’s Warehouse
suit, DOUG, 24, sitting in the corner of a conference room.
DOUG
So what am I supposed to do?
DAVID ADDINGTON
Just sit there and be quiet.
Cheney and Addington sit at the large table very far away.
Two men walk in, FACES PIXILATED AND VOICES DISTORTED.
66.
DICK
Hello (BEEP) and (BEEP). How’s
business at (BEEP)?
OTHER MAN
We’re good. (BEEP) has been
performing quite well and (BEEP)
and (BEEP) are quite optimistic.
They all shake hands and have a seat.
ADDINGTON
(pointing to Doug)
Oh, he’s with the Energy
Department.
Doug now listening to music on his head phones gives a
chipper thumbs up.
INT. ENVIRONMENTAL GROUP’S HEADQUARTERS - DAY
CU of hands opening a large envelope and removing copies of
maps that are laid on a table.
NARRATOR (V.O.)
The details of Cheney's meetings
with the energy CEO's were never
disclosed.
CU on a MAP OF ALL THE IRAQI OIL FIELDS with OIL COMPANIES’
NAMES ON THEM...
NARRATOR
But a freedom of information
request did provide some documents,
including a map of Iraq's oil
fields with all of the oil
companies that would be interested
in acquiring them if “somehow” they
were ever to become available.
We pan over the map. Seeing names like Exxon, BP, Shell etc.
NARRATOR (CONT’D)
And then, it happened.
SMASH CUT TO:
TV SCREEN: ACTUAL DiTech Commercial for mortgage
consolidation that was playing on 9/11, is interrupted by
BREAKING NEWS.
67.
NEWSCASTER (V.O.)
This just in, you are looking at a
very disturbing live shot. That is
the World Trade Center and we have
unconfirmed reports that a plane
has crashed into one of the towers.
INT. WHITE HOUSE OFFICE OF VICE PRESIDENT - 9/11 2001 - DAY
Cheney, Condi Rice and Mary Matalin are watching CNN. ONE OF
THE TWIN TOWERS IS SMOKING. SUDDENLY A SECOND PLANE SOARS
INTO FRAME AND HITS THE OTHER TOWER. Everyone gasps.
CNN ANCHOR (SOT)
Oh my God! That was a second plane!
A second plane has hit the south
tower!!
SECRET SERVICE AGENTS rush in.
SECRET SERVICE AGENT
Mr. Vice President, we have
credible information that a plane
is headed for the White House at
this moment. We have less than a
minute to get to the secure
underground bunker.
Cheney is transfixed by the smoking towers. He doesn’t move.
SECRET SERVICE AGENT (CONT’D)
Let’s MOVE!!
THE SECRET SERVICE AGENT GRABS CHENEY BY THE BELT AND LIFTS
HIM OFF THE GROUND. Everyone rushes to the door and down
stairs. They make their way into a Cold War era bunker. The
Secret Service Agent straggles behind with another AGENT.
INT. HAIR SALON - SAME TIME
A TV in a hair salon shows that the Pentagon has also been
hit. Lynne is there arguing with her SECRET SERVICE detail.
SECRET SERVICE AGENT #2
But Mrs. Cheney I’m being told no
one is to go to the White House.
It’s not safe.
LYNNE
I said, you take me to the White
House!
68.
Sirens blare in the background as Secret Service escorts
Lynne to a car.
Scene 24 - Crisis Command: Decisions in the Bunker
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Cheney, on the phone amidst the chaos, Norman Mineta,
Addington, Condi Rice, Scooter Libby and Karen Hughes and a
few others are there.
STAFFER
That’s right. We’ve got planes in
the air and no where for them to
land. Permission for them to land
in Canadian Airports. International
flights into Newfoundland.
Dick hangs up a call with the President.
STAFFER (CONT’D)
Sir, Don Rumsfeld on 3.
Cheney points to the speaker phone.
CHENEY
That?
He picks up the line.
DICK
You have authorization to shoot
down any aircraft deemed a threat.
Beat.
RUMSFELD
Presidential authority?
DICK
That’s correct. All orders are
UNODIR.
Condi and the Staffer make eye contact.
CONDI RICE
UNODIR?
KAREN HUGHES
Unless otherwise directed.
CONDI RICE
Mr. Vice President are we sure
these are the proper rules of
engagement.
69.
DICK
The country’s under attack, the ROE
is fluid. David?
DAVID ADDINGTON
Yes Mr. Vice President.
Addington leans to Cheney. They talk in hushed tones.
NARRATOR (V.O.)
Now we don't know what exactly what
the people in that room were
thinking, but it's safe to assume
that at least one person wondered
why, in the midst of the most
fateful day in American history,
was Dick Cheney talking to his
lawyer?
Karen Hughes tries to get Cheney’s attention.
KAREN HUGHES
(gets off another phone)
...Mr. Vice President, the
Congressional Members you sent to
Mount Weather Emergency Operations
Center want to leave.
DICK
No.
KAREN HUGHES
Excuse me?
DICK
They’re not going anywhere. Just
tell them, we’ve got all the
helicopters.
KAREN HUGHES
Yes, sir.
CLIP: The Twin Towers crumble to the ground.
Lynne leans into Dick.
LYNNE
Are we at war?
DICK
Yes we are.
LYNNE
With who?
70.
Dick clasps his hands and considers the question.
L/3 “The Unitary Executive”
STOCK: EXT. New York
People running through the streets covered in ash.
Scene 25 - Aftermath of Chaos
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
W Bush, Cheney, Rumsfeld, Colin Powell, RICHARD CLARKE 53,
Scooter Libby, Condi and George Tenet all convene.
GEORGE TENET
We’ve picked up chatter from well-
known Al Qaeda operatives
celebrating today’s attack.
RUMSFELD
We shouldn’t rule out Iraq.
CONDI RICE
What’s Al Qaeda’s Leader’s name?
GEORGE TENET
His name is Osama Bin Laden
RICHARD CLARKE
But this is clearly Al Qaeda. I’ve
been tracking their movements for
years. They’re fingerprints are all
over this.
RUMSFELD
Iraq has all the good targets.
RICHARD CLARKE
Iraq has NOTHING to do with this.
RUMSFELD
Richard you don’t know that for
sure--
RICHARD CLARKE
I do know that.
COLIN POWELL
Mr. President, if I may,
Afghanistan is Al Qaeda’s
headquarters. This is where our
focus should be.
L/3 “Colin Powell: Secretary of State”
71.
GEORGE TENET
And the CIA would be capable of
taking down the Taliban’s power
structure.
RUMSFELD
With all do respect, George. Mr.
President. We are the Pentagon.
This is what we do.
CHENEY
Don...
Bush looks around the room. Uncertain for a beat.
W BUSH
Okay... We’ll go with Tenet and the
CIA for now.
Tenet gives Rumsfeld a glance. Don is not happy.
COLIN POWELL
I’ll make calls to our allies.
Everyone gets up to leave.
DICK
I think given the current situation
Mr. President, it’s wise that you
and I not be in the same location.
For, uh, COG...Continuity of
Government.
W BUSH
(he looks freaked)
Of course, of course... Hey... Are
we going to be alright?
DICK
Yes sir. We are.
EXT. WHITE HOUSE ROOF - HOURS LATER
A LARGE HELICOPTER TAKES OFF. Two SECRET SERVICE AGENTS
holding machine guns stand and watch.
SECRET SERVICE AGENT
(into his mic)
Angler has taken off to an
undisclosed location. I repeat,
Angler is airborn.
72.
SECRET SERVICE AGENT #2
Angler? That’s the VP? I thought
only the President could land and
take off from the south lawn?
SECRET SERVICE AGENT
What can I tell you? Today’s
fucked.
INT. UNDERGROUND TUNNEL - UNDISCLOSED LOCATION - THAT NIGHT
Dick, Lynne, A MARINE GUARD and a DOCTOR are in a small craft
GOING DOWN AND DOWN INTO THE DARKNESS...
INT. CABINET ROOM - WHITE HOUSE - DAY
Intel Officers, NSC members surround a table. CHENEY IS ON A
SCREEN OR SVTS (sivits), TELECONFERENCING IN FROM AN
UNDISCLOSED LOCATION.
DICK
This intelligence has been edited,
redacted and reduced.
INTELLIGENCE OFFICER
Mr. Vice President, usually we vet
the daily intelligence threat
matrix to eliminate unreliable
sources, non-players-
DICK (SOT)
Stop. Don’t you dare give me a damn
disquisition on what I cannot hear.
INTELLIGENCE OFFICER
Mr. President a lot of this
information is not verified.
DICK
This is the last time I’ll say it.
I want to hear everything. Every
day. From now on.
SLOW PUSH IN ON CHENEY’S FACE AS HE HEARS THE RAW INTEL BEING
READ BY THE GROUP. The collage of intel becomes denser and
denser, mixed with static ridden Arabic and other languages.
SCORE: A SINGLE LONG DARK NOTE
73.
VOICES
We’re tracking the possibility of
Bio-attacks using serin gas, cow
pox, ebola... There was a post on a
dark web site about mass be-
headings in residential
neighborhoods.... Plans were found
outlining the use of infants as
suicide bombs in major airports...
A source has told as asset about
fire bombs targeting hospitals... A
video was captured describing
televised executions interrupting
American network TV... Movie
studios, museums, subways, day care
centers may all be targets... etc.
As we get to a grainy close up of Cheney’s eyes on the screen
we see something that hasn’t been apparent before: FEAR.
INT. BOMB SHELTER - THAT NIGHT
Lynne and Dick lay in bed in a giant DARK CAVERN with spare
furniture and telecommunications equipment.
LYNNE
I’m scared Dick...
DICK
I’ll always keep you safe.
LYNNE
What are you going to do?
In the darkness Cheney is just a black silhouette.
FLASH TO: A stream. Cheney stands in it fishing. BY A ROCK,
UNDER THE WATER IS THE SHADOW OF A HORRIBLE CREATURE.
Scene 26 - Legal Justifications for Torture
- Overall: 9.2
- Concept: 10
- Plot: 9
- Characters: 9
- Dialogue: 9
VFX: CHEST POUNDING EXPLOSIONS dot a mountainside in
Afghanistan as US FIGHTER JETS screech across the sky.
EXT. OLD STONE BUILDING - DAY - 2001
5 US SOLDIERS lead a row of 12 TALIBAN PRISONERS towards an
old stone wall. The Taliban fighters are dirty and dusty and
look spent. One of the US SOLDIERS IS OUR NARRATOR TALKING TO
CAMERA. HE HAS ENLISTED.
74.
NARRATOR
So while Powell, the CIA and their
international coalition toppled the
Taliban and took Afghanistan in a
matter of days... Cheney had found
something much more powerful than
missiles or jet planes.
INT. OFFICE OF LEGAL COUNSEL - CONFERENCE ROOM - A WEEK LATER
Sign: “The Office of Legal Counsel.” David Addington sits
across from two OLC LAWYERS. Cheney TELECONFERENCES in.
DAVID ADDINGTON
Mr. Vice President, this is John
Yoo.
JOHN YOO, 34, an Asian American lawyer with a deliberate
professional manner sits across from them. JAY BYBEE, 48, the
Assistant Attorney General for the OLC is next to Yoo.
JOHN YOO
It’s a pleasure to meet you Mr.
Vice President.
DICK (SOT)
Mmm huh.
DAVID ADDINGTON
The Vice President believes that it
is the duty as Commander in Chief
to protect that Nation. And that no
other obligation whether it be
Congress or existing treaties
supersedes that duty... How do you
feel about that statement?
Beat.
JOHN YOO
I couldn’t agree more.
MUSIC: GLORIOUS AND INTRICATE
INT. JOHN YOO’S OFFICE - DAY
John Yoo is at the computer. David Addington paces.
Occasionally Bybee walks in with case files.
75.
NARRATOR (V.O.)
John Yoo’s first legal opinion
allowed the US government to
monitor every citizen’s phone
calls, texts and emails without a
warrant. It was a giant legal leap
based on sketchy law at best.
QUICK CUT: Soldiers punch prisoners.
NARRATOR
But their masterpiece, their Moby
Dick if you will, was the torture
memo.
QUICK CUT: Prisoners are pushed into boxes.
INT. WHITE HOUSE - OVAL OFFICE
Cheney, Addington, W Bush, Tenet and Rumsfeld.
GEORGE TENET
But what about the Geneva
Convention?
DICK
We believe the Geneva Convention is
open to... interpretation.
GEORGE TENET
What exactly does that mean?
ADDINGTON
Stress positions, water boarding,
confined spaces, dogs.
RUMSFELD
We’re calling it enhanced
interrogation.
W BUSH
We’re sure none of this fits under
the definition of torture?
ADDINGTON
The U.S. doesn’t torture.
CHENEY
Therefore, if the U.S. does it, by
definition, it can’t be torture.
QUICK CUTS SHOWING:
76.
1. A MIDDLE EASTERN MAN naked and being water boarded. He
howls and cries.
TRANSLATOR
(in Arabic)
Just tell us what targets are next!
What targets are next?!
2. The CLERIC from the beginning having his genitals shocked
with wires. He screams as much as a person can scream.
CIA AGENT
All of this ends the second you
tell us the truth!!
4. A MAN WITH HIS WIFE AND KIDS IN FRONT OF HIM. A CIA AGENT
SCREAMS AT HIM.
CIA AGENT (CONT’D)
We will rape and kill your wife and
children! Do you fucking hear me!!?
TRANSLATOR#2
(Translates in Arabic)
A TRANSLATOR yells the translation. The Man, his family SOB.
NARRATOR
But torture and privacy laws
weren’t the only laws Cheney
rewrote with John Yoo. They had a
full menu of opinions challenging
Constitutional and International
law,
Scene 27 - The Menu of War: A Satirical Feast
- Overall: 8.7
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
A fancy WAITER, 54, lists the specials to Cheney, Rumsfeld,
Wolfowitz and Addington at a lavish table.
WAITER
(formal and dispassionate)
Tonight we are offering the enemy
combatant: whereby someone is not a
criminal or a prisoner of war.
Which gives them no protection
under the law. We are also have
Extreme Rendition where suspects
are abducted without record, on
foreign soil and taken to foreign
prisons in countries that torture.
(MORE)
77.
WAITER (CONT'D)
We have Guantanamo Bay which is
very, very complicated but allows
you to operate outside the purview
of due process on land that isn’t
technically US soil, but is under
our control.
DONALD RUMSFELD
That sounds delicious!
WAITER
And there is a very fresh and
delicious War Powers Act
interpretation, which gives the
executive branch broad power to
attack any country or person that
might possibly be a threat. Finally
for desert we have the fact that
under the unitary executive theory
if the President does anything it
makes it legal. In other words you
can do whatever the fuck you want.
So which would you like gentlemen?
DICK
We’ll have them all.
WAITER
Excellent choice.
They hand the Waiter their menus.
PAUL WOLFOWITZ
Look Dick, we’ve been using focus
groups and advertising executives
to help us sell this war on terror.
INT. FOCUS GROUP ROOM - DAY
FOCUS GROUP LEADER, 34, an upbeat woman talks to a DOZEN
AMERICAN MEN AND WOMEN OF MIXED AGES.
FOCUS GROUP LEADER
I do want to reiterate, we are
still being recorded and there
still may or may not be clients
behind the door.
INT. HIGH PRICED GOURMET RESTAURANT - NIGHT
PAUL WOLFOWITZ
These guys are pretty sharp.
78.
RUMSFELD
There’s a problem. The results show
that people are confused.
INT. FOCUS GROUP ROOM - DAY
FOCUS GROUP LEADER
So you’re saying you support the
President and you hate terrorism,
but you’re confused. Can you tell
me why?
A 60 YEAR OLD MAN in a football jersey answers.
60 YEAR OLD GUY
Don’t we just have to get Osama bin
Laden? He did it. So why are they
calling it a war? A war with who?
19 YR OLD GIRL in a half tee raises her hand.
FOCUS GROUP LEADER
Thank you Mark. Yes Jasmine?
19 YR OLD GIRL
I don’t get what this Al Qaeda is.
Are they a country? Why can’t we
just bomb them?
FOCUS GROUP LEADER
Interesting. Who else isn’t
entirely sure what Al Queda is?
Most hands go up.
ON SCREEN: These focus groups happened in February 2002. They
were overseen by the Pentagon and headed by PR and Marketing
execs.
FOCUS GROUP LEADER (CONT’D)
Would it be less confusing if it
was a country?
60 YEAR OLD GUY
Damn right. I’m angry as hell. We
gotta fuck someone up.
FOCUS GROUP LEADER
Really strong feelings from Mark,
I’m interested. Who agrees with
this statement?
79.
Most hands go up.
CUT TO:
INT. GOURMET RESTAURANT - CONTINUOUS
PAUL WOLFOWITZ
They know we’re at war but they
don’t understand against who.
RUMSFELD
They want a country. It’s simpler.
Cleaner.
ADDINGTON
That would certainly help us
legally.
Beat.
DICK
Looks like it’s time to take Iraq.
They all smile and laugh.
SCORE: GIANT ORCHESTRAL PIECE
166 INT. OVAL OFFICE - LATER 166
Cheney talks with W Bush.
DICK
It’s called the Office of Special
Plans. Tenet is not yet serious
enough about the threat Saddam
poses in the GWOt, or global war on
terror. But I can promise you this
intelligence group will be.
W BUSH
I’ve been wanting to take that
motherfucker Saddam down for a long
time.
167 INT. PENTAGON - THE OFFICE OF SPECIAL PLANS - DAY 167
A half dozen of Cheney’s people work at desks, reading and
writing at the OFFICE OF SPECIAL PLANS: WILLIAM LUTI, DOUGLAS
FEITH, ABRAM SHULSKY, and Paul Wolfowitz barking out orders.
80.
DOUGLAS FEITH
I’ve got something! Here’s a report
that Mohamed Atta one of the
hijackers may have met with an
Iraqi spy in Prague.
Scene 28 - The Consensus for War
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 8
WOMAN
Wait, we can’t just bomb people.
GUY IN HIS SIXTIES
Give me a break!
INT. PENTAGON - THE OFFICE OF SPECIAL PLANS - DAY
DOUGLAS FEITH
It’s from Czech intelligence and
they question its credibility...
PAUL WOLFOWITZ
I’ve been to Prague. They question
everything.
(to the room)
Who wants to be an “unnamed
source?”
DOUGLAS FEITH
Make sure to get in the phrase “we
don’t want the smoking gun to be a
mushroom cloud.” It focus grouped
through the roof!
INT. LIVING ROOM - DAY - SEPT 8 2002
Condi Rice is being interviewed by Wolf Blitzer.
CONDI RICE
The problem with Saddam is that
there will always be uncertainty
about when he will acquire nuclear
weapons. But we don’t want the
smoking gun to be a mushroom cloud.
CUT TO: SNIPPETS OF CSPAN, CNN, ABC, CBS. Various Politicians
across party lines supporting the war on Iraq.
JEFF SESSIONS (SOT)
(on TV)
..whether it’s a smoking gun or a
mushroom cloud.
81.
CHENEY
(on TV)
There is no question that Saddam
Hussien has Weapons of Mass
distruction.
BILL O’REILLY (SOT)
(on TV)
We gotta get rid of this dictator.
He’s got anthrax. He’s got all
these weapons.
REP. MIKE PENCE
(on TV)
And not if, but when, Saddam uses
weapons of mass destruction, what
will we tell the American People.
SEN. HILLARY RODHAM CLINTON (SOT)
(on TV)
Saddam Hussien will increase his
capacity to wage biological and
chemical warfare.
PM TONY BLAIR (SOT)
(on TV)
..we will stand up for what we know
to be right. To show that we will
confront the tyrannies and
dictatorships and terrorists who
put our way of life at risk.
TV CLIP FROM SURVIVOR
JEFF PROBST (SOT)
The tribe has spoken.
CUT TO:
Scene 29 - Tensions in the Oval Office: The Push for War
- Overall: 8.5
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
The President, Rove, Condi, George Tenet, Hughes, Powell,
Cheney and Rumsfeld are all talking about the war.
KAREN HUGHES
Polling for an invasion of Iraq is
at 53%. Focus groups show people
still aren’t sure about a
connection between Saddam and Al
Qaeda.
82.
POWELL
France and Germany have said they
won’t join the coalition. Neither
will Israel.
Cheney is quiet.
W BUSH
We went to the wall together. We
prayed together. Israel is one of
our closest allies.
RICE
They said an invasion of Iraq would
destabilize the region, Sir. And
they don’t view Saddam as an
immediate threat.
W BUSH
That’s not good. I really want a
strong coalition for this.
KARL ROVE
I have an idea. Secretary Powell
has the highest trustworthy ratings
of any of us. What if he gave an
address to the U.N. and the
American people to push this over
the finish line?
COLIN POWELL
Karl, I’ve been very vocal, very
vocal, about my reservations about
invading Iraq.
RUMSFELD
Oh Colin, you’re such a nervous
Nellie.
COLIN POWELL
We’re talking about invading a
sovereign nation without
provocation Don!
RUMSFELD
Oh, sovereign nation...
COLIN POWELL RUMSFELD (CONT'D)
What about the intelligence. Oh come on! You know you’re
Has anybody thought about the wrong, you’re just a chicken
intelligence? You break it, shit.
you bought it. You break it,
you bought it!
83.
GEORGE W
Hey, hey, hey, alright. Let’s slow
down. That’s enough of that guys.
Dick is next to W across the room. He speaks to him quietly.
DICK
Are you going to take Saddam down
or not. You’re the President. War
is yours. Not the U.N. Or some
coalition. Do not share powers that
are yours alone.
After a quarter beat W turns back to the group.
GEORGE W
George, make sure Powell sees the
intelligence. Colin I want you to
make that speech. I’m the President
and I want this to happen!
COLIN POWELL
Yes, sir. I look forward to being
briefed on that intelligence.
GEORGE TENET
On another note, I’ve been handed a
credible report that there’s a
small terrorist enclave in
Northeastern Iraq. If we’re going
to invade we recommend taking it
out before.
RUMSFELD
Let it go, George, we have bigger
fish to fry.
Dick pulls Tenet aside.
DICK
Excuse me George. May I see that
intelligence?
GEORGE TENET
Of course.
FREEZE: as the report is handed to Cheney.
84.
NARRATOR (V.O.)
That classified document described
a terrorist named Abu Musab Al-
Zarqawi who had started as a drug
dealer and pimp before becoming
fully radicalized in a Jordanian
prison.
EXT. AFGHANISTAN - AL QAEDA BASE - DAY
Zarqawi walks toward OSAMA BIN LADEN. They sit and talk.
NARRATOR
Zarqawi went to meet Bin Laden in
Afghanistan. But Zarqawi had vowed
to kill all Shia Muslims and Bin
Laden's mother was Shia, so the
meeting didn’t go well
INT. CIA CONFERENCE ROOM - DAY
Cheney and Scooter Libby talk to a female CIA ANALYST, 28.
DICK
Did he or did he not meet with Al
Qaeda?
FEMALE CIA ANALYST
They had no operational contact.
DICK
Hogwash.
INT. WHITE HOUSE WEST WING HALLWAY - DAY
Powell storms down the hallway holding some papers. He stops
COLONEL WILKERSON, 57, Powell’s Chief of Staff at State.
COLIN POWELL
Larry have you read this speech?!
LAWRENCE WILKERSON
Yes. It’s beyond thin. I saw five
pieces of disproved intel in there.
COLIN POWELL
Who wrote it?
85.
LAWRENCE WILKERSON
They claimed it was from the
President but I think you can guess
who really wrote it.
INT. SCOOTER LIBBY’S OFFICE - DAY
Scooter on the phone.
SCOOTER LIBBY
There’s no need to yell Larry. Yes,
we reviewed the speech and gave
some notes...
David Addington enters and silently listens.
DAVID ADDINGTON
Powell really doesn’t have a clue
does he?
Scene 30 - Contrasting Realities: The Prelude to War
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Zarqawi and some of his followers clean their guns and talk.
NARRATOR (V.O.)
After the US invaded Afghanistan
Zarqawi set up shop in Iraq. It was
the only connection Cheney had
between Al Qaeda and Iraq, and
Cheney made sure Zarqawi’s name was
all over Powell’s speech.
INT. U.N. GENERAL ASSEMBLY - DAY
Actual VT: Joschka Fischer, German Foreign Minister,
addresses the General Assembly.
JOSCHKA FISCHER
The Security Counsel will now begin
its consideration of item 2 of the
agenda. I now call the
distinguished Secretary of State of
the United States Mr. Colin Powell.
COLIN POWELL
My purpose today is to share with
you what the United States knows
about Iraq's weapons of mass
destruction as well as Iraq's
involvement in terrorism...
86.
INT. SMALL ROOM - IRAQ - SAME TIME
Zarqawi and five other TERRORISTS watch Powell on a laptop.
POWELL
(on TV)
Iraq today harbors a deadly
terrorist network headed by Abu
Musab Zarqawi, an associate and
collaborator of Osama Bin Laden and
his Al Qaeda lieutenants.
NARRATOR (V.O.)
Powell’s UN Address was seen by
millions of Americas. But other
people were watching as well.
POWELL
(on TV)
Zarqawi's activities are not
confined to this corner of
Northeast Iraq.
NARRATOR (V.O.)
The great general of America saying
his name over and over again
immediately made Zarqawi a star.
ZARQAWI
Allah Akbar!
NARRATOR (V.O.)
Within a day he had gone into
hiding.
OTHER TERRORISTS
Allah Akbar! Allah Akbar!
INT. U.N. GENERAL ASSEMBLY - CONTINUOUS
POWELL
...an Al-Qaeda source tells us that
Saddam and bin Laden reached an
understanding that Al-Qaeda would
no longer support activities
against Baghdad.
NARRATOR (V.O.)
By the time we invaded Iraq 70% of
Americans thought that Saddam
Hussein was involved in 9/11.
Powell shuffles his papers.
87.
NARRATOR (V.O.)
Later Colin Powell would call the
speech the most shameful moment of
his life.
POWELL
Thank you.
FADE TO BLACK:
INT. DINING ROOM - NIGHT
Dick Cheney, Lynne, Liz, Philip, Mary and her girlfriend
Heather eat a LAVISH FISH DINNER with the grandkids. They
laugh and talk over each other.
MARY
It was Kelly. And the Justin
DICK
What are you talking about?
MARY
American Idol.
LIZ
You’ve watched it. You’ve seen it.
MARY LIZ (CONT'D)
We watched it at your house. I watched it sitting next to
you.
LIZ (CONT’D)
The singing and mean judge.
DICK
Oh, I like him.
Everyone is drinking and laughing
DICK (CONT’D)
How do you stop a fish from
smelling?
LIZ DICK (CONT'D)
I don’t know. You cut off his nose.
LYNNE
Ok, we aren’t going to revisit your
father’s colorful conversation.
CUT TO:
88.
EXT. BAGHDAD - MARCH 20, 2003- NIGHT
STOCK FOOTAGE: The skyline of Baghdad explodes with rockets.
INT. OVAL OFFICE - WHITE HOUSE
W Bush talks to camera addressing the nation.
W BUSH
My fellow citizens, at this hour,
American and coalition forces are
in the early stages of military
operations to disarm Iraq, to free
its people and to defend the world
from grave danger. On my orders,
coalition forces have begun
striking selected targets of
military importance to undermine
Saddam Hussein's ability to wage
war. These are opening stages of
what will be a broad and concerted
campaign. To all of the men and
women of the United States armed
forces now in the Middle East, the
peace of a troubled world and the
hopes of an oppressed people now
depend on you.
W Bush’s leg bops up and down nervously under the desk.
INT. APARTMENT IN BAGHDAD - SAME TIME
An IRAQI FAMILY cowers under a table. The Father’s leg also
bounces up and down.
EXT. BAGHDAD - SAME TIME
POV VT FEED: A CRUISE MISSILE HITS THE APARTMENT BUILDING
Scene 31 - Irony of Triumph and Tragedy
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
US SOLDIERS run alongside a tank. Bodies burning in the
street.
MONTAGE - EXT. IRAQ -DAY
A CROWD OF IRAQIS pull down the statue of Saddam and put an
American flag over his head.
89.
EXT. AIRCRAFT CARRIER - APRIL 9, 2003 - DAY
ACTUAL VT: WIDE SHOT: W BUSH lands on the aircraft carrier in
his flight suit (STOCK FOOTAGE/HEAD REPLACEMENT).
EXT. VAST WYOMING FIELD - DAY
Lynne, Dick, Liz, Philip, Mary, Heather, RIDE ACROSS A FIELD
ON HORSES IN MODERN WESTERN GARB. They stop and pose in a
line. We FREEZE. It is magnificent.
EXT. TAILGATE - DAY
PUMPED UP AMERICANS with USA caps and beer, chant to camera.
AMERICAN TAILGATERS
USA! USA! USA!
EXT. IRAQ - DAY
Kurt the Narrator talks to us into a video camera.
NARRATOR
Hi. Seems like they’ve been
shipping men and equipment out of
Afghanistan and into Iraq. And at
the moment we’re a little unsure of
what’s going on. I don’t want you
to worry about me.
EXT. AIRCRAFT CARRIER - APRIL 9, 2003 - DAY
ACTUAL VT: W BUSH speaks from a podium. (STOCK FOOTAGE/HEAD
REPLACEMENT).
W BUSH
Ladies and Gentlemen... Major
Combat operations in Iraq have
ended. In the Battle of Iraq, the
United States and our allies have
prevailed.
INT. RUMSFELD’S OFFICE - DAY
Cheney, Rumsfeld, Wolfowitz and TWO GENERALS meet.
GENERAL #1
We have concerns over Halliburton
KBR’s billing practices.
(MORE)
90.
GENERAL #1 (CONT'D)
As you know, the no-bid contracts
they received were quite sizable
and now-
RUMSFELD
Well, we’re not concerned. Are we?
DICK
Not at all.
WOLFOWITZ
The Secretary of Defense and the
Vice President just said they’re
not concerned. Now can we please
talk about Iran?
EXT. TEXAS SKY - DAY - 2006
Birds fly across a late morning Texas sky.
We hear a SHOTGUN BLAST AND A SCREAM. Tilt down to reveal a
lawyer, 78, HARRY WHITTINGTON with blood all over his face.
It is a hunting group: PAMELA WILLEFORD, Cheney, holding a
smoking gun, a RANCH HAND, SECRET SERVICE AGENTS and OTHERS
sitting in town cars parked across from the hunting blind.
NARRATOR
To this day, Dick Cheney has never
apologized for this incident.
KATHERINE ARMSTRONG, late 50’s and her sister run up.
KATHERINE ARMSTRONG
Jesus Dick..
CU OF AN EMPTY BEER CAN.
NARRATOR (V.O.)
But, someone else did.
CUT TO:
TV SCREEN: BREAKING NEWS MSNBC - DAY
HARRY WHITTINGTON
My family and I are deeply sorry
for all that Vice President Cheney
and his family have had to go
through this past week. We send our
love and respect to them.
(MORE)
91.
HARRY WHITTINGTON (CONT'D)
And we hope he will continue to
come to Texas and seek the
relaxation that he deserves.
INT. CHENEY’S OFFICE - DAY
Cheney and Scooter look at the famous Op-ed in the NY Times
by Joe Wilson questioning the yellowcake intel.
DICK
This Joe Wilson asshole is
questioning our intelligence in the
New York Times? What’s his wife’s
name?
SCOOTER LIBBY
Valerie Plame. I confirmed it.
She’s undercover CIA.
DICK
Leak it...
SMASH CUT TO:
“ONE YEAR LATER”
EXT. ROAD OUTSIDE OF BAGHDAD - DAY - 2004
A road near some Iraqi apartments. A CONVOY OF AMERICAN
HUMVEES MAKES THEIR WAY DOWN THE ROAD. Two SOLDIERS, 19 AND
29 sit in the front of one of the vehicles.
SOLDIER #1
Okay, okay, like... they don’t care
about their dogs. They’ll shoot em,
let em run wild... What kind of
people don’t love a dog?
SOLDIER #2
People in India love cows. They
would look at us and how we treat
cows and think the same thing.
SOLDIER #1
Captain, with all due respect that
is some liberal ass scratchin
bullshit if ever I’ve heard it-
EXPLOSION GOES OFF UNDER THEIR FRONT WHEEL.
92.
The vehicle is thrown up in the air. QUICK FLASH OF THE YOUNG
SOLDIER DEAD, HIS RIGHT HALF BLOWN CLEAN OFF.
INT. WHITE HOUSE HALLWAY - DAY
Rumsfeld, holding a piece of paper in his hand, walks with a
head of steam towards the Vice President’s office. He walks
right past his SECRETARY.
RUMSFELD
Linda-
Scene 32 - The Consequences of Power
- Overall: 8.5
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Rumsfeld bursts in. Cheney and Scooter are there.
RUMSFELD
Look at this crap.
DICK
Hello Don.
RUMSFELD
That report says Zarqawi, the same
fucking Zarqawi we talked up for
months, is leading a major
insurgency in Iraq. And the
implication is it’s because we
talked him up!
He hands Cheney a CIA CLASSIFIED BRIEFING. Flashes of words
“building insurgency” “Zarqawi” “using former Iraqi Military”
“Zarqawi” and once again, “Zarqawi.”
DICK
Has POTUS seen this?
RUMSFELD
No I intercepted it before it got
across the hallway.
Libby is now reading it.
SCOOTER LIBBY
This is generated by an analyst.
DICK
Get me Tenet. This stops here.
93.
XT. WIDE CITY VIEW OF BAGHDAD - DAY - 2004
THE ANCIENT CITY LOOKS NORMAL, with traffic, and yes, a
military presence but still, fairly hum drum.
NARRATOR (V.O.)
Abu Musab Al-Zarqawi had taken his
fame from Powell's UN speech and
taken it into his own new thing.
An explosion erupts in the distance. We hear sirens.
NARRATOR (V.O.)
The Islamic state of Iraq and
Levant, or ISIS.
Another explosion in the distance. More sirens.
NARRATOR (V.O.)
And because that intelligence
somehow found itself on the bottom
of a stack of papers, Zarqawi had a
whole year to do whatever the hell
he wanted.
INT. BRITISH SUBWAY CAR - DAY - 2005
We pan off a blood stained and blackened wall of a subway car
and down to the floor where a blood smear from a body being
dragged makes it way across the floor. There is a briefcase
with scattered papers, a purse, a child’s lunch box and shoe
and a severed hand laying about.
NARRATOR
And what he wanted was carnage.
We follow the smear down the aisle and out to the door where
it meets the platform and becomes dirt and blood mixed
together. We see the legs of 2 POLICE OFFICERS IN THE
BACKGROUND.
NARRATOR (V.O.)
Shia versus Sunni, the West versus
Islam and death versus life.
EXT. SADDAM HUSSEIN’S PALACE - BEDROOM - DAY
Next to a giant bed, a shelf full of dusty VHS tapes of
American movies.
94.
NARRATOR (V.O.)
And on top of that US forces
couldn't find any WMD's or nuclear
programs in Iraq.
Pan past copies of RED HEAT, TURNER AND HOOTCH etc.
NARRATOR (V.O.)
Turns out that Saddam and his son's
mostly liked cocaine and American
movies from the 80's.
INT. SENATE FLOOR - DAY - JUNE 2004
Cheney walks through the crowded Senate floor, shaking hands.
SNIPPETS OF NEWSCASTERS (V.O.)
Vice President Cheney is being sued
by Valerie Plame and her husband
Joseph Wilson.... The White House
announced four cabinet
resignations...
A Dem Senator PATRICK LEAHY, 60’s approaches him.
PATRICK LEAHY
Hey Dick. I hope there’s no hard
feelings about us investigating the
no-bid Iraq contracts for
Halliburton. Just doing my job.
Cheney turns to him with his crooked smile.
DICK
Go fuck yourself.
EXT. NATIONAL’S BALL PARK - DAY
Dick Cheney, wearing a Nationals jacket comes exits the
dugout to throw out the first pitch.
The crowd boos Cheney.
ANNOUNCER (V.O.)
Dick Cheney low and outside with
that pitch.
Scene 33 - Power Struggles and Ironic Fates
- Overall: 9.2
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
An AIDE walks down a long hallway as we hear snippets of
news, radio and pundits.
95.
NEWS SNIPPETS (V.O.)
Some nations accusing Bush and
Cheney of war crimes... There is a
chorus of people calling for Dick
Cheney to step aside and resign.
The AIDE reaches the end of the hallway, knocks on a door.
RUMSFELD (O.C.)
Go away!
The Aide turns and walks away.
SAME TIME
Cheney is on the phone in his study. Cut back and forth.
RUMSFELD
I wanted a clean phone line so I’m
in an empty office. Listen, if we
can just get an air bombardment in
Iraq, it’ll make a statement and
give us political cover-
DICK
It’s over Don.
RUMSFELD
What’s that?
DICK
It’s over. The President wants you
to step down. He appreciates your
service.
Beat.
RUMSFELD
Does Bush’s kid want me out or do
you?
Beat.
DICK
I can’t win every fight Don.
RUMSFELD
You are a little piece of shit.
Beat.
96.
RUMSFELD (CONT’D)
Wow, how did you become such a cold
son of a bitch.
DICK
I’m sorry Don. I really am.
RUMSFELD
You know how I know you’re not?
(beat)
Because I wouldn’t be.
Beat.
RUMSFELD (CONT’D)
Do you think they’ll prosecute us?
Long beat.
DICK
...Okay then.
RUMSFELD
Okay then.
Rumsfeld hangs up.
EXT. WEST FRONT LAWN OF THE CAPITOL - JAN 20, 2009
THE INAUGURATION OF BARACK OBAMA. Cheney, in a wheelchair,
and W Bush walk out for the ceremonial changing of power
(STOCK FOOTAGE/HEAD REPLACEMENT).
CUT TO:
EXT. SUBURBAN STREETS - DAY
Our NARRATOR jogs while talking to camera.
NARRATOR
A few years later, Dick’s heart
trouble started up again. With no
donor available, he finally found
himself at death’s door.
INT. GEORGE WASHINGTON UNIVERSITY HOSPITAL - DAY
Cheney, looking very thin is in a hospital bed with Mary, Liz
and Lynne around him. A DOCTOR is there.
97.
DOCTOR
I wish I had better news. Your
heart just isn’t pumping enough
oxygen to keep his vital organs
alive. Should I call for a
Minister?
LYNNE
No. He’s not going anywhere. Dick
Cheney you are not going anywhere,
do you hear me?!
DICK CHENEY
(raspy)
This may be the one time I can’t do
what your Mother says.
The family laughs while crying.
MARY
I love you Daddy.
LIZ
We love you so much...
DICK
I love my girls...
Lynne comes over to Dick and they share a quiet moment
together.
EXT. SUBURBAN STREET - DAY
Our NARRATOR, continues jogging.
NARRATOR
Dick Cheney told his family he was
ready to die and that he wasn’t
afraid. He told them he had lived a
full life. And he had zero regrets
about the choices-
A CAR HITS THE NARRATOR IN A CROSS WALK. Throwing him with a
bone crushing thud onto the hard macadam of the street. BLOOD
POOLS BEHIND HIS HEAD.
QUICK CUTS: 1) A HEART BEING PUT ON ICE IN AN ORANGE COOLER.
2) A MEDICAL HELICOPTER TAKING OFF 3) A SURGICAL ROOM BEING
PREPPED.
98.
INT. SURGICAL ROOM - DAY
Cheney is wheeled into the surgical room.
INT. MORGUE - SAME TIME
The NARRATOR WITH CROSS HATCHED STITCHING ACROSS HIS CHEST,
nude, lays on a morgue slab.
NARRATOR
(to camera)
They say my heart could give him
another ten years. Cheney doesn’t
like to refer to it as someone
else’s heart, he likes to refer to
it as his NEW heart. And even
though I’m dead, it still makes me
feel pretty shitty.
A helicopter lands on the roof of the hospital. A doctor runs
with a cooler.
Scene 34 - Legacy and Division
- Overall: 8.5
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
The SURGEON AND TEAM make an incision in Cheney’s chest.
NARRATOR (V.O.)
And so, when Liz decided to run for
one of Wyoming two senate seats
against Republican incumbent Mike
Enzi, our Dick was right there to
hopefully see the Cheney legacy of
power continue.
INT. CHENEY’S LIVING ROOM - DAY
CU of a phone. We hear a RECORDING OF MAN’S VOICE coming
through the receiver.
RECORDING (SOT)
Are you aware Wyoming Senate
candidate Liz Cheney supports gay
marriage? Her sister is married to
a woman and Liz refuses to support
a constitutional amendment banning
same sex marriage. Don’t you agree,
Wyoming deserves a Senator who
believes marriage is between a man
and a woman.
Liz, in tears puts down the phone.
99.
LIZ CHENEY
(in tears)
These calls went to every house in
Wyoming. Every single house. I
will never win! What are we gonna
do?
INT. SURGICAL ROOM - CONTINUOUS
The Surgeon has the chest spreader out and opens up Cheney’s
chest, revealing his heart.
INT. NEWS STUDIO - DAY
Liz being interview by male news anchor.
MALE NEWS ANCHOR
We’re joined here today by Liz
Cheney who is running for the
Senate from the state of Wyoming.
According to one poll she is behind
by double digits. Welcome.
LIZ CHENEY
Thank you for having me here Chris.
And may I point out there are other
polls that have me much closer.
MALE NEWS ANCHOR
Your opponent Senator Mike Enzi
claims you support gay marriage. In
part because you support your gay
sister’s union with her wife. How
do you respond?
LIZ CHENEY
Let me make this very, very clear:
I do not support gay marriage. I
believe marriage is between a man
and a woman.
MALE NEWS ANCHOR
But you’ve always claimed gay
marriage is a state issue. Your
opponent claims this is an
equivocation.
INT. CHENEY’S TV ROOM - VIRGINIA - NIGHT
Cheney and Lynne watch. Cheney is silent.
100.
LYNNE
I think she’s coming off very well.
INT. MARY CHENEY'S HOME - THE NEXT DAY
Mary is on the phone with Heather behind her. Their
children’s toys scattered on the floor.
MARY
(in tears)
I know Liz wouldn’t have done this
without you and Dad didn’t approve.
I can’t believe you would do this.
I really thought there was a limit
to politics..
INT. CHENEY’S VIRGINIA HOME - SAME TIME
Lynne is on the phone.
LYNNE
No now you’re just being
hysterical. I can’t talk to you
when you get this way. You need to
settle down.
Dick sits in the background.
INT. SURGICAL ROOM - CONTINUOUS
The Surgeon removes Cheney’s heart. We see Cheney on the
table. A hole where the heart should be. Even the Surgeon
takes a beat to take in the image.
QUICK CUTS SHOWING:
1) A Soldier’s body in a casket as a group of soldiers
salute. 2) Bodies burning in the streets of Iraq. 3) Rumsfeld
alone in the Pentagon basement office. 4)George W standing
alone thinking. 5) A solider taking a thumbs up photo with a
dead Iraqi. 6) Focus Groups raising their hands. 7) A news
office reporting of various stories. 8) Stills of Americans
yelling. 9) Kids in American cages.
INT. SURGICAL ROOM - CONTINUOUS
A heart is placed in Cheney’s chest.
CUT TO:
101.
INT. CHENEY’S LIVING ROOM - DAY
Liz waits for Dick’s response to the push poll about her
sister.
LIZ
DAD?...
Lynne looks at Dick...who after a beat, NODS “DO IT.”
INT. MARY’S HOME - DAY
Mary’s wife rubs her back as she cries.
QUICK CUTS/STILLS SHOWING:
1)Iconic Crying Border Girl 2) Cops pulling guns on a group
of black teenagers 3)High school graduates being arrested. 4)
Alex Jones from INFO WARS 5) A family praying 6) Dick walking
out to fish.
EXT. WYOMING LAKE SIDE - DAY
Push into the trees til we focus on one tree with an aged
worn carving in it of a HEART WITH: DICK + LYNNE
INT. SURGICAL ROOM - CONTINUOUS
We hear a heart monitor beeping.
NURSE
Patient’s heart rate is stable.
Blood pressure increasing...
Pan to the side table where CHENEY’S OLD HEART SITS, SCARRED
FROM IT’S MANY HEART ATTACKS AND TWICE THE SIZE OF A NORMAL
HEALTHY HEART.
“Lynne and Dick split time between their home in Wyoming and
Virginia.”
“In 2016, Liz was elected as Wyoming’s sole representative to
the House of Representatives.”
“Mary Cheney was asked in 2015 whether she and Liz had mended
their relationship. She replied, “I don’t have to answer
that.””
CUT TO BLACK:
102.
Scene 35 - Defending the Unjustifiable
- Overall: 8.5
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
Camera crew surrounds Dick and Martha the interviewer.
MARTHA
Hello Mr. Vice President.
DICK
This must be the right place.
MARTHA
Nice to meet you.
DICK
Pleasure.
MARTHA
You can sit right there.
DICK
So is it gonna be just me on camera
or...
MARTHA
Primarily you. It’ll cut back to
me. Eddie’s got you on the “A”
camera. Me on the B.
OVER BLACK:
“4,550 US Soldiers were killed in the Iraq war with over
32,325 casualties. Suicide among American soldiers has
increased 31% since 2001.”
”More than 600,000 Iraqi civilians died as a result of the
war.”
“ISIS is responsible for the deaths of an estimated 150,000
civilians in Syria and Iraq with more than 2,000 murdered in
international terror attacks.
CUT TO:
INT. INTERVIEW ROOM
Camera crew surrounds Dick and Martha the interviewer.
Dick takes a drink of water.
MARTHA
Two-thirds of Americans say the
Iraq war is not worth fighting.
(MORE)
103.
MARTHA (CONT'D)
And their looking at the value
gained at the cost of American
lives. And Iraqi lives.
DICK
So?
Beat.
MARTHA
So...don’t you care what the
American People think?
DICK
No..uh...I think you can’t be, uh,
blown off course.
Dick struggles then turns to camera.
DICK (CONT’D)
I can feel your recriminations and
your judgement. And I am fine with
it. If you want to be loved, go be
a movie star. The world is as you
find it. And you gotta deal with
that reality. And there are
monsters in this world. We saw
3,000 innocent people burned to
death, by those monsters. And yet,
you object, when I refuse to kiss
those monsters on the cheek and
say, “pretty please.” You answer me
this, What terrorist attack would
you let go forward so you wouldn’t
seem like a mean and nasty fella? I
will not apologize for keeping your
families safe. And I will not
apologize for doing what needed to
be done, so your loved ones can
sleep peacefully at night.
Dick gets emotional.
DICK (CONT’D)
It has been my honor to be your
servant. You chose me and I did
what you asked.
CUT TO BLACK:
“In the years following the invasion of Iraq, Halliburton
stock rose 500%”
104.
“The Bush-Cheney White House claimed to have lost 22 million
emails, including millions that were written in the run up to
the Iraq war.”
“It was found that there were “Blackout” periods, when there
were no emails available from the office of Vice President
Cheney.”
“The memos Yoo wrote on torture and warrantless surveillance
give the President almost unlimited power under the unitary
executive theory.”
“These memos are in the Justice Department’s computers to
this day.”
“Any President can still cite them if he or she wishes.”
MUSIC: America from WEST SIDE STORY
CREDITS ROLL
THEN AFTER AWHILE THEY ARE INTERRUPTED BY A HASH AND A
CHANNEL CHANGE...
Scene 36 - Chaos in the Focus Group
- Overall: 8.5
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
Our FOCUS GROUP LEADER in front of the group again.
TERRI
Sorry to interrupt but Mark had
something he wanted to share...
Guy in the Bucs jersey (Mark).
MARK
Yeah, something’s been bothering me
this whole movie and I just figured
it out. This whole thing is
liberal. It’s got a liberal bias.
TERRI
Interesting. Does anyone else feel
this way?
Two other hands go up.
TURNER
This is all facts. I mean, they had
to vet all this, right?
MARK
You would say that, libtard!
105.
TURNER
So because I have the ability to
understand facts, that makes me a
liberal?
TERRI
Guys let’s lower our voices.
MARK
You probably like Killary!
TERRI
Let’s take it down a notch or two
ok?
TURNER MARK
Ok, first of all, Hillary’s Chicken shit!
not President! Ok, the
orange cheeto that you hired
is the President. And he’s
ruining the country that you
claim to love!
Mark lunges for Turner. The fight. People jump up and break
them apart. A Young Woman screams.
FAST AND FURIOUS GIRL
I can’t wait to see the new FAST
AND THE FURIOUS MOVIE. That looks
lit!
CUT TO BLACK:
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| dick cheney | Dick Cheney's character arc follows his transformation from a reckless young man to a powerful political figure. Initially driven by ambition and a desire for control, he faces various crises that challenge his decision-making and moral compass. As he navigates the complexities of power, Cheney evolves into a strategic leader who prioritizes national security and political influence, often at the expense of personal relationships and ethical considerations. His journey is marked by moments of introspection, where he grapples with the consequences of his choices and the impact on his family. Ultimately, Cheney's arc culminates in a realization of the sacrifices made for power, leaving him a conflicted figure who must reconcile his ambitions with the personal costs incurred along the way. | While Cheney's character arc effectively captures his transformation and the complexities of his personality, it may benefit from deeper exploration of his internal conflicts and moral dilemmas. The screenplay presents him as a decisive leader, but it sometimes lacks nuance in portraying the emotional toll of his decisions. Additionally, the balance between his personal and professional life could be further developed to enhance the audience's understanding of his motivations and struggles. The portrayal of his relationship with Lynne, while tender, could be expanded to show how it influences his choices and character development. | To improve Cheney's character arc, consider incorporating more scenes that highlight his internal struggles and the emotional consequences of his decisions. This could involve flashbacks or reflective moments that reveal his vulnerabilities and regrets. Additionally, enhancing the dynamics of his relationship with Lynne could provide a more profound emotional anchor for his character, showcasing how her support or disapproval shapes his actions. Introducing moments of doubt or moral questioning during critical decision-making scenes could add depth to his character, allowing the audience to empathize with his journey while grappling with the ethical implications of his choices. |
| dick | Dick Cheney's character arc follows his evolution from a flawed individual burdened by past mistakes to a resolute and determined leader who embraces his role in shaping national policy. Initially, he struggles with the ultimatum from Lynne and the weight of his decisions, showcasing vulnerability. As the story progresses, he becomes more ambitious and strategic, asserting his influence as Vice President and pushing for decisive action. However, he also faces internal conflict as he grapples with the consequences of his choices, leading to a climax where he must confront the moral implications of his actions. Ultimately, Cheney emerges as a complex figure who, despite his unwavering convictions, is left to reconcile his ambition with the personal cost of his decisions. | The character arc of Dick Cheney is compelling, as it captures the duality of his ambition and the emotional weight of his decisions. However, the arc could benefit from deeper exploration of his internal conflicts and the impact of his relationships on his choices. While the screenplay presents him as a determined leader, it sometimes lacks nuance in depicting the emotional consequences of his actions, which could enhance audience empathy and understanding of his character. | To improve the character arc, consider incorporating more scenes that delve into Cheney's personal relationships, particularly with Lynne, to highlight the emotional stakes of his decisions. Additionally, moments of introspection or dialogue that reveal his doubts and fears could add depth to his character. Introducing a pivotal moment where he must choose between ambition and moral integrity could serve as a powerful turning point, allowing for a more profound transformation and resolution by the end of the screenplay. |
| lynne cheney | Lynne Cheney's character arc begins with her as a supportive and proud wife, fully invested in Dick's political career. As the story progresses, she faces challenges that test her emotional strength, including moments of vulnerability and shared grief. Lynne evolves into a more assertive and influential figure, stepping up during Dick's health crisis and taking on a more prominent role in political advocacy. By the end of the screenplay, she emerges as a protective matriarch who balances family loyalty with political ambitions, showcasing her resilience and unwavering support for her family amidst adversity. | While Lynne Cheney's character is well-developed and multifaceted, her arc could benefit from deeper exploration of her internal conflicts and personal ambitions outside of her role as a supportive wife. The screenplay presents her as a strong figure, but it occasionally leans too heavily on her supportive nature without fully delving into her individual desires and struggles. This could lead to a more rounded portrayal that resonates with audiences on a deeper level. | To improve Lynne Cheney's character arc, consider incorporating scenes that highlight her personal aspirations and challenges, separate from her relationship with Dick. This could include moments where she confronts societal expectations of women in politics or instances where she must make difficult choices that prioritize her own values. Additionally, showcasing her interactions with other female characters could provide a richer context for her character, allowing her to mentor or support others while also navigating her own journey. This would create a more dynamic and relatable character that audiences can connect with on multiple levels. |
| rumsfeld | Rumsfeld's character arc begins with him as a confident and influential figure, driving the narrative with his decisive actions and strong opinions. As the story progresses, he faces increasing challenges and conflicts, particularly with Cheney, which forces him to confront his own beliefs and strategies. His initial enthusiasm for military action gives way to skepticism and frustration as events unfold, leading to a sense of urgency and a struggle against the status quo. Ultimately, Rumsfeld's arc culminates in a confrontation with his own limitations and a recognition of his downfall, leaving him bitter and defiant as he grapples with the consequences of his decisions. | While Rumsfeld's character is well-defined and compelling, his arc could benefit from deeper emotional exploration. The screenplay presents him as a powerful figure, but it lacks moments that reveal his vulnerabilities or internal conflicts in a more nuanced way. His confrontational nature is established, but the audience may not fully understand the motivations behind his stubbornness or the emotional toll of his decisions. Additionally, the character's descent into bitterness could be more impactful if it were tied to specific events or relationships that highlight his struggles. | To improve Rumsfeld's character arc, consider incorporating flashbacks or moments of introspection that reveal his past experiences and motivations. This could provide context for his assertive demeanor and resistance to change. Additionally, introducing a personal relationship or mentor figure could create opportunities for emotional conflict and growth, allowing the audience to see a more vulnerable side of Rumsfeld. Finally, showcasing the consequences of his decisions on those around him could enhance the stakes and make his eventual downfall more poignant. |
| david addington | Throughout the screenplay, David Addington begins as a staunch legal advisor, confident in his beliefs and methods. As the narrative progresses, he faces moral dilemmas and the consequences of his legal justifications, leading him to question the ethical implications of his actions. By the end, he experiences a transformation where he must reconcile his loyalty to Cheney with the broader implications of his legal decisions, ultimately leading to a more nuanced understanding of justice and accountability. | While David Addington's character is well-defined as a confident and assertive legal advisor, his arc could benefit from deeper emotional exploration. The screenplay presents him primarily as a legal strategist without fully delving into his internal conflicts or the personal stakes involved in his decisions. This could make him feel more relatable and complex, rather than a one-dimensional figure driven solely by loyalty and legalism. | To improve David Addington's character arc, consider incorporating moments of vulnerability where he grapples with the moral implications of his legal strategies. Show interactions with other characters that challenge his views, prompting self-reflection. Additionally, introducing a personal backstory that connects his motivations to his actions could enhance audience empathy and understanding. This would create a more dynamic character who evolves in response to the unfolding events, rather than remaining static in his beliefs. |
| scooter libby | Throughout the screenplay, Scooter Libby begins as a loyal aide who primarily supports Cheney, displaying unwavering dedication and efficiency. As the narrative progresses, he faces increasing pressure and moral dilemmas that challenge his loyalty and ethical boundaries. By the climax, Libby must confront the consequences of his actions and decisions, leading to a moment of self-reflection where he questions the cost of his loyalty. Ultimately, he emerges with a deeper understanding of the complexities of power and responsibility, evolving from a mere supporter to a more nuanced character grappling with the implications of his role in the administration. | While Scooter Libby's character arc presents an interesting journey from loyalty to self-reflection, it risks being overshadowed by the dominant narrative of Cheney. The screenplay could benefit from more depth in Libby's internal conflicts and motivations, as his character currently serves more as a supporting role rather than a fully realized individual. Additionally, the stakes of his decisions could be heightened to create a more compelling transformation. | To improve Scooter Libby's character arc, consider incorporating more scenes that delve into his personal beliefs and values, allowing the audience to connect with his internal struggles. Introducing moments of doubt or conflict with Cheney could add complexity to his loyalty. Additionally, showcasing the impact of his decisions on his personal life or relationships outside of his role could provide a richer narrative. Finally, a more pronounced climax where Libby must make a pivotal choice could enhance the emotional weight of his transformation. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Emotional Tone Boosts Impact | Scenes with 'Emotional' in the tone consistently achieve high Emotional Impact scores (9 or 10), suggesting that the author intuitively uses emotional descriptors to amplify audience engagement, but this could be leveraged more in non-emotional scenes to maintain consistency. |
| Reflective Tones and Pacing Dips | While most reflective-toned scenes maintain strong conflict and stakes, scene 20 stands out with lower scores in Conflict (3), High Stakes (2), and Move Story Forward (5), indicating that introspective moments might unintentionally slow the narrative pace; the author may want to ensure these scenes still advance the plot subtly. |
| Humorous Tones Enhance Dialogue | Scenes featuring humorous, satirical, or sarcastic tones (e.g., scenes 9, 17, 22) correlate with higher Dialogue scores (8 or 9), revealing the author's strength in witty writing during lighter moments, which could be a signature style to emphasize in character interactions for added depth. |
| Informative Tones Lower Emotional Depth | Tones like 'Informative' or 'Historical' (seen in scenes 5, 12, 17, 22) are associated with reduced Emotional Impact scores (6-7), pointing to a potential blind spot where expository content overshadows emotional resonance; integrating more character-driven elements could make these scenes more compelling. |
| Conflict Drives Character Evolution | A strong positive correlation exists between Conflict and Character Changes scores, with high-conflict scenes (e.g., 23-26) often scoring 8-9 in both, indicating that the author effectively uses tension to foster character growth, but scenes with lower conflict (like 20) show less change, suggesting opportunities to tie quieter moments to ongoing development. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong ability to blend personal drama with political intrigue, showcasing the writer's skill in crafting engaging dialogue and complex character dynamics. The use of humor, tension, and moral dilemmas adds depth to the narrative, making it compelling and thought-provoking. However, there are opportunities to enhance character development, pacing, and the overall structure of the screenplay.
Key Improvement Areas
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Save the Cat!' by Blake Snyder | This book provides valuable insights into crafting compelling screenplays, focusing on structure and character development, which can enhance the writer's overall storytelling techniques. |
| Screenplay | Study 'The West Wing' scripts by Aaron Sorkin | These scripts are known for their sharp dialogue and character dynamics, offering a model for writing engaging political drama and enhancing the writer's dialogue skills. |
| Video | Watch interviews with political leaders during crises | Observing real-world decision-making under pressure can provide insights into character motivations and dynamics, enriching the authenticity of the writer's political narratives. |
| Exercise | Practice writing dialogue exchanges that reveal underlying tensions and power dynamics between characters.Practice In SceneProv | This exercise will help refine the writer's ability to convey complex character relationships and conflicts through dialogue, enhancing emotional impact. |
| Exercise | Write monologues for each character to explore their internal thoughts and motivations.Practice In SceneProv | This exercise will deepen character development and enhance the authenticity of character interactions, allowing for richer storytelling. |
| Exercise | Create a scene outline using the three-act structure to improve pacing and narrative flow.Practice In SceneProv | This exercise will help the writer focus on the overall structure of their screenplay, ensuring that each scene serves a purpose in advancing the plot and character arcs. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| The Big Short | Both narratives explore the inner workings of powerful figures during pivotal moments in American history, using a mix of humor and drama to depict the consequences of their actions. Like Cheney's story, 'The Big Short' highlights the complexities of financial systems and the moral ambiguities of those who manipulate them. |
| Vice | This film directly portrays the life of Dick Cheney, similar in structure and tone to the screenplay summary. It uses dark humor and a non-linear narrative to explore Cheney's rise to power and the impact of his decisions on American politics, paralleling the themes of ambition and moral compromise. |
| W. (2008) | Oliver Stone's biopic about George W. Bush shares a similar narrative style, focusing on the personal and political life of a controversial figure. Both stories delve into the complexities of leadership and the relationships that shape political decisions, particularly in the context of the Iraq War. |
| The West Wing | This television series offers a dramatized look at the inner workings of the White House, similar to the screenplay's depiction of Cheney's time in office. Both narratives explore political maneuvering, the dynamics of power, and the personal lives of those in high office, often blending humor with serious political commentary. |
| Fahrenheit 9/11 | Michael Moore's documentary critiques the Bush administration's response to 9/11 and the Iraq War, paralleling the screenplay's exploration of Cheney's role during these events. Both works highlight the political machinations and ethical dilemmas surrounding the War on Terror. |
| House of Cards | This political drama series features a ruthless protagonist who manipulates his way to power, akin to Cheney's portrayal in the screenplay. Both narratives examine the dark side of political ambition and the lengths individuals will go to achieve their goals. |
| All the President's Men | This film about the Watergate scandal shares themes of political intrigue and the consequences of power. Both stories highlight the secretive nature of political operations and the impact of personal decisions on national events. |
| The Trial of the Chicago 7 | This film explores the complexities of political activism and government response, similar to the screenplay's examination of Cheney's actions during crises. Both narratives reflect on the moral implications of political decisions and the struggle for justice. |
| The Ides of March | This political thriller delves into the ethical dilemmas faced by campaign staffers, paralleling the moral complexities faced by Cheney and his team. Both stories highlight the interplay between personal ambition and political integrity. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| The Rise and Fall | The screenplay chronicles Dick Cheney's rise to power, detailing his early life, political maneuvers, and eventual influence in the White House, followed by his decline in public perception and health. | This trope involves a character's ascent to power followed by a significant downfall, often due to their own actions. An example is Michael Corleone in 'The Godfather,' who rises to power in the mafia but ultimately faces tragic consequences. |
| The Anti-Hero | Dick Cheney is portrayed as a complex character who makes morally ambiguous decisions, often prioritizing power and control over ethical considerations. | An anti-hero is a central character who lacks conventional heroic qualities, often engaging in morally questionable actions. An example is Walter White in 'Breaking Bad,' who transforms from a sympathetic character to a ruthless drug lord. |
| The Power Behind the Throne | Cheney is depicted as the influential figure operating behind the scenes, manipulating events and decisions while appearing to be in a secondary role. | This trope involves a character who wields significant power without holding the official title. An example is Frank Underwood in 'House of Cards,' who orchestrates political maneuvers from the shadows. |
| The Tragic Flaw | Cheney's ambition and desire for control lead to personal and political consequences, illustrating his tragic flaw. | A tragic flaw is a character trait that leads to the downfall of the protagonist. An example is Oedipus in 'Oedipus Rex,' whose hubris leads to his tragic fate. |
| The Family Dynamic | The screenplay explores the relationship between Dick and Lynne Cheney, highlighting their support and conflicts throughout his political career. | This trope examines the complexities of family relationships, often showcasing support, conflict, and loyalty. An example is the relationship between the Bluth family in 'Arrested Development,' which is filled with both love and dysfunction. |
| The Political Satire | The screenplay employs humor and irony to critique political events and figures, particularly Cheney's actions and decisions. | Political satire uses humor to criticize political figures and policies. An example is 'Veep,' which humorously portrays the absurdities of political life. |
| The Flashback | The screenplay frequently uses flashbacks to provide context for Cheney's character development and decisions. | Flashbacks are used to reveal important backstory and character motivations. An example is 'Lost,' which often uses flashbacks to explore characters' pasts. |
| The Unlikely Friendship | Cheney's relationships with figures like Donald Rumsfeld illustrate unexpected alliances formed in the pursuit of power. | This trope involves characters forming bonds despite differences, often leading to surprising outcomes. An example is the friendship between Sherlock Holmes and Dr. Watson in 'Sherlock Holmes.' |
| The Consequences of Power | The screenplay highlights the impact of Cheney's decisions on both personal and global scales, illustrating the far-reaching consequences of political power. | This trope explores how power affects individuals and society, often leading to unintended consequences. An example is 'The Godfather,' which shows how power corrupts and affects family dynamics. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| The Insidious Accumulation and Abuse of Power | The screenplay meticulously details Dick Cheney's ascent from a young lineman to Vice President, highlighting his strategic maneuvering, utilization of crises (like 9/11), and the expansion of executive authority, particularly through the Unitary Executive Theory and 'UNODIR' orders. The narrative showcases how power is consolidated through legal interpretations, control of information, and strategic alliances, often bypassing democratic checks and balances. | This theme explores how individuals, particularly in government, actively seek, consolidate, and wield power. It delves into the mechanisms by which power is accumulated and the subsequent impact on governance and society, often portraying this accumulation as clandestine and manipulative. | ||||||||||||
Strengthening The Insidious Accumulation and Abuse of Power:
| ||||||||||||||
| Moral Ambiguity and Justification | The screenplay presents characters, especially Cheney and his allies, rationalizing morally questionable actions. This includes redefining torture as 'enhanced interrogation,' justifying preemptive wars based on questionable intelligence, and manipulating legal frameworks. The narrative questions the justifications offered for these actions, exposing the underlying self-interest and pursuit of power. | This theme examines the blurred lines between right and wrong, particularly when individuals in positions of authority face difficult decisions. It explores how people justify their actions, often to themselves and others, even when those actions have negative consequences, highlighting the subjective nature of morality in high-stakes environments. | ||||||||||||
| The Manipulation of Truth and Information | The film illustrates how information is selectively used, distorted, or fabricated to shape public opinion and policy. Examples include the use of focus groups to craft messaging on the 'death tax' and 'global warming,' the questionable intelligence regarding WMDs in Iraq, and the deliberate leak of Valerie Plame's identity. The narrative critiques the weaponization of information in political discourse. | This theme focuses on how information is controlled, distorted, or misrepresented to influence perceptions and outcomes. It highlights the deliberate efforts to shape narratives, suppress dissent, and create a desired reality through propaganda, selective disclosure, or outright falsehoods. | ||||||||||||
| The Corrosive Nature of Power on Individuals | The screenplay depicts how power can transform individuals, hardening them and potentially eroding their empathy. Cheney's early life shows glimmers of his potential, but his ascent in politics seems to solidify a more ruthless and calculating persona, particularly evident in his pragmatic approach to crisis and his perceived lack of regret. | This theme investigates the psychological and personal impact of holding significant power. It explores how power can alter an individual's character, values, and relationships, often leading to a detachment from consequences or a growing sense of entitlement and invincibility. | ||||||||||||
| Consequences and Reckoning | While the screenplay often portrays Cheney seemingly unburdened by regret, the narrative also hints at consequences. These include public scrutiny, legal challenges (Valerie Plame affair), and the ultimate societal divisions and lasting impacts of the policies enacted. The focus group scene at the end also suggests a societal debate and potential future reckoning. | This theme deals with the repercussions of actions, both intended and unintended. It examines how choices, particularly those made in pursuit of power or policy, eventually lead to outcomes that can be positive or negative, and how individuals or societies respond to these consequences. | ||||||||||||
| Personal Ambition vs. Public Service | The screenplay contrasts Cheney's personal ambition with the idealized notion of public service. His calculated moves and prioritization of political advantage over genuine public good suggest that personal ambition is the driving force behind his career, rather than a desire to serve the nation. | This theme explores the conflict between an individual's personal aspirations for success, recognition, or advancement, and the ethical responsibility to act in the best interests of the public. It questions the true motivations behind public figures' actions. | ||||||||||||
| Family Legacy and Sacrifice | The screenplay shows the impact of political life on the Cheney family, particularly his daughters. The decision against a presidential run to protect Mary from attacks, Liz's political aspirations and campaign struggles, and the family's private moments all illustrate the personal sacrifices made and the legacy being built or defended. | This theme examines the influence of family on an individual's life and decisions, especially when those decisions involve high stakes. It explores how family relationships, pressures, and legacies can shape choices and create emotional complexities. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by a sharp, witty, and often darkly humorous blend of sharp dialogue, insightful narration, and a keen eye for the absurdities and ruthlessness of political power. This voice manifests in concise yet evocative scene descriptions, dialogue that crackles with subtext and reveals character motivations and power dynamics, and a narrative style that often interweaves personal moments with grand political machinations. There's a distinct ability to balance high-stakes drama with moments of levity, creating a tone that is both critical and engaging. |
| Voice Contribution | The writer's voice contributes significantly to the overall mood, themes, and depth of the screenplay by injecting a satirical edge that highlights the manipulation and self-interest often present in politics. It deepens characterization by revealing their complexities through sharp dialogue and internal reflections, and it effectively underscores the thematic exploration of power, ambition, morality, and the consequences of political decisions on both a national and personal level. The consistent use of this voice creates a cohesive and impactful viewing experience. |
| Best Representation Scene | 9 - Opportunistic Ambitions: The Rise of Cheney and Rumsfeld |
| Best Scene Explanation | Scene 9 best showcases the author's unique voice due to its potent blend of dark humor, sharp dialogue, and incisive commentary on political ambition and manipulation. The scene's satirical tone, evident in Cheney and Rumsfeld capitalizing on political chaos and the humorous suggestion of an absurd metaphor for bold action, perfectly captures the writer's ability to dissect the ruthless machinations of power with wit. The concise yet evocative narrative descriptions further enhance the tension and complexity of the characters' motivations, making it a quintessential example of the writer's distinctive style. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay demonstrates a high level of originality by intertwining personal narratives with historical events, particularly focusing on the life and political career of Dick Cheney. The use of unique perspectives on well-known political figures and events, along with the incorporation of humor, satire, and emotional depth, contributes to a compelling and fresh narrative. The screenplay effectively blends factual accuracy with imaginative dialogue and character interactions, creating a rich tapestry of political intrigue and personal drama.
- Most unique situations: The most unique situations in the screenplay are the satirical presentation of legal concepts as menu specials in a gourmet restaurant, the symbolic representation of Cheney's heart surgery intercut with Liz Cheney's Senate campaign struggles, and the chaotic focus group scene that culminates in a physical altercation over political bias, showcasing the absurdity of contemporary political discourse.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a moderate level of unpredictability through its exploration of complex political dynamics and personal relationships. While certain historical events are well-known, the screenplay's unique character perspectives and emotional arcs create moments of surprise and tension. The intertwining of personal and political narratives, along with unexpected character decisions, contributes to an engaging and unpredictable viewing experience, particularly in how it addresses the consequences of political actions on personal lives.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals evolve from a youthful need for validation and control to a more complex struggle for power and moral clarity in the political arena. Over time, these internal goals manifest as desires to maintain authority, cope with personal crises, and assert one's legacy amidst ethical dilemmas. |
| External Goals | The protagonist's external goals progress from seeking initial influence and position within the political landscape to making critical decisions during crises. These goals culminate in attempts to assert control over national security, political narratives, and public perception in the wake of significant events, such as 9/11. |
| Philosophical Conflict | The overarching philosophical conflict centers on Authority vs. Accountability, exploring the balance between the necessity of holding power to make decisive actions and the moral implications of those actions in a democratic society. |
Character Development Contribution: As the protagonist navigates these internal and external conflicts, they undergo significant development from a morally ambiguous figure wielding power to one who grapples with the consequences of their actions, ultimately revealing vulnerabilities and a complex legacy.
Narrative Structure Contribution: The progression of the protagonist's goals and conflicts intricately weaves through the narrative, creating a structure that embodies rising tensions, crises, and eventual decisions that drive the plot toward a climax and resolution centered on power dynamics and moral dilemmas.
Thematic Depth Contribution: The interplay of internal and external goals, along with the philosophical conflicts, enriches the thematic depth of the screenplay, examining the cost of power, the struggle for validation, and the ethical implications of decisions made in the name of national security.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a multifaceted physical environment that spans various locations and time periods, from the rugged, natural landscapes of 1960s Wyoming (e.g., vast fields, roadside bars, and lakes) to the iconic, institutional settings of Washington D.C. (e.g., the White House, Capitol Building, and underground bunkers). It also includes military and war zones (e.g., Afghanistan's mountains, Iraq's deserts, and Pentagon hallways), domestic spaces (e.g., homes, hospitals, and kitchens), and other settings like high-end restaurants, focus groups, and international sites. This diversity creates a contrast between rural simplicity and urban complexity, symbolizing the evolution from personal hardship to global power struggles, and emphasizes the physical isolation or intensity of key events like 9/11 and the Iraq war.
- Culture: Cultural elements in the screenplay reflect a blend of American traditions, political ideologies, and social dynamics across decades. It portrays a culture of rugged individualism and revelry in 1960s Wyoming, shifting to conservative political ambition and media influence in the 1970s-2000s, with references to events like the Watergate scandal, the rise of Fox News, and post-9/11 patriotism. Family values, gender roles, and personal relationships are highlighted, such as Lynne Cheney's frustration with traditional expectations and the family's handling of Mary's sexuality. Cultural motifs include dark humor in dangerous work environments, the normalization of political manipulation, and the use of propaganda to shape public opinion, illustrating a society grappling with power, loyalty, and moral ambiguity.
- Society: The societal structure is predominantly hierarchical and power-driven, featuring elite political circles, military chains of command, and familial dynamics. It shows how individuals navigate positions of authority (e.g., Cheney's rise from lineman to Vice President), with elements like lobbying, think tanks, and congressional maneuvers emphasizing ambition and control. Societal shifts are depicted, such as the impact of historical events (e.g., 9/11, Iraq war) on public perception and policy, and the contrast between rural communities and urban elites. This structure underscores themes of inequality, where access to power enables manipulation and decision-making that affects the masses, while personal relationships reveal the human cost of societal expectations.
- Technology: Technology in the screenplay evolves with the eras, starting with basic 1950s-1960s elements like jet planes, cars, and power lines, and advancing to 2000s innovations such as laptops, surveillance tools, teleconferencing, and intelligence systems (e.g., during 9/11 and the Iraq war). Symbolic uses include solar panels representing environmental shifts and communication devices facilitating secretive operations. Technology is often portrayed as a tool for control and crisis management, highlighting its role in enabling or concealing political actions, with minimal focus in personal scenes to emphasize emotional dynamics.
- Characters influence: The world's elements profoundly shape the characters' experiences and actions, particularly Dick Cheney's trajectory from a troubled youth in Wyoming's harsh physical environment to a master of political intrigue in D.C.'s power structures. The cultural and societal hierarchies drive his ambition, fostering a reliance on loyalty and manipulation, as seen in his adoption of the Unitary Executive Theory and handling of crises like 9/11. Technology influences his decision-making by providing tools for secrecy and control, while personal settings expose vulnerabilities, such as family conflicts over sexuality and health issues, compelling characters to adapt and make morally complex choices that reflect their environments.
- Narrative contribution: These world elements contribute to the narrative by creating a chronological and thematic progression that mirrors Cheney's life and the historical events he influences. The contrasting physical environments and cultural shifts build tension and contrast, driving the plot from personal struggles to global consequences, such as the transition from a Wyoming bar fight to White House decision-making during 9/11. Societal and technological aspects facilitate key plot points, like the use of think tanks and media to justify the Iraq war, enhancing the biographical structure and highlighting how individual actions intersect with broader historical forces to propel the story forward.
- Thematic depth contribution: The world elements deepen the screenplay's thematic exploration of power, secrecy, and the human cost of ambition. The physical and cultural contrasts underscore themes of moral ambiguity and transformation, showing how environments shape ethical decisions, such as Cheney's embrace of torture and war. Societal hierarchies and technological tools amplify themes of manipulation and accountability, illustrating the dangers of unchecked authority and the erosion of democratic norms. Overall, these elements enrich the narrative's critique of American politics, emphasizing the personal toll of public life and the long-term consequences of decisions made in secrecy, adding layers of irony, tragedy, and reflection on the nature of power.
central conflict
The central conflict revolves around Dick Cheney's rise to power and the moral and ethical implications of his decisions during pivotal moments in American history, particularly surrounding the events of 9/11 and the Iraq War.
primary motivations
- The pursuit of power and influence within the U.S. government.
- A desire to protect national security and respond decisively to perceived threats.
- Personal ambition and legacy building.
catalysts
- The 9/11 attacks, which create a national crisis and provide an opportunity for Cheney to assert his influence.
- The political landscape post-9/11, which allows for aggressive military action and the redefinition of executive power.
- The rise of terrorism and the subsequent fear that drives public and political support for war.
barriers
- Public opinion and skepticism regarding the justification for the Iraq War.
- Internal conflicts within the Bush administration regarding military strategy and foreign policy.
- Legal and ethical challenges surrounding the use of torture and surveillance.
themes
- The moral ambiguity of power and the consequences of political decisions.
- The impact of fear on governance and public policy.
- The personal versus the political, particularly in the context of family and legacy.
stakes
The stakes include national security, the lives of soldiers and civilians, the integrity of the U.S. government, and Cheney's personal legacy.
uniqueness factor
The story uniquely blends personal biography with historical events, providing a critical lens on the intersection of individual ambition and national policy.
audience hook
The exploration of a controversial political figure's life and decisions, particularly in the context of significant historical events, engages viewers interested in politics and history.
paradoxical engine or bisociation
The paradox lies in Cheney's portrayal as both a protector of national security and a figure associated with controversial and destructive policies, creating a complex character that challenges traditional notions of heroism and villainy.
paradoxical engine or bisociation 2
The bisociation can also be seen in the juxtaposition of Cheney's personal life and his political actions, highlighting the tension between his familial relationships and his ruthless pursuit of power.
Pass / Consider / Recommend Analysis
Grok
Executive Summary
- The screenplay masterfully opens with high-stakes tension on 9/11, immediately establishing Cheney's opportunistic mindset and the theme of power grabs amid chaos, setting a tone of urgency and satire. high ( Scene 1 Scene 2 )
- Cheney's character arc from a drunken failure to a resolute power player is richly developed through pivotal confrontations with Lynne, highlighting themes of ambition and partnership. high ( Scene 4 Scene 16 )
- Innovative narrative devices like the fourth-wall-breaking narrator and freeze-frames provide incisive commentary on overlooked political forces, making complex history accessible and engaging. high ( Scene 2 Scene 21 )
- The surreal 'menu' scene satirizes legal manipulations around torture and war powers, blending dark humor with critique to underscore the screenplay's thematic boldness on executive overreach. medium ( Scene 27 )
- The ending interview sequence delivers a powerful, unapologetic climax that reinforces Cheney's arc and invites audience reflection, tying themes of legacy and regret into a provocative close. high ( Scene 35 )
- Montages of 1970s-1980s political shifts feel somewhat rushed and superficial, compressing key historical context without fully exploring Cheney's internal growth during these periods. medium ( Scene 11 Scene 12 )
- Powell's UN speech and its aftermath could benefit from more nuanced emotional fallout for Powell's character, as his arc feels somewhat sidelined post-event. medium ( Scene 30 )
- The family rift over Liz's campaign introduces tension but resolves too abruptly, lacking deeper exploration of long-term relational impacts on the Cheneys. low ( Scene 34 )
- Some satirical elements, like the Shakespearean soliloquy, risk alienating viewers if not balanced, potentially disrupting immersion in more serious dramatic moments. low
- The focus group epilogue cleverly meta-comments on bias but could be tightened to avoid feeling like an afterthought, ensuring it reinforces rather than extends the narrative. low ( Scene 36 )
- Deeper exploration of international perspectives or civilian impacts in Iraq/Afghanistan beyond quick cuts, to humanize the global consequences of Cheney's policies. medium
- More insight into Cheney's personal vulnerabilities post-9/11, such as private doubts or family strains, to add layers to his otherwise stoic arc. medium ( Scene 20 )
- Extended development of secondary characters like Rumsfeld or Powell, whose motivations and downfalls are introduced but not fully resolved in relation to Cheney's influence. low
- A clearer bridge between Cheney's 'retirement' phase and his VP return, to avoid the false ending feeling like a narrative feint without sufficient setup. low ( Scene 14 )
- Subtler handling of the narrator's relation to Cheney (revealed late), which could be foreshadowed earlier for greater emotional payoff. low
- The narrator's introduction as a relatable everyman ties personal stakes to historical events, enhancing thematic accessibility. high ( Scene 2 )
- Energy policy scenes cleverly foreshadow Iraq oil interests, weaving economic motives into the political narrative. medium ( Scene 23 )
- The torture memo sequence uses graphic intercuts to visceral effect, balancing satire with horror to critique legal ethics. high ( Scene 26 )
- Ending with a chaotic focus group mirrors real-world polarization, providing a timely, meta-commentary on media and politics. medium ( Scene 36 )
- Recurring motifs like fishing symbolize Cheney's patient, predatory ambition, adding subtle visual poetry to the character study. low
- Emotional Nuance in Antagonists The writer focuses heavily on Cheney's strategic mindset but underplays moments of genuine vulnerability or regret, such as in family scenes (e.g., sequence 34 with Mary and Liz), potentially making him one-note villainous rather than complex; this risks simplifying the human element in a story about moral ambiguity. medium
- Global Ramifications While U.S.-centric, the script glosses over non-Western viewpoints, like Iraqi civilians' experiences beyond quick cuts (e.g., sequence 31), missing opportunities to deepen the critique of imperialism. low
- None evident As a professional screenplay by an established director, there are no amateurish errors like inconsistent formatting, plot holes, or clunky exposition; the script's polish, from precise action lines to integrated V.O., reflects high-level craftsmanship. low
Gemini
Executive Summary
- Compelling and unconventional narrative structure, blending historical biopic with dark satire and breaking the fourth wall. high ( Scene general )
- Strong character development, particularly for Dick and Lynne Cheney, exploring their complex motivations and relationship. high ( Scene general )
- Masterful use of tension and suspense, especially surrounding pivotal events like 9/11 and the lead-up to the Iraq War. high ( Scene 1 Scene 24 Scene 29 Scene 30 )
- Sharp and witty dialogue, effectively balancing humor with the serious subject matter. medium ( Scene general )
- Insightful exploration of the political landscape and the influence of money and ideology on American policy. medium ( Scene 12 Scene 22 Scene 23 )
- The satirical elements, while effective, could be toned down in certain scenes to ensure the historical context remains clear. medium ( Scene general )
- The pacing could be tightened in some sections, particularly during montages or scenes with extensive exposition. low ( Scene 26 Scene 27 )
- Exploring the perspectives of characters beyond the Cheney inner circle could provide a more nuanced view of the events. low ( Scene general )
- Deeper exploration of the psychological impact of Cheney's decisions and actions on himself and those around him. medium ( Scene general )
- More explicit portrayal of the human cost of the Iraq War and the War on Terror, particularly on civilians and soldiers. medium ( Scene general )
- The use of the narrator's heart transplant as a metaphor for Cheney's legacy is both powerful and disturbing. high ( Scene 34 )
- The scene where Cheney tells Rumsfeld he's being fired showcases the ruthlessness and pragmatism of his character. high ( Scene 33 )
- The conflict between Cheney's political ambitions and his love for his daughter Mary adds an emotional layer to the narrative. medium ( Scene 14 Scene 34 )
GPT5
Executive Summary
- Powerful opening and recurring scenes that establish Cheney's strategic mindset: the bunker 9/11 sequence crystallizes motive, shows him seizing authority, and becomes a recurring thematic hinge. The script turns a real historical instant into a character-defining moment. high ( Scene 2 (INT. UNDERGROUND WHITE HOUSE BUNKER - 9/11 9:38AM) Scene 24 (INT. UNDERGROUND WHITE HOUSE BUNKER - 9/11 9:38AM) )
- Distinct narrative voice and meta devices—using Kurt as an everyman narrator, freeze frames, VT and direct address—give the film an immediate, conversational, and ironic personality that carries exposition and satire without becoming dry. high ( Scene 4 (INT. RUMSFELD’S OFFICE / NARRATOR INTRO) Scene 6 (INT. WHITE HOUSE HALLWAY / NARRATOR (Kurt) introduces himself) )
- Inventive visual metaphors and set-pieces (game-pieces, focus-group montages, the restaurant menu of legal options) translate complex political maneuvers into clear, cinematic moments—making policy feel like action and persuasion like weaponry. high ( Scene 21 (INT. OVAL OFFICE - GAME BOARD SEQUENCE) Scene 22 (INT. THINK TANK / FRANK LUNTZ FOCUS GROUPS) )
- Bracingly brave dramatization of legal rationales and moral inversions (Yoo/Bybee memos, 'enhanced interrogation')—these scenes show structural causality between theory and practice and dramatize legalese in memorable images. high ( Scene 26 (INT. OLC / JOHN YOO MEMOS AND TORTURE SEQUENCE) Scene 27 (INT. GOURMET RESTAURANT - 'MENU' OF LEGAL OPTIONS) )
- Strong, symbolic set pieces (the heart transplant, the narrator as donor) provide the screenplay with striking imagery that connects the personal and political — a recurring motif about ownership, legacy and bodily cost. medium ( Scene 34 (INT. SURGICAL ROOM / HEART TRANSPLANT) Scene 33 (INT. GEORGE WASHINGTON UNIVERSITY HOSPITAL / HEART TRANSPLANT SET-UP) )
- Tone inconsistency: the script oscillates between broad satire (absurdist jokes, caricature) and grave drama (torture, war, death) in ways that sometimes undermine emotional resonance. Certain comic beats (e.g., puppet-show gag, Shakespeare interlude) jar against scenes that require solemnity. Tightening tone transitions or rebalancing comedic moments would increase impact. high ( Scene 6 (INT. RAYBURN HOUSE OFFICE BUILDING / Rumsfeld introduction) Scene 18 (EXT. CRAWFORD RANCH / W and Cheney negotiation) )
- Supporting characters are underdeveloped: Lynne is often a foil/prop for Cheney's ambition (though she has strong moments), Mary’s arc (coming out and later estrangement) lacks sustained emotional exploration, and figures like Rumsfeld and Powell are sometimes flattened into caricature. Deepening one or two supporting arcs would give the story more emotional ballast. high ( Scene 12 (INT. CHRISTMAS PARTY / FAIRNESS DOCTRINE REPEAL) Scene 33 (INT. HOSPITAL / FAMILY DISCUSSIONS AROUND HEALTH) )
- Incomplete treatment of consequences: the screenplay dramatizes the decision-making and legal rationales well, but gives comparatively less sustained weight to the human cost in Iraq and to the long-term geopolitical consequences. The emotional and political aftermath feels narrated rather than lived in scenes. high ( Scene 29 (INT. OVAL OFFICE / PREPARATION FOR WAR) Scene 31-32 (EXT. IRAQ / INVASION MONTAGE & CONSEQUENCES) )
- Resolution/Accountability gaps: major threads (legal memos, Halliburton contracts, civilian costs, possible prosecutions) are signposted but not given dramatic closure — the film ends as an indictment but avoids dramatizing accountability or the legal/political reckoning, which leaves the audience with unanswered structural questions. medium ( Scene 33 (INT. PENTAGON / Rumsfeld confrontation & resignation) )
- Direct, grounded perspectives from Iraqi civilians or military that would humanize the war’s consequences are scarce. The script relies on montage and off-screen statistics rather than immersive scenes that show the war’s immediate human cost in depth. high ( Scene 31 (EXT. BAGHDAD - MARCH 20, 2003 - INVASION) )
- A stronger courtroom or investigatory confrontation later in the story (a hearing, trial, or more sustained political inquiry) would provide a cathartic counterpoint to the memos and policies which are shown earlier. The absence of such a set-piece weakens final accountability. high ( Scene 26 (INT. OFFICE OF LEGAL COUNSEL - OLC MEETING) )
- More nuance in countervailing voices: key figures who disagree (e.g., Powell, some Democrats) are present but not fully developed as moral/strategic foils. Expanding these perspectives would increase dramatic tension and prevent an overly single-minded portrait. medium ( Scene 12 (INT. CHRISTMAS PARTY / LYNNE & BUSH SR.) )
- A clearer emotional reconciliation or lasting consequence within Cheney’s family (particularly Mary and Liz’s relationship) is missing — the film hints at fractures but does not dramatize a decisive moment of reconciliation or repudiation that would pay off familial stakes. medium ( Scene 34 (INT. SURGICAL ROOM / HEART TRANSPLANT) )
- A more explicit thematic statement tying personal ambition, legal theory (the Unitary Executive) and the erosion of democratic checks would help. The script accomplishes this largely through montage and epigraphs; an added climactic scene that frames this thesis emotionally would be useful. medium
- Meta-narration and self-awareness: the script uses an everyman narrator (Kurt) and direct-to-camera devices to bracket the story, which makes big policy discussions feel rooted in ordinary experience. This device is repeated at beginning, middle and end and provides a consistent point-of-view anchor. high ( Scene 4 (NARRATOR INTRO) Scene 35 (INT. INTERVIEW ROOM / Epilogue interview) )
- Clear, memorable visual metaphors (game board, restaurant menu of legal options, focus groups) translate opaque policy into cinema—they are the screenplay's strongest storytelling tool for explaining complex systems quickly and dramatically. high ( Scene 21 (GAME BOARD OVAL OFFICE) )
- Use of real, historically charged moments as character-defining beats: the bunker scene functions as a moral fulcrum and the line about rules of engagement creates a through-line between fear and opportunity that propels Cheney’s choices. high ( Scene 24 (9/11 Bunker - 'you have authorization to shoot down any aircraft' exchange) )
- Dramatizing legal theory: rather than only reporting memos, the screenplay stages them—making abstract legal ideas (unitary executive, definitions of torture) feel like actionable plot devices, which is both narratively efficient and provocative. medium ( Scene 26 (OLC / Yoo memos and torture) )
- Bold symbolic beats: the heart transplant sequence (with the narrator as donor) is audacious and supplies a moral/poetic counterpoint to the machine-like pursuit of power — a memorable final image that fuses body and policy. medium ( Scene 34 (Heart transplant & narrator as donor) )
- Ideological bias The script takes a clear critical stance toward Cheney and his allies, which is a legitimate creative choice, but this creates blind spots: some opposition characters and complexities (e.g., Powell’s moral wrestling, public fears after 9/11, nuance in foreign counterparts) are not fully explored. Example: Colin Powell and George Tenet appear primarily to be corrected, rather than portrayed as interior antagonists with sustained screen time. high
- Lack of foreign/other perspectives Very little sustained screen time is given to Iraqi civilians, Afghan allies, or non-American points of view; the consequences of decisions are often represented via montage or statistics rather than grounded, human scenes. Example: the invasion (Seq 31) and insurgency (Seq 32) are covered narratively but not given immediate multi-scene human perspectives. high
- Emotional economy around family fallout The screenplay signals family fractures (Mary/Liz tension) and health crises but does not always give them the dramatic time to deepen; as a result, personal stakes sometimes feel subordinated to political mechanics. Example: Mary’s coming-out arc (Seq 12) and later estrangement (Seq 34) are powerful but undercut by underexplored scenes. medium
- Expository compression & info dumps The script frequently covers complex political and legal developments via montage or single-scene expositions rather than dramatizing them across sequences; this can sometimes feel like a 'show-and-tell' shortcut (e.g., multiple policy shifts are summarized in narrator VT rather than dramatized). Example: the legal consequences of the Yoo memos are explained but not litigated in a courtroom or congressional hearing. medium
- Occasional tonal whiplash Abrupt switches from slapstick or cartoonish satire (puppet-show gag, Shakespeare parody) to scenes of torture and death risk undermining the emotional truth of weightier moments. These jolts sometimes read as directorial bravado rather than organic tone shifts. high
- Reliance on montage to cover transitions Large chronological jumps covered with montage and title cards occasionally skip opportunities for character beats that would make developments feel earned. Example: Cheney’s transition into the Vice Presidency and the administrative build-out is heavily montage-driven. medium
Claude
Executive Summary
- The opening sequence and the scenes set during the 9/11 attacks effectively establish the tone and themes of the screenplay, highlighting Cheney's pragmatic and ruthless approach to wielding power in the face of a national crisis. high ( Scene 1 (VICE) Scene 2 (INT. UNDERGROUND WHITE HOUSE BUNKER - 9/11 9:38AM) )
- The scene between Dick and Lynne Cheney showcases the strong character development and the complex, nuanced portrayal of their relationship, which is a driving force throughout the screenplay. high ( Scene 4 (INT. LYNNE'S HOUSE - LIVING ROOM - SAME TIME) )
- The scenes depicting Cheney's efforts to expand the power of the executive branch, particularly through the use of the Unitary Executive Theory, are well-executed and provide insight into the character's motivations and the broader political context. high ( Scene 23 (INT. OFFICE OF THE VICE PRESIDENT - DAY) )
- The scenes set during the 9/11 attacks, particularly the interactions between Cheney and other key figures, are tense and well-paced, effectively conveying the gravity of the situation and Cheney's decision-making process. high ( Scene 24 (INT. UNDERGROUND BUNKER - WHITE HOUSE - THAT NIGHT) )
- The scenes exploring Cheney's use of legal loopholes and the development of enhanced interrogation techniques provide a chilling and thought-provoking examination of the ethical and moral implications of the administration's actions. high ( Scene 26 (INT. JOHN YOO'S OFFICE - DAY) Scene 27 (INT. HIGH PRICED GOURMET RESTAURANT - NIGHT) )
- The pacing in the scenes leading up to and during the 2000 election could be tightened to maintain the narrative momentum and avoid any potential lulls. medium ( Scene 8 (INT. FRANK ERWIN CENTER - AUSTIN - 2000 - DAY) )
- The portrayal of some characters, such as Colin Powell, could be more nuanced and complex, providing a more balanced perspective on the decision-making process leading up to the Iraq War. medium ( Scene 29 (INT. OVAL OFFICE - WHITE HOUSE) )
- The pacing and transitions between the scenes depicting the aftermath of the Iraq invasion could be improved to maintain the narrative flow and avoid any potential disruptions. medium ( Scene 30 (INT. TERRORIST TENT - MIDDLE OF NOWHERE - DAY) Scene 31 (EXT. IRAG DESERT - DAY - 2003) )
- The screenplay could benefit from a more in-depth exploration of the long-term consequences and impact of Cheney's actions, particularly in the aftermath of the Iraq War and the decline of his political influence. medium ( Scene 33 (INT. PENTAGON HALLWAY - DAY - NOVEMBER 2006) )
- The screenplay could delve deeper into the personal and familial dynamics within the Cheney household, particularly the tensions and conflicts surrounding Liz Cheney's political aspirations and the impact on her relationship with her sister, Mary. medium ( Scene 34 (INT. CHENEY'S LIVING ROOM - DAY) )
- The use of the narrator character, Kurt, provides a unique and engaging perspective on the events of the screenplay, offering a relatable and accessible entry point for the audience. high ( Scene 7 (INT. MIDDLE AMERICA HOME - 2011 - DAY) )
- The scenes depicting Cheney's strategic maneuvering to gain influence and control within the various branches of government are well-executed and provide insight into the character's political acumen. high ( Scene 22 (INT. HALLWAYS OF THE CAPITOL - DAY) )
- The final interview scene with Cheney provides a powerful and thought-provoking conclusion to the screenplay, allowing the character to reflect on his actions and the consequences of his decisions. high ( Scene 35 (INT. INTERVIEW ROOM) )
- Lack of nuance in character portrayals While the screenplay generally provides a strong and compelling portrayal of Dick Cheney, there are moments where the characterization of other key figures, such as Colin Powell, could be more nuanced and balanced. The screenplay could benefit from a more nuanced exploration of the motivations and perspectives of these supporting characters. medium
- Pacing issues in certain sections The screenplay occasionally struggles with pacing, particularly in the scenes leading up to and during the 2000 election, as well as the aftermath of the Iraq invasion. These sections could benefit from tighter editing and a more streamlined narrative flow. medium
DeepSeek
Executive Summary
- Strong character establishment showing Cheney's transformation from aimless youth to determined politician under Lynne's influence high ( Scene 1 (INT. ROAD SIDE BAR WYOMING - 1963 - NIGHT) Scene 4 (INT. LYNNE'S HOUSE - LIVING ROOM - SAME TIME) )
- Compelling depiction of 9/11 as a pivotal moment where Cheney recognizes and seizes opportunities for expanding executive power high ( Scene 2 (INT. UNDERGROUND WHITE HOUSE BUNKER - 9/11 9:38AM) Scene 24 (INT. UNDERGROUND WHITE HOUSE BUNKER - 9/11 9:38AM) )
- Innovative Shakespearean soliloquy that creatively dramatizes internal decision-making in a way that breaks conventional biopic structure medium ( Scene 16 (INT. CHENEY BEDROOM) )
- Effective use of creative metaphors (legal theories as menu items) to explain complex political concepts to audiences medium ( Scene 26 (INT. OFFICE OF LEGAL COUNSEL - CONFERENCE ROOM - A WEEK LATER) Scene 27 (INT. HIGH PRICED GOURMET RESTAURANT - NIGHT) )
- Strong resolution showing the personal and political consequences of Cheney's actions, including family conflicts and final justification high ( Scene 33 (INT. PENTAGON HALLWAY - DAY - NOVEMBER 2006) Scene 35 (INT. INTERVIEW ROOM) )
- The Shakespearean soliloquy, while creative, may be too stylistically jarring for some audiences and disrupts narrative flow medium ( Scene 16 (INT. CHENEY BEDROOM) )
- The final focus group scene feels somewhat heavy-handed in its political commentary and may alienate viewers seeking more nuanced analysis medium ( Scene 36 (INT. FOCUS GROUP ROOM - DAY) )
- Tonal inconsistency between satirical elements and serious historical drama can create narrative whiplash for viewers medium ( Scene Multiple sequences (Throughout) )
- Some supporting characters (particularly George W. Bush) are portrayed with broad strokes that border on caricature low ( Scene Multiple sequences (Throughout) )
- Lack of nuanced perspectives from political opponents or critics who could provide more balanced analysis of Cheney's actions medium ( Scene Throughout (General) )
- Limited exploration of the human impact of policy decisions on ordinary Iraqis beyond statistical mentions in final text cards medium ( Scene Multiple sequences (Iraq war sections) )
- Insufficient exploration of Cheney's internal moral conflicts or moments of doubt about his actions and decisions low ( Scene Throughout (General) )
- Innovative use of narrator who becomes part of the story (heart transplant donor) creates unique narrative perspective high ( Scene Multiple sequences (Throughout) )
- Creative visual representation of political power structures through game board metaphor effectively illustrates bureaucratic manipulation medium ( Scene 21 (INT. OVAL OFFICE - WHITE HOUSE) )
- Sharp satire of political messaging and focus group manipulation reveals how public opinion is shaped medium ( Scene 28 (INT. FOCUS GROUP ROOM - DAY) )
- Powerful visual metaphor of heart transplant surgery paralleling Cheney's moral and political transformation high ( Scene 34 (INT. SURGICAL ROOM - CONTINUOUS) )
- Political Bias The screenplay consistently portrays Cheney and his associates as calculating manipulators with minimal exploration of their genuine ideological convictions or alternative perspectives on national security. This creates a one-sided narrative that may limit audience engagement across political spectrums. medium
- Character Complexity While Cheney is well-developed, supporting characters like George W. Bush are often reduced to caricatures (the 'dumb son') rather than fully realized individuals with their own motivations and complexities. low
- Over-explanation Some scenes, particularly the focus group sequences, explicitly explain political messaging strategies rather than trusting the audience to understand the subtext through character actions and dialogue. low
- Tonal Inconsistency The abrupt shifts between serious historical drama and broad satire (like the Shakespearean scene) can feel jarring and suggest uncertainty about the intended audience experience. medium
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 32 | DICK: Go fuck yourself. |
| 4 | LYNNE: I’ve seen my Mother waiting up all night for my Father to come home. And I’ve seen him drunk in this house raising his voice and way worse, and I’m not dancing that dance anymore... I’m not! |
| 5 | DONALD RUMSFELD: Look, this is an opportunity. An opportunity to work in the halls of decision making for the most powerful country in the goddamn world. If that doesn’t give you a hard on I don’t know what will. |
| 18 | Dick: The Vice Presidency is a mostly symbolic job... |
| 8 | RUMSFELD: Don’t worry. I’m like bed bugs. You gotta burn the mattress to get rid of me! |