"THE GOOD SHEPHERD" (2006)

"l1IE.GOODSHEPHERD"

Screenplay

by

Eric Roth

-

J'uly 11,1997

-

"THEGoop SHEPHERD"

We're looking at flowers.A flower arrangement ina VASE on a DRESSER. And we hear the soft soundsof breathing. And as we listen more closely we recognizetherhythmof the breathing as peoplemakinglove. And we can see inthe reflection of the dresser'sMIRROR we're inadarkened BEDROOM. And just barely distinguishablewesee a roung couple,a young WhiteMan and a young BlackWoman, in the shadows of the dark room,on abed making love. The young Man'sface hidden, lying in her naked arms likeachild seeking succor .•• And as she holdshim,comfortinghim,wecan hearher whisper to him•••

And we look again atthe innocent vase of flowers. And as we lookmore closely, downinto the flowers,we see among them, inside a delicate!lowerpetal, a smallbug •••Butthis is a fardifferent kind ofbUg, much more sinister,much more deadly, •• AnELECTRONICBUG.We look again atthe DRESSER MIRROR. And we suddenly go behindthemirror into an ADJOININGAPARTMENT. And we can see TWOMEN, wearing headphones,a tape-recorder turning,arewatehing the couple inbed through a TWO-WAYMIRROR. And as theywatch and listen tothe whisperings of twopeoplesomewhere in the - world making love •••

FADE OUT:

FADEIN:

And we're looking at aGREAT SAILING SHIP,with it. dark woods, and its hugesheets of sail,seemingly b-ding intoa wind. And as the greatship se- tocome aboUt, riding across one of the sevenseas••• suddenly aKAN'SHARD, holding a TWEEZER, c0111esintoframe. And deftly,like a surgeon,be knots a piece of finethread, securingthe mainstay to the 111ast.•Things are not alwaysas theys•-···"

"FRIDAY,Al'IUL14,1961.• And we seewe're in a -11 suburbanSTUDY. AMAH in the first gray light ofdawn, wearing a bathrobe,sitting at a desk,up all night working ontbe ship. In bisearly fortiee,there's a sunken quality abouthill•••Aman oldbefore his time. It's as if be were drawn into himself, ifwe didn't payclose attention hewould siaplIdisappear. And yet there's apresence here, an inteligence, in thecheekbones, in theer••••• of his brow, inthe scholar's eye-11asses,theshort,but mussed hair. We'llcome to knowh1m as JAMES WILSON. And we can see ona shelfbehind him the results of his handiworkhis craftmansbipover the_years,a line ofships in bottles•••A - man with a finehand. He l¥oks down. And we see there'sa PHOTOGRAPH on hisdesk••• A grainyBLACKANOWHITE PHOTOGRAPH ofthe young inter-racialCOUPLE makinglove ••• He switches on aREEL-TO-REEL TAPERECORDER.

There are the soundsof their intimate breathing.And then the sound of theWOMAN'S VOICE,whispering .••"Youaresafe her• withme ..."And the tape runs out. He presses"Stop." He rewindsit. He plays itagain... And ashe listens tothe tape again•••weclosely watch him carefullypullingthe pieces of the ship's delicate thread,flattening the ship's masts to thedeck. And ashe slowly, ever so slowly,starts to pass the ship through the mouthora bottle,to eternally sail inside .•.

•••Andsomething goes very wrong ••• Athreadsuddenlycoming loose,the mast springing up before itstime••• And asthe ship literally breaks apart in his hands ••.

We're looking at a traditional twostoryred brickCOLONIAL on a typicalsuburban street. The front dooropens. And Jaaes,wearing a raincoat,carrying a briefcase,comes out. He looksaround, acutelyaware of his surroundinqs••. Re stops to lock the front door.And turning, he movesalong the sidewalk,his feet echoing onthe quiet suburbanstreet••• And we'restruck by his posture, his shouldersI.Hint,headdown, as ifhe were looking onthe ground for somethinqhe's lost. Andeven with his headdown there's a sensehe's always looking around,as it someonecould be followinghim••,Re's - startledbf voices, singing. He turns. SOM school children,1n yellow rain slickers,singing- they wait on a cornerfor th•ir school bus•••Hecrosses thestreet to stand at aBUS STOP••• Another Man,in a raincoat,briefcasein hand, just likehim, waitingfor a bus. The other Man says, •goodmorning•.."James, with a hint of suspicion,nods "goodmorning•••" They don'thave to wait long,a city transitBUS pullin9 toa stop. James purposelylets the other-n qet on first...Andas he gets onthe Bus after him•••

The Busmoving throughthe outskirts of acity. Despite the hour it'salready filledwith men in raincoats,with briefca.-. And we lookfor Jaa•s•••Buthe's so indistinquishable,he seemsto have disappearecS•••And- find him, ffeinghe's sitting byth• window nextto a Kan reading a "N- York Times." Th•Yride in silence. some ■maents and the Buapulls to a stop. And the Man sittingnext to hi• suddenly,surreptitiously,reaches underhis arm handinq him a partof the newspaper,and taking up a briefcase,gets up, andgets oft the Bus. The Bus pulls off. JUIBS looks at the newspaper. It's openedto the CLASSIFIED'S••• ThePERSOlfALS.• He peersout his scholar'sglasses at the listings•••Hiseye stopsat one••• It reads;"Mother,is it safe toleave home•••?" And as we look atthe words reflected in his glasses;

J.

EXT,WASHINGTON D.C., 1961- EARLY MORNING

we see James,in his raincoat,carrying hisbriefcase, crossinga quiet Washington street. He crosses toone of the hundrednon-descript gray stonegovernmentbuildings that are in Washington. He goesthrough a door. And we see a small plaqueby the door, an eagle with a banner and the radiating pointsof the compass .•• "The Central IntelligenceAgency."

Hisshoes echoing on the tile floor,like a Magritte painting,he comes downa long empty corridor. And as he movesalong the hallwaywe catch glimpses of people in their offices who work through the night•••Theeyesand-r• of Americawhile we sleep. And James comesto the end of the corridorto an outerOffice. And we see,built into the walls,are SAFES, sevenof them, seven-ssive safes. He turns to anunmarkeddoor with frosted glass withs111allblack lettering,"No Exit," and into his office•••

A sparselyfurnished,well worn, corner office,he hangs up his raincoat,turning withhis briefcaseto sit at a desk. A stacJcofco-uniques arewaiting for him, thewords "Very secret,""Most secret,"stamped on them. He takes the n-spaJ?9rout of his briefcase. The "Personals." He bends overhis desk, reading again •••"Mother,isitsafe to leave home•••?• The door opens. And a dark hairedMan in his late forties,who looks tobe ten years olderthan he really is, the light goingout ofhis eyes, a llliln~hoisdefinedby his loyalty,comes into theoffice. We'llcome to know hi■ as RAY BROCCO. Me puts aduffel bag on Ja--• d-k, opening it, showingJa•e• •oney•••anawful lot ofmoney•••

And the"Mother,• appellation,says as11Uchabout Ray as it does aboutJa•as.

Ray nods. He starts togo •••

And he 9iveshim the reel-to-reel tape andthegrainy surreptitious black andwhitephotograph •••

Ray nods, quickly turns andleaves. And it's 9uiet,James looking throughthe "Secret"coD1111uniques.He 1nstinctively looks up. And a fair-hairedMan in his earlf forties still with a boyish smile,a smile that'sbecome with thepassing of time an odd fixture, is standing inthedoorway. We'll come to knowhim as RICHARD HAYES. He comes to James'desk, bending,whispering to him, secret ••. A world ofsecrets...

It's thewords James has waited to hear. James looksup at him. And Richardsmiles hissecretive, "knowing•smile...

They lookat each other, and there's nolove lost. Richard quicklyturns and leaves,James watching himgo •••AndRay comes backin•••

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

And the PHONERINGS. Raygets it•••

Ha hangs up.

- RAY BROCCO (cont'd)

The Tailor is calling abouta new suit of clothes.

A match issuddenly lit. And we see a Man lighting apipe, standing ata window looking outside. In his latesixties, with pale blue eyes,he'sgone from graying,to gray, to white. We'll come to know him astbe "GentlemanSpf," PHILIP ALLEN•.•Andwe see James, standing off behindhim,in a large office... They'veknowneach othera long time. Too long. Philip motionshim to a corner of the room ••• He turns ona radio. Music playing, covering their conversation •••

Philipnods •••

James doesn't say anything ••• -

And he turns offthe radio, the meetingover; They look at each other, and James turns and leaves.And.as hecomes through a RECEPTIONAREA, on hisway out, he can see ina reception MIRRORback into PhilipAllen's Office•.. Philip Allen on the phone •.•Andin the mirror's reflectionhe "READS" Philip Allen's lips ••.

And as James looks inthe mirror inwhat we will discover is a "wilderness of mirrors..."

"MONDAY, APRIL 17,1961" The crackot dawn. Andwe see J-es, in his raincoat,standing alone on an empty stretch of a Caribbean beach. Camus,' "TheStranger," comes tomind. And suddenly,we see armed, andgrease-paint..dCOMMANDOS,in c-ouflage fatigues,incongruous,running by bill,running down the beachto the water. And w..see that a small flotilla of BOATS, militarystylelanding craft,hav..come out of the darkness toward the shore •••TheCo-ndos splashing throughthe sh•llowwater, clambering onto the boats•••The boats taking off,headingback out to.......And a• James quietlyst•nds en the beach inhis r•incoatwatching th.. flotilla move off,and the invasion ofCUbllknownas"The Bay of Pigs," begins•••

We see in silhouettea seemingly-pty CUban beach in a peaceful bay. And out of thedarkness w..•- a SHIP,the "Houston,• COMMANDOScrowded onthe decJt,the first ofthe invasion force,approaching theremote Bay.

The 9%"ease-paintedCo11111andoa,likeMaoriwarriors,st•nd lookJ.ngat thesilent, empty beach. They look at eachother, smiling, "•••Awalk in the park." And there's theSOOND of an approachingAIRPLANE. Theylook up, CHEEIUJfC:,at the added prospectof air support. Their cheers areshortlived, a• suddenly, comingout of thedawning aJty,is aCuban T-33 "Sea rury• fighter-bomber. Theco-ndos dive forcover. And flying in lowover the landingship, the CUbanplane fires lts rocltets.A rocJcethits the"Houston" atthe water line, tbe boat EXPWDING, sinkingstern first. And as tbe cataatropbe knownas the Bay orPig• begins, and for all intents and purposesends•••

And we see the beachis strewnwith the r-ains of "La Brigada •••,"and itsmiserably failedinvasion. And we see the familiar beardedPRESIDENTEDE CUBA, walking amonghis Troops across thebattlefield. A CUBAN DOCUMENTARYTEAM - films the historic event for posterity.And we see inBLACK ANO WHITE the historic documentary footageotthe youngEl President• congr•tulatinghis troops.

And in our moviewe see coming alc~9the beach, crossing to th• Presidente,a tailored Man inhis late forties,wearing a raincoat •.•Amanwe'll come to know asPETRA SANXO. At his side is a TARTAR,his bodyguard,shadow. Petra and El PTesidente, s~eakingSianish, shakehands. And ElPresident• gives him a cigar,taking up oneof his own, lightingth-, victory cigars. And as El Presidente talks tosomeof his soldiers, Petra stops to look out across the water ••• to what would be James,and the "west... "A breeze ruffleshis raincoat... And as he looks out atthewater,he says in Russian .••

And as the wordsseem to carry on thebreeze, takenacross the water •••

And we see James,hands in his raincoatpockets, standing at the shore, water lappingat his feet,looking outa=oss the water. And we see aCAR'S parkedon an empty dirt roadby the beach. RayBrocco standingby the car, waitingfor him•••And there'sa distant droning sound. J-•• turns. And a figure is c0111ingquiclclyalong thebeach.As itcomes closer we••• it'sa Man in gogglesriding on aJIOTORCYCLE. He rides up toRay. He says so-thing, and as quicklyas he's come, ridesback off. Raycrosses down to James. And - there's somethingShakespearean,like the wise fool whispering in hismaster's ear•••

on the water•••Andas it comes closer,floating in on the tide, he ues it'sa bloated body•••AC011111andosBLOATED BODY•••And •• Jamesquietly watchesthe body rolling in on the waves like a bloody cork intheblue Caribbean•••Abreeze comes off the water,ruffling hisraincoat•••And ashe turns as if he's heard asound•••There'sthe sudden soundof a KETTI..EDRUM•••

1'.NT.THEYALE THEATERCLUB, YALE, 1939- DAY

An ORCHESTRA is playing. And we seea small crowdedCOLLEGE - THEATER.

And on aSTAGE, on a replica ofa quarterdeck ofa ship, SAILORSare cleaning brasswork,splicing ropes,singing a rousing versionof, "We sail the ocean blue,and thesaucy ship'sa beauty•••!" "Weare sober men and true and attentive toour duty ..•!"A production ofGilbert and Sullivan's light opera"H.M.S.PINAFORE••" And there's a roar ofgood laughter, because coming ontothestage, literally bouncing onto thestage,is a tart,a buxom, redhairedyoung woman, a large basket of goodies on herarm. The lustyMISS. '3UTTERCUP.She flounce& around thedeck, propositioning the Sailors,"selling• her wares .••Andshe sings •••

Andas she sings we see fourfair-hairedyoung Men, •Yalies," •thebest and the brightest," oneof tho ominously carryin9 a briefcase,coming intothe back of the theater,standing in the shadows bythe door .•• one ofthopoints outMiss Buttercu~---TheBoys watchin9her as she bouncesaround the stage,singing, "propositioning"the Sailors with her wares••• And we see one of the Boys,afair-hairedBoywith a secretive,"knowing" smile,the Man whowe've coae to know as RZCHARDHAYES, secretly go into the briefcase.He takes out a rolleddocwaent wrapped withblack ri~bon,and sealed in -- blackwax, with a skulland crossbones embl-•••He shares a lookwith another Boy,a tall, fair, handsomeyoung Man, with pale,unforgettable, blue eyes. A boy withthe well bred self-confidence of an F. Scott Fitzgeraldcharacter.We'll cometo know him as JORNRUSSEI.L•••Andasthey watch Miss Buttercupfro■ the shadows•.• onthestagea young hands01118 BOATSWAINc0111esupbehindher, puttinghis arms around her waist,fondling her•..

THI!BOATSWAIN (laughs) "Aye, LittleButtercup --and wall called --for you're therosiest -- the roundest -- andthe reddestbeauty in all Spithead••!"

And as Miss Buttercup strikes a pose,hands onherample hips, and the Orchestra playson •••

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

She turns, taking offher wig, smiling apursed lipstick smile.•• And we see,as was the custom in an allmaleschool, Miss Buttercup is being playedby ayoung Man! "Things are not always as theyseem.••" Finely featured,he has a boy's smile and the "fortune,"of a man'sayes. The young JAMES WILSON. And suddenlyJohn 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•••Aboyisb -ile that's not -sy toforget•.

Yes,I accept.

And Richard Hayeshands him themysterious rolled document - with its black ribbon and skull and crossboneseabl-•••

John smiles, liking him. He turns,and with RichardHayes, and the otheryoung men, 1110Vasoff.And as James sitsat the dressing mirrorwatching th- go,wiping the lipstick oft bis lips, and with ithis boy's sweetsmile:

we•r• looking intoa headla~. And we see J-••• ayellow scarf around hisnec:Jt,trail1n9lilt•astr....r inthe wind, riding a MOTORCYCLE,a classic Indian"Sports scout,•coming around a cornerof the campua.•. Heridesui to a dark, wi.ndowlessbuilding,framed by two stone p llars, an old stone sepulcherthat's called "TheTomb.• He gets off his bike. He looks up atthe dark forbidding buildin9.And as he eagerly goes upthe stone steps •.•

- A darkly lit stonebasement room,heraldic flags with mystical Teutonic symbols datingfrom the fourteenth century, the age of the Illuminati,are draped onthe walls.

Andwe see James, with fourteen otheryoun9INITIATES, wearinghooded red ceremonial robes,standingin the center of theroom. And twenty-five upperclassBONESMEN,holding candles,wearing hooded black ceremonialrobes,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 holdinga sword, as ifraised from the dead like Lazurus, enters ••• And as heshuffles,in a"dance of death,• across the stone floor •••

Jaaeslooks around him,at the other Boys,"Aaerica's very best •••,"andhe smilesto himself, in a stateof 9race, feelinglike one of the chosen. And TheBonesaen i.ntona,in German ...

Andas James loolcaat theBoys• races in theflickerinq candlelight,feeling apart of the tradition,the •ystery, theskeleton stops, ~uttingthe blade of his sword onJ--•• sboulder,as if pickinghim out as thevery best or the "best andthe bright-t ••••

And shadowyFIGlJltZS,asitunderwater, aremovinq in another kindor dance•••And aswe coae into focus,- see that the youn«Jllenareall naked. There's laughter. And - •- The Bones.enare wrestlingwith the Initiates,rollinq around in a stoneroom on a floorcovered with mud •••And- -e J-s, lockedin a naked 8lllbrace,wrestling with oneoftheBonesaen on the floor ••• Andit'sa standoff,neitherableto gain the upper hand. There's anunmistakeable sound•••Jamesturns. And hesees three of theBonesmen, Richard Hayesamong them, laughing,are urinating on oneof the Initiates •••Jamesis quiet. And his foe, exertinghis strength, triesto turn James over onto his stomach.And James suddenly pushes the boy off of him,and getting up crosses out of the room •••

He movesoff along the stone corridor.John Russell comes outafter him...

They look at each other. The two nakedbors covered with sweat and mud. Andas boys will do,they ook at each other's manhood. AndJames smiles,his tioyishsmile•..

Is thiswhat they meanby "Bon•s-n?•

And they bOth laughat themselves,at the situation. John cowiesto put his armaffectionately aroundJaaes...

JOHNROSSEl.L We'reall in this together, James•••We'rebrothers•••comeback inside•••

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

And bis ariarondly aroundJa-s shoulderhe turns back aloftCJ the corridor. Andas James, seduced,wanting to be seduced, sail•••and 9-s backwith him inside•••

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

Wesee years or PHOTOGRAPHS,class upon class ofBone&111en, line thewalls•••we pull back and we seeJameslooking atthe class photographs,taken withthe long history•••Andthere's NOISE,good feelings;the Brothers moving around therooa, - shaking hands withthenew members. And John Russell comes over toJames.

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

And as they affectionately embrace:

And the Bones ■enstart to singafraternity SONG. James looks at the Boys,their voicesraised as one, andhe has a warm feelin~ ofbelonging. And while the Boyssi~, the young Man withthe secretive smilecomes over to him.•. Richard Hayes •••

He shakes Jameshand. And hewhispers in James'ear, secretive••• andeverythingisalready secretivewith hia•..

Ja-s doesn'tsay anything. Richard niles, knowing.

- Areyou a bright shining light,Mr.

Wilson?

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

They look ateach other, and there'sno love lost••• Richard turns to leave,and he seesJames is wearing cowboyboots••.

And as James watcheshim walkoff...

And we seeJames, in a suit and tie, sitting inaclassroom with John Russell,listeningas a PROFESSOR, a tailoredMan in his latefifties, leaningon a cane, lecturesthe class•••DR.WALTER FREDRICXS•••Andhe has a cultured English accent •••Jameslistens to him,rapt •••

And BELLSchime the hour ••• And theclassgetsup to leave•••Jam- and John,good friends, talking,go up the aisle...

He turns upthe aisle andleaves. James crossesto Dr. Fredricks. He gives J&111esbackacompositionbook•••

His eyes meet James••. AndJames,uncomfortableunder his gaze, looks away... Dr.Fredricks turns,looking outa window ••.

James looks out thewindow. A tree, its leavesrustling on a br-ze. An empty sidewalk.

But he closes the blinds. And theroom's quiet. Theyfind th_.lves standingclose together •••

DR. FREDRlCJCS(cont'd) (looking athim, intimate) There's somucb I'd like toshare with you,James••. I feellikewe have a kindredspirit•••

He puts his cane familiarlyon James•shoulder•••Tllere'san awkward moment, and James,uncomfortable,moves the cane•••

DR. !"REDRIC:XS(cont'd) (after abeat) I wrotesomething. Would you mind if I readit to you •••?

He cross- to his BRIEFCASE••• Hetakesout asmall notebook ••

- mockin~at flame, mimicking

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

Ja-s nods. They look at eachotter. And :.there'sa flicker in James eyes, ofsome deep hurt •••There'san uncomfortable quiet •••

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

He starts out. He looks back at his Professor, hisback straight, leaning on hiscane,trying to stay dignified. And as he crosses out of theclassroom ••• we seeDr.Fredricks oddly ~oint hiscane after James,as if he had chosenhim for s0Jlleth1ng•••

And we see Jamesat a librarytable, looking througha book tor something. And we see it'sa POETRY SOOK. He turns the pages until hefinds what he islooking for•••Andhe &ees the very same poemOr. Fredrickshad read to him ashis own, a Conrad Aiken poem, is in the book •••••••mockinqatflame, mimicking ice•••?• He looks atthe front of thebook. At the Library check-outslip. And he sees the lastperson to check out thebook was "Or. WalterFredricks"••• He'squiet, troubled. And habeco-s awareof the SOtlNDofso-body tapping a pencilon the table. He looltsup. Andhe sees a pretty, darkhaired GIRL, studying,the dust jacketson her books, "Connecticut College ForWomen,"un~nscioualy tapping her pencil. I.AURADESANTIS. J-s looks over at her. And he can't helphi-elf, it's partof hie nature,his eh&rll,to be flirtatious•••Andhe taps his pencil,a counterpunt&l rhythm to hers••• She doesn'tacknowledgehim,oblivious, tapping away•.•Ja-•, undaunted,changes the rbyt.ma,trying to get her attention •••Shestill doesn•tre■poncl•••And finally, he leansover, stopping herpencil fromits uppifl9•..

She starts, looking up athi ■•And she says from■oaewh-e deep in her throat,in a s111all,uncertainvoice.••

- "Things aren't always as they seem."She smiles,motioning she'll be quiet. They return to theirbooks. Buthis interest is solely onher 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 quiteable to "understandhim."

She closely watches his lips ••.

.... Would you say it again?

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

And we see Jamesand Laura coming out of the library.They stop on the stepsto talk•••Andas they talk we getthe sense, likea shadow, somebodyia watching th-. James sailes, sayings0111&thing•••Shesmiles.And sheturns and walks off. Shelooks back,waving •••Andhe doesa little soft shoe onthe library stepsfor her, gracefulas a cat. She laughs. He watches hergo •••Heturns to cross to his aotoreycle•••andstrangely, there'sa man's HAT,a fedora, lyi119in theaiddle of the str-t. J.... doesn'tpay any attention to it,walting by itas if it weren't there"'••

James turns. And he sees aheavy-set Man in his thirties, hands in his overcoatpockets,coming from the shadowsbehind him. A Manwe'll come to knowas SAM PAPICH.

SAM PAPICH (cont'd)

- .••Itsays a lotabOut you Kr.

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

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

JAMES

- (abeat,

circwupeet) If rouwant to talk to-, I live in a residencehall •••

He gets on hismotorcycle,trying to startit. It won't kick over. He tries it again. Same r-ult. And again. He startsto walk his bike•••AndSam, uninvited,comes to walk alongsidehim•••

It isn'ta question. And James realizeshe Willithere, watching th- .•.

-

And it's quiet. And Su looksaround him at theYale campus.•.

And he startsoff. He turns ..•

- SAMPAPICH (cont'd)

This might help you along •••

And he tosses Jamesa vital part to his motorcycle.And with that, he walks oft••. AndasJameswatches him go •••

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

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

THENEWSREEL ANNOUlfCER(OVER) AmericanBoy Scouts joinedtheir Germanfriends at theBoy Scout Jamboreein Munich. German FUhrer Adolph Hitler was there towarmly greet them..•

And coming along thelines of fair-haired youngBoys, reviewing th-, is Hitler. Andthere's a mixture of applause and boos in the theater. Hitlerstops to talk with a young boy. The boy sayssOJDething.Hitler smiles, fondly patting the boy's head.

And as Ja-• silently watchestheNewsreel, not knowingwhat to do:

The fa110ustavern isfilled withYalies. And we -e in a - separate area, a backpart of thebar, "Gentleaen Only,• BORESMEN, RichardHayes 1U11ongthe111,sittingcrowdedt09ether at a long table,drUnk, shouting toone another. Andwe s- JUlea sitting byJohn Jtussell•••Andhewhispers, -cr•tiva, enjoying the intrigue•••

And a young Bonesaanc011ing intotheback room crosna to their table•••

Andthe Boye are surprisinglyquiet••.

ANOTHER BONESMAN

-

(toasts) To a quick war •••

And theydrink to that •.• But it's hollow,asensenothing will everbe the same again ••• Thattheinnocenceoftheir youth isover •••Andthe Bonesmen start to sing the"Eli's• melancholy standard,"TheWhiffenpoof Song •••""Weare poor little lambs,who have lost ourway•••Baa, baa,baaa .•.• •we're little black sheep who have gone astray •••"

I think we should.•.Hitler•sa menace•••

And there's a healthy goodnessal:>Outhim,anAmericansense of fairplay •••

JUies nods inagreement, "Ifwe don't, who will .••"

- My father, youknow, was •skulland

Bones," JIIJlles,one ofus.Peoplelike us, we do whatwe can for one another•••

The -•sage is clear. AndJohn puts his arm affectionately aroundhim. And James sensessomebody is watchinghim. He turns. And he sees Laura,across the ro011,inthe •coaaon• area, withtwo girlfriends. She mouths, "Hello.• He smiles, mouthing,"Hello." She laughs. There's an awkwarelmoment, their separation,fr011distinctlydifferent •classes,• self-evident. Laura and hergirlfriends get up toleave. Laura looksback at him••• They look ateachother••• catching herself,she gives• s11W1llwave,andruns to catchup with her friends. He watches her go. And - the Boyssing, ••••Gentle-n songsters off ona spree, damnedtroa here to eternity•••Godhave mercy onsuch as we, baa,baa, baa•.••

we s- hung on a wall, a portraitof Adolph Kitler •••Andwe see a groupof people, s011aProfessorsand students,sitting in Dr. Predricltsfrontroom••• Andwe•- Ja■es is sitting aaong th- •••

-

FUhrer'sEducation Minister .••

And a tailored MANwith a small swastika on his lapelgetsup to address them•.•Jameslooks over at Dr.Fredricks. His mentor sitting beside ayoung man. He turns. And he sees or. Fredricks BRIEFCASEon a small table. And as he quietly looks at the briefcase:

The people mingle with theGerman Minister havingcoffeeand cake. James is talking witha Man. He looks over a9ain at the briefcase. He quietly listens to theMan,but h1s attention is on the briefcase. Andafter some moments, excusing himself,he turns, crossing throughthe room. He stops, looking atthe briefcase. He looks over at Dr. Fredricks, the Professorinvolved in a discussionwith the German Minister. James still, conflicted. And after a moment, sometimesthe most subtleapproach being the most obvious, he 1ustwalks over to thebriefcase, takes it up, and crosses into a hallwaybathroom.

He sits on the floor. He stares atthe briefca-. Hefolds his arms across hischest, visablyupset. He hesitates. Be starts to open thebriefcase, andsomebody wanting to u- the bathroom tries the door. He's motionless. The ~arsongoas away. James opensthe briefcase,going through :i.t.Kefinds a folder -- •American-GerJDanCUlturalCo-itt- •••• And inside is -o~ other things,a LISTof names••• Hetakesout the list, putting it in hispocket. He closes the briefcase. A moment, and hegets up. He opensthe door. He looksout. - The hallway -pty. And taking upthe briefcase he crosses out of the bathroom.

He coaes bac:ltinto the livingroom,and withoutaissinga beat, puts the briefcaseback wherehe found it. Heturns back to the party:

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

It's a d-p night. And we see James,hands in his pockets, thoughtful, coming acrossan emptyYale quadrangle•••

James turns. And he seesSam Papich is sitting on abench. - James euts the secreted listor names down onthe bench. Sam putshis hat over it.

22,

(quietlyl Don'task me again.

And he seems to meanmore then just this particular time. And getting up hewalks off. And asJilllleSstands in the empty quadrangle, still feeling the thrill oftheintrigue, the danger, a feeling he likes.

And we see James,sitting besideJohn, quietly watching or. Fredricks lecture •••AndBELLSchi- the hour, the Students getting up to leave•••

(to the class) Ityou will wait a minute, please.

The Students stop. After somemo111ents:

- Sufficeit to sayI'm leaving withmy

name intact. (a beat) Iwish you all well.

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

Jaaes is quiet. They start to go•••

OR. FREDRICKS

Jamff slovs,•• Johntoucheshis shoulderand leaves•••Andit's quiet, Dr. Fredricksleaning on hi•cane•••

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

They look at each other. And after amoment: -

2J.

JAMF.!: (hurt) •..Thepoem you read to me,the one you said youwere stillworking on.•. It ends likethis•.•"•.• The trilling leafand tinklinggrass, glide intodarkness clear as glass, then the musiciansceaseto play.••" (hewaves his hand) "... And theworldiswaved away..." (abeat, hurt) Youknow, and I know,Conrad Aiken wroteit in 19J2 •••

And shutting off th• hurt •••

They look at eachother. And as Or.Fredricks, his caneon his arm, sailesan enigmatic, oddlywise smile••.

And we see Jamesand Ray Brocco, incongruous,knovinytheir oc:c:upations,riding onaco-rcial airplane on the ong way home. Ray, eyes closed, asleep.Juies, unable to sleep, quietly staring. A stewardesswalks by. J-• quietlylooks at her. He turnsto look out the window, at thesky... Tufts of clouds likesmoke goingby •••

And we see a saokeyipredoainantlyBlack Ni9bt Club. A COMBO'S playing,"Bue Skies." People dancing. And we see James and Laurasitting at a table•••

(after a beat) ... Ithoughtwe weregoing to your fraternityparty.•.?

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

And James looks over at ayoung COUPLE, theirfaces close together, sharing an intimatemoment•••

(watching them) What are they saying,Laura?

Laura turns, seeing the couple.

Laura hesitates,and then, watchingthe couple, readingtheir lips ••••

And she can't do itanymore, it•s too private.And they're quiet. Aftersome moments: -

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

And roaantic,he sings the songto her, so she canhear tbe words•••"BluaSkies, sailing atma, nothing butblue skies do I see•••" Andshe puts her beadon his shoulder,dancing with hi•, coafortablain his arms. While they dance•••

~ looks up athim, and seeshe's serious.

- JAMES

(earnest) Iwant to know what itfeels like to beyou .••

And h• smiles, boyish, dispelling herfears. 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 lipread...

We see lips, kissing. And we seeJames and Laura are sitting on the porch steps ofa small blue collarROW HOUSE. They break apart. After some moments •.•

She shrugs. And there'sa sadnessat the reality ofbu dream&•••

And he's quiet, s._ingly vulnerable,naked. They look at each other. And hekisses her again. They get more andmore passionate. His hand,touching her breasts•••Anda •-11 necklace, a cross aroundher neck, breaksoff in his hand •••Andas their passiongrows, Laura abruptly stops •••

And she quickly gets up and goes into the house.Sheturns off the porch light. It's quiet. James, hands in pocketa, stands in the shadowson theporch. He sees a li~htcoming on in an upstairsbedro0ll\.And he can seeLaura inher bedroom takinga nightgown out ofa drawer. Andshe seeJIS particularlyvulnerable. Hands in hispockets,he crosses off the porch. And as he comes along the sidewalk hetakes his hand outof his pocket. He opens his hand. And we can see Laura'sCROSS is still in thepalm of his hand •.. A piece of poetry,a part of her soul .••

we see SAILBOATS silently movingamongthe islands onthe St. LawrenceRiver...

And we seeJohn Russell's sailing. And James,in a white sweaterand white pants, islying on the deck,looking up at the clear bluesky. And as the boat silentlymovesthrough the water:

A PRIVATEISLAND among theThousand Islandson the St. LawrenceRiver. Well appointed cabinsdotthe heavily wooded terrain. A large stoneLODGE, smoke curlingfrom a rock chimney,is on a point abovethe River. And lanterns, castinga soft yellow light,run along the lengthof the Lodge. There's the soft sounds of VOICES.And we s- people in evening clothes standing ontheporch,gathered in the twilight,drinking, and talking. And wesee Jaaes, wearing a tuxedo,crossing to theLodge. He co-• up onto the porch. His eyesmeet a Man's:

And haaoves across the~rcb, fairly glides. And there's the talcwasmell of privilegeand power••.Theporch crowded withAl.1mni,and their f-ilies, of Skull andBones, on their annual retreat •••Hecrossesto John Russellstandinqwith a Man in hi• early sixties,anda very thinWo-n in her late fifti9fl,SENATORAND MRS.JOHN RUSSELL. And they're talkil'ICJ with anotherCOUPLE, PHILIPAND TODDY Al,LEN•••The-n we've come toknow as Philip, theblue-eyed gentleman,just starting to gray,smoking his pipe. And Toddy,his faceless wife•..

- JOHN RUSSELL

(introducing) James, my fatherand mother...

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

Preppie, shewould seem at ho- inpenny loafers, a plaid skirt and bob))ysox. But there'sso-thing else inher eyes. An anger thatshe doesn't have the courage tobe difterent•••Theyexchange looks ••.Andthe Lodge dooropens, a formally dressedMan calli11'1:"X.diesand Gentl-en, if you will be seated•••"

Th• Alumni crowda large dining room. waitershurry back and forth. And wesee James sitting withJohn's faailyand the Allens. Clover,sitting across from him. Somebodytaps a gl.asswith theirstioon. Theroom quiets. Andan 01.derNan POUJQ)Sbis canetw~ce on a tableas if knockingon a - door •••Andthe Bonesmen,Jamesand John alongwith the rest, coma to their feat andsay as one:

And they give• rousing SHOUT,and take their seatsagain•••

(to James,-iles, nasty) Bonas first, Godsecond•••

attracted to eaehother•••

And the patricianheads are 'bowed•.•

- tobe with our brothers again...

And James looks around theroom,at the bowed heads,and his eyes meet RICHARDHAYES, sittingacross the room.

Richard smileshis "knowing" smile. And there's alook between th- of "unfinished business •••"

THE REVl:REND(cont'd) ...we thankyou for guiding the ~vans Family Trust in the care of our island, so thatwe may come hereand be with our tamilies and friends in comfort and privacy ••• (aftera beat) We come here,Lord, in uncertain times, andwe ask that you give usthe counsel and thestrength to help guide our ship ofstate through the turbulent waters •••

And asthe room prays, James looking aroundtheroom, at the "Peoplelike us•.•"

XNT. THELODGE - HIGHT

The tables havebeen pushed aside. And a BIGBAND is on the stage playing. A well knownCROONER, singing standards••• Peopl!dancing •••James,handsin his poc>tets,quietlystands watching•••

He turns,and Clover, holdinga drink, comesover to him. -

And herglass still in herhand, she walkshim out onto the dance floor. And as theydance:

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

Jamesnods, and he'squiet again.

She laughs at his arrogance.

And she braaenly putsher arms around his neck,dancing that - way .••Andas they look ateach other,attracted to each other:

And Tb• Senator hasco- over to th- •••

Sheraises her glassto him, nodding •••

And followingthe Senator,he crossesoutside.

f:XT.DEERISLAND - NIGHT

Theycross through the quiet ofthe ni9htto a CABIN by the water. A Man in an Armyunitorm standing guard outside. And - they see PHILIPALLEN,RICHARD HAYES with him,coming out of the cabin •••

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

Andwe see a dark haired Manin his late fifties,overweight, withthe race of a drinker,GENERAL WILLIAM SULLIVAN,is sitting ona couch, his sno..soff,in his stockingfeet by a fire .•.

SENATOR RUSSELL

- It's not aproblem.

Thesenator laughs and discreetlyleaves. And it'• quiet.

Jaaeadoesn't.

- at you. James smiles,and sits down.

The Generallaughs. Afterso- moments;

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

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

James laughs.

BlU. SULLIVAN I don't wantyour answer now --thinlt about it ••• But this isn'tabUnchof fraternity boys sitting around playing with their pricks •..

And there'sa 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 hiswallet,and he gives the General Laura's smallCROSS. The General puts it in his pocket. He hefts his big body up,shrugging onan overcoat..• He shakesJames•hand ..•

And with that, takingup a briefcase,he goes out the door, and he's gone. And asJames looksafter him, excited by the prospect•••

And we see James and Clover with Johnanda young blonde Girl in an Blllptycove on thefarside ofthe island, sitting bya fire, pass~ng a flask. And it's not their first. Johnand the young Woman are all over each other.And taking a blanket, and witha smile to James,John walks of~ withthe young Woman. AndJames and Clover areleft alone. And Clover's drunk, and pissed off attheworld •.•

CLOVEJl (sarcastic) I'msupposed to be looking for the perfecthusband. Are you perfect in everyway, Mr. Wilson?

She laughs. They'requiet.

Ja- awkwardly putshis arm around her. She lays herhead on his shoulder•••

- James is quiet. And Clover suddenlykisseshim. James, conflicted, pulls away.

JJ.

He's quiet. She looks at him,athis boy's eyes. And she suddenly pushes himdown on the ground,roughlf Kissinghim again. Her hand fwllblesfor hisbelt,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 thefire passionately kissing. She lifts her dress,getting on top of him. And as they angrily make love in the lightof the fire •••

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

We see James and Laura,like aWyeth painting, sittin9by the motorcycle in so- tall grass in the sand dunescatching their breath,•• And there's anawkwardquiet, justthesound of the sea, and abreeze movinqthe sawgrass•••Laura looksat him. And she hasthe realizationthe class differencesare just too great betweenthem. She protectively foldsherarms around her knees .••

So■etimesI feellike I'm iust a curiousity toyou••• Thatt1mnot real to you •.•

Be looks at her,his bOY's eyes••• Andneedingto sbovber that his feelingsare real••• thathe'sraal,••He ardently kiase• her•••Andthey lie backon the sand dune,kiasinq, bungry, •• it'itwere the laatti- •••And James, f-ling a shadow, instinctively turns.And he aeea a CAR'Scoae to a stop aloncJa roadabove the Clunes.And he sees JOHiiRUSSELL get out•••Something•sobviouslywrong•••J..es getsup, crossing up thedune to him•.•

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

And the implications are obvious. AndJames remembering Laura can read theirlips, moves to stand with hisback

James is still. The windblows their hair •.•Aftersome moments••.

They look at eachother. And John embraceshi■, holdinghi ■ like a brother••. AndJa■esturns, to lookback at Laura. He slows. And he seesLaura has goneoff down the beach walking away .••Andthere'sa moment when itseems like he willrun to bar, to stop her••• Butthemoment passes like so11any opportunities in life,and he turns toJohn•••and the choice he's made••.

nrr. A PRESBYTERIANCHURCH, NEW ENGLAND,1940 - DAY

A large old N- EnglandPres))yterianChurc:h.And we s- - illll0119thepeople gathered,senator andMrs.Russell,and Ja-s' Mother, adark-eyed WOiian,CONNI!WILSO!I'.Andwe see Ja- and Clover, inweading attire,with John Russellu their best man, standingbelore aReverend taking their wadding vows•••

And as they taketheir solamn vows,•••• To honorandto cherish for the r-t of your lives•••,•we see Clovertake James hand. And shesmiles at himat the irony of their vows. And even Jaaesfinds hi-•lf 11ailingat the irony, too.

An old Greenwich estate. And we cansee the people110Ving around the house at the wedding reception,eatingand drinkinq. Bones-n c,atheredtogether,Richard Rayes aaong th-, lau9hing, talk1n9. Clover with herWellsley sisters. And we sea J•-• standingwith hisMother•••And John co-• besideJa-s, discreet •••

- Jamesgoes to the door. And a Man in anArmy uniform is waitingat the door.

James nods.

James follows him outside onto the porch •••

And he givesJames back Laura'sCROSS, so there'sno doubt the message is real.

He looks at the cross in his hand.He looks at thehouse, the people, and all that it entails •••Andaftersomemoments:

THE MAN

- A car will behere to pick you up in

an hour, sir.

He salutes. And with that,he turns, and gettinginto a car, leaves. Jaaesturns, and hesees Clover is standingat the door•••

She slows•••

She looks athim, and she embraceshilll,understanding, accepting it, like so many other thingswomen in the forties had to accept ••• and she quickly turns back into thehouse.

And as Jamesturns, hands inhis pockets, .standing inthe doorway,ready to save the world.

"TUESDAY,APRIL 18, 1961." we s•caJames, "TheStranger," in his raincoat,carrying his briefcase,in his familiar posturca,crossingthe street tothe old GOVERNMENTBUILDING. And we see that the street has beenblockedoff,MOUJITED POLICE,keeping people away. James, the Magritte,walks past the Police on horseback as if theyweren'tthere. And we seethat REPORTERS, NEWSPEOPLE, CAMERA CREWS,crowd the building's doorway, spilling out onto the sidewalk...Anda MAN,a spokesman, stands inthe doorway, giving a stat-ent ••• Andwesee inBLACK AND WHITE, thecamera being jostled,NEWS FOOTAGE ofthe stat-ent •••

And we&- James, in the .background of theBl.ACXANDWHITE NEWSFOOTAGE, a shadow, literally slipping throughthecrowd, unnoticed,invisible as he is,going into the old building•••

Jamescomes along theendless hallway. Andit's not buaines• - as usual. There's a freneticqualitf· Astate or seige. People moving quickly along thecorridorasif they were afraid to stop. Intelligence Officersclusteredoutside of their offices,talking in strainedwhispers••• they quietas Jam••pa••••···And ashe moves off alongth• hallway, the whispersfollowing him••.

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

Andwe see Ray Brocco, with alook of graveconcern, •tanding overJa~••' deak•••J-•a bent ov•r his desklooking at the overnightworld wide communiques,st-ped in red ink••• •Urgent.••very Urgent.•"Most Urgent•••" And we can•- one of theco-uinques •••agobbledygook of wordslike an Allen Ginsbergpoem, that inred ink has been decodedto read•.• "UnitedStates l!:llbassr,ATHENSSTATION•••"Instateof confusion•••De•tabilizing...Russianspressing advan~e ...Pl-se advisepoli~··•" AndRay Brocco is readinl)froma long telephonelist•••

-

RAY BROCCO

- , (nods,gives him

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

And it'•unusual for himto raise his voice. Ray places the call. While they wait,James looks at themorn~ news~aper, "The NewYork Tilll8s"••.TheHEADLINES,"CubaInvasionPails; c.I.ASaid Responsible." And the Phone Rings,jarring•••

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

And aftera beat••.There'sa YOUNG NAN'SVOICE•••

And - He• Ioung MAIi,inhis underwear, sittincJonthe edge of a bedtalk nq on the phone. In his earlytwenties, there••a striking resUlblanceto his fatherwhen hew- a youn9man. The quiet, contemplative nature.But it•s particularlyevident in hiseyes•••A boy'shopeful eyes.•• We'll cometo know him asROBERT WILSON.

-

Another phoneRINGS. Ray gets it.

James motionsRay to wait a moment•••

- He hangs up. He sits for a moment. He turns, getting into bed. And as hequietly lays inbed, thinking,we see there are FLOWERS in aVASE on a dresserby a mirror. A familiar VASE OF FLOWERS. Like Baudelaire's,"Flowers ofevil."

And we see James coming across themallby the Reflection Pool. And we see aHAT, a familiar fedora,lying on the ground. James stops topick it up.

James turns and he seesSAM PAPICH, now in his fifties,his robust figure now ashadow of itself, sittingon a bench. James gives him hishat.•. He sitsdown besidehim••.After some moments:

Jamesdoesn't say anything. After amoment:

Jamesis quiet.

Andhe gets up, startingto leave. Heslows•••

Jamesstares at him. And turning, Samwalle.aoff. J.... noticesbe'• left bishat behind. It's noaccident. J-• takesup the bat, runningthe bri• throughhis bands. Andas be sitson the bench, thehat in his hands,there's the sound of a -11 bell ringing•••

And we-• J-•s, in histwenties, w-ring an overcoat, standingon a wartime LondonStreet rin9in9a bell at a small TAILOR SHOP. And the difference betweenhimand the man he is to becOJ11e,is startling.His optimism,hisself-assured posture, theimmortal a=ogance of youth..•Amo-nt, and a - short, tailoredMan, opens the door.

James follows theMan .intothe store.

He follows the manthrou9h a curtain intoa bacltroo111••.Three SEAMSTRESSES, theirmachines whirring,sewing on sewing machines. The ~anparts a dressingroom's curtains••• ,,,,_ THEMAN

Please •••Thetailor willberight with you, sir •••

Jaa•• go•• into the dressing room,theMan leaving, closing the curtains behindhim. A 1110111entand thecurtainparts. And coming in, wearing an overcoat, hispipein hishand, is the gentlemanly, soft spoken,PHIL:IPALLEN, He cloaesthe curtains•••

•••With all its implications•••

- (MORE)

He lightshis pipe •.•

Tbey look at each other. And the overhead lightblinkson and off.

He opensthe curtains••• Theywalkout of thedr-sing rooa••• the seamstresses,their bobbinswhirring. PhilipIIOtionsat a door, turnsand leaves•••J'amesgoesthroughthe door •••and into anotherROOK. A large windowlessSHOP•••Alarge sign on a wall •••"SILENCEISGOLDEN." And we see CRYP'l'OGRAl'HDS sitting at workl>enchessilently working atwhatlook like typewriters."Runners," walk thelength of thetable ■taking slips of paperfrom the cryptographers, puttingth- into cannisters, putting the cannisters into apnewaatictube,and sent awayto God knows where.

James t11rns.And he stops,startled. And wesee the poetry teacher,DR. WALTER FREDRICKS,leaning on his cane,standing under thesign, "Silence IsGolden."

OR. FREDRICltS(cont'd) (crossing tohim) Job well done,Mr. Wilson. You'rea clever boy. I toldGeneral Sullivan to keep an eyeout for you•••You spoiled a twoyear operation for me••• Iwas gettingquit• a reputation as a Nazi syaipathizer.Herr FUrher himself was going to inviteme over to tea. (a bei&t,smiles) Just as well. I was starting to long or the bone chilling cold ofhome•••

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'tpersonal...

James SJDil-. They're quiet. Jameslooks around him. Dr. Fredricks takes out a small notepad,writing something. Tearing off the slipof paper hegives James the note. It reads: •Ul,TRAworks!" "We've broken theGerman code!• And all it implies. He takes back theslip of paper, pocketing it. And as they look at the miracle decodingmachines.••

He takes James armwalking him outsideonto a smallPATIO with a high vallwhere it's safe to talk. The feet andthe legs of people on the sidewalkabovethem walking by,going about their dailylives•••

DR.FREDRICJ<S(cont'd) (after a beat, secretly) Atprecisely 9:17,we know the Germans aregoin~ to bombcoventry•••our peoplew.11 go tobed dreaming about whatmight be•..Andyet, we lllllstlet th- sl••J?···Ifwealert th- the Germanswill realizethat - are in theirbedroom••• That wehavebroken theircode.

(nods, yes) SwinbOurne.

There's the distant sounds of the London Blitz.Lights flicker on andoff. And we seehundreds of Londoners hunkered down in the Underground asLondon isbo11Dardedby the Luftwaffe. And we sae 3amesand Dr. Fredricks walking along the endlesssubway tunnel •••

And as they walk, the distantsoundsof bombsfalling•••

The City blackedout. And we seeJames andDr. Fredricka in a dark pub, sitting alone at a fartable,drinJti119.

The very qualities that111akeagood intelligenceofficar•••A suspicious mind 1the loveof complexity and deta~l, an ability to detect conspiracies••• are alsothequalities most likely to corrode natural intelligence andobjective judg-nt •••Thedanger, Ja-s, isthat you become obsessedwith soaebodyor something that iscrawling around inside fOUr head•••Andyou shut evarytia119elseout, and you ~ust listen to what'sgoingon insideyour own head. Anybodythat ~uts upthe contrary side,you see, is guiltyof sinning against yourown specialHoly Ghost •••

James is quiet,listening. Dr. Fredricks finishes hisdrink. He looks throughthe empty glass •••

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

And ve seeJ•-•• sitting ata desk in a small office,h-d down, reading a report ••• There's aknockon the door.Andve see a dark hairedMAN in his late twenties,wearing an AmericanAr111yuniformand a greatcoat,coming in. And we see it's RAYBROCCO. And thedifference between him,the confident youngman, and theman he is to J:iecome,isequally startling •••

James doesn'tlook up.

James tries not tosmile. And he reads aloud fromthe report •••

- cheek, chickenpox sears on

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

He looks throughsome officialarmy records •.•

He reads tohimseif. And finishing,he looks up forthe t'irsttime•••

JAlfES In this officeI'a the OnitedStates Govermaent•••

And Ray'squiet, looking atthe youngerman.

-

(equally wry) It's astart.

And the PHONE rings. They both look at it.

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

Ray smiles, and ashe answers it•..

Beethoven's Fifth Symphony,Britian's stirringanth- during th• var, is playing ona RADIO •••Andvesee J&111esat his - desk, surroundea bypapers•••Ray Brocco standingin the middle of the r0011••.Botbofthem,waiting tor s0111ething•••

Th•y both turn•••

A•-~, and a BELL11Uddenly rings,a-•••g• coming across an ElfCRPYTJ:OlfDEVICE.Raygoes to getit •••Andusing a Navajo language codebook, decoding it •••

-

And we see achauffered Rolls Royeawaiting bythe curb outside of a fon,idibleoldGOVERNMENT BUILDING. And a tailored KAN ina top hat and anovercOlltco-• dovn the steps crossing to the Car •••

The Man turns andRay is upon him,quickly putting his hand in one of theLord's overcoatpockets•••

And it's more then just hishand. The Lord nods,he does. And James co-• along the otherside of him.•.

And he takeshis &I'll,walkingwithhim along thestreet. And as they walkRay falls back,following th-, closeat hand•••

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

I (aftera beat) -

we know you'vebeen passing informationtothe German High COJDJ1and•••

The Lord startsto say so-thing, but James interruptshim...

:t,ORDCOOPER (out.raged) This ia preposterous. 1 - a deputy tothe Prime Minister.

And there are theominous sounds of distantAPPROACH:IHG AIRPLANES•••Theylook up •••AndAIRRA.IDSIRENS startto SOUHD•••The City's lights go out.Lord Cooper startsfor the safety of a Building's Air Raid Shelter.But Jamestake• his - arm, moving him along the darkstreet. The AIRPLANESare getting closer... AndBOMBSSOUND,whistling, starting tofall on London•••

And he moves hi.laalongthe dark empty street,Ray following them ••. Thebombsraining on the city•••

James gives him a pieceof paper•••

More bombs sound, fireslighting the Londonnight sky.

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

And Lord Cooper turns,hurrying acrossthe street, hurrying off. Jaaes and Ray, standing onthe darkLondon str-t, look after hi••••

And it's the first ofmany mirrors in this worldof a "wildernessof •irrors."

A small elegant diningroom in an old Englishprivate Men•• Club. And we see Jamessitting and drinkingwith an effete, tailored,handsome young Englishman in his early thirties. There's an intelligence,a coldness athis core. The English equivalent ofa "Yalie,"but smarter. Someone to respect and - to fear. KIP WILEY. He has a perceptible stutter ••.

James is quiet. After somemoments:

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

James turns, and he seesthe Butler is walkingRICHARDHAYES over to theirtable •.•

-

RICHARDHAY&S (reachingth-, his smile) Hello,James•••

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

Kip and Richardlaugh.

And getting uphe goes to another table, talking toaman.•.

They lookat each other.

Ja.asdoesn't say anything.

He9ets up.

Jaaassbak- •no.• AndKip takes the handkerchiefout ofhis shirtpocltet,putting it inJ-s• shirtpoeltet.

KIP WILEY {cont'd) rt the Headmasterwon't listento reason youmight want to cleanyour hanc!s.

J-•• looks at hia, and=oases the rooato leave. Re slows onhis way out, lookingback at theJ1. Kip,saying something toRichard. James, readinghis lips •••

KIP Wil,EY(cont'd) (sayin9) "••• I don'tthinkhe has theheart for this work•••"

- EXT. ST.JAMES PARK, LONDON- DAY

And we seeJames and or. Fredrickswalkingalong a 9arden path inthe park. After some1110111ents:

And Dr. Fredricksknows the implications of what he'sbeing told.

James nods.

- They look ateach other.

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

And he takes it outof James'pocket, givi119it toh.ia.

James quietlyholds the handkerchief. He can't bringhimself - to do it. or. Fredricks nods,appreciating his loyalty.And he notices James'worn shoea••. And asifpassing the mantle.••

DR. FREDRICKS{cont'd) Youmight want to thinkabout getting somenew shoes, James•••There'sa wonderfulshop on Knightsbridge. A Mr.Pettibone's. He'sa bootmaker to the King.

And there's something noble,and atonce, anonymou• aboutit.

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

Juies is quiet. They look at eachother. Dr. Fredric.ks nods. And nothing left tobe said Dr.Fredricks turns, walking off, hiscane tappingthe garden path with eachof his steps as he goes. Joes watcheshia walk under a foot bridge •••Disappearing fora momentinto the dark underthe bridge•••

And he runs afterhim, into th•dark under the footbrid9•· He looks ahead, intothe daylight,where the path continues. And it's empty. The unknown as Dr. Fredricks 1•si.lllply gone, as if he wereswallowlldup•••Ja-• looks down,and he sees or. Fredricks'cane lying onthe cold ground. He looks up. And he seesRichard Haye• isstanding in the garden path. They lookat eaeh other. He turns walking off. Thar•'• a sound. J-•• turns. AndKip Wiley is standingin the shadows underthe foot bridgebehind hi.a.

He reach-, takingback 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 awindow lookingout at 1,ondon.Ray, in hisovercoat, co-• to the door.••

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

James crosses to hisdeslttaking the phone.

Hello. (abeat) Yea, Ican hear you.

He listens. A slight flicker crosseshiseyes.

A moment, and he hangs up. He bendsto read some papers, almost as if ha washiding..•

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

And with a ■ixtureof regret, sha-, and sadness•••

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

And we're looking atwhat appears tobe a forest of lightand shadows. We PULLSACK and wesee a large BLOW-UP ofthe grainy surreptitiousBLACK ANDWHITE PHOTOGRAPH of the INTER-RACIAL COUPLE,is on awall. And the REEL-TO-REEL TAPE is playingover SPEAKERS•••TheSOUNDS of the intiaate BREATHING••• And the Woman'sVOICE,over •••

And we see Jamesand Ray Brocco ina "technical" room,with three CIA OFFICERS••.

And he plays thesound of anAIRPLANE•••As it plays •••

Be plays the soundot th• AIR-CONDITIONER•••

He plays the soundot a CHURCHBELL.••

- suggestsit's nomore then a few

blocksaway••• (MORE)

COMMUNICATIONSOFFICER (cont'd)

...

And the timbre ofthe bells' ring suggests it's quite old •••Atleast a hundred years old •••Perhapsit'sin an older area ofa city •••?

He plays the sounds ofCARS HORNS•••

He plays a particularCAR HORN•••

PHOTO BLOW-UP•••

ANI~GEMCE OFnCER •••We'rehaving probl-• pushing the sizeof this much further•••the resolutionbreaksdown pretty quickly••• thefilmstock is definitely Russian, low-grade••• (a beat) There's four areas we'vebeen focusing on•••Firat,the windowcl.lrtcains•••They have a definite pattern onth-••.of trees•••

And be motionsto the blow-up ofa WINDOW'S C1JRTAINSwith their distinct pattern•••

THE IMTELLIGElfCEOFFICER(cont'd) We're toldby our peoplethey are Baobabs••• native to Africa, Madagascar,and Northern Australia •.• second ••.Theradiator ••• (showing them•.. ) ...Youcan just see itsbrand plate... (motions to the

- brand plate)

••• It'saO.T.R. Benelu~•••Ther're made inBrussels, Bel9ium••.Tb1rd.•• (MORE)

-.

It readsalmost 10:00 •••Whicbwould correspondwith the churchbells•••

He shows them the CLOCK,the frozen hands oftime.•.

And there's an indistinctPHOTOGRAPH ona dresser .••

THE INTEU,IGENCEOFFICER (cont'd) It seemto be of two figures•••We're going towash it again,maybe we can see who's inthere•••?

JUies gets up. Andas he peers throughhis glasses, looking closely at the blow-upof the indistinctphotograph, in the blown-up photograph,in the wildernessof airrors•••The woman's voice, overthe speakers, in thequiet r0011•••

And - see James, wearing afur-linedovercoat, standing on a - BERLI.Nstreet. A light snow'sfallin9. And we see AMERICAN TROOPS, to the accompani-nt of a MilitaryBand playing SOUSA, line after line of troops,oecupyin9Berlin. Andas J-es moves along thestreet - seehe's undergone a c:hanqe. His eyes more distant. His bOyhood,dying. And comincJthe other -Y alo119the street,is the9ent.l-n spy hi■Belf, PHZLIPALLEJf. Theywarmly greet eaehother. And as they walk:

There'sJfOISZ. They stopto watch thestreet. And ROSSIAII 'l'JlOOPS,withtheredha111118randsickleflag,coaealongthe str-t •••TbeAMERICANFORCES and theRUSS'IAHTROOPS, -.rching by oneanother.••A portentof thingsto co■e•••

PHILIP Al.LEI{ (aftera beat, watching the■ ) ...The realwar has just begun.••in every liberatedcountrythere will be a battle !orthe hearts andminds... (asthey walk,

-

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

SB,

James nods he does.

He stops to lighthis pipe, watchingth• troops •••

A finely chiseledNazi governmentbuilding•••

And we see Ja11es,incongruous, sittingbuncbedoverpaperwork on a deslcin ahuge dark office,still replete withthe - ornate trappingsfro. the Naziregi- •••And Ray Broceoshows in a Man in atired suit, and ayoung, pretty, darkhaired WOMAJl'•••Awomanwe'llcome toknow as HANNA SRIEI,DS.

3.... looks up atthe Nan in thesuit. At the youngWOiian. Anc2he --- she's wearinga hearing-aid.••Rayleaves. 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 somethin9in Germanto 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 togo•••Helooks at her hearin9-aid. Seeing his lookshe pushes somehair over it, coveringit•••

She smiles, appreciating hisunderstanding.

She'• quiat.. And:RayBroc:coCOlll8Sbackintothe office•••

INT, A CATHEDRAL,BERLIN - DAY

A large old Cathedral,holes inthe walls from Alliedbombs. And we see Raycoming in. He crosses into aCONFESSIONAL•••

It's quiet. He waits. S0111•momentsand the Priest's door opens. A Man'sfigure, behindthe mesh, sitting down •••

Tbe Man nods.

And as he passesa slip ot paper,a list of names,through the llleSbscreen•..

- 'lbere'sthe so!te<:hoin theold Cathedral as somefew penitents pray. And we seeJames, sitting in a p- toward the back ofthe cathedral, quietlywatching theConfessional.

A l'IAJI'SVOICE(OVER) Hello, Mother•••

Jaaes turns. And he sees sittingin a ~w acrossfr0111hill,a slender, handsomeMan, in a tailoredsuit in hisearly thirties, withthe fine featuresof a ballet dancer,and the cold, forgotten soul, of achessplayer. Theman -•ve c:011e to know as PETRASAJQ;O,

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

PETRASANKO (cont'd)

- Icould only locate one photograph of

you..• whenyouwerea Fresluaanat Prep school. ..

And they look each other in theeye. And they're quiet. After somemoments:

Jamesdoesn't say anything •••

PETRA SAIIJtO(cont•d) (musing) ••• Itis interestingto-• how both of our countriesmust nowtake a global view••. (smiles) Maybe things wouldbe different, Mother, ifChristopher Columbushad been wrongand the -rth was flat •••

J._ is quiet.

And stillJ._ doesn't sayanything.

- JAMES

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

Petra laughs. After somemoments:

He takesa small PHOTOGRAPHout of his wallet. Showing it to hi.a.A photograph of two smallCHILDREN.

James nods. He starts togive the photographback to him••.

James doesn't show a flicker. And theConfessional door opens,Petra's alterego, the bulky Man,his TARTAR shadow, comingout. He leavesthe church. Petragets up to go.

They look at each other,look each other inthe eye. Petra smilesand leaves. And as James looksdown at the photograph of his children:

We see James cQlllingin.He slows. And he sees sitting in a chair, hi• overcoat across his lap,GeneralWILLJ:AMSULLIVAII. Sitting across theroom a silent redhairedJIAH. And the year• have not treatedthe Generalwell •••Hehas the curseof too auch Irish, th•blood and the whiskey•••AndJames seesa pair of old woodencrutches beside theGeneral•• chair•••

811.l.SULLIVAN (seeinghis looX) Mf fuckingfeet•••Theykeep cutting piece•off of th••··· (wry) It' ■not dignifiedrora -n to have to diefrom the feet up•••

And as if there•• •011•unseensignalthe redhaired Nan gets up and silently goesout onto the terrace. J-s pulls a chair over to sit nextto the General•••

BILL SUI.LlVMI (cont'd) (after abeat) we•vedone our job well,James. Maybetoo well ••• (quietly,leans forward, discreet) •••I'vebeen having ■ o-conversations with the President •••He'saskedmeto

- draw upa plan tor continuing a

Foreign IntelligenceService••• (MORE)

James nods. And the General'squiet, and h• looksold, out of his time •••

BILI,SULLIVAN (cont'd) (aftera beat, troubled) I have to tellfOU, Jaaes, Ihave so- real proble111Swiththis,••I'• concernedthat too much powerwill ultimatelyend up in too few hands••• It'salwaysin soaebody'sbest interest toproaote enemies•••r-1 or iaagined•••rsee this asAmerica's eyes and ears -- (abeat)

and soul...

BILI,SUI.I.IVAN (after abeat) I told thePresident torthis to work tbera'sgoing to have tobe so- kind ot civilian oversight•••

TheGeneral nods, buthe's not so sure. He looks at James, - and aword of warning •.•

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

And we see James, .bentover his desk, sitting alone inhis office. Anclwe see he'slooking at the photograph of his Children. There's a slivhtsound. H• turns. And Hanna, in a raincoat, ha• stoppedJ.nthe doorway. Heturns 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 comeback•••

And she self-conaciowslypushes her hairover her haarin9-aid. And•• he looks at her, andshe•- just as lonelyas he ia..•

And - sea J-e• and Hannahave finished dinner,HAnna doing the d1eb•• in a smallkitchen, Ja111t1squietlysittingatthe dini.m;Jtablewith a bottleof wine•••

And she quotesfrom theoriginal Latin from Dante's,"The DivineComedy.••" AndJames translates the Latin into - English .••

He smiles,and there's the last hint ofthe boy•••sheturns to the table to take up some ofthedishes •••Helooks at her••.somethingwe're familiar with,the naked, .ulnerable boy •••shelooks athim•••

And she foldsher arms acrossher chest, bothof th- aware of a sexual tension •••

He gets up. There's an uncomfortablem0111ent•••Sbe self-consciously pushes her hair overherhearing-aid•••She looks athim •••

Rain, rwaninvdown• window,thro- it. shadowson a wall. And - - J•- and Hanna, lyingclose togetherin her bed in tu 1--itude of post-coitus•••AndJ.... is uncharacteristicallyinti11&te,particularlyvulnerable•••

A moment, and shelooks at him, into his boy'seyes,and she - says ••.

And she reaches to holdhim..•Hehesitates •••andhegiv- in to his fearsand lets her holdhim•.•After some moments:

And as th•Ylay in bed quietly talking,the rain runningdown th• window•••

And we•- Ja-• lying in bed,peaceful•••Andthere's the SOUND of th•shower running .••Jamescan see intothe bathroom(Hanna in the shower••• Andhesees herHEARING-AID on the sinktop. She gets out ofthe shower,drying••• Turning toJa-s •••

- still .beautiful.There was an inn

there where thesheets smell-1 like fresh flowersand they served breakfast all day inbed.

He -ilea at the idea••• She turns,drying,happilysinging to herself. James quietly watchesher. And hiseyes flicker, a h-rt wrenchinginstinct. And there's a m0111ent'slllellOry•••of Petra Senko'•lips •••

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

And she turns,hearing him justfine•••BreaJcinghisheart•••

-

She turns backto dry herself ...

And as shedries her dark hair,singing to herself,and even his distanteyes can't hidehis heartache •.•

The lastvasp of liVht. And we see James, in his overcoat, wind blowinghis hair, silentlystanding on thebalconf off his office,looking out atBerlin•.•And Ray comesouts~d•. He whisperssomething in James'ear. James nods.

- And he's closedwhat's left of hisheart. Ray••quiet. He turns back inside. And asJames stands on thebalcony•..

And we seePetra in a bathtub,soaking, looking atthe light of Berlin. There's a Jtnockonthe door.

The Roo• Servicelll&nCOIWIIin•••Heputsthe traydown by the tub•••he leaves••• Petrapoursthetea•••And there'ssoaething in the teapot. Re opens theteapot. Re slows. And he •--

inside is Ranna'•KEARING-AJ:D•••Andheknova whereit caae

froa•••

He gets up out ofthe tub, crossing toa phone. Andas he

makes a call:

-

And we see Hanna's taking a bath.The door opens. She turns. And we seePetra's Tartar isin the doorway. And before she can say anythingshe'sshot in the head.

As her head drops forward intothebath, the water turning red, and the "ColdWar," has begun:

James, hands in his pockets,looksout at Berlin. And it's still. Some BIROScome to perch on the balcony railing.And the breeze, with thecoming of night, rufflesJames overcoat. And suddenly the birdstake off. And as he watches them fly off over Berlin, likethe passing oftime:

Snow covers the ground. And we seea plain sedan, a GoverJllllentcar,"TheWarDepartment,•coming up the driveway of the old estate,pulling to a stop. And we see James, wearing a suit, an overcoat, getting outofthe car. The Driver brings himhis suitcase, andleaves. And it's still. And this will bea very different version of"The Beat Years of our Lives.• James starts up thewalk with the suitcase, and two CHILDREN,a Boy and a Girl,ROBERT and CLAIRE, six, co- running from aroundthe sideof the house. Seeinghi■, they slow•••

-

They nod.

There•• an avltwardquiet.

JA!mS (cont'd) (motioning) Yourmother?

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

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

Andhe sees Clover, standingby a window looking outside •••

Sheturns. And the girl that was once"Clover"is gone•..A practicalwoman in her place.

They look at each other .••Andafter all the years •.•

There's an awkward quiet. And the childrencome inside. The little Boy goes to stand with hismother•.•

And he avltWardlygivesher a saalldoll colorfullI dressedin an Italian peasant costume.He looks at his litt aBoy•••

And he gives him a smallship in abottle.•.The littleBoy fingersthe bottle •.•

J.-s quietly l.ook&atClover, his children•••Andafter so- -ents:

Wes- Clover lying inbed. And James,carrying his suitcase,cc,mesinto therooa•••Andthere's an avltWardness, twostrangers•..

- made up the guestbedroom•••

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

He nods,truly sorry••. Andit'squiet again... Aftersome moments:

CLOVER fcont'd) Five years is along time. I'vebeen very lonely. (abeat, honest) I was witha man once••.

I Jameslooks at her. Hecan well understandthat.

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

Jamessmiles. And for amo-nt ve rememtNarwhosh• once -s.

Andwe•- Ja- quietlyunpac:king,neatlyfolding bis things,putting themaway in a chest ofdrawers. Re takes outhis shoes. He looks atth-. Tb• shoesof tine Engliu leather, There's a slightsound•••He turns. And he - his littleboy, Robert, in hispaja-s, standingin the bedroom doorwayquietly watehinghim.

Jamesturns putting hisEnglish shoes away in thecloset. Andas he closes the closet door,home t:romthe war:

The door opens. And wesee James, "~he Stranger," in his raincoat,carrying his briefcase,coming intothe quiet house. He hangs his coatu~ in the foyer. The house dark, still,-pty. There's aslight sound. He turns.

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

Richard doesn't sayanything.

James doesn't sayanything.

And he puts a manilaenvelope on anend tal:)le•••

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

RICHARD HAYES (cont'd)

- You must.belonely withoutyour

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

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

James, buttoning hispajamas, quietly gets ready forbed. And the PHONE suddenlrRINGS on the nightstand, startlin9. He lets it ring exacty tive times.

There's the static of longdistance••.verylong distance•••

And out of the static,like comingup fro• a -11, there's the RUSSIAN VOICE ofPETRA SANXO.

PETRASANXO'S VOICE (OVER)

- Mother•••

And we see Petraon the phone inhis office in th• 'Kr-lin.

Jlllllesquietlystandinginhis darkbedroom.

- you rightnow. Moscow isquite

beautifulin April, Mother. Crisp and clear. Maybe you willcome and visit, Mother. Even decide to stay.

7).

-

And James isquiet.

PETRA SAlfXO'SVOICE (OVER) Mother, are you stillthere?

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

- And the phone'shung up. Ja-s quietly hangs up•••Hestands like a shadow,in the darkroom•.•And he seesbis reflection in a dressermirror, a man oldbefore bi& tiaa. He looks at himself in themirror. Andhe starts to softlysing a f-iliar -lody ••.•ForI'm calledlittle Buttercup,aw-t

little Buttercup,though I couldnever tell why•••• And for

a moment he'sa boy again. And as he sings thehaunting -lody, lookingfor the boy in th• mirror•••

we see a clusterof temporatyworld war II styleBUNGALOWS,

little aora thentrailers, situatedbetw-n the Lincoln

Meaorial and theReflecting Pool•••Anda Truck's parked,two

WOJUOUDIwheelinga SAFE into abungalow•••

A -11, era.apedoffice. And wesee J.-s and Ray Brocco watehin9 as thelforkllenputthe SAP!!againsta wall. Tb• Workllenleave. JIUlleslooks atthesafe•.•

- ofticefirst.••

Ray nods. James bends,going into thesafa... He canalmost stand.•.

James doesn't say anything. And hissilence is enough for Ray not to argue aboutit, After somemoments:

Ray nods, not course."

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

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

the handle, locking it shut •••

IH'l'.AGOVERNMENTBUILDING, WASHINGTON,1947 - DAY

We're lookingat iiBLAClCANDWHITE INTELLIGBNCE f'IUI, ComauniS111andits influence around theqlobe. Andve ...

we're in a darkenedMEETING ROOMin an old governmentoffic.

around the rooaare fifteen or soMEN watching thefila projected on a scr-n. Ja-• quietlystands offto hiaaelf in the back. Andwe see in thefilm'• light aoat ofthe aen are in their late twenties to earlythirties,soaefew in their forties andfifties. Amongth- Philip Allenand Ricbard Har--• Fair-hairlld,IvyLeague -n all, "Peoplelike us." Philp Allencom.. to stand byJaaes. And whilethe fila plays...

James looks over at RichardHayes•..

-

JAMES

- (after abeat) .

I wasunder the impression•Dr.Ibanez supporteddemocracy•..

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

And we•- James, inbis raincoat,carrying his briefcase, getting off a city TransitBua, TheBus pulls off. Andwe see his little Girl,CLAIRE, standing on the sidewalkwaiting for him•••

-

Sb• walks on the suburbansidewalkahead of bi• to theBOUSE that is now familiarto us. The twostory red !>rickCOI,ONIAL on the slllNrbanVirginiastreet. Just built, and partof a large bousimi tract,it's a part oftb• whole postwar Aaeric:anboom. A partof the AmericanDr•••· A placeto r•i- your Children where they candreaa, too. And the last of the day's li9ht iingerson a summernight •••Cbildrenon tbe str-t pl•YUIC1•••Theyoungparentson their lawns,and the sid-•lks, en3oyingtheir freedoa•••And- see ct.OVER,a drink in her band, talkinCJwitha circleof Woaen on thelawn inrront of their newhouse. And wes- she's slipped into bar life like a new suit ofclothes,that doesn't r-lly fit, wt she's determinedto wear•••J•- comaaup to the house •••Anda 'l'uistops inth• street. And the blood literallydrains out of Clover's face •••

Cl,OVD Oh ay God inheaven••

Jaiaesturns. And he seess~anding in thestreet, wearing an Army unifor111,backfrOIIth•dead,JOHN RUSSELL. Still the hanas01aeF. ScottFitzgeraldcharacter. The American Boy. And Clover runs tohim,holding him to makesure he's real. James, asstartled as anyone,comes into the street .••

-

And they embrace, "the boys ofsu-er." And they realizea Woman is standing in the street with him,ayoung dark haired pregnant woman.•.

John Russell, come home fromthe war.

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

And we see Jamesand John sitting in thedark on the back porch quietly talking •••

And tears well up in hispale blue•Y•• fr011sOIN unimaginable deeppain.•. Heregainshis composure••• -

James nods.

James do-n•t sayanything. And as they sit in thedark on the back porchquietly talking:

INT, JAIIZS'HOUSE- NIGHT

J.... is at thefront door seeingJohn and irina out. Jobn shrugs on hisArmy overcoat. There's an awkward IIIOll8Jlt, They look at eachother. AndJohn embraces hia. still,and forever more, "Brothers." AndJohn crosses with hiswife into the night. James watchesthem go. There's a slight sound, Ke turns. And Clover,a bathrobe over her nightgown, is standing atthe foot of thestairs. She folds herar■c across her chestas if she werechilled••• -

And in a momentof affection heholds her.

She nods. They'requiet. She looksat him.

And as he ~oesup the stairs with her, to the dark atthetop of the stairs•••

And we see Jamesand Clovermaking love on their •conjugal• bed•••AS we move in onthem••.

wa see Jaaes,his •res open, lying in bed in theirdark r001l•••water'srunningin thebathrooa•••Jamea lookstoward the bathroom,the door ajar,a small slip of light•.•He silently takesup a phone, dialing •••

He hangs up. He senses sOINbodyis watehing hia. H• turns. And Robert, in bispaja-s, isstanding in thebedro011door.

Robert turns goingback down thehall. And as Ja-s quietly sits in the darkr00111,unable to trustanybody•••

And - see RichardHayes and a youngerfair-hairedMan, with an o~n smile,MICHAEL JOHNSON, sitting inJamesoffice. - James behind his desk.•.

Rl:CHARDHAYES (after abeat) Michael's going downthere with The United CoffeeC0111eanyasan "agricultural" la~son•••He'llbe our eyes and ourears...

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

- JAMES

(a beat,motioning to Michael) ••• Youmightnot want towear that ring down there•••

Michael looksat his hand. And JaJDea-ans Michael's"Skull and Bones" YaleClass Ring. Michel nods. Andas they 1-v•:

Richard looJtsbackin•••

Tbey look at -ch other. There'sno love lost. Andas Richard leaves •••

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

Jamesturns. And he seasSAM PAPICH,the erstwhile F.B.I a9ent,wearing his f&111iliarfedora,has satdownbeside h1.m•••

Ja-s isquiet. And as they ride ••.

He smiles at life'svagaries•••Andaftersome •o-nts:

benef~t bothagencies •••

SAIiPAPICH (laughs) ••• Yeah,Iltnow.••Andthe firstti- you boys havethe opportunity, you'll be breakingand entering ind-eest, darkest, Indiana,like thievesin the night•••

Even Jamessmilu. Afters0118111o■ents:

James looks athim as if to say,"What•·sthat?"

- SAMPAPICH (cont'd)

(wry) Iknew you when you still had a conscience••.

James isbent over his desk,i11111ersed,reading something. And wesee Ray Brocco comingin, bringing hima small round gift-wrappodpackage.

Ray takesoff the giftwrapping. Inside is aharmless CAN OF COFFEE.

AndJames looks up•••

Ray takesthe •key", slowlyopening the can. The seal, broken,hisses•.•

RAY BROCCO

I (looking,shrugs) -

Just, coffee•.•

Ray puts his band inthecoffee feelingaround. He abruptly stops. He takes somethingout. And touchingit, upset, he drops it onthe d-k. And we see it•• a-n's JUNG l"DfGEJl. And still onthe finger,Michael Johnson•• SkullAnd Bones YaleClass Ring. JIIJIIISis still.Andhaknows where it came rroa...

IJIT.ACOFFEE SHOP, WASHINGTON,1947 - DAY

And - -e Ja-s sitting alone at abooth,eating a piece of pie withcoff-. A Manco11es tothe booth. He gives hi.aa n- shoebox.

The Man leaves. James opens the shoe box. Andwe see inside is a smallclear JAR. And inside the jar isaWINGED BEETLE. As James closesthe box •••

And we see a line of CARS,following an Official Carwiththe flag•of a Central American Country ontoaCOFFEE PLANTATION. And we see WORKERS, with smallflags, standingin a line waitingfor the dignitaries. The carsstop. And we see the President of the country,ashort manwith glasses, DR. VICTOR IBANEZ, "The GreatHealer," "El Indio," get out. A DOCUMENTARYTEAM following him,filmingthe occasion for posterity. And we see in the.BLACKANDWHITE DOCUMENTARY FOOTAGEas he's cheeredby his countrymen,moving along the lineof workers, shakingtheir hands. And we see, in the back~round,of the .BLACKANDWHITE FOOTAGE,the other dignitariescars unloading. And we-• getting out of one of thec:arsPETRA SANKOand the Tartar. And down the way, getting out of anothercar, James andRay Brocco. And in our movie Petra and Jllllleslook ateachotheracrosst.'1•cars•••

Andhe motions, expansive,at the endlessfertile fields of coff- plants •••Andhe walks off into the fields,thepeople andth• dignitaries followinghia•••AndJUies and Jtayset off,following the111through thefields••• Petra andtheTartar acrossfrom the111•••AndJamesslows,fallingbehind•••And Petraco-s beside hilll,••

PETRA SANl:O I'm sorrythat was necessary.

Theyquietly walltthroughthe fields. Petrastops to finger a leafof one of the coffeeplants•••

(nods) A miracle.

Ja11essmilesa rare smile. And they quietly stand,hands in their overcoatpockets, side-by-side•••Andthere'sthe distant drone ofan AIRPLANE•••Theylook up at thegray sky••• The plane somewhere above theclouds.••Abreeze ruffles their clothing.••Anda smallwinged BEETLE lands on Petra's shoulder •.Jamesbrushes it off. It's oddly quiet.

Andthen there are somemore beetles, a handful,flying aroundthe fields. And thenmore. And more. Falling out of thesky. The sky literally black,like locusts,with beetles. And they setto work on thecoffee plants, eating the coffeebeans, destroying thecrops.•• Andthereare aore, and more,the field filled with flyingbeetles•••Petra turns••• andhesees Juieshas walked off. He stops, turning, lookingback at Petra•.•

They look at each other through the cloudofinsects ••• And Jamesgets back in the car. Rar gets in withhia, driving. Andas James, his face at thewindow, drives off:

Andwe see Ja-• getting onthe Bus at theKall. He looks fora seat. And he sees aHAT, the familiar fedora,on an emptyseat. He lifts thehat•••And underthe hat is piece Of letter-headSTATIONERY. "TheUnited CoffeeCoapany.• He pocketsthe stationery. He moves alongthe aisle, finding a seat. The 8\lscomes toa stop. And aswe see SallPapich takeup his hat and get offthe Bus:

We seean el.egantold redbrick h-, backedup to Rock creek,near Elllbassyrow•••ACARc011esalongthe street. And - wesee Clover drivingJaaes and their twochildren. Thay pull intothe circulardriveway. Getting out ofthe car they goup the walk•••

J-s rings the bell. And the gentlemanspy, Philip Allen, answersthe door..•

Well, hello•••I'aso gladyou could ca.a•••coaein•••come in•••

He showsth- in..•

And hisfacelesa wife,Toddy, COIN& overto greet th-.

- Politely,they do.

And be leads th- intoa large formal livingroom. And the house is decorated for Christmas. A largeChristmas tree. And sitting by the tree,children waiting theirturn to see him, is a SANTA CLAUS.

Claire, the more adventurous,moves tosee him. Robert stands his ground athis mother's side.

She takes him by thehand•••

He shakes "no."

' (offeringher -

hand) Why don't youcome with- •••?

And now he has no choice•••

He reluctantly takesher hand, walkingwith her to tha Santa Claus•••

Jamesnods.

And itisn't a question. Ja-• followshim into a STUDY off the livinqi-00111•••Andthereareasmallgroupof Man we recognizefroa the Agency,standing aroundthe rOOlldrinks in hand•••Andwe sea iUIIOngthem,John Russell,RichardHayes, and in awh-lchair th•terminally ill,-ciated, echo of himself,Bill Sullivan••. Philip bringsJamesadrink•••

- BILL SULLIVAN

(aftera beat, toasting) Merry Christmas,one and all •••

And they raise their glasses,toasting. And as theydrink, ... quietly talking,James stands by thedoor, He looks out••• He can see hisBoy nearing the Santa Claus. Theireyes meet, the little Boy scared to death.James subtlf giveshim his approval. Jamesturns back to the study,dr1n1tin9withthe men•••A moment,and he turns back tolook out at hisson••• And he sees his littleDoy, petrified, sitting ontheSanta's lap. And there'ssuddenly the unmistakeable sight of urine dripping down thescared boy's leg. He's peed in his pants. Clover hurredly grabshim off ofSanta's lap•••

Clover looks in the Study.••

The Men turn•••

-

And as he talte■hisson upstairs •.•

Re silently undresseshim. AndRobert, gratefultor his sympathy, puts his litlearlllSaroundhisfather'sneck, bugging biil,pr-sing his warmcheek to his father's cheeJt•••Jaaesisquiet•••He helpshim into a shower•••andas ~ vatcbes hisson shower•••WEHEAR VOICES SDJGING•••

And - - Jaaesand the rest ofthe people gatheredin the living room 11YtheCbristlllasTr-,Toddy playingChrist.as carols on• plano,everyone singingalong•••And asthey sing, "Oh coae all ye faithful,joyfuland triumphant••• •

And we see DR. IBANEZand his family sittingaround a Christmas tree openingtheir Christmas gifts. A door suddenly opens. TWoSoldiers coming in. Two other soldiers rush in behind them.

And as they fire, killing the"GreatHealer"...TheGovernment changing hands ••.

"Oh come ye,oh come ye, to Bethlehem••••Andwe see Richard Hafe• comingback into the room. He whis~rs a0111ethingto Philip Allen. Philip nods. He coaes besideJames•••

James doesn'tsay anything. And as Philip Allensings the the Christmascarol ••.

Philip tampshis pipe, lighting it.

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

"WEDNESDAY,APJUL 19, 1961." And we He J-•• in his f-iliar posture, crossingthe street.intothe old wilding. And if it'sat all possiblehe's shrunltfurtherinto hiaself. His •Y-, moving, furtive,behind his gla...s.

And we seea door suddenlyopening, Ja-, followed by Ray Bracco, coainginto a busyCIA Co1111RUJ1icationscenter•••

And - heara Woman's VOICEspeaking Russianover the speaJter•·

Ray turns andquickly leaves.

-

The door opens. Ra¥ coming backinto the roOlll.Andwith him is a dark eyedMAN in his forties,whose handsomeness, despite his battlewith time, isfleeting ••. A Man we'll come to ltnowasVALENTIN MIRANOV. He slows, hearing the Russian •••

- and Peace.••• Whatever sequencehas

been determined forthe day provides the indicatorwords•.. One dayit is every third word,and then the code word. Anotherday it is every fourth word. Anotherevery -cond, third, and tenth word•••Sometilll8s,itis simply to fillthe air to contuse you•.. (slows,listening) Sh•'• repeated,"baboyka,• •1:1uttertly,•thr-timea•••It'sher identityer••••

- Valentin nods, sayingthe word inRussian, "kohkoh."

An Intelligence Officer picks up aphonemakinga call. Aftera 1110111ent:

And thedoor opens••• AndaMan hurries in givingJ&111esa surveillancePHOTOGRAPH. A photograph ofa strilting, handso-, young BLACK WOMAN. James takesout of his ~riefcasethe surreptitious grainyblackand white photograph of the inter-racial couple.He looks atM'Bya's ~hotograph. At the woman inbed•••Andthere's more than astriking resemblance•.•

And suddenly aVOICE co-s over the PHONELINE••••PE'l'RA SANXO'Sbaunti119voice .••

PETRA SANJl:O'SVOICE(OVER) (onthe speakers) Are you there,Mother? Areyou listening in?

A busy coaaunicationscenter. And we see PetraSanko on a phone.

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

James silentlylistening.

PETRA SANXO'S VOICE (OVER)

- If you would likeI could arrangefor

medicine. He couldcome stay in our hospital. (MORE)

James is still.

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

COl'IKUNICATIONSOFFICER The transmissionhas been terainated.

VAI.EN'l'IN (after abeat) He's playing withyou, Mother. He wants you to think heknows so-thing fOU don't know•.• Hewantsyou turning 1.ncircles •••

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

-

name?

And as ha opensthe window, lettingthe air in, looking outside•••

The front door suddenliopens. And we first see Clover,and then J...., c011ing inr011a night out. Clover, unstaad:ron her high heels fromone too manydrinks, tries tomaint.u.n her balance, herdignity•••

- She starts into the kitchen •••

B9.

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

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

JU1811hangs up. -

And without anotherword he turnsback into the foyer, getting hie coat. And he •••• thatROB!:lrl',nearlythirteen now, has been standing at the foot ofthestairs, listening to th- •••And ash• quietly goesback up the stairs tohis bedrooa•••

Il!IT.ACOJllltJNICATIOHSROON,THECIA,1953-NIGHT

And we see Jaaes andRay sittinc,ina s-11 ,antiquated) communications roo•. Clocks, withvarious tuae zones line the walls, Techniciansmonitor electronicequipment. ComaunicationsOfficerswearing headphones,on telephones,a -lange of VOICES CRACICLINGoverspeakers•••

A COMNUNICA'l'IOHSorn:cu (toJ...s) ••• At22:42we got a whistle ona listeningpost in Warsaw,from one of ours in Moscow, toexpecta big package•••

TheMan listens to something•••

COMMUNICATIONSOFFICER (cont'd)

- (toJames)

... We'rebeingtold he's fromKGB comaandand control, a minimWIG-6 and could go ashigh as a G-9•••

The door opens and a Man witha photograph_comeshurrying in....

He gives it to James. And we see an extremely9rainy SURVEILLANCEPHOTOGRAPH taken ofa MAN rroma distance•.. James quietly looks atthe indistinct photograph, •.

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

And we see a FiMisb Taxi Cab stopped in theempty street outside of the Ellbassy...TheTaxi'sdooropens, and a Man in an overcoat, carryinga briefcase, quietly gets out. He cross- the street goingthrough thegates, up the Embassy steps, and inside...

- The busy communicationsro011. And wesee Jallesquietly bent over the photograph,studying it witha -gnifying glasa. The door opens, anotherMan hurrying in•••

AlfINTELLIG!lfCEOFFICER ...wethink he's ValentinGregori Niranov••• AG-8with counterintelligence•..

The large foyer isempty, a Janitor■opping the floor. And we s- the Man quietly standing onthetile floor at a reception d-k, ayoung half-asleepDOTY OFFICER•••

And for the firstti- we get a good look at theNAN•••A graceful, extr-ely handsome man inhi ■mid-thirties, there's a sorrow in his darkeyes•..And aswe look at hia:

And we see James still peering through themagnifyingglass, lookingat the man'sphotograph••. And aswemove in, looking through the magnifying glass atthe man's indistinct photograph ••. the grain on thephotogra~has bigasrocks, or, as indecipherable as awilderness of mirrors•• -.

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

And we see VALENTIN'Sreflection in a mirror. And we see he's sitting on a couch in asparsely furnished living room, Ray Brocco sitting ina chair across fromhim. A woman, a stenographer, her backto them, sitting in a corner ofthe room transcribing their conversation•••AnIntelligence Officer, a youny stoicman, sitting ona bridge chair in an unfurnished dining room••• valentin,wearingslacks,a dress shirt, tie, and a cardigan, is relaxed,informal •••

Witbout having to beasked the yo1m9Intelligence Officer get& up crossing into thekitchen..• Ray Brocco,lookingata dossier, going throughhis bonafides •••

He looks up atthe ceiling•••There'sa lampfixture•••• -

And we see James,wearing headphones,quietlystanding lookingdown through a two-way mirrorin the lampfixture watching Valentin andRay in theroom belowhim ••• AMan wearingh-dphones sits at a desk monitoringa taperecorder. Two other men,a man in anarmy uniform, and an Intelli9ence officer,wearing headphones,stand nearby•••Jamesis still, watchingbelow him. Ray gets up,crossing to stand by Valentin. And he suddenly puncheshim in the face ..•Blood drips fromthe Russian's nose...

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

The sunsets over the capitol. And we seeValentin, taking s0111eair,standinglookingat the PotomacRiver. Ray and the IntelligenceOfficers standingon the lawnquietly talki119. - Andwe see Jaaas coming to standby Valentin•••

TheyShake bands,••They•r•quiet, looking at theriver. A cold bree~eblows off thewater•••

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

And we seethe television's on,the sound low,the McCarthy Hearings. "Areyou now, orhave you ever been,a melllberof the CommunistParty...?" And wesee James at hisdesk, surroundedby papers. Ray comes in.

And we seeJames crossing intothe busy TRAIN STATION. He sto~•• lookin9around hia. He looks up. And hesees sam Papich, st&nd1.n9on an observation deck,smokin9acigarette, restingthe f-iliar fedoraon an upstairs railing. James goes upthe stairs. He stopssome distance frmaSaa, standingat the railing, looking out overtheteniinal. Re slows. And he sees JOHN RUSSELL,carrying a briefcase, coming intothe terminal. He turns to a bankof phone booths. He goes into one,se-ingly using thepbone. A briefmo-nt, and finished,he walks off. And James realizes he's lefthis briefcase behind. A moment,and a MAN comes out ofone of the other phone booths. He goesinto the phone booth Johnhad used. He comesback out withthe briefca-. And crossiD9to another exitgoes out of thetrain station. - J-• isquiet.

saa nods. And crossing byhim, putting onhis hat, he goes down the stairsam:Ileaves. And as James standsat the railing lookingout at thebusy terminal:

It's• crispfall day. Andwe sea a car parkedoff a country road at - apple orchard. James, on a taailyouting with Clover andtheir children,along with JohnRussell, Irina, and their littleBoy. Andthe adventurous Claireis up in a tree, picltingapples,hilndingthemdown to Clover andRobert holding a bucket. John, Irina and their littleboypicking apples at anothertree. Andwe see James, standingunder the trees, leaves falling around him,watchingthem. And John comes to stand byJames. Aftersome moments:

- JOHN RUSSELL

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

John looksat him. And there are tears in JohnRussell's pale blue eyes...

James isquiet.

And tears run down hishandsomeface •••

Ja-s isquiet, not knowingwhat to believe.

His wife'scalling hi■• Ha=osses to hiswife and child. James instinctivelyturns andhe sees Roberthas been watc:hiftCJth-.

- And he walks with Robert over to atree,helpinghim pick apples •••Heinstinctively turns.And as he seesClover, her arms folded protectively across her chest,looking athim•••

James comesin. And we seethe Tailor, Philip Allen, is washinghis hands in a basin.

PHILIP ALL!lf You wanted tosee me?

James nods. Philip motions tohim at the overheadlamp, not to say anything. He leavesthe water running. And taking a box of fancychocolates offa shelf, he turnswith James to a far cornerof the room alongthe tile wall. He gives James the box of chocolates.

And as theystand in thecorner..•

- know basis on thisparticular-tter,

James. (a beat) I hope you arenot taking it personally.

Jaaes is quiet. The door opens. A Man looksin. Philip nods. Tbe Nanleaves.

And•• he 1-v.., Jamee standing inthe restroom holdi119the box of c:hoc:olates,thewaterrunning;

And we ne Jamessitting in theback seat of acar parked outside the safehouse. A Driverstandin~ by thecar door, waiting. Andwe see VALENTINcoming outside. He ~ets into the Car in the backwith James. And as they'redriven off:

He moves his overcoat,and under it isa violin case •

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

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

Jamestakes the violin outof the case,handing it to hill•••

He9i_,. hi• th• how. Valentin taltesup th• violin•••Heputs it l:laekdown...

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

Awooded park with walking trails along the Rockcreek.The capitoldo-, in the near distance,throughthe trees. And wesee Valentin sitting ona bench withJames, playing the violin •••

Jamesis quiet. And as he listens tohimplay:

Jamesis quiet. And aftersome moments,equally obsessed:

- He starts to pack up the violin,putting it initscase.

He getsup •••Tbeywalkalong a trail, Valentincarrying tbe violincase•••And as welook at th- ata distance, at their bac::ks,-lll:ingtogether,if wedidn'tknowany better, they alaost•- intiute, like))eatfriends, likesoul mates, like lovers•••

Itrr.JAMES'Ol'F'.ICE,THECIA,1953- MIOTHERDAY

James isbent over somepapers on his desk. Ray co- to the doorway•..

Ray nods and turns and leaves. Jamesbends silently reading some COlllllluniques•••andhis private door opens .•.

(looks up) DonItu.:.et....'lat:·cioor--

And he sees KIPWILEY, the well bredEnglishman, his coat over his arm, standing atthe door.

James nocta. Hemotions Kip to come in. Kip sits on theold couch.

- James doesn't sayanything•••

J-s takes uphis phone. He quietlysays something. A moment, and Valentincomes into theoffice. Kip getsup •••

And Jtiptakes agift, a TEA TIN,wrapped with a lavandar ribbon, out of hisovercoat pocJtet•••

Kip laughs. James looks atthem. And it's hard toknow who in thisroom is the mostcharming, or the most dangerous •••

Tbe statelyRussian !:llbassy.Andwe seea car pull to a stop inthe -pty street. And we see Irina'sdriving. John in the frontseat. Their little boyasleep in theback. A momentand John gets out, It's quiet. H• stands for a momentin the eiaptystreetlooking in thecar, at his wife, bissleeping son. He softlytaps on theglass a "goodbye," to his family. They look at each other.And Irina drives away. It's still. He crossesthe quiet street to the EmbassyGate. Ha stops at the Guard Station.A moment, and thegate'• opened.•• hehesitates,looks behindhim for a last time,and goes onto theEmbassy grounds. And a Man we recognize,PETRA'S TAJtTAR,comasout ofthe Embassy, across an expanseof lawn toJDeethim. They standfor a 111011enton the lawn,talking. John,hands in his pockets,nervously pushes atsome leaveson the lawn withthe toe of his foot. Am0111811tandhefollowsthe Tartar to aside door, going insidethe Embassy, and•out" into the •cold." And the Embassy'sstill a9ain. And we look down the street••• toa threestory bUild1ng•••

Andwe•- James and Sam Papich silently standing in the secondstory window ofa Tailor shop lookingthrough binocularsdown at theEmbassy. And J'-essees John has left a signalwith his foot inthe small pile ofleavea•••"7" •2• "1."

And aahe watches a breezeblow the leaves,and an American boy known•• John Russell,away ••.

we see Jamescoaing home,coming into thedark room. Clover's figure,seeminglyaslep, in the bed. He starts to silently undress.

And she might as wellbe talking aboutherself.

JAJraS (for many reasons) Heabandoned me.

And as he stands in the darkbedroom•.•

And we see Jamessitting at a tablewith a telephone in the busr c01D1Dunicationsroom.A Technician,wearing headphones, motions James topick up the telephone•••

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

DIT. EIIBASSY,COMMUNICATIONSROOM,IRAH, 1953 - NIGHT

A s-11 rooa crampedwith electronicequipment. A coamunications Technician. And aMan in his early sixties, in a twcedo, AMBASSADORHAMP TAYLOR, sitting ata deskon the telephone.

The Aabassador on thetelephone••• And- FOLLOW the phone cord, going INTO THEWALL•••FOLLOWINGthe line down through the wall to a ayriadof wires at thetelephone switching system. We FOLLOW a wireclipped to aswitch. The wire dropping down and disappearing under the floor •••

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

And we seea MOSQUE beside the&lllbassy••.

And we FOI.I.,OWthewiresnaking up throughtheMOSQUEWALL, FOLLOWING A PHONE CORDOUT OF THEWALL, and up to a pair of HEADPHONES. And we see,listening in totbe phone call,a flat faced Man smokinga ci~arette. And we see we're in a small PRAYER ROOM. Technicians, wearin~headphones, reelto reel tape recordersturning. And standingbehind the-n, wearing headphones, isPETRA SANKO. And we hear:

The Ambassador hangsup.

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

We see Petra sanJtotake off his headphones.He crossesto look out a window,at the Iranian night•••

PETRASANl(O (InRussian,to nobody in

- particular)

Do theymean that, or do theywant us to thinkthey mean it •••?

He takes an antacid outof his pocket,ch-ing on it•••He's still, standing atth• window, considering hisoptions•••

IHT. THE COMMUHICATIONSROOM, CIA -DAY

The rDOllldeadstill. James has gotten up,standing ata window, silently waiting•••

IllT.THBPRAYER BDOK,MOSQUE, TEHERAM,IlUIJI-Jll:GKT

And Petra, JBllltingadecision:

And- the TaChniciantakes up a telephone,dialing•••

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

A gatedand heavily ~•rdad ornate old IranianDuilding once thehome of the IraniRoyal Family. Andwe see a PRONE WIU surreptitiously coming up into the building throughthe airconditioning •••WeFOLLOW th• wire up throughthewallinto the telephoneswitching systeM••. Andasa switch,switches, we FOLLOW anotherwire coming out of the switch,out ofthe wall, and into thePREMIER'SBEDROOM,,,

We FOLLOW the wire toa TELEPHONE ona nightstand. And as - th• phone starts toRING •••

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

James standing atthe window. And there's suddenly theSOUND

on the speakersof THE PHONERINGING••••

And we see theTELEPHONE ringing on the nightstand.And THE PREMIER, a slightman, seventy,wearing a bathrobe, comesout ot the bathroom,answering thephone•••

James and theman waiting••.Andthey finally hear:

PETRA SANJ<O'SVOICE (OVER) PremierMossadegh.,.Thisis Ulys.- ••• (aftera beat) Youcan sleepwell. The Peacock will not.becoming home.

There'• the soundof the phonesbeing hung up. Theroom quiet. -

J-• is still. And after someIIOIDents:

And - .- J•-• his coat overhis shoulders, stubbleon his face froa a long night,sittingon a couch silentlywatclling a TBLB\'IS:tONSET•••Ray,standing:bythecouch, watching••• And - - DaveGarroway on the•Today Show" readingthe news as NEWS P:tLIIplays•••

- bloodless coup •••

And we see on the televisionNEWSFOOTAGE OF THE YOUNGSHAH'S RETURN•••

The Shahbeing escorted bytroops througha chanting, cheering crowd of Iranians,upthe steps of the Palace••• He turns andwaves. There'sa huge roar, the heir to the PeacockThrone come home••.Jaaes,impassive,silently watches the television ••• 'l'heyoungShah goes insidethePalace.soae momentsand he appears onA BALCONY. There'sanother tumultuouscheer. Th• Shah waving to his adoring people •••

ever leaving the room.

JUiesdoesn't say anything. Getting up, hetakes up his overcoat,starting to leave•••Heslows•••Andhe seu on the television PetraSankohas come out on thebalconi to stand besidethe young Shah. H• leans in to saysomething to the Shah•••AndJames READShis lips•••

The Shahsmiles. And asPetra walks him inside,the balcony door closingbehind them,..Jaaessilently standing in the light of the television screen•••

And wesee James, "Thestranger,• sittingalone at a table - with acup of undrunlccoffee under an oldRooseveltera WPA l'IUralin acrowded,noisyco-issary, ••Hequietly looltsout his glassesaround theroom. The hundreds ofconversations. And he looksacross at a table,two mentalking. And he READS theirlips.•• Amansaying, ••••Everyone'sbeing held accountable••• The otherman saying, "Th•seniors are going underground,• He turns. Another table,READIKC so-body els••• lips••••There•samole•••A spy inour hou- •••• somebodyelse's lips••••They'r•sealingott the building -- going officeto office••• •Another table •••"They'r•

going tobe a bloodbath•••• And as J-es is still, bis •Y- aoving bebin4his glasses,the first hintof -dness.

A YOtJNGMAN'SVOICE (OVBll) "All Russiais our orchard••••

IIIT.A IiITTLBTHEAT!R,WASHINGTOND.C, l.954-KIGHT

And - - J-s, still inhis mid-thirties,Valentin sitting beside bi ■,watchinga localproduction of "Th•Cherry orehard.• As they watch the productionJ-e• sensea somabody is looki!'CIathim. He slightly turns. He slows. And he sees sittingat the end of his aisle,her programin her lap, hair tied back,a hands01118womannow••• isLAURA.She smiles at him, mouthing•••

- LAURA

James •.•

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

Valentin nods. James gets up. He crosses purposelyby Laura, going out of the aisle.Their eyes meetfor a moment. And withouta word he crossesout of the theater. Laura's still. Andafter s0111emoments,upset,she gets up and leaves.

We see Laurac0111ingoutside.The street empty. She'i.quiet. She startsto turn to leave. A Taxi pulls up.

She nods.

A saa.llquietbar. We seeLaura coming in. She looks around the bar. Shadoesn't see him. She feels a hand on her shoulder. Sheturns. AndJa-•, is behindher •••

Thay look ateach other.

She loou athia, his eyes bac0111t1oldbeforetheirtillle. protectively foldsher arms acrossher chest•••

JA!'!ES (reassuring her) You'resafe withme, Laur,

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

And we see James andLaura in the quietbar at a corner table •••

Laura nods •••

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

LAURA {cont'd) •••• I'vebeenteachingEnglish for threeyears••• At Gallaudet ••• It'sa collegefor the deafhere in Washington •.•

There's an awkwardquiet. Shesee- to want to askhi• about - what he does••• butsheknowsshe can't, and doesn't want to know••• Afters011emoments••

And they're quiet,each with their ownthoughts ofwhat llight have been.

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

JAMES (cont'd)

- She said shehas to be upearly for

work •••she'dlike to gohome. He said, "justone moredrinx•••"

-

Perteet. You've learned it well.

But there's something not socleveralx>utit anymore, its purpose has been perverted. And he'stelling her, in hisown way, what he does. And it isn't teachingpoetry. And they"re quiet. Andas they look at eachother ••• somany years later •••

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

He smiles, wry. She gets into the taxi.And he bends, lightly kissing herc:heek. He turns,moving off along the wet sidewalk. Andthere's an achingfeeling of s0111ethingso inc011plete•••

He turns. And hasees she's gotten out ofthe taxi,hands in her coat pockets,standing by thec:urb•••Theylook at each other. And theylx>thknow they need tohave completion•••

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

And we can see downa short hallan open bedrooa door.And as we s- James and Laura,in her smallbedroo11,maltinglove•••

EXT, TH!:LODGE, DEERISLAND, 1954 -EVENING

The fa■ iliarSJtUllandBones Island Retreat. We ean seethe soft yellow lightsof lanterns hanging on theLODGE'•porch. A VIOLIN is playin9. And we see thepeople in their evening clothes, the &lWlllliotskulland Bones,and their families, standing on the porch,drinkin9, tallting 1intonesreserved for the dusk. Andwe•- Jaaes, ineven.ingclothes, coainq onto the porch. Hecrosses the porch, ashe did onc:esome y-n before, to senatorJtussell.Jllrs.Russell,having sufferlldthe ravagesof a stroke, sitting ina wheelchair.

-

AndPhilip and Toddy Allen,holding drinks,Philip smoking hispipe, come over.

Andas Ja111esstands on the porch in the yellow light ofa lantern,the violin playing something lightandfrothy•••

Andwe see Clover, adrink at her elbow, not her first,on herway to being drunk,finishing dressing. And despite her efforts to put herselftogether,her hair done,wearing a red eveningdress, nothingseems to fit.

Clovercrosses into thefront room. Robertand Claire, now fourteen,playing nMonopoly.n And a youngLodge Bellman, holdingan envelope, isthere.

Shetakea the envelope. He leaves. Openingthe envel0{>8she goesback into the bedro0111.Shesits backat the dressing mirror. She takes outof the envelopesome photographs. She stops. And she sees SURREPTITIOUSBIACI(ANDWHITE - PHOTOGRAPHSof JMES INBED WITH LAURA,making love. She's motionlus. And as shequietly takesanother drink•••

We seeClover, dressedin her evenin9gown, carrying a ...11 purse,her heels tip-tapping onthe wa:ut,comingto the Lodge. And there arethe sounds of LAUGHTERfr011insidethe Lodge. And u she 9oesinside;

And we..e the Peopleare sitti119at theirtables, drinking, uproariouslylaughing,watching a show. And we see on the stage,Bonesaen, dressedup a• w0111en,doingarevue, ain9J.nc; and dancillCJtoapiano••• "I enjoybeiftCJagirl•••"And- •- Clovercomi119in, aovingbetween the tables,aakift9her way acrossthe rooa to Jaaes. James instinctivel!turns, seeing her. And- &be r-chu the table she suddeny taku a pistol«Nt or her eveningbag, pointing itat Jaaes' head.

And she tries tosqueezethe trigger, but herhand's shaking - too badly,and she doesn't have the courage to killhim... And before shehas anothercnance the gun's wrestledaway from her. And as she lays on the floorsobbing•••Thepiano so-how stillplaying•••"I enjoy beinga girl ••••

We see a MOTOR LAUNCHidling at a dock. ,Andwe see Jaaes silently standing on the dock. Andwe sea Clover, still in her evening gown, holding her eveningbag,standing on the Launch. And the Launch,its light onthe water, moves away. And as she stands on the deck, the wind blowingherhair,not knowing who she is anymore•••

It's still. James q~ie~lr3iLs in the small woodpaneled living-roomlooking atthe damning photographs. He instinctively looks up,andRobert, is standing ina doorway.

RobertnodS, wanting tobelieve him.

They lookat each other. And Ro:bart,knowinghe's not going to getanymore succor, startsto turn togo •••

And Jaaessurprises him byaabracing him.

- I love you, father. And Ro:bartquietly turns back into hisroom. Jamesgoes outside.

He sits ontbe porch in a metalporch chair. And as he silently sits,lookingout at the dark water,the sounds of musiccoming from the Lodge.•.

TheLITTLE THEATER in Washington. And we see Laura witha fewremainin9 people waiting outsidethe littletheater for tneircompan~ons. The lobby lights blinkonand off. People rushto meet their dates,going inside. Laura,left alone. Shewaits on the empty street. And she knowsher •companion• isn't going to00111e.Shewaits for a momentmore, a last hope ••• AndaManco•e•across the street •••

Andhe givea her a smallbox and walks off. She opens the box. And inside is herCROSS, James givingher back his pieceof her soul. His"goodbye." And sheturns, walking off alongthe straat•••Andas she voeswe PAN baclcalonv the - straet•••Andwe -e Jamesis stand~ng,where he li,,._,1n the shado-, of a dress shop'sdark doorway •••Watchingher walk awaytor good•••

"THURSDAY,APRIL, 20, 1961." And we seewhat looks like Jaaaa,in a raincoat,carrying a briefcase,coming along the d&rkf-iliar hallway. His head down,shoulders -iqhted, lookingat the groundas if for so-thing he's loat•••Andas be co-• closer we••• it'sRay Br0<:co.

Andwe're looking at wbat couldbe an abstractpaintin~.

TE<:HNICALOFFICER(OVER)

We PULLBACK and we seeJames at his desk,a Technical Officerbeside him, lookingat a blow-up ofthe framed photographthat was on adresser. The blackand white photographof the two figures. It's hopelesslygrainy, out of focus,just tha shadovs,like a painting,of the two people in aframe•••And asJames, a growing••dness in bis eyes, peers into the shadows •.•

JAMES' VOICE (OVER)

- Would you like to learn how?

... AND WE SEE A TWEEZER GRASPINGA PIECE OFSLENDER THREAD. We PULLBACJCand we seeJames, taken to wearingglasses, at hia deskin the study makinga ship for a bottle. And we see Robertis standing behindhim, watching him. And nearly eighteennow, he's blossomed, hisframe filled out,a noticeableself-assurance••.Notunlike his tather at his age ••.Jamesgives Robert thetweezer•••

It'squiet. Robert carefully pullsth•slender thread, slowlypulling th• mastdown. He slowly, carefully, slips thenip into its bottle. Robert smiles. James smiles at hiJD,proud. They look ineach other'seyes. Ja..s lowerw hiseyes, quietly peeringin at the ship. After so■e moments:

-- James looks up.

And as he peers out hisglasses at hisson:

And we see an old Kainstreet. Schoolsusses parked outside of a turnof the centurybrick COLLEGE. On a Marquee•.• "Welcoae,National GleeClub••••

'INT.TRI!COLLEGEFIELDHOUSE, KANSAS -DAY

An olcldrafty9irderedFIELD HOUSE. Andwe aee Boys Gl- Clllbs,intheir variousmatching robes,clustered together. And ona riser ia a particularGlee Club. And maong th-, ve seeRobert•••Ha lookS up intothe stands. And we sea, wearingbia f-iliar overcoat,sitting in thestands with the otherparent&, off by himself,is Ja-•. Robert looks at his father,grateful he's there. It's quiet. And Robert and the Boys in hisGlee Club, start to sing in lovelyharmony•••noh Shenandoah,I long to seeyou ••• faraway,youmighty - river•••" James quietlywatches him. Anda slight shadow crossesover him. A figuresitting down next tohim•.•

And - see it'sPETRA SANKO•.• His Tartarshadowstanding not far from th-, his back againsta wall•••

J-es motions•••Theylisten to theBoys singing••. "Oh, Shenandoah•.."

PETRA SANKO {cont'd) He has your eyes. Is he goingto follow in hisfather's footsteps?

Ja-s doesn'tsay anything. They're quiet, theBoys -eet voices singing••• And aftersomemomentsJameswrites down the names of so111eCOUNTRIESon thebackof the GleeClub Prograa:

Petra looksat the list•••Hawrites down on theprograa a list ot countriesof his own•••Jamu quietly looks atthe list••.Atterso- moments•••

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

If he keeps calling attention to himself, atsomepoint, we may have to sendhim a surprise. I don't want it tocome as a surprise to "your" people.

Petra's quiet. After some moments:

Petra nods.

James nods .••Andthey'requiet•.•

- PETRA SANJCO(cont'd)

(musing,an echo) To think, the world atone timewas flat... (a beat) Be well, Mother•••

And he gets up togo... Heslo-•••

Jall8Sis quiet.

James doesn'tsay anything•••

-

James is qui•t. Petra turns to90•••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 smilesat the irony,and with his Tartarshsdow, leaves. Ja111esisquiet•••Heturns to watchRobert sing••.And he seesRobert looking up at him, his shoulders hunched, unable tohide his deep hurt.•••• Oh,Shenandoah,you mighty river..."

IHT. THECOLLEGE FIEU> HOUSE,KANSAS - DAY, LATER

And we seeRobert, still in his91•• club robe,a medal around hisneck, standing withhis father. The other boys with theirfaailies.

- They turn. And the Choir-Master suddenly takestheir photograph. He turns to take somebodyelses'photograph.

Robertnods. And as J'amesandRobert standtogether in the old fieldhouse•..

A saallKotel on the edgeof town backingup to endless cornfields.

IN'l'.'l'HBDlfSASMOIEL-lfIGH'l'

The ~ dark, quiet. Pondwesee Ja-• andRobert lying in their separatebeds•••Aftersome time:

What is it you thinkI do?

ROBl::RT I ltnowyouworltfor the CIA.:.I'm not sure whatyou do? Why everythinghas to be sosecret•••?

Ja11esis quiet.

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

And putting his coat overhi& paja-s, he goes outside. A moment and Robert getsup, looking out thewindow. He can seehis father standingby the car, quietly talking toRaf Brocco. some momentsand Ray gets back in thecar and drives off. Jua-, left standingalone. A breezeruffles his coat. And as he stands in thedark, the cornfieldsblowing in the breezelike an endlesssea••• He turns •••Andheseeshis son looking outside atthaman he doesn't know,who is hi• father••• - ZNT,JAKES' OFFICE,THI!:CIA,1959 -ANOTHl::RDAY

And we see the youngJohn Kennedy, hia lovelywife at his side,on a television,announcing his intentionsto run for the presidency. Andwe see the televisionis on in Jaaes office. And we seeJames at his desk,Valentin sitting ina chair,the men quietlytalking. There'sa knock on the door •••Rayco■••in.•• Hecrossesto J•-••··

IJIT.THEC011111JNICATIOHSCENTER,CIA,1959-DAY

And - •- Ja■es andRay in the much larger,tec:bnologically stateof tbe art, Coa■unicationscenter•••

- A COMMUNICATIONSOFFICER

(after abeat) We're getttinga signal he's just gone into the Embassyin Finland •••

llS.

And we see a tall, good looking,dark-hairedMAN in his early forties,coming acrossthe tile floor. An Embassy official and aCIA Field Officer,crossing tomeet him•..

Andwe can hear over thespeakers:

-

And asJa-s, hearing thetoo fa111iliarnaae,looJcsup:

An earlyfamiliar Chainhotel.

INT, AHOTEL ROOM, WASHINGTONO.C - DAY

And - sees011aNEIistandingand sittingaround a H0'1'2L110011. A1M>119th-,Ray Brocc:o.And we see aitting ina chair, naked, iathe •O'tlfERVALENTINMIRANOV."Ws PULL BACX and.see that J_., with "Th• Violinist,• Valentin Miranov, are inan adjoininCJhotelroom, lookingthrough a TWO-WAYMIRROR••• Intelligancapersonal, wearingheadphones, aitin a co~ monitoringa tape recorder •••

- ••. This other man,whosays he is

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

ll6.

James is still •.•

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

And Ray getsin the man's face •.•

- wife's name is TamaraHarkovskaya•••My

children's namesare Anatoliy and Sergei,••M¥ father isa cellist •••% play the violin••• AllIwant is freedoa•..

And an IntelligenceOfficersuddenly hits hi■ in theface literally knockinghim and thechair over. Two Intelligence Officers pickhi.aup puttinghim back in the chair•••

s_. answer. And he's hit again••••Andas the routine continues, samequestions, suaeanswers•••

urr. THE HOTELROON - LATE A:rl'ERNOON

And we•- ic:ewater beingpouredover the bloody-n•a head•••

- Miranov••. Iwasbornin Bobrujsk•.

And we see James looking ata smallTAB of medicine, withthe pharmaceutical makersname, "Sandoz•••"

James gives the tabback to the man.••Andas he nods to try it •••

And we sea the OTHERVALENTIN, his facebloodied, still sittinV in the chair••• And hahasalook of drugged confusion.••

- And ha sings a children's song inRussian•••

And as if ha wareriding on the train, recitingthestops alo119the way•••

He gets to his f-t.

And like a littleBoy he salut- their laadar•••Ha laughs, childiah•••And he'ssuddenly quiet •••Andonso- clearLSD plane•••

- theKGB sneezes.••

(MORE)

Andhe's quiet again••.Andhe suddenly shouts•••

And without a warning,he suddenly runs toawindow, and without stoppingdives ri9htthrough the window ••• literally flying outthe window•••Hisbody hurtling ontothe street below...

Jame•is still. He turns to lookat the•real" Valentin••• - Hi• sorrowfuldark eyes,his handsome face••••

Jamesquietly looks athim. He shakes"no." And as he turns andleav-, his shouldersbunched, headdown, as if he were looking forsomethinghe's lost •••

The old University. The sound of theYALE CHOIR coming from theUniveraity cathedral•••'l'hedoorsburstingopen,the Grad'll&te•stre-ing out•••

Familiesgather withtheir graduates. And we see Robert, in bisca, and gown, standing with hisfBlllily,Clover, affectionatelyholding hisarm. And it takes us11111011entto recognizeher. Grownextremely heavy, it's asif she's grown asecond skin. Her lastline of defense. Claire, dressed "incontusion• wears a longJlandarinshift,black eye makeup, no lipstick.•• As if she's at mourning .•• AndJameshasbecome - the longshadow.•.He'sstarted to sink intohimself, his clothesseeming to bunchin on him•.•Anda thin bespectacled BLACKMAN, a graduate,distinctly African,comes over.•.

He shakes their hands.

And without warning he starts totaketheir picture•••And James, protectively,looks away••."CLICK." And we see the resultsof the PHOTOGRAPH,the momentin tillle•••Ja■ea,a blur,unrecognizable,Robert proud ofhi111Self,confused Claire,and.the corpulentMargaret,nee Clover, the James Wilson l'alllily•••

And we're looking at aPHOTOGRAPH,a "1939" group photograph of the bOys ol'Skulland Bones. JohnRussell. Richard Hayes. James Wilson. "The best and th•brightest.• Andwe seeJames looking at the~hotograph. And we see he's in the familiarreceptionroom with its cases of:momantos,the class photographs,the longhistory 01'Skulland Bon-. And wesee - the YOUNG MEN of Skulland Bones,some with their father's, standingtogether,crowding the room. And J-• turns to standDY Robert. And a Young Manwith unl'orgettablepale blueeyes, the world in the palm of his hand,isaddressing th.....

'l'KEBONESMEN (asone) All here!

Andthey begin to singa fraternity song,a nostalgic song abouttheir youth •••

- I've spoken to a recruiterhare••• I

would like very much tojointhe Agency •••

And James is quiet,struck by the thought .

(after a beat) Ihad thought youwanted to go to Law School? Harvard?

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

And we seeJames, silently bentover his des~, peering at a PHOTOGRAPHon the front page ofa NEWSPAPER. And we see the photografh isof the young bearded~LtJT:tOHARY LEADER OF CUBA ~iv1nga speech•••and U1ongthe people standingbehind him, Just recognizable,is Petrasanlto••• Helooksup atRay Brocco••.

- And we see small butcomfortablehouses near thebeach in Far Rockaway. Soma old people sitting on lawnchairson their front lawns. Children coming and goingfroa thebeach. And we s- sitting ina CAR, parkedacross the str-t from one of the houses,SAN PAPICH. Andwe see two largeJlen,standi119 outside oneof the houses. And we see standinginside a screened-in front porch,a Floridaroom, looking outside, is James.

A Man comesinto the Floridaroom•..

J.- followsth• Man into akitchen. And sittinqat a kitdlen table,in a sport shirtand slacks, out ofplace without asuit, is a dark, somberman, in his torties•••JOSEPHPAIJII.••Thaaanleaves th- alone••.

JOSEPH PAI.Ml (motions) Please make yourselfat home.

James sits ina kitchen chair. And a Woman, withtwo SJHll children, intheir bathing suits,comes into the - kitchen..•TINAPALMI...

I'llbe there soon•.. (meaning the children) Makesure they don't go inthe water withouts011ebodywatchingth- •••

(seeing) Where'stheir shoes ••• ?They'regoing to burntheir feet •••

(exasperated) We'regetting theirshoes•••

And they go out •••

Do youhave any childrenMr. Carlson?

-

JAl'IES No,I'• afraid I don't •••

And they're quiet. A moment andJames gives him anenvelope. Joseph opens it. And inaide arePHOTOGRAPHS••• surreptitious photOCJraphsota YOUNGMAH in bed with a familiar BI,OMDEAC'rRESS•••

JaJDesis quiet. Joseph looks atJames, his distanteyes.

Joseph slightly smiles••.Attersomemoments:

JOSEPHPAUil Let me askyou something •••?We

-

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

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

And he takes threeCIGARS out of hispocket, giving th- to him••.Joseph saellsone •••

JOSEPHPAUil (nods) It'stoo bad the Cubanshave to JDake thebeat cigars.

And we•- the caribl:>eanIslandsoclose toho-.

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

And we see an AIDE,a •-11 -n in thedistinctive Cub&n revolutionary aniyuniform.,silentlycoming into the President•'• -pty office. He takesthe tbr- •cigars•out of his PO<lltet,puttingthemin thetap row of a box ofcigars on the l>residente'adesk,and quietlyle•v-. Soae ao ■ ents, and the beU'ded Presidantede CUba,with two of hisOfficers, coaes into the office. The President•sits at his dealt.He ~ns the box ofcigars, taldn9 up a•cigar.• Ha startsto light it. And thePHONE RINGS. The President. answers it. He listens, nodding.

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

Be bangs up. A IIIOIIBJltand hepressesanintercomaskingfor somebody. And - see the uniformedAIDE coming back intothe office. The Presidenteaotiona forthe Aide to have a•-t on a couch acrossthe rooa. The Presidenteoffers hi•the "cigar." The -n shakes"no, gracias.• The President•put. his pistol on thedesk, and lass thenfOlitely, insists, giving the Aide the"cigar.• The President•takes one of his - owncigars out o! his pocket,lighting it. He motions for the Man to do thesame... The Man, terrified,lightsthe "cigar." The President• quietly smokes hiscigar•••TheAide, smoking•.•

And we watch an ash forming,slowly gettinglonger and longer with each puff he takes•.•Tearsrun downthe man's face, the ash growing longer and longer .•• He takes another puff,the ash glowing, and as thecigar suddenlyBLOWS UP, virtually blowing the man's faceoff•••

And we see James quietly sitting at his desk.And we see Richard Hayes, and a latin Man,GEN. HECTORSUAREZ, sitting on a couch. TWo MENwe're not familiarwith, but faailiar enough looking, "people like us," sitting inchairs.

And he looks over atJames to say something•••

- We'redesignating thisas Operation

Mongoose••• BackChannel,"l!lanitest Destiny••• "Nothin9is tobe put in writinq. Nothing isto be done on the telephone. This hasthe highest level of deniability,becausethis operation doesnot exist.

And as the men quietlytalk•••

And - see nill>oatssilently movingin the wind aaongthe islands on the St.Lawrence River •••

And - - Robert sailingthe l>oat•••Jamea,lying onth• deck, l.ookingup atthe clear blue sky.

The boat:,its sailsdown, is anchored offa small island ina peaceful cove. Andwe see Ja-s and Robertstanding on the deck quietly talking •••

Jamesnods, he knows.

And they're quiet,the water lapeingagainst the boat •••And James gives himone piece of advice•••

Robert, innocent, quietlylooksat him, seeing how deadly serious be is•••

Robert nods•••Andas they stand on theboat in the secluded cove, quietly talking•••

INT• .JAMES'CABIN,DEER ISLAND- EARLY EVENING

Robert, gettingdressed, in anunbuttoned tuxedo shirt, tuxedo trousers,coaes out ofhis room. He knockson hi• parents door.

xt•• quiet. Heopens the door. There's the soundof water running, the bathroomdoor ajar,.Ja-s in the shover. Robert looks in•••

Robert turns !)&ckinto the room.He opens the topch:"-•er drawer. He looksfor soae cufflinks. And he notices,on the dr-&er, .Jaaes•BRIEFCASE.He finds the cuff links. He puts th- on, looking at himself inthedresser mirror. But be finds hi-•lf looking at the briefcase,acuriositfill:lout his father's life••.Hehesitates. And opening the briefcase, - he looks inside. He looks at a filefolder. "Utmost secret." "Mongoose.• He looks throughit. He takes up a photograph. A reconnaissance "spy"photograph,taken from space,of the island ofCUba.

various Bays on the topography delineated by their name..-~••Andthere's anotherreconnaissance photograph,with even greater detinition •.• of aparticularbay•••ABaythat's called, "The Bay ofPigs•••• And we seeJa-s, a towel aro\lftd his waist, is standing in thebathroomdoorway, silently watching hilll•••Robertinstinctively turns,seeinghia.

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

James is quiet, seeingwhat he's done tohim.

And there's very littlehe can sayto that. And as they look ateacb other, therather and his son•••

U'l'.THELODGE, DEERISLAND - N!:CHT

Th• f-iliar lanterns,with their yellowlight, hang froathe porch.The ~E is litup•••The soundsof voices•••

And- see the alumniand their familiesof Skull and llones attheir faailiar tables•••Andwe seeJaaes• tal:>le•••Theonly onesleft, J__., Clover,and Robert. And where Se"-tor RusMl.1,and John Russell,once -t, where their place n-. stillsit, •sen. 3ohnRussell," "Mr. John Russell," their plateshave been cer-onially turnedover, and a ._11 piece of blackribbon is onthea, for one Wbois dead, and onewho ai41htas-11 be dead. J-- quietly looksaroun4 the rooa. Ph~lipand Toddy Allensittinq now withRichard Hayes at his table••• Philip andJamesexchangenods•••And,in the f-iliar ritual,an Old JlanPOUNDShis cane twiceon th• table•••And the Bonesmen,James andRobert along with the rest,co- to their feetand say asone for a last time:

IU\dtheygive a rousing SHOUT,and take theirseats again•••

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

And as TheReverend leads theroom in prayer,James and Clover looking at each other.

The lights havebeen lowered. People still attheir tables, drinking,quietly talking. A BIG BAND is on thestage playing. People dancing. we see Robert dancing with a -iling debutante whose future is prettyobviow.•••Andwe see J•-• and Clover at theirempty table, silently sitting,with nothingto say, watching thedancers, The Band~laying •t•• gonna loveyou, like nobody'sloved you, coaerain or c011e shine•••• And all the wastedyears seem towash over th- liltesaltwater••• AftersomemOJlents:

He'squiet.

Ct,OVER(cont'd) (aftera beat) I'm going to go live inPhoenix,with 1lrfaother,J'aaes••.

Jaaes nods•••Anc:Ias they sit,tryingtorUlellberwhothey both oncevere••,Robert,dancing, holding the girlclose, the a.ndplaying, ironic,•1•• 9onna loveyou, like nobody's loved you,coae rain orcome shine••••

INT, THECIA - IIORBING

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

THE WONAll'SVOICB (OVER) You are safehere with me•••

And - - James at his desk,the tape-recorderturning, the surreptitiousphotograph of the inter-racial couple,and various blow-ups of thepbotcvraph,on hisdesk. And we see Ray Broccoand tvo otherMen in his office •••

- around 10:00 at night!or a twoweek

period••.Therewere flights leavingin fifteen cities ••• (MORE)

And as Ja111e&looks up, at thenameof the countrybedidn't want to hear,bUt already knew in hish-rt •••

It'c raining on thebusy African city. Soggy redand green posters ofthe first CongolesePresident, PatriceLuauaba, on the buildingswalls. And we seeJ-es, in his raincoat, walking throughthe crowdedstreets of th• old city. There's the sound ofa CHURCH BEI.L•••Heturns a corner.And he sees a very OLDBELGIAN CHURCH, its oldbell ringing,hollow•••He aoves alongthe street, the oldapartment buildings. He ccmes around a corner ••• Heslows•••Andin anapartment's - window, ina second story apartment,blowing on abree;r;e, like in adre-, are the curtainswith the patternof the baobab tr-• on them. He goesinto the tiuilding.

DIT. AH APARnlEIITBUILDING,THECONGO, 1961 -DAY

He comas alonga hallway tothe and apart-nt. He knocks on the door. It'squiet. He triesit, the knobturns. He opens thedoor. He step• inside•••

The apartment••dark, quiet. Ha goes into thebedroom. He slows. And sittingon a chairin the bedrOOlll,waitingfor hia, ia PETRASANKO.

PETRA SANJtO Hallo, Mot:her.

J- tale- in1:herocm, the roomhe feels likehe•• lived in. The flowerswilting in thevase. The taailiar nightstand withthe clock•••thaairconditioner •••tha radiator•••Andon• dresser a PHOTOGRAPHof two figures•••And chilling, he seesit's the photographof Robert andhia taken in the field housein Kansas.

-

can I play something foryou,Mother?

And he plays areel-to-reel tape •••There'sthe sound of intimate breathing,and then •••

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

It's quiet. Jaaesis still.

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

James is quiet. After so- 1D011ents:

And there's th• soundof their intimatebr-thinq •••Andthe tape ends•••J...sis still •••

PETRASANI<O (after a beat) Wecan protect him,Mother...aake him safe•••Nobodywouldknow•••We would arrangeit so he justdisappeared, bis bodynever recovered •••• (a beat, quietly) All it wouldrequ~re,was for you,

- Mother •.•

(abeat) To sit in place •..

Petra Sankonods•.•

It's quiet. Aftec somemoments:

PETRA SANXO {cont'd) We've bothbeen doing this fora long time, Nother•••Fartoo long••• It isn't a game weenjoy anymore•••Let'sput an end to it here •.•

James isquiet. And the phone suddenly RINGS,once,and then stops. And then it RINGSagain, twice. And stops.

J-- isquiet. -

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

And hegives hia a s-11 PHOTOGRAPH. A photographof JORN RUSSELLand KIP WYLEY taken inReelSquare.

James doesn'tsay anything.

J.- is quiet.

- They look at each other,lookeach other in the eye. And he turns and leaves,the sound of the doorquietly closing••• Ja111esstands in the bedroomi111111ersedin the silence •••

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

seeing hisfather....

And as hetakes his arm, takinghim out of the apartment...

And we see them standingclosetogether in the rain on the crowded African sidewalk•••

l -· I won't let youtake that away

from me•••

And peoplestart to crowdaround th- at a Busstop, pushing for a Bus. And James suddenlyemaraces Robert,holding him, close•••

And Robert start ■tocry••••

Tears runningdown his cheeks ••. -

131,

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

And Robert,his father's son, recoiling at his touch,pushes him awayfrom him, turning into the crowd,walkingoff ••.And as James stands inthe crowded street,alone .••

wSATURDAY,APRIL 22, 1961.w And we seea Car pulling to a stop. The car pulls off. And we see Ja-•, briefcase in hand, leftstanding alone. Ha turns. And we see he'• been left standing onthe edgeof some woods infront of a -ssive BUILDXNGthat's under construction,verynear c<mpletion, that'sbean carved outof the woods •••ASecurityFence around theperimeter. The only designation ofwhatthe building mightbe, signs on thefence, "No Tresspassing,Property Of TheUnited States Government." And theconstruction site's empty,dead still, Andin his familiarposture he s~.arts along awalkway toward thequiet building c:arryinghis briefcase,his footstepsechoing in thesllence•••He goes up somesteps. Ha stops for am0111entatthethreshhold. And he •-• carved in th• stoneabove the doorway,•The Truth Shall MaltaYouFree.• Ha goesinside.

It'sdead quiet. There'sa large emptyrotunda. Ha crosses therotunda going up astaircase. Hecomes onto an endless corridor•••

Beturns. And RichardHayes is standing inthe corridor.

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

And.it•- as ir onlyby sbear willhe's holding bi...lr together•••

IUCHARI)HAYES (motioning) ••• Thiswholewing willbe counterintelligence •••

Theymove along the endless corridor,doors open tothe unfinishedrooms. James looks in the rooms.

An -pty roomwith wires comingout of the wall•••going nowhere••• In another room,ali~htfixture danglingfrom the ceiling •.•Anotherroom,televisionmonitors stackedone on top of the otherlike blind eyes •.• Anotherroom,aconference table and no chairs...Themundanebeco- the most sinister••. Richardslowsby somegaping boles in thewall•••

James is ~iet, and we see he'slooking at Richard, at his lips, as ifhe were readinghis lips•••the sound droning ••. "The madness••• "

RICHAJU>HAYES (cont'd) (reading hislips) ...Therewill beplaqu- on the walls honoring agentsthat have fallen in the service oftheir country. Of course there willJoeno naaes•••just the dates of service••• Theanonymity of sacrifice••• (aftera beat) The President atthe next cabinet meeting will askMr. Allen to resign. (smiles) Soaething aboutsecret bank accounts in swit:i:erland. (beat) The Presidenthas asked me to assume the Directorship.

J-• is quiet.

He sail-. Andit•• still boyish. Richard turns,-lking al0119the "hall-y••.•

RJ:CHARDHAYES(cont'd) (readinghis lips) You should know,the Englishman, the"honorable schoolboy,•Kip Wil•f• has defected. He'sbeen one of tbe1rs torfifteen years ••• Afucking stutteringmole••• !

Richard stops•••

lJJ,

And ha knows it all, James is quiet.

And Jaaes says.••

- You let a strangerin our house•••

You know we can't let strangers stay in ourhouse••• (atter abeat) You still believein the rules, don't you, Mother?

J_. is quiet.

Anclit's still. He'• been given"Sophie•• Choice.• And after - moaants,reading hislips again.••

llICHARDHAYES(cont'd)

us,Mother•••A newbuilding. A new Director. A new era.The 901den age of Intelligence•.•ThePresidentis concerned about southeastAsia••.Do you knowanythingabout Vietnam, Mother? We won't haveto be gentl-•n anymor_••

- James is quiet.

1)4.

And Riehardturns, moving backalong the endless hallway. James watcheshim go through astairway door and disappear, the door closingbehind him. And it's dead still. James, motionless,peering out his glasses. And as he stands inthe emety hallwayof the new CIA headquarters,holding bis briefcase,its heart and its soul •••

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

EX'l'.JAMES'ROUSE,THE BACRPATIO - NIGHT

They sit in the dark,Jameshands buried in hisovercoat pockets•••

And JUiesstarts to uncontrollablyshake•••

And hegoes into the bou.e,into the kitchen. James silently sits on thedark patio••• Aftersomemoments:

And Jamesis still. And asJames looks outhis glasses, his eyes, distant•••

It's dark. And we see on adesk a framed photographof Valentinand bis wife and children. And we seeJ-s, like a thief inthe night, in Valentin'•office. Hequietly looks througb -- papers on hisdesk. He opens thedrawers, lookilllJthroughthea•••Hestartsto turn, to leave•••Andbe s•- on. bookshelfthe ENGLISHTEA TIN, the cannisterthat Kip Wiley hadgiven to Valentin. Jame• opens it. He pour& out the t- bags. And underthe tea bags is as-11 NIMOX CAMERA -- fortaking photographsof documents. And as J...s silently stand•in the dark office,gathering himaelf••• TRl!!RE'STHESOUNDOF A SYMPHONY•••

And we see a wellknown CONDUCTOR conductinga SYMPHONYfor a distinguished group of8111inentguests in evening clothes•..

The youngPresident and his FirstLady•••TheVice President•• Member~of the cabinet••• senators andCongressmen•••whenit was a placeknown as "Camelot." And we seeJames, aaon9 the audience,sitting with Valentin,listening to the heartbreaki11<1lYbeautifulmusic•••AndasJaaesshuts his eyes, listeningto the Symphony••.

The Soviet city.

Andwe see •the honorableschoolbOY," Kip Wiley,dressed in eveningclothes, lookingat hi11Selfin amirror, getting ready to90 out. And hesees in the mirror's reflectiona Man standingbehind himholding a gun. And it'sthe last thinghe aees. Three quickshots, leavinghis blood on the mirror,and his dead bodyon the floor •••

James listening totheiausic•••

And we seeJohn Russell,bundled in a winter coat,careying s0111egroceries,crossin9aquiet Moscow street. A Car suddenlycoaes around a corner,running himover, driving off.••Andas John Rusell lays on the lonelystrfft dying, lying inthe ailltfrom abroken milk bottle,his blood turningthe milk red •••

Jaaas listeningto the Symphony•••

IIIT.THEBOLSHOI BALLET,MOSCOW - NIGHT

And we sffeminent Russians,including thePr-ier and bis Politburaau,Generals, andthe like, at theBolshoi Ballet. And we -e Petra Sanltositting on anaisle. His TARTAR shadow comeadown the aisle,bendin9, quietlysaying soaethingto him. Petranods. A moment,and he gets up crossing intothe LOBBY. Be crosHS to aPHONE IOOTII•••As Petra takesup the phone•••

11ft'.APHOU 1100TH,NATIONALTHEATBR, WASHIHG'1'0lf-NIGHT

And we - ,,.....ontbe phone. And he aays:

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

And Petra hasanother realization. He turns. And he sees hisTARTAR SHADOW standin9outside the phone booth. And he's holding a pistol withasilencer. And the Tartaropens fire on the phonebooth••. Petra Sanko silentlyslifpingto sit on thefloor of the phonebooth, the phone danglinq...Thelast words he's to say•••

And we see James cosingout of the phonebooth. Re turns backinto the auditorium. He stops, justinside the doors. Valentin instinctively turns,seeinqhia. James looks at hi•, and turning, hands inhis pockets,quietly leaves. And as the doors silentlyclose behind hia,and Valentin knows he's as qood as d-d •••

And we s- Ja-s, perfectlistill, bent over hisdeu inthe pool of liqht fr011adesk amp. Andwe can•- Ray silently standing by his desk••.Andwe see thatJ-- is bent overthe ad in the Nev YorkTimes Classified9that says•••"Nother,is it sate to leave home•••?w Some moaents,ana James looJtsup. He peers out his glassesat Ray•••

He's quiet.

And all the yearswell up, and he starts tocry••.

And Jamee is still, p-ring out his glassesat him. After somemoments:

- Fromnow on, you'llhave to deliver 137,

your massages for yourself.,,

And h~'s purposely dropped the respectful appellation of, "Mother.• Andturning, his shouldersbent, headdown as if ha ware looking for somethinghe'slost, ha leaves. He stops, just outsidethe door lookingback at him, James, in the pool ot light,bent overhis desk. And Rayquietly closff the door for the lasttimeand leaves. And it's still. James, sittingalone in his office,likeKing Lear. And as he sits in the pool of lightbentover hisdesk r-dinq the "Personal,""Mother, is itsafe to leavehome?" And we 1re not sure what his answer is •••

And we sea James•haggard reflection in aBus window. And we see James, hisbriefcase at hisside, silently ridinghome from work in a nearlyempty Bus •••Andas he ridestheBus home from work•.•

We sea Valentin Miranov quietly sitting in a chairdrinkinga glass of vine,alaost as if hewas waiting for somebody. There's a slightsound. He turns,too late, a plasticbag put over his head.the bag ~llad taut, suffocatinghha•••Kis face bacOJU1ingcontorted,likea qrainy photograph, unrecognizable,as if ha didn't exist at all ••• -

James on the nearlye111ptyBus,briefcaseat his side,quietly riding ho- froawork•••

A small airfield. And we seeRobert getting out of acar. He turns, croasing toa waiting singleengine PLANE. And as ha climbs on board•••

INT, THE BUS,WASHINGTON - NIGHT

J-s quietlyriding home on thebus•••

And we••• thesmall plane takingott, headingotf into the blue African sky•••

IJrl'.TBZBUS,WASIIINGTON- Nl'.GHT

James riding onthe Bus.

And we._ M'BYA,the strikingAfrican woman's reflection in a mirror, a• shetries on a traditional African weddingdress in a dressing room. The curtains part. She turns. And there's the pop ofa silencer.

And as &ha stumbles againstthe mirror, fallinginto· it,her blood-onthe front of her weddingdress,a _weddingdress she won'tbe wearing anymore•.•

James riding on the Bus.

TheCessna tlying overa vast Atrican plain.

James, riding the Bus•..

Andwe see Robert sittingup with the Pilot. A Man sitting inthe back. And suddenly theMan reachesover, his ara aroundRobert's necJt.The Pilot opensRo:bart.'sdoor. And theMan literally throwsRobert out ot theplana•••And u his bodyfalls and falls and falls and falls •.•

I1IT.THE BUS,WASHINGTON- HIGHT

Jalll8sontheBus •.•

Andwe see, lying on theendless plain,Robert'• crumpled, lonelybody. And to add tothe abjectloneliness, we see aniaalsgrazing nearby. And we see a lion,standing in some grass,the hair on itsneck bristling,looking at the motionlessbody•••

Jamesturns to look out theBus window••,Andhes- his retlectionin the glass•••Hefinds hillselflookingat h.iaself•••Andhelooksat the reflection•• if it -r• unta■iliarto hi■•.•ASif it were a stranger•s•••Andas he looksthrough his glassesinto the ayesof his own reflection,into his veryaoul, we seeso■ething -•ve never seenbefore•••taars, rollingdown hisc:heeksbehind his glasaes•••Andas he looks intothe eyesof his own lonely reflectionin the Buswindowl a lightcross.. the window, and thewindow goes dark. And h s reflection justdisappears. Hehas no reflection at all. Lost soaewberein the "Wilderneasof airrors.11His wisb has co■etrue. Be's bec:oaeinvisi.ble.And•• be looks intothe glass darkly••• THERE'STHB SOUND OF ANOR.CH!!STRA•••

The Yalesta9e. And we seeMiss Buttercup,young and vibrant,moving around the stage,forevermore, singing•••

-

lJ9.

BUTrERCUP "ForI'm called little Buttercup de&r little Buttercup,though I could nevertell why••• ButstillI'm called 'Butttercup--' poor little Buttercup, sweetlittle Buttercup,I •.•!"

FADEOOT:

-

•