"THE GOOD SHEPHERD" (2006)

"l1IE. GOOD SHEPHERD"

We're looking at flowers. A flower arrangement in a VASE on a DRESSER. And we hear the soft sounds of breathing. And as we listen more closely we recognize the rhythm of the breathing as people making love. And we can see in the reflection of the dresser's MIRROR we're in a darkened BEDROOM. And just barely distinguishable we see a roung couple, a young White Man and a young Black Woman, in the shadows of the dark room, on a bed making love. The young Man's face hidden, lying in her naked arms like a child seeking succor .•• And as she holds him, comforting him, we can hear her whisper to him •••

And we look again at the innocent vase of flowers. And as we look more closely, down into the flowers, we see among them, inside a delicate !lower petal, a small bug ••• But this is a far different kind of bUg, much more sinister, much more deadly, •• An ELECTRONIC BUG. We look again at the DRESSER MIRROR. And we suddenly go behind the mirror into an ADJOINING APARTMENT. And we can see TWO MEN, wearing headphones, a tape-recorder turning, are watehing the couple in bed through a TWO-WAY MIRROR. And as they watch and listen to the whisperings of two people somewhere in the - world making love •••

And we're looking at a GREAT SAILING SHIP, with it. dark woods, and its huge sheets of sail, seemingly b-ding into a wind. And as the great ship se- to come aboUt, riding across one of the seven seas ••• suddenly a KAN'S HARD, holding a TWEEZER, c0111es into frame. And deftly, like a surgeon, be knots a piece of fine thread, securing the mainstay to the 111ast. •Things are not always as they s•-···"

"FRIDAY, Al'IUL 14, 1961.• And we see we're in a -11 suburban STUDY. A MAH in the first gray light of dawn, wearing a bathrobe, sitting at a desk, up all night working on tbe ship. In bis early fortiee, there's a sunken quality about hill ••• A man old before his time. It's as if be were drawn into himself, if we didn't pay close attention he would siaplI disappear. And yet there's a presence here, an intel igence, in the cheekbones, in the er••••• of his brow, in the scholar's eye-11asses, the short, but mussed hair. We'll come to know h1m as JAMES WILSON. And we can see on a shelf behind him the results of his handiwork his craftmansbip over the_years, a line of ships in bottles ••• A - man with a fine hand. He l¥oks down. And we see there's a PHOTOGRAPH on his desk ••• A grainy BLACK ANO WHITE PHOTOGRAPH of the young inter-racial COUPLE making love ••• He switches on a REEL-TO-REEL TAPE RECORDER.

There are the sounds of their intimate breathing. And then the sound of the WOMAN'S VOICE, whispering .•• "You are safe her• with me ... " And the tape runs out. He presses "Stop." He rewinds it. He plays it again ... And as he listens to the tape again ••• we closely watch him carefully pulling the pieces of the ship's delicate thread, flattening the ship's masts to the deck. And as he slowly, ever so slowly, starts to pass the ship through the mouth or a bottle, to eternally sail inside .•.

••• And something goes very wrong ••• A thread suddenly coming loose, the mast springing up before its time ••• And as the ship literally breaks apart in his hands ••.

We're looking at a traditional two story red brick COLONIAL on a typical suburban street. The front door opens. And Jaaes, wearing a raincoat, carrying a briefcase, comes out. He looks around, acutely aware of his surroundinqs ••. Re stops to lock the front door. And turning, he moves along the sidewalk, his feet echoing on the quiet suburban street ••• And we're struck by his posture, his shoulders I.Hint, head down, as if he were looking on the ground for somethinq he's lost. And even with his head down there's a sense he's always looking around, as it someone could be following him •• ,Re's - startled bf voices, singing. He turns. SOM school children, 1n yellow rain slickers, singing - they wait on a corner for th•ir school bus ••• He crosses the street to stand at a BUS STOP ••• Another Man, in a raincoat, briefcase in hand, just like him, waiting for a bus. The other Man says, •good morning •.. " James, with a hint of suspicion, nods "good morning ••• " They don't have to wait long, a city transit BUS pullin9 to a stop. James purposely lets the other -n qet on first ... And as he gets on the Bus after him •••

The Bus moving through the outskirts of a city. Despite the hour it's already filled with men in raincoats, with briefca.-. And we look for Jaa•s ••• But he's so indistinquishable, he seems to have disappearecS ••• And - find him, ffeing he's sitting by th• window next to a Kan reading a "N- York Times." Th•Y ride in silence. some ■maents and the Bua pulls to a stop. And the Man sitting next to hi• suddenly, surreptitiously, reaches under his arm handinq him a part of the newspaper, and taking up a briefcase, gets up, and gets oft the Bus. The Bus pulls off. JUIBS looks at the newspaper. It's opened to the CLASSIFIED'S ••• The PERSOlfALS .• He peers out his scholar's glasses at the listings ••• His eye stops at one ••• It reads; "Mother, is it safe to leave home ••• ?" And as we look at the words reflected in his glasses;

we see James, in his raincoat, carrying his briefcase, crossing a quiet Washington street. He crosses to one of the hundred non-descript gray stone government buildings that are in Washington. He goes through a door. And we see a small plaque by the door, an eagle with a banner and the radiating points of the compass .•• "The Central Intelligence Agency."

His shoes echoing on the tile floor, like a Magritte painting, he comes down a long empty corridor. And as he moves along the hallway we catch glimpses of people in their offices who work through the night ••• The eyes and -r• of America while we sleep. And James comes to the end of the corridor to an outer Office. And we see, built into the walls, are SAFES, seven of them, seven -ssive safes. He turns to an unmarked door with frosted glass with s111all black lettering, "No Exit," and into his office •••

A sparsely furnished, well worn, corner office, he hangs up his raincoat, turning with his briefcase to sit at a desk. A stacJc of co-uniques are waiting for him, the words "Very secret," "Most secret," stamped on them. He takes the n-spaJ?9r out of his briefcase. The "Personals." He bends over his desk, reading again ••• "Mother, is it safe to leave home ••• ?• The door opens. And a dark haired Man in his late forties, who looks to be ten years older than he really is, the light going out of his eyes, a llliln ~ho is defined by his loyalty, comes into the office. We'll come to know hi■ as RAY BROCCO. Me puts a duffel bag on Ja--• d-k, opening it, showing Ja•e• •oney ••• an awful lot of money •••

And the "Mother,• appellation, says as 11Uch about Ray as it does about Ja•as.

Ray nods. He starts to go •••

And he 9ives him the reel-to-reel tape and the grainy surreptitious black and white photograph •••

Ray nods, quickly turns and leaves. And it's 9uiet, James looking through the "Secret" coD1111uniques. He 1nstinctively looks up. And a fair-haired Man in his earlf forties still with a boyish smile, a smile that's become with the passing of time an odd fixture, is standing in the doorway. We'll come to know him as RICHARD HAYES. He comes to James' desk, bending, whispering to him, secret ••. A world of secrets ...

It's the words James has waited to hear. James looks up at him. And Richard smiles his secretive, "knowing• smile ...

They look at each other, and there's no love lost. Richard quickly turns and leaves, James watching him go ••• And Ray comes back in •••

RAY BJlOCCO (stops, enthusiastic) It's about ti-!

And the PHONE RINGS. Ray gets it •••

Ha hangs up.

- RAY BROCCO (cont'd)

The Tailor is calling about a new suit of clothes.

A match is suddenly lit. And we see a Man lighting a pipe, standing at a window looking outside. In his late sixties, with pale blue eyes, he's gone from graying, to gray, to white. We'll come to know him as tbe "Gentleman Spf," PHILIP ALLEN •.• And we see James, standing off behind him, in a large office ... They've known each other a long time. Too long. Philip motions him to a corner of the room ••• He turns on a radio. Music playing, covering their conversation •••

Philip nods •••

James doesn't say anything ••• -

And he turns off the radio, the meeting over; They look at each other, and James turns and leaves. And.as he comes through a RECEPTION AREA, on his way out, he can see in a reception MIRROR back into Philip Allen's Office •.. Philip Allen on the phone •.• And in the mirror's reflection he "READS" Philip Allen's lips ••.

And as James looks in the mirror in what we will discover is a "wilderness of mirrors ... "

"MONDAY, APRIL 17, 1961" The crack ot dawn. And we see J-es, in his raincoat, standing alone on an empty stretch of a Caribbean beach. Camus,' "The Stranger," comes to mind. And suddenly, we see armed, and grease-paint..d COMMANDOS, in c-ouflage fatigues, incongruous, running by bill, running down the beach to the water. And w.. see that a small flotilla of BOATS, military style landing craft, hav.. come out of the darkness toward the shore ••• The Co-ndos splashing through the sh•llow water, clambering onto the boats ••• The boats taking off, heading back out to ....... And a• James quietly st•nds en the beach in his r•incoat watching th.. flotilla move off, and the invasion of CUbll known as "The Bay of Pigs," begins •••

We see in silhouette a seemingly -pty CUban beach in a peaceful bay. And out of the darkness w.. •- a SHIP, the "Houston,• COMMANDOS crowded on the decJt, the first of the invasion force, approaching the remote Bay.

The 9%"ease-painted Co11111andoa, like Maori warriors, st•nd lookJ.ng at the silent, empty beach. They look at each other, smiling, " ••• A walk in the park." And there's the SOOND of an approaching AIRPLANE. They look up, CHEEIUJfC:, at the added prospect of air support. Their cheers are shortlived, a• suddenly, coming out of the dawning aJty, is a Cuban T-33 "Sea rury• fighter-bomber. The co-ndos dive for cover. And flying in low over the landing ship, the CUban plane fires lts rocltets. A rocJcet hits the "Houston" at the water line, tbe boat EXPWDING, sinking stern first. And as tbe cataatropbe known as the Bay or Pig• begins, and for all intents and purposes ends •••

And we see the beach is strewn with the r-ains of "La Brigada ••• ," and its miserably failed invasion. And we see the familiar bearded PRESIDENTE DE CUBA, walking among his Troops across the battlefield. A CUBAN DOCUMENTARY TEAM - films the historic event for posterity. And we see in BLACK ANO WHITE the historic documentary footage ot the young El President• congr•tulating his troops.

And in our movie we see coming alc~9 the beach, crossing to th• Presidente, a tailored Man in his late forties, wearing a raincoat •.• A man we'll come to know as PETRA SANXO. At his side is a TARTAR, his bodyguard, shadow. Petra and El PTesidente, s~eaking Sianish, shake hands. And El President• gives him a cigar, taking up one of his own, lighting th-, victory cigars. And as El Presidente talks to some of his soldiers, Petra stops to look out across the water ••• to what would be James, and the "west ... " A breeze ruffles his raincoat ... And as he looks out at the water, he says in Russian .••

And as the words seem to carry on the breeze, taken across the water •••

And we see James, hands in his raincoat pockets, standing at the shore, water lapping at his feet, looking out a=oss the water. And we see a CAR'S parked on an empty dirt road by the beach. Ray Brocco standing by the car, waiting for him ••• And there's a distant droning sound. J-•• turns. And a figure is c0111ing quiclcly along the beach. As it comes closer we••• it's a Man in goggles riding on a JIOTORCYCLE. He rides up to Ray. He says so-thing, and as quickly as he's come, rides back off. Ray crosses down to James. And - there's something Shakespearean, like the wise fool whispering in his master's ear •••

on the water ••• And as it comes closer, floating in on the tide, he ues it's a bloated body ••• A C011111andos BLOATED BODY ••• And •• James quietly watches the body rolling in on the waves like a bloody cork in the blue Caribbean ••• A breeze comes off the water, ruffling his raincoat ••• And as he turns as if he's heard a sound ••• There's the sudden sound of a KETTI..E DRUM •••

1'.NT. THE YALE THEATER CLUB, YALE, 1939 - DAY

An ORCHESTRA is playing. And we see a small crowded COLLEGE - THEATER.

And on a STAGE, on a replica of a quarterdeck of a ship, SAILORS are cleaning brasswork, splicing ropes, singing a rousing version of, "We sail the ocean blue, and the saucy ship's a beauty ••• !" "We are sober men and true and attentive to our duty ..• !" A production of Gilbert and Sullivan's light opera "H.M.S. PINAFORE •• " And there's a roar of good laughter, because coming onto the stage, literally bouncing onto the stage, is a tart, a buxom, redhaired young woman, a large basket of goodies on her arm. The lusty MISS. '3UTTERCUP. She flounce& around the deck, propositioning the Sailors, "selling• her wares .•• And she sings •••

And as she sings we see four fair-haired young Men, •Yalies," •the best and the brightest," one of tho ominously carryin9 a briefcase, coming into the back of the theater, standing in the shadows by the door .•• one of tho points out Miss Buttercu~---The Boys watchin9 her as she bounces around the stage, singing, "propositioning" the Sailors with her wares ••• And we see one of the Boys, a fair-haired Boy with a secretive, "knowing" smile, the Man who we've coae to know as RZCHARD HAYES, secretly go into the briefcase. He takes out a rolled docwaent wrapped with black ri~bon, and sealed in -- black wax, with a skull and crossbones embl-••• He shares a look with another Boy, a tall, fair, handsome young Man, with pale, unforgettable, blue eyes. A boy with the well bred self-confidence of an F. Scott Fitzgerald character. We'll come to know him as JORN RUSSEI.L ••• And as they watch Miss Buttercup fro■ the shadows •.• on the stage a young hands01118 BOATSWAIN c0111es up behind her, putting his arms around her waist, fondling her •..

THI! BOATSWAIN (laughs) "Aye, Little Buttercup -- and wall called -- for you're the rosiest -- the roundest -- and the reddest beauty in all Spithead •• !"

And as Miss Buttercup strikes a pose, hands on her ample hips, and the Orchestra plays on •••

And we see the lovely Miss. Buttercup sitting at a dressing table mirror wiping away at her makeup. And we can see in the mirror's reflection the four fair-haired young Ken, John Russell and Richard Hayes, coming along a corridor toward her dressing room, closing in on her •••

She turns, taking off her wig, smiling a pursed lipstick smile .•• And we see, as was the custom in an all male school, Miss Buttercup is being played by a young Man! "Things are not always as they seem .•• " Finely featured, he has a boy's smile and the "fortune," of a man's ayes. The young JAMES WILSON. And suddenly John roughly clasps "Miss Buttercup's" shoulder, symbOlically "tapping• hill •••

J-•s looks at the fair-haired boys. At John Russell. At Richard Hay-. And he smiles, pl-se<l ••• A boyisb -ile that's not -sy to forget •.

Yes, I accept.

And Richard Hayes hands him the mysterious rolled document - with its black ribbon and skull and crossbones eabl-•••

John smiles, liking him. He turns, and with Richard Hayes, and the other young men, 1110Vas off. And as James sits at the dressing mirror watching th- go, wiping the lipstick oft bis lips, and with it his boy's sweet smile:

we•r• looking into a headla~. And we see J-••• a yellow scarf around his nec:Jt, trail1n9 lilt• a str....r in the wind, riding a MOTORCYCLE, a classic Indian "Sports scout,• coming around a corner of the campua .•. He rides ui to a dark, wi.ndowless building, framed by two stone p llars, an old stone sepulcher that's called "The Tomb.• He gets off his bike. He looks up at the dark forbidding buildin9. And as he eagerly goes up the stone steps •.•

- A darkly lit stone basement room, heraldic flags with mystical Teutonic symbols dating from the fourteenth century, the age of the Illuminati, are draped on the walls.

And we see James, with fourteen other youn9 INITIATES, wearing hooded red ceremonial robes, standing in the center of the room. And twenty-five upperclass BONESMEN, holding candles, wearing hooded black ceremonial robes, ring the room ••• And John Russell is addressing the Initiates •••

A door in the stone opens. And a Man in a skeleton suit, wearin9 a crown and holding a sword, as if raised from the dead like Lazurus, enters ••• And as he shuffles, in a "dance of death,• across the stone floor •••

Jaaes looks around him, at the other Boys, "Aaerica's very best ••• ," and he smiles to himself, in a state of 9race, feeling like one of the chosen. And The Bonesaen i.ntona, in German ...

And as James loolca at the Boys• races in the flickerinq candlelight, feeling a part of the tradition, the •ystery, the skeleton stops, ~utting the blade of his sword on J--•• sboulder, as if picking him out as the very best or the "best and the bright-t ••• •

And shadowy FIGlJltZS, as it underwater, are movinq in another kind or dance ••• And as we coae into focus, - see that the youn«J llen are all naked. There's laughter. And - •- The Bones.en are wrestling with the Initiates, rollinq around in a stone room on a floor covered with mud ••• And - -e J-s, locked in a naked 8lllbrace, wrestling with one of the Bonesaen on the floor ••• And it's a standoff, neither able to gain the upper hand. There's an unmistakeable sound ••• James turns. And he sees three of the Bonesmen, Richard Hayes among them, laughing, are urinating on one of the Initiates ••• James is quiet. And his foe, exerting his strength, tries to turn James over onto his stomach. And James suddenly pushes the boy off of him, and getting up crosses out of the room •••

He moves off along the stone corridor. John Russell comes out after him .. .

They look at each other. The two naked bors covered with sweat and mud. And as boys will do, they ook at each other's manhood. And James smiles, his tioyish smile •..

Is this what they mean by "Bon•s-n?•

And they bOth laugh at themselves, at the situation. John cowies to put his arm affectionately around Jaaes ...

JOHN ROSSEl.L We're all in this together, James ••• We're brothers ••• come back inside •••

James hesitates. And John smiles, his trusting pale blue eyes •••

And bis aria rondly around Ja-s shoulder he turns back aloftCJ the corridor. And as James, seduced, wanting to be seduced, sail••• and 9-s back with him inside •••

I!IT. A MEETING ROOM, SKULL AND BONES - LATER THAT N:IGHT

We see years or PHOTOGRAPHS, class upon class of Bone&111en, line the walls ••• we pull back and we see James looking at the class photographs, taken with the long history ••• And there's NOISE, good feelings; the Brothers moving around the rooa, - shaking hands with the new members. And John Russell comes over to James.

I hope I can live up to your faith in me, .rohn •..

And as they affectionately embrace:

And the Bones ■en start to sing a fraternity SONG. James looks at the Boys, their voices raised as one, and he has a warm feelin~ of belonging. And while the Boys si~, the young Man with the secretive smile comes over to him .•. Richard Hayes •••

He shakes James hand. And he whispers in James' ear, secretive ••• and everything is already secretive with hia •..

Ja-s doesn't say anything. Richard niles, knowing.

- Are you a bright shining light, Mr.

Wilson?

And James smiles, whispering in Richard's ear, equally secretive •••

They look at each other, and there's no love lost ••• Richard turns to leave, and he sees James is wearing cowboy boots ••.

And as James watches him walk off ...

And we see James, in a suit and tie, sitting in a classroom with John Russell, listening as a PROFESSOR, a tailored Man in his late fifties, leaning on a cane, lectures the class ••• DR. WALTER FREDRICXS ••• And he has a cultured English accent ••• James listens to him, rapt •••

And BELLS chime the hour ••• And the class gets up to leave ••• Jam- and John, good friends, talking, go up the aisle ...

He turns up the aisle and leaves. James crosses to Dr. Fredricks. He gives J&111es back a composition book •••

His eyes meet James ••. And James, uncomfortable under his gaze, looks away ... Dr. Fredricks turns, looking out a window ••.

James looks out the window. A tree, its leaves rustling on a br-ze. An empty sidewalk.

But he closes the blinds. And the room's quiet. They find th_.lves standing close together •••

DR. FREDRlCJCS (cont'd) (looking at him, intimate) There's so mucb I'd like to share with you, James ••. I feel like we have a kindred spirit •••

He puts his cane familiarly on James• shoulder ••• Tllere's an awkward moment, and James, uncomfortable, moves the cane •••

DR. !"REDRIC:XS (cont'd) (after a beat) I wrote something. Would you mind if I read it to you ••• ?

He cross- to his BRIEFCASE ••• He takes out a small notebook ••

- mockin~ at flame, mimicking

ice •••. " ••. It's not yet finished •••

Ja-s nods. They look at each otter. And :.there's a flicker in James eyes, of some deep hurt ••• There's an uncomfortable quiet •••

OR, FREDRICKS (stopping hilll) James, I am having some people over to my ~ouse on Sunday evening ••. A small 9atheriri9. I think you might find it 1nterest1ng ••• Could you perhaps make it?

He starts out. He looks back at his Professor, his back straight, leaning on his cane, trying to stay dignified. And as he crosses out of the classroom ••• we see Dr. Fredricks oddly ~oint his cane after James, as if he had chosen him for s0Jlleth1ng •••

And we see James at a library table, looking through a book tor something. And we see it's a POETRY SOOK. He turns the pages until he finds what he is looking for ••• And he &ees the very same poem Or. Fredricks had read to him as his own, a Conrad Aiken poem, is in the book ••• • ••• mockinq at flame, mimicking ice ••• ?• He looks at the front of the book. At the Library check-out slip. And he sees the last person to check out the book was "Or. Walter Fredricks" ••• He's quiet, troubled. And ha beco-s aware of the SOtlND of so-body tapping a pencil on the table. He loolts up. And he sees a pretty, dark haired GIRL, studying, the dust jackets on her books, "Connecticut College For Women," un~nscioualy tapping her pencil. I.AURA DESANTIS. J-s looks over at her. And he can't help hi-elf, it's part of hie nature, his eh&rll, to be flirtatious ••• And he taps his pencil, a counterpunt&l rhythm to hers ••• She doesn't acknowledge him, oblivious, tapping away •.• Ja-•, undaunted, changes the rbyt.ma, trying to get her attention ••• She still doesn•t re■poncl ••• And finally, he leans over, stopping her pencil from its uppifl9 •..

She starts, looking up at hi ■• And she says from ■oaewh-e deep in her throat, in a s111all, uncertain voice .••

- "Things aren't always as they seem." She smiles, motioning she'll be quiet. They return to their books. But his interest is solely on her now ••• He looks at her •••

And there's a naked, vulnerable quality he affects, that captures her attention •..

And he smiles, his boyish smile, that's not easy to forget •..

She wasn't quite able to "understand him."

She closely watches his lips ••.

.... Would you say it again?

She laughs. And as they look at eaeh other, Laura captivated by him:

And we see James and Laura coming out of the library. They stop on the steps to talk ••• And as they talk we get the sense, like a shadow, somebody ia watching th-. James sailes, saying s0111&thing ••• She smiles. And she turns and walks off. She looks back, waving ••• And he does a little soft shoe on the library steps for her, graceful as a cat. She laughs. He watches her go ••• He turns to cross to his aotoreycle ••• and strangely, there's a man's HAT, a fedora, lyi119 in the aiddle of the str-t. J .... doesn't pay any attention to it, walting by it as if it weren't there"'••

James turns. And he sees a heavy-set Man in his thirties, hands in his overcoat pockets, coming from the shadows behind him. A Man we'll come to know as SAM PAPICH.

SAM PAPICH (cont'd)

- .•• It says a lot abOut you Kr.

Wilson ••. You aren't easily distracted •••

He crosses to take up his hat, putting it back on ...

JAMES

- (a beat,

circwupeet) If rou want to talk to-, I live in a residence hall •••

He gets on his motorcycle, trying to start it. It won't kick over. He tries it again. Same r-ult. And again. He starts to walk his bike ••• And Sam, uninvited, comes to walk alongside him •••

It isn't a question. And James realizes he Willi there, watching th- .•.

-

And it's quiet. And Su looks around him at the Yale campus.•.

And he starts off. He turns ..•

- SAM PAPICH (cont'd)

This might help you along •••

And he tosses James a vital part to his motorcycle. And with that, he walks oft ••. And as James watches him go •••

INT- A MOVIE THEATER, NEW HAVEN, YALE - NIGHT

And we see Jaiaes, in a MOVIE THEATER, watching a NEWSREEL.

THE NEWSREEL ANNOUlfCER (OVER) American Boy Scouts joined their German friends at the Boy Scout Jamboree in Munich. German FUhrer Adolph Hitler was there to warmly greet them ..•

And coming along the lines of fair-haired young Boys, reviewing th-, is Hitler. And there's a mixture of applause and boos in the theater. Hitler stops to talk with a young boy. The boy says sOJDething. Hitler smiles, fondly patting the boy's head.

And as Ja-• silently watches the Newsreel, not knowing what to do:

The fa110us tavern is filled with Yalies. And we -e in a - separate area, a back part of the bar, "Gentleaen Only,• BORESMEN, Richard Hayes 1U11ong the111, sitting crowded t09ether at a long table, drUnk, shouting to one another. And we s- JUlea sitting by John Jtussell ••• And he whispers, -cr•tiva, enjoying the intrigue •••

And a young Bonesaan c011ing into the back room crosna to their table •••

And the Boye are surprisingly quiet ••.

ANOTHER BONESMAN

-

(toasts) To a quick war •••

And they drink to that •.• But it's hollow, a sense nothing will ever be the same again ••• That the innocence of their youth is over ••• And the Bonesmen start to sing the "Eli's• melancholy standard, "The Whiffenpoof Song ••• " "We are poor little lambs, who have lost our way ••• Baa, baa, baaa .•. • •we're little black sheep who have gone astray ••• "

I think we should .•. Hitler•s a menace •••

And there's a healthy goodness al:>Out him, an American sense of fair play •••

JUies nods in agreement, "If we don't, who will .•• "

- My father, you know, was •skull and

Bones," JIIJlles, one of us. People like us, we do what we can for one another •••

The -•sage is clear. And John puts his arm affectionately around him. And James senses somebody is watching him. He turns. And he sees Laura, across the ro011, in the •coaaon• area, with two girlfriends. She mouths, "Hello.• He smiles, mouthing, "Hello." She laughs. There's an awkwarel moment, their separation, fr011 distinctly different •classes,• self-evident. Laura and her girlfriends get up to leave. Laura looks back at him ••• They look at each other ••• catching herself, she gives• s11W1ll wave, and runs to catch up with her friends. He watches her go. And - the Boys sing, • ••• Gentle-n songsters off on a spree, damned troa here to eternity ••• God have mercy on such as we, baa, baa, baa •.• •

we s- hung on a wall,a portrait of Adolph Kitler ••• And we see a group of people,s011a Professors and students, sitting in Dr. Predriclts frontroom ••• And we•- Ja■es is sitting aaong th- •••

-

FUhrer's Education Minister .••

And a tailored MAN with a small swastika on his lapel gets up to address them •.• James looks over at Dr. Fredricks. His mentor sitting beside a young man. He turns. And he sees or. Fredricks BRIEFCASE on a small table. And as he quietly looks at the briefcase:

The people mingle with the German Minister having coffee and cake. James is talking with a Man. He looks over a9ain at the briefcase. He quietly listens to the Man, but h1s attention is on the briefcase. And after some moments, excusing himself, he turns, crossing through the room. He stops, looking at the briefcase. He looks over at Dr. Fredricks, the Professor involved in a discussion with the German Minister. James still, conflicted. And after a moment, sometimes the most subtle approach being the most obvious, he 1ust walks over to the briefcase, takes it up, and crosses into a hallway bathroom.

He sits on the floor. He stares at the briefca-. He folds his arms across his chest, visably upset. He hesitates. Be starts to open the briefcase, and somebody wanting to u- the bathroom tries the door. He's motionless. The ~arson goas away. James opens the briefcase, going through :i.t. Ke finds a folder -- •American-GerJDan CUltural Co-itt-••• • And inside is -o~ other things, a LIST of names ••• He takes out the list, putting it in his pocket. He closes the briefcase. A moment, and he gets up. He opens the door. He looks out. - The hallway -pty. And taking up the briefcase he crosses out of the bathroom.

He coaes bac:lt into the living room, and without aissing a beat, puts the briefcase back where he found it. He turns back to the party:

DR. FREDRICltS (seeing him, smiles) Jaaea, can I get you so- coffee?

It's a d-p night. And we see James, hands in his pockets, thoughtful, coming across an empty Yale quadrangle •••

James turns. And he sees Sam Papich is sitting on a bench. - James euts the secreted list or names down on the bench. Sam puts his hat over it.

22,

(quietlyl Don'task me again.

And he seems to mean more then just this particular time. And getting up he walks off. And as JilllleS stands in the empty quadrangle, still feeling the thrill of the intrigue, the danger, a feeling he likes.

And we see James, sitting beside John, quietly watching or. Fredricks lecture ••• And BELLS chi- the hour, the Students getting up to leave •••

The Students stop. After some mo111ents:

- Suffice it to say I'm leaving with my

name intact. (a beat) I wish you all well.

And the Students, whispering to one another, leave. John looks at James •••

Jaaes is quiet. They start to go •••

DR, FREDRia5 (cont'd) (betrayed) What did I do to deserve this? Did you have such little regard for me you would betray me tor my political beliefs? Are you that callous?

They look at each other. And after a moment: -

2J.

JAMF.!: (hurt) •.. The poem you read to me, the one you said you were still working on .•. It ends like this •.• " •.• The trilling leaf and tinkling grass, glide into darkness clear as glass, then the musicians cease to play .•• " (he waves his hand) " ... And the world is waved away ... " (a beat, hurt) You know, and I know, Conrad Aiken wrote it in 19J2 •••

And shutting off th• hurt •••

They look at each other. And as Or. Fredricks, his cane on his arm, sailes an enigmatic, oddly wise smile ••.

And we see James and Ray Brocco, incongruous, knoviny their oc:c:upations, riding on a co-rcial airplane on the ong way home. Ray, eyes closed, asleep. Juies, unable to sleep, quietly staring. A stewardess walks by. J-• quietly looks at her. He turns to look out the window, at the sky ... Tufts of clouds like smoke going by •••

And we see a saokeyi predoainantly Black Ni9bt Club.A COMBO'S playing, "Bue Skies." People dancing. And we see James and Laura sitting at a table •••

(after a beat) ... I thought we were going to your fraternity party .•. ?

- He doesn't say anythin~. And touched, she affectionately pushes some hair off his forehead. They're quiet.

And James looks over at a young COUPLE, their faces close together, sharing an intimate moment •••

(watching them) What are they saying, Laura?

Laura turns, seeing the couple.

Laura hesitates, and then, watching the couple, reading their lips ••••

And she can't do it anymore, it•s too private. And they're quiet. After some moments: -

They got up. He takes her in his arms, "dancing" witb her •••

And roaantic, he sings the song to her, so she can hear tbe words ••• "Blua Skies, sailing at ma, nothing but blue skies do I see ••• " And she puts her bead on his shoulder, dancing with hi•, coafortabla in his arms. While they dance •••

~ looks up at him, and sees he's serious.

- JAMES

(earnest) I want to know what it feels like to be you .••

And h• smiles, boyish, dispelling her fears. And she can't help herself with him ••.

And she makes the sound of an "a," forming it with her lips ••• "A," "A," "A" .•• And then an, "E ••• " And as he closely watches her lips, learning how to lip read ...

We see lips, kissing. And we see James and Laura aresitting on the porch steps of a small blue collar ROW HOUSE.They break apart. After some moments •.•

She shrugs. And there's a sadness at the reality of bu dream& •••

And he's quiet, s._ingly vulnerable, naked. They look at each other. And he kisses her again. They get more and more passionate. His hand, touching her breasts ••• And a •-11 necklace, a cross around her neck, breaks off in his hand ••• And as their passion grows, Laura abruptly stops •••

And she quickly gets up and goes into the house. She turns off the porch light. It's quiet. James, hands in pocketa, stands in the shadows on the porch. He sees a li~ht coming on in an upstairs bedro0ll\. And he can see Laura in her bedroom taking a nightgown out of a drawer. And she seeJIS particularly vulnerable. Hands in his pockets, he crosses off the porch. And as he comes along the sidewalk he takes his hand out of his pocket. He opens his hand. And we can see Laura's CROSS is still in the palm of his hand •.. A piece of poetry, a part of her soul .••

we see SAILBOATS silently moving among the islands on the St. Lawrence River ...

And we see John Russell's sailing. And James, in a white sweater and white pants, is lying on the deck, looking up at the clear blue sky. And as the boat silently moves through the water:

A PRIVATE ISLAND among the Thousand Islands on the St. Lawrence River. Well appointed cabins dot the heavily wooded terrain. A large stone LODGE, smoke curling from a rock chimney, is on a point above the River. And lanterns, casting a soft yellow light, run along the length of the Lodge. There's the soft sounds of VOICES. And we s- people in evening clothes standing on the porch, gathered in the twilight, drinking, and talking. And we see Jaaes, wearing a tuxedo, crossing to the Lodge. He co-• up onto the porch. His eyes meet a Man's:

And ha aoves across the ~rcb, fairly glides. And there's the talcwa smell of privilege and power ••. The porch crowded with Al.1mni, and their f-ilies, of Skull and Bones, on their annual retreat ••• He crosses to John Russell standinq with a Man in hi• early sixties, and a very thin Wo-n in her late fifti9fl, SENATOR AND MRS. JOHN RUSSELL. And they're talkil'ICJ with another COUPLE, PHILIP AND TODDY Al,LEN ••• The -n we've come to know as Philip, the blue-eyed gentleman, just starting to gray, smoking his pipe. And Toddy, his faceless wife •..

- JOHN RUSSELL

(introducing) James, my father and mother ...

Philip graciously nods. And a pretty young blonde GIRL in her early twenties, in an evening gown, holding a drink, comes to join them. And her name is an apt description •••

Preppie, she would seem at ho- in penny loafers, a plaid skirt and bob))y sox. But there's so-thing else in her eyes. An anger that she doesn't have the courage to be difterent ••• They exchange looks ••. And the Lodge door opens, a formally dressed Man calli11'1: "X.dies and Gentl-en, if you will be seated ••• "

Th• Alumni crowd a large dining room. waiters hurry back and forth. And we see James sitting with John's faaily and the Allens. Clover, sitting across from him. Somebody taps a gl.ass with their stioon. The room quiets. And an 01.der Nan POUJQ)S bis cane tw~ce on a table as if knocking on a - door ••• And the Bonesmen, James and John along with the rest, coma to their feat and say as one:

And they give• rousing SHOUT, and take their seats again •••

(to James, -iles, nasty) Bonas first, God second •••

attracted to eaeh other •••

And the patrician heads are 'bowed •.•

- to be withour brothers again ...

And James looks around the room, at the bowed heads, and his eyes meet RICHARD HAYES, sitting across the room.

Richard smiles his "knowing" smile. And there's a look between th- of "unfinished business ••• "

THE REVl:REND (cont'd) ... we thank you for guiding the ~vans Family Trust in the care of our island, so that we may come here and be with our tamilies and friends in comfort and privacy ••• (after a beat) We come here, Lord, in uncertain times, and we ask that you give us the counsel and the strength to help guide our ship of state through the turbulent waters •••

And as the room prays, James looking around the room, at the "People like us •.• "

XNT. THE LODGE - HIGHT

The tables have been pushed aside. And a BIG BAND is on the stage playing. A well known CROONER, singing standards ••• Peopl! dancing ••• James, hands in his poc>tets, quietly stands watching •••

He turns, and Clover, holding a drink, comes over to him. -

And her glass still in her hand, she walks him out onto the dance floor. And as they dance:

James doesn't say anything. After some moments: -

James nods, and he's quiet again.

She laughs at his arrogance.

And she braaenly puts her arms around his neck, dancing that - way .•• And as they look at each other, attracted to each other:

And Tb• Senator has co- over to th- •••

She raises her glass to him, nodding •••

And following the Senator, he crosses outside.

f:XT. DEER ISLAND - NIGHT

They cross through the quiet of the ni9ht to a CABIN by the water. A Man in an Army unitorm standing guard outside. And - they see PHILIP ALLEN, RICHARD HAYES with him, coming out of the cabin •••

And they walk off. The Guard salutes the Senator, and shows them inside . ..

And we see a dark haired Man in his late fifties, overweight, with the race of a drinker, GENERAL WILLIAM SULLIVAN, is sitting on a couch, his sno ..s off, in his stocking feet by a fire .•.

SENATOR RUSSELL

- It's not a problem.

The senator laughs and discreetly leaves. And it'• quiet.

Jaaea doesn't.

- at you. James smiles, and sits down.

The General laughs. After so- moments;

I manage the various departments. In - other words, no Jews or Negroes, and

just a f- catholics ••• (laughs, wry) And that's only because I' ■ a catholic •••

James laughs.

BlU. SULLIVAN I don't want your answer now -- thinlt about it ••• But this isn't a bUnch of fraternity boys sitting around playing with their pricks •..

And there's a light KNOCI< on the door. The General puts his shoes back on ••. -

•

James doesn't quite understand, but accepting it, goes into his pocket. He takes out his wallet, and he gives the General Laura's small CROSS. The General puts it in his pocket. He hefts his big body up, shrugging on an overcoat ..• He shakes James• hand ..•

And with that, taking up a briefcase, he goes out the door, and he's gone. And as James looks after him, excited by the prospect •••

And we see James and Clover with John and a young blonde Girl in an Blllpty cove on the far side of the island, sitting by a fire, pass~ng a flask. And it's not their first. John and the young Woman are all over each other. And taking a blanket, and with a smile to James, John walks of~ with the young Woman. And James and Clover are left alone. And Clover's drunk, and pissed off at the world •.•

CLOVEJl (sarcastic) I'm supposed to be looking for the perfect husband. Are you perfect in every way, Mr. Wilson?

She laughs. They're quiet.

Ja- awkwardly puts his arm around her. She lays her head on his shoulder •••

- James is quiet. And Clover suddenly kisses him. James, conflicted, pulls away.

He's quiet. She looks at him, at his boy's eyes. And she suddenly pushes him down on the ground, roughlf Kissing him again. Her hand fwllbles for his belt, unbuckling it. She reaches, clasping him. And James finds himself responding. He kisses her, hard, taking out his aggressions on her. They roll on the ground by the fire passionately kissing. She lifts her dress, getting on top of him. And as they angrily make love in the light of the fire •••

And we see James, riding his motorcycle, Laura, laughing, holdinq onto him, racing through the shallow water at the tide 11ne along the shoreline. And as they race off into the distance •••

We see James and Laura, like a Wyeth painting, sittin9 by the motorcycle in so- tall grass in the sand dunes catching their breath, •• And there's an awkward quiet, just the sound of the sea, and a breeze movinq the sawgrass ••• Laura looks at him. And she has the realization the class differences are just too great between them. She protectively folds her arms around her knees .••

So■etimes I feel like I'm iust a curiousity to you ••• That t1m not real to you •.•

Be looks at her, his bOY's eyes ••• And needing to sbov ber that his feelings are real ••• that he's raal, •• He ardently kiase• her ••• And they lie back on the sand dune, kiasinq, bungry, •• it' it were the laat ti-••• And James, f-ling a shadow, instinctively turns. And he aeea a CAR'S coae to a stop aloncJ a road above the Clunes. And he sees JOHii RUSSELL get out ••• Something•s obviously wrong ••• J..es gets up, crossing up the dune to him •.•

- And we see Laura's watching them, "reading" John's lips •••

And the implications are obvious. And James remembering Laura can read their lips, moves to stand with his back

James is still. The wind blows their hair •.• After some moments ••.

They look at each other. And John embraces hi■, holding hi ■ like a brother ••. And Ja■es turns, to look back at Laura. He slows. And he sees Laura has gone off down the beach walking away .•• And there's a moment when it seems like he will run to bar, to stop her ••• But the moment passes like so 11any opportunities in life, and he turns to John ••• and the choice he's made ••.

nrr. A PRESBYTERIAN CHURCH, NEW ENGLAND, 1940 - DAY

A large old N- England Pres))yterian Churc:h. And we s- - illll0119 the people gathered, senator and Mrs. Russell, and Ja-s' Mother, a dark-eyed WOiian, CONNI! WILSO!I'. And we see Ja- and Clover, in weading attire, with John Russell u their best man, standing belore a Reverend taking their wadding vows •••

And as they take their solamn vows, • ••• To honor and to cherish for the r-t of your lives ••• ,• we see Clover take James hand. And she smiles at him at the irony of their vows. And even Jaaes finds hi-•lf 11ailing at the irony, too.

An old Greenwich estate. And we can see the people 110Ving around the house at the wedding reception, eating and drinkinq. Bones-n c,athered together, Richard Rayes aaong th-, lau9hing, talk1n9. Clover with her Wellsley sisters. And we sea J•-• standing with his Mother ••• And John co-• beside Ja-s, discreet •••

- James goes to the door. And a Man in an Army uniform is waiting at the door.

James nods.

James follows him outside onto the porch •••

And he gives James back Laura's CROSS, so there's no doubt the message is real.

He looks at the cross in his hand. He looks at the house, the people, and all that it entails ••• And after some moments:

THE MAN

- A car will be here to pick you up in

an hour, sir.

He salutes. And with that, he turns, and getting into a car, leaves. Jaaes turns, and he sees Clover is standing at the door •••

She slows •••

She looks at him, and she embraces hilll, understanding, accepting it, like so many other things women in the forties had to accept ••• and she quickly turns back into the house.

And as James turns, hands in his pockets, .standing in the doorway, ready to save the world.

"TUESDAY, APRIL 18, 1961." we s•ca James, "The Stranger," in his raincoat, carrying his briefcase, in his familiar posturca, crossing the street to the old GOVERNMENT BUILDING. And we see that the street has been blocked off, MOUJITED POLICE, keeping people away. James, the Magritte, walks past the Police on horseback as if they weren't there. And we see that REPORTERS, NEWS PEOPLE, CAMERA CREWS, crowd the building's doorway, spilling out onto the sidewalk ... And a MAN, a spokesman, stands in the doorway, giving a stat-ent ••• And we see in BLACK AND WHITE, the camera being jostled, NEWS FOOTAGE of the stat-ent •••

And we &- James, in the .background of the Bl.ACX AND WHITE NEWS FOOTAGE, a shadow, literally slipping through the crowd, unnoticed, invisible as he is, going into the old building •••

James comes along the endless hallway. And it's not buaines• - as usual. There's a frenetic qualitf· A state or seige. People moving quickly along the corridor as if they were afraid to stop. Intelligence Officers clustered outside of their offices, talking in strained whispers ••• they quiet as Jam•• pa••••···And as he moves off along th• hallway, the whispers following him ••.

YNT. JAMES' OFFYCE, THE CIA, 1961 - MORNING

And we see Ray Brocco, with a look of grave concern, •tanding over Ja~••' deak ••• J-•a bent ov•r his desk looking at the overnight world wide communiques, st-ped in red ink ••• •Urgent.• •very Urgent.• "Most Urgent ••• " And we can•- one of the co-uinques ••• a gobbledygook of words like an Allen Ginsberg poem, that in red ink has been decoded to read •.• "United States l!:llbassr, ATHENS STATION ••• "In state of confusion ••• De•tabilizing ... Russians pressing advan~e ... Pl-se advise poli~··•" And Ray Brocco is readinl) from a long telephone list •••

-

RAY BROCCO

- , (nods, gives him

call slip) The call was received just after midnight ••.

And it'• unusual for him to raise his voice. Ray places the call. While they wait, James looks at the morn~ news~aper, "The New York Tilll8s" ••. The HEADLINES, "Cuba Invasion Pails; c.I.A Said Responsible." And the Phone Rings, jarring •••

He hangs up. They wait. The phone rings. JUies lets it ring exactly five times. He answers with a soft "Hello.• He listens. He says ••.

And after a beat ••. There's a YOUNG NAN'S VOICE •••

And - He• Ioung MAIi, in his underwear, sittincJ on the edge of a bed talk nq on the phone. In his early twenties, there•• a striking resUlblance to his father when hew- a youn9 man. The quiet, contemplative nature. But it•s particularly evident in his eyes ••• A boy's hopeful eyes .•• We'll come to know him as ROBERT WILSON.

-

Another phone RINGS. Ray gets it.

James motions Ray to wait a moment •••

- He hangs up. He sits for a moment. He turns, getting into bed. And as he quietly lays in bed, thinking, we see there are FLOWERS in a VASE on a dresser by a mirror. A familiar VASE OF FLOWERS. Like Baudelaire's, "Flowers of evil."

And we see James coming across the mall by the Reflection Pool. And we see a HAT, a familiar fedora, lying on the ground. James stops to pick it up.

James turns and he sees SAM PAPICH, now in his fifties, his robust figure now a shadow of itself, sitting on a bench. James gives him his hat .•. He sits down beside him ••. After some moments:

James doesn't say anything. After a moment:

James is quiet.

And he gets up, starting to leave. He slows •••

James stares at him. And turning, Sam walle.a off. J .... notices be'• left bis hat behind. It's no accident. J-• takes up the bat, running the bri• through his bands. And as be sits on the bench, the hat in his hands, there's the sound of a -11 bell ringing •••

And we-• J-•s, in his twenties, w-ring an overcoat, standing on a wartime London Street rin9in9 a bell at a small TAILOR SHOP. And the difference between him and the man he is to becOJ11e, is startling. His optimism, his self-assured posture, the immortal a=ogance of youth ..• A mo-nt, and a - short, tailored Man, opens the door.

James follows the Man .into the store.

He follows the man throu9h a curtain into a baclt roo111 ••. Three SEAMSTRESSES, their machines whirring, sewing on sewing machines. The ~an parts a dressing room's curtains ••• ,,,,_ THE MAN

Please ••• The tailor will be right with you, sir •••

Jaa•• go•• into the dressing room, the Man leaving, closing the curtains behind him. A 1110111ent and the curtain parts. And coming in, wearing an overcoat, his pipe in his hand, is the gentlemanly, soft spoken, PHIL:IP ALLEN, He cloaes the curtains •••

••• With all its implications •••

- (MORE)

He lights his pipe •.•

Tbey look at each other. And the overhead light blinks on and off.

He opens the curtains ••• They walk out of the dr-sing rooa ••• the seamstresses, their bobbins whirring. Philip IIOtions at a door, turns and leaves ••• J'ames goes through the door ••• and into another ROOK. A large windowless SHOP ••• A large sign on a wall ••• "SILENCE IS GOLDEN." And we see CRYP'l'OGRAl'HDS sitting at work l>enches silently working at what look like typewriters. "Runners," walk the length of the table ■ taking slips of paper from the cryptographers, putting th- into cannisters, putting the cannisters into a pnewaatic tube, and sent away to God knows where.

James t11rns. And he stops, startled.And we see the poetry teacher, DR. WALTER FREDRICKS, leaningon his cane, standing under the sign, "Silence Is Golden."

OR. FREDRICltS (cont'd) (crossing to him) Job well done, Mr. Wilson. You're a clever boy. I told General Sullivan to keep an eye out for you ••• You spoiled a two year operation for me ••• I was getting quit• a reputation as a Nazi syaipathizer. Herr FUrher himself was going to invite me over to tea. (a bei&t, smiles) Just as well. I was starting to long or the bone chilling cold of home •••

And he affectionately offers his hand.

OR. FREDRICKS ·{cont'd) It's good to have you here in London, James.

They shake hands.

DR, FREDRICKS (smiling, wry) It isn't personal ...

James SJDil-. They're quiet. James looks around him. Dr. Fredricks takes out a small note pad, writing something. Tearing off the slip of paper he gives James the note. It reads: •Ul,TRA works!" "We've broken the German code!• And all it implies. He takes back the slip of paper, pocketing it. And as they look at the miracle decoding machines .••

He takes James arm walking him outside onto a small PATIO with a high vall where it's safe to talk. The feet and the legs of people on the sidewalk above them walking by, going about their daily lives •••

DR. FREDRICJ<S (cont'd) (after a beat, secretly) At precisely 9:17, we know the Germans are goin~ to bomb coventry ••• our people w.11 go to bed dreaming about what might be •.. And yet, we lllllst let th- sl••J?···If we alert th- the Germans will realize that - are in their bedroom ••• That we have broken their code.

There's the distant sounds of the London Blitz. Lights flicker on and off. And we see hundreds of Londoners hunkered down in the Underground as London is bo11Darded by the Luftwaffe. And we sae 3ames and Dr. Fredricks walking along the endless subway tunnel •••

And as they walk, the distant sounds of bombs falling •••

The City blacked out. And we see James and Dr. Fredricka in a dark pub, sitting alone at a far table, drinJti119.

Dll. FREDRICKS The very qualities that 111ake a good intelligence officar ••• A suspicious mind 1 the love of complexity and deta~l, an ability to detect conspiracies ••• are also the qualities most likely to corrode natural intelligence and objective judg-nt ••• The danger, Ja-s, is that you become obsessed with soaebody or something that is crawling around inside fOUr head ••• And you shut evarytia119 else out, and you ~ust listen to what's going on inside your own head. Anybody that ~uts up the contrary side, you see, is guilty of sinning against your own special Holy Ghost •••

James is quiet, listening. Dr. Fredricks finishes his drink. He looks through the empty glass •••

James looks at him. And with all that's been said:

And ve see J•-•• sitting at a desk in a small office, h-d down, reading a report ••• There's a knock on the door. And ve see a dark haired MAN in his late twenties, wearing an American Ar111y uniform and a greatcoat, coming in. And we see it's RAY BROCCO. And the difference between him, the confident young man, and the man he is to J:iecome, is equally startling •••

James doesn't look up.

James tries not to smile. And he reads aloud from the report •••

- cheek, chicken pox sears on

forehead .•. st. Ignatius High School •.• Fordham University ••• (MORE)

He looks through some official army records •.•

He reads to himseif. And finishing, he looks up for the t'irst time •••

JAlfES In this office I'a the Onited States Govermaent •••

And Ray's quiet, looking at the younger man.

-

(equally wry) It's a start.

And the PHONE rings. They both look at it.

James looks at him, studying hill!. And after a mom•nt:

Ray smiles, and as he answers it •..

Beethoven's Fifth Symphony, Britian's stirring anth- during th• var, is playing on a RADIO ••• And ve see J&111es at his - desk, surroundea by papers ••• Ray Brocco standing in the middle of the r0011 ••. Botb of them, waiting tor s0111ething •••

Th•y both turn •••

A•-~, and a BELL 11Uddenly rings, a -•••g• comingacross an ElfCRPYTJ:Olf DEVICE. Ray goes to get it ••• And usinga Navajo language code book, decoding it •••

-

And we see a chauffered Rolls Royea waiting by the curb outside of a fon,idible old GOVERNMENT BUILDING. And a tailored KAN in a top hat and an overcOllt co-• dovn the steps crossing to the Car •••

The Man turns and Ray is upon him, quickly putting his hand in one of the Lord's overcoat pockets •••

And it's more then just his hand. The Lord nods, he does. And James co-• along the other side of him .•.

And he takes his &I'll, walking with him along the street. And as they walk Ray falls back, following th-, close at hand •••

JAM§ (cont'd) There's nothing quite like a walk in London in the evening. You can feel the history •••

I (after a beat) -

we know you've been passing information to the German High COJDJ1and •••

The Lord starts to say so-thing, but James interrupts him ...

:t,ORD COOPER (out.raged) This ia preposterous. 1 - a deputy to the Prime Minister.

And there are the ominous sounds of distant APPROACH:IHG AIRPLANES ••• They look up ••• And AIR RA.ID SIRENS start to SOUHD ••• The City's lights go out. Lord Cooper starts for the safety of a Building's Air Raid Shelter. But James take• his - arm, moving him along the dark street. The AIRPLANES are getting closer ... And BOMBS SOUND, whistling, starting to fall on London •••

And he moves hi.la along the dark empty street, Ray following them ••. The bombs raining on the city •••

James gives him a piece of paper •••

More bombs sound, fires lighting the London night sky.

They look at each other. And the Lord nods. Ja-• lets go - of his ara.

And Lord Cooper turns, hurrying across the street, hurrying off. Jaaes and Ray, standing on the dark London str-t, look after hi••••

And it's the first of many mirrors in this world of a "wilderness of •irrors."

A small elegant dining room in an old English private Men•• Club. And we see James sitting and drinking with an effete, tailored, handsome young Englishman in his early thirties. There's an intelligence, a coldness at his core. The English equivalent of a "Yalie," but smarter. Someone to respect and - to fear. KIP WILEY. He has a perceptible stutter ••.

James is quiet. After some moments:

KIP WILEY (cont'd)

do, Mother?

Anc:I a Butler brings Kip a -•sage. Kip reads it, nodding. The Butler goes off. After a moment:

James turns, and he sees the Butler is walking RICHARD HAYES over to their table •.•

-

RICHARD HAY&S (reaching th-, his smile) Hello, James •••

He offers his hand to James. James, quietly shakes it. Richard site down. There's an awkward quiet.

Kip and Richard laugh.

And getting up he goes to another table, talking to a man .•.

They look at each other.

Ja.as doesn't say anything.

He 9ets up.

Jaaas sbak- •no.• And Kip takes the handkerchief out of his shirt pocltet, putting it in J-s• shirt poeltet.

KIP WILEY {cont'd) rt the Headmaster won't listen to reason you might want to clean your hanc!s.

J-•• looks at hia, and =oases the rooa to leave. Re slows on his way out, looking back at theJ1. Kip, saying something to Richard. James, reading his lips •••

KIP Wil,EY (cont'd) (sayin9) " ••• I don't think he has the heart for this work ••• "

- EXT. ST. JAMES PARK, LONDON - DAY

And we see James and or. Fredricks walking along a 9arden path in the park. After some 1110111ents:

And Dr. Fredricks knows the implications of what he's being told.

James nods.

- They look at each other.

And it's heart wrenching. Dr. Fredricks nods. An4 they're quiet. James puts his hands in his coat pockets, painfully aware of the handkerchief •••

And he takes it out of James' pocket, givi119 it to h.ia.

James quietly holds the handkerchief. He can't bring himself - to do it. or. Fredricks nods, appreciating his loyalty. And he notices James' worn shoea ••. And as if passing the mantle .••

DR. FREDRICKS {cont'd) You might want to think about getting some new shoes, James ••• There's a wonderful shop on Knightsbridge. A Mr. Pettibone's. He's a bootmaker to the King.

And there's something noble, and at once, anonymou• about it.

He looks at James. And he puts his cane fondly on J-.. shoulder.

Juies is quiet. They look at each other. Dr. Fredric.ks nods. And nothing left to be said Dr. Fredricks turns, walking off, his cane tapping the garden path with each of his steps as he goes. Joes watches hia walk under a foot bridge ••• Disappearing for a moment into the dark under the bridge •••

And he runs after him, into th• dark under the foot brid9•· He looks ahead, into the daylight, where the path continues. And it's empty. The unknown as Dr. Fredricks 1• si.lllply gone, as if he were swallowlld up ••• Ja-• looks down, and he sees or. Fredricks' cane lying on the cold ground. He looks up. And he sees Richard Haye• is standing in the garden path. They look at eaeh other. He turns walking off. Thar•'• a sound. J-•• turns. And Kip Wiley is standing in the shadows under the foot bridge behind hi.a.

He reach-, taking back his handkerchief. And wiping his hands, -tapllorical, he leaves. And as JaMs stands in the shadows under the brid9e ...

nrr. JAMES o.s.s. OFFICE - LATE NIGHT - Jaae5, upset, hands inhis pockets, stands at a window looking out at 1,ondon.Ray, in his overcoat, co-• to the door .••

James, without turning, shakes "no." And the phone RINGS. Ray answers it.

James crosses to his deslt taking the phone.

Hello. (a beat) Yea, I can hear you.

He listens. A slight flicker crosses his eyes.

A moment, and he hangs up. He bends to read some papers, almost as if ha was hiding ..•

J...., shakes "no.• Ray noda. Ke &tarts to leave. Slows •••

And with a ■ixture of regret, sha-, and sadness •••

Ray looks at him. He lowers his head. And as James sits at his desk and we remember for a moment he's just a scared - young man •••

And we're looking at what appears to be a forest of light and shadows. We PULL SACK and we see a large BLOW-UP of the grainy surreptitious BLACK AND WHITE PHOTOGRAPH of the INTER-RACIAL COUPLE, is on a wall. And the REEL-TO-REEL TAPE is playing over SPEAKERS ••• The SOUNDS of the intiaate BREATHING ••• And the Woman's VOICE, over •••

And we see James and Ray Brocco in a "technical" room, with three CIA OFFICERS ••.

And he plays the sound of an AIRPLANE ••• As it plays •••

Be plays the sound ot th• AIR-CONDITIONER •••

He plays the sound ot a CHURCH BELL .••

- suggests it's no more then a few

blocks away ••• (MORE)

COMMUNICATIONS OFFICER (cont'd)

...

And the timbre of the bells' ring suggests it's quite old ••• At least a hundred years old ••• Perhaps it's in an older area of a city ••• ?

He plays the sounds of CARS HORNS •••

He plays a particular CAR HORN •••

PHOTO BLOW-UP •••

AN I~GEMCE OFnCER ••• We're having probl-• pushing the size of this much further ••• the resolution breaks down pretty quickly ••• the film stock is definitely Russian, low-grade ••• (a beat) There's four areas we've been focusing on ••• Firat, the window cl.lrtcains ••• They have a definite pattern on th-••. of trees •••

And be motions to the blow-up of a WINDOW'S C1JRTAINS with their distinct pattern •••

THE IMTELLIGElfCE OFFICER (cont'd) We're told by our people they are Baobabs ••• native to Africa, Madagascar, and Northern Australia •.• second ••. The radiator ••• (showing them •.. ) ... You can just see its brand plate ... (motions to the

- brand plate)

••• It's a O.T.R. Benelu~ ••• Ther're made in Brussels, Bel9ium ••. Tb1rd .•• (MORE)

- .

It reads almost 10:00 ••• Whicb would correspond with the church bells •••

He shows them the CLOCK, the frozen hands of time .•.

And there's an indistinct PHOTOGRAPH on a dresser .••

THE INTEU,IGENCE OFFICER (cont'd) It seem to be of two figures ••• We're going to wash it again, maybe we can see who's in there ••• ?

JUies gets up. And as he peers through his glasses, looking closely at the blow-up of the indistinct photograph, in the blown-up photograph, in the wilderness of airrors ••• The woman's voice, over the speakers, in the quiet r0011 •••

And - see James, wearing a fur-lined overcoat, standing on a - BERLI.N street. A light snow's fallin9. And we see AMERICAN TROOPS, to the accompani-nt of a Military Band playing SOUSA, line after line of troops, oecupyin9 Berlin. And as J-es moves along the street - see he's undergone a c:hanqe. His eyes more distant. His bOyhood, dying. And comincJ the other -Y alo119 the street, is the 9ent.l-n spy hi■Belf, PHZLIP ALLEJf. They warmly greet eaeh other. And as they walk:

There's JfOISZ. They stop to watch the street. And ROSSIAII 'l'JlOOPS, with the red ha111118r and sickle flag, coae along the str-t •• •Tbe AMERICAN FORCES and the RUSS'IAH TROOPS, -.rching by one another .•• A portent of things to co■e •••

PHILIP Al.LEI{ (after a beat, watching the■ ) ... The real war has just begun .•• in every liberated country there will be a battle !or the hearts and minds ... (as they walk,

-

whispering) Do you know about the Manhattan Project ... ? The atomic bo■b ••. ?

SB,

James nods he does.

He stops to light his pipe, watching th• troops •••

A finely chiseled Nazi government building •••

And we see Ja11es, incongruous, sitting buncbed over paperwork on a deslc in a huge dark office, still replete with the - ornate trappings fro. the Nazi regi-••• And Ray Broceo shows in a Man in a tired suit, and a young, pretty, dark haired WOMAJl' ••• A woman we'll come to know as HANNA SRIEI,DS.

3 .... looks up at the Nan in the suit. At the young WOiian. Anc2 he --- she's wearing a hearing-aid .•• Ray leaves. James motions th- to sit <Sown. Tb• Man says so-thing in German •••

She asks him in German.

- HANNA

He said Chicago. H• has relatives there.

Hanna says somethin9 in German to the Man, the word •Chicago,• distinguishable. The Man nods, gets up, stiffly nods to James, and leaves •..

HaMa smiles. She gets up •••

He nods. She starts to go ••• He looks at her hearin9-aid. Seeing his look she pushes some hair over it, covering it •••

She smiles, appreciating his understanding.

She'• quiat.. And :Ray Broc:co COlll8S back into the office •••

INT, A CATHEDRAL, BERLIN - DAY

A large old Cathedral, holes in the walls from Allied bombs. And we see Ray coming in. He crosses into a CONFESSIONAL •••

It's quiet. He waits. S0111• moments and the Priest's door opens. A Man's figure, behind the mesh, sitting down •••

Tbe Man nods.

And as he passes a slip ot paper, a list of names, through the llleSb screen •..

- 'lbere's the so!t e<:ho in the old Cathedral as some few penitents pray. And we see James, sitting in a p- toward the back of the cathedral, quietly watching the Confessional.

A l'IAJI' S VOICE (OVER) Hello, Mother •••

Jaaes turns. And he sees sitting in a ~w across fr0111 hill, a slender, handsome Man, in a tailored suit in his early thirties, with the fine features of a ballet dancer, and the cold, forgotten soul, of a chess player. The man -•ve c:011e to know as PETRA SAJQ;O,

And the "ga-• is on •.• Petra gets up, coming to sit beside him.

PETRA SANKO (cont'd)

- I could only locate one photograph of

you ..• when you were a Fresluaan at Prep school. ..

And they look each other in the eye. And they're quiet. After some moments:

James doesn't say anything •••

PETRA SAIIJtO (cont•d) (musing) ••• It is interesting to-• how both of our countries must now take a global view ••. (smiles) Maybe things would be different, Mother, if Christopher Columbus had been wrong and the -rth was flat •••

J._ is quiet.

And still J._ doesn't say anything.

- JAMES

(wry, smiles) I didn't know we were adversaries yet, Ulysses.

Petra laughs. After some moments:

He takes a small PHOTOGRAPH out of his wallet. Showing it to hi.a. A photograph of two small CHILDREN.

James nods. He starts to give the photograph back to him ••.

James doesn't show a flicker. And the Confessional door opens, Petra's alter ego, the bulky Man, his TARTAR shadow, coming out. He leaves the church. Petra gets up to go.

They look at each other, look each other in the eye. Petra smiles and leaves. And as James looks down at the photograph of his children:

We see James cQllling in. He slows. And he sees sitting in a chair, hi• overcoat across his lap, General WILLJ:AM SULLIVAII. Sitting across the room a silent redhaired JIAH. And the year• have not treated the General well ••• He has the curse of too auch Irish, th• blood and the whiskey ••• And James sees a pair of old wooden crutches beside the General•• chair •••

811.l. SULLIVAN (seeing his looX) Mf fucking feet ••• They keep cutting piece• off of th••··· (wry) It' ■ not dignified ror a -n to have to die from the feet up •••

And as if there•• •011• unseen signal the redhaired Nan gets up and silently goes out onto the terrace. J-s pulls a chair over to sit next to the General •••

BILL SUI.LlVMI (cont'd) (after a beat) we•ve done our job well, James. Maybe too well ••• (quietly, leans forward, discreet) ••• I've been having ■ o- conversations with the President ••• He's asked me to

- draw up a plan tor continuing a

Foreign Intelligence Service ••• (MORE)

James nods. And the General's quiet, and h• looks old, out of his time •••

BILI, SULLIVAN (cont'd) (after a beat, troubled) I have to tell fOU, Jaaes, I have so- real proble111S with this, •• I'• concerned that too much power will ultimately end up in too few hands ••• It's always in soaebody's best interest to proaote enemies ••• r-1 or iaagined ••• r see this as America's eyes and ears -- (a beat)

and soul ...

BILI, SUI.I.IVAN (after a beat) I told the President tor this towork tbera's going to have to be so-kind ot civilian oversight •••

The General nods, but he's not so sure. He looks at James, - and a word of warning •.•

They look at each other. And as they sit in the gathering darkness talking •.•

And we see James, .bent over his desk, sitting alone in his office. Ancl we see he's looking at the photograph of his Children. There's a slivht sound. H• turns. And Hanna, in a raincoat, ha• stopped J.n the doorway. He turns the picture over.

He shakes "no."

He nods. She turns to leave. It's quiet. J-•, alone, sitting at his desk ••.

And he sees she's come back •••

And she self-conaciowsly pushes her hair over her haarin9-aid. And•• he looks at her, and she•- just as lonely as he ia ..•

And - sea J-e• and Hanna have finished dinner, HAnna doing the d1eb•• in a small kitchen, Ja111t1s quietly sitting at the dini.m;J table with a bottle of wine •••

And she quotes from the original Latin from Dante's, "The Divine Comedy .•• " And James translates the Latin into - English .••

He smiles, and there's the last hint of the boy ••• she turns to the table to take up some of the dishes ••• He looks at her ••. something we're familiar with, the naked, .ulnerable boy ••• she looks at him •••

And she folds her arms across her chest, both of th- aware of a sexual tension •••

He gets up. There's an uncomfortable m0111ent ••• Sbe self-consciously pushes her hair over her hearing-aid ••• She looks at him •••

Rain, rwaninv down• window, thro- it. shadows on a wall. And - - J•- and Hanna, lying close together in her bed in tu 1--itude of post-coitus ••• And J .... is uncharacteristically inti11&te, particularly vulnerable •••

A moment, and she looks at him, into his boy's eyes, and she - says ••.

And she reaches to hold him ..• He hesitates ••• and he giv- in to his fears and lets her hold him •.• After some moments:

And as th•Y lay in bed quietly talking, the rain running down th• window •••

And we•- Ja-• lying in bed, peaceful ••• And there's the SOUND of th• shower running .•• James can see into the bathroom( Hanna in the shower ••• And he sees her HEARING-AID on the sink top. She gets out of the shower, drying ••• Turning to Ja-s •••

- still .beautiful. There was an inn

there where the sheets smell-1 like fresh flowers and they served breakfast all day in bed.

He -ilea at the idea ••• She turns, drying, happily singing to herself. James quietly watches her. And his eyes flicker, a h-rt wrenching instinct. And there's a m0111ent's lllellOry ••• of Petra Senko'• lips •••

He looks at the hearing-aid on the sink top again. He looks at Hanna again, her back to him, drying off •.• And he doesn't really want to know, but he has to know for sure ••• And. he says, softly •••

And she turns, hearing him just fine ••• BreaJcing his heart •••

-

She turns back to dry herself ...

And as she dries her dark hair, singing to herself, and even his distant eyes can't hide his heartache •.•

The last vasp of liVht. And we see James, in his overcoat, wind blowing his hair, silently standing on the balconf off his office, looking out at Berlin •.• And Ray comes outs~d•. He whispers something in James' ear. James nods.

- And he's closed what's left of his heart. Ray•• quiet. He turns back inside. And as James stands on the balcony •..

And we see Petra in a bathtub, soaking, looking at the light of Berlin. There's a Jtnock on the door.

The Roo• Service lll&n COIWII in ••• He puts the tray down by the tub ••• he leaves ••• Petra pours the tea ••• And there's soaething in the teapot. Re opens the teapot. Re slows. And he •--

inside is Ranna'• KEARING-AJ:D ••• And he knova where it caae

froa •••

He gets up out of the tub, crossing to a phone. And as he

makes a call:

-

And we see Hanna's taking a bath.The door opens. She turns. And we see Petra's Tartaris in the doorway. And before she can say anything she'sshot in the head.

As her head drops forward into the bath, the water turning red, and the "Cold War," has begun:

James, hands in his pockets, looks out at Berlin. And it's still. Some BIROS come to perch on the balcony railing. And the breeze, with the coming of night, ruffles James overcoat. And suddenly the birds take off. And as he watches them fly off over Berlin, like the passing of time:

Snow covers the ground. And we see a plain sedan, a GoverJllllent car, "The War Department,• coming up the driveway of the old estate, pulling to a stop. And we see James, wearing a suit, an overcoat, getting out of the car. The Driver brings him his suitcase, and leaves. And it's still. And this will be a very different version of "The Beat Years of our Lives.• James starts up the walk with the suitcase, and two CHILDREN, a Boy and a Girl, ROBERT and CLAIRE, six, co- running from around the side of the house. Seeing hi■, they slow •••

-

They nod.

There•• an avltward quiet.

JA!mS (cont'd) (motioning) Your mother?

They nod she's inside. James looks at the■ again, and turning, goes inside.

- Ke comes into the foyer. It's quiet. He puts down his suitcase. He goes into the liv~ng room. It's still. He goes into the kitchen.

And he sees Clover, standing by a window looking outside •••

She turns. And the girl that was once "Clover" is gone •.. A practical woman in her place.

They look at each other .•• And after all the years •.•

There's an awkward quiet. And the children come inside. The little Boy goes to stand with his mother •.•

And he avltWardly gives her a saall doll colorfullI dressed in an Italian peasant costume. He looks at his litt a Boy •••

And he gives him a small ship in a bottle .•. The little Boy fingers the bottle •.•

J.-s quietly l.ook& at Clover, his children ••• And after so- -ents:

We s- Clover lying in bed. And James, carrying his suitcase, cc,mes into the rooa ••• And there's an avltWardness, two strangers • ..

- made up the guest bedroom •••

He nods, he understands. He sits in a chair.

He nods, truly sorry ••. And it's quiet again ... After some moments:

CLOVER fcont'd) Five years is a long time. I've been very lonely. (a beat, honest) I was with a man once ••.

I James looks at her. He can well understand that.

CLOVER {cont'd) (a smile) He wasn't very interesting •••

James smiles. And for a mo-nt ve rememtNar who sh• once -s.

And we•- Ja- quietly unpac:king, neatly folding bis things, putting them away in a chest of drawers. Re takes out his shoes. He looks at th-. Tb• shoes of tine Engliu leather, There's a slight sound ••• He turns. And he - his little boy, Robert, in his paja-s, standing in the bedroom doorway quietly watehing him.

James turns putting his English shoes away in the closet. And as he closes the closet door, home t:rom the war:

The door opens. And we see James, "~he Stranger," in his raincoat, carrying his briefcase, coming into the quiet house. He hangs his coat u~ in the foyer. The house dark, still, -pty. There's a slight sound. He turns.

And he sees sitting in the dark living room, is RICHARD HAYES.

Richard doesn't say anything.

James doesn't say anything.

And he puts a manila envelope on an end tal:)le •••

James is quiet. Richard stops, looking around ••.

RICHARD HAYES (cont'd)

- You must .be lonely without your

family ••• (a beat, his smile) Why have a family at all?

They look at each other, and Richard leaves, the door quietly closing. As James stands in the dark living room in the empty house.

James, buttoning his pajamas, quietly gets ready for bed. And the PHONE suddenlr RINGS on the nightstand, startlin9. He lets it ring exact y tive times.

There's the static of long distance ••. very long distance •••

And out of the static, like coming up fro• a -11, there's the RUSSIAN VOICE of PETRA SANXO.

PETRA SANXO' S VOICE (OVER)

- Mother •••

And we see Petra on the phone in his office in th• 'Kr-lin.

Jllllles quietly standing in his dark bedroom.

- you right now. Moscow is quite

beautiful in April, Mother. Crisp and clear. Maybe you will come and visit, Mother. Even decide to stay.

7).

-

And James is quiet.

PETRA SAlfXO'S VOICE (OVER) Mother, are you still there?

PETRA SAJIIXO' s VOICE (OVER) Ca beat, chiding him) The little "bird• told m• just where to find you ••• at the Bay of Pigs .•• (a beat) Sleep well, Mother •••

- And the phone's hung up. Ja-s quietly hangs up ••• He stands like a shadow, in the dark room •.• And he sees bis reflection in a dresser mirror, a man old before bi& tiaa. He looks at himself in the mirror. And he starts to softly sing a f-iliar -lody ••. •For I'm called little Buttercup, aw-t

little Buttercup, though I could never tell why ••• • And for

a moment he's a boy again. And as he sings the haunting -lody, looking for the boy in th• mirror •••

we see a cluster of temporaty world war II style BUNGALOWS,

little aora then trailers, situated betw-n the Lincoln

Meaorial and the Reflecting Pool ••• And a Truck's parked, two

WOJUOUDI wheeling a SAFE into a bungalow •••

A -11, era.aped office. And we see J.-s and Ray Brocco watehin9 as the lforkllen put the SAP!! against a wall. Tb• Workllen leave. JIUlles looks at the safe •.•

- oftice first .••

Ray nods. James bends, going into the safa ... He can almost stand .•.

James doesn't say anything. And his silence is enough for Ray not to argue about it, After some moments:

Ray nods, not course."

{a beat, wounded) are you going to learnto trust

He ca.es out of the safe. And as he closes the door, turning

the handle, locking it shut •••

IH'l'. A GOVERNMENT BUILDING, WASHINGTON, 1947 - DAY

We're looking at ii BLAClC AND WHITE INTELLIGBNCE f'IUI, ComauniS111 and its influence around the qlobe. And ve ...

we're in a darkened MEETING ROOM in an old government offic.

around the rooa are fifteen or so MEN watching the fila projected on a scr-n. Ja-• quietly stands off to hiaaelf in the back. And we see in the film'• light aoat of the aen are in their late twenties to early thirties, soae few in their forties and fifties. Among th- Philip Allen and Ricbard Har--• Fair-hairlld, Ivy League -n all, "People like us." Philp Allen com.. to stand by Jaaes. And while the fila plays ...

James looks over at Richard Hayes •..

-

JAMES

- (after a beat) .

I was under the impression•Dr. Ibanez supported democracy •..

James doesn't say anything. He nods, and turning, starts out of the room. He looks back and he sees in the f~ickering light of the movie Philip and Richard Hayes quietly talking, •. And he READS Philip Allen's lips •••

And we•- James, in bis raincoat, carrying his briefcase, getting off a city Transit Bua, The Bus pulls off. And we see his little Girl, CLAIRE, standing on the sidewalk waiting for him •••

-

Sb• walks on the suburban sidewalk ahead of bi• to the BOUSE that is now familiar to us. The two story red !>rick COI,ONIAL on the slllNrban Virginia street. Just built, and part of a large bousimi tract, it's a part of tb• whole postwar Aaeric:an boom. A part of the American Dr•••· A place to r•i- your Children where they can dreaa, too. And the last of the day's li9ht iingers on a summer night ••• Cbildren on tbe str-t pl•YUIC1•••The young parents on their lawns, and the sid-•lks, en3oying their freedoa ••• And - see ct.OVER, a drink in her band, talkinCJ with a circle of Woaen on the lawn in rront of their new house. And we s- she's slipped into bar life like a new suit of clothes, that doesn't r-lly fit, wt she's determined to wear ••• J•- comaa up to the house •• •And a 'l'ui stops in th• street. And the blood literally drains out of Clover's face •••

Cl,OVD Oh ay God in heaven ••

Jaiaes turns. And he sees s~anding in the street, wearing an Army unifor111, back frOII th• dead, JOHN RUSSELL. Still the hanas01ae F. Scott Fitzgerald character. The American Boy. And Clover runs to him, holding him to make sure he's real. James, as startled as anyone, comes into the street .••

-

And they embrace, "the boys of su-er." And they realize a Woman is standing in the street with him, a young dark haired pregnant woman .•.

John Russell, come home from the war.

Th• living room's nearly dark. Clover, gone to bed. Irina asleep on a couch,

And we see James and John sitting in the dark on the back porch quietly talking •••

JOHN RUSSELL

Koyushu Prisoner Of War caap •••

And tears well up in his pale blue •Y•• fr011 sOIN unimaginable deep pain .•. He regains his composure ••• -

James nods.

James do-n•t say anything. And as they sit in the dark on the back porch quietly talking:

INT, JAIIZS' HOUSE - NIGHT

J .... is at the front door seeing John and irina out. Jobn shrugs on his Army overcoat. There's an awkward IIIOll8Jlt, They look at each other. And John embraces hia. still, and forever more, "Brothers." And John crosses with his wife into the night. James watches them go. There's a slight sound, Ke turns. And Clover, a bathrobe over her nightgown, is standing at the foot of the stairs. She folds her ar■c across her chest as if she were chilled ••• -

And in a moment of affection he holds her.

She nods. They're quiet. She looks at him.

And as he ~oes up the stairs with her, to the dark at the top of the stairs •••

And we see James and Clover making love on their •conjugal• bed ••• AS we move in on them ••.

wa see Jaaes, his •res open, lying in bed in their dark r001l ••• water's running in the bathrooa ••• Jamea looks toward the bathroom, the door ajar, a small slip of light •.• He silently takes up a phone, dialing •••

He hangs up. He senses sOINbody is watehing hia. H• turns. And Robert, in bis paja-s, is standing in the bedro011 door.

Robert turns going back down the hall. And as Ja-s quietly sits in the dark r00111, unable to trust anybody •••

And - see Richard Hayes and a younger fair-haired Man, with an o~n smile, MICHAEL JOHNSON, sitting in James office. - James behind his desk .•.

Rl:CHARD HAYES (after a beat) Michael's going down there with The United Coffee C0111eany as an "agricultural" la~son ••• He'll be our eyes and our ears ...

James nods. A moment, and through, Richard and the young Man get up to leave •••

- JAMES

(a beat, motioning to Michael) ••• You might not want to wear that ring down there •••

Michael looks at his hand.And JaJDea -ans Michael's "Skull and Bones" Yale Class Ring. Michel nods. And as they 1-v•:

Richard looJts back in •••

Tbey look at -ch other. There's no love lost. And as Richard leaves •••

And we see James, in a overcoat, his briefcase at his side, riding the Bus home from work. The Bus sto~s to take on and - let off some passengers. :rt pulls away aga~n. And a figure comas to sit beside him.

James turns. And he seas SAM PAPICH, the erstwhile F.B.I a9ent, wearing his f&111iliar fedora, has sat down beside h1.m •••

Ja-s is quiet. And as they ride ••.

SAM PAPICH (cont'd)

first house ••• and everything's already broken ••• I spend my weekends fixin9 things •.• By the time I get averyth1.ng fixed, it'll be time to -11 the fucking house •••

He smiles at life's vagaries ••• And after some •o-nts:

benef~t both agencies •••

SAIi PAPICH (laughs) ••• Yeah, I ltnow .•• And the first ti- you boys have the opportunity, you'll be breaking and entering in d-eest, darkest, Indiana, like thieves in the night •••

Even James smilu. After s0118 111o■ents:

James looks at him as if to say, "What•·s that?"

- SAM PAPICH (cont'd)

(wry) I knew you when you still had a conscience ••.

James is bent over his desk, i11111ersed, reading something. And we see Ray Brocco coming in, bringing him a small round gift-wrappod package.

Ray takes off the gift wrapping. Inside is a harmless CAN OF COFFEE.

And James looks up •••

Ray takes the •key", slowly opening the can. The seal, broken, hisses •.•

RAY BROCCO

I (looking, shrugs) -

Just, coffee •.•

Ray puts his band in the coffee feeling around. He abruptly stops. He takes something out. And touching it, upset, he drops it on the d-k. And we see it•• a -n's JUNG l"DfGEJl. And still on the finger, Michael Johnson•• Skull And Bones Yale Class Ring. JIIJIIIS is still. And ha knows where it came rroa ...

IJIT. A COFFEE SHOP, WASHINGTON, 1947 - DAY

And - -e Ja-s sitting alone at a booth, eating a piece of pie with coff-. A Man co11es to the booth. He gives hi.a a n- shoe box.

The Man leaves. James opens the shoe box. And we see inside is a small clear JAR. And inside the jar is a WINGED BEETLE. As James closes the box •••

And we see a line of CARS, following an Official Car with the flag• of a Central American Country onto a COFFEE PLANTATION. And we see WORKERS, with small flags, standing in a line waiting for the dignitaries. The cars stop. And we see the President of the country, a short man with glasses, DR. VICTOR IBANEZ, "The Great Healer," "El Indio," get out. A DOCUMENTARY TEAM following him, filming the occasion for posterity. And we see in the .BLACK AND WHITE DOCUMENTARY FOOTAGE as he's cheered by his countrymen, moving along the line of workers, shaking their hands. And we see, in the back~round, of the .BLACK AND WHITE FOOTAGE, the other dignitaries cars unloading. And we-• getting out of one of the c:ars PETRA SANKO and the Tartar. And down the way, getting out of another car, James and Ray Brocco. And in our movie Petra and Jllllles look at each other across t.'1• cars •••

And he motions, expansive, at the endless fertile fields of coff- plants ••• And he walks off into the fields, the people and th• dignitaries following hia ••• And JUies and Jtay set off, following the111 through the fields ••• Petra and the Tartar across from the111 ••• And James slows, falling behind ••• And Petra co-s beside hilll, ••

PETRA SANl:O I'm sorry that was necessary.

They quietly wallt through the fields. Petra stops to finger a leaf of one of the coffee plants •••

(nods) A miracle.

Ja11es smiles a rare smile. And they quietly stand, hands in their overcoat pockets, side-by-side ••• And there's the distant drone of an AIRPLANE ••• They look up at the gray sky ••• The plane somewhere above the clouds .•• A breeze ruffles their clothing .•• And a small winged BEETLE lands on Petra's shoulder • .James brushes it off. It's oddly quiet.

And then there are some more beetles, a handful, flying around the fields. And then more. And more. Falling out of the sky. The sky literally black, like locusts, with beetles. And they set to work on the coffee plants, eating the coffee beans, destroying the crops .•• And there are aore, and more, the field filled with flying beetles ••• Petra turns ••• and he sees Juies has walked off. He stops, turning, looking back at Petra •.•

They look at each other through the cloud of insects ••• And James gets back in the car. Rar gets in with hia, driving. And as James, his face at the window, drives off:

And we see Ja-• getting on the Bus at the Kall. He looks for a seat. And he sees a HAT, the familiar fedora, on an empty seat. He lifts the hat ••• And under the hat is pieceOf letter-head STATIONERY. "The United Coffee Coapany.• He pockets the stationery. He moves along the aisle, finding a seat. The 8\ls comes to a stop. And as we see Sall Papich take up his hat and get off the Bus:

We see an el.egant old red brick h-, backed up to Rock creek, near Elllbassy row ••• A CAR c011es along the street. And - we see Clover driving Jaaes and their two children. Thay pull into the circular driveway. Getting out of the car they go up the walk •••

J-s rings the bell. And the gentleman spy, Philip Allen, answers the door ..•

PHil.IP AI.LEH Well, hello ••• I'a so glad you could ca.a ••• coae in ••• come in •••

He shows th- in ..•

And his facelesa wife, Toddy, COIN& over to greet th-.

- Politely, they do.

And be leads th- into a large formal living room. And the house is decorated for Christmas. A large Christmas tree. And sitting by the tree, children waiting their turn to see him, is a SANTA CLAUS.

Claire, the more adventurous, moves to see him. Robert stands his ground at his mother's side.

She takes him by the hand •••

He shakes "no."

TODDY AI.LEN

' (offering her -

hand) Why don't you come with-••• ?

And now he has no choice •••

He reluctantly takes her hand, walking with her to tha Santa Claus •••

James nods.

And it isn't a question. Ja-• follows him into a STUDY off the livinqi-00111 ••• And there are a small group of Man we recognize froa the Agency, standing around the rOOll drinks in hand ••• And we sea iUIIOng them, John Russell, Richard Hayes, and in a wh-lchair th• terminally ill, -ciated, echo of himself, Bill Sullivan ••. Philip brings James a drink •••

- BILL SULLIVAN

(after a beat, toasting) Merry Christmas, one and all •••

And they raise their glasses, toasting. And as they drink, ... quietly talking, James stands by the door, He looks out ••• He can see his Boy nearing the Santa Claus. Their eyes meet, the little Boy scared to death. James subtlf gives him his approval. James turns back to the study, dr1n1tin9 with the men ••• A moment, and he turns back to look out at his son ••• And he sees his little Doy, petrified, sitting on the Santa's lap. And there's suddenly the unmistakeable sight of urine dripping down the scared boy's leg. He's peed in his pants. Clover hurredly grabs him off of Santa's lap •••

Clover looks in the Study .••

The Men turn •••

-

And as he talte■ his son upstairs •.•

Re silently undresses him. And Robert, grateful tor his sympathy, puts his litle arlllS around his father's neck, bugging biil, pr-sing his warm cheek to his father's cheeJt ••• Jaaes is quiet ••• He helps him into a shower ••• and as ~ vatcbes his son shower ••• WE HEAR VOICES SDJGING •••

And - - Jaaes and the rest of the people gathered in the living room 11Y the Cbristlllas Tr-, Toddy playing Christ.as carols on• plano, everyone singing along ••• And as they sing, "Oh coae all ye faithful, joyful and triumphant ••• •

And we see DR. IBANEZ and his family sitting around a Christmas tree opening their Christmas gifts. A door suddenly opens. TWo Soldiers coming in. Two other soldiers rush in behind them.

And as they fire, killing the "Great Healer" ... The Government changing hands ••.

"Oh come ye, oh come ye, to Bethlehem ••• • And we see Richard Hafe• coming back into the room. He whis~rs a0111ething to Philip Allen. Philip nods. He coaes beside James •••

James doesn't say anything. And as Philip Allen sings the the Christmas carol ••.

Philip tamps his pipe, lighting it.

And as they SING, their voices raised as one, in the glory of Christmas ••.

"WEDNESDAY, APJUL 19, 1961." And we He J-•• in his f-iliar posture, crossing the street. into the old wilding. And if it's at all possible he's shrunlt further into hiaself. His •Y-, moving, furtive, behind his gla...s.

And we see a door suddenly opening, Ja-, followed by Ray Bracco, coaing into a busy CIA Co1111RUJ1ications center •••

And - hear a Woman's VOICE speaking Russian over the speaJter•·

Ray turns and quickly leaves.

-

The door opens. Ra¥ coming back into the roOlll. And with him is a dark eyed MAN in his forties, whose handsomeness, despite his battle with time, is fleeting ••. A Man we'll come to ltnow as VALENTIN MIRANOV. He slows, hearing the Russian •••

- and Peace .•• • Whatever sequence has

been determined for the day provides the indicator words •.. One day it is every third word, and then the code word. Another day it is every fourth word. Another every -cond, third, and tenth word ••• Sometilll8s, it is simply to fill the air to contuse you •.. (slows, listening) Sh•'• repeated, "baboyka,• •1:1uttertly,• thr- timea ••• It's her identityer ••••

- Valentin nods, saying the word in Russian, "kohkoh."

An Intelligence Officer picks up a phone making a call. After a 1110111ent:

And the door opens ••• And a Man hurries in giving J&111es a surveillance PHOTOGRAPH. A photograph of a strilting, handso-, young BLACK WOMAN. James takes out of his ~riefcase the surreptitious grainy black and white photograph of the inter-racial couple. He looks at M'Bya's ~hotograph. At the woman in bed ••• And there's more than a striking resemblance •.•

And suddenly a VOICE co-s over the PHONE LINE •••• PE'l'RA SANXO'S baunti119 voice .••

PETRA SANJl:O' S VOICE (OVER) (on the speakers) Are you there, Mother? Are you listening in?

A busy coaaunications center. And we see Petra Sanko on a phone.

PETRA SANl(O (after a ~at) I'm afraid, Mother, the little •bird• is quite ill. Unless medicine arrives he will not last very much longer.

James silently listening.

PETRA SANXO'S VOICE (OVER)

- If you would like I could arrange for

medicine. He could come stay in our hospital. (MORE)

James is still.

And suddenly the phone goes daad. Just the hum of the dial tone ••••

COl'IKUNICATIONS OFFICER The transmission has been terainated.

VAI.EN'l'IN (after a beat) He's playing with you, Mother. He wants you to think he knows so-thing fOU don't know •.• He wants you turning 1.n circles •••

Juaes is quiet. He gets up, standing looking out a window. And despite Valentin's warning .••

-

name?

And as ha opens the window, letting the air in, looking outside •••

The front door suddenli opens. And we first see Clover, and then J .... , c011ing in r011 a night out. Clover, unstaad:r on her high heels from one too many drinks, tries to maint.u.n her balance, her dignity •••

- She starts into the kitchen •••

And frustrated tears run down her cheeks. And the PHONE RINGS. James answers it ..•

He hangs up. He dials a number. After one R:IHG, ••

JU1811 hangs up. -

And without another word he turns back into the foyer, getting hie coat. And he •••• that ROB!:lrl', nearly thirteen now, has been standing at the foot of the stairs, listening to th- ••• And ash• quietly goes back up the stairs to his bedrooa •••

Il!IT. A COJllltJNICATIOHS ROON, THE CIA, 1953 - NIGHT

And we see Jaaes and Ray sittinc, in a s-11 ,antiquated) communications roo•. Clocks, with various tuae zones line the walls, Technicians monitor electronic equipment. Comaunications Officers wearing headphones, on telephones, a -lange of VOICES CRACICLING over speakers •••

A COMNUNICA'l'IOHS orn:cu (to J ...s) ••• At 22:42 we got a whistle on a listening post in Warsaw, from one of ours in Moscow, to expect a big package •••

The Man listens to something •••

COMMUNICATIONS OFFICER (cont'd)

- (to James)

... We're being told he's from KGB comaand and control, a minimWI G-6 and could go as high as a G-9 •••

The door opens and a Man with a photograph_comes hurrying in ....

He gives it to James. And we see an extremely 9rainy SURVEILLANCE PHOTOGRAPH taken of a MAN rrom a distance •.. James quietly looks at the indistinct photograph, •.

EXT, THE U.S. EMBASSY, HELSINKI, FINLAND - EARLY MORKING

And we see a FiMisb Taxi Cab stopped in the empty street outside of the Ellbassy ... The Taxi's door opens, and a Man in an overcoat, carrying a briefcase, quietly gets out. He cross- the street going through the gates, up the Embassy steps, and inside ...

- The busy communications ro011. And we see Jalles quietly bent over the photograph, studying it with a -gnifying glasa. The door opens, another Man hurrying in •••

Alf INTELLIG!lfCE OFFICER ... we think he's Valentin Gregori Niranov ••• A G-8 with counterintelligence •..

The large foyer is empty, a Janitor ■opping the floor. And we s- the Man quietly standing on the tile floor at a reception d-k, a young half-asleep DOTY OFFICER •••

And for the first ti- we get a good look at the NAN ••• A graceful, extr-ely handsome man in hi ■ mid-thirties, there's a sorrow in his dark eyes •.. And as we look at hia:

And we see James still peering through the magnifying glass, looking at the man's photograph ••. And as we move in, looking through the magnifying glass at the man's indistinct photograph ••. the grain on the photogra~h as big as rocks, or, as indecipherable as a wilderness of mirrors •• -.

And we see a plain two story traditional brick house in a suburb of Washington ••• A "safe" house •.•

And we see VALENTIN'S reflection in a mirror. And we see he's sitting on a couch in a sparsely furnished living room, Ray Brocco sitting in a chair across from him. A woman, a stenographer, her back to them, sitting in a corner of the room transcribing their conversation ••• An Intelligence Officer, a youny stoic man, sitting on a bridge chair in an unfurnished dining room ••• valentin, wearing slacks, a dress shirt, tie, and a cardigan, is relaxed, informal •••

Witbout having to be asked the yo1m9 Intelligence Officer get& up crossing into the kitchen ..• Ray Brocco, looking at a dossier, going through his bonafides •••

He looks up at the ceiling ••• There's a lamp fixture •••• -

And we see James, wearing headphones, quietly standing looking down through a two-way mirror in the lamp fixture watching Valentin and Ray in the room below him ••• A Man wearing h-dphones sits at a desk monitoring a tape recorder. Two other men, a man in an army uniform, and an Intelli9ence officer, wearing headphones, stand nearby ••• James is still, watching below him. Ray gets up, crossing to stand by Valentin. And he suddenly punches him in the face ..• Blood drips from the Russian's nose ...

And as J-•• studies th• man known as Valentin:

The sun sets over the capitol. And we see Valentin, taking s0111e air, standing looking at the Potomac River. Ray and the Intelligence Officers standing on the lawn quietly talki119. - And we see Jaaas coming to stand by Valentin •••

They Shake bands, •• They•r• quiet, looking at the river. A cold bree~e blows off the water •••

IN'l'. JAMES' OFFICE, THE CIA, 1953 - DAY

And we see the television's on, the sound low, the McCarthy Hearings. "Are you now, or have you ever been, a melllber of the Communist Party ... ?" And we see James at his desk, surrounded by papers. Ray comes in.

And we see James crossing into the busy TRAIN STATION. He sto~•• lookin9 around hia. He looks up. And he sees sam Papich, st&nd1.n9 on an observation deck, smokin9 a cigarette, resting the f-iliar fedora on an upstairs railing. James goes up the stairs. He stops some distance frma Saa, standing at the railing, looking out over the teniinal. Re slows. And he sees JOHN RUSSELL, carrying a briefcase, coming into the terminal. He turns to a bank of phone booths. He goes into one, se-ingly using the pbone. A brief mo-nt, and finished, he walks off. And James realizes he's left his briefcase behind. A moment, and a MAN comes out of one of the other phone booths. He goes into the phone booth John had used. He comes back out with the briefca-. And crossiD9 to another exit goes out of the train station. - J-• is quiet.

saa nods. And crossing by him, putting on his hat, he goes down the stairs am:I leaves. And as James stands at the railing looking out at the busy terminal:

It's• crisp fall day. And we sea a car parked off a country road at - apple orchard. James, on a taaily outing with Clover and their children, along with John Russell, Irina, and their little Boy. And the adventurous Claire is up in a tree, piclting apples, hilnding them down to Clover and Robert holding a bucket. John, Irina and their little boy picking apples at another tree. And we see James, standing under the trees, leaves falling around him, watching them. And John comes to stand by James. After some moments:

- JOHN RUSSELL

(watching them) It's nice to have the families together ••.

John looks at him. And there are tears in John Russell's pale blue eyes ...

James is quiet.

And tears run down his handsome face •••

Ja-s is quiet, not knowing what to believe.

His wife's calling hi■• Ha =osses to his wife and child. James instinctively turns and he sees Robert has been watc:hiftCJ th-.

- And he walks with Robert over to a tree, helping him pick apples ••• He instinctively turns. And as he sees Clover, her arms folded protectively across her chest, looking at him •••

James comes in. And we see the Tailor, Philip Allen, is washing his hands in a basin.

PHILIP ALL!lf You wanted to see me?

James nods. Philip motions to him at the overhead lamp, not to say anything. He leaves the water running. And taking a box of fancy chocolates off a shelf, he turns with James to a far corner of the room along the tile wall. He gives James the box of chocolates.

And as they stand in the corner ..•

- know basis on this particular -tter,

James. (a beat) I hope you are not taking it personally.

Jaaes is quiet. The door opens. A Man looks in. Philip nods. Tbe Nan leaves.

And•• he 1-v.., Jamee standing in the rest room holdi119 the box of c:hoc:olates, the water running;

And we ne James sitting in the back seat of a car parked outside the safe house. A Driver standin~ by the car door, waiting. And we see VALENTIN coming outside. He ~ets into the Car in the back with James. And as they're driven off:

He moves his overcoat, and under it is a violin case •

(quietly) I think you said you played •••

And it's hard to know if he really plays it or he doesn't ..

James takes the violin out of the case, handing it to hill •••

He 9i_,. hi• th• how. Valentin taltes up th• violin ••• He puts it l:laek down ...

It's quiet. Valentin takes up the violin ••• He hesitates ••• And he starts to play ••• And he plays it beautifully •••

A wooded park with walking trails along the Rock creek. The capitol do-, in the near distance, through the trees. And we see Valentin sitting on a bench with James, playing the violin •••

James is quiet. And as he listens to him play:

James is quiet. And after some moments, equally obsessed:

- He starts to pack up the violin, putting it in its case.

He gets up ••• Tbey walk along a trail, Valentin carrying tbe violin case ••• And as we look at th- at a distance, at their bac::ks, -lll:ing together, if we didn't know any better, they alaost •- intiute, like ))eat friends, like soul mates, like lovers •••

Itrr. JAMES' Ol'F'.ICE, THE CIA, 1953 - MIOTHER DAY

James is bent over some papers on his desk. Ray co- to the doorway •..

Ray nods and turns and leaves. James bends silently reading some COlllllluniques ••• and his private door opens .•.

(looks up) Don I t u.:.e t....'la t:· cioor --

And he sees KIP WILEY, the well bred Englishman, his coat over his arm, standing at the door.

James nocta. He motions Kip to come in. Kip sits on the old couch.

- James doesn't say anything •••

J-s takes up his phone. He quietly says something. A moment, and Valentin comes into the office. Kip gets up •••

And Jtip takes a gift, a TEA TIN, wrapped with a lavandar ribbon, out of his overcoat pocJtet •••

Kip laughs. James looks at them. And it's hard to know who in this room is the most charming, or the most dangerous •••

Tbe stately Russian !:llbassy. And we see a car pull to a stop in the -pty street. And we see Irina's driving. John in the front seat. Their little boy asleep in the back. A moment and John gets out, It's quiet. H• stands for a moment in the eiapty street looking in the car, at his wife, bis sleeping son. He softly taps on the glass a "goodbye," to his family. They look at each other. And Irina drives away. It's still. He crosses the quiet street to the Embassy Gate. Ha stops at the Guard Station. A moment, and the gate'• opened .•• he hesitates, looks behind him for a last time, and goes onto the Embassy grounds. And a Man we recognize, PETRA'S TAJtTAR, comas out of the Embassy, across an expanse of lawn to JDeet him. They stand for a 111011ent on the lawn, talking. John, hands in his pockets, nervously pushes at some leaves on the lawn with the toe of his foot. A m0111811t and he follows the Tartar to a side door, going inside the Embassy, and •out" into the •cold." And the Embassy's still a9ain. And we look down the street ••• to a three story bUild1ng •••

And we•- James and Sam Papich silently standing in the second story window of a Tailor shop looking through binoculars down at the Embassy. And J'-es sees John has left a signal with his foot in the small pile of leavea ••• "7" •2• "1."

And aa he watches a breeze blow the leaves, and an American boy known•• John Russell, away ••.

we see James coaing home, coming into the dark room. Clover's figure, seemingly aslep, in the bed. He starts to silently undress.

And she might as well be talking about herself.

JAJraS (for many reasons) He abandoned me.

And as he stands in the dark bedroom •.•

And we see James sitting at a table with a telephone in the busr c01D1Dunications room. A Technician, wearing headphones, motions James to pick up the telephone •••

"TEHERAN, IRAN." The Iranian capital. And we see The U.S. Embassy Building •••

DIT. EIIBASSY, COMMUNICATIONS ROOM, IRAH, 1953 - NIGHT

A s-11 rooa cramped with electronic equipment. A coamunications Technician. And a Man in his early sixties, in a twcedo, AMBASSADOR HAMP TAYLOR, sitting at a desk on the telephone.

The Aabassador on the telephone ••• And - FOLLOW the phone cord, going INTO THE WALL ••• FOLLOWING the line down through the wall to a ayriad of wires at the telephone switching system. We FOLLOW a wire clipped to a switch. The wire dropping down and disappearing under the floor •••

- EXT, THE U.S. EMBASSAY, 1953 - NIGHT

And we see a MOSQUE beside the &lllbassy ••.

And we FOI.I.,OW the wire snaking up through the MOSQUE WALL, FOLLOWING A PHONE CORD OUT OF THE WALL, and up to a pair of HEADPHONES. And we see, listening in to tbe phone call, a flat faced Man smoking a ci~arette. And we see we're in a small PRAYER ROOM. Technicians, wearin~ headphones, reel to reel tape recorders turning. And standing behind the -n, wearing headphones, is PETRA SANKO. And we hear:

The Ambassador hangs up.

J-e• bangs up. He quietly sits, waiting for so-thing •••

We see Petra sanJto take off his headphones. He crosses to look out a window, at the Iranian night •••

PETRA SANl(O (In Russian, to nobody in

- particular)

Do they mean that, or do they want us to think they mean it ••• ?

He takes an antacid out of his pocket, ch-ing on it ••• He's still, standing at th• window, considering his options •••

IHT. THE COMMUHICATIONS ROOM, CIA - DAY

The rDOlll dead still. James has gotten up, standing at a window, silently waiting •••

IllT. THB PRAYER BDOK, MOSQUE, TEHERAM, IlUIJI - Jll:GKT

And Petra, JBlllting a decision:

And - the TaChnician takes up a telephone, dialing •••

Err./INT. THE PREMIER'S PALACE, TEHERAll, IRAlf - NIGHT

A gated and heavily ~•rdad ornate old Iranian Duilding once the home of the Irani Royal Family. And we see a PRONE WIU surreptitiously coming up into the building through the airconditioning ••• We FOLLOW th• wire up through the wall into the telephone switching systeM ••. And as a switch, switches, we FOLLOW another wire coming out of the switch, out of the wall, and into the PREMIER'S BEDROOM,,,

We FOLLOW the wire to a TELEPHONE on a nightstand. And as - th• phone starts to RING •••

:INT. THE CO.l'DIUNICATIONS ROOM, CIA - DAY ·

James standing at the window. And there's suddenly the SOUND

on the speakers of THE PHONE RINGING ••••

And we see the TELEPHONE ringing on the nightstand. And THE PREMIER, a slight man, seventy, wearing a bathrobe, comes out ot the bathroom, answering the phone •••

James and the man waiting ••. And they finally hear:

PETRA SANJ<O'S VOICE (OVER) Premier Mossadegh.,.This is Ulys.- ••• (after a beat) You can sleep well. The Peacock will not .be coming home.

There'• the sound of the phones being hung up. The room quiet. -

J-• is still. And after some IIOIDents:

And - .- J•-• his coat over his shoulders, stubble on his face froa a long night, sitting on a couch silently watclling a TBLB\'IS:tON SET ••• Ray, standing :by the couch, watching ••• And - - Dave Garroway on the •Today Show" reading the news as NEWS P:tLII plays •••

- bloodless coup •••

And we see on the television NEWS FOOTAGE OF THE YOUNG SHAH'S RETURN •••

The Shah being escorted by troops through a chanting, cheering crowd of Iranians, up the steps of the Palace ••• He turns and waves. There's a huge roar, the heir to the Peacock Throne come home ••. Jaaes, impassive, silently watches the television ••• 'l'he young Shah goes inside the Palace. soae moments and he appears on A BALCONY. There's another tumultuous cheer. Th• Shah waving to his adoring people •••

JUies doesn't say anything. Getting up, he takes up his overcoat, starting to leave ••• He slows ••• And he seu on the television Petra Sanko has come out on the balconi to stand beside the young Shah. H• leans in to say something to the Shah ••• And James READS his lips •••

The Shah smiles. And as Petra walks him inside, the balcony door closing behind them, .. Jaaes silently standing in the light of the television screen •••

And we see James, "The stranger,• sitting alone at a table - with a cup of undrunlc coffee under an old Roosevelt era WPA l'IUral in a crowded, noisy co-issary, •• He quietly loolts out his glasses around the room. The hundreds of conversations. And he looks across at a table, two men talking. And he READS their lips .•• A man saying, • ••• Everyone's being held accountable •• • The other man saying, "Th• seniors are going underground,• He turns. Another table, READIKC so-body els••• lips ••• •There•s a mole ••• A spy in our hou-••• • somebody else's lips ••• •They'r• sealing ott the building -- going office to office ••• • Another table ••• "They'r•

going to be a bloodbath ••• • And as J-es is still, bis •Y- aoving bebin4 his glasses, the first hint of -dness.

A YOtJNG MAN'S VOICE (OVBll) "All Russia is our orchard ••• •

IIIT. A IiITTLB THEAT!R, WASHINGTON D.C, l.954 - KIGHT

And - - J-s, still in his mid-thirties, Valentin sitting beside bi ■, watching a local production of "Th• Cherry orehard.• As they watch the production J-e• sensea somabody is looki!'CI at him. He slightly turns. He slows. And he sees sitting at the end of his aisle, her program in her lap, hair tied back, a hands01118 woman now ••• is LAURA. She smiles at him, mouthing •••

- LAURA

James •.•

He doesn't acknowledge her, looking straight ahead. She look•,at him, confused. He doesn't respond, motionless, looking straight ahead, watching the play. She's quiet, hurt.

Valentin nods. James gets up. He crosses purposely by Laura, going out of the aisle. Their eyes meet for a moment. And without a word he crosses out of the theater. Laura's still. And after s0111e moments, upset, she gets up and leaves.

We see Laura c0111ing outside. The street empty. She'i. quiet. She starts to turn to leave. A Taxi pulls up.

She nods.

A saa.ll quiet bar. We see Laura coming in. She looks around the bar. Sha doesn't see him. She feels a hand on her shoulder. She turns. And Ja-•, is behind her •••

Thay look at each other.

She loou at hia, his eyes bac0111t1 old before their tillle. protectively folds her arms across her chest •••

JA!'!ES (reassuring her) You're safe with me, Laur,

- She looks at him. And she nods, tr· lets him walk her inside:

And we see James and Laura in the quiet bar at a corner table •••

Laura nods •••

He smiles and it's a smile from the past, a boy's smile •••

LAURA {cont'd) •••• I've been teaching English for three years ••• At Gallaudet ••• It's a college for the deaf here in Washington •.•

There's an awkward quiet. She see- to want to ask hi• about - what he does ••• but she knows she can't, and doesn't want to know ••• After s011e moments ••

And they're quiet, each with their own thoughts of what llight have been.

He looks over at a COUPLE talking •.• And "reading" their lips •••

JAMES (cont'd)

- She said she has to be up early for

work ••• she'd like to go home. He said, "just one more drinx ••• "

-

Perteet. You've learned it well.

But there's something not so clever alx>ut it anymore, its purpose has been perverted. And he's telling her, in his own way, what he does. And it isn't teaching poetry. And they"re quiet. And as they look at each other ••• so many years later •••

They come out. A light rain's falling. They stand on the ••~ty street. And nothing left to be said there's an awkward qu~et. He walks her to a taxi. She starts to get in ••. She slows ••.

He smiles, wry. She gets into the taxi. And he bends, lightly kissing her c:heek. He turns, moving off along the wet sidewalk. And there's an aching feeling of s0111ething so inc011plete •••

He turns. And ha sees she's gotten out of the taxi, hands in her coat pockets, standing by the c:urb ••• They look at each other. And they lx>th know they need to have completion •••

IHT. LAURA'S APARTMENT, WASHINGTON D.C. - NIGHT

And we can see down a short hall an open bedrooa door. And as we s- James and Laura, in her small bedroo11, malting love •••

EXT, TH!: LODGE, DEER ISLAND, 1954 - EVENING

The fa■ iliar SJtUll and Bones Island Retreat. We ean see the soft yellow lights of lanterns hanging on the LODGE'• porch. A VIOLIN is playin9. And we see the people in their evening clothes, the &lWlllli ot skull and Bones, and their families, standing on the porch, drinkin9, tallting 1 in tones reserved for the dusk. And we•- Jaaes, in even.ing clothes, coainq onto the porch. He crosses the porch, as he did onc:e some y-n before, to senator Jtussell. Jllrs. Russell, having sufferlld the ravages of a stroke, sitting in a wheelchair.

-

And Philip and Toddy Allen, holding drinks, Philip smoking his pipe, come over.

And as Ja111es stands on the porch in the yellow light of a lantern, the violin playing something light and frothy •••

And we see Clover, a drink at her elbow, not her first, on her way to being drunk, finishing dressing. And despite her efforts to put herself together, her hair done, wearing a red evening dress, nothing seems to fit.

Clover crosses into the front room. Robert and Claire, now fourteen, playing nMonopoly.n And a young Lodge Bellman, holding an envelope, is there.

She takea the envelope. He leaves. Opening the envel0{>8 she goes back into the bedro0111. She sits back at the dressing mirror. She takes out of the envelope some photographs. She stops. And she sees SURREPTITIOUS BIACI( AND WHITE - PHOTOGRAPHS of JMES IN BED WITH LAURA, making love. She's motionlus. And as she quietly takes another drink •••

We see Clover, dressed in her evenin9 gown, carrying a ...11 purse, her heels tip-tapping on the wa:ut, coming to the Lodge. And there are the sounds of LAUGHTER fr011 inside the Lodge. And u she 9oes inside;

And we ..e the People are sitti119 at their tables, drinking, uproariously laughing, watching a show. And we see on the stage, Bonesaen, dressed up a• w0111en, doing a revue, ain9J.nc; and dancillCJ to a piano ••• "I enjoy beiftCJ a girl ••• " And - •- Clover comi119 in, aoving between the tables, aakift9 her way across the rooa to Jaaes. James instinctivel! turns, seeing her. And - &be r-chu the table she sudden y taku a pistol «Nt or her evening bag, pointing it at Jaaes' head.

And she tries to squeeze the trigger, but her hand's shaking - too badly, and she doesn't have the courage to kill him ... And before she has another cnance the gun's wrestled away from her. And as she lays on the floor sobbing ••• The piano so-how still playing ••• "I enjoy being a girl ••• •

We see a MOTOR LAUNCH idling at a dock. ,And we see Jaaes silently standing on the dock. And we sea Clover, still in her evening gown, holding her evening bag, standing on the Launch. And the Launch, its light on the water, moves away. And as she stands on the deck, the wind blowing her hair, not knowing who she is anymore •••

It's still. James q~ie~lr 3iLs in the small wood paneled living-room looking at the damning photographs. He instinctively looks up, and Robert, is standing in a doorway.

Robert nodS, wanting to believe him.

They look at each other. And Ro:bart, knowing he's not going to get anymore succor, starts to turn to go •••

And Jaaes surprises him by aabracing him.

- I love you, father. And Ro:bart quietly turns back into his room. James goes outside.

He sits on tbe porch in a metal porch chair. And as he silently sits, looking out at the dark water, the sounds of music coming from the Lodge .•.

The LITTLE THEATER in Washington. And we see Laura with a few remainin9 people waiting outside the little theater for tneir compan~ons. The lobby lights blink on and off. People rush to meet their dates, going inside. Laura, left alone. She waits on the empty street. And she knows her •companion• isn't going to 00111e. She waits for a moment more, a last hope ••• And a Man co•e• across the street •••

And he givea her a small box and walks off. She opens the box. And inside is her CROSS, James giving her back his piece of her soul. His "goodbye." And she turns, walking off along the straat ••• And as she voes we PAN baclc alonv the - straet ••• And we -e James is stand~ng, where he li,,._, 1n the shado-, of a dress shop's dark doorway ••• Watching her walk away tor good •••

"THURSDAY, APRIL, 20, 1961." And we see what looks like Jaaaa, in a raincoat, carrying a briefcase, coming along the d&rk f-iliar hallway. His head down, shoulders -iqhted, looking at the ground as if for so-thing he's loat ••• And as be co-• closer we••• it's Ray Br0<:co.

And we're looking at wbat could be an abstract paintin~.

TE<:HNICAL OFFICER (OVER)

We PULL BACK and we see James at his desk, a Technical Officer beside him, looking at a blow-up of the framed photograph that was on a dresser. The black and white photograph of the two figures. It's hopelessly grainy, out of focus, just tha shadovs, like a painting, of the two people in a frame ••• And as James, a growing ••dness in bis eyes, peers into the shadows •.•

JAMES' VOICE (OVER)

- Would you like to learn how?

... AND WE SEE A TWEEZER GRASPING A PIECE OF SLENDER THREAD. We PULL BACJC and we see James, taken to wearing glasses, at hia desk in the study making a ship for a bottle. And we see Robert is standing behind him, watching him. And nearly eighteen now, he's blossomed, his frame filled out, a noticeable self-assurance ••. Not unlike his tather at his age ••. James gives Robert the tweezer •••

It's quiet. Robert carefully pulls th• slender thread, slowly pulling th• mast down. He slowly, carefully, slips the nip into its bottle. Robert smiles. James smiles at hiJD, proud. They look in each other's eyes. Ja..s lowerw his eyes, quietly peering in at the ship. After so■e moments:

-- James looks up.

And as he peers out his glasses at his son:

And we see an old Kain street. School susses parked outside of a turn of the century brick COLLEGE. On a Marquee •.• "Welcoae, National Glee Club ••• •

'INT. TRI! COLLEGE FIELD HOUSE, KANSAS - DAY

An olcl drafty 9irdered FIELD HOUSE. And we aee Boys Gl- Clllbs, in their various matching robes, clustered together. And on a riser ia a particular Glee Club. And maong th-, ve see Robert ••• Ha lookS up into the stands. And we sea, wearing bia f-iliar overcoat, sitting in the stands with the other parent&, off by himself, is Ja-•. Robert looks at his father, grateful he's there. It's quiet. And Robert and the Boys in his Glee Club, start to sing in lovely harmony ••• noh Shenandoah, I long to see you ••• far away, you mighty - river ••• " James quietly watches him. And a slight shadow crosses over him. A figure sitting down next to him •.•

And - see it's PETRA SANKO •.• His Tartar shadow standing not far from th-, his back against a wall •••

J-es motions ••• They listen to the Boys singing ••. "Oh, Shenandoah •.. "

PETRA SANKO {cont'd) He has your eyes. Is he going to follow in his father's footsteps?

Ja-s doesn't say anything. They're quiet, the Boys -eet voices singing ••• And after some moments James writes down the names of so111e COUNTRIES on the back of the Glee Club Prograa:

Petra looks at the list ••• Ha writes down on the prograa a list ot countries of his own ••• Jamu quietly looks at the list ••. Atter so- moments •••

- And even James manages a thin smile. They're quiet. After some moments:

If he keeps calling attention to himself, at some point, we may have to send him a surprise. I don't want it to come as a surprise to "your" people.

Petra's quiet. After some moments:

Petra nods.

James nods .•• And they're quiet •.•

- PETRA SANJCO (cont'd)

(musing, an echo) To think, the world at one time was flat ... (a beat) Be well, Mother •••

And he gets up to go ... He slo-•••

Jall8S is quiet.

James doesn't say anything •••

-

James is qui•t. Petra turns to 90 ••• he slows again ••.

PETRA SANKO {cont'd) I am joining our Premier at Disneyland. would you reco-end a ride I should ~ake, mother?

Petra smiles at the irony, and with his Tartar shsdow, leaves. Ja111es is quiet ••• He turns to watch Robert sing ••. And he sees Robert looking up at him, his shoulders hunched, unable to hide his deep hurt. • ••• Oh, Shenandoah, you mighty river ... "

IHT. THE COLLEGE FIEU> HOUSE, KANSAS - DAY, LATER

And we seeRobert, still in his 91•• club robe, a medal around hisneck, standing with his father. The other boys with theirfaailies.

- They turn. And the Choir-Master suddenly takes their photograph. He turns to take somebody elses' photograph.

Robert nods. And as J'ames and Robert stand together in the old field house •..

A saall Kotel on the edge of town backing up to endless cornfields.

IN'l'. 'l'HB DlfSAS MOIEL - lfIGH'l'

The ~ dark, quiet. Pond we see Ja-• and Robert lying in their separate beds ••• After some time:

What is it you think I do?

ROBl::RT I ltnow you worlt for the CIA.:. I'm not sure what you do? Why everything has to be so secret ••• ?

Ja11es is quiet.

And there's the SOVND of a CAR. A moment, and headlights flash on and off in their window •.•

And putting his coat over hi& paja-s, he goes outside. A moment and Robert gets up, looking out the window. He can see his father standing by the car, quietly talking to Raf Brocco. some moments and Ray gets back in the car and drives off. Jua-, left standing alone. A breeze ruffles his coat. And as he stands in the dark, the cornfields blowing in the breeze like an endless sea ••• He turns ••• And he sees his son looking outside at tha man he doesn't know, who is hi• father ••• - ZNT, JAKES' OFFICE, THI!: CIA, 1959 - ANOTHl::R DAY

And we see the young John Kennedy, hia lovely wife at his side, on a television, announcing his intentions to run for the presidency. And we see the television is on in Jaaes office. And we see James at his desk, Valentin sitting in a chair, the men quietly talking. There's a knock on the door ••• Ray co■•• in .•• He crosses to J•-••··

IJIT. THE C011111JNICATIOHS CENTER, CIA, 1959 - DAY

And - •- Ja■es and Ray in the much larger, tec:bnologically state of tbe art, Coa■unications center •••

- A COMMUNICATIONS OFFICER

(after a beat) We're gettting a signal he's just gone into the Embassy in Finland •••

llS.

And we see a tall, good looking, dark-haired MAN in his early forties, coming across the tile floor. An Embassy official and a CIA Field Officer, crossing to meet him •..

And we can hear over the speakers:

-

And as Ja-s, hearing the too fa111iliar naae, looJcs up:

An early familiar Chain hotel.

INT, A HOTEL ROOM, WASHINGTON O.C - DAY

And - see s011a NEIi standing and sitting around a H0'1'2L 110011. A1M>119 th-, Ray Brocc:o. And we see aitting in a chair, naked, ia the •O'tlfER VALENTIN MIRANOV." Ws PULL BACX and. see that J_., with "Th• Violinist,• Valentin Miranov, are in an adjoininCJ hotel room, looking through a TWO-WAY MIRROR ••• Intelliganca personal, wearing headphones, ait in a co~ monitoring a tape recorder •••

- ••. This other man, who says he is

Valentin Miranov, is not who he pretends to be ... (MORE)

ll6.

James is still •.•

James is quiet. A& he studies the "Other," the nued Valentin •••

And Ray gets in the man's face •.•

- wife's name is Tamara Harkovskaya ••• My

children's names are Anatoliy and Sergei, •• M¥ father is a cellist ••• % play the violin ••• All I want is freedoa •..

And an Intelligence Officer suddenly hits hi■ in the face literally knocking him and the chair over. Two Intelligence Officers pick hi.a up putting him back in the chair •••

s_. answer. And he's hit again •••• And as the routine continues, same questions, suae answers •••

urr. THE HOTEL ROON - LATE A:rl'ERNOON

And we•- ic:e water being poured over the bloody -n•a head •••

- Miranov ••. I was born in Bobrujsk •.

And we see James looking at a small TAB of medicine, with the pharmaceutical makers name, "Sandoz ••• "

James gives the tab back to the man .•• And as he nods to try it •••

And we sea the OTHER VALENTIN, his face bloodied, still sittinV in the chair ••• And ha has a look of drugged confusion .••

- And ha sings a children's song in Russian •••

And as if ha ware riding on the train, reciting the stops alo119 the way •••

He gets to his f-t.

And like a little Boy he salut- their laadar ••• Ha laughs, childiah ••• And he's suddenly quiet ••• And on so- clear LSD plane •••

- the KGB sneezes .••

(MORE)

And he's quiet again ••. And he suddenly shouts •••

And without a warning, he suddenly runs to a window, and without stopping dives ri9ht through the window ••• literally flying out the window ••• His body hurtling onto the street below ...

Jame• is still. He turns to look at the •real" Valentin ••• - Hi• sorrowful dark eyes, his handsome face ••••

James quietly looks at him. He shakes "no." And as he turns and leav-, his shoulders bunched, head down, as if he were looking for something he's lost •••

The old University. The sound of the YALE CHOIR comingfrom the Univeraity cathedral ••• 'l'he doors bursting open, the Grad'll&te• stre-ing out •••

Families gather with their graduates. And we see Robert, in bis ca, and gown, standing with his fBlllily, Clover, affectionately holding his arm. And it takes us 11 111011ent to recognize her. Grown extremely heavy, it's as if she's grown a second skin. Her last line of defense. Claire, dressed "in contusion• wears a long Jlandarin shift, black eye makeup, no lipstick .•• As if she's at mourning .•• And James has become - the long shadow .•. He's started to sink into himself, his clothes seeming to bunch in on him •.• And a thin bespectacled BLACK MAN, a graduate, distinctly African, comes over .•.

He shakes their hands.

And without warning he starts to take their picture ••• And James, protectively, looks away ••. "CLICK." And we see the results of the PHOTOGRAPH, the moment in tillle ••• Ja■ea, a blur, unrecognizable, Robert proud of hi111Self, confused Claire, and. the corpulent Margaret, nee Clover, the James Wilson l'alllily •••

And we're looking at a PHOTOGRAPH, a "1939" group photograph of the bOys ol' Skull and Bones. John Russell. Richard Hayes. James Wilson. "The best and th• brightest.• And we see James looking at the ~hotograph. And we see he's in the familiar reception room with its cases of :momantos, the class photographs, the long history 01' Skull and Bon-. And we see - the YOUNG MEN of Skull and Bones, some with their father's, standing together, crowding the room. And J-• turns to stand DY Robert. And a Young Man with unl'orgettable pale blue eyes, the world in the palm of his hand, is addressing th.....

'l'KE BONESMEN (as one) All here!

And they begin to sing a fraternity song, a nostalgic song about their youth •••

- I've spoken to a recruiter hare ••• I

would like very much to join the Agency •••

And James is quiet, struck by the thought .

(after a beat) I had thought you wanted to go to Law School? Harvard?

James is quiet. And Robert starts to sing, joining the fraternity song. James looks at his son •.. And as James starts to sing, too, heartbroken, the "Best," and the "Brightest," of all the "People like us."

And we see James, silently bent over his des~, peering at a PHOTOGRAPH on the front page of a NEWSPAPER. And we see the photografh is of the youngbearded ~LtJT:tOHARY LEADER OF CUBA ~iv1ng a speech ••• andU1ong the people standing behind him, Just recognizable, isPetra sanlto ••• He looks up at Ray Brocco ••.

- And we see small but comfortable houses near the beach in Far Rockaway. Soma old people sitting on lawn chairs on their front lawns. Children coming and going froa the beach. And we s- sitting in a CAR, parked across the str-t from one of the houses, SAN PAPICH. And we see two large Jlen, standi119 outside one of the houses. And we see standing inside a screened-in front porch, a Florida room, looking outside, is James.

A Man comes into the Florida room •..

J.- follows th• Man into a kitchen. And sittinq at a kitdlen table, in a sport shirt and slacks, out of place without a suit, is a dark, somber man, in his torties ••• JOSEPH PAIJII .•• Tha aan leaves th- alone ••.

JOSEPH PAI.Ml (motions) Please make yourself at home.

James sits in a kitchen chair. And a Woman, with two SJHll children, in their bathing suits, comes into the - kitchen ..• TINA PALMI ...

And they go out •••

JOSEPH PAI.Ill Do you have any children Mr. Carlson?

-

JAl'IES No, I'• afraid I don't •••

And they're quiet. A moment and James gives him an envelope. Joseph opens it. And inaide are PHOTOGRAPHS ••• surreptitious photOCJraphs ot a YOUNG MAH in bed with a familiar BI,OMDE AC'rRESS •••

JaJDes is quiet. Joseph looks at James, his distant eyes.

Joseph slightly smiles ••. Atter some moments:

JOSEPH PAUil Let me ask you something ••• ? We

-

(Italians) have our families, our church •••• (MORE)

They look at each other, a mutual contempt •..

And he takes three CIGARS out of his pocket, giving th- to him ••. Joseph saells one •••

JOSEPH PAUil (nods) It's too bad the Cubans have to JDake the beat cigars.

And we•- the caribl:>ean Island so close to ho-.

I:NT. THE PRESIDENT'S OFFICE, HAVANA, CUBA - DAY

And we see an AIDE, a •-11 -n in the distinctive Cub&n revolutionary aniy uniform., silently coming into the President•'• -pty office. He takes the tbr- •cigars• out of his PO<lltet, putting them in the tap row of a box of cigars on the l>residente'a desk, and quietly le•v-. Soae ao ■ ents, and the beU'ded Presidante de CUba, with two of his Officers, coaes into the office. The President• sits at his dealt. He ~ns the box of cigars, taldn9 up a •cigar.• Ha starts to light it. And the PHONE RINGS. The President. answers it. He listens, nodding.

EL PRESIDl!:NTE si ••• s1 ••. Uly-as ••• qracias •••

Be bangs up. A IIIOIIBJlt and he presses an intercom asking for somebody. And - see the uniformed AIDE coming back into the office. The Presidente aotiona for the Aide to have a •-t on a couch across the rooa. The Presidente offers hi• the "cigar." The -n shakes "no, gracias.• The President• put. his pistol on the desk, and lass then fOlitely, insists, giving the Aide the "cigar.• The President• takes one of his - own cigars out o! his pocket, lighting it. He motions for the Man to do the same ... The Man, terrified, lights the "cigar." The President• quietly smokes his cigar ••• The Aide, smoking •.•

And we watch an ash forming, slowly getting longer and longer with each puff he takes •.• Tears run down the man's face, the ash growing longer and longer .•• He takes another puff, the ash glowing, and as the cigar suddenly BLOWS UP, virtually blowing the man's face off •••

And we see James quietly sitting at his desk. And we see Richard Hayes, and a latin Man, GEN. HECTOR SUAREZ, sitting on a couch. TWo MEN we're not familiar with, but faailiar enough looking, "people like us," sitting in chairs.

And he looks over at James to say something •••

- We're designating this as Operation

Mongoose ••• Back Channel, "l!lanitest Destiny ••• " Nothin9 is to be put in writinq. Nothing is to be done on the telephone. This has the highest level of deniability, because this operation does not exist.

And as the men quietly talk •••

And - see nill>oats silently moving in the wind aaong the islands on the St. Lawrence River •••

And - - Robert sailing the l>oat ••• Jamea, lying on th• deck, l.ooking up at the clear blue sky.

The boat:, its sails down, is anchored off a small island in a peaceful cove. And we see Ja-s and Robert standing on the deck quietly talking •••

James nods, he knows.

And they're quiet, the water lapeing against the boat ••• And James gives him one piece of advice •••

Robert, innocent, quietly looks at him, seeing how deadly serious be is •••

Robert nods ••• And as they stand on the boat in the secluded cove, quietly talking •••

Robert, getting dressed, in an unbuttoned tuxedo shirt, tuxedo trousers, coaes out of his room. He knocks on hi• parents door.

xt•• quiet. He opens the door. There's the sound of water running, the bathroom door ajar, .Ja-s in the shover. Robert looks in •••

Robert turns !)&ck into the room. He opens the top ch:"-•er drawer. He looks for soae cuff links. And he notices, on the dr-&er, .Jaaes• BRIEFCASE. He finds the cuff links. He puts th- on, looking at himself in the dresser mirror. But be finds hi-•lf looking at the briefcase, a curiositf ill:lout his father's life ••. He hesitates. And opening the briefcase, - he looks inside. He looks at a file folder. "Utmost secret." "Mongoose.• He looks through it. He takes up a photograph. A reconnaissance "spy" photograph, taken from space, of the island of CUba.

various Bays on the topography delineated by their name..-~ •• And there's another reconnaissance photograph, with even greater detinition •.• of a particular bay ••• A Bay that's called, "The Bay of Pigs ••• • And we see Ja-s, a towel aro\lftd his waist, is standing in the bathroom doorway, silently watching hilll ••• Robert instinctively turns, seeing hia.

He puts the file away, shutting the briefcase. James is still.

James is quiet, seeing what he's done to him.

And there's very little he can say to that. And as they look at eacb other, the rather and his son •••

U'l'. THE LODGE, DEER ISLAND - N!:CHT

Th• f-iliar lanterns, with their yellow light, hang froa the porch. The ~E is lit up ••• The sounds of voices •••

And - see the alumni and their families of Skull and llones at their faailiar tables ••• And we see Jaaes• tal:>le ••• The only ones left, J__., Clover, and Robert. And where Se"-tor RusMl.1, and John Russell, once -t, where their place n-. still sit, •sen. 3ohn Russell," "Mr. John Russell," their plates have been cer-onially turned over, and a ._11 piece of black ribbon is on thea, for one Wbo is dead, and one who ai41ht as -11 be dead. J-- quietly looks aroun4 the rooa. Ph~lip and Toddy Allen sittinq now with Richard Hayes at his table ••• Philip and James exchange nods ••• And, in the f-iliar ritual, an Old Jlan POUNDS his cane twice on th• table ••• And the Bonesmen, James and Robert along with the rest, co- to their feet and say as one for a last time:

IU\d they give a rousing SHOUT, and take their seats again •••

CLOV:t:R (a long ago echo, and this time she doesn't smile) CIA first, God second •••

And as The Reverend leads the room in prayer, James and Clover looking at each other.

The lights have been lowered. People still at their tables, drinking, quietly talking. A BIG BAND is on the stage playing. People dancing. we see Robert dancing with a -iling debutante whose future is pretty obviow. ••• And we see J•-• and Clover at their empty table, silently sitting, with nothing to say, watching the dancers, The Band ~laying •t•• gonna love you, like nobody's loved you, coae rain or c011e shine ••• • And all the wasted years seem to wash over th- lilte saltwater ••• After some mOJlents:

He's quiet.

Ct,OVER (cont'd) (after a beat) I'm going to go live in Phoenix, with 1lrf aother, J'aaes ••.

Jaaes nods ••• Anc:I as they sit, trying to rUlellber who they both once vere •• ,Robert, dancing, holding the girl close, the a.nd playing, ironic, •1•• 9onna love you, like nobody's loved you, coae rain or come shine ••• •

INT, THE CIA - IIORBING

•FRIDAY, APRIL 21, 1961.• And we hear the Woman's Voice •••

THE WONAll'S VOICB (OVER) You are safe here with me •••

And - - James at his desk, the tape-recorder turning, the surreptitious photograph of the inter-racial couple, and various blow-ups of the pbotcvraph, on his desk. And we see Ray Brocco and tvo other Men in his office •••

- around 10:00 at night !or a two week

period ••. There were flights leaving in fifteen cities ••• (MORE)

And as Ja111e& looks up, at the name of the country be didn't want to hear, bUt already knew in his h-rt •••

It'c raining on the busy African city. Soggy red and green posters of the first Congolese President, Patrice Luauaba, on the buildings walls. And we see J-es, in his raincoat, walking through the crowded streets of th• old city. There's the sound of a CHURCH BEI.L ••• He turns a corner. And he sees a very OLD BELGIAN CHURCH, its old bell ringing, hollow ••• He aoves along the street, the old apartment buildings. He ccmes around a corner ••• He slows ••• And in an apartment's - window, in a second story apartment, blowing on a bree;r;e, like in a dre-, are the curtains with the pattern of the baobab tr-• on them. He goes into the tiuilding.

DIT. AH APARnlEIIT BUILDING, THE CONGO, 1961 - DAY

He comas along a hallway to the and apart-nt. He knocks on the door. It's quiet. He tries it, the knob turns. He opens the door. He step• inside •••

The apartment•• dark, quiet. Ha goes into the bedroom. He slows. And sitting on a chair in the bedrOOlll, waiting for hia, ia PETRA SANKO.

PETRA SANJtO Hallo, Mot:her.

J- tale- in 1:he rocm, the room he feels like he•• lived in. The flowers wilting in the vase. The taailiar nightstand with the clock ••• tha airconditioner ••• tha radiator ••• And on• dresser a PHOTOGRAPH of two figures ••• And chilling, he sees it's the photograph of Robert and hia taken in the field house in Kansas.

-

can I play something for you, Mother?

And he plays a reel-to-reel tape ••• There's the sound of intimate breathing, and then •••

James is quiet. And then we hear Robert's VOICE, over, intimate, whispering ...

It's quiet. Jaaes is still.

- It's quiet again. And out of the quiet •••

James is quiet. After so- 1D011ents:

And there's th• sound of their intimate br-thinq ••• And the tape ends ••• J ...s is still •••

PETRA SANI<O (after a beat) We can protect him, Mother . .. aake him safe ••• Nobody would know ••• We would arrange it so he just disappeared, bis body never recovered •••• (a beat, quietly) All it would requ~re, was for you,

- Mother •.•

(a beat) To sit in place •..

Petra Sanko nods •.•

It's quiet. Aftec some moments:

PETRA SANXO {cont'd) We've both been doing this for a long time, Nother ••• Far too long ••• It isn't a game we enjoy anymore ••• Let's put an end to it here •.•

James is quiet. And the phone suddenly RINGS, once, and then stops. And then it RINGS again, twice. And stops.

J-- is quiet. -

PETRA SANltO (cont'd) {slovs) I thought you should see this.

And he gives hia a s-11 PHOTOGRAPH. A photograph of JORN RUSSELL and KIP WYLEY taken in Reel Square.

James doesn't say anything.

J.- is quiet.

- They look at each other, look each other in the eye. And he turns and leaves, the sound of the door quietly closing ••• Ja111es stands in the bedroom i111111ersed in the silence •••

He quietly looks at the photograph on the dresser, the photograph of him and Robert ••• And there's the sound of the door opening ••• somebody coming in •.• walking toward the

seeing his father ....

And as he takes his arm, taking him out of the apartment ...

And we see them standing close together in the rain on the crowded African sidewalk •••

l -· I won't let you take that away

from me •••

And peoplestart to crowd around th- at a Bus stop, pushing for a Bus. And James suddenly emaraces Robert, holding him, close •••

And Robert start ■ to cry ••••

Tears running down his cheeks ••. -

131,

And his tears, and the rain, dampen James' shoulder. And Jaaes -ys, from somewhere deep in his soul •••

And Robert, his father's son, recoiling at his touch, pushes him away from him, turning into the crowd, walking off ••. And as James stands in the crowded street, alone .••

wSATURDAY, APRIL 22, 1961.w And we see a Car pulling to a stop. The car pulls off. And we see Ja-•, briefcase in hand, left standing alone. Ha turns. And we see he'• been left standing on the edge of some woods in front of a -ssive BUILDXNG that's under construction, very near c<mpletion, that's bean carved out of the woods ••• A Security Fence around the perimeter. The only designation of what the building might be, signs on the fence, "No Tresspassing, Property Of The United States Government." And the construction site's empty, dead still, And in his familiar posture he s~.arts along a walkway toward the quiet building c:arrying his briefcase, his footsteps echoing in the sllence ••• He goes up some steps. Ha stops for a m0111ent at the threshhold. And he •-• carved in th• stone above the doorway, •The Truth Shall Malta You Free.• Ha goes inside.

It's dead quiet. There's a large empty rotunda. Ha crosses the rotunda going up a staircase. He comes onto an endless corridor •••

Be turns. And Richard Hayes is standing in the corridor.

RICHARl> HAYES (cont'd) Have you been here before, Mother?

And. it•- as ir only by sbear will he's holding bi...lr together •••

IUCHARI) HAYES (motioning) ••• This whole wing will be counterintelligence •••

They move along the endless corridor, doors open to the unfinished rooms. James looks in the rooms.

An -pty room with wires coming out of the wall ••• going nowhere ••• In another room, a li~ht fixture dangling from the ceiling •.• Another room, television monitors stacked one on top of the other like blind eyes •.• Another room, a conference table and no chairs ... The mundane beco- the most sinister ••. Richard slows by some gaping boles in the wall •••

James is ~iet, and we see he's looking at Richard, at his lips, as if he were reading his lips ••• the sound droning ••. "The madness ••• "

RICHAJU> HAYES (cont'd) (reading his lips) ... There will be plaqu- on the walls honoring agents that have fallen in the service of their country. Of course there will Joe no naaes ••• just the dates of service ••• The anonymity of sacrifice ••• (after a beat) The President at the next cabinet meeting will ask Mr. Allen to resign. (smiles) Soaething about secret bank accounts in swit:i:erland. (beat) The President has asked me to assume the Directorship.

J-• is quiet.

He sail-. And it•• still boyish. Richard turns, -lking al0119 the "hall-y ••. •

RJ:CHARD HAYES (cont'd) (reading his lips) You should know, the Englishman, the "honorable schoolboy,• Kip Wil•f• has defected. He's been one of tbe1rs tor fifteen years ••• A fucking stuttering mole ••• !

Richard stops •••

lJJ,

And ha knows it all, James is quiet.

And Jaaes says .••

- You let a stranger in our house •••

You know we can't let strangers stay in our house ••• (atter a beat) You still believe in the rules, don't you, Mother?

J_. is quiet.

Ancl it's still. He'• been given "Sophie•• Choice.• And after - moaants, reading his lips again .••

llICHARD HAYES (cont'd)

us, Mother ••• A new building. A new Director. A new era. The 901den age of Intelligence •.• The President is concerned about southeast Asia ••. Do you know anything about Vietnam, Mother? We won't have to be gentl-•n anymor_••

- James is quiet.

1)4.

And Riehard turns, moving back along the endless hallway. James watches him go through a stairway door and disappear, the door closing behind him. And it's dead still. James, motionless, peering out his glasses. And as he stands in the emety hallway of the new CIA headquarters, holding bis briefcase, its heart and its soul •••

The house se... dark ••• -pty. There's voices. And we see James and Valentin sitting on the back patio ..•

EX'l'. JAMES' ROUSE, THE BACR PATIO - NIGHT

They sit in the dark, James hands buried in his overcoat pockets •••

And JUies starts to uncontrollably shake •••

And he goes into the bou.e, into the kitchen. James silently sits on the dark patio ••• After some moments:

And James is still. And as James looks out his glasses, his eyes, distant •••

It's dark. And we see on a desk a framed photograph of Valentin and bis wife and children. And we see J-s, like a thief in the night, in Valentin'• office. He quietly looks througb -- papers on his desk. He opens the drawers, lookilllJ through thea ••• He starts to turn, to leave ••• And be s•- on. bookshelf the ENGLISH TEA TIN, the cannister that Kip Wiley had given to Valentin. Jame• opens it. He pour& out the t- bags. And under the tea bags is a s-11 NIMOX CAMERA -- for taking photographs of documents. And as J ...s silently stand• in the dark office, gathering himaelf ••• TRl!!RE' S THE SOUND OF A SYMPHONY •••

And we see a well known CONDUCTOR conducting a SYMPHONY for a distinguished group of 8111inent guests in evening clothes •..

The young President and his First Lady ••• The Vice President •• Member~ of the cabinet ••• senators and Congressmen ••• when it was a place known as "Camelot." And we see James, aaon9 the audience, sitting with Valentin, listening to the heartbreaki11<1lY beautiful music ••• And as Jaaes shuts his eyes, listening to the Symphony ••.

The Soviet city.

And we see •the honorable schoolbOY," Kip Wiley, dressed in evening clothes, looking at hi11Self in a mirror, getting ready to 90 out. And he sees in the mirror's reflection a Man standing behind him holding a gun. And it's the last thing he aees. Three quick shots, leaving his blood on the mirror, and his dead body on the floor •••

James listening to the iausic •••

And we see John Russell, bundled in a winter coat, careying s0111e groceries, crossin9 a quiet Moscow street. A Car suddenly coaes around a corner, running him over, driving off .•• And as John Rusell lays on the lonely strfft dying, lying in the aillt from a broken milk bottle, his blood turning the milk red •••

Jaaas listening to the Symphony •••

IIIT. THE BOLSHOI BALLET, MOSCOW - NIGHT

And we sff eminent Russians, including the Pr-ier and bis Politburaau, Generals, and the like, at the Bolshoi Ballet. And we -e Petra Sanlto sitting on an aisle. His TARTAR shadow comea down the aisle, bendin9, quietly saying soaething to him. Petra nods. A moment, and he gets up crossing into the LOBBY. Be crosHS to a PHONE IOOTII •• • As Petra takes up the phone •••

11ft'. A PHOU 1100TH, NATIONAL THEATBR, WASHIHG'1'0lf - NIGHT

And we - ,,..... on tbe phone. And he aays:

JAM!;S (simply says) It isn't personal.

And Petra has another realization. He turns. And he sees his TARTAR SHADOW standin9 outside the phone booth. And he's holding a pistol with a silencer. And the Tartar opens fire on the phone booth ••. Petra Sanko silently slifping to sit on the floor of the phone booth, the phone danglinq ... The last words he's to say •••

And we see James cosing out of the phone booth. Re turns back into the auditorium. He stops, just inside the doors. Valentin instinctively turns, seeinq hia. James looks at hi•, and turning, hands in his pockets, quietly leaves. And as the doors silently close behind hia, and Valentin knows he's as qood as d-d •••

And we s- Ja-s, perfectli still, bent over his deu in the pool of liqht fr011 a desk amp. And we can•- Ray silently standing by his desk ••. And we see that J-- is bent over the ad in the Nev York Times Classified9 that says ••• "Nother, is it sate to leave home ••• ?w Some moaents, ana James looJts up. He peers out his glasses at Ray •••

He's quiet.

And all the years well up, and he starts to cry ••.

And Jamee is still, p-ring out his glasses at him. After some moments:

- From now on, you'll have to deliver 137,

your massages for yourself.,,

And h~'s purposely dropped the respectful appellation of, "Mother.• And turning, his shoulders bent, head down as if ha ware looking for something he's lost, ha leaves. He stops, just outside the door looking back at him, James, in the pool ot light, bent over his desk. And Ray quietly closff the door for the last time and leaves. And it's still. James, sitting alone in his office, like King Lear. And as he sits in the pool of light bent over his desk r-dinq the "Personal," "Mother, is it safe to leave home?" And we 1re not sure what his answer is •••

And we sea James• haggard reflection in a Bus window.And we see James, his briefcase at his side, silently ridinghome from work in a nearly empty Bus ••• And as he rides theBus home from work •.•

We sea Valentin Miranov quietly sitting in a chair drinking a glass of vine, alaost as if he was waiting for somebody. There's a slight sound. He turns, too late, a plastic bag put over his head. the bag ~llad taut, suffocating hha ••• Kis face bacOJU1ing contorted, like a qrainy photograph, unrecognizable, as if ha didn't exist at all ••• -

James on the nearly e111pty Bus, briefcase at his side, quietly riding ho- froa work •••

A small airfield. And we see Robert getting out of acar. He turns, croasing to a waiting single engine PLANE.And as ha climbs on board •••

INT, THE BUS, WASHINGTON - NIGHT

J-s quietly riding home on the bus •••

And we••• the small plane taking ott, heading otf into the blue African sky •••

IJrl'. TBZ BUS, WASIIINGTON - Nl'.GHT

James riding on the Bus.

And we._ M'BYA, the striking African woman's reflection in a mirror, a• she tries on a traditional African wedding dress in a dressing room. The curtains part. She turns. And there's the pop of a silencer.

And as &ha stumbles against the mirror, falling into· it, her blood-on the front of her wedding dress, a _wedding dress she won't be wearing anymore •.•

James riding on the Bus.

The Cessna tlying over a vast Atrican plain.

James, riding the Bus •..

And we see Robert sitting up with the Pilot. A Man sitting in the back. And suddenly the Man reaches over, his ara around Robert's necJt. The Pilot opens Ro:bart.'s door. And the Man literally throws Robert out ot the plana ••• And u his body falls and falls and falls and falls •.•

I1IT. THE BUS, WASHINGTON - HIGHT

Jalll8s on the Bus •.•

And we see, lying on the endless plain, Robert'• crumpled, lonely body. And to add to the abject loneliness, we see aniaals grazing nearby. And we see a lion, standing in some grass, the hair on its neck bristling, looking at the motionless body •••

James turns to look out the Bus window •• ,And hes- his retlection in the glass ••• He finds hillself looking at h.iaself ••• And he looks at the reflection•• if it -r• unta■iliar to hi■ •.• AS if it were a stranger•s ••• And as he looks through his glasses into the ayes of his own reflection, into his very aoul, we see so■ething -•ve never seen before ••• taars, rolling down his c:heeks behind his glasaes ••• And as he looks into the eyes of his own lonely reflection in the Bus windowl a light cross.. the window, and the window goes dark. And h s reflection just disappears. He has no reflection at all. Lost soaewbere in the "Wilderneas of airrors. 11 His wisb has co■e true. Be's bec:oae invisi.ble. And•• be looks into the glass darkly ••• THERE'S THB SOUND OF AN OR.CH!!STRA •••

The Yale sta9e. And we see Miss Buttercup, young and vibrant, moving around the stage, forever more, singing •••

-

lJ9.

BUTrERCUP "For I'm called little Buttercup de&r little Buttercup, though I could never tell why ••• But still I'm called 'Butttercup --' poor little Buttercup, sweet little Buttercup, I •.• !"

FADE OOT:

-

•