“Eagle Runner” by liuhongmei

VIEWS: 12 PAGES: 121

									                  “Eagle Runner”



All is quiet on the tree-lined street of this affluent
section of Washington. We MOVE down the street, pass
several stately homes then focus on a white colonial. We
FIND the name Evers on the mailbox situated at the
entrance of the colonial‟s driveway.


Ten year old RICHARD DWIGHT EVERS lies sound asleep in
his bed.


A) A metal Roy Rogers lunchbox sits atop a dresser.

B) A night light, plugged into a wall socket, casts an
orange glow by Richard‟s bed.

C) A flashlight and a set of ball and jacks rest on
a night stand. A toy train engine lies on its side in
front of the night stand.

D) An army recruitment poster affixed to a wall.

E) The entire bedroom. Dirty clothes and several
toys are scattered about the floor. Shadowy figures flit
about the room and we HEAR unidentifiable ELECTRONIC
GURGLING sounds.

Richard Evers‟ eyes open wide and filled with fear. We
FIND the bedroom door and Richard‟s mother, MAGGIE EVERS,
opens the door just wide enough to stick her head in the
room to peek at her son. As she checks on Richard, she
sees Richard‟s eyes are closed. Maggie scans the room.
The clothes and toys have disappeared from the floor.
Maggie shuts the door and moves down a hallway, passing
several photographs hanging on the wall. One photograph
depicts Maggie and her husband, Brian, with President
Eisenhower. Intermixed with the photographs adorning the
wall are several distinguished service awards. Maggie
enters her bedroom and crawls into bed with BRIAN EVERS.
                      MAGGIE EVERS
         I guess he‟s asleep.

                      BRIAN EVERS
         I told you not to worry, Mag.

                      MAGGIE EVERS
         How can I not worry? I think it‟s time we got
         out of this life, Brian... Before all the stress
         does too much damage to Rich.

                      BRIAN EVERS
         So you want me to just throw my pension away?
         He‟s fine, Margaret. Stop worrying.

On the night stand next to Brian rests a revolver and a
badge. Next to the badge is an open wallet displaying a
CIA identification card. Brian rolls over in bed and
stares out the window. In spite of what he told Maggie,
he is obviously concerned. O.S. we HEAR a dog barking.

                      BRIAN EVERS
         I better go see what‟s agitating Fibber.

Brian crawls out of bed, furtively picks up his gun, and
walks out of the bedroom. We MOVE back to Richard‟s
bedroom. It is partially illuminated by a flash of
light, emanating from the street, which we assume to be a
car‟s headlight. We SEE he dresser where the Roy Rogers
lunchbox was, but the lunchbox has vanished. The bedroom
door opens again as Brian Evers pokes his head in his
son‟s room. Brian sees his son lying on his back and
sound asleep. As Brian exits the room and shuts the
door, the light flowing into the room from the hallway
slowly diminishes. Brian stands outside Richard‟s room.
He lowers his service revolver to his side and walks back
to his bedroom. We MOVE back into Richard‟s bedroom.
Richard‟s POV as he focuses on nail impressions in the
ceiling. We SEE Richard on his back in bed with his eyes
wide open. Beads of sweat line his temple. Complete
fear occupies his face as he lies motionless and stares
at the ceiling.


Ten year later, Richard‟s eyes display the same fear.    We
SEE Richard lying on his belly wearing full army
camouflage gear. He is part of a ten member Special
Forces unit.
The Special Forces unit is an elite team formed to carry
out top secret missions. Each member has an intense look
of total concentration. All of them sweat profusely
under the scorching sun, creating streaks of black and
green down their faces as their camouflage makeup melts.
We FIND Richard Evers again. He displays a blank look as
if he is preoccupied with something else other than the
team‟s mission. Squatting next to Richard is LIEUTENANT

                       LIEUTENANT MARX
         Hey, Evers!   Snap out if it, man!

In the b.g. we SEE a single hut. We HEAR the whir of a
departing helicopter. One of the members of the Special
Forces unit fires a tear gas canister into the hut.
Another projectile is fired into the hut, setting it on
fire. We HEAR a scream and a naked, emaciated, pre-
pubescent girl runs out of the hut. We SEE the unit‟s
commander, GENERAL VINCENT HUGHES, shouting orders.

                      GENERAL HUGHES
         Hold your positions!

The Vietnamese girl wails hysterically. We SEE Richard
transfixed on the girl. The image he sees is familiar to
him in a disturbingly eerie way and he focuses on the
girl‟s face. She screams and cries out to the Special
Forces members. Richard Evers stands up and runs to the
girl. Hughes continues shouting orders.

                      GENERAL HUGHES
         Evers! It might be a god damn trap!   Get the
         fuck back here!

Evers approaches the girl, picks her up, and runs back to
his initial position. At the same time, the other
members of the team run past him. They surround the hut,
protecting Evers‟ back in the process. We SEE Hughes,
full of anger.

                      GENERAL HUGHES
         You god damn idiot, Evers! She‟s just a gook


General Hughes and Lieutenant Marx sit next to each
other, propped up against a bunker and surrounded by
                      GENERAL HUGHES
         Did you get an explanation from Evers why he
         felt compelled to grab the girl.

                      LIEUTENANT MARX
         He mumbled something about he didn‟t think it
         was right to let the bitch be freaked out like
         that. He also said he didn‟t feel she posed a

                      GENERAL HUGHES
         Not a danger? What the hell... How does he
         know she‟s not linked up with this asshole we‟re
         hunting? He went against a direct order and put
         the whole unit at risk.

                       LIEUTENANT MARX
         Yes, sir.   The whole unit. And they know it.

                      GENERAL HUGHES
         What about the girl. Can she tell us anything?

                      LIEUTENANT MARX
         No. As far as I can tell, we‟re barking up the
         wrong tree way out here, sir.

                      GENERAL HUGHES
         No surprise there.

Marx looks away from Hughes.

                      LIEUTENANT MARX
         You know, Evers is not one of us. He doesn‟t
         have the same character. He‟s using this
         assignment as a stepping stone for some
         future political goal... He‟s the only college
         boy I ever heard of whose father got him into
         the army! I think Evers should pay for his
         mistake. The others need to know there are

The reference to Evers‟ father stirs up a memory for
Hughes that he‟d like to forget. We SEE him reminisce as
he relives this bad memory.


A slightly younger looking Hughes is engaged in a heated
conversation with Brian Evers.
         I told you I wasn‟t sure those men were in your

                      BRIAN EVERS
         My intelligence reports say they were!

         So just because you thought they were in your
         house, you kill them?

                      BRIAN EVERS
         We killed them. Don‟t forget your hands are
         dirty too.


Hughes snaps out of his trance.

                      GENERAL HUGHES
         Yeah, yeah... We need to send a message to
         to Evers and the others. But you need to tread
         lightly on this because if you mess with Evers,
         you mess with his father too. And you don‟t
         want to do that. He‟s got a long arm. You mess
         with his son and you might not wake up tomorrow.
         Believe me, Richard Evers may be a boy scout but
         his old man sure as hell ain‟t.

                      LIEUTENANT MARX
         What‟s up with his father?

                      GENERAL HUGHES
         The guy‟s big time CIA, and he does whatever the
         hell he wants. Rumor has it that he‟s the one
         behind the order to hit this ya-hoo we‟re
         tracking in the middle of nowhere, for god knows

Off in the distance we SEE a brilliant, multi-colored
flash illuminate the sky behind the two soldiers. The
two men HEAR a rumble and they feel the ground shake.

                      LIEUTENANT MARX
         What the hell was that?! There isn‟t supposed
         to be any troops around here!

                      GENERAL HUGHES
         That didn‟t come from anything in our....
                      LIEUTENANT MARX
         Does that mean it was Chinese?!   Russian?!

We SEE laser-like tracer beams arc out from the same
area the flashes came from.

                      GENERAL HUGHES
         We‟ve got to check that shit out! Get McCormick
         over here pronto. Tell him I need a patch to

Marx looks over his shoulder.

                      LIEUTENANT MARX
         I think that‟s him heading our way, sir.

CAPTAIN McCORMICK runs up to Hughes and Marx.        He shouts
to Hughes in his distinct Irish accent.

                      CAPTAIN McCORMICK
         General, I have a direct hook up to the
         Pentagon. They wish to speak to you, sir.

                      GENERAL HUGHES
         The fuckin‟ Pentagon‟s on the line?! Christ,
         that was fast. What the hell is going on?

Hughes stands up and takes the field phone.     He
distances himself from Marx and McCormick.

                      GENERAL HUGHES
         This is Hughes... Seven, six, two, four, two,
         six... Steamroller... Yes, sir... I understand,
         sir. We‟ll seal off the area as soon as we‟re
         dropped there. Yes, sir. He‟ll be sent out.
         Eagle Runner?... Confirmed. Thank you, sir.

Hughes moves back to Marx and McCormick and hands the
phone back to McCormick.

                      GENERAL HUGHES
         Captain McCormick, tell the men to prepare for
         immediate departure.

                       CAPTAIN McCORMICK
         Yes, sir.   Is there anything else, sir?

                      GENERAL HUGHES
         No, nothing at all.
McCormick rushes away as Hughes shakes his head in
disbelief. Hughes continues talking to himself.

                      GENERAL HUGHES
         I‟ve got lights like I‟ve never seen before and
         the world‟s fastest phone call from the
         Pentagon. Eagle Runner... nothing good can come
         from this.

Marx approaches Hughes.

                      LIEUTENANT MARX
         General, what‟s going on?

                      GENERAL HUGHES
         Lieutenant Marx, for the record we‟re to secure
         the area where that flash just hit. Transport
         choppers have already been called in to pick us
         up. Off the record, you can bet for sure that
         we‟re checking out more than your typical
         bombing or chopper crash. It‟s already been
         classified and coded top secret. Headquarters
         has some big brass moving in as we speak that
         we‟re to answer to.

                      LIEUTENANT MARX
         I‟ll have the men ready ASAP.   What about Evers,

                      GENERAL HUGHES
         I‟m feeling generous... Reward him with a three
         day leave.

A little later at the perimeter of the special forces
camp we SEE the entire unit, with their gear on their
backs, watch three helicopters set down in a field
directly in front of them. The group forms lines at the
sides of the helicopters and begins boarding. Evers
stands at the back of one of the lines. Marx grabs Evers
and pulls him aside. Marx yells at Evers over the noise
of the helicopters.

                      LIEUTENANT MARX
         Congratulations, Evers!

                      RICHARD EVERS
         For what?
                      LIEUTENANT MARX
         The General said, “For the record, you screwed
         up going after that Viet chick and he should
         have your ass for it.” Off the record, he said,
         “It was only human.” As far as he‟s concerned,
         it never happened. Oh yeah, he also gave you a
         three day leave.

                      RICHARD EVERS
         But what about our assignment here?

                      LIEUTENANT MARX
         It‟s been terminated.

                      RICHARD EVERS
         Then what‟s this all about?

                      LIEUTENANT MARX
         All I know is we‟re pulling out... And you‟re
         being dropped off in Bangkok. Have some fun and
         get laid!

                         RICHARD EVERS
         Yeah, thanks.

Marx hurries away from Evers as some soldiers enter the
second helicopter and take off. The third helicopter
loads the last few soldiers. Evers runs up to a fourth
helicopter by himself.



A) The thick jungle surrounding the crash site.

B) The crash and the ensuing explosion that has cut a
huge swath through the jungle.

C) Two helicopters land near the site.

D) Several members of the Special Forces unit
stand guard around the perimeter of the site.

E) In the b.g. a fire burns among several large
pieces of crash debris. An occasional camera
flash peppers the night with brief bursts of light.
There has been a crash of some type, but we are unable to
tell exactly what it is the team is guarding. Some
soldiers set up a row of tents at the site. Several men
mill about inside the cordoned off area. We FIND three
men in white lab coats reviewing information on the clip
boards they carry. A man in a protective suit handles a
small piece of debris. We SEE a soldier enter a large
tent. Inside the tent are several duffle bags with tags
on them. The tent appears to be serving as a temporary
storage site for the items collected at the site. The
soldier grabs one of the bags and exits the tent in a
furtive manner. As the soldier exits the tent we PICK UP
the soldier‟s name, KEATOR, written on a tag sewn into
the breast pocket of his uniform. At the crash site
there is hurried confusion as we SEE GENERAL LEVY and his
entourage walking through the site. Levy and his staff
move toward a tent serving as his office. Before
entering the tent, Levy speaks to one of his staff

                       GENERAL LEVY
         I need to see Hughes in here now. He‟s just
         been chosen to take over this operation upon
         my departure.

                      STAFF MEMBER
         Yes, sir.

The staff member rushes away. We PICK UP a Special
Forces member as he stands guard at his post. The fact
that the team has been relegated to guard duty tells us
the investigation of the crash site is of great
importance. In the b.g. we SEE a man dressed in army
fatigues different from the uniforms the Special Forces
unit wear. We SEE him pick up something tubular. As he
bends to pick up another item, he drops the tubular item.
He then hurriedly scoops up both items and tucks them
under his arms. CLOSE on the back of the soldier as we
HEAR the click of an automatic rifle being readied to
fire. We SEE the soldier, PRIVATE KEATOR, turn and find
the rifle aimed at his head. We SEE a member of the
Special Forces unit standing with his rifle aimed at
Private Keator‟s forehead.

                      SPECIAL FORCES MEMBER
         Identify yourself, soldier.

                      PRIVATE KEATOR
         Private Keator, sir.
Private Keator stares past the end of the rifle barrel
and gazes at the Special Forces member.

                      SPECIAL FORCES MEMBER
         This is a restricted area. I have orders to
         shoot anyone not having clearance to enter.

Keator fumbles with the items in his arms.

                      PRIVATE KEATOR
         Sir, I„ve been assigned to set up tents here.

                      SPECIAL FORCES MEMBER
         And you thought you‟d do some Christmas shopping

                      PRIVATE KEATOR
         Sir, I‟ve got three days in Bangkok coming. I
         don‟t want anything messing that up, which means
         I sure as hell don‟t want my head blown off,

                      SPECIAL FORCES MEMBER
         Throw down whatever you picked up.

Keator drops a flashlight and a tattered baseball

                      PRIVATE KEATOR
         May I move on now?

                      SPECIAL FORCES MEMBER
         Am I going to find anything else when I search

                      PRIVATE KEATOR
         Just a shit in my pants, sir.

                       SPECIAL FORCES MEMBER
         Go on.   Get out of here.

At another location at the crash site General Levy speaks
with his assistant, SERGEANT MAJOR COLLINS.
Hughes stands next to Levy and listens to the

                      GENERAL LEVY
         The team of scientists from headquarters are
         almost ready to depart. In one hour I want
         all of our combat personnel sent to Hill 875.
                      SERGEANT MAJOR COLLINS
         Hill 875, sir?

                      GENERAL LEVY
         Yes, Collins. You heard me.   Everyone is to be
         reassigned there.

Hughes looks perplexed by Levy‟s order.

                      SERGEANT MAJOR COLLINS
         But sir, that sector has been sustaining an
         eighty percent casualty rate for more than a
         week now. I heard we‟re planning to relinquish
         the ground and evacuate it.

                      GENERAL LEVY
         Were my orders not clear enough, Sergeant Major

                      SERGEANT MAJOR COLLINS
         I‟ll deliver your order, sir.

From the outer perimeter of the crash site we SEE Keator,
lugging a duffle bag, run up to a helicopter. The pilot
prepares to take off as Keator jumps aboard. Keator
holds up a piece of paper for the pilot to view. The
pilot ignores the paper Keator waves. He barely allows
Keator time to sit before lifting off.


Snake Alley is a sleazy section of Bangkok that is
heavily frequented by soldiers on leave. Black market
shops deal in everything including illicit drugs.
Prostitutes proliferate nightly and the bars cater to
U.S. servicemen.


A) The numerous shops lit up with neon signs.

B) Several U.S. servicemen milling about the streets.

C) A group of prostitutes.

D) CLOSE UP of a prostitute with large, almond
shaped eyes which are framed by her black hair cut short
above her ears.
E) A glass storefront of a shop selling memorabilia.

F) The sign painted on the storefront reads: U.S. Goods.


Private Keator hands over the duffle bag he took from the
storage tent at the crash site. The shop owner
opens the bags and gives the contents a quick once over.
He pulls out a metal can from the bag. He pulls out a
piece of malleable metal from the can. The shop owner
bends it back and forth. He shrugs his shoulders,
indicating he doesn‟t know what the metal is or how much
it may be worth. He packs it back in the bag then smiles
warmly at Keator before handing him a large wad of paper
money in exchange for the bag and its contents. Keator
exits the store and looks around before deciding to walk
down the street. The owner of the memorabilia store
places a Roy Rogers lunchbox and a baseball next to some
other American toys in the window display.


A neon sign in the dingy storefront window reads: Beer.
We MOVE in the bar and see several soldiers on leave in
various states of drunkenness. Richard Evers is seated
at the bar. He is highly intoxicated. He slams a shot
of liquor down his throat before resting his head on the
bar. In the b.g. we SEE Keator enter the bar. A
prostitute immediately latches on to him but he pushes
her away and walks to the bar. He stands back to back
with Evers at the bar.


Four men dressed in black trench coats enter the store.
The men talk with the owner. The owner points to some of
the items he bought from Keator. One of the men hands a
large stack of money to the owner. The other men begin
to pick up the items, including the lunchbox, displayed
in the window before a tattered window covering unrolls,
blocking our view of the action inside the store.


Keator shouts at group of loud, drunk soldiers that
surround him.
                     PRIVATE KEATOR
               (to the group)
        I‟m not shitting you. I‟m telling you, it‟s

                     DRUNK SOLDIER #1
        Oh, come on, soldier! Did you come here to
        bullshit or drink?

                     PRIVATE KEATOR
        Okay, forget it... But I‟m telling you I saw
        some pretty messed up shit out there. There
        were Pentagon brass there and scientists in
        white lab coats. They even had Hughes‟ Killers
        guarding the area.

                     DRUNK SOLDIER #2
        You keep that shit up and you‟ll certainly be
        seeing some men in white lab coats!

As the group AD LIBS we SEE a drunken Richard Evers
propped up at the bar within earshot of Keator. He lifts
up his head and looks toward Keator.

                     RICHARD EVERS
               (to himself)
        Why‟s that guy talking about my unit? I must
        have missed something pretty big. Ah, fuck
        it... It ain‟t my problem.

Evers pounds another drink. He then stumbles past Keator
and the drunk soldiers. He pushes his way through the
other drunken patrons of the bar and he walks out the
front door. Richard‟s POV as he blearily takes in the
street scene including a man on crutches, a truck making
its way through the crowded street, and a storefront
display of hanging raw meat. Richard begins to stumble
down the street. Through one of the bar‟s windows we SEE
the four trench coat men seen in the memorabilia store
approach Keator. They question Keator then grab him and
walk toward the back entrance. Keator goes unwillingly,
but nobody attempts to help him. We FIND Richard Evers
walking down the street. He stops to notice two
prostitutes talking to each other. One of the
prostitutes whirls to look at Richard and we SEE it is
the prostitute with the large, almond shaped eyes. CLOSE
UP of the prostitute‟s eyes. Richard stares at the
prostitute. He rubs his eyes in disbelief. Richard‟s
POV as he looks at the prostitute a dream-like flash is
superimposed over the prostitute.
It is an image similar to the Vietnamese girl he saved
two days ago, but the image is distorted. We‟re not sure
if this is just a drunken fuzzy flashback to the
screaming Vietnamese girl, or something else. In an
effort to erase the disturbing image, Richard shakes his
head and wipes his eyes. He turns away from the girl,
stumbles, and falls. He sprawls, passed out on the
sidewalk. TWO SOLDIERS walk up to Evers.

                      SOLDIER #1
         So this is the bang you get out of Bangkok?

                       SOLDIER #2
         Guess so.

The two soldiers struggle to pick up Evers.

                      SOLDIER #1
         Come on, buddy. We can‟t let you crash in the

The two soldiers walk Evers to a nearby bench. They plop
him down on the bench. He collapses in a semiconscious

                       SOLDIER #1
         There.   Have a seat.

                      SOLDIER #2
         You okay, bud?

Evers bobs his head which is a good enough reply for the
soldiers. They shrug their shoulders and walk away,
leaving Evers weaving in and out of consciousness.
Evers‟ POV as the street scene in front of him begins to
mesh and blur. Amid the blurry scene, an image of a face
with almond shaped eyes, black hair, and the body of the
Vietnamese girl he rescued jumps out at him. A flash of
white light surrounds the image. Evers struggles to
shake off the disturbing vision. He manages to stand and
plods down the street past the storefront of the window
displaying hanging raw meat.


Richard thrashes about in his bed. He wakes up and sits
upright. He places his hand over his mouth then his head
between his knees. We SEE the room is a wreck. On a
dresser sits a half empty bottle of whiskey, a full
bottle of vodka, and several empty beer bottles.
Evers struggles to his feet and walks into the bathroom.
He vomits in the toilet. After emptying his stomach, he
staggers over to the whiskey bottle and takes a slug from
it. He then flops back on the bed and nods off to sleep
in the fetal position. CLOSE UP of Richard‟s eyes as he
drifts off to sleep.


CLOSE UP of Richard Evers‟ eyes as he lies sleeping. We
find him in a similar fetal position on a couch. Now in
his forties, he is catching a quick nap in the back room
of his senate campaign headquarters. We MOVE through a
door and into the front office where we SEE Evers‟
campaign manager, DOMINO DRAGO; and his chief of
security, DALE BELLINGER, discussing details of Evers‟

                      DALE BELLINGER
         Have the future senator ready at five o‟clock.
         We‟ll use the back exit of the office and enter
         the auditorium through the side door.

                      DOMINO DRAGO
         Obviously I want Richard safe, but are all these
         security measures necessary? They‟re very

                      DALE BELLINGER
         I‟m doing what I was hired to do. I didn‟t
         realize you‟re dissatisfied with my service.

                      DOMINO DRAGO
         No, you‟re doing a great job. I‟d just like Mr.
         Evers exposed to the public a little more.

                      DALE BELLINGER
         I understand, but we need these routes mapped
         out. I have to be prepared for the possibility
         of extremist action at any of his appearances.

                      DOMINO DRAGO
         Of course, I know. Look, the bottom line is I
         need more informal photo opps.

                      DALE BELLINGER
         We can get him out there to the press more. Let
         me know and we‟ll arrange whatever you‟d like.
                      DOMINO DRAGO
         Okay. I‟ve got some new poll numbers to look at
         and I need fine tune his speech before I wake
         him. Go ahead and get ready and let me get to

                      DALE BELLINGER
         Okay. I‟ll call you ten minutes before we‟re
         ready to pick up Mr. Evers.

                       DOMINO DRAGO
         Good.   Thanks.

Dale exits the room and Domino immerses herself in the
sea of papers strewn across her desk.


A capacity crowd listens to Richard Evers‟ speech.   We
HEAR the crowd cheer loudly for Evers.


A) Richard smiles as he pauses for the crowd to stop
applauding before continuing with his speech.

B) Two people in the front row hold a banner which reads:
Save Our Earth.

C) We SEE several faces in the crowd.

D) We SEE Richard Evers. In the b.g. a large banner
   reads: Give Evers A Chance.

Richard continues his speech.

                     RICHARD EVERS
     In closing, I want to assert my stance regarding
     full disclosure of any and all government actions
     that have previously been classified. This
     includes any and all information pertaining to
     environmental issues the present administration may
     be covering up.

Domino Drago stands off stage and out of the crowd‟s
view. She flips through a copy of the speech Richard is

                      DOMINO DRAGO
         Where the hell did that come from?!

Back on Richard Evers.

                      RICHARD EVERS
         I thank you all for coming here tonight. I
         especially thank the Save Our Earth organization
         for sponsoring this evening, and I look forward
         to your help in winning this November!

We HEAR the crowd applause as Richard acknowledges them
with smiles and waves.


Richard and his wife, STACY EVERS, sit next to each other
on a couch.

                      STACY EVERS
         Are you sure we made the right decision?

                      RICHARD EVERS
         What do you mean?

                      STACY EVERS
         I‟m just wondering if the campaign, and all that
         comes with it, is too much.

                      RICHARD EVERS
         I thought we had this all worked out, Stacy.
         This is make or break time. I need to reach as
         many people as possible right now.

                      STACY EVERS
         I know, I know. It‟s just that we never see you
         anymore. Kyle needs to see more of his father
         and so do I.

                      RICHARD EVERS
         Look, next year Kyle will be getting more
         involved in school. The next thing you know
         he‟ll have this practice or that function to go
         to, and he won‟t have any time for me.

                      STACY EVERS
         Are you listening to yourself? You don‟t have
         to repeat your father‟s mistakes. Every boy
         wants his father to come watch him play a sport,
         or anything for that matter.
                      RICHARD EVERS
         I know, and I will. What I‟m trying to say is I
         feel I‟ve already missed out on a big part of
         his life. Since I blew that, the least I could
         do is make it count toward something. I want
         him to be proud to say that I‟m his father

                      STACY EVERS
         He already is. The point I‟m trying to make is
         don‟t get so caught up in impressing him that
         you never get to know him... So much for
         letting you know we miss you.

                      RICHARD EVERS
         It will all be over soon... Then I‟ll have
         plenty of time to be with you both. You‟ll just
         have to address me as Senator Evers, that‟s all.

                      STACY EVERS
         That I won‟t mind. Go say good night to your

Richard enters Kyle‟s room and walks up to his sleeping
pre-teen son and kisses him.

                      RICHARD EVERS
         Good night, Kyle. I love you.

Later in the night we FIND Richard seated at his desk in
his office inside his home. In the b.g. a telescope
stands next to a window. We SEE several photographs
covering a wall behind Richard. We FOCUS IN on a
photograph of his Vietnam days when he served in the
Special Forces unit. In the photograph we recognize
Evers, McCormick, Marx, and Hughes. The photo shows the
men in army fatigues seated around a table and playing
poker. We SEE another picture of Richard flanked by his
father and President Eisenhower. The office becomes
overly illuminated by a flash of light emanating from the
street. It‟s apparently a car headlight and it lights up
the room just the way the light lit up Richard‟s room in
the earlier scene when he was a child.


Richard and Domino are conversing over dinner.
             DOMINO DRAGO
Rich, we need to talk about the end of your
speech the other night.

             RICHARD EVERS
I know, it wasn‟t written into the speech, but I
got caught up in the moment and I merely spoke
my mind.

             DOMINO DRAGO
It‟s okay to speak extemporaneously on occasion,
but I think you‟re better off being under
control and well rehearsed.

             RICHARD EVERS
So I can come across as some kind of puppet?

             DOMINO DRAGO
No, that‟s not what I mean. I think you need to
be careful. Take the other night for example,
some people might have construed your ending
remarks as extremist and non-supportive of our

             RICHARD EVERS
Extremist? For god‟s sake my future
constituents have a right to know what their
government is up to! And I‟m not supportive of
the present administration!

             DOMINO DRAGO
I agree. But we need to remain fixed on our
goal which is to garner as many votes as
possible. You need votes from all the sectors
to win, Richard.

             RICHARD EVERS
I‟m aware of that.

             DOMINO DRAGO
I know you are. Just remember we have to wear
many different hats.

             RICHARD EVERS
You‟re to be commended. You certainly know how
to cover all the bases.

             DOMINO DRAGO
That‟s what you‟re paying me for. Trust my
experience. I know what I‟m doing.
Two men followed by a woman walk by Richard and Domino‟s
table. The two men cast a leering eye at Domino. She
becomes irritated at their lustful gaze.

                      DOMINO DRAGO
         It‟s nice to be complimented on what‟s in my
         mind instead of the body that‟s filling my

Domino looks at the woman trailing the two men. Domino‟s
POV as the woman turns around and casts an admiring
glance at Domino. Their eyes meet for a brief second
before the woman turns back around and continues walking
away from Domino and Richard‟s table. Domino comments
out loud.

                      DOMINO DRAGO
         Although in this instance I wouldn‟t mind being
         noticed for that, either.

Richard has been eating and has missed the entire
exchange between the woman and Domino.

                      RICHARD EVERS
         Domino, I‟m flattered that you would be
         interested in... in any compliments I might make
         to that effect... But you do know I‟m very
         happily married.

Domino is momentarily worried that Richard noticed her
comment was directed at the woman. After hearing
Richard‟s last comment, she quickly recovers and allows
Richard to believe she was talking to him.

                      DOMINO DRAGO
         Oh, of course you are. That was a totally
         inappropriate comment on my part. I‟m rather
         embarrassed. Let me go freshen up and we‟ll
         discuss tomorrow‟s press conference.

                      RICHARD EVERS
         No, don‟t be embarrassed. In fact, I‟m the one
         who‟s probably red in the face. Let‟s just
         relax a minute and call it a night.

                      DOMINO DRAGO
         Okay. But I need you to give me thirty minutes
         before we meet the press tomorrow.
                        RICHARD EVERS
           As always, you got it.


 Richard fields questions from a group of reporters.
 Richard acknowledges the raised hand of a reporter, BILLY
 SONGDALE, of Native American descent. Songdale stands
 before posing a question to Richard.

                        BILLY SONGDALE
           Mr. Evers, does your stand on full disclosure
           include your father‟s actions in the CIA?

Richard is momentarily taken back by the question.   He
regains his composure before replying.

                        RICHARD EVERS
           Ladies and Gentlemen, I thought this was a press
           conference to discuss pertinent issues of the
           senate race.

 Billy Songdale follows up his question.

                        BILLY SONGDALE
           Mr. Evers, part of your campaign platform has
           been your advocacy of the public‟s right to full
           disclosure. Therefore, could you kindly respond
           to the question?

 Richard Evers and Songdale continue their exchange.

                        RICHARD EVERS
           Yes, I believe in full disclosure with no
           preferential treatment for anyone. Now I can‟t
           speak knowledgeably of all my father‟s actions
           in the CIA, but I can say that I recognize a
           cheap attack from my opponent‟s side when I see

                        BILLY SONGDALE
           I can assure you I‟m totally impartial
           concerning this election. But since you‟ve
           implied that you want to stick to issues about
           yourself, could you comment on your involvement
           in the so called “Hughes‟ Killers” team you
           belonged to during your Vietnam duty?
                      RICHARD EVERS
         I proudly served my country in a Special Forces
         unit under the command of General Vincent
         Hughes. My entire military record is public

Richard acknowledges a female among the group of

                      FEMALE REPORTER
         Would you comment on the Daily Review article
         stating you have a drinking problem?

                      RICHARD EVERS
         As I‟ve stated before, I am a recovering
         alcoholic. That‟s part of who I am. However, I
         am lucky to have a loving, caring family who –
         along with a strong network of friends – have
         stood by me while I‟ve dealt with the problems
         that contributed to the abuse of my body. I
         have been sober for twelve years. In fact,
         it‟s safe to say I would have entered politics
         earlier if I did not need to work out these
         problems first... Let me take this opportunity
         to point out that too many veterans of war
         suffer from abuse related problems that we as a
         society tend to ignore. Far too many suffer
         from post traumatic stress disorder. When I‟m
         elected I pledge to do more to support the
         funding of programs designed to resolve
         veterans‟ issues. I am not going to turn my
         back on the people who laid their lives on the
         line for this country... Now I‟m sorry, but
         that‟s all the time I have for today. Thank

Richard moves away from the podium. As he walks out of
the room flanked by security personnel, we HEAR reporters
shouting more muffled questions which go ignored by
Richard. Domino Drago steps up to the podium.

                      DOMINO DRAGO
         Ladies and Gentlemen, I‟d like to announce one
         additional stop Mr. Evers will be making which
         was not on the itinerary you‟ve been given. Mr.
         Evers will be touring the Arrow Hills
         Psychiatric Intensive Care Facility For Veterans
         tomorrow. Thank you.


In the midst of his tour of the center, we see Richard
flanked by Domino Drago and Dale Bellinger. They are
escorted by GINA WEATHERS, an administrator of the
facility. The group rides the elevator up to the next

                      GINA WEATHERS
         The next floor houses the long-term care
         psychiatric unit. Many of the clients suffer
         from post traumatic stress and other disorders.

                      DOMINO DRAGO
         Dr. Adams is the chief psychiatrist in charge of
         this department.

                      GINA WEATHERS
         Correct. He‟ll be your escort for this section
         of the center.

The elevator stops and its door opens. DOCTOR ADLER
ADAMS stands in front of the doors, ready to greet
Richard. Gina presses the hold button as Domino quickly
steps out first and proceeds to introduce Richard to Dr.

                      DOMINO DRAGO
         Doctor Adams, please meet the future New Mexico
         Senator, Richard Evers.

Dale Bellinger steps out as Doctor Adams and Richard
Evers shake hands and greet one another.

                      RICHARD EVERS
         Hello, Doctor Adams. It‟s a pleasure to meet

                      DOCTOR ADAMS
         The pleasure is mine. I can honestly say we‟ve
         never had any politician even remotely
         interested in touring our center.

Gina remains in the elevator with the door open.

                      GINA WEATHERS
         It‟s been an honor to meet you, Mr. Evers.
         Good luck with the election.
                       RICHARD EVERS
         Thanks.   And thank you for the informative tour.

Before Gina responds, Domino interrupts.

                      DOMINO DRAGO
         Shall we continue with the tour now?

                       DOCTOR ADAMS
         Yes.   Let‟s walk this way.

Adams unlocks a door leading to the long term care ward
and escorts Richard Evers and Domino as they proceed
through the ward. In the b.g. the elevator doors shut.
Two employees of the center try to catch a glimpse of
Richard Evers. Dale Bellinger turns to view the
employees and survey the immediate area. Richard Evers
and Dr. Adams walk together as Domino and Dale trail
behind. The group passes a recreation room where we see
a few of the patients passing time including two men
playing ping-pong and a trio of men watching television.
We SEE a man reading a book. He holds the book in front
of his face so that only the top of his head is visible.
Seated next to the man with the book is a man hunched
over in a chair. He seems to be oblivious to his
surroundings. We FIND Evers and his group as they
continue through the ward. Evers speaks to Dr. Adams.

                      RICHARD EVERS
         You have an impressive center, Doctor.   I‟m glad
         you‟re able to help so many people.

                      DOCTOR ADAMS
         Thank you. It is a constant battle to secure
         funding. Excuse me, I didn‟t mean to make this
         tour a ploy for money... Please call me Adler.
         With a name like Adler Adams I suppose my
         parents figured they were guaranteeing me a top
         slot on any and all alphabetical lists.

                       RICHARD EVERS
         True. But could it be they choose Adler because
         they foresaw your destiny to become a

                      DOCTOR ADAMS
         Ah, if you know of Adler, you must have read
         some psychology texts amidst your political
         science studies.
                      RICHARD EVERS
         A few... After all, there is a lot of
         psychology involved in politics. I also have a
         good friend who‟s always mentioning different
         theorists. His name is Andrew Walker. Perhaps
         you‟ve heard of him?

                      DOCTOR ADAMS
         Oh, yes. I believe he is supposed to be
         presenting at an upcoming symposium I‟m

                      RICHARD EVERS
         Then I‟ll call him and make arrangements for
         you to meet him.

                      DOMINO DRAGO
         We‟re running a little behind schedule, Richard.

                      DOCTOR ADAMS
                (to Richard)
         That would be terrific if you could find the
         time to arrange for Andrew and me to meet.

                      RICHARD EVERS
         I‟ll take care of it and let you know.

We MOVE back to the recreation room and we SEE the
hunched over man again. He bolts upright and stares
blankly into space. O.S. we HEAR a voice emanating from
an intercom, “Mr. Keator, please report to the medication
counter.” As the man stands up we realize he is Private
Keator. He walks in front of the man with the book. The
man with the book lowers the book just enough to reveal
his eyes.

                      MAN WITH THE BOOK
         Hey, Keator. I want my slippers back!

         For the last time, I don‟t have your god damn
         slippers! Why don‟t you try looking in the
         drawer where you keep your panties?

Keator walks away from the man and toward a nurses‟
station. The man with the book stares blankly at Keator.
He pauses a few seconds then looks around to see if
anyone is watching before quickly burying his face in the
book again.

A white haired man sits at a table waiting for his meal.
He swallows the last drop of his drink. In the b.g. we
notice a small bar. We SEE the back of a man leaning
forward into the end of the bar. Without seeing his
face, we SEE him sip a beer. A WAITRESS walks by the
white haired man. The white haired man stops the
waitress to order another drink. The man speaks with an
Irish accent, and as he places his drink order we realize
he is Daniel McCormick.

                      DANIEL McCORMICK
         May I have the same again, please?

         Sure.   I‟ll be right back.

The waitress enters the bar from the dining area. She
places her serving tray on the same end of the bar where
the man is standing.

                (to the bartender)
         Can I get another Glenlivet for the principal of
         my old high school?

         Your high school principal?   It must be
         humbling to wait on him.


         I‟ll have it for you when you come back.


The waitress moves through a door leading to the kitchen.
The bartender pours the drink and places it on the
waitress‟ serving tray. He then turns around to restock
some bar supplies. Without seeing his face, we SEE the
man at the end of the bar slip a tube filled with a clear
liquid out of his coat. CLOSE UP of the man‟s hand as we
SEE a large, blue stoned ring on the middle finger of his
left hand. He quickly empties the contents of the tube
into McCormick‟s drink resting on the tray.

 Richard, Stacy, and Kyle Evers are eating dinner with
 Stacy‟s brother, CLAYTON WARREN. Clayton wears a sweater
 with a national park emblem affixed to it.

                        CLAYTON WARREN
           Rich, you must be pleased with the latest poll,

                        RICHARD EVERS
           Looks very good. Everything seems to be falling
           into place rather nicely.

                        CLAYTON WARREN
           I‟m curious as to how far you‟re willing to
           support this full disclosure part of your

                        RICHARD EVERS
           What do you mean?

                        CLAYTON WARREN
           How far are you willing to support it?
                  (emulates news reporter)
           Does it include releasing any information the
           public desires to know, irrespective of its

                        RICHARD EVERS
           If it‟s valid.

                        STACY EVERS
           Clay, I think Rich gets grilled enough.    Take it
           easy on your brother in-law.

                        CLAYTON WARREN
           Sorry, sis. I‟m sure you think he‟s the best
           choice for a husband, but I have to be sure he‟s
           the best choice for my senator.

                        RICHARD EVERS
           I think you just enjoy busting my chops.

                        CLAYTON WARREN
           That, too.

As the adults chuckle, Kyle pipes up.
             KYLE EVERS
Hey, Uncle Clayton, do you have any more good
stories about the strange things going on in the

             STACY EVERS
What‟s this all about?

             KYLE EVERS
They‟re just stories about some things he‟s seen
when he‟s patrolling the park, Mom.

             CLAYTON WARREN
You know, I often find myself trying to look at
the animals' perspective. Sometimes when I see
a scientist, or even a park visitor invading the
privacy of one of the park‟s inhabitants to get
a photograph or to poke or prod it I‟ll think to
myself, how would I feel if the situation were

             KYLE EVERS
What do you mean?

             CLAYTON WARREN
Imagine yourself in the animal‟s place and
you‟ll see. Imagine if you were a bear, or a
monkey even. How would you like your home
invaded by strangers whom you can‟t communicate
with? How would you let these strangers know
that you don‟t want your picture taken, your
possessions stolen, or your every move
documented? That‟s what we do, but would we
comply or submit to being subjects?

             KYLE EVERS
Probably not. But who‟s going to study us?
We‟re at the top of the list.

             CLAYTON WARREN
Then why do we study animals?

             STACY EVERS
Kyle, let Uncle Clayton finish his dinner.

             CLAYTON WARREN
       (whispering to Kyle)
We‟ll talk later.

             STACY EVERS
Rich, did you talk to your father today?
                      KYLE EVERS
         Is Grandpa coming to visit?

                      RICHARD EVERS
          Yes, he is. As soon as he‟s through attending
          all of the retirement banquets being given in
          his honor, he‟s coming here to help with the

                      STACY EVERS
          That‟s great. See, I knew this campaign would
          eventually bring the family closer.

                      KYLE EVERS
         Yeah, right. He‟ll probably be too busy with
         Dad to play with me.

                      STACY EVERS
         I‟m sure he‟ll find plenty of time for you.

                      RICHARD EVERS
         The only thing I know for certain is we‟ve
         got a little football game with your uncle
         before I leave tomorrow. Unless you forgot,
         or you‟re too busy?

                       KYLE EVERS
         No way.   I got the ball all pumped up.


A sign hanging from the front of the restaurant reads:
Capital Cuisine. Daniel McCormick exits the restaurant.
In the distance we SEE the Capital Building. McCormick
gets in his car parked in front of the restaurant and
drives off. He travels away from downtown Washington.
We SEE him rub his temple as he struggles to focus on the
road ahead. McCormick‟s POV as he looks out his
windshield. We SEE a blurry highway exit for route 278.
McCormick takes the exit and his car weaves across the
center line of the exit lane. We HEAR a car horn and
McCormick‟s car returns to its proper lane. We SEE a row
of toll booths and several cars jockeying for position.
The cars slow down as they close in on the toll booths.
We FIND McCormick‟s car as it speeds past several cars.
We SEE a toll booth and we SEE McCormick‟s car careen off
a concrete barrier causing the car to become slightly
airborne. The car then crashes into an empty toll booth
as shattered glass shoots everywhere.

A man‟s hand brings an empty whiskey glass down on a
table. We SEE the man who just finished the drink is
Walter Marx. There is a small pile of newspapers
covering the table he sits at. Marx picks up a newspaper
and we see it is the front page of the Albuquerque Times.


The headline reads: Evers Leads Senatorial Race. The
byline reads: Billy Songdale. As Walter Marx puts down
the newspaper, we SEE the paper has been propped up by
his arm which has been amputated at the elbow. He picks
up a section of the USA Today newspaper.


The state summary page of the USA today. Under the
heading of Washington, D.C. the summary begins, Viet vet/
high school principal McCormick dies in freak toll booth

Marx stares at the article.


In a dimly lit kitchen, Marx speaks on the telephone.


Billy Songdale prepares to leave the newsroom. A
REPORTER talks on a telephone. Billy begins to exit the
newsroom when he‟s stopped by the reporter on the phone.

           Hey, Billy!   I got a call for you.

                        BILLY SONGDALE
           I‟m out of here. Take a message.

           It‟s long distance from Southeast Asia.

                         BILLY SONGDALE
           Hmmm...   I‟ll take it at my desk.

Billy Songdale picks up a phone at his desk.
                      BILLY SONGDALE
         Hello, Songdale here.

INTERCUT Walter Marx at his home.

                      WALTER MARX
         Mr. Songdale, You were too easy on Evers in your
         column dated June 26.

                       BILLY SONGDALE
         You‟re calling from halfway around the world to
         tell me this?

                      WALTER MARX
         There‟s more. Much more. You let him off the
         hook too easy when you asked about Hughes‟

                      BILLY SONGDALE
         I‟m guessing you know more about them?

                      WALTER MARX
         Damn right I do! I was in that outfit with
         Evers. He‟s bullshitting you about the full
         disclosure and public record shit. We did
         some ugly things that you sure as hell won‟t
         find in any public documents.

                      BILLY SONGDALE
         What else can you tell me?

                      WALTER MARX
         Did you know that McCormick was a member?

                       BILLY SONGDALE

                      WALTER MARX
         Yeah, check out the USA Today story on him. It‟s
         also in the Washington papers. You should try
         reading more than your own rag sometime.

                       BILLY SONGDALE
         Okay...   What‟s that got to do with Evers?

                      WALTER MARX
         More than you could imagine, believe me.

                       BILLY SONGDALE
         I‟m sorry.   I didn‟t get your name.
                      WALTER MARX
         Marx, Walt Marx.

                      BILLY SONGDALE
         Where are you calling from?

                      WALTER MARX
         That‟s not vital information.

                      BILLY SONGDALE
         Can I get your number? I‟m sure I‟ll have more
         questions for you after I do a little research.

                      WALTER MARX
         I‟ll be in touch with you soon, Mr. Songdale.
         Good bye.

The line goes dead and Billy Songdale looks at the phone
in bewilderment before hanging it up. He walks away from
his desk and out of the newsroom. The reporter who
answered the call stops him before he exits.

         What was all that about?

                      BILLY SONGDALE
         I don‟t have a clue, yet. See you later.

Billy exits the newsroom.


A prompt on a television screen displays, VCR – Play. We
SEE DIANE PALMER, host of the television show, Face to

                      DIANE PALMER
         Hello. We‟re back with Frank Sullivan,
         senatorial candidate and opponent of Richard
         Evers. The two men are running for the seat
         vacated by the late Roger Flummer. Before the
         break, Mr. Sullivan was about to give us his
         view on welfare reform. Mr. Sullivan, please

Frank Sullivan appears on the screen.
                      FRANK SULLIVAN
         Thank you. Let me continue with my view on what
         America wants. I think this country is sick of
         bleeding heart liberals. I think the people
         want a change back to the time when one took
         pride in earning a paycheck and not a handout.

We SEE Diane Palmer and Frank Sullivan on the screen.

                      DIANE PALMER
         Do you have a plan to make that happen?

                      FRANK SULLIVAN
         I know it‟s time to run these liberals, with
         their spend and spend more attitude, out of

                      DIANE PALMER
         Mr. Sullivan, up to this point all I‟ve heard is
         a barrage of epithets hurled against liberals.
         Is this an attempt to obfuscate the issue, or
         better yet do you consider your opponent a

                      FRANK SULLIVAN
         I think if you look at what he‟s proposing, I‟d
         I‟d say yes.

                      DIANE PALMER
         And just what part of his platform denotes a
         liberal agenda?

                      FRANK SULLIVAN
         All I‟m saying is....

                      DIANE PALMER
         Mr. Sullivan, please answer the question.

                      FRANK SULLIVAN
         I think it‟s important to keep in mind that a
         senator should have a great deal of integrity;
         and therefore, I think the people deserve more
         than a substance abuser.

                      DIANE PALMER
         Just what are you referring to?

                      FRANK SULLIVAN
         I‟m referring to the fact that Mr. Evers is an
                      DIANE PALMER
         With all due respect, I believe the term should
         have recovering before it, if used at all in
         this case. While I certainly can‟t speak for
         Mr. Evers, he has been forthright in stating
         that he has received treatment in the past and
         he maintains that he has fully recovered. In my
         opinion, I think he‟s shown integrity by
         admitting to a former problem.

                      FRANK SULLIVAN
         One certainly has to wonder about his future
         condition under the stress of office.

                      DIANE PALMER
                (sighs with disdain)
         Mr. Evers‟ schedule didn‟t allow him to appear
         tonight, but he‟ll be on later this month...
         We‟ll be right back.

The television screen goes blank. We SEE Richard
Evers seated in a chair in front of the television.     He
hurls a pillow across the room.

                      RICHARD EVERS
         That damn son of a bitch!


We SEE the modest Evers‟ mansion is situated in an
upscale housing development. Each house in this affluent
area has a large lot of land. We FIND Richard, Kyle, and
Clayton playing football on the lush lawn. Richard
prepares to hike the ball to Kyle, the quarterback.
Clayton is lined up opposite Richard and ready to defend
the ensuing play.

                      RICHARD EVERS
         Hope you‟re ready to get on your horse, Clay.

                      KYLE EVERS
         Blue, forty-two! Hut. Hut!

Richard tosses the ball back to Kyle. Richard sprints
away in a fly pattern. In the b.g. we SEE Stacy looking
on. Kyle pauses to let his father run before letting the
ball sail out of his hand. We SEE Richard and Clayton
running side by side. Richard grimaces in pain, pulls up
and stops. Clayton stops next to him as the ball lands
well past them.
                         CLAYTON WARREN
         Are you okay?

Richard writhes in pain.     Kyle and Stacy rush up to him.

         Are you all right, Dad?

                      RICHARD EVERS
         I did something to my knee.

                      STACY EVERS
         Help me get him to the car and I‟ll get him to a
         specialist right away.

                      RICHARD EVERS
         No. Just call Domino. She‟s due here with the
         car any minute. Let her know what happened.

                      STACY EVERS
         Maybe I better call Andrew and the others and
         tell them we‟re off for tonight.

                      RICHARD EVERS
         No. Don‟t cancel the barbecue until I know if
         this is anything serious. I do need you to call
         Andrew and make sure he can still make it. I
         need to see him even if we don‟t have the party.

                         STACY EVERS

Richard struggles to his feet with the help of Clayton
and Stacy.

                         RICHARD EVERS


We SEE Richard in the back with his leg extended on the
seat. We SEE Dale Bellinger‟s ASSISTANT driving. Domino
Drago rides in the back of the limousine with Richard.
We hear her talking on her cellular phone.

                      DOMINO DRAGO
         Yes, we‟re coming right in.      No press, okay?

Domino hangs up the phone.
                      RICHARD EVERS
         What, nobody‟s allowed to see me in pain?

                      DOMINO DRAGO
         No need to be bothered with any idiotic
         questions from reporters.

                      RICHARD EVERS
         You certainly do know how to cover all the

                      DOMINO DRAGO
         Yeah, I‟ve heard that before...
                (to the driver)
         We‟re not in the correct lane. You need to get
         over to the right and take the next turn.

                      BELLINGER‟S ASSISTANT
         Okay. Sorry. I‟m not used to driving in
         this area yet.


Evers‟ limousine enters the emergency parking lot of the
center and pulls up to the emergency entrance. We MOVE
inside the center and a little later we SEE Richard and
Domino in a waiting area of the clinic. We MOVE down a
hall and into a magnetic resonance imaging room where we
discussing the results of a magnetic resonance image of
Richard‟s knee.

                      DOCTOR WEBB
         I just don‟t understand it.   I‟ve never seen
         anything of this sort.

                      DOCTOR VALENTINE
         The image just doesn‟t project like it should.

                      DOCTOR WEBB
         Yes, but I have no explanation for it.

                      DOCTOR VALENTINE
         We can rule out equipment failure because the
         scanner worked fine both before and after Mr.
         Evers‟ scan.
                      DOCTOR WEBB
         We‟ll need to get him in for a retest. Tell him
         we need to wait a day or two for the swelling to
         subside so we can get a better image.

                      DOCTOR VALENTINE
         I think he expects a diagnosis now. I‟m certain
         his campaign manager will demand one.

                      DOCTOR WEBB
         We can‟t do that without a better image to view.
         For now we‟ll prescribe rest to prevent further
         injury, and we‟ll order another set of exams.

                      DOCTOR VALENTINE
         I‟ll go let him know.

                      DOCTOR WEBB
         No, I‟ll present my head for decapitation and
         explain our non-findings.

                      DOCTOR VALENTINE
         Start off by telling him you‟re going to vote
         for him. That should mollify his manager at


We HEAR the doorbell chime and Richard Evers walks to the
door and open it. Richard greets ANDREW WALKER, one of
Richard‟s closest friends. He is also a psychologist who
counsels Richard occasionally.

                       RICHARD EVERS
         Andrew, Hi!   Thanks for coming.   Come on in.

Andrew enters.

                      ANDREW WALKER
         Hi, Rich. After receiving that call from Stacy
         I expected to see you on crutches.

                      RICHARD EVERS
         Well, I can‟t really explain it, but I have
         absolutely no pain. Just like nothing happened.

                      ANDREW WALKER
         That‟s strange, but good.
                       RICHARD EVERS
         Yeah.   Come on in my office a second.

Richard and Andrew walk toward Richard‟s office. In the
b.g. Stacy prepares shish kabobs in the kitchen. We
SEE two women helping Stacy prepare for the barbeque. We
MOVE out to the back deck where we SEE three men and one
woman enjoying cocktails as they AD LIB. We FIND Kyle
and a friend, STEVE, in a room nears the kitchen. They
are playing a game of pog. In the b.g. we SEE a baseball
game on the television. We SEE Kyle become upset with

                      KYLE EVERS
         Come on, Steve! I won, now give me your pogs!

         No way!

                      KYLE EVERS
                (shouting, louder)
         I won them, now give them to me!

Stacy enters the room.

                      STACY EVERS
         What‟s going on in here?

                      KYLE EVERS
         I won his pogs, but he won‟t give them to me.

Stacy looks into a basket filled with pogs that the boys
are fighting over.

                      STACY EVERS
         There‟s plenty in here for both of you.

Stacy randomly splits the pogs into two equal piles and
hand them one each.

                      STACY EVERS
         There. Now play something else, please.

Kyle scans the pogs his mother has handed him.

                     KYLE EVERS
         But, Mom! You don‟t understand. That‟s not
         fair. Now I‟m losing my best ones!

We FIND Richard and Andrew in Richard‟s office.
             ANDREW WALKER
Do you recall our previous discussions of all
the past problems you‟ve been able to work
through, and how we said someone would try to
bring those old issues out in the open to
question your credibility?

             RICHARD EVERS
Yes, I know. I thought I was prepared for it.

             ANDREW WALKER
You‟ve overcome the issues Sullivan mentioned.
You should be proud of that.

             RICHARD EVERS
I am.

             ANDREW WALKER
The harsh reality is I think you should be
prepared for even more mud slinging as election
day approaches. You have to remember to remain

             RICHARD EVERS
To be honest, I more concerned about these
flashbacks I‟ve been having.

             ANDREW WALKER
Are they the same screen memories we‟ve
discussed before?

             RICHARD EVERS

             ANDREW WALKER
No new images?

             RICHARD EVERS
No, the same ones.

             ANDREW WALKER
I think that‟s probably an element of the post
traumatic stress that‟s being manifested by the
increased stress of the campaign. Try to focus
more on the relaxation exercises. Remember all
that you accomplished as well as what you‟re
trying to achieve in the future.
                      RICHARD EVERS
         Okay, thanks. Thanks again for your help. You
         understand my need to keep our therapy sessions

                      ANDREW WALKER
         What therapy? We‟re just two old friends
         talking about life.

                      RICHARD EVERS

                      ANDREW WALKER
         You know I feel that you don‟t need to hide the
         fact that you‟ve sought counseling, but I guess
         that‟s why I wouldn‟t be a good candidate. I
         put too much trust in the voter‟s ability to
         pick the best man according to his credentials,
         not how much shit he can sling or how many
         movies he‟s made.

                      RICHARD EVERS
         Sometimes it‟s just no fun, that‟s for sure.
         How about helping fire up the grill?

                      ANDREW WALKER
         That‟s why I came.

Richard and Andrew exit Richard‟s office.


Richard is flanked by Domino and Dale as they walk
down a city street. A group of campaign staff members
trail behind. A small group of reporters surround the
trio as they walk.

                      DOMINO DRAGO
                (to the reporters)
         Please, for the last time, we have no further
         comment on anything at this time! We‟re on a
         strict schedule today.

The reporters give up the chase as   Richard, Domino, and
Dale walk on followed by the staff   members. The trio
move next to the tour bus they are   traveling in on the
campaign trail. In the b.g. Billy    Songdale approaches.
                      BILLY SONGDALE
         Care to disclose some information, Mr. Evers?

Richard ignores Billy and continues to walk while being
shielded by Domino and Dale.

                      DOMINO DRAGO
         Perhaps you didn‟t hear. No questions now,
         thank you.

                      BILLY SONGDALE
         I seem to be compiling several questions that
         you may feel compelled to answer.

                      DOMINO DRAGO
         Not today.

Domino steps into the bus and Richard begins to do
the same.

                      BILLY SONGDALE
         Give me a break, Mr. Evers. I‟m trying to be
         discreet. I could have asked you with all the
         other reporters around.

                      RICHARD EVERS
         What do you need to know?

                      BILLY SONGDALE
         I‟d like to know about your involvement in
         Hughes‟ Killers during your tour in Vietnam.

Richard turns to face Billy.

                      RICHARD EVERS
         Haven‟t we been over this? My military
         service is of public record.

Dale Bellinger walks up close to Evers and Songdale.

                      BILLY SONGDALE
         According to my sources, that‟s not quite
         fully true. I‟ve been told that your unit was
         involved in some action that won‟t be found in
         any public record.

We SEE that Songdale has exposed a raw nerve. Richard is
shaken and perplexed by Songdale‟s inquiries. After
pausing for a moment as if deciding to respond, Richard
visually assesses Songdale. Without responding, Evers
steps into the bus.
Songdale steps back as the bus begins to rumble away. We
SEE Dale Bellinger placing a phone call at a nearby pay
phone. CLOSE UP of Bellinger‟s left hand gripping the
receiver. We SEE he is wearing a large, blue stoned
ring, leading us to presume he is the man who poisoned
McCormick‟s drink.



A) Richard Evers‟ campaign bus moving down the

B) The sun sets behind a small mountain.

C) CLOSE UP of a large eagle painted on the side of
the bus.

D) The bus exits the highway.

E) CLOSE SHOT of a sign for route 12 and an arrow
pointing left.

F) TRAVEL with the bus as it moves down the nearly
deserted two lane road.

The bus pulls over and comes to a stop at an old,
abandoned gas station. We MOVE inside the bus. Richard
Evers wakes and sits up in his bed located in a private
section at the back of the bus. He peers out a window.
Richard‟s POV as he sees the dilapidated garage section
of the gas station. Paint has peeled off the garage
doors and several of its windows are broke. Richard‟s
eyes move to the right and we PICK UP a discarded 1958
Oldsmobile sitting in a heap amid some pieces of scrap
metal. We SEE Richard‟s eyes strain to focus and we then
SEE a large wolf sitting on top of the Oldsmobile. The
wolf lowers its head and stares at Richard. O.S. we HEAR
the voices of Domino and Dale emanating from the front of
the bus. The voices temporarily pull Richard‟s eyes away
from the window. He then looks out again and focuses on
the Oldsmobile. He sees the car, but the wolf is no
longer there. CLOSE UP of the eagle painted on the side
of Richard‟s bus. The eagle moves out of view and we see
the back of the bus as it pulls back onto the road and
travels away.


A) The sun rises out of the horizon.

B) The tour bus rolls down the road.

C) The mountains and the landscape of New Mexico.

D) A bald eagle soars high in the air against a deep blue


Some of Evers‟ staff members are seated in the front
section of the bus. In the back of the bus Bellinger
speaks with a few members of his security team. We FIND
Evers in the kitchen area of the bus, sipping a cup of
coffee. Evers is seated at a table across from Domino
who is eating breakfast.

                      RICHARD EVERS
         Boy, last night was sure strange, wasn‟t it?

                      DOMINO DRAGO
         How so?

In the b.g. Dale Bellinger walks up to the table.   He
waits to speak while Evers continues.

                      RICHARD EVERS
         I‟m talking about when we pulled over at that
         old gas station last night. That was the
         largest wolf I‟ve ever seen.

Domino and Dale stare blankly in disbelief.

                       RICHARD EVERS
         Oh, come on. You mean you didn‟t see it? I
         know you both were up because I heard your

                      DOMINO DRAGO
         Rich, this bus never stopped last night.

                      RICHARD EVERS
         Good one. I guess you do have a sense of humor,
         dry as it may be, after all.
                      DOMINO DRAGO
         I‟m serious. This bus hasn‟t stopped since we
         got on yesterday afternoon.

                      DALE BELLINGER
         That‟s true, Mr. Evers. It‟s been an express
         trip all night.

                      RICHARD EVERS
         Then that was one of the most lucid dreams I‟ve
         ever had.

                      DOMINO DRAGO
         Sounds pretty eerie to me.


Painted on an office door we SEE: Principal – Daniel
McCormick. Inside McCormick‟s office McCormick‟s
secretary, MELISSA WALSH, packs some of McCormick‟s
belongings into a box resting on top of the desk.
Scattered about the room are several boxes to be used for
packing McCormick‟s effects. We SEE a half filled
outgoing mail basket on McCormick‟s desk. We SEE some of
McCormick‟s diploma‟s adorning a wall behind his desk.
CLOSE UP of a photograph hanging on another wall. We SEE
the same photograph, depicting McCormick, Evers, Marx,
and Hughes playing poker in their Vietnam days that was
seen earlier in Evers‟ office. O.S. we HEAR a knock on
an outer office door. A mailperson stands outside
McCormick‟s office.

         Hi, Melissa.    Do you have anything outgoing?

Melissa takes a second to focus on the mailperson‟s
question. She looks at the outgoing bin on McCormick‟s
desk. CLOSE UP of an 8x10 envelope. We SEE it is
addressed to Walter Marx in Bangkok. We SEE the envelope
has several stamps affixed to it. Melissa picks up all
of the mail in the outgoing bin including the envelope
addressed to Marx.

         I guess you should take these.

Melissa hands the mail to the mailperson.
         Okay, thanks... I know it‟s not easy.

         No, it‟s... it‟s not... Thanks.

         Thank you.   Hang in there.   I‟ll see you

         Yes, bye.


We get our first glimpse of an executive office which
serves as headquarters for the Critical Event Commission
(C.E.C.). We SEE an entire wall of computers, screens,
and high tech recording and monitoring machines. We SEE
a large picture window serving as another wall of the
office. Through the window we SEE a view from high above
ground level of the desolate New Mexico desert landscape.
On another wall we SEE an elevator door. Along the side
of the elevator door we SEE a high tech security system
that must be accessed to open the door. The elevator
links Hughes‟ office to a vast underground complex which
we see later. We SEE General Hughes as he sits at an
elaborate computer. Since the late sixties General
Hughes has been the head of a covert CIA agency called
the C.E.C. Hughes sits at his computer surrounded by
several other state of the art devices. We SEE Hughes
awkwardly press a few keystrokes on the keyboard of his
computer. He appears to be somewhat computer illiterate
as he struggles to open a file. We SEE the file pop up
on the monitor. We SEE the file name and heading which
reads: Eagle Runner Crash Site – Personnel Roster. Under
the heading we SEE a list of names displayed on the
monitor. CLOSE UP of the list displayed on the monitor.
Hughes scrolls through the list and we SEE:
NAME                  STATUS              RESIDENCE
ANDERSON              DECEASED–HILL 875   N/A
BOUTON                DECEASED-HILL 875   N/A
LEVY                  DECEASED-HILL 875   N/A
MARX                  MUSTERED OUT ‟69    S.E. ASIA
The computer‟s cursor stops on the McCormick‟s name.
We SEE Hughes update his status from active – CIA to
deceased. At that point a red colored dialogue window
with a contrasting background pops up on the monitor
denoting: Telecom Function. The message reads: Incoming
call from Pacific Air Travel Agency. Hughes, seated at
the computer, turns in his chair away from the computer
screen and picks up a telephone receiver. This movement
distracts him from the computer monitor, but as he
answers the telephone we SEE the dialogue window on the
screen disappear and it is replaced by another flashing
pop up window of a different color. Hughes does not see
the new pop up window as he answers the telephone.

                      GENERAL HUGHES
         Hi, Nicole. Did you get my message that I‟m
         now departing on the tenth?...

As Hughes continues on the phone, we SEE a CLOSE UP of
the computer screen. It now displays a new dialogue
window denoting: Binary Photon Audio Imaging System
Activated. A message underneath this reads: Evers
contacted / text and subject undecipherable. We SEE
Hughes talking on the telephone.

                      GENERAL HUGHES
         Can you arrange for a car while I‟m in
         Washington... Okay, thank you. Bye.

Immediately upon placing the receiver down, we HEAR a
VOICE OVER on an intercom, “General Hughes, your call to
Brian Evers is on line three”. We SEE Hughes press a
button on the phone to access the call.

                      GENERAL HUGHES
         Brian! How are you?

                       BRIAN EVERS (V.O.)
         Good.   It‟s been a long time. How are you?

                      GENERAL HUGHES
         Fine. It has been a long time, but I don‟t
         recall having to jump through so many hoops to
         get in touch with you.

                       BRIAN EVERS (V.O.)
         Come on, Vincent. You know you‟re not so easy
         to pin down yourself.
                     GENERAL HUGHES
        Brian, I called because I wanted to know when
        your last day is.

                     BRIAN EVERS (V.O.)
        It‟s the ninth but I‟ll be around here for a few
        days after that attending retirement dinners.

                     GENERAL HUGHES
        Are you sure you‟re ready for that?

                     BRIAN EVERS (V.O.)
        Absolutely. As soon as I can, I‟m going to New
        Mexico to visit Rich and help out with his

                     GENERAL HUGHES
        Great. Give him a kick in the butt for me and
        tell him to win that damn election. But before
        you leave I need to see you.

                     BRIAN EVERS (V.O.)
        As a matter of fact, I have some time now.      I‟ll
        stop in to see you shortly.

                     GENERAL HUGHES
        No, I‟m not in Washington. How about we plan to
        have dinner on the tenth? Are you free?

                     BRIAN EVERS (V.O.)
        I‟ll make sure I am.

                      GENERAL HUGHES
        Great.   I‟ll see you then.

                     BRIAN EVERS (V.O.)
        I‟m looking forward to catching up.   See you

                        GENERAL HUGHES
        Right.   Bye.

Immediately upon hanging up the telephone, Hughes turns
in his chair and returns to the computer monitor. In his
haste he doesn‟t notice the new dialogue window. He
quickly presses two buttons on the keyboard, causing the
dialogue window to disappear. We SEE the list, stopped
on McCormick‟s name, on the monitor. Hughes continues to
update the information on the list.
Across from McCormick‟s name and under the residence
section of the list we SEE the word Washington disappear
as it is replaced by the letters N/A on McCormick‟s
information line.


Billy Songdale is seated at his desk. We HEAR a
VOICE OVER through the speaker on Songdale‟s telephone:
“Billy, you have a call from the Washington Post”.
Songdale answers the call.

                      BILLY SONGDALE
         Hello, Bill Songdale.

Eric Dolan, a Washington Post columnist, is on the other
end of the line.

                      ERIC DOLAN (V.O.)
         Hello, this is Eric Dolan returning your call.

                      BILLY SONGDALE
         Yes, thanks for getting back to me. I need a
         little professional courtesy. What can you tell
         me about Daniel McCormick.

                      ERIC DOLAN (V.O.)
         A tragedy. He was well liked, a Vietnam vet,
         and a terrific principal. I wrote about his
         life and the accident in my column. Would you
         like me to fax you a copy?

                      BILLY SONGDALE
         No, I‟ve read it. I was hoping you could tell
         me a little more about him than what you
         divulged to your readers.

                      ERIC DOLAN (V.O.)
         There‟s supposed to be more?

                      BILLY SONGDALE
         Is his death being ruled an accident?

                      ERIC DOLAN (V.O.)
         Blood alcohol was minimal. Police say he fell
         asleep at the wheel.

                      BILLY SONGDALE
         What did the autopsy turn up?
             ERIC DOLAN (V.O.)
There wasn‟t one. It wasn‟t warranted. They
had a full military burial at Arlington.

             BILLY SONGDALE
Really? And no autopsy? Hmm... What do you
know about his Vietnam days and his involvement
with Hughes‟ Killers?

             ERIC DOLAN (V.O.)
If you know he belonged to that unit, then you
probably know just as much as me.

             BILLY SONGDALE
Humor me.

             ERIC DOLAN (V.O.)
You know, maybe you can help me more than I can
help you. You work for a New Mexico newspaper,

             BILLY SONGDALE
I‟m in Albuquerque. What‟s the relevance?

             ERIC DOLAN (V.O.)
Can we keep this between us for now?

             BILLY SONGDALE
Call it a professional courtesy.

             ERIC DOLAN (V.O.)
According to a buddy of mine at the precinct,
McCormick had two tickets to a big fund-raiser
in New Mexico?

             BILLY SONGDALE

             ERIC DOLAN (V.O.)
The fund-raiser was for senatorial candidate,
Richard Evers. The tickets go for seventy-five
thousand per. That‟s a pretty steep tag for a
guy working on a principal‟s salary.

             BILLY SONGDALE
When and where is this fund-raiser?
                      ERIC DOLAN (V.O.)
         What, you don‟t know about it? A big time
         rancher is hosting it at his ranch. It‟s
         probably not too far from away from you.
         You‟re certainly closer than me. How about
         instead of me flying out, we collaborate?

                       BILLY SONGDALE
         Sure.   Give me the address and I‟ll check it

Songdale scribbles Dolan‟s information on a note pad.

                      BILLY SONGDALE
         Thanks. I‟ll be in touch.

Immediately after hanging up the telephone Songdale walks
out of his office and directly into the office of his
editor, EDWARD ROWLEY, who we SEE seated at his desk.
Without looking up from the paper he is reading, he
acknowledges Songdale.

                      EDWARD ROWLEY
         What‟s up, Billy?

                      BILLY SONGDALE
         Ed, do you have a minute?

                       EDWARD ROWLEY

Ed devotes his attention to Songdale.

                      BILLY SONGDALE
         Remember our discussion about Evers?

                      EDWARD ROWLEY
         A lot of innuendo if I recall.

                      BILLY SONGDALE
         I‟ve got some more information that makes me
         wonder if there really might be something to
         the calls pertaining to Evers I‟ve been

                      EDWARD ROWLEY
         What do you have?
                      BILLY SONGDALE
         I just spoke to a reporter in Washington who
         told me McCormick was planning on attending
         a big fund-raiser for Richard Evers.

                      EDWARD ROWLEY
         Out here?

                      BILLY SONGDALE
         Yes, at a big corporate ranch about two hours
         from here.

                      EDWARD ROWLEY
         You‟d have to be a big contributor to attend
         that type of function.

                      BILLY SONGDALE
         He had two tickets on him that cost him one
         hundred fifty grand. I‟m wondering not only why
         he had them but also how he could afford them.

                      EDWARD ROWLEY
         Good question. Sounds like it might be worth

                      BILLY SONGDALE
         My thoughts exactly.


We SEE a road sign which reads: Leaving Albuquerque City
Limits. We SEE Billy Songdale as he drives his 1957
Chevrolet convertible. He plugs a cellular phone into
the cigarette lighter of his car. He then adjusts the
radio station reception and raises the volume on the
radio. We HEAR new age music from the radio speakers as
he motors down the highway. As he zips along the
highway, we see the nearby flat landscape contrasts with
the distant mountains of rural New Mexico. Songdale
turns off a four lane highway and onto a two lane road.
We SEE the entrance to the Mesa West Ranch. At the
entrance is an immense wrought iron gate flanked by two
white pillars. We SEE Mesa West Enterprises written on
top of the entrance gate. Billy stops at the gate. He
turns off his radio and looks for a way to gain access
through the gate. We SEE a security intercom at the side
of the gate. Songdale presses a call button on the

Hughes sits at his computer. We SEE the computer monitor
and a pop up window appears on the screen. It reads: Mesa
West entrance gate call button activated. This message
is followed by two prompts, audio and video. We SEE a
flashing on next to the audio prompt.


Songdale presses the call button, pauses, and presses it
again. No one responds, so he presses the button again
and speaks into the intercom.

                      BILLY SONGDALE

Songdale‟s cellular phone rings and he answers it.

                      BILLY SONGDALE
         Hello, Songdale here.


We SEE Marx on the phone with Songdale.

                      WALTER MARX
         Songdale, I‟ve got some more information for

INTERCUT Songdale talking on the phone to Marx.   We HEAR
static coming through the line.

                      BILLY SONGDALE
         My phone isn‟t picking you up very well.    Let
         me call you back.


We HEAR more static, followed by a click, and the
connection is lost. Marx slams down the receiver in

                      WALTER MARX
         Damn it!

We SEE Hughes‟ computer monitor. We SEE the prompt,
video displayed. An on indicator begins flashing next to
the video prompt and through the monitor we SEE Billy
Songdale in his car at the entrance gate. We SEE him
fidgeting with his cellular phone.


Marx, his head hanging down, stares at the telephone.
Next to the telephone we SEE an opened 8x10 envelope
addressed to him from McCormick. We SEE a small black
journal next to the envelope. In the b.g. we SEE Marx‟s
wife, SU LI, in her bathrobe lurking about the entrance
of the room Marx is in. We SEE a faraway gaze in Marx‟s
eyes as he relives a scene from his tour in Vietnam. We
SEE Marx in Vietnam in the middle of a heavy exchange of
gunfire. We SEE him get into a crouch and fire his
weapon. An enemy‟s bullet strikes him in the arm, ripping
away his weapon and some of his arm as well. We SEE him
writhe in pain and we HEAR him scream out a horrific
yell. We SEE McCormick squirm up from his position and
hover over Marx.

         My arm!   My arm!

         Hang on, Walt! It‟s McCormick. I‟m gonna get
         you out of here. You‟ll be okay. Just stay

Marx‟s flashback continues as McCormick rips his belt
from out of the loops of his pants. He fastens the belt
in a tourniquet on the remaining portion of Marx‟s arm.


We SEE Marx in a cold sweat as he snaps out of his
trance. We SEE Su Li in the b.g. again.

                      SU LI
         Walt, who are you calling in the middle of the

                      WALTER MARX
         It‟s not anything you need to be concerned
                      SU LI
         I thought you said you were going to forget
         about this and leave it alone.

                       WALTER MARX
         I can‟t.   You couldn‟t understand.

                      SU LI
         You‟ve forgotten what I‟ve been through.
         Something is eating at you. Let me help.

                      WALTER MARX
         I‟ve seen things no one should have that my
         former fellow soldiers are covering up. They‟ve
         killed innocent people to keep things under
         wraps and they still are.

                      SU LI
         What can you do?

                      WALTER MARX
         I need to try... Remember the crash site I
         told you about?

Su Li nods her head up and down.

                      WALTER MARX
         There‟s more to it than I ever imagined.
         Something big... I heard stories from A-Z.
         I heard it was an atomic bomb experiment, I
         heard President Johnson was on a secret visit
         and his plane was shot down. Then I heard that
         it was Ho Chi Min‟s plane that was downed.
         Shit, I also heard talk that a secret satellite
         weapon crashed.

                      SU LI
         What do you think it was?

                      WALTER MARX
         I‟m not sure. But too many people have died for
         no good reason. You don‟t kill your own men...
         You sure as hell shouldn‟t have a commander,
         whom you thought you could trust, order you to a
         hell hole you have no fuckin‟ reason to be at so
         you can get your arm blown off! No way... I
         stayed here so I wouldn‟t have to go back to a
         country that treated the people that fought for
         it like they were puppets that wouldn‟t bleed!
         I wasn‟t going back to that shit... Now it
         looks like I have no choice.
                      SU LI
         Oh, I see... I thought you stayed here because
         you loved me and wanted a family with me.

                      WALTER MARX
         Oh, honey... That‟s not what I meant.   Of
         course I love you.

SU LI holds up her hand, shakes her head “no”, and walks
out of the room. Marx pulls at his hair in frustration.

                         WALTER MARX
         Damn it!


Songdale sits in his car. We HEAR a VOICE OVER
as HALEY REANON‟s voice comes through the intercom.

                         HALEY REANON (V.O.)

Songdale leans over and speaks into the intercom box.

                      BILLY SONGDALE
         Hello, I‟m Billy Songdale from the Albuquerque

                      HALEY REANON
         You‟ve got to be kidding.

Songdale looks dejected. He starts his car and prepares
to back out and leave. As he begins to back out we SEE
the entrance gate open. Songdale assumes this is an
invitation to enter so he pulls forward. Songdale drives
up the entrance road which framed with perfectly pruned
trees. He pulls into a circular driveway cut out of the
expertly manicured lawn. He stops in front of a
magnificent southwestern style mansion which serves as
the main building of the ranch. HALEY REANON walks out
of the front door of the mansion. She proceeds to
Songdale‟s car and Songdale steps out to greet Haley.

                      HALEY REANON
         You know, I wrote you two months ago.   Now you
         show up?

                         BILLY SONGDALE
         You wrote me?
             HALEY REANON
No, your paper. I‟m Haley Reanon.     Does the
name ring a bell?

             BILLY SONGDALE
I‟m sorry, it doesn‟t. However, I‟m Billy
Songdale. It‟s nice to meet you. What was it
that you inquired about?

             HALEY REANON
It wasn‟t an inquiry. I wrote your paper hoping
to stir up someone‟s interest and help me figure
out why my cattle are dying.

             BILLY SONGDALE
You operate this ranch by yourself?

              HALEY REANON
My father and I are the primary stockholders.
Come on. I‟ll take you to see the bull I found
earlier today. I‟ve got veterinarians giving me
b.s. about some virus. You take a look and tell
me what you think. I guarantee you won‟t say
it‟s a virus.

             BILLY SONGDALE
Whoa, wait a minute. I‟ve come out here to do a
preliminary piece on the fund-raiser for Mr.
Evers that‟s supposed to take place here.

             HALEY REANON
Christ. It figures. I should have known.
You want to talk to my father.

              BILLY SONGDALE
Mr. Reanon?

             HALEY REANON
No, that‟s my ex-husband‟s name.    My father is
Vincent Hughes.

             BILLY SONGDALE
General Vincent Hughes?

             HALEY REANON
That‟s him. But he‟s not here right now.     You
will need an appointment to see him.
                      BILLY SONGDALE
         Okay, I‟ll make one. But could you just tell
         me if the fund-raiser is still being held in
         light of Mr. McCormick‟s death?

                      HALEY REANON
         I still can‟t believe that about Uncle Dan.

                      BILLY SONGDALE
         Oh, I‟m sorry. I didn‟t realize you were a

                      HALEY REANON
         We weren‟t blood relatives. It‟s just he‟d
         been such a good friend of my father‟s for so
         long... I guess I always called him Uncle Dan.

                      BILLY SONGDALE
         So the fund-raiser‟s postponed?

                       HALEY REANON
         Oh, god no.   It‟s still on.

                      BILLY SONGDALE
         Can you tell me what Mr. McCormick did for a

                      HALEY REANON
         Of course. Dan was in the cattle business. He
         was a breeder from California. I guess that‟s
         how my father met him.

                      BILLY SONGDALE
         How did they get involved in politics?

                      HALEY REANON
         That you‟ll have to ask my father.

                      BILLY SONGDALE
         Okay.   Could I trouble you for a guest list
         for the upcoming event?

                      HALEY REANON
         Again, you‟ll need to get that from Dad.

                       BILLY SONGDALE
         Okay.   Thanks for your time.

Songdale gets in his car and starts the engine.
                      HALEY REANON
         If you want a real story, talk to me about my

                      BILLY SONGDALE
         I‟ll have someone contact you.

                        HALEY REANON
         Yeah, right.

                      BILLY SONGDALE
         Really, I will.

Songdale pulls away in his car and Haley watches in
disgust. As Songdale drives away we HEAR the sound of an
approaching helicopter. Flying above Songdale‟s car we
SEE a reconditioned army relic helicopter. A large
turquoise paint stripe, running the length of the
helicopter, boldly stands out against its sand colored
body. On one side of the helicopter we SEE the letters:
M-W painted to look like a cattle brand found on
livestock. We SEE the pilot is General Hughes. We SEE
the helicopter follow Songdale‟s car momentarily before
making a one hundred and eighty degree turn back toward
the ranch. The helicopter touches down on a landing
pad situated in back of the main house of the Mesa West
ranch. We SEE the helicopter‟s propellers slow to a
halt. Near the pilot‟s side door we SEE the
identification numbers and letters: 762426-ER. We SEE
Hughes grab a briefcase and two leather bags. The
shoulder straps of the bags become intertwined, and he
fumbles with them for a second before stepping out of the
helicopter. We SEE a brick walkway connecting the
landing pad to the main house. We SEE Haley moving down
the walkway toward the helicopter. She greets her father
as he is stepping out of the helicopter.

                       HALEY REANON
         Hi, Dad.   Need some help?

                        GENERAL HUGHES
         No, no.    How are you, dear?

                      HALEY REANON
         Good. Did you have any trouble with the new
         landing patterns at the Albuquerque Airport?

Haley and Hughes walk toward the main hose.
                      GENERAL HUGHES
         Are you kidding? The air traffic controller
         sees this baby coming and he has everyone move
         aside, like the parting of the Red Sea. Hey,
         did I miss an appointment? I saw a convertible
         leaving the gate as I came in.

                      HALEY REANON
         Oh, that was a reporter from the Times. I
         thought he came out here to check up on our

                      GENERAL HUGHES
         I thought we agreed you weren‟t going to
         contact any more papers about our problem until
         I get to talk it over with the cattle lobby?

                      HALEY REANON
         I haven‟t written anyone in quite awhile. I‟ve
         been waiting for you to get some answers for me.
         He wasn‟t here for that anyway. He wanted some
         information on the fund-raiser for Mr. Evers.

                       GENERAL HUGHES

                      HALEY REANON
         He was under the impression that it might be
         cancelled because of Uncle Dan. He asked for a
         list of all the supporters who will be
         attending. I told him to contact you for that.

                      GENERAL HUGHES
         And he said he‟d contact me?

                       HALEY REANON

                      GENERAL HUGHES
         He‟s from the Times? Was it Songdale?

Haley and Hughes approach the house.     Hughes holds the
door open for Haley to enter.

                       HALEY REANON
         Yes.   How did you know that?
                      GENERAL HUGHES
         I just figured he‟s the only one who would waste
         a column on who‟s coming to the fund-raiser. If
         he calls and I‟m not in, tell him no press is
         invited. I‟ll fax him a press release later.

                       HALEY REANON
         Okay, sure.


Evers‟ tour bus rolling down the highway against a
backdrop of several different landscapes, some rural, and
some metropolitan.


A) Evers presenting speeches at several different

B) Evers gulping down a sandwich on the run between
   public appearances.

C) Evers at a press conference fielding questions.

D) Evers at formal luncheons with various local
dignitaries. Flash bulbs pepper the dais at each event.


The Evers‟ tour bus is parked in the parking lot
amongst the network affiliate mobile units. We MOVE into
the interior of the television studio. We SEE the
control room of the studio. On the monitors we SEE
Richard Evers on the set of the television show, Face To
Face with the host, Diane Palmer. We SEE Domino Drago
and Dale Bellinger standing stage left out of camera
range. They whisper to each other as they watch the live
broadcast of the show. We SEE Evers on a television
monitor. We SEE another television monitor showing
Evers. We PULL BACK and we SEE we are inside the Evers‟
tour bus. We SEE some of the campaign staff watching the
show. We SEE some other staff members stowing gear in
preparation for the bus‟ departure. We SEE the driver of
the bus sit down behind the wheel, buckle his seat belt,
and start up the bus. The bus pulls out of its parking
space and around to the back exit of the building.


Billy Songdale speaks with Rowley.

                      EDWARD ROWLEY
         So Marx told you that this rancher is the same
         Hughes as in General Vincent Hughes?

                      BILLY SONGDALE
         Correct... And Marx called me again after I got
         back from the Mesa West ranch.

                       EDWARD ROWLEY

                      BILLY SONGDALE
         I told him I‟m not playing any Deep Throat
         games. This isn‟t Watergate. If he has
         anything, I told him to state his case.

                      EDWARD ROWLEY
         What did he say to that?

                      BILLY SONGDALE
         Well, he agreed. However, he says he‟s not
         sure what‟s going on.

                       EDWARD ROWLEY
         Going on?   What‟s going on?

                      BILLY SONGDALE
         He says everything is linked to a military
         operation called, Eagle Runner.

                      EDWARD ROWLEY
         Never heard of it. What the hell is Eagle

                      BILLY SONGDALE
         I don‟t know, but I‟m checking on it. And
         believe it or not, the guy says he‟s coming
         here. He said he‟d call me when he arrives.

                      EDWARD ROWLEY
         So what do you think?

                      BILLY SONGDALE
         I‟ve got to see all the cards played first.   But
         I have a feeling we don‟t even know all the
         players yet.

Walter Marx repositions his seat to the upright position.
We SEE him open McCormick‟s journal and leaf through it.
Marx‟ POV of a page of the journal. The page shows a
crudely drawn map indicating the crash site that Hughes‟
men were sent to in 1969. Written in bold colored ink
which stands out in contrast to the faded ink of the map,
we SEE the words Eagle Runner scrawled across the top of
the page.


We SEE Marx‟s plane land.


We SEE Marx, seated at a table away from the bar,
finishing a drink. We SEE a COCKTAIL WAITRESS approach

                      COCKTAIL WAITRESS
         Do you have time for another?

                       WALTER MARX
                 (without hesitation)

We FOLLOW the cocktail waitress to the end of the bar
where the BARTENDER is standing.

                      COCKTAIL WAITRESS
         Can I get another Jack and Coke, please?

         You got it.

We SEE the bartender finish pouring the last of five
draft beers.

         Can you bring these to table twenty-six first?

                       COCKTAIL WAITRESS
We SEE the cocktail waitress pick up a tray containing
the five drafts and walk away. The bartender pours
Marx‟s drink and places it on a serving tray. He then
turns his back to wait on a customer at the other end of
the bar. CLOSE UP of Marx‟s drink. We SEE a man‟s hands
come into view over the drink. The unsteady, trembling
hands hold a tube filled with a clear liquid. We SEE the
hands struggle to remove the stopper at the mouth of the
tube. We SEE the liquid emptied into the drink. We SEE
Marx sitting at his table. He scans the room. We SEE
him look at the airport shops. Marx‟s POV as he focuses
on a newsstand. Back at the bar, we SEE the cocktail
waitress pick up Marx‟s drink and begin to deliver it to
Marx‟s table. In the b.g. we SEE a man, wearing a black
leather coat, walking away from the bar. We SEE Marx
look at his wristwatch. He stands up just as the
waitress arrives with his drink. Marx places a twenty
dollar bill next to his drink on the waitress‟s serving

                      WALTER MARX
         I‟m sorry. I don‟t have time after all. This
         should cover my tab. Have the drink on me.

                         COCKTAIL WAITRESS
         Are you sure?

                         WALTER MARX

                         COCKTAIL WAITRESS

Marx hurriedly exits the lounge and walks directly into
the men‟s restroom located across the lounge. The
waitress shrugs her shoulders and returns the drink to
the bar. She gives the money and Marx‟s drink bill to
the bartender.

                      COCKTAIL WAITRESS
         Can you cash out this check, please? The guy
         didn‟t have time to drink this, but it‟s on his
         bill and he paid for it.

         Okay, I‟ll find a home for it.

We SEE the bartender turn to a PATRON standing at the
                (to the patron)
         Have a Jack and Coke on me.

         Oh, my lucky day. Thanks.

Marx exits the restroom walks to the newsstand. He
peruses a few of the selections at the stand. He then
picks up a USA Today and a Los Angeles Times newspaper.
He moves to the end of a line of customers three people
deep and waits to pay for the papers. We SEE the patron
at the bar and the half emptied Jack and Coke. He
clutches his chest, turns, and falls to the floor. We
SEE Marx at the newsstand collect his change from the
cashier and move past the lounge. In the b.g. we SEE a
small huddle of people surrounding the now unconscious
patron. Marx glances at the headline of the USA Today
and passes by without taking any notice of the brewing
commotion. As Marx continues to his departure gate, four
emergency personnel rush past him.


We SEE the information/visitor‟s station and a
RECEPTIONIST standing behind the counter. Walter Marx
walks up to the receptionist.

         Hello, can I help you?

                      WALTER MARX
         Hi, yes I hope so. I‟d like to speak to Mr.

         Oh, yes.   I know him. Is he expecting you?

                      WALTER MARX
         I‟m an old friend.

         I believe you can find him in the courtyard.

                      WALTER MARX
         Is he free to just walk around?
         Everyone here can move about freely... Well,
         almost everyone. Just go back out the door you
         came in and make a left.

                       WALTER MARX
         Okay.   I think I passed it on my way in.   Thank

Marx walks away from the reception counter and moves into
the courtyard of the center. We SEE Keator sitting in a
lawn chair, working on a crossword puzzle. We SEE him
shake his pen as if it is out of ink. CLOSE UP of the
crossword puzzle. We SEE one of the unsolved
clues under the across section. It reads: Gemini mission
vehicle. We SEE the section of the puzzle where
the corresponding answer should be entered. We SEE that
the answer contains ten letters. Already filled in the
answer are the middle letters cec. A shadow falls over
the puzzle, causing Keator to glance upward. He SEES
Marx standing over him.

         Yeah, can I help you?

                       WALTER MARX
         Hi.   My name is Walter Marx.

         So you‟re my new shrink?

                       WALTER MARX
         What?...   No, I‟m not a shrink.

         That‟s a good one. I‟m the one who‟s supposed
         to have identity confusion.

                      WALTER MARX
         You‟re Keator, right?


                      WALTER MARX
         You remember being in Snake Alley, Bangkok in

         Who doesn‟t?
                      WALTER MARX
         Anyone who was at Woodstock.

Keator chuckles as Marx sits in a chair and faces Keator.

                      WALTER MARX
         So why are you here?

         How did you lose your arm?

                       WALTER MARX
         You‟re not crazy.

         Let‟s just say I‟m still serving my time but in
         a safe place.

                      WALTER MARX
         I need some help understanding why you were
         detained in Snake Alley.

         I sold a few things that weren‟t mine, big
         fuckin‟ deal.

                      WALTER MARX
         Where did you get them?

         That one, I‟m keeping to myself.

We SEE Keator lift a pen from Marx‟s shirt pocket and
begin writing on the crossword puzzle.

                      WALTER MARX
         Look, what I....

         No, you look.     I have nothing to say.

We SEE Keator press the crossword puzzle into Marx‟s
chest. Marx takes it from Keator. We SEE Marx look at
the puzzle and we SEE Keator has written the words:
Eagle Runner in the top margin of the puzzle.

Billy Songdale sits at his computer surrounded by an
array of desert fauna. In the b.g. outside the
greenhouse windows we see an outline of his 1957
Chevrolet convertible. We SEE an e-mail indicator on
Songdale‟s computer terminal. Songdale presses a few
keystrokes and an e-mail message from Eric Dolan pops up.
In the subject line we SEE the words: eagle runner. The
message reads: As per your request, I am faxing the
declassified document we spoke about. Songdale turns on
his facsimile machine. We SEE Songdale standing over the
fax machine. He picks up the printed fax and reads it.

                      BILLY SONGDALE
         A communication satellite crashed? And this is
         what Hughes was a charge of sweeping up? I‟m
         not buying that!

P.I.C.F. – DAY

Marx is placing a call.

                      WALTER   MARX
         Okay, can I leave a   message for him?...
         Tell him to meet me   at the Royal Palms Hotel
         anytime after three   o‟clock.


We are at the back corner of the twenty thousand acre
ranch which borders a National Park. It is a very
isolated, inaccessible location. We SEE a sheer cliff
side of a mountain. We MOVE closer and we SEE the
apparent remnants of an early Native American cliff
dwelling. Midway up the cliff we SEE several black,
shadowy, rectangular shapes. We MOVE IN on one of the
shadows and we SEE it is a large, dark tinted one way
glass window. We MOVE through the window and into the
interior of the aforementioned C.E.C. office. Inside
General Hughes‟ C.E.C. office we SEE Hughes sitting in
front of a computer. We SEE the computer monitor. The
screen displays: Radar search – on – searching Evers’
tour bus location. We SEE the monitor display a map and
a blinking cursor indicating the current location of the
Evers‟ tour bus. On the bottom of the screen we SEE:
paging Dale Bellinger.

Dale Bellinger reclines on a couch. Bellinger becomes
aware of his noiseless pager being activated. He sits up
and surveys the immediate area before furtively reaching
into his pocket for his pager and viewing the number on
pager‟s display. Bellinger recoils and displays a
perplexed look. MOVE with him as he stands and walks
into the bathroom of the bus. Bellinger locks the
bathroom door, closes the toilet lid, takes a seat on the
toilet and places a call on his cellular phone.


                      GENERAL HUGHES
                (feigned sincerity)
         How is everything, Dale?

                      DALE BELLINGER

                      GENERAL HUGHES
         Can you hear me, Dale?

                      DALE BELLINGER
         Yes,... yes, sir. Is there a problem?

                      GENERAL HUGHES
         I don‟t think so. You terminated Marx, correct?

                      DALE BELLINGER
         Sir, this isn‟t a secure....

                      GENERAL HUGHES
         Why the fuck is Marx talking to Keator? Can you
         kindly fuckin' tell me how that‟s possible?!

                      DALE BELLINGER
         I... I, assigned that detail.   I presumed it was
         carried out.

                      GENERAL HUGHES
         Never presume anything! I assigned you!     You
         take care of it, now!

We SEE Hughes slam down the phone. We SEE Hughes‟
psychotic glare and we HEAR his labored breathing.

We SEE Walter Marx at the front desk checking in. On a
wall in the b.g. a clock which reads: two forty-five. A
moment later we SEE a corridor of hotel room doors. Marx
walks past several rooms. Marx glances down at his key
as he continues past more rooms in search of his own. He
passes an alcove containing a soda machine, a candy
dispenser, and an ice machine. Marx moves into the
alcove and approaches the soda machine. He inserts a
dollar bill into the machine and makes a selection. We
HEAR the ensuing sounds of the machine dispensing the
soda. As the soda falls into the receiving bin we HEAR a
gun, fitted with a silencer, discharge. We SEE a blood
spatter appear across the front of the soda machine. We
SEE Marx sprawled out the floor, bleeding profusely from
a head wound. We SEE the killer‟s hands quickly pull
back Marx‟s coat and expose his breast pocket.
We SEE a gun with a silencer attached to it fall on
Marx‟s empty breast pocket. We SEE the killer‟s hands
come into view over Marx‟s body. The shaking hands
retrieve the gun. We HEAR the sound of a nearby elevator
arriving on the floor. Billy Songdale steps out of the
elevator. He walks down the hall in search of Marx‟s
room. Songdale‟s POV as he approaches the alcove and
sees Marx‟s leg protruding into the hall. We SEE
Songdale in shock as he stands over Marx‟s lifeless body.
Songdale turns away and looks down both ends of the empty
corridor. As Songdale turns back to look at Marx‟s body,
we SEE Marx‟s hand, clutching McCormick‟s journal and
Keator‟s crossword puzzle, strike Songdale‟s leg.
Songdale recoils in terror as Marx‟s hand drops the items
and clutches at Songdale‟s clothing before going limp.
Songdale stares at Marx‟s lifeless body. Songdale picks
up the journal and the crossword puzzle. He looks at
Marx, not knowing what to do next. After looking back
out into the corridor he hurriedly walks away. We SEE a
stairway exit door close to the alcove. We SEE the door
open slightly. REVERSE ANGLE from inside the stairway
exit. We SEE part of Marx‟s body and an empty corridor.


In the sun soaked breakfast room General Hughes gets up
from his seat and raises his coffee cup to his mouth. We
SEE Haley seated at the breakfast table. Hughes finishes
the last drop of his coffee and slams his mug down on the
table. Haley speaks to him before he has a chance to
walk away from the table.
                      HALEY REANON
         But, Dad... that‟s exactly what I‟m talking

Hughes ignores Haley‟s comment and moves toward a sliding
glass door. He picks up a briefcase lying next to the
door and flings a leather bag over his shoulder. Haley
walks over to Hughes and helps him with his bags.

                      HALEY REANON
         Why do we have to wait for the cattle lobby?
         Why can‟t we just ask Richard Evers for some
         help, now? With his connections I‟m sure he can
         shed some light on this. He‟s all over the
         television lately.

                      GENERAL HUGHES
         What makes you think that just because he‟s
         getting a lot of air time that he could help us
         with this virus?

                      HALEY REANON
         I just mean he could get it out to the media

                      GENERAL HUGHES
         I‟m working on it, Haley. Just give your father
         a little more time.

Hughes has not consoled Haley. He walks out the door.
Haley watches through the door as Hughes‟ helicopter
departs. Haley angrily stomps through the breakfast room
and disappears into another room of the house.


We SEE Hughes‟ home office is in stark contrast to his
C.E.C. office. The room is filled with antiquated office
and home furnishings. Haley stands behind an antique
desk. She pulls a card from a rolodex and begins dialing
a number on a telephone.


Evers‟ tour bus sits in the parking lot. Inside Domino
Drago‟s room we SEE Domino answer a ringing telephone.
                       DOMINO DRAGO
         Hello.   Yes, this is her...   Haley Reanon?

INTERCUT Haley in General Hughes‟ home office.

                      HALEY REANON
         I‟d like to speak with Mr. Evers, please.

                      DOMINO DRAGO
         He‟s unavailable. Can I help you?

                      HALEY REANON
         I‟m trying to get in touch with Mr. Evers
         regarding a virus problem we‟re having at our
         ranch. The campaign headquarters gave me this

                      DOMINO DRAGO
         You‟ve spoken with him about this already?

                      HALEY REANON
         No, I just need his help.

                      DOMINO DRAGO
         And headquarters gave you this number?

                      HALEY REANON
         Yes, right after I explained to them that I‟m
         General Vincent Hughes‟ daughter. I was hoping
         to speak with Mr. Evers before he comes out to
         our ranch.

                      DOMINO DRAGO
         I‟m sorry. I didn‟t realize you were Vincent
         Hughes‟ daughter. How can I help you?

                      HALEY REANON
         I‟d like to speak with Mr. Evers.

                      DOMINO DRAGO
         He really is unavailable right now, Haley. You
         mentioned some kind of problem with your cattle?

                      HALEY REANON
         Yes, and I need his help.

                      DOMINO DRAGO
         His schedule is booked solid until the
         fund-raiser at your ranch. If you could meet
         with me, perhaps I could speak to him for you.
                      DOMINO DRAGO (CONT‟D)
         But I‟m going to be holed up here for the next
         two days before we head out again.
                      HALEY REANON
         I can fly out and meet you for dinner tonight.

                       DOMINO DRAGO
         Really?   Okay... Is seven too early?

                        HALEY REANON
         No.    I‟ll see you then.

                      DOMINO DRAGO
         Okay, I‟ll meet you in the lobby.

                          HALEY REANON
         Great.    Bye.

                          DOMINO DRAGO

We SEE Domino hang up the phone and throw herself on her
bed, exasperated.


Haley and Domino are seated at one of the more intimate
tables of the restaurant. They have nearly completed
their dinners and have settled into a relaxed

                      DOMINO DRAGO
         I thought I knew Vincent better than I
         apparently do. I certainly didn‟t know he had
         a daughter.

                      HALEY REANON
         I‟ve only been back at the ranch for about
         two years. I‟m trying to bring my dad up to
         the twenty-first century, with the technological
         advancements at least.

                      DOMINO DRAGO
         What brought you back?

                      HALEY REANON
         My husband died.

                      DOMINO DRAGO
         Oh, I‟m sorry.
                      HALEY REANON
         Thanks, but I‟m doing okay. I‟ve worked through
         it. Looking back on it, our marriage really
         wasn‟t the best.

                      DOMINO DRAGO
         So you‟re starting over back home?

                      HALEY REANON
         That‟s a good way to put it.

                      DOMINO DRAGO
         I guess you could say I‟m starting over, too.

                      HALEY REANON
         You just ended a relationship?

                      DOMINO DRAGO
         Yes, there were too many confounding factors
         that got in the way of our development.

                      HALEY REANON
         I‟ve never heard, “he was an idiot” put that
         way before.

Haley and Domino share a laugh.

                      DOMINO DRAGO
         Truth is, it wasn‟t just him.    It was

                      HALEY REANON
         Being on the road like this certainly can‟t

                      DOMINO DRAGO
         It‟s not easy. I love what I do, but sometimes
         having the constant scrutiny of the public
         necessitates being too discreet for my liking.

Haley casts a knowing look at Domino.

                      DOMINO DRAGO
         Running the ranch can‟t be easy.
                     HALEY REANON
        No, certainly not with my father. He has a lot
        antiquated ideas he just won‟t let go of. We
        differ on how to accomplish things. For
        instance, he‟d be very upset if he knew I was
        talking to you and asking Mr. Evers for help.

                     DOMINO DRAGO
        Oh, I figured he was the one who initiated this.
        Make sure Vincent is okay with it, and I‟ll talk
        to Richard. However, you do understand my
        desire to avoid any big scene at the ranch,

                      HALEY REANON
        Of course.   I just need some answers soon.

                     DOMINO DRAGO
        Yes... I‟m very glad we met, and I‟m looking
        forward to seeing you at the ranch... How about
        some coffee or an after dinner drink?

                     HALEY REANON
        That would be nice, but excuse me for a moment

Haley leaves the table and walks toward the women‟s
restroom. Inside the restroom we SEE Haley reapplying
lipstick in front of a large vanity mirror. Domino
enters the restroom. Haley is startled to see Domino
again so quickly. Domino touches up her lipstick.

                     DOMINO DRAGO
        Haley, you know, it‟s been really nice,
        relaxing... and talking. You are very easy to
        talk to.

                      HALEY REANON
        Thanks.   So are you.

                     DOMINO DRAGO
        I‟d like it if we could talk again, before we
        arrive at the ranch. He‟s my personal pager
        number. Feel free to call anytime.

Domino hands a business card to Haley. CLOSE UP of
the business card. We SEE the card has been kissed with
Domino‟s lips, leaving a lipstick outline on it. We SEE
Haley taken by surprise upon first viewing the card.
After a brief moment it becomes apparent that Haley is
not bothered by Domino‟s gesture.
                      HALEY REANON
         Yes, I‟d like that, too.


Hughes talks on the telephone. We SEE his angry,
psychotic glare as he shouts into the receiver.

                      GENERAL HUGHES
                (angry and sarcastic)
         Jesus Christ, you‟d think someone in your
         fuckin‟ homicide division might want some
         information about a god damn murder!

                      POLICE OFFICER (V.O.)
         Sir, if you‟d please leave me your name and
         number as I requested, I will have one of the
         detectives call....

                      GENERAL HUGHES
                (through labored breathing)
         I just gave you all the information you‟ll need!
         Now do your fuckin‟ job and check into it!

Hughes slams down the telephone into its cradle.     With
rage and mock playfulness he speaks to it.

                       GENERAL HUGHES
         Trace?!   Your ass!

Hughes walks away from his desk and over to the closed
elevator door. He presses a personal identification
access number into the keypad on the wall next to the
door. We HEAR a beep as Hughes takes out a matchbook
size metal box out of a now opened panel on the wall.
Hughes‟ fingers squeeze the box, causing the bottom to
slide out. The bottom compartment contains a gelatin
like substance and a small bank of sensors and LED
lights. Hughes places his thumb in the gelatin
substance. He then removes his thumb, leaving an
impression in the substance. Hughes closes the box and
inserts it into a receptacle under the keypad on the
wall. Through the receptacle we SEE the box open again.
Next to the receptacle we SEE a display screen which
displays the following information: pulse - 95,
fingerprint – match, DNA – match. The display then
reads: access permitted, Vincent Hughes – 3:35PM. We SEE
the door open and Hughes steps in. He presses a button
labeled LL1 on a keypad that displays: H, GL, LL1, LL2,
As the elevator descends, Hughes places himself
inappropriately close to the door. Hughes‟ POV as the
elevator door opens. Directly across the hall we SEE an
old cargo elevator. Hughes steps out of the elevator.
Underneath Hughes‟ C.E.C. office we get the first glimpse
of a vast military installation. The entire complex is
an enormous labyrinth comprised of laboratories, storage
rooms, data/research rooms, and three aircraft hangers.
The installation was originally designed and built as a
fallout shelter in the 1950‟s which was to serve as a
military and political command post in the event of a
crisis situation. The architecture of the building
reflects its 1950‟s design. Most of the interior has not
been changed since its inception. As we view the
interior we get an eerie feeling of having stepped back
in time until we view the high tech, clear glass security
doors and other state of the art monitors in the hall
which create a sharp contrast between antiquated style
and new technology. Hughes walks down a hall.


A) An old fallout shelter sign.

B) The 1950‟s era light fixtures illuminating the halls.

C) The 1950‟s circa tile floor.

Hughes approaches one of the glass security partitions in
the hall. He stops at the barrier and fishes out an
identification/access card out of his pocket. Off to
Hughes‟ right we SEE an alcove and several old sets of
gas masks and asbestos overalls hanging from a metal coat
rack. On the shelves above the coat rack we SEE army
helmets circa 1950 next to ammunition boxes labeled: M1.
We also SEE a wooden box labeled: K-Rations. Hughes
opens the glass door and steps through the doorway. He
walks to a door on the right side of the hall. GRANT
ECKLUND opens the door and greets Hughes in the hallway.
Ecklund is the chief researcher hired by the C.E.C. to
facilitate the agency‟s work. Ecklund, a computer
genius, has been in charge of this project for two years.
He is man of high scruples interested only in truths
irrespective of political repercussions.

                      GRANT ECKLUND
         Vincent, what brings you down here?

                      GENERAL HUGHES
         I was hoping to get some answers from you.
                       GRANT ECKLUND

                     GENERAL HUGHES
        Can I come in?

                     GRANT ECKLUND
        Oh, certainly.

Hughes and Ecklund move into Ecklund‟s data/research
room. The room is filled with state of the art
equipment. Some of the pieces are recognizable and
others appear futuristic. We SEE Ecklund standing over a
piece of equipment. He continues his work while
conversing with Hughes.

                     GRANT ECKLUND
        How can I help?

                     GENERAL HUGHES
        I need to know if you have any new information.

                      GRANT ECKLUND
        I‟m still analyzing the binary photon image we
        we picked up.

                       GENERAL HUGHES
        The what?

                       GRANT ECKLUND
        The b.p....

                     GENERAL HUGHES
        I heard you. When was this?

                     GRANT ECKLUND
        You‟re not aware that we picked up a b.p.i?
        Check your memory on your computer. It should
        be stored and retrievable.

                     GENERAL HUGHES
        Can‟t you just print me a copy on one of these,
        these machines you‟ve got here?

                       GRANT ECKLUND
        If you wish.    It will just take a moment.

                     GENERAL HUGHES
        Good. So how do you feel your work is
Ecklund punches a few keys on the keyboard in front of
him before turning to face Hughes.

                      GRANT ECKLUND
         To be honest, General, I have some doubts about
         our abilities to achieve our goal. I‟m not sure
         we are making any headway. I‟m beginning to
         wonder if we have any control over picking up
         the binary photon images. Sometimes I think we
         get only what we‟re supposed to pick up. It
         makes me wonder who is pulling whose strings.
         Perhaps we‟re just being toyed with.

                      GENERAL HUGHES
         There‟s too much at stake here, Ecklund. We
         hired you for answers, not more questions.

                      GRANT ECKLUND
         I realize that.

We HEAR and SEE a document being printed from a wall
mounted printer.


Songdale, seated at a desk, flips through McCormick‟s
journal. We SEE the journal but we can‟t pick up any
discernable information. We then SEE Keator‟s crossword
puzzle and we briefly SEE the word, spacecraft filled in
around the letters cec seen previously. We HEAR a knock
on Songdale‟s exterior door. Before standing to answer
the door, Songdale opens the top right drawer of his desk
and places the journal and crossword puzzle inside it.
He stands, then remembers to close the drawer before
moving to answer the door. Songdale opens the door and
is greeted by two police officers.

                      POLICE OFFICER #1
         Billy Songdale?

                      BILLY SONGDALE

                      POLICE OFFICER #2
         We need you to come down to the station to
         answer some questions pertaining to the murder
         of Walter Marx.

Songdale is being questioned by a DETECTIVE.

                      BILLY SONGDALE
         Yes, I was there.

         For what?

                      BILLY SONGDALE
         I had a meeting scheduled.

         About what?

                      BILLY SONGDALE
         Come on, Detective. You know about confidential
         sources and my right to keep them secret.

         I‟m not sure that applies to dead people. You
         know it doesn‟t look good that you didn‟t come

                      BILLY SONGDALE
         I was the one who reported it.

         That was an anonymous call.   We‟re supposed to
         believe that was you?

                      BILLY SONGDALE
         Who else would have? And how would I know it
         was reported if I didn‟t do it?

         I‟m sure you read your own paper.

                      BILLY SONGDALE
         Okay, that‟s enough. Am I being charged?    If
         not, I‟m walking.

         Just make sure you don‟t start faxing in your
         column from outside the country, okay?

Songdale walks silently out of the room.

We SEE the front door of Songdale‟s house. CLOSE UP of
the keyhole on the front door. We SEE one hand holding a
credit card and another holding a metal lock pick. The
card is inserted into the door jam and the pick is
inserted into the keyhole. The hands we SEE are the same
ones that killed Walter Marx. The hands struggle to
unlock the door. We SEE the hands belong to Dale
Bellinger‟s assistant, seen earlier as the limousine
driver who drove Evers to the orthopedic center. We SEE
him stop working the lock. He backs up and surveys the
house for another way to enter. We SEE Songdale‟s
greenhouse entrance, and Bellinger‟s assistant trying to
pick the lock to this entrance. After several
unsuccessful attempts he backs up and looks around for
some other way to break in. We MOVE inside Songdale‟s
greenhouse and we SEE a window shatter as a rolling
deluxe gas grill crashes through it. The grill travels a
few feet inside the greenhouse before stopping against a
large plant. A second later Bellinger‟s assistant enters
the room through the opening created by the rolling
grill. He steps around toppled over plants and broken
glass. He looks around then heads toward Songdale‟s


Songdale‟s car pulls in the driveway. Looking
through the windshield of his car, Songdale notices the
gaping hole in his greenhouse. He gets out of his car
and approaches the opening apprehensively. He walks
through the opening and stops next to the grill. We SEE
Songdale‟s desk drawers have been flung open and their
contents spilled onto the floor. We SEE his smashed
computer lying on the floor amidst the ransacked office.


Haley Reanon stands at a mechanic‟s station. In
the b.g. we SEE several different helicopters. We SEE a
MECHANIC walk up to Haley.

         You‟re all set to go, Haley.
                       HALEY REANON
         Thank you.

         Come on.   I‟ll walk you out to your bird.

Haley and the mechanic exit the hanger and walk on the
tarmac toward Haley‟s helicopter. We SEE that Haley‟s
sleek, new helicopter is painted in the same color scheme
as her father‟s and it bears the same Mesa West logo. We
SEE Haley‟s name airbrushed on the pilot‟s door.

         I don‟t know who‟s prettier, you or your
         father‟s old army bird. I don‟t see enough of

                        HALEY REANON
         Really?    I guess I‟ll take that as a compliment.

Just before Haley enters the helicopter, the mechanic
uncomfortably taps her on the shoulder. We SEE Haley
turn to face him.

         Haley, I hate to bring this up but we haven‟t
         received any Mesa West payments on your leased
         service and landing fees for six months.

                      HALEY REANON
         Oh, have you spoken with my father about it?

         I haven‟t seen him in four months.

We SEE a puzzled look on Haley‟s face.

                       HALEY REANON
         I‟m sorry.   I‟ll talk to him.


We SEE Haley‟s helicopter as she returns to the ranch.
We SEE Haley lost in thought. Something on the ground
below catches her attention and she turns the helicopter
and descends.

We SEE the mechanic doing some paperwork. We HEAR a
helicopter approaching. The mechanic looks out the
hanger door and SEES General Hughes land his helicopter.
The mechanic turns to a file cabinet and retrieves a
file. He turns back to the tarmac to SEE Dale
Bellinger‟s assistant enter the passenger side of Hughes‟
helicopter. Before the mechanic can move to the tarmac,
Hughes‟ helicopter takes off.


We SEE Haley‟s helicopter has landed in the pasture. We
SEE Haley standing over a cattle carcass. CLOSE IN on
the cattle carcass. We SEE a symmetrical, gaping hole
along the cattle‟s ribcage, exposing the insides of the
animal. The perimeter of the wound is outlined by a
geometric pattern that appears to be burned or tattooed
on the cattle‟s hide.



A) From ground level Hughes‟ helicopter flies toward its

B) We SEE the barren land surrounding the back edge of
the Mesa West ranch.

C) From the sky we SEE the mountainside that camouflages
the C.E.C. complex.


We SEE Hughes at the controls and Bellinger‟s assistant
seated in the passenger seat. Hughes looks down at the
landscape from out the side of the helicopter. Hughes
shouts over the whir of the helicopter to Bellinger‟s

                      GENERAL HUGHES
         So, what do you think?
                      BELLINGER‟S ASSISTANT
                (uneasily, shouting)
         This looks like we‟re in the middle of nowhere.

                      GENERAL HUGHES

The helicopter begins to descend and we SEE Bellinger‟s
assistant becoming a little unnerved. We SEE Hughes scan
his entire field of vision as if expecting to see
something. As Hughes continues to look over the area we
SEE Bellinger‟s assistant becoming more uneasy.

                      GENERAL HUGHES
         Do you ever wonder what they think?

                      BELLINGER‟S ASSISTANT
         What who thinks, sir?

                      GENERAL HUGHES
         The people... the people we‟ve killed.

                      BELLINGER‟S ASSISTANT
         No, sir.

                      GENERAL HUGHES
         What are you thinking now?

The helicopter flies past the sheer cliff side of a
mountain. As it flies past, we PICK UP the remnants of
the Native American cliff dwelling and the shadowy shapes
that camouflage Hughes‟ office. The helicopter circles
around to the back side of the mountain. We SEE the
backside of the mountain. A few stories above ground
level the helicopter cruises directly toward the side of
the mountain. The helicopter hovers in place a few feet
from the side of the mountain. We SEE Bellinger‟s
assistant squirm in his seat and look around in search of
a safe exit from the helicopter. We SEE Hughes smile
wryly. Through the windshield of the helicopter, we SEE
the face of the mountain. We SEE Bellinger‟s assistant's
face as he is overcome with amazement. We SEE a section
of the mountain side peel back like a pocket door
opening, revealing a black space. We SEE that the
mountain side was a façade that has peeled back exposing
an aircraft hanger. From the floor of the hanger, a
platform extends out from the side of the mountain. It
serves as a landing pad for the helicopter. The
helicopter touches down on the platform. The platform
then retracts, pulling the helicopter into the hanger.
Inside the hanger we SEE the desert landscape disappear
as the façade doors close shut behind the helicopter.
Hughes steps out of the helicopter and walks over to the
passenger side of the aircraft. In the b.g. we SEE
various workers, employed by the C.E.C., milling about.
Hughes opens the passenger door for Bellinger‟s assistant
who is petrified in his seat.

                      GENERAL HUGHES
         It‟s okay. I know you weren‟t expecting
         anything like this. Come on out.

Hughes helps Bellinger‟s assistant step out of the
helicopter. Hughes gives him a reassuring tap on his
left shoulder then continues to speak.

                       GENERAL HUGHES
         Let me have one of the crew take you to the
         barracks. Get cleaned up and I‟ll explain
         things later.

Hughes and Bellinger‟s assistant take a few steps
away from the helicopter. As they move we SEE Hughes
return something to his coat pocket. We SEE Bellinger‟s
assistant rub the back of his left shoulder. We FIND the
barracks and we SEE a row of army bunks. The barracks
houses the C.E.C.‟s lower level personnel. We SEE a man
stepping into a radiation suit. Another man, dressed in
an army pilot‟s uniform, walks in and out of view. We
SEE a television monitor mounted high on a wall in the
corner of the room. The monitor displays technical
updates and personnel assignment schedules. Superimposed
over the bottom of the screen we SEE an Associated Press
crawl. We MOVE through the barracks and into a shower
area where we FIND Bellinger‟s assistant taking a shower.
We SEE he is alone. He turns his back to the camera. We
PICK UP his left shoulder and we SEE an eight to ten inch
black line running across his shoulder blade.
Surrounding the line we SEE the same distinct geometric
pattern seen earlier on the perimeter of the wound on the
cattle carcass. At the bottom of the line a drop of
blood forms and trickles down his back.


General Hughes is seated alone at a table. We SEE Brian
Evers enter the restaurant and begin speaking to the
restaurant‟s hostess. He AD LIBS with the hostess. We
SEE Brian Evers look around at the seatings until he
finds Hughes.
Hughes waves Brian Evers over to the table. Brian Evers
brushes off the hostess‟s attempt to escort him to
Hughes‟ table, and he walks over to Hughes. At Hughes‟
table we SEE Brian Evers extend a hand to greet Hughes.

                      BRIAN EVERS
         Hello, Vince. It‟s been a long time.

We SEE Hughes stand to shake Evers‟ hand.   They both sit
down and continue their conversation.

                      GENERAL HUGHES
         Yes, far too long.

                      BRIAN EVERS
         I know we planned to have dinner, but I just
         found out I was able to get an earlier flight
         to New Mexico.

                      GENERAL HUGHES
         Oh, that‟s disappointing. I was hoping to catch
         up on some things. Well you at least have time
         for a drink or two, don‟t you?

                      BRIAN EVERS

Hughes catches the attention of a waiter. He holds
up his glass and signals for two more drinks.

                      GENERAL HUGHES
         You‟re still drinking the same drink, right?

                      BRIAN EVERS
         Why not.

                      GENERAL HUGHES
         So, congratulations on your retirement.

                      BRIAN EVERS
         Thank you.

                      GENERAL HUGHES
         It‟s nice to see you‟ve made a clean exit
         without any big scandal hanging over your head
         like every other government official seems to be
         tagged with these days.

                      BRIAN EVERS
         Yes, I....
                      GENERAL HUGHES
         So what‟s on your agenda? I assume you‟re
         going to New Mexico to see your son?

                      BRIAN EVERS
         Yes. I‟m going to help out with the campaign.
         I just talked to him. He‟s the one who arranged
         for the earlier flight so his tour bus could
         pick me up at the airport.

                     GENERAL HUGHES
         Great. You have a fine son, Brian.    You should
         be proud.

                      BRIAN EVERS
         I certainly am.

The waiter delivers the drinks to the table.

                      GENERAL HUGHES
         We groomed him well, right from the start.

Evers looks puzzled. Both men sip their drinks and
continue their conversation.

                      BRIAN EVERS
         Who knows, without some personal setbacks,
         perhaps he‟d be running for president right now.

                      GENERAL HUGHES
         There‟s still plenty of time for that. Let him
         establish himself as a good senator, and he can
         parlay that into a trip to the oval office.

                       BRIAN EVERS
         Perhaps.   But he needs to take one step at a

                      GENERAL HUGHES
         And I‟m ready to give him a big boost.

                      BRIAN EVERS
         Yeah, I‟m glad you mentioned that, Vince. I
         truly thank you for your enormous support. But
         to tell you the truth, I can‟t help but wonder
         if you have an ulterior motive.

Hughes picks up his drink and clinks Evers‟ glass,
which remains on the table, in a routine toast. Without
waiting for Evers to raise his glass, Hughes takes a long
sip on his drink.
                      GENERAL HUGHES
         Oh, come on, Brian. Old friends need to help
         each other. That‟s what it‟s all about.

                      BRIAN EVERS
         With no strings attached?

                      GENERAL HUGHES
         You know the game, Brian. I‟ve raised a
         substantial amount of money for Richard. I
         suppose all of that wasn‟t just for old time

                      BRIAN EVERS
         I should have known. Actually I did. What are
         you looking for in return? He‟s my son,
         Vincent. I need to know.

                      GENERAL HUGHES
         In time.

Brian Evers leans back and looks pensively at Hughes.   In
an apparent change of subject Evers continues the

                      BRIAN EVERS
         So, what are you doing these days?

                      GENERAL HUGHES
         I‟m still working on the same project.

                      BRIAN EVERS
         I don‟t want any bullshit, Vince.

                      GENERAL HUGHES
         It‟s not.

                      BRIAN EVERS
         Look, Vince. I‟m going to lay it on the line.
         I‟m not going out to New Mexico to stuff
         envelopes. I need to protect my son. Now I
         need some answers because I‟ve talked with the
         commanders of your department. Frankly, they
         alluded to the fact that you may be a loose

                      GENERAL HUGHES
         Is that so? Well, fuck them all! They sit
         behind their desks without a god damn clue.
                      BRIAN EVERS
         Just tell me if your project has any ties to
         McCormick‟s death. You owe me that much.

We SEE Hughes facial expression go from anger to
astonishment to pensiveness.

                      GENERAL HUGHES
                (feigned sincerity)
         Tell me, Brian. Did you ever get over killing
         the guys who broke into your house? Does any
         amount of therapy erase that from your

                      BRIAN EVERS
         That was a long time ago.    It‟s long forgotten.

                         GENERAL HUGHES

                      BRIAN EVERS
         What does that have to do with what‟s going on

                      GENERAL HUGHES
         Well, maybe McCormick was involved in a
         kidnapping plot.

                      BRIAN EVERS
         I asked for no bullshit.

                       GENERAL HUGHES
         What?   That‟s not believable?

                      BRIAN EVERS
         Not for a second.

                      GENERAL HUGHES
         Do you believe that‟s what happened at your
         house back in ‟58?

                      BRIAN EVERS

                      GENERAL HUGHES
         There‟s more to the picture that your mind is
         denying access to.
We SEE Evers pause and uneasily survey Hughes‟ face for
some kind of meaning to Hughes‟ empty response.

                      BRIAN EVERS
         Okay, enlighten me.

                       GENERAL HUGHES
         In time...   I can tell you much more but in

                      BRIAN EVERS
         Well, I‟m afraid it can‟t be now anyway.   I have
         to get to the airport.

                      GENERAL HUGHES
         To hell with dinner. Let me give you a lift in
         my car. I‟m flying out tonight, too. I‟ll grab
         something at the airport.

                         BRIAN EVERS


We SEE Brian Evers and Hughes driving to the airport. We
SEE Hughes car pull up to the Continental airline
terminal of the Washington National Airport. Brian Evers
steps out of the car. We SEE the interior of the car as
Brian renters the back of the car to grab a briefcase.
Hughes turns around to speak to Brian.

                      GENERAL HUGHES
         Yes, Brian it‟s all true. And there‟s one more

We SEE Brian Evers wait for Hughes to continue but we
move to the next scene without hearing his next words.


Richard speaks on the telephone. On a nearby table we
SEE a tray with a cantaloupe and some other fresh fruit.

                         RICHARD EVERS
         Hi, surprise!     It‟s me!
INTERCUT The Evers‟ home.

Stacy Evers speaks to Richard on the telephone. In the
b.g. we SEE Clayton Warren standing next to his wife and
their newborn daughter.

                      STACY EVERS
         Hi! This is a surprise. I wasn‟t expecting to
         hear from you... So what‟s wrong?

Richard picks up a knife and begin slicing the melon.

                      RICHARD EVERS
         Nothing, nothing at all. As a matter of fact,
         I‟ve got some good news.

                      STACY EVERS
         Unless it entails seeing each other, forgive me
         if I don‟t sound overjoyed.

                      RICHARD EVERS
         Ah, you are psychic! I‟m coming to pick you and
         Kyle up for the fund-raiser.

                      STACY EVERS
         That‟s wonderful. But you know my brother‟s
         here with their new baby. Is that okay?

Richard Evers cuts his hand while slicing the melon.    He
reacts to slicing himself.

                      RICHARD EVERS

                      STACY EVERS
         If it‟s a problem...

                       RICHARD EVERS
         No, that‟s okay. I just cut myself slicing a
         melon. I‟m glad they‟re with you. I‟d like to
         see the baby.

                      STACY EVERS
         So when can we expect you?

We SEE Richard holding a napkin over the bleeding cut on
his hand. The telephone slips out from under his chin
and hits the floor.
                      STACY EVERS
         Rich, are you there?

Richard picks up the telephone.

                      RICHARD EVERS
         Yes, I‟m here. I‟m just trying to stop this cut
         from bleeding.

Richard adjusts the bloody napkin over the cut.

                      RICHARD EVERS
         Yes, I‟m fine. We‟ll be there tomorrow...
         Okay. Love you... Bye.

Richard hangs up the phone and then tends to the cut on
his hand.


We SEE a large state of the art lab filled with high tech
equipment. We FIND Grant Ecklund hunched over one of
many computers scattered throughout the lab. We SEE
Hughes standing next to Ecklund. In the b.g. we SEE that
the far wall of the laboratory is a dark tinted
observation window which separates the adjoining
room. We SEE the adjoining room is dark except for an
occasional blinking light emanating from a monitoring
device. We SEE Hughes and Ecklund in the middle of a
slightly heated discussion which escalates as they go
deeper into their conversation.

                      GENERAL HUGHES
         Is that all you can give me?

                      GRANT ECKLUND
         Yes, but it‟s certainly enough to publish in a

                      GENERAL HUGHES
         Report to whom?

                      GRANT ECKLUND
         The scientific community as well as the general
         public. We need to reach out and see who can
         help us unscramble this data.
                     GENERAL HUGHES
        That‟s why you‟re here! No one else gets to be
        privy to this.

                     GRANT ECKLUND
        We can‟t keep this hidden.   We have an
        obligation to inform....

                     GENERAL HUGHES
        Maybe in your perfect little world but not here!
        You need to understand this very clearly. We
        deal with this, you and I, no one else!

                     GRANT ECKLUND
        I came on board to this project on blind trust.
        You assured me you just needed help deciphering
        codes. I trusted you! You never bothered to
        mention the implications or that this has been
        going on for years! I need some help with these
        things you so innocently call codes.

                     GENERAL HUGHES
        You‟re here because I say so. Do not, do not
        forget I‟m your superior, and you answer to no
        one else but me! Just what the hell do you
        think top secret means, Mr. Ecklund!

                     GRANT ECKLUND
        You can‟t keep this a secret any more than
        Fleming could have kept penicillin a secret.
        It‟s inevitable that people will find out.
        Maybe others will be contacted.

                     GENERAL HUGHES
        Ecklund, don‟t forget you are still a member of
        the military, and there still are a few nasty
        combat areas. So if you value your... position,
        I suggest you get that fuckin‟ idea of spreading
        the word right out of your head and start
        thinking a little clearer!

Before Ecklund is able to reply, Hughes storms out
of the laboratory. We SEE Ecklund as he tries to assess
Hughes‟ declaration.

                     GRANT ECKLUND
               (to himself)
        Thanks for making things perfectly clear,

Richard walks in the front door.    Brian Evers steps in
behind Richard.

                         RICHARD EVERS
         Anybody home?

Stacy Evers rushes in and greets Richard with a big
hug and kiss.

                       STACY EVERS
         Hi, Honey.   It‟s so great to have you home.

                      RICHARD EVERS
         I‟ve definitely gone too long without touching
         those lips.

We SEE Stacy hug Richard again. Her hands drag down his
arms until they touch and hold Richard‟s hands. She
holds up Richard‟s hands for inspection.

                      STACY EVERS
         Hey, I thought you said you cut yourself?

                      RICHARD EVERS
         Oh, I guess it wasn‟t as bad as I thought.

                      STACY EVERS
         But there isn‟t even a mark or scab.

                      RICHARD EVERS
         Let‟s not make a big deal out of it.   Where‟s

We SEE Brian Evers move away from the door and closer to

                      BRIAN EVERS
         Yes, where is my grandson? I‟m sure I can get a
         hug out of him since my daughter in-law won‟t.

                       STACY EVERS
         I‟m sorry.   It‟s good to see you Brian.

Brian and Stacy embrace.    As they separate Kyle runs up
to Richard.

                       KYLE EVERS
         Dad!   You‟re home!
We SEE Kyle jump into Richard‟s arms.

                      RICHARD EVERS
         How‟s my big boy? I missed you!

                      KYLE EVERS
         I‟m great now that you‟re home.

Richard moves next to Brian.

                      RICHARD EVERS
         Say hello to Grandpa.

Brian Evers takes Kyle from Richard‟s arms and stands him
on the floor.

                        KYLE EVERS
         Hi, Grandpa.

                      BRIAN EVERS
         Boy, have you grown up! I think a boy as big as
         you should have a pair of these.

Brian pulls out a pair of night vision binoculars from
behind his back.

                       KYLE EVERS
         Wow!   Can I go play with these?

                      BRIAN EVERS
         It has to be dark out to use them.

                      KYLE EVERS
         I‟ll go in my room and pull all the curtains

                      RICHARD EVERS
         Okay, go ahead.

                        KYLE EVERS

Kyle runs away.

                       STACY EVERS
         Grandpa certainly scored a lot of points with
         that present.

                      RICHARD EVERS
         You‟re not going to let him keep those, are you?
                      BRIAN EVERS
         Sure. They‟re just an old prototype I had
         sitting around my office.

Richard and Stacy look at each other and shrug their

                      STACY EVERS
         Come on, let me get you two something to drink.
         We‟ll get your bags later.


The sun touches down on the horizon. Richard and Brian
Evers and Clayton Warren are enjoying the view.

                      RICHARD EVERS
         Now that‟s a sunset.

                      BRIAN EVERS
         It doesn‟t look quite as spectacular in

In the background through the glass doors leading into
the Evers‟ home Clayton‟s wife holds their baby as she AD
LIBS with Stacy.

                      CLAYTON WARREN
         Stacy said this big fund-raiser is at the
         Mesa West ranch?

                       BRIAN EVERS
         Yes.   Are you familiar with it?

                      CLAYTON WARREN
         The back acreage actually abuts the National
         Park, but we never patrol that section.

                       RICHARD EVERS
         Why not?

                      CLAYTON WARREN
         We‟ve been told not to bother. There‟s no
         trails in that section, and there‟s really not
         much to see. None of the visitor‟s get that far
         into the park, so we don‟t waste the manpower

We SEE the sun has almost disappeared into the horizon.
Richard Evers talks on the telephone in his home office.

                      RICHARD EVERS
         Hello, Andrew?


We SEE Walker, standing behind his desk, talking on the
telephone to Richard Evers. On top of Walker‟s desk we
SEE an open briefcase. Walker places some files in the

                      ANDREW WALKER
         Richard, how are you?... No, I‟m not normally
         here this late. I‟m just picking up some files
         before I leave for a symposium. Is anything

Walker places another file in the briefcase. CLOSE
UP of the file in the briefcase. We SEE the name,
Evers on the file.

                      ANDREW WALKER
         Sure, I‟d be glad to meet him. I‟ll leave my
         room number for him at the concierge desk.


                      RICHARD EVERS
         That‟d be great... Okay...    Talk to you soon.

Richard hangs up the telephone and returns to the
work spread out on his desk. MOVE into Brian Evers‟
room. We SEE Brian Evers in his pajamas as he walks to
Richard‟s office. He stops at the closed door and
knocks, but he enters without waiting for Richard to
respond. Richard looks up from his work, surprised to
see his father.

                       RICHARD EVERS
         Hi, Dad.   I thought you‟d gone to bed.

                      BRIAN EVERS
         No, not yet. I just came to check up on my son
         and make sure he‟s not working too hard.
                      RICHARD EVERS
         You‟re a fine one to talk about working too

                      BRIAN EVERS
         Ah, but that‟s all behind me now.

                      RICHARD EVERS
         True. You deserve to relax and enjoy. You
         did your fair share of protecting people.

                      BRIAN EVERS
         So you‟re okay?

                      RICHARD EVERS
         Yeah, I‟m fine. I‟m about ready for bed myself.

Brian walks over to the photographs hanging on the
wall. He takes one of them down to get a better look at

                        BRIAN EVERS
         Do you mind?

                      RICHARD EVERS
         No, not at all. You should recognize at least
         one person in that shot.


We SEE it is the same photograph seen earlier of Richard
in his Vietnam days playing poker with Marx, McCormick,
and Hughes.


                      BRIAN EVERS
         Yes... Rich, I want you to be careful with
         things concerning Hughes.

                      RICHARD EVERS
         I thought you and Vince were close friends?

                      BRIAN EVERS
         I a... we were... Things just aren‟t always as
         they appear to be.

                      RICHARD EVERS
         What are you stumbling with?   Just tell me.
                      BRIAN EVERS
         Just be careful with him.

                       RICHARD EVERS
                 (giving up)

Brian Evers places the photograph on Richard‟s desk and
walks to the door of the office.

                      BRIAN EVERS
         Good night, Son.

                       RICHARD EVERS
         Good night.

Brian exits and we SEE Richard stare pensively at the
closed door. We SEE Brian Evers sitting on his bed
and preparing to go to sleep. We SEE a night stand next
to the bed and Brian Evers‟ service revolver and wallet
on the stand. We HEAR a knock on the bedroom door.

                       BRIAN EVERS
         Come in.

Richard Evers enters the bedroom.

                       RICHARD EVERS

                      BRIAN EVERS
         I thought we already said good night.

                      RICHARD EVERS
         We did. I just wanted to thank you for still
         watching out for me.

                      BRIAN EVERS
         That part of a father‟s job never ends, you‟ll

                      RICHARD EVERS
         Yeah... You know, after you left a few minutes
         ago I realized this is the first time everyone
         has been under the same roof since Mom....

                       BRIAN EVERS

                      RICHARD EVERS
         I know it hasn‟t been easy.   Are you okay?
Richard Evers‟ POV as he stares at his father‟s handgun
on the night stand.

                      BRIAN EVERS
         Yes, I‟m okay. Some days are harder than

                      RICHARD EVERS
         I‟m sure... Hey... Dad, you don‟t need your gun
         in this neighborhood. Let me lock it up for

                      BRIAN EVERS
         I‟ve slept with this by my side for too many
         years to stop doing it now.

                       RICHARD EVERS
         Okay. But I‟m worried about it being out with
         Kyle around, especially with those night vision
         glasses you gave him to creep around with. At
         least pull the clip and put the gun in the
         drawer, okay?

                      BRIAN EVERS
         I can do that.

                       RICHARD EVERS
         Good.   G‟night.

                       BRIAN EVERS
         Good night.

Richard closes the bedroom door. MOVE with him as
he walks to Kyle‟s room. He opens Kyle‟s bedroom door
and peeks in at his sleeping son. Kyle is tucked in and
sound asleep. A little later we SEE Richard and Stacy
sleeping in their bed. O.S. we HEAR a baby crying. MOVE
into another room where we PICK UP Clayton Warren as he
moves over his sleeping wife and out of bed to get to his
daughter‟s portable crib set up next to their bed.
Clayton picks up his crying daughter. He tries to
console her by rocking her in his arms but she continues
to cry. We MOVE back to Richard and Stacy. We SEE they
are still asleep. We HEAR the baby continue to cry.
CLOSE UP of Richard. We SEE what he is dreaming. The
fuzzy image of the girl he rescued Vietnam jumps into his
dream. The image changes as the face of the prostitute
with almond shaped eyes seen in Snake Alley becomes
superimposed over the screaming girl‟s face. We still
HEAR Clayton‟s daughter crying. The two images blend and
a white light flashes.
We SEE Richard bolt upright. We HEAR the baby‟s crying
slowly fade away. We SEE a half asleep Stacy mumble to

                         STACY EVERS
         Are you okay?

We SEE Richard sweating profusely.       He lies back down and
stares at the ceiling.

                      RICHARD EVERS
                (nearly out of breath)
         Yes, I‟m okay.


We SEE a table covered with psychology texts, papers, and
files. Dr. Adler Adams and Dr. Andrew Walker, both
holding drinks, enter the living area from the kitchen.

                      ADLER ADAMS
         I realize you need to prepare for your
         presentation, but I was hoping you could lend
         some insight on one of the clients I have at the

                       ANDREW WALKER
         I‟ll try.   What have you got?

                      ADLER ADAMS
         He‟s a Vietnam vet who‟s built a fortress
         around himself. I can‟t get at what‟s buried
         deep within him.

                      ANDREW WALKER
         Are you sure you want to?

                      ADLER ADAMS
         I think he needs to confront his demons.

                         ANDREW WALKER

                      ADLER ADAMS
         He‟s made some sketches that present classic
         post traumatic stress. However, I‟m having
         trouble interpreting the contents of these
         drawings which I should say he creates during
         therapy sessions.
                      ANDREW WALKER
         Understanding the actual content of his drawings
         is not as important as determining what the
         pictures symbolize. What do the drawings

                      ADLER ADAMS
         They‟re surreal sketches of elongated skulls.
         The most haunting aspect is the eyes. He draws
         large, slanted, almond shaped eyes.

Walker picks up a file from the cluttered table.

                      ANDREW WALKER
         Was this guy by chance in Hughes‟ Killers?

                      ADLER ADAMS
         I‟m not sure I‟ve ever heard of that outfit.    I
         don‟t recall him mentioning it.

                      ANDREW WALKER
         It was an elite Special Forces unit.

                      ADLER ADAMS
         I don‟t think someone who was reprimanded for
         stealing would be part of that unit.

Walker pulls some papers out of the file he has
picked up. We SEE it is Evers‟ file.

                      ANDREW WALKER
                (hands drawings to Adams)
         Are these drawings similar to your guy‟s?

                      ADLER ADAMS
                (studying the drawings)
         The eyes bear a striking similarity. But
         whenever my client draws bodies attached to the
         skulls they are always in the prone position.
         They‟re eerily artistic.

                      ANDREW WALKER
         The bodies on my guy‟s pictures are always shown
         in an upright, standing position with arms
         reaching out. I always interpreted these to be
         a representation of a young girl he saved from
         being shot full of holes.
                      ADLER ADAMS
         I‟ve always assumed that my client‟s drawings
         were his way of expressing the trauma he
         experienced. Maybe both of these men witnessed
         something similar, just in a different place.

We SEE Walker stare pensively at nothing.

                      ANDREW WALKER
         Or at the same place...


Evers‟ limousine comes to a halt in the circular
driveway of the Mesa West main house. Brian, Richard,
Stacy, and Kyle Evers, along with Domino Drago and
Dale Bellinger exit the limousine. Haley and Hughes walk
up to greet their guests. Hughes extends a hand to

                      GENERAL HUGHES
         Richard Evers, it‟s been a long time.   How are

                      RICHARD EVERS
         I‟m fine, General. I can‟t thank you enough for
         hosting this fund-raiser.

                      GENERAL HUGHES
         It‟s Vincent. Neither one of us need to use
         military designations any more. Your father and
         I dropped them a long time ago. Right, Brian?

Hughes shakes Brian Evers‟ hand.

                      GENERAL HUGHES
         It‟s good to see you, Brian.

Brian Evers casts a distrusting eye on Hughes as he
greets him.

                      BRIAN EVERS
         Hello, Vincent.

                      GENERAL HUGHES
         What‟s wrong with me? Let me introduce you to
         my daughter. This is Haley.
                      HALEY REANON
                (to all)

                      RICHARD EVERS
         This is my wife, Stacy; and my son, Kyle.

We SEE Haley and the Evers‟ family AD LIB hello.

                      RICHARD EVERS
                (to Hughes and Haley)
         Vincent, Haley... this is my wonderful campaign
         manager, Domino Drago.

We SEE Domino step forward to greet Hughes and Haley.

                      DOMINO DRAGO
         It‟s a pleasure to see you again, Vincent.

Domino turns to Haley and offers her hand.

                      DOMINO DRAGO
         I didn‟t even know Vincent had a daughter.     It‟s
         very nice to meet you.

Haley smiles knowingly as she and Domino shake hands.

                      HALEY REANON
                (to Domino)
         It‟s my pleasure.

Domino introduces Dale Bellinger to Hughes and Haley.

                      DOMINO DRAGO
         Vincent, I‟m not sure if you‟ve met our security
         coordinator, Dale Bellinger?

Bellinger extends a hand to Hughes.

                      GENERAL HUGHES
         No, we haven‟t met. But I‟ve heard you‟re the
         one to hire when you need the job done right.

                      DALE BELLINGER
         Thank you.

As Haley and Bellinger AD LIB a greeting, we SEE
Brian showing disgust at the charade of Hughes and
Bellinger pretending not to know one another.
                      HALEY REANON
         We have breakfast set up on the pool deck.

                      GENERAL HUGHES
         Excuse us for not being more sociable right
         now, but I think Brian and I will have breakfast
         in my office. We have some boring company
         business to quickly go over. Please excuse us.

Haley leads the group into the house. Hughes,
Brian Evers, and Bellinger trail behind. Hughes motions
to Bellinger to accompany him and Brian Evers. We
MOVE to the deck surrounding the large pool. We SEE
Richard, Stacy, Kyle, Haley, and Domino seated at a
poolside table eating various breakfast items. In the
b.g. we see a few caterers carrying food service trays.
Richard gulps the last drop of his coffee. He then
stands and moves away from the table. Stacy speaks to
him before he is able to move more than a couple of steps
away from the table.

                      STACY EVERS
         Going for a swim, Rich?

                       RICHARD EVERS
         Not right away. I have to work on my speech
         for tomorrow.

                      STACY EVERS
         I thought it was finished.

                      RICHARD EVERS
         It needs some fine tuning.

                      STACY EVERS
         Can‟t it wait?

                      RICHARD EVERS
         I‟d prefer to get it off my back now.   I won‟t
         be long.

                      STACY EVERS

                      RICHARD EVERS
         I‟ll see everyone later.

Richard walks into the main house. Reacting negatively
to his father‟s departure, Kyle tosses a half eaten bagel
onto his plate.
                      STACY EVERS
         Are you finished with your breakfast, Kyle?

                      KYLE EVERS
         I‟m not hungry... Can I go for a swim?

                      STACY EVERS
         Let‟s wait a little while.   We have the whole
         day to swim.

                      KYLE EVERS
         Can I at least take these dweebie shoes off and
         stick my feet in the pool?

                      STACY EVERS
         If it‟s okay with Haley.

                      HALEY REANON
         Sure, dip away.

                      STACY EVERS
         Just keep those dweebies shoes dry.   You‟ll need
         them for the dinner tomorrow.

Kyle takes off his shoes and carries them with him
as he walks to the edge of the pool. He sits on the edge
of the pool underneath a diving board. Stacy, Haley and
Domino AD LIB at the table. Kyle notices his mother
isn‟t paying attention to him so he attempts to place his
shoes on the diving board above him. Without the aid of
being able to see directly above him to see exactly where
he is placing the shoes, he manages to balance them
precariously on the board. Kyle place his arms on the
diving board and jiggles it. The vibration sends the
shoes into the water. Stacy hears the splash, stands up
from the table, and walks over to Kyle.

                      STACY EVERS
         Why do I get the feeling that wasn‟t an

                      KYLE EVERS
         Guess I‟ll have to wear my sneakers tomorrow.

Haley stands up and walks over to pick up a pole
with a filter screen attached to it. She begins fishing
Kyle‟s shoes out of the pool.

                      STACY EVERS
         I don‟t think so.
                      HALEY REANON
         There‟s a little trading post not too far from
         here. I‟ll be happy to take you there. I‟m
         sure you can find some docksiders or boots

                      STACY EVERS
         If it‟s not too far, I would appreciate it.

                      DOMINO DRAGO
         I‟ll get Dale to drive you.

                      HALEY REANON
         If you want to go get ready, just go in the
         house and up the stairs. Your rooms are the
         first and second on the right.

                       STACY EVERS
         Okay.   Thank you.

                      HALEY REANON
         I‟ll be right in.

As Haley retrieves Kyle‟s shoes from the pool we SEE
Domino walk up next to her. She pulls Kyle‟s wet shoes
from the screen Haley holds.

                      HALEY REANON
         Thanks. I was hoping to give you a tour of the
         ranch in my helicopter. There are some great
         spots to touch down for a quick picnic lunch.

                      DOMINO DRAGO
         That would be nice.

                      HALEY REANON
         Maybe I‟ll have time when I get back.

                       DOMINO DRAGO

We SEE a serving tray at one of the poolside tables.
MATCH CUT TO a similar tray in Hughes‟ office inside the
main house. We SEE Hughes speaking to Brian Evers.

                      GENERAL HUGHES
         I know it sounds impossible, and I‟m sure it
         must be hard for you to believe. So I‟m going
         to take you there. But first, check this out.
We SEE Hughes pick up a thin, metal like object. He
hands it to Brian Evers. Brian reluctantly handles the

                      BRIAN EVERS
         So what‟s the big deal?

                      GENERAL HUGHES
         Throw it against the wall.

                      BRIAN EVERS

Hughes takes the object from Evers‟ hand and hurls it
against a wall. We HEAR a loud thud. We SEE the
object has left a sizable impression in the wall.
Outside Hughes‟ office we SEE Dale Bellinger‟s surprised
reaction to the noise. He composes himself and begins to
reach for the door handle. He grabs the handle but does
not turn it. He pauses, then backs off and turns around
as he reassumes his guard position outside Hughes‟
office. We SEE Hughes bend over and pick up the object
off the floor. He hands it back to Brian Evers.

                      GENERAL HUGHES
         Try to bend it.

We SEE Brian Evers try and fail to bend the object.

                      GENERAL HUGHES
         Now do one thing for me. Close your eyes and
         imagine bending it. Then try to twist or bend
         it while you‟re concentrating on it.

Brian Evers closes his eyes and takes in a deep breath.
As he concentrates on the object, we SEE him begin to
manipulate the object like modeling clay. We HEAR Hughes
clap his hands loudly, causing Evers to break his

                      GENERAL HUGHES
         Now bend it, quick!

We SEE Evers is unable to bend the object.

                      BRIAN EVERS
         It‟s as hard as rock.

                      GENERAL HUGHES
         What do you think about that?
 Before Brian Evers can answer, Dale Bellinger opens the
 door and enters the office.

                        DALE BELLINGER
           Excuse me. Domino wants me to drive Stacy and
           Kyle to the trading post.

                          GENERAL HUGHES
           What?   Why?   What‟s going on?

                        DALE BELLINGER
           Nothing, sir. I guess she needs to pick up some
           shoes for Kyle.

                         GENERAL HUGHES
           Oh, okay.   Just make it quick.


The Evers‟ limousine is parked in the parking lot of a
store that appears to be in a completely desolate area. We
SEE a gas pump on the side of the building. Sitting in a
field a little further away, we SEE a few late model
wrecked cars sitting. We SEE the bright blue sky.


We SEE Hughes‟ helicopter fly past the cliff dwelling and
circle around to the back side of the mountain housing the
C.E.C. complex. We SEE the mountain as it pulls apart. We
SEE Brian Evers seated in the passenger seat of the

                        BRIAN EVERS
           I bet we spent more than a few of the taxpayers
           dollars building this hideaway.

 Hughes‟ helicopter touches down on the landing pad and
 the helicopter is pulled into the complex. The mountain
 façade closes behind it.


 Richard Evers and Domino are looking over some papers.
 Haley enters the room and walks up to Richard.
                      HALEY REANON
                (to Richard)
         You look like you need a break. How would you
         like to go on a tour of the ranch in my
         helicopter? There‟s a lot of different things
         to see from that perspective.

Richard Evers looks up from the papers and replies
without hesitation.

                      RICHARD EVERS
         Sure, why not.

                       HALEY REANON
         Do you mind, Domino? Can I steal him for a
         little while?

                      RICHARD EVERS
         Domino should come.

                      DOMINO DRAGO
         I‟ve got to prepare for the arrival of the tour
         bus tomorrow. Haley promised me a tour later.

                      RICHARD EVERS
         Then I should see if Kyle wants to come.

                      HALEY EVERS
         Stacy just conceded and let him go for a swim.
         I‟d let him stay in the water. I‟ll take him up
         later, too.

                      RICHARD EVERS
         Okay, then let‟s go.

Haley and Richard Evers walk away. They are met by Dale
Bellinger. Domino‟s POV as she SEES Richard, Haley, and
Dale AD LIB.

                      DOMINO DRAGO
                (to herself)
         I knew she‟d manage to get him out there.


We SEE Haley, Richard Evers, and Bellinger flying in
Haley‟s helicopter above the ranch. Haley wears a smug
smile. She‟s finally able to show Richard Evers the
cattle problem.
Richard Evers sits back and enjoys the ride while Dale
Bellinger squirms uncomfortably in his seat.


We SEE Grant Ecklund, Brian Evers, and Hughes, in the
same laboratory seen earlier, standing in the midst of
several wall mounted monitors. Several monitors flash
and beep intermittently.

                      GRANT ECKLUND
         I‟m not sure you should do this, Vincent.

CLOSE SHOT of a red button protruding from one of the
computers mounted to the wall. A glass cover encloses
the button. We SEE Hughes.

                      GENERAL HUGHES
         Don‟t worry about it, Grant.

Brain Evers looks around and takes in the room and
its contents.

                      BRIAN EVERS
         All this just to develop a new type of metal?
         Why the secrecy for that, Vince? I don‟t get

                      GENERAL HUGHES
         You‟re right, you don‟t. Haven‟t you heard
         anything I‟ve been telling you?

                      BRIAN EVERS
         You don‟t expect me to believe....

                      GENERAL HUGHES
         Take a look at that wall.

We SEE the dark tinted observation window. Through the
window we can SEE a few flashing lights coming from the
active monitors in the adjoining room.

                      GENERAL HUGHES
         Grant, will you do the honors.

We SEE Grant Ecklund press a button.
The adjoining room is illuminated. We SEE the back
corner of the room. We ZOOM IN on an alien being in an
upright position. The alien is enclosed in a glass tomb.
It is small in stature with a disproportionately large
head. The alien‟s eyes are closed but we SEE the eye
sockets are large and almond shaped. We SEE the entire
body of the alien. Several thin beams of light
constantly scan its body. On each of the alien‟s two
large hands we SEE three long fingers that are attached
to electronic probes. Wire from the probes fall to the
floor. We SEE the beams of light scan the body. The
alien appears to be dead or in a deep sleep. We SEE
Brian Evers stare at the alien in complete disbelief and

                      BRIAN EVERS
         Oh, my... god!

                       GENERAL HUGHES
         That‟s what I‟m afraid of.


We SEE Haley‟s helicopter flying over green pasture.
Inside the helicopter we SEE Richard Evers in the front
passenger seat and Dale Bellinger seated behind him.

                      HALEY REANON
                (shouting over the noisy engine)
         You know, Richard. I must admit I had an
         ulterior motive for getting you to come up

We SEE the lush pasture below. Before Richard Evers can
reply, we SEE the helicopter swing violently to one side.
Looking through the windshield we SEE several
multi-colored, blinding lights swirl about in front of
them. The lights fade and are immediately followed by a
milky white cloud that engulfs their field of vision. We
SEE the cockpit controls going haywire as the helicopter
bounces up and down.

                      DALE BELLINGER
         What the hell is going on?
CLOSE UP of the helicopters altimeter as it indicates a
rapid descent. We SEE Haley struggle to control the
helicopter. Through the floor of the helicopter a bright
blue beam of light fills the interior of the helicopter.
From outside the helicopter we SEE the helicopter land
very hard, but intact and upright. Inside the helicopter
we SEE Richard Evers, Haley, and Bellinger come to the
realization that they have survived the crash unhurt. We
SEE them look at other, making sure no one is injured.

                      RICHARD EVERS
         Are you two okay?

Haley checks over the controls of the helicopter.

                      HALEY REANON
         Yeah, but all the instruments are knocked out.

                      DALE BELLINGER
         Who gives a shit, we‟re alive.

                      HALEY REANON
         We have no power and no way to call for help.

Richard Evers‟ POV looking out the windshield. We SEE
the cloud surrounding the windshield dissipate. An image
of Richard‟s reoccurring screen memories jumps out at
him. Standing before him outside the helicopter we SEE a
figure with the body of the emaciated girl he saved in
Vietnam. The face of the image is that of the hooker
with large, almond shaped eyes seen in Snake Alley. The
figure‟s long arms extend out to Richard and we SEE the
figure has three large fingers on each of its two hands.
The figure continues to reach out to Richard. We SEE a
brilliant white flash of light and the image disappears.
We SEE Bellinger pull out his gun.

                      DALE BELLINGER
         Step out of the helicopter, both of you.

We SEE Haley, Richard, and Bellinger step out of the
plane. Bellinger points the gun at Haley and Richard.
We SEE the helicopter is directly under the cliff

                      RICHARD EVERS
         What‟s this all about?

                      DALE BELLINGER
         Put your hands on your head and walk in front of
Haley follows Bellinger‟s instructions.     Richard follows
with Bellinger a few feet behind.

                      RICHARD EVERS
         Why the gun, Dale?

                      DALE BELLINGER
                (completely distraught)
         Shut up! I‟m walking out of here alive.

                      RICHARD EVERS
         You think we caused the helicopter to go down?

                         DALE BELLINGER

We SEE Richard Evers spin and deliver a martial arts kick
to Bellinger‟s arm, knocking the gun to the ground a few
feet away. Evers continues to use his rusty martial arts
skills to render Bellinger nearly unconscious. We SEE
Bellinger fall face first to the ground. We SEE Richard
turn around to look for Haley who we SEE picking up the

                         RICHARD EVERS
         Are you okay?

As Richard moves over to tend to Haley, a weary Bellinger
slams his fist into the back of Evers‟ neck. Richard
turns to face Bellinger and the fight continues. The two
men interlock arms and wrestle. They move closer to the
helicopter. We SEE Haley aiming the gun at Bellinger.
She can‟t get a clear shot. The two men spin as they
clutch at each other‟s throats. Richard gains control
over Bellinger and slams him into the front windshield of
the helicopter. As Bellinger‟s back hits the windshield,
the glass melts around him, trapping him in a glass
cocoon. As we HEAR the muffled screams of Bellinger, we
SEE Evers retreat in shock.

                         RICHARD EVERS
         Jesus Christ!

We SEE Richard turn to Haley who is in a state of shock.

                      HALEY REANON
         What happened?

                      RICHARD EVERS
         I‟m not waiting to find out.     Are you okay?
                      HALEY REANON
         Yeah, I guess.

                      RICHARD EVERS
         Let me take that.

Haley hands the gun over to Richard.

                       RICHARD EVERS
         Let‟s get the hell out of here.    Do you know
         where we are?

We SEE Haley scour the area.     A look of confusion
occupies her face.

                      HALEY REANON
         How did we get to the back section of the ranch?
         We weren‟t anywhere near this section. That
         just can‟t be.

                         RICHARD EVERS
         Are you sure?

                      HALEY REANON
         I‟m positive! Those cliff dwellings border the
         back section of the ranch.

                      RICHARD EVERS
         Maybe we better take some shelter in them. We
         might be stuck out here for awhile before anyone
         finds us.

                      HALEY REANON
         I might be able to get a better perspective up


We SEE the alien in the glass enclosure. We SEE Ecklund,
Hughes, and Brian Evers in the laboratory room adjoining
the room housing the alien. We SEE a printed document
emerge from one of the printers behind Ecklund. CLOSE UP
of a computer monitor. We SEE a dialogue window
displaying: Evers contacted. Some of the monitoring
equipment begins emitting lights and sounds. Ecklund
scurries about the room trying to collect some of the
data the equipment is collecting and displaying. He
takes a reading from one piece of equipment then speaks
to Hughes and Brian Evers.

                      GRANT ECKLUND
         We feel that the being is in some type of
         suspended animation. I‟ve developed a computer
         program which has enabled us to develop a
         primitive translation of the brain activity we
         periodically pick up.

We SEE Ecklund read the screen displaying the message
about Evers. This causes him to stop speaking and
momentarily become distracted. After a few seconds of
thought, he continues talking to Hughes and Brian Evers.

                      GRANT ECKLUND
         We can‟t distinguish between thought processes
         or attempts at communication, but we know that
         it‟s all based on light particles not sound
         waves like we normally hear. We call the whole
         way of communicating, binary photon

We SEE Brian Evers in complete awe as he stares at the
alien. We SEE and HEAR the activity of the monitoring
equipment increase again.


We SEE Richard Evers and Haley have started climbing up
to the rectangular shapes that Hughes‟ office sits
behind. We SEE them pick and choose different toe holds
as they work their way up the wall below the cliff
dwelling. We SEE them high up the wall and we HEAR a
high pitched swishing sound. We then HEAR the sound of
glass breaking and we SEE the window of Hughes‟ office
shatter. Richard Evers and Haley SEE a shower of
glass fragments pour down on them. We SEE Richard Evers
and Haley cling tightly to the wall as the glass
continues to fall. We SEE the section of the wall that
Richard is clinging to melt away. Rather than falling,
we SEE Richard engulfed into the wall. As he is sucked
into the wall, Haley grabs onto the back of Richard
Evers‟ shirt. At the spot where Richard and Haley are
being sucked into the wall, a large, circular light
appears. Richard Evers and Haley tumble about in a
surreal light tunnel. They topple over one another as if
they are falling down a shaft.

Next to the cargo elevator across from the elevator
leading to Hughes‟ office we SEE a blank wall. We SEE a
tunnel of light projected onto the wall. Richard Evers
and Haley emerge from the wall, toppling over each other
and landing in a heap on the floor in a hallway next to
the elevator. MOVE into the C.E.C. laboratory. We SEE
Hughes reacting to several lights and sounds announcing a
security alert.

                      GENERAL HUGHES
         There‟s been an unauthorized entry!

                      GRANT ECKLUND
         Don‟t be so sure of that.

We HEAR a VOICE OVER through the intercom system of the

                      VOICE OVER
         Full scale security alert. Full scale security
         alert. Report to stations and proceed as
         planned for a full scale alert.

                      BRIAN EVERS
         What does that mean, Vincent?!

We SEE Hughes move to view some television monitors which
display various sections of the complex.

                      GENERAL HUGHES
         No need to panic, Brian. I have everything
         under control.


A) Inside the complex several of Hughes‟ men ready guns
in preparation to respond to the security

B) In another section of the hanger three men in flight
suits run through an empty hanger and into another
hanger. The three men are followed by another man
wearing a different pilot‟s uniform. He carries his high
tech flight helmet and sprints to catch up to the others.

C) We SEE the hanger the men have entered. They run past
the charred remains of an alien spacecraft. We SEE the
mangled remains laid out like a puzzle on the ground.
D) The pilot catches up to the three man flight crew as
they enter another hanger. There we SEE a working model
of the wrecked alien spacecraft. It is a sleek,
intergalactic craft unlike any contemporary flying
vehicle. We SEE the flight crew scurry around the craft
in preparation for take off. The pilot enters the
spacecraft. We FIND Richard Evers and Haley in the
hallway of the C.E.C. complex. They have already moved
down the hall toward the laboratory. They move swiftly
as the warning lights and sirens continue to signal the
alert. They approach the glass security door Hughes was
seen entering earlier. Before they even attempt to open
the door, we SEE it melt and disappear in front of them.
Richard Evers and Haley continue toward the laboratory.
We FIND Ecklund, Hughes and Brian Evers in the
laboratory. We SEE Ecklund with his back to the room
housing the alien. He moves in a fury from one piece of
equipment to another trying to get a fix on all the
information pouring in. Hughes‟ POV staring at the
alien. We SEE the alien slowly tilt its head forward.
It opens its eyes and stares directly at Hughes. We SEE
Hughes become unhinged.

                      GENERAL HUGHES
         It moved! Did you see that?   Jesus fuckin‟
         Christ! It moved!

Ecklund turns to view the alien. We SEE Hughes, Ecklund
and Brian Evers look at the alien. We SEE the alien
upright with it‟s head back and eyes closed just as
if it never moved.

                      GENERAL HUGHES
         I‟m telling you, it moved!

                      BRIAN EVERS
         That‟s enough, Vince. Tell me who we need to
         contact in Washington. They need to be

                      GENERAL HUGHES
         You think I‟m flipping out? You think you‟re
         removing me of command? This is my baby and
         nobody‟s finding out anything until I say so!

We FIND Richard Evers and Haley standing outside the
laboratory. We HEAR the muffled arguing between Hughes
and Brian Evers.

                      HALEY REANON
         That‟s my dad‟s voice!
We SEE Richard Evers and Haley open the laboratory door
and walk in. We SEE Hughes astonished to SEE both Haley
and Richard Evers.

                       GENERAL HUGHES
         Haley!   What are you doing here?!

Before anyone can reply, we SEE the alien begin to stir.

                        GRANT ECKLUND
         Oh, my god!

We SEE Richard Evers‟ eyes display the same fear seen
earlier as a child and as a soldier. We SEE the alien
come to life. We SEE the alien pass through the glass
enclosure as if it is walking through thin air. We SEE
the alien walk toward the glass observation window. We
SEE the horrified faces of everyone in the lab. CLOSE UP
of Richard Evers‟ eyes displaying complete fear. We SEE
him squint then cock his head. He becomes less fearful,
and he peers at the alien as if it is somewhat familiar.
Richard Evers‟ POV looking at the alien. A white flash
blocks out the alien. A vision of the prostitute with
almond shaped eyes appears before Richard. A large wolf
is quickly superimposed over the prostitute‟s face. The
image of the wolf fades away and Richard SEES a vision
of the screaming girl running out of the hut in Vietnam.
That image fades and Richard SEES the bedroom ceiling of
the house he lived in as a boy. Another white flash
wipes out the vision of his old bedroom and he is once
again staring at the approaching alien. It is now very
close to the observation window of the laboratory. We
SEE Hughes reach for the red, glass covered button seen

                        GENERAL HUGHES
         That‟s it!    I‟m gonna kill this damn thing!

We SEE Ecklund push Hughes away from the button.

                      GRANT ECKLUND
         Wait! Don‟t you see? Now we can find out why
         Evers has been chosen!

We SEE Hughes go after Ecklund and they wrestle each
other. Fists fly and we SEE equipment and papers scatter
all over the room as Ecklund tries to prevent Hughes from
reaching the red button. CLOSE UP of a hand slamming the
red button. We SEE the ceiling of the observation room.
A turret shaped motion detector spins and a yellow laser
beam bursts out of the turret.
We SEE the laser beam form an irregular geometric pattern
in the middle of the alien‟s back. The alien stops
moving and slowly collapses to the floor. CLOSE UP of
the geometric pattern burned into the alien‟s back. A
drop of clear gel forms at the base of the pattern. We
SEE the alien lying a foot away from the observation
window. CLOSE UP of the hand on the red button. We SEE
the hand move off of the button. We SEE the arm attached
to the hand then we SEE the hand belongs to Brian Evers.
Everyone in the room is frozen in shock. We SEE Ecklund
release his grip on Hughes. Richard Evers and Haley
stare dumfounded. Without speaking, we SEE Brian Evers
move to a computer in the corner of the laboratory. We
SEE him quickly perform a series of keystrokes on the
keyboard. We SEE a telephone, hooked up to a modem,
situated next to the computer. Within a few seconds
after Brian Evers completes the keystrokes, we HEAR the
telephone next to the computer ring. We SEE Brian Evers
pick up the ringing telephone and immediately speak into
the receiver.

                      BRIAN EVERS
         Seven, six, two, four, two, six. Evers. Eagle
         Runner is down. Cancel the security alert.

Brian Evers hangs up the telephone. We SEE the other
people in the room in various states of relief, shock,
dismay, and exhaustion.


We SEE Clayton Warren about to enter a ranger station. A
brilliant flash appears above him. Clayton look ups and
he views a bolt of light streak across the sky
traveling in the direction of the C.E.C. complex.
Clayton watches the light stop and hover for a second
before it quickly drops out of sight.


Richard and Stacy are huddled together on a couch in
their living room as they watch the late news on
television. We SEE two coffee cups on the coffee table
in front of the couch. We PICK UP the television screen
and we SEE a newscaster on the screen.
         The pentagon has officially labeled the recent
         U.F.O. sightings in New Mexico as meteor
         showers... In just a moment we‟ll have more on
         Richard Evers‟ sudden departure from the
         senatorial race.

We SEE the television go blank. We SEE Stacy and Richard
on the couch. Stacy tosses the remote control away from
Richard and onto the floor. We SEE Stacy hug Richard.

                      STACY EVERS
         I for one couldn‟t be happier about that.

                      RICHARD EVERS
         What do you say we continue this happiness

                      STACY EVERS
         Good idea. Let me put these cups in the kitchen
         and I‟ll be right up.

                      RICHARD EVERS
         I‟ll go check on Kyle.

Stacy picks up the cups and walks toward the kitchen as
Richard climbs the stairs leading to the second floor.
We SEE Richard walk to Kyle‟s room and open the door.
Richard‟s POV as he slowly opens the door to Kyle‟s
darkened room. A flash of light, apparently from a
passing car‟s headlight, briefly illuminates the room.
After the flash disappears a night light, plugged into a
wall socket next to a night stand, partially lights up
the room. We SEE an object on the night stand next to
Kyle‟s bed. We ZOOM IN on the object and we SEE it is
Richard‟s old Roy Rogers‟ lunchbox. We SEE Kyle sitting
upright in bed. He smacks his hand into a tattered, 1958
model baseball glove. Richard looks at Kyle in
disbelief. We PICK UP a computer screen in Richard‟s
room. The screensaver on the monitor dissolves and a red
dialogue window appears which reads: Binary photon image.
Underneath that message we SEE another message appear
which reads: Hello, Richard. We SEE an alien standing
next to the computer. We SEE Kyle sitting calmly on his
bed. He looks up at his father. We SEE Richard view the
scene in awe. Behind Richard in the hallway we SEE the
shadow of Stacy who is about to enter the room. We SEE
the screen dissolve to black. We HEAR Stacy‟s terrified

We SEE Billy Songdale, in his 1957 Chevrolet convertible,
pull up in front of the Arrow Hills P.I.C.F. We SEE him
get out of his car and stroll up to the front entrance.


                      THE END

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